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+
+*** START OF THE PROJECT GUTENBERG EBOOK 77067 ***
+
+
+
+
+
+                           OLD WORLD MASTERS
+                       IN NEW WORLD COLLECTIONS
+
+
+
+
+  [Illustration]
+
+                         THE MACMILLAN COMPANY
+                 NEW YORK . BOSTON . CHICAGO . DALLAS
+                        ATLANTA . SAN FRANCISCO
+
+                       MACMILLAN & CO., LIMITED
+                      LONDON . BOMBAY . CALCUTTA
+                               MELBOURNE
+
+                   THE MACMILLAN CO. OF CANADA, LTD.
+                                TORONTO
+
+  [Illustration:
+
+   _Collection of Mr. J. P. Morgan_
+
+  GIOVANNA TORNABUONI
+
+    --_Domenico Ghirlandaio_]
+
+
+
+
+                               OLD WORLD
+                            MASTERS IN NEW
+                           WORLD COLLECTIONS
+
+                                  BY
+                           ESTHER SINGLETON
+
+                               New York
+                         THE MACMILLAN COMPANY
+                                 1929
+
+
+
+
+               COPYRIGHT, 1929, BY THE MACMILLAN COMPANY
+
+           SET UP AND ELECTROTYPED. PUBLISHED JANUARY, 1929.
+
+
+               SET UP AND ELECTROTYPED BY T. MOREY & SON
+
+                PRINTED IN THE UNITED STATES OF AMERICA
+                        BY BERWICK & SMITH CO.
+
+
+
+
+                               _PREFACE_
+
+
+It is noteworthy that the first book to be published in any country and
+in any language treating of Old Masters in private Collections should
+be devoted exclusively to treasures in America.
+
+_Old World Masters in New World Collections_ may be called a
+permanent loan exhibition of the greatest and most renowned examples of
+Art in America, which cannot be seen anywhere but in this volume.
+
+It is owing to the gracious response and courtesy of the most
+distinguished American Collectors that I am able to present between
+these covers a selection of a hundred and ten of the choicest paintings
+in the country, representing portraits, religious and mythological
+subjects, and _genre_ from the Thirteenth through the Eighteenth
+Centuries.
+
+One of the principal factors in the formation of many of these
+magnificent Collections has been the outstanding influence of Sir
+Joseph Duveen, Bart., under whose guidance the foremost American
+Collections have been raised to a dominating position in the world of
+art.
+
+It is significant that among the paintings reproduced here, the greater
+number have been brought to this country by Sir Joseph Duveen; and I am
+happy to express my thanks to Sir Joseph for his enthusiastic interest
+and encouragement to me throughout the entire preparation of this
+volume.
+
+A very interesting feature in this book is the distinguished ownership
+of these paintings: Frederick the Great, for instance, owned Lancret’s
+_La Camargo_, the celebrated French dancer; Queen Christina of Sweden,
+Raphael’s _Agony in the Garden_; Madame de Pompadour, Chardin’s _La
+Serinette_ and Boucher’s _Les Deux Confidentes_; Sir Joshua Reynolds,
+Rembrandt’s _Standard-Bearer_; Sir Horace Walpole, Rembrandt’s _Simeon
+and Mary_; and Charles Le Brun, Poussin’s _Jupiter and Calisto_. Fra
+Filippo Lippi’s _Madonna della Stella_ came directly to the present
+owner from the Monastery of the Carmine (Florence) for which it was
+painted; Raphael’s _Niccolini Madonna_, from the Niccolini Palace;
+Titian’s _Caterina Cornaro_, from the Riccardi Palace, Florence;
+Bartolommeo Veneto’s _Maximilian Sforza_, from the Sforza Palace,
+Milan; Rubens’s _Louis XIII, King of France_, from the ex-Emperor
+of Germany’s Palace of Charlottenburg; and Van Dyck’s _Dædalus and
+Icarus_, from the famous Collection of Earl Spencer at Althorp and was
+consequently in the home of the Duchess of Devonshire, whose beautiful
+eyes must have frequently looked upon it. Holbein’s _Prince Edward of
+England_ was painted for King Henry VIII; and with the portrait of
+Sir Thomas More, Holbein’s great reputation began. Of all Sir Joshua
+Reynolds’s portraits _Mrs. Siddons as the Tragic Muse_ is considered
+the greatest; and Gainsborough’s _Blue Boy_ and the _Duchess of
+Devonshire_ rank among the world’s most famous pictures. Surpassing the
+_Blue Boy_ in beauty and charm (though not so famous) and depicting
+withal a far lovelier personality, is Romney’s _John Walter Tempest_;
+and Romney’s _Lady Derby_ and the _Hon. Mrs. Davenport_ will stand
+forever among the loveliest presentations of charming womanhood. On
+a par with these are _La Marquise de Villemomble_, by Drouais; _La
+Marquise de la Fare_, by Fragonard; and _La Marquise de Baglion_ by
+Nattier. Many critics call the last named work the greatest French
+portrait of the Eighteenth Century.
+
+We read with amazement of European Collectors and Collections of the
+past: of the treasures owned by the wealthy Dukes of Burgundy; by
+Lorenzo the Magnificent and by other members of the Medici family;
+by the Sforzas, Gonzagas, d’Estes, and other Italian princes; by the
+Fuggers, those wealthy bankers of Augsburg; by noble Austrian and
+German barons; by the great merchant-princes and lords of England from
+Queen Elizabeth’s day to the present; by Cardinal Richelieu, Cardinal
+Mazarin and Cardinal de Rohan; and by the Rothschilds and other notable
+bankers. Yet, in some respects--particularly in the high quality of
+their Collections and the velocity with which these Collections have
+been made--our American Collectors surpass them all. On this point Sir
+Joseph Duveen remarks:
+
+“The particular thing that makes American Collections so unique and
+so priceless is that their pictures are all masterpieces. In Europe
+you will find much larger Collections and these will have, like the
+Bridgewater for instance, a large number of very mediocre paintings
+and a few of supreme excellence--gems--magnificent! Many Collections
+in England and also on the Continent go into hundreds with just a few
+fine things. In America, on the contrary, every Collector wants the
+best. He may have only thirty pictures, but they will all be fine.
+Americans make Collections of masterpieces. _That_ is why they are
+different. That is why Americans are a new race of Collectors. American
+Collections are Collections of Masterpieces.”
+
+_The Blue Boy_ purchased from the Duke of Westminster by Sir Joseph
+Duveen for the late Mr. Henry E. Huntington at the then unheard of sum
+of $800,000 set the imagination of the American public aflame. When
+exhibited at the National Gallery, London, and afterwards at the Duveen
+Galleries, New York, for charity in 1922, the whole world flocked to
+see it. _The Blue Boy_ proved to be a “sensation.” Within a few months
+Gainsborough’s masterpiece was followed by Sir Joshua Reynolds’s
+_Mrs. Siddons as the Tragic Muse_, also purchased from the Duke of
+Westminster by Sir Joseph Duveen for the late Mr. Henry E. Huntington
+for $500,000. _Mrs. Siddons_ was, in her turn, followed by eighteen
+superb examples of Gainsborough, Romney, Reynolds, and Lawrence,
+several of which appear in this book. It was, therefore, the English
+School that started the ball rolling for a new type of Collector, who
+sought gems of the first water only.
+
+From this period onward great paintings of all Schools--Italian,
+French, Dutch, Flemish, and Spanish, as well as English--have been
+coming across the Atlantic in amazing numbers, and with eagerly
+awaiting purchasers to greet them. The result is that America has
+become a great Repository of Art, in which the entire country is
+beginning to take a personal and justifiable pride.
+
+On this question of Art-migration the noted critic and director of the
+Berlin Museum, Dr. Wilhelm von Bode, wrote not long ago:
+
+“Any one who a decade ago had even hinted at the possibility of
+Gainsborough’s _Blue Boy_ making its way across the Atlantic to become
+the central gem in the Huntington Collection would have been thought
+mad. He might as well have suggested the uprooting of England’s
+century old oaks, or the removal of the Rock of Gibraltar. And yet the
+impossible has happened; and not only the famous _Blue Boy_ but many
+another of the world’s masterpieces has travelled the same route.
+
+“This is the greatest transplantation of art-works the world has known
+since the Roman plundering of Grecian art and the rape of the churches
+and museums of Europe whereby Napoleon enriched the Louvre.
+
+“No power on earth can turn back the pages of history to the first
+of August, 1914, on which day forces were set in motion that were to
+result in a complete reversal of all hitherto existing political,
+geographical, social, and economic values. No one could have foreseen
+at the time that the world’s accumulated art-treasures would also be
+affected by these sweeping changes.”
+
+From the amazing wealth that has been so generously placed at my
+disposition, I have been guided by one principle of selection,--that of
+_Beauty_!
+
+Art, according to my way of thinking, is something to be enjoyed,
+something to delight the senses, and something to refresh the mind;
+and I feel sure that many _connoisseurs_ will agree with me and
+gladly welcome a book devoted to Old Masters in which not the slightest
+suggestion of suffering enters. Therefore, in this book there are no
+Crucifixions, Pietàs, martyrdoms, nor tragedies.
+
+Nor in my definition of Beauty do I recognize any distortion of the
+word that might include the cant phrase--the “beauty of ugliness.”
+Beauty, when most subtle, is always obvious; and I agree heartily
+with Bernard Berenson’s dictum: “And not what man knows but what man
+_feels_ concerns Art. _All else is science._”
+
+Fashions may come and fashions may go, but while these changing tides
+ebb and flow the great manifestations and expressions of genius shine
+with undimmed splendor as shine the stars of Heaven over a world racked
+with dissension and controversy and troubled with many shell-shocked
+minds. Shakespeare and Shelley and Keats and Tennyson will charm,
+inspire, and uplift generations to come when yawping _vers libre_
+has been thrown into the literary junk-heap; Beethoven and Chopin
+and Wagner will delight, astound, and refresh sensitive spirits when
+the scores of the Twentieth Century cacophonists will be unopened
+and coated with dust; and Raphael, Botticelli, Watteau, Fragonard,
+Chardin, Gainsborough, Reynolds, and Romney will fascinate, enthrall,
+and enrapture lovers of the beautiful when works of jostled planes and
+lurid color will have been hooted to extinction.
+
+The Torch of Beauty burns brightly through all the confusion of tongues
+and wild ragings of Twentieth Century iconoclasts. In this belief
+and hope I have the support of the noted French critic, Robert de la
+Sizeranne, who says:
+
+“Art never dies, even when all that has maintained it and served as
+the motive for its very existence--civilization, society, religious
+belief, social authority--has fallen into irremediable decay. For it
+has still another reason for existence, which is the powerful one of
+_Beauty_. Humanity is not rich enough to dispense with a vision of
+Beauty. The day comes when it will return to it gladly and acclaim it
+as if it were a living being.”
+
+Some idea of the value of the paintings shown in this book will be had
+if I mention a few sums which were reached at the last sales, although
+the figures have risen considerably since those sales. Here are, for
+example, twelve paintings:
+
+Gainsborough’s _Harvest Waggon_, $360,000; Lawrence’s _Pinkie_,
+$377,000; Gainsborough’s _Blue Boy_, $800,000; Reynolds’s _Mrs.
+Siddons_, $500,000; Raphael’s _Small Cowper Madonna_, $700,000;
+Raphael’s _Niccolini Madonna_, $875,000; Frans Hals’s _Laughing
+Mandolin Player_, $250,000; Botticelli’s _Giuliano de’ Medici_,
+$240,000; Raphael’s _Agony in the Garden_, $500,000; Gainsborough’s
+_The Mall_, $500,000; Romney’s _The Hon. Mrs. Davenport_, $304,700; and
+Romney’s _Anne, Lady de la Pole_, $206,850.
+
+Hence it will be seen that these twelve paintings represent
+considerably more than $5,500,000.
+
+With these figures in mind (and I have not attempted to estimate the
+Memlings, Holbeins, Bellinis, Crivellis, Titians, Rembrandts, Van
+Dycks, Fragonards, Nattiers, and others) it will be easily appreciated
+that the value of the paintings shown in this book soars beyond
+millions into the billion dollar class!
+
+It gives me pleasure to offer my thanks to all the Collectors whose
+pictures are represented and very particularly to Mrs. Herbert L.
+Satterlee, Mr. J. P. Morgan, Mr. and Mrs. Charles P. Taft, and Miss
+Helen C. Frick who permitted me to have photographs especially taken of
+the Duchess of Devonshire, and Lady Betty Delmé; Eliza Farren, Countess
+of Derby; Maria Walpole, Duchess of Gloucester and “The Jessamy Bride”;
+and Sir Thomas More.
+
+I also wish to thank most cordially Mr. Felix Wildenstein for his
+valuable advice and approbation and for important material sent to me
+from Paris and to express my appreciation to Mr. C. R. Henschel of
+Messrs. Knoedler & Co., and to Mrs. Paul Reinhardt of the Reinhardt
+Galleries for their warm support and aid.
+
+                                                              E. S.
+
+    NEW YORK,
+      November 8, 1928.
+
+
+
+
+                              _CONTENTS_
+
+
+    CHAPTER                                 PAGES
+
+      I. ITALIAN                            3–153
+            Sienese
+            Florentine
+            Umbrian
+            North Italian
+            Venetian
+
+     II. FLEMISH                          157–196
+
+    III. DUTCH                            199–232
+
+     IV. GERMAN                           235–253
+
+      V. SPANISH                          257–272
+
+     VI. FRENCH, EIGHTEENTH CENTURY       275–326
+
+    VII. ENGLISH, EIGHTEENTH CENTURY      329–428
+
+
+
+
+                            _ILLUSTRATIONS_
+
+
+    GIOVANNA TORNABUONI           _Domenico Ghirlandaio_  Frontispiece
+        Mr. J. P. Morgan.
+
+                                                                  PAGE
+
+    ST. FRANCIS AND THE BEGGAR                           _Sassetta_  7
+        Mr. Clarence H. Mackay.
+
+    MADONNA AND CHILD WITH
+        SAINTS AND ANGELS                     _Matteo di Giovanni_  11
+        Mr. Clarence H. Mackay.
+
+    ADORATION OF THE MAGI                  _Benvenuto di Giovanni_  13
+        Sir Joseph Duveen, Bart.
+
+    MADONNA AND CHILD                          _Giotto di Bordone_  27
+        Mr. Henry Goldman.
+
+    THE ANNUNCIATION                                    _Masolino_  29
+        Mr. Henry Goldman.
+
+    GABRIEL, THE ANNOUNCING ANGEL                   _Fra Angelico_  33
+        Mr. Edsel B. Ford.
+
+    THE VIRGIN RECEIVING THE DIVINE MESSAGE         _Fra Angelico_  35
+        Mr. Edsel B. Ford.
+
+    ST. COSIMAS AND ST. DAMIANUS                    _Fra Angelico_  41
+        Mr. Albert Keller.
+
+    MADONNA DELLA STELLA                       _Fra Filippo Lippi_  43
+        Mr. Carl W. Hamilton.
+
+    MADONNA AND CHILD                        _Alesso Baldovinetti_  49
+        Mr. Clarence H. Mackay.
+
+    PORTRAIT OF A YOUNG LADY                    _Piero Pollaiuolo_  53
+        Mr. Nils B. Hersloff.
+
+    GIULIANO DE’ MEDICI                        _Sandro Botticelli_  57
+        Mr. and Mrs. Otto H. Kahn.
+
+    PORTRAIT OF A YOUNG MAN                    _Sandro Botticelli_  63
+        Mr. Clarence H. Mackay.
+
+    MADONNA AND CHILD                          _Sandro Botticelli_  65
+        Mr. Max Epstein.
+
+    GIOVANNA TORNABUONI                     _Domenico Ghirlandaio_  67
+        Mr. J. P. Morgan.
+
+    FRANCESCO SASSETTI AND
+          HIS SON TEODORO                   _Domenico Ghirlandaio_  71
+        Mr. Jules S. Bache.
+
+    MADONNA AND CHILD                        _Gentile da Fabriano_  75
+        Mr. Henry Goldman.
+
+    MADONNA AND CHILD WITH ANGELS             _Benedetto Bonfigli_  79
+        Mr. and Mrs. Otto H. Kahn.
+
+    MADONNA AND CHILD                                   _Perugino_  81
+        Mr. Clarence H. Mackay.
+
+    THE NICCOLINI MADONNA                                _Raphael_  85
+        Sir Joseph Duveen, Bart.
+
+    THE SMALL COWPER MADONNA                             _Raphael_  87
+        Mr. Joseph E. Widener.
+
+    AGONY IN THE GARDEN                                  _Raphael_  91
+        Mr. Clarence H. Mackay.
+
+    PORTRAIT OF A LADY                                _Pisanello_  101
+        Mr. Clarence H. Mackay.
+
+    ADORATION OF THE SHEPHERDS                  _Andrea Mantegna_  105
+        Mr. Clarence H. Mackay.
+
+    VIRGIN AND CHILD WITH THE
+          INFANT ST. JOHN AND ANGEL                     _Francia_  109
+        Mr. Clarence H. Mackay.
+
+    PORTRAIT OF A LADY                                    _Luini_  111
+        The Hon. Andrew W. Mellon.
+
+    TITIAN’S SCHOOLMASTER                                _Moroni_  113
+        Mr. Joseph E. Widener.
+
+    MADONNA AND CHILD                      _Antonello da Messina_  123
+        Mr. Clarence H. Mackay.
+
+    MADONNA AND CHILD                                  _Crivelli_  127
+        Mr. A. W. Erickson.
+
+    MADONNA AND CHILD                                  _Crivelli_  129
+        Mr. Philip Lehman.
+
+    THE VIRGIN AND CHILD WITH ST. LUCY,
+          ST. CATHERINE, ST. PETER AND
+          ST. JOHN THE BAPTIST                  _Giovanni Bellini_  131
+        Mr. Jules S. Bache.
+
+    THE VIRGIN AND CHILD                        _Giovanni Bellini_  133
+        Mr. and Mrs. Nicholas F. Brady.
+
+    MADONNA AND CHILD                           _Giovanni Bellini_  135
+        Mr. Philip Lehman.
+
+    FEAST OF THE GODS                           _Giovanni Bellini_  139
+        Mr. Joseph E. Widener.
+
+    THE VIRGIN AND CHILD                                  _Titian_  141
+        Mr. Jules S. Bache.
+
+    CATERINA CORNARO, QUEEN OF CYPRUS                     _Titian_  145
+        Mr. John Ringling.
+
+    GIORGIO CORNARO WITH FALCON                           _Titian_  147
+        Mr. A. W. Erickson.
+
+    MAXIMILIAN SFORZA                         _Bartolommeo Veneto_  149
+        Mr. Henry Goldman.
+
+    A SCENE ALONG THE ADRIATIC COAST            _Francesco Guardi_  153
+        Mrs. Charles B. Alexander.
+
+    PORTRAIT OF A LADY                      _Roger van der Weyden_  167
+        The Hon. Andrew W. Mellon.
+
+    PORTRAIT OF A CARTHUSIAN MONK                _Petrus Christus_  171
+        Mr. Jules S. Bache.
+
+    MADONNA AND CHILD WITH ANGELS                   _Hans Memling_  173
+        The Hon. Andrew W. Mellon.
+
+    PORTRAIT OF A YOUNG GENTLEMAN                   _Hans Memling_  175
+        Mrs. John N. Willys.
+
+    LOUIS XIII, KING OF FRANCE                 _Peter Paul Rubens_  177
+        Sir Joseph Duveen, Bart.
+
+    RINALDO AND ARMIDA                      _Sir Anthony Van Dyck_  183
+        Mr. Jacob Epstein.
+
+    DÆDALUS AND ICARUS                      _Sir Anthony Van Dyck_  185
+        Mr. Frank P. Wood.
+
+    ROBERT RICH, EARL OF WARWICK            _Sir Anthony Van Dyck_  189
+        Mr. Jules S. Bache.
+
+    QUEEN HENRIETTA MARIA WITH
+          JEFFREY HUDSON AND A MONKEY       _Sir Anthony Van Dyck_  193
+        Mr. William Randolph Hearst.
+
+    THE STANDARD-BEARER                       _Rembrandt van Rijn_  205
+        Mr. Jules S. Bache.
+
+    PORTRAIT OF A YOUNG OFFICER               _Rembrandt van Rijn_  209
+        Mr. A. W. Erickson.
+
+    AN OLD LADY SEATED IN AN ARMCHAIR         _Rembrandt van Rijn_  211
+        The Hon. Andrew W. Mellon.
+
+    SIMEON AND MARY PRESENTING THE
+          INFANT CHRIST IN THE TEMPLE.        _Rembrandt van Rijn_  213
+        Mr. Nils B. Hersloff.
+
+    PORTRAIT OF AN OFFICER                            _Frans Hals_  221
+        Mr. Henry Goldman.
+
+    THE LAUGHING MANDOLIN PLAYER                      _Frans Hals_  223
+        Mr. John R. Thompson.
+
+    A MUSIC PARTY                                _Pieter de Hoogh_  225
+        Mrs. John N. Willys.
+
+    THE LACE-MAKER                                   _Jan Vermeer_  229
+        The Hon. Andrew W. Mellon.
+
+    PORTRAIT OF A MAN                             _Albrecht Dürer_  239
+        The Hon. Andrew W. Mellon.
+
+    PRINCE EDWARD OF ENGLAND            _Hans Holbein the Younger_  241
+        The Hon. Andrew W. Mellon.
+
+    SIR THOMAS MORE                     _Hans Holbein the Younger_  245
+        The late Mr. Henry Clay Frick.
+
+    DIRK BERCK OF COLOGNE               _Hans Holbein the Younger_  247
+        The Hon. Andrew W. Mellon.
+
+    JEAN DE DINTEVILLE                  _Hans Holbein the Younger_  249
+        Mr. Henry Goldman.
+
+    CARDINAL ALBRECHT AS
+          SAINT HIERONYMUS               _Lucas Cranach the Elder_  253
+        Mr. John Ringling.
+
+    CARDINAL QUIROGA                                    _El Greco_  261
+        The late Mr. Henry Clay Frick.
+
+    THE VIRGIN APPEARING TO ST. DOMINIC                 _El Greco_  263
+        Mr. J. Horace Harding.
+
+    MARIANNE OF AUSTRIA                                _Velasquez_  265
+        Mr. Philip Lehman.
+
+    PHILIP IV OF SPAIN                                 _Velasquez_  267
+        The late Mr. Henry Clay Frick.
+
+    GENERAL NICOLAS GUYE                                    _Goya_  269
+        Mr. J. Horace Harding.
+
+    PEPITO COSTA Y BONELLA                                  _Goya_  271
+        Mrs. William Hayward.
+
+    JUPITER AND CALISTO                          _Nicolas Poussin_  279
+        Mr. Carroll Tyson.
+
+    LA DANSE                                     _Antoine Watteau_  283
+        Mr. Charles A. Wimpfheimer.
+
+    MADAME BONIER DE LA MOSSON                 _Jean Marc Nattier_  287
+        Mr. Edward J. Berwind.
+
+    LA MARQUISE DE BAGLION                     _Jean Marc Nattier_  289
+        Mr. A. W. Erickson.
+
+    LA CAMARGO                                   _Nicolas Lancret_  293
+        The Hon. Andrew W. Mellon.
+
+    LE DUO                                       _Nicolas Lancret_  295
+        Mr. and Mrs. Emil J. Stehli.
+
+    UNE FÊTE CHAMPÊTRE                _Jean Baptiste Joseph Pater_  297
+        Mr. Jules S. Bache.
+
+    UNE FÊTE GALANTE                  _Jean Baptiste Joseph Pater_  299
+        Mr. Edward J. Berwind.
+
+    LA SERINETTE                    _Jean Baptiste Siméon Chardin_  301
+        The late Mr. Henry Clay Frick.
+
+    LES DEUX CONFIDENTES                        _François Boucher_  305
+        Mrs. William R. Timken.
+
+    A YOUNG GIRL READING A LETTER           _Jean Baptiste Greuze_  307
+        Mr. John McCormack.
+
+    YOUNG GIRL                              _Jean Baptiste Greuze_  309
+        Mr. William Randolph Hearst.
+
+    LA MARQUISE DE BESONS
+          TUNING A GUITAR                   _Jean Baptiste Greuze_  311
+        Dr. and Mrs. Henry Barton Jacobs.
+
+    LA MARQUISE DE VILLEMOMBLE           _François Hubert Drouais_  313
+        Mr. Jules S. Bache.
+
+    MADEMOISELLE HELVETIUS               _François Hubert Drouais_  315
+        Mr. Mortimer L. Schiff.
+
+    L’INVOCATION À L’AMOUR                 _Jean Honoré Fragonard_  317
+        Mr. Mortimer L. Schiff.
+
+    LE BILLET-DOUX                         _Jean Honoré Fragonard_  319
+        Mr. Jules S. Bache.
+
+    LA MARQUISE DE LA FARE                 _Jean Honoré Fragonard_  321
+        Mrs. James B. Haggin.
+
+    THE FOUNTAIN IN THE PARK                       _Hubert Robert_  323
+        Dr. and Mrs. Henry Barton Jacobs.
+
+    MADAME LABILLE-GUIARD
+          AND TWO PUPILS                   _Madame Labille-Guiard_  325
+        Mr. Edward J. Berwind.
+
+    LADY BETTY DELMÉ                         _Sir Joshua Reynolds_  339
+        Mr. and Mrs. Herbert L. Satterlee.
+
+    THE STRAWBERRY GIRL                      _Sir Joshua Reynolds_  343
+        Mrs. Francis F. Prentiss.
+
+    DIANA, VISCOUNTESS CROSBIE               _Sir Joshua Reynolds_  345
+        The late Mr. Henry E. Huntington.
+
+    MRS. SIDDONS AS THE TRAGIC MUSE          _Sir Joshua Reynolds_  349
+        The late Mr. Henry E. Huntington.
+
+    GEORGIANA, DUCHESS OF DEVONSHIRE         _Sir Joshua Reynolds_  355
+        The late Mr. Henry E. Huntington.
+
+    THE COTTAGE DOOR                         _Thomas Gainsborough_  359
+        The late Mr. Henry E. Huntington.
+
+    THE MALL                                 _Thomas Gainsborough_  365
+        The late Mr. Henry Clay Frick.
+
+    MARIA WALPOLE, DUCHESS
+          OF GLOUCESTER                      _Thomas Gainsborough_  367
+        Mr. and Mrs. Charles P. Taft.
+
+    GEORGIANA, DUCHESS OF DEVONSHIRE         _Thomas Gainsborough_  373
+        Mr. and Mrs. Herbert L. Satterlee.
+
+    THE BLUE BOY                             _Thomas Gainsborough_  379
+        The late Mr. Henry E. Huntington.
+
+    GENERAL PHILIP HONYWOOD                  _Thomas Gainsborough_  387
+        Mr. John Ringling.
+
+    THE HARVEST WAGGON                       _Thomas Gainsborough_  391
+        Sir Joseph Duveen, Bart.
+
+    JOHN WALTER TEMPEST                            _George Romney_  393
+        Mr. and Mrs. Marshall Field.
+
+    THE HON. MRS. DAVENPORT                        _George Romney_  399
+        The Hon. Andrew W. Mellon.
+
+    LADY DERBY                                     _George Romney_  401
+        Mr. Jules S. Bache.
+
+    EMMA, LADY HAMILTON                            _George Romney_  405
+        The late Mr. Henry E. Huntington.
+
+    ANNE, LADY DE LA POLE                          _George Romney_  409
+        The Hon. Alvan T. Fuller.
+
+    THE HON. MRS. GRANT OF KILGRASTON          _Sir Henry Raeburn_  413
+        Mr. C. Fisher.
+
+    QUINTON MCADAM                             _Sir Henry Raeburn_  415
+        Mr. A. W. Erickson.
+
+    MARY HORNECK, “THE JESSAMY BRIDE”               _John Hoppner_  417
+        Mr. and Mrs. Charles P. Taft.
+
+    ELIZA FARREN, COUNTESS OF DERBY          _Sir Thomas Lawrence_  421
+        Mr. J. P. Morgan.
+
+    PINKIE                                   _Sir Thomas Lawrence_  427
+        The late Mr. Henry E. Huntington.
+
+
+
+
+                                ITALIAN
+
+    Sienese
+    Florentine
+    Umbrian
+    North Italian
+    Venetian
+
+
+                               _SIENESE_
+
+There are no beginnings of art in Italy. The old civilizations of
+Etruria, Rome, and Byzantium never perished entirely; and upon their
+surviving traditions “Christian Art” was built. Old pictorial ideas
+and old decorative motives were absorbed, rearranged, and worked over
+again and again in conjunction with theological dogma until in the
+Thirteenth Century, largely owing to the beautiful character, ideals,
+and influence of St. Francis, to the intellectual teachings of Dante,
+and to the fervor aroused by the Crusades, “Christian Art” became a
+living movement, which inspired, among other important things, the
+creation of magnificent Cathedrals. When the architects, the carvers
+of wood and stone, and the makers of the jewel-like windows had
+finished their work, the best painters of the day were called on to
+produce altar-pieces that would stimulate religious devotion, charm the
+worshippers by beauty, and instruct the people (unaccustomed to books)
+by representation of saintly lives and scriptural stories.
+
+Italian Painting in the Thirteenth and Fourteenth Centuries thus
+shows many of the old Byzantine traditions still lingering in the new
+“Christian,” or “Gothic Art.”
+
+Siena and Florence were the chief early Italian Schools. Siena was at
+first the more important of the two and greatly influenced Florentine
+and also French Painting. The leading early artists of Siena were
+Guido da Siena, Duccio di Buoninsegna, Ugolino da Siena, Segna di
+Bonaventura, Simone Martini, Lippo Memmi, Pietro Lorenzetti, Ambrogio
+Lorenzetti, Lippo Vanni, Andrea Vanni, Bartolo di Fredi, Taddeo di
+Bartolo, and Stefano di Giovanni (Sassetta).
+
+The next group includes Domenico di Bartolo, Lorenzo Vecchietta,
+Neroccio di Landi, Benvenuto di Giovanni, Girolamo di Benvenuto, and
+Matteo di Giovanni.
+
+“To understand and appreciate the painting of Siena one should think of
+it as the culmination of the art of the Middle Ages rather than as a
+promise of anything modern. Therein lies the difference which caused so
+great a gulf between the art of Siena and that of contemporary Florence
+only forty miles away. Sienese Art may be regarded as the most perfect
+expression of the Byzantine ideal. It was hieratic and mystic. While
+Giotto was forecasting the development of modern art by studying nature
+and making his figures act like the real people whom he saw about
+him, Duccio and Simone Martini were sounding the Byzantine creed that
+the Christian saints were not _human_ but _divine_, not _vulgar_ but
+_regal_, not _approachable_ but _aloof_. To the early Sienese, as to
+the Byzantine, the Raphaelesque conception of the Madonna as the most
+tender possible human mother would have been blasphemous bad taste.
+
+“Although Sienese Art was founded on Byzantine and was in a sense the
+culmination of Byzantine, it was, nevertheless, a Gothic art. In other
+words it belonged to its period, but it selected certain elements of
+Gothic style for emphasis.
+
+“In Florence Giotto was inspired by the plasticity of Gothic Art and
+its naturalism. In Siena Duccio and his followers developed the Gothic
+living line; and, later, the emotionalism of Gothic spirit. Thus both
+Florentines and Sienese were Gothic, but in a different way.
+
+“Technically as well as spiritually, the Sienese approached the
+artistic abstractions of China and Japan. The analogies between Sienese
+and Oriental Art have been observed by practically every writer on
+the Sienese School. They have been tacitly attributed however, to
+accidental similarities in ideals and modes in Siena and the East.
+As yet no one has been bold enough to suggest an influence derived
+from actual contact with Eastern Art, but such contact is not beyond
+the bounds of possibility. In the Thirteenth and Fourteenth Centuries
+overland communication with the Near East and with China was common and
+secure. Merchants like the Polos, prelates like John of Monte Corsino,
+Andrew of Perugia and Friar Odoric of Friuli readily found the way to
+Cathay, as China was then called. Peking was made a Roman Catholic
+diocese and Pegolotti of the Bardi banking-house in Florence was moved
+to write a traveller’s itinerary, remarkably like a modern Baedeker,
+giving the most minute instructions as to inns, food, servants, and
+so forth, on the route from Constantinople to Peking. Moslems like
+Ibn Batuta travelled as widely as Christians, and Oriental travellers
+visited the Occident. Thus Bar Sauma, a Nestorian of Peking, visited
+the Pope in 1287 and passed through Tuscany on his way to Paris and
+Bordeaux two years after Duccio painted the _Rucellai Madonna_.
+Not only the Near East and China, but India, was opened to the European
+and we hear of the martyrdom of one Brother Peter of Siena at a place
+near Bombay. It was not until the end of the Fourteenth and the
+beginning of the Fifteenth Century that the conversion of the western
+Tartars to Islam, the advance of the Seljuk Turks, and the overthrow of
+the broad-minded hospitable Mongol dynasty in China closed the overland
+trade-routes. During the next hundred and fifty years while the
+sea-routes were being discovered Europe seems largely to have forgotten
+the existence of the Orient. Wild as the theory may sound, therefore,
+it is possible that actual contact with Oriental Art may account not
+only for the occasional Mongolian types and bits of Oriental armor to
+be observed in Sienese Art, but even for something of the spirit of the
+style.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
+Cambridge, 1927).
+
+
+                      ST. FRANCIS AND THE BEGGAR.
+
+    _Sassetta_
+    (_1392–1450_).
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+On September 5, 1437, the Minorites of Siena ordered an altar-piece
+for the Church of San Francesco at Borgo San Sepolcro from Stefano di
+Giovanni, better known as Sassetta. The artist promised “to paint it
+with fine gold, ultramarine, and other good colors, to employ all the
+subtleties of his art, and to make it as beautiful as he could.” Also
+he promised to complete it in four years. Sassetta, however, made a
+wrong calculation; for the work occupied him seven, instead of four,
+years. It was finished on June 5, 1444, and placed above the high
+altar at Borgo San Sepolcro, where it remained until 1752, when the
+panels were dispersed. From contemporary documents nine panels were
+proved in recent years to have been among the decorations of this
+famous altar-piece; and these panels were shown at the Retrospective
+Exhibition of Sienese Art held in Siena in 1904.
+
+Seven of these nine panels are now in the Collection of Mr. Clarence H.
+Mackay: _St. Francis and the Poor Knight_; _St. Francis Renounces his
+Heritage_; _St. Francis and the Wolf of Gubbio_; _St. Francis before
+the Soldan_; _St. Francis before Pope Honorius III_; _St. Francis
+Receiving the Stigmata_; and _The Burial of St. Francis_.
+
+Another panel, _The Marriage of St. Francis to Poverty_, is in the
+Chantilly Museum and the central panel of the altar-piece, representing
+_The Glory of St. Francis_, is in the Collection of Mr. Bernard
+Berenson.
+
+The panel representing _St. Francis and the Wolf of Gubbio_ was long
+in possession of the Comte de Martel at the Château de Beaumont, near
+Blois, and the other six panels came from the Collection of the late M.
+Georges Chalandon, Paris.
+
+It was obvious that for a church dedicated to St. Francis the story of
+his life should be told in paintings.
+
+It is a little hard to realize that the frescoes by Giotto and his
+companions depicting the _Life of St. Francis_ had been admired and
+worshipped for a hundred odd years before Sassetta was called upon by
+the Sienese Minorites to tell the story again. Sassetta produced an
+entirely new version with regard to composition, color, and spiritual
+interpretation.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  ST. FRANCIS AND THE BEGGAR
+
+    --_Sassetta_]
+
+There is much to attract an artist in the story of St. Francis, for
+although his life is not one of much variety, it is full of striking
+episodes, which afford splendid pictorial opportunities. St. Francis,
+founder of the great Order of Friars Minor, or Franciscans, and called
+“the Poor Man of Assisi,” was born in Assisi in 1182, and died there
+in 1226. He was the son of a rich merchant, who, furious because his
+son lavished money on the starving poor of the vicinity, demanded that
+he should renounce his inheritance. This he did with a joyful spirit
+in public and before the Bishop of Assisi, thereafter devoting himself
+to the service of the poor. Disciples flocked to his little chapel,
+called the Portiuncula; and when the New Order celebrated its General
+Chapter in 1219, five thousand friars assembled there. The Order was
+approved by Pope Innocent III and by his successor, Pope Honorius III.
+Poverty was the leading characteristic of the Franciscans, or Begging
+Friars; individually and collectively they refused to own anything
+whatsoever.
+
+St. Francis journeyed about doing good. His wanderings took him as far
+as Egypt and Palestine; and it was in the year 1224, on the desolate
+Mount Alvernia, that he received the Stigmata, or Impression on the
+flesh of Our Lord’s Five Sacred Wounds, in memory of which the Church
+instituted a special festival. St. Francis was canonized in 1228, two
+years after his death.
+
+_St. Francis and the Beggar_, shown here, tells two episodes of the
+story. On the left and in the immediate foreground the young St.
+Francis, having dismounted from his horse, whose head (very finely
+drawn) appears above his shoulder, is in the act of giving his cloak to
+a poor beggar; and the latter, very dramatically expresses his delight,
+surprise, and gratitude. Beyond these figures a winding road, bordered
+with cypress trees, leads to a handsome villa, presumably the home
+of St. Francis, beyond which little hills appear on the horizon. The
+sky, very expansive, is silvery above these hills and grows gradually
+bluer and bluer until it reaches the top of the picture, or dome of
+the sky, where a strange castle is seen with banners of the Holy Cross
+floating from its battlements and turrets. This castle really belongs
+to the second episode represented on the right, which shows St. Francis
+sleeping in a little room. This heavenly castle is the vision he has in
+his dreams. It would appear that the Angel, standing over St. Francis
+and pointing to the mystical castle in the clouds, is inspiring this
+mystical dream. It is interesting to note here that Giotto made at
+Assisi two pictures of _St. Francis and the Beggar_ and _The Dream of
+St. Francis_. Sassetta combined the two episodes into one picture.
+
+“Even without documents,” says Berenson, “we should know that this
+Borgo San Sepulcro polyptych was painted by a contemporary of Masolino,
+Pisanello, Jacopo Bellini, and Antonio Vivarini. And that the master
+was a Sienese we should know not only from his pure, flat color and
+his devotion to line, but in other ways as well. At all events it is
+he, Stefano Sassetta, who has left us the most adequate rendering of
+the Franciscan soul that we possess in the entire range of painting.
+
+“Sassetta was not only one of the few masters in Europe of imaginative
+design, but the most important painter at Siena during the second
+quarter of the Fifteenth Century, the channel through which Sienese
+Trecento traditions passed and became transformed into those of the
+Quattrocento, for nearly all the later painters of Siena were his
+offspring.”
+
+Stefano di Giovanni was born at Siena in 1392. He was a pupil of Paolo
+di Giovanni Fei and was deeply influenced by the earlier Sienese
+painters, Duccio, Simone Martini, and the Lorenzetti brothers. In 1427
+he was asked to furnish a design for the font in the Siena Baptistery
+and he painted the altar-piece of the _Madonna Enthroned with
+Saints_ in the church, since known as the Osservanza, built for St.
+Bernardine on the site of his hermitage. Sassetta’s work for the Borgo
+San Sepulcro did much to popularize Sienese ideas in Umbria. Sassetta
+made many paintings in Siena and at Cortona, where he was influenced by
+Fra Angelico. In 1447 he was commissioned to complete the frescoes on
+the Porta Romana at Siena, begun by Taddeo di Bartolo; and he died in
+1450 from exposure while working on this gate. Fifteen years later the
+frescoes were finished by Sano di Pietro, one of Sassetta’s many pupils
+and followers.
+
+For a long time Sassetta was forgotten; but of late years there has
+been much interest in his works, which are of great pecuniary as well
+as artistic value.
+
+
+               MADONNA AND CHILD WITH SAINTS AND ANGELS.
+
+    _Matteo di Giovanni_
+    (_1430?–1495_).
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+Among the most important pupils of the famous Sassetta was the painter
+and sculptor, Lorenzo Vecchietta, who in turn was the principal master
+of Matteo di Giovanni, the most celebrated Sienese painter of his time.
+Therefore we have direct artistic ancestry for Matteo di Giovanni
+through Vecchietta to Sassetta and to Duccio.
+
+Matteo di Giovanni, also called Matteo da Siena, was the son of a
+tradesman who came from Siena to Borgo San Sepulcro, where Matteo was
+born about 1430. His first master is supposed to have been the Umbrian,
+Piero della Francesca (or Pier dei Franceschi). Removing to Siena,
+Matteo spent the rest of his days there. His life was uneventful,
+for he gave all his time to painting. His domestic life must have
+been somewhat exciting for he was twice married--the second time to a
+countess--and he had a large family. Matteo was particularly famous for
+his Madonnas, tender and wistful, with very decorative accessories.
+
+The lovely _Madonna and Child with Saints and Angels_, represented
+here, shows this decorative quality of Matteo in its highest
+expression. The Sienese love for Oriental fabrics[1] appears in the
+rich attire of the Virgin. Here is no peasant woman in simple robe and
+mantle, but a lady of high degree, wearing a gown of handsome brocade
+with the significant pattern of the pomegranate. A white veil, soft and
+transparent, lightly covers her forehead and her mantle is gracefully
+drawn up over her head to form a hood. The Holy Child rests comfortably
+upon her left arm while her right hand, large and firm, gives Him
+additional support. A light drapery passes around the body of the Holy
+Child--the Sienese were Oriental enough in their discriminating taste
+to avoid uninteresting nudity and they also knew how to manage both
+heavy and light materials--who grasps the Virgin’s tunic with His right
+hand and has placed his left hand over that of His mother. The golden
+_nimbus_ of the Virgin is inscribed “_Ave (Maria) Gratia Plena_.”
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  MADONNA AND CHILD WITH SAINTS AND ANGELS
+
+    --_Matteo di Giovanni_]
+
+St. Catherine of Siena stands on the right, also wearing a handsome
+brocade gown and a white veil. She is holding a missal and a fragment
+of her wheel of torture. On the left we see St. Anthony, in monk’s
+habit, writing in a book. Behind this group two Angels are singing
+loudly and joyfully. The background and all the _nimbi_ crowning
+the heads of the figures are of gold, made the richer by burnished
+ornamentation.
+
+This picture, painted in tempera on a panel 29 × 20 inches, came from
+the Collection of Lord Ashburnham, Ashburnham Place, Battle, Surrey,
+England. Of it Berenson says: “It is not only his (Matteo di Giovanni)
+most typical and his most characteristic, but also his most impressive
+and beautiful work; it has every advantage of ivory flesh, golden
+tone, and gorgeous brocade; and with all these decorative qualities it
+possesses real humility.”
+
+Among Matteo di Giovanni’s other important paintings are: the _Madonna
+Enthroned_ (1470) in the Accademia; the _Madonna della Neve_ (1477) and
+the _Coronation of St. Barbara_ in St. Domenico, Siena; the _Assumption
+of the Virgin_ in the National Gallery, London; and _St. Jerome in his
+Cell_, in the Fogg Art Museum, Cambridge, Massachusetts.
+
+
+                        ADORATION OF THE MAGI.
+
+    _Benvenuto di Giovanni                 _Collection of
+    (1436–1518)._                          Sir Joseph Duveen, Bart._
+
+We have here a charming Sienese version of the ever-popular
+subject--the _Adoration of the Magi_. Everything about this picture
+is radiant, charming, and decorative. The groups in pyramidal form
+with masses at the base, made rich and beautiful by means of the wise
+lighting and graceful arrangement of draperies, balanced with lively
+animals on the right and left, rise higher and higher with more and
+more delicacy of treatment that suggests the technique of old ivory
+carving or the miniature painting of Mediæval manuscripts, until the
+peak is reached in the charming presentation of a lovely walled town
+with spires lifted heavenward.
+
+  [Illustration:
+
+   _Collection of Sir Joseph Duveen, Bart._
+
+  ADORATION OF THE MAGI
+
+    --_Benvenuto di Giovanni_]
+
+The picture is full of movement, life, joy, and expression. The Holy
+Child is appreciative (which is an unusual feature) and the animals,
+too, are taking an enthusiastic part in the ceremony.
+
+The tender and gentle Virgin, seated on a stone bench directly in
+front and wearing a red robe and a blue mantle, has the Holy Child
+comfortably placed on her knee. On her left hand she is holding one
+of the presents. The Holy Child, according to the Sienese fashion, is
+draped and the linen folded around Him is embroidered in gold. His
+expression is animated and very sweet and He is raising His little hand
+in blessing. The eldest of the Magi,[2] Melchior with white hair (what
+there is left of it) and white flowing beard, is kneeling before the
+Holy Child and kissing His right foot, wearing a rich golden mantle
+with a damask pattern in _raised_ gold relief, held by a jewelled
+girdle. The second Magus, on the left, Balthasar, is clothed in a red
+brocade mantle embroidered in gold. He has a dark complexion and is
+removing his crown from his thick black hair and holds in his right
+hand a piece of gold plate. The third King, Caspar, on the right, is
+the most attractive figure in the picture,--a typical young prince
+and dandy of the period dressed in a pale tunic, cut with point in
+front showing a rich brocade undergarment, and plaited and slashed
+and bordered according to the latest Fifteenth Century fashions. The
+sleeves are slashed and ornamented with puffs and a rich girdle holds
+the dagger with hilt of gold. Lilac trunk-hose, red shoes, and a golden
+crown complete the costume. His face is delicate and charming and his
+wavy hair is blonde. He, too, is bringing a piece of gold plate. This
+radiant figure looks as if he might have stepped from the pages of the
+_Romaunt of the Rose_. St. Joseph, behind Balthasar, leans his head
+on his hand as if he were puzzled. Each one of these six important
+figures has a flat golden _nimbus_. Behind St. Joseph, on the left,
+the ox and the ass, by the intelligent gleam in their eyes, allow us
+to believe in the legend that animals are endowed with the power of
+speech on Christmas Eve. Over the roof of their open shed sparkles and
+scintillates the Star of the East and under the Star we note a bush
+laden with fruit,--a real Christmas tree! On the right, the group is
+that of the retinue of the three Kings--people on foot, wide-eyed and
+curious, and knights on horseback. A beautiful white horse arches his
+head majestically and surveys the scene; behind him are a very superior
+horse and a very superior camel, who gaze downward somewhat haughtily,
+while a third horse looks backward at these companions to see what they
+are thinking of it all!
+
+As in many ancient paintings, the scene is enacted for us in two
+episodes. If we look ardently we see the three Magi on their approach
+to the shrine. We can identify Balthasar on the left; Caspar in the
+centre; and Melchior on the left of Caspar, followed by their retinue
+defiling through the gateway of the machicolated wall, behind which the
+town, with its towers and turrets, domes and roofs, stands out clearly
+and poetically from its golden horizon.
+
+This painting, tempera on panel (70 × 53 inches), came from the
+Collection of Sir William Neville Abdy, Bart., Dorking, Surrey, and was
+exhibited in Paris at the Salle des Etats, Musée du Louvre, in 1885.
+
+Benvenuto di Giovanni di Meo del Guata, also known as Benvenuto da
+Siena, was, like Matteo di Giovanni, a pupil of Vecchietta. He was
+born in Siena, September 13, 1436, the son of a mason. In 1453 he was
+painting in the Baptistery in Siena. He painted in Siena all his life
+and aided in designing the inlaid marble pavement in the Cathedral and
+he also decorated the cupola. Benvenuto di Giovanni cared little about
+the scientific experiments the contemporary Florentine painters were
+essaying, content to paint in the decorative and charming traditional
+Sienese manner, of flat and ornamental designs beautifully enriched
+with gold. It is very interesting to compare this painting with the
+pageants of Benozzo Gozzoli and Gentile da Fabriano. It holds its own,
+thereby, for its high decorative quality and peculiar charm.
+
+
+                             _FLORENTINE_
+
+It is not strange when Sienese Painting was at its height that its
+influence should have been felt in Florence, which is only about
+forty miles distant. The fame of Cimabue (1240?–1301), the founder
+of the Florentine School, indeed, rests chiefly on the _Madonna_
+in the Rucellai Chapel of S. Maria Novella, which modern criticism
+attributes to Duccio of Siena. Vasari was responsible for accrediting
+the _Rucellai Madonna_ to Cimabue; and Vasari’s story that when
+finished “it was carried in solemn procession with the sound of
+trumpets and other festal demonstrations from Cimabue’s house to the
+church, Cimabue being highly rewarded and honored for it,” reads like
+an echo of the triumphal procession of Duccio’s great altar-piece--the
+_Majestas_--from the house of that painter to the Cathedral of Siena.
+
+Cimabue, whose name was Cenni dei Pepe, transitional from Byzantine to
+Gothic, is particularly famed for being the discoverer and teacher of
+Giotto.
+
+Giotto di Bordone (1276–1336), sculptor and architect as well as
+painter, is the dominating personality in Trecento Art, and the first
+Gothic painter of Florence. Giotto’s influence lasted for a hundred
+years or more (see page 25).
+
+One of Giotto’s associates and followers was Bernardo Daddi, son of
+Daddo di Simone, a Florentine. The date of his birth is supposed to
+have been 1280. He died in 1348. About 1317 he was admitted to the
+Arte de Medici e Speziale, the Guild of Doctors and Apothecaries, from
+whom the painters obtained their pigments. According to the laws of
+the period no painter could pursue his art unless he took his degree
+in that confraternity. The early painters became independent of the
+Guild of Doctors and Apothecaries after the Guild of St. Luke[3] was
+formed--the special brotherhood of all painters, which spread to every
+country and to every town--and there is a tradition that Daddi was one
+of the founders of this Compagnia di San Luca, which would show that
+this Florentine Guild of St. Luke was organized as early as 1348.
+
+Daddi painted the fresco over the San Giorgio Gate of Florence about
+1330 and he also painted the frescoes of the Martyrdom of St. Stephen
+and St. Lawrence in Santa Croce. Daddi comes very close to Giotto
+(1276–1336), in dates and in style, although he shows great sympathy
+with the Sienese painters.
+
+Giotto’s followers--the Giotteschi--worked from about 1330 to 1430
+and include: Taddeo Gaddi, Andrea di Cione (better known as Orcagna),
+Giovanni da Milano, Agnolo Gaddi, Cennino Cennini, Andrea di Firenze,
+Antonio Veneziano, Spinello Aretino, and Lorenzo Monaco.
+
+These painters prepared the way for greater changes by studying
+perspective and the human form and by gradually introducing Classic
+Architecture into their pictures in place of Gothic decoration.
+
+In studying Fifteenth Century Art in Florence we are struck by the
+great number of goldsmiths and other workers in metal who became
+painters. There is a reason for this. The most important work in
+Florence for twenty-two years was the making of the four bronze doors
+for the Baptistery, the competition for which was won by Ghiberti in
+1401. The undertaking was so vast that Ghiberti engaged, at one time or
+another, nearly all the most talented artists and artisans of Florence.
+Many painters and sculptors who acquired fame afterwards, such as
+Masaccio and Donatello for instance, received their early training
+under Ghiberti.
+
+Of the last-mentioned painter Leonardo da Vinci wrote:
+
+“After the days of Giotto, painting declined again, because everyone
+imitated the pictures that were already in existence; and this went on
+until Tommaso of Florence, nicknamed Masaccio, showed, by his perfect
+works, how artists who would take any teacher but Nature--the mistress
+of all masters--labor in vain.”
+
+Tommaso Masaccio (1401–1429?) and Tommaso Masolino (1383–1447) worked
+together in the Brancacci Chapel. Masaccio was the son of a notary in
+the parish of Castel S. Giovanni in Val d’Arno, learned to draw and
+paint, joined the Guild of St. Luke in 1424, and became Masolino’s
+assistant for painting the frescoes in the new Chapel built by Felice
+Brancacci in the Carmine. When Masolino went to Hungary, Masaccio
+worked there alone.
+
+Masaccio’s frescoes made an epoch in art, although the painter was
+little appreciated in his day. He left his work suddenly and went to
+Rome. Nothing more was ever heard of him. He is thought to have died
+in Rome in 1429. Almost immediately Masaccio’s work began to be valued
+and all the Florentines of the Fifteenth Century flocked to study these
+Brancacci frescoes. Masolino (1383–1447) was appointed in 1423 to paint
+frescoes in the new Brancacci Chapel in the Carmine and two years
+later went to Hungary. Returning home after several years, he painted
+frescoes in various cities (see page 28).
+
+Gerardo, better known as “Starnina” (1354–1408), a pupil of Antonio
+Veneziano, spent nine years in Spain and on his return to Florence,
+achieved great fame by his frescoes in the Carmine. The name was taken
+from that of his father, Jacopo Starna. It is said that “Starnina” was
+the master of Masolino and Fra Angelico.
+
+Fra Angelico (1387–1455), brings us to another transitional
+period,--this time from the Gothic to the Renaissance. Fra Angelico, or
+Fra Giovanni da Fiesole, the angelic and mystical painter and the most
+beloved of all the early artists, spent his life painting frescoes and
+altar-pieces for churches and cloisters. He was frequently called by
+the Pope to Rome, where he died (see page 32).
+
+To this period belong Andrea del Castagno (1390?–1457), a vigorous and
+austere painter, and Paolo Uccello (1397–1475), named Paolo di Dono,
+but called Uccello because he kept in his house and painted so many
+birds. Uccello began life as a goldsmith and assistant to Ghiberti.
+
+No survey of painting in Florence in the Fifteenth Century, however
+slight, would be complete without reference to the Medici. Art, like
+all other branches of learning, owed its splendid development to
+their intelligent sympathy and generous patronage. The Medici began
+this patronage early. Giovanni de Bicci (1360–1428), the founder of
+the family, was one of the judges who selected Ghiberti to make the
+Baptistery doors and Cosimo, “the Father of his Country” (1389–1464),
+was so liberal a patron of Fra Angelico, Fra Filippo Lippi, Benozzo
+Gozzoli, Paolo Uccello, Domenico Veneziano, and many others, that we
+may safely say the great flowering of Florentine Art is almost entirely
+due to his taste and encouragement.
+
+The Florentine artists, too, were greatly stirred by the meeting of the
+Council of the Eastern and Western Churches, which was one of the most
+important gatherings ever held anywhere in the history of the world.
+This Council was invited by Cosimo to Florence and all the dignitaries
+and their suites were his personal guests, entertained by him in his
+various palaces and villas. Picturesque and bizarre these dignitaries
+were; and the painters had full opportunity to see them when they sat
+in the Duomo under Brunelleschi’s newly completed dome (then the Eighth
+Wonder of the World), or when they moved about the streets with their
+suites.
+
+In his delightful book, _The Medici_, Col. G. F. Young has called
+particular attention to the importance of this great Council; how
+it led Cosimo to found the Platonic Academy; and how the Fall of
+Constantinople, fourteen years later, changed the world so utterly that
+no such meeting could ever take place again. In part he says:
+
+“This great gathering of 1439 in Florence had its effect also on
+Art. We are often inclined to wonder where such painters as Fra
+Angelico, Benozzo Gozzoli, and Gentile da Fabriano got the idea of
+the gorgeous robes and strange-looking head-dresses which we see in
+their pictures of Eastern subjects. It was all taken direct from the
+life of Florence of this year. During that summer the inhabitants of
+Florence saw a perpetual succession of grand processions and imposing
+functions in which these visitors from the East appeared in every kind
+of magnificent and strange costume. Vespasiano da Bisticci and other
+writers of the time dilate upon their rich silken robes, heavy with
+gold, and their fantastic-looking head-dresses, regarded with deep
+interest by the learned on account of their ancient character. And the
+painters reproduce these before us in pictorial records, which are
+valuable to us on that very account, and because this was the last
+occasion on which these costumes were destined to appear.”
+
+Piero il Gottoso (1416–1469), Cosimo’s son, “carried on” the traditions
+of the Medici, encouraging Art to such an extent that practically every
+great work produced in Florence in his time was made for, or inspired
+by, him. Piero il Gottoso and his cultured wife, Lucrezia Tornabuoni,
+recognizing Botticelli’s genius, took him into their home and made him
+one of the family. All of Botticelli’s early works, therefore, belong
+to the period he spent under the patronage of Piero de’ Medici. Yet, of
+course, Botticelli is recognized as the particular painter of Lorenzo
+the Magnificent (1449–1492), son of Piero, and a friend and boyhood
+companion.
+
+“As had been the case with his father, Piero, the leading artists
+of the day did most of their work for him, and nearly every work
+of eminence in painting or sculpture belonging to Lorenzo’s time
+remaining in Florence, was commissioned by him. Verrocchio did almost
+all his work for him; that sculptor’s graceful tomb in San Lorenzo
+over Lorenzo’s father and uncle, his bronze _David_, and his fountain
+of _The Boy with a Dolphin_ were all executed for Lorenzo. Botticelli
+he made his family painter as well as friend and all the pictures of
+Botticelli’s second period were painted for him. It was Lorenzo who
+caused Ghirlandaio’s frescoes in Sta. Maria Novella and Santa Trinità
+to be painted; and it was he who selected and sent Leonardo da Vinci to
+Milan to become ‘Il Moro’s’ great painter. Among others he also gave
+commissions to Filippino Lippi, Signorelli, Baldovinetti, Benedetto
+da Majano, Andrea del Castagno and the Pollaiuoli. The Medici Palace
+became, Symonds says, ‘a museum at that period unique in Europe,
+considering the number and value of its art-treasures;’ and these he
+made available to all young artists for purposes of study. There being
+at that time no school for sculpture, Lorenzo formed one in his garden
+near San Marco, collected there casts from many antique statues, placed
+the school in charge of Donatello’s pupil, Bertoldo, and invited all
+young sculptors to study there. Among those who did so were Lorenzo di
+Credi, Michelangelo, and many others afterwards famous.”--COL. G. F.
+YOUNG, _The Medici_ (London, 1909).
+
+The roll-call is large and marvellous; and when we think of the
+troubles of the time,--the quarrels, the conspiracies, the dangers
+of murder, and the constant visitations of the Plague, we almost
+comprehend refuge in the cloister rather than such extraordinary
+activity in Art and Learning. Let us look at the greatest names.
+
+Domenico Veneziano (1400–1461), a native of Venice, as his name plainly
+shows, but employed by Piero il Gottoso, classed in his day with Fra
+Angelico and Fra Filippo Lippi, a delightful musician, playing on the
+lute and singing well, and said by Vasari, to have introduced into
+Florence the Flemish method of using oils. Veneziano taught Piero della
+Francesca, the Umbrian painter. Then there is Fra Angelico, already
+mentioned, and there is Fra Filippo Lippi (1406?–1469), a monk, but
+not a saint like Fra Angelico,--wild and adventurous yet a superlative
+painter, whose reputation continues to increase and whose Madonnas,
+usually with the face of Lucrezia Buti, are justly admired (see page
+42).
+
+Francesco Pesellino (1422–1457), whose real name was Francesco di
+Stefano, pupil of his grandfather, Giuliano, and a follower of Fra
+Filippo Lippi, famous for his decorative qualities and his animals,
+rare and valued to-day. Another painter of decorative taste, charming
+and refined, is Alesso Baldovinetti (1425–1499), a follower of Domenico
+Veneziano and teacher of Ghirlandaio (see page 48).
+
+Then come the famous brothers, workers in gold, silver, and bronze,
+painters of heroic frescoes, and celebrated as draughtsmen--Antonio
+Pollaiuolo (1432–1498) and Piero Pollaiuolo (1443–1496), sons, too, of
+a goldsmith, all three busy, at various times, on the Ghiberti doors
+(see page 51).
+
+Then there is Pier Francesco Fiorentino, an Umbrian, born in Borgo
+San Sepolcro about 1430, pupil of Domenico Veneziano, and said to
+have assisted Ghirlandaio at S. Giminiano in 1475. Next comes Andrea
+Verrocchio (1435–1488), goldsmith and sculptor, pupil and assistant
+to Donatello. Andrea di Cione’s nickname of “Verrocchio” (true eye)
+is self-explanatory. Verrocchio was also an accomplished musician.
+He was employed by the Medici all his life; and he trained in his
+workshop, Leonardo da Vinci, Perugino, and Lorenzo di Credi. Verrocchio
+also planned many of the splendid pageants, for which Florence was so
+famous, and designed the artistic helmets worn by young Lorenzo and
+Giuliano at their tournaments. When Lorenzo became head of the Medici
+he continued the family patronage to Verrocchio. Cosimo Rosselli
+(1439–1507), followed Paolo Uccello and Alesso Baldovinetti.
+
+Sandro Botticelli (1444–1510), who belongs to both Piero and Lorenzo
+de’ Medici, was a pupil of Fra Filippo Lippi and was influenced
+by Antonio Pollaiuolo before he blossomed forth in his full
+individuality. For many centuries Botticelli has charmed the world, his
+_prestige_ ever growing greater (see page 55).
+
+Botticelli leads us into another group. Here is Domenico del
+Ghirlandaio (1449–1494), “the garland-maker,” first a goldsmith, then
+a pupil of Alesso Baldovinetti and much influenced by Botticelli
+and Verrocchio. Into his decorative scenes this painter introduced
+portraits of distinguished Florentines (see page 70).
+
+Then we have one of the world’s greatest geniuses, Leonardo da Vinci
+(1452–1519), painter, sculptor, architect, decorator, designer of
+pageants and masques, musician, and engineer, and, moreover, a
+personage of charm and many social gifts. Leonardo was apprenticed to
+Verrocchio and patronized by Lorenzo de’ Medici, who sent him in 1482
+to Ludovico Sforza, Duke of Milan (see page 93).
+
+Filippino Lippi (1457–1504), son of Fra Filippo Lippi and the nun,
+Lucrezia Buti (see page 44), a pupil of Botticelli, achieved a fine
+reputation as a painter and as a man. Lorenzo di Credi (1457–1537),
+fellow-pupil with Perugino and Leonardo da Vinci in Verrocchio’s
+studio, esteemed for his execution and careful finish, was an especial
+favorite with Verrocchio.
+
+Piero di Cosimo, or Piero di Lorenzo (1462–1521?), called Cosimo after
+his master, Cosimo Rosselli, assisted the latter in decorating the
+Sistine Chapel in 1480. Piero di Cosimo is famed for his mythological
+pictures and for a portrait of Simonetta Vespucci (see page 59), now in
+the Chantilly Museum.
+
+Fra Bartolommeo (1472–1517), whose name was Baccio della Porta, an
+apprentice of Cosimo Rosselli, became an ardent follower of Savonarola.
+It was, therefore, a natural step for him to become a Dominican monk
+in 1500; but he continued to paint and had for a partner Mariotto
+Albertinelli (1474–1515), a pupil of Cosimo Rosselli and Piero di
+Cosimo.
+
+Michelangelo (1475–1564), painter, sculptor, architect, poet, and
+military engineer, was born at Castel Caprese, where his father,
+Ludovico Buonarroti, was governor of the Castle. Apprenticed to
+Ghirlandaio, he also worked in the Medici Gardens and became a favorite
+with Lorenzo. After Lorenzo’s death in 1492, he worked for his son,
+Piero. Michelangelo’s commanding work, however, was done in Rome, where
+he went in 1508 to paint the ceiling of the Sistine Chapel. In 1547
+Michelangelo succeeded Antonio di San Gallo as architect of St. Peter’s.
+
+Raphael Santi (1484–1520) has to be included among the Florentine
+painters for he worked in Florence during 1504–1508, when he fell under
+the influence of Leonardo da Vinci and Fra Bartolommeo and painted
+several important pictures, including the _Madonna del Gran Duca_ (now
+in the Pitti) and the _Madonna del Cardellino_ (now in the Uffizi).
+(See page 86.)
+
+Leonardo da Vinci, Fra Bartolommeo, and Michelangelo influenced Andrea
+del Sarto (1486–1531), pupil of Piero di Cosimo. His real name was
+Andrea d’Agnolo and because of his facile technique was called “_Andrea
+senza errori_”. Francis I had Andrea come to Fontainebleau in 1518; but
+he soon went home to Florence and died of the Plague.
+
+Franciabigio (1482–1525), son of Christoforo Bigio, partner of Andrea
+del Sarto and pupil of Albertinelli and Piero di Cosimo, noted for his
+religious pictures and portraits, and Bronzino (1502–1572), poet and
+painter (whose name was Angelo Allori), pupil of Jacopo da Pontormo,
+and famous for his portraits of the Medici family, bring us to the last
+quarter of the Sixteenth Century.
+
+The great days of painting were over; and they had been great days!
+
+
+                          MADONNA AND CHILD.
+
+    _Giotto di Bordone_
+    (_1276–1336_).
+
+    _Collection of
+    Mr. Henry Goldman._
+
+Framed by a slightly pointed arch, not sufficiently removed from
+the old Romanesque curves to be full Gothic, and projected upon a
+background of gold, appears this graceful Madonna, so unusual in type
+and of such amazing beauty. Her face, with its almond-shaped eyes
+(not set obliquely however) and its sweet flower-like mouth, has a
+Chinese quality that bestows a great charm. On the face there is
+also an Oriental radiation of gentleness, resignation, and spiritual
+experience. While looking at us this lovely Madonna--who might answer
+as well for the Chinese goddess Kuan Yin--seems to be trying to draw
+us into a contemplation of the Infinite. The dress, too, is unusual.
+All that we see is a blue mantle lined with silk, shaded in green,
+white, and pink, decorated by a gold border with an Arabic inscription.
+This mantle is carried over the head to form a hood and one end is
+very gracefully thrown across the left arm. On the right shoulder a
+conventionalized flower is embroidered in gold, reminding us of the
+star that the Sienese Madonnas usually carry. A white drapery, also
+having an Arabic border, is folded around the Holy Child, who grasps
+His mother’s forefinger with His left hand, while with His right He
+tries to take from her a white rose[4] that she is holding upward. Each
+head is encircled by a _nimbus_: that of the Virgin is very large
+and very decorative with an interlaced pattern of Oriental design; and
+that of the Holy Child has a foliage design reminiscent of Byzantine
+ornament. On both sides of the Virgin’s face a pink veil is visible.
+
+This picture, painted on a panel (34 × 25 inches), came from the
+Collection of M. Eugène Max of Paris.
+
+Many legends have gathered around the name of the great Florentine,
+doubly famed as painter of marvellous frescoes and as the architect of
+the Campanile in Florence that is still called by his name. The story
+of how Giotto, the little shepherd boy tending his father’s flocks on
+the Apennines, was discovered drawing a sheep on a rock by Cimabue and
+taken by him to Florence and trained, ultimately becoming the greatest
+painter of his time and founder of a School, was told by Ghiberti and
+Leonardo da Vinci many years before Vasari’s day.
+
+Giotto di Bordone is supposed to have been born at Colle di Vespignano,
+about twenty miles from Florence, in 1266 and he died in Florence in
+1337. He was a pupil of Cimabue but surpassed him. About 1300 he was in
+Rome making the mosaics in the portico of St. Peter’s, a polyptych, and
+some frescoes in the choir. In 1303–1306 Giotto painted the frescoes
+in the Arena Chapel in Padua; at Assisi he painted the scenes from the
+_Life of St. Francis_ in the Upper Church and also some of the
+frescoes in the Magdalen Chapel in the Lower Church. After 1316 he
+decorated the Bardi and the Peruzzi Chapels in S. Croce in Florence.
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  MADONNA AND CHILD
+
+    --_Giotto di Bordone_]
+
+“From the first,” says Mrs. Cartwright, “Giotto adopted a clear,
+pale tone of coloring, which forms a marked contrast to the dark
+and heavy tints in use among Byzantine artists, and produces the
+effects of water-color, while that of the older painters more nearly
+resembles oils. The technique which he used, both for tempera and
+fresco-painting, and which remained in use among Florentine artists for
+the next hundred and fifty years, was in reality founded on the old
+Greek method which had been practiced during many centuries, although
+the improvements which he introduced were sufficient to justify the
+Giottesque artist, Cennino Cennini, in saying that Giotto changed
+painting from the Greek to the Latin manner and brought in modern
+art. Yet more striking were the innovations which he introduced in his
+types, the almond-shaped eyes, long noses, and oval countenances with
+square, heavy jaws which he substituted for the staring eyes and round
+faces of Byzantine artists. The few and simple lines of his draperies
+give a majestic effect to his figures and at the same time sufficiently
+indicate the structure of the human form beneath; so that in spite of
+his ignorance of anatomy and modelling, the result is remarkably good.”
+
+Giotto was working in Naples for King Robert in 1333 when he was sent
+for by the Signoria of Florence and appointed Chief Architect of the
+State and Master of the Cathedral Works, succeeding Arnolfo del Cambio,
+who had died in 1310. All work had stopped since that date; but now
+the authorities had decided to erect a bell-tower and they announced:
+“For this purpose we have chosen Giotto di Bordone, painter, the great
+and dear master, since neither in the city, nor in the whole world,
+is there any other to be found as well fitted for this and similar
+tasks.” The whole achievement of Giotto’s life was summed up more than
+a hundred years later when Lorenzo the Magnificent commanded Angelo
+Poliziano to write a Latin inscription for a bust of Giotto he was
+placing on Giotto’s tomb in the Duomo:
+
+“Lo, I am he by whom dead Painting was restored to life, to whose right
+hand all was possible, by whom Art became one with Nature. No one ever
+painted more or better. Do you wonder at yon fair Tower which holds the
+sacred bells? Know it was I who bade her first rise towards the stars.
+For I am Giotto--what need is there to tell of my work? Long as verse
+lives, my name shall endure!”
+
+
+                           THE ANNUNCIATION.
+
+    _Masolino_
+    (_1383–1447_).
+
+    _Collection of
+    Mr. Henry Goldman_
+
+We have here a very interesting and important example of interior
+decoration. The Renaissance has arrived as well as the Announcing
+Gabriel! The round arch of grey stone (the spandrels of which contain
+rosettes) frames a sumptuous room divided by a slender Corinthian
+column. The walls and the _cassette_ ceiling are inlaid with mosaic
+of different colors and the archway leading into another room--the
+Virgin’s bedroom--has a blue sky sprinkled with gold stars. In
+the centre of the background richly decorated doors lead into the
+adjoining room. The general hues of the wall and ceiling are grey,
+green, and red. The Virgin is seated on the right upon a tall and
+not very comfortable Italian settee. She has on a light blue mantle
+which falls around her in graceful folds. Her parted light hair is
+surrounded by a golden _nimbus_ of decorative design. She holds an
+open prayer-book with one hand and with the other makes a gesture of
+submission and humility as she listens to the message of the Angel.
+Whether she _sees_ Gabriel or not, she evidently _hears_ what he has to
+tell her. The Angel, too, expresses reverence with hands crossed upon
+his breast. He wears a rich claret-colored, velvet brocade embossed
+with gold flowers and above his fair hair, which is tightly curled,
+shines a golden _nimbus_ decorated with flower-like rosettes. His wings
+seem not to have quite quieted down from the flight from Heaven to
+earth.[5] Of this picture (painted on a panel 58¼ × 45¼ inches), which
+came from the Collection of Lord Wemyss at Gosford House, Longniddry,
+Haddingtonshire, Scotland, Berenson says:
+
+“The decorative effect is so strong and so enchanting that like the
+rest of Masolino’s art it scarcely finds precedence in Florence or even
+in Italy. The suavity, the grace, the splendor, although paralleled
+in Gentile da Fabriano and in Sassetta, would seem inspired rather by
+the ecstatic mood of Parisian painting toward 1400 with its figures of
+angelic candor and skies of heavenly radiance than by Tuscan models.”
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  THE ANNUNCIATION
+
+    --_Masolino_]
+
+Masolino, the son of a house painter, was born in Panicale in 1383.
+His real name was Tommaso di Cristoforo di Fino, and he was familiarly
+called Masolino da Panicale. According to Vasari he was a pupil
+of “Starnina” and worked under Ghiberti. He was admitted into the
+Florentine Guild of Painters in 1423. In that year he was commissioned
+to paint the frescoes in the new chapel of the Carmine, built by Felice
+Brancacci, and he took for his assistant, Masaccio, who went on with
+the work when Masolino was sent to Hungary in 1425 to decorate a church
+at Stuhlweissenburg.
+
+When Masolino returned to Florence--after several years--he found
+that great changes had taken place in art, for the painters had been
+busy with the new problems of perspective and light and shade and
+the substitution of Classic for Gothic architecture and decoration.
+Masolino availed himself of the new ideas, but could not quite forget
+his Giottesque traditions. He painted frescoes in Rome, Naples, and
+Lombardy.
+
+“Masolino,” Vasari wrote, “was a man of rare intelligence and his
+paintings are executed with great love and diligence. I have often
+examined his works and find his style to be essentially different
+from the styles of those before him. He gave majesty to his figures
+and introduced finely designed folds in his draperies. He began to
+understand light and shade and to give his forms relief and succeeded
+in some very difficult foreshortenings. He also gave greater sweetness
+of expression to his women heads and gayer costumes to his young men,
+and his perspective is tolerably correct. But, above all, he excelled
+in fresco-painting. This he did so well, and with such delicately
+blending colors, that his flesh tones have the utmost softness
+imaginable; and if he could have drawn more perfectly, he would deserve
+to be numbered among the best artists.”
+
+
+                    GABRIEL, THE ANNOUNCING ANGEL.
+
+    _Fra Angelico_
+    (_1387–1455_).
+
+    _Collection of
+    Mr. Edsel B. Ford._
+
+This panel and the one succeeding it, _The Virgin Receiving the
+Divine Message_, originally formed a diptych. In treatment
+and expression they resemble the figures in Fra Angelico’s
+_Annunciation_ in the Oratorio del Gesù at Cortona.
+
+  [Illustration:
+
+   _Collection of Mr. Edsel B. Ford_
+
+  GABRIEL, THE ANNOUNCING ANGEL
+
+    --_Fra Angelico_]
+
+The Archangel, according to Dante’s expression, has brought the
+long-desired tidings and he stands on a background of gold with wings
+still extended like those of a dove, just alighted from the heavens,
+looking into Mary’s face very earnestly, and pointing upward to
+emphasize to her that he comes from the spheres above. This Gabriel is
+one of the most beautiful of Fra Angelico’s most beautiful angels, his
+wings being of an extraordinary elegance of _contour_ and a peculiar
+loveliness of color--rose, violet, green, and yellow, scintillating in
+iridescent play. His crimson robe, shading into high lights and fainter
+tones, is richly, although very simply, decorated with bands of gold
+embroidery in the Byzantine style. The hair is blonde and beautifully
+curled and the head stands out in fine relief from the golden glory.
+Notice the beauty of the ear and the distinguished line of the neck,
+the calm, deep, unattached gaze of the eye, the refined and sensitive
+nose, the pure and lovely mouth, and the graceful, strong, and _very
+psychic hands_. This figure perfectly fits Ruskin’s tribute to Fra
+Angelico in _Modern Painters_:
+
+“The art of Fra Angelico, both in drawing and color, is perfect,
+and his work may be recognized at any distance by its rainbow play
+and brilliancy, like a piece of opal among common marbles. In order
+to effect clearer distinction between heavenly beings and those of
+this world, he represents the former as clothed in draperies of the
+purest color, crowned with glories of burnished gold and _entirely_
+shadowless; the flames on their foreheads waving brighter as they move;
+the sparkles streaming from their purple wings like the glitter of the
+sun upon the sea; while they listen in the pauses of alternate song for
+the prolonging of the trumpet blast and the answering of psalm and harp
+and cymbal, throughout the endless deep and from all the star-shores of
+Heaven. This mode of treatment, combined as it is with exquisite choice
+of gesture and disposition of drapery, _gives perhaps the best idea of
+spiritual beings which the human mind is capable of forming_.”
+
+
+               THE VIRGIN RECEIVING THE DIVINE MESSAGE.
+
+    _Fra Angelico_
+    (_1387–1455_).
+
+    _Collection of
+    Mr. Edsel B. Ford._
+
+In an attitude of divine submission, devout humility, and serene grace,
+the Virgin Mary is listening to the words of the Angel Gabriel. Her
+brow is almost as clear and pure as that of Gabriel himself and her
+features are beautiful, especially those heavy-lidded eyes. Her blonde
+hair is exquisitely arranged, confined by a band of black velvet and
+encircled by a _nimbus_, of which she is apparently unconscious.
+Mary wears a crimson robe with bands of gold around the neck and
+sleeves, over which is a blue mantle lined with yellow. Her hands are
+capable, exquisite, and very high bred; and in the left one she holds,
+with rare grace, a red book.
+
+  [Illustration:
+
+   _Collection of Mr. Edsel B. Ford_
+
+  THE VIRGIN RECEIVING THE DIVINE MESSAGE
+
+    --_Fra Angelico_]
+
+Like the companion panel, _Gabriel, the Announcing Angel_, the
+background is gold. The dimensions of each are 14½ × 10 inches.
+Both pictures were long in the Collection of the Duke of Hamilton at
+Hamilton Palace; and afterwards were in the Collection of Mr. John
+Edward Taylor and in that of Mr. Carl W. Hamilton. In an unpublished
+letter regarding these works Mr. Berenson writes:
+
+“They are among the sweetest, purest, and most candid of Fra Angelico’s
+paintings. I could not easily point to others which better justify the
+surname of ‘The Angelic’ given to this artist, who was so great that
+he was child-like. These panels date from about 1425, that is to say
+from the best year of Fra Angelico’s maturity. They show his best self,
+emancipated from the cramping traditions he was heir to, but not yet
+showing sign of spiritual fatigue leading finally to his painting a
+little by rote. In coloring they are exquisite; and for pictures five
+centuries old, they are almost miraculously well preserved.”
+
+Vasari’s words show how deeply Fra Angelico was appreciated by men who
+lived closer to his time than we:
+
+“This truly angelic father spent his whole life in the service of
+God and his fellow-creatures. He was a man of simple habits and most
+saintly in all his ways. He kept himself from all worldliness and was
+so good a friend to the poor that I think his soul must be already
+in Heaven. He worked continually at his art, but would never paint
+anything but sacred subjects. He might have been a wealthy man, but
+he did not care for money and used to say that true riches consist in
+being content with little. He might have enjoyed high dignities both in
+his convent and in the world, but he cared nothing for these things,
+saying that he who would practice painting has need of quiet and should
+be free from worldly cares; and that he who would do the work of Christ
+must live continually with Him. He was never known to be impatient with
+the Brothers,--a thing to me almost incredible! When people asked him
+for a picture he always replied that, with the Prior’s approval, he
+would try and satisfy their wishes. He never corrected or retouched his
+works, but left them as he first painted them, saying that such was the
+will of God. He never took his pencil up without a prayer and could not
+paint a _Crucifixion_ without the tears running down his cheeks. And
+the saints that he painted are more like saints in face and expression
+than those of any other master. And since it seemed that saints and
+angels of beauty so divine could only be painted by the hand of an
+angel, he was always called Fra Angelico.”
+
+Fra Angelico was born in 1387 in a little hamlet called Vicchio, in the
+province of Mugello in Tuscany, about twenty miles from Florence. His
+surname is unknown--if indeed he had one--for his father, who lived in
+a cottage belonging to the lord of the Castle of Vicchio, was simply
+known as Pietro of Mugello. Guido was the name his father gave him but
+he changed this to Fra Giovanni, when he became a monk of the Dominican
+Order at Fiesole in 1406. It is supposed that he had been thoroughly
+trained as a painter, because he immediately began to paint frescoes
+for the monks; and it is also supposed that “Starnina” was his master.
+Owing to religious troubles, the Dominican monks were driven from
+Fiesole to Foligno and thence to Cortona, where the earliest extant
+works--movable altar-pieces--of Fra Angelico are preserved. In 1418
+the Dominicans returned to Fiesole, where Fra Angelico, or rather Fra
+Giovanni, lived for the next few years and where he painted many of his
+most famous altar-pieces.
+
+In 1434 Cosimo de’ Medici was recalled from banishment and he
+immediately had the Convent of San Marco rebuilt for the Dominican
+monks of Fiesole. When the new building was ready in 1436 he
+commissioned Fra Angelico to decorate the walls. In a cell which Cosimo
+de’ Medici had reserved for his own personal retreat from worldly
+cares, he had Fra Angelico paint a large _Adoration of the Magi_,
+for he desired to have “this example of Eastern kings laying down their
+crowns at the manger of Bethlehem always before his eyes as a reminder
+for his own guidance as a ruler.”
+
+While Fra Angelico was busy on a series of small panels depicting the
+_Life of Christ_ for a _credenza_ in which the altar-plate was kept
+and which had been ordered by Piero de’ Medici (Cosimo’s son), Pope
+Eugenius IV called him to Rome, to paint a chapel in St. Peter’s.
+Three of the remaining panels of the _credenza_ were painted by Alesso
+Baldovinetti.
+
+After completing the chapel in St. Peter’s, Fra Angelico was invited to
+paint in the Cathedral at Orvieto; and, on finishing the work there,
+he returned to Rome to spend three years decorating the Pope’s Oratory
+in the Vatican. In 1450 he was back in Florence, and he began the new
+year of 1451 as Prior of his old monastery at Fiesole. Again he went
+to Rome and died there in the House of his Order at Santa Maria sopra
+Minerva on March 18, 1455. He was buried in the monastery church by the
+high altar and not far from the tomb of St. Catherine of Siena. Pope
+Nicholas V wrote for him a Latin epitaph, the last line of which reads:
+“That city which is the flower of Etruria bore me, Giovanni.”
+
+The paintings of Fra Angelico are noted for their fine composition,
+beautiful coloring, and variety and expression in the heads and faces
+of his persons and Angels. Fra Angelico’s Angels are particularly
+beautiful; and it is reasonable to infer that it is because of these
+Angels so many of his works have been preserved. No other painter of
+the Fifteenth Century has been treated with so much reverence as Fra
+Angelico. The consequence is that there are somewhere between two and
+three hundred of his compositions in existence. The greater number are
+still in Florence. Every large gallery, however, possesses one or more.
+Among the most famous ones that all the world knows and loves are _The
+Virgin and Child surrounded by Twelve Angels_, ten of whom are playing
+musical instruments (now in the Uffizi); _Christ with the Banner of
+Resurrection_ (in the National Gallery, London); and _The Coronation
+of the Virgin_ (in the Louvre), of which Gautier said the figures
+represented “visible souls rather than bodies--thoughts of human form
+enveloped in chaste draperies of white, rose, and blue, sown with stars
+and embroidered, clothed as might be the happy spirits who rejoice in
+the eternal light of Paradise.” Fra Angelico’s greatest frescoes are in
+the Convent of San Marco at Florence and in the Vatican at Rome.
+
+Fra Angelico is classed variously as a “Primitive,” a “Gothic,” an
+“International,” and an “Early Renaissance” painter. The fact is
+he stands between the old and the new. His position in Art is very
+definitively described by Berenson:
+
+“Yet simple though he was as a person, simple and one-sided as was his
+message, as a product he was singularly complex. He was the typical
+painter of the transition from Mediæval to Renaissance. The sources of
+his feeling are in the Middle Ages, but he _enjoys_ his feelings
+in a way which is almost modern; and almost modern also are his means
+of expression. Moreover, he was not only the first Italian to paint
+a landscape that can be identified (a view of Lake Trasimene from
+Cortona) but the first to communicate a sense of the pleasantness of
+Nature.”
+
+As a tribute to his spiritual qualities let us listen to Mrs.
+Cartwright’s eulogy:
+
+“All the mystic thought of the Mediæval world, the passionate love of
+God and man that beat in the heart of St. Francis, the yearnings of
+Dante’s soul after a higher and more perfect order, the poetic dreams
+of the monks who sang of the Celestial Country are embodied in the art
+of Angelico. The depth and sincerity of his own religious feeling lent
+wings to his imagination and the exquisite purity of his soul breathes
+in every line of his painting: it is his own sweet and gentle fancy
+that brings down these enchanted visions of Paradise.”
+
+
+                     ST. COSIMAS AND ST. DAMIANUS.
+
+    _Fra Angelico
+    (1387–1455)._
+
+    _Collection of
+    Mr. Albert Keller._
+
+About the year 1436 Cosimo commissioned Fra Angelico to paint the
+altar-piece for the Church of San Marco in Florence (see page 37).
+Underneath the group of the _Virgin and Child_ Fra Angelico painted for
+the predella nine beautiful panels representing the legendary history
+of _Cosimas and Damianus_, the patron saints of the Medici family.
+The panel, shown here, tempera on wood (14¼ × 18 inches), which comes
+from the collection of Mr. F. Böhler of Munich, is one of these nine
+pictures. The companion pictures of this S. Marco altar-piece are now
+in Dublin, Florence, Munich, and Paris.
+
+This composition, divided into two episodes in one building, represents
+the traditional benevolence of the two Saints, Cosimas and Damianus.
+In the scene at the left, enacted within a room, which we view through
+a large, rounded, door-like opening, St. Cosimas and St. Damianus,
+with golden _nimbi_, are administering to a sick man sitting up in a
+bed which is elevated on a daïs. The two Saints, in the blue robe, red
+mantle, and red and white _biretta_ of the physicians, are standing
+on either side of the bed, offering nutriment to the invalid and
+giving their benediction. Kneeling behind the bed-head are a man and
+a woman, the latter wearing a red mantle and white hood, the former a
+turban-like cap. Over the bed stretches a deep, square, brown canopy
+with an olive-green curtain all around it. On the daïs rests a tray
+with an ewer, and beside it on the floor, we see a round stool with
+three legs, and a foot-stool.
+
+The scene on the right, takes place in a cobbled court-yard of a white
+house, and here we see one of the Saints, in his physician’s gown,
+colored as in the first scene, who has just handed to an aged woman
+a loaf of bread, receiving no payment but raising his right hand in
+benediction. The woman, dressed in a mauve gown and white veil, is
+cleverly and gracefully posed within a small doorway, and behind her is
+a room with an open door still farther back, through which flowering
+shrubs are seen; and in this inner room a ray of light glints on the
+floor. High on the top of the wall a large terra-cotta flower-vase is
+silhouetted against a blue sky, and at the left of this there is a
+narrow slit window.
+
+  [Illustration:
+
+   _Collection of Mr. Albert Keller_
+
+  ST. COSIMAS AND ST. DAMIANUS
+
+    --_Fra Angelico_]
+
+“Cosimas and Damianus were two brothers, Arabians by birth, but they
+dwelt in Ægæ, a city of Cilicia. Their father having died while they
+were yet children, their pious mother, Theodora, brought them up
+with all diligence, and in the practice of every Christian virtue.
+Their charity was so great, that they not only lived in the greatest
+abstinence, distributing their goods to the infirm and poor, but they
+studied medicine and surgery, so that they might be able to prescribe
+for the sick, and relieve the sufferings of the wounded and infirm;
+and the blessing of God being on all their endeavors, they became
+the most learned and the most perfect physicians that the world had
+ever seen. They ministered to all who applied to them, whether rich
+or poor. Even to suffering animals they did not deny their aid, and
+they constantly refused all payment or recompense, exercising their
+art only for charity and for the love of God; and thus they spent
+their days. At length those wicked Emperors, Diocletian and Maximian,
+came to the throne, in whose time so many saints perished. Among them
+were the physicians, Cosimas and Damianus, who, professing themselves
+Christians, were seized by Lycias, the proconsul of Arabia and cast
+into prison. At first they were thrown into the sea, but an Angel
+saved them; and then they were cast into fire, but the fire refused
+to consume them; and then they were bound on two crosses and stoned,
+but of the stones flung at them, none reached them, but fell on those
+who threw them and many were killed. So the proconsul, believing that
+they were enchanters, commanded that they should be beheaded, which
+was done.” This Oriental legend, which is of great antiquity, was
+transplanted into Western Europe in the first ages of Christianity. The
+Emperor Justinian, having recovered, as he supposed, from a dangerous
+illness, by the intercession of these saints, erected a superb church
+in their honor. Among the Greeks Cosimas and Damianus succeeded to the
+worship and attributes of Æsculapius; and from their disinterested
+refusal of all pay or reward they are distinguished by the honorable
+title of _Anargyres_, which signifies moneyless, or _without
+fees_.
+
+
+                         MADONNA DELLA STELLA.
+
+    _Fra Filippo Lippi
+    (1406?–1469)._
+
+    _Collection of
+    Mr. Carl W. Hamilton._
+
+This picture came directly from the Monastery of the Carmine Brethren
+in Florence to the present owner. It is painted in tempera on a panel
+32⅝ × 25¼ inches. The Madonna, with head half turned towards the right,
+is standing at half length and holding the Holy Child very lovingly
+in her arms. She wears a dark-green, hooded mantle, with wide gold
+border and fastened across the breast with two narrow straps of gold
+embroidery. Under this is seen a bright crimson robe falling in tight,
+formal plaits from the neck. The sleeve of the right arm shows a gold
+embroidered band at the wrist. On the right shoulder of the mantle is
+embroidered a golden star (reminiscent of the Sienese decoration),
+from which the picture takes the name of _Madonna della Stella_.
+The head-dress, which permits a little of the blonde hair to be seen,
+is of a soft, white muslin, which is delicately folded and carried
+around the base of the long, slender neck. Above the head-dress is a
+very large golden _nimbus_ with lines radiating from the centre.
+The Holy Child is firmly supported by both arms of the Virgin and rests
+His left foot on her right arm, while His right leg hangs down behind
+her wrist. The Holy Child is swathed in a drapery of purple hue and
+His head is also encircled by a golden halo. With His left hand He
+grasps the folds of His mother’s head-dress, where it falls upon her
+neck, and with His right He supports His chin in a very mature and
+contemplative way. The background is composed of a loosely hanging gold
+brocade of decorative pattern. The extravagant use of gold produces a
+warm and lustrous gleam and glow and the deep colors stand out from the
+background with great richness and beauty.
+
+  [Illustration:
+
+   _Collection of Mr. Carl W. Hamilton_
+
+  MADONNA DELLA STELLA
+
+    --_Fra Filippo Lippi_]
+
+It is generally accepted that Lucrezia Buti, the young nun whom Fra
+Filippo Lippi stole from the Convent of Santa Margherita, served as the
+model for this Madonna and that the Infant Jesus is none other than
+Fra Filippino Lippi, the future painter. Comparison with the _tondo_
+in the Pitti Palace, representing the _Madonna with Saints_, in which
+Lucrezia Buti is known to appear, shows the same oval face, slender
+neck, expressive eyes, dilated nostrils, full lips, slightly dimpled
+chin, and wistful glance.
+
+Fra Filippo Lippi is one of the strangest personalities in the history
+of art. He became a Carmelite monk from circumstance rather than
+choice; and nobody was ever less fitted to belong to Holy Orders than
+this gay, adventure-loving Florentine. “Lippi was very fond of good
+company,” Vasari notes, “and led a free and joyous life.” Fra Filippo
+Lippi presents a strange contrast to the saintly Fra Angelico, who was
+his contemporary and fellow-worker. Filippo Lippi, son of a butcher,
+was born in or about 1406, in a street behind the Carmine Church in
+Florence; and, being left an orphan, was cared for by an aunt, who took
+him at the age of eight to the Convent of Sta. Maria del Carmine and
+gave him to the Friars to rear. The Friars soon discovered the boy’s
+extraordinary talent for drawing, and, fortunately, encouraged it,
+sending him to study under Lorenzo Monaco.
+
+At this time Masaccio was at work in the Brancacci Chapel of the
+Carmine Church, and young Lippi used to watch him with profound
+interest and delight. In 1421 Filippo Lippi became a Carmelite monk;
+but he was permitted to continue his painting and he executed many
+frescoes for church and cloister. In ten years’ time he left the
+monastery to give his whole life to his art. However, he always signed
+his pictures “_Frater Philippus_.” Though not a copyist, by any means,
+Fra Filippo Lippi shows in his works how much he admired and how
+much he learned from Masaccio, Masolino, Domenico Veneziano, and Fra
+Angelico.
+
+Adventures of many kinds filled his life; for instance, there is a
+story that he was captured by Moorish pirates one day while sailing for
+pleasure, and taken to Barbary as a slave and that because he drew his
+master’s portrait so cleverly, he was given his freedom a year or so
+later. This--if it happened at all--happened in 1431–1434. About the
+last-named date Fra Filippo Lippi was employed by Cosimo de’ Medici,
+who took a great fancy to the lively Friar and was most indulgent to
+his pranks and misdemeanors, excusing everything he did because of his
+genius and his attractive personality. Fra Filippo Lippi decorated many
+churches, palaces, and villas for his patron. Among the first works
+that Lippi painted for the Medici Palace (now the Riccardi) were the
+_Annunciation_ and _St. John the Baptist with Six Other Saints_ (both
+in the National Gallery, London). Lippi’s most important picture in
+Florence is his _Coronation of the Virgin_.
+
+“Lippi’s character, however, only affects his credit as a painter by
+accounting for the kind of success he achieved. He had, as was to be
+expected, no ears for the message which Donatello was at this time
+teaching, and consequently his pictures on religious subjects have an
+exceedingly mundane character. Nevertheless, the sweet seriousness
+of his Madonnas falls in no way short of those of Fra Angelico, and
+the faces of his children are full of a quaint, mischievous character
+which is delightful, while in both drawing and coloring he shows the
+immense advance which had now taken place in Painting. And it is here
+that Lippi’s true claim to fame lies. Masaccio, the only man who up
+to that time had found out the true methods of the art of Painting,
+had died too soon to be able to make known his discovery, except to
+the few who could visit Florence and the Brancacci Chapel. It was
+left for Lippi, the rough boy whom he had taught, to show the world
+Masaccio’s discovery. And Lippi did so. Vasari says: ‘Taught as he had
+been by Masaccio, he was a faithful follower of Masaccio’s style;’ and
+he adds that he followed the latter’s methods so faithfully, that it
+appeared that the spirit of Masaccio had entered Lippi’s body. Thus
+what Masaccio had done for the art of Painting is chiefly to be seen
+by a comparison of Lippi’s pictures with those of Masaccio’s immediate
+predecessors, the Giotteschi. Lippi’s principal picture in Florence is
+his _Coronation of the Virgin_ painted for Cosimo and now in the
+Accademia delle Belle Arti; but his best work is considered to be his
+frescoes in the Cathedral at Prato painted between 1456 and 1465.
+
+“It was not an easy thing to get any work out of Lippi. There is an
+amusing story of how, when he was painting this picture for Cosimo,
+the latter being at last in despair (owing to Lippi’s lazy ways) of
+ever seeing the picture finished, had him locked up in the room in the
+Medici Palace where it was being painted, declaring that he should not
+be let out until the work was done. Whereupon Lippi tied his bedclothes
+into a rope, let himself down from the window into the street and
+disappeared into the slums of Florence, not to be found again for many
+days.”[6]
+
+Lippi’s drunkenness and his unscrupulous behavior brought him many
+times before the magistrates and on one occasion he was flogged for
+embezzlement. However, the Medici family always came to the rescue and
+helped him out.
+
+In 1452 he was made Chaplain of San Niccolò de Fieri, Florence, and in
+1456 Chaplain of Santa Margherita, Prato, and here again it was Cosimo
+de’ Medici, who obtained these posts for him. At Prato he painted some
+of his finest pictures. Requested by the Abbess of Sta. Margherita to
+paint a picture for the Chapel, the gay Friar, who was now over fifty,
+fell in love with a young nun of twenty-one, Lucrezia Buti, who had
+taken the vows two years previously. At the Festival of the Holy Girdle
+in 1456, Fra Filippo Lippi managed to carry off the pretty nun and take
+her to his house in the vicinity. The next year Filippino Lippi was
+born, who appears in the arms of Lucrezia Buti in the _Madonna della
+Stella_ represented here. Two years later Lucrezia Buti re-entered
+the Convent; but she soon tired of it and returned to Fra Filippo
+Lippi. A charge of abduction was then brought against the painter,
+who again appealed to Cosimo de’ Medici; and, through the latter’s
+influence, Pope Pius II absolved monk and nun from their religious vows
+and declared them lawfully married.
+
+“I laughed heartily when I heard of Fra Filippo’s escapade,” Giovanni
+de’ Medici, Cosimo’s younger son, remarked; and that remark shows
+exactly how the Medici felt towards Fra Filippo Lippi. They adored him
+as an artist and they did not take him seriously as a man.
+
+About 1465 Fra Filippo Lippi left Prato and went to Spoleto, taking
+Lucrezia and his two children (there was now a daughter); and there,
+still under the patronage of the Medici, the energetic painter-monk
+produced a splendid series of frescoes depicting one of his favorite
+subjects, the _Coronation of the Virgin_. Fra Filippo was working
+on the Duomo at Spoleto when he died in 1469. Fra Filippo Lippi gains
+additional fame for having been the first master of Botticelli. His
+contemporaries--without dissent--regarded Fra Filippo Lippi as the
+“rarest master of the time.” Fra Filippo Lippi was one of the first to
+use the _tondo_ form.
+
+“His dreams were all of the earth and his thoughts never soared beyond
+the gladness and beauty of the natural world. He paints the merry,
+curly-headed boys whom he met in the streets of Florence as cherubs,
+takes his mistress as a model for his Madonnas, and peoples the court
+of heaven with fair maidens in rich attire and dainty head-gear. A
+thorough-going realist at heart, his naturalism differed wholly from
+that of his contemporaries, Paolo Uccello, or Andrea del Castagno.
+He never troubled his head with scientific problems, or new technical
+methods. The old tempera painting was good enough for him and he
+carried this form of art to the highest perfection, while at the same
+time he profited by all the advance which Masaccio and his followers
+had made, and gave a marked impulse to the new realism by the strong
+human element which he introduced in his works. His genial delight in
+all bright and pleasant things, in the daisies and the springtime,
+in rich ornament and glowing color, in splendid architecture and
+sunny landscapes, in lovely women and round baby faces, fitted him in
+especial manner to be the herald of that fuller and larger life which
+was dawning on the men and women of the Renaissance.”[7]
+
+Fra Filippo Lippi’s son, Filippino Lippi (1457–1504), inherited his
+father’s talent and was trained by Botticelli. It was Lorenzo de’
+Medici, who recommended to the Friars of the Carmine that they should
+employ Fra Filippo Lippi’s son to finish Masaccio’s frescoes in the
+Brancacci Chapel. Filippino did this to everyone’s satisfaction and
+in _The Trial of St. Peter and St. Paul_ he introduced portraits
+of Antonio Pollaiuolo, Botticelli, and himself. Filippino achieved an
+enormous reputation and was beloved for his modesty and gentleness of
+character. As in the case of his father, the next generation of the
+Medici continued their patronage to a Lippi.
+
+
+                          MADONNA AND CHILD.
+
+    _Alesso Baldovinetti
+    (1425–1499)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+In the charming picture represented here, on canvas transferred from
+panel (29 × 21 inches), which was formerly in the possession of Arnoldo
+Corsi in Florence and afterwards in the Collection of Mr. William
+Solomon in New York, the Madonna, seen at three-quarter length, is
+seated in a chair. She is turned slightly to the left and wears a
+red tunic edged with gold and a blue mantle. Over the white veil,
+which covers her temples and hides her ears, is folded a golden-brown
+head-dress that descends to her shoulders. Her head is encircled by a
+gold _nimbus_. She is gazing at the Holy Child in her lap with
+downcast eyes and pensive expression. The Holy Child, who is nude,
+wears a red coral necklace, from which a “charm” hangs. Around His
+head is a very decorative cruciform _nimbus_. In His right hand
+He holds a narrow piece of white drapery and He raises His left hand
+in a benediction in the Greek manner. The landscape in the background
+recedes gently towards a distant range of hills, showing scanty
+vegetation beneath a light-blue sky. Bernhard Berenson has pronounced
+this a very characteristic work of Baldovinetti’s middle years, painted
+before the pictures now in the Uffizi.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  MADONNA AND CHILD
+
+    --_Alesso Baldovinetti_]
+
+Alesso Baldovinetti, born in Florence in 1425, was a pupil of Domenico
+Veneziano and became a member of the Painters Guild in 1448, when he
+was twenty-three. His entry-book, a copy of which is preserved in the
+Archives of S. Maria Nuova, containing his accounts and orders, begins
+with the date 1449. One of his first commissions was to finish some
+panels begun by Fra Angelico for a _credenza_ in the Medici Chapel
+of the Annunziata (see page 37), and some paintings on the doors of
+the vestry of Santa Annunziata (now in the Museum of San Marco),
+which also completed a series begun by Fra Angelico. Thenceforward
+he painted frescoes and altar-pieces, including an altar-piece
+representing the _Annunciation_ for the Chapel of the Medici villa
+at Caffagiuolo (now in the Uffizi) and the fresco representing the
+_Birth of Christ_ in Santa Annunziata (1460–1462). In 1470–1473 he was
+busy on the altar-piece in the San Ambrogio and the _Trinita_ (now in
+the Accademia). Of the frescoes of Santa Trinità, on which he worked
+until 1497, only a small portion remains. Other unquestionable works
+by Baldovinetti are the _Madonna and Saints_ (in the Uffizi) and a few
+pictures in private collections.
+
+Baldovinetti also painted a great number of panels for private
+altars and he frequently turned from religious subjects to decorate
+marriage-chests and other sumptuous furniture. He also worked in
+mosaics, made cartoons for stained glass, and produced designs for
+_intarsia_,--all of which developed his delightful, decorative
+qualities.
+
+Baldovinetti’s entire life seems to have been absorbed in painting. He
+married late. After the death of his wife, he entered the hospital
+of S. Paolo of the Third Order of St. Francis and bequeathed what
+few possessions he had to this house of charity. After his death in
+Florence in 1499, a large chest that belonged to him was opened; but
+the monks, instead of seeing the hoped-for gold, only found a book
+on mosaic-work and some drawings. “No one was really surprised,”
+says Vasari, who tells the story, “for Baldovinetti was so kind and
+courteous that he shared everything he possessed with his friends.
+Alesso was a very diligent artist, who tried to copy minutely every
+detail in Mother Nature. He loved painting landscapes exactly as they
+are, and you see in his pictures rivers, bridges, rocks, plants,
+fruit-trees, roads, fields, towns, castles, and an infinite number of
+similar objects. In his _Nativity_ you can count the separate
+straws and knots in the thatched roof of the hut and you see the stones
+in the ruined house behind, worn away by rain, and the thick root of
+ivy growing up the wall is painted with so much accuracy that the green
+leaves are differently shaded on either side; and among the shepherds
+he introduced a snake crawling in the most natural manner along the
+wall.”
+
+
+                       PORTRAIT OF A YOUNG LADY.
+
+    _Piero Pollaiuolo
+    (1443–1496)._
+
+    _Collection of
+    Mr. Nils B. Hersloff._
+
+In profile to the right, with features clear-cut and strongly outlined
+against a light-green background, appears a young Florentine lady,
+whose dress and bearing proclaim her to be a patrician. She has not
+been as yet identified; but doubtless she was one of those elegant and
+gay Florentines whom we meet with in song and story. We are very safe
+to guess that she was a friend of the Medici and Tornabuoni group and
+played her part in the brilliant life of the period. Her dress, pink
+brocade with a floral pattern, is edged with white around the neck. Her
+hair is fancifully plaited with pale blue ribbons and partly covered
+with a head-dress of thin white gauze, which falls over the right ear
+on to her neck; and her hair is also decorated with a jewel set in
+pearls. According to the fashion of the time, her forehead and the nape
+of her neck are shaven; for the long line of the neck was considered
+of the greatest importance. It was also important to hold the head
+properly; and this young lady has certainly acquired the correct and
+noble carriage of the head.
+
+An unpublished letter of Berenson exclaims enthusiastically: “This
+profile portrait of a _Young Lady_ by Piero Pollaiuolo I believe
+to be one of the most delightful of the series of female profiles
+which, from Paolo Uccello and Domenico Veneziano down to Botticelli and
+Amico di Sandro, glorifies the art of Florence during the Fifteenth
+Century. Few of them have survived to our own time. With the exception
+of one in the Poldi Collection at Milan, this is the most satisfactory
+of them all; for besides representing an extraordinarily attractive
+personality of the highest Florentine society of the time (as, indeed
+is confirmed by the dress and the jewels), it is a work of art of
+exquisite draughtsmanship, subtle modelling, and delicate, pure color.”
+
+The painting in tempera is on a panel, 18 × 13 inches, and came from
+several important Collections,--that of the Conte Isolani Bologna;
+Baron Lazzaroni, Rome; and the late Mr. William Solomon, New York.
+
+Mr. Berenson notes the fine draughtsmanship in this picture. Unusual
+drawing is to be expected from the brothers Pollaiuolo. Benvenuto
+Cellini called Antonio “the best draughtsman of his day in Florence”
+and tells us that all the goldsmiths worked from his designs; and, as
+Antonio trained his youngest brother, Piero, we cannot be surprised
+at the simple, direct, and commanding lines and these telling effects
+produced by such economical methods.
+
+The real name of the talented brothers was Benci. Their father, Jacopo
+d’Antonio Benci, was nicknamed by his friends, Pollaiuolo, because his
+father kept a poulterer shop. Jacopo was a goldsmith and was employed
+by Lorenzo Ghiberti; and it is said that he made a remarkable quail on
+one of the Baptistery Gates.
+
+  [Illustration:
+
+   _Collection of Mr. Nils B. Hersloff_
+
+  PORTRAIT OF A YOUNG LADY
+
+    --_Piero Pollaiuolo_]
+
+Antonio (1432–1498) was apprenticed to Bartoluccio Ghiberti, a
+goldsmith, and soon achieved fame in Florence as a worker in jewelry
+and _niello_. Lorenzo Ghiberti called him to work on the Baptistery
+“Gates of Paradise” and the Bronze Doors. In 1459 he started to work
+independently and became renowned as a painter, sculptor, and master
+goldsmith. His _bottega_ near the Ponte Vecchio was the most popular
+workshop in Florence; and here he remained until he went to Rome in
+1484. Piero Pollaiuolo helped Antonio in his work and was also very
+versatile. Engravings, drawings, _niello_, sculpture, and painting,
+besides a vast amount of gold-work, silver-work, and bronze-work
+prove these men to be as industrious as they were talented. They
+also followed Alesso Baldovinetti in trying out new oil glazes and
+varnishes. In 1460 the Pollaiuoli painted in the Medici Palace, and
+about the same time executed the six life-sized _Virtues_ for the
+Tribunal of the Mercatanzia. In 1471 Piero painted a portrait of
+_Galeazzo Sforza, Duke of Milan_, who was visiting Florence; and this
+portrait, which hung for many years in the Medici Palace, is now in the
+Uffizi. Piero’s fresco of _St. Christopher_, painted at San Miniato
+outside the gates, is considered by most authorities to be the same
+_St. Christopher_ now preserved in the Metropolitan Museum, New York.
+Piero also painted a very fine _Annunciation_ (now in the Berlin
+Gallery), which has a view of Florence and the Val d’Arno through the
+open windows and which is remarkable for its Renaissance architecture;
+for the profusion of pearls and other jewels adorning the Virgin’s
+chair and the robes of the Angels; and for three Cherubs playing the
+lute, viol, and organ.
+
+In 1489 Antonio was called to Rome by Pope Innocent VIII to make the
+bronze tomb of Sixtus IV, and a monument for himself in St. Peter’s. He
+was joined by Piero. The Pollaiuoli never saw Florence again; for, on
+account of the raging Plague, no travellers were allowed to come within
+twenty miles of Florence. Piero died in 1496 and Antonio in 1498; and
+at the request of the latter he was buried in the same tomb with Piero
+in the church of S. Pietro in Vincula.
+
+The Pollaiuoli were closely associated with Botticelli, Leonardo da
+Vinci, Ghiberti, and Verrocchio.
+
+
+                         GIULIANO DE’ MEDICI.
+
+    _Sandro Botticelli
+    (1444–1510)._
+
+    _Collection of
+    Mr. and Mrs. Otto H. Kahn._
+
+This proud, intellectual, refined, and cold face is painted almost in
+profile; but, notwithstanding that we see only a part of the face,
+we seem to see it all. Never did painter achieve a more complete
+presentation of personality and of character. Moreover, Botticelli has
+painted the whole of Florentine Society in this portrait. And with
+what amazingly simple means! There is practically no costume,--a black
+doublet, giving a glimpse of a red tunic below, and a severe white
+linen band doing duty for a collar. Even the background is neutral!
+
+The simplicity of presentation and the economy of line are almost
+Japanese in their severity. The skillful handling is almost Oriental,
+too. Nothing seems to have been done here for _effect_,--yet what
+_effect_ is here! There is almost no color; and the hair, too, which
+falls to the neck, is black. If we did not know that Giuliano de’
+Medici was a dashing young Florentine of high mettle and full of the
+zest of life, we might easily mistake him for a priest.
+
+The picture, painted on wood (21 × 13½ inches), gives us the impression
+of a life-size portrait. It was formerly in the Collection of Conte
+Procolo Isolani, in Bologna.
+
+Giuliano de’ Medici was one of the most romantic characters in
+history; and the tragedy that cut the thread of his life at the age
+of twenty-five adds no little to the romantic appeal he makes to us
+to-day. Yet even at this age, he had so perfected himself in all the
+accomplishments that belonged to a gentleman of the Fifteenth Century
+that he stands as the very type of the elegant young man of his period.
+Giuliano was, like his brother, Lorenzo, proficient in the arts, a
+lover of pictures, music, and poetry; he wrote charming love-songs
+and other lyrical verse; he was intellectual and witty and talked
+extremely well; and he was a brilliant jouster and a well-trained
+all-round athlete and devoted to the chase. For all these things the
+Florentines _admired_ him; but they _loved_ him for his character, his
+high-mindedness, and his courtesy. He adored his brother; and Lorenzo,
+who was far from handsome, had no jealousy for the admiration that his
+younger brother inspired. The terrible murder of this public idol at
+High Mass in the Cathedral first shocked and then grieved the entire
+community. The grief manifested at the great public funeral in the
+church of the Medici family, San Lorenzo, was violent and sincere, for
+Giuliano de’ Medici was the beloved of both high and low.
+
+In his book, _The Medici_, Col. Young writes:
+
+“Giuliano de’ Medici, the youngest of the five children of Piero il
+Gottoso and Lucrezia Tornabuoni, was, unlike his brother Lorenzo,
+exceedingly good-looking; he was gifted with considerable abilities,
+and for his many endearing qualities was greatly beloved, not only in
+his own family but also by the people of Florence. Before his early
+death he had already shown on several occasions that he possessed
+plenty of political capacity and could give valuable advice to his
+brother.
+
+“The relations which existed between these two brothers is one of the
+pleasantest things in the history of the Medici. At that epoch jealousy
+between brothers placed in such a position as Lorenzo and Giuliano were
+was the normal state of things. That it was entirely absent in their
+case speaks well for both of them.
+
+“Giuliano was twenty-five at the time of his death. He left an
+illegitimate son, born just at that time. Lorenzo took the child and
+brought him up with his own sons; and this child became in the next
+generation the well-known Giulio de’ Medici, afterwards Clement VIII.”
+
+Alessandro di Mariano Filipepi was born in Florence in 1444, the son of
+a prosperous tanner who had four sons, the eldest of whom, Giovanni,
+was called “_Bottecello_” from the sign of a barrel which hung
+over his shop, and which name was given to all the other members of the
+family. Sandro Botticelli, like so many other Florentine painters began
+life as a goldsmith. Then he was apprenticed to Fra Filippo Lippi, who
+was, of course, able to hand on to him the old Giottesque tradition.
+Botticelli next fell under the influence of the Pollaiuoli, with whom
+he worked. It was not long, however, before the young painter began to
+exhibit his originality.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Otto H. Kahn_
+
+  GIULIANO DE’ MEDICI
+
+    --_Sandro Botticelli_]
+
+Soon after returning from Prato, where he had gone to help Fra Filippo
+Lippi with the frescoes in the Cathedral, he was immediately employed
+by Piero il Gottoso, who with his wife, Lucrezia Tornabuoni, recognized
+the genius and peculiar charm of the young painter, and took him
+into the Casa Medici almost like a son. Botticelli was at this time
+about twenty-one, only five years older than Lorenzo, the eldest son.
+Consequently, Botticelli was on the most intimate terms with Lorenzo
+and Giuliano.
+
+All the pictures of this period except _Fortitude_ were painted
+for Piero, who bestowed large rewards on the painter. The _Madonna
+of the Magnificat_, one of his most beautiful pictures (now in the
+Uffizi) was painted in 1465 (when Lorenzo and Giuliano were about
+sixteen and twelve); and it must have been done especially to please
+Lucrezia Tornabuoni, for her two sons are represented as Angels
+kneeling before the Madonna and holding the inkstand and the book.
+Giuliano is the one facing us with the conspicuous lock of hair on his
+forehead, while Lorenzo, of darker complexion, is in profile and in
+full light.
+
+The _Adoration of the Magi_, painted in 1467 for Sta. Maria Novella
+(now in the Uffizi) is also a Medici family group surrounded by their
+_protégés_ in art and letters. Cosimo, “_Pater Patriæ_” (then dead), is
+kneeling before the Holy Child; Giovanni, brother of Piero il Gottoso
+(then dead), stands at the left in a red and black costume; Piero il
+Gottoso is kneeling in the centre with back to the spectator; Giuliano,
+in a robe of white and gold, is kneeling at the latter’s right and
+Lorenzo, aged seventeen, stands at his left, holding a sword. The last
+figure, standing on the right, is Botticelli himself. Botticelli’s
+portrait of Lucrezia Tornabuoni is in the Kaiser Friedrich Museum,
+Berlin.
+
+When Lorenzo, destined to become known as the “Magnificent,” became, on
+the death of his father, head of the Medici and ruler of Florence, he
+continued the Medici patronage to Botticelli.
+
+“It was a period when the exuberant vitality of the Renaissance was
+at its height; and the first nine years of his rule, when he was
+from twenty to twenty-nine and his brother, Giuliano, from sixteen
+to twenty-five, was a time in Florence of constant festivities of
+music, art, and poetry, of joy and laughter and all the bright side of
+life. It was the fashion of the day to import into all amusements an
+imitation of the Classic times of ancient Greece, and the Florence of
+that time appears set before us as a city ‘with youth at the prow and
+pleasure at the helm’ and full of all the life, joy, and pleasure of
+the old pagan ideal of Greece set in a Fifteenth Century dress. Besides
+all his duties in regard to State affairs and labors in the founding
+of institutions to advance Learning, not to mention his own literary
+work, Lorenzo with his brother led these festivities organizing
+pageants and other spectacles of the most costly description (permeated
+with classical learning and poetical allusions) for the popular
+amusement.”[8]
+
+These entertainments took the form of masques, _tableaux_, and
+tournaments. Young Lorenzo, too, gathered at his villa in Fiesole
+and even more particularly in that of Careggi the _literati_ of
+the day and read classical authors with these scholars, particularly
+commemorating once a year the birthday of Plato. In 1469 Lorenzo held
+a magnificent tournament for his own glorification and in 1475 an even
+more elaborate one in honor of Giuliano in the Piazza Sta. Croce, with
+the beautiful Simonetta Cattaneo, who had lately been married at the
+age of sixteen, to Marco Vespucci, as the Queen of Beauty. Giuliano,
+now just twenty-two, wore a suit of silver armor and Verrocchio
+designed his helmet, and Lorenzo’s also.
+
+Botticelli, of course, witnessed this tournament and did for it in
+painting what Politian did in his poem, _La Giostra di Giuliano de’
+Medici_. The _Primavera_ or _Return of Spring_ (now in the Accademia,
+Florence), the _Birth of Venus_ (in the Uffizi) and _Mars and Venus_
+(in the National Gallery, London), were all three painted for Lorenzo.
+All the elaborate imagery of Politian’s verse is reproduced in
+Botticelli’s painting representing the _Birth of Venus_ in allusion to
+the Queen of Beauty, Simonetta, of Giuliano’s Tournament. In the second
+picture, _Mars and Venus_, Botticelli again follows Politian’s poem.
+
+“And then having devoted one picture to the tournament’s Queen of
+Beauty, and one to the victor in its mimic warfare, Botticelli makes
+his _third_ picture (the most important of the three) relate to
+Lorenzo and his part in all this, gathering up in one view the whole
+subject of these pastimes. This Botticelli does with great talent and
+in a manner all his own. He takes for his text the celebrated standard
+which had been borne in front of Lorenzo at both his and Giuliano’s
+tournaments, with its motto of _Le temps revient_, its device of
+the bay-tree, which had appeared dead, again putting forth its leaves,
+and its allusion to the new era of youth and joy which Lorenzo had
+inaugurated, and had likened to the _Return of Spring_ after the
+gloomy months of winter. Making the leading thought of his picture the
+theme on Lorenzo’s standard, Botticelli paints for him the _Return of
+Spring_ (the _Primavera_), perhaps the most widely admired of
+all Botticelli’s pictures.
+
+“And so Botticelli depicts for us a scene of light-hearted, youthful
+joy, representing the return of spring, and by his great talent
+contrives that the entire picture shall speak of Lorenzo and breathe
+the very spirit of the poems in which the latter had sung of the joys
+of May-time in Tuscany. Shielded from rough winds and scorching sun
+by a grove of orange trees, backed by the ever-present laurel (always
+representing Lorenzo from the play on the Latin form of his name,
+_Laurentinus_), Queen Venus (Simonetta) stands presiding over the
+return of spring to Tuscany; the Graces dance before her; from out a
+laurel grove at her side the three spring months, March, April and May
+(or it may be Zephyr, Fertility and Flora), come bringing flowers of
+every hue; Mercury (Giuliano) scatters the clouds of winter; and the
+little blind God of Love aims his arrows recklessly around.
+
+“These pictures relating to Giuliano’s tournament could not have been
+painted until some time afterwards, as in any case they could not have
+been so until Politian’s poem had appeared; and they may have been
+executed at any time during Lorenzo’s life. If painted, as is most
+probable, subsequently to Giuliano’s death in 1578, they would remind
+Lorenzo of a time of bygone joys; and would be all the more prized by
+him on that account.”[9]
+
+A few months after Giuliano’s grand tournament the beautiful Simonetta
+was lying dead and three years later Giuliano was foully murdered,
+victim of the Pazzi conspiracy.
+
+In 1481 Botticelli was sent for by Pope Sixtus to assist Perugino and
+Ghirlandaio in painting frescoes in the newly erected Sistine Chapel;
+and when this work was completed Botticelli returned to Florence with
+an added lustre to his name. It was the fashionable thing for wealthy
+owners of villas to have frescoes painted in these country-houses; and
+among many orders that Botticelli filled was an important series of
+frescoes for Lorenzo Tornabuoni in the villa of the Tornabuoni family
+(now Villa Lemmi) at Rifredi representing scenes in reference to the
+marriage of Lorenzo Tornabuoni and Giovanna degli Albizzi in 1486 (see
+page 68). These frescoes, recently discovered under whitewash, are now
+in the Louvre.
+
+The death of Lorenzo the Magnificent, the banishment of the Medici,
+and the rule of Savonarola changed Botticelli’s life and his style of
+painting. In this third period the painter of nymphs and goddesses
+paints his charming and wistful Madonnas with many suggestions of Venus
+and Simonetta and the grace and loveliness of the pagan world.
+
+To the last period, when Botticelli had emerged from the Savonarola
+influence, the great painter produced _Calumny_ (in the Uffizi) and the
+_Nativity_ (in the National Gallery, London); and with these two works
+the career of Botticelli ends.
+
+The theory that the _Birth of Venus_, _Mars and Venus_ and the
+_Primavera_ were painted for Lorenzo di Pier Francesco has been
+thoroughly examined and disproved by Col. G. F. Young in his splendid
+history of _The Medici_.
+
+
+                       PORTRAIT OF A YOUNG MAN.
+
+    _Sandro Botticelli
+    (1444–1510)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+Standing behind a balustrade and looking wistfully toward the observer,
+this handsome young Florentine appears at half-length with his head
+inclined towards the left.
+
+How we should like to penetrate his secret and help him away from the
+melancholy mood that has overwhelmed him!
+
+Although we see that he is a dreamer (and most probably a lute-player
+as his hands might seem to indicate), something has touched him very
+deeply--far too deeply to be classed as a momentary sorrow. We should
+also like to know his identity. It is unlikely that it will ever be
+revealed. But of one thing we can be well assured,--he is an aristocrat
+and a young gentleman of wealth, for he has all the air of _savoir
+faire_ and sureness of his position. We might make a guess that he
+is one of the Medici family. Could it be Giuliano? Look again at the
+_Madonna of the Magnificat_, at Giuliano immediately below the
+bending Angel! The resemblance is quite surprising and grows stronger
+as we study the two faces, only in the _Madonna of the Magnificat_
+Giuliano is younger and is seen with the characteristic lock on his
+forehead.
+
+His costume in this portrait shows up well from the black background:
+the coat is purplish brown edged with fur with white puffs at the
+shoulders; and a red cap contrasts well with his light-yellow hair.
+
+This picture, a tempera painting on panel (15¾ × 11¾), was long in the
+Collection of Baron Arthur de Schickler in Martinvast, Normandy, where
+it was attributed to Masaccio.
+
+“There can be no question,” Berenson thinks, “that this portrait is
+Botticelli’s own handiwork. The glamor it cast when I first saw it
+frightened me into doubts that were dispelled directly I could study
+the painting at my leisure. There is no one, using this formula and
+technique, but Sandro himself who has the sinuous line, the inevitable
+contours, the structural articulation, the firmness, convincingness,
+and delicacy of modelling this work possesses; nobody else who could
+produce a rhythm so subtly vibrant, or could give this limpid, radiant,
+and ethereal coloring.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  PORTRAIT OF A YOUNG MAN
+
+    --_Sandro Botticelli_]
+
+“True, it is more Botticellian than any other Botticelli in existence.
+He must have uttered this completest note of his own music just
+before he was seized by the Savonarolian madness, from which he
+never recovered, just at the moment when he was most peculiarly and
+poignantly, and, if I may say so, most extravagantly, himself. The
+isolation of this head, too, exaggerates the impression. Perhaps if
+we found it as an Angel in a _Magnificat_, or a _Madonna with the
+Pomegranate_, in a _Tobias_ or some Allegory, the other figures,
+the landscape and all the accessories would prevent our attention
+from concentrating on what is almost uncannily characteristic of the
+master’s style.”
+
+Berenson also notes the important hand, which, by the way, is
+especially lighted as if to draw our attention to it most particularly.
+
+“Perhaps the most interesting thing about this portrait,” he observes,
+“is the manifest competition of the hand with the face. The hand is
+studied just as carefully, drawn, and modelled with as much intention,
+as the face itself. Its action reveals the automatic nervous tension
+of an overstrung physique that the conscious mind, controlling the
+expression, tries to keep in order. It thus becomes, in a sense, the
+most important clue to understanding the character. If you think
+it away, the expression, of course, remains, but what makes it
+comprehensible disappears.”
+
+It is this peculiar intelligence and sensitiveness of the hand that
+makes me suspect the musician.
+
+
+                          MADONNA AND CHILD.
+
+    _Sandro Botticelli
+    (1444–1510)._
+
+    _Collection of
+    Mr. Max Epstein._
+
+This picture is the latest Botticelli to have been brought to
+this country for it arrived only in May, 1928. It was painted in
+Botticelli’s early period, about 1470 or 1472. The Holy Child
+is handsome, although robust, and His embrace of the Madonna is
+touchingly affectionate and human. In this picture the Madonna would
+seem to have had a vision of the coming tragedy and she is not yet
+resigned. She loves her Child too well. That her eyes are full of tears
+we can feel in those heavily drooping lids. Her face is full of pain.
+But even in her suffering and quiet anguish this Madonna is beautiful
+and graceful; and we cannot fail to see in her face some little
+resemblance to Botticelli’s Venus in the _Primavera_ and Venus
+in her scallop-shell borne over the waves in the early morning in the
+_Birth of Venus_.
+
+  [Illustration:
+
+   _Collection of Mr. Max Epstein_
+
+  MADONNA AND CHILD
+
+    --_Sandro Botticelli_]
+
+In this picture the Holy Child seems to have little or no consciousness
+of His Divinity. The Mother here is the enlightened one.
+
+The picture is tempera on panel (35¾ × 23¼ inches) and came into
+possession of M. Féral in Paris in 1907. It has been accepted by Bode
+and Jashiro as a genuine and an early Botticelli.
+
+The Madonna’s robe is deep blue with a lining of dull green, which
+shows at the left wrist and slightly down the front and on the left
+shoulder a star is embroidered. She wears a closely folded diaphanous
+veil and a red scarf, one end of which is gracefully thrown around the
+Holy Child. The sleeve of the dress has a band of golden embroidery at
+the wrist.
+
+The cruciform _nimbus_ of the Holy Child foretells His destiny. The
+_nimbus_ of the Virgin is plain. The Angel wears a tunic of deep cream
+white ornamented with gold on the sleeves and a black band ornamented
+with gold at the throat. On the parapet stands a vase apparently of
+alabaster containing myrtle leaves and white star-shaped flowers,
+probably jasmine (see page 25). Through the open arch we see a gentle
+landscape, with a river winding around distant hills.
+
+
+                         GIOVANNA TORNABUONI.
+
+    _Domenico Ghirlandaio
+    (1449–1494)._
+
+    _Collection of
+    Mr. J. P. Morgan._
+
+With this picture, which is considered “one of the finest Italian
+portraits in existence,” we step back into the period of the
+Renaissance and into the very presence of one of the most gifted and
+celebrated of the younger women of the Fifteenth Century.
+
+  [Illustration:
+
+   _Collection of Mr. J. P. Morgan_
+
+  GIOVANNA TORNABUONI
+
+    --_Domenico Ghirlandaio_]
+
+“Art coulds’t thou but portray character and the mind, then there would
+be no picture in the whole world more beautiful than this.”
+
+Such is the translation of the legend inscribed in capital letters on
+the cartel:
+
+    “_Ars ultinam mores animumque effingere posses
+    Pulchrior in terris nulla tabella foret_”
+
+with the date MCCCCLXXXVIII.
+
+The charms of Giovanna degli Albizzi, who was married to Lorenzo
+Tornabuoni in 1486, were sung by all the poets of Florence. Giovanna
+came of the noted Albizzi family, famous for wealth and rank and for
+leading the party of Nobles (_Grandi_) against the Medici, whom
+they considered upstarts and enemies of the aristocratic faction
+in Florence. By a former marriage, however, the Albizzi had become
+connected with the Medici, for the wife of Piero de’ Medici (il
+Gottoso) was Lucrezia Tornabuoni, one of the most accomplished women
+of the age and whose portrait by Botticelli hangs to-day in the Kaiser
+Friedrich Museum in Berlin. Giovanna’s husband, Lorenzo Tornabuoni
+(Lucrezia Tornabuoni’s nephew), was, therefore, the first cousin of
+Lorenzo and Giuliano de’ Medici.
+
+Subsequent to the ownership by the Tornabuoni and Pandolfini families,
+the portrait represented here passed to a private Collection in Paris
+and thence to the late Mr. Henry Willett of Brighton, England; to the
+famous Collection of Mr. Rodolphe Kann of Paris and, finally, to that
+of Mr. J. P. Morgan.
+
+The picture is painted on a wooden panel (29¾ × 19½ inches).
+
+Standing in profile to the left and against an architectural
+background, the lady appears at half-length. She wears a rich dress of
+gold brocade of a handsome and decorative pattern with square neck, the
+sleeves of a different material, dark-red in color and having yellow
+diamond-shaped compartments bearing a floral design in the centre. A
+handsome pendant, consisting of a ruby with three pearls, hangs from
+a fine black silk cord around her neck. Her hair falls in light, wavy
+tresses over her temples and covers her ears. In the recess at the back
+is placed a cluster of precious stones. On the right is a _Book of
+Hours_, and above is looped a necklace of coral beads. All of these
+things undoubtedly have some particular and sentimental association
+for Giovanna. Giovanna died the same year this portrait was painted; in
+this year her father-in-law, Giovanni Tornabuoni, also uncle of Lorenzo
+de’ Medici, commissioned Ghirlandaio to decorate the walls of the
+choir of Sta. Maria Novella with the _Lives of John the Baptist and
+the Virgin_; and here again the portrait of Giovanna degli Albizzi
+appears. Let us turn to Mrs. Cartwright for a description of this
+remarkable series of frescoes:
+
+“These twenty-one subjects have been much injured by damp and
+restoration and the hand of inferior assistants is plainly seen in
+many of the best preserved portions. But as a splendid illustration
+of Florentine life the whole series is of rare interest. On the one
+hand we have the public and official life of the Tornabuoni, their
+stately banquets and processions; on the other, we catch a glimpse of
+their private and domestic history. In the guests seated at _Herod’s
+Feast_, in the crowds who throng the temple court, we recognize
+the Tornabuoni and their kinsmen, the partners of the Medici bank,
+Gianfrancesco Ridolfi, Roderigo Sassetti, and Andrea de’ Medici. On one
+side we have a group of famous humanists--Angelo Poliziano, Marsilio
+Ficino, Cristoforo Landino, and Lorenzo’s tutor, Gentile de’ Becchi;
+on the other, we see the painter with his aged father and his brother,
+David, and brother-in-law, Sebastiano Mainardi, the assistants who
+helped in the decoration of the choir. Giovanna degli Albizzi, the
+fair maiden who on the 16th of June, 1486, became the bride of Lorenzo
+Tornabuoni, is here in her stiff brocades and rich jewels with her
+young sister-in-law, Lodovica, and many noble dames on their way to
+visit the mother and new-born babe. These frescoes, which were finally
+completed in 1490, filled the Tornabuoni family with delight and
+wonder, and Ghirlandaio was next employed to paint the chapel of their
+_villa_ near Fiesole, which was unfortunately destroyed by floods
+in the next century.”
+
+As in the case of so many Italian painters, the name by which
+Ghirlandaio is known is only a nickname: it means “Garland-maker,”
+and was given to him because his first reputation was derived from
+the beautiful gold and silver garlands and wreaths he made for the
+wealthy ladies of fashion. Ghirlandaio, son of Tommaso Bigordi, a silk
+merchant of Florence, was born in that city in 1449. He began his life
+as apprentice to a goldsmith--as so many superlative painters have
+done--and early showed talent for drawing and sketching. Before long he
+left the goldsmith and entered the studio of Alesso Baldovinetti (see
+page 48); and he undoubtedly owed much to this painter in his fondness
+for decorative effects. Ghirlandaio was tremendously industrious and
+always worked with the best artists of his time. At San Gimigniano
+in 1475 he worked with Pier Francesco Fiorentino and he assisted
+Botticelli in the Sistine Chapel in 1481. His own independent work was
+stupendous. Ghirlandaio devoted himself almost exclusively to sacred
+subjects and his frescoes are practically scenes of the Florentine
+world he knew so well. Whether he painted scenes from the life of St.
+Francis, or of the Virgin, or Herod, or St. Zenobius, the characters
+represented are members of the Medici, the Tornabuoni, the Sassetti,
+the Albizzi, and other important Florentine families. In fact, his
+attention to details and the careful way he rendered them, show that he
+had some knowledge of contemporary Flemish paintings; and consequently
+Ghirlandaio is regarded as chief of the Florentine realists. However,
+Ghirlandaio ranked in his day with Botticelli and Filippino Lippi, and
+he enjoyed the patronage and friendship of the Medici. Ghirlandaio’s
+most important frescoes are those in Sta. Maria Novella representing
+_Lives of the Virgin and John the Baptist_, commissioned by Giovanni
+Tornabuoni, described above, and those in Santa Trinità depicting the
+_Life of St. Francis_, ordered by Francesco Sassetti described on page
+72.
+
+Ghirlandaio died in 1494 of the Plague, comparatively young, but having
+accomplished a vast amount of work and having trained a number of
+painters, the most important of whom was Michelangelo. Ghirlandaio’s
+son, Ridolfo Ghirlandaio (1483–1561), became a painter and was an
+intimate friend of Raphael.
+
+
+                FRANCESCO SASSETTI AND HIS SON TEODORO.
+
+    _Domenico Ghirlandaio
+    (1449–1494)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+Francesco Sassetti, a wealthy banker and Lorenzo de’ Medici’s agent at
+Lyons, is shown here slightly under life-size, wearing a purple skull
+cap and a red robe lined with fur and held at the waist by a black
+cord, from which hangs a pouch, or purse. His right hand rests upon
+the arm of the chair in which he is seated. His eyes look downward
+upon his son, who stands at his left, in profile, gazing upward into
+his father’s face. His hands are clasped and he is wearing a costume
+of silvery grey brocade trimmed with white fur, undersleeves of
+dark-green and slashed, and a scarlet cap. Through the window we have
+an interesting view of an inlet of the sea (or a large river) with
+mountains and buildings. On the top of the window-frame there is an
+inscription: “_Franciscos Saxettvs Theodorus QVE_.” The picture
+is an oil painting on panel (29½ × 20½ inches) and is supposed to have
+been executed in 1487–1489. Francesco Sassetti was born about 1420 and
+died in 1491. Teodoro was born on March 11, 1479, and is seen here at
+about the age of eight or nine, which fixes the date of the picture.
+It is interesting to note that Teodoro Sassetti was the grandfather of
+Filippo Sassetti, an early traveller in India (see Marencci, _Lettere
+di Filippo Sassetta_, Firenze, 1855).
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  FRANCESCO SASSETTI AND HIS SON TEODORO
+
+    --_Domenico Ghirlandaio_]
+
+This picture comes from the Benson Collection and was formerly owned
+by Mr. William Graham. Francesco Sassetti also appears in the frescoes
+depicting the _Life of St. Francis_, which Ghirlandaio painted in
+the Sassetti Chapel in the Trinità in Florence. Ghirlandaio introduced
+into this series other members of the Sassetti family, as well as many
+of his illustrious contemporaries and friends, including Lorenzo de’
+Medici, Pope Honorius, Maso degli Albizzi, Palla Strozzi, and Angelo
+Acciaiuoli. In the fifth fresco, where St. Francis is bringing a
+dead child to life, Ghirlandaio has painted his own portrait. He is
+conspicuous in a red cap and resting his hand upon his hip.
+
+
+                         _THE UMBRIAN SCHOOL_
+
+The Umbrian School occupied the relative place in the Early Renaissance
+that the Sienese School held in the Middle Ages. At first, Umbrian
+painting was the offspring of Siena, but it fell under and developed
+under the influence of Florence. Florentine artists came to Umbria and
+Umbrian artists went to Florence, and gradually the Umbrian School,
+which had certain qualities of its own, developed and reached full
+flower in the beloved of all the world,--Raphael.
+
+The word Umbrian is used rather loosely by critics to include many
+Tuscan painters who have to be gathered into this group, which dates
+from the end of the Fourteenth and beginning of the Fifteenth Century.
+One particular quality of the Umbrians was their essentially deep
+religious feeling.
+
+“Whereas the devotion of Sienese art had been hieratic, aristocratic,
+and akin to the ideals of Mediæval Byzantium, that of Umbria became
+ecstatically human. The Renaissance trend towards bringing to earth
+the regal Christian gods of the Middle Ages was nowhere so strong
+as in Umbria; and it is not an exaggeration to say that we owe to
+the Umbrians our modern visual images of the Eternal, the Madonna,
+and the other important members of the Christian Pantheon. The
+piety and humility of the figures was deepened and dignified by
+a specially emphasized space-composition, both architectural and
+landscape. Landscape backgrounds were given unusual importance and
+delicate beauty. The Umbrian School thus became the most charming,
+the tenderest, and the most intimately human of Renaissance
+Italy.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
+Cambridge, 1927).
+
+The first great Umbrian painter was Gentile da Fabriano (1370?–1427),
+pupil of an earlier Umbrian painter, Allegretto Nuzi (active from 1346
+to 1373), in turn a pupil of the Florentine Bernardo Daddi.
+
+The next important Umbrian was Piero della Francesca or Pier dei
+Franceschi (1416?–1492), pupil of Domenico Veneziano of Florence,
+important in his own work and important as a master, forming Luca
+Signorelli, who in turn influenced Michelangelo. Piero della Francesca
+was also influenced by the Florentine, Paolo Uccello, whose scientific
+leanings towards perspective he shared. As a colorist, as a painter
+of light and atmosphere, and as a master of composition, Piero della
+Francesca ranks with the greatest Italian masters of the Early
+Renaissance.
+
+By this time Perugia had become the most important centre of painting
+in Umbria. Among its conspicuous artists was Benedetto Bonfigli
+(1425–1496); Fiorenzo di Lorenzo (1440–1521), the supposed master
+of Perugino and Pintoricchio; Perugino, whose real name was Pietro
+Vannucci (1446–1523); Bernard Pintoricchio “the little painter”
+(1454–1513), whose real name was Bernard di Betto, or Biagio; and the
+great Raphael (1483–1520), son of the painter Giovanni Santi of Urbino;
+and with this painter of the world’s favorite Madonnas the Umbrian
+School practically ends.
+
+
+                          MADONNA AND CHILD.
+
+    _Gentile da Fabriano
+    (1370–1427)._
+
+    _Collection of
+    Mr. Henry Goldman._
+
+No little suggestion of the Giotto Madonna (shown on page 27), appears
+in the _Madonna and Child_ by Gentile da Fabriano, which, according
+to Colosanti, was painted in the best period of the artist, shortly
+before he produced the _Adoration of the Kings_, now in the Uffizi.
+In comparing it with the Giotto _Madonna_, we see that the arch has
+become slightly more pointed than the one in the Giotto picture
+and we find also a gold background; but in the Fabriano painting a
+_graffito_ design of two winged Angels with flowing robes on either
+side is slightly visible. As in the Giotto picture the two _nimbi_
+are different; the Virgin’s _nimbus_ having an Arabic inscription
+and the _nimbus_ of the Holy Child having a Gothic foliage. The
+Virgin is seated on a _cassone_, or chest (a not unusual but hardly
+very comfortable seat in the Fourteenth Century), covered with a
+dark-brown cloth with floral figure behind which a tiled floor is
+seen. The Virgin wears a long tunic of claret-colored damask with gold
+border, on which appears the motto “_Ave Maria Plena Dom---- Tecu----
+Ben_.” On the border around the neck the word “_Mater_” appears. The
+mantle is slit at the sides through which the arm protrudes in a long
+sleeve of rich gold brocade with the pomegranate pattern. A scarf of
+thin yellow woollen material, decorated with red and blue flowers
+and red fringe, is worn around her head and neck. The Holy Child
+has on a little dress, very neatly made and fitting very snugly, of
+dark-blue trimmed with a border of red and gold. He is standing with
+His left foot on His mother’s knee and is stepping forward with the
+other. He has raised His right hand as if to emphasize the words He is
+speaking and to which His mother is listening with rapt admiration.
+This movement of the Child takes something away from the solemnity of
+the picture and the Virgin’s maternal pride shows her to be more of
+this earth than the Giotto _Madonna_ whose calm, impassive yet tender
+beauty, proclaims her to belong to a higher sphere than does the
+Fabriano.
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  MADONNA AND CHILD
+
+    --_Gentile da Fabriano_]
+
+The picture, tempera on panel (38 × 22½ inches), belonged to the
+Alexander Baker Collection, London, and to the Collection of Madame E.
+J. Sartoris, Paris.
+
+Gentile da Fabriano’s full name was Gentile di Nicola di Giovanni
+di Masso and he was born at Fabriano about 1370. He was a pupil of
+Allegretto Nuzi and possibly of Ottaviano Nelli. Vasari says, too, that
+he studied under Fra Angelico. He worked in Fabriano, Brescia, and
+Venice; and in 1422 he became a member of the Guild in Florence. Later
+he painted in Orvieto, Siena, and Rome, where Pope Martin V called
+him to paint in San Giovanni Laterano. Subsequently Gentile painted
+in Venice, Florence and other places, learning all that was new from
+other painters he met and everywhere attracting followers; but never
+forgetting his early Sienese inheritance in his love for beauty and for
+decoration.
+
+Gentile da Fabriano became so much of a traveller and cosmopolitan
+that he has to be classed as an “Internationalist” as well as a
+Sienese painter. Gentile had a marvellous talent for presenting
+brilliant and beautiful pictures of the courtly life he saw around
+him and which was fast passing away for the styles and fashions of the
+approaching Renaissance. His _Adoration of the Magi_, now in the
+Accademia delle Belle Arti, Florence, is a gorgeous representation of
+a procession such as the painter had doubtless many times witnessed.
+It is while thinking of this brilliant _Adoration of the Magi_
+that Berenson exclaims: “Fair knights and lovely ladies, spurs of gold,
+jewelled brocade, crimson damasks, gorgeous trains on regal steeds ride
+under golden skies wherein bright suns flatter charmed mountain tops.
+All the faces are aglow with blitheness. Why are they so happy? Have
+they waked from nightmare hauntings of Purgatory and Hell? So it would
+seem; and they rejoice in the blood tickling their veins, in the cool
+breezes, in the smell of flowers. And what a love of flowers! Gentile
+fills with them even the nooks and crannies of the woodwork enframing
+his gorgeous Epiphany.”
+
+Gentile died in 1427,--the one great Umbrian of the Middle Ages.
+
+Michelangelo remarked of Gentile that his name was in perfect harmony
+with the tone of his works.
+
+
+                    MADONNA AND CHILD WITH ANGELS.
+
+    _Benedetto Bonfigli
+    (1425–1496)._
+
+    _Collection of
+    Mr. and Mrs. Otto H. Kahn._
+
+We have here a very unusual background, reminding us of the Arabian
+desert,--tall, barren rocks; and against these the Virgin is seated.
+Her costume is very lovely, consisting of a red tunic cut square
+across the neck and finished with a broad band of gold embroidery,
+and a blue mantle lined with yellow. Over her blonde hair, which is
+arranged in the style favored by Italian ladies of fashion, waved and
+parted and falling down at the sides of the cheeks, a white veil is
+folded in intricate plaits and made to ripple gracefully down over the
+shoulders. Above this complicated head-dress is a golden _nimbus_.
+The Holy Child, resting on her lap, steadied by the Virgin’s hand
+and additionally supported by the graceful hand of the little Angel,
+is partly swathed in muslin. One of His little hands rests on His
+mother’s veil and the other reaches for a pomegranate,[10] which she
+is holding. The dress of the Angel is red bordered with ermine and the
+bottom of the tunic is edged with a deep gold band of Cufic lettering.
+The _nimbi_ are tooled in gold and that of the Holy Child is
+cruciform. The strong wings of the Angels soar up boldly above their
+heads and make a perfect balance to the rocks behind the Virgin.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Otto H. Kahn_
+
+  MADONNA AND CHILD WITH ANGELS
+
+    --_Benedetto Bonfigli_]
+
+The picture is tempera on wood (31½ × 21 inches).
+
+Bonfigli is regarded as the founder of the School of Perugia which
+became so famous through Perugino, who perpetuates the name of the town.
+
+Little is known of Benedetto Bonfigli, who was born about 1425, in
+Perugia, and was buried there in the Church of St. Domenico in 1496.
+Bonfigli shows in his work the influences of Piero della Francesca,
+Fra Angelico, Camillo Boccatis, and Benozzo Gozzoli. Bonfigli was in
+Rome in 1453 working for Pope Nicholas V, and in the following year he
+was back in Perugia painting a series of frescoes for the Capella dei
+Priori in the Palazzo del Consiglio depicting _St. Louis of Toulouse
+and St. Ercolano_, which were unfinished at the time of his death.
+Bonfigli painted processional banners and small pictures as well as
+frescoes. Many of Bonfigli’s works are now in the Gallery at Perugia.
+
+“As an artist Bonfigli scarcely ranks as high as Niccolò da Foligno,
+his fellow-pupil under Benozzo Gozzoli. He was a much more dependent
+person, but being more imitative, with the models of Fra Angelico or
+Benozzo before him, he at times painted exquisite things and by nature
+he was gifted with that sense of the charming wherewith Perugia was
+later to take the world captive. Some of the freshest and loveliest of
+all angel faces may be seen in Bonfigli’s altar-pieces and standards.
+His color has almost always that tint of gold which never fades from
+Umbrian art.”[11]
+
+
+                          MADONNA AND CHILD.
+
+    _Perugino
+    (1446–1523)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+In red robe and blue mantle the Virgin appears seated three quarters
+to the left and supporting the Holy Child on her left knee with both
+hands. Her head is slightly inclined and the hair, parted above her
+forehead, is brushed plainly down either side and looped up rather
+curiously at the back and tied there by a narrow veil. The Holy Child
+looks away towards the left. Behind the figures is seen one of those
+delightful Umbrian landscapes made so famous by Perugino and Raphael.
+
+This picture, an oil painting on panel (27¾ × 19½ inches), has an
+interesting pedigree. From the family of the Marquis of Villafranca it
+came into possession of the Marquis de la Romana from the Palace of
+Anglona, Madrid, and then belonged to the Collection of the Marquis de
+Villamajor, Madrid. The wife of the latter says:
+
+“This painting of the _Madonna and Child_ by Perugino has been
+for many generations in my husband’s family. It comes from the family
+of the Marquises de Villafranca who lived in Italy in the Sixteenth
+Century and of which several members were Viceroys of Naples (Alvarez
+de Toledo). The Marquis of Romana, having acquired the Palace of the
+Prince d’Anglona in Madrid, assembled all the pictures and works of art
+inherited from his ancestors which were in the Palaces of Valencia,
+Palma de Mallorque, and in Italy, thus forming a fine and important
+Collection in which were paintings by Goya, Cameron, Ribera, Velasquez,
+and many paintings of the Italian, Flemish, and French Schools. On the
+death of the Marquis de la Romana, his son, the Marquis de Villamajor,
+received a part of this Collection (which was divided between him and
+his brothers), and this Perugino comes from the Marquis de Villamajor’s
+heritage.”
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  MADONNA AND CHILD
+
+    --_Perugino_]
+
+Perugino was born at Città della Pieve, near Perugia, about 1446, and
+died (probably of the Plague), at Castello di Fontignano, also near
+Perugia, in 1523. His real name was Pietro Vannucci and he was also
+called Pier della Pieve; but he is known always and everywhere as
+Perugino from Perugia, where he spent his early life and learned his
+art. It is uncertain under whom he studied before he went to Florence,
+but he certainly assisted Piero della Francesca at Arezzo. At Florence,
+he worked in Verrocchio’s studio, having Leonardo da Vinci and Lorenzo
+di Credi for fellow-students. Then in 1475 he was commissioned to
+paint in the Palazzo Pubblico, Perugia. In 1481–1482 he was working
+in Rome in the Sistine Chapel with Botticelli, Ghirlandaio, Cosimo
+Rosselli, and Signorelli. Of his four frescoes here only one remains,
+_Delivery of the Keys to St. Peter_; the other three were destroyed to
+make room for Michelangelo’s _Last Judgment_. Perugino also painted
+in the Vatican and remained about ten years in Rome. Then he returned
+to Florence and had a studio there and also in Perugia. Besides, he
+travelled about a great deal to execute commissions in various cities.
+In 1490, for instance, he was in Rome again painting for Cardinal
+della Rovere an altar-piece now in the Villa Albani; in 1494 he was in
+Venice and Cremona; and in 1496 in Pavia, working for “Il Moro,” Duke
+of Milan. The three principal pictures of the beautiful altar-piece
+that Perugino painted for the Certosa, or Carthusian Convent near
+Pavia--_The Virgin adoring the Infant Christ_; _Tobias and the Angel
+Raphael_; and the _Archangel Michael_--are now in the National Gallery,
+London.
+
+In 1495 Perugino was again working in Perugia; and it was then that
+Raphael, a boy of about twelve, became his pupil. At this time Perugino
+was the most celebrated of all the Umbrian painters. His best work
+was accomplished between 1490 and 1505. To this period belongs _The
+Marriage of the Virgin_, now in the Museum of Caen, Normandy, a picture
+that Raphael very closely followed, but eclipsed in beauty, in his
+_Sposalizio_, now in the Brera, Milan.
+
+About 1590 Perugino painted his famous frescoes in the Sala di Cambio,
+Perugia, in which he introduced his own portrait; and in 1505 he
+painted The _Triumph of Chastity_ for the Marchese Isabella of Mantua,
+which is now in the Louvre.
+
+After another visit to Rome he worked principally in churches in the
+neighborhood of Perugia, the last of which is supposed to be _The
+Nativity_, painted for the Church of Fontignano (where he died), and
+which is now in the South Kensington Museum.
+
+Perugino was one of the earliest of the Italians who mastered the use
+of oil, then a new medium. In his constant moving around and visiting
+so many important cities, Perugino had every opportunity of seeing what
+the other artists of his day were doing. However, although he worked
+with the latest materials, Perugino remained faithful to the style
+of art known as the Quattrocento, which before his death was being
+rapidly superseded by the Cinquecento, of which Leonardo da Vinci and
+Michelangelo were the chief exponents. Like Piero della Francesca he
+also advanced the science of perspective. For a time Perugino adopted
+the Florentine style, especially with regard to composition; but
+eventually he developed his own manner of grace, softness, delicacy,
+tenderness of color, great expression in faces and figures, and his
+unusually charming landscapes.
+
+Berenson speaks particularly of Perugino’s “space composition:”[12]
+and in this art “Perugino surpassed all who ever came before him, and
+indeed all who came after him, excepting, however, his own pupil,
+Raphael, by whom even he was left far behind. Perugino had a feeling
+for beauty in women, charm in young men, and dignity in the old, seldom
+surpassed before or since. Then there is a well-ordered seemliness, a
+sanctuary aloofness in all his people which makes them things apart,
+untouched, and pure. Great reserve also does much for him. Violent
+action he doubtless avoided because he felt himself unequal to the
+task--indeed, so little did he ever master movement that his figures
+when walking dance on tiptoe and on their feet they never stand; but
+he as carefully kept away from unseemly expression of emotion. How
+refreshingly quiet are his _Crucifixions_ and _Entombments_! The still
+air is soundless and the people wail no more; a sigh inaudible, a look
+of yearning, and that is all. How soothing must such paintings have
+been after the din and turmoil and slaughter of Perugia, the bloodiest
+town in Italy! Can it be wondered that men, women, and children ran to
+see them? Nor yet is life so free from sordid cares and meaningless
+broils that we can forego such balm for the soul as Perugino brings.”
+
+
+                        THE NICCOLINI MADONNA.
+
+    _Raphael
+    (1483–1520)._
+
+    _Collection of
+    Sir Joseph Duveen, Bart._
+
+This picture came directly from the Niccolini Palace where it was
+purchased in 1780 by George Nassau, third Earl Cowper, who was at that
+time His Majesty’s Ambassador to the Court of Tuscany; and it was so
+prized that in order to get the picture out of Florence without any
+disturbance it had to be hidden in the lining of the Ambassador’s
+carriage. Another name for the picture is _The Cowper Madonna of
+1508_. The picture now comes from the Collection of Lady Desborough,
+of Panshanger, Hertfordshire, who inherited it from her brother,
+Francis Thomas, seventh Earl Cowper.
+
+The painting, an oil on panel (30½ × 22 inches), represents the Madonna
+seated in the open air in a dark, rose-red robe with long close-fitting
+undersleeves of yellow-green, ultramarine-blue mantle, and diaphanous
+veil. Around the neck of the dress and the hem of the mantle what
+appears to be a decorative band of golden embroidery is really the
+signature of the painter “M(D or CCCC)VIII. R. U. Pin,” meaning 1508
+Raphael of Urbino Pinxit. And, by the way, is it not possible that
+Sir Joshua Reynolds got the idea from this picture of painting his
+name on the robe of _Mrs. Siddons as the Tragic Muse_? It will be
+remembered that Mrs. Siddons sat for that magnificent portrait in
+1784. The _Niccolini Madonna_ was bought by Earl Cowper in 1780 and,
+undoubtedly, Sir Joshua was very familiar with it. Moreover, at this
+date, Raphael’s masterpiece was also very fresh in the mind of the
+English picture-world.
+
+  [Illustration:
+
+   _Collection of Sir Joseph Duveen, Bart._
+
+  THE NICCOLINI MADONNA
+
+    --_Raphael_]
+
+The Holy Child is seated on a white cushion in the Virgin’s lap
+gently supported by her hand, which also lightly holds an end of her
+floating veil. The suggestion of a light breeze rippling the veil is an
+exquisite thought. The _nimbi_ of both Mother and Child are very
+delicate. The background consists of a blue sky.
+
+It is very interesting to compare this picture with the other _Cowper
+Madonna_ and on doing so we find that the same model was used for the
+Child, although the women are different. The hand of the _Small Cowper
+Madonna_ is noticeably more refined than the hand in the _Niccolini
+Madonna_, yet, on the whole, the model used for the _Niccolini Madonna_
+seems to be of a slightly higher social status. In the latter, we find
+the plucked eyebrows and forehead which Raphael’s taste has softened by
+the hair, lightly blown about, like the veil, by the breeze.
+
+The _Niccolini Madonna_ was one of the last pictures painted by Raphael
+in Florence, as he went to Rome in 1508, the date given on this
+painting. It may be noted here that the _Madonna del Granduca_ (which
+belonged to the Grand Duke Ferdinand III, who carried it with him
+wherever he went), was the first picture Raphael painted in Florence.
+
+The _Madonna del Cardellino_ (of the Goldfinch), in the Uffizi, and
+_La Belle Jardinière_ (in the Louvre), also date from the Florentine
+period--painted when Raphael was about twenty-five,--which seems almost
+incredible.
+
+
+                       THE SMALL COWPER MADONNA.
+
+    _Raphael
+    (1483–1520)._
+
+    _Collection of
+    Mr. Joseph E. Widener._
+
+This Madonna was painted in 1505, soon after the _Granduca Madonna_
+(now in the Pitti). It was purchased in Florence about 1780 by Lord
+Cowper and was one of the ornaments of his Collection at Panshanger.
+
+  [Illustration:
+
+   _Collection of Mr. Joseph E. Widener_
+
+  THE SMALL COWPER MADONNA
+
+    --_Raphael_]
+
+The Madonna is seated on a stone bench and wears a red dress and a
+mantle of blue lined with green. The Holy Child throws His arms
+lovingly around His mother’s neck and steadies Himself by planting His
+left foot against her right hand. The hair of both mother and Child
+are blonde and encircled by a thin golden _nimbus_. The eyes are,
+in both subjects, of a warm and deep brown. A lovely Umbrian landscape
+carries us many miles away to the left; and nearer the figures on
+the right, there appears a building, identified as San Bernardino, a
+Franciscan Convent near Urbino.
+
+The picture is painted on wood (23 × 17 inches). The original drawing
+is in the Uffizi Gallery in Florence.
+
+“And now we are face to face with the most famous and beloved name
+in modern art--Raphael Sanzio. Raphael was endowed with a visual
+imagination, which has never even been rivalled for range, sweep,
+and sanity. When it has been surpassed, it has been at single points
+and by artists of more concentrated genius. Thus gifted and coming
+at a time when form had, for its own sake, been recovered by the
+Naturalists and the essential artists, when the visual imagery, of at
+least the Italian world, had already suffered along certain lines, the
+transformation from the Mediæval into what ever since has been for all
+of us the _modern_, when the ideals of the Renaissance were for an
+ineffable instant standing complete, Raphael, filtering and rendering
+lucid and pure all that had passed through him to make him what he
+was, set himself the task of dowering the modern world with the images
+that to this day, despite the turbulent rebellion and morose secession
+of recent years, embody for the great number of cultivated men their
+spiritual ideals and their spiritual aspirations. ‘_Belle comme une
+madonne de Raphael_’ is, among the most artistic people in Europe,
+still the highest praise that can be given to female beauty. And, in
+sooth, where shall one find greater purity, more utter loveliness than
+in the _Granduca Madonna_, or a sublimer apparition of woman than
+appeared to St. Sixtus?
+
+“When looking at the _Granduca Madonna_, has it ever occurred to
+you to note that the whole of her figure was not there? So perfect is
+the arrangement that the attention is entirely absorbed by the grouping
+of the heads, the balance of the Virgin’s draped arm and the Child’s
+body. You are not allowed to ask yourself how the figure ends. And
+observe how it holds its own, easily poised, in the panel which is just
+large enough to contain it without crowding, without suggesting room
+for aught besides.
+
+“But great as is the pleasure in a single group perfectly filling a
+mere panel, it is far greater when a group dominates a landscape.
+Raphael tried several times to obtain this effect--as in the _Madonna
+del Cardellino_, or the _Madonna del Prato_, but he attained to supreme
+success once only--in the _Belle Jardinière_. Here you have the full
+negation of the _plein-air_ treatment of the figure. The Madonna is
+under a domed sky, and she fills it completely, as subtly as in the
+_Granduca_ panel, but here it is the whole out-of-doors, the universe,
+and a human being _supereminent_ over it. What a scale is suggested!
+Surely the spiritual relation between man and his environment is here
+given in the only way man--unless he becomes barbarized by decay or
+non-humanized by science--will ever feel it. And not what man knows but
+what man feels, concerns art. All else is science.”
+
+Raphael Santi--everybody’s Raphael,--best beloved of all painters, was
+born in Urbino in 1483, the day unknown. He was the son of Giovanni
+Santi, a painter, and was first taught by him. Then it is supposed that
+he studied under Evangelista di Pian di Meleto, with whom he painted
+an altar-piece and worked afterwards with Evangelista’s partner,
+Timoteo Viti. Next we find him assisting Perugino at Perugia and also
+Pintoricchio. In 1504 he went to Florence and fell under the influence
+of Leonardo da Vinci and Fra Bartolommeo. During his four years in
+Florence, Raphael painted a number of important works including the
+_Terranuova Madonna_ (Berlin Museum); the _Small Cowper Madonna_ and
+the _Niccolini Madonna_ (on page 87 and page 85); the _Madonna del
+Cardellino_ (Uffizi); the _Madonna in the Meadow_ (Belvedere, Vienna);
+_La Belle Jardinière_ (Louvre); and a number of portraits including
+the famous self-portrait (Uffizi). He was but twenty-five! Called to
+Rome in 1508 to decorate the Stanze in the Vatican this immense work
+occupied him until 1514. In the meantime, he was given the decoration
+of the Loggia, but while he made the designs, the actual painting of
+“Raphael’s Bible” was done by his pupils. In the pressure of all this
+stupendous work he found time to paint _The Triumph of Galatea_ for
+Agostino Chigi in the Farnesina Palace, _The Madonna della Seggiola_
+(Pitti), the _Portrait of Tommaso Inghirami_ and many portraits. In
+1516 he painted _Baldassare Castiglione_ (Louvre); in 1517 the _Madonna
+di San Sisto_, for the convent of San Sisto at Piacenza (Dresden
+Gallery) and the _St. Cecilia_ (Bologna Gallery). In 1518 he began _The
+Transfiguration_, which was unfinished at the time of his death and
+which was placed beside his bier.
+
+All this magnificent work which expresses such high creative power and
+such vast technical knowledge is the performance of a young man of
+twenty-seven! Had he painted but three pictures, _La Belle Jardinière_,
+the _Madonna of the Chair_, and the _Sistine Madonna_, Raphael’s place
+would have been with the greatest of the immortals. Taking his entire
+list of works into consideration Raphael, perhaps, comes nearer than
+any other painter to the term “inspired.”
+
+
+                         AGONY IN THE GARDEN.
+
+    _Raphael
+    (1483–1520)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+This panel (9½ × 11 inches), was one of four belonging to the Predella
+of the large altar-piece representing the _Madonna Enthroned with
+Saints_, painted by Raphael in 1505 for the Nuns of S. Antonio,
+Perugia. It is, therefore, one of Raphael’s early works.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  AGONY IN THE GARDEN
+
+    --_Raphael_]
+
+The Saviour in a grey robe kneels in prayer at the right near a tree
+and towards him an Angel holding a chalice descends from the clouds.
+The other characters are sleeping: St. John the Evangelist in a green
+and red robe lies upon a grassy bank at the left; St. Peter reclines
+against a grassy mound at the right; and St. James, in a green and
+yellow robe, has propped himself against the tree in the centre. Trees
+and low-lying hills form the background. All four panels forming
+the Predella were purchased from the Nuns of St. Anthony in 1663 by
+Christina, Queen of Sweden. This particular panel--_The Agony in the
+Garden_--passed from the Queen of Sweden’s possession into that
+of Cardinal Azzolini, and thence into the Collection of Don Livio
+Odescalchi, whose heirs sold it to the Regent, the Duc d’Orleans. The
+Orleans Collection was sold in London in 1798 and _The Agony in the
+Garden_ then went into the Bryant Collection. Lord Eldin bought it
+next and subsequently the poet, Samuel Rogers, at whose sale in 1856
+the panel was purchased by the Baroness Burdett-Coutts. After the
+sale of the W. Burdett-Coutts Collection at Christie’s in 1917, the
+panel found its way to New York. The other three panels are: _St.
+Anthony of Padua and St. Francis_ (now in the Dulwich Gallery); the
+_Procession to Calvary_ (in the National Gallery, London); and a
+_Pietà_ (in the Gardner Collection, Boston).
+
+The altar-piece--_The Madonna Enthroned with Saints_--was
+presented to the Metropolitan Museum by the late Mr. J. Pierpont
+Morgan.
+
+
+                            _NORTH ITALIAN_
+
+The greatest painters of Northern Italy were Altichiero Altichieri
+(1330?–1395), Pisanello (1397–1455), Domenico Morone (1442–1503),
+Liberale (1451–1536), Girolamo dai Libri (1474–1503), and Paolo
+Veronese (1528–1588), in Verona; Andrea Mantegna (1431–1506), in
+Padua; and Cosimo Tura (1420?–1495), in Ferrara; Vincenzo Foppa
+(1427?–1515–16), Bramante da Milano (died about 1470), Bartolommeo
+Suardi, called Bramantino (1450?–1536), and Bernardino Luini
+(1475?–1531–2), in Milan; Lorenzo Costa (1460?–1535), and Francesco
+Francia (1450?–1517), in Bologna; Moretto da Brescia (1498–1554), and
+Giambattista Moroni (1520–5–1578), in Brescia; and Antonio Allegri,
+better known as Correggio (1494–1534), in Parma.
+
+The towns of Northern Italy were more or less influenced by Florentine
+artists who worked in various towns and who naturally attracted pupils
+and local assistants. Painters travelled too, a great deal, wishing, as
+they do now, to see the famous works of painters both living and dead
+and of learning the newest and latest technique. Lords and dukes also
+attracted celebrated painters to their courts; and, if they liked them,
+bestowed lavish orders for portraits, for their relatives and friends;
+small devotional pictures for their own cabinets; wall-paintings for
+their villas; and altar-pieces and frescoes for their local churches or
+cathedrals.
+
+Lodovico Sforza, Duke of Milan, sent to Lorenzo de’ Medici on two or
+three occasions to recommend painters from Florence for work that he
+wished to have done. The great intellectual and artistic activity of
+Lombardy at the end of the Fifteenth Century was largely owing to
+Lodovico Sforza, whose Court was one of the most brilliant of the
+day. “Here,” an enthusiastic contemporary exclaimed, “here the muses
+of poetry and the masters of sculpture reigned supreme; here came the
+most distinguished painters from distant regions; here, night and day,
+were heard sounds of such sweet singing and such delicious harmonies of
+music that they seemed to descend from heaven itself.”
+
+New churches and palaces arose in Milan, Pavia, Como, Cremona,
+Piacenza, Lugano, and other places, and artists were necessary for
+decorating them. In 1496, Leonardo having all he could do, Lodovico
+wrote to Florence for a description of the best painters of the day.
+This is what he received; and it is very interesting as showing the
+estimation of the men mentioned while they were living:
+
+“Sandro de Botticello--a most excellent master, both in panel and
+wall-painting. His figures have a manly air and are admirable in
+conception and proportion.
+
+“Filippino di Frati Filippo--an excellent disciple of the above-named
+and a son of the rarest master of our times. His heads have a gentler
+and more suave air; but, we are inclined to think, less art.
+
+“Il Perugino--a rare and singular artist, most excellent in
+wall-painting. His faces have an air of the most angelic sweetness.
+
+“Domenico de Girlandaio--a good master in panels and a better one in
+wall-painting. His figures are good and he is an industrious and active
+master who produces much work.
+
+“All of these masters have given proof of their excellence in the
+Chapel of Pope Sixtus, excepting Filippino, and also in the Spedaletto
+of the Magnificent Laurentio, and their merit is almost equal.[13]
+
+The glimpse Leonardo da Vinci has given us of his life charms us across
+the long shadow of four centuries and more:
+
+“The painter describes himself as living in a fine house, full of
+beautiful paintings and choice objects surrounded by musicians and
+poets. Here he sits at his work, handling a brush full of lovely
+color, never so happy as when he can paint listening to the sound of
+sweet melodies. The spacious _atélier_ is full of scholars and
+apprentices employed in carrying out their master’s ideas, or making
+chemical experiments, but careless of the noise of tools and hammers,
+the fair-haired boy, Angelo, sings his golden song, and, Serafino, the
+wondrous _improvisatore_, chants his own verses to the sound of
+the lyre. Visitors come and go freely--Messer Jacopo of Ferrara, the
+architect, who was so dear to Leonardo as a brother, the courtly poet,
+Gaspare Visconti, and Vincenzo Calmeta, Duchess Beatrice’s secretary,
+or, it may be, the great Messer Galeaz himself, whose big jennet and
+Sicilian horse the master has been drawing as models for the great
+equestrian statue standing outside in the Corte Vecchia. There, among
+them all, the painter bends over his canvas seeking to perfect the
+glazes and scrumbles of his pearly tints, or trying to realize some
+dream of a face that haunts his fancy with its exquisite smile. He
+has, it is true, many labors--(_a tanta faccenda!_) as he wrote
+to the councillors of Piacenza--and at times he hardly knows which way
+to turn; but he is his own master, free to work as he will, now at
+one, now at another. He has no cares nor anxiety. He can dress as he
+pleases, wear rich apparel if he is so minded, or don the plain clothes
+and sober hues that he prefers. He has gold enough and to spare; he can
+help a poorer friend and educate a needy apprentice, or save his money
+for a rainy day; and, above all, he has plenty of books and leisure
+to meditate on philosophical treatises, or ponder over the scientific
+problems in which his soul delights. He can find time to jot down his
+thoughts on many things, to write his great treatise on painting, and
+to draw the wonderful interlaced patterns inscribed with the strange
+words which have puzzled so many generations of commentators. And he
+has friends, too, dear to his heart--Messer Jacopo and the wise Lorenzo
+da Pavia, that master of organs whose hands were as deft in fashioning
+lyres and viols as in drawing out sweet sounds--with whom he loved to
+commune of musical instruments and eternal harmonies, and the boy,
+Andrea Salai, with the beautiful, curling hair, whom he loved to dress
+up in green velvet mantles and shoes with rose-colored ribbons and
+silver buckles. ‘Such,’ he tells us ‘was I, Leonardo the Florentine, at
+the Court of the most illustrious Prince, Signor Lodovic.’”[14]
+
+In such surroundings Leonardo da Vinci spent sixteen happy years,
+during which he exercised all his talents as architect, engineer,
+sculptor, musician, and painter, also designing ingenious settings for
+masques and tournaments and superintending decorations for weddings and
+for other festivities. Here, too, he painted the _Last Supper_
+in the refectory of the Dominican Friars of S. Maria delle Grazie,
+which “Il Moro” had taken under his special protection; the _Virgin
+of the Rocks_ (now in the Louvre), originally for the Church of S.
+Francesco of Milan, and many portraits, including those of Ludovico
+Sforza and of his talented young wife, Beatrice d’Este. When the French
+entered Milan in 1499 Leonardo returned to Italy.
+
+The presence of the supreme and superlative Leonardo in Milan for so
+long a time naturally stimulated art and artists of all kinds and even
+more particularly that of painting and painters. His style dominated
+the Milanese School of painters just as Richard Wagner dominated the
+musical composers of the Nineteenth Century; and we find, particularly
+in the case of Luini, some of the Master’s most engaging qualities
+appreciated and imitated (see page 110).
+
+“It has often been asked,” Marcel Reymond notes in a finely thought-out
+criticism of the Milanese painters, “how it came to pass that Leonardo
+left no disciples in Florence when he created such a strong School
+in Milan. The first cause, in my opinion, should be sought for in
+the laws that presided over the formation and development of the
+Florentine School of painting. This School, created by fresco-painters
+accustomed to works of vast dimensions, did not care to tarry over the
+_finesse_ of execution, or the enumeration of minute details;
+it simplified its vision, attaching itself particularly to the broad
+lines and only retaining of the forms what was essentially expressive
+in them. This character will be noticed at all periods of Florentine
+painting from Giotto, Masaccio, Ghirlandaio, and Andrea del Sarto. When
+the Florentine painters depart from this general conception, it is
+only by accident and almost always in consequence of foreign action,
+an action that will be sometimes that of Flemish painters, such as
+Van der Weyden, or Van der Goes, and sometimes that of the Florentine
+sculptors, who, at a given moment, about the middle of the Fifteenth
+Century, exercised so powerful an influence upon the painters who were
+their contemporaries. The action of Verrocchio in particular was such
+as to transform the style of the Florentine School of Painting and to
+give birth to the so entirely individual, and in certain respects so
+little Florentine, of Leonardo da Vinci.
+
+“But the fact that this new style was outside the traditions of the
+Florentine School of Painting must have hindered its development, and
+in reality Leonardo had no disciple in Florence. With Fra Bartolommeo
+and Andrea del Sarto, it is the old character of the School that
+reappears to follow out its natural evolution through the whole course
+of the Sixteenth Century.
+
+“In the North of Italy, on the contrary, the precision of line and
+observation of detail form a predominant character of those Schools of
+which Mantegna is the most illustrious representative. These Schools,
+therefore, found in Leonardo a teaching that responded to their ancient
+traditions; and we may thus understand how the seed planted by Leonardo
+in the soil of Milan struck such deep root and produced such beautiful
+flowers there.
+
+“But however this may be and whatever may have been the causes of
+this admirable blossoming of Milanese Art in the early years of the
+Sixteenth Century, we may say that it represents in a highly learned
+form one of the researches that have the most occupied Italian
+genius,--I mean the seeking after beauty pursued in the harmonious
+accord between form and poetry.”
+
+Francesco Squarcione (1394–1474), was a native of Padua, the son of a
+notary. Beginning life as a tailor and embroiderer, he chose to become
+a painter, but first he decided to travel. He made a tour through
+Italy and, it is said, visited Greece. It is in 1441 that his name
+first appears in the Paduan Guild of Painters. Squarcione achieved
+more reputation as a teacher than as a painter; and it seems that in
+executing what commissions came to him he either gave over his orders
+to his talented pupils, or had them, indeed, do most of the work under
+his name. It is now thought that it was Mantegna’s refusal to continue
+painting for Squarcione that led to the rupture between master and
+pupil and not Squarcione’s anger at Mantegna’s marrying Nicolosia
+Bellini, which has long been a favorite legend. Squarcione’s school,
+however, was the most famous of its time and brought him the title of
+“Father of Painters.” The list of his pupils runs to about a hundred
+and thirty-seven. One of the features of Squarcione’s workshop was his
+fine collection of fragments of statues which he used as models. It is
+also said on good authority that Squarcione was a dealer in antiquities.
+
+In Padua also lived Jacopo Bellini, with whom Mantegna worked and
+whose daughter Nicolosia he married, a relation that made him, of
+course, brother-in-law to Giovanni and Gentile Bellini. For a number of
+years--presumably from 1444 to 1460--Jacopo Bellini had a workshop in
+Mantua and, here, himself a pupil of Gentile da Fabriano, he trained
+and worked with his two gifted sons and also Andrea Mantegna. This
+_bottega_ became quite a rival of Squarcione’s. Indeed such a
+combination as the three Bellini artists and Andrea Mantegna would
+certainly offer a formidable competition to any rival, at any time, or
+in any place.
+
+The founder of the Ferrarese School was Cosimo Tura (1420?–1495), also
+a pupil of Squarcione, the first Ferrarese painter of eminence; and,
+from 1451, in permanent service of the Dukes at Ferrara. Tura had
+certain affinities for Carlo Crivelli, Melozzo da Forli, and Andrea
+Mantegna.
+
+At Bologna, in 1485, Lorenzo Costa (1460?–1535), a supposed pupil of
+Tura, established himself, thus forming one of the main links between
+the Schools of Ferrara and Bologna; and it was another pupil--also a
+fellow-worker of Costa, Francesco Francia (1450?–1517), who is the
+chief glory of the Bolognese School (see page 107).
+
+In Verona, first comes the Mediæval painter, Altichiero Altichieri
+and next the greater Antonio (or Vittore) Pisano (1397–1455), called
+Pisanello, worker in medals, painter of portraits, and mural decorator
+(see page 99).
+
+The School of Brescia is represented by Alessandro Bonvicino, called
+Moretto da Brescia (1498–1554), influenced by Titian and Raphael and
+considered the greatest provincial painter in Northern Italy of his
+time. Moretto is also famous for having formed Moroni, the great
+portrait-painter (1520–5–1578). Moretto and Moroni are regarded as
+ranking among the greatest portrait-painters of the Sixteenth Century.
+In mode and technique they closely follow the greatest Venetian
+Masters; but the Brecians have a more silvery and a much “cooler” tone
+than Titian and Tintoretto (see page 112).
+
+We have now come to the High Renaissance, where Antonio Allegri,
+called Il Correggio, from his birthplace, a small town near Modena
+(1494–1534), is the dominating personality of the School of Parma.
+Francesco Bianchi (1457–1510), of Ferrara, is his traditional master;
+but he was influenced by Lorenzo Costa, Francesco Francia, and Andrea
+Mantegna. Correggio has been called “an isolated phenomenon in Italian
+art--we look in vain, after his earliest years of practice for any true
+affinity between him and other masters. In his treatment of light and
+shades and of atmosphere he contributed something new to Italian art.”
+
+As the Sixteenth Century progressed the North Italians fell more and
+more under the spell of the Venetians. Dosso Dossi (1479–1541), for
+instance, a painter of Ferrara and a pupil of Lorenzo Costa, went
+to Venice and was charmed by Giorgione and Titian before he became
+court-painter of Alphonso I, Duke of Ferrara, and his wife, Lucrezia
+Borgia.
+
+Northern Italy also claims Paolo Caliari, better known as Paolo
+Veronese (1528–1588), a native of Verona, whence his name; but classed
+with the Venetian School, as he spent the greater part of his life in
+Venice, gorgeously decorating its palaces, churches, and monasteries.
+
+
+                          PORTRAIT OF A LADY.
+
+    _Pisanello
+    (1397–1455)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+This is a particularly rare picture as it is one of only three
+portraits of this painter so far known, the other two being a female
+portrait in the Louvre and a male portrait in Bergamo. Berenson says of
+this portrait: “It is in the most mature and the most sumptuous manner
+of this greatest master of the fascinating epoch between Gothic and
+Renaissance. It has all the direct simplicity of that happy moment when
+art had recovered from the mannerisms of the late Gothic style and was
+still far from the modishness of the ripe Renaissance. How fascinating
+are its qualities of pure decoration!”
+
+The lady is dressed in dark-blue velvet with a curious collar of
+white lawn and grey fur with another collar at its base of spangled
+embroidery and around the waist a narrow girdle to match. The dress is
+profusely decorated with gold filigree beads.
+
+Gold pins are placed in her blonde hair, over which is a head-dress
+of curiously puffed and twisted material decorated by blue and gold
+sequins.
+
+The background is black.
+
+This portrait, painted in tempera on a panel (20¾ × 14¾), was
+purchased by M. Veil-Picard of Paris at the Villeroy Sale in Paris
+in 1922. Adolfo Venturi writes in _L’Arte_ (April, 1925): “The
+Mackay portrait cut off below the waist, rises in the canvas with
+Gothic grace. Picturesqueness is the keynote. The relief, even in
+its slightest parts, has an ideal softness of planes. But in this
+picture Pisanello’s genius has attained its maximum of expression.
+Everything shows an advance on the Louvre picture--the eye sunk deep
+in its socket; the eyebrow like the valve of a shell molded over the
+round, while in the Louvre picture it is a mere silken strip; the ear,
+no longer a mere piece of cartilage, is downy velvet; above all, the
+superb decorative effect of the oval face between the strange volutes
+of the turban and the chains of perforated gold beads.
+
+“In the other portraits the decorative effect is helped by the
+fantastic blossoms standing out against the dark background of the
+hedge, making a greater contrast with the background than with the
+face. In the Mackay portrait the background is equally dark throughout.
+The interest of the face itself is accentuated by the myriad gold
+lights in the gilded trefoils on the dress and in the golden beads of
+the chains (light as balls of silk) and in the nebulous phosphorescence
+of the little balls which adorn the neck of the dress and the dark
+enamel of the ivy on the turban of Oriental splendor. The effect,
+carefully prepared to isolate the face from the surrounding shadow,
+acquires an intensity of refinement. The contrast between the dark
+background and the phosphorescent dress is repeated in that between the
+dark blue material of the dress and in the high lights of this; the
+icy brilliance of the collar cuts into the softness of the fur with
+unexpected suddenness; and the ivory of the flesh contrasts sharply
+with the delicate softness of tone.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  PORTRAIT OF A LADY
+
+    --_Pisanello_]
+
+“The highest pictorial and decorative value in the art of Pisanello
+as a colorist is reached in this Mackay portrait, which represents,
+moreover, one of the most acute character-readings of the penetrating
+eye of the medallist. The proud carriage accentuated by the rigid cut
+of the high velvet collar; the clear-cut outlines of the profile; the
+ram’s horn head-dress; the splendid cap; the well-defined lips, from
+which one expects to hear the sibilant breath issue; above all, the
+keen glance directed downwards under the heavy-veiled eyelids render
+this a picture of frigid haughtiness. The fine lines of the mouth and
+the narrow opening of the eyes are executed with an extraordinary
+penetrating observation and the contour of the face is drawn with a
+delicacy that does all honor to this great master of the silhouette.
+
+“The lines of the face are in complete harmony with the contours
+of the whole figure. The curves repeat themselves in the fantastic
+coiffure, in the fur border of the collar, in the lines of the arm
+and in the chains hanging from the shoulders. And, contrarily, these
+general sweeping curves of coiffure and costume lead up to the finely
+concentrated line of the profile which stands out sharply against a
+black background, as in Pisanello’s painting of _Saint Eustace_,
+in London (National Gallery). The artist has understood perfectly the
+value of contrast between the plastic and the decorative elements.
+The flat planes of the delicate ivory-like face are emphasized by the
+sculpturesque coiffure with its gold ornaments; and just where we would
+naturally look for an accentuation of the physical attributes--on the
+bust and arms--the artist has, through the broad curves of the chains
+and the spacing of the patterns of the dress, emphasized the decorative
+design. Finally, the color of this most decorative masterpiece is
+of the greatest charm. There are tiny lines recalling the delicate
+technique of a piece of Satsuma-ware on the surface of the ivory-tinted
+face that rises from a white collar resting on grey fur while a
+delightful blue predominates in the coiffure and the costume, which is
+enhanced with yellow and gold ornaments.
+
+“The dress itself is of no little charm and belongs to a period
+when costume and figure were attuned to a harmonious whole as has
+seldom happened in the history of costume design. By plucking out the
+hair from her forehead and eyebrows this young woman has created a
+high-domed brow for herself and further emphasized the up-sweeping
+lines by high-arched eyebrows applied with cosmetic. What a burden that
+towering coiffure must have been and how uncomfortable the high collar
+and the girdle drawn tight beneath the breast! Nevertheless she suffers
+these discomforts in the name of fashion with dignity and equanimity.”
+
+Pisanello (whose real name was Antonio Pisano), born about 1397
+(some authorities say 1380 and some 1385), was a renowned painter of
+portraits and religious pictures of highly decorative character as
+well as a famous medallist. Pisanello was a follower of Altichiero and
+was also greatly influenced by Gentile da Fabriano. Of his early life
+little or nothing is known; but the rest of his days he spent wandering
+throughout Italy, now in Mantua, now in Verona, now in Venice, now in
+Rome, now in Naples, and now in Ferrara, cutting medals and painting
+portraits of distinguished personages. In 1439 he was in Mantua as an
+intimate friend of the Marchese Francesco Gonzaga, whom he followed
+at the capture of Verona. Therefore he had to come under the Tribunal
+of the Council of Ten at Venice in 1442. Pisanello’s career coincides
+almost precisely in date with Fra Angelico, Donatello, Ghiberti, and
+Brunelleschi. As a medallist Pisanello was unexcelled. In his paintings
+he shows the spirit of a miniaturist rather than that of a mural
+decorator. He shares with Gentile da Fabriano the charming quality
+of chivalric grace and attention to interesting detail. Pisanello
+must have been especially fond of animals, as his rarely beautiful
+drawings of them preserved in various galleries would seem to prove;
+and, moreover, he was fond of introducing them into his pictures. In
+the _Vision of Saint Eustace_, for instance (National Gallery,
+London), in addition to the stag bearing the cross upon his horns,
+there are various animals and birds as well as the fine horse with its
+gay trappings, on which the handsome Eustace is mounted.
+
+“Altichiero had scarcely ceased covering wall-spaces with pomp and
+circumstance of Mediæval life,” writes Berenson, “when the task was
+taken up by his better-known Renaissance follower, Vittorio Pisanello.
+The larger part of this artist’s work, in fact all his decoration
+of great houses and public palaces, has perished. Even now, after
+earnest efforts to gather together the strewn limbs of his art, only
+six paintings of his can be discovered: two frescoes, two sacred
+subjects, and two portraits. His renown as a painter has, therefore,
+been eclipsed by his fame as a medallist. And, in truth, never, since
+the days when Greek craftsmen modelled coins for proud city states, has
+there been such a moulder of subtle reliefs in miniature. Yet Pisanello
+himself never signed his name without the addition of the word
+_Pictor_ and it was as a painter that he received the stipends of
+princes and the adulation of poets.
+
+“Although he was much more modern than his master, there was nothing in
+his paintings to startle princes and poets, or even less distinguished
+persons, whose education in art consisted then, no doubt, as it does
+now, in confirming a fondness for the kind of picture to which their
+eyes had grown accustomed during childhood and youth. Pisanello,
+although counting as one of the great geniuses of the Renaissance,
+by no means broke with the past. He went, it is true, as far beyond
+Altichiero as Altichiero had gone from his immediate precursors, but
+he betrays no essential difference of intention or spirit. In him
+art-evolution produced a painter most happily fitted to hold up an
+idealizing mirror to a parallel product of social evolution, the sunset
+of Chivalry. No wonder that he was employed along with the kindred
+Gentile da Fabriano by the rich and noble and that he was chosen to
+continue the courtly Umbrian’s tasks.”
+
+
+                      ADORATION OF THE SHEPHERDS.
+
+    _Andrea Mantegna
+    (1431–1506)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+It is more than likely this is the picture described in 1586 as
+“_Presepe_” (manger) in the Este Palace, Ferrara. At all events it
+is an early work.
+
+The Virgin surrounded by cherubs is kneeling in adoration before
+the Holy Child, who is asleep on the bottom of her gown. Near her
+St. Joseph is seated, fast asleep. On the right two Shepherds are
+approaching and, behind them, a Man and a Woman are crossing a bridge.
+High up on the rocks, on the right, two Angels are watching over the
+scene. Behind the simple wooden building, which shelters the group,
+stretches a landscape.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  ADORATION OF THE SHEPHERDS
+
+    --_Andrea Mantegna_]
+
+The panel transferred to canvas (15 × 21½ inches), was formerly in
+the Collection of Mr. C. A. Rouse-Boughton-Knight of Downton Castle,
+Ludlow, Herefordshire, England.
+
+Andrea Mantegna was born in Vicenza in 1431. He was inscribed in the
+Guild at Padua as pupil and adopted son of Squarcione (see page 97) in
+1441 and made the most extraordinary progress in his studies, perfectly
+fascinated with “the antique”. “At a little more than ten years of
+age,” Berenson writes, “Mantegna was adopted by a contractor named
+Squarcione. How much of a painter Squarcione was, we do not know, but
+we do know that he undertook designing and painting to be executed by
+people in his employ. He was also a dealer in antiquities and his shop
+was frequented by the distinguished people who passed through Padua,
+and by the Humanists teaching in the famous University. It happened
+to be a moment when in Italy Antiquity was a religion, nay, more, a
+mystical passion, causing wise men to brood over fragments of Roman
+statuary as if they were sacred relics, and to yearn for ecstatic union
+with the glorified past. To complete the spell, this glorified past
+happened to be the past of their own country.”
+
+Another influence was Donatello, who was working in Padua in 1750
+and after; and still another was Jacopo Bellini. After his marriage
+to Bellini’s daughter and his break with Squarcione, Mantegna went
+to Venice to have his contract with Squarcione cancelled in the Law
+Courts; and, returning to Padua, he continued his work on important
+frescoes. In 1460 Mantegna removed to the Court of Mantua at the
+invitation of the Marchese Lodovico Gonzaga and in addition to his
+painting he designed for pageants and festivals, and decorated villas
+and palaces, just as Leonardo da Vinci was destined to do a few years
+later for another Lodovico,--“Il Moro,” Regent and, later, Duke of
+Milan. Mantegna also at this period designed for goldsmiths. When
+Francesco Gonzaga succeeded his father, Mantegna remained at the Court
+of Mantua and became the supreme arbiter of the taste of the day.
+For Francesco’s wife, Isabella d’Este (sister of “Il Moro’s” wife,
+Beatrice d’Este) and for her mother, the Duchess of Ferrara, Mantegna
+painted some of his most famous pictures, such as the _Triumph of
+Cæsar_ (now at Hampton Court Palace) and the _Madonna and Child
+with Singing Cherubs_ (now in the Brera). On leaving for Rome in
+1788 Mantegna was knighted. In Rome he decorated the Belvedere Chapel
+for Pope Innocent VIII. To his last period belong delicate and lovely
+mythological pieces, including the _Parnassus_ (now in the Louvre)
+and the strong and decorative painting of _Judith with the Head of
+Holofernes_ (now in the Widener Collection).
+
+When Mantegna died in 1506, Lorenzo da Pavia (see page 95) wrote to
+Isabella d’Este: “The death of our Master Andrea causes me great
+sorrow, for in him a second Apelles has passed away; I do believe that
+the Lord God wishes to employ him for the creation of some beautiful
+work. I can never hope to meet a finer draughtsman nor a more original
+artist.”
+
+Padua, Mantua, Venice,--all felt Mantegna’s influence.
+
+
+         VIRGIN AND CHILD WITH THE INFANT ST. JOHN AND ANGEL.
+
+    _Francia
+    (1450?–1517)._
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+This picture came from the Collection of the Comtesse Edmond de
+Pourtales of Paris and shows the Virgin seated and holding the nude
+Infant Jesus on her right knee. She is wearing a crimson dress
+edged with gold embroidery and a blue mantle, also edged with gold
+embroidery, which is drawn over her head. Beneath this a white gauze
+veil covers her hair. The Holy Child has raised His right hand in
+benediction while in His left he holds a blue ball. The Angel on the
+right wears a rose-colored tunic and yellow mantle and is adorned with
+jewels. By his side and with one foot on a balustrade stands the Infant
+St. John, dressed in blue and carrying a slender cross over his left
+shoulder.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  VIRGIN AND CHILD WITH THE INFANT ST. JOHN AND ANGEL
+
+    --_Francia_]
+
+Of this panel (23½ × 19¾ inches), painted in oil, Berenson says:
+“If this most famous of the Bolognese artists ever painted a more
+delightful picture than the present one, it remains unknown to me.
+Perhaps its only rival in my affections would be the Munich picture
+of the _Virgin in the Rose Garden_ where, however, it is not the
+faces but the pale roses against the flat green that give the work its
+special charm.”
+
+Francesco Raibolini, who took the name Francia from a master-goldsmith
+to whom he was apprenticed, was born in Bologna in 1450, the son of
+a carpenter. He spent his early years working in metals and settings
+for jewels and became very expert in _niello_, gold and silver
+enamels, and designs for jewelry. He also acquired a reputation for his
+coins and medals, so much so indeed that Giovanni Bentivoglio II, who
+became his patron, appointed him his master of the mint. Moreover, in
+1511 Francia was elected one of the _Golfalonieri_ of the people;
+in 1512 re-elected to the mastership of the Goldsmith’s Guild; and in
+1514 he became “Master of the Four Arts.” It is thought that he began
+to paint about 1483, when Lorenzo Costa came to Bologna and formed a
+friendship with Francia. Be this as it may, he worked with Costa on an
+altar-piece for the Church of the Misericordia and the influence of
+Costa is apparent in much of his work. Francia also painted with Costa
+in 1505–1507 the series of frescoes in the Chapel of St. Cecilia and
+the _Madonna del Terremoto_ in the Palazzo Communale, Bologna.
+Francia painted Madonnas all his life; and in addition to these
+religious pictures, he painted a number of splendid portraits. He died
+in Bologna in 1517. One of his pupils was Timoteo Viti, who in turn was
+Raphael’s early teacher and imparted to him some of Francia’s quality,
+particularly in the general appearance of the Madonna and the full
+rounded contours of the figures. About 1500 Francia began to develop
+his own personal style.
+
+
+                          PORTRAIT OF A LADY.
+
+    _Bernardino Luini
+    (1475?–1531–2)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+The first thing we notice in this picture is a very peculiar
+head-dress--large and round and fleecy.
+
+The figure is half-length, life-size, and faces us so that we gain
+a very good idea of the unknown lady, so boldly set forth from the
+background of a green curtain. She wears a dark-grey dress, a white
+embroidered _chemisette_ and a jewelled cross hanging from a
+gold chain which she is fingering lightly. In her right hand is a pet
+marten. The hands, it should be noted, are beautifully drawn. This,
+an oil painting on panel (29 × 21½), came from the Benson Collection,
+having been previously in the Collection of Mr. F. R. Leyland.
+
+Bernardino Luini was born at Luini, near the Lago Maggiore about
+1475, and died in Milan in 1531 or 1532. Luini worked chiefly in the
+vicinity of Milan and painted a great many frescoes. He is said to
+have been a pupil of Borgognone; but whether that be true or not, most
+certainly Leonardo da Vinci was his real master. It was assuredly
+from the painter of the _Mona Lisa_ that Luini learned how to
+paint a charming woman with refined features breaking into a radiant
+and enchanting smile. Luini painted many notable religious pictures,
+including admirable Madonnas, but his loveliest work is the portrait
+of a Milanese lady known as _The Columbine_, in The Hermitage
+Gallery, gazing at the flower she is holding in her hand, from which
+the picture takes its name.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  PORTRAIT OF A LADY
+
+    --_Luini_]
+
+“Luini’s female creations are so exquisite that for a long time
+people supposed that Leonardo alone was capable of conceiving them,”
+writes Marcel Reymond, “and permanently recording their loveliness;
+but now this injustice has come to an end and Luini’s art appears
+before us with sharply determined characteristics that prevent us from
+confounding it with Leonardo’s art; first of all, from the point of
+view of technique, it must be remembered that Leonardo works like a
+master born about 1450 and Luini like one born after 1470. With Luini
+the workmanship is less precise than with Leonardo, while the stroke is
+less restrained and the modelling freer.”
+
+
+                        TITIAN’S SCHOOLMASTER.
+
+    _Giambattista Moroni
+    (1520–5–1578)._
+
+    _Collection of
+    Mr. Joseph E. Widener._
+
+In the National Gallery, London, there is a striking portrait of a
+_Tailor_--known as the _Tagliapanni_--standing behind his board, at
+half-length, with shears in his right hand and a piece of cloth in his
+left, looking inquiringly at the spectator. It is forceful, attractive,
+commands attention, and lives in the memory of all who have looked upon
+it. Moroni’s _Tailor_ is one of the great portraits of the world. The
+merest glance at the picture represented here would tell you that it
+is by the same hand. The means of producing a striking effect are even
+simpler than in the London portrait.
+
+The title is entirely fanciful, but it accords well with the subject,
+a pleasant, genial man with an intellectual countenance. He seems to
+be about sixty years of age and is dressed in black with white linen
+collar and a black cap. His beard is grey. He is sitting sideways in
+a chair that is often described to-day (and for no reason whatever)
+as a “Savonarola Chair,” resting his left arm on the arm of the chair
+and holding a book in his right. It would appear that he has just
+been interrupted in his reading--pleasantly, too, it would seem--and
+is keeping the page he has left off reading with one finger between
+the leaves. The hands are marvellously drawn and painted, as is also
+the ring on the left hand. Van Dyck admired this picture so much that
+he made a sketch of it in his Italian sketch-book (which is now at
+Chatsworth).
+
+This portrait in oils on canvas (38 × 29½ inches) was long in the
+Borghese Gallery at Rome, and then at the beginning of the Nineteenth
+Century it was purchased by the Marquis of Stafford. From the Duke of
+Northumberland’s Collection, Stafford House, it passed to the present
+owner.
+
+  [Illustration:
+
+   _Collection of Mr. Joseph E. Widener_
+
+  TITIAN’S SCHOOLMASTER
+
+    --_Moroni_]
+
+Moroni’s great fame, even in his own day, was as a portrait-painter;
+and it is said that when people from Bergamo and its vicinity went to
+Titian to have their portraits painted, he told them to go home and sit
+to their own countryman. Moroni was a pupil of Moretto at Brescia, was
+influenced by Lotto and Titian, and he, in his turn, influenced Van
+Dyck.
+
+Moroni was born at Bondo in Bergamo between 1520 and 1525 and died at
+Bergamo in 1578.
+
+
+                              _VENETIAN_
+
+“It is evident,” wrote Taine, “that, while following a path of its own,
+Venetian Painting developed as in the rest of Italy. It issued here, as
+elsewhere, from missals and mosaics and was at first in sympathy with
+purely Christian emotion; then, by degrees, the feeling for beautiful
+human life introduced into the altar-frames vigorous and healthy
+bodies taken from contemporary types; and we wonder at the placid,
+expressions and religious physiognomies on the blooming faces in which
+the youthful blood circulates and sustains innate temperament. This is
+the confluence of two spirits and two ages: one, the Christian, which
+is fading away; the other, the Pagan, which is in the ascendant. In
+Venetian Art special traits are distinguished. The people are more
+closely copied from life and are less transformed by Classic or mystic
+sentiment, not so pure as at Perugia, not so noble as at Florence:
+they are addressed more to the senses than to the mind or the heart;
+they are more quickly recognized as men and give greater pleasure to
+the eye. Strong and lively tones color their muscles and their faces;
+living flesh is soft on their shoulders and on the thighs of little
+children; clear landscapes open into the distance to make the deeper
+tints of the figure stand out; saints gather around the Virgin in a
+variety of attitudes unknown to the other Primitive Schools with their
+uniform processions. At the height of its fervor and faith the national
+spirit, fond of diversity and joy, allows a smile to escape.”
+
+Venice was slow in abandoning Byzantine tradition. Changes begin to be
+apparent in the Fourteenth Century. Walter Pater notes: “The beginnings
+of Venetian Painting link themselves to the last, stiff, half-barbaric
+splendors of Byzantine decoration and are but the introduction into the
+crust of marble and gold on the walls of the Duomo of Murano, or of St.
+Mark’s, of a little more of human expression. And throughout the course
+of its later development, always subordinate to architectural effect,
+the work of the Venetian School never escaped from the influence of
+its beginnings. Unassisted, and therefore, unperplexed by naturalism,
+religious mysticism, philosophical theories, it had no Giotto, no
+Fra Angelico, no Botticelli. Except from the stress of thought or
+sentiment, which taxed so severely the resources of the generations of
+Florentine artists, those earlier Venetian painters, down to Carpaccio
+and the Bellini, seem never for a moment to have been tempted even to
+lose sight of the scope of their art in its strictness, or to forget
+that painting must be before all things decorative, a thing for the
+eye, a space of color on the wall, only more dexterously blent than the
+marking of its precious stone, or the chance interchange of sun and
+shade upon it--this to begin and end with--whatever higher matter of
+thought, or poetry, or religious reverie, might play its part therein,
+between.”
+
+During the Fifteenth Century Venice began to be influenced by painters
+from other cities, particularly by Gentile da Fabriano (see page 74)
+and Pisanello (see page 99), who were sent for to decorate the Doge’s
+Palace. Gentile da Fabriano represented all the latest “modernistic”
+ideas of his day. Among the Venetians who were most profoundly
+influenced by him was Jacopo Bellini (who later went to Padua).
+Jacopo, in spite of his contact with Squarcione and Andrea Mantegna
+(who married his daughter), remained “Gothic” in essentials. Jacopo
+Bellini had one of the largest _bottegas_ in Venice; and this
+_bottega_ was continued by his gifted sons, Giovanni and Gentile.
+
+Jacopo was a talented painter who had worked in Florence as well as
+Padua, but who really belongs to Venice.
+
+The great rivals of the Bellini painters were the Vivarini on the
+Island of Murano. The Vivarini, the first of whom was Antonio da
+Murano (active 1440–1476 or 1484), who played a great part in the
+development of the Venetian School and whose work consisted of enormous
+altar-pieces of many compartments set in Gothic framework of very
+ornate character and profusely adorned with gold; Bartolommeo Vivarini,
+Antonio’s younger brother (1431?–1499?), in whose work the influence of
+the Paduan School of Squarcione is marked and also that of Antonello
+da Messina; and Antonio’s son, Alvise Vivarini (1447–1504), a pupil of
+his father and uncle, who was working in 1474 with Giovanni Bellini
+in the Scuola di San Girolamo in Venice and whose portraits show the
+influence of Antonello da Messina.
+
+Carlo Crivelli (1430?–1493?), if not a Venetian by birth, which is most
+probable, is classed as belonging to the Venetian School. Crivelli
+was a fellow-pupil of Bartolommeo Vivarini under Antonio da Murano
+(Vivarini), and Squarcione. Like Mantegna, Crivelli kept to tempera
+painting; Crivelli stands alone for his wonderful decorative qualities
+(see page 125 and page 128).
+
+Antonello da Messina (1430–1479) was a contemporary of Crivelli and
+is particularly distinguished for introducing into Italy the Flemish
+system of painting with oils. In his pictures the influence of the
+Bellini is apparent (see page 124).
+
+Giovanni Bellini (1428–30–1516), one of the greatest painters of the
+Fifteenth Century, was trained by his father, Jacopo Bellini. Next
+he followed in the footsteps of Squarcione and Andrea Mantegna; but
+he changed his style, as well as his technique, gradually abandoning
+tempera for the new practice in oils, which he was one of the first to
+master. In some respects Giovanni Bellini was influenced by his own
+pupil, Giorgione (see page 118). Gentile Bellini (1426–9–1507), was
+named, it is interesting to note, for Gentile da Fabriano, his father’s
+master and friend. Gentile, trained by his father, Jacopo, was called
+upon to paint the organ-shutters at St. Mark’s with colossal figures
+of St. Mark, St. Theodore, St. Jerome, and St. Francis; was knighted
+by Frederic III in 1469; and was employed to restore the frescoes of
+Gentile da Fabriano in the Hall of the Grand Council in the Doge’s
+Palace, a commission which carried with it the honor of painting the
+portrait of every new Doge. Sent for by the Sultan of Constantinople,
+Mohammed II, to paint his portrait, Gentile sailed for Constantinople
+in 1479 and returned in 1480 with the title of Bey. Gentile then joined
+his brother, Giovanni, who was working on the Fabriano frescoes. The
+Bellini brothers also painted on canvas a series of pictures portraying
+the legend of Frederic Barbarossa and Pope Alexander III, which
+perished in the fire of 1577. Gentile’s _Procession of Corpus Christi
+of 1496_ has been pronounced “the most important extant work of the
+Venetian School previous to the advent of Titian.”
+
+The _bottegas_ of the Bellini and Vivarini naturally produced
+a host of able painters, among whom were Marco Basaiti (active
+1500–1521); Lazzaro Bastiani (active 1449–1512); Cima da Conegliano
+(1460?–1517?); and Jacopo Bassano (1510?–1592). Vittore Carpaccio
+(1450?–1526?), was a follower of Gentile Bellini; and the stories
+he told in paint, such as the series depicting the _Life of Saint
+Ursula_, belong to the great works of Venice.
+
+Giorgione (1477–1510) is the next important name. Little or nothing
+is known of his life, except that he was born of humble parents at
+Castelfranco. By 1500 his reputation was established, for he was then
+painting important works. Among these was a picture for the Hall of
+Audience in the Doge’s Palace and some fresco decorations for the
+exterior of the Fondaco dei Tedeschi, the bank of the German merchants
+in Venice. Giorgione was a pupil and follower of the Bellini and had
+much influence upon Giovanni Bellini. Giorgione died of the Plague in
+his thirty-fourth year. Giorgione stands alone for his romantic and
+lyrical qualities and for his penetrating charm. He is notable, too,
+for having introduced music into his pictures, or rather persons who
+are playing upon instruments.
+
+Apart from his delightful qualities Giorgione is of the greatest
+importance in the evolution of painting. Walter Pater writes:
+“Giorgione is the inventor of _genre_, of those easily movable
+pictures which serve for uses, neither of devotion nor of allegorical,
+or historical teaching--little groups of real men and women,
+amid congruous furniture or landscape--morsels of actual life,
+conversation, or music, or play, refined upon or idealized, till they
+come to seem like glimpses of life from afar. Those spaces of more
+cunningly blent color, obediently filling their place, hitherto, in
+a mere architectural scheme, Giorgione detaches from the wall; he
+frames them by the hands of some skillful carver, so that people may
+move them readily and take with them where they go, like a poem in
+manuscript, or a musical instrument, to be used, at will, as a means of
+self-education, stimulus or solace, coming like an animated presence,
+into one’s cabinet, to enrich the air as with some choice aroma, and,
+like persons, live with us, for a day or a lifetime. Of all art like
+this, art which has played so large a part in men’s culture since that
+time, Giorgione is the initiator.”
+
+Titian, or rather Tiziano Vecello (1477?–1576), fellow-pupil of
+Giorgione, of Gentile and Giovanni Bellini and assistant to Giorgione
+in decorating the Fondaco dei Tedeschi (which established a new era in
+Italian painting), was the leading painter of his day (see page 140).
+
+Bartolommeo Veneto, of Veneziano (1480–1555), pupil of Giovanni
+Bellini, became a famous portrait-painter. (See page 148.)
+
+Tintoretto, the magnificent Venetian, was nicknamed “Il Furioso,”
+because of his great technical powers that include astonishing display
+of foreshortening and many curious effects in light and color, as
+well as in form. Ruskin says Tintoretto (or Tintoret, call him as you
+please) made “figures lovely in themselves, content that they should
+_deserve_ not _demand_, your attention.”
+
+Playing with a full orchestra of color and understanding how to produce
+the most luminous effects of light, the great Venetian filled Venice
+with marvellous pictures. Tintoretto was equal to the immense work he
+undertook and his noble brush never left anything that was unworthy of
+it. Tintoretto, whose real name was Jacopo Robusti (1518–1594), was
+apprenticed to Titian and was influenced by Titian, Palma Vecchio,
+Michelangelo, and Parmigiano (of the School of Palma and follower of
+Correggio).
+
+“There is one only--the last and greatest of the Venetians of the
+Renaissance--who could sound all the notes of tragedy and pathos
+as well as notes of joy. Tintoretto, the supreme Venetian, the
+greatest exponent of the essential spirit of Venice, is the son of a
+wider kingdom than hers and of a greater age than the Renaissance.
+Unsurpassed as a designer and colorist, he is endowed throughout with
+the peculiar gifts of Venice; but during those years of passionate
+study, in which he was winning here and there the secrets of his
+art, hungry for knowledge, careless of gain, and bargaining only for
+material in which to realize his conceptions,--during those years in
+which he lived alone in continual meditation on some fresh labor, he
+was probing the deep and passionate things of humanity as no Venetian
+artist had ever probed them before. The streets and churches of the
+city seem to echo still to the steps of this genius at once so robust,
+so tender, so profound, and so joyous.”[15]
+
+Paolo Veronese, or rather Paolo Caliari (1528–1588), a native of
+Verona, whence his name, is one of the most delightful of painters.
+J. Buisson considers Veronese of all the painters of Italy “the one
+whose work best serves to particularize the art of painting” and this
+able French critic goes on to say that “Veronese painted the Venetian
+Beautiful as the Greeks sculptured the Hellenic Beautiful” and that
+“Paul Veronese is of all the colorists, without a single exception, the
+one who has most unity. He is the most ethereal of the colorists. He is
+the painter of the air, both out-of-doors and in-doors. His values are
+impeccable and his shadows are at once transparent and full of color,
+without any artifice, such as Rubens’s exaggerated reflections, or the
+excessive sacrifices, which in Rembrandt are almost equivalent to a
+monotone in those parts that are lacking in light. His lights are broad
+and steady although modelled without any gleams, but of so shining a
+quality that they are positively radiant. Happy artist! He had the eye
+of the most perfect colorist ever known, able to perceive at the same
+time the different qualities of light and color and their variations
+in intensity and values and he possessed the gift to reveal them with
+marvellous art to ordinary mortals. Optics applied to his pictures show
+no law that he did not know and practice. Moreover, around his perfect
+visions of color are grouped other qualities, such as imagination,
+taste, rhythm, elegance, nobility, and magnificence in decoration. His
+hand is the equal of his eye. The rapidity of his brush may be compared
+only to that of Velasquez and to that of Rubens.”
+
+This great period, Taine sums up as follows:
+
+“The more we consider the ideal figures of Venetian Art, the more we
+feel the breath of an heroic age behind us. Those great, toga-draped,
+old men with the bald foreheads are the Patrician Kings of the
+Archipelago, Moorish Sultans, who, trailing their silken _simars_,
+received tribute and ordered executions. The superb women in sweeping
+robes, bedizened and jewelled, are Empress-daughters of the Republic,
+like that Caterina Cornaro from whom Venice received Cyprus. There
+are the muscles of fighters in the bronzed breasts of the sailors
+and captains; their bodies, reddened by the sun and the wind, have
+dashed against the athletic bodies of Janizaries; their turbans, their
+_pelisses_, their furs, their sword-hilts constellated with
+precious stones--all the magnificence of Asia is mingled on their
+bodies with the floating draperies of Classic times and the nudities of
+Pagan tradition.”
+
+Sebastian del Piombo (1485?–1547), pupil of Giovanni Bellini and
+Giorgione, preferred oil to fresco and this led to a famous quarrel
+between him and Michelangelo. Palma Vecchio (1480–1528), standing
+first in the second rank of Bellini-Giorgione followers, is another
+important painter. Lorenzo Lotto (1480–1556), pupil of Alvise Vivarini,
+painted with Raphael in the Vatican in 1508–9 and naturally fell under
+Raphael’s spell. Lotto spent much time in Bergamo; was touched by
+Correggio’s spirit; and, after 1529, was affected by Titian.
+
+Paris Bordone (1500–1571), a gorgeous colorist, pupil and follower
+of Giorgione and Titian (and slightly touched by Palma Vecchio),
+was famous for his portraits, mythological pictures, and for that
+masterpiece entitled _The Fisherman Presenting the Ring of St. Mark
+to the Doge_ (now in the Accademia at Venice).
+
+“These Venetian artists of the Renaissance,” says d’Annunzio, “create
+in a medium that is itself a joyous mystery--in color, the ornament
+of the world, in color which seems to be the striving of the spirit
+to become light. And the entirely new _musical understanding they
+have of color_ acts in such a way that their creation transcends
+the narrow limits of the symbols it represents and assumes the lofty,
+revealing faculty of an infinite harmony.”
+
+To the Eighteenth Century belongs Giovanni Battista Tiepolo
+(1696–1769), famous as a designer and colorist, influenced by Veronese,
+and a decorator of palaces and villas in Venice, Genoa, Milan,
+Würzburg, and Madrid, where he died. Tiepolo married Guardi’s sister in
+1715.
+
+Canaletto, or Giovanni Antonio da Canale (1697–1768), son of Bernardo
+da Canale, a scene-painter, is famous for his views of Venice and for
+being the teacher of Guardi.
+
+Francesco Guardi (1712–1793), a native Venetian, but of Austrian
+stock, a follower of his master Canaletto, was also celebrated for his
+Venetian views (see page 153).
+
+“Venice herself” writes Berenson, “had not grown less beautiful in her
+decline. Indeed, the building which occupies the very centre of the
+picture Venice leaves in the mind--the Salute--was not built until the
+Seventeenth Century. This was the picture that the Venetian himself
+loved to have painted for him and that the stranger wanted to carry
+away. Canale painted Venice with a feeling for space and atmosphere,
+with a mastery over the delicate effects of mist peculiar to the city,
+that make his view of the Salute, the Grand Canal, and the Piazzetta
+still seem more like Venice than all the pictures that have been
+painted since. Later in the century Canale was followed by Guardi, who
+executed smaller views with more of an eye for the picturesque, and for
+what may be called instantaneous effects, thus anticipating both the
+Romantic and the Impressionist painters of our own century.”
+
+To the Eighteenth Century also belongs Pietro Longhi (1702–1785?),
+influenced by Guardi, but called “The Goldini of painters,” because
+of his bright comedies of manners, somewhat in the _genre_ of
+Watteau, Pater, and Lancret.
+
+“Longhi painted for the picture-loving Venetians,” says Berenson,
+“their own lives in all their ordinary domestic and fashionable phases.
+In the hair-dressing scenes we hear the gossip of the periwigged
+barber; in the dressmaking scenes the chatter of the maid; in the
+dancing-school, the pleasant music of the violin. There is no tragic
+note anywhere. Everybody dresses, dances, makes bows, takes coffee,
+as if there were nothing else in the world that wanted doing. A tone
+of high courtesy, of great refinement, coupled with an all-pervading
+cheerfulness, distinguishes Longhi’s pictures from the works of
+Hogarth, at once so brutal and so full of presage of change.”
+
+
+                          MADONNA AND CHILD.
+
+    _Antonello da Messina_
+    (_1430–1479_).
+
+    _Collection of
+    Mr. Clarence H. Mackay._
+
+The Virgin, slightly under life-size, stands behind a stone parapet,
+three-quarter face to left, apparently in a reverie with half-closed
+eyelids. She wears a red and gold brocade gown and a blue mantle
+carried up over her head and falling in a straight line, but for
+one small plait, to her left arm. The Holy Child is seated upon a
+green cushion on the parapet and is wrapped in a brick-red shawl.
+With His left arm around His mother’s neck and right hand in her
+bosom, He gazes straight ahead. The flesh-tones are pale with clear,
+light-brown shadows and the rose-leaf lips and cylindrical fingers with
+filbert-shaped nails are to be noticed and admired.
+
+  [Illustration:
+
+   _Collection of Mr. Clarence H. Mackay_
+
+  MADONNA AND CHILD
+
+    --_Antonello da Messina_]
+
+This oil painting on panel (23 × 16 inches), comes from the Benson
+Collection. Antonello da Messina, also known as Antonello di Giovanni
+degli Antoni, holds a very important place in the development of
+Painting, because _it is owing to him that the Flemish system of
+painting in oil was adopted in Italy_, although Italian painters had
+been previously acquainted with the process, for they knew the works of
+the Van Eycks and Roger van der Weyden. It is supposed that Antonello,
+who was born in Messina in 1430, visited Flanders. It is certain,
+however, that Antonello was travelling in Italy in 1457–1460 and he may
+have met Roger van der Weyden, who visited Italy in 1450. Antonello da
+Messina was certainly in Venice in 1475–1476. He died in 1479, leaving
+a son, Jacobello, or Jacopo degli Antoni, and a nephew, Antonello di
+Saliba, both of whom were painters. It seems that Antonello da Messina
+and the Bellini exchanged many ideas and were of great mutual benefit.
+It is supposed that Antonello da Messina encouraged Giovanni Bellini to
+try painting in oils. _St. Jerome in his Study_ in the National
+Gallery, London, shows the new character that Antonello brought into
+the Italian painting of his day.
+
+
+                          MADONNA AND CHILD.
+
+    _Carlo Crivelli_
+    (_1430?–1493?_).
+
+    _Collection of
+    Mr. A. W. Erickson._
+
+Before analysing this delightful picture, let us read an appreciation
+of a most fascinating and not too well-understood painter by Cosmo
+Monkhouse: “Carlo Crivelli is a Venetian artist of whom we know
+little but what can be gathered from pictures. He is supposed to have
+been born about 1430 and his dated works range from 1468 to 1493. He
+was a Venetian by birth and from his mode it would appear certain
+that he studied under Squarcione at Padua and probably also under
+Vivarini at Venice. But he perfected a style and one marked by so many
+peculiarities that despite all affinities which may be traced with
+other masters he stands out clear and distinct by himself.
+
+“In the first place, he is unique as a colorist. He belongs, indeed,
+to the old mosaic and illumination school of color, not to the school
+of ‘great schemes,’ in which the masses are blent into one great
+harmony. The masses, or patches, of color are isolated and produce a
+pleasant variegation without fusion. His color is thin, also, as of a
+superficial tinting, not affecting the substance. His flesh is hard
+and opaque, his flowers leathery, his fruit, though finely drawn and
+beautifully colored, of a stony texture, his draperies anything but
+soft. It is only in hard smooth things, like pottery and glass, that
+you get the true consistency as well as the true color. Yet his color
+is exquisite of its kind, brilliant and transparent like enamel, and
+the different tints in themselves are lovely and varied. Such reds and
+greens and lilacs and salmon-pinks and a hundred other combinations
+of the primaries are scarcely to be matched in the work of any other
+artist. Nor has anyone been more skillful in the use of gold in
+connection with color.
+
+“There is scarcely any need to call attention to Crivelli’s special
+gift as a designer of decoration. Almost every square inch of his
+canvas attests the inexhaustible richness of his invention--an
+invention fed no doubt from the rich products of Oriental looms of
+which Venice was the emporium.
+
+“Crivelli wrought only for the Church and appears to have spent
+most of his life at Ascoli, but neither restriction of subject and
+feeling, nor provincial residence, could fetter his genius. There is,
+indeed, no artist of more striking individuality than Carlo Crivelli,
+no one who had more complete mastery over his means of expression, or
+attained more nearly to his ideal. This ideal was not the ‘_beau
+ideal_’--that is to say, the perfection of physical beauty--it was
+an ideal of character, the embodiment of the essential qualities of
+his subject. One cannot help regarding Crivelli as a man of knowledge
+and intellect, of charming manners, refined almost to fastidiousness,
+delighting in all things dainty and beautiful, a lover of animals and
+of his kind.”
+
+This picture, an oil painting on panel (38 × 17 inches), came from the
+Benson Collection, having been previously in the Collection of Mr. G.
+H. Marland (sold in 1863), and in the Collection of Mr. William Graham
+(sold in 1886). The Virgin, a small full-length figure, is seated on a
+red and white marble throne, wearing a pale-red robe and a gold brocade
+mantle lined with green carried up over the head, which is adorned
+with a white veil. The Holy Child, standing on her lap, has on a gold
+dress and a white sash. Behind these two figures there is a hanging
+of pale-red, watered silk and behind the throne again there is a gold
+hanging with the pomegranate pattern. The Holy Child turns to the
+right in the act of blessing. On the step of the throne, which has a
+conspicuous crack, two pears[16] are lying; and they have attracted a
+fly. The step is inscribed: “Carolvs Crivellvs Venetvs Pinsit, 1472.”
+
+  [Illustration:
+
+   _Collection of Mr. A. W. Erickson_
+
+  MADONNA AND CHILD
+
+    --_Crivelli_]
+
+“The effect is archaic and almost Byzantine,” G. McNeil Rushforth
+writes in his _Carlo Crivelli_ (London, 1900), “but its merits
+are very great.” “Though on a comparatively small scale the decorative
+effect is superb. The Child’s head is heavy and inferior to that of
+the Virgin, but the action is lively and realistic. The great charm,
+however, of the picture is the Virgin. Her features are not beautiful
+and the drawing of the hands might be criticized. But if ever grace
+and dignity were conceived and executed by Crivelli, they are here.
+Preëminently does this Virgin possess all that we understand by
+distinction. Taken separately, the turn of the head and the action of
+the fingers might be called affected. But they do not offend as parts
+of the whole, so perfectly has the artist defined the ideal that was
+before his mind. A curious feature in the picture is the treatment of
+the drapery. The folds of the brocaded mantle are more elaborate than
+anything which Crivelli had yet attempted, and they are expressed by
+clear-cut lines without any shadow.”
+
+
+                          MADONNA AND CHILD.
+
+    _Carlo Crivelli
+    (1430?–1493?)._
+
+    _Collection of
+    Mr. Philip Lehman._
+
+This beautiful picture belongs to Crivelli’s greatest period, when
+the artist had reached the height of his powers, had attained perfect
+command of the problems of composition, and had gained the technique to
+represent those materials he delighted in,--such as brocades, marbles,
+and garlands of fruit, which he always combined with such decorative
+beauty. Roger Fry says of this picture: “It has, in a supreme degree,
+the delicacy and the almost metallic incisiveness of Crivelli’s contour
+as well as the firmness and brilliance of his painting. The Madonna
+supporting the Child upon her right arm, is seated in one of those
+sumptuous Renaissance thrones, which Crivelli loved to elaborate with
+every conceivable ingenuity of invention. Though the forms are intended
+to be Classic, it is evident from the proportions of the mouldings
+and something in the character of the detail that Crivelli is still
+essentially an old Venetian artist, one who uses Classical conventions
+with a Gothic exuberance.
+
+  [Illustration:
+
+   _Collection of Mr. Philip Lehman_
+
+  MADONNA AND CHILD
+
+    --_Crivelli_]
+
+“This is a work of Crivelli’s prime. Indeed, it would be hard to
+name another design in which he shows quite such mastery as he does
+here. There is hardly another work in which the sequence of lines
+is so suave, its flow so uninterrupted, or in which the movements
+of the figures harmonize so perfectly. It is already almost a
+_cinque-cento_ work as regards the amplitude of its forms and the
+breadth of its divisions. One notes, for instance, that the fruits
+hanging on the throne are even more enlarged and more massed than
+usual, so that the quantities of relief support and carry out the
+relief of the figures in a remarkable manner. Much of the earlier
+intensity of feeling has undoubtedly gone. This has none of the
+strange, brooding pathos of the early Madonnas, nor has it the sharp
+individual accent of their faces. The works with which it appears to be
+most akin are the Vatican _Madonna_ and the Triptych in the Brera,
+both of 1482.”
+
+
+          THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE,
+                  ST. PETER AND ST. JOHN THE BAPTIST.
+
+    _Giovanni Bellini
+    (1428–30–1516)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+This is the type of group picture known as a “Holy Conversation” and
+represents the Virgin and Child with Saints. It seems to have been
+painted when Bellini was between seventy-two and seventy-seven years of
+age and between the years 1500 and 1505.
+
+The figures are three-quarter length and under life-size and the
+picture, which is an oil painting on canvas, measures 38 × 60 inches.
+The Virgin is seated in the centre with a dark-grey curtain behind
+her and a marble balustrade in front of her. She wears a rose-colored
+tunic and a blue mantle lined with a changeable green and yellow silk.
+The Holy Child leans back against her right arm. On her right stands
+St. Catherine with a rope of pearls twisted in her hair and St. Lucy,
+on her left, wearing a myrtle wreath and holding a tall standing-cup
+of Venetian glass. St. John the Baptist, wearing a green mantle,
+stands on the right, looking downward with bended head; and St.
+Peter, in orange-brown cloak with book and key, stands on the left.
+A very decorative effect is derived from the palm-branches, which
+curve upwards into the top corners of the picture. A range of distant
+hills appears in the background and on the _cartellino_ on the
+balustrade is the signature in script, “Ioannes Bellinus.”
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE, ST. PETER
+  AND ST. JOHN THE BAPTIST
+
+    --_Giovanni Bellini_]
+
+Authority for dating the picture is derived from the fact that the
+features of St. Lucy reappear in the San Zaccaria altar-piece, which
+is dated 1505, and the features of St. John the Baptist occur in the
+_Baptism of Christ_ in Santa Corona, Vicenza, supposed to have
+been begun in 1500.
+
+The picture came from the Benson Collection, having been formerly in
+the Wynn Ellis Collection and in the Collection of Mr. William Graham.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Nicholas F. Brady_
+
+  THE VIRGIN AND CHILD
+
+    --_Giovanni Bellini_]
+
+The date of Giovanni Bellini’s birth is not known. He was working with
+his brother, Gentile, in his father’s studio in Padua and was painting
+in Venice in 1464, where he produced two pictures for the Scuola di San
+Girolamo. In 1475 he met Antonello da Messina, who came to Venice, and
+seems to have adopted then his method of painting in oil. In 1479, when
+Gentile Bellini went to Constantinople, Giovanni was appointed to carry
+on his work in the Doge’s Palace; and when Gentile returned the two
+brothers worked together. Giovanni was essentially a religious painter
+and his Madonnas stand among the finest ever created. Most of his
+portraits are lost; but one, the _Doge Loredano_ (in the National
+Gallery, London), ranks as one of the finest of all known portraits.
+This dates from 1501, painted when Giovanni was over eighty! Giovanni
+died in 1516.
+
+
+                         THE VIRGIN AND CHILD.
+
+    _Giovanni Bellini
+    (1428–30–1516)._
+
+    _Collection of
+    Mr. and Mrs. Nicholas F. Brady._
+
+The Madonna at half-length turned towards the left, supports the Holy
+Child with both arms as He reclines in her lap against her right knee,
+which is raised. She is dressed in a blue mantle arranged to form a
+hood, with embroidered border. A graceful white veil, also embroidered,
+covers the head and falls below the neck.
+
+The Holy Child gazes upward into his mother’s face and she, with eyes
+slightly veiled by drooping lids, looks tenderly downward towards him.
+The background is hilly, with a castle on the left. The picture, oil on
+a panel (28¾ × 23¾) is signed “Joannes Bellinus.”
+
+This Bellini Madonna comes from the Collection of the Grand Dukes
+of Oldenburg, Oldenburg Castle, near Bremen, Germany, and was also
+formerly in the Collection of Count Montija in Madrid. Much has been
+written about Bellini’s Madonnas. They differ greatly from those
+painted by the Florentines; and the following sympathetic note tells us
+why:
+
+“If we turn to the religious art of Venice, we shall be struck by a
+lack of anything like mystic rapture, or absorption in the sufferings
+of Christ. We have but two examples in Venice of Bellini’s portrayal of
+the facts of Christ’s mature life, but he has treated the theme of the
+Madonna and Child with a unique profundity. The mystery of life seems
+to be shadowed in the face of the Madonna; his saints and apostles,
+so striking in their individuality, so virile in their piety, have a
+significance beyond their perfect act of worship. No Venetian religious
+painter before Tintoretto equalled Bellini in solemnity and depth
+of conception; but in all we find the same pervading calm, the same
+absence of tumult, or the disturbing elements of pain or agony.”[17]
+Is it not the quietness of Bellini’s Madonnas that give them their
+peculiar charm?
+
+
+                          MADONNA AND CHILD.
+
+    _Giovanni Bellini
+    (1428–30–1516)._
+
+    _Collection of
+    Mr. Philip Lehman._
+
+This picture came from the Collection of Prince Potenziani, of Rieti,
+Italy, and represents the Virgin standing behind a parapet and
+supporting the Holy Child who is standing upon it. Her mantle and tunic
+are decorated with a border of embroidery and over the mantle falls
+her heavy white veil which might be described as a hood, showing a
+little of her wavy hair. The face of the Virgin is a perfect oval, her
+eyes are set far apart, her nose is long and aquiline, and her mouth
+a little discontented. Her arm and wrist are beautifully modelled
+and so is the thumb of her right hand. This hand is noticeably wide.
+The left hand does not seem to match the right; it is coarser. The
+Holy Child is leaning against His mother’s left shoulder and looking
+out of the picture. He wears a little tunic over a white shirt with
+sleeves and a wide, blue sash with a striped pattern. A close-fitting
+cap is tied with ribbons under His chin. His right hand is lifted in
+blessing and His left is clasping the fingers of His mother’s right
+hand. On the right of the parapet a crystal ball is lying and on the
+left a capsicum-pod, and behind the Madonna’s head hangs a heavy swag
+of capsicum. The landscape in the background is noticeably fine. On
+the left, a road winds through trees to the gates of a city with high
+Gothic towers; on the right, a river flows past hills crowned with
+castles. Clouds fill the sky. The _nimbi_ are quite unusual. This
+is evidently an early work and not a little of Mantegna’s influence is
+apparent in it.
+
+  [Illustration:
+
+   _Collection of Mr. Philip Lehman_
+
+  MADONNA AND CHILD
+
+    --_Giovanni Bellini_]
+
+
+                        THE FEAST OF THE GODS.
+
+(IL BACCANALE.)
+
+    _Giovanni Bellini
+    (1428–30–1516)._
+
+    _Collection of
+    Mr. Joseph E. Widener._
+
+“In the year 1514”--this is Vasari’s narrative--“Duke Alfonso
+of Ferrara had caused a little chamber to be decorated and had
+commissioned Dosso, the painter of Ferrara, to execute in certain
+compartments stories of Æneas, Mars, and Venus and, in a grotto, Vulcan
+with two smiths at the forge; and he desired that there should also be
+there pictures by the hand of Gian Bellini. Bellini painted on another
+wall a vat of red wine with some _Bacchanale_ around it and
+Satyrs, musicians and other men and women all drunk with wine, and near
+them a nude and very beautiful Silenus riding on his ass, with figures
+about him that have their hands full of fruits and grapes; which work
+was in truth executed and colored with great diligence, inasmuch
+that it is one of the most beautiful pictures that Gian Bellini ever
+painted, although in the manner of the draperies there is a certain
+sharpness after the German manner (nothing, indeed, of any account)
+because he imitated a picture by the Fleming,[18] Albrecht Dürer, which
+had been brought in those days to Venice and placed in the Church of
+S. Bartolommeo, a rare work and full of most beautiful figures painted
+in oils. On that vat Gian Bellini wrote these words: ‘Joannes Bellinus
+Venetus P. 1514.’ That work he was not able to finish completely,
+because he was old, and Tiziano, as the most excellent of all the
+others, was sent for to the end that he might finish it.”
+
+Titian’s work is to be found in the landscape-background,--which
+is an exact view of Titian’s own Cadore. This landscape, with its
+valley and rocky hill surmounted by a castle with towers, bathed in
+warm, luminous light, was the finest that had ever been painted up to
+that time. Bellini only lived two years after painting _The Feast
+of the Gods_. In 1515 he painted the so-called _Venus of the
+Belvedere_ and he died in the following year.
+
+“So easy is the passage from Bellini’s art to Titian’s, that the
+transition creates no contrast. The tone throughout is harmonized, and
+the art of the Fifteenth and Sixteenth Centuries meets and mingles in
+perfect fellowship,” Crowe and Cavalcaselle note.
+
+This picture, an oil painting on canvas (67 × 74 inches) came from
+the Collection of the Duke of Northumberland at Alnwick Castle,
+England, having been previously in the Collection of Cardinal Pietro
+Aldobrandini and in that of Cardinal Ludovico Ludovisi, Rome.
+
+These two villas, upon whose walls _The Feast of the Gods_ hung
+for so many years, are very celebrated. The _Villa Aldobrandini_
+is one of the most notable residences near Rome. It is situated on the
+slope of a mountain overlooking Frascati and was built by Cardinal
+Pietro Aldobrandini, who entrusted its decoration to the most eminent
+artists of his day, such as Jacopo della Porta, Domenichino, Giuseppe
+Gesari, and Giovanni Fontana. Here, too, were gathered the most
+precious relics of ancient art, while the gardens, adorned with vases,
+statues, colonnades, and sparkling fountains, made the exterior a place
+of marvellous beauty and charm. The view of mountains and sea suggested
+the name of _Belvedere_. The Villa belongs to-day to the Borghese
+family, who inherited it from the Aldobrandini.
+
+  [Illustration:
+
+   _Collection of Mr. Joseph E. Widener_
+
+  FEAST OF THE GODS
+
+    --_Giovanni Bellini_]
+
+The _Villa Ludovisi_, frequently called the Piombino Palace, is
+situated on the site of the ancient gardens of Sallust. This palace was
+erected in 1622 by Cardinal Ludovico Ludovisi, nephew of Pope Gregory
+XV, who selected Domenichino for his architect and the famous Le Nôtre
+for his landscape-gardener. The property passed by inheritance to the
+Princess of Piombino (Buonocampagni-Ludovisi).
+
+Art-lovers know the name in connection with the colossal and
+magnificent head of the Juno Ludovisi (Fifth Century, B. C.);
+and it will be remembered that the Juno Ludovisi and other antiques
+from the Villa Ludovisi formed the Museo Buonocompagni.
+
+
+                         THE VIRGIN AND CHILD.
+
+    _Titian
+    (1477?–1576)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+The Virgin, in profile, seated on a stone seat, has auburn
+hair--“Titian hair”--which is relieved against a dark-green curtain.
+Her robe is pale rose-color with slashes of white and her mantle of
+cobalt blue like the landscape, “which resembles the sea at midday.”
+She also wears a white veil. She is looking with great tenderness at
+the Holy Child, lying at full length on her lap and smiling at her.
+
+The composition is most beautiful and the introduction of the trees
+gives perpendicular lines which contrast delightfully with the general
+horizontal effects.
+
+Lionel Cust calls it a picture of great charm, as indeed it is, and
+says: “The Virgin leans tenderly over the Child lying upon her knees.
+This composition is treated in the same manner as the picture at
+Bergamo, the _Virgin and Child with St. Bridgit and St. Ulphus_,
+in the Prado at Madrid, and a few others. In all of these works the
+sentiment is that of Giorgione, even though the execution is of the
+hand of Titian; and one could not think of attaching another name than
+his to this picture and to that at Madrid. It will be noticed also that
+the two tree-trunks, so much in evidence at the back of the picture,
+constitute a _leit-motiv_, which Giorgione first employed and
+which Titian imitated.”
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  THE VIRGIN AND CHILD
+
+    --_Titian_]
+
+Herbert F. Cook in his _Giorgione_ (London, 1907), gives this
+painting to Giorgione, sustaining the claim by the following: “The
+marble parapet is a feature in Giorgione’s work, but not in Titian’s.
+But the most convincing evidence to those who know the master lies
+in the composition, which forms an almost equilateral triangle,
+revealing Giorgione’s supreme sense of beauty in line. The splendid
+curves made by the drapery, the pose of the Child, so as to obtain
+the same unbroken sweep of line, reveal the painter of the _Dresden
+Venus_. The painting of the Child’s hand over the Madonna’s is
+precisely as in the Madrid picture, where, moreover, the pose of
+the Child is singularly alike. The folds of drapery on the sleeve
+recur in the same picture, the landscape with the small figure seated
+beneath the tree is such as can be found in any Giorgione background.
+The oval of the face and the delicacy of the features are thoroughly
+characteristic, as is the spirit of calm reverie and tender simplicity
+which Giorgione has breathed into his figures.”
+
+Whether by Titian, or by Giorgione, or by both, the painting is a gem.
+If by Giorgione, it would be even more valuable, as this master is so
+rare.
+
+The painting, oil on panel (18 × 22 inches), came from the
+Benson Collection and was formerly at Burghley House, Stamford,
+Northamptonshire, having been acquired in Italy between 1690 and 1700
+by the Earl of Exeter.
+
+Tiziano Vecellio was born about 1477 at Pieve di Cadore, the son
+of Gregorio Vecelli, and was taken to Venice at the age of ten and
+apprenticed to a mosaic-worker. After this he studied in Giovanni
+Bellini’s _bottega_, where he had for a fellow-pupil, Giorgione,
+with whom he was associated in decorating the Fondaco dei Tedeschi.
+Titian visited Padua, Rome, and, in 1516, Ferrara. Commissions of all
+kinds followed rapidly and Titian became the most famous painter of
+his time. He lived in splendid style and his long life was filled with
+magnificent painting and magnificent results. Titian died of the Plague
+in 1576.
+
+In his long life, crowned with every kind of success, Titian painted
+with superlative skill every sort of subject. Titian was one of the
+greatest masters the world has ever known.
+
+“In attempting to picture Titian,” writes Taine, “we imagine a happy
+man, the happiest and the healthiest of his species, Heaven having
+bestowed upon him nothing but favors and felicities: the first among
+his rivals; visited in his house by the Kings of France and Poland;
+a favorite of the Emperor, of Philip II, of the Doges, of Pope Paul
+III, of all the Italian princes; created a knight and a count of
+the Empire; overwhelmed with orders; liberally paid, pensioned, and
+worthily enjoying his good fortune. He kept house in great state,
+dressed himself splendidly, and entertained at his table cardinals,
+lords, the greatest artists and the ablest writers of his day. Beauty,
+taste, cultivation, and talent play and reflect back upon him, as if
+from a mirror the brightness of his own genius. His brother, his son,
+Orazio, his two cousins, Cesare and Fabrizio, and his relative, Marco
+di Tiziano, were all excellent painters. His daughter, Lavinia, dressed
+as Flora, with a basket of fruit on her head, supplied him with a model
+of fresh complexion and ample form. His talent flows on like a great
+river in its bed, nothing disturbs its course, and its own increase is
+sufficient. Like Leonardo and Michelangelo, Titian sees nothing outside
+of his art.”
+
+
+                  CATERINA CORNARO, QUEEN OF CYPRUS.
+
+    _Titian
+    (1477–1576)._
+
+    _Collection of
+    Mr. John Ringling._
+
+Proud and handsome this famous Queen and beauty looks down upon us
+from the centuries. She is wearing a dress of gold and green striped
+velvet with a pink camelia at her neck and one of those fashionable,
+tall, sugar-loaf head-dresses--called in France the _hennin_--with
+jewelled band around the rim and a floating veil. Very beautifully are
+her pearls painted; and, fastened by a chain to a bracelet on her left
+wrist, is a pet chameleon.
+
+This portrait, oils on canvas (43 × 38 inches), came from the Ricardi
+Palace, Florence, and from the Collection of R. S. Holford, Esq.,
+Dorchester House.
+
+Caterina Cornaro, “_La Reine de Chypre_,” famous in song and story,
+was the daughter of Marco Cornaro, a noble Venetian and descendant of
+the Doge of the same name, and Florence, daughter of Niccolò Crispo,
+Duca dell’ Archipelago. Caterina was born in Venice in 1454, educated
+at the Convent of San Benedetto in Padua, and reared in all the wealth
+and elegance of the time. At an early age she was married to the King
+of Cyprus, Jerusalem, and Armenia (Jacques de Lusignan), who chose
+her from sixty-two of the most beautiful women of Venice. The Senate,
+having adopted Caterina Cornaro as a daughter of the Republic, gave her
+a dowry of a hundred thousand golden ducats and agreed to defend the
+Kingdom of Cyprus against all enemies.
+
+The wedding took place by proxy in Venice in 1472 and was celebrated
+with great magnificence. The Doge, himself, Cristoforo Moro, called
+for the bride at her palace in the Bucentaur and accompanied her to
+the Venetian ship in which she embarked with a regal suite for her
+new home. After experiencing several accidents at sea, the beautiful
+Venetian lady arrived in Cyprus, where her rare beauty and charming
+manners captivated the entire population. Within two years her husband
+died and Caterina then reigned over Cyprus for fourteen years, subject,
+however, to the strict surveillance of Venice. At last, wearied by
+restrictions and intrigues, the Queen of Cyprus in 1489 returned to
+Venice with her beloved brother, Giorgio Cornaro, and made a solemn
+transfer of all her claims in Cyprus to the Doge.
+
+Caterina then went to Frattalonga, situated at the foot of the Asolani
+mountains, to meet the Emperor Maximilian, who was on his way home from
+Milan to Vienna; and the place pleased her so much that she obtained
+from the Doge, Agostino Barbarigo, the investiture of Asolo and its
+district. A few months later--in October 1489--Caterina returned to
+Asolo with a suite of four thousand persons and established a Court in
+the Castle, where she lived for twenty-one years, protected by troops
+granted to her by the Republic of Venice. In this beautiful residence
+Caterina was said to have held three Courts--that of the Muses; that
+of Love; and that of her own, which was of great magnificence. The
+leading spirit there was the celebrated poet, Pietro Bembo, (in later
+years Cardinal Bembo), who wrote his famous dialogues of love, _Gli
+Asolani_, here in 1490, for the superb marriage festivities of one
+of Caterina’s maids-of-honor. Every illustrious personage of the period
+visited the Court at Asolo.
+
+  [Illustration:
+
+   _Collection of Mr. John Ringling_
+
+  CATERINA CORNARO
+
+  QUEEN OF CYPRUS
+
+    --_Titian_]
+
+During the wars occasioned by the League of Cambrai (1508), Caterina
+returned for safety to Venice and died there in 1510, in the palace of
+her brother, Giorgio, who was then procurator of St. Mark’s.
+
+Titian painted several other portraits of Caterina Cornaro, of which
+the one in the Uffizi is the most famous, representing the Queen
+of Cyprus with her golden crown studded with large pearls and an
+over-dress or coat of rich green brocade.
+
+
+                     GIORGIO CORNARO WITH FALCON.
+
+    _Titian
+    (1489–1576)._
+
+    _Collection of
+    Mr. A. W. Erickson._
+
+We have here a famous Venetian statesman and general of the Sixteenth
+Century, beloved brother of Caterina Cornaro, Queen of Cyprus (see page
+143), representing him probably in the habit he liked best of all--that
+of a sportsman with his pet falcon. Here he stands, three quarters to
+the right, in a slate-colored hunting coat with brown fur collar and
+with a black belt at the waist from which hangs a sword, bound with a
+crimson sash. His curly hair and beard are chestnut color and his eyes
+are very bright. His head is raised and he looks intently at his falcon
+perched upon his left gloved hand, with hood, bill and jacket attached,
+and with his right hand grasps the bird’s breast.
+
+From the left hand corner the head of a white, liver-spotted hound
+looks up. The background is dark. The painting, an oil on canvas (43
+× 38 inches) was formerly in the Collections of the Carignan branch
+of the Royal House of Piedmont; Louis François de Bourbon, Prince de
+Conti; the Earl of Carlisle, Castle Howard, Yorkshire, England; and Dr.
+Edward Simon, Berlin. Crowe and Cavalcaselle in their _Life and Times
+of Titian_ (London, 1881) say of this work: “Titian never produced a
+finer picture than which now adorns the gallery of Castle Howard. This
+beautiful work is modelled with all the richness of tone and smoothness
+of surface which distinguishes polished flesh. The attitude is natural,
+the complexion warm and embrowned by the sun; and every part is blended
+with the utmost finish without producing want of flexibility.”
+
+  [Illustration:
+
+   _Collection of Mr. A. W. Erickson_
+
+  GIORGIO CORNARO WITH FALCON
+
+    --_Titian_]
+
+Giorgio Cornaro succeeded his father, Marco Cornaro in 1479, he being
+about twenty-five. Italian historians are fond of attributing the
+Victory of Cadore to Giorgio Cornaro, who lived until 1527, having
+played an important part all his life in Venetian politics.
+
+
+                   MAXIMILIAN SFORZA, DUKE OF MILAN.
+
+    _Bartolommeo Veneto
+    (1480–1555)._
+
+    _Collection of
+    Mr. Henry Goldman._
+
+This portrait, oil on panel (30⅞ × 23¼ inches), was formerly in the
+Palazzo Sforza and later hung in the Casa Perego, Milan, until the
+entire Casa Perego Collection was bought in the early Nineteenth
+Century by Senator Crespi of Rome, in whose gallery it remained until
+the Crespi Collection was sold. It is doubly interesting as a work of
+art and as the representation of an important character in Italian
+history. Bernhard Berenson calls it “one of the most manly portraits
+and one of the most beautiful paintings of the Italian Renaissance.”
+
+The half-length figure is seen almost full front, but the head is
+turned slightly to the left. All the Italian Renaissance seems to be
+expressed in this proud, distinguished person and in his rich dress,
+which consists of a coat of green velvet trimmed with bands of gold,
+a finely embroidered white shirt, black waistcoat with horizontal
+gold stripes and a rich fur collar, which he clasps with his right
+hand on the index finger of which is a handsome ring. His dark hair
+falls to the shoulders and is surmounted by a black velvet cap, on the
+side of which is a gold and enamelled medal showing an allegorical
+female figure with the date 1512, of the kind that all the fashionable
+gentlemen were wearing at that period. A red curtain falls behind the
+figure and on the wall hangs a picture in which are introduced figures
+from Dürer’s famous woodcut, _The Knight and the Lansquenet_.
+In front of the sitter is a narrow ledge, or balustrade, with a card
+in the centre, which originally carried the signature of Bartolommeo
+Veneto.
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  MAXIMILIAN SFORZA
+
+    --_Bartolommeo Veneto_]
+
+Maximilian Sforza was the son of Ludovico Sforza, “Il Moro,” Duke of
+Milan, the most illustrious prince of Italy, and Beatrice d’Este, one
+of the most fascinating and brilliant women of the Italian Renaissance.
+Maximilian was born on January 25, 1493, in the Castello of Milan, and
+was named Ercole out of compliment to his grandfather, Duke Ercole of
+Ferrara. He was brought up in the most brilliant of Courts and his
+education and training were of the very best. His mother was devoted
+to him and constantly mentions him in her letters. Ercole appears in
+the great altar-piece attributed to Zenale, now in the Brera, kneeling
+by the side of his father. The portrait of this little child must be a
+good one, for we see the same face grown older in the Veneto portrait
+before us. On the altar-piece, just mentioned, Ercole’s younger
+brother kneels by the side of Beatrice d’Este. It was during a visit
+of the Emperor Maximilian to Ludovico and his wife in 1496 that Ercole
+received his new name. The Emperor, again charmed by Beatrice, took
+great interest in her two sons and requested that the elder should be
+called Maximilian.
+
+But the brilliant days passed and sorrows came. The beautiful, gifted
+mother died in January, 1497, and the French invaded Milan. Ludovico
+determined to seek safety in flight and sent his two sons to Germany
+under the care of his brother, Cardinal Ascanio Sforza, Cardinal
+Sanseverino, and their kinswoman, Camilla Sforza. “A truly piteous and
+heart-breaking sight it was,” wrote an eye-witness, “to see these poor
+children embrace their beloved father, whose face was wet with their
+tears.” Twenty mules laden with baggage and a large chariot drawn by
+eight horses and containing Ludovico’s precious jewels and 240,000
+gold ducats followed in the train of the young princes. These young
+gentlemen never saw their father again, for “Il Moro” was captured,
+taken to Paris, and imprisoned in the castle of Loches, where he died
+in 1508.
+
+An Italian writer, Marino Sanuto, exclaimed on the terrible fate of
+Ludovico: “Only think, reader, what grief and shame so great and
+glorious a lord, who had been held to be the wisest of monarchs and
+ablest of rulers, must have felt at losing so splendid a state in these
+few days, without a single stroke of the sword. Let those who are in
+high places take warning, considering the miserable fall of this lord,
+who was held by many to be the greatest prince in the world, and let
+them remember that when Fortune sets you on the top of her wheel, she
+may at any moment bring you to the ground.”
+
+The rest of the story is well told in Mrs. Cartwright’s _Beatrice
+d’Este_ (London, 1889):
+
+“Meanwhile Beatrice’s sons grew up at Innsbrück, under the care of
+their cousin, the Empress Bianca. It was a melancholy life for these
+young princes, born in the purple and reared in all the luxury and
+culture of Milan. And when their cousin, Bianca, died in 1510, they
+lost their best friend. But a sudden and unexpected turn of the tide
+brought them once more to the front. That warlike pontiff, Julius II,
+who, as Cardinal della Rovere, had been one of the chief instruments in
+bringing the French into Italy, entered into a league with Maximilian
+to expel them and reinstate the son of the hated Moro on the throne of
+Milan. They succeeded so well that in 1512, four years after Ludovico’s
+death at Loches, young Maximilian Sforza entered Milan in triumph
+amidst the enthusiastic applause of the people. Once more he rode
+up to the gates of the Castello, where he was born, and took up his
+abode there as reigning duke. But his rule over Lombardy was short.
+A handsome, gentle youth, without either his father’s talents or his
+mother’s high spirit, Maximilian was destined to become a passive
+tool in the hands of stronger and more powerful men. His weakness and
+incapacity soon became apparent, and when, three years later, the new
+French King, Francis I, invaded the Milanese and defeated the Italian
+army at Marignano, the young duke signed an act of abdication and
+consented to spend the rest of his life in France. There he lived in
+honorable captivity, content with a pension allowed him by King Francis
+and with the promise of a Cardinal’s hat held out to him by the Pope,
+until he died in May, 1530.”
+
+Bartolommeo Veneto (or Bartolommeo Veneziano), born in 1480, was a
+pupil of Giovanni Bellini, whose influence is apparent in Veneto’s
+early pictures. In 1506–1508 Veneto was painting for Lucrezia Borgia in
+Ferrara and after that he was engaged at the Court of Milan, where he
+painted this portrait of _Maximilian Sforza_. The picture bears
+the date 1512, which was the year the young Duke returned to Milan.
+
+Bartolommeo Veneto was famous for his portraits. He lived for sometime
+in Lombardy and, like all the painters of the time and place, fell
+under the influence of Leonardo da Vinci. As the last trace of him
+appears on a portrait in the Uffizi, dated 1555, it is supposed that
+Veneto died in that year.
+
+
+                   A SCENE ALONG THE ADRIATIC COAST.
+
+    _Francesco Guardi
+    (1712–1793)._
+
+    _Collection of
+    Mrs. Charles B. Alexander._
+
+Guardi, a pupil of Canaletto, devoted himself to the study of his
+native city, Venice, where he was born in 1712 and where he painted
+steadily until his death in 1793. Guardi ranks with Canaletto and
+Turner as one of the three greatest painters of the “Dream City” as
+Charles Dickens called Venice. In Guardi’s long list of pictures we
+have a perfect history in paint of the “Queen of the Adriatic” during
+the Eighteenth Century. There are innumerable views of the Grand Canal;
+of both the exterior and the interior of San Marco; of San Giorgio, the
+Salute, San Zaccaria, and other churches; of the Fondaco dei Tedeschi
+(the German banking-house); the Doges Palace; the Piazza and the
+Piazzetta; scenes on the outlying islands; views on the Lagoons; and
+pictures of processions of the Doges and of festivals of the church.
+The picture presented here shows a scene outside of Venice, but not far
+away; and it is a beautiful and characteristic work of Guardi, both as
+to composition and color. The painting came from the Collection of the
+Baron Maurice de Rothschild of Paris to its present owner, Mrs. Charles
+B. Alexander of New York.
+
+  [Illustration:
+
+   _Collection of Mrs. Charles B. Alexander_
+
+  A SCENE ALONG THE ADRIATIC COAST
+
+    --_Francesco Guardi_]
+
+
+
+
+                           FLEMISH PAINTING
+
+
+
+
+                          _FLEMISH PAINTING_
+
+
+Flemish Painting in the Fourteenth Century was based on the
+miniature-painting that illustrated the Mediæval manuscripts: indeed,
+many of the early paintings look like enlarged versions of the little
+pictures that adorn the vellum pages of missals and old _romans_.
+The early painters were influenced by the School of Cologne until
+the two Van Eycks (Hubert, 1366–1426, and Jan, 1380–1441), by their
+marvellous painting and by the followers they attracted, raised Flemish
+Art into importance and gave it a standing by itself as the School of
+Bruges.
+
+Little is known of the lives of these painters except that they stood
+high in the favor of Philip the Good, Duke of Burgundy, who frequently
+sent Jan on missions to foreign countries, and that the brothers
+painted the great and famous altar-piece, the _Adoration of the Lamb_,
+for the Cathedral of St. Bavon in Ghent. This great work, which is
+one of the most celebrated of all altar-pieces, is a landmark in the
+history of painting. It may be said to have inaugurated the Flemish
+School; and it marks an innovation as well. This _Adoration of the
+Lamb_ was ordered by Jodocus Vydts, a burgomaster of Ghent, and his
+wife, Isabella Borluut, for their mortuary chapel in the Cathedral of
+St. Bavon; and Van Mander relates that when it was finished “swarms of
+people” came to gaze upon it; but, as the wings were closed except on
+special festivals, “few but the high-born and those who could afford
+to pay the _custos_ saw it.” It must be remembered that at this period
+changes were also taking place in Italy under Gentile de Fabriano,
+Pisanello, and Masaccio. Whether the Van Eycks invented oil-painting or
+not, they had much to do with perfecting the process and influencing
+others to the use of the new method.
+
+The Van Eycks had as pupils and followers all the Flemish and German
+painters of the day and their influence was even felt in Italy, where
+their pictures sold for their weight in gold.
+
+In 1425 Philip the Good, Duke of Burgundy, took Jan van Eyck into his
+service as painter and “_varlet de chambre_;” and Jan, thereafter,
+seems to have spent his life at the Court, painting portraits and
+designing variously, going on embassies for the Duke, and painting in
+Bruges and in Lille. As a portrait-painter Jan van Eyck is ranked with
+Dürer, Holbein, Raphael, Titian, Van Dyck, and the other great ones in
+this line. Undoubtedly, Jan van Eyck moved about a good deal through
+the Duke of Burgundy’s immense domain, which included all the Low
+Countries and a great part of what is now France.
+
+We are apt to think of these early painters who laid the foundations
+of modern art as living in a much simpler day than our own. It is true
+that in the Fifteenth Century the Middle Ages were still holding their
+own in Flanders--the Renaissance moved very slowly northward--but it
+was a time of great prosperity and great luxury, especially in the
+Burgundian country.
+
+Philip the Bold, Duke of Burgundy, son of the King of France, was the
+most luxurious prince of his time. His titles show his power. He was
+Duke of Burgundy, of Brabant, of Lothier and of Luxembourg; Count
+of Flanders, of Artois, and of Burgundy; Palatine of Hainault, of
+Holland, of Zeeland, of Namur, and of Charolais; Marquis of the Holy
+Empire; and Lord of Friesland, of Salins, and of Mechlin. The House of
+Burgundy, therefore, by its inheritances, alliances and conquests, had
+attained such power as even to overshadow the French throne. Philip
+the Good (1396–1467) was even more luxurious than his grandfather,
+Philip the Bold. His Court was unequalled in Europe and was subject to
+the strictest rules of etiquette. His palaces in Brussels, Dijon, and
+Paris were sumptuously furnished and his collections of tapestries,
+gold-work, silver-work, jewels, embroideries, illuminated manuscripts,
+and printed books excited the admiration of such travellers and
+chroniclers as were privileged to see them and who, fortunately for us,
+have left accounts for us to read. At this period, too, the Flemings
+were the great craftsmen of Europe and they produced every kind of
+article required for the tastes and comfort of the wealthy Burgundians.
+Brussels and Dijon became veritable Meccas for Mediæval artists, while
+Bruges, Tournay, Arras, Ypres, Ghent, and Dinant held a welcome for any
+able craftsman or artist, who, driven from England, France, or Italy by
+the civil wars, sought refuge and work.
+
+And there was plenty of work to be done!
+
+Artistic designs of all kinds were needed for tapestry-workers, for
+the goldsmiths and silversmiths, for the furniture-makers, and for
+craftsmen busy in making articles for household use or for personal
+decoration. Moreover, for the great entertainments, such as weddings,
+receptions of princes, or celebrations in honor of the Knights of the
+Golden Fleece, and other important functions, a veritable army of
+painters, sculptors, illuminators, carvers, and machinists was needed
+to design, plan, and execute the _entremets_ exhibited during the
+banquets and the grand decorations erected in the streets through which
+the processions passed.
+
+We shall gain a better idea of the spirit of early Flemish Art if we
+pause for a moment to look into the palace at Lille, in 1454, when
+Philip the Good was celebrating the “Feast of the Pheasant.” The large
+hall was hung with tapestry representing the _Labors of Hercules_.
+The _dressoir_ of enormous size was adorned with magnificent gold
+and silver vessels and there were three large tables, splendidly laden
+with viands artistically decorated. One of the guests wrote: “On a
+raised platform at the head of the first table sat the Duke. He was
+arrayed in his accustomed splendor--his dress of black velvet serving
+as a dark ground that heightened the brilliancy of the precious stones,
+valued at a million of gold crowns, with which it was profusely decked.
+Among the guests was a numerous body of knights, who had passed the
+morning in the tilting-field, and fair Flemish ladies, whose flaunting
+beauty had inspired these martial sports. Each course was composed of
+forty-four dishes, which were placed on chariots painted in gold and
+azure and which were moved along the tables by concealed machinery.
+As soon as the company was seated, the bells began to peal from the
+steeple of a huge pastry church with stained windows that concealed an
+organ and choir of singers; and three little choristers issued from the
+edifice and sang a very sweet _chanson_. Twenty-eight musicians,
+hidden in a mammoth pie,[19] performed on various instruments and the
+fine viands and wines were circulated.”
+
+After the exhibition of _entremets_, the _pheasant_ was brought in, the
+Crusade proclaimed against the Sultan, and the vows registered.
+
+It is safe to conjecture that Hubert and Jan van Eyck were among the
+painters who were employed to design the _entremets_, triumphal
+arches, and curiosities executed in pastry and in confections made of
+sugar, as well as to paint portraits of distinguished Flemings and
+altar-pieces for their churches.
+
+The Flemish Primitives certainly had many occasions to feast their eyes
+upon magnificence!
+
+John Paston, who went to Bruges to attend Charles the Bold’s second
+marriage in 1468 to Margaret of York, was overwhelmed and dazed by
+what he saw. “Nothing was like it save King Arthur’s Court,” he
+wrote home. The streets were hung with tapestries and cloth-of-gold,
+triumphal arches were erected and at intervals along her way the bride
+was entertained by “Histories,” the joint production of painters,
+decorators, dramatists, and machinists. The banquet-hall was superbly
+decorated and the chroniclers say “lighted by chandeliers in the form
+of castles surrounded by forest and mountains with revolving paths on
+which serpents, dragons, and other monstrous animals seemed to roam
+in search of prey, spouting forth jets of flame that were reflected
+in huge mirrors, so arranged as to catch and multiply the rays. The
+dishes containing the principal meats were ships, seven feet long and
+completely rigged, the masts and cordage gilt, the sails and streamers
+of silk, each floating in a silver lake between shores of verdure and
+enamelled rocks and attended by a fleet of boats laden with lemons,
+oranges, and condiments. There were thirty of these vessels and as many
+huge pastries in the shape of castles with banners waving from their
+battlements and towers; besides tents and pavilions for the fruit;
+jelly-dishes of crystal supported by figures of the same material
+dispensing streams of lavender and rose-water; and an immense profusion
+of gold and silver plate.”
+
+When Charles the Bold was killed on the battlefield of Nancy (1477),
+a New Era was about to dawn. America was soon to be discovered; Vasco
+da Gama was to find an ocean route to the East Indies; the Moors
+were to be expelled from Spain; the Wars of the Roses were to end in
+England; Ferdinand and Isabella were to marry their daughter, the “mad
+Joanna,” to Philip the Fair of Austria, heir through his mother, Mary
+of Burgundy, to the Burgundian dominions (the issue being Charles V,
+born in Ghent in 1500). Of still more importance to the world of Art
+than these important events was the discovery of Italy by the French,
+who crossed the Alps with Charles VIII. The French were dazzled by what
+they saw in Italy. On their return the Renaissance in France and the
+Netherlands may be said to have begun to blossom. _The ground had
+already been prepared by the art-loving Dukes of Burgundy._
+
+Let us return, however, to the Bruges painters:
+
+“The rise of the School was aided by the Fourteenth Century Art of
+Cologne best shown in the work of Meister Wilhelm. The Art of the
+movement was, for the period, strongly realistic. Natural objects
+were painted with the utmost fidelity, interest in still-life and
+_genre_ begin to appear, and details of architecture and landscape
+were rendered as carefully as the heads of the most sacred personages
+in the compositions. So pronounced was this tendency that superficial
+observers are led to consider Flemish painting fundamentally material;
+but a thoughtful analysis will reveal a spirituality in the art quite
+as sincere, if not so obvious, as in the painting of contemporary
+Italy. In the early School, the painting was almost wholly religious,
+and scenes and actors were handled with reverence and deep feeling.
+
+“The Flemings, however, inherited from earlier art a religious type
+to which they clung with great tenacity and which to the modern eye
+is ugly. The exaggeratedly-domed forehead of the Madonna, a symbol of
+intellect to the Fleming, is to the modern a distortion. Similarly the
+tiny mouth, the eyes almost without brows,[20] and the other features
+which Flemish symbolism demanded, are now somewhat disturbing to
+the eye. When native realism and symbolism were coupled, as in the
+over realistic rendering of the ascetic Christ-Child, the effect is
+sometimes startling to the layman; and the beginner in the study of
+Flemish Art should beware of mistaking accidents of convention for
+artistic defects. If the conventions of Flemish Art make it at first
+difficult to appreciate, the technical perfection of the work must
+appeal to any one. Oil-painting, perfected if not necessarily invented
+in Flanders, gave a richness of color and a lustre of surface which
+specially distinguished the style. The play and delicate gradation
+of light over richly-colored surfaces was rendered so skillfully
+that the artists approached the expression of a complete visual
+effect, finally reached in Seventeenth Century Holland in the work of
+Vermeer.--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
+Cambridge, 1927).
+
+Next in importance to the Van Eycks comes Roger van der Weyden
+(1400?–1464). By 1432 Roger had made a name for himself, for he had
+become a master painter in the Tournay Guild. In 1450 he went to Italy
+and seems to have visited Cologne on his way home (see page 166).
+
+The Maître de Flémalle (Robert Campin?), who showed a great interest in
+still-life, is thought to have been the master of Roger van der Weyden.
+Petrus Christus (1410?–1473), a native of Baerle, Holland, free citizen
+of Bruges in 1444, is regarded as one of the ancestors of _genre_
+painting (see page 169).
+
+Hans Memling (1430–5–1494), a native of Holland, was a supposed pupil
+of Roger van der Weyden. It is believed that Roger van der Weyden took
+Memling with him to Italy in 1450. Memling was closely associated with
+his master Roger van der Weyden and sometimes painted the wing-panels
+for Roger’s great altar-pieces. Memling’s chief painting was done in
+Bruges (see page 172).
+
+Taine thus sums up the Flemish Primitives: “A Flemish Renaissance
+underneath Christian ideas, such, indeed, is the two-fold nature of
+art under Hubert and Jan van Eyck, Roger van der Weyden, Memling,
+and Quentin Massys; and from these two characteristics proceed all
+the others. On the one hand, artists take interest in actual life;
+their figures are no longer symbols like the illuminations of ancient
+missals, nor purified spirits like the Madonnas of the School of
+Cologne but living beings and bodies. They attend to no anatomy, the
+perspective is exact, the minutest details are rendered regarding
+stuffs, architecture, accessories, and landscape; the relief is strong
+and the entire scene stamps itself on the eye and on the mind with
+extraordinary force and sense of stability; the greatest masters of
+coming times are not to surpass them in all this, nor even go so far.
+Nature is now discovered. The scales fall from their eyes; they have
+just mastered almost in a flash, the proportions, the structure, and
+the coloring of visible realities; and, moreover, they delight in them.
+Consider the superb copes wrought in gold and bedecked with diamonds,
+the embroidered silks, the flowered and dazzling diadems with which
+they ornament their saints and divine personages, all of whom represent
+the pomp of the Burgundian Court. Look at the calm and transparent
+water, the bright meadows, the red and white flowers, the blossoming
+trees and the sunny distances of their admirable landscapes. Observe
+their coloring--the strongest and richest ever seen, the pure and full
+tones side by side as in a Persian carpet and united solely through
+their harmony, the superb breaks in the folds of purple mantles, the
+deep azure of long, falling robes, the green draperies like a summer
+field permeated with sunshine, the display of gold skirts trimmed with
+black, the strong light which warms and enlivens the whole scene--and
+you have a concert in which each instrument sounds its proper note.
+They see the world on the bright side and make a holiday of it, a
+genuine _fête_, similar to those of this day, glowing under a
+more bounteous sunlight and not a heavenly Jerusalem suffused with
+supernatural radiance such as Fra Angelico painted. They are Flemings
+and they stick to the earth.”
+
+Contemporary with Memling is Hugo Van der Goes (1430–1482), one of
+the last important figures in the Van Eyck School, more celebrated
+in his day than in ours, but powerful and austere, and painter of an
+altar-piece in 1476 for Tommaso Portinari, which was placed in the
+Church of Santa Maria Nuova in Florence and was greatly admired by
+Ghirlandaio and Piero di Cosimo. With Gerard David (1450–1523), a
+follower of Memling and Massys, we leave the Flemish Primitives for a
+world of newer ideas.
+
+Quentin Massys (1460–1530), creator of the Antwerp School, belongs to
+an intermediate epoch. He is herald of the Italianiate Flemings--Jan
+Mabuse, Bernard van Orley, Lambert Lombard, Jan Mostært, Bellegambe,
+Launcelot Blondeel, and others--all of whom, dazzled by the
+Renaissance, tried to combine their Flemish coldness with Italian
+grace. Some of them lived to see the triumph of Rubens and the rise of
+another School.
+
+Peter Paul Rubens (1577–1640), is the recognized head of the Flemish
+School of Painting. His power was felt throughout Europe and he had
+more influence on taste in the Seventeenth Century than any other
+artist. Rubens painted more than two thousand pictures and made nearly
+five hundred drawings. In every style he proved himself a great master
+(see page 176).
+
+Anthony Van Dyck (1599–1641) studied under Hendrik van Balen and then
+became assistant to and pupil of Rubens. After a long stay in Italy
+he returned to Antwerp and thence settled in England where he became
+Court-Painter to Charles I. In his short life he painted nearly a
+thousand pictures and acquired such proficiency in portraiture that he
+is ranked among the greatest in this line (see page 181).
+
+The important Brueghel (or Breughel) family affords an example of
+heredity in painting and how in the course of generations there was
+transition from the old to the new art. Pieter (Peasant) Brueghel
+(1530–16--?) received lessons from Van Orley and Jerome Cœck, but his
+real master was the long dead Jerome Bosch, whose fantastic works
+fascinated him. Brueghel went to Italy and was delighted with the
+Alpine scenery; but, on his return he tried to preserve the Flemish
+ideas that were fast dying under the Italian cult. He persisted in
+portraying the familiar scenes of his boyhood and familiar humorous
+situations. Therefore, he received the sobriquets of “Peasant
+Brueghel” and “Droll Brueghel.” His two sons were equally famous.
+Jan or “Velvet Brueghel” (1568–1625), so-called from his fondness for
+wearing velvet, was famous for his flowers; and he frequently painted
+garlands in the pictures of Rubens. Pieter Brueghel (1574–1637),
+so loved painting infernal scenes that he was nicknamed “Hell-fire
+Brueghel.” Their sons continued their names and professions until the
+close of the Seventeenth Century.
+
+Pieter Pourbus (1510–1584) and his son Frans (1540–1580) are among the
+best portrait-painters of the Sixteenth Century.
+
+Frans Snyders (1579–1657) studied under Peter Brueghel and Hendrik van
+Balen, became the friend and associate of Rubens, and a brilliant and
+unsurpassed painter of fruits and animals.
+
+Jacob Jordaens (1593–1678), born in Antwerp, son of a cloth merchant,
+depicted scenes from domestic life and popular festivities. He
+was astonishingly able to render mirth and jollity. Jordaens is
+distinguished for his unrestrained and boisterous humor and he often
+repeated his somewhat crazy home-concert, “As the old ones sing, so
+will the young ones twitter.” Jordaens sometimes collaborated with
+Frans Snyders, Jan Fyt, Adriaen van Utrecht, and others. Jordaens was
+entirely Flemish, absolutely unaffected by the foreign influences that
+charmed Rubens and Van Dyck.
+
+David Teniers the Younger (1610–1690) is the greatest _genre_
+painter of the southern Netherlands. Teniers is one of those Flemish
+painters who were sought after in Holland during their lifetime.
+This may have arisen from the fact that he was closely allied with
+the Dutch School and with Brouwer who lived and worked in Antwerp.
+Teniers was an indefatigable painter and left more than eight hundred
+pictures,--inn-interiors, _kermesses_, hawking-parties, drinkers,
+bagpipe-players and other musicians, “conversations,” bowling-games,
+kitchens, _Temptations of St. Anthony_, and monkey-scenes. Sir Joshua
+Reynolds admired him and said: “The works of David Teniers, jun., are
+worthy of the closest attention of a painter who desires to excel
+in the mechanical knowledge of his art. His manner of touching, or
+what we call handling, has perhaps never been equalled: there is in
+his pictures that exact mixture of softness and sharpness which is
+difficult to execute.”
+
+One of the best artists of the second period of the Antwerp School
+is Gonzales Coques (1614–1684), a painter of interiors of elegance,
+wealth, gaiety, and happy serenity, and also portraits. His distinction
+he borrows from Van Dyck and his color is inspired by Rubens. However,
+in the dimensions of his pictures and their minuteness of detail and
+finish, Coques is reminiscent of the Dutch School,--particularly
+Terborch and Metsu.
+
+In the Eighteenth Century there is little painting to claim attention.
+Charles Blanc has put the matter most succinctly:
+
+“For the Flemish School the Eighteenth Century is a long
+_entr’acte_ during which the stage, so nobly occupied of old,
+is sad and deserted. Here and there an artist appears to remind us
+what Flanders was in color and decoration for two centuries. France
+was triumphing in spirit and grace; Italy, though decadent, was still
+ingenious and smiling; England at last was producing original masters;
+_but Flanders was asleep_.”
+
+
+                          PORTRAIT OF A LADY.
+
+    _Roger van der Weyden
+    (1400?–1464)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This very striking portrait, an oil painting on panel (14⅜ × 10⅝), came
+from the Collection of the Duke of Anhalt, Ducal Castle of Dessau, and
+was previously in the Gothic Palace, Wörlitz, Germany.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  PORTRAIT OF A LADY
+
+    --_Roger van der Weyden_]
+
+The subject is a Flemish lady of high birth. She is not beautiful,
+but she has an air of great distinction. Her half-figure is turned
+three-quarters to the left and dressed in a dark robe with a
+turned-over collar, opening at the throat, where a transparent piece of
+soft, white muslin is arranged into a V-shape, and over this hangs a
+fine gold chain. A crimson girdle fastened with a gold clasp encircles
+her waist. The hair is brushed back from the forehead, or rather the
+forehead is rendered bald by the fashionable style of plucking out
+the hair, and covered by a close-fitting cap, composed of interlaced
+bands edged with a black ribbon, holding in place a thin veil; and over
+this a transparent white “wimple” is pinned to the cap, passing over
+the forehead and fastened at the back where it spreads in a wing on
+either shoulder. The right hand is placed over the left, presumably
+resting on a parapet, and a simple gold ring is on a finger of each
+hand.
+
+Dr. Max Friedländer writes in _Meisterwerke der Niederländischen
+Malerei des XV u. XVI Jahrhunderts auf der Ausstellung zu Brügge_
+(1902):
+
+“This simple, proud, and very well preserved portrait, which has up
+to the present time not received a great deal of attention, in my
+estimation appears to be characteristic of Roger van der Weyden, in
+the severe and somewhat Moorish outline of the face, in the economic
+modelling of the shadows, and in the drawing of the lean hands. Similar
+women’s portraits are in the National Gallery, London, and in Adolphe
+de Rothschild’s Collection (from the Nieuwenhuij’s Sale).
+
+Roger van der Weyden, or Rogier de la Pasture, the son of Henri de
+la Pasture, was born in 1400 in Tournai, where the family had been
+settled since 1260. His father was a sculptor and gave Roger his first
+training. Next he was apprenticed to the Maître de Flêmalle (Robert
+Campin) and later went to Brussels to live. Here he quickly gained a
+great reputation, for in 1436 he was appointed painter to the city
+of Brussels. While busy on his great _Last Judgment_, commissioned
+by Nicholas Rolin for the Hospital at Beaune (a polyptych, which has
+been classed with the Van Eyck _Adoration of the Lamb_), Roger went on
+a long trip to Italy. Visiting Rome, he greatly admired the frescoes
+begun by Gentile da Fabriano in St. John Lateran. He also went to
+Florence, Ferrara, and, it is supposed, Venice. Roger painted a good
+deal in Italy and even had orders. Among other things he painted a
+_Madonna and Child_ for Cosimo de’ Medici.
+
+Roger returned home, it is thought, by way of Cologne. While on this
+trip, Roger was commissioned by Leonello d’Este to paint a picture.
+
+Roger van der Weyden left as much in Italy as he brought home. His
+influence is seen in many of the contemporary Italians. In like manner,
+the influence of the Italians appears in the pictures that Roger van
+der Weyden painted on his return. German artists, too, fell under the
+spell of Roger van der Weyden, particularly Martin Schöngauer, the
+greatest German painter of the Fifteenth Century.
+
+Roger van der Weyden was extremely versatile: he produced paintings in
+oil and painted miniatures, designed cartoons for tapestry-weavers, and
+made wood-engravings.
+
+Fierens-Gevaert, the greatest authority on Flemish Primitives, says of
+Roger van der Weyden:
+
+“His figures, among which males predominate, both in number and
+interest, do not all possess the impassibility sometimes attributed to
+them. Their beauty, or their moral significance, is merely restrained,
+just like the artist’s own emotions. Both need to be discovered. As for
+the expression of the color, the novel truth of the light, the profound
+feeling of the landscape--these are the incontestable merits in the
+Louvain painter. They explain his profound influence upon Memling,
+Gerard David, Quentin Massys, the Master of the Death of Mary, his
+_prestige_ with the Sixteenth Century Renaissants, and the growing
+admiration of modern criticism for his genius.”
+
+Roger van der Weyden died in Brussels, June 16, 1464, leaving many
+pupils and followers, the most noteworthy of whom was Hans Memling.
+
+
+               PORTRAIT OF A CARTHUSIAN MONK AS A SAINT.
+
+    _Petrus Christus
+    (1410?–1473)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+This interesting panel (8½ × 11⅝ inches) came to America by way of
+Spain, having been in the Collections of Don Ramon de Oms, Majorca, and
+the Marquis de Dos Aguas, Valencia.
+
+The picture is signed and dated 1446 at the base of the portrait,
+below a ledge, on which an insect is slowly walking. The identity of
+the subject and the reason for the presence of the fly, or grasshopper
+(or whatever it is), are equally unknown. However, we have here a
+marvellous human document, which grows more amazing the longer it is
+studied. The portrait preserves the personality and features of a
+strong, kindly, and interesting man, who must have been beloved and
+honored, or he would not have been represented with a golden ring
+around his head, proclaiming him a saint.
+
+And the painter has done more than this: he has thrown such atmosphere
+around the man that the interesting life in the old abbeys seems to
+rise before us. We see the picturesque buildings set in emerald swards
+and shaded by leafy trees, and surrounded by cloisters where the monks
+take exercise, or read in some traceried recess; and we peer into
+the halls where the artistic members of the community are writing,
+composing music, copying, or painting and illuminating beautiful
+miniatures in manuscripts, destined--although undreamed of by these
+painters and gold-leaf workers--to bring thousands of dollars at
+auction-sales five hundred years in the future and to be prized as
+treasures in a then undiscovered country across the Atlantic Ocean,
+whose waters were thought by those very monks to break upon the shores
+of Far Cathay!
+
+Our _Carthusian Monk_, in his white cassock, carries us into the
+Chapel, where we see him and others of his Order in prayer at midnight,
+at early dawn, or at the vesper hour; and again with him we stroll
+to the near-by river in the golden sunlight of the afternoon and sit
+under the soft willows, dangling a line from a long fishing-pole until
+we have a sufficient catch for supper. On our return to the abbey we
+notice how heartily our _Carthusian Monk_ welcomes a group of
+arriving travellers--for the abbeys were the hostelries in the Middle
+Ages--and we join them at supper in the refectory. Doubtless, too, our
+Carthusian gives us a _petit verre_ of golden Chartreuse of his
+own making.
+
+While the rules in the ancient abbeys were rigid and inflexible and
+religion, of course, the chief business, it was in these secluded
+places that art and learning were preserved and fostered. The world
+to-day is apt to forget what civilization owes to the Mediæval Abbey,
+and Petrus Christus has brought this _Carthusian Monk_ to tell us
+something of what that is.
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  PORTRAIT OF A CARTHUSIAN MONK AS A SAINT
+
+    --_Petrus Christus_]
+
+Petrus Christus was born at Baerle, on the southern border of Holland,
+in 1410 (it is thought). In 1444 he became a free citizen of Bruges
+and, as he was a follower and probably a pupil of Jan van Eyck and
+Roger van der Weyden, he is classed as belonging to the School of
+Bruges. Petrus Christus painted religious pictures and portraits and
+is regarded as one of the direct ancestors of _genre_ painting.
+He died in 1473. Of late years his pictures have come into special
+prominence.
+
+
+                    MADONNA AND CHILD WITH ANGELS.
+
+    _Hans Memling
+    (1430–5–1494)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This painting, an oil on panel (23 × 19 inches), came from the
+Collection of the Duke of Anhalt, Gothic Palace, Wörlitz, near Dessau,
+Germany.
+
+The Virgin in a blue robe and red mantle is seated on a canopied
+throne, behind which is an embroidered hanging. Her eyes are looking
+downward upon a missal which she holds in her left hand. On her right
+knee, and supported by her right arm, is seated the Holy Child, who
+reaches out for an apple, offered to Him by a kneeling Angel. This
+Angel holds in his left hand a viol and bow. At the right, another
+kneeling Angel is playing a harp. The scene is framed in a Gothic arch,
+flanked on either side by a circular column, each column supporting a
+single male figure in a sculptured niche: on the right, St. Simon the
+Apostle is holding a saw, and on the left, the Prophet David is holding
+a harp. On each spandrel of the arch a cherub is holding a globe.
+Beyond this again, on either side of the throne, we see a landscape
+with a castle on the left and a church and river on the right. In the
+foreground there is a tessellated floor covered with an Oriental rug.
+
+This idea of angels playing instruments[21] Memling may have learned
+from Italy.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  MADONNA AND CHILD WITH ANGELS
+
+    --_Hans Memling_]
+
+Hans Memling (or Memlinc), was born in 1430 or 1435, supposedly in
+Memelynck (whence his name) near Alkmaar in Holland. Tradition says
+that his family removed to the diocese of Mainz when he was fifteen.
+Memling seems to have painted in Cologne before he went to Bruges about
+1465, where it is thought he was a pupil of Roger van der Weyden. It
+is certain that he was a master painter in Bruges in 1467. In 1479 he
+painted his masterpiece, _The Marriage of St. Catherine_, ordered by
+Jan Floreins for the St. John’s Hospital, Bruges, and also a smaller
+triptych, _The Adoration of the Magi_, for the same building. Another
+great work was the _Shrine of St. Ursula_, ordered by the Hospital
+in 1480 to enclose some relics of St. Ursula brought from the Holy
+Land,--a miniature Gothic chapel adorned with finials, statuettes, and
+medallions representing episodes in the life of St. Ursula. Memling
+died in 1494 in Bruges, which contains to-day a great number of his
+works.
+
+Memling, in common with the Van Eycks and Roger van der Weyden was
+fond of enamelling his grassy swards, where the people sit or walk,
+with beautifully painted flowers; such as the daisy, the anemone, and
+the iris. Hans Memling is the most attractive of all the painters
+of the Netherlandish School, the most human, the most poetic, most
+graceful and the tenderest, merging, as did Fra Angelico (1387–1455),
+his contemporary, from Mediæval to Renaissance. Indeed Hans Memling is
+often called the “Flemish Fra Angelico.”
+
+
+                    PORTRAIT OF A YOUNG GENTLEMAN.
+
+    _Hans Memling
+    (1430–1494)._
+
+    _Collection of
+    Mrs. John N. Willys._
+
+Here we have the portrait of a young gentleman nearly full face, and
+clad in a black doublet which is open at the neck showing a white linen
+shirt with a narrow black circular band around the top. On his head is
+a circular black felt cap with narrow brim. The dense masses of his
+brownish red hair fall over his shoulders and completely cover his
+forehead to the top of his eyebrows. He has blue eyes and an intensely
+thoughtful and serious expression, and he holds in his left hand a
+scroll of paper, which might seem to indicate that he is a poet. The
+background consists of a woody landscape, and on the left is a river
+with two swans.
+
+  [Illustration:
+
+   _Collection of Mrs. John N. Willys_
+
+  PORTRAIT OF A YOUNG GENTLEMAN
+
+    --_Hans Memling_]
+
+Dr. Max J. Friedländer, of Berlin, after examining the picture wrote to
+the present owner: “I was greatly interested in the Memling portrait
+from the Taylor Collection which I saw at your place. It is positively
+a characteristic work of the hand of the Master.”
+
+This picture painted on panel (13½ × 9 inches) came from the John
+Edward Taylor Collection, London, in 1912.
+
+
+                      LOUIS XIII KING OF FRANCE.
+
+    _Peter Paul Rubens
+    (1577–1640)._
+
+    _Collection of
+    Sir Joseph Duveen, Bart._
+
+This interesting oil painting on canvas (46½ × 38 inches) came from
+the Collection of the Emperor of Germany, Palace of Charlottenburg
+near Berlin, and was originally in the Collection of the Archduke
+Leopold William of Austria at the Ducal Palace, Brussels. It was
+painted between 1622 and 1625, and is supposed to be a companion to the
+portrait of _Anne of Austria_ (now in the Prado).
+
+Louis XIII is represented about the age of twenty-five, life-size,
+and three-quarter length, looking at the observer from a background
+of sky, portico, and red drapery. He has a slight moustache and his
+hair is curled and falls down to the fine lace ruff around his neck.
+He is dressed in a polished steel suit of armor and rests his left
+hand, wearing a gauntlet, on a table covered by a cloth. A marshal’s
+_bâton_ is in his right hand. The Cross of the Order of the Holy
+Spirit hangs from a ribbon at his right side and on his left hangs a
+sword from a belt. Over his shoulder is thrown a bright blue velvet and
+ermine mantle embroidered with _fleur-de-lys_ and on the table is
+seen his helmet surmounted by rich plumes of ostrich feathers.
+
+  [Illustration:
+
+   _Collection of Sir Joseph Duveen, Bart._
+
+  LOUIS XIII, KING OF FRANCE
+
+    --_Peter Paul Rubens_]
+
+Louis XIII, son of Henri IV and his second wife, Marie de’ Medici,
+was born in 1601 and became king at the age of nine, on his father’s
+assassination in 1610. Marie de’ Medici, then becoming Regent,
+determined to bring France into close relation with the House of
+Austria and Spain, and, consequently, brought about the marriage of her
+son in 1615 with Anne of Austria, daughter of the Spanish King, Philip
+III.
+
+Louis does not seem to have inherited any of the talents of the Medici
+family, nor any of the dashing charm of his father, the gallant “King
+Henry of Navarre.” He acquiesced for a time in his mother’s government
+and in the rule of her favorites, among whom the Marshall d’Ancre was
+notable; but in 1617 he had the latter assassinated with the help of
+Charles d’Albert, Sieur de Luynes. This caused a breach between him and
+his mother and their relations continued hostile until death.
+
+In 1624 Cardinal Richelieu, who had been Marie de’ Medici’s chief
+adviser, entered into the King’s council, and, thereafter, Richelieu
+directed the policy of France and controlled Louis XIII. Many conflicts
+resulted between the Protestants and the nobles of France; and Louis
+was made the enemy of his mother, Gaston d’Orléans (his brother) and,
+frequently, of his wife, Anne of Austria. On one occasion the Queen
+Mother and Gaston d’Orléans gained influence over Louis and he was
+about to dismiss Richelieu; but the Cardinal regained his power and
+immediately punished his enemies. The Queen Mother was forced to flee
+to Brussels and Gaston d’Orléans to Lorraine. Towards the end of his
+reign Louis is quoted as having said to Richelieu: “We have lived
+together too long to be separated.”
+
+Cardinal Richelieu died in December, 1642, and Louis died a few months
+later, in May, 1643.
+
+Peter Paul Rubens was born in Siegen, Westphalia, in 1577, and received
+his first education in the Jesuit College in Antwerp, and, for a few
+years, thereafter, was page to a noble lady. At the age of thirteen he
+began to study painting under Tobias Verhaagt, whom he left to study
+under Adam van Noort. Next he worked under Otto van Veen. In 1600
+he went to Italy, entering the service of Vincenzo Gonzaga, Duke of
+Mantua, with whom he remained for eight years, interrupted by missions
+to various courts. In 1603 he visited Madrid and went to Venice, Rome,
+and Genoa. In 1609, on the death of the Duke of Mantua, Rubens returned
+to Antwerp and became Court-Painter to Albert and Isabella, Regents of
+the Netherlands. In that year also Rubens married Isabella Brandt. His
+studio at Antwerp now became famous and attracted students from every
+town in Europe.
+
+He had barely established himself when he wrote to a friend in 1611:
+“On every side I am overwhelmed with solicitations. Without the least
+exaggeration, I may assure you that I have already had to refuse more
+than a hundred pupils.”
+
+In 1621 Rubens was called by Marie de’ Medici to Paris to decorate the
+gallery in the Palace of the Luxembourg. At this period the _style
+Rubens_, which he introduced on his return from Italy and which was
+inspired by the late Italian Renaissance, was all the rage.
+
+In 1622 he published a book on the _Palaces of Genoa_; and from
+the preface we learn that he was perfectly delighted to see the “old
+style known as barbarous, or Gothic, go out of fashion, to the great
+honor of the country, and disappear from Flanders, giving place to
+symmetrical buildings designed by men of better taste and conforming to
+the rules of the Greek and Roman antique.”
+
+Rubens was a favorite with several kings and when he was neither
+painting nor teaching, he was visiting some foreign court on an
+embassy. On one of these visits to London in 1629–30 he was knighted by
+Charles I.
+
+In 1630 he married again (Isabella Brandt having died in 1626), uniting
+himself to his first wife’s niece, Helena Fourment, who was but
+sixteen. Rubens now built a palatial house in Antwerp, where, as well
+as in his _Château de Steen_ in the vicinity, he lived a happy,
+industrious, and splendid life, having everything the world could give
+in the way of honors and joys. Rubens’s influence upon the artists of
+his own time was very great and he dominated the entire art taste of
+Europe during the first three quarters of the Seventeenth Century.
+
+Religious subjects, mythological subjects, landscapes, hunting scenes,
+portraits, and still-life,--everything came easily to his brush. Sir
+Joshua Reynolds wrote a fine analysis of Rubens, in which he says: “The
+striking brilliancy of his colors, and their lively opposition to each
+other, the flowing liberty and freedom of his outline, the animated
+pencil with which every object is touched, all contribute to awaken
+and keep alive the attention of the spectator; awaken in him, in some
+measure, correspondent sensations, and make him feel a degree of that
+enthusiasm with which the painter was carried away. To this we may add
+the complete uniformity in all the parts of the work, so that the whole
+seems to be conducted and grow out of one mind: everything is of a
+piece and fits its place.
+
+“Besides the excellency of Rubens in these general powers, he possessed
+the true art of imitating. He saw the objects of nature with a
+painter’s eye; he saw at once the predominant feature by which every
+object is known and distinguished; and as soon as seen, it was executed
+with a facility that is astonishing. Rubens was, perhaps, the greatest
+master in the mechanical part of the art, the best workman with his
+tools, that ever exercised a pencil.
+
+“This power which Rubens possessed in the highest degree enabled him
+to represent whatever he undertook better than any other painter. His
+animals, particularly lions and horses, are so admirable that it may
+be said they were never properly represented but by him. His portraits
+rank with the best works of the painters who have made that branch of
+art the sole business of their lives; and of those he has left a great
+variety of specimens. The same may be said of his landscapes.
+
+“The difference of the manner of Rubens from that of any other painter
+before him is in nothing more distinguishable than in his coloring,
+which is totally different from that of Titian, Correggio, or any of
+the great colorists. The effect of his pictures may be not improperly
+compared to clusters of flowers; all his colors appear as clear and as
+beautiful; at the same time he has avoided that tawdry effect which one
+would expect such gay colors to produce; in this respect resembling
+Barocci more than any other painter. What was said of an ancient
+painter may be applied to those two artists, that their figures look as
+if they fed upon roses.”
+
+
+                          RINALDO AND ARMIDA.
+
+    _Sir Anthony Van Dyck
+    (1599–1641)._
+
+    _Collection of
+    Mr. Jacob Epstein._
+
+This picture, oils on canvas (90 × 96 inches), came from the Collection
+of the Duke of Newcastle, Clumber Park, Nottinghamshire, to its present
+home in Baltimore.
+
+Rinaldo is in shining, silver-blue armor with a flowing mantle of
+golden yellow, which is clasped at the shoulder. Armida wears a blue
+robe and a red mantle. The sky is blue with white clouds and there is a
+tree in the background and an enchanted lake at the right.
+
+The influence of Van Dyck’s master, Rubens, is very apparent in this
+gorgeous picture, where all the delights of the Garden of Armida are
+set forth--that magic garden that Tasso described in his _Jerusalem
+Delivered_, to which many a Crusader was lured.
+
+  [Illustration:
+
+   _Collection of Mr. Jacob Epstein_
+
+  RINALDO AND ARMIDA
+
+    --_Sir Anthony Van Dyck_]
+
+Another _Rinaldo and Armida_ by Van Dyck is in the Louvre.
+
+Armida was a beautiful sorceress; and it was difficult to resist her
+enchantment. Two messengers were sent from the Christian Army with a
+talisman to effect Rinaldo’s escape. Armida followed Rinaldo and, not
+being able to regain her power over him, rushed into the combat and was
+killed. Rinaldo came of the noble Este family and ran away at the age
+of fifteen to join the Crusaders. He was enrolled in the “Adventurers
+Squadron” and is often called the “Achilles of the Christian Army.”
+
+Anthony, or Antoon, van Dyck, was born at Antwerp in 1599, son of a
+silk-merchant. At the age of ten he became the pupil of Henrik van
+Balen and entered Rubens’s studio as assistant in 1618, when only
+seventeen. He soon achieved a reputation for his portraits and visited
+England. In 1621, by Rubens’s advice, he went to Italy, having already
+acquired a reputation. After a five years’ stay, much of which time
+was spent in Genoa, Van Dyck returned home and painted his celebrated
+picture of the _Crucifixion_ for the Church of St. Michael in
+Ghent, which established his reputation. In 1630 he again visited
+England; but, not meeting with the reception he had anticipated,
+he returned to Antwerp. However, in 1632, Charles I, who had seen a
+portrait of his Chapelmaster by Van Dyck, sent for him to come to
+England. On this occasion the painter was warmly welcomed, lodged by
+the King at Blackfriars, and, in the following year was knighted and
+given a pension for life. Van Dyck was the second painter to have
+an English Knighthood. Thenceforward Van Dyck lived very grandly,
+having a town house and also a country house at Eltham. He was always
+magnificently dressed, had numerous coaches and horses, and kept so
+good a table that few princes were better served. Van Dyck died in
+London in 1641, at the age of forty-two, having left a prodigious
+amount of work and a fortune of £20,000 sterling, notwithstanding his
+expensive manner of living. He was buried in Old St. Paul’s, near the
+tomb of John of Gaunt; but his remains, of course, perished in the
+Great Fire of 1666.
+
+In the short span of his life--forty-two years--he painted nearly a
+thousand pictures. Van Dyck has three styles. The first is his Italian
+period; the second, his Flemish period, dating from his return from
+Italy in 1626 to his departure for England in 1631; and the third, his
+English period, from 1631 to 1641. The latter period is the greatest
+and the most distinguished for grace, elegance, and aristocratic
+quality.
+
+“More noble than Rubens in his choice of form,” writes Charles Blanc,
+“Van Dyck had fewer faults than his master, but perhaps also less
+grandeur. His color was as charming without being so splendid. His
+design was learned, but without pedantry; and his contours were always
+governed by the sentiment of grace, or fire of genius. Very nearly
+the equal of Titian in portraiture, Van Dyck has sometimes risen to a
+great height in his historical compositions, in which the beauty of the
+expression is often as admirable as the excellence of the touch.”
+
+
+                          DÆDALUS AND ICARUS.
+
+    _Sir Anthony Van Dyck
+    (1599–1641)._
+
+    _Collection of
+    Mr. Frank P. Wood._
+
+A treasure of art, long in England in the famous Collection of the late
+Earl Spencer, K. G., at Althorp, Northumberland, is Van Dyck’s poetic
+version of the ancient Greek myth regarding man’s attempt at flight.
+Van Dyck was so fond of this subject that he painted it more than once.
+
+This work is an oil painting on canvas (46 × 35 inches).
+
+The figures are nearly life-size and very finely modelled. Icarus
+is nude save for a red drapery caught around the waist by a narrow
+band of bluish green,--a rather strange aviator’s suit to our way of
+thinking to-day! The position of his right hand would seem to tell us
+that Icarus is about to speak to his father, who, standing behind him,
+has apparently just fastened on his son’s wings and who appears to be
+giving him that sage advice about flying too near the sun. The flashing
+eyes and knitted brow of young Icarus indicate that this advice is not
+relished.
+
+Max Rooses has noted that Icarus is not unlike the Angels that Van Dyck
+was fond of painting; calls attention to his beautiful, waving, golden
+hair; and finds a strong likeness between Icarus and the artist himself
+in his youth. One of the wings shows a white interior and the other, in
+the shadow, a bluish green exterior.
+
+  [Illustration:
+
+   _Collection of Mr. Frank P. Wood_
+
+  DÆDALUS AND ICARUS
+
+    --_Sir Anthony Van Dyck_]
+
+Dædalus was a mythical personage under whom the Greek writers
+personified the earliest development of human flight and also the arts
+of sculpture and architecture. Some traditions represent Dædalus as of
+the royal race of the Erechthidæ and others make him a Cretan. Dædalus
+devoted himself to sculpture and taught his sister’s son, Talus, who
+soon surpassed him. Consequently, in envy Dædalus killed this young
+rival. Condemned to death in Athens for this murder, Dædalus fled to
+Crete, where his fame won him the friendship of King Minos. When Queen
+Pasiphae gave birth to the Minotaur, Dædalus constructed the Labyrinth
+at Cnossus in which the Minotaur was kept; and for doing this King
+Minos imprisoned him. However, Pasiphae released him. This was of not
+much advantage, however, because King Minos had seized all the ships
+on the coast of Crete. “Necessity is the mother of invention:” Dædalus
+had to get away. The question was “how?”. The result was that Dædalus
+made wings for himself and for his son, Icarus, and fastened them on
+the shoulders with wax, cautioning the youth not to fly too close to
+the sun. Icarus would not pay attention to this advice and, flying too
+high, the wax melted and he dropped down and was drowned in that part
+of the Ægean Sea, which is now called after him the Icarian Sea.
+
+Dædalus, however, flew safely over the Ægean and reached Sicily, where
+he was protected by Cocalus, King of that Island. When King Minos heard
+where Dædalus had taken refuge he sailed with a great fleet to Sicily;
+but was murdered there by Cocalus. According to some accounts, Dædalus
+alighted on his flight from Crete at Cumæ in Italy, where he erected a
+temple to Apollo in which he offered the wings with which he had flown.
+Like Lindberg, his descendant, he placed his “We” in a museum!
+
+Many works of art were attributed to Dædalus in Greece, Italy, Egypt,
+and the islands of the Mediterranean. Also the Greeks gave the name
+of Dædala to the ancient wooden statues of the gods ornamented with
+gilding, bright colors, and real drapery.
+
+It is appropriate to add here a sonnet by an old French poet, Philippe
+Desportes (1545–1606) entitled “Icare”:
+
+                                _ICARE_
+
+    _Icare est chut ici, le jeune audacieux,
+    Qui pour voler au ciel eut assez de courage:
+    Ici tomba son corps dégarni de plumage,
+    Laissant tous braves cœurs de sa chute envieux._
+
+    _O bienheureux travail d’un esprit glorieux,
+    Qui tire un grand gain d’un si petit dommage!
+    O bienheureux malheur plein de tant d’avantage,
+    Qu’il rende le vaincu des ans victorieux!_
+
+    _Un chemin si nouveau n’étonna sa jeunesse,
+    Le pouvoir lui faillit, mais non le hardiesse;
+    Il eut pour le brûler des astres le plus beau;_
+
+    _Il mourut poursuivant une haute aventure;
+    Le ciel fut son désir, la mer sa sépulture;
+    Est-il plus beau dessein, ou plus riche tombeau?_
+
+
+                     ROBERT RICH, EARL OF WARWICK.
+
+    _Sir Anthony Van Dyck
+    (1599–1641)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+In silver doublet with slashed sleeves embroidered with flowers,
+crimson knee-breeches edged with gold braid, pink silk stockings and
+white shoes with lace rosettes (or “shoe roses,” as they were called
+in those days), a crimson cloak thrown over his left shoulder and held
+by his gloved hand, white lawn collar and cuffs edged with handsome
+lace, Robert Rich, Earl of Warwick, stands before us, a picture of
+elegance, manly beauty, and aristocratic _hauteur_. He is standing
+full front with his head turned three-quarters to the left, in which
+direction he is also looking, and he is holding his black felt hat in
+his right hand. His armor and _bâton_ of command are lying on the
+ground by his side. The embroidered curtain in the background does not
+prevent us from seeing a naval engagement on his right.
+
+Robert Rich, Earl of Warwick, came of very distinguished ancestry on
+the maternal line, for his mother was Penelope Devereux, the sister of
+Essex, whose mother, Lettice Knollys, had been Maid of Honor to Queen
+Elizabeth (and who captivated the Earl of Leicester), and whose father,
+Walter Devereux, was first Earl of Essex (died 1576). Penelope’s father
+had wished her to marry Sir Philip Sidney; but the Earl of Huntingdon,
+Penelope’s guardian, ruled otherwise and forced her to marry Lord
+Rich, “a man of independent fortune and a known estate but otherwise
+of an uncourtly disposition, unsociable, austere, and of no agreeable
+conversation to her.”
+
+Lady Rich, the most beautiful woman in all London, particularly famous
+for her sparkling black eyes, plunged wildly into society and was the
+most admired and courted woman of the Court. She played, too, a leading
+part in the rebellion of her distinguished brother, Essex. Lady Rich
+lives in literature as Sidney’s Stella. The romance between these
+lovers, “Astrophel and Stella,” never cooled. When Sidney learned of
+Penelope’s marriage to “the rich Lord Rich,” he played with her new
+name as follows:
+
+    “Towards Aurora’s court a nymph doth dwell,
+    Rich in all beauties which man’s eye can see;
+    Beauties so far from reach of words that we
+    Abase her praise saying she doth excel:
+    Rich in those gifts which give the eternal crown;
+    Who, though most rich in these and every part
+    Which makes the patents of true worldly bliss,
+    Hath no misfortune but that Rich she is.”
+
+Lord Rich was created Earl of Warwick in 1618; but he had been divorced
+from Lady Rich in 1605, thirteen years before he succeeded to this
+title. On obtaining her divorce Lady Rich then married Charles Blount,
+Earl of Devonshire and eighth Baron Mountjoy, who, in defense of his
+marriage, wrote the following:
+
+“A lady of great birth and virtue being in the power of her friends,
+was by them married against her will unto one against whom she did
+protest at the very solemnity and ever after; between whom, from the
+first day, there ensued continued discord, although the same fears that
+forced her to marry constrained her to live with him. Instead of a
+comforter, he did study in all things to torment her; and by fear and
+fraud, did practice to deceive her of her dowry.”
+
+Sidney was always writing of Stella’s marvellous black eyes and their
+shining rays:
+
+    “When nature made her chief work, Stella’s eyes,
+    In color black, why wrapt she beams so bright?
+    Would she in beauty black, like painter wise,
+    Fame daintiest lustre, mixt of shades and light?
+    Or did she else that sober hue devise
+    In object best to knit and strength our sight;
+    Least, if no veil these brave gleams did disguise,
+    They, sunlike, should more dazzle than delight?
+    Or would she her miraculous power show,
+    That, whereas black seems Beauty’s contrary,
+    She even in black doth make all beauties flow?
+    Both so, and thus--she, minding Love should be
+    Placed even there, gave his this mourning weed
+    To honor all their deaths who for her bleed.”
+
+There is every reason, therefore, why the subject of this picture
+should be so handsome, so distinguished, and so fascinating.
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  ROBERT RICH, EARL OF WARWICK
+
+    --_Sir Anthony Van Dyck_]
+
+Robert Rich was born in 1587 and was admitted to Emmanuel College,
+Cambridge, in 1603 and in that year was created a Knight of the Bath.
+He was quite old enough to have remembered the exciting days of the
+Essex conspiracy, the part his mother took in this, her imprisonment
+and release, and his uncle’s execution in 1601. At the age of
+twenty-three he was elected to Parliament and was again elected in
+1614. In 1619 he succeeded to the title.
+
+Robert Rich was one of the original members of the Company for the
+Plantation of the Bermudas in 1614 and was granted a seat on the
+Council of the New England Company in 1620, which two great enterprises
+connect this handsome lord with our own country. Also in 1624 Robert
+Rich was made a member of the Council of the Virginia Government. Yet
+this was not all. Warwick’s Colonial interests brought him into close
+relation with the leading men of the Puritan Party and link his name
+with the early history of the New England Colonies. He was closely
+associated with the origin of Connecticut, for in 1632 he granted to
+Lord Say, Lord Brooke, John Hampden, and others what is known as “the
+old patent of Connecticut,” under which the town of Saybrook (named for
+Lord Say and Lord Brooke) was founded.
+
+In English politics Warwick opposed the policy of Charles I and,
+consequently, after the dissolution of the Short Parliament, he was
+arrested by the King’s order.
+
+As temporal head of the Puritans and opposed to the party in the
+Established Church led by Archbishop Laud, Warwick concurred in
+the prosecution of Archbishop Laud and the Earl of Strafford. In
+1643 Warwick was appointed Lord High Admiral of the Fleet, serving
+Parliament in opposition to Charles I, and he bore the title of
+Governor-in-Chief of all the islands and other plantations subject
+to the English Crown, on which authority he became associated with
+the founding of the Colony of Rhode Island. After the monarchy and
+the House of Lords had both been swept away, the Earl of Warwick gave
+his support and encouragement to Oliver Cromwell. The marriage of
+Cromwell’s daughter to Warwick’s grandson proves the strength of the
+friendship. The Earl of Warwick died on April 19, 1658, and was buried
+at Felsted, Essex. He had been three times married.
+
+This picture, in oils on canvas (83 × 49 inches), belonged in the
+Collection of the Marquess of Breadalbane, Taymouth Castle, Scotland,
+and to the Collection of the Hon. Mrs. Robert Baillie-Hamilton,
+Langton, Duns, Scotland.
+
+
+        QUEEN HENRIETTA MARIA WITH JEFFREY HUDSON AND A MONKEY.
+
+    _Sir Anthony Van Dyck
+    (1599–1641)._
+
+    _Collection of
+    Mr. William Randolph Hearst._
+
+This full-length portrait in oils on canvas (85¼ × 52 inches) was
+painted in 1633, the year that Van Dyck was knighted and when he
+had been about a year in the service of Charles I. Its pedigree is
+interesting. The painting was in the possession of the Newports, Earls
+Bradford of the first creation, and was left in 1762, on the death
+of the fifth Earl, to his sister, Diana, Countess of Mountrath. From
+the Countess of Mountrath it descended to her son, the last Earl of
+Mountrath, and from him to the first Earl of Dorchester, of Milton
+Abbey, where it remained until removed by the Earl of Portarlington to
+Emo Park, Queen’s County, Ireland. In 1881 Thomas George, first Earl of
+Northbrook, acquired it by exchange from the Earl of Portarlington; and
+from the latter it was inherited by Francis George, the second Earl of
+Northbrook, whence it came to the present owner.
+
+The Queen of Charles I, proud and handsome, is very French and Italian
+in general style; for be it remembered that Henrietta Maria was the
+daughter of the gallant King Henry of Navarre and his second wife,
+Marie de’ Medici, and that she was, consequently, the sister of Louis
+XIII (see page 176).
+
+The Queen has brown hair curled in “ringlets” and one “ringlet” falls
+on her shoulder. Her face is oval and delicate and her eyes are brown.
+She is standing at full length on a step with her head slightly turned
+to the left, dressed in a blue silk gown (of the shade we now call
+“Alice blue”), trimmed with narrow gold braid, and a large black felt
+hat with a white plume, lace collar and a kerchief over her shoulders
+with two pink bows in front. Beautifully painted frills of lace adorn
+the elbow sleeves. With her left hand she touches a stiff fold in
+her dress and with her right hand she caresses a little brown monkey
+perched on the shoulder of Jeffrey Hudson, the famous dwarf. The little
+dwarf is about thirteen years of age and is much under size. He has
+light hair and the slightly wizened face that usually goes with this
+kind of freak. Indeed our little Jeffrey looks not unlike the pictures
+of the famous “Gen. Tom Thumb” of Barnum days in the mid-Nineteenth
+Century. Jeffrey Hudson wears a suit of brick-dust red velvet, a lace
+collar, and long, brown boots.
+
+In the background, to the left, there is a stone wall and upon it
+a flower-pot holding an orange tree, and farther away we note some
+trees and, still farther beyond, the sky. To the right of the fluted
+pillar on the right, there is a sort of ledge or shelf covered with a
+brilliant orange silk curtain on which rests a crown of gold studded
+with pearls, which informs us of the presence of Royalty.
+
+Queen Henrietta Maria was born in 1609, the year before her father,
+Henri IV, King of France, was assassinated. In 1624, when she was about
+fifteen, the Prince of Wales offered marriage; and this was consented
+to by her brother, Louis XIII, on condition that the English Roman
+Catholics should be relieved from the enforcement of the penal laws. In
+June, 1625, Henrietta Maria was married by proxy and went to England,
+thus encumbered with political and religious pledges that were certain
+to bring unpopularity upon everybody concerned. The Prince of Wales had
+now become King of England and he soon found an excuse for breaking his
+promise to relieve the English Roman Catholics. This course of action
+offended the Queen deeply. The early years of Charles’s married life
+were very unhappy and the favorite, the dashing Buckingham, fanned the
+flames of the King’s discontent. After the assassination of Buckingham
+in 1628, the King and Queen became deeply attached to each other; and
+from that moment the bond of affection that united them was never
+loosened.
+
+  [Illustration:
+
+    _Collection of Mr. William Randolph Hearst_
+
+  QUEEN HENRIETTA MARIA WITH JEFFREY HUDSON AND A MONKEY
+
+    --_Sir Anthony Van Dyck_]
+
+For a number of years Henrietta Maria’s chief interests lay with her
+young family. Her children were: Charles II (born 1630); Mary, Princess
+of Orange (born 1631); James, Duke of York, afterwards James II, (born
+1633); Elizabeth (born 1636); Henry, Duke of Gloucester (born 1640);
+and Henrietta, Duchesse d’Orléans (born 1644). The Queen also delighted
+in the amusements of the gay and brilliant Court. With political
+matters she had nothing to do until 1637, when she opened a diplomatic
+communication with the See of Rome, to help her co-religionists. She
+appointed an agent to reside in Rome and Rome sent to her a Papal agent
+(a Scotchman named George Conn), who soon made many converts among the
+English nobility and gentry.
+
+Protestant England took alarm and, therefore, the Queen became very
+unpopular. When the Scottish troubles broke out Queen Henrietta Maria
+raised money from her fellow Catholics to support the King’s army on
+the Borders in 1639; and in 1640, during the sitting of the Short
+Parliament, the Queen urged her husband to oppose himself to the House
+of Commons in defence of the Catholics. When the Long Parliament met,
+the Catholics were believed to be the authors and agents of every
+arbitrary scheme supposed to have entered into the plans of Strafford
+or Laud. During the Long Parliament Henrietta Maria urged the Pope to
+lend money to enable her to restore her husband’s authority and she
+threw herself heart and soul into the schemes for rescuing Strafford
+and coercing Parliament. The Army Plot, the schemes for using Scotland
+against England, and the attempt upon the five members--Pym, Hampden,
+Haselrig, Hoiles, and Strode--were the fruits of her political activity.
+
+Next the Queen effected her passage to the Continent and in February,
+1643, she returned and, landing at Burlington Quay, placed herself at
+the head of a band of Loyalists and marched through England to join
+the King near Oxford. After little more than a residence there of a
+year, on the 3d of April, 1644, she parted from her husband to see his
+face no more; but as long as Charles I was alive she never ceased to
+encourage him to resistance. Henrietta Maria found refuge in France,
+for Richelieu was then dead and Anne of Austria proved compassionate,
+yet she had much to suffer in her exile. The execution of her
+husband was a terrible distress. There is a story with some truth
+that she married her equerry, Lord Jermyn, which may account for the
+estrangement of her children.
+
+When Henrietta Maria returned to England after the Restoration, she
+found that she had no place in the new Court. Parliament gave her a
+grant of £30,000 a year in compensation for the loss of her dower-lands
+and her son, Charles II, added a similar sum as a pension from himself.
+In January, 1661, Henrietta returned to France to be present at the
+marriage of her daughter, Henrietta, to the Duc d’Orléans, but in July,
+1662, she was back in England, taking up her residence at Somerset
+House. Three years later she returned to France and died at Colombes,
+near Paris, in 1666.
+
+The other personage in this double portrait, Jeffrey Hudson, was born
+at Oakham, Rutland, in 1619. His father was a butcher, who kept and
+baited bulls for George Villiers, first Duke of Buckingham. Neither
+of his parents was undersized. When he was nine years old his father
+carried Jeffrey to Burleigh-on-the-Hill and offered him to the Duchess
+of Buckingham, who took him into her service. At that time he was
+scarcely eighteen inches in height and, if we may believe Fuller,
+“without any deformity, wholly proportioned.”
+
+Shortly afterwards Charles I and Henrietta Maria passed through Rutland
+and the Duke of Buckingham gave a dinner in their honor. During one of
+the courses an enormous pie[22] was served; and when it was cut, out
+jumped Jeffrey Hudson! The Queen was so delighted with the sprightly
+little dwarf that she appropriated him at once and he became a Court
+favorite.
+
+Jeffrey had a number of adventures. On one occasion, when he was sent
+to France to procure a nurse for the Queen, the ship was captured on
+the return voyage by a Flemish pirate and Jeffrey, the nurse, and the
+Queen’s dancing-master were all taken to Dunkirk. Then Jeffrey also
+saw some military service. When the Prince of Orange besieged Breda in
+1637, “Strenuous Jeffrey” was in the Prince’s camp in company with the
+Earl of Warwick (see page 187) and the Earl of Northampton, who were
+volunteers in the Dutch Service.
+
+During the Civil Wars Jeffrey Hudson is said to have been a Captain of
+the Horse. It is certain that he followed the Queen, for he was with
+her in the flight to Pendennis Castle, in June, 1644, and he went with
+her to Paris. “He was,” says Fuller, “though a dwarf, no dastard”; and,
+accordingly, when insulted by Crofts at Paris in 1649, he shot him dead
+with a pistol in a duel. Crofts had rashly armed himself only with a
+squirt. In consequence of this, Jeffrey had to leave Paris, although
+Henrietta Maria saved him from imprisonment, which, however, he had
+frequently experienced. At sea Jeffrey was captured by a Turkish rover,
+carried to Barbary, and sold as a slave. His miseries, according to
+his own account, made him grow taller. Jeffrey managed to get back to
+England about 1658, at which time Heath addressed some lines to him in
+his _Clarastella_.
+
+After the Restoration, Jeffrey Hudson lived quietly in the country for
+some time on a pension subscribed by the Duke of Buckingham and others;
+but, on coming up to London to push his fortunes at Court, he, being a
+Roman Catholic, was suspected of complicity in the Popish Plot (1679)
+and was confined in the Gatehouse at Westminster.
+
+In June, 1680, and April, 1681, “Captain Jeffrey Hudson” received
+respectively £50 and £20 from Charles II’s secret service fund. Jeffrey
+Hudson died in 1682.
+
+Accounts of his height vary, but, according to his own statement (as
+made to Wright, the historian of Rutland), after reaching the age of
+seven, when he was eighteen inches high, he did not grow at all until
+he was thirty, when he shot up three feet, six or nine. Hudson’s
+waistcoat, breeches, and stockings are preserved in the Ashmolean
+Museum, Oxford.
+
+
+
+
+                            DUTCH PAINTING
+
+
+
+
+                           _DUTCH PAINTING_
+
+
+It is not until we come to the Seventeenth Century that Painting in
+that part of the Spanish and Austrian Netherlands now known as Holland
+took on the national character of the Dutch race. The new political
+and economic views inculcated by the States-General, and even more
+particularly through the bias of the Protestant faith, produced an
+entirely new kind of painting. The sacred subjects inspired by the
+Roman Catholic religion, as well as the mythological and historical
+subjects (made so popular by Rubens) were rejected for more prosaic
+and literal interpretations of Biblical stories; for representations
+of popular heroes in the late wars that overthrew Spanish tyranny; for
+portrait groups of civic dignitaries, such as Regents and Presidents
+of guild-halls, shooting-galleries, hospitals and other charitable
+institutions (known as “_Regent_” and “_Doelen_” pictures); and
+for those domestic scenes and social parties called “_Conversation
+Pieces_,” in which are mirrored the Dutch home and its simple
+pleasures with detailed representation of furniture, rugs, china,
+glass, brass-ware, musical instruments, birds, animals, food, fruit,
+and flowers. Landscapes and marines were also in harmony with the new
+choice of subject, and, of course, portraiture of the most realistic
+kind.
+
+This matter-of-fact art was given a somewhat “romantic” quality
+by the extraordinary treatment of dark masses of shadow and of
+sunlight effects and also by a fine use of color. Artists have always
+appreciated these characteristics, agreeing with Sir Joshua Reynolds,
+who wrote after his visit to the Netherlands:
+
+“A market-woman with a hare in her hand, a man blowing a trumpet, or
+a boy blowing bubbles, a view of the inside or outside of a church,
+are the subjects of some of their most valuable pictures; but there
+is still entertainment, even in such pictures--however uninteresting
+their subjects, there is some pleasure in the contemplation of the
+imitation. But to a painter they afford likewise instruction in his
+profession; here he may learn the art of coloring and composition, a
+skillful management of light and shade and indeed all the mechanical
+parts of the art as well as in any other School whatever.
+
+“The same skill which is practised by Rubens and Titian in their large
+works is here exhibited, though on a smaller scale. Painters should go
+to the Dutch School to learn the art of painting as they would go to a
+grammar-school to learn languages. They must go to Italy to learn the
+higher branches of knowledge.”
+
+In the long list of great and noteworthy Dutch painters the two
+greatest names are Rembrandt and Frans Hals. Rembrandt van Rijn
+(1606–1669), a powerful giant, excelling in painting, etching, and
+drawing, producing masterpiece after masterpiece and standing alone as
+an interpreter of Bible stories, profound searcher for character in
+portraiture, and dramatist in light and shade (see page 204).
+
+Frans Hals (1580?–1666), painter of portraits, corporations and
+military companies, and characters of low life, with an uncanny
+analysis of the eye and an uncanny technique to register surely and
+rapidly what his eye saw, whose pictures, long neglected, are of high
+value to-day (see page 220).
+
+Not far below Frans Hals and Rembrandt as a painter of great civic
+group pictures comes Bartholomew van der Helst (1612–1670), whose
+enormous _Civic Guard Banquet_, painted in 1648 in celebration of
+the Peace of Münster, with its twenty-four life-size portraits, ranks
+as one of the great pictures of the world. Van der Helst’s _Company
+of Captain Roelof Bicker_, in the same gallery, with its thirty-two
+portraits, is its equal although not quite so renowned.
+
+Dutch Painting, however, did not leap into being with Rembrandt, Frans
+Hals, and Bartholomew van der Helst. There were Dutch Primitives,
+as there were Flemish Primitives, and they are not always to be
+distinguished from one another. The famous Hubert and Jan van Eyck, for
+instance, are thought to have been natives of Maaseyck on the Maas and
+Hans Memling is supposed to have been born in Memelynck, near Alkmaar.
+
+The greatest of the Dutch painters was Lucas van Leiden (1494-1533),
+who knew Italian Art well and who was a follower of Albrecht
+Dürer. Some of his paintings are very decorative and his chess and
+card-players may almost be said to begin Dutch _genre_ painting,
+brought to such perfection by the Little Dutch Masters. By the end of
+the Fifteenth Century a great many Dutch painters had visited Italy;
+some of them had studied there; and some of them had worked there. Jan
+van Scorel (1495–1562), for instance, was kept in Rome for five years
+by Pope Adrian VI, who was, himself, a native of Utrecht.
+
+Jan van Scorel was the master of Antonio Moro, or Antonis Mor
+(1512–1577), who went to Rome, was admitted to the Guild of Painters
+in Utrecht in 1547, and leaped into fame with a portrait of Cardinal
+Granvella, who took Moro in his train to Brussels. Moro soon became
+Court-Painter to the House of Hapsburg and travelled about to various
+courts, painting portraits of Royalty. Michiel Jansz Mierevelt
+(1567–1641), was portrait-painter to the House of Orange and Nassau and
+his pupil, Paulus Moreelse (1571–1638), a native of Utrecht, was hardly
+less popular. The greatest painter of Corporation Pictures before Frans
+Hals was Jan van Ravensteyn (1572–1657).
+
+The early Dutch landscape-painters travelled to Italy, Switzerland,
+and even Norway; but none of them acquired the reputation of two
+Dutchmen who found inspiration at home. Jan van Goyen (1596–1656),
+and Jan Wynants (1620?–1682), were the first to take pleasure in
+their own country. Van Goyen loved the water, the boats, the clouds,
+the mist, and distant towns silhouetted against the sky. Wynants
+showed the charm of the lonely walk that led through the dunes to the
+sea. Wynants formed Adriaen van de Velde (1635–1672), who carried
+landscape-painting so far that he comes very close to the Barbizon
+School of the Nineteenth Century. Then there are two Dutch artists
+who are doubly famous for their landscapes and animals: Aelbert Cuyp
+(1620–1691), “the King of Dutch landscape-painters,” noted for his
+golden light and elegant cavaliers riding fine horses; and Paul Potter
+(1625–1654), known far and wide for his _Bull_, in the Hague Gallery,
+painted when the artist was only twenty-two; but not so fine a work
+as _La Vache qui se mire_ (_The Mirrored Cow_) in the same gallery.
+Of these two pictures the French critic, Burger, wittily remarked:
+“_La Vache qui se mire_ is a _chef-d’œuvre_ and not a _hors d’œuvre_,
+like the _Bull_!” Supreme as landscape-painters stand Jacob Ruisdael
+(1628–9–1682), who used as a rule a very dark green and who was able
+to suggest immense perspectives in very small compass, also for his
+harmonious relation of earth and sky, and Meindert Hobbema (1638–1709),
+supposed to have been his pupil, and whose long neglected pictures of
+long, straight roads beneath tall trees now bring high prices.
+
+Adriaen van Ostade (1610–1685), a pupil of Frans Hals, wandered about
+the country finding material along the roads. Ostade often caught the
+poetic side of a rustic scene and he had a commanding knowledge of
+light.
+
+The Dutch, with their love of home and their simple pleasures, excelled
+in depicting scenes of intimate life, “_Conversation Pieces_,” and
+_genre_. The list of these worthy painters is long. A few, however,
+stand out prominently,--Gerard Dou, Gerard Terborch, Jan Steen, Pieter
+de Hoogh, Jan Vermeer of Delft, Gabriel Metsu, Nicholas Maes, and
+Frans van Mieris--all painters of the Seventeenth Century, portraying
+life as they saw it around them, according to the class in which they
+moved. Terborch, Metsu, and van Mieris showed ladies and gentlemen,
+beautifully dressed, enjoying music, or playing cards, or having
+a light afternoon repast, or writing letters, or making love, or
+talking in the garden, or sitting quietly in a comfortably furnished
+room; Jan Steen depicted feasts, merry-making, weddings, St. Nicholas
+celebrations, tavern-scenes, drunken brawls and quack doctors; and
+Gerard Dou produced simple scenes in the home where servants are
+at work and mothers sit by the cradle, and sometimes scenes by
+candle-light with strange reflections, for Gerard Dou was a pupil of
+Rembrandt and liked to play tricks with _chiaroscuro_. Another painter,
+who was a magician with light, is Jan Vermeer of Delft (1632–1675), who
+was a pupil of Rembrandt’s pupil, Carel Fabritius, and whose pictures
+are rare and famous (see page 228). Still another artist, remarkable
+for his knowledge of the complex problems of light, is Pieter de
+Hoogh or Hooch (1629–1677?), hardly less remarkable for his solid and
+splendid rendering of architecture, exterior as well as interior (see
+page 226).
+
+Moreover, the Dutch excelled in two other _genres_,--birds and flowers.
+Melchior d’Hondecoeter (1636–1695), caught all the beauties of the
+feathered world and had an insight into its society. _The Floating
+Feather_, in the Rijk’s Museum, is very celebrated. Burger delightfully
+wrote of it:
+
+“No one has painted better than Hondecoeter the cocks and hens,
+ducks and drakes, and particularly little chicks and ducklings. He
+has understood such families as the Italians have the mystical Holy
+Family; he has expressed the motherhood of the hen as Raphael has the
+motherhood of the Madonna. In fact, the subject is more naturally
+treated because it has less sublimity. Hondecoeter gives us here a
+mother-hen who could face the _Madonna of the Chair_. She bends
+over with solicitude with outspread wings, beneath which peep the
+excited heads of the little chickens; while on her back is perched the
+privileged _bambino_--she does not dare move,--the good mother!”
+
+Melchior d’Hondecoeter was taught by Jan Baptiste Weenix (1621?–1660),
+painter of dead game, and teacher of his son, Jan Weenix (1640–1719),
+who often arranged his dead game around the base of a large urn in a
+private park.
+
+Of fruits and flowers--important subjects in Holland--come the two
+de Heems, father and son, Jan Davidsz de Heem (1606–1684), the first
+Dutchman to excel with fruit; Rachel Ruysch (1664–1750), painter of
+flowers, fruits, bouquets with butterflies and moths fluttering about,
+old logs and tree stumps in the forest, and deserted birds’ nests.
+Jan van Huysum (1682–1749) “the Correggio of fruits and flowers,” was
+famed for his skill in depicting a transparent dewdrop trickling down a
+satiny petal; and Abraham Mignon (1640–1679), pupil of Jan Davidsz de
+Heem was a brilliant painter of flowers, fruits, butterflies, insects,
+and dewdrops.
+
+With Cornelis Troost (1697–1750), called “the Dutch Hogarth,” because
+of his familiar scenes of comedy, the Decadence begins; and Dutch
+Painting ceased to be interesting until the middle of the Nineteenth
+Century.
+
+
+                         THE STANDARD BEARER.
+
+    _Rembrandt van Rijn
+    (1606–1669)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+This picture, oils on canvas (55 × 45½ inches), has the distinction
+of having belonged to Sir Joshua Reynolds and, after him, to the
+Earl of Warwick at Warwick Castle. It is signed on the left at the
+bottom, “Rembrandt fe 1654.” Consequently it was painted the same
+year as the famous _Burgomaster Jan Six_. The person has never
+been identified; but it is supposed that he was the standard-bearer
+of one of the Amsterdam Shooting Companies. The man is life-size,
+three-quarter length, with full light falling from the left foreground
+upon the whole figure. A grey wall with a rusticated pillar at the
+right forms the background from which the elderly Standard Bearer
+stands out boldly. He wears a dark-brown coat with gold buttons, a dark
+bluish green sash, and a rich gold-embroidered sword-belt crossing the
+chest from the right shoulder. A black hat with a large white plume
+covers his grey hair, but does not hide his face. In his gloved left
+hand he carries a red and yellow banner bearing the Arms of the City
+of Amsterdam and he holds a glove in his right hand. The picture is
+rich in color and fine in its illumination. From the Earl of Warwick it
+passed through the Collections of Mr. Charles Sedelmeyer of Paris, Mr.
+Charles J. Wertheimer of London, and Mr. George J. Gould of New York
+into that of its present owner.
+
+Rembrandt van Rijn was born in Leiden in 1606, the son of a miller, who
+sent him to the Leiden University. Young Rembrandt, however, preferred
+painting and for three years studied under Jacob van Swanenburch,
+a Leiden painter, who had studied in Italy. Rembrandt had painted
+a good many pictures before he removed to Amsterdam at the age of
+twenty-three. He soon became famous in Amsterdam. From the year 1633
+the face of a good-natured, buxom young woman, Saskia van Ulenburgh,
+daughter of a Friesland lawyer, appears on his canvases. In 1634
+Rembrandt married Saskia; and Fortune smiled thereafter on everything
+he did. His orders made him rich and he had a splendid home, filled
+with collections of many kinds, including antique busts, costumes,
+curios, and paintings. At this period Rembrandt loved to dress Saskia
+and himself in fantastic array and paint gay and somewhat theatrical
+portraits of themselves.
+
+  [Illustration:
+
+   Collection of Mr. Jules S. Bache
+
+  THE STANDARD BEARER
+
+    --_Rembrandt van Rijn_]
+
+Who does not know the famous picture of Saskia seated on Rembrandt’s
+knee in the Dresden Gallery, the artist clasping his wife’s waist
+with his left hand and brandishing in his right hand a long glass of
+sparkling wine, before them a table covered with an Oriental rug on
+which is a pastry surmounted by a peacock?
+
+Not so familiar but more beautiful is the portrait in the Hermitage of
+_Saskia_ dressed as a fanciful shepherdess with a mantle of pale
+green thrown over her white brocaded gown, in her hand a flower-twined
+crook, and on her head a heavy, thick wreath of ranunculus, anemones,
+iris, columbine, and striped red and white tulips. “Innocent and
+engaging in her brilliant draperies and gaily tinted flowers,” says
+Emile Michel, “she stands a graceful apparition, the light falling full
+upon her. Spring itself seems to be singing a paean of love and poetry
+from the master’s palette, at the dawn of that year which was to bring
+about the propitious union.”
+
+Rembrandt’s life changed entirely after Saskia’s death in 1642, which,
+by the way, was the year he painted his most famous picture, _The Night
+Watch_ (in the Rijks Museum), more properly called _The Sortie of the
+Company of Captain Banning Cock_.
+
+Rembrandt became bankrupt in 1656 and his collections of antiques
+and paintings were sold for a mere 5000 florins! In the following
+year his house and collection of engravings came also to the hammer.
+Thenceforward Rembrandt lived with his son, Titus, in a modest dwelling
+in the Rozengracht, attended by his servant, Hendrickje Stoffels
+(his reputed wife) until the latter’s death in 1664. The close of
+Rembrandt’s life in 1669 found him poor, but as industrious as ever.
+Rembrandt is said to have painted about 550 pictures and to have made
+more than 250 etchings and 1500 drawings.
+
+The Hague is the place to see the great works of Rembrandt’s early
+period, such as _The Anatomy Lesson_, the _Presentation in the Temple_
+or _Simeon in the Temple_, and several portraits of himself and
+others; and the Rijks Museum has the great productions of his middle
+and last period, including _The Syndics_ and _The Night Watch_.
+
+Apart from his individual and amazing portrayal of shadows and light
+effects, Rembrandt stands alone as the interpreter of the Bible story.
+In portraiture he is profoundly searching; and no one ever painted more
+forcible self-portraits than Rembrandt van Rijn.
+
+Of all the qualities that Rembrandt possesses the most striking one is
+understanding of light and shadow. Fromentin very aptly defines this
+Rembrandtesque _chiaroscuro_ in his _Maîtres d’autrefois_ (Paris, 1876):
+
+“To envelop and immerse everything in a bath of shadow; to plunge
+light itself into it only to withdraw it afterwards in order to make
+it appear more distant and radiant; to make dark waves revolve around
+illuminated centres, grading them, sounding them, thickening them; to
+make the obscurity nevertheless transparent, the half gloom easy to
+pierce, and, finally, to give a kind of permeability to the strongest
+colors that prevents their becoming blackness,--this is the prime
+condition and the difficulties of this very special art. It goes
+without saying that if any one ever excelled in this it was Rembrandt.”
+
+
+                     PORTRAIT OF A YOUNG OFFICER.
+
+    _Rembrandt van Rijn
+    (1606–1669)._
+
+    _Collection of
+    Mr. A. W. Erickson._
+
+This picture signed lower right, “Rembrandt f. 1636” is painted on
+a panel, 20 × 25⅞ inches. It is one of Rembrandt’s finest and most
+pleasing portraits. With masterly skill the artist has painted the
+light in the eyes and the fine lines and texture of the lips.
+
+The subject is supposed to be François Copal, the brother-in-law of
+Saskia van Ulenburgh, Rembrandt’s wife, and there is abundant evidence
+in support of the theory. Dr. Bode in his _Rembrandt_ notes:
+
+“There is a pair of portraits in the Liechtenstein Gallery at Vienna,
+dated 1636, of a _Young Officer with Thick Black Hair and His Wife_, in
+costumes like those in which Rembrandt painted Saskia and himself. The
+young couple here represented was probably closely connected with the
+artist and his bride. The husband, whose features are regular, almost
+handsome, and who has a slight moustache wears a steel gorget and a
+small gaily-colored neck cloth over his finely plaited silk shirt, a
+greenish blue cloak hangs from his right shoulder, and his gloved hand
+rests on the hilt of his sword.
+
+“Portraits of the artist himself and of his relations and friends,
+are nearly all executed with as much care as the numerous portraits
+of other persons painted to order at this time. Some few may have
+been presents to friends and relations; but the majority produced at
+this period (1633–1635), and that immediately following it were very
+probably commissions from friends and patrons of the master, the most
+renowned artist in Holland whose name was soon to be associated with
+those of the greatest painters in Europe. These pictures had a special
+attraction over and above their interest as portraits, by virtue of the
+highly individual costume and conception which add so much to their
+picturesque effect.”
+
+Dr. W. R. Valentiner, also believing this to be a likeness of Saskia’s
+brother-in-law, says:
+
+“The portrait of a cavalier, possibly François Copal, is one of the
+most imposing and impressive of the portraits which Rembrandt painted
+in the middle of the thirties, at the time when he was approaching
+the height of his fame as a portrait-painter at Amsterdam. Among
+the considerable number of portraits which the artist painted to
+order during these years, the present one (and a companion piece
+in the Liechtenstein Gallery, Vienna) stand out through the vivid,
+passionate expression and the personal touch which undoubtedly reflects
+the artist’s own mood. At no time Rembrandt expresses so much of a
+youthful, almost wild, temperament in his compositions, at no time
+he endeavors to give to them such an overpowering force and such an
+intense, almost sensuous feeling of life, as in these stormy years of
+his first successes at Amsterdam, which were accompanied by a happy
+marriage, by social connections, by acquiring riches and almost luxury.
+
+  [Illustration:
+
+   _Collection of Mr. A. W. Erickson_
+
+  PORTRAIT OF A YOUNG OFFICER
+
+    --_Rembrandt van Rijn_]
+
+“Something of young Samson, of whom the artist was so fond in these
+years, we feel also in the portrait of a handsome cavalier. We feel
+the lion’s force behind those glowing, piercing eyes, behind the
+energetic chin and cheek bones, and the exuberantly flowing, broad
+waves of the bushy, dark hair remind us of a lion’s mane.
+
+“We easily recognize in Rembrandt’s work those portraits of which the
+sitters were strangers to him. The present one, in which he put so
+much of his own self, as he did only with friend’s portraits, does
+not belong to these. He has ornated the young cavalier with a costume
+which appealed to his imagination, the details of which we know from
+portraits of persons in his surroundings and self-portraits: the
+breast-plate, the colored scarf around the neck, the golden chain with
+medal-lion, the green velvet mantle with gold-embroidered border. On
+the companion-piece, on the other hand, the lady wears a costume and
+pieces of jewelry which we find also in Saskia’s portraits.
+
+“Strange to say, the female figure itself has so much likeness to
+Saskia that we would be tempted to believe it to be a portrait of her,
+if there was not the portrait of the cavalier as the companion-picture
+preventing us from this supposition. But we know that Saskia had a
+sister, Titia, who visited the Rembrandt family frequently within
+these years (a portrait-sketch, a pen-drawing made of her in 1639 by
+Rembrandt is in the Stockholm Museum). She and her husband François
+Copal, were witnesses at the baptism of Saskia’s first children. We
+know also a portrait of François Copal’s brother, Antoni, in the
+Rothschild Collection, Vienna, which Rembrandt painted in 1635. The
+sitter of this portrait undoubtedly has a resemblance to the gentleman
+in our picture, almost as much as the companion-piece resembles Saskia.
+Is thus the theory too bold that the present portrait represents
+François Copal and the companion-piece at Vienna, Titia, his wife?”
+
+The portrait came to the present owner, Mr. Erickson, directly from
+the famous Liechtenstein Collection, Vienna, purchased by Prince
+Liechtenstein from the Marchesa Incontri, Florence. Previously the
+picture had been in the Collections of the Comte Koucheleff Besborodko,
+Paris; the Duc de Choiseul Praslin, Paris (1793), and B. da Costa, The
+Hague (1752).
+
+
+                  AN OLD LADY SEATED IN AN ARMCHAIR.
+
+    _Rembrandt van Rijn
+    (1606–1669)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This splendid portrait, oils on canvas (42½ × 35½ inches), takes rank
+with Rembrandt’s famous study of _Elizabeth Bas_, widow of Admiral
+Swartenhout, in the Rijks Museum, Amsterdam. It is three-quarters
+length, life-size, and signed on the left “Rembrandt F. 1643.” The
+subject is seated in an arm-chair of red leather with her head turned
+slightly to the left and she is looking in the same direction. She
+wears a black costume with a tightly fitting jacket lined with fur, a
+large flat, round, and gauffered ruff, and a flat, dark velvet cap. Her
+arms rest easily on the arms of the chair and in the right hand she is
+holding her eyeglasses, while the fingers of her left hand are placed
+between the leaves of a large book--presumably a Bible, with silver
+clasps and gilt edges,--a marvellous piece of still-life painting. The
+background is dark of the brownish Rembrandt tone and the light falls
+from the left upon the face of the sitter and upon her large ruff. Dr.
+Bode, in speaking of the lighting of this remarkable portrait, says:
+“A strong light falls on the broad, gauffered ruff and is reflected
+on the more softly illuminated face; another ray of light touches the
+hands with their small white cuffs. The dull red of the chair-back, the
+subdued glint of the gold edges and silver clasps of the book relieve
+the blackish tone of the picture almost imperceptibly. It takes a
+special place among Rembrandt’s portraits by reason of its peculiarly
+distinguished harmony. In arrangement and illumination it stands midway
+between the St. Petersburg _Portrait of the Old Woman_ and the
+numerous studies of old women painted between 1650 and 1660.”
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  AN OLD LADY SEATED IN AN ARMCHAIR
+
+    --_Rembrandt van Rijn_]
+
+The picture was sold in Amsterdam in 1764 and has passed through the
+Collections of J. van der March, Amsterdam, 1773; M. Thelluson, Paris,
+1777; an anonymous Parisian collection, 1788; M. C. A. de Calonne,
+London, 1795; Mr. J. Allmutt, London, 1863; and M. Louis Lebeuf de
+Montsgermont, Paris.
+
+
+      SIMEON AND MARY PRESENTING THE INFANT CHRIST IN THE TEMPLE.
+
+    _Rembrandt van Rijn
+    (1606–1669)._
+
+    _Collection of
+    Mr. Nils B. Hersloff._
+
+This picture is interesting for two reasons. One, that it belonged to
+Horace Walpole and hung for many years in _Strawberry Hill_; and
+the other, that it is a recently discovered Rembrandt.
+
+It would seem from the present documents that the picture is not many
+stages away from the painter’s studio. In a case like this, it is best
+to tell the story of the identification of this _Strawberry Hill_
+picture with the Rembrandt studio picture in the words of those most
+concerned in the matter.
+
+  [Illustration:
+
+   _Collection of Mr. Nils B. Hersloff_
+
+  SIMEON AND MARY PRESENTING THE INFANT CHRIST IN THE TEMPLE
+
+    --_Rembrandt van Rijn_]
+
+But first let us read the interesting analysis written by the
+Rembrandt specialist, Dr. Jan Veth, author of the _Life and Art of
+Rembrandt_, published on the commemoration of the 300th anniversary
+of his birth. This essay is dated Amsterdam, August 2, 1916, when this
+picture from the Walpole Collection was discovered and sent to Holland.
+
+Dr. Veth speaking:
+
+“A rather large-sized picture, about 39½ × 31½ inches, has recently
+been imported from England, a picture which one recognized without any
+difficulty as being a late work by Rembrandt. This unknown work was
+at first thought to be in a rather dilapidated condition. Evidently
+long ago it had been relined by an unskilled hand, leaving the canvas
+badly wrinkled in places. These have been easily removed, the picture
+slightly restored and apart from a few local blemishes (nowhere
+occurring in the vital parts) the beautifully crackled and original
+coat of paint appears unimpaired. Many a museum piece giving the
+impression of being in a perfect state of preservation is, in reality,
+much less intact than this Rembrandt.
+
+“The figure of Simeon in the picture reminds us to a certain extent
+of the figure of _Homer_ in the Collection of Dr. Bredius, but the
+handling of the paint is more certain, the head firmer and more
+plastic. In his later period, where his old men bear so much of a
+resemblance to each other, it was not necessary that Rembrandt should
+always use the same models. The character, however, of this Simeon
+is akin to that of _St. Matthew_ in the Louvre, to the father in the
+_Prodigal Son_ in Petrograd, to the man behind _Pilate_ in the picture
+in New York, Altman Collection, and to the _Haman_ in the Collection of
+the King of Roumania.
+
+“For the rest, the peculiar expression of Simeon’s rugged and full
+bearded countenance can be traced quite easily in that dark, majestic
+etching of the _Presentation in the Temple_ with the exception that the
+head in the etching leans slightly more backward. Simeon’s expression
+depicts in a striking manner the decrepit old man to whom the divine
+revelation was made, and who, after walking into the Temple, seeing the
+Child and taking Him into his arms, said: ‘Lord, now lettest Thou Thy
+servant depart in peace, according to Thy word: For mine eyes have seen
+Thy salvation, which Thou hast prepared before the face of all people:
+A light to lighten the Gentiles, and the glory of Thy people, Israel.’
+Luke II, 29–32.
+
+“The hermit-like old man wears a wide gold-colored leather mantle. Full
+of devotion he is holding the Christ Child, without touching Him with
+his long and stiffened hands.
+
+“The little face appears foreshortened and recalls to one’s mind the
+strange drawing of the uplifted face of the young Jesus where he walks
+between his parents in that remarkable etching of the _Return from the
+Temple_. Close to Simeon and behind, stands Mary, the inclination of
+the head and attitude identical with the Virgin in the etching of the
+_Presentation_. Over her head she wears a wide, drooping hood, and the
+greater part of her face--a face of no ordinary maternity and with
+something of the grandeur so characteristic in Mantegna’s Madonnas--is
+deeply enveloped in shadows. In contrast with the bronze-like, warm
+color of the ancient man, she appears cool in tone, the neck only
+illuminated like enamel against the sombre purple of her frock.
+
+“The group is composed without any additional accessory to distract
+or allure the spectator, being placed against a background deep and
+sombre, a great and connected whole. Throughout, the handling of the
+paint is full and direct without any small or useless accents, a great
+design treated like sculpture. The stronger colors of brown and red are
+dissolved in a sombre tone of bronze and with that singular mixture of
+smothered lights and cave-like half-tones and shadows which give the
+true expression of the quiet and pathetic event.
+
+“Out of the whole tonality emerges first the powerful head of the old
+Seer, then the suppressed light of the strange Infant, and finally the
+beautiful sibyl-like Mary. The picture is full of that inner power
+of expression which Millet would have admired and Israels would have
+revelled in.
+
+“In Holland we can point to more complete, perhaps more pompous and
+more brilliant, Rembrandts, but a picture by the master of such
+wonderful simplicity and at once of such great eloquence we hardly know
+of in this country.”
+
+Turning to the Dutch records we learn the following:
+
+“The desire to obtain the minutest detail of information about
+Rembrandt’s life and works, and perhaps with a wish to discover some
+allusion to his pictures, has led such men as Dr. Bredius to search
+among the old Dutch archives for records of ancient deeds in the
+registries of Amsterdam and near-by towns and villages. This has been
+no light task, for besides the numberless documents to be examined,
+the difficulties of deciphering the curious legal language used in
+the Seventeenth Century had to be combatted. Dr. Bredius’s efforts,
+however, were rewarded, when, about ten years ago he discovered an
+ancient deed relating directly to a painting by Rembrandt, and dated
+May 12, 1671 (two years after his death), signed before a notary named
+J. De Winter of Amsterdam. The document so unearthed threw light upon
+a picture entitled _Simeon_, of which no record had up to the time of
+Dr. Bredius’s discovery, been known. Dr. Bredius deemed the subject so
+interesting that he wrote an article dealing with _The Last Year of
+Rembrandt’s Life_, which appeared in _Oud-Holland_ in 1909.”
+
+Now we go to the number of _Oud-Holland_ and take this extract.
+
+Dr. Bredius speaking:
+
+“Although we have learned much of the last years of Rembrandt’s life,
+of the very last and perhaps the saddest year of that rich life, we
+have learned little up to the present time. Only one work, that of
+his own portrait in the collection of Sir Audley Neeld in Griffleton
+House, seems to bear the date of 1669. We have no other picture and no
+etching, and in this portrait the master appears so feeble that we had
+begun to believe that Rembrandt worked but little in the last year of
+his life.
+
+“That he was, however, still working and planned to do some etchings
+and also that there was a picture on his easel shortly before he died,
+is proven by an old deed I have recently discovered. Short as this may
+be, it nevertheless gives us much important information. Among other
+things it is new to us _that Rembrandt was working up to the time of
+his death_, and that Dirck van Cattenburch, a gentleman dealer with
+his brother, Otto, as far back as 1654, had business connections with
+Rembrandt. And here we see the aged master, as often happened and still
+happens with artists, more or less in the hands of the Art-dealer, who
+pays for the work before it is finished.
+
+“Perhaps Rembrandt really considered his _Simeon_ a finished picture,
+but the buyers probably did not, and looked upon his broadly painted
+canvases of his latest period as not being ‘entirely finished.’ We are
+not acquainted with any _Simeon_ of his last period.[23] It is also
+interesting to note from the deed that the artist planned to make a
+series of etchings of the _Passion_, a subject which always attracted
+him and of which he made some of his most wonderful plates. Deed: May
+12, 1671, Appeared before me, Allart van Everdingen, age about fifty
+years and Cornelius van Everdingen, age twenty-five years, both artists
+living in this town, and on request of Dirck van Cattenburch, do hereby
+declare that Allart van Everdingen, a few months before the death of
+Rembrandt van Rijn, artist, had a conversation as to the settling of a
+painting representing Simeon, painted by the aforesaid Rembrandt van
+Rijn, not yet entirely finished, owned by Dirck van Cattenburch and
+being in Rembrandt’s house.
+
+“That he, witness, went to see and examine the aforesaid picture in the
+house of van Rijn, who told him at the time that the picture was owned
+by said Dirck van Cattenburch. The aforesaid Cornelius van Everdingen
+further declares that he went up to Rembrandt’s studio several times,
+where, on each occasion, he saw and examined the said picture,
+which was discussed by them, Rembrandt declaring that the picture
+was owned by Dirck van Cattenburch. Also that Rembrandt had several
+polished plates owned by Dirck van Cattenburch in order to engrave the
+_Passion_.
+
+    Signed    Allart van Everdingen
+    Signed    Cornelius van Everdingen.”
+
+“It is interesting to note that Allart van Everdingen was a well-known
+painter of the time of Rembrandt and that he was born in 1612. He
+excelled in painting rocky landscapes. He also executed sea-pieces and
+storms with such surprising effect and spirit that his work entitled
+him to the appellation, the ‘Salvator Rosa of the North.’ Allart van
+Everdingen was also an etcher of repute and in this work there must
+have existed a bond of sympathy between Rembrandt and himself. He
+died in 1675, six years after the death of the master. His works are
+represented in all the great museums. Cornelius van Everdingen, his
+son, was also an artist, but not so universally known as his more
+brilliant father.”
+
+Now then we turn to another Dutch authority to continue the story:
+
+“Dr. Bredius, by the remarkable discovery of the ancient deed, had
+established the fact that a certain picture of _Simeon_ (always
+identified in Art with _The Presentation in the Temple_) was in
+Rembrandt’s studio a few months before his death. But what had become
+of the picture there was nothing to show, none of the great biographers
+of the artist has ever classified a work of this subject dating from
+his last period.
+
+“And now commence the most interesting events connected with the
+picture under consideration. Many inquiries were instituted. Dr.
+Bredius, from his rich stock of material bearing upon the master,
+searched exhaustively for some indication where the picture might be
+found. The known and unknown private and public collections of Europe
+and even America were examined through and through, until at last his
+efforts were rewarded and nine years after the discovery of the deed
+and his subsequent article, the picture was recognized and acclaimed as
+the lost _Simeon_.
+
+“The painting was found in the collection of a nobleman in England, and
+although it had lain neglected for centuries there could be no possible
+doubt that it was the picture of _Simeon_ referred to in the deed.
+
+“This discovery occurred in the year 1916, at a time when the world was
+in the midst of the Great War; but such was the importance of the find
+that the masterpiece was sent at once to Holland, there to be admired
+by all of the great Rembrandt authorities.”
+
+Critics have called attention to the fact that the _first_ important
+picture painted by Rembrandt was _Simeon in the Temple_ which is now
+in the Mauritshuis, The Hague, and which is also called _Presentation
+in the Temple_. It is a little strange that the _last_ picture should
+have been on the same subject. Yet any one can see they are by the same
+hand. In the Hague picture it is beneath the high roof of a temple
+that the Virgin and St. Joseph make the offering and present the Holy
+Child to the Lord. Simeon, in a robe glittering with gold, holds the
+Holy Child and the High Priest stands in front of the group, his hands
+lifted in ecstasy. The latter’s robe of violet makes a beautiful note
+of color which is carried through the lights and shadows and which
+contrasts and harmonizes, too, with the Virgin’s dress of light blue.
+In the vaporous distance persons are seen ascending and descending the
+steps. All the light is concentrated on the central group and the cold,
+mysterious depths of the vast fane are expressed with marvellous skill.
+
+_Homer Reciting his Poems_, also in the Hague Gallery, representing an
+old man in a yellow robe, has the face of the _Strawberry Hill Simeon_
+and _Homer_ was painted in 1663. It could be possible that the same
+model was used for _Homer_ and the _Strawberry Hill Simeon_.
+
+How did Horace Walpole get this Rembrandt?
+
+The information that we gain from the Catalogue of the _Strawberry
+Hill_ Collection issued when Earl Waldegrave sold the contents of
+_Strawberry Hill_ at Covent Garden in 1842 is rather tantalizing
+than otherwise.
+
+The items read as follows.
+
+On Page XVII of prefatory remarks:
+
+“A Fine Rembrandt (No. 100) and a Nicholas Poussin adorn this end of
+the chamber. Page 204. The great North Bed Chamber: No. 100. _The
+Presentation in the Temple_, displaying all the power of light and
+shade so peculiar to this great master, Rembrandt.
+
+“The above two pictures No. 99 and 100 were bought from a very old
+gentlewoman for whose grandfather they had been painted, and till then
+had never been taken out of their old black frames and are still in
+their pure and genuine state.”
+
+Was the “very old gentlewoman” the grand-daughter of Dirck van
+Cattenburch?
+
+
+                        PORTRAIT OF AN OFFICER.
+
+    _Frans Hals
+    (1580?–1666)._
+
+    _Collection of
+    Mr. Henry Goldman._
+
+The subject, which we might almost call a Dutch Falstaff, is seated
+in a chair on the arm of which he rests his right elbow, while he
+seems to be grasping a stick with his hand. The left hand is hidden.
+Beneath his large grey felt hat with its wide turned-up brim a few
+locks of straggly grey hair are visible. His doublet is of grey silk
+with a dotted pattern (long anticipating the “Polka Dot” of the
+early Nineteenth Century), a surcoat of buff leather, and a broad,
+flat collar, trimmed with handsome and heavy lace, worn over a metal
+breast-plate. The Officer looks directly at us with a half-humorous,
+half-suspicious glance,--one of those characteristic Frans Hals’s
+expressions.
+
+The picture, oils on canvas (32½ × 25¾) bears the monogram F. H. and
+the words “Ætat 55. A. 1637.” It was sold from the Collection of Mr. J.
+H. Töpfer in Amsterdam in 1841 and then it was in the Collection of Sir
+Edgar Vincent (Lord d’Abercorn) at Esher.
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  PORTRAIT OF AN OFFICER
+
+    --_Frans Hals_]
+
+Frans Hals (1580?–1666), one of the greatest masters of painting, was
+born in Antwerp, where his parents (natives of Haarlem, and of good
+lineage), are supposed to have gone because of political disturbances
+of the time. It seems that Hals was settled in Haarlem before 1591,
+busily painting, and he lived there all the rest of his life. In
+1637 he came under Rembrandt’s influence in Amsterdam. Hals’s life
+was rather disgraceful and went from bad to worse until poverty and
+comparative oblivion compelled him to accept charity. He died in
+Haarlem in 1666, leaving a great many followers. The real life of the
+man is to be found in such works as _The Laughing Cavalier_ in
+the Wallace Collection and those vagabonds, lute-players, topers, and
+other rascals that belong to the same class as Autolycus, Launcelot
+Gobbo, Touchstone, Dogberry, Sir Toby Belch, Falstaff and our other
+much-prized, although disreputable, Shakespearian low-comedy characters.
+
+Hals always accomplished his work by the greatest economy of means. A
+few broad, rapid, and unhesitating strokes, or _swipes_, of the
+brush, a dot here and there of light,--and that is all!
+
+Everything that Hals painted shows his dazzling genius, his astounding
+instinct for striking effects, and his marvellous ability for catching
+a likeness. Hals never worked out his ideas: he left no sketches, nor
+studies. His extraordinary power of quick analysis with the eye and the
+gift his hand had for expressing what his eye had seen, combined with a
+rapid, sure, and skilled technique rank Hals as a master among masters.
+
+Moreover, he had a keen and gay humor. No painter has ever been able
+like Hals to render the face in action and to fix forever, a rapid and
+fleeting expression on canvas. He loved to catch and make permanent a
+wink, a smile, a leer, or even hearty laughter.
+
+Frans Hals was a genius at portraiture. Those who have seen the large
+number of Hals’s _Doelen_ pictures in the Town Hall of Haarlem,
+each canvas containing from fourteen to twenty life-size portraits,
+stand aghast at the power represented in just this one phase of his art.
+
+When we look upon these pictures we feel as if we were entering a
+hall full of convivial officers, laughing, jesting and making merry
+over their fine wines and choice food. They are richly dressed. Many
+of them wear lace cuffs and ruffs and bright scarves. Flags flutter,
+spears glitter, spurs and swords clink and rattle and flash in the
+sunlight; and plumes on the large hats nod in the breeze, or with the
+motions of these men’s bodies. Loud talk and bursts of laughter seem
+to issue from the frames. These convivial men have fought against the
+hated Spaniard and are ready “to trail a pike” again at any moment. A
+gallant and a jovial crowd,--these Arquebusiers of St. George and St.
+Andrew!
+
+The artist was commanded to paint each man accurately and according to
+his rank in the Company; and Hals did more than fill his order,--he
+made each and every man _live_.
+
+
+THE LAUGHING MANDOLIN PLAYER.
+
+    _Frans Hals
+    (1580–1666)._
+
+    _Collection of
+    Mr. John R. Thompson._
+
+Here is a half-figure of a young man seated, turning his head towards
+the spectator, and laughing merrily as he holds up a glass of wine in
+his right hand. His mandolin is lying on the table beside him and his
+left fingers close around its neck. He wears a dark cloak lined with
+blue and a large black cap thrown carelessly at the side of his head
+and his hair is unkempt and straggly. But what cares he? He has sung
+his song and played his tune and has been rewarded well,--well enough,
+indeed, to have a glass of good wine. So no wonder he laughs! Life is a
+joke anyway--“So here’s to the company and thank you, gentlemen!”
+
+  [Illustration:
+
+   _Collection of Mr. John R. Thompson_
+
+  THE LAUGHING MANDOLIN PLAYER
+
+    --_Frans Hals_]
+
+The picture is an oil painting on panel (36 × 30 inches), and is signed
+with the monogram F. H.
+
+The _Laughing Mandolin Player_ belonged to the Capello Collection,
+Amsterdam, from which it was sold in 1767, and then it passed to Count
+Bonde, Stockholm; to Jules Porges, Paris; to the late Baron Ferdinand
+de Rothschild, Waddeston Manor, England; and to M. A. Veil-Picard,
+Paris.
+
+
+                            A MUSIC PARTY.
+
+    _Pieter de Hoogh
+    (1629–1677?)._
+
+    _Collection of
+    Mrs. John N. Willys._
+
+Here are six figures in the reception bedroom of a prosperous merchant
+or citizen. The dominant note of the apartment is red. The floor
+is paved with square blocks of marble. The primary interest of the
+picture is in the group on the left, consisting of two fashionably
+dressed gentlemen and an elegantly attired lady at a table over which
+is spread an Oriental “table-carpet.” The lady, dressed in a scarlet
+skirt, an old-gold overskirt and bodice and a deep white lace collar,
+is looking at the spectator and singing from a piece of music which she
+is holding in her left hand, her right being raised as if to beat time.
+Standing near her and smilingly accompanying her in her song is a young
+gentleman with long hair and wearing a white jacket and a broad-brimmed
+hat. With his right hand he is holding a long funnel-shaped glass
+partly filled with wine. Seated opposite and looking intently at the
+lady is a middle-aged gentleman with long hair and yellow jacket,
+holding a flageolet with both hands, and apparently waiting for the
+note at which he may join in the accompaniment. On the table are the
+flageolet player’s high-crowned hat with red feathers, an open book of
+music and a glass. In the background are standing figures of a lady and
+gentleman in conversation, and near-by is an attendant in brown dress
+holding a wine-jar in his left hand and abstractedly looking out of the
+window. In the background is a bed enclosed with curtains. Two windows
+to left and right open on to a garden, a portion of which, adorned with
+statues, is seen through an open doorway on the extreme right.
+
+  [Illustration:
+
+   _Collection of Mrs. John N. Willys_
+
+  A MUSIC PARTY
+
+    --_Pieter de Hoogh_]
+
+The picture, oil on a panel (24 × 28 inches), was formerly in the
+Collections of Edmund Higginson of Saltmarshe Castle, England, 1846;
+George H. Morland, Esq., London, a well-known amateur, a descendant of
+George Morland, the artist, 1863; and Albert Levy, London, 1874.
+
+Pieter de Hoogh (or Hooch) is thought to have been born in Rotterdam.
+Little is known of his life. He seems to have been a servant in his
+early years employed by Justus de la Grange and to have lived in Delft,
+in Leiden and in The Hague. In some way he learned to paint; some
+authorities say he studied under Rembrandt’s pupil Carel Fabritius,
+Houbraken says he was a fellow-student with Jacob Ochtevelt under
+Nicholaes Berchem. In 1653 Pieter de Hoogh became a member of the
+Guild of Painters in Delft and he married in that city and lived
+there Until 1664. Next he is living in The Hague and after that in
+Amsterdam. Pieter de Hoogh is ranked as one of the best of the “Little
+Dutch Masters.” His pictures show a particularly fine mastery in the
+action of light. He almost invariably opens a door in the background
+leading into a garden or into an adjoining room. He groups his figures
+interestingly and tells his simple story in paint graphically and
+convincingly. His architecture is always remarkably fine and his
+drawing is second to none.
+
+Pieter de Hoogh was neglected for many years, but to-day he is deeply
+appreciated. Burger says he never saw any picture by de Hoogh that
+was not of the first rank: “Sometimes he paints interiors--people are
+playing cards, or having a family concert, or reading, or drinking,
+or conversing. Sometimes he paints exteriors; and then the painter
+introduces us to domestic occupations and the innocent recreations of
+private life, as, for instance, a servant washing linen in a backyard,
+or cleaning fish, or plucking fowl, or perhaps there are ladies and
+their cavaliers playing at bowls in a garden with trim gravelled walks.
+
+“When he paints interiors this artist rarely neglects to show, on
+the right or left, doors opening on a staircase or revealing a leafy
+alley, or the trees along a quay, so that his pictures always seem to
+be the antechamber of another picture. In this characteristic style of
+de Hoogh when the interior of the apartment is moderately lighted the
+sun shines outside. Pieter de Hoogh seems to have been in Rembrandt’s
+secrets.”
+
+
+                            THE LACE-MAKER.
+
+    _Jan Vermeer
+    (1632–1675)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This delightful picture on panel (17¾ × 15½ inches) was only discovered
+in 1926. On its exhibition at the Kaiser Friedrich Museum in 1926–1927
+in Berlin, Dr. Wilhelm Bode wrote: “I consider it a genuine, perfect,
+and very characteristic work of Jan Vermeer of Delft. Not only has it
+the true Vermeer charm as to the lighting and coloring, but at the
+same time there is an extraordinary fascination in the expression of
+the face, still half that of a child.” Dr. Max J. Friedländer also
+pronounced it “a genuine and highly characteristic work by Vermeer of
+Delft.”
+
+The young girl is seen at half-length with her head turned towards the
+observer and her eyes looking straight out of the picture. She is busy
+making lace on a pillow, or cushion, which is supported on a frame
+with two upright posts. In her left hand she is holding a bobbin. Her
+costume is a yellow jacket, or bodice, with broad white collar and
+broad white cuffs. Her brown hair, arranged very simply, is adorned
+with a tiny knot of blue ribbon. The handsome pear-shaped pearls in
+her ears proclaim that she is in more than affluent circumstances and
+that she is a young Dutch lady of some position, making lace for her
+pleasure and not to earn a living. At her left elbow is a blue cushion
+and a large pewter dish.
+
+_The Lace-Maker_ is in every way a picture of charm and one of the
+most thoroughly attractive that Vermeer ever produced.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  THE LACE-MAKER
+
+    --_Jan Vermeer_]
+
+When it came to light in 1926 it was cordially welcomed. Seymour
+de Ricci published a long article under the title of _Le
+Quarante-et-Unième Vermeer_ in the _Gazette des Beaux-Arts_
+(December, 1927), which says in part:
+
+“Seated, with her work on her knees and her bobbins in her hand, she
+stops in her occupation for a moment to look at the spectator. On the
+right, upon the corner of a table, covered with an Oriental rug, a flat
+dish of pewter and a blue cushion ornamented with three rows of gold
+braid and two gold tassels--that is the entire subject of the picture!
+
+“It needed the consummate art of a Vermeer to produce with this slender
+material such a veritable _chef-d’œuvre_. Many painters would
+doubtless have tried to place this fresh figure in a striking setting.
+A Gerard Dou would have framed her in a window; a Metsu would have
+surrounded her with furniture; and a Pieter de Hoogh would have felt
+compelled to let us see through an open door into the next room, or
+into a bright flower garden. The bolder and much greater painter,
+Vermeer, places his model before a white wall, the plaster of which in
+the course of two centuries has combined ivory reflections with the
+pearly gray of clouds in springtime. Upon the clearness of this wall
+this youthful figure stands out with striking clarity: the faint rosy
+tints of the complexion, the whiteness of the broad flat collar and
+cuffs and the bright yellow of the bodice form a scale of colors that
+are juxtaposed with singular frankness and boldness. It is only in the
+flesh tints that the painter allows himself to bring the model into
+relief: in everything else he shows an affection for flat surfaces
+and flat tints. His touch is so light that in places--noticeably in
+the whites--each stroke of the brush has left its trace. The artist
+has proceeded by circular blots juxtaposed, announcing therefore a
+technique which certain French artists pretend to have discovered at
+the end of the Nineteenth Century.
+
+“In everything here Vermeer the colorist takes precedence of Vermeer
+the draughtsman. There is not a line in the entire picture,--nothing
+but the juxtaposition of color-tones. A magnifying glass is impotent
+to make us discover the bridge of the nose, the profile of the cheek
+or the fingers. The eyebrows are barely indicated, the brown hair is
+treated in large luminous masses, and even the bobbins which to the
+naked eye seem to be drawn with such punctilious exactitude are merely
+indicated, but with such correctness and such prodigious skillfulness
+of touch that the illusion of the detail is most complete, even for the
+instructed spectator.
+
+“In this charming composition, the greatest of Dutch colorists has
+taken pleasure in playing the entire scale of his favorite colors. In
+the brown masses of the hair he has placed a tiny blue ribbon, echoing
+the large blue surface of the cushion. On the other hand, on this same
+cushion three rows of dark yellow braid echo the bright ochre of the
+bodice. In the very centre of the picture the cherry red of the little
+smiling mouth throws a note more brilliant than the artist dared to
+place on the rose cheeks of his model white with the reflections from
+the large starched collar. All the lower part of the picture is in
+deep half-light which is brightened by the red and blue tones of the
+table-carpet and the luminous reflections of the pewter dish. The
+curious observer will notice that the painter was not afraid to change
+the centre of his composition towards the right, indifferent to the
+traditions of its accepted place, just as he was to the methods of his
+fore-runners with regard to the use of color.
+
+“It has been attempted more than once to elucidate the mystery of
+the technical methods to which is due the incredible luminosity of
+Vermeer’s pictures. It has even been thought that he painted on a
+groundwork of some very bright color; but it has been correctly
+remarked that such a groundwork--if he had employed it--would at
+the end of two centuries have become visible under the painting and
+would have necessarily assimilated the colors. Others have suggested
+a preliminary preparation of water colors or gum. But, in truth, we
+are perfectly ignorant of how this amazing and incontestable result
+has been attained. This newly discovered picture reveals nothing to
+us relative to Vermeer’s technique, and although the painting is so
+lightly done and of so thin a coating, it has taken on its surface
+something of the hardness and brilliance of porcelain; and fine
+crackles have broken all through this suggesting the paste of porcelain.
+
+_The Lace-Maker_ was in the Collection of Harold R. Wright, Esq.,
+of London, before it passed to the Hon. Andrew W. Mellon.
+
+Jan Vermeer of Delft (1632–1675) was a pupil of Carel Fabritius, who
+was a pupil of Rembrandt--consequently Vermeer had the best training.
+Lemke’s eulogy is worth reading:
+
+“Vermeer was a painter of the light and sun school; and this was his
+chief study--to catch and hold fast the moment. What Frans Hals did for
+the physiognomy, grasping the flying moment in an incomparable manner
+with winks, smiles, leers, gesticulation, etc., and fixing it in paint,
+Vermeer as a landscape painter, delighted to do for the sunshine. He
+shows its rays streaming into a room, or the play of light and shadow
+when the light with the moving air falls through heavy foliage against
+a bright house and paints it with rays of light and shade. Unlike the
+moment of Rembrandt and Ruisdael, which is fixed for all eternity, with
+Vermeer the moment vibrates in the light. The shadows lose their sharp
+outlines and the fine brush-work suggests the living change and play
+of the light. Rembrandt paints light in darkness and lets it glow in
+the dark or streaming into it, or in a broad flood of brilliance; but
+Vermeer prefers to set darkness or twilight against the light.”
+
+
+
+
+                            GERMAN PAINTING
+
+
+
+
+                           _GERMAN PAINTING_
+
+
+Painting reached its greatest development in Germany from the middle
+of the Fifteenth to the middle of the Sixteenth Century during the
+Renaissance and the Reformation. The dominating personalities were
+Albrecht Dürer and Hans Holbein the Younger.
+
+The early German painters devoted their talents almost exclusively to
+altar-pieces. The chief centres of activity were Cologne, Colmar, Ulm,
+Nuremberg, and Augsburg. Cologne was the most important and had much
+influence upon the neighboring Flemings. As early as the Thirteenth
+Century Wolfram van Eschenbach, describing his handsome Knight in
+_Parsifal_, declares that
+
+    “From Koln nor from Maestricht
+    No limner could excel him.”
+
+The first important Cologne painter is Meister Wilhelm, first half of
+the Fourteenth Century, followed by Meister Stephan Lochner (active
+1430–1451), possibly his pupil, painter of the great altar-piece in
+the Cologne Cathedral, the “_Dom-bild_”, which every painter tried to
+see. Albrecht Dürer, for instance, wrote in his _Journal_: “Item. I
+have paid two silver pennies to have the picture opened, which Meister
+Stephan painted at Cologne.”
+
+Heine, many years later, sang of the wondrous eyes of the Madonna in
+that picture in the Cologne Cathedral that reminded him of his beloved;
+and the idea is most beautifully emphasized in the musical setting of
+that little song by Robert Franz, who expresses in his accompaniment
+all of the emotion aroused by the painting.
+
+The Cologne painters were much influenced by Roger van der Weyden, who
+seems to have visited Cologne in 1450. Certainly Martin Schöngauer
+(about 1445–1491) was a follower of Roger, if not a personal pupil.
+Schöngauer is remarkable among other things for the weird and fantastic
+creatures he frequently introduced into his pictures. Martin
+Schöngauer, regarded as the precursor of Dürer, was much admired by the
+Italian painters, who called him “_Il bel Martino_.” Michelangelo
+is said to have copied in oils his celebrated print of _Saint Anthony
+tormented by Demons_ and he was a friend of Perugino and exchanged
+drawings with him. The two Germans of next importance were Bartholomäus
+Zeitblom of Ulm (1450?–1521), who, like Martin, belongs to the Swabian
+School, and Michael Wohlgemut (1434?–1519?), the leading spirit of the
+Franconian School, who worked especially in the Nuremberg churches.
+
+In the picturesque town of Nuremberg, with its peaked gables,
+overhanging balconies, and quaint façades, town of wood-carvers,
+goldsmiths, and toy-makers, town of Hans Sachs and the Meistersinger,
+the house of Dürer is still shown to tourists.
+
+Albrecht Dürer (1471–1528), one of the giants in art, was supreme
+master in wood-cuts, etchings, and drawings as well as in paintings.
+Dürer, too, is one of the greatest portrait-painters (see page 237).
+
+In Augsburg, the leading commercial city of Southern Germany,
+there were many wealthy art-lovers, such as the Fuggers, famous
+merchant-princes of the Fifteenth and Sixteenth Centuries. The leading
+painter was Hans Holbein the Elder (1470?–1524), much influenced by
+Martin Schöngauer and also by the Italians. He trained his gifted son,
+Hans Holbein the Younger (1497–1543), who completely overshadowed him.
+The latter went to Basle and eventually to London, where he became
+Court-Painter to Henry VIII (see page 240).
+
+Lucas Cranach the Elder (1472–1553), leader of the Saxon School, was a
+contemporary of Dürer and Holbein, pupil of his father, and, in common
+with most German artists, excelled as an engraver on wood and copper
+and designer, as well as a painter. Cranach was Court-Painter to three
+Saxon Electors (see page 251).
+
+Lucas Cranach the Younger (1515–1586) was a pupil of his father, but
+was far below him in talent and performance.
+
+
+                          PORTRAIT OF A MAN.
+
+    _Albrecht Dürer
+    (1471–1528)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+We should like to know--but we never shall--the name of the man who
+looks so keenly from this picture (12¾ × 15⅝ inches). All that is
+known of it is that it belonged to the Collection of Count Bonde, of
+Stockholm, before it found its present home.
+
+Albrecht Dürer was a great painter of portraits. He began early. Indeed
+the first authentic drawing by him is a portrait of himself at the age
+of thirteen, which is preserved in the Albertina, Vienna.
+
+At all periods of his life, Dürer painted and drew portraits. To the
+early Nuremberg period belongs _Frederic the Wise_, tempera on linen
+(Berlin), and he painted a _Portrait of his Father_ in 1497 (of which
+there are several versions). Then there is _Oswald Krell_ in the Munich
+Gallery and a _Portrait of Himself_, a _Portrait of a Young Man_ at
+Hampton Court Palace and the very famous _Hieronymus Holtzschuher_ in
+Berlin.
+
+Dürer’s one idea was to give as exact a representation of the sitter as
+possible; and if he painted character as well as the features, it was
+because his penetrating eye saw directly through the person. There was
+no conscious analysis or deep ponderings of any kind. Dürer simply saw
+the person and painted him; and he painted him so well that we see him,
+too, just the man he was. Dürer was like a camera; he depicted every
+wrinkle and every hair with an amazing effect of reality and he caught
+the personality as well. Nothing seems to have been hidden from his
+eyesight and nothing seems to have been beyond the power of his brush.
+
+Albrecht Dürer was the son of a goldsmith of Hungarian origin who had
+spent some time in the Netherlands. In 1455 he settled in Nuremberg,
+where Albrecht was born in 1471, the third of eleven children.
+His father intended him for a goldsmith, but, seeing his talent,
+apprenticed him to Michael Wolgemuth to serve three years. Of this
+period Dürer wrote: “God gave me diligence so that I learned well. And
+when I had served my time, my father sent me away and I was absent four
+years until my father needed me again; and I set out in 1490 after
+Easter, so I returned in 1494 after Whitsuntide. And when I returned
+home Hans Frey treated with my father and gave me his daughter, Agnes,
+and he gave me with her two hundred florins; and the marriage was
+celebrated on the Monday before St. Margaret’s Day in the year 1494.”
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  PORTRAIT OF A MAN
+
+    --_Albrecht Dürer_]
+
+The story that Dürer’s wife was a shrew who led him an unhappy life is
+now exploded.
+
+In 1505 Dürer went to Italy and spent some time in Venice, where
+he painted for the Guild of German merchants and their Fondaco dei
+Tedeschi, _The Feast of the Rosary_, which is now in the monastery of
+Strahow near Prague.
+
+Returning to Nuremberg in 1507 Dürer painted some of his finest
+altar-pieces. In 1511 he began his fine sets of wood-cuts and
+etchings--the _Apocalypse_, the _Great Passion_, the _Little Passion_,
+the _Life of the Virgin_ and _St. Jerome in his Study_. To this period
+belongs the large altar-piece _Adoration of the Trinity_, in the
+Belvedere at Vienna. In 1518 Dürer was in Augsburg and in 1520–1521 he
+travelled in the Low Countries. Once back in Nuremberg, he seems to
+have worked quietly and industriously until his death in 1528.
+
+In forming any estimate of Dürer it is essential to remember that
+Dürer was a great expression and a great flowering of the German race.
+Mrs. Heaton has well summed up his characteristics: “We do not find,”
+she says, “in Dürer’s art the classic ideal of the perfection of
+man’s physical nature, nor the spiritual ideal of the early religious
+painters, nor the calm dignity and rich sensuous beauty of the
+great masters of the Italian Renaissance, but in it we find a noble
+expression of the German mind, with its high intellectual powers,
+its daring speculative philosophy, its deep-seated reverence, its
+patient laboriousness, and above all its strange love for the weird
+and grotesque. Dürer was the companion of some of the most learned and
+thoughtful men of his day. Luther and Melancthon were among the number
+of his friends, and there is no doubt but the reforming spirit of the
+age was powerfully at work within him, affecting his thought and art.
+Melancthon bears testimony to his rare worth as a man by saying: ‘his
+least merit was his art.’”
+
+
+                       PRINCE EDWARD OF ENGLAND.
+
+    _Hans Holbein the Younger
+    (1497–1543)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This portrait is one of the finest that Holbein ever painted. The
+artist had every reason to do his best, for the picture was intended
+as a New Year’s Gift to Henry VIII of his little son, the Prince of
+Wales, who was nearly two years old. The King was so delighted with the
+picture that he presented Holbein with a magnificent gold standing-cup
+with cover. Prince Edward (who became Edward VI) was the son of Jane
+Seymour, the third wife of Henry VIII, who only lived twelve days after
+Prince Edward’s birth at Hampton Court Palace on October 12, 1537.
+By the Peace Treaty of Scotland in 1543, it was arranged that Prince
+Edward should marry Mary, Queen of Scots, at that time but a few months
+old; but this came to nothing, owing to “the grasping greed” of Henry
+VIII, whose ambition was to absorb the Crown of Scotland and whose
+purpose was discovered by the patriotic Scotch. On the death of Henry
+VIII in January 1547, the Prince of Wales succeeded to the throne and
+was crowned on February 20, 1547, as Edward VI. Edward, on the point of
+death, bequeathed the Crown in 1553 to Lady Jane Grey, daughter of his
+cousin, Frances Grey, eldest daughter of Mary, the daughter of Henry
+VII, and who was married to the son of the Duke of Northumberland. On
+July 6, 1553, the young King Edward VI died and was buried the next day
+in Henry VII’s Chapel, Westminster Abbey.
+
+The portrait in oil on a panel (21¾ × 17 inches) was painted in 1538.
+The little prince is wearing a red and gold costume and red and gold
+hat with white feather. The background is gold.
+
+His hands are marvellously painted, particularly the right, which is a
+triumph of foreshortening. The left hand holds a silver rattle.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  PRINCE EDWARD OF ENGLAND
+
+    --_Hans Holbein the Younger_]
+
+The Latin inscription painted at the base was written by Sir Richard
+Morysin (who became English Ambassador to the Hanse towns in 1646 and
+to the Court of the Emperor Charles V in 1550). The eulogy is addressed
+to Henry VIII, through the child; and it is well for Edward VI that
+he did not live to learn the verdict that time has passed upon this
+Bluebeard of History. Translated it reads:
+
+“Little one, imitate thy father and be the heir of his virtue, the
+world contains nothing greater. Heaven and Nature could scarcely give a
+son whose glory should surpass that of such a father. Do thou but equal
+the deeds of thy parent: the desires of man cannot go beyond this.
+Surpass him and thou hast surpassed all the kings the world has ever
+worshipped and none will ever surpass thee.”
+
+Can flattery go beyond this?
+
+For many years this portrait hung in the Royal Picture Gallery at
+Hanover in Germany, probably taken there by one of the Georges, all of
+whom preferred their Hanoverian Court to that of England. In late years
+the picture belonged to the Duke of Cumberland, whose father was King
+of Hanover until Prussia absorbed that kingdom in 1866.
+
+Hans Holbein, born in Augsburg in 1497, was taught by his father,
+Hans Holbein the Elder, as was also his elder brother, Ambrose. About
+1515 these two young Holbeins went to Basle, where there was plenty
+of work for artists, for Basle had long been a centre of intellectual
+and artistic life. Holbein’s talents won recognition; and among other
+kinds of work he drew designs for title-pages and various decorations
+for books. Some marginal drawings for _The Praise of Folly_ by
+Erasmus, led to a friendship with that distinguished personage, which
+was destined eventually to change his entire life. Holbein also painted
+in fresco the council chamber of the new Rathaus in Basle and also
+the famous votive picture _The Meier Madonna_, representing the
+Burgomaster, Jacob Meier of Basle, kneeling with his family before the
+Virgin. He also painted several portraits of Erasmus. In 1526 Holbein
+decided to visit England, taking a letter of introduction from Erasmus
+to Sir Thomas More and stopping on the way at Antwerp to visit Quentin
+Massys. Holbein remained in London two years, returned to his family
+in Basle in 1528, bought a house, designed for goldsmiths, worked
+again on his unfinished frescoes in the Rathaus, made another portrait
+of Erasmus and painted the faces of clocks. In 1532 Holbein decided
+to return to London, where, after a period of working in the German
+colony, he became Court-Painter to Henry VIII with a salary of thirty
+pounds a year and rooms in the Palace. From that time onward Holbein
+painted everybody of importance in Tudor England. He also aided in
+the street decorations for Anne Boleyn’s Coronation procession and
+festivities. Holbein was also sent on various missions by Henry VIII to
+paint portraits; also in 1538 to Brussels, to paint the portrait of the
+young widow, Christina of Denmark, Duchess of Milan; and in 1539, to
+Cleves, to paint Anne, sister of the Duke.
+
+These two portraits were ordered by the King with a view to matrimony,
+in case they met with his favor. The first portrait (now in the
+National Gallery, London) representing, in her mourning garb of
+black satin, Christina the young widow of Francesco Sforza, brother
+of Maximilian Sforza (see page 148) and who was, moreover, niece of
+the Emperor Charles V, in every way, therefore, a distinguished and
+desirable bride, pleased Henry VIII so well that he offered his royal
+hand on seeing it. But the wise young Duchess, declining the hand
+replied sarcastically “that unfortunately she had only _one_ head;
+if she had _two_, one would be at His Majesty’s service.” The other
+portrait of _Anne of Cleves_ (now in the Louvre), in purple velvet
+flashing with jewels, standing full face, with beautifully painted
+hands laden with rings and clasped gracefully, gained for this lady
+the Royal Bluebeard; but only for a short time. The portrait was too
+flattering of the “Flanders Mare”, as Henry VIII called her, and the
+_fourth_ wife was soon divorced.
+
+In 1538 Holbein went to Basle on a mission for the King, visited his
+wife and children and, refusing liberal offers from the municipality of
+Basle to remain there, returned to London. Back again in his English
+quarters, he continued his painting until he died in 1543, supposedly
+of the Plague, which was then raging.
+
+
+                           SIR THOMAS MORE.
+
+    _Hans Holbein
+    (1497–1543)._
+
+    _Collection of the late
+    Mr. Henry Clay Frick._
+
+This was one of the first portraits that Holbein painted in England
+and was done in 1526–1527, while Holbein was a guest in Sir Thomas’s
+delightful home at Chelsea. It is a life-size, half-length portrait on
+panel (23¼ × 29¼ inches), representing Sir Thomas in a dark-green coat
+with purple velvet sleeves, fur collar, and large hat. The conspicuous
+and heavy double S-chain of gold with a double rose pendant,
+significant of the union of the Red and White Roses of Lancaster and
+York, was only permitted to Knights. His right hand holds a paper and
+the arm rests on a table, on which the date is inscribed.
+
+This portrait was painted before Sir Thomas More became Lord Chancellor
+in 1529.
+
+“His face,” says Dr. Alfred Woltman, “shows that calm repose which
+indicated the utmost harmony of nature and inward peace; but the
+expression is one of the deepest seriousness, though gentleness is
+linked with it. The finely-cut lips are firmly closed; there is
+something almost visionary in the bright and penetrating glance, though
+otherwise the features betoken clear judgment, combined with moral
+strictness and nobility of feeling. In looking at the picture the words
+occur to us with which Erasmus in another passage concisely sums up
+More’s characteristics: ‘He possessed that beautiful ease of mind, or,
+still better, that piety and prudence with which he joyfully adapts
+himself to everything that comes, as though it were the best that could
+come.’”
+
+Sir Thomas More was born in 1478 in Cheapside, London, the son of
+Sir John More, and was beheaded in 1535 for refusing to support the
+Act of Supremacy. More was one of the most intellectual and highly
+cultured men of his time. He wrote one of the most famous of books,
+_Utopia_. Sir Thomas was also a fine critic of painting. He was
+knighted in 1521.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry Clay Frick_
+
+  SIR THOMAS MORE
+
+    --_Hans Holbein the Younger_]
+
+Erasmus gives a picture of Sir Thomas and his home in a letter to
+Ulrich von Hutten, written from Chelsea. He says:
+
+“More has built near London upon the Thames a modest but commodious
+house. There he lives surrounded by his large family--his wife, his
+son, his son’s wife, his three daughters and their husbands with eleven
+grand-children. There is not any man living so affectionate to his
+children as he, and he loveth his old wife as if she were a girl of
+fifteen. Such is the goodness of his nature that whatsoever cometh
+about which cannot be helped he is as cheerful and well satisfied as if
+the best had happened. In More’s house you would say that the Academy
+of Plato lived again save that whereas in the Academy the conversation
+turned upon geometry and the power of numbers, the house at Chelsea is
+a true school of Christian religion. In it is no one, man or woman,
+but studdieth the liberal arts, yet above all piety is their care.
+There is never any seen idle; the head of the house governs it, not by
+lofty demeanor and frequent rebukes, but by gentle and lovable manners.
+Everyone is busy in his place doing his business with diligence; nor is
+sober mirth absent.”
+
+
+                        DIRK BERCK OF COLOGNE.
+
+    _Hans Holbein
+    (1497–1543)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+When Holbein returned to England on his second trip in 1532, his
+friend and patron, Sir Thomas More, was out of favor. However, he
+found a cordial welcome among his compatriots--the German merchants of
+the Steelyard. These German merchants had formed themselves into an
+association of real power: indeed, they had made a little city of their
+own, which went by the name of Stahlhof, where they managed all their
+business, kept their stores, had their counting-houses, their Bourse,
+their Guildhall, and their homes; and, being Germans, of course they
+had a festival-hall and spacious gardens on the bank of the Thames,
+where they could enjoy themselves. The company, forming a part of the
+great Hanseatic League, was opulent and dealt largely in iron and
+precious metals.
+
+  [Illustration:
+
+   _Collection of The Hon. Andrew W. Mellon_
+
+  DIRK BERCK OF COLOGNE
+
+    --_Hans Holbein the Younger_]
+
+Consequently, among the group were skilled goldsmiths, watch-makers,
+armorers, and many other prosperous artisans as well as bankers. The
+brilliant painter had no difficulty in getting orders for portraits;
+and we may be very sure that after he had produced such a masterly
+likeness as that of _Georg Gisze_ (now in the Berlin Museum), he
+must have been in even greater demand, as the numbers of “steelyard
+portraits” scattered in various galleries attest.
+
+This particular portrait in oils on panel (21 × 16¾ inches) was painted
+in 1536, as we learn from the right hand corner, which bears the date
+and the sitter’s age, “An 1536 Aeta. 30.” Dirk Berck of Cologne appears
+at half-length facing us full face from a background of blue relieved
+by a green curtain with red strings. Dirk Berck is dressed in a heavy,
+black, and lustrous silk cloak with a wide collar, an embroidered
+shirt showing at the opening at the neck, a flat cap (something like a
+_biretta_) at a slight angle on his head, with his hair cut in a fringe
+(or “bobbed”) that nearly covers his ears. He has a slight moustache
+and a full square-cut beard, which makes him appear older than his
+thirty years. His small eyes are dark blue and intelligent, his brows
+are black, his cheek bones are prominent, and his general expression
+is serious and rather kindly. His hands rest one upon the other, the
+right one on top, while the left, placed on the table, holds a letter
+addressed to himself: “_Dem Ersame ’U (N) d fromen Derick berk i.
+London upt. Stalhof_” with the trademark of his house and the motto,
+“_besad dz end_” (consider the end). A small piece of paper lying on
+the red-covered table bears this Latin sentence from Virgil: “_Olim
+meminisse juvabit_” (Hereafter I shall be remembered) which speaks well
+for Dirk Berck’s estimation of Holbein and his intelligent forecast of
+ours.
+
+The portrait came from the Collection of Lord Leconfield, Petworth,
+Sussex, and was formerly in the Collection of Colonel Egremont Wyndham,
+also of Petworth, Sussex, and the Earls of Egremont.
+
+
+                          JEAN DE DINTEVILLE.
+
+    _Hans Holbein
+    (1497–1543)._
+
+    _Collection of
+    Mr. Henry Goldman._
+
+This gentleman in black costume with black cap and white shirt sits
+at a table covered with a red cloth (one of Holbein’s favorite
+arrangements), and in front of an apple-green curtain. Around his neck
+he wears a fine gold chain and a black ribbon, to which is attached a
+little case of gold studded with jewels. His eyes are very blue but
+rather cold, giving one the idea that Jean de Dinteville is something
+of a dreamer. His hands, beautifully drawn and painted, gain additional
+grace from the fine ruffles at his wrists. In his right hand he holds a
+roll of paper (most likely a musical composition), and the left fingers
+close around the neck of a lute. On the table before him two books are
+lying--one shut and one open--and both books are supplied with green
+book-marks, that draw the rest of the picture into harmony with the
+green curtain at the back.
+
+  [Illustration:
+
+   _Collection of Mr. Henry Goldman_
+
+  JEAN DE DINTEVILLE
+
+    --_Hans Holbein the Younger_]
+
+This portrait, in oils on panel (17½ × 17½ inches), is supposed to be
+the same one listed in the inventory of Alethea, Countess of Arundel,
+in 1654 as _Ritratto d’un Musico_.
+
+It was in the Collection of Ralph Bernal, London, and sold at
+Christie’s in 1855 to Mr. Morant for 100 guineas; subsequently, the
+picture was in the Collection of Sir John Ramsden, Bart., Bulstrode
+Park, Buckinghamshire, having been purchased by him at an auction in
+Scotland in 1860.
+
+Jean de Dinteville, Lord of Polisy and Bailly of Troyes, was born in
+1504 and died in 1555. After having served as a diplomat in the Court
+of Francis I, he was sent as Ambassador to England in 1553, in which
+year Holbein painted him with George de Selve in the large picture
+known as _The Ambassadors_, now in the National Gallery, London.
+In this picture Jean de Dinteville stands on the left, wearing a black
+kilted costume, which includes a cloak lined with white fur. Around his
+neck is a heavy gold chain with the French Order of Saint Michel, at
+his side is a dagger with gold hilt and sheath, and his black cap is
+ornamented with a silver skull set in gold. A lute, a case of flutes,
+and a music-book near him proclaim the musician. This picture is dated
+1553.
+
+
+                CARDINAL ALBRECHT AS SAINT HIERONYMUS.
+
+    _Lucas Cranach the Elder
+    (1472–1553)._
+
+    _Collection of
+    Mr. John Ringling._
+
+This picture (49 × 35¼ inches), came into possession of the present
+owner from Baron Viehweg of Hanover, in whose family it had been since
+the time of Cranach.
+
+All of Cranach’s delightful characteristics are represented here. It
+is interesting to compare this painting with Dürer’s print of _St.
+Jerome in his Study_, the latter so serious and the one represented
+here so merry. Cranach’s St. Jerome reminds us of a jolly old German
+folksong. In this perfectly Teutonic setting with characteristic German
+furniture and the favorite “antler” chandelier, nothing has been
+forgotten; and St. Jerome in his red Cardinal’s robe and _biretta_
+sits propped up before his reading-desk truly monarch of all he
+surveys. His crucifix and devotional books are placed conveniently
+on his table and he has just looked up for a moment from his task of
+translating the Scriptures.
+
+His big red Cardinal’s hat, too, is placed in the foreground, so that
+we cannot miss it and the picture of the _Madonna and Child_ on
+the wall is purposely turned out of proper perspective so that we
+cannot lose any of its “beauties.” St. Jerome takes good heed of time;
+for on the wall, at his left, an hour-glass trickles away the minutes.
+It is to be hoped that he feeds his birds and animals regularly! And
+how deliciously these little friends are painted. Every member of St.
+Jerome’s menagerie looks happy except the lion. There is still the
+“call of the wild” in his eye and he seems to be trying to control
+himself; but if St. Jerome does not watch his hour-glass and should
+happen to delay the dinner-hour, it looks as if things might go very
+badly for the pheasant family.
+
+There were three traditional ways of representing St. Jerome: St.
+Jerome as Penitent in the Desert; St. Jerome as Patron Saint and Doctor
+of the church; and St. Jerome as Translator and Commentator of the
+Scriptures. When St. Jerome is seen translating the Bible, the lion is
+so frequently present that he seems to be an editorial necessity; and
+almost invariably the Cardinal’s hat is lying somewhere near St. Jerome.
+
+There is no authority for making St. Jerome a Cardinal; because
+Cardinals were not ordained until three centuries after St. Jerome’s
+death.
+
+Lucas Cranach the Elder was born in Kronach in Franconia in 1472 and
+died in Weimar in 1553. Cranach was the first painter of importance of
+the Saxon School and took his name from his native town. He was a pupil
+of his father and has as important a reputation for his engravings on
+wood and copper as for his paintings. Cranach seems to have lived in
+Vienna, Innsbrück, Augsburg, Wittenberg, and Weimar; and it is said
+that he visited the Holy Land in 1493, with the Elector Frederic the
+Wise. In 1504 he settled permanently in Wittenberg as Court-Painter to
+the Elector Frederic the Wise; and he continued as Court-Painter to
+the three succeeding Electors. In 1509 he was sent by the Elector on
+an embassy to the Emperor Maximilian; and on this visit he painted the
+portrait of his son, the Archduke Philip (father of Charles V). Cranach
+was evidently of importance in Wittenberg, for he was Burgomaster in
+1537 and 1540. He had an art-studio, a book-printing business, and an
+apothecary-shop. His house, called the “Adler,” was burned down in 1871.
+
+  [Illustration:
+
+   _Collection of Mr. John Ringling_
+
+  CARDINAL ALBRECHT AS SAINT HIERONYMUS
+
+    --_Lucas Cranach the Elder_]
+
+Cranach was an intimate friend of Luther and Melancthon and,
+consequently, was greatly affected by the Reformation. He painted
+Luther many times. Cranach always painted with oils on panels of wood
+and his coloring is warm and rich. His drawing is somewhat archaic; but
+often very amusing. His cheerful fancy led him to introduce birds and
+animals into his pictures. Cranach excelled in portraiture and always
+gives a realistic and somewhat gay presentation of the German people of
+his day.
+
+
+
+
+                           SPANISH PAINTING
+
+
+
+
+                          _SPANISH PAINTING_
+
+
+Spanish Painting developed slowly although there were schools in all
+the provinces. Even in the Fourteenth Century little was known about
+Spanish Art in other countries. Starnina, who spent nine years in Spain
+(having taken refuge from his part in civil disturbances in Florence),
+painting pictures in the Escurial for John of Castile, had much to tell
+when he returned to Florence in 1387 and introduced Spanish costumes
+into the frescoes he made in the Carmine.
+
+Other Italian painters followed Starnina and Italian ideas dominated
+Spanish Art until the Emperor Charles V became King of Spain. Charles,
+although heir of Maximilian and of the Holy Roman Empire, was also
+a direct descendant of the Dukes of Burgundy, the great-grandson of
+Charles the Bold. Charles V was born in Ghent and spent his first
+sixteen years in the Netherlands, brought up by his aunt, Margaret of
+Austria. Charles’s devotion to his birthplace is well-known; and his
+pun that he could put the whole of Paris into his _Gant_ (glove), shows
+how far superior he considered Ghent to Paris. Charles took with him to
+Spain a vast horde of artists and artisans from the Low Countries; and
+he also imported the punctilious and traditional etiquette of the old
+Burgundian Court, which, absorbed into Spain, eventually became known
+as “Spanish etiquette.”
+
+Spanish artists were profoundly affected with Flemish technique and
+realism. The leading early Spanish painters are Bartolomé Vermejo,
+active in the late Fifteenth Century, a native of Cordova in Andalusia,
+who combined Flemish and Arabian ideas with native traditions; Pedro
+Berruguete (active 1483–1504); Luis de Vargas (1502–1568); and Luis de
+Morales (1509?–1586).
+
+Then again an important foreigner arrived--Antonio Moro (or Mor),
+who, after serving Cardinal Granvella, was sent by Mary of Hungary
+to Madrid, where he became Court-Painter to the House of Hapsburg.
+Thenceforward Moro was constantly employed by Philip II to paint
+portraits in various Courts, although his headquarters seem to have
+been in Utrecht.
+
+Moro trained the Spaniard, Alonso Sanchez Coello (1515?–1590),
+who, like himself, was rather stiff and hard, but able to paint a
+satisfactory portrait.
+
+Then in 1575 another foreign painter arrived. This time it was a Greek,
+Domenico Theotocopoulos (1545?–1614), a native of Crete and said to
+have studied under Titian in Venice. “El Greco,” however, caught none
+of the glowing colors of Venice on his palette. Austere and gloomy, he
+settled in austere and gloomy Toledo, where he lived all the rest of
+his life painting religious pictures and portraits from a strange and
+morbid point of view.
+
+Francisco de Ribalta (1551?–1628), revolting against Classic
+taste, founded his style on Caravaggio and painted darkly in the
+“_tenebroso_” manner. His pupil, Jusefe Ribera (1589–1652), called “_Lo
+Spagnoletto_,” born near Valencia, settled in Naples, where he filled
+many orders for Philip IV.
+
+Francisco Pacheco (1571–1654), and Francisco de Herrera the Elder
+(1576–1656) are chiefly notable because they were the masters of
+Velasquez. Herrera originated the “_bodegones_” (shop-pictures),
+which are scenes of popular life.
+
+Francisco Zurbaran (1598–1662), of the School of Seville, was called
+“the Spanish Caravaggio.” Through the influence of his friend,
+Velasquez, he entered the service of the King. It is said that Philip
+IV called him “_Pintor del Rey y Rey de los Pintores_” (Painter
+of the King and King of the Painters). Zurbaran painted the great
+altar-piece in the Cathedral of Seville.
+
+Don Diego de Silva y Velasquez (1599–1660), a native of Seville, became
+painter to Philip IV in 1623 and continued in his service all his life.
+His works range from such groups as _Las Meninas_ and _Las Hilanderas_
+to portraits of kings, queens, princes, princesses, ladies, gentlemen,
+dwarfs, and idiots.
+
+Bartolomé Estéban Murillo (1617–1682), a native of Seville, came
+of the poor, laboring class and developed into a beloved painter,
+particularly famous for his Holy Families and Immaculate Conceptions.
+
+After Velasquez and Murillo there was no important painter until
+the original, versatile, and prolific Goya y Lucientes (1746–1828),
+a native of Aragon, who rose from a laborer in the fields to
+Court-Painter. Goya had a profound influence on modern art, greatly
+affecting, for instance, Manet and John Singer Sargent.
+
+
+                           CARDINAL QUIROGA.
+
+    _El Greco_
+    (_1545?–1614_).
+
+    _Collection of the late
+    Mr. Henry Clay Frick._
+
+This picture, oil on canvas (37½ × 43¼ inches), was discovered, coated
+with the dust and dirt of ages, in a dark corner of the sacristy of
+the Cathedral of Valladolid, where it had evidently been hidden for
+centuries. A Parisian dealer, having heard of it, purchased it, and
+from him it passed through several hands until it reached its present
+home. The subject represents a Cardinal seated before a table on which
+a volume is lying and the Cardinal’s hands are conspicuously posed upon
+opposite pages. The right thumb pointed downwards emphatically upon a
+certain verse might possibly point to a special text that the Cardinal
+was associated with as betokening a famous sermon delivered by him, or,
+perhaps, an important controversy with which his name was associated.
+The figure, face, and hands are very elongated, as in all of El Greco’s
+performances; but the general effect is more reposeful than usual
+with this painter. Perhaps El Greco pulled the Cardinal out on his
+bed of Procrustes as far as he dared, but the Cardinal was long and
+thin and attenuated anyway, so that he was a model, as it were, ready
+made. It is one of El Greco’s best works. The silvery hair and mist of
+beard are marvellously painted, as are also the piercing eyes, keen
+and searching, yet betraying the philosopher and man of much reading.
+The face is intensely intellectual, but hard and cruel. No one would
+care to attempt to break a lance with this gentleman in any kind of an
+argument. With all his high-bred atmosphere, as both gentleman and
+student, Quiroga expresses a narrow bigotry and remorseless cruelty.
+
+The picture is also known as _St. Jerome_; and there are five
+replicas of it, one of them being in the National Gallery, London.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry Clay Frick_
+
+  CARDINAL QUIROGA
+
+    --_El Greco_]
+
+“El Greco” is the name by which Domenico Theotocopoulos became known
+to his contemporaries. He was born in Crete, and in 1570, when he
+was about twenty-five or thirty, he went to Venice, and, it is
+said, studied under Titian. About 1575 he settled in Toledo, where
+he lived for thirty-four years until his death in 1614, and where
+“La casa del Greco” is still shown to tourists. El Greco painted a
+number of pictures, chiefly religious, notwithstanding the fact that
+“the individuality and strangeness of his work always more or less
+disconcerted his patrons.” El Greco also painted portraits and seems
+to have elongated every sitter to conform to his own ideas. Everything
+that he painted proclaims his own fervor and love of motion. El Greco
+also designed the dome for the then unfinished tower of the west front
+of the Toledo Cathedral, which presents a very strange contrast with
+its companion, the ornate Gothic tower.
+
+Hugh Stokes says:
+
+“El Greco stands apart, both in his portraiture and his large subject
+compositions. A Greek by family, Theotocopoulos does not fail to
+remind us of the archaic Byzantines. At first his limited palette,
+his crudity, his angularity excite repulsion. All his figures are
+muscularly distended as if they had recently passed the ordeal of the
+rack. Gradually these very defects attract. There is a movement and
+passion in his pictures which can be found in very few purely Spanish
+works. These agitated patriarchs and apostles, with draperies caught
+by every wind of heaven, are almost demoniac. Nature herself assists,
+for each horizon in the background frowns with a gathering maelstrom of
+black thunderclouds.”
+
+
+                 THE VIRGIN APPEARING TO ST. DOMINIC.
+
+    _El Greco_
+    (_1545?–1614_).
+
+    _Collection of
+    Mr. J. Horace Harding._
+
+The Virgin, in the traditional red robe and blue mantle, has floated
+on a cloud into the church where St. Dominic has been praying. The
+vision, as told here by El Greco, seems as real to us as it does to the
+astonished monk. Dominic de Guzman, who founded the Dominican Order of
+Preaching Friars in 1215, was born in Calaroga, Old Castile, in 1170.
+St. Dominic went on a mission to the Albigenses in Languedoc. and the
+Dominican Order grew out of the volunteers who joined him there. The
+rest of his life was spent in Toulouse and Rome. He died in 1221 and
+was canonized in 1234 by Gregory IX. The Dominican Order was known in
+England as the Black Friars (from their black habit) and in France as
+Jacobins, because their chief house in Paris was in the rue St. Jacques.
+
+  [Illustration:
+
+   _Collection of Mr. J. Horace Harding_
+
+  THE VIRGIN APPEARING TO ST. DOMINIC
+
+    --_El Greco_]
+
+This picture, oils on canvas (24 × 39¼ inches) came from the Collection
+of Henri Rouats of Paris and shows El Greco’s ecstasy with less
+exaggeration and eccentricity than is customary with him. Elie Faure
+has well defined the characteristics of El Greco: “Remorse at having
+been born,” he says “pursues the painter until the end, but when he
+expresses it in his art, the magnificence which it takes on atones
+for his terrors. At the end of his life he painted like one in an
+hallucination, in a kind of ecstatic nightmare, where preoccupation
+with expressing the spirit engrossed him. Deformation appears in
+his pictures more and more, lengthening the bodies, attenuating the
+fingers, and hollowing the faces. His blues, his wine-like reds, and
+his greens seem lit by some livid reflection sent to him from the
+near-by tomb and from Hell, caught sight of from eternal bliss. If
+there is a place where shadows wander, if in some sinister valley
+there are corpses that stand upright and living spectres that have not
+yet lost their form, Domenico Theotocopoulos alone after Dante has
+found it. One would say that he is exploring a dead planet, that he is
+descending into extinct volcanoes, where ashes accumulate and a pale
+half moon sheds her light.”
+
+
+                         MARIANNE OF AUSTRIA.
+
+    _Velasquez_
+    (_1599–1660_).
+
+    _Collection of
+    Mr. Philip Lehman._
+
+This picture (14½ × 19 inches) was for many years a valued possession
+of the Zenon Gallery, Cadiz, and represents the little girl, daughter
+of Ferdinand II, who became the wife of Philip IV in 1649 and who had
+first been betrothed to Philip’s son, Don Balthazar Carlos. The latter
+died in 1646. Three years later Philip IV sent for the little Grand
+Duchess to be his second wife. The reason for this marriage was a
+dynastic one, for it united the Spanish branch of the House of Hapsburg
+with the German branch of the House of Hapsburg, Marianne being a
+descendant of Ferdinand, brother of Charles V, and, therefore, of
+exactly the same blood as Philip IV.
+
+  [Illustration:
+
+   _Collection of Mr. Philip Lehman_
+
+  MARIANNE OF AUSTRIA
+
+    --_Velasquez_]
+
+Velasquez was one of those painters favored by the gods. Like Rubens,
+he early attracted Royal patronage and held it all his life. There
+were no struggles of genius for recognition: all he had to do was to
+complete and develop his gifts and talents. In 1623 he was introduced
+to Philip IV by Olivares and Philip took him into his service.
+Rubens, visiting Madrid in 1628, begged Velasquez to go to Italy.
+Velasquez did so and spent a year in Rome, visited Naples, where he
+met his countryman, Ribera. On his return to Madrid, he was given a
+painting-room in the Royal Palace. Velasquez visited Italy several
+times in the future; and on one visit to Rome painted the famous
+portrait of Pope Innocent X, now in the Doria Gallery (with a replica
+in The Hermitage). Back again in Madrid, Velasquez was decorated with
+the Cross of St. Iago by Philip IV, who made him Aposentador Major
+(grand marshal of the palace). To the last period belong his most
+important portraits, the series of court freaks, and the famous _Las
+Hilanderas_ and _Las Meninas_.
+
+Velasquez died in Madrid in 1660.
+
+
+                          PHILIP IV OF SPAIN.
+
+    _Velasquez_
+    (_1599–1660_).
+
+    _Collection of the late
+    Mr. Henry Clay Frick._
+
+This portrait known as the “Parma Velasquez,” because it belonged
+to the Grand Duke of Parma, is painted in oils on canvas (38¾ × 52½
+inches). It was painted in 1644 in Cataluna, where Philip had gone to
+try to raise the siege of Lerida invested by the French. Velasquez
+went with the King and painted the picture in a dilapidated hovel,
+which was fitted up for the purpose of a studio. A contemporary record
+says: “The King dressed as a soldier posed to Velasquez in fitted hose
+edged with silver embroidery, sleeves of same, plain buck jerkin, red
+sash edged with silver, cape of red fustian, falling collar, and black
+_sombrero_ with crimson plumes.”
+
+The King was kept amused by his dwarf, El Primo, while the portrait was
+being painted. The costume is the one that Philip usually appeared in
+before his army as commander-in-chief.
+
+“From the figure itself,” says Carl Justi, “it is evident that it was
+taken far from the atmosphere of the Alcazar. It is freer than those
+tall figures in black, which are perpetually receiving despatches, and
+which are the incarnation of unrelenting monotony, of the weariness of
+etiquette. To this effect the color contributes much, for the picture
+is all light and brightness. The legs seem to stand in profile, but the
+body and head face to the right; the white _bâton_ in the right
+hand is planted against the hip; the elbow of the left which holds
+the hat, rests on the hilt of the sword, and, curiously enough, both
+arms are disposed in a somewhat parallel position. The lines of the
+King’s features, now in his thirty-ninth year, are firmer, the color
+fresher than hitherto. The otherwise inseparable _golilla_ is here
+replaced by a broad lace collar falling on the shoulders; the hands
+are white in unison with the white sleeves, the most luminous parts
+of the whole picture--well nurtured, royal hands, ringless, but by no
+means ‘washed out,’ as has been supposed by those unacquainted with the
+master’s habit of dispensing with shade to indicate the fingers.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry Clay Frick_
+
+  PHILIP IV OF SPAIN
+
+    --_Velasquez_]
+
+“Philip wears a rich, light red doublet with hanging sleeves, the
+narrow opening showing the leather jerkin underneath. Of like color and
+also covered with silver embroidery are the _bandolier_ and hose.
+The only patch of gold is the Golden Fleece, all else--collar, sleeves
+of jerkin (pearl tone), lace cuffs, lace ruffle of boots, silver
+sheath--being white. This white on the red produces the well-known
+effects of a lighter or ‘camellian red.’ The hat alone is black, which
+is not in keeping with the costume, and may probably be due to license
+on the part of the artist, who here wished to avoid white on white,
+and who needed a dark part in softening contrast to the silvery red
+of the whole. At the same time the red of the _bandolier_ and
+plume on the red of the doublet shows the painter’s indifference to
+such matters. To all this must be added the full flood of daylight
+which even projects an oblique shadow from the _mustachios_ on to
+the cheek. The stupendous relief is effected by the empty, dark-grey
+surface of the ground and by the spare brown shadows, which help to
+bring out the collar, arm, and hat.”
+
+When the portrait was finished “it was hung in the church under a
+canopy embroidered in gold where much people congregated to see it.”
+The record adds that “copies thereof are already being made.” The one
+in the Dulwich Gallery, England, is one of these.
+
+The picture was sent by Ferdinand VI, King of Spain, to his
+step-brother, the Grand Duke of Parma; and it remained in the Parma
+Palace until recent times, when it was sold by Prince Elias.
+
+Philip IV was born in 1605, died in 1665, and ascended the throne when
+he was only sixteen. He was a solemn person, with coarse tastes and
+was fond of horse-play. He, however, gave his patronage to Velasquez,
+Calderon, and Lope de Vega, which is much to his credit.
+
+
+                         GENERAL NICOLAS GUYE.
+
+    _Goya_
+    (_1746–1828_).
+
+    _Collection of
+    Mr. J. Horace Harding._
+
+The Spanish General represented in oils on canvas (33⅜ × 41¾ inches)
+wears a brilliantly colored uniform resplendent with gold lace and
+decorated with medals. His knee-breeches are white, and he holds his
+_chapeau bras_ in his hand. The picture was given to Vincent Guye,
+the General’s brother, in 1810.
+
+Francisco José de Goya y Lucientes was born in Fuendetodos in Aragon,
+March 30, 1746. His parents were humble cottagers and he worked in the
+fields until he was eighteen. Through the interest of a monk he was
+sent to Zaragoza to the studio of José Martinez. Goya distinguished
+himself both in the studio and in quarrels, which sometimes resulted in
+bloodshed. After a fight Goya fled to Madrid, where he copied Velasquez
+and became embroiled in more disturbances. He escaped to Italy; and in
+1772 took the second prize for painting at the Academy in Parma. Back
+in Zaragoza in 1771, he painted a fresco in the Cathedral. Revisiting
+Italy he formed a friendship with Jacques Louis David. In 1774 he
+returned to Spain, married the sister of a painter, and began to paint
+furiously. In 1789 Goya became painter of the Chamber--“_pinter de
+camera_”--to Charles IV, with a large salary. During the occupation
+of Spain by the French and the expulsion of the latter by Wellington,
+Goya lived quietly without taking any part in the exciting events; but
+he had been observing. On the return of Ferdinand VII, he published
+his series of _Desastres de la Guerra_, in which the horrors
+and bestialities of war are set forth in so frank a manner and with
+such commanding technique that they make a magnificent appeal for the
+abolition of war.
+
+  [Illustration:
+
+   _Collection of Mr. J. Horace Harding_
+
+  GENERAL NICOLAS GUYE
+
+    --_Goya_]
+
+Goya had previously published his series of prints, _Los Caprichos_,
+a most amazing presentation of humanity in brutal and revolting
+caricatures, the origin and significance of which are neither
+fully known nor understood; but, mingled with the demonology and
+repulsiveness, there are occasional gleams of beauty. Equally
+celebrated are his plates, the _Tauromachia_, dealing with the
+bull-ring.
+
+Goya had an uncanny facility for every medium,--etching, lithographs,
+drawings, and aquatints, as well as oil-paintings. Goya spent the year
+1825 in Bordeaux and returned to Madrid, where he died in 1828.
+
+“My only masters have been Nature, Velasquez, and Rembrandt,” Goya
+said. Being so independent Goya left no pupils and founded no school.
+He was always hostile to the academic: “Always lines and never
+_body_,” he exclaimed when criticising his contemporaries, “but
+where do we find these lines in Nature? I can only see masses in light
+and masses in shadow, planes which advance or planes which recede,
+reliefs or backgrounds. My eye never catches outlines or details. I do
+not count the hairs on the head of the man who passes me in the street.
+The buttons on his coat are not the chief object to catch my glance. My
+brush ought not to have better eyesight than its master!”
+
+
+                        PEPITO COSTA Y BONELLA.
+
+    _Goya_
+    (_1746–1828_).
+
+    _Collection of
+    Mrs. William Hayward._
+
+This delightful picture, oils on canvas (33¼ × 41⅝ inches), is
+brilliant with many colors delightfully harmonized and contrasted. The
+little boy, with fair hair and dark complexion, wears a green velvet
+jacket with gilt braid, lace collar, white trousers, rose-colored
+stockings, light-yellow slippers, and red and white plumes in his dark
+hat. The drum is blue.
+
+  [Illustration:
+
+   _Collection of Mrs. William Hayward_
+
+  PEPITO COSTA Y BONELLA
+
+    --_Goya_]
+
+The picture comes from the Collection of the Countess Uda de Gandomar
+of Madrid.
+
+
+
+
+                      FRENCH, EIGHTEENTH CENTURY
+
+
+
+
+                     _FRENCH, EIGHTEENTH CENTURY_
+
+
+We have now come to the age of elegance in painting. In the preceding
+sections of this book we have passed through many periods and many
+schools and have brought forward superb examples of great masters of
+several countries, but we now come to a time when the Art of Painting
+may be said to have reached _perfection_. The French Painters
+of the Eighteenth Century show us something entirely new in manner
+and in subject. They have grace, elegance, delicacy, style, beauty,
+brilliancy, clarity, and translucence of color. What can, for instance,
+equal the lightness of Watteau and Fragonard, or the dewy freshness of
+Greuze?
+
+There are such things as the floating silk of the thistle’s parachute;
+such things as the feathery dust on the wings of “painted butterflies”;
+such things as the velvet pile on the petals of flowers; such things
+as the purple bloom on the plum and the grape; such things as the down
+on the breast of the cygnet; such things as the roseate gleam of the
+Oriental pearl; such things as the prismatic twinkle of the morning
+dew; and such things as the liquid silver of the moon’s bright ray.
+
+All these most precious and evanescent beauties Watteau, Lancret,
+Pater, Fragonard, Drouais, Chardin, and other painters of the
+Eighteenth Century caught upon their palettes.
+
+It was the genius Antoine Watteau (1684–1721) who opened the magic
+casements into this new world of fairy-like color and fairy-like
+lightness.
+
+In the reaction from the heavy solemnity and gloom of the last years
+of Louis XIV, when the Sun-King was setting under the dark clouds of
+the bigoted and severe Madame de Maintenon’s influence, French taste
+swung to the other extreme of gaiety, fancy, gallantry, and caprice.
+Law’s Mississippi Bubble, while it lasted, enabled a great many persons
+to become suddenly rich; and, as is always the case with a new state
+of society, new styles of fashion came to meet its requirements.
+Moreover, the tastes of the Regent--the Duc d’Orléans--and the young
+King Louis XV were gay and playful; and, consequently, they were both
+glad to see all the traditions of Louis XIV swept away. The _Art
+nouveau_ of the period was most graceful and charming in its early
+expression. The playful curves and fantastic motifs from the Far
+East--pagodas, mandarins, umbrellas, monkeys, little bells, dripping
+water, and strange, wreathing vines, were all transmuted by the great
+decorative artists and designers into that delicious and delightful
+French _mélange_ known as _Chinoiserie_, which is, perhaps, more
+_French_ than Chinese. The riotous curves, most of which were derived
+from the volutes of the shell, the shell itself, and the dripping water
+(or hanging icicles), were used so prolifically and so universally
+that their name _rocaille_ (rock and shell) or _rococo_, is almost
+synonymous with that of the “_style Louis Quinze_,” although it does
+not include all the motifs nor all the spirit of the age.
+
+Watteau was followed in his fascinating portrayal of _pastorales
+galantes_, _fêtes champêtres_, and all the light pleasures of society
+and its beautifully dressed men and women, by Nicolas Lancret
+(1690–1743) and Jean Baptiste Joseph Pater (1695–1736); and to this
+group belongs Jean Baptiste Huet (1745–1811), who in his first years
+followed Watteau closely; and as a decorative designer, he also
+expressed the taste of the Directoire and Empire period through which
+he lived.
+
+Of the portrait painters, Jean Marc Nattier (1685–1766) stands first
+as Court-Painter and portrayer of lovely ladies in flowing draperies,
+rose-colored or blue scarfs, and wreaths and garlands of flowers,
+appearing as Hebe, Diana, Flora and other goddesses of Grecian
+mythology. Close to him comes Maurice Quentin de la Tour (1704–1788),
+who early abandoned oil-painting for pastels (his masterpiece, the
+portrait of Madame de Pompadour is now in the Louvre), was called a
+magician by Diderot and his work is described by de Goncourt as “a
+magic mirror, in which is seen all the talent, all the glory, all the
+wit, and all the grace of the reign of Louis XV.”
+
+Carle Van Loo (1705–1765) is another portrait-painter of delicate
+and distinguished taste and performance. François Hubert Drouais
+(1727–1775) also expresses all the beauty, charm, and grace of the day
+in his presentations of the fashionable world.
+
+François Boucher (1703–1770), the friend and successor of Carle Van Loo
+as first painter to the King, is so idyllic and fanciful that he has
+been characterized as the “Anacreon of Painting.”
+
+Alexandre François Desportes (1661–1743), painter of hunting-scenes
+and animals, and Jean Baptiste Oudry (1686–1755), painter of
+hunting-scenes, animals, flowers, fruit, and still-life, blazed
+the trail for Jean Baptiste Siméon Chardin (1699–1779), one of the
+greatest colorists in the entire history of painting. Jean Baptiste
+Greuze (1725–1805), full of grace, charm, and freshness, painter
+_par excellence_ of pretty girls, and Jean Honoré Fragonard
+(1732–1806), pupil of Chardin and Boucher, famous for his delicate
+color and lightness of touch, lived into the new _régime_ and
+their work became unappreciated. Hubert Robert (1733–1808), painter
+of delicate and highly decorative garden-scenes and classical ruins,
+and Madame Labille-Guiard (1749–1803) also lived into the Directoire
+and Napoleonic period when they were forced to leave their quarters
+in the Louvre formerly accorded to them by Royal permission. Madame
+Labille-Guiard was in her day ranked with Madame Vigée LeBrun
+(1755–1842), wife of the grand-nephew of the great painter, Charles
+LeBrun, who won distinction for her portraits, her brilliant
+_salon_, and her charming personality.
+
+
+                         JUPITER AND CALISTO.
+
+    _Nicolas Poussin_
+    (_1594–1665_).
+
+    _Collection of
+    Mr. Carroll Tyson._
+
+This famous picture was first owned by the great painter Charles
+LeBrun. It subsequently belonged to the Collections of Baron Holback,
+1789; Baron Clary, 1868; and Baron de Tournelle in Paris. Painted
+about 1635, this large canvas (53½ × 70½ inches), is in a fine state
+of preservation, the colors, in consequence, appearing richer than
+is usual in Poussin’s works. The greens, browns, and pinks are warm;
+the flesh tints are glowing; and the draperies and the sky are a deep
+_lapis-lazuli_ blue.
+
+The puzzle is to find Jupiter! In Smith’s _Catalogue raisonné_ we
+read:
+
+“The god under the form of Diana is represented sitting on a shady bank
+embracing the beautiful nymph, who sits by his side with a spear in
+her hand; seven Cupids are sporting around them, one of which, while
+flying, is discharging an arrow from his bow; a second is playing with
+the hounds of the supposed huntress; a third holds up the blazing torch
+of love; and two others, buoyant among the trees, are casting flowers
+on the heads of the lovers.
+
+“In his very beautiful pictures illustrative of ancient mythology
+Poussin has treated the various subjects in a style that proves he
+perfectly understood the mystery of the allegories therein contained
+and employed with the happiest effect the numerous symbolical
+figures to denote qualities, places, and things. His style, although
+unquestionably of French origin, owes all its beauty to his subsequent
+study of a few of the great Italian Masters, and of ancient sculpture.
+To such an extent was he carried in his enthusiastic admiration of
+the latter, that most of the celebrated statues and monuments, both
+of Greek and Roman origin, may be recognized in his pictures. This
+fondness for the chaste beauty of the antique may have led him in
+some instances so far as to give to his figures a rigidity which ill
+accords with the elasticity of nature. This defect (if it be one),
+is amply compensated by the grace and dignity of attitude and the
+chaste correctness of drawing which pervades his works. Execution,
+that medium by which the conceptions of a painter are embodied, and by
+which the connoisseur is frequently enabled to judge of the originality
+of a picture, is distinguished in the Artist (in his best period) by
+breadth and precision of hand, and a firm and decided outline; every
+touch of the pencil appears the result of consideration and profound
+knowledge, and in this respect it is the very reverse of that rapidity
+and dexterous freedom of hand observable in the works of Rubens, Paul
+Veronese, and Giordano.”
+
+  [Illustration:
+
+   _Collection of Mr. Carroll Tyson_
+
+  JUPITER AND CALISTO
+
+    --_Nicolas Poussin_]
+
+Poussin spent almost his entire life in Rome. Born at Villiers near
+Les Andelys in Normandy in 1594, he went to Paris at the age of
+eighteen to study art, having had some training under Quentin Varin
+at Les Andelys. In Paris he studied under Ferdinand Elle, a Flemish
+portrait-painter, and L’Allemand, a native of Lorraine. In 1620 he
+started for Rome, but only got as far as Florence. Compelled to return
+to Paris he now formed a friendship with Philippe de Champaigne (also
+a pupil of L’Allemand) and worked with him on the decorations of the
+Luxembourg under Duchesne. Four years later Poussin arrived in Rome,
+his long desired goal, and plunged enthusiastically into the study of
+ancient art, also working in the studio of Domenichino. For a long time
+Poussin had to struggle with poverty, illness, and Italian hatred,--for
+the Italians and French were enemies at this time. Marriage with the
+daughter of a wealthy compatriot changed matters and Poussin bought
+with his bride’s dowry a handsome house on the Pincian Hill. Cardinal
+Barberini’s patronage now brought Poussin fame, for the Cardinal
+commissioned two paintings, _The Death of Germanicus_ and _The
+Capture of Jerusalem_--besides other important orders. Poussin’s
+reputation soared rapidly and in 1640 Louis XIII called him to Paris,
+appointed him first painter-in-ordinary, and gave him a residence in
+the garden of the Tuileries for life. For two years Poussin worked
+industriously, producing many paintings, cartoons for tapestries, and
+illustrations for books; but he longed for his beloved Rome and in
+1642 returned to that city, where he spent the remainder of his life
+in the tranquil pursuit of his art. Poussin painted for twenty-three
+more years and died in Rome in 1665. His works are numerous; and, with
+the exception of a few portraits, are chiefly devoted to mythological,
+classical, historical, and Biblical subjects. Titian was his idol.
+However, despite his Italian inspiration and taste, Poussin is regarded
+as the head of the French School. His devotion to classical subjects
+and his deep study of the antique in all its expressions make Poussin
+one of the most scholarly of painters.
+
+Sir Joshua Reynolds says: “In contemplating his classical pictures the
+mind is thrown back into antiquity or remote ages; and it would be
+no difficult matter for the spectator to imagine that such pictures
+were coeval, or nearly so, in their production with the mythological
+metamorphosis and Bacchanalian festivals that are set before him. His
+shepherds, fauns, nymphs, satyrs, and Bacchanals appear a primitive
+progeny, the native inhabitants of the mountains and woodlands of the
+genial climate of Greece and of that Golden Age when Hellas and Asia
+Minor may be supposed to have been overspread with aboriginal forests
+and life was careless resignation to present enjoyment.”
+
+From Nicolas Poussin and Claude Lorrain (1600–1682), landscape-painter
+of idealized Classic scenes, poetic in spirit and suffused with
+dreamful, golden light, the Eighteenth Century French painters may be
+said to have found their fountain-head of inspiration.
+
+
+                               LA DANSE.
+
+    _Antoine Watteau._
+    (_1684–1721_).
+
+    _Collection of
+    Mr. Charles A. Wimpfheimer._
+
+With the exception of the superb _Embarquement pour l’Ile de Cythère_,
+we do not think of individual paintings of Watteau. We consider his
+work as a whole and we have a composite picture in our minds of
+_assemblées galantes_ under the trees in beautiful parks and gardens.
+Although he derived his themes from his master, Gillot, who was
+painting all the fashionable follies and fancies of the time, Watteau
+surpassed him so entirely in his approach to these subjects, as well
+as in his technique, that we are wont to look upon Watteau as the
+originator of _fêtes champêtres_, _pastorales galantes_, _concerts
+champêtres_, monkeys in all kinds of attitudes and costumes satirizing
+the modes and manners of the day, ladies and gentlemen playing Blind
+Man’s Buff (_Colin Maillard_) under the trees, ladies swinging or
+flirting with their fans, love-scenes beside statues in leafy dells,
+members of the Italian Comedy--Pierrot, Arlequin, Scaramouche, Mezetin,
+Columbine, and Scalpin--and charming people making music or dancing
+under the trees.
+
+This characteristic picture which came from the S. R. Bertron
+Collection to its present owner, is a charming illustration of
+Watteau’s style. Here we have dancing and music and merry conversation.
+The light is concentrated on the chief figure--the dancer--clad in
+that white satin that Watteau painted so marvellously. But why single
+out any special object for that facile and versatile brush? Did not an
+eminent critic of the Nineteenth Century proclaim that Watteau was “the
+most brilliant and vivid painter the world has ever seen”?
+
+Watteau created an Arcadia of his own--a Watteau world; and it is not
+without reason that another critic called him “the Shakespeare and the
+Aristophanes of Art.”
+
+The world has long recognized that Watteau was a poet. Élie Faure asks
+why it is that the _ensemble_ always produces the sensation so
+near to sadness, and then he gives the reason:
+
+“The spirit of the poet is present. Watteau had brought back from his
+Flemish country and from a visit he had made to England the love of
+moist landscape, where the colors in the multiplied prism of the tiny
+suspended drops take on their real depth and splendor. Music and trees,
+the whole of Watteau is in them. The sound does not interrupt the
+silence, but rather increases it. Barely, if at all, a whispered echo
+reaches us from it. We do indeed see the fingers wandering from the
+strings: the laughter and the phrases exchanged are to be guessed from
+bodies bending forward or turning backward and from fans that tap on
+hands. The actors in the charming dramas are at a distance from their
+painter and are dispersed in the depths of the open spaces. Watteau
+fears to come near them, to penetrate their mystery; for to see them
+too close would destroy the aërial veil that trembles between them and
+himself. He caresses them only with his delicate tones that hover here
+and there as would some bee from the north flying about in the damp
+forests or under the lights of the _fête_, among the powdered
+gold of the hair, the rose of the costumes, the bluish, milky haze,
+the flower-sprinkled moss, the grass on which rest skirts and mantles
+of silk and satin, and the nocturnal phosphorescence given to jewels
+and velvets by the gleam of moonlight and the flare of waving torches.
+It is the irised air which makes the marble statues seem to quiver,
+which gives agitation to the sprightly and piquant faces, movement to
+the fingers plucking guitars, and to delicate fine legs in stockings
+of transparent silk. Watteau never comes near the scene: the vision
+is as distant as an old dream. Observe it in detail. The structure
+of the figures--solid, moving, and substantial--makes them appear as
+if on the plane of man. Watteau’s little personages are as large as
+his conception of them: he paints with the breadth, the fire, and the
+freedom of Veronese, of Rubens, of Velasquez, and of Rembrandt.”
+
+  [Illustration:
+
+   _Collection of Mr. Charles A. Wimpfheimer_
+
+  LA DANSE
+
+    --_Antoine Watteau_]
+
+Antoine Watteau, born at Valenciennes, Oct. 10, 1684, was turned
+adrift by his father, a tile-maker, and he went to Paris, where he
+gradually became a fine draughtsman. He entered the studio of Claude
+Gillot (1673–1722), well known for his mythological pictures, his
+_Chinoiserie_, his _fêtes galantes_, his _singerie_, and his buffoonery
+of the Italian Comedy. Watteau soon surpassed his teacher and left
+him to study for a short time with Claude Audran (1658–1734). In 1717
+Watteau became a member of the Academy; in 1719 he visited England; and
+in 1721 he died at Nogent, near Paris.
+
+The de Goncourts have summed up his qualities so well that no excuse is
+needed for placing their analysis here:
+
+“It is doubtless owing to the early decorative work executed by
+Watteau that he acquired a taste for the theatre of which in after
+days his cunning brush drew so many pleasing representations, so many
+curious pictures and that he so often depicted the Italian and French
+Comedians, those friends and intimates of his brush, whose motley
+family he painted in that beautiful and striking picture which is a
+companion to _Comédiens Français_. He painted their companion picture
+when Madame de Maintenon drove them out of France in 1697; he painted
+their amusements, their nocturnal amours and serenades, their holidays,
+their open-air sports. Mezetin and Columbine appear on a hundred
+panels. But there would be little reason to thank the chance that led
+Watteau at the outset of his career to work under an obscure decorator
+if he had only copied the silken folds of their costumes and had not
+conceived the idea of using these Trans-alpine types as the poetic
+habitants of his _scènes galantes_ and _scènes champêtres_. In fact, by
+the introduction of these Merry Andrews, these gracious mummers, these
+elegant incarnations of dainty laughter and fine comedy, these men and
+women whose materiality is so vague and their reality so veiled beneath
+symbol and myth, the compositions of the painter no longer seem like
+pictures of a real world. The greensward of his _scènes galantes_
+seems peopled with mythical beings to whom Watteau’s imagination and
+lightness of touch have left nothing of the actors who served as his
+models; and we have the illusion of looking into a verdant country
+inhabited by creations of whim and fancy.”
+
+
+                      MADAME BONIER DE LA MOSSON.
+
+    _Jean Marc Nattier_
+    (_1685–1766_).
+
+    _Collection of
+    Mr. Edward J. Berwind._
+
+Nolhac calls the portrait of Madame Bonier de la Mosson “_une des plus
+belles de ses Dianes ou de ses Nymphes chasseresses_.” The picture (51
+× 38 inches) was exhibited in the Salon of 1742. From the Collections
+of Debatz, Reims, and Tamvaco, Cairo, it passed into that of Mr.
+Berwind. This handsome lady, radiant in her leopard skin and flowers,
+was the wife of M. Bonier de la Mosson, who was also painted by Nattier
+four years later (1746), in his “cabinet of curiosities,” for M. Bonier
+de la Mosson was one of those amateur scientists of the age. In his
+rich _hôtel_ in the rue Saint Dominique in Paris, he had a laboratory
+and an “_apothicairerie_,”--his pots, bottles, mortars and pestles
+and crucibles surrounded by furniture of the most superb description.
+The portrait of M. Bonier de la Mosson was in great contrast to that
+of his beautiful wife. The portrait of the gentleman is a fine work,
+but the portrait of the lady shows Nattier in his most characteristic
+aspect. Here is the _real_ Nattier, for Nattier specialized in what
+was called in his day the “historic portrait,”--that is to say the
+sitter was represented as a mythological, or historical, personage with
+all the attractive symbolical and picturesque accessories. Nattier’s
+vogue during his lifetime was very great and all the aristocratic
+and fashionable ladies wanted, above all things, to have themselves
+perpetuated as Dianas, Floras, Hebes, and Auroras. Consequently, many
+old families in France cherish a fine allegorical portrait of a
+handsome ancestress caught as it were on Mount Olympus with the gods
+and goddesses.
+
+    “_Nattier l’élève des Graces,
+    Et le peintre de la beauté_”
+
+is a tribute in some verses in 1727.
+
+“It may seem fantastic,” Sir Walter Armstrong writes, “to bracket
+Van Eyck with a painter like Nattier, but a little consideration
+will show that in a sense they belonged to the same faction, that is
+to say that if Van Eyck had lived in Paris in 1760, he would have
+conceived a portrait much in the same way as Nattier, and so _mutatis
+mutandis_ with the Frenchman. The conscious desire of both was
+to _reproduce_ their sitter, choosing a moment when he or she
+was thinking of nothing in particular, and surrounding him with his
+familiar properties carefully marshalled into a design.”
+
+Jean Marc Nattier came of a family of artists. His father, Marc
+Nattier, was an Academician, his mother, Marie Courtois, was a
+miniature-painter of reputation, and his brother, J. B. Nattier, was
+also a painter. Jean Marc Nattier was born in Paris, March 17, 1685,
+and was trained at a very early age by his father. Admitted to the
+classes at the Académie, he won a prize in drawing and at the age
+of fifteen was given a stipend. In 1715 Nattier went to Holland,
+where Peter the Great was staying, and painted the Czar, the Empress
+Catherine II, and several members of the Russian Court; but he declined
+all inducements to follow the Czar to Russia and returned to Paris.
+
+In 1718 Nattier was received at the Académie and, thenceforth, devoted
+himself to portraiture. In 1724 he married Mademoiselle de la Roche,
+daughter of an old _mousquetaire_ of the King; and it was not long
+before he became official painter of the court and, in consequence, the
+most fashionable portrait-painter in France.
+
+Nattier was made assistant professor of the Académie in 1745 and full
+professor in 1752. Every year brought him more fame and more honors
+until his death in Paris in 1766.
+
+Nattier depicts the delicate, charming, and aristocratic beauty of
+the early Louis XV period and has the gift of expressing also grace and
+alluring qualities. Louis XV had Nattier make replicas of many of the
+court portraits most pleasing to him, which he sent to European Courts;
+and this explains how it is that so many splendid Nattiers are hanging
+to-day in European galleries.
+
+  [Illustration:
+
+   _Collection of Mr. Edward J. Berwind_
+
+  MADAME BONIER DE LA MOSSON
+
+    --_Jean Marc Nattier_]
+
+Nattier has a unique place as the painter of beautiful women, yet,
+although he painted individuals, his work, taken as a whole, presents
+the French Society woman of the Eighteenth Century with her peculiar
+charm, elegance, and _finesse_, appearing in his portraits as
+she really was,--experienced, flexible, high-bred, gay, witty, and
+accomplished, graceful in manner and in speech, perfect in the arts of
+the toilet and in dress, conscious of her charm, and tactful, polished,
+and fascinating in society.
+
+
+                   LA MARQUISE DE BAGLION AS FLORA.
+
+    _Jean Marc Nattier_
+    (_1685–1766_).
+
+    _Collection of
+    Mr. A. W. Erickson._
+
+This masterpiece is also known as the “Chaponay Nattier,” from having
+been long in the Collection of the Marquis de Chaponay in Paris.
+Previously the picture graced the Collection of la Comtesse Armand née
+Gontoud-Biron and subsequently that of M. Nicolas Ambatielos in London.
+Many critics regard _La Marquise de Baglion_ as the finest French
+portrait of the Eighteenth Century. Its first appearance in public was
+at the Salon of 1746 and it was shown in the Paris Exhibition of the
+One Hundred Masterpieces in 1892 (No. 28) and in the Paris Exhibition
+of the One Hundred Portraits of Women of the French and English Schools
+in 1909 (No. 85).
+
+  [Illustration:
+
+   _Collection of Mr. A. W. Erickson_
+
+  LA MARQUISE DE BAGLION
+
+    --_Jean Marc Nattier_]
+
+The picture (53⅛ × 41¼ inches) is signed and dated 1746, hence it
+was shown as soon as it was finished. The subject of the picture,
+Angélique Louise Sophie d’Allouville de Louville was born Feb. 10,
+1710, daughter of Charles Augustin d’Allouville, Marquis de Louville,
+Gentleman-in-waiting to the King of Spain, Lieutenant-General of his
+armies and Governor-General of Courtray. Her mother was Hyacinthe
+Sophie de Bechameil de Nointel. On June 10, 1733, Angélique Louise
+Sophie was married to Pierre François Marie de Baglion, Comte de la
+Salle. After twenty-three years of marriage the Marquise de Baglion
+died in 1756. Her only daughter, Françoise Sophie Scholastique de
+Baglion (who was married to Denis Auguste Grimoard de Beauvoir,
+Marquis du Roure, Colonel of the Grenadiers of France of Saintonge, of
+Dauphine, and later brigadier), was lady-in-waiting to the Dauphine
+(Marie Antoinette), and was a great friend of Madame de Pompadour, whom
+she usually accompanied on her visits to Choisy.
+
+In this exquisite picture, La Marquise de Baglion, an unusually
+beautiful woman, who has great intelligence in her face, as well as
+beauty, appears in a very _décolleté_ dress, which shows her dazzling
+neck and shoulders. Her aristocratic hand, long and beautifully shaped,
+lightly holds a blue scarf--“Nattier blue”--filled with lovely flowers.
+Flowers are as nearly important as the Goddess of Flowers herself; and,
+consequently, Nattier has shown himself here the equal of any painter
+who specialized in flowers.
+
+The picture was much talked of in its day at Versailles; in the
+_boudoirs_; at the toilet of the marquise; and at the _petits soupers_
+of the King, Louis XV. Many poets have sung its praises. One of the
+latest and best tributes is by Roger Milès called a _Madrigal for a
+Portrait of the Marquise de Baglion painted by Nattier_. In reading it
+we cannot help regretting that the beautiful Flora could not have read
+these sympathetic verses:
+
+
+                              _MADRIGAL_
+
+   (_Pour un Portrait de la Marquise de Baglion peint par Nattier_)
+
+    _Dès le matin, dans la rosée, au fond du parc,
+    La Marquise s’en fut, pour saluer l’Aurore,
+    Et les cerfs inquiets qui sommeillaient encore,
+    Pour Diane la prenant, des yeux cherchaient son arc._
+
+    _Mais elle n’était pas la Déesse farouche
+    Et, si parfois ses yeux ont pu lancer ces traits,
+    Ses victimes devaient y trouver des attraits,
+    Tant le sourire avait de douceur sur sa bouche._
+
+    _Elle allait simplement, fière de sa beauté,
+    Humilier les fleurs écloses pour lui plaire,
+    Sachant leur jalousie aimable et sans colère,
+    Ames où des parfums chantent la volupté._
+
+    _Et voici que ses mains cruelles et câlines
+    Ont fait leur choix parmi la fraicheur des buissons,
+    Pour les encourager, de leurs nids, les pinsons
+    Raillaient à plein gosier les branches orphelines._
+
+    _Et de ses belles mains déborde son butin.
+    Sa cueillette fut bonne, et ses touffes fleuries.
+    Suffiraient à parer la mousse des prairies
+    Quant la Nature dit sa prière au Matin._
+
+    _Sur un banc, souriante, elle s’est reposée,
+    Une rose retient l’épaulette qui fuit,
+    Et le Zephyr qui passe en balayant la nuit,
+    S’attarde à la splendour de sa gorge rosée._
+
+    _L’étoffe la possède entre ses plis légers,
+    Des joyaux précieux se serrent à sa hanche,
+    Et, sur un chiffonné de mousseline blanche,
+    Ses genoux par un tissu bleu sont assiégés._
+
+    _Mais un charme divin s’epanouait en elle,
+    Et l’on tremble, en voyant son pur rayonnement,
+    Que Dieu pour nous ravir à cet enchantement,
+    Ne fasse palpiter à son épaule ... une aile._
+
+
+                              LA CAMARGO.
+
+    _Nicolas Lancret_
+    (_1690–1743_).
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+This painting came into this country directly from the Collection of
+the Emperor of Germany, having long hung in Potsdam Palace, “Sans
+Souci,” near Berlin. It was originally in the Collection of the
+Prince de Carignan in Paris, from whom it was acquired in 1744 by the
+Count von Rothenburg, Prussian Ambassador, for Frederick the Great
+(1712–1786), to adorn his castle at Rheinsberg.
+
+The picture is in oils on canvas (30 × 41¾ inches). We have here a
+typical scene of French Eighteenth Century life, laid in a beautiful
+park of emerald swards, lovely trees, and graceful foliage, a
+“terminal” figure of a Muse in the middle distance, and a fountain
+tossing its spray at the extreme right. Mademoiselle Camargo and her
+partner occupy the left centre of the picture dancing to music played
+by a small orchestra on the left. Seated and standing around them
+beneath the trees are groups of interested spectators; and among them
+at the extreme left Lancret has painted his own portrait. He is wearing
+a dark mantle and a _biretta_, and looks directly toward the observer.
+
+The dancer, who gives the name to the picture, is the celebrated Marie
+Anne de Cuppi de Camargo, born in Brussels in 1710. The Princess de
+Ligne became interested in her and sent her to Paris at the age of
+ten to be trained for a dancer. Under Madame Prevost, a dancer at the
+Opéra, her progress was so rapid that she made her _début_ at the Opéra
+at the age of seventeen, when her extraordinary grace and her wonderful
+clothes caused her to be acclaimed as a star. Through the lessons of
+Blondy and Dupré she perfected her talents and became the most famous
+Parisian dancer of her time. A _liaison_ with the Comte de Clermonte
+Abbé of Saint-Germain-des-Prés caused her to leave the Opéra in 1734;
+but she returned in 1740 and regained her former triumphs. This was
+the time when Lancret painted some wonderful portraits of the great
+_danseuse_, including the fine picture presented here. Mademoiselle
+Camargo retired permanently in 1751 and died in Paris in 1770.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew J. Mellon_
+
+  LA CARMARGO
+
+    --_Nicolas Lancret_]
+
+Nicolas Lancret was born in Paris in 1690 and died there in 1743. He
+was a pupil of Pierre d’Ulin and Claude Gillot; but he adopted Watteau
+as his model. Indeed, his close imitations of Watteau estranged the
+latter. Lancret, however, won a great reputation for his beautiful
+sense of composition, his fine design, and his charming color. He
+was elected a member of the French Academy of Painting in 1719. His
+landscapes are always delicate and romantic, and as a painter of
+_Fêtes galantes_ he almost equals Watteau and Pater.
+
+
+                                LE DUO.
+
+    _Nicolas Lancret
+    (1690–1743)._
+
+    _Collection of
+    Mr. and Mrs. Emil J. Stehli._
+
+At first glance we might take this painting for a Watteau, for
+Lancret has shown in it the same appreciation of park scenery, leafy
+and fresh foliage, charming figures of grace and refinement, and,
+even more particularly, the suggestion of music. We seem to hear the
+liquid, silvery, cool notes of the flute and the sweet, clear voice
+of the pretty young lady who is singing from a book of music while
+the young gallant looks over her shoulder and plays his part in the
+duet. The costumes are lovely; the young lady is dressed in white and
+the flute-player wears a brownish-red suit. The flute-player’s pose
+is interesting: all his weight is placed on his right foot. Note his
+hands: they are properly placed on the holes of his instrument, which
+he is holding as a musician. The French have always been superlative
+flute-players and it was only natural that Lancret would select a
+capable musician for his model. We can make a safe guess that the music
+we are hearing from these musicians is an air by Rameau, whose operas
+and ballets were enjoying great vogue when this picture was painted.
+The work, oils on canvas (19¾ × 16¾ inches), belonged to the Collection
+of Sir William Knighton, Bart., and came from that of Mr. Pitt Rivers
+of London to the present owner, Mr. Emil J. Stehli of New York.
+
+Comparing Lancret with Watteau, Eugène Langevin writes:
+
+“First the style of the master was not adopted by him in its entirety;
+he modified it in accordance with his own disposition; he has played
+some of Watteau’s melodies, but in a lower key and with a slower
+movement. It is _conversations galantes_ rather than _fêtes
+galantes_ that he paints. He seems to feel that he does not possess
+the fire, the caprice, the vivacity, the imagination, and the supreme
+poetic distinction that are required for _Departures for the
+Enchanted Isle_. He halts half-way. Where Watteau painted sumptuous
+and impassioned eclogues, Lancret portrays rural amusements, richly
+adorned and at the same time frolicsome as he had seen them on the
+boards. Watteau revels in the most magical of fictions: he is the
+Shakespeare, the Aristophanes of Art.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Emil J. Stehli_
+
+  LE DUO
+
+    --_Nicolas Lancret_]
+
+“Like Watteau, Lancret broke with the academic traditions of the day,
+which were all for reddish or brown tints: he acknowledged a wholesome
+horror of burnt colors. And if he lacks that distinction which his
+master owed to his constant practice of Flemish and Venetian Art and
+to his own natural gifts, if he cannot produce those glowing and
+_rutilant_ tonalities full of golden sheen, those rich colors, and
+those subtle harmonies of infinitely delicate beauty, he, at least,
+possessed a palette both rich and refined.”
+
+
+                          UNE FÊTE CHAMPÊTRE.
+
+    _Jean Baptiste Joseph Pater
+    (1695–1736)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+This brilliant picture, painted in 1733, the height of the Regency
+period, came from the Collection of Lady Carnarvon, having been
+bequeathed to her by Alfred Charles de Rothschild of Seymour Place,
+London.
+
+The scene is laid in a romantic landscape with the ruins of an old
+_château_ and other ancient buildings surrounded by beautiful, feathery
+trees. Upon the green sward groups of men, women, and children have
+gathered to enjoy themselves in various ways. The merry assemblage,
+dressed in brilliant costumes of delightful colors, charmingly
+harmonized and contrasted, are dancing, feasting, making love, and
+watching actors and mountebanks perform. Even two little dogs in the
+foreground have partaken of the general gaiety. The movement, _brio_
+and general _joie de vivre_ make this a veritable panorama of the
+Eighteenth Century. The picture is also noteworthy for being the
+largest ever painted by Pater.
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  UNE FÊTE CHAMPÊTRE
+
+    --_J. B. J. Pater_]
+
+Jean Baptiste Joseph Pater was born at Valenciennes in 1695, the son
+of a wood-carver who appreciated his son’s talent, taught him what
+he could, and then took him to Paris, where he became a pupil of
+his fellow-townsman, Watteau. The irritable temper of Watteau caused
+a separation; but in 1721 Watteau sent for Pater to come to him at
+Nogent-sur-Marne and gave him daily instruction.
+
+Pater was very “modernistic” in his time, for in 1728 he was received
+into the Academy as a member of the new class of “_peintres de sujets
+modernes_.”
+
+Pater was entirely absorbed in his art. He rarely left his studio,
+formed no friendships, painted all day and every day, and gave himself
+no pleasures. His feverish industry coupled with his parsimonious
+living--he was haunted by the fear of poverty in old age--at last told
+upon him and he died in Paris in 1736.
+
+Pater is a very close follower of Watteau in subject and composition as
+well as in his charming and delicate color.
+
+
+                           UNE FÊTE GALANTE.
+
+    _Jean Baptiste Joseph Pater
+    (1695–1736)._
+
+    _Collection of
+    Mr. Edward J. Berwind._
+
+It is interesting to compare this picture with the _Fête Champêtre_
+preceding it. We have two characteristic examples of Pater’s work. In
+the _Fête Champêtre_ we look upon a large gathering and a miscellaneous
+crowd. In the picture represented here we have a more intimate group.
+There are certain elements in this picture that suggest Watteau; others
+that suggest Lancret; and still others that show us that the later
+Boucher and Fragonard did not deign to take a few ideas from Pater. The
+picture is very individual. The colors are soft and delicate--“pastel”
+tints we like to call them to-day--pale blues, and pinks, and yellows,
+and rich mauves, contrasting beautifully with the exquisite green of
+the foliage. Pater never produced a more artistic background, with its
+distant hills and picturesque buildings. The painting came from the
+Wertheimer Collection, London, to the present owner.
+
+  [Illustration:
+
+   _Collection of Mr. Edward J. Berwind_
+
+  UNE FÊTE GALANTE
+
+    --_J. B. J. Pater_]
+
+
+                             LA SERINETTE.
+
+    _Jean Baptiste Siméon Chardin
+    (1699–1779)._
+
+    _Collection of the late
+    Mr. Henry Clay Frick._
+
+Madame de Pompadour, whose taste in art was always superlatively good,
+was the first owner of this charming picture, which has passed through
+many notable collections. The work is known under three titles: _La
+Serinette_ (the Bird-Organ); the _Education of a Canary_; and _The
+Diversions of a Lady_. According to tradition this lady is Madame
+Chardin, wife of the painter. The sitting-room gives us an idea of
+her varied occupations and it would appear that she has just left her
+tapestry-work to give her canary a singing-lesson. The bird is seen
+in a cage, which stands on a little table near the window, and Madame
+Chardin is turning the handle of the bird-organ. We would like to know
+the tune the little music-box produces. Both as regards subject and
+treatment the picture is a masterpiece. Jean Guiffrey considers the
+work most charming and admires the way all the many accessories are
+brought into perfect harmony. “It would be impossible to find,” he
+says, “a more correct design and a better color scheme and tonality.”
+
+Chardin sent this picture to the Salon of 1751 and again to that of
+1755. After Madame de Pompadour’s death _La Serinette_ passed into
+the notable Collections of Monsieur de Vandières, director of the
+Royal Buildings; the Marquis de Menars, Madame de Pompadour’s brother
+(sold in 1783); Baron Denon, Director of Museums (sale 1826); Count
+d’Houdetot (sale 1859); Duke de Morny (sale 1865); Mr. G. du Tillet of
+Paris; and, finally, to the late Mr. Henry Clay Frick.
+
+The picture was shown in 1860 at the Exposition of the Association for
+the Mutual Relief of Artists, Painters, Sculptors, and Architects (No.
+92).
+
+Chardin was one of the greatest colorists of the French School and one
+of the greatest painters of the Eighteenth Century. Few painters have
+equalled him in his broad and free style and in his luminous effects of
+color and light.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry Clay Frick_
+
+  LA SERINETTE
+
+    --_J. B. S. Chardin_]
+
+Chardin was born in Paris, Nov. 2, 1699, the son of a master-carpenter
+and upholsterer, who was employed to make billiard-tables for Louis
+XIV. After studying under Pierre Jacques Cazes, Chardin entered the
+studio of Noël Nicolas Coypel. Before he was thirty he had made a
+name as a painter of still-life. In 1728 Chardin was admitted to the
+Académie Royale and eventually became its treasurer. In 1752 Louis XV
+bestowed a pension upon him and in 1757 gave him rooms in the Louvre.
+In his middle period Chardin struck out in a new path--that of frank
+realism, selecting for subjects scenes from the domestic life of the
+_bourgeoisie_; but he treats everything, however, with the distinction
+and taste that belonged to France in the Eighteenth Century. Therefore,
+he throws a poetic glamour around a loaf of bread, a bunch of
+grapes, a plate of peaches, a sleeping cat, or a copper _casserole_.
+Consequently, while his subjects are similar to those of the “Little
+Dutch Masters,” Chardin introduces an elegance and a quality of which
+those painters never dreamed. Neither Pieter de Hoogh, nor Vermeer,
+excelled Chardin in effects of light, atmosphere, and iridescence.
+“Chardin,” Élie Faure writes, “did not paint much because he paints
+slowly with a laborious and passionate application. He has no models,
+but his wife, children, a few familiar animals, the everyday tableware,
+and cooking-utensils and then there are meat, vegetables, bread, and
+wine brought that same day from the butcher, the meat-roaster, the
+baker, and the vegetable seller. With these he writes the legend of
+domestic labor and of obscure life: his images speak to us after the
+manner of La Fontaine’s words and he is, with Watteau and Goya, the
+greatest painter there is in Europe between the death of Rembrandt and
+the maturity of Corot and of Delacroix.”
+
+Chardin is an artist beloved by artists. In a sympathetic criticism,
+Armand-Dayot writes:
+
+“It is not by accident that I am using this word _métier: beauté
+du métier_--all is comprised in that phrase. By this phrase the
+greater number of the French artists of the Eighteenth Century should
+be judged. _La beauté du métier_--that expresses all their
+efforts. And, indeed, what formula could better define Chardin than the
+_beauté du métier_? An illumination, meticulous and systematic,
+because it has been so well ordered and arranged; light departing
+from one point to appear at another and showing the various objects
+according to the place they occupy with relation to the distance from
+the luminous centre; a beautiful paste of the best composition in its
+own day and which time has converted into a transparent and limpid
+enamel; and, above all, that classical arrangement, which is like that
+of Poussin, Le Brun, Le Sueur and Claude Lorrain, add to the play
+of great sweeps of color; the enchanting reflections that cross one
+another and that are superimposed without breaking the original balance
+of the contrasting colors; and the rigorous drawing--such are the
+reasons why we class Chardin high in the French traditions of clarity
+and beautiful arrangement of light. In his richness of color he is
+derived from the Venetians and he became the ancestor of Fantin-Latour.”
+
+Chardin’s vogue is increasing day by day, for he belongs to that small
+group of great masters who have played with light. Perhaps, more than
+any other painter, Chardin succeeded in producing the most subtle
+overtones of color. M. Armand-Dayot, as we have just seen, claims
+Chardin as the ancestor of Fantin-Latour. May we not also suggest that
+in Chardin, Matisse has found inspiration for his delicate and tenuous
+effects in the upper reaches of the color scale?
+
+We get a glimpse of Chardin at work from Diderot who, after a visit to
+his _atelier_, wrote:
+
+“Chardin, who has such a keen feeling for color, keeps his eyes glued
+upon his canvas: his mouth is half-open; and he breathes heavily.
+His palette is a picture of chaos and into this chaos he dips his
+brush. From it he draws his work of real creation,--birds with all the
+delicate _nuances_ of tint in their plumage; flowers with velvet
+petals; trees of varied foliage and greenery, the blue of the sky, the
+spray of water, animals with their soft fur and the fire flaming from
+their brilliant eyes. The painter rises, walks some distance away, and
+throws a rapid glance upon his picture; then he seats himself again
+before this canvas and you soon see appear flesh tints, cloth, velvet,
+damask, taffetas, transparent muslin, or heavy linen. You also see the
+ripe yellow pear falling from the tree and the green grapes hanging on
+the vine.”
+
+
+                         LES DEUX CONFIDENTES.
+
+    _François Boucher
+    (1703–1770)._
+
+    _Collection of
+    Mrs. William R. Timken._
+
+Madame de Pompadour was the first owner of this picture and it looks
+as if it might have been painted at her suggestion. It is signed and
+dated 1750 and measures 32 × 29 inches,--a perfect size for a boudoir
+or a small _salon_. Next the picture was in the Collections of
+Pillet-Will, the Marquis de Marigny, and the Marquis de Menars.
+
+Here we have two young ladies of high degree playing at pastoral life.
+Their bare feet and the presence of sheep are the only suggestion that
+they are shepherdesses. They are, however, shepherdesses of the kind we
+read of in the eclogues of poets.
+
+In every way the picture is charming. The composition is faultless,
+the lights splendidly concentrated and diffused, and the colors are
+of exquisite beauty. Against the green of the feathery trees in the
+background and the verdant turf in the foreground the lustrous silken
+dresses--palest blue and palest rose--of the young ladies who are
+exchanging confidences (doubtless of faithful or faithless lovers)
+appear to the greatest advantage. The flowers, tumbling out of the
+basket which has fallen down, are most sympathetically painted by one
+who rarely, if ever, omitted roses in any picture. All the colors melt
+and mingle in perfect harmony.
+
+Boucher painted at the height of the Louis XV period and of this period
+Élie Faure says:
+
+“François Boucher is its soul. Fashion is always present in his facile
+and fecund work--on ceilings, screens, carriage-panels, _dessous
+portes_, boxes and fans--shepherdesses and pastorales everywhere
+and on every thing. Charming in manner, generous, pleasure-loving and
+adored by both men and women, Boucher stands with the King’s mistress,
+Madame de Pompadour, as the centre of his own revolving circle of
+winged Cupids and garlands of flowers.”
+
+  [Illustration:
+
+   _Collection of Mrs. William R. Timken_
+
+  LES DEUX CONFIDENTES
+
+    --_François Boucher_]
+
+François Boucher, born in Paris, Sept. 29, 1703, began his career as
+an illustrator and engraver and went to Italy with Carle Van Loo.
+Returning to Paris in 1731 he frequented the gay society of operatic
+and theatrical circles and acquired reputation. In 1734 he was admitted
+to the Academy with his picture of _Rinaldo and Armida_ now in the
+Louvre. Boucher became associated with the tapestry-manufactory at
+Beauvais and also at the Gobelins and in 1765 succeeded Carle Van Loo
+as first painter to Louis XV. Boucher attracted the attention of Madame
+de Pompadour and decorated her boudoirs and _salons_, and painted
+several portraits of this handsome lady. Boucher died in the Louvre in
+1770, while painting _Venus at her Toilet_. According to his own record
+Boucher painted a thousand pictures and made ten thousand drawings and
+sketches.
+
+
+                    A YOUNG GIRL READING A LETTER.
+
+    _Jean Baptiste Greuze
+    (1725–1805)._
+
+    _Collection of
+    Mr. John McCormack._
+
+This picture, an oil painting on canvas (27½ × 21½ inches), comes from
+the Collection of Alfred Charles de Rothschild, Seamore Place, London,
+and represents a young girl seated in an upholstered chair wearing a
+white chemise, which has slipped from her shoulders. An open letter is
+spread on her lap,--a letter before envelopes were known, for this has
+the seal still attached. However, letters bring tidings of delight or
+sorrow, with or without envelopes, and we have no clue to the contents
+of this one. We gather, however, that the missive is a love-letter.
+
+  [Illustration:
+
+   _Collection of Mr. John McCormack_
+
+  A YOUNG GIRL READING A LETTER
+
+    --_Jean Baptiste Greuze_]
+
+Jean Baptiste Greuze was born at Tournous, near Macon, Burgundy, and
+was the son of a thatcher. He first studied painting with a travelling
+picture-pedlar named Grondon and went with him to Lyons and lived
+there for eight years, painting pictures and hawking them about the
+country. However, Grondon was the father of the wife of Grétry, the
+composer, so Greuze probably had a little taste of art. In 1746 he
+went to Paris and worked at the Academy, making some progress in
+historical painting and portraits. One day he astonished everybody by
+his picture of _Un père de famille expliquant la Bible à ses enfants_
+and _Le Paralytique servi par ses enfants_, which caused him to be
+received as an _Académicien_. Others of this type of pathetic, or
+homely, story-telling in paint followed. This, then new style of art,
+won Greuze many admirers, among them Diderot. In 1756 Greuze went to
+Rome for two years and on his return to Paris began to exhibit his now
+famous busts and heads of beautiful young girls. Between 1755 and 1769
+Greuze exhibited about one hundred and twenty pictures at the Louvre
+and, after the Revolution, about thirty works. He was entirely broken
+by the Revolution and died in 1805 in poverty and oblivion.
+
+
+                              YOUNG GIRL.
+
+    _Jean Baptiste Greuze
+    (1725–1805)._
+
+    _Collection of
+    Mr. William Randolph Hearst._
+
+We hardly know which face to admire the most--that of the little girl
+or that of her little dog with the bright, intelligent eyes, so loving
+and so trustful.
+
+  [Illustration:
+
+   _Collection of Mr. William Randolph Hearst_
+
+  YOUNG GIRL
+
+    --_Jean Baptiste Greuze_]
+
+This picture (14 × 14 inches) Greuze has painted with the tenderest
+care,--depicting the budding beauty of the child; and he has, moreover,
+used the swirling curves in such a distinguished manner that we think
+of the circles and the curves in Raphael’s _Madonna della Sedia_ in
+the Pitti. There is a gentle sadness in the face of the little girl of
+which the little companion and friend, so confidently nestled in her
+loving arms, seems to be conscious; and, perhaps, a little worried as
+well.
+
+
+                 LA MARQUISE DE BESONS TUNING A GUITAR
+
+    _Jean Baptiste Greuze
+    (1725–1805)._
+
+    _Collection of
+    Dr. and Mrs. Henry Barton Jacobs._
+
+At the Salon of 1757 Greuze exhibited this portrait under the title of
+_Madame X Tuning a Guitar_. Many who saw the picture recognized
+Madame X as Anne de Bricqueville de la Luzerne, wife of Jacques Bazin,
+Marquis de Besons, a very prominent and powerful lord of the Houses
+of Hupin, Neuvill, etc., and Lieutenant-General of the King’s armies.
+
+Madame de Besons is wearing a pale pink silk dress with a deep flounce
+with sleeves of the favorite Mechlin lace and a large cape with collar.
+Her hair is waved in fine shells and adorned with the little spray of
+flowers that Madame de Pompadour had made the fashion at this moment. A
+necklace consisting of three rows of perfectly matched pearls proclaim
+Madame de Besons a lady of wealth. The chair in which Madame de Besons
+is sitting is a handsome example of Louis XV furniture, gold frame
+upholstered in light green brocade. The background is dark grey. The
+painting (37 × 29¼ inches) is an unusual and a most artistic work of
+Greuze.
+
+
+                      LA MARQUISE DE VILLEMONBLE.
+
+    _François Hubert Drouais
+    (1727–1775)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+One is often asked to define the _style Louis XV_. Could there possibly
+be a better definition than is expressed in this exquisite portrait
+of an exquisite lady,--La Marquise de Villemonble? Is not the very
+essence, the spirit, the perfume of the Eighteenth Century seen in the
+face, the dress, the pose, the manner, the charm, and the “grand style”
+of the Marquise?
+
+  [Illustration:
+
+   _Collection of Dr. and Mrs. Henry Barton Jacobs_
+
+  LA MARQUISE DE BESONS TUNING A GUITAR
+
+    --_Jean Baptiste Greuze_]
+
+It is very evident that Drouais took deep delight in painting this
+aristocratic lady and her beautiful costume as well. We can see with
+what pleasure the painter’s brush swept into being the lustre and the
+folds of the pale lemon satin dress; traced the delicate pattern of
+the Mechlin lace that forms the ruffles of the bell-sleeves and the
+garniture of the neck; tied the bows of rich pink satin adorning the
+corsage and holding the lace at the sleeves; touched up the cluster of
+shaded grey feathers and rounded the pearls in the _coiffure_;
+placed the little string of black velvet around the neck; and lingered
+upon the sheet of music which the Marquise is holding so gracefully.
+The words below the notes show that the lady is a singer. Yet all
+these carefully painted details do not detract from the beauty of
+the lady herself. Her features are high-bred, sweet, and perfect,
+and her expression shows great loveliness of nature. Altogether the
+Marquise de Villemonble is a beautiful and charming person and Drouais,
+we may be sure, has not flattered her in this beautiful and charming
+portrait. The canvas (46 × 35 inches) is signed and dated 1761 and it
+is interesting to relate that it came directly from the Villemonble
+family to its present owner, Mr. Jules S. Bache.
+
+François Hubert Drouais was born in Paris in 1727 and studied under
+his father, Hubert Drouais (1699–1767), a portrait-painter who was
+also famous for his miniatures. Young François grew up with the great
+painters of the day, who were friends of his father--Nattier, de Troy,
+Oudry, and others--and he became a pupil of Carle Van Loo and Boucher.
+With such masters is it any wonder that Drouais should have developed
+_style_?
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  LA MARQUISE DE VILLEMONBLE
+
+    --_François Hubert Drouais_]
+
+Drouais began to exhibit at the Salon of 1755 and appeared every
+year subsequently until his death in 1775. His talents brought him
+recognition and he became painter to the King, to Monsieur and Madame,
+and practically all the nobility and aristocracy of France sat to
+him. Naturally, the world of fashion followed suit. Drouais painted
+Madame de Pompadour and owed much to her patronage. He also painted
+Madame du Barry many times and his vogue continued through the reign
+of Louis XVI. One of his most successful portraits--Marie Antoinette
+as Hebe--now hangs at Chantilly and gives a most distinguished
+presentation of the young Queen, a proud figure in yellow draperies,
+rose-colored waist ribbons, and lilac scarf, holding a golden cup in
+one hand and a silver ewer in the other.
+
+Drouais holds his own with Watteau, Pater, Lancret, Fragonard, Greuze,
+Chardin, and de la Tour, for he, too, like these artists of radiant
+style, knew how to present with skillful and polished technique,
+flowing lines, fluent grace, piquant expression, characteristic
+gesture, and fashionable dress. Moreover, his quick observation and
+light touch produce something akin to sparkling comedy; and yet in
+all the play of his brush and his airy manner Drouais never failed to
+create an atmosphere of elegance and distinction.
+
+
+                        MADEMOISELLE HELVETIUS.
+
+    _François Hubert Drouais
+    (1727–1775)._
+
+    _Collection of
+    Mr. Mortimer L. Schiff._
+
+That Drouais was a master who could succeed with any subject for
+portraiture will be appreciated by comparing this sympathetic
+presentation of a pretty little girl with the preceding portrait of La
+Marquise de Villemonble, who appears in the full beauty of maturity.
+Even Greuze, with all his skill in representing youthful charm, never
+produced a lovelier work than this Mademoiselle Helvetius. Here the
+little girl looks at us smiling beneath her big “shepherdess” hat,
+holding in her dress clusters of purple and jade colored grapes.
+Drouais evidently appreciated the decorative beauty of the grape and
+its leaves, for he has brought out their character and lusciousness
+with a loving surety of touch that shows him to be on a par with any
+painter who has specialized in fruit.
+
+  [Illustration:
+
+   _Collection of Mr. Mortimer L. Schiff_
+
+  MADEMOISELLE HELVETIUS
+
+    --_François Hubert Drouais_]
+
+The delightful painting, which is signed, came to its present owner
+from the J. P. Morgan Collection.
+
+
+                        L’INVOCATION À L’AMOUR.
+
+    _Jean Honoré Fragonard
+    (1732–1806)._
+
+    _Collection of
+    Mr. Mortimer L. Schiff._
+
+The de Goncourts remarked in their _L’Art du Dix-huitième Siècle_ that
+the two great--and the only great--poets in France in the Eighteenth
+Century were Watteau and Fragonard; and they very fancifully and very
+truly said that the saucy little Loves hovering about in the sky of
+_L’Embarquement pour L’Île de Cythère_ were “getting ready to fly to
+Fragonard and to put on his palette the hues of their butterfly wings.”
+
+Of that tragic painting, _Corésus and Callirhoé_ (in the Louvre) the
+de Goncourts, noting the extraordinary movement and whirl in the work,
+said “a great mute cry seems to rise in the composition,” and then
+added: “This cry of a picture, so new for the Eighteenth Century, is
+Passion.”
+
+Fragonard had the genius for expressing movement and emotion to such a
+degree that sometimes “a cry” seems to issue from his canvas. This rush
+of movement and this torrent of emotion, this outburst like leaping
+flames and whirling clouds, is expressed in full power in the picture
+represented here, which bears some likeness to the _Fountain of
+Love_ in the Wallace Gallery, London.
+
+_L’Invocation à l’Amour_ (20½ × 24¾ inches) was painted between 1780
+and 1785. It came into public notice at the La Rochefoucauld-Liancourt
+Sale in Paris in 1827 and has since belonged to the Collections of M.
+le duc de Polignac; to Madame la duchesse de Polignac née Crillon; to
+Mr. L. Neumann, London; and to M. Jean Bertoloni, Paris. _L’Invocation
+à l’Amour_ was shown at the Fragonard Exposition, Musée des Arts
+Décoratifs, Paris in 1921, and came thereafter into possession of Mr.
+Mortimer L. Schiff.
+
+  [Illustration:
+
+   _Collection of Mr. Mortimer L. Schiff_
+
+  L’INVOCATION À L’AMOUR
+
+    --_Jean Honoré Fragonard_]
+
+Jean Honoré Fragonard was born at Grasse in 1732 and died in Paris in
+1806. He studied under Chardin and Boucher, won the _grand prix_
+de Rome at the age of twenty, studied in Rome, visited Naples and
+Sicily with Hubert Robert, and, returning to Paris, leaped into fame
+with his _Corésus and Callirhoé_ in 1765. Fragonard painted every
+subject--love-scenes, portraits, _genre_, and landscape--equally
+well and always with the lightest touch, the most delicate colors, and
+infinite charm.
+
+“His method,” says Louis Hautecœur, “is even more dexterous than
+that of Boucher, because he is better instructed; this rapidity of
+brush-work is not negligent, because it is guided by previous study;
+this freedom of handling is not hap-hazard: it springs from the joy of
+creating; that is what makes Fragonard a great painter. Thus a natural
+sensibility, which gave to his works movement, picturesque character,
+and color seems to be the master faculty of Fragonard; and out of this
+movement, this feeling for the picturesque, and this color arises a
+fantasy composed of intelligence and imagination. The _Fête of St.
+Cloud_ becomes a fairy scene; the _Garden of Fontainebleau_ the setting
+of a dream; and the _Fountain of Love_ flows in a world of mystery.
+Fragonard was not only a _painter_ unique in style, but he was a _poet_
+of that century of which he saw the close--a _poet_ whose sensibility
+was shown less in the nature of his works than in the manner in which
+he treated them: in his golden rays of light; in the shadowy recesses
+of the parks; in the cloud forms of a tempest; in the youthful charm of
+children; and in the grace of women--and herein lies his originality.”
+
+
+                            LE BILLET-DOUX.
+
+    _Jean Honoré Fragonard
+    (1732–1806)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+In studying this graceful composition with its subtle harmonies of
+color and its amazing play of iridescent reflections and ever changing
+lights it is easy to see that Fragonard spent some time in the studio
+of Chardin, having the benefit of instruction from that great master.
+Charm is the keynote of the picture. The colors are indescribable as
+they are constantly changing; but the general tonality is golden-brown
+in all the shades of leaves at autumn with sunlight playing upon
+them and combined with the softest blue of the sky; and these browns
+and blues are so merged and mingled that they shimmer and vary like
+“changeable velvet.” The effect is, therefore, both rich and, at the
+same time, tender, soft, and brilliant. A few high lights of pink are
+discreetly used. The charming, piquant, and lovely lady, is said to be
+the daughter of Boucher and was married to another painter, Baudouin,
+and, after his death, to M. de Cuviller. The lady is half rising from
+her writing-table and is holding in her left hand a bouquet of pink
+roses in a conical paper-holder into which she is placing a letter,
+addressed to “Monsieur M. C.” Her head is turned a little to the front
+and her expression seems to indicate that she does not wish to be
+detected in her pretty romance. She is a person of elegance and fashion
+and her dress is altogether _comme il faut_, in what we please to
+call to-day a “Watteau costume,” with the panniers and the “Watteau
+plait” at the back. The material is a very pale blue velvet with
+brownish lights. Her hair is dressed fashionably and surmounted by
+a modish little “butterfly cap” brightened with pink ribbons, which,
+with the pink roses, are the only notes of bright color in the picture.
+Lying on the chair and looking directly out of the picture is a darling
+little poodle dog. In the “_Billet-Doux_,” Louis Hautecœur says,
+“we can best appreciate the skill of the master who delighted in making
+a golden light play across a yellow curtain upon a blue robe.”
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  LE BILLET-DOUX
+
+    --_Jean Honoré Fragonard_]
+
+This painting (33¾ × 26⅜ inches) passed through the Collections of the
+Baron Feuillet de Conches; Madame Jagerschmidt; M. Ernest Cronier; and
+M. Joseph Bardac,--all of Paris. The _Billet-Doux_ was shown at the
+Alsace-Lorraine Exhibitions of 1874 and 1927, and is lauded in all the
+standard works on Fragonard.
+
+
+                        LA MARQUISE DE LA FARE.
+
+    _Jean Honoré Fragonard
+    (1732–1806)._
+
+    _Collection of
+    Mrs. James B. Haggin._
+
+Could anything be lighter, lovelier, and more graceful in the way of
+painting than this distinguished representation of the distinguished
+Marquise de la Fare? For elegant simplicity as well as technique this
+portrait is without a peer. Only Fragonard could have painted it. There
+is something here that reminds us of the flicker and flutter and quick
+movement and vitality of the flame,--that symbol of the soul and of
+eternal life. Unconsciously, perhaps, by these leaping, flashing lines
+the painter symbolized his own genius and the spirit of the exquisite
+lady he was privileged to portray. With his butterfly touch and his
+liquid, rapid brush, Fragonard caught this charming personality. Yet,
+behind this quick impressionistic work--as light in key and ethereal in
+harmony as Claude Monet or Matisse--what knowledge, what skill! Here
+is all the majesty of Greek sculpture at its climax of perfection,
+but Greek sculpture rendered dynamic and human. And what a pose! What
+exquisite arms and hands! What style! What _chic_! The dress is cream
+and the drapery, old rose, harmonizing with the ash-blonde hair and
+blue eyes.
+
+  [Illustration:
+
+   _Collection of Mrs. James B. Haggin_
+
+  LA MARQUISE DE LA FARE
+
+    --_Jean Honoré Fragonard_]
+
+The picture (31¾ × 25 inches) came directly from the de la Fare family
+to its present owner.
+
+
+                       THE FOUNTAIN IN THE PARK.
+
+    _Hubert Robert
+    (1733–1808)._
+
+    _Collection of
+    Dr. and Mrs. Henry Barton Jacobs._
+
+When Hubert Robert exhibited for the first time in August, 1765, he
+won instant recognition. The French public at a period when taste was
+supreme, praised the originality of Hubert Robert’s design and his
+exquisite delicacy of coloring and decided, moreover, that although his
+study of the antique had been thorough and sympathetic, the new artist
+was, above all, a Parisian of Parisians.
+
+Hubert Robert plays on two themes: one, the ruins of
+antiquity--especially Rome--and the other, garden-scenes. In fact, his
+success with ruins as subject-matter gave him the _sobriquet_ of
+“_Robert des Ruines_.” Hubert Robert was born in Paris in 1733
+and after some preliminary art education went to Rome in 1754, where
+he studied for eleven years, devoting himself almost exclusively
+to antiquities. On his return to Paris he was made a member of the
+Academy and his pictures brought him instant fame. He lived in the
+studios in the Louvre until the outbreak of the Revolution, when he was
+imprisoned for ten months; but during this time he painted and produced
+a _Taking of the Prisoners by Torchlight in Open Carts from St.
+Pélagie to St. Lazare_. He was lucky in his release, which occurred
+through the mistake of the jailer, who sent another prisoner of the
+same name to the guillotine. Hubert Robert died in Paris on April 15,
+1808. Equal to his reputation as a painter was his reputation as a
+landscape-gardener. He was the successor of Le Nôtre, whose style had
+given place to the Anglo-Chinese gardens. Hubert Robert, as architect
+of the King’s Gardens, designed the _Baths of Apollo_ in the
+Park of Versailles in 1784, and he laid out the very famous grounds
+of Mézéville near Étampes-in-Beauce, in which work Joseph Vernet was
+associated.
+
+  [Illustration:
+
+   _Collection of Dr. and Mrs. Henry Barton Jacobs_
+
+  THE FOUNTAIN IN THE PARK
+
+    --_Hubert Robert_]
+
+The distinguished picture shown here (57½ × 39 inches) from the
+Collection of M. S. Bardac, Paris, presents the artist also as a
+garden-lover. All the poetry produced by a tossing stream of spray
+among green trees is expressed here.
+
+“Hubert Robert,” writes Henri Frantz, “is one of those who, brought
+back into fashion by the de Goncourts and their generation, enjoy a
+reputation increasing every day; and thus drawings in red chalk or in
+water-colors which one might easily have picked up years ago in the
+boxes of the petty dealers of Paris or of Rome are found to-day in
+museums and in the most celebrated Collections and fetch the highest
+prices in European sales. Moreover, Hubert Robert did not go out of
+fashion till the commencement of the Nineteenth Century and no artist
+was _fêted_ and admired by his contemporaries more than he.”
+
+Hubert Robert has again become the fashion.
+
+
+                 MADAME LABILLE-GUIARD AND TWO PUPILS.
+
+    _Madame Labille-Guiard
+    (1749–1803)._
+
+    _Collection of
+    Mr. Edward J. Berwind._
+
+Here we have a picture painted in the grand style, a beautiful
+composition, a marvellous expression of technique, and a portrait-group
+including a self-portrait of the artist.
+
+Madame Labille-Guiard, a handsome women of dashing style, is seated
+before her easel busy at work, wearing a very handsome costume and not
+one exactly appropriate to working in a studio. However, the painter
+being as delightfully feminine in her tastes as she was masculine in
+her artistic performance, has the vanity of her sex to wish to be
+perpetuated in rich and fashionable attire,--_comme il faut_ in
+every respect.
+
+The two young ladies, who are observing the work of Madame
+Labille-Guiard are her favorite pupils, Mesdemoiselles Capet and
+Rosemond.
+
+Madame Labille-Guiard’s dress is blue-grey satin with lace at neck
+and sleeves and hat of golden straw with blue-grey ostrich feathers
+matching the dress. The chair in which the artist is seated is
+upholstered in green velvet. The pupil in front wears a dark brown
+dress. Most beautifully is painted the diaphanous ruffle at her elbow.
+
+  [Illustration:
+
+   _Collection of Mr. Edward J. Berwind_
+
+  MADAME LABILLE-GUIARD AND TWO PUPILS
+
+    --_Madame Labille-Guiard_]
+
+The picture of large dimensions (82½ × 60 inches) is signed and dated
+1785 and was exhibited at the Salon in that year. From the Collection
+of Madame Griois, a descendant of the artist, the painting came to its
+present owner, Mr. Edward J. Berwind.
+
+Adélaïde Labille-des-Vertus was born in Paris, April 11, 1749. She
+studied art under François Élie Vincent, a clever miniature-painter
+and afterward under Latour. She married twice: first, the sculptor
+Guiard, and, after his death, François André Vincent, the son of
+her former teacher, himself a capable painter and etcher. Madame
+Labille-Guiard became an Académicien in 1783 at the same time with
+Madame Vigée Lebrun. She painted a great number of large oil-portraits
+and miniatures, and in 1787 and 1789 attracted attention by her
+portraits of the King’s daughters, Madame Adélaïde and Madame Victoire.
+She also painted a large picture for Monsieur (afterwards Louis
+XVIII), called the _Initiation of a Knight of Malta_, which was
+finished at the outbreak of the Revolution; but which was destroyed.
+Madame Labille-Guiard died in Paris on Floréal 4, _An XI. de la
+République_, or April 8, 1803.
+
+
+
+
+                      ENGLISH, EIGHTEENTH CENTURY
+
+
+
+
+                     _ENGLISH, EIGHTEENTH CENTURY_
+
+
+When Théophile Gautier saw Gainsborough’s portrait of _Mr. and Mrs.
+Hallet_, now known as _The Morning Walk_, he said that he felt “a
+strange retrospective sensation, so intense is the illusion it produces
+of the spirit of the Eighteenth Century. We really fancy we see the
+young couple,” he adds, “walking arm-in-arm along a garden avenue.”
+
+It is this “strange retrospective sensation” that we feel when we look
+upon the canvases of Gainsborough, Reynolds, and Romney.
+
+The Eighteenth Century was one of those periods in the world’s history
+when Society reached its peak, when Society was the goal of all things
+and of every one, and when it was dominated by taste, elegance, gaiety,
+lightness, brightness, wit, beauty, and charm. There was charm in
+everything--in art, in music, in literature, in conversation, and in
+dress. There was a _chic_ and dainty grace with which the Eighteenth
+Century belle wore her large hat, tied her sash, and pointed the toe of
+her high-heeled satin slipper on the polished floor of the ball-room,
+or the greensward of the garden or lawn; and there was a corresponding
+_chic_ and dashing elegance with which the Eighteenth Century _beau_
+made his bow, tapped his snuff-box, or handed the “ladies of St.
+James’s” in and out of their sedan-chairs.
+
+This sparkling, iridescent age, with its taste, grace, and wit can
+never come again--for our world has travelled far along another
+path--but if the Eighteenth Century cannot return to us, we can return
+to it by means of its literature, its music, and its art.
+
+At such a period, when the social world was of exceptional brilliance,
+it is only natural that the art of portraiture should have flourished
+with unparalleled lustre.
+
+Three great geniuses arose in England to bring this special branch of
+painting up to a pitch that had never been reached there before.
+
+It is true that Holbein’s portraits are magnificent, stately, and true
+to life, and that they present wonderful portrayals of character; but
+Holbein was painting in a world of drastic change, of adventure, of
+political agitation, when nearly everyone whom he painted had the fear
+of the axe descending upon his neck. It is true that Van Dyck painted
+people of elegance and distinguished manner--the portrait of Robert
+Rich, Earl of Warwick on page 189 would alone prove this--and gives us
+a glimpse into a charming world.
+
+But Reynolds, Gainsborough, and Romney were the first to paint
+Society--that brilliant, witty, provocative, frivolous, graceful,
+charming, _chic_, and altogether delightful Society of the
+Eighteenth Century.
+
+The Eighteenth Century! How we delight in it!
+
+We are not too far away to feel at home in it; and, moreover, much
+of our beautiful Georgian architecture survives in this country with
+Chippendale, Sheraton, and Heppelwhite furniture and Spode, Wedgwood,
+Chelsea, Lowestoft and various china, with other relics besides, to
+show us that our Colonial forefathers lived in style and elegance. The
+latest fashions in household furnishings and dress travelled here from
+London even quicker than they travelled to the English provinces.
+
+To lift the curtain upon the Eighteenth Century is like lifting the
+cover from a Chinese jar of _pot-pourri_; and just as that subtle
+yet pungent scent of rose-leaves, lavender, sweet spices, and musk
+float from it, so visions appear before another sense. Our inherited
+memories bring before us pictures of brocade gowns or “hoops,”
+flowered silk overdresses, high-heeled satin slippers with glittering
+buckles, ruffles of Mechlin lace, “chicken-skin” fans gay with Watteau
+or Lancret or Pater pictures, rustling silks, shimmering satins,
+nodding feathers, cinnamon coats, Ramilies tie-wigs, lace-solitaires,
+wrist-ruffles, cocked-hats, swords, and snuff-boxes.
+
+We seem to stand in lovely gardens, bright with roses and hollyhocks,
+larkspur, foxglove, amaranth, love-in-a-mist, bleeding-hearts, and
+gilliflowers, noting the moving shadow on the sundial and watching the
+stately peacocks behind the well-clipped hedges of box and holly; or
+we follow the fashionable world to Ranelagh or Vauxhall, where we look
+with fascinated gaze on the beautiful women in hoops of brocade or
+lutestring silk, much painted, powdered and patched, glancing archly
+beneath their coquettish “gipsy hats” at their gallant escorts, who
+know so well how to lead them through the steps of a minuet or a
+gavotte to the rococo tunes of Rameau, Dr. Arne, or Couperin with their
+quirls and pretty runs and trills and long pauses for stately bows.
+
+That world is so fascinating to us that we fancy we, too, could wear
+without embarrassment the elaborate costume and that we, too, would
+feel much at home with Horace Walpole and his friends at _Strawberry
+Hill_. We, too, might be able to prepare minced chicken in a
+chafing-dish, just as satisfactorily as the Miss Berrys; and we like
+to fancy that we could take part in their airy conversation of charm,
+banter, and light mockery. At any rate, if we should not be able to
+succeed in entertaining Horace Walpole, we are very certain that Sir
+Horace could entertain us!
+
+All the Society people of London of this time seem very friendly to us
+and we are strangely “at home” with the portraits of Gainsborough, Sir
+Joshua, and Romney.
+
+When we look upon _Diana, Lady Crosbie_, _Lady Betty Delmé_,
+_Georgiana, Duchess of Devonshire_, _Maria Walpole, Duchess of
+Gloucester_, _Lady Derby_, and _The Hon. Mrs. Davenport_ do we not feel
+that we have known and talked to these people in the flesh? Their eyes
+meet ours and our thoughts meet theirs,--and we are not strangers to
+one another.
+
+And when we look upon Gainsborough’s _Mall_ does it not bring back
+memories of the time when we, ourselves, walked there with all the gay
+throng of a bright morning?
+
+Lord Gower said very aptly:
+
+“Gainsborough created a new school by making a lady’s petticoat a thing
+of beauty. He could even throw a halo upon a ribbon or a scarf.”
+
+That is true; but Lord Gower forgot the fact that the lady had by her
+taste and her high-bred elegance conferred distinction on her clothes
+by the fitness with which she selected them and by the manner in which
+she wore them.
+
+Thrice in England have pairs of geniuses appeared at the same time,
+inviting comparison and attracting partisans--Keats and Shelley;
+Thackeray and Dickens; and Reynolds and Gainsborough.
+
+There should be no partisans. The more we love and admire Keats, the
+better we are able to admire and love Shelley; the more we appreciate
+and delight in Dickens, the more we are able to appreciate and delight
+in Thackeray; and the more we comprehend and enjoy Sir Joshua, the more
+we are able to comprehend and enjoy Gainsborough.
+
+Although they were rivals--and quite bitter ones at times--the two
+supreme English painters of the Eighteenth Century admired each other
+prodigiously.
+
+“Damn him! how various he is!” Gainsborough exclaimed of Reynolds; and
+Sir Joshua remarked to Sir George Beaumont of Gainsborough; “I cannot
+imagine how he manages to produce his effects.”
+
+“What is it then that gives Romney his hold upon this generation and
+will continue to give him a hold so long as a love of art endures
+among us?” Humphrey Ward asks; and then he answers his own question as
+follows:
+
+“In part, of course, it is because he shares with Reynolds and
+Gainsborough the good fortune of having kept alive for us a society of
+which the fascination is enduring--that limited and privileged society
+of the Eighteenth Century which has realized such a perfect art of
+living and with which we can clasp hands across the gap as we cannot
+with the men and women of Charles the Second’s time, or even of Queen
+Anne’s. Much more is it because of temperament and training. Romney was
+an artist in love with loveliness; because he found it in the women and
+children of his time and stamped it on countless canvases.
+
+“To our problem-haunted painters of to-day it may be seen that his
+sense of form was ‘generic and superficial’; they may condemn him
+because he did not try to penetrate deep into character and because he
+simplified too much, like the Greek sculptors. The lover of mere human
+beauty will care little for such objections, provided that a portrait
+gives him the essentials of a beautiful face.
+
+    ‘The witchery of eyes, the grace that tips
+    The inexpressible douceur of the lips’--
+
+and has blended them with the aristocratic dignity of the Lady Sligo,
+or with the melting sweetness of many of the sketches of Emma. This is
+what he finds in every first-rate Romney; and he finds much more. He
+finds pure and unfaded color, the fruit of the painter’s knowledge and
+of a self-restraint which forbade him to search for complex effects
+through rash experiments. He finds a quality of painting which, though
+it wants the subtlety and preciousness that Gainsborough reached
+instinctively and Sir Joshua by effort, is a quality to which nobody
+but a master can attain. To be convinced of this we have only to look
+closely at the brush-work of the eyes in any of the National Gallery
+Romneys, or the draperies in such pictures as the _Lady Warwick and
+Children_ or the _Lady Derby_.
+
+“When all is said, Romney remains one of the greatest painters of the
+Eighteenth Century and one of the glories of the English name.”
+
+We are apt to think that it was easier to conquer a reputation in the
+Eighteenth Century than it is to-day and that Sir Joshua Reynolds,
+Gainsborough, Romney, Hoppner, and Raeburn stepped easily into their
+commanding positions. Let us remember that Horace Walpole mentions the
+fact that there were two thousand portrait-painters in London in his
+time!
+
+The story of English Painting previous to the Eighteenth Century is
+interesting and very different from that of any nation on the Continent.
+
+The Wars of the Roses, which lasted thirty years (1455–1485), coincide
+with the great developments of Painting in Italy and Flanders. During
+this period, while York and Lancaster were, like the Lion and the
+Unicorn, fighting for the Crown, no attention could be paid to the
+painting of pictures. Up to this period England had had a notable
+past in portraiture, fresco-painting, and, even more particularly,
+in the art of illumination and miniature-painting. In the decoration
+of manuscripts from about 1250 to 1350 the Anglo-Norman painters
+stood first in this branch of art. The old monastic artists had great
+traditions to follow and superb models to draw upon, such as the
+_Book of Kells_ (dating from the Eighth or Ninth Century); and
+the Winchester School of the Tenth Century stood very high before the
+advent of the Normans in 1066.
+
+Our own country to-day can show many examples of this splendid work in
+private collections. After William Caxton set up his printing-press at
+Westminster in 1471, there was little more need for the laboriously
+written manuscripts with their exquisite miniature-painting and
+illumination.
+
+Oliver Cromwell’s Roundhead bandits and other Puritans with their
+wholesale demolishing and slashing of all art and everything beautiful
+together with the Great Fire of London in 1666 destroyed all the
+paintings that could have told us just what had been accomplished in
+England at the time when Fra Angelico, Fra Lippo Lippi, and Botticelli
+were creating masterpieces in Italy and when Roger van der Weyden
+and Memling were painting gloriously in the great realm of the Dukes
+of Burgundy. Such works as the _Romaunt de la Rose_ and other
+Anglo-Norman manuscripts give us a hint of what Painting in England
+must have been; for, of course, English, or Anglo-Norman Painting, in
+Plantagenet days must have been--as in other countries--an enlarged
+version of the brightly colored miniatures touched up with gold-leaf in
+the manuscripts.
+
+Henry VIII seems to have been the first English King who was a
+patron of art in the modern sense. But there was no English artist
+of power to be patronized. The German Hans Holbein (see page 240)
+was made Court-Painter. Holbein painted all the great personages
+in Tudor England and his influence lasted long after his death.
+Miniature-portraits were also popular. The greatest artist in this line
+was Nicholas Hilliard (1547–1619), a native of Exeter, trained as a
+goldsmith, a follower of Holbein, and appointed goldsmith, carver, and
+portrait-painter to Queen Elizabeth (whose portrait he painted many
+times). Later he was portrait-painter to James I. It was Hilliard, too,
+who engraved the Great Seal of England in 1587. Hilliard’s pupil, Isaac
+Oliver (1556–1617?), also a pupil of Federigo Zuccaro, was unsurpassed
+as a miniature-painter and taught his son Peter (1601–1660), who
+was famous for his drawings and water-colors as well as for his
+miniatures. Samuel Cooper (1609–1672), achieved a great reputation as
+a miniaturist portrait-painter and painted Charles II, Henrietta Maria,
+all the celebrities of the Court, and also John Milton and Oliver
+Cromwell. Collectors appreciate his works to-day.
+
+Holbein left no School and there was no one to succeed him.
+Consequently when Antonio Moro (see page 257), came to England from
+Spain in 1553 to paint Mary Tudor, he stayed in London for some time
+painting celebrities.
+
+In Queen Elizabeth’s time another foreign portrait-painter, Federigo
+Zuccaro (or Zucchero) arrived from Italy with a great reputation,
+having worked for Pope Gregory XIII and the Cardinal of Lorraine, and
+also in Antwerp and Amsterdam. Zuccaro painted Queen Elizabeth, Sir
+Francis Walsingham, Sir Walter Raleigh, the Earl of Leicester, and many
+other English notables.
+
+Another foreigner, Daniel Mytens (1590?–1656), arrived in the reign
+of James I, became his Court-Painter and continued in the post in
+the reign of Charles I, until Van Dyck’s popularity sent him back to
+Holland. Mytens painted in the style of Rubens and Van Dyck. Hampton
+Court Palace contains many full length portraits by him. A portrait
+by Mytens of Jeffrey Hudson (see page 191), holding a dog by a leash,
+hangs in Buckingham Palace.
+
+However, in the reign of Charles I, Anthony Van Dyck (see page 181)
+dominated Painting just as Holbein had in the reign of Henry VIII. For
+years after his death every painter tried to follow Van Dyck’s style;
+but they all missed his distinction, not having his genius to start
+with.
+
+Civil war and Puritanism killed art completely. Consequently
+when “Charlie came over the water” and the “King Enjoyed his Own
+Again,” there was nobody in the kingdom able to paint an acceptable
+portrait. Again a foreigner met the need. This time it was Peter Lely
+(1618–1680), who was a Dutchman, born in Westphalia, Germany, the son
+of Pieter van der Faes, a captain of infantry, who had changed his name
+to Lely. In 1640 young Lely was in England, painting landscapes and
+trying to imitate Van Dyck in portraiture. The marriage of Princess
+Mary to William, Prince of Orange gave Lely his first opportunity and
+he painted the Royal couple with Charles II, who made him a knight and
+baronet in 1679. Sir Peter only enjoyed his honors a year, for he died
+in 1680. Sir Peter Lely painted a great number of portraits, including
+the “Court Beauties,” which now hang in Hampton Court Palace.
+
+The Court-Painter of Queen Mary II and Queen Anne was another
+foreigner, Godfrey Kneller (1646–1723), a native of Lübeck, a pupil of
+Ferdinand Bol, Carlo Maratti, and Bernini, with painting experiences in
+Rome and Venice. Kneller painted portraits of Charles II, Louis XIV,
+James II, William III, Queen Mary, Queen Anne, and George I. For Queen
+Mary II he painted the “Beauties” at Hampton Court, in a certain sense
+a continuation of Sir Peter Lely’s “Beauties.” Kneller was knighted in
+1692 and made a baronet in 1715.
+
+Sir Godfrey painted the members of the Kit-Cat Club and every person of
+distinction in England. In 1705 he settled near Twickenham. Pope wrote
+an epitaph for Kneller’s monument in Westminster Abbey.
+
+William Hogarth (1697–1764) who now enters the lists, is the first
+really English painter. Hogarth was a native of London and an engraver
+as well as a painter. Hogarth became Sergeant-Painter to the King
+in 1757. He first attracted attention by his prints for Butler’s
+_Hudibras_ in 1726 and at this time began to paint in oils. In 1731 he
+painted _The Harlot’s Progress_ and followed this with _Southwark Fair_
+and _The Rake’s Progress_ which gave him great fame as a satirist. In
+1745 he painted his own _Portrait_ and the _Marriage à la Mode_ (six
+scenes). The vigor and personality of his portraits, the beautiful
+coloring of his palette, and the atmosphere of the Eighteenth Century
+make Hogarth one of the great names in art. England was a long time
+producing an artist; but when he came he was a very great one.
+
+Hogarth was so pre-eminently a chronicler of the fashions and follies
+of his time that we are apt to forget his beautiful use of color, and
+Hogarth’s technique is so solid and so sure that his colors are as
+fresh to-day as when they were painted.
+
+Hogarth did not believe in his powers of portraiture; but the world
+does not agree with him. The portrait of _Lavinia Fenton as Polly
+Peachum in the Beggar’s Opera_, (National Gallery, London) ranks
+as one of the great portraits of the world. And there are others:
+_David Garrick and his Wife_ in Windsor Castle; his own _Portrait_
+(National Gallery, London); _Archbishop Herring_ (Lambeth Palace); _Peg
+Woffington_; and many others.
+
+Hogarth’s book _The Analysis of Beauty_ had the following origin. In
+his own portrait painted in 1745 he drew on a palette in one corner
+of the picture a serpentine line with the words: “The line of beauty
+and grace.” So much discussion ensued that Hogarth wrote the book to
+explain what he meant and to establish a standard of beauty.
+
+The Eighteenth Century saw the great period of English Painting
+expressed in Sir Joshua Reynolds (1723–1792); Thomas Gainsborough
+(1727–1788); and George Romney (1734–1802). Others of importance
+were Richard Wilson (1714–1782), famous for his landscapes in many
+of which ruins were introduced; Francis Cotes (1725–1770), famous
+portrait-painter; and, lapping over into the Nineteenth Century,
+Sir William Beechey (1753–1839), who became portrait-painter to the
+Queen; John Hoppner (1758?–1810), portrait-painter (see page 416);
+John Opie (1761–1807), historical portrait-painter; Sir Thomas
+Lawrence (1769–1830); Sir Henry Raeburn (1756–1823); Joseph Mallord
+William Turner (1775–1851); John Constable (1776–1837); John Wilkie
+(1785–1841); and John Crome, known as “Old Crome” (1793–1842).
+
+
+                           LADY BETTY DELMÉ.
+
+    _Sir Joshua Reynolds
+    (1723–1792)._
+
+    _Collection of
+    Mr. and Mrs. Herbert L. Satterlee._
+
+This, one of Sir Joshua’s finest group pictures (93 × 57 inches), was
+painted in 1777, a year in which the artist made many notable portraits
+including that of Diana, Viscountess Crosbie (see page 345). Lady Betty
+Delmé is seated at the base of an old beech-tree on her estate between
+London and Portsmouth, her arm around her children. The little Scotch
+terrier seems much interested in his master. The whole is a wonderful
+study in amber and russet tones. The picture came to Mrs. Satterlee
+from her father, the late Mr. J. P. Morgan.
+
+Joshua Reynolds was born in Plympton Earl Plymouth, July 16, 1723, the
+son of the Rev. Samuel Reynolds, headmaster of the grammar school.
+Early showing great talent for drawing, young Joshua was apprenticed
+in 1740 to Thomas Hudson, the portrait-painter, in London. Three years
+later he returned home and established himself as a portrait-painter
+at Plymouth Dock, where he met William Gandy, a painter, who had no
+little influence upon his style. In 1744 Reynolds was back in London
+and in 1749 back in Devonshire, this time settling in Devonport. In
+this year he met at Mount Edgcumbe young Commodore Keppel (afterwards
+Admiral), whose portrait he painted and with whom he formed a great
+friendship. Accepting Keppel’s invitation to sail with him on the
+_Centurion_ for a Mediterranean trip, Reynolds eventually reached
+Rome, where he spent two years. While studying in the Vatican he caught
+a severe cold which resulted in a life-long deafness. Returning home in
+1753, Reynolds took rooms in St. Martin’s Lane, then the headquarters
+of art, and people began to flock to his studio. He then removed to
+Newport Street and in 1760 established himself in Leicester Fields (now
+Leicester Square), which for thirty years was the _rendez-vous_
+for the artistic, literary, and distinguished world of London.
+In 1768 Reynolds was unanimously elected first President of the
+just-established Royal Academy and in 1769 was knighted by George III.
+In 1784 Sir Joshua succeeded Allan Ramsay as Painter-in-Ordinary to the
+King. In 1789 his eyesight began to fail and he soon had to relinquish
+his art. Sir Joshua died in 1792 and was buried in St. Paul’s Cathedral
+with great pomp. In addition to his enormous list of paintings Sir
+Joshua designed the windows for New College, Oxford, and Oxford gave
+him the degree of D. C. L. Sir Joshua’s famous _Discourses on Art_
+were delivered between 1769 and 1790 at the Academy “to encourage a
+solid and vigorous course of study.”
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Herbert L. Satterlee_
+
+  LADY BETTY DELMÉ
+
+    --_Sir Joshua Reynolds_]
+
+When we think of the thousands of pictures that Sir Joshua painted--all
+of them _fine_ and many of them _great_--we stand amazed at the
+capacity of the artist who produced them. They were all creations!
+The five portraits of little Isabella Gordon known as _Angels’
+Heads_ (National Gallery, London), which in lightness, delicacy, and
+iridescence have been compared to the petals of a flower and the
+melting softness of the rainbow; _Mrs. Siddons as the Tragic Muse_;
+the _Strawberry Girl_; the _Age of Innocence_; _Nelly O’Brien_; _Kitty
+Fisher_; _Penelope Boothby_; _Mrs. Abington_; _Lord Ligonier_; _The
+Graces Decorating a Terminal figure of Hymen_; _Diana, Lady Crosbie_;
+_Mrs. Hardinge_; _Lady Cockburn and her Children_;--all belong to the
+first rank of original and artistic achievement.
+
+“Reynolds,” Sir Walter Armstrong writes, “arrived at results scarcely
+to be distinguished from those of genius, and did so entirely by the
+action of an original mind and a profound taste upon accumulated
+materials. His path towards excellence was conscious, discriminative,
+judicial. Every step he took was the result of a deliberate choice.
+He felt no heats driving him into particular expression in his own
+despite. Just as by fairness of mind he produced the effect of sympathy
+among his friends, so by unerring judgment he produces the effect of
+creation on us who value his art. He appears to me the supreme, if
+not the only, modern instance of a painter reaching greatness along
+a path, every step of which was trodden deliberately, with a full
+consciousness of why it was taken and whither it was leading, and with
+the power unimpaired to turn back or to change the goal at any moment.
+Superficially the art of Sir Joshua resembled that of Raphael as little
+as it well could; mentally the processes of the two men were curiously
+alike. Both possessed taste to such a degree that it became genius;
+and both were endowed, for the service of their taste, with a mental
+industry which is rare.”
+
+It is unfortunate that Sir Joshua experimented so deeply with his
+pigments and glazes so that we can see none of his pictures in their
+pristine beauty and brilliance. That he was a rare colorist we would
+know from _Mrs. Siddons as the Tragic Muse_ and the _Angels’
+Heads_--the former rich and gorgeous and the latter iridescent and
+delicate--showing the two extremes.
+
+Here is Sir Joshua’s palette given in the _Farington Diary_ under
+date of August 14, 1806:
+
+“Marchi (Sir Joshua Reynolds’s assistant) I called on before dinner to
+desire him to call upon J. Taylor to give his opinion of a picture
+said to be a portrait of Garrick by Sir J. Reynolds. I desired Marchi
+to state to me what colors Sir Joshua Reynolds had placed upon his
+palette and the order in which they were laid. He named them as
+follows. He used a handle palette as it is called: White; Naples
+Yellow; Yellow oker; Vermillion; light red; lake; black. Asphaltum he
+used occasionally, but that he had it in a galley-pot. His vehicles
+were: Mastick varnish and drying oil made into Macgilp in a pot. Nut
+oil which he used with his white in a pot. Mastick varnish _only_,
+which he sometimes used alone; and Marchi observed that it caused his
+colors to crack and fly off. Wax (white virgin wax) he had in a tin pot
+which he melted at the fire when he proposed to use it. This vehicle
+Marchi observed caused his colors to scale off from the canvas in
+flakes.”
+
+To mention the sitters who came to Leicester Fields and the company
+that gathered there every evening when Sir Joshua was not dining out
+would be to list the entire society of London in the Eighteenth Century.
+
+“In these days we are apt to forget that to many of Sir Joshua’s
+contemporaries, with the stricter notions of social precedency in vogue
+a century ago,” Sir Walter Armstrong notes, “the painter’s station in
+London society must have seemed almost an outrage, especially as it had
+been won without any kind of pretence or undue submission to those who
+were then called the great. Fond as he was of the best that Society
+could give, he lived his life in his own way, invited whom he chose
+to his table, leaving his guests to shake down among themselves as
+best they could, and, so far as we can discover, paying little heed to
+prejudices on the matter of birth, and still less to those which had to
+do with politics or conventional morality.”
+
+Lord Ronald Sutherland Gower has made this very interesting comparison
+of Romney and Reynolds:
+
+“The mighty events which were in progress around him--the war with
+the American Colonies, and the supervening naval war with France and
+Spain--ran their course without personally affecting him, whereas
+Reynolds was in constant touch with the men who were most vigorously
+opposing Lord North’s policy, with Burke and Charles Fox; and it
+was his own intimate friend of nearly thirty years standing, Admiral
+Keppel, whose trial in this very year 1778, formed the central
+battle-ground between the Court and the popular party. In all these
+things Reynolds was intimately concerned, as he was in the lighter
+events of social life, with his constant dinner-parties at Leicester
+Fields, his still more constant attendance at the tables of the great
+and the assemblies of Mrs. Montagu and Mrs. Ord, his outings to
+Streatham, and his mild flirtation with ‘Little Burney.’ But Romney
+lived remote, as remote in his shyness and isolation as Gainsborough
+lived in his fondness for a Bohemian world--the world of artists that
+painted and played and left war to the soldiers and politics to the
+politician. It is true that a couple of years afterwards politics
+were brought pretty closely home to both of them, as they were,
+_nolentibus volentibus_, to all the householders in London. The
+Keppel riots in 1778, celebrating the acquittal of the popular Admiral,
+were festive and pleasant enough; noblemen and gentlemen went out
+with the crowd; young Pitt, it is said, helped to break Lord North’s
+windows; and young Rogers, the banker-poet, to unhinge the gates of the
+Admiralty. This was very well and very pleasant; but two years later
+the mob improved upon their lesson, and in the Lord George Gordon Riots
+London was ablaze.”
+
+
+                         THE STRAWBERRY GIRL.
+
+    _Sir Joshua Reynolds
+    (1723–1792)._
+
+    _Collection of
+    Mrs. Francis F. Prentiss._
+
+James Northcote in his _Life of Sir Joshua Reynolds_ notes: “The
+picture of a little _Strawberry Girl_ was painted about this time
+(1775?) and he considered it one of his best works, observing that no
+man ever could produce more than about half a dozen really original
+works in his life; “and this picture,” he added, “is one of mine.”
+
+This little girl is about three years old and is shown at three-quarter
+length with a handkerchief folded around her head after the fashion
+of a turban, the curls escaping from her forehead. She wears a
+lightcolored dress with a pinafore caught over her arm. At her neck
+is a ribbon bow. Her hands are demurely folded at the waist and over
+her right arm hangs a cone-shaped strawberry “pottle.” The background
+is composed of large rocks and trees at the right.
+
+  [Illustration:
+
+   _Collection of Mrs. Francis F. Prentiss_
+
+  THE STRAWBERRY GIRL
+
+    --_Sir Joshua Reynolds_]
+
+The picture is painted in oils on canvas (29 × 24 inches) and is a
+replica of the original in the Wallace Collection, London.
+
+Leslie and Taylor voiced so well the impression that every one has when
+looking at this fascinating work that what they said bears quoting:
+
+“_The Strawberry Girl_ with her pottle on her arm, creeping
+timidly along and glancing round her with large, black eyes, might be
+Little Red Riding Hood hearing the first rustle of the wolf in the
+wayside bushes, could we substitute a red hood for the odd turban-like
+head-dress with which the painter has crowned his little maiden, and
+which even Sir Joshua’s taste can barely make becoming, and hang on her
+arm the basket of butter and eggs for her sick grandmother instead of
+the strawberry pottle which gives her a name.”
+
+The model for _The Strawberry Girl_ was Miss Theophila Palmer, Sir
+Joshua’s favorite niece, who lived with him and looked after him until
+her marriage. Her name Theophila was divided into two pet names. “The”
+and “Offie,” upon which Sir Joshua once wrote a playful-verse:
+
+    When I’m drinking my tea, I am thinking of The,
+    When I’m drinking my coffee, I’m thinking of Offie,
+    So, whether I’m drinking my tea or my coffee,
+    I always am thinking of thee, my The-Offie.
+
+In the _Farington Diary_ (Vol. IV), by Joseph Farington (London, 1924),
+we also learn that Miss Theophila Palmer was the “My dear Offy” of
+Sir Joshua’s letter, dated Jan. 30, 1781, in which he wished that she
+and Mr. Robert Lovell Gwatkin of Kellrow, Truro, Cornwall, her future
+husband, “may be as happy as both deserve--and you will be the happiest
+couple in England. So God Bless you!”
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  DIANA, VISCOUNTESS CROSBIE
+
+    --_Sir Joshua Reynolds_]
+
+Fanny Burney, in a description of a reception at Sir Joshua Reynolds’s
+house in Leicester Square, refers to young Gwatkin, the Cornish Squire,
+“making sheep’s eyes at Offy, whose uncle, Sir Joshua was very fond
+of her.” “I never was,” he wrote to Offy, “a great friend to the
+efficacy of precept, nor a great professor of love and affection, and,
+therefore, I have never told you how much I loved you for fear you
+should grow saucy upon it.”
+
+The well-known picture of _Simplicity_ is of Theophila Gwatkin,
+daughter of Mr. and Mrs. Robert L. Gwatkin and this little girl was
+also known affectionately as The.
+
+
+                      DIANA, VISCOUNTESS CROSBIE.
+
+    _Sir Joshua Reynolds
+    (1723–1792)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+Sir Joshua Reynolds pronounced the _Strawberry Girl_ one of his most
+original creations. The portrait of _Diana Lady Crosbie_ certainly
+ranks as another. All critics are united in considering it one of the
+finest productions of the master’s brush. Who but Sir Joshua would ever
+have thought of such a pose?
+
+The Honorable Miss Diana Sackville, daughter of Lord George Sackville,
+aged twenty-one, was engaged to be married to Viscount Crosbie (son and
+heir of the first Earl of Glandore) and was visiting his seat, Ardfert
+Abbey, Kerry, Ireland. Lord Crosbie sent for Sir Joshua Reynolds to
+come and paint the portrait of Lady Diana; and the story goes that soon
+after arriving Sir Joshua caught sight of Lady Diana running across the
+lawn. He was so fascinated by her lightness and grace that he begged
+permission to paint her as he had first seen her.
+
+Consequently, we have Lady Diana surprised in the act, as it were, of
+tripping over the park, holding up her dress with her right hand and
+extending her left in graceful attitude. The dress is white silk, bound
+at the waist by a gold sash, and beneath the folds of the dress, so
+exquisitely painted, the tip of a small slipper is seen. The picture
+was painted in September, 1777, and two months later Lady Diana was
+married to Lord Crosbie. In 1781, when her husband succeeded to the
+title, Lady Crosbie became, of course, Countess of Glandore. She died
+in 1814. For painting this portrait Sir Joshua received £78.15.
+
+The picture, oils on canvas (93 × 58 inches), left the Crosbie home
+only within recent years to occupy a place of honor in Sir Charles
+Tennant’s drawing-room in London. From the Tennant Collection it went
+directly to California. The picture has been engraved several times
+and the best known engravings are by W. Dickinson (1779); James Scott
+(1863); and R. S. Clouston (1890); and “proofs before letters” of these
+plates bring very high prices in the auction-rooms.
+
+“Here is a miracle of vivacity,” says Spielmann, “so natural, so
+alive, that you almost forget that you are in front of a picture as
+you look at this lady who moves across the canvas with outstretched
+hand to greet you as you approach. Rarely have animation and movement
+been so completely realized on canvas. The design is finely sustained
+by the mellow, golden tone of the white dress and the telling note of
+the golden scarf, all seen against a convincing landscape that seems
+entirely novel in Reynolds’s open-air portraits.”
+
+
+                   MRS. SIDDONS AS THE TRAGIC MUSE.
+
+    _Sir Joshua Reynolds
+    (1723–1792)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+This gorgeous portrait, oils on canvas (93 × 56 inches), was painted
+in 1785, when the famous actress was twenty-eight, in the full bloom
+of her beauty and fruition of her talents; and it is rightly described
+by Mrs. Jameson as “the apotheosis of her genius and beauty.” It is
+painted in the “grand style” with rich coloring of amber and purple,
+the _Tragic Muse_ seated on a throne among the clouds with her
+head lifted as if listening to some inspiring voices and her hand
+raised as if to command silence. A coronet of pearls adorns her hair,
+and heavy ropes of pearls are wound around her neck and are knotted
+loosely in front. Over her lap is thrown a drapery, on the hem of which
+Sir Joshua painted his name.
+
+The poetic and dramatic conception of the picture show how much Sir
+Joshua admired Michelangelo’s _Prophets_ and _Sibyls_ in the Sistine
+Chapel.
+
+In this magnificent work Sir Joshua certainly realized his theories
+regarding the “grand style” as expressed in his _Fourth Discourse_
+to his pupils: “To give a general air of grandeur at first view all
+trifling or artificial play of little lights, or an attention to a
+variety of tints, is to be avoided; a quietness and simplicity must
+reign over the whole work; to which a breadth of uniform and simple
+color will very much contribute.”
+
+In the theatrical annals of England the Kemble family rank with the
+later Trees and Terrys; and Mrs. Siddons was a Kemble. Sarah Siddons,
+the eldest daughter of Roger Kemble, actor and theatrical manager,
+was born in 1755 in Brecon, Wales, where her father was managing a
+troupe of players. She was the sister of Charles Kemble, the famous
+comedian and manager of the Covent Garden Theatre, and aunt of Fanny
+Kemble, the noted actress. At an early age, Sarah played small parts
+in her father’s company and when she was eighteen was married to a
+young actor named Siddons, also in the Kemble company. Soon afterward
+Mr. and Mrs. Siddons appeared in _The Clandestine Marriage_ in
+the provinces. Sarah Siddons soon attracted Garrick’s attention and
+he gave her an engagement at Drury Lane; but she was not a success.
+She then went to Bath, where she became a favorite and established her
+reputation. In 1783 she reappeared at Drury Lane and this time she took
+London by storm. Then she went to Dublin, where more triumphs added
+to her confidence as well as to her fame; and, when she returned to
+London, it was to Covent Garden, where her brother, John Philip Kemble,
+was manager. Mrs. Siddons shone especially in tragedy and achieved,
+perhaps, her greatest success as Lady Macbeth. When Byron saw her in
+this _rôle_ he wrote: “It was something transcending nature; one
+would say that a being of a superior order had descended from a high
+sphere to inspire fear and admiration at the same time.”
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  MRS. SIDDONS AS THE TRAGIC MUSE
+
+    --_Sir Joshua Reynolds_]
+
+Mrs. Siddons’s great parts were Lady Macbeth, Portia, Constance,
+Isabella, Jane Shore, Almeira, Lady Ann, Calista, Belvedera, and Mrs.
+Beverly. In 1812 she retired from the stage with a large fortune and
+died in 1831. Thomas Campbell wrote her life in 1834.
+
+All the portrait-painters of the day had Mrs. Siddons sit to them. The
+most famous pictures, however, were Reynolds’s _Tragic Muse_;
+Gainsborough’s beautiful one in an afternoon costume of light blue,
+striped silk, black hat, yellow scarf and muff, in the National
+Gallery, London; and two by Lawrence, also in the National Gallery,
+London.
+
+“It was probably after his return from his tour of the Low Countries
+that Mrs. Siddons, now in the very flush of her popularity, sat to
+him. She had not yet acted in Shakespeare, unless her first appearance
+as Isabella (_Measure for Measure_) and as Constance (_King John_)
+with her brother, John Kemble (for whom her success had procured a
+leading engagement at Drury Lane), preceded her first sittings, which
+is possible, though not probable. Her fame has been won in such parts
+as Isabella (in _The Mourning Bride_), Euphrasia (in _The Grecian
+Daughter_), Jane Shore, Calista, Belvedera, Zara, and Mrs. Beverly. The
+Royal Family, little as they loved tragedy, had already distinguished
+her by every mark of favor. Her house was besieged by the noble and
+fashionable. The managers of Drury Lane had gladly supplemented her
+modest salary of ten pounds a week by a double benefit; and in June
+she had left London--after a series of successes which almost eclipsed
+the still recent fame of Garrick--for Ireland and a short round of
+provincial performances. Mr. Russell, author of the _History of Modern
+Europe_, had sung her praises under the title of The Tragic Muse,
+before she left London. His verses are forgotten, but they may have
+suggested to Reynolds the subject of his picture. It could not have
+been prompted, as Boaden imagines, by an allusion in the epilogue to
+_Tancred and Sigismunda_, as her first appearance in that tragedy was
+on the 24th of April, 1784, when the picture was already in its place
+on the walls of the Exhibition-Room. The conception of this noble work
+was no doubt suggested by Michelangelo’s _Isaiah_. Mrs. Siddons told
+Mr. Phillips that it was the production of pure accident. Sir Joshua
+had begun the head and figure in a different view; but while he was
+occupied in the preparation of some color she changed her position
+to look at a picture hanging on the wall of the room. When he again
+looked at her and saw the action she had assumed, he requested her not
+to move; and thus arose the beautiful and expressive figure we now see
+in the picture.”[24]
+
+Yet there is still another story, which is told by Mrs. Jameson. Mrs.
+Siddons used to describe Sir Joshua as taking her by the hand and
+leading her up to his platform with the words: “Ascend your undisputed
+throne; bestow on me some idea of the Tragic Muse.” On which, Mrs.
+Siddons said: “I walked up the steps and instantly seated myself in
+the attitude in which the Tragic Muse now appears.” It is most likely
+that both stories are true. Sir Joshua’s leading the Queen of the
+London Stage to her throne on his painting-platform with his courtly
+compliment was thoroughly in character and that he also encouraged The
+Tragic Muse to act her part and create expression as well as take a
+dramatic pose, is also most in keeping with the exciting moment. Sir
+Joshua undoubtedly foresaw that he had the opportunity of producing his
+greatest masterpiece.
+
+Mrs. Siddons also related that when Sir Joshua was putting the last
+touches to the work he said: “I cannot resist the opportunity for going
+down to posterity on the edge of your garment,” upon which he painted
+his name and the date 1784 on the hem of the robe.
+
+However, Sir Joshua had already done this ten years before in the
+portrait of _Lady Cockburn and her Children_, in the National Gallery,
+London, where the name and date make a decorative finish to Lady
+Cockburn’s amber-colored robe trimmed with white fur thrown across her
+lap and that famous picture was begun in 1773 and finished in 1775.
+
+_The Tragic Muse_ was greatly admired when it first appeared. _The
+Public Advertiser_, April 28, 1784, said:
+
+“It is impossible to be too lavish in its praise; it is, indeed, a most
+sublime and masterly performance and undoubtedly one of the very best
+that ever was produced by Sir Joshua. He seems to have conceived and
+executed it with enthusiasm. Mrs. Siddons is drawn in the character
+of _The Tragic Muse_, the composition is in a grand style, the figure
+possesses great dignity, and that fine expression of countenance for
+which the original is preëminent and almost unrivalled. Sir Joshua has
+been said to paint the _mind_; and perhaps there never _was_ a more
+striking instance of it than in this performance. The accompanying
+genii ready to administer the dagger or the bowl have also great
+expression, and in the effect of the _tout ensemble_ there is a
+grandeur and a solemnity suited to the subject and highly worthy of
+universal admiration.”
+
+It is illuminating, too, to dip into the _Farington Diary_ (London,
+1925), and note in 1801:
+
+“Opie thinks the Mrs. Siddons by Sir Joshua the finest picture he
+knows. Opie thinks the picture of Mrs. Siddons much superior to any of
+the Titians which were brought by Day from Rome.
+
+“Bourgeois mentioned that Sir Joshua had said the principle to work
+upon is to fix a high light and a lowest depth to which all other
+lights and dark parts should be subordinate.”
+
+In 1808 we read:
+
+“Lawrence spoke with the highest admiration of Sir Joshua Reynolds’s
+portrait of _Lord Heathfield_ now at the European Museum, having
+been sent there by Boydell to be sold for 350 guineas. He said this
+picture and the portrait of _Mrs. Siddons_ by Sir Joshua are the top
+of his Art.” And again in the same year: “We looked at the picture of
+_Mrs. Siddons_ by Sir Joshua Reynolds. Lawrence said, it was his best
+picture. I said, it was a high refinement of Rembrandt. Mr. Smith[25]
+said he gave £320 for it, which was not half what Calonne paid. It cost
+the latter £800.”
+
+On the authority of Lord Ronald Sutherland Gower in _Sir Joshua
+Reynolds_ (London, 1902), we learn:
+
+“There is another version of _The Tragic Muse_ in the Dulwich Gallery.
+This was sold by Reynolds to M. Desenfans for seven hundred guineas
+in 1790 and the date on the hem of her garment is 1789, from which it
+appears that he completed this five years after the Grosvenor House
+picture. Both of these may be regarded as the authentic work of the
+master. There is a replica also of _The Tragic Muse_ at Langley Park,
+near Stowe, which is said to have been given by Reynolds to Mr. Harvey
+in exchange for a painting by Snyders of a _Boar Hunt_; and another was
+in the possession of Mrs. Combe in Edinburgh. I think there is no doubt
+that these replicas are by the hands of Reynolds’s assistants.”
+
+Mrs. Siddons in the Dulwich Gallery (canvas 93 × 57 inches) described
+as follows:
+
+“She sits on a throne in front view and looks up towards the right; the
+right arm and the left elbow rest on the throne; with the hand raised
+as if listening to some inspiring voice; a coronet on the back of her
+hair; wearing an amber brown dress, with rows of pearls round her neck;
+across her lap is a robe, on the hem of which Sir Joshua has inscribed
+his name. Paid for, February 1790, Mrs. Siddons, sold to Mr. Desenfans
+£735.”
+
+The picture was purchased from Sir Joshua in 1790 by Noel Desenfans
+and by him bequeathed to Sir Francis Bourgeois, R. A., by whom it was
+left to Dulwich College. It hangs in the picture gallery there. It is
+interesting to note that the date on the hem of the robe is 1789--five
+years after the Duke of Westminster’s picture! Some critics think that
+Sir Joshua also painted this replica himself.
+
+Leslie and Taylor mention in their _Life of Reynolds_ that they failed
+to find any note relative to Score’s making a copy of _The Tragic
+Muse_; but they draw attention, on the contrary, to the following
+extract from Northcote’s _Life of Reynolds_:
+
+“The picture of a little _Strawberry Girl_ with a kind of turban on
+her head was painted about this time (1772) and he considered it one
+of his best works, observing that no man ever could produce more
+than about half a dozen really original works in his life; ‘and this
+picture,’ he added, ‘is one of them.’ The picture was exhibited (1773)
+and repeated several times; not so much for the sake of profit as for
+that of improvement, for _he always advised as a good mode of study,
+that a painter should have two pictures in hand of precisely the same
+subject and design and should work on them alternately; by which means,
+if chance produced a lucky hit, as it often does_, then instead of
+working on the same piece, and by that means destroy that beauty which
+chance had given, he should go to the other and improve upon that. Then
+return again to the first picture, which he might work upon without any
+fear of obliterating the excellence which chance had given it, having
+transposed it to the other. Thus his desire of excellence enabled him
+to combat with every sort of difficulty or labor.
+
+“The compilers’ theory, then, is: after the sketch of _Mrs. Siddons’s_
+portrait was laid in, he took up a fresh canvas, made a replica and
+worked on both alternately until ‘the lucky hit’ was produced and
+that appeared to Sir Joshua in the picture finished and exhibited in
+the Royal Academy, 1784. Notwithstanding the glowing eulogiums passed
+upon it, a purchaser was not found for it until 1788, when it was sold
+to M. de Calonne. Sir Joshua did not record the sale in his ledger,
+or note-book, and it only transpired when Skinner and Dyke sold at
+their rooms, Spring Gardens, 1795, the English pictures of the Calonne
+Collection and specified in the Catalogue that M. de Calonne paid Sir
+Joshua 800 guineas for the portrait of Mrs. Siddons in the character of
+the Tragic Muse.
+
+“At this time M. Desenfans was Consul-general in Great Britain for the
+Kingdom of Poland, a writer of marked ability, a recognized authority
+on art, an extensive picture-dealer, employed by the King of Poland
+to purchase high-class Old Masters to complete his Collection and who
+kept up an acquaintance with Sir Joshua, notwithstanding the trick he
+played of selling him, through Cribb, his frame-maker, the copy of a
+Claude, specially made by Marchi for the purpose as an original. The
+compiler’s surmise is, then, that he knew Sir Joshua had the unfinished
+replica on hand, and came to an understanding with him to complete it
+in its present form, ‘signed and dated 1789 on the edge of the robe.’
+This investigation leads to three inferences; first, that Sir Joshua
+would not condescend, for any consideration, to sign and date a copy
+of _The Tragic Muse_ made by Score; secondly, that an astute man
+of business, such as Desanfans was, would not give £735 for a copy;
+thirdly, that The Dulwich picture must now be regarded in the same
+light as the Westminster one--both from the hand of Reynolds; but which
+was first commenced cannot be ascertained.”
+
+
+                   GEORGIANA, DUCHESS OF DEVONSHIRE.
+
+    _Sir Joshua Reynolds
+    (1723–1792)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+It is interesting to compare this picture by Sir Joshua with
+Gainsborough’s _Duchess of Devonshire_ (see page 373), which is
+probably the earlier of the two. This picture, oils on canvas (94 ×
+57 inches), was exhibited at the Royal Academy in 1776 as No. 233.
+The Duchess had not long been married when this picture was painted,
+as her marriage took place in 1774. There is something in the pose
+that suggests the portrait of _Diana, Lady Crosbie_, which was painted
+later. The Duchess is represented full-length facing the left, in the
+act of descending a flight of stone steps, her right hand placed on the
+balustrade and her left holding her dress very gracefully. The dress
+is cream-colored cut low in the neck and fashioned with full sleeves.
+The skirt is gracefully cut and abounds in plaits and draperies. A
+gauzy scarf is wound around her right arm and floats below. The hair
+is dressed very fashionably with a long and round curl pinned tightly
+at the back of the neck and reaching the shoulder, and above the braid
+which forms a coronal the hair mounts higher and is ornamented by
+pearls and grey and red feathers. Vines are growing gracefully around
+the balustrade, beyond which and through the near-by trees we see an
+open vista of the park with a statue at the left. Presumably this is
+_Chatsworth_, the seat of the Duke of Devonshire.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  GEORGIANA, DUCHESS OF DEVONSHIRE
+
+    --_Sir Joshua Reynolds_]
+
+The picture was in the Collection of Earl Spencer, K. G., at Althorp,
+Nottinghamshire, before it was taken to California.
+
+
+                           THE COTTAGE DOOR.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+The little group is assembled in front of a thatched cottage, beside
+which a gnarled and withered tree rises scarred and seared by the
+storms of many years. Overhanging the roof a large tree droops its
+feathery Gainsborough foliage and, on the left, half of another
+feathery Gainsborough tree is waving in the summer breeze. By this
+tree, and farther back as well, a stream is seen falling in a little
+cascade beneath a rustic bridge. Luxuriant weeds grow in the foreground
+and by the side of the cottage, the door of which is open and beside
+which a peasant’s family is grouped. The mother, in yellowish brown
+skirt and white bodice, has a suggestion (save for the costume) of the
+beautiful ladies that sat to Gainsborough. In her arms is a baby. On
+her right, is a little boy, scantily dressed, who is eating something;
+in front of her are two children, one holding a bowl and the other
+dipping from it with a spoon; a fifth child, with one hand on his head
+and the finger of his left hand in his mouth, looks forward shyly;
+and the sixth is seated on the ground by his side. “Old pimply-nosed
+Rembrandt,” as Gainsborough called him, never lighted a scene more
+beautifully, nor more marvellously than this.
+
+The picture, oils on canvas (57 × 46 inches), is one of Gainsborough’s
+most mature works and dates from about 1776–1778.
+
+Bought by T. Harvey of Catton, Norfolk, in 1786, it passed to Mr.
+Coppin of Norwich in 1807. Then it became the property of Sir John
+Leicester, Bart., created Lord de Tabley in 1826; and at the Sale of
+the effects of the latter it was bought by Earl Grosvenor, created
+Marquess of Westminster in 1831. In 1921 _The Cottage Door_ was
+sold by the second Duke of Westminster to Mr. Henry E. Huntington.
+
+“There is no painter of English birth more widely appreciated than
+Gainsborough whose art touches every observer, great and simple,
+learned and unlearned. As we look at his pictures, said Constable,
+we find tears in our eyes and know not what brings them. A thread
+of romance runs through the whole of Gainsborough’s career, from
+his marriage to a beautiful and well-dowered bride, whose origin is
+shrouded in mystery, down to the pathetic termination of the long
+years of jealous rivalry with Reynolds. And romance and mystery are
+inseparably connected with his pictures--with the portraits of that
+_Duchess of Devonshire_, whom tradition has brought us to regard as
+typical of English beauty, with that masterpiece at Edinburgh, the
+portrait of _Mrs. Graham_, hidden from sight for fifty years on account
+of one of the tenderest of love stories; and with the famous _Blue
+Boy_, the secret of whose history still remains undiscovered.”[26]
+
+“Old pimply-nosed Rembrandt and myself were both born in a mill,”
+Gainsborough used to say, because his father, John Gainsborough, was
+a manufacturer of woollens in Sudbury. Thomas was born there in 1727.
+At twelve he was said to be a “confirmed painter.” His first portrait
+seems to have been a great success. Some one had been stealing pears
+from the Gainsborough orchard and one day, when young Thomas was
+sketching there he saw a man’s face peering over the fence. Instantly
+he made a quick sketch and took it into the house. By means of this
+sketch the culprit was identified. Gainsborough then enlarged the
+sketch, painted an oil portrait, mounted it on a board, and stuck “Tom
+Peartree” up to the delight of all the neighbors and confusion of
+strangers. This picture was lent to the Gainsborough Exhibition held at
+the Grosvenor Gallery in 1885 and is now in the Elizabethan Mansion in
+Christchurch Park, Ipswich.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  THE COTTAGE DOOR
+
+    --_Thomas Gainsborough_]
+
+In 1741 Gainsborough went to London and, after studying under Hubert
+Gravelot and Francis Hayman, took a studio in Hatton Garden and tried
+to start as a portrait and landscape-painter. A year of failure decided
+the young artist to return home. In a short time he married Margaret
+Burr (supposed to be a natural daughter of the Duke of Bedford) and
+removed to Ipswich. Here he painted chiefly landscapes. About 1760 he
+settled in Bath and immediately became the fashion. Fourteen years
+later Gainsborough removed to London, where his success continued and
+he became the rival of Reynolds. Gainsborough had already in 1768 been
+nominated by George III one of the thirty-six Academicians on the
+foundation of the Academy and he exhibited almost yearly at the Royal
+Academy from 1769 to 1788, when there was a misunderstanding about the
+hanging of his pictures. Gainsborough died in 1788, closing one of
+the most remarkable careers in art, for this great painter was almost
+entirely self-taught. Reynolds called attention to this remarkable fact
+in his _Fourteenth Discourse_, in which he cites Gainsborough as
+an example of an artist who has arrived “at great fame without the
+assistance of an academical education, or any of those preparatory
+studies which have so often been recommended.”
+
+Yet his genius was such that he attained the greatest eminence in his
+day and his place in art to-day is in the small circle of the very
+great ones.
+
+Ruskin did not exaggerate in the least when he wrote: “Gainsborough’s
+power of color is capable of taking rank beside that of Rubens; he is
+the purest colorist of the English School; with him, in fact, the art
+of painting did in great part die and exists not now in Europe. In
+management and quality of single and particular tint, in the purely
+technical part of painting, Turner is a child to Gainsborough. His
+hand is as light as the sweep of a cloud, as swift as the flash of a
+sunbeam. He never loses sight of his picture as a whole. In a word
+Gainsborough is an immortal painter.”
+
+Gainsborough painted about seven hundred portraits and two hundred
+landscapes. Strange as it may seem, he preferred to paint landscapes.
+At least he told George III this. And he told his friend Jackson
+in a letter “I’m sick of Portraits and wish very much to take my
+viol-da-gamba and walk off to some sweet village where I can paint
+landskips and enjoy the fag-end of life in quietness and ease.”
+
+This seems strange coming from one of the greatest of all
+portrait-painters.
+
+To read the list of Gainsborough’s portraits is to run through the
+Social Register of London and Bath. Gainsborough painted “everybody
+that was anybody.” The great personalities of the day wanted their
+portraits “limned” by both Reynolds and Gainsborough, often adding
+Romney and Hoppner as well. The fourteen years that he lived in Bath
+Gainsborough’s painting-room was almost as much of a _rendez-vous_
+as the Pump Room and his sitters ranged from the most aristocratic
+and wealthy, such as Earl Spencer, his wife, and little daughter, the
+future Duchess of Devonshire, to statesmen, like Pitt, and actors like
+Garrick and Quin. The latter sat three times to Gainsborough. The
+following little piece of amusing acting usually took place. Quin,
+suffering from gout, would hobble to the painting-room and tapping at
+the door would ask “Is Old Grumpus in?” Gainsborough would reply “Come
+in”; and, placing a chair for his friend and a stool to rest his foot
+upon, would put on a grave, doctorial look and, resting his chin on his
+maul-stick, would inquire in the Bath phrase: “Well, how is _toe_?”
+
+Quin evidently was a critic: “Sometimes, Tom Gainsborough,” he
+said, “a picture in your rigmarole style appears to my optics the
+veriest daub,--then, the devil’s in you, I think you a Van Dyck!” And
+Gainsborough would tell Quin that “nothing could equal the devilism of
+portrait-painting.”
+
+“Indeed, he told me,” Angelo relates, “at his house in Pall Mall,
+that he was sure the perplexities of rendering something like a human
+resemblance from human blocks was a trial of patience that would have
+tempted holy St. Anthony to cut his own throat with his palette-knife.”
+
+Gainsborough was devoted to music, played several instruments and was
+a great friend of the oboe-player in the Queen’s Band, John Christian
+Fischer, who married his daughter Margaret; of John Christian Bach,
+son of the great John Sebastian Bach; and of Bach’s associate, Charles
+Frederick Abel, the celebrated virtuoso on the viol-da-gamba, whose
+portrait Gainsborough painted with his instrument by his side, and
+which is now in the Huntington Gallery.
+
+Gainsborough’s portrait by Zoffany in the National Portrait Gallery,
+London, presents a handsome and rather dashing man of about thirty-five
+with classic features and large, fine eyes with penetrating glance and
+an intelligent, interior light. Had he not been a painter he might have
+easily become a _beau_, or a gallant officer of the Major André type,
+or of that impudent young dog, Jack Absolute, who captivated Miss Lydia
+Languish in _The Rivals_.
+
+It was the same in London as it had been in Bath. Gainsborough became
+the fashion. He barely had time to fill all the orders that came thick
+and fast and he enjoyed society and still more his cronies, and, to
+judge from numerous anecdotes, was not averse to wild companions; but
+for all that he was generous, sympathetic, outgoing, and much beloved
+by his friends.
+
+As an instance of his ready wit on one occasion, when he was in court
+regarding a picture the councillor tried to embarrass him. “I observe,”
+he said, “you lay great stress on a painter’s eye. What do you mean by
+that expression!” “A painter’s eye,” replied Gainsborough, without a
+moment’s hesitation, “is to him what a lawyer’s tongue is to you!”
+
+Gainsborough was sprightly, humorous, and lively in conversation and
+indeed, in society, to use the word of the period, something of a
+“rattle.”
+
+Whenever he appeared, either at a morning lounge at Christie’s amidst
+the enlightened and polite, or at My Lady’s midnight rout surrounded by
+bowing _beaux_ and curtseying belles, his gaiety enlivened every
+group. He knew everybody and everybody knew him; he was, however, most
+at home with the worthies of the auction-room. For some years Garrick
+was frequently his companion at Christie’s, where the amusement caused
+by the humor common to both never failed to give an additional zest to
+the proceedings. Mr. Christie often declared that “the presence of this
+choice pair added fifteen per cent to his commission on a sale.”
+
+And this was a “choice pair,”--Garrick and Gainsborough!
+
+“We know as little about Gainsborough’s tools and methods of painting
+as we do of his pigments, but if his daughter’s memory may be trusted,
+her father worked with paint so thin and liquid that his palette ran
+over unless he kept it on the level. It is generally agreed that he
+used very long brushes, and Nollekens Smith who saw him at work, says:
+‘I was much surprised to see him sometimes paint portraits with pencils
+on sticks full six feet in length and his method of using them was
+this: he placed himself and his canvas at a right angle to the sitter,
+so that he stood still and touched the features of his pictures exactly
+at the same distance at which he viewed the sitter.’ The anonymous
+biographer of the _Morning Chronicle_ who knew the painter excuses
+his supposed want of finish by saying that he worked with a very long
+and broad brush. Another contemporary, John Williams (Pasquin), in a
+biographical note declares that Gainsborough always prided himself
+upon using longer and broader tools than other men and upon standing
+farther away from his canvas when at work. That he always stood to
+paint we know from Thicknesse, but it is obvious that all his work
+could not have been done with broad tools of hog-hair. Probably he used
+camel-hair brushes sometimes, as did Gainsborough Dupont, who inherited
+his uncle’s implements and colors and in painting followed his manner
+exactly. Dupont left behind him, in addition to a great quantity of
+hogtools, ‘twelve bundles of camel’s hair pencils.’ Fulcher says that
+when Gainsborough’s sitters left him it was his custom to close the
+shutter, in which was a small circular aperture, the only access for
+light and by this subdued illumination work on his picture and get rid
+of superfluous detail. No authority is given for this statement, but
+there can be little doubt that Gainsborough loved to subdue the light
+in his painting-room. Williams says that it was sometimes subdued to
+such an extent that objects were barely visible.”[27]
+
+And Osias Humphrey, R. A., tells us a little more, drawing from his
+memories of Bath,... “Exact resemblances in his portraits was Mr.
+Gainsborough’s constant aim, to which he invariably adhered. These
+pictures, as well as his landscapes, were frequently wrought by
+candle-light and generally with great force and likeness. But his
+painting-room--even by day a kind of darkened twilight--had scarcely
+any light and I have seen him, whilst his subjects have been sitting to
+him when neither they nor the pictures were scarcely discernible.” We
+also learn that Gainsborough let in more light when the picture reached
+its finishing stages.
+
+
+                     THE MALL IN ST. JAMES’S PARK.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of the late
+    Mr. Henry Clay Frick._
+
+Horace Walpole characterized this delightful picture as airier than
+a Watteau and “all in motion and flutter like a lady’s fan.” It is
+one of Gainsborough’s latest works, painted in 1786, and one of his
+masterpieces, oils on canvas (57¾ × 47½ inches). The picture was among
+those in the painter’s studio at the time of his death. After a few
+changes of ownership, it passed into the Collection of George Frost,
+an artist and fellow-townsman of Gainsborough, and then to Sir Audley
+Dallas Neeld, Bart., Grittleton House, near Chippenham, Wiltshire.
+
+_The Mall_ is a perfect epitome of London society in the Eighteenth
+Century--the London of Austin Dobson.
+
+“The Mall from the days of the Stuarts until the closing years of the
+Eighteenth Century was the field upon which fashion, and feminine
+fashion especially, chose to disport itself. Twice a day social London
+donned its best apparel and took a turn under the trees, once at
+midday and again, in summer, in its evening clothes after the early
+dinner. Here fashion met its friends, exchanged its repartees, made
+appointments for evening _rendez-vous_ at Ranelagh or Vauxhall,
+ate fruit or bought flowers from Betty’s girl out of St. James’s
+Street, or drank syllabubs from the red cow’s milk which was one of
+the attractions of the London parks. Nothing in the external aspect of
+London more struck the intelligent foreigner than the amenities of the
+promenade in the Mall. One of these gentlemen concluded an eloquent
+pæan on the beauty of the lady promenaders, by recording with rapture
+that of a morning the very ground glistened with the pins which they
+had dropped. The Mall, indeed, was the very shrine of flounce and
+furbelow until somewhere about 1795, when fashion unaccountably moved
+northward to the walk in the Green Park at the back of Arlington
+Street, and from there later to Hyde Park and Kensington Gardens.
+
+  [Illustration:
+
+   _Collection of the Mr. Henry Clay Frick_
+
+  THE MALL
+
+    --_Thomas Gainsborough_]
+
+“The very spirit of this life is preserved in Gainsborough’s picture,
+one of the few canvases in which he represents figures in motion;
+singular also among his work is that it contains a score or so of
+figures. There is a central group of four ladies with an attendant
+cavalier advancing towards the spectator, a pair on the right, two
+pairs on the left passing each other, others again seated on the
+right. The accidental episodic quality of such a subject is perfectly
+conveyed--the transient glance of a passing woman, the turn of the neck
+appropriate to that attitude, the ground dotted with an occasional dog.
+Technically it represents Gainsborough at his highest, where the solemn
+tones of his earlier manner have disappeared, and the very painting
+itself seems to echo his delight in the mastery of heightened, luminous
+color.”[28]
+
+
+                 MARIA WALPOLE, DUCHESS OF GLOUCESTER.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of
+    Mr. and Mrs. Charles P. Taft._
+
+The subject of this portrait was famous under three names: her maiden
+name of Maria Walpole; as Lady Waldegrave; and as the Duchess of
+Gloucester. She was very beautiful (no one could compete with her but
+the Gunning sisters); she was very witty and brilliant; and, moreover,
+she was noted for her rich qualities of heart and character. Her uncle,
+Horace Walpole, was devoted to her.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Charles P. Taft_
+
+  MARIA WALPOLE, DUCHESS OF GLOUCESTER
+
+    --_Thomas Gainsborough_]
+
+Maria Walpole began life under a cloud, but this was soon dispelled and
+the rest was all sunshine. The Hon. Edward Walpole, second son of Sir
+Robert, was her father and her mother was a milliner’s apprentice at
+Bath. Maria was baptized July 10, 1738, at St. James’s, Westminster,
+and was made legitimate by His Majesty’s warrant. Recognized as a
+Walpole, everything was done for her. The old _London Town and
+Country Magazine_ gives us this very good idea of her preparation
+for life: “Maria’s education was suited to the rank of life in which
+she has ever figured; and the advantages she derived from it were
+entirely noticed by every man of taste and discernment who was happy
+enough to be in her company.”
+
+Horace Walpole brought about her first marriage to the Right Honorable
+James, Second Earl of Waldegrave, K. G., in 1759; and he wrote to Sir
+Horace Mann:
+
+“I have married, that is, I am marrying my niece, Maria, my brother’s
+second daughter, to Lord Waldegrave. What say you? A month ago I
+was told he liked her--does he? I jumbled them together and he has
+already proposed. For character and credit he is the first match in
+England--for beauty I think she is. She has not a fault in her face and
+person and the detail is charming. A warm complexion tending to brown,
+fine eyes, brown hair, fine teeth, and infinite wit and variety.”
+
+In another letter Sir Horace wrote: “The second daughter of my brother
+is beauty itself. Her face, bloom, eyes, hair, teeth, and person all
+are perfect. You may imagine how charming she is when her only fault,
+if one must find one, is that her face is rather too round. She has a
+great deal of wit and vivacity with perfect modesty.”
+
+To George Montagu on May 16, he wrote:
+
+“Well! Maria was married yesterday. Don’t we manage well? The
+original day was not once put off; lawyers and milliners were all
+ready canonically. It was as sensible a wedding as ever was. There
+was neither form nor indecency, both which generally meet on such
+occasions. They were married at my brother’s in Pall Mall just before
+dinner by Mr. Keppel;[29] the company, my brother, his son, Mrs. Keppel
+and Charlotte,[30] Lady Elizabeth Keppel, Lady Betty Waldegrave and
+I. We dined there. The Earl and new Countess got into the post-chaise
+at eight o’clock and went to Navestock (Lord Waldegrave’s seat near
+Brentwood, Essex) alone, where they stay till Saturday night; on Sunday
+she is to be presented. Maria was in a white and silver nightgown[31]
+with a hat very much pulled over her face; what one could see of it
+was handsomer than ever; a cold maiden blush gave her the sweetest
+delicacy in the world.”
+
+Maria was a friend of the Countess of Coventry, who had attained fame
+as the beautiful Maria Gunning and used to walk with her in the Park
+and they must have been a very striking pair, for after the Countess
+of Coventry’s death, Lady Waldegrave was considered the handsomest
+woman in England. A month after Maria’s marriage Sir Horace noted in a
+letter: “My Lady Coventry and my niece Walpole have been mobbed in the
+park.”
+
+There were three daughters of this marriage--Laura, Maria, and
+Horatia--remembered to-day especially for the group portrait Sir Joshua
+Reynolds painted of them and which belonged to Sir Horace Walpole in
+1782.
+
+Lord Waldegrave died in 1763; and on Sept 6, 1766, Maria, now Dowager
+Countess of Waldegrave, was married privately to H. R. H. William
+Henry, Duke of Gloucester and Edinburgh, seven years her junior.
+The marriage was performed in her own house in Pall Mall by her own
+chaplain and she thus became the sister-in-law of George III. The
+secret was kept for some time and the King banished his brother from
+Court, but after two years the Duke was taken back into Royal favor and
+the Duchess bore her honors with such grace and dignity that she became
+very popular at Court.
+
+The portrait represented here, oils on canvas (35½ × 27½ inches), was
+painted about 1779, or before.
+
+“We hear,” the _Public Advertiser_ printed on May 4, 1772, “that the
+gentlemen upon the Committee for managing the Royal Academy have been
+guilty of a scandalous meanness to a capital artist by secreting a
+whole-length picture of an English Countess for fear their Majesties
+should see it; and this only upon a full conviction that it was the
+best finished picture sent in this year to the Exhibition.” Again in
+1775 a society reporter for the _Morning Chronicle_ gathered up this
+piece of gossip: “The Duke and Duchess of Gloucester are often going
+to a famous painter’s in Pall Mall; and it is reported that he is now
+doing both their pictures, which are intended to be presented to a
+great lady.”
+
+The picture is nearly three-quarter length and represents the Duchess
+in a gold-tinted dress with hair dressed high and powdered and wearing
+lovely pearls. Her head is posed upon her left hand and the arm rests
+upon a pedestal that is barely visible. There is good reason for
+thinking this portrait was originally full-length and that it has been
+cut down. It is interesting to compare this portrait of the _Duchess
+of Gloucester_ with _The Hon. Mrs. Graham_ in the National Gallery,
+Edinburgh, who is painted, full length, and is resting her arm,
+likewise, on a pedestal.
+
+“The introduction of a parapet, or indeed, of any kind of architectural
+setting in a portrait of kit-cat size is most unusual. The left arm
+resting on the parapet and the large scale on which the head is here
+painted, confirm our view that our canvas was originally, as Fulcher
+claims, a whole length. This canvas to-day is almost exactly kit-cat
+size. It may well have been cut down to meet the requirements of
+hanging. Half a century ago such a practice was not unknown, especially
+in the English Royal Collections. It will be remembered that the lower
+portions of the canvas of Gainsborough’s _Eldest Princesses_ was
+very inceremoniously cut away in the early part of the Nineteenth
+Century.
+
+“A kit-cat, strictly speaking, is a canvas for a portrait less than a
+half-length, but including the hands, and measuring 36 by 28 inches.
+It is so called from the portraits of the members of the Club at Barn
+Elms, who seem to have originally met in the pie-house kept in Shire
+Lane, London, by one Kit (i.e. Christopher) Cat. These portraits are
+now in the Baker Collection at Bayfordbury, near Hertford.”[32]
+
+In June 1904 _The London Times_ stated that “The Duke of
+Cambridge’s pictures, which are now hung on Christie’s walls, form
+the largest collection of portraits of the reigning house that has
+ever been offered for sale. All, in fact, represent George III and
+his family, with their husbands and wives. By far the finest is
+Gainsborough’s _Maria Walpole, Countess of Waldegrave and Duchess of
+Gloucester_, Horace Walpole’s beautiful niece.”
+
+These art-treasures, as well as Gloucester House, had been inherited
+by the Late Duke of Cambridge from his aunt, the second and last
+Duchess of Gloucester, who died in 1857.
+
+The sale of this picture created a sensation. Again referring to the
+_London Times_ (June 13, 1904), we read: “The honors of the day
+distinctly fell to Gainsborough, whose beautiful portrait of _Maria
+Walpole_ has established a record price for this artist’s pictures
+at auction. Bidding was started on Saturday at 5000 guineas and in
+rather more than half a dozen bids reached 12,000 guineas, at which
+it was knocked down to Messrs. Agnew & Sons. The price, therefore,
+quite eclipses the 10,000 guineas paid in 1876 for the famous stolen
+_Duchess of Devonshire_, which remained the record price for a
+Gainsborough until Saturday.”
+
+In the following November, the _Majestic_ brought the
+$60,000-Gainsborough to New York.
+
+This portrait, when exhibited at the Royal Academy in 1799, was
+described by Sir Horace Walpole as “very good and like.”
+
+Maria Walpole died in 1807, two years after the Duke of Gloucester,
+leaving one son and two daughters. Of her other portraits Lionel Cust
+in _The Royal Collection of Paintings_, Vol. I, 1905, says:
+
+“The beautiful Countess of Waldegrave was one of Sir Joshua Reynolds’s
+favorite sitters. She sat to him in 1759, after her marriage, for the
+full-length portrait in peeress’s robes, which belongs to the present
+Earl Waldegrave, and again in 1761 and 1762, for the well-known
+portrait in a turban and for the Madonna-like group with her child,
+which was bequeathed by Frances, Countess Waldegrave, to the Duc
+d’Aumale, and is now in the Condé Collection at Chantilly. She sat
+again to Reynolds in 1764, as a widow in mourning for her husband, and
+more than once again during her widowhood. She sat to him in October,
+1767, when really Duchess of Gloucester, for a portrait to be given to
+her father, Sir Edward Walpole.
+
+“After the marriage had been revealed to the world, the Duchess sat
+to Reynolds in 1771, for the full-length seated portrait now at
+Buckingham Palace. This was exhibited at the Royal Academy in 1774.
+This portrait descended to her daughter, H. R. H. Princess Sophia
+Matilda of Gloucester, who at her death in November, 1844, bequeathed
+the portrait to H. R. H. Prince Albert, the late Prince Consort.
+
+“The Duchess of Gloucester sat for the last time to Reynolds in 1779,
+for a group of herself and her daughter, Princess Sophia Matilda.”
+
+
+                   GEORGIANA, DUCHESS OF DEVONSHIRE.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of
+    Mr. and Mrs. Herbert L. Satterlee._
+
+She stands here--proud, elegant, disdainful, stylish, aristocratic,
+beautiful, and altogether charming, in her dashing, large, black hat
+worn at a _debonnaire_ angle, white dress, and light petticoat and
+light blue sash, looking at us with the most marvellous eyes ever put
+upon canvas and a mouth that matches them in such naturalness that we
+expect the Duchess to smile at any moment. Her eyes have such fire and
+sparkle that they pierce right through us. It is hard to believe that
+we are looking upon a painted portrait--it must be the Duchess herself
+who gives us that alert, penetrating, fiery, and mocking glance.
+
+This picture has had a most romantic history. It is the famous “Lost
+Duchess,” stolen in London, and found after twenty-five years in
+America.
+
+The Duchess, in some unknown way, fell into the hands of a Mrs.
+Maginnis, an old schoolmistress, who had it cut down to fit the space
+over the chimney-piece in her sitting-room and burned up the cut-off
+piece. Mr. Bentley, a dealer bought the picture from Mrs. Maginnis for
+£56 and then sold it to Mr. Wynn Ellis, a wealthy City merchant, who
+sent this _Portrait of a Lady_ to be engraved by Messrs. Henry
+Graves & Co. This firm, having already engraved the Clifden Duchess of
+Devonshire, at once identified the subject. When the Wynn Ellis Sale
+took place at Christie’s, June 6, 1876, this portrait created a great
+deal of excitement. It was catalogued as follows:
+
+“T. Gainsborough, R. A. _The Duchess of Devonshire_, in a white
+dress and blue silk petticoat and sash, large black hat and feathers,
+59½ × 45 inches.”
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Herbert L. Satterlee_
+
+  GEORGIANA, DUCHESS OF DEVONSHIRE
+
+    --_Thomas Gainsborough_]
+
+As this portrait of the Duchess was the first “star” that ever rose
+in an auction-sale, it is worth while putting forward here the
+contemporary account of an event which has passed into history. The
+_London Times_ records:
+
+“The sale of the modern pictures belonging to the Wynn Ellis Collection
+on Saturday last created such a sensation as has never been experienced
+in the picture world of London. Throughout the week the pictures had
+attracted a considerable number of visitors, but on the day preceding
+the sale the interest came to a climax and crowds filled the rooms of
+Messrs. Christie, Manson, & Woods. Anyone passing the neighborhood of
+St. James’s Square might well have supposed that some great lady was
+holding a reception and this, in fact, was pretty much what was going
+on within the Gallery in King Street. All the world had come to see
+a beautiful Duchess, created by Gainsborough; and so far as we could
+observe, they all came, saw, and were conquered by her fascinating
+beauty.
+
+“When the portrait was placed before the crowded audience a burst of
+applause showed the universal admiration of the picture. The biddings
+commenced at one of 1000 guineas, which was immediately met with one of
+3000 guineas from Mr. Agnew; and, amid a silence of quite breathless
+attention, the bids followed in quick succession until 10,000 guineas
+was announced. Mr. Agnew then called 10,100 guineas and won the battle
+in this most extraordinary contest. The audience densely packed on
+raised seats round and on the floor of the house, stamped, clapped, and
+bravoed.”
+
+And now comes the story!
+
+Twenty days after this sale, on the night of May 26, 1876, the
+galleries of Messrs. Agnew were entered, the canvas was cut from the
+stretching frame, and the Duchess was carried off!
+
+Where?
+
+By whom?
+
+The picture was already too well-known to be saleable and to make
+it still better known photographs of the picture were immediately
+placed in every shop-window in London. The subject became of universal
+interest: pictures of the Duchess were printed on every article of
+merchandise possible; and fashion decreed that once again the Duchess’s
+huge hat should be the proper thing to wear. For many years afterwards
+the “Gainsborough Hat” and the “Picture Hat” continued to be worn in
+country towns across the Atlantic, far away from London, by persons who
+had never heard of the beautiful Duchess of Devonshire.
+
+Sensation No. 2.
+
+In March, 1901, the newspapers all over the world announced that the
+“Lost Duchess” had been found!
+
+Mr. Morland Agnew, after various negotiations, was handed a parcel in
+the Auditorium Hotel in Chicago which proved to be the Gainsborough
+canvas. The discovery had been made by the New York Pinkerton Detective
+Agency, who found the thief, one Adam Worth alias Henry Richmond, son
+of a German Jew, who had settled in Cambridge, Massachusetts, and who
+was one of the most famous and clever criminals ever known.
+
+A few days after its return the picture was purchased by Mr. J. P.
+Morgan at a price beyond £30,000.
+
+Many years before, in 1762–3, Gainsborough had painted in his studio at
+Bath the Duchess of Devonshire when she was little Georgiana Spencer,
+aged six, in a white dress, pink ribbons, and dainty cap. At the
+same period Gainsborough painted portraits of her parents, Earl and
+Countess Spencer of Althorp, the one of the Countess ranking very high
+among Gainsborough’s works of the Bath period. The Countess, Margaret
+Georgiana, daughter of the Hon. Stephen Poyntz, was a very beautiful
+and extremely wealthy woman and the Earl also possessed enormous wealth
+and became famed for the magnificent Collection he made at Althorp. The
+marriage of this couple in 1755 created a sensation and was much talked
+of in the gossipy letters and memoirs of the day. One eye-witness
+related: “The bride followed in a new sedan-chair lined with white
+satin, a black page walking before and three footmen behind, all in the
+most superb liveries. The diamonds worn by the newly married pair were
+given to Mr. Spencer by Sarah, Duchess of Marlborough, and were worth
+£100,000. The shoe-buckles of the bridegroom alone were worth £30,000.”
+
+Lady Harvey related that the wedding-party went from London to
+Althorp “in three coaches with six horses and two hundred horsemen.
+The villages through which they passed were in great alarm, some of
+the people shutting themselves up in their houses, and others coming
+out with pitchforks, spits, and spades, crying out ‘The invasion has
+come’, believing that the Pretender and the King of France were both
+come together; and great relief was experienced when the formidable
+cavalcade had passed without setting fire to the habitation, or
+murdering the inhabitants.”
+
+The year after this marriage Mrs. Delany, Horace Walpole’s friend,
+met “Mrs. Spencer, one of the finest figures I ever saw, in white
+and silver with all her jewels and scarlet decorations; her modest,
+unaffected air gives a lustre to all her finery that would be very
+tinsel without it.”
+
+Is it any wonder that with such parentage Georgiana Spencer should have
+had brains, beauty, charm, and perfect equipment in every way for that
+world of society which was her inheritance?
+
+Georgiana was born on June 9, 1757, and was married at the age of
+seventeen to the fifth Duke of Devonshire, regarded as the “first
+match” in England. “Georgiana was a lively girl,” said Walpole,
+“natural and full of grace.” Immediately the Duchess became “the
+irresistible queen of ton” and the most conspicuous leader of society
+whenever and wherever she appeared. She dazzled every gathering by
+her beauty; astonished everyone with her elegant and extravagant
+dress; and charmed everybody by her wit and her grace. The Duchess
+was always among the gay butterflies who masqueraded at the Pantheon,
+promenaded at Ranelagh, danced at assemblies, or played for high-stakes
+at fashionable gaming-tables. To think of London society in the late
+Eighteenth Century without the Duchess of Devonshire, is impossible.
+
+Walpole writes that she “effaces all without being a beauty; but her
+youthful figure, flowing good nature, sense, and lively modesty and
+modest familiarity make her a phenomenon.”
+
+The Duchess had a clever mind and she delighted in the society of
+persons of talent. Fox, Sheridan, and Selwyn were among her special
+friends. The story of her campaigning for Fox with Fox’s sister, Lady
+Duncannon, and even selling “a kiss for a vote” is told by many pens
+and by pencils as well, for the Duchess afforded fine material for
+the caricaturists. The Duchess was much pleased, it is said, by the
+compliment paid to her during the Fox campaign by an Irishman, who
+exclaimed: “Sure I could light me pipe at her eyes!” And Gainsborough
+managed to fix this flaming glance in the famous Satterlee portrait.
+
+Coarse satire attacked the Duchess of Devonshire as it attacks all
+who enter the political arena; but, on the other hand, there are many
+tributes from contemporary pens to her sweetness of disposition and to
+her noble and generous qualities of heart.
+
+In 1806 upon hearing of her death at Devonshire House, Piccadilly,
+(just lately demolished), the Prince of Wales exclaimed: “We have lost
+the best-loved woman in England” and Charles James Fox replied: “We
+have lost the kindest heart in England.”
+
+The Duchess of Devonshire occasionally wrote verse. Her _Passage
+of the Mountain of St. Gothard_, dedicated to her children (she
+had a son and two daughters), was published with a French translation
+in 1802; an Italian translation was printed in 1803; and a German
+translation in 1805. This poem gave occasion to Coleridge’s ode with
+the lines:
+
+    “O lady nursed in pomp and pleasure
+    Whence learned you that heroic measure?”
+
+Gainsborough could not have made this or any other portrait of the
+Duchess of Devonshire until after 1782, because, in that year, Bate
+published in the _Morning Herald_, the following lines:
+
+    “O Gainsboro! thou whose genius soars so high,
+    Wild as an eagle in an unknown sky,
+    To Devon turn!--thy pencil there shall find
+    A subject equal to thy happy mind!
+    Amidst thy fairest scenes, thy brightest dyes,
+    Like young Aurora let the Beauty rise.”
+
+Another portrait of the Duchess of Devonshire by Gainsborough is also
+in this country, owned by the Hon. Andrew W. Mellon. It represents a
+whole length life-size figure leaning against a pedestal and came from
+the Collection of the late Earl Spencer at Althorp, Nottinghamshire.
+
+
+                             THE BLUE BOY.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+The _Blue Boy_ is without doubt the most famous picture in the world.
+When it passed from the Duke of Westminster’s Collection in Grosvenor
+House, London, by private sale to the late Mr. Henry E. Huntington, the
+event created a sensation in the art-world, which soon extended to the
+general public. No painting was ever exploited so widely in the press
+and when exhibited at the Duveen Galleries in New York, before starting
+on its journey to California, the _Blue Boy_ attracted unusual crowds.
+
+Before it bade farewell to London the famous picture was exhibited at
+the National Gallery and the following extract from a letter of Sir
+Charles J. Holmes, Director of the National Gallery, dated January
+24, 1922, to Sir Joseph Duveen, gives an idea of how the portrait is
+regarded in England:
+
+“My dear Duveen: I saw the last, for the time being anyhow, of the
+_Blue Boy_ this afternoon at ten minutes past four and feel bound
+to write these lines to thank you and Mrs. Huntington for the pleasure
+which the sight of it has given to more than 90,000 people during the
+last three weeks. It is indeed a most brilliant thing, outshining in
+its present condition all our English pictures at Trafalgar Square and
+when the natural mellowing of the varnish during the next two or three
+years has taken place its perfections will be enhanced. And though its
+passing from us has been the cause of universal regret, that regret has
+not been tinged with bitterness. It is generally recognized that while
+in the process of recovering from the War, the Nation could not have
+paid the price which its fortunate owner was able to afford.”
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  THE BLUE BOY
+
+    --_Thomas Gainsborough_]
+
+The picture, an oil painting on canvas, is large (5 feet, 10 inches ×
+4 feet) and represents a young boy, Master Jonathan Buttall of London,
+life-size, dressed in a blue suit, holding a broad-rimmed hat in
+his right hand and very conspicuously standing forth from a landscape
+background with a dark, cloudy sky.
+
+The following notes from the _Farington Diary_, recently published,
+bring us into relation with the two early sales.
+
+Under date of Dec. 15, 1796, we find:
+
+“Buttall’s sale. I went to Gainsborough’s picture of a _Boy in a Blue
+Vandyke Dress_ sold for 35 guineas. Several of his drawings were sold
+in pairs. Some went so high as 8 guineas and a half the pair.”
+
+“May 25, 1802. I painted till four o’clock and then went to Nesbitt’s
+sale in Grafton Street, where I met Hoppner, who had purchased the
+_Boy in Blue Dress_ by Gainsborough, which was Buttal’s, for 65
+guineas. At Buttalls sale it was sold for 35 to Mr. Nesbitt.”
+
+The picture is in marvellous condition. When Lord Ronald
+Sutherland-Gower saw it in the Duke of Westminster’s Collection before
+it came to America, he exclaimed:
+
+“The _Blue Boy_ at Grosvenor House has all the glamor and charm of
+a portrait of a fairy prince.”
+
+These few words explain the spell that the picture seems to cast upon
+every one who sees it, for whenever _The Blue Boy_ has been exhibited
+crowds have stood enraptured before it.
+
+Regarding Mr. Nesbitt’s connection with the picture we have the
+following story from the Rev. J. T. Trimmer, Vicar of Marston-on-Dove,
+Derbyshire:
+
+“Many years ago there resided at Heston a Mr. Nesbitt, a person of
+substance and a companion of George, Prince of Wales. He once possessed
+Gainsborough’s _Blue Boy_ and in the following way. He was dining with
+the Prince. ‘Nesbitt,’ said the Prince, ‘that picture, (pointing to
+the _Blue Boy_) shall be yours.’ At first he thought the Prince must
+be joking, but, finding he was decidedly serious, Nesbitt, who was a
+_beau_ of the first water, made all suitable acknowledgments for H. R.
+H.’s generosity and next morning the _Blue Boy_ arrived, followed in
+due time by a bill for £300, which he had the satisfaction of paying. I
+heard Mr. Nesbitt many years ago tell the story at my father’s table.”
+
+From Mr. Nesbitt the _Blue Boy_ came into possession of John Hoppner,
+the artist, who sold it to Earl Grosvenor. Then, of course, _The Blue
+Boy_ passed as an heirloom to his successor, the Duke of Westminster.
+For many years _The Blue Boy_ hung in Grosvenor House, London, in the
+same room with Sir Joshua Reynolds’s _Mrs. Siddons as the Tragic Muse_,
+the two most famous portraits of the two most famous English painters.
+And it is one of the romances of art that these two portraits should
+have crossed the Atlantic and to be again united, as it were, this time
+in a California mansion.
+
+Gainsborough had doubtless some reason for painting this portrait;
+but it is not the reason usually given,--namely that it was done in
+refutation of a theory expressed by Sir Joshua Reynolds in 1778. Apart
+from the reasons now accepted to disprove this theory, the picture
+is too joyously painted for a controversial and academic _tour de
+force_.
+
+One of Gainsborough’s latest biographers, Mr. William T. Whitley,[33]
+discovered the following in a number of _The European Magazine_ (August
+1798), which would seem to give the real reason for the genesis of
+Gainsborough’s famous portrait:
+
+
+                          _Mr. Gainsborough_
+
+“One of the finest pictures this great artist ever painted, and which
+might be put upon a par with any portrait that ever was executed, is
+that of a boy in a blue Vandyke dress, which is now in the possession
+of a tradesman in Greek Street. Gainsborough had seen a portrait of
+a boy by Titian for the first time, and, having found a model that
+pleased him, he set to work with all the enthusiasm of his genius. ‘I
+am proud,’ he said, ‘of being of the same profession with Titian, and
+was resolved to attempt something like him.’”
+
+So much has been written about this portrait and the copies that have
+been made of it that great confusion has resulted, and the constant
+repetition of the same story by writers has tended to obscure rather
+than to clarify the subject. However, the theory now accepted is
+that the portrait of _The Blue Boy_ first appeared in public at the
+Royal Academy in 1770, sent there by Gainsborough himself,--a theory
+supported by a letter written by Mary Moser, R. A. to Fuseli, then in
+Rome, in which she said: “It is only telling you what you know already
+of the Exhibition of 1770, to say that Gainsborough is beyond himself
+in a Vandyke habit.” Another argument in favor of this date is found in
+a conversation with an old artist, John Taylor, recorded by J. T. Smith
+in his _Book for a Rainy Day_.
+
+The person, chiefly, if not wholly, responsible for the first
+suggestion of the theory that Gainsborough painted the picture to
+disprove Sir Joshua Reynolds’s pronouncement regarding color seems
+to have been John Burnet, the engraver of some of Wilkie’s pictures
+and a writer on art. The legend began to be circulated in 1817, when
+Burnet published his _Practical Treatise on Painting_, where, after
+challenging the rules laid down by Sir Joshua, he says: “I believe
+Gainsborough painted the portrait of a boy dressed in blue, now in the
+possession of Lord Grosvenor, to show the fallacy of this doctrine.”
+
+That seems to be all there is to it; and, once started, the story
+became widespread and was handed on from pen to pen and from lip to
+lip, until nearly everybody believes it.
+
+Let us turn, however, to some of the authorities. First to F. G.
+Stephens:
+
+“Master Jonathan Buttall was the son of Mr. Jonathan Buttall, an
+ironmonger in an extensive way of business, living at 31 Greek Street
+(at the corner of King Street), Soho, between 1728 (if not before)
+and 1768, when he died. According to the _Book for a Rainy Day_,
+he was ‘an immensely rich man.’ The younger Buttall continued in the
+business of his father until 1796, when his effects were sold by Sharpe
+and Coxe, the well-known auctioneers. These effects included premises
+in Soho and the City, a share in Drury Lane Theatre, many drawings
+by Gainsborough, and pictures by the same hand and others, wine, and
+musical instruments. It has been asserted that a _Blue Boy_ (for
+there can hardly be a doubt that more than one version of the work
+exists) was sold on this occasion.
+
+“A story has been credited that _The Blue Boy_ was produced by
+Gainsborough to refute a dictum of Sir Joshua Reynolds, delivered in
+his _Eighth Discourse_ to the Students of the Royal Academy, December
+10, 1778: ‘It ought, in my opinion to be indispensably observed, that
+the masses of light in a picture be always of a warm, mellow color,
+yellow, red, or a yellowish-white; and that the blue, the grey, or the
+green colors be kept almost entirely out of these masses, and be used
+only to support and set off these warm colors; and for this purpose, a
+small proportion of cold colors will be sufficient. Let this conduct
+be reversed; let the light be cold and the surrounding colors warm, as
+we often see in the works of the Roman and Florentine painters, and it
+will be out of the power of Art, even in the hands of Rubens or Titian,
+to make a picture splendid and harmonious.’
+
+“It is obvious that the _Eighth Discourse_ may have been delivered
+covertly to depreciate a picture which had been exhibited eight years
+before, but this is not likely; or it may be assumed that the painting
+was produced to demonstrate the futility of the President’s counsel.
+It is obvious that Gainsborough might, and probably did, find occasion
+to illustrate a principle which is apparently opposed to the dictum of
+Reynolds, without reference to the _Eighth Discourse_, or previous
+utterance of the P. R. A. Van Dyck repeatedly employed masses of blue
+in draperies, with results which are at least equal to those of the
+picture before us. The _Children of Charles the First_ at Windsor
+is an example of the fact.[34] Leslie and every practical critic
+recognized that Gainsborough had evaded the full and just method of
+controverting the declaration of Sir Joshua rather than successfully
+assailed it.
+
+“The picture before us is known to have been exhibited at the British
+Institution with a collection of Gainsborough’s works--the first formed
+independently of the artist and his wife--in 1814, under the title of
+_Portrait of a Youth_ and again at the same place, in 1834, as ‘117,
+_A Young Gentleman in a Landscape_; the Picture known as _The Boy in
+Blue_.’ It was at Manchester in 1857; the International Exhibition
+in 1862; and at the Royal Academy in 1870. The last occasion evoked
+the discussion above alluded to, when the other _Blue Boy_ became
+prominent. The question may be summed up by saying that probably the
+younger Buttall had a version of his own portrait, while the Prince had
+another.
+
+“Reynolds, by the way of supporting his own dictum, produced _A Yellow
+Boy_ in the ‘_Portrait of Charles, Earl of Dalkeith_’ with an owl and
+a dog, which was No. 132 at the Grosvenor Exhibition, in 1884. ‘_A
+Portrait of a Lady_,’ by Gainsborough, known as ‘_The Blue Lady_’ was
+at the British Institution in 1859; ‘_The Pink Boy_’ (Master Nicholls,
+grandson of Dr. Mead), by Gainsborough, was at the Academy in 1879,
+No. 39; it has recently been sold to a member of the Rothschild
+family. _The Blue Boy_ is at once the complement and the antithesis of
+_Mrs. Graham_ (born Cathcart), now in the Scottish National Gallery
+(Edinburgh).”
+
+Turning now to M. H. Spielmann in _British Portrait Painting_:
+
+“In the view expressed by the late F. G. Stephens and others--an
+opinion I am inclined to share--the portrait known as _The Blue Boy_,
+more properly Master Jonathan Buttall, belongs to the year 1770, or
+thereabouts, and not to a period ten years later, as is argued by
+those who desire, in the face of internal evidence, to apply to it a
+passage--usually cited incorrectly--in Sir Joshua Reynolds’s _Eighth
+Discourse_ (delivered in 1778), against the use of masses of cold blue.
+The stricture could not possibly apply to this picture, which triumphs
+by virtue of its _warm_ blue, as it does by nobility of pose (more
+suggestive of a prince, as we imagine a prince should be, than of the
+son of a wealthy ironmonger of Greek Street), by the well controlled
+power and dignity made manifest throughout and by the brilliant brush
+charged with fat paint. The finely posed head with its admirably
+expressed character of boyhood and a good deal of sturdy doggedness
+behind the intelligent eyes, is rendered a little more heavily than is
+Gainsborough’s wont; but that it is a masterpiece of portraiture, as it
+is of color, cannot be challenged. This portrait, which from its manner
+may be believed to have been painted eight years before the father’s
+death and not two years after it, is the first to show Gainsborough’s
+outstanding genius as a painter of independent thought and striking
+modernity. At the same time it should be pointed out an earlier _Blue
+Boy_ by him exists in the portrait of his nephew, Edward Gardiner,
+painted in 1768.
+
+“Here in Master Buttall is Gainsborough’s first great invention both
+in matter and manner, almost a challenge to Van Dyck’s reputation,
+but painted in a scheme of color Van Dyck never thought of, and would
+probably never have tried if he had. In handling it is Gainsborough’s
+first link with Watteau in its broken tints and fearless lightness of
+handling of the drapery, in its fascinating play of light and shade,
+its delightful silhouette and cast shadows. It is difficult to imagine
+how the composition could be bettered; the picture, by itself, had no
+others come from the same brush, would have immortalized the painter.”
+
+Finally, Sir Walter Armstrong agrees, too, with the Stephens theory:
+
+“Those who cling to the old traditions quote the style of _The Blue
+Boy_ in support of the notion that it could not have been painted
+before 1779. I confess that, to me, it now seems, after much and
+close observation, to point the other way. The loaded _impasto_, the
+ruddy carnations, the tendency to brown and beyond it in the shadows,
+the preoccupation with force, seem all to belong to about the same
+period as the group at Knole and to be inconsistent with the feathery
+lightness, freedom, and gaiety which mark Gainsborough’s work towards
+the end of his life. The most significant comparison may be made with
+the National Gallery _Mrs. Siddons_. Here again blue, and a franker
+blue than that of the Master Buttall, is the dominant note. But the
+painting is more assured, the handling lighter and more prompt, the
+shadows more transparent, and the figure, as a whole, truer to its
+illumination. It would not be fair to dwell too much on the contrast
+between the flesh painting of _The Blue Boy_ and that of the _Mrs.
+Siddons_, for I fancy the peculiar white bloom of the latter’s skin
+is due to the fact that she sat in her paint. But it must not be
+overlooked that even in the portraits of pretty women, that of _Eliza
+Linley_ for instance, painted about 1770, there is a fullness of color
+we do not find ten years later. Taking everything into account, it
+seems to me that the old tradition of _The Blue Boy_ must be given
+up, and that the Duke of Westminster’s picture, so far from being an
+answer to Reynolds, was one of the many things that provoked his
+dictum, Gainsborough replying, if he took the trouble to reply at all,
+with the _Mrs. Siddons_ and those other portraits, painted in the last
+ten years of his life, in which blue, canary yellow, and other cool
+tints are made the centres of the color scheme.”
+
+Buttall and Gainsborough continued their relations. Buttall was one
+of the “few friends Gainsborough respected and whom he desired should
+attend his funeral at Kew. Buttall outlived Gainsborough seventeen
+years and died in December, 1805, as the _Morning Herald_ notes: “Died,
+on Friday last, at his house in Oxford Street, Jonathan Buttall, Esq.,
+a gentleman whose amiable manners and good disposition will cause him
+to be ever regretted by his friends.”
+
+
+                       GENERAL PHILIP HONYWOOD.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of
+    Mr. John Ringling._
+
+When Gainsborough exhibited this portrait in London in 1765 it created
+quite a stir, as it was a departure from the style of any portrait by
+that artist; and when it was sent home to _Mark Hall_, the seat of
+the Honywood family in Essex, a new room had to be built in order to
+accommodate it, as the canvas measures nearly ten feet square (96¾ ×
+82¼).
+
+This has the reputation of being the finest equestrian portrait ever
+painted by Gainsborough. Fulcher writes of it:
+
+“Never was the amenity of landscape more happily displayed. Through a
+richly wooded scene wherein the sturdy oak and silvery-barked birch
+are conspicuous, the soldier, mounted on a bay horse, appears to be
+passing, wearing a scarlet dress which contrasts finely with the mass
+of surrounding foliage. Nothing can be easier than his attitude,
+as with one hand he curbs his charger and with the other holds his
+sword which seems to flash in the sun. The picturesque design of this
+portrait, its brilliant coloring, its bold yet careful execution,
+Gainsborough never surpassed. No wonder that George III wished to
+become the possessor of it and no wonder that Horace Walpole wrote of
+it in his catalogue ‘very good.’ Of the nine pictures which decorated
+the walls of _Mark Hall_ grand staircase, three were by Gainsborough
+and included the remarkable portrait of General Honywood. It is the
+largest work by that master and has the reputation also of being the
+finest equestrian portrait ever painted by Gainsborough, competing only
+with Van Dyck’s _Portrait of Charles I_ in the Prado Gallery, Madrid,
+with which it has more than once been compared.”
+
+  [Illustration:
+
+   _Collection of Mr. John Ringling_
+
+  GENERAL PHILIP HONYWOOD
+
+    --_Thomas Gainsborough_]
+
+The landscape, it is interesting to say, is a part of the park at _Mark
+Hall_. General Philip Honywood of _Mark Hall_ came of an old Kentish
+family deriving its origin from a place called _Honewood_ or _Hunewood_
+in the parish of Postling in Kent, where they had held lands since the
+Norman Conquest. General Philip Honywood was born in 1710 and succeeded
+his nephew in 1758. He was a General of His Majesty’s forces, Colonel
+of the Third Royal Dragoon Guards, Governor of the Town and Citadel
+of Kinston-upon-Hull and was also member of Parliament for thirty-one
+years for the borough of Appleby in the County of Westmoreland. Philip
+Honywood was always familiarly called “the General” and he died in 1785.
+
+Until 1878 this portrait remained in possession of the Honywood family
+at _Mark Hall_.
+
+Sir Walter Armstrong in his _Gainsborough_ writes:
+
+“It represents the General riding across the canvas from left to right.
+He wears a scarlet uniform and carries his sword, unsheathed, in his
+right hand; he has no scabbard. The horse, a rich bay, is a little
+too long. The painter has not taken the precaution to draw him in
+before commencing the figure, and so the fore-quarters are separated
+from the hind by rather too much middle-piece. This mistake is still
+more conspicuous in the _Colonel St. Leger_ at Hampton Court, where a
+quite unreasonable amount of horse shows behind the figure. Otherwise,
+the Honywood picture is as successful in design as it is in all other
+ways. The landscape is one of the finest backgrounds ever painted and
+reminds one of the backgrounds to some of those equestrian portraits by
+Velasquez which Gainsborough never saw. It is curious that Reynolds had
+sent a _General on Horseback_ to the Exhibition of 1761. Many things
+point to the probability that Gainsborough made an annual visit to
+London during the exhibition and it is quite likely that the apparition
+of Sir Joshua’s ‘General’ suggested the treatment of his own.”
+
+The Reynolds referred to above is the portrait of _Lord Ligonier_ now
+in the National Gallery, London.
+
+
+                          THE HARVEST WAGGON.
+
+    _Thomas Gainsborough
+    (1727–1788)._
+
+    _Collection of
+    Sir Joseph Duveen, Bart._
+
+This picture bears comparison with Gainsborough’s famous _Market Cart_
+in the National Gallery, London. Some critics even prefer it. It is
+painted in oils on canvas (48 × 59 inches) and represents a countryside
+and a scene very familiar to the painter. The country is rugged with
+a wheel track winding from the left foreground away into the distance
+towards the blue hills. On the left, there are massive boulders
+overgrown with shrubbery and trees with russet foliage overhanging
+the lane. The rustic dray-cart, laden with laughing country folk, is
+halted to enable a young girl to clamber up over the wheel and into the
+arms of a youth who bends forward to help her. The three horses stand
+placidly while the driver adjusts the collar of the leader. A panting
+dog capers by the cart and two sheep that have strayed from their flock
+are seen resting by the boulders. The rock in the foreground is signed
+with the initials “T. G.”
+
+_The Harvest Waggon_ gains particular interest because the two young
+girls--one seated in the waggon and one climbing up over the wheel--are
+Gainsborough’s daughters. The horses, too, are portraits--horses that
+belonged to John Wiltshire, the chief carrier of Bath, and the cart
+is one of Wiltshire’s “flying waggons.” In some accounts of John
+Wiltshire he is represented as an ordinary dray-man, who drove his
+own carts and made deliveries. This was not the case, however. John
+Wiltshire was a man of importance in Bath, having built up a large
+“carrying business” (which we would to-day call express), with a
+regular service of “flying waggons,” always going back and forth from
+his warehouses in Broad Street, Bath, to the _White Swan_ at Holborn
+Bridge, London. Wiltshire was elected Mayor of Bath in 1772 and gave a
+great entertainment at the Town Hall to the gentry and fashionables,
+giving thereby “much offense to the people in trade” who were not
+invited. Some idea of the speed of these “flying waggons” may be had
+from Gainsborough’s letter to Garrick relative to the delivery of the
+latter’s portrait:
+
+“The picture is to go to London by the Wiltshire fly-waggon on
+Wednesday next and I believe will arrive by Saturday morning.”
+
+John Wiltshire, who came of a good old family that had attained
+the rank of squires, lived in a fine mansion at Shockerwick near
+Bath, which had belonged to his father. This was quite a place of
+_rendez-vous_ for the notable personages who visited Bath. “There,” it
+was said, “Anstey had a beech tree, Gainsborough an elm, and Quin an
+arm-chair, while Fielding, Allen, and their hospitable host, Wiltshire,
+enjoyed the shades of its sylvan glades.”
+
+Wiltshire was so devoted to Gainsborough and such an admirer of
+his paintings that he would never allow him to pay any bills for
+“carrying.” Yet he delivered all of Gainsborough’s finished pictures.
+After a time, upon Gainsborough’s insisting, Wiltshire replied: “When
+you think I have carried to the value of a little painting, I beg you
+will let me have one, sir; and I shall be more than paid.”
+
+By degrees Wiltshire thus acquired his small, but very choice,
+collection of Gainsboroughs, which was sold at Shockerwick in 1867.
+
+_The Harvest Waggon_ was one of these; and the way the picture came
+to be painted was this. On one occasion Gainsborough asked Wiltshire
+to lend him a horse for a model. The generous Wiltshire saddled and
+bridled one of his horses and sent it to Gainsborough for a present.
+Gainsborough painted this horse and made, as Fulcher says, “a
+remarkably fine study of this animal.” Gainsborough now returned the
+compliment. He painted _The Harvest Waggon_ and sent it to Wiltshire as
+a present. Wiltshire was overjoyed, for here was his own waggon; here
+were his own horses; and here were the artist’s own daughters!
+
+  [Illustration:
+
+   _Collection of Sir Joseph Duveen, Bart._
+
+  THE HARVEST WAGGON
+
+    --_Thomas Gainsborough_]
+
+On giving _The Harvest Waggon_ to Wiltshire, Gainsborough said it
+_pleased him more than any picture he had ever painted_.
+
+From the Collections of Thomas Gibbons, Esq., Hanover Terrace, Regents
+Park, of the Rev. Benjamin Gibbons, Hanover Terrace, Regents Park,
+and of Sir Lionel Phillips, London, _The Harvest Waggon_ passed into
+the Collection of the late Judge Elbert H. Gary. It attracted great
+attention at the Gary Sale in New York, April, 1928, when it was sold
+at the Plaza Hotel for $875,000, the highest figure that any picture
+has ever reached at auction.
+
+
+                         JOHN WALTER TEMPEST.
+
+    _George Romney
+    (1734–1802)._
+
+    _Collection of
+    Mr. and Mrs. Marshall Field._
+
+It would be hard to find in all the range of portraiture, at any time
+and in any place, a work more charming, true, sincere, natural, and
+ingratiating than this adorable boy with his beloved horse. You can see
+at a glance that they love each other.
+
+Everything about the picture is delightful: the coloring, the handsome,
+sweet, and dreamy boy with his unspeakable grace and gentleness, the
+fine horse, so contented, and the suave landscape--all make both
+a portrait and a picture that will live for all time. No changes
+in fashion can ever destroy its beauty and its appeal. Moreover,
+Romney has succeeded in suggesting here a young boy’s dreams and the
+friendship between a boy and a horse. The relation between the two, as
+they enjoy a pause in their jaunt through the woodland, is marvellously
+expressed. The relation of these figures to the landscape is such that
+we feel as if we, too, were in this lovely, English, sylvan spot. We
+seem to hear the plash of the tiny waterfall and the sound of the
+horse’s lips as he quenches his thirst. In just one moment more and the
+sweet, gentle, dreamy boy will pat his friend’s warm, brown neck, leap
+lightly on his back and off they will go merrily
+
+    “to seek fresh woods and pastures new.”
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Marshall Field_
+
+  JOHN WALTER TEMPEST
+
+    --_George Romney_]
+
+The picture is in oils on canvas (90 × 58 inches) and was painted in
+1779–1780. In the _Catalogue Raisonné_ of Romney’s works we read:
+
+“Whole length, when a youth, standing, facing towards and looking to
+the front; long hair; purple dress, white turned-down collar, white
+stockings and black shoes with silver buckles; standing by his horse,
+which is drinking at a stream to the left; right hand holding the
+reins; left hand holding whip; trees in the distance.”
+
+For several years this lovely picture was in the Collection of Asher
+Wertheimer, Esq., of London.
+
+John Walter Tempest was the only son of John Tempest, Esq., of
+Sherburn, County Durham, and member of Parliament for Durham. He died
+in 1793 at Brighthelmstone, where he had gone for his health.
+
+The German critic, August Grisebach, has a profound admiration for this
+portrait. Writing in _Die Kunst für Alle_ (1908), he says:
+
+“As a new representation of the half-grown boy Romney’s _John Walter
+Tempest_ stands next to the _Blue Boy_. In place of the warm lighting
+of the brilliant silk of the correctly adorned boy in Van Dyck style
+and the aristocratic pose of the manufacturer’s son, is the simple
+cloth coat of subdued violet against the light-brown horse, so quiet
+and reserved in color and line, similar to an antique relief.”
+
+_The Strawberry Girl_ is reckoned among the most original of Sir Joshua
+Reynolds’s works. Surely _John Walter Tempest_ is one of Romney’s most
+brilliant triumphs! Moreover, the picture is highly original.
+
+For a great number of years George Romney in his house, No. 32
+Cavendish Square, shared the patronage of the aristocracy with Reynolds
+and Gainsborough. Romney’s career was remarkable, for he had almost
+no training. Romney was born in 1734 at Beckside, near Dalton in
+Cumberland, the son of a cabinet-maker, who wrote his name Rumney. He,
+too, was destined for a cabinet-maker, but made the acquaintance in
+Kendal of a portrait-painter named Christopher Steele, who had studied
+with Carle Van Loo, and became his pupil and apprentice in 1755. Romney
+soon painted a number of portraits in Kendal and also a hand holding a
+letter for the town post-office, which attracted much attention.
+
+Undoubtedly Romney acquired something of the French style through
+this teacher and we may regard him indirectly as a pupil of Van Loo.
+Certainly there is a quality in Romney that finds response in the
+French painters of the Eighteenth Century.
+
+Lord Gower says in his _Romney_ (London, 1904):
+
+“Apparently the Count made use of his pupil to prepare and grind
+his colors and to carve frames for his portraits. Later these
+color-grindings must have been of great use to Romney, and the
+preparation and mode of laying on the oil colors may account for the
+excellence and permanency of his paintings, which have stood admirably
+and unfadingly the test of time and which are in most cases as fresh
+and brilliant, as clear and transparent, as when they left Romney’s
+studio nearly a century and a half ago. It is not without interest that
+one recalls how all the great Italian and Flemish Masters instructed
+their pupils in the preparation of the minutest detail in all things
+relating to their painting, from the preliminary grinding of the colors
+and the laying on of the groundwork of their subject, whether on paint
+or canvas; for not only were the great Italian and Flemish old painters
+past masters in all that appertained to the technicalities of their
+art, but honest and loyal in seeing no detail, however irksome, omitted
+which could give permanency and endurance to their creations; hence
+those marvels of color, paintings three and four centuries old which
+still glow with all the brilliancy of gems and flowers, as radiant as
+some noble stained-glass window in some glorious Gothic fane.”
+
+In 1762, when he was but twenty-eight, Romney moved to London (leaving
+his wife, son, and daughter) and established himself in the great
+city. As a painter of excellent portraits at low prices Romney soon
+saved enough money for a visit to Paris, and hard work enabled him to
+close his studio and spend two years in Italy. Soon after his return
+in 1775, Romney removed from Gray’s Inn to No. 32 Cavendish Square,
+formerly occupied by the painter, Francis Cotes, (who had died in
+1770). A portrait of the _Duke of Richmond Reading_ launched Romney
+into fame and fortune. Thenceforward there was nothing to do but work.
+Romney became the fashion and ranked with Gainsborough and Reynolds;
+and, as his prices were considerably less than theirs, his studio was
+never empty of sitters. Romney’s _Diaries_ show his amazing industry
+and a golden register of the nobility and gentry besides people of
+fashion and artistic distinction. The year 1777, for instance, shows
+six hundred sittings which Mr. Ward calculates as representing from a
+hundred and twenty to a hundred and fifty finished portraits. Romney’s
+charming style was now fully developed and some of his loveliest
+portraits date from this period: the _Countess of Warwick and her
+Children_; _Lady Susan Lenox_; _Lady Derby_ (see page 401); _Lady
+Albemarle_; _Lord Gower’s Children Dancing_; _John Walter Tempest_; and
+_Lady Craven_, which inspired Horace Walpole to write:
+
+    “Full many an artist has on canvas fix’d
+    All charms that Nature’s pencil ever mix’d--
+    The Witchery of Eyes, the Grace that tips
+    The inexpressible douceur of Lips
+    Romney alone, in this fair image caught
+    Each Charm’s Expression and each Feature’s thought.
+    And shows how in their sweet assemblage sit
+    Taste, Spirit, Softness, Sentiment, and Wit.”--H. W.
+
+Therefore, it will be seen that Romney had been producing beautiful
+work before the advent of the beautiful Emma Hart, the future Lady
+Hamilton.
+
+Romney left Cavendish Square in 1798, having bought a house at
+Hollybush Hill, Hampstead, from which he removed two years later
+to return to his wife and son at Kendal. He bought the estate of
+Whitestock, near Ulverstone, where his son finished the house he did
+not live to complete. Romney died in 1802, having been for two or three
+years in a state of complete imbecility.
+
+“For the first half-century or more after his death his work was
+neglected. Hidden in private houses, the public never saw it;
+his biographies did not interest people; he had left no group of
+influential friends to hand down his memory. There was no such
+machinery of celebrity in his case as had existed so abundantly in
+Sir Joshua’s who lived not only by his pictures but by a multitude of
+lovely engravings and by the written and spoken word of colleagues,
+pupils, and friends. So Romney’s fame may almost be said to have
+died away during the dark ages between 1820 and 1850; and Christie’s
+Catalogues show that in those days he was ignored by collectors and
+by galleries, such as then existed. In the general revival of æsthetic
+intelligence which began about the middle of the century--a revival
+of which the Pre-Raphaelite movement, the eloquence of Ruskin, and
+the growth of a new class of wealthy amateurs were so many symptoms
+and conditions--Romney began to emerge once more. Never was there an
+artist who lived more wholly in his art. ‘In his painting-room,’ said
+his pupil, Robinson, ‘he seemed to have the highest enjoyment of life,
+and the more he painted the greater flow of spirits he acquired.’ It is
+true that, by one of the ironies of history, it was not primarily in
+portrait-painting that he was interested, but in those larger schemes
+and subjects to which, according to the classification of his time, he
+gave a higher place.”[35]
+
+
+                       THE HON. MRS. DAVENPORT.
+
+    _George Romney
+    (1734–1802)._
+
+    _Collection of the
+    Hon. Andrew W. Mellon._
+
+The _Hon. Mrs. Davenport_ (Charlotte Sneyd) is another of Romney’s
+superlative creations. She is the personification of a gentle English
+beauty, who might well have sat for the portrait of Tennyson’s “Queen
+of the Rosebud Garden of Girls” in _Maud_.
+
+Mrs. Davenport, dressed in perfect taste, is posed against a lovely
+landscape background. Her gown is a delicate, yet glowing pink, and her
+cape is white velvet trimmed with white fur. She also wears a white
+scarf with brown ribbon and a white felt hat trimmed with brown and
+white ribbons. Her powdered hair is arranged in soft ringlets and a
+black velvet band around her neck affords a note of contrast to the
+general lightness of the color of the costume. A fashionable muff adds
+a _chic_ touch. The face is remarkably sweet and intelligent, as well
+as beautiful, and the whole impression given by the portrait is of a
+charming, gentle, gracious, and lovable personality.
+
+Charlotte Sneyd, born in 1756, was the daughter of Mr. Ralph Sneyd
+of _Keele Hall_, Newcastle-under-Lyme, Staffordshire, descended from
+an ancient family of Chester, one of whom had been knighted on the
+battlefield of Pinkie in 1547. Her mother was the daughter of Sir W.
+W. Bugot, fifth Baronet of Blithefield, and the grand-daughter of the
+first Earl of Dartmouth.
+
+  [Illustration:
+
+   _Collection of the Hon. Andrew W. Mellon_
+
+  THE HON. MRS. DAVENPORT
+
+    --_George Romney_]
+
+Charlotte Sneyd was married in 1777 to Mr. Davies Davenport, High
+Sheriff of Cheshire in 1783, and M. P. from 1806 to 1830. His seats
+were Capesthorne, Crewe, and Calvely, Nantwich. Their youngest son took
+the extra surname of Bromley and owned _Baginton Hall_, Coventry.
+The Hon. Mrs. Davenport died in 1829. She was a cousin of Honora
+Sneyd, whose name has been associated with that series of portraits by
+Romney known as the “Serena” portraits. Honora was also famous for her
+engagement to the talented, charming, and ill-fated Major John André.
+
+The picture, painted in oils on canvas (30 × 25 inches), came from the
+Collection of Brigadier-General Sir William Bromley-Davenport, K. C.
+B., Lord-Lieutenant of the County of Chester, _Capesthorne Hall_,
+Cheshire, England.
+
+
+                              LADY DERBY.
+
+    _George Romney
+    (1734–1802)._
+
+    _Collection of
+    Mr. Jules S. Bache._
+
+Of _Elizabeth, Countess of Derby_, Romney made one of his most
+beautiful portraits and one of the most beautiful portraits, moreover,
+of that great portrait period in which Romney worked. Everything about
+it is lovely. There is no color in the picture except Lady Derby’s
+golden hair and the green and brown tones of the distant landscape and
+of the tree behind her. The dress, a thin white India mull of exquisite
+fineness and transparency, is draped over a white brocade skirt, making
+a costume which is the quintessence of purity and lightness; and Romney
+has treated the white so perfectly that the picture seems to emit a
+celestial radiance. Lady Derby has the fresh English complexion of rose
+and white, and her golden hair is like sunshine and amber. The pose
+is so easy and natural that we may safely guess it was a characteristic
+one. Lady Derby seems unconscious of her charm; but she was certainly
+too beautiful not to know it.
+
+Elizabeth, Countess of Derby, was the only daughter of James, sixth
+Duke of Hamilton and the famous Irish beauty, Elizabeth Gunning, who,
+with her sister, Maria, took London by storm when they removed there in
+1751 from Dublin. The career of the Gunning sisters was extraordinary,
+for they had no money; but their handsome faces, fine figures, stylish
+dressing, and charming manners, soon brought them into notoriety.
+Crowds surged around them whenever they appeared: in the streets, in
+Hyde Park, at Ranelagh, at Vauxhall, at routs, at assemblies, or at the
+theatre. Horace Walpole said “it was extraordinary that two sisters
+should be so beautiful.” Maria Gunning married in 1752 the Earl of
+Coventry and also in the same year Elizabeth married surreptitiously
+James, sixth Duke of Hamilton “using the ring of the bed-curtain for
+her wedding ring.” On his death, six years later, she married John,
+fifth Duke of Argyll. Elizabeth, now Duchess of Argyll, was still
+as beautiful as ever and people ran after her as usual whenever she
+appeared in public. “One Sunday evening in June, 1759,” so Horace
+Walpole notes, “she was mobbed in Hyde Park. The King ordered that to
+prevent this for the future, she should have a guard; and on the next
+Sunday she made herself ridiculous by walking in the Park from eight
+to ten P. M. with two sergeants of the Guards in front with
+their halberds and twelve soldiers following her.” Elizabeth, Countess
+of Derby, with such a beautiful mother, had, therefore, the right to
+be a beauty. On June 12, 1774, “Lady Betty Hamilton” was married to
+Edward Smith Stanley, afterwards twelfth Earl of Derby, known as the
+“Cock-fighting Earl.” She soon tired of him and ran away with the Duke
+of Dorset, who had been working on the Derby estate for some time in
+the guise of a gardener in order to be near the beautiful Elizabeth
+and to perfect their plans for elopement. Who can look upon Romney’s
+portrait and blame him? Lord Derby married in 1797 the celebrated
+actress Miss Farren (see page 420). Elizabeth Hamilton died in 1797,
+aged forty-four.
+
+  [Illustration:
+
+   _Collection of Mr. Jules S. Bache_
+
+  LADY DERBY
+
+    --_George Romney_]
+
+This portrait, oils on canvas (49½ × 39 inches), was painted in
+1776–1778, after twelve sittings: Nov. 27, 1776; Jan. 31, Feb. 11, 14,
+21, and March 19, 1777; Feb. 13, March 2, 9, 14, 23 and May 4, 1778. A
+mezzotint was made by John Dean in 1780.
+
+After having been for many years in the Tennant Collection this
+_chef-d’œuvre_ passed to Mr. Jules S. Bache.
+
+A charming picture of Lady Elizabeth Hamilton, or “Lady Betty
+Hamilton,” as a child of five years, painted by Sir Joshua Reynolds,
+now hangs in the Widener Collection at _Lynnewood Hall_, Elkins Park,
+Pennsylvania. The little girl is seated on a bank facing the spectator
+and is shown at full length, wearing a pink dress over a large hoop,
+with low neck and short sleeves, and a spray of flowers at her neck. In
+her hands she holds a bouquet of bright flowers. This picture, painted
+in 1758, belonged to the Duke of Argyll and afterwards to the Earl of
+Normanton.
+
+“The Eighteenth Century,” says Max Roldt, “has often been called the
+_Age of Grace_. If I were asked how this name could best be justified,
+I should point without a moment’s hesitation to the portraits by George
+Romney. Others painted graceful women in graceful dresses and graceful
+poses, but Romney personified Grace, made her his goddess; and it was
+her portrait which he painted over and over again under different
+lineaments and with various features. See his _Lady Derby_ as she
+sits on a bank quietly dreaming under the trees; her legs are lightly
+crossed; her elbow rests on her knee so that her long, fine hand just
+touches her chin without actually supporting the pure oval of the
+head; with her white, muslin dress pulled up showing the underskirt of
+the _broché_ satin of the same hue, is she not the very embodiment of
+grace?”
+
+
+                         EMMA, LADY HAMILTON.
+
+    _George Romney
+    (1734–1802)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+Who tied that white band over the big hat--Romney or Emma? It was
+certainly a very original idea!
+
+“_Three quarters in a straw hat called Emma_, finished for Mr.
+Crawford,” is the way this picture is referred to in John Romney’s
+_Memoirs_; and in Romney’s own Ledger this note occurs: “Three quarters
+paid for by Mr. Crawford, 30 guineas, Sept. 15, 1792, and sent home to
+Mr. Crawford’s No. 48 Brook Street, July 21, 1792.”
+
+At three-quarter, then, seated in a chair, dressed in white and wearing
+the conspicuous “straw hat,” trimmed with a broad band of ribbon tied
+into large bows, “Emma” looks at us rather pensively,--almost sadly.
+The pose is alluringly graceful and easy, but the swirling lines, when
+analysed, show the thought and art of a master. It is like a graceful
+melody of Mozart. Contour, beauty, and rhythm all are here!
+
+Romney painted no fewer than thirty pictures of the “Divine Emma,” in
+character and with titles, and fourteen portraits, without titles; and,
+besides, he painted many replicas and variants of these portraits.
+
+Emma Hart came into Romney’s life in 1782, taken to the painter’s
+studio in Cavendish Square one April morning by the Hon. Charles
+Francis Greville, second son of the Earl of Warwick, with whom she was
+then living. Romney was instantly struck by her extraordinary beauty,
+vivacity, and talent for posing. From this first picture, entitled
+_Nature_ and representing Emma with a little black spaniel under
+arm, for which Greville paid twenty guineas, Romney produced portrait
+after portrait in various characters: Alope; Ariadne; Bacchante; In a
+Black Hat; Calypso (perhaps the same as Ariadne); Cassandra; Circe;
+Comedy; Comic Muse; Cybele; Daphne (perhaps the same as Bacchante);
+Contemplation; Emma in a Straw Hat (see page 405); Euphrosyne; Gipsy;
+Iphigenia; Joan of Arc; Kate (same as Ariadne); Magdalen; Medea;
+Meditation; with Miniature in Belt; Miranda; Lady Hamilton in Morning
+Dress; Nature; Nun; Pythian Priestess; Reading the Gazette; St.
+Cecilia; Sensibility; Serena; Servant’s Cap; Shepherdess; Sigismunda;
+Spinning-Wheel; Supplication; With Vesuvius in the Distance; Welsh
+Girl; Wood Nymph (same as Alope).
+
+Portraits without titles are: Seated resting head on right hand,
+white dress; Bust to left showing hands, head leaning on right hand,
+forefinger on chin, bare neck and shoulders, blue and white drapery;
+Half-length, life-size, head facing, resting on crossed hands, light
+dress, colored scarf twisted around the head, arms bare to elbow,
+leaning on table; Head looking up to left; Head looking up to left
+(oval); Head to left with startled expression (sketch); Three-quarter
+length figure seated to left looking back over left shoulder, head
+resting on left hand, white dress and cap and colored sash; Half figure
+turned to right, white dress, white drapery around head (several
+versions); Head, shoulders, full face, low cut white dress, dark curly
+hair; Bust facing front, face looking down reading a book, white dress,
+brown background; Bust, life-size looking upward and smiling; White
+veil over head; Head and shoulders looking at spectator and smiling,
+dark red dress cut low, brown hair falling over shoulders, turban; Half
+figure directed to left looking at spectator, dark dress, white fichu,
+dark felt hat with broad brim and bunch of feathers, hair bound with
+blue ribbon, hands resting on lap, white lace cuffs.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  EMMA, LADY HAMILTON
+
+    --_George Romney_]
+
+The story of Emma, Lady Hamilton, is a strange one. She was born on
+April 26, 1761, at Denhall, Chester, the only child of Henry Lyon, a
+blacksmith: no one knows why she took the name of Hart. While she was
+a child, her mother moved to Hawarden, entering the service of Mrs.
+Thomas, wife of the parish doctor, and Emma remained there until she
+was sixteen, earning her living as nursery-maid and waiting-woman. We
+find her in London in her eighteenth year employed in the celebrated
+Temple of Health, of which the notorious empiric, Dr. Graham, was
+the originator and proprietor, presiding there as the “lovely Hebe
+Vestina, Rosy Goddess of Health.” Here, at certain times of day, the
+“lovely Hebe” and the famous quack could be seen buried up to their
+necks in the mudbaths, Dr. Graham’s hair dressed according to the
+latest expression of the perruquier’s taste and Hebe with one of those
+towering head-dresses of the day, powdered and decorated with flowers,
+feathers, ropes of pearls, and gewgaws of many kinds.
+
+Sir Walter Armstrong is of the opinion that Emma Hart sat for
+Gainsborough’s _Musidora Bathing her Feet_ (in the National Gallery,
+London). “The features,” he says, “are those of Emma Lyon refined, the
+hair is hers, and the rest of the figure is what we find in several of
+Romney’s pictures.”
+
+There is a very good reason that this might be so, for Gainsborough
+rented one part of Schomberg House, Pall Mall, and Dr. Graham rented
+the other. Consequently, Gainsborough had every opportunity of seeing
+the lovely Emma very frequently.
+
+While presiding at Dr. Graham’s establishment, Emma attracted the
+attention of Sir Henry Featherstonehaugh of _Up Park_, Sussex, who
+persuaded her to leave the Temple and reside at _Up Park_. In the
+following year she placed herself under the protection of the Hon.
+Charles Greville.
+
+In 1784 Sir Charles’s uncle, Sir William Hamilton, his Majesty’s
+Ambassador at Naples, came to London on a visit, a widower, a man of
+distinguished tastes, an art-connoisseur, a lover of music, and a
+descendant of a noble family. Sir William became fascinated with Emma
+and there was a clever transfer of Emma, not to the credit of either of
+these dashing “blades.” Ultimately Emma joined Sir William in Naples,
+where she was lodged at the British Embassy and treated with the
+distinction due royalty, having, moreover, her carriage, boat, livery,
+and other appurtenances of state. In a letter to the Hon. Charles, Emma
+says: “Sir William is very fond of me and very kind to me. The house
+is full of painters painting me. He has now got nine pictures of me
+and two a-painting. Marchant is cutting my head in stone, that is in
+cameo for a ring. There is another man modelling me in wax and another
+in clay. All the artists is come from Rome to study from me, so that
+Sir William as fitted up a room that is called the painting-room. Sir
+William is never a moment from me. He goes no where without me. He has
+no dinners but what I can be of the party. Nobody comes without they
+are civil to me.”
+
+On Sept. 6, 1791, the infatuated Ambassador married Emma in Marylebone
+Church, the Marquis of Abercorn, Sir William’s kinsman, acting as best
+man. During the months preceding the wedding Emma sat almost daily to
+Romney.
+
+On June 19, 1791, Romney wrote to William Hayley: “At present and the
+greatest part of this summer, I shall be engaged in painting pictures
+from the _divine lady_. I cannot give her any other epithet for
+I think her superior to all womankind. I have two pictures to paint
+of her for the Prince of Wales. She says she must see you before she
+leaves England, which will be in the beginning of September. She asked
+me if you would not write my life. I told her you had begun it; then
+she said she hoped you would have much to say of her in the life, as
+she prided herself on being my model.”
+
+Romney also gave a party in Emma’s honor, on which occasion she
+displayed her remarkable talents. Romney wrote:
+
+“She performed in my house last week, singing and acting before some of
+the nobility with most astonishing power. She is the talk of the whole
+town, and really surpasses everything, both in singing and acting,
+that ever appeared. Gallini offered her two thousand pounds a year and
+two benefits if she would engage with him, on which Sir William said
+pleasantly that he had engaged her for life.”
+
+Directly after her marriage Lady Hamilton gave Romney a sitting. His
+_Diary_ has these dates:
+
+    “Sept. 5 Mon. Mrs. Hart at 9.
+    Sept. 6 Tues. Lady Hamilton at 11.”
+
+Sir William and Lady Hamilton left soon afterwards for Naples and
+Romney and Emma never met again.
+
+Sir William Hamilton died in 1803; but from 1796 Emma had lived with
+and for Lord Nelson until his death in the Battle of Trafalgar. Emma
+died at Calais, Jan. 15, 1815.
+
+The portrait shown here (30 × 25 inches), belonged to Tankerville
+Chamberlayne, Esq., and then passed into the Collection of Alfred C. de
+Rothschild, Esq.
+
+England indirectly owes to Lady Hamilton one of Nelson’s great
+victories. When Nelson was in pursuit of the French, it was Lady
+Hamilton who obtained the order from the King of Naples for the fleet
+to enter port for provisions and water. Nelson thereupon entered the
+harbor of Syracuse, watered his fleet, and fought the victorious Battle
+of the Nile. A few months later Lady Hamilton and Nelson managed to
+rescue the Royal family of Naples by taking them through a subterranean
+passage and by boats to Nelson’s ship, the _Vanguard_. “The world
+owes it to Lady Hamilton,” says John Paget, “that the sister of Marie
+Antoinette did not share her horrible fate--that another head, as fair
+as that which fell into the basket of sawdust in front of the Tuileries
+on the 16th of October, 1793, did not roll on the scaffold at Naples in
+1799. When we come to take the account as it stood between the world
+and Lady Hamilton when it finally closed in 1815, we find it strangely
+changed since 1791. The balance has turned. It is the world, it is
+humanity, that is the debtor.”
+
+What a strange career! A woman of matchless beauty, artistic gifts of
+a high order, mental brilliance, generosity, charm, and kindness of
+heart, and, moreover, able to educate herself in the ways of society,
+admired, and courted by princes, artists, and men of powers, the
+intimate friend of the Queen of Naples, the beloved of Lord Nelson, the
+deity of Romney, enjoying at one time all that wealth and distinction
+could give and at the end forlorn, poor, and deserted, and dying in a
+foreign country--such was the life of Emma, Lady Hamilton!
+
+How beautifully Humphrey Ward sums up the whole situation:
+
+“We know that in later years many painters tried their skill upon
+her--Reynolds once, Madame Vigée Le Brun at least twice, Angelica
+Kauffman probably, and many an Italian painter and sculptor to whom
+she sat in Sir William’s painting-room at Naples. But none of these
+artists, not even Reynolds himself, in the well-known _Bacchante_,
+made of the most beautiful woman in the world anything that was
+distinctive, anything that was much removed from the commonplace. It is
+Romney alone who has preserved the life of those wonderful features,
+of that radiant hair, and of the multitudinous phases of expression
+through which this born actress, inspired by his suggestions, passed
+seemingly at will. Her name remains inseparably bound, though in very
+different ways, with the names of two great men--a hero and a painter.
+In the _Chronique scandaleuse_ of a hundred years ago, Emma
+belongs to Nelson; in the history of art, she belongs to Romney.”
+
+
+                        ANNE, LADY DE LA POLE.
+
+    _George Romney
+    (1734–1802)._
+
+    _Collection of the
+    Hon. Alvan T. Fuller._
+
+The portrait represented here of Anne, Lady de la Pole, oils on canvas
+(49 × 39½ inches), was painted in 1786 after the great Lady Hamilton
+period. The dress is of white satin with puffed sleeves of white mull
+and a sash of pale green with gold fringe. The slippers, of pale green,
+match the sash. The hair is powdered and draped with a white veil.
+
+A critic notes that “the sheen of the white satin dress has since it
+was painted one hundred and forty years ago become slightly tinged with
+mauve thus completely harmonizing with the light color of the sash and
+shoes. The manipulation of the light on the right side of the picture
+gives a mellow autumnal atmosphere to the portrait of a dignified and
+beautiful woman.”
+
+  [Illustration:
+
+   _Collection of the Hon. Alvan T. Fuller_
+
+  ANNE, LADY DE LA POLE
+
+    --_George Romney_]
+
+Anne, Lady de la Pole, was the only daughter of John Templer, Esq.,
+of Stover House, Devon, and was married in January, 1781, to Sir John
+William Pole, sixth Baronet and son of Sir John Pole of Shute, Devon,
+whom he succeeded in 1766. Sir John assumed by “sign-manual” the name
+of de la Pole.
+
+At the same time that he made this beautiful portrait, Romney also
+painted Sir John de la Pole, as a companion piece. Lady de la Pole died
+in 1832.
+
+
+                  THE HON. MRS. GRANT OF KILGRASTON.
+
+    _Sir Henry Raeburn
+    (1756–1823)._
+
+    _Collection of
+    Mr. C. Fisher._
+
+This picture comes from the Collection of Colonel Walter Brown of
+Renfrew and was formerly in the Collection of the Hon. Mr. Stuart Gray.
+
+It is an oil on canvas (30 × 24 inches), depicting _Mrs. Grant of
+Kilgraston_, daughter of Francis, Lord Grey. The lady is turned
+three quarters to the left and wears a dark gown with deep loose frill
+of white around the neck. Her hair falls in careless curls over her
+brow. The background is plain.
+
+Compared with Sir Joshua Reynolds’s some two thousand portraits,
+Raeburn’s some seven or eight hundred is small; but it is, after all, a
+goodly number.
+
+“Raeburn,” in the words of his fellow-townsman, Robert Louis Stevenson,
+“was a born painter of portraits. He looked people shrewdly between the
+eyes, surprised their manners in their face and had possessed himself
+of what was essential in their character before they had been many
+minutes in his studio. What he was so swift to perceive he conveyed to
+the canvas almost in the moment of conception.”
+
+Raeburn, born in Stockbridge, a suburb of Edinburgh, in 1756, became
+the leading Scottish portrait-painter, President of the Royal Society
+of Artists at Edinburgh, and a Royal Academician in 1815, presenting in
+1821 his diploma picture _The Boy with Rabbit_. Raeburn was knighted by
+George IV in 1822.
+
+Raeburn was almost entirely self-taught; and it seems strange that with
+practically no training, as the world understands this word, that he
+should have risen to the circle of great painters. Many of the greatest
+Italian painters of the Renaissance began life as goldsmiths. So did
+Raeburn. After a preliminary education at the famous Heriot’s Hospital
+in Edinburgh, he was apprenticed to a goldsmith in that city. Next he
+took up miniature-painting and passed on to oils, devoting himself to
+portraits. Success came quickly and early. At the age of twenty-two
+Raeburn was thoroughly established as the leading portrait-painter in
+Scotland and had married a wealthy widow of title. A visit to London
+and Rome in 1785–7 was the only break in his enviable life, passed
+in the greatest serenity replete with domestic happiness, social
+distinction, and artistic fertility. Practically an entire generation
+of the men and women of Scotland, most of them celebrities--sat to
+Raeburn in his studio.
+
+As Raeburn’s portraits are neither signed nor dated and no very marked
+periods emphasize his style, it is difficult to assign accurate dates
+to any of his works unless some special year is attached to them.
+Moreover, no lists of the sitters and note-books are known. If he
+kept them they were destroyed. However, as Raeburn advanced in years
+he attained more and more command of technique, his appreciation of
+character became deeper, and his expression of it more complete.
+
+Raeburn was appreciated by his contemporaries. When he showed some of
+his portraits to Sir Joshua Reynolds in London in 1785, Sir Joshua took
+him at once into favor and friendship; Sir Thomas Lawrence pronounced
+the portrait of _The Macnab_ (the Highland Chieftain) the best
+representation of a human being he had ever seen; and Sir David Wilkie
+compared Raeburn to Velasquez. Writing to a brother artist from Madrid
+in 1828 Sir David remarks:
+
+“There is much resemblance between Velasquez and the works of some of
+the chiefs of the English School; but of all Raeburn resembles him
+most, of whose square touch in heads, hands, and accessories, I see
+the very counterpart of the Spaniard.” Wilkie also wrote to Alexander
+Nasmyth from Spain: “There are some heads by Velasquez in Madrid,
+which, were they in Edinburgh, would be thought to be by Raeburn; and I
+have seen a portrait of _Lord Glenlee_, I think, by Raeburn, which
+would in Madrid be thought a near approach to Velasquez.”
+
+  [Illustration:
+
+   _Collection of Mr. C. Fisher_
+
+  THE HON. MRS. GRANT OF KILGRASTON
+
+    --_Sir Henry Raeburn_]
+
+Dr. John Brown, one of Raeburn’s best friends, described his methods
+as follows: “Like Sir Joshua, Raeburn placed his sitters on a high
+platform, shortening the features and giving a pigeon-hole view
+of the nostrils. The notion is that people should be painted as if
+they were hanging like pictures on the wall, a Newgate notion, but it
+was Sir Joshua’s. Raeburn and I have had good-humored disputes about
+this. I appealed to Titian, Van Dyck, etc., for my authorities; they
+always painted people as if they were sitting opposite to them, not
+on a mountebank stage, or dangling on the wall. This great question
+we leave to be decided by those who know best. His manner of taking
+his likenesses explains the simplicity and power of his heads. Placing
+his sitter on the pedestal, he looked at him from the other end of a
+long room, gazing at him intently with his great dark eyes. Having
+got the idea of the man, what of him carried farthest and ‘told,’ he
+walked hastily up to the canvas, never looking at his sitter, and
+put down what he had fixed in his inner eye; he then withdrew again,
+took another gaze and recorded his results, and so on, making no
+measurements.”
+
+It is pleasant to catch a glimpse of a painter from another painter.
+Farington writes in his _Diary_, Sept 21, 1801:
+
+“I next went to Mr. Raeburn, the portrait-painter most esteemed here
+who lives in York Place, New-Town. The house is excellent and built
+by himself. His show room is lighted from the top. His painting-room
+commands a view of the Forth and the distant mountains. Here I found
+pictures of a much superior kind to those I saw at Mr. Nasmyth’s. Some
+of Mr. Raeburn’s portraits have an uncommonly true appearance of nature
+and are painted with much firmness, but there is great inequality in
+his works. That which strikes the eye is a kind of Camera Oscura effect
+and from those pictures which seem to be his best, I should conclude
+he has looked very much at nature, reflected in a camera. Raeburn and
+Nasmyth do not associate much with other artists and hold themselves
+very high. Raeburn scarcely indeed with any of the profession. The
+prices of Raeburn are 100 guineas for a whole length, 50 guineas half
+length, 30 guineas for a kit-cat and 25 guineas for a three-quarter
+portrait.”
+
+
+                            QUINTON McADAM.
+
+    _Sir Henry Raeburn
+    (1756–1823)._
+
+    _Collection of
+    Mr. A. W. Erickson._
+
+Raeburn was particularly happy in painting portraits of children, full
+of naturalness and charm and character; and it will be remembered that
+he chose for his contribution to the Royal Academy the lovely _Boy
+with a Rabbit_.
+
+  [Illustration:
+
+   _Collection of Mr. A. W. Erickson_
+
+  QUINTON McADAM
+
+    --_Sir Henry Raeburn_]
+
+On a par with this masterpiece stands the portrait represented here
+of _Quinton McAdam_, a little boy twelve years old, the only son of
+Quinton McAdam of Craigengillan, Ayrshire, to whom Burns wrote an
+“_Epistle_” addressed to Mr. McAdam of Craigengillan. Quinton McAdam
+was born in Angus in 1805 and died in 1826 and this picture hung for
+over a hundred years at Camlarg, the dower-house of Craigengillan until
+it was purchased by the Agnews of London in 1926. The family still
+possess Raeburn’s receipt for payment for the picture.
+
+The portrait is painted on canvas (61 × 47 inches), life-size, and
+represents the boy in light yellowish-brown trousers, dark jacket,
+and white, ruffled shirt. The light shines beautifully on his satiny,
+blonde hair. His eyes are violet blue.
+
+
+                             MARY HORNECK.
+
+                         (THE JESSAMY BRIDE.)
+
+    _John Hoppner
+    (1758–1810)._
+
+    _Collection of
+    Mr. and Mrs. Charles P. Taft._
+
+This canvas (29 × 24½ inches), a portrait of _Mrs. Gwyn_, better
+known as Mary Horneck, Oliver Goldsmith’s “Jessamy Bride,” remained
+in the possession of the Gwyn family until it was sold at Christie’s
+in 1889. Subsequently it passed into the Collection of Mr. Henry G.
+Marquand and thence into the home of Mr. and Mrs. Charles P. Taft in
+Cincinnati.
+
+  [Illustration:
+
+   _Collection of Mr. and Mrs. Charles P. Taft_
+
+  MARY HORNECK “THE JESSAMY BRIDE”
+
+    --_John Hoppner_]
+
+The “Jessamy Bride” appears in a low-cut, white dress with blue sash
+and a white cap with a peacock-blue bow and tied under her chin with a
+narrow, black ribbon, or cord. A black spotted scarf is thrown around
+her waist and draped over her arms. The complexion is rosy, the eyes
+are brown, and the hair is powdered _à la mode_.
+
+Mary Horneck was the daughter of Captain Kane William Horneck of the
+Royal Engineers and Hannah Mangles, known in her day as “the Plymouth
+Beauty.” Both were painted by Sir Joshua Reynolds. Captain Horneck
+died in 1755, leaving his widow in comfortable circumstances and
+she immediately removed with her three children, Charles, Mary, and
+Catherine, to London. About 1769 the Hornecks became acquainted with
+Oliver Goldsmith, who had three years before that date written _The
+Deserted Village_, which he dedicated to Sir Joshua Reynolds, then
+President of the Royal Academy. Goldsmith soon found appropriate names
+for the Horneck children. Mary was the “Jessamy Bride”; Catherine was
+“Little Comedy” and Charles was the “Captain in Lace.” They are all
+three mentioned in Goldsmith’s acceptance to a dinner given by Dr.
+Baker to the Hornecks and to which the Horneck girls sent an invitation
+to Goldsmith in rhyme. Goldsmith’s reply was as follows:
+
+    “Your mandate I got,
+    You may all go to pot,
+    Had your senses been right
+    You’d have sent before night;
+    As I hope to be saved,
+    I put off being shaved;
+    For I could not make bold
+    While the matter was cold,
+    To meddle in suds,
+    Or to put on my duds;
+    So tell Horneck and Nesbitt
+    And Baker and his bit,
+    And Kauffman beside
+    And the Jessamy Bride,
+    And the rest of the crew,
+    The Reynoldses too,
+    Little Comedy’s face,
+    And the Captain in Lace--
+    (By the bye, you may tell him
+    I have something to sell him)--
+    Tell each other to rue
+    Yon Devonshire crew
+    For sending so late
+    To one of my state.
+    But ’tis Reynold’s way
+    From Wisdom to stray
+    And Angelica’s[36] whim
+    To be frolick like him;
+    But alas! your good worships, how could they be wiser
+    When both have been spoiled in to-day’s _Advertiser_?”
+
+It was after Goldsmith’s death that Mary Horneck married Col. Gwyn of
+the 16th Dragoons, who eventually became an equerry to the King. On his
+appearance at Court, Fanny Burney noted that “Colonel Gwyn is reckoned
+a remarkably handsome man and he is husband of the beautiful eldest
+daughter of Mrs. Horneck.” Of Mary Horneck, now Mrs. Gwyn, Fanny Burney
+wrote in 1788, she was “as beautiful as the first day I saw her; all
+gentleness and softness;” and a year later, as “soft and pleasing and
+still as beautiful as an angel.”
+
+Mrs. Gwyn became a Woman of the Bedchamber to Queen Charlotte and died
+in London in 1840, at the age of eighty-seven.
+
+Catherine Horneck (“Little Comedy”) married in 1771 the artist, Henry
+William Bunbury. Their son, Charles John Bunbury was painted at the age
+of eight or nine, by Sir Joshua Reynolds.
+
+John Hoppner born in Whitechapel, London, of German parents, in
+1758, was a follower of Sir Joshua Reynolds. He exhibited at the
+Royal Academy and became a Court-Painter and a rival of Lawrence.
+Hoppner married in 1782 the daughter of Mrs. Wright, the American
+sculptress and maker of wax-works, who often sat to him as a model.
+Hoppner exhibited his first picture at the Royal Academy in 1780; and,
+through the patronage of the Prince of Wales, became a fashionable
+portrait-painter. After the death of Gainsborough and Reynolds, Hoppner
+and Lawrence commanded the field of art. Hoppner’s charming canvases,
+which are very characteristic of the period, are gaining in vogue day
+by day and bring very large prices.
+
+
+                   ELIZA FARREN, COUNTESS OF DERBY.
+
+    _Sir Thomas Lawrence
+    (1769–1830)._
+
+    _Collection of
+    Mr. J. P. Morgan._
+
+Lawrence was only a young man of twenty-one when he sent to the Royal
+Academy Exhibition of 1790 this portrait of _Miss Farren_, which was
+catalogued as _The Portrait of an Actress_.
+
+The picture, oils on canvas (80 × 57 inches), shows the graceful young
+woman walking in a beautiful English park with a blue sky overhead,
+and who has paused for a moment. She wears an ivory-white, satin cloak
+trimmed with brown fur over a soft white muslin gown. Her gloved left
+hand is holding a large muff on which is a blue bow.
+
+The picture was very much criticized. On hearing many adverse opinions,
+Miss Farren wrote to Lawrence:
+
+“One says it is so thin in the figure that you might blow it away;
+another that it looks broke off in the middle; in short, you must make
+it a little _fatter_ at all events diminish the _bend_ you
+are so attached to, even if it makes the picture look ill, for the
+owner of it is quite distressed about it at present. I am shocked to
+tease you and dare say you wish me and the portrait in the fire; but
+as it was impossible to appease the cries of friends, I must beg you
+to excuse me.” The owner Miss Farren refers to was most probably Lord
+Derby.
+
+At the death of Eliza, Countess of Derby, the portrait became the
+property of her daughter, Mary Margaret, wife of Thomas, second Earl
+of Wilton. From her descendant, Lord Wilton, the picture passed into
+the Collection of Mr. Ludwig Neumann of Manchester, and thence into
+possession of Mr. J. Pierpont Morgan, from whom it was inherited by his
+son.
+
+  [Illustration:
+
+   _Collection of Mr. J. P. Morgan_
+
+  ELIZA FARREN, COUNTESS OF DERBY
+
+    --_Sir Thomas Lawrence_]
+
+This picture is very well known by the famous engraving by Bartolozzi,
+published in 1792, and re-issued in colors in 1797. On the death of
+Lady Derby in March, 1797, the Earl of Derby married, two months later,
+the subject of this portrait, to whom he had long been attentive. In
+the _Farington Diary_, under date of October 15, 1797, we read:
+
+“Miss Farren (the actress afterwards Lady Derby) was bridesmaid to
+Lady Charlotte Stanley (Lord Derby’s daughter). Lord Derby’s attachment
+to Miss Farren is extraordinary. He sees her daily and always attends
+the play when she performs. When she came to _Knowsley_ her mother
+was with her, so careful she is of appearances.”
+
+And again on May 20, 1797: “Lady Gage told Hoppner that when Lady Derby
+(Miss Farren the actress recently married to Lord Derby) was presented,
+the Queen _advanced to her_, which is a great compliment.”
+
+Eliza Farren, born in 1759, was the daughter of George Farren, a
+surgeon and an apothecary of Cork, who went on the stage and attained
+a little success. His wife and daughters also followed him and,
+consequently, Eliza was brought up in the theatre. She played juvenile
+parts in Bath, acting with her family, and often sang between the acts.
+At the age of fifteen she appeared in Liverpool as Rosetta in _Love
+in a Village_ and soon afterwards as Lady Townly in _The Provoked
+Husband_. In 1777 she made her London _début_ at the Haymarket as
+Miss Hardcastle in _She Stoops to Conquer_ with great success and for
+many years she was the favorite actress of the Haymarket and of Drury
+Lane. When the charming Mrs. Abington left Drury Lane in 1782, Miss
+Farren was accepted as her successor. Miss Farren’s specialty was the
+fine and fashionable lady and her big part was Lady Townly. She was
+greatly admired in the _rôles_ of Lady Fanciful in _The Provoked Wife_;
+Berinthia in the _Trip to Scarborough_; Belinda in _All in the Wrong_;
+Angelica in _Love for Love_; Elvira in _The Spanish Friar_ and also in
+the Shakesperian parts of Juliet and Olivia in _Twelfth Night_.
+
+Thomas Lawrence was born in Bristol in 1769 and spent his early years
+in Devizes, where his father was proprietor of the Black Bear Inn.
+Very early the boy showed remarkable talent for drawing portraits in
+crayons. He was so successful that he went to Bath, took a studio, and
+began his remarkable career which reached its climax when he became the
+foremost portrait-painter in England.
+
+“In 1787 the wish of Lawrence’s heart was realized, and we find the
+young painter, then eighteen, established in rooms in what was then
+known as Leicester Fields--the present Leicester Square. He was
+accompanied to London by his father and on the thirteenth of September
+of that year he was admitted as a student of the Royal Academy. Armed
+with a letter of introduction from Prince Hoare, one of Lawrence’s Bath
+patrons, a member of the Dilettanti Society and Secretary for Foreign
+Correspondence to the Royal Academy, Lawrence obtained an interview
+with Sir Joshua Reynolds, and as a specimen of his ability and artistic
+skill he took to the President an oil-portrait of himself, painted in
+1786. He was kindly received by the courtly old Sir Joshua, who praised
+his work and spoke most encouragingly to the young artist. “You have
+been looking at the _Old Masters_, I see,” he said, “but my advice is
+this: Study Nature! Study Nature!”
+
+Three years later the young artist, who was extremely handsome and
+“romantic” in appearance, exhibited his picture of _Miss Farren_
+at the Royal Academy, which attracted much attention.
+
+In 1791 Lawrence made a drawing of a much more beautiful subject,
+_Emma, Lady Hamilton_, from which a print was engraved.
+
+“Hoppner who was ten years older than Lawrence,” writes Lord Ronald
+Sutherland Gower, “had been for some time the favorite painter of
+George, Prince of Wales, with the result that half the smart ladies of
+the town sat to him. But the King, who allowed the Queen’s and Princess
+Amelia’s portraits to be painted by Lawrence, became so much interested
+in him, that, on the death of Sir Joshua Reynolds in February, 1792,
+he decided that the young painter, then not twenty-three years of age
+and not yet a full member of the Academy, should be appointed to the
+post of Painter-in-Ordinary, an office that had been filled by the late
+President. ‘Never perhaps, in the country,’ writes Redgrave, in his
+account of Lawrence, ‘had a man so young, so uneducated, so untried
+in his art, advanced as it were _per saltum_ to the honors and
+emoluments of the profession.’ The King’s favorite painter was the
+American, Benjamin West, Sir Joshua’s successor in the Presidential
+Chair, and Windsor was filled with his historical pictures, which,
+although once valuable, would not now fetch even a modest sum if they
+were sold at Christie’s.”
+
+About 1790 Lawrence removed to Old Bond Street, installing himself in
+a handsome apartment with his friend, Farington, as his secretary.
+
+Lawrence tried to paint imaginary and historical pictures, but it soon
+was evident that portraiture was his forte. The death of Opie in 1807
+and of Hoppner in 1810, left him without a rival. On the death of
+Benjamin West in 1820, Lawrence was unanimously elected President of
+the Royal Academy. Fuseli, a little dissatisfied, exclaimed: “Well!
+well! since they must have a face-painter to reign over them, let them
+take Lawrence; he can at least paint eyes!” The period between 1820 and
+1830 (when Lawrence died) is practically a “Lawrence Age.” Sir Thomas
+painted everybody of note from George IV and the Duke of Wellington
+to fashionable ladies of no particular distinction save their wealth.
+His full-length portrait of George IV in his Coronation robes was so
+frequently copied and given by the King to his friends that nearly
+every Royal Collection in Europe can show a replica.
+
+The spirit of the age was certainly expressed in Lawrence’s portraits.
+We have only to look at such portraits as the _Countess of Blessington_
+(Wallace Gallery), _Lady Peel_ (Frick Collection), _Lady Dover and
+her Son_, and _La Duchesse de Berri_ to realize how true this is.
+These ladies look as if they had stepped from the pages of Akermann’s
+_Repository_.
+
+It is always interesting to learn what an artist has to say about his
+own work. To Mrs. Jameson, Lawrence wrote the following:
+
+“My thoughts have almost invariably been devoted to Sir Joshua, and,
+generally, to the Italian School--Raphael, Correggio, Titian, even
+Parmigiano. An admirer of the very finest works of Van Dyck, and
+acknowledging the consistent ability of his pencil, I have been less
+his votary than, perhaps, hundreds since his time, of distinguished
+taste and talent (Gainsborough, for instance), to whose judgment in
+other cases I should justly bend. Rubens has been infinitely more the
+object of my admiration; but, as you know, presents very little as
+example for portrait-painting.
+
+“Sir Joshua continues to be more and more my delight and my surprise.
+Rembrandt has another and still higher place in my affection. In my
+men, then, I have thought of both, and of Titian and of Raphael, as
+the subjects approached their style. In women, of Sir Joshua, Raphael,
+Parmigiano, and Correggio. In children, of Sir Joshua and the two
+latter. In my portraits of Kemble and of Mrs. Siddons, of the highest
+Italian School.”
+
+In 1825 the King of France gave Lawrence the Cross of the _Legion
+d’honneur_. Lawrence died in 1830, unmarried, a fashionable “man
+about town,” courted, admired, and not unlike Lord Byron, in some
+respects. Lord Gower says:
+
+“That his fame underwent a marked decline during the half-century after
+his death in this country cannot be doubted; but within the last few
+years a reaction has set in, which is tending to place him again in the
+forefront of our greatest portrait-painters.
+
+“Both as a man and as an artist Lawrence was impressionable, and in
+his work was entirely influenced by the spirit of his period, a period
+of affectation that frequently bordered upon vulgarity. If Lawrence’s
+art in portraiture had been genius instead of talent of the highest
+order, he would have created a public taste instead of slavishly
+following that set by the Court or Society of his day. As it was, his
+work was the ultimate expression of the curtain and column school of
+portraiture, and his success set a fashion that was followed for years
+afterwards by innumerable portrait-painters. These, in imitating the
+style, missed the spirit and perception by which Lawrence, trammelled
+as he was by the absurdities of dress and conventionality of attitude
+and surroundings, was enabled to place upon his canvases some
+suggestion of the actual identity of his sitters. And it was not until
+the advent of George Frederick Watts and the late Sir John Everett
+Millais that the effects of the imitation of the obvious points of
+Lawrence’s style finally disappeared from English portraiture.
+
+“Lawrence’s chief defect was that he turned his art too much into a
+trade; he would have attained a far higher position had he contented
+himself with painting half the people he did, and his name would have
+stood on a higher pinnacle in the Temple of Fame. During the last
+twenty years of his life he painted but little more, as a rule, than
+the face of his sitter, the rest of the picture being completed by
+his pupils; or rather his assistants. This practice has, of course,
+lessened the value of his portraits.
+
+“These are grave failings; but on the other side, his great merits are
+incontestable and weigh the scale in his favor. Where, except among the
+very greatest of those whose fame chiefly rests on their excellence in
+the art of portrait-painting--such giants as Titian, Rubens, Rembrandt,
+Velasquez, and Van Dyck, Reynolds, and Gainsborough--can finer work be
+shown them than in such astonishing likenesses as those of Lawrence
+when at his best; and the master must be judged by his master-works.
+His style, when once he had adopted it, had the great merit of being
+a style of its own, of much refinement and excellence in drawing;
+although his work was, perhaps, too smooth in technique and somewhat
+affected in feeling. His paintings have lasted, whereas those of many
+of his contemporaries are mere wrecks and shadows of their former
+selves; for he attempted no experiments in glazings and pigments, as
+was Sir Joshua’s wont, and his pictures are, as a rule, as fresh as
+when they were painted.
+
+“I believe it only fair to place him immediately beneath our
+three greatest portrait-painters,--that immortal trio, Reynolds,
+Gainsborough, and Romney: at a time when Hoppner, Opie, and Raeburn
+were all working, this is high praise.”
+
+
+                                PINKIE.
+
+    _Sir Thomas Lawrence
+    (1769–1830)._
+
+    _Collection of the late
+    Mr. Henry E. Huntington._
+
+This radiant portrait is generally considered to be Lawrence’s
+masterpiece. How fresh, how sweet, how breezy it is! “Pinkie” stands
+on a high hill with a beautiful low-lying landscape of wooded hills
+spreading out and undulating towards the distant horizon. The sky is
+dappled with swiftly moving clouds and the morning breeze is blowing
+pretty freshly, for Pinkie’s light gown is rippling with it and the
+strings of her bonnet are fluttering and flapping rather violently.
+These ribbons are pink, matching the sash which holds the diaphanous,
+white gown in place. Pinkie’s eyes are brown, large, and lustrous and
+her brown hair is touzled by the wind; but she looks at us so sweetly
+and brightly that we love her at first sight. How daintily her little
+slippered foot is planted on the flower-sprinkled turf! Her airy,
+youthful, billowy figure suggests the idea of Spring beneath whose
+every footstep flowers instantly appear in full bloom.
+
+  [Illustration:
+
+   _Collection of the late Mr. Henry E. Huntington_
+
+  PINKIE
+
+    --_Sir Thomas Lawrence_]
+
+How far she has come! Do we not see her home in the distance on the
+right, encircled by a crescent of leafy trees and with a wide driveway
+through the clearing?
+
+“Pinkie’s” name was Sarah Moulton-Barrett, and she was the only
+daughter of Charles Moulton, Esq., and his wife Elizabeth Barrett
+Moulton. Pinkie was born March 22, 1783, and the lovely child died at
+the age of twelve, the year in which this portrait was painted. It is
+interesting to note that Pinkie was the aunt of the famous poet, Mrs.
+Elizabeth Barrett Browning, who was the daughter of Pinkie’s brother,
+Edward Moulton-Barrett of Coxhoe Hall, Durham, and Hope End, Hereford.
+
+The portrait, oils on canvas (57½ × 39¾ inches), was painted in 1795
+and was formerly in the Collection of Octavius Moulton-Barrett, Esq.,
+Westover, Calbourne, Isle of Wight, and thence it passed to the Right
+Hon. Lord Michelham, K. C. V. O., London. A modern critic rapturously
+expresses what every one feels on looking at this enchanting picture:
+
+“If ever canvas was instinct with life, this picture lives and
+breathes. If ever the vehicle of oil paint spread on canvas has caught
+the wind as it blows, the light that dances in a mischievous child’s
+eyes, the breath of life and joy in living, Lawrence, in this picture,
+achieved the miracle. You feel, as you look at it, that you could read
+small print by its light in the dead of night. The color of it is the
+color of sea-downs on a May morning; the joy of it is of the joy of the
+first warm day of Spring. And in the little girl’s graceful figure are
+comprised whatever things are lovely, whatever things are pure, to the
+minds of men.”
+
+
+
+
+                                 INDEX
+
+         [Titles of Paintings in this book appear in italics.]
+
+
+    Abbey, mediæval, 170
+
+    Abel, Charles Frederick, 361
+
+    Act of Supremacy, 244
+
+    Adoration of the Kings (Gentile da Fabriano), 74, 77
+
+    Adoration of the Lamb (Van Eycks), 157, 168
+
+    _Adoration of the Magi_ (Benvenuto di Giovanni), 12–16
+
+    Adoration of the Magi (Botticelli), 58
+
+    Adoration of the Magi (Fra Angelico), 37
+
+    Adoration of the Magi (Memling), 174
+
+    _Adoration of the Shepherds_ (Mantegna), 104
+
+    Adoration of the Virgin (Lippi), 46
+
+    Age of Innocence (Reynolds), 340
+
+    Agnolo Gaddi, 18
+
+    _Agony in the Garden_ (Raphael), 90
+
+    Akermann’s Repository, 424
+
+    Albert, Charles d’, 178
+
+    Albertinelli, Mariotto, 24
+
+    Albigenses, 262
+
+    Albizzi family, 68
+
+    Allegri, Antonio, 93, 99
+
+    Alphonso, Duke of Ferrara, 99
+
+    Altichiero Altichieri, 93, 98, 103, 104
+
+    Ambassadors, The (Holbein), 250
+
+    “Anacreon of Painting,” The, 277
+
+    Anatomy Lesson, The (Rembrandt), 206
+
+    Analysis of Beauty, Hogarth’s, 337
+
+    Ancre, Marshall d’, 178
+
+    André, Major John, 398
+
+    Andrea d’Agnolo, 24
+
+    Andrea del Castagno, 19
+
+    Andrea del Sarto, 24
+
+    Andrea di Cione (Orcagna), 18
+
+    Andrea di Cione (Verrocchio), 23
+
+    Andrea di Firenze, 18
+
+    “Andrea senza errori,” 24
+
+    Anemone, 174
+
+    Angelo Allori, 24
+
+    Angels, Fra Angelico’s, 32–34, 38
+
+    Angels’ Heads (Reynolds), 338, 340
+
+    Anglo-Norman painters, 333
+
+    Anne of Austria, 176, 178, 194
+
+    _Anne, Lady de la Pole_ (Romney), 410
+
+    Annunciation, The, 28, 30
+
+    _Annunciation, The_ (Masolino), 28
+
+    Annunciation, Lily, 30
+
+    Annunzio, D’, quoted, 121
+
+    Antonello da Messina, 117, 124, 132
+
+    Antonello di Giovanni degli Antoni, 124
+
+    Antonio di San Gallo, 24
+
+    Antonio Veneziano, 18, 19
+
+    Antwerp School, 164, 166
+
+    Apple, 126
+
+    Arlequin, 281
+
+    Armand-Dayot, quoted, 302
+
+    Armida, 181
+
+    Armida, Garden of, 181
+
+    Armstrong, Sir Walter, quoted, 286, 340, 341, 385, 388, 406
+
+    Army Plot, 194
+
+    Arne, Dr., 331
+
+    Arnolfo del Cambio, 28
+
+    Arte de Medici e speziale, 17
+
+    Asolo, 144
+
+    Astrophel and Stella, 187–188
+
+    Audran, Claude, 284
+
+    Augsburg, 236
+
+
+    Baccio della Porta, 24
+
+    Bach, John Christian, 361
+
+    Balen, Hendrik van, 164, 165, 181
+
+    Baldovinetti, Alesso, 22, 23, 37, 48–51, 52, 70
+
+    Baptistery doors, 18, 20, 52
+
+    Barbizon School, 201
+
+    Barry, Madame du, 312
+
+    Bartolo di Fredi, 3
+
+    Basaiti Marco, 118
+
+    Bassano, Jacopo, 118
+
+    Bastiani, Lazzaro, 118
+
+    Bath, 348, 358, 361, 390, 422
+
+    Battle of the Nile, 408
+
+    Beatrice d’Este, 96, 107, 148, 150
+
+    Beauvais tapestry, 306
+
+    Beechey, Sir William, 337
+
+    Bellini, Gentile, 98, 116, 117, 118, 119, 132
+
+    Bellini, Giovanni, 98, 116, 117, 118, 119, 121, 124, 130–139, 151
+
+    Bellini, Jacopo, 8, 98, 116, 117
+
+    Bellini, Nicolosia, 97, 98
+
+    Bembo, Pietro (Cardinal), 144
+
+    Benci, Jacopo d’Antonio, 52
+
+    Benvenuto di Giovanni, 3, 12–16
+
+    Berenson, quoted, 8, 12, 36, 52, 62–63, 77, 83–84, 99, 103, 106,
+        122
+
+    Bermudas, Plantation of the, 190
+
+    Bernard di Betto, 74
+
+    Bernardo da Canale, 122
+
+    Berruguete, Pedro, 257
+
+    Birds, Painters of, Dutch, 203
+
+    Birds, Painters of, Italian, 19
+
+    _Billet-Doux, Le_ (Fragonard), 318
+
+    Birth of Venus (Botticelli), 59, 61, 66
+
+    Black Friars, 262
+
+    Blanc, Charles, quoted, 166, 182
+
+    Blount, Charles, Earl of Devonshire, 188
+
+    _Blue Boy, The_ (Gainsborough), 378–386
+
+    Boccatis, Camillo, 78, 172
+
+    Bode, Dr. Wilhelm, quoted, 207–208, 212, 228
+
+    Bodegones, 258
+
+    Bologna School, 98
+
+    Bonfigli, Benedetto, 74, 77–78
+
+    Bonvicino, Alessandro, 98
+
+    Bordone, Paris, 121
+
+    Borgia, Lucrezia, 99, 151
+
+    Borgognone, 110
+
+    Borgo San Sepolcro, 5, 9, 10, 22
+
+    Borluut, Isabella, 157
+
+    Bosch, Jerome, 164
+
+    Botticelli, Sandro, 21, 23, 47, 48, 55–66, 82, 94, 334
+
+    Boucher, François, 272, 304, 312, 316
+
+    Boulton, William H., quoted, 366
+
+    Boy with a Rabbit (Raeburn), 411, 416
+
+    Bramante di Milano, 93
+
+    Bramantino, 93
+
+    Brancacci Chapel, 19, 31, 45, 46, 48
+
+    Brancacci, Felice, 19, 31
+
+    Brancacci frescoes, 19, 31
+
+    Brandt, Isabella, 178
+
+    Bredius, Dr., quoted, 217–218
+
+    Brescia School, 98
+
+    Bronzino, 24
+
+    Brooke, Lord, 190
+
+    Brown, Dr. John, quoted, 412
+
+    Browning, Elizabeth Barrett, 428
+
+    Brueghel, “Hell-fire,” 165
+
+    Brueghel, “Peasant,” 164
+
+    Brueghel, “Velvet,” 165
+
+    Bruges, School of, 157, 161, 170
+
+    Brunelleschi, 103
+
+    Buisson, J., quoted, 120
+
+    Buckingham, Duke of, 192, 195, 196
+
+    Bull, The (Paul Potter), 201
+
+    Bunbury, Charles John, 419
+
+    Bunbury, Henry William, 419
+
+    Burger, quoted, 201, 203, 227
+
+    Burgundian Court, 158–160, 257
+
+    Burgundy, Dukes of, 334
+
+    Burnet, John, 382
+
+    Burney, Fanny, quoted, 344, 419
+
+    Buttall, Jonathan, 378–386
+
+    Byron, quoted, 348
+
+    Byzantine traditions, 3, 115
+
+
+    Cadore, 137–142
+
+    Cadore, Valley of, 146
+
+    Caliari, Paolo, 99, 120
+
+    Calonne, 252, 354
+
+    Campanile (Giotto’s), 26
+
+    Campbell, Thomas, 350
+
+    Campin, Robert, 162, 169
+
+    Canaletto, 121, 152
+
+    Caprichos, Los (Goya), 170
+
+    “Captain in Lace,” 418
+
+    Caravaggio, 258
+
+    _Cardinal Albrecht as St. Hieronymus_ (Cranach), 251
+
+    Cardinal Bembo, 144
+
+    Cardinal Granvella, 201, 257
+
+    _Cardinal Quiroga_ (El Greco), 259
+
+    _Camargo, La_ (Lancret), 291–292
+
+    Carnations, 25
+
+    Carpaccio, Vittore, 118
+
+    Cartwright, Mrs. Julia, quoted, 26, 39, 47–48, 69, 95, 150
+
+    Castiglione, Baldassare, 90
+
+    _Caterina Cornaro_ (Titian), 143
+
+    Caxton, William, 334
+
+    Cazes, Pierre Jacques, 302
+
+    Cenni dei Pepe, 17
+
+    Cennino Cennini, 18, 26
+
+    Champaigne, Philippe de, 278
+
+    “Chaponnay Nattier,” 288
+
+    Chardin, J. B. S., 277, 300–303, 316, 318
+
+    Charles I (England), 164, 179, 182, 190, 192, 194, 195
+
+    Charles II (England), 194, 195
+
+    Charles V (Emperor), 161, 240, 243, 257
+
+    Charles the Bold, 160, 161, 257
+
+    Château de Steen, 179
+
+    Cherries, 126
+
+    Chinoiserie, 276, 284
+
+    Christian Art, 3
+
+    Christina of Denmark, 243
+
+    Christus, Petrus, 162, 169–172
+
+    Cimabue, 17, 26
+
+    Cima da Conegliano, 118
+
+    Civic Guard Banquet (B. van der Helst), 200
+
+    Classic Architecture, 18, 31
+
+    Clement VIII, 56
+
+    Cleves, Anne of, 243
+
+    “Cock-fighting Earl,” 400
+
+    Coeck, Jerome, 164
+
+    Coello, Alonzo Sanchez, 258
+
+    Coleridge, quoted, 377
+
+    Colonel St. Leger (Gainsborough), 388
+
+    Columbine, 281, 284
+
+    Columbine, The (Luine), 110
+
+    Comédiens français, 284
+
+    Compagnia di San Luca, 18
+
+    Company of Capt. Roelof Bicker (B. van der Helst), 200
+
+    Connecticut, 190
+
+    Constable, John, 337
+
+    Convent of San Marco (Florence), 37, 38
+
+    Conversation-pieces, 199, 202
+
+    Cook, Herbert F., quoted, 140
+
+    Cooper, Samuel, 334
+
+    Copal, François, 207–210
+
+    Copal, Titia, 210
+
+    Coques, Gonzales, 166
+
+    Coronation of the Virgin (Lippi), 46
+
+    Corporation pictures, 201
+
+    Corésus and Callirhoé (Fragonard), 314, 316
+
+    Cornaro, Caterina, 121, 143–145, 146
+
+    Cornaro, Giorgio, 144, 146
+
+    Correggio, 93, 99, 119
+
+    “Correggio of Fruits and Flowers,” 203
+
+    Cosimas and Damianus, 39–42
+
+    Costa, Lorenzo, 93, 98, 99, 108
+
+    Costumes, Eastern, 20
+
+    Cotes, Francis, 337, 395
+
+    _Cottage Door, The_ (Gainsborough), 357
+
+    Council of the Eastern and Western Churches, 20
+
+    Countess of Coventry, 369
+
+    Couperin, 331
+
+    Court Beauties (Kneller), 336
+
+    Court Beauties (Lely), 336
+
+    Court of Mantua, 107
+
+    Court of Milan, 94–95, 151
+
+    _Cowper Madonna, The Small_ (Raphael), 86–88
+
+    Cowper Madonna of 1508 (Raphael), 84–86
+
+    Coypel, Noel, 302
+
+    Cranach, the Elder, Lucas, 251–252
+
+    Cranach, the Younger, Lucas, 236
+
+    Crivelli, Carlo, 98, 117, 125–130
+
+    Crome, John, 337
+
+    Cromwell, Oliver, 190, 334, 335
+
+    Crowe and Cavalcaselle, quoted, 138
+
+    Cust, Lionel, quoted, 138
+
+    Cuyp, Aelbert, 201
+
+
+    Daddi, Bernardo, 17, 18, 73
+
+    Dædalus, 184–186
+
+    _Dædalus and Icarus_ (Van Dyck), 184
+
+    Daisy, 174
+
+    _Danse, La_ (Watteau), 281
+
+    Dante, 3, 32
+
+    Davenport, The Hon. Mrs., 397–398
+
+    David Garrick and His Wife (Hogarth), 336
+
+    David, Gerard, 164
+
+    David, Jacques Louis, 270
+
+    Delany, Mrs., quoted, 376
+
+    Delmé, Lady Betty, 337
+
+    Derby, Earl of, 400, 420–422
+
+    Desastres de la guerra, 270
+
+    Deserted Village, The, 418
+
+    Desportes, A. F., 277
+
+    Desportes, Philippe, quoted, 186
+
+    _Deux Confidentes, Les_ (Boucher), 304
+
+    Devereux, Penelope, 187
+
+    Devereux, Walter, 187
+
+    _Diana, Viscountess Crosbie_ (Reynolds), 331, 337, 340, 346–347,
+        356
+
+    Diderot, quoted, 276, 303
+
+    _Dirk Berck of Cologne_ (Holbein), 246
+
+    Discourses on Art (Reynolds), 338
+
+    Doelen pictures, 199, 222
+
+    Doge Loredano (Giovanni Bellini), 132
+
+    Dom-bild, Cologne, 235
+
+    Domenichino, 138
+
+    Domenic de Guzman, 262
+
+    Domenico di Bartolo, 3
+
+    Domenico Veneziano, 22
+
+    Dominican Order, 262
+
+    Donatello, 18, 103, 106
+
+    Dosso Dossi, 99, 137
+
+    Dou, Gerard, 202
+
+    Drouais, F. H., 276, 310–314
+
+    Duccio di Buoninsegna, 3, 4, 5, 9, 17
+
+    Duchess of Argyll, 400
+
+    Duchess of Devonshire, 331, 356, 358, 361, 371
+
+    Duchess of Ferrara, 107
+
+    Duchess of Gloucester, 366
+
+    Duchess of Marlborough, 375
+
+    Duke of Gloucester, 369
+
+    Duke of Mantua, 178
+
+    Dulwich, Mrs. Siddons as Tragic Muse at, 353–356
+
+    _Duo, The_ (Lancret), 294
+
+    Duomo, 26
+
+    Dürer, Albrecht, 137, 200, 235, 236, 237–238
+
+    Dürer, etchings by, 238
+
+    Dürer, portraits by, 237
+
+    Dürer, wood-cuts by, 238
+
+    “Dutch Hogarth,” The, 203
+
+    Dutch School, 165
+
+    Duveen, Sir Joseph, 378
+
+    Dyck, Sir Anthony Van, 112, 164, 181–196, 300, 335
+
+
+    Edward VI (England), 240
+
+    Eighteenth Century French women, 288
+
+    Eighteenth Century Society, 229–231
+
+    El Greco, 258, 259–262
+
+    _Eliza Farren_ (Sir Thomas Lawrence), 420
+
+    Elizabeth Bas (Rembrandt), 212
+
+    Elizabeth Hamilton, Countess of Derby, 398–402
+
+    Embarquement pour l’Île de Cythère (Watteau), 281, 314
+
+    _Emma, Lady Hamilton_ (Romney), 403–410, 423
+
+    Erasmus, 242
+
+    Erasmus, quoted, 244
+
+    Ercole of Ferrara, Duke, 150
+
+    Essex, Earl of, 187, 190
+
+    Este family, 181
+
+    Este, Lionello, 168
+
+    Evangelista di Pian di Meleto, 89
+
+    Everdingen, Allart Van, 217–218
+
+    Everdingen, Cornelius Van, 217–218
+
+    Eyck, Hubert van, 157, 160, 200
+
+    Eyck, Jan van, 157, 158, 160, 170, 200, 286
+
+
+    Fabrics, Oriental, 10
+
+    Fabritius, Carel, 202, 227, 231
+
+    Fantin-Latour, 303
+
+    Farington Diary, quoted, 340–341, 344, 352, 380, 414, 420, 421
+
+    Farren, Miss, 400, 420–422
+
+    “Father of His Country, The,” 20
+
+    “Father of Painters,” 97
+
+    Faure, Élie, quoted, 262, 282, 302
+
+    _Feast of the Gods_ (Bellini), 137
+
+    Feast of the Pheasant, 159–160
+
+    Feast of the Rosary (Dürer), 238
+
+    Featherstonehaugh, Sir Henry, 406
+
+    Ferrarese School, 98
+
+    _Fête Champêtre, Une_ (Pater), 296
+
+    _Fête Galante, Une_ (Pater), 298
+
+    Fêtes galantes, 276, 284, 292
+
+    Fierens-Gevaert, quoted, 169
+
+    Filipepi, Alessandro di Mariano, 56
+
+    Fiorenzo di Lorenzo, 74
+
+    Fischer, John Christian, 361
+
+    Fisherman Presenting the Ring of St. Mark to the Doge (Paris
+        Bordone), 121
+
+    “Flemish Fra Angelico,” The, 174
+
+    Flemish Painting, 161, 162
+
+    Flemish School, 157
+
+    Floating Feather, The (M. d’Hondecoeter), 203
+
+    Floreins, Jan, 174
+
+    Florentine School, 17–72
+
+    Flower painters, 203
+
+    Flowers (Memling), 174
+
+    Fly represented, 128, 169
+
+    Fondaco dei Tedeschi, 118, 119, 152, 238
+
+    Fontainebleau, 24
+
+    Foppa, Vincenzo, 93
+
+    Fourment, Helena, 179
+
+    _Fountain in the Park, The_ (Hubert Robert), 322
+
+    Fox, Charles James, 342, 377
+
+    Fra Angelico, 19, 20, 32–42, 50, 76, 78, 103, 334
+
+    Fra Bartolommeo, 24, 89
+
+    Fra Filippo Lippi, 20, 22, 23, 42–48, 58, 334
+
+    Fra Giovanni da Fiesole, 19, 37
+
+    Fragonard, J. H., 272, 314–320
+
+    Francesco di Stefano, 22
+
+    _Francesco Sassetti and His Son Teodoro_ (Ghirlandaio), 72
+
+    Francia, Francesco, 93, 98, 99, 107–108
+
+    Franciabigio, 24
+
+    Francis I, 24
+
+    Franciscans, Order of, 6
+
+    Franconian School, 236
+
+    Frans, Robert, 235
+
+    Frantz, Henri, quoted, 324
+
+    Frederick the Great, 291, 296
+
+    French women of the Eighteenth Century, 288
+
+    Friars Minor, Order of, 6
+
+    Friedländer, Max J., quoted, 168, 176, 228
+
+    Fromentin, quoted, 207
+
+    Fruit, 126
+
+    Fry, Roger, quoted, 128
+
+    Fuggers, The, 236
+
+    Fulcher, quoted, 386
+
+    Fuller, quoted, 196
+
+    Fuseli, quoted, 424
+
+    Fyt, Jan, 165
+
+
+    Gabriel, Angel, 28, 30, 32, 34
+
+    _Gabriel, the Announcing Angel_ (Fra Angelico), 32
+
+    Gainsborough, Thomas, 329, 330, 331, 332, 333, 337, 357–392, 394,
+        426
+
+    Gandy, William, 338
+
+    Garden Scenes, 320
+
+    Garrick, David, 348, 350, 361
+
+    “Gates of Paradise,” 52
+
+    Gautier, Théophile, quoted, 38, 229
+
+    _General Nicolas Guye_ (Goya), 270
+
+    _General Philip Honywood_ (Gainsborough), 386
+
+    Genre painting, Dutch, 201
+
+    Gentile da Fabriano, 10, 16, 20, 31, 73, 74–77, 98, 103, 104,
+        116, 117, 157, 168
+
+    _Georgiana, Duchess of Devonshire_ (Gainsborough), 372–378
+
+    _Georgiana, Duchess of Devonshire_ (Reynolds), 356
+
+    Gerardo, 19
+
+    Ghiberti, Lorenzo, 18, 20, 31, 52, 103
+
+    Ghirlandaio, Domenico, 23, 61, 66–72, 82, 164, 194
+
+    Ghirlandaio, Ridolfo, 70
+
+    Gillot, Claude, 281, 284, 292
+
+    _Giorgio Cornaro_ (Titian), 146
+
+    Giorgione, 99, 117, 118, 119, 121, 140, 142
+
+    Giotto di Bordone, 4, 6, 10, 17, 25–28, 74
+
+    Giotteschi, The, 18
+
+    Giovanna degli Albrizzi, 61, 68–69
+
+    _Giovanna Tornabuoni_ (Ghirlandaio), 66
+
+    Giovanni Antonio da Canale, 121
+
+    Giovanni da Milano, 18
+
+    Girolamo di Benvenuto, 3
+
+    Gisze, Georg, 247
+
+    _Giuliano de’ Medici_ (Botticelli), 55–61
+
+    Gli Asolani, 144
+
+    Gobelins, 306
+
+    Goes, Hugo van der, 163
+
+    Golden Fleece, Knights of the, 159
+
+    “Goldini of Painters, The,” 122
+
+    Goldsmith, Oliver, 418
+
+    Goldsmith, Oliver, verse by, 418–419
+
+    Goldsmiths, 18, 411
+
+    Goncourts, de, quoted, 284, 314
+
+    Gonzaga, Marchese Francesco, 103
+
+    Gonzaga, Vincenzo, 178
+
+    Gordon Riots, Lord George, 342
+
+    Gothic Art, 3, 4
+
+    Gothic Style, 179
+
+    Gower, Lord, quoted, 331, 341, 353, 380, 395, 423, 425
+
+    Gourd, 126
+
+    Goya y Lucientes, 258, 270–272, 302
+
+    Goyen, Jan van, 201
+
+    Gozzoli, Benozzo, 16, 20, 78
+
+    Graces Decorating a Terminal Figure of Hymen (Reynolds), 340
+
+    Graham, Dr., 404
+
+    Gravelot, Hubert, 358
+
+    Great Fire of London (1666), 182, 334
+
+    Great Seal of England, 334
+
+    Greco, El, 258, 259–262
+
+    Greuze, J. B., 277, 306–310, 314
+
+    Greville, the Hon. Charles Francis, 403
+
+    Grey, Lady Jane, 240
+
+    Grisebach, August, quoted, 394
+
+    Guardi, Francesco, 122, 152
+
+    Guido da Siena, 3
+
+    Guiffrey, Jean, quoted, 300
+
+    Guild of Doctors and Apothecaries, 17
+
+    Guild of St. Luke, 17–18, 19
+
+    Gunning, Elizabeth, 369, 400
+
+    Gunning, Maria, 369, 400
+
+    Gunnings, The, 366
+
+
+    Hals, Frans, 200, 202, 220–224
+
+    Hamilton, Sir William, 406
+
+    Hampden, John, 190, 194
+
+    Hanseatic League, 246
+
+    Harlot’s Progress, The (Hogarth), 336
+
+    Hart, Emma, 396, 403
+
+    _Harvest Waggon, The_ (Gainsborough), 389–390
+
+    Hautecœur, Louis, quoted, 316, 320
+
+    Hayman, Francis, 358
+
+    Heaton, Mrs., quoted, 238
+
+    Heem, Jan Davidsz de, 203
+
+    Heine, 235
+
+    Helst, B. van der, 200
+
+    Henri de la Pasture, 168
+
+    Henri IV (Navarre), 176, 191, 192
+
+    Henrietta, Duchesse d’Orléans, 194, 195
+
+    Henry VIII (England), 240, 243, 334
+
+    Herrera, Francisco the Elder, 258
+
+    Hervey, Lady, quoted, 376
+
+    Hilliard, Nicholas, 334
+
+    Hobbema, Meindert, 202
+
+    Hogarth, William, 236–237
+
+    Holbein, Hans the Elder, 236
+
+    Holbein, Hans the Younger, 235, 236, 240–250, 330, 334, 335
+
+    Holy Conversation, 130
+
+    _Hon. Mrs. Davenport, The_ (Romney), 397
+
+    Hon. Mrs. Graham, The (Gainsborough), 358
+
+    _Hon. Mrs. Grant of Kilgraston_ (Raeburn), 411
+
+    Hondecoeter, Melchior d’, 203
+
+    Honywood, General Philip, 386, 389
+
+    Hoogh, Pieter de, 202, 226–227
+
+    Hoppner, John, 333, 337, 361, 380, 381, 419, 423, 424, 426
+
+    Horneck, Catherine, 418, 419
+
+    Horneck, Charles, 418
+
+    Horneck, Mary, 416–419
+
+    Hudson, Jeffrey, 195–196, 335
+
+    Hudson, Thomas, 338
+
+    Hudibras, 336
+
+    Huet, J. B., 276
+
+    Humphrey, Osias, quoted, 363
+
+    Huysum, Jan van, 203
+
+
+    Ibn Batuta, 5
+
+    Icare, poem, 186
+
+    Icarus, 184–186
+
+    _Invocation à l’Amour, L’_ (Fragonard), 314
+
+    Iris, 174
+
+    Isabella d’Este, 107
+
+    Isabella of Mantua, 82
+
+    Italian Comedy, 281, 284
+
+    Italianate Flemings, 164
+
+
+    Jacobins, 262
+
+    Jacopo da Pontormo, 24
+
+    James I (England), 334, 335
+
+    Jardinière, La Belle (Raphael), 86, 89, 90
+
+    Jasmine, 25, 31
+
+    _Jean de Dinteville_ (Holbein), 350
+
+    Jermyn, Lord, 195
+
+    Jerusalem Delivered (Tasso), 181
+
+    _Jessamy Bride, The_ (Hoppner), 416–419
+
+    _John Walter Tempest_ (Romney), 392
+
+    Jordaens, Jacob, 165
+
+    Judith with Head of Holofernes (Mantegna), 107
+
+    Juno Ludovisi, 138
+
+    _Jupiter and Calisto_ (Poussin), 277
+
+    Justi, Carl, quoted, 266
+
+
+    Kauffman, Angelica, 408, 419
+
+    Kells, Book of, 333
+
+    Kemble, Charles, 348
+
+    Kemble, Fanny, 348
+
+    Kemble, John Philip, 348, 350
+
+    Kemble family, 348
+
+    Keppel, Admiral, 338, 342
+
+    Keppel, the Hon. Frederick, 368
+
+    Keppel riots, 342
+
+    Kit Kat Club, 336
+
+    Kitty Fisher (Reynolds), 340
+
+    Kneller Godfrey, 336
+
+    Knollys, Lettice, 187
+
+
+    _Labille-Guiard and Two Pupils, Madame_ (Labille-Guiard), 324–326
+
+    _Lace-Maker, The_ (Jan Vermeer), 228
+
+    _Lady Betty Delmé_ (Reynolds), 337
+
+    Lady Betty Hamilton (Reynolds), 402
+
+    Lady Cockburn and Her Children (Reynolds), 340, 351
+
+    Lady Derby, Eliza Farren (Lawrence), 420
+
+    _Lady Derby_, Elizabeth Hamilton (Romney), 333, 398–402
+
+    Lady Duncannon, 377
+
+    Lancret, Nicolas, 276, 291–296, 330
+
+    Landscape, first Italian, 39
+
+    Landscape painters, Dutch, 201
+
+    Last Supper (Leonardo da Vinci), 95
+
+    Laud, Archbishop, 190, 194
+
+    Laughing Cavalier (Frans Hals), 222
+
+    _Laughing Mandolin Player, The_ (Frans Hals), 224
+
+    Lavinia Fenton (Hogarth), 336
+
+    Lawrence, Sir Thomas, 337, 352, 412, 419, 420–428
+
+    Lawrence, Sir Thomas, quoted, 424–425
+
+    League of Cambrai, 144
+
+    LeBrun, Charles, 277
+
+    LeBrun, Vigée, 277, 326, 408
+
+    Leicester, Earl of, 187
+
+    Lely, Sir Peter, 235–236
+
+    Lemké, quoted, 231–232
+
+    Le Nôtre, 138, 322
+
+    Leonardo da Vinci, 21, 23, 24, 82, 89, 106, 110, 151
+
+    Leonardo da Vinci, quoted, 18, 94
+
+    Leslie and Taylor, quoted, 344, 350–351
+
+    Liberale, 93
+
+    Libri, Girolamo dai, 93
+
+    Lilies, 25, 30, 31
+
+    Line of Beauty, Hogarth’s, 337
+
+    Lippi, Fra Filippo, 44
+
+    Lippi, Filippino, 23, 47, 94
+
+    Lippo Memmi, 3
+
+    “Little Comedy,” 418, 419
+
+    Little Dutch Masters, 201, 202, 227
+
+    Lochner, Meister Stephan, 235
+
+    Longhi, Pietro, 122
+
+    Lord Glendee (Raeburn), 412
+
+    Lord Ligonier (Reynolds), 389
+
+    Lorenzetti, Ambrogio, 3, 9
+
+    Lorenzetti, Pietro, 3, 9
+
+    Lorenzo da Pavia, 95, 107
+
+    Lorenzo di Credi, 23, 82
+
+    Lorenzo Monaco, 18
+
+    Lorraine, Claude, 281, 303
+
+    “Lost Duchess, The,” 372
+
+    Lotto, Lorenzo, 121
+
+    Louis XIII, 176–180, 191, 192
+
+    _Louis XIII, King of France_ (Rubens), 176
+
+    Lucas van Leiden, 200
+
+    Lucrezia Buti, 22, 23, 44, 47
+
+    Luini, Bernardino, 93, 110–112
+
+    Lusignan, Jacques de, 143
+
+    Luther, 238, 253
+
+    Luxembourg Palace, 179
+
+
+    Macnab, The (Raeburn), 412
+
+    _Madame Bonier de la Mosson_ (Nattier), 285
+
+    _Mademoiselle Helvetius_ (Drouais), 314
+
+    Madonna, Cardellino, 24, 86, 89
+
+    Madonna of the Chair (Raphael), 90
+
+    _Madonna and Child_ (Antonello da Messina), 124
+
+    _Madonna and Child_ (Alesso Baldovinetti), 48
+
+    _Madonna and Child_ (Bellini), 334
+
+    _Madonna and Child_ (Botticelli), 64
+
+    _Madonna and Child_ (Crivelli), 125
+
+    _Madonna and Child_ (Crivelli), 128
+
+    _Madonna and Child_ (Gentile da Fabriano), 74
+
+    _Madonna and Child_ (Giotto di Bordone), 25
+
+    _Madonna and Child_ (Perugino), 80
+
+    _Madonna and Child with Angels_ (Bonfigli), 77
+
+    _Madonna and Child with Angels_ (Memling), 172
+
+    _Madonna and Child with Saints and Angels_ (Matteo di Giovanni), 9
+
+    Madonna and Child with Singing Cherubs (Mantegna), 107
+
+    Madonna Enthroned with Saints (Raphael), 90, 92
+
+    Madonna del Gran Duca (Raphael), 24, 86, 88, 89
+
+    Madonna of the Magnificat (Botticelli), 58, 62
+
+    _Madonna della Stella_ (Fra Filippo Lippi), 42
+
+    Madonna di San Sisto (Raphael), 90
+
+    Madonna, costume of the, 10
+
+    Madonna, flowers of the, 25, 30–31
+
+    Madrigal, Roger Milès, 290
+
+    Maes, Nicholas, 202
+
+    Maintenon, Madame de, 275, 284
+
+    Maître de Flémalle, 162, 169
+
+    Majestas, The, 17
+
+    _Mall in St. James’s Park, The_ (Gainsborough), 364
+
+    Mall, The, 331, 364–365
+
+    Manet, 259
+
+    Mantegna, Andrea, 93, 97, 98, 99, 104–107, 116
+
+    Margaret of Austria, 257
+
+    Margaret of York, 160
+
+    _Maria Walpole, Duchess of Gloucester_, 366–372
+
+    _Marianne of Austria_ (Velasquez), 264
+
+    Marie Antoinette, 290, 312
+
+    Marie de’ Medici, 176, 178, 179, 191
+
+    Market Cart (Gainsborough), 388
+
+    _Marquise de Baglion, La_ (Nattier), 288
+
+    _Marquise de Besons, La_ (Greuze), 208
+
+    _Marquise de la Fare, La_ (Fragonard), 320
+
+    _Marquise de Villemonble, La_ (Drouais), 310
+
+    Marriage à la Mode (Hogarth), 336
+
+    Marriage of St. Catherine (Memling), 174
+
+    Marriage of the Virgin (Perugino), 82
+
+    Mars and Venus (Botticelli), 59
+
+    Martini, Simone, 4, 9
+
+    _Mary Horneck_ (Hoppner), 416
+
+    Mary of Burgundy, 161
+
+    Mary of Hungary, 257
+
+    Mary, Queen of Scots, 240
+
+    Mary Tudor, 335
+
+    Masaccio, Tommaso, 18, 19, 31, 45, 46, 48, 157
+
+    Masolino, Tommaso, 8, 19, 28–32
+
+    Masolino da Panicale, 31
+
+    Massys, Quentin, 164, 242
+
+    Matisse, 303, 320
+
+    Matteo da Siena, 10
+
+    Matteo di Giovanni, 3, 9–12
+
+    Maximilian, Emperor, 144, 150, 257
+
+    _Maximilian Sforza_ (Veneto), 148
+
+    Medici, Cosimo de’, 20, 37, 39, 45, 168
+
+    Medici, Giovanni de Bicci, 20
+
+    Medici, Giuliano de’, 23, 55–61, 68
+
+    Medici, Giulio de’, 56
+
+    Medici, Lorenzo de’, the Magnificent, 21, 23, 24, 28, 58, 59, 61,
+        68, 72, 93, 94
+
+    Medici, Piero de’, 21, 22, 56, 58
+
+    Medici, The, 20–22
+
+    Medici Palace (Riccardi), 45
+
+    Meier Madonna (Holbein), 242
+
+    Meister Wilhelm of Cologne, 161, 235
+
+    Meistersinger, 236
+
+    Melancthon, 238, 252
+
+    Melozzo da Forli, 98
+
+    Memling, Hans, 162, 172–176, 200
+
+    Metsu, Gabriel, 166, 202
+
+    Mezetin, 281, 284
+
+    Michel, Emile, quoted, 206
+
+    Michelangelo, 24, 70, 74, 77, 119, 121
+
+    Mieris, Frans van, 202
+
+    Mignon, Abraham, 203
+
+    Milès, Roger, Madrigal by, 290
+
+    Millais, Sir John Everett, 425
+
+    Milton, John, 335
+
+    Miniature painting, 157
+
+    Miniature portrait-painters, 334
+
+    Minorites of Siena, 5, 6
+
+    Minotaur, 184
+
+    Mierevelt, Michiel J., 201
+
+    Mississippi Bubble, The, 275
+
+    Mona Lisa (Leonardo da Vinci), 110
+
+    Monet, Claude, 320
+
+    Monkhouse, Cosmo, quoted, 125
+
+    Morales, Luis de, 257
+
+    More, Sir Thomas, 242, 244–246
+
+    Moreelse, Paulus, 201
+
+    Moretto da Brescia, 93, 98
+
+    Moro, Antonio, 201, 257, 335
+
+    “Moro, Il,” 21, 23, 82, 93, 106, 148–151
+
+    Morone, Domenico, 93
+
+    Moser, Mary, quoted, 382
+
+    Moroni, Giambattista, 93, 98, 112
+
+    Morysin, Sir Richard, 240
+
+    Moulton-Barrett, Sarah, 428
+
+    Mrs. Abington (Reynolds), 340, 422
+
+    Mrs. Hardinge (Reynolds), 340
+
+    Mrs. Siddons (Gainsborough), 350, 385
+
+    _Mrs. Siddons as the Tragic Muse_ (Reynolds), 340, 347–356, 381
+
+    Murano, Antonio da, 116, 117
+
+    Murillo, 258
+
+    Musical Instruments, 172
+
+    _Music Party_ (Pieter de Hoogh), 226
+
+    Musidora (Gainsborough), 406
+
+    Myrtle, 25
+
+    Mytens, Daniel, 335
+
+
+    Nasmyth, Alexander, 412, 414
+
+    Nattier, Jean Marc, 276, 285–290, 312
+
+    Nelli, Ottaviano, 76
+
+    Nelly O’Brien, 340
+
+    Nelson, Lord, 407, 408, 410
+
+    Neroccio di Landi, 3
+
+    Netherlands, Spanish and Austrian, 199
+
+    New England Company, 190
+
+    _Niccolini Madonna, The_ (Raphael), 84–86
+
+    Niccolo da Foligno, 78
+
+    Night Watch (Rembrandt), 206, 207
+
+    Noort, Adam van, 178
+
+    Northcote, James, quoted, 342, 353
+
+    North Italian School, 93–114
+
+    Nuremburg, 236
+
+    Nuzi, Allegretto, 73, 76
+
+
+    Oils, 83, 117, 121, 124
+
+    _Old Lady Sealed in an Armchair_ (Rembrandt), 212
+
+    Old Woman (Rembrandt), 212
+
+    Olive branch, 31
+
+    Oliver, Isaac, 334
+
+    Oliver, Peter, 334
+
+    Opie, John, 337, 424, 426
+
+    Orcagna, 18
+
+    Oriental Art and Sienese Art, 4–5
+
+    Orléans, Duc d’ (the Regent), 92
+
+    Orléans, Gaston d’, 178
+
+    Orley, Bernard van, 164
+
+    Ostade, Adriaen van, 202
+
+    Oudry, J. B., 277, 312
+
+
+    Pacheco, Francisco, 258
+
+    Paduan School, 116
+
+    Paget, John, quoted, 408
+
+    Palette, Reynolds’s, 341
+
+    Palma, School of, 119
+
+    Palma Vecchio, 119, 121
+
+    Palmer, Theophila, 344
+
+    Paolo di Dono, 119
+
+    Paolo di Giovanni Fei, 9
+
+    “Parma Valasquez,” 266
+
+    Parmigiano, 119
+
+    Parliament, Long, 194
+
+    Parliament, Short, 190, 194
+
+    Parnassus (Mantegna), 107
+
+    Parsifal, 235
+
+    Paston, John, quoted, 160
+
+    Pastry, curiosities in, 159–160, 161
+
+    Pater, J. B. J., 276, 296–299, 330
+
+    Pater, Walter, quoted, 115, 118
+
+    Pears, 126
+
+    Peg Woffington (Hogarth), 337
+
+    Penelope Boothby (Reynolds), 340
+
+    _Pepito Costa y Bonella_ (Goya), 272
+
+    Perspective, 31, 83
+
+    Perugia, 74, 80, 89
+
+    Perugia, School of, 78
+
+    Perugino, 23, 61, 74, 78, 80–84, 89, 94
+
+    Pesellino, Francesco, 22
+
+    Philip the Fair (Austria), 161
+
+    Philip the Bold, Duke of Burgundy, 158
+
+    Philip the Good, Duke of Burgundy, 157, 158, 159
+
+    Philip IV, 258, 264, 266–268
+
+    _Philip IV, King of Spain_ (Velasquez), 266
+
+    Pie, mammoth, 160
+
+    Pier Francesco Fiorentino, 22, 70
+
+    Piero della Francesca (Pier dei Franceschi), 10, 22, 74, 78, 82, 83
+
+    Piero di Cosimo, 23, 24, 164
+
+    Piero di Lorenzo, 23
+
+    Pierrot, 281
+
+    Pink Boy (Gainsborough), 384
+
+    _Pinkie_ (Sir Thomas Lawrence), 426–428
+
+    Pintoricchio, Bernard, 74, 89
+
+    Pisanello (Antonio Pisano), 8, 93, 98, 99–104
+
+    “Plymouth Beauty, The,” 418
+
+    Poliziano, Angelo (Politian), 28, 59, 69
+
+    Pollaiuolo, Antonio, 22, 23, 48, 52
+
+    Pollaiuolo, Piero, 22, 51–54
+
+    Pomegranate, 78
+
+    Pompadour, Madame de, 276, 290, 300, 304, 306, 310, 312
+
+    “Poor Man of Assisi, The,” 6
+
+    Pope, Alexander, 336
+
+    Popish Plot, The, 196
+
+    Portinari, Tommaso, 164
+
+    Portiuncula, The, 6
+
+    _Portrait of a Carthusian Monk_ (Petrus Christus), 169
+
+    _Portrait of a Lady_ (Luini), 110
+
+    _Portrait of a Lady_ (Roger van der Weyden), 166
+
+    _Portrait of a Man_ (Albrecht Dürer), 237
+
+    _Portrait of an Officer_ (Frans Hals), 220
+
+    _Portrait of a Young Gentleman_ (Memling), 174
+
+    _Portrait of a Young Lady_ (Piero Pollaiuolo), 51
+
+    _Portrait of a Young Man_ (Botticelli), 62
+
+    _Portrait of a Young Officer_ (Rembrandt), 207
+
+    Potter, Paul, 201
+
+    Pourbus, Frans, 165
+
+    Pourbus, Pieter, 165
+
+    Poussin, Nicolas, 277–281, 303
+
+    Praise of Folly, Erasmus, 242
+
+    Presentation in the Temple (Rembrandt), 206, 219
+
+    Primavera (Botticelli), 59–60, 61, 66
+
+    Primitives, Dutch, 200
+
+    Primitives, Flemish, 162–163, 169, 200
+
+    _Prince Edward of England_ (Holbein), 240
+
+    Procession of Corpus Christi of 1496 (Gentile Bellini), 117–118
+
+    Puritan Party, 190
+
+
+    Queen Christina of Sweden, 90
+
+    Queen Elizabeth, 334, 335
+
+    Queen Henrietta Maria, 191–195, 196, 335
+
+    _Queen Henrietta Maria with Jeffrey Hudson and a Monkey_ (Sir
+        Anthony Van Dyck), 191
+
+    Quin, 361, 390
+
+    _Quinton McAdam_ (Raeburn), 416
+
+
+    Raeburn, Sir Henry, 337, 411–416
+
+    Raibolini, Francesco, 108
+
+    Rake’s Progress, The, 336
+
+    Rameau, 294, 331
+
+    Ramsay, Allan, 338
+
+    Raphael, 24, 70, 73, 74, 82, 84–92, 98, 99, 121
+
+    “Raphael’s Bible,” 89
+
+    Ravensteyn, Jan van, 201
+
+    Reformation, 235, 252
+
+    Regent pictures, 199
+
+    Reine de Chypre, La, 143
+
+    Rembrandt, 200, 204–220, 231, 232
+
+    Rembrandt, Titus, 206
+
+    Renaissance, The, 28
+
+    Renaissance in France, 161
+
+    Renaissance in the Netherlands, 161
+
+    Return of Spring, 59–60, 61
+
+    Reymond, Marcel, quoted, 96, 110
+
+    Reynolds, Sir Joshua, 84, 204, 329, 330, 331, 332, 333, 337–356,
+        360, 371, 394, 408, 412, 418, 423, 426
+
+    Reynolds, Sir Joshua, quoted, 115, 179–180, 199–200, 280, 383
+
+    Rhode Island, Colony of, 190
+
+    Ribalta, Francisco de, 258
+
+    Ribera, Jusefe, 258, 264
+
+    Ricci, Seymour, quoted, 228–231
+
+    Richelieu, Cardinal, 178, 194
+
+    Rinaldo, 181
+
+    _Rinaldo and Armida_ (Sir Anthony Van Dyck), 181
+
+    Robert, Hubert, 277, 316, 322
+
+    “Robert des ruines,” 320
+
+    _Robert Rich, Earl of Warwick_ (Sir Anthony Van Dyck), 187–190, 195
+
+    Roger de la Pasture, 163, 334
+
+    Roger van der Weyden, 124, 162, 166–169, 170, 174, 235
+
+    Rogers, Samuel, 92
+
+    Roldt, Max, quoted, 402
+
+    Romaunt de la Rose, 15, 334
+
+    Romney, George, 329, 330, 331, 332, 333, 337, 341, 361, 394, 426
+
+    Romney, George, quoted, 407
+
+    Rooses, Max, 184
+
+    Roses, 25, 31
+
+    Rosselli, Cosimo, 23, 24, 82
+
+    Royal Academy, 338, 354, 356, 360
+
+    Rubens, Peter Paul, 164, 176–180, 181, 182, 272, 335
+
+    Rucellai Madonna, 5, 17
+
+    Ruisdael, Jacob, 202, 232
+
+    Rushford, G. McNeil, quoted, 128
+
+    Ruskin, quoted, 34, 119
+
+    Ruysch, Rachel, 203
+
+
+    Sachs, Hans, 236
+
+    “Salvatore Rosa of the North,” 218
+
+    Sano di Pietro, 9
+
+    Sans Souci Palace, 291, 296
+
+    Santi, Giovanni, 74, 89
+
+    Sanuto, Marino, quoted, 150
+
+    Sargent, John Singer, 259
+
+    Saskia van Ulenburgh, 204, 207, 208
+
+    Sassetta, 3, 5–9, 31
+
+    Sassetti, Francisco, 72
+
+    Sassetti, Roderigo, 69
+
+    Sassetti, Teodoro, 72
+
+    Savonarola, 24, 61
+
+    Saxon School, 236, 252
+
+    Say, Lord, 190
+
+    Saybrooke, 190
+
+    Scalpin, 281
+
+    Scaramouche, 281
+
+    _Scene along the Adriatic Coast_ (Guardi), 152
+
+    Schöngauer, Martin, 168, 235–236
+
+    Scorel, Jan van, 201
+
+    Sebastian del Piombo, 121
+
+    Segna di Bonaventura, 3
+
+    Sélincourt, Beryl de, quoted, 119–120, 134
+
+    “Serena portraits, The,” 398
+
+    _Serinette, La_ (Chardin), 300
+
+    Seymour, Jane, 240
+
+    Sforza, Francesco, 243
+
+    Sforza, Ludovico (“Il Moro”), 21, 23, 82, 93, 106, 148–151
+
+    Sforza, Maximilian, 148–151, 243
+
+    Siddons, Mrs., 84
+
+    Sidney, Sir Philip, 187–188
+
+    Sidney, Sir Philip, quoted, 188
+
+    Siena, 3
+
+    Siena, Cathedral, 16, 17
+
+    Sienese Art, 4
+
+    Sienese School, 3–16
+
+    Signorelli, Luca, 74
+
+    _Simeon and Mary Presenting the Infant Christ in the Temple_
+        (Rembrandt), 214
+
+    Simeon in the Temple (Rembrandt), 206, 219
+
+    Simone Martini, 3, 9
+
+    Simonetta, Vespucci, 24, 59, 60
+
+    Simplicity (Reynolds), 346
+
+    Singerie, 284
+
+    _Sir Thomas More_ (Holbein), 244
+
+    Sistine Chapel, 24, 61, 70, 82
+
+    Six, Burgomaster Jan, 204
+
+    _Small Cowper Madonna_ (Raphael), 86
+
+    Smith, Nollekens, quoted, 362
+
+    Sneyd, Charlotte, 397
+
+    Sneyd, Honora, 398
+
+    Snyders, Frans, 165
+
+    Sortie of the Company of Captain Banning Cock (Rembrandt), 206
+
+    Southwark Fair (Hogarth), 336
+
+    Space Composition, 83
+
+    Spagnoletto, Lo, 258
+
+    Spencer, Countess of, 375
+
+    Spencer, Earl of Althorp, 356, 361, 375, 378
+
+    Spielmann, M. H., quoted, 347, 384
+
+    Spinello, Aretino, 18
+
+    Sposalizio (Raphael), 82
+
+    Squarcione, Francesco, 97, 106, 116, 117, 125
+
+    _St. Cosimas and St. Damianus_ (Fra Angelico), 39
+
+    St. Francis, 3, 6–8
+
+    _St. Francis and the Beggar_ (Sassetta), 5
+
+    St. Francis (Ghirlandaio), 72
+
+    St. Francis (Giotto), 6, 26
+
+    St. Francis, panels, 6
+
+    St. Jerome, 252
+
+    St. Jerome (El Greco), 260
+
+    St. Paul’s (London), Old, 182
+
+    St. Ursula (Carpaccio), 118
+
+    St. Ursula, Shrine of (Memling), 174
+
+    _Standard-Bearer, The_ (Rembrandt), 204
+
+    Stanley, Edward Smith (Derby), 400
+
+    Starnina, 19, 31, 257
+
+    Steelyard (London), 246
+
+    Steen, Jan, 202
+
+    Stefano di Giovanni, 3, 5–9
+
+    Stephens, F. G., quoted, 382
+
+    Stevenson, Robert Louis, quoted, 411
+
+    Stoffels, Hendrickje, 206
+
+    Strafford, Earl of, 190, 194
+
+    _Strawberry Girl, The_ (Reynolds), 340, 342–346, 353, 394
+
+    Strawberry Hill, 214, 219, 220, 331
+
+    Style, Louis Quinze, 276, 310
+
+    Style, Rubens, 179
+
+    Suardi, Bartolommeo, 93
+
+    Swabian School, 236
+
+    Swanenburch, Jacob van, 204
+
+    Syndics, The (Rembrandt), 207
+
+
+    Taddeo di Bartolo, 3, 9
+
+    Taddeo, Gaddi, 18
+
+    Tagliapanni (Mononi), 112
+
+    Taine, quoted, 115, 120, 142, 162–163
+
+    Tasso, 181
+
+    Tauromachia (Goya), 270
+
+    Tempest, John Walter, 392–394
+
+    Temple of Health, 404
+
+    Teniers, David the Younger, 165
+
+    Terborch, Gerard, 166, 202
+
+    Theotocopoulos, Domenico, 258, 260–262
+
+    Tiepolo, Giovanni Baptista, 121
+
+    Tintoretto (Tintoret), 119
+
+    Titian, 119, 137, 138, 140–147, 272
+
+    _Titian’s Schoolmaster_ (Moroni), 112
+
+    Tiziano Vecello, 119, 142
+
+    Tom Thumb, General, 192
+
+    Tondo form, first use of, 47
+
+    Tornabuoni, Giovanna, 66, 68
+
+    Tornabuoni, Giovanni, 69, 70
+
+    Tornabuoni, Lorenzo, 61, 68, 69
+
+    Tornabuoni, Lucrezia, 21, 56, 68
+
+    Tour, Maurice Quentin de la, 276
+
+    Tournament (Giuliano de’ Medici), 59
+
+    Tournament (Lorenzo de’ Medici), 59
+
+    Travellers to the Far East, 5
+
+    Trimmer, Rev. J. T., quoted, 380
+
+    Triumph of Cæsar (Mantegna), 107
+
+    Triumph of Galatea (Raphael), 90
+
+    Troost, Cornelis, 203
+
+    Tura, Cosimo, 93, 98
+
+    Turner, J. W. M., 337
+
+
+    Uccello, Paolo, 19, 20, 23, 74
+
+    Ugolino da Siena, 3
+
+    Umbrian School, 73–92
+
+    Utrecht, Adriaen van, 165
+
+
+    Vache qui se mire (Paul Potter), 201, 202
+
+    Valentiner Dr., quoted, 208
+
+    Van Eyck School, 163
+
+    Van Loo, Carle, 276, 277, 304, 306, 312, 394
+
+    Van Mander, quoted, 157
+
+    Vanni, Andrea, 3
+
+    Vanni, Lippo, 3
+
+    Vannucci, Pietro, 74, 80
+
+    Vargas, Luis de, 257
+
+    Vasari, quoted, 17, 32, 36, 39, 51
+
+    Vatican, 38, 82, 89, 121
+
+    Vecchietta, Lorenzo, 3, 9, 15
+
+    Veen, Otto van, 178
+
+    Velasquez, 258, 264–268, 270, 272
+
+    Velde, Adriaen van der, 201
+
+    Venetian School, 115–153
+
+    Veneto, Bartolommeo, 119, 148–151
+
+    Veneziano, Bartolommeo, 119–151
+
+    Veneziano, Domenico, 20, 74
+
+    Venturi, Adolfo, quoted, 100
+
+    Verhaaght, Tobias, 178
+
+    Vermeer, Jan, 162, 202, 228–232
+
+    Vermejo, Bartolomé, 257
+
+    Vernet, Joseph, 322
+
+    Veronese, Paolo, 10, 93, 99, 120
+
+    Verrocchio, Andrea, 21, 22–23, 59, 82
+
+    Veth, Dr. Jan, quoted, 214–216
+
+    Villa Aldobrandini, 138
+
+    Villa Ludovisi, 138
+
+    Vincent, François Élie, 326
+
+    _Virgin and Child_ (Bellini), 134
+
+    _Virgin and Child_ (Titian), 140
+
+    _Virgin and Child with the Infant St. John and Angel_ (Francia),
+        107
+
+    _Virgin and Child with St. Lucy, St. Catherine, St. Peter and St.
+        John the Baptist_ (Bellini), 130
+
+    _Virgin Appearing to St. Dominic_ (El Greco), 262
+
+    Virgin of the Rocks (Leonardo da Vinci), 96
+
+    _Virgin Receiving the Divine Message_ (Fra Angelico), 34
+
+    Virginia Government, 190
+
+    Vision of St. Eustache (Pisanello), 102, 103
+
+    Viti, Timoteo, 89, 108
+
+    Vivarini, Antonio, 8, 116, 125
+
+    Vivarini, Bartolommeo, 117
+
+    Vydts, Jodocus, 157
+
+
+    Waldegrave, Lady, 366
+
+    Walpole, Charlotte, Countess of Dysart, 368
+
+    Walpole, Edward, 366
+
+    Walpole, Horace, 214, 219, 331, 333, 366, 368
+
+    Walpole, Horace, quoted, 364, 368, 376, 400
+
+    Walpole, Louisa (the Hon. Mrs. F. Keppel), 368
+
+    Walpole, Maria, 366
+
+    Walpole, Sir Robert, 366
+
+    Ward, Humphrey, quoted, 332, 397
+
+    Wars of the Roses, 333
+
+    Watteau, Antoine, 275, 281–285, 294, 296, 314, 330
+
+    Watts, George Frederick, 425
+
+    Weenix, J. B., 203
+
+    West, Benjamin, 423, 424
+
+    Wilkie, Sir David, quoted, 412
+
+    Wilkie, John, 337
+
+    Wilson, Richard, 337
+
+    Wiltshire, John, 389–390
+
+    Winchester School, 334
+
+    Wohlgemut, Michael, 236, 237
+
+    Wolfram von Eschenbach, 235
+
+    Woltman, Dr. Alfred, quoted, 244
+
+    Wright, Mrs. (Patience), 419
+
+    Wynants, Jan, 201
+
+
+    Yellow Boy, The (Reynolds), 384
+
+    Young, Col. G. F., quoted, 20, 21, 45–46, 56, 58, 59–60
+
+    _Young Girl_ (Greuze), 308
+
+    _Young Girl Reading a Letter_ (Greuze), 306
+
+
+    Zeitblom, Bartholomäus, 236
+
+    Zuccaro, Federigo, 334, 335
+
+    Zurbaran, Francisco, 258
+
+
+FOOTNOTES:
+
+[1] “The early Byzantine masters represented the Madonna’s garments
+enriched with lines of gold. Giotto and the early Florentine painters
+as a rule preferred to suggest a plain material, often of delicate
+color except when the Madonna was portrayed as Queen of Heaven. In
+their devotional pictures the Sienese masters used gorgeous gold and
+red, or white and gold fabrics. Some of the Giotteschi and perhaps
+Gentile da Fabriano inherited from Siena their love of representing
+splendid textiles. Later color effects were made more of a study and
+deeper, richer tones appeared; but simple materials were represented
+except among the Venetians, who frequently in their pictures of both
+sacred and profane subjects painted elaborate, richly colored fabrics.
+This cult of splendor reached its height in the Sixteenth Century under
+Paolo Veronese.”--_Mediæval and Renaissance Paintings_ (Fogg Art
+Museum, Cambridge, 1927).
+
+[2] “The incident of the Adoration of the Magi is related only in the
+Gospel of Saint Matthew, and there very briefly; but many legends grew
+up around the Magi and Kings from the East. The number of the Magi was
+at first indeterminate, but about the Fourth Century the number three
+became general. It was not until the Fifth and Sixth Centuries that the
+Magi became Kings and not until the Tenth Century were they represented
+as crowned Kings. The Magi were for the first time pictured as of
+different ages, an old man, a middle-aged man, and a young man, in an
+Eastern manuscript dating from about 550. During the Middle Ages the
+exact age of each was given--the eldest was sixty, the youngest twenty,
+and the other forty years old. Their names, the Latin forms of which
+were Jaspar--later Gaspard--Balthasar, and Melchior, first appeared
+in a Greek Sixth Century manuscript. A passage attributed to Bede,
+quoted in Male’s _Religious Art in France, Thirteenth Century_,
+states that ‘Melchior, an old man with long, white hair and a long
+beard, offered gold, symbol of the divine kingdom. The second, named
+Caspar, young and beardless, with a ruddy countenance, honored Christ
+in presenting incense, an offering pointing to his divinity. The third,
+named Balthasar, with a dark skin and a full beard, testified in his
+offering of myrrh that the Son of Man must die.’ It was not until the
+Fourteenth and Fifteenth Centuries that artists represented the third
+King as a negro, in accordance with the teachings of the theologians
+that the three Kings represented the three races of mankind coming
+to render homage to the Christ Child. The subject of the Adoration
+of the Magi was a favorite one with artists, particularly in the
+Fifteenth Century, as it lent itself to the richest and most elaborate
+treatment. The early legends asserted that St. Joseph did not appear;
+but in representations dating from the Fifteenth Century he is almost
+invariably present.”--_Mediæval and Renaissance Paintings_ (Fogg
+Art Museum, Cambridge, 1927).
+
+[3] “The legend which makes St. Luke a painter was of Eastern origin
+and was introduced into the West at the time of the First Crusade.
+There may have been a Greek painter of Madonnas named Luca whom the
+Western Church confused with the Evangelist, but the Evangelist was
+always regarded an authority on the characteristics of the Madonna.
+His Gospel gives the fullest account of her. The subject of St. Luke
+painting the portrait of the Madonna was frequently treated in the
+Middle Ages and in the Renaissance.“--_Mediæval and Renaissance
+Paintings_ (Fogg Art Museum, Cambridge, 1927).
+
+[4] “Double roses, pink or red, were the symbol of divine love and
+were consecrated to the Madonna. One of her titles was the Madonna
+della Rosa, doubtless based on the verse in the _Song of Solomon_
+(ii. 1)--‘I am the Rose of Sharon and the lily of the valleys’--for as
+early as the first centuries the Fathers of the Church applied to the
+Madonna the imagery of the _Canticles_. The tradition is that when
+the roses were massed together in garlands or baskets they symbolized
+heavenly joys. The painters of Central Italy during the Fourteenth and
+Fifteenth Centuries represented clusters of lilies and roses in the
+foreground of their Madonna pictures as votive offerings to her of
+sacred flowers. Often angels present bowls of flowers to her.
+
+“Myrtle was one of the Madonna’s flowers and symbolized her purity and
+other virtues. The jasmine, though not strictly a sacred flower, is
+often found in religious paintings--the star-shaped blossom apparently
+symbolized divine hope or heavenly joy. It is often found with roses
+and lilies beside the Madonna. The carnation had no definite symbolic
+meaning, but was frequently used instead of the rose; then it had the
+same significance as the rose, the symbol of divine love, sacred to the
+Madonna.--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
+Cambridge, 1927).
+
+[5] “In general, representations of the _Annunciation_ before the
+Twelfth Century are rare; but after the beginning of the Thirteenth
+Century they become very frequent, appearing somewhere on every
+altar-piece--in medallions, or quatrefoils above the main panels, in
+the pinnacles, or in the predella, or painted, or carved on the outside
+of the shutters. The subject was often treated as a mystery, not as an
+actual scene. Generally only the Virgin and Angel were represented,
+although it was not unusual to find other figures. From the end of the
+Fourteenth until the Sixteenth Century, God the Father is often seen
+in the sky and the Dove of the Holy Spirit descends from Him to the
+Virgin on rays of light. The Virgin was represented seated, standing,
+about to rise at the approach of the Angel, or kneeling. Gabriel was
+pictured standing, or kneeling, before her, or just alighting on
+the earth, his feet not yet touching the ground. In the Thirteenth
+Century representations, notably in the painted glass windows, the
+Virgin and the Angel stand face to face; later the Italian artists
+represented the scene as taking place in an open _loggia_, while
+the Flemish artists painted the Virgin in meditation in her room when
+the Angel appeared to her. Before the Thirteenth Century, Mary was
+often represented with a basket of wool, or distaff as, according to
+the Protevangelion, she continued to spin for the Temple after she had
+become affianced to Joseph and was working when the Angel came. Gabriel
+bears the light staff, or sceptre, of a herald, a scroll on which is
+inscribed his greeting, an olive-branch, or a stalk of lilies.
+
+“The lily probably was developed from a flower with a long stalk
+which was introduced during the Thirteenth Century appearing in
+glass-painting and miniatures and signifying springtime, ‘the time
+of flowers,’ when the _Annunciation_ took place. Later, lilies
+were used to symbolize the purity of the Virgin and were placed in
+a jar, or vase, near her, or were carried by the Angel. In Spain
+the vase of lilies was almost essential to representations of the
+_Annunciation_ and became the special and distinguishing attribute
+of the Virgin. The Spanish Order of the Lily of Aragon, established by
+Ferdinand of Castile in commemoration of a victory over the Moors in
+1410, had for its badge ‘pots filled with white lilies interlaced with
+griffins, to which was pendent a medal having thereon an image of the
+Virgin Mary.’ In Italy, neither the vase of lilies nor the stalk was
+considered essential in representations of the _Annunciation_,
+although they are of frequent occurrence. Certain of the Florentine
+artists, notably Fra Filippo Lippi, represented both. Ghirlandaio,
+in his _Annunciation_ at San Gimigniano, placed a vase beside
+the Virgin’s desk and combined other flowers--roses, daisies, and
+jasmine--with the lilies. The Angel bears the lily-stalk.
+
+“It is interesting to note that while in the majority of Fourteenth-
+and Fifteenth-Century _Annunciations_ the Archangel Gabriel
+was represented bearing a lily, the Sienese painters seldom used
+this flower, preferring the olive-branch, always a favorite symbol
+with them. In the _Annunciation_ it referred to the Christ
+Child as the bringer of peace on earth. One interpretation of the
+avoidance of the use of the lily by Sienese artists is that it was
+due to the hatred of Siena for Florence, the lily being the flower of
+Florence.”--_Mediæval and Renaissance Paintings_ (Fogg Art Museum,
+Cambridge, 1927).
+
+[6] Col. G. F. Young, _The Medici_ (London, 1910).
+
+[7] Julia Cartwright, _The Painters of Florence_ (London, 1916).
+
+[8] Col. G. F. Young, _The Medici_ (London, 1909).
+
+[9] Col. G. F. Young, _The Medici_ (London, 1909).
+
+[10] “The pomegranate in the hand of the Child, bursting open and
+showing the seeds, has been variously interpreted. It may be a symbol
+of the hope in eternity, which the Christ gave to man, signified by the
+unexpected sweetness of the fruit within the hard rind. In the writings
+of the early Fathers the fruit is also interpreted as the emblem of
+congregations, because of its many seeds, or as the emblem of the
+Christian Church because of the inner unity of countless seeds in one
+and the same fruit.”--_Mediæval and Renaissance Painting_ (Fogg
+Art Museum, Cambridge, 1927).
+
+[11] Berenson.
+
+[12] “Space composition differs from ordinary composition in the first
+place most obviously in that it is not an arrangement to be judged
+as extending only laterally, or up and down, on a flat surface, but
+as extending inwards in depth as well. It is composition in three
+dimensions and not in two, in the cube, not merely on the surface....
+Painted space composition opens out the space it frames in, puts
+boundaries only ideal to the roof of heaven. All that it uses whether
+the forms of the natural landscape, or of grand architecture, or even
+of the human figure, it reduces to be its ministrants in conveying a
+sense of untrammelled, but not chaotic, spaciousness. In such pictures
+how freely one breathes,--as if a load had just been lifted from one’s
+breast; how refreshed, how noble, how potent one feels; again, how
+soothed; and, still again, how wafted forth to abodes of far-away
+bliss!”
+
+[13] Julia Cartwright, _Beatrice d’Este_ (London, 1908).
+
+[14] Julia Cartwright, _Beatrice d’Este_ (London, 1908).
+
+[15] Beryl de Sélincourt, _Venice_ (London, 1907).
+
+[16] “In the north of Italy garlands of fruit took the place of votive
+flowers. In pictures of Florentine origin, when the Madonna holds a
+single rose, she is represented as the _Madonna del Fiore_--Our
+Lady of the Flower--to whom the Cathedral at Florence was dedicated.
+
+“Fruits in general symbolized the fruits of the spirit, or a votive
+offering, or were often used purely for decorative purposes. The
+cherries which the Angels offer to the Child are the fruit of Heaven,
+typifying the delights of the blessed. In a picture by Memling in the
+Uffizi, the Child holds in one hand a cluster of cherries--the fruit of
+Paradise--while with the other He reaches out for the apple offered Him
+by an Angel. This typifies His relinquishment of heavenly joys and His
+taking upon Himself the sin of the world.
+
+“The apple and the gourd were often painted together by artists,
+notably Crivelli. The use of the gourd dates back to the wall-pictures
+in the catacombs, where Jonah was represented as the type of the
+Risen Christ and the gourd as the symbol of the Resurrection. As the
+apple was the fruit of Eden which brought sin into the world, so
+the gourd represented the Resurrection which saved the world from
+the consequences of its sin. In early pictures the apple sometimes
+represents the fruit of Paradise, which the King of Heaven brings down
+to earth with Him. In general, however, it is used as the symbol of the
+sin of the world which Christ takes upon Himself.”--_Mediæval and
+Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).
+
+[17] Beryl de Sélincourt, _Venice_ (London, 1907).
+
+[18] It is interesting to see that Vasari calls Dürer a Fleming!
+
+[19] This reminds us of the old Nursery rhyme:
+
+    “Sing a song of sixpence,
+      A pocket full of rye;
+    Four-and-twenty blackbirds
+      Baked in a pie.
+    When the pie was opened,
+      The birds began to sing;
+    Wasn’t that a dainty dish
+      To set before the King?”
+
+Undoubtedly this jingle is an echo of the jokes and “pleasantries”
+in confectionery and pastry that were perpetrated by the Mediæval
+_chefs_.--E. S.
+
+[20] This was a _fashion_ of the period, originating in Italy (see
+pages 51, 86, 103).
+
+[21] “The introduction of little angels singing vigorously and playing
+on musical instruments about the Madonna’s throne was a favorite motif
+of the Umbrian Boccatis. Indeed, angel musicians were represented by
+artists of all Schools from the Twelfth to the Seventeenth Century.
+They stand or kneel before the Madonna and Child, or--particularly in
+Venetian and North Italian paintings--sit on the steps of the throne,
+playing on lutes, harps, viols, miniature organs, blowing horns and
+trumpets, striking cymbals and triangles or beating drums and timbrels,
+and singing their songs of praise and adoration. They make a delightful
+note of joyousness in representations of the Madonna and Child and are
+among the happiest creations of painters and sculptors.”--_Mediæval
+and Renaissance Paintings_ (Fogg Art Museum, Cambridge, 1927).
+
+[22] For surprises in pastry, see page 160.
+
+[23] _Strawberry Hill Simeon_ had not then been discovered.
+
+[24] Leslie and Taylor, _Life and Times of Sir Joshua Reynolds_
+(London 1865).
+
+[25] William Smith (1756–1835) was a politician who took a great
+interest in literature and art. He was a friend of Sir Joshua Reynolds,
+for whose _Mrs. Siddons as The Tragic Muse_ he paid £320 at the
+Calonne Sale in 1795 and sold it to Mr. G. W. Taylor for £900. At the
+Taylor Sale in 1823 the picture cost Earl Grosvenor £1,837. It passed
+recently to America along with Gainsborough’s _Blue Boy_.
+
+“This picture Sir Joshua Reynolds valued at 1000 guineas--a large sum
+in his day--but notwithstanding all the encomiums passed upon it,
+_The Tragic Muse_ remained on his hands for several years. At
+length it was purchased from the artist for £800 by M. de Calonne, the
+ex-minister of finance in France.
+
+“When M. de Calonne’s pictures were sold by Skinner and Dyke on March
+28, 1795, _The Tragic Muse_ was bought by Mr. Smith of Norwich for
+£700 and Mr. Smith sold it privately to Mr. G. Watson Taylor for £900.
+At the sale of Mr. Taylor’s pictures in 1823 it was purchased by Earl
+Grosvenor for £1,837-10. Inherited by the Dukes of Westminster, _The
+Tragic Muse_ hung for many years in Grosvenor House, in company with
+Gainsborough’s _Blue Boy_ until it was sold in 1921 to the late
+Mr. Henry E. Huntington.”
+
+[26] William T. Whitley, _Gainsborough_ (London, 1915).
+
+[27] William T. Whitley, _Gainsborough_ (London, 1915).
+
+[28] William B. Boulton, _Gainsborough_, 1907.
+
+[29] Maria’s sister Louisa had married the Hon. and Rev. Frederick
+Keppel, second son of the Earl of Albemarle.
+
+[30] Maria’s sister who married Lionel, fifth Earl of Dysart.
+
+[31] Name for evening dress.
+
+[32] Maurice W. Brockwell, _Taft Catalogue of Paintings_ (New
+York, 1920).
+
+[33] _Thomas Gainsborough_ (London, 1915).
+
+[34] The portrait of Henrietta Maria (see page 193) is another example.
+
+[35] Humphrey Ward.
+
+[36] Angelica Kauffman, the famous painter.
+
+
+Transcriber’s Notes:
+
+1. Obvious printers’, punctuation and spelling errors have been
+corrected silently.
+
+2. Some hyphenated and non-hyphenated versions of the same words have
+been retained as in the original.
+
+3. Superscripts are represented using the caret character, e.g. D^r. or
+X^{xx}.
+
+4. Italics are shown as _xxx_.
+
+5. Bold print is shown as =xxx=.
+
+
+
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 77067 ***
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+<body>
+<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77067 ***</div>
+
+
+
+<p id="half-title" class="p6">OLD WORLD MASTERS<br>
+IN NEW WORLD COLLECTIONS</p>
+
+  <div class="figcenter">
+  <img
+    class="p4" 
+    src="images/i_publisher.jpg"
+    alt="">
+  </div>
+
+<p class="center xs p0">THE MACMILLAN COMPANY<br>
+NEW YORK . BOSTON . CHICAGO . DALLAS<br>
+ATLANTA . SAN FRANCISCO</p>
+
+<p class="center xs">MACMILLAN &amp; CO., <span class="smcap">Limited</span>
+LONDON . BOMBAY . CALCUTTA
+MELBOURNE</p>
+
+<p class="center xs">THE MACMILLAN CO. OF CANADA, <span class="smcap">Ltd.</span>
+TORONTO</p>
+
+  <div class="figcenter" id="i_frontis" style="max-width: 316px">
+     <img
+    class="p1"   
+    src="images/i_frontis.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. J. P. Morgan</i></p>
+     <p class="p0 sm center">GIOVANNA TORNABUONI</p>
+     <p class="p0 sm right">—<i>Domenico Ghirlandaio</i></p>
+ </div>
+
+  <div class="figcenter">
+  <img
+    class="p0" 
+    src="images/i_title.jpg"
+    alt="">
+  </div>
+
+
+<div class="chapter">
+
+<h1>OLD WORLD<br>
+MASTERS IN NEW<br>
+WORLD COLLECTIONS</h1></div>
+
+<p class="center">BY</p>
+
+<p class="center">ESTHER SINGLETON</p>
+
+<p class="center sm">New York<br>
+THE MACMILLAN COMPANY<br>
+1929</p>
+
+<div class="chapter">
+<p class="center p4 xs"><span class="smcap">Copyright, 1929, By</span> THE MACMILLAN COMPANY</p></div>
+
+<p class="center smcap xs">Set up and electrotyped. Published January, 1929.</p>
+
+
+<p class="center xs p6">SET UP AND ELECTROTYPED BY T. MOREY &amp; SON</p>
+
+<p class="center xs">PRINTED IN THE UNITED STATES OF AMERICA<br>
+BY BERWICK &amp; SMITH CO.</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_vii">[vii]</span></p>
+
+<h2><i>PREFACE</i></h2>
+</div>
+
+
+<p class="drop-cap p-left">It is noteworthy that the first book to be published in any country and
+in any language treating of Old Masters in private Collections should
+be devoted exclusively to treasures in America.</p>
+
+<p><i>Old World Masters in New World Collections</i> may be called a
+permanent loan exhibition of the greatest and most renowned examples of
+Art in America, which cannot be seen anywhere but in this volume.</p>
+
+<p>It is owing to the gracious response and courtesy of the most
+distinguished American Collectors that I am able to present between
+these covers a selection of a hundred and ten of the choicest paintings
+in the country, representing portraits, religious and mythological
+subjects, and <i>genre</i> from the Thirteenth through the Eighteenth
+Centuries.</p>
+
+<p>One of the principal factors in the formation of many of these
+magnificent Collections has been the outstanding influence of Sir
+Joseph Duveen, Bart., under whose guidance the foremost American
+Collections have been raised to a dominating position in the world of
+art.</p>
+
+<p>It is significant that among the paintings reproduced here, the greater
+number have been brought to this country by Sir Joseph Duveen; and I am
+happy to express my thanks to Sir Joseph for his enthusiastic interest
+and encouragement to me throughout the entire preparation of this
+volume.</p>
+
+<p>A very interesting feature in this book is the distinguished
+ownership of these paintings: Frederick the Great, for instance,
+owned Lancret’s <i>La Camargo</i>, the celebrated French dancer;
+Queen Christina of Sweden, Raphael’s <i>Agony in the Garden</i>;
+Madame de Pompadour, Chardin’s <i>La Serinette</i> and Boucher’s
+<i>Les Deux Confidentes</i>; Sir Joshua Reynolds, Rembrandt’s
+<i>Standard-Bearer</i>; Sir Horace Walpole, Rembrandt’s <i>Simeon and
+Mary</i>; and Charles Le Brun, Poussin’s <i>Jupiter and Calisto</i>.
+Fra Filippo Lippi’s <i>Madonna della Stella</i> came directly to
+the present owner from the Monastery of the Carmine (Florence) for
+which it<span class="pagenum" id="Page_viii">[viii]</span> was painted; Raphael’s <i>Niccolini Madonna</i>, from the
+Niccolini Palace; Titian’s <i>Caterina Cornaro</i>, from the Riccardi
+Palace, Florence; Bartolommeo Veneto’s <i>Maximilian Sforza</i>, from
+the Sforza Palace, Milan; Rubens’s <i>Louis XIII, King of France</i>,
+from the ex-Emperor of Germany’s Palace of Charlottenburg; and Van
+Dyck’s <i>Dædalus and Icarus</i>, from the famous Collection of Earl
+Spencer at Althorp and was consequently in the home of the Duchess
+of Devonshire, whose beautiful eyes must have frequently looked upon
+it. Holbein’s <i>Prince Edward of England</i> was painted for King
+Henry VIII; and with the portrait of Sir Thomas More, Holbein’s great
+reputation began. Of all Sir Joshua Reynolds’s portraits <i>Mrs.
+Siddons as the Tragic Muse</i> is considered the greatest; and
+Gainsborough’s <i>Blue Boy</i> and the <i>Duchess of Devonshire</i>
+rank among the world’s most famous pictures. Surpassing the <i>Blue
+Boy</i> in beauty and charm (though not so famous) and depicting withal
+a far lovelier personality, is Romney’s <i>John Walter Tempest</i>;
+and Romney’s <i>Lady Derby</i> and the <i>Hon. Mrs. Davenport</i> will
+stand forever among the loveliest presentations of charming womanhood.
+On a par with these are <i>La Marquise de Villemomble</i>, by Drouais;
+<i>La Marquise de la Fare</i>, by Fragonard; and <i>La Marquise de
+Baglion</i> by Nattier. Many critics call the last named work the
+greatest French portrait of the Eighteenth Century.</p>
+
+<p>We read with amazement of European Collectors and Collections of the
+past: of the treasures owned by the wealthy Dukes of Burgundy; by
+Lorenzo the Magnificent and by other members of the Medici family;
+by the Sforzas, Gonzagas, d’Estes, and other Italian princes; by the
+Fuggers, those wealthy bankers of Augsburg; by noble Austrian and
+German barons; by the great merchant-princes and lords of England from
+Queen Elizabeth’s day to the present; by Cardinal Richelieu, Cardinal
+Mazarin and Cardinal de Rohan; and by the Rothschilds and other notable
+bankers. Yet, in some respects—particularly in the high quality of
+their Collections and the velocity with which these Collections have
+been made—our American Collectors surpass them all. On this point Sir
+Joseph Duveen remarks:</p>
+
+<p>“The particular thing that makes American Collections so unique and
+so priceless is that their pictures are all masterpieces. In Europe<span class="pagenum" id="Page_ix">[ix]</span>
+you will find much larger Collections and these will have, like the
+Bridgewater for instance, a large number of very mediocre paintings
+and a few of supreme excellence—gems—magnificent! Many Collections
+in England and also on the Continent go into hundreds with just a few
+fine things. In America, on the contrary, every Collector wants the
+best. He may have only thirty pictures, but they will all be fine.
+Americans make Collections of masterpieces. <i>That</i> is why they are
+different. That is why Americans are a new race of Collectors. American
+Collections are Collections of Masterpieces.”</p>
+
+<p><i>The Blue Boy</i> purchased from the Duke of Westminster by Sir
+Joseph Duveen for the late Mr. Henry E. Huntington at the then unheard
+of sum of $800,000 set the imagination of the American public aflame.
+When exhibited at the National Gallery, London, and afterwards at
+the Duveen Galleries, New York, for charity in 1922, the whole world
+flocked to see it. <i>The Blue Boy</i> proved to be a “sensation.”
+Within a few months Gainsborough’s masterpiece was followed by Sir
+Joshua Reynolds’s <i>Mrs. Siddons as the Tragic Muse</i>, also
+purchased from the Duke of Westminster by Sir Joseph Duveen for the
+late Mr. Henry E. Huntington for $500,000. <i>Mrs. Siddons</i> was, in
+her turn, followed by eighteen superb examples of Gainsborough, Romney,
+Reynolds, and Lawrence, several of which appear in this book. It was,
+therefore, the English School that started the ball rolling for a new
+type of Collector, who sought gems of the first water only.</p>
+
+<p>From this period onward great paintings of all Schools—Italian,
+French, Dutch, Flemish, and Spanish, as well as English—have been
+coming across the Atlantic in amazing numbers, and with eagerly
+awaiting purchasers to greet them. The result is that America has
+become a great Repository of Art, in which the entire country is
+beginning to take a personal and justifiable pride.</p>
+
+<p>On this question of Art-migration the noted critic and director of the
+Berlin Museum, Dr. Wilhelm von Bode, wrote not long ago:</p>
+
+<p>“Any one who a decade ago had even hinted at the possibility of
+Gainsborough’s <i>Blue Boy</i> making its way across the Atlantic
+to become the central gem in the Huntington Collection would have
+been thought<span class="pagenum" id="Page_x">[x]</span> mad. He might as well have suggested the uprooting of
+England’s century old oaks, or the removal of the Rock of Gibraltar.
+And yet the impossible has happened; and not only the famous <i>Blue
+Boy</i> but many another of the world’s masterpieces has travelled the
+same route.</p>
+
+<p>“This is the greatest transplantation of art-works the world has known
+since the Roman plundering of Grecian art and the rape of the churches
+and museums of Europe whereby Napoleon enriched the Louvre.</p>
+
+<p>“No power on earth can turn back the pages of history to the first
+of August, 1914, on which day forces were set in motion that were to
+result in a complete reversal of all hitherto existing political,
+geographical, social, and economic values. No one could have foreseen
+at the time that the world’s accumulated art-treasures would also be
+affected by these sweeping changes.”</p>
+
+<p>From the amazing wealth that has been so generously placed at my
+disposition, I have been guided by one principle of selection,—that of
+<i>Beauty</i>!</p>
+
+<p>Art, according to my way of thinking, is something to be enjoyed,
+something to delight the senses, and something to refresh the mind;
+and I feel sure that many <i>connoisseurs</i> will agree with me and
+gladly welcome a book devoted to Old Masters in which not the slightest
+suggestion of suffering enters. Therefore, in this book there are no
+Crucifixions, Pietàs, martyrdoms, nor tragedies.</p>
+
+<p>Nor in my definition of Beauty do I recognize any distortion of the
+word that might include the cant phrase—the “beauty of ugliness.”
+Beauty, when most subtle, is always obvious; and I agree heartily
+with Bernard Berenson’s dictum: “And not what man knows but what man
+<i>feels</i> concerns Art. <i>All else is science.</i>”</p>
+
+<p>Fashions may come and fashions may go, but while these changing tides
+ebb and flow the great manifestations and expressions of genius shine
+with undimmed splendor as shine the stars of Heaven over a world racked
+with dissension and controversy and troubled with many shell-shocked
+minds. Shakespeare and Shelley and Keats and Tennyson will charm,
+inspire, and uplift generations to come when yawping <i>vers libre</i>
+has been thrown into the literary junk-heap;<span class="pagenum" id="Page_xi">[xi]</span> Beethoven and Chopin
+and Wagner will delight, astound, and refresh sensitive spirits when
+the scores of the Twentieth Century cacophonists will be unopened
+and coated with dust; and Raphael, Botticelli, Watteau, Fragonard,
+Chardin, Gainsborough, Reynolds, and Romney will fascinate, enthrall,
+and enrapture lovers of the beautiful when works of jostled planes and
+lurid color will have been hooted to extinction.</p>
+
+<p>The Torch of Beauty burns brightly through all the confusion of tongues
+and wild ragings of Twentieth Century iconoclasts. In this belief
+and hope I have the support of the noted French critic, Robert de la
+Sizeranne, who says:</p>
+
+<p>“Art never dies, even when all that has maintained it and served as
+the motive for its very existence—civilization, society, religious
+belief, social authority—has fallen into irremediable decay. For it
+has still another reason for existence, which is the powerful one of
+<i>Beauty</i>. Humanity is not rich enough to dispense with a vision of
+Beauty. The day comes when it will return to it gladly and acclaim it
+as if it were a living being.”</p>
+
+<p>Some idea of the value of the paintings shown in this book will be had
+if I mention a few sums which were reached at the last sales, although
+the figures have risen considerably since those sales. Here are, for
+example, twelve paintings:</p>
+
+<p>Gainsborough’s <i>Harvest Waggon</i>, $360,000; Lawrence’s
+<i>Pinkie</i>, $377,000; Gainsborough’s <i>Blue Boy</i>, $800,000;
+Reynolds’s <i>Mrs. Siddons</i>, $500,000; Raphael’s <i>Small Cowper
+Madonna</i>, $700,000; Raphael’s <i>Niccolini Madonna</i>, $875,000;
+Frans Hals’s <i>Laughing Mandolin Player</i>, $250,000; Botticelli’s
+<i>Giuliano de’ Medici</i>, $240,000; Raphael’s <i>Agony in the
+Garden</i>, $500,000; Gainsborough’s <i>The Mall</i>, $500,000;
+Romney’s <i>The Hon. Mrs. Davenport</i>, $304,700; and Romney’s
+<i>Anne, Lady de la Pole</i>, $206,850.</p>
+
+<p>Hence it will be seen that these twelve paintings represent
+considerably more than $5,500,000.</p>
+
+<p>With these figures in mind (and I have not attempted to estimate the
+Memlings, Holbeins, Bellinis, Crivellis, Titians, Rembrandts, Van
+Dycks, Fragonards, Nattiers, and others) it will be easily appreciated<span class="pagenum" id="Page_xii">[xii]</span>
+that the value of the paintings shown in this book soars beyond
+millions into the billion dollar class!</p>
+
+<p>It gives me pleasure to offer my thanks to all the Collectors whose
+pictures are represented and very particularly to Mrs. Herbert L.
+Satterlee, Mr. J. P. Morgan, Mr. and Mrs. Charles P. Taft, and Miss
+Helen C. Frick who permitted me to have photographs especially taken of
+the Duchess of Devonshire, and Lady Betty Delmé; Eliza Farren, Countess
+of Derby; Maria Walpole, Duchess of Gloucester and “The Jessamy Bride”;
+and Sir Thomas More.</p>
+
+<p>I also wish to thank most cordially Mr. Felix Wildenstein for his
+valuable advice and approbation and for important material sent to me
+from Paris and to express my appreciation to Mr. C. R. Henschel of
+Messrs. Knoedler &amp; Co., and to Mrs. Paul Reinhardt of the Reinhardt
+Galleries for their warm support and aid.</p>
+
+<p class="r2 p-min">E. S.</p>
+
+<p class="smcap p-left sm p-min">New York</p>
+<p class="sm p-min">November 8, 1928.</p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<h2><i>CONTENTS</i></h2>
+</div>
+
+<table class="smaller" style="max-width: 50em">
+  <tr>
+    <th class="chap">CHAPTER</th>
+    <th></th>
+    <th class="pag">PAGES</th>
+  </tr>
+
+ <tr>
+    <td class="chn">I.</td>
+    <td class="cht smcap">Italian</td>
+    <td class="pag"><a href="#Page_3">3–153</a></td>
+  </tr>
+
+  <tr>
+    <td class="chn"></td>
+    <td class="cht1">Sienese</td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="chn"></td>
+    <td class="cht1">Florentine</td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="chn"></td>
+    <td class="cht1">Umbrian</td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="chn"></td>
+    <td class="cht1">North Italian</td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="chn"></td>
+    <td class="cht1">Venetian</td>
+    <td class="pag"></td>
+  </tr>
+
+ <tr>
+    <td class="chn">II.</td>
+    <td class="cht smcap">Flemish</td>
+    <td class="pag"><a href="#Page_157">157–196</a></td>
+  </tr>
+
+ <tr>
+    <td class="chn">III.</td>
+    <td class="cht smcap">Dutch</td>
+    <td class="pag"><a href="#Page_199">199–232</a></td>
+  </tr>
+
+ <tr>
+    <td class="chn">IV.</td>
+    <td class="cht smcap">German</td>
+    <td class="pag"><a href="#Page_235">235–253</a></td>
+  </tr>
+
+ <tr>
+    <td class="chn">V.</td>
+    <td class="cht smcap">Spanish</td>
+    <td class="pag"><a href="#Page_257">257–272</a></td>
+  </tr>
+
+ <tr>
+    <td class="chn">VI.</td>
+    <td class="cht smcap">French, Eighteenth Century</td>
+    <td class="pag"><a href="#Page_275">275–326</a></td>
+  </tr>
+
+ <tr>
+    <td class="chn">VII.</td>
+    <td class="cht smcap">English, Eighteenth Century</td>
+    <td class="pag"><a href="#Page_329">329–428</a></td>
+  </tr>
+</table>
+
+<div class="chapter">
+<h2><i>ILLUSTRATIONS</i></h2>
+</div>
+
+<table class="smaller" style="max-width: 50em">
+  <tr>
+    <td class="cht2 smcap">Giovanna Tornabuoni</td>
+    <td class="right"><i>Domenico Ghirlandaio</i></td>
+    <td class="pag"><a href="#i_frontis">Frontispiece</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. J. P. Morgan.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <th></th>
+    <th></th>
+    <th class="pag">PAGE</th>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">St. Francis and the Beggar</td>
+    <td class="right"><i>Sassetta</i></td>
+    <td class="pag"><a href="#i_007">7</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child with Saints and Angels</td>
+    <td class="right"><i>Matteo di Giovanni</i></td>
+    <td class="pag"><a href="#i_011">11</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Adoration of the Magi</td>
+    <td class="right"><i>Benvenuto di Giovanni</i></td>
+    <td class="pag"><a href="#i_013">13</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Sir Joseph Duveen, Bart.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Giotto di Bordone</i></td>
+    <td class="pag"><a href="#i_027">27</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Annunciation</td>
+    <td class="right"><i>Masolino</i></td>
+    <td class="pag"><a href="#i_029">29</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Gabriel, the Announcing Angel</td>
+    <td class="right"><i>Fra Angelico</i></td>
+    <td class="pag"><a href="#i_033">33</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Edsel B. Ford.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Virgin Receiving the Divine Message</td>
+    <td class="right"><i>Fra Angelico</i></td>
+    <td class="pag"><a href="#i_035">35</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Edsel B. Ford.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">St. Cosimas and St. Damianus</td>
+    <td class="right"><i>Fra Angelico</i></td>
+    <td class="pag"><a href="#i_041">41</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Albert Keller.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna della Stella</td>
+    <td class="right"><i>Fra Filippo Lippi</i></td>
+    <td class="pag"><a href="#i_043">43</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Carl W. Hamilton.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Alesso Baldovinetti</i></td>
+    <td class="pag"><a href="#i_049">49</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Young Lady</td>
+    <td class="right"><i>Piero Pollaiuolo</i></td>
+    <td class="pag"><a href="#i_053">53</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Nils B. Hersloff.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Giuliano de’ Medici</td>
+    <td class="right"><i>Sandro Botticelli</i></td>
+    <td class="pag"><a href="#i_057">57</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Otto H. Kahn.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Young Man</td>
+    <td class="right"><i>Sandro Botticelli</i></td>
+    <td class="pag"><a href="#i_063">63</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Sandro Botticelli</i></td>
+    <td class="pag"><a href="#i_065">65</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Max Epstein.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Giovanna Tornabuoni</td>
+    <td class="right"><i>Domenico Ghirlandaio</i></td>
+    <td class="pag"><a href="#i_067">67</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. J. P. Morgan.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Francesco Sassetti and His Son Teodoro</td>
+    <td class="right"><i>Domenico Ghirlandaio</i></td>
+    <td class="pag"><a href="#i_071">71</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Gentile da Fabriano</i></td>
+    <td class="pag"><a href="#i_075">75</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child with Angels</td>
+    <td class="right"><i>Benedetto Bonfigli</i></td>
+    <td class="pag"><a href="#i_079">79</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Otto H. Kahn.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Perugino</i></td>
+    <td class="pag"><a href="#i_081">81</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Niccolini Madonna</td>
+    <td class="right"><i>Raphael</i></td>
+    <td class="pag"><a href="#i_085">85</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Sir Joseph Duveen, Bart.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Small Cowper Madonna</td>
+    <td class="right"><i>Raphael</i></td>
+    <td class="pag"><a href="#i_087">87</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Joseph E. Widener.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Agony in the Garden</td>
+    <td class="right"><i>Raphael</i></td>
+    <td class="pag"><a href="#i_091">91</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Lady</td>
+    <td class="right"><i>Pisanello</i></td>
+    <td class="pag"><a href="#i_101">101</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Adoration of the Shepherds</td>
+    <td class="right"><i>Andrea Mantegna</i></td>
+    <td class="pag"><a href="#i_105">105</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Virgin and Child with the Infant St. John and Angel</td>
+    <td class="right"><i>Francia</i></td>
+    <td class="pag"><a href="#i_109">109</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Lady</td>
+    <td class="right"><i>Luini</i></td>
+    <td class="pag"><a href="#i_111">111</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Titian’s Schoolmaster</td>
+    <td class="right"><i>Moroni</i></td>
+    <td class="pag"><a href="#i_113">113</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Joseph E. Widener.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Antonello da Messina</i></td>
+    <td class="pag"><a href="#i_123">123</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Clarence H. Mackay.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Crivelli</i></td>
+    <td class="pag"><a href="#i_127">127</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. A. W. Erickson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Crivelli</i></td>
+    <td class="pag"><a href="#i_129">129</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Philip Lehman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Virgin and Child with St. Lucy,
+St. Catherine, St. Peter and St. John the Baptist</td>
+    <td class="right"><i>Giovanni Bellini</i></td>
+    <td class="pag"><a href="#i_131">131</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Virgin and Child</td>
+    <td class="right"><i>Giovanni Bellini</i></td>
+    <td class="pag"><a href="#i_133">133</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Nicholas F. Brady.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child</td>
+    <td class="right"><i>Giovanni Bellini</i></td>
+    <td class="pag"><a href="#i_135">135</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Philip Lehman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Feast of the Gods</td>
+    <td class="right"><i>Giovanni Bellini</i></td>
+    <td class="pag"><a href="#i_139">139</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Joseph E. Widener.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Virgin and Child</td>
+    <td class="right"><i>Titian</i></td>
+    <td class="pag"><a href="#i_141">141</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Caterina Cornaro, Queen of Cyprus</td>
+    <td class="right"><i>Titian</i></td>
+    <td class="pag"><a href="#i_145">145</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. John Ringling.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Giorgio Cornaro with Falcon</td>
+    <td class="right"><i>Titian</i></td>
+    <td class="pag"><a href="#i_147">147</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. A. W. Erickson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Maximilian Sforza</td>
+    <td class="right"><i>Bartolommeo Veneto</i></td>
+    <td class="pag"><a href="#i_149">149</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">A Scene along the Adriatic Coast</td>
+    <td class="right"><i>Francesco Guardi</i></td>
+    <td class="pag"><a href="#i_153">153</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. Charles B. Alexander.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Lady</td>
+    <td class="right"><i>Roger van der Weyden</i></td>
+    <td class="pag"><a href="#i_167">167</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Carthusian Monk</td>
+    <td class="right"><i>Petrus Christus</i></td>
+    <td class="pag"><a href="#i_171">171</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madonna and Child with Angels</td>
+    <td class="right"><i>Hans Memling</i></td>
+    <td class="pag"><a href="#i_173">173</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Young Gentleman</td>
+    <td class="right"><i>Hans Memling</i></td>
+    <td class="pag"><a href="#i_175">175</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. John N. Willys.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Louis XIII, King of France</td>
+    <td class="right"><i>Peter Paul Rubens</i></td>
+    <td class="pag"><a href="#i_177">177</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Sir Joseph Duveen, Bart.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Rinaldo and Armida</td>
+    <td class="right"><i>Sir Anthony Van Dyck</i></td>
+    <td class="pag"><a href="#i_183">183</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jacob Epstein.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Dædalus and Icarus</td>
+    <td class="right"><i>Sir Anthony Van Dyck</i></td>
+    <td class="pag"><a href="#i_185">185</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Frank P. Wood.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Robert Rich, Earl of Warwick</td>
+    <td class="right"><i>Sir Anthony Van Dyck</i></td>
+    <td class="pag"><a href="#i_189">189</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Queen Henrietta Maria with Jeffrey Hudson and a Monkey</td>
+    <td class="right"><i>Sir Anthony Van Dyck</i></td>
+    <td class="pag"><a href="#i_193">193</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. William Randolph Hearst.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Standard-Bearer</td>
+    <td class="right"><i>Rembrandt van Rijn</i></td>
+    <td class="pag"><a href="#i_205">205</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Young Officer</td>
+    <td class="right"><i>Rembrandt van Rijn</i></td>
+    <td class="pag"><a href="#i_209">209</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. A. W. Erickson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">An Old Lady Seated in an Armchair</td>
+    <td class="right"><i>Rembrandt van Rijn</i></td>
+    <td class="pag"><a href="#i_211">211</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Simeon and Mary Presenting the Infant Christ in the Temple.</td>
+    <td class="right"><i>Rembrandt van Rijn</i></td>
+    <td class="pag"><a href="#i_213">213</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Nils B. Hersloff.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of an Officer</td>
+    <td class="right"><i>Frans Hals</i></td>
+    <td class="pag"><a href="#i_221">221</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Laughing Mandolin Player</td>
+    <td class="right"><i>Frans Hals</i></td>
+    <td class="pag"><a href="#i_223">223</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. John R. Thompson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">A Music Party</td>
+    <td class="right"><i>Pieter de Hoogh</i></td>
+    <td class="pag"><a href="#i_225">225</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. John N. Willys.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Lace-Maker</td>
+    <td class="right"><i>Jan Vermeer</i></td>
+    <td class="pag"><a href="#i_229">229</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Portrait of a Man</td>
+    <td class="right"><i>Albrecht Dürer</i></td>
+    <td class="pag"><a href="#i_239">239</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Prince Edward of England</td>
+    <td class="right"><i>Hans Holbein the Younger</i></td>
+    <td class="pag"><a href="#i_241">241</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Sir Thomas More</td>
+    <td class="right"><i>Hans Holbein the Younger</i></td>
+    <td class="pag"><a href="#i_245">245</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry Clay Frick.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Dirk Berck of Cologne</td>
+    <td class="right"><i>Hans Holbein the Younger</i></td>
+    <td class="pag"><a href="#i_247">247</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Jean de Dinteville</td>
+    <td class="right"><i>Hans Holbein the Younger</i></td>
+    <td class="pag"><a href="#i_249">249</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Henry Goldman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Cardinal Albrecht as Saint Hieronymus</td>
+    <td class="right"><i>Lucas Cranach the Elder</i></td>
+    <td class="pag"><a href="#i_253">253</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. John Ringling.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Cardinal Quiroga</td>
+    <td class="right"><i>El Greco</i></td>
+    <td class="pag"><a href="#i_261">261</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry Clay Frick.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Virgin Appearing to St. Dominic</td>
+    <td class="right"><i>El Greco</i></td>
+    <td class="pag"><a href="#i_263">263</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. J. Horace Harding.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Marianne of Austria</td>
+    <td class="right"><i>Velasquez</i></td>
+    <td class="pag"><a href="#i_265">265</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Philip Lehman.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Philip IV of Spain</td>
+    <td class="right"><i>Velasquez</i></td>
+    <td class="pag"><a href="#i_267">267</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry Clay Frick.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">General Nicolas Guye</td>
+    <td class="right"><i>Goya</i></td>
+    <td class="pag"><a href="#i_269">269</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. J. Horace Harding.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Pepito Costa y Bonella</td>
+    <td class="right"><i>Goya</i></td>
+    <td class="pag"><a href="#i_271">271</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. William Hayward.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Jupiter and Calisto</td>
+    <td class="right"><i>Nicolas Poussin</i></td>
+    <td class="pag"><a href="#i_279">279</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Carroll Tyson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Danse</td>
+    <td class="right"><i>Antoine Watteau</i></td>
+    <td class="pag"><a href="#i_283">283</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Charles A. Wimpfheimer.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madame Bonier de la Mosson</td>
+    <td class="right"><i>Jean Marc Nattier</i></td>
+    <td class="pag"><a href="#i_287">287</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Edward J. Berwind.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Marquise de Baglion</td>
+    <td class="right"><i>Jean Marc Nattier</i></td>
+    <td class="pag"><a href="#i_289">289</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. A. W. Erickson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Camargo</td>
+    <td class="right"><i>Nicolas Lancret</i></td>
+    <td class="pag"><a href="#i_293">293</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Le Duo</td>
+    <td class="right"><i>Nicolas Lancret</i></td>
+    <td class="pag"><a href="#i_295">295</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Emil J. Stehli.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Une Fête Champêtre</td>
+    <td class="right"><i>Jean Baptiste Joseph Pater</i></td>
+    <td class="pag"><a href="#i_297">297</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Une Fête Galante</td>
+    <td class="right"><i>Jean Baptiste Joseph Pater</i></td>
+    <td class="pag"><a href="#i_299">299</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Edward J. Berwind.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Serinette</td>
+    <td class="right"><i>Jean Baptiste Siméon Chardin</i></td>
+    <td class="pag"><a href="#i_301">301</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry Clay Frick.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Les Deux Confidentes</td>
+    <td class="right"><i>François Boucher</i></td>
+    <td class="pag"><a href="#i_305">305</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. William R. Timken.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">A Young Girl Reading a Letter</td>
+    <td class="right"><i>Jean Baptiste Greuze</i></td>
+    <td class="pag"><a href="#i_307">307</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. John McCormack.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Young Girl</td>
+    <td class="right"><i>Jean Baptiste Greuze</i></td>
+    <td class="pag"><a href="#i_309">309</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. William Randolph Hearst.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Marquise de Besons Tuning a Guitar</td>
+    <td class="right"><i>Jean Baptiste Greuze</i></td>
+    <td class="pag"><a href="#i_311">311</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Dr. and Mrs. Henry Barton Jacobs.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Marquise de Villemomble</td>
+    <td class="right"><i>François Hubert Drouais</i></td>
+    <td class="pag"><a href="#i_313">313</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Mademoiselle Helvetius</td>
+    <td class="right"><i>François Hubert Drouais</i></td>
+    <td class="pag"><a href="#i_315">315</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Mortimer L. Schiff.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">L’Invocation à l’Amour</td>
+    <td class="right"><i>Jean Honoré Fragonard</i></td>
+    <td class="pag"><a href="#i_317">317</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Mortimer L. Schiff.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Le Billet-Doux</td>
+    <td class="right"><i>Jean Honoré Fragonard</i></td>
+    <td class="pag"><a href="#i_319">319</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">La Marquise de la Fare</td>
+    <td class="right"><i>Jean Honoré Fragonard</i></td>
+    <td class="pag"><a href="#i_321">321</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. James B. Haggin.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Fountain in the Park</td>
+    <td class="right"><i>Hubert Robert</i></td>
+    <td class="pag"><a href="#i_323">323</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Dr. and Mrs. Henry Barton Jacobs.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Madame Labille-Guiard and Two Pupils</td>
+    <td class="right"><i>Madame Labille-Guiard</i></td>
+    <td class="pag"><a href="#i_325">325</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Edward J. Berwind.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Lady Betty Delmé</td>
+    <td class="right"><i>Sir Joshua Reynolds</i></td>
+    <td class="pag"><a href="#i_339">339</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Herbert L. Satterlee.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Strawberry Girl</td>
+    <td class="right"><i>Sir Joshua Reynolds</i></td>
+    <td class="pag"><a href="#i_343">343</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mrs. Francis F. Prentiss.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Diana, Viscountess Crosbie</td>
+    <td class="right"><i>Sir Joshua Reynolds</i></td>
+    <td class="pag"><a href="#i_345">345</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Mrs. Siddons as the Tragic Muse</td>
+    <td class="right"><i>Sir Joshua Reynolds</i></td>
+    <td class="pag"><a href="#i_349">349</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Georgiana, Duchess of Devonshire</td>
+    <td class="right"><i>Sir Joshua Reynolds</i></td>
+    <td class="pag"><a href="#i_355">355</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Cottage Door</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_359">359</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Mall</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_365">365</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry Clay Frick.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Maria Walpole, Duchess of Gloucester</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_367">367</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Charles P. Taft.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Georgiana, Duchess of Devonshire</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_373">373</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Herbert L. Satterlee.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Blue Boy</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_379">379</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">General Philip Honywood</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_387">387</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. John Ringling.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Harvest Waggon</td>
+    <td class="right"><i>Thomas Gainsborough</i></td>
+    <td class="pag"><a href="#i_391">391</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Sir Joseph Duveen, Bart.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">John Walter Tempest</td>
+    <td class="right"><i>George Romney</i></td>
+    <td class="pag"><a href="#i_393">393</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Marshall Field.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Hon. Mrs. Davenport</td>
+    <td class="right"><i>George Romney</i></td>
+    <td class="pag"><a href="#i_399">399</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Andrew W. Mellon.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Lady Derby</td>
+    <td class="right"><i>George Romney</i></td>
+    <td class="pag"><a href="#i_401">401</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. Jules S. Bache.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Emma, Lady Hamilton</td>
+    <td class="right"><i>George Romney</i></td>
+    <td class="pag"><a href="#i_405">405</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Anne, Lady de la Pole</td>
+    <td class="right"><i>George Romney</i></td>
+    <td class="pag"><a href="#i_409">409</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The Hon. Alvan T. Fuller.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">The Hon. Mrs. Grant of Kilgraston</td>
+    <td class="right"><i>Sir Henry Raeburn</i></td>
+    <td class="pag"><a href="#i_413">413</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. C. Fisher.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Quinton McAdam</td>
+    <td class="right"><i>Sir Henry Raeburn</i></td>
+    <td class="pag"><a href="#i_415">415</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. A. W. Erickson.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Mary Horneck, “The Jessamy Bride”</td>
+    <td class="right"><i>John Hoppner</i></td>
+    <td class="pag"><a href="#i_417">417</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. and Mrs. Charles P. Taft.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Eliza Farren, Countess of Derby</td>
+    <td class="right"><i>Sir Thomas Lawrence</i></td>
+    <td class="pag"><a href="#i_421">421</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">Mr. J. P. Morgan.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+  <tr>
+    <td class="cht2 smcap">Pinkie</td>
+    <td class="right"><i>Sir Thomas Lawrence</i></td>
+    <td class="pag"><a href="#i_427">427</a></td>
+  </tr>
+
+  <tr>
+    <td class="cht1">The late Mr. Henry E. Huntington.</td>
+    <td class="right"></td>
+    <td class="pag"></td>
+  </tr>
+
+</table>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_1">[1]</span></p>
+<h2>ITALIAN</h2>
+</div>
+
+<div class="parent">
+<ul class="left smaller" style="margin-top: 0em">
+  <li>Sienese</li>
+  <li>Florentine</li>
+  <li>Umbrian</li>
+  <li>North Italian</li>
+  <li>Venetian</li>
+</ul>
+</div>  
+
+<p><span class="pagenum" id="Page_3">[3]</span></p>
+
+<h3><i>SIENESE</i></h3>
+
+<p class="drop-cap p-left">There are no beginnings of art in Italy. The old civilizations of
+Etruria, Rome, and Byzantium never perished entirely; and upon their
+surviving traditions “Christian Art” was built. Old pictorial ideas
+and old decorative motives were absorbed, rearranged, and worked over
+again and again in conjunction with theological dogma until in the
+Thirteenth Century, largely owing to the beautiful character, ideals,
+and influence of St. Francis, to the intellectual teachings of Dante,
+and to the fervor aroused by the Crusades, “Christian Art” became a
+living movement, which inspired, among other important things, the
+creation of magnificent Cathedrals. When the architects, the carvers
+of wood and stone, and the makers of the jewel-like windows had
+finished their work, the best painters of the day were called on to
+produce altar-pieces that would stimulate religious devotion, charm the
+worshippers by beauty, and instruct the people (unaccustomed to books)
+by representation of saintly lives and scriptural stories.</p>
+
+<p>Italian Painting in the Thirteenth and Fourteenth Centuries thus
+shows many of the old Byzantine traditions still lingering in the new
+“Christian,” or “Gothic Art.”</p>
+
+<p>Siena and Florence were the chief early Italian Schools. Siena was at
+first the more important of the two and greatly influenced Florentine
+and also French Painting. The leading early artists of Siena were
+Guido da Siena, Duccio di Buoninsegna, Ugolino da Siena, Segna di
+Bonaventura, Simone Martini, Lippo Memmi, Pietro Lorenzetti, Ambrogio
+Lorenzetti, Lippo Vanni, Andrea Vanni, Bartolo di Fredi, Taddeo di
+Bartolo, and Stefano di Giovanni (Sassetta).</p>
+
+<p>The next group includes Domenico di Bartolo, Lorenzo Vecchietta,
+Neroccio di Landi, Benvenuto di Giovanni, Girolamo di Benvenuto, and
+Matteo di Giovanni.</p>
+
+<p>“To understand and appreciate the painting of Siena one should think
+of it as the culmination of the art of the Middle Ages rather than<span class="pagenum" id="Page_4">[4]</span> as
+a promise of anything modern. Therein lies the difference which caused
+so great a gulf between the art of Siena and that of contemporary
+Florence only forty miles away. Sienese Art may be regarded as the most
+perfect expression of the Byzantine ideal. It was hieratic and mystic.
+While Giotto was forecasting the development of modern art by studying
+nature and making his figures act like the real people whom he saw
+about him, Duccio and Simone Martini were sounding the Byzantine creed
+that the Christian saints were not <i>human</i> but <i>divine</i>,
+not <i>vulgar</i> but <i>regal</i>, not <i>approachable</i> but
+<i>aloof</i>. To the early Sienese, as to the Byzantine, the
+Raphaelesque conception of the Madonna as the most tender possible
+human mother would have been blasphemous bad taste.</p>
+
+<p>“Although Sienese Art was founded on Byzantine and was in a sense the
+culmination of Byzantine, it was, nevertheless, a Gothic art. In other
+words it belonged to its period, but it selected certain elements of
+Gothic style for emphasis.</p>
+
+<p>“In Florence Giotto was inspired by the plasticity of Gothic Art and
+its naturalism. In Siena Duccio and his followers developed the Gothic
+living line; and, later, the emotionalism of Gothic spirit. Thus both
+Florentines and Sienese were Gothic, but in a different way.</p>
+
+<p>“Technically as well as spiritually, the Sienese approached the
+artistic abstractions of China and Japan. The analogies between Sienese
+and Oriental Art have been observed by practically every writer on
+the Sienese School. They have been tacitly attributed however, to
+accidental similarities in ideals and modes in Siena and the East.
+As yet no one has been bold enough to suggest an influence derived
+from actual contact with Eastern Art, but such contact is not beyond
+the bounds of possibility. In the Thirteenth and Fourteenth Centuries
+overland communication with the Near East and with China was common and
+secure. Merchants like the Polos, prelates like John of Monte Corsino,
+Andrew of Perugia and Friar Odoric of Friuli readily found the way to
+Cathay, as China was then called. Peking was made a Roman Catholic
+diocese and Pegolotti of the Bardi banking-house in Florence was moved
+to write a traveller’s itinerary, remarkably like a modern Baedeker,
+giving the most minute instructions as to inns, food,<span class="pagenum" id="Page_5">[5]</span> servants, and
+so forth, on the route from Constantinople to Peking. Moslems like
+Ibn Batuta travelled as widely as Christians, and Oriental travellers
+visited the Occident. Thus Bar Sauma, a Nestorian of Peking, visited
+the Pope in 1287 and passed through Tuscany on his way to Paris and
+Bordeaux two years after Duccio painted the <i>Rucellai Madonna</i>.
+Not only the Near East and China, but India, was opened to the European
+and we hear of the martyrdom of one Brother Peter of Siena at a place
+near Bombay. It was not until the end of the Fourteenth and the
+beginning of the Fifteenth Century that the conversion of the western
+Tartars to Islam, the advance of the Seljuk Turks, and the overthrow of
+the broad-minded hospitable Mongol dynasty in China closed the overland
+trade-routes. During the next hundred and fifty years while the
+sea-routes were being discovered Europe seems largely to have forgotten
+the existence of the Orient. Wild as the theory may sound, therefore,
+it is possible that actual contact with Oriental Art may account not
+only for the occasional Mongolian types and bits of Oriental armor to
+be observed in Sienese Art, but even for something of the spirit of the
+style.”—<i>Mediæval and Renaissance Paintings</i> (Fogg Art Museum,
+Cambridge, 1927).</p>
+
+
+<h4>ST. FRANCIS AND THE BEGGAR.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sassetta</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1392–1450</i>).</td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>On September 5, 1437, the Minorites of Siena ordered an altar-piece
+for the Church of San Francesco at Borgo San Sepolcro from Stefano di
+Giovanni, better known as Sassetta. The artist promised “to paint it
+with fine gold, ultramarine, and other good colors, to employ all the
+subtleties of his art, and to make it as beautiful as he could.” Also
+he promised to complete it in four years. Sassetta, however, made a
+wrong calculation; for the work occupied him seven, instead of four,
+years. It was finished on June 5, 1444, and placed above the high
+altar at Borgo San Sepolcro, where it remained until 1752, when the
+panels were dispersed. From contemporary documents nine panels were
+proved in recent years to have been among<span class="pagenum" id="Page_6">[6]</span> the decorations of this
+famous altar-piece; and these panels were shown at the Retrospective
+Exhibition of Sienese Art held in Siena in 1904.</p>
+
+<p>Seven of these nine panels are now in the Collection of Mr. Clarence
+H. Mackay: <i>St. Francis and the Poor Knight</i>; <i>St. Francis
+Renounces his Heritage</i>; <i>St. Francis and the Wolf of Gubbio</i>;
+<i>St. Francis before the Soldan</i>; <i>St. Francis before Pope
+Honorius III</i>; <i>St. Francis Receiving the Stigmata</i>; and <i>The
+Burial of St. Francis</i>.</p>
+
+<p>Another panel, <i>The Marriage of St. Francis to Poverty</i>, is in the
+Chantilly Museum and the central panel of the altar-piece, representing
+<i>The Glory of St. Francis</i>, is in the Collection of Mr. Bernard
+Berenson.</p>
+
+<p>The panel representing <i>St. Francis and the Wolf of Gubbio</i> was
+long in possession of the Comte de Martel at the Château de Beaumont,
+near Blois, and the other six panels came from the Collection of the
+late M. Georges Chalandon, Paris.</p>
+
+<p>It was obvious that for a church dedicated to St. Francis the story of
+his life should be told in paintings.</p>
+
+<p>It is a little hard to realize that the frescoes by Giotto and his
+companions depicting the <i>Life of St. Francis</i> had been admired
+and worshipped for a hundred odd years before Sassetta was called upon
+by the Sienese Minorites to tell the story again. Sassetta produced an
+entirely new version with regard to composition, color, and spiritual
+interpretation.</p>
+
+  <div class="figcenter" id="i_007" style="max-width: 336px">
+     <img
+    class="p1"   
+    src="images/i_007.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">ST. FRANCIS AND THE BEGGAR</p>
+     <p class="p0 sm right">—<i>Sassetta</i></p>
+ </div>
+
+<p>There is much to attract an artist in the story of St. Francis, for
+although his life is not one of much variety, it is full of striking
+episodes, which afford splendid pictorial opportunities. St. Francis,
+founder of the great Order of Friars Minor, or Franciscans, and called
+“the Poor Man of Assisi,” was born in Assisi in 1182, and died there
+in 1226. He was the son of a rich merchant, who, furious because his
+son lavished money on the starving poor of the vicinity, demanded that
+he should renounce his inheritance. This he did with a joyful spirit
+in public and before the Bishop of Assisi, thereafter devoting himself
+to the service of the poor. Disciples flocked to his little chapel,
+called the Portiuncula; and when the New Order celebrated its General<span class="pagenum" id="Page_8">[8]</span><span class="pagenum" id="Page_7">[7]</span>
+Chapter in 1219, five thousand friars assembled there. The Order was
+approved by Pope Innocent III and by his successor, Pope Honorius III.
+Poverty was the leading characteristic of the Franciscans, or Begging
+Friars; individually and collectively they refused to own anything
+whatsoever.</p>
+
+<p>St. Francis journeyed about doing good. His wanderings took him as far
+as Egypt and Palestine; and it was in the year 1224, on the desolate
+Mount Alvernia, that he received the Stigmata, or Impression on the
+flesh of Our Lord’s Five Sacred Wounds, in memory of which the Church
+instituted a special festival. St. Francis was canonized in 1228, two
+years after his death.</p>
+
+<p><i>St. Francis and the Beggar</i>, shown here, tells two episodes of
+the story. On the left and in the immediate foreground the young St.
+Francis, having dismounted from his horse, whose head (very finely
+drawn) appears above his shoulder, is in the act of giving his cloak to
+a poor beggar; and the latter, very dramatically expresses his delight,
+surprise, and gratitude. Beyond these figures a winding road, bordered
+with cypress trees, leads to a handsome villa, presumably the home
+of St. Francis, beyond which little hills appear on the horizon. The
+sky, very expansive, is silvery above these hills and grows gradually
+bluer and bluer until it reaches the top of the picture, or dome of
+the sky, where a strange castle is seen with banners of the Holy Cross
+floating from its battlements and turrets. This castle really belongs
+to the second episode represented on the right, which shows St. Francis
+sleeping in a little room. This heavenly castle is the vision he has in
+his dreams. It would appear that the Angel, standing over St. Francis
+and pointing to the mystical castle in the clouds, is inspiring this
+mystical dream. It is interesting to note here that Giotto made at
+Assisi two pictures of <i>St. Francis and the Beggar</i> and <i>The
+Dream of St. Francis</i>. Sassetta combined the two episodes into one
+picture.</p>
+
+<p>“Even without documents,” says Berenson, “we should know that this
+Borgo San Sepulcro polyptych was painted by a contemporary of Masolino,
+Pisanello, Jacopo Bellini, and Antonio Vivarini. And that the master
+was a Sienese we should know not only from his pure,<span class="pagenum" id="Page_9">[9]</span> flat color and
+his devotion to line, but in other ways as well. At all events it is
+he, Stefano Sassetta, who has left us the most adequate rendering of
+the Franciscan soul that we possess in the entire range of painting.</p>
+
+<p>“Sassetta was not only one of the few masters in Europe of imaginative
+design, but the most important painter at Siena during the second
+quarter of the Fifteenth Century, the channel through which Sienese
+Trecento traditions passed and became transformed into those of the
+Quattrocento, for nearly all the later painters of Siena were his
+offspring.”</p>
+
+<p>Stefano di Giovanni was born at Siena in 1392. He was a pupil of Paolo
+di Giovanni Fei and was deeply influenced by the earlier Sienese
+painters, Duccio, Simone Martini, and the Lorenzetti brothers. In 1427
+he was asked to furnish a design for the font in the Siena Baptistery
+and he painted the altar-piece of the <i>Madonna Enthroned with
+Saints</i> in the church, since known as the Osservanza, built for St.
+Bernardine on the site of his hermitage. Sassetta’s work for the Borgo
+San Sepulcro did much to popularize Sienese ideas in Umbria. Sassetta
+made many paintings in Siena and at Cortona, where he was influenced by
+Fra Angelico. In 1447 he was commissioned to complete the frescoes on
+the Porta Romana at Siena, begun by Taddeo di Bartolo; and he died in
+1450 from exposure while working on this gate. Fifteen years later the
+frescoes were finished by Sano di Pietro, one of Sassetta’s many pupils
+and followers.</p>
+
+<p>For a long time Sassetta was forgotten; but of late years there has
+been much interest in his works, which are of great pecuniary as well
+as artistic value.</p>
+
+
+<h4>MADONNA AND CHILD WITH SAINTS AND ANGELS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Matteo di Giovanni</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1430?–1495</i>).</td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>Among the most important pupils of the famous Sassetta was the painter
+and sculptor, Lorenzo Vecchietta, who in turn was the principal master
+of Matteo di Giovanni, the most celebrated Sienese painter of his time.
+Therefore we have direct artistic ancestry for<span class="pagenum" id="Page_10">[10]</span> Matteo di Giovanni
+through Vecchietta to Sassetta and to Duccio.</p>
+
+<p>Matteo di Giovanni, also called Matteo da Siena, was the son of a
+tradesman who came from Siena to Borgo San Sepulcro, where Matteo was
+born about 1430. His first master is supposed to have been the Umbrian,
+Piero della Francesca (or Pier dei Franceschi). Removing to Siena,
+Matteo spent the rest of his days there. His life was uneventful,
+for he gave all his time to painting. His domestic life must have
+been somewhat exciting for he was twice married—the second time to a
+countess—and he had a large family. Matteo was particularly famous for
+his Madonnas, tender and wistful, with very decorative accessories.</p>
+
+<p>The lovely <i>Madonna and Child with Saints and Angels</i>, represented
+here, shows this decorative quality of Matteo in its highest
+expression. The Sienese love for Oriental fabrics<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> appears in the
+rich attire of the Virgin. Here is no peasant woman in simple robe and
+mantle, but a lady of high degree, wearing a gown of handsome brocade
+with the significant pattern of the pomegranate. A white veil, soft and
+transparent, lightly covers her forehead and her mantle is gracefully
+drawn up over her head to form a hood. The Holy Child rests comfortably
+upon her left arm while her right hand, large and firm, gives Him
+additional support. A light drapery passes around the body of the
+Holy Child—the Sienese were Oriental enough in their discriminating
+taste to avoid uninteresting nudity and they also knew how to manage
+both heavy and light materials—who grasps the Virgin’s tunic with His
+right hand and has placed his left hand over that of His mother. The
+golden <i>nimbus</i> of the Virgin is inscribed “<i>Ave (Maria) Gratia
+Plena</i>.”</p>
+
+<p><span class="pagenum" id="Page_11">[11]</span></p>
+
+  <div class="figcenter" id="i_011" style="max-width: 363px">
+     <img
+    class="p1"   
+    src="images/i_011.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD WITH SAINTS AND ANGELS</p>
+     <p class="p0 sm right">—<i>Matteo di Giovanni</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_12">[12]</span></p>
+
+<p>St. Catherine of Siena stands on the right, also wearing a handsome
+brocade gown and a white veil. She is holding a missal and a fragment
+of her wheel of torture. On the left we see St. Anthony, in monk’s
+habit, writing in a book. Behind this group two Angels are singing
+loudly and joyfully. The background and all the <i>nimbi</i> crowning
+the heads of the figures are of gold, made the richer by burnished
+ornamentation.</p>
+
+<p>This picture, painted in tempera on a panel 29 × 20 inches, came from
+the Collection of Lord Ashburnham, Ashburnham Place, Battle, Surrey,
+England. Of it Berenson says: “It is not only his (Matteo di Giovanni)
+most typical and his most characteristic, but also his most impressive
+and beautiful work; it has every advantage of ivory flesh, golden
+tone, and gorgeous brocade; and with all these decorative qualities it
+possesses real humility.”</p>
+
+<p>Among Matteo di Giovanni’s other important paintings are: the
+<i>Madonna Enthroned</i> (1470) in the Accademia; the <i>Madonna
+della Neve</i> (1477) and the <i>Coronation of St. Barbara</i> in St.
+Domenico, Siena; the <i>Assumption of the Virgin</i> in the National
+Gallery, London; and <i>St. Jerome in his Cell</i>, in the Fogg Art
+Museum, Cambridge, Massachusetts.</p>
+
+
+<h4>ADORATION OF THE MAGI.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Benvenuto di Giovanni</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1436–1518).</i></td>
+    <td class="cht3"><i>Sir Joseph Duveen, Bart.</i></td>
+  </tr>
+</table>
+
+<p>We have here a charming Sienese version of the ever-popular
+subject—the <i>Adoration of the Magi</i>. Everything about this
+picture is radiant, charming, and decorative. The groups in pyramidal
+form with masses at the base, made rich and beautiful by means of the
+wise lighting and graceful arrangement of draperies, balanced with
+lively animals on the right and left, rise higher and higher with more
+and more delicacy of treatment that suggests the technique of old ivory
+carving or the miniature painting of Mediæval manuscripts, until the
+peak is reached in the charming presentation of a lovely walled town
+with spires lifted heavenward.</p>
+
+<p><span class="pagenum" id="Page_13">[13]</span></p>
+
+  <div class="figcenter" id="i_013" style="max-width: 388px">
+     <img
+    class="p1"   
+    src="images/i_013.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Sir Joseph Duveen, Bart.</i></p>
+     <p class="p0 sm center">ADORATION OF THE MAGI</p>
+     <p class="p0 sm right">—<i>Benvenuto di Giovanni</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_14">[14]</span></p>
+
+<p>The picture is full of movement, life, joy, and expression. The Holy
+Child is appreciative (which is an unusual feature) and the animals,
+too, are taking an enthusiastic part in the ceremony.</p>
+
+<p>The tender and gentle Virgin, seated on a stone bench directly in
+front and wearing a red robe and a blue mantle, has the Holy Child
+comfortably placed on her knee. On her left hand she is holding one
+of the presents. The Holy Child, according to the Sienese fashion, is
+draped and the linen folded around Him is embroidered in gold. His
+expression is animated and very sweet and He is raising His little hand
+in blessing. The eldest of the Magi,<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a> Melchior with white hair (what
+there is left of it) and white flowing beard, is kneeling before the
+Holy Child and kissing His right foot, wearing a rich golden mantle
+with a damask pattern in <i>raised</i> gold relief, held by a jewelled
+girdle. The second Magus, on the left, Balthasar, is clothed in a red
+brocade mantle embroidered in gold. He has a dark complexion and is
+removing his crown from his thick black hair and holds in his right
+hand a piece of gold plate. The third King, Caspar, on the right, is
+the most attractive figure in the picture,—a typical young prince
+and dandy of the period dressed in a pale tunic, cut with point in
+front showing a rich brocade<span class="pagenum" id="Page_15">[15]</span> undergarment, and plaited and slashed
+and bordered according to the latest Fifteenth Century fashions. The
+sleeves are slashed and ornamented with puffs and a rich girdle holds
+the dagger with hilt of gold. Lilac trunk-hose, red shoes, and a golden
+crown complete the costume. His face is delicate and charming and his
+wavy hair is blonde. He, too, is bringing a piece of gold plate. This
+radiant figure looks as if he might have stepped from the pages of the
+<i>Romaunt of the Rose</i>. St. Joseph, behind Balthasar, leans his
+head on his hand as if he were puzzled. Each one of these six important
+figures has a flat golden <i>nimbus</i>. Behind St. Joseph, on the
+left, the ox and the ass, by the intelligent gleam in their eyes, allow
+us to believe in the legend that animals are endowed with the power of
+speech on Christmas Eve. Over the roof of their open shed sparkles and
+scintillates the Star of the East and under the Star we note a bush
+laden with fruit,—a real Christmas tree! On the right, the group is
+that of the retinue of the three Kings—people on foot, wide-eyed and
+curious, and knights on horseback. A beautiful white horse arches his
+head majestically and surveys the scene; behind him are a very superior
+horse and a very superior camel, who gaze downward somewhat haughtily,
+while a third horse looks backward at these companions to see what they
+are thinking of it all!</p>
+
+<p>As in many ancient paintings, the scene is enacted for us in two
+episodes. If we look ardently we see the three Magi on their approach
+to the shrine. We can identify Balthasar on the left; Caspar in the
+centre; and Melchior on the left of Caspar, followed by their retinue
+defiling through the gateway of the machicolated wall, behind which the
+town, with its towers and turrets, domes and roofs, stands out clearly
+and poetically from its golden horizon.</p>
+
+<p>This painting, tempera on panel (70 × 53 inches), came from the
+Collection of Sir William Neville Abdy, Bart., Dorking, Surrey, and was
+exhibited in Paris at the Salle des Etats, Musée du Louvre, in 1885.</p>
+
+<p>Benvenuto di Giovanni di Meo del Guata, also known as Benvenuto da
+Siena, was, like Matteo di Giovanni, a pupil of Vecchietta. He was
+born in Siena, September 13, 1436, the son of a mason. In 1453 he was
+painting in the Baptistery in Siena. He painted in Siena all his life
+and aided in designing the inlaid marble pavement in the Cathedral<span class="pagenum" id="Page_16">[16]</span> and
+he also decorated the cupola. Benvenuto di Giovanni cared little about
+the scientific experiments the contemporary Florentine painters were
+essaying, content to paint in the decorative and charming traditional
+Sienese manner, of flat and ornamental designs beautifully enriched
+with gold. It is very interesting to compare this painting with the
+pageants of Benozzo Gozzoli and Gentile da Fabriano. It holds its own,
+thereby, for its high decorative quality and peculiar charm.</p>
+
+<p><span class="pagenum" id="Page_17">[17]</span></p>
+
+
+<h3><i>FLORENTINE</i></h3>
+
+<p class="drop-cap p-left">It is not strange when Sienese Painting was at its height that its
+influence should have been felt in Florence, which is only about
+forty miles distant. The fame of Cimabue (1240?–1301), the founder of
+the Florentine School, indeed, rests chiefly on the <i>Madonna</i>
+in the Rucellai Chapel of S. Maria Novella, which modern criticism
+attributes to Duccio of Siena. Vasari was responsible for accrediting
+the <i>Rucellai Madonna</i> to Cimabue; and Vasari’s story that when
+finished “it was carried in solemn procession with the sound of
+trumpets and other festal demonstrations from Cimabue’s house to the
+church, Cimabue being highly rewarded and honored for it,” reads like
+an echo of the triumphal procession of Duccio’s great altar-piece—the
+<i>Majestas</i>—from the house of that painter to the Cathedral of
+Siena.</p>
+
+<p>Cimabue, whose name was Cenni dei Pepe, transitional from Byzantine to
+Gothic, is particularly famed for being the discoverer and teacher of
+Giotto.</p>
+
+<p>Giotto di Bordone (1276–1336), sculptor and architect as well as
+painter, is the dominating personality in Trecento Art, and the first
+Gothic painter of Florence. Giotto’s influence lasted for a hundred
+years or more (see page <a href="#Page_25">25</a>).</p>
+
+<p>One of Giotto’s associates and followers was Bernardo Daddi, son of
+Daddo di Simone, a Florentine. The date of his birth is supposed to
+have been 1280. He died in 1348. About 1317 he was admitted to the
+Arte de Medici e Speziale, the Guild of Doctors and Apothecaries, from
+whom the painters obtained their pigments. According to the laws of
+the period no painter could pursue his art unless he took his degree
+in that confraternity. The early painters became independent of the
+Guild of Doctors and Apothecaries after the Guild of St. Luke<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a><span class="pagenum" id="Page_18">[18]</span> was
+formed—the special brotherhood of all painters, which spread to every
+country and to every town—and there is a tradition that Daddi was one
+of the founders of this Compagnia di San Luca, which would show that
+this Florentine Guild of St. Luke was organized as early as 1348.</p>
+
+<p>Daddi painted the fresco over the San Giorgio Gate of Florence about
+1330 and he also painted the frescoes of the Martyrdom of St. Stephen
+and St. Lawrence in Santa Croce. Daddi comes very close to Giotto
+(1276–1336), in dates and in style, although he shows great sympathy
+with the Sienese painters.</p>
+
+<p>Giotto’s followers—the Giotteschi—worked from about 1330 to 1430
+and include: Taddeo Gaddi, Andrea di Cione (better known as Orcagna),
+Giovanni da Milano, Agnolo Gaddi, Cennino Cennini, Andrea di Firenze,
+Antonio Veneziano, Spinello Aretino, and Lorenzo Monaco.</p>
+
+<p>These painters prepared the way for greater changes by studying
+perspective and the human form and by gradually introducing Classic
+Architecture into their pictures in place of Gothic decoration.</p>
+
+<p>In studying Fifteenth Century Art in Florence we are struck by the
+great number of goldsmiths and other workers in metal who became
+painters. There is a reason for this. The most important work in
+Florence for twenty-two years was the making of the four bronze doors
+for the Baptistery, the competition for which was won by Ghiberti in
+1401. The undertaking was so vast that Ghiberti engaged, at one time or
+another, nearly all the most talented artists and artisans of Florence.
+Many painters and sculptors who acquired fame afterwards, such as
+Masaccio and Donatello for instance, received their early training
+under Ghiberti.</p>
+
+<p>Of the last-mentioned painter Leonardo da Vinci wrote:</p>
+
+<p>“After the days of Giotto, painting declined again, because everyone
+imitated the pictures that were already in existence; and this went on
+until Tommaso of Florence, nicknamed Masaccio, showed, by<span class="pagenum" id="Page_19">[19]</span> his perfect
+works, how artists who would take any teacher but Nature—the mistress
+of all masters—labor in vain.”</p>
+
+<p>Tommaso Masaccio (1401–1429?) and Tommaso Masolino (1383–1447) worked
+together in the Brancacci Chapel. Masaccio was the son of a notary in
+the parish of Castel S. Giovanni in Val d’Arno, learned to draw and
+paint, joined the Guild of St. Luke in 1424, and became Masolino’s
+assistant for painting the frescoes in the new Chapel built by Felice
+Brancacci in the Carmine. When Masolino went to Hungary, Masaccio
+worked there alone.</p>
+
+<p>Masaccio’s frescoes made an epoch in art, although the painter was
+little appreciated in his day. He left his work suddenly and went to
+Rome. Nothing more was ever heard of him. He is thought to have died
+in Rome in 1429. Almost immediately Masaccio’s work began to be valued
+and all the Florentines of the Fifteenth Century flocked to study these
+Brancacci frescoes. Masolino (1383–1447) was appointed in 1423 to paint
+frescoes in the new Brancacci Chapel in the Carmine and two years
+later went to Hungary. Returning home after several years, he painted
+frescoes in various cities (see page <a href="#Page_28">28</a>).</p>
+
+<p>Gerardo, better known as “Starnina” (1354–1408), a pupil of Antonio
+Veneziano, spent nine years in Spain and on his return to Florence,
+achieved great fame by his frescoes in the Carmine. The name was taken
+from that of his father, Jacopo Starna. It is said that “Starnina” was
+the master of Masolino and Fra Angelico.</p>
+
+<p>Fra Angelico (1387–1455), brings us to another transitional
+period,—this time from the Gothic to the Renaissance. Fra Angelico, or
+Fra Giovanni da Fiesole, the angelic and mystical painter and the most
+beloved of all the early artists, spent his life painting frescoes and
+altar-pieces for churches and cloisters. He was frequently called by
+the Pope to Rome, where he died (see page <a href="#Page_32">32</a>).</p>
+
+<p>To this period belong Andrea del Castagno (1390?–1457), a vigorous and
+austere painter, and Paolo Uccello (1397–1475), named Paolo di Dono,
+but called Uccello because he kept in his house and painted so many
+birds. Uccello began life as a goldsmith and assistant to Ghiberti.</p>
+
+<p>No survey of painting in Florence in the Fifteenth Century, however<span class="pagenum" id="Page_20">[20]</span>
+slight, would be complete without reference to the Medici. Art, like
+all other branches of learning, owed its splendid development to
+their intelligent sympathy and generous patronage. The Medici began
+this patronage early. Giovanni de Bicci (1360–1428), the founder of
+the family, was one of the judges who selected Ghiberti to make the
+Baptistery doors and Cosimo, “the Father of his Country” (1389–1464),
+was so liberal a patron of Fra Angelico, Fra Filippo Lippi, Benozzo
+Gozzoli, Paolo Uccello, Domenico Veneziano, and many others, that we
+may safely say the great flowering of Florentine Art is almost entirely
+due to his taste and encouragement.</p>
+
+<p>The Florentine artists, too, were greatly stirred by the meeting of the
+Council of the Eastern and Western Churches, which was one of the most
+important gatherings ever held anywhere in the history of the world.
+This Council was invited by Cosimo to Florence and all the dignitaries
+and their suites were his personal guests, entertained by him in his
+various palaces and villas. Picturesque and bizarre these dignitaries
+were; and the painters had full opportunity to see them when they sat
+in the Duomo under Brunelleschi’s newly completed dome (then the Eighth
+Wonder of the World), or when they moved about the streets with their
+suites.</p>
+
+<p>In his delightful book, <i>The Medici</i>, Col. G. F. Young has
+called particular attention to the importance of this great Council;
+how it led Cosimo to found the Platonic Academy; and how the Fall of
+Constantinople, fourteen years later, changed the world so utterly that
+no such meeting could ever take place again. In part he says:</p>
+
+<p>“This great gathering of 1439 in Florence had its effect also on
+Art. We are often inclined to wonder where such painters as Fra
+Angelico, Benozzo Gozzoli, and Gentile da Fabriano got the idea of
+the gorgeous robes and strange-looking head-dresses which we see in
+their pictures of Eastern subjects. It was all taken direct from the
+life of Florence of this year. During that summer the inhabitants of
+Florence saw a perpetual succession of grand processions and imposing
+functions in which these visitors from the East appeared in every kind
+of magnificent and strange costume. Vespasiano da Bisticci and other
+writers of the time dilate upon their rich silken robes,<span class="pagenum" id="Page_21">[21]</span> heavy with
+gold, and their fantastic-looking head-dresses, regarded with deep
+interest by the learned on account of their ancient character. And the
+painters reproduce these before us in pictorial records, which are
+valuable to us on that very account, and because this was the last
+occasion on which these costumes were destined to appear.”</p>
+
+<p>Piero il Gottoso (1416–1469), Cosimo’s son, “carried on” the traditions
+of the Medici, encouraging Art to such an extent that practically every
+great work produced in Florence in his time was made for, or inspired
+by, him. Piero il Gottoso and his cultured wife, Lucrezia Tornabuoni,
+recognizing Botticelli’s genius, took him into their home and made him
+one of the family. All of Botticelli’s early works, therefore, belong
+to the period he spent under the patronage of Piero de’ Medici. Yet, of
+course, Botticelli is recognized as the particular painter of Lorenzo
+the Magnificent (1449–1492), son of Piero, and a friend and boyhood
+companion.</p>
+
+<p>“As had been the case with his father, Piero, the leading artists
+of the day did most of their work for him, and nearly every work
+of eminence in painting or sculpture belonging to Lorenzo’s time
+remaining in Florence, was commissioned by him. Verrocchio did almost
+all his work for him; that sculptor’s graceful tomb in San Lorenzo
+over Lorenzo’s father and uncle, his bronze <i>David</i>, and his
+fountain of <i>The Boy with a Dolphin</i> were all executed for
+Lorenzo. Botticelli he made his family painter as well as friend
+and all the pictures of Botticelli’s second period were painted for
+him. It was Lorenzo who caused Ghirlandaio’s frescoes in Sta. Maria
+Novella and Santa Trinità to be painted; and it was he who selected
+and sent Leonardo da Vinci to Milan to become ‘Il Moro’s’ great
+painter. Among others he also gave commissions to Filippino Lippi,
+Signorelli, Baldovinetti, Benedetto da Majano, Andrea del Castagno and
+the Pollaiuoli. The Medici Palace became, Symonds says, ‘a museum at
+that period unique in Europe, considering the number and value of its
+art-treasures;’ and these he made available to all young artists for
+purposes of study. There being at that time no school for sculpture,
+Lorenzo formed one in his garden near San Marco, collected there casts
+from many antique statues, placed the school in charge of Donatello’s<span class="pagenum" id="Page_22">[22]</span>
+pupil, Bertoldo, and invited all young sculptors to study there. Among
+those who did so were Lorenzo di Credi, Michelangelo, and many others
+afterwards famous.”—<span class="smcap">Col. G. F. Young</span>, <i>The Medici</i>
+(London, 1909).</p>
+
+<p>The roll-call is large and marvellous; and when we think of the
+troubles of the time,—the quarrels, the conspiracies, the dangers
+of murder, and the constant visitations of the Plague, we almost
+comprehend refuge in the cloister rather than such extraordinary
+activity in Art and Learning. Let us look at the greatest names.</p>
+
+<p>Domenico Veneziano (1400–1461), a native of Venice, as his name plainly
+shows, but employed by Piero il Gottoso, classed in his day with Fra
+Angelico and Fra Filippo Lippi, a delightful musician, playing on the
+lute and singing well, and said by Vasari, to have introduced into
+Florence the Flemish method of using oils. Veneziano taught Piero della
+Francesca, the Umbrian painter. Then there is Fra Angelico, already
+mentioned, and there is Fra Filippo Lippi (1406?–1469), a monk, but
+not a saint like Fra Angelico,—wild and adventurous yet a superlative
+painter, whose reputation continues to increase and whose Madonnas,
+usually with the face of Lucrezia Buti, are justly admired (see page
+42).</p>
+
+<p>Francesco Pesellino (1422–1457), whose real name was Francesco di
+Stefano, pupil of his grandfather, Giuliano, and a follower of Fra
+Filippo Lippi, famous for his decorative qualities and his animals,
+rare and valued to-day. Another painter of decorative taste, charming
+and refined, is Alesso Baldovinetti (1425–1499), a follower of Domenico
+Veneziano and teacher of Ghirlandaio (see page <a href="#Page_48">48</a>).</p>
+
+<p>Then come the famous brothers, workers in gold, silver, and bronze,
+painters of heroic frescoes, and celebrated as draughtsmen—Antonio
+Pollaiuolo (1432–1498) and Piero Pollaiuolo (1443–1496), sons, too, of
+a goldsmith, all three busy, at various times, on the Ghiberti doors
+(see page <a href="#Page_51">51</a>).</p>
+
+<p>Then there is Pier Francesco Fiorentino, an Umbrian, born in Borgo
+San Sepolcro about 1430, pupil of Domenico Veneziano, and said to
+have assisted Ghirlandaio at S. Giminiano in 1475. Next comes Andrea
+Verrocchio (1435–1488), goldsmith and sculptor, pupil and<span class="pagenum" id="Page_23">[23]</span> assistant
+to Donatello. Andrea di Cione’s nickname of “Verrocchio” (true eye)
+is self-explanatory. Verrocchio was also an accomplished musician.
+He was employed by the Medici all his life; and he trained in his
+workshop, Leonardo da Vinci, Perugino, and Lorenzo di Credi. Verrocchio
+also planned many of the splendid pageants, for which Florence was so
+famous, and designed the artistic helmets worn by young Lorenzo and
+Giuliano at their tournaments. When Lorenzo became head of the Medici
+he continued the family patronage to Verrocchio. Cosimo Rosselli
+(1439–1507), followed Paolo Uccello and Alesso Baldovinetti.</p>
+
+<p>Sandro Botticelli (1444–1510), who belongs to both Piero and Lorenzo
+de’ Medici, was a pupil of Fra Filippo Lippi and was influenced
+by Antonio Pollaiuolo before he blossomed forth in his full
+individuality. For many centuries Botticelli has charmed the world, his
+<i>prestige</i> ever growing greater (see page <a href="#Page_55">55</a>).</p>
+
+<p>Botticelli leads us into another group. Here is Domenico del
+Ghirlandaio (1449–1494), “the garland-maker,” first a goldsmith, then
+a pupil of Alesso Baldovinetti and much influenced by Botticelli
+and Verrocchio. Into his decorative scenes this painter introduced
+portraits of distinguished Florentines (see page <a href="#Page_70">70</a>).</p>
+
+<p>Then we have one of the world’s greatest geniuses, Leonardo da Vinci
+(1452–1519), painter, sculptor, architect, decorator, designer of
+pageants and masques, musician, and engineer, and, moreover, a
+personage of charm and many social gifts. Leonardo was apprenticed to
+Verrocchio and patronized by Lorenzo de’ Medici, who sent him in 1482
+to Ludovico Sforza, Duke of Milan (see page <a href="#Page_93">93</a>).</p>
+
+<p>Filippino Lippi (1457–1504), son of Fra Filippo Lippi and the nun,
+Lucrezia Buti (see page <a href="#Page_44">44</a>), a pupil of Botticelli, achieved a fine
+reputation as a painter and as a man. Lorenzo di Credi (1457–1537),
+fellow-pupil with Perugino and Leonardo da Vinci in Verrocchio’s
+studio, esteemed for his execution and careful finish, was an especial
+favorite with Verrocchio.</p>
+
+<p>Piero di Cosimo, or Piero di Lorenzo (1462–1521?), called Cosimo after
+his master, Cosimo Rosselli, assisted the latter in decorating the
+Sistine Chapel in 1480. Piero di Cosimo is famed for his mythological<span class="pagenum" id="Page_24">[24]</span>
+pictures and for a portrait of Simonetta Vespucci (see page <a href="#Page_59">59</a>), now in
+the Chantilly Museum.</p>
+
+<p>Fra Bartolommeo (1472–1517), whose name was Baccio della Porta, an
+apprentice of Cosimo Rosselli, became an ardent follower of Savonarola.
+It was, therefore, a natural step for him to become a Dominican monk
+in 1500; but he continued to paint and had for a partner Mariotto
+Albertinelli (1474–1515), a pupil of Cosimo Rosselli and Piero di
+Cosimo.</p>
+
+<p>Michelangelo (1475–1564), painter, sculptor, architect, poet, and
+military engineer, was born at Castel Caprese, where his father,
+Ludovico Buonarroti, was governor of the Castle. Apprenticed to
+Ghirlandaio, he also worked in the Medici Gardens and became a favorite
+with Lorenzo. After Lorenzo’s death in 1492, he worked for his son,
+Piero. Michelangelo’s commanding work, however, was done in Rome, where
+he went in 1508 to paint the ceiling of the Sistine Chapel. In 1547
+Michelangelo succeeded Antonio di San Gallo as architect of St. Peter’s.</p>
+
+<p>Raphael Santi (1484–1520) has to be included among the Florentine
+painters for he worked in Florence during 1504–1508, when he fell under
+the influence of Leonardo da Vinci and Fra Bartolommeo and painted
+several important pictures, including the <i>Madonna del Gran Duca</i>
+(now in the Pitti) and the <i>Madonna del Cardellino</i> (now in the
+Uffizi). (See page <a href="#Page_86">86</a>.)</p>
+
+<p>Leonardo da Vinci, Fra Bartolommeo, and Michelangelo influenced
+Andrea del Sarto (1486–1531), pupil of Piero di Cosimo. His real
+name was Andrea d’Agnolo and because of his facile technique was
+called “<i>Andrea senza errori</i>”. Francis I had Andrea come to
+Fontainebleau in 1518; but he soon went home to Florence and died of
+the Plague.</p>
+
+<p>Franciabigio (1482–1525), son of Christoforo Bigio, partner of Andrea
+del Sarto and pupil of Albertinelli and Piero di Cosimo, noted for his
+religious pictures and portraits, and Bronzino (1502–1572), poet and
+painter (whose name was Angelo Allori), pupil of Jacopo da Pontormo,
+and famous for his portraits of the Medici family, bring us to the last
+quarter of the Sixteenth Century.</p>
+
+<p>The great days of painting were over; and they had been great days!</p>
+
+<p><span class="pagenum" id="Page_25">[25]</span></p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giotto di Bordone</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1276–1336</i>).</td>
+    <td class="cht3"><i>Mr. Henry Goldman.</i></td>
+  </tr>
+</table>
+
+<p>Framed by a slightly pointed arch, not sufficiently removed from
+the old Romanesque curves to be full Gothic, and projected upon a
+background of gold, appears this graceful Madonna, so unusual in type
+and of such amazing beauty. Her face, with its almond-shaped eyes
+(not set obliquely however) and its sweet flower-like mouth, has a
+Chinese quality that bestows a great charm. On the face there is
+also an Oriental radiation of gentleness, resignation, and spiritual
+experience. While looking at us this lovely Madonna—who might answer
+as well for the Chinese goddess Kuan Yin—seems to be trying to draw
+us into a contemplation of the Infinite. The dress, too, is unusual.
+All that we see is a blue mantle lined with silk, shaded in green,
+white, and pink, decorated by a gold border with an Arabic inscription.
+This mantle is carried over the head to form a hood and one end is
+very gracefully thrown across the left arm. On the right shoulder a
+conventionalized flower is embroidered in gold, reminding us of the
+star that the Sienese Madonnas usually carry. A white drapery, also
+having an Arabic border, is folded around the Holy Child, who grasps
+His mother’s forefinger with His left hand, while with His right He
+tries to take from her a white rose<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> that she is holding upward. Each
+head<span class="pagenum" id="Page_26">[26]</span> is encircled by a <i>nimbus</i>: that of the Virgin is very large
+and very decorative with an interlaced pattern of Oriental design; and
+that of the Holy Child has a foliage design reminiscent of Byzantine
+ornament. On both sides of the Virgin’s face a pink veil is visible.</p>
+
+<p>This picture, painted on a panel (34 × 25 inches), came from the
+Collection of M. Eugène Max of Paris.</p>
+
+<p>Many legends have gathered around the name of the great Florentine,
+doubly famed as painter of marvellous frescoes and as the architect of
+the Campanile in Florence that is still called by his name. The story
+of how Giotto, the little shepherd boy tending his father’s flocks on
+the Apennines, was discovered drawing a sheep on a rock by Cimabue and
+taken by him to Florence and trained, ultimately becoming the greatest
+painter of his time and founder of a School, was told by Ghiberti and
+Leonardo da Vinci many years before Vasari’s day.</p>
+
+<p>Giotto di Bordone is supposed to have been born at Colle di Vespignano,
+about twenty miles from Florence, in 1266 and he died in Florence in
+1337. He was a pupil of Cimabue but surpassed him. About 1300 he was in
+Rome making the mosaics in the portico of St. Peter’s, a polyptych, and
+some frescoes in the choir. In 1303–1306 Giotto painted the frescoes
+in the Arena Chapel in Padua; at Assisi he painted the scenes from the
+<i>Life of St. Francis</i> in the Upper Church and also some of the
+frescoes in the Magdalen Chapel in the Lower Church. After 1316 he
+decorated the Bardi and the Peruzzi Chapels in S. Croce in Florence.</p>
+
+  <div class="figcenter" id="i_027" style="max-width: 401px">
+     <img
+    class="p1"   
+    src="images/i_027.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Henry Goldman</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Giotto di Bordone</i></p>
+ </div>
+
+<p>“From the first,” says Mrs. Cartwright, “Giotto adopted a clear,
+pale tone of coloring, which forms a marked contrast to the dark
+and heavy tints in use among Byzantine artists, and produces the
+effects of water-color, while that of the older painters more nearly
+resembles oils. The technique which he used, both for tempera and
+fresco-painting, and which remained in use among Florentine artists for
+the next hundred and fifty years, was in reality founded on the old
+Greek method which had been practiced during many centuries, although
+the improvements which he introduced were sufficient to justify the
+Giottesque artist, Cennino Cennini, in saying that Giotto changed
+painting from the Greek to the Latin manner and brought in modern<span class="pagenum" id="Page_28">[28]</span>
+art. Yet more striking were the innovations which he introduced in his
+types, the almond-shaped eyes, long noses, and oval countenances with
+square, heavy jaws which he substituted for the staring eyes and round
+faces of Byzantine artists. The few and simple lines of his draperies
+give a majestic effect to his figures and at the same time sufficiently
+indicate the structure of the human form beneath; so that in spite of
+his ignorance of anatomy and modelling, the result is remarkably good.”</p>
+
+<p>Giotto was working in Naples for King Robert in 1333 when he was sent
+for by the Signoria of Florence and appointed Chief Architect of the
+State and Master of the Cathedral Works, succeeding Arnolfo del Cambio,
+who had died in 1310. All work had stopped since that date; but now
+the authorities had decided to erect a bell-tower and they announced:
+“For this purpose we have chosen Giotto di Bordone, painter, the great
+and dear master, since neither in the city, nor in the whole world,
+is there any other to be found as well fitted for this and similar
+tasks.” The whole achievement of Giotto’s life was summed up more than
+a hundred years later when Lorenzo the Magnificent commanded Angelo
+Poliziano to write a Latin inscription for a bust of Giotto he was
+placing on Giotto’s tomb in the Duomo:</p>
+
+<p>“Lo, I am he by whom dead Painting was restored to life, to whose right
+hand all was possible, by whom Art became one with Nature. No one ever
+painted more or better. Do you wonder at yon fair Tower which holds the
+sacred bells? Know it was I who bade her first rise towards the stars.
+For I am Giotto—what need is there to tell of my work? Long as verse
+lives, my name shall endure!”</p>
+
+
+<h4>THE ANNUNCIATION.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Masolino</i></td>
+    <td class="cht3">(<i>1383–1447</i>).</td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>Collection of</i></td>
+    <td class="cht3"><i>Mr. Henry Goldman</i></td>
+  </tr>
+</table>
+
+<p>We have here a very interesting and important example of interior
+decoration. The Renaissance has arrived as well as the Announcing
+Gabriel! The round arch of grey stone (the spandrels of which contain
+rosettes) frames a sumptuous room divided by a slender Corinthian<span class="pagenum" id="Page_30">[30]</span><span class="pagenum" id="Page_29">[29]</span>
+column. The walls and the <i>cassette</i> ceiling are inlaid with
+mosaic of different colors and the archway leading into another
+room—the Virgin’s bedroom—has a blue sky sprinkled with gold stars.
+In the centre of the background richly decorated doors lead into the
+adjoining room. The general hues of the wall and ceiling are grey,
+green, and red. The Virgin is seated on the right upon a tall and
+not very comfortable Italian settee. She has on a light blue mantle
+which falls around her in graceful folds. Her parted light hair is
+surrounded by a golden <i>nimbus</i> of decorative design. She holds
+an open prayer-book with one hand and with the other makes a gesture
+of submission and humility as she listens to the message of the Angel.
+Whether she <i>sees</i> Gabriel or not, she evidently <i>hears</i> what
+he has to tell her. The Angel, too, expresses reverence with hands
+crossed upon his breast. He wears a rich claret-colored, velvet brocade
+embossed with gold flowers and above his fair hair, which is tightly
+curled, shines a golden <i>nimbus</i> decorated with flower-like
+rosettes. His wings seem not to have quite quieted down from the flight
+from Heaven to earth.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> Of<span class="pagenum" id="Page_31">[31]</span> this picture (painted on a panel 58¼ ×
+45¼ inches), which came from the Collection of Lord Wemyss at Gosford
+House, Longniddry, Haddingtonshire, Scotland, Berenson says:</p>
+
+<p>“The decorative effect is so strong and so enchanting that like the
+rest of Masolino’s art it scarcely finds precedence in Florence or even
+in Italy. The suavity, the grace, the splendor, although paralleled
+in Gentile da Fabriano and in Sassetta, would seem inspired rather by
+the ecstatic mood of Parisian painting toward 1400 with its figures of
+angelic candor and skies of heavenly radiance than by Tuscan models.”</p>
+
+  <div class="figcenter" id="i_029" style="max-width: 432px">
+     <img
+    class="p1"   
+    src="images/i_029.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Henry Goldman</i></p>
+     <p class="p0 sm center">THE ANNUNCIATION</p>
+     <p class="p0 sm right">—<i>Masolino</i></p>
+ </div>
+
+<p>Masolino, the son of a house painter, was born in Panicale in 1383.
+His real name was Tommaso di Cristoforo di Fino, and he was familiarly
+called Masolino da Panicale. According to Vasari he was a pupil
+of “Starnina” and worked under Ghiberti. He was admitted into the
+Florentine Guild of Painters in 1423. In that year he was commissioned
+to paint the frescoes in the new chapel of the Carmine, built by Felice
+Brancacci, and he took for his assistant, Masaccio, who went on with
+the work when Masolino was sent to Hungary in 1425 to decorate a church
+at Stuhlweissenburg.</p>
+
+<p>When Masolino returned to Florence—after several years—he found
+that great changes had taken place in art, for the painters had been
+busy with the new problems of perspective and light and shade and
+the substitution of Classic for Gothic architecture and decoration.
+Masolino availed himself of the new ideas, but could not quite forget
+his Giottesque traditions. He painted frescoes in Rome, Naples, and
+Lombardy.</p>
+
+<p><span class="pagenum" id="Page_32">[32]</span></p>
+
+<p>“Masolino,” Vasari wrote, “was a man of rare intelligence and his
+paintings are executed with great love and diligence. I have often
+examined his works and find his style to be essentially different
+from the styles of those before him. He gave majesty to his figures
+and introduced finely designed folds in his draperies. He began to
+understand light and shade and to give his forms relief and succeeded
+in some very difficult foreshortenings. He also gave greater sweetness
+of expression to his women heads and gayer costumes to his young men,
+and his perspective is tolerably correct. But, above all, he excelled
+in fresco-painting. This he did so well, and with such delicately
+blending colors, that his flesh tones have the utmost softness
+imaginable; and if he could have drawn more perfectly, he would deserve
+to be numbered among the best artists.”</p>
+
+
+<h4>GABRIEL, THE ANNOUNCING ANGEL.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Fra Angelico</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1387–1455</i>).</td>
+    <td class="cht3"><i>Mr. Edsel B. Ford.</i></td>
+  </tr>
+</table>
+
+<p>This panel and the one succeeding it, <i>The Virgin Receiving the
+Divine Message</i>, originally formed a diptych. In treatment
+and expression they resemble the figures in Fra Angelico’s
+<i>Annunciation</i> in the Oratorio del Gesù at Cortona.</p>
+
+  <div class="figcenter" id="i_033" style="max-width: 441px">
+     <img
+    class="p1"   
+    src="images/i_033.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Edsel B. Ford</i></p>
+     <p class="p0 sm center">GABRIEL, THE ANNOUNCING ANGEL</p>
+     <p class="p0 sm right">—<i>Fra Angelico</i></p>
+ </div>
+
+<p>The Archangel, according to Dante’s expression, has brought the
+long-desired tidings and he stands on a background of gold with wings
+still extended like those of a dove, just alighted from the heavens,
+looking into Mary’s face very earnestly, and pointing upward to
+emphasize to her that he comes from the spheres above. This Gabriel
+is one of the most beautiful of Fra Angelico’s most beautiful angels,
+his wings being of an extraordinary elegance of <i>contour</i> and
+a peculiar loveliness of color—rose, violet, green, and yellow,
+scintillating in iridescent play. His crimson robe, shading into
+high lights and fainter tones, is richly, although very simply,
+decorated with bands of gold embroidery in the Byzantine style. The
+hair is blonde and beautifully curled and the head stands out in
+fine relief from the golden glory. Notice the beauty of the ear and
+the distinguished line of the<span class="pagenum" id="Page_34">[34]</span> neck, the calm, deep, unattached
+gaze of the eye, the refined and sensitive nose, the pure and lovely
+mouth, and the graceful, strong, and <i>very psychic hands</i>. This
+figure perfectly fits Ruskin’s tribute to Fra Angelico in <i>Modern
+Painters</i>:</p>
+
+<p>“The art of Fra Angelico, both in drawing and color, is perfect, and
+his work may be recognized at any distance by its rainbow play and
+brilliancy, like a piece of opal among common marbles. In order to
+effect clearer distinction between heavenly beings and those of this
+world, he represents the former as clothed in draperies of the purest
+color, crowned with glories of burnished gold and <i>entirely</i>
+shadowless; the flames on their foreheads waving brighter as they move;
+the sparkles streaming from their purple wings like the glitter of the
+sun upon the sea; while they listen in the pauses of alternate song for
+the prolonging of the trumpet blast and the answering of psalm and harp
+and cymbal, throughout the endless deep and from all the star-shores of
+Heaven. This mode of treatment, combined as it is with exquisite choice
+of gesture and disposition of drapery, <i>gives perhaps the best idea
+of spiritual beings which the human mind is capable of forming</i>.”</p>
+
+
+<h4>THE VIRGIN RECEIVING THE DIVINE MESSAGE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Fra Angelico</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1387–1455</i>).</td>
+    <td class="cht3"><i>Mr. Edsel B. Ford.</i></td>
+  </tr>
+</table>
+
+<p>In an attitude of divine submission, devout humility, and serene grace,
+the Virgin Mary is listening to the words of the Angel Gabriel. Her
+brow is almost as clear and pure as that of Gabriel himself and her
+features are beautiful, especially those heavy-lidded eyes. Her blonde
+hair is exquisitely arranged, confined by a band of black velvet and
+encircled by a <i>nimbus</i>, of which she is apparently unconscious.
+Mary wears a crimson robe with bands of gold around the neck and
+sleeves, over which is a blue mantle lined with yellow. Her hands are
+capable, exquisite, and very high bred; and in the left one she holds,
+with rare grace, a red book.</p>
+
+  <div class="figcenter" id="i_035" style="max-width: 440px">
+     <img
+    class="p1"   
+    src="images/i_035.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Edsel B. Ford</i></p>
+     <p class="p0 sm center">THE VIRGIN RECEIVING THE DIVINE MESSAGE</p>
+     <p class="p0 sm right">—<i>Fra Angelico</i></p>
+ </div>
+
+<p>Like the companion panel, <i>Gabriel, the Announcing Angel</i>, the
+background<span class="pagenum" id="Page_36">[36]</span><span class="pagenum" id="Page_35">[35]</span> is gold. The dimensions of each are 14½ × 10 inches.
+Both pictures were long in the Collection of the Duke of Hamilton at
+Hamilton Palace; and afterwards were in the Collection of Mr. John
+Edward Taylor and in that of Mr. Carl W. Hamilton. In an unpublished
+letter regarding these works Mr. Berenson writes:</p>
+
+<p>“They are among the sweetest, purest, and most candid of Fra Angelico’s
+paintings. I could not easily point to others which better justify the
+surname of ‘The Angelic’ given to this artist, who was so great that
+he was child-like. These panels date from about 1425, that is to say
+from the best year of Fra Angelico’s maturity. They show his best self,
+emancipated from the cramping traditions he was heir to, but not yet
+showing sign of spiritual fatigue leading finally to his painting a
+little by rote. In coloring they are exquisite; and for pictures five
+centuries old, they are almost miraculously well preserved.”</p>
+
+<p>Vasari’s words show how deeply Fra Angelico was appreciated by men who
+lived closer to his time than we:</p>
+
+<p>“This truly angelic father spent his whole life in the service of
+God and his fellow-creatures. He was a man of simple habits and most
+saintly in all his ways. He kept himself from all worldliness and was
+so good a friend to the poor that I think his soul must be already
+in Heaven. He worked continually at his art, but would never paint
+anything but sacred subjects. He might have been a wealthy man, but
+he did not care for money and used to say that true riches consist in
+being content with little. He might have enjoyed high dignities both in
+his convent and in the world, but he cared nothing for these things,
+saying that he who would practice painting has need of quiet and should
+be free from worldly cares; and that he who would do the work of Christ
+must live continually with Him. He was never known to be impatient with
+the Brothers,—a thing to me almost incredible! When people asked him
+for a picture he always replied that, with the Prior’s approval, he
+would try and satisfy their wishes. He never corrected or retouched
+his works, but left them as he first painted them, saying that such
+was the will of God. He never took his pencil up without a prayer and
+could not paint a <i>Crucifixion</i><span class="pagenum" id="Page_37">[37]</span> without the tears running down
+his cheeks. And the saints that he painted are more like saints in face
+and expression than those of any other master. And since it seemed that
+saints and angels of beauty so divine could only be painted by the hand
+of an angel, he was always called Fra Angelico.”</p>
+
+<p>Fra Angelico was born in 1387 in a little hamlet called Vicchio, in the
+province of Mugello in Tuscany, about twenty miles from Florence. His
+surname is unknown—if indeed he had one—for his father, who lived in
+a cottage belonging to the lord of the Castle of Vicchio, was simply
+known as Pietro of Mugello. Guido was the name his father gave him but
+he changed this to Fra Giovanni, when he became a monk of the Dominican
+Order at Fiesole in 1406. It is supposed that he had been thoroughly
+trained as a painter, because he immediately began to paint frescoes
+for the monks; and it is also supposed that “Starnina” was his master.
+Owing to religious troubles, the Dominican monks were driven from
+Fiesole to Foligno and thence to Cortona, where the earliest extant
+works—movable altar-pieces—of Fra Angelico are preserved. In 1418
+the Dominicans returned to Fiesole, where Fra Angelico, or rather Fra
+Giovanni, lived for the next few years and where he painted many of his
+most famous altar-pieces.</p>
+
+<p>In 1434 Cosimo de’ Medici was recalled from banishment and he
+immediately had the Convent of San Marco rebuilt for the Dominican
+monks of Fiesole. When the new building was ready in 1436 he
+commissioned Fra Angelico to decorate the walls. In a cell which Cosimo
+de’ Medici had reserved for his own personal retreat from worldly
+cares, he had Fra Angelico paint a large <i>Adoration of the Magi</i>,
+for he desired to have “this example of Eastern kings laying down their
+crowns at the manger of Bethlehem always before his eyes as a reminder
+for his own guidance as a ruler.”</p>
+
+<p>While Fra Angelico was busy on a series of small panels depicting the
+<i>Life of Christ</i> for a <i>credenza</i> in which the altar-plate
+was kept and which had been ordered by Piero de’ Medici (Cosimo’s son),
+Pope Eugenius IV called him to Rome, to paint a chapel in St. Peter’s.
+Three of the remaining panels of the <i>credenza</i> were painted by
+Alesso Baldovinetti.</p>
+
+<p><span class="pagenum" id="Page_38">[38]</span></p>
+
+<p>After completing the chapel in St. Peter’s, Fra Angelico was invited to
+paint in the Cathedral at Orvieto; and, on finishing the work there,
+he returned to Rome to spend three years decorating the Pope’s Oratory
+in the Vatican. In 1450 he was back in Florence, and he began the new
+year of 1451 as Prior of his old monastery at Fiesole. Again he went
+to Rome and died there in the House of his Order at Santa Maria sopra
+Minerva on March 18, 1455. He was buried in the monastery church by the
+high altar and not far from the tomb of St. Catherine of Siena. Pope
+Nicholas V wrote for him a Latin epitaph, the last line of which reads:
+“That city which is the flower of Etruria bore me, Giovanni.”</p>
+
+<p>The paintings of Fra Angelico are noted for their fine composition,
+beautiful coloring, and variety and expression in the heads and faces
+of his persons and Angels. Fra Angelico’s Angels are particularly
+beautiful; and it is reasonable to infer that it is because of these
+Angels so many of his works have been preserved. No other painter of
+the Fifteenth Century has been treated with so much reverence as Fra
+Angelico. The consequence is that there are somewhere between two and
+three hundred of his compositions in existence. The greater number
+are still in Florence. Every large gallery, however, possesses one or
+more. Among the most famous ones that all the world knows and loves
+are <i>The Virgin and Child surrounded by Twelve Angels</i>, ten of
+whom are playing musical instruments (now in the Uffizi); <i>Christ
+with the Banner of Resurrection</i> (in the National Gallery, London);
+and <i>The Coronation of the Virgin</i> (in the Louvre), of which
+Gautier said the figures represented “visible souls rather than
+bodies—thoughts of human form enveloped in chaste draperies of white,
+rose, and blue, sown with stars and embroidered, clothed as might
+be the happy spirits who rejoice in the eternal light of Paradise.”
+Fra Angelico’s greatest frescoes are in the Convent of San Marco at
+Florence and in the Vatican at Rome.</p>
+
+<p>Fra Angelico is classed variously as a “Primitive,” a “Gothic,” an
+“International,” and an “Early Renaissance” painter. The fact is
+he stands between the old and the new. His position in Art is very
+definitively described by Berenson:</p>
+
+<p><span class="pagenum" id="Page_39">[39]</span></p>
+
+<p>“Yet simple though he was as a person, simple and one-sided as was his
+message, as a product he was singularly complex. He was the typical
+painter of the transition from Mediæval to Renaissance. The sources of
+his feeling are in the Middle Ages, but he <i>enjoys</i> his feelings
+in a way which is almost modern; and almost modern also are his means
+of expression. Moreover, he was not only the first Italian to paint
+a landscape that can be identified (a view of Lake Trasimene from
+Cortona) but the first to communicate a sense of the pleasantness of
+Nature.”</p>
+
+<p>As a tribute to his spiritual qualities let us listen to Mrs.
+Cartwright’s eulogy:</p>
+
+<p>“All the mystic thought of the Mediæval world, the passionate love of
+God and man that beat in the heart of St. Francis, the yearnings of
+Dante’s soul after a higher and more perfect order, the poetic dreams
+of the monks who sang of the Celestial Country are embodied in the art
+of Angelico. The depth and sincerity of his own religious feeling lent
+wings to his imagination and the exquisite purity of his soul breathes
+in every line of his painting: it is his own sweet and gentle fancy
+that brings down these enchanted visions of Paradise.”</p>
+
+
+<h4>ST. COSIMAS AND ST. DAMIANUS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Fra Angelico</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1387–1455).</i></td>
+    <td class="cht3"><i>Mr. Albert Keller.</i></td>
+  </tr>
+</table>
+
+<p>About the year 1436 Cosimo commissioned Fra Angelico to paint the
+altar-piece for the Church of San Marco in Florence (see page <a href="#Page_37">37</a>).
+Underneath the group of the <i>Virgin and Child</i> Fra Angelico
+painted for the predella nine beautiful panels representing the
+legendary history of <i>Cosimas and Damianus</i>, the patron saints of
+the Medici family. The panel, shown here, tempera on wood (14¼ × 18
+inches), which comes from the collection of Mr. F. Böhler of Munich,
+is one of these nine pictures. The companion pictures of this S. Marco
+altar-piece are now in Dublin, Florence, Munich, and Paris.</p>
+
+<p>This composition, divided into two episodes in one building, represents
+the traditional benevolence of the two Saints, Cosimas and Damianus.<span class="pagenum" id="Page_40">[40]</span>
+In the scene at the left, enacted within a room, which we view through
+a large, rounded, door-like opening, St. Cosimas and St. Damianus, with
+golden <i>nimbi</i>, are administering to a sick man sitting up in a
+bed which is elevated on a daïs. The two Saints, in the blue robe,
+red mantle, and red and white <i>biretta</i> of the physicians, are
+standing on either side of the bed, offering nutriment to the invalid
+and giving their benediction. Kneeling behind the bed-head are a man
+and a woman, the latter wearing a red mantle and white hood, the former
+a turban-like cap. Over the bed stretches a deep, square, brown canopy
+with an olive-green curtain all around it. On the daïs rests a tray
+with an ewer, and beside it on the floor, we see a round stool with
+three legs, and a foot-stool.</p>
+
+<p>The scene on the right, takes place in a cobbled court-yard of a white
+house, and here we see one of the Saints, in his physician’s gown,
+colored as in the first scene, who has just handed to an aged woman
+a loaf of bread, receiving no payment but raising his right hand in
+benediction. The woman, dressed in a mauve gown and white veil, is
+cleverly and gracefully posed within a small doorway, and behind her is
+a room with an open door still farther back, through which flowering
+shrubs are seen; and in this inner room a ray of light glints on the
+floor. High on the top of the wall a large terra-cotta flower-vase is
+silhouetted against a blue sky, and at the left of this there is a
+narrow slit window.</p>
+
+  <div class="figcenter" id="i_041" style="max-width: 703px">
+     <img
+    class="p1"   
+    src="images/i_041.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Albert Keller</i></p>
+     <p class="p0 sm center">ST. COSIMAS AND ST. DAMIANUS</p>
+     <p class="p0 sm right">—<i>Fra Angelico</i></p>
+ </div>
+
+<p>“Cosimas and Damianus were two brothers, Arabians by birth, but they
+dwelt in Ægæ, a city of Cilicia. Their father having died while they
+were yet children, their pious mother, Theodora, brought them up
+with all diligence, and in the practice of every Christian virtue.
+Their charity was so great, that they not only lived in the greatest
+abstinence, distributing their goods to the infirm and poor, but they
+studied medicine and surgery, so that they might be able to prescribe
+for the sick, and relieve the sufferings of the wounded and infirm;
+and the blessing of God being on all their endeavors, they became
+the most learned and the most perfect physicians that the world had
+ever seen. They ministered to all who applied to them, whether rich
+or poor. Even to suffering animals they did not deny their aid, and
+they constantly<span class="pagenum" id="Page_42">[42]</span> refused all payment or recompense, exercising their
+art only for charity and for the love of God; and thus they spent
+their days. At length those wicked Emperors, Diocletian and Maximian,
+came to the throne, in whose time so many saints perished. Among them
+were the physicians, Cosimas and Damianus, who, professing themselves
+Christians, were seized by Lycias, the proconsul of Arabia and cast
+into prison. At first they were thrown into the sea, but an Angel
+saved them; and then they were cast into fire, but the fire refused
+to consume them; and then they were bound on two crosses and stoned,
+but of the stones flung at them, none reached them, but fell on those
+who threw them and many were killed. So the proconsul, believing that
+they were enchanters, commanded that they should be beheaded, which
+was done.” This Oriental legend, which is of great antiquity, was
+transplanted into Western Europe in the first ages of Christianity. The
+Emperor Justinian, having recovered, as he supposed, from a dangerous
+illness, by the intercession of these saints, erected a superb church
+in their honor. Among the Greeks Cosimas and Damianus succeeded to the
+worship and attributes of Æsculapius; and from their disinterested
+refusal of all pay or reward they are distinguished by the honorable
+title of <i>Anargyres</i>, which signifies moneyless, or <i>without
+fees</i>.</p>
+
+
+<h4>MADONNA DELLA STELLA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Fra Filippo Lippi</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1406?–1469).</i></td>
+    <td class="cht3"><i>Mr. Carl W. Hamilton.</i></td>
+  </tr>
+</table>
+
+<p>This picture came directly from the Monastery of the Carmine Brethren
+in Florence to the present owner. It is painted in tempera on a panel
+32⅝ × 25¼ inches. The Madonna, with head half turned towards the right,
+is standing at half length and holding the Holy Child very lovingly
+in her arms. She wears a dark-green, hooded mantle, with wide gold
+border and fastened across the breast with two narrow straps of gold
+embroidery. Under this is seen a bright crimson robe falling in tight,
+formal plaits from the neck. The sleeve of the right arm shows a gold
+embroidered band at the wrist. On the right shoulder of the mantle is
+embroidered a golden star (reminiscent<span class="pagenum" id="Page_44">[44]</span> of the Sienese decoration),
+from which the picture takes the name of <i>Madonna della Stella</i>.
+The head-dress, which permits a little of the blonde hair to be seen,
+is of a soft, white muslin, which is delicately folded and carried
+around the base of the long, slender neck. Above the head-dress is a
+very large golden <i>nimbus</i> with lines radiating from the centre.
+The Holy Child is firmly supported by both arms of the Virgin and rests
+His left foot on her right arm, while His right leg hangs down behind
+her wrist. The Holy Child is swathed in a drapery of purple hue and
+His head is also encircled by a golden halo. With His left hand He
+grasps the folds of His mother’s head-dress, where it falls upon her
+neck, and with His right He supports His chin in a very mature and
+contemplative way. The background is composed of a loosely hanging gold
+brocade of decorative pattern. The extravagant use of gold produces a
+warm and lustrous gleam and glow and the deep colors stand out from the
+background with great richness and beauty.</p>
+
+  <div class="figcenter" id="i_043" style="max-width: 422px">
+     <img
+    class="p1"   
+    src="images/i_043.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Carl W. Hamilton</i></p>
+     <p class="p0 sm center">MADONNA DELLA STELLA</p>
+     <p class="p0 sm right">—<i>Fra Filippo Lippi</i></p>
+ </div>
+
+<p>It is generally accepted that Lucrezia Buti, the young nun whom Fra
+Filippo Lippi stole from the Convent of Santa Margherita, served as the
+model for this Madonna and that the Infant Jesus is none other than Fra
+Filippino Lippi, the future painter. Comparison with the <i>tondo</i>
+in the Pitti Palace, representing the <i>Madonna with Saints</i>, in
+which Lucrezia Buti is known to appear, shows the same oval face,
+slender neck, expressive eyes, dilated nostrils, full lips, slightly
+dimpled chin, and wistful glance.</p>
+
+<p>Fra Filippo Lippi is one of the strangest personalities in the history
+of art. He became a Carmelite monk from circumstance rather than
+choice; and nobody was ever less fitted to belong to Holy Orders than
+this gay, adventure-loving Florentine. “Lippi was very fond of good
+company,” Vasari notes, “and led a free and joyous life.” Fra Filippo
+Lippi presents a strange contrast to the saintly Fra Angelico, who was
+his contemporary and fellow-worker. Filippo Lippi, son of a butcher,
+was born in or about 1406, in a street behind the Carmine Church in
+Florence; and, being left an orphan, was cared for by an aunt, who took
+him at the age of eight to the Convent of Sta. Maria del Carmine and
+gave him to the Friars to rear. The<span class="pagenum" id="Page_45">[45]</span> Friars soon discovered the boy’s
+extraordinary talent for drawing, and, fortunately, encouraged it,
+sending him to study under Lorenzo Monaco.</p>
+
+<p>At this time Masaccio was at work in the Brancacci Chapel of the
+Carmine Church, and young Lippi used to watch him with profound
+interest and delight. In 1421 Filippo Lippi became a Carmelite monk;
+but he was permitted to continue his painting and he executed many
+frescoes for church and cloister. In ten years’ time he left the
+monastery to give his whole life to his art. However, he always signed
+his pictures “<i>Frater Philippus</i>.” Though not a copyist, by any
+means, Fra Filippo Lippi shows in his works how much he admired and how
+much he learned from Masaccio, Masolino, Domenico Veneziano, and Fra
+Angelico.</p>
+
+<p>Adventures of many kinds filled his life; for instance, there is a
+story that he was captured by Moorish pirates one day while sailing for
+pleasure, and taken to Barbary as a slave and that because he drew his
+master’s portrait so cleverly, he was given his freedom a year or so
+later. This—if it happened at all—happened in 1431–1434. About the
+last-named date Fra Filippo Lippi was employed by Cosimo de’ Medici,
+who took a great fancy to the lively Friar and was most indulgent to
+his pranks and misdemeanors, excusing everything he did because of his
+genius and his attractive personality. Fra Filippo Lippi decorated
+many churches, palaces, and villas for his patron. Among the first
+works that Lippi painted for the Medici Palace (now the Riccardi)
+were the <i>Annunciation</i> and <i>St. John the Baptist with Six
+Other Saints</i> (both in the National Gallery, London). Lippi’s most
+important picture in Florence is his <i>Coronation of the Virgin</i>.</p>
+
+<p>“Lippi’s character, however, only affects his credit as a painter by
+accounting for the kind of success he achieved. He had, as was to be
+expected, no ears for the message which Donatello was at this time
+teaching, and consequently his pictures on religious subjects have an
+exceedingly mundane character. Nevertheless, the sweet seriousness
+of his Madonnas falls in no way short of those of Fra Angelico, and
+the faces of his children are full of a quaint, mischievous character
+which is delightful, while in both drawing and coloring he shows<span class="pagenum" id="Page_46">[46]</span> the
+immense advance which had now taken place in Painting. And it is here
+that Lippi’s true claim to fame lies. Masaccio, the only man who up
+to that time had found out the true methods of the art of Painting,
+had died too soon to be able to make known his discovery, except to
+the few who could visit Florence and the Brancacci Chapel. It was
+left for Lippi, the rough boy whom he had taught, to show the world
+Masaccio’s discovery. And Lippi did so. Vasari says: ‘Taught as he had
+been by Masaccio, he was a faithful follower of Masaccio’s style;’ and
+he adds that he followed the latter’s methods so faithfully, that it
+appeared that the spirit of Masaccio had entered Lippi’s body. Thus
+what Masaccio had done for the art of Painting is chiefly to be seen
+by a comparison of Lippi’s pictures with those of Masaccio’s immediate
+predecessors, the Giotteschi. Lippi’s principal picture in Florence is
+his <i>Coronation of the Virgin</i> painted for Cosimo and now in the
+Accademia delle Belle Arti; but his best work is considered to be his
+frescoes in the Cathedral at Prato painted between 1456 and 1465.</p>
+
+<p>“It was not an easy thing to get any work out of Lippi. There is an
+amusing story of how, when he was painting this picture for Cosimo,
+the latter being at last in despair (owing to Lippi’s lazy ways) of
+ever seeing the picture finished, had him locked up in the room in the
+Medici Palace where it was being painted, declaring that he should not
+be let out until the work was done. Whereupon Lippi tied his bedclothes
+into a rope, let himself down from the window into the street and
+disappeared into the slums of Florence, not to be found again for many
+days.”<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></p>
+
+<p>Lippi’s drunkenness and his unscrupulous behavior brought him many
+times before the magistrates and on one occasion he was flogged for
+embezzlement. However, the Medici family always came to the rescue and
+helped him out.</p>
+
+<p>In 1452 he was made Chaplain of San Niccolò de Fieri, Florence, and in
+1456 Chaplain of Santa Margherita, Prato, and here again it was Cosimo
+de’ Medici, who obtained these posts for him. At Prato he painted some
+of his finest pictures. Requested by the Abbess of<span class="pagenum" id="Page_47">[47]</span> Sta. Margherita to
+paint a picture for the Chapel, the gay Friar, who was now over fifty,
+fell in love with a young nun of twenty-one, Lucrezia Buti, who had
+taken the vows two years previously. At the Festival of the Holy Girdle
+in 1456, Fra Filippo Lippi managed to carry off the pretty nun and take
+her to his house in the vicinity. The next year Filippino Lippi was
+born, who appears in the arms of Lucrezia Buti in the <i>Madonna della
+Stella</i> represented here. Two years later Lucrezia Buti re-entered
+the Convent; but she soon tired of it and returned to Fra Filippo
+Lippi. A charge of abduction was then brought against the painter,
+who again appealed to Cosimo de’ Medici; and, through the latter’s
+influence, Pope Pius II absolved monk and nun from their religious vows
+and declared them lawfully married.</p>
+
+<p>“I laughed heartily when I heard of Fra Filippo’s escapade,” Giovanni
+de’ Medici, Cosimo’s younger son, remarked; and that remark shows
+exactly how the Medici felt towards Fra Filippo Lippi. They adored him
+as an artist and they did not take him seriously as a man.</p>
+
+<p>About 1465 Fra Filippo Lippi left Prato and went to Spoleto, taking
+Lucrezia and his two children (there was now a daughter); and there,
+still under the patronage of the Medici, the energetic painter-monk
+produced a splendid series of frescoes depicting one of his favorite
+subjects, the <i>Coronation of the Virgin</i>. Fra Filippo was working
+on the Duomo at Spoleto when he died in 1469. Fra Filippo Lippi gains
+additional fame for having been the first master of Botticelli. His
+contemporaries—without dissent—regarded Fra Filippo Lippi as the
+“rarest master of the time.” Fra Filippo Lippi was one of the first to
+use the <i>tondo</i> form.</p>
+
+<p>“His dreams were all of the earth and his thoughts never soared beyond
+the gladness and beauty of the natural world. He paints the merry,
+curly-headed boys whom he met in the streets of Florence as cherubs,
+takes his mistress as a model for his Madonnas, and peoples the court
+of heaven with fair maidens in rich attire and dainty head-gear. A
+thorough-going realist at heart, his naturalism differed wholly from
+that of his contemporaries, Paolo Uccello, or Andrea del<span class="pagenum" id="Page_48">[48]</span> Castagno.
+He never troubled his head with scientific problems, or new technical
+methods. The old tempera painting was good enough for him and he
+carried this form of art to the highest perfection, while at the same
+time he profited by all the advance which Masaccio and his followers
+had made, and gave a marked impulse to the new realism by the strong
+human element which he introduced in his works. His genial delight in
+all bright and pleasant things, in the daisies and the springtime,
+in rich ornament and glowing color, in splendid architecture and
+sunny landscapes, in lovely women and round baby faces, fitted him in
+especial manner to be the herald of that fuller and larger life which
+was dawning on the men and women of the Renaissance.”<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a></p>
+
+<p>Fra Filippo Lippi’s son, Filippino Lippi (1457–1504), inherited his
+father’s talent and was trained by Botticelli. It was Lorenzo de’
+Medici, who recommended to the Friars of the Carmine that they should
+employ Fra Filippo Lippi’s son to finish Masaccio’s frescoes in the
+Brancacci Chapel. Filippino did this to everyone’s satisfaction and
+in <i>The Trial of St. Peter and St. Paul</i> he introduced portraits
+of Antonio Pollaiuolo, Botticelli, and himself. Filippino achieved an
+enormous reputation and was beloved for his modesty and gentleness of
+character. As in the case of his father, the next generation of the
+Medici continued their patronage to a Lippi.</p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Alesso Baldovinetti</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1425–1499).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>In the charming picture represented here, on canvas transferred from
+panel (29 × 21 inches), which was formerly in the possession of Arnoldo
+Corsi in Florence and afterwards in the Collection of Mr. William
+Solomon in New York, the Madonna, seen at three-quarter length, is
+seated in a chair. She is turned slightly to the left and wears a
+red tunic edged with gold and a blue mantle. Over the white veil,
+which covers her temples and hides her ears, is folded a golden-brown
+head-dress that descends to her shoulders. Her head is encircled by a
+gold<span class="pagenum" id="Page_50">[50]</span> <i>nimbus</i>. She is gazing at the Holy Child in her lap with
+downcast eyes and pensive expression. The Holy Child, who is nude,
+wears a red coral necklace, from which a “charm” hangs. Around His
+head is a very decorative cruciform <i>nimbus</i>. In His right hand
+He holds a narrow piece of white drapery and He raises His left hand
+in a benediction in the Greek manner. The landscape in the background
+recedes gently towards a distant range of hills, showing scanty
+vegetation beneath a light-blue sky. Bernhard Berenson has pronounced
+this a very characteristic work of Baldovinetti’s middle years, painted
+before the pictures now in the Uffizi.</p>
+
+  <div class="figcenter" id="i_049" style="max-width: 403px">
+     <img
+    class="p1"   
+    src="images/i_049.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Alesso Baldovinetti</i></p>
+ </div>
+
+<p>Alesso Baldovinetti, born in Florence in 1425, was a pupil of Domenico
+Veneziano and became a member of the Painters Guild in 1448, when he
+was twenty-three. His entry-book, a copy of which is preserved in the
+Archives of S. Maria Nuova, containing his accounts and orders, begins
+with the date 1449. One of his first commissions was to finish some
+panels begun by Fra Angelico for a <i>credenza</i> in the Medici Chapel
+of the Annunziata (see page <a href="#Page_37">37</a>), and some paintings on the doors of
+the vestry of Santa Annunziata (now in the Museum of San Marco), which
+also completed a series begun by Fra Angelico. Thenceforward he painted
+frescoes and altar-pieces, including an altar-piece representing the
+<i>Annunciation</i> for the Chapel of the Medici villa at Caffagiuolo
+(now in the Uffizi) and the fresco representing the <i>Birth of
+Christ</i> in Santa Annunziata (1460–1462). In 1470–1473 he was busy
+on the altar-piece in the San Ambrogio and the <i>Trinita</i> (now in
+the Accademia). Of the frescoes of Santa Trinità, on which he worked
+until 1497, only a small portion remains. Other unquestionable works by
+Baldovinetti are the <i>Madonna and Saints</i> (in the Uffizi) and a
+few pictures in private collections.</p>
+
+<p>Baldovinetti also painted a great number of panels for private
+altars and he frequently turned from religious subjects to decorate
+marriage-chests and other sumptuous furniture. He also worked in
+mosaics, made cartoons for stained glass, and produced designs for
+<i>intarsia</i>,—all of which developed his delightful, decorative
+qualities.</p>
+
+<p>Baldovinetti’s entire life seems to have been absorbed in painting. He
+married late. After the death of his wife, he entered the hospital<span class="pagenum" id="Page_51">[51]</span>
+of S. Paolo of the Third Order of St. Francis and bequeathed what
+few possessions he had to this house of charity. After his death in
+Florence in 1499, a large chest that belonged to him was opened; but
+the monks, instead of seeing the hoped-for gold, only found a book
+on mosaic-work and some drawings. “No one was really surprised,”
+says Vasari, who tells the story, “for Baldovinetti was so kind and
+courteous that he shared everything he possessed with his friends.
+Alesso was a very diligent artist, who tried to copy minutely every
+detail in Mother Nature. He loved painting landscapes exactly as they
+are, and you see in his pictures rivers, bridges, rocks, plants,
+fruit-trees, roads, fields, towns, castles, and an infinite number of
+similar objects. In his <i>Nativity</i> you can count the separate
+straws and knots in the thatched roof of the hut and you see the stones
+in the ruined house behind, worn away by rain, and the thick root of
+ivy growing up the wall is painted with so much accuracy that the green
+leaves are differently shaded on either side; and among the shepherds
+he introduced a snake crawling in the most natural manner along the
+wall.”</p>
+
+
+<h4>PORTRAIT OF A YOUNG LADY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Piero Pollaiuolo</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1443–1496).</i></td>
+    <td class="cht3"><i>Mr. Nils B. Hersloff.</i></td>
+  </tr>
+</table>
+
+<p>In profile to the right, with features clear-cut and strongly outlined
+against a light-green background, appears a young Florentine lady,
+whose dress and bearing proclaim her to be a patrician. She has not
+been as yet identified; but doubtless she was one of those elegant and
+gay Florentines whom we meet with in song and story. We are very safe
+to guess that she was a friend of the Medici and Tornabuoni group and
+played her part in the brilliant life of the period. Her dress, pink
+brocade with a floral pattern, is edged with white around the neck. Her
+hair is fancifully plaited with pale blue ribbons and partly covered
+with a head-dress of thin white gauze, which falls over the right ear
+on to her neck; and her hair is also decorated with a jewel set in
+pearls. According to the fashion of the time, her forehead and the nape
+of her neck are shaven; for the long line of the neck was considered
+of the<span class="pagenum" id="Page_52">[52]</span> greatest importance. It was also important to hold the head
+properly; and this young lady has certainly acquired the correct and
+noble carriage of the head.</p>
+
+<p>An unpublished letter of Berenson exclaims enthusiastically: “This
+profile portrait of a <i>Young Lady</i> by Piero Pollaiuolo I believe
+to be one of the most delightful of the series of female profiles
+which, from Paolo Uccello and Domenico Veneziano down to Botticelli and
+Amico di Sandro, glorifies the art of Florence during the Fifteenth
+Century. Few of them have survived to our own time. With the exception
+of one in the Poldi Collection at Milan, this is the most satisfactory
+of them all; for besides representing an extraordinarily attractive
+personality of the highest Florentine society of the time (as, indeed
+is confirmed by the dress and the jewels), it is a work of art of
+exquisite draughtsmanship, subtle modelling, and delicate, pure color.”</p>
+
+<p>The painting in tempera is on a panel, 18 × 13 inches, and came from
+several important Collections,—that of the Conte Isolani Bologna;
+Baron Lazzaroni, Rome; and the late Mr. William Solomon, New York.</p>
+
+<p>Mr. Berenson notes the fine draughtsmanship in this picture. Unusual
+drawing is to be expected from the brothers Pollaiuolo. Benvenuto
+Cellini called Antonio “the best draughtsman of his day in Florence”
+and tells us that all the goldsmiths worked from his designs; and, as
+Antonio trained his youngest brother, Piero, we cannot be surprised
+at the simple, direct, and commanding lines and these telling effects
+produced by such economical methods.</p>
+
+<p>The real name of the talented brothers was Benci. Their father, Jacopo
+d’Antonio Benci, was nicknamed by his friends, Pollaiuolo, because his
+father kept a poulterer shop. Jacopo was a goldsmith and was employed
+by Lorenzo Ghiberti; and it is said that he made a remarkable quail on
+one of the Baptistery Gates.</p>
+
+  <div class="figcenter" id="i_053" style="max-width: 388px">
+     <img
+    class="p1"   
+    src="images/i_053.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Nils B. Hersloff</i></p>
+     <p class="p0 sm center">PORTRAIT OF A YOUNG LADY</p>
+     <p class="p0 sm right">—<i>Piero Pollaiuolo</i></p>
+ </div>
+
+<p>Antonio (1432–1498) was apprenticed to Bartoluccio Ghiberti, a
+goldsmith, and soon achieved fame in Florence as a worker in jewelry
+and <i>niello</i>. Lorenzo Ghiberti called him to work on the
+Baptistery “Gates of Paradise” and the Bronze Doors. In 1459 he started
+to work independently and became renowned as a painter, sculptor, and
+master goldsmith. His <i>bottega</i> near the Ponte Vecchio was the
+most popular<span class="pagenum" id="Page_54">[54]</span> workshop in Florence; and here he remained until he went
+to Rome in 1484. Piero Pollaiuolo helped Antonio in his work and was
+also very versatile. Engravings, drawings, <i>niello</i>, sculpture,
+and painting, besides a vast amount of gold-work, silver-work, and
+bronze-work prove these men to be as industrious as they were talented.
+They also followed Alesso Baldovinetti in trying out new oil glazes
+and varnishes. In 1460 the Pollaiuoli painted in the Medici Palace,
+and about the same time executed the six life-sized <i>Virtues</i> for
+the Tribunal of the Mercatanzia. In 1471 Piero painted a portrait of
+<i>Galeazzo Sforza, Duke of Milan</i>, who was visiting Florence; and
+this portrait, which hung for many years in the Medici Palace, is now
+in the Uffizi. Piero’s fresco of <i>St. Christopher</i>, painted at San
+Miniato outside the gates, is considered by most authorities to be the
+same <i>St. Christopher</i> now preserved in the Metropolitan Museum,
+New York. Piero also painted a very fine <i>Annunciation</i> (now in
+the Berlin Gallery), which has a view of Florence and the Val d’Arno
+through the open windows and which is remarkable for its Renaissance
+architecture; for the profusion of pearls and other jewels adorning
+the Virgin’s chair and the robes of the Angels; and for three Cherubs
+playing the lute, viol, and organ.</p>
+
+<p>In 1489 Antonio was called to Rome by Pope Innocent VIII to make the
+bronze tomb of Sixtus IV, and a monument for himself in St. Peter’s. He
+was joined by Piero. The Pollaiuoli never saw Florence again; for, on
+account of the raging Plague, no travellers were allowed to come within
+twenty miles of Florence. Piero died in 1496 and Antonio in 1498; and
+at the request of the latter he was buried in the same tomb with Piero
+in the church of S. Pietro in Vincula.</p>
+
+<p>The Pollaiuoli were closely associated with Botticelli, Leonardo da
+Vinci, Ghiberti, and Verrocchio.</p>
+
+<p><span class="pagenum" id="Page_55">[55]</span></p>
+
+
+<h4>GIULIANO DE’ MEDICI.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sandro Botticelli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1444–1510).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Otto H. Kahn.</i></td>
+  </tr>
+</table>
+
+<p>This proud, intellectual, refined, and cold face is painted almost in
+profile; but, notwithstanding that we see only a part of the face,
+we seem to see it all. Never did painter achieve a more complete
+presentation of personality and of character. Moreover, Botticelli has
+painted the whole of Florentine Society in this portrait. And with
+what amazingly simple means! There is practically no costume,—a black
+doublet, giving a glimpse of a red tunic below, and a severe white
+linen band doing duty for a collar. Even the background is neutral!</p>
+
+<p>The simplicity of presentation and the economy of line are almost
+Japanese in their severity. The skillful handling is almost Oriental,
+too. Nothing seems to have been done here for <i>effect</i>,—yet what
+<i>effect</i> is here! There is almost no color; and the hair, too,
+which falls to the neck, is black. If we did not know that Giuliano de’
+Medici was a dashing young Florentine of high mettle and full of the
+zest of life, we might easily mistake him for a priest.</p>
+
+<p>The picture, painted on wood (21 × 13½ inches), gives us the impression
+of a life-size portrait. It was formerly in the Collection of Conte
+Procolo Isolani, in Bologna.</p>
+
+<p>Giuliano de’ Medici was one of the most romantic characters in
+history; and the tragedy that cut the thread of his life at the age
+of twenty-five adds no little to the romantic appeal he makes to us
+to-day. Yet even at this age, he had so perfected himself in all the
+accomplishments that belonged to a gentleman of the Fifteenth Century
+that he stands as the very type of the elegant young man of his period.
+Giuliano was, like his brother, Lorenzo, proficient in the arts, a
+lover of pictures, music, and poetry; he wrote charming love-songs and
+other lyrical verse; he was intellectual and witty and talked extremely
+well; and he was a brilliant jouster and a well-trained all-round
+athlete and devoted to the chase. For all these things the Florentines
+<i>admired</i><span class="pagenum" id="Page_56">[56]</span> him; but they <i>loved</i> him for his character, his
+high-mindedness, and his courtesy. He adored his brother; and Lorenzo,
+who was far from handsome, had no jealousy for the admiration that his
+younger brother inspired. The terrible murder of this public idol at
+High Mass in the Cathedral first shocked and then grieved the entire
+community. The grief manifested at the great public funeral in the
+church of the Medici family, San Lorenzo, was violent and sincere, for
+Giuliano de’ Medici was the beloved of both high and low.</p>
+
+<p>In his book, <i>The Medici</i>, Col. Young writes:</p>
+
+<p>“Giuliano de’ Medici, the youngest of the five children of Piero il
+Gottoso and Lucrezia Tornabuoni, was, unlike his brother Lorenzo,
+exceedingly good-looking; he was gifted with considerable abilities,
+and for his many endearing qualities was greatly beloved, not only in
+his own family but also by the people of Florence. Before his early
+death he had already shown on several occasions that he possessed
+plenty of political capacity and could give valuable advice to his
+brother.</p>
+
+<p>“The relations which existed between these two brothers is one of the
+pleasantest things in the history of the Medici. At that epoch jealousy
+between brothers placed in such a position as Lorenzo and Giuliano were
+was the normal state of things. That it was entirely absent in their
+case speaks well for both of them.</p>
+
+<p>“Giuliano was twenty-five at the time of his death. He left an
+illegitimate son, born just at that time. Lorenzo took the child and
+brought him up with his own sons; and this child became in the next
+generation the well-known Giulio de’ Medici, afterwards Clement VIII.”</p>
+
+<p>Alessandro di Mariano Filipepi was born in Florence in 1444, the son of
+a prosperous tanner who had four sons, the eldest of whom, Giovanni,
+was called “<i>Bottecello</i>” from the sign of a barrel which hung
+over his shop, and which name was given to all the other members of the
+family. Sandro Botticelli, like so many other Florentine painters began
+life as a goldsmith. Then he was apprenticed to Fra Filippo Lippi, who
+was, of course, able to hand on to him the old Giottesque tradition.
+Botticelli next fell under the influence of the Pollaiuoli,<span class="pagenum" id="Page_58">[58]</span> with whom
+he worked. It was not long, however, before the young painter began to
+exhibit his originality.</p>
+
+  <div class="figcenter" id="i_057" style="max-width: 369px">
+     <img
+    class="p1"   
+    src="images/i_057.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Otto H. Kahn</i></p>
+     <p class="p0 sm center">GIULIANO DE’ MEDICI</p>
+     <p class="p0 sm right">—<i>Sandro Botticelli</i></p>
+ </div>
+
+<p>Soon after returning from Prato, where he had gone to help Fra Filippo
+Lippi with the frescoes in the Cathedral, he was immediately employed
+by Piero il Gottoso, who with his wife, Lucrezia Tornabuoni, recognized
+the genius and peculiar charm of the young painter, and took him
+into the Casa Medici almost like a son. Botticelli was at this time
+about twenty-one, only five years older than Lorenzo, the eldest son.
+Consequently, Botticelli was on the most intimate terms with Lorenzo
+and Giuliano.</p>
+
+<p>All the pictures of this period except <i>Fortitude</i> were painted
+for Piero, who bestowed large rewards on the painter. The <i>Madonna
+of the Magnificat</i>, one of his most beautiful pictures (now in the
+Uffizi) was painted in 1465 (when Lorenzo and Giuliano were about
+sixteen and twelve); and it must have been done especially to please
+Lucrezia Tornabuoni, for her two sons are represented as Angels
+kneeling before the Madonna and holding the inkstand and the book.
+Giuliano is the one facing us with the conspicuous lock of hair on his
+forehead, while Lorenzo, of darker complexion, is in profile and in
+full light.</p>
+
+<p>The <i>Adoration of the Magi</i>, painted in 1467 for Sta. Maria
+Novella (now in the Uffizi) is also a Medici family group surrounded by
+their <i>protégés</i> in art and letters. Cosimo, “<i>Pater Patriæ</i>”
+(then dead), is kneeling before the Holy Child; Giovanni, brother of
+Piero il Gottoso (then dead), stands at the left in a red and black
+costume; Piero il Gottoso is kneeling in the centre with back to the
+spectator; Giuliano, in a robe of white and gold, is kneeling at the
+latter’s right and Lorenzo, aged seventeen, stands at his left, holding
+a sword. The last figure, standing on the right, is Botticelli himself.
+Botticelli’s portrait of Lucrezia Tornabuoni is in the Kaiser Friedrich
+Museum, Berlin.</p>
+
+<p>When Lorenzo, destined to become known as the “Magnificent,” became, on
+the death of his father, head of the Medici and ruler of Florence, he
+continued the Medici patronage to Botticelli.</p>
+
+<p>“It was a period when the exuberant vitality of the Renaissance was
+at its height; and the first nine years of his rule, when he was
+from twenty to twenty-nine and his brother, Giuliano, from sixteen
+to<span class="pagenum" id="Page_59">[59]</span> twenty-five, was a time in Florence of constant festivities of
+music, art, and poetry, of joy and laughter and all the bright side of
+life. It was the fashion of the day to import into all amusements an
+imitation of the Classic times of ancient Greece, and the Florence of
+that time appears set before us as a city ‘with youth at the prow and
+pleasure at the helm’ and full of all the life, joy, and pleasure of
+the old pagan ideal of Greece set in a Fifteenth Century dress. Besides
+all his duties in regard to State affairs and labors in the founding
+of institutions to advance Learning, not to mention his own literary
+work, Lorenzo with his brother led these festivities organizing
+pageants and other spectacles of the most costly description (permeated
+with classical learning and poetical allusions) for the popular
+amusement.”<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a></p>
+
+<p>These entertainments took the form of masques, <i>tableaux</i>, and
+tournaments. Young Lorenzo, too, gathered at his villa in Fiesole
+and even more particularly in that of Careggi the <i>literati</i> of
+the day and read classical authors with these scholars, particularly
+commemorating once a year the birthday of Plato. In 1469 Lorenzo held
+a magnificent tournament for his own glorification and in 1475 an even
+more elaborate one in honor of Giuliano in the Piazza Sta. Croce, with
+the beautiful Simonetta Cattaneo, who had lately been married at the
+age of sixteen, to Marco Vespucci, as the Queen of Beauty. Giuliano,
+now just twenty-two, wore a suit of silver armor and Verrocchio
+designed his helmet, and Lorenzo’s also.</p>
+
+<p>Botticelli, of course, witnessed this tournament and did for it in
+painting what Politian did in his poem, <i>La Giostra di Giuliano de’
+Medici</i>. The <i>Primavera</i> or <i>Return of Spring</i> (now in the
+Accademia, Florence), the <i>Birth of Venus</i> (in the Uffizi) and
+<i>Mars and Venus</i> (in the National Gallery, London), were all three
+painted for Lorenzo. All the elaborate imagery of Politian’s verse
+is reproduced in Botticelli’s painting representing the <i>Birth of
+Venus</i> in allusion to the Queen of Beauty, Simonetta, of Giuliano’s
+Tournament. In the second picture, <i>Mars and Venus</i>, Botticelli
+again follows Politian’s poem.</p>
+
+<p>“And then having devoted one picture to the tournament’s Queen<span class="pagenum" id="Page_60">[60]</span> of
+Beauty, and one to the victor in its mimic warfare, Botticelli makes
+his <i>third</i> picture (the most important of the three) relate to
+Lorenzo and his part in all this, gathering up in one view the whole
+subject of these pastimes. This Botticelli does with great talent and
+in a manner all his own. He takes for his text the celebrated standard
+which had been borne in front of Lorenzo at both his and Giuliano’s
+tournaments, with its motto of <i>Le temps revient</i>, its device of
+the bay-tree, which had appeared dead, again putting forth its leaves,
+and its allusion to the new era of youth and joy which Lorenzo had
+inaugurated, and had likened to the <i>Return of Spring</i> after the
+gloomy months of winter. Making the leading thought of his picture the
+theme on Lorenzo’s standard, Botticelli paints for him the <i>Return of
+Spring</i> (the <i>Primavera</i>), perhaps the most widely admired of
+all Botticelli’s pictures.</p>
+
+<p>“And so Botticelli depicts for us a scene of light-hearted, youthful
+joy, representing the return of spring, and by his great talent
+contrives that the entire picture shall speak of Lorenzo and breathe
+the very spirit of the poems in which the latter had sung of the joys
+of May-time in Tuscany. Shielded from rough winds and scorching sun
+by a grove of orange trees, backed by the ever-present laurel (always
+representing Lorenzo from the play on the Latin form of his name,
+<i>Laurentinus</i>), Queen Venus (Simonetta) stands presiding over the
+return of spring to Tuscany; the Graces dance before her; from out a
+laurel grove at her side the three spring months, March, April and May
+(or it may be Zephyr, Fertility and Flora), come bringing flowers of
+every hue; Mercury (Giuliano) scatters the clouds of winter; and the
+little blind God of Love aims his arrows recklessly around.</p>
+
+<p>“These pictures relating to Giuliano’s tournament could not have been
+painted until some time afterwards, as in any case they could not have
+been so until Politian’s poem had appeared; and they may have been
+executed at any time during Lorenzo’s life. If painted, as is most
+probable, subsequently to Giuliano’s death in 1578, they would remind
+Lorenzo of a time of bygone joys; and would be all the more prized by
+him on that account.”<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p>
+
+<p>A few months after Giuliano’s grand tournament the beautiful<span class="pagenum" id="Page_61">[61]</span> Simonetta
+was lying dead and three years later Giuliano was foully murdered,
+victim of the Pazzi conspiracy.</p>
+
+<p>In 1481 Botticelli was sent for by Pope Sixtus to assist Perugino and
+Ghirlandaio in painting frescoes in the newly erected Sistine Chapel;
+and when this work was completed Botticelli returned to Florence with
+an added lustre to his name. It was the fashionable thing for wealthy
+owners of villas to have frescoes painted in these country-houses; and
+among many orders that Botticelli filled was an important series of
+frescoes for Lorenzo Tornabuoni in the villa of the Tornabuoni family
+(now Villa Lemmi) at Rifredi representing scenes in reference to the
+marriage of Lorenzo Tornabuoni and Giovanna degli Albizzi in 1486 (see
+page <a href="#Page_68">68</a>). These frescoes, recently discovered under whitewash, are now
+in the Louvre.</p>
+
+<p>The death of Lorenzo the Magnificent, the banishment of the Medici,
+and the rule of Savonarola changed Botticelli’s life and his style of
+painting. In this third period the painter of nymphs and goddesses
+paints his charming and wistful Madonnas with many suggestions of Venus
+and Simonetta and the grace and loveliness of the pagan world.</p>
+
+<p>To the last period, when Botticelli had emerged from the Savonarola
+influence, the great painter produced <i>Calumny</i> (in the Uffizi)
+and the <i>Nativity</i> (in the National Gallery, London); and with
+these two works the career of Botticelli ends.</p>
+
+<p>The theory that the <i>Birth of Venus</i>, <i>Mars and Venus</i> and
+the <i>Primavera</i> were painted for Lorenzo di Pier Francesco has
+been thoroughly examined and disproved by Col. G. F. Young in his
+splendid history of <i>The Medici</i>.</p>
+
+<p><span class="pagenum" id="Page_62">[62]</span></p>
+
+
+<h4>PORTRAIT OF A YOUNG MAN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sandro Botticelli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1444–1510).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>Standing behind a balustrade and looking wistfully toward the observer,
+this handsome young Florentine appears at half-length with his head
+inclined towards the left.</p>
+
+<p>How we should like to penetrate his secret and help him away from the
+melancholy mood that has overwhelmed him!</p>
+
+<p>Although we see that he is a dreamer (and most probably a lute-player
+as his hands might seem to indicate), something has touched him very
+deeply—far too deeply to be classed as a momentary sorrow. We should
+also like to know his identity. It is unlikely that it will ever be
+revealed. But of one thing we can be well assured,—he is an aristocrat
+and a young gentleman of wealth, for he has all the air of <i>savoir
+faire</i> and sureness of his position. We might make a guess that he
+is one of the Medici family. Could it be Giuliano? Look again at the
+<i>Madonna of the Magnificat</i>, at Giuliano immediately below the
+bending Angel! The resemblance is quite surprising and grows stronger
+as we study the two faces, only in the <i>Madonna of the Magnificat</i>
+Giuliano is younger and is seen with the characteristic lock on his
+forehead.</p>
+
+<p>His costume in this portrait shows up well from the black background:
+the coat is purplish brown edged with fur with white puffs at the
+shoulders; and a red cap contrasts well with his light-yellow hair.</p>
+
+<p>This picture, a tempera painting on panel (15¾ × 11¾), was long in the
+Collection of Baron Arthur de Schickler in Martinvast, Normandy, where
+it was attributed to Masaccio.</p>
+
+<p>“There can be no question,” Berenson thinks, “that this portrait is
+Botticelli’s own handiwork. The glamor it cast when I first saw it
+frightened me into doubts that were dispelled directly I could study
+the painting at my leisure. There is no one, using this formula and
+technique, but Sandro himself who has the sinuous line, the inevitable
+contours, the structural articulation, the firmness, convincingness,
+and<span class="pagenum" id="Page_64">[64]</span> delicacy of modelling this work possesses; nobody else who could
+produce a rhythm so subtly vibrant, or could give this limpid, radiant,
+and ethereal coloring.</p>
+
+  <div class="figcenter" id="i_063" style="max-width: 406px">
+     <img
+    class="p1"   
+    src="images/i_063.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">PORTRAIT OF A YOUNG MAN</p>
+     <p class="p0 sm right">—<i>Sandro Botticelli</i></p>
+ </div>
+
+<p>“True, it is more Botticellian than any other Botticelli in existence.
+He must have uttered this completest note of his own music just
+before he was seized by the Savonarolian madness, from which he
+never recovered, just at the moment when he was most peculiarly and
+poignantly, and, if I may say so, most extravagantly, himself. The
+isolation of this head, too, exaggerates the impression. Perhaps if
+we found it as an Angel in a <i>Magnificat</i>, or a <i>Madonna with
+the Pomegranate</i>, in a <i>Tobias</i> or some Allegory, the other
+figures, the landscape and all the accessories would prevent our
+attention from concentrating on what is almost uncannily characteristic
+of the master’s style.”</p>
+
+<p>Berenson also notes the important hand, which, by the way, is
+especially lighted as if to draw our attention to it most particularly.</p>
+
+<p>“Perhaps the most interesting thing about this portrait,” he observes,
+“is the manifest competition of the hand with the face. The hand is
+studied just as carefully, drawn, and modelled with as much intention,
+as the face itself. Its action reveals the automatic nervous tension
+of an overstrung physique that the conscious mind, controlling the
+expression, tries to keep in order. It thus becomes, in a sense, the
+most important clue to understanding the character. If you think
+it away, the expression, of course, remains, but what makes it
+comprehensible disappears.”</p>
+
+<p>It is this peculiar intelligence and sensitiveness of the hand that
+makes me suspect the musician.</p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sandro Botticelli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1444–1510).</i></td>
+    <td class="cht3"><i>Mr. Max Epstein.</i></td>
+  </tr>
+</table>
+
+<p>This picture is the latest Botticelli to have been brought to
+this country for it arrived only in May, 1928. It was painted in
+Botticelli’s early period, about 1470 or 1472. The Holy Child
+is handsome, although robust, and His embrace of the Madonna is
+touchingly<span class="pagenum" id="Page_66">[66]</span> affectionate and human. In this picture the Madonna would
+seem to have had a vision of the coming tragedy and she is not yet
+resigned. She loves her Child too well. That her eyes are full of tears
+we can feel in those heavily drooping lids. Her face is full of pain.
+But even in her suffering and quiet anguish this Madonna is beautiful
+and graceful; and we cannot fail to see in her face some little
+resemblance to Botticelli’s Venus in the <i>Primavera</i> and Venus
+in her scallop-shell borne over the waves in the early morning in the
+<i>Birth of Venus</i>.</p>
+
+  <div class="figcenter" id="i_065" style="max-width: 380px">
+     <img
+    class="p1"   
+    src="images/i_065.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Max Epstein</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Sandro Botticelli</i></p>
+ </div>
+
+<p>In this picture the Holy Child seems to have little or no consciousness
+of His Divinity. The Mother here is the enlightened one.</p>
+
+<p>The picture is tempera on panel (35¾ × 23¼ inches) and came into
+possession of M. Féral in Paris in 1907. It has been accepted by Bode
+and Jashiro as a genuine and an early Botticelli.</p>
+
+<p>The Madonna’s robe is deep blue with a lining of dull green, which
+shows at the left wrist and slightly down the front and on the left
+shoulder a star is embroidered. She wears a closely folded diaphanous
+veil and a red scarf, one end of which is gracefully thrown around the
+Holy Child. The sleeve of the dress has a band of golden embroidery at
+the wrist.</p>
+
+<p>The cruciform <i>nimbus</i> of the Holy Child foretells His destiny.
+The <i>nimbus</i> of the Virgin is plain. The Angel wears a tunic
+of deep cream white ornamented with gold on the sleeves and a black
+band ornamented with gold at the throat. On the parapet stands a vase
+apparently of alabaster containing myrtle leaves and white star-shaped
+flowers, probably jasmine (see page <a href="#Page_25">25</a>). Through the open arch we see a
+gentle landscape, with a river winding around distant hills.</p>
+
+
+<h4>GIOVANNA TORNABUONI.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Domenico Ghirlandaio</i></td>
+    <td class="cht3"><i>(1449–1494).</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>Collection of</i></td>
+    <td class="cht3"><i>Mr. J. P. Morgan.</i></td>
+  </tr>
+</table>
+
+<p>With this picture, which is considered “one of the finest Italian
+portraits in existence,” we step back into the period of the
+Renaissance and into the very presence of one of the most gifted and
+celebrated of the younger women of the Fifteenth Century.</p>
+
+<p><span class="pagenum" id="Page_67">[67]</span></p>
+
+  <div class="figcenter" id="i_067" style="max-width: 318px">
+     <img
+    class="p1"   
+    src="images/i_067.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. J. P. Morgan</i></p>
+     <p class="p0 sm center">GIOVANNA TORNABUONI</p>
+     <p class="p0 sm right">—<i>Domenico Ghirlandaio</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_68">[68]</span></p>
+
+<p>“Art coulds’t thou but portray character and the mind, then there would
+be no picture in the whole world more beautiful than this.”</p>
+
+<p>Such is the translation of the legend inscribed in capital letters on
+the cartel:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“<i>Ars ultinam mores animumque effingere posses</i></div>
+        <div><i>Pulchrior in terris nulla tabella foret</i>”</div>
+      </div>
+    </div>
+  </div>
+
+<p class="p-left">with the date MCCCCLXXXVIII.</p>
+
+<p>The charms of Giovanna degli Albizzi, who was married to Lorenzo
+Tornabuoni in 1486, were sung by all the poets of Florence. Giovanna
+came of the noted Albizzi family, famous for wealth and rank and for
+leading the party of Nobles (<i>Grandi</i>) against the Medici, whom
+they considered upstarts and enemies of the aristocratic faction
+in Florence. By a former marriage, however, the Albizzi had become
+connected with the Medici, for the wife of Piero de’ Medici (il
+Gottoso) was Lucrezia Tornabuoni, one of the most accomplished women
+of the age and whose portrait by Botticelli hangs to-day in the Kaiser
+Friedrich Museum in Berlin. Giovanna’s husband, Lorenzo Tornabuoni
+(Lucrezia Tornabuoni’s nephew), was, therefore, the first cousin of
+Lorenzo and Giuliano de’ Medici.</p>
+
+<p>Subsequent to the ownership by the Tornabuoni and Pandolfini families,
+the portrait represented here passed to a private Collection in Paris
+and thence to the late Mr. Henry Willett of Brighton, England; to the
+famous Collection of Mr. Rodolphe Kann of Paris and, finally, to that
+of Mr. J. P. Morgan.</p>
+
+<p>The picture is painted on a wooden panel (29¾ × 19½ inches).</p>
+
+<p>Standing in profile to the left and against an architectural
+background, the lady appears at half-length. She wears a rich dress of
+gold brocade of a handsome and decorative pattern with square neck, the
+sleeves of a different material, dark-red in color and having yellow
+diamond-shaped compartments bearing a floral design in the centre. A
+handsome pendant, consisting of a ruby with three pearls, hangs from
+a fine black silk cord around her neck. Her hair falls in light, wavy
+tresses over her temples and covers her ears. In the recess at the back
+is placed a cluster of precious stones. On the right is a <i>Book of
+Hours</i>, and above is looped a necklace of coral beads. All of these
+things<span class="pagenum" id="Page_69">[69]</span> undoubtedly have some particular and sentimental association
+for Giovanna. Giovanna died the same year this portrait was painted; in
+this year her father-in-law, Giovanni Tornabuoni, also uncle of Lorenzo
+de’ Medici, commissioned Ghirlandaio to decorate the walls of the
+choir of Sta. Maria Novella with the <i>Lives of John the Baptist and
+the Virgin</i>; and here again the portrait of Giovanna degli Albizzi
+appears. Let us turn to Mrs. Cartwright for a description of this
+remarkable series of frescoes:</p>
+
+<p>“These twenty-one subjects have been much injured by damp and
+restoration and the hand of inferior assistants is plainly seen in
+many of the best preserved portions. But as a splendid illustration
+of Florentine life the whole series is of rare interest. On the one
+hand we have the public and official life of the Tornabuoni, their
+stately banquets and processions; on the other, we catch a glimpse of
+their private and domestic history. In the guests seated at <i>Herod’s
+Feast</i>, in the crowds who throng the temple court, we recognize
+the Tornabuoni and their kinsmen, the partners of the Medici bank,
+Gianfrancesco Ridolfi, Roderigo Sassetti, and Andrea de’ Medici. On one
+side we have a group of famous humanists—Angelo Poliziano, Marsilio
+Ficino, Cristoforo Landino, and Lorenzo’s tutor, Gentile de’ Becchi;
+on the other, we see the painter with his aged father and his brother,
+David, and brother-in-law, Sebastiano Mainardi, the assistants who
+helped in the decoration of the choir. Giovanna degli Albizzi, the
+fair maiden who on the 16th of June, 1486, became the bride of Lorenzo
+Tornabuoni, is here in her stiff brocades and rich jewels with her
+young sister-in-law, Lodovica, and many noble dames on their way to
+visit the mother and new-born babe. These frescoes, which were finally
+completed in 1490, filled the Tornabuoni family with delight and
+wonder, and Ghirlandaio was next employed to paint the chapel of their
+<i>villa</i> near Fiesole, which was unfortunately destroyed by floods
+in the next century.”</p>
+
+<p>As in the case of so many Italian painters, the name by which
+Ghirlandaio is known is only a nickname: it means “Garland-maker,”
+and was given to him because his first reputation was derived from
+the beautiful gold and silver garlands and wreaths he made for the
+wealthy ladies of fashion. Ghirlandaio, son of Tommaso Bigordi, a silk
+merchant<span class="pagenum" id="Page_70">[70]</span> of Florence, was born in that city in 1449. He began his life
+as apprentice to a goldsmith—as so many superlative painters have
+done—and early showed talent for drawing and sketching. Before long he
+left the goldsmith and entered the studio of Alesso Baldovinetti (see
+page <a href="#Page_48">48</a>); and he undoubtedly owed much to this painter in his fondness
+for decorative effects. Ghirlandaio was tremendously industrious and
+always worked with the best artists of his time. At San Gimigniano
+in 1475 he worked with Pier Francesco Fiorentino and he assisted
+Botticelli in the Sistine Chapel in 1481. His own independent work was
+stupendous. Ghirlandaio devoted himself almost exclusively to sacred
+subjects and his frescoes are practically scenes of the Florentine
+world he knew so well. Whether he painted scenes from the life of St.
+Francis, or of the Virgin, or Herod, or St. Zenobius, the characters
+represented are members of the Medici, the Tornabuoni, the Sassetti,
+the Albizzi, and other important Florentine families. In fact, his
+attention to details and the careful way he rendered them, show that he
+had some knowledge of contemporary Flemish paintings; and consequently
+Ghirlandaio is regarded as chief of the Florentine realists. However,
+Ghirlandaio ranked in his day with Botticelli and Filippino Lippi, and
+he enjoyed the patronage and friendship of the Medici. Ghirlandaio’s
+most important frescoes are those in Sta. Maria Novella representing
+<i>Lives of the Virgin and John the Baptist</i>, commissioned by
+Giovanni Tornabuoni, described above, and those in Santa Trinità
+depicting the <i>Life of St. Francis</i>, ordered by Francesco Sassetti
+described on page <a href="#Page_72">72</a>.</p>
+
+<p>Ghirlandaio died in 1494 of the Plague, comparatively young, but having
+accomplished a vast amount of work and having trained a number of
+painters, the most important of whom was Michelangelo. Ghirlandaio’s
+son, Ridolfo Ghirlandaio (1483–1561), became a painter and was an
+intimate friend of Raphael.</p>
+
+<p><span class="pagenum" id="Page_72">[72]</span></p>
+
+
+<h4>FRANCESCO SASSETTI AND HIS SON TEODORO.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Domenico Ghirlandaio</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1449–1494).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>Francesco Sassetti, a wealthy banker and Lorenzo de’ Medici’s agent at
+Lyons, is shown here slightly under life-size, wearing a purple skull
+cap and a red robe lined with fur and held at the waist by a black
+cord, from which hangs a pouch, or purse. His right hand rests upon
+the arm of the chair in which he is seated. His eyes look downward
+upon his son, who stands at his left, in profile, gazing upward into
+his father’s face. His hands are clasped and he is wearing a costume
+of silvery grey brocade trimmed with white fur, undersleeves of
+dark-green and slashed, and a scarlet cap. Through the window we have
+an interesting view of an inlet of the sea (or a large river) with
+mountains and buildings. On the top of the window-frame there is an
+inscription: “<i>Franciscos Saxettvs Theodorus QVE</i>.” The picture
+is an oil painting on panel (29½ × 20½ inches) and is supposed to have
+been executed in 1487–1489. Francesco Sassetti was born about 1420 and
+died in 1491. Teodoro was born on March 11, 1479, and is seen here at
+about the age of eight or nine, which fixes the date of the picture.
+It is interesting to note that Teodoro Sassetti was the grandfather of
+Filippo Sassetti, an early traveller in India (see Marencci, <i>Lettere
+di Filippo Sassetta</i>, Firenze, 1855).</p>
+
+  <div class="figcenter" id="i_071" style="max-width: 410px">
+     <img
+    class="p1"   
+    src="images/i_071.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">FRANCESCO SASSETTI AND HIS SON TEODORO</p>
+     <p class="p0 sm right">—<i>Domenico Ghirlandaio</i></p>
+ </div>
+
+<p>This picture comes from the Benson Collection and was formerly owned
+by Mr. William Graham. Francesco Sassetti also appears in the frescoes
+depicting the <i>Life of St. Francis</i>, which Ghirlandaio painted in
+the Sassetti Chapel in the Trinità in Florence. Ghirlandaio introduced
+into this series other members of the Sassetti family, as well as many
+of his illustrious contemporaries and friends, including Lorenzo de’
+Medici, Pope Honorius, Maso degli Albizzi, Palla Strozzi, and Angelo
+Acciaiuoli. In the fifth fresco, where St. Francis is bringing a
+dead child to life, Ghirlandaio has painted his own portrait. He is
+conspicuous in a red cap and resting his hand upon his hip.</p>
+
+<p><span class="pagenum" id="Page_73">[73]</span></p>
+
+
+<h3><i>THE UMBRIAN SCHOOL</i></h3>
+
+<p class="drop-cap p-left">The Umbrian School occupied the relative place in the Early Renaissance
+that the Sienese School held in the Middle Ages. At first, Umbrian
+painting was the offspring of Siena, but it fell under and developed
+under the influence of Florence. Florentine artists came to Umbria and
+Umbrian artists went to Florence, and gradually the Umbrian School,
+which had certain qualities of its own, developed and reached full
+flower in the beloved of all the world,—Raphael.</p>
+
+<p>The word Umbrian is used rather loosely by critics to include many
+Tuscan painters who have to be gathered into this group, which dates
+from the end of the Fourteenth and beginning of the Fifteenth Century.
+One particular quality of the Umbrians was their essentially deep
+religious feeling.</p>
+
+<p>“Whereas the devotion of Sienese art had been hieratic, aristocratic,
+and akin to the ideals of Mediæval Byzantium, that of Umbria became
+ecstatically human. The Renaissance trend towards bringing to earth
+the regal Christian gods of the Middle Ages was nowhere so strong
+as in Umbria; and it is not an exaggeration to say that we owe to
+the Umbrians our modern visual images of the Eternal, the Madonna,
+and the other important members of the Christian Pantheon. The
+piety and humility of the figures was deepened and dignified by
+a specially emphasized space-composition, both architectural and
+landscape. Landscape backgrounds were given unusual importance and
+delicate beauty. The Umbrian School thus became the most charming,
+the tenderest, and the most intimately human of Renaissance
+Italy.”—<i>Mediæval and Renaissance Paintings</i> (Fogg Art Museum,
+Cambridge, 1927).</p>
+
+<p>The first great Umbrian painter was Gentile da Fabriano (1370?–1427),
+pupil of an earlier Umbrian painter, Allegretto Nuzi (active from 1346
+to 1373), in turn a pupil of the Florentine Bernardo Daddi.</p>
+
+<p><span class="pagenum" id="Page_74">[74]</span></p>
+
+<p>The next important Umbrian was Piero della Francesca or Pier dei
+Franceschi (1416?–1492), pupil of Domenico Veneziano of Florence,
+important in his own work and important as a master, forming Luca
+Signorelli, who in turn influenced Michelangelo. Piero della Francesca
+was also influenced by the Florentine, Paolo Uccello, whose scientific
+leanings towards perspective he shared. As a colorist, as a painter
+of light and atmosphere, and as a master of composition, Piero della
+Francesca ranks with the greatest Italian masters of the Early
+Renaissance.</p>
+
+<p>By this time Perugia had become the most important centre of painting
+in Umbria. Among its conspicuous artists was Benedetto Bonfigli
+(1425–1496); Fiorenzo di Lorenzo (1440–1521), the supposed master
+of Perugino and Pintoricchio; Perugino, whose real name was Pietro
+Vannucci (1446–1523); Bernard Pintoricchio “the little painter”
+(1454–1513), whose real name was Bernard di Betto, or Biagio; and the
+great Raphael (1483–1520), son of the painter Giovanni Santi of Urbino;
+and with this painter of the world’s favorite Madonnas the Umbrian
+School practically ends.</p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Gentile da Fabriano</i></td>
+    <td class="cht3"><i>(1370–1427).</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>Collection of</i></td>
+    <td class="cht3"><i>Mr. Henry Goldman.</i></td>
+  </tr>
+</table>
+
+<p>No little suggestion of the Giotto Madonna (shown on page <a href="#i_027">27</a>),
+appears in the <i>Madonna and Child</i> by Gentile da Fabriano,
+which, according to Colosanti, was painted in the best period of the
+artist, shortly before he produced the <i>Adoration of the Kings</i>,
+now in the Uffizi. In comparing it with the Giotto <i>Madonna</i>,
+we see that the arch has become slightly more pointed than the one
+in the Giotto picture and we find also a gold background; but in the
+Fabriano painting a <i>graffito</i> design of two winged Angels with
+flowing robes on either side is slightly visible. As in the Giotto
+picture the two <i>nimbi</i> are different; the Virgin’s <i>nimbus</i>
+having an Arabic inscription and the <i>nimbus</i> of the Holy Child
+having a Gothic foliage. The Virgin is seated on a <i>cassone</i>,
+or chest (a not unusual but hardly very comfortable<span class="pagenum" id="Page_76">[76]</span> seat in the
+Fourteenth Century), covered with a dark-brown cloth with floral figure
+behind which a tiled floor is seen. The Virgin wears a long tunic of
+claret-colored damask with gold border, on which appears the motto
+“<i>Ave Maria Plena Dom—— Tecu—— Ben</i>.” On the border around the
+neck the word “<i>Mater</i>” appears. The mantle is slit at the sides
+through which the arm protrudes in a long sleeve of rich gold brocade
+with the pomegranate pattern. A scarf of thin yellow woollen material,
+decorated with red and blue flowers and red fringe, is worn around her
+head and neck. The Holy Child has on a little dress, very neatly made
+and fitting very snugly, of dark-blue trimmed with a border of red and
+gold. He is standing with His left foot on His mother’s knee and is
+stepping forward with the other. He has raised His right hand as if to
+emphasize the words He is speaking and to which His mother is listening
+with rapt admiration. This movement of the Child takes something away
+from the solemnity of the picture and the Virgin’s maternal pride shows
+her to be more of this earth than the Giotto <i>Madonna</i> whose calm,
+impassive yet tender beauty, proclaims her to belong to a higher sphere
+than does the Fabriano.</p>
+
+  <div class="figcenter" id="i_075" style="max-width: 330px">
+     <img
+    class="p1"   
+    src="images/i_075.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Henry Goldman</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Gentile da Fabriano</i></p>
+ </div>
+
+<p>The picture, tempera on panel (38 × 22½ inches), belonged to the
+Alexander Baker Collection, London, and to the Collection of Madame E.
+J. Sartoris, Paris.</p>
+
+<p>Gentile da Fabriano’s full name was Gentile di Nicola di Giovanni
+di Masso and he was born at Fabriano about 1370. He was a pupil of
+Allegretto Nuzi and possibly of Ottaviano Nelli. Vasari says, too, that
+he studied under Fra Angelico. He worked in Fabriano, Brescia, and
+Venice; and in 1422 he became a member of the Guild in Florence. Later
+he painted in Orvieto, Siena, and Rome, where Pope Martin V called
+him to paint in San Giovanni Laterano. Subsequently Gentile painted
+in Venice, Florence and other places, learning all that was new from
+other painters he met and everywhere attracting followers; but never
+forgetting his early Sienese inheritance in his love for beauty and for
+decoration.</p>
+
+<p>Gentile da Fabriano became so much of a traveller and cosmopolitan
+that he has to be classed as an “Internationalist” as well as a
+Sienese painter. Gentile had a marvellous talent for presenting
+brilliant and<span class="pagenum" id="Page_77">[77]</span> beautiful pictures of the courtly life he saw around
+him and which was fast passing away for the styles and fashions of the
+approaching Renaissance. His <i>Adoration of the Magi</i>, now in the
+Accademia delle Belle Arti, Florence, is a gorgeous representation of
+a procession such as the painter had doubtless many times witnessed.
+It is while thinking of this brilliant <i>Adoration of the Magi</i>
+that Berenson exclaims: “Fair knights and lovely ladies, spurs of gold,
+jewelled brocade, crimson damasks, gorgeous trains on regal steeds ride
+under golden skies wherein bright suns flatter charmed mountain tops.
+All the faces are aglow with blitheness. Why are they so happy? Have
+they waked from nightmare hauntings of Purgatory and Hell? So it would
+seem; and they rejoice in the blood tickling their veins, in the cool
+breezes, in the smell of flowers. And what a love of flowers! Gentile
+fills with them even the nooks and crannies of the woodwork enframing
+his gorgeous Epiphany.”</p>
+
+<p>Gentile died in 1427,—the one great Umbrian of the Middle Ages.</p>
+
+<p>Michelangelo remarked of Gentile that his name was in perfect harmony
+with the tone of his works.</p>
+
+
+<h4>MADONNA AND CHILD WITH ANGELS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Benedetto Bonfigli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1425–1496).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Otto H. Kahn.</i></td>
+  </tr>
+</table>
+
+<p>We have here a very unusual background, reminding us of the Arabian
+desert,—tall, barren rocks; and against these the Virgin is seated.
+Her costume is very lovely, consisting of a red tunic cut square
+across the neck and finished with a broad band of gold embroidery,
+and a blue mantle lined with yellow. Over her blonde hair, which is
+arranged in the style favored by Italian ladies of fashion, waved and
+parted and falling down at the sides of the cheeks, a white veil is
+folded in intricate plaits and made to ripple gracefully down over the
+shoulders. Above this complicated head-dress is a golden <i>nimbus</i>.
+The Holy Child, resting on her lap, steadied by the Virgin’s hand
+and additionally supported by the graceful hand of the little Angel,
+is partly swathed in muslin. One of His little hands rests on His
+mother’s veil and the<span class="pagenum" id="Page_78">[78]</span> other reaches for a pomegranate,<a id="FNanchor_10" href="#Footnote_10" class="fnanchor">[10]</a> which she
+is holding. The dress of the Angel is red bordered with ermine and the
+bottom of the tunic is edged with a deep gold band of Cufic lettering.
+The <i>nimbi</i> are tooled in gold and that of the Holy Child is
+cruciform. The strong wings of the Angels soar up boldly above their
+heads and make a perfect balance to the rocks behind the Virgin.</p>
+
+  <div class="figcenter" id="i_079" style="max-width: 366px">
+     <img
+    class="p1"   
+    src="images/i_079.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Otto H. Kahn</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD WITH ANGELS</p>
+     <p class="p0 sm right">—<i>Benedetto Bonfigli</i></p>
+ </div>
+
+<p>The picture is tempera on wood (31½ × 21 inches).</p>
+
+<p>Bonfigli is regarded as the founder of the School of Perugia which
+became so famous through Perugino, who perpetuates the name of the town.</p>
+
+<p>Little is known of Benedetto Bonfigli, who was born about 1425, in
+Perugia, and was buried there in the Church of St. Domenico in 1496.
+Bonfigli shows in his work the influences of Piero della Francesca,
+Fra Angelico, Camillo Boccatis, and Benozzo Gozzoli. Bonfigli was in
+Rome in 1453 working for Pope Nicholas V, and in the following year he
+was back in Perugia painting a series of frescoes for the Capella dei
+Priori in the Palazzo del Consiglio depicting <i>St. Louis of Toulouse
+and St. Ercolano</i>, which were unfinished at the time of his death.
+Bonfigli painted processional banners and small pictures as well as
+frescoes. Many of Bonfigli’s works are now in the Gallery at Perugia.</p>
+
+<p>“As an artist Bonfigli scarcely ranks as high as Niccolò da Foligno,
+his fellow-pupil under Benozzo Gozzoli. He was a much more dependent
+person, but being more imitative, with the models of Fra Angelico or
+Benozzo before him, he at times painted exquisite things and by nature
+he was gifted with that sense of the charming wherewith Perugia was
+later to take the world captive. Some of the freshest and loveliest of
+all angel faces may be seen in Bonfigli’s altar-pieces and standards.
+His color has almost always that tint of gold which never fades from
+Umbrian art.”<a id="FNanchor_11" href="#Footnote_11" class="fnanchor">[11]</a></p>
+
+<p><span class="pagenum" id="Page_79">[79]</span><br><span class="pagenum" id="Page_80">[80]</span></p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Perugino</i></td>
+    <td class="cht3"><i>(1446–1523).</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>Collection of</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>In red robe and blue mantle the Virgin appears seated three quarters
+to the left and supporting the Holy Child on her left knee with both
+hands. Her head is slightly inclined and the hair, parted above her
+forehead, is brushed plainly down either side and looped up rather
+curiously at the back and tied there by a narrow veil. The Holy Child
+looks away towards the left. Behind the figures is seen one of those
+delightful Umbrian landscapes made so famous by Perugino and Raphael.</p>
+
+<p>This picture, an oil painting on panel (27¾ × 19½ inches), has an
+interesting pedigree. From the family of the Marquis of Villafranca it
+came into possession of the Marquis de la Romana from the Palace of
+Anglona, Madrid, and then belonged to the Collection of the Marquis de
+Villamajor, Madrid. The wife of the latter says:</p>
+
+<p>“This painting of the <i>Madonna and Child</i> by Perugino has been
+for many generations in my husband’s family. It comes from the family
+of the Marquises de Villafranca who lived in Italy in the Sixteenth
+Century and of which several members were Viceroys of Naples (Alvarez
+de Toledo). The Marquis of Romana, having acquired the Palace of the
+Prince d’Anglona in Madrid, assembled all the pictures and works of art
+inherited from his ancestors which were in the Palaces of Valencia,
+Palma de Mallorque, and in Italy, thus forming a fine and important
+Collection in which were paintings by Goya, Cameron, Ribera, Velasquez,
+and many paintings of the Italian, Flemish, and French Schools. On the
+death of the Marquis de la Romana, his son, the Marquis de Villamajor,
+received a part of this Collection (which was divided between him and
+his brothers), and this Perugino comes from the Marquis de Villamajor’s
+heritage.”</p>
+
+  <div class="figcenter" id="i_081" style="max-width: 385px">
+     <img
+    class="p1"   
+    src="images/i_081.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Perugino</i></p>
+ </div>
+
+<p>Perugino was born at Città della Pieve, near Perugia, about 1446, and
+died (probably of the Plague), at Castello di Fontignano, also near
+Perugia, in 1523. His real name was Pietro Vannucci and he was also<span class="pagenum" id="Page_82">[82]</span>
+called Pier della Pieve; but he is known always and everywhere as
+Perugino from Perugia, where he spent his early life and learned his
+art. It is uncertain under whom he studied before he went to Florence,
+but he certainly assisted Piero della Francesca at Arezzo. At Florence,
+he worked in Verrocchio’s studio, having Leonardo da Vinci and Lorenzo
+di Credi for fellow-students. Then in 1475 he was commissioned to paint
+in the Palazzo Pubblico, Perugia. In 1481–1482 he was working in Rome
+in the Sistine Chapel with Botticelli, Ghirlandaio, Cosimo Rosselli,
+and Signorelli. Of his four frescoes here only one remains, <i>Delivery
+of the Keys to St. Peter</i>; the other three were destroyed to make
+room for Michelangelo’s <i>Last Judgment</i>. Perugino also painted
+in the Vatican and remained about ten years in Rome. Then he returned
+to Florence and had a studio there and also in Perugia. Besides, he
+travelled about a great deal to execute commissions in various cities.
+In 1490, for instance, he was in Rome again painting for Cardinal
+della Rovere an altar-piece now in the Villa Albani; in 1494 he was in
+Venice and Cremona; and in 1496 in Pavia, working for “Il Moro,” Duke
+of Milan. The three principal pictures of the beautiful altar-piece
+that Perugino painted for the Certosa, or Carthusian Convent near
+Pavia—<i>The Virgin adoring the Infant Christ</i>; <i>Tobias and the
+Angel Raphael</i>; and the <i>Archangel Michael</i>—are now in the
+National Gallery, London.</p>
+
+<p>In 1495 Perugino was again working in Perugia; and it was then that
+Raphael, a boy of about twelve, became his pupil. At this time Perugino
+was the most celebrated of all the Umbrian painters. His best work
+was accomplished between 1490 and 1505. To this period belongs <i>The
+Marriage of the Virgin</i>, now in the Museum of Caen, Normandy, a
+picture that Raphael very closely followed, but eclipsed in beauty, in
+his <i>Sposalizio</i>, now in the Brera, Milan.</p>
+
+<p>About 1590 Perugino painted his famous frescoes in the Sala di Cambio,
+Perugia, in which he introduced his own portrait; and in 1505 he
+painted The <i>Triumph of Chastity</i> for the Marchese Isabella of
+Mantua, which is now in the Louvre.</p>
+
+<p>After another visit to Rome he worked principally in churches in the
+neighborhood of Perugia, the last of which is supposed to be <i>The<span class="pagenum" id="Page_83">[83]</span>
+Nativity</i>, painted for the Church of Fontignano (where he died), and
+which is now in the South Kensington Museum.</p>
+
+<p>Perugino was one of the earliest of the Italians who mastered the use
+of oil, then a new medium. In his constant moving around and visiting
+so many important cities, Perugino had every opportunity of seeing what
+the other artists of his day were doing. However, although he worked
+with the latest materials, Perugino remained faithful to the style
+of art known as the Quattrocento, which before his death was being
+rapidly superseded by the Cinquecento, of which Leonardo da Vinci and
+Michelangelo were the chief exponents. Like Piero della Francesca he
+also advanced the science of perspective. For a time Perugino adopted
+the Florentine style, especially with regard to composition; but
+eventually he developed his own manner of grace, softness, delicacy,
+tenderness of color, great expression in faces and figures, and his
+unusually charming landscapes.</p>
+
+<p>Berenson speaks particularly of Perugino’s “space composition:”<a id="FNanchor_12" href="#Footnote_12" class="fnanchor">[12]</a>
+and in this art “Perugino surpassed all who ever came before him, and
+indeed all who came after him, excepting, however, his own pupil,
+Raphael, by whom even he was left far behind. Perugino had a feeling
+for beauty in women, charm in young men, and dignity in the old, seldom
+surpassed before or since. Then there is a well-ordered seemliness, a
+sanctuary aloofness in all his people which makes them things apart,
+untouched, and pure. Great reserve also does much for him. Violent
+action he doubtless avoided because he felt himself unequal to the
+task—indeed, so little did he ever master movement that his figures
+when walking dance on tiptoe and on their feet they never stand; but
+he as carefully kept away from unseemly expression of emotion.<span class="pagenum" id="Page_84">[84]</span> How
+refreshingly quiet are his <i>Crucifixions</i> and <i>Entombments</i>!
+The still air is soundless and the people wail no more; a sigh
+inaudible, a look of yearning, and that is all. How soothing must such
+paintings have been after the din and turmoil and slaughter of Perugia,
+the bloodiest town in Italy! Can it be wondered that men, women, and
+children ran to see them? Nor yet is life so free from sordid cares
+and meaningless broils that we can forego such balm for the soul as
+Perugino brings.”</p>
+
+
+<h4>THE NICCOLINI MADONNA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Raphael</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1483–1520).</i></td>
+    <td class="cht3"><i>Sir Joseph Duveen, Bart.</i></td>
+  </tr>
+</table>
+
+<p>This picture came directly from the Niccolini Palace where it was
+purchased in 1780 by George Nassau, third Earl Cowper, who was at that
+time His Majesty’s Ambassador to the Court of Tuscany; and it was so
+prized that in order to get the picture out of Florence without any
+disturbance it had to be hidden in the lining of the Ambassador’s
+carriage. Another name for the picture is <i>The Cowper Madonna of
+1508</i>. The picture now comes from the Collection of Lady Desborough,
+of Panshanger, Hertfordshire, who inherited it from her brother,
+Francis Thomas, seventh Earl Cowper.</p>
+
+<p>The painting, an oil on panel (30½ × 22 inches), represents the Madonna
+seated in the open air in a dark, rose-red robe with long close-fitting
+undersleeves of yellow-green, ultramarine-blue mantle, and diaphanous
+veil. Around the neck of the dress and the hem of the mantle what
+appears to be a decorative band of golden embroidery is really the
+signature of the painter “M(D or CCCC)VIII. R. U. Pin,” meaning 1508
+Raphael of Urbino Pinxit. And, by the way, is it not possible that
+Sir Joshua Reynolds got the idea from this picture of painting his
+name on the robe of <i>Mrs. Siddons as the Tragic Muse</i>? It will be
+remembered that Mrs. Siddons sat for that magnificent portrait in
+1784. The <i>Niccolini Madonna</i> was bought by Earl Cowper in 1780
+and, undoubtedly, Sir Joshua was very familiar with it. Moreover, at
+this date, Raphael’s masterpiece was also very fresh in the mind of the
+English picture-world.</p>
+
+<p><span class="pagenum" id="Page_85">[85]</span></p>
+
+  <div class="figcenter" id="i_085" style="max-width: 391px">
+     <img
+    class="p1"   
+    src="images/i_085.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Sir Joseph Duveen, Bart.</i></p>
+     <p class="p0 sm center">THE NICCOLINI MADONNA</p>
+     <p class="p0 sm right">—<i>Raphael</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_86">[86]</span></p>
+
+<p>The Holy Child is seated on a white cushion in the Virgin’s lap
+gently supported by her hand, which also lightly holds an end of her
+floating veil. The suggestion of a light breeze rippling the veil is an
+exquisite thought. The <i>nimbi</i> of both Mother and Child are very
+delicate. The background consists of a blue sky.</p>
+
+<p>It is very interesting to compare this picture with the other <i>Cowper
+Madonna</i> and on doing so we find that the same model was used for
+the Child, although the women are different. The hand of the <i>Small
+Cowper Madonna</i> is noticeably more refined than the hand in the
+<i>Niccolini Madonna</i>, yet, on the whole, the model used for the
+<i>Niccolini Madonna</i> seems to be of a slightly higher social
+status. In the latter, we find the plucked eyebrows and forehead which
+Raphael’s taste has softened by the hair, lightly blown about, like the
+veil, by the breeze.</p>
+
+<p>The <i>Niccolini Madonna</i> was one of the last pictures painted by
+Raphael in Florence, as he went to Rome in 1508, the date given on this
+painting. It may be noted here that the <i>Madonna del Granduca</i>
+(which belonged to the Grand Duke Ferdinand III, who carried it with
+him wherever he went), was the first picture Raphael painted in
+Florence.</p>
+
+<p>The <i>Madonna del Cardellino</i> (of the Goldfinch), in the Uffizi,
+and <i>La Belle Jardinière</i> (in the Louvre), also date from the
+Florentine period—painted when Raphael was about twenty-five,—which
+seems almost incredible.</p>
+
+
+<h4>THE SMALL COWPER MADONNA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Raphael</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1483–1520).</i></td>
+    <td class="cht3"><i>Mr. Joseph E. Widener.</i></td>
+  </tr>
+</table>
+
+<p>This Madonna was painted in 1505, soon after the <i>Granduca
+Madonna</i> (now in the Pitti). It was purchased in Florence about
+1780 by Lord Cowper and was one of the ornaments of his Collection at
+Panshanger.</p>
+
+  <div class="figcenter" id="i_087" style="max-width: 403px">
+     <img
+    class="p1"   
+    src="images/i_087.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Joseph E. Widener</i></p>
+     <p class="p0 sm center">THE SMALL COWPER MADONNA</p>
+     <p class="p0 sm right">—<i>Raphael</i></p>
+ </div>
+
+<p>The Madonna is seated on a stone bench and wears a red dress and a
+mantle of blue lined with green. The Holy Child throws His arms<span class="pagenum" id="Page_88">[88]</span>
+lovingly around His mother’s neck and steadies Himself by planting His
+left foot against her right hand. The hair of both mother and Child
+are blonde and encircled by a thin golden <i>nimbus</i>. The eyes are,
+in both subjects, of a warm and deep brown. A lovely Umbrian landscape
+carries us many miles away to the left; and nearer the figures on
+the right, there appears a building, identified as San Bernardino, a
+Franciscan Convent near Urbino.</p>
+
+<p>The picture is painted on wood (23 × 17 inches). The original drawing
+is in the Uffizi Gallery in Florence.</p>
+
+<p>“And now we are face to face with the most famous and beloved name
+in modern art—Raphael Sanzio. Raphael was endowed with a visual
+imagination, which has never even been rivalled for range, sweep,
+and sanity. When it has been surpassed, it has been at single points
+and by artists of more concentrated genius. Thus gifted and coming
+at a time when form had, for its own sake, been recovered by the
+Naturalists and the essential artists, when the visual imagery, of at
+least the Italian world, had already suffered along certain lines, the
+transformation from the Mediæval into what ever since has been for all
+of us the <i>modern</i>, when the ideals of the Renaissance were for an
+ineffable instant standing complete, Raphael, filtering and rendering
+lucid and pure all that had passed through him to make him what he
+was, set himself the task of dowering the modern world with the images
+that to this day, despite the turbulent rebellion and morose secession
+of recent years, embody for the great number of cultivated men their
+spiritual ideals and their spiritual aspirations. ‘<i>Belle comme une
+madonne de Raphael</i>’ is, among the most artistic people in Europe,
+still the highest praise that can be given to female beauty. And, in
+sooth, where shall one find greater purity, more utter loveliness than
+in the <i>Granduca Madonna</i>, or a sublimer apparition of woman than
+appeared to St. Sixtus?</p>
+
+<p>“When looking at the <i>Granduca Madonna</i>, has it ever occurred to
+you to note that the whole of her figure was not there? So perfect is
+the arrangement that the attention is entirely absorbed by the grouping
+of the heads, the balance of the Virgin’s draped arm and the Child’s
+body. You are not allowed to ask yourself how the figure ends. And<span class="pagenum" id="Page_89">[89]</span>
+observe how it holds its own, easily poised, in the panel which is just
+large enough to contain it without crowding, without suggesting room
+for aught besides.</p>
+
+<p>“But great as is the pleasure in a single group perfectly filling a
+mere panel, it is far greater when a group dominates a landscape.
+Raphael tried several times to obtain this effect—as in the <i>Madonna
+del Cardellino</i>, or the <i>Madonna del Prato</i>, but he attained
+to supreme success once only—in the <i>Belle Jardinière</i>. Here
+you have the full negation of the <i>plein-air</i> treatment of the
+figure. The Madonna is under a domed sky, and she fills it completely,
+as subtly as in the <i>Granduca</i> panel, but here it is the whole
+out-of-doors, the universe, and a human being <i>supereminent</i> over
+it. What a scale is suggested! Surely the spiritual relation between
+man and his environment is here given in the only way man—unless he
+becomes barbarized by decay or non-humanized by science—will ever feel
+it. And not what man knows but what man feels, concerns art. All else
+is science.”</p>
+
+<p>Raphael Santi—everybody’s Raphael,—best beloved of all painters, was
+born in Urbino in 1483, the day unknown. He was the son of Giovanni
+Santi, a painter, and was first taught by him. Then it is supposed that
+he studied under Evangelista di Pian di Meleto, with whom he painted
+an altar-piece and worked afterwards with Evangelista’s partner,
+Timoteo Viti. Next we find him assisting Perugino at Perugia and also
+Pintoricchio. In 1504 he went to Florence and fell under the influence
+of Leonardo da Vinci and Fra Bartolommeo. During his four years in
+Florence, Raphael painted a number of important works including
+the <i>Terranuova Madonna</i> (Berlin Museum); the <i>Small Cowper
+Madonna</i> and the <i>Niccolini Madonna</i> (on page <a href="#i_087">87</a> and page <a href="#Page_85">85</a>);
+the <i>Madonna del Cardellino</i> (Uffizi); the <i>Madonna in the
+Meadow</i> (Belvedere, Vienna); <i>La Belle Jardinière</i> (Louvre);
+and a number of portraits including the famous self-portrait (Uffizi).
+He was but twenty-five! Called to Rome in 1508 to decorate the Stanze
+in the Vatican this immense work occupied him until 1514. In the
+meantime, he was given the decoration of the Loggia, but while he made
+the designs, the actual painting of “Raphael’s Bible” was done by his
+pupils. In the pressure of all this stupendous work he found<span class="pagenum" id="Page_90">[90]</span> time to
+paint <i>The Triumph of Galatea</i> for Agostino Chigi in the Farnesina
+Palace, <i>The Madonna della Seggiola</i> (Pitti), the <i>Portrait
+of Tommaso Inghirami</i> and many portraits. In 1516 he painted
+<i>Baldassare Castiglione</i> (Louvre); in 1517 the <i>Madonna di San
+Sisto</i>, for the convent of San Sisto at Piacenza (Dresden Gallery)
+and the <i>St. Cecilia</i> (Bologna Gallery). In 1518 he began <i>The
+Transfiguration</i>, which was unfinished at the time of his death and
+which was placed beside his bier.</p>
+
+<p>All this magnificent work which expresses such high creative power
+and such vast technical knowledge is the performance of a young man
+of twenty-seven! Had he painted but three pictures, <i>La Belle
+Jardinière</i>, the <i>Madonna of the Chair</i>, and the <i>Sistine
+Madonna</i>, Raphael’s place would have been with the greatest of the
+immortals. Taking his entire list of works into consideration Raphael,
+perhaps, comes nearer than any other painter to the term “inspired.”</p>
+
+
+<h4>AGONY IN THE GARDEN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Raphael</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1483–1520).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>This panel (9½ × 11 inches), was one of four belonging to the Predella
+of the large altar-piece representing the <i>Madonna Enthroned with
+Saints</i>, painted by Raphael in 1505 for the Nuns of S. Antonio,
+Perugia. It is, therefore, one of Raphael’s early works.</p>
+
+  <div class="figcenter" id="i_091" style="max-width: 660px">
+     <img
+    class="p1"   
+    src="images/i_091.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">AGONY IN THE GARDEN</p>
+     <p class="p0 sm right">—<i>Raphael</i></p>
+ </div>
+
+<p>The Saviour in a grey robe kneels in prayer at the right near a tree
+and towards him an Angel holding a chalice descends from the clouds.
+The other characters are sleeping: St. John the Evangelist in a green
+and red robe lies upon a grassy bank at the left; St. Peter reclines
+against a grassy mound at the right; and St. James, in a green and
+yellow robe, has propped himself against the tree in the centre. Trees
+and low-lying hills form the background. All four panels forming
+the Predella were purchased from the Nuns of St. Anthony in 1663 by
+Christina, Queen of Sweden. This particular panel—<i>The Agony in the
+Garden</i>—passed from the Queen of Sweden’s possession into that
+of Cardinal Azzolini, and thence into the Collection of Don Livio<span class="pagenum" id="Page_92">[92]</span>
+Odescalchi, whose heirs sold it to the Regent, the Duc d’Orleans. The
+Orleans Collection was sold in London in 1798 and <i>The Agony in the
+Garden</i> then went into the Bryant Collection. Lord Eldin bought it
+next and subsequently the poet, Samuel Rogers, at whose sale in 1856
+the panel was purchased by the Baroness Burdett-Coutts. After the
+sale of the W. Burdett-Coutts Collection at Christie’s in 1917, the
+panel found its way to New York. The other three panels are: <i>St.
+Anthony of Padua and St. Francis</i> (now in the Dulwich Gallery); the
+<i>Procession to Calvary</i> (in the National Gallery, London); and a
+<i>Pietà</i> (in the Gardner Collection, Boston).</p>
+
+<p>The altar-piece—<i>The Madonna Enthroned with Saints</i>—was
+presented to the Metropolitan Museum by the late Mr. J. Pierpont
+Morgan.</p>
+
+<p><span class="pagenum" id="Page_93">[93]</span></p>
+
+
+<h3><i>NORTH ITALIAN</i></h3>
+
+<p class="drop-cap p-left">The greatest painters of Northern Italy were Altichiero Altichieri
+(1330?–1395), Pisanello (1397–1455), Domenico Morone (1442–1503),
+Liberale (1451–1536), Girolamo dai Libri (1474–1503), and Paolo
+Veronese (1528–1588), in Verona; Andrea Mantegna (1431–1506), in
+Padua; and Cosimo Tura (1420?–1495), in Ferrara; Vincenzo Foppa
+(1427?–1515–16), Bramante da Milano (died about 1470), Bartolommeo
+Suardi, called Bramantino (1450?–1536), and Bernardino Luini
+(1475?–1531–2), in Milan; Lorenzo Costa (1460?–1535), and Francesco
+Francia (1450?–1517), in Bologna; Moretto da Brescia (1498–1554), and
+Giambattista Moroni (1520–5–1578), in Brescia; and Antonio Allegri,
+better known as Correggio (1494–1534), in Parma.</p>
+
+<p>The towns of Northern Italy were more or less influenced by Florentine
+artists who worked in various towns and who naturally attracted pupils
+and local assistants. Painters travelled too, a great deal, wishing, as
+they do now, to see the famous works of painters both living and dead
+and of learning the newest and latest technique. Lords and dukes also
+attracted celebrated painters to their courts; and, if they liked them,
+bestowed lavish orders for portraits, for their relatives and friends;
+small devotional pictures for their own cabinets; wall-paintings for
+their villas; and altar-pieces and frescoes for their local churches or
+cathedrals.</p>
+
+<p>Lodovico Sforza, Duke of Milan, sent to Lorenzo de’ Medici on two or
+three occasions to recommend painters from Florence for work that he
+wished to have done. The great intellectual and artistic activity of
+Lombardy at the end of the Fifteenth Century was largely owing to
+Lodovico Sforza, whose Court was one of the most brilliant of the
+day. “Here,” an enthusiastic contemporary exclaimed, “here the muses
+of poetry and the masters of sculpture reigned supreme; here came the
+most distinguished painters from distant regions; here, night<span class="pagenum" id="Page_94">[94]</span> and day,
+were heard sounds of such sweet singing and such delicious harmonies of
+music that they seemed to descend from heaven itself.”</p>
+
+<p>New churches and palaces arose in Milan, Pavia, Como, Cremona,
+Piacenza, Lugano, and other places, and artists were necessary for
+decorating them. In 1496, Leonardo having all he could do, Lodovico
+wrote to Florence for a description of the best painters of the day.
+This is what he received; and it is very interesting as showing the
+estimation of the men mentioned while they were living:</p>
+
+<p>“Sandro de Botticello—a most excellent master, both in panel and
+wall-painting. His figures have a manly air and are admirable in
+conception and proportion.</p>
+
+<p>“Filippino di Frati Filippo—an excellent disciple of the above-named
+and a son of the rarest master of our times. His heads have a gentler
+and more suave air; but, we are inclined to think, less art.</p>
+
+<p>“Il Perugino—a rare and singular artist, most excellent in
+wall-painting. His faces have an air of the most angelic sweetness.</p>
+
+<p>“Domenico de Girlandaio—a good master in panels and a better one in
+wall-painting. His figures are good and he is an industrious and active
+master who produces much work.</p>
+
+<p>“All of these masters have given proof of their excellence in the
+Chapel of Pope Sixtus, excepting Filippino, and also in the Spedaletto
+of the Magnificent Laurentio, and their merit is almost equal.<a id="FNanchor_13" href="#Footnote_13" class="fnanchor">[13]</a></p>
+
+<p>The glimpse Leonardo da Vinci has given us of his life charms us across
+the long shadow of four centuries and more:</p>
+
+<p>“The painter describes himself as living in a fine house, full of
+beautiful paintings and choice objects surrounded by musicians and
+poets. Here he sits at his work, handling a brush full of lovely
+color, never so happy as when he can paint listening to the sound of
+sweet melodies. The spacious <i>atélier</i> is full of scholars and
+apprentices employed in carrying out their master’s ideas, or making
+chemical experiments, but careless of the noise of tools and hammers,
+the fair-haired boy, Angelo, sings his golden song, and, Serafino, the
+wondrous <i>improvisatore</i>, chants his own verses to the sound of
+the lyre. Visitors come and go freely—Messer Jacopo of Ferrara, the
+architect, who was so dear<span class="pagenum" id="Page_95">[95]</span> to Leonardo as a brother, the courtly poet,
+Gaspare Visconti, and Vincenzo Calmeta, Duchess Beatrice’s secretary,
+or, it may be, the great Messer Galeaz himself, whose big jennet and
+Sicilian horse the master has been drawing as models for the great
+equestrian statue standing outside in the Corte Vecchia. There, among
+them all, the painter bends over his canvas seeking to perfect the
+glazes and scrumbles of his pearly tints, or trying to realize some
+dream of a face that haunts his fancy with its exquisite smile. He
+has, it is true, many labors—(<i>a tanta faccenda!</i>) as he wrote
+to the councillors of Piacenza—and at times he hardly knows which way
+to turn; but he is his own master, free to work as he will, now at
+one, now at another. He has no cares nor anxiety. He can dress as he
+pleases, wear rich apparel if he is so minded, or don the plain clothes
+and sober hues that he prefers. He has gold enough and to spare; he can
+help a poorer friend and educate a needy apprentice, or save his money
+for a rainy day; and, above all, he has plenty of books and leisure
+to meditate on philosophical treatises, or ponder over the scientific
+problems in which his soul delights. He can find time to jot down his
+thoughts on many things, to write his great treatise on painting, and
+to draw the wonderful interlaced patterns inscribed with the strange
+words which have puzzled so many generations of commentators. And he
+has friends, too, dear to his heart—Messer Jacopo and the wise Lorenzo
+da Pavia, that master of organs whose hands were as deft in fashioning
+lyres and viols as in drawing out sweet sounds—with whom he loved to
+commune of musical instruments and eternal harmonies, and the boy,
+Andrea Salai, with the beautiful, curling hair, whom he loved to dress
+up in green velvet mantles and shoes with rose-colored ribbons and
+silver buckles. ‘Such,’ he tells us ‘was I, Leonardo the Florentine, at
+the Court of the most illustrious Prince, Signor Lodovic.’”<a id="FNanchor_14" href="#Footnote_14" class="fnanchor">[14]</a></p>
+
+<p>In such surroundings Leonardo da Vinci spent sixteen happy years,
+during which he exercised all his talents as architect, engineer,
+sculptor, musician, and painter, also designing ingenious settings for
+masques and tournaments and superintending decorations for weddings and
+for other festivities. Here, too, he painted the <i>Last Supper</i>
+in the refectory<span class="pagenum" id="Page_96">[96]</span> of the Dominican Friars of S. Maria delle Grazie,
+which “Il Moro” had taken under his special protection; the <i>Virgin
+of the Rocks</i> (now in the Louvre), originally for the Church of S.
+Francesco of Milan, and many portraits, including those of Ludovico
+Sforza and of his talented young wife, Beatrice d’Este. When the French
+entered Milan in 1499 Leonardo returned to Italy.</p>
+
+<p>The presence of the supreme and superlative Leonardo in Milan for so
+long a time naturally stimulated art and artists of all kinds and even
+more particularly that of painting and painters. His style dominated
+the Milanese School of painters just as Richard Wagner dominated the
+musical composers of the Nineteenth Century; and we find, particularly
+in the case of Luini, some of the Master’s most engaging qualities
+appreciated and imitated (see page <a href="#Page_110">110</a>).</p>
+
+<p>“It has often been asked,” Marcel Reymond notes in a finely thought-out
+criticism of the Milanese painters, “how it came to pass that Leonardo
+left no disciples in Florence when he created such a strong School
+in Milan. The first cause, in my opinion, should be sought for in
+the laws that presided over the formation and development of the
+Florentine School of painting. This School, created by fresco-painters
+accustomed to works of vast dimensions, did not care to tarry over the
+<i>finesse</i> of execution, or the enumeration of minute details;
+it simplified its vision, attaching itself particularly to the broad
+lines and only retaining of the forms what was essentially expressive
+in them. This character will be noticed at all periods of Florentine
+painting from Giotto, Masaccio, Ghirlandaio, and Andrea del Sarto. When
+the Florentine painters depart from this general conception, it is
+only by accident and almost always in consequence of foreign action,
+an action that will be sometimes that of Flemish painters, such as
+Van der Weyden, or Van der Goes, and sometimes that of the Florentine
+sculptors, who, at a given moment, about the middle of the Fifteenth
+Century, exercised so powerful an influence upon the painters who were
+their contemporaries. The action of Verrocchio in particular was such
+as to transform the style of the Florentine School of Painting and to
+give birth to the so entirely individual, and in certain respects so
+little Florentine, of Leonardo da Vinci.</p>
+
+<p><span class="pagenum" id="Page_97">[97]</span></p>
+
+<p>“But the fact that this new style was outside the traditions of the
+Florentine School of Painting must have hindered its development, and
+in reality Leonardo had no disciple in Florence. With Fra Bartolommeo
+and Andrea del Sarto, it is the old character of the School that
+reappears to follow out its natural evolution through the whole course
+of the Sixteenth Century.</p>
+
+<p>“In the North of Italy, on the contrary, the precision of line and
+observation of detail form a predominant character of those Schools of
+which Mantegna is the most illustrious representative. These Schools,
+therefore, found in Leonardo a teaching that responded to their ancient
+traditions; and we may thus understand how the seed planted by Leonardo
+in the soil of Milan struck such deep root and produced such beautiful
+flowers there.</p>
+
+<p>“But however this may be and whatever may have been the causes of
+this admirable blossoming of Milanese Art in the early years of the
+Sixteenth Century, we may say that it represents in a highly learned
+form one of the researches that have the most occupied Italian
+genius,—I mean the seeking after beauty pursued in the harmonious
+accord between form and poetry.”</p>
+
+<p>Francesco Squarcione (1394–1474), was a native of Padua, the son of a
+notary. Beginning life as a tailor and embroiderer, he chose to become
+a painter, but first he decided to travel. He made a tour through
+Italy and, it is said, visited Greece. It is in 1441 that his name
+first appears in the Paduan Guild of Painters. Squarcione achieved
+more reputation as a teacher than as a painter; and it seems that in
+executing what commissions came to him he either gave over his orders
+to his talented pupils, or had them, indeed, do most of the work under
+his name. It is now thought that it was Mantegna’s refusal to continue
+painting for Squarcione that led to the rupture between master and
+pupil and not Squarcione’s anger at Mantegna’s marrying Nicolosia
+Bellini, which has long been a favorite legend. Squarcione’s school,
+however, was the most famous of its time and brought him the title of
+“Father of Painters.” The list of his pupils runs to about a hundred
+and thirty-seven. One of the features of Squarcione’s workshop was his
+fine collection of fragments of statues<span class="pagenum" id="Page_98">[98]</span> which he used as models. It is
+also said on good authority that Squarcione was a dealer in antiquities.</p>
+
+<p>In Padua also lived Jacopo Bellini, with whom Mantegna worked and
+whose daughter Nicolosia he married, a relation that made him, of
+course, brother-in-law to Giovanni and Gentile Bellini. For a number of
+years—presumably from 1444 to 1460—Jacopo Bellini had a workshop in
+Mantua and, here, himself a pupil of Gentile da Fabriano, he trained
+and worked with his two gifted sons and also Andrea Mantegna. This
+<i>bottega</i> became quite a rival of Squarcione’s. Indeed such a
+combination as the three Bellini artists and Andrea Mantegna would
+certainly offer a formidable competition to any rival, at any time, or
+in any place.</p>
+
+<p>The founder of the Ferrarese School was Cosimo Tura (1420?–1495), also
+a pupil of Squarcione, the first Ferrarese painter of eminence; and,
+from 1451, in permanent service of the Dukes at Ferrara. Tura had
+certain affinities for Carlo Crivelli, Melozzo da Forli, and Andrea
+Mantegna.</p>
+
+<p>At Bologna, in 1485, Lorenzo Costa (1460?–1535), a supposed pupil of
+Tura, established himself, thus forming one of the main links between
+the Schools of Ferrara and Bologna; and it was another pupil—also a
+fellow-worker of Costa, Francesco Francia (1450?–1517), who is the
+chief glory of the Bolognese School (see page <a href="#Page_107">107</a>).</p>
+
+<p>In Verona, first comes the Mediæval painter, Altichiero Altichieri
+and next the greater Antonio (or Vittore) Pisano (1397–1455), called
+Pisanello, worker in medals, painter of portraits, and mural decorator
+(see page <a href="#Page_99">99</a>).</p>
+
+<p>The School of Brescia is represented by Alessandro Bonvicino, called
+Moretto da Brescia (1498–1554), influenced by Titian and Raphael and
+considered the greatest provincial painter in Northern Italy of his
+time. Moretto is also famous for having formed Moroni, the great
+portrait-painter (1520–5–1578). Moretto and Moroni are regarded as
+ranking among the greatest portrait-painters of the Sixteenth Century.
+In mode and technique they closely follow the greatest Venetian
+Masters; but the Brecians have a more silvery and a much “cooler” tone
+than Titian and Tintoretto (see page <a href="#Page_112">112</a>).</p>
+
+<p><span class="pagenum" id="Page_99">[99]</span></p>
+
+<p>We have now come to the High Renaissance, where Antonio Allegri,
+called Il Correggio, from his birthplace, a small town near Modena
+(1494–1534), is the dominating personality of the School of Parma.
+Francesco Bianchi (1457–1510), of Ferrara, is his traditional master;
+but he was influenced by Lorenzo Costa, Francesco Francia, and Andrea
+Mantegna. Correggio has been called “an isolated phenomenon in Italian
+art—we look in vain, after his earliest years of practice for any true
+affinity between him and other masters. In his treatment of light and
+shades and of atmosphere he contributed something new to Italian art.”</p>
+
+<p>As the Sixteenth Century progressed the North Italians fell more and
+more under the spell of the Venetians. Dosso Dossi (1479–1541), for
+instance, a painter of Ferrara and a pupil of Lorenzo Costa, went
+to Venice and was charmed by Giorgione and Titian before he became
+court-painter of Alphonso I, Duke of Ferrara, and his wife, Lucrezia
+Borgia.</p>
+
+<p>Northern Italy also claims Paolo Caliari, better known as Paolo
+Veronese (1528–1588), a native of Verona, whence his name; but classed
+with the Venetian School, as he spent the greater part of his life in
+Venice, gorgeously decorating its palaces, churches, and monasteries.</p>
+
+
+<h4>PORTRAIT OF A LADY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Pisanello</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1397–1455).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>This is a particularly rare picture as it is one of only three
+portraits of this painter so far known, the other two being a female
+portrait in the Louvre and a male portrait in Bergamo. Berenson says of
+this portrait: “It is in the most mature and the most sumptuous manner
+of this greatest master of the fascinating epoch between Gothic and
+Renaissance. It has all the direct simplicity of that happy moment when
+art had recovered from the mannerisms of the late Gothic style and was
+still far from the modishness of the ripe Renaissance. How fascinating
+are its qualities of pure decoration!”</p>
+
+<p><span class="pagenum" id="Page_100">[100]</span></p>
+
+<p>The lady is dressed in dark-blue velvet with a curious collar of
+white lawn and grey fur with another collar at its base of spangled
+embroidery and around the waist a narrow girdle to match. The dress is
+profusely decorated with gold filigree beads.</p>
+
+<p>Gold pins are placed in her blonde hair, over which is a head-dress
+of curiously puffed and twisted material decorated by blue and gold
+sequins.</p>
+
+<p>The background is black.</p>
+
+<p>This portrait, painted in tempera on a panel (20¾ × 14¾), was
+purchased by M. Veil-Picard of Paris at the Villeroy Sale in Paris
+in 1922. Adolfo Venturi writes in <i>L’Arte</i> (April, 1925): “The
+Mackay portrait cut off below the waist, rises in the canvas with
+Gothic grace. Picturesqueness is the keynote. The relief, even in
+its slightest parts, has an ideal softness of planes. But in this
+picture Pisanello’s genius has attained its maximum of expression.
+Everything shows an advance on the Louvre picture—the eye sunk deep
+in its socket; the eyebrow like the valve of a shell molded over the
+round, while in the Louvre picture it is a mere silken strip; the ear,
+no longer a mere piece of cartilage, is downy velvet; above all, the
+superb decorative effect of the oval face between the strange volutes
+of the turban and the chains of perforated gold beads.</p>
+
+<p>“In the other portraits the decorative effect is helped by the
+fantastic blossoms standing out against the dark background of the
+hedge, making a greater contrast with the background than with the
+face. In the Mackay portrait the background is equally dark throughout.
+The interest of the face itself is accentuated by the myriad gold
+lights in the gilded trefoils on the dress and in the golden beads of
+the chains (light as balls of silk) and in the nebulous phosphorescence
+of the little balls which adorn the neck of the dress and the dark
+enamel of the ivy on the turban of Oriental splendor. The effect,
+carefully prepared to isolate the face from the surrounding shadow,
+acquires an intensity of refinement. The contrast between the dark
+background and the phosphorescent dress is repeated in that between the
+dark blue material of the dress and in the high lights of this; the
+icy brilliance of the collar cuts into the softness of the fur with
+unexpected<span class="pagenum" id="Page_102">[102]</span> suddenness; and the ivory of the flesh contrasts sharply
+with the delicate softness of tone.</p>
+
+  <div class="figcenter" id="i_101" style="max-width: 369px">
+     <img
+    class="p1"   
+    src="images/i_101.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">PORTRAIT OF A LADY</p>
+     <p class="p0 sm right">—<i>Pisanello</i></p>
+ </div>
+
+<p>“The highest pictorial and decorative value in the art of Pisanello
+as a colorist is reached in this Mackay portrait, which represents,
+moreover, one of the most acute character-readings of the penetrating
+eye of the medallist. The proud carriage accentuated by the rigid cut
+of the high velvet collar; the clear-cut outlines of the profile; the
+ram’s horn head-dress; the splendid cap; the well-defined lips, from
+which one expects to hear the sibilant breath issue; above all, the
+keen glance directed downwards under the heavy-veiled eyelids render
+this a picture of frigid haughtiness. The fine lines of the mouth and
+the narrow opening of the eyes are executed with an extraordinary
+penetrating observation and the contour of the face is drawn with a
+delicacy that does all honor to this great master of the silhouette.</p>
+
+<p>“The lines of the face are in complete harmony with the contours
+of the whole figure. The curves repeat themselves in the fantastic
+coiffure, in the fur border of the collar, in the lines of the arm
+and in the chains hanging from the shoulders. And, contrarily, these
+general sweeping curves of coiffure and costume lead up to the finely
+concentrated line of the profile which stands out sharply against a
+black background, as in Pisanello’s painting of <i>Saint Eustace</i>,
+in London (National Gallery). The artist has understood perfectly the
+value of contrast between the plastic and the decorative elements.
+The flat planes of the delicate ivory-like face are emphasized by the
+sculpturesque coiffure with its gold ornaments; and just where we would
+naturally look for an accentuation of the physical attributes—on the
+bust and arms—the artist has, through the broad curves of the chains
+and the spacing of the patterns of the dress, emphasized the decorative
+design. Finally, the color of this most decorative masterpiece is
+of the greatest charm. There are tiny lines recalling the delicate
+technique of a piece of Satsuma-ware on the surface of the ivory-tinted
+face that rises from a white collar resting on grey fur while a
+delightful blue predominates in the coiffure and the costume, which is
+enhanced with yellow and gold ornaments.</p>
+
+<p>“The dress itself is of no little charm and belongs to a period
+when<span class="pagenum" id="Page_103">[103]</span> costume and figure were attuned to a harmonious whole as has
+seldom happened in the history of costume design. By plucking out the
+hair from her forehead and eyebrows this young woman has created a
+high-domed brow for herself and further emphasized the up-sweeping
+lines by high-arched eyebrows applied with cosmetic. What a burden that
+towering coiffure must have been and how uncomfortable the high collar
+and the girdle drawn tight beneath the breast! Nevertheless she suffers
+these discomforts in the name of fashion with dignity and equanimity.”</p>
+
+<p>Pisanello (whose real name was Antonio Pisano), born about 1397
+(some authorities say 1380 and some 1385), was a renowned painter of
+portraits and religious pictures of highly decorative character as
+well as a famous medallist. Pisanello was a follower of Altichiero and
+was also greatly influenced by Gentile da Fabriano. Of his early life
+little or nothing is known; but the rest of his days he spent wandering
+throughout Italy, now in Mantua, now in Verona, now in Venice, now in
+Rome, now in Naples, and now in Ferrara, cutting medals and painting
+portraits of distinguished personages. In 1439 he was in Mantua as an
+intimate friend of the Marchese Francesco Gonzaga, whom he followed
+at the capture of Verona. Therefore he had to come under the Tribunal
+of the Council of Ten at Venice in 1442. Pisanello’s career coincides
+almost precisely in date with Fra Angelico, Donatello, Ghiberti, and
+Brunelleschi. As a medallist Pisanello was unexcelled. In his paintings
+he shows the spirit of a miniaturist rather than that of a mural
+decorator. He shares with Gentile da Fabriano the charming quality
+of chivalric grace and attention to interesting detail. Pisanello
+must have been especially fond of animals, as his rarely beautiful
+drawings of them preserved in various galleries would seem to prove;
+and, moreover, he was fond of introducing them into his pictures. In
+the <i>Vision of Saint Eustace</i>, for instance (National Gallery,
+London), in addition to the stag bearing the cross upon his horns,
+there are various animals and birds as well as the fine horse with its
+gay trappings, on which the handsome Eustace is mounted.</p>
+
+<p>“Altichiero had scarcely ceased covering wall-spaces with pomp and
+circumstance of Mediæval life,” writes Berenson, “when the task was<span class="pagenum" id="Page_104">[104]</span>
+taken up by his better-known Renaissance follower, Vittorio Pisanello.
+The larger part of this artist’s work, in fact all his decoration
+of great houses and public palaces, has perished. Even now, after
+earnest efforts to gather together the strewn limbs of his art, only
+six paintings of his can be discovered: two frescoes, two sacred
+subjects, and two portraits. His renown as a painter has, therefore,
+been eclipsed by his fame as a medallist. And, in truth, never, since
+the days when Greek craftsmen modelled coins for proud city states, has
+there been such a moulder of subtle reliefs in miniature. Yet Pisanello
+himself never signed his name without the addition of the word
+<i>Pictor</i> and it was as a painter that he received the stipends of
+princes and the adulation of poets.</p>
+
+<p>“Although he was much more modern than his master, there was nothing in
+his paintings to startle princes and poets, or even less distinguished
+persons, whose education in art consisted then, no doubt, as it does
+now, in confirming a fondness for the kind of picture to which their
+eyes had grown accustomed during childhood and youth. Pisanello,
+although counting as one of the great geniuses of the Renaissance,
+by no means broke with the past. He went, it is true, as far beyond
+Altichiero as Altichiero had gone from his immediate precursors, but
+he betrays no essential difference of intention or spirit. In him
+art-evolution produced a painter most happily fitted to hold up an
+idealizing mirror to a parallel product of social evolution, the sunset
+of Chivalry. No wonder that he was employed along with the kindred
+Gentile da Fabriano by the rich and noble and that he was chosen to
+continue the courtly Umbrian’s tasks.”</p>
+
+
+<h4>ADORATION OF THE SHEPHERDS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Andrea Mantegna</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1431–1506).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>It is more than likely this is the picture described in 1586 as
+“<i>Presepe</i>” (manger) in the Este Palace, Ferrara. At all events it
+is an early work.</p>
+
+<p>The Virgin surrounded by cherubs is kneeling in adoration before<span class="pagenum" id="Page_106">[106]</span>
+the Holy Child, who is asleep on the bottom of her gown. Near her
+St. Joseph is seated, fast asleep. On the right two Shepherds are
+approaching and, behind them, a Man and a Woman are crossing a bridge.
+High up on the rocks, on the right, two Angels are watching over the
+scene. Behind the simple wooden building, which shelters the group,
+stretches a landscape.</p>
+
+  <div class="figcenter" id="i_105" style="max-width: 751px">
+     <img
+    class="p1"   
+    src="images/i_105.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">ADORATION OF THE SHEPHERDS</p>
+     <p class="p0 sm right">—<i>Andrea Mantegna</i></p>
+ </div>
+
+<p>The panel transferred to canvas (15 × 21½ inches), was formerly in
+the Collection of Mr. C. A. Rouse-Boughton-Knight of Downton Castle,
+Ludlow, Herefordshire, England.</p>
+
+<p>Andrea Mantegna was born in Vicenza in 1431. He was inscribed in the
+Guild at Padua as pupil and adopted son of Squarcione (see page <a href="#Page_97">97</a>) in
+1441 and made the most extraordinary progress in his studies, perfectly
+fascinated with “the antique”. “At a little more than ten years of
+age,” Berenson writes, “Mantegna was adopted by a contractor named
+Squarcione. How much of a painter Squarcione was, we do not know, but
+we do know that he undertook designing and painting to be executed by
+people in his employ. He was also a dealer in antiquities and his shop
+was frequented by the distinguished people who passed through Padua,
+and by the Humanists teaching in the famous University. It happened
+to be a moment when in Italy Antiquity was a religion, nay, more, a
+mystical passion, causing wise men to brood over fragments of Roman
+statuary as if they were sacred relics, and to yearn for ecstatic union
+with the glorified past. To complete the spell, this glorified past
+happened to be the past of their own country.”</p>
+
+<p>Another influence was Donatello, who was working in Padua in 1750
+and after; and still another was Jacopo Bellini. After his marriage
+to Bellini’s daughter and his break with Squarcione, Mantegna went
+to Venice to have his contract with Squarcione cancelled in the Law
+Courts; and, returning to Padua, he continued his work on important
+frescoes. In 1460 Mantegna removed to the Court of Mantua at the
+invitation of the Marchese Lodovico Gonzaga and in addition to his
+painting he designed for pageants and festivals, and decorated villas
+and palaces, just as Leonardo da Vinci was destined to do a few years
+later for another Lodovico,—“Il Moro,”<span class="pagenum" id="Page_107">[107]</span> Regent and, later, Duke of
+Milan. Mantegna also at this period designed for goldsmiths. When
+Francesco Gonzaga succeeded his father, Mantegna remained at the Court
+of Mantua and became the supreme arbiter of the taste of the day.
+For Francesco’s wife, Isabella d’Este (sister of “Il Moro’s” wife,
+Beatrice d’Este) and for her mother, the Duchess of Ferrara, Mantegna
+painted some of his most famous pictures, such as the <i>Triumph of
+Cæsar</i> (now at Hampton Court Palace) and the <i>Madonna and Child
+with Singing Cherubs</i> (now in the Brera). On leaving for Rome in
+1788 Mantegna was knighted. In Rome he decorated the Belvedere Chapel
+for Pope Innocent VIII. To his last period belong delicate and lovely
+mythological pieces, including the <i>Parnassus</i> (now in the Louvre)
+and the strong and decorative painting of <i>Judith with the Head of
+Holofernes</i> (now in the Widener Collection).</p>
+
+<p>When Mantegna died in 1506, Lorenzo da Pavia (see page <a href="#Page_95">95</a>) wrote to
+Isabella d’Este: “The death of our Master Andrea causes me great
+sorrow, for in him a second Apelles has passed away; I do believe that
+the Lord God wishes to employ him for the creation of some beautiful
+work. I can never hope to meet a finer draughtsman nor a more original
+artist.”</p>
+
+<p>Padua, Mantua, Venice,—all felt Mantegna’s influence.</p>
+
+
+<h4>VIRGIN AND CHILD WITH THE INFANT ST. JOHN AND ANGEL.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Francia</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1450?–1517).</i></td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>This picture came from the Collection of the Comtesse Edmond de
+Pourtales of Paris and shows the Virgin seated and holding the nude
+Infant Jesus on her right knee. She is wearing a crimson dress
+edged with gold embroidery and a blue mantle, also edged with gold
+embroidery, which is drawn over her head. Beneath this a white gauze
+veil covers her hair. The Holy Child has raised His right hand in
+benediction while in His left he holds a blue ball. The Angel on the
+right wears a rose-colored tunic and yellow mantle and is adorned<span class="pagenum" id="Page_108">[108]</span> with
+jewels. By his side and with one foot on a balustrade stands the Infant
+St. John, dressed in blue and carrying a slender cross over his left
+shoulder.</p>
+
+  <div class="figcenter" id="i_109" style="max-width: 429px">
+     <img
+    class="p1"   
+    src="images/i_109.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">VIRGIN AND CHILD WITH THE INFANT ST. JOHN AND ANGEL</p>
+     <p class="p0 sm right">—<i>Francia</i></p>
+ </div>
+
+<p>Of this panel (23½ × 19¾ inches), painted in oil, Berenson says:
+“If this most famous of the Bolognese artists ever painted a more
+delightful picture than the present one, it remains unknown to me.
+Perhaps its only rival in my affections would be the Munich picture
+of the <i>Virgin in the Rose Garden</i> where, however, it is not the
+faces but the pale roses against the flat green that give the work its
+special charm.”</p>
+
+<p>Francesco Raibolini, who took the name Francia from a master-goldsmith
+to whom he was apprenticed, was born in Bologna in 1450, the son of
+a carpenter. He spent his early years working in metals and settings
+for jewels and became very expert in <i>niello</i>, gold and silver
+enamels, and designs for jewelry. He also acquired a reputation for his
+coins and medals, so much so indeed that Giovanni Bentivoglio II, who
+became his patron, appointed him his master of the mint. Moreover, in
+1511 Francia was elected one of the <i>Golfalonieri</i> of the people;
+in 1512 re-elected to the mastership of the Goldsmith’s Guild; and in
+1514 he became “Master of the Four Arts.” It is thought that he began
+to paint about 1483, when Lorenzo Costa came to Bologna and formed a
+friendship with Francia. Be this as it may, he worked with Costa on an
+altar-piece for the Church of the Misericordia and the influence of
+Costa is apparent in much of his work. Francia also painted with Costa
+in 1505–1507 the series of frescoes in the Chapel of St. Cecilia and
+the <i>Madonna del Terremoto</i> in the Palazzo Communale, Bologna.
+Francia painted Madonnas all his life; and in addition to these
+religious pictures, he painted a number of splendid portraits. He died
+in Bologna in 1517. One of his pupils was Timoteo Viti, who in turn was
+Raphael’s early teacher and imparted to him some of Francia’s quality,
+particularly in the general appearance of the Madonna and the full
+rounded contours of the figures. About 1500 Francia began to develop
+his own personal style.</p>
+
+<p><span class="pagenum" id="Page_109">[109]</span><br><span class="pagenum" id="Page_110">[110]</span></p>
+
+
+<h4>PORTRAIT OF A LADY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Bernardino Luini</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1475?–1531–2).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>The first thing we notice in this picture is a very peculiar
+head-dress—large and round and fleecy.</p>
+
+<p>The figure is half-length, life-size, and faces us so that we gain
+a very good idea of the unknown lady, so boldly set forth from the
+background of a green curtain. She wears a dark-grey dress, a white
+embroidered <i>chemisette</i> and a jewelled cross hanging from a
+gold chain which she is fingering lightly. In her right hand is a pet
+marten. The hands, it should be noted, are beautifully drawn. This,
+an oil painting on panel (29 × 21½), came from the Benson Collection,
+having been previously in the Collection of Mr. F. R. Leyland.</p>
+
+<p>Bernardino Luini was born at Luini, near the Lago Maggiore about
+1475, and died in Milan in 1531 or 1532. Luini worked chiefly in the
+vicinity of Milan and painted a great many frescoes. He is said to
+have been a pupil of Borgognone; but whether that be true or not, most
+certainly Leonardo da Vinci was his real master. It was assuredly
+from the painter of the <i>Mona Lisa</i> that Luini learned how to
+paint a charming woman with refined features breaking into a radiant
+and enchanting smile. Luini painted many notable religious pictures,
+including admirable Madonnas, but his loveliest work is the portrait
+of a Milanese lady known as <i>The Columbine</i>, in The Hermitage
+Gallery, gazing at the flower she is holding in her hand, from which
+the picture takes its name.</p>
+
+  <div class="figcenter" id="i_111" style="max-width: 426px">
+     <img
+    class="p1"   
+    src="images/i_111.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">PORTRAIT OF A LADY</p>
+     <p class="p0 sm right">—<i>Luini</i></p>
+ </div>
+
+<p>“Luini’s female creations are so exquisite that for a long time
+people supposed that Leonardo alone was capable of conceiving them,”
+writes Marcel Reymond, “and permanently recording their loveliness;
+but now this injustice has come to an end and Luini’s art appears
+before us with sharply determined characteristics that prevent us from
+confounding it with Leonardo’s art; first of all, from the point of
+view of technique, it must be remembered that Leonardo works like a
+master born about 1450 and Luini like one born after 1470.<span class="pagenum" id="Page_112">[112]</span> With Luini
+the workmanship is less precise than with Leonardo, while the stroke is
+less restrained and the modelling freer.”</p>
+
+
+<h4>TITIAN’S SCHOOLMASTER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giambattista Moroni</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1520–5–1578).</i></td>
+    <td class="cht3"><i>Mr. Joseph E. Widener.</i></td>
+  </tr>
+</table>
+
+<p>In the National Gallery, London, there is a striking portrait of a
+<i>Tailor</i>—known as the <i>Tagliapanni</i>—standing behind his
+board, at half-length, with shears in his right hand and a piece
+of cloth in his left, looking inquiringly at the spectator. It is
+forceful, attractive, commands attention, and lives in the memory of
+all who have looked upon it. Moroni’s <i>Tailor</i> is one of the great
+portraits of the world. The merest glance at the picture represented
+here would tell you that it is by the same hand. The means of producing
+a striking effect are even simpler than in the London portrait.</p>
+
+<p>The title is entirely fanciful, but it accords well with the subject,
+a pleasant, genial man with an intellectual countenance. He seems to
+be about sixty years of age and is dressed in black with white linen
+collar and a black cap. His beard is grey. He is sitting sideways in
+a chair that is often described to-day (and for no reason whatever)
+as a “Savonarola Chair,” resting his left arm on the arm of the chair
+and holding a book in his right. It would appear that he has just
+been interrupted in his reading—pleasantly, too, it would seem—and
+is keeping the page he has left off reading with one finger between
+the leaves. The hands are marvellously drawn and painted, as is also
+the ring on the left hand. Van Dyck admired this picture so much that
+he made a sketch of it in his Italian sketch-book (which is now at
+Chatsworth).</p>
+
+<p>This portrait in oils on canvas (38 × 29½ inches) was long in the
+Borghese Gallery at Rome, and then at the beginning of the Nineteenth
+Century it was purchased by the Marquis of Stafford. From the Duke of
+Northumberland’s Collection, Stafford House, it passed to the present
+owner.</p>
+
+  <div class="figcenter" id="i_113" style="max-width: 418px">
+     <img
+    class="p1"   
+    src="images/i_113.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Joseph E. Widener</i></p>
+     <p class="p0 sm center">TITIAN’S SCHOOLMASTER</p>
+     <p class="p0 sm right">—<i>Moroni</i></p>
+ </div>
+
+<p>Moroni’s great fame, even in his own day, was as a portrait-painter;<span class="pagenum" id="Page_114">[114]</span>
+and it is said that when people from Bergamo and its vicinity went to
+Titian to have their portraits painted, he told them to go home and sit
+to their own countryman. Moroni was a pupil of Moretto at Brescia, was
+influenced by Lotto and Titian, and he, in his turn, influenced Van
+Dyck.</p>
+
+<p>Moroni was born at Bondo in Bergamo between 1520 and 1525 and died at
+Bergamo in 1578.</p>
+
+<p><span class="pagenum" id="Page_115">[115]</span></p>
+
+
+<h3><i>VENETIAN</i></h3>
+
+<p class="drop-cap p-left">“It is evident,” wrote Taine, “that, while following a path of its own,
+Venetian Painting developed as in the rest of Italy. It issued here, as
+elsewhere, from missals and mosaics and was at first in sympathy with
+purely Christian emotion; then, by degrees, the feeling for beautiful
+human life introduced into the altar-frames vigorous and healthy
+bodies taken from contemporary types; and we wonder at the placid,
+expressions and religious physiognomies on the blooming faces in which
+the youthful blood circulates and sustains innate temperament. This is
+the confluence of two spirits and two ages: one, the Christian, which
+is fading away; the other, the Pagan, which is in the ascendant. In
+Venetian Art special traits are distinguished. The people are more
+closely copied from life and are less transformed by Classic or mystic
+sentiment, not so pure as at Perugia, not so noble as at Florence:
+they are addressed more to the senses than to the mind or the heart;
+they are more quickly recognized as men and give greater pleasure to
+the eye. Strong and lively tones color their muscles and their faces;
+living flesh is soft on their shoulders and on the thighs of little
+children; clear landscapes open into the distance to make the deeper
+tints of the figure stand out; saints gather around the Virgin in a
+variety of attitudes unknown to the other Primitive Schools with their
+uniform processions. At the height of its fervor and faith the national
+spirit, fond of diversity and joy, allows a smile to escape.”</p>
+
+<p>Venice was slow in abandoning Byzantine tradition. Changes begin to be
+apparent in the Fourteenth Century. Walter Pater notes: “The beginnings
+of Venetian Painting link themselves to the last, stiff, half-barbaric
+splendors of Byzantine decoration and are but the introduction into the
+crust of marble and gold on the walls of the Duomo of Murano, or of St.
+Mark’s, of a little more of human expression. And throughout the course
+of its later development, always subordinate to<span class="pagenum" id="Page_116">[116]</span> architectural effect,
+the work of the Venetian School never escaped from the influence of
+its beginnings. Unassisted, and therefore, unperplexed by naturalism,
+religious mysticism, philosophical theories, it had no Giotto, no
+Fra Angelico, no Botticelli. Except from the stress of thought or
+sentiment, which taxed so severely the resources of the generations of
+Florentine artists, those earlier Venetian painters, down to Carpaccio
+and the Bellini, seem never for a moment to have been tempted even to
+lose sight of the scope of their art in its strictness, or to forget
+that painting must be before all things decorative, a thing for the
+eye, a space of color on the wall, only more dexterously blent than the
+marking of its precious stone, or the chance interchange of sun and
+shade upon it—this to begin and end with—whatever higher matter of
+thought, or poetry, or religious reverie, might play its part therein,
+between.”</p>
+
+<p>During the Fifteenth Century Venice began to be influenced by painters
+from other cities, particularly by Gentile da Fabriano (see page <a href="#Page_74">74</a>)
+and Pisanello (see page <a href="#Page_99">99</a>), who were sent for to decorate the Doge’s
+Palace. Gentile da Fabriano represented all the latest “modernistic”
+ideas of his day. Among the Venetians who were most profoundly
+influenced by him was Jacopo Bellini (who later went to Padua).
+Jacopo, in spite of his contact with Squarcione and Andrea Mantegna
+(who married his daughter), remained “Gothic” in essentials. Jacopo
+Bellini had one of the largest <i>bottegas</i> in Venice; and this
+<i>bottega</i> was continued by his gifted sons, Giovanni and Gentile.</p>
+
+<p>Jacopo was a talented painter who had worked in Florence as well as
+Padua, but who really belongs to Venice.</p>
+
+<p>The great rivals of the Bellini painters were the Vivarini on the
+Island of Murano. The Vivarini, the first of whom was Antonio da
+Murano (active 1440–1476 or 1484), who played a great part in the
+development of the Venetian School and whose work consisted of enormous
+altar-pieces of many compartments set in Gothic framework of very
+ornate character and profusely adorned with gold; Bartolommeo Vivarini,
+Antonio’s younger brother (1431?–1499?), in whose work the influence of
+the Paduan School of Squarcione is marked and<span class="pagenum" id="Page_117">[117]</span> also that of Antonello
+da Messina; and Antonio’s son, Alvise Vivarini (1447–1504), a pupil of
+his father and uncle, who was working in 1474 with Giovanni Bellini
+in the Scuola di San Girolamo in Venice and whose portraits show the
+influence of Antonello da Messina.</p>
+
+<p>Carlo Crivelli (1430?–1493?), if not a Venetian by birth, which is most
+probable, is classed as belonging to the Venetian School. Crivelli
+was a fellow-pupil of Bartolommeo Vivarini under Antonio da Murano
+(Vivarini), and Squarcione. Like Mantegna, Crivelli kept to tempera
+painting; Crivelli stands alone for his wonderful decorative qualities
+(see page <a href="#Page_125">125</a> and page <a href="#Page_128">128</a>).</p>
+
+<p>Antonello da Messina (1430–1479) was a contemporary of Crivelli and
+is particularly distinguished for introducing into Italy the Flemish
+system of painting with oils. In his pictures the influence of the
+Bellini is apparent (see page <a href="#Page_124">124</a>).</p>
+
+<p>Giovanni Bellini (1428–30–1516), one of the greatest painters of the
+Fifteenth Century, was trained by his father, Jacopo Bellini. Next
+he followed in the footsteps of Squarcione and Andrea Mantegna; but
+he changed his style, as well as his technique, gradually abandoning
+tempera for the new practice in oils, which he was one of the first to
+master. In some respects Giovanni Bellini was influenced by his own
+pupil, Giorgione (see page <a href="#Page_118">118</a>). Gentile Bellini (1426–9–1507), was
+named, it is interesting to note, for Gentile da Fabriano, his father’s
+master and friend. Gentile, trained by his father, Jacopo, was called
+upon to paint the organ-shutters at St. Mark’s with colossal figures
+of St. Mark, St. Theodore, St. Jerome, and St. Francis; was knighted
+by Frederic III in 1469; and was employed to restore the frescoes of
+Gentile da Fabriano in the Hall of the Grand Council in the Doge’s
+Palace, a commission which carried with it the honor of painting the
+portrait of every new Doge. Sent for by the Sultan of Constantinople,
+Mohammed II, to paint his portrait, Gentile sailed for Constantinople
+in 1479 and returned in 1480 with the title of Bey. Gentile then joined
+his brother, Giovanni, who was working on the Fabriano frescoes. The
+Bellini brothers also painted on canvas a series of pictures portraying
+the legend of Frederic Barbarossa and Pope Alexander III, which
+perished in the fire of 1577. Gentile’s <i>Procession of Corpus Christi
+of<span class="pagenum" id="Page_118">[118]</span> 1496</i> has been pronounced “the most important extant work of the
+Venetian School previous to the advent of Titian.”</p>
+
+<p>The <i>bottegas</i> of the Bellini and Vivarini naturally produced
+a host of able painters, among whom were Marco Basaiti (active
+1500–1521); Lazzaro Bastiani (active 1449–1512); Cima da Conegliano
+(1460?–1517?); and Jacopo Bassano (1510?–1592). Vittore Carpaccio
+(1450?–1526?), was a follower of Gentile Bellini; and the stories
+he told in paint, such as the series depicting the <i>Life of Saint
+Ursula</i>, belong to the great works of Venice.</p>
+
+<p>Giorgione (1477–1510) is the next important name. Little or nothing
+is known of his life, except that he was born of humble parents at
+Castelfranco. By 1500 his reputation was established, for he was then
+painting important works. Among these was a picture for the Hall of
+Audience in the Doge’s Palace and some fresco decorations for the
+exterior of the Fondaco dei Tedeschi, the bank of the German merchants
+in Venice. Giorgione was a pupil and follower of the Bellini and had
+much influence upon Giovanni Bellini. Giorgione died of the Plague in
+his thirty-fourth year. Giorgione stands alone for his romantic and
+lyrical qualities and for his penetrating charm. He is notable, too,
+for having introduced music into his pictures, or rather persons who
+are playing upon instruments.</p>
+
+<p>Apart from his delightful qualities Giorgione is of the greatest
+importance in the evolution of painting. Walter Pater writes:
+“Giorgione is the inventor of <i>genre</i>, of those easily
+movable pictures which serve for uses, neither of devotion nor of
+allegorical, or historical teaching—little groups of real men and
+women, amid congruous furniture or landscape—morsels of actual life,
+conversation, or music, or play, refined upon or idealized, till they
+come to seem like glimpses of life from afar. Those spaces of more
+cunningly blent color, obediently filling their place, hitherto, in
+a mere architectural scheme, Giorgione detaches from the wall; he
+frames them by the hands of some skillful carver, so that people may
+move them readily and take with them where they go, like a poem in
+manuscript, or a musical instrument, to be used, at will, as a means of
+self-education, stimulus or solace, coming like an animated presence,
+into one’s cabinet, to enrich the air as with<span class="pagenum" id="Page_119">[119]</span> some choice aroma, and,
+like persons, live with us, for a day or a lifetime. Of all art like
+this, art which has played so large a part in men’s culture since that
+time, Giorgione is the initiator.”</p>
+
+<p>Titian, or rather Tiziano Vecello (1477?–1576), fellow-pupil of
+Giorgione, of Gentile and Giovanni Bellini and assistant to Giorgione
+in decorating the Fondaco dei Tedeschi (which established a new era in
+Italian painting), was the leading painter of his day (see page <a href="#Page_140">140</a>).</p>
+
+<p>Bartolommeo Veneto, of Veneziano (1480–1555), pupil of Giovanni
+Bellini, became a famous portrait-painter. (See page <a href="#Page_148">148</a>.)</p>
+
+<p>Tintoretto, the magnificent Venetian, was nicknamed “Il Furioso,”
+because of his great technical powers that include astonishing display
+of foreshortening and many curious effects in light and color, as
+well as in form. Ruskin says Tintoretto (or Tintoret, call him as you
+please) made “figures lovely in themselves, content that they should
+<i>deserve</i> not <i>demand</i>, your attention.”</p>
+
+<p>Playing with a full orchestra of color and understanding how to produce
+the most luminous effects of light, the great Venetian filled Venice
+with marvellous pictures. Tintoretto was equal to the immense work he
+undertook and his noble brush never left anything that was unworthy of
+it. Tintoretto, whose real name was Jacopo Robusti (1518–1594), was
+apprenticed to Titian and was influenced by Titian, Palma Vecchio,
+Michelangelo, and Parmigiano (of the School of Palma and follower of
+Correggio).</p>
+
+<p>“There is one only—the last and greatest of the Venetians of the
+Renaissance—who could sound all the notes of tragedy and pathos
+as well as notes of joy. Tintoretto, the supreme Venetian, the
+greatest exponent of the essential spirit of Venice, is the son of a
+wider kingdom than hers and of a greater age than the Renaissance.
+Unsurpassed as a designer and colorist, he is endowed throughout with
+the peculiar gifts of Venice; but during those years of passionate
+study, in which he was winning here and there the secrets of his
+art, hungry for knowledge, careless of gain, and bargaining only for
+material in which to realize his conceptions,—during those years in
+which he lived alone in continual meditation on some fresh labor, he
+was probing the deep and passionate things of humanity as no Venetian
+artist had ever probed<span class="pagenum" id="Page_120">[120]</span> them before. The streets and churches of the
+city seem to echo still to the steps of this genius at once so robust,
+so tender, so profound, and so joyous.”<a id="FNanchor_15" href="#Footnote_15" class="fnanchor">[15]</a></p>
+
+<p>Paolo Veronese, or rather Paolo Caliari (1528–1588), a native of
+Verona, whence his name, is one of the most delightful of painters.
+J. Buisson considers Veronese of all the painters of Italy “the one
+whose work best serves to particularize the art of painting” and this
+able French critic goes on to say that “Veronese painted the Venetian
+Beautiful as the Greeks sculptured the Hellenic Beautiful” and that
+“Paul Veronese is of all the colorists, without a single exception, the
+one who has most unity. He is the most ethereal of the colorists. He is
+the painter of the air, both out-of-doors and in-doors. His values are
+impeccable and his shadows are at once transparent and full of color,
+without any artifice, such as Rubens’s exaggerated reflections, or the
+excessive sacrifices, which in Rembrandt are almost equivalent to a
+monotone in those parts that are lacking in light. His lights are broad
+and steady although modelled without any gleams, but of so shining a
+quality that they are positively radiant. Happy artist! He had the eye
+of the most perfect colorist ever known, able to perceive at the same
+time the different qualities of light and color and their variations
+in intensity and values and he possessed the gift to reveal them with
+marvellous art to ordinary mortals. Optics applied to his pictures show
+no law that he did not know and practice. Moreover, around his perfect
+visions of color are grouped other qualities, such as imagination,
+taste, rhythm, elegance, nobility, and magnificence in decoration. His
+hand is the equal of his eye. The rapidity of his brush may be compared
+only to that of Velasquez and to that of Rubens.”</p>
+
+<p>This great period, Taine sums up as follows:</p>
+
+<p>“The more we consider the ideal figures of Venetian Art, the more we
+feel the breath of an heroic age behind us. Those great, toga-draped,
+old men with the bald foreheads are the Patrician Kings of the
+Archipelago, Moorish Sultans, who, trailing their silken <i>simars</i>,
+received tribute and ordered executions. The superb women in sweeping<span class="pagenum" id="Page_121">[121]</span>
+robes, bedizened and jewelled, are Empress-daughters of the Republic,
+like that Caterina Cornaro from whom Venice received Cyprus. There
+are the muscles of fighters in the bronzed breasts of the sailors
+and captains; their bodies, reddened by the sun and the wind, have
+dashed against the athletic bodies of Janizaries; their turbans, their
+<i>pelisses</i>, their furs, their sword-hilts constellated with
+precious stones—all the magnificence of Asia is mingled on their
+bodies with the floating draperies of Classic times and the nudities of
+Pagan tradition.”</p>
+
+<p>Sebastian del Piombo (1485?–1547), pupil of Giovanni Bellini and
+Giorgione, preferred oil to fresco and this led to a famous quarrel
+between him and Michelangelo. Palma Vecchio (1480–1528), standing
+first in the second rank of Bellini-Giorgione followers, is another
+important painter. Lorenzo Lotto (1480–1556), pupil of Alvise Vivarini,
+painted with Raphael in the Vatican in 1508–9 and naturally fell under
+Raphael’s spell. Lotto spent much time in Bergamo; was touched by
+Correggio’s spirit; and, after 1529, was affected by Titian.</p>
+
+<p>Paris Bordone (1500–1571), a gorgeous colorist, pupil and follower
+of Giorgione and Titian (and slightly touched by Palma Vecchio),
+was famous for his portraits, mythological pictures, and for that
+masterpiece entitled <i>The Fisherman Presenting the Ring of St. Mark
+to the Doge</i> (now in the Accademia at Venice).</p>
+
+<p>“These Venetian artists of the Renaissance,” says d’Annunzio, “create
+in a medium that is itself a joyous mystery—in color, the ornament
+of the world, in color which seems to be the striving of the spirit
+to become light. And the entirely new <i>musical understanding they
+have of color</i> acts in such a way that their creation transcends
+the narrow limits of the symbols it represents and assumes the lofty,
+revealing faculty of an infinite harmony.”</p>
+
+<p>To the Eighteenth Century belongs Giovanni Battista Tiepolo
+(1696–1769), famous as a designer and colorist, influenced by Veronese,
+and a decorator of palaces and villas in Venice, Genoa, Milan,
+Würzburg, and Madrid, where he died. Tiepolo married Guardi’s sister in
+1715.</p>
+
+<p>Canaletto, or Giovanni Antonio da Canale (1697–1768), son of<span class="pagenum" id="Page_122">[122]</span> Bernardo
+da Canale, a scene-painter, is famous for his views of Venice and for
+being the teacher of Guardi.</p>
+
+<p>Francesco Guardi (1712–1793), a native Venetian, but of Austrian
+stock, a follower of his master Canaletto, was also celebrated for his
+Venetian views (see page <a href="#Page_153">153</a>).</p>
+
+<p>“Venice herself” writes Berenson, “had not grown less beautiful in her
+decline. Indeed, the building which occupies the very centre of the
+picture Venice leaves in the mind—the Salute—was not built until the
+Seventeenth Century. This was the picture that the Venetian himself
+loved to have painted for him and that the stranger wanted to carry
+away. Canale painted Venice with a feeling for space and atmosphere,
+with a mastery over the delicate effects of mist peculiar to the city,
+that make his view of the Salute, the Grand Canal, and the Piazzetta
+still seem more like Venice than all the pictures that have been
+painted since. Later in the century Canale was followed by Guardi, who
+executed smaller views with more of an eye for the picturesque, and for
+what may be called instantaneous effects, thus anticipating both the
+Romantic and the Impressionist painters of our own century.”</p>
+
+<p>To the Eighteenth Century also belongs Pietro Longhi (1702–1785?),
+influenced by Guardi, but called “The Goldini of painters,” because
+of his bright comedies of manners, somewhat in the <i>genre</i> of
+Watteau, Pater, and Lancret.</p>
+
+<p>“Longhi painted for the picture-loving Venetians,” says Berenson,
+“their own lives in all their ordinary domestic and fashionable phases.
+In the hair-dressing scenes we hear the gossip of the periwigged
+barber; in the dressmaking scenes the chatter of the maid; in the
+dancing-school, the pleasant music of the violin. There is no tragic
+note anywhere. Everybody dresses, dances, makes bows, takes coffee,
+as if there were nothing else in the world that wanted doing. A tone
+of high courtesy, of great refinement, coupled with an all-pervading
+cheerfulness, distinguishes Longhi’s pictures from the works of
+Hogarth, at once so brutal and so full of presage of change.”</p>
+
+<p><span class="pagenum" id="Page_124">[124]</span></p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Antonello da Messina</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1430–1479</i>).</td>
+    <td class="cht3"><i>Mr. Clarence H. Mackay.</i></td>
+  </tr>
+</table>
+
+<p>The Virgin, slightly under life-size, stands behind a stone parapet,
+three-quarter face to left, apparently in a reverie with half-closed
+eyelids. She wears a red and gold brocade gown and a blue mantle
+carried up over her head and falling in a straight line, but for
+one small plait, to her left arm. The Holy Child is seated upon a
+green cushion on the parapet and is wrapped in a brick-red shawl.
+With His left arm around His mother’s neck and right hand in her
+bosom, He gazes straight ahead. The flesh-tones are pale with clear,
+light-brown shadows and the rose-leaf lips and cylindrical fingers with
+filbert-shaped nails are to be noticed and admired.</p>
+
+  <div class="figcenter" id="i_123" style="max-width: 419px">
+     <img
+    class="p1"   
+    src="images/i_123.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Clarence H. Mackay</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Antonello da Messina</i></p>
+ </div>
+
+<p>This oil painting on panel (23 × 16 inches), comes from the Benson
+Collection. Antonello da Messina, also known as Antonello di Giovanni
+degli Antoni, holds a very important place in the development of
+Painting, because <i>it is owing to him that the Flemish system of
+painting in oil was adopted in Italy</i>, although Italian painters had
+been previously acquainted with the process, for they knew the works of
+the Van Eycks and Roger van der Weyden. It is supposed that Antonello,
+who was born in Messina in 1430, visited Flanders. It is certain,
+however, that Antonello was travelling in Italy in 1457–1460 and he may
+have met Roger van der Weyden, who visited Italy in 1450. Antonello da
+Messina was certainly in Venice in 1475–1476. He died in 1479, leaving
+a son, Jacobello, or Jacopo degli Antoni, and a nephew, Antonello di
+Saliba, both of whom were painters. It seems that Antonello da Messina
+and the Bellini exchanged many ideas and were of great mutual benefit.
+It is supposed that Antonello da Messina encouraged Giovanni Bellini to
+try painting in oils. <i>St. Jerome in his Study</i> in the National
+Gallery, London, shows the new character that Antonello brought into
+the Italian painting of his day.</p>
+
+<p><span class="pagenum" id="Page_125">[125]</span></p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Carlo Crivelli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1430?–1493?</i>).</td>
+    <td class="cht3"><i>Mr. A. W. Erickson.</i></td>
+  </tr>
+</table>
+
+<p>Before analysing this delightful picture, let us read an appreciation
+of a most fascinating and not too well-understood painter by Cosmo
+Monkhouse: “Carlo Crivelli is a Venetian artist of whom we know
+little but what can be gathered from pictures. He is supposed to have
+been born about 1430 and his dated works range from 1468 to 1493. He
+was a Venetian by birth and from his mode it would appear certain
+that he studied under Squarcione at Padua and probably also under
+Vivarini at Venice. But he perfected a style and one marked by so many
+peculiarities that despite all affinities which may be traced with
+other masters he stands out clear and distinct by himself.</p>
+
+<p>“In the first place, he is unique as a colorist. He belongs, indeed,
+to the old mosaic and illumination school of color, not to the school
+of ‘great schemes,’ in which the masses are blent into one great
+harmony. The masses, or patches, of color are isolated and produce a
+pleasant variegation without fusion. His color is thin, also, as of a
+superficial tinting, not affecting the substance. His flesh is hard
+and opaque, his flowers leathery, his fruit, though finely drawn and
+beautifully colored, of a stony texture, his draperies anything but
+soft. It is only in hard smooth things, like pottery and glass, that
+you get the true consistency as well as the true color. Yet his color
+is exquisite of its kind, brilliant and transparent like enamel, and
+the different tints in themselves are lovely and varied. Such reds and
+greens and lilacs and salmon-pinks and a hundred other combinations
+of the primaries are scarcely to be matched in the work of any other
+artist. Nor has anyone been more skillful in the use of gold in
+connection with color.</p>
+
+<p>“There is scarcely any need to call attention to Crivelli’s special
+gift as a designer of decoration. Almost every square inch of his
+canvas attests the inexhaustible richness of his invention—an
+invention fed no doubt from the rich products of Oriental looms of
+which Venice was the emporium.</p>
+
+<p>“Crivelli wrought only for the Church and appears to have spent<span class="pagenum" id="Page_126">[126]</span>
+most of his life at Ascoli, but neither restriction of subject and
+feeling, nor provincial residence, could fetter his genius. There is,
+indeed, no artist of more striking individuality than Carlo Crivelli,
+no one who had more complete mastery over his means of expression, or
+attained more nearly to his ideal. This ideal was not the ‘<i>beau
+ideal</i>’—that is to say, the perfection of physical beauty—it was
+an ideal of character, the embodiment of the essential qualities of
+his subject. One cannot help regarding Crivelli as a man of knowledge
+and intellect, of charming manners, refined almost to fastidiousness,
+delighting in all things dainty and beautiful, a lover of animals and
+of his kind.”</p>
+
+<p>This picture, an oil painting on panel (38 × 17 inches), came from the
+Benson Collection, having been previously in the Collection of Mr. G.
+H. Marland (sold in 1863), and in the Collection of Mr. William Graham
+(sold in 1886). The Virgin, a small full-length figure, is seated on a
+red and white marble throne, wearing a pale-red robe and a gold brocade
+mantle lined with green carried up over the head, which is adorned
+with a white veil. The Holy Child, standing on her lap, has on a gold
+dress and a white sash. Behind these two figures there is a hanging
+of pale-red, watered silk and behind the throne again there is a gold
+hanging with the pomegranate pattern. The Holy Child turns to the
+right in the act of blessing. On the step of the throne, which has a
+conspicuous crack, two pears<a id="FNanchor_16" href="#Footnote_16" class="fnanchor">[16]</a> are lying; and they have attracted<span class="pagenum" id="Page_128">[128]</span> a
+fly. The step is inscribed: “Carolvs Crivellvs Venetvs Pinsit, 1472.”</p>
+
+  <div class="figcenter" id="i_127" style="max-width: 239px">
+     <img
+    class="p1"   
+    src="images/i_127.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. A. W. Erickson</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Crivelli</i></p>
+ </div>
+
+<p>“The effect is archaic and almost Byzantine,” G. McNeil Rushforth
+writes in his <i>Carlo Crivelli</i> (London, 1900), “but its merits
+are very great.” “Though on a comparatively small scale the decorative
+effect is superb. The Child’s head is heavy and inferior to that of
+the Virgin, but the action is lively and realistic. The great charm,
+however, of the picture is the Virgin. Her features are not beautiful
+and the drawing of the hands might be criticized. But if ever grace
+and dignity were conceived and executed by Crivelli, they are here.
+Preëminently does this Virgin possess all that we understand by
+distinction. Taken separately, the turn of the head and the action of
+the fingers might be called affected. But they do not offend as parts
+of the whole, so perfectly has the artist defined the ideal that was
+before his mind. A curious feature in the picture is the treatment of
+the drapery. The folds of the brocaded mantle are more elaborate than
+anything which Crivelli had yet attempted, and they are expressed by
+clear-cut lines without any shadow.”</p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Carlo Crivelli</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1430?–1493?).</i></td>
+    <td class="cht3"><i>Mr. Philip Lehman.</i></td>
+  </tr>
+</table>
+
+<p>This beautiful picture belongs to Crivelli’s greatest period, when
+the artist had reached the height of his powers, had attained perfect
+command of the problems of composition, and had gained the technique to
+represent those materials he delighted in,—such as brocades, marbles,
+and garlands of fruit, which he always combined with such decorative
+beauty. Roger Fry says of this picture: “It has, in a supreme degree,
+the delicacy and the almost metallic incisiveness of Crivelli’s contour
+as well as the firmness and brilliance of his painting. The Madonna
+supporting the Child upon her right arm, is seated in one of those
+sumptuous Renaissance thrones, which Crivelli loved to elaborate with
+every conceivable ingenuity of invention. Though the forms are intended
+to be Classic, it is evident from the proportions of the<span class="pagenum" id="Page_130">[130]</span> mouldings
+and something in the character of the detail that Crivelli is still
+essentially an old Venetian artist, one who uses Classical conventions
+with a Gothic exuberance.</p>
+
+  <div class="figcenter" id="i_129" style="max-width: 253px">
+     <img
+    class="p1"   
+    src="images/i_129.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Philip Lehman</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Crivelli</i></p>
+ </div>
+
+<p>“This is a work of Crivelli’s prime. Indeed, it would be hard to
+name another design in which he shows quite such mastery as he does
+here. There is hardly another work in which the sequence of lines
+is so suave, its flow so uninterrupted, or in which the movements
+of the figures harmonize so perfectly. It is already almost a
+<i>cinque-cento</i> work as regards the amplitude of its forms and the
+breadth of its divisions. One notes, for instance, that the fruits
+hanging on the throne are even more enlarged and more massed than
+usual, so that the quantities of relief support and carry out the
+relief of the figures in a remarkable manner. Much of the earlier
+intensity of feeling has undoubtedly gone. This has none of the
+strange, brooding pathos of the early Madonnas, nor has it the sharp
+individual accent of their faces. The works with which it appears to be
+most akin are the Vatican <i>Madonna</i> and the Triptych in the Brera,
+both of 1482.”</p>
+
+
+<h4>THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE, ST. PETER AND ST.
+JOHN THE BAPTIST.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giovanni Bellini</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1428–30–1516).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>This is the type of group picture known as a “Holy Conversation” and
+represents the Virgin and Child with Saints. It seems to have been
+painted when Bellini was between seventy-two and seventy-seven years of
+age and between the years 1500 and 1505.</p>
+
+<p>The figures are three-quarter length and under life-size and the
+picture, which is an oil painting on canvas, measures 38 × 60 inches.
+The Virgin is seated in the centre with a dark-grey curtain behind
+her and a marble balustrade in front of her. She wears a rose-colored
+tunic and a blue mantle lined with a changeable green and yellow silk.
+The Holy Child leans back against her right arm. On her right stands
+St. Catherine with a rope of pearls twisted in her hair and St. Lucy,
+on her left, wearing a myrtle wreath and holding a tall standing-cup
+of<span class="pagenum" id="Page_132">[132]</span> Venetian glass. St. John the Baptist, wearing a green mantle,
+stands on the right, looking downward with bended head; and St.
+Peter, in orange-brown cloak with book and key, stands on the left.
+A very decorative effect is derived from the palm-branches, which
+curve upwards into the top corners of the picture. A range of distant
+hills appears in the background and on the <i>cartellino</i> on the
+balustrade is the signature in script, “Ioannes Bellinus.”</p>
+
+  <div class="figcenter" id="i_131" style="max-width: 750px">
+     <img
+    class="p1"   
+    src="images/i_131.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">THE VIRGIN AND CHILD WITH ST. LUCY, ST. CATHERINE, ST. PETER AND ST.
+JOHN THE BAPTIST</p>
+     <p class="p0 sm right">—<i>Giovanni Bellini</i></p>
+ </div>
+
+<p>Authority for dating the picture is derived from the fact that the
+features of St. Lucy reappear in the San Zaccaria altar-piece, which
+is dated 1505, and the features of St. John the Baptist occur in the
+<i>Baptism of Christ</i> in Santa Corona, Vicenza, supposed to have
+been begun in 1500.</p>
+
+<p>The picture came from the Benson Collection, having been formerly in
+the Wynn Ellis Collection and in the Collection of Mr. William Graham.</p>
+
+<p>The date of Giovanni Bellini’s birth is not known. He was working with
+his brother, Gentile, in his father’s studio in Padua and was painting
+in Venice in 1464, where he produced two pictures for the Scuola di San
+Girolamo. In 1475 he met Antonello da Messina, who came to Venice, and
+seems to have adopted then his method of painting in oil. In 1479, when
+Gentile Bellini went to Constantinople, Giovanni was appointed to carry
+on his work in the Doge’s Palace; and when Gentile returned the two
+brothers worked together. Giovanni was essentially a religious painter
+and his Madonnas stand among the finest ever created. Most of his
+portraits are lost; but one, the <i>Doge Loredano</i> (in the National
+Gallery, London), ranks as one of the finest of all known portraits.
+This dates from 1501, painted when Giovanni was over eighty! Giovanni
+died in 1516.</p>
+
+<p><span class="pagenum" id="Page_134">[134]</span></p>
+
+
+<h4>THE VIRGIN AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giovanni Bellini</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1428–30–1516).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Nicholas F. Brady.</i></td>
+  </tr>
+</table>
+
+<p>The Madonna at half-length turned towards the left, supports the Holy
+Child with both arms as He reclines in her lap against her right knee,
+which is raised. She is dressed in a blue mantle arranged to form a
+hood, with embroidered border. A graceful white veil, also embroidered,
+covers the head and falls below the neck.</p>
+
+  <div class="figcenter" id="i_133" style="max-width: 415px">
+     <img
+    class="p1"   
+    src="images/i_133.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Nicholas F. Brady</i></p>
+     <p class="p0 sm center">THE VIRGIN AND CHILD</p>
+     <p class="p0 sm right">—<i>Giovanni Bellini</i></p>
+ </div>
+
+<p>The Holy Child gazes upward into his mother’s face and she, with eyes
+slightly veiled by drooping lids, looks tenderly downward towards him.
+The background is hilly, with a castle on the left. The picture, oil on
+a panel (28¾ × 23¾) is signed “Joannes Bellinus.”</p>
+
+<p>This Bellini Madonna comes from the Collection of the Grand Dukes
+of Oldenburg, Oldenburg Castle, near Bremen, Germany, and was also
+formerly in the Collection of Count Montija in Madrid. Much has been
+written about Bellini’s Madonnas. They differ greatly from those
+painted by the Florentines; and the following sympathetic note tells us
+why:</p>
+
+<p>“If we turn to the religious art of Venice, we shall be struck by a
+lack of anything like mystic rapture, or absorption in the sufferings
+of Christ. We have but two examples in Venice of Bellini’s portrayal of
+the facts of Christ’s mature life, but he has treated the theme of the
+Madonna and Child with a unique profundity. The mystery of life seems
+to be shadowed in the face of the Madonna; his saints and apostles,
+so striking in their individuality, so virile in their piety, have a
+significance beyond their perfect act of worship. No Venetian religious
+painter before Tintoretto equalled Bellini in solemnity and depth
+of conception; but in all we find the same pervading calm, the same
+absence of tumult, or the disturbing elements of pain or agony.”<a id="FNanchor_17" href="#Footnote_17" class="fnanchor">[17]</a>
+Is it not the quietness of Bellini’s Madonnas that give them their
+peculiar charm?</p>
+
+<p><span class="pagenum" id="Page_136">[136]</span></p>
+
+
+<h4>MADONNA AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giovanni Bellini</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1428–30–1516).</i></td>
+    <td class="cht3"><i>Mr. Philip Lehman.</i></td>
+  </tr>
+</table>
+
+<p>This picture came from the Collection of Prince Potenziani, of Rieti,
+Italy, and represents the Virgin standing behind a parapet and
+supporting the Holy Child who is standing upon it. Her mantle and tunic
+are decorated with a border of embroidery and over the mantle falls
+her heavy white veil which might be described as a hood, showing a
+little of her wavy hair. The face of the Virgin is a perfect oval, her
+eyes are set far apart, her nose is long and aquiline, and her mouth
+a little discontented. Her arm and wrist are beautifully modelled
+and so is the thumb of her right hand. This hand is noticeably wide.
+The left hand does not seem to match the right; it is coarser. The
+Holy Child is leaning against His mother’s left shoulder and looking
+out of the picture. He wears a little tunic over a white shirt with
+sleeves and a wide, blue sash with a striped pattern. A close-fitting
+cap is tied with ribbons under His chin. His right hand is lifted in
+blessing and His left is clasping the fingers of His mother’s right
+hand. On the right of the parapet a crystal ball is lying and on the
+left a capsicum-pod, and behind the Madonna’s head hangs a heavy swag
+of capsicum. The landscape in the background is noticeably fine. On
+the left, a road winds through trees to the gates of a city with high
+Gothic towers; on the right, a river flows past hills crowned with
+castles. Clouds fill the sky. The <i>nimbi</i> are quite unusual. This
+is evidently an early work and not a little of Mantegna’s influence is
+apparent in it.</p>
+
+  <div class="figcenter" id="i_135" style="max-width: 407px">
+     <img
+    class="p1"   
+    src="images/i_135.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Philip Lehman</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD</p>
+     <p class="p0 sm right">—<i>Giovanni Bellini</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_137">[137]</span></p>
+
+
+<h4>THE FEAST OF THE GODS.</h4>
+
+<p class="smcap center">(Il Baccanale.)</p>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Giovanni Bellini</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1428–30–1516).</i></td>
+    <td class="cht3"><i>Mr. Joseph E. Widener.</i></td>
+  </tr>
+</table>
+
+<p>“In the year 1514”—this is Vasari’s narrative—“Duke Alfonso
+of Ferrara had caused a little chamber to be decorated and had
+commissioned Dosso, the painter of Ferrara, to execute in certain
+compartments stories of Æneas, Mars, and Venus and, in a grotto, Vulcan
+with two smiths at the forge; and he desired that there should also be
+there pictures by the hand of Gian Bellini. Bellini painted on another
+wall a vat of red wine with some <i>Bacchanale</i> around it and
+Satyrs, musicians and other men and women all drunk with wine, and near
+them a nude and very beautiful Silenus riding on his ass, with figures
+about him that have their hands full of fruits and grapes; which work
+was in truth executed and colored with great diligence, inasmuch
+that it is one of the most beautiful pictures that Gian Bellini ever
+painted, although in the manner of the draperies there is a certain
+sharpness after the German manner (nothing, indeed, of any account)
+because he imitated a picture by the Fleming,<a id="FNanchor_18" href="#Footnote_18" class="fnanchor">[18]</a> Albrecht Dürer, which
+had been brought in those days to Venice and placed in the Church of
+S. Bartolommeo, a rare work and full of most beautiful figures painted
+in oils. On that vat Gian Bellini wrote these words: ‘Joannes Bellinus
+Venetus P. 1514.’ That work he was not able to finish completely,
+because he was old, and Tiziano, as the most excellent of all the
+others, was sent for to the end that he might finish it.”</p>
+
+<p>Titian’s work is to be found in the landscape-background,—which
+is an exact view of Titian’s own Cadore. This landscape, with its
+valley and rocky hill surmounted by a castle with towers, bathed in
+warm, luminous light, was the finest that had ever been painted up to
+that time. Bellini only lived two years after painting <i>The Feast
+of the Gods</i>. In 1515 he painted the so-called <i>Venus of the
+Belvedere</i> and he died in the following year.</p>
+
+<p><span class="pagenum" id="Page_138">[138]</span></p>
+
+<p>“So easy is the passage from Bellini’s art to Titian’s, that the
+transition creates no contrast. The tone throughout is harmonized, and
+the art of the Fifteenth and Sixteenth Centuries meets and mingles in
+perfect fellowship,” Crowe and Cavalcaselle note.</p>
+
+<p>This picture, an oil painting on canvas (67 × 74 inches) came from
+the Collection of the Duke of Northumberland at Alnwick Castle,
+England, having been previously in the Collection of Cardinal Pietro
+Aldobrandini and in that of Cardinal Ludovico Ludovisi, Rome.</p>
+
+<p>These two villas, upon whose walls <i>The Feast of the Gods</i> hung
+for so many years, are very celebrated. The <i>Villa Aldobrandini</i>
+is one of the most notable residences near Rome. It is situated on the
+slope of a mountain overlooking Frascati and was built by Cardinal
+Pietro Aldobrandini, who entrusted its decoration to the most eminent
+artists of his day, such as Jacopo della Porta, Domenichino, Giuseppe
+Gesari, and Giovanni Fontana. Here, too, were gathered the most
+precious relics of ancient art, while the gardens, adorned with vases,
+statues, colonnades, and sparkling fountains, made the exterior a place
+of marvellous beauty and charm. The view of mountains and sea suggested
+the name of <i>Belvedere</i>. The Villa belongs to-day to the Borghese
+family, who inherited it from the Aldobrandini.</p>
+
+  <div class="figcenter" id="i_139" style="max-width: 609px">
+     <img
+    class="p1"   
+    src="images/i_139.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Joseph E. Widener</i></p>
+     <p class="p0 sm center">FEAST OF THE GODS</p>
+     <p class="p0 sm right">—<i>Giovanni Bellini</i></p>
+ </div>
+
+<p>The <i>Villa Ludovisi</i>, frequently called the Piombino Palace, is
+situated on the site of the ancient gardens of Sallust. This palace was
+erected in 1622 by Cardinal Ludovico Ludovisi, nephew of Pope Gregory
+XV, who selected Domenichino for his architect and the famous Le Nôtre
+for his landscape-gardener. The property passed by inheritance to the
+Princess of Piombino (Buonocampagni-Ludovisi).</p>
+
+<p>Art-lovers know the name in connection with the colossal and
+magnificent head of the Juno Ludovisi (Fifth Century, <span class="allsmcap">B. C.</span>);
+and it will be remembered that the Juno Ludovisi and other antiques
+from the Villa Ludovisi formed the Museo Buonocompagni.</p>
+
+<p><span class="pagenum" id="Page_140">[140]</span></p>
+
+
+<h4>THE VIRGIN AND CHILD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Titian</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1477?–1576).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>The Virgin, in profile, seated on a stone seat, has auburn
+hair—“Titian hair”—which is relieved against a dark-green curtain.
+Her robe is pale rose-color with slashes of white and her mantle of
+cobalt blue like the landscape, “which resembles the sea at midday.”
+She also wears a white veil. She is looking with great tenderness at
+the Holy Child, lying at full length on her lap and smiling at her.</p>
+
+<p>The composition is most beautiful and the introduction of the trees
+gives perpendicular lines which contrast delightfully with the general
+horizontal effects.</p>
+
+<p>Lionel Cust calls it a picture of great charm, as indeed it is, and
+says: “The Virgin leans tenderly over the Child lying upon her knees.
+This composition is treated in the same manner as the picture at
+Bergamo, the <i>Virgin and Child with St. Bridgit and St. Ulphus</i>,
+in the Prado at Madrid, and a few others. In all of these works the
+sentiment is that of Giorgione, even though the execution is of the
+hand of Titian; and one could not think of attaching another name than
+his to this picture and to that at Madrid. It will be noticed also that
+the two tree-trunks, so much in evidence at the back of the picture,
+constitute a <i>leit-motiv</i>, which Giorgione first employed and
+which Titian imitated.”</p>
+
+  <div class="figcenter" id="i_141" style="max-width: 665px">
+     <img
+    class="p1"   
+    src="images/i_141.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">THE VIRGIN AND CHILD</p>
+     <p class="p0 sm right">—<i>Titian</i></p>
+ </div>
+
+<p>Herbert F. Cook in his <i>Giorgione</i> (London, 1907), gives this
+painting to Giorgione, sustaining the claim by the following: “The
+marble parapet is a feature in Giorgione’s work, but not in Titian’s.
+But the most convincing evidence to those who know the master lies
+in the composition, which forms an almost equilateral triangle,
+revealing Giorgione’s supreme sense of beauty in line. The splendid
+curves made by the drapery, the pose of the Child, so as to obtain
+the same unbroken sweep of line, reveal the painter of the <i>Dresden
+Venus</i>. The painting of the Child’s hand over the Madonna’s is
+precisely as in the Madrid picture, where, moreover, the pose of
+the Child is singularly<span class="pagenum" id="Page_142">[142]</span><span class="pagenum" id="Page_141">[141]</span> alike. The folds of drapery on the sleeve
+recur in the same picture, the landscape with the small figure seated
+beneath the tree is such as can be found in any Giorgione background.
+The oval of the face and the delicacy of the features are thoroughly
+characteristic, as is the spirit of calm reverie and tender simplicity
+which Giorgione has breathed into his figures.”</p>
+
+<p>Whether by Titian, or by Giorgione, or by both, the painting is a gem.
+If by Giorgione, it would be even more valuable, as this master is so
+rare.</p>
+
+<p>The painting, oil on panel (18 × 22 inches), came from the
+Benson Collection and was formerly at Burghley House, Stamford,
+Northamptonshire, having been acquired in Italy between 1690 and 1700
+by the Earl of Exeter.</p>
+
+<p>Tiziano Vecellio was born about 1477 at Pieve di Cadore, the son
+of Gregorio Vecelli, and was taken to Venice at the age of ten and
+apprenticed to a mosaic-worker. After this he studied in Giovanni
+Bellini’s <i>bottega</i>, where he had for a fellow-pupil, Giorgione,
+with whom he was associated in decorating the Fondaco dei Tedeschi.
+Titian visited Padua, Rome, and, in 1516, Ferrara. Commissions of all
+kinds followed rapidly and Titian became the most famous painter of
+his time. He lived in splendid style and his long life was filled with
+magnificent painting and magnificent results. Titian died of the Plague
+in 1576.</p>
+
+<p>In his long life, crowned with every kind of success, Titian painted
+with superlative skill every sort of subject. Titian was one of the
+greatest masters the world has ever known.</p>
+
+<p>“In attempting to picture Titian,” writes Taine, “we imagine a happy
+man, the happiest and the healthiest of his species, Heaven having
+bestowed upon him nothing but favors and felicities: the first among
+his rivals; visited in his house by the Kings of France and Poland;
+a favorite of the Emperor, of Philip II, of the Doges, of Pope Paul
+III, of all the Italian princes; created a knight and a count of
+the Empire; overwhelmed with orders; liberally paid, pensioned, and
+worthily enjoying his good fortune. He kept house in great state,
+dressed himself splendidly, and entertained at his table cardinals,
+lords, the greatest artists and the ablest writers of his day. Beauty,<span class="pagenum" id="Page_143">[143]</span>
+taste, cultivation, and talent play and reflect back upon him, as if
+from a mirror the brightness of his own genius. His brother, his son,
+Orazio, his two cousins, Cesare and Fabrizio, and his relative, Marco
+di Tiziano, were all excellent painters. His daughter, Lavinia, dressed
+as Flora, with a basket of fruit on her head, supplied him with a model
+of fresh complexion and ample form. His talent flows on like a great
+river in its bed, nothing disturbs its course, and its own increase is
+sufficient. Like Leonardo and Michelangelo, Titian sees nothing outside
+of his art.”</p>
+
+
+<h4>CATERINA CORNARO, QUEEN OF CYPRUS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Titian</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1477–1576).</i></td>
+    <td class="cht3"><i>Mr. John Ringling.</i></td>
+  </tr>
+</table>
+
+<p>Proud and handsome this famous Queen and beauty looks down upon us
+from the centuries. She is wearing a dress of gold and green striped
+velvet with a pink camelia at her neck and one of those fashionable,
+tall, sugar-loaf head-dresses—called in France the <i>hennin</i>—with
+jewelled band around the rim and a floating veil. Very beautifully are
+her pearls painted; and, fastened by a chain to a bracelet on her left
+wrist, is a pet chameleon.</p>
+
+<p>This portrait, oils on canvas (43 × 38 inches), came from the Ricardi
+Palace, Florence, and from the Collection of R. S. Holford, Esq.,
+Dorchester House.</p>
+
+<p>Caterina Cornaro, “<i>La Reine de Chypre</i>,” famous in song and
+story, was the daughter of Marco Cornaro, a noble Venetian and
+descendant of the Doge of the same name, and Florence, daughter of
+Niccolò Crispo, Duca dell’ Archipelago. Caterina was born in Venice in
+1454, educated at the Convent of San Benedetto in Padua, and reared
+in all the wealth and elegance of the time. At an early age she was
+married to the King of Cyprus, Jerusalem, and Armenia (Jacques de
+Lusignan), who chose her from sixty-two of the most beautiful women of
+Venice. The Senate, having adopted Caterina Cornaro as a daughter of
+the Republic, gave her a dowry of a hundred thousand golden ducats and
+agreed to defend the Kingdom of Cyprus against all enemies.</p>
+
+<p><span class="pagenum" id="Page_144">[144]</span></p>
+
+<p>The wedding took place by proxy in Venice in 1472 and was celebrated
+with great magnificence. The Doge, himself, Cristoforo Moro, called
+for the bride at her palace in the Bucentaur and accompanied her to
+the Venetian ship in which she embarked with a regal suite for her
+new home. After experiencing several accidents at sea, the beautiful
+Venetian lady arrived in Cyprus, where her rare beauty and charming
+manners captivated the entire population. Within two years her husband
+died and Caterina then reigned over Cyprus for fourteen years, subject,
+however, to the strict surveillance of Venice. At last, wearied by
+restrictions and intrigues, the Queen of Cyprus in 1489 returned to
+Venice with her beloved brother, Giorgio Cornaro, and made a solemn
+transfer of all her claims in Cyprus to the Doge.</p>
+
+<p>Caterina then went to Frattalonga, situated at the foot of the Asolani
+mountains, to meet the Emperor Maximilian, who was on his way home from
+Milan to Vienna; and the place pleased her so much that she obtained
+from the Doge, Agostino Barbarigo, the investiture of Asolo and its
+district. A few months later—in October 1489—Caterina returned to
+Asolo with a suite of four thousand persons and established a Court in
+the Castle, where she lived for twenty-one years, protected by troops
+granted to her by the Republic of Venice. In this beautiful residence
+Caterina was said to have held three Courts—that of the Muses; that
+of Love; and that of her own, which was of great magnificence. The
+leading spirit there was the celebrated poet, Pietro Bembo, (in later
+years Cardinal Bembo), who wrote his famous dialogues of love, <i>Gli
+Asolani</i>, here in 1490, for the superb marriage festivities of one
+of Caterina’s maids-of-honor. Every illustrious personage of the period
+visited the Court at Asolo.</p>
+
+  <div class="figcenter" id="i_145" style="max-width: 424px">
+     <img
+    class="p1"   
+    src="images/i_145.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. John Ringling</i></p>
+     <p class="p0 sm center">CATERINA CORNARO</p>
+     <p class="p0 sm center">QUEEN OF CYPRUS</p>
+     <p class="p0 sm right">—<i>Titian</i></p>
+ </div>
+
+<p>During the wars occasioned by the League of Cambrai (1508), Caterina
+returned for safety to Venice and died there in 1510, in the palace of
+her brother, Giorgio, who was then procurator of St. Mark’s.</p>
+
+<p>Titian painted several other portraits of Caterina Cornaro, of which
+the one in the Uffizi is the most famous, representing the Queen
+of Cyprus with her golden crown studded with large pearls and an
+over-dress or coat of rich green brocade.</p>
+
+<p><span class="pagenum" id="Page_146">[146]</span></p>
+
+
+<h4>GIORGIO CORNARO WITH FALCON.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Titian</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1489–1576).</i></td>
+    <td class="cht3"><i>Mr. A. W. Erickson.</i></td>
+  </tr>
+</table>
+
+<p>We have here a famous Venetian statesman and general of the Sixteenth
+Century, beloved brother of Caterina Cornaro, Queen of Cyprus (see page
+143), representing him probably in the habit he liked best of all—that
+of a sportsman with his pet falcon. Here he stands, three quarters to
+the right, in a slate-colored hunting coat with brown fur collar and
+with a black belt at the waist from which hangs a sword, bound with a
+crimson sash. His curly hair and beard are chestnut color and his eyes
+are very bright. His head is raised and he looks intently at his falcon
+perched upon his left gloved hand, with hood, bill and jacket attached,
+and with his right hand grasps the bird’s breast.</p>
+
+<p>From the left hand corner the head of a white, liver-spotted hound
+looks up. The background is dark. The painting, an oil on canvas (43
+× 38 inches) was formerly in the Collections of the Carignan branch
+of the Royal House of Piedmont; Louis François de Bourbon, Prince de
+Conti; the Earl of Carlisle, Castle Howard, Yorkshire, England; and Dr.
+Edward Simon, Berlin. Crowe and Cavalcaselle in their <i>Life and Times
+of Titian</i> (London, 1881) say of this work: “Titian never produced a
+finer picture than which now adorns the gallery of Castle Howard. This
+beautiful work is modelled with all the richness of tone and smoothness
+of surface which distinguishes polished flesh. The attitude is natural,
+the complexion warm and embrowned by the sun; and every part is blended
+with the utmost finish without producing want of flexibility.”</p>
+
+  <div class="figcenter" id="i_147" style="max-width: 485px">
+     <img
+    class="p1"   
+    src="images/i_147.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. A. W. Erickson</i></p>
+     <p class="p0 sm center">GIORGIO CORNARO WITH FALCON</p>
+     <p class="p0 sm right">—<i>Titian</i></p>
+ </div>
+
+<p>Giorgio Cornaro succeeded his father, Marco Cornaro in 1479, he being
+about twenty-five. Italian historians are fond of attributing the
+Victory of Cadore to Giorgio Cornaro, who lived until 1527, having
+played an important part all his life in Venetian politics.</p>
+
+<p><span class="pagenum" id="Page_148">[148]</span></p>
+
+
+<h4>MAXIMILIAN SFORZA, DUKE OF MILAN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Bartolommeo Veneto</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1480–1555).</i></td>
+    <td class="cht3"><i>Mr. Henry Goldman.</i></td>
+  </tr>
+</table>
+
+<p>This portrait, oil on panel (30⅞ × 23¼ inches), was formerly in the
+Palazzo Sforza and later hung in the Casa Perego, Milan, until the
+entire Casa Perego Collection was bought in the early Nineteenth
+Century by Senator Crespi of Rome, in whose gallery it remained until
+the Crespi Collection was sold. It is doubly interesting as a work of
+art and as the representation of an important character in Italian
+history. Bernhard Berenson calls it “one of the most manly portraits
+and one of the most beautiful paintings of the Italian Renaissance.”</p>
+
+<p>The half-length figure is seen almost full front, but the head is
+turned slightly to the left. All the Italian Renaissance seems to be
+expressed in this proud, distinguished person and in his rich dress,
+which consists of a coat of green velvet trimmed with bands of gold,
+a finely embroidered white shirt, black waistcoat with horizontal
+gold stripes and a rich fur collar, which he clasps with his right
+hand on the index finger of which is a handsome ring. His dark hair
+falls to the shoulders and is surmounted by a black velvet cap, on the
+side of which is a gold and enamelled medal showing an allegorical
+female figure with the date 1512, of the kind that all the fashionable
+gentlemen were wearing at that period. A red curtain falls behind the
+figure and on the wall hangs a picture in which are introduced figures
+from Dürer’s famous woodcut, <i>The Knight and the Lansquenet</i>.
+In front of the sitter is a narrow ledge, or balustrade, with a card
+in the centre, which originally carried the signature of Bartolommeo
+Veneto.</p>
+
+  <div class="figcenter" id="i_149" style="max-width: 431px">
+     <img
+    class="p1"   
+    src="images/i_149.jpg"
+     alt="">
+     <p class="p-min sm left"></p>
+     <p class="p0 sm center">MAXIMILIAN SFORZA</p>
+     <p class="p0 sm right">—<i>Bartolommeo Veneto</i></p>
+ </div>
+
+<p>Maximilian Sforza was the son of Ludovico Sforza, “Il Moro,” Duke of
+Milan, the most illustrious prince of Italy, and Beatrice d’Este, one
+of the most fascinating and brilliant women of the Italian Renaissance.
+Maximilian was born on January 25, 1493, in the Castello of Milan, and
+was named Ercole out of compliment to his grandfather, Duke Ercole of
+Ferrara. He was brought up in the most brilliant of Courts and his
+education and training were of the very best. His<span class="pagenum" id="Page_150">[150]</span> mother was devoted
+to him and constantly mentions him in her letters. Ercole appears in
+the great altar-piece attributed to Zenale, now in the Brera, kneeling
+by the side of his father. The portrait of this little child must be a
+good one, for we see the same face grown older in the Veneto portrait
+before us. On the altar-piece, just mentioned, Ercole’s younger
+brother kneels by the side of Beatrice d’Este. It was during a visit
+of the Emperor Maximilian to Ludovico and his wife in 1496 that Ercole
+received his new name. The Emperor, again charmed by Beatrice, took
+great interest in her two sons and requested that the elder should be
+called Maximilian.</p>
+
+<p>But the brilliant days passed and sorrows came. The beautiful, gifted
+mother died in January, 1497, and the French invaded Milan. Ludovico
+determined to seek safety in flight and sent his two sons to Germany
+under the care of his brother, Cardinal Ascanio Sforza, Cardinal
+Sanseverino, and their kinswoman, Camilla Sforza. “A truly piteous and
+heart-breaking sight it was,” wrote an eye-witness, “to see these poor
+children embrace their beloved father, whose face was wet with their
+tears.” Twenty mules laden with baggage and a large chariot drawn by
+eight horses and containing Ludovico’s precious jewels and 240,000
+gold ducats followed in the train of the young princes. These young
+gentlemen never saw their father again, for “Il Moro” was captured,
+taken to Paris, and imprisoned in the castle of Loches, where he died
+in 1508.</p>
+
+<p>An Italian writer, Marino Sanuto, exclaimed on the terrible fate of
+Ludovico: “Only think, reader, what grief and shame so great and
+glorious a lord, who had been held to be the wisest of monarchs and
+ablest of rulers, must have felt at losing so splendid a state in these
+few days, without a single stroke of the sword. Let those who are in
+high places take warning, considering the miserable fall of this lord,
+who was held by many to be the greatest prince in the world, and let
+them remember that when Fortune sets you on the top of her wheel, she
+may at any moment bring you to the ground.”</p>
+
+<p>The rest of the story is well told in Mrs. Cartwright’s <i>Beatrice
+d’Este</i> (London, 1889):</p>
+
+<p>“Meanwhile Beatrice’s sons grew up at Innsbrück, under the care<span class="pagenum" id="Page_151">[151]</span> of
+their cousin, the Empress Bianca. It was a melancholy life for these
+young princes, born in the purple and reared in all the luxury and
+culture of Milan. And when their cousin, Bianca, died in 1510, they
+lost their best friend. But a sudden and unexpected turn of the tide
+brought them once more to the front. That warlike pontiff, Julius II,
+who, as Cardinal della Rovere, had been one of the chief instruments in
+bringing the French into Italy, entered into a league with Maximilian
+to expel them and reinstate the son of the hated Moro on the throne of
+Milan. They succeeded so well that in 1512, four years after Ludovico’s
+death at Loches, young Maximilian Sforza entered Milan in triumph
+amidst the enthusiastic applause of the people. Once more he rode
+up to the gates of the Castello, where he was born, and took up his
+abode there as reigning duke. But his rule over Lombardy was short.
+A handsome, gentle youth, without either his father’s talents or his
+mother’s high spirit, Maximilian was destined to become a passive
+tool in the hands of stronger and more powerful men. His weakness and
+incapacity soon became apparent, and when, three years later, the new
+French King, Francis I, invaded the Milanese and defeated the Italian
+army at Marignano, the young duke signed an act of abdication and
+consented to spend the rest of his life in France. There he lived in
+honorable captivity, content with a pension allowed him by King Francis
+and with the promise of a Cardinal’s hat held out to him by the Pope,
+until he died in May, 1530.”</p>
+
+<p>Bartolommeo Veneto (or Bartolommeo Veneziano), born in 1480, was a
+pupil of Giovanni Bellini, whose influence is apparent in Veneto’s
+early pictures. In 1506–1508 Veneto was painting for Lucrezia Borgia in
+Ferrara and after that he was engaged at the Court of Milan, where he
+painted this portrait of <i>Maximilian Sforza</i>. The picture bears
+the date 1512, which was the year the young Duke returned to Milan.</p>
+
+<p>Bartolommeo Veneto was famous for his portraits. He lived for sometime
+in Lombardy and, like all the painters of the time and place, fell
+under the influence of Leonardo da Vinci. As the last trace of him
+appears on a portrait in the Uffizi, dated 1555, it is supposed that
+Veneto died in that year.</p>
+
+<p><span class="pagenum" id="Page_152">[152]</span></p>
+
+
+<h4>A SCENE ALONG THE ADRIATIC COAST.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Francesco Guardi</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1712–1793).</i></td>
+    <td class="cht3"><i>Mrs. Charles B. Alexander.</i></td>
+  </tr>
+</table>
+
+<p>Guardi, a pupil of Canaletto, devoted himself to the study of his
+native city, Venice, where he was born in 1712 and where he painted
+steadily until his death in 1793. Guardi ranks with Canaletto and
+Turner as one of the three greatest painters of the “Dream City” as
+Charles Dickens called Venice. In Guardi’s long list of pictures we
+have a perfect history in paint of the “Queen of the Adriatic” during
+the Eighteenth Century. There are innumerable views of the Grand Canal;
+of both the exterior and the interior of San Marco; of San Giorgio, the
+Salute, San Zaccaria, and other churches; of the Fondaco dei Tedeschi
+(the German banking-house); the Doges Palace; the Piazza and the
+Piazzetta; scenes on the outlying islands; views on the Lagoons; and
+pictures of processions of the Doges and of festivals of the church.
+The picture presented here shows a scene outside of Venice, but not far
+away; and it is a beautiful and characteristic work of Guardi, both as
+to composition and color. The painting came from the Collection of the
+Baron Maurice de Rothschild of Paris to its present owner, Mrs. Charles
+B. Alexander of New York.</p>
+
+<p><span class="pagenum" id="Page_153">[153]</span></p>
+
+  <div class="figcenter" id="i_153" style="max-width: 750px">
+     <img
+    class="p1"   
+    src="images/i_153.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. Charles B. Alexander</i></p>
+     <p class="p0 sm center">A SCENE ALONG THE ADRIATIC COAST</p>
+     <p class="p0 sm right">—<i>Francesco Guardi</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_155">[155]</span></p>
+
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_157">[157]</span></p>
+
+
+<h2>FLEMISH PAINTING</h2>
+</div>
+
+<div class="chapter">
+<h3><i>FLEMISH PAINTING</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">Flemish Painting in the Fourteenth Century was based on the
+miniature-painting that illustrated the Mediæval manuscripts: indeed,
+many of the early paintings look like enlarged versions of the little
+pictures that adorn the vellum pages of missals and old <i>romans</i>.
+The early painters were influenced by the School of Cologne until
+the two Van Eycks (Hubert, 1366–1426, and Jan, 1380–1441), by their
+marvellous painting and by the followers they attracted, raised Flemish
+Art into importance and gave it a standing by itself as the School of
+Bruges.</p>
+
+<p>Little is known of the lives of these painters except that they stood
+high in the favor of Philip the Good, Duke of Burgundy, who frequently
+sent Jan on missions to foreign countries, and that the brothers
+painted the great and famous altar-piece, the <i>Adoration of the
+Lamb</i>, for the Cathedral of St. Bavon in Ghent. This great work,
+which is one of the most celebrated of all altar-pieces, is a landmark
+in the history of painting. It may be said to have inaugurated the
+Flemish School; and it marks an innovation as well. This <i>Adoration
+of the Lamb</i> was ordered by Jodocus Vydts, a burgomaster of
+Ghent, and his wife, Isabella Borluut, for their mortuary chapel in
+the Cathedral of St. Bavon; and Van Mander relates that when it was
+finished “swarms of people” came to gaze upon it; but, as the wings
+were closed except on special festivals, “few but the high-born and
+those who could afford to pay the <i>custos</i> saw it.” It must be
+remembered that at this period changes were also taking place in Italy
+under Gentile de Fabriano, Pisanello, and Masaccio. Whether the Van
+Eycks invented oil-painting or not, they had much to do with perfecting
+the process and influencing others to the use of the new method.</p>
+
+<p>The Van Eycks had as pupils and followers all the Flemish and German
+painters of the day and their influence was even felt in Italy, where
+their pictures sold for their weight in gold.</p>
+
+<p><span class="pagenum" id="Page_158">[158]</span></p>
+
+<p>In 1425 Philip the Good, Duke of Burgundy, took Jan van Eyck into his
+service as painter and “<i>varlet de chambre</i>;” and Jan, thereafter,
+seems to have spent his life at the Court, painting portraits and
+designing variously, going on embassies for the Duke, and painting in
+Bruges and in Lille. As a portrait-painter Jan van Eyck is ranked with
+Dürer, Holbein, Raphael, Titian, Van Dyck, and the other great ones in
+this line. Undoubtedly, Jan van Eyck moved about a good deal through
+the Duke of Burgundy’s immense domain, which included all the Low
+Countries and a great part of what is now France.</p>
+
+<p>We are apt to think of these early painters who laid the foundations
+of modern art as living in a much simpler day than our own. It is true
+that in the Fifteenth Century the Middle Ages were still holding their
+own in Flanders—the Renaissance moved very slowly northward—but it
+was a time of great prosperity and great luxury, especially in the
+Burgundian country.</p>
+
+<p>Philip the Bold, Duke of Burgundy, son of the King of France, was the
+most luxurious prince of his time. His titles show his power. He was
+Duke of Burgundy, of Brabant, of Lothier and of Luxembourg; Count
+of Flanders, of Artois, and of Burgundy; Palatine of Hainault, of
+Holland, of Zeeland, of Namur, and of Charolais; Marquis of the Holy
+Empire; and Lord of Friesland, of Salins, and of Mechlin. The House of
+Burgundy, therefore, by its inheritances, alliances and conquests, had
+attained such power as even to overshadow the French throne. Philip
+the Good (1396–1467) was even more luxurious than his grandfather,
+Philip the Bold. His Court was unequalled in Europe and was subject to
+the strictest rules of etiquette. His palaces in Brussels, Dijon, and
+Paris were sumptuously furnished and his collections of tapestries,
+gold-work, silver-work, jewels, embroideries, illuminated manuscripts,
+and printed books excited the admiration of such travellers and
+chroniclers as were privileged to see them and who, fortunately for us,
+have left accounts for us to read. At this period, too, the Flemings
+were the great craftsmen of Europe and they produced every kind of
+article required for the tastes and comfort of the wealthy Burgundians.
+Brussels and Dijon became veritable Meccas for Mediæval<span class="pagenum" id="Page_159">[159]</span> artists, while
+Bruges, Tournay, Arras, Ypres, Ghent, and Dinant held a welcome for any
+able craftsman or artist, who, driven from England, France, or Italy by
+the civil wars, sought refuge and work.</p>
+
+<p>And there was plenty of work to be done!</p>
+
+<p>Artistic designs of all kinds were needed for tapestry-workers, for
+the goldsmiths and silversmiths, for the furniture-makers, and for
+craftsmen busy in making articles for household use or for personal
+decoration. Moreover, for the great entertainments, such as weddings,
+receptions of princes, or celebrations in honor of the Knights of the
+Golden Fleece, and other important functions, a veritable army of
+painters, sculptors, illuminators, carvers, and machinists was needed
+to design, plan, and execute the <i>entremets</i> exhibited during the
+banquets and the grand decorations erected in the streets through which
+the processions passed.</p>
+
+<p>We shall gain a better idea of the spirit of early Flemish Art if we
+pause for a moment to look into the palace at Lille, in 1454, when
+Philip the Good was celebrating the “Feast of the Pheasant.” The large
+hall was hung with tapestry representing the <i>Labors of Hercules</i>.
+The <i>dressoir</i> of enormous size was adorned with magnificent gold
+and silver vessels and there were three large tables, splendidly laden
+with viands artistically decorated. One of the guests wrote: “On a
+raised platform at the head of the first table sat the Duke. He was
+arrayed in his accustomed splendor—his dress of black velvet serving
+as a dark ground that heightened the brilliancy of the precious stones,
+valued at a million of gold crowns, with which it was profusely decked.
+Among the guests was a numerous body of knights, who had passed the
+morning in the tilting-field, and fair Flemish ladies, whose flaunting
+beauty had inspired these martial sports. Each course was composed of
+forty-four dishes, which were placed on chariots painted in gold and
+azure and which were moved along the tables by concealed machinery.
+As soon as the company was seated, the bells began to peal from the
+steeple of a huge pastry church with stained windows that concealed an
+organ and choir of singers; and three little choristers issued from the
+edifice and sang a very sweet <i>chanson</i>. Twenty-eight musicians,<span class="pagenum" id="Page_160">[160]</span>
+hidden in a mammoth pie,<a id="FNanchor_19" href="#Footnote_19" class="fnanchor">[19]</a> performed on various instruments and the
+fine viands and wines were circulated.”</p>
+
+<p>After the exhibition of <i>entremets</i>, the <i>pheasant</i> was
+brought in, the Crusade proclaimed against the Sultan, and the vows
+registered.</p>
+
+<p>It is safe to conjecture that Hubert and Jan van Eyck were among the
+painters who were employed to design the <i>entremets</i>, triumphal
+arches, and curiosities executed in pastry and in confections made of
+sugar, as well as to paint portraits of distinguished Flemings and
+altar-pieces for their churches.</p>
+
+<p>The Flemish Primitives certainly had many occasions to feast their eyes
+upon magnificence!</p>
+
+<p>John Paston, who went to Bruges to attend Charles the Bold’s second
+marriage in 1468 to Margaret of York, was overwhelmed and dazed by
+what he saw. “Nothing was like it save King Arthur’s Court,” he
+wrote home. The streets were hung with tapestries and cloth-of-gold,
+triumphal arches were erected and at intervals along her way the bride
+was entertained by “Histories,” the joint production of painters,
+decorators, dramatists, and machinists. The banquet-hall was superbly
+decorated and the chroniclers say “lighted by chandeliers in the form
+of castles surrounded by forest and mountains with revolving paths on
+which serpents, dragons, and other monstrous animals seemed to roam
+in search of prey, spouting forth jets of flame that were reflected
+in huge mirrors, so arranged as to catch and multiply the rays. The
+dishes containing the principal meats were ships, seven feet long and
+completely rigged, the masts and cordage gilt, the sails and streamers
+of silk, each floating in a silver lake between shores of verdure and
+enamelled rocks and attended by a fleet of boats laden with<span class="pagenum" id="Page_161">[161]</span> lemons,
+oranges, and condiments. There were thirty of these vessels and as many
+huge pastries in the shape of castles with banners waving from their
+battlements and towers; besides tents and pavilions for the fruit;
+jelly-dishes of crystal supported by figures of the same material
+dispensing streams of lavender and rose-water; and an immense profusion
+of gold and silver plate.”</p>
+
+<p>When Charles the Bold was killed on the battlefield of Nancy (1477),
+a New Era was about to dawn. America was soon to be discovered; Vasco
+da Gama was to find an ocean route to the East Indies; the Moors
+were to be expelled from Spain; the Wars of the Roses were to end in
+England; Ferdinand and Isabella were to marry their daughter, the “mad
+Joanna,” to Philip the Fair of Austria, heir through his mother, Mary
+of Burgundy, to the Burgundian dominions (the issue being Charles V,
+born in Ghent in 1500). Of still more importance to the world of Art
+than these important events was the discovery of Italy by the French,
+who crossed the Alps with Charles VIII. The French were dazzled by what
+they saw in Italy. On their return the Renaissance in France and the
+Netherlands may be said to have begun to blossom. <i>The ground had
+already been prepared by the art-loving Dukes of Burgundy.</i></p>
+
+<p>Let us return, however, to the Bruges painters:</p>
+
+<p>“The rise of the School was aided by the Fourteenth Century Art of
+Cologne best shown in the work of Meister Wilhelm. The Art of the
+movement was, for the period, strongly realistic. Natural objects
+were painted with the utmost fidelity, interest in still-life and
+<i>genre</i> begin to appear, and details of architecture and landscape
+were rendered as carefully as the heads of the most sacred personages
+in the compositions. So pronounced was this tendency that superficial
+observers are led to consider Flemish painting fundamentally material;
+but a thoughtful analysis will reveal a spirituality in the art quite
+as sincere, if not so obvious, as in the painting of contemporary
+Italy. In the early School, the painting was almost wholly religious,
+and scenes and actors were handled with reverence and deep feeling.</p>
+
+<p>“The Flemings, however, inherited from earlier art a religious type
+to which they clung with great tenacity and which to the modern eye<span class="pagenum" id="Page_162">[162]</span>
+is ugly. The exaggeratedly-domed forehead of the Madonna, a symbol of
+intellect to the Fleming, is to the modern a distortion. Similarly the
+tiny mouth, the eyes almost without brows,<a id="FNanchor_20" href="#Footnote_20" class="fnanchor">[20]</a> and the other features
+which Flemish symbolism demanded, are now somewhat disturbing to
+the eye. When native realism and symbolism were coupled, as in the
+over realistic rendering of the ascetic Christ-Child, the effect is
+sometimes startling to the layman; and the beginner in the study of
+Flemish Art should beware of mistaking accidents of convention for
+artistic defects. If the conventions of Flemish Art make it at first
+difficult to appreciate, the technical perfection of the work must
+appeal to any one. Oil-painting, perfected if not necessarily invented
+in Flanders, gave a richness of color and a lustre of surface which
+specially distinguished the style. The play and delicate gradation
+of light over richly-colored surfaces was rendered so skillfully
+that the artists approached the expression of a complete visual
+effect, finally reached in Seventeenth Century Holland in the work of
+Vermeer.—<i>Mediæval and Renaissance Paintings</i> (Fogg Art Museum,
+Cambridge, 1927).</p>
+
+<p>Next in importance to the Van Eycks comes Roger van der Weyden
+(1400?–1464). By 1432 Roger had made a name for himself, for he had
+become a master painter in the Tournay Guild. In 1450 he went to Italy
+and seems to have visited Cologne on his way home (see page <a href="#Page_166">166</a>).</p>
+
+<p>The Maître de Flémalle (Robert Campin?), who showed a great interest in
+still-life, is thought to have been the master of Roger van der Weyden.
+Petrus Christus (1410?–1473), a native of Baerle, Holland, free citizen
+of Bruges in 1444, is regarded as one of the ancestors of <i>genre</i>
+painting (see page <a href="#Page_169">169</a>).</p>
+
+<p>Hans Memling (1430–5–1494), a native of Holland, was a supposed pupil
+of Roger van der Weyden. It is believed that Roger van der Weyden took
+Memling with him to Italy in 1450. Memling was closely associated with
+his master Roger van der Weyden and sometimes painted the wing-panels
+for Roger’s great altar-pieces. Memling’s chief painting was done in
+Bruges (see page <a href="#Page_172">172</a>).</p>
+
+<p>Taine thus sums up the Flemish Primitives: “A Flemish Renaissance<span class="pagenum" id="Page_163">[163]</span>
+underneath Christian ideas, such, indeed, is the two-fold nature of
+art under Hubert and Jan van Eyck, Roger van der Weyden, Memling,
+and Quentin Massys; and from these two characteristics proceed all
+the others. On the one hand, artists take interest in actual life;
+their figures are no longer symbols like the illuminations of ancient
+missals, nor purified spirits like the Madonnas of the School of
+Cologne but living beings and bodies. They attend to no anatomy, the
+perspective is exact, the minutest details are rendered regarding
+stuffs, architecture, accessories, and landscape; the relief is strong
+and the entire scene stamps itself on the eye and on the mind with
+extraordinary force and sense of stability; the greatest masters of
+coming times are not to surpass them in all this, nor even go so far.
+Nature is now discovered. The scales fall from their eyes; they have
+just mastered almost in a flash, the proportions, the structure, and
+the coloring of visible realities; and, moreover, they delight in them.
+Consider the superb copes wrought in gold and bedecked with diamonds,
+the embroidered silks, the flowered and dazzling diadems with which
+they ornament their saints and divine personages, all of whom represent
+the pomp of the Burgundian Court. Look at the calm and transparent
+water, the bright meadows, the red and white flowers, the blossoming
+trees and the sunny distances of their admirable landscapes. Observe
+their coloring—the strongest and richest ever seen, the pure and full
+tones side by side as in a Persian carpet and united solely through
+their harmony, the superb breaks in the folds of purple mantles, the
+deep azure of long, falling robes, the green draperies like a summer
+field permeated with sunshine, the display of gold skirts trimmed with
+black, the strong light which warms and enlivens the whole scene—and
+you have a concert in which each instrument sounds its proper note.
+They see the world on the bright side and make a holiday of it, a
+genuine <i>fête</i>, similar to those of this day, glowing under a
+more bounteous sunlight and not a heavenly Jerusalem suffused with
+supernatural radiance such as Fra Angelico painted. They are Flemings
+and they stick to the earth.”</p>
+
+<p>Contemporary with Memling is Hugo Van der Goes (1430–1482), one of
+the last important figures in the Van Eyck School, more celebrated<span class="pagenum" id="Page_164">[164]</span>
+in his day than in ours, but powerful and austere, and painter of an
+altar-piece in 1476 for Tommaso Portinari, which was placed in the
+Church of Santa Maria Nuova in Florence and was greatly admired by
+Ghirlandaio and Piero di Cosimo. With Gerard David (1450–1523), a
+follower of Memling and Massys, we leave the Flemish Primitives for a
+world of newer ideas.</p>
+
+<p>Quentin Massys (1460–1530), creator of the Antwerp School, belongs to
+an intermediate epoch. He is herald of the Italianiate Flemings—Jan
+Mabuse, Bernard van Orley, Lambert Lombard, Jan Mostært, Bellegambe,
+Launcelot Blondeel, and others—all of whom, dazzled by the
+Renaissance, tried to combine their Flemish coldness with Italian
+grace. Some of them lived to see the triumph of Rubens and the rise of
+another School.</p>
+
+<p>Peter Paul Rubens (1577–1640), is the recognized head of the Flemish
+School of Painting. His power was felt throughout Europe and he had
+more influence on taste in the Seventeenth Century than any other
+artist. Rubens painted more than two thousand pictures and made nearly
+five hundred drawings. In every style he proved himself a great master
+(see page <a href="#Page_176">176</a>).</p>
+
+<p>Anthony Van Dyck (1599–1641) studied under Hendrik van Balen and then
+became assistant to and pupil of Rubens. After a long stay in Italy
+he returned to Antwerp and thence settled in England where he became
+Court-Painter to Charles I. In his short life he painted nearly a
+thousand pictures and acquired such proficiency in portraiture that he
+is ranked among the greatest in this line (see page <a href="#Page_181">181</a>).</p>
+
+<p>The important Brueghel (or Breughel) family affords an example of
+heredity in painting and how in the course of generations there was
+transition from the old to the new art. Pieter (Peasant) Brueghel
+(1530–16—?) received lessons from Van Orley and Jerome Cœck, but his
+real master was the long dead Jerome Bosch, whose fantastic works
+fascinated him. Brueghel went to Italy and was delighted with the
+Alpine scenery; but, on his return he tried to preserve the Flemish
+ideas that were fast dying under the Italian cult. He persisted in
+portraying the familiar scenes of his boyhood and familiar humorous
+situations. Therefore, he received the sobriquets of “Peasant
+Brueghel”<span class="pagenum" id="Page_165">[165]</span> and “Droll Brueghel.” His two sons were equally famous.
+Jan or “Velvet Brueghel” (1568–1625), so-called from his fondness for
+wearing velvet, was famous for his flowers; and he frequently painted
+garlands in the pictures of Rubens. Pieter Brueghel (1574–1637),
+so loved painting infernal scenes that he was nicknamed “Hell-fire
+Brueghel.” Their sons continued their names and professions until the
+close of the Seventeenth Century.</p>
+
+<p>Pieter Pourbus (1510–1584) and his son Frans (1540–1580) are among the
+best portrait-painters of the Sixteenth Century.</p>
+
+<p>Frans Snyders (1579–1657) studied under Peter Brueghel and Hendrik van
+Balen, became the friend and associate of Rubens, and a brilliant and
+unsurpassed painter of fruits and animals.</p>
+
+<p>Jacob Jordaens (1593–1678), born in Antwerp, son of a cloth merchant,
+depicted scenes from domestic life and popular festivities. He
+was astonishingly able to render mirth and jollity. Jordaens is
+distinguished for his unrestrained and boisterous humor and he often
+repeated his somewhat crazy home-concert, “As the old ones sing, so
+will the young ones twitter.” Jordaens sometimes collaborated with
+Frans Snyders, Jan Fyt, Adriaen van Utrecht, and others. Jordaens was
+entirely Flemish, absolutely unaffected by the foreign influences that
+charmed Rubens and Van Dyck.</p>
+
+<p>David Teniers the Younger (1610–1690) is the greatest <i>genre</i>
+painter of the southern Netherlands. Teniers is one of those Flemish
+painters who were sought after in Holland during their lifetime.
+This may have arisen from the fact that he was closely allied with
+the Dutch School and with Brouwer who lived and worked in Antwerp.
+Teniers was an indefatigable painter and left more than eight hundred
+pictures,—inn-interiors, <i>kermesses</i>, hawking-parties, drinkers,
+bagpipe-players and other musicians, “conversations,” bowling-games,
+kitchens, <i>Temptations of St. Anthony</i>, and monkey-scenes. Sir
+Joshua Reynolds admired him and said: “The works of David Teniers,
+jun., are worthy of the closest attention of a painter who desires to
+excel in the mechanical knowledge of his art. His manner of touching,
+or what we call handling, has perhaps never been equalled: there is
+in his pictures that exact mixture of softness and sharpness which is
+difficult to execute.”</p>
+
+<p><span class="pagenum" id="Page_166">[166]</span></p>
+
+<p>One of the best artists of the second period of the Antwerp School
+is Gonzales Coques (1614–1684), a painter of interiors of elegance,
+wealth, gaiety, and happy serenity, and also portraits. His distinction
+he borrows from Van Dyck and his color is inspired by Rubens. However,
+in the dimensions of his pictures and their minuteness of detail and
+finish, Coques is reminiscent of the Dutch School,—particularly
+Terborch and Metsu.</p>
+
+<p>In the Eighteenth Century there is little painting to claim attention.
+Charles Blanc has put the matter most succinctly:</p>
+
+<p>“For the Flemish School the Eighteenth Century is a long
+<i>entr’acte</i> during which the stage, so nobly occupied of old,
+is sad and deserted. Here and there an artist appears to remind us
+what Flanders was in color and decoration for two centuries. France
+was triumphing in spirit and grace; Italy, though decadent, was still
+ingenious and smiling; England at last was producing original masters;
+<i>but Flanders was asleep</i>.”</p>
+
+
+<h4>PORTRAIT OF A LADY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Roger van der Weyden</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1400?–1464).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This very striking portrait, an oil painting on panel (14⅜ × 10⅝), came
+from the Collection of the Duke of Anhalt, Ducal Castle of Dessau, and
+was previously in the Gothic Palace, Wörlitz, Germany.</p>
+
+  <div class="figcenter" id="i_167" style="max-width: 388px">
+     <img
+    class="p1"   
+    src="images/i_167.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">PORTRAIT OF A LADY</p>
+     <p class="p0 sm right">—<i>Roger van der Weyden</i></p>
+ </div>
+
+<p>The subject is a Flemish lady of high birth. She is not beautiful,
+but she has an air of great distinction. Her half-figure is turned
+three-quarters to the left and dressed in a dark robe with a
+turned-over collar, opening at the throat, where a transparent piece of
+soft, white muslin is arranged into a V-shape, and over this hangs a
+fine gold chain. A crimson girdle fastened with a gold clasp encircles
+her waist. The hair is brushed back from the forehead, or rather the
+forehead is rendered bald by the fashionable style of plucking out
+the hair, and covered by a close-fitting cap, composed of interlaced
+bands edged with a black ribbon, holding in place a thin veil; and over
+this a transparent white “wimple” is pinned to the cap, passing over
+the forehead and fastened at the back where it spreads in a wing on<span class="pagenum" id="Page_168">[168]</span>
+either shoulder. The right hand is placed over the left, presumably
+resting on a parapet, and a simple gold ring is on a finger of each
+hand.</p>
+
+<p>Dr. Max Friedländer writes in <i>Meisterwerke der Niederländischen
+Malerei des XV u. XVI Jahrhunderts auf der Ausstellung zu Brügge</i>
+(1902):</p>
+
+<p>“This simple, proud, and very well preserved portrait, which has up
+to the present time not received a great deal of attention, in my
+estimation appears to be characteristic of Roger van der Weyden, in
+the severe and somewhat Moorish outline of the face, in the economic
+modelling of the shadows, and in the drawing of the lean hands. Similar
+women’s portraits are in the National Gallery, London, and in Adolphe
+de Rothschild’s Collection (from the Nieuwenhuij’s Sale).</p>
+
+<p>Roger van der Weyden, or Rogier de la Pasture, the son of Henri de
+la Pasture, was born in 1400 in Tournai, where the family had been
+settled since 1260. His father was a sculptor and gave Roger his first
+training. Next he was apprenticed to the Maître de Flêmalle (Robert
+Campin) and later went to Brussels to live. Here he quickly gained a
+great reputation, for in 1436 he was appointed painter to the city of
+Brussels. While busy on his great <i>Last Judgment</i>, commissioned
+by Nicholas Rolin for the Hospital at Beaune (a polyptych, which has
+been classed with the Van Eyck <i>Adoration of the Lamb</i>), Roger
+went on a long trip to Italy. Visiting Rome, he greatly admired the
+frescoes begun by Gentile da Fabriano in St. John Lateran. He also went
+to Florence, Ferrara, and, it is supposed, Venice. Roger painted a good
+deal in Italy and even had orders. Among other things he painted a
+<i>Madonna and Child</i> for Cosimo de’ Medici.</p>
+
+<p>Roger returned home, it is thought, by way of Cologne. While on this
+trip, Roger was commissioned by Leonello d’Este to paint a picture.</p>
+
+<p>Roger van der Weyden left as much in Italy as he brought home. His
+influence is seen in many of the contemporary Italians. In like manner,
+the influence of the Italians appears in the pictures that Roger van
+der Weyden painted on his return. German artists, too, fell under the
+spell of Roger van der Weyden, particularly Martin Schöngauer, the
+greatest German painter of the Fifteenth Century.</p>
+
+<p><span class="pagenum" id="Page_169">[169]</span></p>
+
+<p>Roger van der Weyden was extremely versatile: he produced paintings in
+oil and painted miniatures, designed cartoons for tapestry-weavers, and
+made wood-engravings.</p>
+
+<p>Fierens-Gevaert, the greatest authority on Flemish Primitives, says of
+Roger van der Weyden:</p>
+
+<p>“His figures, among which males predominate, both in number and
+interest, do not all possess the impassibility sometimes attributed to
+them. Their beauty, or their moral significance, is merely restrained,
+just like the artist’s own emotions. Both need to be discovered. As for
+the expression of the color, the novel truth of the light, the profound
+feeling of the landscape—these are the incontestable merits in the
+Louvain painter. They explain his profound influence upon Memling,
+Gerard David, Quentin Massys, the Master of the Death of Mary, his
+<i>prestige</i> with the Sixteenth Century Renaissants, and the growing
+admiration of modern criticism for his genius.”</p>
+
+<p>Roger van der Weyden died in Brussels, June 16, 1464, leaving many
+pupils and followers, the most noteworthy of whom was Hans Memling.</p>
+
+
+<h4>PORTRAIT OF A CARTHUSIAN MONK AS A SAINT.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Petrus Christus</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1410?–1473).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>This interesting panel (8½ × 11⅝ inches) came to America by way of
+Spain, having been in the Collections of Don Ramon de Oms, Majorca, and
+the Marquis de Dos Aguas, Valencia.</p>
+
+<p>The picture is signed and dated 1446 at the base of the portrait,
+below a ledge, on which an insect is slowly walking. The identity of
+the subject and the reason for the presence of the fly, or grasshopper
+(or whatever it is), are equally unknown. However, we have here a
+marvellous human document, which grows more amazing the longer it is
+studied. The portrait preserves the personality and features of a
+strong, kindly, and interesting man, who must have been beloved and
+honored, or he would not have been represented with a golden ring
+around his head, proclaiming him a saint.</p>
+
+<p><span class="pagenum" id="Page_170">[170]</span></p>
+
+<p>And the painter has done more than this: he has thrown such atmosphere
+around the man that the interesting life in the old abbeys seems to
+rise before us. We see the picturesque buildings set in emerald swards
+and shaded by leafy trees, and surrounded by cloisters where the monks
+take exercise, or read in some traceried recess; and we peer into
+the halls where the artistic members of the community are writing,
+composing music, copying, or painting and illuminating beautiful
+miniatures in manuscripts, destined—although undreamed of by these
+painters and gold-leaf workers—to bring thousands of dollars at
+auction-sales five hundred years in the future and to be prized as
+treasures in a then undiscovered country across the Atlantic Ocean,
+whose waters were thought by those very monks to break upon the shores
+of Far Cathay!</p>
+
+<p>Our <i>Carthusian Monk</i>, in his white cassock, carries us into the
+Chapel, where we see him and others of his Order in prayer at midnight,
+at early dawn, or at the vesper hour; and again with him we stroll
+to the near-by river in the golden sunlight of the afternoon and sit
+under the soft willows, dangling a line from a long fishing-pole until
+we have a sufficient catch for supper. On our return to the abbey we
+notice how heartily our <i>Carthusian Monk</i> welcomes a group of
+arriving travellers—for the abbeys were the hostelries in the Middle
+Ages—and we join them at supper in the refectory. Doubtless, too, our
+Carthusian gives us a <i>petit verre</i> of golden Chartreuse of his
+own making.</p>
+
+<p>While the rules in the ancient abbeys were rigid and inflexible and
+religion, of course, the chief business, it was in these secluded
+places that art and learning were preserved and fostered. The world
+to-day is apt to forget what civilization owes to the Mediæval Abbey,
+and Petrus Christus has brought this <i>Carthusian Monk</i> to tell us
+something of what that is.</p>
+
+  <div class="figcenter" id="i_171" style="max-width: 364px">
+     <img
+    class="p1"   
+    src="images/i_171.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">PORTRAIT OF A CARTHUSIAN MONK AS A SAINT</p>
+     <p class="p0 sm right">—<i>Petrus Christus</i></p>
+ </div>
+
+<p>Petrus Christus was born at Baerle, on the southern border of Holland,
+in 1410 (it is thought). In 1444 he became a free citizen of Bruges
+and, as he was a follower and probably a pupil of Jan van Eyck and
+Roger van der Weyden, he is classed as belonging to the School of
+Bruges. Petrus Christus painted religious pictures and portraits<span class="pagenum" id="Page_172">[172]</span> and
+is regarded as one of the direct ancestors of <i>genre</i> painting.
+He died in 1473. Of late years his pictures have come into special
+prominence.</p>
+
+
+<h4>MADONNA AND CHILD WITH ANGELS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Memling</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1430–5–1494).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This painting, an oil on panel (23 × 19 inches), came from the
+Collection of the Duke of Anhalt, Gothic Palace, Wörlitz, near Dessau,
+Germany.</p>
+
+<p>The Virgin in a blue robe and red mantle is seated on a canopied
+throne, behind which is an embroidered hanging. Her eyes are looking
+downward upon a missal which she holds in her left hand. On her right
+knee, and supported by her right arm, is seated the Holy Child, who
+reaches out for an apple, offered to Him by a kneeling Angel. This
+Angel holds in his left hand a viol and bow. At the right, another
+kneeling Angel is playing a harp. The scene is framed in a Gothic arch,
+flanked on either side by a circular column, each column supporting a
+single male figure in a sculptured niche: on the right, St. Simon the
+Apostle is holding a saw, and on the left, the Prophet David is holding
+a harp. On each spandrel of the arch a cherub is holding a globe.
+Beyond this again, on either side of the throne, we see a landscape
+with a castle on the left and a church and river on the right. In the
+foreground there is a tessellated floor covered with an Oriental rug.</p>
+
+<p>This idea of angels playing instruments<a id="FNanchor_21" href="#Footnote_21" class="fnanchor">[21]</a> Memling may have learned
+from Italy.</p>
+
+<p><span class="pagenum" id="Page_173">[173]</span></p>
+
+  <div class="figcenter" id="i_173" style="max-width: 452px">
+     <img
+    class="p1"   
+    src="images/i_173.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">MADONNA AND CHILD WITH ANGELS</p>
+     <p class="p0 sm right">—<i>Hans Memling</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_174">[174]</span></p>
+
+<p>Hans Memling (or Memlinc), was born in 1430 or 1435, supposedly in
+Memelynck (whence his name) near Alkmaar in Holland. Tradition says
+that his family removed to the diocese of Mainz when he was fifteen.
+Memling seems to have painted in Cologne before he went to Bruges about
+1465, where it is thought he was a pupil of Roger van der Weyden. It
+is certain that he was a master painter in Bruges in 1467. In 1479 he
+painted his masterpiece, <i>The Marriage of St. Catherine</i>, ordered
+by Jan Floreins for the St. John’s Hospital, Bruges, and also a smaller
+triptych, <i>The Adoration of the Magi</i>, for the same building.
+Another great work was the <i>Shrine of St. Ursula</i>, ordered by the
+Hospital in 1480 to enclose some relics of St. Ursula brought from the
+Holy Land,—a miniature Gothic chapel adorned with finials, statuettes,
+and medallions representing episodes in the life of St. Ursula. Memling
+died in 1494 in Bruges, which contains to-day a great number of his
+works.</p>
+
+<p>Memling, in common with the Van Eycks and Roger van der Weyden was
+fond of enamelling his grassy swards, where the people sit or walk,
+with beautifully painted flowers; such as the daisy, the anemone, and
+the iris. Hans Memling is the most attractive of all the painters
+of the Netherlandish School, the most human, the most poetic, most
+graceful and the tenderest, merging, as did Fra Angelico (1387–1455),
+his contemporary, from Mediæval to Renaissance. Indeed Hans Memling is
+often called the “Flemish Fra Angelico.”</p>
+
+
+<h4>PORTRAIT OF A YOUNG GENTLEMAN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Memling</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1430–1494).</i></td>
+    <td class="cht3"><i>Mrs. John N. Willys.</i></td>
+  </tr>
+</table>
+
+<p>Here we have the portrait of a young gentleman nearly full face, and
+clad in a black doublet which is open at the neck showing a white linen
+shirt with a narrow black circular band around the top. On his head is
+a circular black felt cap with narrow brim. The dense masses of his
+brownish red hair fall over his shoulders and completely cover his
+forehead to the top of his eyebrows. He has blue eyes and an intensely
+thoughtful and serious expression, and he holds in his<span class="pagenum" id="Page_176">[176]</span> left hand a
+scroll of paper, which might seem to indicate that he is a poet. The
+background consists of a woody landscape, and on the left is a river
+with two swans.</p>
+
+  <div class="figcenter" id="i_175" style="max-width: 351px">
+     <img
+    class="p1"   
+    src="images/i_175.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. John N. Willys</i></p>
+     <p class="p0 sm center">PORTRAIT OF A YOUNG GENTLEMAN</p>
+     <p class="p0 sm right">—<i>Hans Memling</i></p>
+ </div>
+
+<p>Dr. Max J. Friedländer, of Berlin, after examining the picture wrote to
+the present owner: “I was greatly interested in the Memling portrait
+from the Taylor Collection which I saw at your place. It is positively
+a characteristic work of the hand of the Master.”</p>
+
+<p>This picture painted on panel (13½ × 9 inches) came from the John
+Edward Taylor Collection, London, in 1912.</p>
+
+
+<h4>LOUIS XIII KING OF FRANCE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Peter Paul Rubens</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1577–1640).</i></td>
+    <td class="cht3"><i>Sir Joseph Duveen, Bart.</i></td>
+  </tr>
+</table>
+
+<p>This interesting oil painting on canvas (46½ × 38 inches) came from
+the Collection of the Emperor of Germany, Palace of Charlottenburg
+near Berlin, and was originally in the Collection of the Archduke
+Leopold William of Austria at the Ducal Palace, Brussels. It was
+painted between 1622 and 1625, and is supposed to be a companion to the
+portrait of <i>Anne of Austria</i> (now in the Prado).</p>
+
+<p>Louis XIII is represented about the age of twenty-five, life-size,
+and three-quarter length, looking at the observer from a background
+of sky, portico, and red drapery. He has a slight moustache and his
+hair is curled and falls down to the fine lace ruff around his neck.
+He is dressed in a polished steel suit of armor and rests his left
+hand, wearing a gauntlet, on a table covered by a cloth. A marshal’s
+<i>bâton</i> is in his right hand. The Cross of the Order of the Holy
+Spirit hangs from a ribbon at his right side and on his left hangs a
+sword from a belt. Over his shoulder is thrown a bright blue velvet and
+ermine mantle embroidered with <i>fleur-de-lys</i> and on the table is
+seen his helmet surmounted by rich plumes of ostrich feathers.</p>
+
+  <div class="figcenter" id="i_177" style="max-width: 447px">
+     <img
+    class="p1"   
+    src="images/i_177.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Sir Joseph Duveen, Bart.</i></p>
+     <p class="p0 sm center">LOUIS XIII, KING OF FRANCE</p>
+     <p class="p0 sm right">—<i>Peter Paul Rubens</i></p>
+ </div>
+
+<p>Louis XIII, son of Henri IV and his second wife, Marie de’ Medici,
+was born in 1601 and became king at the age of nine, on his father’s
+assassination in 1610. Marie de’ Medici, then becoming Regent,
+determined to bring France into close relation with the House of<span class="pagenum" id="Page_178">[178]</span>
+Austria and Spain, and, consequently, brought about the marriage of her
+son in 1615 with Anne of Austria, daughter of the Spanish King, Philip
+III.</p>
+
+<p>Louis does not seem to have inherited any of the talents of the Medici
+family, nor any of the dashing charm of his father, the gallant “King
+Henry of Navarre.” He acquiesced for a time in his mother’s government
+and in the rule of her favorites, among whom the Marshall d’Ancre was
+notable; but in 1617 he had the latter assassinated with the help of
+Charles d’Albert, Sieur de Luynes. This caused a breach between him and
+his mother and their relations continued hostile until death.</p>
+
+<p>In 1624 Cardinal Richelieu, who had been Marie de’ Medici’s chief
+adviser, entered into the King’s council, and, thereafter, Richelieu
+directed the policy of France and controlled Louis XIII. Many conflicts
+resulted between the Protestants and the nobles of France; and Louis
+was made the enemy of his mother, Gaston d’Orléans (his brother) and,
+frequently, of his wife, Anne of Austria. On one occasion the Queen
+Mother and Gaston d’Orléans gained influence over Louis and he was
+about to dismiss Richelieu; but the Cardinal regained his power and
+immediately punished his enemies. The Queen Mother was forced to flee
+to Brussels and Gaston d’Orléans to Lorraine. Towards the end of his
+reign Louis is quoted as having said to Richelieu: “We have lived
+together too long to be separated.”</p>
+
+<p>Cardinal Richelieu died in December, 1642, and Louis died a few months
+later, in May, 1643.</p>
+
+<p>Peter Paul Rubens was born in Siegen, Westphalia, in 1577, and received
+his first education in the Jesuit College in Antwerp, and, for a few
+years, thereafter, was page to a noble lady. At the age of thirteen he
+began to study painting under Tobias Verhaagt, whom he left to study
+under Adam van Noort. Next he worked under Otto van Veen. In 1600
+he went to Italy, entering the service of Vincenzo Gonzaga, Duke of
+Mantua, with whom he remained for eight years, interrupted by missions
+to various courts. In 1603 he visited Madrid and went to Venice, Rome,
+and Genoa. In 1609, on the death of the Duke of Mantua, Rubens returned
+to Antwerp and became Court-Painter<span class="pagenum" id="Page_179">[179]</span> to Albert and Isabella, Regents of
+the Netherlands. In that year also Rubens married Isabella Brandt. His
+studio at Antwerp now became famous and attracted students from every
+town in Europe.</p>
+
+<p>He had barely established himself when he wrote to a friend in 1611:
+“On every side I am overwhelmed with solicitations. Without the least
+exaggeration, I may assure you that I have already had to refuse more
+than a hundred pupils.”</p>
+
+<p>In 1621 Rubens was called by Marie de’ Medici to Paris to decorate the
+gallery in the Palace of the Luxembourg. At this period the <i>style
+Rubens</i>, which he introduced on his return from Italy and which was
+inspired by the late Italian Renaissance, was all the rage.</p>
+
+<p>In 1622 he published a book on the <i>Palaces of Genoa</i>; and from
+the preface we learn that he was perfectly delighted to see the “old
+style known as barbarous, or Gothic, go out of fashion, to the great
+honor of the country, and disappear from Flanders, giving place to
+symmetrical buildings designed by men of better taste and conforming to
+the rules of the Greek and Roman antique.”</p>
+
+<p>Rubens was a favorite with several kings and when he was neither
+painting nor teaching, he was visiting some foreign court on an
+embassy. On one of these visits to London in 1629–30 he was knighted by
+Charles I.</p>
+
+<p>In 1630 he married again (Isabella Brandt having died in 1626), uniting
+himself to his first wife’s niece, Helena Fourment, who was but
+sixteen. Rubens now built a palatial house in Antwerp, where, as well
+as in his <i>Château de Steen</i> in the vicinity, he lived a happy,
+industrious, and splendid life, having everything the world could give
+in the way of honors and joys. Rubens’s influence upon the artists of
+his own time was very great and he dominated the entire art taste of
+Europe during the first three quarters of the Seventeenth Century.</p>
+
+<p>Religious subjects, mythological subjects, landscapes, hunting scenes,
+portraits, and still-life,—everything came easily to his brush. Sir
+Joshua Reynolds wrote a fine analysis of Rubens, in which he says: “The
+striking brilliancy of his colors, and their lively opposition to each
+other, the flowing liberty and freedom of his outline, the<span class="pagenum" id="Page_180">[180]</span> animated
+pencil with which every object is touched, all contribute to awaken
+and keep alive the attention of the spectator; awaken in him, in some
+measure, correspondent sensations, and make him feel a degree of that
+enthusiasm with which the painter was carried away. To this we may add
+the complete uniformity in all the parts of the work, so that the whole
+seems to be conducted and grow out of one mind: everything is of a
+piece and fits its place.</p>
+
+<p>“Besides the excellency of Rubens in these general powers, he possessed
+the true art of imitating. He saw the objects of nature with a
+painter’s eye; he saw at once the predominant feature by which every
+object is known and distinguished; and as soon as seen, it was executed
+with a facility that is astonishing. Rubens was, perhaps, the greatest
+master in the mechanical part of the art, the best workman with his
+tools, that ever exercised a pencil.</p>
+
+<p>“This power which Rubens possessed in the highest degree enabled him
+to represent whatever he undertook better than any other painter. His
+animals, particularly lions and horses, are so admirable that it may
+be said they were never properly represented but by him. His portraits
+rank with the best works of the painters who have made that branch of
+art the sole business of their lives; and of those he has left a great
+variety of specimens. The same may be said of his landscapes.</p>
+
+<p>“The difference of the manner of Rubens from that of any other painter
+before him is in nothing more distinguishable than in his coloring,
+which is totally different from that of Titian, Correggio, or any of
+the great colorists. The effect of his pictures may be not improperly
+compared to clusters of flowers; all his colors appear as clear and as
+beautiful; at the same time he has avoided that tawdry effect which one
+would expect such gay colors to produce; in this respect resembling
+Barocci more than any other painter. What was said of an ancient
+painter may be applied to those two artists, that their figures look as
+if they fed upon roses.”</p>
+
+<p><span class="pagenum" id="Page_181">[181]</span></p>
+
+
+<h4>RINALDO AND ARMIDA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Anthony Van Dyck</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1599–1641).</i></td>
+    <td class="cht3"><i>Mr. Jacob Epstein.</i></td>
+  </tr>
+</table>
+
+<p>This picture, oils on canvas (90 × 96 inches), came from the Collection
+of the Duke of Newcastle, Clumber Park, Nottinghamshire, to its present
+home in Baltimore.</p>
+
+<p>Rinaldo is in shining, silver-blue armor with a flowing mantle of
+golden yellow, which is clasped at the shoulder. Armida wears a blue
+robe and a red mantle. The sky is blue with white clouds and there is a
+tree in the background and an enchanted lake at the right.</p>
+
+<p>The influence of Van Dyck’s master, Rubens, is very apparent in this
+gorgeous picture, where all the delights of the Garden of Armida are
+set forth—that magic garden that Tasso described in his <i>Jerusalem
+Delivered</i>, to which many a Crusader was lured.</p>
+
+  <div class="figcenter" id="i_183" style="max-width: 509px">
+     <img
+    class="p1"   
+    src="images/i_183.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jacob Epstein</i></p>
+     <p class="p0 sm center">RINALDO AND ARMIDA</p>
+     <p class="p0 sm right">—<i>Sir Anthony Van Dyck</i></p>
+ </div>
+
+<p>Another <i>Rinaldo and Armida</i> by Van Dyck is in the Louvre.</p>
+
+<p>Armida was a beautiful sorceress; and it was difficult to resist her
+enchantment. Two messengers were sent from the Christian Army with a
+talisman to effect Rinaldo’s escape. Armida followed Rinaldo and, not
+being able to regain her power over him, rushed into the combat and was
+killed. Rinaldo came of the noble Este family and ran away at the age
+of fifteen to join the Crusaders. He was enrolled in the “Adventurers
+Squadron” and is often called the “Achilles of the Christian Army.”</p>
+
+<p>Anthony, or Antoon, van Dyck, was born at Antwerp in 1599, son of a
+silk-merchant. At the age of ten he became the pupil of Henrik van
+Balen and entered Rubens’s studio as assistant in 1618, when only
+seventeen. He soon achieved a reputation for his portraits and visited
+England. In 1621, by Rubens’s advice, he went to Italy, having already
+acquired a reputation. After a five years’ stay, much of which time
+was spent in Genoa, Van Dyck returned home and painted his celebrated
+picture of the <i>Crucifixion</i> for the Church of St. Michael in
+Ghent, which established his reputation. In 1630 he again visited
+England; but, not meeting with the reception he had anticipated,<span class="pagenum" id="Page_182">[182]</span>
+he returned to Antwerp. However, in 1632, Charles I, who had seen a
+portrait of his Chapelmaster by Van Dyck, sent for him to come to
+England. On this occasion the painter was warmly welcomed, lodged by
+the King at Blackfriars, and, in the following year was knighted and
+given a pension for life. Van Dyck was the second painter to have
+an English Knighthood. Thenceforward Van Dyck lived very grandly,
+having a town house and also a country house at Eltham. He was always
+magnificently dressed, had numerous coaches and horses, and kept so
+good a table that few princes were better served. Van Dyck died in
+London in 1641, at the age of forty-two, having left a prodigious
+amount of work and a fortune of £20,000 sterling, notwithstanding his
+expensive manner of living. He was buried in Old St. Paul’s, near the
+tomb of John of Gaunt; but his remains, of course, perished in the
+Great Fire of 1666.</p>
+
+<p>In the short span of his life—forty-two years—he painted nearly a
+thousand pictures. Van Dyck has three styles. The first is his Italian
+period; the second, his Flemish period, dating from his return from
+Italy in 1626 to his departure for England in 1631; and the third, his
+English period, from 1631 to 1641. The latter period is the greatest
+and the most distinguished for grace, elegance, and aristocratic
+quality.</p>
+
+<p>“More noble than Rubens in his choice of form,” writes Charles Blanc,
+“Van Dyck had fewer faults than his master, but perhaps also less
+grandeur. His color was as charming without being so splendid. His
+design was learned, but without pedantry; and his contours were always
+governed by the sentiment of grace, or fire of genius. Very nearly
+the equal of Titian in portraiture, Van Dyck has sometimes risen to a
+great height in his historical compositions, in which the beauty of the
+expression is often as admirable as the excellence of the touch.”</p>
+
+<p><span class="pagenum" id="Page_183">[183]</span><br><span class="pagenum" id="Page_184">[184]</span></p>
+
+
+<h4>DÆDALUS AND ICARUS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Anthony Van Dyck</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1599–1641).</i></td>
+    <td class="cht3"><i>Mr. Frank P. Wood.</i></td>
+  </tr>
+</table>
+
+<p>A treasure of art, long in England in the famous Collection of the late
+Earl Spencer, K. G., at Althorp, Northumberland, is Van Dyck’s poetic
+version of the ancient Greek myth regarding man’s attempt at flight.
+Van Dyck was so fond of this subject that he painted it more than once.</p>
+
+<p>This work is an oil painting on canvas (46 × 35 inches).</p>
+
+<p>The figures are nearly life-size and very finely modelled. Icarus
+is nude save for a red drapery caught around the waist by a narrow
+band of bluish green,—a rather strange aviator’s suit to our way of
+thinking to-day! The position of his right hand would seem to tell us
+that Icarus is about to speak to his father, who, standing behind him,
+has apparently just fastened on his son’s wings and who appears to be
+giving him that sage advice about flying too near the sun. The flashing
+eyes and knitted brow of young Icarus indicate that this advice is not
+relished.</p>
+
+<p>Max Rooses has noted that Icarus is not unlike the Angels that Van Dyck
+was fond of painting; calls attention to his beautiful, waving, golden
+hair; and finds a strong likeness between Icarus and the artist himself
+in his youth. One of the wings shows a white interior and the other, in
+the shadow, a bluish green exterior.</p>
+
+  <div class="figcenter" id="i_185" style="max-width: 409px">
+     <img
+    class="p1"   
+    src="images/i_185.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Frank P. Wood</i></p>
+     <p class="p0 sm center">DÆDALUS AND ICARUS</p>
+     <p class="p0 sm right">—<i>Sir Anthony Van Dyck</i></p>
+ </div>
+
+<p>Dædalus was a mythical personage under whom the Greek writers
+personified the earliest development of human flight and also the arts
+of sculpture and architecture. Some traditions represent Dædalus as of
+the royal race of the Erechthidæ and others make him a Cretan. Dædalus
+devoted himself to sculpture and taught his sister’s son, Talus, who
+soon surpassed him. Consequently, in envy Dædalus killed this young
+rival. Condemned to death in Athens for this murder, Dædalus fled to
+Crete, where his fame won him the friendship of King Minos. When Queen
+Pasiphae gave birth to the Minotaur, Dædalus constructed the Labyrinth
+at Cnossus in which the Minotaur was kept; and for doing this King
+Minos imprisoned him. However,<span class="pagenum" id="Page_186">[186]</span><span class="pagenum" id="Page_185">[185]</span> Pasiphae released him. This was of not
+much advantage, however, because King Minos had seized all the ships
+on the coast of Crete. “Necessity is the mother of invention:” Dædalus
+had to get away. The question was “how?”. The result was that Dædalus
+made wings for himself and for his son, Icarus, and fastened them on
+the shoulders with wax, cautioning the youth not to fly too close to
+the sun. Icarus would not pay attention to this advice and, flying too
+high, the wax melted and he dropped down and was drowned in that part
+of the Ægean Sea, which is now called after him the Icarian Sea.</p>
+
+<p>Dædalus, however, flew safely over the Ægean and reached Sicily, where
+he was protected by Cocalus, King of that Island. When King Minos heard
+where Dædalus had taken refuge he sailed with a great fleet to Sicily;
+but was murdered there by Cocalus. According to some accounts, Dædalus
+alighted on his flight from Crete at Cumæ in Italy, where he erected a
+temple to Apollo in which he offered the wings with which he had flown.
+Like Lindberg, his descendant, he placed his “We” in a museum!</p>
+
+<p>Many works of art were attributed to Dædalus in Greece, Italy, Egypt,
+and the islands of the Mediterranean. Also the Greeks gave the name
+of Dædala to the ancient wooden statues of the gods ornamented with
+gilding, bright colors, and real drapery.</p>
+
+<p>It is appropriate to add here a sonnet by an old French poet, Philippe
+Desportes (1545–1606) entitled “Icare”:</p>
+
+<p class="center sm p1"><i>ICARE</i></p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div><i>Icare est chut ici, le jeune audacieux,</i></div>
+        <div><i>Qui pour voler au ciel eut assez de courage:</i></div>
+        <div><i>Ici tomba son corps dégarni de plumage,</i></div>
+        <div><i>Laissant tous braves cœurs de sa chute envieux.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>O bienheureux travail d’un esprit glorieux,</i></div>
+        <div><i>Qui tire un grand gain d’un si petit dommage!</i></div>
+        <div><i>O bienheureux malheur plein de tant d’avantage,</i></div>
+        <div><i>Qu’il rende le vaincu des ans victorieux!</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Un chemin si nouveau n’étonna sa jeunesse,</i></div>
+        <div><i>Le pouvoir lui faillit, mais non le hardiesse;</i></div>
+        <div><i>Il eut pour le brûler des astres le plus beau;</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Il mourut poursuivant une haute aventure;</i></div>
+        <div><i>Le ciel fut son désir, la mer sa sépulture;</i></div>
+        <div><i>Est-il plus beau dessein, ou plus riche tombeau?</i></div>
+      </div>
+    </div>
+  </div>
+
+<p><span class="pagenum" id="Page_187">[187]</span></p>
+
+
+<h4>ROBERT RICH, EARL OF WARWICK.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Anthony Van Dyck</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1599–1641).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>In silver doublet with slashed sleeves embroidered with flowers,
+crimson knee-breeches edged with gold braid, pink silk stockings and
+white shoes with lace rosettes (or “shoe roses,” as they were called
+in those days), a crimson cloak thrown over his left shoulder and held
+by his gloved hand, white lawn collar and cuffs edged with handsome
+lace, Robert Rich, Earl of Warwick, stands before us, a picture of
+elegance, manly beauty, and aristocratic <i>hauteur</i>. He is standing
+full front with his head turned three-quarters to the left, in which
+direction he is also looking, and he is holding his black felt hat in
+his right hand. His armor and <i>bâton</i> of command are lying on the
+ground by his side. The embroidered curtain in the background does not
+prevent us from seeing a naval engagement on his right.</p>
+
+<p>Robert Rich, Earl of Warwick, came of very distinguished ancestry on
+the maternal line, for his mother was Penelope Devereux, the sister of
+Essex, whose mother, Lettice Knollys, had been Maid of Honor to Queen
+Elizabeth (and who captivated the Earl of Leicester), and whose father,
+Walter Devereux, was first Earl of Essex (died 1576). Penelope’s father
+had wished her to marry Sir Philip Sidney; but the Earl of Huntingdon,
+Penelope’s guardian, ruled otherwise and forced her to marry Lord
+Rich, “a man of independent fortune and a known estate but otherwise
+of an uncourtly disposition, unsociable, austere, and of no agreeable
+conversation to her.”</p>
+
+<p>Lady Rich, the most beautiful woman in all London, particularly famous
+for her sparkling black eyes, plunged wildly into society and was the
+most admired and courted woman of the Court. She played, too, a leading
+part in the rebellion of her distinguished brother, Essex. Lady Rich
+lives in literature as Sidney’s Stella. The romance between these
+lovers, “Astrophel and Stella,” never cooled. When Sidney<span class="pagenum" id="Page_188">[188]</span> learned of
+Penelope’s marriage to “the rich Lord Rich,” he played with her new
+name as follows:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“Towards Aurora’s court a nymph doth dwell,</div>
+        <div>Rich in all beauties which man’s eye can see;</div>
+        <div>Beauties so far from reach of words that we</div>
+        <div>Abase her praise saying she doth excel:</div>
+        <div>Rich in those gifts which give the eternal crown;</div>
+        <div>Who, though most rich in these and every part</div>
+        <div>Which makes the patents of true worldly bliss,</div>
+        <div>Hath no misfortune but that Rich she is.”</div>
+      </div>
+    </div>
+  </div>
+
+<p>Lord Rich was created Earl of Warwick in 1618; but he had been divorced
+from Lady Rich in 1605, thirteen years before he succeeded to this
+title. On obtaining her divorce Lady Rich then married Charles Blount,
+Earl of Devonshire and eighth Baron Mountjoy, who, in defense of his
+marriage, wrote the following:</p>
+
+<p>“A lady of great birth and virtue being in the power of her friends,
+was by them married against her will unto one against whom she did
+protest at the very solemnity and ever after; between whom, from the
+first day, there ensued continued discord, although the same fears that
+forced her to marry constrained her to live with him. Instead of a
+comforter, he did study in all things to torment her; and by fear and
+fraud, did practice to deceive her of her dowry.”</p>
+
+<p>Sidney was always writing of Stella’s marvellous black eyes and their
+shining rays:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“When nature made her chief work, Stella’s eyes,</div>
+        <div>In color black, why wrapt she beams so bright?</div>
+        <div>Would she in beauty black, like painter wise,</div>
+        <div>Fame daintiest lustre, mixt of shades and light?</div>
+        <div>Or did she else that sober hue devise</div>
+        <div>In object best to knit and strength our sight;</div>
+        <div>Least, if no veil these brave gleams did disguise,</div>
+        <div>They, sunlike, should more dazzle than delight?</div>
+        <div>Or would she her miraculous power show,</div>
+        <div>That, whereas black seems Beauty’s contrary,</div>
+        <div>She even in black doth make all beauties flow?</div>
+        <div>Both so, and thus—she, minding Love should be</div>
+        <div>Placed even there, gave his this mourning weed</div>
+        <div>To honor all their deaths who for her bleed.”</div>
+      </div>
+    </div>
+  </div>
+
+<p>There is every reason, therefore, why the subject of this picture
+should be so handsome, so distinguished, and so fascinating.</p>
+
+<p><span class="pagenum" id="Page_189">[189]</span></p>
+
+  <div class="figcenter" id="i_189" style="max-width: 318px">
+     <img
+    class="p1"   
+    src="images/i_189.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">ROBERT RICH, EARL OF WARWICK</p>
+     <p class="p0 sm right">—<i>Sir Anthony Van Dyck</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_190">[190]</span></p>
+
+<p>Robert Rich was born in 1587 and was admitted to Emmanuel College,
+Cambridge, in 1603 and in that year was created a Knight of the Bath.
+He was quite old enough to have remembered the exciting days of the
+Essex conspiracy, the part his mother took in this, her imprisonment
+and release, and his uncle’s execution in 1601. At the age of
+twenty-three he was elected to Parliament and was again elected in
+1614. In 1619 he succeeded to the title.</p>
+
+<p>Robert Rich was one of the original members of the Company for the
+Plantation of the Bermudas in 1614 and was granted a seat on the
+Council of the New England Company in 1620, which two great enterprises
+connect this handsome lord with our own country. Also in 1624 Robert
+Rich was made a member of the Council of the Virginia Government. Yet
+this was not all. Warwick’s Colonial interests brought him into close
+relation with the leading men of the Puritan Party and link his name
+with the early history of the New England Colonies. He was closely
+associated with the origin of Connecticut, for in 1632 he granted to
+Lord Say, Lord Brooke, John Hampden, and others what is known as “the
+old patent of Connecticut,” under which the town of Saybrook (named for
+Lord Say and Lord Brooke) was founded.</p>
+
+<p>In English politics Warwick opposed the policy of Charles I and,
+consequently, after the dissolution of the Short Parliament, he was
+arrested by the King’s order.</p>
+
+<p>As temporal head of the Puritans and opposed to the party in the
+Established Church led by Archbishop Laud, Warwick concurred in
+the prosecution of Archbishop Laud and the Earl of Strafford. In
+1643 Warwick was appointed Lord High Admiral of the Fleet, serving
+Parliament in opposition to Charles I, and he bore the title of
+Governor-in-Chief of all the islands and other plantations subject
+to the English Crown, on which authority he became associated with
+the founding of the Colony of Rhode Island. After the monarchy and
+the House of Lords had both been swept away, the Earl of Warwick gave
+his support and encouragement to Oliver Cromwell. The marriage of
+Cromwell’s daughter to Warwick’s grandson proves the strength of the
+friendship. The Earl of Warwick died on April 19,<span class="pagenum" id="Page_191">[191]</span> 1658, and was buried
+at Felsted, Essex. He had been three times married.</p>
+
+<p>This picture, in oils on canvas (83 × 49 inches), belonged in the
+Collection of the Marquess of Breadalbane, Taymouth Castle, Scotland,
+and to the Collection of the Hon. Mrs. Robert Baillie-Hamilton,
+Langton, Duns, Scotland.</p>
+
+
+<h4>QUEEN HENRIETTA MARIA WITH JEFFREY HUDSON AND A MONKEY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Anthony Van Dyck</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1599–1641).</i></td>
+    <td class="cht3"><i>Mr. William Randolph Hearst.</i></td>
+  </tr>
+</table>
+
+<p>This full-length portrait in oils on canvas (85¼ × 52 inches) was
+painted in 1633, the year that Van Dyck was knighted and when he
+had been about a year in the service of Charles I. Its pedigree is
+interesting. The painting was in the possession of the Newports, Earls
+Bradford of the first creation, and was left in 1762, on the death
+of the fifth Earl, to his sister, Diana, Countess of Mountrath. From
+the Countess of Mountrath it descended to her son, the last Earl of
+Mountrath, and from him to the first Earl of Dorchester, of Milton
+Abbey, where it remained until removed by the Earl of Portarlington to
+Emo Park, Queen’s County, Ireland. In 1881 Thomas George, first Earl of
+Northbrook, acquired it by exchange from the Earl of Portarlington; and
+from the latter it was inherited by Francis George, the second Earl of
+Northbrook, whence it came to the present owner.</p>
+
+<p>The Queen of Charles I, proud and handsome, is very French and Italian
+in general style; for be it remembered that Henrietta Maria was the
+daughter of the gallant King Henry of Navarre and his second wife,
+Marie de’ Medici, and that she was, consequently, the sister of Louis
+XIII (see page <a href="#Page_176">176</a>).</p>
+
+<p>The Queen has brown hair curled in “ringlets” and one “ringlet” falls
+on her shoulder. Her face is oval and delicate and her eyes are brown.
+She is standing at full length on a step with her head slightly turned
+to the left, dressed in a blue silk gown (of the shade we now call
+“Alice blue”), trimmed with narrow gold braid, and a large black<span class="pagenum" id="Page_192">[192]</span> felt
+hat with a white plume, lace collar and a kerchief over her shoulders
+with two pink bows in front. Beautifully painted frills of lace adorn
+the elbow sleeves. With her left hand she touches a stiff fold in
+her dress and with her right hand she caresses a little brown monkey
+perched on the shoulder of Jeffrey Hudson, the famous dwarf. The little
+dwarf is about thirteen years of age and is much under size. He has
+light hair and the slightly wizened face that usually goes with this
+kind of freak. Indeed our little Jeffrey looks not unlike the pictures
+of the famous “Gen. Tom Thumb” of Barnum days in the mid-Nineteenth
+Century. Jeffrey Hudson wears a suit of brick-dust red velvet, a lace
+collar, and long, brown boots.</p>
+
+<p>In the background, to the left, there is a stone wall and upon it
+a flower-pot holding an orange tree, and farther away we note some
+trees and, still farther beyond, the sky. To the right of the fluted
+pillar on the right, there is a sort of ledge or shelf covered with a
+brilliant orange silk curtain on which rests a crown of gold studded
+with pearls, which informs us of the presence of Royalty.</p>
+
+<p>Queen Henrietta Maria was born in 1609, the year before her father,
+Henri IV, King of France, was assassinated. In 1624, when she was about
+fifteen, the Prince of Wales offered marriage; and this was consented
+to by her brother, Louis XIII, on condition that the English Roman
+Catholics should be relieved from the enforcement of the penal laws. In
+June, 1625, Henrietta Maria was married by proxy and went to England,
+thus encumbered with political and religious pledges that were certain
+to bring unpopularity upon everybody concerned. The Prince of Wales had
+now become King of England and he soon found an excuse for breaking his
+promise to relieve the English Roman Catholics. This course of action
+offended the Queen deeply. The early years of Charles’s married life
+were very unhappy and the favorite, the dashing Buckingham, fanned the
+flames of the King’s discontent. After the assassination of Buckingham
+in 1628, the King and Queen became deeply attached to each other; and
+from that moment the bond of affection that united them was never
+loosened.</p>
+
+  <div class="figcenter" id="i_193" style="max-width: 334px">
+     <img
+    class="p1"   
+    src="images/i_193.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. William Randolph Hearst</i></p>
+     <p class="p0 sm center">QUEEN HENRIETTA MARIA WITH JEFFREY HUDSON AND A MONKEY</p>
+     <p class="p0 sm right">—<i>Sir Anthony Van Dyck</i></p>
+ </div>
+
+<p>For a number of years Henrietta Maria’s chief interests lay with<span class="pagenum" id="Page_194">[194]</span> her
+young family. Her children were: Charles II (born 1630); Mary, Princess
+of Orange (born 1631); James, Duke of York, afterwards James II, (born
+1633); Elizabeth (born 1636); Henry, Duke of Gloucester (born 1640);
+and Henrietta, Duchesse d’Orléans (born 1644). The Queen also delighted
+in the amusements of the gay and brilliant Court. With political
+matters she had nothing to do until 1637, when she opened a diplomatic
+communication with the See of Rome, to help her co-religionists. She
+appointed an agent to reside in Rome and Rome sent to her a Papal agent
+(a Scotchman named George Conn), who soon made many converts among the
+English nobility and gentry.</p>
+
+<p>Protestant England took alarm and, therefore, the Queen became very
+unpopular. When the Scottish troubles broke out Queen Henrietta Maria
+raised money from her fellow Catholics to support the King’s army on
+the Borders in 1639; and in 1640, during the sitting of the Short
+Parliament, the Queen urged her husband to oppose himself to the House
+of Commons in defence of the Catholics. When the Long Parliament met,
+the Catholics were believed to be the authors and agents of every
+arbitrary scheme supposed to have entered into the plans of Strafford
+or Laud. During the Long Parliament Henrietta Maria urged the Pope to
+lend money to enable her to restore her husband’s authority and she
+threw herself heart and soul into the schemes for rescuing Strafford
+and coercing Parliament. The Army Plot, the schemes for using Scotland
+against England, and the attempt upon the five members—Pym, Hampden,
+Haselrig, Hoiles, and Strode—were the fruits of her political activity.</p>
+
+<p>Next the Queen effected her passage to the Continent and in February,
+1643, she returned and, landing at Burlington Quay, placed herself at
+the head of a band of Loyalists and marched through England to join
+the King near Oxford. After little more than a residence there of a
+year, on the 3d of April, 1644, she parted from her husband to see his
+face no more; but as long as Charles I was alive she never ceased to
+encourage him to resistance. Henrietta Maria found refuge in France,
+for Richelieu was then dead and Anne of Austria proved compassionate,
+yet she had much to suffer in her<span class="pagenum" id="Page_195">[195]</span> exile. The execution of her
+husband was a terrible distress. There is a story with some truth
+that she married her equerry, Lord Jermyn, which may account for the
+estrangement of her children.</p>
+
+<p>When Henrietta Maria returned to England after the Restoration, she
+found that she had no place in the new Court. Parliament gave her a
+grant of £30,000 a year in compensation for the loss of her dower-lands
+and her son, Charles II, added a similar sum as a pension from himself.
+In January, 1661, Henrietta returned to France to be present at the
+marriage of her daughter, Henrietta, to the Duc d’Orléans, but in July,
+1662, she was back in England, taking up her residence at Somerset
+House. Three years later she returned to France and died at Colombes,
+near Paris, in 1666.</p>
+
+<p>The other personage in this double portrait, Jeffrey Hudson, was born
+at Oakham, Rutland, in 1619. His father was a butcher, who kept and
+baited bulls for George Villiers, first Duke of Buckingham. Neither
+of his parents was undersized. When he was nine years old his father
+carried Jeffrey to Burleigh-on-the-Hill and offered him to the Duchess
+of Buckingham, who took him into her service. At that time he was
+scarcely eighteen inches in height and, if we may believe Fuller,
+“without any deformity, wholly proportioned.”</p>
+
+<p>Shortly afterwards Charles I and Henrietta Maria passed through Rutland
+and the Duke of Buckingham gave a dinner in their honor. During one of
+the courses an enormous pie<a id="FNanchor_22" href="#Footnote_22" class="fnanchor">[22]</a> was served; and when it was cut, out
+jumped Jeffrey Hudson! The Queen was so delighted with the sprightly
+little dwarf that she appropriated him at once and he became a Court
+favorite.</p>
+
+<p>Jeffrey had a number of adventures. On one occasion, when he was sent
+to France to procure a nurse for the Queen, the ship was captured on
+the return voyage by a Flemish pirate and Jeffrey, the nurse, and the
+Queen’s dancing-master were all taken to Dunkirk. Then Jeffrey also
+saw some military service. When the Prince of Orange besieged Breda in
+1637, “Strenuous Jeffrey” was in the Prince’s camp in company with the
+Earl of Warwick (see page <a href="#Page_187">187</a>) and the Earl of Northampton, who were
+volunteers in the Dutch Service.</p>
+
+<p><span class="pagenum" id="Page_196">[196]</span></p>
+
+<p>During the Civil Wars Jeffrey Hudson is said to have been a Captain of
+the Horse. It is certain that he followed the Queen, for he was with
+her in the flight to Pendennis Castle, in June, 1644, and he went with
+her to Paris. “He was,” says Fuller, “though a dwarf, no dastard”; and,
+accordingly, when insulted by Crofts at Paris in 1649, he shot him dead
+with a pistol in a duel. Crofts had rashly armed himself only with a
+squirt. In consequence of this, Jeffrey had to leave Paris, although
+Henrietta Maria saved him from imprisonment, which, however, he had
+frequently experienced. At sea Jeffrey was captured by a Turkish rover,
+carried to Barbary, and sold as a slave. His miseries, according to
+his own account, made him grow taller. Jeffrey managed to get back to
+England about 1658, at which time Heath addressed some lines to him in
+his <i>Clarastella</i>.</p>
+
+<p>After the Restoration, Jeffrey Hudson lived quietly in the country for
+some time on a pension subscribed by the Duke of Buckingham and others;
+but, on coming up to London to push his fortunes at Court, he, being a
+Roman Catholic, was suspected of complicity in the Popish Plot (1679)
+and was confined in the Gatehouse at Westminster.</p>
+
+<p>In June, 1680, and April, 1681, “Captain Jeffrey Hudson” received
+respectively £50 and £20 from Charles II’s secret service fund. Jeffrey
+Hudson died in 1682.</p>
+
+<p>Accounts of his height vary, but, according to his own statement (as
+made to Wright, the historian of Rutland), after reaching the age of
+seven, when he was eighteen inches high, he did not grow at all until
+he was thirty, when he shot up three feet, six or nine. Hudson’s
+waistcoat, breeches, and stockings are preserved in the Ashmolean
+Museum, Oxford.</p>
+
+<p><span class="pagenum" id="Page_197">[197]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_199">[199]</span></p>
+
+
+<h2>DUTCH PAINTING</h2>
+</div>
+
+<div class="chapter">
+<h3><i>DUTCH PAINTING</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">It is not until we come to the Seventeenth Century that Painting in
+that part of the Spanish and Austrian Netherlands now known as Holland
+took on the national character of the Dutch race. The new political
+and economic views inculcated by the States-General, and even more
+particularly through the bias of the Protestant faith, produced an
+entirely new kind of painting. The sacred subjects inspired by the
+Roman Catholic religion, as well as the mythological and historical
+subjects (made so popular by Rubens) were rejected for more prosaic
+and literal interpretations of Biblical stories; for representations
+of popular heroes in the late wars that overthrew Spanish tyranny;
+for portrait groups of civic dignitaries, such as Regents and
+Presidents of guild-halls, shooting-galleries, hospitals and other
+charitable institutions (known as “<i>Regent</i>” and “<i>Doelen</i>”
+pictures); and for those domestic scenes and social parties called
+“<i>Conversation Pieces</i>,” in which are mirrored the Dutch home and
+its simple pleasures with detailed representation of furniture, rugs,
+china, glass, brass-ware, musical instruments, birds, animals, food,
+fruit, and flowers. Landscapes and marines were also in harmony with
+the new choice of subject, and, of course, portraiture of the most
+realistic kind.</p>
+
+<p>This matter-of-fact art was given a somewhat “romantic” quality
+by the extraordinary treatment of dark masses of shadow and of
+sunlight effects and also by a fine use of color. Artists have always
+appreciated these characteristics, agreeing with Sir Joshua Reynolds,
+who wrote after his visit to the Netherlands:</p>
+
+<p>“A market-woman with a hare in her hand, a man blowing a trumpet, or
+a boy blowing bubbles, a view of the inside or outside of a church,
+are the subjects of some of their most valuable pictures; but there
+is still entertainment, even in such pictures—however uninteresting
+their subjects, there is some pleasure in the contemplation of<span class="pagenum" id="Page_200">[200]</span> the
+imitation. But to a painter they afford likewise instruction in his
+profession; here he may learn the art of coloring and composition, a
+skillful management of light and shade and indeed all the mechanical
+parts of the art as well as in any other School whatever.</p>
+
+<p>“The same skill which is practised by Rubens and Titian in their large
+works is here exhibited, though on a smaller scale. Painters should go
+to the Dutch School to learn the art of painting as they would go to a
+grammar-school to learn languages. They must go to Italy to learn the
+higher branches of knowledge.”</p>
+
+<p>In the long list of great and noteworthy Dutch painters the two
+greatest names are Rembrandt and Frans Hals. Rembrandt van Rijn
+(1606–1669), a powerful giant, excelling in painting, etching, and
+drawing, producing masterpiece after masterpiece and standing alone as
+an interpreter of Bible stories, profound searcher for character in
+portraiture, and dramatist in light and shade (see page <a href="#Page_204">204</a>).</p>
+
+<p>Frans Hals (1580?–1666), painter of portraits, corporations and
+military companies, and characters of low life, with an uncanny
+analysis of the eye and an uncanny technique to register surely and
+rapidly what his eye saw, whose pictures, long neglected, are of high
+value to-day (see page <a href="#Page_220">220</a>).</p>
+
+<p>Not far below Frans Hals and Rembrandt as a painter of great civic
+group pictures comes Bartholomew van der Helst (1612–1670), whose
+enormous <i>Civic Guard Banquet</i>, painted in 1648 in celebration of
+the Peace of Münster, with its twenty-four life-size portraits, ranks
+as one of the great pictures of the world. Van der Helst’s <i>Company
+of Captain Roelof Bicker</i>, in the same gallery, with its thirty-two
+portraits, is its equal although not quite so renowned.</p>
+
+<p>Dutch Painting, however, did not leap into being with Rembrandt, Frans
+Hals, and Bartholomew van der Helst. There were Dutch Primitives,
+as there were Flemish Primitives, and they are not always to be
+distinguished from one another. The famous Hubert and Jan van Eyck, for
+instance, are thought to have been natives of Maaseyck on the Maas and
+Hans Memling is supposed to have been born in Memelynck, near Alkmaar.</p>
+
+<p>The greatest of the Dutch painters was Lucas van Leiden (1494–1533),<span class="pagenum" id="Page_201">[201]</span>
+who knew Italian Art well and who was a follower of Albrecht
+Dürer. Some of his paintings are very decorative and his chess and
+card-players may almost be said to begin Dutch <i>genre</i> painting,
+brought to such perfection by the Little Dutch Masters. By the end of
+the Fifteenth Century a great many Dutch painters had visited Italy;
+some of them had studied there; and some of them had worked there. Jan
+van Scorel (1495–1562), for instance, was kept in Rome for five years
+by Pope Adrian VI, who was, himself, a native of Utrecht.</p>
+
+<p>Jan van Scorel was the master of Antonio Moro, or Antonis Mor
+(1512–1577), who went to Rome, was admitted to the Guild of Painters
+in Utrecht in 1547, and leaped into fame with a portrait of Cardinal
+Granvella, who took Moro in his train to Brussels. Moro soon became
+Court-Painter to the House of Hapsburg and travelled about to various
+courts, painting portraits of Royalty. Michiel Jansz Mierevelt
+(1567–1641), was portrait-painter to the House of Orange and Nassau and
+his pupil, Paulus Moreelse (1571–1638), a native of Utrecht, was hardly
+less popular. The greatest painter of Corporation Pictures before Frans
+Hals was Jan van Ravensteyn (1572–1657).</p>
+
+<p>The early Dutch landscape-painters travelled to Italy, Switzerland, and
+even Norway; but none of them acquired the reputation of two Dutchmen
+who found inspiration at home. Jan van Goyen (1596–1656), and Jan
+Wynants (1620?–1682), were the first to take pleasure in their own
+country. Van Goyen loved the water, the boats, the clouds, the mist,
+and distant towns silhouetted against the sky. Wynants showed the charm
+of the lonely walk that led through the dunes to the sea. Wynants
+formed Adriaen van de Velde (1635–1672), who carried landscape-painting
+so far that he comes very close to the Barbizon School of the
+Nineteenth Century. Then there are two Dutch artists who are doubly
+famous for their landscapes and animals: Aelbert Cuyp (1620–1691),
+“the King of Dutch landscape-painters,” noted for his golden light and
+elegant cavaliers riding fine horses; and Paul Potter (1625–1654),
+known far and wide for his <i>Bull</i>, in the Hague Gallery, painted
+when the artist was only twenty-two; but not so fine a work as <i>La
+Vache qui se mire</i> (<i>The Mirrored Cow</i>) in the same gallery.
+Of these two pictures the French critic, Burger, wittily remarked:<span class="pagenum" id="Page_202">[202]</span>
+“<i>La Vache qui se mire</i> is a <i>chef-d’œuvre</i> and not a <i>hors
+d’œuvre</i>, like the <i>Bull</i>!” Supreme as landscape-painters stand
+Jacob Ruisdael (1628–9–1682), who used as a rule a very dark green and
+who was able to suggest immense perspectives in very small compass,
+also for his harmonious relation of earth and sky, and Meindert Hobbema
+(1638–1709), supposed to have been his pupil, and whose long neglected
+pictures of long, straight roads beneath tall trees now bring high
+prices.</p>
+
+<p>Adriaen van Ostade (1610–1685), a pupil of Frans Hals, wandered about
+the country finding material along the roads. Ostade often caught the
+poetic side of a rustic scene and he had a commanding knowledge of
+light.</p>
+
+<p>The Dutch, with their love of home and their simple pleasures, excelled
+in depicting scenes of intimate life, “<i>Conversation Pieces</i>,”
+and <i>genre</i>. The list of these worthy painters is long. A few,
+however, stand out prominently,—Gerard Dou, Gerard Terborch, Jan
+Steen, Pieter de Hoogh, Jan Vermeer of Delft, Gabriel Metsu, Nicholas
+Maes, and Frans van Mieris—all painters of the Seventeenth Century,
+portraying life as they saw it around them, according to the class
+in which they moved. Terborch, Metsu, and van Mieris showed ladies
+and gentlemen, beautifully dressed, enjoying music, or playing cards,
+or having a light afternoon repast, or writing letters, or making
+love, or talking in the garden, or sitting quietly in a comfortably
+furnished room; Jan Steen depicted feasts, merry-making, weddings,
+St. Nicholas celebrations, tavern-scenes, drunken brawls and quack
+doctors; and Gerard Dou produced simple scenes in the home where
+servants are at work and mothers sit by the cradle, and sometimes
+scenes by candle-light with strange reflections, for Gerard Dou was a
+pupil of Rembrandt and liked to play tricks with <i>chiaroscuro</i>.
+Another painter, who was a magician with light, is Jan Vermeer of Delft
+(1632–1675), who was a pupil of Rembrandt’s pupil, Carel Fabritius,
+and whose pictures are rare and famous (see page <a href="#Page_228">228</a>). Still another
+artist, remarkable for his knowledge of the complex problems of light,
+is Pieter de Hoogh or Hooch (1629–1677?), hardly less remarkable for
+his solid and splendid rendering of architecture, exterior as well as
+interior (see page <a href="#Page_226">226</a>).</p>
+
+<p><span class="pagenum" id="Page_203">[203]</span></p>
+
+<p>Moreover, the Dutch excelled in two other <i>genres</i>,—birds and
+flowers. Melchior d’Hondecoeter (1636–1695), caught all the beauties
+of the feathered world and had an insight into its society. <i>The
+Floating Feather</i>, in the Rijk’s Museum, is very celebrated. Burger
+delightfully wrote of it:</p>
+
+<p>“No one has painted better than Hondecoeter the cocks and hens,
+ducks and drakes, and particularly little chicks and ducklings. He
+has understood such families as the Italians have the mystical Holy
+Family; he has expressed the motherhood of the hen as Raphael has the
+motherhood of the Madonna. In fact, the subject is more naturally
+treated because it has less sublimity. Hondecoeter gives us here a
+mother-hen who could face the <i>Madonna of the Chair</i>. She bends
+over with solicitude with outspread wings, beneath which peep the
+excited heads of the little chickens; while on her back is perched the
+privileged <i>bambino</i>—she does not dare move,—the good mother!”</p>
+
+<p>Melchior d’Hondecoeter was taught by Jan Baptiste Weenix (1621?–1660),
+painter of dead game, and teacher of his son, Jan Weenix (1640–1719),
+who often arranged his dead game around the base of a large urn in a
+private park.</p>
+
+<p>Of fruits and flowers—important subjects in Holland—come the two
+de Heems, father and son, Jan Davidsz de Heem (1606–1684), the first
+Dutchman to excel with fruit; Rachel Ruysch (1664–1750), painter of
+flowers, fruits, bouquets with butterflies and moths fluttering about,
+old logs and tree stumps in the forest, and deserted birds’ nests.
+Jan van Huysum (1682–1749) “the Correggio of fruits and flowers,” was
+famed for his skill in depicting a transparent dewdrop trickling down a
+satiny petal; and Abraham Mignon (1640–1679), pupil of Jan Davidsz de
+Heem was a brilliant painter of flowers, fruits, butterflies, insects,
+and dewdrops.</p>
+
+<p>With Cornelis Troost (1697–1750), called “the Dutch Hogarth,” because
+of his familiar scenes of comedy, the Decadence begins; and Dutch
+Painting ceased to be interesting until the middle of the Nineteenth
+Century.</p>
+
+<p><span class="pagenum" id="Page_204">[204]</span></p>
+
+
+<h4>THE STANDARD BEARER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Rembrandt van Rijn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1606–1669).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>This picture, oils on canvas (55 × 45½ inches), has the distinction
+of having belonged to Sir Joshua Reynolds and, after him, to the
+Earl of Warwick at Warwick Castle. It is signed on the left at the
+bottom, “Rembrandt fe 1654.” Consequently it was painted the same
+year as the famous <i>Burgomaster Jan Six</i>. The person has never
+been identified; but it is supposed that he was the standard-bearer
+of one of the Amsterdam Shooting Companies. The man is life-size,
+three-quarter length, with full light falling from the left foreground
+upon the whole figure. A grey wall with a rusticated pillar at the
+right forms the background from which the elderly Standard Bearer
+stands out boldly. He wears a dark-brown coat with gold buttons, a dark
+bluish green sash, and a rich gold-embroidered sword-belt crossing the
+chest from the right shoulder. A black hat with a large white plume
+covers his grey hair, but does not hide his face. In his gloved left
+hand he carries a red and yellow banner bearing the Arms of the City
+of Amsterdam and he holds a glove in his right hand. The picture is
+rich in color and fine in its illumination. From the Earl of Warwick it
+passed through the Collections of Mr. Charles Sedelmeyer of Paris, Mr.
+Charles J. Wertheimer of London, and Mr. George J. Gould of New York
+into that of its present owner.</p>
+
+<p>Rembrandt van Rijn was born in Leiden in 1606, the son of a miller, who
+sent him to the Leiden University. Young Rembrandt, however, preferred
+painting and for three years studied under Jacob van Swanenburch,
+a Leiden painter, who had studied in Italy. Rembrandt had painted
+a good many pictures before he removed to Amsterdam at the age of
+twenty-three. He soon became famous in Amsterdam. From the year 1633
+the face of a good-natured, buxom young woman, Saskia van Ulenburgh,
+daughter of a Friesland lawyer, appears on his canvases. In 1634
+Rembrandt married Saskia; and Fortune smiled thereafter on everything
+he did. His orders made him rich<span class="pagenum" id="Page_206">[206]</span> and he had a splendid home, filled
+with collections of many kinds, including antique busts, costumes,
+curios, and paintings. At this period Rembrandt loved to dress Saskia
+and himself in fantastic array and paint gay and somewhat theatrical
+portraits of themselves.</p>
+
+  <div class="figcenter" id="i_205" style="max-width: 436px">
+     <img
+    class="p1"   
+    src="images/i_205.jpg"
+     alt="">
+     <p class="p-min sm left">Collection of Mr. Jules S. Bache</p>
+     <p class="p0 sm center">THE STANDARD BEARER</p>
+     <p class="p0 sm right">—<i>Rembrandt van Rijn</i></p>
+ </div>
+
+<p>Who does not know the famous picture of Saskia seated on Rembrandt’s
+knee in the Dresden Gallery, the artist clasping his wife’s waist
+with his left hand and brandishing in his right hand a long glass of
+sparkling wine, before them a table covered with an Oriental rug on
+which is a pastry surmounted by a peacock?</p>
+
+<p>Not so familiar but more beautiful is the portrait in the Hermitage of
+<i>Saskia</i> dressed as a fanciful shepherdess with a mantle of pale
+green thrown over her white brocaded gown, in her hand a flower-twined
+crook, and on her head a heavy, thick wreath of ranunculus, anemones,
+iris, columbine, and striped red and white tulips. “Innocent and
+engaging in her brilliant draperies and gaily tinted flowers,” says
+Emile Michel, “she stands a graceful apparition, the light falling full
+upon her. Spring itself seems to be singing a paean of love and poetry
+from the master’s palette, at the dawn of that year which was to bring
+about the propitious union.”</p>
+
+<p>Rembrandt’s life changed entirely after Saskia’s death in 1642, which,
+by the way, was the year he painted his most famous picture, <i>The
+Night Watch</i> (in the Rijks Museum), more properly called <i>The
+Sortie of the Company of Captain Banning Cock</i>.</p>
+
+<p>Rembrandt became bankrupt in 1656 and his collections of antiques
+and paintings were sold for a mere 5000 florins! In the following
+year his house and collection of engravings came also to the hammer.
+Thenceforward Rembrandt lived with his son, Titus, in a modest dwelling
+in the Rozengracht, attended by his servant, Hendrickje Stoffels
+(his reputed wife) until the latter’s death in 1664. The close of
+Rembrandt’s life in 1669 found him poor, but as industrious as ever.
+Rembrandt is said to have painted about 550 pictures and to have made
+more than 250 etchings and 1500 drawings.</p>
+
+<p>The Hague is the place to see the great works of Rembrandt’s early
+period, such as <i>The Anatomy Lesson</i>, the <i>Presentation in the
+Temple</i> or <i>Simeon in the Temple</i>, and several portraits of
+himself<span class="pagenum" id="Page_207">[207]</span> and others; and the Rijks Museum has the great productions of
+his middle and last period, including <i>The Syndics</i> and <i>The
+Night Watch</i>.</p>
+
+<p>Apart from his individual and amazing portrayal of shadows and light
+effects, Rembrandt stands alone as the interpreter of the Bible story.
+In portraiture he is profoundly searching; and no one ever painted more
+forcible self-portraits than Rembrandt van Rijn.</p>
+
+<p>Of all the qualities that Rembrandt possesses the most striking one is
+understanding of light and shadow. Fromentin very aptly defines this
+Rembrandtesque <i>chiaroscuro</i> in his <i>Maîtres d’autrefois</i>
+(Paris, 1876):</p>
+
+<p>“To envelop and immerse everything in a bath of shadow; to plunge
+light itself into it only to withdraw it afterwards in order to make
+it appear more distant and radiant; to make dark waves revolve around
+illuminated centres, grading them, sounding them, thickening them; to
+make the obscurity nevertheless transparent, the half gloom easy to
+pierce, and, finally, to give a kind of permeability to the strongest
+colors that prevents their becoming blackness,—this is the prime
+condition and the difficulties of this very special art. It goes
+without saying that if any one ever excelled in this it was Rembrandt.”</p>
+
+
+<h4>PORTRAIT OF A YOUNG OFFICER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Rembrandt van Rijn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1606–1669).</i></td>
+    <td class="cht3"><i>Mr. A. W. Erickson.</i></td>
+  </tr>
+</table>
+
+<p>This picture signed lower right, “Rembrandt f. 1636” is painted on
+a panel, 20 × 25⅞ inches. It is one of Rembrandt’s finest and most
+pleasing portraits. With masterly skill the artist has painted the
+light in the eyes and the fine lines and texture of the lips.</p>
+
+<p>The subject is supposed to be François Copal, the brother-in-law of
+Saskia van Ulenburgh, Rembrandt’s wife, and there is abundant evidence
+in support of the theory. Dr. Bode in his <i>Rembrandt</i> notes:</p>
+
+<p>“There is a pair of portraits in the Liechtenstein Gallery at Vienna,
+dated 1636, of a <i>Young Officer with Thick Black Hair and His
+Wife</i>, in costumes like those in which Rembrandt painted Saskia
+and himself. The young couple here represented was probably closely
+connected<span class="pagenum" id="Page_208">[208]</span> with the artist and his bride. The husband, whose features
+are regular, almost handsome, and who has a slight moustache wears
+a steel gorget and a small gaily-colored neck cloth over his finely
+plaited silk shirt, a greenish blue cloak hangs from his right
+shoulder, and his gloved hand rests on the hilt of his sword.</p>
+
+<p>“Portraits of the artist himself and of his relations and friends,
+are nearly all executed with as much care as the numerous portraits
+of other persons painted to order at this time. Some few may have
+been presents to friends and relations; but the majority produced at
+this period (1633–1635), and that immediately following it were very
+probably commissions from friends and patrons of the master, the most
+renowned artist in Holland whose name was soon to be associated with
+those of the greatest painters in Europe. These pictures had a special
+attraction over and above their interest as portraits, by virtue of the
+highly individual costume and conception which add so much to their
+picturesque effect.”</p>
+
+<p>Dr. W. R. Valentiner, also believing this to be a likeness of Saskia’s
+brother-in-law, says:</p>
+
+<p>“The portrait of a cavalier, possibly François Copal, is one of the
+most imposing and impressive of the portraits which Rembrandt painted
+in the middle of the thirties, at the time when he was approaching
+the height of his fame as a portrait-painter at Amsterdam. Among
+the considerable number of portraits which the artist painted to
+order during these years, the present one (and a companion piece
+in the Liechtenstein Gallery, Vienna) stand out through the vivid,
+passionate expression and the personal touch which undoubtedly reflects
+the artist’s own mood. At no time Rembrandt expresses so much of a
+youthful, almost wild, temperament in his compositions, at no time
+he endeavors to give to them such an overpowering force and such an
+intense, almost sensuous feeling of life, as in these stormy years of
+his first successes at Amsterdam, which were accompanied by a happy
+marriage, by social connections, by acquiring riches and almost luxury.</p>
+
+  <div class="figcenter" id="i_209" style="max-width: 445px">
+     <img
+    class="p1"   
+    src="images/i_209.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. A. W. Erickson</i></p>
+     <p class="p0 sm center">PORTRAIT OF A YOUNG OFFICER</p>
+     <p class="p0 sm right">—<i>Rembrandt van Rijn</i></p>
+ </div>
+
+<p>“Something of young Samson, of whom the artist was so fond in these
+years, we feel also in the portrait of a handsome cavalier. We<span class="pagenum" id="Page_210">[210]</span> feel
+the lion’s force behind those glowing, piercing eyes, behind the
+energetic chin and cheek bones, and the exuberantly flowing, broad
+waves of the bushy, dark hair remind us of a lion’s mane.</p>
+
+<p>“We easily recognize in Rembrandt’s work those portraits of which the
+sitters were strangers to him. The present one, in which he put so
+much of his own self, as he did only with friend’s portraits, does
+not belong to these. He has ornated the young cavalier with a costume
+which appealed to his imagination, the details of which we know from
+portraits of persons in his surroundings and self-portraits: the
+breast-plate, the colored scarf around the neck, the golden chain with
+medal-lion, the green velvet mantle with gold-embroidered border. On
+the companion-piece, on the other hand, the lady wears a costume and
+pieces of jewelry which we find also in Saskia’s portraits.</p>
+
+<p>“Strange to say, the female figure itself has so much likeness to
+Saskia that we would be tempted to believe it to be a portrait of her,
+if there was not the portrait of the cavalier as the companion-picture
+preventing us from this supposition. But we know that Saskia had a
+sister, Titia, who visited the Rembrandt family frequently within
+these years (a portrait-sketch, a pen-drawing made of her in 1639 by
+Rembrandt is in the Stockholm Museum). She and her husband François
+Copal, were witnesses at the baptism of Saskia’s first children. We
+know also a portrait of François Copal’s brother, Antoni, in the
+Rothschild Collection, Vienna, which Rembrandt painted in 1635. The
+sitter of this portrait undoubtedly has a resemblance to the gentleman
+in our picture, almost as much as the companion-piece resembles Saskia.
+Is thus the theory too bold that the present portrait represents
+François Copal and the companion-piece at Vienna, Titia, his wife?”</p>
+
+<p>The portrait came to the present owner, Mr. Erickson, directly from
+the famous Liechtenstein Collection, Vienna, purchased by Prince
+Liechtenstein from the Marchesa Incontri, Florence. Previously the
+picture had been in the Collections of the Comte Koucheleff Besborodko,
+Paris; the Duc de Choiseul Praslin, Paris (1793), and B. da Costa, The
+Hague (1752).</p>
+
+<p><span class="pagenum" id="Page_212">[212]</span></p>
+
+
+<h4>AN OLD LADY SEATED IN AN ARMCHAIR.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Rembrandt van Rijn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1606–1669).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This splendid portrait, oils on canvas (42½ × 35½ inches), takes rank
+with Rembrandt’s famous study of <i>Elizabeth Bas</i>, widow of Admiral
+Swartenhout, in the Rijks Museum, Amsterdam. It is three-quarters
+length, life-size, and signed on the left “Rembrandt F. 1643.” The
+subject is seated in an arm-chair of red leather with her head turned
+slightly to the left and she is looking in the same direction. She
+wears a black costume with a tightly fitting jacket lined with fur, a
+large flat, round, and gauffered ruff, and a flat, dark velvet cap. Her
+arms rest easily on the arms of the chair and in the right hand she is
+holding her eyeglasses, while the fingers of her left hand are placed
+between the leaves of a large book—presumably a Bible, with silver
+clasps and gilt edges,—a marvellous piece of still-life painting. The
+background is dark of the brownish Rembrandt tone and the light falls
+from the left upon the face of the sitter and upon her large ruff. Dr.
+Bode, in speaking of the lighting of this remarkable portrait, says:
+“A strong light falls on the broad, gauffered ruff and is reflected
+on the more softly illuminated face; another ray of light touches the
+hands with their small white cuffs. The dull red of the chair-back, the
+subdued glint of the gold edges and silver clasps of the book relieve
+the blackish tone of the picture almost imperceptibly. It takes a
+special place among Rembrandt’s portraits by reason of its peculiarly
+distinguished harmony. In arrangement and illumination it stands midway
+between the St. Petersburg <i>Portrait of the Old Woman</i> and the
+numerous studies of old women painted between 1650 and 1660.”</p>
+
+  <div class="figcenter" id="i_211" style="max-width: 444px">
+     <img
+    class="p1"   
+    src="images/i_211.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">AN OLD LADY SEATED IN AN ARMCHAIR</p>
+     <p class="p0 sm right">—<i>Rembrandt van Rijn</i></p>
+ </div>
+
+<p>The picture was sold in Amsterdam in 1764 and has passed through the
+Collections of J. van der March, Amsterdam, 1773; M. Thelluson, Paris,
+1777; an anonymous Parisian collection, 1788; M. C. A. de Calonne,
+London, 1795; Mr. J. Allmutt, London, 1863; and M. Louis Lebeuf de
+Montsgermont, Paris.</p>
+
+<p><span class="pagenum" id="Page_214">[214]</span></p>
+
+
+<h4>SIMEON AND MARY PRESENTING THE INFANT CHRIST IN THE TEMPLE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Rembrandt van Rijn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1606–1669).</i></td>
+    <td class="cht3"><i>Mr. Nils B. Hersloff.</i></td>
+  </tr>
+</table>
+
+<p>This picture is interesting for two reasons. One, that it belonged to
+Horace Walpole and hung for many years in <i>Strawberry Hill</i>; and
+the other, that it is a recently discovered Rembrandt.</p>
+
+<p>It would seem from the present documents that the picture is not many
+stages away from the painter’s studio. In a case like this, it is best
+to tell the story of the identification of this <i>Strawberry Hill</i>
+picture with the Rembrandt studio picture in the words of those most
+concerned in the matter.</p>
+
+  <div class="figcenter" id="i_213" style="max-width: 439px">
+     <img
+    class="p1"   
+    src="images/i_213.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Nils B. Hersloff</i></p>
+     <p class="p0 sm center">SIMEON AND MARY PRESENTING THE INFANT CHRIST IN THE TEMPLE</p>
+     <p class="p0 sm right">—<i>Rembrandt van Rijn</i></p>
+ </div>
+
+<p>But first let us read the interesting analysis written by the
+Rembrandt specialist, Dr. Jan Veth, author of the <i>Life and Art of
+Rembrandt</i>, published on the commemoration of the 300th anniversary
+of his birth. This essay is dated Amsterdam, August 2, 1916, when this
+picture from the Walpole Collection was discovered and sent to Holland.</p>
+
+<p>Dr. Veth speaking:</p>
+
+<p>“A rather large-sized picture, about 39½ × 31½ inches, has recently
+been imported from England, a picture which one recognized without any
+difficulty as being a late work by Rembrandt. This unknown work was
+at first thought to be in a rather dilapidated condition. Evidently
+long ago it had been relined by an unskilled hand, leaving the canvas
+badly wrinkled in places. These have been easily removed, the picture
+slightly restored and apart from a few local blemishes (nowhere
+occurring in the vital parts) the beautifully crackled and original
+coat of paint appears unimpaired. Many a museum piece giving the
+impression of being in a perfect state of preservation is, in reality,
+much less intact than this Rembrandt.</p>
+
+<p>“The figure of Simeon in the picture reminds us to a certain extent
+of the figure of <i>Homer</i> in the Collection of Dr. Bredius, but
+the handling of the paint is more certain, the head firmer and more
+plastic.<span class="pagenum" id="Page_215">[215]</span> In his later period, where his old men bear so much of a
+resemblance to each other, it was not necessary that Rembrandt should
+always use the same models. The character, however, of this Simeon is
+akin to that of <i>St. Matthew</i> in the Louvre, to the father in the
+<i>Prodigal Son</i> in Petrograd, to the man behind <i>Pilate</i> in
+the picture in New York, Altman Collection, and to the <i>Haman</i> in
+the Collection of the King of Roumania.</p>
+
+<p>“For the rest, the peculiar expression of Simeon’s rugged and full
+bearded countenance can be traced quite easily in that dark, majestic
+etching of the <i>Presentation in the Temple</i> with the exception
+that the head in the etching leans slightly more backward. Simeon’s
+expression depicts in a striking manner the decrepit old man to whom
+the divine revelation was made, and who, after walking into the Temple,
+seeing the Child and taking Him into his arms, said: ‘Lord, now lettest
+Thou Thy servant depart in peace, according to Thy word: For mine eyes
+have seen Thy salvation, which Thou hast prepared before the face of
+all people: A light to lighten the Gentiles, and the glory of Thy
+people, Israel.’ Luke II, 29–32.</p>
+
+<p>“The hermit-like old man wears a wide gold-colored leather mantle. Full
+of devotion he is holding the Christ Child, without touching Him with
+his long and stiffened hands.</p>
+
+<p>“The little face appears foreshortened and recalls to one’s mind the
+strange drawing of the uplifted face of the young Jesus where he
+walks between his parents in that remarkable etching of the <i>Return
+from the Temple</i>. Close to Simeon and behind, stands Mary, the
+inclination of the head and attitude identical with the Virgin in the
+etching of the <i>Presentation</i>. Over her head she wears a wide,
+drooping hood, and the greater part of her face—a face of no ordinary
+maternity and with something of the grandeur so characteristic in
+Mantegna’s Madonnas—is deeply enveloped in shadows. In contrast with
+the bronze-like, warm color of the ancient man, she appears cool in
+tone, the neck only illuminated like enamel against the sombre purple
+of her frock.</p>
+
+<p>“The group is composed without any additional accessory to distract
+or allure the spectator, being placed against a background deep<span class="pagenum" id="Page_216">[216]</span> and
+sombre, a great and connected whole. Throughout, the handling of the
+paint is full and direct without any small or useless accents, a great
+design treated like sculpture. The stronger colors of brown and red are
+dissolved in a sombre tone of bronze and with that singular mixture of
+smothered lights and cave-like half-tones and shadows which give the
+true expression of the quiet and pathetic event.</p>
+
+<p>“Out of the whole tonality emerges first the powerful head of the old
+Seer, then the suppressed light of the strange Infant, and finally the
+beautiful sibyl-like Mary. The picture is full of that inner power
+of expression which Millet would have admired and Israels would have
+revelled in.</p>
+
+<p>“In Holland we can point to more complete, perhaps more pompous and
+more brilliant, Rembrandts, but a picture by the master of such
+wonderful simplicity and at once of such great eloquence we hardly know
+of in this country.”</p>
+
+<p>Turning to the Dutch records we learn the following:</p>
+
+<p>“The desire to obtain the minutest detail of information about
+Rembrandt’s life and works, and perhaps with a wish to discover some
+allusion to his pictures, has led such men as Dr. Bredius to search
+among the old Dutch archives for records of ancient deeds in the
+registries of Amsterdam and near-by towns and villages. This has been
+no light task, for besides the numberless documents to be examined,
+the difficulties of deciphering the curious legal language used in
+the Seventeenth Century had to be combatted. Dr. Bredius’s efforts,
+however, were rewarded, when, about ten years ago he discovered an
+ancient deed relating directly to a painting by Rembrandt, and dated
+May 12, 1671 (two years after his death), signed before a notary named
+J. De Winter of Amsterdam. The document so unearthed threw light upon a
+picture entitled <i>Simeon</i>, of which no record had up to the time
+of Dr. Bredius’s discovery, been known. Dr. Bredius deemed the subject
+so interesting that he wrote an article dealing with <i>The Last Year
+of Rembrandt’s Life</i>, which appeared in <i>Oud-Holland</i> in 1909.”</p>
+
+<p>Now we go to the number of <i>Oud-Holland</i> and take this extract.</p>
+
+<p><span class="pagenum" id="Page_217">[217]</span></p>
+
+<p>Dr. Bredius speaking:</p>
+
+<p>“Although we have learned much of the last years of Rembrandt’s life,
+of the very last and perhaps the saddest year of that rich life, we
+have learned little up to the present time. Only one work, that of
+his own portrait in the collection of Sir Audley Neeld in Griffleton
+House, seems to bear the date of 1669. We have no other picture and no
+etching, and in this portrait the master appears so feeble that we had
+begun to believe that Rembrandt worked but little in the last year of
+his life.</p>
+
+<p>“That he was, however, still working and planned to do some etchings
+and also that there was a picture on his easel shortly before he died,
+is proven by an old deed I have recently discovered. Short as this may
+be, it nevertheless gives us much important information. Among other
+things it is new to us <i>that Rembrandt was working up to the time of
+his death</i>, and that Dirck van Cattenburch, a gentleman dealer with
+his brother, Otto, as far back as 1654, had business connections with
+Rembrandt. And here we see the aged master, as often happened and still
+happens with artists, more or less in the hands of the Art-dealer, who
+pays for the work before it is finished.</p>
+
+<p>“Perhaps Rembrandt really considered his <i>Simeon</i> a finished
+picture, but the buyers probably did not, and looked upon his broadly
+painted canvases of his latest period as not being ‘entirely finished.’
+We are not acquainted with any <i>Simeon</i> of his last period.<a id="FNanchor_23" href="#Footnote_23" class="fnanchor">[23]</a>
+It is also interesting to note from the deed that the artist planned
+to make a series of etchings of the <i>Passion</i>, a subject which
+always attracted him and of which he made some of his most wonderful
+plates. Deed: May 12, 1671, Appeared before me, Allart van Everdingen,
+age about fifty years and Cornelius van Everdingen, age twenty-five
+years, both artists living in this town, and on request of Dirck van
+Cattenburch, do hereby declare that Allart van Everdingen, a few months
+before the death of Rembrandt van Rijn, artist, had a conversation
+as to the settling of a painting representing Simeon, painted by the
+aforesaid Rembrandt van Rijn, not yet entirely finished, owned by Dirck
+van Cattenburch and being in Rembrandt’s house.</p>
+
+<p><span class="pagenum" id="Page_218">[218]</span></p>
+
+<p>“That he, witness, went to see and examine the aforesaid picture in the
+house of van Rijn, who told him at the time that the picture was owned
+by said Dirck van Cattenburch. The aforesaid Cornelius van Everdingen
+further declares that he went up to Rembrandt’s studio several times,
+where, on each occasion, he saw and examined the said picture,
+which was discussed by them, Rembrandt declaring that the picture
+was owned by Dirck van Cattenburch. Also that Rembrandt had several
+polished plates owned by Dirck van Cattenburch in order to engrave the
+<i>Passion</i>.</p>
+
+<div class="parent">
+<ul class="left smaller" style="margin-top: 0em">
+  <li>Signed&emsp;&emsp;Allart van Everdingen</li>
+  <li>Signed&emsp;&emsp;Cornelius van Everdingen.”</li>
+</ul>
+</div>  
+
+<p>“It is interesting to note that Allart van Everdingen was a well-known
+painter of the time of Rembrandt and that he was born in 1612. He
+excelled in painting rocky landscapes. He also executed sea-pieces and
+storms with such surprising effect and spirit that his work entitled
+him to the appellation, the ‘Salvator Rosa of the North.’ Allart van
+Everdingen was also an etcher of repute and in this work there must
+have existed a bond of sympathy between Rembrandt and himself. He
+died in 1675, six years after the death of the master. His works are
+represented in all the great museums. Cornelius van Everdingen, his
+son, was also an artist, but not so universally known as his more
+brilliant father.”</p>
+
+<p>Now then we turn to another Dutch authority to continue the story:</p>
+
+<p>“Dr. Bredius, by the remarkable discovery of the ancient deed, had
+established the fact that a certain picture of <i>Simeon</i> (always
+identified in Art with <i>The Presentation in the Temple</i>) was in
+Rembrandt’s studio a few months before his death. But what had become
+of the picture there was nothing to show, none of the great biographers
+of the artist has ever classified a work of this subject dating from
+his last period.</p>
+
+<p>“And now commence the most interesting events connected with the
+picture under consideration. Many inquiries were instituted. Dr.
+Bredius, from his rich stock of material bearing upon the master,<span class="pagenum" id="Page_219">[219]</span>
+searched exhaustively for some indication where the picture might be
+found. The known and unknown private and public collections of Europe
+and even America were examined through and through, until at last his
+efforts were rewarded and nine years after the discovery of the deed
+and his subsequent article, the picture was recognized and acclaimed as
+the lost <i>Simeon</i>.</p>
+
+<p>“The painting was found in the collection of a nobleman in England, and
+although it had lain neglected for centuries there could be no possible
+doubt that it was the picture of <i>Simeon</i> referred to in the deed.</p>
+
+<p>“This discovery occurred in the year 1916, at a time when the world was
+in the midst of the Great War; but such was the importance of the find
+that the masterpiece was sent at once to Holland, there to be admired
+by all of the great Rembrandt authorities.”</p>
+
+<p>Critics have called attention to the fact that the <i>first</i>
+important picture painted by Rembrandt was <i>Simeon in the Temple</i>
+which is now in the Mauritshuis, The Hague, and which is also called
+<i>Presentation in the Temple</i>. It is a little strange that the
+<i>last</i> picture should have been on the same subject. Yet any one
+can see they are by the same hand. In the Hague picture it is beneath
+the high roof of a temple that the Virgin and St. Joseph make the
+offering and present the Holy Child to the Lord. Simeon, in a robe
+glittering with gold, holds the Holy Child and the High Priest stands
+in front of the group, his hands lifted in ecstasy. The latter’s robe
+of violet makes a beautiful note of color which is carried through the
+lights and shadows and which contrasts and harmonizes, too, with the
+Virgin’s dress of light blue. In the vaporous distance persons are seen
+ascending and descending the steps. All the light is concentrated on
+the central group and the cold, mysterious depths of the vast fane are
+expressed with marvellous skill.</p>
+
+<p><i>Homer Reciting his Poems</i>, also in the Hague Gallery,
+representing an old man in a yellow robe, has the face of the
+<i>Strawberry Hill Simeon</i> and <i>Homer</i> was painted in 1663. It
+could be possible that the same model was used for <i>Homer</i> and the
+<i>Strawberry Hill Simeon</i>.</p>
+
+<p>How did Horace Walpole get this Rembrandt?</p>
+
+<p><span class="pagenum" id="Page_220">[220]</span></p>
+
+<p>The information that we gain from the Catalogue of the <i>Strawberry
+Hill</i> Collection issued when Earl Waldegrave sold the contents of
+<i>Strawberry Hill</i> at Covent Garden in 1842 is rather tantalizing
+than otherwise.</p>
+
+<p>The items read as follows.</p>
+
+<p>On Page XVII of prefatory remarks:</p>
+
+<p>“A Fine Rembrandt (No. 100) and a Nicholas Poussin adorn this end of
+the chamber. Page 204. The great North Bed Chamber: No. 100. <i>The
+Presentation in the Temple</i>, displaying all the power of light and
+shade so peculiar to this great master, Rembrandt.</p>
+
+<p>“The above two pictures No. 99 and 100 were bought from a very old
+gentlewoman for whose grandfather they had been painted, and till then
+had never been taken out of their old black frames and are still in
+their pure and genuine state.”</p>
+
+<p>Was the “very old gentlewoman” the grand-daughter of Dirck van
+Cattenburch?</p>
+
+
+<h4>PORTRAIT OF AN OFFICER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Frans Hals</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1580?–1666).</i></td>
+    <td class="cht3"><i>Mr. Henry Goldman.</i></td>
+  </tr>
+</table>
+
+<p>The subject, which we might almost call a Dutch Falstaff, is seated
+in a chair on the arm of which he rests his right elbow, while he
+seems to be grasping a stick with his hand. The left hand is hidden.
+Beneath his large grey felt hat with its wide turned-up brim a few
+locks of straggly grey hair are visible. His doublet is of grey silk
+with a dotted pattern (long anticipating the “Polka Dot” of the
+early Nineteenth Century), a surcoat of buff leather, and a broad,
+flat collar, trimmed with handsome and heavy lace, worn over a metal
+breast-plate. The Officer looks directly at us with a half-humorous,
+half-suspicious glance,—one of those characteristic Frans Hals’s
+expressions.</p>
+
+<p>The picture, oils on canvas (32½ × 25¾) bears the monogram F. H. and
+the words “Ætat 55. A. 1637.” It was sold from the Collection of Mr. J.
+H. Töpfer in Amsterdam in 1841 and then it was in the Collection of Sir
+Edgar Vincent (Lord d’Abercorn) at Esher.</p>
+
+<p><span class="pagenum" id="Page_221">[221]</span></p>
+
+  <div class="figcenter" id="i_221" style="max-width: 439px">
+     <img
+    class="p1"   
+    src="images/i_221.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Henry Goldman</i></p>
+     <p class="p0 sm center">PORTRAIT OF AN OFFICER</p>
+     <p class="p0 sm right">—<i>Frans Hals</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_222">[222]</span></p>
+
+<p>Frans Hals (1580?–1666), one of the greatest masters of painting, was
+born in Antwerp, where his parents (natives of Haarlem, and of good
+lineage), are supposed to have gone because of political disturbances
+of the time. It seems that Hals was settled in Haarlem before 1591,
+busily painting, and he lived there all the rest of his life. In
+1637 he came under Rembrandt’s influence in Amsterdam. Hals’s life
+was rather disgraceful and went from bad to worse until poverty and
+comparative oblivion compelled him to accept charity. He died in
+Haarlem in 1666, leaving a great many followers. The real life of the
+man is to be found in such works as <i>The Laughing Cavalier</i> in
+the Wallace Collection and those vagabonds, lute-players, topers, and
+other rascals that belong to the same class as Autolycus, Launcelot
+Gobbo, Touchstone, Dogberry, Sir Toby Belch, Falstaff and our other
+much-prized, although disreputable, Shakespearian low-comedy characters.</p>
+
+<p>Hals always accomplished his work by the greatest economy of means. A
+few broad, rapid, and unhesitating strokes, or <i>swipes</i>, of the
+brush, a dot here and there of light,—and that is all!</p>
+
+<p>Everything that Hals painted shows his dazzling genius, his astounding
+instinct for striking effects, and his marvellous ability for catching
+a likeness. Hals never worked out his ideas: he left no sketches, nor
+studies. His extraordinary power of quick analysis with the eye and the
+gift his hand had for expressing what his eye had seen, combined with a
+rapid, sure, and skilled technique rank Hals as a master among masters.</p>
+
+<p>Moreover, he had a keen and gay humor. No painter has ever been able
+like Hals to render the face in action and to fix forever, a rapid and
+fleeting expression on canvas. He loved to catch and make permanent a
+wink, a smile, a leer, or even hearty laughter.</p>
+
+<p>Frans Hals was a genius at portraiture. Those who have seen the large
+number of Hals’s <i>Doelen</i> pictures in the Town Hall of Haarlem,
+each canvas containing from fourteen to twenty life-size portraits,
+stand aghast at the power represented in just this one phase of his art.</p>
+
+<p>When we look upon these pictures we feel as if we were entering a<span class="pagenum" id="Page_224">[224]</span>
+hall full of convivial officers, laughing, jesting and making merry
+over their fine wines and choice food. They are richly dressed. Many
+of them wear lace cuffs and ruffs and bright scarves. Flags flutter,
+spears glitter, spurs and swords clink and rattle and flash in the
+sunlight; and plumes on the large hats nod in the breeze, or with the
+motions of these men’s bodies. Loud talk and bursts of laughter seem
+to issue from the frames. These convivial men have fought against the
+hated Spaniard and are ready “to trail a pike” again at any moment. A
+gallant and a jovial crowd,—these Arquebusiers of St. George and St.
+Andrew!</p>
+
+<p>The artist was commanded to paint each man accurately and according to
+his rank in the Company; and Hals did more than fill his order,—he
+made each and every man <i>live</i>.</p>
+
+
+<h4>THE LAUGHING MANDOLIN PLAYER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Frans Hals</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1580–1666).</i></td>
+    <td class="cht3"><i>Mr. John R. Thompson.</i></td>
+  </tr>
+</table>
+
+<p>Here is a half-figure of a young man seated, turning his head towards
+the spectator, and laughing merrily as he holds up a glass of wine in
+his right hand. His mandolin is lying on the table beside him and his
+left fingers close around its neck. He wears a dark cloak lined with
+blue and a large black cap thrown carelessly at the side of his head
+and his hair is unkempt and straggly. But what cares he? He has sung
+his song and played his tune and has been rewarded well,—well enough,
+indeed, to have a glass of good wine. So no wonder he laughs! Life is a
+joke anyway—“So here’s to the company and thank you, gentlemen!”</p>
+
+  <div class="figcenter" id="i_223" style="max-width: 446px">
+     <img
+    class="p1"   
+    src="images/i_223.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. John R. Thompson</i></p>
+     <p class="p0 sm center">THE LAUGHING MANDOLIN PLAYER</p>
+     <p class="p0 sm right">—<i>Frans Hals</i></p>
+ </div>
+
+<p>The picture is an oil painting on panel (36 × 30 inches), and is signed
+with the monogram F. H.</p>
+
+<p>The <i>Laughing Mandolin Player</i> belonged to the Capello Collection,
+Amsterdam, from which it was sold in 1767, and then it passed to Count
+Bonde, Stockholm; to Jules Porges, Paris; to the late Baron Ferdinand
+de Rothschild, Waddeston Manor, England; and to M. A. Veil-Picard,
+Paris.</p>
+
+<p><span class="pagenum" id="Page_226">[226]</span></p>
+
+
+<h4>A MUSIC PARTY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Pieter de Hoogh</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1629–1677?).</i></td>
+    <td class="cht3"><i>Mrs. John N. Willys.</i></td>
+  </tr>
+</table>
+
+<p>Here are six figures in the reception bedroom of a prosperous merchant
+or citizen. The dominant note of the apartment is red. The floor
+is paved with square blocks of marble. The primary interest of the
+picture is in the group on the left, consisting of two fashionably
+dressed gentlemen and an elegantly attired lady at a table over which
+is spread an Oriental “table-carpet.” The lady, dressed in a scarlet
+skirt, an old-gold overskirt and bodice and a deep white lace collar,
+is looking at the spectator and singing from a piece of music which she
+is holding in her left hand, her right being raised as if to beat time.
+Standing near her and smilingly accompanying her in her song is a young
+gentleman with long hair and wearing a white jacket and a broad-brimmed
+hat. With his right hand he is holding a long funnel-shaped glass
+partly filled with wine. Seated opposite and looking intently at the
+lady is a middle-aged gentleman with long hair and yellow jacket,
+holding a flageolet with both hands, and apparently waiting for the
+note at which he may join in the accompaniment. On the table are the
+flageolet player’s high-crowned hat with red feathers, an open book of
+music and a glass. In the background are standing figures of a lady and
+gentleman in conversation, and near-by is an attendant in brown dress
+holding a wine-jar in his left hand and abstractedly looking out of the
+window. In the background is a bed enclosed with curtains. Two windows
+to left and right open on to a garden, a portion of which, adorned with
+statues, is seen through an open doorway on the extreme right.</p>
+
+  <div class="figcenter" id="i_225" style="max-width: 652px">
+     <img
+    class="p1"   
+    src="images/i_225.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. John N. Willys</i></p>
+     <p class="p0 sm center">A MUSIC PARTY</p>
+     <p class="p0 sm right">—<i>Pieter de Hoogh</i></p>
+ </div>
+
+<p>The picture, oil on a panel (24 × 28 inches), was formerly in the
+Collections of Edmund Higginson of Saltmarshe Castle, England, 1846;
+George H. Morland, Esq., London, a well-known amateur, a descendant of
+George Morland, the artist, 1863; and Albert Levy, London, 1874.</p>
+
+<p><span class="pagenum" id="Page_227">[227]</span></p>
+
+<p>Pieter de Hoogh (or Hooch) is thought to have been born in Rotterdam.
+Little is known of his life. He seems to have been a servant in his
+early years employed by Justus de la Grange and to have lived in Delft,
+in Leiden and in The Hague. In some way he learned to paint; some
+authorities say he studied under Rembrandt’s pupil Carel Fabritius,
+Houbraken says he was a fellow-student with Jacob Ochtevelt under
+Nicholaes Berchem. In 1653 Pieter de Hoogh became a member of the
+Guild of Painters in Delft and he married in that city and lived
+there Until 1664. Next he is living in The Hague and after that in
+Amsterdam. Pieter de Hoogh is ranked as one of the best of the “Little
+Dutch Masters.” His pictures show a particularly fine mastery in the
+action of light. He almost invariably opens a door in the background
+leading into a garden or into an adjoining room. He groups his figures
+interestingly and tells his simple story in paint graphically and
+convincingly. His architecture is always remarkably fine and his
+drawing is second to none.</p>
+
+<p>Pieter de Hoogh was neglected for many years, but to-day he is deeply
+appreciated. Burger says he never saw any picture by de Hoogh that
+was not of the first rank: “Sometimes he paints interiors—people are
+playing cards, or having a family concert, or reading, or drinking,
+or conversing. Sometimes he paints exteriors; and then the painter
+introduces us to domestic occupations and the innocent recreations of
+private life, as, for instance, a servant washing linen in a backyard,
+or cleaning fish, or plucking fowl, or perhaps there are ladies and
+their cavaliers playing at bowls in a garden with trim gravelled walks.</p>
+
+<p>“When he paints interiors this artist rarely neglects to show, on
+the right or left, doors opening on a staircase or revealing a leafy
+alley, or the trees along a quay, so that his pictures always seem to
+be the antechamber of another picture. In this characteristic style of
+de Hoogh when the interior of the apartment is moderately lighted the
+sun shines outside. Pieter de Hoogh seems to have been in Rembrandt’s
+secrets.”</p>
+
+<p><span class="pagenum" id="Page_228">[228]</span></p>
+
+
+<h4>THE LACE-MAKER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jan Vermeer</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1632–1675).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This delightful picture on panel (17¾ × 15½ inches) was only discovered
+in 1926. On its exhibition at the Kaiser Friedrich Museum in 1926–1927
+in Berlin, Dr. Wilhelm Bode wrote: “I consider it a genuine, perfect,
+and very characteristic work of Jan Vermeer of Delft. Not only has it
+the true Vermeer charm as to the lighting and coloring, but at the
+same time there is an extraordinary fascination in the expression of
+the face, still half that of a child.” Dr. Max J. Friedländer also
+pronounced it “a genuine and highly characteristic work by Vermeer of
+Delft.”</p>
+
+<p>The young girl is seen at half-length with her head turned towards the
+observer and her eyes looking straight out of the picture. She is busy
+making lace on a pillow, or cushion, which is supported on a frame
+with two upright posts. In her left hand she is holding a bobbin. Her
+costume is a yellow jacket, or bodice, with broad white collar and
+broad white cuffs. Her brown hair, arranged very simply, is adorned
+with a tiny knot of blue ribbon. The handsome pear-shaped pearls in
+her ears proclaim that she is in more than affluent circumstances and
+that she is a young Dutch lady of some position, making lace for her
+pleasure and not to earn a living. At her left elbow is a blue cushion
+and a large pewter dish.</p>
+
+<p><i>The Lace-Maker</i> is in every way a picture of charm and one of the
+most thoroughly attractive that Vermeer ever produced.</p>
+
+<p><span class="pagenum" id="Page_229">[229]</span></p>
+
+  <div class="figcenter" id="i_229" style="max-width: 480px">
+     <img
+    class="p1"   
+    src="images/i_229.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">THE LACE-MAKER</p>
+     <p class="p0 sm right">—<i>Jan Vermeer</i></p>
+ </div>
+
+<p>When it came to light in 1926 it was cordially welcomed. Seymour
+de Ricci published a long article under the title of <i>Le
+Quarante-et-Unième Vermeer</i> in the <i>Gazette des Beaux-Arts</i>
+(December, 1927), which says in part:</p>
+
+<p>“Seated, with her work on her knees and her bobbins in her hand, she
+stops in her occupation for a moment to look at the spectator. On the
+right, upon the corner of a table, covered with an Oriental rug, a flat
+dish of pewter and a blue cushion ornamented with three rows of<span class="pagenum" id="Page_230">[230]</span> gold
+braid and two gold tassels—that is the entire subject of the picture!</p>
+
+<p>“It needed the consummate art of a Vermeer to produce with this slender
+material such a veritable <i>chef-d’œuvre</i>. Many painters would
+doubtless have tried to place this fresh figure in a striking setting.
+A Gerard Dou would have framed her in a window; a Metsu would have
+surrounded her with furniture; and a Pieter de Hoogh would have felt
+compelled to let us see through an open door into the next room, or
+into a bright flower garden. The bolder and much greater painter,
+Vermeer, places his model before a white wall, the plaster of which in
+the course of two centuries has combined ivory reflections with the
+pearly gray of clouds in springtime. Upon the clearness of this wall
+this youthful figure stands out with striking clarity: the faint rosy
+tints of the complexion, the whiteness of the broad flat collar and
+cuffs and the bright yellow of the bodice form a scale of colors that
+are juxtaposed with singular frankness and boldness. It is only in the
+flesh tints that the painter allows himself to bring the model into
+relief: in everything else he shows an affection for flat surfaces
+and flat tints. His touch is so light that in places—noticeably in
+the whites—each stroke of the brush has left its trace. The artist
+has proceeded by circular blots juxtaposed, announcing therefore a
+technique which certain French artists pretend to have discovered at
+the end of the Nineteenth Century.</p>
+
+<p>“In everything here Vermeer the colorist takes precedence of Vermeer
+the draughtsman. There is not a line in the entire picture,—nothing
+but the juxtaposition of color-tones. A magnifying glass is impotent
+to make us discover the bridge of the nose, the profile of the cheek
+or the fingers. The eyebrows are barely indicated, the brown hair is
+treated in large luminous masses, and even the bobbins which to the
+naked eye seem to be drawn with such punctilious exactitude are merely
+indicated, but with such correctness and such prodigious skillfulness
+of touch that the illusion of the detail is most complete, even for the
+instructed spectator.</p>
+
+<p>“In this charming composition, the greatest of Dutch colorists has
+taken pleasure in playing the entire scale of his favorite colors. In<span class="pagenum" id="Page_231">[231]</span>
+the brown masses of the hair he has placed a tiny blue ribbon, echoing
+the large blue surface of the cushion. On the other hand, on this same
+cushion three rows of dark yellow braid echo the bright ochre of the
+bodice. In the very centre of the picture the cherry red of the little
+smiling mouth throws a note more brilliant than the artist dared to
+place on the rose cheeks of his model white with the reflections from
+the large starched collar. All the lower part of the picture is in
+deep half-light which is brightened by the red and blue tones of the
+table-carpet and the luminous reflections of the pewter dish. The
+curious observer will notice that the painter was not afraid to change
+the centre of his composition towards the right, indifferent to the
+traditions of its accepted place, just as he was to the methods of his
+fore-runners with regard to the use of color.</p>
+
+<p>“It has been attempted more than once to elucidate the mystery of
+the technical methods to which is due the incredible luminosity of
+Vermeer’s pictures. It has even been thought that he painted on a
+groundwork of some very bright color; but it has been correctly
+remarked that such a groundwork—if he had employed it—would at
+the end of two centuries have become visible under the painting and
+would have necessarily assimilated the colors. Others have suggested
+a preliminary preparation of water colors or gum. But, in truth, we
+are perfectly ignorant of how this amazing and incontestable result
+has been attained. This newly discovered picture reveals nothing to
+us relative to Vermeer’s technique, and although the painting is so
+lightly done and of so thin a coating, it has taken on its surface
+something of the hardness and brilliance of porcelain; and fine
+crackles have broken all through this suggesting the paste of porcelain.</p>
+
+<p><i>The Lace-Maker</i> was in the Collection of Harold R. Wright, Esq.,
+of London, before it passed to the Hon. Andrew W. Mellon.</p>
+
+<p>Jan Vermeer of Delft (1632–1675) was a pupil of Carel Fabritius, who
+was a pupil of Rembrandt—consequently Vermeer had the best training.
+Lemke’s eulogy is worth reading:</p>
+
+<p>“Vermeer was a painter of the light and sun school; and this was his
+chief study—to catch and hold fast the moment. What Frans Hals did for
+the physiognomy, grasping the flying moment in an incomparable<span class="pagenum" id="Page_232">[232]</span> manner
+with winks, smiles, leers, gesticulation, etc., and fixing it in paint,
+Vermeer as a landscape painter, delighted to do for the sunshine. He
+shows its rays streaming into a room, or the play of light and shadow
+when the light with the moving air falls through heavy foliage against
+a bright house and paints it with rays of light and shade. Unlike the
+moment of Rembrandt and Ruisdael, which is fixed for all eternity, with
+Vermeer the moment vibrates in the light. The shadows lose their sharp
+outlines and the fine brush-work suggests the living change and play
+of the light. Rembrandt paints light in darkness and lets it glow in
+the dark or streaming into it, or in a broad flood of brilliance; but
+Vermeer prefers to set darkness or twilight against the light.”</p>
+
+<p><span class="pagenum" id="Page_233">[233]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_235">[235]</span></p>
+
+
+<h2>GERMAN PAINTING</h2>
+</div>
+
+<div class="chapter">
+<h3><i>GERMAN PAINTING</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">Painting reached its greatest development in Germany from the middle
+of the Fifteenth to the middle of the Sixteenth Century during the
+Renaissance and the Reformation. The dominating personalities were
+Albrecht Dürer and Hans Holbein the Younger.</p>
+
+<p>The early German painters devoted their talents almost exclusively to
+altar-pieces. The chief centres of activity were Cologne, Colmar, Ulm,
+Nuremberg, and Augsburg. Cologne was the most important and had much
+influence upon the neighboring Flemings. As early as the Thirteenth
+Century Wolfram van Eschenbach, describing his handsome Knight in
+<i>Parsifal</i>, declares that</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“From Koln nor from Maestricht</div>
+        <div>No limner could excel him.”</div>
+      </div>
+    </div>
+  </div>
+
+<p>The first important Cologne painter is Meister Wilhelm, first half of
+the Fourteenth Century, followed by Meister Stephan Lochner (active
+1430–1451), possibly his pupil, painter of the great altar-piece in the
+Cologne Cathedral, the “<i>Dom-bild</i>”, which every painter tried
+to see. Albrecht Dürer, for instance, wrote in his <i>Journal</i>:
+“Item. I have paid two silver pennies to have the picture opened, which
+Meister Stephan painted at Cologne.”</p>
+
+<p>Heine, many years later, sang of the wondrous eyes of the Madonna in
+that picture in the Cologne Cathedral that reminded him of his beloved;
+and the idea is most beautifully emphasized in the musical setting of
+that little song by Robert Franz, who expresses in his accompaniment
+all of the emotion aroused by the painting.</p>
+
+<p>The Cologne painters were much influenced by Roger van der Weyden, who
+seems to have visited Cologne in 1450. Certainly Martin Schöngauer
+(about 1445–1491) was a follower of Roger, if not a personal pupil.
+Schöngauer is remarkable among other things for the weird and fantastic
+creatures he frequently introduced into his pictures.<span class="pagenum" id="Page_236">[236]</span> Martin
+Schöngauer, regarded as the precursor of Dürer, was much admired by the
+Italian painters, who called him “<i>Il bel Martino</i>.” Michelangelo
+is said to have copied in oils his celebrated print of <i>Saint Anthony
+tormented by Demons</i> and he was a friend of Perugino and exchanged
+drawings with him. The two Germans of next importance were Bartholomäus
+Zeitblom of Ulm (1450?–1521), who, like Martin, belongs to the Swabian
+School, and Michael Wohlgemut (1434?–1519?), the leading spirit of the
+Franconian School, who worked especially in the Nuremberg churches.</p>
+
+<p>In the picturesque town of Nuremberg, with its peaked gables,
+overhanging balconies, and quaint façades, town of wood-carvers,
+goldsmiths, and toy-makers, town of Hans Sachs and the Meistersinger,
+the house of Dürer is still shown to tourists.</p>
+
+<p>Albrecht Dürer (1471–1528), one of the giants in art, was supreme
+master in wood-cuts, etchings, and drawings as well as in paintings.
+Dürer, too, is one of the greatest portrait-painters (see page <a href="#Page_237">237</a>).</p>
+
+<p>In Augsburg, the leading commercial city of Southern Germany,
+there were many wealthy art-lovers, such as the Fuggers, famous
+merchant-princes of the Fifteenth and Sixteenth Centuries. The leading
+painter was Hans Holbein the Elder (1470?–1524), much influenced by
+Martin Schöngauer and also by the Italians. He trained his gifted son,
+Hans Holbein the Younger (1497–1543), who completely overshadowed him.
+The latter went to Basle and eventually to London, where he became
+Court-Painter to Henry VIII (see page <a href="#Page_240">240</a>).</p>
+
+<p>Lucas Cranach the Elder (1472–1553), leader of the Saxon School, was a
+contemporary of Dürer and Holbein, pupil of his father, and, in common
+with most German artists, excelled as an engraver on wood and copper
+and designer, as well as a painter. Cranach was Court-Painter to three
+Saxon Electors (see page <a href="#Page_251">251</a>).</p>
+
+<p>Lucas Cranach the Younger (1515–1586) was a pupil of his father, but
+was far below him in talent and performance.</p>
+
+<p><span class="pagenum" id="Page_237">[237]</span></p>
+
+
+<h4>PORTRAIT OF A MAN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Albrecht Dürer</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1471–1528).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>We should like to know—but we never shall—the name of the man who
+looks so keenly from this picture (12¾ × 15⅝ inches). All that is
+known of it is that it belonged to the Collection of Count Bonde, of
+Stockholm, before it found its present home.</p>
+
+<p>Albrecht Dürer was a great painter of portraits. He began early. Indeed
+the first authentic drawing by him is a portrait of himself at the age
+of thirteen, which is preserved in the Albertina, Vienna.</p>
+
+<p>At all periods of his life, Dürer painted and drew portraits. To the
+early Nuremberg period belongs <i>Frederic the Wise</i>, tempera on
+linen (Berlin), and he painted a <i>Portrait of his Father</i> in
+1497 (of which there are several versions). Then there is <i>Oswald
+Krell</i> in the Munich Gallery and a <i>Portrait of Himself</i>, a
+<i>Portrait of a Young Man</i> at Hampton Court Palace and the very
+famous <i>Hieronymus Holtzschuher</i> in Berlin.</p>
+
+<p>Dürer’s one idea was to give as exact a representation of the sitter as
+possible; and if he painted character as well as the features, it was
+because his penetrating eye saw directly through the person. There was
+no conscious analysis or deep ponderings of any kind. Dürer simply saw
+the person and painted him; and he painted him so well that we see him,
+too, just the man he was. Dürer was like a camera; he depicted every
+wrinkle and every hair with an amazing effect of reality and he caught
+the personality as well. Nothing seems to have been hidden from his
+eyesight and nothing seems to have been beyond the power of his brush.</p>
+
+<p>Albrecht Dürer was the son of a goldsmith of Hungarian origin who had
+spent some time in the Netherlands. In 1455 he settled in Nuremberg,
+where Albrecht was born in 1471, the third of eleven children.
+His father intended him for a goldsmith, but, seeing his talent,
+apprenticed him to Michael Wolgemuth to serve three years. Of this
+period Dürer wrote: “God gave me diligence so that I learned well. And
+when I had served my time, my father sent me away and I was absent four
+years until my father needed me again; and I set out in 1490<span class="pagenum" id="Page_238">[238]</span> after
+Easter, so I returned in 1494 after Whitsuntide. And when I returned
+home Hans Frey treated with my father and gave me his daughter, Agnes,
+and he gave me with her two hundred florins; and the marriage was
+celebrated on the Monday before St. Margaret’s Day in the year 1494.”</p>
+
+  <div class="figcenter" id="i_239" style="max-width: 429px">
+     <img
+    class="p1"   
+    src="images/i_239.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">PORTRAIT OF A MAN</p>
+     <p class="p0 sm right">—<i>Albrecht Dürer</i></p>
+ </div>
+
+<p>The story that Dürer’s wife was a shrew who led him an unhappy life is
+now exploded.</p>
+
+<p>In 1505 Dürer went to Italy and spent some time in Venice, where
+he painted for the Guild of German merchants and their Fondaco dei
+Tedeschi, <i>The Feast of the Rosary</i>, which is now in the monastery
+of Strahow near Prague.</p>
+
+<p>Returning to Nuremberg in 1507 Dürer painted some of his finest
+altar-pieces. In 1511 he began his fine sets of wood-cuts and
+etchings—the <i>Apocalypse</i>, the <i>Great Passion</i>, the
+<i>Little Passion</i>, the <i>Life of the Virgin</i> and <i>St.
+Jerome in his Study</i>. To this period belongs the large altar-piece
+<i>Adoration of the Trinity</i>, in the Belvedere at Vienna. In
+1518 Dürer was in Augsburg and in 1520–1521 he travelled in the Low
+Countries. Once back in Nuremberg, he seems to have worked quietly and
+industriously until his death in 1528.</p>
+
+<p>In forming any estimate of Dürer it is essential to remember that
+Dürer was a great expression and a great flowering of the German race.
+Mrs. Heaton has well summed up his characteristics: “We do not find,”
+she says, “in Dürer’s art the classic ideal of the perfection of
+man’s physical nature, nor the spiritual ideal of the early religious
+painters, nor the calm dignity and rich sensuous beauty of the
+great masters of the Italian Renaissance, but in it we find a noble
+expression of the German mind, with its high intellectual powers,
+its daring speculative philosophy, its deep-seated reverence, its
+patient laboriousness, and above all its strange love for the weird
+and grotesque. Dürer was the companion of some of the most learned and
+thoughtful men of his day. Luther and Melancthon were among the number
+of his friends, and there is no doubt but the reforming spirit of the
+age was powerfully at work within him, affecting his thought and art.
+Melancthon bears testimony to his rare worth as a man by saying: ‘his
+least merit was his art.’”</p>
+
+<p><span class="pagenum" id="Page_240">[240]</span></p>
+
+
+<h4>PRINCE EDWARD OF ENGLAND.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Holbein the Younger</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1497–1543).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This portrait is one of the finest that Holbein ever painted. The
+artist had every reason to do his best, for the picture was intended
+as a New Year’s Gift to Henry VIII of his little son, the Prince of
+Wales, who was nearly two years old. The King was so delighted with the
+picture that he presented Holbein with a magnificent gold standing-cup
+with cover. Prince Edward (who became Edward VI) was the son of Jane
+Seymour, the third wife of Henry VIII, who only lived twelve days after
+Prince Edward’s birth at Hampton Court Palace on October 12, 1537.
+By the Peace Treaty of Scotland in 1543, it was arranged that Prince
+Edward should marry Mary, Queen of Scots, at that time but a few months
+old; but this came to nothing, owing to “the grasping greed” of Henry
+VIII, whose ambition was to absorb the Crown of Scotland and whose
+purpose was discovered by the patriotic Scotch. On the death of Henry
+VIII in January 1547, the Prince of Wales succeeded to the throne and
+was crowned on February 20, 1547, as Edward VI. Edward, on the point of
+death, bequeathed the Crown in 1553 to Lady Jane Grey, daughter of his
+cousin, Frances Grey, eldest daughter of Mary, the daughter of Henry
+VII, and who was married to the son of the Duke of Northumberland. On
+July 6, 1553, the young King Edward VI died and was buried the next day
+in Henry VII’s Chapel, Westminster Abbey.</p>
+
+<p>The portrait in oil on a panel (21¾ × 17 inches) was painted in 1538.
+The little prince is wearing a red and gold costume and red and gold
+hat with white feather. The background is gold.</p>
+
+<p>His hands are marvellously painted, particularly the right, which is a
+triumph of foreshortening. The left hand holds a silver rattle.</p>
+
+  <div class="figcenter" id="i_241" style="max-width: 420px">
+     <img
+    class="p1"   
+    src="images/i_241.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">PRINCE EDWARD OF ENGLAND</p>
+     <p class="p0 sm right">—<i>Hans Holbein the Younger</i></p>
+ </div>
+
+<p>The Latin inscription painted at the base was written by Sir Richard
+Morysin (who became English Ambassador to the Hanse towns in 1646 and
+to the Court of the Emperor Charles V in 1550). The eulogy is addressed
+to Henry VIII, through the child; and it is<span class="pagenum" id="Page_242">[242]</span> well for Edward VI that
+he did not live to learn the verdict that time has passed upon this
+Bluebeard of History. Translated it reads:</p>
+
+<p>“Little one, imitate thy father and be the heir of his virtue, the
+world contains nothing greater. Heaven and Nature could scarcely give a
+son whose glory should surpass that of such a father. Do thou but equal
+the deeds of thy parent: the desires of man cannot go beyond this.
+Surpass him and thou hast surpassed all the kings the world has ever
+worshipped and none will ever surpass thee.”</p>
+
+<p>Can flattery go beyond this?</p>
+
+<p>For many years this portrait hung in the Royal Picture Gallery at
+Hanover in Germany, probably taken there by one of the Georges, all of
+whom preferred their Hanoverian Court to that of England. In late years
+the picture belonged to the Duke of Cumberland, whose father was King
+of Hanover until Prussia absorbed that kingdom in 1866.</p>
+
+<p>Hans Holbein, born in Augsburg in 1497, was taught by his father,
+Hans Holbein the Elder, as was also his elder brother, Ambrose. About
+1515 these two young Holbeins went to Basle, where there was plenty
+of work for artists, for Basle had long been a centre of intellectual
+and artistic life. Holbein’s talents won recognition; and among other
+kinds of work he drew designs for title-pages and various decorations
+for books. Some marginal drawings for <i>The Praise of Folly</i> by
+Erasmus, led to a friendship with that distinguished personage, which
+was destined eventually to change his entire life. Holbein also painted
+in fresco the council chamber of the new Rathaus in Basle and also
+the famous votive picture <i>The Meier Madonna</i>, representing the
+Burgomaster, Jacob Meier of Basle, kneeling with his family before the
+Virgin. He also painted several portraits of Erasmus. In 1526 Holbein
+decided to visit England, taking a letter of introduction from Erasmus
+to Sir Thomas More and stopping on the way at Antwerp to visit Quentin
+Massys. Holbein remained in London two years, returned to his family
+in Basle in 1528, bought a house, designed for goldsmiths, worked
+again on his unfinished frescoes in the Rathaus, made another portrait
+of Erasmus and painted the faces of clocks. In 1532 Holbein decided
+to return to London,<span class="pagenum" id="Page_243">[243]</span> where, after a period of working in the German
+colony, he became Court-Painter to Henry VIII with a salary of thirty
+pounds a year and rooms in the Palace. From that time onward Holbein
+painted everybody of importance in Tudor England. He also aided in
+the street decorations for Anne Boleyn’s Coronation procession and
+festivities. Holbein was also sent on various missions by Henry VIII to
+paint portraits; also in 1538 to Brussels, to paint the portrait of the
+young widow, Christina of Denmark, Duchess of Milan; and in 1539, to
+Cleves, to paint Anne, sister of the Duke.</p>
+
+<p>These two portraits were ordered by the King with a view to matrimony,
+in case they met with his favor. The first portrait (now in the
+National Gallery, London) representing, in her mourning garb of
+black satin, Christina the young widow of Francesco Sforza, brother
+of Maximilian Sforza (see page <a href="#Page_148">148</a>) and who was, moreover, niece of
+the Emperor Charles V, in every way, therefore, a distinguished and
+desirable bride, pleased Henry VIII so well that he offered his royal
+hand on seeing it. But the wise young Duchess, declining the hand
+replied sarcastically “that unfortunately she had only <i>one</i> head;
+if she had <i>two</i>, one would be at His Majesty’s service.” The
+other portrait of <i>Anne of Cleves</i> (now in the Louvre), in purple
+velvet flashing with jewels, standing full face, with beautifully
+painted hands laden with rings and clasped gracefully, gained for this
+lady the Royal Bluebeard; but only for a short time. The portrait was
+too flattering of the “Flanders Mare”, as Henry VIII called her, and
+the <i>fourth</i> wife was soon divorced.</p>
+
+<p>In 1538 Holbein went to Basle on a mission for the King, visited his
+wife and children and, refusing liberal offers from the municipality of
+Basle to remain there, returned to London. Back again in his English
+quarters, he continued his painting until he died in 1543, supposedly
+of the Plague, which was then raging.</p>
+
+<p><span class="pagenum" id="Page_244">[244]</span></p>
+
+
+<h4>SIR THOMAS MORE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Holbein</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1497–1543).</i></td>
+    <td class="cht3"><i>Mr. Henry Clay Frick.</i></td>
+  </tr>
+</table>
+
+<p>This was one of the first portraits that Holbein painted in England
+and was done in 1526–1527, while Holbein was a guest in Sir Thomas’s
+delightful home at Chelsea. It is a life-size, half-length portrait on
+panel (23¼ × 29¼ inches), representing Sir Thomas in a dark-green coat
+with purple velvet sleeves, fur collar, and large hat. The conspicuous
+and heavy double S-chain of gold with a double rose pendant,
+significant of the union of the Red and White Roses of Lancaster and
+York, was only permitted to Knights. His right hand holds a paper and
+the arm rests on a table, on which the date is inscribed.</p>
+
+<p>This portrait was painted before Sir Thomas More became Lord Chancellor
+in 1529.</p>
+
+<p>“His face,” says Dr. Alfred Woltman, “shows that calm repose which
+indicated the utmost harmony of nature and inward peace; but the
+expression is one of the deepest seriousness, though gentleness is
+linked with it. The finely-cut lips are firmly closed; there is
+something almost visionary in the bright and penetrating glance, though
+otherwise the features betoken clear judgment, combined with moral
+strictness and nobility of feeling. In looking at the picture the words
+occur to us with which Erasmus in another passage concisely sums up
+More’s characteristics: ‘He possessed that beautiful ease of mind, or,
+still better, that piety and prudence with which he joyfully adapts
+himself to everything that comes, as though it were the best that could
+come.’”</p>
+
+<p>Sir Thomas More was born in 1478 in Cheapside, London, the son of
+Sir John More, and was beheaded in 1535 for refusing to support the
+Act of Supremacy. More was one of the most intellectual and highly
+cultured men of his time. He wrote one of the most famous of books,
+<i>Utopia</i>. Sir Thomas was also a fine critic of painting. He was
+knighted in 1521.</p>
+
+  <div class="figcenter" id="i_245" style="max-width: 432px">
+     <img
+    class="p1"   
+    src="images/i_245.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry Clay Frick</i></p>
+     <p class="p0 sm center">SIR THOMAS MORE</p>
+     <p class="p0 sm right">—<i>Hans Holbein the Younger</i></p>
+ </div>
+
+<p>Erasmus gives a picture of Sir Thomas and his home in a letter to
+Ulrich von Hutten, written from Chelsea. He says:</p>
+
+<p><span class="pagenum" id="Page_246">[246]</span></p>
+
+<p>“More has built near London upon the Thames a modest but commodious
+house. There he lives surrounded by his large family—his wife, his
+son, his son’s wife, his three daughters and their husbands with eleven
+grand-children. There is not any man living so affectionate to his
+children as he, and he loveth his old wife as if she were a girl of
+fifteen. Such is the goodness of his nature that whatsoever cometh
+about which cannot be helped he is as cheerful and well satisfied as if
+the best had happened. In More’s house you would say that the Academy
+of Plato lived again save that whereas in the Academy the conversation
+turned upon geometry and the power of numbers, the house at Chelsea is
+a true school of Christian religion. In it is no one, man or woman,
+but studdieth the liberal arts, yet above all piety is their care.
+There is never any seen idle; the head of the house governs it, not by
+lofty demeanor and frequent rebukes, but by gentle and lovable manners.
+Everyone is busy in his place doing his business with diligence; nor is
+sober mirth absent.”</p>
+
+
+<h4>DIRK BERCK OF COLOGNE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Holbein</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1497–1543).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>When Holbein returned to England on his second trip in 1532, his
+friend and patron, Sir Thomas More, was out of favor. However, he
+found a cordial welcome among his compatriots—the German merchants of
+the Steelyard. These German merchants had formed themselves into an
+association of real power: indeed, they had made a little city of their
+own, which went by the name of Stahlhof, where they managed all their
+business, kept their stores, had their counting-houses, their Bourse,
+their Guildhall, and their homes; and, being Germans, of course they
+had a festival-hall and spacious gardens on the bank of the Thames,
+where they could enjoy themselves. The company, forming a part of the
+great Hanseatic League, was opulent and dealt largely in iron and
+precious metals.</p>
+
+<p><span class="pagenum" id="Page_247">[247]</span></p>
+
+  <div class="figcenter" id="i_247" style="max-width: 437px">
+     <img
+    class="p1"   
+    src="images/i_247.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of The Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">DIRK BERCK OF COLOGNE</p>
+     <p class="p0 sm right">—<i>Hans Holbein the Younger</i></p>
+ </div>
+
+<p>Consequently, among the group were skilled goldsmiths, watch-makers,
+armorers, and many other prosperous artisans as well as<span class="pagenum" id="Page_248">[248]</span> bankers. The
+brilliant painter had no difficulty in getting orders for portraits;
+and we may be very sure that after he had produced such a masterly
+likeness as that of <i>Georg Gisze</i> (now in the Berlin Museum), he
+must have been in even greater demand, as the numbers of “steelyard
+portraits” scattered in various galleries attest.</p>
+
+<p>This particular portrait in oils on panel (21 × 16¾ inches) was painted
+in 1536, as we learn from the right hand corner, which bears the date
+and the sitter’s age, “An 1536 Aeta. 30.” Dirk Berck of Cologne appears
+at half-length facing us full face from a background of blue relieved
+by a green curtain with red strings. Dirk Berck is dressed in a heavy,
+black, and lustrous silk cloak with a wide collar, an embroidered
+shirt showing at the opening at the neck, a flat cap (something like
+a <i>biretta</i>) at a slight angle on his head, with his hair cut in
+a fringe (or “bobbed”) that nearly covers his ears. He has a slight
+moustache and a full square-cut beard, which makes him appear older
+than his thirty years. His small eyes are dark blue and intelligent,
+his brows are black, his cheek bones are prominent, and his general
+expression is serious and rather kindly. His hands rest one upon the
+other, the right one on top, while the left, placed on the table, holds
+a letter addressed to himself: “<i>Dem Ersame ’U (N) d fromen Derick
+berk i. London upt. Stalhof</i>” with the trademark of his house and
+the motto, “<i>besad dz end</i>” (consider the end). A small piece
+of paper lying on the red-covered table bears this Latin sentence
+from Virgil: “<i>Olim meminisse juvabit</i>” (Hereafter I shall be
+remembered) which speaks well for Dirk Berck’s estimation of Holbein
+and his intelligent forecast of ours.</p>
+
+<p>The portrait came from the Collection of Lord Leconfield, Petworth,
+Sussex, and was formerly in the Collection of Colonel Egremont Wyndham,
+also of Petworth, Sussex, and the Earls of Egremont.</p>
+
+<p><span class="pagenum" id="Page_250">[250]</span></p>
+
+
+<h4>JEAN DE DINTEVILLE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hans Holbein</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1497–1543).</i></td>
+    <td class="cht3"><i>Mr. Henry Goldman.</i></td>
+  </tr>
+</table>
+
+<p>This gentleman in black costume with black cap and white shirt sits
+at a table covered with a red cloth (one of Holbein’s favorite
+arrangements), and in front of an apple-green curtain. Around his neck
+he wears a fine gold chain and a black ribbon, to which is attached a
+little case of gold studded with jewels. His eyes are very blue but
+rather cold, giving one the idea that Jean de Dinteville is something
+of a dreamer. His hands, beautifully drawn and painted, gain additional
+grace from the fine ruffles at his wrists. In his right hand he holds a
+roll of paper (most likely a musical composition), and the left fingers
+close around the neck of a lute. On the table before him two books are
+lying—one shut and one open—and both books are supplied with green
+book-marks, that draw the rest of the picture into harmony with the
+green curtain at the back.</p>
+
+  <div class="figcenter" id="i_249" style="max-width: 552px">
+     <img
+    class="p1"   
+    src="images/i_249.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Henry Goldman</i></p>
+     <p class="p0 sm center">JEAN DE DINTEVILLE</p>
+     <p class="p0 sm right">—<i>Hans Holbein the Younger</i></p>
+ </div>
+
+<p>This portrait, in oils on panel (17½ × 17½ inches), is supposed to be
+the same one listed in the inventory of Alethea, Countess of Arundel,
+in 1654 as <i>Ritratto d’un Musico</i>.</p>
+
+<p>It was in the Collection of Ralph Bernal, London, and sold at
+Christie’s in 1855 to Mr. Morant for 100 guineas; subsequently, the
+picture was in the Collection of Sir John Ramsden, Bart., Bulstrode
+Park, Buckinghamshire, having been purchased by him at an auction in
+Scotland in 1860.</p>
+
+<p>Jean de Dinteville, Lord of Polisy and Bailly of Troyes, was born in
+1504 and died in 1555. After having served as a diplomat in the Court
+of Francis I, he was sent as Ambassador to England in 1553, in which
+year Holbein painted him with George de Selve in the large picture
+known as <i>The Ambassadors</i>, now in the National Gallery, London.
+In this picture Jean de Dinteville stands on the left, wearing a black
+kilted costume, which includes a cloak lined with white fur. Around his
+neck is a heavy gold chain with the French Order of Saint Michel, at
+his side is a dagger with gold hilt and sheath, and his<span class="pagenum" id="Page_251">[251]</span> black cap is
+ornamented with a silver skull set in gold. A lute, a case of flutes,
+and a music-book near him proclaim the musician. This picture is dated
+1553.</p>
+
+
+<h4>CARDINAL ALBRECHT AS SAINT HIERONYMUS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Lucas Cranach the Elder</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1472–1553).</i></td>
+    <td class="cht3"><i>Mr. John Ringling.</i></td>
+  </tr>
+</table>
+
+<p>This picture (49 × 35¼ inches), came into possession of the present
+owner from Baron Viehweg of Hanover, in whose family it had been since
+the time of Cranach.</p>
+
+<p>All of Cranach’s delightful characteristics are represented here. It
+is interesting to compare this painting with Dürer’s print of <i>St.
+Jerome in his Study</i>, the latter so serious and the one represented
+here so merry. Cranach’s St. Jerome reminds us of a jolly old German
+folksong. In this perfectly Teutonic setting with characteristic German
+furniture and the favorite “antler” chandelier, nothing has been
+forgotten; and St. Jerome in his red Cardinal’s robe and <i>biretta</i>
+sits propped up before his reading-desk truly monarch of all he
+surveys. His crucifix and devotional books are placed conveniently
+on his table and he has just looked up for a moment from his task of
+translating the Scriptures.</p>
+
+<p>His big red Cardinal’s hat, too, is placed in the foreground, so that
+we cannot miss it and the picture of the <i>Madonna and Child</i> on
+the wall is purposely turned out of proper perspective so that we
+cannot lose any of its “beauties.” St. Jerome takes good heed of time;
+for on the wall, at his left, an hour-glass trickles away the minutes.
+It is to be hoped that he feeds his birds and animals regularly! And
+how deliciously these little friends are painted. Every member of St.
+Jerome’s menagerie looks happy except the lion. There is still the
+“call of the wild” in his eye and he seems to be trying to control
+himself; but if St. Jerome does not watch his hour-glass and should
+happen to delay the dinner-hour, it looks as if things might go very
+badly for the pheasant family.</p>
+
+<p>There were three traditional ways of representing St. Jerome: St.<span class="pagenum" id="Page_252">[252]</span>
+Jerome as Penitent in the Desert; St. Jerome as Patron Saint and Doctor
+of the church; and St. Jerome as Translator and Commentator of the
+Scriptures. When St. Jerome is seen translating the Bible, the lion is
+so frequently present that he seems to be an editorial necessity; and
+almost invariably the Cardinal’s hat is lying somewhere near St. Jerome.</p>
+
+<p>There is no authority for making St. Jerome a Cardinal; because
+Cardinals were not ordained until three centuries after St. Jerome’s
+death.</p>
+
+<p>Lucas Cranach the Elder was born in Kronach in Franconia in 1472 and
+died in Weimar in 1553. Cranach was the first painter of importance of
+the Saxon School and took his name from his native town. He was a pupil
+of his father and has as important a reputation for his engravings on
+wood and copper as for his paintings. Cranach seems to have lived in
+Vienna, Innsbrück, Augsburg, Wittenberg, and Weimar; and it is said
+that he visited the Holy Land in 1493, with the Elector Frederic the
+Wise. In 1504 he settled permanently in Wittenberg as Court-Painter to
+the Elector Frederic the Wise; and he continued as Court-Painter to
+the three succeeding Electors. In 1509 he was sent by the Elector on
+an embassy to the Emperor Maximilian; and on this visit he painted the
+portrait of his son, the Archduke Philip (father of Charles V). Cranach
+was evidently of importance in Wittenberg, for he was Burgomaster in
+1537 and 1540. He had an art-studio, a book-printing business, and an
+apothecary-shop. His house, called the “Adler,” was burned down in 1871.</p>
+
+<p><span class="pagenum" id="Page_253">[253]</span></p>
+
+  <div class="figcenter" id="i_253" style="max-width: 373px">
+     <img
+    class="p1"   
+    src="images/i_253.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. John Ringling</i></p>
+     <p class="p0 sm center">CARDINAL ALBRECHT AS SAINT HIERONYMUS</p>
+     <p class="p0 sm right">—<i>Lucas Cranach the Elder</i></p>
+ </div>
+
+<p>Cranach was an intimate friend of Luther and Melancthon and,
+consequently, was greatly affected by the Reformation. He painted
+Luther many times. Cranach always painted with oils on panels of wood
+and his coloring is warm and rich. His drawing is somewhat archaic; but
+often very amusing. His cheerful fancy led him to introduce birds and
+animals into his pictures. Cranach excelled in portraiture and always
+gives a realistic and somewhat gay presentation of the German people of
+his day.</p>
+
+<p><span class="pagenum" id="Page_255">[255]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_257">[257]</span></p>
+
+
+<h2>SPANISH PAINTING</h2>
+</div>
+
+<div class="chapter">
+<h3><i>SPANISH PAINTING</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">Spanish Painting developed slowly although there were schools in all
+the provinces. Even in the Fourteenth Century little was known about
+Spanish Art in other countries. Starnina, who spent nine years in Spain
+(having taken refuge from his part in civil disturbances in Florence),
+painting pictures in the Escurial for John of Castile, had much to tell
+when he returned to Florence in 1387 and introduced Spanish costumes
+into the frescoes he made in the Carmine.</p>
+
+<p>Other Italian painters followed Starnina and Italian ideas dominated
+Spanish Art until the Emperor Charles V became King of Spain. Charles,
+although heir of Maximilian and of the Holy Roman Empire, was also
+a direct descendant of the Dukes of Burgundy, the great-grandson of
+Charles the Bold. Charles V was born in Ghent and spent his first
+sixteen years in the Netherlands, brought up by his aunt, Margaret
+of Austria. Charles’s devotion to his birthplace is well-known; and
+his pun that he could put the whole of Paris into his <i>Gant</i>
+(glove), shows how far superior he considered Ghent to Paris. Charles
+took with him to Spain a vast horde of artists and artisans from the
+Low Countries; and he also imported the punctilious and traditional
+etiquette of the old Burgundian Court, which, absorbed into Spain,
+eventually became known as “Spanish etiquette.”</p>
+
+<p>Spanish artists were profoundly affected with Flemish technique and
+realism. The leading early Spanish painters are Bartolomé Vermejo,
+active in the late Fifteenth Century, a native of Cordova in Andalusia,
+who combined Flemish and Arabian ideas with native traditions; Pedro
+Berruguete (active 1483–1504); Luis de Vargas (1502–1568); and Luis de
+Morales (1509?–1586).</p>
+
+<p>Then again an important foreigner arrived—Antonio Moro (or Mor),
+who, after serving Cardinal Granvella, was sent by Mary of Hungary
+to Madrid, where he became Court-Painter to the House of Hapsburg.<span class="pagenum" id="Page_258">[258]</span>
+Thenceforward Moro was constantly employed by Philip II to paint
+portraits in various Courts, although his headquarters seem to have
+been in Utrecht.</p>
+
+<p>Moro trained the Spaniard, Alonso Sanchez Coello (1515?–1590),
+who, like himself, was rather stiff and hard, but able to paint a
+satisfactory portrait.</p>
+
+<p>Then in 1575 another foreign painter arrived. This time it was a Greek,
+Domenico Theotocopoulos (1545?–1614), a native of Crete and said to
+have studied under Titian in Venice. “El Greco,” however, caught none
+of the glowing colors of Venice on his palette. Austere and gloomy, he
+settled in austere and gloomy Toledo, where he lived all the rest of
+his life painting religious pictures and portraits from a strange and
+morbid point of view.</p>
+
+<p>Francisco de Ribalta (1551?–1628), revolting against Classic
+taste, founded his style on Caravaggio and painted darkly in the
+“<i>tenebroso</i>” manner. His pupil, Jusefe Ribera (1589–1652), called
+“<i>Lo Spagnoletto</i>,” born near Valencia, settled in Naples, where
+he filled many orders for Philip IV.</p>
+
+<p>Francisco Pacheco (1571–1654), and Francisco de Herrera the Elder
+(1576–1656) are chiefly notable because they were the masters of
+Velasquez. Herrera originated the “<i>bodegones</i>” (shop-pictures),
+which are scenes of popular life.</p>
+
+<p>Francisco Zurbaran (1598–1662), of the School of Seville, was called
+“the Spanish Caravaggio.” Through the influence of his friend,
+Velasquez, he entered the service of the King. It is said that Philip
+IV called him “<i>Pintor del Rey y Rey de los Pintores</i>” (Painter
+of the King and King of the Painters). Zurbaran painted the great
+altar-piece in the Cathedral of Seville.</p>
+
+<p>Don Diego de Silva y Velasquez (1599–1660), a native of Seville, became
+painter to Philip IV in 1623 and continued in his service all his life.
+His works range from such groups as <i>Las Meninas</i> and <i>Las
+Hilanderas</i> to portraits of kings, queens, princes, princesses,
+ladies, gentlemen, dwarfs, and idiots.</p>
+
+<p>Bartolomé Estéban Murillo (1617–1682), a native of Seville, came
+of the poor, laboring class and developed into a beloved painter,<span class="pagenum" id="Page_259">[259]</span>
+particularly famous for his Holy Families and Immaculate Conceptions.</p>
+
+<p>After Velasquez and Murillo there was no important painter until
+the original, versatile, and prolific Goya y Lucientes (1746–1828),
+a native of Aragon, who rose from a laborer in the fields to
+Court-Painter. Goya had a profound influence on modern art, greatly
+affecting, for instance, Manet and John Singer Sargent.</p>
+
+
+<h4>CARDINAL QUIROGA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>El Greco</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1545?–1614</i>).</td>
+    <td class="cht3"><i>Mr. Henry Clay Frick.</i></td>
+  </tr>
+</table>
+
+<p>This picture, oil on canvas (37½ × 43¼ inches), was discovered, coated
+with the dust and dirt of ages, in a dark corner of the sacristy of
+the Cathedral of Valladolid, where it had evidently been hidden for
+centuries. A Parisian dealer, having heard of it, purchased it, and
+from him it passed through several hands until it reached its present
+home. The subject represents a Cardinal seated before a table on which
+a volume is lying and the Cardinal’s hands are conspicuously posed upon
+opposite pages. The right thumb pointed downwards emphatically upon a
+certain verse might possibly point to a special text that the Cardinal
+was associated with as betokening a famous sermon delivered by him, or,
+perhaps, an important controversy with which his name was associated.
+The figure, face, and hands are very elongated, as in all of El Greco’s
+performances; but the general effect is more reposeful than usual
+with this painter. Perhaps El Greco pulled the Cardinal out on his
+bed of Procrustes as far as he dared, but the Cardinal was long and
+thin and attenuated anyway, so that he was a model, as it were, ready
+made. It is one of El Greco’s best works. The silvery hair and mist of
+beard are marvellously painted, as are also the piercing eyes, keen
+and searching, yet betraying the philosopher and man of much reading.
+The face is intensely intellectual, but hard and cruel. No one would
+care to attempt to break a lance with this gentleman in any kind of an
+argument. With all his high-bred atmosphere, as both gentleman<span class="pagenum" id="Page_260">[260]</span> and
+student, Quiroga expresses a narrow bigotry and remorseless cruelty.</p>
+
+<p>The picture is also known as <i>St. Jerome</i>; and there are five
+replicas of it, one of them being in the National Gallery, London.</p>
+
+  <div class="figcenter" id="i_261" style="max-width: 484px">
+     <img
+    class="p1"   
+    src="images/i_261.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry Clay Frick</i></p>
+     <p class="p0 sm center">CARDINAL QUIROGA</p>
+     <p class="p0 sm right">—<i>El Greco</i></p>
+ </div>
+
+<p>“El Greco” is the name by which Domenico Theotocopoulos became known
+to his contemporaries. He was born in Crete, and in 1570, when he
+was about twenty-five or thirty, he went to Venice, and, it is
+said, studied under Titian. About 1575 he settled in Toledo, where
+he lived for thirty-four years until his death in 1614, and where
+“La casa del Greco” is still shown to tourists. El Greco painted a
+number of pictures, chiefly religious, notwithstanding the fact that
+“the individuality and strangeness of his work always more or less
+disconcerted his patrons.” El Greco also painted portraits and seems
+to have elongated every sitter to conform to his own ideas. Everything
+that he painted proclaims his own fervor and love of motion. El Greco
+also designed the dome for the then unfinished tower of the west front
+of the Toledo Cathedral, which presents a very strange contrast with
+its companion, the ornate Gothic tower.</p>
+
+<p>Hugh Stokes says:</p>
+
+<p>“El Greco stands apart, both in his portraiture and his large subject
+compositions. A Greek by family, Theotocopoulos does not fail to
+remind us of the archaic Byzantines. At first his limited palette,
+his crudity, his angularity excite repulsion. All his figures are
+muscularly distended as if they had recently passed the ordeal of the
+rack. Gradually these very defects attract. There is a movement and
+passion in his pictures which can be found in very few purely Spanish
+works. These agitated patriarchs and apostles, with draperies caught
+by every wind of heaven, are almost demoniac. Nature herself assists,
+for each horizon in the background frowns with a gathering maelstrom of
+black thunderclouds.”</p>
+
+<p><span class="pagenum" id="Page_262">[262]</span></p>
+
+
+<h4>THE VIRGIN APPEARING TO ST. DOMINIC.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>El Greco</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1545?–1614</i>).</td>
+    <td class="cht3"><i>Mr. J. Horace Harding.</i></td>
+  </tr>
+</table>
+
+<p>The Virgin, in the traditional red robe and blue mantle, has floated
+on a cloud into the church where St. Dominic has been praying. The
+vision, as told here by El Greco, seems as real to us as it does to the
+astonished monk. Dominic de Guzman, who founded the Dominican Order of
+Preaching Friars in 1215, was born in Calaroga, Old Castile, in 1170.
+St. Dominic went on a mission to the Albigenses in Languedoc. and the
+Dominican Order grew out of the volunteers who joined him there. The
+rest of his life was spent in Toulouse and Rome. He died in 1221 and
+was canonized in 1234 by Gregory IX. The Dominican Order was known in
+England as the Black Friars (from their black habit) and in France as
+Jacobins, because their chief house in Paris was in the rue St. Jacques.</p>
+
+  <div class="figcenter" id="i_263" style="max-width: 335px">
+     <img
+    class="p1"   
+    src="images/i_263.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. J. Horace Harding</i></p>
+     <p class="p0 sm center">THE VIRGIN APPEARING TO ST. DOMINIC</p>
+     <p class="p0 sm right">—<i>El Greco</i></p>
+ </div>
+
+<p>This picture, oils on canvas (24 × 39¼ inches) came from the Collection
+of Henri Rouats of Paris and shows El Greco’s ecstasy with less
+exaggeration and eccentricity than is customary with him. Elie Faure
+has well defined the characteristics of El Greco: “Remorse at having
+been born,” he says “pursues the painter until the end, but when he
+expresses it in his art, the magnificence which it takes on atones
+for his terrors. At the end of his life he painted like one in an
+hallucination, in a kind of ecstatic nightmare, where preoccupation
+with expressing the spirit engrossed him. Deformation appears in
+his pictures more and more, lengthening the bodies, attenuating the
+fingers, and hollowing the faces. His blues, his wine-like reds, and
+his greens seem lit by some livid reflection sent to him from the
+near-by tomb and from Hell, caught sight of from eternal bliss. If
+there is a place where shadows wander, if in some sinister valley
+there are corpses that stand upright and living spectres that have not
+yet lost their form, Domenico Theotocopoulos alone after Dante has
+found it. One would say that he is exploring a dead planet, that he is
+descending into extinct volcanoes, where ashes accumulate and a pale
+half moon sheds her light.”</p>
+
+<p><span class="pagenum" id="Page_264">[264]</span></p>
+
+
+<h4>MARIANNE OF AUSTRIA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Velasquez</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1599–1660</i>).</td>
+    <td class="cht3"><i>Mr. Philip Lehman.</i></td>
+  </tr>
+</table>
+
+<p>This picture (14½ × 19 inches) was for many years a valued possession
+of the Zenon Gallery, Cadiz, and represents the little girl, daughter
+of Ferdinand II, who became the wife of Philip IV in 1649 and who had
+first been betrothed to Philip’s son, Don Balthazar Carlos. The latter
+died in 1646. Three years later Philip IV sent for the little Grand
+Duchess to be his second wife. The reason for this marriage was a
+dynastic one, for it united the Spanish branch of the House of Hapsburg
+with the German branch of the House of Hapsburg, Marianne being a
+descendant of Ferdinand, brother of Charles V, and, therefore, of
+exactly the same blood as Philip IV.</p>
+
+  <div class="figcenter" id="i_265" style="max-width: 415px">
+     <img
+    class="p1"   
+    src="images/i_265.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Philip Lehman</i></p>
+     <p class="p0 sm center">MARIANNE OF AUSTRIA</p>
+     <p class="p0 sm right">—<i>Velasquez</i></p>
+ </div>
+
+<p>Velasquez was one of those painters favored by the gods. Like Rubens,
+he early attracted Royal patronage and held it all his life. There
+were no struggles of genius for recognition: all he had to do was to
+complete and develop his gifts and talents. In 1623 he was introduced
+to Philip IV by Olivares and Philip took him into his service.
+Rubens, visiting Madrid in 1628, begged Velasquez to go to Italy.
+Velasquez did so and spent a year in Rome, visited Naples, where he
+met his countryman, Ribera. On his return to Madrid, he was given a
+painting-room in the Royal Palace. Velasquez visited Italy several
+times in the future; and on one visit to Rome painted the famous
+portrait of Pope Innocent X, now in the Doria Gallery (with a replica
+in The Hermitage). Back again in Madrid, Velasquez was decorated with
+the Cross of St. Iago by Philip IV, who made him Aposentador Major
+(grand marshal of the palace). To the last period belong his most
+important portraits, the series of court freaks, and the famous <i>Las
+Hilanderas</i> and <i>Las Meninas</i>.</p>
+
+<p>Velasquez died in Madrid in 1660.</p>
+
+<p><span class="pagenum" id="Page_266">[266]</span></p>
+
+
+<h4>PHILIP IV OF SPAIN.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Velasquez</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1599–1660</i>).</td>
+    <td class="cht3"><i>Mr. Henry Clay Frick.</i></td>
+  </tr>
+</table>
+
+<p>This portrait known as the “Parma Velasquez,” because it belonged
+to the Grand Duke of Parma, is painted in oils on canvas (38¾ × 52½
+inches). It was painted in 1644 in Cataluna, where Philip had gone to
+try to raise the siege of Lerida invested by the French. Velasquez
+went with the King and painted the picture in a dilapidated hovel,
+which was fitted up for the purpose of a studio. A contemporary record
+says: “The King dressed as a soldier posed to Velasquez in fitted hose
+edged with silver embroidery, sleeves of same, plain buck jerkin, red
+sash edged with silver, cape of red fustian, falling collar, and black
+<i>sombrero</i> with crimson plumes.”</p>
+
+<p>The King was kept amused by his dwarf, El Primo, while the portrait was
+being painted. The costume is the one that Philip usually appeared in
+before his army as commander-in-chief.</p>
+
+<p>“From the figure itself,” says Carl Justi, “it is evident that it was
+taken far from the atmosphere of the Alcazar. It is freer than those
+tall figures in black, which are perpetually receiving despatches, and
+which are the incarnation of unrelenting monotony, of the weariness of
+etiquette. To this effect the color contributes much, for the picture
+is all light and brightness. The legs seem to stand in profile, but the
+body and head face to the right; the white <i>bâton</i> in the right
+hand is planted against the hip; the elbow of the left which holds
+the hat, rests on the hilt of the sword, and, curiously enough, both
+arms are disposed in a somewhat parallel position. The lines of the
+King’s features, now in his thirty-ninth year, are firmer, the color
+fresher than hitherto. The otherwise inseparable <i>golilla</i> is here
+replaced by a broad lace collar falling on the shoulders; the hands
+are white in unison with the white sleeves, the most luminous parts
+of the whole picture—well nurtured, royal hands, ringless, but by no
+means ‘washed out,’ as has been supposed by those unacquainted with the
+master’s habit of dispensing with shade to indicate the fingers.</p>
+
+  <div class="figcenter" id="i_267" style="max-width: 402px">
+     <img
+    class="p1"   
+    src="images/i_267.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry Clay Frick</i></p>
+     <p class="p0 sm center">PHILIP IV OF SPAIN</p>
+     <p class="p0 sm right">—<i>Velasquez</i></p>
+ </div>
+
+<p>“Philip wears a rich, light red doublet with hanging sleeves, the<span class="pagenum" id="Page_268">[268]</span>
+narrow opening showing the leather jerkin underneath. Of like color and
+also covered with silver embroidery are the <i>bandolier</i> and hose.
+The only patch of gold is the Golden Fleece, all else—collar, sleeves
+of jerkin (pearl tone), lace cuffs, lace ruffle of boots, silver
+sheath—being white. This white on the red produces the well-known
+effects of a lighter or ‘camellian red.’ The hat alone is black, which
+is not in keeping with the costume, and may probably be due to license
+on the part of the artist, who here wished to avoid white on white,
+and who needed a dark part in softening contrast to the silvery red
+of the whole. At the same time the red of the <i>bandolier</i> and
+plume on the red of the doublet shows the painter’s indifference to
+such matters. To all this must be added the full flood of daylight
+which even projects an oblique shadow from the <i>mustachios</i> on to
+the cheek. The stupendous relief is effected by the empty, dark-grey
+surface of the ground and by the spare brown shadows, which help to
+bring out the collar, arm, and hat.”</p>
+
+<p>When the portrait was finished “it was hung in the church under a
+canopy embroidered in gold where much people congregated to see it.”
+The record adds that “copies thereof are already being made.” The one
+in the Dulwich Gallery, England, is one of these.</p>
+
+<p>The picture was sent by Ferdinand VI, King of Spain, to his
+step-brother, the Grand Duke of Parma; and it remained in the Parma
+Palace until recent times, when it was sold by Prince Elias.</p>
+
+<p>Philip IV was born in 1605, died in 1665, and ascended the throne when
+he was only sixteen. He was a solemn person, with coarse tastes and
+was fond of horse-play. He, however, gave his patronage to Velasquez,
+Calderon, and Lope de Vega, which is much to his credit.</p>
+
+<p><span class="pagenum" id="Page_270">[270]</span></p>
+
+
+<h4>GENERAL NICOLAS GUYE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Goya</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1746–1828</i>).</td>
+    <td class="cht3"><i>Mr. J. Horace Harding.</i></td>
+  </tr>
+</table>
+
+<p>The Spanish General represented in oils on canvas (33⅜ × 41¾ inches)
+wears a brilliantly colored uniform resplendent with gold lace and
+decorated with medals. His knee-breeches are white, and he holds his
+<i>chapeau bras</i> in his hand. The picture was given to Vincent Guye,
+the General’s brother, in 1810.</p>
+
+<p>Francisco José de Goya y Lucientes was born in Fuendetodos in Aragon,
+March 30, 1746. His parents were humble cottagers and he worked in the
+fields until he was eighteen. Through the interest of a monk he was
+sent to Zaragoza to the studio of José Martinez. Goya distinguished
+himself both in the studio and in quarrels, which sometimes resulted in
+bloodshed. After a fight Goya fled to Madrid, where he copied Velasquez
+and became embroiled in more disturbances. He escaped to Italy; and in
+1772 took the second prize for painting at the Academy in Parma. Back
+in Zaragoza in 1771, he painted a fresco in the Cathedral. Revisiting
+Italy he formed a friendship with Jacques Louis David. In 1774 he
+returned to Spain, married the sister of a painter, and began to paint
+furiously. In 1789 Goya became painter of the Chamber—“<i>pinter de
+camera</i>”—to Charles IV, with a large salary. During the occupation
+of Spain by the French and the expulsion of the latter by Wellington,
+Goya lived quietly without taking any part in the exciting events; but
+he had been observing. On the return of Ferdinand VII, he published
+his series of <i>Desastres de la Guerra</i>, in which the horrors
+and bestialities of war are set forth in so frank a manner and with
+such commanding technique that they make a magnificent appeal for the
+abolition of war.</p>
+
+  <div class="figcenter" id="i_269" style="max-width: 429px">
+     <img
+    class="p1"   
+    src="images/i_269.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. J. Horace Harding</i></p>
+     <p class="p0 sm center">GENERAL NICOLAS GUYE</p>
+     <p class="p0 sm right">—<i>Goya</i></p>
+ </div>
+
+<p>Goya had previously published his series of prints, <i>Los
+Caprichos</i>, a most amazing presentation of humanity in brutal
+and revolting caricatures, the origin and significance of which are
+neither fully known nor understood; but, mingled with the demonology
+and repulsiveness, there are occasional gleams of beauty. Equally
+celebrated are his plates, the <i>Tauromachia</i>, dealing with the
+bull-ring.</p>
+
+<p><span class="pagenum" id="Page_272">[272]</span></p>
+
+<p>Goya had an uncanny facility for every medium,—etching, lithographs,
+drawings, and aquatints, as well as oil-paintings. Goya spent the year
+1825 in Bordeaux and returned to Madrid, where he died in 1828.</p>
+
+<p>“My only masters have been Nature, Velasquez, and Rembrandt,” Goya
+said. Being so independent Goya left no pupils and founded no school.
+He was always hostile to the academic: “Always lines and never
+<i>body</i>,” he exclaimed when criticising his contemporaries, “but
+where do we find these lines in Nature? I can only see masses in light
+and masses in shadow, planes which advance or planes which recede,
+reliefs or backgrounds. My eye never catches outlines or details. I do
+not count the hairs on the head of the man who passes me in the street.
+The buttons on his coat are not the chief object to catch my glance. My
+brush ought not to have better eyesight than its master!”</p>
+
+
+<h4>PEPITO COSTA Y BONELLA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Goya</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1746–1828</i>).</td>
+    <td class="cht3"><i>Mrs. William Hayward.</i></td>
+  </tr>
+</table>
+
+<p>This delightful picture, oils on canvas (33¼ × 41⅝ inches), is
+brilliant with many colors delightfully harmonized and contrasted. The
+little boy, with fair hair and dark complexion, wears a green velvet
+jacket with gilt braid, lace collar, white trousers, rose-colored
+stockings, light-yellow slippers, and red and white plumes in his dark
+hat. The drum is blue.</p>
+
+  <div class="figcenter" id="i_271" style="max-width: 431px">
+     <img
+    class="p1"   
+    src="images/i_271.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. William Hayward</i></p>
+     <p class="p0 sm center">PEPITO COSTA Y BONELLA</p>
+     <p class="p0 sm right">—<i>Goya</i></p>
+ </div>
+
+<p>The picture comes from the Collection of the Countess Uda de Gandomar
+of Madrid.</p>
+
+<p><span class="pagenum" id="Page_273">[273]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_275">[275]</span></p>
+
+<h2>FRENCH, EIGHTEENTH CENTURY</h2>
+</div>
+
+<div class="chapter">
+<h3><i>FRENCH, EIGHTEENTH CENTURY</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">We have now come to the age of elegance in painting. In the preceding
+sections of this book we have passed through many periods and many
+schools and have brought forward superb examples of great masters of
+several countries, but we now come to a time when the Art of Painting
+may be said to have reached <i>perfection</i>. The French Painters
+of the Eighteenth Century show us something entirely new in manner
+and in subject. They have grace, elegance, delicacy, style, beauty,
+brilliancy, clarity, and translucence of color. What can, for instance,
+equal the lightness of Watteau and Fragonard, or the dewy freshness of
+Greuze?</p>
+
+<p>There are such things as the floating silk of the thistle’s parachute;
+such things as the feathery dust on the wings of “painted butterflies”;
+such things as the velvet pile on the petals of flowers; such things
+as the purple bloom on the plum and the grape; such things as the down
+on the breast of the cygnet; such things as the roseate gleam of the
+Oriental pearl; such things as the prismatic twinkle of the morning
+dew; and such things as the liquid silver of the moon’s bright ray.</p>
+
+<p>All these most precious and evanescent beauties Watteau, Lancret,
+Pater, Fragonard, Drouais, Chardin, and other painters of the
+Eighteenth Century caught upon their palettes.</p>
+
+<p>It was the genius Antoine Watteau (1684–1721) who opened the magic
+casements into this new world of fairy-like color and fairy-like
+lightness.</p>
+
+<p>In the reaction from the heavy solemnity and gloom of the last years
+of Louis XIV, when the Sun-King was setting under the dark clouds of
+the bigoted and severe Madame de Maintenon’s influence, French taste
+swung to the other extreme of gaiety, fancy, gallantry, and caprice.
+Law’s Mississippi Bubble, while it lasted, enabled a great many persons
+to become suddenly rich; and, as is always the<span class="pagenum" id="Page_276">[276]</span> case with a new state
+of society, new styles of fashion came to meet its requirements.
+Moreover, the tastes of the Regent—the Duc d’Orléans—and the young
+King Louis XV were gay and playful; and, consequently, they were both
+glad to see all the traditions of Louis XIV swept away. The <i>Art
+nouveau</i> of the period was most graceful and charming in its early
+expression. The playful curves and fantastic motifs from the Far
+East—pagodas, mandarins, umbrellas, monkeys, little bells, dripping
+water, and strange, wreathing vines, were all transmuted by the great
+decorative artists and designers into that delicious and delightful
+French <i>mélange</i> known as <i>Chinoiserie</i>, which is, perhaps,
+more <i>French</i> than Chinese. The riotous curves, most of which
+were derived from the volutes of the shell, the shell itself, and the
+dripping water (or hanging icicles), were used so prolifically and
+so universally that their name <i>rocaille</i> (rock and shell) or
+<i>rococo</i>, is almost synonymous with that of the “<i>style Louis
+Quinze</i>,” although it does not include all the motifs nor all the
+spirit of the age.</p>
+
+<p>Watteau was followed in his fascinating portrayal of <i>pastorales
+galantes</i>, <i>fêtes champêtres</i>, and all the light pleasures
+of society and its beautifully dressed men and women, by Nicolas
+Lancret (1690–1743) and Jean Baptiste Joseph Pater (1695–1736); and to
+this group belongs Jean Baptiste Huet (1745–1811), who in his first
+years followed Watteau closely; and as a decorative designer, he also
+expressed the taste of the Directoire and Empire period through which
+he lived.</p>
+
+<p>Of the portrait painters, Jean Marc Nattier (1685–1766) stands first
+as Court-Painter and portrayer of lovely ladies in flowing draperies,
+rose-colored or blue scarfs, and wreaths and garlands of flowers,
+appearing as Hebe, Diana, Flora and other goddesses of Grecian
+mythology. Close to him comes Maurice Quentin de la Tour (1704–1788),
+who early abandoned oil-painting for pastels (his masterpiece, the
+portrait of Madame de Pompadour is now in the Louvre), was called a
+magician by Diderot and his work is described by de Goncourt as “a
+magic mirror, in which is seen all the talent, all the glory, all the
+wit, and all the grace of the reign of Louis XV.”</p>
+
+<p>Carle Van Loo (1705–1765) is another portrait-painter of delicate
+and distinguished taste and performance. François Hubert Drouais<span class="pagenum" id="Page_277">[277]</span>
+(1727–1775) also expresses all the beauty, charm, and grace of the day
+in his presentations of the fashionable world.</p>
+
+<p>François Boucher (1703–1770), the friend and successor of Carle Van Loo
+as first painter to the King, is so idyllic and fanciful that he has
+been characterized as the “Anacreon of Painting.”</p>
+
+<p>Alexandre François Desportes (1661–1743), painter of hunting-scenes
+and animals, and Jean Baptiste Oudry (1686–1755), painter of
+hunting-scenes, animals, flowers, fruit, and still-life, blazed
+the trail for Jean Baptiste Siméon Chardin (1699–1779), one of the
+greatest colorists in the entire history of painting. Jean Baptiste
+Greuze (1725–1805), full of grace, charm, and freshness, painter
+<i>par excellence</i> of pretty girls, and Jean Honoré Fragonard
+(1732–1806), pupil of Chardin and Boucher, famous for his delicate
+color and lightness of touch, lived into the new <i>régime</i> and
+their work became unappreciated. Hubert Robert (1733–1808), painter
+of delicate and highly decorative garden-scenes and classical ruins,
+and Madame Labille-Guiard (1749–1803) also lived into the Directoire
+and Napoleonic period when they were forced to leave their quarters
+in the Louvre formerly accorded to them by Royal permission. Madame
+Labille-Guiard was in her day ranked with Madame Vigée LeBrun
+(1755–1842), wife of the grand-nephew of the great painter, Charles
+LeBrun, who won distinction for her portraits, her brilliant
+<i>salon</i>, and her charming personality.</p>
+
+
+<h4>JUPITER AND CALISTO.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Nicolas Poussin</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1594–1665</i>).</td>
+    <td class="cht3"><i>Mr. Carroll Tyson.</i></td>
+  </tr>
+</table>
+
+<p>This famous picture was first owned by the great painter Charles
+LeBrun. It subsequently belonged to the Collections of Baron Holback,
+1789; Baron Clary, 1868; and Baron de Tournelle in Paris. Painted
+about 1635, this large canvas (53½ × 70½ inches), is in a fine state
+of preservation, the colors, in consequence, appearing richer than
+is usual in Poussin’s works. The greens, browns, and pinks are warm;
+the flesh tints are glowing; and the draperies and the sky are a deep
+<i>lapis-lazuli</i> blue.</p>
+
+<p><span class="pagenum" id="Page_278">[278]</span></p>
+
+<p>The puzzle is to find Jupiter! In Smith’s <i>Catalogue raisonné</i> we
+read:</p>
+
+<p>“The god under the form of Diana is represented sitting on a shady bank
+embracing the beautiful nymph, who sits by his side with a spear in
+her hand; seven Cupids are sporting around them, one of which, while
+flying, is discharging an arrow from his bow; a second is playing with
+the hounds of the supposed huntress; a third holds up the blazing torch
+of love; and two others, buoyant among the trees, are casting flowers
+on the heads of the lovers.</p>
+
+<p>“In his very beautiful pictures illustrative of ancient mythology
+Poussin has treated the various subjects in a style that proves he
+perfectly understood the mystery of the allegories therein contained
+and employed with the happiest effect the numerous symbolical
+figures to denote qualities, places, and things. His style, although
+unquestionably of French origin, owes all its beauty to his subsequent
+study of a few of the great Italian Masters, and of ancient sculpture.
+To such an extent was he carried in his enthusiastic admiration of
+the latter, that most of the celebrated statues and monuments, both
+of Greek and Roman origin, may be recognized in his pictures. This
+fondness for the chaste beauty of the antique may have led him in
+some instances so far as to give to his figures a rigidity which ill
+accords with the elasticity of nature. This defect (if it be one),
+is amply compensated by the grace and dignity of attitude and the
+chaste correctness of drawing which pervades his works. Execution,
+that medium by which the conceptions of a painter are embodied, and by
+which the connoisseur is frequently enabled to judge of the originality
+of a picture, is distinguished in the Artist (in his best period) by
+breadth and precision of hand, and a firm and decided outline; every
+touch of the pencil appears the result of consideration and profound
+knowledge, and in this respect it is the very reverse of that rapidity
+and dexterous freedom of hand observable in the works of Rubens, Paul
+Veronese, and Giordano.”</p>
+
+  <div class="figcenter" id="i_279" style="max-width: 723px">
+     <img
+    class="p1"   
+    src="images/i_279.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Carroll Tyson</i></p>
+     <p class="p0 sm center">JUPITER AND CALISTO</p>
+     <p class="p0 sm right">—<i>Nicolas Poussin</i></p>
+ </div>
+
+<p>Poussin spent almost his entire life in Rome. Born at Villiers near
+Les Andelys in Normandy in 1594, he went to Paris at the age of
+eighteen to study art, having had some training under Quentin Varin<span class="pagenum" id="Page_280">[280]</span>
+at Les Andelys. In Paris he studied under Ferdinand Elle, a Flemish
+portrait-painter, and L’Allemand, a native of Lorraine. In 1620 he
+started for Rome, but only got as far as Florence. Compelled to return
+to Paris he now formed a friendship with Philippe de Champaigne (also
+a pupil of L’Allemand) and worked with him on the decorations of the
+Luxembourg under Duchesne. Four years later Poussin arrived in Rome,
+his long desired goal, and plunged enthusiastically into the study of
+ancient art, also working in the studio of Domenichino. For a long time
+Poussin had to struggle with poverty, illness, and Italian hatred,—for
+the Italians and French were enemies at this time. Marriage with the
+daughter of a wealthy compatriot changed matters and Poussin bought
+with his bride’s dowry a handsome house on the Pincian Hill. Cardinal
+Barberini’s patronage now brought Poussin fame, for the Cardinal
+commissioned two paintings, <i>The Death of Germanicus</i> and <i>The
+Capture of Jerusalem</i>—besides other important orders. Poussin’s
+reputation soared rapidly and in 1640 Louis XIII called him to Paris,
+appointed him first painter-in-ordinary, and gave him a residence in
+the garden of the Tuileries for life. For two years Poussin worked
+industriously, producing many paintings, cartoons for tapestries, and
+illustrations for books; but he longed for his beloved Rome and in
+1642 returned to that city, where he spent the remainder of his life
+in the tranquil pursuit of his art. Poussin painted for twenty-three
+more years and died in Rome in 1665. His works are numerous; and, with
+the exception of a few portraits, are chiefly devoted to mythological,
+classical, historical, and Biblical subjects. Titian was his idol.
+However, despite his Italian inspiration and taste, Poussin is regarded
+as the head of the French School. His devotion to classical subjects
+and his deep study of the antique in all its expressions make Poussin
+one of the most scholarly of painters.</p>
+
+<p>Sir Joshua Reynolds says: “In contemplating his classical pictures the
+mind is thrown back into antiquity or remote ages; and it would be
+no difficult matter for the spectator to imagine that such pictures
+were coeval, or nearly so, in their production with the mythological
+metamorphosis and Bacchanalian festivals that are set before him. His
+shepherds, fauns, nymphs, satyrs, and Bacchanals appear<span class="pagenum" id="Page_281">[281]</span> a primitive
+progeny, the native inhabitants of the mountains and woodlands of the
+genial climate of Greece and of that Golden Age when Hellas and Asia
+Minor may be supposed to have been overspread with aboriginal forests
+and life was careless resignation to present enjoyment.”</p>
+
+<p>From Nicolas Poussin and Claude Lorrain (1600–1682), landscape-painter
+of idealized Classic scenes, poetic in spirit and suffused with
+dreamful, golden light, the Eighteenth Century French painters may be
+said to have found their fountain-head of inspiration.</p>
+
+
+<h4>LA DANSE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Antoine Watteau.</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1684–1721</i>).</td>
+    <td class="cht3"><i>Mr. Charles A. Wimpfheimer.</i></td>
+  </tr>
+</table>
+
+<p>With the exception of the superb <i>Embarquement pour l’Ile de
+Cythère</i>, we do not think of individual paintings of Watteau. We
+consider his work as a whole and we have a composite picture in our
+minds of <i>assemblées galantes</i> under the trees in beautiful parks
+and gardens. Although he derived his themes from his master, Gillot,
+who was painting all the fashionable follies and fancies of the time,
+Watteau surpassed him so entirely in his approach to these subjects,
+as well as in his technique, that we are wont to look upon Watteau as
+the originator of <i>fêtes champêtres</i>, <i>pastorales galantes</i>,
+<i>concerts champêtres</i>, monkeys in all kinds of attitudes and
+costumes satirizing the modes and manners of the day, ladies and
+gentlemen playing Blind Man’s Buff (<i>Colin Maillard</i>) under
+the trees, ladies swinging or flirting with their fans, love-scenes
+beside statues in leafy dells, members of the Italian Comedy—Pierrot,
+Arlequin, Scaramouche, Mezetin, Columbine, and Scalpin—and charming
+people making music or dancing under the trees.</p>
+
+<p>This characteristic picture which came from the S. R. Bertron
+Collection to its present owner, is a charming illustration of
+Watteau’s style. Here we have dancing and music and merry conversation.
+The light is concentrated on the chief figure—the dancer—clad in
+that white satin that Watteau painted so marvellously. But why<span class="pagenum" id="Page_282">[282]</span> single
+out any special object for that facile and versatile brush? Did not an
+eminent critic of the Nineteenth Century proclaim that Watteau was “the
+most brilliant and vivid painter the world has ever seen”?</p>
+
+<p>Watteau created an Arcadia of his own—a Watteau world; and it is not
+without reason that another critic called him “the Shakespeare and the
+Aristophanes of Art.”</p>
+
+<p>The world has long recognized that Watteau was a poet. Élie Faure asks
+why it is that the <i>ensemble</i> always produces the sensation so
+near to sadness, and then he gives the reason:</p>
+
+<p>“The spirit of the poet is present. Watteau had brought back from his
+Flemish country and from a visit he had made to England the love of
+moist landscape, where the colors in the multiplied prism of the tiny
+suspended drops take on their real depth and splendor. Music and trees,
+the whole of Watteau is in them. The sound does not interrupt the
+silence, but rather increases it. Barely, if at all, a whispered echo
+reaches us from it. We do indeed see the fingers wandering from the
+strings: the laughter and the phrases exchanged are to be guessed from
+bodies bending forward or turning backward and from fans that tap on
+hands. The actors in the charming dramas are at a distance from their
+painter and are dispersed in the depths of the open spaces. Watteau
+fears to come near them, to penetrate their mystery; for to see them
+too close would destroy the aërial veil that trembles between them and
+himself. He caresses them only with his delicate tones that hover here
+and there as would some bee from the north flying about in the damp
+forests or under the lights of the <i>fête</i>, among the powdered
+gold of the hair, the rose of the costumes, the bluish, milky haze,
+the flower-sprinkled moss, the grass on which rest skirts and mantles
+of silk and satin, and the nocturnal phosphorescence given to jewels
+and velvets by the gleam of moonlight and the flare of waving torches.
+It is the irised air which makes the marble statues seem to quiver,
+which gives agitation to the sprightly and piquant faces, movement to
+the fingers plucking guitars, and to delicate fine legs in stockings
+of transparent silk. Watteau never comes near the scene: the vision
+is as distant as an old dream. Observe<span class="pagenum" id="Page_284">[284]</span><span class="pagenum" id="Page_283">[283]</span> it in detail. The structure
+of the figures—solid, moving, and substantial—makes them appear as
+if on the plane of man. Watteau’s little personages are as large as
+his conception of them: he paints with the breadth, the fire, and the
+freedom of Veronese, of Rubens, of Velasquez, and of Rembrandt.”</p>
+
+  <div class="figcenter" id="i_283" style="max-width: 718px">
+     <img
+    class="p1"   
+    src="images/i_283.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Charles A. Wimpfheimer</i></p>
+     <p class="p0 sm center">LA DANSE</p>
+     <p class="p0 sm right">—<i>Antoine Watteau</i></p>
+ </div>
+
+<p>Antoine Watteau, born at Valenciennes, Oct. 10, 1684, was turned
+adrift by his father, a tile-maker, and he went to Paris, where he
+gradually became a fine draughtsman. He entered the studio of Claude
+Gillot (1673–1722), well known for his mythological pictures, his
+<i>Chinoiserie</i>, his <i>fêtes galantes</i>, his <i>singerie</i>,
+and his buffoonery of the Italian Comedy. Watteau soon surpassed his
+teacher and left him to study for a short time with Claude Audran
+(1658–1734). In 1717 Watteau became a member of the Academy; in 1719 he
+visited England; and in 1721 he died at Nogent, near Paris.</p>
+
+<p>The de Goncourts have summed up his qualities so well that no excuse is
+needed for placing their analysis here:</p>
+
+<p>“It is doubtless owing to the early decorative work executed by
+Watteau that he acquired a taste for the theatre of which in after
+days his cunning brush drew so many pleasing representations, so many
+curious pictures and that he so often depicted the Italian and French
+Comedians, those friends and intimates of his brush, whose motley
+family he painted in that beautiful and striking picture which is a
+companion to <i>Comédiens Français</i>. He painted their companion
+picture when Madame de Maintenon drove them out of France in 1697; he
+painted their amusements, their nocturnal amours and serenades, their
+holidays, their open-air sports. Mezetin and Columbine appear on a
+hundred panels. But there would be little reason to thank the chance
+that led Watteau at the outset of his career to work under an obscure
+decorator if he had only copied the silken folds of their costumes
+and had not conceived the idea of using these Trans-alpine types as
+the poetic habitants of his <i>scènes galantes</i> and <i>scènes
+champêtres</i>. In fact, by the introduction of these Merry Andrews,
+these gracious mummers, these elegant incarnations of dainty laughter
+and fine comedy, these men and women whose materiality is so vague and
+their reality so veiled beneath symbol and myth, the compositions<span class="pagenum" id="Page_285">[285]</span>
+of the painter no longer seem like pictures of a real world. The
+greensward of his <i>scènes galantes</i> seems peopled with mythical
+beings to whom Watteau’s imagination and lightness of touch have
+left nothing of the actors who served as his models; and we have the
+illusion of looking into a verdant country inhabited by creations of
+whim and fancy.”</p>
+
+
+<h4>MADAME BONIER DE LA MOSSON.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Marc Nattier</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1685–1766</i>).</td>
+    <td class="cht3"><i>Mr. Edward J. Berwind.</i></td>
+  </tr>
+</table>
+
+<p>Nolhac calls the portrait of Madame Bonier de la Mosson “<i>une des
+plus belles de ses Dianes ou de ses Nymphes chasseresses</i>.” The
+picture (51 × 38 inches) was exhibited in the Salon of 1742. From the
+Collections of Debatz, Reims, and Tamvaco, Cairo, it passed into that
+of Mr. Berwind. This handsome lady, radiant in her leopard skin and
+flowers, was the wife of M. Bonier de la Mosson, who was also painted
+by Nattier four years later (1746), in his “cabinet of curiosities,”
+for M. Bonier de la Mosson was one of those amateur scientists of
+the age. In his rich <i>hôtel</i> in the rue Saint Dominique in
+Paris, he had a laboratory and an “<i>apothicairerie</i>,”—his pots,
+bottles, mortars and pestles and crucibles surrounded by furniture of
+the most superb description. The portrait of M. Bonier de la Mosson
+was in great contrast to that of his beautiful wife. The portrait
+of the gentleman is a fine work, but the portrait of the lady shows
+Nattier in his most characteristic aspect. Here is the <i>real</i>
+Nattier, for Nattier specialized in what was called in his day the
+“historic portrait,”—that is to say the sitter was represented as
+a mythological, or historical, personage with all the attractive
+symbolical and picturesque accessories. Nattier’s vogue during his
+lifetime was very great and all the aristocratic and fashionable ladies
+wanted, above all things, to have themselves perpetuated as Dianas,
+Floras, Hebes, and Auroras. Consequently, many old families in France
+cherish a fine allegorical<span class="pagenum" id="Page_286">[286]</span> portrait of a handsome ancestress caught as
+it were on Mount Olympus with the gods and goddesses.</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“<i>Nattier l’élève des Graces,</i></div>
+        <div><i>Et le peintre de la beauté</i>”</div>
+      </div>
+    </div>
+  </div>
+
+<p class="p-left">is a tribute in some verses in 1727.</p>
+
+<p>“It may seem fantastic,” Sir Walter Armstrong writes, “to bracket
+Van Eyck with a painter like Nattier, but a little consideration
+will show that in a sense they belonged to the same faction, that is
+to say that if Van Eyck had lived in Paris in 1760, he would have
+conceived a portrait much in the same way as Nattier, and so <i>mutatis
+mutandis</i> with the Frenchman. The conscious desire of both was
+to <i>reproduce</i> their sitter, choosing a moment when he or she
+was thinking of nothing in particular, and surrounding him with his
+familiar properties carefully marshalled into a design.”</p>
+
+<p>Jean Marc Nattier came of a family of artists. His father, Marc
+Nattier, was an Academician, his mother, Marie Courtois, was a
+miniature-painter of reputation, and his brother, J. B. Nattier, was
+also a painter. Jean Marc Nattier was born in Paris, March 17, 1685,
+and was trained at a very early age by his father. Admitted to the
+classes at the Académie, he won a prize in drawing and at the age
+of fifteen was given a stipend. In 1715 Nattier went to Holland,
+where Peter the Great was staying, and painted the Czar, the Empress
+Catherine II, and several members of the Russian Court; but he declined
+all inducements to follow the Czar to Russia and returned to Paris.</p>
+
+<p>In 1718 Nattier was received at the Académie and, thenceforth, devoted
+himself to portraiture. In 1724 he married Mademoiselle de la Roche,
+daughter of an old <i>mousquetaire</i> of the King; and it was not long
+before he became official painter of the court and, in consequence, the
+most fashionable portrait-painter in France.</p>
+
+<p>Nattier was made assistant professor of the Académie in 1745 and full
+professor in 1752. Every year brought him more fame and more honors
+until his death in Paris in 1766.</p>
+
+<p>Nattier depicts the delicate, charming, and aristocratic beauty of<span class="pagenum" id="Page_288">[288]</span>
+the early Louis XV period and has the gift of expressing also grace and
+alluring qualities. Louis XV had Nattier make replicas of many of the
+court portraits most pleasing to him, which he sent to European Courts;
+and this explains how it is that so many splendid Nattiers are hanging
+to-day in European galleries.</p>
+
+  <div class="figcenter" id="i_287" style="max-width: 415px">
+     <img
+    class="p1"   
+    src="images/i_287.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Edward J. Berwind</i></p>
+     <p class="p0 sm center">MADAME BONIER DE LA MOSSON</p>
+     <p class="p0 sm right">—<i>Jean Marc Nattier</i></p>
+ </div>
+
+<p>Nattier has a unique place as the painter of beautiful women, yet,
+although he painted individuals, his work, taken as a whole, presents
+the French Society woman of the Eighteenth Century with her peculiar
+charm, elegance, and <i>finesse</i>, appearing in his portraits as
+she really was,—experienced, flexible, high-bred, gay, witty, and
+accomplished, graceful in manner and in speech, perfect in the arts of
+the toilet and in dress, conscious of her charm, and tactful, polished,
+and fascinating in society.</p>
+
+
+<h4>LA MARQUISE DE BAGLION AS FLORA.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Marc Nattier</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1685–1766</i>).</td>
+    <td class="cht3"><i>Mr. A. W. Erickson.</i></td>
+  </tr>
+</table>
+
+<p>This masterpiece is also known as the “Chaponay Nattier,” from having
+been long in the Collection of the Marquis de Chaponay in Paris.
+Previously the picture graced the Collection of la Comtesse Armand née
+Gontoud-Biron and subsequently that of M. Nicolas Ambatielos in London.
+Many critics regard <i>La Marquise de Baglion</i> as the finest French
+portrait of the Eighteenth Century. Its first appearance in public was
+at the Salon of 1746 and it was shown in the Paris Exhibition of the
+One Hundred Masterpieces in 1892 (No. 28) and in the Paris Exhibition
+of the One Hundred Portraits of Women of the French and English Schools
+in 1909 (No. 85).</p>
+
+  <div class="figcenter" id="i_289" style="max-width: 426px">
+     <img
+    class="p1"   
+    src="images/i_289.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. A. W. Erickson</i></p>
+     <p class="p0 sm center">LA MARQUISE DE BAGLION</p>
+     <p class="p0 sm right">—<i>Jean Marc Nattier</i></p>
+ </div>
+
+<p>The picture (53⅛ × 41¼ inches) is signed and dated 1746, hence it
+was shown as soon as it was finished. The subject of the picture,
+Angélique Louise Sophie d’Allouville de Louville was born Feb. 10,
+1710, daughter of Charles Augustin d’Allouville, Marquis de Louville,
+Gentleman-in-waiting to the King of Spain, Lieutenant-General of his
+armies and Governor-General of Courtray. Her mother was Hyacinthe
+Sophie de Bechameil de Nointel. On June 10, 1733, Angélique Louise<span class="pagenum" id="Page_290">[290]</span>
+Sophie was married to Pierre François Marie de Baglion, Comte de la
+Salle. After twenty-three years of marriage the Marquise de Baglion
+died in 1756. Her only daughter, Françoise Sophie Scholastique de
+Baglion (who was married to Denis Auguste Grimoard de Beauvoir,
+Marquis du Roure, Colonel of the Grenadiers of France of Saintonge, of
+Dauphine, and later brigadier), was lady-in-waiting to the Dauphine
+(Marie Antoinette), and was a great friend of Madame de Pompadour, whom
+she usually accompanied on her visits to Choisy.</p>
+
+<p>In this exquisite picture, La Marquise de Baglion, an unusually
+beautiful woman, who has great intelligence in her face, as well
+as beauty, appears in a very <i>décolleté</i> dress, which shows
+her dazzling neck and shoulders. Her aristocratic hand, long and
+beautifully shaped, lightly holds a blue scarf—“Nattier blue”—filled
+with lovely flowers. Flowers are as nearly important as the Goddess of
+Flowers herself; and, consequently, Nattier has shown himself here the
+equal of any painter who specialized in flowers.</p>
+
+<p>The picture was much talked of in its day at Versailles; in the
+<i>boudoirs</i>; at the toilet of the marquise; and at the <i>petits
+soupers</i> of the King, Louis XV. Many poets have sung its praises.
+One of the latest and best tributes is by Roger Milès called a
+<i>Madrigal for a Portrait of the Marquise de Baglion painted by
+Nattier</i>. In reading it we cannot help regretting that the beautiful
+Flora could not have read these sympathetic verses:</p>
+
+
+<p class="center"><i>MADRIGAL</i></p>
+
+<p class="center">(<i>Pour un Portrait de la Marquise de Baglion peint par Nattier</i>)</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div><i>Dès le matin, dans la rosée, au fond du parc,</i></div>
+        <div><i>La Marquise s’en fut, pour saluer l’Aurore,</i></div>
+        <div><i>Et les cerfs inquiets qui sommeillaient encore,</i></div>
+        <div><i>Pour Diane la prenant, des yeux cherchaient son arc.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Mais elle n’était pas la Déesse farouche</i></div>
+        <div><i>Et, si parfois ses yeux ont pu lancer ces traits,</i></div>
+        <div><i>Ses victimes devaient y trouver des attraits,</i></div>
+        <div><i>Tant le sourire avait de douceur sur sa bouche.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Elle allait simplement, fière de sa beauté,</i></div>
+        <div><i>Humilier les fleurs écloses pour lui plaire,</i></div>
+        <div><i>Sachant leur jalousie aimable et sans colère,</i></div>
+        <div><i>Ames où des parfums chantent la volupté.</i><span class="pagenum" id="Page_291">[291]</span></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Et voici que ses mains cruelles et câlines</i></div>
+        <div><i>Ont fait leur choix parmi la fraicheur des buissons,</i></div>
+        <div><i>Pour les encourager, de leurs nids, les pinsons</i></div>
+        <div><i>Raillaient à plein gosier les branches orphelines.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Et de ses belles mains déborde son butin.</i></div>
+        <div><i>Sa cueillette fut bonne, et ses touffes fleuries.</i></div>
+        <div><i>Suffiraient à parer la mousse des prairies</i></div>
+        <div><i>Quant la Nature dit sa prière au Matin.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Sur un banc, souriante, elle s’est reposée,</i></div>
+        <div><i>Une rose retient l’épaulette qui fuit,</i></div>
+        <div><i>Et le Zephyr qui passe en balayant la nuit,</i></div>
+        <div><i>S’attarde à la splendour de sa gorge rosée.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>L’étoffe la possède entre ses plis légers,</i></div>
+        <div><i>Des joyaux précieux se serrent à sa hanche,</i></div>
+        <div><i>Et, sur un chiffonné de mousseline blanche,</i></div>
+        <div><i>Ses genoux par un tissu bleu sont assiégés.</i></div>
+      </div>
+
+    <div class="stanza">
+        <div><i>Mais un charme divin s’epanouait en elle,</i></div>
+        <div><i>Et l’on tremble, en voyant son pur rayonnement,</i></div>
+        <div><i>Que Dieu pour nous ravir à cet enchantement,</i></div>
+        <div><i>Ne fasse palpiter à son épaule ... une aile.</i></div>
+      </div>
+
+    </div>
+  </div>
+
+
+<h4>LA CAMARGO.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Nicolas Lancret</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht">(<i>1690–1743</i>).</td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>This painting came into this country directly from the Collection of
+the Emperor of Germany, having long hung in Potsdam Palace, “Sans
+Souci,” near Berlin. It was originally in the Collection of the
+Prince de Carignan in Paris, from whom it was acquired in 1744 by the
+Count von Rothenburg, Prussian Ambassador, for Frederick the Great
+(1712–1786), to adorn his castle at Rheinsberg.</p>
+
+<p>The picture is in oils on canvas (30 × 41¾ inches). We have here a
+typical scene of French Eighteenth Century life, laid in a beautiful
+park of emerald swards, lovely trees, and graceful foliage, a
+“terminal” figure of a Muse in the middle distance, and a fountain
+tossing its spray at the extreme right. Mademoiselle Camargo and her
+partner occupy the left centre of the picture dancing to music played
+by a small orchestra<span class="pagenum" id="Page_292">[292]</span> on the left. Seated and standing around them
+beneath the trees are groups of interested spectators; and among them
+at the extreme left Lancret has painted his own portrait. He is wearing
+a dark mantle and a <i>biretta</i>, and looks directly toward the
+observer.</p>
+
+<p>The dancer, who gives the name to the picture, is the celebrated Marie
+Anne de Cuppi de Camargo, born in Brussels in 1710. The Princess de
+Ligne became interested in her and sent her to Paris at the age of
+ten to be trained for a dancer. Under Madame Prevost, a dancer at the
+Opéra, her progress was so rapid that she made her <i>début</i> at
+the Opéra at the age of seventeen, when her extraordinary grace and
+her wonderful clothes caused her to be acclaimed as a star. Through
+the lessons of Blondy and Dupré she perfected her talents and became
+the most famous Parisian dancer of her time. A <i>liaison</i> with
+the Comte de Clermonte Abbé of Saint-Germain-des-Prés caused her to
+leave the Opéra in 1734; but she returned in 1740 and regained her
+former triumphs. This was the time when Lancret painted some wonderful
+portraits of the great <i>danseuse</i>, including the fine picture
+presented here. Mademoiselle Camargo retired permanently in 1751 and
+died in Paris in 1770.</p>
+
+  <div class="figcenter" id="i_293" style="max-width: 702px">
+     <img
+    class="p1"   
+    src="images/i_293.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew J. Mellon</i></p>
+     <p class="p0 sm center">LA CARMARGO</p>
+     <p class="p0 sm right">—<i>Nicolas Lancret</i></p>
+ </div>
+
+<p>Nicolas Lancret was born in Paris in 1690 and died there in 1743. He
+was a pupil of Pierre d’Ulin and Claude Gillot; but he adopted Watteau
+as his model. Indeed, his close imitations of Watteau estranged the
+latter. Lancret, however, won a great reputation for his beautiful
+sense of composition, his fine design, and his charming color. He
+was elected a member of the French Academy of Painting in 1719. His
+landscapes are always delicate and romantic, and as a painter of
+<i>Fêtes galantes</i> he almost equals Watteau and Pater.</p>
+
+<p><span class="pagenum" id="Page_294">[294]</span></p>
+
+
+<h4>LE DUO.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Nicolas Lancret</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1690–1743).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Emil J. Stehli.</i></td>
+  </tr>
+</table>
+
+<p>At first glance we might take this painting for a Watteau, for
+Lancret has shown in it the same appreciation of park scenery, leafy
+and fresh foliage, charming figures of grace and refinement, and,
+even more particularly, the suggestion of music. We seem to hear the
+liquid, silvery, cool notes of the flute and the sweet, clear voice
+of the pretty young lady who is singing from a book of music while
+the young gallant looks over her shoulder and plays his part in the
+duet. The costumes are lovely; the young lady is dressed in white and
+the flute-player wears a brownish-red suit. The flute-player’s pose
+is interesting: all his weight is placed on his right foot. Note his
+hands: they are properly placed on the holes of his instrument, which
+he is holding as a musician. The French have always been superlative
+flute-players and it was only natural that Lancret would select a
+capable musician for his model. We can make a safe guess that the music
+we are hearing from these musicians is an air by Rameau, whose operas
+and ballets were enjoying great vogue when this picture was painted.
+The work, oils on canvas (19¾ × 16¾ inches), belonged to the Collection
+of Sir William Knighton, Bart., and came from that of Mr. Pitt Rivers
+of London to the present owner, Mr. Emil J. Stehli of New York.</p>
+
+<p>Comparing Lancret with Watteau, Eugène Langevin writes:</p>
+
+<p>“First the style of the master was not adopted by him in its entirety;
+he modified it in accordance with his own disposition; he has played
+some of Watteau’s melodies, but in a lower key and with a slower
+movement. It is <i>conversations galantes</i> rather than <i>fêtes
+galantes</i> that he paints. He seems to feel that he does not possess
+the fire, the caprice, the vivacity, the imagination, and the supreme
+poetic distinction that are required for <i>Departures for the
+Enchanted Isle</i>. He halts half-way. Where Watteau painted sumptuous
+and impassioned eclogues, Lancret portrays rural amusements, richly
+adorned and at<span class="pagenum" id="Page_296">[296]</span> the same time frolicsome as he had seen them on the
+boards. Watteau revels in the most magical of fictions: he is the
+Shakespeare, the Aristophanes of Art.</p>
+
+  <div class="figcenter" id="i_295" style="max-width: 453px">
+     <img
+    class="p1"   
+    src="images/i_295.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Emil J. Stehli</i></p>
+     <p class="p0 sm center">LE DUO</p>
+     <p class="p0 sm right">—<i>Nicolas Lancret</i></p>
+ </div>
+
+<p>“Like Watteau, Lancret broke with the academic traditions of the day,
+which were all for reddish or brown tints: he acknowledged a wholesome
+horror of burnt colors. And if he lacks that distinction which his
+master owed to his constant practice of Flemish and Venetian Art and
+to his own natural gifts, if he cannot produce those glowing and
+<i>rutilant</i> tonalities full of golden sheen, those rich colors, and
+those subtle harmonies of infinitely delicate beauty, he, at least,
+possessed a palette both rich and refined.”</p>
+
+
+<h4>UNE FÊTE CHAMPÊTRE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Joseph Pater</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1695–1736).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>This brilliant picture, painted in 1733, the height of the Regency
+period, came from the Collection of Lady Carnarvon, having been
+bequeathed to her by Alfred Charles de Rothschild of Seymour Place,
+London.</p>
+
+<p>The scene is laid in a romantic landscape with the ruins of an old
+<i>château</i> and other ancient buildings surrounded by beautiful,
+feathery trees. Upon the green sward groups of men, women, and
+children have gathered to enjoy themselves in various ways. The merry
+assemblage, dressed in brilliant costumes of delightful colors,
+charmingly harmonized and contrasted, are dancing, feasting, making
+love, and watching actors and mountebanks perform. Even two little dogs
+in the foreground have partaken of the general gaiety. The movement,
+<i>brio</i> and general <i>joie de vivre</i> make this a veritable
+panorama of the Eighteenth Century. The picture is also noteworthy for
+being the largest ever painted by Pater.</p>
+
+  <div class="figcenter" id="i_297" style="max-width: 670px">
+     <img
+    class="p1"   
+    src="images/i_297.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">UNE FÊTE CHAMPÊTRE</p>
+     <p class="p0 sm right">—<i>J. B. J. Pater</i></p>
+ </div>
+
+<p>Jean Baptiste Joseph Pater was born at Valenciennes in 1695, the son
+of a wood-carver who appreciated his son’s talent, taught him what
+he could, and then took him to Paris, where he became a pupil of<span class="pagenum" id="Page_298">[298]</span>
+his fellow-townsman, Watteau. The irritable temper of Watteau caused
+a separation; but in 1721 Watteau sent for Pater to come to him at
+Nogent-sur-Marne and gave him daily instruction.</p>
+
+<p>Pater was very “modernistic” in his time, for in 1728 he was received
+into the Academy as a member of the new class of “<i>peintres de sujets
+modernes</i>.”</p>
+
+<p>Pater was entirely absorbed in his art. He rarely left his studio,
+formed no friendships, painted all day and every day, and gave himself
+no pleasures. His feverish industry coupled with his parsimonious
+living—he was haunted by the fear of poverty in old age—at last told
+upon him and he died in Paris in 1736.</p>
+
+<p>Pater is a very close follower of Watteau in subject and composition as
+well as in his charming and delicate color.</p>
+
+
+<h4>UNE FÊTE GALANTE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Joseph Pater</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1695–1736).</i></td>
+    <td class="cht3"><i>Mr. Edward J. Berwind.</i></td>
+  </tr>
+</table>
+
+<p>It is interesting to compare this picture with the <i>Fête
+Champêtre</i> preceding it. We have two characteristic examples of
+Pater’s work. In the <i>Fête Champêtre</i> we look upon a large
+gathering and a miscellaneous crowd. In the picture represented here we
+have a more intimate group. There are certain elements in this picture
+that suggest Watteau; others that suggest Lancret; and still others
+that show us that the later Boucher and Fragonard did not deign to take
+a few ideas from Pater. The picture is very individual. The colors are
+soft and delicate—“pastel” tints we like to call them to-day—pale
+blues, and pinks, and yellows, and rich mauves, contrasting beautifully
+with the exquisite green of the foliage. Pater never produced a more
+artistic background, with its distant hills and picturesque buildings.
+The painting came from the Wertheimer Collection, London, to the
+present owner.</p>
+
+<p><span class="pagenum" id="Page_299">[299]</span></p>
+
+  <div class="figcenter" id="i_299" style="max-width: 697px">
+     <img
+    class="p1"   
+    src="images/i_299.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Edward J. Berwind</i></p>
+     <p class="p0 sm center">UNE FÊTE GALANTE</p>
+     <p class="p0 sm right">—<i>J. B. J. Pater</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_300">[300]</span></p>
+
+
+<h4>LA SERINETTE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Siméon Chardin</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1699–1779).</i></td>
+    <td class="cht3"><i>Mr. Henry Clay Frick.</i></td>
+  </tr>
+</table>
+
+<p>Madame de Pompadour, whose taste in art was always superlatively good,
+was the first owner of this charming picture, which has passed through
+many notable collections. The work is known under three titles: <i>La
+Serinette</i> (the Bird-Organ); the <i>Education of a Canary</i>; and
+<i>The Diversions of a Lady</i>. According to tradition this lady is
+Madame Chardin, wife of the painter. The sitting-room gives us an idea
+of her varied occupations and it would appear that she has just left
+her tapestry-work to give her canary a singing-lesson. The bird is seen
+in a cage, which stands on a little table near the window, and Madame
+Chardin is turning the handle of the bird-organ. We would like to know
+the tune the little music-box produces. Both as regards subject and
+treatment the picture is a masterpiece. Jean Guiffrey considers the
+work most charming and admires the way all the many accessories are
+brought into perfect harmony. “It would be impossible to find,” he
+says, “a more correct design and a better color scheme and tonality.”</p>
+
+<p>Chardin sent this picture to the Salon of 1751 and again to that of
+1755. After Madame de Pompadour’s death <i>La Serinette</i> passed
+into the notable Collections of Monsieur de Vandières, director of the
+Royal Buildings; the Marquis de Menars, Madame de Pompadour’s brother
+(sold in 1783); Baron Denon, Director of Museums (sale 1826); Count
+d’Houdetot (sale 1859); Duke de Morny (sale 1865); Mr. G. du Tillet of
+Paris; and, finally, to the late Mr. Henry Clay Frick.</p>
+
+<p>The picture was shown in 1860 at the Exposition of the Association for
+the Mutual Relief of Artists, Painters, Sculptors, and Architects (No.
+92).</p>
+
+<p>Chardin was one of the greatest colorists of the French School and one
+of the greatest painters of the Eighteenth Century. Few painters have
+equalled him in his broad and free style and in his luminous effects of
+color and light.</p>
+
+<p><span class="pagenum" id="Page_301">[301]</span></p>
+
+  <div class="figcenter" id="i_301" style="max-width: 468px">
+     <img
+    class="p1"   
+    src="images/i_301.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry Clay Frick</i></p>
+     <p class="p0 sm center">LA SERINETTE</p>
+     <p class="p0 sm right">—<i>J. B. S. Chardin</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_302">[302]</span></p>
+
+<p>Chardin was born in Paris, Nov. 2, 1699, the son of a master-carpenter
+and upholsterer, who was employed to make billiard-tables for Louis
+XIV. After studying under Pierre Jacques Cazes, Chardin entered the
+studio of Noël Nicolas Coypel. Before he was thirty he had made a
+name as a painter of still-life. In 1728 Chardin was admitted to the
+Académie Royale and eventually became its treasurer. In 1752 Louis
+XV bestowed a pension upon him and in 1757 gave him rooms in the
+Louvre. In his middle period Chardin struck out in a new path—that of
+frank realism, selecting for subjects scenes from the domestic life
+of the <i>bourgeoisie</i>; but he treats everything, however, with
+the distinction and taste that belonged to France in the Eighteenth
+Century. Therefore, he throws a poetic glamour around a loaf of bread,
+a bunch of grapes, a plate of peaches, a sleeping cat, or a copper
+<i>casserole</i>. Consequently, while his subjects are similar to
+those of the “Little Dutch Masters,” Chardin introduces an elegance
+and a quality of which those painters never dreamed. Neither Pieter de
+Hoogh, nor Vermeer, excelled Chardin in effects of light, atmosphere,
+and iridescence. “Chardin,” Élie Faure writes, “did not paint much
+because he paints slowly with a laborious and passionate application.
+He has no models, but his wife, children, a few familiar animals, the
+everyday tableware, and cooking-utensils and then there are meat,
+vegetables, bread, and wine brought that same day from the butcher, the
+meat-roaster, the baker, and the vegetable seller. With these he writes
+the legend of domestic labor and of obscure life: his images speak to
+us after the manner of La Fontaine’s words and he is, with Watteau and
+Goya, the greatest painter there is in Europe between the death of
+Rembrandt and the maturity of Corot and of Delacroix.”</p>
+
+<p>Chardin is an artist beloved by artists. In a sympathetic criticism,
+Armand-Dayot writes:</p>
+
+<p>“It is not by accident that I am using this word <i>métier: beauté
+du métier</i>—all is comprised in that phrase. By this phrase the
+greater number of the French artists of the Eighteenth Century should
+be judged. <i>La beauté du métier</i>—that expresses all their
+efforts. And, indeed, what formula could better define Chardin than the
+<i>beauté du<span class="pagenum" id="Page_303">[303]</span> métier</i>? An illumination, meticulous and systematic,
+because it has been so well ordered and arranged; light departing
+from one point to appear at another and showing the various objects
+according to the place they occupy with relation to the distance from
+the luminous centre; a beautiful paste of the best composition in its
+own day and which time has converted into a transparent and limpid
+enamel; and, above all, that classical arrangement, which is like that
+of Poussin, Le Brun, Le Sueur and Claude Lorrain, add to the play
+of great sweeps of color; the enchanting reflections that cross one
+another and that are superimposed without breaking the original balance
+of the contrasting colors; and the rigorous drawing—such are the
+reasons why we class Chardin high in the French traditions of clarity
+and beautiful arrangement of light. In his richness of color he is
+derived from the Venetians and he became the ancestor of Fantin-Latour.”</p>
+
+<p>Chardin’s vogue is increasing day by day, for he belongs to that small
+group of great masters who have played with light. Perhaps, more than
+any other painter, Chardin succeeded in producing the most subtle
+overtones of color. M. Armand-Dayot, as we have just seen, claims
+Chardin as the ancestor of Fantin-Latour. May we not also suggest that
+in Chardin, Matisse has found inspiration for his delicate and tenuous
+effects in the upper reaches of the color scale?</p>
+
+<p>We get a glimpse of Chardin at work from Diderot who, after a visit to
+his <i>atelier</i>, wrote:</p>
+
+<p>“Chardin, who has such a keen feeling for color, keeps his eyes glued
+upon his canvas: his mouth is half-open; and he breathes heavily.
+His palette is a picture of chaos and into this chaos he dips his
+brush. From it he draws his work of real creation,—birds with all the
+delicate <i>nuances</i> of tint in their plumage; flowers with velvet
+petals; trees of varied foliage and greenery, the blue of the sky, the
+spray of water, animals with their soft fur and the fire flaming from
+their brilliant eyes. The painter rises, walks some distance away, and
+throws a rapid glance upon his picture; then he seats himself again
+before this canvas and you soon see appear flesh tints, cloth, velvet,
+damask, taffetas, transparent muslin, or heavy linen. You also see the
+ripe yellow pear falling from the tree and the green grapes hanging on
+the vine.”</p>
+
+<p><span class="pagenum" id="Page_304">[304]</span></p>
+
+
+<h4>LES DEUX CONFIDENTES.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>François Boucher</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1703–1770).</i></td>
+    <td class="cht3"><i>Mrs. William R. Timken.</i></td>
+  </tr>
+</table>
+
+<p>Madame de Pompadour was the first owner of this picture and it looks
+as if it might have been painted at her suggestion. It is signed and
+dated 1750 and measures 32 × 29 inches,—a perfect size for a boudoir
+or a small <i>salon</i>. Next the picture was in the Collections of
+Pillet-Will, the Marquis de Marigny, and the Marquis de Menars.</p>
+
+<p>Here we have two young ladies of high degree playing at pastoral life.
+Their bare feet and the presence of sheep are the only suggestion that
+they are shepherdesses. They are, however, shepherdesses of the kind we
+read of in the eclogues of poets.</p>
+
+<p>In every way the picture is charming. The composition is faultless,
+the lights splendidly concentrated and diffused, and the colors are
+of exquisite beauty. Against the green of the feathery trees in the
+background and the verdant turf in the foreground the lustrous silken
+dresses—palest blue and palest rose—of the young ladies who are
+exchanging confidences (doubtless of faithful or faithless lovers)
+appear to the greatest advantage. The flowers, tumbling out of the
+basket which has fallen down, are most sympathetically painted by one
+who rarely, if ever, omitted roses in any picture. All the colors melt
+and mingle in perfect harmony.</p>
+
+<p>Boucher painted at the height of the Louis XV period and of this period
+Élie Faure says:</p>
+
+<p>“François Boucher is its soul. Fashion is always present in his facile
+and fecund work—on ceilings, screens, carriage-panels, <i>dessous
+portes</i>, boxes and fans—shepherdesses and pastorales everywhere
+and on every thing. Charming in manner, generous, pleasure-loving and
+adored by both men and women, Boucher stands with the King’s mistress,
+Madame de Pompadour, as the centre of his own revolving circle of
+winged Cupids and garlands of flowers.”</p>
+
+  <div class="figcenter" id="i_305" style="max-width: 502px">
+     <img
+    class="p1"   
+    src="images/i_305.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. William R. Timken</i></p>
+     <p class="p0 sm center">LES DEUX CONFIDENTES</p>
+     <p class="p0 sm right">—<i>François Boucher</i></p>
+ </div>
+
+<p>François Boucher, born in Paris, Sept. 29, 1703, began his career as
+an illustrator and engraver and went to Italy with Carle Van Loo.<span class="pagenum" id="Page_306">[306]</span>
+Returning to Paris in 1731 he frequented the gay society of operatic
+and theatrical circles and acquired reputation. In 1734 he was admitted
+to the Academy with his picture of <i>Rinaldo and Armida</i> now in
+the Louvre. Boucher became associated with the tapestry-manufactory at
+Beauvais and also at the Gobelins and in 1765 succeeded Carle Van Loo
+as first painter to Louis XV. Boucher attracted the attention of Madame
+de Pompadour and decorated her boudoirs and <i>salons</i>, and painted
+several portraits of this handsome lady. Boucher died in the Louvre
+in 1770, while painting <i>Venus at her Toilet</i>. According to his
+own record Boucher painted a thousand pictures and made ten thousand
+drawings and sketches.</p>
+
+
+<h4>A YOUNG GIRL READING A LETTER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Greuze</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1725–1805).</i></td>
+    <td class="cht3"><i>Mr. John McCormack.</i></td>
+  </tr>
+</table>
+
+<p>This picture, an oil painting on canvas (27½ × 21½ inches), comes from
+the Collection of Alfred Charles de Rothschild, Seamore Place, London,
+and represents a young girl seated in an upholstered chair wearing a
+white chemise, which has slipped from her shoulders. An open letter is
+spread on her lap,—a letter before envelopes were known, for this has
+the seal still attached. However, letters bring tidings of delight or
+sorrow, with or without envelopes, and we have no clue to the contents
+of this one. We gather, however, that the missive is a love-letter.</p>
+
+  <div class="figcenter" id="i_307" style="max-width: 425px">
+     <img
+    class="p1"   
+    src="images/i_307.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. John McCormack</i></p>
+     <p class="p0 sm center">A YOUNG GIRL READING A LETTER</p>
+     <p class="p0 sm right">—<i>Jean Baptiste Greuze</i></p>
+ </div>
+
+<p>Jean Baptiste Greuze was born at Tournous, near Macon, Burgundy, and
+was the son of a thatcher. He first studied painting with a travelling
+picture-pedlar named Grondon and went with him to Lyons and lived
+there for eight years, painting pictures and hawking them about the
+country. However, Grondon was the father of the wife of Grétry, the
+composer, so Greuze probably had a little taste of art. In 1746 he went
+to Paris and worked at the Academy, making some progress in historical
+painting and portraits. One day he astonished everybody by his picture
+of <i>Un père de famille expliquant la Bible à ses<span class="pagenum" id="Page_308">[308]</span> enfants</i> and
+<i>Le Paralytique servi par ses enfants</i>, which caused him to be
+received as an <i>Académicien</i>. Others of this type of pathetic, or
+homely, story-telling in paint followed. This, then new style of art,
+won Greuze many admirers, among them Diderot. In 1756 Greuze went to
+Rome for two years and on his return to Paris began to exhibit his now
+famous busts and heads of beautiful young girls. Between 1755 and 1769
+Greuze exhibited about one hundred and twenty pictures at the Louvre
+and, after the Revolution, about thirty works. He was entirely broken
+by the Revolution and died in 1805 in poverty and oblivion.</p>
+
+
+<h4>YOUNG GIRL.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Greuze</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1725–1805).</i></td>
+    <td class="cht3"><i>Mr. William Randolph Hearst.</i></td>
+  </tr>
+</table>
+
+<p>We hardly know which face to admire the most—that of the little girl
+or that of her little dog with the bright, intelligent eyes, so loving
+and so trustful.</p>
+
+  <div class="figcenter" id="i_309" style="max-width: 442px">
+     <img
+    class="p1"   
+    src="images/i_309.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. William Randolph Hearst</i></p>
+     <p class="p0 sm center">YOUNG GIRL</p>
+     <p class="p0 sm right">—<i>Jean Baptiste Greuze</i></p>
+ </div>
+
+<p>This picture (14 × 14 inches) Greuze has painted with the tenderest
+care,—depicting the budding beauty of the child; and he has, moreover,
+used the swirling curves in such a distinguished manner that we think
+of the circles and the curves in Raphael’s <i>Madonna della Sedia</i>
+in the Pitti. There is a gentle sadness in the face of the little girl
+of which the little companion and friend, so confidently nestled in her
+loving arms, seems to be conscious; and, perhaps, a little worried as
+well.</p>
+
+
+<h4>LA MARQUISE DE BESONS TUNING A GUITAR</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Baptiste Greuze</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1725–1805).</i></td>
+    <td class="cht3"><i>Dr. and Mrs. Henry Barton Jacobs.</i></td>
+  </tr>
+</table>
+
+<p>At the Salon of 1757 Greuze exhibited this portrait under the title of
+<i>Madame X Tuning a Guitar</i>. Many who saw the picture recognized
+Madame X as Anne de Bricqueville de la Luzerne, wife of Jacques Bazin,
+Marquis de Besons, a very prominent and powerful lord of the<span class="pagenum" id="Page_310">[310]</span> Houses
+of Hupin, Neuvill, etc., and Lieutenant-General of the King’s armies.</p>
+
+  <div class="figcenter" id="i_311" style="max-width: 443px">
+     <img
+    class="p1"   
+    src="images/i_311.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Dr. and Mrs. Henry Barton Jacobs</i></p>
+     <p class="p0 sm center">LA MARQUISE DE BESONS TUNING A GUITAR</p>
+     <p class="p0 sm right">—<i>Jean Baptiste Greuze</i></p>
+ </div>
+
+<p>Madame de Besons is wearing a pale pink silk dress with a deep flounce
+with sleeves of the favorite Mechlin lace and a large cape with collar.
+Her hair is waved in fine shells and adorned with the little spray of
+flowers that Madame de Pompadour had made the fashion at this moment. A
+necklace consisting of three rows of perfectly matched pearls proclaim
+Madame de Besons a lady of wealth. The chair in which Madame de Besons
+is sitting is a handsome example of Louis XV furniture, gold frame
+upholstered in light green brocade. The background is dark grey. The
+painting (37 × 29¼ inches) is an unusual and a most artistic work of
+Greuze.</p>
+
+
+<h4>LA MARQUISE DE VILLEMONBLE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>François Hubert Drouais</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1775).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>One is often asked to define the <i>style Louis XV</i>. Could there
+possibly be a better definition than is expressed in this exquisite
+portrait of an exquisite lady,—La Marquise de Villemonble? Is not the
+very essence, the spirit, the perfume of the Eighteenth Century seen in
+the face, the dress, the pose, the manner, the charm, and the “grand
+style” of the Marquise?</p>
+
+<p>It is very evident that Drouais took deep delight in painting this
+aristocratic lady and her beautiful costume as well. We can see with
+what pleasure the painter’s brush swept into being the lustre and the
+folds of the pale lemon satin dress; traced the delicate pattern of
+the Mechlin lace that forms the ruffles of the bell-sleeves and the
+garniture of the neck; tied the bows of rich pink satin adorning the
+corsage and holding the lace at the sleeves; touched up the cluster of
+shaded grey feathers and rounded the pearls in the <i>coiffure</i>;
+placed the little string of black velvet around the neck; and lingered
+upon the sheet of music which the Marquise is holding so gracefully.
+The words below the notes show that the lady is a singer. Yet all
+these carefully painted<span class="pagenum" id="Page_312">[312]</span> details do not detract from the beauty of
+the lady herself. Her features are high-bred, sweet, and perfect,
+and her expression shows great loveliness of nature. Altogether the
+Marquise de Villemonble is a beautiful and charming person and Drouais,
+we may be sure, has not flattered her in this beautiful and charming
+portrait. The canvas (46 × 35 inches) is signed and dated 1761 and it
+is interesting to relate that it came directly from the Villemonble
+family to its present owner, Mr. Jules S. Bache.</p>
+
+<p>François Hubert Drouais was born in Paris in 1727 and studied under
+his father, Hubert Drouais (1699–1767), a portrait-painter who was
+also famous for his miniatures. Young François grew up with the great
+painters of the day, who were friends of his father—Nattier, de Troy,
+Oudry, and others—and he became a pupil of Carle Van Loo and Boucher.
+With such masters is it any wonder that Drouais should have developed
+<i>style</i>?</p>
+
+  <div class="figcenter" id="i_313" style="max-width: 421px">
+     <img
+    class="p1"   
+    src="images/i_313.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">LA MARQUISE DE VILLEMONBLE</p>
+     <p class="p0 sm right">—<i>François Hubert Drouais</i></p>
+ </div>
+
+<p>Drouais began to exhibit at the Salon of 1755 and appeared every
+year subsequently until his death in 1775. His talents brought him
+recognition and he became painter to the King, to Monsieur and Madame,
+and practically all the nobility and aristocracy of France sat to
+him. Naturally, the world of fashion followed suit. Drouais painted
+Madame de Pompadour and owed much to her patronage. He also painted
+Madame du Barry many times and his vogue continued through the reign
+of Louis XVI. One of his most successful portraits—Marie Antoinette
+as Hebe—now hangs at Chantilly and gives a most distinguished
+presentation of the young Queen, a proud figure in yellow draperies,
+rose-colored waist ribbons, and lilac scarf, holding a golden cup in
+one hand and a silver ewer in the other.</p>
+
+<p>Drouais holds his own with Watteau, Pater, Lancret, Fragonard, Greuze,
+Chardin, and de la Tour, for he, too, like these artists of radiant
+style, knew how to present with skillful and polished technique,
+flowing lines, fluent grace, piquant expression, characteristic
+gesture, and fashionable dress. Moreover, his quick observation and
+light touch produce something akin to sparkling comedy; and yet in
+all the play of his brush and his airy manner Drouais never failed to
+create an atmosphere of elegance and distinction.</p>
+
+<p><span class="pagenum" id="Page_314">[314]</span></p>
+
+
+<h4>MADEMOISELLE HELVETIUS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>François Hubert Drouais</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1775).</i></td>
+    <td class="cht3"><i>Mr. Mortimer L. Schiff.</i></td>
+  </tr>
+</table>
+
+<p>That Drouais was a master who could succeed with any subject for
+portraiture will be appreciated by comparing this sympathetic
+presentation of a pretty little girl with the preceding portrait of La
+Marquise de Villemonble, who appears in the full beauty of maturity.
+Even Greuze, with all his skill in representing youthful charm, never
+produced a lovelier work than this Mademoiselle Helvetius. Here the
+little girl looks at us smiling beneath her big “shepherdess” hat,
+holding in her dress clusters of purple and jade colored grapes.
+Drouais evidently appreciated the decorative beauty of the grape and
+its leaves, for he has brought out their character and lusciousness
+with a loving surety of touch that shows him to be on a par with any
+painter who has specialized in fruit.</p>
+
+  <div class="figcenter" id="i_315" style="max-width: 456px">
+     <img
+    class="p1"   
+    src="images/i_315.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Mortimer L. Schiff</i></p>
+     <p class="p0 sm center">MADEMOISELLE HELVETIUS</p>
+     <p class="p0 sm right">—<i>François Hubert Drouais</i></p>
+ </div>
+
+<p>The delightful painting, which is signed, came to its present owner
+from the J. P. Morgan Collection.</p>
+
+
+<h4>L’INVOCATION À L’AMOUR.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Honoré Fragonard</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1732–1806).</i></td>
+    <td class="cht3"><i>Mr. Mortimer L. Schiff.</i></td>
+  </tr>
+</table>
+
+<p>The de Goncourts remarked in their <i>L’Art du Dix-huitième Siècle</i>
+that the two great—and the only great—poets in France in the
+Eighteenth Century were Watteau and Fragonard; and they very fancifully
+and very truly said that the saucy little Loves hovering about in
+the sky of <i>L’Embarquement pour L’Île de Cythère</i> were “getting
+ready to fly to Fragonard and to put on his palette the hues of their
+butterfly wings.”</p>
+
+<p>Of that tragic painting, <i>Corésus and Callirhoé</i> (in the Louvre)
+the de Goncourts, noting the extraordinary movement and whirl in the
+work, said “a great mute cry seems to rise in the composition,” and<span class="pagenum" id="Page_316">[316]</span>
+then added: “This cry of a picture, so new for the Eighteenth Century,
+is Passion.”</p>
+
+<p>Fragonard had the genius for expressing movement and emotion to such a
+degree that sometimes “a cry” seems to issue from his canvas. This rush
+of movement and this torrent of emotion, this outburst like leaping
+flames and whirling clouds, is expressed in full power in the picture
+represented here, which bears some likeness to the <i>Fountain of
+Love</i> in the Wallace Gallery, London.</p>
+
+<p><i>L’Invocation à l’Amour</i> (20½ × 24¾ inches) was painted
+between 1780 and 1785. It came into public notice at the La
+Rochefoucauld-Liancourt Sale in Paris in 1827 and has since belonged
+to the Collections of M. le duc de Polignac; to Madame la duchesse
+de Polignac née Crillon; to Mr. L. Neumann, London; and to M. Jean
+Bertoloni, Paris. <i>L’Invocation à l’Amour</i> was shown at the
+Fragonard Exposition, Musée des Arts Décoratifs, Paris in 1921, and
+came thereafter into possession of Mr. Mortimer L. Schiff.</p>
+
+  <div class="figcenter" id="i_317" style="max-width: 655px">
+     <img
+    class="p1"   
+    src="images/i_317.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Mortimer L. Schiff</i></p>
+     <p class="p0 sm center">L’INVOCATION À L’AMOUR</p>
+     <p class="p0 sm right">—<i>Jean Honoré Fragonard</i></p>
+ </div>
+
+<p>Jean Honoré Fragonard was born at Grasse in 1732 and died in Paris in
+1806. He studied under Chardin and Boucher, won the <i>grand prix</i>
+de Rome at the age of twenty, studied in Rome, visited Naples and
+Sicily with Hubert Robert, and, returning to Paris, leaped into fame
+with his <i>Corésus and Callirhoé</i> in 1765. Fragonard painted every
+subject—love-scenes, portraits, <i>genre</i>, and landscape—equally
+well and always with the lightest touch, the most delicate colors, and
+infinite charm.</p>
+
+<p>“His method,” says Louis Hautecœur, “is even more dexterous than
+that of Boucher, because he is better instructed; this rapidity of
+brush-work is not negligent, because it is guided by previous study;
+this freedom of handling is not hap-hazard: it springs from the joy of
+creating; that is what makes Fragonard a great painter. Thus a natural
+sensibility, which gave to his works movement, picturesque character,
+and color seems to be the master faculty of Fragonard; and out of this
+movement, this feeling for the picturesque, and this color arises a
+fantasy composed of intelligence and imagination. The <i>Fête of St.
+Cloud</i> becomes a fairy scene; the <i>Garden of Fontainebleau</i>
+the setting of a dream; and the <i>Fountain of Love</i> flows in a
+world of mystery.<span class="pagenum" id="Page_318">[318]</span><span class="pagenum" id="Page_317">[317]</span> Fragonard was not only a <i>painter</i> unique in
+style, but he was a <i>poet</i> of that century of which he saw the
+close—a <i>poet</i> whose sensibility was shown less in the nature of
+his works than in the manner in which he treated them: in his golden
+rays of light; in the shadowy recesses of the parks; in the cloud forms
+of a tempest; in the youthful charm of children; and in the grace of
+women—and herein lies his originality.”</p>
+
+
+<h4>LE BILLET-DOUX.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Honoré Fragonard</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1732–1806).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>In studying this graceful composition with its subtle harmonies of
+color and its amazing play of iridescent reflections and ever changing
+lights it is easy to see that Fragonard spent some time in the studio
+of Chardin, having the benefit of instruction from that great master.
+Charm is the keynote of the picture. The colors are indescribable as
+they are constantly changing; but the general tonality is golden-brown
+in all the shades of leaves at autumn with sunlight playing upon
+them and combined with the softest blue of the sky; and these browns
+and blues are so merged and mingled that they shimmer and vary like
+“changeable velvet.” The effect is, therefore, both rich and, at the
+same time, tender, soft, and brilliant. A few high lights of pink are
+discreetly used. The charming, piquant, and lovely lady, is said to be
+the daughter of Boucher and was married to another painter, Baudouin,
+and, after his death, to M. de Cuviller. The lady is half rising from
+her writing-table and is holding in her left hand a bouquet of pink
+roses in a conical paper-holder into which she is placing a letter,
+addressed to “Monsieur M. C.” Her head is turned a little to the front
+and her expression seems to indicate that she does not wish to be
+detected in her pretty romance. She is a person of elegance and fashion
+and her dress is altogether <i>comme il faut</i>, in what we please to
+call to-day a “Watteau costume,” with the panniers and the “Watteau
+plait” at the back. The material is a very pale blue velvet with
+brownish lights. Her hair is dressed fashionably and surmounted by<span class="pagenum" id="Page_320">[320]</span>
+a modish little “butterfly cap” brightened with pink ribbons, which,
+with the pink roses, are the only notes of bright color in the picture.
+Lying on the chair and looking directly out of the picture is a darling
+little poodle dog. In the “<i>Billet-Doux</i>,” Louis Hautecœur says,
+“we can best appreciate the skill of the master who delighted in making
+a golden light play across a yellow curtain upon a blue robe.”</p>
+
+  <div class="figcenter" id="i_319" style="max-width: 444px">
+     <img
+    class="p1"   
+    src="images/i_319.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">LE BILLET-DOUX</p>
+     <p class="p0 sm right">—<i>Jean Honoré Fragonard</i></p>
+ </div>
+
+<p>This painting (33¾ × 26⅜ inches) passed through the Collections of the
+Baron Feuillet de Conches; Madame Jagerschmidt; M. Ernest Cronier; and
+M. Joseph Bardac,—all of Paris. The <i>Billet-Doux</i> was shown at
+the Alsace-Lorraine Exhibitions of 1874 and 1927, and is lauded in all
+the standard works on Fragonard.</p>
+
+
+<h4>LA MARQUISE DE LA FARE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Jean Honoré Fragonard</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1732–1806).</i></td>
+    <td class="cht3"><i>Mrs. James B. Haggin.</i></td>
+  </tr>
+</table>
+
+<p>Could anything be lighter, lovelier, and more graceful in the way of
+painting than this distinguished representation of the distinguished
+Marquise de la Fare? For elegant simplicity as well as technique this
+portrait is without a peer. Only Fragonard could have painted it. There
+is something here that reminds us of the flicker and flutter and quick
+movement and vitality of the flame,—that symbol of the soul and of
+eternal life. Unconsciously, perhaps, by these leaping, flashing lines
+the painter symbolized his own genius and the spirit of the exquisite
+lady he was privileged to portray. With his butterfly touch and his
+liquid, rapid brush, Fragonard caught this charming personality. Yet,
+behind this quick impressionistic work—as light in key and ethereal in
+harmony as Claude Monet or Matisse—what knowledge, what skill! Here
+is all the majesty of Greek sculpture at its climax of perfection,
+but Greek sculpture rendered dynamic and human. And what a pose! What
+exquisite arms and hands! What style! What <i>chic</i>! The dress is
+cream and the drapery, old rose, harmonizing with the ash-blonde hair
+and blue eyes.</p>
+
+  <div class="figcenter" id="i_321" style="max-width: 437px">
+     <img
+    class="p1"   
+    src="images/i_321.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. James B. Haggin</i></p>
+     <p class="p0 sm center">LA MARQUISE DE LA FARE</p>
+     <p class="p0 sm right">—<i>Jean Honoré Fragonard</i></p>
+ </div>
+
+<p>The picture (31¾ × 25 inches) came directly from the de la Fare family
+to its present owner.</p>
+
+<p><span class="pagenum" id="Page_322">[322]</span></p>
+
+
+<h4>THE FOUNTAIN IN THE PARK.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Hubert Robert</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1733–1808).</i></td>
+    <td class="cht3"><i>Dr. and Mrs. Henry Barton Jacobs.</i></td>
+  </tr>
+</table>
+
+<p>When Hubert Robert exhibited for the first time in August, 1765, he
+won instant recognition. The French public at a period when taste was
+supreme, praised the originality of Hubert Robert’s design and his
+exquisite delicacy of coloring and decided, moreover, that although his
+study of the antique had been thorough and sympathetic, the new artist
+was, above all, a Parisian of Parisians.</p>
+
+<p>Hubert Robert plays on two themes: one, the ruins of
+antiquity—especially Rome—and the other, garden-scenes. In fact, his
+success with ruins as subject-matter gave him the <i>sobriquet</i> of
+“<i>Robert des Ruines</i>.” Hubert Robert was born in Paris in 1733
+and after some preliminary art education went to Rome in 1754, where
+he studied for eleven years, devoting himself almost exclusively
+to antiquities. On his return to Paris he was made a member of the
+Academy and his pictures brought him instant fame. He lived in the
+studios in the Louvre until the outbreak of the Revolution, when he was
+imprisoned for ten months; but during this time he painted and produced
+a <i>Taking of the Prisoners by Torchlight in Open Carts from St.
+Pélagie to St. Lazare</i>. He was lucky in his release, which occurred
+through the mistake of the jailer, who sent another prisoner of the
+same name to the guillotine. Hubert Robert died in Paris on April 15,
+1808. Equal to his reputation as a painter was his reputation as a
+landscape-gardener. He was the successor of Le Nôtre, whose style had
+given place to the Anglo-Chinese gardens. Hubert Robert, as architect
+of the King’s Gardens, designed the <i>Baths of Apollo</i> in the
+Park of Versailles in 1784, and he laid out the very famous grounds
+of Mézéville near Étampes-in-Beauce, in which work Joseph Vernet was
+associated.</p>
+
+  <div class="figcenter" id="i_323" style="max-width: 374px">
+     <img
+    class="p1"   
+    src="images/i_323.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Dr. and Mrs. Henry Barton Jacobs</i></p>
+     <p class="p0 sm center">THE FOUNTAIN IN THE PARK</p>
+     <p class="p0 sm right">—<i>Hubert Robert</i></p>
+ </div>
+
+<p>The distinguished picture shown here (57½ × 39 inches) from the
+Collection of M. S. Bardac, Paris, presents the artist also as a
+garden-lover. All the poetry produced by a tossing stream of spray
+among green trees is expressed here.</p>
+
+<p><span class="pagenum" id="Page_324">[324]</span></p>
+
+<p>“Hubert Robert,” writes Henri Frantz, “is one of those who, brought
+back into fashion by the de Goncourts and their generation, enjoy a
+reputation increasing every day; and thus drawings in red chalk or in
+water-colors which one might easily have picked up years ago in the
+boxes of the petty dealers of Paris or of Rome are found to-day in
+museums and in the most celebrated Collections and fetch the highest
+prices in European sales. Moreover, Hubert Robert did not go out of
+fashion till the commencement of the Nineteenth Century and no artist
+was <i>fêted</i> and admired by his contemporaries more than he.”</p>
+
+<p>Hubert Robert has again become the fashion.</p>
+
+
+<h4>MADAME LABILLE-GUIARD AND TWO PUPILS.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Madame Labille-Guiard</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1749–1803).</i></td>
+    <td class="cht3"><i>Mr. Edward J. Berwind.</i></td>
+  </tr>
+</table>
+
+<p>Here we have a picture painted in the grand style, a beautiful
+composition, a marvellous expression of technique, and a portrait-group
+including a self-portrait of the artist.</p>
+
+<p>Madame Labille-Guiard, a handsome women of dashing style, is seated
+before her easel busy at work, wearing a very handsome costume and not
+one exactly appropriate to working in a studio. However, the painter
+being as delightfully feminine in her tastes as she was masculine in
+her artistic performance, has the vanity of her sex to wish to be
+perpetuated in rich and fashionable attire,—<i>comme il faut</i> in
+every respect.</p>
+
+<p>The two young ladies, who are observing the work of Madame
+Labille-Guiard are her favorite pupils, Mesdemoiselles Capet and
+Rosemond.</p>
+
+<p>Madame Labille-Guiard’s dress is blue-grey satin with lace at neck
+and sleeves and hat of golden straw with blue-grey ostrich feathers
+matching the dress. The chair in which the artist is seated is
+upholstered in green velvet. The pupil in front wears a dark brown
+dress. Most beautifully is painted the diaphanous ruffle at her elbow.</p>
+
+<p><span class="pagenum" id="Page_325">[325]</span></p>
+
+  <div class="figcenter" id="i_325" style="max-width: 401px">
+     <img
+    class="p1"   
+    src="images/i_325.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Edward J. Berwind</i></p>
+     <p class="p0 sm center">MADAME LABILLE-GUIARD AND TWO PUPILS</p>
+     <p class="p0 sm right">—<i>Madame Labille-Guiard</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_326">[326]</span></p>
+
+<p>The picture of large dimensions (82½ × 60 inches) is signed and dated
+1785 and was exhibited at the Salon in that year. From the Collection
+of Madame Griois, a descendant of the artist, the painting came to its
+present owner, Mr. Edward J. Berwind.</p>
+
+<p>Adélaïde Labille-des-Vertus was born in Paris, April 11, 1749. She
+studied art under François Élie Vincent, a clever miniature-painter
+and afterward under Latour. She married twice: first, the sculptor
+Guiard, and, after his death, François André Vincent, the son of
+her former teacher, himself a capable painter and etcher. Madame
+Labille-Guiard became an Académicien in 1783 at the same time with
+Madame Vigée Lebrun. She painted a great number of large oil-portraits
+and miniatures, and in 1787 and 1789 attracted attention by her
+portraits of the King’s daughters, Madame Adélaïde and Madame Victoire.
+She also painted a large picture for Monsieur (afterwards Louis
+XVIII), called the <i>Initiation of a Knight of Malta</i>, which was
+finished at the outbreak of the Revolution; but which was destroyed.
+Madame Labille-Guiard died in Paris on Floréal 4, <i>An XI. de la
+République</i>, or April 8, 1803.</p>
+
+<p><span class="pagenum" id="Page_327">[327]</span></p>
+
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_329">[329]</span></p>
+
+<h2>ENGLISH, EIGHTEENTH CENTURY</h2>
+</div>
+
+<div class="chapter">
+<h3><i>ENGLISH, EIGHTEENTH CENTURY</i></h3>
+</div>
+
+
+<p class="drop-cap p-left">When Théophile Gautier saw Gainsborough’s portrait of <i>Mr. and Mrs.
+Hallet</i>, now known as <i>The Morning Walk</i>, he said that he
+felt “a strange retrospective sensation, so intense is the illusion
+it produces of the spirit of the Eighteenth Century. We really fancy
+we see the young couple,” he adds, “walking arm-in-arm along a garden
+avenue.”</p>
+
+<p>It is this “strange retrospective sensation” that we feel when we look
+upon the canvases of Gainsborough, Reynolds, and Romney.</p>
+
+<p>The Eighteenth Century was one of those periods in the world’s history
+when Society reached its peak, when Society was the goal of all things
+and of every one, and when it was dominated by taste, elegance,
+gaiety, lightness, brightness, wit, beauty, and charm. There was charm
+in everything—in art, in music, in literature, in conversation,
+and in dress. There was a <i>chic</i> and dainty grace with which
+the Eighteenth Century belle wore her large hat, tied her sash, and
+pointed the toe of her high-heeled satin slipper on the polished floor
+of the ball-room, or the greensward of the garden or lawn; and there
+was a corresponding <i>chic</i> and dashing elegance with which the
+Eighteenth Century <i>beau</i> made his bow, tapped his snuff-box, or
+handed the “ladies of St. James’s” in and out of their sedan-chairs.</p>
+
+<p>This sparkling, iridescent age, with its taste, grace, and wit can
+never come again—for our world has travelled far along another
+path—but if the Eighteenth Century cannot return to us, we can return
+to it by means of its literature, its music, and its art.</p>
+
+<p>At such a period, when the social world was of exceptional brilliance,
+it is only natural that the art of portraiture should have flourished
+with unparalleled lustre.</p>
+
+<p>Three great geniuses arose in England to bring this special branch of
+painting up to a pitch that had never been reached there before.</p>
+
+<p><span class="pagenum" id="Page_330">[330]</span></p>
+
+<p>It is true that Holbein’s portraits are magnificent, stately, and true
+to life, and that they present wonderful portrayals of character; but
+Holbein was painting in a world of drastic change, of adventure, of
+political agitation, when nearly everyone whom he painted had the fear
+of the axe descending upon his neck. It is true that Van Dyck painted
+people of elegance and distinguished manner—the portrait of Robert
+Rich, Earl of Warwick on page <a href="#Page_189">189</a> would alone prove this—and gives us
+a glimpse into a charming world.</p>
+
+<p>But Reynolds, Gainsborough, and Romney were the first to paint
+Society—that brilliant, witty, provocative, frivolous, graceful,
+charming, <i>chic</i>, and altogether delightful Society of the
+Eighteenth Century.</p>
+
+<p>The Eighteenth Century! How we delight in it!</p>
+
+<p>We are not too far away to feel at home in it; and, moreover, much
+of our beautiful Georgian architecture survives in this country with
+Chippendale, Sheraton, and Heppelwhite furniture and Spode, Wedgwood,
+Chelsea, Lowestoft and various china, with other relics besides, to
+show us that our Colonial forefathers lived in style and elegance. The
+latest fashions in household furnishings and dress travelled here from
+London even quicker than they travelled to the English provinces.</p>
+
+<p>To lift the curtain upon the Eighteenth Century is like lifting the
+cover from a Chinese jar of <i>pot-pourri</i>; and just as that subtle
+yet pungent scent of rose-leaves, lavender, sweet spices, and musk
+float from it, so visions appear before another sense. Our inherited
+memories bring before us pictures of brocade gowns or “hoops,”
+flowered silk overdresses, high-heeled satin slippers with glittering
+buckles, ruffles of Mechlin lace, “chicken-skin” fans gay with Watteau
+or Lancret or Pater pictures, rustling silks, shimmering satins,
+nodding feathers, cinnamon coats, Ramilies tie-wigs, lace-solitaires,
+wrist-ruffles, cocked-hats, swords, and snuff-boxes.</p>
+
+<p>We seem to stand in lovely gardens, bright with roses and hollyhocks,
+larkspur, foxglove, amaranth, love-in-a-mist, bleeding-hearts, and
+gilliflowers, noting the moving shadow on the sundial and watching the
+stately peacocks behind the well-clipped hedges of box and holly; or
+we follow the fashionable world to Ranelagh or Vauxhall, where we look
+with fascinated gaze on the beautiful women in hoops<span class="pagenum" id="Page_331">[331]</span> of brocade or
+lutestring silk, much painted, powdered and patched, glancing archly
+beneath their coquettish “gipsy hats” at their gallant escorts, who
+know so well how to lead them through the steps of a minuet or a
+gavotte to the rococo tunes of Rameau, Dr. Arne, or Couperin with their
+quirls and pretty runs and trills and long pauses for stately bows.</p>
+
+<p>That world is so fascinating to us that we fancy we, too, could wear
+without embarrassment the elaborate costume and that we, too, would
+feel much at home with Horace Walpole and his friends at <i>Strawberry
+Hill</i>. We, too, might be able to prepare minced chicken in a
+chafing-dish, just as satisfactorily as the Miss Berrys; and we like
+to fancy that we could take part in their airy conversation of charm,
+banter, and light mockery. At any rate, if we should not be able to
+succeed in entertaining Horace Walpole, we are very certain that Sir
+Horace could entertain us!</p>
+
+<p>All the Society people of London of this time seem very friendly to us
+and we are strangely “at home” with the portraits of Gainsborough, Sir
+Joshua, and Romney.</p>
+
+<p>When we look upon <i>Diana, Lady Crosbie</i>, <i>Lady Betty Delmé</i>,
+<i>Georgiana, Duchess of Devonshire</i>, <i>Maria Walpole, Duchess of
+Gloucester</i>, <i>Lady Derby</i>, and <i>The Hon. Mrs. Davenport</i>
+do we not feel that we have known and talked to these people in the
+flesh? Their eyes meet ours and our thoughts meet theirs,—and we are
+not strangers to one another.</p>
+
+<p>And when we look upon Gainsborough’s <i>Mall</i> does it not bring back
+memories of the time when we, ourselves, walked there with all the gay
+throng of a bright morning?</p>
+
+<p>Lord Gower said very aptly:</p>
+
+<p>“Gainsborough created a new school by making a lady’s petticoat a thing
+of beauty. He could even throw a halo upon a ribbon or a scarf.”</p>
+
+<p>That is true; but Lord Gower forgot the fact that the lady had by her
+taste and her high-bred elegance conferred distinction on her clothes
+by the fitness with which she selected them and by the manner in which
+she wore them.</p>
+
+<p><span class="pagenum" id="Page_332">[332]</span></p>
+
+<p>Thrice in England have pairs of geniuses appeared at the same time,
+inviting comparison and attracting partisans—Keats and Shelley;
+Thackeray and Dickens; and Reynolds and Gainsborough.</p>
+
+<p>There should be no partisans. The more we love and admire Keats, the
+better we are able to admire and love Shelley; the more we appreciate
+and delight in Dickens, the more we are able to appreciate and delight
+in Thackeray; and the more we comprehend and enjoy Sir Joshua, the more
+we are able to comprehend and enjoy Gainsborough.</p>
+
+<p>Although they were rivals—and quite bitter ones at times—the two
+supreme English painters of the Eighteenth Century admired each other
+prodigiously.</p>
+
+<p>“Damn him! how various he is!” Gainsborough exclaimed of Reynolds; and
+Sir Joshua remarked to Sir George Beaumont of Gainsborough; “I cannot
+imagine how he manages to produce his effects.”</p>
+
+<p>“What is it then that gives Romney his hold upon this generation and
+will continue to give him a hold so long as a love of art endures
+among us?” Humphrey Ward asks; and then he answers his own question as
+follows:</p>
+
+<p>“In part, of course, it is because he shares with Reynolds and
+Gainsborough the good fortune of having kept alive for us a society of
+which the fascination is enduring—that limited and privileged society
+of the Eighteenth Century which has realized such a perfect art of
+living and with which we can clasp hands across the gap as we cannot
+with the men and women of Charles the Second’s time, or even of Queen
+Anne’s. Much more is it because of temperament and training. Romney was
+an artist in love with loveliness; because he found it in the women and
+children of his time and stamped it on countless canvases.</p>
+
+<p>“To our problem-haunted painters of to-day it may be seen that his
+sense of form was ‘generic and superficial’; they may condemn him
+because he did not try to penetrate deep into character and because he
+simplified too much, like the Greek sculptors. The lover of mere human
+beauty will care little for such objections, provided that a portrait
+gives him the essentials of a beautiful face.</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">‘The witchery of eyes, the grace that tips</div>
+        <div>The inexpressible douceur of the lips’—</div>
+      </div>
+    </div>
+  </div>
+
+<p><span class="pagenum" id="Page_333">[333]</span></p>
+
+<p class="p-left">and has blended them with the aristocratic dignity of
+the Lady Sligo, or with the melting sweetness of many of the sketches
+of Emma. This is what he finds in every first-rate Romney; and he
+finds much more. He finds pure and unfaded color, the fruit of the
+painter’s knowledge and of a self-restraint which forbade him to search
+for complex effects through rash experiments. He finds a quality of
+painting which, though it wants the subtlety and preciousness that
+Gainsborough reached instinctively and Sir Joshua by effort, is a
+quality to which nobody but a master can attain. To be convinced of
+this we have only to look closely at the brush-work of the eyes in any
+of the National Gallery Romneys, or the draperies in such pictures as
+the <i>Lady Warwick and Children</i> or the <i>Lady Derby</i>.</p>
+
+<p>“When all is said, Romney remains one of the greatest painters of the
+Eighteenth Century and one of the glories of the English name.”</p>
+
+<p>We are apt to think that it was easier to conquer a reputation in the
+Eighteenth Century than it is to-day and that Sir Joshua Reynolds,
+Gainsborough, Romney, Hoppner, and Raeburn stepped easily into their
+commanding positions. Let us remember that Horace Walpole mentions the
+fact that there were two thousand portrait-painters in London in his
+time!</p>
+
+<p>The story of English Painting previous to the Eighteenth Century is
+interesting and very different from that of any nation on the Continent.</p>
+
+<p>The Wars of the Roses, which lasted thirty years (1455–1485), coincide
+with the great developments of Painting in Italy and Flanders. During
+this period, while York and Lancaster were, like the Lion and the
+Unicorn, fighting for the Crown, no attention could be paid to the
+painting of pictures. Up to this period England had had a notable
+past in portraiture, fresco-painting, and, even more particularly,
+in the art of illumination and miniature-painting. In the decoration
+of manuscripts from about 1250 to 1350 the Anglo-Norman painters
+stood first in this branch of art. The old monastic artists had great
+traditions to follow and superb models to draw upon, such as the
+<i>Book of Kells</i> (dating from the Eighth or Ninth Century); and
+the Winchester<span class="pagenum" id="Page_334">[334]</span> School of the Tenth Century stood very high before the
+advent of the Normans in 1066.</p>
+
+<p>Our own country to-day can show many examples of this splendid work in
+private collections. After William Caxton set up his printing-press at
+Westminster in 1471, there was little more need for the laboriously
+written manuscripts with their exquisite miniature-painting and
+illumination.</p>
+
+<p>Oliver Cromwell’s Roundhead bandits and other Puritans with their
+wholesale demolishing and slashing of all art and everything beautiful
+together with the Great Fire of London in 1666 destroyed all the
+paintings that could have told us just what had been accomplished in
+England at the time when Fra Angelico, Fra Lippo Lippi, and Botticelli
+were creating masterpieces in Italy and when Roger van der Weyden
+and Memling were painting gloriously in the great realm of the Dukes
+of Burgundy. Such works as the <i>Romaunt de la Rose</i> and other
+Anglo-Norman manuscripts give us a hint of what Painting in England
+must have been; for, of course, English, or Anglo-Norman Painting, in
+Plantagenet days must have been—as in other countries—an enlarged
+version of the brightly colored miniatures touched up with gold-leaf in
+the manuscripts.</p>
+
+<p>Henry VIII seems to have been the first English King who was a
+patron of art in the modern sense. But there was no English artist
+of power to be patronized. The German Hans Holbein (see page <a href="#Page_240">240</a>)
+was made Court-Painter. Holbein painted all the great personages
+in Tudor England and his influence lasted long after his death.
+Miniature-portraits were also popular. The greatest artist in this line
+was Nicholas Hilliard (1547–1619), a native of Exeter, trained as a
+goldsmith, a follower of Holbein, and appointed goldsmith, carver, and
+portrait-painter to Queen Elizabeth (whose portrait he painted many
+times). Later he was portrait-painter to James I. It was Hilliard, too,
+who engraved the Great Seal of England in 1587. Hilliard’s pupil, Isaac
+Oliver (1556–1617?), also a pupil of Federigo Zuccaro, was unsurpassed
+as a miniature-painter and taught his son Peter (1601–1660), who
+was famous for his drawings and water-colors as well as for his
+miniatures. Samuel Cooper (1609–1672), achieved a<span class="pagenum" id="Page_335">[335]</span> great reputation as
+a miniaturist portrait-painter and painted Charles II, Henrietta Maria,
+all the celebrities of the Court, and also John Milton and Oliver
+Cromwell. Collectors appreciate his works to-day.</p>
+
+<p>Holbein left no School and there was no one to succeed him.
+Consequently when Antonio Moro (see page <a href="#Page_257">257</a>), came to England from
+Spain in 1553 to paint Mary Tudor, he stayed in London for some time
+painting celebrities.</p>
+
+<p>In Queen Elizabeth’s time another foreign portrait-painter, Federigo
+Zuccaro (or Zucchero) arrived from Italy with a great reputation,
+having worked for Pope Gregory XIII and the Cardinal of Lorraine, and
+also in Antwerp and Amsterdam. Zuccaro painted Queen Elizabeth, Sir
+Francis Walsingham, Sir Walter Raleigh, the Earl of Leicester, and many
+other English notables.</p>
+
+<p>Another foreigner, Daniel Mytens (1590?–1656), arrived in the reign
+of James I, became his Court-Painter and continued in the post in
+the reign of Charles I, until Van Dyck’s popularity sent him back to
+Holland. Mytens painted in the style of Rubens and Van Dyck. Hampton
+Court Palace contains many full length portraits by him. A portrait
+by Mytens of Jeffrey Hudson (see page <a href="#Page_191">191</a>), holding a dog by a leash,
+hangs in Buckingham Palace.</p>
+
+<p>However, in the reign of Charles I, Anthony Van Dyck (see page <a href="#Page_181">181</a>)
+dominated Painting just as Holbein had in the reign of Henry VIII. For
+years after his death every painter tried to follow Van Dyck’s style;
+but they all missed his distinction, not having his genius to start
+with.</p>
+
+<p>Civil war and Puritanism killed art completely. Consequently
+when “Charlie came over the water” and the “King Enjoyed his Own
+Again,” there was nobody in the kingdom able to paint an acceptable
+portrait. Again a foreigner met the need. This time it was Peter Lely
+(1618–1680), who was a Dutchman, born in Westphalia, Germany, the son
+of Pieter van der Faes, a captain of infantry, who had changed his name
+to Lely. In 1640 young Lely was in England, painting landscapes and
+trying to imitate Van Dyck in portraiture. The marriage of Princess
+Mary to William, Prince of Orange gave Lely his first opportunity and
+he painted the Royal couple with<span class="pagenum" id="Page_336">[336]</span> Charles II, who made him a knight and
+baronet in 1679. Sir Peter only enjoyed his honors a year, for he died
+in 1680. Sir Peter Lely painted a great number of portraits, including
+the “Court Beauties,” which now hang in Hampton Court Palace.</p>
+
+<p>The Court-Painter of Queen Mary II and Queen Anne was another
+foreigner, Godfrey Kneller (1646–1723), a native of Lübeck, a pupil of
+Ferdinand Bol, Carlo Maratti, and Bernini, with painting experiences in
+Rome and Venice. Kneller painted portraits of Charles II, Louis XIV,
+James II, William III, Queen Mary, Queen Anne, and George I. For Queen
+Mary II he painted the “Beauties” at Hampton Court, in a certain sense
+a continuation of Sir Peter Lely’s “Beauties.” Kneller was knighted in
+1692 and made a baronet in 1715.</p>
+
+<p>Sir Godfrey painted the members of the Kit-Cat Club and every person of
+distinction in England. In 1705 he settled near Twickenham. Pope wrote
+an epitaph for Kneller’s monument in Westminster Abbey.</p>
+
+<p>William Hogarth (1697–1764) who now enters the lists, is the first
+really English painter. Hogarth was a native of London and an engraver
+as well as a painter. Hogarth became Sergeant-Painter to the King
+in 1757. He first attracted attention by his prints for Butler’s
+<i>Hudibras</i> in 1726 and at this time began to paint in oils. In
+1731 he painted <i>The Harlot’s Progress</i> and followed this with
+<i>Southwark Fair</i> and <i>The Rake’s Progress</i> which gave him
+great fame as a satirist. In 1745 he painted his own <i>Portrait</i>
+and the <i>Marriage à la Mode</i> (six scenes). The vigor and
+personality of his portraits, the beautiful coloring of his palette,
+and the atmosphere of the Eighteenth Century make Hogarth one of the
+great names in art. England was a long time producing an artist; but
+when he came he was a very great one.</p>
+
+<p>Hogarth was so pre-eminently a chronicler of the fashions and follies
+of his time that we are apt to forget his beautiful use of color, and
+Hogarth’s technique is so solid and so sure that his colors are as
+fresh to-day as when they were painted.</p>
+
+<p>Hogarth did not believe in his powers of portraiture; but the world
+does not agree with him. The portrait of <i>Lavinia Fenton as Polly
+Peachum in the Beggar’s Opera</i>, (National Gallery, London) ranks as<span class="pagenum" id="Page_337">[337]</span>
+one of the great portraits of the world. And there are others: <i>David
+Garrick and his Wife</i> in Windsor Castle; his own <i>Portrait</i>
+(National Gallery, London); <i>Archbishop Herring</i> (Lambeth Palace);
+<i>Peg Woffington</i>; and many others.</p>
+
+<p>Hogarth’s book <i>The Analysis of Beauty</i> had the following origin.
+In his own portrait painted in 1745 he drew on a palette in one corner
+of the picture a serpentine line with the words: “The line of beauty
+and grace.” So much discussion ensued that Hogarth wrote the book to
+explain what he meant and to establish a standard of beauty.</p>
+
+<p>The Eighteenth Century saw the great period of English Painting
+expressed in Sir Joshua Reynolds (1723–1792); Thomas Gainsborough
+(1727–1788); and George Romney (1734–1802). Others of importance
+were Richard Wilson (1714–1782), famous for his landscapes in many
+of which ruins were introduced; Francis Cotes (1725–1770), famous
+portrait-painter; and, lapping over into the Nineteenth Century,
+Sir William Beechey (1753–1839), who became portrait-painter to the
+Queen; John Hoppner (1758?–1810), portrait-painter (see page <a href="#Page_416">416</a>);
+John Opie (1761–1807), historical portrait-painter; Sir Thomas
+Lawrence (1769–1830); Sir Henry Raeburn (1756–1823); Joseph Mallord
+William Turner (1775–1851); John Constable (1776–1837); John Wilkie
+(1785–1841); and John Crome, known as “Old Crome” (1793–1842).</p>
+
+
+<h4>LADY BETTY DELMÉ.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Joshua Reynolds</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1723–1792).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Herbert L. Satterlee.</i></td>
+  </tr>
+</table>
+
+<p>This, one of Sir Joshua’s finest group pictures (93 × 57 inches), was
+painted in 1777, a year in which the artist made many notable portraits
+including that of Diana, Viscountess Crosbie (see page <a href="#i_345">345</a>). Lady Betty
+Delmé is seated at the base of an old beech-tree on her estate between
+London and Portsmouth, her arm around her children. The little Scotch
+terrier seems much interested in his master. The whole is a wonderful
+study in amber and russet tones. The picture came to Mrs. Satterlee
+from her father, the late Mr. J. P. Morgan.</p>
+
+<p><span class="pagenum" id="Page_338">[338]</span></p>
+
+<p>Joshua Reynolds was born in Plympton Earl Plymouth, July 16, 1723, the
+son of the Rev. Samuel Reynolds, headmaster of the grammar school.
+Early showing great talent for drawing, young Joshua was apprenticed
+in 1740 to Thomas Hudson, the portrait-painter, in London. Three years
+later he returned home and established himself as a portrait-painter
+at Plymouth Dock, where he met William Gandy, a painter, who had no
+little influence upon his style. In 1744 Reynolds was back in London
+and in 1749 back in Devonshire, this time settling in Devonport. In
+this year he met at Mount Edgcumbe young Commodore Keppel (afterwards
+Admiral), whose portrait he painted and with whom he formed a great
+friendship. Accepting Keppel’s invitation to sail with him on the
+<i>Centurion</i> for a Mediterranean trip, Reynolds eventually reached
+Rome, where he spent two years. While studying in the Vatican he caught
+a severe cold which resulted in a life-long deafness. Returning home in
+1753, Reynolds took rooms in St. Martin’s Lane, then the headquarters
+of art, and people began to flock to his studio. He then removed to
+Newport Street and in 1760 established himself in Leicester Fields (now
+Leicester Square), which for thirty years was the <i>rendez-vous</i>
+for the artistic, literary, and distinguished world of London.
+In 1768 Reynolds was unanimously elected first President of the
+just-established Royal Academy and in 1769 was knighted by George III.
+In 1784 Sir Joshua succeeded Allan Ramsay as Painter-in-Ordinary to the
+King. In 1789 his eyesight began to fail and he soon had to relinquish
+his art. Sir Joshua died in 1792 and was buried in St. Paul’s Cathedral
+with great pomp. In addition to his enormous list of paintings Sir
+Joshua designed the windows for New College, Oxford, and Oxford gave
+him the degree of D. C. L. Sir Joshua’s famous <i>Discourses on Art</i>
+were delivered between 1769 and 1790 at the Academy “to encourage a
+solid and vigorous course of study.”</p>
+
+  <div class="figcenter" id="i_339" style="max-width: 342px">
+     <img
+    class="p1"   
+    src="images/i_339.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Herbert L. Satterlee</i></p>
+     <p class="p0 sm center">LADY BETTY DELMÉ</p>
+     <p class="p0 sm right">—<i>Sir Joshua Reynolds</i></p>
+ </div>
+
+<p>When we think of the thousands of pictures that Sir Joshua painted—all
+of them <i>fine</i> and many of them <i>great</i>—we stand amazed at
+the capacity of the artist who produced them. They were all creations!
+The five portraits of little Isabella Gordon known as <i>Angels’
+Heads</i> (National Gallery, London), which in lightness, delicacy,
+and iridescence<span class="pagenum" id="Page_340">[340]</span><span class="pagenum" id="Page_339">[339]</span> have been compared to the petals of a flower and
+the melting softness of the rainbow; <i>Mrs. Siddons as the Tragic
+Muse</i>; the <i>Strawberry Girl</i>; the <i>Age of Innocence</i>;
+<i>Nelly O’Brien</i>; <i>Kitty Fisher</i>; <i>Penelope Boothby</i>;
+<i>Mrs. Abington</i>; <i>Lord Ligonier</i>; <i>The Graces Decorating
+a Terminal figure of Hymen</i>; <i>Diana, Lady Crosbie</i>; <i>Mrs.
+Hardinge</i>; <i>Lady Cockburn and her Children</i>;—all belong to the
+first rank of original and artistic achievement.</p>
+
+<p>“Reynolds,” Sir Walter Armstrong writes, “arrived at results scarcely
+to be distinguished from those of genius, and did so entirely by the
+action of an original mind and a profound taste upon accumulated
+materials. His path towards excellence was conscious, discriminative,
+judicial. Every step he took was the result of a deliberate choice.
+He felt no heats driving him into particular expression in his own
+despite. Just as by fairness of mind he produced the effect of sympathy
+among his friends, so by unerring judgment he produces the effect of
+creation on us who value his art. He appears to me the supreme, if
+not the only, modern instance of a painter reaching greatness along
+a path, every step of which was trodden deliberately, with a full
+consciousness of why it was taken and whither it was leading, and with
+the power unimpaired to turn back or to change the goal at any moment.
+Superficially the art of Sir Joshua resembled that of Raphael as little
+as it well could; mentally the processes of the two men were curiously
+alike. Both possessed taste to such a degree that it became genius;
+and both were endowed, for the service of their taste, with a mental
+industry which is rare.”</p>
+
+<p>It is unfortunate that Sir Joshua experimented so deeply with his
+pigments and glazes so that we can see none of his pictures in their
+pristine beauty and brilliance. That he was a rare colorist we would
+know from <i>Mrs. Siddons as the Tragic Muse</i> and the <i>Angels’
+Heads</i>—the former rich and gorgeous and the latter iridescent and
+delicate—showing the two extremes.</p>
+
+<p>Here is Sir Joshua’s palette given in the <i>Farington Diary</i> under
+date of August 14, 1806:</p>
+
+<p>“Marchi (Sir Joshua Reynolds’s assistant) I called on before dinner to
+desire him to call upon J. Taylor to give his opinion of a picture<span class="pagenum" id="Page_341">[341]</span>
+said to be a portrait of Garrick by Sir J. Reynolds. I desired Marchi
+to state to me what colors Sir Joshua Reynolds had placed upon his
+palette and the order in which they were laid. He named them as
+follows. He used a handle palette as it is called: White; Naples
+Yellow; Yellow oker; Vermillion; light red; lake; black. Asphaltum he
+used occasionally, but that he had it in a galley-pot. His vehicles
+were: Mastick varnish and drying oil made into Macgilp in a pot. Nut
+oil which he used with his white in a pot. Mastick varnish <i>only</i>,
+which he sometimes used alone; and Marchi observed that it caused his
+colors to crack and fly off. Wax (white virgin wax) he had in a tin pot
+which he melted at the fire when he proposed to use it. This vehicle
+Marchi observed caused his colors to scale off from the canvas in
+flakes.”</p>
+
+<p>To mention the sitters who came to Leicester Fields and the company
+that gathered there every evening when Sir Joshua was not dining out
+would be to list the entire society of London in the Eighteenth Century.</p>
+
+<p>“In these days we are apt to forget that to many of Sir Joshua’s
+contemporaries, with the stricter notions of social precedency in vogue
+a century ago,” Sir Walter Armstrong notes, “the painter’s station in
+London society must have seemed almost an outrage, especially as it had
+been won without any kind of pretence or undue submission to those who
+were then called the great. Fond as he was of the best that Society
+could give, he lived his life in his own way, invited whom he chose
+to his table, leaving his guests to shake down among themselves as
+best they could, and, so far as we can discover, paying little heed to
+prejudices on the matter of birth, and still less to those which had to
+do with politics or conventional morality.”</p>
+
+<p>Lord Ronald Sutherland Gower has made this very interesting comparison
+of Romney and Reynolds:</p>
+
+<p>“The mighty events which were in progress around him—the war with
+the American Colonies, and the supervening naval war with France and
+Spain—ran their course without personally affecting him, whereas
+Reynolds was in constant touch with the men who were most vigorously
+opposing Lord North’s policy, with Burke and Charles<span class="pagenum" id="Page_342">[342]</span> Fox; and it
+was his own intimate friend of nearly thirty years standing, Admiral
+Keppel, whose trial in this very year 1778, formed the central
+battle-ground between the Court and the popular party. In all these
+things Reynolds was intimately concerned, as he was in the lighter
+events of social life, with his constant dinner-parties at Leicester
+Fields, his still more constant attendance at the tables of the great
+and the assemblies of Mrs. Montagu and Mrs. Ord, his outings to
+Streatham, and his mild flirtation with ‘Little Burney.’ But Romney
+lived remote, as remote in his shyness and isolation as Gainsborough
+lived in his fondness for a Bohemian world—the world of artists that
+painted and played and left war to the soldiers and politics to the
+politician. It is true that a couple of years afterwards politics
+were brought pretty closely home to both of them, as they were,
+<i>nolentibus volentibus</i>, to all the householders in London. The
+Keppel riots in 1778, celebrating the acquittal of the popular Admiral,
+were festive and pleasant enough; noblemen and gentlemen went out
+with the crowd; young Pitt, it is said, helped to break Lord North’s
+windows; and young Rogers, the banker-poet, to unhinge the gates of the
+Admiralty. This was very well and very pleasant; but two years later
+the mob improved upon their lesson, and in the Lord George Gordon Riots
+London was ablaze.”</p>
+
+
+<h4>THE STRAWBERRY GIRL.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Joshua Reynolds</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1723–1792).</i></td>
+    <td class="cht3"><i>Mrs. Francis F. Prentiss.</i></td>
+  </tr>
+</table>
+
+<p>James Northcote in his <i>Life of Sir Joshua Reynolds</i> notes: “The
+picture of a little <i>Strawberry Girl</i> was painted about this time
+(1775?) and he considered it one of his best works, observing that no
+man ever could produce more than about half a dozen really original
+works in his life; “and this picture,” he added, “is one of mine.”</p>
+
+<p>This little girl is about three years old and is shown at three-quarter
+length with a handkerchief folded around her head after the fashion
+of a turban, the curls escaping from her forehead. She wears a
+lightcolored<span class="pagenum" id="Page_344">[344]</span><span class="pagenum" id="Page_343">[343]</span> dress with a pinafore caught over her arm. At her neck
+is a ribbon bow. Her hands are demurely folded at the waist and over
+her right arm hangs a cone-shaped strawberry “pottle.” The background
+is composed of large rocks and trees at the right.</p>
+
+  <div class="figcenter" id="i_343" style="max-width: 433px">
+     <img
+    class="p1"   
+    src="images/i_343.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mrs. Francis F. Prentiss</i></p>
+     <p class="p0 sm center">THE STRAWBERRY GIRL</p>
+     <p class="p0 sm right">—<i>Sir Joshua Reynolds</i></p>
+ </div>
+
+<p>The picture is painted in oils on canvas (29 × 24 inches) and is a
+replica of the original in the Wallace Collection, London.</p>
+
+<p>Leslie and Taylor voiced so well the impression that every one has when
+looking at this fascinating work that what they said bears quoting:</p>
+
+<p>“<i>The Strawberry Girl</i> with her pottle on her arm, creeping
+timidly along and glancing round her with large, black eyes, might be
+Little Red Riding Hood hearing the first rustle of the wolf in the
+wayside bushes, could we substitute a red hood for the odd turban-like
+head-dress with which the painter has crowned his little maiden, and
+which even Sir Joshua’s taste can barely make becoming, and hang on her
+arm the basket of butter and eggs for her sick grandmother instead of
+the strawberry pottle which gives her a name.”</p>
+
+<p>The model for <i>The Strawberry Girl</i> was Miss Theophila Palmer, Sir
+Joshua’s favorite niece, who lived with him and looked after him until
+her marriage. Her name Theophila was divided into two pet names. “The”
+and “Offie,” upon which Sir Joshua once wrote a playful-verse:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div>When I’m drinking my tea, I am thinking of The,</div>
+        <div>When I’m drinking my coffee, I’m thinking of Offie,</div>
+        <div>So, whether I’m drinking my tea or my coffee,</div>
+        <div>I always am thinking of thee, my The-Offie.</div>
+      </div>
+    </div>
+  </div>
+
+<p>In the <i>Farington Diary</i> (Vol. IV), by Joseph Farington (London,
+1924), we also learn that Miss Theophila Palmer was the “My dear Offy”
+of Sir Joshua’s letter, dated Jan. 30, 1781, in which he wished that
+she and Mr. Robert Lovell Gwatkin of Kellrow, Truro, Cornwall, her
+future husband, “may be as happy as both deserve—and you will be the
+happiest couple in England. So God Bless you!”</p>
+
+<p>Fanny Burney, in a description of a reception at Sir Joshua Reynolds’s
+house in Leicester Square, refers to young Gwatkin, the Cornish Squire,
+“making sheep’s eyes at Offy, whose uncle, Sir Joshua<span class="pagenum" id="Page_346">[346]</span> was very fond
+of her.” “I never was,” he wrote to Offy, “a great friend to the
+efficacy of precept, nor a great professor of love and affection, and,
+therefore, I have never told you how much I loved you for fear you
+should grow saucy upon it.”</p>
+
+<p>The well-known picture of <i>Simplicity</i> is of Theophila Gwatkin,
+daughter of Mr. and Mrs. Robert L. Gwatkin and this little girl was
+also known affectionately as The.</p>
+
+
+<h4>DIANA, VISCOUNTESS CROSBIE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Joshua Reynolds</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1723–1792).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>Sir Joshua Reynolds pronounced the <i>Strawberry Girl</i> one of his
+most original creations. The portrait of <i>Diana Lady Crosbie</i>
+certainly ranks as another. All critics are united in considering it
+one of the finest productions of the master’s brush. Who but Sir Joshua
+would ever have thought of such a pose?</p>
+
+  <div class="figcenter" id="i_345" style="max-width: 331px">
+     <img
+    class="p1"   
+    src="images/i_345.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">DIANA, VISCOUNTESS CROSBIE</p>
+     <p class="p0 sm right">—<i>Sir Joshua Reynolds</i></p>
+ </div>
+
+<p>The Honorable Miss Diana Sackville, daughter of Lord George Sackville,
+aged twenty-one, was engaged to be married to Viscount Crosbie (son and
+heir of the first Earl of Glandore) and was visiting his seat, Ardfert
+Abbey, Kerry, Ireland. Lord Crosbie sent for Sir Joshua Reynolds to
+come and paint the portrait of Lady Diana; and the story goes that soon
+after arriving Sir Joshua caught sight of Lady Diana running across the
+lawn. He was so fascinated by her lightness and grace that he begged
+permission to paint her as he had first seen her.</p>
+
+<p>Consequently, we have Lady Diana surprised in the act, as it were, of
+tripping over the park, holding up her dress with her right hand and
+extending her left in graceful attitude. The dress is white silk, bound
+at the waist by a gold sash, and beneath the folds of the dress, so
+exquisitely painted, the tip of a small slipper is seen. The picture
+was painted in September, 1777, and two months later Lady Diana was
+married to Lord Crosbie. In 1781, when her husband succeeded to the
+title, Lady Crosbie became, of course, Countess of Glandore.<span class="pagenum" id="Page_347">[347]</span> She died
+in 1814. For painting this portrait Sir Joshua received £78.15.</p>
+
+<p>The picture, oils on canvas (93 × 58 inches), left the Crosbie home
+only within recent years to occupy a place of honor in Sir Charles
+Tennant’s drawing-room in London. From the Tennant Collection it went
+directly to California. The picture has been engraved several times
+and the best known engravings are by W. Dickinson (1779); James Scott
+(1863); and R. S. Clouston (1890); and “proofs before letters” of these
+plates bring very high prices in the auction-rooms.</p>
+
+<p>“Here is a miracle of vivacity,” says Spielmann, “so natural, so
+alive, that you almost forget that you are in front of a picture as
+you look at this lady who moves across the canvas with outstretched
+hand to greet you as you approach. Rarely have animation and movement
+been so completely realized on canvas. The design is finely sustained
+by the mellow, golden tone of the white dress and the telling note of
+the golden scarf, all seen against a convincing landscape that seems
+entirely novel in Reynolds’s open-air portraits.”</p>
+
+
+<h4>MRS. SIDDONS AS THE TRAGIC MUSE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Joshua Reynolds</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1723–1792).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>This gorgeous portrait, oils on canvas (93 × 56 inches), was painted
+in 1785, when the famous actress was twenty-eight, in the full bloom
+of her beauty and fruition of her talents; and it is rightly described
+by Mrs. Jameson as “the apotheosis of her genius and beauty.” It is
+painted in the “grand style” with rich coloring of amber and purple,
+the <i>Tragic Muse</i> seated on a throne among the clouds with her
+head lifted as if listening to some inspiring voices and her hand
+raised as if to command silence. A coronet of pearls adorns her hair,
+and heavy ropes of pearls are wound around her neck and are knotted
+loosely in front. Over her lap is thrown a drapery, on the hem of which
+Sir Joshua painted his name.</p>
+
+<p><span class="pagenum" id="Page_348">[348]</span></p>
+
+<p>The poetic and dramatic conception of the picture show how much Sir
+Joshua admired Michelangelo’s <i>Prophets</i> and <i>Sibyls</i> in the
+Sistine Chapel.</p>
+
+<p>In this magnificent work Sir Joshua certainly realized his theories
+regarding the “grand style” as expressed in his <i>Fourth Discourse</i>
+to his pupils: “To give a general air of grandeur at first view all
+trifling or artificial play of little lights, or an attention to a
+variety of tints, is to be avoided; a quietness and simplicity must
+reign over the whole work; to which a breadth of uniform and simple
+color will very much contribute.”</p>
+
+<p>In the theatrical annals of England the Kemble family rank with the
+later Trees and Terrys; and Mrs. Siddons was a Kemble. Sarah Siddons,
+the eldest daughter of Roger Kemble, actor and theatrical manager,
+was born in 1755 in Brecon, Wales, where her father was managing a
+troupe of players. She was the sister of Charles Kemble, the famous
+comedian and manager of the Covent Garden Theatre, and aunt of Fanny
+Kemble, the noted actress. At an early age, Sarah played small parts
+in her father’s company and when she was eighteen was married to a
+young actor named Siddons, also in the Kemble company. Soon afterward
+Mr. and Mrs. Siddons appeared in <i>The Clandestine Marriage</i> in
+the provinces. Sarah Siddons soon attracted Garrick’s attention and
+he gave her an engagement at Drury Lane; but she was not a success.
+She then went to Bath, where she became a favorite and established her
+reputation. In 1783 she reappeared at Drury Lane and this time she took
+London by storm. Then she went to Dublin, where more triumphs added
+to her confidence as well as to her fame; and, when she returned to
+London, it was to Covent Garden, where her brother, John Philip Kemble,
+was manager. Mrs. Siddons shone especially in tragedy and achieved,
+perhaps, her greatest success as Lady Macbeth. When Byron saw her in
+this <i>rôle</i> he wrote: “It was something transcending nature; one
+would say that a being of a superior order had descended from a high
+sphere to inspire fear and admiration at the same time.”</p>
+
+  <div class="figcenter" id="i_349" style="max-width: 332px">
+     <img
+    class="p1"   
+    src="images/i_349.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">MRS. SIDDONS AS THE TRAGIC MUSE</p>
+     <p class="p0 sm right">—<i>Sir Joshua Reynolds</i></p>
+ </div>
+
+<p>Mrs. Siddons’s great parts were Lady Macbeth, Portia, Constance,
+Isabella, Jane Shore, Almeira, Lady Ann, Calista, Belvedera, and<span class="pagenum" id="Page_350">[350]</span> Mrs.
+Beverly. In 1812 she retired from the stage with a large fortune and
+died in 1831. Thomas Campbell wrote her life in 1834.</p>
+
+<p>All the portrait-painters of the day had Mrs. Siddons sit to them. The
+most famous pictures, however, were Reynolds’s <i>Tragic Muse</i>;
+Gainsborough’s beautiful one in an afternoon costume of light blue,
+striped silk, black hat, yellow scarf and muff, in the National
+Gallery, London; and two by Lawrence, also in the National Gallery,
+London.</p>
+
+<p>“It was probably after his return from his tour of the Low Countries
+that Mrs. Siddons, now in the very flush of her popularity, sat to
+him. She had not yet acted in Shakespeare, unless her first appearance
+as Isabella (<i>Measure for Measure</i>) and as Constance (<i>King
+John</i>) with her brother, John Kemble (for whom her success had
+procured a leading engagement at Drury Lane), preceded her first
+sittings, which is possible, though not probable. Her fame has been won
+in such parts as Isabella (in <i>The Mourning Bride</i>), Euphrasia (in
+<i>The Grecian Daughter</i>), Jane Shore, Calista, Belvedera, Zara,
+and Mrs. Beverly. The Royal Family, little as they loved tragedy,
+had already distinguished her by every mark of favor. Her house was
+besieged by the noble and fashionable. The managers of Drury Lane had
+gladly supplemented her modest salary of ten pounds a week by a double
+benefit; and in June she had left London—after a series of successes
+which almost eclipsed the still recent fame of Garrick—for Ireland and
+a short round of provincial performances. Mr. Russell, author of the
+<i>History of Modern Europe</i>, had sung her praises under the title
+of The Tragic Muse, before she left London. His verses are forgotten,
+but they may have suggested to Reynolds the subject of his picture. It
+could not have been prompted, as Boaden imagines, by an allusion in
+the epilogue to <i>Tancred and Sigismunda</i>, as her first appearance
+in that tragedy was on the 24th of April, 1784, when the picture
+was already in its place on the walls of the Exhibition-Room. The
+conception of this noble work was no doubt suggested by Michelangelo’s
+<i>Isaiah</i>. Mrs. Siddons told Mr. Phillips that it was the
+production of pure accident. Sir Joshua had begun the head and figure
+in a different view; but while he was occupied in the preparation of
+some color she changed her position to look at a picture hanging on the
+wall of<span class="pagenum" id="Page_351">[351]</span> the room. When he again looked at her and saw the action she
+had assumed, he requested her not to move; and thus arose the beautiful
+and expressive figure we now see in the picture.”<a id="FNanchor_24" href="#Footnote_24" class="fnanchor">[24]</a></p>
+
+<p>Yet there is still another story, which is told by Mrs. Jameson. Mrs.
+Siddons used to describe Sir Joshua as taking her by the hand and
+leading her up to his platform with the words: “Ascend your undisputed
+throne; bestow on me some idea of the Tragic Muse.” On which, Mrs.
+Siddons said: “I walked up the steps and instantly seated myself in
+the attitude in which the Tragic Muse now appears.” It is most likely
+that both stories are true. Sir Joshua’s leading the Queen of the
+London Stage to her throne on his painting-platform with his courtly
+compliment was thoroughly in character and that he also encouraged The
+Tragic Muse to act her part and create expression as well as take a
+dramatic pose, is also most in keeping with the exciting moment. Sir
+Joshua undoubtedly foresaw that he had the opportunity of producing his
+greatest masterpiece.</p>
+
+<p>Mrs. Siddons also related that when Sir Joshua was putting the last
+touches to the work he said: “I cannot resist the opportunity for going
+down to posterity on the edge of your garment,” upon which he painted
+his name and the date 1784 on the hem of the robe.</p>
+
+<p>However, Sir Joshua had already done this ten years before in the
+portrait of <i>Lady Cockburn and her Children</i>, in the National
+Gallery, London, where the name and date make a decorative finish to
+Lady Cockburn’s amber-colored robe trimmed with white fur thrown across
+her lap and that famous picture was begun in 1773 and finished in 1775.</p>
+
+<p><i>The Tragic Muse</i> was greatly admired when it first appeared.
+<i>The Public Advertiser</i>, April 28, 1784, said:</p>
+
+<p>“It is impossible to be too lavish in its praise; it is, indeed, a most
+sublime and masterly performance and undoubtedly one of the very best
+that ever was produced by Sir Joshua. He seems to have conceived and
+executed it with enthusiasm. Mrs. Siddons is drawn in the character
+of <i>The Tragic Muse</i>, the composition is in a grand style, the
+figure possesses great dignity, and that fine expression of countenance
+for which the original is preëminent and almost unrivalled. Sir<span class="pagenum" id="Page_352">[352]</span>
+Joshua has been said to paint the <i>mind</i>; and perhaps there never
+<i>was</i> a more striking instance of it than in this performance. The
+accompanying genii ready to administer the dagger or the bowl have also
+great expression, and in the effect of the <i>tout ensemble</i> there
+is a grandeur and a solemnity suited to the subject and highly worthy
+of universal admiration.”</p>
+
+<p>It is illuminating, too, to dip into the <i>Farington Diary</i>
+(London, 1925), and note in 1801:</p>
+
+<p>“Opie thinks the Mrs. Siddons by Sir Joshua the finest picture he
+knows. Opie thinks the picture of Mrs. Siddons much superior to any of
+the Titians which were brought by Day from Rome.</p>
+
+<p>“Bourgeois mentioned that Sir Joshua had said the principle to work
+upon is to fix a high light and a lowest depth to which all other
+lights and dark parts should be subordinate.”</p>
+
+<p>In 1808 we read:</p>
+
+<p>“Lawrence spoke with the highest admiration of Sir Joshua Reynolds’s
+portrait of <i>Lord Heathfield</i> now at the European Museum, having
+been sent there by Boydell to be sold for 350 guineas. He said this
+picture and the portrait of <i>Mrs. Siddons</i> by Sir Joshua are the
+top of his Art.” And again in the same year: “We looked at the picture
+of <i>Mrs. Siddons</i> by Sir Joshua Reynolds. Lawrence said, it was
+his best picture. I said, it was a high refinement of Rembrandt. Mr.
+Smith<a id="FNanchor_25" href="#Footnote_25" class="fnanchor">[25]</a> said he gave £320 for it, which was not half what Calonne
+paid. It cost the latter £800.”</p>
+
+<p><span class="pagenum" id="Page_353">[353]</span></p>
+
+<p>On the authority of Lord Ronald Sutherland Gower in <i>Sir Joshua
+Reynolds</i> (London, 1902), we learn:</p>
+
+<p>“There is another version of <i>The Tragic Muse</i> in the Dulwich
+Gallery. This was sold by Reynolds to M. Desenfans for seven hundred
+guineas in 1790 and the date on the hem of her garment is 1789, from
+which it appears that he completed this five years after the Grosvenor
+House picture. Both of these may be regarded as the authentic work
+of the master. There is a replica also of <i>The Tragic Muse</i> at
+Langley Park, near Stowe, which is said to have been given by Reynolds
+to Mr. Harvey in exchange for a painting by Snyders of a <i>Boar
+Hunt</i>; and another was in the possession of Mrs. Combe in Edinburgh.
+I think there is no doubt that these replicas are by the hands of
+Reynolds’s assistants.”</p>
+
+<p>Mrs. Siddons in the Dulwich Gallery (canvas 93 × 57 inches) described
+as follows:</p>
+
+<p>“She sits on a throne in front view and looks up towards the right; the
+right arm and the left elbow rest on the throne; with the hand raised
+as if listening to some inspiring voice; a coronet on the back of her
+hair; wearing an amber brown dress, with rows of pearls round her neck;
+across her lap is a robe, on the hem of which Sir Joshua has inscribed
+his name. Paid for, February 1790, Mrs. Siddons, sold to Mr. Desenfans
+£735.”</p>
+
+<p>The picture was purchased from Sir Joshua in 1790 by Noel Desenfans
+and by him bequeathed to Sir Francis Bourgeois, R. A., by whom it was
+left to Dulwich College. It hangs in the picture gallery there. It is
+interesting to note that the date on the hem of the robe is 1789—five
+years after the Duke of Westminster’s picture! Some critics think that
+Sir Joshua also painted this replica himself.</p>
+
+<p>Leslie and Taylor mention in their <i>Life of Reynolds</i> that they
+failed to find any note relative to Score’s making a copy of <i>The
+Tragic Muse</i>; but they draw attention, on the contrary, to the
+following extract from Northcote’s <i>Life of Reynolds</i>:</p>
+
+<p>“The picture of a little <i>Strawberry Girl</i> with a kind of turban
+on her head was painted about this time (1772) and he considered it
+one of his best works, observing that no man ever could produce more<span class="pagenum" id="Page_354">[354]</span>
+than about half a dozen really original works in his life; ‘and this
+picture,’ he added, ‘is one of them.’ The picture was exhibited (1773)
+and repeated several times; not so much for the sake of profit as for
+that of improvement, for <i>he always advised as a good mode of study,
+that a painter should have two pictures in hand of precisely the same
+subject and design and should work on them alternately; by which means,
+if chance produced a lucky hit, as it often does</i>, then instead of
+working on the same piece, and by that means destroy that beauty which
+chance had given, he should go to the other and improve upon that. Then
+return again to the first picture, which he might work upon without any
+fear of obliterating the excellence which chance had given it, having
+transposed it to the other. Thus his desire of excellence enabled him
+to combat with every sort of difficulty or labor.</p>
+
+<p>“The compilers’ theory, then, is: after the sketch of <i>Mrs.
+Siddons’s</i> portrait was laid in, he took up a fresh canvas, made
+a replica and worked on both alternately until ‘the lucky hit’ was
+produced and that appeared to Sir Joshua in the picture finished and
+exhibited in the Royal Academy, 1784. Notwithstanding the glowing
+eulogiums passed upon it, a purchaser was not found for it until 1788,
+when it was sold to M. de Calonne. Sir Joshua did not record the sale
+in his ledger, or note-book, and it only transpired when Skinner and
+Dyke sold at their rooms, Spring Gardens, 1795, the English pictures
+of the Calonne Collection and specified in the Catalogue that M. de
+Calonne paid Sir Joshua 800 guineas for the portrait of Mrs. Siddons in
+the character of the Tragic Muse.</p>
+
+<p>“At this time M. Desenfans was Consul-general in Great Britain for the
+Kingdom of Poland, a writer of marked ability, a recognized authority
+on art, an extensive picture-dealer, employed by the King of Poland
+to purchase high-class Old Masters to complete his Collection and who
+kept up an acquaintance with Sir Joshua, notwithstanding the trick he
+played of selling him, through Cribb, his frame-maker, the copy of a
+Claude, specially made by Marchi for the purpose as an original. The
+compiler’s surmise is, then, that he knew Sir Joshua had the unfinished
+replica on hand, and came to an understanding with him to complete it
+in its present form, ‘signed and dated 1789<span class="pagenum" id="Page_356">[356]</span> on the edge of the robe.’
+This investigation leads to three inferences; first, that Sir Joshua
+would not condescend, for any consideration, to sign and date a copy
+of <i>The Tragic Muse</i> made by Score; secondly, that an astute man
+of business, such as Desanfans was, would not give £735 for a copy;
+thirdly, that The Dulwich picture must now be regarded in the same
+light as the Westminster one—both from the hand of Reynolds; but which
+was first commenced cannot be ascertained.”</p>
+
+
+<h4>GEORGIANA, DUCHESS OF DEVONSHIRE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Joshua Reynolds</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1723–1792).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>It is interesting to compare this picture by Sir Joshua with
+Gainsborough’s <i>Duchess of Devonshire</i> (see page <a href="#Page_373">373</a>), which is
+probably the earlier of the two. This picture, oils on canvas (94 × 57
+inches), was exhibited at the Royal Academy in 1776 as No. 233. The
+Duchess had not long been married when this picture was painted, as
+her marriage took place in 1774. There is something in the pose that
+suggests the portrait of <i>Diana, Lady Crosbie</i>, which was painted
+later. The Duchess is represented full-length facing the left, in the
+act of descending a flight of stone steps, her right hand placed on the
+balustrade and her left holding her dress very gracefully. The dress
+is cream-colored cut low in the neck and fashioned with full sleeves.
+The skirt is gracefully cut and abounds in plaits and draperies. A
+gauzy scarf is wound around her right arm and floats below. The hair
+is dressed very fashionably with a long and round curl pinned tightly
+at the back of the neck and reaching the shoulder, and above the braid
+which forms a coronal the hair mounts higher and is ornamented by
+pearls and grey and red feathers. Vines are growing gracefully around
+the balustrade, beyond which and through the near-by trees we see an
+open vista of the park with a statue at the left. Presumably this is
+<i>Chatsworth</i>, the seat of the Duke of Devonshire.</p>
+
+  <div class="figcenter" id="i_355" style="max-width: 327px">
+     <img
+    class="p1"   
+    src="images/i_355.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">GEORGIANA, DUCHESS OF DEVONSHIRE</p>
+     <p class="p0 sm right">—<i>Sir Joshua Reynolds</i></p>
+ </div>
+
+<p>The picture was in the Collection of Earl Spencer, K. G., at Althorp,
+Nottinghamshire, before it was taken to California.</p>
+
+<p><span class="pagenum" id="Page_357">[357]</span></p>
+
+
+<h4>THE COTTAGE DOOR.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht">Thomas Gainsborough</td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>The little group is assembled in front of a thatched cottage, beside
+which a gnarled and withered tree rises scarred and seared by the
+storms of many years. Overhanging the roof a large tree droops its
+feathery Gainsborough foliage and, on the left, half of another
+feathery Gainsborough tree is waving in the summer breeze. By this
+tree, and farther back as well, a stream is seen falling in a little
+cascade beneath a rustic bridge. Luxuriant weeds grow in the foreground
+and by the side of the cottage, the door of which is open and beside
+which a peasant’s family is grouped. The mother, in yellowish brown
+skirt and white bodice, has a suggestion (save for the costume) of the
+beautiful ladies that sat to Gainsborough. In her arms is a baby. On
+her right, is a little boy, scantily dressed, who is eating something;
+in front of her are two children, one holding a bowl and the other
+dipping from it with a spoon; a fifth child, with one hand on his head
+and the finger of his left hand in his mouth, looks forward shyly;
+and the sixth is seated on the ground by his side. “Old pimply-nosed
+Rembrandt,” as Gainsborough called him, never lighted a scene more
+beautifully, nor more marvellously than this.</p>
+
+<p>The picture, oils on canvas (57 × 46 inches), is one of Gainsborough’s
+most mature works and dates from about 1776–1778.</p>
+
+<p>Bought by T. Harvey of Catton, Norfolk, in 1786, it passed to Mr.
+Coppin of Norwich in 1807. Then it became the property of Sir John
+Leicester, Bart., created Lord de Tabley in 1826; and at the Sale of
+the effects of the latter it was bought by Earl Grosvenor, created
+Marquess of Westminster in 1831. In 1921 <i>The Cottage Door</i> was
+sold by the second Duke of Westminster to Mr. Henry E. Huntington.</p>
+
+<p>“There is no painter of English birth more widely appreciated than
+Gainsborough whose art touches every observer, great and simple,
+learned and unlearned. As we look at his pictures, said Constable,
+we find tears in our eyes and know not what brings them. A thread
+of<span class="pagenum" id="Page_358">[358]</span> romance runs through the whole of Gainsborough’s career, from
+his marriage to a beautiful and well-dowered bride, whose origin is
+shrouded in mystery, down to the pathetic termination of the long
+years of jealous rivalry with Reynolds. And romance and mystery are
+inseparably connected with his pictures—with the portraits of that
+<i>Duchess of Devonshire</i>, whom tradition has brought us to regard
+as typical of English beauty, with that masterpiece at Edinburgh, the
+portrait of <i>Mrs. Graham</i>, hidden from sight for fifty years
+on account of one of the tenderest of love stories; and with the
+famous <i>Blue Boy</i>, the secret of whose history still remains
+undiscovered.”<a id="FNanchor_26" href="#Footnote_26" class="fnanchor">[26]</a></p>
+
+<p>“Old pimply-nosed Rembrandt and myself were both born in a mill,”
+Gainsborough used to say, because his father, John Gainsborough, was
+a manufacturer of woollens in Sudbury. Thomas was born there in 1727.
+At twelve he was said to be a “confirmed painter.” His first portrait
+seems to have been a great success. Some one had been stealing pears
+from the Gainsborough orchard and one day, when young Thomas was
+sketching there he saw a man’s face peering over the fence. Instantly
+he made a quick sketch and took it into the house. By means of this
+sketch the culprit was identified. Gainsborough then enlarged the
+sketch, painted an oil portrait, mounted it on a board, and stuck “Tom
+Peartree” up to the delight of all the neighbors and confusion of
+strangers. This picture was lent to the Gainsborough Exhibition held at
+the Grosvenor Gallery in 1885 and is now in the Elizabethan Mansion in
+Christchurch Park, Ipswich.</p>
+
+  <div class="figcenter" id="i_359" style="max-width: 432px">
+     <img
+    class="p1"   
+    src="images/i_359.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">THE COTTAGE DOOR</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p>In 1741 Gainsborough went to London and, after studying under Hubert
+Gravelot and Francis Hayman, took a studio in Hatton Garden and tried
+to start as a portrait and landscape-painter. A year of failure decided
+the young artist to return home. In a short time he married Margaret
+Burr (supposed to be a natural daughter of the Duke of Bedford) and
+removed to Ipswich. Here he painted chiefly landscapes. About 1760 he
+settled in Bath and immediately became the fashion. Fourteen years
+later Gainsborough removed to London, where his success continued and
+he became the rival of Reynolds. Gainsborough had already in 1768 been
+nominated by George III<span class="pagenum" id="Page_360">[360]</span> one of the thirty-six Academicians on the
+foundation of the Academy and he exhibited almost yearly at the Royal
+Academy from 1769 to 1788, when there was a misunderstanding about the
+hanging of his pictures. Gainsborough died in 1788, closing one of
+the most remarkable careers in art, for this great painter was almost
+entirely self-taught. Reynolds called attention to this remarkable fact
+in his <i>Fourteenth Discourse</i>, in which he cites Gainsborough as
+an example of an artist who has arrived “at great fame without the
+assistance of an academical education, or any of those preparatory
+studies which have so often been recommended.”</p>
+
+<p>Yet his genius was such that he attained the greatest eminence in his
+day and his place in art to-day is in the small circle of the very
+great ones.</p>
+
+<p>Ruskin did not exaggerate in the least when he wrote: “Gainsborough’s
+power of color is capable of taking rank beside that of Rubens; he is
+the purest colorist of the English School; with him, in fact, the art
+of painting did in great part die and exists not now in Europe. In
+management and quality of single and particular tint, in the purely
+technical part of painting, Turner is a child to Gainsborough. His
+hand is as light as the sweep of a cloud, as swift as the flash of a
+sunbeam. He never loses sight of his picture as a whole. In a word
+Gainsborough is an immortal painter.”</p>
+
+<p>Gainsborough painted about seven hundred portraits and two hundred
+landscapes. Strange as it may seem, he preferred to paint landscapes.
+At least he told George III this. And he told his friend Jackson
+in a letter “I’m sick of Portraits and wish very much to take my
+viol-da-gamba and walk off to some sweet village where I can paint
+landskips and enjoy the fag-end of life in quietness and ease.”</p>
+
+<p>This seems strange coming from one of the greatest of all
+portrait-painters.</p>
+
+<p>To read the list of Gainsborough’s portraits is to run through the
+Social Register of London and Bath. Gainsborough painted “everybody
+that was anybody.” The great personalities of the day wanted their
+portraits “limned” by both Reynolds and Gainsborough, often<span class="pagenum" id="Page_361">[361]</span> adding
+Romney and Hoppner as well. The fourteen years that he lived in Bath
+Gainsborough’s painting-room was almost as much of a <i>rendez-vous</i>
+as the Pump Room and his sitters ranged from the most aristocratic
+and wealthy, such as Earl Spencer, his wife, and little daughter, the
+future Duchess of Devonshire, to statesmen, like Pitt, and actors like
+Garrick and Quin. The latter sat three times to Gainsborough. The
+following little piece of amusing acting usually took place. Quin,
+suffering from gout, would hobble to the painting-room and tapping at
+the door would ask “Is Old Grumpus in?” Gainsborough would reply “Come
+in”; and, placing a chair for his friend and a stool to rest his foot
+upon, would put on a grave, doctorial look and, resting his chin on his
+maul-stick, would inquire in the Bath phrase: “Well, how is <i>toe</i>?”</p>
+
+<p>Quin evidently was a critic: “Sometimes, Tom Gainsborough,” he
+said, “a picture in your rigmarole style appears to my optics the
+veriest daub,—then, the devil’s in you, I think you a Van Dyck!” And
+Gainsborough would tell Quin that “nothing could equal the devilism of
+portrait-painting.”</p>
+
+<p>“Indeed, he told me,” Angelo relates, “at his house in Pall Mall,
+that he was sure the perplexities of rendering something like a human
+resemblance from human blocks was a trial of patience that would have
+tempted holy St. Anthony to cut his own throat with his palette-knife.”</p>
+
+<p>Gainsborough was devoted to music, played several instruments and was
+a great friend of the oboe-player in the Queen’s Band, John Christian
+Fischer, who married his daughter Margaret; of John Christian Bach,
+son of the great John Sebastian Bach; and of Bach’s associate, Charles
+Frederick Abel, the celebrated virtuoso on the viol-da-gamba, whose
+portrait Gainsborough painted with his instrument by his side, and
+which is now in the Huntington Gallery.</p>
+
+<p>Gainsborough’s portrait by Zoffany in the National Portrait Gallery,
+London, presents a handsome and rather dashing man of about thirty-five
+with classic features and large, fine eyes with penetrating glance and
+an intelligent, interior light. Had he not been a painter he might have
+easily become a <i>beau</i>, or a gallant officer of the Major<span class="pagenum" id="Page_362">[362]</span> André
+type, or of that impudent young dog, Jack Absolute, who captivated Miss
+Lydia Languish in <i>The Rivals</i>.</p>
+
+<p>It was the same in London as it had been in Bath. Gainsborough became
+the fashion. He barely had time to fill all the orders that came thick
+and fast and he enjoyed society and still more his cronies, and, to
+judge from numerous anecdotes, was not averse to wild companions; but
+for all that he was generous, sympathetic, outgoing, and much beloved
+by his friends.</p>
+
+<p>As an instance of his ready wit on one occasion, when he was in court
+regarding a picture the councillor tried to embarrass him. “I observe,”
+he said, “you lay great stress on a painter’s eye. What do you mean by
+that expression!” “A painter’s eye,” replied Gainsborough, without a
+moment’s hesitation, “is to him what a lawyer’s tongue is to you!”</p>
+
+<p>Gainsborough was sprightly, humorous, and lively in conversation and
+indeed, in society, to use the word of the period, something of a
+“rattle.”</p>
+
+<p>Whenever he appeared, either at a morning lounge at Christie’s amidst
+the enlightened and polite, or at My Lady’s midnight rout surrounded by
+bowing <i>beaux</i> and curtseying belles, his gaiety enlivened every
+group. He knew everybody and everybody knew him; he was, however, most
+at home with the worthies of the auction-room. For some years Garrick
+was frequently his companion at Christie’s, where the amusement caused
+by the humor common to both never failed to give an additional zest to
+the proceedings. Mr. Christie often declared that “the presence of this
+choice pair added fifteen per cent to his commission on a sale.”</p>
+
+<p>And this was a “choice pair,”—Garrick and Gainsborough!</p>
+
+<p>“We know as little about Gainsborough’s tools and methods of painting
+as we do of his pigments, but if his daughter’s memory may be trusted,
+her father worked with paint so thin and liquid that his palette ran
+over unless he kept it on the level. It is generally agreed that he
+used very long brushes, and Nollekens Smith who saw him at work, says:
+‘I was much surprised to see him sometimes paint portraits with pencils
+on sticks full six feet in length and his method of<span class="pagenum" id="Page_363">[363]</span> using them was
+this: he placed himself and his canvas at a right angle to the sitter,
+so that he stood still and touched the features of his pictures exactly
+at the same distance at which he viewed the sitter.’ The anonymous
+biographer of the <i>Morning Chronicle</i> who knew the painter excuses
+his supposed want of finish by saying that he worked with a very long
+and broad brush. Another contemporary, John Williams (Pasquin), in a
+biographical note declares that Gainsborough always prided himself
+upon using longer and broader tools than other men and upon standing
+farther away from his canvas when at work. That he always stood to
+paint we know from Thicknesse, but it is obvious that all his work
+could not have been done with broad tools of hog-hair. Probably he used
+camel-hair brushes sometimes, as did Gainsborough Dupont, who inherited
+his uncle’s implements and colors and in painting followed his manner
+exactly. Dupont left behind him, in addition to a great quantity of
+hogtools, ‘twelve bundles of camel’s hair pencils.’ Fulcher says that
+when Gainsborough’s sitters left him it was his custom to close the
+shutter, in which was a small circular aperture, the only access for
+light and by this subdued illumination work on his picture and get rid
+of superfluous detail. No authority is given for this statement, but
+there can be little doubt that Gainsborough loved to subdue the light
+in his painting-room. Williams says that it was sometimes subdued to
+such an extent that objects were barely visible.”<a id="FNanchor_27" href="#Footnote_27" class="fnanchor">[27]</a></p>
+
+<p>And Osias Humphrey, R. A., tells us a little more, drawing from his
+memories of Bath,... “Exact resemblances in his portraits was Mr.
+Gainsborough’s constant aim, to which he invariably adhered. These
+pictures, as well as his landscapes, were frequently wrought by
+candle-light and generally with great force and likeness. But his
+painting-room—even by day a kind of darkened twilight—had scarcely
+any light and I have seen him, whilst his subjects have been sitting to
+him when neither they nor the pictures were scarcely discernible.” We
+also learn that Gainsborough let in more light when the picture reached
+its finishing stages.</p>
+
+<p><span class="pagenum" id="Page_364">[364]</span></p>
+
+
+<h4>THE MALL IN ST. JAMES’S PARK.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. Henry Clay Frick.</i></td>
+  </tr>
+</table>
+
+<p>Horace Walpole characterized this delightful picture as airier than
+a Watteau and “all in motion and flutter like a lady’s fan.” It is
+one of Gainsborough’s latest works, painted in 1786, and one of his
+masterpieces, oils on canvas (57¾ × 47½ inches). The picture was among
+those in the painter’s studio at the time of his death. After a few
+changes of ownership, it passed into the Collection of George Frost,
+an artist and fellow-townsman of Gainsborough, and then to Sir Audley
+Dallas Neeld, Bart., Grittleton House, near Chippenham, Wiltshire.</p>
+
+<p><i>The Mall</i> is a perfect epitome of London society in the
+Eighteenth Century—the London of Austin Dobson.</p>
+
+<p>“The Mall from the days of the Stuarts until the closing years of the
+Eighteenth Century was the field upon which fashion, and feminine
+fashion especially, chose to disport itself. Twice a day social London
+donned its best apparel and took a turn under the trees, once at
+midday and again, in summer, in its evening clothes after the early
+dinner. Here fashion met its friends, exchanged its repartees, made
+appointments for evening <i>rendez-vous</i> at Ranelagh or Vauxhall,
+ate fruit or bought flowers from Betty’s girl out of St. James’s
+Street, or drank syllabubs from the red cow’s milk which was one of
+the attractions of the London parks. Nothing in the external aspect of
+London more struck the intelligent foreigner than the amenities of the
+promenade in the Mall. One of these gentlemen concluded an eloquent
+pæan on the beauty of the lady promenaders, by recording with rapture
+that of a morning the very ground glistened with the pins which they
+had dropped. The Mall, indeed, was the very shrine of flounce and
+furbelow until somewhere about 1795, when fashion unaccountably moved
+northward to the walk in the Green Park at the back of Arlington
+Street, and from there later to Hyde Park and Kensington Gardens.</p>
+
+<p><span class="pagenum" id="Page_365">[365]</span></p>
+
+  <div class="figcenter" id="i_365" style="max-width: 694px">
+     <img
+    class="p1"   
+    src="images/i_365.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Mr. Henry Clay Frick</i></p>
+     <p class="p0 sm center">THE MALL</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_366">[366]</span></p>
+
+<p>“The very spirit of this life is preserved in Gainsborough’s picture,
+one of the few canvases in which he represents figures in motion;
+singular also among his work is that it contains a score or so of
+figures. There is a central group of four ladies with an attendant
+cavalier advancing towards the spectator, a pair on the right, two
+pairs on the left passing each other, others again seated on the
+right. The accidental episodic quality of such a subject is perfectly
+conveyed—the transient glance of a passing woman, the turn of the neck
+appropriate to that attitude, the ground dotted with an occasional dog.
+Technically it represents Gainsborough at his highest, where the solemn
+tones of his earlier manner have disappeared, and the very painting
+itself seems to echo his delight in the mastery of heightened, luminous
+color.”<a id="FNanchor_28" href="#Footnote_28" class="fnanchor">[28]</a></p>
+
+
+<h4>MARIA WALPOLE, DUCHESS OF GLOUCESTER.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Charles P. Taft.</i></td>
+  </tr>
+</table>
+
+<p>The subject of this portrait was famous under three names: her maiden
+name of Maria Walpole; as Lady Waldegrave; and as the Duchess of
+Gloucester. She was very beautiful (no one could compete with her but
+the Gunning sisters); she was very witty and brilliant; and, moreover,
+she was noted for her rich qualities of heart and character. Her uncle,
+Horace Walpole, was devoted to her.</p>
+
+  <div class="figcenter" id="i_367" style="max-width: 418px">
+     <img
+    class="p1"   
+    src="images/i_367.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Charles P. Taft</i></p>
+     <p class="p0 sm center">MARIA WALPOLE, DUCHESS OF GLOUCESTER</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p>Maria Walpole began life under a cloud, but this was soon dispelled and
+the rest was all sunshine. The Hon. Edward Walpole, second son of Sir
+Robert, was her father and her mother was a milliner’s apprentice at
+Bath. Maria was baptized July 10, 1738, at St. James’s, Westminster,
+and was made legitimate by His Majesty’s warrant. Recognized as a
+Walpole, everything was done for her. The old <i>London Town and
+Country Magazine</i> gives us this very good idea of her preparation
+for life: “Maria’s education was suited to the rank of life in which
+she has ever figured; and the advantages she<span class="pagenum" id="Page_368">[368]</span> derived from it were
+entirely noticed by every man of taste and discernment who was happy
+enough to be in her company.”</p>
+
+<p>Horace Walpole brought about her first marriage to the Right Honorable
+James, Second Earl of Waldegrave, K. G., in 1759; and he wrote to Sir
+Horace Mann:</p>
+
+<p>“I have married, that is, I am marrying my niece, Maria, my brother’s
+second daughter, to Lord Waldegrave. What say you? A month ago I
+was told he liked her—does he? I jumbled them together and he has
+already proposed. For character and credit he is the first match in
+England—for beauty I think she is. She has not a fault in her face and
+person and the detail is charming. A warm complexion tending to brown,
+fine eyes, brown hair, fine teeth, and infinite wit and variety.”</p>
+
+<p>In another letter Sir Horace wrote: “The second daughter of my brother
+is beauty itself. Her face, bloom, eyes, hair, teeth, and person all
+are perfect. You may imagine how charming she is when her only fault,
+if one must find one, is that her face is rather too round. She has a
+great deal of wit and vivacity with perfect modesty.”</p>
+
+<p>To George Montagu on May 16, he wrote:</p>
+
+<p>“Well! Maria was married yesterday. Don’t we manage well? The
+original day was not once put off; lawyers and milliners were all
+ready canonically. It was as sensible a wedding as ever was. There
+was neither form nor indecency, both which generally meet on such
+occasions. They were married at my brother’s in Pall Mall just before
+dinner by Mr. Keppel;<a id="FNanchor_29" href="#Footnote_29" class="fnanchor">[29]</a> the company, my brother, his son, Mrs. Keppel
+and Charlotte,<a id="FNanchor_30" href="#Footnote_30" class="fnanchor">[30]</a> Lady Elizabeth Keppel, Lady Betty Waldegrave and
+I. We dined there. The Earl and new Countess got into the post-chaise
+at eight o’clock and went to Navestock (Lord Waldegrave’s seat near
+Brentwood, Essex) alone, where they stay till Saturday night; on Sunday
+she is to be presented. Maria was in a white and silver nightgown<a id="FNanchor_31" href="#Footnote_31" class="fnanchor">[31]</a>
+with a hat very much pulled over her face;<span class="pagenum" id="Page_369">[369]</span> what one could see of it
+was handsomer than ever; a cold maiden blush gave her the sweetest
+delicacy in the world.”</p>
+
+<p>Maria was a friend of the Countess of Coventry, who had attained fame
+as the beautiful Maria Gunning and used to walk with her in the Park
+and they must have been a very striking pair, for after the Countess
+of Coventry’s death, Lady Waldegrave was considered the handsomest
+woman in England. A month after Maria’s marriage Sir Horace noted in a
+letter: “My Lady Coventry and my niece Walpole have been mobbed in the
+park.”</p>
+
+<p>There were three daughters of this marriage—Laura, Maria, and
+Horatia—remembered to-day especially for the group portrait Sir Joshua
+Reynolds painted of them and which belonged to Sir Horace Walpole in
+1782.</p>
+
+<p>Lord Waldegrave died in 1763; and on Sept 6, 1766, Maria, now Dowager
+Countess of Waldegrave, was married privately to H. R. H. William
+Henry, Duke of Gloucester and Edinburgh, seven years her junior.
+The marriage was performed in her own house in Pall Mall by her own
+chaplain and she thus became the sister-in-law of George III. The
+secret was kept for some time and the King banished his brother from
+Court, but after two years the Duke was taken back into Royal favor and
+the Duchess bore her honors with such grace and dignity that she became
+very popular at Court.</p>
+
+<p>The portrait represented here, oils on canvas (35½ × 27½ inches), was
+painted about 1779, or before.</p>
+
+<p>“We hear,” the <i>Public Advertiser</i> printed on May 4, 1772, “that
+the gentlemen upon the Committee for managing the Royal Academy have
+been guilty of a scandalous meanness to a capital artist by secreting
+a whole-length picture of an English Countess for fear their Majesties
+should see it; and this only upon a full conviction that it was the
+best finished picture sent in this year to the Exhibition.” Again in
+1775 a society reporter for the <i>Morning Chronicle</i> gathered up
+this piece of gossip: “The Duke and Duchess of Gloucester are often
+going to a famous painter’s in Pall Mall; and it is reported that he is
+now doing both their pictures, which are intended to be presented to a
+great lady.”</p>
+
+<p><span class="pagenum" id="Page_370">[370]</span></p>
+
+<p>The picture is nearly three-quarter length and represents the Duchess
+in a gold-tinted dress with hair dressed high and powdered and wearing
+lovely pearls. Her head is posed upon her left hand and the arm rests
+upon a pedestal that is barely visible. There is good reason for
+thinking this portrait was originally full-length and that it has been
+cut down. It is interesting to compare this portrait of the <i>Duchess
+of Gloucester</i> with <i>The Hon. Mrs. Graham</i> in the National
+Gallery, Edinburgh, who is painted, full length, and is resting her
+arm, likewise, on a pedestal.</p>
+
+<p>“The introduction of a parapet, or indeed, of any kind of architectural
+setting in a portrait of kit-cat size is most unusual. The left arm
+resting on the parapet and the large scale on which the head is here
+painted, confirm our view that our canvas was originally, as Fulcher
+claims, a whole length. This canvas to-day is almost exactly kit-cat
+size. It may well have been cut down to meet the requirements of
+hanging. Half a century ago such a practice was not unknown, especially
+in the English Royal Collections. It will be remembered that the lower
+portions of the canvas of Gainsborough’s <i>Eldest Princesses</i> was
+very inceremoniously cut away in the early part of the Nineteenth
+Century.</p>
+
+<p>“A kit-cat, strictly speaking, is a canvas for a portrait less than a
+half-length, but including the hands, and measuring 36 by 28 inches.
+It is so called from the portraits of the members of the Club at Barn
+Elms, who seem to have originally met in the pie-house kept in Shire
+Lane, London, by one Kit (i.e. Christopher) Cat. These portraits are
+now in the Baker Collection at Bayfordbury, near Hertford.”<a id="FNanchor_32" href="#Footnote_32" class="fnanchor">[32]</a></p>
+
+<p>In June 1904 <i>The London Times</i> stated that “The Duke of
+Cambridge’s pictures, which are now hung on Christie’s walls, form
+the largest collection of portraits of the reigning house that has
+ever been offered for sale. All, in fact, represent George III and
+his family, with their husbands and wives. By far the finest is
+Gainsborough’s <i>Maria Walpole, Countess of Waldegrave and Duchess of
+Gloucester</i>, Horace Walpole’s beautiful niece.”</p>
+
+<p>These art-treasures, as well as Gloucester House, had been inherited<span class="pagenum" id="Page_371">[371]</span>
+by the Late Duke of Cambridge from his aunt, the second and last
+Duchess of Gloucester, who died in 1857.</p>
+
+<p>The sale of this picture created a sensation. Again referring to the
+<i>London Times</i> (June 13, 1904), we read: “The honors of the day
+distinctly fell to Gainsborough, whose beautiful portrait of <i>Maria
+Walpole</i> has established a record price for this artist’s pictures
+at auction. Bidding was started on Saturday at 5000 guineas and in
+rather more than half a dozen bids reached 12,000 guineas, at which
+it was knocked down to Messrs. Agnew &amp; Sons. The price, therefore,
+quite eclipses the 10,000 guineas paid in 1876 for the famous stolen
+<i>Duchess of Devonshire</i>, which remained the record price for a
+Gainsborough until Saturday.”</p>
+
+<p>In the following November, the <i>Majestic</i> brought the
+$60,000-Gainsborough to New York.</p>
+
+<p>This portrait, when exhibited at the Royal Academy in 1799, was
+described by Sir Horace Walpole as “very good and like.”</p>
+
+<p>Maria Walpole died in 1807, two years after the Duke of Gloucester,
+leaving one son and two daughters. Of her other portraits Lionel Cust
+in <i>The Royal Collection of Paintings</i>, Vol. I, 1905, says:</p>
+
+<p>“The beautiful Countess of Waldegrave was one of Sir Joshua Reynolds’s
+favorite sitters. She sat to him in 1759, after her marriage, for the
+full-length portrait in peeress’s robes, which belongs to the present
+Earl Waldegrave, and again in 1761 and 1762, for the well-known
+portrait in a turban and for the Madonna-like group with her child,
+which was bequeathed by Frances, Countess Waldegrave, to the Duc
+d’Aumale, and is now in the Condé Collection at Chantilly. She sat
+again to Reynolds in 1764, as a widow in mourning for her husband, and
+more than once again during her widowhood. She sat to him in October,
+1767, when really Duchess of Gloucester, for a portrait to be given to
+her father, Sir Edward Walpole.</p>
+
+<p>“After the marriage had been revealed to the world, the Duchess sat
+to Reynolds in 1771, for the full-length seated portrait now at
+Buckingham Palace. This was exhibited at the Royal Academy in 1774.
+This portrait descended to her daughter, H. R. H. Princess Sophia
+Matilda of Gloucester, who at her death in November, 1844,<span class="pagenum" id="Page_372">[372]</span> bequeathed
+the portrait to H. R. H. Prince Albert, the late Prince Consort.</p>
+
+<p>“The Duchess of Gloucester sat for the last time to Reynolds in 1779,
+for a group of herself and her daughter, Princess Sophia Matilda.”</p>
+
+
+<h4>GEORGIANA, DUCHESS OF DEVONSHIRE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Herbert L. Satterlee.</i></td>
+  </tr>
+</table>
+
+<p>She stands here—proud, elegant, disdainful, stylish, aristocratic,
+beautiful, and altogether charming, in her dashing, large, black hat
+worn at a <i>debonnaire</i> angle, white dress, and light petticoat and
+light blue sash, looking at us with the most marvellous eyes ever put
+upon canvas and a mouth that matches them in such naturalness that we
+expect the Duchess to smile at any moment. Her eyes have such fire and
+sparkle that they pierce right through us. It is hard to believe that
+we are looking upon a painted portrait—it must be the Duchess herself
+who gives us that alert, penetrating, fiery, and mocking glance.</p>
+
+<p>This picture has had a most romantic history. It is the famous “Lost
+Duchess,” stolen in London, and found after twenty-five years in
+America.</p>
+
+<p>The Duchess, in some unknown way, fell into the hands of a Mrs.
+Maginnis, an old schoolmistress, who had it cut down to fit the space
+over the chimney-piece in her sitting-room and burned up the cut-off
+piece. Mr. Bentley, a dealer bought the picture from Mrs. Maginnis for
+£56 and then sold it to Mr. Wynn Ellis, a wealthy City merchant, who
+sent this <i>Portrait of a Lady</i> to be engraved by Messrs. Henry
+Graves &amp; Co. This firm, having already engraved the Clifden Duchess of
+Devonshire, at once identified the subject. When the Wynn Ellis Sale
+took place at Christie’s, June 6, 1876, this portrait created a great
+deal of excitement. It was catalogued as follows:</p>
+
+<p>“T. Gainsborough, R. A. <i>The Duchess of Devonshire</i>, in a white
+dress and blue silk petticoat and sash, large black hat and feathers,
+59½ × 45 inches.”</p>
+
+<p><span class="pagenum" id="Page_373">[373]</span></p>
+
+  <div class="figcenter" id="i_373" style="max-width: 411px">
+     <img
+    class="p1"   
+    src="images/i_373.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Herbert L. Satterlee</i></p>
+     <p class="p0 sm center">GEORGIANA, DUCHESS OF DEVONSHIRE</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_374">[374]</span></p>
+
+<p>As this portrait of the Duchess was the first “star” that ever rose
+in an auction-sale, it is worth while putting forward here the
+contemporary account of an event which has passed into history. The
+<i>London Times</i> records:</p>
+
+<p>“The sale of the modern pictures belonging to the Wynn Ellis Collection
+on Saturday last created such a sensation as has never been experienced
+in the picture world of London. Throughout the week the pictures had
+attracted a considerable number of visitors, but on the day preceding
+the sale the interest came to a climax and crowds filled the rooms of
+Messrs. Christie, Manson, &amp; Woods. Anyone passing the neighborhood of
+St. James’s Square might well have supposed that some great lady was
+holding a reception and this, in fact, was pretty much what was going
+on within the Gallery in King Street. All the world had come to see
+a beautiful Duchess, created by Gainsborough; and so far as we could
+observe, they all came, saw, and were conquered by her fascinating
+beauty.</p>
+
+<p>“When the portrait was placed before the crowded audience a burst of
+applause showed the universal admiration of the picture. The biddings
+commenced at one of 1000 guineas, which was immediately met with one of
+3000 guineas from Mr. Agnew; and, amid a silence of quite breathless
+attention, the bids followed in quick succession until 10,000 guineas
+was announced. Mr. Agnew then called 10,100 guineas and won the battle
+in this most extraordinary contest. The audience densely packed on
+raised seats round and on the floor of the house, stamped, clapped, and
+bravoed.”</p>
+
+<p>And now comes the story!</p>
+
+<p>Twenty days after this sale, on the night of May 26, 1876, the
+galleries of Messrs. Agnew were entered, the canvas was cut from the
+stretching frame, and the Duchess was carried off!</p>
+
+<p>Where?</p>
+
+<p>By whom?</p>
+
+<p>The picture was already too well-known to be saleable and to make
+it still better known photographs of the picture were immediately
+placed in every shop-window in London. The subject became of universal
+interest: pictures of the Duchess were printed on every<span class="pagenum" id="Page_375">[375]</span> article of
+merchandise possible; and fashion decreed that once again the Duchess’s
+huge hat should be the proper thing to wear. For many years afterwards
+the “Gainsborough Hat” and the “Picture Hat” continued to be worn in
+country towns across the Atlantic, far away from London, by persons who
+had never heard of the beautiful Duchess of Devonshire.</p>
+
+<p>Sensation No. 2.</p>
+
+<p>In March, 1901, the newspapers all over the world announced that the
+“Lost Duchess” had been found!</p>
+
+<p>Mr. Morland Agnew, after various negotiations, was handed a parcel in
+the Auditorium Hotel in Chicago which proved to be the Gainsborough
+canvas. The discovery had been made by the New York Pinkerton Detective
+Agency, who found the thief, one Adam Worth alias Henry Richmond, son
+of a German Jew, who had settled in Cambridge, Massachusetts, and who
+was one of the most famous and clever criminals ever known.</p>
+
+<p>A few days after its return the picture was purchased by Mr. J. P.
+Morgan at a price beyond £30,000.</p>
+
+<p>Many years before, in 1762–3, Gainsborough had painted in his studio at
+Bath the Duchess of Devonshire when she was little Georgiana Spencer,
+aged six, in a white dress, pink ribbons, and dainty cap. At the
+same period Gainsborough painted portraits of her parents, Earl and
+Countess Spencer of Althorp, the one of the Countess ranking very high
+among Gainsborough’s works of the Bath period. The Countess, Margaret
+Georgiana, daughter of the Hon. Stephen Poyntz, was a very beautiful
+and extremely wealthy woman and the Earl also possessed enormous wealth
+and became famed for the magnificent Collection he made at Althorp. The
+marriage of this couple in 1755 created a sensation and was much talked
+of in the gossipy letters and memoirs of the day. One eye-witness
+related: “The bride followed in a new sedan-chair lined with white
+satin, a black page walking before and three footmen behind, all in the
+most superb liveries. The diamonds worn by the newly married pair were
+given to Mr. Spencer by Sarah, Duchess of Marlborough, and were worth
+£100,000. The shoe-buckles of the bridegroom alone were worth £30,000.”</p>
+
+<p><span class="pagenum" id="Page_376">[376]</span></p>
+
+<p>Lady Harvey related that the wedding-party went from London to
+Althorp “in three coaches with six horses and two hundred horsemen.
+The villages through which they passed were in great alarm, some of
+the people shutting themselves up in their houses, and others coming
+out with pitchforks, spits, and spades, crying out ‘The invasion has
+come’, believing that the Pretender and the King of France were both
+come together; and great relief was experienced when the formidable
+cavalcade had passed without setting fire to the habitation, or
+murdering the inhabitants.”</p>
+
+<p>The year after this marriage Mrs. Delany, Horace Walpole’s friend,
+met “Mrs. Spencer, one of the finest figures I ever saw, in white
+and silver with all her jewels and scarlet decorations; her modest,
+unaffected air gives a lustre to all her finery that would be very
+tinsel without it.”</p>
+
+<p>Is it any wonder that with such parentage Georgiana Spencer should have
+had brains, beauty, charm, and perfect equipment in every way for that
+world of society which was her inheritance?</p>
+
+<p>Georgiana was born on June 9, 1757, and was married at the age of
+seventeen to the fifth Duke of Devonshire, regarded as the “first
+match” in England. “Georgiana was a lively girl,” said Walpole,
+“natural and full of grace.” Immediately the Duchess became “the
+irresistible queen of ton” and the most conspicuous leader of society
+whenever and wherever she appeared. She dazzled every gathering by
+her beauty; astonished everyone with her elegant and extravagant
+dress; and charmed everybody by her wit and her grace. The Duchess
+was always among the gay butterflies who masqueraded at the Pantheon,
+promenaded at Ranelagh, danced at assemblies, or played for high-stakes
+at fashionable gaming-tables. To think of London society in the late
+Eighteenth Century without the Duchess of Devonshire, is impossible.</p>
+
+<p>Walpole writes that she “effaces all without being a beauty; but her
+youthful figure, flowing good nature, sense, and lively modesty and
+modest familiarity make her a phenomenon.”</p>
+
+<p>The Duchess had a clever mind and she delighted in the society of
+persons of talent. Fox, Sheridan, and Selwyn were among her<span class="pagenum" id="Page_377">[377]</span> special
+friends. The story of her campaigning for Fox with Fox’s sister, Lady
+Duncannon, and even selling “a kiss for a vote” is told by many pens
+and by pencils as well, for the Duchess afforded fine material for
+the caricaturists. The Duchess was much pleased, it is said, by the
+compliment paid to her during the Fox campaign by an Irishman, who
+exclaimed: “Sure I could light me pipe at her eyes!” And Gainsborough
+managed to fix this flaming glance in the famous Satterlee portrait.</p>
+
+<p>Coarse satire attacked the Duchess of Devonshire as it attacks all
+who enter the political arena; but, on the other hand, there are many
+tributes from contemporary pens to her sweetness of disposition and to
+her noble and generous qualities of heart.</p>
+
+<p>In 1806 upon hearing of her death at Devonshire House, Piccadilly,
+(just lately demolished), the Prince of Wales exclaimed: “We have lost
+the best-loved woman in England” and Charles James Fox replied: “We
+have lost the kindest heart in England.”</p>
+
+<p>The Duchess of Devonshire occasionally wrote verse. Her <i>Passage
+of the Mountain of St. Gothard</i>, dedicated to her children (she
+had a son and two daughters), was published with a French translation
+in 1802; an Italian translation was printed in 1803; and a German
+translation in 1805. This poem gave occasion to Coleridge’s ode with
+the lines:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“O lady nursed in pomp and pleasure</div>
+        <div>Whence learned you that heroic measure?”</div>
+      </div>
+    </div>
+  </div>
+
+<p>Gainsborough could not have made this or any other portrait of the
+Duchess of Devonshire until after 1782, because, in that year, Bate
+published in the <i>Morning Herald</i>, the following lines:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“O Gainsboro! thou whose genius soars so high,</div>
+        <div>Wild as an eagle in an unknown sky,</div>
+        <div>To Devon turn!—thy pencil there shall find</div>
+        <div>A subject equal to thy happy mind!</div>
+        <div>Amidst thy fairest scenes, thy brightest dyes,</div>
+        <div>Like young Aurora let the Beauty rise.”</div>
+      </div>
+    </div>
+  </div>
+
+<p>Another portrait of the Duchess of Devonshire by Gainsborough is also
+in this country, owned by the Hon. Andrew W. Mellon. It represents a
+whole length life-size figure leaning against a pedestal<span class="pagenum" id="Page_378">[378]</span> and came from
+the Collection of the late Earl Spencer at Althorp, Nottinghamshire.</p>
+
+
+<h4>THE BLUE BOY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>The <i>Blue Boy</i> is without doubt the most famous picture in the
+world. When it passed from the Duke of Westminster’s Collection in
+Grosvenor House, London, by private sale to the late Mr. Henry E.
+Huntington, the event created a sensation in the art-world, which soon
+extended to the general public. No painting was ever exploited so
+widely in the press and when exhibited at the Duveen Galleries in New
+York, before starting on its journey to California, the <i>Blue Boy</i>
+attracted unusual crowds.</p>
+
+<p>Before it bade farewell to London the famous picture was exhibited at
+the National Gallery and the following extract from a letter of Sir
+Charles J. Holmes, Director of the National Gallery, dated January
+24, 1922, to Sir Joseph Duveen, gives an idea of how the portrait is
+regarded in England:</p>
+
+<p>“My dear Duveen: I saw the last, for the time being anyhow, of the
+<i>Blue Boy</i> this afternoon at ten minutes past four and feel bound
+to write these lines to thank you and Mrs. Huntington for the pleasure
+which the sight of it has given to more than 90,000 people during the
+last three weeks. It is indeed a most brilliant thing, outshining in
+its present condition all our English pictures at Trafalgar Square and
+when the natural mellowing of the varnish during the next two or three
+years has taken place its perfections will be enhanced. And though its
+passing from us has been the cause of universal regret, that regret has
+not been tinged with bitterness. It is generally recognized that while
+in the process of recovering from the War, the Nation could not have
+paid the price which its fortunate owner was able to afford.”</p>
+
+  <div class="figcenter" id="i_379" style="max-width: 371px">
+     <img
+    class="p1"   
+    src="images/i_379.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">THE BLUE BOY</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p>The picture, an oil painting on canvas, is large (5 feet, 10 inches ×
+4 feet) and represents a young boy, Master Jonathan Buttall of London,
+life-size, dressed in a blue suit, holding a broad-rimmed hat in<span class="pagenum" id="Page_380">[380]</span>
+his right hand and very conspicuously standing forth from a landscape
+background with a dark, cloudy sky.</p>
+
+<p>The following notes from the <i>Farington Diary</i>, recently
+published, bring us into relation with the two early sales.</p>
+
+<p>Under date of Dec. 15, 1796, we find:</p>
+
+<p>“Buttall’s sale. I went to Gainsborough’s picture of a <i>Boy in a Blue
+Vandyke Dress</i> sold for 35 guineas. Several of his drawings were
+sold in pairs. Some went so high as 8 guineas and a half the pair.”</p>
+
+<p>“May 25, 1802. I painted till four o’clock and then went to Nesbitt’s
+sale in Grafton Street, where I met Hoppner, who had purchased the
+<i>Boy in Blue Dress</i> by Gainsborough, which was Buttal’s, for 65
+guineas. At Buttalls sale it was sold for 35 to Mr. Nesbitt.”</p>
+
+<p>The picture is in marvellous condition. When Lord Ronald
+Sutherland-Gower saw it in the Duke of Westminster’s Collection before
+it came to America, he exclaimed:</p>
+
+<p>“The <i>Blue Boy</i> at Grosvenor House has all the glamor and charm of
+a portrait of a fairy prince.”</p>
+
+<p>These few words explain the spell that the picture seems to cast upon
+every one who sees it, for whenever <i>The Blue Boy</i> has been
+exhibited crowds have stood enraptured before it.</p>
+
+<p>Regarding Mr. Nesbitt’s connection with the picture we have the
+following story from the Rev. J. T. Trimmer, Vicar of Marston-on-Dove,
+Derbyshire:</p>
+
+<p>“Many years ago there resided at Heston a Mr. Nesbitt, a person of
+substance and a companion of George, Prince of Wales. He once possessed
+Gainsborough’s <i>Blue Boy</i> and in the following way. He was dining
+with the Prince. ‘Nesbitt,’ said the Prince, ‘that picture, (pointing
+to the <i>Blue Boy</i>) shall be yours.’ At first he thought the Prince
+must be joking, but, finding he was decidedly serious, Nesbitt, who was
+a <i>beau</i> of the first water, made all suitable acknowledgments for
+H. R. H.’s generosity and next morning the <i>Blue Boy</i> arrived,
+followed in due time by a bill for £300, which he had the satisfaction
+of paying. I heard Mr. Nesbitt many years ago tell the story at my
+father’s table.”</p>
+
+<p><span class="pagenum" id="Page_381">[381]</span></p>
+
+<p>From Mr. Nesbitt the <i>Blue Boy</i> came into possession of John
+Hoppner, the artist, who sold it to Earl Grosvenor. Then, of course,
+<i>The Blue Boy</i> passed as an heirloom to his successor, the Duke
+of Westminster. For many years <i>The Blue Boy</i> hung in Grosvenor
+House, London, in the same room with Sir Joshua Reynolds’s <i>Mrs.
+Siddons as the Tragic Muse</i>, the two most famous portraits of the
+two most famous English painters. And it is one of the romances of art
+that these two portraits should have crossed the Atlantic and to be
+again united, as it were, this time in a California mansion.</p>
+
+<p>Gainsborough had doubtless some reason for painting this portrait;
+but it is not the reason usually given,—namely that it was done in
+refutation of a theory expressed by Sir Joshua Reynolds in 1778. Apart
+from the reasons now accepted to disprove this theory, the picture
+is too joyously painted for a controversial and academic <i>tour de
+force</i>.</p>
+
+<p>One of Gainsborough’s latest biographers, Mr. William T. Whitley,<a id="FNanchor_33" href="#Footnote_33" class="fnanchor">[33]</a>
+discovered the following in a number of <i>The European Magazine</i>
+(August 1798), which would seem to give the real reason for the genesis
+of Gainsborough’s famous portrait:</p>
+
+
+<p class="center p1"><i>Mr. Gainsborough</i></p>
+
+<p>“One of the finest pictures this great artist ever painted, and which
+might be put upon a par with any portrait that ever was executed, is
+that of a boy in a blue Vandyke dress, which is now in the possession
+of a tradesman in Greek Street. Gainsborough had seen a portrait of
+a boy by Titian for the first time, and, having found a model that
+pleased him, he set to work with all the enthusiasm of his genius. ‘I
+am proud,’ he said, ‘of being of the same profession with Titian, and
+was resolved to attempt something like him.’”</p>
+
+<p>So much has been written about this portrait and the copies that have
+been made of it that great confusion has resulted, and the constant
+repetition of the same story by writers has tended to obscure rather
+than to clarify the subject. However, the theory now accepted is that
+the portrait of <i>The Blue Boy</i> first appeared in public at the<span class="pagenum" id="Page_382">[382]</span>
+Royal Academy in 1770, sent there by Gainsborough himself,—a theory
+supported by a letter written by Mary Moser, R. A. to Fuseli, then in
+Rome, in which she said: “It is only telling you what you know already
+of the Exhibition of 1770, to say that Gainsborough is beyond himself
+in a Vandyke habit.” Another argument in favor of this date is found in
+a conversation with an old artist, John Taylor, recorded by J. T. Smith
+in his <i>Book for a Rainy Day</i>.</p>
+
+<p>The person, chiefly, if not wholly, responsible for the first
+suggestion of the theory that Gainsborough painted the picture to
+disprove Sir Joshua Reynolds’s pronouncement regarding color seems to
+have been John Burnet, the engraver of some of Wilkie’s pictures and a
+writer on art. The legend began to be circulated in 1817, when Burnet
+published his <i>Practical Treatise on Painting</i>, where, after
+challenging the rules laid down by Sir Joshua, he says: “I believe
+Gainsborough painted the portrait of a boy dressed in blue, now in the
+possession of Lord Grosvenor, to show the fallacy of this doctrine.”</p>
+
+<p>That seems to be all there is to it; and, once started, the story
+became widespread and was handed on from pen to pen and from lip to
+lip, until nearly everybody believes it.</p>
+
+<p>Let us turn, however, to some of the authorities. First to F. G.
+Stephens:</p>
+
+<p>“Master Jonathan Buttall was the son of Mr. Jonathan Buttall, an
+ironmonger in an extensive way of business, living at 31 Greek Street
+(at the corner of King Street), Soho, between 1728 (if not before)
+and 1768, when he died. According to the <i>Book for a Rainy Day</i>,
+he was ‘an immensely rich man.’ The younger Buttall continued in the
+business of his father until 1796, when his effects were sold by Sharpe
+and Coxe, the well-known auctioneers. These effects included premises
+in Soho and the City, a share in Drury Lane Theatre, many drawings
+by Gainsborough, and pictures by the same hand and others, wine, and
+musical instruments. It has been asserted that a <i>Blue Boy</i> (for
+there can hardly be a doubt that more than one version of the work
+exists) was sold on this occasion.</p>
+
+<p>“A story has been credited that <i>The Blue Boy</i> was produced by<span class="pagenum" id="Page_383">[383]</span>
+Gainsborough to refute a dictum of Sir Joshua Reynolds, delivered in
+his <i>Eighth Discourse</i> to the Students of the Royal Academy,
+December 10, 1778: ‘It ought, in my opinion to be indispensably
+observed, that the masses of light in a picture be always of a warm,
+mellow color, yellow, red, or a yellowish-white; and that the blue, the
+grey, or the green colors be kept almost entirely out of these masses,
+and be used only to support and set off these warm colors; and for this
+purpose, a small proportion of cold colors will be sufficient. Let
+this conduct be reversed; let the light be cold and the surrounding
+colors warm, as we often see in the works of the Roman and Florentine
+painters, and it will be out of the power of Art, even in the hands of
+Rubens or Titian, to make a picture splendid and harmonious.’</p>
+
+<p>“It is obvious that the <i>Eighth Discourse</i> may have been delivered
+covertly to depreciate a picture which had been exhibited eight years
+before, but this is not likely; or it may be assumed that the painting
+was produced to demonstrate the futility of the President’s counsel.
+It is obvious that Gainsborough might, and probably did, find occasion
+to illustrate a principle which is apparently opposed to the dictum of
+Reynolds, without reference to the <i>Eighth Discourse</i>, or previous
+utterance of the P. R. A. Van Dyck repeatedly employed masses of blue
+in draperies, with results which are at least equal to those of the
+picture before us. The <i>Children of Charles the First</i> at Windsor
+is an example of the fact.<a id="FNanchor_34" href="#Footnote_34" class="fnanchor">[34]</a> Leslie and every practical critic
+recognized that Gainsborough had evaded the full and just method of
+controverting the declaration of Sir Joshua rather than successfully
+assailed it.</p>
+
+<p>“The picture before us is known to have been exhibited at the British
+Institution with a collection of Gainsborough’s works—the first
+formed independently of the artist and his wife—in 1814, under the
+title of <i>Portrait of a Youth</i> and again at the same place, in
+1834, as ‘117, <i>A Young Gentleman in a Landscape</i>; the Picture
+known as <i>The Boy in Blue</i>.’ It was at Manchester in 1857; the
+International Exhibition in 1862; and at the Royal Academy in 1870.
+The last occasion evoked the discussion above alluded to, when the
+other<span class="pagenum" id="Page_384">[384]</span> <i>Blue Boy</i> became prominent. The question may be summed up
+by saying that probably the younger Buttall had a version of his own
+portrait, while the Prince had another.</p>
+
+<p>“Reynolds, by the way of supporting his own dictum, produced <i>A
+Yellow Boy</i> in the ‘<i>Portrait of Charles, Earl of Dalkeith</i>’
+with an owl and a dog, which was No. 132 at the Grosvenor Exhibition,
+in 1884. ‘<i>A Portrait of a Lady</i>,’ by Gainsborough, known as
+‘<i>The Blue Lady</i>’ was at the British Institution in 1859; ‘<i>The
+Pink Boy</i>’ (Master Nicholls, grandson of Dr. Mead), by Gainsborough,
+was at the Academy in 1879, No. 39; it has recently been sold to a
+member of the Rothschild family. <i>The Blue Boy</i> is at once the
+complement and the antithesis of <i>Mrs. Graham</i> (born Cathcart),
+now in the Scottish National Gallery (Edinburgh).”</p>
+
+<p>Turning now to M. H. Spielmann in <i>British Portrait Painting</i>:</p>
+
+<p>“In the view expressed by the late F. G. Stephens and others—an
+opinion I am inclined to share—the portrait known as <i>The Blue
+Boy</i>, more properly Master Jonathan Buttall, belongs to the year
+1770, or thereabouts, and not to a period ten years later, as is argued
+by those who desire, in the face of internal evidence, to apply to it a
+passage—usually cited incorrectly—in Sir Joshua Reynolds’s <i>Eighth
+Discourse</i> (delivered in 1778), against the use of masses of cold
+blue. The stricture could not possibly apply to this picture, which
+triumphs by virtue of its <i>warm</i> blue, as it does by nobility
+of pose (more suggestive of a prince, as we imagine a prince should
+be, than of the son of a wealthy ironmonger of Greek Street), by the
+well controlled power and dignity made manifest throughout and by the
+brilliant brush charged with fat paint. The finely posed head with its
+admirably expressed character of boyhood and a good deal of sturdy
+doggedness behind the intelligent eyes, is rendered a little more
+heavily than is Gainsborough’s wont; but that it is a masterpiece of
+portraiture, as it is of color, cannot be challenged. This portrait,
+which from its manner may be believed to have been painted eight years
+before the father’s death and not two years after it, is the first to
+show Gainsborough’s outstanding genius as a painter of independent
+thought and striking modernity. At the same time it should be pointed
+out<span class="pagenum" id="Page_385">[385]</span> an earlier <i>Blue Boy</i> by him exists in the portrait of his
+nephew, Edward Gardiner, painted in 1768.</p>
+
+<p>“Here in Master Buttall is Gainsborough’s first great invention both
+in matter and manner, almost a challenge to Van Dyck’s reputation,
+but painted in a scheme of color Van Dyck never thought of, and would
+probably never have tried if he had. In handling it is Gainsborough’s
+first link with Watteau in its broken tints and fearless lightness of
+handling of the drapery, in its fascinating play of light and shade,
+its delightful silhouette and cast shadows. It is difficult to imagine
+how the composition could be bettered; the picture, by itself, had no
+others come from the same brush, would have immortalized the painter.”</p>
+
+<p>Finally, Sir Walter Armstrong agrees, too, with the Stephens theory:</p>
+
+<p>“Those who cling to the old traditions quote the style of <i>The Blue
+Boy</i> in support of the notion that it could not have been painted
+before 1779. I confess that, to me, it now seems, after much and
+close observation, to point the other way. The loaded <i>impasto</i>,
+the ruddy carnations, the tendency to brown and beyond it in the
+shadows, the preoccupation with force, seem all to belong to about
+the same period as the group at Knole and to be inconsistent with the
+feathery lightness, freedom, and gaiety which mark Gainsborough’s work
+towards the end of his life. The most significant comparison may be
+made with the National Gallery <i>Mrs. Siddons</i>. Here again blue,
+and a franker blue than that of the Master Buttall, is the dominant
+note. But the painting is more assured, the handling lighter and more
+prompt, the shadows more transparent, and the figure, as a whole, truer
+to its illumination. It would not be fair to dwell too much on the
+contrast between the flesh painting of <i>The Blue Boy</i> and that
+of the <i>Mrs. Siddons</i>, for I fancy the peculiar white bloom of
+the latter’s skin is due to the fact that she sat in her paint. But
+it must not be overlooked that even in the portraits of pretty women,
+that of <i>Eliza Linley</i> for instance, painted about 1770, there is
+a fullness of color we do not find ten years later. Taking everything
+into account, it seems to me that the old tradition of <i>The Blue
+Boy</i> must be given up, and that the Duke of Westminster’s picture,
+so far from being an answer<span class="pagenum" id="Page_386">[386]</span> to Reynolds, was one of the many things
+that provoked his dictum, Gainsborough replying, if he took the
+trouble to reply at all, with the <i>Mrs. Siddons</i> and those other
+portraits, painted in the last ten years of his life, in which blue,
+canary yellow, and other cool tints are made the centres of the color
+scheme.”</p>
+
+<p>Buttall and Gainsborough continued their relations. Buttall was one
+of the “few friends Gainsborough respected and whom he desired should
+attend his funeral at Kew. Buttall outlived Gainsborough seventeen
+years and died in December, 1805, as the <i>Morning Herald</i> notes:
+“Died, on Friday last, at his house in Oxford Street, Jonathan Buttall,
+Esq., a gentleman whose amiable manners and good disposition will cause
+him to be ever regretted by his friends.”</p>
+
+
+<h4>GENERAL PHILIP HONYWOOD.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Mr. John Ringling.</i></td>
+  </tr>
+</table>
+
+<p>When Gainsborough exhibited this portrait in London in 1765 it created
+quite a stir, as it was a departure from the style of any portrait by
+that artist; and when it was sent home to <i>Mark Hall</i>, the seat of
+the Honywood family in Essex, a new room had to be built in order to
+accommodate it, as the canvas measures nearly ten feet square (96¾ ×
+82¼).</p>
+
+<p>This has the reputation of being the finest equestrian portrait ever
+painted by Gainsborough. Fulcher writes of it:</p>
+
+<p>“Never was the amenity of landscape more happily displayed. Through a
+richly wooded scene wherein the sturdy oak and silvery-barked birch
+are conspicuous, the soldier, mounted on a bay horse, appears to be
+passing, wearing a scarlet dress which contrasts finely with the mass
+of surrounding foliage. Nothing can be easier than his attitude,
+as with one hand he curbs his charger and with the other holds his
+sword which seems to flash in the sun. The picturesque design of this
+portrait, its brilliant coloring, its bold yet careful execution,
+Gainsborough never surpassed. No wonder that George III wished<span class="pagenum" id="Page_388">[388]</span> to
+become the possessor of it and no wonder that Horace Walpole wrote
+of it in his catalogue ‘very good.’ Of the nine pictures which
+decorated the walls of <i>Mark Hall</i> grand staircase, three were by
+Gainsborough and included the remarkable portrait of General Honywood.
+It is the largest work by that master and has the reputation also of
+being the finest equestrian portrait ever painted by Gainsborough,
+competing only with Van Dyck’s <i>Portrait of Charles I</i> in the
+Prado Gallery, Madrid, with which it has more than once been compared.”</p>
+
+  <div class="figcenter" id="i_387" style="max-width: 508px">
+     <img
+    class="p1"   
+    src="images/i_387.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. John Ringling</i></p>
+     <p class="p0 sm center">GENERAL PHILIP HONYWOOD</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p>The landscape, it is interesting to say, is a part of the park at
+<i>Mark Hall</i>. General Philip Honywood of <i>Mark Hall</i> came
+of an old Kentish family deriving its origin from a place called
+<i>Honewood</i> or <i>Hunewood</i> in the parish of Postling in Kent,
+where they had held lands since the Norman Conquest. General Philip
+Honywood was born in 1710 and succeeded his nephew in 1758. He was a
+General of His Majesty’s forces, Colonel of the Third Royal Dragoon
+Guards, Governor of the Town and Citadel of Kinston-upon-Hull and
+was also member of Parliament for thirty-one years for the borough
+of Appleby in the County of Westmoreland. Philip Honywood was always
+familiarly called “the General” and he died in 1785.</p>
+
+<p>Until 1878 this portrait remained in possession of the Honywood family
+at <i>Mark Hall</i>.</p>
+
+<p>Sir Walter Armstrong in his <i>Gainsborough</i> writes:</p>
+
+<p>“It represents the General riding across the canvas from left to right.
+He wears a scarlet uniform and carries his sword, unsheathed, in his
+right hand; he has no scabbard. The horse, a rich bay, is a little too
+long. The painter has not taken the precaution to draw him in before
+commencing the figure, and so the fore-quarters are separated from
+the hind by rather too much middle-piece. This mistake is still more
+conspicuous in the <i>Colonel St. Leger</i> at Hampton Court, where a
+quite unreasonable amount of horse shows behind the figure. Otherwise,
+the Honywood picture is as successful in design as it is in all other
+ways. The landscape is one of the finest backgrounds ever painted and
+reminds one of the backgrounds to some of those equestrian portraits
+by Velasquez which Gainsborough never saw. It is curious that Reynolds
+had sent a <i>General on Horseback</i> to<span class="pagenum" id="Page_389">[389]</span> the Exhibition of 1761.
+Many things point to the probability that Gainsborough made an annual
+visit to London during the exhibition and it is quite likely that the
+apparition of Sir Joshua’s ‘General’ suggested the treatment of his
+own.”</p>
+
+<p>The Reynolds referred to above is the portrait of <i>Lord Ligonier</i>
+now in the National Gallery, London.</p>
+
+
+<h4>THE HARVEST WAGGON.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Thomas Gainsborough</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1727–1788).</i></td>
+    <td class="cht3"><i>Sir Joseph Duveen, Bart.</i></td>
+  </tr>
+</table>
+
+<p>This picture bears comparison with Gainsborough’s famous <i>Market
+Cart</i> in the National Gallery, London. Some critics even prefer
+it. It is painted in oils on canvas (48 × 59 inches) and represents a
+countryside and a scene very familiar to the painter. The country is
+rugged with a wheel track winding from the left foreground away into
+the distance towards the blue hills. On the left, there are massive
+boulders overgrown with shrubbery and trees with russet foliage
+overhanging the lane. The rustic dray-cart, laden with laughing
+country folk, is halted to enable a young girl to clamber up over the
+wheel and into the arms of a youth who bends forward to help her. The
+three horses stand placidly while the driver adjusts the collar of
+the leader. A panting dog capers by the cart and two sheep that have
+strayed from their flock are seen resting by the boulders. The rock in
+the foreground is signed with the initials “T. G.”</p>
+
+<p><i>The Harvest Waggon</i> gains particular interest because the
+two young girls—one seated in the waggon and one climbing up over
+the wheel—are Gainsborough’s daughters. The horses, too, are
+portraits—horses that belonged to John Wiltshire, the chief carrier
+of Bath, and the cart is one of Wiltshire’s “flying waggons.” In some
+accounts of John Wiltshire he is represented as an ordinary dray-man,
+who drove his own carts and made deliveries. This was not the case,
+however. John Wiltshire was a man of importance in Bath, having built
+up a large “carrying business” (which we would to-day call express),
+with<span class="pagenum" id="Page_390">[390]</span> a regular service of “flying waggons,” always going back and
+forth from his warehouses in Broad Street, Bath, to the <i>White
+Swan</i> at Holborn Bridge, London. Wiltshire was elected Mayor of
+Bath in 1772 and gave a great entertainment at the Town Hall to the
+gentry and fashionables, giving thereby “much offense to the people in
+trade” who were not invited. Some idea of the speed of these “flying
+waggons” may be had from Gainsborough’s letter to Garrick relative to
+the delivery of the latter’s portrait:</p>
+
+<p>“The picture is to go to London by the Wiltshire fly-waggon on
+Wednesday next and I believe will arrive by Saturday morning.”</p>
+
+<p>John Wiltshire, who came of a good old family that had attained
+the rank of squires, lived in a fine mansion at Shockerwick near
+Bath, which had belonged to his father. This was quite a place of
+<i>rendez-vous</i> for the notable personages who visited Bath.
+“There,” it was said, “Anstey had a beech tree, Gainsborough an elm,
+and Quin an arm-chair, while Fielding, Allen, and their hospitable
+host, Wiltshire, enjoyed the shades of its sylvan glades.”</p>
+
+<p>Wiltshire was so devoted to Gainsborough and such an admirer of
+his paintings that he would never allow him to pay any bills for
+“carrying.” Yet he delivered all of Gainsborough’s finished pictures.
+After a time, upon Gainsborough’s insisting, Wiltshire replied: “When
+you think I have carried to the value of a little painting, I beg you
+will let me have one, sir; and I shall be more than paid.”</p>
+
+<p>By degrees Wiltshire thus acquired his small, but very choice,
+collection of Gainsboroughs, which was sold at Shockerwick in 1867.</p>
+
+<p><i>The Harvest Waggon</i> was one of these; and the way the picture
+came to be painted was this. On one occasion Gainsborough asked
+Wiltshire to lend him a horse for a model. The generous Wiltshire
+saddled and bridled one of his horses and sent it to Gainsborough for
+a present. Gainsborough painted this horse and made, as Fulcher says,
+“a remarkably fine study of this animal.” Gainsborough now returned
+the compliment. He painted <i>The Harvest Waggon</i> and sent it to
+Wiltshire as a present. Wiltshire was overjoyed, for here was his
+own waggon; here were his own horses; and here were the artist’s own
+daughters!</p>
+
+<p><span class="pagenum" id="Page_391">[391]</span></p>
+
+  <div class="figcenter" id="i_391" style="max-width: 695px">
+     <img
+    class="p1"   
+    src="images/i_391.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Sir Joseph Duveen, Bart.</i></p>
+     <p class="p0 sm center">THE HARVEST WAGGON</p>
+     <p class="p0 sm right">—<i>Thomas Gainsborough</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_392">[392]</span></p>
+
+<p>On giving <i>The Harvest Waggon</i> to Wiltshire, Gainsborough said it
+<i>pleased him more than any picture he had ever painted</i>.</p>
+
+<p>From the Collections of Thomas Gibbons, Esq., Hanover Terrace, Regents
+Park, of the Rev. Benjamin Gibbons, Hanover Terrace, Regents Park, and
+of Sir Lionel Phillips, London, <i>The Harvest Waggon</i> passed into
+the Collection of the late Judge Elbert H. Gary. It attracted great
+attention at the Gary Sale in New York, April, 1928, when it was sold
+at the Plaza Hotel for $875,000, the highest figure that any picture
+has ever reached at auction.</p>
+
+
+<h4>JOHN WALTER TEMPEST.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>George Romney</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1734–1802).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Marshall Field.</i></td>
+  </tr>
+</table>
+
+<p>It would be hard to find in all the range of portraiture, at any time
+and in any place, a work more charming, true, sincere, natural, and
+ingratiating than this adorable boy with his beloved horse. You can see
+at a glance that they love each other.</p>
+
+<p>Everything about the picture is delightful: the coloring, the handsome,
+sweet, and dreamy boy with his unspeakable grace and gentleness, the
+fine horse, so contented, and the suave landscape—all make both
+a portrait and a picture that will live for all time. No changes
+in fashion can ever destroy its beauty and its appeal. Moreover,
+Romney has succeeded in suggesting here a young boy’s dreams and the
+friendship between a boy and a horse. The relation between the two, as
+they enjoy a pause in their jaunt through the woodland, is marvellously
+expressed. The relation of these figures to the landscape is such that
+we feel as if we, too, were in this lovely, English, sylvan spot. We
+seem to hear the plash of the tiny waterfall and the sound of the
+horse’s lips as he quenches his thirst. In just one moment more and the
+sweet, gentle, dreamy boy will pat his friend’s warm, brown neck, leap
+lightly on his back and off they will go merrily</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div>“to seek fresh woods and pastures new.”</div>
+      </div>
+    </div>
+  </div>
+
+<p><span class="pagenum" id="Page_393">[393]</span></p>
+
+  <div class="figcenter" id="i_393" style="max-width: 345px">
+     <img
+    class="p1"   
+    src="images/i_393.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Marshall Field</i></p>
+     <p class="p0 sm center">JOHN WALTER TEMPEST</p>
+     <p class="p0 sm right">—<i>George Romney</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_394">[394]</span></p>
+
+<p>The picture is in oils on canvas (90 × 58 inches) and was painted in
+1779–1780. In the <i>Catalogue Raisonné</i> of Romney’s works we read:</p>
+
+<p>“Whole length, when a youth, standing, facing towards and looking to
+the front; long hair; purple dress, white turned-down collar, white
+stockings and black shoes with silver buckles; standing by his horse,
+which is drinking at a stream to the left; right hand holding the
+reins; left hand holding whip; trees in the distance.”</p>
+
+<p>For several years this lovely picture was in the Collection of Asher
+Wertheimer, Esq., of London.</p>
+
+<p>John Walter Tempest was the only son of John Tempest, Esq., of
+Sherburn, County Durham, and member of Parliament for Durham. He died
+in 1793 at Brighthelmstone, where he had gone for his health.</p>
+
+<p>The German critic, August Grisebach, has a profound admiration for this
+portrait. Writing in <i>Die Kunst für Alle</i> (1908), he says:</p>
+
+<p>“As a new representation of the half-grown boy Romney’s <i>John Walter
+Tempest</i> stands next to the <i>Blue Boy</i>. In place of the warm
+lighting of the brilliant silk of the correctly adorned boy in Van
+Dyck style and the aristocratic pose of the manufacturer’s son, is the
+simple cloth coat of subdued violet against the light-brown horse, so
+quiet and reserved in color and line, similar to an antique relief.”</p>
+
+<p><i>The Strawberry Girl</i> is reckoned among the most original of Sir
+Joshua Reynolds’s works. Surely <i>John Walter Tempest</i> is one of
+Romney’s most brilliant triumphs! Moreover, the picture is highly
+original.</p>
+
+<p>For a great number of years George Romney in his house, No. 32
+Cavendish Square, shared the patronage of the aristocracy with Reynolds
+and Gainsborough. Romney’s career was remarkable, for he had almost
+no training. Romney was born in 1734 at Beckside, near Dalton in
+Cumberland, the son of a cabinet-maker, who wrote his name Rumney. He,
+too, was destined for a cabinet-maker, but made the acquaintance in
+Kendal of a portrait-painter named Christopher Steele, who had studied
+with Carle Van Loo, and became his pupil and apprentice in 1755. Romney
+soon painted a number of portraits in Kendal and also a hand holding a
+letter for the town post-office, which attracted much attention.</p>
+
+<p>Undoubtedly Romney acquired something of the French style<span class="pagenum" id="Page_395">[395]</span> through
+this teacher and we may regard him indirectly as a pupil of Van Loo.
+Certainly there is a quality in Romney that finds response in the
+French painters of the Eighteenth Century.</p>
+
+<p>Lord Gower says in his <i>Romney</i> (London, 1904):</p>
+
+<p>“Apparently the Count made use of his pupil to prepare and grind
+his colors and to carve frames for his portraits. Later these
+color-grindings must have been of great use to Romney, and the
+preparation and mode of laying on the oil colors may account for the
+excellence and permanency of his paintings, which have stood admirably
+and unfadingly the test of time and which are in most cases as fresh
+and brilliant, as clear and transparent, as when they left Romney’s
+studio nearly a century and a half ago. It is not without interest that
+one recalls how all the great Italian and Flemish Masters instructed
+their pupils in the preparation of the minutest detail in all things
+relating to their painting, from the preliminary grinding of the colors
+and the laying on of the groundwork of their subject, whether on paint
+or canvas; for not only were the great Italian and Flemish old painters
+past masters in all that appertained to the technicalities of their
+art, but honest and loyal in seeing no detail, however irksome, omitted
+which could give permanency and endurance to their creations; hence
+those marvels of color, paintings three and four centuries old which
+still glow with all the brilliancy of gems and flowers, as radiant as
+some noble stained-glass window in some glorious Gothic fane.”</p>
+
+<p>In 1762, when he was but twenty-eight, Romney moved to London (leaving
+his wife, son, and daughter) and established himself in the great
+city. As a painter of excellent portraits at low prices Romney soon
+saved enough money for a visit to Paris, and hard work enabled him to
+close his studio and spend two years in Italy. Soon after his return
+in 1775, Romney removed from Gray’s Inn to No. 32 Cavendish Square,
+formerly occupied by the painter, Francis Cotes, (who had died in
+1770). A portrait of the <i>Duke of Richmond Reading</i> launched
+Romney into fame and fortune. Thenceforward there was nothing to do
+but work. Romney became the fashion and ranked with Gainsborough and
+Reynolds; and, as his prices were considerably less than theirs, his
+studio was never empty of sitters. Romney’s<span class="pagenum" id="Page_396">[396]</span> <i>Diaries</i> show his
+amazing industry and a golden register of the nobility and gentry
+besides people of fashion and artistic distinction. The year 1777,
+for instance, shows six hundred sittings which Mr. Ward calculates
+as representing from a hundred and twenty to a hundred and fifty
+finished portraits. Romney’s charming style was now fully developed
+and some of his loveliest portraits date from this period: the
+<i>Countess of Warwick and her Children</i>; <i>Lady Susan Lenox</i>;
+<i>Lady Derby</i> (see page <a href="#Page_401">401</a>); <i>Lady Albemarle</i>; <i>Lord
+Gower’s Children Dancing</i>; <i>John Walter Tempest</i>; and <i>Lady
+Craven</i>, which inspired Horace Walpole to write:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“Full many an artist has on canvas fix’d</div>
+        <div>All charms that Nature’s pencil ever mix’d—</div>
+        <div>The Witchery of Eyes, the Grace that tips</div>
+        <div>The inexpressible douceur of Lips</div>
+        <div>Romney alone, in this fair image caught</div>
+        <div>Each Charm’s Expression and each Feature’s thought.</div>
+        <div>And shows how in their sweet assemblage sit</div>
+        <div>Taste, Spirit, Softness, Sentiment, and Wit.”—H. W.</div>
+      </div>
+    </div>
+  </div>
+
+<p class="p-left">Therefore, it will be seen that Romney had been producing
+beautiful work before the advent of the beautiful Emma Hart, the future
+Lady Hamilton.</p>
+
+<p>Romney left Cavendish Square in 1798, having bought a house at
+Hollybush Hill, Hampstead, from which he removed two years later
+to return to his wife and son at Kendal. He bought the estate of
+Whitestock, near Ulverstone, where his son finished the house he did
+not live to complete. Romney died in 1802, having been for two or three
+years in a state of complete imbecility.</p>
+
+<p>“For the first half-century or more after his death his work was
+neglected. Hidden in private houses, the public never saw it;
+his biographies did not interest people; he had left no group of
+influential friends to hand down his memory. There was no such
+machinery of celebrity in his case as had existed so abundantly in
+Sir Joshua’s who lived not only by his pictures but by a multitude of
+lovely engravings and by the written and spoken word of colleagues,
+pupils, and friends. So Romney’s fame may almost be said to have
+died away during the dark ages between 1820 and 1850; and Christie’s
+Catalogues show that<span class="pagenum" id="Page_397">[397]</span> in those days he was ignored by collectors and
+by galleries, such as then existed. In the general revival of æsthetic
+intelligence which began about the middle of the century—a revival
+of which the Pre-Raphaelite movement, the eloquence of Ruskin, and
+the growth of a new class of wealthy amateurs were so many symptoms
+and conditions—Romney began to emerge once more. Never was there an
+artist who lived more wholly in his art. ‘In his painting-room,’ said
+his pupil, Robinson, ‘he seemed to have the highest enjoyment of life,
+and the more he painted the greater flow of spirits he acquired.’ It is
+true that, by one of the ironies of history, it was not primarily in
+portrait-painting that he was interested, but in those larger schemes
+and subjects to which, according to the classification of his time, he
+gave a higher place.”<a id="FNanchor_35" href="#Footnote_35" class="fnanchor">[35]</a></p>
+
+
+<h4>THE HON. MRS. DAVENPORT.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>George Romney</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1734–1802).</i></td>
+    <td class="cht3"><i>Hon. Andrew W. Mellon.</i></td>
+  </tr>
+</table>
+
+<p>The <i>Hon. Mrs. Davenport</i> (Charlotte Sneyd) is another of Romney’s
+superlative creations. She is the personification of a gentle English
+beauty, who might well have sat for the portrait of Tennyson’s “Queen
+of the Rosebud Garden of Girls” in <i>Maud</i>.</p>
+
+<p>Mrs. Davenport, dressed in perfect taste, is posed against a lovely
+landscape background. Her gown is a delicate, yet glowing pink, and her
+cape is white velvet trimmed with white fur. She also wears a white
+scarf with brown ribbon and a white felt hat trimmed with brown and
+white ribbons. Her powdered hair is arranged in soft ringlets and a
+black velvet band around her neck affords a note of contrast to the
+general lightness of the color of the costume. A fashionable muff adds
+a <i>chic</i> touch. The face is remarkably sweet and intelligent, as
+well as beautiful, and the whole impression given by the portrait is of
+a charming, gentle, gracious, and lovable personality.</p>
+
+<p>Charlotte Sneyd, born in 1756, was the daughter of Mr. Ralph Sneyd<span class="pagenum" id="Page_398">[398]</span>
+of <i>Keele Hall</i>, Newcastle-under-Lyme, Staffordshire, descended
+from an ancient family of Chester, one of whom had been knighted on the
+battlefield of Pinkie in 1547. Her mother was the daughter of Sir W.
+W. Bugot, fifth Baronet of Blithefield, and the grand-daughter of the
+first Earl of Dartmouth.</p>
+
+  <div class="figcenter" id="i_399" style="max-width: 449px">
+     <img
+    class="p1"   
+    src="images/i_399.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Andrew W. Mellon</i></p>
+     <p class="p0 sm center">THE HON. MRS. DAVENPORT</p>
+     <p class="p0 sm right">—<i>George Romney</i></p>
+ </div>
+
+<p>Charlotte Sneyd was married in 1777 to Mr. Davies Davenport, High
+Sheriff of Cheshire in 1783, and M. P. from 1806 to 1830. His seats
+were Capesthorne, Crewe, and Calvely, Nantwich. Their youngest son took
+the extra surname of Bromley and owned <i>Baginton Hall</i>, Coventry.
+The Hon. Mrs. Davenport died in 1829. She was a cousin of Honora
+Sneyd, whose name has been associated with that series of portraits by
+Romney known as the “Serena” portraits. Honora was also famous for her
+engagement to the talented, charming, and ill-fated Major John André.</p>
+
+<p>The picture, painted in oils on canvas (30 × 25 inches), came from the
+Collection of Brigadier-General Sir William Bromley-Davenport, K. C.
+B., Lord-Lieutenant of the County of Chester, <i>Capesthorne Hall</i>,
+Cheshire, England.</p>
+
+
+<h4>LADY DERBY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>George Romney</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1734–1802).</i></td>
+    <td class="cht3"><i>Mr. Jules S. Bache.</i></td>
+  </tr>
+</table>
+
+<p>Of <i>Elizabeth, Countess of Derby</i>, Romney made one of his most
+beautiful portraits and one of the most beautiful portraits, moreover,
+of that great portrait period in which Romney worked. Everything about
+it is lovely. There is no color in the picture except Lady Derby’s
+golden hair and the green and brown tones of the distant landscape and
+of the tree behind her. The dress, a thin white India mull of exquisite
+fineness and transparency, is draped over a white brocade skirt, making
+a costume which is the quintessence of purity and lightness; and Romney
+has treated the white so perfectly that the picture seems to emit a
+celestial radiance. Lady Derby has the fresh English complexion of rose
+and white, and her golden hair is like sunshine and<span class="pagenum" id="Page_400">[400]</span> amber. The pose
+is so easy and natural that we may safely guess it was a characteristic
+one. Lady Derby seems unconscious of her charm; but she was certainly
+too beautiful not to know it.</p>
+
+<p>Elizabeth, Countess of Derby, was the only daughter of James, sixth
+Duke of Hamilton and the famous Irish beauty, Elizabeth Gunning, who,
+with her sister, Maria, took London by storm when they removed there in
+1751 from Dublin. The career of the Gunning sisters was extraordinary,
+for they had no money; but their handsome faces, fine figures, stylish
+dressing, and charming manners, soon brought them into notoriety.
+Crowds surged around them whenever they appeared: in the streets, in
+Hyde Park, at Ranelagh, at Vauxhall, at routs, at assemblies, or at the
+theatre. Horace Walpole said “it was extraordinary that two sisters
+should be so beautiful.” Maria Gunning married in 1752 the Earl of
+Coventry and also in the same year Elizabeth married surreptitiously
+James, sixth Duke of Hamilton “using the ring of the bed-curtain for
+her wedding ring.” On his death, six years later, she married John,
+fifth Duke of Argyll. Elizabeth, now Duchess of Argyll, was still
+as beautiful as ever and people ran after her as usual whenever she
+appeared in public. “One Sunday evening in June, 1759,” so Horace
+Walpole notes, “she was mobbed in Hyde Park. The King ordered that to
+prevent this for the future, she should have a guard; and on the next
+Sunday she made herself ridiculous by walking in the Park from eight
+to ten <span class="allsmcap">P. M.</span> with two sergeants of the Guards in front with
+their halberds and twelve soldiers following her.” Elizabeth, Countess
+of Derby, with such a beautiful mother, had, therefore, the right to
+be a beauty. On June 12, 1774, “Lady Betty Hamilton” was married to
+Edward Smith Stanley, afterwards twelfth Earl of Derby, known as the
+“Cock-fighting Earl.” She soon tired of him and ran away with the Duke
+of Dorset, who had been working on the Derby estate for some time in
+the guise of a gardener in order to be near the beautiful Elizabeth
+and to perfect their plans for elopement. Who can look upon Romney’s
+portrait and blame him? Lord Derby married in 1797 the celebrated
+actress Miss Farren (see page <a href="#Page_420">420</a>). Elizabeth Hamilton died in 1797,
+aged forty-four.</p>
+
+  <div class="figcenter" id="i_401" style="max-width: 430px">
+     <img
+    class="p1"   
+    src="images/i_401.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. Jules S. Bache</i></p>
+     <p class="p0 sm center">LADY DERBY</p>
+     <p class="p0 sm right">—<i>George Romney</i></p>
+ </div>
+
+<p>This portrait, oils on canvas (49½ × 39 inches), was painted in
+1776–1778,<span class="pagenum" id="Page_402">[402]</span><span class="pagenum" id="Page_401">[401]</span> after twelve sittings: Nov. 27, 1776; Jan. 31, Feb. 11, 14,
+21, and March 19, 1777; Feb. 13, March 2, 9, 14, 23 and May 4, 1778. A
+mezzotint was made by John Dean in 1780.</p>
+
+<p>After having been for many years in the Tennant Collection this
+<i>chef-d’œuvre</i> passed to Mr. Jules S. Bache.</p>
+
+<p>A charming picture of Lady Elizabeth Hamilton, or “Lady Betty
+Hamilton,” as a child of five years, painted by Sir Joshua Reynolds,
+now hangs in the Widener Collection at <i>Lynnewood Hall</i>, Elkins
+Park, Pennsylvania. The little girl is seated on a bank facing the
+spectator and is shown at full length, wearing a pink dress over a
+large hoop, with low neck and short sleeves, and a spray of flowers
+at her neck. In her hands she holds a bouquet of bright flowers. This
+picture, painted in 1758, belonged to the Duke of Argyll and afterwards
+to the Earl of Normanton.</p>
+
+<p>“The Eighteenth Century,” says Max Roldt, “has often been called
+the <i>Age of Grace</i>. If I were asked how this name could best
+be justified, I should point without a moment’s hesitation to the
+portraits by George Romney. Others painted graceful women in graceful
+dresses and graceful poses, but Romney personified Grace, made her his
+goddess; and it was her portrait which he painted over and over again
+under different lineaments and with various features. See his <i>Lady
+Derby</i> as she sits on a bank quietly dreaming under the trees; her
+legs are lightly crossed; her elbow rests on her knee so that her long,
+fine hand just touches her chin without actually supporting the pure
+oval of the head; with her white, muslin dress pulled up showing the
+underskirt of the <i>broché</i> satin of the same hue, is she not the
+very embodiment of grace?”</p>
+
+<p><span class="pagenum" id="Page_403">[403]</span></p>
+
+
+<h4>EMMA, LADY HAMILTON.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>George Romney</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1734–1802).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>Who tied that white band over the big hat—Romney or Emma? It was
+certainly a very original idea!</p>
+
+<p>“<i>Three quarters in a straw hat called Emma</i>, finished for Mr.
+Crawford,” is the way this picture is referred to in John Romney’s
+<i>Memoirs</i>; and in Romney’s own Ledger this note occurs: “Three
+quarters paid for by Mr. Crawford, 30 guineas, Sept. 15, 1792, and sent
+home to Mr. Crawford’s No. 48 Brook Street, July 21, 1792.”</p>
+
+<p>At three-quarter, then, seated in a chair, dressed in white and wearing
+the conspicuous “straw hat,” trimmed with a broad band of ribbon tied
+into large bows, “Emma” looks at us rather pensively,—almost sadly.
+The pose is alluringly graceful and easy, but the swirling lines, when
+analysed, show the thought and art of a master. It is like a graceful
+melody of Mozart. Contour, beauty, and rhythm all are here!</p>
+
+<p>Romney painted no fewer than thirty pictures of the “Divine Emma,” in
+character and with titles, and fourteen portraits, without titles; and,
+besides, he painted many replicas and variants of these portraits.</p>
+
+<p>Emma Hart came into Romney’s life in 1782, taken to the painter’s
+studio in Cavendish Square one April morning by the Hon. Charles
+Francis Greville, second son of the Earl of Warwick, with whom she was
+then living. Romney was instantly struck by her extraordinary beauty,
+vivacity, and talent for posing. From this first picture, entitled
+<i>Nature</i> and representing Emma with a little black spaniel under
+arm, for which Greville paid twenty guineas, Romney produced portrait
+after portrait in various characters: Alope; Ariadne; Bacchante; In a
+Black Hat; Calypso (perhaps the same as Ariadne); Cassandra; Circe;
+Comedy; Comic Muse; Cybele; Daphne (perhaps the same as Bacchante);
+Contemplation; Emma in a Straw Hat (see page <a href="#i_405">405</a>); Euphrosyne; Gipsy;
+Iphigenia; Joan of Arc; Kate (same<span class="pagenum" id="Page_404">[404]</span> as Ariadne); Magdalen; Medea;
+Meditation; with Miniature in Belt; Miranda; Lady Hamilton in Morning
+Dress; Nature; Nun; Pythian Priestess; Reading the Gazette; St.
+Cecilia; Sensibility; Serena; Servant’s Cap; Shepherdess; Sigismunda;
+Spinning-Wheel; Supplication; With Vesuvius in the Distance; Welsh
+Girl; Wood Nymph (same as Alope).</p>
+
+<p>Portraits without titles are: Seated resting head on right hand,
+white dress; Bust to left showing hands, head leaning on right hand,
+forefinger on chin, bare neck and shoulders, blue and white drapery;
+Half-length, life-size, head facing, resting on crossed hands, light
+dress, colored scarf twisted around the head, arms bare to elbow,
+leaning on table; Head looking up to left; Head looking up to left
+(oval); Head to left with startled expression (sketch); Three-quarter
+length figure seated to left looking back over left shoulder, head
+resting on left hand, white dress and cap and colored sash; Half figure
+turned to right, white dress, white drapery around head (several
+versions); Head, shoulders, full face, low cut white dress, dark curly
+hair; Bust facing front, face looking down reading a book, white dress,
+brown background; Bust, life-size looking upward and smiling; White
+veil over head; Head and shoulders looking at spectator and smiling,
+dark red dress cut low, brown hair falling over shoulders, turban; Half
+figure directed to left looking at spectator, dark dress, white fichu,
+dark felt hat with broad brim and bunch of feathers, hair bound with
+blue ribbon, hands resting on lap, white lace cuffs.</p>
+
+  <div class="figcenter" id="i_405" style="max-width: 435px">
+     <img
+    class="p1"   
+    src="images/i_405.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">EMMA, LADY HAMILTON</p>
+     <p class="p0 sm right">—<i>George Romney</i></p>
+ </div>
+
+<p>The story of Emma, Lady Hamilton, is a strange one. She was born on
+April 26, 1761, at Denhall, Chester, the only child of Henry Lyon, a
+blacksmith: no one knows why she took the name of Hart. While she was
+a child, her mother moved to Hawarden, entering the service of Mrs.
+Thomas, wife of the parish doctor, and Emma remained there until she
+was sixteen, earning her living as nursery-maid and waiting-woman. We
+find her in London in her eighteenth year employed in the celebrated
+Temple of Health, of which the notorious empiric, Dr. Graham, was
+the originator and proprietor, presiding there as the “lovely Hebe
+Vestina, Rosy Goddess of Health.” Here, at certain times of day, the
+“lovely Hebe” and the famous quack could<span class="pagenum" id="Page_406">[406]</span> be seen buried up to their
+necks in the mudbaths, Dr. Graham’s hair dressed according to the
+latest expression of the perruquier’s taste and Hebe with one of those
+towering head-dresses of the day, powdered and decorated with flowers,
+feathers, ropes of pearls, and gewgaws of many kinds.</p>
+
+<p>Sir Walter Armstrong is of the opinion that Emma Hart sat for
+Gainsborough’s <i>Musidora Bathing her Feet</i> (in the National
+Gallery, London). “The features,” he says, “are those of Emma Lyon
+refined, the hair is hers, and the rest of the figure is what we find
+in several of Romney’s pictures.”</p>
+
+<p>There is a very good reason that this might be so, for Gainsborough
+rented one part of Schomberg House, Pall Mall, and Dr. Graham rented
+the other. Consequently, Gainsborough had every opportunity of seeing
+the lovely Emma very frequently.</p>
+
+<p>While presiding at Dr. Graham’s establishment, Emma attracted the
+attention of Sir Henry Featherstonehaugh of <i>Up Park</i>, Sussex,
+who persuaded her to leave the Temple and reside at <i>Up Park</i>. In
+the following year she placed herself under the protection of the Hon.
+Charles Greville.</p>
+
+<p>In 1784 Sir Charles’s uncle, Sir William Hamilton, his Majesty’s
+Ambassador at Naples, came to London on a visit, a widower, a man of
+distinguished tastes, an art-connoisseur, a lover of music, and a
+descendant of a noble family. Sir William became fascinated with Emma
+and there was a clever transfer of Emma, not to the credit of either of
+these dashing “blades.” Ultimately Emma joined Sir William in Naples,
+where she was lodged at the British Embassy and treated with the
+distinction due royalty, having, moreover, her carriage, boat, livery,
+and other appurtenances of state. In a letter to the Hon. Charles, Emma
+says: “Sir William is very fond of me and very kind to me. The house
+is full of painters painting me. He has now got nine pictures of me
+and two a-painting. Marchant is cutting my head in stone, that is in
+cameo for a ring. There is another man modelling me in wax and another
+in clay. All the artists is come from Rome to study from me, so that
+Sir William as fitted up a room that is called the painting-room. Sir
+William is never a moment from me.<span class="pagenum" id="Page_407">[407]</span> He goes no where without me. He has
+no dinners but what I can be of the party. Nobody comes without they
+are civil to me.”</p>
+
+<p>On Sept. 6, 1791, the infatuated Ambassador married Emma in Marylebone
+Church, the Marquis of Abercorn, Sir William’s kinsman, acting as best
+man. During the months preceding the wedding Emma sat almost daily to
+Romney.</p>
+
+<p>On June 19, 1791, Romney wrote to William Hayley: “At present and the
+greatest part of this summer, I shall be engaged in painting pictures
+from the <i>divine lady</i>. I cannot give her any other epithet for
+I think her superior to all womankind. I have two pictures to paint
+of her for the Prince of Wales. She says she must see you before she
+leaves England, which will be in the beginning of September. She asked
+me if you would not write my life. I told her you had begun it; then
+she said she hoped you would have much to say of her in the life, as
+she prided herself on being my model.”</p>
+
+<p>Romney also gave a party in Emma’s honor, on which occasion she
+displayed her remarkable talents. Romney wrote:</p>
+
+<p>“She performed in my house last week, singing and acting before some of
+the nobility with most astonishing power. She is the talk of the whole
+town, and really surpasses everything, both in singing and acting,
+that ever appeared. Gallini offered her two thousand pounds a year and
+two benefits if she would engage with him, on which Sir William said
+pleasantly that he had engaged her for life.”</p>
+
+<p>Directly after her marriage Lady Hamilton gave Romney a sitting. His
+<i>Diary</i> has these dates:</p>
+
+<div class="parent">
+<ul class="left smaller" style="margin-top: 0em">
+  <li>“Sept. 5 Mon. Mrs. Hart at 9.</li>
+  <li>Sept. 6 Tues. Lady Hamilton at 11.”</li>
+</ul>
+</div>  
+
+<p>Sir William and Lady Hamilton left soon afterwards for Naples and
+Romney and Emma never met again.</p>
+
+<p>Sir William Hamilton died in 1803; but from 1796 Emma had lived with
+and for Lord Nelson until his death in the Battle of Trafalgar. Emma
+died at Calais, Jan. 15, 1815.</p>
+
+<p>The portrait shown here (30 × 25 inches), belonged to Tankerville
+Chamberlayne, Esq., and then passed into the Collection of Alfred C. de
+Rothschild, Esq.</p>
+
+<p><span class="pagenum" id="Page_408">[408]</span></p>
+
+<p>England indirectly owes to Lady Hamilton one of Nelson’s great
+victories. When Nelson was in pursuit of the French, it was Lady
+Hamilton who obtained the order from the King of Naples for the fleet
+to enter port for provisions and water. Nelson thereupon entered the
+harbor of Syracuse, watered his fleet, and fought the victorious Battle
+of the Nile. A few months later Lady Hamilton and Nelson managed to
+rescue the Royal family of Naples by taking them through a subterranean
+passage and by boats to Nelson’s ship, the <i>Vanguard</i>. “The world
+owes it to Lady Hamilton,” says John Paget, “that the sister of Marie
+Antoinette did not share her horrible fate—that another head, as fair
+as that which fell into the basket of sawdust in front of the Tuileries
+on the 16th of October, 1793, did not roll on the scaffold at Naples in
+1799. When we come to take the account as it stood between the world
+and Lady Hamilton when it finally closed in 1815, we find it strangely
+changed since 1791. The balance has turned. It is the world, it is
+humanity, that is the debtor.”</p>
+
+<p>What a strange career! A woman of matchless beauty, artistic gifts of
+a high order, mental brilliance, generosity, charm, and kindness of
+heart, and, moreover, able to educate herself in the ways of society,
+admired, and courted by princes, artists, and men of powers, the
+intimate friend of the Queen of Naples, the beloved of Lord Nelson, the
+deity of Romney, enjoying at one time all that wealth and distinction
+could give and at the end forlorn, poor, and deserted, and dying in a
+foreign country—such was the life of Emma, Lady Hamilton!</p>
+
+<p>How beautifully Humphrey Ward sums up the whole situation:</p>
+
+<p>“We know that in later years many painters tried their skill upon
+her—Reynolds once, Madame Vigée Le Brun at least twice, Angelica
+Kauffman probably, and many an Italian painter and sculptor to whom
+she sat in Sir William’s painting-room at Naples. But none of these
+artists, not even Reynolds himself, in the well-known <i>Bacchante</i>,
+made of the most beautiful woman in the world anything that was
+distinctive, anything that was much removed from the commonplace. It is
+Romney alone who has preserved the life of those wonderful features,
+of that radiant hair, and of the multitudinous phases of expression
+through which this born actress, inspired by his suggestions,<span class="pagenum" id="Page_410">[410]</span> passed
+seemingly at will. Her name remains inseparably bound, though in very
+different ways, with the names of two great men—a hero and a painter.
+In the <i>Chronique scandaleuse</i> of a hundred years ago, Emma
+belongs to Nelson; in the history of art, she belongs to Romney.”</p>
+
+
+<h4>ANNE, LADY DE LA POLE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>George Romney</i></td>
+    <td class="cht3"><i>Collection of the</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1734–1802).</i></td>
+    <td class="cht3"><i>Hon. Alvan T. Fuller.</i></td>
+  </tr>
+</table>
+
+<p>The portrait represented here of Anne, Lady de la Pole, oils on canvas
+(49 × 39½ inches), was painted in 1786 after the great Lady Hamilton
+period. The dress is of white satin with puffed sleeves of white mull
+and a sash of pale green with gold fringe. The slippers, of pale green,
+match the sash. The hair is powdered and draped with a white veil.</p>
+
+<p>A critic notes that “the sheen of the white satin dress has since it
+was painted one hundred and forty years ago become slightly tinged with
+mauve thus completely harmonizing with the light color of the sash and
+shoes. The manipulation of the light on the right side of the picture
+gives a mellow autumnal atmosphere to the portrait of a dignified and
+beautiful woman.”</p>
+
+  <div class="figcenter" id="i_409" style="max-width: 341px">
+     <img
+    class="p1"   
+    src="images/i_409.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the Hon. Alvan T. Fuller</i></p>
+     <p class="p0 sm center">ANNE, LADY DE LA POLE</p>
+     <p class="p0 sm right">—<i>George Romney</i></p>
+ </div>
+
+<p>Anne, Lady de la Pole, was the only daughter of John Templer, Esq.,
+of Stover House, Devon, and was married in January, 1781, to Sir John
+William Pole, sixth Baronet and son of Sir John Pole of Shute, Devon,
+whom he succeeded in 1766. Sir John assumed by “sign-manual” the name
+of de la Pole.</p>
+
+<p>At the same time that he made this beautiful portrait, Romney also
+painted Sir John de la Pole, as a companion piece. Lady de la Pole died
+in 1832.</p>
+
+<p><span class="pagenum" id="Page_411">[411]</span></p>
+
+
+<h4>THE HON. MRS. GRANT OF KILGRASTON.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Henry Raeburn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1756–1823).</i></td>
+    <td class="cht3"><i>Mr. C. Fisher.</i></td>
+  </tr>
+</table>
+
+<p>This picture comes from the Collection of Colonel Walter Brown of
+Renfrew and was formerly in the Collection of the Hon. Mr. Stuart Gray.</p>
+
+<p>It is an oil on canvas (30 × 24 inches), depicting <i>Mrs. Grant of
+Kilgraston</i>, daughter of Francis, Lord Grey. The lady is turned
+three quarters to the left and wears a dark gown with deep loose frill
+of white around the neck. Her hair falls in careless curls over her
+brow. The background is plain.</p>
+
+<p>Compared with Sir Joshua Reynolds’s some two thousand portraits,
+Raeburn’s some seven or eight hundred is small; but it is, after all, a
+goodly number.</p>
+
+<p>“Raeburn,” in the words of his fellow-townsman, Robert Louis Stevenson,
+“was a born painter of portraits. He looked people shrewdly between the
+eyes, surprised their manners in their face and had possessed himself
+of what was essential in their character before they had been many
+minutes in his studio. What he was so swift to perceive he conveyed to
+the canvas almost in the moment of conception.”</p>
+
+<p>Raeburn, born in Stockbridge, a suburb of Edinburgh, in 1756, became
+the leading Scottish portrait-painter, President of the Royal Society
+of Artists at Edinburgh, and a Royal Academician in 1815, presenting
+in 1821 his diploma picture <i>The Boy with Rabbit</i>. Raeburn was
+knighted by George IV in 1822.</p>
+
+<p>Raeburn was almost entirely self-taught; and it seems strange that with
+practically no training, as the world understands this word, that he
+should have risen to the circle of great painters. Many of the greatest
+Italian painters of the Renaissance began life as goldsmiths. So did
+Raeburn. After a preliminary education at the famous Heriot’s Hospital
+in Edinburgh, he was apprenticed to a goldsmith in that city. Next he
+took up miniature-painting and passed on to oils,<span class="pagenum" id="Page_412">[412]</span> devoting himself to
+portraits. Success came quickly and early. At the age of twenty-two
+Raeburn was thoroughly established as the leading portrait-painter in
+Scotland and had married a wealthy widow of title. A visit to London
+and Rome in 1785–7 was the only break in his enviable life, passed
+in the greatest serenity replete with domestic happiness, social
+distinction, and artistic fertility. Practically an entire generation
+of the men and women of Scotland, most of them celebrities—sat to
+Raeburn in his studio.</p>
+
+<p>As Raeburn’s portraits are neither signed nor dated and no very marked
+periods emphasize his style, it is difficult to assign accurate dates
+to any of his works unless some special year is attached to them.
+Moreover, no lists of the sitters and note-books are known. If he
+kept them they were destroyed. However, as Raeburn advanced in years
+he attained more and more command of technique, his appreciation of
+character became deeper, and his expression of it more complete.</p>
+
+<p>Raeburn was appreciated by his contemporaries. When he showed some of
+his portraits to Sir Joshua Reynolds in London in 1785, Sir Joshua took
+him at once into favor and friendship; Sir Thomas Lawrence pronounced
+the portrait of <i>The Macnab</i> (the Highland Chieftain) the best
+representation of a human being he had ever seen; and Sir David Wilkie
+compared Raeburn to Velasquez. Writing to a brother artist from Madrid
+in 1828 Sir David remarks:</p>
+
+<p>“There is much resemblance between Velasquez and the works of some of
+the chiefs of the English School; but of all Raeburn resembles him
+most, of whose square touch in heads, hands, and accessories, I see
+the very counterpart of the Spaniard.” Wilkie also wrote to Alexander
+Nasmyth from Spain: “There are some heads by Velasquez in Madrid,
+which, were they in Edinburgh, would be thought to be by Raeburn; and I
+have seen a portrait of <i>Lord Glenlee</i>, I think, by Raeburn, which
+would in Madrid be thought a near approach to Velasquez.”</p>
+
+  <div class="figcenter" id="i_413" style="max-width: 444px">
+     <img
+    class="p1"   
+    src="images/i_413.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. C. Fisher</i></p>
+     <p class="p0 sm center">THE HON. MRS. GRANT OF KILGRASTON</p>
+     <p class="p0 sm right">—<i>Sir Henry Raeburn</i></p>
+ </div>
+
+<p>Dr. John Brown, one of Raeburn’s best friends, described his methods
+as follows: “Like Sir Joshua, Raeburn placed his sitters on a high
+platform, shortening the features and giving a pigeon-hole<span class="pagenum" id="Page_414">[414]</span> view
+of the nostrils. The notion is that people should be painted as if
+they were hanging like pictures on the wall, a Newgate notion, but it
+was Sir Joshua’s. Raeburn and I have had good-humored disputes about
+this. I appealed to Titian, Van Dyck, etc., for my authorities; they
+always painted people as if they were sitting opposite to them, not
+on a mountebank stage, or dangling on the wall. This great question
+we leave to be decided by those who know best. His manner of taking
+his likenesses explains the simplicity and power of his heads. Placing
+his sitter on the pedestal, he looked at him from the other end of a
+long room, gazing at him intently with his great dark eyes. Having
+got the idea of the man, what of him carried farthest and ‘told,’ he
+walked hastily up to the canvas, never looking at his sitter, and
+put down what he had fixed in his inner eye; he then withdrew again,
+took another gaze and recorded his results, and so on, making no
+measurements.”</p>
+
+<p>It is pleasant to catch a glimpse of a painter from another painter.
+Farington writes in his <i>Diary</i>, Sept 21, 1801:</p>
+
+<p>“I next went to Mr. Raeburn, the portrait-painter most esteemed here
+who lives in York Place, New-Town. The house is excellent and built
+by himself. His show room is lighted from the top. His painting-room
+commands a view of the Forth and the distant mountains. Here I found
+pictures of a much superior kind to those I saw at Mr. Nasmyth’s. Some
+of Mr. Raeburn’s portraits have an uncommonly true appearance of nature
+and are painted with much firmness, but there is great inequality in
+his works. That which strikes the eye is a kind of Camera Oscura effect
+and from those pictures which seem to be his best, I should conclude
+he has looked very much at nature, reflected in a camera. Raeburn and
+Nasmyth do not associate much with other artists and hold themselves
+very high. Raeburn scarcely indeed with any of the profession. The
+prices of Raeburn are 100 guineas for a whole length, 50 guineas half
+length, 30 guineas for a kit-cat and 25 guineas for a three-quarter
+portrait.”</p>
+
+<p><span class="pagenum" id="Page_416">[416]</span></p>
+
+
+<h4>QUINTON McADAM.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Henry Raeburn</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1756–1823).</i></td>
+    <td class="cht3"><i>Mr. A. W. Erickson.</i></td>
+  </tr>
+</table>
+
+<p>Raeburn was particularly happy in painting portraits of children, full
+of naturalness and charm and character; and it will be remembered that
+he chose for his contribution to the Royal Academy the lovely <i>Boy
+with a Rabbit</i>.</p>
+
+  <div class="figcenter" id="i_415" style="max-width: 410px">
+     <img
+    class="p1"   
+    src="images/i_415.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. A. W. Erickson</i></p>
+     <p class="p0 sm center">QUINTON McADAM</p>
+     <p class="p0 sm right">—<i>Sir Henry Raeburn</i></p>
+ </div>
+
+<p>On a par with this masterpiece stands the portrait represented here
+of <i>Quinton McAdam</i>, a little boy twelve years old, the only son
+of Quinton McAdam of Craigengillan, Ayrshire, to whom Burns wrote an
+“<i>Epistle</i>” addressed to Mr. McAdam of Craigengillan. Quinton
+McAdam was born in Angus in 1805 and died in 1826 and this picture hung
+for over a hundred years at Camlarg, the dower-house of Craigengillan
+until it was purchased by the Agnews of London in 1926. The family
+still possess Raeburn’s receipt for payment for the picture.</p>
+
+<p>The portrait is painted on canvas (61 × 47 inches), life-size, and
+represents the boy in light yellowish-brown trousers, dark jacket,
+and white, ruffled shirt. The light shines beautifully on his satiny,
+blonde hair. His eyes are violet blue.</p>
+
+
+<h4>MARY HORNECK.</h4>
+
+<p class="smcap center">(The Jessamy Bride.)</p>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>John Hoppner</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1758–1810).</i></td>
+    <td class="cht3"><i>Mr. and Mrs. Charles P. Taft.</i></td>
+  </tr>
+</table>
+
+<p>This canvas (29 × 24½ inches), a portrait of <i>Mrs. Gwyn</i>, better
+known as Mary Horneck, Oliver Goldsmith’s “Jessamy Bride,” remained
+in the possession of the Gwyn family until it was sold at Christie’s
+in 1889. Subsequently it passed into the Collection of Mr. Henry G.
+Marquand and thence into the home of Mr. and Mrs. Charles P. Taft in
+Cincinnati.</p>
+
+<p><span class="pagenum" id="Page_417">[417]</span></p>
+
+  <div class="figcenter" id="i_417" style="max-width: 436px">
+     <img
+    class="p1"   
+    src="images/i_417.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. and Mrs. Charles P. Taft</i></p>
+     <p class="p0 sm center">MARY HORNECK “THE JESSAMY BRIDE”</p>
+     <p class="p0 sm right">—<i>John Hoppner</i></p>
+ </div>
+
+<p><span class="pagenum" id="Page_418">[418]</span></p>
+
+<p>The “Jessamy Bride” appears in a low-cut, white dress with blue sash
+and a white cap with a peacock-blue bow and tied under her chin with a
+narrow, black ribbon, or cord. A black spotted scarf is thrown around
+her waist and draped over her arms. The complexion is rosy, the eyes
+are brown, and the hair is powdered <i>à la mode</i>.</p>
+
+<p>Mary Horneck was the daughter of Captain Kane William Horneck of the
+Royal Engineers and Hannah Mangles, known in her day as “the Plymouth
+Beauty.” Both were painted by Sir Joshua Reynolds. Captain Horneck
+died in 1755, leaving his widow in comfortable circumstances and
+she immediately removed with her three children, Charles, Mary, and
+Catherine, to London. About 1769 the Hornecks became acquainted with
+Oliver Goldsmith, who had three years before that date written <i>The
+Deserted Village</i>, which he dedicated to Sir Joshua Reynolds, then
+President of the Royal Academy. Goldsmith soon found appropriate names
+for the Horneck children. Mary was the “Jessamy Bride”; Catherine was
+“Little Comedy” and Charles was the “Captain in Lace.” They are all
+three mentioned in Goldsmith’s acceptance to a dinner given by Dr.
+Baker to the Hornecks and to which the Horneck girls sent an invitation
+to Goldsmith in rhyme. Goldsmith’s reply was as follows:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“Your mandate I got,</div>
+        <div>You may all go to pot,</div>
+        <div>Had your senses been right</div>
+        <div>You’d have sent before night;</div>
+        <div>As I hope to be saved,</div>
+        <div>I put off being shaved;</div>
+        <div>For I could not make bold</div>
+        <div>While the matter was cold,</div>
+        <div>To meddle in suds,</div>
+        <div>Or to put on my duds;</div>
+        <div>So tell Horneck and Nesbitt</div>
+        <div>And Baker and his bit,</div>
+        <div>And Kauffman beside</div>
+        <div>And the Jessamy Bride,</div>
+        <div>And the rest of the crew,</div>
+        <div>The Reynoldses too,</div>
+        <div>Little Comedy’s face,</div>
+        <div>And the Captain in Lace—</div>
+        <div>(By the bye, you may tell him<span class="pagenum" id="Page_419">[419]</span></div>
+        <div>I have something to sell him)—</div>
+        <div>Tell each other to rue</div>
+        <div>Yon Devonshire crew</div>
+        <div>For sending so late</div>
+        <div>To one of my state.</div>
+        <div>But ’tis Reynold’s way</div>
+        <div>From Wisdom to stray</div>
+        <div>And Angelica’s<a id="FNanchor_36" href="#Footnote_36" class="fnanchor">[36]</a> whim</div>
+        <div>To be frolick like him;</div>
+        <div>But alas! your good worships, how could they be wiser</div>
+        <div>When both have been spoiled in to-day’s <i>Advertiser</i>?”</div>
+      </div>
+    </div>
+  </div>
+
+<p>It was after Goldsmith’s death that Mary Horneck married Col. Gwyn of
+the 16th Dragoons, who eventually became an equerry to the King. On his
+appearance at Court, Fanny Burney noted that “Colonel Gwyn is reckoned
+a remarkably handsome man and he is husband of the beautiful eldest
+daughter of Mrs. Horneck.” Of Mary Horneck, now Mrs. Gwyn, Fanny Burney
+wrote in 1788, she was “as beautiful as the first day I saw her; all
+gentleness and softness;” and a year later, as “soft and pleasing and
+still as beautiful as an angel.”</p>
+
+<p>Mrs. Gwyn became a Woman of the Bedchamber to Queen Charlotte and died
+in London in 1840, at the age of eighty-seven.</p>
+
+<p>Catherine Horneck (“Little Comedy”) married in 1771 the artist, Henry
+William Bunbury. Their son, Charles John Bunbury was painted at the age
+of eight or nine, by Sir Joshua Reynolds.</p>
+
+<p>John Hoppner born in Whitechapel, London, of German parents, in
+1758, was a follower of Sir Joshua Reynolds. He exhibited at the
+Royal Academy and became a Court-Painter and a rival of Lawrence.
+Hoppner married in 1782 the daughter of Mrs. Wright, the American
+sculptress and maker of wax-works, who often sat to him as a model.
+Hoppner exhibited his first picture at the Royal Academy in 1780; and,
+through the patronage of the Prince of Wales, became a fashionable
+portrait-painter. After the death of Gainsborough and Reynolds, Hoppner
+and Lawrence commanded the field of art. Hoppner’s charming canvases,
+which are very characteristic of the period, are gaining in vogue day
+by day and bring very large prices.</p>
+
+<p><span class="pagenum" id="Page_420">[420]</span></p>
+
+
+<h4>ELIZA FARREN, COUNTESS OF DERBY.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Thomas Lawrence</i></td>
+    <td class="cht3"><i>Collection of</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1769–1830).</i></td>
+    <td class="cht3"><i>Mr. J. P. Morgan.</i></td>
+  </tr>
+</table>
+
+<p>Lawrence was only a young man of twenty-one when he sent to the Royal
+Academy Exhibition of 1790 this portrait of <i>Miss Farren</i>, which
+was catalogued as <i>The Portrait of an Actress</i>.</p>
+
+<p>The picture, oils on canvas (80 × 57 inches), shows the graceful young
+woman walking in a beautiful English park with a blue sky overhead,
+and who has paused for a moment. She wears an ivory-white, satin cloak
+trimmed with brown fur over a soft white muslin gown. Her gloved left
+hand is holding a large muff on which is a blue bow.</p>
+
+<p>The picture was very much criticized. On hearing many adverse opinions,
+Miss Farren wrote to Lawrence:</p>
+
+<p>“One says it is so thin in the figure that you might blow it away;
+another that it looks broke off in the middle; in short, you must make
+it a little <i>fatter</i> at all events diminish the <i>bend</i> you
+are so attached to, even if it makes the picture look ill, for the
+owner of it is quite distressed about it at present. I am shocked to
+tease you and dare say you wish me and the portrait in the fire; but
+as it was impossible to appease the cries of friends, I must beg you
+to excuse me.” The owner Miss Farren refers to was most probably Lord
+Derby.</p>
+
+<p>At the death of Eliza, Countess of Derby, the portrait became the
+property of her daughter, Mary Margaret, wife of Thomas, second Earl
+of Wilton. From her descendant, Lord Wilton, the picture passed into
+the Collection of Mr. Ludwig Neumann of Manchester, and thence into
+possession of Mr. J. Pierpont Morgan, from whom it was inherited by his
+son.</p>
+
+  <div class="figcenter" id="i_421" style="max-width: 351px">
+     <img
+    class="p1"   
+    src="images/i_421.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of Mr. J. P. Morgan</i></p>
+     <p class="p0 sm center">ELIZA FARREN, COUNTESS OF DERBY</p>
+     <p class="p0 sm right">—<i>Sir Thomas Lawrence</i></p>
+ </div>
+
+<p>This picture is very well known by the famous engraving by Bartolozzi,
+published in 1792, and re-issued in colors in 1797. On the death of
+Lady Derby in March, 1797, the Earl of Derby married, two months later,
+the subject of this portrait, to whom he had long been attentive. In
+the <i>Farington Diary</i>, under date of October 15, 1797, we read:</p>
+
+<p>“Miss Farren (the actress afterwards Lady Derby) was bridesmaid<span class="pagenum" id="Page_422">[422]</span><span class="pagenum" id="Page_421">[421]</span> to
+Lady Charlotte Stanley (Lord Derby’s daughter). Lord Derby’s attachment
+to Miss Farren is extraordinary. He sees her daily and always attends
+the play when she performs. When she came to <i>Knowsley</i> her mother
+was with her, so careful she is of appearances.”</p>
+
+<p>And again on May 20, 1797: “Lady Gage told Hoppner that when Lady Derby
+(Miss Farren the actress recently married to Lord Derby) was presented,
+the Queen <i>advanced to her</i>, which is a great compliment.”</p>
+
+<p>Eliza Farren, born in 1759, was the daughter of George Farren, a
+surgeon and an apothecary of Cork, who went on the stage and attained
+a little success. His wife and daughters also followed him and,
+consequently, Eliza was brought up in the theatre. She played juvenile
+parts in Bath, acting with her family, and often sang between the acts.
+At the age of fifteen she appeared in Liverpool as Rosetta in <i>Love
+in a Village</i> and soon afterwards as Lady Townly in <i>The Provoked
+Husband</i>. In 1777 she made her London <i>début</i> at the Haymarket
+as Miss Hardcastle in <i>She Stoops to Conquer</i> with great success
+and for many years she was the favorite actress of the Haymarket and of
+Drury Lane. When the charming Mrs. Abington left Drury Lane in 1782,
+Miss Farren was accepted as her successor. Miss Farren’s specialty was
+the fine and fashionable lady and her big part was Lady Townly. She
+was greatly admired in the <i>rôles</i> of Lady Fanciful in <i>The
+Provoked Wife</i>; Berinthia in the <i>Trip to Scarborough</i>; Belinda
+in <i>All in the Wrong</i>; Angelica in <i>Love for Love</i>; Elvira in
+<i>The Spanish Friar</i> and also in the Shakesperian parts of Juliet
+and Olivia in <i>Twelfth Night</i>.</p>
+
+<p>Thomas Lawrence was born in Bristol in 1769 and spent his early years
+in Devizes, where his father was proprietor of the Black Bear Inn.
+Very early the boy showed remarkable talent for drawing portraits in
+crayons. He was so successful that he went to Bath, took a studio, and
+began his remarkable career which reached its climax when he became the
+foremost portrait-painter in England.</p>
+
+<p>“In 1787 the wish of Lawrence’s heart was realized, and we find the
+young painter, then eighteen, established in rooms in what was then<span class="pagenum" id="Page_423">[423]</span>
+known as Leicester Fields—the present Leicester Square. He was
+accompanied to London by his father and on the thirteenth of September
+of that year he was admitted as a student of the Royal Academy. Armed
+with a letter of introduction from Prince Hoare, one of Lawrence’s Bath
+patrons, a member of the Dilettanti Society and Secretary for Foreign
+Correspondence to the Royal Academy, Lawrence obtained an interview
+with Sir Joshua Reynolds, and as a specimen of his ability and artistic
+skill he took to the President an oil-portrait of himself, painted in
+1786. He was kindly received by the courtly old Sir Joshua, who praised
+his work and spoke most encouragingly to the young artist. “You have
+been looking at the <i>Old Masters</i>, I see,” he said, “but my advice
+is this: Study Nature! Study Nature!”</p>
+
+<p>Three years later the young artist, who was extremely handsome and
+“romantic” in appearance, exhibited his picture of <i>Miss Farren</i>
+at the Royal Academy, which attracted much attention.</p>
+
+<p>In 1791 Lawrence made a drawing of a much more beautiful subject,
+<i>Emma, Lady Hamilton</i>, from which a print was engraved.</p>
+
+<p>“Hoppner who was ten years older than Lawrence,” writes Lord Ronald
+Sutherland Gower, “had been for some time the favorite painter of
+George, Prince of Wales, with the result that half the smart ladies of
+the town sat to him. But the King, who allowed the Queen’s and Princess
+Amelia’s portraits to be painted by Lawrence, became so much interested
+in him, that, on the death of Sir Joshua Reynolds in February, 1792,
+he decided that the young painter, then not twenty-three years of age
+and not yet a full member of the Academy, should be appointed to the
+post of Painter-in-Ordinary, an office that had been filled by the late
+President. ‘Never perhaps, in the country,’ writes Redgrave, in his
+account of Lawrence, ‘had a man so young, so uneducated, so untried
+in his art, advanced as it were <i>per saltum</i> to the honors and
+emoluments of the profession.’ The King’s favorite painter was the
+American, Benjamin West, Sir Joshua’s successor in the Presidential
+Chair, and Windsor was filled with his historical pictures, which,
+although once valuable, would not now fetch even a modest sum if they
+were sold at Christie’s.”</p>
+
+<p>About 1790 Lawrence removed to Old Bond Street, installing himself<span class="pagenum" id="Page_424">[424]</span> in
+a handsome apartment with his friend, Farington, as his secretary.</p>
+
+<p>Lawrence tried to paint imaginary and historical pictures, but it soon
+was evident that portraiture was his forte. The death of Opie in 1807
+and of Hoppner in 1810, left him without a rival. On the death of
+Benjamin West in 1820, Lawrence was unanimously elected President of
+the Royal Academy. Fuseli, a little dissatisfied, exclaimed: “Well!
+well! since they must have a face-painter to reign over them, let them
+take Lawrence; he can at least paint eyes!” The period between 1820 and
+1830 (when Lawrence died) is practically a “Lawrence Age.” Sir Thomas
+painted everybody of note from George IV and the Duke of Wellington
+to fashionable ladies of no particular distinction save their wealth.
+His full-length portrait of George IV in his Coronation robes was so
+frequently copied and given by the King to his friends that nearly
+every Royal Collection in Europe can show a replica.</p>
+
+<p>The spirit of the age was certainly expressed in Lawrence’s portraits.
+We have only to look at such portraits as the <i>Countess of
+Blessington</i> (Wallace Gallery), <i>Lady Peel</i> (Frick Collection),
+<i>Lady Dover and her Son</i>, and <i>La Duchesse de Berri</i> to
+realize how true this is. These ladies look as if they had stepped from
+the pages of Akermann’s <i>Repository</i>.</p>
+
+<p>It is always interesting to learn what an artist has to say about his
+own work. To Mrs. Jameson, Lawrence wrote the following:</p>
+
+<p>“My thoughts have almost invariably been devoted to Sir Joshua, and,
+generally, to the Italian School—Raphael, Correggio, Titian, even
+Parmigiano. An admirer of the very finest works of Van Dyck, and
+acknowledging the consistent ability of his pencil, I have been less
+his votary than, perhaps, hundreds since his time, of distinguished
+taste and talent (Gainsborough, for instance), to whose judgment in
+other cases I should justly bend. Rubens has been infinitely more the
+object of my admiration; but, as you know, presents very little as
+example for portrait-painting.</p>
+
+<p>“Sir Joshua continues to be more and more my delight and my surprise.
+Rembrandt has another and still higher place in my affection.<span class="pagenum" id="Page_425">[425]</span> In my
+men, then, I have thought of both, and of Titian and of Raphael, as
+the subjects approached their style. In women, of Sir Joshua, Raphael,
+Parmigiano, and Correggio. In children, of Sir Joshua and the two
+latter. In my portraits of Kemble and of Mrs. Siddons, of the highest
+Italian School.”</p>
+
+<p>In 1825 the King of France gave Lawrence the Cross of the <i>Legion
+d’honneur</i>. Lawrence died in 1830, unmarried, a fashionable “man
+about town,” courted, admired, and not unlike Lord Byron, in some
+respects. Lord Gower says:</p>
+
+<p>“That his fame underwent a marked decline during the half-century after
+his death in this country cannot be doubted; but within the last few
+years a reaction has set in, which is tending to place him again in the
+forefront of our greatest portrait-painters.</p>
+
+<p>“Both as a man and as an artist Lawrence was impressionable, and in
+his work was entirely influenced by the spirit of his period, a period
+of affectation that frequently bordered upon vulgarity. If Lawrence’s
+art in portraiture had been genius instead of talent of the highest
+order, he would have created a public taste instead of slavishly
+following that set by the Court or Society of his day. As it was, his
+work was the ultimate expression of the curtain and column school of
+portraiture, and his success set a fashion that was followed for years
+afterwards by innumerable portrait-painters. These, in imitating the
+style, missed the spirit and perception by which Lawrence, trammelled
+as he was by the absurdities of dress and conventionality of attitude
+and surroundings, was enabled to place upon his canvases some
+suggestion of the actual identity of his sitters. And it was not until
+the advent of George Frederick Watts and the late Sir John Everett
+Millais that the effects of the imitation of the obvious points of
+Lawrence’s style finally disappeared from English portraiture.</p>
+
+<p>“Lawrence’s chief defect was that he turned his art too much into a
+trade; he would have attained a far higher position had he contented
+himself with painting half the people he did, and his name would have
+stood on a higher pinnacle in the Temple of Fame. During the last
+twenty years of his life he painted but little more, as a rule, than
+the face of his sitter, the rest of the picture being completed by
+his<span class="pagenum" id="Page_426">[426]</span> pupils; or rather his assistants. This practice has, of course,
+lessened the value of his portraits.</p>
+
+<p>“These are grave failings; but on the other side, his great merits are
+incontestable and weigh the scale in his favor. Where, except among the
+very greatest of those whose fame chiefly rests on their excellence in
+the art of portrait-painting—such giants as Titian, Rubens, Rembrandt,
+Velasquez, and Van Dyck, Reynolds, and Gainsborough—can finer work be
+shown them than in such astonishing likenesses as those of Lawrence
+when at his best; and the master must be judged by his master-works.
+His style, when once he had adopted it, had the great merit of being
+a style of its own, of much refinement and excellence in drawing;
+although his work was, perhaps, too smooth in technique and somewhat
+affected in feeling. His paintings have lasted, whereas those of many
+of his contemporaries are mere wrecks and shadows of their former
+selves; for he attempted no experiments in glazings and pigments, as
+was Sir Joshua’s wont, and his pictures are, as a rule, as fresh as
+when they were painted.</p>
+
+<p>“I believe it only fair to place him immediately beneath our
+three greatest portrait-painters,—that immortal trio, Reynolds,
+Gainsborough, and Romney: at a time when Hoppner, Opie, and Raeburn
+were all working, this is high praise.”</p>
+
+
+<h4>PINKIE.</h4>
+
+<table class="smaller" style="max-width: 50em">
+<tr>
+    <td class="cht"><i>Sir Thomas Lawrence</i></td>
+    <td class="cht3"><i>Collection of the late</i></td>
+  </tr>
+
+<tr>
+    <td class="cht"><i>(1769–1830).</i></td>
+    <td class="cht3"><i>Mr. Henry E. Huntington.</i></td>
+  </tr>
+</table>
+
+<p>This radiant portrait is generally considered to be Lawrence’s
+masterpiece. How fresh, how sweet, how breezy it is! “Pinkie” stands
+on a high hill with a beautiful low-lying landscape of wooded hills
+spreading out and undulating towards the distant horizon. The sky is
+dappled with swiftly moving clouds and the morning breeze is blowing
+pretty freshly, for Pinkie’s light gown is rippling with it and the
+strings of her bonnet are fluttering and flapping rather violently.
+These ribbons are pink, matching the sash which holds the diaphanous,<span class="pagenum" id="Page_428">[428]</span><span class="pagenum" id="Page_427">[427]</span>
+white gown in place. Pinkie’s eyes are brown, large, and lustrous and
+her brown hair is touzled by the wind; but she looks at us so sweetly
+and brightly that we love her at first sight. How daintily her little
+slippered foot is planted on the flower-sprinkled turf! Her airy,
+youthful, billowy figure suggests the idea of Spring beneath whose
+every footstep flowers instantly appear in full bloom.</p>
+
+  <div class="figcenter" id="i_427" style="max-width: 381px">
+     <img
+    class="p1"   
+    src="images/i_427.jpg"
+     alt="">
+     <p class="p-min sm left"><i>Collection of the late Mr. Henry E. Huntington</i></p>
+     <p class="p0 sm center">PINKIE</p>
+     <p class="p0 sm right">—<i>Sir Thomas Lawrence</i></p>
+ </div>
+
+<p>How far she has come! Do we not see her home in the distance on the
+right, encircled by a crescent of leafy trees and with a wide driveway
+through the clearing?</p>
+
+<p>“Pinkie’s” name was Sarah Moulton-Barrett, and she was the only
+daughter of Charles Moulton, Esq., and his wife Elizabeth Barrett
+Moulton. Pinkie was born March 22, 1783, and the lovely child died at
+the age of twelve, the year in which this portrait was painted. It is
+interesting to note that Pinkie was the aunt of the famous poet, Mrs.
+Elizabeth Barrett Browning, who was the daughter of Pinkie’s brother,
+Edward Moulton-Barrett of Coxhoe Hall, Durham, and Hope End, Hereford.</p>
+
+<p>The portrait, oils on canvas (57½ × 39¾ inches), was painted in 1795
+and was formerly in the Collection of Octavius Moulton-Barrett, Esq.,
+Westover, Calbourne, Isle of Wight, and thence it passed to the Right
+Hon. Lord Michelham, K. C. V. O., London. A modern critic rapturously
+expresses what every one feels on looking at this enchanting picture:</p>
+
+<p>“If ever canvas was instinct with life, this picture lives and
+breathes. If ever the vehicle of oil paint spread on canvas has caught
+the wind as it blows, the light that dances in a mischievous child’s
+eyes, the breath of life and joy in living, Lawrence, in this picture,
+achieved the miracle. You feel, as you look at it, that you could read
+small print by its light in the dead of night. The color of it is the
+color of sea-downs on a May morning; the joy of it is of the joy of the
+first warm day of Spring. And in the little girl’s graceful figure are
+comprised whatever things are lovely, whatever things are pure, to the
+minds of men.”</p>
+<hr class="chap x-ebookmaker-drop">
+
+<div class="chapter">
+<p><span class="pagenum" id="Page_429">[429]</span></p>
+
+<h2>INDEX</h2>
+</div>
+
+<p class="center">[Titles of Paintings in this book appear in italics.]</p>
+
+<ul>
+  <li class="i1">Abbey, mediæval,
+    <a href="#Page_170">170</a></li>
+
+  <li class="i1">Abel, Charles Frederick,
+    <a href="#Page_361">361</a></li>
+
+  <li class="i1">Act of Supremacy,
+    <a href="#Page_244">244</a></li>
+
+  <li class="i1">Adoration of the Kings (Gentile da Fabriano),
+    <a href="#Page_74">74</a>,
+    <a href="#Page_77">77</a></li>
+
+  <li class="i1">Adoration of the Lamb (Van Eycks),
+    <a href="#Page_157">157</a>,
+    <a href="#Page_168">168</a></li>
+
+  <li class="i1"><i>Adoration of the Magi</i> (Benvenuto di Giovanni),
+    <a href="#Page_12">12–16</a></li>
+
+  <li class="i1">Adoration of the Magi (Botticelli),
+    <a href="#Page_58">58</a></li>
+
+  <li class="i1">Adoration of the Magi (Fra Angelico),
+    <a href="#Page_37">37</a></li>
+
+  <li class="i1">Adoration of the Magi (Memling),
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1"><i>Adoration of the Shepherds</i> (Mantegna),
+    <a href="#Page_104">104</a></li>
+
+  <li class="i1">Adoration of the Virgin (Lippi),
+    <a href="#Page_46">46</a></li>
+
+  <li class="i1">Age of Innocence (Reynolds),
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Agnolo Gaddi,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1"><i>Agony in the Garden</i> (Raphael),
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1">Akermann’s Repository,
+    <a href="#Page_424">424</a></li>
+
+  <li class="i1">Albert, Charles d’,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Albertinelli, Mariotto,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Albigenses,
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Albizzi family,
+    <a href="#Page_68">68</a></li>
+
+  <li class="i1">Allegri, Antonio,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_99">99</a></li>
+
+  <li class="i1">Alphonso, Duke of Ferrara,
+    <a href="#Page_99">99</a></li>
+
+  <li class="i1">Altichiero Altichieri,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_103">103</a>,
+    <a href="#Page_104">104</a></li>
+
+  <li class="i1">Ambassadors, The (Holbein),
+    <a href="#Page_250">250</a></li>
+
+  <li class="i1">“Anacreon of Painting,” The,
+    <a href="#Page_277">277</a></li>
+
+  <li class="i1">Anatomy Lesson, The (Rembrandt),
+    <a href="#Page_206">206</a></li>
+
+  <li class="i1">Analysis of Beauty, Hogarth’s,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Ancre, Marshall d’,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">André, Major John,
+    <a href="#Page_398">398</a></li>
+
+  <li class="i1">Andrea d’Agnolo,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Andrea del Castagno,
+    <a href="#Page_19">19</a></li>
+
+  <li class="i1">Andrea del Sarto,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Andrea di Cione (Orcagna),
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Andrea di Cione (Verrocchio),
+    <a href="#Page_23">23</a></li>
+
+  <li class="i1">Andrea di Firenze,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">“Andrea senza errori,”
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Anemone,
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Angelo Allori,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Angels, Fra Angelico’s,
+    <a href="#Page_32">32–34</a>,
+    <a href="#Page_38">38</a></li>
+
+  <li class="i1">Angels’ Heads (Reynolds),
+    <a href="#Page_338">338</a>,
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Anglo-Norman painters,
+    <a href="#Page_333">333</a></li>
+
+  <li class="i1">Anne of Austria,
+    <a href="#Page_176">176</a>,
+    <a href="#Page_178">178</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1"><i>Anne, Lady de la Pole</i> (Romney),
+    <a href="#Page_410">410</a></li>
+
+  <li class="i1">Annunciation, The,
+    <a href="#Page_28">28</a>,
+    <a href="#Page_30">30</a></li>
+
+  <li class="i1"><i>Annunciation, The</i> (Masolino),
+    <a href="#Page_28">28</a></li>
+
+  <li class="i1">Annunciation, Lily,
+    <a href="#Page_30">30</a></li>
+
+  <li class="i1">Annunzio, D’, quoted,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Antonello da Messina,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_124">124</a>,
+    <a href="#Page_132">132</a></li>
+
+  <li class="i1">Antonello di Giovanni degli Antoni,
+    <a href="#Page_124">124</a></li>
+
+  <li class="i1">Antonio di San Gallo,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Antonio Veneziano,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_19">19</a></li>
+
+  <li class="i1">Antwerp School,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_166">166</a></li>
+
+  <li class="i1">Apple,
+    <a href="#Page_126">126</a></li>
+
+  <li class="i1">Arlequin,
+    <a href="#Page_281">281</a></li>
+
+  <li class="i1">Armand-Dayot, quoted,
+    <a href="#Page_302">302</a></li>
+
+  <li class="i1">Armida,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Armida, Garden of,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Armstrong, Sir Walter, quoted,
+    <a href="#Page_286">286</a>,
+    <a href="#Page_340">340</a>,
+    <a href="#Page_341">341</a>,
+    <a href="#Page_385">385</a>,
+    <a href="#Page_388">388</a>,
+    <a href="#Page_406">406</a></li>
+
+  <li class="i1">Army Plot,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Arne, Dr.,
+    <a href="#Page_331">331</a></li>
+
+  <li class="i1">Arnolfo del Cambio,
+    <a href="#Page_28">28</a></li>
+
+  <li class="i1">Arte de Medici e speziale,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Asolo,
+    <a href="#Page_144">144</a></li>
+
+  <li class="i1">Astrophel and Stella,
+    <a href="#Page_187">187–188</a></li>
+
+  <li class="i1">Audran, Claude,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Augsburg,
+    <a href="#Page_236">236</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Baccio della Porta,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Bach, John Christian,
+    <a href="#Page_361">361</a></li>
+
+  <li class="i1">Balen, Hendrik van,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_165">165</a>,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Baldovinetti, Alesso,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_37">37</a>,
+    <a href="#Page_48">48–51</a>,
+    <a href="#Page_52">52</a>,
+    <a href="#Page_70">70</a></li>
+
+  <li class="i1">Baptistery doors,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_52">52</a></li>
+
+  <li class="i1">Barbizon School,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Barry, Madame du,
+    <a href="#Page_312">312</a></li>
+
+  <li class="i1">Bartolo di Fredi,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Basaiti Marco,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Bassano, Jacopo,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Bastiani, Lazzaro,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Bath,
+    <a href="#Page_348">348</a>,
+    <a href="#Page_358">358</a>,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_390">390</a>,
+    <a href="#Page_422">422</a></li>
+
+  <li class="i1">Battle of the Nile,
+    <a href="#Page_408">408</a></li>
+
+  <li class="i1">Beatrice d’Este,
+    <a href="#Page_96">96</a>,
+    <a href="#Page_107">107</a>,
+    <a href="#Page_148">148</a>,
+    <a href="#Page_150">150</a></li>
+
+  <li class="i1">Beauvais tapestry,
+    <a href="#Page_306">306</a></li>
+
+  <li class="i1">Beechey, Sir William,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Bellini, Gentile,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_118">118</a>,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_132">132</a></li>
+
+  <li class="i1">Bellini, Giovanni,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_118">118</a>,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_121">121</a>,
+    <a href="#Page_124">124</a>,
+    <a href="#Page_130">130–139</a>,
+    <a href="#Page_151">151</a></li>
+
+  <li class="i1">Bellini, Jacopo,
+    <a href="#Page_8">8</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a></li>
+
+  <li class="i1">Bellini, Nicolosia,
+    <a href="#Page_97">97</a>,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Bembo, Pietro (Cardinal),
+    <a href="#Page_144">144</a></li>
+
+  <li class="i1">Benci, Jacopo d’Antonio,
+    <a href="#Page_52">52</a></li>
+
+  <li class="i1">Benvenuto di Giovanni,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_12">12–16</a></li>
+
+  <li class="i1">Berenson, quoted,
+    <a href="#Page_8">8</a>,
+    <a href="#Page_12">12</a>,
+    <a href="#Page_36">36</a>,
+    <a href="#Page_52">52</a>,
+    <a href="#Page_62">62–63</a>,
+    <a href="#Page_77">77</a>,
+    <a href="#Page_83">83–84</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_103">103</a>,
+    <a href="#Page_106">106</a>,
+    <a href="#Page_122">122</a></li>
+
+  <li class="i1">Bermudas, Plantation of the,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Bernard di Betto,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1">Bernardo da Canale,
+    <a href="#Page_122">122</a></li>
+
+  <li class="i1">Berruguete, Pedro,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Birds, Painters of, Dutch,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Birds, Painters of, Italian,
+    <a href="#Page_19">19</a></li>
+
+  <li class="i1"><i>Billet-Doux, Le</i> (Fragonard),
+    <a href="#Page_318">318</a></li>
+
+  <li class="i1">Birth of Venus (Botticelli),
+    <a href="#Page_59">59</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_66">66</a></li>
+
+  <li class="i1">Black Friars,
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Blanc, Charles, quoted,
+    <a href="#Page_166">166</a>,
+    <a href="#Page_182">182</a></li>
+
+  <li class="i1">Blount, Charles, Earl of Devonshire,
+    <a href="#Page_188">188</a></li>
+
+  <li class="i1"><i>Blue Boy, The</i> (Gainsborough),
+    <a href="#Page_378">378–386</a></li>
+
+  <li class="i1">Boccatis, Camillo,
+    <a href="#Page_78">78</a>,
+    <a href="#Page_172">172</a></li>
+
+  <li class="i1">Bode, Dr. Wilhelm, quoted,
+    <a href="#Page_207">207–208</a>,
+    <a href="#Page_212">212</a>,
+    <a href="#Page_228">228</a></li>
+
+  <li class="i1">Bodegones,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Bologna School,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Bonfigli, Benedetto,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_77">77–78</a></li>
+
+  <li class="i1">Bonvicino, Alessandro,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Bordone, Paris,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Borgia, Lucrezia,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_151">151</a></li>
+
+  <li class="i1">Borgognone,
+    <a href="#Page_110">110</a></li>
+
+  <li class="i1">Borgo San Sepolcro,
+    <a href="#Page_5">5</a>,
+    <a href="#Page_9">9</a>,
+    <a href="#Page_10">10</a>,
+    <a href="#Page_22">22</a></li>
+
+  <li class="i1">Borluut, Isabella,
+    <a href="#Page_157">157</a></li>
+
+  <li class="i1">Bosch, Jerome,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Botticelli, Sandro,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_47">47</a>,
+    <a href="#Page_48">48</a>,
+    <a href="#Page_55">55–66</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_94">94</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Boucher, François,
+    <a href="#Page_272">272</a>,
+    <a href="#Page_304">304</a>,
+    <a href="#Page_312">312</a>,
+    <a href="#Page_316">316</a></li>
+
+  <li class="i1">Boulton, William H., quoted,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Boy with a Rabbit (Raeburn),
+    <a href="#Page_411">411</a>,
+    <a href="#Page_416">416</a></li>
+
+  <li class="i1">Bramante di Milano,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Bramantino,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Brancacci Chapel,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_45">45</a>,
+    <a href="#Page_46">46</a>,
+    <a href="#Page_48">48</a></li>
+
+  <li class="i1">Brancacci, Felice,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Brancacci frescoes,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Brandt, Isabella,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Bredius, Dr., quoted,
+    <a href="#Page_217">217–218</a></li>
+
+  <li class="i1">Brescia School,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Bronzino,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Brooke, Lord,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Brown, Dr. John, quoted,
+    <a href="#Page_412">412</a></li>
+
+  <li class="i1">Browning, Elizabeth Barrett,
+    <a href="#Page_428">428</a></li>
+
+  <li class="i1">Brueghel, “Hell-fire,”
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Brueghel, “Peasant,”
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Brueghel, “Velvet,”
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Bruges, School of,
+    <a href="#Page_157">157</a>,
+    <a href="#Page_161">161</a>
+    <a href="#Page_170">170</a></li>
+
+  <li class="i1">Brunelleschi,
+    <a href="#Page_103">103</a></li>
+
+  <li class="i1">Buisson, J., quoted,
+    <a href="#Page_120">120</a></li>
+
+  <li class="i1">Buckingham, Duke of,
+    <a href="#Page_192">192</a>,
+    <a href="#Page_195">195</a>,
+    <a href="#Page_196">196</a></li>
+
+  <li class="i1">Bull, The (Paul Potter),
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Bunbury, Charles John,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Bunbury, Henry William,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Burger, quoted,
+    <a href="#Page_201">201</a>,
+    <a href="#Page_203">203</a>,
+    <a href="#Page_227">227</a></li>
+
+  <li class="i1">Burgundian Court,
+    <a href="#Page_158">158–160</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Burgundy, Dukes of,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Burnet, John,
+    <a href="#Page_382">382</a></li>
+
+  <li class="i1">Burney, Fanny, quoted,
+    <a href="#Page_344">344</a>,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Buttall, Jonathan,
+    <a href="#Page_378">378–386</a></li>
+
+  <li class="i1">Byron, quoted,
+    <a href="#Page_348">348</a></li>
+
+  <li class="i1">Byzantine traditions,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_115">115</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Cadore,
+    <a href="#Page_137">137–142</a></li>
+
+  <li class="i1">Cadore, Valley of,
+    <a href="#Page_146">146</a></li>
+
+  <li class="i1">Caliari, Paolo,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_120">120</a></li>
+
+  <li class="i1">Calonne,
+    <a href="#Page_252">252</a>,
+    <a href="#Page_354">354</a></li>
+
+  <li class="i1">Campanile (Giotto’s),
+    <a href="#Page_26">26</a></li>
+
+  <li class="i1">Campbell, Thomas,
+    <a href="#Page_350">350</a></li>
+
+  <li class="i1">Campin, Robert,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_169">169</a></li>
+
+  <li class="i1">Canaletto,
+    <a href="#Page_121">121</a>,
+    <a href="#Page_152">152</a></li>
+
+  <li class="i1">Caprichos, Los (Goya),
+    <a href="#Page_170">170</a></li>
+
+  <li class="i1">“Captain in Lace,”
+    <a href="#Page_418">418</a></li>
+
+  <li class="i1">Caravaggio,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1"><i>Cardinal Albrecht as St. Hieronymus</i> (Cranach),
+    <a href="#Page_251">251</a></li>
+
+  <li class="i1">Cardinal Bembo,
+    <a href="#Page_144">144</a></li>
+
+  <li class="i1">Cardinal Granvella,
+    <a href="#Page_201">201</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1"><i>Cardinal Quiroga</i> (El Greco),
+    <a href="#Page_259">259</a></li>
+
+  <li class="i1"><i>Camargo, La</i> (Lancret),
+    <a href="#Page_291">291–292</a></li>
+
+  <li class="i1">Carnations,
+    <a href="#Page_25">25</a></li>
+
+  <li class="i1">Carpaccio, Vittore,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Cartwright, Mrs. Julia, quoted,
+    <a href="#Page_26">26</a>,
+    <a href="#Page_39">39</a>,
+    <a href="#Page_47">47–48</a>,
+    <a href="#Page_69">69</a>,
+    <a href="#Page_95">95</a>,
+    <a href="#Page_150">150</a></li>
+
+  <li class="i1">Castiglione, Baldassare,
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1"><i>Caterina Cornaro</i> (Titian),
+    <a href="#Page_143">143</a></li>
+
+  <li class="i1">Caxton, William,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Cazes, Pierre Jacques,
+    <a href="#Page_302">302</a></li>
+
+  <li class="i1">Cenni dei Pepe,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Cennino Cennini,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_26">26</a></li>
+
+  <li class="i1">Champaigne, Philippe de,
+    <a href="#Page_278">278</a></li>
+
+  <li class="i1">“Chaponnay Nattier,”
+    <a href="#Page_288">288</a></li>
+
+  <li class="i1">Chardin, J. B. S.,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_300">300–303</a>,
+    <a href="#Page_316">316</a>,
+    <a href="#Page_318">318</a></li>
+
+  <li class="i1">Charles I (England),
+    <a href="#Page_164">164</a>,
+    <a href="#Page_179">179</a>,
+    <a href="#Page_182">182</a>,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_192">192</a>,
+    <a href="#Page_194">194</a>,
+    <a href="#Page_195">195</a></li>
+
+  <li class="i1">Charles II (England),
+    <a href="#Page_194">194</a>,
+    <a href="#Page_195">195</a></li>
+
+  <li class="i1">Charles V (Emperor),
+    <a href="#Page_161">161</a>,
+    <a href="#Page_240">240</a>,
+    <a href="#Page_243">243</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Charles the Bold,
+    <a href="#Page_160">160</a>,
+    <a href="#Page_161">161</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Château de Steen,
+    <a href="#Page_179">179</a></li>
+
+  <li class="i1">Cherries,
+    <a href="#Page_126">126</a></li>
+
+  <li class="i1">Chinoiserie,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Christian Art,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Christina of Denmark,
+    <a href="#Page_243">243</a></li>
+
+  <li class="i1">Christus, Petrus,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_169">169–172</a></li>
+
+  <li class="i1">Cimabue,
+    <a href="#Page_17">17</a>,
+    <a href="#Page_26">26</a></li>
+
+  <li class="i1">Cima da Conegliano,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Civic Guard Banquet (B. van der Helst),
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Classic Architecture,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Clement VIII,
+    <a href="#Page_56">56</a></li>
+
+  <li class="i1">Cleves, Anne of,
+    <a href="#Page_243">243</a></li>
+
+  <li class="i1">“Cock-fighting Earl,”
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Coeck, Jerome,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Coello, Alonzo Sanchez,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Coleridge, quoted,
+    <a href="#Page_377">377</a></li>
+
+  <li class="i1">Colonel St. Leger (Gainsborough),
+    <a href="#Page_388">388</a></li>
+
+  <li class="i1">Columbine,
+    <a href="#Page_281">281</a>,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Columbine, The (Luine),
+    <a href="#Page_110">110</a></li>
+
+  <li class="i1">Comédiens français,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Compagnia di San Luca,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Company of Capt. Roelof Bicker (B. van der Helst),
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Connecticut,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Constable, John,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Convent of San Marco (Florence),
+    <a href="#Page_37">37</a>,
+    <a href="#Page_38">38</a></li>
+
+  <li class="i1">Conversation-pieces,
+    <a href="#Page_199">199</a>,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Cook, Herbert F., quoted,
+    <a href="#Page_140">140</a></li>
+
+  <li class="i1">Cooper, Samuel,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Copal, François,
+    <a href="#Page_207">207–210</a></li>
+
+  <li class="i1">Copal, Titia,
+    <a href="#Page_210">210</a></li>
+
+  <li class="i1">Coques, Gonzales,
+    <a href="#Page_166">166</a></li>
+
+  <li class="i1">Coronation of the Virgin (Lippi),
+    <a href="#Page_46">46</a></li>
+
+  <li class="i1">Corporation pictures,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Corésus and Callirhoé (Fragonard),
+    <a href="#Page_314">314</a>,
+    <a href="#Page_316">316</a></li>
+
+  <li class="i1">Cornaro, Caterina,
+    <a href="#Page_121">121</a>,
+    <a href="#Page_143">143–145</a>,
+    <a href="#Page_146">146</a></li>
+
+  <li class="i1">Cornaro, Giorgio,
+    <a href="#Page_144">144</a>,
+    <a href="#Page_146">146</a></li>
+
+  <li class="i1">Correggio,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">“Correggio of Fruits and Flowers,”
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Cosimas and Damianus,
+    <a href="#Page_39">39–42</a></li>
+
+  <li class="i1">Costa, Lorenzo,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_108">108</a></li>
+
+  <li class="i1">Costumes, Eastern,
+    <a href="#Page_20">20</a></li>
+
+  <li class="i1">Cotes, Francis,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_395">395</a></li>
+
+  <li class="i1"><i>Cottage Door, The</i> (Gainsborough),
+    <a href="#Page_357">357</a></li>
+
+  <li class="i1">Council of the Eastern and Western Churches,
+    <a href="#Page_20">20</a></li>
+
+  <li class="i1">Countess of Coventry,
+    <a href="#Page_369">369</a></li>
+
+  <li class="i1">Couperin,
+    <a href="#Page_331">331</a></li>
+
+  <li class="i1">Court Beauties (Kneller),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Court Beauties (Lely),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Court of Mantua,
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Court of Milan,
+    <a href="#Page_94">94–95</a>,
+    <a href="#Page_151">151</a></li>
+
+  <li class="i1"><i>Cowper Madonna, The Small</i> (Raphael),
+    <a href="#Page_86">86–88</a></li>
+
+  <li class="i1">Cowper Madonna of 1508 (Raphael),
+    <a href="#Page_84">84–86</a></li>
+
+  <li class="i1">Coypel, Noel,
+    <a href="#Page_302">302</a></li>
+
+  <li class="i1">Cranach, the Elder, Lucas,
+    <a href="#Page_251">251–252</a></li>
+
+  <li class="i1">Cranach, the Younger, Lucas,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Crivelli, Carlo,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_125">125–130</a></li>
+
+  <li class="i1">Crome, John,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Cromwell, Oliver,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_334">334</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Crowe and Cavalcaselle, quoted,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1">Cust, Lionel, quoted,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1">Cuyp, Aelbert,
+    <a href="#Page_201">201</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Daddi, Bernardo,
+    <a href="#Page_17">17</a>,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_73">73</a></li>
+
+  <li class="i1">Dædalus,
+    <a href="#Page_184">184–186</a></li>
+
+  <li class="i1"><i>Dædalus and Icarus</i> (Van Dyck),
+    <a href="#Page_184">184</a></li>
+
+  <li class="i1">Daisy,
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1"><i>Danse, La</i> (Watteau),
+    <a href="#Page_281">281</a></li>
+
+  <li class="i1">Dante,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_32">32</a></li>
+
+  <li class="i1">Davenport, The Hon. Mrs.,
+    <a href="#Page_397">397–398</a></li>
+
+  <li class="i1">David Garrick and His Wife (Hogarth),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">David, Gerard,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">David, Jacques Louis,
+    <a href="#Page_270">270</a></li>
+
+  <li class="i1">Delany, Mrs., quoted,
+    <a href="#Page_376">376</a></li>
+
+  <li class="i1">Delmé, Lady Betty,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Derby, Earl of,
+    <a href="#Page_400">400</a>,
+    <a href="#Page_420">420–422</a></li>
+
+  <li class="i1">Desastres de la guerra,
+    <a href="#Page_270">270</a></li>
+
+  <li class="i1">Deserted Village, The,
+    <a href="#Page_418">418</a></li>
+
+  <li class="i1">Desportes, A. F.,
+    <a href="#Page_277">277</a></li>
+
+  <li class="i1">Desportes, Philippe, quoted,
+    <a href="#Page_186">186</a></li>
+
+  <li class="i1"><i>Deux Confidentes, Les</i> (Boucher),
+    <a href="#Page_304">304</a></li>
+
+  <li class="i1">Devereux, Penelope,
+    <a href="#Page_187">187</a></li>
+
+  <li class="i1">Devereux, Walter,
+    <a href="#Page_187">187</a></li>
+
+  <li class="i1"><i>Diana, Viscountess Crosbie</i> (Reynolds),
+    <a href="#Page_331">331</a>,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_340">340</a>,
+    <a href="#Page_346">346–347</a>,
+    <a href="#Page_356">356</a></li>
+
+  <li class="i1">Diderot, quoted,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_303">303</a></li>
+
+  <li class="i1"><i>Dirk Berck of Cologne</i> (Holbein),
+    <a href="#Page_246">246</a></li>
+
+  <li class="i1">Discourses on Art (Reynolds),
+    <a href="#Page_338">338</a></li>
+
+  <li class="i1">Doelen pictures,
+    <a href="#Page_199">199</a>,
+    <a href="#Page_222">222</a></li>
+
+  <li class="i1">Doge Loredano (Giovanni Bellini),
+    <a href="#Page_132">132</a></li>
+
+  <li class="i1">Dom-bild, Cologne,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Domenichino,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1">Domenic de Guzman,
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Domenico di Bartolo,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Domenico Veneziano,
+    <a href="#Page_22">22</a></li>
+
+  <li class="i1">Dominican Order,
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Donatello,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_103">103</a>,
+    <a href="#Page_106">106</a></li>
+
+  <li class="i1">Dosso Dossi,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_137">137</a></li>
+
+  <li class="i1">Dou, Gerard,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Drouais, F. H.,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_310">310–314</a></li>
+
+  <li class="i1">Duccio di Buoninsegna,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_4">4</a>,
+    <a href="#Page_5">5</a>,
+    <a href="#Page_9">9</a>,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Duchess of Argyll,
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Duchess of Devonshire,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_356">356</a>,
+    <a href="#Page_358">358</a>,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_371">371</a></li>
+
+  <li class="i1">Duchess of Ferrara,
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Duchess of Gloucester,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Duchess of Marlborough,
+    <a href="#Page_375">375</a></li>
+
+  <li class="i1">Duke of Gloucester,
+    <a href="#Page_369">369</a></li>
+
+  <li class="i1">Duke of Mantua,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Dulwich, Mrs. Siddons as Tragic Muse at,
+    <a href="#Page_353">353–356</a></li>
+
+  <li class="i1"><i>Duo, The</i> (Lancret),
+    <a href="#Page_294">294</a></li>
+
+  <li class="i1">Duomo,
+    <a href="#Page_26">26</a></li>
+
+  <li class="i1">Dürer, Albrecht,
+    <a href="#Page_137">137</a>,
+    <a href="#Page_200">200</a>,
+    <a href="#Page_235">235</a>,
+    <a href="#Page_236">236</a>,
+    <a href="#Page_237">237–238</a></li>
+
+  <li class="i1">Dürer, etchings by,
+    <a href="#Page_238">238</a></li>
+
+  <li class="i1">Dürer, portraits by,
+    <a href="#Page_237">237</a></li>
+
+  <li class="i1">Dürer, wood-cuts by,
+    <a href="#Page_238">238</a></li>
+
+  <li class="i1">“Dutch Hogarth,” The,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Dutch School,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Duveen, Sir Joseph,
+    <a href="#Page_378">378</a></li>
+
+  <li class="i1">Dyck, Sir Anthony Van,
+    <a href="#Page_112">112</a>,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_181">181–196</a>,
+    <a href="#Page_300">300</a>,
+    <a href="#Page_335">335</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Edward VI (England),
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Eighteenth Century French women,
+    <a href="#Page_288">288</a></li>
+
+  <li class="i1">Eighteenth Century Society,
+    <a href="#Page_229">229–231</a></li>
+
+  <li class="i1">El Greco,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_259">259–262</a></li>
+
+  <li class="i1"><i>Eliza Farren</i> (Sir Thomas Lawrence),
+    <a href="#Page_420">420</a></li>
+
+  <li class="i1">Elizabeth Bas (Rembrandt),
+    <a href="#Page_212">212</a></li>
+
+  <li class="i1">Elizabeth Hamilton, Countess of Derby,
+    <a href="#Page_398">398–402</a></li>
+
+  <li class="i1">Embarquement pour l’Île de Cythère (Watteau),
+    <a href="#Page_281">281</a>,
+    <a href="#Page_314">314</a></li>
+
+  <li class="i1"><i>Emma, Lady Hamilton</i> (Romney),
+    <a href="#Page_403">403–410</a>,
+    <a href="#Page_423">423</a></li>
+
+  <li class="i1">Erasmus,
+    <a href="#Page_242">242</a></li>
+
+  <li class="i1">Erasmus, quoted,
+    <a href="#Page_244">244</a></li>
+
+  <li class="i1">Ercole of Ferrara, Duke,
+    <a href="#Page_150">150</a></li>
+
+  <li class="i1">Essex, Earl of,
+    <a href="#Page_187">187</a>,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Este family,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Este, Lionello,
+    <a href="#Page_168">168</a></li>
+
+  <li class="i1">Evangelista di Pian di Meleto,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Everdingen, Allart Van,
+    <a href="#Page_217">217–218</a></li>
+
+  <li class="i1">Everdingen, Cornelius Van,
+    <a href="#Page_217">217–218</a></li>
+
+  <li class="i1">Eyck, Hubert van,
+    <a href="#Page_157">157</a>,
+    <a href="#Page_160">160</a>,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Eyck, Jan van,
+    <a href="#Page_157">157</a>,
+    <a href="#Page_158">158</a>,
+    <a href="#Page_160">160</a>,
+    <a href="#Page_170">170</a>,
+    <a href="#Page_200">200</a>,
+    <a href="#Page_286">286</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Fabrics, Oriental,
+    <a href="#Page_10">10</a></li>
+
+  <li class="i1">Fabritius, Carel,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_227">227</a>,
+    <a href="#Page_231">231</a></li>
+
+  <li class="i1">Fantin-Latour,
+    <a href="#Page_303">303</a></li>
+
+  <li class="i1">Farington Diary, quoted,
+    <a href="#Page_340">340–341</a>,
+    <a href="#Page_344">344</a>,
+    <a href="#Page_352">352</a>,
+    <a href="#Page_380">380</a>,
+    <a href="#Page_414">414</a>,
+    <a href="#Page_420">420</a>,
+    <a href="#Page_421">421</a></li>
+
+  <li class="i1">Farren, Miss,
+    <a href="#Page_400">400</a>,
+    <a href="#Page_420">420–422</a></li>
+
+  <li class="i1">“Father of His Country, The,”
+    <a href="#Page_20">20</a></li>
+
+  <li class="i1">“Father of Painters,”
+    <a href="#Page_97">97</a></li>
+
+  <li class="i1">Faure, Élie, quoted,
+    <a href="#Page_262">262</a>,
+    <a href="#Page_282">282</a>,
+    <a href="#Page_302">302</a></li>
+
+  <li class="i1"><i>Feast of the Gods</i> (Bellini),
+    <a href="#Page_137">137</a></li>
+
+  <li class="i1">Feast of the Pheasant,
+    <a href="#Page_159">159–160</a></li>
+
+  <li class="i1">Feast of the Rosary (Dürer),
+    <a href="#Page_238">238</a></li>
+
+  <li class="i1">Featherstonehaugh, Sir Henry,
+    <a href="#Page_406">406</a></li>
+
+  <li class="i1">Ferrarese School,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1"><i>Fête Champêtre, Une</i> (Pater),
+    <a href="#Page_296">296</a></li>
+
+  <li class="i1"><i>Fête Galante, Une</i> (Pater),
+    <a href="#Page_298">298</a></li>
+
+  <li class="i1">Fêtes galantes,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_284">284</a>,
+    <a href="#Page_292">292</a></li>
+
+  <li class="i1">Fierens-Gevaert, quoted,
+    <a href="#Page_169">169</a></li>
+
+  <li class="i1">Filipepi, Alessandro di Mariano,
+    <a href="#Page_56">56</a></li>
+
+  <li class="i1">Fiorenzo di Lorenzo,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1">Fischer, John Christian,
+    <a href="#Page_361">361</a></li>
+
+  <li class="i1">Fisherman Presenting the Ring of St. Mark to the Doge (Paris Bordone),
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">“Flemish Fra Angelico,” The,
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Flemish Painting,
+    <a href="#Page_161">161</a>,
+    <a href="#Page_162">162</a></li>
+
+  <li class="i1">Flemish School,
+    <a href="#Page_157">157</a></li>
+
+  <li class="i1">Floating Feather, The (M. d’Hondecoeter),
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Floreins, Jan,
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Florentine School,
+    <a href="#Page_17">17–72</a></li>
+
+  <li class="i1">Flower painters,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Flowers (Memling),
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Fly represented,
+    <a href="#Page_128">128</a>,
+    <a href="#Page_169">169</a></li>
+
+  <li class="i1">Fondaco dei Tedeschi,
+    <a href="#Page_118">118</a>,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_152">152</a>,
+    <a href="#Page_238">238</a></li>
+
+  <li class="i1">Fontainebleau,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Foppa, Vincenzo,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Fourment, Helena,
+    <a href="#Page_179">179</a></li>
+
+  <li class="i1"><i>Fountain in the Park, The</i> (Hubert Robert),
+    <a href="#Page_322">322</a></li>
+
+  <li class="i1">Fox, Charles James,
+    <a href="#Page_342">342</a>,
+    <a href="#Page_377">377</a></li>
+
+  <li class="i1">Fra Angelico,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_32">32–42</a>,
+    <a href="#Page_50">50</a>,
+    <a href="#Page_76">76</a>,
+    <a href="#Page_78">78</a>,
+    <a href="#Page_103">103</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Fra Bartolommeo,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Fra Filippo Lippi,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_42">42–48</a>,
+    <a href="#Page_58">58</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Fra Giovanni da Fiesole,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_37">37</a></li>
+
+  <li class="i1">Fragonard, J. H.,
+    <a href="#Page_272">272</a>,
+    <a href="#Page_314">314–320</a></li>
+
+  <li class="i1">Francesco di Stefano,
+    <a href="#Page_22">22</a></li>
+
+  <li class="i1"><i>Francesco Sassetti and His Son Teodoro</i> (Ghirlandaio),
+    <a href="#Page_72">72</a></li>
+
+  <li class="i1">Francia, Francesco,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_107">107–108</a></li>
+
+  <li class="i1">Franciabigio,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Francis I,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">Franciscans, Order of,
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1">Franconian School,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Frans, Robert,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Frantz, Henri, quoted,
+    <a href="#Page_324">324</a></li>
+
+  <li class="i1">Frederick the Great,
+    <a href="#Page_291">291</a>,
+    <a href="#Page_296">296</a></li>
+
+  <li class="i1">French women of the Eighteenth Century,
+    <a href="#Page_288">288</a></li>
+
+  <li class="i1">Friars Minor, Order of,
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1">Friedländer, Max J., quoted,
+    <a href="#Page_168">168</a>,
+    <a href="#Page_176">176</a>,
+    <a href="#Page_228">228</a></li>
+
+  <li class="i1">Fromentin, quoted,
+    <a href="#Page_207">207</a></li>
+
+  <li class="i1">Fruit,
+    <a href="#Page_126">126</a></li>
+
+  <li class="i1">Fry, Roger, quoted,
+    <a href="#Page_128">128</a></li>
+
+  <li class="i1">Fuggers, The,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Fulcher, quoted,
+    <a href="#Page_386">386</a></li>
+
+  <li class="i1">Fuller, quoted,
+    <a href="#Page_196">196</a></li>
+
+  <li class="i1">Fuseli, quoted,
+    <a href="#Page_424">424</a></li>
+
+  <li class="i1">Fyt, Jan,
+    <a href="#Page_165">165</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Gabriel, Angel,
+    <a href="#Page_28">28</a>,
+    <a href="#Page_30">30</a>,
+    <a href="#Page_32">32</a>,
+    <a href="#Page_34">34</a></li>
+
+  <li class="i1"><i>Gabriel, the Announcing Angel</i> (Fra Angelico),
+    <a href="#Page_32">32</a></li>
+
+  <li class="i1">Gainsborough, Thomas,
+    <a href="#Page_329">329</a>,
+    <a href="#Page_330">330</a>,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_332">332</a>,
+    <a href="#Page_333">333</a>,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_357">357–392</a>,
+    <a href="#Page_394">394</a>,
+    <a href="#Page_426">426</a></li>
+
+  <li class="i1">Gandy, William,
+    <a href="#Page_338">338</a></li>
+
+  <li class="i1">Garden Scenes,
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1">Garrick, David,
+    <a href="#Page_348">348</a>,
+    <a href="#Page_350">350</a>,
+    <a href="#Page_361">361</a></li>
+
+  <li class="i1">“Gates of Paradise,”
+    <a href="#Page_52">52</a></li>
+
+  <li class="i1">Gautier, Théophile, quoted,
+    <a href="#Page_38">38</a>,
+    <a href="#Page_229">229</a></li>
+
+  <li class="i1"><i>General Nicolas Guye</i> (Goya),
+    <a href="#Page_270">270</a></li>
+
+  <li class="i1"><i>General Philip Honywood</i> (Gainsborough),
+    <a href="#Page_386">386</a></li>
+
+  <li class="i1">Genre painting, Dutch,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Gentile da Fabriano,
+    <a href="#Page_10">10</a>,
+    <a href="#Page_16">16</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_73">73</a>,
+    <a href="#Page_74">74–77</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_103">103</a>,
+    <a href="#Page_104">104</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_157">157</a>,
+    <a href="#Page_168">168</a></li>
+
+  <li class="i1"><i>Georgiana, Duchess of Devonshire</i> (Gainsborough),
+    <a href="#Page_372">372–378</a></li>
+
+  <li class="i1"><i>Georgiana, Duchess of Devonshire</i> (Reynolds),
+    <a href="#Page_356">356</a></li>
+
+  <li class="i1">Gerardo,
+    <a href="#Page_19">19</a></li>
+
+  <li class="i1">Ghiberti, Lorenzo,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_52">52</a>,
+    <a href="#Page_103">103</a></li>
+
+  <li class="i1">Ghirlandaio, Domenico,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_66">66–72</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Ghirlandaio, Ridolfo,
+    <a href="#Page_70">70</a></li>
+
+  <li class="i1">Gillot, Claude,
+    <a href="#Page_281">281</a>,
+    <a href="#Page_284">284</a>,
+    <a href="#Page_292">292</a></li>
+
+  <li class="i1"><i>Giorgio Cornaro</i> (Titian),
+    <a href="#Page_146">146</a></li>
+
+  <li class="i1">Giorgione,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_118">118</a>,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_121">121</a>,
+    <a href="#Page_140">140</a>,
+    <a href="#Page_142">142</a></li>
+
+  <li class="i1">Giotto di Bordone,
+    <a href="#Page_4">4</a>,
+    <a href="#Page_6">6</a>,
+    <a href="#Page_10">10</a>,
+    <a href="#Page_17">17</a>,
+    <a href="#Page_25">25–28</a>,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1">Giotteschi, The,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Giovanna degli Albrizzi,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_68">68–69</a></li>
+
+  <li class="i1"><i>Giovanna Tornabuoni</i> (Ghirlandaio),
+    <a href="#Page_66">66</a></li>
+
+  <li class="i1">Giovanni Antonio da Canale,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Giovanni da Milano,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Girolamo di Benvenuto,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Gisze, Georg,
+    <a href="#Page_247">247</a></li>
+
+  <li class="i1"><i>Giuliano de’ Medici</i> (Botticelli),
+    <a href="#Page_55">55–61</a></li>
+
+  <li class="i1">Gli Asolani,
+    <a href="#Page_144">144</a></li>
+
+  <li class="i1">Gobelins,
+    <a href="#Page_306">306</a></li>
+
+  <li class="i1">Goes, Hugo van der,
+    <a href="#Page_163">163</a></li>
+
+  <li class="i1">Golden Fleece, Knights of the,
+    <a href="#Page_159">159</a></li>
+
+  <li class="i1">“Goldini of Painters, The,”
+    <a href="#Page_122">122</a></li>
+
+  <li class="i1">Goldsmith, Oliver,
+    <a href="#Page_418">418</a></li>
+
+  <li class="i1">Goldsmith, Oliver, verse by,
+    <a href="#Page_418">418–419</a></li>
+
+  <li class="i1">Goldsmiths,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_411">411</a></li>
+
+  <li class="i1">Goncourts, de, quoted,
+    <a href="#Page_284">284</a>,
+    <a href="#Page_314">314</a></li>
+
+  <li class="i1">Gonzaga, Marchese Francesco,
+    <a href="#Page_103">103</a></li>
+
+  <li class="i1">Gonzaga, Vincenzo,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Gordon Riots, Lord George,
+    <a href="#Page_342">342</a></li>
+
+  <li class="i1">Gothic Art,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_4">4</a></li>
+
+  <li class="i1">Gothic Style,
+    <a href="#Page_179">179</a></li>
+
+  <li class="i1">Gower, Lord, quoted,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_341">341</a>,
+    <a href="#Page_353">353</a>,
+    <a href="#Page_380">380</a>,
+    <a href="#Page_395">395</a>,
+    <a href="#Page_423">423</a>,
+    <a href="#Page_425">425</a></li>
+
+  <li class="i1">Gourd,
+    <a href="#Page_126">126</a></li>
+
+  <li class="i1">Goya y Lucientes,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_270">270–272</a>,
+    <a href="#Page_302">302</a></li>
+
+  <li class="i1">Goyen, Jan van,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Gozzoli, Benozzo,
+    <a href="#Page_16">16</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_78">78</a></li>
+
+  <li class="i1">Graces Decorating a Terminal Figure of Hymen (Reynolds),
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Graham, Dr.,
+    <a href="#Page_404">404</a></li>
+
+  <li class="i1">Gravelot, Hubert,
+    <a href="#Page_358">358</a></li>
+
+  <li class="i1">Great Fire of London (1666),
+    <a href="#Page_182">182</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Great Seal of England,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Greco, El,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_259">259–262</a></li>
+
+  <li class="i1">Greuze, J. B.,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_306">306–310</a>,
+    <a href="#Page_314">314</a></li>
+
+  <li class="i1">Greville, the Hon. Charles Francis,
+    <a href="#Page_403">403</a></li>
+
+  <li class="i1">Grey, Lady Jane,
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Grisebach, August, quoted,
+    <a href="#Page_394">394</a></li>
+
+  <li class="i1">Guardi, Francesco,
+    <a href="#Page_122">122</a>,
+    <a href="#Page_152">152</a></li>
+
+  <li class="i1">Guido da Siena,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Guiffrey, Jean, quoted,
+    <a href="#Page_300">300</a></li>
+
+  <li class="i1">Guild of Doctors and Apothecaries,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Guild of St. Luke,
+    <a href="#Page_17">17–18</a>,
+    <a href="#Page_19">19</a></li>
+
+  <li class="i1">Gunning, Elizabeth,
+    <a href="#Page_369">369</a>,
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Gunning, Maria,
+    <a href="#Page_369">369</a>,
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Gunnings, The,
+    <a href="#Page_366">366</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Hals, Frans,
+    <a href="#Page_200">200</a>,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_220">220–224</a></li>
+
+  <li class="i1">Hamilton, Sir William,
+    <a href="#Page_406">406</a></li>
+
+  <li class="i1">Hampden, John,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Hanseatic League,
+    <a href="#Page_246">246</a></li>
+
+  <li class="i1">Harlot’s Progress, The (Hogarth),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Hart, Emma,
+    <a href="#Page_396">396</a>,
+    <a href="#Page_403">403</a></li>
+
+  <li class="i1"><i>Harvest Waggon, The</i> (Gainsborough),
+    <a href="#Page_389">389–390</a></li>
+
+  <li class="i1">Hautecœur, Louis, quoted,
+    <a href="#Page_316">316</a>,
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1">Hayman, Francis,
+    <a href="#Page_358">358</a></li>
+
+  <li class="i1">Heaton, Mrs., quoted,
+    <a href="#Page_238">238</a></li>
+
+  <li class="i1">Heem, Jan Davidsz de,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Heine,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Helst, B. van der,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Henri de la Pasture,
+    <a href="#Page_168">168</a></li>
+
+  <li class="i1">Henri IV (Navarre),
+    <a href="#Page_176">176</a>,
+    <a href="#Page_191">191</a>,
+    <a href="#Page_192">192</a></li>
+
+  <li class="i1">Henrietta, Duchesse d’Orléans,
+    <a href="#Page_194">194</a>,
+    <a href="#Page_195">195</a></li>
+
+  <li class="i1">Henry VIII (England),
+    <a href="#Page_240">240</a>,
+    <a href="#Page_243">243</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Herrera, Francisco the Elder,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Hervey, Lady, quoted,
+    <a href="#Page_376">376</a></li>
+
+  <li class="i1">Hilliard, Nicholas,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Hobbema, Meindert,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Hogarth, William,
+    <a href="#Page_236">236–237</a></li>
+
+  <li class="i1">Holbein, Hans the Elder,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Holbein, Hans the Younger,
+    <a href="#Page_235">235</a>,
+    <a href="#Page_236">236</a>,
+    <a href="#Page_240">240–250</a>,
+    <a href="#Page_330">330</a>,
+    <a href="#Page_334">334</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Holy Conversation,
+    <a href="#Page_130">130</a></li>
+
+  <li class="i1"><i>Hon. Mrs. Davenport, The</i> (Romney),
+    <a href="#Page_397">397</a></li>
+
+  <li class="i1">Hon. Mrs. Graham, The (Gainsborough),
+    <a href="#Page_358">358</a></li>
+
+  <li class="i1"><i>Hon. Mrs. Grant of Kilgraston</i> (Raeburn),
+    <a href="#Page_411">411</a></li>
+
+  <li class="i1">Hondecoeter, Melchior d’,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Honywood, General Philip,
+    <a href="#Page_386">386</a>,
+    <a href="#Page_389">389</a></li>
+
+  <li class="i1">Hoogh, Pieter de,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_226">226–227</a></li>
+
+  <li class="i1">Hoppner, John,
+    <a href="#Page_333">333</a>,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_380">380</a>,
+    <a href="#Page_381">381</a>,
+    <a href="#Page_419">419</a>,
+    <a href="#Page_423">423</a>,
+    <a href="#Page_424">424</a>,
+    <a href="#Page_426">426</a></li>
+
+  <li class="i1">Horneck, Catherine,
+    <a href="#Page_418">418</a>,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Horneck, Charles,
+    <a href="#Page_418">418</a></li>
+
+  <li class="i1">Horneck, Mary,
+    <a href="#Page_416">416–419</a></li>
+
+  <li class="i1">Hudson, Jeffrey,
+    <a href="#Page_195">195–196</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Hudson, Thomas,
+    <a href="#Page_338">338</a></li>
+
+  <li class="i1">Hudibras,
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Huet, J. B.,
+    <a href="#Page_276">276</a></li>
+
+  <li class="i1">Humphrey, Osias, quoted,
+    <a href="#Page_363">363</a></li>
+
+  <li class="i1">Huysum, Jan van,
+    <a href="#Page_203">203</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Ibn Batuta,
+    <a href="#Page_5">5</a></li>
+
+  <li class="i1">Icare, poem,
+    <a href="#Page_186">186</a></li>
+
+  <li class="i1">Icarus,
+    <a href="#Page_184">184–186</a></li>
+
+  <li class="i1"><i>Invocation à l’Amour, L’</i> (Fragonard),
+    <a href="#Page_314">314</a></li>
+
+  <li class="i1">Iris,
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Isabella d’Este,
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Isabella of Mantua,
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Italian Comedy,
+    <a href="#Page_281">281</a>,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Italianate Flemings,
+    <a href="#Page_164">164</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Jacobins,
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Jacopo da Pontormo,
+    <a href="#Page_24">24</a></li>
+
+  <li class="i1">James I (England),
+    <a href="#Page_334">334</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Jardinière, La Belle (Raphael),
+    <a href="#Page_86">86</a>,
+    <a href="#Page_89">89</a>,
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1">Jasmine,
+    <a href="#Page_25">25</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1"><i>Jean de Dinteville</i> (Holbein),
+    <a href="#Page_350">350</a></li>
+
+  <li class="i1">Jermyn, Lord,
+    <a href="#Page_195">195</a></li>
+
+  <li class="i1">Jerusalem Delivered (Tasso),
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1"><i>Jessamy Bride, The</i> (Hoppner),
+    <a href="#Page_416">416–419</a></li>
+
+  <li class="i1"><i>John Walter Tempest</i> (Romney),
+    <a href="#Page_392">392</a></li>
+
+  <li class="i1">Jordaens, Jacob,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Judith with Head of Holofernes (Mantegna),
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Juno Ludovisi,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1"><i>Jupiter and Calisto</i> (Poussin),
+    <a href="#Page_277">277</a></li>
+
+  <li class="i1">Justi, Carl, quoted,
+    <a href="#Page_266">266</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Kauffman, Angelica,
+    <a href="#Page_408">408</a>,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Kells, Book of,
+    <a href="#Page_333">333</a></li>
+
+  <li class="i1">Kemble, Charles,
+    <a href="#Page_348">348</a></li>
+
+  <li class="i1">Kemble, Fanny,
+    <a href="#Page_348">348</a></li>
+
+  <li class="i1">Kemble, John Philip,
+    <a href="#Page_348">348</a>,
+    <a href="#Page_350">350</a></li>
+
+  <li class="i1">Kemble family,
+    <a href="#Page_348">348</a></li>
+
+  <li class="i1">Keppel, Admiral,
+    <a href="#Page_338">338</a>,
+    <a href="#Page_342">342</a></li>
+
+  <li class="i1">Keppel, the Hon. Frederick,
+    <a href="#Page_368">368</a></li>
+
+  <li class="i1">Keppel riots,
+    <a href="#Page_342">342</a></li>
+
+  <li class="i1">Kit Kat Club,
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Kitty Fisher (Reynolds),
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Kneller Godfrey,
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Knollys, Lettice,
+    <a href="#Page_187">187</a></li>
+</ul>
+
+<ul>
+  <li class="i1"><i>Labille-Guiard and Two Pupils, Madame</i> (Labille-Guiard),
+    <a href="#Page_324">324–326</a></li>
+
+  <li class="i1"><i>Lace-Maker, The</i> (Jan Vermeer),
+    <a href="#Page_228">228</a></li>
+
+  <li class="i1"><i>Lady Betty Delmé</i> (Reynolds),
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Lady Betty Hamilton (Reynolds),
+    <a href="#Page_402">402</a></li>
+
+  <li class="i1">Lady Cockburn and Her Children (Reynolds),
+    <a href="#Page_340">340</a>,
+    <a href="#Page_351">351</a></li>
+
+  <li class="i1">Lady Derby, Eliza Farren (Lawrence),
+    <a href="#Page_420">420</a></li>
+
+  <li class="i1"><i>Lady Derby</i>, Elizabeth Hamilton (Romney),
+    <a href="#Page_333">333</a>,
+    <a href="#Page_398">398–402</a></li>
+
+  <li class="i1">Lady Duncannon,
+    <a href="#Page_377">377</a></li>
+
+  <li class="i1">Lancret, Nicolas,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_291">291–296</a>,
+    <a href="#Page_330">330</a></li>
+
+  <li class="i1">Landscape, first Italian,
+    <a href="#Page_39">39</a></li>
+
+  <li class="i1">Landscape painters, Dutch,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Last Supper (Leonardo da Vinci),
+    <a href="#Page_95">95</a></li>
+
+  <li class="i1">Laud, Archbishop,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Laughing Cavalier (Frans Hals),
+    <a href="#Page_222">222</a></li>
+
+  <li class="i1"><i>Laughing Mandolin Player, The</i> (Frans Hals),
+    <a href="#Page_224">224</a></li>
+
+  <li class="i1">Lavinia Fenton (Hogarth),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Lawrence, Sir Thomas,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_352">352</a>,
+    <a href="#Page_412">412</a>,
+    <a href="#Page_419">419</a>,
+    <a href="#Page_420">420–428</a></li>
+
+  <li class="i1">Lawrence, Sir Thomas, quoted,
+    <a href="#Page_424">424–425</a></li>
+
+  <li class="i1">League of Cambrai,
+    <a href="#Page_144">144</a></li>
+
+  <li class="i1">LeBrun, Charles,
+    <a href="#Page_277">277</a></li>
+
+  <li class="i1">LeBrun, Vigée,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_326">326</a>,
+    <a href="#Page_408">408</a></li>
+
+  <li class="i1">Leicester, Earl of,
+    <a href="#Page_187">187</a></li>
+
+  <li class="i1">Lely, Sir Peter,
+    <a href="#Page_235">235–236</a></li>
+
+  <li class="i1">Lemké, quoted,
+    <a href="#Page_231">231–232</a></li>
+
+  <li class="i1">Le Nôtre,
+    <a href="#Page_138">138</a>,
+    <a href="#Page_322">322</a></li>
+
+  <li class="i1">Leonardo da Vinci,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_89">89</a>,
+    <a href="#Page_106">106</a>,
+    <a href="#Page_110">110</a>,
+    <a href="#Page_151">151</a></li>
+
+  <li class="i1">Leonardo da Vinci, quoted,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_94">94</a>,</li>
+
+  <li class="i1">Leslie and Taylor, quoted,
+    <a href="#Page_344">344</a>,
+    <a href="#Page_350">350–351</a>,</li>
+
+  <li class="i1">Liberale,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Libri, Girolamo dai,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Lilies,
+    <a href="#Page_25">25</a>,
+    <a href="#Page_30">30</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Line of Beauty, Hogarth’s,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Lippi, Fra Filippo,
+    <a href="#Page_44">44</a></li>
+
+  <li class="i1">Lippi, Filippino,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_47">47</a>,
+    <a href="#Page_94">94</a></li>
+
+  <li class="i1">Lippo Memmi,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">“Little Comedy,”
+    <a href="#Page_418">418</a>,
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Little Dutch Masters,
+    <a href="#Page_201">201</a>,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_227">227</a></li>
+
+  <li class="i1">Lochner, Meister Stephan,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Longhi, Pietro,
+    <a href="#Page_122">122</a></li>
+
+  <li class="i1">Lord Glendee (Raeburn),
+    <a href="#Page_412">412</a></li>
+
+  <li class="i1">Lord Ligonier (Reynolds),
+    <a href="#Page_389">389</a></li>
+
+  <li class="i1">Lorenzetti, Ambrogio,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Lorenzetti, Pietro,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Lorenzo da Pavia,
+    <a href="#Page_95">95</a>,
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Lorenzo di Credi,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Lorenzo Monaco,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Lorraine, Claude,
+    <a href="#Page_281">281</a>,
+    <a href="#Page_303">303</a></li>
+
+  <li class="i1">“Lost Duchess, The,”
+    <a href="#Page_372">372</a></li>
+
+  <li class="i1">Lotto, Lorenzo,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Louis XIII,
+    <a href="#Page_176">176–180</a>,
+    <a href="#Page_191">191</a>,
+    <a href="#Page_192">192</a></li>
+
+  <li class="i1"><i>Louis XIII, King of France</i> (Rubens),
+    <a href="#Page_176">176</a></li>
+
+  <li class="i1">Lucas van Leiden,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Lucrezia Buti,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_44">44</a>,
+    <a href="#Page_47">47</a></li>
+
+  <li class="i1">Luini, Bernardino,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_110">110–112</a></li>
+
+  <li class="i1">Lusignan, Jacques de,
+    <a href="#Page_143">143</a></li>
+
+  <li class="i1">Luther,
+    <a href="#Page_238">238</a>,
+    <a href="#Page_253">253</a></li>
+
+  <li class="i1">Luxembourg Palace,
+    <a href="#Page_179">179</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Macnab, The (Raeburn),
+    <a href="#Page_412">412</a></li>
+
+  <li class="i1"><i>Madame Bonier de la Mosson</i> (Nattier),
+    <a href="#Page_285">285</a></li>
+
+  <li class="i1"><i>Mademoiselle Helvetius</i> (Drouais),
+    <a href="#Page_314">314</a></li>
+
+  <li class="i1">Madonna, Cardellino,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_86">86</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Madonna of the Chair (Raphael),
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Antonello da Messina),
+    <a href="#Page_124">124</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Alesso Baldovinetti),
+    <a href="#Page_48">48</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Bellini),
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Botticelli),
+    <a href="#Page_64">64</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Crivelli),
+    <a href="#Page_125">125</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Crivelli),
+    <a href="#Page_128">128</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Gentile da Fabriano),
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Giotto di Bordone),
+    <a href="#Page_25">25</a></li>
+
+  <li class="i1"><i>Madonna and Child</i> (Perugino),
+    <a href="#Page_80">80</a></li>
+
+  <li class="i1"><i>Madonna and Child with Angels</i> (Bonfigli),
+    <a href="#Page_77">77</a></li>
+
+  <li class="i1"><i>Madonna and Child with Angels</i> (Memling),
+    <a href="#Page_172">172</a></li>
+
+  <li class="i1"><i>Madonna and Child with Saints and Angels</i> (Matteo di Giovanni),
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Madonna and Child with Singing Cherubs (Mantegna),
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Madonna Enthroned with Saints (Raphael),
+    <a href="#Page_90">90</a>,
+    <a href="#Page_92">92</a></li>
+
+  <li class="i1">Madonna del Gran Duca (Raphael),
+    <a href="#Page_24">24</a>,
+    <a href="#Page_86">86</a>,
+    <a href="#Page_88">88</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Madonna of the Magnificat (Botticelli),
+    <a href="#Page_58">58</a>,
+    <a href="#Page_62">62</a></li>
+
+  <li class="i1"><i>Madonna della Stella</i> (Fra Filippo Lippi),
+    <a href="#Page_42">42</a></li>
+
+  <li class="i1">Madonna di San Sisto (Raphael),
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1">Madonna, costume of the,
+    <a href="#Page_10">10</a></li>
+
+  <li class="i1">Madonna, flowers of the,
+    <a href="#Page_25">25</a>,
+    <a href="#Page_30">30–31</a></li>
+
+  <li class="i1">Madrigal, Roger Milès,
+    <a href="#Page_290">290</a></li>
+
+  <li class="i1">Maes, Nicholas,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Maintenon, Madame de,
+    <a href="#Page_275">275</a>,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Maître de Flémalle,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_169">169</a></li>
+
+  <li class="i1">Majestas, The,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1"><i>Mall in St. James’s Park, The</i> (Gainsborough),
+    <a href="#Page_364">364</a></li>
+
+  <li class="i1">Mall, The,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_364">364–365</a></li>
+
+  <li class="i1">Manet,
+    <a href="#Page_259">259</a></li>
+
+  <li class="i1">Mantegna, Andrea,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_97">97</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_104">104–107</a>,
+    <a href="#Page_116">116</a></li>
+
+  <li class="i1">Margaret of Austria,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Margaret of York,
+    <a href="#Page_160">160</a></li>
+
+  <li class="i1"><i>Maria Walpole, Duchess of Gloucester</i>,
+    <a href="#Page_366">366–372</a></li>
+
+  <li class="i1"><i>Marianne of Austria</i> (Velasquez),
+    <a href="#Page_264">264</a></li>
+
+  <li class="i1">Marie Antoinette,
+    <a href="#Page_290">290</a>,
+    <a href="#Page_312">312</a></li>
+
+  <li class="i1">Marie de’ Medici,
+    <a href="#Page_176">176</a>,
+    <a href="#Page_178">178</a>,
+    <a href="#Page_179">179</a>,
+    <a href="#Page_191">191</a></li>
+
+  <li class="i1">Market Cart (Gainsborough),
+    <a href="#Page_388">388</a></li>
+
+  <li class="i1"><i>Marquise de Baglion, La</i> (Nattier),
+    <a href="#Page_288">288</a></li>
+
+  <li class="i1"><i>Marquise de Besons, La</i> (Greuze),
+    <a href="#Page_208">208</a></li>
+
+  <li class="i1"><i>Marquise de la Fare, La</i> (Fragonard),
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1"><i>Marquise de Villemonble, La</i> (Drouais),
+    <a href="#Page_310">310</a></li>
+
+  <li class="i1">Marriage à la Mode (Hogarth),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Marriage of St. Catherine (Memling),
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1">Marriage of the Virgin (Perugino),
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Mars and Venus (Botticelli),
+    <a href="#Page_59">59</a></li>
+
+  <li class="i1">Martini, Simone,
+    <a href="#Page_4">4</a>,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1"><i>Mary Horneck</i> (Hoppner),
+    <a href="#Page_416">416</a></li>
+
+  <li class="i1">Mary of Burgundy,
+    <a href="#Page_161">161</a></li>
+
+  <li class="i1">Mary of Hungary,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Mary, Queen of Scots,
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Mary Tudor,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Masaccio, Tommaso,
+    <a href="#Page_18">18</a>,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_45">45</a>,
+    <a href="#Page_46">46</a>,
+    <a href="#Page_48">48</a>,
+    <a href="#Page_157">157</a></li>
+
+  <li class="i1">Masolino, Tommaso,
+    <a href="#Page_8">8</a>,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_28">28–32</a></li>
+
+  <li class="i1">Masolino da Panicale,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Massys, Quentin,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_242">242</a></li>
+
+  <li class="i1">Matisse,
+    <a href="#Page_303">303</a>,
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1">Matteo da Siena,
+    <a href="#Page_10">10</a></li>
+
+  <li class="i1">Matteo di Giovanni,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9–12</a></li>
+
+  <li class="i1">Maximilian, Emperor,
+    <a href="#Page_144">144</a>,
+    <a href="#Page_150">150</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1"><i>Maximilian Sforza</i> (Veneto),
+    <a href="#Page_148">148</a></li>
+
+  <li class="i1">Medici, Cosimo de’,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_37">37</a>,
+    <a href="#Page_39">39</a>,
+    <a href="#Page_45">45</a>,
+    <a href="#Page_168">168</a></li>
+
+  <li class="i1">Medici, Giovanni de Bicci,
+    <a href="#Page_20">20</a></li>
+
+  <li class="i1">Medici, Giuliano de’,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_55">55–61</a>,
+    <a href="#Page_68">68</a></li>
+
+  <li class="i1">Medici, Giulio de’,
+    <a href="#Page_56">56</a></li>
+
+  <li class="i1">Medici, Lorenzo de’, the Magnificent,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_28">28</a>,
+    <a href="#Page_58">58</a>,
+    <a href="#Page_59">59</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_68">68</a>,
+    <a href="#Page_72">72</a>,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_94">94</a></li>
+
+  <li class="i1">Medici, Piero de’,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_56">56</a>,
+    <a href="#Page_58">58</a></li>
+
+  <li class="i1">Medici, The,
+    <a href="#Page_20">20–22</a></li>
+
+  <li class="i1">Medici Palace (Riccardi),
+    <a href="#Page_45">45</a></li>
+
+  <li class="i1">Meier Madonna (Holbein),
+    <a href="#Page_242">242</a></li>
+
+  <li class="i1">Meister Wilhelm of Cologne,
+    <a href="#Page_161">161</a>,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Meistersinger,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Melancthon,
+    <a href="#Page_238">238</a>,
+    <a href="#Page_252">252</a></li>
+
+  <li class="i1">Melozzo da Forli,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Memling, Hans,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_172">172–176</a>,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Metsu, Gabriel,
+    <a href="#Page_166">166</a>,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Mezetin,
+    <a href="#Page_281">281</a>,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1">Michel, Emile, quoted,
+    <a href="#Page_206">206</a></li>
+
+  <li class="i1">Michelangelo,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_70">70</a>,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_77">77</a>,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Mieris, Frans van,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Mignon, Abraham,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Milès, Roger, Madrigal by,
+    <a href="#Page_290">290</a></li>
+
+  <li class="i1">Millais, Sir John Everett,
+    <a href="#Page_425">425</a></li>
+
+  <li class="i1">Milton, John,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Miniature painting,
+    <a href="#Page_157">157</a></li>
+
+  <li class="i1">Miniature portrait-painters,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Minorites of Siena,
+    <a href="#Page_5">5</a>,
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1">Minotaur,
+    <a href="#Page_184">184</a></li>
+
+  <li class="i1">Mierevelt, Michiel J.,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Mississippi Bubble, The,
+    <a href="#Page_275">275</a></li>
+
+  <li class="i1">Mona Lisa (Leonardo da Vinci),
+    <a href="#Page_110">110</a></li>
+
+  <li class="i1">Monet, Claude,
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1">Monkhouse, Cosmo, quoted,
+    <a href="#Page_125">125</a></li>
+
+  <li class="i1">Morales, Luis de,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">More, Sir Thomas,
+    <a href="#Page_242">242</a>,
+    <a href="#Page_244">244–246</a></li>
+
+  <li class="i1">Moreelse, Paulus,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Moretto da Brescia,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Moro, Antonio,
+    <a href="#Page_201">201</a>,
+    <a href="#Page_257">257</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">“Moro, Il,”
+    <a href="#Page_21">21</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_106">106</a>,
+    <a href="#Page_148">148–151</a></li>
+
+  <li class="i1">Morone, Domenico,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Moser, Mary, quoted,
+    <a href="#Page_382">382</a></li>
+
+  <li class="i1">Moroni, Giambattista,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_112">112</a></li>
+
+  <li class="i1">Morysin, Sir Richard,
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Moulton-Barrett, Sarah,
+    <a href="#Page_428">428</a></li>
+
+  <li class="i1">Mrs. Abington (Reynolds),
+    <a href="#Page_340">340</a>,
+    <a href="#Page_422">422</a></li>
+
+  <li class="i1">Mrs. Hardinge (Reynolds),
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Mrs. Siddons (Gainsborough),
+    <a href="#Page_350">350</a>,
+    <a href="#Page_385">385</a></li>
+
+  <li class="i1"><i>Mrs. Siddons as the Tragic Muse</i> (Reynolds),
+    <a href="#Page_340">340</a>,
+    <a href="#Page_347">347–356</a>,
+    <a href="#Page_381">381</a></li>
+
+  <li class="i1">Murano, Antonio da,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a></li>
+
+  <li class="i1">Murillo,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Musical Instruments,
+    <a href="#Page_172">172</a></li>
+
+  <li class="i1"><i>Music Party</i> (Pieter de Hoogh),
+    <a href="#Page_226">226</a></li>
+
+  <li class="i1">Musidora (Gainsborough),
+    <a href="#Page_406">406</a></li>
+
+  <li class="i1">Myrtle,
+    <a href="#Page_25">25</a></li>
+
+  <li class="i1">Mytens, Daniel,
+    <a href="#Page_335">335</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Nasmyth, Alexander,
+    <a href="#Page_412">412</a>,
+    <a href="#Page_414">414</a></li>
+
+  <li class="i1">Nattier, Jean Marc,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_285">285–290</a>,
+    <a href="#Page_312">312</a></li>
+
+  <li class="i1">Nelli, Ottaviano,
+    <a href="#Page_76">76</a></li>
+
+  <li class="i1">Nelly O’Brien,
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1">Nelson, Lord,
+    <a href="#Page_407">407</a>,
+    <a href="#Page_408">408</a>,
+    <a href="#Page_410">410</a></li>
+
+  <li class="i1">Neroccio di Landi,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Netherlands, Spanish and Austrian,
+    <a href="#Page_199">199</a></li>
+
+  <li class="i1">New England Company,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1"><i>Niccolini Madonna, The</i> (Raphael),
+    <a href="#Page_84">84–86</a></li>
+
+  <li class="i1">Niccolo da Foligno,
+    <a href="#Page_78">78</a></li>
+
+  <li class="i1">Night Watch (Rembrandt),
+    <a href="#Page_206">206</a>,
+    <a href="#Page_207">207</a></li>
+
+  <li class="i1">Noort, Adam van,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Northcote, James, quoted,
+    <a href="#Page_342">342</a>,
+    <a href="#Page_353">353</a></li>
+
+  <li class="i1">North Italian School,
+    <a href="#Page_93">93–114</a></li>
+
+  <li class="i1">Nuremburg,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Nuzi, Allegretto,
+    <a href="#Page_73">73</a>,
+    <a href="#Page_76">76</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Oils,
+    <a href="#Page_83">83</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_121">121</a>,
+    <a href="#Page_124">124</a></li>
+
+  <li class="i1"><i>Old Lady Sealed in an Armchair</i> (Rembrandt),
+    <a href="#Page_212">212</a></li>
+
+  <li class="i1">Old Woman (Rembrandt),
+    <a href="#Page_212">212</a></li>
+
+  <li class="i1">Olive branch,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Oliver, Isaac,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Oliver, Peter,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Opie, John,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_424">424</a>,
+    <a href="#Page_426">426</a></li>
+
+  <li class="i1">Orcagna,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Oriental Art and Sienese Art,
+    <a href="#Page_4">4–5</a></li>
+
+  <li class="i1">Orléans, Duc d’ (the Regent),
+    <a href="#Page_92">92</a></li>
+
+  <li class="i1">Orléans, Gaston d’,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Orley, Bernard van,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Ostade, Adriaen van,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Oudry, J. B.,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_312">312</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Pacheco, Francisco,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Paduan School,
+    <a href="#Page_116">116</a></li>
+
+  <li class="i1">Paget, John, quoted,
+    <a href="#Page_408">408</a></li>
+
+  <li class="i1">Palette, Reynolds’s,
+    <a href="#Page_341">341</a></li>
+
+  <li class="i1">Palma, School of,
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">Palma Vecchio,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Palmer, Theophila,
+    <a href="#Page_344">344</a></li>
+
+  <li class="i1">Paolo di Dono,
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">Paolo di Giovanni Fei,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">“Parma Valasquez,”
+    <a href="#Page_266">266</a></li>
+
+  <li class="i1">Parmigiano,
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">Parliament, Long,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Parliament, Short,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Parnassus (Mantegna),
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Parsifal,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Paston, John, quoted,
+    <a href="#Page_160">160</a></li>
+
+  <li class="i1">Pastry, curiosities in,
+    <a href="#Page_159">159–160</a>,
+    <a href="#Page_161">161</a></li>
+
+  <li class="i1">Pater, J. B. J.,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_396">296–299</a>,
+    <a href="#Page_330">330</a></li>
+
+  <li class="i1">Pater, Walter, quoted,
+    <a href="#Page_115">115</a>,
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">Pears,
+    <a href="#Page_126">126</a></li>
+
+  <li class="i1">Peg Woffington (Hogarth),
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Penelope Boothby (Reynolds),
+    <a href="#Page_340">340</a></li>
+
+  <li class="i1"><i>Pepito Costa y Bonella</i> (Goya),
+    <a href="#Page_272">272</a></li>
+
+  <li class="i1">Perspective,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_83">83</a></li>
+
+  <li class="i1">Perugia,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_80">80</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Perugia, School of,
+    <a href="#Page_78">78</a></li>
+
+  <li class="i1">Perugino,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_78">78</a>,
+    <a href="#Page_80">80–84</a>,
+    <a href="#Page_89">89</a>,
+    <a href="#Page_94">94</a></li>
+
+  <li class="i1">Pesellino, Francesco,
+    <a href="#Page_22">22</a></li>
+
+  <li class="i1">Philip the Fair (Austria),
+    <a href="#Page_161">161</a></li>
+
+  <li class="i1">Philip the Bold, Duke of Burgundy,
+    <a href="#Page_158">158</a></li>
+
+  <li class="i1">Philip the Good, Duke of Burgundy,
+    <a href="#Page_157">157</a>,
+    <a href="#Page_158">158</a>,
+    <a href="#Page_159">159</a></li>
+
+  <li class="i1">Philip IV,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_264">264</a>,
+    <a href="#Page_266">266–268</a></li>
+
+  <li class="i1"><i>Philip IV, King of Spain</i> (Velasquez),
+    <a href="#Page_266">266</a></li>
+
+  <li class="i1">Pie, mammoth,
+    <a href="#Page_160">160</a></li>
+
+  <li class="i1">Pier Francesco Fiorentino,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_70">70</a></li>
+
+  <li class="i1">Piero della Francesca (Pier dei Franceschi),
+    <a href="#Page_10">10</a>,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_78">78</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_83">83</a></li>
+
+  <li class="i1">Piero di Cosimo,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Piero di Lorenzo,
+    <a href="#Page_23">23</a></li>
+
+  <li class="i1">Pierrot,
+    <a href="#Page_281">281</a></li>
+
+  <li class="i1">Pink Boy (Gainsborough),
+    <a href="#Page_384">384</a></li>
+
+  <li class="i1"><i>Pinkie</i> (Sir Thomas Lawrence),
+    <a href="#Page_426">426–428</a></li>
+
+  <li class="i1">Pintoricchio, Bernard,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Pisanello (Antonio Pisano),
+    <a href="#Page_8">8</a>,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_99">99–104</a></li>
+
+  <li class="i1">“Plymouth Beauty, The,”
+    <a href="#Page_418">418</a></li>
+
+  <li class="i1">Poliziano, Angelo (Politian),
+    <a href="#Page_28">28</a>,
+    <a href="#Page_59">59</a>,
+    <a href="#Page_69">69</a></li>
+
+  <li class="i1">Pollaiuolo, Antonio,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_48">48</a>,
+    <a href="#Page_52">52</a></li>
+
+  <li class="i1">Pollaiuolo, Piero,
+    <a href="#Page_22">22</a>,
+    <a href="#Page_51">51–54</a></li>
+
+  <li class="i1">Pomegranate,
+    <a href="#Page_78">78</a></li>
+
+  <li class="i1">Pompadour, Madame de,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_290">290</a>,
+    <a href="#Page_300">300</a>,
+    <a href="#Page_304">304</a>,
+    <a href="#Page_306">306</a>,
+    <a href="#Page_310">310</a>,
+    <a href="#Page_312">312</a></li>
+
+  <li class="i1">“Poor Man of Assisi, The,”
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1">Pope, Alexander,
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Popish Plot, The,
+    <a href="#Page_196">196</a></li>
+
+  <li class="i1">Portinari, Tommaso,
+    <a href="#Page_164">164</a></li>
+
+  <li class="i1">Portiuncula, The,
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1"><i>Portrait of a Carthusian Monk</i> (Petrus Christus),
+    <a href="#Page_169">169</a></li>
+
+  <li class="i1"><i>Portrait of a Lady</i> (Luini),
+    <a href="#Page_110">110</a></li>
+
+  <li class="i1"><i>Portrait of a Lady</i> (Roger van der Weyden),
+    <a href="#Page_166">166</a></li>
+
+  <li class="i1"><i>Portrait of a Man</i> (Albrecht Dürer),
+    <a href="#Page_237">237</a></li>
+
+  <li class="i1"><i>Portrait of an Officer</i> (Frans Hals),
+    <a href="#Page_220">220</a></li>
+
+  <li class="i1"><i>Portrait of a Young Gentleman</i> (Memling),
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1"><i>Portrait of a Young Lady</i> (Piero Pollaiuolo),
+    <a href="#Page_51">51</a></li>
+
+  <li class="i1"><i>Portrait of a Young Man</i> (Botticelli),
+    <a href="#Page_62">62</a></li>
+
+  <li class="i1"><i>Portrait of a Young Officer</i> (Rembrandt),
+    <a href="#Page_207">207</a></li>
+
+  <li class="i1">Potter, Paul,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Pourbus, Frans,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Pourbus, Pieter,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Poussin, Nicolas,
+    <a href="#Page_277">277–281</a>,
+    <a href="#Page_303">303</a></li>
+
+  <li class="i1">Praise of Folly, Erasmus,
+    <a href="#Page_242">242</a></li>
+
+  <li class="i1">Presentation in the Temple (Rembrandt),
+    <a href="#Page_206">206</a>,
+    <a href="#Page_219">219</a></li>
+
+  <li class="i1">Primavera (Botticelli),
+    <a href="#Page_59">59–60</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_66">66</a></li>
+
+  <li class="i1">Primitives, Dutch,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1">Primitives, Flemish,
+    <a href="#Page_162">162–163</a>,
+    <a href="#Page_169">169</a>,
+    <a href="#Page_200">200</a></li>
+
+  <li class="i1"><i>Prince Edward of England</i> (Holbein),
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Procession of Corpus Christi of 1496 (Gentile Bellini),
+    <a href="#Page_117">117–118</a></li>
+
+  <li class="i1">Puritan Party,
+    <a href="#Page_190">190</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Queen Christina of Sweden,
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1">Queen Elizabeth,
+    <a href="#Page_334">334</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Queen Henrietta Maria,
+    <a href="#Page_191">191–195</a>,
+    <a href="#Page_196">196</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1"><i>Queen Henrietta Maria with Jeffrey Hudson and a Monkey</i> (Sir Anthony Van Dyck),
+    <a href="#Page_191">191</a></li>
+
+  <li class="i1">Quin,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_390">390</a></li>
+
+  <li class="i1"><i>Quinton McAdam</i> (Raeburn),
+    <a href="#Page_416">416</a></li>
+</ul>
+ 
+<ul>
+  <li class="i1">Raeburn, Sir Henry,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_411">411–416</a></li>
+
+  <li class="i1">Raibolini, Francesco,
+    <a href="#Page_108">108</a></li>
+
+  <li class="i1">Rake’s Progress, The,
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Rameau,
+    <a href="#Page_294">294</a>,
+    <a href="#Page_331">331</a></li>
+
+  <li class="i1">Ramsay, Allan,
+    <a href="#Page_338">338</a></li>
+
+  <li class="i1">Raphael,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_70">70</a>,
+    <a href="#Page_73">73</a>,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_84">84–92</a>,
+    <a href="#Page_98">98</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">“Raphael’s Bible,”
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Ravensteyn, Jan van,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Reformation,
+    <a href="#Page_235">235</a>,
+    <a href="#Page_252">252</a></li>
+
+  <li class="i1">Regent pictures,
+    <a href="#Page_199">199</a></li>
+
+  <li class="i1">Reine de Chypre, La,
+    <a href="#Page_143">143</a></li>
+
+  <li class="i1">Rembrandt,
+    <a href="#Page_200">200</a>,
+    <a href="#Page_204">204–220</a>,
+    <a href="#Page_231">231</a>,
+    <a href="#Page_232">232</a></li>
+
+  <li class="i1">Rembrandt, Titus,
+    <a href="#Page_206">206</a></li>
+
+  <li class="i1">Renaissance, The,
+    <a href="#Page_28">28</a></li>
+
+  <li class="i1">Renaissance in France,
+    <a href="#Page_161">161</a></li>
+
+  <li class="i1">Renaissance in the Netherlands,
+    <a href="#Page_161">161</a></li>
+
+  <li class="i1">Return of Spring,
+    <a href="#Page_59">59–60</a>,
+    <a href="#Page_61">61</a></li>
+
+  <li class="i1">Reymond, Marcel, quoted,
+    <a href="#Page_96">96</a>,
+    <a href="#Page_110">110</a></li>
+
+  <li class="i1">Reynolds, Sir Joshua,
+    <a href="#Page_84">84</a>,
+    <a href="#Page_204">204</a>,
+    <a href="#Page_329">329</a>,
+    <a href="#Page_330">330</a>,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_332">332</a>,
+    <a href="#Page_333">333</a>,
+    <a href="#Page_337">337–356</a>,
+    <a href="#Page_360">360</a>,
+    <a href="#Page_371">371</a>,
+    <a href="#Page_394">394</a>,
+    <a href="#Page_408">408</a>,
+    <a href="#Page_412">412</a>,
+    <a href="#Page_418">418</a>,
+    <a href="#Page_423">423</a>,
+    <a href="#Page_426">426</a></li>
+
+  <li class="i1">Reynolds, Sir Joshua, quoted,
+    <a href="#Page_115">115</a>,
+    <a href="#Page_179">179–180</a>,
+    <a href="#Page_199">199–200</a>,
+    <a href="#Page_280">280</a>,
+    <a href="#Page_383">383</a></li>
+
+  <li class="i1">Rhode Island, Colony of,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Ribalta, Francisco de,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Ribera, Jusefe,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_264">264</a></li>
+
+  <li class="i1">Ricci, Seymour, quoted,
+    <a href="#Page_228">228–231</a></li>
+
+  <li class="i1">Richelieu, Cardinal,
+    <a href="#Page_178">178</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1">Rinaldo,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1"><i>Rinaldo and Armida</i> (Sir Anthony Van Dyck),
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Robert, Hubert,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_316">316</a>,
+    <a href="#Page_322">322</a></li>
+
+  <li class="i1">“Robert des ruines,”
+    <a href="#Page_320">320</a></li>
+
+  <li class="i1"><i>Robert Rich, Earl of Warwick</i> (Sir Anthony Van Dyck),
+    <a href="#Page_187">187–190</a>,
+    <a href="#Page_195">195</a></li>
+
+  <li class="i1">Roger de la Pasture,
+    <a href="#Page_163">163</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Roger van der Weyden,
+    <a href="#Page_124">124</a>,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_166">166–169</a>,
+    <a href="#Page_170">170</a>,
+    <a href="#Page_174">174</a>,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Rogers, Samuel,
+    <a href="#Page_92">92</a></li>
+
+  <li class="i1">Roldt, Max, quoted,
+    <a href="#Page_402">402</a></li>
+
+  <li class="i1">Romaunt de la Rose,
+    <a href="#Page_15">15</a>,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Romney, George,
+    <a href="#Page_329">329</a>,
+    <a href="#Page_330">330</a>,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_332">332</a>,
+    <a href="#Page_333">333</a>,
+    <a href="#Page_337">337</a>,
+    <a href="#Page_341">341</a>,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_394">394</a>,
+    <a href="#Page_426">426</a></li>
+
+  <li class="i1">Romney, George, quoted,
+    <a href="#Page_407">407</a></li>
+
+  <li class="i1">Rooses, Max,
+    <a href="#Page_184">184</a></li>
+
+  <li class="i1">Roses,
+    <a href="#Page_25">25</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Rosselli, Cosimo,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Royal Academy,
+    <a href="#Page_338">338</a>,
+    <a href="#Page_354">354</a>,
+    <a href="#Page_356">356</a>,
+    <a href="#Page_360">360</a></li>
+
+  <li class="i1">Rubens, Peter Paul,
+    <a href="#Page_164">164</a>,
+    <a href="#Page_176">176–180</a>,
+    <a href="#Page_181">181</a>,
+    <a href="#Page_182">182</a>,
+    <a href="#Page_272">272</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Rucellai Madonna,
+    <a href="#Page_5">5</a>,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Ruisdael, Jacob,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_232">232</a></li>
+
+  <li class="i1">Rushford, G. McNeil, quoted,
+    <a href="#Page_128">128</a></li>
+
+  <li class="i1">Ruskin, quoted,
+    <a href="#Page_34">34</a>,
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">Ruysch, Rachel,
+    <a href="#Page_203">203</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Sachs, Hans,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">“Salvatore Rosa of the North,”
+    <a href="#Page_218">218</a></li>
+
+  <li class="i1">Sano di Pietro,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Sans Souci Palace,
+    <a href="#Page_291">291</a>,
+    <a href="#Page_296">296</a></li>
+
+  <li class="i1">Santi, Giovanni,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_89">89</a></li>
+
+  <li class="i1">Sanuto, Marino, quoted,
+    <a href="#Page_150">150</a></li>
+
+  <li class="i1">Sargent, John Singer,
+    <a href="#Page_259">259</a></li>
+
+  <li class="i1">Saskia van Ulenburgh,
+    <a href="#Page_204">204</a>,
+    <a href="#Page_207">207</a>,
+    <a href="#Page_208">208</a></li>
+
+  <li class="i1">Sassetta,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_5">5–9</a>,
+    <a href="#Page_31">31</a></li>
+
+  <li class="i1">Sassetti, Francisco,
+    <a href="#Page_72">72</a></li>
+
+  <li class="i1">Sassetti, Roderigo,
+    <a href="#Page_69">69</a></li>
+
+  <li class="i1">Sassetti, Teodoro,
+    <a href="#Page_72">72</a></li>
+
+  <li class="i1">Savonarola,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_61">61</a></li>
+
+  <li class="i1">Saxon School,
+    <a href="#Page_236">236</a>,
+    <a href="#Page_252">252</a></li>
+
+  <li class="i1">Say, Lord,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Saybrooke,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Scalpin,
+    <a href="#Page_281">281</a></li>
+
+  <li class="i1">Scaramouche,
+    <a href="#Page_281">281</a></li>
+
+  <li class="i1"><i>Scene along the Adriatic Coast</i> (Guardi),
+    <a href="#Page_152">152</a></li>
+
+  <li class="i1">Schöngauer, Martin,
+    <a href="#Page_168">168</a>,
+    <a href="#Page_235">235–236</a></li>
+
+  <li class="i1">Scorel, Jan van,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Sebastian del Piombo,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Segna di Bonaventura,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Sélincourt, Beryl de, quoted,
+    <a href="#Page_119">119–120</a>,
+    <a href="#Page_134">134</a></li>
+
+  <li class="i1">“Serena portraits, The,”
+    <a href="#Page_398">398</a></li>
+
+  <li class="i1"><i>Serinette, La</i> (Chardin),
+    <a href="#Page_300">300</a></li>
+
+  <li class="i1">Seymour, Jane,
+    <a href="#Page_240">240</a></li>
+
+  <li class="i1">Sforza, Francesco,
+    <a href="#Page_243">243</a></li>
+
+  <li class="i1">Sforza, Ludovico (“Il Moro”),
+    <a href="#Page_21">21</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_106">106</a>,
+    <a href="#Page_148">148–151</a></li>
+
+  <li class="i1">Sforza, Maximilian,
+    <a href="#Page_148">148–151</a>,
+    <a href="#Page_243">243</a></li>
+
+  <li class="i1">Siddons, Mrs.,
+    <a href="#Page_84">84</a></li>
+
+  <li class="i1">Sidney, Sir Philip,
+    <a href="#Page_187">187–188</a></li>
+
+  <li class="i1">Sidney, Sir Philip, quoted,
+    <a href="#Page_188">188</a></li>
+
+  <li class="i1">Siena,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Siena, Cathedral,
+    <a href="#Page_16">16</a>,
+    <a href="#Page_17">17</a></li>
+
+  <li class="i1">Sienese Art,
+    <a href="#Page_4">4</a></li>
+
+  <li class="i1">Sienese School,
+    <a href="#Page_3">3–16</a></li>
+
+  <li class="i1">Signorelli, Luca,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1"><i>Simeon and Mary Presenting the Infant Christ in the Temple</i> (Rembrandt),
+    <a href="#Page_214">214</a></li>
+
+  <li class="i1">Simeon in the Temple (Rembrandt),
+    <a href="#Page_206">206</a>,
+    <a href="#Page_219">219</a></li>
+
+  <li class="i1">Simone Martini,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Simonetta, Vespucci,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_59">59</a>,
+    <a href="#Page_60">60</a></li>
+
+  <li class="i1">Simplicity (Reynolds),
+    <a href="#Page_346">346</a></li>
+
+  <li class="i1">Singerie,
+    <a href="#Page_284">284</a></li>
+
+  <li class="i1"><i>Sir Thomas More</i> (Holbein),
+    <a href="#Page_244">244</a></li>
+
+  <li class="i1">Sistine Chapel,
+    <a href="#Page_24">24</a>,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_70">70</a>,
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Six, Burgomaster Jan,
+    <a href="#Page_204">204</a></li>
+
+  <li class="i1"><i>Small Cowper Madonna</i> (Raphael),
+    <a href="#Page_86">86</a></li>
+
+  <li class="i1">Smith, Nollekens, quoted,
+    <a href="#Page_362">362</a></li>
+
+  <li class="i1">Sneyd, Charlotte,
+    <a href="#Page_397">397</a></li>
+
+  <li class="i1">Sneyd, Honora,
+    <a href="#Page_398">398</a></li>
+
+  <li class="i1">Snyders, Frans,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Sortie of the Company of Captain Banning Cock (Rembrandt),
+    <a href="#Page_206">206</a></li>
+
+  <li class="i1">Southwark Fair (Hogarth),
+    <a href="#Page_336">336</a></li>
+
+  <li class="i1">Space Composition,
+    <a href="#Page_83">83</a></li>
+
+  <li class="i1">Spagnoletto, Lo,
+    <a href="#Page_258">258</a></li>
+
+  <li class="i1">Spencer, Countess of,
+    <a href="#Page_375">375</a></li>
+
+  <li class="i1">Spencer, Earl of Althorp,
+    <a href="#Page_356">356</a>,
+    <a href="#Page_361">361</a>,
+    <a href="#Page_375">375</a>,
+    <a href="#Page_378">378</a></li>
+
+  <li class="i1">Spielmann, M. H., quoted,
+    <a href="#Page_347">347</a>,
+    <a href="#Page_384">384</a></li>
+
+  <li class="i1">Spinello, Aretino,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Sposalizio (Raphael),
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Squarcione, Francesco,
+    <a href="#Page_97">97</a>,
+    <a href="#Page_106">106</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_117">117</a>,
+    <a href="#Page_125">125</a></li>
+
+  <li class="i1"><i>St. Cosimas and St. Damianus</i> (Fra Angelico),
+    <a href="#Page_39">39</a></li>
+
+  <li class="i1">St. Francis,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_6">6–8</a></li>
+
+  <li class="i1"><i>St. Francis and the Beggar</i> (Sassetta),
+    <a href="#Page_5">5</a></li>
+
+  <li class="i1">St. Francis (Ghirlandaio),
+    <a href="#Page_72">72</a></li>
+
+  <li class="i1">St. Francis (Giotto),
+    <a href="#Page_6">6</a>,
+    <a href="#Page_26">26</a></li>
+
+  <li class="i1">St. Francis, panels,
+    <a href="#Page_6">6</a></li>
+
+  <li class="i1">St. Jerome,
+    <a href="#Page_252">252</a></li>
+
+  <li class="i1">St. Jerome (El Greco),
+    <a href="#Page_260">260</a></li>
+
+  <li class="i1">St. Paul’s (London), Old,
+    <a href="#Page_182">182</a></li>
+
+  <li class="i1">St. Ursula (Carpaccio),
+    <a href="#Page_118">118</a></li>
+
+  <li class="i1">St. Ursula, Shrine of (Memling),
+    <a href="#Page_174">174</a></li>
+
+  <li class="i1"><i>Standard-Bearer, The</i> (Rembrandt),
+    <a href="#Page_204">204</a></li>
+
+  <li class="i1">Stanley, Edward Smith (Derby),
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Starnina,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_31">31</a>,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Steelyard (London),
+    <a href="#Page_246">246</a></li>
+
+  <li class="i1">Steen, Jan,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Stefano di Giovanni,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_5">5–9</a></li>
+
+  <li class="i1">Stephens, F. G., quoted,
+    <a href="#Page_382">382</a></li>
+
+  <li class="i1">Stevenson, Robert Louis, quoted,
+    <a href="#Page_411">411</a></li>
+
+  <li class="i1">Stoffels, Hendrickje,
+    <a href="#Page_206">206</a></li>
+
+  <li class="i1">Strafford, Earl of,
+    <a href="#Page_190">190</a>,
+    <a href="#Page_194">194</a></li>
+
+  <li class="i1"><i>Strawberry Girl, The</i> (Reynolds),
+    <a href="#Page_340">340</a>,
+    <a href="#Page_342">342–346</a>,
+    <a href="#Page_353">353</a>,
+    <a href="#Page_394">394</a></li>
+
+  <li class="i1">Strawberry Hill,
+    <a href="#Page_214">214</a>,
+    <a href="#Page_219">219</a>,
+    <a href="#Page_220">220</a>,
+    <a href="#Page_331">331</a></li>
+
+  <li class="i1">Style, Louis Quinze,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_310">310</a></li>
+
+  <li class="i1">Style, Rubens,
+    <a href="#Page_179">179</a></li>
+
+  <li class="i1">Suardi, Bartolommeo,
+    <a href="#Page_93">93</a></li>
+
+  <li class="i1">Swabian School,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Swanenburch, Jacob van,
+    <a href="#Page_204">204</a></li>
+
+  <li class="i1">Syndics, The (Rembrandt),
+    <a href="#Page_207">207</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Taddeo di Bartolo,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9</a></li>
+
+  <li class="i1">Taddeo, Gaddi,
+    <a href="#Page_18">18</a></li>
+
+  <li class="i1">Tagliapanni (Mononi),
+    <a href="#Page_112">112</a></li>
+
+  <li class="i1">Taine, quoted,
+    <a href="#Page_115">115</a>,
+    <a href="#Page_120">120</a>,
+    <a href="#Page_142">142</a>,
+    <a href="#Page_162">162–163</a></li>
+
+  <li class="i1">Tasso,
+    <a href="#Page_181">181</a></li>
+
+  <li class="i1">Tauromachia (Goya),
+    <a href="#Page_270">270</a></li>
+
+  <li class="i1">Tempest, John Walter,
+    <a href="#Page_392">392–394</a></li>
+
+  <li class="i1">Temple of Health,
+    <a href="#Page_404">404</a></li>
+
+  <li class="i1">Teniers, David the Younger,
+    <a href="#Page_165">165</a></li>
+
+  <li class="i1">Terborch, Gerard,
+    <a href="#Page_166">166</a>,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Theotocopoulos, Domenico,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_260">260–262</a></li>
+
+  <li class="i1">Tiepolo, Giovanni Baptista,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Tintoretto (Tintoret),
+    <a href="#Page_119">119</a></li>
+
+  <li class="i1">Titian,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_137">137</a>,
+    <a href="#Page_138">138</a>,
+    <a href="#Page_140">140–147</a>,
+    <a href="#Page_272">272</a></li>
+
+  <li class="i1"><i>Titian’s Schoolmaster</i> (Moroni),
+    <a href="#Page_112">112</a></li>
+
+  <li class="i1">Tiziano Vecello,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_142">142</a></li>
+
+  <li class="i1">Tom Thumb, General,
+    <a href="#Page_192">192</a></li>
+
+  <li class="i1">Tondo form, first use of,
+    <a href="#Page_47">47</a></li>
+
+  <li class="i1">Tornabuoni, Giovanna,
+    <a href="#Page_66">66</a>,
+    <a href="#Page_68">68</a></li>
+
+  <li class="i1">Tornabuoni, Giovanni,
+    <a href="#Page_69">69</a>,
+    <a href="#Page_70">70</a></li>
+
+  <li class="i1">Tornabuoni, Lorenzo,
+    <a href="#Page_61">61</a>,
+    <a href="#Page_68">68</a>,
+    <a href="#Page_69">69</a></li>
+
+  <li class="i1">Tornabuoni, Lucrezia,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_56">56</a>,
+    <a href="#Page_68">68</a></li>
+
+  <li class="i1">Tour, Maurice Quentin de la,
+    <a href="#Page_276">276</a></li>
+
+  <li class="i1">Tournament (Giuliano de’ Medici),
+    <a href="#Page_59">59</a></li>
+
+  <li class="i1">Tournament (Lorenzo de’ Medici),
+    <a href="#Page_59">59</a></li>
+
+  <li class="i1">Travellers to the Far East,
+    <a href="#Page_5">5</a></li>
+
+  <li class="i1">Trimmer, Rev. J. T., quoted,
+    <a href="#Page_380">380</a></li>
+
+  <li class="i1">Triumph of Cæsar (Mantegna),
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1">Triumph of Galatea (Raphael),
+    <a href="#Page_90">90</a></li>
+
+  <li class="i1">Troost, Cornelis,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">Tura, Cosimo,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_98">98</a></li>
+
+  <li class="i1">Turner, J. W. M.,
+    <a href="#Page_337">337</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Uccello, Paolo,
+    <a href="#Page_19">19</a>,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_23">23</a>,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1">Ugolino da Siena,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Umbrian School,
+    <a href="#Page_73">73–92</a></li>
+
+  <li class="i1">Utrecht, Adriaen van,
+    <a href="#Page_165">165</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Vache qui se mire (Paul Potter),
+    <a href="#Page_201">201</a>,
+    <a href="#Page_202">202</a></li>
+
+  <li class="i1">Valentiner Dr., quoted,
+    <a href="#Page_208">208</a></li>
+
+  <li class="i1">Van Eyck School,
+    <a href="#Page_163">163</a></li>
+
+  <li class="i1">Van Loo, Carle,
+    <a href="#Page_276">276</a>,
+    <a href="#Page_277">277</a>,
+    <a href="#Page_304">304</a>,
+    <a href="#Page_306">306</a>,
+    <a href="#Page_312">312</a>,
+    <a href="#Page_394">394</a></li>
+
+  <li class="i1">Van Mander, quoted,
+    <a href="#Page_157">157</a></li>
+
+  <li class="i1">Vanni, Andrea,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Vanni, Lippo,
+    <a href="#Page_3">3</a></li>
+
+  <li class="i1">Vannucci, Pietro,
+    <a href="#Page_74">74</a>,
+    <a href="#Page_80">80</a></li>
+
+  <li class="i1">Vargas, Luis de,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Vasari, quoted,
+    <a href="#Page_17">17</a>,
+    <a href="#Page_32">32</a>,
+    <a href="#Page_36">36</a>,
+    <a href="#Page_39">39</a>,
+    <a href="#Page_51">51</a></li>
+
+  <li class="i1">Vatican,
+    <a href="#Page_38">38</a>,
+    <a href="#Page_82">82</a>,
+    <a href="#Page_89">89</a>,
+    <a href="#Page_121">121</a></li>
+
+  <li class="i1">Vecchietta, Lorenzo,
+    <a href="#Page_3">3</a>,
+    <a href="#Page_9">9</a>,
+    <a href="#Page_15">15</a></li>
+
+  <li class="i1">Veen, Otto van,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Velasquez,
+    <a href="#Page_258">258</a>,
+    <a href="#Page_264">264–268</a>,
+    <a href="#Page_270">270</a>,
+    <a href="#Page_272">272</a></li>
+
+  <li class="i1">Velde, Adriaen van der,
+    <a href="#Page_201">201</a></li>
+
+  <li class="i1">Venetian School,
+    <a href="#Page_115">115–153</a></li>
+
+  <li class="i1">Veneto, Bartolommeo,
+    <a href="#Page_119">119</a>,
+    <a href="#Page_148">148–151</a></li>
+
+  <li class="i1">Veneziano, Bartolommeo,
+    <a href="#Page_119">119–151</a></li>
+
+  <li class="i1">Veneziano, Domenico,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_74">74</a></li>
+
+  <li class="i1">Venturi, Adolfo, quoted,
+    <a href="#Page_100">100</a></li>
+
+  <li class="i1">Verhaaght, Tobias,
+    <a href="#Page_178">178</a></li>
+
+  <li class="i1">Vermeer, Jan,
+    <a href="#Page_162">162</a>,
+    <a href="#Page_202">202</a>,
+    <a href="#Page_228">228–232</a></li>
+
+  <li class="i1">Vermejo, Bartolomé,
+    <a href="#Page_257">257</a></li>
+
+  <li class="i1">Vernet, Joseph,
+    <a href="#Page_322">322</a></li>
+
+  <li class="i1">Veronese, Paolo,
+    <a href="#Page_10">10</a>,
+    <a href="#Page_93">93</a>,
+    <a href="#Page_99">99</a>,
+    <a href="#Page_120">120</a></li>
+
+  <li class="i1">Verrocchio, Andrea,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_22">22–23</a>,
+    <a href="#Page_59">59</a>,
+    <a href="#Page_82">82</a></li>
+
+  <li class="i1">Veth, Dr. Jan, quoted,
+    <a href="#Page_214">214–216</a></li>
+
+  <li class="i1">Villa Aldobrandini,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1">Villa Ludovisi,
+    <a href="#Page_138">138</a></li>
+
+  <li class="i1">Vincent, François Élie,
+    <a href="#Page_326">326</a></li>
+
+  <li class="i1"><i>Virgin and Child</i> (Bellini),
+    <a href="#Page_134">134</a></li>
+
+  <li class="i1"><i>Virgin and Child</i> (Titian),
+    <a href="#Page_140">140</a></li>
+
+  <li class="i1"><i>Virgin and Child with the Infant St. John and Angel</i> (Francia),
+    <a href="#Page_107">107</a></li>
+
+  <li class="i1"><i>Virgin and Child with St. Lucy, St. Catherine, St. Peter and St. John the Baptist</i> (Bellini),
+    <a href="#Page_130">130</a></li>
+
+  <li class="i1"><i>Virgin Appearing to St. Dominic</i> (El Greco),
+    <a href="#Page_262">262</a></li>
+
+  <li class="i1">Virgin of the Rocks (Leonardo da Vinci),
+    <a href="#Page_96">96</a></li>
+
+  <li class="i1"><i>Virgin Receiving the Divine Message</i> (Fra Angelico),
+    <a href="#Page_34">34</a></li>
+
+  <li class="i1">Virginia Government,
+    <a href="#Page_190">190</a></li>
+
+  <li class="i1">Vision of St. Eustache (Pisanello),
+    <a href="#Page_102">102</a>,
+    <a href="#Page_103">103</a></li>
+
+  <li class="i1">Viti, Timoteo,
+    <a href="#Page_89">89</a>,
+    <a href="#Page_108">108</a></li>
+
+  <li class="i1">Vivarini, Antonio,
+    <a href="#Page_8">8</a>,
+    <a href="#Page_116">116</a>,
+    <a href="#Page_125">125</a></li>
+
+  <li class="i1">Vivarini, Bartolommeo,
+    <a href="#Page_117">117</a></li>
+
+  <li class="i1">Vydts, Jodocus,
+    <a href="#Page_157">157</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Waldegrave, Lady,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Walpole, Charlotte, Countess of Dysart,
+    <a href="#Page_368">368</a></li>
+
+  <li class="i1">Walpole, Edward,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Walpole, Horace,
+    <a href="#Page_214">214</a>,
+    <a href="#Page_219">219</a>,
+    <a href="#Page_331">331</a>,
+    <a href="#Page_333">333</a>,
+    <a href="#Page_366">366</a>,
+    <a href="#Page_368">368</a></li>
+
+  <li class="i1">Walpole, Horace, quoted,
+    <a href="#Page_364">364</a>,
+    <a href="#Page_368">368</a>,
+    <a href="#Page_376">376</a>,
+    <a href="#Page_400">400</a></li>
+
+  <li class="i1">Walpole, Louisa (the Hon. Mrs. F. Keppel),
+    <a href="#Page_368">368</a></li>
+
+  <li class="i1">Walpole, Maria,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Walpole, Sir Robert,
+    <a href="#Page_366">366</a></li>
+
+  <li class="i1">Ward, Humphrey, quoted,
+    <a href="#Page_332">332</a>,
+    <a href="#Page_397">397</a></li>
+
+  <li class="i1">Wars of the Roses,
+    <a href="#Page_333">333</a></li>
+
+  <li class="i1">Watteau, Antoine,
+    <a href="#Page_275">275</a>,
+    <a href="#Page_281">281–285</a>,
+    <a href="#Page_294">294</a>,
+    <a href="#Page_296">296</a>,
+    <a href="#Page_314">314</a>,
+    <a href="#Page_330">330</a></li>
+
+  <li class="i1">Watts, George Frederick,
+    <a href="#Page_425">425</a></li>
+
+  <li class="i1">Weenix, J. B.,
+    <a href="#Page_203">203</a></li>
+
+  <li class="i1">West, Benjamin,
+    <a href="#Page_423">423</a>,
+    <a href="#Page_424">424</a></li>
+
+  <li class="i1">Wilkie, Sir David, quoted,
+    <a href="#Page_412">412</a></li>
+
+  <li class="i1">Wilkie, John,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Wilson, Richard,
+    <a href="#Page_337">337</a></li>
+
+  <li class="i1">Wiltshire, John,
+    <a href="#Page_389">389–390</a></li>
+
+  <li class="i1">Winchester School,
+    <a href="#Page_334">334</a></li>
+
+  <li class="i1">Wohlgemut, Michael,
+    <a href="#Page_236">236</a>,
+    <a href="#Page_237">237</a></li>
+
+  <li class="i1">Wolfram von Eschenbach,
+    <a href="#Page_235">235</a></li>
+
+  <li class="i1">Woltman, Dr. Alfred, quoted,
+    <a href="#Page_244">244</a></li>
+
+  <li class="i1">Wright, Mrs. (Patience),
+    <a href="#Page_419">419</a></li>
+
+  <li class="i1">Wynants, Jan,
+    <a href="#Page_201">201</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Yellow Boy, The (Reynolds),
+    <a href="#Page_384">384</a></li>
+
+  <li class="i1">Young, Col. G. F., quoted,
+    <a href="#Page_20">20</a>,
+    <a href="#Page_21">21</a>,
+    <a href="#Page_45">45–46</a>,
+    <a href="#Page_56">56</a>,
+    <a href="#Page_58">58</a>,
+    <a href="#Page_59">59–60</a></li>
+
+  <li class="i1"><i>Young Girl</i> (Greuze),
+    <a href="#Page_308">308</a></li>
+
+  <li class="i1"><i>Young Girl Reading a Letter</i> (Greuze),
+    <a href="#Page_306">306</a></li>
+</ul>
+
+<ul>
+  <li class="i1">Zeitblom, Bartholomäus,
+    <a href="#Page_236">236</a></li>
+
+  <li class="i1">Zuccaro, Federigo,
+    <a href="#Page_334">334</a>,
+    <a href="#Page_335">335</a></li>
+
+  <li class="i1">Zurbaran, Francisco,
+    <a href="#Page_258">258</a></li>
+</ul> 
+
+
+<div class="footnotes"><h2>FOOTNOTES:</h2>
+
+<div class="footnote">
+
+<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> “The early Byzantine masters represented the Madonna’s
+garments enriched with lines of gold. Giotto and the early Florentine
+painters as a rule preferred to suggest a plain material, often of
+delicate color except when the Madonna was portrayed as Queen of
+Heaven. In their devotional pictures the Sienese masters used gorgeous
+gold and red, or white and gold fabrics. Some of the Giotteschi
+and perhaps Gentile da Fabriano inherited from Siena their love of
+representing splendid textiles. Later color effects were made more
+of a study and deeper, richer tones appeared; but simple materials
+were represented except among the Venetians, who frequently in their
+pictures of both sacred and profane subjects painted elaborate, richly
+colored fabrics. This cult of splendor reached its height in the
+Sixteenth Century under Paolo Veronese.”—<i>Mediæval and Renaissance
+Paintings</i> (Fogg Art Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> “The incident of the Adoration of the Magi is related
+only in the Gospel of Saint Matthew, and there very briefly; but many
+legends grew up around the Magi and Kings from the East. The number
+of the Magi was at first indeterminate, but about the Fourth Century
+the number three became general. It was not until the Fifth and Sixth
+Centuries that the Magi became Kings and not until the Tenth Century
+were they represented as crowned Kings. The Magi were for the first
+time pictured as of different ages, an old man, a middle-aged man,
+and a young man, in an Eastern manuscript dating from about 550.
+During the Middle Ages the exact age of each was given—the eldest
+was sixty, the youngest twenty, and the other forty years old. Their
+names, the Latin forms of which were Jaspar—later Gaspard—Balthasar,
+and Melchior, first appeared in a Greek Sixth Century manuscript.
+A passage attributed to Bede, quoted in Male’s <i>Religious Art in
+France, Thirteenth Century</i>, states that ‘Melchior, an old man
+with long, white hair and a long beard, offered gold, symbol of the
+divine kingdom. The second, named Caspar, young and beardless, with a
+ruddy countenance, honored Christ in presenting incense, an offering
+pointing to his divinity. The third, named Balthasar, with a dark skin
+and a full beard, testified in his offering of myrrh that the Son of
+Man must die.’ It was not until the Fourteenth and Fifteenth Centuries
+that artists represented the third King as a negro, in accordance with
+the teachings of the theologians that the three Kings represented the
+three races of mankind coming to render homage to the Christ Child. The
+subject of the Adoration of the Magi was a favorite one with artists,
+particularly in the Fifteenth Century, as it lent itself to the richest
+and most elaborate treatment. The early legends asserted that St.
+Joseph did not appear; but in representations dating from the Fifteenth
+Century he is almost invariably present.”—<i>Mediæval and Renaissance
+Paintings</i> (Fogg Art Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> “The legend which makes St. Luke a painter was of
+Eastern origin and was introduced into the West at the time of the
+First Crusade. There may have been a Greek painter of Madonnas named
+Luca whom the Western Church confused with the Evangelist, but the
+Evangelist was always regarded an authority on the characteristics of
+the Madonna. His Gospel gives the fullest account of her. The subject
+of St. Luke painting the portrait of the Madonna was frequently
+treated in the Middle Ages and in the Renaissance.“—<i>Mediæval and
+Renaissance Paintings</i> (Fogg Art Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> “Double roses, pink or red, were the symbol of divine love
+and were consecrated to the Madonna. One of her titles was the Madonna
+della Rosa, doubtless based on the verse in the <i>Song of Solomon</i>
+(ii. 1)—‘I am the Rose of Sharon and the lily of the valleys’—for as
+early as the first centuries the Fathers of the Church applied to the
+Madonna the imagery of the <i>Canticles</i>. The tradition is that when
+the roses were massed together in garlands or baskets they symbolized
+heavenly joys. The painters of Central Italy during the Fourteenth and
+Fifteenth Centuries represented clusters of lilies and roses in the
+foreground of their Madonna pictures as votive offerings to her of
+sacred flowers. Often angels present bowls of flowers to her.</p>
+
+<p>“Myrtle was one of the Madonna’s flowers and symbolized her purity and
+other virtues. The jasmine, though not strictly a sacred flower, is
+often found in religious paintings—the star-shaped blossom apparently
+symbolized divine hope or heavenly joy. It is often found with roses
+and lilies beside the Madonna. The carnation had no definite symbolic
+meaning, but was frequently used instead of the rose; then it had the
+same significance as the rose, the symbol of divine love, sacred to the
+Madonna.—<i>Mediæval and Renaissance Paintings</i> (Fogg Art Museum,
+Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> “In general, representations of the <i>Annunciation</i>
+before the Twelfth Century are rare; but after the beginning of the
+Thirteenth Century they become very frequent, appearing somewhere on
+every altar-piece—in medallions, or quatrefoils above the main panels,
+in the pinnacles, or in the predella, or painted, or carved on the
+outside of the shutters. The subject was often treated as a mystery,
+not as an actual scene. Generally only the Virgin and Angel were
+represented, although it was not unusual to find other figures. From
+the end of the Fourteenth until the Sixteenth Century, God the Father
+is often seen in the sky and the Dove of the Holy Spirit descends
+from Him to the Virgin on rays of light. The Virgin was represented
+seated, standing, about to rise at the approach of the Angel, or
+kneeling. Gabriel was pictured standing, or kneeling, before her, or
+just alighting on the earth, his feet not yet touching the ground. In
+the Thirteenth Century representations, notably in the painted glass
+windows, the Virgin and the Angel stand face to face; later the Italian
+artists represented the scene as taking place in an open <i>loggia</i>,
+while the Flemish artists painted the Virgin in meditation in her room
+when the Angel appeared to her. Before the Thirteenth Century, Mary was
+often represented with a basket of wool, or distaff as, according to
+the Protevangelion, she continued to spin for the Temple after she had
+become affianced to Joseph and was working when the Angel came. Gabriel
+bears the light staff, or sceptre, of a herald, a scroll on which is
+inscribed his greeting, an olive-branch, or a stalk of lilies.</p>
+
+<p>“The lily probably was developed from a flower with a long stalk
+which was introduced during the Thirteenth Century appearing in
+glass-painting and miniatures and signifying springtime, ‘the time
+of flowers,’ when the <i>Annunciation</i> took place. Later, lilies
+were used to symbolize the purity of the Virgin and were placed in
+a jar, or vase, near her, or were carried by the Angel. In Spain
+the vase of lilies was almost essential to representations of the
+<i>Annunciation</i> and became the special and distinguishing attribute
+of the Virgin. The Spanish Order of the Lily of Aragon, established by
+Ferdinand of Castile in commemoration of a victory over the Moors in
+1410, had for its badge ‘pots filled with white lilies interlaced with
+griffins, to which was pendent a medal having thereon an image of the
+Virgin Mary.’ In Italy, neither the vase of lilies nor the stalk was
+considered essential in representations of the <i>Annunciation</i>,
+although they are of frequent occurrence. Certain of the Florentine
+artists, notably Fra Filippo Lippi, represented both. Ghirlandaio,
+in his <i>Annunciation</i> at San Gimigniano, placed a vase beside
+the Virgin’s desk and combined other flowers—roses, daisies, and
+jasmine—with the lilies. The Angel bears the lily-stalk.</p>
+
+<p>“It is interesting to note that while in the majority of Fourteenth-
+and Fifteenth-Century <i>Annunciations</i> the Archangel Gabriel
+was represented bearing a lily, the Sienese painters seldom used
+this flower, preferring the olive-branch, always a favorite symbol
+with them. In the <i>Annunciation</i> it referred to the Christ
+Child as the bringer of peace on earth. One interpretation of the
+avoidance of the use of the lily by Sienese artists is that it was
+due to the hatred of Siena for Florence, the lily being the flower of
+Florence.”—<i>Mediæval and Renaissance Paintings</i> (Fogg Art Museum,
+Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> Col. G. F. Young, <i>The Medici</i> (London, 1910).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> Julia Cartwright, <i>The Painters of Florence</i> (London,
+1916).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> Col. G. F. Young, <i>The Medici</i> (London, 1909).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> Col. G. F. Young, <i>The Medici</i> (London, 1909).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_10" href="#FNanchor_10" class="label">[10]</a> “The pomegranate in the hand of the Child, bursting open
+and showing the seeds, has been variously interpreted. It may be a
+symbol of the hope in eternity, which the Christ gave to man, signified
+by the unexpected sweetness of the fruit within the hard rind. In the
+writings of the early Fathers the fruit is also interpreted as the
+emblem of congregations, because of its many seeds, or as the emblem
+of the Christian Church because of the inner unity of countless seeds
+in one and the same fruit.”—<i>Mediæval and Renaissance Painting</i>
+(Fogg Art Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_11" href="#FNanchor_11" class="label">[11]</a> Berenson.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_12" href="#FNanchor_12" class="label">[12]</a> “Space composition differs from ordinary composition in
+the first place most obviously in that it is not an arrangement to be
+judged as extending only laterally, or up and down, on a flat surface,
+but as extending inwards in depth as well. It is composition in three
+dimensions and not in two, in the cube, not merely on the surface....
+Painted space composition opens out the space it frames in, puts
+boundaries only ideal to the roof of heaven. All that it uses whether
+the forms of the natural landscape, or of grand architecture, or even
+of the human figure, it reduces to be its ministrants in conveying a
+sense of untrammelled, but not chaotic, spaciousness. In such pictures
+how freely one breathes,—as if a load had just been lifted from one’s
+breast; how refreshed, how noble, how potent one feels; again, how
+soothed; and, still again, how wafted forth to abodes of far-away
+bliss!”</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_13" href="#FNanchor_13" class="label">[13]</a> Julia Cartwright, <i>Beatrice d’Este</i> (London, 1908).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_14" href="#FNanchor_14" class="label">[14]</a> Julia Cartwright, <i>Beatrice d’Este</i> (London, 1908).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_15" href="#FNanchor_15" class="label">[15]</a> Beryl de Sélincourt, <i>Venice</i> (London, 1907).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_16" href="#FNanchor_16" class="label">[16]</a> “In the north of Italy garlands of fruit took the
+place of votive flowers. In pictures of Florentine origin, when the
+Madonna holds a single rose, she is represented as the <i>Madonna del
+Fiore</i>—Our Lady of the Flower—to whom the Cathedral at Florence
+was dedicated.</p>
+
+<p>“Fruits in general symbolized the fruits of the spirit, or a votive
+offering, or were often used purely for decorative purposes. The
+cherries which the Angels offer to the Child are the fruit of Heaven,
+typifying the delights of the blessed. In a picture by Memling in the
+Uffizi, the Child holds in one hand a cluster of cherries—the fruit of
+Paradise—while with the other He reaches out for the apple offered Him
+by an Angel. This typifies His relinquishment of heavenly joys and His
+taking upon Himself the sin of the world.</p>
+
+<p>“The apple and the gourd were often painted together by artists,
+notably Crivelli. The use of the gourd dates back to the wall-pictures
+in the catacombs, where Jonah was represented as the type of the
+Risen Christ and the gourd as the symbol of the Resurrection. As the
+apple was the fruit of Eden which brought sin into the world, so
+the gourd represented the Resurrection which saved the world from
+the consequences of its sin. In early pictures the apple sometimes
+represents the fruit of Paradise, which the King of Heaven brings down
+to earth with Him. In general, however, it is used as the symbol of the
+sin of the world which Christ takes upon Himself.”—<i>Mediæval and
+Renaissance Paintings</i> (Fogg Art Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_17" href="#FNanchor_17" class="label">[17]</a> Beryl de Sélincourt, <i>Venice</i> (London, 1907).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_18" href="#FNanchor_18" class="label">[18]</a> It is interesting to see that Vasari calls Dürer a
+Fleming!</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_19" href="#FNanchor_19" class="label">[19]</a> This reminds us of the old Nursery rhyme:</p>
+
+  <div class="poetry-container">
+   <div class="poetry">
+      <div class="stanza">
+        <div class="ileft">“Sing a song of sixpence,</div>
+        <div class="i1">A pocket full of rye;</div>
+        <div>Four-and-twenty blackbirds</div>
+        <div class="i1">Baked in a pie.</div>
+        <div>When the pie was opened,</div>
+        <div class="i1">The birds began to sing;</div>
+        <div>Wasn’t that a dainty dish</div>
+        <div class="i1">To set before the King?”</div>
+      </div>
+    </div>
+  </div>
+
+<p>Undoubtedly this jingle is an echo of the jokes and “pleasantries”
+in confectionery and pastry that were perpetrated by the Mediæval
+<i>chefs</i>.—E. S.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_20" href="#FNanchor_20" class="label">[20]</a> This was a <i>fashion</i> of the period, originating in
+Italy (see pages <a href="#Page_51">51</a>, <a href="#Page_86">86</a>, <a href="#Page_103">103</a>).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_21" href="#FNanchor_21" class="label">[21]</a> “The introduction of little angels singing vigorously
+and playing on musical instruments about the Madonna’s throne was
+a favorite motif of the Umbrian Boccatis. Indeed, angel musicians
+were represented by artists of all Schools from the Twelfth to the
+Seventeenth Century. They stand or kneel before the Madonna and Child,
+or—particularly in Venetian and North Italian paintings—sit on the
+steps of the throne, playing on lutes, harps, viols, miniature organs,
+blowing horns and trumpets, striking cymbals and triangles or beating
+drums and timbrels, and singing their songs of praise and adoration.
+They make a delightful note of joyousness in representations of the
+Madonna and Child and are among the happiest creations of painters
+and sculptors.”—<i>Mediæval and Renaissance Paintings</i> (Fogg Art
+Museum, Cambridge, 1927).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_22" href="#FNanchor_22" class="label">[22]</a> For surprises in pastry, see page <a href="#Page_160">160</a>.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_23" href="#FNanchor_23" class="label">[23]</a> <i>Strawberry Hill Simeon</i> had not then been
+discovered.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_24" href="#FNanchor_24" class="label">[24]</a> Leslie and Taylor, <i>Life and Times of Sir Joshua
+Reynolds</i> (London 1865).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_25" href="#FNanchor_25" class="label">[25]</a> William Smith (1756–1835) was a politician who took a
+great interest in literature and art. He was a friend of Sir Joshua
+Reynolds, for whose <i>Mrs. Siddons as The Tragic Muse</i> he paid £320
+at the Calonne Sale in 1795 and sold it to Mr. G. W. Taylor for £900.
+At the Taylor Sale in 1823 the picture cost Earl Grosvenor £1,837. It
+passed recently to America along with Gainsborough’s <i>Blue Boy</i>.</p>
+
+<p>“This picture Sir Joshua Reynolds valued at 1000 guineas—a large sum
+in his day—but notwithstanding all the encomiums passed upon it,
+<i>The Tragic Muse</i> remained on his hands for several years. At
+length it was purchased from the artist for £800 by M. de Calonne, the
+ex-minister of finance in France.</p>
+
+<p>“When M. de Calonne’s pictures were sold by Skinner and Dyke on March
+28, 1795, <i>The Tragic Muse</i> was bought by Mr. Smith of Norwich for
+£700 and Mr. Smith sold it privately to Mr. G. Watson Taylor for £900.
+At the sale of Mr. Taylor’s pictures in 1823 it was purchased by Earl
+Grosvenor for £1,837-10. Inherited by the Dukes of Westminster, <i>The
+Tragic Muse</i> hung for many years in Grosvenor House, in company with
+Gainsborough’s <i>Blue Boy</i> until it was sold in 1921 to the late
+Mr. Henry E. Huntington.”</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_26" href="#FNanchor_26" class="label">[26]</a> William T. Whitley, <i>Gainsborough</i> (London, 1915).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_27" href="#FNanchor_27" class="label">[27]</a> William T. Whitley, <i>Gainsborough</i> (London, 1915).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_28" href="#FNanchor_28" class="label">[28]</a> William B. Boulton, <i>Gainsborough</i>, 1907.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_29" href="#FNanchor_29" class="label">[29]</a> Maria’s sister Louisa had married the Hon. and Rev.
+Frederick Keppel, second son of the Earl of Albemarle.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_30" href="#FNanchor_30" class="label">[30]</a> Maria’s sister who married Lionel, fifth Earl of Dysart.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_31" href="#FNanchor_31" class="label">[31]</a> Name for evening dress.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_32" href="#FNanchor_32" class="label">[32]</a> Maurice W. Brockwell, <i>Taft Catalogue of Paintings</i>
+(New York, 1920).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_33" href="#FNanchor_33" class="label">[33]</a> <i>Thomas Gainsborough</i> (London, 1915).</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_34" href="#FNanchor_34" class="label">[34]</a> The portrait of Henrietta Maria (see page <a href="#i_193">193</a>) is another
+example.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_35" href="#FNanchor_35" class="label">[35]</a> Humphrey Ward.</p>
+
+</div>
+
+<div class="footnote">
+
+<p><a id="Footnote_36" href="#FNanchor_36" class="label">[36]</a> Angelica Kauffman, the famous painter.</p>
+
+</div>
+</div>
+
+
+<p class="transnote">Transcriber’s Notes:<br>
+<br>
+1. Obvious printers’, punctuation and spelling errors have been
+corrected silently.<br>
+<br>
+2. Some hyphenated and non-hyphenated versions of the same words have
+been retained as in the original.</p>
+
+
+<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77067 ***</div>
+</body>
+</html>
+
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diff --git a/LICENSE.txt b/LICENSE.txt
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@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
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+Project Gutenberg (https://www.gutenberg.org) public repository for eBook #77067
+(https://www.gutenberg.org/ebooks/77067)