•\a/
-x
KA K >v
Young People's Story of Art
THE NE'
PUBLIC L
ASTCW, LENeX ANC
7IL0
\\
„ -
-
o
cu
2
5
— . c_
w x
r
o
oo
c
Young People's
Story of Art
By
Ida Prentice Whitcomb
Author of
" A Bunch of Wild Flowers for the Children,'
"Heroes of History ' :
Illustrated
New York
Dodd, Mead & Company
1906
.THE NEW YOR^I
'^BLIC LIBRARY
>0
Copyright, 1906, by
Dodd, Mead & Company
Published October, igo6
FOREWORD
" Picture study," a wise man has well said, " is one
of the most powerful methods of instruction known."
And in this book, young people will find illustrated
short stories about Architecture, Sculpture, and
Painting.
But you ask: " Shall we learn which are the most
wonderful buildings, the most famous statues, and
the best pictures? "
That question we may not answer conclusively, for
even the most competent critics cannot agree. Never-
theless, through picture study all may become familiar
with the masterpieces into which the men of genius
have embodied their beautiful thoughts; learn to
recognise what is really great in art; and decide what
we most enjoy.
Hence, we will begin our art story, by taking
a brief glimpse at the massive stone monuments of
ancient Egypt, climbing the " Storied Hill '' of
Greece, and wandering among the ruins of Rome.
Then, at the coming of the Christ-Child, we will
see the temple give way before the church, the heathen
god before the Christian saint; and we will glance at
the pictures of different masters who have revealed
to us their ideals of the Madonna and Child.
Several churches will be described to illustrate the
FOREWORD
true forms of this architecture; and turning over
another page, we will see the marvellous architecture
given to the world by the followers of the warlike
prophet, Mohammed — its mosques and minarets, its
forests of pillars, its network of arabesques, and daz-
zling gleam of crystal.
A few groups chiselled by the world's famed sculp-
tors, as well as the patient carvings of the busy crafts-
men of the Middle Ages, will make their appeal for
sculpture.
For the rest, there are mythological, historical, and
religious scenes, portraits, and romantic pictures
from the world's great galleries, and landscapes, too,
which nature-loving artists have given us from many
different points of view; and we may wonder if the
right way to paint a landscape has yet been discovered.
But we pause now — face to face with modern art.
For whereas in the earlier day the masters were few,
and upon their works the judgment of centuries has
been passed, to-day there are hosts of painters, myriad
forms of modern art and sculpture, and it is too soon
yet to determine which are the typical ones.
At the present time, an important question is being
asked: Which is the greater, ancient or modern art?
Who can decide?
Art is a difficult subject, for even in the case of
one picture, there are many ways of looking at it.
However, of one thing we may be sure — that precisely
as it is through our researches into the ancient and
mediaeval periods that we lead^up to the history and
literature of to-day, so it is through our knowledge
FOREWORD
of the development of art in the past that we appre-
ciate the art of the present.
One word more: When you take up these stories,
read them carefully and with emphasis — then, lest you
forget, tell what you have learned to someone else.
A little added study of legend and mythology as
you read, and sometimes a visit to an art museum,
will soon bring the subject clearly before you, and the
wider your knowledge becomes, the greater will grow
your interest. If you like the quotations, commit
them to memory — then they will always be your own.
This book makes no claim of being an exhaustive
treatment; rather, the effort has been to bring the
young reader into closer friendship with a few leading
masters, and to a study of their influence.
If our book proves a sesame in unlocking the larger
gallery which belongs to the school of modern art, its
aim will be fulfilled.
Never lose an opportunity to see anything
beautiful. Beauty is God's handwriting."
— Charles Kingsley.
Contents
CHAPTER PAGE
I EGYPTIAN ART
A Glimpse into Egyptian Art ... 3
II GRECIAN ART
A Storied Hill n
The Jupiter Olympus 21
A Little Sculpture Gallery ... 23
Stories of Greek Painters ... 29
III ROMAN ART
Monuments of Ancient Rome ... 37
Paintings Found in a Buried City . . 43
IV EARLY CHRISTIAN ART
The First Church 49
St. Sophia and St. Mark's .... 53
Two Gothic Cathedrals .... 57
V ITALIAN ART
Pisa and Pisano's Pulpit .... 65
A Bird's-eye View of Florence— Giot-
to's Tower 68
Ghiberti's Gates of Paradise ... 71
Brunelleschi's Dome 73
Luca Della Robbia and Donatello . 77
Michael Angelo 81
Cellini, Bologna, and Bernini . . 91
Canova 96
Italian Painting
The Christ-Child in Art . . . . ioi
ClMABUE AND GlOTTO io 3
CONTENTS
CHAPTER PAGE
The Madonna and Child of the Fif-
teenth Century 108
Fra Angelico — The Painter-Monk . no
Leonardo da Vinci 117
Raphael 125
Titian 14 1
A Group of Venetian Painters . . 151
Italian Art in the Seventeenth Cen-
tury 157
VI SPANISH ART
A Glimpse into Moorish Art . . . 165
Early Spanish Painting 172
Velasquez 176
Murillo 186
VII FLEMISH ART
The Van Eycks and Their Followers 201
Rubens 207
Van Dyck, and Other Followers of
Rubens 220
VIII DUTCH ART
Rembrandt 235
A Group of Dutch Painters . . . 246
Landscape and Marine Painters . . 252
IX GERMAN ART
Nuremberg 261
Albrecht Durer 268
Hans Holbein 279
Later German Art 286
Some Familiar German Pictures . . 291
X ENGLISH ART
Early English Painting .... 299
Sir Joshua Reynolds 301
CONTENTS
CHAPTER PAGE
Gainsborough and Constable . . . 311
Turner 320
Nineteenth Century English Art . 331
XI FRENCH ART
Early French Art 343
Eighteenth Century and Revolution-
ary Art 350
The Fontainebleau-Barbizon Paint-
ers: Rousseau, Diaz, Troyon, Jacque,
Corot 357
Jean Francois Millet, The Peasant-
Painter 366
A Glimpse into Modern French Paint-
ing -374
ILLUSTRATIONS
Sphinx, with Great and facing page
Second Pyramids Egypt .... 4
The Temple of Karnak Egypt .... 6
Colossal Statue of Ram-
eses ii., found near
Memphis Egypt .... 8
The Acropolis Athens .... 16
Minerva Nat. Mus., Naples 18
The Acropolis Athens .... 20
Venus de Milo Louvre, Paris . . 22
Venus de' Medici Uffizi Gallery,
Florence . . 24
Figure of Victory from
the Temple of Victory 26
Hermes Louvre, Paris . . 28
Apollo Belvedere Vatican, Rome . 30
Discobolus Vatican, Rome . 32
The Pantheon Rome .... 38
The Coliseum Rome .... 40
Arch of Titus Rome .... 42
House of the Faun Pompeii ... 44
The Mosque of St.
Sophia Constantinople . 54
St. Mark's Venice .... 56
The Cathedral of Mi-
lan Italy .... 58
The Cathedral of Co-
logne Germany ... 60
Duomo, Leaning Tower,
Baptistery and Campo
Santo Pisa . ... 66
General View from San
Miniato Florence ... 68
XV
ILLUSTRATIONS
Cathedral op Santa facing page
Maria del Fiore, with
Giotto's Tower Florence ... 70
Bronze Doors .... Lorenzo Ghiberti Baptistery, Flor-
ence .... 73
Statue of St. George . Donatello . . National Museum,
Florence ... 80
David Michael Angelo Academy, Florence 84
Moses Michael Angelo S. Pietro in Vin-
coli, Rome . . 86
Creation of Adam . . Michael Angelo Sistine Chapel,
I'atican, Rome . 88
St. Peter's Rome .... 90
Apollo and Daphne . Gio. Lorenzo Ber-
nini . . . Villa Borghese,
Rome ... 96
Madonna Giovanni Cima-
bue . . . . Church of S. M.
Novella, Flor-
ence .... 104
St. Francis before the
Soldan Giotto 106
Virgin, Child, and St.
John Sandro Botticelli Louvre, Paris . . 108
Holy Family .... Filippino Lippi . Pitti Gallery, Flor-
ence . . . .110
Angel with Mandolin Giovanni Bellini 112
Madonna of the Star . Fra Angelico . Convent of San
Marco, Florence 116
. Sta. Marie delle
Grazie, Milan . 120
. Louvre, Paris . .124
. Vatican, Rome . 128
The Last Supper
L. da Vinci
Mona Lisa L. da Vinci
The School of Athens . Raphael .
St. Cecilia .
Madonna delle Sedia
Sistine Madonna .
The Transfiguration
Raphael .
. Pinacoteca, Bo-
logna
130
Raphael .
. Pitti Palace, Flor-
ence ....
132
Raphael .
. Royal Gallery,
Dresden .
134
Raphael .
. Vatican, Rome
136
xvi
I L L U STRATI O NS
FACING PACE
The Holy Night . . Correggio . . Royal Gallery,
Dresden . . .140
The Tribute Money . Titian . . . Royal Gallery,
Dresden . . .144
St. Christopher and the
Christ-Child . . . Titian . . . Doges' Palace,
Venice . . . 146
The Presentation of the
Virgin in the Temple Titian . . . Academy, Venice 148
The Assumption of the
Virgin Titian . . . Academy, Venice 150
Santa Barbara . . . Palma Vecchio . Church of S. M.
Formosa, Venice 152
The Miracle of St.
Mark Tintoretto . . Academy, Venice 154
The Marriage of Cana Paul Veronese . Dresden Museum 156
Aurora Guido Reni . . Rospigliosi Palace,
Rome . . . 160
The Court of Lions Granada . . . 170
The Alhambra Granada . . . 172
Don Balthazar Carlos Velasquez . . Museum, Madrid 180
Las Meninas .... Velasquez . . Museum, Madrid 182
The Dice-players . . Murillo . . . Pinakothek, Mun-
ich . . . .194
The Holy Family . . Murillo . . . Louvre, Paris . . 196
The Adoration of the
Lamb Van Eyck . . Ghent .... 204
The Descent from the
Cross Rubens . . . Cathedral, Ant-
werp .... 212
Helena Fourment with
her Children . . . Rubens . . . Paris .... 216
Charles I Van Dyck . . Louvre, Paris . .226
Children of Charles I. Van Dyck . . Dresden . . . 228
The Rustic Wedding . David Teniers . Pinakothek, Mun-
ich .... 230
Saskia Holding a Pink Rembrandt . . Dresden . . .238
The Night Watch . . Rembrandt . . Museum, Amster-
dam .... 242
xvii
ILLUSTRATI ONS
The Banquet of the
Arquebusiers . . . Van der Heist
Hille Bobbe .... Franz Hals .
The Avenue of Middle-
harnais Hobbema
The Bull Paul Potter .
Adoration of the Magi Diirer .
The Madonna of the
Burgomaster Meyer . Holbein .
Lion's Bride .... Gabriel Max
The Christ in the
Temple H. Hofmann .
The Angels' Heads . . Reynolds .
Lady Cockburn and her
Children .... Reynolds . .
Blue Boy Gainsborough
The Fighting Temeraire Turner . .
A Distinguished Member
of the Humane So-
ciety Landseer .
Worship of Magi . . E. Burne-Jones
The Embarkation for
the Island of Cythera Watteau .
The Coronation of
Josephine .... David
Landscape Rousseau . .
Landscape J. B. C. Corot
The Gleaners . . . J. F. Millet .
facing page
Amsterdam . . 246
Berlin .... 248
Nat. Gallery, Lon-
don .... 252
The Hague Gal-
lery .... 254
Uffizi Gallery,
Florence . . 272
. Darmstadt Gallery
282
292
. Dresden .
294
. London
306
. London
308
. Grosvenor Gal-
lery, London
316
. Nat. Gallery, Lon-
don .
328
Nat. Gallery, Lon-
don .... 334
Birmingham . . 338
Louvre, Paris . .352
Louvre, Paris . .356
3 6 °
364
Louvre, Paris . . 372
xvin
Egyptian Art
I
A GLIMPSE INTO EGYPTIAN ART
For the beginning of our story of art we must,
in imagination, go back thousands of years, to far-
away Egypt in northern Africa. There, beside the
river Nile, we find the most colossal tombs, palaces,
and temples in the world.
Memphis and Thebes, the two famous cities of
ancient Egypt, were built on the banks of this sacred
river, and in or near these cities, the ruins of many
wonderful monuments now stand.
Near Memphis, on the edge of the desert, is
Cheops's gigantic pyramid. How much of the
world's history must have passed before it, as it
has looked out for thousands of years over the river
and the great desert !
You know the picture of the immense triangle of
stone, rising 480 feet, and covering thirteen acres
of land. It towers far above the other pyramids and
the sphinxes that are near it.
Shadowy Cheops, one of the earliest kings of
Egypt, is said to have built it. Perhaps he used it
for his observatory, but we know that he designed it
for his tomb.
To build it he must have employed one hundred
thousand men for thirty years. They worked under
cruel task-masters, beneath a burning sun, hauling
gigantic blocks of stone from distant quarries to put
YOUNG PEOPLE'S STORY OF ART
into it, and all they had to eat was garlic and
radishes.
When the pyramid was finished, the ambition of
mighty Cheops was satisfied; for he believed he
should have the largest tomb in the world.
His people thought differently. They were an-
gered by his oppression, and punished the proud
monarch in the way that would most have humiliated
him; for at his death, they buried him elsewhere.
So one who climbs Cheops's pyramid, enters its
narrow winding passages, and approaches the little
sacred chamber in the centre, knows that it is only
an empty tomb.
On the outside, the gigantic blocks of polished
stone with which the pyramid was at first encased
have been torn away to be used for building in
Cairo. By more than two hundred steps, one may
climb to the top and rest on the platform there, and
look out over the Nile and the wonderful desert.
The Sphinx below it is very curious — an animal
shall we call it? with its lion's body and human head.
It is a monolith — that is, it is cut from one great
stone, and it is 142 feet long and 65 feet high. This
huge creature is a symbol of some religious power,
but of what? That is the Sphinx's riddle! It is
always spoken of as the Sphinx, though there are
in Egypt rows and rows of ruined sphinxes, always
lining the avenues leading up to the temples.
Some of the rocks on the banks of the Nile be-
tween Memphis and Thebes are perfectly honey-
combed with tombs. For like Cheops and other
famous Egyptian kings, the people of ancient Egypt
4
2
O
u
EL, Z
> <
EGYPTIAN ART
spent their lives in making their tombs ready to
receive their mummies when they died.
These tombs are cut out of the solid rock. The
mummy is buried in the lower part; and above, the
tomb is like a little dwelling, sometimes contain-
ing several rooms. The walls are painted over with
the stories of the lives of those who are buried be-
neath them. Different occupations are pictured here;
the sowing of seed, the gathering of harvests of figs
and grapes, and the making of cloth or brick.
Wagons and trading-vessels are seen, and the games
and feasts of the people.
Although the old Egyptians spent so much time
on their tombs, these pictures show that they must
have been a gay and merry people; yet a people,
too, with great knowledge of arts and sciences.
In all pictures, a king is depicted as very much
larger than his subjects. The artists had no idea
of perspective; that is, of showing the various fig-
ures in the same picture as if they were seen at
different distances. For example, in a procession,
one file of men is frequently represented as marching
directly over the heads of another.
What the artist tried to do was to tell very simply
and plainly a story in picture; and he succeeded, and
the colours he used are still fresh and bright.
About these stories, are traced hieroglyphics, or
picture-writings. These were supposed to explain the
story; but the priests kept to themselves the secret of
their meaning. It was only in the eighteenth century
that a stone was found that enabled scholars to de-
cipher the strange writing. So that if the pictures had
5
YOUNG PEOPLE'S STORY OF ART
not told their own stories so clearly, there would have
been, through all the past ages, very little knowledge
of life in ancient Egypt.
Leaving the pyramids near the site of old Mem-
phis, and following up the Nile, past its rock-cut
tombs, the ruins of " Hundred-gated Thebes " are
finally reached.
Thebes was the most splendid capital of ancient
LS<>i- '•?-:-■ ■■-?.■-
T7P
..K_
*£^&
RESTORED VIEW OF AN EGYPTIAN TEMPLE
Egypt; and the temples in and near it are magnifi-
cent, even in their decay.
An Egyptian temple was unlike any other. It was
usually approached by an avenue of sphinxes. Be-
fore its entrance gates were frequently placed one or
two obelisks. These obelisks were monoliths, like
the Sphinx, but shaped like the pyramids, from which
they differed in being very tall and slender. Their
form was symbolic of the sun's rays.
Upon each obelisk was traced in hieroglyphics
an ascription of praise from a king to the god, in
whose honour the temple was built.
Many of these obelisks ha^e been brought from
Egypt to European cities; and one of them stands in
6
THE TEMPLE OF KARNAK.
VOX AND
FIOM.C
)NS.
EGYPTIAN ART
Central Park, New York. Perhaps you have seen
it there, and have tried to read the hieroglyphic in-
scriptions traced upon it. Passing by the sphinxes
and obelisks, the old Egyptian entered his temple
through a strangely-shaped gateway called a pylon.
The temple consisted of courts and pillared halls,
and dwellings for the priests. At its further end, was
a little dark enclosure called the cella. This was the
holiest place of all; for here the image of the god
was kept, for whom the temple was built. Though
it was perhaps only an ape or a cow, an ibis or a
crocodile, it was guarded with the greatest care, and
decked with beautiful jewels. Only the priests could
enter the cella; the people always worshipped with-
out in the courts.
Karnak, at Thebes, and Luxor, two miles away,
are most wonderful ruined temples. The hypostyle
or pillared hall of Karnak is the largest hall in the
world. It is so immense that if it were empty several
churches might be placed within it. But originally
it must have been a perfect forest of huge columns,
one hundred of which still remain. The twelve cen-
tral ones are 60 feet high and 30 feet around, and
the others are nearly as large.
The capitals as the tops of the columns are called
are decorated with the lotus, a flower resembling the
water-lily. It was considered a sacred flower, be-
cause it grew beside the sacred river Nile; and,
therefore, its buds and blossoms were copied to deco-
rate the columns of the temples. The shafts of these
columns and the temple walls were covered with
brightly-painted hieroglyphics and figures.
7
YOUNG PEOPLE'S STORY OF ART
Even in its ruin, the hall of Karnak is a most im-
pressive sight.
Think of the numbers of ancient Egyptians,
who, thousands of years ago, worshipped in this
hall!
In and near Thebes, are many other wonderful
courts, built by famous kings. The temples were all
surrounded by high walls, and in war-time, they be-
came grim fortresses.
The statues in Egypt are not nearly so life-like
as the paintings. They are often placed close to
temple walls, the figures seated stiffly with their feet
together, and their arms either pressed to their sides,
or folded upon their breasts; or again they are stand-
ing; but so rigid that they look as if nothing could
move them. The faces always wear a stony set ex-
pression. Often, as gods, they are given human
bodies and animal heads.
Among these statues are two great figures seated
on the plain near Thebes. They have a solitary look,
for the temple to which they once belonged was
destroyed ages ago.
The larger, which is 70 feet high, is the " Vocal
Memnon." It is called " vocal," because the Egyp-
tians used to think that it sang when struck by the
rays of the rising sun. The music was probably
made by a priest, who concealed himself within the
statue and beat upon a stone.
Egypt had many mighty rulers, and many mighty
builders, in its " Golden Age." The most arro-
gant of all was Rameses II. the'Great; who, after his
plundering campaigns, devoted his life to erecting
8
V.
[
A8TCW, LENi
EGYPTIAN ART
colossal monuments, covered with flattering inscrip-
tions — not to the gods, but to himself.
In front of the Rameseum, his splendid Theban
palace, stood a great monolithic statue of this proud
monarch seated upon his throne. It weighs 900
tons. Alas ! his pride has had a fall ! for to-day
his statue lies in stupendous fragments!
Farther up the Nile, among the rock-cut tombs
of Nubia, there are four stony-faced statues of him,
each 70 feet high.
Like Cheops, Rameses II. wished to be remem-
bered forever; and he has succeeded in one way
which he little anticipated — for in 188 1, his mummy
was discovered !
So, now, when we visit Egypt, we see not only his
halls and palaces and stony face, but in the museum
at Cairo, we may gaze at Rameses himself!
Egypt has many pyramids, temples, and rock-cut
tombs, and it is easy to-day to see this land of
wonders. We land at Alexandria, go to Cairo, and
from there, by trolley-car, we visit the great pyramid
and the sphinx. Then sailing up the Nile, we reach
the wonderful ruins in and around Thebes, and linger
in the hall of Karnak.
The names of the architects who built, and of the
sculptors who carved these pyramids and temples,
and of the painters who told upon them the stories
of Egyptian life are all forgotten. But their monu-
ments will stand for centuries to come as the most
colossal art wonders of the world.
" Men die and are forgotten, but the great world of art
still lives."
Grecian Art
II
A STORIED HILL
Greek art in the " Golden Age " of Pericles ! How
different from the solemn and massive Egyptian
art, in the time of shadowy Cheops and of Rameses
the Great!
The Greeks lived in the open air. They loved
nature and peopled the earth and sea and sky with
gods and goddesses. Besides these they had heroes
who did such wonderful deeds that they almost be-
came gods.
There were Greek poets, always ready to sing
the praises of gods and heroes; and Greek sculptors
and architects ready to carve their statues and build
temples in their honour.
There are, to-day, only fragments of their work
remaining. But after looking at these fragments,
the wisest critics agree in thinking that there has never
existed an art more beautiful. Would that we might
have seen it, in the olden day, when all the statues
were perfect and the temples were always open so
that the people, coming in and out, could join in the
hymns and dances which were their simple form of
worship.
There are so many gods and heroes in Greece that
we might easily fill our book with legends of them.
But we will, instead, just withdraw Minerva from
this group, because she was the patron goddess of
13
YOUNG PEOPLE'S STORY OF ART
Athens, the centre of Greek art. First we must
read her interesting story, and then examine some
of the monuments raised in her honour. The gods
and goddesses were supposed to live on Mt. Olympus,
in northern Greece. Jupiter was the king, and Juno,
the haughty queen. Every day all assembled in
Jupiter's palace to feast, and to consult about the
affairs of Greece; and when they descended to earth,
they came through gates of clouds.
One day, while they were all feasting together,
Jupiter complained of a terrible pain in his head.
It was so severe that he finally commanded Vulcan,
the lame blacksmith god, to strike his forehead to
give him relief. Vulcan obeyed, and behold from his
head out sprang the goddess Minerva, fully armed,
brandishing her sword, and shouting her war-cry!
All Olympus trembled as she appeared ! She was,
at once, admitted to the assembly in Jupiter's palace;
and she was so wise that her influence among the
gods almost equalled that of Jupiter, her father.
Minerva's favourite bird was the owl, and her
favourite tree was the olive.
Shortly after her sudden appearance on Mt. Olym-
pus, there was a contest among the gods, about
naming a city in Greece. Neptune and Minerva both
wished the honour. Their rivalry became so great
that it was necessary to call a council of the gods
to decide the matter. After much consultation, it
was determined that the privilege should be given to
whichever could produce the most useful thing.
Neptune quickly struck trie ground with his tri-
dent; and, at once, a strong and beautiful horse
14
GRECIAN ART
sprang forth ! The gods all applauded. A horse
was so useful that they were sure that Neptune must
win !
Then Minerva touched the earth with her distaff
and brought forth an olive-tree; telling the gods in
eloquent words that from it oil and food, clothing and
shelter might be obtained.
With their wisdom the gods knew that an olive-
tree was really more useful to man than a horse; so
Minerva was chosen to name the city.
All Greek gods and goddesses have two names —
a Greek and a Latin one. Minerva is her Latin name,
and means " wisdom." Her Greek name is Athene;
and from this, the city is called Athens.
Greek cities were usually built around a fortified
hill or Acropolis. On this hill, was a shrine to the
guardian deity of the city, and here the people would
flee for protection in time of danger. On the Acrop-
olis of Athens was placed a small shrine, hold-
ing a little olive-wood statue of Minerva. This was
especially sacred, because it was fabled to have fallen
from heaven. It was washed and dressed and cared
for most tenderly every day.
Minerva proved a splendid guardian for Athens.
She taught the maidens to spin and to weave, and
the youth the art of war.
When the Trojan War was fought, through Mi-
nerva's wise intercession, the Greeks were victorious.
Then, after a few centuries, the Medo-Persian War
took place; and little Greece won the famous battles
of Marathon and Thermopylae from her haughty
Persian rival.
i5
YOUNG PEOPLE'S STORY OF ART
And nearly always Athens seemed foremost in the
triumphs; and the Athenians felt that their warrior-
goddess had inspired them. They were very grate-
ful to Minerva, for leading them on to such glorious
victories; and they determined to show their grati-
tude by making her shrine on the Acropolis the most
beautiful one in the world. It was easy to do this;
for the city had become very rich with the great
spoils taken in the Persian War.
Besides, it was now governed by Pericles, one of
the wisest and most noted statesmen of the time into
whose hands the Athenians entrusted their project.
Pericles called to his aid Ictinus, the architect,
and Phidias, the most famous sculptor in the world;
and Phidias gathered artists to assist him from all
over Greece.
Our picture shows the Acropolis, after Phidias and
his pupils had completed their work.
We can see at a glance that this Greek temple
was very unlike those of Egypt. It was much smaller;
it was built of white marble and some parts of it were
brightly coloured; it had a pointed roof, the gable
ends of which were called pediments.
It was upheld by beautiful columns. Two kinds
of those used on the Acropolis were the low Doric,
jwith a flat capital, and the taller and more slender
' Ionic, with a scroll-like capital which resembled rams'
horns. The interior was lighted only from above,
and the cella or shrine held the statue of the god or
goddess to whom the temple was dedicated.
Do you like a hill with a story? Let us approach
the Acropolis, and see how Minerva's story is traced
16
.J
* u
< -
w 2
x e
TIL
GRECIAN ART
all over it. The two broad flights of marble steps lead
up the steep rock, which rises 150 feet above the
city. The road between was for beasts and chariots.
The gateway or propylaeum in front is not like the
massive pylon of the Egyptian, but instead a col-
onnade in the form of a graceful temple surrounded
by Doric columns.
The modest little temple to the right, upheld by
Ionic columns, was dedicated to Minerva, and called
the " Temple of the Wingless Victory."
Passing through the propylaeum or gateway, and
up the hill, a colossal bronze statue confronts us.
This is the warrior-goddess Minerva, whom
Phidias named " The Champion." Here she stands
70 feet high, fully armed with' spear and shield, in
the attitude of battle.
She overtopped the temples about her, and the
golden plume of her helmet could be seen far out
at sea. For she was so placed that " she would terrify
a coming foe, and give the first welcome to the exile
or mariner, when, after long absence, he appeared
in sight of his beautiful home."
Far back to the left in the picture we see an irregu-
lar-shaped temple. This was named for Erectheus,
a legendary king of Athens, and so called the Erec-
theum. It had replaced the earlier shrine, and so it
held the little olive-wood statue and some other sacred
emblems. It had a charming porch at the side, and
this was upheld by statues of maidens instead of
pillars.
The most famous building on the Acropolis was
the Parthenon. The word " Parthenon " means
17
YOUNG PEOPLE'S STORY OF ART
" Home of the Virgin," and this Parthenon was the
shrine of the most wondrous statue of Minerva ever
wrought. It was made by Phidias of wood, over-
laid with ivory and gold, and it was 37 feet in height.
The head, hands and feet were of ivory, the eyes of
precious stones, and the tunic of gold.
Minerva, in her golden peplos, stood erect, and
wore a helmet upon her head. Her aegis or breast-
plate was studded with precious stones, and bore upon
it a copy of the gorgon's head which she had won
as a trophy. Her ornamented shield rested at her
side, and a little figure of victory perched upon her
outstretched hand.
People came from all over Greece to see this won-
drous statue. To-day we know it from the descrip-
tions of Greek writers. Besides, we may see a picture
of a little statuette which has been lately found, and
which many think is a copy of the Minerva.
On the outside, the Parthenon was upheld by rows
of Doric columns, and it was beautifully decorated
in honour of Minerva.
The sculptures on the two pediments were full of
grace and motion. On one side, Minerva was seen,
springing fully armed from Jupiter's head; on the
other, was represented her contest with Neptune in
naming Athens. Back of the columns ran a band
of sculpture all around the Parthenon, and this was
called a frieze.
This frieze represented scenes from the Panathe-
naic procession. This was such a glorious festival
that we must pause to describe it. From time to
time, in Athens, it was the custom for the noble
18
MINERVA
IN THK NATIONAL MUSKUM, NAPLES
A8"i
TILO
GRECIAN ART
maidens to weave a new peplos or veil, for the little
olive-wood statue of Minerva, in the Erectheum.
After it was finished, it was suspended from the
masts of a kind of ship, and then it was borne up
the hill by a long procession, and placed over the
olive-wood goddess in the Erectheum.
The sacred procession consisted of heralds, war-
riors, and musicians, of old men bearing sacred olive
branches, of noble youths, holding or mounting pran-
cing horses.
There were heroes in chariots — there were grace-
ful maidens, some with parasols, others bearing bas-
kets upon their heads. Indeed, one might see, in this
procession, Athenians in every attitude and costume.
The sculptor Phidias and his pupils probably
watched the procession wind up the hill; and they
caught the very life and action of it all, and then
sculptured it upon the long lane-like frieze.
To-day this frieze is in fragments ; but even these
yet reveal to us the graceful, joyous life of the old
Greeks.
Is not the Acropolis indeed a " Storied Hill "?
If Minerva could only have been a real queen, in-
stead of being wrought in bronze and wood and ivory
and gold, how she would have enjoyed all the honour
given her on the Acropolis ! first as the champion-god-
dess — next as a little olive-wood goddess — and then
as a magnificent gold-and-ivory goddess, symbolic
both of victory and wisdom.
The streets of Athens in this " Golden Age " were
full of statues and temples; and the Acropolis, tower-
ing above the city, was like a gorgeous museum.
19
YOUNG PEOPLE'S STORY OF ART
And when its white and glowing marbles, its gems
and bronzes and gildings were glittering in the sun-
light, it was in its dazzling beauty the crowning glory
of Greek art !
And what of this treasure-hill to-day? for we have
been reading of a " Golden Age " that existed over
two thousand years ago.
Greece was conquered again and again, and many
of its works of art were buried, or taken to other
countries. The Parthenon was later used, in turn,
as a Christian church, a Turkish mosque, and a pow-
der-magazine; other buildings on the Acropolis were
ruined by the ravages of time and war.
For many centuries the Parthenon retained its
beauty; but in the year 1687, its destruction came
very suddenly. In that year, there was a war between
the Turks and the Venetians. The latter threw
a bomb upon the marble roof of the Parthenon, and
the wondrous structure was blown to pieces.
Our last picture shows our " Storied Hill " as it
looks to-day; and it stands out in strange distinctness
in the transparent air of Greece. But the picture
cannot reproduce the mellow tint which the ages have
given to the marble — a bloom and a glow which time
and war can never efface !
One has beautifully said, " Visit the Acropolis by
moonlight; then the ruins disappear, and, in imagina-
tion, the hill is again covered with the statues and the
buildings that adorned it in the ' Golden Age ' of
Pericles."
20
■J-.
13
X> -
U *
— -
PUi
ASTOfl, LENOX AND
7ILC NATIONS.
GRECIAN ART
" Minerva, goddess azure-eyed,
Rose to Olympus, the reputed seat
Eternal of the gods, which never storms
Disturb, rains drench, or snow invades, but calm
The expanse, and cloudless shines with purest day.
There the inhabitants divine rejoice forever."
— Homer.
THE JUPITER OLYMPUS
Pericles had made Phidias master of the art-works
in Athens, but the Athenians were a fickle people.
After the Parthenon was finished, they did something
that made the great sculptor indignant, and he de-
termined to be avenged. He decided to leave Athens
and go to some other city. There he would make
a more wonderful statue than the Minerva and then
perhaps the proud Athenians would be sorry for what
they had done.
After thinking for some time over his plan, Phidias
decided to go to Olympia, in western Greece, where
the Olympic Games were held. So he travelled to
Olympia, and the people there felt greatly honoured
at his coming, and received him joyfully.
Soon a whole army of architects, sculptors, and
gold-beaters, followed their famous master.
At Olympia, Phidias wrought his statue of Jupiter
Olympus, which was so famous that it became one
of the " Seven Wonders of the World."
Let us try to imagine how it looked; for from what
the ancient writers have told us, and a copy of the
statue found on an old coin, we may form some idea
of it. Like the Minerva, its foundation was of wood,
21
YOUNG PEOPLE'S STORY OF ART
and it was overlaid with gold and ivory. Its height
was forty feet. Jupiter was represented as seated on
a magnificent throne. A green enamelled wreath
crowned his golden locks. In one hand he held a
sceptre or thunderbolt, tipped with his favourite
eagle; a statue of victory rested upon the other hand.
Phidias's aim was to carry out the poet Homer's
sublime description of Jupiter; and it is said that he
represented the king of the gods with such grace and
COIN OF ELLIS, FROM OVERBECK
majesty that the Greeks thought the hand of Jupiter
himself must have guided the chisel.
The temple in which the statue was placed was of
great height; and yet had Jupiter risen from his
throne, he would have carried away the roof!
All Greece was enchanted. Crowds from every di-
rection made pilgrimages to the shrine ; for the peo-
ple firmly believed that, if they could see the god
face to face, all their care and suffering would be
forgotten; and that if they did not behold him, they
would be unhappy when they died.
22
VF.M'S m MH.O
IN THE LOUVRE, PARIS
GRECIAN ART
There is a pretty legend that fitly ends the story:
After the Jupiter Olympus was finished, Phidias
gazed long upon it. Then raising his hands in prayer,
he begged Jupiter that if he was satisfied, to reveal
himself by some sign.
At once, as if in response to the sculptor's prayer,
a stroke of lightning illumined the statue. Phidias
was avenged ! The Athenians begged him to return,
but he refused.
So, while Minerva presided over Athens, Jupiter
Olympus presided over all Greece.
" He spake, and awful bends his sable brow,
Shakes his ambrosial curls and gives the nod,
The stamp of fate, and sanction of the God."
— Homer.
A LITTLE SCULPTURE GALLERY
The Greeks loved to carve the figures of the gods
and goddesses in pure white marble. Think of the
exquisite skill that could chisel rough stone into a
statue, that should be for centuries one of the art
wonders of the world.
Let us now make a little imaginary sculpture gal-
lery, putting into it a few of the most famous of these
statues; then when we see pictures of them, it will
always be easy to recognise them.
We choose first the " Venus of Milo," because it
has been said that if this alone of all ancient statues
had been preserved, it would have proved the Greek
art to be the finest art in the world.
23
YOUNG PEOPLE'S STORY OF ART
Venus, you know, was the goddess of love and
beauty. So, naturally, she has always been a fav-
ourite among artists.
Her story is, that she rose from the sea-foam, and
then was wafted by gentle breezes to Mt. Olympus.
All the gods there were charmed by her beauty, and
as they were in the habit of falling in love, Venus
had many suitors; but she haughtily rejected them
all. Then Jupiter, the king, to punish her for her
pride, obliged her to marry Vulcan, the lame and
repulsive blacksmith.
The statue of Venus which we have selected for
our gallery is called the Venus of Milo, because its
home was on the Island of Melos, for perhaps two
thousand years. Over a hundred years ago a peas-
ant found it there. It was concealed in the niche of
the wall of an ancient theatre buried beneath the
rubbish of ages. It was discovered to be in two
great pieces.
The peasant rescued it from its rocky hiding-place.
It was restored and later sold to Louis XVIII, the
king of France. Now the home of the Venus of Milo
is in the Louvre in Paris.
The French value this statue very highly. During
the Franco-Prussian War, fearing that the Prussians
might carry it away, they put it into a great metal
box and buried it.
See what a lovely face Venus has! Our print,
however, cannot reveal one of her greatest charms —
that is the tint of the marble, which has an appearance
of velvet softness quite unlike the cold polish of
other statues. Probably she is called " Venus," be-
24
VENUS l)E" MEDICI
UN THE TFF1ZI GALLERY, t-LOKfcNO
TILC
GRECIAN ART
cause of her beautiful face and the graceful pose of
her head. If her broken arm formerly carried a
shield as many think that it did, she would really be
a statue of victory.
The " Venus de' Medici " is also so famous that
she, too, must go into our gallery. Her face is not at-
tractive; indeed, it seems almost without expression
when compared with that of the Venus of Milo. Her
charm is in her perfectly-formed figure. This statue
also, was buried for ages. But in the seventeenth cen-
tury it was dug out of a Roman portico and restored.
Then it rested for a time in the Medici Palace,
from which it took its name. Now we may see it in
a little room in the Uffizi Gallery in Florence, sur-
rounded by other noted statues and pictures.
We will next add two statues that were found at
Olympia. This you remember was where Phidias
wrought his Jupiter Olympus. These statues were
also excavated from the ruins that the centuries had
wrought. They were found in the year 1875, and
they are noted for two things. They are of won-
drous grace and beauty, and upon the pedestal of
each is carved the name of its maker.
One is a statue of " Victory " and it bears the name
of Paconius.
The Greeks were so successful in war that per-
haps the thing that they most loved to look upon was
a statue of " Victory." Usually she was represented
wearing a garland of laurel. She carried a palm-
branch or a shield, and sometimes she had wings.
Alas for Paeonius's " Victory " — it is both headless
and armless ! But the body that is left shows such
25
YOUNG PEOPLE'S STORY OF ART
life-like grace and motion, and the flowing drapery
is so natural, that this " Victory," with neither head
nor arms, is world-famed.
The other is a Hermes or Mercury, and it was
carved by Praxiteles, a renowned Greek sculptor.
Hermes was a messenger among the gods; and he was
a great favourite, because he was so swift and so
cunning.
In this statue, Hermes leans against a tree-trunk,
across which he has carelessly flung his cloak. He
holds the infant Bacchus in his arms. Probably he
is carrying him to the nymphs ; for they were to take
charge of the education of this little god of wine
and song.
Hermes's face expresses a very loving interest in
the child. This is conceded by many to be the most
beautiful of all Greek statues. What do you think?
Next to the Hermes, we must place the " Apollo
Belvedere," which is also justly celebrated. There
are few stories so rich in legend as that of Apollo.
He was the sun-god and the divine archer, the god
of music and poetry, and of youth and beauty. So,
in art, he is represented in a great variety of ways.
The " Apollo Belvedere " was found in the fif-
teenth century, among the ruins of an old Italian city,
and it took its name from the Belvedere Gallery of
the Vatican, in Rome, where it now stands.
How youthful and full of life Apollo seems 1
What beauty and strength is in his figure! How
finely he carries his magnificent head! His mantle
falls very easily into its folds.
What do you think of his expression? Is it just
26
FIGURE OF VICTORY FROM THE TEMPLE OF VICTORY
GRECIAN ART
an eager look? or is it one of pride or disdain? We
might decide, if we only knew what story the artist
was telling when he designed this Apollo. But, un-
luckily, whatever the god held in his hand is lost!
It was, for several centuries, supposed that he had
just sent a shaft from his bow, and was watching it
in its flight.
But about a hundred years ago, a little bronze
statuette was found that seemed to be a copy of the
11 Apollo Belvedere." This statuette held a part of
an aegis or goat-skin shield.
Now this aegis always bore in its centre a terrible
gorgon's head that possessed a charm; for whenever
it was shaken in the face of an enemy, it turned him
to stone.
Perhaps Apollo held in his hand an aegis which
he had just shaken in the face of a foe, and was
watching the effect. Who can tell ?
At Apollo's side, we place his graceful twin-sister
Diana. Diana was queen of the night, and also a
famous huntress. She was the moon-god as Apollo
was the sun-god; for in southern countries, where
the sun's heat is fierce, the people call the sun a god,
and the mild and beautiful moon a goddess.
In October, when the harvest moon appeared, she
always left her chariot of polished silver, and seizing
her bow and arrows, gathered her maidens about her
to join in the chase.
Our statue is called " Diana with the Stag," and
like the Venus of Milo, it is in the Louvre. Here
Diana is seen in her hunting-habit and with buskins
on her feet. She has flung over her shoulders a
27
YOUNG PEOPLE'S STORY OF ART
quiver full of arrows; her stag, famed for lightness
and swiftness, runs at her side. With one hand, she
grasps her stag by the horn; while with the other,
she reaches back to draw an arrow from her quiver.
Running and wrestling developed such splendid
forms that the Greeks loved to carve athletes. There
are many of these. We have chosen the " Dis-
cobolus," or discus-thrower, carved by the sculptor
Myron.
Just see how every part of his body is in motion,
as he bends forward to gain more force in throwing
the discus ! How Myron must have caught, in a
flash of time, a memory picture of the swaying motion
of the discus-thrower! How wonderfully he has
shown it in marble. If we compare this with an
Egyptian statue, we shall see at once the great con-
trast between Egyptian and Grecian sculptures.
Our gallery has yet a little more space, so we add
to it the statues described in the previous chapters.
Now let us in imagination pass before each one and
try to recall it :
Minerva.
Section of the Parthenon Frieze.
Jupiter Olympus.
Venus of Milo.
Venus de' Medici.
Victory.
Hermes.
Apollo BeLvedere.
Diana with the Stag.
The Discobolus.
28
HERMES
BY PRAXITELES. IN THE LOUVRE, PARIS
GRECIAN ART
It is a very small gallery; but it is large enough to
give a little glimpse of the grace and perfection, to
which the Greeks raised the art of sculpture.
STORIES OF GREEK PAINTERS
There are to-day very few remains of Greek paint-
ing, because the colours used will in time always
fade and decay. But there have come down to us
some curious and interesting stories of the old Greek
masters.
How little they could have imagined that over
two thousand years after their death, the boys and
girls in America would be speaking of what they
did! But so it is, and the old Greeks never even
heard of America. These stories have been told so
many times, in all the centuries, that they are prob-
ably a little exaggerated; but perhaps this makes
them still more interesting.
The first Greek painter used but one colour, then
others used two; one showed but one figure, and later
two were seen side by side.
The drapery was, at first, very stiff; but, in time,
it was full of graceful folds. One pretty legend in
early Greek art concerns a potter's daughter: One
night she was surprised to see the shadow of her
lover's head, cast by a lamp upon the wall. She
drew the outline of the shadow, and then she filled
it in with a dark colour. This was said to be the
origin of light and shade in painting.
The painter Polygnotus was called ' The Admira-
tion of the Athenians." This was because he deco-
29
YOUNG PEOPLE'S STORY OF ART
rated the porticoes of Athens with stories from Greek
history.
The grateful people offered him, in return, large
sums of money, but Polygnotus refused, telling them
that he wished only their applause. Then the
Athenians gave him a beautiful palace, in which to
live. He was never taxed, and whenever he travelled
he was magnificently entertained. " For," said the
decree, " the chiefs of the state reign by force, but
the artist reigns by his talent."
Zeuxis was one of the first of Greek painters. He
worked very slowly. " I work for immortality," he
said.
People so much admired his pictures that some-
times when they bought them, they would pay by
covering them with gold pieces. Finally, Zeuxis
became so wealthy and arrogant that he declared his
pictures beyond price, and said that if he wished to
dispose of them, he would give them to his friends.
He dressed very richly, and often appeared in public
in a robe, on which was embroidered in letters of
gold the word " Zeuxis."
At the same time, there lived in Athens another
very arrogant painter. He, too, dressed magnifi-
cently and had many admirers.
His name was Parrhasius, and naturally Zeuxis
and Parrhasius were bitter rivals. Finally, they felt
that they must know which of the two the Greeks
more honoured. Each one, of course, felt himself
the greater, but in order to decide, each determined
to paint a picture. These pictures should be exhib-
ited in public, and a jury should decide between them.
30
APOLLO BELVEDERE
IN THE BELVEDERE OF THE VATICAN
A8TW, LENCX AND
7ILDEN FOUNRATIONS.
GRECIAN ART
Zeuxis selected for his subject a child carrying
upon its head a basket of grapes. And do you know,
the grapes were so natural that when the picture was
displayed, birds came to peck at them.
The multitude applauded. Zeuxis was sure that
he would win. All this time, Parrhasius stood silently
near his picture; and the judges waited impatiently
for him to draw aside a curtain of light and silky
stuff which seemed to cover it.
Finally, Zeuxis, annoyed at the delay, approached
Parrhasius, and exclaimed angrily, " Why do you
thus delay — draw the curtain ! "
11 The curtain is my picture," quietly replied
Parrhasius.
Zeuxis could not believe it, and so put out his
hand to push aside the curtain.
" I am conquered," he cried. " I deceived only
birds, but Parrhasius has deceived me."
One more story about Zeuxis: It is said that he
made a very funny picture of an old woman, and
when he looked at it he was so amused, that he
laughed himself to death.
Protogenes was also a very careful painter. He
went over his pictures so many times that it was said
of him that he never knew when to stop working.
He made a picture of a hunter and his dog, and
he worked upon it for seven years.
While he painted, he lived only upon vegetables
and water; for he was afraid that if he ate meat
and drank wine, his mind would be weakened and
his hand rendered unsteady.
People admired his picture, but Protogenes was
3i
YOUNG PEOPLE'S STORY OF ART
not satisfied, for the dog would not foam at the
mouth. One day, utterly discouraged and in a fit
of vexation, he threw his wet sponge at the dog's
mouth, and lo ! the foam was perfect; the painter
was overjoyed.
Protogenes lived in the island of Rhodes. This
island was attacked by an enemy, but the artist would
not stop painting. For he said, " The enemy makes
war against the Rhodians, not against the arts."
After a little, the siege was raised, just that his
picture might not be harmed.
Apelles was the most famous of all Greek painters,
and he must have been both wise and good. He and
Protogenes lived in the fourth century B. c. He
loved art, even when he was a little boy. His father
was delighted at this, and gave him the best teachers.
Apelles learned very quickly, not only because he
had genius, but also because he never wasted his
time. His motto is an excellent one, for any who
wish to accomplish good work. It was, " No day
without a line."
All his pictures were graceful, and his portraits
were considered perfect likenesses.
He was not foolishly vain like Zeuxis and Par-
rhasius; but instead, he was always glad to accept
wise advice.
Often when he finished a picture he placed it on
exhibition, and then concealed himself behind a cur-
tain to hear the criticisms of those that went by.
One day a cobbler, in passing, paused to look at
one of Apelles's pictures. He discovered that some-
thing was wanting in one of the sandals.
32
DISCOBOLUS
IN THE VATICAN, ROMI
THE
ND
INS.
GRECIAN ART
Apelles, feeling that a cobbler was naturally a
better judge of a sandal than a painter, corrected the
fault. The next day when the cobbler passed again,
he was very proud to see that the great artist had
heard and accepted his suggestion.
So he determined to try once more. This time
he criticised the leg to which the sandal belonged.
This was too much for Apelles! Coming forward,
he struck the cobbler on the shoulder, exclaiming,
" A cobbler must stick to his last! "
Apelles visited Protogenes in Rhodes. Protoge-
nes was not at home. So Apelles drew a straight
line on a tablet, and left it for him. Protogenes
found it on his return. It was drawn with such
evenness that he exclaimed, " Apelles has been here."
Just the line revealed the master!
Protogenes split this line by tracing through it one
of a different colour. When Apelles again called,
he divided this by a third one.
Then Protogenes declared that Apelles was the
greatest artist in the world. Ever after there existed,
between the two, a rare and loving friendship.
Apelles was court painter to Alexander the Great,
the king of Macedon. He made several portraits
of the monarch. In one of them, he represented
him as grasping a thunder-bolt.
Alexander was delighted, for he loved to think of
himself as Jupiter; and you may be sure that he paid
Apelles richly for the portrait.
When, however, Apelles painted the monarch with
his favourite horse Bucephalus, Alexander was not
satisfied, and he told Apelles that his horse was not
33
YOUNG PEOPLE'S STORY OF ART
true to life. The story goes that as they talked to-
gether, a passing horse stopped, looked at the picture,
and began to neigh !
Then Apelles, turning to Alexander, said, " Shall
this animal be a better judge of painting than the
king of Macedon?" Alexander acknowledged his
mistake by offering his hand to Apelles.
The most noted painting by Apelles was one repre-
senting Venus as rising from the sea, and pressing
with her hands her dripping hair.
Hundreds of years later, the Roman Emperor
Augustus carried this picture to Rome; and he placed
upon it such a high value, that he lowered the taxes
of the town to which it had originally belonged.
From these stories and from others of the same
kind : we learn the honour in which painters were
held in Greece; and pictures were so much valued
that sometimes they were paid for with their weight
in gold.
" Love the beautiful,
Seek out the true,
Wish for the good,
And the best do."
— Mendelssohn.
34
Roman Art
Ill
MONUMENTS OF ANCIENT ROME
Beautiful Greece was conquered! When its con-
querors, the Romans, marched, plundering through
the country, they were greatly attracted by the many
works of art which they saw. They wished that
they might take whole temples to Rome.
Indeed, if it had been possible to transport it, the
" Storied Hill " itself would have been carried away.
The Romans loaded waggons with pillars and
statues; and many of these works of art were placed
in their temples as trophies of victory.
Then the Romans tried to imitate the Greeks, by
carving statues themselves. But they found that
though they could build splendid roads and bridges,
they could not make life-like statues. So they de-
termined that the Greek sculptors must come to
Rome, bringing their chisels with them; and many
of the finest statues in that city were carved by these
Greek sculptors.
But as we have said, the Romans were splendid
builders. We find in Italy to-day ruins of roads and
bridges and aqueducts and temples that were made
in the days of its old rulers.
When we visit a modern city, we are shown its
newest buildings and its latest pictures. But when
we travel far over the sea to sunny Italy and visit
ancient Rome, the things we go to see are these
37
YOUNG PEOPLE'S STORY OF ART
monuments, some of them over two thousand years
old.
Under the blue Italian sky, among these ruins,
dark-eyed children have played for many centuries.
They do not think them wonderful, for they are so
used to them. But how marvellous they seem to us
when compared with our modern buildings.
Truly, work must have been well done in those
olden days, for every stone was sound, every building
made to last.
Rome is very full of these monuments. The
Romans liked to make their famous buildings round
and with a dome, and they also used the arch.
Besides, they copied Greek temple forms, and their
buildings were often upheld by stolen Greek columns.
Of these columns, the Corinthian was a favourite in
Rome; for the Romans loved ornament, and this
column was more ornamental than the Doric or
Ionic.
There is a pretty legend about its origin : A young
girl died at Corinth. Her nurse had laid upon her
grave a basket of fruit, and some acanthus leaves
had twined about it. A sculptor, in passing the
grave, was attracted by the beauty of the twining
leaves, and in imitation he carved the Corinthian
column.
The Pantheon is the most remarkable ancient
temple now in Rome. It is round, it has a dome,
and, also, Corinthian columns.
Probably it was originally the hall of a Roman
bath — now it is a Christian church. It was built
by the Emperor Augustus, nearly two thousand years
38
X
V.
ROMAN ART
ago, when Christ was upon earth. Imagine a church
in America two thousand years old !
Although the Pantheon is round, its front, or
facade, as it is called, is like that of a Greek temple.
Within, it is one great circular cell, upheld by Co-
rinthian columns. Its dome is immense, and far, far
away, as you will feel when you stand under it, and
gaze up into the small round opening in its centre.
Small? it is twenty-six feet across, but you would
never think it.
There are no side windows, for they might sug-
gest earthly things; only the light from the heavens
above streams down in a circle upon the pavement.
In contrast to the great Pantheon, is the beautiful
little round Temple of Vesta. This, also, is very
ancient, and its roof is upheld by Corinthian columns.
Vesta was the goddess of the hearth; and this
temple was the hearthstone of all Rome.
Here the Vestal Virgins kept the sacred fire glow-
ing. They were very much honoured while they
kept it bright; but if they ever let it go out, much
trouble came to them and to their families.
Among the most picturesque ruins are the arches
of the ancient aqueducts that brought water from
distant hills to Rome.
Great quantities of water were needed to supply the
baths, some of which accommodated thousands of
bathers at once.
There were separate marble halls for cold, tepid
and hot baths, for rubbing and drying, and for games.
Then there were the gymnasia and race-courses,
and halls for pictures and statues. The walls of
39
YOUNG PEOPLE'S STORY OF ART
the baths were ornamented; and beautiful mosaic
pavements were made from bits of varicoloured stone,
glass and marble, fitted together to represent a picture
or design.
When the old Romans were not gaining victories,
they must have spent much of their time at their
baths. Those of Caracalla are the most marvellous,
with their marble halls and mosaic floors. Through
the centuries many people have found pleasure in
wandering among their glades and trees and foun-
tains, and their arches overgrown with vines. But
in exploring them, wonderful groups of ancient
sculpture have been discovered hidden away among
their ruins; and in order that these might be brought
to light, it was necessary that the ruins should all
be laid bare, and so we see them to-day.
The favourite amusements of the Romans were
chariot-races and gladiatorial shows, and for these
they built great round or oval-shaped amphitheatres
with an arena in the centre. The Coliseum is the
most striking of these; it is, indeed, a " Colossus."
Here, on the outside, it is upheld by the three forms
of Greek columns: Doric, Ionic, and Corinthian.
At the top of the walls, there are sockets that
formerly held poles, over which an immense canvas
covering could be spread to protect the audience from
either sun or rain.
Look at the picture and see the seats rising tier
above tier. Imagine the emperor and senators and
Vestal Virgins and eighty thousand Roman citizens
gathered here in holiday dress to witness a chariot-
race or a gladiatorial combat!
40
a
-
ROMAN ART
Nothing gave the Romans more pleasure than
these shows; and the more brutal they were, the
greater was the applause. No festival was complete
without such an exhibition.
Think, how the gladiators fought! Think how
Christian martyrs, and among them beautiful
maidens, were thrown as a prey to the wild beasts,
which were goaded on to fury, only " to make a
Roman holiday ! "
For the past centuries, the Coliseum has served
as a stone-quarry for palaces and churches in Rome.
But Victor Emanuel, in the nineteenth century,
stopped this pillage.
The poet Longfellow, after looking at the great
structure, wrote the following lines:
" Its mossy sheath half rent away and sold,
To ornament our palaces and churches."
The Romans greatly honoured their victorious
generals. When they heard that one was returning,
after making a glorious conquest, they would some-
times raise in his honour an arch as a symbol of
victory.
Then the victor led his army through the gaily-
decorated city and under the triumphal arch, amid
the applause of the multitude.
Of all the arches remaining in Rome, the Arch
of Titus is perhaps the most interesting. Titus con-
quered Jerusalem, the Holy City of the Jews, and
brought its treasures to Rome. The most valued of
these were the sacred things which had been used
41
YOUNG PEOPLE'S STORY OF ART
in the Temple services in Jerusalem, and the most
precious of all was the seven-branched candle-stick.
This was of solid gold and had been fashioned in
the time of Moses.
After seeing it, the artist sculptured it, with other
interesting things relating to the conquest, on the
inside of the Arch of Titus.
Later the candle-stick was lost. Perhaps the
Romans threw it into their sacred river, " Holy
Father Tiber," to save it from being carried away
by the Goths when they invaded Rome; for these
barbarians were famous robbers, and when they left
the '" Eternal City," they took much plunder with
them. In recent years, old " Father Tiber " has
been made to give up some of its buried treasure;
what if the golden candle-stick should some day be
found beneath its waters!
But we must return to the monuments that are
still standing.
Trajan's Column is another memorial of victory.
The Emperor Trajan made many conquests over the
Dacians. This column was raised in honour of these
conquests. It is a shaft one hundred and six feet
in height. A figure of Trajan formerly stood on
top, but now St. Peter has taken his place. Winding
around the column are sculptured reliefs, which are
said to represent one hundred different scenes in the
war. There are, in these, over two thousand soldiers
and horses and forts and fights.
But it is so high that it is' very difficult to stand
beneath it and, looking upward, catch the action of
the different groups.
42
ROME
ARCH OF TITUS
AST
TILD
ROMAN ART
Very famous are the ruins of the Roman Forum,
or market-place. This was really the centre of the
old city. In and around the buildings here, the
people assembled to transact their daily affairs.
We have described only a few of the most inter-
esting monuments of ancient Rome. With each of
them is associated some important historic event.
Yet there, to-day, we find but fragments of temples
and broken columns.
When the Empire was at the height of its power,
and some of the rulers became so arrogant that they
thought themselves gods, it was the custom to carve
portrait-statues in their honour. Some of these,
especially that of Julius Cassar, are very spirited and
life-like.
But many of the later emperors reveal such weak
and wicked faces that we are not surprised to know
that the great Empire over which they ruled grew
less and less powerful, and that it was finally con-
quered by barbarians from the North.
" The sun had set, the city gates were passed.
The dream of childhood had come true at last,
We were in Rome!"
— Maria W. Lowell.
PAINTINGS FOUND IN A BURIED CITY
Roman villas were usually built around a central
court. The Romans cared little how these looked on
the outside, but the interiors were very luxurious.
There were libraries and picture-galleries and foun-
4.?
YOUNG PEOPLE'S STORY OF ART
tains and roof-gardens. The walls were lined with
brilliant paintings, and the floors were inlaid with
mosaic-work.
A Roman palace was like a small city; it included
a villa and temple and courts and baths and lovely
gardens, for the Romans were devoted to gardening.
Painters and decorators were always busy in Rome,
ornamenting the walls of villas and palaces. To-day
these paintings are all faded.
There is, in Italy, a city that has been buried for
many centuries, but has now come to light; and in
looking at the pictures upon its walls, we may im-
agine how the villas and palaces of ancient Rome
were decorated.
It must have been at the time when Pompeii was
at the height of its glory and wealth that Mt. Vesu-
vius, the famous volcano of southern Italy, lighted
its smoking torch. In its terrible eruption it sent
out such quantities of lava that three cities were
overwhelmed.
Pompeii was one of these cities. Its lava covering
preserved its decorations from the ruin that time and
barbaric invasion brought to Rome.
Centuries passed; and men seemed to forget the
buried cities. But now, Pompeii is uncovered — an
ancient city revealed to the modern world. The
paintings, on the walls of its theatres and porticoes
and villas, are as bright and soft as in the ages long
ago, when the inhabitants were obliged to flee so
suddenly from their beautiful homes to escape the
fire and the lava.
There are pictures of all kinds with borders,
44
z
>
-
z
S -
a. s
5 x
2. Z
3
r
FrH^"
ROMAN ART
and backgrounds of brilliant reds and soft yellows.
There are landscapes and myths; there are exquisite
dancing : girls in colouring as intense, and with filmy
drapery as graceful as if they had not been painted
so long ago. Indeed, they seem to be darning still !
So, in this twentieth century, we may visit Pompeii,
and imagine it a kind of miniature Rome.
Rome itself is a city full of art history and of art
treasures. We might live there for a whole life-
time, and still we would always be finding something
new to study.
A story is told of a traveller who spent five days
in Rome, and then thought that he had seen every-
thing. A friend advised him, however, to remain
five weeks. Then, to his surprise, he found that
there was still more to see : so he determined to wait
five months. At the end of the five months, he was
becoming so interested that he thought he would
stay five years.
When these years had passed, he felt that he had
seen so little that he resolved to stay in Rome for
the rest of his life. He is still there — and constantly
discovering something new!
" The world of Art is an ideal world,
The world I love, and that I fain would live in ;
So speak to me of artists and of art,
Of all the painters, sculptors, and museums
That now illustrate Rome."
— Longfellow.
45
Early Christian Art
IV
THE FIRST CHURCH
In the first century, the city of Rome was called " The
Mistress of the World." Its emperor, Augustus
Cresar, adorned it with so many buildings and statues
that he boasted that he had found Rome a city of
brick, and would leave it a city of marble. Just at
this time, when many beautiful statues of heathen
gods were being chiselled, and many temples were
being built in their honour, a strange thing happened.
Far away toward the East, in the little town of
Bethlehem, the Christ-Child was born. His coming
into the world was soon to change the subject of
art from heathen to Christian. Instead of the tem-
ple, holding its statue of Jupiter or Minerva, the
Christian church was to appear, decorated with
statues and pictures, representing the Madonna and
Child, the saints and angels, and holy men and
women. The change could not be accomplished all
at once — it really took centuries. For after Christ
was crucified, His followers who were called Chris-
tians were cruelly persecuted by the heathen Roman
emperors.
These men considered themselves gods, and wished
to be worshipped; so they did not welcome Chris-
tianity with its teachings of humility and patience.
So the poor Christians, in fear and distress, went
down into the stone-quarries under the city of Rome.
49
YOUNG PEOPLE'S STORY OF ART
There they hewed out for themselves living rooms
and little chapels, where they dwelt and worshipped,
and died and were buried.
In these dark Catacombs, as they were called, we
find the beginnings of Christian art. It is not much
t0 see — just a carving, or a faded picture here and
there upon the walls — Moses striking the rock, or
Daniel in the Lion's Den, or Jonah and the Whale.
Christ is portrayed as the Good Shepherd, carrying
upon his arm a lost lamb. Sometimes there are
symbols, a cross perhaps, to represent Christ's suffer-
ing; or a vine and its branches, for Christ and his
Church; a palm carried by the martyr as an emblem
of victory; or a dove to signify the Holy Spirit.
After hundreds of years of persecution had passed,
a strange thing happened. One day one of the
greatest of the Roman emperors, Constantine, was
in a battle. As he fought, there suddenly appeared
to him in the sky a brilliant light. To Constantine,
it took the form of a luminous cross, and under it
he read, " With this sign, you will conquer."
Constantine at once embraced Christianity; and
carrying a cross at their head, his legions ever after
marched to conquest.
Now the joyful Christians came forth from their
gloomy hiding-place. Now they might worship as
they chose — but where?
When Christ was upon the earth, they had met in
an "Upper Room"; but now that would be too
small, and they would not tise a heathen temple.
There were in Rome buildings called Basilicas.
These were named for an old Greek ruler called
50
EARLY' CHRISTIAN ART
Basileus. In Rome, a Basilica meant a " Royal
House."
The Romans were using their Basilicas as gather-
ing places for merchants and as halls of justice. The
Christians liked to worship in these Basilicas, and
the Romans allowed them to use them for their
services. They had flat roofs and long, wide halls.
These halls were separated into aisles by rows of
pillars. The middle aisle was called the nave.
At one end, there was a little half-circular shaped
place raised above the rest, and this was called an
apse. The clergy were upon the apse, and the wor-
shippers sat or stood in the long, wide hall before
them. When Christians began to build churches for
themselves, they made them in the form of these
Basilicas. In some of these churches, a bishop's
chair or " cathedra," as it was called, was placed in
the apse; and a church holding such a chair became
a cathedral.
Churches were dedicated to saints as heathen tem-
ples had, in the earlier ages, been dedicated to
gods.
And the churches soon became very popular, and
so much money was given to them that they also
became very rich. Then they were more and more
decorated on the inside. A high altar upon the apse
was made magnificent; also seats for the bishop and
clergy, pulpit and choir and chapels were added.
The best artists were employed to paint upon the
walls incidents in the lives of the saints to whom the
church was dedicated.
This was done to make the story of the saint
5i
YOUNG PEOPLE'S STORY OF ART
familiar to those who were not able to read it for
themselves.
Since those earliest days of church-building, there
have been many different forms of architecture.
But in them all, in your church and in mine, we
find to-day traces of the very first church. It was
just a flat-roofed and very plain building on the out-
side; and on the inside it was separated into nave,
side-aisles, and apse.
Such was the old Roman Basilica. Such was the
first Christian church.
It was the calm and silent night:
Seven hundred years and fifty-three
Had Rome been growing up to might,
And now was queen of land and sea.
No sound was heard of clashing wars,
Peace brooded o'er the hushed domain,
Apollo, Pallas, Jove and Mars
Held undisturbed their ancient reign,
In the solemn midnight, centuries ago.
• • • • •
It is the calm and silent night,
Ten thousand bells ring out and throw
Their joyous peals abroad,
And smite the darkness charmed and holy now.
The night that erst no name had worn,
To it a happy name is given,
For in that stable lay new-born
The peaceful Prince pi earth and heaven,
In the solemn midnight, centuries ago.
— DOMMETT.
52
EARLY CHRISTIAN ART
ST. SOPHIA AND ST. MARK'S
We remember that there were no churches until after
Christ came into the world. Since then architects
have been kept very busy designing them. Those of
the Middle Ages were under the control of monks
and priests. It took centuries to build them, and
so they have remained for us to admire to-day.
They were in different forms — Byzantine, Roman-
esque, Gothic, and Renaissance — but whatever their
form, they were always built for the worship and
glory of God.
St. Sophia, in Constantinople, was a Byzantine
church built by the Emperor Justinian. He thought
that an angel appeared to him in a dream and told
him to build. He followed the angel's direction, and
called the church St. Sophia, or " heavenly wisdom,"
because its design was planned in heaven. He was
himself its architect. He daily put on a linen tunic,
and directed the work of ten thousand labourers, and
every night they were paid for their toil.
The outside of the church was plain, but the in-
side was gorgeous; for it was intended to surpass in
glory the splendid temple of Solomon at Jeru-
salem.
There was a great central dome, and about this
were half-domes and arches; the walls were decorated
with mosaic pictures, taken from Bible history and
from the lives of the saints.
In mosaic-work, the figures are always stiff; for it
is not easy with bits of stone and glass to copy a
picture with its delicate outline and light and shade.
53
YOUNG PEOPLE'S STORY OF ART
But all was done upon a gold background, so the
whole effect was brilliant and glittering.
Such pictures patiently wrought have lasted through
the ages. Truly has it been said, " Mosaic-work is
a painting for eternity."
Heathen temples were robbed to decorate St.
Sophia. There were marble columns of every hue;
there were pulpits and shrines; and doors of amber,
ivory, and cedar. The golden altar was inlaid with
onyx, pearls, sapphires, and diamonds; and the church
was crowned with a cross of pure gold. On Christ-
mas Eve, in the year 548, St. Sophia was dedi-
cated.
On that occasion, Justinian drove his chariot to the
entrance, and ran with outstretched arms from the
door to the altar, exclaiming, " God be praised ! Solo-
mon, I have surpassed thee ! "
St. Sophia was, for centuries, the most beautiful
church in Byzantine art; but in the year 1453, the
Turks conquered Constantinople. These Turks were
followers of the warrior-prophet Mohammed, and
St. Sophia must now be given to his worship. They
cleansed it with rose-water. Saintly mosaic pictures
were whitewashed over; and above them were placed
shields, bearing texts from the Koran, Mohammed's
Bible. The massive golden cross was taken from
the top, and the crescent, symbol of Mohammed,
was put in its place. So, to-day, St. Sophia is a
Mohammedan mosque.
St. Mark's, in Venice, is another example of By-
zantine architecture; or rather it seems a combination
of different forms that belong to it alone in all the
54
I
z
_
EARLY CHRISTIAN ART
world. How did St. Mark, to whom the church is
dedicated, become the patron saint of Venice?
His story runs as follows: Once in coming over
from Egypt where he had been preaching, he was
caught in a storm on the Mediterranean Sea, and
forced to land on an island. As he stepped on shore,
an angel accosted him, saying, " Peace to thee,
Marco, my evangelist!" And then the angel
told him that one day he should be worshipped in
Venice.
So, after his death, the Venetians stole his body
and placed it in a basket; and then fastening this to
the mast-head of their ship, they started for their
city. A dreadful gale arose and the ship was driven
upon the rocks. Then St. Mark revealed himself
to the sailors, and brought them safe to land.
Both clergy and Doge welcomed the body with
great honour, and thus St. Mark became the patron
saint of Venice. His emblem is a winged lion.
Venice was the home of merchant princes who had
brought to it the spoils of many conquered lands, and
their St. Mark must have a magnificent shrine. They
determined to build it in the form of a splendid
church, in which they could make a display of their
great wealth.
The history of its building reads like a fairy tale.
For centuries, Venetian galleys brought to it from
all parts of the earth all kinds of precious stones and
beautiful marbles. The facade is a grand mosaic-
screen! The arches are inlaid with mosaic pictures.
Above the faqade rise slender turrets, holding statues
of saints, and domes tipped with square Greek crosses.
55
YOUNG PEOPLE'S STORY OF ART
Below the great window, stand four bronze horses,
each weighing nearly two tons; but heavy as they
are, they have been great travellers. Probably they
were first brought from Egypt to Rome, where they
adorned more than one triumphal arch. Later,
Constantine the Great took them to Constantinople;
then the Crusaders brought them to Venice. Later,
Napoleon Bonaparte stole them and carried them
to Paris, where they were placed on his triumphal
arch. When he fell, the horses were again restored
to Venice, and placed on the church of St. Mark's,
where they are to be seen now. As Venetian car-
riages are gondolas, we may imagine how much the
people must prize these trophies, even though they
are very curiously-shaped animals.
Entering the church, we find beautiful columns of
marble, jasper, and agate. The walls are covered
with mosaic pictures of doges, saints and angels and
Bible scenes.
St. Mark's is, indeed, a veritable mosaic-museum.
The fourteen marble statues which separate the choir
from the nave represent the Mother of Christ, St.
Mark, and the Twelve Apostles. In the arch above
the altar, is a colossal statue of Christ, in the act of
blessing the people. The tomb of the Saint under
the high altar is adorned with gold and jewels, and
rich alabaster columns.
On the square or " piazza " in front of the church
there formerly stood a graceful Campanile, or bell-
tower. It was three hundred feet high, and deco-
rated by Sansovino, a famous Italian sculptor. In
the summer of 1902, the Campanile fell ! And when
56
-<■#
EARLY CHRISTIAN ART
the news was flashed abroad, not only Venice but the
whole art world mourned.
The " piazza ' has been, for a thousand years,
the pleasure-ground of doves and people. Here-
many famous events have taken place, and here sailors
have gathered from every part of the earth to show
their treasures, and to tell their tales of adventure.
When you leave your gondola to stand on this old
historic " piazza," and gaze up at the great mosaic
church — St. Mark's — you will feel that it possesses
a charm and beauty all its own. It stands as the
crowning glory of " The Island City."
" Enter when the glory of the setting sun sifts in, and falls
in shattered shafts of light on altar, roof, and wall."
VENICE.
" Where Venice sate in state, throned
on her thousand isles."
— Byron.
TWO GOTHIC CATHEDRALS
Byzantine churches with their great central domes
were used very much in the Eastern countries; but in
Italy, Germany, France, and England, many Roman-
esque and Gothic churches were built.
The word "Romanesque" means "like the Ro-
mans"; and Romanesque churches somewhat resem-
ble Basilicas, but they are larger and higher and more
massive.
The Campanile, or bell-tower, had been placed at
the side of the Basilica; but Romanesque churches
57
YOUNG PEOPLE'S STORY OF ART
were surmounted by one or two square towers. These
were for the chimes. They were used also in times
of war as watch-towers, and as places of refuge for
the timid.
These cathedrals were much ornamented on the
outside, especially about the doors and windows; and
their gutter-spouts were carved with heads of curious
animals. Within the church, heavy arches were up-
held by stout piers, instead of columns; and there
was a cross aisle called a transept, which gave to
the church the form of a Latin cross.
This architecture became more and more pointed,
until it rose into the Gothic — the noblest form of all.
There are many beautiful Gothic cathedrals, two
of the largest being at Milan and Cologne.
The cathedral of Milan in northern Italy is built
in the square, or Italian Gothic form. It is covered
with pure white marble. The quarry from which
this marble was brought belongs to the cathedral.
When sculptors have wished to buy a block of
marble from this quarry for their own use, they have
paid for it by making a statue for the cathedral. So
the church has many statues, ready to greet the wor-
shipper as he approaches. The poet Wordsworth
calls it an
"Aerial host of figures human and divine."
See, on the outside, the many slender spires, taper-
ing heavenward with airy lightness. See the carved
stone piers or buttresses built against the wall, to
strengthen it, and to add to Its beauty. Climb the
58
< x
—
^ -
X
-
EARLY CHRISTIAN ART
staircase to the roof, and go through a perfect galler,
of sculpture; mount yet higher and pass through a
second and a third.
And then, climbing to the very top, and forgetting
all these works of human hands, look out over one
of the most charming landscapes to be found in all
Italy!
It is said that Milan Cathedral holds over seven
thousand statues; and that fifteen hundred different
kinds of flowers are carved into its delicate tracery.
The interior of a Gothic church is upheld, not by
heavy piers but by tall clustered columns. Those
bordering the nave of Milan Cathedral are seventy-
two feet high.
Each capital has eight different figures upon it, and
the figures upon each capital are different. 1 he
arches overhead are carved in delicate lacework.
Much of the tracery is too high for us to admire;
but that mattered not to the sculptor, for was not the
cathedral built for the glory of God? What a grand
lesson this teaches!
In Gothic cathedrals, saintly stories are painted
over the windows, instead of being laid in mosaics
upon the walls; and the gorgeous colouring of these
windows gives to the interior a glow of warmth and
richness which is most beautiful, even in the twilight.
Milan Cathedral in its pure whiteness is dazzling in
the sunshine; and very fairy-like when the Italian
moonlight glints its towers and pinnacles.
The city of Cologne, far away to the north among
the vine-clad hills of the Rhine, is built around its
pointed Gothic cathedral. See how tall the building
59
YOUNG PEOPLE'S STORY OF ART
looks in the picture ! See the beautiful tracery cover-
ing its exterior — showing an endless variety of flowers
and scroll-work and vegetables and grotesque animal
forms, and of statues and hovering angels.
Indeed, every grace of ornament that can be made
in stone is found here — and each one points heaven-
ward!
The spires, rising five hundred and thirteen feet,
seem, also, to be covered with lacework of stone.
Let us enter. Why, the roof seems almost in
cloud-land ! How tiny we are ! The arches meet
overhead like the interlacing of trees in a forest. As
the sunlight glints through the trees in the woods,
so here floods of light of every brilliant hue stream
through the stained-glass windows.
The holy characters painted on the glass are ir-
radiated. The great circular rose-windows, with
petals of every colour, are splendid in the twilight
glow.
This cathedral is full of treasures. The one that
has made its fortune is something contained in a
richly-studded, gilded shrine, kept in a treasure-room
back of the high altar. We enter this little room.
Let us see what this one box holds.
A bit of the lid is raised, and we look upon three
skulls with their jewelled crowns. These are said to
be the skulls of the " Wise Men " of the East, who
came bringing gifts to the Christ-Child. We recall
the story — how in their far-away homes they had
heard that Christ was to come — and how they saw the
star and followed it, until it " stood over the place
where the young Child lay."
60
TT-T
EARLY CHRISTIAN ART
Then they presented to Him their gifts of gold
and frankincense and myrrh. This is the Bible story;
but to it is added a beautiful tradition that the Christ-
Child, in return for their gifts, gave them faith and
meekness and charity.
Again the star guided the " Wise Men " back to
their distant homes.
They had been kings before; but now they put off
their royal robes, and went about doing good and
preaching the Gospel to the poor.
It is said that, long after death, their skulls were
found and removed, in turn, to Constantinople,
Milan, and then to Cologne, where they now rest in
their costly shrine.
There are many interesting legends connected with
Cologne Cathedral. It was begun in the thirteenth
century; but it was not until October the fifteenth,
1 880, that the grand old German Emperor placed
upon it the last stone, and announced to the nation
that it was completed.
We recall St. Sophia, with its gorgeous interior;
St. Mark's, with its treasures in marble, mosaics, and
gems; Milan Cathedral with its seven thousand
statues; and Cologne — most lofty and solemn and
impressive of all.
From Catacomb to Gothic spire — what an uplift!
"O peerless church of old Milan,
How brightly thou com'st back to me,
With all thy minarets and towers,
And sculptured marbles fair to see!
61
YOUNG PEOPLE'S STORY OF ART
With all thy airy pinnacles
So white against the cloudless blue;
With all thy richly storied panes,
And mellowed sunlight streaming through."
— Henry Glassford Bell,
" Oft have I seen at some cathedral door
A labourer, pausing in the dust and heat,
Lay down his burden and with reverent feet
Enter and cross himself, and on the floor
Kneel to repeat his pater-noster o'er;
Far off the noises of the world retreat,
The loud vociferations of the street
Become an indistinguishable roar."
62
Italian Art
PISA AND PISANO S PULPIT
Gothic architecture was the last pure form.
Churches which are not modelled after the Greek
temple, or after the Basilica, the Byzantine, the Ro-
manesque, or Gothic form, are usually built by com-
bining some of these, and they are said to be in the
Renaissance style.
We may see in the churches about us combinations
of these various forms. Apart from church-building,
the art story was not very interesting in the first
centuries that followed the coming of the Christ-
Child.
There were, it is true, rare and costly things such
as crucifixes, small ivory carvings, and brilliantly
illuminated missals, or mass-books. There were,
also, statues of Christ and of the Virgin and saints;
but all were very stiff and awkward, in strong con-
trast to the earlier and life-like Greek statues.
But in the thirteenth century, there was a revival
of beautiful art in the city of Pisa, in the western part
of Italy. Every Italian city has its own distinct
charm; and Pisa is always recognised by its four
famous buildings — the Campo Santo, Cathedral,
Leaning Tower, and Baptistery.
11 Campo Santo " means " holy ground." The
Campo Santo of Pisa was covered with earth brought
from the Holy City of Jerusalem.
65
YOUNG PEOPLE'S STORY OF ART
It was surrounded by cloisters, adorned with quaint
frescoes and sculptures, and it was used by the Pisans
as their burial-ground.
The cathedral, wrought in variegated marble, is
one of the most beautiful in all Italy; and its form
illustrates what has been said about church architect-
ure. There is a Basilica apse, projecting at the back.
There are Roman arches, a Byzantine dome, and the
building is cross-shaped, like a Romanesque or Gothic
cathedral.
The Campanile, or " Leaning Tower," which we
see in the picture is one of the wonders of the world,
because it leans over thirteen feet. It is of white
marble, airy and beautiful, and very graceful as seen
against the blue Italian sky.
This tower is eight stories in height, and each story
is surrounded by a gallery enclosed by arches. By a
winding staircase of three hundred and thirty steps,
we mount to the top, and it is not exactly a pleasant
place to stand.
Its ancient bells have summoned the Pisans for
many centuries to join in the cathedral service. They
are so hung as to counterbalance, by their weight, the
leaning of the tower.
This Tower was built about eight hundred years
ago. The story generally given is, that its architects
— for it had two — discovered " the lean " as they
were working; and that when they found one side
lower than the other, they tried to design the upper
stories so as to make the tower level.
This seems very unlike the careful work of other
famous architects of the Middle Ages,
66
liL'nMi), I.K.\NM\(. rOWER BAPTISTERY AND CAMPO SANTO, ITALY
ITALIAN ART
The design of the circular Baptistery was taken
from one of the rooms of a Roman bath. The out-
side is covered with exquisite Gothic tracery; and the
Baptistery is surmounted by a statue of John the Bap-
tist, for all Baptisteries are dedicated to him. In
the interior is a carved marble font. To this, through
many centuries, the little Pisans have been brought
for baptism.
There also hangs here a bronze lamp which is
famous, because its swinging suggested to the astron-
omer Galileo the idea of the pendulum.
There is, besides, a wonderful echo; and one sel-
dom hears such rich and harmonious blending of
sweet sounds.
We admire the font — we look at the lamp — and
we listen to the echo; but we linger before a pulpit
placed near the wall. For this pulpit, carved all over
with bas-reliefs, was the first work that showed the
change in art, from stiff and awkward figures to grace-
ful and life-like ones.
The man who carved this pulpit, in the thirteenth
century, was named Pisano, because he was born in
Pisa. He was full of holy thoughts, and, like many
other sculptors, took for his subjects favourite scenes
from the life of Christ.
The pulpit is upheld by Corinthian columns, some
of which are placed upon lions — these being symbols
of the watchfulness of the priests. The eagle above,
supporting the lectern or reading-desk, typifies the
lofty flights of inspiration.
There are five groups of bas-reliefs on the sides of
the pulpit. The one which is perhaps the most ad-
67
YOUNG PEOPLE'S STORY OF ART
mired represents the visit of the " Wise Men " to
the Christ-Child. Study this one especially when you
see the pulpit. The Mother is seated, holding the
Child upon her lap. The Baby leans forward toward
the " Wise Men," who are approaching, and He
holds up two of His little fingers in the act of bless-
ing, as He takes the gifts which they have brought.
In the background are seen Saint Joseph and an angel,
while at the left are some spirited horses. As the
scene of the Adoration of the Magi is laid in a stable,
horses and oxen are usually introduced.
Pisano was greatly honoured, both as an architect
and a sculptor; and he was called to different cities
in Italy to design pulpits, altar-pieces, and churches;
but the pulpit at Pisa is his master-piece.
In the Middle Ages, Pisa was rich and powerful;
but to-day her wealth and influence and commerce are
gone. But her four famous buildings still recall the
busy craftsmen of the Middle Ages, who, with sturdy
activity, worked under renowned princes and patrons
of art.
A BIRD'S-EYE VIEW OF FLORENCE GIOTTO'S
TOWER
Among the charms that belong alone to Italy are its
many artistic capital cities.^ Let us take a bird's-eye
view of Florence, the most enchanting of all. In
the Middle Ages, it was called " The Lily of the
Arno," "The City of Flowers," " The Home of
the Renaissance," and " The Art Centre of the
World."
68
:
-
z
2
2
—
-
2
—
r
at
3
ITALIAN ART
The legend is that Florence arose originally right
out of a field of lilies, and so the city took the lily for
its shield; and it was said that if the heart of a Floren-
tine were cut open, a lily of perfect form would be
found therein.
So Florence is, indeed " The Lily of the Arno,"
and it is just as truly " The City of Flowers."
Flowers are everywhere in profusion; and the silver
foliage of the olive orchards gives added beauty to
the landscape.
There are also flowers in painting and mosaic, and
those on the bronze gates of its Baptistery are among
the most exquisite of all flowers moulded by the hand
of the sculptor.
We shall take a bird's-eye view of the city, and
read the stories that cluster about three of its most
interesting buildings. First, we glance at that tall,
square tower in the picture. It rises above a building
that looks like a fortress, but instead it was one of
the palaces of the powerful Medici family that ruled
Florence in the Middle Ages.
The strong, warlike-looking tower recalls many
party struggles of the fiery Florentines. Within the
tower was a hoarse old bell called " the vacca," or
" cow," and too often its angry clanging was a sum-
mons to the Florentines to come out and fight.
The workman carving on the cathedral would
often make his chisel fly fast in the morning, that
so he might finish his day's work early and join in
the afternoon fray.
Glance again at the other tower nearer the Ca-
thedral. This is carved in white marble, and it, also,
69
YOUNG PEOPLE'S STORY OF ART
is as solid as a fortress, but at the same time as light
as an air-castle. This is the famous Campanile, or
bell-tower, carved by the painter Giotto.
In the fourteenth century, when the cathedral was
being built, Giotto determined that, like other cath
drals, it should have its own bell, and not be depen-
dent on the old " vacca."
Giotto had been a painter all his life, and was now
fifty-eight years old; and it is remarkable how easily
he turned from painting to make his most charming
work in architecture and sculpture. He began to
build, and soon his graceful marble bell-tower rose
into the air; and then, assisted by his pupils, he carved
exquisite figures all over it in bas-relief.
The Florentines are very proud of Giotto's tower,
and they have an expression — " as beautiful as the
Campanile."
So, while the old " vacca " has ever given out its
grim summons to war, Giotto's bell-tower has rung
out through all the centuries a peal of praise and
good-will.
Charles V. said on seeing it that it ought to be
placed in a glass case and exhibited only on fete
days.
A story is told of Ruskin, the famous nineteenth
century art critic. One day, when he was lecturing
to some boys, he showed to them the photograph of
a dog, taken from one of the groups on Giotto's
tower. The boys raised a shout of applause as they
recognised in Giotto's dog of the fourteenth cen-
tury a strong likeness to the English dog of the
nineteenth.
70
Ma *
/
X
-
ITALIAN ART
' The brightness of the world, O thou once ti
And always fair, rare land of court<
O Florence, with the Tuscan fields and hills,
And famous Arno, fed with all their rills;
Thou brightest star of star-bright Italy."
— Coleridge.
"In the old Tuscan town stands Giotto's tower,
The Lily of Florence blossoming in stone,
A vision, a delight, and a desire."
GHIBERTI'S GATES OF PARADISE
Near Giotto's tower stands the quaint eight-sided
Baptistery. In the fifteenth century, a terrihle plague
raged in Florence; and the people to show their grati-
tude for deliverance from it determined to make a
thank-offering to heaven — in the form of two sets oi
bronze gates for this Baptistery.
From different parts of Italy artists were sum-
moned to compete for the honour of making these
gates.
Ghiberti, a young Florentine, had been working
for a goldsmith there, but had wandered away to
other cities; perhaps paying his way by casting little
bronze figures, which were then very much in vogue.
One day he received a letter from his step-hither,
telling him that there was a contest for the building
of the gates, and urging him to return at once.
Ghiberti was so excited at the news " that it seemed
to him a thousand years before he could get to
Florence."
He finally reached the city, and sent in his draw-
7i
YOUNG PEOPLE'S STORY OF ART
ings with the others, and they were accepted. He
made the two sets of bronze gates, and it took him
nearly fifty years to complete them.
The first pair were covered with bas-reliefs, repre-
senting scenes from the New Testament; while the
second pair represented scenes from the Old Testa-
ment; and these have always been considered the
more beautiful. Michael Angelo said that they were
" worthy to be the gates of Paradise."
The figures in the scenes pictured on these gates
were not all in low-relief. Some stood out in half-
relief, others projected so far that they were in high-
relief, and Ghiberti combined the three kinds very
skilfully. The scenes are so striking that they ap-
pear almost like paintings.
You will like to know the subjects of the ten panels;
then when you see the gates, you can interpret them
for yourself, if you are familiar with Bible stories.
They are as follows:
1. Creation of Adam and Eve.
2. Cain and Abel.
3. Noah.
4. Abraham and Isaac.
5. Jacob and Esau.
6. Joseph and his Brethren.
7. Moses on Mount Sinai.
8. Joshua before Jericho.
9. David and Goliath.
10. Solomon and the Queen of Sheba.
The borders are adorned with statuettes and fruits
and animals.
72
LORENZO GHIBERT1
BRONZE DOORS. IN THE BAPTISTERY, PLORI
ITALIAN ART
Ghlberti lived to be an old man, and when he
died he left wealth, and grandsons to bear his name.
But as Longfellow says :
" Ghiberti left behind him wealth and children,
But who to-day would know that he had lived,
If he had never made those gates of bronze
In the old Baptistery, — those gates of bronze,
Worthy to be the gates of Paradise,
His wealth is scattered to the winds; his children
Are long since dead ; but those celestial gate.
Survive, and keep his name and memory green."
BRUNELLESCHI'S DOME
In our bird's-eye view, we find between the " vacca "
and Giotto's tower a great dome. See how it springs
with perfect grace right up into the sky! There are
domes and domes all over the world to-day, but this
is one of the largest and most beautiful. It is called
Brunelleschi's dome.
Let us, in thought, detach the cathedral from the
group of buildings, and weave about it the story of
Brunelleschi's life. He was a Florentine boy — small,
plain-featured, and a great talker. Perhaps his best
trait was, that he always persevered in any task that
he began until it was accomplished.
Like many other boys of the time, Brunelleschi
loved art. He became a goldsmith; and the work
that he most enjoyed was casting little figures in
bronze.
From being a goldsmith, he began to draw designs
for buildings.
73
YOUNG PEOPLE'S STORY OF ART
The great cathedral in Florence had been begun
many years before this time. After its architect had
finished its sides with their shining marble walls, and
had planned the dome — he died.
The building stood for years without a roof. All
Florence wondered who could plan a cupola large
enough to cover such a great cathedral.
As Brunelleschi walked the streets, he often looked
up at the massive, unfinished building. One day the
thought came to him that he would crown it !
Then, full of hope and energy, and taking with him
his dear friend Donatello, he went to study in Rome.
There he frequently stood for hours, gazing at the
Pantheon, his one thought being how he could make
his dome higher and more graceful !
Then he would dig among the ruins of Rome, try-
ing to find there something to help him; for Rome,
you know, had been more than once sacked by bar-
barians, and many of its priceless works of art had
been buried. The Romans, supposing that Brunel-
leschi was looking for hidden treasures, nicknamed
him " the treasure-hunter." But the treasure which
Brunelleschi was seeking was only an idea!
As you may imagine, he met with many discourage-
ments, for others besides himself were planning to
complete the dome. After he had worked for many
years, the Florentines finally declared that the cathe-
dral must be finished at once.
In 1420, a public proclamation was made that fair
payment would be given for the best design.
1 he competitors met and gave in their plans, some
of which were very absurd. One was to make a great
74
ITALIAN ART
central pillar in the cathedral to uphold the dome
built over it.
Another was to fill the cathedral with soil, into
which some coins were thrown. This would uphold
the roof while it was being built; and then the people-
would remove the soil without pay, in the chance of
securing the coins.
Brunelleschi's design was offered with the others
and was accepted. The "treasure-hunter" had in-
deed found his long-sought treasure !
Then he selected his workmen, and began his great
task. Sometimes his men would refuse to work; but
this master knew how to end a strike quickly — for
there were no labour-unions in those days.
Brunelleschi's whole heart was in his project, and
day after day the great dome grew — rising gradually
into the blue sky. As the Florentines watched it,
they were very proud, for nothing like it had ever
been seen before !
It was so perfect in shape that some thought that
the master was trying to imitate the vault of the
heavens above.
Brunelleschi died before the cathedral was finished;
but his superb dome has ever been the crowning glory
of beautiful Florence.
To-day, Brunelleschi "sits in stone" before the
cathedral. He holds in his lap his architectural plan
and gazes up at his grand work.
Giotto — Ghiberti — Brunelleschi — each one brings
to us from the long ago a lesson of patient, perse>
ing effort.
75
YOUNG PEOPLE'S STORY OF ART
Brunelleschi's Dome
11 In the busiest haunts of Florence,
In the centre of the mart,
Worn as rarest of her jewels,
Closest to her throbbing heart.
The cathedral stands and o'er it,
Springs its light aerial dome,
As the sod breaks into blossom,
Or the wave climbs into foam.
So the mighty master planned it,
But his life's declining sun
Set, and saw it still unfinished,
Saw his glory still unwon.
Yet to-day in the broad Plaza,
Brunelleschi, carved in stone,
Sits before the great Duomo
Keeping watch upon its own.
Dead, he speaks through all the ages,
Speaks as Moses spake of old,
P'rom the mighty marble tablets,
To an age of faith grown cold!
Planned in doubt and reared in darkness
Is thy soul's cathedral here,
Left unfinished every fresco,
Left unfinished every pier.
Yet, in the Eternal Florence,
City of the spirit's home,
Shall thy life's full rounded purpose,
Rise like Brunelleschi's dome."
— Maud Wilder Goodwin.
76
ITALIAN ART
LUCA DELLA ROBBIA AND DONATELLO
HAVING taken our bird's-eye view of Florence, we
will now descend into the city and study some of its
art works.
The fifteenth century was the beginning of the
" Golden Age " of Italian sculpture. It was then
that Ghiberti made his gates, and there were other
noted sculptors — among them, Luca della Robbia.
He was, at first, a goldsmith, but he was specially
fond of moulding figures in clay. He had one tremble,
however, and that was that he could never make the
parts of his figures stick together; but he resolved to
discover some way to do this.
So he worked all day and all night, until some-
times his feet were nearly frozen. Finally, he suc-
ceeded in producing a kind of glaze which held the
clay together, and the material which he thus pro-
duced became famous as " terra-cotta," or " Robbia
ware."
An old writer speaking of Luca della Robbia,
says something worth remembering: No one ever
became excellent in anything whatever who did not
from a child learn to put up with heat and cold,
hunger and thirst."
Luca della Robbia made bas-reliefs in his ware.
These were often in pure white with a background
of blue. Then, again, he would introduce a more
varied colouring.
His children are very fascinating. I Ie caught their
half-humorous, half-serious beauty as perfectly as a
77
YOUNG PEOPLE'S STORY OF ART
painter. The expressions of their sweet, bright faces
are so natural, and their motions are so full of vi-
vacity that they seem like real children.
They are represented as dancing, or singing, or
playing on musical instruments. Sometimes it seems
as if we might almost tell in which note each boy is
singing or playing. Such children had never before
been seen in art, and Luca della Robbia became very
renowned.
His brothers and sons helped him in his work.
His studio came to be a manufactory, in which hun-
dreds of pieces of " Robbia ware " were made, many
of them being used as wall decorations. These were
sent to different parts of Europe and it was difficult
to work fast enough to fill all the orders.
Luca della Robbia kept the secret of the ware in
his own family; so when they all died, there could
never be another piece made. To-day a group in
" Robbia ware " is much more precious than it was
five hundred years ago.
Another sculptor who helped to make the " Golden
Age " of Italian sculpture was Donatello. We seem
to know him more intimately than other masters of
the time; and the better we know him, the more we
admire his frank and kindly character.
He, too, made charming reliefs of children, but
not in " Robbia ware," for that you remember was
a secret. His works were usually chiselled in marble,
or moulded in bronze.
Donatello and Brunelleschi worked together as
lads in Florence, and always were devoted friends.
When Donatello carved his first wooden crucifix, he
78
ITALIAN ART
was very proud, and showed it to Brunelleschi, ask-
ing what he thought of it.
Brunelleschi, who always spoke bluntly, hurt Dona-
tello's feelings, my telling him that it looked more
like a day-labourer than a figure of Christ on the
cross.
Donatello was very angry at this and exclaimed:
" If it is so easy as you think, take wood and make
one yourself ! "
At once Brunelleschi went to work, and after
months of labor finished his crucifix; then, placing it
where Donatello would see it as he entered the house,
he invited him to dine. The two friends went to-
gether to the market, and bought eggs and bread and
fruit for the frugal meal, and Donatello carried them
in his apron.
Donatello entered the workshop first, and was so
overpowered by the beauty of the wonderful crucifix
that, forgetting the dinner which he was carrying, he
threw up both arms in surprise. Everything fell
from his apron.
Brunelleschi following, saw what had happened
and exclaimed, "What do we now, Donatello, how
shall we dine — you have spoiled everything ! '
" I have had dinner enough! " replied Donatello.
" To thee it is given to make the Christ, to me the
day-labourer."
Although, in this instance, Donatello so gracefully
acknowledged Brunelleschi's superiority, as lie grew
older he was usually very well satisfied with his own
work, and he deserved to be. He understood per-
spective and foreshortening so much better than other
79
YOUNG PEOPLE'S STORY OF ART
sculptors of his time that his figures are very truthful
to life.
It is said that he was so delighted with the life-like
expression of one of his statues that he had just fin-
ished, called " David " or " Zuccone," that he struck
it a blow, bidding it speak.
He was greatly honoured and he received many
orders.
Once a rich merchant of Genoa begged Donatello
to make for him a portrait bust of himself. When
finished, it was placed on a balcony for exhibition.
The merchant admired it, but objected to paying
Donatello's price. " I know how to destroy the result
of the study of years in the twinkling of an eye," said
Donatello; and with this, he threw the bust from the
balcony to the street below, breaking it into bits.
Then the merchant, ashamed and disappointed,
begged Donatello to make it again, promising him
twice the money; but no entreaty could move the
sculptor.
He did not care for wealth; for he always kept
his money in a basket that was hung on a beam in
his house, and whenever they chose, his friends and
workmen were allowed to help themselves; but Don-
atello had a strong sense of justice.
We add one military saint to our sculpture-gallery
— Donatello's " Saint George," the patron of
chivalry. Saint George, clad in complete armour and
bearing the shield of a crusader, adorns the exterior
of a Florentine church.
He stands firmly on both legs as if no power could
move him.
80
DO\ \ II LLC
STATUE OF "ST. GEORGE." PROM r« **« "" ,W
NATION \l. MUSI UM, PI <>khn> l
AS
ITALIAN ART
Michael Angclo was so struck with his life-like
expression that, recalling Donatello's command to
his " David," he ordered Saint George " to march."
" No man is born into the world whose work
Is not born with him; there is always work
And tools to work withal, for those who will ;
And blessed are the horny hands of toil."
— Lowell.
MICHAEL ANGELO
On a rocky ledge overlooking Caprese, in northern
Italy, there stands to-day a ruined castle. On a tab-
let in one of the rooms we read that, in the year 1475,
Michael Angelo was born here. How little the
parents could have known that their baby was des-
tined to become famous !
Now over four hundred years have passed, and we
look back to Michael Angelo as a great master —
world-renowned as an architect, sculptor, and painter
— all three !
His father had held some office in Caprese, and
when his work there was accomplished, the family
returned to their Florentine home. The child, how-
ever, was left with his nurse, who was the wife of a
stone-mason. As soon as the little fellow was old
enough he played in the quarries, watching the stone-
cutters with their chisels; for he loved both the sight
and the sound.
A little later he was taken back to Florence to be
educated, and he went most unwillingly; but he must
81
YOUNG PEOPLE'S STORY OF ART
have masters now and study from books. He did not
enjoy his lessons, however, and hurried through his
daily task so that he might have time to draw and to
chisel. He had a boy friend Granacci, who helped
him by lending him brushes and paints; for Granacci
was studying art, in the workshop of the fine painter
Ghirlandajo.
One happy day which Michael Angelo always
loved to remember, Granacci took him to the work-
shop, and showed his work to Ghirlandajo. The
master was much interested and said to Michael
Angelo, " You must give up your other studies and
become my pupil."
The father did not easily consent, but at last he
was forced to yield; for Michael Angelo was now a
very determined boy of thirteen years. He was clever
in the workshop, making original designs that none
of the other boys dared attempt. One day Ghirlan-
dajo said, ' The boy understands more art than I
do!" and he actually became jealous of his young
pupil.
At this time, Italian cities were governed by
wealthy families. The most powerful family that
ever governed any city was the Medici, and it devoted
great wealth to the giving of beautiful works of art
to Florence.
Lorenzo de' Medici was^the most art-loving of
these princes. One day he sent to Ghirlandajo, in-
viting him to send two of his best pupils to study in
his gardens, which were full of old Greek statues.
Michael Angelo and Granacci were chosen to ac-
cept the invitation.
82
ITALIAN ART
How delighted Michael Angelo was to see the won-
derful sculptures! Really, as he walked through the
garden, a whole world of art opened before him!
Rough marble was there, too, that with their chisels
the lads might copy anything they chose.
A story is told of Michael Angelo that one day he
was intently working upon his first sculpture — the
head of an old faun. The great Lorenzo, walking
through the garden, paused to watch the boy at work,
and finally said to him, " You have made your faun
old, yet you have left all the teeth; at such an age,
generally teeth are wanting."
Michael Angelo made no reply and Lorenzo passed
on. The next time he came that way he looked again
at the faun, and discovered that one tooth had been
carefully broken off. Lorenzo was pleased that the
boy had taken his advice, and besides he had heard
many good things about him. So what did the great
prince do but invite him to come and live in his palace.
The father objected. He thought that art was only
for peasants, and his son was of noble birth. Besides
he had a large family and little money; and he wished
his son to be a silk- and woollen-merchant and
to bring home his earnings. But the prince insisted,
and for the second time, the father had to con-
sent.
Now we find the young sculptor living in a palace
and dressed in fine clothes, sitting daily at the table
with princes, and enjoying a monthly allowance.
Here he remained for several years, and then his
noble patron died.
Michael Angelo was very grateful and very full
83
YOUNG PEOPLE'S STORY OF ART
of grief, as he returned to his father's house and ar-
ranged his studio there.
Pietro de' Medici succeeded Lorenzo, but he was
weak and silly. The only thing which he ever ordered
Michael Angelo to make for him was a great snow-
image, which melted in a single night.
In our brief story of Michael Angelo's life, we may
not follow him from city to city, or describe many
of the things which he did; but only speak briefly of
some of his principal works. For he was always
working and usually either in Rome or Florence.
When he was twenty-four years old, he carved a
statue in Rome, considered by many to be his finest.
It is called the " Pietd," and it represents the dead
Christ in His Mother's arms.
This statue gave him great reputation, and the
Florentines, knowing of it, said that he must now re-
turn and make an art work for their city.
There had been long lying idle in Florence an im-
mense block of marble. One hundred years before,
a sculptor had tried to carve something from it, but
had failed. This was now given to Michael Angelo.
He was to be paid twelve dollars a month, and to be
allowed two years in which to carve a statue.
He made his design in wax; and then built a tower
around the block, so that he might work inside with-
out being seen. Then, inspired by the great idea, he
attacked the marble furiously with his chisel, making
the chips fly very fast. He seemed to see the im-
prisoned statue in the rough block, and he must bring
it out ! What skill of the sculptor to change a rough
stone into an object of beauty!
84
MICH \!.I. VNG1 LO
"DAVID." IN THE ACADEMY, H.OK
ITALIAN ART
Presently there appeared a great white " David '
— eighteen feet high: — and so heavy that it took
forty men four days to roll it from the workshop to
a central square of the city. There it stood until the
year 1874, when, on account of wind and weather,
it was placed in the " Academy," where we may set-
it to-day.
The youthful David stands erect — his face full of
purpose; for Michael Angelo had chosen the moment
when he is about to strike Goliath.
The Florentines were very fond of this statue. Its
appearance was such an event that they used to reckon
time from the date of its removal to the square.
About this time Julius II., the warrior and art-
loving Pope, wished to raise to himself the must
magnificent tomb in Europe; and as Michael Angelo
was now the greatest sculptor in the world, he was
summoned from Florence to Rome to build the tomb.
It was to be three stories high and to be adorned
with forty statues. It was to stand in old St. Peter's
church, if that was large enough to hold it; ii not,
a larger church should be built.
Michael Angelo was delighted with the grand idea.
He went to the marble quarry at Carrara, and spent
eight months in selecting suitable blocks. When they
were brought to Rome, they nearly filled the square
or " piazza " in front of St. Peter's church. You Bee
in the picture what a large square it is.
The Vatican, the Pope's palace, is just at the side.
and the Pope was so eager to watch the work that
he had a covered passage made from the \ atican
to the sculptor's workshop, on the " piazza." 1 hen he
85
YOUNG PEOPLE'S STORY OF ART
might go and come without being observed, and
Michael Angelo was always to be admitted to the
Papal palace.
All went well for a time; but unfortunately there
were in those days great jealousies among artists.
Enemies stirred up the Pope against Michael An-
gelo, telling him that it was an evil omen to build
his tomb in his life-time. Then the doors of the
Vatican were closed against the sculptor. He could
not get money to pay for the marble, and in great
indignation he left Rome. It was not until the
Pope had sent several couriers after him that he was
willing to return.
And what was the end of it all? Forty years of
toil and trouble, and instead of the great monument,
a group placed in a church too small to show it well.
The central figure is of colossal size and represents
Moses, just as he has come down from the mount.
You see his fiery expression as he is evidently
gazing at the " Golden Calf," which the children of
Israel had made to worship. His right hand rests upon
two tables of stone which he had brought down with
him ; with his left, he presses his long flowing beard
as if he would hold himself back from springing
forward in indignation. It is thought that the horns
protruding from the top of his head should have been
rays typical of light and power. 1
The figure of Moses is not beautiful but masterful,
and in it we may perhaps trace the restless, dissatis-
fied spirit of Michael Angelo himself, impatient at
his disappointment.
1 See Vulgate for source of Michael Angelo's error.
86
MICHAEL ANGELO
" MOSES." S. I'M I KO IN I IM iM |, |
ITALIAN ART
The best artists in Italy had been called upon
by the Popes to decorate different parts of the Vati-
can, and now Julius II. insisted that Michael Angelo
should paint the ceiling of his Sistine Chapel.
Michael Angelo objected, saying, ' I am not a
painter, but a sculptor."
" A man such as thou," replied the Pope, l is
everything that he wishes to be."
" But this is an affair of Raphael, the painter,"
replied Michael Angelo, " give him this room to
paint, and give me a mountain to carve."
But the Pope was firm, and the sculptor was
obliged to put aside his chisel and to take his brush.
The roof of the chapel was vaulted; and the Pope
told him that he might fill the spaces with saints,
being paid so much for each one.
Michael Angelo was too good an artist to be will-
ing to do this, and so finally the Pope allowed him
to arrange his subjects as he chose.
He made for himself a card-board helmet, into
which he could insert a candle, in order to work by
night as well as by day. Much of the painting had to
be done lying flat upon his back on a staging that he
had designed. He was forced to look up so con-
stantly that, after the ceiling was done, he could never
look down easily.
Michael Angelo loved to read his Bible, and from
it he drew his inspiration for his colossal paint il
He divided the centre of the ceiling into sections,
and upon each one he painted a Bible story.
These scenes are surrounded by masterful sibyls
and prophets, with most inspired countenances.
87
YOUNG PEOPLE'S STORY OF ART
There are, in all, over three hundred figures, most
of them larger than life. That of Adam is one of
the finest.
The whole painting shows force and sublimity,
and a remarkable knowledge of the human form.
It is curious that while Michael Angelo loved
sculpture best, many agree that these paintings are
his finest works, showing perhaps more than his
sculptures his wonderful power and personality.
Julius II. did not think that the dresses were rich
enough, and wished some of the pictures retouched
and gilded. " It looks so poor," he said. " They
are only poor people," replied Michael Angelo,
" they did not wear gold on their garments."
The next Pope was a Medici, and he sent Michael
Angelo to Florence to design some grand tombs for
his family. Two were made — one for Lorenzo, the
grandson of his kind patron; the other for Giu-
liano, and beneath both were placed allegorical
figures.
The one of Lorenzo is not a likeness, but, instead,
the most imaginative thing that Michael Angelo ever
made. It is called " II Penseroso," or " the thought-
ful one."
When many years later, Paul III. came to the
Papal throne he said: " I have desired for ten years
to be Pope that I might make Michael Angelo work
for me alone, and now I will not be disappointed."
So Michael Angelo was again summoned to Rome,
and once more set to work by the Papal power that
had seemed almost to govern his life-work.
This time he painted " The Last Judgment." You
88
MICHEL VNGELO
''CREATION OK ADAM." FROM I HI KRESC'O IN I Hi
CHAPEL m I Hh VATK w
AST:
TILD
ITALIAN ART
see it at the end of the Sistine Chapel, back of the
high altar. It is a huge picture, and in it are hun-
dreds of figures; that of Christ, the Judge, is very
powerful. Originally the colouring was rich. Now
the plaster is cracked, and the picture is covered with
the dust and incense-smoke of centuries.
Probably to-day you will admire far more a bright,
beautiful nineteenth century fresco by Abbey, Sar-
gent, or Chavannes.
Michael Angelo had one strong rival — the great
painter Raphael. Yet the two unconsciously helped
each other. Raphael must have caught strength
from seeing Michael Angelo's work; while Michael
Angelo may perhaps have gained a bit of sweetness
or gentleness from Raphael's holy pictures.
Michael Angelo had a proud, imperious spirit,
and he hated party strife. Misfortunes came to
his beloved city Florence. He tried to help it to re-
gain its freedom, but he failed; so he left it, spend-
ing his last years in Rome.
His old age here was perhaps the quietest and
happiest part of his life. He was never married;
for he said that his art was his wife, and his works,
his children.
One very beautiful friendship came to the solitary
man — that for the gracious and gifted Vittoria
Colonna. For years, the two knew each other in-
timately. They talked together on many interesting
subjects, and wrote sonnets to each other; and while
Vittoria Colonna lived, her influence seemed to il-
lumine Michael Angelo's whole life, and he was
distressed at her death.
89
YOUNG PEOPLE'S STORY OF ART
He grew rich but he always lived simply, giving
yearly large sums of money to support his father
and family. " Rich as I am," he said, " I have al-
ways lived like a poor man."
His old age in Rome was devoted to architecture.
The church of St. Peter had fallen into decay, and
was being rebuilt. As it was the Pope's own church,
money was sent from all the Catholic countries; the
best materials were used, and the most gifted artists
employed.
Michael Angelo was appointed its architect. He
accepted the commission, but would receive no pay,
saying that he was doing all for the glory of God.
His design, however, was not carried out, except in
the splendid gilded dome. He had always loved to
gaze at Brunelleschi's dome in Florence, and he fol-
lowed its proportions. " I will make her sister dome
larger but not more beautiful," he said. It is in re-
ality higher, but not so large around.
As the great dome rose into the sky, Michael
Angelo felt strongly that architecture did more for
the glory of God than either sculpture or painting.
Once on looking up, he exclaimed: " I have hung
the Pantheon in the air! "
We may not pause now to enter the wonderful
church of St. Peter's, the largest in all Christendom.
It may, however, give you some idea of its size,
if you glance in the picture'at the little ball on top.
In it, sixteen people can stand together. It is inter-
esting to know that the dome of our Capitol at Wash-
ington is modelled after that of St. Peter's.
Michael Angelo was eighty-nine years old when
90
m:{
i
ITALIAN ART
he died in Rome, in 1564. His body was carried
from the city by torch-light, and back to his loved
Florence. Splendid services were held there in hon-
our of the grand old man.
He was buried in the church of Santa Croce, or
" Holy Cross." On his tomb are three female fig-
ures, representing architecture, sculpture, and paint-
ing. In all three, Michael Angelo had a noble part,
in making the sixteenth century the "Golden Age'
of Italian art.
" Michael Angelo!
A lion all men fear and none can tame;
A man that all men honour, and the model
That all should follow; one who works and prays,
For work is prayer, and consecrates his life
To the sublime ideal of his art,
Till life and art are one; a man who holds
Such place in all men's thoughts that when they speak
Of great things done, or to be done, his name
is ever on their lips." — I LLOW.
CELLINI, BOLOGNA, AND BERNINI
A GREAT company of sculptors followed Michael
Angelo — but a genius is rare — and those that come
after must suffer in comparison. So it was that sculp-
ture now began to decline.
Greek statues were being dug out from among the
ruins of old Rome; and these were thought 1
beautiful that artists began again to use mytholog-
ical subjects for their works.
It is difficult to choose from the many BOllpl
YOUNG PEOPLE'S STORY OF ART
two or three that will best show the spirit of the
age — but Cellini, Bologna, and Bernini have been
selected.
Cellini was very fond of Michael Angelo; and
the latter, in his old age, tried to give his young
friend good advice, and Cellini needed it. He had
a fiery temper, and from the time when as a little
boy he ran away from home, his life was full of rash
adventure.
Cellini was most skilful in making richly-chased
vases and sword-handles and armour in repousse work
and gold, silver and bronze statuettes, and no other
could set jewels with such grace.
His finest work is his " Perseus," in the Loggia
dei Lanzi, in Florence.
Florence, like Venice, has a sunny storied " pi-
azza," on one side of which stands this Loggia dei
Lanzi. It is so called because the Lancers used to
drill there.
Now it is filled with statues. Duke Cosmo de'
Medici begged Cellini to make a statue to adorn it.
Cellini consented, and a comfortable home and
good salary were given him while the work was in
progress. It took him nine years; and just when
all was ready for the casting, the sculptor was taken
very ill.
He believed that he would die; and was greatly
distressed to feel that his work must go on without
him.
One night someone ran suddenly into his room,
exclaiming, " Oh, Benvenuto, your work is ruined! "
Cellini rose from his bed, hurriedly threw some-
92
ITALIAN ART
thing over him, and ran to the furnace. He found
that the fire had gone out, and that the bronze had
become cool, and so could not flow into the mould.
With great effort he remade the fire, and presently
the bronze melted and flowed, and his work was
saved.
Falling on his knees, he thanked God, and then
going home, he ate a hearty meal, and went to bed
and slept until morning as sweetly as if he had never
been ill.
This group of " Perseus " with the head of Me-
dusa stands in front, on the left side of the Loggia.
See how defiantly Perseus holds up the gorgon
head of Medusa, with its snaky locks! There is
great life and action in the group. Perseus dares
not even glance at Medusa; for anyone that looked
upon her was. turned to stone. When he cut off her
head, he succeeded in doing it, only by gazing into
the mirror where he could see her reflection.
Now he will place the head in his magic wallet,
and give it to Minerva to wear in the centre of her
breastplate. The statuettes introduced at the base
of the statue are exquisite in detail.
Bologna's one desire was to be like Michael An-
gelo; and it is thought that he succeeded in this
better than any other sculptor of the age.
He was a man of gentle manners, and much loved
by his friends.
Two of his groups are also in the i : but
his master-piece is "The Flying Mercury," in the
Bargello Museum, in Florence.
The most admired "Mercuries' of the world
93
YOUNG PEOPLE'S STORY OF ART
seem to be the old Greek one by Paeonius, and that
of Bologna.
They are very different as you will see, if you
compare the two prints.
Mercury was the messenger of the gods, and
swifter than the wind. Bologna represents him as
balancing himself on a bronze zephyr, preparing to
take his flight to Mt. Olympus. He has wings on
his cap and on his sandals. He carries a magical
wand called a caduceus. This has marvellous power,
for if thrown between combatants, it always stops
their fighting.
Once Mercury saw two serpents quarrelling. He
threw his caduceus between them, and they at once
ceased and twined lovingly about it; and Mercury
has always held them there to show what his ca-
duceus could do.
Bernini, the last of the trio, lived in the seven-
teenth century, and his home was usually in Rome
where he worked under several of the Popes. He
was greatly honoured wherever he went, and his style
of work is called " Berninesque."
Very many of his best works are in Rome; and
one has no difficulty in recognising them, for they
are very dramatic. He always chose for his subject
something that called for a striking attitude.
In fact, it had become the fashion in the seven-
teenth century to choose sensational and exagger-
ated subjects in art. Everything was sacrificed to
effect.
Bernini used too much flying drapery; indeed the
drapery often gives expression to a whole group.
94
ITALIAN ART
Do you see in the picture the figures on the colon-
nade in front of St. Peter's church? There arc one-
hundred and sixty-two of them, and Bernini designed
them all.
He made the showy fountain of Trevi, and the
legend that goes with it is — that if before leaving
Rome, one drinks at this fountain ami then throws
in a coin, he will sometime return to this wonderful
city.
Perhaps Bernini's finest work is his " Apollo and
Daphne," made when he was but eighteen years old.
You must know the legend to understand the group.
It runs as follows:
One day Apollo found Cupid playing with his
arrows and reproved him. \Y hereupon the mis-
chievous little fellow drew two of his tiny shafts from
their quiver, and shot the golden one into the heart
of Apollo, and the leaden one into the heart oi a
beautiful wood-nymph Daphne. Now Cupid's
golden shafts always inspired love, while his leaden
ones inspired hate. So Apollo loved Daphne, but
Daphne hated Apollo. Daphne escaped from
Apollo, and he pursued her; but as she could not
run very fast, she called upon her father, the river-
god, to save her. He heard her cry, and re-
sponded by at once turning her into a beautiful
laurel-tree.
Bernini represents the moment when Apollo has
caught up with Daphne, just as she is being trans-
formed. He was grieved to lose her, but he said,
11 This tree shall be sacred to poets and musicians and
artists. I shall wear a wreath of laurel, and all
95
YOUNG PEOPLE'S STORY OF ART
who follow the arts shall be crowned with a laurel
wreath."
The "Perseus" of Cellini, the "Mercury" of
Bologna, and the " Apollo and Daphne " of Ber-
nini express, in turn, powerful action, beauty, and
dramatic grace.
How different they are from the sculptures of
Michael Angelo! He perhaps never thought of
beauty and grace, but instead his works always
showed great power and solemn dignity.
We have lingered long in Florence and in Rome —
to-day the two cities of Italy in which art is most
honoured.
Think how many works you can recall — in Flor-
ence, " The Home of the Renaissance," and in
Rome, " The Eternal City."
" The heights by great men reached and kept
Were not attained by sudden flight,
But they, while their companions slept,
Were toiling upward in the night."
— Longfellow.
CANOVA
About the middle of the eighteenth century, there
lived in Possagno, not far from Venice, in northern
Italy, an old stone-cutter called Pasino Canova. He
had with him a little orphan grandson named Tonin.
The grandfather determined that, like himself, the
boy should be a stone-cutter, and so taught him to
use the chisel when very young. Tonin liked this,
and besides when he was not very busy with his
96
GIO LORENZO BERNINI
APOLLO AND DAPHNE." IN THE VILLA BORGHE31 -
ASTOS, LE*
TILC
ITALIAN ART
books, he was allowed to mould small figures with
bits of bread and clay. The grandfather was very
proud of his industrious young grandson, and made
him his constant companion, taking him everywhere
with him.
At that time Signor Faliero was one of the prin-
cipal men in Possagno, and he greatly honoured the
old stone-cutter, often giving him work to do. Some-
times he even entertained him at his villa.
Once when the old man and his little grandson
were there, a festival took place, and this the boy
remembered all his life.
At the very last moment, it was discovered that
the ornament for the dessert had been forgotten.
The servants were distressed, for they did not know
what to do.
Little Tonin, however, was equal to the emer-
gency. He called for some butter and with it he
moulded a lion. This was placed upon the dessert,
and when it was carried to the table, the guests were
charmed; and Tonin, who was now only twelve
years old, was summoned to the dining-hall and
greatly praised. Then Signor Faliero knew that
Tonin would be a sculptor.
He gave him a teacher, and later took him into
his own family, and then Tonin worked very hard. I I
made small figures in clay for his friends, and I
angels which his delighted grandfather chiselled in
stone. Later, he was sent to Venice, and soon he
did as good work as his teachers there.
Venice, in the sixteenth century, had a famous
architect and sculptor named Sansovino. II
97
YOUNG PEOPLE'S STORY OF ART
decorated Venice as Bernini had decorated Rome;
but his style was purer and nobler than Ber-
nini's.
But after Sansovino's time, Venice had no famous
sculptor, so naturally Canova's work was greatly
admired. He carved several statues, and finally was
paid for one of them such a large sum of money that
he exclaimed joyfully, " At last, I shall go to
Rome!"
He took with him letters of introduction, and
was received in Rome with the greatest kindness.
And how wonderful the city seemed to him ! He
studied early and late the works of Michael Angelo,
and also old Greek statues recently excavated. Often,
almost at daybreak, he would be found before one
of these, sketch-book in hand.
Through such study, he did much to bring Italian
sculpture back from its overstrained and theatrical
attitudes to the beauty and repose of the old Greek
forms.
Canova wished to undertake some great thing to
show the Romans what he could do. So the marble
was given him, and a workshop, too, in which to
chisel it.
He took for his subject the mythological hero
Theseus, who killed the Minotaur. This Minotaur
was a terrible legendary animal that had ravaged
Greece, and had eaten up quantities of children.
Canova chose the moment when Theseus, having
slain the monster, seats himself upon the body.
When the colossal group was uncovered such
praise and delight were expressed that Canova's fame
98
ITALIAN ART
was firmly established and all his later works were
considered master-pieces.
He was most successful in carving monuments.
Among them is one on the tomb of Pope Clement
XIII., in St. Peter's church, in Rome. This is
adorned with a remarkable sleeping lion.
Then, in Vienna, there is a monument to Queen
Marie Christina, in which the marble figures going
up the steps are so true to life that it seems as if they
were really moving.
Canova made a beautiful statue of Hebe, the god-
dess of youth, and cup-bearer to the gods.
He represents her just as she is pouring out nectar
for a feast on Mt. Olympus.
He made among other portrait-busts one of Na-
poleon Bonaparte, and also a statue of our own
George Washington. This was brought to America,
and placed in the Senate Chamber of the Capitol, in
Columbia, South Carolina. It is honoured as being
one of the first famous statues ever sent from Europe
to America.
Napoleon Bonaparte had conquered many cities
in Italy, and had carried from them a large number
of beautiful works of art to Paris; but when he lost
everything, all these stolen treasures must be re-
turned.
Canova was asked to arrange the matter with
France. His mission was difficult; but he accom-
plished it with great dignity. And when all wis
done, the Romans conferred upon him the title,
" Marquis of Ischia."
He now wished to make in Rome a colossal statue
99
YOUNG PEOPLE'S STORY OF ART
of " Religion," in honour of a Papal triumph; but
he was not assisted in carrying out his idea, and so
was keenly disappointed.
Failing in this, he decided to do something for his
birthplace, Possagno. He would build and adorn a
church there, and later be buried in its crypt. So
he made a great fete in Possagno, gathered the work-
men, broke the ground for the church, and presented
gifts to all who had come. Then when the corner-
stone was laid, there was a magnificent ceremony of
dedication.
Canova led the procession as " The Knight of
Christ."
The people of Possagno could not help recalling
their little peasant Tonin, as they looked with pride
on their great sculptor, Canova.
Canova died in the year 1822. Although he is
buried in Possagno, there is a splendid monument
to his memory in the church of the Frari, in Venice.
He was a just and generous man, and his life was
always quiet and simple. He never married, but one
romance of his life is often recalled. He admired
a lovely girl whom he met daily on her way to study
in an art-gallery. Finally she came no more. Canova
met her attendant, and asked for her mistress.
The reply was, " La Signora Julia is dead! " He
asked no more — he knew -nothing of her history —
but she always remained his ideal.
Canova entered very fully into the spirit of old
Greek art, and is noted for the beauty and simplicity
of his statues. He is called " The Prince of Modern
Italian Sculptors."
100
ITALIAN PAINTING
THE CIIRIST-CIIILD IN ART
"Dost thou love pictures?"
— Shakespeare.
The history of Italian painting is centred in the
figures of the Christ-Child and his Mother, the Vir-
gin Mary.
In art, they are usually represented together.
Such a picture is called a " Madonna and Child."
The word " Madonna " was used long ago in Italy
in addressing a lady, for "ma donne " means "my
lady"; but now " Madonna " usually refers to the
Holy Mother.
Sometimes she holds the Babe, and again she kneels
before Him in adoration. In such pictures, we find
revealed the holiest of all human affection — pure and
sacred mother love. Very often the scene is laid in
a stable, with horses and oxen, and poor and rude
surroundings.
At other times the Mother holds the Child before
the adoring shepherds. They have heard the " g<
tidings of great joy," and are bringing their offer-
ings of fruit and lambs and doves. And then, as if
to give the picture a touch of heavenly radiance, .1
glory of angels appears; and most lovely are the
angels that sing "Glory to God in the 1 1 iciest! '
In some of the pictures, the "Wise Men" have
101
YOUNG PEOPLE'S STORY OF ART
come from afar. They have followed the star in
the East, till it " stood over the place where the
young Child lay." They bring rich gifts — gold
and frankincense and myrrh. Their robes are gor-
geous, in marvellous contrast to the lowly surround-
ings of the Babe in the manger, whom they have
come to worship.
Very frequently in these pictures a second child
appears. This is St. John — the little dark-skinned
Baptist — a most picturesque figure. He is girt about
with a coat of skin, and he carries a cross of reeds.
A lamb is often introduced as a playmate for the
children. They are all charming together.
So there are pictures and pictures of the Madonna
and Babe, of the adoration of the shepherds, of the
worship of the Magi, and of many scenes associated
with the life of the Christ-Child.
When he is twelve years of age, he is pictured in
the Temple with the Doctors, " both hearing them
and asking them questions."
Then the scenes of childhood are ended; for now
he must be about His " Father's business."
" A mother is a mother still,
The holiest thing alive."
— Coleridge.
" It was the winter wild,
When the Heaven-born child,
All meanly wrapt in the rude manger lies."
— Milton.
i 02
ITALIAN A R T
CIMABUE AND GIOTTO
The earliest picture of the Madonna and Child
were of Byzantine type. The figures and draperies
were very stiff; the faces had little expression, but
the colouring was brilliant.
In the thirteenth century, however, there appeared
in Italy a noble artist named Cimabue.
His paintings of the Madonna and Child were
more true to nature than any that had gone before,
and because of this, he has ever since been called
" The Father of Italian Painting."
Cimabue first studied the stiff Byzantine forms;
then he studied nature; and then he painted his pic-
ture. The figures in it are not graceful, but they
are much more life-like than the Byzantine ones.
The faces have more expression, the draperies are
more natural, and the colours are softer. Let us
examine our print; for the picture itself is so faded
that we doubt, if you will ever pause before it, when
you visit the church in Florence where it hanj
The Mother in a red gown and blue mantle is
seated on a chair-like throne which is supported by
six adoring angels. She holds the Infant Christ
upon her knees. His tiny fingers are raised in the
of blessing. The background is gilt, and the th-
is hung with drapery, flowered with blue and gold.
Surrounding each head is a nimbus, or band of light.
This nimbus was used by the old painters as a sym-
bol of holiness.
While Cimabue was painting the altar-piece, he
would allow no one to visit his studio, until one day
103
YOUNG PEOPLE'S STORY OF ART
a royal guest appeared in Florence. This was the
Duke of Anjou, the brother of the French king.
The nobles took the Duke everywhere, and among
other places to Cimabue's studio, and to him the
artist uncovered his picture. The Duke was so de-
lighted that soon everyone heard of the wonderful
altar-piece, and all Florence flocked to see it.
We like to read of the honour given to it when
it was finished — how the citizens formed a pro-
cession, and how amid singing and dancing and
blowing of trumpets and showers of garlands — it
was borne in triumph from Cimabue's studio to the
church where it may now be seen.
In memory of this procession, that part of Flor-
ence has ever since been called " The Joyful Quar-
ter," and the road, " The Street of Rejoicing."
Another thing for which we greatly admire Cima-
bue is his interest in the little peasant Giotto.
The story goes that one day as the great painter
was walking in the fields, he was attracted by a
brown and homely lad. The child was watching
his sheep, and at the same time, with a bit of slate
for a pencil, he was drawing a picture of one of
them upon a stone.
Cimabue looked at his rough work, and saw in it
the touch of genius. He was so interested that he
bade Giotto leave his sheep, and go with him to
Florence where he would teach him to paint.
The father consented, so Cimabue took the boy
home, and became his teacher, instructing him so
well that, in time, he became even a greater painter
than his master.
104
GIOVANNI ( IM IBl I
MADONNA." IN THI CHURCH
ITALIAN ART
When Giotto grew up, he wandered all over Italy.
He lived always a sturdy, honest, and merry life;
but, peasant as he was, he painted everywhere as if
he were inspired.
He loved the great Italian poet Dante. Once
when he was painting on a wall in Florence a ;
ture of Paradise, he introduced Dante into the pic-
ture ! Later on, the poet was banished from the
city, and the Florentines, in scorn, whitewashed over
the wall. So the head was hidden for centuries,
but in the year 1841, the whitewash was scraped
To-day, on the wall of the old Podesta, may be
seen Giotto's fresco of Dante's beautiful head — im-
perfect indeed — but very nrecious to the tickle
Florentines.
Giotto loved the story of the Christ-Child, and
was often seen lingering before Cimabue's Madonna;
finally he painted one himself which is more true
to mature than Cimabue's.
Giotto was especially interested in the story ot the
holy St. Francis, of Assisi. And if we would under-
stand Giotto's picture, we too must read it. St. 1 ran-
cis was the son of wealthy parents; he was reared in
luxury and loved fine clothes and pleasure. In .1
battle fought between two Italian cities he was taken
prisoner. While in confinement, he was very ill,
and thought much about his useless lite.
One day, after his return to health and freedom,
he met a beggar who so moved him to pity that he
gave him his magnificent robe, and clothed himselt
in the beggar's rags.
That night Christ appeared to him in a \ision, and
105
YOUNG PEOPLE'S STORY OF ART
asked him to become His follower, and Francis gave
up everything for His service.
He lived in a cell — barefooted — his coarse brown
robe girded with a hempen cord; and in this cord
were always tied three knots — symbolic of his three
vows of poverty, chastity, and obedience.
His life was full of love and good deeds, shown
to every living creature.
He founded the Franciscan Order of monks, and
became so famous, that after his death, a church was
built in Assisi as his shrine; and contributions were
sent to it from all parts of Europe.
Over the walls of this church, Giotto has frescoed
many stories of the good deeds of the holy Saint.
We realise that very little could have been known in
the Italy of Giotto's day concerning the rules of
painting, when we see his impossible rocks and trees
and wooden-looking figures. But his holy stories
are told simply and lovingly and reverently. And
through his influence, painting soon became much
more life-like.
Everybody liked Giotto, for he was as good-
hearted and witty as he was ugly. The Florentines
called him their great and dear master, and his School,
or followers, became renowned.
Among the amusing stories told of him is the fol-
lowing: One summer day when he was busily paint-
ing, the King of Naples visited his studio. " If I
were you," said the King, " I would not work when
the weather is so hot." " Neither would I, sire,"
said Giotto, looking up with a twinkle in his eye,
" if I were you ! "
1 06
/
r
-
ITALIAN ART
Perhaps you have heard the expression, " Round
as Giotto's ' O.' " This is the story. The Pope
wished to select the best Florentine artist to come t<>
Rome and decorate some buildings for him. So he
sent his messenger to Florence to bring back to him
specimens of art work.
The messenger entered Giotto's shop, and asked
for a bit of his painting. With a smile on his f
Giotto took a piece of paper; and with a brush! ul
of red colour drew such a perfect circle that it was
a marvel. He handed this to the courtier. ' Is
this all?" was the surprised question. ' It is all
and too much," replied Giotto, " send it on with
the others." It is said that the Pope was delighted
and called Giotto to Rome.
Giotto's life passed both busily and merrily. And
as we remember, he was fifty-eight years old when he-
was called upon to lay down his work and become an
architect and sculptor. Then it was that he built
and ornamented the graceful bell-tower which Rus-
kin calls "The Shepherds' Tower." This was the
gem among all his works.
To return to Cimabue. We see how by painting
the first important Madonna, and by helping Giotto
to become a yet greater master, he has sent his in-
fluence down through the wonderful centuries ot
Italian art. Do you not think he was rightly called
"The Father of Italian Painting"?
" Cimabue thought
To laud it over painting's field; and now
The cry is Giotto's, and his name ivli|w,l."
— I)w
107
YOUNG PEOPLE'S STORY OF ART
THE MADONNA AND CHILD OF THE FIFTEENTH
CENTURY
We may see how life-like painting had become since
the time of Cimabue, by comparing his Madonna
with one painted by Botticelli, in the fifteenth century.
The beautiful Mother with her transparent veil,
and quaint, graceful robes wears a sweet yet sad ex-
pression, as if looking far away into the future.
The Child seems to have caught from the Mother's
face a serious and thoughtful look, and little St.
John enters with sympathy into the feelings of both.
This face was one that Botticelli greatly loved, and
he repeated it with only slight changes many times.
See the graceful nimbus about each head, and the
Babe's chubby hand on His Mother's neck.
The whole scene is full of life and light and
movement. In the background are trees and flowers,
and among them the roses that Botticelli always
painted with delight.
Botticelli was devoted to religious subjects; but
he was also fond of mythology, and had an intense
love for nature. One of the most attractive of all
his pictures is called " The Allegory of Spring."
The next picture is supposed to have been painted
by Lippi, a pupil of Botticelli, and one of the most
famous artists of the fifteenth century.
He was a gentle and pious man, and learned much
from his renowned teacher; but the faces which he
painted are not so sad and thoughtful as those of
Botticelli.
Reverent, charming, graceful, and happy — are
1 08
SANDRO BOTTIC1 LL1
"VIRGIN, CHILD, AND ST. John." IN I Mi LOUVRE, I
ITALIAN ART
four words often used to describe his works, and
surely they fit the picture before us.
You notice that the picture is round — the shape
which Lippi must have learned from his master;
for Botticelli was the first to make a round picture
of the Madonna and Child.
We glance first at the bit of scenery in the back-
ground. The rocks and stiff trees show little per-
spective; but remember that artists were then just
beginning to paint landscapes, and did not know how
to arrange them.
Looking more closely, we see a hedge of roses,
surrounding the square enclosure. Before us lies the
chubby Christ-Child. His Mother kneels before 1 lim
in reverent love. Right in front is the piquant lit-
tle figure of St. John in his lamb-skin coat. 1 le
kneels in adoration; but at the same time he glances
out of the picture, as if to attract our attention
to the Holy Infant.
Child-angels are hovering about. One of them is
showering roses upon the Babe, while the others,
with folded hands, are adoring Him. They l<
to us overdraped, but Lippi loved to paint drapery.
We must add to these pictures of the Madonna
and Child two of the delightful little boy-angels of
the fifteenth century. These were never sweeter than
when placed below the Mother and the Infant Jesus,
for they seem in such perfect harmony with I;
themes.
We have taken these children from I be Ma-
donna Enthroned," one of Bellini's most noted pic-
tures. Bellini was the first great painter in Yen
lO'J
YOUNG PEOPLE'S STORY OF ART
and he was very fond of putting boy-angels into his
pictures.
These little fellows are standing on the steps of
the throne. The plump one on the right is playing
a pipe. The one on the left is more often copied.
He has a sweet, serious face and far-away eyes. He
is playing on a small guitar.
Both are praising God for the gift of the Christ-
Child.
We have reached back across the centuries to study
these pictures painted by Cimabue, Giotto, Botticelli,
Lippi, and Bellini, and there are many other famous
ones on the same subject.
These, however, are enough to reveal to us the
Madonna and Child, as pictured by the Italian mas-
ter of the earlier age.
" O child ! O new-born denizen
Of life's great city! on thy head
The glory of the morn is shed,
Like a celestian benison.
Here at the portal thou dost stand
And with thy little hand
Thou openest the mysterious gate
Into the future's undiscovered land."
— Longfellow.
FRA ANGELICO THE PAINTER-MONK
We come now to a painter whom it is easy to re-
member, for his story is different from any other.
We never think of him by his real name Guido, for
his life was so saintly that he is always " II Beato,"
no
FILIPPINO l.ll'l'l
" HOLY FAMILY. " I\ I mi PITTI GALLERY.
ITALIAN ART
" the blessed," or " Fra Angelico," " the angelic
brother."
He always prayed for inspiration before he began
to paint, and believing that God directed his brush,
he never altered a stroke that he had once made.
Sometimes he painted upon his knees. Truly, " I [e
prayed as he painted, and he painted as he prayed."
His pictures were sought by many. The money
paid for them was always given to the convent;
for he believed that the truest riches are found in
contentment with poverty !
Fra Angelico had a gentle temper. 1 le never
wished to rule others, saying that there is less risk
in obeying than in commanding.
Once when the Pope asked him to be Archbishop
of Florence, he refused in the following words, " 1
can paint pictures but I cannot rule men ! '
He never painted worldly pictures, and rarely
scenes of sorrow and suffering. Saints and angels
were his favourite subjects.
Surely you will like to know something of his sim-
ple and reverent life.
He was born at Vicchio, among the Apennin
in the year 1387. He had a free and happy home,
and he loved the trees and flowers and birds.
He was devoted to a brother, who, like himself,
led a religious life.
When Fra Angelico was twenty Years old, the
brothers presented themselves at the convent [
in Fiesole. They asked that they might be admitted
and trained to become monks.
Let us enter the convent with them that we may
11 1
YOUNG PEOPLE'S STORY OF ART
learn something about monastic life; for convents
were very important places in the olden day, and held
not only the rarest gems of painting, but also most
of the learning of the Middle Ages.
They were really like small towns. There was
a chapter-house, so named because in it the chap-
ters of the law by which the convent was governed
were enforced upon the monks. There was a refec-
tory or dining-room, on the wall of which hung a
picture of "The Last Supper"; and a scriptorium
or writing-room with a rude table, chests of manu-
scripts, and pots of paint and brushes. Then there
were cloisters where the monks walked, and cells
where they slept.
There were preacher-monks and teacher-monks,
for the convents were the schools of the Middle
Ages; there were artist-monks who painted; and
farmer-monks who tilled the soil and gathered the
rich harvests. It was the rule of convents that every
monk must work and every monk must pray.
Each convent was dedicated to a saint. Those in
which Fra Angelico lived were dedicated to St.
Dominic, the preacher and disciple of faith.
St. Dominic is represented in art with a star above
his forehead, a lily in one hand, a book in the other,
and a dog by his side. Those who followed his
star were called Dominicans.
He instituted the use of the rosary — the beads on
which Roman Catholics count their prayers.
When Fra x^ngelico entered the Dominican con-
vent at Fiesole, and told the monks that he could
paint, they received him gladly; for they were al-
112
GIOVANNI BELLINI
AM. I I. U I I M M INDOLIN
ITALIAN ART
ways pleased to add to their number one who could
copy and illuminate manuscripts.
Fra Angelico lived in the age before printing was
known; and the missals or mass-books that were
used for the church service were all written. And
in the same spirit in which cathedrals were orna-
mented with sculptures and paintings, religious
books were exquisitely decorated for the glory of
God.
So the artist-monk sat in his straight-backed chair
before the table in the dimly-lighted scriptorium,
bending over his sheet of parchment. lie hat! black
ink and a reed pen, and brushes, and his palette was
rich with brilliant colours.
He would sketch a lace-like border about the page.
Within this he painted bright flowers, shells, fishes,
and tropical birds of beautiful plumage, and some-
times saints and angels. He decorated, also, the
initial letter, the rest of the text being written in
black ink. Day by day, month by month, and year
by year, the busy monk worked patiently on — each
page like a bit of beautiful embroidery. At
the manuscript was finished. You can never imagine
its beauty and detail, until you hold in your hands
such a manuscript, and turning over its leaves,
amine it through a magnifying-glass. If you will be-
lieve it, the owner of such an illuminated missal
valued it more than the rich man to-day values his
costly home.
Fra Angelico loved the life at Fiesole — the vie
of hill and valley, the sunrise and moonrise, and the
blue Italian sky.
ii3
YOUNG PEOPLE'S STORY OF ART
Gradually on looking out upon all these beauties,
he seemed to behold visions of angels, and at last
he gave up illuminating manuscripts for larger works.
Every painter, you know, sees different things from
any other. Fra Angelico saw angels, and his skill
in painting them has rarely been equalled.
To him the sky formed just a background for
them, for blue and gold were his favourite colours.
He painted his angels in easel pictures, and on
the bare walls of the convent. They were musical
angels with trumpet or cymbal or drum or harp; or
angels gliding along, hand in hand, among bright
flowers as we see them in his picture, " The Vision
of Paradise."
They had radiant faces, flame-tipped foreheads,
halos about their heads, and delicately-tinted wings.
Some of their star-bespangled robes were in ruby
red, the colour of passion; and others in green, the
colour of spring; or in blue, the colour of heavenly
faith and love.
There is a legend that one day Fra Angelico was
weary and fell asleep, and while he slept the angels
finished his picture. We are familiar with his angels
for they are so constantly reproduced as panel-pic-
tures, and on Christmas-cards. The ones that are
most familiar to us are taken from the border of
a picture in the Uffizi Gallery, in Florence, called
" The Madonna of the Tabernacle."
After Fra Angelico had lived for eighteen years
in Fiesole, the monks were called to the convent of
San Marco, in Florence, and in their black and white
robes they marched in a long train down the hill from
114
ITALIAN ART
Fiesole into Florence, and as they went, they chanted
psalms.
At about this time, Donatello was the princi;
sculptor in Florence. Ghiberti was fashioning his
" Gates of Paradise," and Brunelleschi was round-
ing his dome.
San Marco had fallen into ruins, and now was
being rebuilt.
Fra Angelico was asked to decorate the white walls
and he covered them with frescoes, his most beauti-
ful painting being done in the cells that only the
monks could enter.
These cells were narrow, low rooms, lighted by
a little arched w r indow, and just large enough tor
a bed and table and chair and crucifix — but each w aa
irradiated by one of Fra Angelico's pictures !
What an inspiration to each monk as he fasted
and prayed alone !
One of the most charming pictures in San Marco
is "The Madonna della Stella," or "The Madonna
of the Star"; for a single star gleams above the
head of the Mother, just as it gleams above the head
of St. Dominic.
The Mother's face is sweet and pure. She wears
a long blue cloak, and tenderly presses the little
Child, whose hand is laid lovingly against her cheek.
Around the frame, as in "The Madonna of the
Tabernacle," are adoring angels and below are
Dominican saints.
Finally the painter's fame reached Rome, and nat-
urally the art-loving Pope called him there to work
in the Vatican.
"5
YOUNG PEOPLE'S STORY OF ART
So he bade good-bye to the monks of San Marco
and started for the Holy City. He journeyed from
convent to convent, being most hospitably entertained
everywhere.
We may wonder, if he left a picture on the walls
of the different convents where he lingered for rest
and refreshment. At last he reached Rome, and
there passed the closing years of his life.
Here he decorated with frescoes the chapel of
Pope Nicholas V.
These frescoes represented the lives of the two
martyrs, St. Lawrence and St. Stephen. These are
more dramatic than his other works, and many con-
sider them his best.
Fra Angelico died in Rome, in the year 1455. On
his tomb, there is sculptured a quaint figure of a
Dominican monk.
Before leaving Fra Angelico, let us turn again for
a moment to San Marco in Florence. Here, a little
later, there lived a preacher-monk named Savonarola.
He preached to great crowds, for he had wonder-
ful power over the people, and even bade defiance
to princes, if they did not rule in the fear of God.
Indeed, his whole life was a crusade against evil.
His cell in San Marco contains his picture painted
by Fra Bartolommeo, an artist who gave up his art
to join the preacher.
Here are seen, also, his crucifix and girdle, and
some of his manuscripts.
We constantly recall Savonarola and Fra Angelico
as we wander to-day through the cells and cloisters
of the now empty convent.
116
FRA ANGELH
MADONNA OK THE STAR, IN THH CONVENT 01
AS
TILL
ITALIAN ART
Which will interest you more — the cell of tin-
great preacher with the relics of his lite and work?
or the shadowy remains of those pictures, each
which carried its message of love and uplift to the
Dominican monk of the olden day?
THE GLORIOUS SONG OF OLD
It came upon the midnight clear,
That glorious song of old,
From angels bending near the earth
To touch their harps of gold.
" Peace on the earth, good-will to men
From Heaven's all-gracious King."
The world in solemn stillness lay
To hear the angels sing.
• • • • •
For lo! the days are hastening on
By prophet bards foretold,
When with the ever-circling years
Comes round the age of gold ;
When peace shall over all the earth
Its ancient splendours fling,
And the whole world give back, the KHlg
Which now the angels sing.
— Edmund 1 1. Si \rs.
LEONARDO DA VIM I
IN a castle not far from Florence, there lived, nearlv
four hundred and fifty years ago, a wonderful child.
His name was Leonardo — Leonard., da Vmci he
was called, because he lived in the castle ot \ iflCl.
He was very handsome, having long airls t;illin K
below his waist, and he was always dressed in rich
117
YOUNG PEOPLE'S STORY OF ART
robes. He had a remarkable memory, and it was
well that he had, for he wished to learn everything.
He studied with the greatest ardour history, geog-
raphy, mathematics, music, architecture and painting;
and he mastered every study which he undertook,
often puzzling his teachers with questions which they
could not answer.
He was so strong that with his hands he could
easily bend an iron ring. Dumb animals loved him,
and he tamed the wildest horses. He never could
bear to see any creature cruelly treated, and some-
times he would buy little caged birds that he might
just have the pleasure of opening the doors of their
cages, and setting them at liberty.
He was happy and generous, and had such a
charming manner, and could do so many things that
naturally everybody liked him.
His father had intended that Leonardo should be
a notary, until he found that he was fond of art.
So he put him to study with his friend Verrocchio,
a celebrated Florentine painter, and with him Leo-
nardo spent several years.
One day Verrocchio was very much hurried in
finishing a picture. He called Leonardo, and told
him that he might paint in one of the angel-heads.
Leonardo went to work, and was delighted when the
judge pronounced his angeHhe most beautiful thing
in the picture!
The story goes that Verrocchio was so enraged that
his pupil had done better work than himself that
he burned his brushes and broke his palette, declar-
ing that he would never paint again.
118
ITALIAN ART
After Leonardo left Verrocchio's studio, he lived
for a long time in Florence, and every kind of work
tempted him there. He wrote verses, he invented a
curious musical instrument, he used his paint-brush,
he modelled in clay. He designed roads and brid
and canals and fortresses; indeed, he anticipated
many of our modern inventions, even to using steam
as a motor-power.
He tried as men are trying now in our twentieth
century to invent a flying-machine. Then, too, fu-
made funny automatic toys which on being wound
up " would go."
It seems hardly possible that he could have thought
about so many things. We cannot describe them
here, for it is as a painter that we are to study his
life. But before leaving the subject, wc must add
that he had one very serious fault — he attempted
too many things and he finished too ft He
was seldom satisfied with his work; and alter
making a brave start, would often leave it in-
complete.
To-day, the only fragments that remain are a lew-
pictures, some plans and drawings, and his volumes
of manuscripts written from left to right.
What a contrast between Leonardo and Fra An-
gelico, the painter-monk, who attempted but one
thing and did that one thing welll
Leonardo loved to call himself a painter. 1 le was
often seen in the streets, sketch-book in hand, watch-
ing the people as they passed alom:.
If he saw a face that attracted him. lie would fol-
low until he caught the expression, and perhaps ha I
119
YOUNG PEOPLE'S STORY OF ART
copied it in his sketch-book — then he would go home
and paint it.
Sometimes he would invite peasants to his house,
and tell them funny stories till they were very merry;
then he would take a pencil and draw their pictures.
He was well paid for his work in Florence, and
after a time grew rich, and lived in a fine house and
had servants and horses.
Thinking that he would like to attach himself to
one of the small Italian courts, Leonardo wrote to
the Duke of Milan, asking him to receive him. The
Duke consented and welcomed him graciously. He
was charmed with Leonardo, and soon found him
a most valuable addition to his gay court. If the
Duke gave an entertainment, Leonardo would sing,
and play on the silver lute that he had fashioned in
the shape of a horse's skull, and his beautiful music
always enchanted the guests.
If the Duke desired a pageant, Leonardo would
invent something to add to its interest — perhaps some
automatic toys.
One of these toys was a lion that on being wound
up would walk into the presence of the guests, open
its mouth, and display bunches of flowers within.
In Milan, Leonardo established an Art Academy,
and here by order of the Duke, he painted his master-
piece, " The Last Supper."" The Duke commanded
Leonardo to paint this picture on the wall of the
refectory of a Dominican convent, and the master
threw himself eagerly into the work.
No scene in the life of Christ has been represented
with more feeling and reverence than this.
120
-
y
ITALIAN ART
Let us pause here and look at the picture. We
see the "Upper Room"; at the back is a window
through which we may catch a distant view of the
Judean hills. At a long table are seated thirteen men,
Christ being in the centre. The figures are more
than life-size, and the table-cloth and dishes are care-
fully copied from those in the convent.
Christ's face wears a divine yet tender and sor-
rowful expression; and though the picture is now i
faded that it is but a shadow of its former self, we
may still feel the charm and sweetness of this face.
Leonardo thought more about Christ's face than
any other part of his picture; but his hand trembled
when he tried to paint it — he never was satisfied —
and never considered it finished.
On either side of Christ are two groups, each con-
taining three figures.
See the faces — no two alike — and on each is I
look, either of grief or surprise or inquiry.
See the violent gestures — how much expression
revealed even in the hands !
All are intent upon one startling thought. What
is it?
Christ has just spoken to his disciples the dread-
ful words, "One of you shall betray Me";
Leonardo has chosen to represent in his picture
moment when each one exclaims, " Lord, is it I?
We shall not describe all the disciples, but thl
or four are easily remembered.
In the group to the left of Christ, as we face the
picture, John is clasping his hands in griet at
beloved Master's words; Peter, wkh his usual im-
121
YOUNG PEOPLE'S STORY OF ART
petuosity, is leaning forward and beckoning to John
to ask of whom Christ spoke.
In front of the two sits Judas. He is grasping the
money-bag.
He looks towards Peter and John as with a con-
vulsive start he tips over the salt. This act, you
know, is always symbolic of a quarrel.
See on the other side of Christ the keen face of
doubting Thomas ! He beckons with his fingers and
leans forward behind two other disciples.
Leonardo worked on this picture for about two
years. Often he would be so absorbed that he would
remain on the scaffold from sunrise to sunset, without
even eating or drinking. At other times, he would
not work for days; or perhaps he would go quickly
into the room, put in a stroke or two, and then hurry
away.
His work was very slow; for he was constantly
altering and retouching what he had done. Then,
too, he waited as everyone must wait, for an inspira-
tion. The prior of the convent tried to hasten him
but Leonardo could not be hurried.
One day after the prior had both teased and
threatened him, Leonardo said to him, " I can hasten
my work very much, if you will consent to sit for the
traitor Judas." We can imagine that, if this story
is true, the prior did not again worry Leonardo.
To-day, even the little print in your book will
show the details better than the great faded picture
itself on the wall of the refectory in Milan. Leo-
nardo painted it in oils on wet plaster — but to last
it should have been done in fresco.
122
ITALIAN ART
Painters have tried to preserve it, by daubing it
over; dampness and smoke have injured it; and
finally when Napoleon Bonaparte was in Milan, his
soldiers used the refectory as a stable; and W(
of all, a door was cut right through the lower part
of the picture.
After painting "The Last Supper," Leonardo re-
mained for several years in Milan. When the 1 rench
captured the city, he travelled all over Italy, and
finally he returned again to Florence.
Among other pictures that he painted there is a
woman's face that will always be remembered. This
was Mona Lisa, or my Lady Lisa, the wife of a
Florentine gentleman.
Leonardo spent four years on this picture — twice
the time given to his " Last Supper." It must, in-
deed, be a famous portrait, over which a painter
will work four years.
Mona Lisa is seated in a marble chair; her dr
ery of gold and blue is arranged in graceful folds.
The face is wonderful. See how her eyes follow us !
The hair is very natural, for Leonardo was n<
for painting hair. The hands are beautiful and the
skin very life-like. While Mona Lisa sat for her
portrait, it was arranged that flowers should be
strewn about; that pet animals should be mar tor
her to caress; that she should listen to mufic; <>r
that buffoons should make her merry.
Faded as is the portrait now, the fa
sidered to be one of great loveliness. Hut wh>
it wear such a curious smile?
Do you like it?
YOUNG PEOPLE'S STORY OF ART
Leonardo painted other pictures and moulded seme
statues.
At last, Michael Angelo was called to Florence,
and the two painters were together to make some
cartoons for the town-hall there. When these were
exhibited, Michael Angelo's were said to be finer than
Leonardo's. Leonardo could not bear this.
Can you wonder when you think, of his past re-
nown ? How could he easily give place to the greater
glories of Michael Angelo and Raphael ! Then, too,
he heard the whisper, " Leonardo is growing old,"
and he had been the one great painter of Italy.
Francis I., King of France, was very fond of
Italian art, and he wished to carry " The Last Sup-
per " to France; but as he could not do that, he in-
vited its painter to come there and live. Perhaps he
thought that he would do some great thing for him.
Leonardo accepted the invitation, and bade fare-
well to sunny Italy. He had never been willing to
sell " Mona Lisa," and he took it with him to France.
Francis I. gave him nine thousand dollars for it — a
great sum to be paid in those days for a portrait.
Then " Mona Lisa " was placed in the Louvre gal-
lery, in Paris, where we see it to-day. Francis I.
gave him a beautiful chateau, and called Leonardo
both teacher and father; and the courtiers imitated
his dress and cut their beards^after his fashion.
Leonardo lived but three years in France. He
died in the year 15 19, and the old chronicle
says, " Sore wept King Francis when he heard that
Leonardo was dead."
Almost under the shadow of the Milan Cathedral
124
\]<>\\ \ I UA.
I . .I,i Vina.
ITALIAN ART
is a marble monument raised in his memory. The
master, in thoughtful attitude, stands upon ;i high
pedestal. Before him are statues of his pu] ils, and
bas-reliefs of some of his principal works.
It is beautiful thus to honour him in Milan; fof
here it was that he lived so many years — the most
brilliant man of his day — and here in the convent
is his shadowy masterpiece, "The Last Supper. 11
Leonardo's " Last Supper."
" Therefore I wait, within my earnest thought
For years, upon this picture I have wrought ;
Yet still it is not ripe ; I dare not paint
Till all is ordered and matured within.
Hand-work and head-work have an earthly taint,
But when the soul commands I shall begin."
— Story.
" Nothing that my pencil ever touch
Is wholly done. There's one evasive gra
Always beyond, which still I fail to reach."
— Mrs. Pki STON.
RAPHA1 1.
From century to century, Italian art grew more beau-
tiful and natural, until in the sixteenth century
reached its highest glory.
Great painters with their pupils always gather*
in Florence, and from the time of Cimabu
Giotto, all had combined to make it The C
Beautiful."
Rome, too, was a centre of another an :
greater art world; for its ancient buildings remain
125
YOUNG PEOPLE'S STORY OF ART
and vases and statues were being excavated which
adorned the houses of the wealthy, and added to
valuable collections of ancient Greek sculptures.
Besides, there was always a Pope in Rome, who sum-
moned the best artists to do their finest work in the
Vatican.
Michael Angelo and Raphael were the leading
artists in both Florence and Rome, in the brilliant
sixteenth century. We have placed Michael Angelo
among our sculptors, but we remember that he was
famous also as architect and painter.
Raphael was an architect and sculptor, too; but it
is as a painter that he is the first love, not only of
many Italians, but of art-lovers all the world over.
His life is before us now.
Raphael was born on Good Friday, in the year
1483, at Urbino, a little town nestling among the
mountains of central Italy. The baby was so sweet
and gentle that he was named for the archangel
Raphael, the guardian angel of the young. We visit
to-day, in Urbino, Raphael's early home, and some
sketches are shown there which he is supposed to have
drawn when he was a child. From what is known,
Raphael must have had a lovely mother, and his
father was a painter of holy pictures. They both
died, however, when he was very young. When he
was seventeen or eighteen years old, he was appren-
ticed to a painter called Perugino, because he lived
in Perugia.
When Raphael was brought to Perugino, he looked
at his work and said, " Let him be my pupil, he
will soon become my master." And Raphael, in
126
ITALIAN ART
the tender feeling which he displayed in his point-
ing became so like Perugino, that, after a time it .
difficult to tell their pictures apart. Like all Italian
youths who studied art at that time, Raphael longed
to see Florence. And when someone told him of
Leonardo's wonderful work there, he could restrain
himself no longer. He hurriedly lelt Perugia and
sought the artistic city.
Just recall the things that he must have seen as
he wandered for the first time through the town!
Imagine, too, his surprise and delight as he gazed
upon them all!
Massaccio had, in an earlier century, made won-
derful frescoes. Raphael stood before these and
learned how to group his figures. From Michael
Angelo's muscular forms he studied anatomy. 1 hen
there lived in San Marco, a painter monk, ! I I
Bartolommeo. He had been so inspired by the
preaching of Savonarola that he had burned his
books and brushes, and for four years had just
fasted and prayed in the convent.
Raphael sought him in his cell, and a beautiful
friendship was formed between the two. Ira Bar-
tolommeo again took his brush, and taught his JTOUng
friend Raphael many secrets of modelling and colour-
ing and drapery, and developed his gift for the
portrayal of spiritual beauty.
But perhaps the pictures of Leonardo had the
strongest influence upon Raphael. 1 le was char
with " Mona Lisa," and the study of the I had
a great influence on his own works.
Raphael was very handsome; he had a kind heart.
127
YOUNG PEOPLE'S STORY OF ART
a sunny temper, and a charming manner, and he
had the power of attaching to himself many friends.
The Florentines who greatly admired him called him
" The Youthful Master."
He lived only thirty-seven years; but in his short
life he painted two hundred and eighty-seven pictures.
Many of these are of the Madonna and Child, for
this was the subject that he most loved to paint.
Among his pictures, painted in Florence, perhaps
the most familiar is the one called " La Belle Jar-
diniere," or " The Beautiful Flower Girl."
The Mother is seated in a garden looking down
tenderly at her child, who is gazing eagerly up into
her face. The little St. John whom Raphael was very
fond of putting into his pictures is kneeling reverently
at the feet of the Mother.
See the varied landscape at the back, with lake,
trees, mountains, castles and clouds.
Raphael was but twenty-five years old when Pope
Julius II. called him to leave Florence and come to
Rome, to do his part in the decoration of the Vatican.
Both Julius II. and his successor, Leo X., were
charmed with Raphael, and their portraits that he
painted are among the best likenesses in the world.
Raphael ornamented the walls of four Stanze or
halls in the Vatican with magnificent frescoes.
These dealt with theology, philosophy, law and
poetry; indeed, he pictured here every subject in
which the Pope and wise men of his day were
interested.
Everywhere we see copies of these great frescoes.
Perhaps the most familiar one is " The School
128
-
-
I THE NEW
PU.
ITALIAN ART
of Athens." This represents fifty-two wise men,
teachers and pupils of ancient Greece. Before us is
a great vaulted hall. The two philosophers, Plato
and Aristotle, are advancing through a corridor.
Plato points upward, for his teaching is of heavenly
things; while Aristotle, who teaches about the earth,
points downward. The wise men are grouped very
naturally, each group having a teacher surrounded
by questioning pupils.
The most interesting group is the one to the left
of Plato and Aristotle as we face the picture, for it
is taught by Socrates, the best-loved teacher in ( rreece.
See his pupils leaning forward in their eagerness,
and beckoning others on to listen to his words of
wisdom.
Have you ever read the story of Diogenes? It
so, you will understand why we see the old cynic all
alone in front upon the steps.
Raphael also painted some holy pictures upon the
ceiling of a Loggia, or open gallery, in the Vatican.
These were called " Raphael's Bible." 1 le also
designed cartoons for some tapestries for the Sistine
Chapel, the ceiling of which Michael Angel. » had
already painted.
Indeed, the Vatican became a perfect museum oi
his works. He was as greatly admired, in Rome
as in Florence, and it is said that he \\ i ted
daily by fifty painters from his home to the • UL
Think, in comparison, of the lonely life of Michael
Angelo, now living in the same city.
Raphael was always busy; and although he Wt
assisted by many pupils, he could not possibly fill the
\2<)
YOUNG PEOPLE'S STORY OF ART
orders for pictures that came to him from all over
Italy. His " Saint Cecilia," which was carried to
Bologna, was painted in Rome. This is the legend.
Saint Cecilia was a noble Roman maiden, and de-
voted herself to a religious life. She sang so sweetly
that it is said the angels came to listen. As she could
find no instrument fit to express the music of" her soul,
she invented the organ to be used only in the ser-
vice of God. She married a rich young noble, and
through her influence he was converted; and an angel
crowned them both with immortal roses which
bloomed only in Paradise.
Raphael has represented St. Cecilia as a graceful
girl. Her sweet face is upturned as in a vision she
sees the golden light, and is absorbed by the music
of the angelic choir. In listening to heavenly strains,
she forgets her earthly instrument, and it is slipping
from her hand. At her feet are her violin and pipe,
her tambourine and castanets — now they, too, are
all cast aside. To the left of Saint Cecilia, as we
face the picture, stand St. Paul and St. John. St.
Paul, lost in thought, leans upon his sword. This is
one of Raphael's grandest figures.
This St. John is not the Baptist, but the beloved
disciple. Like Saint Cecilia, he is listening to the
divine harmony.
Saint Augustine, with his bishop's crook, stands
on the other side. Next to him we recognise Mary
Magdalene by her pot of ointment. This is always
given to her in art, because she anointed the feet
of her Lord. Her face is thought to be the same
that was painted later in " The Sistine Madonna,"
130
St. Cecilia.
Raphael.
'X AND
ITALIAN ART
the face of the girl to whom Raphael gave a life-
long friendship.
We constantly see copies of Raphael's " Madonna
della Sedia," or " Madonna of the Chair; " but no
copy can show the exquisite colour and finish of this
small round picture.
The sweet-faced Mother wears upon her head a
gay Roman scarf, while another is draped about
her shoulders. The Baby is charming. Raphael
painted many baby faces, and this is one of the
loveliest of all. How gracefully the Mother folds
the Child in her arms, and how closely He clings!
See the action even in His chubby little feet! John
the Baptist is here, his hands clasped in adoration as
he leans intently forward.
A pretty legend of an old hermit always clings
to this picture. The hermit had but two friends:
the one was Mary, the daughter of a vinedresser who
brought him grapes when he was hungry; the other
was an old oak-tree that sheltered his hut, and whose
rustling leaves made music in his lonely life. One
day a terrible storm destroyed the hut, and the
hermit was saved only by seeking refuge in his tree.
Then Mary came and took him to her home, and the
tree was cut down, and its wood made into casks.
The old man was always grateful to Mary and the
tree, and before he died, he prayed that both might
be remembered.
The legend goes on to say that Mary married,
and one day when she was seated with her two
children in her garden, the great painter Raphael
passed.
131
YOUNG PEOPLE'S STORY OF ART
He saw the lovely group, and taking the top of
a cask which was standing near, and which had been
made from the old tree, he drew a sketch upon it.
Then he went home and from his sketch painted
the " Madonna della Sedia." So the hermit's
prayer was answered, in the famous picture which is
covered with glass, and guarded as one of the
treasures of the Pitti Palace, in Florence.
" The Sistine Madonna " was the last " Holy
Family " that Raphael ever painted. People differ
about the beauty of his other works, but this every-
one admires. It is honoured by having a room all
to itself in the famous art gallery in Dresden, in
Germany. The voice is hushed and the gaze riveted
as one stands before it. The green curtains in the
picture are withdrawn, and there is disclosed a vision
full of heavenly light. The Mother is not an earthly
mother as we have just seen her in the " Madonna
della Sedia " — she is now the queen of heaven. She
seems to approach us floating upon the clouds out
of which peep countless tiny angel-faces. She does
not clasp her Boy; He seems rather enthroned within
her arms. Her face is pure and dignified; her eyes
are looking far off into the future as if thinking of
the mission which she is bringing her Son to fulfill.
The face of the Child, also, is serious, as if, like
His mother, His thoughts- are on His great work.
From the vision in the clouds, we turn to the
two saints below.
St. Sixtus, for whom the picture is named, was
a bishop who lived in the third century, and who
became a martyr to his faith.
132
THE MADONNA DELLA SEDIA.
K/
NO
ITALIAN ART
You see his tiara at his side. What a grand old
man he is ! As he gazes up reverently, he points to
the people as if imploring a blessing upon them.
What a contrast to graceful St. Barbara. We
recognise her by the little tower behind her. Why
is this always at her side?
She was a wealthy and noble Eastern maiden.
Her father was so afraid that someone would be
entranced by her beauty and carry her off that he
shut her up in a high tower.
Here, through the influence of a saintly man, she
became a Christian. She begged that her tower
might have three windows that through these her
soul might receive light from the Father, the Son,
and the Holy Spirit. Like St. Cecilia and St. Sixtus,
she, too, was martyred for her faith.
The familiar little cherubs complete the picture.
It is said that their faces belonged to two children
whom Raphael saw one day with their arms on a
ledge, gazing into a baker's window, or at this picture
as he painted. Would you call their expression wist-
ful or adoring?
Raphael was always noted for his draperies;
nowhere do we find them more graceful than in ' The
Sistine Madonna."
His last picture, now in the Vatican, is ' The
Transfiguration." It is one of the world's master-
pieces, and it is noted for its wonderful face of Christ.
Two scenes are represented — a heavenly and an
earthly. Above the mountains, in a glorious cloud,
hovers the Saviour soaring heavenward. On either
side, are Moses and Elijah.
i33
YOUNG PEOPLE'S STORY OF ART
Christ's face is marvellous, but Raphael never
considered it finished. Is it strange that neither
Raphael nor Leonardo could paint his ideal of this
face?
The three disciples, Peter, James and John, who
have gone up into the mountain with Christ are dazed
by the glory, and they have prostrated themselves
before the vision. The two figures, kneeling at the
left, are perhaps St. Julian and St. Lawrence; but
more probably the father and uncle of the cardinal
who ordered Raphael to paint this picture.
Then, as if to make the strongest contrast which
is shown in any of Raphael's paintings, we see below
a lunatic boy. He is being brought by his father
to the nine disciples who are waiting below. They
listen with sympathy to the story, but they cannot
help.
Two of them, however, are pointing up to the
mountain, for there is the " Great Physician," who
alone can heal. The colouring of the upper part
of the picture is glowing and harmonious, but in
the lower part, the light is broken and shadowy.
While the picture was yet unfinished, Raphael was
taken suddenly ill, and he died in the year 1520, on
Good Friday, the anniversary of his birth.
" The Transfiguration," with some of his other
works, was left to be finished by his pupils.
What a brilliant work he had accomplished in a
short life of just thirty-seven years!
All Rome mourned his death; for their "most
rare and excellent master had passed away."
A long procession followed his body from his
134
The Sistine Madonna.
Raphael.
> ■
ITALIAN ART
studio to the tomb in the Pantheon. At its head was
borne, " The Transfiguration," its colours still wet.
To us of the twentieth century, Raphael's works
are very lovely. Shall we unite with his devoted
admirers of nearly four hundred years ago in naming
him "The Prince of Italian Painting"? We may
better decide after reading Titian's life.
THE DRESDEN MADONNA.
" Mary, Mary! pure and holy,
Onward floating, onward soaring,
Heaven's effulgence round thee pouring.
Mary, Mary! sweet and lowly,
Radiant with the mystic shining
Angels languish for divining.
Mary, Mary! pure and holy,
In thine arms the Lord of Glory,
In thine heart the wondrous story.
Mary, Mary! sweet and lowly,
Cherubs pausing do adore thee,
Lost in love and awe before thee.
Mary, Christus! pure and holy,
Shadowed eyes, O Love pathetic!
Starry eyes, O Light prophetic!
Mary, Mary! sweet and lowly,
Throbs the hush with music's swaying
Human pain and grief allaying! "
— Mary E. Storrs.
Dresden, Jan. '72.
i?5
YOUNG PEOPLE'S STORY OF ART
" Raphael is not dead,
He doth but sleep, for how
Can he be dead
Who lives immortal in the hearts of men ? "
— H. W. Longfellow.
CORREGGIO
CoRREGGIO, who lived in the sixteenth century, is
another famous master in Italian art. His pictures
are not serious and spiritual like those of Michael
Angelo and Raphael, but they have their own
peculiar charm.
He was named for his birthplace in quiet little
Reggio, or Correggio. Here he was born in the
year 1495. He studied here as a child, and later
in an excellent art school that had been established
in Mantua.
The lad must have learned how to draw, and in
drawing to foreshorten. To foreshorten is to rep-
resent in a life-like manner objects that recede slant-
ingly from us. It is thought that Correggio saw
some of Leonardo's pictures, and that in them he
studied light and shade. The facts of his life are
not well known. He must have had a beautiful wife,
for her face is in some of his lovely Madonna pic-
tures; and the merry frolicsome children that he was
always painting were surely his own boys.
Correggio never worked under any great painter,
who loaded him with honours and presents. We
never hear of his being in Florence, and an old
writer says, " He died young without being able to
see Rome."
Just think of it! How could he have been a
136
The Transfiguration.
Raphael.
ITALIAN ART
master, and yet never have visited the great art
centre of Italy! Indeed, during his life, he was
almost unknown except at Parma. He formed his
own style, however, and by his genius raised himself
to the highest rank. He died in the year 1534*
Correggio was never well paid for his works, but
probably that was his own fault; for he was always
so timid about their merits that he took whatever was
offered him. They sometimes offered curious things
in Parma ; for example, for one of his finest frescoes
he was given a little money, some provisions, two
loads of wood, and a fat pig! Once, however, he
did appreciate himself; for when he saw a picture
painted by the great Raphael, he gazed at it,
thought of his own works, and then exclaimed with
enthusiasm, "I, too, am a painter!"
He loved to picture Madonnas and saints and
mythological characters, and especially delightful
children. He was noted for a daring foreshorten-
ing, and for a delicate blending of light and shade.
If you would like a long word that exactly describes
such a blending, use " chiaroscuro " ! Action, sen-
timent, foreshortening, chiaroscuro— these were the
four gifts that made Correggio famous. In three
buildings, in the quaint old city of Parma, are seen
his principal frescoes.
The first are in a room in the convent of San
Paula. The abbess of this convent, unlike other
nuns, lived a luxurious life. She loved to surround
herself with beautiful things, and so she called upon
Correggio to fresco her salon. He covered the walls
with mythological scenes instead of holy ones.
137
YOUNG PEOPLE'S STORY OF ART
Over the mantel is Diana, the huntress, arrayed
in graceful drapery. She is just returning from the
chase in a car drawn by white stags. The vaulted
ceiling is decorated with a trellis-work of vines. In
this there are sixteen oval openings or lunettes.
Through these, the most gleeful and fascinating little
boys are peeping. They are all busy — some frolick-
ing, others caressing one another, and still others
plucking the grapes from the vine.
When you see these frescoes you will not wonder
that the abbess was delighted. She recommended
Correggio to the church of St. John, and for this
he painted an ascending Christ with the adoring
disciples below. The monks connected with this
church were so fond of Correggio, that, while he
painted, he lived with them in their monastery, shar-
ing in all their masses and prayers.
His most magnificent frescoes, however, in Parma,
were in the dome of the cathedral. We remember
how hard it was for Brunelleschi and Michael Angelo
to design a dome. It is almost as difficult to paint
the interior in a life-like way.
Correggio took for his subject the Assumption or
Ascension of the Virgin to heaven. That the figures
might appear natural to those standing far below,
he used much foreshortening, so that as the Virgin
is borne upward by angels, iier head is thrown far
back, and her knees almost touch her chin.
About her is a confusing number of saints, dis-
ciples, and joyous little angels, whirling about in
every direction. This fresco has always been con-
sidered as a master-piece for its daring foreshorten-
ing as well as for its rich colour.
138
ITALIAN ART
When the great Venetian Titian saw it, he ex-
claimed, " Reverse the cupola, and fill it with gold,
and even that will not be its money's worth."
Correggio painted many oil or easel pictures that
have proved an inspiration to many other artists.
One of these is a " Marriage of Saint Catharine,"
in the Louvre gallery, in Paris. Let us first read
the legend of Saint Catharine that we may under-
stand the meaning of the picture. She was an East-
ern princess who possessed four gifts — she was rich,
noble, wise, and beautiful. She determined to marry
only one who was richer than any other; so noble
that he would not be indebted to her for being made
a king; so beautiful that angels would desire to see
him ; so benign as to forgive all offences. Then she
saw a picture of the Christ-Child and as she gazed
into His face, she loved Him. The Child smiled
upon her; He placed a ring upon her finger, and
they were betrothed.
St. Catharine spent her life in doing good that she
might go when she died to her heavenly Bridegroom.
Sometimes she is represented with a book as a
symbol of her great wisdom; again with a wheel, the
instrument of her martyrdom; or with the Christ-
Child, as in Correggio's picture. The sentiment of
the story, the sweet faces, and the beautiful hands
make the picture most attractive. The noble young
St. Sebastian who stands behind St. Catharine seems
greatly interested in the betrothal. He usually
wears a bright happy look, although pierced by
arrows.
The gem among Correggio's pictures is an
" Adoration of the Shepherds " called " The Holy
i39
YOUNG PEOPLE'S STORY OF ART
Night," or " La Notte." It is night — the scene is the
manger. The Mother holds the Babe. His body
is illumined with a heavenly radiance that shines from
it up into the Mother's face. It falls, also, upon the
shepherds and shepherdess. The latter with one
graceful hand shades her face, while with the other
she brings to the Christ-Child her offering — a little
basket holding two turtle-doves. For the shepherds
have just heard the " glad tidings " and have come
bringing their gifts.
The angels are hovering above in a softened
radiance.
The cold morning light is just breaking and Joseph
in the distance is caring for the ass upon which Mary
rode to Bethlehem. As we study our little print, let
us try to imagine this glowing picture, touched by
its three lights — the transparent loveliness emanat-
ing from the Christ-Child, the softer tints of the
angelic choir, and the grey morning dawn. " La
Notte " with its rare grace and beauty ranks with
Raphael's " Sistine Madonna " as one of the gems
of the Dresden Gallery.
In speaking of Correggio, one has fitly said, " Out
of smiles, sunlight, grace and beauty, he made his
pictures."
" There are bridges on tjie rivers
As pretty as you please ;
But the bow that bridges heaven,
And overtops the trees
And builds a road from earth to sky,
Is prettier far than these."
— Christina Rossetti.
140
" THE HOI.Y NIGHT.
CORREGGIO
FROM THE PAINTING IN THE ROYAL
MUSEUM, DRESDEN
ITALIAN ART
TITIAN
In the fifteenth and sixteenth centuries, painting in
Venice burst into sudden bloom. Venetian pictures
were not noted for perfect drawing, charming senti-
ment, or spiritual beauty; but, instead, for brilliant,
glowing tints.
And how the Venetians loved colour! From the
early days when their sailors had brought from the
East gorgeous stuffs and gems and marbles of every
hue, the Venetian painter found in his " Island City '
the things which a painter best loved to look upon.
He saw the deep, blue sky, the constant play of light
and shadow on the water, the gay gondolas, or the
merry pageant gliding along. He saw the gilded
marbles palaces, the splendid Venetian women, the
prince or doge in gorgeous robes. He saw a Ma-
donna or an angel or a St. Mark with his winged
lion. He caught the life and spirit of it all, and then
he painted a portrait or a story of old Venetian life.
In an earlier chapter, we lingered in Venice long
enough to admire St. Mark's church. But to study
the pictures we must now visit other churches, the
Doge's Palace, and the art gallery called " The
Academy." Its spacious rooms are filled with pic-
tures, painted by Titian, Tintoretto, Paul Veronese,
and others of a brilliant group, who to-day recall
to us the magnificence of Venice, in the sixteenth
century.
Let us ask Titian to tell us his story. His
father was an honoured soldier, and counsellor of
Cadore, a little town nestling among the Dolomites.
141
YOUNG PEOPLE'S STORY OF ART
This is a wild and strange country with stormy blue
skies, and picturesque crags and torrents. Here in
a castle belonging to his father, Titian was born in
the year 1477. He was so fond of the home of his
childhood that all through his long life he returned
to it on festal days, carrying gifts to his old friends.
Besides, he made its grand Alpine scenery the land-
scape background of many of his pictures.
When a very little boy, Titian showed his love
for colour. He often escaped from his teachers and
ran away to the fields. Here he gathered bright
flowers, and squeezing out their juices, used them for
paints.
There are shown to-day on the walls of the castle
of Cadore some faded colours that are said to be
the remains of little Titian's earliest efforts. Titian
did learn to read and write; but his teachers were
discouraged in trying to teach him anything else,
for the boy would do nothing but paint. Finally,
when he was only nine or ten years old, he was sent
to Venice — there to study the thing which he best
loved to attempt. A little later, we find him in
Bellini's school, where he remained for several years.
At this time, Bellini was a famous painter of holy
pictures. His colouring was soft and tender. Be-
sides, he was a most delightful teacher, and it was
the fashion to send Italian boys to his studio to study
art. Titian liked Bellini, and at first followed his
manner faithfully. But there was an older pupil
in the school, in whom he became greatly interested.
This boy, who was called Giorgione, was of peasant
origin, but he had such fine manners, such a rare
142
ITALIAN ART
talent for music, and was so fascinating that every-
body admired him.
Titian was first attracted to Giorgione because he
liked the glowing colour of his pictures better than
Bellini's quieter tints. He soon found himself copy-
ing Giorgione's style rather than Bellini's.
A warm friendship soon sprang up between the
lads. After a time Bellini could not keep them to his
style of colouring, and a story is told about the
veteran master that seems probable.
One day Titian and Giorgione left the studio, spent
all their money, and did not return at the appointed
hour. When they did come back, the door was
closed forever against them. Then they set up for
themselves. They made money by painting the
outside of houses. But, alas! for the jealousy of
artists.
Once when they had frescoed the front of a public
building in Venice, Titian's work was declared the
better. Giorgione was hurt and insulted, and the
friendship was suddenly broken.
Giorgione did not live very long after this. His
short, gay life, however, had been long enough to
make him famous. Such a golden glow as he gave
to his " Concert," and the few other pictures that
he has left had never been equalled in Venice.
Titian had learned much from Bellini; but the
secret of his colouring had come from Giorgione, and
on the death of his old friend, he was left without
a rival in Venice. His pictures were more and more
brilliant until at last he came to be known as 'The
Father of Modern Art in Colouring."
i43
YOUNG PEOPLE'S STORY OF ART
He was fond of mythological subjects, and his
little cupids or amorini, as they are called, are very
charming.
But as a portrait-painter Titian was magnificent.
He painted handsome Venetian women with won-
derful flesh tints, wavy auburn hair, brocaded robes,
embroidery and pearls. He painted poets, princes,
kings and doges, always choosing for his pictures a
happy moment in the life of each. His renown
spread to different countries; and if Titian's portraits
could all be gathered into one gallery, we would find
there nearly every famous man of his time.
He was so successful in painting a variety of sub-
jects that some make him, instead of Raphael, the
most famous Italian painter.
He visited many cities, and was always most
honourably entertained.
At the court of the Duke of Ferrara he painted
some of his finest mythological pictures. Here he
became acquainted with the famous poet Ariosto.
The painter and the poet immortalised each other;
for Titian made a life-like portrait of Ariosto; while
Ariosto, in turn, introduced Titian into his greatest
poem.
Naturally, the Pope invited Titian to Rome; but
he did not accept his earlier invitations, and it was
not until he was sixty-eight years old that he first
saw the Holy City.
He was treated in Rome with the greatest honour,
being lodged in the Vatican.
Titian painted the picture of Pope Paul III. It
was so life-like that when it was placed upon the ter-
144
TITIAN
"THE TRIBUTE MONEY." FROM THE PAINTING IN THE
ROYAL GALLERY, DRESDEN
ITALIAN ART
race to dry the varnish, the people, thinking that
it was the Pope himself, lifted their hats to it.
It is said that Titian, " the gracious and serene,"
was visited in Rome by Michael Angelo, " the grave
and austere." Michael Angelo admired Titian's
colouring, and he felt that if he could only draw
better, he would be the world's greatest painter.
We remember that the Romans thought every-
thing of correct drawing, and the Venetians, of
colouring.
At this time the famous Emperor Charles V. ruled
over both Germany and Spain. He saw one of
Titian's portraits, and determined that the artist
should paint his picture, and Titian did paint it
several times. The Emperor was delighted, and
Titian sometimes visited him in Germany.
One day when Charles V. was in his studio, the
brush slipped from the painter's hand. Not a cour-
tier moved. The Emperor, however, at once stooped
and picked it up.
Titian was embarrassed and exclaimed, " Ah, Sire !
you confound me!" And the Emperor replied,
" How, then, is not Titian worthy to be served by
Caesar? " adding as he saw the jealousy of the cour-
tiers, " I know many kings and princes, but I believe
that there are not two Titians in the world."
Titian must have sea and sky and sunshine, and
after travel, he always loved to return to his Venetian
home.
His wife died early, leaving him with three
children. One son was a painter and worked with
his father. There are several pictures of his daugh-
145
YOUNG PEOPLE'S STORY OF ART
ter Lavinia, the darling of his household. In one,
she carries a casket of jewels, in another, she is in
a yellow-flowered gown, holding over her head a
silver salver with fruit.
Titian's home was called " Casa Grande," and it
was indeed a " Great House." It had gardens slop-
ing down to the sea. In the distance over the water
was the Island of Murano, where glass was wrought
in wondrous forms and colours. Yet beyond were
the rugged Alpine peaks, amid which nestled little
Cadore, his childhood's home. At " Casa Grande,"
Titian lived and dressed like a prince, and enter-
tained with royal hospitality. Many noted guests
visited him. He showed them his pictures. They
feasted at a table loaded with delicacies — they enjoyed
the beautiful garden, and the views of the lagoon and
distant peaks. Once two Spanish cardinals were his
guests. While they were admiring the pictures in
his studio, he threw his purse to his steward, exclaim-
ing, " Now, prepare a feast, since all the world dines
with me."
As Titian lived until he was ninety-nine years old,
and as he painted from the time that he was five until
the end of his life, a description of his pictures would
fill our book. We have, however, selected a few that
are most familiar.
One of these is called " Christ and the Tribute
Money." It w^s originally painted for the door
of a press in Ferrara, but it is now in the Dresden
Gallery.
This depicts the scene where the crafty Pharisee is
bringing a penny to Christ to tempt him. There is
146
TITIAN
ST. CHRISTOPHER AND THE CHRIST-CHILD
ITALIAN ART
a wonderful contrast in the two figures. Christ is
in a red robe and a blue mantle. He is calm, in-
tellectual, and majestic. The Pharisee's face is one
of brutal cunning. How striking, too, are the hands !
Christ's are gentle and beautiful; while those of
the Pharisee are cruel and grasping.
Titian's picture of St. Christopher is also noted.
This is on the wall of the Doge's palace in Venice.
The Doge for whom it was originally painted was
so fond of it that it was placed where he might see
it every morning when he first arose. And there is
an old saying, " Whoever shall behold St. Christo-
pher in the morning, shall not faint." The legend is
very beautiful. It is about a giant named " Offero,"
which means "bearer," and it runs as follows:
Offero was very proud of his great strength, and he
vowed that it should be given only in the service
of the mightiest of kings. He joined the retinue of
a ruler, whose very name was the terror of nations.
But he was surprised to see that this ruler trembled
whenever the name of Satan was mentioned. So
Satan must be yet greater — he would seek and serve
him!
Then he wandered until one day he came upon a
dark and terrible warrior, and his army called him
Satan. So Offero followed him.
And now he found that Satan was frightened
whenever they passed a wayside shrine, or when-
ever the name of Christ was spoken. On inquiry,
he learned that Christ was ruler over all. And
now Offero sought him far and wide, but he could
not find him. Finally one day he reached the hut of
147
YOUNG PEOPLE'S STORY OF ART
a pious old hermit, and the hermit told him that
only through deeds of pity and helpfulness could he
find Christ. Then he led Offero to a deep river
with a very swift current. Many pilgrims crossed it,
and those who tried to cross were often swept away
by the current. The hermit told Offero to live here
on the bank of this stream, and for love of the un-
known Christ to carry from shore to shore those who
were weak; and Offero gave himself to this service
and saved many who would otherwise have been
drowned.
One dreadful night when the wind blew and the
stream was very rough, he heard a child's voice —
" Offero, wilt thou carry me over? "
The giant, taking a lantern, went out of his hut,
and saw a little child seated on the edge of the
swollen stream. He took him upon his shoulders,
and advanced into the stream. But the farther they
went, the heavier grew the child. Offero's limbs
trembled. It seemed as if he would sink, but he
bore on courageously and finally reached the other
shore.
As he set the Child gently down, he exclaimed,
" If I had borne the world, it could not have been
heavier."
A bright light irradiated the Child's face as he
replied, " Oh, Christopher, I am Christ thy King,
the ruler of the world," and he added, " Christopher,
I accept thy service;" and the giant Offero, the
Bearer, became henceforth Saint Christopher, the
Christ-Bearer.
Titian's picture represents the two in mid-stream.
148
-
-
z
ITALIAN ART
Offero resembles a huge Venetian gondolier. The
child is weighing down the giant, but his little fingers
are raised in blessing as he urges him on.
One of Titian's largest and most pleasing pictures
is " The Presentation of the Virgin in the Temple,"
which introduces to us one of the most charming little
girls to be found in all art. Her parents have dedi-
cated her to a religious life, and they have placed
her in the Temple on the lowest step leading up to
the entrance. The High Priest, in gorgeous robes,
stands on the upper step waiting to receive her.
The quaint, winsome little maiden is supposed to
be but three years old. She is surrounded by a halo
of light, and is attired in a shimmering blue robe,
which she gathers up daintily as with perfect confi-
dence she ascends the steps. Her long flaxen hair is
braided simply down her back. The windows and
balconies are full of spectators; below, too, are all
sorts of people, among them stately senators and
monks, and an old woman with a basket of eggs.
All eyes are upon the Child. It is believed that
several of the faces are portraits of noted Venetians
who were then living.
In the same gallery in Venice is Titian's " Assump-
tion," or "Ascension of the Virgin to Heaven."
This, in its splendid glow of colour, is the " Assump-
tion " of the world.
It is told that, after the death of her Son, the
Virgin prayed to be taken to heaven. She also asked
that, as she should ascend, the Apostles might be
about her.
As she prayed, a rushing sound was heard; the air
149
YOUNG PEOPLE'S STORY OF ART
was filled with angels; and they bore her upon a cloud
swiftly heavenward.
Titian represents her, as a splendid woman, with
wavy, golden hair. She gazes upwards, her fair
face irradiated with a heavenly light. Over her
crimson robe is a blue mantle. We almost see it
flutter in her swift ascent, and as she is borne aloft,
an angel sent from God floats downward bearing her
crown.
The little angels, or amorini, are wheeling about
full of life and motion.
The heavenly scene is peaceful and radiant — the
one below is dark and turbulent; for here are the
longing disciples, in striking attitudes and gestures,
gazing wistfully after the figure which is fast receding
from them into the clouds.
Titian lived a longer life than any other painter.
Sometimes as a very old man he would lay upon his
pictures too much bright colour; but at night when he
slept, his pupils scraped it off.
He desired to live until he was one hundred years
old; but in 1576 the plague visited Venice, and car-
ried off one-fourth of the inhabitants of the city.
Titian and his son were attacked by the disease,
and they both died. In grief, at the loss of their
greatest painter, the people forgot their fear of ths
plague.
All Venice in a long procession followed his re-
mains to the burial-place in the church of the Frari —
the church for which " The Assumption " had been
painted.
A noble monument now crowns Titian's tomb here,
150
The Assumption of the Virgin.
Titian
ITALIAN ART
and it is ornamented with bas-reliefs of his principal
works. The inscription reads as follows:
" Here lies the great Titian, rival of Zeuxis and Apelles."
If we might compare our great painters to beau-
tiful flowers, Raphael, with his spiritual conceptions,
might be likened to the pure white lily lifting its
chalice to heaven; Correggio, to the fragrant rose,
blushing in every charming shade; Titian, to the bril-
liant sunflower lifting its face to catch the golden
rays of the sun.
" You have caught
These golden hues trom your Venetian sunsets."
— Longfellow.
" If the Venetian painters knew
But half as much of drawing as of colour,
They would indeed work miracles in art,
And the world see what it hath never seen."
— Longfellow.
A GROUP OF VENETIAN PAINTERS
The Venetian art history that clustered about Titian's
life in the sixteenth century is full of interest.
Among the famous painters were Palma Vecchio,
noted for his portraits of beautiful women; Tin-
toretto, for his brilliant colouring; and Paul Veronese,
for his banquet scenes.
We always associate Palma Vecchio, or old Palma,
with Titian, because Titian admired Violante, one of
Palma's three beautiful daughters. He copied her
face in his " Flora " and in other pictures.
151
YOUNG PEOPLE'S STORY OF ART
Palma himself painted Violante as " Santa Bar-
bara." The figure forms the centre of an altar-piece
in Venice. She stands like a queen, her sweet face full
of expression, her eyes raised to heaven. A graceful
veil is draped over her head, and her golden hair
is crowned by a diadem. She wears a rich brown
robe and a crimson mantle.
Her tower with its three windows is by her side.
The cannon at her feet show her to be the patroness
of fire-arms.
This picture in its grace and beauty is perhaps
one of the most womanly in all art.
While Titian was painting in Venice, it is said that
a boy was one day brought to his studio. This lad
had spent his time in drawing all kinds of pictures
over the walls of his father's dye-shop. So the
people had nicknamed him " The Tintoretto," or
" The Little Dyer."
Tintoretto's father, however, was so proud of his
son's work that he took him to the studio of the great
Titian. The story goes that Titian examined his pic-
tures, kept him for a few days in the studio, and then
dismissed him, telling him that he would never be
anything but a dauber. But Tintoretto was a bold lad,
and was not to be discouraged. He kept on study-
ing, and later established his own studio; and he
showed that his ideal was a high one when he placed
over its door as his motto, " The colouring of Titian,
and the drawing of Michael Angelo." At first Tin-
toretto accepted all kinds of work, and any pay that
was offered for it.
He painted so rapidly that he became known as
152
" SANTA BARBARA.
PALMA VECCHIO
IN THE CHURCH OF S. M. FORMOSA, VENICE
ITALIAN ART
11 The Furious Tintoretto," and " The Lightning of
the Pencil." Many of his pictures are immense,
for the larger the canvas, the better he was pleased.
Tintoretto painted portraits and mythological and
religious subjects, and in all his works he shows a
vivid imagination. His colouring was sometimes
most brilliant, and again entirely wanting in force.
There is no painter about whom people are so
divided in opinion as Tintoretto. Ruskin makes him
equal to Michael Angelo, while others feel that he
did little careful work.
His pictures are everywhere in Venice. In the
Doge's Palace is his " Paradise," one of the largest
fresco pictures in all the world. It contains over four
hundred life-size figures, whirling in every direction.
In Tintoretto's " Crucifixion," the head of Christ
is by many considered as wonderful as the head
painted by Leonardo in his " Last Supper; " or that
other head by Raphael, in " The Transfiguration."
Here about the cross are eighty figures of women,
horsemen, and soldiers; and the grouping and move-
ment of all are considered most natural.
Tintoretto's bold imagination and wonderful man-
agement of light, colour, and action are perhaps best
shown in "The Miracle of St. Mark." We add
this picture to our collection, not only because it is so
famous, but also because it is so unlike any other in
our book.
A slave has dared to worship at St. Mark's shrine,
and as a penalty, he is bound hand and foot to be
tortured. St. Mark is seen plunging head down-
ward from heaven to destroy the instruments of
i53
YOUNG PEOPLE'S STORY OF ART
torture. His figure suspended in the air is wonder-
fully fore-shortened, for Tintoretto has caught its
instant motion. The body of the slave glows with
a luminous light. This is reflected in the faces and
the polished armour of the group.
The brutal executioners and the other persecutors
are aghast as they see their weapons shattered to bits.
The judge is astonished — the accusers flee!
Tintoretto had a dearly-loved daughter, Marietta
Robusti. She, too, was a gifted painter. She was
invited to foreign courts to paint, but she would never
leave her father's studio, for they loved to work to-
gether. She died when she was about thirty years
old.
A touching story is told of the painting of her
picture by Tintoretto, in her last illness. It was a
hard struggle for the poor old man, but he was de-
termined to preserve the features of his dearly-loved
child.
Titian was well advanced in years when Paul
Veronese, the last great Venetian painter of the
sixteenth century, appeared in Venice.
Titian treated Veronese more kindly than he
had the little Tintoretto. He welcomed him to the
city, and tried to win for him the favour of the
Senate. This was not difficult, for Paul Veronese
was himself so kind-hearted and winning that he was
always surrounded by friends.
Born in Verona, his name Veronese came from the
place of his birth. When he arrived in Venice, he
brought with him letters of introduction to the prior
of the monastery of St. Sebastian. Here he lived
154
<
I
- V
h -
J
ITALIAN ART
with the monks, and here he is buried in the church
of St. Sebastian, which is decorated with some of
his finest works.
Veronese's motto was as follows : " One has never
done well enough, when one can do better; one never
knows enough when he can learn more."
Perhaps no other man more enjoyed the pomp and
festivity of Venetian life than Paul Veronese. He
has sometimes been called " The Most Magnificent
of Magnificent Painters." His large canvases were
covered with groups of gay knights and fine ladies.
Whether his subject was taken from mythology,
history, or the Bible, the picture would reveal Vene-
tian architecture, and the people were gorgeous in
Venetian robes.
Sometimes he would introduce parrots, dogs,
horses, and buffoons, into his holy pictures. For this
he was brought before the Inquisition.
But even this did not frighten him, and the only
reply that he made to the accusation was, that he
should put into his pictures whatever he pleased.
The Venetians were naturally devoted to Veronese,
and they adorned their city with his paintings. Once
after making an allegorical picture for the Doge's
Palace, the council rewarded him with a gold chain.
Veronese loved best to paint banquets; for in
them he could show his pomp of colouring his nat-
ural grouping, and his ornamental detail. The
largest and most brilliant of these feasts is 'The
Marriage in Cana of Galilee."
This picture which was originally painted for the
refectory of a convent now covers a whole side wall
155
YOUNG PEOPLE'S STORY OF ART
of one of the galleries of the Louvre, in Paris, for
it is one of the largest easel pictures in the world.
It contains one hundred and thirty life-size figures.
It is the simple Bible story of Christ's first miracle
— how at a wedding feast in Cana of Galilee, he
transformed the water into wine.
But we quite lose sight of the small room in the
little town of Cana, where the miracle was wrought
so long ago. Instead, we see before us a brilliant
Venetian banquet. At the back of the hall is a su-
perb marble portico. Through this, wc get a glimpse
of blue sky, and of many spectators in windows and
balconies. All are gazing over into the festival hall,
in which on a table that occupies three sides is laid
the wedding-feast, in vessels of gold and silver.
Christ and his disciples are there; but we hardly
notice them among the other prominent guests, many
of these being portraits of famous men of Veronese's
day.
The wedding-feast is made for Francis I. of
France and his royal bride who are seated at the left
as we look at the picture. Vittoria Colonna is there,
the gifted poetess whom Michael Angelo loved, and
Mary of England, and Charles V. of Germany, the
emperor who honoured Titian.
Titian himself is among the musicians, with Tin-
toretto and Paul Veronese. - The water-pots stand
in front, where the miracle is being performed.
Servants are appearing and disappearing. The whole
scene is full of colour, life, and action. Veronese
was paid but about forty dollars for this great pic-
ture which it took years to paint.
156
-
_
-
-
t/3
o
2
-^ a:
< lb
Ob
<
s
ITALIAN ART
Veronese was the last great Venetian painter of
the sixteenth century, and the seventeenth century
was an age of decline.
We remember how Bellini, in the fifteenth century,
had founded the Venetian School. He was followed
by many painters, among whom were Carpaccio,
Giorgione, and Titian, Palma Vecchio and Tinto-
retto; and now Paul Veronese, with his brush, gives
the final brilliant touch to Venetian art.
" Three great names,
Giorgione, Titian, and the Tintoretto
Illustrate your Venetian School and send
A challenge to the world, the first is dead,
But Tintoretto lives." —Longfellow.
" There is a youth in Venice
One Paul Cagliari, called the Veronese,
Still a mere stripling, but of such rare presence
That we must guard our laurels, or may
lose them." —Longfellow.
ITALIAN ART IN THE SEVENTEENTH CENTURY
We have spoken only of the great masters of the
sixteenth century. There were many besides that
helped to make it the most famous age in Italian
The painters of the seventeenth century were
divided into two Schools— the Naturalist and the
Eclectic. The School of the Naturalists was estab-
lished in Naples. The principal lesson taught by
this School was as follows : That all who wished
i57
YOUNG PEOPLE'S STORY OF ART
to become painters must study nature, even to its
minutest detail, and that only by doing this would
progress be made in art.
Salvator Rosa was the finest painter of this School.
He was wild and impetuous, and it is thought that
early in life he may have lived with the bandits that
infested Southern Italy.
Perhaps the lonely scenes, the wild dells and jagged
rocks in his pictures were his robber-haunts while
pursuing his unlawful profession.
But Salvator Rosa was a poet, a musician, and a
painter. His dark and wild landscapes and his stormy
seascapes have not been equalled by those of any
other Italian master.
The Eclectic School was founded in Bologna by
the Caracci, a family of painter-teachers. In this the
pupils became imitators of the sixteenth century mas-
ters. They copied Michael Angelo's grandeur and
muscular development; Raphael's drawing and drap-
ery and spiritual beauty; Correggio's grace; or Ti-
tian's colouring.
The pictures painted by the Eclectics are full of
sentiment. There were Venuses and Cupids, for it
was now the fashion to paint the goddess of love, and
her mischievous little son, playing his merry pranks.
There were Madonnas with sweet and loving faces,
and sibyls with prophetic expressions. There were
" Ecce Homos," or pictures of Christ crowned with
thorns; and " Mater Dolorosas," which represented
His weeping Mother.
There was Mary Magdalene with her pot of oint-
ment, and many suffering martyrs. Among these
153
ITALIAN ART
the youthful St. Sebastian pierced by arrows was a
favourite subject.
It was a fashion at this time to represent but the
half-figure, and the faces and eyes are raised to
heaven in every conceivable manner.
These paintings seem affected, after studying the
earnest and holy expressions seen in the sixteenth
century pictures.
But there have come to us also from this time a
few of the master-pieces that have most delighted
the world.
There are the lovely, tender Madonnas painted
by Sassoferrato, in which the Baby is often seen sleep-
ing in its Mother's lap.
Then there are Carlo Dolce's pictures that are
always special favourites of the young art-lover. We
admire his saintly faces and beautiful hands in '' The
Madonna holding the veil of the Sleeping Child,"
or in his " St. Cecilia playing the Organ." She is
absorbed in her own music — while Raphael's ' St.
Cecilia " had dropped her own earthly instrument in
listening to the heavenly strains.
Then there is Guercino, whose quiet life seems re-
flected in his works. One of his most attractive
pictures is that of the beautiful youth Endymion
lying asleep.
Domenichino and Guido were the most famous of
these seventeenth century masters.
Domenichino was, at first, so stupid that his^ com-
panions at school in derision nicknamed him " The
Ox." But " The Ox," after a time, surpassed all
the other pupils.
159
YOUNG PEOPLE'S STORY OF ART
Among his pictures he painted one that was counted
worthy to be placed in the Vatican, opposite Ra-
phael's " Transfiguration."
The subject of this was " The Last Communion
of St. Jerome."
The aged, dying saint has been borne to the chapel
to receive his last communion. A young priest sus-
tains him, while another administers the sacrament.
His devoted lion is by his side. It has followed him
ever since that time long ago when the saint, finding
it in the desert in great distress, had fearlessly ex-
tracted a thorn from its foot.
It now droops its noble head, seeming to share its
master's sufferings. A noonday light illumines the
scene and bright little angels hover above.
Guido Reni was also famous. He lived in Rome
for twenty years, greatly honoured. He painted
Madonnas and saints, " Ecce Homos," and " Mater
Dolorosas."
Unfortunately, he became fond of gaming, and
late in life squandered all his money. Then he
painted to pay his debts, and as he was paid by the
hour, he worked with furious speed. Sometimes a
creditor, with watch in hand, would stand at his
elbow and urge him on.
Among his finest works are his " Beatrice Cenci,"
his " Saint Michael," and his " Aurora." A famous
poet says of his " Aurora " that to see it is worth
a journey to Rome.
It is a large fresco painted on the ceiling of a
garden room in the Rospigliosi Palace in Rome.
Although painted so long ago, its colours are yet
1 60
<
at.
O
ct
<
a
'O
ITALIAN ART
bright. A mirror placed below perfectly reflects
the picture; so that when one is tired of looking up,
it can be seen in the glass.
Aurora, goddess of the dawn, floating on luminous
clouds, is opening the way for her brother Apollo,
the sun-god. As she is borne gracefully along, she
touches with roseate hue the clouds of morning, and
scatters flowers over the awakening earth that is just
below with its sea and land, towers, and castled
cities.
Phoebus Apollo, seated in his chariot of silver,
follows his sister, driving his prancing steeds across
the sky. The rosy hours as graceful maidens attend
him. In filmy drapery, they encircle his car, hand
in hand, advancing in smooth and rapid steps, " in
living, rhythmic grace."
Above the chariot, the morning-star is represented
by Lucifer. He advances so rapidly that the light
of his torch is borne backward. He is hurrying on
to proclaim to the sleeping earth that the sun will
soon be over it again.
Our little print reveals the beauty and motion of
the scene. A larger and coloured picture will better
show the grace of Aurora, the dance of the hours,
the different lights that illumine the picture, and the
life and joyousness of the early morning.
With Guido's "Aurora," we close our story of
Italian art.
We have traced it from its rise in the thirteenth
century to its decline in the seventeenth. How life-
like and beautiful it has grown since the appearance
of Cimabue's Madonna !
161
YOUNG PEOPLE'S STORY OF ART
Which picture do you most admire? Which
painter do you think has done the most to enrich the
history of Italian art?
"Hark! hark! the lark at heaven's gate sings,
And Phoebus 'gins arise,
His steeds to water at those springs
On chaliced flowers that lies;
And winking Mary-buds begin
To ope their golden eyes;
With everything that pretty bin
My lady sweet, arise!
Arise, arise! "
— Shakespeare.
1 6a
Spanish Art
VI
A GLIMPSE INTO MOORISH ART
' Fair land of chivalry the old domain,
Land of the vine and olive, lovely Spain ! "
— Hemans.
" Spain — the land of mountains and mules, Moors and
mosques, monks and Murillos."
In the sixth and seventh centuries, A. D., there lived
in Arabia a religious leader called Mohammed. He
established a religion and this is its text: " There is
but one God, and Mohammed is his prophet." His
religion, Islamism as it is called, was spread by fire
and sword over many countries of the earth.
The faithful Mohammedan was taught to believe
that the more Christians he killed, the higher place
he would have in Paradise. The warlike followers
of the prophet marched in vast armies over Western
Asia and Northern Africa.
In the beginning of the eighth century, under a
leader named Terek, a flotilla of their Moorish gal-
leys crossed the narrow strait separating Africa from
Spain.
They landed in Spain, at the foot of a rock then
called " Mons Calpi." In honour of their leader, the
Moors renamed it " Gebel Terek," or the " Mount
of Terek." Gibraltar we call it to-day.
The Moors landed in the early spring when every-
165
YOUNG PEOPLE'S STORY OF ART
thing was in bloom, the oleanders with their scarlet
blossoms fringing the river banks.
What wonder that they were delighted with the
country, and that through the strait of Gebel Terek
they overran it, conquering its Gothic rulers.
The Moors not only established their power in
Spain, for eight hundred years, but in this sunny land
their architecture reached its most perfect forms.
For Mohammedanism, like every other religion,
found its expression in art. It is called Saracenic or
Eastern architecture; but as it was brought by the
Moors to Spain, there it is known as Moorish archi-
tecture.
It is quite unlike the Greek or Roman, the
Byzantine or Gothic architecture, which we have
already studied.
Let us try to understand its character. The place
of worship, called by the Mohammedans a mosque,
was its centre.
A mosque contains a large hall for prayers, a court
holding a fountain for the ablutions of the faithful,
a holy place where the Koran, Mohammed's Bible
is kept, and a slender tower called a minaret.
From a balcony surrounding this tower, a muezzin,
or crier of prayers, in musical tones summons the
faithful to worship.
All kinds of arches are used in the mosques, the
horse-shoe arch being invented by the Moors. They
originated, also, a stalactite decoration. Stalactites
consist of carved pendants, or cylinders, hanging
from a ceiling. They resemble icicles in form.
Mosques are usually crowned with domes; their
1 66
SPANISH ART
exteriors are very plain but their interiors are gor-
geous. Their ceilings and arches are upheld by many
forms of columns.
The Moors were not allowed to decorate their
places of worship with pictures of any sort, for the
Koran distinctly forbade the making of an exact like-
ness of anything in the heavens above, the earth be-
neath, or the waters under the earth. So, since they
might not imitate anything in .either sculpture or
painting, they invented a decoration called the Ara-
besque, so named because it came originally from
Arabia.
In describing this ornament, we must use the word
11 conventional." Conventional forms- are those
which artists agree in using, and which are adapted
from nature to their uses.
Arabesque decoration is a fanciful mixture of all
sorts of geometric figures, and conventionalised
rather than life-like forms of vegetables, fruit and
foliage, and cunningly woven among them are Ara-
bic texts taken from the Koran. The general effect
is that of embroidery or lace-work, and it is placed
upon walls in stuccoes of gorgeous colouring.
Among the many remains of Moorish architect-
ure now to be seen in Spain, the Mosque of Cor-
dova and the Alhambra are perhaps the most
interesting.
Cordova was the capital of the Moorish Empire,
and the religious centre of Mohammedan worship.
Its mosque was begun in the eighth century, by a
famous caliph or ruler, who determined that it should
be the finest in the world. It was added to by suc-
167
YOUNG PEOPLE'S STORY OF ART
ceeding caliphs, until its area became about equal
to that of St. Peter's in Rome. It was said of it,
" In all the Land of Islam there was none of equal
size, none more admirable in point of work, con-
struction, and durability."
The great Hall of Prayer contained originally
fourteen hundred columns, arranged in many rows,
and interlaced above with two spans of arches.
The shafts were plain and twisted, and of every
colour that could be found in marble, jasper, or
porphyry.
The Hall was an endless artificial forest, the col-
umns representing the trunks of trees and the arches
their branches.
Some writers say that these columns were brought
from heathen temples in the East; others, that all
were hewn from Spanish quarries.
The ceiling was a dazzling gleam of crystals in
every colour, and of bas-reliefs and stalactites; and
it was lighted by thousands of lamps fed with per-
fumed oil. So, in the old Moorish days, " Gold
shone from the roof like fire."
One small room contained a magnificent pulpit
which held a splendid copy of the Koran.
The minaret was ornamented with gilded balls,
lilies, and pomegranates. Then there were courts
and fountains and shady gardens, in which the rows
of tall trees seemed but a continuation of the forest
of columns within the great Hall of Prayer.
When the Moors were expelled from Spain, the
Mosque of Cordova became its cathedral.
Four hundred pillars were then removed from the
1 68
SPANISH ART
Hall to make room for a Christian service, and em-
bellished walls were built about it, strengthened by
thirty-five tower-like buttresses.
There are to-day in India, Persia, Turkey, Egypt,
and Spain, many famous mosques, but that of Cor-
dova is always admitted to be the finest of them
all.
The fortress-palace of the Alhambra was built very
much later, in the thirteenth and fourteenth centuries.
It stands upon a rocky height of more than three
thousand feet, overlooking the city of Granada, and
may fitly be called " The Acropolis of Spain."
The word " Alhambra " means " Red Rock,"
and the name was given to the fortress because the
rock upon which it stands is of unusual brightness.
The rooms and halls of the palace are arranged
about two central courts; the " Court of the Lions '
and the " Court of the Fish Pond."
The roofs and arcades are borne up by over four
thousand slender columns, made in precious marbles
of many colours.
There are fairy-like pavilions, balconies, terraces,
and fountains which give delightful coolness to
the air.
Originally, the courts were shaded by myrtle and
orange trees and palms and firs. The decorations were
in brilliant Arabesque, in gleaming gold and mother-
of-pearl, and the pavements were tiled and inlaid with
mosaics.
Perhaps the original design was copied from the
tent of the wandering Arab; the Arabesque, from
the pattern on the rug with which he draped his tent-
169
YOUNG PEOPLE'S STORY OF ART
walls; the slender marble columns from his tent-
poles.
The great Hall of the Ambassadors in the Al-
hambra was the audience-chamber of the Moorish
rulers, and it still shows many traces of past mag-
nificence.
Then there is the " Court of the Lions." This
pavilion of marble and alabaster is so exquisitely
decorated that some call it the gem of Moorish
architecture in Spain. In the centre of the court
stands a fountain upheld by twelve lions.
It is well that they have names, for we should
not know what to call them. They are so conven-
tionalised that they bear no resemblance to any ani-
mal, thus fulfilling the law of the Koran. Their
manes are like scales, their legs like bed-posts, and
each mouth holds a water-pipe.
The Moors regarded their Alhambra as a miracle
of art. They said that the caliph who founded it
must have dealt in alchemy, for only so, could he
have procured the enormous sums of gold used in
its building.
In speaking of its grace and beauty, we must not
forget the colour which always enters into its de-
scription, the red rock upon which it is built, the
bright soft greens of the foliage of trees and per-
fumed flowers and fruit of a tropical clime. Over all
is the brilliant sunlight glow and the deep blue of
the Spanish sky, and at night the witchery of the
moonlight as it steals among the arches and columns.
The Moors held the country for about eight hun-
dred years. By that time, the Spaniards had grown
170
z
3
THE
PUP
SPANISH ART
strong enough to expel them. Now their old port
of entry became their port of exit as they were
driven hurriedly out and away over to the coast of
Africa.
After they were banished, the Alhambra was deso-
late, the lights went out, and the fountains ceased
to play.
Then the Christians came. They used the fortress
and tried to convert the fairy-like halls and rooms
into a palace for the king.
Since then war and earthquake have wrought havoc
in the Alhambra. Now, however, much of it has
been restored. The glamour of time is over it all;
and its beauty is celebrated by the modern traveller
who wanders among its halls and courts, or who
lingers in its perfumed gardens, listening to the night-
ingales singing among the orange trees; or who looks
down over that extended view of valley, rivers, and
distant snow-capped Sierras.
The Arab poet describes the Alhambra in its day
of glory as follows:
" My pillars were brought from Eden, my garden
is the Paradise. Jewels are my walls, and my ceil-
ings are dyed with the hues of the wings of angels.
I was paved with petrified flowers, and those who
see me laugh and sing. My columns are blocks of
pearls by night, by day perpetual sunshine turns my
fountains to gold'."
De Amicis, the modern Spanish writer, thus de-
scribes the " Court of the Lions": " It is a forest
of columns, a mingling of arches and embroideries,
an indefinable elegance, a prodigious richness, a some-
171
YOUNG PEOPLE'S STORY OF ART
thing light, transparent, and undulating like a great
pavilion of lace."
Our own Washington Irving proves the Alham-
bra the most romantic of palaces.
He has immortalised for us the many legends of
love and war that will ever cluster about this royal
abode of the old Moorish kings.
" Palace of beauty! where the Moorish lord,
King of the bow, the bridle, and the sword,
Sat like a genie in the diamond's blaze,
O, to have seen thee in the ancient days."
— Croly.
" How Sultan after Sultan with his Pomp
Abode his destined Hour, and went his way."
— Rubaiyat of Omar Khayyam.
EARLY SPANISH PAINTING
As the making of pictures was forbidden by the
Moors, it was not until they were expelled from
Spain, in the fifteenth and sixteen centuries, that we
hear much about Christian art.
It is interesting for us to remember that just about
the time when Ferdinand and Isabella were upon the
throne, and Columbus was discovering America, the
Spaniards were beginning to paint.
Their early painting like that of Italy was very
religious, so intensely so that some of the painters
would fast and pray, and perhaps even scourge them-
selves before beginning a picture.
The object in decorating the walls of churches
172
S3
-
SPANISH ART
was, as in Italy, to reveal the holy story to those
who could not read it for themselves.
An old Spanish writer says, " For the learned and
the lettered, written knowledge may suffice ; for the
ignorant what master is like painting? They may
read their duty in a picture, although they cannot
search for it in books."
This art was governed by rules laid down for it
by the Inquisition, the religious court, which, at that
time, held great power in Spain.
Among the many rules were that the Virgin must
always be represented with her feet covered, and that
saints must not h'ave beards.
Any painter daring to disobey any rule made by
the Inquisition was obliged to pay a heavy fine, and
perhaps was sent for a year into exile.
The art was truly realistic; depicting Spanish life
as it was found in the church, the Convent, or the
palace, and very charmingly as seen in the street.
It was also much influenced by the Italian. Many
pictures were brought from Italy, and Spanish artists
went there to study.
The Spaniards were delighted with Titian's colour-
ing. There was a dumb painter Navarrette who
copied it so perfectly that he was called " The Titian
of Spain."
He made a picture of the Nativity, noted for its
three lights. That shining over the shepherds is so
lovely that the picture is often called " The Beauti-
ful Shepherds."
Beneguette was "The Michael Angelo of Spain,"
because he was an architect, sculptor, and painter.
i73
YOUNG PEOPLE'S STORY OF ART
Then there was Morales, " the Divine," so named
because his power lay always in painting very sor-
rowful, religious pictures.
An anecdote is told of his appearing at the court
of King Philip II.
He was dressed with such elegance that the King
not only ordered him dismissed from the court but
also commanded that he should never paint another
picture. Morales confessed that he had spent his
all, in order to appear properly before the King.
Then he was pardoned and allowed again to use his
brush.
Once more he appeared before the court, this
time clothed in rags. And the King said, " Morales,
you are very poor. I will give you money to buy
your dinners." " And what for suppers, Sire? "
quietly responded the painter. Then the king added
enough to make Morales comfortable for the rest
of his life. •
Navarrette, Beneguette, and Morales, with many
other artists, lived in the sixteenth century, and by
their work prepared the way for the brilliant seven-
teenth century, the most famous period in Spanish
art.
Turbarran and Ribera lived in the seventeenth cen-
tury. Turbarran made portraits and pictures of ani-
mals; but he is the special 'painter of the Spanish
monk, and he made a wise choice of subject for Spain
is " The Monks' Elysium."
Turbarran, in sombre and glowing colour, pictured
him in every stage of devotion, ecstasy, and vision.
He really made the mpnk as life-like as Titian made
174
SPANISH ART
the Venetian noble, or Velasquez, the Spanish
grandee.
Ribera, also, was very renowned. He had great
influence in the art world, and he used it very badly.
A poor Spanish lad, he managed somehow to
journey to far-away Rome. There he was discovered
by a wealthy cardinal, in front of a palace, copying
a fresco. The cardinal was attracted by the lad, he
questioned him, and was pleased with his replies.
So he took him to his home, and cared for him
luxuriously.
But what did the little fellow do but run away!
When he was found, he gave as an excuse that the
cardinal had made him so comfortable that if he
had remained longer, he would have lost ambition,
and so he ran away because he needed the spur of
poverty. The cardinal naturally called him ' an
ungrateful little Spaniard," and thought no more
about him.
Ribera, later, went to Naples, and became there
the leader of a cabal of artists. Everybody outside
of their coterie who dared to paint in Naples suf-
fered from their persecution.
Ribera became wealthy. He lived in a magnificent
house and rode in his own coach; but he never helped
even one poor boy, and many stories are told of his
jealousy of other artists.
However, few Italian masters are better known
J:han " this ungrateful little Spaniard."
He showed a wonderful knowledge of anatomy,
and his famous historical and religious works adorn
the great galleries of the world.
175
YOUNG PEOPLE'S STORY OF ART
Among his pupils w*as Salvator Rosa, of whom we
have spoken in Italian art.
Painting had now become the fashion in Spain,
and there were many masters. The two that best
interpret the art of the country in this its most bril-
liant period are Velasquez and Murillo.
" His pencils first demand the painter's care,
Of varied size, for various use designed,
And formed of quills in which the silken hair
Of sylvan creatures he must closely bind,
The surly wild-boar's stubborn back is rough
With store of bristles, wiry, long, and tough.
Next from the sweet pear's variegated stock,
Your palette shape, with surface smooth and shining;
Pierce then a hole in front, in which to lock
Your thumb, the tablet to its place confining,
While on its polished plane the paints you fix,
And various shades in nice gradations mix."
[Extract from Cespedes's quaint "Poem on Spanish Painting,"
written in the sixteenth century.]
VELASQUEZ
Velasquez was born in Seville, in the year 1599.
He belonged to a good family, and his father gave
him an excellent education, for he wished him to
follow some public calling. But Velasquez, even as
a very little child, sketched pictures everywhere.
Though his parents were disappointed, they soon
yielded to his desire to. become a painter.
176
SPANISH ART
His favourite teacher was Pacheco, who was at
that time well known. Pacheco grew very fond of
Velasquez as he studied with him year after year;
and he was so sure that he would become famous that
he finally allowed him to marry his daughter.
There was in the studio a peasant lad whom Ve-
lasquez used as a model. He would make him laugh
and cry, and pose in every possible attitude, and
then he would catch his expression.
Besides, he made a careful study of the people
and things about him in the streets and picturesque
markets of Seville.
Madrid, which had been but a military outpost
in the time of the Moors, had just become the capital
of Spain. It had an old house of Caesar — "Al-
cazar " as it was called — which had been used as a
fortress by the Moors. It had no cathedral, for
the age of cathedral building had now passed. It
possessed none of the Moorish attractions of other
Spanish cities, but it was fast becoming rich and
powerful; for in the sixteenth and seventeenth cen-
turies, money literally flowed into Spain, from its
newly-conquered provinces of Mexico and Peru.
Paintings and sculptures were being collected in
Madrid. These later made the Prado, its art-mu-
seum, a rival of the finest galleries in Europe.
When Velasquez was twenty-three years old,
Pacheco advised him to visit Madrid; for he felt
sure that there his pupil would be inspired by the
artists and pictures which he would see.
Velasquez bade good-bye to his Sevilhan home,
and attended by a faithful slave, set out for the gay
177
YOUNG PEOPLE'S STORY OF ART
capital. They made the long and costly journey on
mules.
On reaching Madrid, Velasquez tried to get an
audience with the King, but it was not until months
later on his second trip that he first met him.
When the King saw a portrait by Velasquez, he
was so charmed with it that he determined to sit
himself to the painter; and then he was so delighted
with his portrait that he decided that Velasquez
should never leave his court.
This court was a brilliant and intellectual one, filled
with literary men; for the King himself was both a
writer and a painter.
He arranged a studio for Velasquez in a corner
of his palace; and at his own expense, he brought
the painter's family from Seville to Madrid, treat-
ing them always with great munificence.
In a picture now in Venice, we have a pleasant
glimpse of the family of Velasquez — himself, his
portly wife, and their seven children.
A comradeship was, at once, established between
the King and painter, and they grew old together.
When resting from affairs of state, the King, if
not at the chase, was usually in the painter's studio.
Velasquez was a rare friend for a king, for he
was a man of gentle temper, frank, generous and
noble.
Velasquez sought truth not beauty, and his light
and atmosphere are very real. To-day he might be
called a Realistic or Impressionist painter, for his
portraits show the vivid impression made upon the
eye by a single glance at a figure. He worked for
178
SPANISH ART
more than forty years in Madrid, and few royal
courts are so familiar to us as that of Philip IV.
pictured by the brush of Velasquez.
Many times he painted the long, thin, solemn face
of that King who is said to have laughed but twice
in his life. We see him in court-dress on a hunt, or
in a war scene. The portraits on horseback are per-
haps the most life-like.
After Velasquez had been for six years in Madrid,
Rubens, the great Flemish painter, came on a diplo-
matic mission to Spain. While there, he became much
interested in the Spanish painter. He told him so
many things about the wonders of Italian art that
he inspired him with a very strong desire to go to
Italy.
Then Velasquez threw himself at the feet of his
King exclaiming, " Sire, I wish to visit Italy; one
cannot be a great artist without studying the wonders
which the masters, Michael Angelo and Raphael,
have left."
" Say rather that you wish to leave me," replied
the offended King.
Velasquez, however, persisted until he obtained a
reluctant consent. But he promised to stay only long
enough to study the master-pieces of Italian art.
Yet the King was kind, after all, for he offered to
continue his salary while he was gone, and he gave
him money for his journey and letters of introduction.
Velasquez sailed away in the suite of Marquis
Spinola. He was delighted in Venice with the col-
ouring of Titian, Tintoretto, and Paul Veronese. He
spent a year in Rome studying and copying, and in
179
YOUNG PEOPLE'S STORY OF ART
Naples he formed a friendship with Ribera, " the un-
grateful little Spaniard."
Eighteen months passed. King Philip grew so im-
patient that he ordered his court-painter to return at
once. But when Velasquez appeared, and told him
of all the wonders he had seen, the King quite forgot
his absence in the pleasure of having him once more
by his side.
A new sitter was now presented to the painter —
the King's baby son, Balthasar. The life story of
this bright, merry little boy is very short. Being the
eldest, he was heir to the throne and the pride of
the court. He was very clever and studious, and such
a fine shot that he could kill game while riding at
full speed.
When he was but seventeen years old, he died of
small-pox, and the whole court and the country
mourned for him.
Velasquez painted Balthasar in frocks, in court-
dress, in military- and hunting-costume, and also as
a little wooer of ten years.
The picture which is best known is the one where
we see him perched upon a prancing pony.
He wears a green embroidered velvet jacket, and
crossed over it a gold and red scarf with Muttering
streamers. He has a broad lace collar, and a black
hat with a feather. He gallops towards us right
out of the picture, leaving in the distance the snowy
Sierras.
Velasquez also painted Don Philip, Maria The-
resa, and quaint winsome Margarita, the darling of
the court.
1 80
DON BALTHAZAR CARLOS
SPANISH ART
Her picture in the Louvre shows a gentle, little
face, with fair hair and blue eyes, so unlike the usual
dark Spanish maiden. She holds in one hand a
rose, in the other, a handkerchief.
The little boys and girls whom Velasquez painted
lived in the age when children were dressed in gar-
ments which exactly reproduced those of their fathers
and mothers.
And what a pity that the beauty of the Infanta
Margarita should be marred by her long stiff bodice
and large hoop, and her hair arranged in a most
artificial way.
Velasquez loved to paint these royal children.
Only Van Dyck, the Flemish master, equalled him
in the olden day, in giving to such children the grace
and dignity that seemed to belong to them alone.
His portraits of court lords and ladies are among
the finest in the world. Those of the ladies are not
numerous; for it was difficult for the artist to gain
access to high-born Spanish dames. Perhaps it is
well that it was so; for the stiff arrangement of dress
and hair which was the fashion of the day was not
conducive to the making of a pretty picture.
Velasquez's pictures were very true to life. A
good story to prove this is told of the King.
One day when he was in the painter's studio, he
discovered there an admiral whom, several days be-
fore, he had ordered to sea. " What ! still here,"
exclaimed the indignant King. " Have not I ordered
you to depart ! " There was no reply, and the King
discovered to his surprise that he was addressing a
portrait of the admiral.
181
YOUNG PEOPLE'S STORY OF ART
Do you know Aesop? Look at Velasquez's life-
like portrait of him and you will surely wish to read
his quaint old fables at once.
Philip IV. was naturally so inclined to melancholy
that he always kept at his court dwarfs and buffoons
to amuse him. Some of these were made rich enough
to live in palaces of their own. Velasquez many times
painted these odd little creatures in their fantastic
dress.
He did not like religious or mythological subjects;
but he depicted street and tavern life, war and hunt-
ing scenes, made lovely flower pictures, and was the
first in Spain to paint natural landscapes. And in
looking at them all one seems to forget the painter,
and to think only of the living face or story seen
upon the canvas.
His pictures are in many galleries. There is one
in the Prado called " Las Menirias," or " The Maids
of Honour."
The Infanta Margarita, perhaps five years old,
stands in the centre, while a kneeling maid of honour
presents a glass of water to her little Royal Highness.
To the right of the picture are two well-known
dwarfs caressing a dog.
Velasquez, in one corner, is painting a picture of
the King and Queen, their faces being reflected in the
mirror.
The King was delighted when he saw the picture,
but he said that it lacked just one thing, and taking
the painter's brush, he dropped it into carmine, Then,
with a royal hand, he emblazoned the cross of San-
tiago on the heart of the figure of Velasquez.
182
LAS MEXINAS.
VSLA8QI U
SPANISH ART
This badge of knight-hood was attained only by
the most famous Spaniards. In this graceful way,
the King conferred it upon Velasquez. This red
cross yet glows upon his breast, and it alone would
make the picture famous through the ages.
" The Surrender of Breda " is another of his works
in the Prado.
This is really one of the great historical pictures
of the world. It shows an incident in a war between
Spain and Holland, which the Marquis of Spinola
had described to Velasquez when they journeyed to-
gether to Italy.
Breda belonged to the Dutch, and it seemed
an impregnable stronghold; but, at last, it had been
taken by Spinola, Spain's " last great captain." Al-
though victorious, he was very merciful.
The background of the picture represents the
Dutch town of Breda, with its canals and army-
tents, while in front the act of surrender is taking
place.
On one side is the Spanish army, carrying such
a forest of lances that the picture is sometimes called
"Las Lanzas." Spinola, their leader, stands in
front.
The Dutch army on the other side is led by the
venerable commander, Julian of Nassau. He bends
forward, presenting to the conqueror the keys of
the fortress. Spinola, with uncovered head, receives
them with the humanity and dignity of a generous
victor.
The faces are all said to be portraits. There
are but few soldiers, but they are so skilfully ar-
183
YOUNG PEOPLE'S STORY OF ART
ranged that one would think there were two whole
armies.
Velasquez accompanied his King everywhere,
planning hunting and military expeditions and court
pageants; and he carried in his girdle a key that
would unlock to him all the rooms in the palace.
The King was interested in every stroke from the
brush of Velasquez. He had determined to found
in Madrid an Art Gallery, like those in Italy. So,
in 1648, he sent Velasquez there to purchase for
him a collection of pictures, marbles, and bronzes.
While in Rome, he painted a picture of the Pope,
who was so well satisfied with it that he presented the
painter with a gold chain.
Velasquez returned later with his art treasures, and
they helped to establish the great fame which the
Prado enjoys to-day.
During most of the reign of Philip IV. there had
been war between France and Spain, but now peace
had been declared, and the union was to be strength-
ened by a royal alliance; for Maria Theresa, the
daughter of Philip IV., was to marry Louis XIV.,
" Le Grand Monarque " of France.
In the middle of the little Bidassoa River which
separates France and Spain was an island, through
which passed the boundary-line of the two countries.
Here a pavilion was erected, and in the centre
of this, the French and Spanish bridal parties were
to meet, each standing on its own territory.
The journey of the royal party from Madrid to
the frontier was long and difficult. Castles were
thrown open for their entertainment, and everything
184
SPANISH ART
connected with the betrothal was conducted with
great pomp and splendid ceremonial — and Velas-
quez superintended it all.
But the effort proved too exhausting. The painter
caught cold, and soon after his return to Madrid
was seized with a fever, and died in 1660. His wife
lived but eight days later, and they were buried in
one grave.
When the King heard of Velasquez's death, he
exclaimed, "I am overwhelmed!" And well he
might be, for Velasquez had given to his King a
life-long devotion. His statue erected in 1899 stands
upon the plaza in Madrid, while within the Prado
are gathered his finest works.
His influence to-day is great, not only in Spain,
but wherever in the world we go to study the pictures
of "The Painter to the King and The King of
Painters."
"Ah, were to do a thing
As easy as to dream of doing it,
We should not want for Artists, but the men
Who carry out in Art their great designs,
Are few in number ; aye, they may be counted
Upon the fingers of this hand."
— Longfellow
185
YOUNG PEOPLE'S STORY OF ART
MURILLO
There is an old Spanish proverb which runs as
follows :
" He who Seville has not seen
Has not seen a marvel great ;
Who to Granada has not been
Can have nothing to relate."
We have in imagination visited the Alhambra, the
fairy fortress-palace of Granada. Let us now in
the same way visit Seville, " The White City on the
Guadalquivir " — " The most Spanish City of Spain."
It is in the midst of a country of sunny vineyards,
orange and olive groves, and its climate is delightful.
Seville was for many centuries the home of the
Moors, and its architecture is a grotesque mingling
of Moorish and Christian forms. When the Moors
were expelled and the Christians took the city, a
cathedral supplanted the mosque. It is of Spanish
Gothic architecture and stands in the central square
of the city.
It is the third largest cathedral in Europe, only
St. Peter's in Rome, and the one of which we have
already spoken in Cordova, exceeding it in size.
This cathedral was decorated by famous Spanish
monks ; and it holds a great statue of the Virgin with
eyes of rubies and hair of spun gold.
Near it is the old Moorish minaret, now converted
into a bell-tower and called " La Giralda." Like
186
SPANISH ART
Giotto's tower in Florence, this is a marvel of lace-
work in stone.
The richest monument in Seville is the old Alcazar,
the palace of Moorish kings. Like the Alhambra,
it is a fairy palace with a perfumed garden.
Seville was in all its glory in the seventeenth cen-
tury. Its palaces were occupied by the nobles; splen-
did buildings were erected by its merchant-princes;
and it also had beautiful public squares and gardens.
The streets were gay with dark-eyed youths and
maidens in picturesque costumes, romancing together
over old Moorish tales, or dancing to the accompani-
ment of organ, concertina, or castanets.
The Guadalquivir was alive with shipping; the
great galleons lying against its banks were laden with
oils and fruits, with wines and silks and velvets, and
with pictures, too; for Seville now held the com-
merce, not only of the Mediterranean Sea, but also of
the Spanish Provinces in America.
The city had an added charm, in being the birth-
place of Spain's two greatest masters — Velasquez,
the painter of the court, and Murillo, the painter of
the church — one " the painter of earth," the other,
" the painter of heaven."
The story of Murillo's early years forms a sad
contrast to that of Velasquez. Velasquez was rich,
and had every advantage that wealth could buy, while
Murillo's childhood is but a tale of struggle and
poverty.
He was born in 1617. His father was a poor
mechanic, who hesitated even about having his little
boy learn to read and write. But when he was given
187
YOUNG PEOPLE'S STORY OF ART
a book he proved so clever that he surprised both his
parents. He pleased them, too, by showing the usual
signs of great genius, scribbling over the pages of
his book and the walls of his poor home. His mother
had a brother Castillo who was a painter. She
begged him to let her boy study with him. Castillo
was not much interested; but his sister begged so
hard, that he finally consented and taught Murillo
without charge.
The boy was very industrious, and never so happy
as when with pencil and paper he was copying the
lesson set for him. He was soon left an orphan and
without his art, life would have been very dreary.
When he was twenty-two years old, Castillo removed
to Cadiz. Murillo wished to go with him, but there
was no money to pay for his keep, and besides he
must care for his sister. He could not afford another
teacher, so he was left without friends and advisers.
What could he do?
There was in Seville, at this time, a weekly-market
called the Feria. Here were displayed in stalls on
the public square the bright flowers and delicious
fruits and vegetables of Southern Spain; also old
clothes, old iron, and utensils of every kind, for all
sorts of hucksters brought their wares to the Feria.
It was the gathering-place, too, for a picturesque
crowd of monks and priests and gypsies and peasants
and beggars and muleteers and donkeys with paniers.
Artists, also, unknown to fame came here to work.
They put into their pictures whatever things the pur-
chaser wished, often painting them while he waited.
Not knowing where else to go, the young Murillo
188
SPANISH ART
decided to establish himself in one of the stalls of the
Feria. Here he painted rude pictures of the subjects
about him. They were quickly finished and sold for
trifling pay. He earned hardly enough to support
his sister and himself, but then he was doing his best,
and rude as his work was, he was certainly learning
freedom of touch and knowledge of colour.
After he had worked for two years in the Feria,
an old friend Moya returned to Seville.
He had been with the army in Flanders, and had
also studied art in foreign cities. Wonderful were
his stories of the artists and pictures that he had seen.
Murillo was inspired by Moya's pictures and his
tales of adventure. He must see for himself the
the great art world.
Moya remained but a few months, and he helped
Murillo in every possible way; but like Castillo, he,
too, departed and the young artist was again in
despair.
One day in the very depth of his discouragement,
he suddenly exclaimed, " I will go to Italy!' But
how could he go ? for he had no money.
But somehow, his resolution inspired him with
courage. He bought a large piece of canvas, cut it
into small squares, and covered them with rude pic-
tures of Madonnas and saints.
Fortunately he found for these ready purchasers
in traders who came to Seville for just such pictures;
for hundreds of them were sent every year to their
newly-conquered provinces in America. There they
were used to decorate the little Jesuit chapels which
the Spaniards were building. And we can hardly
189
YOUNG PEOPLE'S STORY OF ART
realise how much such pictures added to the attrac-
tion of a service in a lonely log chapel far away in
the American woods.
After selling his pictures, Murillo placed his sister
in charge of a relative, and without telling anyone
where he was going, set out on foot over the moun-
tains for the city of Madrid, determining to live on
bread and water on the way.
It was a very long and tedious journey, but finally
he reached the city, exhausted and friendless, and
with nothing left but a stock of courage. Now his
one great desire was to meet Velasquez; for Velas-
quez was living, rich and honoured, at the court of
Philip IV., and he could help him if he would.
One day Murillo watched the royal cortege as it
passed. Velasquez was pointed out to him, and his
kindly face attracted Murillo and he again took
courage. After spending some time in repairing his
tattered garments, he presented himself at the studio
in the palace, and sent in his name as a Sevillian
painter.
It is not probable that the great master had ever
heard of Murillo, for he had left Seville when the
latter was a little boy.
But one of Velasquez's many charms was that he
was always accessible, and he ordered that the young
man at once be brought to riim.
Velasquez liked his frank, intelligent face, and
said to him, " You are a painter." " If I believed
that I was," replied Murillo, " I should be disabused
since I have seen your works; but I would be one, if
God gave me a protector."
190
SPANISH ART
Velasquez then asked him about his study and his
motive in coming to Madrid.
The poor fellow told a tale of poverty and suf-
fering, of his strong desire to learn, and to visit
Rome.
He also showed Velasquez a little picture which
he had brought.
After the master had heard the story and looked
at the picture, how delighted Murillo must have
been to hear him say: "Courage, my friend, and
a day will come when Seville will be proud of you ! "
And then how royal Velasquez showed himself!
He offered Murillo a home, and gave him per-
mission to work in his studio. He procured him ad-
mission to palaces and galleries that so he might
study and copy all kinds of works of art.
It is said that Murillo was so overcome with his
kindness that he told him that he was willing to
die for him, and Velasquez replied, " You will not
die for me, Murillo, you will live for art."
And now what a great world opened before the
eyes of the young painter! Having been introduced
to the most distinguished masters in Madrid, he at
once began his work.
Later Velasquez left Madrid on a tour with the
court, and on his return was delighted to see how
much Murillo had improved during his absence.
Murillo remained for three years in the capital,
and then Velasquez advised him to go to Rome, and
offered him letters of introduction to famous men
there. But the young painter was so satisfied with
what he had already learned, and so homesick for
191
YOUNG PEOPLE'S STORY OF ART
Seville that he resolved instead to return to his
home.
So back he went to Seville, and there remained
for the rest of his life.
He never saw Italy, the goal of the great masters
of his day.
On his return to Seville, he first accepted an order
to paint for the Franciscan convent. The monks
had long wished for some pictures, but they could
offer so little money in payment that no good artist
had been willing to paint them.
Murillo was young and unknown, and the monks
hesitated before giving him the commission. He
worked for three years. The pictures were beauti-
fully painted and although he received but small pay,
his fame was at once established. He began to re-
ceive orders from nobles and merchant princes; his
works soon became the pride of churches and
convents and hospitals. Indeed, he had commissions
from all parts of Spain, for Murillo was now the
fashion.
There is a pretty tradition of his falling in love,
which must come next in our story. One day, in the
year 1648, while painting in a church in Seville, a
beautiful maiden came in to pray. The artist's eyes
wandered from the canvas to the worshipper. He
was greatly impressed withuher beauty and devotion
— he was seeking an angel face for his picture — so
he used hers, and while he was painting it in, he won
her love, and a little later they were married.
His wife, Doria Beatrix, belonged to a noble
family. His fortunes had now so increased that he
192
SPANISH ART
was able to establish a home — a home that was soon
known for its large hospitality, and its receptions
given to the most distinguished people in Seville.
He had three children. One son came to Ameri-
ca; the other was a canon of the Seville Cathedral;
and his daughter Francesca became a nun.
Murillo used three styles in painting — the cold,
warm, and vapory.
In the first, the lines and colour are most distinct.
In the warm style, the outline is less sharp, the col-
ouring softer, and the figures fuller and rounder; in
the vapory style, the outlines are softer still and the
colouring more transparent.
His favourite subjects in painting were beggars,
monks, saints, and Madonnas. How charmingly he
has revealed to us the many moods of the little sun-
browned Spanish beggars, with their dark eyes and
glossy black hair. Unconscious of their rags, they
are seen sunning themselves lazily in the corners of
the squares — forgetful of yesterday's discomfort in
the merriment of to-day.
They are doing all kinds of things; eating mac-
aroni or luscious fruits, playing games, or tossing
coppers. Murillo's eye and brush caught them in
the very act.
We have selected for our picture The Dice-
players "—three bewitching children. Two of them
are playing a game, using a flat stone as a table. The
maiden forgets her tattered clothes, and with her
Spanish love for any bit of decoration, wears a
wreath upon her hair. She looks perplexed, but
what a pleased expression is on her partner's face.
i93
YOUNG PEOPLE'S STORY OF ART
Surely he must be the winner! The other boy with
dark, liquid eyes stands apart and idly bites a piece
of bread, and he has never laid it down since Mu-
rillo put it into his hand long ago. He has a far-
away look, and has entirely forgotten the dog that
waits eagerly for its share. It's a pathetic little face.
We wonder what the child is thinking about !
If Murillo had painted only beggars and gypsies,
he would have been celebrated; but his holy pictures
so far surpass these in beauty that they have made
him one of the renowned masters of the world.
His monks and saints are noted for their won-
drous visions. Those which he painted for the
Franciscan convent strikingly illustrates this. One
represents St. Francis, reclining on an iron bedstead,
listening with ecstasy to a violin which an angel
is playing.
In another, St. Diego is asking a blessing on a
kettle of broth which he is about to give to some
beggars.
The most unique of all, however, is " The Angel's
Kitchen."
Here St. Diego again appears. The legend is,
that this pious, humble friar was one day performing
his daily task in the convent kitchen. While cook-
ing the dinner for the monks a strange thing hap-
pened. He was suddenly seized with a heavenly
ecstasy and floated upward. Thus he appears in the
picture — his face raised in adoration. In the kitchen
below, ministering angels are doing his work, while
a few astonished friars are looking on.
This picture is now seen in the Louvre; for it is
194
MURILLO
THE DICK-PLAYERS
THE
put
A8TOS, LEN6X AND
TILDEN FOUNDATIONS.
SPANISH ART
one of many which Marshal Soult carried away to
France during Napoleon's invasion of Spain.
Murillo was very fond of the story of St. Anthony
of Padua, who, like St. Francis, devoted his life to
good works. He painted St. Anthony several times.
The familiar picture in the Cathedral of Seville rep-
resents the brown-frocked monk, with rapturous face
and outstretched arms, receiving the Infant Jesus,
who descends to him in a flood of glory. On the
table beside him there stands a vase of lilies. These
are painted with such life-like skill that it is said
that birds flying about the cathedral have sometimes
tried to perch upon them and to peck at them.
After finishing this picture with its rich dark
colour and dazzling vision, Murillo was called
11 The Painter of Heaven."
In the year 1874, the figure of St. Anthony was
cut out of this picture by a thief and carried away.
Later he appeared in New York, and sold it for two
hundred and fifty dollars to Mr. Schaus, who gave it
to the Spanish consul. It was returned to Seville,
where it was received with great joy, and again the
rapturous saint kneels in the cathedral.
Sometimes Murillo depicted a group representing
a golden-haired Christ-Child, a dark-skinned John
the Baptist, and a lamb.
Perhaps such groups were suggested to him, by
seeing children leading a lamb through the streets
of Seville for the Paschal feast.
Murillo's Virgin was always a peasant maid,
robed in blue and white; for it is said that in a vision
she revealed to the Spanish painter that these
i95
YOUNG PEOPLE'S STORY OF ART
were the colours in which she always wished to
appear.
One charming picture represents the Madonna
seated upon a bank, holding the Christ-Child. Eliza-
beth, kneeling upon the ground, pushes forward her
little son John to receive from his Master the reed
cross. John carries a scroll in his left hand, holding
it ready to fasten upon the cross. It bears the in-
scription which he would proclaim abroad, " Be-
hold the Lamb of God."
God is above in the act of benediction, and the
Holy Spirit in the form of a dove. Above also are
hovering countless cherubs with very expressive
faces — those faces that Murillo always loved to
paint.
What a contrast in this picture between old age
and childhood — the satisfied expression of the aged
Elizabeth, who now, for the first time, beholds the
Christ-Child, and this Child, one of the most charm-
ing ever painted by Murillo.
One of Murillo's loveliest Madonnas is in the
Corsini Palace in Rome. The sweet, wistful-faced
Mother holds her earnest dark-eyed Babe. They sit
beside a ruined wall. Just such a mother and child
one might see any day in walking through the
country.
Murillo's favourite subject,' however, and one he
painted many times, represented the Virgin floating
in mid-air. These pictures are in his vapoury style,
for the atmosphere is very soft. One of the finest
of these is in the Louvre. Here the Virgin is borne
upward by heavenly zephyrs — here sweet, youthful
196
m
THE HOLY FAMILY.
«mn.i/i.
THE I
PUBL 3Y
NC
SPANISH ART
face raised as in a vision. She wears a flowing white
robe and simple blue mantle. Her beautiful hair
floats over her neck and shoulders, and the crescent
moon is beneath her feet. Out of the golden light
or peeping from behind soft clouds are countless
cherub faces, each with its special charm.
Murillo was such a devout Catholic that his holy
pictures are very holy.
For his most famous works he received but a few
hundred dollars, yet even such payment was called
princely in his day.
He was devoted to his pupils — not only when they
were with him, but throughout their lives.
He was a man of rare sweetness of temper, noble,
generous, and good.
He lived in Seville in a large fine house which is
still pointed out.
In 1680, he went to Cadiz to paint some pictures.
While there, he was severely injured by a fall from
a scaffold. He was taken back to Seville, and died
there in 1682.
At his own request, he was buried in the church
of Santa Cruz beneath his favourite picture.^ The
inscription on the tomb ran as follows: 'Live as
one who is about to die."
Murillo was the last great Spanish painter of the
seventeenth century, and rich and poor alike mourned
his loss.
His pictures are seen everywhere in the famous
galleries of the world, and his stately bronze statue
stands upon the public plaza in Seville.
Velasquez and Murillo were to Spain, in the seven-
197
YOUNG PEOPLE'S STORY OF ART
teenth century, what the greatest Italian masters had
been to Italy in the sixteenth.
De Amicis, the Spanish writer, says: "Velasquez
is in art an eagle; Murillo is an angel. One admires
Velasquez and adores Murillo. By his canvases
we know him as if he had lived among us. He was
handsome, good, and virtuous. He was born to
paint the sky."
" When I was a beggarly boy,
And lived in a cellar damp,
I had not a friend nor a toy,
But I had Aladdin's lamp;
When I could not sleep for cold,
I had fire enough in my brain,
And builded with roofs of gold,
My. beautiful castles in Spain."
— Lowell.
198
Flemish Art
VII
THE VAN EYCKS AND THEIR FOLLOWERS
The Netherlands, or Lowlands, included, in the
Middle Ages, most of the country which we know
to-day as Holland and Belgium.
It had many artistic craftsmen. Some made de-
signs for pageants; as, for example, whales, sporting
mermaids, or mysterious pasties, which, on being un-
covered, revealed a band of musicians all ready to
perform.
Others were skilled in painting miniatures, in
weaving tapestries and making brocades; in design-
ing stained-glass windows, or gold and silver orna-
ments.
And in the monasteries, as in those of Italy in Fra
Angelico's day, rare and costly manuscripts were
seen.
In the fifteenth century, the country was governed
by the wealthy and powerful Dukes of Burgundy.
Bruges, the city of bridges, was its superb capital,
and its craftsmen were noted all over Europe.
Here Duke Philip the Good, the most magnificent
of all the rulers of Burgundy, presided over an art-
loving court. And here was developed the first good
School of painting that was known in Northern
Europe.
This came about through the discovery by two
brothers, Hubert and Jan Van Eyck, of a new proc-
ess of mixing paints with oil, by which they pro-
201
YOUNG PEOPLE'S STORY OF ART
duced a richer, softer colouring than had ever before
been known. Presently the rich dark red known as
" Van Eyck's purple " became as famous as " Ti-
tian's gold," or " Veronese's silver."
Even the far-away Italians eagerly sought the
secret of the new colouring — the Italians who had
given so much to the painters of other countries; and
it was well that the northern painters could give them
something in return.
Duke Philip the Good was devoted to Jan Van
Eyck. He made him his confidential friend, and sent
him on difficult missions.
When Jan's little daughter was baptised, the
Duke stood as her sponsor, and gave her at least six
silver cups.
Jan's modest motto was always, " As I can."
The brothers responded to the religious fervour
of the age by painting many sacred pictures. In-
deed, the most noted altar-piece of the fifteenth cen-
tury came from their brush. This was ordered by
Judocus Vydt and his wife, to decorate their funeral
chapel in St. Bavon's church, in Ghent, a city not far
from Bruges.
The altar-piece, which is called " The Adoration
of the Mystic Lamb," was arranged in twelve sepa-
rate panels, connected by hinges. The outer panels
which are painted on both .sides were originally used
as shutters to close over the central ones. But the
painting has suffered all kinds of accidents, and parts
of it are to-day in different cities.
To recall it as it was in its perfection, we must
imagine ourselves in St. Bavon's church, on a festal-
202
FLEMISH ART
day, far back in the fifteenth century; for only on
festal-days were the shutters opened that the pic-
ture might be seen by admiring crowds. We cannot
examine it in detail; but will just glance at its most
striking features.
The shutters when open reveal seven panels above
and five below.
The dignified figure of God the Father is in the
central panel above. He is seated on a damask
throne and is arrayed in a dark red brocaded robe,
whose ample folds are bordered with rows of gems,
and fastened in front by a jewelled brooch. Two
fingers of His right hand are raised in blessing, and
in His left, he holds a sceptre.
In the three panels on one side, are the Virgin,
singing angels, and Adam; on the other, St. John
the Baptist, St. Cecilia, and Eve.
Perhaps you are familiar with the panel repre-
senting St. Cecilia, for it is often copied. She is
dressed in a flowered robe of brocade, and is playing
upon an organ. Four angels accompany her on their
harps and viols.
Their light, wavy hair is bound with fillets; and
they, too, are gorgeously arrayed, as Flemish angels
usually are.
In the central panel below, Christ is portrayed
as a bleeding lamb, standing upon an altar sur-
rounded by graceful, kneeling angels. Just in front,
a fountain pours forth streams of living water to
purify the world. And at the back, the Holy Jeru-
salem is represented by a Flemish city.
The flowery meadow upon which the scene is Laid
203
YOUNG PEOPLE'S STORY OF ART
is very lovely, for it is sprinkled all over with bright
daisies and dandelions.
Here are seen four groups — saints, martyrs, the
church, and the people — all adoring the " Mystic
Lamb." Many interesting faces are found in these
groups.
From the side panels, crowds of hermits, knights,
crusaders and judges are all journeying towards the
Holy City. Some of these are in such rich costumes
that they recall the life at Duke Philip's superb
court.
On the outside of the shutters when closed are
the kneeling figures of the donors, Judocus Vydt and
his wife. In those days donors often appeared, side
by side, with saints and angels.
The influence of the Van Eycks with their rich
scheme of colour was very great, and they had a
number of worthy followers. The most noted was
the poet-painter, Hans Memling.
There is a tradition that he arrived as a wounded
and fainting soldier at St. John's Hospital, in
Bruges; and that in gratitude for great kindnesses
received there, he painted for the hospital some of
his best pictures.
This story is most improbable; although the finest
thing that he ever did is treasured there.
This is a small ark, fashioned in rich Gothic archi-
tecture and called " The Reliquary of St. Ursula " ;
for upon it, Memling has painted the tragic history
of St. Ursula and her eleven thousand virgins.
The legend which he illustrates runs as follows:
St. Ursula was the beautiful and gifted daughter of
204
<
—
5
2
O
a:
o
Q
<
X
FLEMISH ART
a king of Brittany. The king of England asked
her in marriage for his son. St. Ursula promised to
accept him on three conditions: The first was, that
ten noble maidens should be given her as companions,
and that each should have one thousand attendants;
the second, that they should spend three years in
visiting saintly shrines; and the third, that her
suitor and all his court should be baptised.
These requests being granted, the eleven thousand
maidens started on their pious pilgrimage. When
they travelled by water, they steered their own ves-
sels; and when by land, they were always preceded
by angels, who directed their course, threw bridges
over rivers, and pitched their tents by night.
They visited the Pope in Rome; and in all their
journeys, as we may imagine, they had a great variety
of adventures. On their return, they were all mar-
tyred by the barbarians, in the city of Cologne, and
there to-day their bones are to be seen.
Memling could not get eleven thousand virgins
on the tiny pictures with which he illuminated the
little shrine; but they are crowded with figures, and
the whole shrine is a very rare and beautiful piece of
workmanship. Indeed, these miniature pictures are
among the finest things in early Flemish art.
For this and other religious works, Memling be-
came almost as famous as- the Van Eycks.
From his time, Flemish painting declined; ami
in the sixteenth century, there was but one noted
painter. This was Quentin Matsys, " The Black-
smith of Antwerp."
While working at his trade, he fell in love with
205
YOUNG PEOPLE'S STORY OF ART
a young girl whom he wished to marry. But, alas,
for the poor blacksmith, her father would give her
only to a painter.
So Matsys laid down his anvil, and took up his
brush. He was very persevering; and in time painted
such fine religious pictures, and such realistic misers,
that he was considered the finest Flemish painter of
the sixteenth century.
He won his bride and later when he died, he was
buried in the cathedral in Antwerp. On its walls, we
may read his story in the following words : " Love
converted a blacksmith into an Apelles."
After the time of Matsys, Flemish art was lost
for a time in the revolution that was shaking the
Netherlands.
Within a short period, the little country had been
governed in turn by the Dukes of Burgundy, the
Emperor of Germany, and the King of Spain.
Then the people revolted from the tyranny of the
gloomy Philip II. of Spain, and his " bloody Duke."
The northern provinces united; and became the free
and Protestant country of Holland. The southern
provinces remained Catholic; and at the beginning
of the seventeenth century, were governed by the
Archduke of Austria.
To this century, belongs a " Golden Age " in
art, in both Holland and Flanders. In Holland, it
was led by Rembrandt; and in Flanders, by Rubens.
" Do noble things, not dream them all day long.
And so make life, death, and that vast forever,
One grand, sweet song."
— KlNGSLEY.
206
FLEMISH ART
RUBENS
Do you know the city of Antwerp, In Belgium,
situated on the Scheldt River, twenty miles from the
sea ? In the sixteenth century, it was one of the
fairest cities in Europe. It had beautiful churches
and palaces, and two hundred thousand people,
within its walls. Hundreds of ships rode at anchor
in its harbour; and its great fairs attracted strangers
from all parts of the world.
But, late in the century, when the Netherlanders
were revolting from their Spanish masters with their
" Spanish Fury," Antwerp became a centre for siege
and pillage. The city was prostrated, and it was
long before it recovered its commerce and influence.
But it had another honour in the seventeenth cen-
tury, for it became " Rubens's City "—Rubens, the
prince of Flemish painters, who made a second glori-
ous era in Flemish art.
Rubens was not born in Antwerp; for during the
religious struggles with the Spaniards, his father had
been banished. It was in the little town of Siegen,
in Germany, that he first saw the light. This was in
the year 1577, on the feast day of St. Peter and
St. Paul, and in honour of the day his parents named
him Peter Paul.
They were wealthy and aristocratic, and Peter
Paul was their seventh child. His parents deter-
mined that he should be well educated; and even as
a little boy, he was so taught that he spoke to his
father in Latin, to his mother in Flemish, and to h.s
tutor in French.
207
YOUNG PEOPLE'S STORY OF ART
The father died before Peter Paul was nine years
old, and his mother returned to Cologne to live.
Here she placed him in a Jesuit school, and he was
brought up as a Roman Catholic.
Rubens loved study; even when ten years old, he
translated Greek, and played on the lute. As a child,
he had easily learned three languages; so now it did
not seem difficult to add to these — English, French,
Spanish, and Italian.
In order to have him acquire graceful and accom-
plished manners, it was thought best to accept the
invitation of a noble lady to become her page. He
went for a year, but he did not like the gay, idle life;
so he begged his mother to allow him to return and
study painting. It seemed difficult to decide what
was best. The good mother assembled the family in
council, and it was determined that the boy should
be placed with a painter. He studied under two
masters; and then with Vaenius, who, at this time,
was court-painter to Archduke Albert, the governor
of the Netherlands.
It is said that when Vaenius looked at the picture
which Rubens had brought to show him, he uttered
a cry of surprise; for he discovered in it a genius that
sometime would surpass his own !
Rubens remained for years with Vaenius. The
master was delighted with 'his industry, and when
he was twenty-three years old, advised him .o go to
Italy to study. Again a family council was called
to decide the question, and again permission was
granted.
Before Rubens went, he painted a very life-like
208
FLEMISH ART
picture of the mother who had always ministered so
carefully to her son's best interests.
The Archduke gave Rubens letters of introduction
to different courts; and he also placed a golden chain
about his neck, in order, as he told him, that he
might remember his country.
So, in the year 1600, full of happy anticipations,
Rubens set out on horseback for Italy. He reached
there after a very long journey, over bad roads. He
had always a great love for colouring, and so he
was especially attracted by Venice, and enjoyed the
works of Titian and Veronese.
Indeed, he so closely followed Veronese's style
that he has sometimes been called "The Veronese
of the North."
He had not been long in Italy when in some way
he gained an introduction to the Duke of Mantua.
The Duke was charmed with his face and manners,
and made him court-painter. In Mantua, he painted
pictures and copied master-pieces for the Duke, who,
in return, made him magnificent presents.
Just at this time, the Duke wished to gain the
favour of the King of Spain; and the more he saw
of Rubens, the more he felt sure that he would make
a good ambassador. He had great tact, courtly
manners, and a cultivated mind, and he could speak
seven languages. The Duke was right; for just
these attributes made Rubens, throughout his life, a
splendid diplomat; and just such a personality
has been necessary to successful diplomats ever
since
So Rubens started on his mission, carrying with
209
YOUNG PEOPLE'S STORY OF ART
him gifts to the King of Spain. These consisted of
rare jewels and vases and pictures, also a magnificent
carriage and six Neapolitan horses. Travel in
these days was very slow. Rubens sometimes rode
on horseback; sometimes in a coach, dragged by
mules or oxen over terrible roads; and at Pisa, he
embarked in a sailing-packet. The journey lasted
three months, and some of the gifts were injured
by the storms encountered on the way.
The passport which he presented on reaching the
court of Philip III. contained the following sentences :
" With these presents, comes Peter Paul, a Fleming.
Peter Paul will say all that is proper, like the well-
informed man that he is. Peter Paul is very suc-
cessful in painting portraits. If any ladies of quality
wish their pictures, let them take advantage of his
presence."
Here, as in Italy, Rubens was most cordially re-
ceived. He gained the favour for which he was
sent; he copied great works of arts; and among the
portraits which he painted was that of Philip III.
the king.
The Duke of Mantua was delighted with his suc-
cess; and it is told that on his return he welcomed
him with open arms, and begged him to remain with
him always. But, after a time, Rubens asked to
be dismissed, for he had -come to Italy to study
art.
u The Fleming," as the Italians called him, was
everywhere received with marks of distinction. In
Rome, he painted pictures for the Pope; he studied
Michael Angelo's great muscular figures; and he was
210
FLEMISH ART
specially interested in a picture by Volterra called
" The Descent from the Cross." Probably this later
suggested his own great work on the same subject.
Italy was, indeed, to Rubens a vast treasure-
house of art, and he loved to paint and to copy its
master-pieces.
At last, after eight years, a message was brought
him. His mother was alarmingly ill; if he would
see her again, he must hurry home. Freighting a
small ship with his treasures to go by sea, he him-
self started over the Alps.
Oh! how slow and weary the journey seemed;
and he was too late to look again upon the mother
whom he had so dearly loved. Now he shut him-
self up for four months, in the convent where she
was buried.
Then he thought that he would return to Italy.
But the Archduke offered him a good salary, and
begged him to stay as his court-painter. Rubens
accepted, on condition that he need not live at the
court in Brussels. He would, of course, be ready
as a court-painter must, whenever the Archduke
wished him to paint; but his home should be in
Antwerp.
In 1609, Rubens married Isabella Brandt, a robust
Flemish beauty, and she and her two sons often ap-
pear in his pictures. He built a magnificent house
in the Italian style. In it, he had a charming studio,
to which a royal stair-case led— so broad that over
it the largest pictures might be carried.
In the centre of the house a rotunda was arranged,
in which to keep the valuable collection of pictures,
YOUNG PEOPLE'S STORY OF ART
vases, bronzes, cameos and jewels, to which he was
constantly adding.
It was in connection with building this house that,
in 1 612, he painted his master-piece. It appears that,
in digging the cellar, the workmen encroached upon
land belonging to an archers' guild. The archers
complained; and finally asked the artist to make
compensation by painting for them a picture of their
patron, St. Christopher.
Rubens surprised them when he painted a picture
of all who could ever have been called " Christ-
bearers."
This picture hangs to-day in the old cathedral of
Antwerp. This cathedral is noted for its lofty
arches, saintly windows, and a grotesquely carved pul-
pit. It possesses two other famous holy pictures by
Rubens, but " The Descent from the Cross " is its
greatest treasure.
When the curtain is drawn, a vast triptych is seen;
and the large central panel rivets our profound at-
tention. A group of nine huge figures nearly covers
it, and all but one of these is in action.
In the centre, the dead Christ is being lowered
from the cross. How indifferent are the faces of the
workmen above, compared with the pathos and ten-
derness of the faces below !
On one side, Joseph of Arimathea directs the low-
ering of the precious body. Peter stands opposite
on the ladder. Below, as the Christ-bearer, is St.
John, the beloved, and near him are the three
Marys.
This is a strange subject for a master-piece; but
212
The Descent from the Cross.
Rubens.
FLEMISH ART
many consider that the limp, dead Christ is the best
figure that Rubens ever painted. The contrast be-
tween the flesh tints and the intense whiteness of the
winding-sheet is most realistic.
Of the three Marys, the Mother of Christ
stretches out her arms imploringly. Mary Mag-
dalene kneels in front; the foot which she once bathed
with her tears touches her shoulder. She is one
of the most beautiful women ever painted by Rubens.
See how firmly John stands and what muscular
strength he shows !
What an imposing mass of light in the centre of
the picture! How wonderful the contrast between
life and death!
When the shutters of the triptych are closed, on
their outside is seen the giant St. Christopher, who
strode through the world, seeking its mightiest lord,
and who now strides through the waves bearing the
Christ-Child upon his shoulders.
" The Descent from the Cross " added greatly to
Rubens's fame. Indeed, no painter ever rose more
rapidly, in the esteem of his countrymen. He was
surrounded by many pupils, and he had more orders
for pictures than he could fill.
His life was very methodical. He rose at four,
attended mass, breakfasted, and painted for hours;
then he rested, dined, worked until late in the after-
noon; then, after riding for an hour or two on one
of his spirited horses, and later supping, he would
spend the evening with his friends.
He was fond of books, and often a friend would
read aloud to him while he worked. Naturally, a
213
YOUNG PEOPLE'S STORY OF ART
man who could speak seven languages was interested
in literary subjects.
He lived very elegantly and yet very simply; and
among his guests and correspondents were many
princely men. He filled his life with two good
things — happy work and pleasant thoughts.
In 1620, Marie de' Medici, the mother of Louis
XIII. of France, invited him to Paris to picture on
the walls of her Luxembourg Palace different scenes
from her life.
Rubens accepted the proposal. His was a colossal
undertaking; as we may know, when we look at these
pictures that are now in the Louvre.
They are great canvases, covered over with a com-
bination of allegorical and historical characters. All
are gorgeous in colouring and vigorous in action.
Surely these pictures reveal Rubens's wonderful
imagination and decorative power.
Marie de' Medici was delighted with the painter,
and often sat and talked with him while he worked.
Probably, as they chatted, he explained to her why
he introduced into her history so many gods and
goddesses.
Rubens painted so quickly that he was called " a
perfect wizard with his brush." A German writer
says that he once painted eight pictures in eighteen
days. He always valued iiis time in painting at
fifty dollars a day.
Once an alchemist asked him for money to help
him build a suitable furnace; and he promised, in
return, that when he discovered the philosopher's
stone, Rubens should share his fortune.
214
FLEMISH ART
Rubens replied, " You have come twenty years too
late." Then pointing to his palette and brush, he
added, " Everything I work with these, turns to
gold."
He painted almost every kind of subject; in his
great mythological pictures, the Flemish people
whom he daily saw were converted into gods and
goddesses; and with them, were often represented
huge, muscular animals.
In his religious pictures, Flemish peasants appear
as Madonnas, apostles, saints, and martyrs. His
genius is often seen at its best in the grouping of his
great holy scenes. His historical subjects, too, are
among his finest. In landscapes, he never cared for
mountains or sea. He loved and often introduced
into his works the scenery around his country home,
Steen. He delighted in the place, and here he came
to rest when tired or ill. There are, also, many por-
traits of kings and princes, and gaily-dressed lords
and ladies. They have bright, rosy faces and wide-
open eyes ; but no soul nor character by which we may
recall them, like those painted by Rembrandt or
Hals.
Rubens was very fond of children; and had the
rare gift of revealing their beautiful forms and grace
of movement. The little group in Munich, repre-
senting some children carrying a festoon of fruit and
flowers is most charming.
Reubens is specially noted always for his imagina-
tion and grouping, and soft, glowing colour. As we
have said, soul and character are usually wanting in
his faces — but who could paint everything?
215
YOUNG PEOPLE'S STORY OF ART
His pictures are of all sizes; but as he said of him-
self, the larger the canvas, the better he liked it !
His pupils assisted him in many of his works. He
would first outline the picture; they would work it up
under his direction; and then he would retouch and
finish it, and put his mark upon it.
Sometimes Rubens's pupils or other artists would
be jealous of him, and he would say, " Do well, and
you will make others envious; do better and you will
master them."
In the year 1626, his good wife Isabella Brandt
died, and he sought diversion from his grief through
travel. He was sent as an ambassador to The
Hague, and to Philip IV. of Spain. Once more, by
his personal charms, he made himself very popular.
He was now forty-nine years old, and he became
intimate with the young painter Velasquez, who was
twenty-one. They were very congenial and became
fast friends.
While in Spain, he painted gorgeous pictures for
the King, who soon invited him to become ambas-
sador to the court of Charles I. of England, and to
arrange a treaty of peace between the two countries.
Once more, he proved a dignified and successful
diplomat.
Charles I. was delighted with him and he painted
for the King the ceiling of- his banqueting hall, at
Whitehall. One day a courtier who was watching
him paint said, " Does the ambassador of his Catholic
Majesty sometimes amuse himself with painting? "
Rubens at once replied, " He sometimes amuses
himself with being an ambassador."
216
HELENA FOURMENT WITH HER CHILDREN
FLEMISH ART
Charles I. knighted the painter, and then presented
him with the jewelled sword, with which he had per-
formed the ceremony. He also placed a chain about
his neck, to which was attached his royal miniature.
By this time, Rubens's breast must have been covered
with chains and decorations !
The Duke of Buckingham, the favourite minister
of the king, became intimate with Rubens, and later
visited him at Antwerp. When he saw the rotunda
filled with his art collection, he offered Rubens fifty
thousand dollars for it. Rubens hesitated a little,
for it contained among other things valuable pictures
— three by Raphael, nineteen by Titian, and thirteen
by Veronese.
But Rubens loved money, and the price offered was
a great sum in those days. So he accepted the Duke's
proposal, and at once commenced a new collection.
And in this purchase of Buckingham originated a
custom, now very common in England, for noble-
men to make private collections of pictures.
Rubens, at last, grew weary of an ambassador's
life, and determined to go home and enjoy himself
as a private citizen. In the year 1630, he married
again. He was now fifty-three years old, and his
bride, Helena Fourment, was a wealthy and beautiful
maiden of sixteen. He must have been deeply in
love, for he never tired of painting her and her little
family. Her large hat is always picturesque and
her complexion fresh and brilliant; and she wears
very gracefully her rich and varied costumes.
Rubens had painted one picture, of which he was
so fond that it could not be bought for any price;
217
YOUNG PEOPLE'S STORY OF ART
and he carried it everywhere with him. This was
called " The Straw Hat," and the face under the hat
is supposed to have been that of one of Helena's
sisters.
When a great artist paints between fifteen hun-
dred and eighteen hundred pictures of all kinds
it is difficult to decide which is the greatest, yet all
cannot be equally well done. So people are much
divided as to the merits of Rubens's pictures. Some,
in going through the large galleries, grow very tired
of looking at his " miles of canvas," as they call
them. Others see only the coarser pictures, and de-
cide that he could not have been great. Others
stand too near the paintings, and forget that they
were intended originally for the walls and ceilings
of great public buildings, and so ought to be viewed
from a distance. But if we stand far enough away,
and look at the pictures over which the artist worked
most carefully, we shall always find much to admire.
Some of Rubens's best works belong to his later
years; but at this period, he was more and more a
prisoner to the gout, which increased very fast. First,
he had to abandon his large canvases, for he had not
strength to stand when he worked; so he devoted
himself to small easel-pictures. And when the gout
reached his fingers, he was obliged to lay down his
brush.
He died, after a sudden illness, in the year 1640;
and when the news was told in Antwerp, there was
great sorrow in " Rubens's City " — and in the art-
loving cities in different parts of Europe; for Rubens
was known and honoured in many countries !
218
FLEMISH ART
A costly and impressive funeral was given him in
the church of St. Jacques, Antwerp, where a few
years before his splendid wedding had been cele-
brated. He was buried with great pomp under the
altar of his private chapel. Sixty orphan children
bore torches in the procession.
The most beautiful ornament of this chapel is
one of the best of the painter's pictures. This is
sometimes called " The Holy Family of St. George,"
and sometimes " The Family of Rubens."
It is thought that, at his death, his art collection
was worth half a million dollars.
So passed Rubens's life of sixty-three years: From
the clever little school-boy, and linguist, to the
page, the art-student, the traveller, the head of
the princely house, and in his more stirring years the
painter-diplomat, and the diplomat-painter.
Rubens had brought about a second ' Golden
Age," in the art of his country, and always stands
first among Flemish painters.
Rembrandt and Rubens are the two greatest
names in the Netherland art of the seventeenth cen-
tury. Rembrandt was noted for his glowing light
and deep shadow ; Rubens only for his glowing light.
[From the fly-leaf of the manuscript copy of " In Memoriam,"
presented by the author to Harvard College, Cambridge, Mass.]
" The more things thou learnest to know and to enjoy,
the more complete and full will be for thee, the delight of
living." ^
—Alfred Tennyson.
219
YOUNG PEOPLE'S STORY OF ART
VAN DYCK, AND OTHER FOLLOWERS OF RUBENS
A STORY is told of a visit that was once paid by a
courtly-looking stranger, passing through Haarlem,
to Franz Hals, the distinguished Dutch painter.
Hals was not at home, but he was sent for to the
tavern and hastily returned. The stranger told him
that he had heard of his reputation — had just two
hours to spare — and wished to have his portrait
painted. Hals, seizing canvas and brushes, fell
vigorously to work; and before the given time had
elapsed, he said, " Have the goodness to rise, sir, and
examine your portrait! " The stranger looked at it,
expressed his satisfaction, and then said, " Paint-
ing seems such a very easy thing, suppose we change
places and see what I can do ! "
Hals assented, and took his position as the sitter.
The unknown began, and as Hals watched him, he
saw that he wielded the brush so quickly, he must be
a painter. His work, too, was rapidly finished, and
as Hals looked at it he eagerly exclaimed, " You
must be Van Dyck ! No one else could paint such a
portrait! "
No two portraits could have been more unlike.
And the story adds that the famous Dutch and
Flemish masters heartily embraced each other.
Anthony Van Dyck, of whom this anecdote is told,
was the son of a prosperous silk-merchant of Ant-
werp; and was born in that city in 1599. His
mother was very skilful in embroidering beautiful
tapestry work, and she tried in form and colour to
imitate nature.
220
FLEMISH ART
Anthony, like Rubens, was a seventh child. He
was a precocious little fellow; and it is thought that,
as day by day, he watched his mother's deft needles,
tracing some rare design in silks of many hues, he
must have caught from her his love of harmonious
colouring. The mother, who was a great admirer
of Rubens, was delighted when, at the age of seven-
teen, Anthony was admitted to the studio of the great
painter.
From the following story, we judge that he soon
became the best assistant. It happened one after-
noon when Rubens was off on horseback that the
pupils bribed the old servant to give them the key of
the studio. They wished to see what their master
was doing. While looking around, one of them
carelessly brushed against a freshly-painted picture,
and saw, to his consternation, that he had blurred the
chin and throat of one of the figures. The students
were in despair — what could be done! Finally, it
was suggested that as Van Dyck was the most gifted
among them, he should repair it; and he did this
so perfectly that the next morning Rubens did not
discover any change.
Later, however, he felt sure that he saw the touch
of a strange hand; but he was so pleased with Van
Dyck's artistic skill that he complimented, instead
of blaming him.
Van Dyck drew so well, and Rubens had such con-
fidence in him, that he sometimes allowed him to
retouch his works, and also to make small sketches
from them.
And Van Dyck was very early a master himself,
221
YOUNG PEOPLE'S STORY OF ART
for before he was nineteen, he was admitted to the
" Guild of Painters," in Antwerp ; and it is told that,
at twenty-one, some of his works were almost as much
esteemed as those of his master. He was a tall,
handsome youth, with bright eyes, and a profusion
of blonde hair, and he was always noted for a courtly
refinement of manner. He was very restless and
fond of travel; and Rubens, remembering how much
his trip to Italy had helped him, advised Van Dyck
to go there to study.
Finally, the latter determined to act on his master's
advice. Before setting out, Rubens gave him letters
of introduction to different courts; and also one of the
finest horses from his own stable to use on his jour-
ney. When the young artist reached Italy, he found,
in Venice, the same magical charm that had fas-
cinated other artists. He was greatly interested
in copying some of Titian's works. Indeed, he
made one copy which he considered finer than the
original.
Among his other works in Rome, is the splendid
portrait of the stately Cardinal Bentivoglio. But
Van Dyck did not at all enjoy the life in Rome, and
was very glad to leave the city. This was probably
because his dignified manners and fine clothes dis-
gusted the other painters. In jest, they called him
" The Cavalier Painter," and would not admit him
to their club. It is true that Van Dyck always cul-
tivated too much a haughty manner — and it is equally
true that all through his life he lost friends by it.
In Genoa, he received a most hearty welcome for
Rubens's sake; and commissions were given him to
223
FLEMISH ART
paint the noble families there. Stately figures he
has left of churchmen and warriors, of princes and
nobles and grand ladies — some in magnificent robes,
some in knightly armour, some in silks and velvets
and laces, some on horseback, some seated in elab-
orately decorated chairs. Their eyes follow us as
we pass through the halls of the old galleries and
ancient marble palaces.
The Genoese have ever been grateful to Van
Dyck, for the superb works of art which he left in
their " City by the Sea." It was either here or in
Sicily that he met a blind lady who was nearly one
hundred years old — a noted artist in her day, and a
friend of Titian — and he had many long talks with
her. The young Fleming afterwards declared that
he learned from her conversation more about paint-
ing than from any school, in which he had ever
studied.
After four years in Italy, Van Dyck returned to
Antwerp, living here most of the time for several
years; and now he did his part, in making works to
adorn his own country.
Many of his best religious pictures were painted
for churches. These are not grand in conception as
those by Rubens, but they are gentler in colouring,
and the faces have more expression. The pathos
that he puts into these faces is often touching; and
his Madonnas are always graceful and poetic. One
of his favourite subjects was the entombment of
Christ— indeed, he painted many pictures, relating
to His agony and death.
Historical and mythological works also belong to
223
YOUNG PEOPLE'S STORY OF ART
this period of his life; however, he cared very little
for mythology.
Besides, Van Dyck was now the fashionable por-
trait-painter of Antwerp, "The Velasquez of Paint-
ers," he has often been styled. He was indebted to
Rubens; but in his portraits he put so much soul into
the faces, and the figures had so much elegance and
dignity that he far surpassed his master.
His prices were so high that only the rich could
afford to sit to him. But the wealthy burghers of
Antwerp came to his studio, bringing their wives,
arrayed in brocaded bodices and great ruffs, and with
their hair drawn back by a circlet of jewels. And
people, passing through the city, often delayed their
journey long enough to sit to Van Dyck.
His appointments with his sitters lasted just one
hour. At the end of the time, he would rise, bow,
make an engagement for another day, and then
dismiss them courteously. Then his valet at once
cleaned his brushes and prepared a fresh palette and
canvas, so that another sitter could enter.
Van Dyck first posed him, and this he always did
most gracefully. Then he outlined the figure with
chalk, upon grey paper. He gave the outline to his
assistant, who painted the clothes — for the sitter's
clothes were always sent to the studio that they might
be perfectly copied. After this was done, Van Dyck
painted in the face and hands, and for the latter, he
employed hired models.
He often invited his sitters to dine with him;
for when they forgot themselves in conversation,
he could catch their more natural expression than
224
FLEMISH ART
when posing. He caught expression quickly and
worked rapidly, and he usually employed most skilled
assistants.
Previous to his time, England had shown but little
interest in painting. Van Dyck had been there
once or twice, trying to secure patronage for his
work, but he was unsuccessful. Finally, however,
through the influence of the art-loving Duke of
Arundel, or else after seeing one of his portraits,
King Charles I. summoned him to England as his
court-painter.
Van Dyck, who was always seeking change of
scene, was delighted with the plan. And now, in
1632, we find him in London, where he received
a most flattering welcome ; for the king was charmed
with his courtly manners.
He was given a yearly salary of two hundred
pounds, and a winter home in Blackfriars, overlook-
ing the Thames. Here a special landing-place was
arranged, so that the royal family might easily sail
from Whitehall Palace to the painter's studio.
Van Dyck was given, also, a country-place, not far
from London. Servants and horses were attached
to his establishment, and everything else that would
make it easy for him to live like a prince.
King Charles grew very fond of his painter.
When he wished to escape from the burdens of his
high estate, he often took his barge and sailed down
the Thames to the studio. There he would sit and
watch Van Dyck at his work, and listen to his witty
conversation; and so, for a time, he would forget
the terrible trials that more and more were assailing
225
YOUNG PEOPLE'S STORY OF ART
his kingdom. Because the King frequented the
studio, it became the resort of the nobles. Indeed,
to pay a visit here was then quite the fashion in
London. The King would gladly have kept Van
Dyck busy with painting only the royal family; and
we may thank Van Dyck for making us so familiar
with their faces, especially that of the King himself.
No less than thirty-six times has the painter revealed
to the world the countenance of this noble and un-
fortunate ruler. Sometimes the King is in royal
robes, often in a family group, and again in the chase.
One picture in the Louvre is very well known.
The scene is laid on the edge of a wood, a lovely bit
of country sloping away to the sea. The King has
just dismounted from his superb grey steed. He is
in a wide-brimmed black hat, white satin jacket, red
hose, and yellow jack-boots. The equerry holds the
impatient steed, and the page carries the King's wrap
over his arm.
Van Dyck so greatly liked to paint horses that he
introduced them whenever he could; and among
them, are some of the most life-like and spirited ani-
mals to be found in all art.
" That most lady-like of queens," Henrietta
Maria, sat twenty-five times to Van Dyck; and she
is always dressed in the soft, lustrous fabrics that
he loved to display. And the quaint Stuart children,
what charming little sitters they were ! We may
know them all — even the baby Anne, who lived just
long enough for Van Dyck to preserve her picture.
They appear in shimmering silk, in colours so bright
that we forget that they were painted so long ago !
226
PORTRAIT OF CHARLES I.
VAN DYCK.
FLEMISH ART
Van Dyck loved music; and the children as
well as the grown-up sitters, while posing in the
studio, were often entertained by a delightful con-
cert.
He was as successful with dogs as with horses, and
the pet spaniels that appear in these pictures
were so fashionable, at this time, that they have
ever since preserved the name " King Charles "
spaniels.
Beside the royal family, noble lords and ladies
flocked to the studio. Their pictures hang to-day
on the walls of the stately old homes of England,
where the descendants of those very lords and ladies
live and admire their ancestors.
There are Cavaliers with plumed hats and long
love-locks, broad collars edged with lace, doublets
and ruffled shirts, breeches, and high-topped boots.
There are ladies in graceful draperies, and adorned
with ribbons, laces, and jewels; and, year by year,
the painter's colouring grew more silvery.
There were many Puritans as well as Cavaliers in
London at this time; but their simple manners and
plain coarse dress never appealed to the aristocratic
Fleming.
While in England, he painted over three hundred
portraits, so he had very little leisure for any other
subjects; but he founded in London the " Club of St.
Luke," in which other painters joined him as mem-
bers. Charles I. knighted him as he did Rubens,
and also presented him with a gold chain, to which
his picture was attached. For two years all went
well. Sir Anthony was courted, and as we have
227
YOUNG PEOPLE'S STORY OF ART
said he lived like a prince. But the more he had,
the more extravagant he became, until he found
himself heavily in debt.
This was most unfortunate, for now dark days
were coming to England; the shadow of a terrible
civil war was over the land. After a while, the
Parliament refused to give the King money, and Sir
Anthony could no longer be paid.
Besides, the painter had lived a life of such luxury
and dissipation that he was becoming weak and ill;
and it added to his distress to see his kind patrons
surrounded by sadness and danger.
Although he had been so successful as a portrait-
painter, he had always been dissatisfied, wishing in-
stead to do some great decorative work. Rubens
had covered no less than thirty-nine ceilings — why
could he not be given a commission to paint some
palace-walls in London, or to decorate the Louvre
in Paris !
But there was no money now in his own country
to pay for art; and Louis XIII. allowed a Frenchman
to decorate the Louvre. Money, in some way, he
must have; and so he turned his attention to alchemy,
and tried, like many other foolish men of his day,
to find the secret of converting base metal into gold :
but he never found the treasure that he sought. We
remember that Rubens would never become interested
in alchemy.
As Van Dyck grew more and more disheartened,
the king advised him to marry, and he selected for
him Marie Ruthven, the poor but beautiful daughter
of a noble Scotch family. He travelled a little with
228
Ui
J
<
X
2
w
a
i
tj
FLEMISH ART
his wife, but all the time he was growing more and
more broken in health and spirits.
The King, overburdened with his own cares, was
yet distressed to see his favourite painter in such
a condition; and he offered the court-physician a
large sum of money, if he would cure Van Dyck.
But money could not save him now. He died in
London in 1642, just one year after Rubens died
in Antwerp. Van Dyck was but forty-three years
old, at the time of his death. He had lived a life
of too much gaiety, but to the end he had been
faithful to his art. He has ever been noted for his
religious and historical pictures; but it is his greatest
honour that he stands to-day as one of the world's
most life-like and courtly portrait-painters.
After Rubens and Van Dyck, Jordaens is con-
sidered the most famous Flemish painter. He was
an intimate friend of the great master. " The Vul-
gar Rubens," he is often called, for he liked large
canvases, and on them are pictured the same sub-
jects that Rubens selected.
But Jordaens never went to Italy, so his style was
not refined by the study of Italian art. Sometimes
his pictures were coarse, and sometimes humorous.
His colouring was very bright, and many think that
it possessed " a golden glow," which was never
equalled by Rubens.
Franz Snyders, the great animal-painter, was
another of Rubens's friends. It is said that some-
times he painted animals and flowers for Rubens;
while Rubens, in return, would put the human figures
into Snyders's pictures.
229
YOUNG PEOPLE'S STORY OF ART
Snyders will always be known for his raging wild-
boars, tearing the hounds with their tusks; for his
poor hunted stags; and equally, for the minute
accuracy seen in his dead game, vegetables, fruit,
and flowers.
Fyt almost rivals Snyders as an animal-painter.
We may easily remember him, by associating with
his name two other words beginning with " f " —
" fur, feathers, Fyt."
It seems as if we could touch the real fur on his
hares and greyhounds, and the plumage on his birds
is full of beauty. His animals are either very wide-
awake or very dead game, and often both are seen
in one picture.
Our group of Flemish painters must include
Teniers the Younger. He painted all kinds of pic-
tures, but he was " The Prince of Genre-Painting."
His works, more than those of any other artist,
resemble those of the Dutch.
Teniers belonged to a family of painters, and he,
also, was the friend of Rubens. He was a most
attractive man, and for his art was honoured all over
Europe. He painted for kings, and was, at one
time, the court-painter at Brussels.
He became very rich and established at Perck,
near Mechlin, his magnificent home. Here he en-
tertained nobles, and he also joined the peasants in
their merry-makings; for in doing this, he could catch
the life and expression which he wished to put into
his village revels.
The subject that Teniers evidently best liked to
paint was a fair or festival, a tavern-scene or a guard-
230
x
z g
— °-
— x
s
T
|T1
FLEMISH ART
room. These were pictured in a most realistic and
pleasing way, and in soft and brilliant colouring.
He did not, like Van Dyck, foolishly seek " the
philosopher's stone," yet no one painted an alchemist
like Teniers! He loved a bit of humour, some-
times introducing cats or monkeys into his pictures.
His smokers are perfect. Greuze says, " Show me a
pipe, and I will tell you if the smoker is by Teniers."
A fire-place, or even just the luxurious glow of the
fire-light, seems always to belong to this painter's
pictures.
While his canvases were not very large, hundreds
of little figures often appeared in them, and once, at
least, a thousand! All were active and picturesque,
but the heads are too much alike; so his most valuable
pictures are said to be those with the fewest figures.
He worked so easily and rapidly that sometimes
he finished a picture between dinner and bed-time.
These he called his " after-dinner pictures." And
as he painted until he was eighty-four years old, it
was said that it would take a gallery two leagues long
to contain all his works !
Rubens, Van Dyck, Jordaens, Fyt, and Teniers —
had many imitators and followers.
At the end of the seventeenth century, Flemish
art steadily declined. But, in the nineteenth century,
there was a great revival, led by Leys and Wap-
pers, both of whom rapidly won fame and many
honours.
And the work of reformation thus begun was
carried out by Gallait, Dubois, Stevens, Boulenger,
Willems, DeKnyptt, and others, whose paintings,
231
YOUNG PEOPLE'S STORY OF ART
in vigour of presentation and charm of colour, made
them masters of high rank.
Liibke writes, " For a small country, with a popu-
lation less than that of New York State, Belgium
is one of the most artistic of modern communities.
The influence exerted by Fine Art on the whole
nation is exceptionally great."
232
Dutch Art
VIII
REMBRANDT
As we glance at the pictures that have made brave
little Holland so renowned, we may well exclaim,
11 Truly Art is of many kinds."
The early pictorial history of the country is like
that of the Netherlands. When, however, William,
Prince of Orange, won for Holland its independence
from Spain, a new art arose.
We know how rapidly freedom grows, and with
it almost at once appeared the brilliant School of
Dutch painting.
The art of Holland is too Protestant for ideal
Madonna pictures; but the quaint Dutch Mother
caring for her Babe, in the carpenter's homely work-
shop, is very charming.
Italian art is filled with legends of saints and angels.
The Dutchman did not care for legends. He wished,
instead, to preserve truthful portraits of the brave
men who had helped to win the freedom and
prosperity of his country.
The Italian loved his sunny skies and hilly land-
scapes, while the Dutchman equally enjoyed his grey
cloudy skies, and flat country, diversified by trees,
canals, and windmills.
What matter if it were foggy out-of-doors — the
fire within glowed the brighter!
235
YOUNG PEOPLE'S STORY OF ART
The " Golden Age " of this brilliant School of art
belongs to the seventeenth century; and its typical
painter was Rembrandt.
Rembrandt was born in Leyden, probably in the
year 1607. Beautiful Leyden, with its orchards
and gardens, is renowned alike for its famous siege
and for its splendid University.
Rembrandt's father was a miller and Rembrandt
was the brightest of his little Dutch family. Indeed,
he was so clever that while the other children were
taught to follow trades, his parents determined to
make of him either a priest or a lawyer. So they
sent him to the Latin school, and to the famous
Leyden University; but the restless, talented boy
never cared for books. Instead, he was always
studying nature, and faces, and pictures on the walls.
His father finally told him that, if he spent his
time in this way, he would never grow rich.
Rembrandt replied by asking him, if he had heard
of the fabulous wealth of Master Rubens, the Flem-
ish painter, and added, " Why can / not make a
fortune in the same way?"
The father was interested in the suggestion, and
placed the boy with a painter to see what he could
do. So three years were passed under masters in
Leyden and Amsterdam. Then the young artist,
feeling sure that he had learned all that they could
teach him, went home to study nature. Llis life-
work shows that he was more indebted to this " won-
derful teacher " than to any other.
He fitted up a studio, and here, by opening and
236
DUTCH ART
shutting the window, studied the effects of light and
shade. He took long walks and enjoyed the land-
scape, and the varying expressions on the faces of
the people whom he met. He sold one of his earliest
pictures to a dealer for a good price, and this de-
lighted his friends.
Over and over again, he drew the portraits of the
different members of his family. As long as she
lived, he never tired of picturing the strong face of
his dear mother.
Amsterdam, at this time, was a large and flour-
ishing city. It had so many canals and bridges that
it was called " The Venice of the North." Busy
merchants thronged its streets; there was a pictur-
esque Jewish quarter; and ships, laden with treasure
from every part of the world, sailed into its harbour.
Besides, Amsterdam was the home of many
artists and literary men. So, in 1630, young Rem-
brandt determined that he would go there to live. He
travelled all the way by canal, and on reaching the
city, set up his first studio in a large warehouse. He
went directly to work, and in 1632, he painted " The
Lesson in Anatomy." This picture can appeal only
to surgeons. However, it made a name for the young
artist. This was partly because the faces of Dr.
Tulp and the physicians to whom he was lecturing
were, at once, recognised as perfect likenesses.
This picture aroused great enthusiasm. Pupils
eagerly flocked to Rembrandt's studio. He arranged
separate cells for them, for he knew that each one
would do better work alone. He also became for
a time the fashionable portrait-painter of Amster-
237
YOUNG PEOPLE'S STORY OF ART
dam. Indeed, so many rich merchants and fashion-
able ladies came as sitters that he found it difficult
to accomplish all that he wished to do. He charged
high prices for his portraits, and all that he did
seemed to prosper; but his greatest happiness was
just before him.
Rembrandt had a friend, Hendrick Van Uylen-
borch, who kept a shop where he sold engravings and
bric-a-brac. This was the kind of shop in which
Rembrandt always loved to linger.
Sometimes he would meet there Hendrick's cousin,
Saskia Uylenborch, who, also, was very fond of
looking at pictures.
Saskia was not pretty, but she was a winsome
maiden, with a bright, expressive face and curly,
auburn hair. Rembrandt was asked to paint her pic-
ture; and the more he looked into her merry eyes,
the more attractive she seemed, and it was not long
before she had won his heart.
She was a wealthy, aristocratic Friesland girl of
twenty-one — and he a poor artist of twenty-eight —
but then he was rapidly becoming famous.
In 1634, Rembrandt and Saskia were married.
He bought a handsome house, and made of it a per-
fect museum. He filled it with antique furniture,
armour, embroidered stuffs, costumes and jewels, with
pictures and busts, and zoological specimens, and even
the barbaric weapons of the North American In-
dians. For Rembrandt was deeply interested in such
things, and bought everything that appealed to his
taste in the shops, the Jewish quarter, and on the
ships that brought curiosities from distant lands. A
238
SASKIA HOLDING A PINK
LI
DUTCH ART
high price never hindered him from buying treasures
which he wished to possess.
And how he delighted to array Saskia in various
costumes and beautiful jewels, and then have her
pose for him ! To know Rembrandt, one must be-
come familiar with Rembrandt's wife; for her face
appears so many times in the great picture-galleries.
Now she is " Flora," again a Jewish bride, and yet
again a princess.
In the Dresden Gallery, there is a very well-known
picture, in which she sits upon Rembrandt's knee.
She is richly dressed and her face wears a pleased
look. Rembrandt is arrayed as a Cavalier, with vel-
vet coat and ostrich plume. He laughs merrily, as
he holds above Saskia's head a tall Venetian glass,
full of foaming beer. This picture displays the warm
brown tints that Rembrandt loved so well to paint.
What rich robes and laces and gleaming jewels
are revealed in these pictures! Nothing was too
good for Saskia ! and she herself was the brightest
picture in Rembrandt's life.
Besides painting Saskia, Rembrandt has left more
pictures of himself than any other artist. He would
array himself, as well as Saskia, in all kinds of cos-
tumes, with chains and earrings.
He was his own most willing model ; and he would
stand before a mirror, and there note and draw
every kind of expression that he could reveal in his
face; for every wrinkle was a study of light and
shade.
He also took portraits of all sorts of people, for
he wished to catch every variety of human expression ;
239
YOUNG PEOPLE'S STORY OF ART
and he had always so great sympathy for the poor
and oppressed, that many sad faces appear among
his pictures. His beggars would fill a gallery by
themselves. The Jewish ones in their tatters are very
striking and picturesque. Tramps flocked to his door,
and begged to be allowed to sit to him.
The faces of old men and women stamped with
great character — how faithfully he reveals them !
One picture shows a stately old Dutch lady, with
shrewd and kindly face. She is dressed in a gown of
black silk, and bedight with stiff ruff and head-dress
and many jewels.
Then there is another wrinkled dame, with
shrunken skin, whose dark hood casts a shadow over
her face. A dear, sad old face it is, filled with
memories of the long-ago !
Her busy hands are folded now, for her work
is done. Now she may rest !
Rembrandt always studied and painted hands, with
the deepest sympathy and insight. Very often pathos
and sorrow are revealed in them.
But a greater power than expression lay in his
chiaroscuro, or management of light and shade. He
concentrated a strong light upon the important ob-
ject or action in the picture, while the rest of the
picture is in a rich dark and often transparent shadow.
His pupils could not find out how he did this,
no matter how closely they watched him. Once
when he was working, one of them stood by him,
anxious to learn his secret; but Rembrandt sent him
off exclaiming, " Paint is unwholesome; it is not to
be smelled at."
240
DUTCH ART
Rembrandt was as famous an etcher as he was a
painter; and through his work, he established a new
School of engraving.
The following story is told to show how rapidly
he worked with his etching-needle. His wealthy
friend, Jan Six, often took him to his place in the
country. One day as they sat down to luncheon
there, Six discovered that there was no mustard on
the table. So he sent his servant Hans to the neigh-
bouring town to procure some. As he started, Rem-
brandt made the wager that he could engrave a pic-
ture, before the boy returned.
Six replied, " I wager that you cannot! " Rem-
brandt drew a copper-plate from his pocket, for he
seldom went anywhere without carrying one. He
seated himself in the window, took his etching-needle,
and on the film of wax which covered one side of
the plate, he traced the landscape which he saw be-
fore him.
As Hans entered the room, he handed the plate to
his friend — he had won the wager!
Years passed along very quickly and happily to
Rembrandt and to Saskia; but the artist's life, like
his pictures, was to be made up not only of the
brightest lights but of the deepest shadows.
It is not easy in art to please everybody; but surely
a portrait-painter should try. As Rembrandt worked,
he gradually grew more and more proud and moody
and eccentric. He always sacrificed beauty to a
strong expression, and would not be influenced by his
sitters, who naturally wished to look their best.
Other Dutch painters at the time visited Italy, and
241
YOUNG PEOPLE'S STORY OF ART
when they returned, they adopted the fashion of
the day. Rembrandt loved Italian pictures and
sculpture, and it seemed strange that he never wished
to visit the ideal land. By and by, the Dutch grew
tired of his likenesses, and turned to more accommo-
dating artists.
In 1642, Rembrandt painted his largest work
called " The Night Watch," or " The Sortie of the
Civic Guard."
In Holland, every town of any size possessed a
guard composed of its most prominent citizens; and
upon this, rested the responsibility of the order of
the town.
Franz Banning Cock was, at this time, captain of
the civic guard in Amsterdam ; and he and his wealthy
company asked Rembrandt to paint their portraits.
There are, in the picture, between twenty and
thirty life-size figures. They are promptly respond-
ing to a sudden summons to action.
Rembrandt has chosen to represent the moment of
disorder, as they are preparing to leave the guard-
house, and fall into line.
Captain Cock is an aristocratic-looking man,
dressed in dark coat and red sash. He stands in
the foreground, giving orders. See how the shadow
of his raised hand falls on the yellow coat of the
lieutenant standing at his side ! This shadow for
its truthfulness is surely well worthy of the brush of
" The King of Shadows."
The drummer is sounding his call — the dogs bark.
The musketeer loads his gun, while a saucy boy with
a powder-horn runs at his side. The ensign unfurls
242
I
h
<:
i
C3
£
DUTCH ART
his flag. A gaily-dressed gypsy-like child, or little
woman, with a cock slung at her side, slips in among
the crowd. Guardsmen and pikesmen are all mak-
ing ready. This picture, full of action and splendid
colouring, is touched by Rembrandt's enchanting
light.
Indeed, as you enter to-day the Ryks Museum in
Amsterdam, you can see how its wonderful chiar-
oscuro has made it one of the world's master-pieces.
Sir Joshua Reynolds called it " The Night
Watch " ; but when, in the year 1889, it was cleansed
from the dirt and smoke of centuries, it was proved
that the scene was really represented as occurring in
the day-time. But as one has well said, " It is neither
the light of the sun nor of the moon; it is rather
the light from the genius of Rembrandt."
This picture, at the time, did not add to Rem-
brandt's fame. The members of the guard were dis-
contented. Each had promised to pay for his own
portrait — so naturally each wished to be prominent.
Rembrandt had dressed them in old costumes which
he kept in his studio, and they were almost all in
the shadow. Only those in the light ever paid their
part.
We remember that Rembrandt had already lost
favour. Van der Heist now became the fashionable
portrait-painter in Amsterdam. But it did not much
matter to Rembrandt; for at that time Saskia, the
joy of his life, lay dying; and when he was parted
from the wife whom for eight years he had tenderly
loved, his happiest days were over. Life was very
lonely now — his only consolation was in his work.
243
YOUNG PEOPLE'S STORY OF ART
It is said that he grew still more sad and moody; and
that he often ate his simple meal of salted herring
and bread and cheese, while sitting at his easel.
Rembrandt always loved to study his Bible, and
we especially associate his holy pictures with this part
of his life. He had never been in Palestine, and so
he could not show the type of people that lived there;
but he believed that the Bible story should be pictured
by simple folks. He liked to paint Old Testament
scenes, with their Oriental costumes and romantic
localities.
He usually took for his models the Dutch Jews,
feeling that these, more than any others, must be
like those who appeared in Old Testament times, and
to whom Jesus talked.
What a contrast to Paul Veronese's " Marriage at
Cana " is Rembrandt's " Supper at Emmaus ! ' This
supper takes place on the Easter Sunday evening,
after the crucifixion.
The room is bare. The two disciples, seated at
the rude table, are just Dutch peasants. Rembrandt
pictures the instant when they suddenly discover that
their guest is the risen Lord! Astonishment is de-
picted upon their faces, as they look upon the trans-
figured countenance of the Christ of Nazareth ! a
face that in its pathos is one of the most significant
in all art.
We cannot see the source of the radiance that
touches all the faces, and falls with such distinctness
upon the table-cloth, while all the rest of the room
is in shadow.
Rembrandt etched and painted a great variety
244
DUTCH ART
of subjects, and many artists since his day have tried
to imitate him.
We do not know much about the later years of
his life, except that he married once or twice again.
Over all these years, there hangs a great shadow —
struggling ones they must have been, for he painted
so many sad faces.
Rembrandt was very ignorant about business. He
had spent too lavishly, and he grew poorer and
poorer. His house and all his rare pictures and
curios, and the jewels that Saskia loved best, had
to be sold to pay his debts. Still he worked on
bravely, and one of his noblest pictures was painted
in the year 1661. Some regard it the very best of
his works. It is called " The Syndics of the Cloth
Guild."
There were many wealthy guilds as well as guards
in Holland. They were corporations of master-
craftsmen. They owned fine halls for their meet-
ings, the walls of which were adorned with pictures
of the syndics themselves.
In Rembrandt's picture, the light is concentrated
on a group of these syndics, who are assembled in an
oak-panelled room. They wear dark coats, wide
white collars, and broad-brimmed hats. A bare-
headed servant stands in the background. The table,
at which they are seated, is covered with a rich scarlet
cloth, and upon it rests the ledger of the corpora-
tion. Evidently the syndics are going over their
yearly accounts; but someone must be entering, for
all are glancing upward.
The heads are noble and dignified. The expres-
245
YOUNG PEOPLE'S STORY OF ART
sions on the different faces are varied and masterly.
All the portraits must be perfect, and we recall them
long after seeing them.
When we think of Rembrandt's remarkable genius,
which is felt throughout Holland more and more as
the centuries go on, it is sad to relate that he died
poor — but so it is. He had a short illness and was
but sixty-two years old. According to the registry,
his funeral expenses were less than ten dollars.
These are some of the titles that have been given
to Holland's greatest painter:
" The Prince of Etchers."
" The Shakespeare of Painting."
11 The King of Shadows."
" The Painter of Painters."
Which title do you think Rembrandt best deserves?
" A single sunbeam is enough to drive away many shadows."
— St. Francis of Assisi.
A GROUP OF DUTCH PAINTERS
Near Rembrandt's " Night Watch," in the Ams-
terdam Museum, is another huge portrait-group,
containing over thirty life-size figures. It is " The
Banquet of the Arquebusiers." This banquet was
given in 1648, to celebrate the Peace of Munster.
The feast represents a brilliant gathering of cap-
tains, lieutenants, sergeants, musketeers, and guests.
See the display of velvet and sashes and plumes ! See
the drum in the foreground, and the city flag at the
back of the picture — and the two Dutch houses
showing through the window !
246
w
en
en
u
ex
<
w
I
h
o
s-
w
P
o<
z
<
PQ
w
X
h
£
DUTCH ART
The guardsmen gathered about the table, chatting
and feasting, have very striking faces and easy atti-
tudes. Everyone is in good humour, and everyone
is trying to look his best. This is most natural; for
Van der Heist, the artist, allowed each to pose for
himself. Do we wonder, then, that Van der Heist
succeeded Rembrandt as the fashionable painter of
Amsterdam?
Jovial Franz Hals must next be added to our
group of Dutch portrait-painters; and he is becom-
ing more famous as the centuries pass.
To know him really, we must visit quiet old Haar-
lem, a city which, like Leyden, is renowned for its
siege.
It may be sleepy to-day — but what a merry life it
must have known in the seventeenth century, when
Franz Hals lived there. How he loved to walk
the streets, or frequent the tavern or game-house, and
tell his jokes, and then catch the expressions of his
listeners ! And no one else could catch a transient
expression like Hals !
But he must have been a man of more character
than is usually accorded to him; for only a clever
man could have been elected to the offices that were
given him in Haarlem. Only a firm hand could have
painted his great corporation-pictures.
It is true that he died poor ; but so have many other
famous men.
Let us imagine ourselves to-day in the Haarlem
Museum, and face, in turn, the eight groups of por-
traits that gaze down upon us from the walls. It
is no wonder that it took Hals the fifty best years
247
YOUNG PEOPLE'S STORY OF ART
of his life to paint them. They contain great life-
like figures, dressed in realistic clothes, and their
speaking faces tell of the stirring scenes, in which
they had a part. It almost seems as if any one of
them might easily detach himself from his group,
and come down and talk to us !
The last of the groups — and Hals painted it when
he was eighty-four years old — is called " The Re-
gents of a Hospital." It represents five old ladies
— and prim dames they are, indeed! What deep
marks of character in both their faces and their
hands! They look as if they could manage with
thrift and economy the affairs of any benevolent
institution !
As we have said, Hals could seize upon and por-
tray a momentary glance; and this he did whenever
he found a face that interested him.
How instantly he has caught and preserved for
us the merry laugh of old Hille Bobbe, the Haarlem
fish-wife. How easily he tells her story — and a
careless reckless one it is — as she sits there holding
in her withered hand a pewter mug of schnapps.
This is a genre picture, and Franz Hals was one
of the first in Holland to paint such pictures. The
word " genre " has such a general meaning that it
is difficult to define it exactly. It may be a repre-
sentation of dead game or fpuit or flowers, or a snug
interior with dresser and pots and kettles. But more
often it is an every-day scene of every-day life. Some-
times it shows us a doctor or dentist, a music-lesson
or a school of mischievous children, or a shop or
tavern-scene, or a rural fete. Genre pictures are usu-
248
HILLE BOBBE
DUTCH ART
ally small, and the anecdote is told in a simple, strik-
ing way.
So many genre pictures helped to make the
" Golden Age " of Dutch art that it is difficult to
select typical ones. Among the artists, Steen must
be one of the most noted; for his pictures are found
in the choicest collections. He has been called " The
Laughing Philosopher of Dutch Art." He kept a
tavern, and he himself was very fond of eating and
drinking, and of a good story. His colouring is
bright; his faces are full of expression; his festivities
are very real; and his children very mischievous.
Then there is Gerard Dow, who fascinates us by
his perfectly finished little pictures. Dow was, at
one time, apprenticed to a glass-painter, who taught
him to paint with careful detail and finish.
At another time, he was a pupil of Rembrandt;
and from him, he caught a soft and glowing colour —
as seen in his candle- and lantern-lights — and also
the habit of painting his own portrait.
His pictures are usually less than two feet square;
but his tiny figures fit very perfectly into them, and
sometimes they are surrounded by an arched back-
ground.
His subjects are varied. One is a sick woman, to
whom the doctor is ministering, and for whom a
daughter is grieving. Another is a praying hermit;
and still another an evening school, with a magical
light falling upon the children's faces.
Dow is great because he saw little things; and if
we examine his pictures with a magnifying-glass, we
may know how wonderfully he saw them! He
249
YOUNG PEOPLE'S STORY OF ART
would work for five days on a lady's hand, one day
for each finger!
Once, being complimented upon a broomstick
which he had painted, he replied, " I have yet three
days' work to do upon that broomstick! "
Poynter says that he delighted in depicting a
broomstick or a woman scraping a carrot; but it
was because he painted broomsticks and carrots as
no one else could!
Van der Meer and Maes are also great favourites.
The former has left a few rare pictures. They are
generally of a street or an interior with a single figure.
Maes uses soft, glowing tints, which light up the
one or two figures in his homely scenes. We may
recall the familiar copy of his " Old Woman Spin-
ning." How life-like she is, and how intent upon her
work ! and how naturally the light touches her
wrinkled forehead, her hand of labour, and the bare
rough walls !
Ter Borch admired aristocratic ladies, in hand-
somely decorated rooms. Probably this was because
he knew just how to give the proper sheen to their
white satin gowns !
Metsu, also, was very skilful in painting fabrics,
and he, too, liked fine ladies ; but his markets, filled
with gay vegetables, fruit, and flowers, are especially
attractive.
One Van Ostade was so successful with his chiar-
oscuro that he became " The Rembrandt of Genre
Painters " ; while his brother pictured, as no one else
could, frozen canals, covered with merry skaters.
Kalf painted metal and porcelain pots and kettles;
250
DUTCH ART
but his ideal subject was a neat kitchen with veg-
etables, various utensils, and crockery on a dresser.
D'Hondecoeter delighted in poultry-yards; and
he devoted his time, also, to studying peacocks and
turkeys and pigeons and swans. He holds a promi-
nent place as a painter of poultry and living birds.
He is said to have owned one cock, so perfectly
trained, that it would keep any position that its mas-
ter wished, long enough to be painted.
Weenix reproduced life-size dead game, and his
hares are remarkable.
Jan de Heem is called " The Titian of Flowers,"
because his brush reveals such natural buds and blos-
soms in bright, warm colours. His crystal flower-
vases are very sparkling. Always look for beetles
and dew-drops on de Heem's flowers !
Van der Heist, Hals, Steen, Dow, Van der Meer,
Maes, Ter Borch, Metsu, Van Ostade, Kalf, d'Hon-
decoeter, Weenix, Jan de Heem — a goodly number
of names, indeed, for one short chapter!
But when we shall visit in Holland the famous
galleries at The Hague, Amsterdam, and Haarlem,
and also collections of Dutch pictures in other cities,
it will add greatly to our interest, if we are familiar
with the characteristics of even thirteen of these
painters.
We shall seek the portraits of Van der Heist and
Hals. We may discover Steen's amusing story; or
recognise Dow's little picture, by its arched back-
ground or charming lantern- or candle-light.
We may possibly find a Van der Meer, but surely
one of Maes's homely interiors. We may study the
251
YOUNG PEOPLE'S STORY OF ART
lustrous fabrics worn by Ter Borch's or Metsu's
richly-dressed ladies.
And then, leaving such aristocratic subjects, we
may descend into Kalf's kitchen and catch the sheen
on his pots and dishes. Then take a view of Hon-
decoeter's poultry-yard; and linger, at last, among
Jan de Heem's bright flowers.
Whatever an artist sees always creeps into his pic-
tures; and what a variety of things the Dutch artist
saw !
" We are so made that we love
First, when we see them painted, things we have passed
Perhaps a hundred times, nor cared to see."
-Robert Browning.
LANDSCAPE AND MARINE PAINTERS
The landscape-painters of Holland, in the seven-
teenth century, made the quaint little country seem
very charming. Indeed, we may almost feel that
real landscape painting originated here; because the
Dutch have always insisted on such a truthful imita-
tion of nature.
The name of Jacob van Ruysdael usually stands
first among these painters. He seems to have been
a solitary rambler who loved to wander away, and
sit upon a hill, if he could'find one, until he had ab-
sorbed into his mind every charm of the great plain
spread out before him.
He might have thought this " Hollow Land," or
Holland, monotonous, but he never did. Instead, he
studied how best to diversify it in his pictures, with
252
z
c
a
O
u
P
z
X
DUTCH ART
a castle or a giant windmill, with a little spire
nestling among the trees, with bridges and canals
and fishing-boats, and gentle rivers reflecting perfect
shadows.
He liked to paint a solitary road, and tall trees
with their dark green foliage reflected against the
sky. Some think that he enjoyed painting trees and
skies best of all.
Ruysdael loved sometimes to linger on the sea-
shore, and there to study eagerly the rough waves
and storm-tossed sky mirrored in them. He never
could put people and animals into his pictures, but
his artist friends always did that for him.
Ruysdael is sometimes called " The Melancholy
Jacques of Landscape-Painting," because his skies
are so often cold and grey. But this title seems hardly
fair; for often a splendid gleam of sunshine breaks
through a rift in his clouds, touches the trees and
fields and rivers, and irradiates the whole scene.
Ruysdael had a friend or pupil named Hobbema.
The poor man was never appreciated while he lived;
but to-day it is difficult to buy one of his landscapes
for any price.
His villages and roads and canals and windmills
are always illumined by a golden light.
Our print, " The Avenue, Middleharnis," is a
copy of one of his finest pictures. See the long
straight road lined with poplar-trees, leading to the
distant village, clustering about its little church. On
the right, separated by a ditch from the road, is the
most charming corner of the picture.
Examine this through a magnifying-glass, and see
253
YOUNG PEOPLE'S STORY OF ART
the exquisite nursery-garden, and in it the tiny horti-
culturist grafting his trees. Beyond this nursery are
farm-buildings.
If we could only see the original picture, we would
also enjoy the bright, blue sky, flecked with tiny,
white clouds. Tt seems strange that for long, peo-
ple passed Hobbema's pictures without discovering
their beauties.
The greatest lover of light among all the Dutch
painters was Cuyp. The people and sheep and cows
that animate his bright fields and river-banks are
usually enjoying either the cool freshness of a misty
morning, or else the warm sunshine at mid-day. His
pictures to-day are worth almost their weight in gold.
Wouvermans also painted landscapes most indus-
triously; but more than these he delighted in the
many-plumed Cavaliers and horses and dogs that he
placed in them, and always in spirited action. Now
he paints picturesque hunts — now a cavalry charge!
Always look for a white horse in Wouvermans's pic-
tures — you will be almost sure to find one.
Speaking of animals, we introduce just here the
famous animal of Holland, Paul Potter's " Bull."
This picture always takes its place among the mas-
ter-pieces of the world.
It is in the gallery at The Hague, and bears the
date 1647; an d if it were the only picture there,
to sec it would be worth a visit to the attractive
capital of Holland.
The bull stands with head erect, and body quiver-
ing with life ! He seems to breathe defiance as we
look into his fiery eyes ! The single hairs on the top
254
■J
CQ
X
DUTCH ART
of his head and his great horns are singularly
life-like. His hide is marvellously painted. Indeed,
examine him where you will, he is a true bull! He
so fascinates us that, at first, we do not see the cow
and three sheep that are near, and the shepherd who
stands beside the tree. Another look, and we dis-
cover the great open meadow beyond, and the beau-
tiful clouds above.
The story of Paul Potter's life is interesting as it
seems to centre about this master-piece. It appears
that, as a child, he was always studying the habits
of cows and sheep, either in the farm-yard, in the
grassy meadow, or standing in the quiet pool.
At fourteen, he was already a clever artist. He
was sent to The Hague to study; and there fell in
love with the pretty daughter of an architect with
whom he lived. But the father would not give her
to a young man who could paint only animals. When
he was twenty-three years old, he painted this bull,
originally intending it as the sign-board of a butcher's
shop. It gained for him such fame that he won his
bride; and at The Hague they established a most
attractive home.
He continued to paint sheep and cows, and won
for himself the proud title of "The Raphael of
Animals."
And, like Raphael, his life was short, for he died
when he was but twenty-nine years old.
We commenced our chapter with a simple land-
scape; then we studied landscapes with animals; and
Paul Potter's " Bull " may be called an animal with
a landscape.
255
YOUNG PEOPLE'S STORY OF ART
The Dutch also excelled in seascapes. Much of
sea-girt little Holland had originally been wrested
from the waves. And later, its brave captains had
fought with England — the greatest sea power in the
world. Truly, if Dutch art is a picture of Holland
free, its seascapes should help to tell its story.
So Van de Velde, the younger, must have thought,
when he gave his life to a study of the sea in its every
mood; and through this study, he became the finest
Dutch marine-painter.
He knew how to represent the effect of light
and shadow over the water; the quiet river view;
a calm sea, or raging waves; or perhaps a ship strug-
gling in a storm.
The Dutch appreciated his power, and sometimes
he was given a little vessel, in which to accompany
a large fleet and paint a sea-fight. Sometimes he
risked his life, by sailing between the battling ships,
in order to see the action on both sides. He painted
truthfully the victories of both the Dutch and the
English, and so became very popular in Holland and
in England.
Backhuysen was another famous marine-painter.
He went to sea in all weathers to study old ocean,
in its varying moods. And he pictured as perfectly
every part of the rigging of the high Dutch ships
as the sea upon which they sailed.
His colouring was so much colder than Van de
Velde's that someone has said, " Backhuysen makes
us fear the sea, while Van de Velde makes us love it."
And now our Dutch painters have told their
stories, and there are many different ones for every
256
DUTCH ART
separate subject — in portrait, genre, landscape, or
marine view. Not what they thought but what they
saw, they painted!
Looking at Dutch pictures will lead us to under-
stand the word " realism "; for Dutch art is among
the most realistic arts in the world. And every mod-
ern artist that has become a Realist has learned his
best lessons from the seventeenth century Dutch
painter.
In the eighteenth century, the art of Holland de-
clined; but now a revival has begun. This revival
is led by Josef Israels. Many with him are trying
to recall Rembrandt's chiaroscuro.
They are studying the picturesque life of the fisher-
folks, or are finding poetry in little home scenes.
Some are painting animal pictures, full of character
and sentiment, others are newly interpreting the
beauties of the Dutch landscape and the fresh moist
air and striking cloud effects that may always be seen
in a level country.
What wonder if the twentieth century shall witness
a second " Golden Age " of Dutch painting!
" A land that rides at anchor and is moored,
In which they do not live but go abroad."
— Butler.
" Breathes there a man with soul so dead,
Who never to himself hath said,
This is my own, my native land."
— Scott.
257
German Art
IX
NUREMBERG
Far to the north of Italy, lies Germany; and Ger-
man art forms as striking a contrast to that of Italy,
as does its sterner climate and rugged country to the
eternal sunshine and beautiful vine-clad hills of the
southern land. Italian art was ideal; German art
was realistic.
The Germans made stiff portrait statues; and
while we admire the earnest, religious spirit which
is revealed in them, we miss the grace and beauty
which the southern sculptor gave to his work.
Then the Germans, with their wild forest fan-
cies, loved to picture the weird and fantastic; and,
also, to produce very striking effects, such as are seen
in the martyrdom of saints, or in the Passion of
Christ.
Both the Italians and the Germans were very re-
ligious; but while Italian art was always Roman Cath-
olic, the German, in the sixteenth century, became
Protestant.
There were but few German painters in the Mid-
dle Ages, but many cathedral-builders. As cathedrals
must be decorated, there were always ready guilds
of glass-painters and stone-cutters, and also of car-
vers in wood and ivory.
Nuremberg, on the Pegnitz River, was the first
261
YOUNG PEOPLE'S STORY OF ART
famous art centre in Germany, and so we may rightly
call it " The German Florence."
The town consisted at first of but a few huts of
fishermen and wood-cutters, built around a five-sided
tower, which rose from a bare rock in the German
forest.
Later, the berg or castle was built. To this the
emperor came, and here the feudal lord dwelt, sur-
rounded by his retainers.
Then to Nuremberg was given the right to hold
its own market, and to have its own coinage. It be-
gan to grow rich, and soon was able to fulfil its
proud burgher motto:
" Nuremberg's hand
Goes through every land."
It had many industries. The neighbouring banks
of clay were converted into pottery; the first German
paper-mill was built here ; the first watches were made
here, and from their shape were called " Nuremberg
Eggs." Fine stoves and fire-arms were manufac-
tured, and printing-presses were set up.
When the town became wealthy, it determined
to buy its freedom. So it paid the German emperor
a million dollars; and he, in return, gave it a charter,
by which afterwards it could be ruled by a council
of its own citizens.
Let us try to recall this old town, in all its me-
diaeval dignity. It was shut in by ramparts, sur-
rounded by three hundred and sixty-five towers. Its
narrow streets were lined with curiously decorated
262
GERMAN ART
houses, having high-perched tiled roofs, and quaint
dormer-windows and turrets.
Above these, rose the spires of the churches of St.
Lawrence and St. Sebald. There were to be seen
the lordly rathhaus or town-hall, and picturesque
bridges, and wondrous fountains ornamented with
statues.
The most droll and unique of these is " The Little
Gooseman's Fountain." It was made by Labenwolf,
a pupil of Vischer. It is said that the sculptor took
his design from the story of a poor lad, who came
to Nuremberg, asking for work.
A farmer who took a fancy to him gave him two
geese, with which to make a fortune.
Certain it is, that the little peasant holds a goose
under each arm, with the water flowing from their
mouths. What a drenching the boy must have re-
ceived, in the centuries that have passed, since he
first took his stand in the Nuremberg square !
Many other works of art, embodying strange fan-
cies or homely sentiment, add to the mediaeval charm
of our " German Florence," and afford special de-
light to the traveller.
Some of these were wrought in wood and stone and
bronze by a trio of master-craftsmen, who lived in
the fifteenth, and the early part of the sixteenth
century. The names of these designers were Veit
Stoss, Adam Krafft, and Peter Vischer.
" Restless, graceless Veit Stoss " had, as his name
implies, all kinds of wild adventures in both Cracow
and Nuremberg; but he was a marvellous wood-
carver.
263
YOUNG PEOPLE'S STORY OF ART
He sculptured so perfectly the figures on his altars
and choir-stalls that " they only wanted speech to
be alive."
His " Angel's Salutation " is a colossal work. It
is curiously suspended from the ceiling in the choir
of the old church of St. Lawrence.
The contrast between the tranquil and queenly
Virgin who receives the salutation, and the angel
flying towards her in garments agitated by quick mo-
tion, is very striking.
Adam Krafft was as famous a stone-cutter as was
Veit Stoss a wood-carver. He had deep religious
feeling, and it was easy for him to be industrious,
for he worked as readily with his left hand as with
his right. He seems to have some secret, by which
he more deftly gave expression to stone, by making
it soft before he chiselled it.
Like Veit Stoss, his most noted work was carved
for the church of St. Lawrence. This was a won-
drous pyx or case to contain the sacred wafer. It
is of snowy marble, rising sixty-five feet into the air,
and growing more lace-like as it rises.
The artist and his workmen are supporting the
beautiful creation which is called " The Miracle of
German Art."
The Nurembergers so greatly admired his work
that they allowed him moje than the usual number
of workmen. His stone-carvings are seen everywhere
in the town.
His " Seven Stations " are seven stone pillars,
which are placed at certain distances, on the road
to St. John's cemetery. On each one is pictured
264
GERMAN ART
in relief a scene from the agony of our Lord, as he
bore the Cross to Calvary. The Christ wears a
patient, yet suffering expression. The other figures
are not idealised; but are like the Nurembergers
whom Krafft met every day. Of the seven pillars,
but two are originals.
Peter Vischer was the third of the renowned trio.
His family established in Nuremberg a bronze-cast-
ing foundry that became so well-known, that orders
were sent to it from far and near.
Vischer, like Krafft, was a religious man, and was
so absorbed in his work that sometimes he even for-
got to eat.
His master-piece was the tomb of St. Sebald, on
which he and his five sons worked for twelve years.
St. Sebald is Nuremberg's patron saint. His leg-
end runs as follows:
He was the son of a Danish king; and from early
boyhood seemed set apart for a holy mission. He
had wealth and brilliant prospects; but he fled from
all, vowing to devote his life to God. He spent
years in the forest, in fasting and prayer.
Later, he travelled in Italy; and then wandered
to Northern Germany, everywhere preaching and
performing miracles. At last, he settled in a cell
not far from Nuremberg; and from all parts of
Franconia, people flocked to hear him preach.
Many legends are given of his miracles of charity.
Once he mended a broken kettle by blessing it. Again,
in winter, he found a poor family freezing. He
commanded them- to take the icicles from the roof
of the hut, ana with these he built a warm fire.
265
YOUNG PEOPLE'S STORY OF ART
It is told, also, how he once restored sight to a
blind man, and it was in this wise: St. Sebald was
ill, and longed for a bit of fish from the Pegnitz.
But then, as now, there was a law in Nuremberg that
the peasants could not fish without permission. One
man, however, dared to evade the law. He caught
a fish, and was carrying it to the worthy saint whom
he loved, when he was seized by an officer, and
blinded with a red-hot iron. But being taken to
St. Sebald's couch, his sight was restored.
These legends are important, because they are
among those that are pictured on the shrine. This
stands in St. Sebald's church. The oaken sarcopha-
gus which is said to hold the relics is covered with a
case of bronze and silver, fashioned in richest Gothic
architecture. The base rests upon snails. The can-
opy is supported by slender pillars. Each pillar bears
the tall, graceful figure of one of the Apostles, hold-
ing his appropriate symbol.
St. Sebald stands at one end. The figure is dig-
nified and the drapery effective. He wears a pil-
grim's dress, with a staff, rosary and wallet, and he
has a shell in his hat. In his hand he holds the model
of a church.
At the other end, stands Peter Vischer. His pride
in his art was intense; so he sculptured himself only
as a plain, resolute German workman doing his work.
He wears his apron and cap, and carries his hammer
and chisel. The whole shrine is covered with orna-
ments. There are many children — some of them
playing upon musical instruments; and upon the cen-
tral dome, the Infant Christ appears.
266
GERMAN ART
There is a fine copy of this tomb in the Metro-
politan Museum, New York, and it is worthy of
careful study; for the original is one of the most
perfect pieces of metal-work in the world.
Vischer said that he did it all for the glory of
God, and for the honour of St. Sebald, the prince of
heaven. He wished to have it paid for by voluntary
contributions.
The Nurembergers were very grateful to the good
old saint, for all the people that he had converted,
and for the miracles that he had wrought.
They were grateful, also, to Vischer, for giving
to their town such a rich treasure, yet they did not
pay him well for his work. But his was a great
reward in the fame that it had given him, as the
master bronze-worker in Nuremberg.
The little inn is still shown, where the trio of
fifteenth century workers used to meet, and with
their friends, make merry over their beer.
Many other craftsmen worked there, and many
other legends and fancies cluster about the life of
the old town.
In the sixteenth century, a new spirit influenced
its art history; for, at this time, Martin Luther, the
Reformer, appeared in Germany. He and his fol-
lowers protested against things that they did not like
in the Roman Catholic Church; and for this they
were called Protestants.
The Nurembergers approved of Luther and his
belief; and so Nuremberg became a Protestant city,
and its later art is a Protestant art.
267
YOUNG PEOPLE'S STORY OF ART
ALBRECHT DURER
Nuremberg, as we have found, holds many famous
works of art. Its proudest boast, however, is that
it was the birthplace and home of Albrecht Diirer,
" The Father of Modern German Painting."
Two of the richest treasures which the town holds
to-day are his house, used as an art-museum, and his
fine statue, wrought by the noble sculptor, Rauch,
and dedicated here on Easter Sunday, in 1828, the
three-hundredth anniversary of his death. The story
of Albrecht Diirer's life is a simple and quiet
one.
As Nuremberg was an art centre, craftsmen, eager
for fame, flocked to it from far and near. Among
those who came were a Hungarian goldsmith and his
wife. They settled here, and here in the year 1471,
their famous son Albrecht was born. The boy had
seventeen brothers and sisters, but he was the only
one of the children to become famous.
He had a gentle, loving mother; and a very re-
ligious father, who used to tell his children every day
that they must love God and be true to their neigh-
bours.
He was such a splendid craftsman that he might
have grown rich, if his family had not been so
large.
Little Albrecht had beautiful eyes and soft, light
hair. He had a lovable manner, and was always
fearless and thoughtful. As a child, he had a very
strong and earnest nature.
He was always eager to study, and was sent to
268
GERMAN ART
school until he was old enough to learn the gold-
smith's trade; and then he was put into his father's
workshop. Here he designed in clay small figures
which were to be wrought in metal.
Perhaps the lessons that he learned while doing
this helped him later, in carving beautiful little fig-
ures in ivory and box-wood.
When Albrecht was not working, he was always
drawing pictures; and after a time, he gained cour-
age to tell his father that he wished to be a painter
instead of a goldsmith. The elder Diirer was, at first,
disappointed, but he yielded to his son's desire.
At this time, Woglemuth was the best painter and
sculptor in Nuremberg, and when Albrecht was fif-
teen, he was apprenticed to him. Here, with other
pupils, he worked happily for three years. He
learned to rub colours, and also much about wood-
engraving.
Then the tall, stately-looking youth left the studio,
and passed out into a new world; for now his " wan-
der years " lay just before him. In the next four
years, Diirer travelled as a journeyman from place
to place, always studying and working as he went.
But his father had been arranging a marriage for
him, and in 1495, he recalled him to become a bride-
groom. The bride was Agnes Frey, the pretty daugh-
ter of a wealthy citizen. As soon as they were mar-
ried, the industrious young Diirer settled down very
quietly to work.
When we think of the many things that he learned
to do, we may well compare him with Leonardo da
Vinci. For Diirer was a wood and ivory-carver, a
269
YOUNG PEOPLE'S STORY OF ART
sculptor, engraver, and painter; besides, he was a
civil engineer, and he wrote both poetry and prose.
He worked for ten years at his various profes-
sions, and then decided to visit Italy. He wished
to rest and to study Italian art.
So, in the year 1505, he started, making the whole
journey on horseback; for this was one of the pleas-
antest ways to travel in the sixteenth century. In
Italy, he spent two very happy years.
This was the " Golden Age " of Italian art, and
he enjoyed the friendship of such men as Raphael,
Titian, and Tintoretto. They were charmed with
his personality, and from them he gained great in-
spiration.
Old Bellini, Titian's teacher, was yet living in
Venice. He was fascinated with Diirer's work, and
especially with his painting of hair. One day, after
carefully studying the head of a man in one of
Diirer's pictures, Bellini begged the brush with which
Diirer had painted it; for he wished to try himself.
Diirer handed him a brush lying near him. Bel-
lini tried but he could not succeed. Then Diirer
took the brush, still wet with Bellini's colours, and
with it quickly painted an exquisite lock of woman's
hair. Diirer specially loved the gay, free life in
Venice, the busy gondolas, and golden sunsets, the
pipers and lute-players, arfd most of all — the appre-
ciation shown him by the Venetians. Once he wrote
home to Pirkheimer, his life-long friend, " Oh, how
I shall freeze after this sunshine ! "
But even so, although many inducements were
offered him, nothing could tempt him to remain in
270
GERMAN ART
Italy; for he was a patriotic German, and always
loved his father-land. While on his journey home,
he was taken ill, and on his recovery, painted a pic-
ture on the wall of the house where he had been de-
tained, to show his gratitude for the kind care that
had been given him.
Finally he reached Nuremberg, and again settled
down to his work. He became such a prominent
citizen that he was made a member of the Town
Council. He moved into a fine house; and here we
may imagine him busy with his painting and engrav-
ing, from morning till night.
We might find him in his workshop, surrounded
by workmen and apprentices — some grinding colours,
others preparing blocks for wood-carving; or per-
haps in his studio, thinking out subjects for his works
— for Diirer loved to think.
Among the pictures that he now made was the por-
trait of the Emperor Charlemagne, for the " Relic
Chamber " of Nuremberg.
He represented him in his wonderful jewelled cor-
onation-robe, bearing on one side the German coat-
of-arms, and on the other that of France.
It was a kingly portrait, with which the great Ger-
man painter honoured the one German Emperor,
with whose name the word " great " is imperishably
associated.
Diirer worked very rapidly. His smallest pic-
ture is in the Dresden Gallery. It is but little more
than an inch in diameter; but upon it is exquisitely
represented the whole scene of the Crucifixion.
It always took him a year to paint his larger pic-
271
YOUNG PEOPLE'S STORY OF ART
tures. One of the most interesting of these is an
" Adoration of the Magi," which is now in Florence.
Here the " Wise Men " represent very different races,
one being an Ethiopian, or black man. They appear,
with their gifts, in splendid, embroidered robes.
The fair-haired Nuremberg Mother is robed in
blue, and she gazes lovingly upon her charming Babe.
This picture, in its minutest details, is wonderfully
true to nature. The flowers and butterflies and
beetles, and the stone-wall and mosses peeping from
it, are very real.
Diirer's " Madonna " is usually a much-dressed,
round-faced German Mother, holding a merry little
German Boy.
Diirer's " Praying Hands " has always been noted,
because two clasped hands form such a curious sub-
ject for a picture; and also because they express
more perfectly than any other hands in art the spirit
of prayer. It appears that, for years, a young friend
had competed with him for a prize, and Diirer won
it. The friend, in his disappointment, prayed fer-
vently to be resigned. Diirer caught sight of the
upraised hands and drew the picture.
" The Adoration of the Trinity " is considered
among Diirer's finest paintings. The scene is laid
almost wholly in the clouds. The dove, emblem of
the Holy Spirit, hovers over all. Just below it, God
the Father is presenting his crucified Son to the as-
sembled hosts of adoring martyrs, and to heroes,
kings, cardinals and people of every rank. Far be-
low to the left, is a bit of lovely landscape; while
to the right, Diirer stands holding a tablet.
272
: 5£
X
o
z
<
o
GERMAN ART
But Diirer is really more noted as an engraver
than a painter. Indeed, he is " The Father of Ger-
man Picture-books " ; for he designed so many wood-
cuts that he made it possible for the first time to
illustrate books. When we think how much we enjoy
an illustrated book to-day, we may realise how val-
uable such books must have been in his day.
And what kind of pictures did Diirer put into
books? They were not beautiful — but very realistic.
Some were religious, some showed grim and weird
fancies, and some had a human touch.
Of Diirer's engravings made from wood-cuts, the
most famous series represents " The Apocalypse," or
scenes from the Book of Revelation, the life of the
Virgin, and the history of the Passion of Christ.
His finest engraving on copper is called " The
Knight, Death, and the Devil "; and it is one of the
most fantastic engravings in the world. In front,
a magnificent knight, in full armour, rides through a
rocky pass. He carries a lance in his hand, and his
good sword is at his side.
Grim death holds an hour-glass before him, and
a terrible fiend just behind seems ready to claim his
soul. The knight takes no heed of either, but with
firm face and unflinching purpose rides on!
We are not quite sure what idea Diirer meant to
convey by such a dreadful picture; but may not the
knight be intended for a Christian hero of the day?
Diirer set up a printing-press in his house; and
he was always well paid for the books which he
painted and illustrated.
In 15 12, the Emperor Maximilian visited Nurem-
273
YOUNG PEOPLE'S STORY OF ART
berg; and Diirer as member of the Council was one
of those appointed to receive him.
" Kaiser Max," as the Nurembergers always called
their pet Emperor, was very fond of the fine arts.
He, at once, fell in love with Diirer, and wished him
to do some work for him — we might add to glorify
his life. Diirer was to make a " Triumphal Arch "
in his honour. It was not to be fashioned in stone,
like the arches given to the victorious Roman Em-
perors; but instead it was to be composed of engrav-
ings. Diirer made for this ninety-two separate blocks
of wood-cuts. On these were represented Maxi-
milian's genealogical tree, and the principal events
of his life. All these were arranged in the form of
an arch, nine feet wide and ten and a half high. It
took Diirer three years to do this work, and he was
never well paid.
While the artist worked, the Emperor often visited
his studio; and as Durer's pet cats often visited it at
the same time, the expression arose, " A cat may
look at a king."
Diirer made, also, for Maximilian exquisite
sketches to illustrate his noted " Prayer Book." It
was the custom then to illuminate the pages of a
religious book with all kinds of fantastic things. So
Diirer obeyed the fashion of the day when little foxes,
monkeys, satyrs, Turks, North American Indians,
and various grotesque things, were intertwined as
ornaments with the most saintly subjects.
Maximilian also sat to Diirer for his portrait; and
one day, to divert himself while he was sitting, he
took a piece of charcoal and tried to sketch, but it
274
GERMAN ART
kept breaking in his hand. He asked the artist why
he could not succeed; and Diirer replied, "This is
KNIGHT, DEATH, AND THE DEVIL
— DURER.
my sceptre. Your Majesty has other and greater
work to do."
275
YOUNG PEOPLE'S STORY OF ART
The Emperor granted Diirer a pension, but as he
died soon after, Diirer was obliged to visit his grand-
son, the new Emperor, Charles V., to have it con-
firmed.
So, in the year 1520, he set out with his wife and
her maid, in an old lumbering German coach, on a
visit to the Netherlands.
Diirer was a most delightful traveller, for he was
always enthusiastic over everything that he saw; and
then he wrote such interesting letters describing his
journeys.
He saw the new Emperor enter Antwerp, and the
hundreds of two-storied arches arranged for the re-
ception. Then he hurried on to see a whale that
had been tossed upon the coast, but it had been
washed away before his arrival. Of course, he was
disappointed; but he finally attained his real pur-
pose in going to the Netherlands; for his pension
was confirmed, and besides this, he was appointed
court-painter.
Diirer himself was everywhere received with the
greatest honour, with feasting, and all kinds of gifts.
In return, he very generously gave some of his most
valuable works to the city.
On going home, he brought to his friends many
curious mementos of the places he had visited. He
seems to have had little to'do with the new Emperor
whom we remember as Titian's friend.
This journey gave him fresh inspiration; and he
worked with renewed diligence the last eight years
of his life.
He now painted the so-called " Four Tempera-
276
GERMAN ART
ments," which are in Munich. These are two panel-
pictures; on one are the full-sized figures of St. John
and St. Peter; on the other, those of St. Paul and
St. Mark. The four faces are said to express very
decidedly the characteristics of these four Apostles.
The figures of St. Paul and St. John are considered
to be among Diirer's very finest productions.
Diirer had a genius for friendship. His dearest,
life-long friend was Pirkheimer, a rich and influential
citizen of Nuremberg, and he received many promi-
nent men at his house.
Diirer greatly enjoyed his receptions, and through
them gained much knowledge of the world, and an
interest in religious things; and, also, in the new in-
ventions and discoveries of the time, for this was a
famous age in which he lived.
It was the age of Luther and Columbus and Ra-
phael and Michael Angelo and Caxton — and Diirer,
too, has his place in it as " The Artist of the Dawn-
ing Reformation."
During the last years of his life, Diirer was not
very strong and he was sometimes sad; for he felt
that he had never been very well paid for all his
great works. He died of consumption, in the year
1528. His friend Pirkheimer pronounced his fu-
neral oration, and honoured him by saying, " He
united every virtue in his soul — genius, upright-
ness, purity, energy and prudence, gentleness and
piety."
Later on, the two devoted friends rested side by
side, in St. John's Cemetery; and upon Diirer's tomb
is the inscription " Emigravit."
277
YOUNG PEOPLE'S STORY OF ART
Selection from " Nuremberg."
" In the valley of the Pegnitz, where across broad meadow
lands
Rise the blue Franconian mountains, Nuremberg, the
ancient, stands.
Quaint old town of toil and traffic, quaint old town of
art and song.
Memories haunt thy pointed gables, like the rooks that
round them throng.
Memories of the Middle Ages, when the emperors, rough
and bold,
Had their dwelling in thy castle, time-defying, centuries
old;
• • • • •
Everywhere I see around me rise the wondrous world
of art;
Fountains wrought with richest sculpture standing in the
common mart ;
And above cathedral doorways saints and bishops carved
in stone,
By a former age commissioned as apostles to our own.
In the church of sainted Sebald sleeps enshrined his holy
dust,
And in bronze the Twelve Apostles guard from age to
age their trust;
• • • • •
Here, where Art was still religion, with a simple, reverent
heart,
Lived and laboured Albrecht Diirer, the Evangelist of Art ;
278
GERMAN ART
Hence in silence and in sorrow, toiling still with busy hand,
Like an emigrant he wandered, seeking for the Better Land.
Emigravit is the inscription on the tombstone where he lies;
Dead he is not, but departed, — for the artist never dies.
Fairer seems the ancient city, and the sunshine seems more
fair,
That he once has trod its pavement, that he once has
breathed its air! "
— Longfellow.
HANS HOLBEIN
Not far from Nuremberg, famed as the home of
Albrecht Diirer, is Augsburg — a city over which the
wise Emperor Maximilian ruled — and which he often
visited. It was on the direct route between Italy
and the North, and its commerce was richer than that
of any other German city.
Here, in the fifteenth and sixteenth centuries, an
important School of Art began with the Holbeins.
The first Hans Holbein is called " Old Holbein,"
and little is known about him.
The second, Hans Holbein the Elder, was himself
a painter of beautiful religious pictures, still to be
seen in Germany, and for a long time many of these
were thought to be the work of his more famous son.
Hans Holbein the Younger was the most renowned
of the family. He was born in 1495 or 1497, at
Augsburg, then at the height of its greatness.
Hans Holbein the Elder was poor, and found it
279
YOUNG PEOPLE'S STORY OF ART
hard to support his family. So his two sons, Am-
brose and Hans, had to begin work when very young
and the father taught them his own art. When Hans
was only fifteen, he was painting pictures and earn-
ing money. It is said that his first work was a sign-
board for a school-master.
Who dreamed then that, in later life, he would
win a name destined to live so long !
When he was about twenty-one, he and his brother
went to Basle, in Switzerland. There they illustrated
books, and made designs for the title-pages. Then,
for a time, they left Basle, travelling from place to
place, and working in studios, but in 15 16, they re-
turned home.
Many distinguished men lived at Basle, and here
important writings were published. Erasmus, a great
scholar, wrote a book named " The Praise of Folly,"
making fun of many things of his time, and for it
Hans made illustrations. Afterwards, Erasmus and
the painter were firm friends.
Holbein painted several portraits of Erasmus. In
one of the most noted, he is dressed in a fur coat
and doctor's hat. His hands are resting on a book,
on which are some Greek words, telling of his difficult
task in writing the commentaries on the Bible.
Holbein now painted other portraits, displaying
his genius for the special work in which fame awaited
him. In 15 17, we find him at Lucerne, that charm-
ing Swiss city, now noted for Thorwaldsen's " Lion,"
carved in the solid rock. But, in a few years, he
once more called Basle his home, became a citizen, a
member of the Guild of Painters, and began his busy
280
GERMAN ART
career. He ornamented houses, illustrated books,
made designs for stained glass and silver-work, and
engravings for woodcuts.
Now an important thing happened. In 152 1,
Martin Luther published his translation of the New
Testament; and Holbein had the honour of making
the title-page for the second edition, although the
Pope had condemned the work. And after this,
Holbein, in his pictures, showed himself an artist
of the new faith of the Reformation.
Of his religious pictures, the most celebrated is
" The Meyer Madonna." It was named for the
Burgomaster, Jacob Meyer, for whom it was painted.
There are two such pictures — nearly alike — one at
Dresden, the other at Darmstadt, and art critics differ
much as to which is the original.
The Burgomaster and his family are kneeling in
worship before the Madonna. She stands in the
centre, holding the Child Jesus. The Burgomaster
is on the left; at his right, are his first and second
wives — the former dressed in her burial clothes —
and in front of him are his son and a little babe.
The Madonna with an expression of peace is gaz-
ing upon the family below. The Child raises His
hand as if in blessing.
This is probably a votive picture, which means one
made to fulfil a vow, in gratitude for mercy, or to
avert some danger. Such pictures were often painted
after escape from accident, or recovery from illness.
But Hans Holbein — though German in spirit
and work — was soon to seek a new home and new
patrons.
281
YOUNG PEOPLE'S STORY OF ART
He went to England, in 1526, taking a letter of
introduction from Erasmus to Sir Thomas More, the
Chancellor of King Henry VIII. Sir Thomas re-
ceived him with great favour, allowing him to make
portraits of himself and his family; and they were
such striking likenesses that they gave Holbein a
wonderful reputation. Of these, there is told a well-
known story. Sir Thomas would not attend the wed-
ding of Anne Boleyn to King Henry VIII. and this
was not forgiven by the Queen.
On the day of More's execution, she looked at one
of his portraits painted by Holbein, and angrily ex-
claimed, " Ah, me! the man seems still to be alive! '
Then seizing the picture, she flung it into the street;
and it is said that eventually it was taken to Rome.
Holbein painted portraits of many of More's
friends. In the Louvre, is one of Nicholas Kratzer,
the astronomer of the King, surrounded by his instru-
ments. In 1528 or '30, Holbein was again in Basle,
finishing some frescoes for the Town Hall. But
hard times and religious troubles hastened his return
to England. On reaching there, More, disgraced,
had lost his office and could not help the painter —
but fortunately he had other friends.
• He spent a little time with the German merchants
at " The Steelyard," and painted some of their por-
traits. That of George^ Gyse, now in Berlin, is
especially well-known. He is in his office, busy with
affairs, and holds in his hand a letter just received.
The steelyard, or scale for weighing money — the sign
of the merchants' guild — hangs from a shelf above
his head.
282
HOLBEIN
"THE MADONNA OF THE BURGOMASTER MEYER." FROM THE
PAINTING IN THE DARMSTADT GALLERY
GERMAN ART
Ruskin thinks that this picture shows Holbein's
greatest power in detail and finish. He writes —
" the carnations in the glass vase by his side, the ball
of gold chased with blue enamel suspended in the
wall ... the seal ring with its quartered bear-
ings, all intensely there, and there in beauty of which
no one could have dreamed that even flowers or gold
were capable, far less parchment or steel.
And now for several years, we find Holbein con-
stantly painting famous people in both portrait and
miniature. He grew more and more popular. Royal
patronage awaited him.
When King Henry VIII. was visiting More he
had seen some of Holbein's pictures, and was offered
whichever he liked, but the King asked that the
painter be brought into his presence. He engaged
him in his service, and told More that now he had
secured the artist — he did not wish the pictures!
So, in 1532, we find Holbein honoured as the court-
painter. The King gave him an apartment in the
palace at Whitehall, a salary of two hundred florins,
and the price of his pictures. In his long service,
he painted his Majesty many times, and perhaps all
his wives, except Catharine Parr. And these por-
traits, especially those at Hampton Court, are inter-
esting memorials.
This anecdote shows the King's devotion to Hol-
bein. One day a nobleman went to the studio, and
insisted on going in. The artist said that, by the
King's order, he was painting a lady's portrait.
The nobleman still insisted. Then Holbein, very
angry, threw him downstairs, and hurried to tell the
283
YOUNG PEOPLE'S STORY OF ART
King what he had done. The King asked for the
whole truth.
Soon the nobleman came to tell his story, and tried
to excuse his rudeness. The King blamed him for
his want of truth, and said, " You have not to do
with Holbein — but with me; I tell you of seven
peasants I can make seven lords, but of seven lords
I cannot make one Holbein. Begone — and remem-
ber that if you ever attempt to avenge yourself, I
shall look on any injury offered to the painter as done
to myself."
And here we turn aside to tell an amusing anec-
dote of Holbein when he, too, went to visit an artist
in his studio. Finding him absent, he painted a fly
on a picture which was on an easel. The artist, on
returning, saw the fly and tried to brush it off. He
searched the city over for Holbein when he found
him to be the culprit — but he had gone to England.
In 1538, the King sent Holbein to Brussels to make
a portrait of his intended fourth wife — the Duchess
of Milan. The law was, that no Basle citizen could
enter the service of a foreign ruler without permis-
sion from the Council — so Holbein went home to
get leave to remain in England. This was obtained,
though the people tried hard to keep him at Basle.
Henry never married the Duchess — and the story
goes that she sent the King' word that she had but
one head; if she had two, one of them should be at
his Majesty's service.
Cromwell, the king's minister, ordered Holbein to
paint another Duchess whom the King wished to
marry — Anne of Cleves. He was delighted with the
284
GERMAN ART
lovely portrait, but sorely vexed when he saw the
Duchess herself. Holbein managed to escape the
King's anger — but the unlucky Cromwell who had
favoured the marriage lost his head — " because Anne
was a Flanders mare, and not a beautiful Venus as
painted by Holbein."
Holbein spent his last years in London. In 1543,
the plague raged there, and we are told that early
in October, Holbein made his will — and he died
before the twenty-ninth of November; but few facts
are known about his death and burial.
As a whole, his " way in the world " had brought
him rank and friendship and success. But he knew
much of worry and toil — his marriage was an un-
happy one — and he spent many years of his life away
from his native land.
If we wish especially to study him, we must go to
Basle. Here are some of the most valued of his early
portraits, in the gallery with his scenes from " The
Passion of Christ." Here, too, in the museum,
is the best portrait of Holbein himself, in red and
black chalk, which represents him with regular
features and with a look showing a cheerful spirit
and much force of character.
At Basle, too, Holbein probably made his designs
for "The Dance of Death." Some think that he
himself cut them. Death, very grim and fierce, is
calling to wild revelry all classes — kings, cardin-
als, peasants, peddlers, lovely women, and little
children.
In the Middle Ages, artists liked to paint on this
subject; so perhaps the idea was taken from some
285
YOUNG PEOPLE'S STORY OF ART
early Miracle Play, and Holbein was glad of a chance
to unite pathos and humour.
But as a painter, Holbein's fame rests largely upon
his rare power in portraiture. He puts into his
pictures little imagination, but they are marked by
vigour and individuality and naturalness of expres-
sion. His " clear outline " has become a proverb.
As has been said, his heads were " so simply yet thor-
oughly and forcibly finished that he ranks in this
respect with the renowned artists of any age or
country."
An art critic has said that Holbein " stands next
to and beside Diirer as the greatest of German
painters"; and another that perhaps he is "even
more typical of the Protestant artists of the Refor-
mation."
Certain it is, that after Diirer and Holbein, few
painters of distinction appear in German art, until
the nineteenth century.
" The magic of a face."
— Carew.
LATER GERMAN ART
Under the influence of Diirer and Holbein, in the
sixteenth century, Germany had already enjoyed one
" Golden Age " of painting, while the native mas-
ters of England and France were just beginning to
be known. But in the seventeenth and eighteenth
centuries, there were few good painters in Germany.
Early, however, in the nineteenth, her glorious art
began to revive; for now a Brotherhood of young
286
GERMAN ART
painters determined to accomplish better things, and
bound themselves together by a common purpose of
religious enthusiasm.
They determined that they would not, like the
French, introduce new forms; but they would go to
Rome, and there, under the inspiration of the olden
day, they would revive the spirit of the earlier mas-
ters. Their ideals should be Giotto, Fra Angelico,
and other religious painters who lived before Raphael
— a pre-Raphaelite art theirs might well be called.
So over the Alps they went, like so many painters
before them, to study in the " Eternal City." Some
of them lived in an old convent, and in order to work
in the religious spirit of the early masters, some that
were Protestants became Roman Catholics.
And, then, to have their lives accord with their
works, they lived as ascetics; and as simple lives re-
quired simple garments, they wore primitive cos-
tumes, and allowed their hair to flow over their
shoulders. People called them " The Nazarites,"
or " Long-haired Painters."
And what of their work? They would paint only
religious pictures, and in these they revealed the
stiff forms, the symbolism, the pale colour, and the
quaint drawing of the early painters of such subjects.
But the soul of the earlier pictures was wanting.
Somehow that they could not reproduce!
Overbeck was the leader of the Pre-Raphaelites.
He gave up his whole life to his principles; and the
spirit of his work greatly influenced later art. His
frescoes are very stiff and very religious; and he was
always trying to become a modern Fra Angelico;
287
YOUNG PEOPLE'S STORY OF ART
but he was unable to attain to the simple holiness
expressed in the work of " The Angelic Brother."
The Brotherhood did not last long. How could
it, in a century so full of new theories ! But it must
always be honoured, because it did its part in reviv-
ing the great beautiful German art of to-day.
Cornelius was, for a time, one of the Brother-
hood; but he was a man of too many ideas to be
bound to one art subject, and he was glad when he
received a call to return to Germany, as a professor
in the Dusseldorf Art School.
Diisseldorf was then the home, not only of this
School, but also of a famous picture-gallery, and here
many German painters were educated.
But, like the Classical School of France, it was
too conventional, and lost its influence as art became
independent and romantic.
So it was easy for the music- and art-loving King
Ludwig of Bavaria to induce architects, sculptors, and
painters to come to his capital Munich, and to assist
him in making it " a city beautiful." And it became
"a little modern Rome"; for fine buildings were
erected in the old classic style of architecture, and
their walls were frescoed over, sometimes both with-
out and within.
Cornelius was summoned here from Dusseldorf,
and for a while, he was the leading decorator in
Munich. His frescoes are immense, covering great
walls of the public buildings; but his colouring was
weak, his execution often coarse, and his faces lacked
expression.
But only a famous master could have accomplished
288
GERMAN ART
his work, for decorative art is very difficult. In-
deed, some think that it requires more genius than
any other. It is not like a picture that can be moved
about at will; but, instead, it must be adapted to
the spirit of the building in which it belongs; the
figures must fit perfectly into the architectural wall-
space, for which they are designed. Sometimes these
figures represent persons; and sometimes ideas, each
one absorbed in its own mood, and altogether mak-
ing a harmonious whole.
Cornelius had grand conceptions on a great va-
riety of subjects. Perhaps the frescoes that the pa-
triotic Germans liked best were his scenes from their
Epic poem — the " Nibelungenlied," in which he pic-
tures the bravery of the legendary heroes of " the
Fatherland."
Kaulbach was the favourite pupil of Cornelius.
He is more popular than his master, for his works
have in them much more charm and sentiment.
Kaulbach's desire was to paint on a variety of
subjects and he succeeded. He is known for his sim-
ple love scenes, for his incidents taken from Shake-
speare's plays, and more than all, for his great
frescoes, representing poets, sages, heroes, and gods.
He was very fond of detail and of grouping; and
could paint best on large canvases, which gave scope
for his bold, sweeping outlines.
King Ludwig eagerly summoned Kaulbach to be
his court-painter, and begged him to adorn Munich.
He was called, also, to Berlin, by the King of Prus-
sia, to decorate the grand stair-case of his new mu-
seum. And while the painter worked busily on his
289
YOUNG PEOPLE'S STORY OF ART
stupendous designs, it was always a pleasure to visit
him in his studio, even though the guests were re-
ceived by the painter seated high upon a scaffold, busy
with his colours and with biscuits and beer at his
side.
To realise what a great work Kaulbach has done,
one should make a pilgrimage to Munich, or else
linger with the crowd on the grand stair-case of the
Berlin Museum. Standing here, we see before us
his vast frescoes taken from historical subjects, from
the Tower of Babel to the Reformation.
The boldest and weirdest of all is " The Spectre
Battle." History tells us how the Romans and bar-
barian Huns fought for three days. The slaughter
was immense and neither would yield. Then legend
takes up the subject and describes the spectral fig-
ures of the slain, continuing forever the combat in
the air. Kaulbach pictures the legend, and his spec-
tres are fighting terrifically over the field of the slain.
" The Destruction of Jerusalem " is also here, and
it may be seen, too, as an oil-painting in Munich.
This, also, is a historic, dramatic picture. In its
upper part appear the reproving faces of the prophets
who have warned the Jews, and who are now gazing
down upon the destruction of their Holy City. An-
gels of vengeance are trumpeting in the air.
Titus, the Roman conqueror, rides in triumph over
the ruins; while havoc and desolation are being
wrought by his soldiers. The High Priest prepares
to stab himself. The wandering Jew starts forth to
wander forever, pursued by the furies.
But in one corner is a contrasting scene— calm and
290
GERMAN ART
Deautiful. For here a holy family, unmindful of the
:umult, are peacefully leaving the city — so slowly
:hat the ass even stops to graze.
Kaulbach's colouring may be weak, and sometimes
le may be too dramatic but his conceptions are un-
doubtedly masterful. Through his influence and
:hat of his successor Piloty, the stiff forms of the
Nfazarite painters were forgotten, in the brilliant and
striking scenes which were now painted. Kaulbach
is rightly named " The Morning Star of Modern
German Painting."
SOME FAMILIAR GERMAN PICTURES
[n closing our little sketch, we glance at the works
of a few modern painters. Possibly these may give
us some insight into the fashion of the German art
3f to-day.
And first there is Knaus, the Berlin genre painter,
whose charming pictures appear like sunny spots
among those of more serious masters. His attractive
children are always telling a story — often humor-
ous and sometimes pathetic.
Perhaps we are already familiar with his pictures.
Which one do you think most pleasing? Among
them are " The Rag Baby," " The Juggler," " The
Thousand Anxieties," "The Card Players," and
"Spring." It is in the last that the dainty little
maiden is picking daisies.
Knaus also painted rustic scenes and " The Golden
Wedding" which young and old alike enjoy. In-
deed, as everyone loves a good story, he is always
popular.
291
YOUNG PEOPLE'S STORY OF ART
He easily turned from these subjects, when, in
1876, the Empress of Russia asked him for a Ma-
donna. This sacred subject has not been a common
one in the nineteenth century, for no artist has been
able to reproduce the fervour of the earlier masters.
But Knaus's Holy Mothers are very pleasing, and
his Christ-Child and Joseph, and the little cherubs
hovering in the air, recall Murillo and Raphael and
Correggio — all three.
If one would enjoy more dramatic pictures, there
are those of Max, " The Poet-Painter of Munich."
He, too, is greatly liked in both Germany and Amer-
ica. There are rarely more than one or two figures
in his compositions, and his power lies in repro-
ducing a tragic moment with dash and boldness.
One of his most powerful works is " The Last
Token." Here a beautiful young Christian martyr,
surrounded by wild beasts, is left to perish in the
arena. The tigers are fawning over her as they are
preparing to spring upon her and tear her to pieces.
But the maiden, for a moment, is diverted from her
agony, for someone from above has thrown her a
rose. Is it her lover? She leans helplessly against
the wall and gazes upwards.
Again in his " Lion's Bride," Max has shown his
vivid dramatic power. The incident taken from one
of Uhland's poems is as follows: The beautiful
daughter of the keeper of a menagerie is in the habit
of entering the cage of a favourite lion to feed and
caress it. It has grown very fond of her.
Now she is to be married, and just before the cere-
mony, she enters the cage in her bridal gown to bid
292
X
< £
3 i
2 \
ca o
< 3
THI
PUBLJv
GERMAN ART
her pet farewell. The king of beasts sees her gay
attire, and by some strange instinct feels that she
loves another, and in a fit of jealous rage, he strikes
her down. He crouches beside her, in the picture,
with one great paw on her prostrate form — with his
ugly, green eyes he glares at her lover.
The latter, looking through the bars and seeing
his lovely bride torn from him, is about to shoot the
furious beast.
Max has also painted Madonnas, and in them he
returned to the early style of perfect simplicity in
dress. The faces are portraits, whether of peasant
or princess we do not know ; but they are very charm-
ing, and always irradiated by love.
One of the interesting sights of Munich to-day is
a superb Roman villa and studio, beautifully deco-
rated with antique marbles. These are pointed out
as having belonged to Franz Lenbach, who from a
simple Bavarian peasant became a real dictator in
both the art and social world of Munich. Himself
a faithful student of earlier art, his advice to young
men was — " Study the old masters ! "
He is most noted for his portraits of many promi-
nent men and noble ladies. Indeed, he painted all
kinds of people — from kings and princes to the
grimy little chimney-sweep, whose face attracted
him. For Lenbach was great enough to do the thing
that he wished ! Once when someone asked him
his charge for a portrait, he replied, " That depends
— from twenty thousand marks which I may ask,
down to five thousand marks that I may be willing to
pay, for an exceptionally interesting face ! "
293
YOUNG PEOPLE'S STORY OF ART
He gave little thought to costume or detail, but
very much to a careful study of expression — so every
feature of his faces is pictured most vividly. Some
think that his portrait of Pope Leo XIII. is the
finest portrait of any Pope since Raphael painted
Julius II.
But perhaps it is as the painter of Bismarck that
we know him best — Bismarck whom Lenbach has
called, "The greatest Roman of them all! " How-
ever, the " Iron Chancellor " always proved a diffi-
cult subject, for he never cared to be immortalised,
either by portrait or statue.
Indeed, he used to say when in his walks at Kis-
singen he was obliged to pass his own statue — " It
disturbs me when I stand as it were beside myself."
But Lenbach was fortunate in being a great
favourite of the Bismarck family, and he often
enjoyed their charming hospitality. With his brushes
and colours he would gather with the others around
the evening lamp, and then often catch an expression
and work it up while Bismarck was absorbed in other
things. So his portraits are very life-like and fa-
mous, too.
One of the favourite pictures in nineteenth century
German art is " The Christ in the Temple," painted
by the Dresden artist, Heinrich Hofmann. The
Jewish Rabbis of old stood face to face with the real
Christ; we look only upon the picture, and to many
it is the one best loved.
Hofmann painted only when the inspiration was
upon him. What a beautiful one must have guided
his brush as he touched this face!
294
H. HOFMANN
THE CHRIST IN THE TEMPLE
GERMAN ART
The wonderful boy, now twelve years old, stands
in the Temple among the Doctors — " Both hearing
them and asking them questions." His face is strong
and thoughtful, and yet of ideal beauty. His grace-
ful figure is robed in a simple white tunic, in striking
contrast to the costly robes of the Rabbis about
Him.
His earnest questions seem to amaze his listeners.
What variety of sentiment is expressed in their coun-
tenances ! Does a new light flash upon them as they
listen to the words of Him who spake as never
man spake? How naturally the profound philoso-
pher at the left absently strokes his beard as he listens.
The patriarch leans heavily upon his staff. Does his
look express curiosity or criticism? Surely it is a
fair-minded thinker with a speaking face that stands
beside Him. At the right, sits an expounder of the
law — his book open before him. We wonder to what
passage the Christ-Child is pointing.
We see copies of the picture everywhere, but we
may never realise its full beauty, until we stand be-
fore the original — in its rich, dark colouring — in
Dresden.
This is but the merest glimpse into the modern art
world; but even this must reveal to us the dramatic
power, the religious spirit, the famous portraits, the
lovely children, and the soul shining through them all.
And there are hosts of painters and many art sub-
jects.
Among the landscape-painters, Achenbach ranks
very high, and we may travel with him from the
wild Norwegian coast to sunny Capri. And as to
295
YOUNG PEOPLE'S STORY OF ART
animals, Verboeckhoven's sheep, Schreyer's Arab
horses, and Voltz's cattle — are world-famed.
We know how the German government, in past
centuries, has had various capital cities; and German
art, like its politics, has had many centres.
Among them are Nuremberg, Augsburg, Dresden,
with its lovely gallery, Diisseldorf, and Munich. But
now Berlin has become the splendid capital of united
Germany, and it is now becoming its art centre. Its
school is strong, and its Royal Academy holds annual
exhibitions and awards prizes.
Dresden and Munich have so long been famous
that perhaps they may dispute with Berlin the honour
of claiming the best art. But it is in all these cities
that we study the lives and the works of the great
German masters of to-day.
296
English Art
X
EARLY ENGLISH PAINTING
English tradition tells us that, in the eighth cen-
tury, the Venerable Bede, in the quiet gloom of his
monastery, taught the monks to illuminate manu-
scripts; and missals and prayer-books belonging to a
little later age are still to be seen to-day. Some of
them are illuminated in rare designs and in gorgeous
colouring.
In these manuscripts is traced the beginning of
English art.
It is found, too, in the rich colours emblazoned
on the windows of the early cathedrals, in the deco-
rations on the walls of castles and palaces, and also
in the miniature-painting of later mediaeval days.
Apart from these examples, English art can boast
of no early history. But the English were great trav-
ellers; and as time passed on, they became interested
in the works of art which they saw in other coun-
tries, and sometimes foreign painters visited England.
In the sixteenth century, Henry VIII. called the
German Holbein to his court, and Queen Mary and
Queen Elizabeth also welcomed foreign artists.
But it was in the reign of Charles I., in the seven-
teenth century, that the most splendid liberality in
art was displayed; for the king loved art for its
own sake. We remember that he knighted both
Rubens and Van Dyck, and that the latter, by his
299
YOUNG PEOPLE'S STORY OF ART
magic brush, immortalised both the king and his
court.
Sir Peter Lely, a German, was court-painter to
Charles II. He so flattered the court ladies that
not one of them was satisfied, until he had transferred
her charms to canvas. So the silly, sleepy-eyed beau-
ties of Hampton Court are to-day as familiar as the
more stately dames of the earlier day.
Lely painted Cromwell, too; but as the Protector
told him that he would not pay, if he dared to flatter
him, Cromwell's face is covered with wrinkles and
warts.
Sir Peter Lely was succeeded by Sir Godfrey Knel-
ler, who painted several crowned heads.
And with the foreign artists came a great demand
in England for foreign works of art, many of which
were brought into the country. It was the fashion
for these pictures to be in very dark colouring; and
often more was paid for one because it was nearly
black, than because it was executed by a master.
Just about this time, a noted English artist, Sir
James Thornhill, appeared. He decorated the cu-
pola of St. Paul's Cathedral, and advanced some
excellent rules for art. He was followed by his
son-in-law, Hogarth, who, in the eighteenth century,
became the first English interpreter of English
life.
Hogarth was tired of foreign artists and foreign
pictures; and determined that he would tell his story
as an Englishman. He was a merry little man, and
wherever he went spent much time in studying faces.
When he saw one that interested him, he would pre-
300
ENGLISH ART
serve it with a few rapid lines on paper — if he had
any — if not, on his thumb-nail. Later, he would
introduce it into some group.
Hogarth lived in a frivolous age; and the things
that he saw in London homes and London streets
were the faults and follies which lay hidden beneath
the polish of social life. His pictures display a
wonderful study of character. They are spirited,
often humorous, and marvellous in detail. Each one
bears its own moral.
English painting really began with Hogarth; but
it developed so rapidly that even in the eighteenth
century, it claimed a foremost place.
" An Artist is one who knows how to see, and who makes
us see with him."
SIR JOSHUA REYNOLDS
Portrait-painting had been thus far the favourite
art in England, and now appeared Sir Joshua Rey-
nolds, often called " The Van Dyck of the Eight-
eenth Century."
He was born in the year 1723, in Plympton, Dev-
onshire. His father was master of the grammar-
school there, and when in time little Joshua became
his pupil, he determined to give him a classical edu-
cation, and afterwards to fit him for the medical pro-
fession. But to his disappointment Joshua cared
very little about good lessons, but very much about
defaced Latin exercises, and whitewashed walls deco-
rated by means of burnt sticks.
301
YOUNG PEOPLE'S STORY OF ART
When the boy was twelve years old, he made his
first portrait. It appears that one Sunday, while
the Rev. Mr. Smart was preaching, Joshua, growing
tired of the sermon, sketched on his thumb-nail the
features of the preacher. The service over, he hur-
ried away to an old boat-house on the beach ; and
here, taking for his canvas a bit of a sail, he painted
upon it with common ship-paint the portrait of the
Rev. Mr. Smart.
His "classical education" was soon abandoned;
and at the age of seventeen, young Reynolds was sent
to London to study art, under a fashionable teacher
named Hudson. After working for two or three
years, he returned to Devonshire, where he set up for
himself as a portrait-painter.
Reynolds had a brave young friend, Captain Kep-
pel, who was in command of a war-ship; and in
1649, he invited the artist to go with him to the
Mediterranean Sea. This seemed to Reynolds the
golden opportunity of his life and so it proved.
How keenly he enjoyed the voyage over the blue
sea, stopping at various ports, and painting the por-
traits of the officers. On reaching Italy, he left
the ship, and remained for three years to study
art.
Then he returned to England; and such a change
had taken place in his ideas "of form and colour that
he came at once into the front rank of English por-
trait-painters.
Poor Hudson could paint heads well enough — but
he was never known to place one properly on the
shoulders ! When he looked at one of Reynolds's por-
302
ENGLISH ART
traits, and saw how he had departed from the style
in which he had taught him, he exclaimed sadly,
" Why, Reynolds, you don't paint so well as when
you left England! "
Captain Keppel had often described to Reynolds
his shipwreck off the coast of France, which took
place when he was but twenty-one years old, and Rey-
nolds had determined to represent the scene. And
now, on his return, it was one of his first achieve-
ments.
The action takes place just after the shipwreck.
The young captain is upon a rocky coast; the waves
curl about his feet, as he steps forward to issue an
order for the safety of his crew. This animated
scene made such a sensation in England that its ap-
pearance proved the real beginning of Reynolds's
fame and fortune.
Reynolds never cared much for his fellow-artists.
But instead, we always associate him with a celebrated
club which was presided over by the brightest literary
men of the day. Dr. Johnson, was its centre, while
Garrick, Goldsmith, Gibbon, Burke, Reynolds, and
other men of note, were prominent members. We
know these men by their writings ; and we know their
faces, too, because Reynolds has preserved them
for us.
Dr. Johnson was first attracted to Reynolds, by
hearing him make a remark which showed that he
was in the habit of thinking for himself; and a
life-long friendship at once sprang up between the
great lexicographer and the young painter.
Reynolds lived plainly in London, until the year
303
YOUNG PEOPLE'S STORY OF ART
1760, when he moved into a new house, ever after-
ward his home. He never married, so his sister or
niece usually presided.
His sister, Miss Frances, was " The Dearest
Dear " of Dr. Johnson. But she was a nervous
woman, and her personality always curiously affected
her brother. She sometimes made copies of his
pictures, of which he once said, " They make other
people laugh — but me cry."
Reynolds's home was a most hospitable one, and
for thirty years, almost everyone in London who
was prominent in art, literature, or politics was in-
cluded among his guests.
His dinners were served promptly about five
o'clock. It never mattered, if the table, laid for
seven or eight, was, at the last moment, extended
to accommodate fifteen or sixteen — the diners must
only sit the closer 1
There was often a real need for knives and forks
and plates and glasses. But that was forgotten, be-
cause the dinner — or " scramble," as it was some-
times called — did not depend on the viands. It was
instead " A feast of reason and a flow of soul," and
Reynolds, or better Sir Joshua, presided graciously
over the noisy and brilliant assemblage. He was
very fond of smart society, and as Hannah More has
said, " he was the idol of every company."
When he first moved into his handsome house, he
set up a gilt coach painted all over with allegorical
figures. In this he compelled his sister to take a
daily airing, so that " the coach might be seen in
the public streets." This shows that Reynolds knew
304
ENGLISH ART
how to advertise, even though he lived as long ago
as the eighteenth century.
As soon as he was sure that he was popular, he
doubled the prices of his portraits — after this always
charging twenty-five guineas for a bust, fifty for a
half-length figure, and one hundred for a full-length
one.
Reynolds painted rapidly, and his brushes had
handles eighteen inches long. The sitter's chair
which was rolled about on casters was raised upon
a platform. He usually received six sitters daily,
and to make the time pass pleasantly, he entertained
them with stories and recitations. He rarely gave
them a fixed pose, but they were usually engaged in
some natural occupation.
He painted so rapidly that sometimes he finished
a portrait in four hours. He was very industrious,
and used to tell his pupils that, if they wished to
become famous, they must work morning, noon, and
night.
As a colourist, he has always been known for his
yellows and tawny browns, and for his warm, mel-
low light. He had a theory that blue and green
should be used very little, and only to set off these
warmer colours. It is a great pity that he so mixed
his colours that many of his pictures are now very
much faded.
He greatly admired Rembrandt, Rubens, and
Michael Angelo, and gained from them many ideas
of form and colouring.
It was especially through Reynolds's influence that,
in the year 1768, the Royal Academy was founded.
305
YOUNG PEOPLE'S STORY OF ART
This was intended to be an art-school for students,
with an annual exhibition for the sale of pictures.
It was to be presided over by distinguished literary
and artistic men of the day. Reynolds was the first
president; Goldsmith, the professor of ancient his-
tory, and Dr. Johnson, of ancient literature. For
twenty years, Reynolds was closely associated with
the Royal Academy; and during this time, he sent
two hundred and forty-four pictures to its different
exhibitions.
In 1769, he was knighted by King George III.,
and now every year seemed to add to his fame and
influence. He had already been known for years as
the fashionable portrait-painter of London, even
from the time when he had first exhibited his Dicture
of Captain Keppel.
Another of his most admired early works was the
portrait of Lady Elizabeth Keppel, in her brides-
maid dress, at the marriage of George III. Her
costume is of gleaming white and silver. She is
about to adorn a statue of Hymen with a wreath,
and in order to heighten her charms, the wreath is
being handed to her by a negress.
Sir Joshua had a special gift for the portrayal
of children, luring them to interest with toys and
tricks. He revealed very naturally their sweet, inno-
cent charm. His little people are simply dressed,
though most of them are really lords and ladies.
Among them, curly-haired " Lady Gertrude Fitz-
patrick " appears, clasping a bunch of grapes. " Red-
haired Robinetta," with a robin perched upon her
shoulder, assumes a most graceful attitude. The pose
306
ANGELS HEADS.
REYNOLDS.
ENGLISH ART
of sweet " Simplicity " is also perfect. Simple, of
course, as her name implies — but how dignified!
In striking contrast to these well-poised maidens,
the baby Duchess of Gloucester rolls upon the green-
sward with her fluffy dog. What a round chubby
face hers is, circled by the neat, frilled cap !
" Little Miss Bowles " sits on the edge of the
wood, hugging her dog. She gazes so gleefully out
of the canvas that we are sure the artist is winning
her by some merry story. Then there is the sweet
timid little " Strawberry Girl." Sir Joshua loved her
best of all — perhaps because she was his favourite
little niece Offy; or because he felt that this picture
was one of the best which he ever painted.
This turbaned little maid steals shyly along, her
hands folded demurely on her breast. Her red lips
and the strawberries in her pottle form a pretty con-
trast to the tawny brown shades of the background.
In looking at " The Angels' Heads," we perhaps
do not realise at first that all the heads belong to
just one little maiden — the golden-haired daughter
of Lord William Gordon. She was so fascinating
that Sir Joshua could not decide to paint her in any
one position; so he finally grouped five different
views of her face, added wings, and five graceful
little cherubs, in most delicate colouring, appear upon
the canvas.
How charming a child's play-room would be sim-
ply hung with prints copied from Sir Joshua's
children 1
When he was painting the great portrait-group of
the Marlborough family, little Lady Anne, aged
307
YOUNG PEOPLE'S STORY OF ART
four, was brought in, and clinging to her nurse she
cried, " I won't be painted! " In order to comfort
her, Sir Joshua put into the hand of her sister, Lady
Charlotte, a gigantic classic mask, and this appears
in the stately scene.
Beside his children, some of his family groups are
greatly admired. One of the most superb of these
is " Lady Cockburn and her Children." When it
was uncovered at the annual exhibition of the Royal
Academy, in 1774, the painters saluted the graceful
lady by clapping their hands.
Lady Cockburn is seated in a portico, playing with
her three frolicsome boys. At their back is a flut-
tering red curtain, and at the side, in gorgeous feath-
ers, appears Sir Joshua's favourite macaw; for it
was a fashion in those days to introduce a bird into
a portrait.
At this time, Mrs. Siddons was the finest actress
in London. Someone had called her " The Tragic
Muse," and in this character, Sir Joshua painted her
portrait.
When he first led the lady to her throne-like chair
he said to her, " Ascend your undisputed throne —
bestow on me some idea of ' the Tragic Muse ' 1 "
" Upon which," as she says, " I walked up the steps
and seated myself! "
In the portrait, she looks as if she were gazing
off into space and seeking an inspiration. Crime and
Remorse stand behind her.
Like other portrait-painters, Sir Joshua often
found his suggestion in the figures which Michael
Angelo painted on the ceiling of the Sistine Chapel,
308
Portrait of Lady Cockblrn and her Children.
Reynolds.
PU
ENGLISH ART
and in his " Mrs. Siddons " he probably recalled the
figure of Isaiah.
When he finished, he inscribed his name upon the
gown of " The Tragic Muse," and complimented
her by saying, " I could not lose the opportunity of
sending my name down to posterity on the hem of
your garment."
"Little Miss Bowles," "The Angels' Heads,"
" Lady Cockburn," and " Mrs. Siddons," are to-day
among the best preserved of Sir Joshua Reynolds's
pictures. Among his sitters were many noble lords
and ladies, in dark rich colouring — rivals in beauty
and elegance.
He excelled also in other kinds of pictures but
they show less talent.
Sir Joshua had hosts of friends. Garrick, the
actor, Burke, the orator, and Ramsay, the poet-
painter, were among his most frequent guests. To
him, Goldsmith dedicated his " Deserted Village."
It is a simple touching dedication, closing with the
following words: "You can gain nothing from my
admiration as I am ignorant of your art, but I must
be indulged in following my affections. The only
dedication I ever made was to my brother, because
I loved him better than any other man. He is
since dead. Permit me to inscribe this poem to
you."
It is said that, on the day before Dr. Johnson died,
he made of Sir Joshua three requests: To forgive
him thirty pounds which he had lent him; not to
paint on Sunday; and to read the Scriptures daily.
Sir Joshua promised and remembered his promises.
309
YOUNG PEOPLE'S STORY OF ART
Sir Joshua never cared much for the society of
women; but for the artist, Angelica Kauffmann, he
seemed, at one time, to feel a tender attachment.
She sat to him as " Miss Angel," and she said of him,
" Sir Joshua is one of my kindest friends; as a proof
of his admiration for me, he has asked me to sit for
my picture, and in return I am to paint his ! "
Besides painting, Sir Joshua wrote valuable dis-
courses on art, which were read before the Royal
Academy. The last one ended with a noble pane-
gyric on Michael Angelo, " the mighty one," whom he
had worshipped throughout his own career, and he
closed as follows: "I should desire that the last
words I should pronounce in this Academy and from
this place might be the name of Michael Angelo."
Sir Joshua when a young man in Italy had caught
a cold which resulted in deafness, and for many years
he was obliged to use an ear-trumpet. Although this
was hard, he always felt that it gave him one ad-
vantage: for whenever he did not enjoy the conver-
sation, he simply dropped his trumpet and took snuff
As he grew older, his sight troubled him, until,
losing entirely the use of one eye, he feared lest he
should be totally blind. Added to these troubles, a
slight shock of paralysis saddened his last days.
He died in the year 1792. His funeral was one of
the most magnificent seen- in England in the eight-
eenth century; and he was buried in St. Paul's Ca-
thedral, near the tomb of Sir Christopher Wren.
When Goldsmith died, he left an unfinished epi-
taph which he had dedicated to Reynolds. It is a
true word-picture of the " Prince of Portrait-paint-
310
ENGLISH ART
ers," written by the hand of a loving friend. It runs
in this wise:
" Here Reynolds is laid, and to tell you my mind,
He has not left a wiser, nor better behind ;
His pencil was striking, resistless, and grand,
His manners were gentle, complying, and bland;
Still born to improve us in every part,
His pencil our faces, his manners our heart,
To coxcombs averse ; yet most civilly steering,
When they judged without skill, he was still hard of
hearing,
When they talked of their Raphaels, Correggios, and stuff,
He shifted his trumpet, and only took snuff."
GAINSBOROUGH AND CONSTABLE
There is an amusing story told of a young artist,
who, while drawing a pear-tree, discovered a man's
head concealed among the branches; and before the
thief could escape, the boy had sketched his face into
the picture. When the picture was exhibited, the
man was recognised, and also the talent of the boy
who had so suddenly brought him into notice.
Whether this " Tom Pear-tree " sketch is tradi-
tional or not, it is certainly very characteristic of
young Thomas Gainsborough, of whom it is told,
for he was always drawing landscapes and faces.
He was born in Sudbury, in the county of Suffolk,
in the year 1727. As a boy he did not care for
school; his study was the book of nature, which he
always kept wide-open before him.
Whenever he had a holiday, he spent it in sketch-
311
YOUNG PEOPLE'S STORY OF ART
ing the bushes and hedge-rows and clumps of trees
in the neighbourhood — he knew them every one.
His family consulted together and it was deter-
mined that the youth had talent, and must be sent to
London to study art. So to London he went; but
after an absence of three years, he returned to enjoy
the fresh fields and meadows that lay about his home.
Just here, another story appears — a bit doubtful
like " Tom Pear-tree," but they go well together.
One day, w r hile Gainsborough was quietly sketching
in the woods, a lovely maiden stepped suddenly from
behind a thicket, right into his -picture and into his
heart.
But however it all happened, he did fall in love,
and was married when he was but nineteen years old
to a girl a year younger than himself. The youthful
pair went to live at Ipswich, and here Gainsborough
painted landscapes and portraits, but for very small
fees. After remaining at Ipswich for fifteen years,
he was advised by a good friend named Thicknesse
to remove to Bath, and here better fortune awaited
him.
For Bath was, at this time, the most fashionable
watering-place in England. Wealthy people came
here to amuse themselves and to drink medicinal
water, and they had always plenty of time to sit for
their portraits. Gainsborough became at once suc-
cessful, and the celebrities that flocked to the famous
resort appeared one by one upon his canvases.
Moreover, in the wealthy homes in Bath, he found
pictures by Titian and Van Dyck, and Rembrandt and
Murillo. These he was allowed to copy, and in
312
ENGLISH ART
doing this, naturally he improved his style. Of
these painters Van Dyck was always his favourite.
Gainsborough was of a very social disposition, and
music was the passion of his life. The Bath musi-
cians became his best friends, and taught him to play
upon different instruments.
While he was living in Bath, the Royal Academy
was formed in London, and he began to send pic-
tures to its annual exhibitions and sales. Wiltshire,
the carrier who took these up to London, was so
fond of Gainsborough that he would take no pay for
the carriage except " a little picture "; and the " lit-
tle pictures " that Gainsborough gave him would be
to-day worth many thousands of pounds.
Indeed, Gainsborough was always recklessly gen-
erous with his work. He sometimes gave a picture
in return for a very small kindness, perhaps for a fa-
vourite air on a fiddle, or free admission to a theatre,
or an invitation to dine.
Finally, in the year 1774, he determined to re-
move with his family to London, and here he became
a rival of Sir Joshua Reynolds. Indeed, some
wealthy people sat to them both.
Political strife, at this time, ran very high. Sir
Joshua was a Whig, and Gainsborough, a Tory;
and as the King, George III., belonged to the Tory
party, Gainsborough was called to court to paint the
royal family. They became so fond of him that, not-
withstanding court etiquette, he was admitted to the
palace at any hour.
It was thought that he was the only one who could
make old Queen Charlotte look beautiful.
3:3
YOUNG PEOPLE'S STORY OF ART
The king said to him one day, " Doubtless portrait-
ure is a tantalising art — no pleasing your sitters,
hey! All wanting to be Venuses and Adonises, hey!
Well, Mr. Gainsborough, since you have taken to
portraiture, I suppose everyone wants your land-
scapes, hey! Is it not so?" "Entirely so, your
Majesty," was Gainsborough's courtly reply.
Naturally the honours paid Gainsborough by the
royal family gave him added popularity. However,
he refused to be patronised.
One day he heard a nobleman asking at his door
whether " that fellow " Gainsborough had finished
his likeness. Imagine the nobleman's surprise, on
entering the studio, to see Gainsborough furiously
dash a brushful of paint across the face on the
canvas, and to hear him exclaim, " Where is that
fellow now ! "
Gainsborough lost by this act one hundred guineas.
Many other stories prove that he was impulsive,
easily irritated, and sometimes rough in manner; yet
he was really a generous and kind-hearted man.
When he was weary of working on portraits in
the city, he hastened away to the country, and gave
himself up to sketching the landscapes he loved. Once
he found a wild, handsome, little barefooted boy
named Jack Hill who appears in some of his pictures.
He adopted the boy, but-Jack could not bear the
confinement of city life and ran away.
Gainsborough lived happily, and during his last
years very quietly with his family, and he died in
1788.
It is difficult to know just where to place him in
3H
ENGLISH ART
art; for some honour him more as a portrait-painter,
and others as a landscape-painter. As the former,
his spirit is gentle and poetic, and he puts much soul
into his faces. His colouring is soft and cool, in
contrast to that of Sir Joshua Reynolds, which is
rich and warm. His textures are carefully painted,
and a real lustre is seen on his ribbons and gems.
But his work is unequal; for unless he felt in perfect
touch with his sitters he never painted them well.
One of his most successful portraits is that of the
Hon. Mrs. Graham. She was but nineteen when she
sat to Gainsborough, and died when she was thirty-
five years old. Her husband was inconsolable. He
could not look at the life-like portrait, and he had
the end of the room where it hung walled up.
Half a century later, in making repairs, the picture
was discovered, fresh and brilliant, and by its side
were the little blue slippers that the lady had worn
when she was painted. This portrait is now in the
National Gallery, in Edinburgh.
One of Gainsborough's best-known portraits is
that of the Duchess of Devonshire, who was, at this
time, a queen in society. Although the costumes of
Van Dyck's day were going out of fashion, hers is
very picturesque. Her hair is curled and powdered
after the manner of the day, and her large hat is
ornamented with ostrich plumes.
The story is told of some noble ladies who
searched London in vain to find plumes as long as
those worn by the Duchess. In despair, they ap-
pealed to an undertaker, and in pity for them he
sold the feathers which had been upon his hearse.
3i5
YOUNG PEOPLE'S STORY OF ART
Gainsborough was very fond of painting boys, and
among his pictures are a " Pink Boy " and a " Blue
Boy." The latter, Master Buttall, is a dark-haired
youth of about fifteen. A harmonious blue colour-
ing pervades the whole picture. It is in London in
possession of a member of the Grosvenor family —
the present Duke of Westminster.
Sir Joshua Reynolds had a theory that blue and
green should not be much used in a picture. Gains-
borough was very fond of both colours, and perhaps
he painted this charming boy to refute Sir Joshua's
idea.
He was very fond of the drama; and it was a de-
light to him to receive Mrs. Siddons as a sitter the
same year that she sat to Sir Joshua. The picture
shows the marked contrast in the style of the two
artists.
Sir Joshua represented her as " The Tragic
Muse"; Gainsborough, as the lady paying a visit.
One picture is superb and dramatic — the other grace-
ful and harmonious.
Garrick, the famous actor, was constantly sitting
for his pictures to the different artists of the day.
Gainsborough was very fond of him, and he was
greatly pleased when Mrs. Garrick told him that
he had painted the very best likeness of her Davy.
This was, indeed, a compliment, for Garrick's ex-
pression was most difficult to catch. He was such a
mimic, that even when sitting he was always chang-
ing his countenance, either squinting or laughing, or
bloating or withering his features.
There were many other portrait-painters at this
316
" THE BLUE BOV.
GAINSBOROUGH
FROM THE ORIGINAL IN THE GROSVENOR
GALLERY, LONDON
Tiuc :
*ND
ENGLISH ART
time — as Lawrence, Ramsay, Opie, Raeburn, Hopp-
ner — and all stimulated the growth of English
art.
Landscapes were not fashionable at this time.
Gainsborough hung the hall leading to his studio
with rows of landscape pictures. But as his sitters
passed by, they scarcely even glanced at them.
" People won't buy 'em, you know," he once said,
" I'm a landscape-painter, and yet they come to me
for portraits." But to-day Gainsborough is honoured
as the first real interpreter of English rural scenery
and English genre.
He saw beauty in the simplest thing — a sunny
nook, a winding lane, a hay-cart, or a thatched cot-
tage. His charm of colour was seen in a dewy
morning or in a golden sunset; and his landscapes
are enlivened with horses and cattle, rustic lads and
lasses, and sometimes just a solitary labourer. He
seemed to see nature as a whole rather than in de-
tail; so perhaps to-day he would be called an Im-
pressionist.
John Constable was Gainsborough's successor as a
landscape-painter; and as his birthplace is but four-
teen miles distant, both looked out upon the same
quiet, lovely scenery.
Constable was but twelve years old when Gains-
borough died. He was a miller's son, and for a time
was " a handsome young miller " himself.
His study, too, was in the open air, and he drew
his earliest inspiration from the beauties of the Staur
River, upon which his father's mill was located. He
loved as a child to loiter upon its banks. " These
3i7
YOUNG PEOPLE'S STORY OF ART
scenes made me a painter, and I am grateful," he
said, and he showed his gratitude when later he be-
came a painter; for he laid his finest scenes upon the
banks of this river, and about the picturesque old
mill which he always loved to recall.
He understood its construction so perfectly that
his brother once said of him, " When I look at a
mill painted by John, I know that it will go round."
As a miller, he must have watched the clouds and
the changes in the weather, always looking for the
right wind to make the sail whiz.
In thus watching, he learned to paint the clouds;
and often he made studies of these alone, dating each
sketch, and noting upon it the time of day and the
direction of the wind.
In his landscapes, we may almost see their move-
ment and the trees shaken by the breezes. An artist,
in looking at some of his pictures representing show-
ery weather, once said, " Constable makes me call
for my great-coat and umbrella."
Constable, like Gainsborough, enjoyed simple
things — a corn-field, a village, a river, a dreary
meadow, the homeless cattle of Suffolk, and like
Wouvermans, he often introduced a white horse. In
those days, many invented stiff figures to put into
their landscapes; but Constable often waited until
someone passed by and so'went naturally into the
picture.
He did for the cultivated landscape of England
what Gainsborough had done for the rural scenery.
His detail is more perfect than that of Gainsborough;
his trees are greener, his skies are bluer, and nature
318
ENGLISH ART
as he shows her seems living. Because of this, he
has ever since been called " The Father of English
Landscape."
If Gainsborough was an Impressionist, surely Con-
stable was a Realist.
Constable was a great admirer of Claude, " The
Prince and Poet of French Landscape " and the
French greatly admired Constable and bought his
pictures.
It was not until after he had been presented with
two medals in Paris that he was admitted in Lon-
don to full membership in the Royal Academy. In-
deed, he was never fully appreciated in his own
country.
His house was filled with his pictures, and he gave
free exhibitions of them, but he could not easily sell
them. He was always so anxious about money mat-
ters that a friend once said to him, " Whatever you
do, Constable, get rid of anxiety." He died in
the year 1837, and fifty years later, his pictures
were bequeathed by his family to the English
nation.
Landscape-painting has made great progress since
the days of Gainsborough and Constable.
How wonderfully the modern painter has inter-
preted the charms of nature all the world over! But
the pictures of these old masters — though, in com-
parison with modern works, they seem stiff and faded
and cracked — have had great influence on the later
art.
The English must always gratefully recall that
little corner of Suffolk, whose quiet charms inspired
3i9
YOUNG PEOPLE'S STORY OF ART
Gainsborough and Constable to make landscape-
painting known in England.
" The poem hangs on the berry-bush
When comes the poet's eye;
The street begins to masquerade,
When Shakespeare passes by."
— Wm. C. Gannett.
TURNER
Turning away from the fresh Suffolk meadows, our
next point of interest is a narrow dingy house, in
narrow dingy Maiden Lane, in London. Here the
Turner family lived, and the front room on the
ground floor was the barber-shop of the father,
William Turner.
The family was small. It consisted of the cheery,
loquacious little father, and his wife, a woman of most
unreasonable temper — and Billy, their son, who was
born in 1774. We have little to do with the mother,
for very early in Billy's life she became insane and
was sent away to an asylum.
William Turner, the father, had a good business,
not only in shaving, but in dressing hair, and in
making and curling and powdering the wigs of the
gentry of his day.
Billy and his father were inseparable companions;
and in this connection a pleasant story is told of the
little fellow when he was but five or six years of age.
One day he accompanied his father to the home
of a rich silver-smith. While the barber was pow-
dering the wig of his grand patron, the boy, seated
320
ENGLISH ART
in a high chair, was absorbed in gazing at the figure
of a rampant lion, mounted upon a silver salver.
The child was silent on the way home; but when he
appeared at the tea-table, he exhibited a large sheet
of paper, on which he had drawn from memory a
very fair copy of the lion.
Unlike other parents of whom we have read, Wil-
liam Turner was wild with delight, for he knew now
that sometime Billy would be a painter. And what
a true prophet he proved ! for Turner stands to-day
as a great English landscape-painter.
As the years went on, Billy was allowed to asso-
ciate with the sailors, wandering all day at his own
sweet will along the banks of the Thames, and under
London Bridge; and in and out among the shipping.
Perhaps this was not a good life for a little boy;
but he loved the river, he studied all about the ships,
and he sat and watched the play of light and shadow
over the sails and over the water, on sunny and on
misty days, always drawing the things he saw.
Presently in the barber-shop, among the wigs and
frizzes, appeared little sketches with a small price
marked on each one. When William was ten years
old, his father sent him to a school at Brentford, and
he boarded in the family of his uncle who was a
butcher. Here, in the country, he found great de-
light in wandering in the open fields, and sketching
birds and trees and flowers upon the leaves of his
books.
If one might put into a single gallery all the ex-
ercise-books, defaced by various young artists of
whom we have been reading, what a unique collec-
321
YOUNG PEOPLE'S STORY OF ART
tion of specimens of youthful genius that gallery
would contain ! And Turner's pictures would surely
be among the best; for two of his drawings were
exhibited in the Royal Academy when he was but
twelve years old.
After Brentford, he was sent to school at Margate,
a beautiful village in the breezy county of Kent.
Here, for the first time, he saw the sea. He found
a keen fascination in watching and sketching sun-
shine and cliffs and water. Here, too, as a bright,
enthusiastic lad, he fell in love with the sister of a
classmate. He also struggled with Latin exercises,
and learned some of the history and mythology which
he afterwards embodied in his pictures. Margate
was a delight to the boy, and very often, in later
years, he came back to pass a holiday here.
All this time, the brave, merry little barber up in
London was earning money as fast as he could, to
give William a fine education. " For William is to
be a painter, you know," was always his reply to his
patrons when they asked about his son's future.
On William's return from Margate, he tried to
study perspective; but he was very dull at this — he
never could understand about exact figures like cir-
cles and triangles. So his teacher suggested that his
father should not waste any more money on art; but,
instead, should try to make of William either a cob-
bler or a tailor. He next attempted to study archi-
tecture; but his teacher in this kindly advised his
father to place him in the school of the Royal Acad-
emy. This was where he really belonged, and after
he entered it, all went well.
322
ENGLISH ART
And in the Royal Academy his art-life really com-
menced, for his masters at once recognised his genius.
He later became a member, then an associate; and
during his whole life, he was devoted to the best
interests of the Academy.
Tom Girtin, the artist, who was one of the orig-
inators of a fine School of water-colour painting in
England, was the friend of his youth. In the coun-
try, they sketched together; and in the city, they
earned small sums of money by colouring pictures for
fruit-sellers, and by putting skies and foregrounds
into architectural pictures. Girtin died when he was
but twenty-seven. Turner greatly mourned his loss;
but recognising his genius he said, " Had Tim Girtin
lived, I should have starved! "
Later in life, Turner had other close friends.
Among them were Moore and Rogers, the poets,
and Chantrey, the famous sculptor. At one time
he had the good fortune to be a pupil of Sir Joshua
Reynolds, and to copy portraits in his studio; but
Sir Joshua died before the young artist could be-
come much interested in his style.
When he was eighteen years old, he began to make
the pedestrian excursions which all his life he heartily
enjoyed. He was a stout, clumsy little fellow, and
he never cared how he looked. He wore an ill-fitting
suit, and his luggage tied up in a handkerchief was
slung over his shoulder on a cane. Sometimes he
carried a small valise, and an old umbrella, the han-
dle of which could be converted into a fishing-rod,
for Turner dearly loved both hunting and fishing.
He usually walked from twenty to twenty-five miles
323
YOUNG PEOPLE'S STORY OF ART
a day, and on his tramps nothing escaped his atten-
tion. Whatever he specially liked, he sketched; and
then, afterwards, aided by his wonderful memory,
he filled it in and a picture appeared. His sketch-
book was always a curiosity, for it contained such
a variety of things. He even jotted down his ex-
penses, and the local gossip which he heard.
He travelled first over England, and later over
other countries, always looking for picturesque scen-
ery. He preferred to travel alone, and because of
this has been called " The Great Hermit of Nature."
It was on his return from one of these expeditions
that he found that the girl to whom he was betrothed
was engaged to another; and somehow the knowl-
edge of this seemed to change his whole character
from a happy hopefulness, to a morose and miserly
disposition. Indeed, from this time, his two purposes
seemed to be — to paint and to lay up money.
For some years, Turner taught drawing. He had
always excellent illustrations but he was too impa-
tient with stupid pupils, and too blunt and rude to
suit fashionable ones.
Then, in 1808, he was made professor of perspec-
tive in the Royal Academy, and for thirty years he
held the position. At first, he delivered lectures on
the subject but they were not successful. His sen-
tences were confused and tedious, and he spoke in
a mumbling tone. Once he mounted the platform,
and after fumbling in his pocket, he exclaimed in
consternation, " Gentlemen, I've been and left my
lecture in the hackney-coach ! "
After living in different places in London, the
324
ENGLISH ART
last forty years of Turner's life were spent in a cheer-
less house in Queen Anne Street. The roof leaked
— the doors were shaky. Dust and cobwebs and
dampness abounded, and tailless Manx cats roamed
everywhere at will. But this house was full of
sketches, proofs of engravings, and rare paintings.
The huge, powdered wigs had now gone out of
fashion, and the barber lived with his son. He took
charge of the affairs of the frugal household, and he
always prepared the canvases and later varnished
them. " Father begins and finishes all my pictures,"
Turner said.
Turner had, also, for fifteen years a country home
at Twickenham. Here he lived a rural life. He
had a boat and a gig and an old horse. He was de-
voted to birds, and the boys nicknamed him " Old
Blackbirdy," because he protected their nests. He
kept in the house models of full-rigged ships, and in
his jungle of a garden he raised aquatic plants, to
put into his pictures.
But he finally sold the place — perhaps because his
friends had found him out, and he was too miserly
to entertain very often; but the reason that he gave
was, " Dad was always working in the garden and
catching cold." The two were devoted to each other,
and it goes without saying that the barber was truly
proud of his painter son. Turner mourned very
deeply when, in 1830, his father died.
Now let us see what kind of pictures this eccentric
genius was painting that made him so famous. His
earlier works were usually in water-colours and his
later ones in oils. He worked very rapidly, and
325
YOUNG PEOPLE'S STORY OF ART
his touch was clear and firm. He never cared much
for correct form — but for colour — the glories of sea
and sky — and brilliant atmospheric effects.
Sometimes he would use a sponge, with which he
could quickly produce foam or an aerial effect. Some-
times with his thumb-nail he would tear up a sea!
No one has ever painted like him, and no other
landscape-painter has left such a variety of scenes.
Gainsborough and Constable made one little cor-
ner of Suffolk immortal; but to know Turner, we
must travel over Europe; among the beauties of
England, Scotland, and the Rhine, with their stately
cathedrals and ruined castles; among the noble rivers
of France; and over the Alps with their glaciers
bathed in rosy light.
We must realise, too, the fallen grandeur of Greece
and Rome, and of Venice and Carthage. We must
admire and wonder at the majesty of the ocean and
the splendour of the sky.
Turner never made an exact reproduction of a
scene, but he painted it in a poetic and visionary
spirit. His pictures are difficult to understand; for
it is not possible for others to look at them from his
point of view, and no other painter has ever pro-
voked such discussion as to his merits. Some call
his works vague and meaningless — mere daubs and
splashes of colour; while ..others try hard to catch
Turner's impression. "Nothing but daubs!' ex-
claimed a noble lord; but later, catching the true
effect, he added, "Painting, so it is!"
A lady once said to him, " I find, Mr. Turner,
that in copying one of your paintings, touches of
326
ENGLISH ART
red, blue, and yellow appear all through the work."
To which Turner replied, " Well, don't you see that
yourself in nature? Because if you don't, Heaven
help you ! "
Once, after painting a summer evening, he thought
that the picture needed a dark spot in front by way
of contrast; so he cut out a dog from black paper
and stuck it on. That paper dog still appears in
the picture !
Another time he painted " A Snow-storm at Sea."
Some critics called the picture " Soap-suds and White-
wash." Turner, who had been for hours lashed to
the mast of a ship in order to catch the proper effect,
was naturally much hurt by the criticism. " What
would they have! " he exclaimed. " I wonder what
they think a storm is like. I wish they'd been in it ! '
Ruskin was a great admirer of Turner, and in
his " History of Modern Painters " he has taught
others to see his pictures aright. He feels that only
the keenest light or a magnifying-glass can reveal
all their excellences.
The picture upon which Ruskin would stake the
painter's immortality is " The Slave Ship." This
is now in Boston. It represents a ship labouring in
a terrible storm at sea. The ocean is heaving in two
ridges — the sunset splendour falls upon the trough
between them. The slave-traders are throwing over-
board the dead and dying slaves, and their manacles
float upon the water. Cold, dark night is gathering.
Turner was very fond of his own pictures, and
sometimes after selling one he would go about de-
jectedly saying, " I've lost one of my children." The
327
YOUNG PEOPLE'S STORY OF ART
one that he loved best of all was his " Old Teme-
raire." This he would never sell, and at his death
it was bequeathed to the nation.
Many years before he painted it, he had gone down
to Portsmouth one day to see Nelson's fleet come in,
after the glorious victory of Trafalgar. The " Teme-
raire " was pointed out to him — a battle-ship that
had very proudly borne the English flag, for during
the battle, it had run in between two French frigates
and captured them both.
And now between thirty and forty years later, he
lingered one afternoon on the banks of the Thames.
As he looked over the water, he saw the grand old
hulk being towed down the River by a noisy little
tug to be broken up at Deptford. " There's a fine
subject!" he exclaimed as he looked at the heroic
ship that had known many glorious years; and in
his thought he compared it to " a battle-scarred war-
rior borne to the grave."
Then he painted the picture. The glow of the
setting sun irradiates the scene and bids farewell to
the old ship. Twilight is coming on, and the new
moon has just risen in its pearly light. It is a pa-
thetic picture — a magnificent bit of dramatic-paint-
ing. It was in such pictures rather than in words
that Turner was eloquent, and he has sometimes been
named " The Master of Sunsets and Waves."
As he grew older, his style became weaker and his
touch more extravagant. His later pictures are
greatly faded and cracked.
Apart from his paintings, Turner illustrated sev-
eral books, and established a new School of English
328
<
at!
•■a
S
H
c
z
p
X
o
I
NC
ENGLISH ART
engraving. He also wrote a book of studies —
" Liber Studiorum," it is called. This is a roll of
engravings, representing scenes in various parts of
the world. They illustrate the principles of composi-
tion as applied to landscape-painting, and they are
of the utmost value to art-students.
Turner would have liked to become President of
the Royal Academy, but he was not fitted for such
a position. The king did not care for him, and so
he was never knighted.
However, he grew very rich from the sale of his
paintings and engravings. To-day his pictures sell
for fabulous prices.
He worked faithfully for sixty years, exhibiting
pictures at forty-five of the annual exhibitions of the
Royal Academy; but to that of the year 185 i, no
pictures were sent, and it was found that the artist
had disappeared, leaving orders that no one was to
be admitted to his house, in Queen Anne Street.
Turner's health was failing, so his friends were
naturally very anxious. After a time, his old house-
keeper, by following a clue, traced him to a little
cottage at Chelsea, by the Thames. Here, very
ill, he was living under an assumed name.
The faithful woman summoned his friends. They
found that he was fast sinking, and he died here in
a small room, overlooking the river that was his
first love.
Many celebrated men attended his funeral, and at
his own request, he was buried in St. Paul's Cathe-
dral, near Sir Joshua Reynolds.
How strangely his life contrasted with the splen-
329
YOUNG PEOPLE'S STORY OF ART
dour of his works ! On opening his will, it was
found that the money which he had so carefully
hoarded was to be called " Turner's Fund," and used
to assist poor artists in obtaining an education. So
let us now, in justice, call Turner a generous rather
than a miserly man !
But the will, like his conversation, was confused
and uncertain, and it was disputed by his family.
So a large part of the money that had been saved for
charity was divided among relatives, for whom the
painter had never cared. His pictures, however, he
left to the nation; and an annuity was retained by
the Royal Academy to assist six poor artists.
To visit Turner's shrine, we must enter the Na-
tional Gallery in London, and pause before the pic-
tures which this " Prince and Poet of English Land-
scape-Painting " has bequeathed to his country. It
is the most valuable collection that England had ever
received from one of her painters.
" Ye manners of England,
That guard our native seas ;
Whose flag has braved, a thousand years,
The battle and the breeze!
Your glorious standard launch again
To match another foe!
And sweep through the deep,
While the stormy winds do blow;
While the battle rages loud and long,
And the stormy winds do blow."
— Thomas Campbell.
330
ENGLISH ART
NINETEENTH CENTURY ENGLISH ART
The English are so fond of their own art that their
best pictures and best painters seldom leave their
country; while, as we know, during the past century,
very many beautiful French pictures have found their
way to America. So naturally, we are much more
familiar with the French than with the English art
of the nineteenth century.
But there is, at least, one English painter whom
everybody knows and loves, and that is Sir Edwin
Landseer — "The Animal Story-teller of the Victo-
rian Era." From palace to cottage, both in England
and America, his pictures, or the excellent prints
taken from them, are everywhere seen.
Landseer's father was an engraver and art-critic,
and his gifted son was born in 1802. When little
Edwin was hardly more than a baby boy, his father
would give him a pencil and a piece of paper, and
tell him to draw something that he saw — perhaps a
bird or an animal out on Hampstead Heath. For
the father believed that nature was the best school
for his boy, and his eyes his best teacher.
There have been carefully preserved in the South
Kensington Museum some little sketches of animals,
upon which is written " E. Landseer, five years old."
So Edwin began to look almost as soon as be began
to live.
Wherever animals were kept in London, the
Landseer children were to be found — little Edwin,
pencil in hand, sketching dogs and horses, and tigers
33i
YOUNG PEOPLE'S STORY OF ART
and lions; — Indeed everything in the menagerie in-
terested him.
And from a boy, he was both industrious and
successful; he won medals, his first picture was ex-
hibited in the Royal Academy when he was but thir-
teen, and for nearly fifty years afterwards, his work
appeared at nearly every exhibition.
He made his home with his sister, in St. John's
Wood, just out of London. Here he kept his pets
and filled his studio with their pictures, and here he
entertained the brilliant men and women of his day.
Landseer was gay and witty, and so desirable as
a guest that people would sometimes be invited to
dine, with this inducement, " I know you'll come, for
Landseer will be there! " Many anecdotes are told
of him, among which the following is often quoted.
The brilliant divine Sydney Smith, on being asked to
allow Landseer to paint his portrait, replied, " Is
thy servant a dog that he should do this thing? "
Landseer always laughed when he told the follow-
ing story: He was one day presented to the King of
Portugal when the latter said, " Mr. Landseer, I
am delighted to make your acquaintance — I am so
fond of beasts."
One of his dearest friends was Sir Walter Scott.
Landseer never tired of reading Scott's novels, and
the great author never gr^w weary of Landseer's
pictures. Indeed, Landseer has been called, " The
Sir Walter Scott of the Animal World."
He was a special favourite with Queen Victoria,
who conferred knighthood upon him, and com-
manded him to paint her portrait, that of Prince
332
ENGLISH ART
Albert, and their children; as well as the pet animals
belonging to the royal family.
Landseer never married. Among the ladies whom
he admired was Rosa Bonheur, and he always spoke
of her as " The Poet-Painter of Animals." He was
once elected President of the Royal Academy, but he
declined the honour.
As he grew older, he would sometimes speak of
his " worn-out old pencil." His last years were
sad and suffering ones. He died in 1873, and was
buried in St. Paul's Cathedral.
Landseer's first, last, and strongest love was for
his dogs; and what almost human expression he put
into their faces! It was expression not colouring
that he was always trying to reveal. And how his
dogs loved him, and how many things they would do
for him! It is told of one of these pets that, if
his master lingered too long at his easel, he would
bring his hat and lay it at his feet.
Landseer knew every kind of dog, large and small
— except a chained one — he never believed in having
that kind. He most delighted to picture a dog's
devotion to his master.
Among his paintings are " Dignity and Impu-
dence," " Alexander and Diogenes," " High and Low
Life."
At the annual exhibition, in 1865, appeared ' The
Connoisseurs." In this, Landseer is seated sketch-
ing, while two beautful dogs are looking over his
shoulders and judging of his work. This he pre-
sented to the Prince of Wales — now the King of
England.
333
YOUNG PEOPLE'S STORY OF ART
" The Distinguished Member of the Humane So-
ciety " represents a great Newfoundland dog, sitting
on the end of a pier, at high-tide. The sky is stormy
— flecked with a few gulls. But the dog, like all
his species, is ready to assist in any emergency. Land-
seer had met this dog, Paul Pry, carrying a basket
of flowers, and had asked permission to paint it, and
did so, as it lay upon a table in his studio.
Everybody who had dogs and could afford it
begged Landseer to paint them, and some of them
would have regular appointments for weeks in ad-
vance.
When Landseer first went to Scotland, a new world
opened before him; for there he found the graceful
deer, in the solitude of its highland home, and there
he painted, in a variety of attitudes, " the monarch
of the glen."
Someone has said, " No one ever painted a dog
or monkey so well as Landseer and no one ever ap-
proached him in the painting of deer."
Landseer was a sculptor, as anyone will know who
visits Trafalgar Square, in London, and sees his four
great lions at the foot of the Nelson Monument.
" The king of beasts " always had a great fascination
for him.
Just at the outset of our art study, it would seem
easier to linger with Landseer than try to discover
the motives of the more serious painters of England,
whose pictures we may not always understand; but
we must add at least the names of a few who are
perhaps greater, though not so popular as Sir Edwin
Landseer.
334
h
U
o
o
Q
z
o
J
2 -J
< <
a:
u
w
Q
<
b.
O
33
2
O
= 2
£ 2
5 2
2 O
w
w
I
E-
O
ad
ENGLISH ART
More than all else, modern English art is noted for
soul power; for its figure-painters have tried to ex-
press every kind of sentiment which man may feel.
Sir Frederick Leighton, President of the Royal
Academy, led the way in the earlier art of the Vic-
torian Era.
Like the old Greeks, he loved beauty of form, and
this he has shown in many classical paintings.
The first that gave him fame shows us that joyous
procession, which, centuries before, had carried
Cimabue's " Madonna " through the streets of Flor-
ence. Its size first attracted attention, then its sub-
ject and lovely colouring. It seemed almost to
predict in England a revival of early Italian art —
but how unlike the " Nazarite " one in Rome!
Cimabue, with his boy pupil Giotto, leads the
procession, and we recognise Dante, among the noble
Florentines that follow them. Queen Victoria was
so charmed with this picture that she bought it for
the walls of the Royal Academy.
And Leighton did another thing that may live
longer than his pictures. He gave to the poor of
London a little art-gallery, and covered its walls with
priceless pictures.
Sir Lawrence Alma-Tadema also revived classic
art, but of a different kind. He was a native of
Holland, but England became his adopted country.
His scenes are usually laid in Egypt, Greece, and
Italy.
Wherever art is loved, Alma-Tadema is popular,
with his old marble halls and balconies. He does not
people them with ancient scenes as other artists have
335
YOUNG PEOPLE'S STORY OF ART
done, but instead he portrays some modern incident.
His treatment of marble and bronze and still-life is
very perfect.
What a striking contrast to Alma-Tadema's pic-
tures are those painted by the ^re-Raphaelites, a
little Brotherhood that appeared in England about
the middle of the nineteenth century. Following
Ruskin's ideas, they determined to make a revolu-
tion in painting. In the words of Keats, their motto
might have been, " Beauty is truth, truth beauty."
It would take volumes to describe their many kinds
of work — the detail with which they painted a leaf
or a pebble, the tall and gaunt figures, the tawny
colouring, the stiff landscapes, and the house decora-
tion and furniture. Indeed, for a little, Pre-Ra-
phaelitism was so fashionable that even dress and
ornament were governed by its rules. Besides, it
brought about a craze in London for blue china,
ecclesiastical brasses, old furniture and armour.
Three of the principal members were Dante Ga-
briel Rossetti, William Holman Hunt, and Sir John
Everett Millais.
Rossetti gave his life to the new theories. Among
the pictures that illustrate the romantic mysticism
of his style is " The Blessed Damozel." The inci-
dent is founded upon one of his own poems. " The
Damozel," surrounded by a group of reunited
lovers, leans from the gold bars of heaven while
her own mourning lover stands upon the earth be-
low, gazing upward.
Hunt is styled " The Painter of the Christ," and
his " Christ the Light of the World " is very famous.
336
ENGLISH ART
Here the crowned Saviour stands in His long, seam-
less robe and jewelled mantle. He carries a lantern,
and knocks at the door of a human soul, which has
long been closed and barred against Him. What a
difference between this realistic picture and Raphael's
idealistic one !
Millais remained but for a very short time with
the Brotherhood, and he later became very popular
for his pictures of men and women and lovely chil-
dren, whom he painted just as he saw them in every-
day life.
The Pre-Raphaelite School did not last long, but
its influence has been very marked on later English
art.
Sir Edward Burne-Jones. was fascinated by Ros-
setti's pictures. He is called " The Painter of the
Golden Age," because of his exquisite charm of
colouring. He loved decorative art, and made many
designs for stained-glass windows. His subjects were
taken from the Bible, and from romantic and classic
literature.
His drawing of the human form is masterly, and
his tall, dignified figures often seem to be gazing far
away into space as in a trance.
Our print, " The Visit of the Wise Men to the
Christ-Child," is taken from a picture in Birming-
ham. From a snowy, winter landscape, three rev-
erent wise men are slowly approaching, in gorgeous
robes of harmonious colours. But as they come
nearer to the Holy Family, they will reach a country
of green trees and blossoming flowers — the roses and
lilies that Burne-Jones painted so exquisitely.
337
ENGLISH ART
For the artist has followed the legend that at the
coming of the Christ-Child, dreary winter forsook
the earth, and trees and flowers burst into sudden
bloom.
What a contrast is here seen between grandeur
and simplicity, between the stately Magi, and the
devout Mother and her serious Babe. Every inch
of the great canvas is covered with minute de-
tails.
The " Poet-Painter," George Frederick Watts, is
less romantic and more spiritual, in his conception
than Burne- Jones. His figures are symbolic of beau-
tiful aspirations, and over them his graceful drap-
eries flow in marvellous folds, and they are sur-
rounded by a charmed atmosphere. He has tried
by these ideal pictures to make the world better.
In one of the most famous of these Love as an
immortal youth is trying to lead Life up to the rocky
summit of earthly pilgrimage.
Watts has striven in his portraits to reveal the
soul of the men and women whom he has painted.
He has done much decorative work. His colouring
is always soft rather than rich. His sculptures are
exquisite, and at his death he bequeathed many of his
works to his country.
We have mentioned just a few of the leaders
among the noted English painters of the nineteenth
century. As we grow wiser in the study of art, we
may find great delight in reading more about their
lives as well as those of many other masters of the
modern age.
There are, in England, many magnificent private
338
c/3
»)
W
u
Z
<;
s
I
'JU
w
o
Z
-_
pa
02
o
w
?
ENGLISH ART
collections of pictures, and in London frequent exhi-
bitions. The National Gallery holds many of the
choicest works of the old masters, and the Royal
Academy is constantly becoming a larger centre of
artistic usefulness.
339
French Art
XI
EARLY FRENCH ART
In the sixteenth century, Italy and Germany enjoyed
a "Golden Age" of painting; in the seventeenth,
Spain had its Velasquez and Murillo. In the eight-
eenth, art had declined in all these countries; but
that of England came to the front with its portrait-
and landscape-painters. France, however, waited
until the nineteenth century to take a first rank in
painting.
Yet from the earliest centuries, France had been
very artistic in spirit, and the taste for rich gowns
and decorations which is so characteristic of the
French to-day was shown many hundreds of years
ago. Even in the fourth century, wealthy Gauls
wore costumes ornamented with landscapes and ani-
mals, and religious vestments were embroidered with
Scriptural scenes.
Charlemagne, in the ninth century, would have
done very much for the art of his empire, if his great
wars had not kept him so busy. However, he or-
namented his cathedral and palace at Aix-la-Cha-
pelle; and it is thought that he gave the order that
the interiors of all churches should be covered with
holy pictures, so that the ignorant might understand
the Bible stories. And the walls were painted from
that time, until Gothic architecture left no clear wall-
space for pictures.
Then the story was wrought in the stained-glass
343
YOUNG PEOPLE'S STORY OF ART
windows that in the thirteenth and fourteenth cen-
turies were brought to such perfection, especially in
the cathedrals of Rheims and Chartres.
It was an early custom to make these windows
memorial gifts. Often upon the upper part would
be traced the holy story, while the donors would be
pictured kneeling reverently below. The contrast is
sometimes very striking, between these two scenes.
In France, as in the other countries, the mediaeval
monk in his scriptorium beautifully illuminated manu-
scripts; and furniture has also been preserved which
is carefully decorated with figures of saints and
angels. Indeed, the French, from the beginning of
their history, liked decoration of any kind.
To illustrate this art-love, a story is told of good
King Rene of Anjou, who lived in the fifteenth cen-
tury. He was one day painting a partridge when
he was told of the loss of his kingdom of Naples.
He said nothing, but quietly continued his work.
The sixteenth century is always called " The Age
of the Renaissance," or revival in art, and it was
ushered in by Francis I., " King of the Gentlemen."
Clouet was his painter, and his dignified portraits of
kings and queens are to be seen in Paris to-day.
The art of sunny Italy lured King Francis as it
had so many others, and he summoned Italian paint-
ers to decorate his splendid .palace at Fontainebleau,
and to establish there a School of art.
He began, also, to make there a royal collection
of pictures — seven of Raphael's were brought and
four of Leonardo da Vinci's; and because he could
not transport " The Last Supper " from Florence to
344
FRENCH ART
Fontainebleau, he brought the old Leonardo him-
self, and tenderly cared for him until his death.
Art now became more and more fashionable.
Early in the seventeenth century, Louis XIII. and his
nobles took lessons from the court-painter, Vouet,
whom they were always loading with honours. In-
deed, a whole regiment of painters followed in
Vouet's footsteps.
Paris grew more and more beautiful, and we re-
member that it was in the reign of Louis XIII. that
the Queen Mother Marie de' Medici summoned the
Flemish painter Rubens to decorate her Luxembourg
Palace.
Louis XIV. next appears, and he was a " Grand
Monarque," in art and literature, as well as in war.
His dictator was LeBrun. Beside being a fair archi-
tect, engraver, and painter, he knew how best to
flatter his King — so he was in every way well fitted
for the office.
The King appointed LeBrun director of the Gobe-
lins. These were workshops for tapestries, furni-
ture, jewellery, mosaics, marqueterie, and bronzes.
For these LeBrun either made designs himself, and
obliged everyone to follow his models; or insisted
that the designs of others must be approved by him,
before they could be accepted.
Through his influence, Louis, in 1648, founded a
French Academy of painting and sculpture.
LeBrun superintended the decoration of Louis's
splendid palace at Versailles, and many pictures were
added to the royal collection; at such great cost that
one of the court-ladies said, " I pity the kingdom! "
345
YOUNG PEOPLE'S STORY OF ART
The vain King spent hours in LeBrun's studio
watching him at work, and he was delighted with
the great compositions which, in both pictures and
tapestry, represented him so perfectly as " Le Grand
Monarque." To show his appreciation, he presented
to LeBrun his miniature surrounded by diamonds.
But the court grew tired of the dictator. They
liked better the painters that gave them flattering
likenesses. So Le Brun finally lost favour, and re-
tired to the Gobelins where he died.
Apart from the court art of the age, there are two
famous landscape-painters who spent most of their
life in Rome.
Landscape-art was at first much more admired
by the French than by the English; perhaps because
the former were always so easily interested in new
things.
Poussin, who was born in 1594, belonged to a
poor but noble family. After many hardships, he
drifted to Rome, where he became a celebrated
painter. He composed his landscapes, not from one
scene but from many different ones.
In these, he represented by stately classic figures
some historical or mythological incident. These fig-
ures were so cold and stiff that they have sometimes
been compared to walking Greek statues. His style
is called " Poussinesque." That he was intellectual is
shown by the subjects which he chose to represent in
his pictures.
While Poussin was living in Rome, Louis XIII. ,
hearing of his fame, " and wishing to adorn himself
with the talent of the absent artist," begged him to
346
FRENCH ART
return and to work for him in Paris. He offered
him a large salary, and palatial apartments were espe-
cially arranged in the Louvre; indeed Poussin said
that everything was ready on his arrival — " even to
a tun of old wine."
He established in Paris a School of Fine Arts
which has since become very famous, and he tried
to win favour at court; but he loved simple things
and did not enjoy the gilded life there, with its gayety
and intrigue. On pretence of returning to Italy to
bring his wife, he left Paris, and never could be
persuaded to go back there. The last and best years
of his life were spent in Rome.
As an illustration of his simple habits, it is told that
one evening in Rome a cardinal paid him a visit.
On his departure, as Poussin lighted him to the door,
the cardinal said, " I pity you, M. Poussin, that you
have not a single servant"; "and I," replied the
painter, " pity you because you have so many! '
Poussin's paintings are found in many galleries.
Perhaps his " Deluge " is considered his best.
Claude Lorraine, who was born in 1600, also lived
his artistic life in Rome. The two painters, however,
do not seem to have been friends. Claude was orig-
inally a poor little peasant who delighted in looking
at pictures. He is said to have been apprenticed
to a pastry-cook, who dismissed him because one day
an ornamented dessert which he was carrying home
was stolen from him, while he was gazing into a
window full of pictures.
This story, however, like others that are told of
him is a little uncertain; for he associated so little
347
YOUNG PEOPLE'S STORY OF ART
with the artists of his day that it is rather difficult
to get at the real facts of his life.
But, like Poussin, he in some way reached Rome,
and here he became a servant in the house of the
painter Tassi. Tassi grew interested in him and
taught him to draw. His best teacher, however, was
the one to whom he gave his life-long affection —
and that was nature.
He often rose before the sun and spent the whole
day a-field — perhaps just watching one stone or tree
that he might study its changing colour, as the light
or shade touched it at different hours.
Like Poussin, he rarely painted from a single
landscape, but would combine the bits from various
scenes. Those that he selected from the Campagna
outside of Rome were picturesque.
His landscapes usually have in the foreground a
large open space, stretching far away into the dis-
tance, and often stately buildings are introduced on
one side. The incidents in his pictures ae taken from
legends and Latin poems, from the Bible and history;
but their meaning is somewhat obscure, and the
figures are too small and stiff. He could not paint
them well himself and often other artists put them
in for him. He used to say that he sold his land-
scapes and gave away the figures !
The thing for which Claude stands unrivalled is his
aerial perspective. Even Ruskin who does not ad-
mire his works had to acknowledge that " Claude
was the first artist to put the sun in the sky."
His special charm for us is always the warm glow
of light that is over the hills and valleys and seas
348
FRENCH ART
that he painted. Indeed, even the name " Claude "
always suggests a sunny landscape !
Claude's works were greatly admired, and were
easily sold in Spain, Germany, France, and Italy. He
had one picture that he would not sell, even though
Pope Urban VIII. promised to cover it with gold
pieces in payment; but the once poor little peasant
was now a rich man.
Claude, however, had his troubles; for his paint-
ings met with such favour that he had many imi-
tators who used his name in selling their pictures.
He worked very slowly, always finishing every detail
with the greatest care.
One day Bourdon, who was called " The Wander-
ing Jew of Painting " appeared in his studio and
Claude showed him a landscape which it would take
him two weeks to finish. Bourdon, who was noted
for copying the works of other people very correctly,
looked critically at Claude's picture, went home, and
in eight days exhibited a finished landscape which was
hailed as a " Claude." On hearing this, Claude was
enraged; but Bourdon managed to escape from Rome
before the real artist could expose him.
To prevent this kind of imitation, or perhaps to
preserve a record of his works, Claude kept a book
which he named " Liber Veritatis." In this he made
sketches of all the pictures that he ever painted, and
at his death they amounted to six volumes.
All of us may not see nature exactly as Claude saw
it, but if we look through a Claude-glass we may
have some idea of the light which this " Prince and
Poet of French Landscape-Painters " tried to reveal.
349
YOUNG PEOPLE'S STORY OF ART
In our brief glance into early French painting, we
have recalled the work of the Middle Ages, the
Renaissance, ushered in by King Francis I. and the
seventeenth century, so full of decorative and land-
scape art.
" Is this a time to be cloudy and sad
When our Mother Nature laughs around,
When even the deep blue heavens look glad,
And gladness breathes from the blossoming ground? "
— Bryant.
EIGHTEENTH CENTURY AND REVOLUTIONARY ART
That was a stately court of Louis XIV., " Le Grand
Monarque," and its art, like the court, was pompous
and statuesque. The change was very welcome
when, in the early part of the eighteenth century,
the gay thoughtless Louis XV. succeeded to the
throne.
There was no money in the treasury, it is true, for
Louis XIV. with his wars and palace-building had
exhausted it all; the poor peasants had already been
sorely taxed, and they had endured it with wonderful
patience. But all this mattered little — heavier taxes
must be levied upon them, even to the point of misery
and starvation; for the luxurious courtiers who
would not work must have money to spend on court
pleasures.
Their motto was, " After us the deluge ! "
Merry rustic fetes were held, where lords and
ladies flirted and danced with a charming grace.
350
FRENCH ART
Pantomimes were exhibited, and light Italian com-
edy was all the rage. Court-life now had become
merely a gay revel. And the painters watched the
merry pageants, and through their pictures, we, too,
may imagine what they were like.
Watteau was the one who best caught the spirit
of these " Fetes Galantes " or " Fetes Champetres,"
as they were called, and his pictures done in delicate
tints are little scenes of beauty. Here tiny, graceful,
frolicsome lords and ladies, arrayed in gay costumes
of silks and satins, with hoops and powder and
patches, lounge or dance or coquette. They gesticu-
late as if they were acting a comedy; and Watteau
was always very successful in revealing their motions.
His pictures became so much the rage that people
began to walk and dress and dance " a la Watteau."
Perhaps one of his best works is " The Embarka-
tion for the Island of Cythera," which is in the
Louvre. Cythera is an island dedicated to Venus;
and on a sunny day, many are preparing to sail to
its shores. A gilded barge is before us; some of
the pleasure-seekers are already aboard — some are
hurrying to reach the barge — and some are being
urged to go. Merriest of all, are the little Cupids
that are surrounding the statue of Venus, or clinging
to the masts, hovering in mid-air, or flying in and
out among the lovers.
And what of Watteau himself, and what of his
sad life, so far removed from the gay frolic seen in
his pictures ! Alas, when he painted the " Embarka-
tion for Cythera," he was dying of consumption.
Watteau was born in 1684. He was a penniless
35i
YOUNG PEOPLE'S STORY OF ART
boy who was constantly drawing, and as the gay fig-
ures which always attracted him in the fair or the
pantomime would never stand still — he learned to
sketch them in motion.
As a young man, he drifted to Paris, and there,
lonely and hungry, he finally was employed by a
dauber. This man kept a number of pupils to assist
him in quickly manufacturing pictures to be sold to
country-dealers. Some of these pupils painted land-
scapes, some flowers, some the heads and others the
bodies and draperies of virgins and saints. The
dauber specially liked Watteau, for he could do all
these parts equally well. So he gave him three francs
a week and soup every day.
Poor Watteau was obliged to produce so many
pictures of St. Nicholas that he declared he could
do them even with his eyes closed. In some way,
after a time, he managed to escape from this drudg-
ery, and later he came into touch with real artists.
He worked very hard, and was never satisfied with
his pictures. Indeed, his whole life was unrestful
and irritating, and much of it was passed in obscure
lodgings. But he was never strong, and he died
when but thirty-seven years old.
Perhaps we may call this the " Painters' " as well
as the " Poets' Age " — when we recall that it was
the age, at which both Raphael and Watteau died.
Among the other artists of the day, one reproduced
very perfectly the flowing wigs which were then in
vogue; another gave his best services to the watch-
cases and enormous fans, decorating them with
Venuses, Cupids, and nymphs; another painted chil-
352
u
o£
'U
X
h
u
W
Q
W
o
z
Ci)
2
P
<
a
S
THE
T;
FRENCH ART
dren exquisitely — still another interiors and domestic
scenes.
Greuze was a fine colourist; and perhaps he is
most noted for his heads of young girls. A note of
regret is often expressed in their faces, and the reason
for this sometimes appears in the picture.
Claude Joseph Vernet, who belonged to a family
of artists, was the best marine-painter of the period,
and Louis XV. employed him to paint all the sea-
ports of France. Vernet could well represent the
sea, in all its varied moods of storm and sunshine.
It is told of him that he was once on a ship that
encountered a terrible storm in the Mediterranean.
Everyone else on board was terribly frightened. But
during four hours, Vernet was lashed to the mast,
like Turner, that he might study the power of winds
and waves. He was tossed about — he was drenched
with sea-water — but later he painted from memory
many wonderful pictures of the scene.
Vernet's works, like Watteau's, became the fashion
and were always in great demand.
In the year 1774, the reign of the weak and wicked
Louis XV. at last came to an end, and the amiable
Louis XVI. ascended the throne.
The beautiful and witty young artist Madame Le-
brun was a great favourite at his court, and she
painted the best portraits of Marie Antoinette and
her ladies. She greatly disliked the powdered hair
and the fancy costumes of the day, and tried very
hard to induce the ladies to wear a simpler and more
classical style of dress.
We are familiar with her graceful portraits of her
353
YOUNG PEOPLE'S STORY OF ART
pretty daughter and herself. She remained in Paris,
until she was alarmed by the threatened French Revo-
lution. After this, many years of her long life were
spent in travelling in different countries. She was
everywhere received with great honour, and she re-
mained always a portrait-painter.
And now, early in the reign of Louis XVI., the
promised "deluge" broke over the land; for the
people were almost mad with misery, and they were
forced to revolt from the oppression of the court.
With the beginning of the French Revolution, in
the latter part of the eighteenth century, a new chap-
ter of art-making opens before us, for art was now
to be inspired by war and patriotism.
David is the most noted painter of this Revolu-
tionary Age. He has sometimes been called the
first painter of modern French art. He loved to
study the lives of the old Romans, and so he devoted
himself to the painting of classical subjects, the
figures in which were even more cold and statuesque
than those of Poussin.
When he was appointed to be " Minister of Fine
Arts " in Paris, he tried to make the members of the
convention dress in old Roman costumes, and to have
their fetes resemble those of the ancients. Even
French heroism was to imitate that of " The brave
days of old."
But David broke away from his classic spirit when
he was called upon to paint the portraits of the Revo-
lutionary leaders. They were living men; and he
has shown their faces to us as full of spirit, and fired
by the intensity of the times.
354
FRENCH ART
And then there came into David's life an ever-
memorable day, in which Napoleon entered his stu-
dio, and the artist begged leave to paint his portrait.
Napoleon did not wish an exact likeness, but a por-
trait that would arouse the admiration of his soldiers.
David dismissed his pupils and fell to work. The
picture proved a success, and at once he came under
the magic spell of the " Little Corporal." Later,
he was appointed painter to the imperial court.
The finest thing that David ever did was his co-
lossal " Coronation," and this is indeed the greatest
art work of the imperial period. For it he received
$21,000 — a large sum for a single picture in those
days. David worked upon it for four years. When he
had finished, he invited the Emperor to inspect it.
Napoleon went, accompanied by Josephine, his min-
isters and his generals — a dignified procession led
by a band of music. For long, Napoleon stood be-
fore the great canvas, examining its every detail.
He saw himself attired in a white satin tunic and
long crimson mantle, already crowned, and placing
a crown upon the head of Josephine who kneels be-
fore him on a velvet cushion. Pope Pius VII. is
seated behind the Emperor, and there are gathered
to witness the scene prelates, cardinals, and generals,
court lords and ladies, and ambassadors, among whom
is seen the American Minister. s
After gazing at the brilliant ceremonial, Na-
poleon finally turned to the artist and complimented
him in a few words; and then added "David, I
salute you ! " and David replied, " I receive the
salutation ! "
355
YOUNG PEOPLE'S STORY OF ART
Later, when Napoleon lost power and was sent to
St. Helena, David, because he believed in the Em-
pire, was also banished. He retired to Brussels where
he spent the rest of his life. Here he returned to his
early classical style in painting. His numerous pupils
were devoted to him, and many of the nineteenth
century artists worked in his studio.
Apart from his interest in David, Napoleon was
in every way a devoted patron of art. He ordered
other artists to illustrate in painting and sculpture
the most glorious events of the French Revolution.
For centuries, kings and nobles had made valuable
collections for different palaces; but in the year 1793,
the Louvre, which had been a neglected old palace
of the kings, was made the principal art-museum in
Paris.
Pictures, statues, furniture, and bric-a-brac of all
kinds were brought here, and a sum of money was set
apart with which yearly to add to the collection.
When we think of the miles of treasures that it
now contains it is interesting to recall the five hun-
dred and thirty-seven pictures which it at first held,
when it was opened to the public on two days of
every week.
Art prizes had before this been given, and if a
young artist gained " le Prix de Rome," it enabled
him to study for years in that city. But now, in 1 802,
Napoleon established "The Legion of Honour";
and it was accounted a very great distinction to re-
ceive the cross which entitled one to membership.
But Napoleon did another thing not so honour-
able. He robbed his conquered cities of their rarest
356
<
c
■-L.
ai.
>
c
Eti
X
2:
<
a.
i
u
>
<
3
u;
Z
z
C
2
C
X
FRENCH ART
art-treasures, pictures and statues and bronzes.
These, carefully packed, were brought to decorate
Paris and especially the Louvre.
Among them were the " bronze horses " from
St. Mark's, the " Apollo Belvedere," Titian's " Christ
and the Tribute Money," and Raphael's " Trans-
figuration."
Indeed, it was suggested to bring Raphael's
" Stanze."
And now, for a time, Paris, instead of Rome, be-
came the centre of art, and people flocked from every
country to enjoy its world-famed treasures.
But when Napoleon fell, the allies decided that
these stolen works of art must be returned at once
to their owners. You may perhaps remember how
the Italian sculptor Canova aided in their restoration.
Thus we see that French art has thus far, even
to the close of the French Revolution, belonged al-
most exclusively to the court. And if we are familiar
with the varied and exciting history of France, we
may readily follow its art story.
" At his easel, eager-eyed,
A painter stands, and sunshine at his touch
Gathers upon his canvas and life glows."
— Bryant.
THE FONTAINEBLEAU-BARBIZON PAINTERS: ROUS-
SEAU, DIAZ, TROYON, JACQUE, COROT
The grand old forest of Fontainebleau was a hunt-
ing-ground belonging to the early kings of France.
It has low-lying hills, wild gorges, little lakes and
pools, and to these there are now added charming
357
YOUNG PEOPLE'S STORY OF ART
roads leading in every direction. The stately palace
belonging to the French kings stands in its centre.
This is not a " forest primeval," but instead it
is always full of air and life and light. On the edge
of the forest, thirty-four miles from Paris, lies the
tiny picturesque hamlet of Barbizon — its single peas-
ant street lined with grey stone houses, and having
a co'w-gate at one end.
Early in the nineteenth century, this quiet, sleepy
hamlet suddenly awoke to fame as the gathering-
place of "The Men of 1830." These men were
artists who wished to study nature as it really exists.
The French had grown very tired of classical land-
scapes, with their stiff foliage and temples and shep-
herds and nymphs. Artists had hailed the beauties
of the fresh Dutch landscapes, and of those painted
by the English Constable.
So Classicism must now give way to Naturalism.
For natural landscapes were becoming more and more
the fashion, and quaint picturesque Barbizon at-
tracted the devotees of this new school of painting.
They chose the village as their head-quarters, and
from here they could go to seek their forest haunts.
A thrifty peasant fitted up an inn, which was some-
times so crowded that artists were obliged to sleep
on the tables and the straw in the barn.
Among these artists wercRousseau, Diaz, Troyon,
Jacque, Corot, and Millet, and together they enjoyed
very happy fellowship. Some made their homes
here, and the rest returned from time to time for
fresh inspiration.
Rousseau, " The Poet of the Foliage," lived here
358
FRENCH ART
for nineteen years. He was the only son of a suc-
cessful tailor, and was born in Paris in 1812. When
he was but fourteen years old, he began his study of
art under a master. He was a great traveller, and in
his earlier years, delighted in savage mountain scen-
ery. He sketched, in the Alps and Pyrenees, the
dizzy precipices, the wild gorges, and the foaming
torrents of the mountains; and in his fondness for
nature, he would often roam all night in the forests
and among the hills. Instead of the russet trees and
brown grasses which were used in the classic land-
scapes, his foliage was vivid green and often red and
yellow.
The jury in Paris that always decided what works
should be selected for the annual exhibitions thought
Rousseau's pictures too dramatic. His style seemed
such a revolution against classic landscape, that his
pictures were not accepted. Because the wise jury
did not look upon them kindly it was, of course, very
hard to sell them. So for many years of his life,
Rousseau struggled against opposition.
He finally determined to give up mountain scenery,
and went to Barbizon, where in time he came under
the tranquil charm of the Forest — not as a whole —
but as made up of individual trees in which he saw
different characteristics; and he learned to love them
almost as much as if they were human beings.
His treatment of foliage is very charming. His
dark green leaves are so distinctly separated and
clearly denned against a sky which is always in har-
mony with his trees, and his atmospheric effects are
very true. He loved also to paint the infinite details
359
YOUNG PEOPLE'S STORY OF ART
of little things in nature — the twigs and pebbles — the
heaths and grasses and mosses. Indeed, if one is fa-
miliar with the different trees and the tiny plant life
that belong to the Forest, he may recognise by name
the various forms which Rousseau has put into his pic-
tures. He always wished that he might be rich
enough to devote his whole life to just one picture.
He was never willing to go to Italy, fearing that
study there would destroy his individuality.
After many years his talent was recognised, and
in 1852 he was decorated with the cross of "The
Legion of Honour." During the rest of his life,
favours were at times showered upon him — and again
his work was met by hostile criticism.
Rousseau's closest friendship in Barbizon was with
Millet, and when the latter was very poor, he encour-
aged him in many practical ways.
His home life was not a bright one, for his child
wife was for many years a nervous invalid, and his
naturally sad temper became more melancholy as
he grew older, and he died in 1875.
Rousseau is now acknowledged as " The Father of
Modern French Landscape," and his art has had an
immense influence, not only on the later art of France
but of all the world.
The Spanish Diaz was one of Rousseau's best
friends and. pupils. Diaz Avas fascinated with his
master and used to follow him everywhere in the
forest, to watch him paint and to study from his
manner. Poor Diaz 1 One of his legs was a wooden
stick, but he never let his " drumstick," as he called
it, overrule his merry and kindly disposition.
360
<
D
O
—
-
<
c
z
<
THE
PUBLIC LIBRARY
A8T -ND
FRENCH ART
Diaz cared little for drawing; but he was a rare
observer of nature and always saw and felt the
power of sunlight; and we may feel this with him
as it glints through the darkest green of his forest
trees, often irradiating everything in his pictures.
Troyon was an intimate friend of Diaz. His work
was to immortalise the oxen and sheep and dogs of
the region. Paul Potter's pictures gave him his first
interest in the study of animals; and wherever he
travelled, he was found in the fields, early and late,
learning their habits. And to-day he is known as
one of the best interpreters of sheep and oxen. Dogs
were always his companions, and as they played with
their master, they seemed to him to show an almost
human intelligence, and this he has truthfully
revealed.
Troyons pictures are easy to recognise with their
clear blue sky, the deep greens of the foliage, and
the sunshine playing very naturally about his life-
like oxen and sheep. Sometimes he had forty can-
vases in preparation at the same time.
Jacque's sheep are usually grazing in the Barbi-
zon meadow, or pressing into the sheep-fold. But
he is better known for his smaller animals. He is
sometimes styled " The Raphael of Pigs "; and his
cocks and hens are very famous as they are seen in
the barn or poultry-yard, where all the implements
are also very real. A far-away twilight sky seems
often to belong to Jacque's pictures. Not far away
from Barbizon, at By, lived another painter, Rosa
Bonheur, and her fascination alike for art and for
animals made her life a most interesting study.
361
YOUNG PEOPLE'S STORY OF ART
However, the three most noted painters of the
Fontainebleau-Barbizon School are Rousseau, Corot,
and Millet, and Corot appears like a ray of sun-
shine between the other two.
Corot was of a frank, jovial disposition. He de-
lighted in just being alive, and his life is in perfect
harmony with his serene, sunny landscapes.
Like many another French painter, he, too, came
of peasant stock, and he was always proud of the
" brave folk," from whom he was descended.
Corot's parents were court-milliners, and he was
born in Paris, in 1796. He admired his father, but
he always held his mother in perfect reverence,
calling her " la belle femme" His parents, in
return, always treated him as if he were a small
boy.
Corot went to school and college, and then his
father wished to make a tradesman of him; though
he unwillingly gave up his desire when he found
that his son had a taste for art. He allowed him a
small yearly pension with which to study, and so
Corot began to paint — and he always painted.
He was devoted to gay, bright Paris; but he loved
even better the summer home not far distant at Ville
d'Avray. Here he was close to nature — he could
talk to the birds, and sketch the lake and the trees
swaying upon its banks.
For fifteen years of his life, he strove to paint
classical landscapes. During this time he went to
Rome to study. He made here many warm friends,
for everybody liked him, though they sometimes
laughed at his pictures. But all the same, he worked
362
FRENCH ART
bravely on, with always a song either in his heart
or on his lips.
He studied Claude and then Constable; but all
the time he was learning to interpret nature, more
and more, in his own individual way.
It was many years before his works were honoured.
Sometimes as he thought about the criticisms of the
jury, he would say with a smile, " They will come
to it in time." Notwithstanding this, he was so
great a favourite personally that his pictures were
often admitted to the Salon; but no one would
pause to examine them, and often he would stand
himself before one of his own works, in order to
attract the attention of passers-by.
Indeed, Corot sold hardly a picture before he was
forty, and he was nearly sixty before he won the
desired recognition. How little he realised how
much his pictures would be admired in our century,
and what great prices they would bring.
Corot never remained very long at Barbizon; but
he was always returning there, and there it was that
he came under Rousseau's influence. His land-
scapes, however, are very unlike those of that artist.
While Rousseau insisted on well-defined foliage and
perfect detail, Corot's foliage is an indistinct mass,
put in with a few well-directed strokes. He aimed
at general effect and may be called an Impressionist
painter.
He always felt that Rousseau greatly surpassed
him. He compared him to an eagle, and said of
himself, " I am only a skylark, sending forth little
songs in my grey clouds." His soft, silvery land-
363
YOUNG PEOPLE'S STORY OF ART
scapes are full of mist and sunshine, and everything
seems to tremble in the air.
His nature is very fresh, for he loved to paint
spring and summer scenes; indeed, he never would
attempt winter ones. In the springtime, he would
say, " I have a rendezvous with nature, with the
buds which begin to burst with the new foliage, and
with my little birds perching curiously on the end of
a branch to look at my work! "
But Corot has preserved somewhat of the old
spirit; for he loved to people his forests with fabled
nymphs and druids. Yet the landscapes are so
modern, and the little figures are so gracefully danc-
ing and playing under the trees, that one fails to
discover the remnant of the earli 
