GIFT OF 
 A. F. Morrison 
 
WHAT PICTURES TO SEE IN 
 EUROPE IN ONE SUMMER 
 
Ihe Horseman. Diirer. Nuremberg. 
 
 Frontispiece 
 
WHAT PICTURES 
 TO SEE IN EUROPE 
 IN ONE SUMMER 
 
 BY 
 LORINDA MUNSON BRYANT 
 
 Author of "Pictures and Their Painters" 
 
 NEW YORK 
 
 JOHN LANE COMPANY 
 MCMX 
 
&'/ 
 
 COPYRIGHT, 1910, BV 
 JOHN LANE COMPANY 
 
 GIFT OF 
 
 PUBLISHERS PRINTING COMPANY. NEW YORK 
 
TO MY SON 
 
 ivi32356 
 
CONTENTS 
 
 PAGE 
 
 I. Mistakes of Sightseers in Europe and 
 
 How to Avoid Them . . 3 
 
 II. Vatican Sistine Chapel . . 8 
 
 III. Vatican Tapestries, Stanze, Loggia, 
 
 and Picture Gallery . . . 16 
 
 IV. Rome Churches and Palaces * 23 
 V. Florence Uffizi / . t . . 29 
 
 VI. Florence Pitti . ... 39 
 
 VII. Florence Academy ... 48 
 
 VIII. Florence Palaces and Churches . 53 
 
 IX. Venice Academy . . . 60 
 
 X. Venice Palaces and Churches 67 
 
 XI. Milan Academy and Churches . 73 
 
 XII. Munich Pinakothek . . . 79 
 
 XIII. Dresden Picture Gallery . . 85 
 
 XIV. Dresden Picture Gallery, con- 
 tinued . . . . . 94 
 [vii] 
 
CONTENTS 
 
 [viii] 
 
 PAGE 
 
 XV. Berlin Picture Gallery . . 100 
 
 XVI. Amsterdam Ryks Museum . .109 
 
 XVII. The Hague and Antwerp . . 115 
 
 XVIII. Paris Louvre Gallery v . 121 
 
 XIX. Paris Louvre, continued . .129 
 
 XX. Paris Louvre, continued . . 138 
 
 XXI. Paris Luxembourg . . . 146 
 
 XXII. London National Gallery . . 153 
 
 XXIII. London National Gallery, con- 
 
 tinued ..... 160 
 
 XXIV. London National Portrait, Tait, 
 
 and Grosvenor Galleries . 168 
 
ILLUSTRATIONS 
 
 The Horseman. Diirer. Nuremburg. Frontispiece 
 
 FIG. PAGE. 
 
 i. Creation of Adam. Michael Angelo. Sistine 
 
 Chapel, Vatican, Rome . . . .8 
 
 2. Cumaean Sibyl. Michael Angelo. Sistine 
 
 Chapel, Vatican, Rome . * . .9 
 
 3. Jeremiah. Michael Angelo. Sistine Chapel, 
 
 Vatican, Rome . . . . . .12 
 
 4. Detail from Last Judgment. Michael Angelo. 
 
 Sistine Chapel, Vatican, Rome . . .12 
 
 5. Last Judgment. Michael Angelo. Sistine 
 
 Chapel, Vatican, Rome . . . -13 
 
 6. Sistine Chapel. Vatican, Rome . . .14 
 
 7. St. Peter Receiving Keys. Perugino. Sistine 
 
 Chapel, Vatican, Rome . . . .15 
 
 8. Feed My Sheep. Raphael. Vatican, Rome . 18 
 
 9. Madonna and Child. Pintoricchio. Vatican, 
 
 Rome 18 
 
 10. Mount Parnassus. Raphael. Vatican, Rome . 19 
 ii. Transfiguration. Raphael. Vatican. Rome . 20 
 
 12. Last Communion of St. Jerome. Domenichino. 
 
 Vatican, Rome . . . . , .21 
 
 13. Playing Angel. Melozzo da Forli. Sacristy of 
 
 St. Peter's . * . . 24 
 
 [ix] 
 
ILLUSTRATIONS 
 
 FIG. PAGE 
 
 14. Aurora. Guido Reni. Rospigliosi Palace, Rome 25 
 
 15. Descent from the Cross. Volterra. Church of 
 
 Trinita de' Monti, Rome . . . .26 
 
 1 6. Sibyls. Raphael. Church of Santa Maria della 
 
 Pace, Rome -27 
 
 17. The Visitation. Albertinelli. Uffizi Gallery, 
 
 Florence 30 
 
 18. Madonna of the Harpies. Andrea del Sarto. 
 
 Uffizi Gallery, Florence . . . .31 
 
 19. St. Sebastian. II Sodoma. Uffizi Gallery, 
 
 Florence 34 
 
 20. Coronation of the Virgin. Botticelli. Uffizi 
 
 Gallery, Florence 35 
 
 21. Pope Julius II. Raphael. Uffizi Gallery, 
 
 Florence . 36 
 
 22. Knight of Malta. Giorgione. Uffizi Gallery, 
 
 Florence 37 
 
 23. Magdalene. Titian. Pitti Gallery, Florence . 40 
 
 24. Madonna of Grand Duke. Raphael. Pitti 
 
 Gallery, Florence 41 
 
 25. The Muses. Romano. Pitti Gallery, Florence 42 
 
 26. The Fates. Michael Angelo. Pitti Gallery, 
 
 Florence 43 
 
 27. The Concert. Giorgione. Pitti Gallery, Florence 43 
 
 28. Three Ages of Man. Lorenzo Lotto. Pitti 
 
 Gallery, Florence 46 
 
 29. Holy Family. Andrea del Sarto. Pitti Gallery, 
 
 Florence 47 
 
 30. Spring. Botticelli. Academy, Florence . . 48 
 31. The Baptism. Verrocchio. Academy, Florence . 49 
 32. The Assumption. Perugino. Academy, Florence 50 
 
 M 
 
ILLUSTRATIONS 
 
 WO. PAGE. 
 
 33. The Coronation of the Virgin. Fra Filippo Lippi. 
 
 Academy, Florence 51 
 
 34. Madonna of the Star. Fra Angelico. San Marco, 
 
 Florence 54 
 
 35. Christ and Disciples. Fra Angelico. San Marco, 
 
 Florence 5<j 
 
 36. Savonarola. Fra Bartolommeo. San Marco, 
 
 Florence 55 
 
 37. Group of Angels. Benozzo Gozzoli. Riccardi 
 
 Palace, Florence ..... 56 
 
 38. Religion and Philosophy. Taddeo Gaddi (?). 
 
 Santa Maria Novella, Florence . . -57 
 
 39. Last Supper. Andrea del Sarto. San Salvi, 
 
 Florence . 58 
 
 40. Dante. Giotto. Bargello, Florence . . 59 
 41. The Assumption. Titian. Academy, Venice . 60 
 
 42. Presentation in the Temple. Titian. Academy, 
 
 Venice . 61 
 
 43. Supper in the House of Simon the Pharisee. 
 
 Veronese. Academy, Venice . . .61 
 
 44. The Madonna and Child. Bellini. Academy, 
 
 Venice 64 
 
 45. The Adulteress. Tintoretto. Academy, Florence 64 
 
 46. Supper in the House of Simon. Moretto. 
 
 Academy, Venice 65 
 
 47. St. Ursula and her Father. Carpaccio. Academy, 
 
 Venice 65 
 
 48. St. Barbara. Palma Vecchio. Church of Santa 
 
 Maria Formosa, Venice . . . .68 
 
 49. Minerva. Tintoretto. Doges' Palace, Venice . 68 
 
 50. The Miracle of St. Mark. Tintoretto. Old 
 
 Library, Venice 69 
 
 M 
 
ILLUSTRATIONS 
 
 FIG. PAGE. 
 
 51. St. John the Baptist and Other Saints. Cima. 
 
 Madonna dell' Orto, Venice . . 70 
 
 52. Madonna of the Pesaro Family. Titian. Church 
 
 of Santa Maria dei Frari, Venice . . 71 
 
 53. The Last Supper. Leonardo da Vinci. Santa 
 
 Maria delle Grazia, Milan . . 74 
 
 54. Head of Christ. Leonardo da Vinci. Brera 
 
 Gallery, Milan 74 
 
 55. Marriage of the Virgin. Raphael. Brera 
 
 Gallery, Milan 75 
 
 56. The Melon Eaters. Murillo. Old Pinakothek, 
 
 Munich 80 
 
 57. Portrait of Velasquez. Velasquez. Old Pinako- 
 thek, Munich . . ' . . . .81 
 
 58. St. Paul and St. Mark. DUrer. Old Pinakothek, 
 
 Munich 82 
 
 59. Portrait of Bismarck. Lenbach. Artist's 
 
 House, Munich 83 
 
 60. The Sistine Madonna. Raphael. Royal Gallery, 
 
 Dresden 86 
 
 61. The Holy Night. Correggio. Royal Gallery, 
 
 Dresden 87 
 
 62. The Tribute Money. Titian. Royal Gallery, 
 
 Dresden . . . . . . .88 
 
 63. The Meyer Madonna. Holbein. Royal Gallery, 
 
 Dresden . . . . . . .89 
 
 64. The Adoration of the Magi. Veronese. Royal 
 
 Gallery, Dresden 92 
 
 65. St. Agnes. Ribera. Royal Gallery, Dresden . 93 
 
 66. Reading Magdalene. VanderWerff. Royal Gal- 
 lery, Dresden 94 
 
 67. Portrait of Rembrandt and his Wife. Rembrandt. 
 
 Royal Gallery, Dresden . . . .94 
 [xii] 
 
ILLUSTRATIONS 
 
 FIO. PAGE. 
 
 68. Boy. Pintoricchio. Royal Gallery, Dresden . 95 
 69. Village Fete. Teniers. Royal Gallery, Dresden 96 
 
 70. Song with Piano. Netscher. Royal Gallery, 
 
 Dresden 96 
 
 71. Christ on the Cross. Durer. Royal Gallery, 
 
 Dresden -97 
 
 72. Christ with the Doctors. Hofmann. Royal Gal- 
 lery, Dresden 97 
 
 73. St. Anthony and Infant Christ. Murillo. Berlin 
 
 Gallery, Berlin ...... 100 
 
 74. Portrait of Allesandro del Borro. Velasquez. 
 
 Berlin Gallery, Berlin 101 
 
 75. Hille Bobbe. Franz Hals. Berlin Gallery, 
 
 Berlin .... ^: i ... . . 102 
 
 76. Family of Gelfing. Metsu. Berlin Gallery, 
 
 Berlin ... ..... . . 103 
 
 77. Madonna, Child and Saints. Vivarini. Berlin 
 
 Gallery, Berlin . / . . . . . . . 103 
 
 78. Portrait of Titian. Titian. Berlin Gallery, 
 
 Berlin 106 
 
 79. The Magi and the Star. Van der Weyden. 
 
 Berlin Gallery, Berlin 107 
 
 80. Night Watch. Rembrandt. Ryks Museum, 
 
 Amsterdam no 
 
 81. The Cloth Merchants. Rembrandt. Ryks 
 
 Museum, Amsterdam . . . . . in 
 
 82. The Banquet of Civic Guards. Van der Heist. 
 
 Ryks Gallery, Amsterdam . . , .112 
 
 83. The Jester. Franz Hals. Ryks Museum, 
 
 Amsterdam . . . . . * . 113 
 
 84. Christmas. Jan Steen. Ryks Museum, Amster- 
 dam . . . .... . 113 
 
 [xiii] 
 
ILLUSTRATIONS 
 
 PIO. PAGE. 
 
 85. School of Anatomy. Rembrandt. Picture Gallery, 
 
 The Hague 116 
 
 86 The Bull. Paul Potter. Picture Gallery, The 
 
 Hague 117 
 
 87. The Despatch. TerBorch. Picture Gallery, The 
 
 Hague -117 
 
 88. Soap Bubbles. Van Mieris. Picture Gallery, 
 
 The Hague. 118 
 
 89. The Descent from the Cross. Rubens. Antwerp 
 
 Cathedral, Antwerp 119 
 
 90. Le Source. Ingres. Louvre, Paris. . .122 
 
 91. Mona Lisa. Leonardo da Vinci. Louvre, Paris 123 
 
 92. St. Michael and the Dragon. Raphael. Louvre, 
 
 Paris 124 
 
 93. Marriage of St. Catharine. Correggio. Louvre, 
 
 Paris 125 
 
 94. St. Augustine and his Mother. Scheffer. Louvre, 
 
 Paris 125 
 
 95. Immaculate Conception. Murillo. Louvre, 
 
 Paris 126 
 
 96. Coronation of the Virgin. Fra Angelico. Louvre, 
 
 Paris 127 
 
 97. Dance of the Muses. Corot. Louvre, Paris . 130 
 98. Cattle Going to Work. Troyon. Louvre, Paris 131 
 99. Madame Re*camier. David. Louvre, Paris . 131 
 
 100. Artist and Daughter. Madame Lebrun. Louvre, 
 
 Paris 132 
 
 loi. Old Man and Boy. Ghirlandajo. Louvre, Paris 133 
 102. Mount Parnassus. Mantegna. Louvre, Paris 134 
 
 103. Charles I. and his Horse. Van Dyck. Louvre, 
 
 Paris 135 
 
 [xivl 
 
ILLUSTRATIONS 
 
 PIG. PAGE. 
 
 104. Supper at Emmaus. Rembrandt. Louvre, Paris 138 
 105. L'Infanta Marguerite. Velasquez. Louvre, Paris 139 
 106. Dropsical Woman. Dou. Louvre, Paris . . 140 
 107. Fish Market. Ostade. Louvre, Paris . . 141 
 
 108. Officer and Young Woman. Ter Borch. Louvre, 
 
 Paris 141 
 
 109. Young Girl. Flinck. Louvre, Paris . . 142 
 no. The Blessing. Chardin. Louvre, Paris . . 142 
 
 in . Helena Fourment and Children. Rubens. Louvre, 
 
 Paris 143 
 
 112. Whistler's Mother. Whistler. Luxembourg, 
 
 Paris 146 
 
 113. Carmencita. Sargent. Luxembourg, Paris . 147 
 114. The Gleaner. Breton. Luxembourg, Paris . 148 
 115. The Dream. Detaille. Luxembourg, Paris . 149 
 116. The Foundling. Decamps. Luxembourg, Paris 150 
 
 117. Oxen Ploughing. Rosa Bonheur. Luxem- 
 bourg, Paris 150 
 
 118. Christ in the Peasant's Hut. Von Uhde. Luxem- 
 bourg, Paris 151 
 
 119. The Hemicycle. Chavannes. The Sorbonne 
 
 (University of Paris), Paris . . . .151 
 
 1 20. Raising of Lazarus. Piombo. National Gallery, 
 
 London 154 
 
 121. St. Helena. Veronese. National Gallery, 
 
 London 155 
 
 122. The Tailor. Moroni. National Gallery, London 156 
 
 123. Doge Loredano. Bellini. National Gallery, 
 
 London . 157 
 
 124. Chapeau de Paille. Rubens. National Gallery, 
 
 London 158 
 
 M 
 
ILLUSTRATIONS 
 
 FIG. PACB. 
 
 125. The Avenue. Hobbema. National Gallery, 
 
 London 159 
 
 126. The Shrimp Girl. Hogarth. National Gallery, 
 
 London 160 
 
 127. Artist and Dog. Hogarth. National Gallery, 
 
 London 161 
 
 128. Canterbury Pilgrims. Stothard. National Gal- 
 lery, London 161 
 
 129. Angel Heads. Reynolds. National Gallery, 
 
 London ........ 162 
 
 130. Mrs. Siddons. Gainsborough. National Gallery, 
 
 London 163 
 
 131. The Hay-Wain. Constable. National Gallery, 
 
 London. 163 
 
 132. Shoeing the Bay Mare. Landseer. National 
 
 Gallery, London 166 
 
 133. The Fighting Temeraire. Turner. National Gal- 
 lery, London 167 
 
 134. Cardinal Newman. Watts. National Portrait 
 
 Gallery, London 168 
 
 135. Lady Macbeth. Sargent. Tait Gallery, 
 
 London 169 
 
 136. Orpheus and Eurydice. Watts. Tait Gallery, 
 
 London 172 
 
 137. Mrs. Siddons. Reynolds. Grosvenor House, 
 
 London 172 
 
 138. -The Blue Boy. Grosvenor House, London. . 173 
 
 Ixvi] 
 
WHAT PICTURES TO SEE IN 
 EUROPE IN ONE SUMMER 
 
I 
 
 MISTAKES OF SIGHTSEERS IN EUROPE 
 AND HOW TO AVOID THEM 
 
 grave faults are inherent in most Ameri- 
 can travellers who visit Europe. They are 
 defects, too, that in the eyes of thinkers often 
 have made these tourists, and through them their 
 country, a laughing-stock to the world. Briefly 
 these faults are: (i) covering too much ground in 
 too short a space of time ; (2) insufficient prepa- 
 ration intellectually for the trip. No truer state- 
 ment was ever made about foreign travel than 
 that "you bring back from Europe what you take 
 with you." We all admit that travel is an edu- 
 cator, but must surely agree that haste and igno- 
 rance are not conducive to the education of the 
 traveller. 
 
 It is far from my desire to foster either of these 
 faults, yet so long as they exist it is my wish to 
 minimize them to the smallest degree of harm- 
 fulness. In order to accomplish this the empty 
 brain must be filled in hurried time with some- 
 thing that can be carried duty free back to Amer- 
 ica. No scheme, however simple, can fill the 
 
 [3] 
 
. ,,. WHAT PICTURES TO SEE 
 
 void pi either time or brains; on the other hand, 
 ;t< is" possible to help those people who hurry 
 because they must and who really want to learn, 
 yet have had no time to prepare. 
 
 Of all the treasures in Europe pictures prob- 
 ably would lead the list in numbers; and of all 
 the treasures that the travelling public goes to 
 see pictures would no doubt take the lead. But 
 between the vast number of pictures that cover 
 miles of wall space in the galleries of Europe, and 
 the special few that the general sightseer ought 
 to remember, there is a gap too wide for an un- 
 trained mind to comprehend. Baedeker, and 
 other admirable guide-book makers, have starred 
 and double-starred selected pictures in their 
 closely printed pages until an attempt to see even 
 the specialized pictures has tired the eyes and 
 confused the brain; and yet not a fraction of the 
 whole number mentioned in these guide-books 
 are marked with an asterisk. 
 
 The question is often asked, "How many pic- 
 tures ought one to remember well enough to de- 
 scribe intelligently after a summer in Europe?" 
 I have heard prominent educators put the number 
 as low as twenty. But why set any limit? Let 
 each individual decide the number for himself. 
 Fortunately the postal-card deluge and cheap 
 reproductions have so multiplied the likenesses 
 of the original paintings that the returned trav- 
 
 [4] 
 
MISTAKES OF SIGHTSEERS 
 
 eller is able to keep before him constant reminders 
 of the masterpieces. This has reduced the ne- 
 cessity of carrying the details of each picture in 
 one's mind, enabling the tourist to devote more 
 time to a study of the underlying thought and 
 characteristics of each artist. 
 
 It is vitally important in studying pictures that 
 the best examples in each gallery be surely seen, 
 and also that they be studied before the eyes and 
 brain have become fagged from miscellaneous 
 sightseeing. In order to do this we must be 
 familiar with the pictures that we have come 
 specially to see. Now my plan is to take you with 
 me through some of the principal galleries of 
 Europe and to point out a few of the pictures that 
 the world has accepted as masterpieces. We 
 recognise, as did Michael Angelo, that it is "pub- 
 lic opinion" which, after all, gives the true value 
 to a work of art, but furthermore it must be public 
 opinion aided by time and thoughtful criticism. 
 In following out my plan no legitimate means will 
 be neglected that can help to fix the world pic- 
 tures in the mind. There will be plenty of anec- 
 dotes and stories relative to the lives of the artists, 
 besides pertinent bits of history that will place both 
 painter and painting in their proper setting. 
 Tradition, legend, and myth also will be used to 
 explain the meaning of the subjects and to draw 
 attention to the artist's skill in utilising classical 
 
 ts] 
 
WHAT PICTURES TO SEE 
 
 or biblical allusions. Much of the import of a 
 picture is often lost, just as are classical references 
 in literature, through a failure to appreciate some 
 special sign or symbol borrowed from the mythical 
 or historical that illuminates the painter's meaning. 
 Aided by the method outlined above, and assisted 
 also by reproductions of some of the masterpieces, 
 I hope to fix the essentials of a number of pic- 
 tures in your minds. When at length you have 
 an opportunity to see the original paintings, your 
 judgment, trained to recognise the best, will be 
 a reliable guide in selecting other masterpieces 
 from among the vast numbers in the various 
 galleries. 
 
 Those who desire to supplement the illustra- 
 tions in this book with reproductions of the other 
 pictures mentioned may easily do so with blue 
 prints or half-tones purchasable at a penny each. 
 
 I have not attempted to give the exact situation 
 of the pictures in the various galleries, as changes 
 are always liable to occur in the arrangement. 
 A local guide-book or inquiry of an attendant, 
 even when he speaks no English, will supply these 
 details. 
 
 No more profitable place to begin sightseeing 
 can be found than Italy, and Rome whither all 
 roads lead, and the Vatican where the art of 
 painting may be said to centre. But the Vatican 
 is a vast place so again we must specialise and 
 
MISTAKES OF SIGHTSEERS 
 
 name the Sistine Chapel. Let me impress upon 
 you at the start, that this trip is not intended to 
 exhaust the picture treasures of the galleries 
 visited, but rather to place before you as many 
 masterpieces as can be seen comfortably and with 
 profit in one summer. 
 
 [7] 
 
II 
 
 ROME THE VATICAN THE SISTINE 
 CHAPEL 
 
 ly/TICHAEL ANGELO, the presiding genius 
 -***-* of the Sistine Chapel, has produced on 
 the ceiling a work so marvellous that for four 
 centuries it has indexed the high-water mark of 
 fresco painting. Along the centre of the ceiling 
 he has depicted scenes representing the history 
 of the world from the first day of creation to the 
 flood. Around the central panels are alternating 
 prophets and sibyls arranged as though they 
 were looking out on the world foretelling coming 
 events. 
 
 In the first three panels Michael Angelo pic- 
 tures the Creator in the act of creation. Such 
 reverent daring was never before put on record. 
 And then, as though to intensify and yet soften 
 the awful mystery of the birth of a world, in the 
 fourth division (Fig. i) he portrays man in the 
 nascent state. The latent power of that prostrate 
 figure is tremendous! One almost feels the out- 
 stretched arm gather strength as the divine spark 
 of life leaps from the finger of God through the 
 
 [8] 
 
FIG. 2. Cumaean Sibyl. Michael Angelo. Sistine 
 Chapel, Vatican, Rome. 
 
ROME 
 
 intervening space. The whole being of the newly 
 created Adam is rousing into life before our very 
 eyes. Nothing could equal the simplicity and 
 depth of such a picture but the words of the Bible 
 itself: "So God created man in his own image, 
 in the image of God created he him." How like 
 the shrouded body of the Creator is the nude form 
 of the creature! 
 
 In the fifth division Michael Angelo continues 
 to interpret that mysterious story told in Genesis. 
 And who but a great master could have so graph- 
 ically pictured those grand old words? Listen! 
 "And the Lord caused a deep sleep to fall on 
 Adam, and he slept; and he took one of his ribs. 
 .... And the rib which the Lord God had taken 
 from man, made he woman." Now look at the 
 artist's "Creation of Eve." The profound sleep 
 of Adam, the eager, womanly adoration of the 
 newly created Eve, and the human fatherhood of 
 the Creator are products of a God-given genius. 
 Only one whose Bible was a vital part of himself 
 could have told that story so simply and forcefully. 
 
 The sibyls foretold to the Gentiles the same 
 event that was the theme of the old Hebrew proph- 
 ets the advent and mission of a saviour. Pos- 
 sibly because the Cumaean Sibyl prophesied the 
 Nativity she is the most familiar sibyl in art al- 
 though she is represented in age from fifteen to de- 
 crepit old womanhood. We are inclined to believe 
 
 [9] 
 
WHAT PICTURES TO SEE 
 
 that the dignity of age is greatly to her advantage 
 as she consults her book among her prophetic 
 companions in the Sistine Ceiling (Fig. 2). Just 
 why King Tarquin, six centuries before Christ, 
 withstood her warnings is not known; but tradi- 
 tion says that three times she came to him offering 
 her books before he bought them. At first she 
 had nine books, then burning three she offered 
 the remaining six, and after burning three more 
 Tarquin bought the last three for the original 
 sum asked for the nine. So precious were these 
 leaves that for centuries they were under the care 
 of the priests, until the temple of Jupiter was 
 burned in B.C. 83. 
 
 Before we commune with " Jeremiah," one of 
 the grandest figures in all art, let us try to grasp 
 a little of the architectural design of this great 
 scheme of ceiling decoration. Look at those 
 decorative figures placed with such consummate 
 skill that each one, whether of natural colour or of 
 a bronze tint, emerges from the surrounding 
 scenes as though coming from a world of reality. 
 It seems incredible that a vaulted surface flat 
 in the middle could be covered so adroitly with 
 imitation columns, pillars, and cornices that the 
 figures amongst them seem but a part of an archi- 
 tectural scheme ; and yet the Cumaean Sibyl holds 
 her place in this vast assembly of two hundred 
 figures as though she alone had been considered, 
 
 [10] 
 
ROME 
 
 Now we turn to " Jeremiah " (Fig. 3), chief 
 among the prophets. That noble old seer with his 
 head resting on his hand is communing with him- 
 self. We know with what bitterness, sadness, and 
 hopefulness he felt the sins, backslidings, and 
 repentances of the chosen people. His attitude 
 is that of one who not only foretells through 
 visions but understands the signs of the time. 
 The strength and grandeur, sympathy and ten- 
 derness condensed into that single figure show 
 Michael Angelo's wonderful power in making 
 those old characters live again for us. 
 
 Michael Angelo was scarcely thirty-five years 
 old when he began the Sistine Chapel. He had 
 returned to Rome in 1508 to resume his work on 
 the tomb of Julius II; but Bramante, the archi- 
 tect, jealous of the young artist and wishing for 
 his downfall, suggested to Pope Julius that he 
 was just the man to paint the chapel, knowing 
 that painting was Angelo's weak point. Michael 
 Angelo objected, but what cared the Pope that 
 he had done no fresco painting since the days 
 when he was a lad in Ghirlandajo's studio ? The 
 Pope's wish was law, and for once the artist 
 yielded, possibly not so much to please his noble 
 patron as to show Bramante that it would take 
 a greater man than he to accomplish his ruin. 
 
 Michael Angelo allowed Bramante to put up 
 the scaffolding in the Chapel, only to bring him 
 
WHAT PICTURES TO SEE 
 
 to confusion, however, by tearing down his bun- 
 gling work and demanding to know how the holes 
 made in the dome for the cords to support the 
 suspended scaffolding were to be filled. Bra- 
 mante answered superciliously, "Fill in with 
 plaster, and paint them after the rest is finished." 
 Michael Angelo was too disgusted to notice such 
 silly nonsense and proceeded to make his own scaf- 
 folding, and for the first time a painter's platform 
 was erected without holes in the wall. This little 
 episode was but the beginning of numberless an- 
 noyances that marked the progress of the work 
 through the four years until its completion. 
 
 One of the tiffs that arose while the artist was 
 executing this marvel of art almost proved fatal 
 to its completion. Michael Angelo wished for 
 money that he might visit his father in Florence. 
 Julius began at once to interrogate him as to how 
 soon he would finish the Chapel. "As soon as I 
 can," the artist replied. This answer was like 
 fire to tow. The touchy old pontiff flew into a 
 passion and repeating in great fury, "As soon as 
 I can," struck the artist with his cane. This indig- 
 nity was too much for Michael Angelo and he 
 left for Florence with the intention of not return- 
 ing. But the Pope always the first to renew 
 the broken friendship soon repented him of his 
 haste. He sent his favourite attendant with a large 
 sum of money as a peace offering and a humble 
 
 [Ml 
 
FIG. 3. 
 
 Jeremiah. 
 Chapel. 
 
 Michael Angelo. Sistine 
 Vatican, Rome. 
 
 FIG. 4. Detail from Last Judgment 
 
 Michael Angelo. Sistine Chapel, 
 
 Vatican, Rome. 
 
FIG. 5. Last Judgment. Michael Angelo. Sistine Chapel, Vatican, Rome. 
 
ROME 
 
 request for the artist's return. Even when the 
 work was finished and its praise was on every 
 Up, Julius still dictated and declared that the 
 Chapel looked poor because it lacked gilding. 
 But the final word was spoken when Michael 
 Angelo retorted, "The people I have painted on 
 it are poor." 
 
 The marvellous originality of Michael Angelo 
 is just as pronounced in "The Last Judgment," 
 on the altar end of the Chapel. If we begin with 
 the "Christ" (Fig. 4), in the upper part of the 
 fresco, we find a Saviour in whom is combined the 
 commendator and the condemner in a most 
 startling manner. Comparing this conception 
 of the Redeemer with that of the transfigured 
 Saviour in the "Transfiguration," of Raphael 
 (Fig. n), in the Vatican Picture Gallery, we real- 
 ize at once how much the temperaments of the 
 two artists have entered into their works. In 
 the one we have the all-powerful Judge, in the 
 other the glorified human Saviour. 
 
 Michael Angelo's "Last Judgment" (Fig. 5) 
 as a whole is not a pleasing subject, but no one 
 will deny that even in its cracked and scarred 
 condition to-day, it is a powerful work. No 
 other artist until that day ever had the temerity 
 to picture the scene as one entirely apart from the 
 natural world. Here are clouds and human 
 beings completely covering the east end of the 
 
 [13] 
 
WHAT PICTURES TO SEE 
 
 Chapel. Again the wonderful foreshortening of 
 the individual figures almost surpasses belief. 
 The number and variety of the symbols of mar- 
 tyrdom and the works of the devil given to the 
 re-embodied souls of saints and sinners are only 
 comparable to Dante's Inferno. The fresco was 
 first exhibited to the public on Christmas Day, 
 
 Michael Angelo was now sixty-six and had 
 lost some of the fire of his youth, but he still held 
 his own against opponents. One day the Pope's 
 Master of Ceremonies, Biagio da Cesena, ex- 
 pressed his opinion that the naked figures in the 
 "Last Judgment" were fit only for a bath house. 
 This statement came to the ears of Michael 
 Angelo; he said nothing, but simply painted 
 Biagio's portrait among the damned as Minos. 
 The furious Biagio appealed to the Pope without 
 avail. "I am sorry to hear it," said the Pope 
 when he was told where he had been placed in 
 the fresco, "if he had only put you in purgatory, 
 I could have got you out; but as you are in hell 
 I can do nothing for you. My power doesn't 
 reach so far. Nulla est redemption Biagio is 
 still in hell in the "Last Judgment." 
 
 The other frescos in the Sistine Chapel (Fig. 6) 
 were painted by six of the leading artists of Italy 
 about the time of Michael Angelo's birth 1475. 
 These artists, Pintoricchio, Botticelli, Ghirlan- 
 
FIG. 6. Sistine Chapel. Vatican, Rome. 
 
ROME 
 
 dajo, Perugino, and Rosselli, have works in every 
 gallery in Europe, so their names will grow famil- 
 iar to us as we proceed on our journey. The 
 subjects of the twelve frescos on the side walls 
 are from the Old and New Testament. The 
 wily Rosselli, who painted six of the twelve, was 
 inferior as an artist, but superior as a student of 
 human nature. He recognised the plebeian taste 
 of Pope Sixtus IV, who ordered the Chapel built 
 and decorated, and caught the Pope's fancy by 
 covering his trial picture with gold. Human 
 nature repeats itself in all ages. 
 
 One of the best preserved of these frescos is 
 " Christ Giving the Keys to St. Peter," by Pe- 
 rugino (Fig. 7). We are especially interested in 
 this artist because of his famous pupil Raphael. 
 Comparing this painting with an early work of 
 Raphael's, "The Marriage of the Virgin," in 
 Milan (Fig. 55), we find how much alike were 
 master and pupil during the early years of the 
 latter's art career. The spaciousness of this 
 composition of Perugino's is particularly pleasing. 
 Notice how the space between the foreground and 
 background is intensified by the tessellated pave- 
 ment and the figures placed at varying distances 
 from each other. How satisfying is that lofty 
 dome with its open verandas, and the lovely 
 landscape in the distance set against the fleecy 
 clouds and deep blue of the sky! 
 
Ill 
 
 ROME THE VATICAN TAPESTRIES, 
 
 STANZE, LOGGIA, AND PICTURE 
 
 GALLERY 
 
 VT'OU possibly noticed underneath the older 
 * frescos in the Sistine Chapel painted imi- 
 tations of tapestries. Let us now look at the 
 real fabrics displayed in one of the corridors of 
 the Vatican, and on state occasions hung in the 
 Chapel. Raphael designed and painted the origi- 
 nal cartoons or patterns by order of Julius II. 
 These were sent to Flanders where the tapestries 
 were woven in wool, silk, and gold. For many 
 years the original cartoons were lost, but seven 
 of them were finally recovered through the efforts 
 of Peter Paul Rubens, and, at his suggestion, 
 Charles I. bought them for England and to-day 
 they are among the treasures of the South Kensing- 
 ton Museum, London. 
 
 Raphael chose for his subjects on these tapes- 
 tries stories from the New Testament, most of 
 them illustrating various scenes from the lives of 
 the Apostles as told in The Acts. Possibly the 
 picture most familiar to us, however, is the one 
 [16] 
 
ROME 
 
 representing the memorable dialogue between 
 the Saviour and Peter as related by St. John, when 
 the charge was given "Feed my Sheep " (Fig. 8). 
 While Raphael no doubt had in mind that morn- 
 ing so long ago when the Saviour met a few of the 
 disciples on the shores of the sea of Tiberias, he 
 has modified the scene to represent St. Peter as 
 the founder of the Roman Church. All of the 
 disciples are present and St. Peter is receiving 
 the keys as significant of his superior standing 
 among them. 
 
 Naturally we turn next to Raphael's Stanze, 
 but before doing so, let us stop to see a little gem 
 in the Borgia apartment Pintoricchio's " Ma- 
 donna and Child" (Fig. 9). These rooms, decor- 
 ated by order of Pope Alexander VI., the infamous 
 Borgia of history, were walled up by Julius II. 
 and were not seen again until Pope Leo XIII. 
 ordered them opened less than half a century ago. 
 The very name Borgia suggests plots, murders, 
 and unseemly conduct in the most holy rela- 
 tionships of life. It scarcely seems possible that 
 Julia Farnese, the mistress of Alexander VI., 
 could have been the model for this beautiful pic- 
 ture. The fresco is over the door of one of the 
 chambers, so do not overlook it, thinking to find 
 it among the larger paintings on the side walls. 
 
 Raphael's Stanze in the papal state-apart- 
 ments in the Vatican were painted by order of 
 
WHAT PICTURES TO SEE 
 
 Popes Julius II. and Leo X. When Michael 
 Angelo began the Sistine ceiling in 1508, Raphael 
 also commenced decorating the rooms of the 
 state-apartment. He was then twenty-five years 
 old, and at his death, twelve years later, only three 
 of the four rooms were completed. Not all the 
 frescos in these three rooms are by Raphael's 
 own hand, yet his happy faculty of instilling his 
 own spirit into his pupils has made the work a 
 perfect whole. The room of greatest interest, 
 and almost entirely by the master's hand, is the 
 Stanza della Signatura, so called because the 
 papal indulgences were signed and sealed therein. 
 The subjects here represented are symbolical 
 of Theology, Poetry, Philosophy, and Justice. 
 In the lunette, under the ceiling fresco of Poetry, 
 is "Parnassus" (Fig. 10), a subject wonderfully 
 pleasing in conception and arrangement. On 
 top of the mount in the centre of the circle Isits 
 Apollo surrounded by the muses, and at his eft 
 blind Homer inspired to sing by the music of *he 
 god. Dante, Virgil, Petrarch, and Sappho a re 
 just below Homer and on the opposite side a re 
 Pindar and Horace, in company with contempo- 
 raries of the artists of the early sixteenth century. 
 Raphael's marvellous skill as a space-filler has 
 transformed the awkward shape over and around 
 the window frame into a form most convenient 
 for the design he wished to portray. 
 [18] 
 
FIG. 8. Feed My Sheep. Raphael. Vatican, Rome. 
 
 FIG. 9. Madonna and Child. Pintoricchio. 
 Vatican, Rome. 
 
I 
 
ROME 
 
 Another place in the Vatican where Raphael 
 has shown this power of turning curious and un- 
 equal shapes to advantage is the Loggia a 
 portico ornamented with his pictures. On the 
 ceiling of this gallery is Raphael's Bible. The 
 subdividing rafters separate this ceiling into thir- 
 teen vaults and in each vault are four scenes. 
 The subjects in twelve of the vaults are taken 
 from the Old Testament and in the last one are 
 scenes from the New Testament. It is inter- 
 esting to compare Raphael's conception of "The 
 Creation of Eve," the fourth picture in the second 
 section, with Michael Angelo's treatment of the 
 same subject on the Sistine ceiling. These paint- 
 ings are badly injured, for the portico was open to 
 the weather until 1813 when the glass front was 
 added. 
 
 In the picture gallery of the Vatican the first 
 painting that claims our attention is Raphael's 
 " Transfiguration " (Fig. n), the work that was 
 left unfinished at the artist's untimely death. 
 Raphael began this canvas in a trial of skill be- 
 tween himself and Sebastiano del Piombo. The 
 latter's picture, "The Raising of Lazarus," is in 
 the National Gallery, London (Fig. 120). Michael 
 Angelo, jealous for Piombo and knowing his 
 weakness in drawing, himself drew in the figure of 
 Lazarus. This concession to his ability caused 
 Raphael to make the famous remark: "Michael 
 
WHAT PICTURES TO SEE 
 
 Angelo has graciously favoured me, in that he 
 deemed me worthy to compete with himself, and 
 not with Sebastiano." No one but a master would 
 have dared to make two centres of interest, as 
 Raphael has in this painting. But note how he 
 has subordinated the human side in the lower 
 half of the picture by raising the hands of the 
 distressed disciples and pointing them to the 
 transfigured Saviour above as their only source 
 of strength. This masterpiece, with colours still 
 wet, was carried in the funeral train and 
 placed at the head of the young painter as his 
 body lay in state. 
 
 Opposite this glorious painting is Raphael's 
 picture of the "Madonna of Foligno." This 
 picture was painted for Sigismund Conti, an aged 
 bishop of Foligno, in commemoration of the 
 preservation of his life, when a shell exploded 
 near him at the bombardment of the city of 
 Foligno. The painting was finished after the 
 bishop's death and remained in Rome for fifty 
 years before it was taken to Foligno. Napoleon 
 carried the painting to Paris and after the battle 
 of Waterloo it was returned to Italy and finally 
 hung in the Vatican gallery. Although this is 
 one of Raphael's earlier oil paintings it is in colour- 
 blending one of the most beautiful. For the first 
 time in the history of art the traditional throne 
 under a canopy gives place to clouds and the free 
 
 [20] 
 
FIG. 11. Transfiguration. Raphael. Vatican, Rome. 
 
FIG. 12. Last Communion of St. Jerome. Domenichino. 
 Vatican, Rome. 
 
ROME 
 
 air of heaven where the Madonna and Child float 
 encircled by a halo of cherubs with sweet baby 
 faces. The boy-angel looking up at the Virgin 
 seems to be the connecting bond between earth and 
 heaven in this grateful thank-offering. Vasari 
 says, "It is not possible to imagine anything more 
 graceful or beautiful than this child." The ex- 
 quisite beauty of the Virgin, the sweet joyousness 
 of the baby Jesus, and the sincere gratitude of 
 the worn and aged bishop raised this picture to 
 a place of great distinction among the artists of 
 all Italy during Raphael's own lifetime. 
 
 In the next room is Perugino's " Resurrection," 
 which is especially interesting because the sleep- 
 ing soldier in it is probably a portrait of Raphael 
 and the fleeing man at the left that of Perugino 
 himself. Raphael at this time was a pupil in 
 Perugino's studio and may have assisted on the 
 picture. The solitariness of the figures in the 
 composition is a marked trait of Perugino; be- 
 sides there is here also a solidity of colour and a 
 crisp precision of execution that are prominent 
 features of all his oil paintings. 
 
 Domenichino's "Last Communion of St. 
 Jerome" (Fig. 12) has acquired a reputation 
 that its real merit can hardly justify. For some 
 unaccountable reason also, it has crept into several 
 lists of the ten great pictures of the world, but 
 that it is an intruder in such company is self- 
 
 [21] 
 
WHAT PICTURES TO SEE 
 
 evident. Domenichino has represented poor old 
 St. Jerome so realistically, however, that no one 
 could doubt that he had crucified the flesh until 
 all earthly desires were overcome. The compo- 
 sition is powerful, but the lack of warmth in 
 colour and the hardness in handling detract from 
 its value as a masterpiece. It is pleasing to note 
 how the artist has recognised the quaint legend 
 of the saint by placing the lion near him. We 
 all love the old story wherein it is told that St. 
 Jerome extracted a thorn from the lion's foot, 
 and that ever afterward this king of the forest 
 was the faithful servant and protector of the old 
 saint in his desert home. Then later when the 
 lion had offended his master he sought forgiveness 
 by bringing to St. Jerome another lion with a 
 thorn in his foot and thus redeemed himself by 
 good works. Such old legends teach many a 
 wholesome lesson. 
 
 The few pictures we have selected in the Vati- 
 can are simply examples to be used until time 
 and inclination shall prompt a wider study of the 
 great masterpieces in that famous gallery. 
 
IV 
 
 ROME PICTURES IN CHURCHES AND 
 PALACES 
 
 T N the Sacristy of St. Peter's are the "Angel" 
 * (Fig. 13) fragments from the frescos of 
 Melozzo da Forli formerly in the church of S.S. 
 Apostoli. These beautiful beings with wings 
 are nearly as well known as the Era Angelico 
 angels. Originally they formed the choir in the 
 " Ascension of Christ," and were arranged in 
 the clouds around the central scene. There 
 is something especially sweet and girlish in the 
 attitude of this angel as she gazes so wistfully at 
 the scene below. She is a real child of the earth 
 but with heavenly longings that make the short, 
 firm wings her rightful possession. Although 
 da Forli is scarcely mentioned in the history of 
 art, his power in foreshortening alone places him 
 among the great artists. 
 
 Most of the isolated pictures in Rome are well 
 known through copies, but probably the most 
 familiar is Guido Reni's "Aurora" (Fig. 14). 
 This fresco is on the ceiling of one of the rooms 
 of the Rospigliosi Palace. The colours in the 
 
 [23] 
 
WHAT PICTURES TO SEE 
 
 " Aurora" have scarcely grown a whit dim in 
 the two centuries and a half since Guido laid 
 them. So clear and pleasing is the harmony 
 of these colours and so refined the graceful figures 
 of the dancing muses that one might think Guido 
 Reni a contemporary of Raphael. Unfortu- 
 nately, his insincerity of pose and expression 
 typify the decadence in Italy a hundred years 
 later. We forget this insincerity, however, in 
 our delight over the dun horses against the yel- 
 low sky, and the exquisite shading of the god- 
 desses' robes and the blue haze hovering over 
 the bit of landscape below. 
 
 Another painting of Guido's that is very sug- 
 gestive of Raphael's influence is "St. Michael 
 and the Dragon," in the church of S. Maria dei 
 Cappuccini. The composition of the subject 
 in the two pictures is almost identical. In Guido's 
 picture the Archangel puts forth real physical 
 strength to overcome the dragon, but Raphael's 
 "St. Michael" triumphed through moral force 
 alone (see Fig. 92). The archangels of both 
 artists are wonderfully beautiful in form and fea- 
 tures, but Guido has given to his a touch of human 
 vanity quite unfitting one who is the conqueror 
 of the powers of hell and the Angel of Death. 
 It was Michael the Archangel, the first and mighti- 
 est of beings, that God sent to expel Satan and 
 the fallen angels from heaven. In all represen- 
 
 [24] 
 
FIG. 13. Playing Angel. Melozzo da Forll. Sacristy of St. Peter's. 
 
ROME 
 
 tations of this subject in art Satan is half human 
 or dragon-like in form and St. Michael, stand- 
 ing with his foot on the Evil One, holds a lance 
 or chain. 
 
 We will now go to the Palazzo Barberini and 
 look at another very popular picture of Guido 
 Reni's, the so-called "Beatrice Cenci." This por- 
 trait has become so firmly fixed in the minds of 
 picture-lovers as the likeness of the fair parricide 
 a few days before her execution, that it is hard to 
 overcome that belief. But it is now an established 
 fact that Guido did not come to Rome until after 
 her execution for instigating the murder of her 
 father. Futhermore, this painting is not a por- 
 trait at all, but Guido's idea of a sibyl. With 
 these facts in mind it is easy to trace sibylline at- 
 tributes in the far-seeing expression of the eyes, 
 the classic folds of the turban on the head, and 
 the severe simplicity of the drapery. As tradi- 
 tion makes many of the sibyls not more than 
 fifteen years old, this lovely young girl might 
 very well foretell the Nativity or the Massacre 
 of the Innocents. 
 
 Another familiar picture in this gallery is 
 Raphael's "Fornarina." Raphael fell in love 
 with this lady while he was at work in the Vatican 
 and although a man of many loves he remained 
 true to her until his death. The name "Forna- 
 " came from the supposition that her father 
 [25] 
 
WHAT PICTURES TO SEE 
 
 was a baker (Jornajo). She is not beautiful, as 
 we judge of beauty to-day, but the artist's own 
 words will tell why he adored her, "Love, thou 
 hast bound me with the light of thy two eyes 
 which torment me, with a face like snow and 
 roses, with sweet words and tender manners." 
 No words could describe the picture more fully. 
 The two eyes do indeed hold one captive, and in 
 their unfathomable depth lies the charm of her 
 personality. Raphael painted his lady-love many 
 times. 
 
 In one of the chapels of S. Trinita de' Monte 
 is Volterra's "Descent from the Cross " (Fig. 15). 
 It is thought from the excellence of the drawing 
 and composition that Michael Angelo may have 
 assisted Volterra. This is possible, for the 
 friendship that existed between these two men 
 was very close and when Michael Angelo was 
 nearing his end it was Volterra who stayed by 
 him and finally closed his eyes in death. This 
 painting is often compared with Rubens' "De- 
 scent " in Antwerp (see Fig. 89). Again we find 
 a repetition in composition, but Rubens, a hundred 
 years later, has far excelled in the artistic handling 
 of the subject. We value Volterra's "Descent" 
 as his masterpiece, but would not class it among 
 the ten great pictures as has often been done. 
 
 Over the arch of the entrance to the Chigi Chapel 
 in the church of S. Maria della Pace, are Ra- 
 [26] 
 
FIG. 15. Descent from the Cross. Volterra. 
 Church of Trinity de' Monti, Rome. 
 
ROME 
 
 phael's " Sibyls" (Fig. 16). So similar are they in 
 conception to those in the Sistine Chapel that 
 Michael Angelo remarked when he first saw 
 them, "He has walked through my Chapel." 
 Alike, and yet how different! Just compare the 
 "Cumaean Sibyl," at the extreme left of the fresco, 
 with the older artist's Cumaean Sibyl (Fig. 2). 
 There is nothing of the supernatural about this 
 lovable, sweetly human woman. With what fit- 
 ness and grace the figures are grouped in the semi- 
 circle! There is not the slightest intimation that 
 the artist was restricted but rather that he planned 
 the architecture to suit his fresco. In fact, Raphael 
 decorated so many of these broken spaces in 
 churches and palaces that his peculiar grouping 
 could be designated as Raphaelesque. 
 
 An interesting story is told in reference to this 
 painting of the Sibyls. When the fresco was 
 ordered, 500 ducats was paid on account. When 
 the work was finished Raphael asked for the 
 amount yet due him, but Chigi's cashier refused 
 to pay. The matter was referred to Michael 
 Angelo and his verdict was that each head alone in 
 the fresco was worth 100 ducats. When Chigi 
 heard this he ordered that 400 ducats be paid 
 him at once and advised his cashier that he "be 
 courteous with Raphael and satisfy him well, for 
 if he makes us pay for the draperies, too, we shall 
 be ruined!" 
 
 [27] 
 
WHAT PICTURES TO SEE 
 
 We may again see Raphael at his best in " Gal- 
 atea," in the Farnesina Villa, on the Tiber. 
 This fresco was painted entirely by Raphael's 
 own hand in 1415. In it he has followed the de- 
 scription of the sea-nymph, Galatea, as given 
 by Philostratus, the Greek sophist of the third 
 century A.D. 
 
 Galatea was the goddess who, to escape the 
 hateful advances of the monster Cyclops, made 
 her home in the depth of the sea. We see her in 
 this fresco surrounded by admiring tritons bear- 
 ing sea-nymphs in their arms and blithe little 
 cupids circling like birds with their arrows ever 
 ready for use. The goddess is borne triumphantly 
 along on a shell drawn by dolphins which she 
 gently guides with silken reins. Her purple 
 robe and golden hair flutter lightly in the wind. 
 Her exquisite beauty and grace and the exu- 
 berance of life in her companions mark this fresco 
 as one of Raphael's finest efforts in the repro- 
 duction of Greek mythological stories. 
 
 [28] 
 
FLORENCE UFFIZI 
 
 FLORENCE is the city of pictures. This 
 fact warns us that self-restraint is very 
 necessary. One of the greatest temptations of 
 sightseers when in the midst of a treasure-house 
 of gems is to include too much at the outset. 
 Often you will see systematic people begin at 
 the right or the left as they enter a room and in- 
 spect each work in order. By the time a score 
 of pictures have been examined the sightseer has 
 lost all power of discrimination and a Raphael 
 masterpiece receives no more attention than a 
 Carlo Dolci commonplace. Such picture-study 
 is absurd. 
 
 Let us go in the morning directly to the Uffizi 
 Gallery. Never is the allurement greater to 
 look at everything at once than in this veritable 
 riot of colour and subject. We will not stop, 
 however, until we come to Albertinelli's " Salu- 
 tation " (Fig. 17), the greatest example of that 
 favourite subject. The question naturally arises, 
 "How was it possible for a man whose life was 
 so full of irregularities to paint a picture so full 
 
 [29] 
 
WHAT PICTURES TO SEE 
 
 of beauty and devoutness ? " When once seen 
 this picture is never forgotten. One finds satis- 
 faction in every detail. Look at the exquisitely 
 painted flowers in the foreground, the simple 
 white handkerchief over the head and shoulders 
 of Elizabeth, the ample folds of the blue robe 
 encircling the form of the Virgin, the delicate 
 tracery of the supporting pillars and the tiny bit 
 of hill country on either side of the arched por- 
 tico. How simple are the figures of Mary and 
 Elizabeth! The severely plain garments have 
 no ornaments to detract from the symbolic colours 
 of blue and red for the Virgin, and green, yellow, 
 and white for the prospective mother of John 
 the Baptist heavenly love and creative power 
 in the one, and hope, fruitfulness, and chastity 
 in the other. The artist has well expressed the 
 submissive yet dignified attitude of Elizabeth 
 and Mary's sweet acknowledgment of the adora- 
 tion of the older woman. The power of a mas- 
 ter's hand is felt in this masterpiece. 
 
 To fully appreciate Albertinelli's strength in this 
 picture one must take into account the wonderful 
 influence exerted over him by his Christian friend, 
 Fra Bartolommeo. That sincere monk, the de- 
 voted follower of Savonarola, held the rollicksome, 
 heedless Albertinelli within certain bounds; 
 but even his influence could not keep the artist 
 from throwing off the restraints of art for the 
 
 [30] 
 
FIG. 17. The Visitation. Albertinelli. Ufflzi Gallery, Florence. 
 
FIG. 18. Madonna of the Harpies. Andrea del 
 Sarto. Ufflzi Gallery, Florence. 
 
FLORENCE 
 
 free and easy life of a tavern-keeper at one of 
 the gates of Florence. This erratic change in 
 his mode of life did not mar their friendship, 
 however, for when the end came to the reckless, 
 self-indulgent Albertinelli, it was the gentle, 
 loving and protecting arms of Fra Bartolommeo 
 that held him when he breathed his last. Who 
 knows but what the erring soul gained admission 
 to heaven through the prayers of his Christian 
 friend ? 
 
 In the "Madonna of the Harpies" (Fig. 18), 
 we see Andrea del Sarto at his best; and yet 
 how that best was marred by the beautiful, 
 thoughtless, selfish wife who was the model of 
 this painting and the idol of the artist's heart. 
 No one will deny that nature gave to that arro- 
 gant woman a face almost divine in its loveliness; 
 there is little wonder then that Andrea saw in it 
 the Holy Mother. But even he drops the eye- 
 lids over the brilliant eyes to harmonize the fault- 
 less features with the deep religious sentiment 
 he has breathed into the composition. The sweet 
 simplicity of arrangement and the exquisite har- 
 mony of colour have given a dignity and religious 
 tone seldom equalled in works of art. Very 
 beautifully the rich red robe and tender blue 
 mantle contrast with the pink baby flesh of the 
 lovely Child! and the mellow white of the veil 
 against the glorious auburn hair of the Mother 
 
WHAT PICTURES TO SEE 
 
 softens and purifies every feature. So like a statue 
 in pose is this detail of the Mother and Child 
 that it could be reproduced in the purest Carrara 
 marble. The "Harpies" on the pedestal have 
 given the name to the painting. 
 
 Some one in writing of Andrea del Sarto (1486- 
 1531) said that he either came too late or too soon 
 to be placed among the greatest artists of his 
 time. Is this statement true or was Browning 
 right in the words he puts into the artist's own 
 mouth in the closing lines of his poem, "Andrea 
 del Sarto"? The artist is pleading with his 
 wayward, headstrong wife, and, as though sum- 
 ming up the whole matter, says: 
 
 "... Had the mouth there urged 
 God and the glory! never care for gain. 
 
 'Live for fame, side by side with Angelo! 
 Raphael is waiting: up to God, all three! 
 I might have done it for you. So it seems: 
 Perhaps not. All is as God over-rules.' " 
 
 No saint in the calendar of the Roman Church 
 has a more authentic history than St. Sebastian, 
 and never has the saint been more beautifully 
 portrayed than by II Sodoma (Fig. 19). This 
 picture is not only this artist's masterpiece, but 
 one of the great paintings of the world. The 
 classic beauty and noble bearing of the young 
 man relieve the subject of all disagreeable effects 
 
 [32] 
 
FLORENCE 
 
 because of the mode of his martyrdom. Some- 
 how the physical comeliness of the saint has been 
 enhanced by the look of spiritual suffering on 
 the upturned face. Every gallery in Europe has 
 a painting of St. Sebastian, and in most of the 
 pictures the arrows are so much in evidence that 
 one's flesh shrinks and recoils with pain at the 
 thought of the cruel wounds, but II Sodoma has 
 overcome the physical idea of pain by captivating 
 the mind with beauty of form and spirit. What 
 a rare bit of nature-study is the landscape stretch- 
 ing away in the distance, and how fitting is the 
 classic ruin in the foreground. 
 
 The story of Sebastian, who was born of noble 
 parents in A.D. 288, is the history of the persecu- 
 tion of the early Christians in Rome. He was a 
 favourite guard of the Emperor Diocletian, but 
 when his conversion became known, and no per- 
 suasion could win him from the New Faith, the 
 emperor ordered him put to death by shooting 
 with arrows. When this torture failed to end 
 his life, he was beaten to death and his body 
 thrown into the Cloaca Maxima (a deep aque- 
 duct). But his faithful friends found the body 
 and buried it tenderly in the Catacombs. The 
 arrow among the heathen was an emblem of 
 pestilence, so ever since St. Sebastian's martyr- 
 dom, he has been the saint who could allay a 
 pestilence. 
 
 [33] 
 
WHAT PICTURES TO SEE 
 
 As we turn to Botticelli's " Coronation of the 
 Virgin" (Fig. 20), we are struck at once with the 
 note of melancholy that pervades the picture. 
 Here is a new type of Madonna, thoughtful and 
 sad, and at times almost brooding. She shows 
 none of the joy of motherhood, but seems rather 
 to have a foreboding sense of coming suffering. 
 She is here represented as writing the word 
 " Magnificat," and we fancy that we can hear 
 the solemn tones of the organ mingling with the 
 angel voices. The innocent, thoughtful faces of 
 the lovely children (two are said to be the Medici 
 children) redeem in a measure the sad face of the 
 Mother. The spirit of mystery hovering over 
 the group is intensified by the winding stream 
 gliding through the stretch of country; now it 
 is visible in the foreground, then hidden by hill 
 and dale, only to come to view again in the dis- 
 tance beyond. Do we not hear it murmur 
 
 " For men may come and men may go, 
 But I go on forever/' 
 
 referring to the immortal Child in the lap of the 
 Holy Mother? 
 
 Ruskin says of Botticelli: "He was the only 
 painter of Italy who understood the thoughts of 
 the heathen and Christian equally, and could in 
 a measure paint both Aphrodite and the Ma- 
 donna." Let us now look at his " Birth of Venus," 
 
 [34] 
 
FIG. 19. St. Sebastian. II Sodoma. Ufflzi Gallery, Florence. 
 
FIG. 20. Coronation of the Virgin. Botticelli. Ufflzi Gallery, Florence. 
 
FLORENCE 
 
 his most celebrated work next to "Spring," in the 
 Academy (Fig. 30). Notice the sober tone of 
 the picture, the exquisite grace of the nude figure, 
 and the timid, bewildered expression on the newly 
 created goddess. See how lightly and softly the 
 breezes caress the shrinking form and play with 
 the tresses of hair still damp from the sea's 
 embrace. 
 
 The Uffizi is rich in masterpieces from Botti- 
 celli's brush. Look at his " Judith with the Head 
 of Holof ernes." The dignity and grace of that 
 proud woman convince one that she was indeed 
 the handmaiden of God to deliver the chosen 
 people from the hateful Babylonian general. 
 Read the story in the Apocryphal book of Judith, 
 and notice how perfectly Botticelli has understood 
 that historic incident. 
 
 Another one of his famous pictures is "Cal- 
 umny." The subject was worked up from 
 Lucian's description of a celebrated painting of 
 the same subject by the Greek artist Apelles. 
 The Greek painting grew out of a trouble caused 
 by a jealous artist who slandered Apelles and 
 turned his patron, King Ptolemy of Egypt, 
 against him, and Botticelli's picture seems to 
 have come from a like reason he being accused 
 of heresy when absent from Rome. Calumny 
 is the female figure in the middle of the front 
 who is dragging a youth, Innocence, by the hair 
 
 [35] 
 
WHAT PICTURES TO SEE 
 
 and presenting him to King Midas, the monarch 
 with the ass's ears. Hypocrisy and Treachery 
 accompany Calumny, and in front of them is 
 Envy, a hideous man in brown. Suspicion and 
 Ignorance are whispering to King Midas, and the 
 old hag at the left is Falsehood, the mother of 
 Calumny. The only attractive figure is naked 
 Truth, a lovely young girl who is appealing to 
 heaven. When the pre-Raphaelite Brotherhood 
 started in England fifty years ago, Botticelli again 
 came into his own in the art world, and his popu- 
 larity continues to increase with the passing 
 years. 
 
 Vasari says of Raphael's " Portrait of Julius 
 II.," "the sight of it made one tremble." This 
 portrait (Fig. 21) is a replica from the original 
 cartoon, made with coal and chalk, now in the 
 Corsini Palace, Florence. A replica of a picture 
 is a second painting (sometimes more) of the same 
 subject by the original painter and, of course, 
 may vary from the first work, as suits the artist's 
 fancy. Only the original artist can make a 
 replica other artists make copies. This Uffizi 
 portrait is considered the best of all the likenesses 
 of Julius II. Raphael has chosen the moment 
 when the old Pope was deep in thought, but his 
 quiet is full of restless energy. The red cap and 
 violet velvet cape seem to intensify the severe 
 features of the irascible old Pontiff; see how well 
 
 [36] 
 
FIG. 21. Pope Julius II. Raphael. Uffizi Gallery, Florence. 
 
FIG. 22. Knight of Malta. Giorgione. Uffizi Gallery, Florence. 
 
FLORENCE 
 
 the rings on his nervous, expressive hands mark 
 his high office. Such a man was indeed the match 
 of Michael Angelo, but only as Greek meets 
 Greek. In the Pitti Gallery is another replica 
 so nearly equal in power to this portrait that some 
 authorities prefer it. 
 
 Another painting of Raphael's, "The Madonna 
 of the Goldfinch," is of peculiar interest to us, 
 as it marks the first definite change of his manner 
 from that of his master Perugino. The history 
 of this picture is unusual. It was painted on 
 wood, for Lorenzo Nasi, in 1507, as a wedding- 
 gift from Nasi to his bride. On August 9, 1548, 
 the house of Lorenzo Nasi, in Florence, was de- 
 stroyed by the sinking of the hill of San Giorgio. 
 The "Madonna of the Goldfinch," buried in the 
 ruins, was broken into many pieces, but Batista, 
 the son of Nasi, pieced together the fragments 
 with so much skill that the injury is scarcely 
 noticeable. 
 
 The "Knight of Malta" (Fig. 22), considered 
 by most critics to be a genuine Giorgione, is a fine 
 example of the Venetian school. Mr. Timothy 
 Cole in the notes on his engraving of the Knight 
 says: "No artist knows better than Giorgione 
 how to captivate the mind and hold the imagi- 
 nation with so few means." How simple the 
 notes of contrast in this masterpiece! The cross 
 of Malta glimmering on the black overgarment 
 
 [37] 
 
WHAT PICTURES TO SEE 
 
 gives richness to the material ; the dark chestnut- 
 brown hair and beard heighten the purity of the 
 face, and the olive-wood beads strengthen the 
 partly closed fingers. The softness and richness 
 of the blended colours are due to the skill of a mas- 
 ter mind. 
 
 Another portrait of singular beauty is Titian's 
 " Flora." This lovely woman is supposed to be 
 the daughter of the artist Palma Vecchio, and 
 tradition suggests that she was the mistress of 
 Titian. That story may be truth or fiction, but 
 the picture itself testifies that we have before us 
 one of the loveliest ideals of womanhood. This 
 woman, far removed from human frailties, is as 
 pure as a lily. No ornaments have been used to 
 heighten nature's handiwork. The fair face is 
 crowned with a wealth of golden hair, and the soft 
 outlines of the rounded neck and curving shoulders, 
 revealed by the natural lowness of the chemise, 
 speak only of the charm of a perfect woman. 
 This is one of the daintiest of Titian's creations. 
 
 [38] 
 
VI 
 
 FLORENCE PITTI GALLERY 
 
 WE can go directly from the Uffizi to the Pitti 
 Gallery by crossing the river Arno on the 
 Ponte Vecchio. This quaint old bridge, designed 
 by Taddeo Gaddi in the fourteenth century, has 
 a connecting corridor, built on the second story 
 by Vasari in 1564, which unites the two palaces. 
 It is a ten minutes' walk from one gallery to the 
 other, so if time is very precious, the two collec- 
 tions may be seen in one forenoon. 
 
 Of all the masterpieces in the Pitti Gallery, 
 yes, even in the world, possibly the best loved 
 is Raphael's " Madonna della Sedia." Before 
 looking at it, however, let us go to Titian's 
 "Magdalene" (Fig. 23), while the Venetian school 
 is still fresh in our minds from seeing Giorgione's 
 "Knight of Malta" (Fig. 22). Titian, in 1531, 
 when fifty-four years old, painted the " Magdalene " 
 for Francesco Maria II., the Duke of Urbino. 
 The picture portrays a woman in the full maturity 
 of a perfect physical development. The penitence 
 of the courted beauty is manifested only in the 
 upturned face and dropping tear. If Titian is 
 
 [39] 
 
WHAT PICTURES TO SEE 
 
 following the tradition that the Magdalene, the 
 sister of Martha and Lazarus, had lived, since 
 the death of her parents, in the world of fashion 
 and pleasure, until touched by the Saviour's love, 
 then the physical perfection of this handsome 
 woman is in perfect harmony with her past life. 
 Certainly this magnificent specimen of mature 
 womanhood exemplifies in every detail the results 
 of unceasing care of a devotee of fashion for the 
 personal charms. Flesh, nails, eyebrows, and 
 eyelashes have been observed very carefully and 
 unceasing pains have been bestowed upon the 
 glorious hair. Here is one of the most perfect 
 examples of "Titian hair" a colour so like 
 strands of gold that the sunlight once caught in its 
 meshes is held captive while it sparkles and 
 glistens from strand to strand. No wonder this 
 picture has been reproduced again and again. 
 
 Titian's "La Bella," in the Pitti, is another 
 likeness of the Duchess of Urbino. It is well 
 to compare this with the portrait of her in the 
 Ufnzi; and also note how similar to both of these 
 portraits is the face of the "Venus," in the same 
 gallery. 
 
 We will now turn to the "Madonna della Sedia," 
 or "Madonna of the Chair," as it is more famil- 
 iarly known. Hawthorne calls this masterpiece 
 "The most beautiful picture in the world, I am 
 convinced." Never before nor since has any artist 
 
 [40] 
 
FIG. 23. Magdalene. Titian. Pitti Gallery, Florence. 
 
FIG. 24. Madonna of Grand Duke. Raphael. Pitti Gallery, Florence. 
 
FLORENCE 
 
 represented the motherhood of the Virgin so fully. 
 Raphael seems to have comprehended the very 
 heart of mother-love in the tender caresses of 
 this human mother; while the closely clinging 
 children appeal to us because of their innocent, 
 confiding dependence! Most attractive is that 
 familiar old legend about the origin of the picture. 
 We need only the outline of the story to bring it 
 to mind again. Raphael, it is said, sketched the 
 picture on a barrel head, and the barrel was made 
 from an old oak. This oak-tree and the mother 
 of these children were called "daughters" by 
 an old hermit in the mountains. The hermit 
 had prophesied that both of his " daughters" 
 would become famous some day, and we can 
 truly say that he foretold correctly. Who knows 
 but what Raphael did really see this mother just at 
 nightfall sitting by the open window crooning over 
 her baby-boy and gently quieting her elder born 
 who had come seeking comfort after a day of 
 restless play? The artist instinct would very 
 quickly see the universal motherhood in such a 
 family group. Into the face of the holy Mother 
 and divine Child he has put a divinity that defies 
 description, but holds our love and devotion. 
 This painting, entirely by his own hand, was 
 made for Pope Leo X., or some of the Medici, 
 while he was at work in the Vatican between 
 1510 and 1514. The records prove that it was 
 
WHAT PICTURES TO SEE 
 
 exhibited in the "Tribuna" of the Uffizi Gallery 
 as early as 1589. 
 
 Another of Raphael's Madonnas, entirely by 
 his own hand, is " Madonna del Granduca " (Fig. 
 24). It was painted in 1504 when he went to 
 Florence for the first time, just after he left the 
 studio of Perugino, and was at one time owned 
 by the artist Carlo Dolci. Next we know it 
 belonged to a poor widow who sold it, at the end 
 of the eighteenth century, to a picture-dealer for 
 about twenty dollars. Still later it again changed 
 hands and came into the possession of the Grand 
 Duke of Tuscany, Ferdinand III., for the mag- 
 nificent sum of eight hundred dollars. Ferdi- 
 nand, who reigned from 1781 to 1824, thought 
 so much of the picture that he always took it 
 with him wherever he travelled, and the Grand 
 Duchess, his wife, is said to have offered prayers 
 to it when she wished for the birth of a son. 
 
 The purity and simplicity of this Madonna 
 and Child show Raphael's deep religious feeling 
 without the least sign of effort. The Virgin has 
 the bashful timidity of one first awakened to 
 motherhood, and the Child looks straight at us 
 with the wide-open eyes of babyhood. Both 
 are charming as the expression of a religion that 
 all can understand. 
 
 We must not fail to look at "Pope Julius II.," 
 as a companion of the replica in the Uffizi. And 
 
 [42] 
 
FIG. 26. The Fates. Michael Angelo. Pitti 
 Gallery, Florence. 
 
 FIG. 27. The Concert. Giorgione. Pitti Gallery, Florence. 
 
FLORENCE 
 
 now we will go to "Pope Leo X.," another very 
 great example of Raphael's power in portraiture. 
 The Pontiff is the principal figure in the picture 
 on the left is Cardinal Giulio de' Medici (after- 
 ward Pope Clement VII.), and on the right 
 Cardinal Luigi de' Rossi, the Pope's secretary. 
 Leo X. was a man singular in features and char- 
 acter; his short-sighted eyes, swollen nose, puffy 
 cheeks and chin, and protruding lips indicate 
 an easy, soft good-nature when submission to 
 his will was absolute, but of a cruel, unreasoning 
 temper when roused by opposition. 
 
 A curious story is told of a copy of this painting. 
 Pope Clement VII. presented the original to the 
 Duke of Mantua, and told Ottavio de' Medici 
 to deliver the picture. But Ottavio was loath 
 to have so precious a gem leave Florence, so de- 
 layed sending the painting upon one pretext and 
 another. In the mean time he had a copy made 
 by Andrea del Sarto and when it was finished 
 sent that to the Duke instead of the original. 
 The deception was complete until years afterward 
 when Vasari, who knew about the copy, unde- 
 ceived the Duke by showing him Andrea del 
 Sarto's name under the frame on the edge of the 
 painting. The copy is now in Naples. 
 
 Another very popular picture in the Pitti is 
 Romano's "Dance of the Muses" (Fig. 25). 
 Romano was the most celebrated of Raphael's 
 
 [43] 
 
WHAT PICTURES TO SEE 
 
 pupils, but he did not reflect the master's glory; 
 in fact, he was the beginning of the end of the 
 Italian Renaissance. The "Dance of the Muses " 
 is full of poetic motion, as seen in the rhythm 
 and swing of the circling muses as they join hands 
 with Apollo. The fluttering dainty robes, and 
 the fair hair of the lovely maidens so classically 
 coiled about their shapely heads, are all in full 
 harmony with the scene. Romano has also given 
 a most pleasing colour-scheme in the delicate tints 
 against the gold background. 
 
 What a strange contrast, however, is this poem 
 of motion to Michael Angelo's " Fates" (Fig. 26). 
 Here are dignity and self-restraint in every line of 
 the figures. And why not? Are not these an- 
 cient dames weaving the thread of life? This 
 picture was probably painted by Rosso, but de- 
 signed by Michael Angelo. An interesting story 
 is told of the origin of the picture. An old woman 
 annoyed the great master during the siege of 
 Florence in 1529, by insisting that her son should 
 fight for the city. Michael Angelo had his re- 
 venge by using her as the model for all three 
 Fates and making them witches instead of young 
 and beautiful girls as the Greeks had always 
 represented them. He has given to each figure the 
 symbol of her office in weaving the web of life 
 Clotho holds the spindle, Lachesis twists the thread, 
 and Atropos has the shears ready to cut it. 
 
 [44] 
 
FLORENCE 
 
 Authentic Giorgiones are rare, but critics pro- 
 nounce "The Concert" (Fig. 27), in the Pitti, 
 one of his masterpieces. The identity of the 
 three men has long been under dispute. Some 
 authorities name Luther in the centre, Melanc- 
 thon on the left, and Calvin on the right. But 
 as the first two do not resemble other portraits 
 of them in the Uffizi, and also as the artist died 
 when Calvin was only two years old, this identity 
 does not seem correct or indicate that the painting 
 is a genuine Giorgione. It matters very little 
 just who the men were; the artist has made them 
 men in the true sense of the word. The power 
 with which those delicate fingers grasp the keys 
 and the keen sensitiveness of the sharp features 
 show a man of thought and understanding. Such 
 a man could have resisted the authority of the 
 Pope even to rising from his knees on the Scala 
 Santa and exclaiming, "The just shall live by 
 faith." 
 
 Another group in character-study worthy of 
 our greatest admiration is Lorenzo Lotto's "Three 
 Ages of Man" (Fig. 28). The influence of Gior- 
 gione is largely in evidence in the painting, but 
 Lotto has preserved his own individuality in de- 
 lineating personal traits. Could anything be 
 finer than the heedless look of boyhood so plainly 
 marked on the young lad's face? He is giving 
 respectful attention, but his thoughts are with 
 
 [45] 
 
WHAT PICTURES TO SEE 
 
 the game in prospect. The thoughtful earnest- 
 ness of the younger man is not simply that of a 
 teacher imparting a special lesson, but of one 
 seeking to awaken the thinking-powers of his young 
 charge. The veteran at the left has the scars 
 of many battles, and his steady eye and firm 
 mouth tell of strength gained in winning them. 
 This man lived and still lives; we feel that he is 
 summing us up as we. stand before him. But it 
 is not only in giving individual traits that Lotto 
 has excelled in this painting. Look at the skil- 
 ful handling of colour and the careful placing of 
 the figures. The boy's black cap and hair are 
 in contrast to the white beard and bronze flesh 
 of the old man, and this sombre tone is again 
 offset by the soft, rich cardinal gown of the man 
 and the purplish maroon of the boy's dress. 
 Look at the blending of the younger man's chest- 
 nut-brown hair with the deeper brown of the back- 
 ground, and note how the flesh of that expressive 
 hand glows with health against Nature's own 
 green on the overgarment! The whole picture 
 is so full of thought, simply expressed, that one 
 feels its influence without analysing its cause. 
 
 In Andrea del Sarto's "Holy Family" (Fig. 29), 
 we again see the face of his coldly beautiful wife. 
 But now he has transformed it in the simple, 
 womanly mother sitting on the floor with a darling 
 baby-boy leaning against her. There is something 
 
 [46] 
 
FIG. 28. Three Ages of Man. Lorenzo Lotto. Pitti Gallery, Florence. 
 
FIG. 29. Holy Family. Andrea del Sarto. Pitti Gallery, Florence. 
 
FLORENCE 
 
 winning about this family group. The happy, 
 tender look of the aged Elizabeth as she supports 
 the little St. John against her knees is full of 
 proud motherhood; how different is her expres- 
 sion of satisfied longings from the expression of 
 surprised wonder in the whole attitude of the 
 youthful Mary. The softened outlines, deli- 
 cately blended colours, and perfect grouping make 
 this a pleasing and satisfying picture. Andrea 
 painted it for Ottavio de' Medici about 1529, and 
 Ottavio was so pleased with the work that he 
 doubled the artist's price for it. Andrea was so 
 accurate in the technical part of his art that he 
 was often called "Andrea the Faultless." Even 
 the great Michael Angelo wrote of him to Raphael: 
 "There is a little fellow in Florence who, if he 
 were employed as you are upon great works, 
 would make it hot for you." 
 
 [47] 
 
VII 
 
 FLORENCE ACADEMY 
 
 '17I7HILE the Academy in Florence is the place 
 * * to study the growth of Italian art, still it 
 has a few masterpieces that even the hurried 
 sightseer must not omit. Among these is Botti- 
 celli's "Spring" (Fig. 30). Unfortunately we 
 do not know the artist's interpretation of this 
 allegory, but since the picture was painted for 
 Cosmo de' Medici, it is fairly certain that the central 
 figure, with the white dress and red drapery, is 
 a portrait of one of the Medici family, and that 
 the other figures represent, allegorically, various 
 virtues attributed to them. Beginning "at the 
 extreme right of the picture, the first figure may 
 be the spirit of the wood or the North Wind; 
 he seems to be retarding Spring, who is fleeing 
 from the blast issuing from the bulging cheeks. 
 The flowers dropping from the mouth of Spring 
 are falling on Flora's dress where they mingle 
 with a profusion of other blossoms. This figure 
 of Flora has often been designated as "Spring," 
 but that cannot be true, as her flowers are mostly 
 roses and her decorations those of the mature 
 summer time. She is the crowning glory of 
 
 [48] 
 
FIG. 31. The Baptism. Verrocchio. Academy, Florence. 
 
FLORENCE 
 
 the picture. How dignified and full of healthful 
 strength is her every motion! She must represent 
 some very special attribute of the great ruling 
 family of Florence possibly the awakening Re- 
 naissance. At least she stands for the perfection 
 that comes after the winter's rest and spring's 
 rebirth. The little Cupid above the central figure 
 is the apex of the composition and on either side 
 are the balancing figures. It is possible that 
 Cupid stands for the personal fascination of the 
 charming woman who is really the principal 
 theme of the picture. The three graces at the 
 left represent the individual charms that Nature 
 has given her, and Mercury, to the left of the 
 graces, might well indicate the marvellous pros- 
 perity of the Medici princes. 
 
 There is less of that peculiar melancholy in 
 this picture than is usual in Botticelli's paintings. 
 In this he has come too close to Nature and her 
 haunts to brood over man's shortcomings. One 
 feels the breath of the woods steal through those 
 straight trunks playing among the branches 
 and fluttering the loose robes and straying tresses 
 of the dancing figures. See how accurately he 
 has shown us the flowers that bloom in the wood 
 and field; we can readily distinguish the con- 
 volvulus that clambers over every rock and fence 
 and the daisies that bloom at our feet. Such loving 
 thought for the great out-of-doors brings us very 
 
 [49] 
 
WHAT PICTURES TO SEE 
 
 close to the heart of this Italian artist of the fif- 
 teenth century. 
 
 Verrocchio's "Baptism" (Fig. 31) is a picture 
 of peculiar interest, for it is the only authentic 
 example of this artist's painting (he was a sculp- 
 tor) and because his famous pupil, Leonardo da 
 Vinci, worked on it too. The painting is of 
 unusual merit in its anatomical accuracy. The 
 muscles and veins in the emaciated figure of St. 
 John are portrayed with a fidelity to nature 
 that shows a thorough understanding of the 
 human body. There is no beauty in the gaunt 
 figure of the Baptist nor in the heavier one of 
 the Saviour, but one feels a reverent awe before 
 them. 
 
 The part of the painting attributed to Leo- 
 nardo is the angel at the left with his back to us. 
 Both angels are beautiful in their fresh innocence, 
 and it is not at all to the discredit of the older 
 man that his pupil painted one of them. Ver- 
 rocchio's power as an artist was so great that even 
 the more noted pupil did not detract from his 
 fame. The records say that at the time Leonardo 
 entered his studio Verrocchio was "then the most 
 famous artist in Florence." The strong, masterful 
 composition of the "Baptism" is sufficient proof 
 of this statement. The arrangement of the pic- 
 ture is unusual, although the subject was a com- 
 mon one, and has served as a model for many 
 
 [50] 
 
FIG. 32. The Assumption. Perugino. Academy, Florence. 
 
FLORENCE 
 
 later artists. Through one of those strange lapses 
 in the whereabouts of masterpieces, this picture, 
 painted for the monks of Vallombrosa, was for- 
 gotten in their monastery until 1812. 
 
 In the " Assumption of the Virgin" (Fig. 32), 
 Perugino's tendency to " solitariness" in placing 
 his figures is most pronounced. This is especi- 
 ally true of the group of saints at the bottom of 
 the picture. Each figure is so distinct in his 
 pose and attributes that he could be separated 
 from the others with no loss of individual traits 
 or in the interpretation of the composition. If 
 you will turn to Perugino's " Christ Giving the 
 Keys to St. Peter" (Fig. 7), in the Sistine Chapel, 
 you will see how distance in the landscape is 
 intensified by the wide, open verandas, and now 
 in the " Assumption" the same is true in the 
 glimpses of the far-stretching country caught 
 through the spaces between the solitary figures. 
 We dislike the sentimental tilt to the head and 
 the pathetic expression in the soft eyes that be- 
 came a mannerism with Perugino, yet he was an 
 artist of ,no mean merit. We are bound to ac- 
 knowledge, after all is said to his credit, that as 
 the teacher of the great master, Raphael, he will 
 best be known. 
 
 As we stop before Fra Filippo Lippi's " Coro- 
 nation of the Virgin" (Fig. 33), the loveliness of 
 the picture captivates us at once. He has given 
 
WHAT PICTURES TO SEE 
 
 exquisite quality to his scheme of colour in the 
 glowing flesh, fluffy golden hair, and delicately 
 tinted draperies. Lippi 's peculiar habit of paint- 
 ing all his figures with short necks sets us to 
 wondering if that was the beauty charm of Lucre- 
 tia Buti, the novice who stole his heart. At 
 least this pronounced physical feature is the very 
 opposite of the long slender necks so character- 
 istic of the Byzantine style. The intense love 
 of a beautiful face led Lippi to choose his models 
 for Madonnas and saints from the lovely young 
 girls of the period. But he never deteriorated 
 into the love of beautiful form alone, for purity 
 and sweetness are the attributes that distinguish 
 his women. Lippi was a monk from circum- 
 stances, not from choice; hence the broken vows 
 of the beautiful Lucretia and himself were for- 
 given by the Pope and their marriage sanctioned. 
 Browning's description of the jolly monk in his 
 poem, "Fra Filippo Lippi," is an amusing and 
 charming life of the artist. 
 
 [52] 
 
VIII 
 
 FLORENCE CHURCHES AND PALACES 
 
 TN Fra Angelico's paintings, the spiritual in art 
 1 reached its highest development. His Ma- 
 donnas, saints, and angels are all from the heav- 
 enly country with no stains of sin on their gar- 
 ments and no possibility of sinning in their 
 hearts. To see him at his best we must go to 
 San Marco where he dwelt with his brother 
 monks of the Dominican Order, and where he 
 decorated the monastery cells with his brush. 
 
 In his own cell is the " Madonna of the Star" 
 (Fig. 34), a painting so full of spiritual fervour that 
 one can well believe it was painted under the direct 
 inspiration of prayer. There is no form under the 
 ample blue robe of the Madonna, and no soft, 
 plump body of babyhood in the divine Child, but 
 the tender caress of the mother and the sweet 
 nestling of the little one speak directly to the heart. 
 Fra Angelico continued to use the gold back- 
 ground, and long, slender figures of the East, 
 but he put into the formless figures the spirit of 
 humanity that came from his own great love of 
 mankind. He did not advance the art of paint- 
 
 [53] 
 
WHAT PICTURES TO SEE 
 
 ing over Giotto, a hundred years before, but he 
 did advance the Christian religion with his art. 
 
 Over the entrance door to the hospital for way- 
 farers in San Marco, is " Christ as a Pilgrim 
 Welcomed by Two Dominican Monks," or 
 "Christ on His Way to Emmaus" (Fig. 35). 
 This picture is a most impressive "Welcome," 
 inviting all into the presence of the Master. 
 The Christ is very human in his attitude of will- 
 ingness to be entertained by these Preaching 
 Friars; he wears the short rough garment of 
 the pilgrim while his companions have the usual 
 white robes and outer black cloak of the Order. 
 Again, the form of the figures counts for nothing, 
 but the spirit of true sincere piety breathes from 
 every line. This is one of Fra Angelico's finest 
 frescos (the "Madonna of the Star" is painted 
 on wood). As we go from cell to cell in this 
 old monastery of the Dominicans and look at 
 the simple scenes so full of spiritual truths painted 
 on the walls of each, we do not wonder that the 
 artist's companions called him "Angel Brother." 
 
 This monastery of San Marco is doubly 
 dear to us, for here Savonarola had his cells, 
 and on the wall of one of them is his portrait 
 attributed to his devoted disciple, Fra Bartolom- 
 meo (Fig. 36). That strong, homely face so 
 stamps itself upon our memory that we can never 
 forget it. We are glad to believe that Fra Bar- 
 
 [54] 
 
FIG. 34. Madonna of the Star. Fra Angelico. San Marco, Florence. 
 
FIG. 35. Christ and Disciples. Fra Angelico. San Marco, Florence. 
 
 FIG. 36. Savonarola. Fra Bartolommeo. San Marco, Florence. 
 
FLORENCE 
 
 tolommeo painted this face, for who else could 
 have portrayed so lovingly the rugged features 
 of the great reformer! No wonder that this man, 
 Savonarola, had the courage of his convictions, and 
 was able to refuse the magnificent Lorenzo absolu- 
 tion, even if he was a Medici. 
 
 Now we will go to the Riccardi Palace where 
 the great Lorenzo de' Medici was born. Here 
 is the marvellous Medici Chapel decorated by 
 Benozzo Gozzoli. Wonderful in colour and ar- 
 rangement is the fresco of the " Journey of the 
 Magi," that covers its walls. Even the "Angel" 
 detail (Fig. 37) gives us a little idea of the gor- 
 geousness of the whole. The title of the fresco 
 is a misnomer, for the real subject is a Florentine 
 pageant in which are represented portraits of 
 members of the leading families of the city. 
 The chapel probably had no window when it 
 was decorated, but the door must have been in 
 place, for the artist has painted one of the horses 
 with the forepart on one side of the door jamb and 
 the hindpart on the other. The angels are beau- 
 tiful young girls, but they have none of the heav- 
 enly sweetness of those of the "Angel Brother." 
 Benozzo shows considerable skill as an animal- 
 painter. His horses are imposing, high-stepping 
 fellows, well fitted to the proud bearing of their 
 riders. Many princes of the Medici family can 
 be singled out of the procession as it winds down 
 
 [55] 
 
WHAT PICTURES TO SEE 
 
 the mountain side. The meeting-point was at 
 the manger, the part that was removed when the 
 window was inserted. The ingenuity and skill 
 with which the artist has varied the company in 
 its onward march towards the goal give us keen 
 pleasure as we follow the various groups. 
 
 Another artist of the fifteenth century whose 
 tendency was to make his religious pictures a 
 Florentine portrait gallery, is Ghirlandajo. We 
 will go to Santa Maria Novella to see in the Choir 
 his series of frescos of New Testament scenes. 
 True, these paintings are not all attractive as 
 decorative pictures, according to our ideas to- 
 day, but it is a good plan for us to see what the 
 people of that time liked for decoration. And 
 really, as we look at some of the details "The 
 Salutation of the Virgin and Elizabeth," for 
 instance, we are bound to be interested in those 
 stately and dignified women in the foreground 
 and in the city stretching away in the distance. 
 It is said of Ghirlandajo that his sense of por- 
 traiture was so pronounced that sitting by the 
 window he would sketch with accuracy some per- 
 sonal feature of the passer-by so that none could 
 mistake the person. This talent was highly 
 appreciated by the Florentines. They wanted 
 their portraits painted, and here was a man ready 
 to satisfy them. Look particularly at the tall, 
 straight dame at the right of the saluting group. 
 
 [56] 
 
o 
 
FLORENCE 
 
 She is the celebrated beauty, Ginevra de' Benci, 
 one of the Medici and Sassetti families. Her 
 rich gold-brocaded dress impresses us a little as 
 hanging from " clothes-pegs," as Ruskin says, 
 nevertheless we feel that a peculiar and intimate 
 personality clings to her. 
 
 In the Spanish Chapel of this same church is 
 the famous fresco of " Religion and Philosophy" 
 (Fig. 38). In the upper part of the painting sits 
 St. Thomas Aquinas with the angel virtues cir- 
 cling around him. At his right and left are the 
 prophets and saints, while the overthrown heretics 
 are fallen prostrate at his feet. Below in the 
 niches, Philosophy is personified by fourteen 
 women seven stand for sacred and seven for 
 the natural sciences. At the feet of each woman 
 is the representative of her special science: thus, 
 Astronomy has Zoroaster; Geometry, Euclid; 
 Logic, Aristotle; and Music, Tubal-Cain. In 
 the latter the figure of Music is particularly fine. 
 This fresco is attributed to Taddeo Gaddi, yet 
 he may have only designed it, and left the exe- 
 cution to Simone Memmi and others. We are 
 convinced that whoever planned the theme was 
 thoroughly conversant with church doctrines and 
 the scientific development of the time. 
 
 Very often there are isolated pictures that it is not 
 wise to overlook even if the time is limited. One of 
 these is Andrea del Sarto's "Last Supper," in the 
 [57] 
 
WHAT PICTURES TO SEE 
 
 refectory, or dining-room, of the old monastery of 
 San Salvi (Fig. 39). Lanzi says of the soldiers 
 who besieged Florence in 1529, that "after demol- 
 ishing the belfry, the church, and part of the 
 monastery (of San Salvi), they were astonished 
 on beholding this 'Last Supper/ and had no 
 resolution to destroy it"; others believe that 
 Michael Angelo saved the fresco when he had 
 charge of the fortification of the city. 
 
 In this fresco Andrea has just missed the highest 
 conception of the "Last Supper," but he can be 
 forgiven as it is Leonardo da Vinci who alone 
 excels him. As we enter the long room where the 
 fresco is painted, the scene at the other end is 
 almost startling in its realism. Nothing could 
 be finer than the grouping of the figures, the ar- 
 rangement of the draperies, the disposal of lights 
 and shadows, and the soft, beautiful colours. It 
 is when we look for the intense religious feeling 
 that characterises each disciple in Leonardo's 
 "Last Supper" (Fig. 53), that we recognise the 
 weakness of "Andrea the Faultless." There are 
 dignity and decorum in the men gathered around 
 that table, but depth of conviction is lacking. 
 
 It would scarcely be wise to visit Florence and 
 not see "Dante's Portrait," in the National Mu- 
 seum of the Bargello (Fig. 40). The fresco in 
 which it is found was painted by Giotto at the open- 
 ing of the fourteenth century. Shortly afterward 
 
 [58] 
 
FIG. 40. Dante. Giotto. Bargello, Florence. 
 
FLORENCE 
 
 the chapel was changed into a two-story building 
 by a dividing floor and ceiling. The whole was 
 whitewashed and the upper part used as a prison. 
 For centuries the frescos were hidden, but in 1840, 
 through the efforts of an English artist and one of 
 our own countrymen, the chapel was reclaimed 
 and the frescos again brought to light. The 
 portrait of Dante in the "Paradise," on the south 
 wall, may have been made from life as the poet 
 and artist were warm friends; at any rate it 
 corresponds to the mask that has been recognised 
 by artists for ages as Dante's. Do not fail to 
 ask the custodian of the Museum for "Dante's 
 Portrait," or you may miss it in the multitude 
 of treasures in the Bargello. 
 
 [59] 
 
IX 
 
 VENICE ACADEMY 
 
 HHHE first picture that arrests the attention 
 * upon entering the Academy, Venice, is 
 Titian's "Assumption of the Virgin" (Fig. 41), 
 one of the six great pictures of the world. The 
 sensation produced on one by this marvel of sim- 
 plicity and skill is indescribable. A master of 
 unquestioned power has brought forth that glo- 
 rious colour, harmony of composition, rapture of 
 sentiment, and withal restraint in handling. At 
 first the feeling of awe inspired by the picture 
 takeri as a whole overpowers the appreciation 
 of its detailed parts. The eye simply follows 
 unconsciously the centralising tendency that cul- 
 minates in the Virgin. There seems to be no 
 means used in leading the mind to contemplate 
 the central thought. But if we study the up- 
 lifted faces and hands of the apostles, the clouds 
 and angels circling toward the Virgin, and the 
 downward gaze of the Father, as He waits in the 
 sky to receive the Heavenly Queen, some of the 
 artist's secrets are revealed. Not a line is omitted 
 in welding each detail into a perfect whole. Look 
 
 [60] 
 
FIG. 41. The Assumption. Titian. Academy, Venice. 
 
FIG. 42. Presentation in the Temple. Titian. Academy, Venice. 
 
 FIG. 43. Supper in the House of Simon the Pharisee. Veronese. Academy, Venice. 
 
VENICE 
 
 at the strength and intense feeling of those aston- 
 ished apostles. The figures are so individual 
 that a character-study could be made of each man; 
 yet they are subordinate to the main theme and 
 detract nothing from it. How sweetly human 
 are the baby cherubs! One could smother them 
 with kisses save for the fact that their office as 
 heavenly attendants claims them. The fore- 
 shortening of this multitude of children is the more 
 marvellous because the pose of each figure is so 
 natural and childlike. 
 
 Possibly it is well to go hence directly to Titian's 
 "Presentation in the Temple" (Fig. 42), even 
 though it is several rooms away. Titian has 
 never surpassed this picture in thought and 
 feeling, brush work, technical skill, and colour 
 secret. The subject deals with sacred persons 
 but it is not a religious picture. He represents 
 the presentation of the little Virgin as described 
 in "Mary," a book of the Apocrypha. The story 
 says that when the Virgin Mary was three years 
 old her parents, Joachim and Anna, brought her 
 to the temple of the Lord with offerings. "The 
 temple being built in a mountain, the altar of 
 burnt-offering, which was without, could not be 
 come near but by stairs (fifteen in number). The 
 parents of the blessed Virgin and infant Mary 
 put her upon one of these stairs; the Virgin of 
 the Lord in such a manner went up all the stairs 
 [61] 
 
WHAT PICTURES TO SEE 
 
 one after another, without the help of any to lead 
 or lift her that any one would have judged from 
 hence that she was of perfect age." 
 
 The picture, painted in fresco, is on a wall 
 parallel to a flight of entrance steps, thereby giv- 
 ing us the impression that we have come from the 
 temple where the little Virgin is going. The scene 
 is entirely Venetian in people and architecture, 
 yet there is perfect harmony between setting and 
 subject. The hill country in the distance is prob- 
 ably an idealised bit of Cadore landscape near the 
 artist's native place. The old woman sitting by 
 the steps with her basket of eggs, and the child 
 and dog in the middle foreground also serve to 
 give a natural and human touch to the scene. 
 
 Another picture with Venetian setting is Vero- 
 nese's "Supper in the House of Simon the Phari- 
 see" (Fig. 43). The painting was made for the 
 refectory of a Dominican monastery, Venice, 
 where it filled one end of the long dining-room 
 and seemed to be a continuation of the real tables 
 of the monks. What a princely banqueting- 
 chamber such over-hanging arches, marble bal- 
 ustrades, and faultless perspective would make 
 of the plainest eating-hall! Veronese painted 
 several of these biblical banquets where the scene 
 formed an integrant of the whole room. This 
 picture glows with colour and light and is full of 
 human interest, but there is little of the spiritual 
 [62] 
 
VENICE 
 
 
 
 element; in fact, Veronese was so fond of adding 
 animals and grotesque accessories that the In- 
 quisition considered him sacrilegious and ordered 
 him to erase them. The artist defended himself 
 by saying they were used simply as spots of colour 
 and he left in a sufficient number to show his 
 tendency in that direction. 
 
 We would not appreciate the full glory of Vene- 
 tian art were we to omit Giovanni Bellini, yet 
 his " Madonna and Child with two Saints" (Fig. 
 44) has not the grandeur of composition of the 
 later school. It was in Giovanni, however, that the 
 young Titian, his pupil, found a sympathiser in 
 his love for colour. Bellini originated a type of 
 Madonna so individual that once seen there is 
 no mistaking who painted her. Although rather 
 conventional she is human and her divine Child 
 is a real baby. Her sad face is not morbid, but 
 is rather the expression of one who accepts sor- 
 row without complaint. She has a certain beauty 
 of girlhood, softened and deepened as by an inner 
 consciousness of coming trials. 
 
 In the painting of "Christ and the Adulteress " 
 (Fig. 45), we have one of Tintoretto's best works. 
 So prodigal of his art was this artist that it is 
 said of his pictures, "They are fairly rotting on 
 the walls of Venice to-day. " He was ready to 
 paint classic myth and sacred story and in each 
 he put the people of Venice as he saw them. The 
 
 [63] 
 
WHAT PICTURES TO SEE 
 
 " Adulteress" is a typical voluptuous woman of 
 the sixteenth century, yet by placing her in a 
 biblical setting with Christ as her judge, he has 
 softened the purely physical beauty of form and 
 given her a subtle charm impossible to resist. 
 The artist has skilfully avoided a sense of crowd- 
 ing by giving a touch of vulgar curiosity to the 
 people gathering to see an offender brought to 
 "justice." That Tintoretto knew humanity is 
 plainly shown in the eager faces of the accusers. 
 The colours are warm and rich, and the contrast 
 of lights and shadows on the faces and garments 
 is wonderful. 
 
 Let us look at Moretto's interpretation of the 
 "Supper in the House of Simon" (Fig. 46), as 
 compared with Veronese's. Moretto came from 
 Venetian territory but he probably never went to 
 Venice. Yet his keen sense of proportion and 
 perspective, and his sensitive insight into charac- 
 ter, gave him an equal standing with those great 
 masters of the Queen City. 
 
 In this picture he has chosen the simple story 
 of Christ and the woman as told in St. Luke 7 : 36. 
 Simon has been complaining within himself, "This 
 man, if he were a prophet, would have known who 
 and what manner of woman this is that toucheth 
 him: for she is a sinner." The moment caught 
 in the picture seems to be the instant when Jesus 
 has finished the story of the two debtors and has 
 [64] 
 
FIG. 44. The Madonna ana Child. Bellini. Academy, 
 Venice. 
 
 FIG. 45. The Adulteress. Tintoretto. Academy, Florence. 
 
ikt 'Iliir : ^|fell y & 
 
 flu! 1 ..rSM 
 
 FIG. 46. Supper in the House of 
 
 Simon. Moretto. Academy, 
 
 Venice. 
 
 
 FIG. 47. St. Ursula and her Father. Car- 
 paccio. Academy, Venice. 
 
VENICE 
 
 pointed to the woman, saying, "Simon, seeth 
 thou this woman?" Moretto's manner of telling 
 the story is dignified and masterly. Nothing 
 is lacking in the technic of the composition; the 
 balance in arrangement is excellent, the contrast 
 in light and shade good, and the colour rich and 
 harmonious, with that "silvery" quality so pe- 
 culiarly his. Then, too, his delineation of the 
 emotions of the various actors in the drama is 
 marvellously true to life. There is Simon stern 
 and unyielding, the servant curious and inter- 
 ested, the woman grief -stricken and unworthy, 
 while the Saviour, mindful of the needs of each 
 heart, is benignly sympathetic in his appeal and 
 desire to pardon. 
 
 The series of pictures by Carpaccio tells the 
 story of St. Ursula. Carpaccio loved to tell a 
 story and he could do it well. Legend says that 
 St. Ursula was a Breton maiden of royal Chris- 
 tian parents beautiful, wise, and very devout. 
 When she was sought in marriage by the young 
 prince of England, she asked of him three things. 
 First, she must have ten noble maidens as her com- 
 panions and each one must have a thousand virgin 
 attendants; second, she must have three years 
 to visit holy shrines; third, the prince and his 
 followers must be baptised. The requests were 
 granted, so the story runs, but sad to relate, 
 St. Ursula and her eleven thousand maidens were 
 
 [65] 
 
WHAT PICTURES TO SEE 
 
 massacred at Cologne, and to-day in that city 
 their bones are preserved in a chapel of the church 
 of St. Ursula. This is the quaintest and most 
 improbable of the early church stories, but it is 
 fascinating in its very naivete. Two artists of 
 about the same period have interpreted the story 
 for us: Hans Memlinc, in Belgium, and Car- 
 paccio, in Venice. The illustration (Fig. 47) 
 shows St. Ursula relating her dream to her father 
 and urging him to let her carry out her pilgrimage. 
 This picture gives us a glimpse of the costumes 
 and home decorations of the artist's time. St. 
 Ursula is the patron saint of young girls and of 
 all women who educate and care for girls. 
 
 If we were taking up the Venetian artists in 
 the Academy chronologically, we would begin 
 with the Bellinis, then Carpaccio, and on to Titian. 
 Veronese and Tintoretto came a little later and 
 as friends were often together. 
 
 [66] 
 
X 
 
 VENICE CHURCHES AND PALACES 
 
 IN the Artillerist's Chapel of the church of 
 Santa Maria Formosa, Venice, is Palma 
 Vecchio's masterpiece, "St. Barbara" (Fig. 48). 
 St. Barbara is the patroness of soldiers, and in 
 this picture Palma has given her all the courage 
 and patriotism that stand for a true warrior. 
 As a maiden of noble birth the artist knew just 
 how to enhance her inheritance with garments 
 suitable in colour and material. The soft brown 
 underdress falling to her shapely feet is deepened 
 in tone by the rich red robe thrown lightly over 
 arms and knee. The glistening crown on the 
 auburn hair denotes her exalted position, and 
 the white scarf knotted in her hair and gleaming 
 on the warm flesh of neck and shoulders marks 
 her as a conqueror through faith. 
 
 St. Barbara, born A.D. 303, was the daughter of 
 an Eastern nobleman. She was so beautiful, 
 and so dear to her fond father that he shut her 
 up in a tower where she spent her time studying the 
 stars and heavenly bodies. At length she became 
 convinced that the worship of idols was wrong, 
 
 [67] 
 
WHAT PICTURES TO SEE 
 
 When, in the course of time, she heard of the 
 Saviour, she became converted, and to acknowl- 
 edge her faith ordered the attendant workmen 
 to make three windows in her tower. When her 
 father came for his accustomed visit she replied 
 to his question concerning the windows: "Know, 
 my father, that through three windows doth the 
 soul receive light the Father, the Son, and the 
 Holy Ghost; and the three are one." The angry 
 father condemned her to death and finally be- 
 headed her himself. While legend has filled gaps 
 in this story the main part is history. St. Barbara 
 is always represented with a tower as one of her 
 attributes. 
 
 The walls of the Doges' Palace form a vast 
 picture gallery of fresco paintings, but the real 
 gems are in the Anticollegio, or waiting-room, 
 where are four paintings by Tintoretto. Although 
 this artist has covered hundreds, yes thousands, 
 of square feet in this palace, yet none of the 
 pictures hold us as these in the waiting-room, 
 He has here entered so completely into the spirit 
 of the classic myths that he compels us to follow 
 him into that immortal world. As we look at 
 " Minerva Driving Away Mars" (Fig. 49), we 
 actually feel the push of the dainty hand against 
 the intruding god. Certainly the god of war 
 has no right in this sacred grove, even though he 
 be in love with Venus. Never before had human 
 [68] 
 
FIG. 48. St. Barbara. Palma Vecchio. Church 
 of Santa Maria Formosa, Venice. 
 
 FIG. 49. Minerva. Tintoretto. Doge's Palace, Venice. 
 
VENICE 
 
 flesh been transferred to canvas while still glow- 
 ing with warmth and palpitating with life as in 
 these pictures. We fairly draw long breaths of 
 delight, unmindful that it is art and not life that 
 has charmed us. In the "Marriage of Bacchus 
 and Ariadne," Tintoretto has reached the climax 
 the picture is beautiful in the superlative degree. 
 Ariadne has been left desolate on the Island of 
 Naxos, where Theseus, who abducted her, has 
 abandoned her. Bacchus sees and loves her, and 
 comes up from the sea offering her the marriage 
 ring. Venus descends from the blue sky and 
 crowns her with a circlet of stars. One must 
 really see this quartet of glory to understand the 
 possibilities of the painter's art. 
 
 While under the influence of Tintoretto let us 
 cross the Piazzetta to the Old Library and look 
 at two of his large frescos. The one that repre- 
 sents the " Miracle of St. Mark" (Fig. 50) is 
 often called the " Miracle of Tintoretto," so auda- 
 cious its conception. The colour is a riot of rain- 
 bow tints with a golden-yellow atmosphere filling 
 the middle "as if a topaz had burst there." The 
 legend explaining the scene says that a certain 
 Christian slave serving a pagan nobleman dis- 
 obeyed his master by continuing to worship at 
 the shrine of St. Mark. Having been condemned 
 to torture and death in the public square, the 
 multitude were dumbfounded to see St. Mark 
 [69] 
 
WHAT PICTURES TO SEE 
 
 himself coming from the heavens to the slave's 
 assistance. The bonds broke asunder and the 
 instruments of torture dropped to pieces. The 
 exquisite delineation of facial expression in the 
 astonished crowd of people is alone sufficient to 
 raise the painting to its exalted place among 
 masterpieces. Another one of these frescos of 
 equal merit they were all painted by Tintoretto 
 for the Scuola di San Marco, Venice is in the 
 Brera, Milan. 
 
 We again see this great master in profusion 
 in the church of Madonna delP Orto, where he 
 is buried, but the principal picture for us to see 
 here is Cima's "St. John the Baptist and Four 
 Saints" (Fig. 51). Cima, a direct follower of 
 Bellini, shows in this picture the early and effec- 
 tive use of high arches to frame and separate 
 the distant landscape from the figures in the front. 
 He has not reached the artistic excellence of 
 Veronese in this direction, as shown in the lat- 
 ter's "Feast of Simon" (Fig. 43), yet his perspec- 
 tive is good and his originality of arrangement 
 decidedly in advance of his contemporaries. The 
 detail work on the capitals and the drawing of the 
 old tree with its scraggly branches are both nat- 
 ural and artistic. The four saints with the 
 Baptist are SS. Peter and Mark on the left and 
 SS. Paul and Jerome on the right. 
 
 One of the largest and most beautiful churches 
 
 [70] 
 
FIG. 51. St. John the Baptist and Other Saints. Cima. 
 Madonna dell' Orto, Venice 
 
FIG. 52. Madonna of the Pesaro Family. Titian. Church of 
 Santa Maria del Frari, Venice 
 
VENICE 
 
 in Venice the Frari has Titian's wonderful 
 masterpiece, "The Madonna of the Pesaro Fam- 
 ily" (Fig. 52). This picture raised the artist 
 to the position of dictator in the art world. In it 
 he perfected the combination of grand architec- 
 ture with the simple devotional spirit of a grateful 
 family. The secret of this achievement is sim- 
 plicity. Those marvellous columns soaring into 
 the very clouds are as severe in structure as 
 snow-clad mountains seen from a distant plain. 
 The throne of the Virgin at the entrance to the 
 spacious temple is without a single ornament 
 save the neutral-tinted rug hanging from it in 
 straight lines to the steps below. The colour of 
 the garments is mostly a harmony of reds carried 
 from side to side with consummate skill.' The 
 rich blue of the underdresses of the Virgin and 
 St. Peter serve as a connecting link with the 
 tender blue of the Venetian sky, seen through the 
 soaring pillars. The composition is unique in 
 arrangement, yet the unusual position of the 
 Virgin and Child is so perfectly balanced by the 
 standard of the church that one scarcely notes 
 the reason for the change. Since this is a pre- 
 sentation picture in which Jacopo Pesaro, Bishop 
 of Paphos, is offering thanksgiving for victory, 
 it is only natural that other members of the Pesaro 
 family should be present. At the foot of the throne 
 kneels Jacopo with clasped hands raised to the 
 
 [71] 
 
WHAT PICTURES TO SEE 
 
 Virgin who bends gently toward him, between 
 them is St. Peter who has turned from his reading 
 to look at the kneeling bishop. At the left of the 
 picture kneel Benedetto Pesaro and his family. 
 The childlike glee of the infant Christ, as he 
 pulls at the white veil of his Virgin Mother and 
 kicks happily at St. Francis, is very human and 
 natural. The two cherubs bearing the cross on 
 the floating cloud aboVe seem to have drifted 
 into the portico of the temple to linger only for 
 a moment. 
 
 [72] 
 
XI 
 
 MILANCHURCHES AND BRERA 
 GALLERY 
 
 PROBABLY no picture in all the world is 
 so well known as Leonardo da Vinci's 
 "Last Supper" (Fig. 53). It is painted on the 
 end wall of the refectory of the old Dominican 
 monastery of Santa Maria delle Grazia, Milan. 
 Ruined as the picture stands to-day, it is still 
 the most stupendous monument of that Blessed 
 Scene ever conceived by the mind of man. When 
 Professor Cavenaghi carefully restored the fresco 
 in 1908, he brought to light several important 
 facts. First, Leonardo did not use oil paints on 
 plaster, as has been supposed, but water colours, 
 probably experimenting with this medium, for 
 deterioration began shortly after the picture was 
 finished. Second, the early restorers have left 
 untouched the heads and hands of the figures, 
 excepting the head of the apostle Philip the 
 third to the Saviour's left, so, though dim and 
 marred, they are the master's own work. Third, 
 the work done by the early restorers was excellent. 
 As we study the grand personality of the apostles 
 
 [73] 
 
WHAT PICTURES TO SEE 
 
 I shall quote what has already been written in 
 my book, "Pictures and their Painters." Pos- 
 sibly Christ has just uttered the words: "One of 
 you shall betray me." Beginning on the left of 
 the fresco, Bartholomew has just risen from the 
 table in consternation; next to him James (the 
 less), with his hand on Peter's arm, is mildly 
 inquiring; Andrew with uplifted hands exhibits 
 astonishment; then Peter, eagerly leaning toward 
 St. John, with his hand on his shoulder, expresses 
 suppressed excitement; in front of Peter, leaning 
 on the table with the bag clutched in one hand 
 and the other stretched out toward the Master, 
 is the traitor Judas, his whole manner full of 
 opposition; John with downcast eyes and folded 
 hands waits with perfect confidence; on the right 
 of the Saviour, James (the greater) with arms out- 
 stretched shows distress and dismay; back of 
 James is Thomas with uplifted finger ready for 
 aggressive action; Philip, rising with his hand 
 on his heart, looks worried and troubled; next 
 to him is the elegant Matthew, his arms pointing 
 toward the Saviour, while he turns to the other 
 disciples with a look of questioning wonder; 
 Thaddeus with one hand uplifted has a face full 
 of horror; and Simon spreads his hands out with 
 stern disapproval. 
 
 The photographs of the "Last Supper" best 
 known to us are taken from an engraving made 
 [74] 
 
FTG. 53. The Last Supper. Leonardo da Vinci. Santa Maria delle Grazie, 
 
 FIG. 54. 
 
 Head of Christ. Leonardo da VincL 
 Brera Gallery, Milan. 
 
FIG. 55. Marriage of the Virgin. Raphael. Brera Gallery, Milan. 
 
MILAN 
 
 by Raphael Morghen, an Italian, during the last 
 of the eighteenth century before the awful havoc 
 made on the fresco by the French soldiers at the 
 time Napoleon invaded Italy. 
 
 Leonardo was the first artist to place all the 
 apostles on one side of the table, the previous 
 custom being to put Judas opposite the others; and 
 no one ever before made such a character-study 
 of the apostles. So careful was Leonardo that 
 only after the closest study of the individual men 
 did he conceive and portray in head and hands 
 the personality of each apostle. The story is 
 told that after two years' work on the fresco there 
 were still two heads to paint Christ and Judas. 
 Month after month passed and the picture was 
 not finished, and the monks were becoming im- 
 patient. The prior, greatly vexed, protested again 
 and again, and finally the annoyed artist calmly 
 said to him, "If you will sit for the head of Judas, 
 I'll be able to finish the picture at once." 
 
 Dr. Muther says: "As a pictorial achievement 
 in the manner in which the figures softly dis- 
 solved in space and the light streamed through 
 the window into the half-darkened hall the 
 'Last Supper' must have been a revelation, al- 
 though at the present time this can no longer be 
 seen, but only felt." 
 
 Leonardo's "Head of Christ" (Fig. 54), in the 
 Brera Gallery, was the model for the Master in 
 [75] 
 
WHAT PICTURES TO SEE 
 
 the supper group. It was only after weeks of 
 thought that he sketched this marvellous head, and 
 even then the eyes so baffled him that he dropped 
 the lids, adding an almost superhuman glory to 
 the beautiful face. There is plainly little doubt 
 but what Leonardo painted the head of Christ 
 in the large fresco very hastily. It certainly lacks 
 the tenderness and pathos of the precious model 
 sketch. The latter, with Raphael's Christ in the 
 "Transfiguration" (Fig. n), and Michael An- 
 gelo's Christ in the "Last Judgment" (Fig. 5), are 
 considered the great portraits of the Saviour, but 
 of the three, Leonardo's Christ comes the nearest to 
 our hearts. Here is the human Jesus who ate 
 and talked and worked with his disciples. 
 
 Raphael's "Marriage of the Virgin" (Fig. 55), 
 in the Brera, is particularly interesting as one 
 of the first examples of his work. He was still 
 in his teens and doubtless as yet a pupil in Peru- 
 gino's studio. The picture shows the influence 
 of the master especially in the tilt of the heads and 
 the rather insipid sweetness of the faces. We 
 also recognise the similarity of arrangement to 
 Perugino's "Giving Keys to St. Peter" (Fig. 7), in 
 the Sistine Chapel, but how different the contin- 
 uity and balance of the composition. Here is 
 no visible effort at space-filling or placing of the 
 figures. The crowd in the foreground is a natural 
 gathering of wedding-guests to witness the be- 
 
 [76] 
 
MILAN 
 
 trothal of loved ones. Raphael indicates very 
 simply the old legend of the trial of the suitors 
 by means of the budded rod held by Joseph and 
 the impatient breaking of the wand by the dis- 
 appointed lover. 
 
 The spaciousness of the middle distance throws 
 the classic temple in bold relief against the blue 
 sky, adding greatly to the largeness and depth 
 of the scene. The pyramidal placing of figures and 
 objects seems to have been instinctive with Ra- 
 phael, for from the beginning it characterised 
 the pictorial balance of his works. 
 
 In the fresco of "Finding the Body of St. Mark," 
 now in the Brera Gallery, Tintoretto has por- 
 trayed another of the numerous legends from the 
 life and death of the saint. This is a companion 
 picture to those in the Old Library at Venice. 
 For twelve years, it is said, St. Mark preached 
 in Egypt and finally founded a church in Alex- 
 andria. But the heathen, believing him a magi- 
 cian because of his miracle-working powers, 
 bound him at the feast of their god Serapis and 
 dragged him through the streets of the city until 
 he died, and immediately the murderers were 
 destroyed by lightning. The mangled body of 
 the saint was buried by devout Christians of 
 Alexandria, and for eight centuries his tomb was 
 held sacred. In A.D. 815 some Venetian mer- 
 chants stole the body away and carried it to Venice 
 
 [77] 
 
WHAT PICTURES TO SEE 
 
 where the cathedral of St. Mark's was built for 
 his tomb. 
 
 Tintoretto's conception of the scene of finding 
 the body of the saint is original and his interpre- 
 tation of the event singular. The picture is keyed 
 in a low tone; the upper part is a cool blue- 
 grey, and the lower part soft, rich golden-brown. 
 The long barrel-vaulted corridor seems to be a 
 mausoleum with a series of sarcophagi, raised 
 about eight feet from the ground, extending along 
 the right side. The figure at the left, dressed in 
 a blue underdress and a rather bright red cloak, 
 is St. Mark himself with a halo around his head. 
 His presence makes possible the identification 
 of the body, but no surprise is evinced at his 
 presence there in person. At the right, opposite 
 the saint, is a demoniac clinging to a woman. 
 The evil spirit is fleeing from his mouth in the 
 form of smoke. The man who is holding the 
 demented one may possibly have been one of 
 the dead bodies restored to life by St. Mark. 
 The body on the floor may be intended to replace 
 that of the saint which the men are lowering from 
 above at least, the startled look of the woman 
 and the gesture of the standing saint lead one to 
 think so. We do not know just what legend Tin- 
 toretto had in mind in this strange composition, 
 but we do know that he has made a wonderful 
 picture of the scene. 
 
 [78] 
 
XII 
 
 MUNICH GALLERIES 
 
 TN the Old Pinakothek, Munich, are Murillo's 
 * masterpieces, a series of "Beggar Boys." 
 The picture representing the "Melon Eaters " 
 (Fig. 56) is one of the most famous of those genre 
 scenes. He has here portrayed the happy-go- 
 lucky little vagrants that swarm in every city the 
 world over, with such an intimate understanding 
 of their haunts and habits that no one can fail 
 to recognise them. Picturesque and charming 
 they certainly are, although perfectly irresponsible 
 and unmanageable. What a delight such pic- 
 tures are to the boy in the home! Murillo 
 thoroughly comprehended the bohemian spirit 
 that lurks in the heart of every boy. And why 
 shouldn't he? As a young artist he was so poor 
 that to eke out a bare existence he painted rough 
 colour sketches as he stood in the market places. 
 Where could he have learned the ways of the 
 street Arab more accurately than among the 
 stalls of the vendors of foodstuffs? He has held 
 up the mirror to Nature just as he found her, and 
 has given vivid pictures of her children with no 
 
 [79] 
 
WHAT PICTURES TO SEE 
 
 exaggeration or pettiness. If Murillo had only 
 devoted his talents to picturing the every-day street 
 life of the Spaniard he would have equalled Vel- 
 asquez, his countryman, in portraiture, and would 
 have immortalized the " people" as the older artist 
 did the " court." These four pictures revealing 
 child-life in the market place have never been 
 surpassed as character-studies of what in New 
 York would be called the " East-side" child 
 population. 
 
 It is interesting to turn next to the "Portrait 
 of Velasquez" (Fig. 57), by himself, because he 
 was not only Murillo's teacher, but he, too, was 
 born at Seville, though twenty years earlier. 
 After Murillo had scraped together enough to 
 undertake the journey, he walked over the moun- 
 tains from his native town to Madrid and entered 
 Velasquez's studio as a pupil. Although he had 
 planned to go on to Italy later, he was so pleased 
 with what Velasquez taught him that he went 
 no further to develop his talents. He also had 
 access to the art collection in Madrid that his 
 countryman had gathered in Italy at the command 
 of Philip IV. 
 
 As we look into this powerful face of Velasquez 
 we are not surprised that the younger artist felt 
 the strong personality and wonderful gifts of the 
 great master. The pity is that the lessons learned 
 did not take deeper root and prove of more lasting 
 
 [so] 
 
FIG. 56. The Melon Eaters. Murillo. Old Pinakothek, 
 Munich. 
 
FIG. 57 Portrait of Velasquez. Velasquez. Old Einakothek, Munich, 
 
MUNICH 
 
 benefit. Velasquez was a law unto himself in 
 his art, and no command by the church or threat 
 of the fickle King Philip could intimidate him. 
 Every feature of that speaking face stamps him 
 as a leader of men, and a leader, too, who could 
 speak the truth. 
 
 It is in this gallery that we find Diirer's last and 
 possibly greatest work, two panel pictures rep- 
 resenting four of the apostles "St. Peter and 
 St. John," "St. Paul and St. Mark" (Fig. 58). 
 He painted the panels for his native city, Nurem- 
 berg. We have his own words as to their merit 
 in the presentation note to the city council: "I 
 have just painted panels upon which I have be- 
 stowed more trouble than on any other painting; 
 I consider none more worthy to keep them as a 
 reminiscence than your Wisdom. Therefore I 
 present them to your Wisdom with the humble 
 and urgent prayer that you will favourably and 
 graciously receive them." It is always satis- 
 factory to have an artist's opinion of his own work, 
 especially of masters whose works have become 
 masterpieces. 
 
 Diirer has shown a breadth of treatment in 
 these panels which has refuted forever the charge 
 that he could paint only with a "one-hair" brush. 
 Notice particularly the ample folds of St. Paul's 
 white robe. It is plain even to severity, yet how 
 well it accords with the noble figure of the great 
 [Si] 
 
WHAT PICTURES TO SEE 
 
 apostle. In colour, in drawing, and in composi- 
 tion Diirer has here reached the zenith of the art 
 of painting. For a hundred years Nuremberg 
 prized this present from her gifted son, and then 
 to her shame sold the precious treasures to Ba- 
 varia and replaced them with copies. 
 
 Few tourists going from Munich to Dresden 
 fail to stop at the quaint old town of Nuremberg 
 to see the still quainter old house where Diirer 
 was born. Here also is a priceless collection 
 of the artist's engravings and woodcuts he made 
 no less than forty-eight of the former and over 
 one hundred of the latter. If we accept Diirer's 
 own statement, made after he had finished one 
 of his most famous paintings, that "henceforth 
 he should stick to his engraving, else he would 
 become a beggar," we realise what that copper- 
 plate work meant to him. It is true that, won- 
 derful though many of his paintings are, yet a 
 dozen artists surpassed him; but where in all 
 the realm of art is there a man whose workman- 
 ship could equal his copperplates of " Melan- 
 cholia," "St. Jerome in His Study," and "The 
 Horseman ' ' (Frontispiece) ? As an engraver Diirer 
 stood on the heights alone. 
 
 Just what the artist meant by "The Knight, 
 Death and the Devil," we probably never shall 
 know, but his own simple title of the plate, "The 
 Horseman," points to the knight's journey as that 
 
 [82] 
 
FIG. 58. St. Paul and St. Mark. 
 Old Pinakothek, Munich. 
 
 Diirer. 
 
FIG. 59. Portrait of Bismarck. Lenbach. Lenbach's House, Munich. 
 
MUNICH 
 
 of " Everyman " passing through this world. As he 
 pushes on unmindful or disdainful of his com- 
 panions Death and the Devil he may typify the 
 Christian who has put the Devil behind him and 
 who knows that in the end " Death is swallowed 
 up in victory." The attitude of this Christian 
 warrior is of one having on the whole armour of 
 God riding forth to fight the good fight. 
 
 There is a large collection of Rubens' paintings 
 in the Old Pinakothek. Possibly the most noted 
 is "The Battle of the Amazons at the Bridge of 
 Thermodon." This battle-piece stands as a 
 parallel in excellence to the " Battle of Constan- 
 tine," designed by Raphael for his Stanza in the 
 Vatican. In one particular it has an advantage 
 over the work of the Italian artist, for here Rubens 
 has the contrast of men and women warriors. 
 The execution of the painting is in the artist's 
 most careful manner, and the colour has a certain 
 restraint pleasing to the eye. The concentration 
 of interest in the middle foreground, where the 
 fighting is on the bridge and in the water, is a 
 masterly conception. To handle so congested a 
 point as the meeting of hostile forces on a narrow 
 bridge required the greatest technical skill. Ac- 
 tivity of men, women, and horses was never ex- 
 pressed more marvellously than in this writhing, 
 seething mass of life. Surely the Amazon women 
 under Rubens' brush have become not only 
 
WHAT PICTURES TO SEE 
 
 living realities but most formidable rivals in battle. 
 The Greek story says that the Amazons were 
 women of Africa of warlike character whose 
 name signifies " without breasts," for in early 
 girlhood the right breast was singed off that they 
 might better draw the bow. 
 
 No one must think of leaving Munich without 
 going to Lenbach's studio, not only to see the 
 workshop where the "Portrait of Bismarck'' 
 (Fig. 59) was painted, but to view the famous 
 painting itself. If Lenbach had executed no other 
 portrait than this one of the Iron Chancellor his 
 name would have been established as an artist. 
 His " Bismarck," like Stuart's " Washington," 
 will stand to posterity as the true likeness of the 
 great chief. So clear was Lenbach's insight of 
 the hidden workings of the mind that he has 
 given us the very character of this "Man of Blood 
 and Iron." Every line depicting the square 
 shoulders, massive head, firm jaw, and flashing 
 eyes tells of the diplomat who ruled Germany and 
 shook the world. True portraits keep alive the 
 personality of strong characters and, like written 
 words, exert as powerful an influence upon thought- 
 ful observers as on thoughtful readers. 
 
 [84] 
 
XIII 
 
 DRESDEN ROYAL GALLERY 
 
 IN a special cabinet of the Royal Gallery, 
 * Dresden, is Raphael's last and greatest pic- 
 ture, the Holy Mother and Divine Child " The 
 Sistine Madonna " (Fig. 60). The inscription, 
 by Vasari, on the lower part of the support reads: 
 "For the Black Monks of San Sisto in Piacenza, 
 Raphael painted a picture for the high altar, show- 
 ing our Lady with St. Sixtus and St. Barbara 
 truly a work most excellent and rare." Volumes 
 have been written describing the spiritual element 
 in this picture, yet after all has been said, nothing 
 but seeing it conveys to the mind and heart the 
 wonderful influence it exerts. As we sit in the 
 silent room and allow the sublimity of the picture 
 to possess our very souls, we are conscious that 
 the great master painter was inspired of God 
 when he portrayed that Mother and Child. No 
 analysis of the means used to create this master- 
 piece can explain why it so affects the heart. 
 We may point out that the width between the 
 eyes gives spiritual insight, and descent from the 
 clouds, divine mystery, but we are only trying to 
 
WHAT PICTURES TD SEE 
 
 reason out what can not be understood except 
 through the spirit of worship. This reverence, 
 moreover, is not for the picture before us, but for 
 the divinity that made possible the coming of 
 the Holy Child. The Virgin represents spiritual 
 motherhood and, unlike the Madonna of the Chair 
 whose left arm clasps the human Baby to her 
 heart, she holds her Child in wondering inno- 
 cence, awed that she blessed of women was 
 the mother of the Redeemer. Were it not for 
 the angel-faces peeping at us from below that 
 heavenly vision, those searching eyes of Mother 
 and Child, which seem to look into the inmost 
 soul, would be almost overpowering. The uni- 
 versal appeal of this picture is one of the strongest 
 proofs of its greatness. No one enters that little 
 cabinet without feeling the influence of its pres- 
 ence. Professor and illiterate, sage and rustic, 
 cynic and believer, all bow in reverence before 
 this masterpiece, seeming to realise intuitively 
 that the painter thereof was divinely inspired by 
 the Great Master. 
 
 Coming from the room of the "Sistine Ma- 
 donna," we stop next before Correggio's "Holy 
 Night" (Fig. 61), a picture in which he has shown 
 the greatest originality in the handling of light 
 and shade. Here we have a vivid reproduction 
 of the scene of the Saviour's birth as described in 
 the Apocryphal Gospel, "The Protelvangeion " : 
 [86] 
 
FIG. 60. The Sistine Madonna. Raphael. Royal Gallery, Dresden. 
 
FIG. 61. The Holy Night. Correggio. Royal Gallery, Dresden. 
 
DRESDEN 
 
 "But on a sudden the cloud became a great light 
 in the cave, so that their eyes could not bear it. 
 But the light gradually decreased until the Infant 
 appeared." There is little of the spiritual ele- 
 ment in the picture, but it overflows with the 
 pure love of living. The Mother leaning over 
 the human Baby is full of tender love; the face 
 of the comely peasant maiden beams with joy; 
 the shepherd and the lad have come to worship 
 with gladness in their hearts; and the angels are 
 singing glad tidings. The effulgence streaming 
 from the Child illuminates and purifies every 
 object it touches. All nature rejoices; the dog 
 with lifted head is an interested witness of the 
 scene; the lowly flowers spread out their leaves 
 as they blossorh profusely; the morning light 
 just appearing above the hilltops comes as though 
 to add its homage to the New-born King. 
 
 Correggio was not a deep thinker, but he charms 
 us with his love of light. Look at his "Madonna 
 and St. Francis," in the same room, painted for 
 the monks of the Franciscan Order of the town 
 of Correggio when he was only twenty. The 
 artist's affection for pure beauty for beauty's 
 sake was never more striking than in this exqui- 
 site gem. Perhaps the tender glance of the Virgin 
 toward the young and handsome St. Francis, 
 who has so recently become a monk, savours of 
 coquetry, as some have thought, but the devoted 
 
 [87] 
 
WHAT PICTURES TO SEE 
 
 submission of the saint and the timid blessing of 
 the Holy Mother are certainly charming and 
 human. The picture itself has a curious history. 
 Correggio painted it in five months during 1515. 
 It was placed in the monastery and kept in its 
 original position for over a hundred years, then 
 in March, 1638, a French painter, Jean Boulanger, 
 who was in the service of the Duke of Modena, 
 came to Correggio to copy the famous Madonna. 
 He worked on a scaffold behind the high altar, 
 made a hasty copy of the picture, and departed. 
 In a few days it was discovered that he had carried 
 off the original and left his copy in its place. 
 Although every effort was made to reclaim the 
 painting it could not be obtained. The original 
 was later sold to the Elector of Saxony, and in 1746 
 was taken to Dresden. 
 
 The Royal Gallery is a good place to study the 
 development of Correggio 's art career from the 
 "Madonna of St. Francis' 7 period when he was 
 twenty, through the "Madonna St. Roch and St. 
 Sebastian," to the "Holy Night," painted just 
 before his death at forty. In the Louvre, Paris, 
 we will see another of his most joyous religious 
 pictures, "The Marriage of St. Catherine" 
 
 (Fig. 93). 
 
 Titian's "Tribute Money" (Fig. 62) is unique 
 in that it shows the wonderful versatility of the 
 master. Taunted on his lack of "finish" by some 
 [88] 
 
FIG. 62. The Tribute Money. Titian. Royal Gallery, Dresden. 
 
FIG. 63. The Meyer Madonna. Holbein. Royal Gallery, Dresden. 
 
DRESDEN 
 
 Germans who visited his studio, he replied that 
 finish was not the end and aim of art. To prove 
 conclusively, however, that he could count each 
 hair and show the threads in the weave, he painted 
 this picture. For four centuries the " Tribute 
 Money" has stood as an example of finish and 
 broad handling, a composition both detailed and 
 free. Titian could scarcely have chosen two men 
 of wider difference than the Saviour and the Phari- 
 see. The contrast in the two hands alone is a 
 sufficient characterisation ; one the vulgar, grasp- 
 ing hand thrust eagerly forward to prove his 
 point, and the other the firm, impelling, yet gentle 
 and reasoning hand emphasising the question 
 "Whose is this image and superscription?" 
 With what calm power Christ has compelled the 
 confident tax-gatherer to testify against himself 
 as he answers " Caesar's." On the one face is 
 divine strength of purpose; on the other, greedy 
 avarice seeking to ensnare. The ensemble of 
 the composition shows a wide understanding of 
 technical breadth, yet the hairs of the head and 
 beard are so differentiated that a breath would 
 lift them from brow and neck. 
 
 For fifty years, from 1822 to 1871, the authori- 
 ties of Dresden and Darmstadt both claimed the 
 original of Holbein's " Meyer Madonna" (Fig. 63). 
 In the latter year, at an exhibition of Holbein's 
 paintings in Dresden, the two pictures were placed 
 
 [89] 
 
WHAT PICTURES TO SEE 
 
 side by side and the controversy was settled in 
 favor of the Darmstadt painting as the original. 
 The Dresden picture was pronounced "a free 
 copy by some unknown artist." Holbein painted 
 the original in 1526, before he was thirty years 
 old, for Burgomaster Jacob Meyer of Basle. 
 This masterpiece is so full of religious fervour that 
 it alone has placed Holbein beside the great Italian 
 painters of the church. Jean Rousseau says, 
 "Raphael is the immortal painter of Madonnas; 
 Holbein painted but one, but that one is worthy 
 to be compared to the Sistine Madonna." There 
 is a dignity and sincerity about the grateful family 
 as they kneel before the Blessed Mother that 
 appeals directly to the heart. Even placing the 
 deceased first wife in grave-clothes by the side of 
 the living one, quaint and gruesome as it is, does 
 not mar the true spirit of thankfulness that breathes 
 from every member of the kneeling family. Opin- 
 ions differ as to the meaning of the story, but the 
 natural interpretation of such a thank-offering pic- 
 ture would be that the little Christ Child has taken 
 the sickness from the human child in answer to 
 the pleadings of the Burgomaster's household. Yet 
 Ruskin believed that the Virgin came in answer 
 to their prayers and changed the baby Jesus for 
 the sick child. As the baby in the arms of the 
 Holy Mother shows no signs of illness except in 
 the expression of distress on the face, it may be 
 
 [90] 
 
DRESDEN 
 
 that Holbein intended thus to show the humanity 
 of the Saviour. Although he is divine, yet in 
 taking our diseases he feels our ills in mental 
 anguish. The homely common sense of such 
 an idea would appeal to the sturdy, practical 
 Teuton artist. 
 
 The original of a picture familiar to the whole 
 civilised world, not as a picture but as an adver- 
 tisement, is in the Royal Gallery. It is Liotard's 
 "Chocolate Girl." The name alone brings the 
 picture vividly before our minds. The artist, 
 who was born in Geneva in 1702, was a great 
 traveller and one time when in Vienna he painted 
 this maid Mile. Baldauf as he saw her serving 
 chocolate. Count Dietrichstein was so charmed 
 with the portrait that he fell in love with the 
 original and married her. The picture is a pastel 
 in delicate half-tints and in perfect relief. The 
 owner of the portrait in describing the picture 
 says in the last sentence: "As to the finish of the 
 work, to sum it up in a word, it is a Holbein in 
 pastel!" Liotard has certainly given us a dainty 
 bit of real life from Austria's capital. 
 
 No city in Europe shows the works of Vero- 
 nese to better advantage than Dresden. We see, 
 in his "Adoration of the Magi" (Fig. 64), how 
 his excessive love of elegant stuffs has been hu- 
 moured to the fullest extent, for no artist has ever 
 equalled his treatment of textiles. The brocaded 
 
WHAT PICTURES TO SEE 
 
 satins and embossed velvet robes are so heavy with 
 gold and silver embroideries that one feels the 
 weight of the garments. No subject could have 
 given freer play to his sense of colour or his won- 
 derful ingenuity in decorative design. The dogs 
 and the sheep in the foreground act as a foil to 
 the rich warm reds and blues of the king's cloak 
 and the drapery of the Virgin's throne. The 
 horses in the middle distance are of the precise 
 colour-note to harmonise with the distant sky and 
 the brilliant company of worshippers. In fact, 
 every detail is so carefully portrayed that to omit 
 even the smallest article would mar the perfection 
 of the picture. 
 
 Another of Veronese's masterpieces is "The 
 Madonna of the Cuccina Family." Notice how 
 wonderfully the artist has planned his balancing 
 lights. The central white figure on the right, where 
 the Cuccina family are gathered at the foot of 
 the Virgin's throne, acts as a starting-point for 
 the light which curves downward to the boy by the 
 column, then up to the Virgin and Child. This is 
 one of Veronese's most pronounced examples of 
 leading the interest from point to point until its 
 culmination in the central figure of the picture. 
 
 We could scarcely overlook Ribera's " St. Agnes" 
 (Fig. 65), were we even so inclined. It has that 
 insistent quality which compels attention. Ribera 
 is not usually so attractive, inasmuch as his love 
 
 [92] 
 
FIG, 65. St, Agnes. Ribera. Royal Gallery, Dresden. 
 
DRESDEN 
 
 of the gruesome is often a marked feature in his 
 paintings; but this lovely " St. Agnes "is charming. 
 It is so simple and unassuming, with no accessories 
 to detract from the interest in the sainted maiden. 
 The principal colours in the picture are brown and 
 white, but the artist has carried them through 
 such wonderful gradations of tone that the can- 
 vas fairly glows with warmth and brightness. 
 And yet he is true to his Spanish nature in the 
 hints of black in the undertones. 
 
 No saint in the Church calendar is more be- 
 loved than St. Agnes a Roman maiden of the 
 fourth century. She was a Christian from her 
 infancy, and as she grew into beautiful young 
 womanhood she refused all advances of a royal 
 lover because of her devotion for the Saviour. This 
 so incensed the royal father that she was given 
 over to the common soldiers, but in answer to 
 her prayers her hair grew and formed a glorious 
 cloak of protection, and a gleaming white garment 
 appeared before her. Ribera has made one feel 
 the purity and sincerity of such a lovely girl. 
 For many years the picture was thought to repre- 
 sent St. Mary of Egypt, or possibly the Magdalene, 
 but it is now believed that the artist meant it for 
 St. Agnes. 
 
 [93] 
 
XIV 
 
 DRESDEN ROYAL GALLERY (Continued) 
 
 "DEFORE looking at the joyous portraits of 
 *-* Rembrandt and Saskia, his wife, we must 
 see the original of that famous " Reading Mag- 
 dalene" (Fig. 66), so long attributed to Correggio, 
 and even yet claimed by some authorities to be 
 his. This picture is equally as well known in 
 reproduction as is " Beatrice Cenci." It is 
 barely possible that the painting may be a copy 
 of the lost Magdalene by Correggio, but com- 
 petent judges assign it to Van der Werff, a Dutch 
 painter of more than a century later. Morelli 
 in comparing the picture with other paintings of 
 this Dutch artist in the gallery, says of the defects, 
 "the crude ultramarine blue which was very 
 like that used by Van der Werff; the affected 
 long fingers; the laboured, over-smooth treatment 
 of the foreground, and the coquettish lack of 
 naivete in the general design," all point away 
 from Correggio and toward Van der Werff. 
 
 How different in sentiment and composition is 
 Rembrandt's "Portraits of Himself and Saskia" 
 (Fig. 67), although both artists were natives of 
 
 [94] 
 
FIG. 66. Reading Magdalene. Van der Werff. Royal 
 Gallery, Dresden. 
 
 FIG. 67. Portrait of Rembrandt and his Wife. 
 Rembrandt. Royal Gallery, Dresden. 
 
FIG. 68. Boy. Pintoricchio. Royal Gallery. Dresden. 
 
DRESDEN 
 
 Holland. Rembrandt painted this picture when 
 his life was full of happiness. It really seems to 
 brighten the room where it hangs, so full is it of 
 glorious sunshine. One can well agree with the 
 critic who said that Rembrandt appeared to have 
 mixed his pigments with sunlight. As we watch 
 the sparkle and gleam on his arbitrary spots of 
 light, we are tempted to protect our eyes from 
 the glare. His pictures, like his life, embrace the 
 whole gamut of human happiness and woe. No 
 shadow has yet crept up as a foreboding of the 
 coming tragedy when his darling Saskia is to be 
 taken from him, and an admiring and munificent 
 public is to forsake him. It is well to see this 
 picture before we look on his " Supper at Emmaus" 
 (Fig. 104), in the Louvre, in order that we may 
 understand somewhat both the height and depth 
 of this man's intense nature. Rembrandt stands 
 with that wonderful trio of Italian artists Mi- 
 chael Angelo, Raphael, and Leonardo da Vinci 
 as an expositor of human emotions. 
 
 As we turn to Pintoricchio's "Boy" (Fig. 68), 
 we realise at once that here is a young lad that 
 the artist knew personally and yet he has empha- 
 sised those traits in the boy that show us boyhood 
 in general. We recognise the unconscious self- 
 absorption of the boys we know. Boys, unlike 
 girls, pay little thought to what people are think- 
 ing of them, for they are too much absorbed with 
 
 [95] 
 
WHAT PICTURES TO SEE 
 
 their own schemes. They are literally "father 
 to the man" and have plans carefully thought 
 out to execute. This boy, with his sober face 
 framed in chestnut-brown hair and quaint blue 
 cap, is a typical child of nature; but the full eyes 
 and curving lips mark him as the pride of some- 
 one well known to the artist. Such a picture 
 would warm the heart of any boy if it were hung 
 in his own room or at school. 
 
 Dresden is rich in Netherland pictures. Ten- 
 iers' " Village Fete" (Fig. 69) is one of those 
 out-of-door scenes so common with the " Little 
 Masters." How perfectly the artist has given 
 us the spirit of the merry-making season con- 
 vivial, happy-go-lucky swains, dancing with the 
 clumsy damsels of the village with all the abandon 
 of accepted admirers. Teniers knew also how 
 to lay his colours and blend his lights and 
 shades. 
 
 In turning to the indoor scene of "The Song 
 Accompanied by the Piano" (Fig. 70), we know 
 that Kasper Netscher was a frequent visitor at 
 that house or one similar to it. Exquisitely grace- 
 ful is the lady in her shimmery white satin dress, 
 and slyly humourous the face of the boy who stands 
 so demurely holding the tray. He may be the 
 small brother who has divined the secret of the 
 lady's careful toilet and dainty witcheries. The 
 breadth of handling is quite marked in the 
 
 [96] 
 
FIG. 69. Village Fete. Teniers. Royal Gallery, Dresden. 
 
 FIG. 70. Song with Piano. Netscher. Royal Gallery, Dresden. 
 
FIG. 71. Christ on the Cross. 
 Royal Gallery, Dresden. 
 
 Durer. 
 
 FIG. 
 
 ?2. Christ with the Doctors. Hofmann. Royal 
 Gallery, Dresden. 
 
DRESDEN 
 
 pillared background, yet the elaborate table- 
 spread is portrayed like jewel work. It is as- 
 suredly true that these "Little Masters" were 
 "Little" only in the size of their workmanship. 
 
 One of the saddest pictures in all art is Diirer's 
 "Christ on the Cross" (Fig. 71). The loneliness 
 of the Saviour is intensified by the awful desolation 
 of the scene. There is nothing to relieve the 
 prevailing gloom of the picture save the faint 
 tinges of green, yellow, and red of the distant 
 horizon and the slender birch-trees waving in 
 the breeze. Even the fluttering white cloth seems 
 to echo and re-echo that despairing cry of nine- 
 teen hundred years ago, "My God! My God! 
 Why hast thou forsaken me?" The body of 
 the Christ is beautifully modelled. There is 
 nothing ghastly or repelling about the agony on 
 that face. Our hearts go out in deepest love and 
 sympathy for the human suffering of the God-man. 
 Diirer knew how to appeal to man's highest nature, 
 and his religious pictures supplement the teach- 
 ings of the great Luther who was pushing forward 
 the Reformation at about the same period. 
 
 One of the most popular pictures, if not the 
 greatest favourite, with the general sightseer in 
 the Dresden Gallery, is Hofmann's "Christ 
 before the Doctors" (Fig. 72). Not even the 
 "Sistine Madonna" calls forth as many exclama- 
 tions of rapture. Probably no religious picture 
 
 [97] 
 
WHAT PICTURES TO SEE 
 
 is so well known in the Sunday-schools and homes 
 of our country as this "Christ before the Doctors." 
 It is the one picture where Hofmann has escaped 
 theatrical treatment of a biblical scene and has 
 really presented a simple and sincere phase of 
 the subject. No one will deny that something 
 divine in the clear, straightforward gaze of the 
 youthful Jesus compels the doctors to listen, 
 and that the raised head is depicted with a holy 
 strength. The full power of the boy Jesus is 
 felt even in the photographs, as well as in the 
 original painting. This picture has given Hof- 
 mann a reputation, however, that his other 
 religious works do not justify. We regret that 
 Raphael's pictorial Bible stories were not chosen 
 to form our children's ideals of Holy Writ, for 
 then their growing minds would be inspired with 
 nobler thoughts of the Bible and higher ideals of 
 art. 
 
 Von Uhde's "Bethlehem" is another religious 
 picture in the Dresden Gallery by a modern 
 German artist. Von Uhde reached the limit of 
 realism in this picture. He believed, like Rem- 
 brandt, Veronese, and other artists, that all 
 religious scenes should be set in his own day and 
 surroundings, but he went a step further and 
 chose those surroundings in the humblest walks 
 of life. This is beautiful in thought, and many 
 of his pictures appeal strongly to us because of 
 
 [98] 
 
DRESDEN 
 
 his sincerity, but why such realism as angels 
 with wings and calloused, corn-covered feet and 
 poor half-starved bodies sitting on the rafters 
 singing the glad tidings of Bethlehem? There 
 are comely, wholesome peasants who need the 
 Gospel and who could sing "Peace on Earth." 
 and still make us feel glad at the same time. 
 
 [99] 
 
XV 
 
 BERLIN ROYAL GALLERY 
 
 of Murillo's most beautiful religious 
 pictures is "St. Anthony and the Christ 
 Child " (Fig. 73), in the Berlin Gallery. Murillo's 
 "St. Anthony " pictures have less of sentimental- 
 ism than his other religious paintings. Possibly 
 St. Anthony's life of sacrifice and spiritual de- 
 votion appealed to an inner depth of the artist's 
 nature and called forth feelings more genuine 
 in truth and sincerity. The sweet angel children 
 belong as truly to this world as his street gamins, 
 but the holy joy on the sainted man's face as he 
 clasps the baby Jesus to his heart appears to lift 
 the little group to heavenly places. Gladness 
 fills our hearts that St. Anthony enjoyed the bliss 
 of holding the heavenly Child while he carried 
 the Gospel to the poor. 
 
 St. Anthony, an Egyptian, was left a rich orphan 
 when quite young, and, becoming a Christian 
 early in life, felt that his great wealth and high 
 rank hindered his service to God, so he gave his 
 property to the poor and joined a company of 
 hermits in the desert. He was so pure in thought 
 
 [100] 
 
FIG. 74. Portrait of Allesandro del Borro. Velasquez. 
 Berlin Gallery, Berlin. 
 
BERLIN 
 
 and action that he roused the hatred of Sar<in, 
 who began to torment him with every earthly 
 pleasure, even using force to compel him to yield. 
 St. Anthony, however, overcame these tempta- 
 tions and then went further into the desert, 
 where he shut himself in a cave for twenty years. 
 At fifty-five years of age he came forth and began 
 those wonderful years of preaching which lasted 
 until he died, one hundred and four years old. 
 As we remember these few incidents in the holy 
 man's life, we feel that the religious fervour which 
 Murillo has expressed in the spiritual rapture on 
 the saint's face is in harmony with the sentiment 
 of the scene, while the flood of golden light that 
 illuminates the centre of the picture seems to glow 
 in our own hearts. 
 
 The "Portrait of Allesandro del Borro" (Fig. 
 74), by Velasquez, is considered one of the greatest 
 portraits ever painted. When we consider the 
 physical unattractiveness of Allesandro we are 
 still more strongly impressed with the wonderful 
 power of the artist. Velasquez has held us by the 
 marvellous personality of his sitter the animal 
 magnetism, as it were. Only a master of the 
 brush could have held in abeyance the physical 
 peculiarities and revealed the very soul of the man. 
 Having once seen this portrait, no one could forget 
 del Borro. His individuality fills the room, and 
 were we to see him walking along the street with 
 
WHAT PICTURES TO SEE 
 
 familiar friends we would at once recognise him 
 as a man known to us. Such is true portraiture. 
 
 It seems quite in place next to look at something 
 by Rubens, because of his close friendship with 
 Velasquez. While Rubens was on a diplomatic 
 mission to Spain, King Philip IV., through his 
 influence, sent Velasquez to Italy to buy paint- 
 ings for Madrid, and thus made that gallery one 
 of the finest in Europe. We will visit it on our 
 next trip abroad, to be described in a later book. 
 As we stand before one of Rubens' "garland" 
 pictures, especially "The Christ Child, St. John 
 and Angels," we realise as never before that 
 Rubens had a very warm spot in his heart for 
 little children. The infants in this sacred picture 
 are like a wreath of blushing roses or a garland 
 of rosy fruits. The tender pink baby flesh of 
 the little Jesus and John is as exquisite in texture 
 and colour as the bloom on the rose petal or the 
 tint on the cheek of the peach. Surely, in depict- 
 ing the delicious beauty of the healthy baby 
 flesh, Rubens was a "god among painters," and 
 Reynolds was right in stating that "He is the best 
 workman with his tools that ever managed a 
 pencil." 
 
 Let us now look at another Netherland paint- 
 ing, "Hille Bobbe," by Franz Hals (Fig. 75). 
 Hille Bobbe is not a beauty but she is alive. Hals 
 knew that woman and had had many a sharp 
 
 [102] 
 
FIG. 75. Hille Bobbe. Franz Hals. Berlin Gallery, Berlin. 
 
FIG. 77. Madonna Child and Saints. 
 Vivarini. Berlin Gallery, Berlin. 
 
 FIG. 76. Family of Gelfing. Metsu. Berlin Gallery, Berlin. 
 
BERLIN 
 
 encounter of words with her to his disadvantage, 
 without doubt. Her ribald song and coarse wit 
 were doubtless the amusement of many a bar-room. 
 What a glorious portrait it is! The artist had 
 a marvellous understanding of human nature. 
 Any drawing-room would glow with richness and 
 warmth adorned by such a treasure. Hals was 
 said to have been a common frequenter of the 
 taverns and a great lover of his cups, but surely 
 not in excess, or he never could have left such a 
 vast number of paintings of such excellent quality. 
 Mr. John C. Van Dyke says that Hals "was prac- 
 tically the founder of Dutch painting, yet he realised 
 to the full the Dutch idea and subject, and that, 
 too, with a style that is astonishing in its cultured 
 maturity." 
 
 In Metsu's "Family of Gelfing" (Fig. 76), 
 we have a picture of home life among the well-to- 
 do Dutch people rarely equalled in breadth and 
 fidelity. The room is not over-crowded with 
 accessories, but enough furniture is included to 
 suggest the home character. There is a dignity 
 and reserve in the various members of the group 
 that is in sympathetic accord with the thought of 
 a well-organised family. Notice how decorously 
 the nurse brings the youngest born to the gather- 
 ing and how gleefully the older baby enjoys her 
 pre-empted place by her mother. Observe also 
 how well balanced and yet how varied are the 
 
WHAT PICTURES TO SEE , 
 
 two ends of the room. The open door at the 
 left, revealing the tiled court-yard and a second 
 door open beyond, affords a breadth of view that 
 enlarges the room and allows plenty of breathing- 
 space for the group. Metsu understood also 
 how to domesticate the dog and cat and make 
 them living members in the household. There 
 is something particularly attractive in the per- 
 sonality that characterises each person. The 
 children on the floor are as individual in their 
 love for the animals as the grown people in their 
 pride of possession. The painting is a fine ex- 
 ample of picture portraiture. 
 
 It is a long step in both time and country from 
 Metsu's " Family Group" to Vivarini's " Madonna, 
 Child and Saints"( Fig. 77), in the same gallery. 
 The Vivarini family stands for the beginning of 
 Venetian art. It is always interesting and in- 
 structive to know a few of the early pictures 
 the forerunners of the noted masterpieces in any 
 country for they help to steady our judgment 
 and widen our sense of art development. How 
 quickly we recognise even in this early picture the 
 Venetian's love of elegant stuffs and decorative 
 surroundings. We see also the influence of the 
 far East in the long fingers, elongated faces, and 
 drooping eyelids; but the beautiful transparent 
 colour, the tender expression on the face of the 
 Madonna, and the sturdy little boy at the foot 
 [104] 
 
BERLIN 
 
 of the throne mark a decided advance over the 
 Orient. The unconscious little music-makers 
 alone are sufficient to foretell of the future of Venice 
 as a centre for art treasures. 
 
 The great master-painter of the famous Repub- 
 lic was " Titian" (Fig. 78), whose portrait was 
 painted by himself. As we look into the face 
 of that man, we are ready to exclaim "II divino 
 Titiano!" and to agree with Charles V. as he 
 said over and over, "There are many princes, 
 but there is only one Titian," and again, "I 
 have many nobles, but one Titian." Even these 
 flattering remarks from a monarch who was usu- 
 ally "as false as water," did not adequately ex- 
 press the great admiration he had for the artist. 
 One day while the king was watching him a paint 
 brush rolled to the floor and lay there, purposely 
 unnoticed by the attending courtiers. The indig- 
 nant sovereign, glad to rebuke his followers, 
 stooped and picked up the brush, remarking, 
 "It becomes Caesar to serve Titian." 
 
 The artist painted this portrait of himself when 
 he was sixty-five years old. Look at the broad, 
 swift strokes on the changeable crimson doublet, 
 shimmery damask sleeves, and fur collar. They 
 show the strength of a master hand and need no 
 "finish" to prove its skill. Notice the strength 
 of character in every line of the wonderfully 
 modelled face every inch an aristocrat, every 
 
WHAT PICTURES TO SEE 
 
 thought a power, every action an achievement. 
 What an inheritance he has left to us! 
 
 As we turn now to the " Portrait of his Daugh- 
 ter Lavinia," we realise the tenderness of the 
 great master. This daughter was the " absolute 
 mistress of his soul." His wife, Cecilia, died as 
 the little daughter first saw the light, and later 
 his eldest son, destined for a priest, disgraced 
 him; little wonder then that the motherless treas- 
 ure became "the person dearest to him in all the 
 world." He painted her picture many times, and 
 twice in this same pose, but in this picture pre- 
 eminently her simple, unconscious manner re- 
 veals the sweet, natural companionship that 
 existed between father and daughter. She has 
 apparently just turned her head to ask if the bas- 
 ket of fruit is held at the right angle. She is 
 dressed in a gown of yellowish silk which con- 
 trasts perfectly with her warm, glowing flesh and 
 dark, auburn hair. The golden diadem circling 
 her head sparkles in unison with the softer glow 
 on the string of pearls around her neck. The 
 questioning look in her deep brown eyes is so 
 modest and girlish that it adds another charm 
 to the masterpiece. It is indeed a rare privilege 
 to look upon the faces of Titian and Lavinia and 
 trace the resemblance of the daughter to the great 
 master. 
 
 In the scenes from "The Life of Christ," by 
 [106] 
 
FIG. 78. Portrait of Titian. Titian. Berlin Gallery, Berlin. 
 
FIG. 79. 
 
 The Magi and the Star. Van der Weyden. 
 Berlin Gallery, Berlin. 
 
BERLIN 
 
 Van der Weyden, we recognise many of the old 
 legends of the church that have been particularly 
 well preserved among the northern people of 
 Europe. Notice in "The Magi Worshipping the 
 Star" (Fig. 79), how the star is represented as 
 a little child the infant Jesus. With simple 
 naivete the wise men yield willing worship to the 
 heavenly vision. Van der Weyden has also pre- 
 served the legend of the three races in portraying 
 the eastern kings. He shows especial genius 
 in the arrangement of this composition, and his 
 love of nature has given us a rare bit of landscape, 
 quite unusual for his time. His handling of 
 drapery-folds also, and the portrayal of elegant 
 stuffs mark him as an artist whose travels in Italy 
 had broadened his art without destroying his 
 originality. His religious pictures are full of 
 sincerity and honest feeling even though the figures 
 are awkward and the drawing rather faulty. 
 
 Van der Weyden had a curious way of placing 
 many of his groups as though seen through an 
 archwayl As we look at "The Naming of the 
 Little St. John," the effectiveness of the round 
 arch with its grey stone decorative designs, erect 
 statues, and slender pillars is strikingly evident. 
 He seemed to make use of the arch for a dividing 
 screen when he wished to represent more than 
 one scene of action. In this picture he has pre- 
 served another tradition in placing a halo around 
 
WHAT PICTURES TO SEE 
 
 the head of the woman holding the little St. John. 
 This symbol indicates that the woman is the 
 Virgin Mary whom many presume remained with 
 Elizabeth until after the birth of John the Baptist. 
 This was a common belief in the early centuries 
 of the church and we love to think that it is cor- 
 rect. We are charmed with the tender solici- 
 tude of the nurse at the back of the room as she 
 leans over the bed where Elizabeth lies. Even 
 in this strictly indoors scene the artist has shown 
 his love for the great out-of-doors by the tiny 
 glimpse of country visible through the half-open 
 door and by the stray plants at the feet of the 
 principal actors directly before us. 
 
 [108] 
 
XVI 
 
 AMSTERDAM RYKS MUSEUM 
 
 OEMBRANDT'S "Night Watch" (Fig. 80) 
 * ^ is the greatest treasure in the Ryks Mu- 
 seum, and one of the six greatest pictures in the 
 world. Rembrandt probably had no sketch of 
 the subject as a whole in making this corporation 
 picture, although two hasty sketches of the cen- 
 tral group exist one in black chalk and the other 
 a pen drawing. The discussion regarding the 
 correct title of the scene seems settled in favour of 
 the "Day Watch" despite the fact that some au- 
 thorities still cling to the former name. In the 
 opinion of many the term "Night Watch" may 
 have come from the dense shadows and dark 
 tones which, even in 1780, made Reynolds doubt- 
 ful whether this was really a Rembrandt. Strange 
 stories also have arisen as to the meaning of the 
 scene. Of the two most commonly told, one 
 account says that the men were assembled in prep- 
 aration for practice of military tactics and that 
 the moment chosen by the artist is the instant 
 when the men with arms prepared are ready to 
 start out. This would give decided precedent 
 
WHAT PICTURES TO SEE 
 
 to the term "Day Watch." The other story is 
 more picturesque and might account 'for the un- 
 certain condition of the tones in the painting. 
 It says that the civic guards were at a banquet, 
 when in the midst of the festivities a little girl 
 gave an alarm; she said that while she and her 
 little companion were playing at nightfall near 
 the edge of the town they overheard some Spanish 
 soldiers planning an attack. This startling in- 
 formation might have been the cause of the ap- 
 parent confusion in the scene and explain the 
 presence in the foreground of the child, a queer 
 mixture of woman and girl. It matters little, 
 however, what the cause of the assembly may be, 
 or the name of the picture, for we are intensely 
 absorbed in the marvellous lighting. Whence 
 comes the light that floods the whole form of the 
 child ? Why is one man in the foreground appar- 
 ently in the full sunlight while his companion 
 by his side, excepting for his face, hand, and 
 collar, is in the shadow? Never has Rembrandt 
 been more arbitrary in placing his light than in 
 this curious composition. 
 
 When the "Night Watch" was placed in the 
 Ryks Museum it was too large for the space 
 assigned, so a piece was cut off each side to accom- 
 modate it to its new home. Was there ever greater 
 vandalism than that? This picture was the be- 
 ginning of the end of Rembrandt's life as a popular 
 [no] 
 
AMSTERDAM 
 
 artist. The civic guards had asked for a guild 
 picture where each man would have equal promi- 
 nence, but the artist was not willing simply to 
 make a portrait group regardless of pictorial effect 
 even to hold the patronage that was his right. 
 Art was considered too sacred a calling by Rem- 
 brandt to be controlled by the patron. The 
 " Night Watch" has been recently cleaned, and 
 now more than ever gives the impression of being 
 a "Day Watch." 
 
 Rembrandt found in "The Cloth Merchants" 
 (Fig. 81), that a portrait quality best suited the 
 corporation picture. In this painting we have the 
 same keen, bright faces so characteristic of the 
 Dutch merchants to-day; in fact, one can scarcely 
 realise that nearly three hundred years have rolled by 
 since Rembrandt painted these men. Dark clothes, 
 wide, white collars, and broad beaver hats have 
 changed very little in Holland in the three centuries. 
 Were hands ever more instinct with life and per- 
 sonal traits, and bodies more responsive to well- 
 balanced minds? These men are simple mer- 
 chants discussing some details of their calling, 
 but there is not a face expressive of greed and a 
 desire to appropriate the lion's share. We wish 
 to shake each man by the hand and ask his views 
 of the vital questions of the day. Not a man 
 among them has his " price." Notice again how 
 the faces are all in the light and the clothes and 
 [in] 
 
WHAT PICTURES TO SEE 
 
 hats subordinated at the artist's discretion. Such 
 unique effects, produced by the arbitrary placing 
 of light and shadow, were never achieved before 
 or since, but of course there has never been but 
 one Rembrandt. 
 
 Opposite Rembrandt's "Night Watch" hangs 
 Van der Heist's "Civic Guards" (Fig. 82). Sir 
 Joshua Reynolds said of this work: "This is, 
 perhaps, the first picture of portraits in the world, 
 comprehending more qualities which make a 
 perfect portrait than any other I have seen." 
 Heist was perfectly willing to sacrifice the pic- 
 ture quality in order to please each individual 
 in the portrait quality. Someone has aptly said 
 in criticising the painting that if Heist had taken 
 separate portraits and pasted them on canvas, 
 there would scarcely have been less unity in light 
 and atmosphere. Portraits were in demand at 
 that time, and Heist was ready to help furnish 
 the supply and please his patrons. Each man 
 of the twenty-five in the "Civic Guard" is given 
 equal prominence with his neighbour wonder- 
 ful men they are, too. Note the supreme dig- 
 nity and repose of each, and how expressive of 
 individual character are the faces and hands of 
 the assembled company! But where can the 
 mind rest in contemplating such a collection of 
 portraits ? Let us turn for a moment and look 
 again at the "Night Watch" opposite. How 
 [112] 
 
FIG. 83; The Jester. Franz Hals. 
 Ryks Museum, Amsterdam. 
 
 FIG. 84. Christmas. Jan Steen. Ryks Museum, Amsterdam. 
 
AMSTERDAM 
 
 quickly the eye seeks the centre of attraction! 
 The mind feels a sense of relief to have the interest 
 centralised. Rembrandt produced a picture, Heist 
 simply a portrait group. 
 
 The director of the Ryks Museum says that 
 competent judges pronounce Hals' "Jester" 
 (Fig. 83) not genuine probably painted by one 
 of Hals' family. Mr. Timothy Cole, who has 
 made an excellent engraving of it, points out 
 the clumsiness of the hands as the most evident 
 sign of an inferior brush, but acknowledges that 
 the "Jester," though an uncertain work, certainly 
 displays remarkable cleverness of handling. 
 There is possibly a subtle consciousness of touch 
 foreign to Hals, for his method is simplicity it- 
 self and always perfectly natural and unconscious. 
 
 In the picture of "Christmas" (Fig. 84), by 
 Jan Steen, this artist proves that though usually 
 a painter of scenes from the tavern and ale-house, 
 he was equally at home in the family among the 
 children. He has here brought us in close touch 
 with the Christmas-morning scenes in the homes 
 where there are children. Who has not watched 
 with delight the toddling darling of the house- 
 hold as she appropriates all the presents to herself, 
 even to the extent of making a cry-baby of her 
 booby brother? Steen has often been called the 
 Dutch Hogarth. He assuredly satirised the 
 foibles of humanity unmercifully, but his pic- 
 ["3] 
 
WHAT PICTURES TO SEE 
 
 tures of vice are perhaps a little too attractive, 
 although his sarcastic slings may have cut deeply. 
 One of the best of Gerard Dou's pictures is in 
 the Ryks Museum. Mr. Cole says of it: "I 
 well remember, on seeing for the first time the 
 ' Night School/ how I put up my hand to shut 
 out the light of the candles in the foreground, 
 that I might better discern the objects in the back- 
 ground, forgetting for the moment that they 
 were not real, but painted lights. " The effect 
 of the light from the five candles in the picture 
 is truly remarkable. The custom of the Dutch 
 artists in painting these candle-light scenes was 
 to shut out the daylight and illuminate a room 
 with tallow dips, then to look through an aperture 
 cut in the door and study the effect of the arti- 
 ficial illumination. 
 
XVII 
 
 THE HAGUE PICTURE GALLERY 
 ANTWERP CATHEDRAL 
 
 TN The Hague Picture Gallery we find Rem- 
 ^ brandt's famous "School of Anatomy" 
 (Fig. 85). This painting, ordered by Doctor 
 Tulp for the Guild of Surgeons, was the artist's 
 first guild picture and was intended for the Dis- 
 secting-Room in Amsterdam. It is said that 
 soon after Rembrandt received the order he 
 bribed Doctor Tulp's attendant to secrete him 
 in the lecture-room behind a curtain where he 
 could see and hear without being seen. It was 
 against the rules of the guild to admit an out- 
 sider during lecture hours when the doctor was 
 demonstrating to his associates and the students. 
 Rembrandt's subterfuge was discovered, but Doc- 
 tor Tulp forgave the artist when he saw the paint- 
 ing he had produced because of his unfair measure. 
 The picture represents the moment when Doctor 
 Tulp is explaining to his audience not seen in 
 the painting the working of the muscles and 
 tendons of the arm. Although Rembrandt has 
 placed his strongest light on the livid white body 
 
 [us] 
 
WHAT PICTURES TO SEE 
 
 of the " subject," he has given such pronounced 
 individuality to the men listening to the great 
 physician that their faces claim the closest at- 
 tention. No thought of the gruesomeness of the 
 object under discussion detracts from our interest 
 in Doctor Tulp or the effect of his discourse 
 on his hearers. There is an extraordinary ex- 
 pression of keen understanding on the face of 
 the great man, and his hands respond deftly in 
 the use of the forceps and in supplementing his 
 verbal explanation. The shortness of the right 
 arm of the corpse is explained by artists as a 
 deformity, for Rembrandt never would have 
 made so great a blunder in anatomy. 
 
 In the next room is Paul Potter's "Bull" (Fig. 
 86). As we stand before this picture and listen 
 to the remarks of the people always gathered 
 around it, we hear such exclamations as: "How 
 natural!" "Doesn't he stand out?" and "Isn't 
 he a fine animal?" "Yes," we answer to the 
 last remark, "he is a fine animal, but he cer- 
 tainly does not deserve all the eulogies bestowed 
 upon him by the general sightseer." "The Bull" 
 is particulary well done for a young artist only 
 twenty-one years old; he has all the qualities of 
 "standing out," and of being "natural." In fact, 
 Mr. John C. Van Dyke is right in saying that 
 "the bull seems in some danger of falling out of 
 the frame": he has no part or coherence with 
 [lift-] 
 
FIG. 86. The Bull. Paul Potter. Picture Gallery, The Hague. 
 
 FIG. 87. The Despatch. Ter Borch. 
 Gallery, The Hague. 
 
 Picture 
 
THE HAGUE 
 
 the rest of the scene, but is simply a picture by 
 himself. Now let us look at him in reference 
 to his relationship with the other objects in the 
 painting. The bull has life and spirit peculiar 
 to his kind, but the cow and the sheep might just 
 as well be of clay so far as any resemblance to 
 living animals is concerned. Even the man 
 could not possibly lift himself away from the sup- 
 porting tree and fence. Potter seems to have 
 used all his skill on the young bull, excepting that 
 he has made the sky and clouds an admirable 
 background for the pose of his favourite. One is 
 curious to know why this picture was ever in- 
 cluded among the ten greatest pictures of the 
 world, as has often been the case. 
 
 Naturally the visitor expects to find many paint- 
 ings by the " Little Dutchmen" of Holland in 
 The Hague, and he is not disappointed, for the 
 number and variety of their genre subjects even 
 exceed expectations. Probably the greatest artist 
 of this group was Gerard Ter Borch, a man who 
 stands very close to Rembrandt and Franz Hals 
 in his artistic career. His paintings are pictures 
 pure and simple. "The Despatch" (Fig. 87) was 
 painted in 1655 when he had reached the maturity 
 of his powers. Peace had been declared in the 
 Netherlands, and Ter Borch's officer therefore 
 represents a soldier retired from active service 
 in the field. These retired officers were favourite 
 ["7] 
 
WHAT PICTURES TO SEE 
 
 subjects in many of his paintings. We are 
 charmed with the simplicity of action in the com- 
 position. The scene represents a standing trum- 
 peter who has come to bring his superior a despatch, 
 an officer, and a girl seated on the floor by his 
 side. The striking blue and yellow costume of 
 the trumpeter stands in bold contrast to the white 
 satin of the girl's dress. Ter Borch loved to clothe 
 his women in white satin and he knew just how 
 to let the light play over its smooth surface; 
 his rare handling also of light and shade produced 
 a delicate harmony in tones that heightened the 
 artistic charm of his works. 
 
 In "Soap Bubbles" (Fig. 88), Van Mieris has 
 given us one of his happy scenes of everyday life. 
 This commonest of all sports of children in every 
 country has become under his hand one of the 
 rarest of pleasures. Why have we never seen 
 the full beauty of such a pastime before? Was 
 any child ever so fascinating when blowing bub- 
 bles as this little fellow before us ? Did any grape- 
 vine ever form such an arbour of luxuriant leaves ? 
 Surely Van Mieris has given us a peep into a 
 new world of beauty. That picture is a messenger 
 of happy days. The artist had a pleasing habit 
 of choosing subjects from his immediate surround- 
 ings and of putting into his pictures a good- 
 humoured view of life. His scenes always give 
 us a feeling of contentment and good cheer. The 
 [118] 
 
FIG. 88. Soap Bubbles. Van Mieris. Picture Gallery, The Hague. 
 
FIG. 89. The Descent from the Cross. Rubens. Antwerp Cathedral, Antwerp. 
 
ANTWERP 
 
 "Little Dutchmen" most assuredly knew how to 
 paint for the home. 
 
 We must stop at Antwerp if only to see Rubens' 
 "Descent from the Cross," in the Cathedral 
 (Fig. 89). It is not only one of the six greatest 
 pictures of the world, but the most famous paint- 
 ing of the subject. The startling effect of the 
 pallid dead body against the white sheet shows 
 Rubens' power to accomplish satisfactory results 
 where a lesser artist would have failed. Such 
 splendid handling of white against white has 
 rarely been equalled and never surpassed. As 
 the eye follows the motive of white light from the 
 man holding the sheet in his mouth diagonally 
 across the canvas, it notes how tenderly the illumi- 
 nation falls on the golden head of the Magdalene 
 and spends itself on the face of the weeping Mother 
 and the other woman. The tones of white vary 
 as sensitively as the notes on bells of various 
 sizes and shapes; there is no similarity between 
 the white flesh of the dead Christ and the stricken 
 face of the Virgin Mother, although both are 
 apparently bloodless. The drawing of the dead 
 body, so limp and helpless in its lifeless condition, 
 and the firm muscles of the two men lowering 
 the precious burden is masterful and true; and 
 the colours are subdued and sombre, excepting 
 the warm flesh tints of the Magdalene's face and 
 arms and her glorious golden hair. 
 
WHAT PICTURES TO SEE 
 
 We have now seen six of the greatest pictures 
 of the world: 
 
 " The Last Supper," Leonardo da Vinci (Fig. 53). 
 "The Sistine Madonna," Raphael (Fig. 60). 
 "The Last Judgment," Michael Angelo (Fig. 5). 
 "The Assumption," Titian (Fig. 41). 
 "The Night Watch," Rembrandt (Fig. 80). 
 "The Descent from the Cross," Rubens (Fig. 89). 
 
 [120] 
 
XVIII 
 
 PARIS LOUVRE 
 
 A S we enter the Louvre picture gallery from 
 **' the staircase where the "Winged Victory 
 of Samothrace" rests on the prow of a ship, we 
 come to Ingres' " Source" (Fig. 90), a picture 
 representing the artist's belief that "in nature all 
 is form," as he often said. The beauty and dig- 
 nity of the perfectly modelled body accord well with 
 the severe lines in the rock; and the delicately 
 curved limbs of the chaste maiden find a counter- 
 part in the stream pouring from the jar on her 
 shoulder. The purity and simplicity of the theme 
 lift one to noble thoughts and high ideals. We 
 seem to reach the real source of goodness where 
 all is pure and holy. The limpid pool is Nature's 
 mirror for the lowly flower that blooms by the 
 water's edge and the sinless child who stands by 
 its brink. Ingres has closely united the sister 
 arts sculpture and painting in this single figure. 
 He came at a time in French art when the classic 
 was beginning to give place to a little more realism. 
 His enthusiasm for correct drawing is still felt 
 in the French school, although nearly a half- 
 century has passed since his death. 
 
 [121] 
 
WHAT PICTURES TO SEE 
 
 One of the greatest treasures of the Louvre is 
 Leonardo da Vinci's "Mona Lisa" (Fig. 91). 
 Although Leonardo, after four years of work, 
 considered it unfinished, it is a masterpiece. 
 Her smile alone is the wonder of critics and the 
 despair of artists. To paint a face in the act 
 of crying or laughing without making it grotesque 
 is a marvellous achievement. Leonardo has put 
 on canvas a smile that is everlasting. The fas- 
 cination of that soulful woman is inexplicable. 
 She sits there reposeful as a sphinx, thoughtful 
 as a philosopher, imperious as a queen, and 
 gentle as a woman. Like the little stream that 
 winds away in the distance, she seems to have 
 no beginning or end. About all we know of 
 the history of this unique woman is that she was 
 the wife of Francesco del Giocondo. When 
 Leonardo painted her portrait he had musicians 
 sing and play to enliven her thoughts. 
 
 There are several of Titian's masterpieces in 
 the Carre gallery of the Louvre. His "Entomb- 
 ment" is considered the best picture ever painted 
 of that strange scene. It is not an attractive 
 subject, but Titian, as usual, has made of it 
 a grand and majestic composition. The dead 
 Christ is being borne to the grave by Nicodemus 
 and Joseph of Arimathea, while St. John, the 
 beloved disciple, tenderly holds the lifeless arm 
 of his dead Master. Joseph is swinging the 
 [122] 
 
FIG. 90. Le Source. Ingres. Louvre, Paris. 
 
FIG. 91. Mona Lisa. Leonardo da Vinci. Louvre, Paris. 
 
PARIS 
 
 lower part of the body around toward the tomb 
 near the trees on the right, thus throwing it into 
 the full light. The lurid gleam breaking through 
 the clouds falls on the faces of Joseph, John, 
 and the two women the Virgin and Mary Mag- 
 dalene. The yellow dress of the latter and her 
 rich auburn hair are stirred by the early breeze, 
 which seems to come from the gloom in the depths 
 of the trees. 
 
 Titian's "Man with a Glove" is the por- 
 trait of some person now unknown. But what 
 a portrait it is! As we gaze on it, we can readily 
 voice John Ruskin's statement, "When Titian 
 looks at a human being he sees at a glance the 
 whole nature, outside and in; all that it has of 
 form, of colour, of passion, or of thought; saint- 
 liness and loveliness; fleshly body and spiritual 
 power; grace or strength, or softness, or what- 
 soever other quality, he will see to the full, and 
 so paint, that, when narrow people come to look 
 at what he has done, every one may, if he choose, 
 find his own special pleasure in the work." 
 
 Of Raphael's pictures in this Carre gallery 
 possibly we love best his "Madonna of the Gar- 
 den." Into this lovely idyl, painted just after 
 he became of age, the artist has introduced the 
 little St. John, thus giving a wider range to his 
 portrayal of the child's activities. In his earlier 
 compositions the baby Jesus was simply held 
 
WHAT PICTURES TO SEE 
 
 by the Mother, but now in the group idea he has 
 presented a picture of child-life that pleases be- 
 cause of its simple truthfulness. The pyramidal 
 character of the composition is entirely natural, 
 for the standing and kneeling children form a 
 broad base and the Madonna sitting between 
 them is just the right height to complete the 
 triangular figure. It is not the symmetry of 
 the painting that most attracts us. however, but 
 the exquisite beauty of the group and the lovely 
 landscape setting. The two children are among 
 the best of Raphael's delightful delineations of 
 child-life. In form and pose the little Jesus 
 equals the statues of the old Greek masters, while 
 the unconscious adoration of the little St. John 
 has the spiritual element of Fra Angelico. 
 
 Ten years later Raphael painted the "Holy 
 Family of Francis I.," hanging near the "Madonna 
 of the Garden." This picture is considered one 
 of the richest in colour, the most dramatic in the 
 portrayal of motion and the fulness and delicacy 
 of drapery, and the most careful in execution of 
 all of the master's works. Certainly the "Holy 
 Family" has never been more true to the ideals 
 of home, where the family and nearest kindred 
 meet together, than in this homely group of 
 Joseph, Mary, and the little Jesus, with Elizabeth 
 and St. John. 
 
 In Raphael's "St. Michael and the Dragon" 
 
FIG. 92. St. Michael and the Dragon. Raphael. Louvre, Paris. 
 
FIG. 94. St. Augustine and his Mother. 
 Scheffer. Louvre, Paris. 
 
 FIG. 93. Marriage of St. Catharine. 
 Louvre, Paris. 
 
 Correggio. 
 
PARTS 
 
 (Fig. 92), we find a hackneyed subject treated 
 artistically and dramatically. Notice how lightly 
 and swiftly the archangel descends upon the grov- 
 elling dragon and takes him unawares in his rocky 
 retreat. Not by physical force does St. Michael 
 hold the archfiend captive, but as the mightiest 
 of created spirits, with unlimited power over 
 the wiles of the devil. Raphael's conception of the 
 archangel "like unto God," is a pure, undefiled 
 youth with a well-balanced three-fold nature 
 consecrated to the destruction of evil. The 
 trained body finds no obstacle in the rock-bound 
 coast; the alert mind discovers the obscure 
 hiding-place of the Evil One, and the undaunted 
 spirit fears no defeat in the single-handed con- 
 flict. Raphael painted this picture for King 
 Francis I., of France, in 1518. 
 
 We now come to Correggio's " Marriage of 
 St. Catherine" (Fig. 93), one of his most beau- 
 tiful religious pictures. Legend says that Cath- 
 erine, the maiden queen of Egypt, was not pleased 
 with any of her numerous lovers. In her dream 
 one night the Virgin appeared with the divine 
 Child in her arms. Catherine felt at once that 
 this Child was to be her future bridegroom, 
 but to her sorrow he turned away from her. She 
 then sought a Christian hermit and became con- 
 verted. Again she dreamed that the Virgin came 
 to her, and this time the Holy Child brought a 
 
WHAT PICTURES TO SEE 
 
 marriage ring and placed it on her finger. She 
 awoke with joy to find the ring really as she had 
 dreamed. The picture is full of gladness and the 
 happy spirit of abandon, yet with little spiritual 
 significance to mark it as a sacred subject. Even 
 St. Christopher, who is witnessing the betrothal, 
 resembles Apollo more than a saint. 
 
 Before leaving the Carre gallery we must look 
 at those marvellous compositions by Veronese, 
 "The Marriage at Cana," and " Christ in the 
 House of Simon the Pharisee." "The Marriage 
 at Cana," finished in 1563, was probably painted 
 to celebrate the marriage of Eleanor of Austria 
 to William Gonzaga, which occurred in 1561. 
 The guests at the tables are evidently portraits 
 of prominent personages of the artist's time, 
 but to identify them individually is a matter of 
 conjecture. The musicians in the foreground 
 are portraits of the Venetian painters then living. 
 Veronese himself is the man in white who plays 
 the viol; behind him is Tintoretto with a similar 
 instrument, and on the other side Titian with a 
 base- viol, and the elder Bassano with a flute. 
 
 We will now go to a picture interesting to us 
 because of its subject, "St. Augustine and his 
 Mother, Monica," by Scheffer (Fig. 94). There 
 is nothing attractive in the cold colour, the hard 
 drawing, the strained and awkward positions of 
 the mother and son, yet the sincerity and deep 
 
FIG. 95. Immaculate Conception. Murillo. Louvre, Paris. 
 
FIG. 96. Coronation of the Virgin. Fra Angelico. Louvre, Paris. 
 
PARIS 
 
 religious feeling in the upturned faces touch a 
 responsive chord in our hearts. The devoted 
 Christian mother at last has had her prayers 
 answered, for the dissipated son has been brought 
 into the kingdom. St. Augustine became one 
 of the greatest fathers in the Church during the 
 fifth century, and to-day is revered as the patron 
 saint of theologians and learned men. 
 
 Murillo's " Immaculate Conception" (Fig. 95) 
 is probably the most popular picture in the Louvre 
 to the lay public. Moreover, this beautiful Vir- 
 gin, gazing into heaven with the half -moon under 
 her feet, is certainly a lovely child. Nothing 
 could be more graceful than the deep blue mantle 
 concealing and revealing the soft white robe 
 beneath it. The setting of blue sky and fleecy 
 clouds, and the delicate soft pink of the baby 
 throng make a charming picture indeed. But 
 is there any depth in the excessive sweetness of 
 the doll-baby face? Can you conceive of that 
 simple child saying, " Behold, the hand-maid of 
 the Lord; be it unto me according to thy word"? 
 Is this the Virgin unto whom shall be born one 
 whose "Name shall be called Wonderful, Coun- 
 sellor, the mighty God, the everlasting Father, 
 the Prince of Peace"? Murillo's religious pic- 
 tures savour too much of sentimentalism to give 
 true spiritual food, especially those of the imma- 
 culate conception. 
 
 [127] 
 
WHAT PICTURES TO SEE 
 
 How quickly we feel the spirit of genuine 
 religious fervour in Era Angelico's " Coronation 
 of the Virgin" (Fig. 96). Here is none of the 
 beauty of form, grace of pose, and artistic arrange- 
 ment of drapery, but spiritual sincerity breathes 
 from every line. Notice how delicately the artist 
 has portrayed the smallest detail in the Gothic 
 throne, and how tenderly and lovingly each jewel 
 is placed in the crown of the divine Mother and 
 risen Son. Era Angelico used his art to advance 
 the religion of Christ, and every stroke of his 
 brush was made after a prayer for Divine guidance. 
 No one could question the spirit of true devotion 
 in such a work of art; the childlike character 
 of the theme and simplicity in executing the 
 thought warm our hearts and bring us nearer 
 to holy aspirations. 
 
 This picture was taken from the church of 
 San Domenico, Fiesole, Italy, during the inva- 
 sion of the French in 1812, and carried to Paris. 
 
XIX 
 
 PARIS LOUVRE (Continued) 
 
 IN studying Corot's "Dance of the Nymphs" 
 (Fig. 97), we feel a peculiar joyousness in 
 the artist's love for the big out-of-doors. Corot 
 was a veritable child of nature, hence always called 
 the happy one of the Barbizon group of artists. 
 The nymphs are not the only dancers in this 
 sylvan scene, for the leaves are dancing on the 
 branches, the flowers are dancing in the grass, and 
 the little clouds are dancing as they scud across 
 the blue sky. Who has ever painted such trees 
 before or since trees filled with the glory of the 
 noonday sun, dripping with the evening dew, and 
 sparkling in the morning light? Corot himself 
 says in explaining how to appreciate his pictures: 
 "To really get into my landscapes you must wait 
 wait till the mists have cleared a little. Be 
 patient! You can't see the whole at first; but 
 gradually, by-and-by, you will get in; and then 
 I am sure you will be pleased." And who was 
 ever disappointed with a Corot landscape ? 
 
 How quickly we feel the living, breathing 
 element in Troyon's "Cattle Going to Work" 
 [129] 
 
WHAT PICTURES TO SEE 
 
 (Fig. 98). They tramp over the broken ground 
 with all the lumbering patience characteristic of 
 oxen in real life. The long shadows and con- 
 densed breath of the early morning harmonize 
 well with the misty atmosphere that broods over 
 the whole scene. This French peasant is no 
 laggard in meeting the sun as it peeps above the 
 horizon. Troyon's largeness of conception and 
 freedom of touch are qualities that make his 
 pictures well understood by the general public. 
 He appeals to that great majority who feel the 
 truth though they may not know how to express 
 their thoughts in words. We might really class 
 Troyon with the landscape-painters pure and sim- 
 ple, save that his love for animals has made him 
 portray them with such personal traits that to 
 remove even one would mar the beauty and unity 
 of the whole landscape. 
 
 One of the most classic pictures of the 
 eighteenth-century French paintings is David's 
 "Madame Recamier" (Fig. 99). The purity 
 of thought and simplicity of pose in the compo- 
 sition are charming. How entirely satisfactory 
 is the severely plain white gown against the pale 
 yellow couch and neutral background! The tiny 
 Roman lamp on the tall standard sending forth 
 its faint cloud of incense is a fitting accessory to 
 the bewitching charms of this famous woman. 
 No one who is at all familiar with Napoleonic 
 
FIG. 98. Cattle Going to Work. Troyon. Louvre, Paris. 
 
 FIG. 99. Madame Recamier. David, Louvre, Paris. 
 
PARIS 
 
 days in France can ever forget those two mar- 
 vellous women Madame de Stael and Madame 
 Recamier, and the part they played in those stir- 
 ring times. Madame Recamier was always true 
 to her country, although she refused to become 
 a lady attendant to Josephine and was finally 
 banished from Paris by Napoleon because of 
 her lack of sympathy with all his schemes and 
 the intolerant character of some of her brilliant 
 receptions. It is said, however, that when Wel- 
 lington, the victor at Waterloo, came to pay 
 his respects to her, she forbade him her house. 
 David's portrayal of this beautiful and powerful 
 diplomat shows that it was nevertheless a womanly 
 woman who exerted the influence that Napoleon 
 feared. 
 
 Another striking "Portrait of Madame Reca- 
 mier," in the Louvre, is by Gerard, a pupil of David. 
 The portrait is a fine example of the artist's grace 
 and good taste in the delineation of the charms 
 of a beautiful woman. There is a little less of 
 the classic severity of the master and a trifle 
 more warmth in the personal traits of the 
 woman. 
 
 Still another influential woman during Napo- 
 leon's reign was Madame Lebrun, the artist. As 
 we look at the "Portrait of the Artist and her 
 Daughter" (Fig. 100), many scenes in her check- 
 ered career come before us. This gifted woman 
 
WHAT PICTURES TO SEE 
 
 was endowed with every personal charm, but 
 domestic misfortune was her portion through life. 
 Her husband, though clever and a great lover 
 of art, was a spendthrift and gambler. Almost 
 from the beginning of their wedded life he de- 
 manded her earnings, even compelling her to 
 unceasing labour that he might live in elegance, 
 while she oftentimes was nearly destitute. But 
 her cramped quarters of two or three rooms were 
 the delight of the cultured, and her little daughter 
 for a time was her daily comfort. Still more 
 sadness was in store for the brave woman, for 
 the daughter became estranged from her mother 
 through marriage to a scheming husband. Ma- 
 dame Lebrun, banished from France by Napo- 
 leon, visited many countries, and her personal 
 charms and amazing talents always brought her 
 patronage from the royal families. She prob- 
 ably painted the portraits of more crowned heads 
 of Europe than any other artist who ever lived. 
 In no picture, however, has she shown greater 
 skill than in this portrait of herself and little 
 daughter. The tenderness of motherhood and 
 the innocence of childhood are expressed with 
 the truth and sincerity that at once awaken our 
 interest and hold our attention. Also the model- 
 ling of the flesh is superb and the colour blending 
 exquisite. 
 A particularly startling picture is Ghirlandajo's 
 
FIG. 100. Artist and Daughter. Madame Lebrun. Louvre, Paris. 
 
FIG. 101. Old Man and Boy. Ghirlandajo. Louvre, Paris. 
 
PARIS 
 
 "Old Man and Boy" (Fig. 101). You will ex- 
 claim at once, "What an awful nose!" but why 
 not say, "What a beautiful child!" Who but a 
 master in portraiture could have selected a sub- 
 ject with so startling a personal defect and given 
 to the world a portrait that has not the least hint 
 of caricature? Look for a moment at the way 
 the artist has centred the interest in the lovely 
 child; he is perfectly unconscious that his hero 
 has any defect at all. Only the purest love and 
 trust shine on that innocent boyish face, while a 
 tender expression of pleased interest hovers 
 around the old man's mouth. Surely Ghirlandajo 
 has produced a masterpiece in the portraits of 
 this curiously ill-assorted pair. The brilliant red 
 of the boy's cap is in striking contrast to his golden 
 curls and shell- tinted skin, but most satisfactory 
 as a foil to the old man's affliction. The bit of 
 landscape seen through the window is rather 
 stiff and formal, yet the open space adds breadth 
 and depth to the picture. The visitor lingers 
 before this painting fascinated by the kind benevo- 
 lence of the old face and the loving trustfulness 
 of his wee companion. 
 
 One of the rooms of peculiar interest in the 
 Louvre is Rubens' gallery of eighteen immense 
 canvases portraying allegorically the life of Maria 
 de' Medici. This masterful queen, the widow 
 of Henry IV. of France, was regent for her son 
 
WHAT PICTURES TO SEE 
 
 Louis XIII. from 1610 to 1617. At her request, 
 Rubens went to Paris and designed the series of 
 paintings which were intended for the embel- 
 lishment of the queen's Luxembourg palace. 
 The story told in the pictures begins with the 
 Three Fates spinning the fortunes of Maria de' 
 Medici ; the scenes then pass on depicting Henry 
 IV. falling in love with Maria's portrait; the 
 nuptials; the wedding-festivities where the king 
 appears as Jupiter and the queen as Juno; the 
 birth of Louis XIII.; the king entrusting the 
 regency to the queen ; the apotheosis of Henry IV. ; 
 the queen crowned by Victory; the quarrel with 
 her son Louis XIII. ; the reconciliation; and 
 Maria de 7 Medici and Louis XIII. in Olympia. 
 The paintings show Rubens' surprising versa- 
 tility in design and his usual exuberance of ani- 
 mal spirits in both gods and mortals. After 
 making the sketches for the pictures Rubens 
 took them to Antwerp, where with the aid of his 
 pupils he finished the paintings, always adding 
 the final touches himself. 
 
 Mantegna's "Mt. Parnassus" (Fig. 102) is 
 wonderfully rich in legendary lore, although this 
 quality is ever held subordinate to the monu- 
 mental qualities of the picture. Montegna stood 
 second to none in the fifteenth century. He 
 studied under Donatello, the master sculptor, 
 thus perfecting his great love for form and acquir- 
 
FIG. 103. Charles I. and his Horse. Van Dyck. Louvre, Paris. 
 
PARIS 
 
 ing a scientific knowledge of drawing and per- 
 spective. These acquirements, together with his 
 vivid imagination, enabled him to put on canvas 
 pictures that are truly monumental in composi- 
 tion and arrangement. Note how effectively 
 he has distributed the various groups on Mt. 
 Parnassus, giving to each person some distin- 
 guishing characteristic. On the top of the mount 
 stands Venus with her devoted admirer Mars; 
 near them is her son, Cupid, shooting arrows 
 at poor Vulcan, the love-sick husband of the 
 indifferent Venus. Vulcan stands on the ledge 
 below at the left, while beneath him sits Apollo 
 playing for the Muses as they dance in the fore- 
 ground. At the right is Mercury by the side of 
 the grateful Pegasus. One must recall the story 
 of Pegasus to really appreciate how much the 
 artist has condensed into those two figures. After 
 Perseus cut off the head of Medusa, so legend 
 says, Pegasus sprang into existence from the 
 gushing blood. When Minerva saw the beauti- 
 ful, winged steed she tamed him and presented 
 him to the Muses, thus placing him ever at the ser- 
 vice of poets; but a needy poet sold the glorious 
 animal and he was put to the plough by his stupid 
 owner. Poor Pegasus was not fit for such lowly 
 service and soon began to droop until his clownish 
 master was at his wits' end. One day Mercury 
 passed that way and, recognising the gifted animal. 
 
WHAT PICTURES TO SEE 
 
 asked that he might try the jaded horse. On 
 mounting his back new life thrilled through the 
 noble steed and with raised wings he soared 
 aloft, bearing the god lightly to the land of far 
 away. 
 
 " Charles I. and his Horse," by Van Dyck 
 (Fig. 103), is nearly as familiar a picture to the 
 general sightseer as the same artist's "Baby 
 Stuart." As a picture portrait this painting has 
 few equals; the composition is varied, the drawing 
 excellent, the colour pleasing. Possibly the face of 
 the king is a little florid, yet the air of perfect 
 harmony of king, attendants, horse, and land- 
 scape is satisfying. Van Dyck was indeed 
 a prince among painters in portraiture, although 
 it is doubtful if he could ever have stood he died 
 at forty- two with Titian, Velasquez, and Rem- 
 brandt. He painted with a rapidity almost be- 
 yond belief. An anecdote is told of his visit to 
 Franz Hals who was about twenty years his 
 senior. Van Dyck asked the Dutch artist to 
 paint his portrait; Hals accepted the commission 
 without learning the name of his sitter. Van 
 Dyck watched with interest the rapid brush strokes 
 of the great artist. When the portrait was fin- 
 ished at. one sitting, Van Dyck, with an innocent 
 air, asked Hals to let him paint his portrait. Hals 
 assented and took his seat for the work to begin 
 at once. Van Dyck was careful to place his easel 
 
PARIS 
 
 so that Hals could not see the progress of the 
 work. In an hour Van Dyck announced, "Your 
 portrait is finished." When the astonished Hals 
 saw the painting, he exclaimed: "Either you are 
 the devil or Van Dyck!" 
 
 [i37] 
 
XX 
 
 PARIS LOUVRE (Continued) 
 
 \X7HEN Rembrandt's burdens were the heav- 
 iest he painted "The Supper at Emmaus" 
 (Fig. 104). His beloved Saskia was dead, his 
 friends had forsaken him, his patrons had de- 
 serted him, and his enemies had left him in poverty, 
 yet his art had grown the deeper and purer withal 
 as his earthly possessions departed. The study 
 of humanity became almost a passion with him 
 in his isolation ; he sought for the poor and forlorn, 
 the old and infirm, the crippled and the forsaken, 
 and with brush and etching-needle pictured his 
 impressions, thus giving to the world treasures 
 of inestimable value. Never have the words 
 of the Prophet Isaiah "He hath no form nor 
 comeliness" been more truthfully depicted than in 
 Rembrandt's "Christ at Emmaus." On the 
 blessed face of the Christ are impressed the sins 
 and burdens of rebellious humanity and also the 
 divine pity of the Redeemer. The rich low tones 
 of golden brown, shading away from the Saviour 
 as the central light, so envelop the other figures 
 that the glory of the risen Lord seems to give 
 
 1 138 ] 
 
FIG. 104. Supper at Emmaus. Rembrandt. Louvre, Paris. 
 
FIG. 105. L'Infanta Marguerite. Velasquez. Louvre, Paris. 
 
PARIS 
 
 warmth and gladness to their awakening hearts. 
 An expression of wondering recognition is stealing 
 over the faces of the listening disciples, and the 
 boy at the Saviour's left lingers as though to learn 
 the meaning of the scene. Where else in all art 
 has this singular supper been portrayed with such 
 depth of spiritual significance ? 
 
 Velasquez's " Portrait of L'Infante Margue- 
 rite" (Fig. 105) is another picture almost as well 
 known as is Van Dyck's "Baby Stuart." It is 
 said that Velasquez was the painter of men, par 
 excellence, but surely he knew the inner life of 
 the child as well. This earnest little princess 
 is so child-like in her genuine interest in the ob- 
 ject which holds her attention that one almost 
 forgets this is a portrait and wonders what attracts 
 her. The sweet simplicity of the round baby- 
 face and the steady gaze of the wide-open eyes are 
 characteristic of little girlhood. Velasquez must 
 have known much of the daily life of the royal 
 infant and have found favour in her sight, too, or 
 he could not have given such an accurate picture 
 of her charms. Reynolds is the only other artist 
 who has pictured the little miss of six summers with 
 so sympathetic a brush. 
 
 Gerard Dou's "Dropsical Woman" (Fig. 106) 
 is another picture that has acquired a reputation 
 scarcely justified by its artistic value. If to differ- 
 entiate the smallest detail of every article of fur- 
 
WHAT PICTURES TO SEE 
 
 niture is great art, then Dou is great; but if true 
 art presents universal truths through a big com- 
 prehension of world truths, then Dou is great 
 only in " little things." From the title " Dropsi- 
 cal Woman/' one understands that anxious 
 thought, careful attention, and forebodings of 
 sorrow are the sentiments most prominent in the 
 picture. The little group in the centre of the 
 room ought naturally to claim the attention; 
 but notice how the eye wanders to the careful 
 details of the curtain, chandelier, window, or- 
 naments, and doctor's flask all these objects 
 have received, apparently, the same thought as 
 the patient, the doctor, and the grief-stricken girl. 
 We concede that Dou painted the effect of candle- 
 light on objects and the sparkle and glint on 
 brass kettles in a remarkable manner in fact, 
 to be as "bright as Dou's copper kettles " has 
 passed into a proverb. It is said that he was so 
 exact and painstaking in his work that he often 
 used a diminishing-glass to bring objects he was 
 copying to the same scale as his picture. To 
 study his paintings with a magnifying-glass 
 reveals an exquisite delicacy of workmanship 
 fascinating to those who love exact reproductions. 
 But does such work, we ask, reveal the individual 
 traits of the artist or the model? 
 
 It would be hard to imagine a greater differ- 
 ence of treatment than between Van Ostade's 
 [140] 
 
FIG. 106. Dropsical Woman. Dou. Louvre, Paris. 
 
FIG. 107. Fish Market. Ostade. Louvre, Paris. 
 
 FIG. 108. Officer and Young Woman. Ter Borch. Louvre, Paris. 
 
PARIS 
 
 "Fish Market " (Fig. 107), and Gerard Dou's 
 paintings. Adriaan van Ostade placed his easel 
 among the common work-a-day people and por- 
 trayed scenes at times quite disgusting in them- 
 selves, yet by his clever workmanship raised en- 
 tirely away from the ugly or degraded. Indeed, 
 a "Fish Market" or any flesh- vendors' stalls are 
 not artistically attractive, but what could be 
 more charming than this little corner? The man 
 and his fish are simply captivating. The warm, 
 mellow light illumines the man's dull clothes and 
 glistens on his florid face and hands until they 
 respond to the reflection from the glittering 
 scales on the dead fish. The close partnership 
 between the dealer and his wares ennobles his 
 calling. Gladly we would give this picture the 
 place of honour in the dining-room of our homes. 
 We turn to Ter Borch's "Officer Offering 
 Money to a Young Woman" (Fig. 108), and find 
 the same breadth of treatment, although Ter 
 Borch was an aristocrat and usually chose his 
 scenes from among the people of refinement and 
 culture. Van Ostade, on the other hand, pictured 
 the doings of the ale-house and the tavern. Each 
 artist was a genius; from their pictures we can 
 reproduce the actual daily life of the people of 
 Holland during the seventeenth century. Fro- 
 mentin says of the picture before us, "It is one 
 of the finest Dutch works that the Louvre owns." 
 
WHAT PICTURES TO SEE 
 
 Certainly the brush-work is perfect; with thought- 
 ful care he has noted details, but without the least 
 pettiness; clear and well-defined are the figures, 
 but wholly enveloped by the palpitating atmos- 
 phere of the room. Those people live and their 
 humanity is the keynote that touches the heart. 
 Ter Borch seldom places many objects or pieces 
 of furniture with his two or three persons, but 
 he makes those few pieces an intimate part of 
 the scene. His sense of selection and discrimi- 
 nation is so keen that nothing superfluous is 
 dragged in for effect. What a commentary on 
 furniture-crowded, bric-a-brac-smothered rooms 
 his pictures would be if they could only be hung 
 on the walls in such homes! Simplicity and self- 
 restraint seem to be the watchwords in all his 
 pictures. Ter Borch was a finished workman 
 and painted small pictures, still his handling was 
 broad and full. 
 
 One of the very popular pictures of the Dutch 
 school in the Louvre is Go vert Flinck's "Por- 
 trait of a Young Girl" (Fig. 109). Flinck was 
 not only a pupil of Rembrandt, but his personal 
 friend. It was while under the influence of the 
 great master that he painted this beautiful child. 
 She belongs to no special country or nation but 
 is Nature's product and, like a flower, is claimed 
 by all who love the grace and simplicity of child- 
 hood. There is something of Rembrandt's man- 
 
FIG. 109. Young Girl. Flinck. Louvre, Paris. 
 
 FIG. 110. The Blessing. Chardin. Louvre, Paris. 
 
FIG. 111. Helena Fourment and Children. Rubens. 
 Louvre, Paris. 
 
PARIS 
 
 ner about the drapery, yet Flinck has not sacri- 
 ficed his own individuality. The colouring is 
 especially choice in rich, low tones and the flesh 
 tints glow with warmth and life. If Flinck had 
 only remained true to himself and his master he 
 might have developed into an artist worthy of a 
 place near Rembrandt; but public approval was 
 more to him than the teachings of the master 
 who at that period was losing his popularity. 
 Flinck turned to the more recent idols of the fickle 
 multitude Murillo and Rubens and soon be- 
 came so popular as a portrait-painter that he was 
 unable to fill the orders that poured in on him. 
 Such popularity brought reputation but not last- 
 ing fame. 
 
 One of the dearest little genre pictures of the 
 early French school is Chardin's "The Blessing" 
 (Fig. 1 10), in the Louvre. His pictures portraying 
 the lowly in life became the rage in Paris and 
 for awhile were the gems of the exhibitions in 
 the Salon. The great popularity of his scenes 
 of domestic life made it possible for 'the engraver 
 to reproduce them at prices within the reach of the 
 very people whose lives he was depicting. Chardin 
 came at a time when the court and nobility of 
 France were simply playing at living and most of 
 the artists were catering to their foibles; his truth- 
 fulness in portraying scenes from real life was just 
 the element to counteract the insincerity and in- 
 
WHAT PICTURES TO SEE 
 
 sipidity that were beginning to pall on satiated 
 royalty. This homely scene of "The Blessing" 
 must have come like bread to a cake-sick people. 
 The arrangement of the composition is simplicity 
 itself; the element of absolute truth that the tiny 
 suppliant represents, while with folded hands 
 she repeats the blessing, includes every beholder 
 in the petition. The colour, light, shade, and 
 harmony of this little gem are prefect. What 
 a rare blessing such a picture would bring were 
 it hung where our children could feel its influence 
 at every meal of the day ! 
 
 The charm of Rubens' "Helen Fourment and 
 Her Two Children" (Fig. in) lies in the sweet 
 unconsciousness of the little girl and the pert 
 "lord of creation" attitude of the boy. Rubens 
 here represents the prevalent opinion that exists 
 even to the present day in Europe regarding the 
 superior position of the boy over the girl in the 
 household. The mother, Rubens' second wife, 
 doubtless shared the belief, for her pride in her 
 son is as evident as the neglect of her timid little 
 daughter; yet after all it is the shy little girl with 
 her apron full of flowers, perhaps, that appeals 
 to our hearts; she is so perfectly self -forgetful in 
 her innocent attention to the other two. Rubens 
 must have taken great delight in painting this 
 child-wife, now but twenty, and her lovely chil- 
 dren. He has not only watched the growth of 
 
PARIS 
 
 this boy and girl with the eye of a parent, but 
 has probably seen in the workings of their minds 
 many things that reminded him of his own child- 
 hood days. The heads in the picture are the only 
 finished portions and in them his painting of 
 flesh is again superb. No wonder that it has 
 been said of him, "His flesh colours alone baffled 
 every one of his pupils and imitators." 
 
XXI 
 
 PARIS LUXEMBOURG 
 
 WE of America are justly proud that Whist- 
 ler's "My Mother" (Fig. 112) is one of 
 the greatest treasures of the Luxembourg gallery. 
 Yes, that dear old lady is a mother in Israel, for 
 she stands for world-motherhood. Whistler was 
 wont to call the picture an "Arrangement in 
 Grey and Black." We protest, however, that 
 the public cares very little about its being an 
 "Arrangement in Grey and Black," but insist that 
 it does recognise the mother element in the calm, 
 gentle old lady quietly meditating as she sits with 
 folded hands and peaceful face. That "Mother" 
 ought to find a place in every home in America; 
 she is our mother and we need her blessed in- 
 fluence. If Whistler had painted but this one 
 picture his fame would have been secure, the 
 same as Thomas Gray's for his "Elegy." The 
 perfect simplicity of the composition is "the result 
 of the studies of a lifetime," as the artist himself 
 has expressed it. Little wonder, therefore, that 
 he excelled in giving his pictures the "maximum 
 effect with the minimum of effort." 
 [146] 
 
FIG. 113. Carfnencita. Sargent. Luxembourg, Paris. 
 
PARIS 
 
 Naturally we turn next to Sargent's "Carmen- 
 cita-' (Fig. 113), for we are gratified that another 
 of our own artists has received honour in the 
 Luxembourg. Coming into the room where this 
 painting hangs, one feels as though the famous 
 dancer had just stepped out before us on the bril- 
 liantly lighted stage. Her deliciously coloured 
 gown, which has caught the light of a thousand 
 candles, glitters and sparkles until our eyes are 
 dazzled with the lustre of the fabric. Her jet- 
 black hair gleaming in unison with her flashing 
 eyes intensifies the warm glow of the living flesh 
 of her face and arms. Entirely free from man- 
 nerism, this glorious creature represents the acme 
 of the ballet dancer. Carmencita often appeared 
 before Paris art-students, but it is said that her 
 husband always hovered near, for no Spaniard 
 ever permits the least shadow of suspicion to 
 fall on his wife. 
 
 Another American artist, Henry Mosler, is 
 represented in "The Prodigal's Return," in the 
 Luxembourg. Mosler has told the old, old story, 
 varying it in his own original manner, with a 
 pathos and sincerity that touch every heart. 
 The note of despair that cries out from every line 
 of the prostrate boy, who has come too late for 
 forgiveness from the dead parent, would be un- 
 bearable were it not for the human sympathy of 
 the attendant priest. The expression of grief, 
 
WHAT PICTURES TO SEE 
 
 pity, and love on the spiritual face of that man 
 of God relieves the awful tension of the sad scene. 
 
 One of the most striking pictures in the Luxem- 
 bourg is Breton's "The Gleaner" (Fig. 114). 
 The artist has here shown his wonderful power as 
 a figure-painter. The charm of the girl lies in 
 her perfect fitness for the life of the gleaner in 
 the fields. She stands before us a rustic beauty, 
 yet the appropriateness of the sheaf on her shoul- 
 der, the shocks standing near, and the level field 
 stretching away in the distance make her heri- 
 tage secure. Breton could paint the peasant men 
 and women and give them personal character- 
 istics entirely their own. No one could mistake 
 them for make-believe labourers; they are true 
 children of the soil giving dignity to whatever 
 they are doing. The artist's unfailing belief in 
 his mission gave him a high standing with the 
 French people and placed him among the first 
 painters of the nineteenth century. 
 
 In "The Dream" (Fig. 115), Detaille has well 
 illustrated the famous general's remark: "We 
 are ready, quite ready; we miss not a gaiter 
 button." He has elaborated details in the scene 
 until each soldier has become a personal element 
 and "The Dream," pictured in the sky, an in- 
 dividual fancy of a troubled brain. Unfortu- 
 nately the reproduction does not portray the 
 dream as shown so delicately in the painting, where 
 
FIG. 114. The Gleaner. Breton. Luxembourg, Paris. 
 
PARIS 
 
 the soldiers are charging in battle with realistic 
 action. Detaille loved battle pieces and military 
 scenes, and his own experience in the Franco- 
 Prussian war gave him just the material for his 
 pictures. 
 
 Decamps' "Foundling" (Fig. 116) would melt 
 a heart of stone. That wee mite of humanity 
 needs no words to plead its cause. There is 
 something elemental in such a picture; its appeal 
 is so human that no one could resist, even though 
 fallen to the depths of degradation. What could 
 be simpler in composition just a little baby in 
 swaddling-clothes wrapped in an old shawl lying 
 at the foot of a stone step? Its tiny hands are 
 held out to the passer-by and a faint smile lights 
 the baby- face. Could a more eloquent plea be 
 made in behalf of deserted little waifs than is 
 expressed in this simple picture of a homeless 
 baby? 
 
 Rosa Bonheur stands second to none in her 
 "Oxen Ploughing" (Fig. 117). What accurate 
 knowledge she has of oxen under the stress of 
 work and of the beauty of the ploughed field! 
 She knows from experience that the second pair of 
 oxen at the plough require all the skill of the driver 
 to keep them pulling their share. Handsome ani- 
 mals they are, too, and how they palpitate with 
 the life of the farm! Rosa Bonheur learned her 
 animal lessons direct from nature; she was wont 
 
WHAT PICTURES TO SEE 
 
 to visit the horse-fairs, cattle-shows, and the farms 
 to study the animals in their natural environment. 
 No one ever molested the clever "boy artist," 
 as she was called, because dressed in the blouse 
 and breeches of the peasant boy; she came and 
 went at her ease, for her animal pictures pleased 
 the simple folk of the countryside. The " Horse 
 Fair," in the Metropolitan Museum, New York 
 City, is the best-known of her paintings, but even 
 that is not so full of the spirit of the farm as is 
 this picture of the "Oxen Ploughing." She has 
 here given the poetry of common things and made 
 us feel the joy of the big out-of-doors; then in 
 no country are the oxen used at the plough finer 
 specimens of bovine flesh than the Normandy cat- 
 tle, hence the incentive was great for both Troyon 
 and Rosa Bonheur to make their oxen-pictures 
 masterpieces. 
 
 While we deplored too much realism in Von 
 Uhde's "Bethlehem," in the Dresden gallery, 
 we gladly acknowledge the ring of sincerity that 
 comes from every brush-stroke of "Christ in the 
 Peasant's Hut" (Fig. 118). The simple people 
 in their homely surroundings and e very-day 
 clothes are in perfect keeping with the gentle 
 Saviour who has appeared among them. There 
 is no mock humility in the bowed heads of the 
 humble family, nor idle curiosity in the lifted 
 heads, but reverent wonder that the blessed Lord 
 
FIG. 116. The Foundling. Decamps. Luxembourg. Paris. 
 
 FIG. 117. Oxen Ploughing. Rosa Bonheur. Luxembourg, Paris. 
 
FIG. 118. Christ in the Peasant's Hut. Von Uhde. Luxembourg, Paris. 
 
 FIG. 119. The Hemicycle. Chavannes. The Sorbonne (University of Paris), Pari-. 
 
PARIS 
 
 has come to them. Wherever the Christ appears 
 in Von Uhde's pictures the scenes are of to-day 
 and among the lowly. As a painter, Von Uhde 
 stands unchallenged ; his colours are in low, grey 
 tones, his light is good and his whole work full 
 of integrity and unaffected grace. Next to Hof- 
 mann, his religious pictures are perhaps as well 
 known as those of any artist of modern times. 
 
 The greatest work of Puvis de Chavannes is 
 "The Hemicycle," in the Sorbonne (Fig. 119). 
 It would scarcely be wise to omit seeing this 
 fresco in the Sorbonne, even if one's time is lim- 
 ited. The painting decorates the wall back of the 
 stage in the great lecture hall of the University. 
 The fresco is an allegory of Letters, Sciences, 
 and Arts. The central figure is the presiding 
 genius possibly the spirit of Robert de Sorbon, 
 the founder of the University while beside her 
 are two youths with laurel crowns and palm 
 branches. From below the throne flows the pure 
 stream of knowledge from which all drink, both 
 young and old. Chavannes long contended that 
 in mural painting there should be perfect harmony 
 between the landscape and the figures and that 
 both must blend with the architectural setting. 
 The purity of his pallid colouring and the severity 
 of arrangement in his compositions make us feel 
 that we have come into a region where life is clean 
 and thoughts are pure. He fought with unruffled 
 
WHAT PICTURES TO SEE 
 
 calm against the artificial of the last century, 
 and although a storm of criticism was hurled at 
 him on all sides, he won the day with his truth, 
 sincerity, and simplicity. Before his death at the 
 opening of the new century, all France gave him 
 honour and his paintings became the masterpieces 
 of French art. We are proud to have one of his 
 choice frescos in the Boston Library. 
 
XXII 
 
 LONDON NATIONAL GALLERY 
 
 WE will not stop to study Raphael's two large 
 Madonna pictures in the National Gal- 
 lery, having already seen many of his master- 
 pieces, but will go directly to Sebastiano Piombo's 
 "Raising of Lazarus" (Fig. 120), the painting 
 made in competition with Raphael's "Trans- 
 figuration" (Fig. n). As we look at the risen 
 Lazarus we recall that Michael Angelo was cred- 
 ited with the drawing of that figure. Piombo was 
 rather weak in that particular branch of his art, 
 and the great master, having fears for his fa- 
 vourite, himself drew in the principal figure. 
 Although this statement is sometimes questioned, 
 yet the muscular development of Lazarus, com- 
 pared with that of the other persons in the picture, 
 seems proof enough that a greater artist than 
 Piombo designed the figure. Scarcely have the 
 words, "Lazarus, come forth!" been spoken 
 when the awakened man, bound in grave-clothes, 
 rises with new life teeming in every muscle, every 
 joint, and every sinew; asking no assistance, 
 he at once tears the clinging cerements from his 
 
WHAT PICTURES TO SEE 
 
 limbs, using hands and feet in his eagerness 
 for freedom. Such muscular vigour is true to 
 Michael Angelo's figures in the Sistine Chapel 
 and may well stand as his when the reputation 
 of his beloved Sebastiano is at stake. 
 
 Next to this masterpiece of Piombo's is Vero- 
 nese's "St. Helena" (Fig. 121). There is here 
 no display of magnificent brocades heavy with 
 jewelled trimmings, so common in Veronese's 
 pictures, but rather a conspicuous lack of bril- 
 liant colour and sparkling ornament, as though 
 to render more significant the quaint old legend 
 of the Roman queen. History and tradition are 
 so closely interwoven in the life of this Christian 
 woman that to separate them is practically im- 
 possible. Queen Helena, the mother of Con- 
 stantine the Great, saw in a vision the exact 
 situation of the true cross on Golgotha in Jeru- 
 salem. She journeyed to the Holy City and on 
 the spot indicated in her dream found the precious 
 relic. Veronese has chosen the moment when 
 sleep has overcome the queen and angels appear 
 with the cross. The graceful naturalness of her 
 pose as she rests her head on her hand, and the 
 fleeting glimpse of the cross as it drifts across the 
 sky, lift this scene out of the conventional and stamp 
 it as the product of an original thinker. Words 
 fail to describe the lambent glory that the sun- 
 lit, reddish-yellow gown pours over the vision. 
 
FIG. 120. Raising of Lazarus. Piombo. 
 Gallery, London. 
 
 National 
 
FIG. 121. St. Helena. Veronese. National Gallery, 
 London. 
 
LONDON 
 
 The picture itself is a dream of loveliness in its 
 quiet elegance and lofty sentiment. 
 
 Near Veronese's "St. Helena," is Tintoretto's 
 "Origin of the Milky Way," another of his clas- 
 sical subjects treated in a most daring manner. 
 The individuality of the artist was never more 
 pronounced than in the headlong flight of Jupiter 
 bringing the infant, perhaps Vulcan or Mars, to 
 his mother Juno, the dainty-limbed goddess 
 thrown across the canvas in defiance of all 
 precedent, the milky spray starring everything in 
 its path, and the bold prominence of eagle and 
 peacocks as the favourite birds of the immortal 
 couple. Although this picture scarcely equals 
 those perfect compositions in the Ducal Palace, 
 Venice (see Fig. 49), yet it is so charged with 
 vitality that the effect is overwhelming. 
 
 We need but turn around to look at Moroni's 
 "Tailor" (Fig. 122), a portrait so lifelike in 
 attitude and appropriate to the man's calling 
 that it stands as the acme of portraiture. That 
 man, whose name was Tagliapanni, may have 
 been a special tailor in Italy, but his portrait rep- 
 resents the trade in any country. Moroni knew 
 how to paint "men," and while he shows us the 
 costumes and temperaments of the Italians of the 
 sixteenth century, yet we have here the genus man 
 developed to the highest in a special calling, 
 regardless of time or place. 
 
WHAT PICTURES TO SEE 
 
 As we study his " Lawyer," and note the fresh- 
 ness of colour, the alert expression on the man's 
 face, and the up-to-dateness of the execution, we 
 might think it just fresh from the artist's studio. 
 Such portraiture makes all the world akin, for 
 it emphasises that quality in humanity which 
 distinguishes man from the beast. 
 
 Another portrait in the National Gallery that 
 stands for the delineation of personal charac- 
 teristics is Bellini's "Doge Leonardo Loredino" 
 (Fig. 123). This likeness of the aristocratic old 
 face is so true that the Doge's biography might 
 be written quite easily from its tell-tale lines. 
 One does not need to be told that this is the man 
 who carried the Venetian Republic through the 
 most trying and tumultuous periods of its exist- 
 ence. Loredino became doge in 1501. Pope 
 and emperor, France and Spain combined to 
 destroy his power, but without avail. The in- 
 trepid old warrior stood firm though the republic 
 was irredeemably impoverished and deprived of 
 all its Italian possessions. We now note with 
 deepened interest how beautifully clear-cut is each 
 feature of the fine old face, the deep-set eyes, the 
 strong nose, the firm, sensitive mouth, the stub- 
 born chin all confirm the historical record and 
 at the same time place Giovanni Bellini among 
 the great masters of portraiture. 
 
 In Velasquez' two portraits of Philip IV. of 
 
FIG. 122. The Tailor. Moroni. National Gallery, London. 
 
FIG. 123, Doge Ix)redano. Bellini. National Gallery, London. 
 
LONDON 
 
 Spain, he shows us the king when a young man 
 and again when about fifty years old. Velasquez 
 painted this fitful monarch in every conceivable pose 
 and costume, possibly thinking to vary his dull, 
 uninteresting countenance by external changes, 
 In the portrait of him at middle life he is dressed 
 in black and wears the stiff, projecting collar which 
 he had himself invented. It is related that Philip 
 was so elated over the new collar, the product 
 of his own ingenuity, that he gave a festival and 
 followed it by a procession to the church to thank 
 God for the blessing. Not even Velasquez could 
 give animation to the thin, narrow face with its 
 lustreless eyes, heavy projecting Austrian lip, 
 and pale yellow hair, yet he did make the mon- 
 arch a living, breathing personality. 
 
 One of the most famous of Rubens' portraits is 
 "The Chapeau de Faille" (Fig. 124), better 
 known as the "Straw Hat," although the latter 
 name grew out of a mistake in spelling the hat 
 is really felt. It is possible that this lady was 
 the artist's fiancee at one time ; be that as it may, 
 she certainly was some one whose personal charms 
 attracted him. Rubens' manner of contrasting 
 the black hat and dress with the brilliant flesh 
 tones of face and neck is one of his most tanta- 
 lising methods of effecting amazing results. 
 Was any artist ever more skilful in putting on 
 canvas the essence of human flesh? It throbs 
 
WHAT PICTURES TO SEE 
 
 and glows from under his brush as though the life 
 fluids were pulsing through its capillaries. 
 
 Madame Lebrun was so pleased with Rubens' 
 " Straw Hat," that she painted her own portrait 
 in the same pose and style of dress, which paint- 
 ing is also in the National Gallery. We are dis- 
 appointed in it, however, for the natural piquancy 
 so attractive in the " Straw Hat" seems forced 
 and unnatural in the Madame Lebrun portrait. 
 We turn back in relief to the painting of herself 
 and little daughter, in the Louvre (Fig. 100), 
 knowing that in that portrait group she has done 
 herself justice. 
 
 The treasure of Dutch landscapes in the Na- 
 tional Gallery is Hobbema's "Avenue" (Fig. 125). 
 Here is a prosaic scene from nature so idealised 
 by the magic brush of the master that one never 
 tires of looking at it. Browning was right when 
 he wrote: 
 
 "We're made so that we love 
 
 First when we see them painted, things we 
 
 have passed 
 Perhaps a hundred times nor cared to see." 
 
 But why do we love this scene now that it is 
 painted? Is it not the broad expanse of sky 
 that holds us? Ruskin used to say, "We look 
 too little at the clouds." Surely that drifting, 
 changing mass is 
 
FIG. 124. Chapeau de Faille. Rubens. National 
 Gallery, London. 
 
LONDON 
 
 14 the daughter of the earth and water 
 
 And the nursling of the sky ! ' ' 
 
 as it floats fleece-like hither and thither. The 
 tall, scraggly trees bordering the grey, dusty road 
 lead the eye past the distant town with its church- 
 spire a silhouette against the low horizon, into 
 the dusky film of cloudland. The picture sings 
 to us of peace and plenty, of church-bells and 
 heavenly visions. Is that bit of country pro- 
 saic now that Hobbema has opened our eyes 
 to its beauty? 
 
XXIII 
 
 LONDON NATIONAL GALLERY 
 
 (Continued) 
 
 "VJOT always are the pictures of the founder 
 ^ of a country's art interesting to the general 
 sightseer, but Hogarth's are an exception. Spring- 
 ing into existence a full-blown painter, as it were, 
 he, from the beginning, pictured the English people 
 as he saw them. His "Shrimp Girl" (Fig. 126) 
 walked the streets of London, and her voice was 
 heard daily calling her wares for sale. He has 
 arrested her ceaseless activity and with an un- 
 erring brush has fixed on canvas her fleeting 
 smile and passing thought.' This street vendor 
 would not be a foreign element among the Lon- 
 don criers of to-day, although it is two hundred 
 years since she posed for her portrait. Hogarth 
 discarded the rules and regulations laid down 
 by schools of art. He said: "I have ever found 
 studying from nature the shortest and safest 
 way to attaining knowledge in my art. . . .," 
 and what typical studies from nature he made! 
 Stop a moment and look at his "Marriage a la 
 Mode,-' "Industry and Idleness," etc. England 
 was at that time overwhelmed with evil and vice. 
 [160] 
 
FIG. 126. The Shrimp Girl. Hogarth. National Gallery, London. 
 
FIG. 127. Artist and Dog. Hogarth. National 
 Gallery, London. 
 
 FIG. 128. Canterbury Pilgrims. Stothard. National Gallery, London. 
 
LONDON 
 
 A second Cervantes was needed, so Hogarth 
 stepped into the breach and with his brush and 
 pencil hurled such biting ridicule and scathing 
 sarcasm at church and state that England, like 
 Spain, awakened to the condition of her morals. 
 Soon Hogarth's pictures became simply chron- 
 icles of evils that had passed. 
 
 One look at the " Portrait of the Artist and his 
 Dog" (Fig. 127) is sufficient to reveal the secret 
 of the man's power to quell evil. That face in- 
 dexes the artist's good humour and keen sense 
 of the absurdities of life, also his ability to cut 
 to the quick with caustic sarcasm where ridicule 
 failed. Perhaps his pug-dog, Trump, reflects a 
 little of the master's stubborn nature; at any rate 
 Hogarth persisted in discovering the vital points 
 in the social evil and then deliberately exposed 
 them with a realism not to be mistaken in meaning. 
 But he did not always use a probing brush, since 
 his " Portraits of the Servants of his Household" 
 show how lovingly he could record the characters 
 of those who were faithful to his interests. While 
 Hogarth was a reformer, striking to the very core 
 of the country's weakness, he was at the same time 
 an artist who painted pictures that will live, be- 
 cause of their artistic value. 
 
 A picture especially interesting because of its 
 literary significance is Stothard's "Canterbury 
 Pilgrims" (Fig. 128). Chaucer's "so myrie a 
 [161] 
 
WHAT PICTURES TO SEE 
 
 compaignye" of twenty-nine pilgrims seem well 
 on their way toward Canterbury. Possibly the 
 Knight, the Miller, and others have told their 
 tales, and maybe the Wife of Bath is now telling 
 her tale, at least she holds quite a prominent 
 place in the company. We feel that Stothard's 
 pictorial interpretation of the poet's graphic 
 words has made that memorable "pilgrymage" 
 so real that we too might join 
 
 " the compaigne, 
 
 Of sondry folk, 
 
 That toward Canterbury wolden ryde." 
 
 Reynolds' "Angel Heads" (Fig. 129) is a 
 picture particularly dear to children. This ar- 
 tist was especially happy as a painter of little 
 girlhood in fact, he has no rival in depicting 
 this phase of the child- world. Although Rey- 
 nolds was a bachelor, he knew just the deference 
 he must pay to Miss Six-years-old in order to 
 abide in her good graces. When once the dainty 
 maiden has accepted his attentions we can see her 
 shyly drawing close to the great artist as though 
 dimly conscious, while they plan the " sittings," 
 that some unusual honour is hers. The "Angel 
 Heads" are different poses of little Miss Gordon, a 
 girlie very dear to the heart of the childless man. 
 
 Reynolds' tendency to tamper with his pig- 
 ments was fatal to many of his paintings. This 
 
FIG. 129. Angel Heads. Reynolds. National Gallery, London. 
 
FIG. 130. Mrs. Siddons. Gainsborough. 
 National Gallery, London. 
 
 FIG. 131. 
 
 The Hay- Wain. Constable. National 
 Gallery, London. 
 
LONDON 
 
 was notably true in the use of wax with his colours 
 to give them greater transparency. It is said 
 that Gilbert Stuart in great agony of mind found 
 an eye moving slowly downward on a Reynolds' 
 head he was copying. Only by quickly moving 
 the painting into a cold room could he stop the 
 eye, and then he gradually worked the dislodged 
 member back to place again. 
 
 When English portrait-painting was at its 
 height in the eighteenth century, Mrs. Siddons 
 was the reigning queen on the stage. George IV. 
 was wont to say of her: "She is the only real 
 queen all others are counterfeits." In Gains- 
 borough's "Portrait of Mrs. Siddons" (Fig. 130), 
 we find her portrayed as her own sweet self. 
 Many critics pronounce this portrait the artist's 
 masterpiece. Although he has here broken every 
 law laid down by his rival, Sir Joshua Reynolds, 
 yet technically it is without a flaw. 
 
 Gainsborough was very susceptible to the moods 
 of his sitters and only when they were in full sym- 
 pathy with him and responded to his enthusiasm 
 could he do them justice or paint his best. That 
 he worked under a growing excitement in making 
 this glorious portrait of the famous woman is 
 plainly evident. The incentive of rivalship with 
 the great Reynolds and the high privilege of paint- 
 ing the woman honoured by king and public were 
 both causes for intense concentration. Never has 
 
WHAT PICTURES TO SEE 
 
 the "Gainsborough hat" crowned a head with 
 more distinguished grace; the drooping plumes 
 and clinging, soft plush brim still further enhance 
 the glory of the fluffy golden-yellow hair. It is 
 not surprising that a hundred years has made 
 little change in a head-covering so becoming to 
 womankind. 
 
 As we sit before Constable's "Hay- Wain" 
 (Fig. 131), we are conscious at once that the artist 
 has gone direct to nature for his inspiration. 
 The "Hay- Wain," exhibited in Paris in 1824, 
 greatly impressed the French landscape-painters. 
 They recognised in Constable the elemental 
 which was just the stimulus they needed in per- 
 fecting the Barbizon school of 1830. Constable 
 was a close student of the Dutch landscapists, 
 but differed from those artists in that he saw in 
 the grass and midsummer leaves a vivid green 
 unmixed with brown. His own words explain the 
 "home" feeling that his pictures inspire. "I 
 have always succeeded best with my native scenes. 
 .... They have always charmed me, and I 
 hope they always will." "The Hay- Wain" and 
 the "Valley Farm," that hang side by side in the 
 gallery, transport us to country places where the 
 little streams are bordered with overhanging 
 trees and the tiny cottages creep close to the water's 
 edge. The artist's working-hours from ten to five 
 revealed to him many secrets about a cloudy sky 
 [164] 
 
LONDON 
 
 with the sun ever struggling to break through 
 the mass of clouds. The sun's rays often filter 
 through the rifts in bright patches, giving the 
 effect of spottiness, but this is to be expected for 
 only here and there can his perpendicular shafts 
 penetrate the filmy veil. Constable seemed never 
 to forget the words of Benjamin West, spoken to 
 him early in his art career: " Always remember, 
 sir, that light and shadow never stand still." 
 
 Perhaps the most petted artist in England was 
 Edwin Landseer, and surely one of the most petted 
 animals he ever painted is seen in his "Shoeing 
 the Bay Mare" (Fig. 132). She is a beautiful 
 creature with animal intelligence far beyond that 
 of the ordinary horse. The glossy red coat of 
 this favourite, which glistens and glows in the red 
 fire-light, like one of Dou's copper kettles, evi- 
 dences the loving care she receives. The criti- 
 cism that Landseer's animals are too human is well 
 made when the beasts of the forests are his sub- 
 jects, but when he chooses the pets of the house- 
 hold, be they horse, dog, or cat, the human element 
 is a feature not to be ignored. We are bound 
 to admit that animals constantly associated with 
 man do acquire certain tricks of memory bor- 
 dering on human intelligence, and it is this glimmer 
 of immortality that Landseer portrays in the 
 faces of his animals. Unfortunately, however, 
 the sentimentalism of the times bewitched his. 
 
WHAT PICTURES TO SEE 
 
 brush and he often went to such extremes in 
 humanising his animals that in many cases the 
 only human attribute they lack is speech. 
 
 Landseer began his art career when not more 
 than five or six years old. His father later in 
 life was wont to point with pride to the open fields 
 and say: " Ed win's first studio." Fortune smiled 
 on him from the beginning and his art became 
 the talk of the hour. The society-sick people 
 found delight in the freshness and naturalness 
 of his genre subjects; they gladly gave homage 
 to one bringing a new element, since the monotony 
 of the artificial was palling on them. 
 
 We now enter the Turner room, but find our- 
 selves dazed and incapable of comprehending 
 the meaning of the paintings surrounding us. 
 Somehow the light dazzles us and a mist seems to 
 envelop the paintings. We must remember that 
 light was Turner's foundation principle of colour 
 and must adjust ourselves to his interpretation 
 of light. "The Fighting Temeraire" (Fig. 133) 
 has been the most universally accepted as the 
 artist's masterpiece. In this one may see at its 
 height the peculiar glory produced with light as 
 colour. Even the half-tone reproductions give a 
 faint suggestion of the power of light in the pic- 
 ture, but do not approximate the glory of the 
 original painitng. The phantom-like vision of 
 the old sea-warrior intimates what she was at 
 [166] 
 
FIG. 132. Shoeing the Bay Mare. Landseer. National Gallery, London. 
 
LONDON 
 
 Trafalgar when she led the van and won the 
 victory for Nelson. The setting sun illumines 
 mast, cross-beam, and hull as though to glorify 
 the last journey of the gallant ship. The sputter- 
 ing little tug is towing her away to final dissolu- 
 tion. It is said that Turner and some of his friends 
 stood on the banks of the Thames watching the 
 departure of the old Temeraire when one friend 
 suggested to the artist that he make the scene be- 
 fore them the subject of a picture. Turner made 
 no reply, but in the Academy Exhibition of 1839 
 he entered this painting, to the surprise and de- 
 light of every one. 
 
 Strange indeed was the life of this genius of 
 the brush. Disappointed in love early in life, 
 he shunned the world and became morose, 
 miserly, dirty, and altogether unattractive. His 
 one redeeming virtue was his unceasing love for 
 his father. He would often say laughingly, 
 " Father begins and finishes my pictures," because 
 the old man stretched the canvas and varnished 
 the finished painting. Turner's proneness to 
 tamper with his pigments has resulted in a lack 
 of permanency in colour that is evident in many 
 faded canvases. To understand his art is to 
 understand a dreamer with a vivid imagination. 
 He represents nature in magical moods and in 
 splendid attire, but he never came close to her 
 heart like Constable. 
 
 [167] 
 
XXIV 
 
 LONDON NATIONAL PORTRAIT, TAIT, 
 
 AND GROSVENOR HOUSE 
 
 GALLERIES 
 
 fT^HE modern room in the National Portrait 
 Gallery has a large number of George 
 Frederick Watts' portraits of England's distin- 
 guished men. Tennyson's lines : 
 
 "As when a painter, poring on a face, 
 
 Divinely, through all hindrance, finds the man 
 
 Behind it ..... " 
 
 might have been written with Watts, the artist, 
 in mind. He seems to expose the very soul of 
 the sitter with his probing brush. Only men of 
 character could have endured such searchings 
 through the inner workings of the heart. What 
 wonderful men those are that Watts has por- 
 trayed for us: William Ewart Gladstone, Robert 
 Browning, John Stuart Mill, Thomas Carlyle, 
 Lord Tennyson, Lord Lytton, Cardinal Man- 
 ning, Cardinal Newman, and a score of others! 
 Poet, statesman, and churchman live again in his 
 canvases. We linger long and tenderly before 
 [168] 
 
FIG. 134. Cardinal Newman. Watts. National Portrait Gallery, London 
 
FIG. 135. Lady Macbeth. Sargent. Tait Gallery, London. 
 
LONDON 
 
 the author of "Lead, Kindly Light." When 
 Watts painted that "Portrait of Cardinal New- 
 man" (Fig. 134), he truly saw "the very pulse of 
 the machine." Who could not read in the deep 
 lines of the face the intense longing of that great 
 soul for a creed that would satisfy? The sad, 
 grey eyes, so calm in their steady gaze, tell of the 
 peace that came with submission to the Roman 
 Church. Such portraiture of those giants of the 
 nineteenth century as Watts has bequeathed to 
 England and to the world gives the epitome of 
 some of the best men that England has pro- 
 duced. 
 
 It was not alone in portraiture that Watts 
 reigned supreme. His pictures in the Tait Gal- 
 lery seem to justify the statement that another 
 Titian has arisen in Watts. No one can study 
 that collection without feeling the truth of his 
 own words: "My intention has been not so much 
 to paint pictures that will charm the eye as to sug- 
 gest great thoughts that will appeal to the imagi- 
 nation and the heart, and kindle all that is best 
 and noblest in humanity." 
 
 Before giving these paintings in the Tait col- 
 lection special thought, let us look at Sargent *s 
 "Ellen Terry as Lady Macbeth" (Fig. 135). 
 Quite unique has been the life of this woman 
 whose artistic career has never been surpassed. 
 It is hard to realise that this tragic queen, "who 
 
WHAT PICTURES TO SEE 
 
 bears no resemblance to anybody else," was once 
 the child- wife of the great English painter, George 
 Frederick Watts. How tenderly that pure, noble- 
 minded man retrieved the mistake and gave back 
 the freedom that youth desired! Perhaps this 
 readjustment in the lives of these two geniuses 
 was after all the spur that urged them to the 
 achievement of great things in their respective 
 arts. Sargent has vividly portrayed Ellen 
 Terry's marvellous impersonation of Lady Mac- 
 beth, showing Shakespeare's queen as a real 
 character, yet preserving distinct the personality 
 of actress and painter. It is a rare gift when 
 an artist can picture precisely an actor's inter- 
 pretation of a character and yet preserve his 
 own originality. 
 
 In Watts' pictures we find that symbolism is 
 one of the pronounced features of the painter's 
 art, but he used it so simply that no one can 
 mistake his meaning. In his "Orpheus and 
 Eurydice" (Fig. 136), he has put on canvas the 
 picture Pope has described in words: 
 
 "But soon, too soon the lover turns his eyes; 
 Again she falls, again she dies, she dies!" 
 
 The sad story of this ill-fated pair always awakens 
 a feeling of pity in our hearts. Poor Orpheus, 
 soon after his marriage to Eurydice, was bereft 
 of his lovely bride by death. He sang of his 
 
 [170] 
 
LONDON 
 
 grief to all the gods of the upper world, but to 
 no avail. He then descended into the lower 
 regions and accompanied by his lyre sang these 
 words: "O deities of the under world, to whom 
 all we who live must come, hear my words, they 
 are true." His plea was so touching and his 
 music so enchanting that even Pluto was won over 
 and Eurydice was called. Orpheus was allowed 
 to take her away on one condition he must 
 not turn to look at her until they had reached the 
 upper air. Alas, why could not this gifted son 
 of Apollo have curbed his impatience and waited 
 until the portals of the lower world were passed? 
 He looked back at his bride and she at once fell 
 away from him. The most ravishing melodies 
 from his lyre could not induce Pluto to release 
 his beloved Eurydice a second time. 
 
 Watts has again and again treated the themes 
 of life and death and love so powerfully and 
 artistically that they have assumed both a wider 
 and a deeper significance to the thoughtful. One 
 of his most beautiful compositions is "Hope," 
 so simple in composition, yet so big in thought. 
 That single figure, resting alone on a deserted 
 world with eyes blindfolded and harp-strings 
 all broken but one, is nevertheless a harbinger 
 of brighter things. No one can utterly despair 
 with this picture as a daily reminder that hope 
 still lingers in Pandora's box. 
 
WHAT PICTURES TO SEE 
 
 It is quite easy to gain admission to Grosvenor 
 House, in London, so we must see Reynolds' 
 "Mrs. Siddons as the Tragic Muse" (Fig. 137). 
 At the first sitting Sir Joshua said to her: "Ascend 
 the throne, which is incontestably yours, and 
 suggest to me the Muse of Tragedy." She 
 mounted the throne and took the attitude as we 
 see her in this picture. Of this painting the 
 artist maintained that "the colours would remain 
 unfaded as long as the canvas would keep them 
 together," and so far the statement is correct. 
 It was at Mrs. Siddons' own suggestion to the 
 artist "that he would not heighten that tone of 
 complexion so accordant with the chilly and con- 
 centrated musing of pale melancholy." When 
 she went for the last sitting she found the artist's 
 name painted as embroidery on the edge of her 
 robe. In answer to her look of inquiry, Sir 
 Joshua graciously replied: "I could not lose this 
 opportunity to hand down my name to posterity 
 on the hem of your garment." 
 
 In this same Grosvenor collection is Gainsbor- 
 ough's "Blue Boy" (Fig. 138). Again the artist 
 has used those blue tones so prominent in the 
 shimmery blue gown of "Mrs. Siddons" (Fig. 
 130), but in emphasised masses. This is in direct 
 opposition to the dictum of Reynolds that "the 
 masses of light in a picture ought to be always 
 of a warm, mellow colour yellow, red, or a yel- 
 
FIG. 136. Orpheus and Eurydice. Watts. Tait Gallery, London. 
 
 Fio. 137. Mrs. Siddons. Reynolds. Grosvenor House, London. 
 
FIG. 138. The Blue Boy. Grosvenor House, London' 
 
LONDON 
 
 lo wish- white; and the blue, the grey, or the green 
 colours should be kept almost entirely out of these 
 masses, and be used only to support and set off 
 these warm colours." When genius meets genius 
 and methods clash, yet the results are works in- 
 spired of God, the bigness of such great minds 
 compels approval. Reynolds confessed of Gains- 
 borough, "I cannot think how he produces his 
 effects," and the younger man acknowledged of 
 his rival, "How various he is." Critical yet 
 magnanimous, these two men were never on fami- 
 liar terms; but strangely enough, when the un- 
 timely end came to Gainsborough's life, it was 
 Reynolds who stood by his bedside and was one 
 of his pallbearers. 
 
 The hours we have spent together looking at 
 the masterpieces of painting are ended, but the 
 glimpses we have had into that vast world of pic- 
 tures are but the introduction to a wider vision 
 in the universe of art. Because of lack of time 
 and strength we have been forced to pay no heed 
 to hundreds of canvases and frescos that really 
 deserved our attention. My chief aim has been 
 to stimulate an interest in the best that art affords 
 rather than to describe exhaustively, and if I 
 shall be the humble means of awakening others 
 to higher thoughts in the realm of art, my great 
 desire will be attained. 
 
WHAT PICTURES TO SEE 
 
 In succeeding summers, I hope to take my silent 
 yet faithful fellow art-lovers through other gal- 
 eries that we have been compelled to omit on this 
 hurried trip, and later to study the masterpieces 
 of that beautiful sister to painting sculpture. 
 
INDEX 
 
 ALBERTINELLI, MARIOTTO, 
 
 The Visitation or Salutation. Uffizi Gallery, Florence, 
 
 29 
 ANGELICO, FRA, 
 
 Madonna of the Star. San Marco, Florence, 53 
 
 Christ and Disciples. San Marco, 54 
 
 Coronation of the Virgin. Louvre, Paris, 128 
 ANGELO, MICHAEL, 
 
 Creation of Adam. Sistine Chapel, Rome, 8 
 
 Creation of Eve. Sistine Chapel, Rome, 9 
 
 Cumaean Sibyl. Sistine Chapel, Rome, 10 
 
 Jeremiah. Sistine Chapel, Rome, n 
 
 Christ. Detail from Last Judgment. Sistine Chapel, 
 Rome, 13 
 
 Last Judgment. Sistine Chapel, Rome, 13 
 
 The Fates. Pitti Gallery, Florence, 44 
 BARTOLOMMEO, FRA, 
 
 Savonarola. San Marco, Florence, 54 
 BELLINI, GIOVANNI, 
 
 Madonna and Child. Academy, Venice, 63 
 
 Doge Leonardo Loredano. National Gallery, London, 
 
 156 
 BONHEUR, ROSA, 
 
 Oxen Ploughing. Luxembourg, Paris, 149 
 BOTTICELLI, SANDRO, 
 
 The Coronation of the Virgin. Uffizi Gallery, Florence, 
 
 34 
 
 Birth of Venus. Uffizi Gallery, Florence, 34 
 
 Judith and Maid with Head of Holofernes. Uffizi 
 
 Gallery, Florence, 35 
 Calumny. Uffizi Gallery, Florence, 35 
 Spring. Academy, Florence, 48 
 
 [175] 
 
INDEX 
 
 BRETON, JULES ADOLPH, 
 
 The Gleaner. Luxembourg, Paris, 148 
 CARPACCIO, VITTORE, 
 
 St. Ursula and her Father. Academy, Venice, 66 
 CHARDIN, JEAN BAPTISTE SIMEON, 
 
 The Blessing. Louvre, Paris, 143 
 CHAVANNES, Puvis DE, 
 
 The Hemicycle. The Sorbonne, Paris, 119. 
 
 ClMA DA CONEGLIANO, GlOV. BATTISTA, 
 
 St. John the Baptist and other Saints. Madonna del' 
 Orto, Venice, 70 
 
 CONSTABLE, JOHN, 
 
 The Hay- Wain. National Gallery, London, 164 
 The Valley Farm. National Gallery, London, 164 
 
 COROT, JEAN BAPTISTE CAMILLE, 
 
 Dance of the Nymphs. Louvre, Paris, 129 
 
 CORREGGIO (ANTONIO ALLEGRI), 
 
 Holy Night. Dresden Gallery, 86 
 
 Madonna of St. Francis. Dresden Gallery, 87 
 
 Marriage of St. Catherine. Louvre, Paris, 125 
 
 DAVID, JACQUES Louis, 
 
 Madame Recamier. Louvre, Pans, 130 
 
 DECAMPS, A. G., 
 
 The Foundling. Luxembourg, Paris, 149 
 
 DETAILLE, JEAN BAPTISTE EDOUARD, 
 The Dream. Luxembourg, Paris, 148 
 
 DOMENICHINO, 
 
 The Last Communion of St. Jerome. Vatican, Rome, 21 
 
 Dou, GERARD, 
 
 The Night School. Ryks Museum, Amsterdam, 114 
 The Dropsical Woman. Louvre, Paris, 139 
 
 DURER, ALBRECHT, 
 
 The Apostles. Old Pinakothek, Munich, 81 
 The Horseman. Nuremburg. Frontispiece 
 Christ on the Cross. Dresden Gallery, 97 
 
 [176] 
 
INDEX 
 
 FLINK, GOVAERT, 
 
 Portrait of a Young Girl. Louvre, Paris, 142 
 FORLI, MELOZZO DA, 
 
 Playing Angel. Sacristy of St. Peter's, Rome, 23 
 GAINSBOROUGH, THOMAS, 
 
 Mrs. Siddons. National Gallery, London, 163 
 
 The Blue Boy. Grosvenor House, London, 172 
 GERARD, BARON FRANCOIS PASCAL, 
 
 Madame Recamier. Louvre, Paris, 131 
 GHIRLANDAJO, RIDOLFO, 
 
 The Salutation (Visitation). Santa Maria Novella, 
 Florence, 56 
 
 The Old Man and Boy. Louvre, Paris, 133 
 GIORGIONE (GIORGIO BARBARELLI), 
 
 The Knight of Malta. Uffizi Gallery, Florence, 57 
 
 The Concert. Pitti Gallery, Florence, 45 
 GIOTTO DI BORDONE, 
 
 Portrait of Dante. Bargello, Florence, 58 
 GOZZOLI, BENOZZO, 
 
 Angels (Detail). De' Medici Chapel, Ricardi Palace, 
 
 Florence, 55 
 HALS, FRANZ, 
 
 Hille Bobbe. Berlin Gallery, 102 
 
 The Jester. Ryks Museum, Amsterdam, 113 
 HELST, BARTHOLOMEUS VAN DER, 
 
 The Civic Guards. Ryks Museum, Amsterdam, 112 
 HOBBEMA, MEINDERT, 
 
 The Avenue. National Gallery, London, 158 
 
 HOFMANN, J. M. 
 
 Christ before the Doctors. Dresden Gallery, 97 
 HOGARTH, WILLIAM, 
 
 The Shrimp Girl. National Gallery, London, 160 
 Marriage a la Mode. National Gallery, London, 160 
 Portrait of Artist and Dog, Trump. National Gallery, 
 
 London, 161 
 Portrait of Servants. National Gallery, London, 161 
 
 [177] 
 
INDEX 
 
 HOLBEIN, HANS, 
 
 The Meyer Madonna. Dresden Gallery, 89 
 
 INGRES, JEAN AUGUSTE DOMINIQUE, 
 
 Le Source. Louvre, Paris, 121 
 LANDSEER, SIR EDWIN HENRY, 
 
 Shoeing the Bay Mare. National Gallery, London, 165 
 LEBRUN, MARIE ELIZABETH LOUISE VICE'S, 
 
 Portrait of the Artist and Daughter. Louvre, Paris, 131 
 
 Portrait of Artist (Straw Hat). National Gallery, 
 
 London, 158 
 LENBACH, FRANZ, 
 
 Portrait of Bismarck. Lenbach's House, Munich, 84 
 LIOTARD, J. E., 
 
 The Chocolate Girl. Dresden Gallery, 91 
 LIPPI, ERA FILIPPO, 
 
 The Coronation of the Virgin. Academy, Florence, 51 
 LOTTO, LORENZO, 
 
 The Three Ages of Man. Pitti Gallery, Florence, 45 
 MANTEGNA, ANDREA, 
 
 Mt. Parnassus. Louvre, Paris, 134 
 MEMMI, SIMONE (and other artists), 
 
 Religion and Philosophy. Santa Maria Novella, 
 Florence, 57 
 
 METSU, GABRIEL, 
 
 The Family of Gelfing. Berlin Gallery, 103 
 MIERIS, FRANZ VAN, 
 
 Soap Bubbles. The Hague, Holland, 118 
 MORETTO, IL (ALESSANDRO BUONVICINO), 
 
 Supper in the House of Simon. Academy, Venice, 64 
 MORONI, GIOVANNI BATTISTA, 
 
 The Tailor. National Gallery, London, 155 
 
 The Lawyer. National Gallery, London, 156 
 MOSLER, HENRY, 
 
 The Prodigal's Return. Luxembourg, Paris, 147 
 
INDEX 
 
 MURILLO, BARTOLOME" ESTE"BAN, 
 
 The Melon Eaters. Old Pinakothek, Munich, 79 
 Sfc Anthony and the Christ Child. Berlin Gallery, 100 
 The Immaculate Conception. Louvre, Paris, 127 
 
 NETSCHER, KASEER, 
 
 Song Accompanied by Piano. Dresden Gallery, 96 
 
 OSTADE, ADRIAN VAN, 
 
 The Fish Market. Louvre, Paris, 141 
 
 PALMA (IL VECCHIO), JOCOPO, 
 
 St. Barbara. Santa Maria Formosa, Venice, 67 
 
 PERUGINO, PIETRO, 
 
 Christ Giving the Keys to St. Peter. Sistine Chapel, 
 
 Rome, 15 
 
 The Resurrection. Vatican, Rome, 21 
 The Assumption of the Virgin. Academy, Florence, 51 
 
 PINTORICCHIO, BERNARDINO, 
 
 The Madonna and Child. Vatican, Rome, 17 
 Boy. Dresden Gallery, 95 
 
 PIOMBO, SEBASTIANO DEL, , 
 
 Raising of Lazarus. National Gallery, London, 153 
 
 POTTER, PAUL, 
 
 The Young Bull. The Hague, Holland, 116 
 
 RAPHAEL SANZIO, 
 
 Feed My Sheep. Vatican, Rome, 17 
 Mt. Parnassus. Vatican, Rome, 18 
 Creation of Eve. Vatican, Rome, 19 
 The Transfiguration. Vatican, Rome, 19 
 Madonna of Foligno. Vatican, Rome, 20 
 Fornarina. Barberina Palace, Rome, 25 
 The Sibyls. S. Maria della Pace, Rome, 27 
 Galatea. Farnesina Villa, Rome, 28 
 Portrait of Julius II. Uffizi Galkry, Florence. 36 
 Madonna of the Goldfinch. Uffizi Gallery, Florence, 37 
 Madonna of the Chair. Pitti Gallery, Florence, 40 
 Madonna of the Grand Duke. Pitti Gallery, Florence, 
 42 
 
 [179] 
 
INDEX 
 
 RAPHAEL SANZIO, (Continued) 
 
 Portrait of Julius II. Pitti Gallery, Florence, 42 
 Portrait of Leo X. Pitti Gallery, Florence, 43 
 Marriage of the Virgin. Brera Gallery, Milan, 75 
 The Sistine Madonna. Dresden Gallery, 85 
 Madonna of the Garden. Louvre, Paris, 123 
 Holy Family of St. Francis. Louvre, Paris, 124 
 St. Michael and the Dragon. Louvre, Paris, 125 
 
 REMBRANDT VAN RYN, 
 
 Portrait of Artist and Wife, Saskia. Dresden Gallery, 94 
 The Night Watch. Ryks Museum, Amsterdam, 109 
 The Cloth Merchants. Ryks Museum, Amsterdam, 1 1 1 
 The School of Anatomy. The Hague, Holland, 115 
 The Supper at Emmaus. Louvre, Paris, 138 
 
 RENT, GUIDO, 
 
 Aurora. Rospigliosi Palace, Rome, 23 
 
 St. Michael and the Dragon. S. Maria dei Cappuccini, 
 
 Rome, 24 
 Beatrice Cenci. Barberini Palace, Rome, 25 
 
 REYNOLDS, Sis JOSHUA, 
 
 Angel Heads. National Gallery, London, 162 
 Tragic Muse (Mrs. Siddons). Grosvenor House, 
 London, 172 
 
 RIBERA, Josic DI, 
 
 St. Agnes. Dresden Gallery, 92 
 
 ROMANO, GIULIO, 
 
 The Dance of the Muses. Pitti Gallery, Florence, 43 
 
 RUBENS, PETER PAUL, 
 
 The Battle of the Amazons. Old Pinakothek, Munich, 
 
 8 ? 
 Christ Child, St. John and Angels. Berlin Gallery, 102 
 
 Descent from the Cross. Antwerp Cathedral, 119 
 Life of Maria de' Medici. Louvre, Paris, 133 
 Helen Fourment and Children. Louvre, Paris, 144 
 The Straw Hat. National Gallery, London, 157 
 [180] 
 
INDEX 
 
 SARGENT, John S., 
 
 Carmencita. Luxembourg, Paris, 147 
 
 Lady Macbeth (Ellen Terry). Tait Gallery, London, 
 
 169 
 SARTO, ANDREA DEL, 
 
 Madonna of the Harpies (detail). Ufnzi Gallery, 
 
 Florence, 31 
 
 The Holy Family. Pitti Gallery, Florence, 46 
 The Last Supper. San Salvi, Florence, 58 
 SCHEFFER, ARY, 
 
 St. Augustine and his Mother, Monica. Louvre, 
 
 Paris, 126 
 SODOMA, IL, 
 
 St. Sebastian. Ufnzi Gallery, Florence, 32 
 STEEN, JAN, 
 
 Christmas. Ryks Museum, Amsterdam, 113. 
 STOTHARD, THOMAS, 
 
 The Canterbury Pilgrims. National Gallery, London, 
 
 161 
 TENIERS, DAVID, 
 
 Village Fete. Dresden Gallery, 96 
 TER BORCH, GERARD, 
 
 The Despatch. The Hague, Holland, 1 1 7 
 
 Officer Offering Money to Young Woman. Louvre, 
 
 Paris, 141 
 TINTORETTO IL (Jocopo ROBUSTI), 
 
 Christ and the Adulteress. Academy, Venice, 63 
 Minerva Driving Away Mars. Doges' Palace, Venice, 
 
 68 
 Marriage of Bacchus and Ariadne. Doges' Palace, 
 
 Venice, 69 
 
 Miracle of St. Mark. Old Library, Venice, 69 
 Finding the Body of St. Mark. Brera Gallery, Milan, 
 
 77 
 Origin of the Milky Way. National Gallery, London, 
 
 155 
 
 [181] 
 
INDEX 
 
 TITIAN (TIZIANO VECELLI), 
 
 Flora. Uffizi Gallery, Florence, 38 
 
 Magdalene. Pitti Gallery, Florence, 39 
 
 La Bella. Pitti Gallery, Florence, 40 
 
 Assumption. Academy, Venice, 60 
 
 Presentation in the Temple. Academy, Venice, 61 
 
 The Madonna of the Pesaro Family. The Frari, 
 
 Venice, 71 
 
 Tribute Money. Dresden Gallery, 88 
 Portrait of the Artist. Berlin Gallery, 105 
 Lavinia, Titian's Daughter. Berlin Gallery, 106 
 Entombment. Louvre, Paris, 122 
 Man with a Glove. Louvre, Paris, 123 
 
 TROYON, CONSTANT, 
 
 Cattle Going to Work. Louvre, Paris, 130 
 
 TURNER, JOSEPH MALLORD WILLIAM, 
 
 The Fighting Temeraire. National Gallery, London, 
 
 166 
 VAN DYCK, SIR ANTHONY, 
 
 Charles I. and His Horse. Louvre, Paris, 136 
 
 VELASQUEZ, DIEGO RODRIGUEZ DE SILVA Y, 
 
 Portrait of the Artist. Old Pinakothek, Munich, 80 
 Portrait of Allesandro Borro. Berlin Gallery, 101 
 Portrait of L'Infanta Marguerite. Louvre, Paris, 139 
 Portrait Philip IV. (full length). National Gallery, 
 
 London, 156 
 Portrait Philip IV. (half length). National Gallery, 
 
 London, 156 
 
 VERONESE, PAOLO, 
 
 Supper in the House of Simon. Academy, Venice, 62 
 Adoration of the Magi. Dresden Gallery, 91 
 The Madonna of the Cuccina Family. Dresden Gal- 
 lery, 92 
 
 Marriage at Cana. Louvre, Paris, 126 
 Christ in the House of Simon. Louvre, Paris, 126 
 St. Helena. National Gallery, Londor^ 154 
 
 [182] 
 
INDEX 
 
 VERROCHIO, ANDREA DEL, 
 
 The Baptism. Academy, Florence, 50 
 
 VINCI, LEONARDO DA, 
 
 The Last Supper. Santa Maria delle Grazia, Milan, 73 
 Head of Christ. Brera Gallery, Milan, 75 
 Mona Lisa. Louvre, Paris, 122 
 
 VIVARINI, 
 
 Madonna and Child. Berlin Gallery, 104 
 
 VOLTERRA, DANIELE DA, 
 
 Descent from the Cross. S. Trinita de' Monte, Rome, 
 
 26 
 UHDE, FRITZ VON, 
 
 Bethlehem. Dresden Gallery, 98 
 
 Christ in the Peasant's Hut. Luxembourg, Paris, 150 
 WATTS, GEORGE FREDERICK, 
 
 Cardinal Newman. National Portrait Gallery, Lon- 
 don, 169 
 
 Orpheus and Eurydice. Tait Gallery, London, 170 
 
 Hope. Tait Gallery, London, 171 
 WERFF, ADRIAN VAN DER, 
 
 Reading Magdalene. Dresden Gallery, 94 
 WEYDEN, ROGER VAN DER, 
 
 Magi Worshiping the Star. Berlin Gallery, 107 
 
 Naming the Little St. John. Berlin Gallery, 107 
 WHISTLER, JAMES MCNEIL, 
 
 My Mother. Luxembourg, Paris, 146 
 
PICTURES AND THEIR PAINTERS 
 
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