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Title: The Children's Book of Celebrated Pictures

Author: Lorinda Munson Bryant

Release date: September 26, 2008 [eBook #26703]

Language: English

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*** START OF THE PROJECT GUTENBERG EBOOK THE
CHILDREN'S BOOK OF CELEBRATED PICTURES ***

E-text prepared by Sankar Viswanathan, Colin Bell, Joseph Cooper,
and the Project Gutenberg Online Distributed Proofreading Team
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Transcriber's Note.
The images in this eBook of the paintings are
from the original book. However many of these
paintings have undergone extensive restoration.
The restored paintings are presented as modern
color images with links.

THE CHILDREN'S BOOK
OF

CELEBRATED PICTURES

BY

LORINDA MUNSON BRYANT
Author of "Famous Pictures of Real Boys and Girls," "Famous
Pictures of Real Animals," etc.

Please click here for a modern color image

PUBLISHED BY THE CENTURY CO.

New York

Copyright, 1922, by

The Century Co.

To My Daughter

BERTHA COOKINGHAM BRYANT

LIST OF ILLUSTRATIONS
FIGURE PAGE
1. The Holy Family. Pintoricchio. Academy, Siena 3
2. The Valley Farm. Constable. National Gallery, London 5
3. Madonna and St. Jerome. Correggio. Parma Gallery, Italy 7
4. The Wood-Gatherers. Corot. Corcoran Art Gallery,
Washington, D.C. 9
5. The Aurora. Guido Reni. Rospigliosi Palace, Rome 11
6. Singing Boys. Franz Hals. Cassel Gallery, Germany 13
7. St. Barbara. Palma Vecchio. Santa Maria Formosa, Venice 15
8. Charles I and His Horse. Van Dyck. Louvre, Paris 17
9. The Gale. Homer. Worcester Art Museum, Massachusetts 19
10. Madonna del Gran' Duca. Raphael. Pitti Palace, Florence 21
11. Joan of Arc. Bastien-Lepage. Metropolitan Museum of Art,
New York City 23
12. The Fates. Michael Angelo. Pitti Palace, Florence 25
13. Madonna of the Chair. Raphael. Pitti Palace, Florence 27
14. Wolf and Fox Hunt. Rubens. Metropolitan Museum of Art,
New York City 29
15. The Night Watch. Rembrandt. Ryks Museum, Amsterdam 31
16. The Assumption. Titian. Academy, Venice 33
17. The Melon-Eaters. Murillo. Pinakothek, Munich 35
18. The Muses. Romano. Pitti Palace, Florence 37
19. "Come Abide with Us." Fra Angelico. San Marco, Florence 39
20. The Supper at Emmaus. Rembrandt. Louvre, Paris 41
21. Children of Charles I. Van Dyck. Dresden Gallery 43
22. The Buttery. De Hooch. Ryks Museum, Amsterdam 45
23. Coronation of the Virgin. Botticelli. Uffizi Palace, Florence 47
24. The Wolf-Charmer. La Farge. City Art Museum, St. Louis 49

25. The Old Woman Cutting Her Nails. Rembrandt. Metropolitan
Museum of Art, New York City 51
26. The Spinner. Maes. Ryks Museum, Amsterdam 53
27. St. George and the Dragon. Carpaccio. Church of San
Giorgio degli Schiavoni, Venice 55
28. The Grand Canal. Turner. Metropolitan Museum of Art, New
York City 57
29. Song of the Lark. Breton. Art Institute, Chicago 59
30. The Holy Night. Correggio. Dresden Gallery 61
31. The Gleaners. Millet. Louvre, Paris 63
32. St. Cecilia. Raphael. Bologna, Italy 65
33. Helena Fourment and Her Son and Daughter. Rubens.
Louvre, Paris 67
34. The Harp of the Winds. Martin. Metropolitan Museum of Art 69
35. The Tribute Money. Titian. Dresden Gallery 71
36. The Maids of Honor. Velasquez. Madrid Gallery, Spain 73
37. The Nymphs. Corot. Louvre, Paris 75
38. St. Francis Preaching to the Birds. Giotto. Upper Church,
Assisi, Italy 77
39. The Governess. Chardin. Liechtenstein Gallery, Vienna 79
40. The Last Supper. Leonardo da Vinci. Santa Maria delle
Grazie, Milan 81
41. Sir Galahad. Watts. Eton College, England 83
42. The Duchess of Devonshire and Her Child. Reynolds. Royal
Gallery, Windsor 85
43. St. Agnes and Her Lamb. Andrea del Sarto. Pisa Cathedral,
Italy 87
44. Whistler's Mother. Whistler. Luxembourg, Paris 89
45. St. Christopher. Titian. Doges Palace, Venice 91
46. The Blue Boy. Gainsborough. Private Gallery, Henry
Huntington, Los Angeles, California 93
47. The Sleeping Girl. Van der Meer. Metropolitan Museum of
Art, New York City 95

48. St. Anthony and the Christ-Child. Murillo. Museum of
Seville, Spain 97
49. King Lear. Abbey. Metropolitan Museum of Art, New York
City 99
50. Sunset in the Woods. Inness. Corcoran Art Gallery,
Washington, D. C. 101

Dear Children:
The stories I am telling about the pictures and their painters in this book are
gathered from many countries. Some of them belong to very early times
when history was told to grown up people by story-tellers at banquets and
in the homes, on the street corners and public halls. Some of the stories are
legends and traditions that grew up with the beginnings of the Christian era.
All of them are taken from authentic sources and many of them illustrate
some natural law.
The artists who painted these pictures knew history and the early myths, the
fairy-tales, the legends and the traditions, the Bible and the Apocrypha. We
love these pictures because they are beautiful and true, but really to
understand them we must know what the artists had in mind when they
painted them.
If you learn to know these pictures and love them, I will make you another
book soon about statues and their stories.
With love and best wishes, from your
friend,
Lorinda Munson
Bryant

THE HOLY FAMILY
Bernardino Pintoricchio (1454-1513)

n looking at pictures of the old masters you will often see one called the
"Holy Family." I want you to know who belonged to the Holy Family.
The grown people are Joseph and Mary, the father and mother of Jesus;
they had no last names at that time. The children are Jesus and his cousin,
John the Baptist, six months older than Jesus. Sometimes the little John's
mother, Elizabeth, is in the picture and sometimes his father, Zacharias, is
there also.
In this picture painted by Pintoricchio, Jesus is about four years old and
John four and a half. The Bible story gives very little about the growing up
of these children. Of Jesus it says, "And the child grew, and waxed strong in
spirit, filled with wisdom; and the grace of God was upon him." And of
John it says, "And the child grew, and waxed strong in spirit, and he was in
the deserts till the day of showing unto Israel."
One story from a very old book, "The Infancy," tells about Jesus playing
with the other boys. It says:
"And when Jesus was seven years of age, he was on a certain day with other
boys, his companions about the same age. Who when they were at play,
made clay into several shapes, namely, asses, oxen, birds, and other figures,
each boasting of his work, endeavoring to exceed the rest.
"Then the Lord Jesus said to the boys, I will command these figures which I
have made to walk. And immediately they moved, and when he
commanded them to return they returned. He also made figures of birds and
sparrows, which, when he commanded to fly, did fly, and when he
commanded to stand still, did stand still; and if he gave them meat and
drink, they did eat and drink."

Courtesy of Pratt Institute

Fig. 1. The Holy Family. Pintoricchio. Academy, Siena

THE VALLEY FARM
John Constable (1776-1837)

n old man, eighty-four years of age, lived in this house on "The
Valley Farm," in England. He was born here and he used to say that
he had never been away from this house but four days in all his life.
He asked Constable to come and paint a picture of his home. And what a
beautiful picture it is! The old house, snuggled down so close to the little
stream, could paddle its feet—if it had any—in the cool water. And see how
tenderly the tall trees keep guard over it. How we wish that we could be
there too! If only we could be in the punt—I am sure it is a punt-boat even
if one end of it is pointed—and be rowed up and down in the delightful
shade. Those two in the boat have no doubt been for the cows and are
driving them home to be milked.
John Constable liked to choose his subjects for his pictures from the
familiar scenes near his home. He used to say to his friends:
"I have always succeeded best with my native scenes. They have always
charmed me, and I hope they always will."

Fig. 2. The Valley Farm. Constable. National Gallery,
London
Please click here for a modern color image

THE MADONNA AND CHILD WITH
ST. JEROME
Antonio Allegri Da Correggio (1494?-1534)

orreggio loved to paint darling babies, lovely angels, beautiful
women and splendid men. In this picture of "the Madonna and St.
Jerome," I want you specially to see St. Jerome and his lion. St.
Jerome, a very noted man who lived four centuries after Christ, was the first
person to translate the New Testament into Latin. It was called "The
Vulgate," because of its common use in the Latin Church.
When St. Jerome was thirty years old he went away from the city of Rome
and became a hermit and lived in desert places in the East. One day, so the
story goes, as he sat at the gate of the monastery a lion came up limping as
though he had been hurt. The other hermits ran away but St. Jerome went to
meet the lion. The lion lifted up his paw and St. Jerome found a thorn in his
foot. He took out the thorn and bound up the poor paw, so the lion stayed
with St. Jerome and kept guard over an ass that brought the wood from the
forest.
One day when the lion was asleep a caravan of merchants came along and
stole the ass. The poor ashamed lion hung his head before the saint, and
Jerome thought he had killed and eaten the ass. To punish him St. Jerome
had him do the work of the ass and bring the wood from the forest. One day
some time afterward the lion saw the ass coming down the road leading a
caravan of camels. The Arabs often have an ass lead the camels. The lion
knew that it was the stolen ass, so he led the caravan into the convent
grounds. The merchant found that he was caught. St. Jerome was very glad
to find that his lion was honest and true. Whenever you see a picture of a
saint with a lion you must remember that it is St. Jerome, the great Latin
scholar.

Courtesy of Pratt Institute

Fig. 3. Madonna and St. Jerome. Correggio. Parma
Gallery, Italy
Please click on the image for a larger image.

Please click here for a modern color image

THE WOOD GATHERERS
Jean Baptiste Camille Corot (1796-1875)

he picture of "The Wood Gatherers" is very precious to us. It is the
last picture Corot signed after he was confined to the bed, a few days
before he died.
A curious story is told of Corot's painting this picture. He had an old study
of another artist's of a landscape with St. Jerome at prayer: you remember I
told you the story of St. Jerome and his lion. Corot took the study and made
a number of sketches of it. Somehow his landscape would not fit St.
Jerome, so he painted a man on horseback and a dog going off into the
woods. Then in the place of St. Jerome praying he put a woman gathering
bits of wood and another woman with a bundle of fagots under her arm.
Now the picture must have another name and he called it "The Wood
Gatherers." When you go to Washington, you must not fail to see this
picture in the Corcoran Art Gallery.

Fig. 4. The Wood-Gatherers. Corot. Courtesy of the Corcoran Art
Gallery, Washington, D. C.
Please click here for a modern color image

AURORA
Guido Reni (1575-1642)

yperion had three wonderful children, Apollo, the god of the sun,
Selene, the goddess of the moon, and Aurora, the goddess of the
dawn. When Aurora appears her sister, Selene (the moon), fades and
night rolls back like a curtain. Now let us look at this masterpiece by Guido
Reni carefully that we may know how wonderful is the coming of day.
Aurora, in a filmy white robe, is dropping flowers in the path of Apollo (the
sun) as he drives his dun-colored horses above the sleeping Earth. The
Horæ (the hours), a gliding, dancing group of lovely beings, accompany the
brilliant god. Each hour is clothed in garments of a special tint of the great
light of day, red, orange, yellow, green, blue, purple, and violet. The golden-
hued Apollo sits supreme in his chariot of the sun.
The fresco—fresco means painted on fresh plaster—is on the ceiling of the
Rospigliosi Palace, Rome. The painting is as brilliant in color to-day as it
was when painted three hundred and fifty years ago.
Aurora, like most of the gods and goddesses, fell in love with a mortal. She
asked Zeus to make her husband immortal but she forgot to ask that he
should never grow old. And, fickle woman that she was! when he became
gray and infirm, she deserted him and, to put a stop to his groans, she
turned him into a grasshopper.
Her son, Memnon, was made king of the Ethiopians, and in the war of Troy
he was overcome by Achilles. When Aurora, who was watching him from
the sky, saw him fall she sent his brothers, the Winds, to take his body to the
banks of a river in Asia Minor. In the evening the mother and the Hours and
the Pleiades came to weep over her dead son. Poor Aurora! even to-day her
tears are seen in the dewdrops on the grass at early dawn.

Courtesy of Pratt Institute

Fig. 5. The Aurora. Guido Reni. Rospigliosi Palace, Rome
Please click on the image for a larger image.
Please click here for a modern color image

THE SINGING BOYS
Frans Hals (1584?-1666)

hese jolly singers are Dutch boys. They are singing on the street or in
some back yard just as singers do to-day, though they lived nearly
three hundred years ago.
Hals was such a rapid painter that he could make a picture while you wait.
The story is told that one time young Van Dyck, the Flemish painter who
painted "Baby Stuart," went to see Hals in Amsterdam when Hals was an
old man. Van Dyck did not tell the old artist that he was Van Dyck but
simply asked him to paint his portrait, knowing what a rapid painter Hals
was. In an hour the picture was done. Van Dyck remarked, as he looked at
the portrait:
"That seems easy; I believe I could do it."
Hals thought he would have some fun, so he told the young stranger that he
would sit for him just one hour.
Van Dyck set his easel where Hals could not see him work and began to
paint. At the end of an hour he said:
"Your picture is finished, sir."
Hals, ready to laugh at the daub, looked at the portrait and the laugh went
out of his face. He then looked at Van Dyck, and cried out:
"You must be either Van Dyck or a wizard!"
You see, Hals had heard of Van Dyck and his rapid work, and knew that
only a master painter could make the splendid portrait in an hour.

Permission of Franz Hanfstaengl, New York City

Fig. 6. Singing Boys. Frans Hals. Cassel Gallery, Germany
Please click here for a modern color image

ST. BARBARA
Jacopo Palma Il Vecchio (1480?-1528)

t. Barbara, born a. d. 303, was a very beautiful girl. Her father, an
eastern nobleman, loved her so much and was so afraid something
might happen to her that he built a very wonderful tower for her home
and shut her up in it. And in that tower she studied the stars. Night after
night she looked at the heavenly bodies until she knew more about the sun
and the moon and the stars than any of the learned men. But as she studied
the shining bodies she decided that worshiping idols, made of wood and
stone, as her father did, was wrong. Finally she learned about the Savior,
and to show her faith in Christianity she had some workmen who were
making repairs on her tower put in three windows. When her father came as
usual to visit her, he asked in surprise what the three windows were for. She
replied:
"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."
Her father was very angry when he found she had learned about the Savior
and had become a Christian. He condemned her to death and at last took her
out on a hill and killed her, but he, too, was struck dead. St. Barbara is
always represented with a tower that has three windows in it.
Palma Vecchio painted this picture for some Venetian soldiers nearly four
hundred years ago. When the Germans bombarded Venice (1918) the
Venetians took the picture from the church to a place of safety. Scarcely a
week had passed before a bomb broke through the roof of the church
tearing everything before it at the exact spot where the picture had hung.
But "St. Barbara," one of the great pictures of the world, was safe.

Fig. 7. St. Barbara. Palma Vecchio. Santa
Maria Formosa, Venice
Please click here for a modern color image

CHARLES I AND HIS HORSE
Sir Anthony Van Dyck (1599-1641)

he horse in this picture of Charles I is probably the one Rubens gave
to Van Dyck. It is said that Rubens gave it as a present after Van Dyck
had painted a portrait of Helena Fourment, the master's second wife,
and presented it to him. Van Dyck was twenty-two years younger than
Rubens. You will remember that he was the master painter's favorite pupil.
Having Rubens as a teacher did not make the pupil a great painter. Van
Dyck was never more than a prince; just an heir to the throne. Rubens was a
king and sat on the throne.
The story is told that once Rubens was away from his private studio when
the students bribed the servant to open the door for them. They stole into
the master's studio to see "The Descent from the Cross," which he was then
painting. By some mishap the culprits rubbed against the wet paint and
spoiled that part of the picture. Of course they were terrified at the damage
done. They finally decided that Van Dyck was the one to repair the spot.
The work was so well done that they hoped Rubens would not see the
repairs. But the first thing that caught the eye of the master was that
particular spot. He at once sent for the students and asked who had worked
on his picture. Van Dyck stepped out from the others and frankly confessed
that he was the culprit. Rubens was so pleased with his frankness and also
at the skill of the work that he forgave them all.
King Charles I invited Van Dyck to come to England, and then he knighted
him and gave him a pension for life. The hundreds of pictures of the royal
family and court people of England left by Van Dyck show us how rapidly
he could paint, for the artist died when he was only forty-two years old.

Fig. 8. Charles I and His Horse. Van Dyck. Louvre, Paris
Please click here for a modern color image

THE GALE
Winslow Homer (1836-1910)

inslow Homer lived in Maine, where he heard the roar of mighty
waters beating the rocks all day and all night. Some days the ocean
grew so angry because the winds whirled its waters about in such a
cruel manner that it would fling itself upon the sands and rocks as though to
tear everything to pieces. The waves would raise up like furious horses
champing their bits and foaming at the mouth. Somehow these angry waves
could never go beyond a certain point, and the mother carrying her baby
along the coast knows just the point at which the waves must stop. Let us
clap our hands and shout with joy that old ocean cannot hurt that mother
and her baby. Fill your lungs full of that glorious breeze whipping their hair
and clothes. Open your eyes wide like the baby and let the salt air polish
them until they sparkle like diamonds as the baby's do.
Winslow Homer loved old ocean, and so do we! Let us love his pictures of
old ocean for he has taught us that that mighty power is under a greater
Power.

Fig. 9. The Gale. Homer. Courtesy of Worcester Art Museum,
Massachusetts
Please click here for a modern color image

MADONNA DEL GRAN' DUCA
Raphael Sanzio (1483-1520)

want you to learn everything you can about Raphael. He was so kind
and gentle and beautiful that everybody loved him. People said that
when he walked on the streets of Rome scores of young men went with
him until one would think him a prince. The pope gave him a large order to
decorate the Vatican, the pope's home. Every artist was willing to help him
because he was always ready to do anything he could to help his brother
artists.
Raphael only lived to be thirty-seven. When he died all Italy mourned his
death, and his funeral was one of the largest of any artist of his time.
When Raphael was only twenty-one he painted the "Madonna del Gran'
Duca." He had gone to Florence for the first time. We do not know where
the picture was for a hundred years after it was painted; then the painter
Carlo Dolci owned it. Again another hundred years went by, and we find it
in possession of a poor widow. She sold it to a picture-dealer for about
twenty dollars. It then went into the hands of the grand duke of Tuscany,
Ferdinand III, for the big sum of eight hundred dollars. No amount of
money could buy the picture to-day.
Ferdinand loved the picture so much that he always took it with him on all
his travels and the grand duchess, his wife, felt that her baby boys were
purer if she had the picture near her. It got its name "Madonna of the Grand
Duke" from the title of the family.

Fig. 10. Madonna del Gran Duca. Raphael.
Pitti Palace, Florence
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JOAN OF ARC
Jules Bastien-Lepage (1848-1884)

o young girl in history has had such a wonderful story as Joan of Arc.
She began to hear voices and see visions when she was a little child.
She was born in the tiny village of Domremy, France. Just like the
other little peasant girls around her she helped her mother about the house
and at the spinning. Also she went into the fields with her brothers.
One day when she was in the garden the Archangel St. Michael came to her
in a glory of light. He said she was a good little girl and that she must go to
church and that some day she was to do a great act; she was to crown the
dauphin as king of France at Rheims. Joan was afraid and cried at what the
angel told her, but St. Michael said, "God will help you."
These messages kept coming to her until, when she was sixteen, the voices
insisted, "You must help the king, and save France."
France was in a terrible state at this time, 1428. The English held most of
France. The French king, Charles VI, became insane and died. The son,
Dauphin Charles, was weak and lazy and discouraged; he had no money, no
army, no energy, and like most cowards, ran from his duty and wasted his
time in wickedness.
Joan was still urged by voices to save France. At last a peasant uncle went
with her to a man in power to ask for troops. The man was angry, and said
sharply:
"The girl is crazy! Box her ears and take her back to her father." But Joan
did not give up. She insisted that some one must take her to Dauphin
Charles, that God willed it. She said:
"I will go if I have to wear my legs down to my knees." She went, and she
saved France by crowning the dauphin as Charles VII at Rheims. But the

French and the English people condemned Joan of Arc as a witch and
burned her at the stake. Too late they cried:
"We are lost! We have burned a saint!"

Fig. 11. Joan of Arc. Bastien-Lepage. Courtesy of the
Metropolitan Museum of Art, New York City
Please click here for a modern color image

THE FATES
Michael Angelo Buonarroti (1474-1564)

hen a new baby comes to a home, legend says, three beautiful
young girls come to take care of the baby all through its life, but no
one ever sees these young girls. Each one has a strange work to do.
One, called Clotho, carries a spindle on which is wound flax. The second,
named Lachesis, twists a thread from the spindle, called the thread of life.
And Atropos, the third, has a pair of shears ready to cut the thread of life.
A funny story is told about Michael Angelo when he designed this picture
of "The Fates." An old woman annoyed the artist very much by coming
every day to see him. She insisted that he should appoint her son a special
place in the fighting line in the seige of Florence (1529). Michael Angelo
took revenge on the old woman by using her as a model for all of the
women in his "Fates." And that is why Michael Angelo's fates are old
women instead of young girls, as legend says they are.

Courtesy of Pratt Institute

Fig. 12. The Fates. Michael Angelo. Pitti
Palace, Florence

THE MADONNA OF THE CHAIR
Raphael Sanzio (1483-1520)

e like to believe that Raphael, in one of his daily walks in the
country, really did see this mother and her two little boys sitting in
a doorway. Of course he must paint them, and having no paper
with him he rolled up a barrel and made a sketch on the head of it. The story
says that this barrel was once a part of a great oak-tree that stood by the hut
of an old man, a hermit up in the mountains. And the mother of the two
boys, when a little girl, used to go to see the old man. He loved these two—
the little girl and the big oak-tree—and called them his daughters.
He used to say that some day they would both be famous. That was more
than four hundred years ago, and to-day this picture of "The Madonna of
the Chair" is one of the most famous Madonna pictures. It is found in
almost every home in America and is a treasure that belongs to all of us
though it hangs in a gallery at Florence, Italy.
We know, too, that Raphael did not let any of his helpers work on "The
Madonna of the Chair"—in Italian, "Madonna della Sedia." He painted
every brush stroke himself, which makes it still more dear to us.

Courtesy of Pratt Institute

Fig. 13. Madonna of the Chair. Raphael. Pitti Palace,
Florence
Please click on the image for a larger image.
Please click here for a modern color image

THE WOLF AND FOX HUNT
Peter Paul Rubens (1577-1640)

he stables of Peter Paul Rubens were known the country over. No
prince in the land had more magnificent horses, and no cavalier could
ride with more grace and ease than Rubens.
When Van Dyck, the artist who painted "Baby Stuart," was ready to leave
the studio of Rubens to travel in Italy, the master gave him a beautiful horse
from his own stables. Van Dyck probably used this horse as a model in his
picture of "Charles I and his Horse."
Now look at Rubens on the splendid dappled white horse in "The Fox and
Wolf Hunt." His first wife, Isabel Brant, is on his right hand. She carries her
falcon balanced on her wrist, his wings spread out in excitement. We feel
that Rubens and his horse together are directing every movement in the
hunt. That horse has all the alertness of the trained dogs and is just as eager
in overcoming brute force as men are. In fact we are so fascinated with his
beauty and intelligence that the cruel sport is almost forgotten in our interest
in him and his master.
Rubens painted a number of hunting scenes, and always he manages the
hunt with the skill of a master. The confusion of the rough-and-tumble fight
between the wild beasts and the horses, dogs, and men in Rubens' pictures
seems to untangle itself under his glorious color and skilful arrangement.
This is a picture you must see. When you go to New York City never fail to
visit the Metropolitan Museum of Art.

Fig. 14. Wolf and Fox Hunt. Rubens. Courtesy of the Metropolitan
Museum of Art, New York City
Please click here for a modern color image

THE NIGHT WATCH
Rembrandt Van Rijn (1607?-1669)

ne time, more than two hundred and fifty years ago, two little
children living in Amsterdam were playing at the edge of the city
just at evening. Soon they overheard some Spanish soldiers near-by
talking together. They began to understand that the men were making some
kind of plans and, listening very sharply, they found that the Spaniards
intended to attack the city of Amsterdam that night. The Spaniards were
fighting the Netherlands at that time. You can imagine how frightened the
children were. They knew that they must tell some one about it at once.
Very quietly they crept away from where the men were, then ran for their
lives to the town hall. The Civic Guard were having a banquet there.
Rembrandt has painted the scene just as the little girl, in the center of the
group, has finished her story. The men are making ready to meet the attack.
Some have on their armor, some are polishing their guns, some have their
drums, and all are full of excitement.
When the painting was to be put in the new Ryks Museum, in Amsterdam,
it was found that the wall was too narrow for the picture. What do you think
the authorities did? The stupid men cut a piece off from each side of the
picture to fit it in its new place. Was ever anything so silly? Even those
pieces cut off would bring more money to-day than the museum itself cost.
The men who had money at the time Rembrandt painted the picture were
angry because the artist would not make portraits as they wanted them.
They ignored Rembrandt, and he became very poor and died unknown. To-
day those rich men are forgotten and Rembrandt is known the world over.

Fig. 15. The Night Watch. Rembrandt. Ryks Museum,
Amsterdam
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THE ASSUMPTION
Titian, or Tiziano Vecelli (1477-1576)

itian lived to be ninety-nine-years old and still painted pictures. He
was working on a painting when an awful plague broke out in Venice,
and he took it and died. Titian painted such wonderful pictures that
kings came to see them and rich noblemen paid big sums of money to own
them. Sometimes King Charles V would ride with Titian and would have
his courtiers pay tribute to Titian and wait on him. This made those haughty
men very jealous and very angry, but Charles V would say, "I have many
nobles, but I have only one Titian."
Titian's picture of the "Virgin going to Heaven" the whole world calls one
of the greatest pictures ever painted. Some day I hope you will go to Venice,
that Queen City of the Sea, and fasten your gondola at the Museum door
while you go in to see this picture. You will be so dazzled with its bright
color that you will hardly see the little cherubs circling around the blessed
mother. But I want you to look at them; they are darlings: then look at the
men all reaching up and the Father in the sky looking down. The story of
the picture is about Mary, the mother of Jesus, going to heaven.

Fig. 16. The Assumption. Titian. Academy,
Venice
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THE MELON EATERS
Bartolome Esteban Murillo (1618-1682)

hen the Spanish artist Murillo was a young painter he was very
poor and hardly knew where to get enough to eat. He would go to
the market-place and set up his easel and rapidly paint the scenes
around him. The people who came to the market to buy and sell saw these
pictures and bought them for a mere pittance.
Often beggar boys, who were everywhere in the market snatching fruits and
other eatables from the stalls, would pose for him as they hid in some
corner to eat their stolen dainties. These beggar-boy pictures that Murillo
sold for a song to keep his soul and body together began to attract attention
until finally they were looked upon as the greatest pictures Murillo ever
painted. People outside of Spain, Murillo's native country, bought them
until to-day scarcely a beggar-boy picture of his is found in Spain.
This picture of "The Melon Eaters" is known far and wide as a great
masterpiece, and yet the boys were little rag-a-muffins, the pests of the
market people. Murillo knew the joys and sorrows of those boys because he
too at that time was very poor and hungry and no one was giving him a
helping hand. Do you suppose that when he was famous as a painter he ever
saw those boys? I think so, for he was greatly beloved by his townspeople
of Seville. They probably came to his studio many times. Murillo painted
many religious pictures for the churches of Seville.

Courtesy of Pratt Institute

Fig. 17. The Melon Eaters. Murillo.
Pinakothek, Munich
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THE MUSES
Giulio Romano (1492-1546)

am sure you have heard of the Muses. Romano, a pupil of Raphael's,
has left us this beautiful picture of them dancing with Apollo, their
cousin. The Muses were the daughters of Zeus (Jove or Jupiter), and
Memory. These lovely girls also come to every home to help care for the
new baby.
The Greek names of the Muses are rather hard to pronounce, but you will
want to call them by name. Then, too, each girl's name in Greek letters is
just below where she dances. Now begin at the left of the circle. The first
one, Calliope, stands for narrative poetry; No. 2, Clio, is history; No. 3,
Erato, is love-poetry; No. 4, Melpomene, is tragedy; No. 5, Terpsichore, is
dance and song. Now comes Apollo with his quiver full of arrows. He is the
god of the hunt and twin brother to Diana, the goddess of hunt; also he is
god of music and poetry. No. 6 is Polyhymnia, muse of hymn-music; No. 7,
Euterpe, is song poetry; No. 8, Thalia, is comedy, and No. 9, Urania, muse
of astronomy.
Athene gave the Muses the winged horse, Pegasus. But alack and alas! one
of the poets became very poor and sold Pegasus to a farmer. He was
fastened to the plow, but he could not plow through the hard earth. His
spirit was broken and his body was weak. The angry farmer tried to make
him work, but how could he when he had no courage? But just then a
beautiful youth came and asked the farmer to let him try the horse. Of
course the man was glad to have any one help get the plowing done. The
young man petted the horse and slyly unfastened the harness as he patted
him. He mounted upon his back and Pegasus rose in the air, and away they
both went, Pegasus and Mercury. The farmer looked on with amazement.
How could a good-for-nothing horse that could not plow do such a
wonderful thing as fly?

Courtesy of Pratt Institute

Fig. 18. The Muses. Romano. Pitti Palace, Florence
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"COME, ABIDE WITH US"
Fra Giovanni Angelico (1387-1455)

early two thousand years ago two men were walking together along a
dusty road in Palestine. They talked earnestly as they walked along
of a great event that had happened. A man called Jesus, the Christ,
had been crucified and buried, but after three days he was not found in the
tomb. As the men talked, a traveler joined them and asked:
"What is it ye talk about and are sad?"
And the men asked if he were a stranger in Jerusalem and did not know the
things that had come to pass.
The stranger said, "What things?"
Then the men told him of Jesus of Nazareth, which was a prophet mighty in
deed and word before God and all the people. And they said that they had
all hoped He was the mighty one who was to save the world but that He had
been killed.
Then the stranger, who was Jesus himself, but the men did not know Him,
began to tell them the story of all things about himself. Still they did not
know Him, and as they came to the village of Emmaus and the stranger
made as though He would have gone further, the men said, "Come, abide
with us."
This picture, showing the men inviting the stranger, was painted by Fra
Angelico for the Dominican monastery in Florence, Italy. You will find it
over the entrance of San Marco, where it welcomes every stranger who
comes.
Fra Angelico was so kind and gentle and helpful that his companions called
him "Angel Brother"; in Italian, "Fra Angelico."

Courtesy of Pratt Institute

Fig. 19. "Come, Abide with Us." Fra Angelico. San Marco, Florence
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THE SUPPER AT EMMAUS
Rembrandt Van Rijn (1607?-1669)

embrandt has taken the story of the two men and the stranger on
their way to Emmaus after they have gone into the house. You see
the disciples still did not know that the stranger was Jesus, the
Christ. But when He sat at meat with them, He took bread and blessed it
and brake and gave to them. Then they knew that it was the Savior who was
talking with them and sitting at the table with them. Rembrandt shows the
wondering men as they begin to recognize who their guest is, and he makes
us feel the warmth and gladness that fill their hearts when they know that it
is the risen Lord. The boy, too, lingers at the Savior's side as though to hear
the meaning of the scene. But as they look, Jesus disappears out of their
sight. When He is gone they say to each other:
"Did not our heart burn within us, while he talked with us by the way, and
while He opened to us the Scriptures?"
Rembrandt painted this picture after many sorrows had come to him. His
beloved Saskia, the mother of the "golden lad," Titus, was dead; friends had
deserted him and his patrons were gone. But the love of people still filled
the heart of the great painter.

Fig. 20. The Supper at Emmaus. Rembrandt.
Louvre, Paris
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THREE CHILDREN OF CHARLES I OF
ENGLAND
Sir Anthony Van Dyck (1599-1641)

he little boy standing between his brother and sister in this picture is
Baby Stuart, the same child that is in the picture of "Baby Stuart" that
you know so well. When Baby Stuart grew up he was crowned James
II, king of England (1685). His brother was Charles II, king of England, and
his sister was the mother of William III, king of England. James II, Baby
Stuart, had a daughter, Mary, who became Mary, queen of England. When
these cousins, William and Mary, grew up they were married and crowned
king and queen of England in 1689.
A funny story is told of the crowning ceremony. William was very short and
Mary was quite tall. It would not do to have Mary taller than her husband,
so a stool was brought for William to stand on. Now they are the same
height as they are crowned King William III and Queen Mary II of England.
When William and Mary ruled England the country was happy and
prosperous because love reigned in the royal household.
I have seen the stool that William stood on when he was crowned William
III of England. It is in Westminster Abbey, London. That is another
interesting bit of historic setting that you will see when you go to visit
England.
Sir Anthony Van Dyck, the Flemish artist, painted many pictures of the
royal families of England, especially the family of Charles I. He put little
dogs into his pictures so often that the people began to call these little
fellows "King Charles spaniels." To-day, two hundred years after, they are
still called King Charles spaniels.

Courtesy of Pratt Institute

Fig. 21. Children of Charles I. Van Dyck. Dresden Gallery
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THE BUTTERY
Pieter de Hooch (1632?-1681)

ieter de Hooch is a Dutch artist you are going to love. Usually you
can tell his pictures by the checked or plaid floors. The floors in the
homes in Holland are mostly made of squares of black and white
marble. Did you ever see a cuter little girl than this one in the picture? She
has come for her pitcher of milk. Her mother went to the "buttery" for it: a
buttery is a place for keeping casks and barrels and bottles. We can see one
end of the cask or barrel under the window in the buttery. Now look into the
next room and see the chair on a little platform. That platform is quite
common in the Dutch home and is probably the place where mother or
grandmother sits to read or sew by the window. What a beautiful day it
must be out of doors to make the rooms so cheerful and bright! Hooch
loved the sunshine and used it to brighten every home he painted. The
sunshine on the checked floors makes his pictures sing with joy and
happiness.
We can find very little about the life of the "Dutch little masters," yet the
pictures they have left us are among our greatest treasures: just little home
scenes that you and I know about.
It is said that de Hooch often put in his people after he had finished painting
his picture. In one picture he has added a girl near a fireplace to make the
picture more balanced. We know that she was added after the picture was
made, for we can see the plaid floor through her dress where the paint was
too thin to cover the original floor. Such little things tell us something of the
method of work of the Dutch painters.

Courtesy of Pratt Institute

Fig. 22. The Buttery. De Hooch. Ryks Museum,
Amsterdam
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THE CORONATION OF THE VIRGIN
Sandro Botticelli (1446-1510)

he children who are holding the book and ink-bottle in this picture,
"The Coronation of the Virgin," lived four hundred years ago. Their
names are Giovanni and Giulio de' Medici. Botticelli, the artist, knew
them well for he was born and brought up in Florence and used to spend a
great deal of time at the Medici Palace.
The boys were cousins. Giulio, the younger, was left an orphan when a wee
child and his uncle, Lorenzo the Magnificent, adopted him and had him
brought up with his own son Giovanni. The boys were nearly the same age
and grew up to be great and good men. Both of them were popes of Rome.
The older boy, Giovanni, was Pope Leo X and Giulio Pope Clement VII.
Now look at the picture again. The Madonna is reading to her little son,
Jesus, "The Magnificat," that beautiful song from Luke, Chap. I, v. 46-56,
sung so often in our churches. Let us repeat the song together:

My soul doth magnify the Lord,
And my spirit hath rejoiced in God my Savior.
For He hath regarded the low estate of his handmaiden:
For, behold, from henceforth, all generations shall call
me blessed.
For He that is mighty hath done to me great things; and holy
is His name.
And His mercy is on them that fear Him from
generation to generation
He hath shewed strength with his arm;
He hath scattered the proud in the imagination of their
hearts.
He hath put down the mighty from their seats,
And exalted them of low degree.
He hath filled the hungry with good things;

And the rich he hath sent empty away.
He hath holpen his servant Israel, in remembrance of his
mercy;
As He spake to our fathers, to Abraham, and to his seed
for ever.

Courtesy of Pratt Institute

Fig. 23. Coronation of the Virgin. Botticelli. Uffizi Palace. Florence
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THE WOLF CHARMER
John La Farge (1835-1910)

ou see these wolves were once the old women gossips of the town,
the story says; and when these women were unkind in what they said
about people the Fates—I have told you another story about the
Fates—the Fates to punish them turned them into wolves. The Wolf
Charmer, who really is the old gypsy who killed the black cat of the village
witch, goes out into the night. The owl calls the wolves to attack the gypsy.
But the gypsy knew the old women before they were turned into wolves so
he calls them by name: "Kate, Anne, and Bee!" And soon they follow him
down the narrow path between the rocks and listen to his music on the
bagpipes. "A funny story!" you say. You know there are people who have a
strange power over wild animals.
John La Farge said about this picture, "I made it to be one of a series of
some hundred subjects, more or less fantastic and imaginary." He never
finished the pictures nor carried out his plan of making these books for
children. I am giving you "The Wolf Charmer" because he painted the
picture for you. Mr. La Farge named this picture as the one he liked best of
his paintings.

Courtesy of John La Farge

Fig. 24. The Wolf Charmer. La Farge.
Courtesy of the City Art Museum, St. Louis

THE OLD WOMAN CUTTING HER NAILS
Rembrandt Van Rijn (1607?-1669)

o artist in all history had a sadder life than Rembrandt. It was sad
because the people of Amsterdam were stupid and too blind to know
that a great man was living among them. Rembrandt could paint
wonderful portraits, and the rich people wanted their portraits painted. At
first all went well. The rich flocked to his studio and Rembrandt made
marvelous likenesses. Then the guilds of the great commercial houses
wanted pictures for their halls. They came to Rembrandt for these pictures,
but thinking that their money had bought the great artist body and soul, they
began to tell him how he should make the pictures that each one might have
equal prominence in it. Naturally Rembrandt would not be bought off with
money. His art was bigger than gold. The picture that was really the turning
point in his life was "The Night Watch." I wish you would look at the
picture again. You see the men away back in the picture were jealous that
they were not put in the front row. All they cared for was to have a fine
portrait of themselves and Rembrandt was only interested in making a great
picture.
Rembrandt went on painting but no one bought his pictures. Many sorrows
came to him. It was when the world had forsaken him that he painted "The
Old Woman Cutting her Nails." Now you can understand why Rembrandt
could paint an old woman with human sympathy. We could love that old
woman because the unkindness of the world made her more tender and true
to suffering humanity. She is the old grandmother we would go to if we
were in trouble.

Fig. 25. The Old Woman Cutting Her Nails.
Rembrandt. Courtesy of the Metropolitan
Museum of Art, New York City
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THE SPINNER
Nicolaes Maes (1632-1693)

his old woman is spinning flax. Have you ever seen a flax wheel?
When you go to Holland try to visit Dordrecht, and if possible, go
into a real Dutch home. There you may see some one, the
grandmother maybe, spinning flax; then you will know that this picture is
an actual scene.
Nicolaes Maes, who painted the picture, was born in Dordrecht or Dort.
This city is said to be the oldest city in the Netherlands; it was founded in
the tenth century. An old woman spinning was a familiar scene to Maes.
Now look at this spinner closely. She will not mind, for she is too intent on
picking up a thread, possibly a broken or a knotted one. Maes saw a picture
in the old woman's dull red dress and bright red sleeves. He liked the brown
wheel and the yellow floor and the beautiful bit of blue cloth thrown over
the wheel-base. Then he saw how beautifully the white kerchief and apron
and wall caught the light. He saw the helpfulness of the rugged old hand,
worn and scarred as it was, yet patient and firm in repairing a mistake.
Maes's "The Spinner" and Rembrandt's "The Old Woman Cutting her Nails"
make the tasks of every-day life very human. We in America owe much to
these old Dutch women and to the artists who have made them live for us.
This picture of "The Spinner" is only sixteen and one fourth inches high and
thirteen inches wide, yet that old woman at her spinning-wheel is as much a
real person in the room where she hangs on the wall as she was when Maes
painted her, nearly three hundred years ago. I want you to love these little
Dutch pictures; they are so honest and true and tell us about real people and
real things, and they make us feel that beauty is everywhere. Now look at
your grandmother as she mends your stockings and see how beautiful she is
with the light on her dear old face and hair.

Fig. 26. The Spinner. Maes. Ryks Museum,
Amsterdam

ST. GEORGE AND THE DRAGON
Vittore Carfaccio (1440?-1522)

t. George, a noble youth of Cappadocia, was one of the oldest and most
noted of the saints. The story always told of him is his killing the
dragon. Once upon a time St. George was going through Palestine on
horseback when he came to the City of Beirut. There he found a beautiful
young girl in royal dress weeping outside the walls of the city. When he
asked her why she was crying, she told him that a terrible dragon lived in
the marshes near the city. And to keep him from destroying every one in the
city, each day two young girls must be fed to him. These young girls were
chosen by lot, and this day she, Cleodolinda, the king's daughter, must be
eaten by the dragon.
St. George told her not to be afraid for he would destroy the dragon. But she
cried:
"O noble youth, tarry not here, lest thou perish with me! but fly, I beseech
thee!" St. George answered:
"God forbid that I should fly! I will lift my hand against the loathly thing,
and will deliver thee through the power of Jesus Christ!"
Then St. George, rushed at the dragon and thrust his spear into his mouth
and conquered him. He then took the young girl's mantle and bound the
beast, and she led him into the city to her father. That day twenty thousand
people of the city were baptized.
As time went on the name of St. George became very great. From the time
that Richard I—the Lion-Hearted—placed his army under the protection of
St. George the saint became the patron saint of England. In 1330 the order
of the Garter, the highest order of knighthood in Great Britain, was founded
and on its emblem is a picture of St. George and the dragon.

Carpaccio, a Venetian artist, painted this picture of "St. George and the
Dragon." He painted many other stories of saints.

Fig. 27. St. George and the Dragon. Carpaccio. Church of San Giorgio
degli Schiavoni, Venice
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THE GRAND CANAL, VENICE
Joseph Mallard William Turner (1775-1851)

enice is a very curious city. It is really built on stilts on top of the
water. Its streets are canals. Instead of having street-cars and horses
and taxicabs everybody goes in long boats called gondolas. The main
street in the city is the Grand Canal, and in this canal come all sorts of
people with all sorts of water-crafts.
The children play in the side streets just as you do except that they swim in
the water instead of running on the ground. Even the babies are in the water
fastened to the door-steps by a rope around their little bodies. How they do
coo and gurgle as they paddle their little hands and feet like young frogs!
Turner shows in this picture the Grand Canal filled with ships from other
countries with gaily colored flags fluttering in the breeze. Do you see the
tower at the left in the picture? That is the Campanile, the bell-tower. This
wonderful tower fell down flat in 1902. I talked with a man who has a store
just opposite the tower, a few weeks after it fell. He said to me: "I thought it
would fall on my store and destroy everything. It began to tip; then all at
once it fell flat just where it stood." The Venetians soon built it up again.
When Napoleon, the great French emperor, took Venice, he rode up the
inclined plane of this tower on his horse and stood on the very top
overlooking the sea.

Fig. 28. The Grand Canal. Turner. Courtesy of the Metropolitan
Museum of Art, New York City
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THE SONG OF THE LARK
Jules Adolphe Breton (1827-1906)

Up with me! up with me into the clouds!
For thy song, Lark, is strong;
Up with me, up with me into the clouds!
Singing, singing,
With clouds and sky above thee ringing,
Lift me, guide me till I find
That spot which seems so to thy mind!

Wordsworth
an you not almost hear this girl singing? The sun is just coming up.
The lark is rising in the sky, singing! The girl has come out to work in
the fields; a peasant girl. Barefooted, barehanded, she stands straight
like a soldier of work with her head lifted to drink in the morning air as she
sings.
One morning early I was driving through the country roads in the south of
England when larks began to rise from the fields where the workmen were,
just like this lark from the French field, and how they did sing! I stopped
and listened, watching them go up higher and higher, their song growing
fainter and fainter, and then they disappeared. Where did they go? Let us
ask this French peasant girl. Do you think that she can tell us? If she cannot,
who can?

Fig. 29. Song of the Lark. Breton. Courtesy of the
Art Institute, Chicago
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THE HOLY NIGHT
Antonio Allegra da Correggio (1494?-1534)

t is a wonderful story, the story of the Holy Night. The mother and father
had traveled a long way; and when they came to Bethlehem every place
was taken so they found a bed in a cave. In the night a baby boy came to
the mother, and she "wrapped Him in swaddling clothes, and laid Him in a
manger, because there was no room for them in an inn. And there was in the
same country shepherds abiding in the fields, keeping watch over their
flocks by night. And, lo, the angel of the Lord came upon them, and the
glory of the Lord shone around about them; and they were sore afraid.
"And the angel said unto them, Fear not; for behold, I bring you good
tidings of great joy, which shall be to all people. For unto you is born this
day in the city of David, a Savior, which is Christ, the Lord. And this shall
be a sign unto you; ye shall find the babe wrapped in swaddling clothes,
lying in a manger. And suddenly there was with the angel a multitude of the
heavenly host praising God, saying, Glory to God in the Highest, and on
earth peace, good will unto men.
"And it came to pass as the angels were gone away from them into heaven,
the shepherds said one to another, Let us go even to Bethlehem and see this
thing which has come to pass, which the Lord has made known to us. And
they came with great haste, and found Mary and Joseph; and the babe lying
in a manger. At first a bright cloud overshadowed the cave 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, and sucked
the breast of his mother, Mary."
The picture shows us the shepherds in the cave worshiping the young child,
Jesus, the Christ.

Courtesy of Pratt Institute

Fig. 30. The Holy Night. Correggio. Dresden Gallery
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THE GLEANERS
Jean François Millet (1814-1875)

illet was a French peasant boy—very poor. He says his
grandmother would come into his room early in the morning and
call:
"Awake, my little François; if you only knew how long a time the birds
have been singing the glory of the good God!"
He would insist when he was helping in the fields that there was beautiful
color over the plowed ground, and when the other fellows laughed at him,
he would say:
"Wait, some day I will paint a picture and show you the color."
After he was an artist he was going by a field one day when a peasant
cutting grain called to him:
"I would like to see you take a sickle."
"I'll take your sickle," Millet answered quickly, "and reap faster than you
and all your family."
Of course the man laughed, for how could an artist cut grain. He soon
stopped laughing, for Millet cut much faster and farther than he could.
Millet would often go into the forest just back of his house to rest after
painting all day. Then he would say:
"I do not know what those beggars of trees say to each other, but they say
something which we do not understand, because we do not understand their
language."
Millet's work is often called "the poems of the earth."

Once when I was in Barbizon I found the gate open into Millet's door-yard.
Of course I walked in, but the owner insisted that I walk out again. I shall
never forget the peep I had of the little garden and the doorway and the long
rambling house. That Millet lived there with his large family and there
painted the pictures we love makes the place a joy to us.

Fig. 31. The Gleaners. Millet. Louvre, Paris
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ST. CECILIA
Raphael Sanzio (1483-1520)

id you know that St. Cecilia invented the organ, that wonderful
musical instrument in our churches? Cecilia was born in Rome
sixteen hundred years ago. She was a beautiful young girl who loved
music and composed many hymns. The organ she dedicated to God's
service.
When Cecilia was married, her husband, a rich nobleman, was converted
and baptized. He knelt by the side of Cecilia, and an angel crowned them
with crowns made from roses which bloomed in paradise. The first thing
Valerian asked was that his brother, who was a heathen, might be converted
too. They sent for the brother, and when he came and found the room filled
with the sweet fragrance of roses, though it was not the rose season, then he
too became a Christian.
The people of Rome were very unkind to Cecilia and Valerian and his
brother because they preached the story of Jesus, the Christ. At last they
killed them. St. Cecilia is the guardian saint of music and is always shown
in art with the organ, as you see in this picture by Raphael. The man
standing at the left of the picture with his hand up to his face is St. Paul.
This is the most famous picture of St. Paul. Raphael shows the group
listening to the heavenly choir while the earthly instruments of music have
fallen at Cecilia's feet broken and out of tune.

Courtesy of Pratt Institute

Fig. 32. St. Cecilia. Raphael. Bologna, Italy
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HELENA FOURMENT RUBENS AND HER
SON AND DAUGHTER
Peter Paul Rubens (1577-1640)

his picture of "Helena Fourment Rubens and Her Son and Daughter"
was really painted to honor the boy. It has always been the custom in
Europe to pay special attention to the boys in the home and keep the
girls very much in the background. It is very easy to see how pert the little
Albert Rubens is, and how subdued and meek is his sister. The boy has the
"Lord of Creation" air that would not be good for him in America. We love
the picture, for Rubens, the father, shows us plainly the old idea that the boy
rules the home. Naturally the father would know the traits of his own
children but not always would he allow us to know them too.
Rubens was so wonderful as an artist, as a man to settle quarrels, and as a
beautiful gentleman that all Europe did him honor. He was sent to see the
ruling powers in England, in Spain, in Italy, and in France. Each ruler
entertained him as a royal guest, and Rubens painted masterpieces for each
in return. His paintings were the wonder of the age. It is said that his fellow-
artists looked with jealous eyes at his flesh tints, and that all painters since
have been in despair trying to equal him. He left hundreds of pictures and
hundreds of sketches. The sketches alone are bringing many hundreds of
times their weight in gold.

Fig. 33. Helena Fourment and Her Son and
Daughter. Rubens. Louvre, Paris
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THE HARP OF THE WINDS
Homer Martin (1836-1897)

bout a dozen years ago Europe began to wonder if America had any
art worth considering. She invited us to send samples of our
paintings that her critics might judge of our work. Among the
pictures selected was Homer Martin's "The Harp of the Winds." At once
Europe saw that an American artist had painted a masterpiece.
This scene is on the River Seine, a short distance from Paris. Was anything
ever more simple? Slender willow-trees almost leafless, bare rocks with a
few scrubby bushes, a tiny village sheltered in a curve of the river—what is
there to suggest a picture? And yet something grips us. We seem to be at the
beginnings of creation. Nature is confiding in us. We are hearing the winds
play on the harp to the listening river. See how lovingly the water mirrors
those harp strings all sparkly with gold and green! I wonder if these willows
make a harp or a lyre with their tall stalks reaching to the sky? Do you
remember how, when Mercury found a tortoise, he took the shell and made
holes on both sides and strung nine strings across it—one for each Muse—
and gave it to Apollo? I think this Harp of the Winds has nine strings in
memory of Mercury's lyre.

Fig. 34. The Harp of the Winds. Martin. Courtesy of the
Metropolitan Museum of Art, New York City
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THE TRIBUTE MONEY
Titian, or Tiziano Vecelli (1477-1576)

very child must know "The Tribute Money," painted by Titian, for no
artist understood the scene better than he did. Remember that the bad
men in Palestine were determined to find something that Jesus, the
Christ, had done against the Roman Government so they could trap him. At
last they sent one in authority to question him.
But Jesus said, "Bring me a penny, that I may see it." And they brought him
a penny.
And Jesus said, "Whose is this image and superscription?"
And the man was forced to say, "Cæsar's."
Then Jesus made that famous reply that people use so often to-day: "Render
to Cæsar the things that are Cæsar's, and to God the things that are God's."
Titian shows the moment when the tax-gatherer must say that the penny
belonged to Cæsar, the Roman emperor. It had Cæsar's portrait on it and
Cæsar's demands written on it. Look carefully at the two faces and the two
hands, and tell me what you think of the two men as Titian shows them to
us.

Courtesy of Pratt Institute

Fig. 35. The Tribute Money. Titian. Dresden Gallery
Please click here for a modern color image

THE MAIDS OF HONOR
Diego Rodriguez de Silva y Velasquez (1599-1660)

f it had not been for Velasquez we should know very little about the little
princes and princesses of Spain in the time of Philip IV, about the
middle of the sixteenth century. He made many portraits of these
children, especially of the little Princess Margarita.
One day when Velasquez was painting a portrait of Philip IV, the king's
little daughter Margarita came into the room attended by her maids of honor
and a splendid dog. The king was so delighted with the little group that he
told Velasquez to make a picture of them just as they stood there before
him. Now look at the picture and you will see in the looking-glass at the
back of the room the reflection of the king and the queen. At the easel
stands Velasquez, the artist, with his palette and brushes. The wee fair-
haired princess is the center of the group. The strange-looking little women,
her maids of honor, are dwarfs. And see what a magnificent fellow the dog
is, lying so contentedly on the floor right in front of us.
When the picture was finished, and the people went to see it, many of them
asked, "Where is the picture?" The little Margarita and her maids are so
alive and those people standing around seem so real that no one thought
they could be painted on canvas.
Velasquez made such wonderfully real likenesses that some one told this
story of one: One day the King came to Velasquez's studio and seeing, as he
supposed, one of his admirals whom he had sent to take a command a few
days before, he spoke angrily:
"What! still here? Did I not command you to depart? Why have you not
obeyed?" Of course the admiral did not answer, and then the king found that
he had been angry at a portrait.

Fig. 36. The Maids of Honor. Velasquez.
Madrid Gallery, Spain
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THE NYMPHS
Jean Baptiste Camille Corot (1796-1875)

verybody loved Père Corot—Papa Corot, as he was called. His happy
manner and lovely smile won for him the name of the "happy one." I
want you to know what Papa Corot says, in a letter to a friend, about
himself and his painting. He writes:
"Look you, it is charming, the day of a landscapist. He gets up at three in
the morning, before sunrise, goes and sits under a tree, and watches and
waits. Not much can be seen at first. Nature is behind a veil. Everything
smells sweet.
"Ping! a ray of yellow light shoots up. The veil is torn, and meadow and
valley and hill are peeping through the rent.
"Bing, bing! the sun's first ray—another ray—and the flowers awake and
drink a drop of quivering dew. The leaves feel cold and move to and fro.
Under the leaves unseen birds are singing softly. The flowers are saying
their morning prayers.
"Bam! the sun has risen. Bam! a peasant crosses the field with a cart and
oxen. Ding! ding! says the bell of the ram that leads the flock of sheep.
"Bam! bam! all bursts—all glitters—all is full of light, blond and caressing
as yet. The flowers raise their heads. It is adorable. I paint! I paint!
"Boom! boom! boom! The sun aflame burns the earth. Everything becomes
heavy. Let us go home. We see too much now. Let us go home."
You see now why Corot could paint such a lovely picture as "The Nymphs."
He saw these gauzy creatures in the early morning light and painted them
before the sun scattered them to the four winds.

Fig. 37. The Nymphs. Corot. Louvre, Paris
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ST. FRANCIS PREACHING TO THE BIRDS
Giotto di Bondone (1266?-1337)

ne time more than six hundred years ago St. Francis preached the
dearest sermon to "My Sisters the Birds" that you ever heard. He
said to them as they lifted their little heads to listen to his words:
"Ye are beholden unto God your Creator, and always and in every place it is
your duty to praise him! Ye are bounden to him for the element of the air
which he has deputed to you forever-more. You sow not, neither do you
reap. God feeds you and gives you the streams and fountains for your thirst.
He gives you the mountains and the valleys for your refuge, tall trees
wherein to make your nests, and inasmuch as you neither spin nor reap God
clothes you and your children, hence ye should love your Creator greatly,
and therefore beware, my sisters, of the sins of ingratitude, and ever strive
to praise God."
St. Francis then made the sign of the Cross and sent the birds north, south,
east, and west to carry the story of the Cross to all mankind.
When Giotto, who painted this picture of "St. Francis Preaching to the
Birds," was a little boy, he took care of his father's sheep in the fields. One
day a noted painter, Cimabue, found Giotto drawing a sheep on a flat rock
with colored stones. The picture of the sheep was so lifelike that the great
man asked the boy, Giotto, to go with him and become an artist. He went,
and one day years afterward the pope sent to Giotto for a sample of his
work. Giotto sent him a big round O. It pleased the pope to find a man so
original, and he gave Giotto many orders for pictures. To-day the saying is
"Round as Giotto's O."

Courtesy of Pratt Institute

Fig. 38. St. Francis Preaching to the Birds. Giotto.
Upper Church, Assisi, Italy

THE GOVERNESS
Jean Baptiste Simeon Chardin (1699-1779)

hen Chardin began to paint pictures he went into the French homes
and painted pictures of brass pots and kettles, of fruits and
vegetables. Then he took common scenes of life and gave us a
number of pictures showing just what was going on in the homes and back
yards.
The French people were not used to having an artist see beauty in the every-
day things they were doing; artists had been painting the rich for the rich.
Everybody began to love the pictures Chardin painted. This is a very simple
story in "The Governess." The child—is it a boy or a girl?—is now ready to
go to school. He—I believe he is a boy—is hearing some advice, and I do
not think he is pleased, for he has a little frown on his face. His dress is
peculiar. The French children two hundred years ago did not dress as you do
to-day. He is the same kind of a child that you are, I am sure, and you and
he would soon be great friends.
Chardin's color was so wonderful that one of his artist friends cried out: "O
Chardin! it is not white, red, or black that you grind to powder on your
palette; it is the air and the light that you take on the point of your brush and
fix on canvas."
Chardin's pictures are as beautiful and bright to-day as they were when he
painted them.

Fig. 39. The Governess. Chardin.
Liechtenstein Gallery, Vienna
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THE LAST SUPPER
Leonardo da Vinci (1452-1519)

want you to know the disciples of Jesus just as Leonardo da Vinci
painted them four hundred years ago. Leonardo spent months among the
men of Milan, Italy, looking into their faces and talking with them.
When he began to paint "The Last Supper" he had gathered men together so
like these twelve disciples that we feel we can know them as Jesus knew
them. For three years those men of old walked with Jesus and talked with
him as they went up and down Palestine; and at last, on that wonderful
night, they met with Him in the upper chamber to eat with Him the Last
Supper. Those disciples did not know that it was the last meal they would
eat with Jesus before he was hung on the cross.
We shall begin in the center of the table and name the disciples as Leonardo
has them in the picture. First is the Savior. At his left is James with his arms
spread out in distress; back of him is Thomas with his finger uplifted; then
Philip rising with his hand on his heart; next Matthew, his arms pointing to
the Savior while he turns toward the two near the end; next to him is
Thaddeus; and then Simon. On the other side of Jesus sits John, the beloved
disciple. His hands are folded and his eyes are cast down. Next to John is
Judas, the betrayer; he holds the bag clutched in his right hand and near him
is the overturned salt cellar. Leaning back of Judas is Peter with one hand
on John's shoulder; next to Peter is Andrew; then James, the less, laying one
hand on Peter's arm. At the end of the table is Bartholomew, who has risen
resting his hands on the table. These men are all asking, "Is it I?" For Jesus
had said, "He it is to whom I give a sop."

Fig. 40. The Last Supper. Leonardo da Vinci. Santa Maria delle
Grazie, Milan
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SIR GALAHAD
George Frederick Watts (1818-1904)

f all the stories of King Arthur and his Knights of the Round Table
none is so strange as that of Sir Galahad. Its beginning is in the
upper chamber at the Last Supper with Jesus and his disciples.
Legend says that the cup used by our Savior at the Last Supper was the
Holy Grail. Joseph of Arimathea, who bought the cup from Pontius Pilate,
used it to catch the blood that flowed from the pierced side of our Lord. The
cup, or Holy Grail, was kept in the Convent of the Holy Grail by the
descendants of Joseph of Arimathea.
The cup had marvelous powers in the hands of a perfect knight. Centuries
passed and no perfect knight came to claim the Holy Grail. Then King
Arthur founded the Knights of the Round Table. One seat at the round table
was always vacant waiting for the sinless youth. Many tried to sit in the
"seat perilous," as it was called, but the seat let each one down to disappear
forever.
At last an old man—Joseph of Arimathea himself—brought a boy and
seated him in the vacant chair. The knights were frightened but the boy sat
unharmed and above the seat appeared the words:
THIS IS THE SEAT OF GALAHAD
King Arthur knighted him and sent him forth to find the Holy Grail. Years
went by and awful trials and temptations came to Sir Galahad. He did not
yield to the bad things that came, but kept looking for the Holy Grail. At
last he held the cross before his face to keep off his tormentors when before
his eyes he saw the cup, and the power of the Holy Grail came to him.
This picture of Sir Galahad in Eton College, England, hangs in the chapel
opposite the entrance door where each boy passes in on his way to morning
and evening prayers.

Fig. 41. Sir Galahad. Watts. Eton College, England

Please click here for a modern color image

THE DUCHESS OF DEVONSHIRE AND
HER CHILD
Sir Joshua Reynolds (1723-1792)

ir Joshua Reynolds ought to be called "the painter of little girls." No
artist ever painted a larger number of little girls. And no artist ever
knew better than he how to get the confidence of children, boys or
girls.
One time a little boy in London was to carry a flag in a procession. What do
you think he did? He went to Sir Joshua Reynolds, the artist whom no one
dared to interrupt, and asked him if he would paint a flag for him. This
pleased the great man. When the boy proudly displayed his flag, every one
asked:
"Where did you get such a wonderful flag?"
You can guess how proud the boy was to say, "Sir Joshua Reynolds painted
it for me!"
This picture of "The Duchess of Devonshire and her Child" is one of the
greatest pictures Sir Joshua ever painted. The original painting is now in the
magnificent country seat of the Duke of Devonshire at Chatsworth,
England. Sir Joshua had a way of making his pictures sparkle and glisten
that was unknown to other artists. One of our own artists, Gilbert Stuart,
when in London, was copying a very valuable portrait by Sir Joshua. He
thought he saw one of the eyes move. He was horrified to find that it really
was moving down on the cheek. He grabbed the picture and ran into a cold
room and then worked the eye back in place. The secret was out! Sir Joshua
Reynolds had used wax to make his pictures glitter and, alas, the glitter
would not last.

Fig. 42. The Duchess of Devonshire and Her Child.
Reynolds. Royal Gallery, Windsor
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ST. AGNES AND HER LAMB
Andrea del Sarto (1486-1531)

ne of the most beautiful pictures of "St. Agnes and her lamb" was
painted by Andrea del Sarto,—"Andrea the faultless," as he was
called. It is in the cathedral at Pisa.
St. Agnes was a Roman girl who lived three hundred years after the birth of
Jesus. Her father and mother were heathens, but their little daughter became
a Christian when a mere child. She did not tell her parents that she loved
Jesus, but when she refused to worship idols they knew that she had
become a disciple of the Master Christ. This made them so angry that they
handed her over to the Roman rulers to be punished. These wicked men
tried in every way to persuade Agnes to bow down to their gods made of
wood and stone. When she would not bow down to them they tried to force
her to worship the idols.
They gave her over to the soldiers and ordered them to take her clothes
away, but immediately her hair grew and covered her, and angels came and
gave her a shining white garment. She even refused to marry the son of the
Roman magistrate. The son thought that he could compel her to consent to
the marriage after she was persecuted, but he was struck blind when he tried
to see her.
When St. Agnes saw what great sorrow came to the home of the young
nobleman because he was blind, she prayed for him and his eyesight came
again. His father was so thankful that he pleaded for her life, but the people
said,
"She is a sorceress: she must die." Then they tried to burn her, but the
flames burned her tormentors and did her no harm. At last she was killed
with a sword. She is always represented with a lamb.
Michael Angelo wrote to Raphael about Andrea del Sarto: "There is a little
fellow in Florence who, if he were employed as you are upon great works,

would make it hot for you."

Courtesy of Pratt Institute

Fig. 43. St. Agnes and Her Lamb. Andrea del Sarto. Pisa
Cathedral, Italy

WHISTLER'S MOTHER
James Abbott McNeill Whistler (1834-1903)

he story about Whistler and his mother is rather a sad one. He went to
Europe when he was a young painter and told his mother as he started
that he would come home to her when he had made a success. But he
never made a success in money. He painted this picture of his mother and
for twenty years tried to sell it. He offered it to his own country—the
United States—for five hundred dollars. We were so stupid that we did not
know that the picture was a masterpiece and that no amount of money could
buy it later on. But the people of Paris began to feel that Whistler, the
American artist, was a great master, and the city bought the picture,
"Whistler's Mother." Of course we can never own the picture now, although
it is an American mother, unless the French people should give it to us. But
we do not deserve it, do we?
After a number of years Whistler's mother went to Europe to make a home
for her wonderful son. She died in Chelsea, and to-day the mother and son
are side by side in the little churchyard of Chiswick, near London.

Fig. 44. Whistler's Mother. Whistler. Luxembourg, Paris
Please click here for a modern color image

ST. CHRISTOPHER
Titian, or Tiziano Vecelli (1477-1576)

hristopher, or Offero, was born in Palestine in the third century. He
was a giant in size but ignorant and poor. He felt that he could not
work for any one who was afraid of any one else. He wandered over
the country and at last he came to a powerful king and offered to work for
him. The king thought it very fine to have a giant for a servant. One day
Offero stood by the king's side while a minstrel sang a song about Satan.
Every time the name of Satan was spoken the king crossed himself. Offero
was puzzled, for he never had heard of Satan, nor of Jesus. When he found
that the king was afraid of Satan, Offero went to find the man the king was
afraid of.
Offero found Satan and became his servant. But as they went through the
land Offero saw that Satan always went away around the little shrines.
Offero asked Satan why he did that. Satan said he did not like to come near
the cross where was the crucified One. Then Offero knew that he was afraid
of Jesus.
He went out to find Jesus. At last an old hermit told Offero to go to a river
where people were often drowned and to carry every one across on his
back, and that maybe he would find Jesus. Offero built himself a hut and
spent years carrying people over the stream and no one was drowned. One
stormy night Offero thought he heard a child's voice calling him. He went
out two or three times. At last the child appeared and asked Offero to carry
him over. Offero started. The storm grew worse and the water rose high and
the child grew very, very heavy. When Offero set the child down, he said, "I
feel as though I had carried the whole world!" The child answered:
"Offero, you have carried the maker of the world. I am Jesus, whom you
have sought. You shall be called Christ-Offero—the Christ-bearer—from
now on."

Fig. 45. St. Christopher. Titian. Doges' Palace,
Venice
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THE BLUE BOY
Thomas Gainsborough (1727-1788)

ainsborough began to draw and paint when he was a child. He often
entertained his companions by drawing pictures for them while they
read the lessons to him.
One morning Thomas got up with the sun and went out into the garden to
sketch. There was in the garden a wonderful pear-tree full of ripe pears, and
the pears had been disappearing very mysteriously. While Thomas was
making his drawings he saw a man's face appear suddenly above the stone
wall. He quickly made a sketch of the face, and frightened the man before
he could get away with the fruit. At the breakfast-table the young artist told
his father what he had done and showed him the sketch. His father knew the
man and sent for him. When the man was accused of stealing the pears he
denied it, but when he was shown the picture Thomas had made of him he
confessed that he had taken the pears.
Artists, like all of us, want to lay down rules for every one to follow who is
doing their same kind of work. Sir Joshua Reynolds said, "The masses of
light in a picture ought to be always of a warm, mellow colour—yellow,
red, or yellowish white; and the blue, the grey, or green colours should be
kept almost entirely out of the masses." Gainsborough did not agree with
him. To show Sir Joshua that he was wrong Gainsborough painted pictures
in blue and green. The famous "Blue Boy" alone proved that he was right.
The boy has on a blue satin suit and he stands out-of-doors in green grass
with green foliage and blue sky around him. When Sir Joshua saw
Gainsborough's blue-green pictures he said frankly, "I cannot think how he
produces his effects."
These two men were never good friends yet when Gainsborough was near
death Sir Joshua Reynolds came to his bedside, and when Gainsborough
died Reynolds was one of the pall-bearers.

Fig. 46. The Blue Boy. Gainsborough. Private
Gallery, Henry Huntington, Los Angeles, California
Please click here for a modern color image

THE SLEEPING GIRL
Jan van der Meer of Delft (1632-1675)

want you to know and love the Dutch pictures. The painters were called
"little masters," simply because they painted small pictures for the
homes. For the homes! The Dutch wanted pictures to hang on their
walls; pictures they could live with. Now what do you think of the
"Sleeping Girl"? Do you know I could live with that picture and feel that I
always had something to make me happy? It is so homy. See how
comfortable the girl is! Of course a good healthy girl has no business to be
sleeping in the daytime, but we can forgive her now that van der Meer has
caught her asleep and let us see her. Then look at that wonderful rug! Was
ever anything so soft and velvety? If we knew about rugs we might tell its
name and maybe its age.
Van der Meer had a way of catching people without their knowing it. He
seems to have cut a piece out of the wall where he peeped in and painted
what he saw. We are glad the girl left the door open into another room so
that we can see the table and pictures and part of the window-frame. I think
these things are reflected in a looking-glass.
Van der Meer painted only about forty pictures, and eight of those are in the
United States. They are among our greatest art treasures.

Fig. 47. The Sleeping Girl. Van der Meer. Courtesy
of the Metropolitan Museum of Art, New York City
Please click here for a modern color image

ST. ANTONY AND THE CHRIST-CHILD
Bartholome Esteban Murillo (1618-1682)

any very curious legends are told of St. Antony of Padua, who died
in 1231. He was a close friend of St. Francis (see "St. Francis and
his Birds," page 76). One story says that one time he was preaching
about the Savior when the child Jesus came and sat on his open Bible. It is
this story that Murillo painted his picture to illustrate. Again and again
Murillo has shown us St. Antony with the Christ-child, but never more
beautifully than here. This is one of Murillo's greatest religious pictures.
Another story is told of St. Antony. One day he was preaching the funeral
sermon of a rich young man when he exclaimed:
"His heart is buried in his treasure-chest; go seek it there and you will find
it."
Sure enough when the friends of the rich young man opened the treasure-
chest there was the heart, and no heart was found in the young man's dead
body.

Fig. 48. St. Anthony and the Christ-Child. Murillo.
Museum of Seville, Spain.
Please click here for a modern color image

KING LEAR
Edwin Austin Abbey (1852-1911)

he story of "King Lear" is one of the most pitiful of Shakespeare's
play. It is about the thanklessness of children to a father. Old King
Lear had three daughters—Goneril, Regan, and Cordelia. He loved
these daughters dearly and he believed that they loved him. As he grew old
in life he thought he would divide his kingdom and property among them
equally; then there would be no trouble about his wealth after he was dead.
Of course he expected to make his home with them in turn as long as he
lived. Naturally he went to Goneril, the eldest daughter, first. Very soon he
found that he was not wanted. She had the money—her father's money—
but why should she be troubled with her old father? He then went to Regan,
his second child, but she too refused to make a home for him. The third
daughter, Cordelia, loved her father dearly and wanted him to live with her
that she might care for him in his old age. By a strange mishap the old
father thought that Cordelia, his beloved child, was false to him. He
wandered off on the heath in a fearful storm and at last found shelter in a
hut where he thinks even his faithful dogs are against him. He cries out
pitifully:

The little dogs and all,
Tray, Blanche and Sweetheart, see they bark at me.

Abbey has painted the scene when the old king is leaving heart-broken, for
he thinks Cordelia, the child he loves best, is deserting him. Cordelia,
knowing how false her sisters are, is saying:

I know you what you are;
And, like a sister, am most loath to call
Your faults as they are named. Love well our father.

Abbey's story of "The Holy Grail" in the Boston Library is one of America's
great series of paintings for wall decoration.

Fig. 49. King Lear. Abbey. Courtesy of the Metropolitan Museum of
Art, New York City.
Please click on the image for a larger image.
Please click here for a modern color image

SUNSET IN THE WOODS
George Inness (1825-1894)

henever you can, I want you to find out what the painter says about
his own pictures. We feel very glad that George Inness told us
about "Sunset in the Woods." He said in 1891: "The material for
my picture was taken from a sketch made near Hastings, on the Hudson,
New York, twenty years ago. This picture was commenced seven years ago,
but until last winter I had not obtained any idea equal to the impression
received on the spot. The idea is to express an effect of light in the woods at
sunset."
What a wonderful glow he has on those trees beyond the big rock away
back in the picture. And see the light on the trunk of the big tree near us. I
believe the light is gradually disappearing as we look. Somehow we feel the
birds are twittering as they go to bed and the flowers are nodding their
heads, they are so sleepy. Soon it will be dark and the owl will screech and
the night insects will buzz. Come, we must go home or we cannot see our
way!

Fig. 50. Sunset in the Woods. Inness. Courtesy of the
Corcoran Art Gallery, Washington, D. C.

INDEX
Abbey, Edwin Austin, 98, 99
Angelico, Fra Giovanni, 38, 39
Angelo, Michael, 23, 24, 86
Arthur, King, 82, 83

Bastien-Lepage, Jules, 22, 23
Botticelli, Sandro, 46, 47
Breton, Jules Adolphe, 58, 59

Cæsar (Tiberius), 70
Carpaccio, Vittore, 54, 55
Chardin, Jean Baptiste Simeon, 78, 79
Charles I, 16, 28, 42
Charles II, 41, 43
Charles V, 32
Charles VI, VII, 22
Corot, Jean Baptiste Camille, 8, 9, 74, 75
Correggio, Antonio, 6, 7, 60, 61
Constable, John, 4, 5

Disciples, The, 80, 81
Dolci, Carlo, 20

Farge, John La, 48, 49
Ferdinand III, 20
Fourment, Helena, 66, 67

Gainsborough, Thomas, 92, 93
Galahad, Sir, 82, 83
Giotto di Bondone, 76, 77
Gods and Goddesses,
Apollo, 10, 11, 36, 37, 68
Aurora, 9, 10
Atropos, (a fate), 24, 25
Calliope, (a muse), 36, 37
Clio (a muse), 36, 37
Clothes, (a fate), 24, 25
Diana, 36
Erato (a muse), 36, 37
Euterpe, (a muse), 36, 37
Fates, The, 24, 25, 48
Horæ, 10, 11
Hyperion, 10, 11
Lachesis (a fate), 24, 25

Melpomene (a muse), 36, 37
Memnon, 10
Memory, 36
Mercury, 36, 68
Muses, The, 36, 37, 68
Pegasus, 36
Polyhymnia (a muse), 36, 37
Selene, 10
Thalia (a muse), 36, 37
Urania (a muse), 36, 37
Zeus, 10, 36

Hals, Frans, 12, 13
Homer, Winslow, 18, 19
Hooch, Pieter de, 44, 45

Inness, George, 100, 101

James II, 42
Jesus, 2, 32, 38, 39, 40, 41, 46, 60, 64, 80, 81, 90, 91
Joan of Arc, 22, 23
Joseph of Arimathea, 82

Lear, King, 98, 99

Maes, Nicolaes, 52, 53
Magnificent, The, 46
Martin, Homer, 68, 69
Medici, Giovanni de' (Pope Leo X), 46
Medici, Giulio de (Pope Clement VII), 46
Medici, Lorenzo de', 46
Millet, Jean François, 62, 63
Murillo, Bartolome Esteban, 34, 35, 96, 97

Napoleon, 56

Offero, 90, 91

Philip IV, 72
Pintoricchio, Bernardino, 2, 3

Raphael Sanzio, 20, 21, 26, 27, 64, 65, 86
Rembrandt, van Rijn. 30, 31, 40, 41, 50, 51, 86
Reni, Guido, 10, 11
Reynolds, Sir Joshua, 84, 85, 92
Romano, Giulio, 36, 37
Rubens, Peter Paul, 16, 28, 29, 66, 67

Stuart, Gilbert, 84
Sarto, Andrea del, 86
Saints,
Agnes, 86, 87

Anthony, 96, 97
Barbara, 14, 15
Cecilia, 64, 65
Christopher, 90, 91
Elizabeth, 2
Francis, 76, 77, 96
George, 54, 55
Jerome, 6, 7, 8
John the Baptist, 2
Joseph, 2, 60
Mary, (Madonna, virgin), 2, 6, 20, 26, 32, 46, 60
Michael, 22
Paul, 64, 65

Titian Vecelli, 32, 33, 70, 71, 90, 91
Turner, Joseph Mallard William, 56, 57

Van der Meer, Jan, 94, 95
Van Dyck, Anthony, 12, 16, 17, 28, 42, 43
Vecchio, Palma, il Jacopo, 14, 15
Velasquez, Diego Rodriguez de Silva y, 72, 73
Venice, 56, 57
Vinci, Leonardo da, 80, 81

Watts, George Frederick, 82, 83
Whistler, James Abbott McNeill, 88, 89
William III, 42
Wordsworth, 58

Zacharias, 2

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