GREAT ARTISTS

 _"Art manifests whatever is most exalted, and it manifests it to all!"_--TAINE

 GREAT ARTISTS RAPHAEL MURILLO RUBENS DURER

 BY

 JENNIE ELLIS KEYSOR _Author of "Sketches of American Authors"_

 EDUCATIONAL PUBLISHING COMPANY BOSTON NEW YORK CHICAGO SAN FRANCISCO

 COPYRIGHTED BY EDUCATIONAL PUBLISHING COMPANY, 1899. 

[Illustration]

A WORD TO THE TEACHER. 

The following brief sketches are presented in fear and in hope--infear lest they prove in no wise adequate for so glorious a subject; inthe hope that they may encourage not only the pupil, but the teacher, to study the lives and the works of the great artists and to makeevery possible effort to have copies of masterpieces ever before themto study and to love. 

The field of art study is a wonderful one from which to draw forlanguage work. A double purpose is thus served. Interesting subjectsare secured and pupils are given a start in acquiring a knowledge ofthe beautiful that fortifies them for the sorrows and cares of life;and, what is even better, prevents their own life from beingcommonplace. 

Would the teacher wish to study further, a list of valuable referencebooks is appended to each sketch, any one of which will greatly assistin acquiring a more extended knowledge of the subject. 

In the study of an artist, take care to have a liberal supply ofreproductions of his pictures at hand. These may be photographs, half-tones, like the illustrations in this book, or engravings. Goodwork cannot be done without such pictures. 

Above all, work to cultivate a love for good pictures, not to fillyoung minds with uninspiring facts. J. E. K. 

[Illustration: SISTINE MADONNA. _Raphael. _]

RAPHAEL SANTI

"THE PERFECT ARTIST, THE PERFECT MAN. "

We are about to study Raphael, the most generally praised, the mostbeautiful, and certainly the most loved of all the painters of theworld. When all these delightful things can be truthfully said of oneman, surely we may look forward with pleasure to a detailed study ofhis life and works. 

Often in examining the lives of great men we are compelled to passover some events which, to say the least, are not creditable. OfRaphael this was not true. He was gifted with all admirable qualities, and so many-sided was his genius that, while we think of him first asa painter, we must not forget that he also carved statues, wrotepoems, played musical instruments, and planned great buildings. 

So much was he endeared to his pupils that, after he grew to befamous, he never went on the streets unless he was followed by anadmiring throng of these students, ever ready to do his bidding or todefend his art from any possible attack by malicious critics. He livedat a time when artists were fiercely jealous of each other, and yetwherever he went harmony, like a good angel, walked unseen beside him, making whatever assembly he entered the abode of peace and good-will. It is a beautiful thing that such a strong, lovable man should havehad for his name that of the chief of the archangels, Raphael, a namebeautiful of sound and ever suggestive of beauty and loveliness. 

There seemed to have been special preparation for the birth of thisunique character. Not only were his parents of the ideal sort, lovingthe best things of life and thinking ever of how best to rear thelittle son that God had given them, but the very country into which hewas born was fitted to still further develop his natural tendernessand sweetness of disposition. 

Webmo, the birthplace of Raphael, is a secluded mountain town on acliff on the east slope of the Apennines directly east of Florence. Itis in the division known as Umbria, a section noted for its gentlybroken landscape, such as in later years the artist loved to paint asbackground for his most beautiful Madonnas. Here the people were shutoff from much of the excitement known to commercial towns. They wereslower to take up new things than the people in the coast cities wheremen live by the exchange of goods and, incidentally, of customs. Theinhabitants led simple, religious lives. We must remember, too, thathardly fifty miles away was the village of Assisi, where SaintFrancis, the purest of men, had lived and labored and where, after hisdeath, a double church had been built to his memory. 

To this day there is a spirit of reverence that inspires the visitorto this region. No wonder that, in Raphael's time when this spirit wasfresh and strong, it gave a character of piety and sweetness to theworks of all the painters of Umbria. From these two causes, thesecluded position of the region and the influence of Saint Francis, arose what is called the Umbrian school of painting. All paintersbelonging to this school made pictures very beautiful and full of finereligious feeling. 

One April morning in 1483, to the home of Giovanni Santi, the painter, and his wife Magia, a dear little boy came, as millions of boys andgirls have since come, to cheer and to bless. The father and motherwere very proud of their little son, and feeling perhaps that a morethan ordinary child had been given them, they gave him the name ofRaphael, as one of good omen. 

If we were to visit, in Urbino, the house where Raphael was born, wewould be shown a faded fresco of a Madonna and Child painted byGiovanni and said to be Magia and the child Raphael. 

From the earliest years the child was carefully tended. When he wasonly eight, the fond mother died and left the father to care for hisboy alone. In due time a step-mother was brought home. She was a kindwoman and loved and cared for the beautiful lad as if he were reallyher own child. Later when the father died, leaving the boy Raphael andhis little half-sister, no one could have been more solicitous for theboy's rights than his step-mother. She and his uncle together managedhis affairs most wisely. 

We have no record that, like Titian, the boy Raphael used the juice offlowers with which to paint pictures of his childish fancies, but wedo know that very early he became greatly interested in his father'sstudio and went in regularly to assist. Now, it must be rememberedthat, at this time, when a boy, wishing to learn to paint, went to thestudio of a master he did not at once begin to use colors, brushes, and canvas. Instead, he usually served a long apprenticeship, sweepingout the studio, cleaning the brushes, grinding colors, and performingother common duties. Raphael's assistance to his father must have beenlargely of this humble sort. We can imagine, however, that his fondfather did not make his hours long, and that there were pleasantramblings in the woods nearby, and that many a bunch of flowers wasgathered for the mother at home. There were happy hours, too, when thefather and his son read together great books of poetry in which talesof love and knightly encounters were interesting parts. And then, I amsure, there were other happy hours when, tuning their instrumentstogether, they filled the time with music's sweetest discourse. 

 [Illustration: RAPHAEL. ]

This was indeed a happy childhood, a fit beginning for an ideal life. Meanwhile the boy grew strong, and his beauty, too, increased. Thedark hair lay lightly upon his shoulders, and a certain dreaminess inhis eyes deepened, --he was about to feel a great sorrow, for thefather, so devoted, so exemplary, died when his boy was but elevenyears old. We cannot help wishing that he might have lived to see atleast one great picture painted by his son. We can easily imagine hissmile of joy "at the first stroke that surpassed what he could do. "

Just what to do with the boy on the death of his father was animportant matter for the step-mother and uncle to decide. They showedwisdom by their decision. Now, the greatest of all the Umbrianpainters, before Raphael, was a queer little miserly man namedPerugino, who at that time had a studio in Perugia, an Umbrian townnot far distant from Urbino. Although he was of mean appearance andignoble character, he had an unmistakable power in painting mild-eyedMadonnas and spotless saints against delicate landscape back-grounds. People disliked the man, but they could not help seeing the beauty ofhis art, and so his studio was crowded. Hither was sent the boyRaphael and when Perugino noted the lad and some of his work, he said, "Let him be my pupil: he will soon become my master. " As nearly as wecan learn, he remained in this studio nine years, from 1495 to 1504. 

Perugino's style of painting greatly pleased Raphael. He was naturallyteachable and this, with his admiration for Perugino's pictures, madehis first work in the studio very much like his master's. Indeed it isalmost impossible to tell some of his earliest pictures from those ofhis teacher. Let me tell you about one. It is called "_The Marriage ofthe Virgin_"; and you would have to go to the Brera gallery in Milanto see it. 

The legend runs thus: The beautiful Mary had many lovers all wishingto marry her. Now here was a difficulty indeed, and so the suitorswere required to put by their rough staves for a night. The promisewas that in the morning one would be in blossom, and its owner shouldhave Mary for his wife. We can imagine that these lovers were anxiousfor day to dawn, and that all but one was sad indeed at the result. Inthe morning there were the rods, all save one, brown and rough andbare, but that one lay there alive with delicate buds and flowers, and all the air was full of fragrance. This was Joseph's, and he wentaway glad and brought his young bride. This first great picture ofRaphael's represented this marriage taking place at the foot of theTemple steps. The disappointed lovers are present and, I am sorry tosay, one of them is showing his anger by breaking his barren rod evenwhile the marriage is taking place. 

The first and the last work of a great man are always interesting, and that is why I have told you so much about this picture. Youwill be still more interested in Raphael's last picture, "_TheTransfiguration_. "

While in the studio he made many friends. With one he went to Siena toassist him in some fresco painting he had to do there. Of course youknow that fresco is painting on wet plaster so that the colors dry inwith the mortar. 

The conversation of the studio was often of art and artists, and sothe beautiful city of Florence must often have been an engagingsubject. Think of what Florence was at this time, and how an artistmust have thrilled at its very name! Beautiful as a flower, with hermarble palaces, her fine churches, her lily-like bell-tower! What acharm was added when within her walls Leonardo da Vinci was painting, Michael Angelo carving, Savonarola preaching. In the early years ofRaphael's apprenticeship, the voice of the preacher had been silenced, but still, "with the ineffable left hand, " Da Vinci painted, and stillthe marble chips dropped from Angelo's chisel as a _David_ grew tomajesty beneath his touch. 

To Raphael, with his love of the beautiful, with his zeal to learn, Florence was the city of all others that he longed to see. At last hisdream was to be realized. A noble woman of Urbino gave him a letter tothe Governor of Florence, expressing the wish that the young artistmight be allowed to see all the art treasures of the city. The firstday of the year 1505 greeted Raphael in Florence, the art center ofItaly. We can only guess at his joy in seeing the works here and ingreeting his fellow artists. 

Angelo and Da Vinci had just finished their cartoons for the townhall, "_The Bathing Soldiers_, " and "_The Battle of the Standard_, "and they were on exhibition. All Florence was studying them, and ofthis throng we may be sure Raphael was an enthusiastic member. Whilehere he painted several pictures. Among them was the "_GranducaMadonna_, " the simplest of all his Madonnas--just a lovely youngmother holding her babe. It is still in Florence, and to this daypeople look at it and say the Grand Duke, who would go nowherewithout this gem of pictures, knew what was beautiful. 

 [Illustration: RAPHAEL IN HIS STUDIO. ]

Raphael did not stay long in Florence at this time, but soon returnedto Perugia. His next visit to Florence was of greater length. Duringthese years, 1506 to 1508, he painted many of his best known pictures. In studying the works of Raphael you must never tire of the beautifulMadonna, for it is said that he painted a hundred of these, so muchdid he love the subject and so successful was he in representing thechild Jesus and the lovely mother. Some of his finest Madonnas belongto this time. Let us look at a few of them. 

One, called "_The Madonna of the Goldfinch_, " shows Mary seated withthe Child Jesus at her knee and the young John presenting him with afinch, which he caresses gently. The Madonna has the drooping eyes, the exquisitely rounded face that always charm us, and the boys arereal live children ready for a frolic. Another, called "_The Madonnaof the Meadow_, " represents the Virgin in the foreground of a gentlybroken landscape with the two children playing beside her. We must notforget, either, as belonging to this time, the very beautiful "_LaBelle Jardiniere_, " or the "_Madonna of the Garden_" which now hangsin the Louvre, the art gallery of Paris. 

Like all his great Madonnas, the Virgin and Children are of surpassingloveliness. It is finished in such a soft, melting style that to seeit in its exquisite coloring, one could easily imagine it vanishingimperceptibly into the blaze of some splendid sunset. While we aretalking of Raphael's color it may be interesting to call yourattention to a very remarkable fact about his paintings. He lays thecolor on the canvas so thin that sometimes one can trace through itthe lines of the drawing, and yet his color is so pure and beautifulthat he is considered one of the greatest colorists of the world. Thenext time you see an oil painting, notice how thick or how thin thepaint is laid on, and then think of what I have told you of Raphael'smethod of using color. 

 [Illustration: LA BELLE JARDINIERE. _Raphael. _]

Now while Raphael was painting these drooping-eyed, mild-facedMadonnas and learning great lessons from the masters of Florence, awonderful honor came to him. He was called to Rome by the Pope andgiven some of the apartments of the Vatican to decorate in any way hewished. 

The Pope at this time was Julius II. And he was a very interestingman. He was a warrior and had spent many years fighting to gain landsand cities for the Church. When peace returned he was still anxious todo honor to the Church and so, wherever he heard of a great architect, painter, or sculptor, he at once invited him to Rome to do beautifulwork for the Church. Already he had set Michael Angelo to work on agrand tomb for him. Bramante, a relative of Raphael's, was workinghard to make St. Peter's the most wonderful Church in all the world. Now the young Raphael was to beautify still further the buildingsbelonging to the church. 

Julius did not pretend to be an artist or a scholar, and yet by hispatronage he greatly encouraged art and literature. The story is toldthat when Angelo was making a statue of the Pope for the town ofBologna, the artist asked Julius if he should place a book in thestatue's extended left hand, and the Pope retorted, almost in anger, "What book? Rather a sword--I am no reader!"

In earlier years Florence had been a glorious sight to our artist andnow in 1508, standing in the "Eternal City, " he was more awed thanwhen first he beheld the city of the Arno. Here the court of Julius, gorgeous and powerful, together with the works of art, like St. Peter's, in process of construction, were but a part of the wonders tobe seen. In addition, the remains of ancient Rome were scattered allabout--here a row of columns, the only remains of a grand temple, there a broken statue of some god or goddess, long lost to sight, andall the earth about so filled with these treasures that one had onlyto dig to find some hidden work of art. The Roman people, too, wereawake to the fact that they were not only living out a marvelouspresent, but that they were likewise, in their every day life, walkingever in the presence of a still more wonderful past. I wish, while youare thinking about this, that you would get a picture of the RomanForum and notice its groups of columns, its triumphal arches, itsruined walls. You will then certainly appreciate more fully whatRaphael felt as he went about this city of historic ruins. 

 [Illustration: MADONNA OF THE FISH. _Raphael. _]

The Pope received the young artist cordially and at once gave him thevast commission of painting in fresco three large rooms, or _stanze_, of the Vatican. In addition, he was to decorate the gallery, orcorridor, called the _loggia_, leading to these apartments from thestairway. With the painting of these walls Raphael and his pupils weremore or less busy during the remainder of the artist's short life. Agreat many religious and historic subjects were used, besides someinvented by Raphael himself, as when he represented _Poetry_ by MountParnassus inhabited by all the great poets past and present. In theserooms some of his best work is done. Every year thousands of people goto see these pictures and come away more than ever enraptured withRaphael and his work. 

In the loggia are the paintings known collectively as Raphael's Bible. Of the fifty-two pictures in the thirteen arcades of this corridor allbut four represent Old Testament scenes. The others are taken from theNew Testament. Although Raphael's pupils assisted largely in thesefrescoes they are very beautiful and will always rank high among theart works of the time. 

Raphael's works seem almost perfect even from the beginning, yet hewas always studying to get the great points in the work of others andto perfect his own. Perhaps this is the best lesson we may learn fromhis intellectual life--the lesson of unending study and assimilation. He was greatly interested in the ruins of Rome and we know that hestudied them deeply and carefully. This is very evident in theMadonnas of his Roman period. They have a strength and a power tomake one think great thoughts that is not so marked in the pictures ofhis Florentine period. 

 [Illustration: THE ARCHANGEL. Detail from _Madonna of the Fish_. _Raphael. _]

The "_Madonna of the Fish_" is one of the most beautiful of this time. It was painted originally for a chapel in Naples where the blindprayed for sight, and where, legend relates, they were oftenmiraculously answered. The divine Mother, a little older thanRaphael's virgins of earlier years, is seated on a throne with theever beautiful child in her arms. The babe gives his attention to thesurpassingly lovely angel, Raphael, who brings the young Tobias withhis fish into the presence of the Virgin, of whom he would beg thehealing of his father who is blind. On the other side he points to apassage in the book held by the venerable St. Jerome. This isdoubtless the book of Tobit wherein the story of Tobias is related, and which Tobias translated. Whatever the real purpose of the artistwas in introducing St. Jerome, a very beautiful result was attained incontrasting youth and age. Like a human being of note, this picturehas had an eventful history. It was stolen from Naples and carried toMadrid and then, in the French wars, it was taken to Paris. It hassince been restored to the Prado of Madrid, and there to-day we mayfeast our eyes on its almost unearthly loveliness. In it the divinepainter showed that he knew the heart of a mother and the love of ason; that he appreciated the majesty of age and the heavenly beauty ofthe angels. 

Hardly less beautiful is the "_Madonna Foligno_, " so named from thedistant view of the town of Foligno seen under a rainbow in thecentral part of the picture. In the upper portion, surrounded by angelheads, is the Madonna holding out her child to us. Below is the scenealready referred to, the portrait of the donor of the picture, somesaints, and a beautiful boy angel. The latter is holding a tabletwhich is to be inscribed, for this is one of that large class ofpictures in Italian Art called _votive_--that is, given to the churchby an individual in return for some great deliverance. In this casethe donor had escaped, as by a miracle, from a stroke of lightning. 

In this short sketch there is time to mention only a few of Raphael'sgreat pictures, but I trust you will be so interested that you willlook up about others that are passed over here. There are many veryinteresting books about Raphael in which you can find descriptions ofall of his pictures. 

Among other paintings, Raphael made many fine portraits. An excellentlikeness of Julius was so well done that, skillfully placed andlighted, it deceived some of the Pope's friends into thinking it theliving Julius. 

The painting of portraits was not the only departure of our artistfrom his favorite Madonna or historic subjects. We find him alsointerested in mythology. Out of this interest grew his "_Galatea_, "which he painted for a wealthy nobleman of his acquaintance. In thispicture Galatea sails over the sea in her shell-boat drawn bydolphins. She gazes into heaven and seems unconscious of the nymphssporting about her. 

 [Illustration: GALATEA. _Raphael. _]

Speaking of Raphael's use of mythological subjects, though not quitein the order of time, we may here mention his frescos illustrating thestory of Cupid and Psyche, painted on the walls and ceiling of thesame nobleman's palace, the Chigi palace. The drawings for thesepictures were made by Raphael, but most of the painting was done byhis pupils. As we study these pictures of the joys and sorrows of thisbeautiful pair, we are interested, but we regret that ourangel-painter was willing, even for a short time, to leave his ownproper subjects, the religious. We feel like saying, "Let men who knownot the depth of religious feeling, as did Raphael, paint for us themyth and the secular story, but let us save from any earthly touch ourpainter of sacred things. "

In 1513 the great Julius died, and Leo X. , a member of the famousMedici family of Florence, succeeded to his place. Raphael was in themidst of his paintings in the Vatican, and for a time it was uncertainwhat the new Pope would think of continuing these expensivedecorations. Though lacking the energy of Julius, Leo continued thewarrior-pope's policy regarding art works. So Raphael went onunmolested in his work, with now and then a great commission added. 

During the life of Leo the power of the Church sunk to a low level, and yet the angel-painter of the Vatican pursued in peace thecomposition and painting of his lovely works. 

The "_St. Cecilia_" was a very important work painted about the timeof Julius' death. It was painted for a wealthy woman of Bologna toadorn a chapel which she had built to St. Cecilia, the patroness ofmusic. She had built this chapel because she thought she heard angelstelling her to do it; in other words she had obeyed a vision. 

In the picture the saint stands in the centre of a group made up ofSt. John, St. Paul, St. Augustine, and Mary Magdalene. She holdscarelessly in her hands an organ from which the reeds are slipping. What charms can even her favorite instrument have for her when streamsof heaven's own music are reaching her from the angel choir above?Every line of face and figure shows her rapt attention to thecelestial singers. The instruments of earthly music lie scatteredcarelessly about. 

While our attention is held most of all by the figure of St. Cecilia, the other persons represented interest us too, especially St. Paul, leaning on his naked sword. (See illustration. ) His massive head andfurrowed brow show man at his noblest occupation--_thinking_. Indelightful contrast is the ever beautiful St. John, the embodiment ofyouth and love. 

 [Illustration: ST. CECILIA. _Raphael. _]

When the picture was completed Raphael sent it to his old friendFrancia, the artist of Bologna. It is related that Francia, onseeing the wonderful perfection of the picture, died of despair, feeling how poorly he could paint as compared with Raphael. Whetherthis story be true or not, it is certain that the people of Bolognawere much excited over the arrival of the picture and gloried inpossessing the vision of St. Cecilia. The picture is still to be seenin Bologna, where it retains its brilliant coloring, slightly mellowedby the passing years. 

The Sistine Chapel was the most beautiful apartment in the Vatican. Its walls were covered with choicest frescos. Its ceiling, done by thewonder-working hand of Michael Angelo, was a marvel. To add still moreto the beauty of this Chapel, Leo ordered Raphael to draw cartoons forten tapestries to be hung below the lowest tier of paintings. Now youknow that cartoons are the large paper drawings made previous tofrescos and tapestries to serve as patterns. 

Raphael selected ten subjects from the Acts of the Apostles. Hisdesigns were accepted and sent to Arras in Flanders where the mostbeautiful tapestries were manufactured. The cartoons were cut intostrips that they might be more conveniently used. In 1518 thetapestries, woven of silk, wool, and gold, were finished and broughtto Rome, where they were greatly admired. 

 [Illustration: MIRACULOUS DRAUGHT OF FISHES. _Raphael. _]

In 1527, Rome was sacked by savage soldiers and many of her choicestthings carried away. Among them were these tapestries. They weresold and then restolen by Jews, who thought to separate the gold byburning them. They tried this with one and found that the quantity ofgold was so small that it was not worth the trouble, and so the otherswere spared and sold to a merchant of Genoa. They were finallyrecovered in a faded condition and are now in the Vatican. 

Meanwhile the cartoons were forgotten and three of them lost. TheFlemish artist, Rubens, came across those remaining, however, andrecommended Charles I. Of England to purchase them for his palace atWhitehall. Later Cromwell bought them for the nation, and today we maysee them pasted together and carefully mounted in South KensingtonMuseum, London. "_The Miraculous Draught of Fishes_, " (see oppositepage, ) is one of the best known of the series. All are bold and strongin drawing, and several are very beautiful, as "_Paul and John at theBeautiful Gate_. " One critic, in speaking of the cartoons, says theymark the climax of Raphael's art. 

We must not forget that all these years, while Raphael was makingthese wonderful cartoons and pictures, the work on the rooms of theVatican was going steadily forward. He certainly was a busy man!

Probably the best known of Raphael's Madonnas is "_The Madonna dellaSedia_, " so called because the mother sits in a chair. A delightfulstory is told of the painting of this picture. It runs something likethis: Many years ago there lived in a quiet valley in Italy a hermitwho was greatly loved by all the people round about, for he taughtthem and he helped them in sickness and in trouble. His hut was near agiant oak tree that sheltered him from the sun of summer and thebiting winds of winter. In the constant waving of its branches, too, it seemed to converse with him, and so he said he had two intimatefriends, one that could talk, and one that was mute. By the one thatcould talk he meant the vine-dresser's daughter who lived near by andwho was very kind to him. By the mute one he meant this shelteringoak. 

Now, one winter a great storm arose, and when the hermit saw that hishut was unsafe, his mute friend seemed to beckon him to come up amongthe branches. Gathering a few crusts, he went up into the tree where, with hundreds of bird companions, his life was saved, though his hutwas destroyed. Just as he thought he should die of hunger, Mary, thevine-dresser's daughter, came to see her old friend and took him toher home. Then the pious hermit, Benardo, prayed that his two friendsmight be glorified together in some way. 

 [Illustration: MADONNA DELLA SEDIA. _Raphael. _]

Time wore on. The hermit died, the oak tree was cut down and convertedinto wine casks, and the lovely Mary married and was the mother oftwo boys. One day as she sat with her children, a young man passed by. His eyes were restless, and one might have known him for a poet or apainter in whose mind a celestial vision was floating. Suddenly he sawthe young mother and her two children. The painter, for it wasRaphael, now beheld his vision made flesh and blood. But he had only apencil. On what could he draw the beautiful group? He seized the cleancover of a wine cask near by and drew upon it the lines to guide himin his painting. He went home and filled out his sketch in loveliestcolor, and ever since the world has been his debtor for giving it hisheavenly vision. So the hermit's prayer was answered. His two friendswere glorified together. 

Other honors, besides those coming from his paintings, were showeredupon Raphael at this time. He was now rich, and the Cardinal Bibbienaoffered him his niece Maria in marriage. It was considered a greatthing in those times to be allied by marriage to a church dignitary, but Raphael had higher honors, and so, while he accepted the offerrather than offend the cardinal, he put off the wedding until Mariadied. His heart was not in this contract because for years he hadloved a humble but beautiful girl, Margherita, who was probably themodel of some of his sweetest Madonnas. 

Speaking of the honors thrust upon Raphael, we must not forget thatthe Pope made him architect-in-chief of St. Peter's on the death ofBramante. He was also appointed to make drawings of the ancient cityof Rome, in order that the digging for buried remains might be carriedon more intelligently. 

In every Madonna we have described, we have had to use freely thewords _lovely_, _great_, _beautiful_, but one there remains which, more than any other, merits all these titles and others in addition. It is the "_Sistine Madonna_" in the Dresden Gallery. It was the lastpicture painted wholly by Raphael's hand. It was painted originally asa banner for the monks of St. Sixtus at Piacenza, but it was used asan altar-piece. In 1754, the Elector of Saxony bought it for $40, 000and it was brought to Dresden with great pomp. People who know aboutpictures generally agree that this is the greatest picture in theworld. 

 [Illustration: ST. PAUL. Detail from _St. Cecilia_. _Raphael. _]

Let us see some of the things which it contains--no one can ever tellyou all, for as the years increase and your lives are enlarged by joyand by sorrow, you will ever see more and more in this divine pictureand feel more than you see. Two green curtains are drawn aside andthere, floating on the clouds, is the Virgin full length, presentingthe Holy Child to the world. It is far more than a mother and child, for one sees in the Madonna a look suggesting that she sees vaguelythe darkness of Calvary and the glory of the resurrection. This is noordinary child, either, that she holds, for He sees beyond this worldinto eternity and that His is no common destiny;--at least, one feelsthese things as we gaze at the lovely apparition on its background ofclouds and innumerable angel heads. St. Sixtus on one side would knowmore of this mystery, while St. Barbara on the other is dazzled by thevision and turns aside her lovely face. Below are the two cherubs, thefinal touch of love, as it were, to this marvellous picture. 

It is said that the picture was completed at first without thesecherubs and that they were afterwards added when Raphael found twolittle boys resting their arms on a balustrade, gazing intently up athis picture. 

This painting has a room to itself in the Dresden Gallery, where themost frivolous forget to chat and the thoughtful sit for hours inquiet meditation under its magic spell. One man says, "I could spendan hour every day for years looking at this picture and on the lastday of the last year discover some new beauty and a new joy. "

There was now great division of opinion in Rome as to whether Angeloor Raphael were the greater painter. Cardinal de Medici ordered twopictures for the Cathedral of Narbonne, in France, one by Raphael andone by Sebastian Piombo, a favorite pupil of Angelo's. People knewthat Angelo would never openly compete with Raphael, but they alsofelt sure that he would assist his pupil. The subject chosen byRaphael was "_The Transfiguration_. " But suddenly, even before thislatest commission was completed, that magic hand had been stopped bydeath. The picture, though finished by Raphael's pupils, is a greatwork. The ascending Lord is the point of greatest interest in theupper, or celestial part, while the father with his demoniac child, holds our attention in the lower, or terrestrial portion. At hisfuneral this unfinished picture hung above the dead painter, and hissorrowing friends must have felt, as Longfellow wrote of Hawthornewhen he lay dead with an unfinished story on his bier, --

 "Ah, who shall lift that wand of magic power, And the lost clew regain? The unfinished window in Aladdin's tower Unfinished must remain. "

 [Illustration: TRANSFIGURATION. _Raphael. _]

Raphael died suddenly on his birthday in 1520, from a fever contractedwhile searching for remains among the ruins of Rome. He realized fromthe first that his sickness was fatal, and he immediately set aboutdisposing of his property. His works of art he gave to his pupils, hispalace to Cardinal Bibbiena, and his other property was distributedamong his relatives, and to his sweetheart, Margherita. He wasburied with honors in the Pantheon at Rome, beside Maria Bibbiena. 

For many years there was exhibited at St. Luke's Academy, in Rome, aso-called skull of Raphael. In 1833 some scholars declared that theydid not believe this to be the skull of the artist. They urged theauthorities to open the grave to prove their position. After five daysof careful digging the coffin was reached and there lay the artist'sskeleton complete. For many days it was exposed to view in a glasscase. A cast was taken of the right hand and of the skull, and then, with splendid ceremonies, they buried the artist a second time. 

Mention has often been made of Raphael's personal beauty. Onlythirty-seven when he died, his seraphic beauty was never marredby age. 

In his palace he lived the life of a prince, and when he walkedabroad, he had a retinue of devoted followers. He had for friendsprinces and prelates, artists and poets, while the common people lovedhim for the fine spirit they knew him to be. 

Judged by the moral standard of his time, he was absolutely spotless. Seldom, in any man, have all good qualities joined with a versatilegenius to the extent that they did in Raphael. No wonder that hisfriends caused to be inscribed on his tomb these words--"_This is thatRaphael by whom Nature feared to be conquered while he lived, and todie when he died. _"

REFERENCES FOR RAPHAEL. 

 Life of Raphael by Bell. 

 Life of Raphael by Sweetster. 

 Life of Raphael by Vasari. 

 Schools and Masters of Painting by Radcliffe. 

 History of Art by Luebke. 

 History of Art by Mrs. Heaton. 

 Great Artists by Mrs. Shedd. 

 The Fine Arts by Symonds. 

 Early Italian Painters by Mrs. Jameson. 

SUBJECTS FOR LANGUAGE WORK. 

 1. The Boy Raphael at Home. 

 2. My Favorite Madonna. 

 3. Stories of St. Francis of Assisi. 

 4. What I know of Fresco Painting. 

 5. Looking for Buried Treasures in Rome. 

 6. A Day in the Roman Forum. 

 7. A Day with the Boy Raphael. 

 8. The Legend of the _Madonna della Sedia_. 

 9. Raphael and His Friends. 

 10. Raphael the Student. 

[Illustration: COURT IN THE ALCAZAR. ]

MURILLO AND SPANISH ART

 "Velazquez is in art an eagle; Murillo is an angel. One admires Velazquez and adores Murillo. By his canvasses we know him as if he had lived among us. He was handsome, good and virtuous. Envy knew not where to attack him; around his crown of glory he bore a halo of love. He was born to paint the sky. " --DE AMICIS. 

 "Murillo could paint the sacred fervor of the devotee, or the ecstasy of the religious enthusiast, as well as the raggedness of the mendicant, or the abject suffering of Job. " --CHARLES BLANC. 

[Illustration: MURILLO. ]

MURILLO AND SPANISH ART. 

Spain was not blessed as Italy was with one generation after anotherof artists so great that all the world knows them even at this distantday. Spain has only two unquestionably great painters that stand outas world-artists. They are Velazquez and Murillo. The former paintedwith unrivalled skill the world of noblemen among whom he lived. Theother, not surrounded by courtiers, looked into his own pure, religious soul, and into the sky above, and gave us visions ofheaven--its saints and its angels. 

It is impossible to study either of these men apart from the other, orapart from the art records of Spain. To understand either, we mustknow the land, teeming with rich and unique cities, we must haveglimpses of its history, and we must know something of the rules laiddown by the church to guide the painter in his work. 

The climate of Spain, except in the south, is rigorous. Elevatedplains, rounded by snow-capped mountains, and swept during a largepart of the year by chilling winds, are not adapted to inspire men toproduce great works of art. On such a plain Madrid is situated, andchilly indeed are its nature pictures, even though they areover-arched by the bluest of skies and the most transparent ofatmospheres! In Andalusia, however, things were different. Here werethe olive, the orange, and the cypress, and here a sunny climateencouraged the houseless beggar no less than the aspiring artist. 

 [Illustration: Velasquez de Silva. ]

In speaking of Spain as a home of painting, we must not forget, either, how very devoted the people were to their religion, for this, perhaps more than anything else, gave a peculiar character to the artof Spain. The doctrines of Luther, found no willing listeners inSpain. Indeed, the Spaniards clung all the closer to the Church whenthey knew that there were those who wished to change it, and so theirpaintings are full of sad-faced, suffering saints, and rejoicing, holymen and women who gave their lives to religion. In connection withthis extreme religious zeal, the Church found it necessary to imposerules on the artists who would paint these holy personages. TheVirgin, whom all profoundly reverenced, should, according totradition, have fair hair and blue eyes. Her robes must be of purewhite and azure blue, and under no circumstances should her feet beexposed. She should stand on the crescent moon with its horns pointingdownward. Many other similar rules were at that time thoughtnecessary, and they greatly limited the artists in their work, forhowever good a churchman a man may be, it is impossible for him toproperly prescribe colors and forms for the artist, who, if he is anything at all, is the _see-er_ of his age. We want such things as theartist sees them. We shall see how nearly Murillo got into trouble bybreaking some of these prescribed rules. 

If we study the kings of Spain, Charles V. And the Philips, we shallsee two things that greatly influenced the art of Spain. First, theywere fond of art and spent great sums of money in buying finepaintings by Italian and Flemish masters. Both Titian and Rubens werefavorites in Spain, and many of their pictures were painted expresslyfor Spanish monarchs. Then, these rulers were vain and had a greatliking for having their portraits painted. This vanity extended to theCourtiers and even to the dwarfs, several of whom were usuallyconnected with the court as a source of amusement. There are portraitsof some of these diminutive creatures so skillfully painted that wecannot help wishing that more worthy subjects had been used. Thus thevanity of monarchs and their courtiers gave a direction to Spanishart which can be accounted for in no other way--their greatest artistsare always great portrait painters. So we see that, while genius inartists is indispensable, yet is this same genius largely influencedby climate, by religious enthusiasm, and even by the whims of kingsand queens. 

 [Illustration: ÆSOP. _Velazquez. _]

Although Murillo stands out a superlatively great and beautifulartist, yet we must not forget that Velazquez, only eighteen years hissenior, and like himself a native of Seville, lived during the greaterpart of Murillo's lifetime and divided honors with him. As has alreadybeen indicated, Velazquez's art was of a very different sort fromMurillo's. He was born into a home of plenty, and very soon went toMadrid as court painter. We know how he gained renown for all time bythe accuracy of the portraits he painted of various members of thecourt of Philip IV. --the king, the minister, Count Olivarez, theprinces, the dwarfs, and the buffoons. We remember, too, how hethought that very ordinary personage, "_The Water-Carrier ofSeville_, " with his wrinkles, his joy, and his beggarly customers, asubject worth painting. Then we recall a goodly list of othercommonplace subjects which he treated so truthfully that they willalways stand among the great pictures of the world, --"_The Spinners_, "where women labor in a dingy room, "_The Topers_, " "_The Lances_, "representing the great surrender of Breda, and the "_The Maids ofHonor_. " Nor can we forget his ideal portrait of "_Æsop_, " with hisbook under his arm. How well we know that book of fables! The rugged, good-natured face, homely as can be, holds us, as by a spell, and ifwe have not already done so, we read his book because we _must_, afterlooking into that dear old face. 

One of the loveliest things we remember of Velazquez was his kindnessto Murillo when he came to Madrid, a poor art student. AlthoughVelazquez was rich and his pictures in demand, he took a keen interestin the young Murillo, who should one day stand beside him--they twothe greatest artists of Spain. By the duties of his office, he wasobliged to take an active part in the festivities attending themarriage of Louis XIV. And the Infanta, Maria Theresa, in 1660. Thefatigue and exposure caused his death. We are reasonable in presumingthat thus was Spain robbed of ten years of a strong artist's life andwork. Incomparable loss when we think of what his countrymen gained inwatching a passing pageant. 

 [Illustration: CATHEDRAL, SEVILLE, SHOWING THE GIRALDA TOWER. ]

Spain is a land of unique cities. Perhaps this is because in so manyof them the works of Christianity were grafted on to works originallybuilt or begun by the Moors. As we study the wonderful buildings ofSpain, we cannot forget, however much we may abhor the religion ofthe Arabs, that they were marvellous builders and profound scholars. When the Spaniards sent them from their country, after they had livedthere for seven hundred years, they lost their best citizens, and themost beautiful and highly cultivated part of Spain was henceforth tobe comparatively desolate. On all the great section of Andalusia, themost southern part of Spain, the Moors left marks in buildings and incultivation, that it will take centuries yet to sweep away. 

Of all the cities of this division, and it includes a goodly number ofSpain's most important towns, Seville, "the pearl of cities, " thebirthplace of both Velazquez and Murillo, appeals most strongly toeveryone. Many superlative adjectives rise to our lips as we think ofits whiteness, of its sunny vineyard slopes, its orange and olivegroves, its salubrious climate, and its ancient associations. We thinkof its wondrous cathedral, next in size to St. Peter's, of its storiedbell-tower, the Giralda, of that fairy palace, the home of generationsof Moorish kings, the Alcazar, of the Golden Tower by the river'sedge, where Christian rulers stored their treasure. And then to ourvision of Seville the beautiful, we add the silver Guadalquivir whichdivides, and yet encloses this dream city of Andalusia. If we are notinterested in art, still must we be enthusiastic over Seville, forits bewitching little women with their lustrous eyes, their glossydark hair, held by the ever present single rose. If it beentertainment we seek, then Seville will furnish us the nationalbull-fight in all its perfection. If the more refined delights ofmusic attract us, still more is this our chosen city, for here is thescene of, Mozart's "_Don Juan_" and "_Figaro_, " of Bizet's "_Carmen_, "and many are the shops that claim to have belonged to the "_Barber ofSeville_. "

It is most pleasing to our sense of appropriateness that out of thisbeautiful white city of Andalusia, should have come, at about the sametime, the two greatest Spanish painters, the one to give us realscenes and people, the other to give us ideals of loftiest type. 

Here in the closing days of 1617, Murillo was born. His father andmother were poor people. The house they lived in had formerly belongedto a convent, and it was rented to them for a very small sum, oncondition that they would keep up the repairs. Even this Murillo'sfather found to be a heavy burden. He was a mechanic and his incomevery small. 

 [Illustration: THE GRAPE EATERS. _Murillo. _]

Our artist's full name was Bartolome Esteban Murillo. His last nameseems to have come from his father's family, though it was even morecommon in those days to take the mother's name for a surname, as inthe case of Velazquez. We know almost nothing of his early yearsexcept that he was left an orphan before he was eleven, under theguardianship of an uncle. Perhaps we should mention that Murillo earlyshowed his inclination to make pictures by scribbling the margin ofhis school books with designs that in no wise illustrated the texttherein. With this as a guide his guardian early apprenticed him toJuan del Castillo, another uncle, and an artist of some repute. Herehe learned to mix colors, to clean brushes, and to draw with greataccuracy. 

When Murillo was about twenty-two, Castillo removed to Cadiz, down theriver from Seville, and the young artist was thrown wholly on his ownresources. Life with him in those days was merely a struggle forexistence. He took the method very generally taken by young artists. He painted for the _Feria_ or weekly market. Here all sorts ofproducers and hucksters gathered with their wares. We can imagine thatmen of this sort were not very particular about the art objects theypurchased. They demanded two things--bright colors and strikingfigures. Murillo, in common with other struggling artists, turned outgreat numbers of these little bits of painted canvas. Some of themhave been discovered in Spanish America, whither they were undoubtedlytaken to assist in religious teaching. 

If there was hardship in this _painting for the feria_, as peopleslightingly spoke of such work, there were also immense advantages. Ashe painted he could observe the people who came to buy and the peoplewho came to sell, and, mayhap, that other numerous class in Sevillewho neither buy nor sell, but beg instead. From this very observationof character must have come largely that skill which is so marked inhis pictures of beggar boys, who, with a few coppers, or a melon, orsome grapes, are kings of their surroundings. Then the demand forstriking figures cultivated a broad style in the artist which addedgreatly to his later work. 

A fellow pupil of Murillo's had joined the army in Flanders. When hereturned he told such wonderful stories of the country and its artworks, that Murillo was more than ever inspired to go abroad to Romeor to Flanders. He at once set about earning a little money to assisthim in the journey. Again he painted a great number of saints andbright landscapes on small squares of linen, and sold them to eagercustomers. Thus he provided himself with scant means for the journey. He placed his sister in the care of a relative, and then started offafoot across the Sierras to Madrid, without having told anyone of hisintentions. His little stock of money was soon exhausted, and hearrived in Madrid exhausted and desperately lonesome. He at oncesearched out Velazquez, his townsman, who was then rich, and honoredin the position of court painter to Philip IV. Velazquez received himkindly, and after some inquiry about mutual acquaintances, he talkedof the young painter's plans for himself. Murillo spoke freely of hisambition to be a great painter, and of his desire to visit Rome andFlanders. 

Velazquez took the young painter to his own house, and procured forhim the privilege of copying in the great galleries of the capitol andin the Escurial. He advised him to copy carefully the masterpieces inhis own country. There were pictures by Titian, Van Dyck, and Rubens, and Murillo began the work of copying them at once. When Velazquezreturned after long absence, he was surprised at the improvement inMurillo's work. He now advised the young painter to go to Rome, but hehad been away from Seville for three years, and he longed to be againat home in his beautiful native city. During his absence he hadlearned much in art and in the ways of the world. He had met manydistinguished artists and statesmen in Velazquez's home. 

 [Illustration: FRUIT VENDERS. _Murillo. _]

The first three years after his return to Seville, he busied himselfwith a series of pictures for a small Franciscan convent near by. Although he did the work without pay, the monks were loath to give himthe commission because he was an unknown artist. There were elevenin the series, scenes from the life of St. Francis. They wereadmirably done, and though the artist received no pay for them, theydid him a greater service than money could have bought--theyestablished his reputation, so that he no longer wanted for such workas he desired. 

Among his earliest and best known pictures are those charming studiesof the beggar boys and flower girls of Seville. Several of the best ofthese are in the gallery at Munich where they are justly prized. Hereare some of the names he gives these pictures, "_The Melon Eaters_, ""_The Gamesters_, " "_The Grape Eaters_, " "_The Fruit Venders_, " "_TheFlower Girl_. " They are true to life--the happiest, most interesting, and self-sufficient set of young beggars one could well imagine. Notice, too, the beauty of the faces, especially in "_The FruitVenders_, " reproduced in this sketch. There are other interestingthings in this picture. With what eagerness the day's earnings arecounted! There is a motherliness in the girl's face that makes us surethat she is at once mother and sister to the boy. What lusciousgrapes--what a back-ground, unkempt like themselves, but thoroughly inkeeping with the rest of the picture! In his works of this sort whatbroad sympathy he shows! so broad, indeed, that they prove him asbelonging to no particular nation, but to the world. 

From the painting of these scenes from real life, he passed graduallyto the painting of things purely imaginary--to those visible only tohis own mind. 

A dainty picture which belongs half and half to each of these classesof pictures, represents the Virgin a little girl, sweet and quaint asshe must have been, standing by St. Anne's knee, apparently learning alesson from the open book. Both figures are beautiful in themselvesand, besides, they present the always interesting contrast of age andyouth. This was one of the pictures that well-nigh brought trouble onMurillo from some zealous churchmen before referred to. They thoughtthat the Virgin was gifted with learning from her birth and never hadto be taught. They merely criticized the treatment of the subject, however. It was an innovation in church painting. 

 [Illustration: THE MELON EATERS. _Murillo. _]

By this time Murillo was wealthy. He had numerous commissions and, insociety, he mingled with the best in the land. He was now in aposition to marry, which he did in 1648. There is a story told ofMurillo's marriage which one likes to repeat. He was painting analtar-piece for the church in Pilas, a town near by; while he wasworking, wrapt in thoughts of his subject, a lovely woman came intothe church to pray. From his canvas, the artist's eyes wandered to theworshipper. He was deeply impressed with her beauty and herdevotion. Wanting just then an angel to complete his picture, hesketched the face and the form of the unsuspecting lady. By a pleasantcoincidence he afterwards made her the angel of his home--his goodwife. The painter doubtless proved the truth of Wordsworth's beautifullines--

 "I saw her upon nearer view A spirit yet a Woman too! * * * "A countenance in which did meet Sweet records, promises as sweet; A creature not too bright and good For human nature's daily food. * * * "A perfect woman nobly planned, To warn, to comfort, and command; And yet a spirit still, and bright With something of angelic light. "

However this may be, we know that she is often painted as the Virginin Murillo's great pictures. Her liquid eyes and dark hair inspiredhim to forget the rigid rules laid down regarding the Virgin's havingblue eyes and fair hair or, at all events, to disregard them. We shallsee the Mary in some of his loveliest pictures with the dark hair andeyes of his countrymen. Three children were born into Murillo's home, two boys and one girl. One boy for a time practised the art of hisfather, but he later became a clergyman. The other son came toAmerica, while the daughter devoted herself to religion and entereda convent. 

After Murillo's marriage, his house was the gathering place for themost distinguished people of Seville. What a change was this fromMurillo's early condition, when he toiled at the weekly markets forbread and shelter! His power in his work increased, so that everynew picture was an additional pledge of his greatness. 

 [Illustration: THE IMMACULATE CONCEPTION. _Murillo. _]

It was in middle life that Murillo began painting the subject thatmore than any other distinguished him. It was to glorify a beautifulidea, that Mary was as pure and spotless as her divine son. It iscalled the doctrine of the Immaculate Conception, and so much did itappeal to Murillo that he painted it over and over again. He has leftus at least twenty different pictures embodying this doctrine. The onemost familiar is perhaps the greatest. It is the one that now gracesthe gem-room of the Louvre. I so name this room, for in it, within afew feet of one another, are pictures by Raphael, Da Vinci, Correggio, Rembrandt, Veronese, in short, by the foremost masters of the world. Among all these the vision of Murillo takes an equal rank. To many, the idea which the picture represents is of secondary importance, saveperhaps as giving a reason for the name it bears. But all can see theexquisite loveliness of this young woman in her blue mantle and herwhite robe, with her feet concealed by the voluminous folds of herdrapery, and with the crescent moon, the symbol of all things earthly, in the midst of a throng of child-angels "hovering in the sunny air, reposing on clouds, or sporting among their silvery folds"--"theapotheosis of womanhood. " It is as if an unseen hand had suddenlydrawn aside an invisible curtain and we, the children of earth, werefor a moment permitted to view the interior of heaven itself. In thisvision of a poet, so masterfully painted, the lover of picturesrejoices. 

How did the Louvre come by this magnificent monument of Spanish artwhen so much that is glorious has been kept within the boundaries ofSpain? We have but to turn to the wars of Napoleon and the campaignsin the Spanish peninsula, when the marshals of the mighty warriorswept everything before them. One of these, Marshal Soult, broughtback, after his victorious invasion, pictures enough to enrich a Czar. One of these stolen treasures was the picture we are studying. In1852, the French government bought it of him for more than $120, 000. There is but one mitigating thought regarding this rapine of theFrench, and that is that many art treasures, heretofore virtuallylocked to the public, were opened to the world--were made easilyaccessible. 

From this fair vision of womanhood let us turn to another, fairerstill, where a little child is the central figure, "_St. Anthony ofPadua_. " Although he did not repeat this subject so often as he didthe Conception, yet he has left us several representations of thisbeautiful and much adored saint. 

 [Illustration: HEAD OF VIRGIN, FROM THE IMMACULATE CONCEPTION. _Murillo. _]

In the life of Raphael we saw how great an influence was exerted onart by St. Francis of Assisi. His most devoted follower was St. Anthony of Padua, from whose lips sweet words fell like drops ofhoney, and whose ready hands ever dispensed deeds of love. Any manwhose life abounds in such acts must be devout. Such was the characterof St. Anthony, and he added to this a vivid imagination. Many werethe beautiful visions that rewarded and encouraged his deeds of mercyand kindness. One of the loveliest is the one Murillo caught from thedepths of his own pure soul, and held long enough to transfer it tocanvas to delight the people of his own day, and us of this later timewho no longer see visions. It is still in the cathedral of Seville forwhich it was painted. It is merely called "_St. Anthony of Padua_. "Never was a more soul-thrilling vision sent to man to illumine hisearthly pathway. There is the kneeling saint with outstretched armsreaching forward to embrace the Christ child, who comes sliding downthrough the nebulous light from among a host of joyous angels. Fromthe ecstatic look on St. Anthony's face we know that the Child of Godhas been drawn to earth by the prayerful love in the saint's heart. Wefeel certain that the open book on the table near by is none otherthan the best of all good books. The vision has come to Saint Anthonyon the earth, for that is common daylight that streams in through theopen door, and those are perishable lilies in the vase there by theopen book. By the painting of this picture Murillo gained for himselfthe title of "The Painter of Heaven. " The picture has always beenhighly prized, and even the hardships of war did not tempt the men ofthe Cathedral to accept the Duke of Wellington's offer to literallycover the canvas with gold to be given in exchange for the preciouspicture. The English general was obliged to keep his money, and in thecathedral still we may view Murillo's masterpiece. Treasures temptthieves even when they are in the form of pictures. In 1874, thefigure of the Christ Child was cut from this painting. It was broughtto New York, where the thief, in trying to dispose of it, was caught. The figure was returned to Seville, and carefully inserted in theinjured painting. 

It may not be out of place to stop here and notice the wonderfulvariety of holy children that Murillo has given us. His Madonnasinvariably hold very beautiful children, not so heavenly, perhaps, asRaphael's in the Sistine Madonna, but nevertheless, children thatcharm us into loving them. From the holy babe, with all his lovelyqualities, let us turn to that dear little boy of older growth, thatJoseph and Mary hold so tenderly by either hand in the picture of the"_Holy Family_" in the National Gallery in London, or to those otherboys, "_The Divine Shepherd_" and "_St John_. " Better than all, however, are those beautiful children known as "_The Children of theShell_, " where the little Christ offers to his playfellow, John, thecooling draught from a conch shell they have picked up in their play. They are children drawn from the sky quite as much as the Jesus in thefamous St. Anthony picture. 

Among his children there are little girls, too. We have alreadynoticed the Virgin as a child, and there is that other, led by theguardian angel sure and safe along life's uncertain way. Even in ourpractical time we all have more or less faith in the guardian spiritthat watches over every little child. If by some miracle thesechildren could all come to life, what a joyous yet thoughtful assemblyit would be! Difficult indeed would it be to select the one beyond allothers precious. No more certain proof exists of Murillo's highappreciation of spiritual things, of the simplicity and purity of hisown life and thought than this selfsame throng of little children thathe has given us. 

 [Illustration: ST. ANTHONY OF PADUA. _Murillo. _]

Murillo had always thought that a public academy of painting was verymuch needed in Seville. In his youth he had greatly felt the need ofsuch an institution. Finally, in 1660, the year of Velazquez's death, several of the artists united with Murillo in starting an academy. Itlived only as long as its founder and never produced a great artist. 

In 1671 our artist seemed in the very prime of his power. In that yearhe began the wonderful series of pictures for the Charity Hospital ofSeville. It was an old institution of the city, but it had beenneglected until it was almost in ruins. In Murillo's time a wealthyand pious citizen set about restoring it. For the beautifying of therestored hospital Murillo was commissioned to paint eleven works. Theyare among his very best. Two of them we must notice in particular, "_Moses Striking the Rock_" and "_Elizabeth of Hungary Tending theSick_. "

In the first of these the artist shows himself in a new capacity, thatof illustrator. Nothing could better express the thirst of that vastassembly in the wilderness than this picture. From a mighty, toweringrock the coveted water gushes forth in a generous, crystal stream, byits very abundance making a pool beneath. All degrees of thirst arerepresented in man and beast, from that which is not pressing to thatwhich, in its intensity, makes a mother seize the cup from the babein her arms. 

In the "_St. Elizabeth_" we admire the composition of the work, butthe subject rather repels than holds us. With the diadem of a queenupon her head, with the delicate hands of a gentlewoman, and from acostly basin St. Elizabeth bathes the scrofulous head of a beggar. Herladies-in-waiting turn from the loathsome object of her care, whileother patients await their turn. In the distance is the court feastthat goes on joyously in the palace while Elizabeth, the mistress ofthe feast, serves the diseased beggars at the portal. 

I have said that we could not stop to notice more than two of thisnotable series. Yet, as I run my photographs over, I cannot refrainfrom the mention of one other, the noble and wonderfully beautiful"_Liberation of St. Peter_. " It is simply a magnificent angelawakening Peter who languishes in prison. The suddenly arousedprisoner, the broken fetters, and above all, that glorious angel, extending a helping hand--his presence making a light in that darkcell--tell in no uncertain accents of the power of our belovedpainter. 

 [Illustration: MADONNA. _Murillo. _]

Thus might we go on from picture to picture, and from year to year, for the list ever strengthens as it lengthens. Two more, at least, should claim our attention before this sketch is closed. They are"_St. Thomas_ _giving Alms_" and "_The Madonna of the Napkin_. " TheSt. Thomas is rightly the companion of that other great charitypicture, "_St. Elizabeth_. " The one represents the abnegation of selfin woman's way--she gives service. The other represents man's way--hegives money. At the portal of the church stands the pale-faced, spiritual St. Thomas, dispensing his alms to beggars and cripples. Incomposition and drawing this is one of Murillo's greatest works. Weare interested to know that it was his own favorite among hispictures. 

"_The Madonna of the Napkin_" is both beautiful and curious. WhileMurillo was painting a series of pictures for a Capuchin convent ofSeville, the cook became very much attached to him. When his work wasdone and he was about to leave the convent, the cook begged a memento. But how could he paint even a small picture with no canvas at hand?The cook, bent on obtaining his wish, presented him with a tablenapkin and begged him to use that instead of canvas. With his usualgood nature, the artist complied, and before evening he produced abeautiful Virgin holding the infant Christ. Though done thus hastily, this Madonna is one of his best in design and coloring. His otherMadonnas we know well, the one holding a rosary, and the other markedby nothing but its own surpassing grace and beauty, and known simplyas Murillo's Madonna. 

According to the subject he was painting, Murillo used three distinctstyles of work, known as the _cold_, the _warm_, and the _aerial_. Thefirst, in which the line or drawing is marked by strength, he used inhis studies of peasant life. The second he used in his visions, whilethe third he reserved for his Conceptions--his heavenly effects. Sofine a colorist was he, however, and so indispensable a part of hisart did he consider the coloring that even the pictures classed as_cold_ are radiant with his lovely, mellow colors. 

 [Illustration: VIRGIN OF THE MIRROR. _Murillo. _]

Through the greater part of Murillo's life he painted for hisbeautiful Seville. In 1680, however, he went to Cadiz to paintpictures for the Capuchins at that place. He began on the largest oneof the number. It was to represent the marriage of St. Catherine, afavorite subject of the time. Events proved that this was to be hislast picture, for, while trying to reach the upper part of it, he fellfrom the scaffolding, receiving injuries from which he died two yearslater. Gradually his physical power deserted him until he did notattempt to paint at all. Then he spent much of his time in religiousthought. In the church of Santa Cruz near by his home, was a pictureof the "_Descent from the Cross_" by Campana. Before this picture hespent many hours, so much did he admire it. One evening he remainedlater than usual. The Angelus had sounded, and the Sacristan wished toclose the church. He asked the painter why he lingered so long. Heresponded, "I am waiting until those men have brought the body of ourblessed Lord down the ladder. " When Murillo died he was buried, according to his wish, immediately under this picture. 

He died in April, 1682. His funeral was of the sort that draws allclasses--a beloved man and a profound genius had passed away. Hisgrave was covered with a stone slab on which were carved but few wordsbeside his name. The church was destroyed during the French wars, andthe Plaza of Santa Cruz occupies its place. In later years a statue ofbronze was erected in one of the squares of the city in honor ofMurillo; there it stands, through all changes, the very master spiritof the city. 

If this sketch has implied anything, it has emphasized over and overagain the sweet and lovable character of Murillo. His religious zealwas great, yet no one could ever justly write fanatic beside his name. There was too much love in his soul for that. His pictures areindisputable proof of the never-dying love that permeated his life. 

He left a great number of pictures, and his habit of not signing themmade it easy to impose on unwary seekers after his paintings. Passingby all the work the authorship of which is uncertain, yet is thereenough left to make us marvel at his productiveness. 

SUBJECTS FOR LANGUAGE WORK. 

 1. Seville, the City of Music. 

 2. A Day in Seville. 

 3. Some Stories of the Alcazar. 

 4. The Giralda--Its History and Its Architecture. 

 5. The Children of Murillo's Paintings. 

 6. Murillo and Velazquez. 

 7. Some Spanish Portraits. 

 8. My Favorite Picture by Murillo. 

 9. Some Visions Seen by Murillo. 

 10. The Escurial--Its History. 

REFERENCES FOR THE STUDY OF "MURILLO AND SPANISH ART. "

 De Amicis Spain. 

 Hoppin Murillo. 

 Minor Murillo. 

 Stirling Annals of Spanish Art. 

 Stowe Velazquez. 

 Washburn Early Spanish Masters. 

[Illustration]

RUBENS

[Illustration: PETER PAUL RUBENS]

PETER PAUL RUBENS. 

1577-1640. 

In our study of Raphael, we had a glimpse of the golden age of art inItaly. In our work on Murillo, we saw what Spain was able to producein pictures when the whole of Europe seemed to be trying its hand atpainting. Moving north, we are to see in this sketch what the littlecountry now known as Belgium produced in the same lines. For this weneed hardly take more than the one name, Peter Paul Rubens, for herepresented very completely the art of Flanders or Belgium, as we callit to-day. 

If we love to read of happy, fortunate people, as I am sure we do, weshall be more than pleased in learning about Rubens. You know there isan old story, that by the side of every cradle stand a good and anevil fairy, who by their gifts make up the life of the little babewithin. The good fairy gives him a wonderful blessing, perhaps it isthe power to write poems or paint pictures. Then the bad fairy, uglylittle sprite that he is, adds a portion of evil, perhaps it is envythat eats the soul like a canker. And so they alternate, the good andevil, until the sum of a human life is made up, and the child grows upto live out his years, marked by joy and sorrow as every life must be. 

As we look at the men and women about us we feel, often, that one orthe other of these fairies must have slept while distributing theirgifts and so lost a turn or two in casting in the good or ill upon thebabe, so happy are some lives, so sorrowful are others. At Rubens'cradle the evil fairy must well nigh have forgotten his task, for thebabe grew up one of the most fortunate of men. 

In order to understand as we should any great man, we must alwaysstudy his country and his time. No man can be great enough not to belike the nation that produced him, or the time when he came into theworld. For these reasons we love to study a man's time and country, and, indeed, find it quite necessary if we would understand himaright. 

It is impossible to think of Rubens without associating him withFlanders and with Antwerp, his home city. Here, then, is just a littleabout the history of this most interesting country: One of the richestpossessions of Spain in the sixteenth century was known as theNetherlands. When the doctrines of Luther began to spread many of theNetherlanders accepted them. Philip II. , the terrible and gloomy kingof Spain, seized this opportunity to persecute them cruelly. Many ofthem resisted, and then Philip sent his unscrupulous agent, the Dukeof Alva, to make the people submit. This he partially accomplished bythe greatest cruelty. The northern provinces, which we know asHolland, declared their independence. The southern, of which Flanderswas the most flourishing province, longed so for peace and theprosperity that accompanies it, that they submitted to Spain. Thepeople then grew rich as weavers, merchants and traders. Splendidcities like Bruges, Ghent and Antwerp became the seats of commerce andtheir artists and workmen of all sorts were known throughout Europefor their thrift and the excellence of their workmanship. We recallhow Raphael's cartoons were sent to Flanders to be copied in tapestrythe finest in the world. 

 [Illustration: RUBENS' MOTHER _Rubens_]

Of all the cities dear to Flemish hearts Antwerp was, perhaps, themost beautiful and the most prosperous. It was situated on the riverScheldt about twenty miles from the sea. In the time of its greatnessone might count almost at any time twenty-five hundred ships and boatsriding at anchor in front of the city, and within her walls, twohundred thousand people lived in plenty. There were marble palaces, beautiful churches, a magnificent town hall (Hotel de Ville); and thehouses of the humble showed by their cleanlines and comfortablesurroundings that enjoyment of life was restricted to no one class. 

This matter of religious faith, however, was bound to come up againand bring, as it proved, ruin upon the city. A body of people whothought it wrong to have pictures and statues of saints, and of Maryand her Son, gathered together and for four days went from one Flemishtown to another and destroyed everything of the sort to be found inthe churches. Four hundred places of worship were desecrated, many ofthem within the city of Antwerp. Because of their zeal against the useof so-called _images_ they were called _Iconoclasts_. 

If formerly they had been punished for _thinking_ things against theestablished religion of the State, what now could be expected whenthey had _done_ such sacrilegious things?

 "Again the whiskered Spaniard all the land with terror smote; And again the wild alarum sounded from the tocsin's throat. "

 [Illustration: RUBENS AND HIS FIRST WIFE _Rubens_]

Our imagination cannot picture things so terrible as were perpetratedupon the inhabitants of Antwerp for their part in the destruction ofthe "images. " This terrible event is known in history as _TheSpanish Fury_. Thousands of her people were killed, most of herpalaces were burned, and the treasure of her wealthy citizens wasstolen. Property was confiscated to the Spanish Government. Death andterror, theft and rapine reigned in the beautiful city of the Scheldt. When the dead were buried, the charred ruins of buildings removed, andthe Spanish soldiery withdrawn, the mist-beclouded Netherland sunshone out on a dead city which even to-day bears marks of theSpaniard's fury. Grass grew in what had been its busiest streets, trade almost ceased, and thousands of weavers and other artisans wentto England where they could pursue their vocations unmolested. 

Philip was apparently satisfied with the chastisement he hadinflicted. He began to restore the confiscated property to itsrightful owners, and to encourage the industry he had so cruellydestroyed. He even made Flanders an independent province under theArchduke Albert and the Infanta Isabella. Although peace had returnedand a degree of prosperity again prevailed, yet many other things wereirretrievably gone, and the people lived every day in the sight ofpainful reminders of their former greatness. 

In art, too, these low country provinces had made much progress. Therehad been Hubert and Jan Van Eyck who had painted with minute skilldevout pictures. They had, moreover, given to the world the process ofpainting in oils. This discovery, worked out with the extreme carenatural to the Netherlanders, changed the whole character of painting, and made it possible to have such colorists as Titian, Raphael andRubens. We must remember that the colors used in fresco painting weremixed with a sort of "size" and that they had none of the richness ofoil colors. There had been other artists of note besides the VanEycks. Hans Memling, with the spirit of a real poet, had painted hissweet visions, and to-day it is not for the opulent merchants whoadded fame and wealth to their city in their time, but for thispoet-painter, Memling, that we venerate the ancient and stately cityof Bruges. Quentin Matsys, the brawny blacksmith, who, for love of anartist's daughter, became a painter, comes to our minds as a name ofno mean fame in the early records of Flemish painting. 

 [Illustration: HELEN FOURMONT, RUBENS' SECOND WIFE, AND YOUNGEST SON _Rubens_]

The guild system, where every class of artisans was organized forprotection and for the production of good work, touched even the finearts. No man could set up for a good painter who had not served hisapprenticeship, and whose work was not satisfactory to experts. WhenRubens was born he came as the heir of all that had been accomplishedbefore him. He only carried on what his predecessors had begun, buthe carried it on in a matchless way so that he was able to leave tosucceeding painters not only all he had inherited, but a goodly legacybesides--the legacy of a pure life, a glowing, natural, vigorous art. It seems to me that right here is a lesson for us. May we not add ourmite, tiny though it be, to the ever-growing volume of truth? I likethis quotation in this connection, and I hope you may see its beautytoo--"The vases of truth are passed on from hand to hand, and thegolden dust must be gathered into them, grain by grain, from theinfinite shore. "

Rubens' birth took place in 1577, the year following the Spanish Fury. When he was only seven, William the Silent, the saviour and protectorof the northern provinces, was assassinated at the instance of PhilipII. When he was eleven, the Spanish _Armada_, the proudest fleet thatever sailed the seas, sent to invade England and punish QueenElizabeth, was scattered by wind and wave and dashed to pieces onalien rocks. The Reformation was well established in England andHolland, while France, led by Henry IV. , was yet uncertain whether ornot to accept the new doctrines. Such were some of the portentousevents that marked the advent and early years of the greatest ofFlemish painters. 

The family of Rubens' father had lived for years in Antwerp, but whenLuther's doctrines were put forward Jan Rubens, the father of ourartist, believed in them. For this reason he was compelled to fleefrom the city, and his property was confiscated. He went to the littlevillage of Siegen, in western Germany, where his illustrious son wasborn on June 29th, 1577. His birth was on the day dedicated to thesaints, Peter and Paul, and so his parents gave the child their names. After the residence of a year in this little town, the family removedto Cologne, where they lived for ten years, until the death of thefather. 

Jan Rubens was a lawyer and a learned man, and he took pains that hissons should be thoroughly educated. In addition to his heretical viewsregarding religion he had grievously offended William the Silent andso was doubly exiled. His wife remained with him, and by her effortskept him from prison, and added cheer to his life of exile. This wasthe admirable Marie Pypeling, the mother so revered by Rubens, and sodeserving the respect of all who know of her. A portrait of her by herson is given in this sketch. To her he owed his handsome face, hisstrong physique, his shrewdness and his love of order. 

 [Illustration: RUBENS' DAUGHTER _Rubens_]

Immediately after the death of her husband, Marie Pypeling and herfamily, now consisting of two sons and a daughter, returned toAntwerp. Her property, which had been confiscated in those wild daysat Antwerp, was restored to her in the general restitution with whichPhilip tried to compensate the citizens for their losses in theSpanish Fury. From this time Rubens was an adherent of the CatholicChurch. 

The education of Peter Paul, which was so carefully begun by hisfather, was continued by his mother, in a Jesuit College at Antwerp. He was an apt student and soon attained the elements from which hebecame a very learned man. He knew seven languages, was interested andlearned in science and politics. All through his life he devoted somepart of each day, however busy he was with his painting, to generalreading. This, perhaps more than his early studies, accounts for hiselegant scholarship. 

His mother was quite determined that this son should be, like hisfather, a lawyer. His own tastes, however, and a power to use thebrush early displayed, decided otherwise. It very soon became evidentthat he was to be a painter--good or bad--who could tell in thoseearly days?

In accordance with a custom of the time, he was placed as a page inthe house of a nobleman of Antwerp. To the talented and restless boythis life was intolerable, and he soon induced his mother to allowhim to enter the studio of Van der Haeght, a resident artist of somerepute and a close follower of Italian Art. He was only thirteen atthis time. Here he learned to draw skillfully and, through theinfluence of his teacher, he acquired a love of landscape art whichnever left him. 

From Van der Haeght and his mild but correct art, Rubens, feeling hisweakness in figure work, went to the studio of the irascible andforcible painter Van Noort, about whom critics have delighted to tellstories of brutality. However true these may be, Rubens stayed withhim four years and never ceased to speak in praise of his master'swork. Here he became acquainted with Jordaens, who used often to paintthe animals in Rubens' landscapes. 

From Van Noort's studio the restless Rubens went to study with VanVeen, who afterwards became court-painter. When the Archduke Albertand Isabella entered Antwerp in 1594, it was Van Veen who decoratedthe triumphal arches used on the occasion. We may judge that he didthe work well, for he was shortly selected to serve the new rulers ascourt painter. Rubens' experience with Van Veen closed a ten years'apprenticeship in the studios of Antwerp, and now he determined to goto Italy, where he could study the masters at first hand. 

 [Illustration: RUBENS' TWO SONS _Rubens_]

As a sort of parting work and, perhaps, because he wished to impressmore vividly on his mind those dear, strong features of his mother, hepainted that portrait of her which we so much admire both for itssubject and its art. This image of his mother was an effectual charmto carry with him in his travels--a charm to save him perhaps, fromsome of the stumbling places into which a handsome young man away fromhome might wander. 

In May of 1600, after making all needful preparation, our artist setout on his journey. It was natural that he should direct his stepsfirst to Venice. Titian had but recently completed his productive lifeof nearly a century. His misty atmosphere, his intense interest inhuman life and, above all, his glowing color touched a kindred cord inRubens' nature. Then there were Tintoretto and Veronese, almost asinteresting to our painter. 

The Duke of Mantua, a most liberal and discerning patron of art, wasin Venice when Rubens reached that city. One of the Duke's suitehappened to be in the house with Rubens. He took notice of thepainter's courtly bearing, his fine physique, and his ability topaint, and introduced him to the Duke. Never did our painter'shandsome face and fine presence so quickly win a patron. He was atonce attached to the Duke's court and began copying for him themasterpieces of Italy--the pictures of Titian, Correggio, Veronese, leading all others. He also studied carefully the work of JulioRomano, Raphael's famous pupil. He accompanied the Duke to Milan, where he copied Leonardo's great picture, "_The Last Supper_, " besidesdoing some original work. 

The Duke had observed Rubens' courtly manner and his keen mind. Hedecided that the painter was just the person to send in charge of somepresents to the King of Spain, whose favor he was anxious to gain. Thegifts were made up of fine horses, beautiful pictures, rare jewels andvases. Early in 1603, the painter set out with his cavalcade, andafter a stormy journey of about three months they reached the Court ofSpain. He was cordially received and the gifts were delivered, although the pictures had been somewhat damaged by the rains whichmarked the last days of their trip. He was asked to paint severalportraits of eminent personages of the court and he compliedgraciously. 

He returned to Italy after somewhat more than a year's absence. Forsome time he remained at Mantua to paint an altar-piece for the chapelwhere the Duke's mother was buried. 

 [Illustration: HOLY FAMILY _Rubens_ (Pette Gallery, Florence)]

Later he went to Rome where he studied carefully the works of MichaelAngelo. In turn he visited all the great art cities of Italy exceptNaples. He stopped for some time at Florence, Bologna, and Genoa. Atthe last place he received so many orders for his work that he couldnot attend to them all. Everywhere he went the fame of "the Fleming, "as he was called in Italy, had gone before him. In many of the citieshe made lengthy sojourns, copying the masterpieces that pleased him, and painting originals highly prized to-day in the galleries of Italy. 

He had been in Italy eight years, when one day from over the Alps camea courier in hot haste bearing to Rubens the sad news that his motherlay at home very ill. Not even waiting for permission from his patron, the Duke, Rubens started north with a heavy heart, for he felt surethat he should never see his mother again. Although he rode with allhaste, as he neared his home city of Antwerp, he received the sadtidings he had so much dreaded. Marie Pypeling had died nine daysbefore he left Italy. As was the custom in his country, he secludedhimself for four months in a convent attached to the church where hismother was buried. 

The profound sorrow for his mother, and the sudden change from thelife he had so recently led made him melancholy. He longed for theskies, the pictures, and the society of Italy. When he came forth fromhis retirement, his countrymen could not bear the thought of theirnow illustrous artist returning to Italy. They wanted him among themto glorify with his splendid brush the now reviving city of theScheldt. 

The rulers of the city, Albert and Isabella, made him court painterand gave him a good salary. He accepted the office on condition thathe should not have to live at the court. It was with some regret thathe gave up returning to Italy, but the natural ties that bound him toAntwerp were stronger. He hoped that he might yet one day visit Italy. This part of his life-plan, however, he never carried out. 

 [Illustration: INFANT CHRIST, ST. JOHN AND ANGELS _Rubens_]

He was now thirty-two years old, respected of all men not only for hispower as a painter, but for his sterling worth as a man. He hadstudied carefully the best art that the world could show, and he hadabsorbed into his own characteristic style what was best for him--hisstyle of painting was now definitely formed. His fame as a painter wasestablished from the Mediterranean to the Zuyder Zee. He wasoverwhelmed with orders for his pictures, so that he had plenty ofmoney at his command. He had the confidence of princes, and wasattached to one of the richest courts of Europe. A crowd of anxiousart students awaited the choice privilege of entering his studio whenhe should open one. It would seem that there was little left for thisman to desire in earthly things. The two he lacked he speedilyprocured, a good wife and a happy home, both destined to live alwayson the canvasses of this most fortunate of painters. 

In 1610, he married the lovely and beautiful Isabella Brandt, thedaughter of the Secretary of Antwerp. Happy indeed were the fifteenyears of their life together, and often do we find the wife and theirtwo boys painted by the gifted husband and father. We reproduce apicture of the two boys. 

He bought a house on Meir Square, one of the noted locations inAntwerp. He re-modelled it at great expense in the style of theItalians. In changing the house he took care that there should be achoice place to keep and display his already fine collection ofpictures, statues, cameos, agates and jewels. For this purpose he madea circular room, lighted from above, covered by a dome somewhatsimilar to that of the Pantheon at Rome. This room connected the twomain parts of the house and was, with its precious contents, aconstant joy to Rubens and his friends. The master of this palace, forsuch it certainly was, lived a frugal and abstemious life, a mostremarkable thing in an age of great extravagance in eating anddrinking. Here is the record of one of his days in summer: At fouro'clock he arose, and for a short time gave himself up to religiousexercises. After a simple breakfast he began painting. While hepainted he had some one read to him from some classical writer, and ifhis work was not too laborious, he received visitors and talked tothem while he painted. He stopped work an hour before dinner anddevoted himself to conversation or to examining some newly acquiredtreasure in his collection. At dinner he ate sparingly of the simplestthings and drank little wine. In the afternoon he again began his workat his easel, which he continued until evening. After an hour or so ona spirited Andalusian horse, of which he was always passionately fond, and of which he always had one or more fine specimens in his stables, he spent the remainder of the evening conversing with friends. Avaried assembly of visitors loitered in this hospitable home. Therewere scholars, politicians, old friends--perhaps former fellow-pupilsin Antwerp studios. Occasionally the princess Isabella came among theothers, and Albert himself felt honored to stand as god-father toRubens' son. Surely the wicked fairy _did_ forget some of the evil hewas to have mixed with this life!

 [Illustration: PORTRAIT OF A YOUNG WOMAN _Rubens_ (Hermitage, St. Petersburg)]

It was in connection with the building of this house that the bestknown and perhaps the greatest work of Rubens was painted: "_TheDescent from the Cross_, " now in Antwerp Cathedral. It is said that inexcavating for the foundation to some of the new parts of Rubens'house, the workmen unintentionally trespassed on some adjoiningground belonging to the gunsmiths' guild. In settlement for thisRubens was requested to paint a picture of St. Christopher, theChrist-Bearer, as they called him. Rubens complied with the requestand painted what to us to-day would seem a very strange picture--a"triptych, " that is a middle panel over which two narrow side panels, hinged to the middle one, could be closed. He interpreted the requestof the guild rather strangely too--he thought it would please them torepresent in the several spaces of the triptych all who had evercarried Christ in their arms. In the middle panel we have the menremoving the dead Christ from the cross, with the three Marys below, one of whom, the Magdalen, is, perhaps, the most beautiful womanRubens ever painted. The light is wonderful, coming, as it does, fromthe great white cloth in which they would wrap our Lord. The form ofthe dead Christ in its difficult position is a piece of masterlydrawing. This panel is, of course, the principal part of thealtar-piece. On one side of this was painted the Virgin visiting St. Anne, and on the other we have the aged St. Simeon presenting theChrist-Child in the temple. If we close these side panels over themiddle one we find a space as large as the center panel. On thisRubens painted St. Christopher with the child and accompanied by ahermit carrying his lantern. Surely it was a good-natured artist anda glowing and generous soul who painted so much in response to arequest for a St. Christopher!

There were, however, trials for this fortunate man. There were thosewho were jealous of his fame and who said unkind things of him. Inanswer to their jealousies he only said, "Do well and you will makeothers envious; do better and you will master them. "

He was called away from the home he loved so well. In 1619, when thetruce, under which Antwerp had regained somewhat of her formergreatness, was about to expire, Rubens was sent to Spain to renew it. He had hardly returned to Antwerp before Marie de Medicis, the wife ofHenry IV. Of France--the Henry of Navarre, of historic fame--sent forthe artist to adorn her palace of the Luxemburg in Paris. He was topaint twenty-one pictures for this purpose. They were to describe thelife of the queen. We give one of the series. He accomplished thisentire work in glowing allegorical fashion in which mythological andhistorical personages are sadly confused at times. If there wasoccasionally this confusion, there were also present the artist'sstrongest characteristics as a painter--rich color and vigorous humanaction. 

 [Illustration: ELEVATION OF THE CROSS _Rubens_]

While in Paris he became intimately acquainted with the Duke ofBuckingham, the favorite of Charles I. Of England. This noblemanvisited Rubens at his home in Antwerp and he was so pleased with theartist's collection that he offered him ten thousand pounds sterlingfor it complete. Rubens hesitated, for in the collection there werenineteen pictures by Titian, thirteen by Veronese, three by Leonardo, and three by Raphael, besides many of his own best works. The artist, however, was always thrifty, and he felt sure he could soon gatheranother collection, so he accepted the offer. 

In 1626, his lovely wife died. He mourned her deeply, saying "she hadnone of the faults of her sex. " To beguile his time he acceptedanother diplomatic mission to Spain. This time he was to secure astrong ally for Spain against the powerful Richelieu who then heldFrance in his hand as it were. Incidentally he painted much while atMadrid. Among other work he copied the Titians which were likely to betaken out of the country at the marriage of the Infanta. At this time, too, he undoubtedly met Velazquez, the able and high-souled courtpainter of Philip IV. This was certainly one of the most notablemeetings in the history of artists. 

 [Illustration: DESCENT FROM THE CROSS _Rubens_]

It was while at the court of Madrid at this time that Jean ofBraganza, afterward King of Portugal, invited the artist to visit himat his hunting-lodge, and Rubens set out with several of hisfollowers, as was usual with travellers of note in those days. Before he reached the lodge Jean, hearing of so many attendants, anddismayed at the expense of entertaining them, departed suddenly forLisbon. He wrote Rubens a courteous letter telling him that _statebusiness_ detained him and begged him to accept some money to defraythe expenses so far incurred on the journey. Rubens replied in likecourteous manner and returned the money, saying that they had broughttwenty times the amount with which to pay their expenses. 

 [Illustration: MARIE DE MEDICIS _Rubens_ (Museum, Madrid)]

An interesting story is related of their return. Overtaken by darknight in the open country they took shelter in a monastery. The nextmorning Rubens, with an eye always quick to see rare and interestingthings, scanned the place carefully looking for something which mightinterest him. He was about to give up the search as hopeless, when hediscovered in a dark corner a grand picture. It represented in morethan mortal fashion the beautiful things that a dead young man, painted in the foreground, had renounced. Rubens called the prior tohim and begged to know the name of the artist of so masterly a work. The prior, an old, bowed man, refused saying, "He died to the worldlong ago. I cannot disclose his name. " Then the artist said, "It isPeter Paul Rubens who begs to know. " The prior started, for even inthe remoteness of the isolated monastery the fame of that name hadgone, and fell in a dead faint at the artist's feet. The attendantslifted the prior gently but he had ceased to live. Through the ashypallor they saw the features of the young man in the picture yonder. They instinctively turned to look that they might more carefullycompare the faces, and lo! like some cloud-vision, the picture haddisappeared. Then they knew that the dead monk there had painted thecanvas from the depth of his own experience. 

From Madrid, Rubens was sent to England in the interest of Spain. Herehe was most kindly received by Charles I. , who made him a knight andpresented him with his own jeweled sword and a diamond ring. He alsogave him a hat-band set with precious stones which was valued at twothousand pounds sterling. From London he went to Cambridge where theancient university conferred on him its highest degree. In London hepainted almost constantly. Among other commissions he was given thatof decorating the dining room in Whitehall palace with nine picturesrepresenting the life of James I. To make the person or events of thisking's life attractive must have been an immense task even for sosupreme a genius as Rubens. 

As he sat painting one day a courtier entered and exclaimed, "Ah, hisMajesty's Ambassador occasionally amuses himself with painting. " "Onthe contrary, " responded Rubens who was always proud of his art, "thepainter occasionally amuses himself by trying to be a courtier. "

The influence of Rubens' visit to London must be counted rather asartistic than political. It really was the beginning of that desirefor collecting pictures and other things of the sort which has eversince distinguished the English nobility. On the Continent the priceof pictures rose on account of England's demand. For Charles I. , Rubens bought the entire collection of the Duke of Mantua which heknew so well. 

 [Illustration: MADONNA AND CHILD WITH ST. FRANCIS _Rubens_]

Rubens was tired of the almost fruitless mission at various courts andwas glad to give up the business of an ambassador and return toAntwerp and to the life of a private gentleman. We must not forgetthat all these years Rubens was painting a great number of pictures inhis ripest style. There was hardly a class of subjects or size ofcanvas which he could not skillfully use, although he alwaysmaintained that he could do his best work on large surfaces. Therewere religious pictures of Madonnas and saints all crowded withnumerous figures and filled with vigorous human action. There wereportraits such as those of his wives, of Elizabeth of France, or "_TheGirl with a Straw Hat_, " which rank among the best of the world. Therewere wonderful animal pictures--hunting scenes, the excitement ofwhich even to-day makes the cheek glow. There were historical scenesmingled with allegory. There were most beautiful children whose fatand agile bodies and whose laughing faces make us want to hug them. There were enchanting angels, and there were huge fauns and satyrs. There were placid landscapes where, it may be, the artist's soul, teeming with the life of all time, took its rest and recreationsporting with the nymphs of the woodland streams or with the friskydryads of the trees. 

In 1630, at the age of fifty-three, he married his second wife, HelenFourmont, only sixteen years old. Like his first wife she was verybeautiful, as his numerous portraits indicate. Five children came tothem and the felicity of his early years with Isabella Brandtcontinued with his second wife. 

The health of our painter gradually gave way. For many years he hadsuffered intensely from repeated attacks of gout. As he aged, thesebecame more and more frequent and severe. Often the disease, workingin his fingers, kept him from painting. "_The Death of St. Peter_" waspainted for Cologne Cathedral in 1635. It seems as if in his lastyears his heart turned affectionately to the city of his boyhood homeand he would thus commemorate it. Another picture belongs to theselast years. It was a family picture which he called "_St. George_. "It represented four generations of the painter's family and includedboth his first and his second wife. He himself figured as the Saint, clad in shining armor and triumphant over his late enemy, the deadlydragon. Rubens was too great to be conceited, but he stood at the endof a most successful life. If ever a man had conquered the dragon ofdisappointment, that lies crouching at the door of every life, Rubenshad. He did well to represent himself as St. George. In both of theselast pictures the painter shows at his very strongest. 

He died May 30th, 1640, and was buried in the church beside his motherand his first wife. All the city attended his funeral, for in threecapacities they mourned their illustrious citizen--as an artist, as adiplomat and scholar, and as a man of noble character. Two years afterhis death the picture "_St. George_" was hung above his tomb where itis found to-day. 

He left great wealth which was largely represented by his collectionof pictures and jewels. There were three hundred and nineteenpaintings, all masterpieces. The collection sold for what would be inour money about half a million dollars. This is a large sum at anytime but in Rubens' day it was well nigh fabulous. 

 [Illustration: SATYRS _Rubens_]

Rubens has left us more than fifteen hundred pictures bearing hisname. That any man could leave so many can be accounted for only byreckoning many of them as largely executed by his pupils. He used tomake small sketches in color and hand them over to his pupils forenlargement. He was always at hand to make corrections and, at theend, to give the finishing touches. He used to charge for his picturesaccording to the time he used in painting them, and he valued his timeat fifty dollars a day. 

He shows none of the mystical visionary feeling of the Spaniards evenin his religious pictures. He was too much in love with life for that, and so, sometimes, we are offended by stout Flemish Saints andMadonnas too healthy to accord with our notions of their abstemiouslives. In his pictures there is spirited action, almost excess oflife, and rich unfading color in which the reds largely prevail. Hislights are fine but the deep, expressive shadows that made Rembrandtfamous are entirely lacking. The softly flowing way in which the colorleaves his brush is, perhaps, the most inimitable part of his art. Onthis account someone has said, who evidently has great reverence forboth Velazquez and Rubens, that we will see another Velazquez beforeanother Rubens. 

Considering the qualities of his art, the number of his pictures, hisscholarship, his eminence as a diplomat and his pure and honorablelife, we must place Rubens among the very greatest men who everwielded a brush. 

QUOTATIONS ABOUT RUBENS. 

 Rubens was _par excellence_ the painter of the group that included the heroes of the Dutch Republic; and, like many of his contemporaries, whilst excelling in his own line, he was, in other respects also, a great man, in a time of and among great men. --CHAS. W. KETT. 

 I cannot sufficiently admire his personal appearance nor praise his uprightness, his virtue, his erudition and wonderful knowledge of antiquities, his skill and celerity of pencil, and the charm of his manner. --A CONTEMPORARY. 

 His eye is the most marvellous prism that has ever been given us of the light and color of objects, of true and magnificent ideas. --EUGENE FROMENTIN. 

SUBJECTS FOR LANGUAGE WORK. 

 1. A Day in Rubens' Studio. 

 2. An Evening with Rubens. 

 3. Rubens at the Monastery. 

 4. A Day with Rubens in London. 

 5. Rubens as a Diplomat. 

 6. Antwerp, the Home City of Rubens. 

 7. Rubens and His Friends. 

 8. The Women Rubens Loved. 

 9. My Favorite Picture by Rubens. 

 10. The Masters of Rubens. 

[Illustration: DURER'S HOUSE, NUREMBERG]

ALBRECHT DURER AND HIS CITY

 "Of a truth this man would have surpassed us all if he had had the master-pieces of art constantly before him. " --RAPHAEL. 

 "Hardly any master has scattered with so lavish a hand all that the soul has conceived of fervid feeling or pathos, all that thought has grasped of what is strong or sublime, all that the imagination has conceived of poetic wealth; in no one has the depth and power of the German genius been so gloriously revealed as in him. " --LUBKE. 

 "He was content to be a precious corner-stone in the edifice of German Art, the future grandeur of which he could only foresee. " --RICHARD FORD HEATH. 

[Illustration: DURER]

ALBRECHT DURER. 

1471-1528. 

In our study of the great artists so far, we have found that eachglorified some particular city and that, whatever other treasures thatcity may have had in the past, it is the recollections of its greatartist that hallow it most deeply today. Thus, to think of Antwerp isto think instantly of Rubens. Leyden and Amsterdam as quickly recallto our minds the name of Rembrandt. Seville without Murillo would loseits chief charm, while Urbino _is_ Raphael and, without the reveredname of the painter, would seldom draw the visitor to its secludedprecincts. 

To the quaintest of European cities the name of Albrecht Durerinstinctively carries us--to Nuremberg. 

 "That ancient, free, imperial town, Forever fair and young. "

Were we to study Durer without first viewing his venerable city whichhe so deeply loved all his life that no promise of gain from gorgeousVenetian court or from wealthy Antwerp burgers could detain him longfrom home, we should leave untouched a delightful subject and onedeeply inwoven in the life and thought of the artist. Were we to omita brief consideration of his time and the way the German mind lookedat things and naturally represented them in words and in pictures, weshould come away from Durer impressed only with his great homelyfigures and faces and wondering why, in every list of the greatartists of the world, Durer's name should stand so high. 

Having these things in mind, it will not then seem so far away tospeak of Nuremberg and Luther before we rehearse the things which makeup the life of Albrecht Durer. 

Nuremberg does not boast a very early date, for she began herexistence just after the year one thousand when men, finding outsurely that the end of the world was not come, took as it were a newlease of life. The thing she does boast is that her character as amediæval town has been almost perfectly preserved up to the presentday. 

There were many things which made Nuremberg an important city in earlytimes. She was conveniently located for traders who shipped vastamounts of merchandise from Venice to the great trade centers in theNetherlands. For many years she was a favorite city of the Emperor andhere were kept the crown jewels which were displayed with great pomponce a year. 

The country immediately about Nuremberg was sandy but carefullycultivated. There were also large banks of clay very useful to thecitizens in the manufacture of pottery. Like the salt of Venice, itwas a natural source of wealth to the citizens. Very early we find apaper mill here, and here, too, were set up some of the earliestprinting presses. Perhaps the most interesting of the early wares ofthis enterprising city were the watches. The first made in the worldwere manufactured here and from their shape they were called"Nuremberg Eggs. " We have a story that Charles V. Had a watchmakerbrought in a sedan chair all the way from Nuremberg that he might havehis watch repaired. Here was manufactured the first gun-lock, and herewas invented the valued metallic compound known as brass. 

From all these sources the citizens grew rich, but their wealth didnot make them forget their city. A little more than fifty years beforeDurer's birth, the Emperor being very much in need of money, theybought their freedom. For this they paid what would be, in our money, about a million of dollars. It was a goodly price, but they gave itfreely. Then they destroyed the house where their governor or Burgravehad lived and they were henceforth ruled by a council selected fromtheir own number. 

The city lies on both sides of the river Pegnitz which divides it intotwo almost equal parts. The northern side is named from its greatchurch, St. Sebald's, and the southern for that of St. Lawrence. Originally the city was enclosed by splendid ramparts. Three hundredand sixty-five towers broke the monotony of the extensive walls. Ofthese one hundred are still standing today. In days gone by, a moatthirty-five feet wide encircled the wall, but since peace has takenthe place of war and security has come instead of hourly danger, themoat has been drained and thrifty kitchen gardens fill the space. 

 [Illustration: SHRINE OF ST. SEBALD, NUREMBERG In the church of sainted Sebald sleeps enshrined his holy dust, And in bronze the Twelve Apostles guard from age to age their trust. --_Longfellow_]

Within the city are some of the most beautiful buildings both privateand public. Here, too, sculpture, which the Germans cultivated beforethey did painting, has left rare monuments. Among these last we mustnotice the wonderful shrine of St. Sebald in the church of the samename. For thirteen years Peter Vischer and his five sons labored onthis work. Long it was to toil and vexing were the questions whicharose in the progress of the work; but the result was a master-piecewhich stands alone among the art works of the world. Nor can we forgetthe foamy ciborium of the Church of St Lawrence. For sixty-five feetthis miracle of snowy marble rises in the air, growing more lacey atevery step until, in its terminal portions, so delicate does itbecome that it seems like the very clouds in fleeciness. 

 [Illustration: THE CIBORIUM (PYX) CHURCH OF ST. LAWRENCE]

Church doorways are carved with beautiful and fantastic forms by menwhose names were long ago forgotten. Common dwellings are adorned withpicturesque dormer windows. Even the narrow crooked streets hold theirshare of beauty, for here are fountains so exquisite in theirworkmanship that their like is not to be found elsewhere. Here it isthe Beautiful Fountain, gay with sculptures of heroes and saints, andthere it is the Little Gooseman's Fountain where humor is added tobeauty. Through all the years stands the little man with a gooseunder either arm, patiently receiving his daily drenching. Still twoother fountains known to fame send up their crystal waters to greetthe light. 

 [Illustration]

If we seek for more modern things we are also rewarded, for here inDurer Square stands Rauch's great statue of the artist, copied fromDurer's portrait of himself in Vienna. We note the custom house, oneof the oldest buildings, the town hall and the burg or castle, whichfor many years was the favorite residence of the Emperor. 

 [Illustration: THE BEAUTIFUL FOUNTAIN IN NUREMBERG Everywhere I see around me rise the wondrous world of art; Fountains wrought with richest sculpture standing in the common mart. --_Longfellow_]

Here, too, are many fine old houses which used to belong to noblemenof the city. It is not these residences that we seek, however, ifwe are visiting Nuremberg. We ask rather for the house of Hans Sachs, the cobbler poet, of John Palm, the fearless patriot, who gave hislife for the privilege of beating Napoleon, and above all we seek thatquaint house where Durer lived and worked. In choosing these asobjects of our special attention we feel like Charles I. , who said, when he compelled a reluctant courtier to hold Durer's ladder, "Mancan make a nobleman, but only God can make an artist. "

In our search for interesting things in old Nuremberg, we comesuddenly upon a house bearing a tablet on which are these words, "Pilate's House. " At first we are mystified, for was not Pilate'shouse in Jerusalem? But at once we recall that this is the house ofthe pious Jacob Ketzet who twice visited the Holy Land that he mightmeasure exactly the distance from Pilate's house to Calvary. When hewas satisfied with his measurements he returned to Nuremberg andcommissioned the great sculptor, Adam Kraft, to carve "stations, " ashe called them, between his home and St. John's Cemetery to thenorthwest of the city. These "stations, " which are merely stonepillars on which are carved in relief scenes from the sufferings ofour Lord just before his death, are still standing, and if we go toDurer's grave, as I am sure we should wish to do, we shall pass themon our way. 

 [Illustration: 1526 VIVENTIS POTVIT DVRERIVS ORA PHILIPPI MENTEM NON POTVIT PINGERE DOCTA MANVS AD MELANCTHON]

The Nurembergers have long taken pride in the quaint appearance oftheir city, so that many of the newer houses are built in the oldstyle with their gables to the street. As we note the patriotic spiritof the people and recount the beauties of the old city, we feel thatDurer was warranted "in the deep love and affection that I have bornethat venerable city, my fatherland, " as he expressed it. 

 [Illustration: ERASMUS]

As to the time when Durer came into the world, it was truly awonderful age in which to live! Less than twenty-five years after hisbirth, Columbus found a vast new world. People were already muchagitated over the evil practices in the old established church. Durerknew and loved Luther and Melancthon but he was quite as much attachedto the scholarly Erasmus, who wished not to break away from the oldchurch, but merely to correct its abuses. In short Durer belonged tothe Conservative class which found it possible to accept the food inthe new doctrines and retain the pure from the old without revolution. Such were the citizens of Nuremberg and thus did the ancient city aseasily accept the new doctrines as she did the morning sunshinepouring in at her storied windows. Thus, too, were preserved theancient buildings and institutions, which, through the wisdom of hercitizens, were not called upon to withstand sieges and other militaryattacks. 

Durer was above everything a true representative of the German people, and so we ought to take note of some of the qualities of the Germanmind. As Goethe, their greatest poet, says, one of their strongestcharacteristics is that of wishing to learn and to do rather than toenjoy. The Germans love truth and they do not stop short in theirimaginings when they wish to drive it home. So in German art, thetoiling man or woman is often accompanied by angels and demons, theequal of which were never pictured by any other people. The greatestextremes of beauty and ugliness have these people given in their art. In either extreme, however, thoughts on the deepest questions of humanlife are at the foundation. 

 [Illustration: DOORWAY IN ST. SEBALD'S CHURCH, NUREMBERG And above cathedral doorways saints and bishops carved in stone, By a former age commissioned as apostles to our own. --_Longfellow_]

On a summer's day in 1455, there wandered into the far-famed city ofNuremberg a young goldsmith from Hungary. The ramparts of the citywith their towers and gateways, the splendid buildings enclosed, werelike miracles to the youth. It was a fête day in celebration of themarriage of the son of a prominent citizen, Pirkheimer by name. Albrecht Durer, for that was the youth's name, long studied the gaythrong, little thinking how in the future the name of his son and thatof the bridegroom there would together be known to fame, the one asthe greatest artist, the other as the most learned man of Nuremberg. The wandering youth was the father of our artist and the bridegroomwas the father of Wilibald Pirkheimer, Durer's life long friend andcompanion. 

The young goldsmith loved the city at once and, encouraged by thebusiness activity of the place, he made it his permanent abode. Hefound employment with Hieronymus Holper, and soon married his master'scomely daughter, Barbara. They resided in a little house which was asort of appendage to the great house of Pirkheimer. A few months aftera much longed for son came to bless the Pirkheimers, a little boy wasborn in the goldsmith's house whom they named, for his father, Albrecht Durer. As the years went by, seventeen other children came tothe Durer home. Three only of all these children grew to maturity. 

With such a family to support we can easily imagine that the father'slife was a hard one. He was a pious and industrious man whom hisillustrious son never tires of praising. In one place he says of him, "He had a great reputation with many who knew him, for he led anhonorable Christian life, was a patient man, gentle, in peace witheveryone and always thankful to God. He had no desire for worldlypleasures, was of few words, did not go into society and was aGod-fearing man. Thus my dear father was most anxious to bring up hischildren to honor God. His highest wish was that his children shouldbe pleasing to God and man; therefore he used to tell us every daythat we should love God and be true to our neighbors. "

Durer sorrowed deeply when his father died in 1502. On his death-bedhe commended the mother to her son. Durer was faithful to his trustand cared tenderly for his mother until her death, several yearslater. Never did boy or man more faithfully keep the command, "Honorthy father and mother, " than did our artist. 

For many reasons Albrecht seemed to be his father's favorite child. Wefind him, in spite of numerous other cares, taking great pains withthe boy's education. He taught him to read and write well and musthave given him instruction in Latin. These were years when thirst forlearning was abroad in the land. Free Latin schools were establishedto meet the needs. Durer's father was filled with this spirit and hecommunicated it to his son. 

 [Illustration: DORMER WINDOW IN THE BISHOP'S HOUSE, NUREMBERG On the square the oriel window, where in old heroic days, Sat the poet Melchoir singing Kaiser Maximilian's praise. --_Longfellow_]

As was customary at the time, the son was trained to follow hisfather's trade and so he learned the goldsmith's art in his father'sshop. It is said that in his tender years he engraved, on silver, events from Christ's passage to Calvary. Albrecht's drawing wassuperior to that usually done in a goldsmith's shop. In his freehours he drew to entertain his companions. After a while he began tofeel that he might paint pictures instead of merely drawing designsfor metal work. He loved the work and so had the courage to tell hisfather of his wish to become a painter. The elder Durer was patientwith the boy, regretting only that he had lost so much time learningthe goldsmith's trade. Albrecht, then only sixteen, was surely youngenough to begin his life work! His father put him to study withWolgemut, the foremost painter of the city, which is not high praise, for the art of painting was then new in the prosperous city of thePegnitz. Wolgemut was, however, a good engraver on wood and so perhapswas able to direct the young apprentice in quite as valuable a line aspainting. 

Here Durer remained for three years, until 1490. He was now butnineteen, full of hope and perhaps conscious, to a certain extent, that his was no ordinary skill of hand. He was now ready, according tothe custom of his countrymen, for his "wanderschaft" or journeymanperiod, when he should complete his art education by going abroad toother towns to see their ways and thus improve his own method. Forfour years he traveled among neighboring towns. The evidence is strongthat the last year was spent in Venice. We have little certainknowledge of where he spent these years but we feel quite sure thatone of the places he visited was Colmar, where he became acquaintedwith the artist, Martin Schougauer. 

He was called home rather suddenly in 1494 by his father, who hadarranged what he thought was an acceptable marriage for his son. Ashort time before Durer had sent his father a portrait of himself inwhich he figured as a remarkably handsome and well-dressed young man. It is supposed that the father sent for this portrait to help himalong in his arrangements for the marriage of his son. HoweverAlbrecht may have felt about the matter of making his marriage merelya business affair, he never expressed himself, but was married shortlyafter his return to Nuremberg. 

 [Illustration: ST. JOHN AND ST. PETER _Durer_]

 [Illustration: ST. MARK AND ST. PAUL _Durer_]

Agnes Frey, the woman selected by Durer's father, was a handsome womanof good family with a small fortune of her own. She has come down tous with a most unenviable record as a scold who made life almostunendurable for her husband. It is now quite certain, however, thatfor all these years she has been grossly misrepresented, simplybecause her husband's friend Pirkheimer, for small reason, becameoffended with her. It seems that in his lifetime Durer, who hadcollected many curious and valuable things, had gathered together someremarkably fine stag-horns. One pair of these especially pleasedPirkheimer. The widow, without knowing Pirkheimer's desire forthese, sold them for a small sum and thus brought upon herself theanger of her husband's choleric friend, who wrote a most unkind letterconcerning her which has been quoted from that day to this to show howAlbrecht Durer suffered in his home. The truth seems really to be thatAgnes Durer was as sweet-tempered as the average woman, fond of herhusband and a good housekeeper. 

The earlier works of Durer are largely wood-cuts, the art which morethan any other was the artist's very own. The discussions of the timesregarding religious matters made a demand for books even at greatcost. It was a time when written and spoken words held people'sattention, but when, in addition, the text was illustrated by strongpictures the power and reach of the books were increased ten-fold. Aplace thus seemed waiting for Albrecht Durer, the masterwood-engraver. 

His first great series was the _Apocalypse_--pictures to illustratethe book of Revelations. Such a subject gave Durer ample scope for theuse of his imagination. Then came the story of Christ's agony twiceengraved in small and large size. These were followed by still anotherseries illustrating the life of Mary. This series was especiallypopular, for it glorified family life--the family life of the Germans, so worthy, so respected. To be sure, Mary is represented as a Germanwoman tending a dear German child. The kings who come to adore couldbe found any day on the streets of Nuremberg. The castles and churchesthat figure in the backgrounds are those of mediæval and renaissanceGermany. But this was Durer's method of truth speaking and it appealedstrongly to the people of his time as it must to us of to-day. 

In 1506, when the last series was not quite completed, Durer went toVenice, perhaps to look after the sale of some of his prints, but morelikely because the artist wished to work in the sunshine and artatmosphere of the island city. While away he wrote regularly to hisfriend Pirkheimer. His letters are exceedingly interesting, as welearn from them much about the art society of the time. Durer waslooked upon with favor by the Venetian government but most of thenative artists were jealous of the foreigner and not friendly. Theycomplained that his art was like nothing set down as "correct" or"classical" but still they admired it and copied it, too, on the sly. 

 [Illustration: DURER IN VENICE _Theobald von Oer_]

Gentile Bellini, the founder of the Venetian School, was then a veryold man. He was fond of Durer and showed him many kindnesses, not theleast of which was praising him to the Venetian nobles. There is acharming story told of Bellini's admiration of Durer's skill inpainting hair: One day, after examining carefully the beard of one ofthe saints in a picture by Durer, he begged him to allow him to usethe brush that had done such wonderful work. Durer gladly laid hisbrushes before Bellini and indicated the one he had used. The Venetianpicked it up, made the attempt to use it but failed to produceanything unusual, whereupon Durer took the brush wet with Bellini'sown color and painted a lock of woman's hair in so marvelous a waythat the old artist declared he would not believe it had he not seenit done. 

The most important picture Durer painted while in Venice was the"_Madonna of the Rose Garlands_. " It was painted for the artist'scountrymen and is now in a monastery near Prague. Durer evidentlyvalued it highly himself for he writes of it to Pirkheimer, "My panelwould give a ducat for you to see it; it is good and beautiful incolor. I have got much praise and little profit by it. I have silencedall the painters who said that I was good at engraving but could notmanage color. Now everyone says that they have never seen bettercoloring. "

After little more than a year's sojourn in Venice, he returned toNuremberg. He had been sorely tempted by an offer from the VenetianCouncil of a permanent pension if he would but remain in their city. But the ties of affection which bound him to his home city drew himback to Nuremberg, even though he had written while in Venice, "Howcold I shall be after this sun! Here I am a gentleman, " referringindirectly to the smaller place he would occupy at home. 

Although Durer studied and enjoyed the works of the Italian masters, there is hardly a trace of the influence of this study in his ownworks. His mind was too strongly bent in its own direction to beeasily turned even by so powerful an influence as Venetian painting. We are grateful indeed for the steadfast purpose of Durer that kepthis art pure German instead of diluting it with Italian style solittle adapted to harmonize with German thought and method. 

 [Illustration: PRAYING HANDS _Durer_]

On Durer's return to Nuremberg he did some of his best work. Hepainted one of his greatest pictures at this time, "_All Saints_. " Itis crowded with richly dressed figures, while the air above is filledwith an angelic host which no one can count. In the center is theCross on which hangs our suffering Lord. Below, in one corner, isDurer's unmistakable signature, which in this case consists of a fulllength miniature of himself holding up a tablet on which is thisinscription, "Albertus Durer of Nuremberg did it in 1511. " After thisfollows the renowned monogram used by the artist in signing his worksafter 1496, the "D" enclosed in a large "A" something after thisstyle. He then designed a very beautiful and elaborate frame for thispicture to be carved from wood. It was adorned with figures in relief, beautiful vine traceries and architectural ornaments which showed ourartist master of still another national art--wood-carving. 

 [Illustration]

It is interesting, too, to know that about this time Durer, findingpainting not so lucrative as he had hoped, turned his attention toengraving on all sorts of hard materials, such as ivory andhone-stone. To this period belongs that tiny triumph of his art, the"_Degennoph_, " or gold plate, which contains in a circle of littlemore than an inch in diameter the whole scene of the Crucifixioncarefully represented. 

Through his indefatigable labors Durer's circumstances were nowgreatly improved and so he planned to publish his works, a matter oflarge expense. Instead of going to some large publishing house, as weto-day do, Durer had a press set up in his own house. We delight inillustrated books to-day, indeed we will hardly have a book withoutpictures. Imagine then the joy that must have been felt in this timeof the scarcity of even printed books to have those that wereillustrated. There was ready sale for all the books Durer could print. 

Some prints came into Raphael's hands. He wrote a friendly letter tothe artist and sent him several of his own drawings. In return Durersent his own portrait, life size, which Raphael greatly prized and athis death bequeathed to his favorite pupil, Julio Romano. 

Durer's prosperity continuing, he purchased the house now known tofame as "Albrecht Durer's House. " It is still very much as it was inthe artist's lifetime. Here one may study at his leisure the kitchenand living-room which seem as if Durer had just left them. 

The artist's reputation was now fully established. In 1509, he wasmade a member of the Council that governed the city and he was grantedthe important commission of painting two pictures for the relicchamber in Nuremberg. In this room, which was in a citizen's house, the crown jewels were kept on Easter night, the time of their annualexhibition to the public. _Sigismund_ and _Charlemagne_ were thesubjects selected, the former probably because it was he who firstgave to Nuremberg the custody of the precious jewels, and the latterbecause Charlemagne was a favorite hero with the Germans. The_Charlemagne_ is here reproduced. In wonderful jeweled coronationrobes, with the coat of arms of France on one side and that of Germanyon the other, he is a fine figure well suited to make us feel Durer'spower as a painter. 

 [Illustration: CHARLEMAGNE _Durer_]

In 1512, there came to Nuremberg a royal visitor, no less a personagethan the Emperor Maximilian. This was of greatest importance to Durerto whom two important commissions came as the result of this visit. The Emperor had no settled abode, so his travels were important, atleast to himself. He was fond of dictating poems and descriptions ofthese travels. Durer was asked to make wood-cuts for a book of theEmperor's travels to consist of two parts, the one called _TheTriumphal Arch_ and the other _The Triumphal Car_. 

The wood-cuts for the first were made on ninety-two separate blockswhich, when put together, formed one immense cut ten and a half feethigh by nine feet wide. For this Durer made all the designs which werecut by a skilled workman of the city, Hieronymus Andræ. It was whilethis work was going forward that the well-known saying, "A cat maylook at a king, " arose. The Emperor was often at the workshop watchingthe progress of the work and he was frequently entertained by the petcats of the wood-cutter who would come in to be with their master. 

The designs for _The Triumphal Car_ were of the same general style. Inthese Durer was assisted by other engravers of the city. Oneexpression of Durer's regarding the ornamentation of the car shows himskilled in the language of the courtier as well as in that of thecitizen. He says, "It is adorned, not with gold and precious stones, which are the property of the good and bad alike, but with the virtueswhich only the really noble possess. "

The noted _Prayer Book of Maximilian_ was the other work done for theEmperor. Only three of these are in existence and of course they arealmost priceless in value. The text was illustrated by Durer on themargin in pen and ink drawings in different colored inks. Sometimesthe artist's fancy is expressed in twining vines and flying birds andbutterflies, again it is the kneeling Psalmist listening in raptattention to some heavenly harpist, or it may be that the crafty foxbeguiles the unsuspecting fowls with music from a stolen flute. Thusthrough almost endless variety of subjects stray the artist's thoughtand hand. 

We have also a fine likeness of Maximilian drawn in strong free linesby Durer at this same time. Seeing how deft the artist was with hiscrayons, Maximilian took up some pieces which broke in his hand. Whenasked why it did not do so in the fingers of the artist, Durer madethe well known reply, "Gracious Emperor, I would not have your majestydraw as well as myself. I have practised the art and it is my kingdom. Your majesty has other and more difficult work to do. "

 [Illustration: HEAD OF AN OLD MAN _Durer_]

For all this wonderful work Durer's compensation was little more thanthe remission of certain taxes by the Nuremberg Council and thepromise of a small annual pension. Maximilian's death made it doubtfulwhether the pension would be paid. Durer in common with others soughtout the new Emperor, Charles V. , to have the favors granted by hispredecessor confirmed. 

With this in view, in 1520, the artist with his wife and maid set outfor the Netherlands. They were gone something more than a year and ahalf, during which time Durer kept a strict account of his expensesand of his experiences and impressions throughout the journey. Everywhere he was received with the most marked attention. He wasinvited to splendid feasts, and was the recipient of all sorts ofgifts. In return he gave freely of his own precious works. 

He made his headquarters at Antwerp and here he witnessed the entry ofthe new monarch. The magnificence of the four hundred two-storiedarches erected for the occasion impressed Durer deeply. Of the manyand varied experiences of the Nuremberger, not the least interestingwas his attempt to see a whale that had been cast ashore in Zealand. He made all haste to see this unusual sight and was nearlyship-wrecked in the attempt. The exposure, too, to which he wassubjected gave rise to ills which eventually caused his death. 

After all his trouble he was disappointed at his journey's end forthe whale had been washed away before he arrived. He finallyaccomplished the object for which he went to the Netherlands. Hispension was confirmed and in addition he was named court painter. Ladened with all sorts of curious things which he had collected andwith a generous supply of presents for his friends and their wives, hestarted home where he arrived in due time. 

There were but seven years of life left to our painter and these wereburdened with broken health. To this period, however, belong some ofhis most wonderful and characteristic works. The very year of hisreturn he engraved that marvellous "_Head of an Old Man_, " now inVienna. Never were the striking qualities of age more beautifully puttogether than in this head. 

 [Illustration: MELANCHOLY _Durer_]

With about the same time we associate "_The Praying Hands_, " now alsoin Vienna. How an artist can make hands express the inmost wish of thesoul as these do will always remain a mystery even to the most acute. We have the story that they were the clasped hands of Durer's boyhoodfriend who toiled for years to equal or rival his friend in theirchosen work. When, in a test agreed upon, to Durer was given theprize, then Hans, for that was the friend's name, prayed fervently tobe resigned to a second place. Durer caught sight of the claspedhands and drew them so well that wherever the name and fame ofAlbrecht goes there also must go the praying hands of his friend. Whether the story be true we cannot say, but in the hands we have amaster work to love. 

At this time the new religious doctrine formed the subject of thoughteverywhere. There was the most minute searching for truth that theworld has ever known. Durer, deeply moved by the thought of the time, put its very essence into his works. He was a philosopher and astudent of men. He saw how the varied temperaments of men led them tothink differently on the great questions of the time. Feeling thiskeenly, he set to work to represent these various temperaments inpictured forms, a most difficult thing to do as we can easily imagine. Perhaps his own diseased condition led him to select as the first ofthese "_Melancholy_, " that great brooding shadow that hoversconstantly above man, waiting only for the moment when discouragementcomes to fall upon and destroy its victim. 

How does Durer represent this insidious and fatal enemy? A powerfulwinged woman sits in despair in the midst of the useless implements ofthe art of Science. The compass in her nerveless fingers can no longermeasure, nor even time in his ceaseless flow explain, the mysterieswhich crowd upon this well-nigh distraught woman, who it seems muststand for human reason. The sun itself is darkened by the uncanny batwhich possibly may stand for doubt and unbelief. Perhaps no one canexplain accurately the meaning of this great engraving and thereinlies the greatness, which allows each person to interpret it to pleasehimself. 

In painting he attempted the same difficult subject of thetemperaments, in his four apostles, St. Paul and Mark, St. John andPeter. He painted these without charge as a sort of memorial ofhimself in his native town. Two saints are painted on each panel. Nofigures in art are more beautiful than the leading one on each panel, the St. Paul on the one and the St. John on the other. If we interpretthese as regards temperament, John is the type of the melancholy, Peter of the phlegmatic, Paul of the choleric and Mark of thesanguine. 

In 1526, Durer sent these pictures as a gift to the Council ofNuremberg. It was the artist's wish that they should always remain inthe Council hall. Notwithstanding this, only copies are now to be seenin Nuremberg, while the originals are in Munich, carried there by theElector of Bavaria, who paid a good price for them. 

 [Illustration: THE KNIGHT, DEATH AND THE DEVIL _Durer_]

One other of Durer's pictures should be spoken of, though it hardlybelongs last in order of time. It is really the summing up of muchthat he had done from time to time all through his busy life time. This picture, called "_The Knight, Death and the Devil_, " is anengraving on copper. The stern, intelligent men of the time, who wereready to face any danger in order to bear themselves according totheir notions of right, are well represented in this splendid mountedknight. What though Death reminds him by the uplifted hourglass thathis life is nearly ended? or that Satan himself stands ready to claimthe Knight's soul? There is that in this grand horseman's face thattells of unflinching purpose and indomitable courage to carry it outagainst the odds of earth and the dark regions besides. One of ourgreatest art critics says of this work, "I believe I do not exaggeratewhen I particularize this point as the most important work which thefantastic spirit of German Art has produced. " A reading of Fouqué's"Sintram" inspires us anew with the true spirit of Durer's great work. 

 [Illustration: ST. GEORGE AND THE DRAGON _Durer_]

The gift to his natal city was Durer's last work of note. The sicknessthat had been growing upon him, which was none other than consumption, gradually absorbed his energies and in April, 1528, he died. He wasburied in St. John's Cemetery in the lot belonging to the Frey family. On the flat gravestone was let in a little bronze tablet on which wasa simple inscription written by his friend Pirkheimer. A century anda half later Sandrart, the historian of German painters, visited thetomb, then in ruins. He caused it to be repaired and added anotherinscription which has been translated into English:--

 "Rest here, thou Prince of Painters! thou who wast better than great, In many arts unequaled in the old time or the late. Earth thou didst paint and garnish, and now in thy new abode Thou paintest the holy things overhead in the city of God. And we, as our patron saint, look up to thee, ever will, And crown with laurel the dust here left with us still. "

Durer's character was one of the purest to be found on the honor-listof the world. He bore heavy burdens with patience and was true to hiscountry and to himself in the most distracting of times. He was thefather of popular illustration and the originator of illustratedbooks. He was as many-sided in his genius as Da Vinci and as prolificas Raphael, though along a different line. That he was architect, sculptor, painter, engraver, author and civil engineer proves theformer point, while the fact that he left a great number of signedworks satisfies us regarding the latter comparison. One who knew himwrote of him in these words, --"If there were in this man anythingapproaching to a fault it was simply the endless industry andself-criticism which he indulged in, often even to injustice. "

 [Illustration: STATUE OF ALBRECHT DURER, NUREMBERG]

In closing this sketch, nothing can so delightfully summarize thebeauty of the old town of Nuremberg and the character of its greatartist as a part of Longfellow's poem, _Nuremberg_:[A]

 In the valley of the Pegnitz, where across broad meadow-lands, Rise the blue Franconian mountains, Nuremberg the ancient stands. 

 Quaint old town of toil and traffic, quaint old town of art and song, Memories haunt thy pointed gables like the rooks that round them throng:

 Memories of the Middle Ages, when the Emperors, rough and bold, Had their dwelling in thy castle, time defying, centuries old;

 And thy brave and thrifty burghers boasted, in their uncouth rhyme, That their great imperial city stretched its hand thro' every clime. 

 In the court-yard of the castle, bound with many an iron band, Stands the mighty linden planted by Queen Cunigunde's hand;

 On the square the oriel window, where in old heroic days, Sat the poet Melchoir singing Kaiser Maximilian's praise. 

 Everywhere I see around me rise the wondrous world of art; Fountains wrought with richest sculpture standing in the common mart;

 And above cathedral doorways saints and bishops carved in stone, By a former age commissioned as apostles to our own. 

 In the church of sainted Sebald sleeps enshrined his holy dust, And in bronze the Twelve Apostles guard from age to age their trust;

 In the church of sainted Lawrence stands a pix of sculpture rare, Like the foamy sheaf of fountains rising through the painted air. 

 Here, when Art was still religion, with a simple, reverent heart Lived and labored Albrecht Durer, the Evangelist of Art;

 Hence in silence and in sorrow, toiling still with busy hand, Like an emigrant he wandered seeking for the Better Land. 

 _Emigravit_ is the inscription on the tomb-stone where he lies; Dead he is not, but departed--for the artist never dies. 

 Fairer seems the ancient city and the sunshine seems more fair, That he once has trod its pavement, that he once has breathed its air!

[A] These stanzas are here reproduced by the courtesy ofHoughton, Mifflin & Co. , the regular publishers of Longfellow'sworks. 

SUBJECTS FOR LANGUAGE WORK. 

 1. A Day in Ancient Nuremberg. 

 2. The Churches of Nuremberg. 

 3. With Durer at Antwerp. 

 4. Durer and His Friends. 

 5. Durer and His Wife. 

 6. Durer's Stay in Venice. 

 7. Maximilian and the Artist. 

 8. Stories about Durer. 

 9. The Art of Wood Engraving. 

 10. The Fountains of Nuremberg. 

 11. Some Stories about St. Sebald. 

SPECIAL REFERENCES FOR ALBRECHT DURER. 

 "Life of Durer" by Heath. 

 "Life of Durer" by Heaton. 

 "Life of Durer" by Thansing. 

 "Life of Durer" by Sweetser. 

 "Art and Artists" by Clement. 

 "Durer" by Gurnsey in _Harper's Magazine_, Vol. 40. 

 +--------------------------------------------------------------+ | Transcriber's Note: | | | | Page 105 "cleanlines" might be a typographical error for | | "clean lines" or "cleanliness". | | | | Inconsistencies in the use of the words background(s)/ | | back-ground(s); masterpiece(s)/master-piece(s); and | | today/to-day have been retained as in the original book. | | | | | The following changes have been made to the original: | | Page 16 which he carresses gently changed to | | "caresses" | | Page 75 Mary in some of his lovliest pictures changed to | | "loveliest" | | Page 105 for their part in the distruction changed to | | "destruction" | | Page 144 dissapointment, that lies crouching changed to | | "disappointment" | | Page 187 whole scene of the Crucifiixon changed to | | "Crucifixion" | | Page 195 magnifience of the four hundred changed to | | "magnificence" | +--------------------------------------------------------------+