CHAPTER VII.

PAINTING IN ENGLAND.

In early days in England there were miniature-painters, and in the last

half of the sixteenth century there were some very important English

painters of this kind. Before the days of Charles I. the English kings

were much in the habit of inviting foreign artists to England, and

commissions were given to them. The painters who were most prominent in

England were of the Flemish school, and even under Charles I., as we have

seen, Rubens and Vandyck were the principal painters in England. But in

the reign of this king some native artists made names for themselves, and

what we call the English school of painting may really be dated from this

time.

Before speaking of painters I must mention one miniaturist whose works

were in demand in other countries, as well as in England. SAMUEL COOPER

(1609-1672) has been called "the Vandyck in little," and there is far more

breadth in his works than is usual in miniature. He painted likenesses of

many eminent persons, and his works now have an honorable place in many

collections.

WILLIAM DOBSON (1610-1646) has been mentioned in our account of Vandyck as

a painter whom the great master befriended and recommended to Charles I.

He became a good portrait-painter, and after Vandyck's death was appointed

sergeant-painter to the king. His portraits are full of dignity; the face

shadows are dark, and his color excellent. He did not excel in painting

historical subjects. Vandyck was succeeded at court by two foreign artists

who are so closely associated with England that they are always spoken of

as English artists.

[Illustration: FIG. 70.--SIR JOSHUA REYNOLDS.]

PETER VAN DER FAES (1618-1680), who was born in Westphalia, is known to us

as Sir PETER LELY. He became the most celebrated portrait-painter after

Vandyck, and his "Beauties at Hampton Court" are pictures which are known

the world over. He has been accused of not painting eyes as he ought; but

the ladies of his day had an affectation in the use of their eyes. They

tried to have "the sleepy eye that spoke the melting soul," so Sir Peter

Lely was not to blame for painting them as these ladies wished them to be.

He was knighted by Charles II., and became very rich. His portraits of men

were not equal to those of women. When Cromwell gave him a commission to

paint his portrait, he said: "Mr. Lely, I desire you will use all your

skill to paint my picture truly like me, and not flatter me at all; but

remark all these roughnesses, pimples, warts, and everything as you see

me, otherwise I will never pay you a farthing for it." Sir Peter Lely was

buried in Covent Garden, where there is a monument to his memory with a

bust by Gibbon.

Sir GODFREY KNELLER (1646-1723), born at Lübeck, was a rival to Sir Peter

Lely, and had the honor of painting the portraits of eight crowned heads

and a very great number of other people of importance. He had studied both

the Dutch and Italian manner; for he was the pupil of Rembrandt and Bol,

of Carlo Maratti and Bernini. Some critics praise his pictures very much,

while others point out many defects in them. He painted very rapidly, and

he sometimes hurried his pictures off for the sake of money; but his

finished works are worthy of remark. He especially excelled in painting

hair; his drawing was correct; some of his groups of children are fine

pictures; and some madonnas that he painted, using his sitters as models,

are works of merit. His monument was made by Rysbrach, and was placed in

Westminster Abbey.

Both Sir Peter Lely and Sir Godfrey Kneller had pupils and followers; but

there was no original English artist before the time of WILLIAM HOGARTH

(1697-1764), and he may really be named as the first master of a purely

English school of painting. When Hogarth was fifteen years old he was

apprenticed to a silversmith, and the grotesque designs which he copied

for armorial bearings helped to increase his natural love for all that was

ridiculous and strange. After 1718 he was much occupied in engraving for

booksellers, and at length he began to paint small _genre_ pictures and

some portraits, in which he made good success, but he felt that he was

fitted for other work. In 1730 he married the daughter of the artist, Sir

James Thornhill, without the consent of her father.

Soon after this he began his series of pictures called the "Harlot's

Progress," and when Sir James saw them he was so satisfied with the talent

of Hogarth that he declared that such an artist could support a wife who

had no dower, and the two painters were soon reconciled to each other.

Before 1744 Hogarth had also painted the series of the "Rake's Progress"

and "Marriage à la Mode" (Fig. 71).

These are all pictures which hold up the customs of the time to ridicule

and satire, and his works of this kind are almost numberless. He explains

as follows the cause of his painting in this way: "The reasons which

induced me to adopt this mode of designing were that I thought both

critics and painters had, in the historical style, quite overlooked that

intermediate species of subjects which may be placed between the sublime

and the grotesque. I therefore wished to compose pictures on canvas

similar to representations on the stage; and further hope that they will

be tried by the same test and criticised by the same criticism."

[Illustration: FIG. 71.--THE MARRIAGE CONTRACT. _No. 1 of The Marriage à

la Mode. By Hogarth. In the National Gallery._]

It was in this sort of picture that Hogarth made himself great, though he

supported himself for several years by portrait-painting, in which art he

holds a reputable place. Most of his important pictures are in public

galleries.

Hogarth was a fine engraver, and left many plates after his own works,

which are far better and more spirited than another artist could have made

them. The pictures of Hogarth have good qualities aside from their

peculiar features. He made his interiors spacious, and the furniture and

all the details were well arranged; his costumes were exact, as was also

the expression of his faces; his painting was good, and his color

excellent. In 1753 he published a book called the "Analysis of Beauty."

Ever after his first success his career was a prosperous one. He rode in

his carriage, and was the associate and friend of men in good positions.

Hogarth was buried in Chiswick Churchyard, and on his tombstone are these

lines, written by David Garrick:

"Farewell, great painter of mankind!

Who reach'd the noblest point of Art,

Whose pictur'd morals charm the mind,

And through the eye, correct the heart.

If Genius fire thee, reader, stay;

If Nature touch thee, drop a tear;

If neither move thee, turn away,

For Hogarth's honour'd dust lies here."

The next important English painter was RICHARD WILSON (1713-1782), and he

was important not so much for what he painted as for the fact that he was

one of the earliest landscape-painters among English artists. He never

attained wealth or great reputation, although after his return from

studying in Italy he was made a member of the Royal Academy.

We come now to Sir JOSHUA REYNOLDS (1723-1792), born at Plympton, in

Devonshire. His father was a clergyman and the master of the grammar

school at Plympton. Joshua was destined for the medical profession by his

parents; but his love of drawing was so marked that, as the opportunity

offered for him to go to London and study under Hudson, his father allowed

him to do so. After various changes, in 1749 he was able to go to Rome,

and remained in Italy three years (Fig. 70).

When he returned to England he soon attracted attention to his pictures,

and it was not long before both fame and fortune were secured to him. His

life was a very quiet one, with little of incident that can be related

here. His sister kept his house for him, and he lived generously, having

company to dinner almost daily. His friends were among the best people of

the time, including such persons as Dr. Johnson, Percy, Goldsmith,

Garrick, the Burkes, and many others. The day before Johnson died he told

Reynolds that he had three requests to make of him: that he would forgive

him thirty pounds which he had lent him, would read the Scriptures daily,

and would not paint on Sunday. Sir Joshua promised to do these things, and

remembered his promise.

Sir Joshua was skilful in compliments. When he painted his famous picture

of Mrs. Siddons as the "Tragic Muse" he put his name on the border of her

garment. The actress went near the picture to examine it, and when she saw

the name she smiled. The artist said: "I could not lose the opportunity of

sending my name to posterity on the hem of your garment."

[Illustration: FIG. 72.--"MUSCIPULA." _By Reynolds._]

Sir Joshua Reynolds' fame rests upon his portraits, and in these he is

almost unrivalled. His pictures of children are especially fine. It was

his custom to receive six sitters daily. He kept a list of those who were

sitting and of others who waited for an opportunity to have their

portraits made by him. He also had sketches of the different portraits

he had painted, and when new-comers had looked them over and chosen the

position they wished, he sketched it on canvas and then made the likeness

to correspond. In this way, when at his best, he was able to paint a

portrait in about four hours. His sitters' chairs moved on casters, and

were placed on a platform a foot and a half above the floor. He worked

standing, and used brushes with handles eighteen inches long, moving them

with great rapidity.

In 1768 Sir Joshua was made the first President of the Royal Academy, and

it was then that he was knighted by the king. He read lectures at the

Academy until 1790, when he took his leave. During these years he sent two

hundred and forty-four pictures to the various exhibitions. In 1782 he had

a slight shock of paralysis, but was quite well until 1789, when he feared

that he should be blind, and from this time he did not paint. He was ill

about three months before his death, which occurred in February, 1792. His

remains were laid in state at the Royal Academy, and then buried in St.

Paul's Cathedral, near the tomb of Sir Christopher Wren.

It is to be regretted that the colors used by Sir Joshua Reynolds are now

much faded in many of his pictures. Those in the National Gallery, in

London, are, however, in good preservation. Naturally, since so many of

his pictures were portraits they are in the collections of private

families in England, and but few of them are seen in European galleries.

There is an excellent opportunity to study his manner in the pictures at

the South Kensington Museum, where there are several portraits, some

pictures of children, and the "Graces Decorating a Statue of Hymen."

It is very satisfactory to think of a great artist as a genial, happy man,

who is dear to his friends, and has a full, rich life outside of his

profession. Such a life had Sir Joshua Reynolds, and one writer says of

him: "They made him a knight--this famous painter; they buried him 'with

an empire's lamentation;' but nothing honors him more than the 'folio

English dictionary of the last revision' which Johnson left to him in his

will, the dedication that poor, loving Goldsmith placed in the 'Deserted

Village,' and the tears which five years after his death even Burke could

not forbear to shed over his memory."

THOMAS GAINSBOROUGH (1727-1788) was born in Sudbury, in Suffolk, and when

still quite young went to London, and studied under Francis Hayman, who

was not an eminent painter. Gainsborough became one of the most important

masters of the English school, especially in landscape painting and the

representation of rustic figures. His portraits were not as good in color

as those of Sir Joshua Reynolds; they have a bluish-gray hue in the flesh

tints; but they are always graceful and charming. His landscapes are not

like those of any other master. They are not exact in the detail of leaves

and flowers--a botanist could find many faults in them--but they are like

nature in spirit: they seem to have the air blowing through them, they are

fresh and dewy when it is morning in them, and quiet and peaceful when

evening comes under his brush. In many of his pictures he put a cart and a

white animal.

His rustic figures have the true country life in them: they seem to have

fed upon the air, and warmed themselves in the sun until they are plump

and rosy as country lads and lasses should be. His best _genre_ pictures

are the "Cottage Girl," the "Woodman and Dog in a Storm," the "Cottage

Door," and the "Shepherd Boy in a Shower." He painted a picture of a "Girl

and Pigs," for which Sir Joshua Reynolds paid him one hundred guineas.

In character Gainsborough was very attractive, though somewhat

contradictory in his moods. He was generous and genial, lovable and

affectionate; he was also contradictory and impulsive, not to say

capricious. His wife and he had little quarrels which they settled in this

wise: When Gainsborough had spoken to her unkindly, he would quickly

repent, and write a note to say so, and address it to his wife's spaniel,

called "Tristram," and sign it with the name of his pet dog, "Fox." Then

Margaret Gainsborough would answer: "My own, dear Fox, you are always

loving and good, and I am a naughty little female ever to worry you as I

too often do, so we will kiss, and say no more about it; your own

affectionate Tris." Like Reynolds, Gainsborough had many warm friends, and

when he died Sir Joshua himself watched by his bedside, and bent to catch

his last word, which was the name of Vandyck.

JOHN SINGLETON COPLEY (1737-1815) was born in Boston, Mass., U. S., to

which place his parents are said to have immigrated from Limerick,

Ireland. The father was descended from the Copleys of Yorkshire, England,

and the mother from the Singletons of County Clare, both families of note.

When young Copley was eleven years old his mother was married to Peter

Pelham, a widower with three sons--Peter, Charles, and William--and who

subsequently became the father of another son, Henry, by this second

marriage. Mr. Pelham was a portrait painter and a mezzotint engraver of

unusual merit. One authority calls him "the founder of those arts in New

England." Mr. Pelham was also a man of education, a land surveyor, and a

mathematician. He was thus well qualified to educate, assist, and

stimulate young Copley in the pursuit of studies so natural and congenial

to him. He is said to have been studious and quiet, and to have made rapid

advances. When he was fifteen years old he painted a portrait of his

step-brother, Charles Pelham, now in the family of a great-grandson, Mr.

Charles Pelham Curtis, of Boston. At sixteen he published an engraving of

Rev. William Welsteed, from a portrait painted by himself. The same year

he painted the portrait of a child--afterward Dr. de Mountfort--now owned

in Detroit. In 1754 he painted an allegorical picture of Mars, Venus, and

Vulcan, thirty inches long by twenty-five wide, now owned in Bridgewater,

Mass. The next year he painted a miniature of George Washington, who was

on a visit to Governor Shirley at the time. This picture now belongs to

the family of the late George P. Putnam, of New York City. In 1756 he

painted a three-quarters length portrait of General William Brattle, life

size, signed and dated, and now owned by Mr. William S. Appleton. He now

improved rapidly. A crayon portrait of Miss Rebecca Gardiner, afterward

Mrs. Philip Dumaresq, an oil painting of Mrs. Edmund Perkins, a portrait

of Rebecca Boylston, afterward wife of Governor Gill, portraits of Colonel

and Mrs. Lee, grandparents of General William Raymond Lee, all exist and

attest the continued growth of his powers. These date between 1763 and

1769. During this time he had access to and was a visitor in houses where

were portraits by Saribest, Blackburn, Liopoldt, and even by Vandyck and

Sir Godfrey Kneller. Mr. Augustus Thorndike Perkins, in his carefully

written monograph on Copley, says that our artist must have seen all these

pictures, since, as Dr. Gardiner says, "his genial disposition and his

courtly manners make him a welcome guest everywhere." Mr. Perkins remarks

that Copley must have studied with Blackburn; that he imitated, but in

some respects surpassed him. "Both frequently used, either as the lining

of a dress or as drapery, a certain shade of mauve pink; Blackburn uses

this shade feebly, while Copley dashes it on with the hand of a master."

On November 16, 1769, Copley married Susan (or Susannah, as it is

sometimes written), the daughter of Mr. Richard Clarke, a distinguished

merchant of Boston, to whom, as agent of the East India Company of London,

was consigned the tea thrown overboard in Boston harbor. From all accounts

he soon began to live in good style; and as, in 1771, Colonel Trumbull

found him living opposite the Common, it is probable that he purchased at

about that time the property which afterward became so valuable, although

long after Copley had ceased to be the owner. In 1773, says the late

eminent conveyancer, Nathaniel Ingersoll Bowditch, "Copley owned all the

land bounded on the west by Charles River, thence by Beacon Street to

Walnut Street, thence by Walnut Street to Mt. Vernon Street, thence by Mt.

Vernon Street to Louisburg Square, thence by Louisburg Square to Pinckney

Street, thence by Pinckney Street to the water, containing about eleven

acres of land." This land is now covered with handsome residences, and is

of great value. An agent of Copley's sold his property after he went

abroad without being authorized to do so, and, although his son came over

in 1795 to look into the matter, he was only able to secure a compromise

by which a further sum of three thousand guineas was paid in final

settlement.

Soon after his marriage Copley painted his picture of a "Boy with a

Squirrel," which he sent anonymously to Benjamin West, in London, for

exhibition. West judged from the wood on which the picture was stretched

and from the kind of squirrel that the work was American, and so excellent

was the painting that a rule of the institution was set aside, and the

picture exhibited. This picture is now in the possession of Mrs. James S.

Amory, of Boston, a granddaughter of the artist. The boy in the picture

was his half-brother Henry. The picture was so favorably received that

Copley was advised to go to England. He sailed in 1774, and never

returned.

Mr. Copley, soon after his arrival in London, passed over to the

Continent, and through Italy, studying in Parma and in Rome. He visited

Naples and Pæstum also. It is said that he studied so diligently that he

was with difficulty persuaded to paint two portraits in Rome. In 1775 he

travelled and studied in Germany, in Holland, and in France. This same

year his wife and family joined him in England. These consisted of his

wife, his son, John Singleton, who afterward became the famous Lord

Chancellor Lyndhurst; his daughter Elizabeth, afterward married to a

distinguished merchant in Boston, and who survived to a great age; Mary

Copley, who lived unmarried to the great age of ninety-four; and another

son who died young. In 1777 he was made an Associate of the Royal Academy,

and six years later an Academician. He was now in the full tide of

success. He was offered five hundred guineas to paint a family group of

six persons. The well-known group of Copley's family, called the "Family

Picture," the "Death of Lord Chatham," and "Watson and the Shark," were on

his easel in 1780. The picture of Lord Chatham falling senseless in the

House of Lords was commenced soon after his death in 1778. It was engraved

by Bartolozzi, and twenty-five hundred copies were sold in a few weeks.

Copley exhibited the picture, to his own profit as well as fame.

In 1781 occurred the death of Major Pierson, shot in the moment of victory

over the French troops who had invaded the island of Jersey. His death was

instantly avenged by his black servant, and of this scene Copley made one

of his finest pictures. He took pains, with his usual honesty, to go to

St. Helier's, and make a drawing of the locality. The picture is

thoroughly realistic, although painful. His large picture of the "Repulse

and Defeat of the Spanish Floating Batteries at Gibraltar" was painted on

commission from the city of London. It is twenty-five feet long by

twenty-two and a half feet high; but there are so many figures and so much

distance to be shown in the painting that the artist really needed more

room. Of the commander, Lord Heathfield, Sir Robert Royd, Sir William

Green, and some twelve or fifteen others, the artist made careful

portraits.

The story told by Elkanah Watson shows Copley's strong sympathy for

America. In 1782 Watson was in London, and Copley made a full-length

portrait of him, and in his journal Watson says: "The painting was

finished in most exquisite style in every part, except the background,

which Copley and I designed to represent a ship bearing to America the

acknowledgments of our independence. The sun was just rising upon the

stripes of the Union streaming from her gaff. All was complete save the

flag, which Copley did not deem proper to hoist under the present

circumstances, as his gallery was the constant resort of the royal family

and the nobility. I dined with the artist on the glorious 5th of December,

1782. After listening with him to the speech of the king formally

recognizing the United States of America as in the rank of nations,

previous to dinner, and immediately after our return from the House of

Lords, he invited me into his studio, and there, with a bold hand, a

master's touch, and, I believe, an American heart, he attached to the ship

the stars and stripes. This was, I imagine, the first American flag

hoisted in Old England."

Copley purchased, for a London residence, the mansion-house in George

Street belonging to Lord Fauconburg. It afterward became more widely known

as the residence of his son, Lord Lyndhurst. Lord Mansfield's residence

was near by, and among the many commissions from public men was one to

paint his lordship's portrait. Perhaps one of the most interesting of all

his commissions was one to paint the picture of Charles I. demanding the

five obnoxious members from the Long Parliament, for which a number of

gentlemen in Boston paid one thousand five hundred pounds. It is said that

every face in this great picture was taken from a portrait at that time

extant; and Mrs. Gardiner Greene narrates that she and her father were

driven in a post-chaise over a considerable part of England, visiting

every house in which there was a picture of a member of the famous

Parliament, and were always received as honored guests. Copley's painting

of the death of Lord Chatham was much admired. So numerous were the

subscriptions for the engraving that it is said Copley must have received

nearly, or quite, eleven thousand pounds for the picture and the engraved

copies. It was quite natural for Copley to be popular with New Englanders;

indeed, almost every Bostonian, at one time, on visiting London, made a

point to bring home his portrait by Copley, if possible. There are known

to exist in this country two hundred and sixty-nine oil-paintings,

thirty-five crayons, and fourteen miniatures by him. These pictures are

carefully cherished, as are indeed all memorials of this generous and

kindly gentleman. Although his life was mostly passed in England, where he

obtained wealth and renown, yet in a strong sense he could be claimed for

Boston, as it was there he was born; it was there he received his artistic

bias and education; it was there he was married, and had three children

born to him; and, finally, it was there that he acquired a fair amount of

fame and property solely by his brush. It will be worth while for the

readers of this volume to take pains to see some of the more noteworthy

Copleys.

A portrait of John Adams, full length, painted in London in 1783, is now

in possession of Harvard College. A portrait of Samuel Adams,

three-quarters length, spirited and beautiful, standing by a table, and

holding a paper, hangs in Faneuil Hall. Another picture of Samuel Adams is

in Harvard College, which also owns several other Copleys. A portrait of

James Allen, a man of fortune, a patriot, and a scholar, is now owned by

the Massachusetts Historical Society. The "Copley Family," one of the

artist's very best pictures, is now owned in Boston by Mr. Amory, and, in

fact, Mrs. James S. Amory owns a number of his best works.

Copley was a man of elegance and dignity, fond of the beautiful,

particular in his dress, hospitable, and a lover of poetry and the arts.

His favorite book was said to be "Paradise Lost." His last picture was on

the subject of the Resurrection.

BENJAMIN WEST (1738-1820) was born at Springfield, Pennsylvania, of Quaker

parentage. In the various narratives of his successful life many stories

are told which appear somewhat fabulous, and most of which have nothing to

do with his subsequent career. He is said to have made a pen-and-ink

portrait of his little niece at the age of seven years; to have shaved the

cat's tail for paint brushes; to have received instruction in painting and

archery from the Indians; to have so far conquered the prejudices of his

relatives and their co-religionists to his adoption of an artist's life

that he was solemnly consecrated to it by the laying on of hands by the

men, and the simultaneous kissing of the women. His love for art must have

been very strong, and he was finally indulged, and assisted in it by his

relatives, so that at the age of eighteen he was established as a

portrait-painter in Philadelphia. By the kindness of friends in that city

and in New York he was enabled to go to Italy, where he remained three

years, making friends and reputation everywhere. Parma, Florence, and

Bologna elected him a member of their Academies. He was only twenty-five

years old when he went to England, on his way back to America. But he was

so well received that he finally determined to remain in England, and a

young lady named Elizabeth Shewell, to whom he had become engaged before

going abroad, was kind and judicious enough to join him in London, where

she became his wife, and was his faithful helpmate for fifty years. In

1766 he exhibited his "Orestes and Pylades," which on account of its

novelty and merit produced a sensation. He painted "Agrippina weeping over

the Urn of Germanicus," and by the Archbishop of York was introduced to

George III. as its author. He immediately gained favor with the king, and

was installed at Windsor as the court-painter with a salary of one

thousand pounds per annum. This salary and position was continued for

thirty-three years. He painted a series of subjects on a grand scale from

the life of Edward III. for St. George's Hall, and twenty-eight scriptural

subjects, besides nine portrait pictures of the royal family. In 1792, on

the death of Reynolds, he was elected President of the Royal Academy, a

position which, except a brief interregnum, he held until his death in

March, 1820. He was greatly praised in his day, and doubtless thought

himself a great artist. He painted a vast number of portraits and quite a

number of pictures of classical and historical subjects. His "Lear" is in

the Boston Athenæum; his "Hamlet and Ophelia" is in the Longworth

collection in Cincinnati; "Christ Healing the Sick" is in the Pennsylvania

Hospital; and the "Rejected Christ" is or was owned by Mr. Harrison, of

Philadelphia. There are two portraits of West, one by Allston and one by

Leslie, in the Boston Athenæum, and a full-length, by Sir Thomas Lawrence,

in the Wadsworth Gallery in Hartford, Conn. One of West's pictures did a

great deal for his reputation, although it was quite a departure from the

treatment and ideas then in vogue; this was the "Death of General Wolfe"

on the Plains of Abraham. When it was known to artists and amateurs that

his purpose was to depict the scene as it really might have happened he

was greatly ridiculed. Even Sir Joshua Reynolds expressed an opinion

against it; but when he saw the picture he owned that West was right.

Hitherto no one had painted a scene from contemporary history with figures

dressed in the costume of the day. But West depicted each officer and

soldier in his uniform, and gave every man his pig-tail who wore one. The

picture is spirited and well grouped. West was just such a practical,

thoughtful, and kindly man as we might expect from his ancestry and

surroundings.

GEORGE ROMNEY (1734-1802), born in Beckside, near Dalton, in Cumberland.

He married when he was twenty-two, and in his twenty-seventh year went to

London with only thirty pounds in his pocket, leaving his wife with

seventy pounds and two young children. He returned home to die in 1799,

and in the meantime saw his wife but twice. The year after his arrival in

London he carried off the fifty-guinea prize on the subject of the "Death

of Wolfe" from the Society of Arts. Through the influence of Sir Joshua

Reynolds this was reconsidered, and the fifty-guinea prize was awarded to

Mortimer for his "Edward the Confessor," while Romney was put off with a

gratuity of twenty-five guineas. This produced a feud between the two

artists. Romney showed his resentment by exhibiting in a house in Spring

Gardens, and never sending a picture to the Academy, while Reynolds would

not so much as mention his name, but spoke of him as "the man in Cavendish

Square." This was after his return from the Continent; but before going to

Italy he was distinctly the rival of Sir Joshua, so much so that there

were two factions, and Romney's studio, in Great Newport Street, was

crowded with sitters, among whom was the famous Lord Chancellor Thurlow,

whose full-length portrait is the pride of its possessor. At this time he

was making about twelve hundred pounds a year, a very good income for

those days. In 1773 he went to Rome with a letter to the Pope from the

Duke of Richmond. His diary, which he kept for a friend, shows how

conscientious and close was his observation and how great his zeal. He

made a copy of the "Transfiguration," for which he refused one hundred

guineas, and which finally sold for six guineas after his death. On his

return to London in 1775 he took the house in Cavendish Square, where he

had great success. He painted a series of portraits of the Gower family,

the largest being a group of children dancing, which Allan Cunningham

commended as being "masterly and graceful." Some of his portraits have a

charm beyond his rivals. He painted portraits of Lady Hamilton, the friend

of Lord Nelson--"the maid of all work, model, mistress, ambassadress, and

pauper"--scores of times, and in different attitudes and a variety of

characters, as Hebe, a Bacchante, a Sibyl, as Joan of Arc, as

"Sensibility," as a St. Cecilia, as Cassandra, as Iphigenia, as Constance,

as Calypso, as Circe, and as Mary Magdalen, and in some of these

characters many times. He often worked thirteen hours a day, and did his

fancy sketches when sitters disappointed him. He would paint a portrait of

a gentleman in four sittings. He was extremely fond of portraying

Shakespeare's characters, and contributed to the Shakespeare Gallery

formed by Alderman Boydell. He went to Paris in 1790, where Lord and Lady

Gower introduced him to Louis Philippe, and through him to all the art

treasures of the French capital. On his return to London he formed a plan

of an art museum, to be furnished with casts of the finest statues in

Rome, and spent a good deal of money in the erection of a large building

for the purpose. His powers as an artist gradually waned. He left his

Cavendish Square residence in 1797, and in 1799 returned to his family and

home at Kendall. From this time to the close of his life in 1802 he was a

mere wreck, and his artist life was over.

GEORGE MORLAND (1763-1804) was born in London, and the son of an artist.

His father was unsuccessful, and poor George was articled to his father,

after the English fashion, and was kept close at home and at work. It is

said that his father stimulated him with rich food and drink to coax him

to work. He was very precocious, and really had unusual talents. His

subjects were those of rustic life, and his pictures contain animals

wonderfully well painted, but his pigs surpass all. His character was

pitiful; he was simply, at his best, a mere machine to make pictures. As

for goodness, truth, or nobleness of any sort, there is not a syllable

recorded in his favor. Strange to say, the pictures of his best time are

masterpieces in their way, and have been sold at large prices.

Sir THOMAS LAWRENCE (1769-1830), born at Bristol, England, in the White

Hart Inn, of which his father was landlord. He was wonderfully precocious,

and as a child of five years would recite odes, and declaim passages from

Milton and Shakespeare. Even at this early period he made chalk or pencil

portraits, and at nine he finally decided to become a painter from having

seen a picture by Rubens. At this period he made a colored chalk portrait

of the beautiful Georgiana, Duchess of Devonshire, which still hangs in

Chiswick House, in the room in which Charles Fox died. His father was the

son of a clergyman, and was bred a lawyer, but had never prospered; still

his culture and education gave a certain zest and tone to the mind of

young Lawrence, and made him, with his elegant figure and handsome face,

the successful courtier that he afterward became. He worked hard, with

considerable success, and with but little instruction until, at the age of

eighteen, he went to London for the first time. At that period he was

described as being extremely handsome in person, with fine, regular

features, brilliant eyes, and long, chestnut-colored hair falling to his

shoulders. He lodged close by Sir Joshua Reynolds--then near the end of

his career, and from him received much valuable advice. During Lawrence's

first years in London he attempted pictures illustrating classic art, but

without much success. Indeed he was never successful in large, imaginative

pictures, and during most of his career of more than forty years, confined

himself to portraits. The time was propitious for him: Gainsborough was

dead; Reynolds was almost blind, and had given up painting; and Romney had

no hold on the court and the leaders of fashion. Lawrence raised his

prices, and had all he could do. He adopted a more expensive style of

dress, and in fact lived so extravagantly that he never arrived at what

may be called easy circumstances--his open-handed generosity contributed

to this result. He early received commissions from the royal family. In

1791 he was elected an Associate, and in 1794 an Academician. The next

year George III. appointed him painter in ordinary to his Majesty. He was

thus fairly launched on a career that promised the highest success. In a

certain sense he had it, but largely in a limited sense. He painted the

portraits of people as he saw them; but he never looked behind the costume

and the artificial society manner. He reproduced the pyramidically shaped

coats and collars, the overlapping waistcoats of different colors, the

Hessian boots, and the velvet coats, adorned with furs and frogs, of the

fine gentlemen; and the turbans with birds-of-Paradise feathers, the gowns

without waists, the bare arms and long gloves, the short leg-of-mutton

sleeves, and other monstrosities of the ladies. And for thirty years his

sitters were attired in red, or green, or blue, or purple. He absolutely

revelled in the ugliness of fashion. Occasionally Lawrence did some very

good things, as when he painted the Irish orator and patriot, Curran, in

one sitting, in which, according to Williams, "he finished the most

extraordinary likeness of the most extraordinary face within the memory of

man." He always painted standing, and often kept his sitters for three

hours at a stretch, and sometimes required as many as nine sittings. On

one occasion he is said to have worked all through one day, through that

night, the next day, and through all the night following! By command of

the prince regent he painted the allied sovereigns, their statesmen,

princes, and generals--all the leading personages, in fact, in alliance

against Napoleon. His pictures in the exhibition of 1815 were Mrs. Wolfe,

the Prince Regent, Metternich, the Duke of Wellington, Blucher, the Hetman

Platoff, and Mr. Hart Davis. During the Congress that met at

Aix-la-Chapelle in 1818, Lawrence was commissioned by the Prince Regent to

paint its principal heads for an especial gallery. He thus had for sitters

nearly all the leading statesmen of Europe. From Aix-la-Chapelle he went

to Vienna, and thence to Rome in 1819, where among others he painted

likenesses of the Pope, of Cardinal Gonsalvi, and of Canova. Of the

latter, Canova cried out, "Per Baccho, che nomo e questo!" It was

considered a marvellous likeness; and without violating good taste he

worked into the picture crimson velvet and damask, gold, precious marble,

and fur, with a most brilliant effect. Before reaching home in London he

was elected President of the Royal Academy. At this time he had been

elected a member of the Roman Academy of St. Luke's, of the Academy of

Fine Arts in Florence, and of the Fine Arts in New York. He continued to

improve as a painter, and between 1825 and the year of his death, painted

and exhibited some of his finest works. He usually exhibited eight

pictures each year, and although without a rival, gave evidence of anxious

care to sustain his reputation. He was especially successful with

children, and many of these pictures--as well as of celebrities--were

engraved, and have thus become known all over the world. Of his eight

pictures exhibited in 1829--the last he ever contributed--Williams says:

"It is difficult to imagine a more undeviating excellence, an infallible

accuracy of likeness, with an elevation of art below which it seemed

impossible for him to descend." Lawrence died on the morning of the 7th of

January, 1830, with but little warning, from ossification of the heart; he

was buried with much pomp and honor in St. Paul's Cathedral, by the side

of Sir Joshua Reynolds.

[Illustration: FIG. 73.--PORTRAIT OF TURNER.]

JOSEPH M. W. TURNER, R.A. (1775-1851).--It is believed, by those who have

investigated the question most carefully, that this eminent artist and

most remarkable man was born in Maiden Lane, London, April 3, 1775,

although the artist himself has stated that he was born in Devonshire,

April 23, 1769. Turner's father, William Turner, was a native of

Devonshire, but came to London while young, and did a fair business in the

Covent Garden district as a hair-dresser, wig-maker, and in shaving

people. The father was garrulous, like the traditional hair-dresser, with

a pleasant laugh, and a fresh, smiling face. He had a parrot nose and a

projecting chin. Turner's mother was a Miss Mallord (or Marshall), of good

family, but a violent-tempered woman, with a hawk nose and a fierce

visage. Her life ended in a lunatic asylum. The artist, who was always

impatient of inquiry into his domestic matters, resented any allusion to

his mother, and never spoke of her. The manifest peculiarities of his

parents had an impression upon Turner, and would have made him eccentric

had there been no other influences of a kindred nature. The parents were

under-sized, and of limited mental range; they were of very little

personal assistance to their gifted son, although the father in later

years busied himself in mixing colors, adjusting pictures to frames, and

sometimes he was entrusted with certain rough work at filling in

backgrounds. When Turner was but five years old he is said to have made,

from memory, a fair copy of a lion rampant engraved on a silver salver,

which he had seen while accompanying his father to the house of a

customer. Presently the boy began to copy pictures in water-colors, and

then to make sketches from nature of scenes along the river Thames. In his

ninth year he drew a picture of Margate Church. When he was ten years old

he was sent to school at Brentford-Butts, where he remained two years,

boarding with his uncle, the local butcher. His leisure hours were spent

in dreamy wanderings and in making countless sketches of birds, trees,

flowers, and domestic fowls. He acquired a smattering of the classics and

some knowledge of legends and ancient history. On his return to London he

received instruction from Palice in painting flowers, and, after a year or

two, was sent to Margate, in Kent, to Coleman's school. Here he had more

scope and a wider range, and made pictures of the sea, the chalk cliffs,

the undulations of the coast, and the glorious effects of cloud scenery.

On his return from Margate he began to earn money by coloring engravings

and by painting skies in amateurs' drawings and in architects' plans at

half a crown an evening. He always deemed this good practice, as he thus

acquired facility and skill in gradations. His father at one time thought

to make an architect of him, and sent him to Tom Malton to study

perspective. But he failed in the exact branch of the profession, and

neither with Malton nor with the architect Hardwick did he give

satisfaction. While with Hardwick he drew careful sketches of old houses

and churches, and this practice must have been of much use to him in

after-life. His father finally sent him to the Royal Academy, where he

studied hard, drawing from Greek models and the formal classic

architecture. About this time he was employed, at half a crown an evening,

with supper thrown in, to make copies of pictures by Dr. Munro, of Adelphi

Terrace. Munro was one of the physicians employed in the care of George

III. when he had a crazy spell, and owned many valuable pictures by

Salvator-Rosa, Rembrandt, Snyder, Gainsborough, Hearne, Cozens, and

others. He had also portfolios full of drawings of castles and cathedrals,

and of Swiss and Italian scenery, and of sketches by Claude and Titian.

Turner was also employed to sketch from nature in all directions about

London. In these tasks he had for a constant companion "Honest Tom

Girtin," a young fellow of Turner's own age, who afterward married a

wealthy lady, had rich patrons, and died before he was thirty. Had he

lived to mature years, Girtin would have been a powerful rival to Turner.

They were most excellent friends, and when Girtin died in Rome, Turner was

one of his most sincere mourners. Toward the close of Sir Joshua Reynolds'

life, Turner frequented his studio, copied pictures, and acquired some art

secrets. He began to teach water-color drawing in schools, while still a

boy, at from a crown to a guinea a lesson. He made hundreds of sketches in

a part of London now built over compactly with houses in streets and

squares, but then picturesque in hills and dells, in wooded fields and

green lanes. With all his baggage tied in a handkerchief on the end of his

walking-stick, he made a sketching tour through the towns of Rochester,

Canterbury, Margate, and others, in Kent, in 1793, and about this time

began to paint in oil. His first contribution to the Royal Academy was a

water-color sketch in 1790. Within the next ten years he exhibited over

sixty pictures of castles, cathedrals, and landscapes. All through his

life he made sketches. Wherever he was, if he saw a fine or an unusual

effect, he treasured it up for use. He sketched on any bit of paper, or

even on his thumb-nail, if he had nothing better. Nothing escaped his

attention, whether of earth, or sea, or sky. Probably no artist that ever

lived gave nature such careful and profound study. His studies of cloud

scenery were almost a revelation to mankind. In all this Turner drew his

instruction as well as his inspiration from nature. The critics did

nothing for him; he rather opened the eyes of even such men as Ruskin to

the wonders of the natural world. But these results all came later, and

were the fruit of and resulted from his constant and incessant studies.

[Illustration: FIG. 74.--NANTES. _By Turner._]

In 1794 and 1795 he made elaborate drawings of Rochester, Chepstow,

Birmingham, Worcester, Guildford, Cambridge, and other towns, for

magazines. In 1796 he did the same for Chester, Bristol, Leith,

Peterborough, and Windsor. Within the next four years he completed the

circuit of twenty-six counties in England and Wales, and he also exhibited

twenty-three highly finished drawings of cathedrals and churches. He was

slow to undertake oil-painting, preferring the more rapid touch and the

light-and-shade effect of the crayon, or the delicate and beautiful

effects of water-colors. He was always greater as a painter in

water-colors than in oils, and it is claimed by Redgrave that "the art all

but began with him," and that his water-color paintings "epitomize the

whole mystery of landscape art." Some of his paintings in this line have

been sold at enormous prices, and even in his own day his water-color

picture of Tivoli sold for eighteen hundred guineas. Turner became as fond

of Northern Yorkshire--which he first visited in 1797--as he was of

Southern Kent. He found there a great variety of scenery, from the sweet

and peaceful to the ennobling and grand. He visited and made studies from

all the old cathedrals, castles, and abbeys, and in 1798 he exhibited

pictures of Fountain and Kirkstall Abbeys, Holy Island Cathedral,

Buttermere Lake, Dunstanborough Castle, as well as "Morning Among the

Corriston Fells." He found in Yorkshire also some of his warmest friends

and most munificent patrons, notably Mr. Hawkesworth Fawkes, of Farnley

Hall, whose house was adorned with fifty thousand dollars' worth of

Turner's pictures. Some additions to Farnley Hall were designed by Turner,

and he was always a welcome visitor. Here he sketched, and at intervals

enjoyed himself greatly in hunting and fishing. It is said that the

Farnley portfolios still contain sketches not only of the hall and its

precincts, but of coast scenes, Swiss views, drawings of birds,

illustrations of the Civil War, and, more especially, of fifty-three

remarkable drawings of the Rhineland regions, done at the rate of three a

day; these last were offered by Turner to Mr. Fawkes on his return from

the Continent for the sum of five hundred pounds, and the bargain was

closed at once. When Mr. Fawkes visited London he spent hours in Turner's

private gallery, but was never shown into the painting-room. Indeed, very

few persons were ever allowed there. Once, when Turner dined at a hotel

with Mr. Fawkes, the artist took too much wine, and reeled about,

exclaiming, "Hawkey, I am the real lion--I am the great lion of the day,

Hawkey." When Mr. Fawkes died, ended Turner's visits to Farnley. He never

went there again, but when the younger Fawkes brought the Rhine drawings

up to London for him to see again, he passed his hand over the "Lorelei

Twilight," saying, with tears in his eyes, "But Hawkey! but Hawkey!" When

Mr. Wells, an artist of Addiscomb, died he mourned his loss bitterly, and

exclaimed to his daughter: "Oh, Clara, Clara, these are iron tears! I have

lost the best friend I ever had in my life!" In this family all the

children loved him. He would lie on the floor, and play with them, and the

oldest daughter afterward said: "Of all the light-hearted, merry creatures

I ever knew, Turner was the most so." But in 1797 Turner had a bitter

disappointment which warped and distorted all his after-life. A young lady

to whom he had become attached while a schoolboy at Margate, was engaged

to be married to him. He had been absent for two years on sketching tours,

and the step-mother of the young lady had intercepted and destroyed his

letters, so that at last she believed the representations made that Turner

had deserted her. She became engaged to another, and was about to be

married, when Turner appeared, and pleaded passionately that she would

return to him. She thought that she had been trifled with, and held by her

refusal, and did not find out the wrongs done by the step-mother until it

was too late. This disappointment led to greater self-concentration and

stingy money-getting until it became the absorbing passion of his life, so

that the artist passion was dominated by it.

It would take up too large a portion of this book to describe even briefly

Turner's travels and works. Only a bare outline can be given. In 1800 he

became an Associate of the Royal Academy. He moved into a more commodious

house at 64 Harley Street. During this year he exhibited pictures of

Caernarvon Castle and the "Fifth Plague of Egypt;" also fine views of

Fonthill Abbey, the new palace of Beckford, with whom he spent much time.

The only portrait for which Turner ever sat was painted in 1800 by George

Dance. It shows a handsome young man, with a full but receding forehead,

arched eyebrows, a prominent nose, a massive chin, and a sensual mouth.

His thick and wiry hair is tied behind, and he wears a coat with an

immense cape. By this time full-bottomed wigs had gone out of fashion, and

the old barber abandoned his business to go and live with his artist son.

In 1801 Turner exhibited pictures of St. Donat's Castle and Pembroke

Castle in Wales, the Salisbury Chapter-house, an autumn morning in London,

the destruction of the Median army, and Dutch fishing-boats in a gale. He

had begun his contest with Claude by painting pictures of classical

subjects in Claude's manner. Turner was elected Royal Academician in 1802,

and exhibited several notable oil-paintings, signed with all his initials,

which he thenceforth used. The Academy had been quick to recognize

Turner's genius, and he was always its faithful, conservative, and zealous

friend. As an auditor, councillor, or a visitor he was scrupulous, and he

attended general meetings and formal dinners with the same promptitude and

certainty with which for forty-five years he sent his pictures to the

annual exhibitions. He was a peacemaker in debates, but in business he was

irresolute. In 1802 he visited the Continent for the first time,

travelling in France, Switzerland, and Italy, and everywhere making

sketches. At this time he carried sketch-books in which he jotted

everything--all manner of drawings and outlines of nature and

architecture, notes of local gossip, chemical memoranda, notes of

expenses, tavern bills, views of coasts and cities, ruins, castles,

manufacturing works, and detached figures. One book gives views about the

Simplon Pass, another the sea-coast from Nice to Genoa, another contains

countless jottings from the pictures in the Vatican, another is taken up

with views in Paris and Rouen, and several are devoted to Scottish

scenery.

In 1806 Turner began his _Liber Studiorum_, in rivalship of Claude's

_Liber Veritatis_; it was issued in parts in dark blue covers, each part

containing five plates. It was discontinued in 1814, after seventy plates

had been issued. Although not remunerative at the time, in later days as

high as three thousand pounds has been paid for a single copy of the

_Liber_, while the subscription price was only seventeen pounds ten

shillings; even before Turner died a copy of it was worth over thirty

guineas. Charles Turner, the engraver, used the proofs for kindling-paper;

but some years later Colnaghi, the print dealer, paid him fifteen hundred

pounds for his remaining "rubbish," as he considered it. "Good God!" cried

the old engraver; "I have been burning bank-notes all my life!" In 1878

Professor Norton, of Harvard University, published a set of thirty-three

of the best of the _Liber_ studies, reproduced in Boston by the heliotype

process. The _Liber Studiorum_ was intended to manifest Turner's command

of the whole compass of the landscape art, and was divided into six heads:

historical, pastoral, elegant pastoral, mountain, marine, and

architectural.

In 1808 Turner was appointed Professor of Perspective in the Royal

Academy. During two or three years only, out of the thirty in which he

held the professorship, did he deliver lectures. He spoke in a deep and

mumbling voice, was confused and tedious in manner, and frequently became

hopelessly entangled in blind mazes of obscure words. Sometimes when he

had written out his lectures he was unable to read them. Once, after

fumbling in his pockets, he exclaimed: "Gentlemen, I've been and left my

lecture in the hackney-coach." Still he was interested in this work, and

Ruskin says: "The zealous care with which Turner endeavored to do his duty

is proved by a large existing series of drawings, exquisitely tinted, and

often completely colored, all by his own hand, of the most difficult

perspective subjects--illustrating not only directions of light, but

effects of light, with a care and completion which would put the work of

any ordinary teacher to utter shame." During this year he took a house at

Hammersmith, Upper Mall, the garden of which ran down to the Thames, but

still retained his residence in Harley Street. In 1812 he first occupied

the house No. 47 Queen Anne Street, and this house he retained for forty

years. It was dull, dingy, unpainted, weather-beaten, sooty, with unwashed

windows and shaky doors, and seemed the very abode of poverty, and yet

when Turner died his estate was sworn as under one hundred and forty

thousand pounds--seven hundred thousand dollars. When Turner's father died

in 1830 he was succeeded by a withered and sluttish old woman named Danby.

The whole house was dreary, dirty, damp, and full of litter. The master

had a fancy for tailless--Manx--cats, and these made their beds everywhere

without disturbance. In the gallery were thirty thousand fine proofs of

engravings piled up and rotting. His studio had a fair north light from

two windows, and was surrounded by water-color drawings. His sherry-bottle

was kept in an old second-hand buffet.

About 1813 or 1814 Turner purchased a place at Twickenham; he rebuilt the

house, and called it Solus Lodge. The rooms were small, and contained

models of rigged ships which he used in his marine views; in his

jungle-like garden he grew aquatic plants which he often copied in

foregrounds. He kept a boat for fishing and marine sketching; also a gig

and an old cropped-eared horse, with which he made sketching excursions.

He made at this time the acquaintance of Rev. Mr. Trimmer, the rector of

the church at Heston, who was a lover of art, and often took journeys with

Turner. While visiting at the rectory Turner regularly attended church in

proper form; and finally he wrote a note to Mr. Trimmer, alluding to his

affection for one of the rector's kinswomen, and suggesting: "If

Miss ---- would but waive bashfulness, or in other words make

an offer instead of expecting one, the same [Lodge] might change

occupiers." But Turner was doomed to disappointment, and never made

another attempt at matrimony. In 1814 Turner commenced his contributions

of drawings to illustrate "Cook's Southern Coast," and continued this

congenial work for twelve years, making forty drawings at the rate of

about twenty guineas each; the drawings were returned to the artist after

being engraved. In 1815 he exhibited the "Dido Building Carthage," and in

1817 a companion picture, the "Decline of the Carthaginian Empire," and

for these two pictures the artist refused five thousand pounds, having

secretly willed them to the National Gallery.

Ruskin divides Turner's art life into three periods: that of study, from

1800 to 1820; that of working out art theories toward an ideal, from 1820

to 1835; and that of recording his own impressions of nature, from 1835 to

1845, preceded by a period of development, and followed by a period of

decline, from 1845 to 1850. Besides his pictures painted on private

commission, Turner exhibited two hundred and seventy-five pictures at the

Academy. The "Rivers of England" was published in 1824, with sixteen

engravings after Turner; another series contained six illustrations of the

"Ports of England"--second-class cities. In 1826 the "Provincial

Antiquities of Scotland" was published, with thirteen illustrations by

Turner. The same year he sold his house at Twickenham, because, he said,

"Dad" was always working in the garden, and catching abominable colds. In

1827 Turner commenced the "England and Wales" on his own account, and

continued it for eleven years. It consisted of a hundred plates,

illustrating ports, castles, abbeys, cathedrals, palaces, coast views, and

lakes. In 1828 Turner went to Rome by way of Nismes, Avignon, Marseilles,

Nice, and Genoa; and this year painted his "Ulysses Dividing Polyphemus,"

of which Thornbury says: "For color, for life and shade, for composition,

this seems to me to be the most wonderful and admirable of Turner's

realisms." Ruskin calls it his central picture, illustrating his perfect

power.

Of Turner's wonderful versatility, Ruskin says: "There is architecture,

including a large number of formal 'gentlemen's seats;' then lowland

pastoral scenery of every kind, including nearly all farming operations,

plowing, harrowing, hedging and ditching, felling trees, sheep-washing,

and I know not what else; there are all kinds of town life, court-yards of

inns, starting of mail coaches, interiors of shops, house-buildings,

fairs, and elections; then all kinds of inner domestic life, interiors of

rooms, studies of costumes, of still-life and heraldry, including

multitudes of symbolical vignettes; then marine scenery of every kind,

full of local incident--every kind of boat, and the methods of fishing for

particular fish being specifically drawn--round the whole coast of

England; pilchard-fishing at St. Ives, whiting-fishing at Margate, herring

at Loch Fyne, and all kinds of shipping, including studies of every

separate part of the vessels, and many marine battle-pieces; then all

kinds of mountain scenery, some idealized into compositions, others of

definite localities, together with classical compositions; Romes and

Carthages, and such others by the myriad, with mythological, historical,

or allegorical figures; nymphs, monsters, and spectres, heroes and

divinities.... Throughout the whole period with which we are at present

concerned, Turner appears as a man of sympathy absolutely infinite--a

sympathy so all-embracing that I know nothing but that of Shakespeare

comparable with it. A soldier's wife resting by the roadside is not

beneath it; Rizpah watching the dead bodies of her sons, not above it.

Nothing can possibly be so mean as that it will not interest his whole

mind and carry his whole heart; nothing so great or solemn but that he

can raise himself into harmony with it; and it is impossible to prophesy

of him at any moment whether the next he will be in laughter or tears."

In 1832 Turner made a will in which he bequeathed the bulk of his estate

for the founding of an institution "for the Maintenance and Support of

Poor and Decayed Male Artists being born in England and of English parents

only, and of lawful issue." It was to be called "Turner's Gift," and for

the next twenty years the artist pinched, and economized to increase the

fund for his noble purpose. At this time he was entering upon his third

manner--that of his highest excellence, when he "went to the cataract for

its iris, and the conflagration for its flames; asked of the sky its

intensest azure, of the sun its clearest gold." It is remarked by Ruskin,

who has made most profound study of Turner's works, that he had an

underlying meaning or moral in his groups of foreign pictures; in

Carthage, he illustrated the danger of the pursuit of wealth; in Rome, the

fate of unbridled ambition; and in Venice, the vanity of pleasure and

luxury. The Venetian pictures began in 1833, with a painting of the Doge's

Palace, Dogana, Campanile, and Bridge of Sighs; and with these were

exhibited "Van Tromp Returning from Battle," the "Rotterdam Ferry-boat,"

and the "Mouth of the Seine." In 1830 or 1831 he made, on commission from

the publisher Cadell, twenty-four sketches to illustrate Walter Scott's

poems--published in 1834--and while doing this he was entertained royally

at Abbotsford, and made excursions with Scott and Lockhart to Dryburgh

Abbey and other points of interest. He went as far north as the Isle of

Skye, where he drew Loch Corriskin, and nearly lost his life by a fall.

About this time he made a series of illustrations for Scott's "Life of

Napoleon." Turner spent some time in Edinburgh, frequently sketching with

Thomson, a clergyman and local artist, who was preferred by some of the

Scotch amateurs to Turner. He one day called at Thomson's house to examine

his paintings, but instead of expected praises he merely remarked, "You

beat me in frames." Turner made thirty-three illustrations for Rogers's

"Poems" (Fig. 75), and seventeen for an extended edition of Byron. He was

in the habit at this time of frequently walking to Cowley Hall, the

residence of a Mr. Rose, where he was kindly welcomed. He was there called

"Old Pogey." One day Mrs. Rose asked him to paint her favorite spaniel; in

amazement he cried, "My dear madam, you do not know what you ask;" and

always after this the lady went by the title of "My dear madam." Mr. Rose

tells how he and Turner sat up one night until two o'clock drinking cognac

and water, and talking of their travels. When Mrs. Rose and a lady, a

friend, visited Turner in a house in Harley Street, in mid-winter, they

were entertained with wine and biscuits in a cold room, without a fire,

where they saw seven tailless cats, which Turner said were brought from

the Isle of Man.

[Illustration: FIG. 75.--ILLUSTRATION FROM ROGERS'S POEMS.]

For three years Turner travelled in France, and made studies and sketches

up and down its rivers. These were first published as "Turner's Annual

Tour," but were afterward brought out by Bohn as "Liber Fluviorum." These

sketches have been highly praised by Ruskin; but Hammerton, who certainly

knows French scenery far more accurately than Ruskin, while praising the

exquisite beauty of Turner's work, challenges its accuracy, and especially

as to color, saying that "Turner, as a colorist, was splendid and

powerful, but utterly unfaithful." Leitch Ritchie, who was associated with

Turner in this work, could not travel with him, their tastes were so

unlike; and he says that Turner's drawings were marvellously exaggerated,

that he would make a splendid picture of a place without a single correct

detail, trebling the height of spires and throwing in imaginary

accessories. Turner always claimed the right to change the groupings of

his landscapes and architecture at will, preferring to give a general and

idealized view of the landscape rather than a precise copy thereof.

In 1835 he exhibited "Heidelberg Castle in the Olden Time,"

"Ehrenbreitstein," "Venice from the Salute Church," and "Line-fishing off

Hastings." In 1836 he exhibited a "View of Rome from the Aventine Hill,"

and the "Burning of the House of Lords and Commons," which last was almost

entirely painted on the walls of the exhibition. At this time it was the

custom to have what were called "varnishing days" at the exhibition,

during which time artists retouched, and finished up their pictures. They

were periods of fun and practical jokes, and Turner always enjoyed, and

made the most of them. He frequently sent his canvas to the Academy merely

sketched out and grounded, and then coming in as early as four in the

morning on varnishing days, he would put his nose to the sketch and work

steadily with thousands of imperceptible touches until nightfall, while

his picture would begin to glow as by magic. About this time he exhibited

many pictures founded on classical subjects, or with the scenes laid in

Italy or Greece, as "Apollo and Daphne in the Vale of Tempe," "Regulus

Leaving Rome to Return to Carthage," the "Parting of Hero and Leander,"

"Phryne Going to the Public Baths as Venus," the "Banishment of Ovid from

Rome, with Views of the Bridge and Castle of St. Angelo." A year later he

exhibited pictures of "Ancient Rome," a vast dreamy pile of palaces, and

"Modern Rome," with a view of the "Forum in Ruins."

One of the most celebrated of Turner's pictures was that of the "Old

Téméraire," an old and famous line-of-battle ship, which in the battle of

Trafalgar ran in between and captured the French frigates Redoubtable and

Fougueux. Turner saw the Téméraire in the Thames after she had become

old, and was condemned to be dismantled. The scene is laid at sunset, when

the smouldering, red light is vividly reflected on the river, and

contrasts with the quiet, gray and pearly tints about the low-hung moon.

The majestic old ship looms up through these changing lights, bathed in

splendor. The artist refused a large price for this picture by Mr. Lennox,

of New York, and finally bequeathed it to the nation. In 1840 Turner

exhibited the "Bacchus and Ariadne," two marine scenes, and two views in

Venice; also the well-known "Slavers Throwing Overboard the Dead and

Dying, a Typhoon Coming On" (Fig. 76), which is now in the Museum of Fine

Arts of Boston. Of this picture Thackeray says: "I don't know whether it

is sublime or ridiculous." But Ruskin, in "Modern Painters," says: "I

believe if I were reduced to test Turner's immortality upon any single

work, I should choose the 'Slave Ship.' Its daring conception, ideal in

the highest sense of the word, is based on the purest truth, and wrought

out with the concentrated knowledge of a life. Its color is absolutely

perfect, not one false or morbid hue in any part or line, and so modulated

that every square inch of canvas is a perfect composition; its drawing as

accurate as fearless; the ship buoyant, bending, and full of motion; its

tones as true as they are wonderful; and the whole picture dedicated to

the most sublime of subjects and impressions (completing thus the perfect

system of all truth which we have shown to be formed by Turner's works),

the power, majesty, and deathfulness of the open, deep, illimitable sea."

[Illustration: FIG. 76.--THE SLAVE SHIP. _By Turner._]

No painter of modern times, or perhaps of any time, has ever provoked the

discussion of his merits which Turner did. When he was at his best his

great merits and his originality procured for him the strongest defenders,

and finally brought his pictures into favor with the wealthy middle class

of England, so that he obtained high prices, and since his death these

prices have doubled, and even quadrupled. At a sale of Mr. Bicknell's

collection in 1836, ten of Turner's pictures, which had been bought for

three thousand seven hundred and forty-nine pounds, were sold for

seventeen thousand and ninety-four pounds. As Turner grew older and his

manner deteriorated he was assailed by the wits, the art critics, and the

amateurs with cruel badinage, and to these censures Turner was morbidly

sensitive. But even Ruskin admits that the pictures of his last five years

are of "wholly inferior value," with unsatisfactory foliage, chalky faces,

and general indications of feebleness of hand.

Wornum, in his _Epochs of Painting_, said: "In the last ten years of his

career, and occasionally before, Turner was extravagant to an extreme

degree; he played equally with nature and with his colors. Light, with all

its prismatic varieties, seems to have been the chief object of his

studies; individuality of form or color he was wholly indifferent to. The

looseness of execution in his latest works has not even the apology of

having been attempted on scientific principles; he did not work upon a

particular point of a picture as a focus and leave the rest obscure, as a

foil to enhance it, on a principle of unity; on the contrary, all is

equally obscure and wild alike. These last productions are a calamity to

his reputation; yet we may, perhaps, safely assert that since Rembrandt

there has been no painter of such originality and power as Turner." Dr.

Waagen says in his _Treasury of Art in Great Britain_: "No landscape

painter has yet appeared with such versatility of talent. His historical

landscapes exhibit the most exquisite feeling for beauty of hues and

effect of lighting, at the same time that he has the power of making them

express the most varied moods of nature."

Toward the last part of his life Turner's peculiarities increased; he

became more morose, more jealous. He was always unwilling to have even his

most intimate friends visit his studio, but he finally withdrew from his

own house and home. Of late years he had frequently left his house for

months at a time, and secreted himself in some distant quarter, taking

care that he should not be followed or known. When the great Exhibition of

1851 opened, Turner left orders with his housekeeper that no one should be

admitted to see his pictures. For twenty years the rain had been streaming

in upon them through the leaky roof, and many were hopelessly ruined. He

sent no pictures to the exhibition of that year, and he was hardly to be

recognized when he appeared in the gallery. Finally his prolonged absence

from the Academy meetings alarmed his friends; but no one dared seek him

out. His housekeeper alone, of all that had known him, had the interest to

hunt up the old artist. Taking a hint from a letter in one of his coats,

she went to Chelsea, and, after careful search, found his hiding-place,

with but one more day of life in him. It is said that, feeling the need of

purer air than that of Queen Anne Street, he went out to Chelsea and found

an eligible, little cottage by the side of the river, with a railed-in

roof whence he could observe the sky. The landlady demanded references

from the shabby, old man, when he testily replied, "My good woman, I'll

buy the house outright." She then demanded his name--"in case, sir, any

gentleman should call, you know." "Name?" said he, "what's your name?" "My

name is Mrs. Booth." "Then I am Mr. Booth." And so he was known, the boys

along the river-side calling him "Puggy Booth," and the tradesmen "Admiral

Booth," the theory being that he was an old admiral in reduced

circumstances. In a low studded, attic room, poorly furnished, with a

single roof window, the great artist was found in his mortal sickness. He

sent for his favorite doctor from Margate, who frankly told him that death

was at hand. "Go down stairs," exclaimed Turner, "take a glass of sherry,

and then look at me again." But no stimulant could change the verdict of

the physician. An hour before he died he was wheeled to the window for a

last look at the Thames, bathed in sunshine and dotted with sails. Up to

the last sickness the lonely, old man rose at daybreak to watch, from the

roof of the cottage, the sun rise and the purple flush of the coming day.

The funeral, from the house in Queen Anne Street, was imposing, with a

long line of carriages, and conducted with the ritual of the English

Church in St. Paul's Cathedral. Dean Milman read the service, and at its

conclusion the coffin was borne to the catacombs, and placed between the

tombs of James Barry and Sir Joshua Reynolds. Turner's will, with its

codicils, was so confused and vague that the lawyers fought it in the

courts for four years, and it was finally settled by compromise. The real

estate went to the heir-at-law, the pictures and drawings to the National

Gallery, one thousand pounds for a monument in St. Paul's Cathedral, and

twenty thousand pounds to the Royal Academy for annuities to poor artists.

Turner's gift to the British nation included ninety-eight finished

paintings and two hundred and seventy pictures in various stages of

progress. Ruskin, while arranging and classifying Turner's drawings, found

more than nineteen thousand sketches and fragments by the master's hand,

some covered with the dust of thirty years.

Sir DAVID WILKIE (1785-1841) has been called the "prince of British

_genre_ painters." His father was a minister, and David was placed in the

Trustees' Academy in Edinburgh in 1799. In 1805 he entered the Royal

Academy in London, and was much noticed on account of his "Village

Politicians," exhibited the next year. From this time his fame and

popularity were established, and each new work was simply a new triumph

for him. The "Card Players," "Rent Day," the "Village Festival," and

others were rapidly painted and exhibited.

In 1825 Wilkie went to the Continent, and remained three years. He visited

France, Germany, Italy, and Spain, and after his return he painted a new

class of subjects in a new manner. He made many portraits, and his other

works were historical subjects. His most celebrated works in this second

manner were "John Knox Preaching," "Napoleon and the Pope at

Fontainebleau," and "Peep-o'-Day Boy's Cabin." The portrait of the

landscape painter William Daniell is a good picture.

In 1830 Wilkie succeeded Sir Thomas Lawrence as painter to the king, as he

had been limner to the King of Scotland since 1822. He was not knighted

until 1836. In 1840 he visited Constantinople, and made a portrait of the

sultan; he went then to the Holy Land and Egypt. While at Alexandria, on

his way home, Wilkie complained of illness, and on shipboard, off

Gibraltar, he died, and was buried at sea. This burial is the subject of

one of Turner's pictures, and is now in the National Gallery.

The name of Landseer is an important one in British art. JOHN LANDSEER

(1761-1852) was an eminent engraver; his son THOMAS (1795-1880) followed

the profession of his father and arrived at great celebrity in it.

CHARLES, born in 1799, another son of John Landseer, became a painter and

devoted himself to a sort of historical genre line of subjects, such as

"Cromwell at the House of Sir Walter Stewart in 1651," "Surrender of

Arundel Castle in 1643," and various others of a like nature. Charles

Landseer travelled in Portugal and Brazil when a young man; he was made a

member of the Royal Academy in 1845; from 1851 to 1871 he was keeper of

the Academy, and has been an industrious and respected artist. But the

great genius of the family was:

Sir EDWIN LANDSEER (1802-1873), the youngest son of John Landseer, the

engraver. He received his first drawing lessons from his father, and from

a very early age showed a great talent for sketching and that love for the

brute creation which have been his chief characteristics as an artist. He

had the power to understand his dumb subjects as well as if they spoke

some language together, and then he had the ability to fix the meaning of

all they had told him upon his canvas, by means of the sketching lines

which gave the precise form of it all and by his finishing shades which

put in the expression. If his animals were prosperous and gladsome, he

represented their good fortune with hearty pleasure; if they were

suffering, sad, or bereaved, he painted their woes with a sympathy such as

none but a true friend can give.

When Edwin and Thomas were old enough that their father thought other

instruction than his own should be given them, he placed them with Haydon,

and in these early days the master predicted that Edwin Landseer would be

the Snyders of England. Edwin sent his first picture to the Royal Academy

when he was but thirteen years old, and during the following fifty-eight

years there were but six exhibitions to which he did not contribute. When

he began his studies at the Royal Academy he was fourteen years old, and

already famous as an animal painter. He was a bright, curly-headed, manly

lad, and the aged Fuseli, then keeper of the Academy, grew to be very fond

of him; he would often ask, "Where is my little dog-boy?"

Edwin Landseer now worked on diligently and quietly; his works were

constantly praised, and he received all the patronage that he desired.

Through the advice of his master, Haydon, he had the habit of dissecting

animals, and learning their anatomy with all the exactness with which

other artists study that of human beings. About 1820 a lion died in the

Exeter Change Menagerie, and Edwin Landseer secured the body for

dissection. He then painted three large pictures of lions, and during the

year in which he became eighteen years old, he exhibited these pictures

and others of horses, dogs, donkeys, deer, goats, wolves, and vultures.

When nineteen, in 1821, he painted "Pointers, To-ho!" a hunting scene,

which was sold in 1872, the year before his death, for two thousand and

sixteen pounds. In 1822 Landseer gained the prize of the British

Institution, one hundred and fifty pounds, by his picture of "The Larder

Invaded." He made the first sketch for this on a child's slate, which is

still preserved as a treasure. But the most famous of this master's early

works is the "Cat's Paw," in which a monkey uses a cat's paw to draw

chestnuts from a hot stove. Landseer was paid one hundred pounds; its

present value is three thousand pounds, and it is kept at the seat of the

Earl of Essex, Cashiobury.

This picture of the "Cat's Paw" had an important result for the young

artist, as it happened that it was exhibited when Sir Walter Scott was in

London, and he was so much pleased with it that he made Landseer's

acquaintance, and invited him to visit Abbotsford. Accordingly, in 1824,

Landseer visited Sir Walter in company with Leslie, who then painted a

portrait of the great novelist, which now belongs to the Ticknor family of

Boston. It was at this time that Sir Walter wrote in his journal:

"Landseer's dogs were the most magnificent things I ever saw, leaping, and

bounding, and grinning all over the canvas." Out of this visit came a

picture called "A Scene at Abbotsford," in which the dog Maida, so loved

by Scott, was the prominent figure; six weeks after it was finished the

dog died.

At this time Sir Walter was not known as the author of the "Waverley

Novels," but in later years Landseer painted a picture which he called

"Extract from a Journal whilst at Abbotsford," to which the following was

attached: "Found the great poet in his study, laughing at a collie dog

playing with Maida, his favorite old greyhound, given him by Glengarry,

and quoting Shakespeare--'Crabbed old age and youth cannot agree.' On the

floor was the cover of a proof-sheet, sent for correction by Constable,

of the novel then in progress. N. B.--This took place before he was the

acknowledged author of the 'Waverley Novels.'" Landseer early suspected

Scott of the authorship of the novels, and without doubt he came to this

conclusion from what he saw at Abbotsford.

Landseer repeated his visits to Scotland for many years, and saw all parts

of that country at various seasons. From the time of his first visit there

was a new feeling in his works--a breadth and power was in them which he

gained from nature, and a refinement and elevation which he undoubtedly

received from his friendship with Sir Walter and the impetus it gave him.

He also became so interested in the Gaelic people that he painted good

pictures of them. At first these men did not know what to make of a

huntsman who would throw away his gun when fine game appeared, and draw

out pencils and paper to make pictures of what others were so eager to

shoot. This tendency made him a poor hunter; but he was intensely

interested in the chase, and especially in deer-stalking. He insisted that

deer had intelligence, and the question was whether the game or the hunter

happened to have the superior mind. When in London the artist was a quiet,

society gentleman; but each year he broke away from all city habits, and

went to the Highlands, where he divided his days between the chase and

painting portraits of his friends there with their children and pets, or

putting frescoes on the walls of their houses.

Landseer continued to live in his father's house long after he was a

famous man. The senior artist conducted all business matters--sold

pictures, and took the money for them as if his son was still a boy. At

length, through the advice of a friend, Edwin Landseer removed to No. 1

St. John's Wood Road, to which he gave the name of Maida Vale; he

enlarged, and improved this home from time to time, and had no other for

nearly fifty years.

[Illustration: FIG. 77.--THE EAGLE AND DEAD STAG. _By Landseer._]

In 1826 Landseer painted "Chevy Chase;" it was the only historical

painting he ever did, and still remains at Woburn Abbey, where it

originally went. The animals in the picture are excellent of course, but

this sort of painting was not that in which Landseer showed his best. This

year of 1826 was an important one to this master. He was twenty-four years

old, and was immediately admitted an Associate of the Royal Academy. No

one can be a candidate for this honor at a younger age, and very few

others have attained it so early. Before he was thirty Landseer was a full

member, and his diploma picture, "The Dead Warrior" is in the Royal

Academy. But this year saw a great change in his pictures, as may be seen

in that of "The Chief's Return from Deer-stalking," which he sent to the

next exhibition. It was free, broad, and effective beyond any previous

work, and this manner was his best. Many judges fix the year 1834 as the

very prime in the art of Landseer, and one of the works of that year,

called "Bolton Abbey in the Olden Time," is very famous. It represents the

vassals of the abbey bringing in their tributes of game, fish, and fruits,

which the jolly, old monks gladly receive.

There is no question but that Landseer's best pictures are of dogs, and we

can but echo the words of Hamerton when he says: "The best commentators on

Landseer, the best defenders of his genius, are the dogs themselves; and

so long as there exist terriers, deer-hounds, blood-hounds, his fame will

need little assistance from writers on art."

Landseer had a long and happy intimacy with Queen Victoria and the royal

family. He painted portraits of the various members of the queen's

household in all possible ways, with dogs and on horseback, in fancy dress

and hunting costume--in short, these portraits are far too numerous to be

mentioned in detail. Ever after 1835 Landseer was called upon to paint

pictures of the pets of the royal family, and these works became very

numerous. While he was thus favored as an artist he was also a friend of

the queen and her immediate family; he was often summoned to play

billiards with Prince Albert. The queen's Journal of Life in the Highlands

frequently mentions him, and we are sure that if we could read Landseer's

diary it would tell us many interesting things of the queen and her

family. Naturally it followed that an artist thus favored by the queen

would be patronized by the nobility, and it is true that much of

Landseer's time, both as an artist and as a gentleman of society, was

passed in the company of people of the highest positions in Great Britain;

and with the one exception of Sir Joshua Reynolds, no artist in England

was ever visited by so many people of rank. His house was really a social

centre, and no one felt above accepting his hasty invitations to his

parties, which were almost always gotten up on an impulse and the guests

invited at the last possible moment.

Among Landseer's friends were Dickens and Thackeray, and Sydney Smith was

very fond of the artist; and it is said that when the great wit was asked

to sit to Landseer for his portrait, he replied in the words of the

haughty Syrian: "Is thy servant a _dog_ that he should do this thing?"

When at his best Landseer had a facility in drawing and painting that was

marvellous. He could draw two entirely different objects at the same

moment, his left hand being equally skilful with the right. He was seen to

draw a horse's head with one hand and a stag's head with antlers at

exactly the same time--and this at an evening party to prove that it could

be done. He once sent to an exhibition a picture of rabbits under which he

wrote, "Painted in three-quarters of an hour." He painted a life-size

picture of a fallow-deer in three hours, and it required no retouching.

One of his comrades said: "Sir Edwin has a fine hand, a correct eye,

refined perceptions, and can do almost anything but dance on the slack

wire. He is a fine billiard player, plays at chess, sings when with his

intimate friends, and has considerable humor."

We have passed over the best and most pleasant part of the life of this

great painter, for in 1840 he had an attack of illness from which he never

recovered. He travelled, and endeavored in every way to go on with his

work; but he was always subject to attacks of depression which were

sometimes so serious that his friends feared loss of reason. Of course

there was a different tone in his works--a seriousness and pathos, and at

times a religious element, which was very acceptable to some persons, and

he gained admirers where he had not found them before. But it can scarcely

be said that his last days were his best days, though he executed some

famous pictures.

In 1866 he exhibited a model of a stag at bay which was afterward cast in

bronze. The lions at the base of the Nelson monument in Trafalgar Square

may be called the work of Sir Edwin, for he modelled one of the colossal

beasts from which the others were formed with but slight changes, and the

whole were cast under the care of Baron Marochetti.

In 1872 he painted "The Font," which is a religious subject. It represents

the sheep and lambs of the Gospel gathering round a font, upon the edge of

which are doves. A rainbow spans the sky; on the sides of the font are a

mask of the face of Christ and the symbols of the Atonement. This is a

painful picture, for while it is exquisite in conception its execution

shows the weakness of the painter, who so soon after he made it was

released from all his darkness and suffering.

Sir Edwin Landseer was buried in St. Paul's Cathedral with all the honors

which his genius and character merited. His works are known to almost

every child in America by means of the engravings which have been made

from them. His brother Thomas engraved hundreds of the designs of Edwin

and made them popular all over the world, and a large part of this success

was due to the skill and sympathy which Thomas devoted to what was largely

a work of love. Of course many other engravers have worked after Landseer,

and almost all his pictures have been reproduced in one style of engraving

or another.

There are nine portraits of Sir Edwin Landseer in existence--one by J.

Hayter when Landseer was thirteen years old and is represented as a

cricketer; one painted a year later by Leslie, in which Edwin Landseer is

the Rutland in the work called "Henry VI." It is owned by the Philadelphia

Academy. The next were not made until 1843, when Count d'Orsay painted two

portraits of him; in 1830 Dupper had made a drawing, and in 1835 a

photograph was taken; Baron Marochetti made a bust portrait of Landseer

which is in the Royal Academy, and in his picture called the

"Connoisseurs" Sir Edwin painted his own portrait, with dogs on each side

who stand as critics of his work. This was painted in 1865.

Sir Edwin Landseer left an estate of two hundred and fifty thousand

pounds, and the works unsold at his death brought about seventy thousand

pounds. His will made but a few bequests, and the remainder of this large

sum was divided between his brother and three sisters. With the account of

Sir Edwin I shall close the account of painters given in this volume.

We have seen how few actual remains of the painting of ancient nations are

now in existence. Almost nothing is left even from the times of the

Greeks; in truth, there is more upon the tombs of Egypt than in the land

of Hellas. We read accounts of classic painting which arouse our deepest

interest one moment, only to remember in the next that we can see but the

merest scraps of all this wealth of beauty which moved the cultured Greeks

to write of it with such enthusiasm.

After the days of classic art we have endeavored to trace painting through

a period when it could scarcely be termed an art, so little of it was

done, and that little was so far below our ideal. Again, this decline was

followed by a Renaissance--an awakening--and from that day in the

fourteenth century when the Madonna of Cimabue was carried in triumph

through the streets of Florence, this art moved on with progressive steps

until Michael Angelo, Leonardo, Raphael, Titian, and others highly gifted,

had set up the standards which have remained as beacons and guides to all

the world.

In tracing this progress we have seen that Italy, the German nations,

Spain, France, and England have all striven to dream dreams of beauty and

grandeur, of tenderness and love, and to fix them in fitting colors where

all the world could see them.

The past is always fascinating. No stories are so pleasantly begun as

those that say, "A long time ago there lived," etc. One can have the most

complete satisfaction in the study of what has happened so far in the past

that we can see all its effects and judge of it by the tests which time is

sure to bring to everything. It is such a study that has been made in

these pages, and I would suggest that it has a second use scarcely less

important than the study of history--that is, the preparation it affords

for judging of what is done in the present. A knowledge of what has been

achieved enables us by comparison to decide upon the merits of new works.

The painting of to-day offers an immense field for investigation. When we

remember that five centuries ago the painters of the world could be

counted by tens, and are told that now there is an average of twenty-five

hundred painters in some foreign cities, we see that a lifetime is

scarcely sufficient in which to study the painting of our own era.

Have we not reason to hope that works are now being produced which shall

be studied and admired in the future as we study and admire those of the

past? Is it not true that the artistic works of any period show forth the

spirit of the time? If, then, the close of the Dark Ages and the dawn of a

better life could bring forth the treasures which remain from those days,

what ought to be the result of the more universal learning and the

advancing civilization of the nineteenth century? And so, in leaving this

book, I hope that it may be useful to all who read it for one purpose that

I have suggested or the other; either to present an outline of what has

been done in the past, or aid in the understanding of the painting of the

present.

INDEX.

BY L. E. JONES.

"Abraham and the Three Angels" (Navarrete), 211

Academia Leonardi Vinci, 87

Adams, John, portrait by Copley, 264

Adams, Samuel, portrait by Copley, 264

"Adoration of the Kings" (Vinci), 89

"Adoration of the Shepherds" (Velasquez), 216

"Agrippina Weeping over the Urn of Germanicus" (West), 265

Albani, Francesco, 148

"Aldobrandini Marriage," 27

Alexander the Great, portrait by Apelles, 18

Allen, James, portrait by Copley, 264

Allston, portrait of West, 266

"Analysis of Beauty" (Hogarth), 254

Ancient painting, 1-40

"Ancient Rome" (Turner), 287

Andalusia school of painting, 213

Angelico, Fra, 72-78

Animal painters--

Snyders and Fyt, 167;

Potter, 187;

Landseer, 293

Anne of Cleves, portrait by Holbein, 190

"Annunciation" (Titian), 127

Apelles, 18-20, 40

"Apollo and Daphne in the Vale of Tempe" (Turner), 287

Apollodorus, 13-14

"Archangel Michael" (Raphael), 114

Architecture, a fine art, 1;

more advanced than painting among Oriental nations, 12;

development of Greek, from Egyptian and Assyrian, 13;

during the Romanesque period, 150.

_See also_ Gothic

Ariosto, portrait by Bassano, 132

Aristides, 17

Assisi, wall-paintings of Cimabue in Upper Church at, 62;

frescoes of Giotto in Lower Church at, 66

Assyrian painting, 9-11

Augsburg Cathedral contains earliest painted windows, 51

Augsburg school of art, 188

Augustine, St., quoted, 2

"Aurora" (Guido Reni), 145

Avignon, the Vernet Gallery at, 247

Babylonian painting, 11-13

"Bacchus and Ariadne" (Titian), 124

"Bacchus and Ariadne" (Turner), 288

Balen, Henry van, 168

"Banishment of Ovid from Rome" (Turner), 287

"Baptism of Christ," 84-86

Barbarelli, Giorgio, 118-120

Bartolommeo, Fra, 93-94;

and Raphael, 110

Bartolozzi, engraved pictures of Angelica Kauffman, 206

Bas-reliefs in Egyptian painting, 3-5

Bassano family, 132

"Bathing Soldiers" (Michael Angelo), 108

"Battle of the Standard" (Vinci), 108

Bazzi, or Razzi, 118

"Beauties at Hampton Court" (Lely), 251

"Beggar Boy" (Velasquez), 216

"Beggar Boy Munching a Piece of Pastry" (Velasquez), 216

Belgium. _See_ Flanders

"Bella, La" (Titian), 124

"Belle Ferronière, La" (Vinci), 87

"Belle Jardinière, La" (Raphael), 110

Bellini, Gentile, 80-81

Bellini, Giovanni, 80, 81-82;

and Titian, 123;

and Dürer, 197

Bellini, Jacopo, 80

Bellotti, Bernardo, 153

Beltraffio, Giovanni Antonio, 93

Bembo, Pietro, epitaph on Raphael, 116

"Benci, Ginevra" (Vinci), 89

Bentivoglio, Cardinal, and Vandyck, 171

Benvenuti, Lorenzo, 153

Bernardo di Daddo, 69

Berreguette, Alonzo, 208-209

Bertoldo, 96-97

"Birth of John the Baptist" (Dürer), 198

"Birth of the Virgin Mary," 58

Blucher, portrait by Lawrence, 270

Boleyn, Anne, and Holbein, 189

Bologna school, 71, 82

"Bolton Abbey in the Olden Time" (Landseer), 298

"Bonaparte on the Bridge of Arcola" (Gros), 242

Borgia, Cæsar, appoints Da Vinci engineer, 90

Borgognone, Ambrogio, 93

Both, Jan and Andries, 187

Botticelli, Sandro, 79

Bourdon, Sebastian, 238

Bowditch, N. I., quoted, 261

"Boy with a Squirrel" (Copley), 261

Boylston, Miss Rebecca, portrait by Copley, 260

Brattle, General William, portrait by Copley, 260

Brauwer, Adrian, 178

Brenghel, Jan, 162

Brenghel, Pieter, 162

Bril, Paul, 162

"Broken Jug" (Greuze), 240

Brunn, cited, 21

"Bull, The" (Potter), 187

Burch, Bishop Van der, and Vandyck, 172

Burgkmair, Hans, instructor of Holbein, 189

Burial-places, mediæval paintings in, 41.

_See also_ Catacombs

"Burning of the House of Lords and Commons" (Turner), 287

Byron's Works illustrated by Turner, 286

"Calumny" (Apelles), 19

Calvert, Denis, instructor of Domenichino, 141

Cammuccini, Vincenzio, 153

Canaletto, 153

Cano, Alonso, 230-232

Canova, designed a monument for Titian, 128;

portrait by Lawrence, 271

"Cantarilla de Miel, La" (Utande), 212

"Capitoline Doves," 34

"Caprices" (Goya), 233

Caracci, Annibale, 140;

quoted on Correggio, 135;

on Domenichino, 141;

instructor of Guido Reni, 143

Caracci family and school, 140

Caravaggio, 150

"Card Players" (Wilkie), 292

Carew, Thomas, portrait by Vandyck, 174

Carreño, Juan de, 211-212

Carvings of Dürer, 198

Casa Grande, the home of Titian, 126

Castelfranco, altar-piece painted by Giorgione, 119

Castile school of painting, 208

Castillo, Juan de, instructor of Murillo, 221

Catacombs, paintings of, 42-45

"Cato of Utica" (Ribera), 151

"Cat's Paw" (Landseer), 295

Celtic illuminated MSS., early, 49

Cenci, Beatrice, portrait by Guido Reni, 145-147

Cennino, quoted, 68

Central period of Middle Ages.

_See_ Romanesque

Cespedes, Pablo de, 213-214

Charles I., and Rubens, 164;

and Vandyck, 172-173;

portraits by Vandyck, 174;

and Dobson, 249

Charles II. and Lely, 251

Charles IV. and Goya, 232

Charles V., and Titian, 124, 126-127;

and Dürer, 199-201;

and Berreguette, 209

Charles X., and Gros, 242;

and Vernet, 246

Chartres Cathedral, glass-painting in, 53

"Chevy Chase" (Landseer), 296-298

"Chief's (The) Return from Deer-stalking" (Landseer), 298

Christ, paintings by Joanes of, 229

"Christ Bearing the Cross" (Morales), 210

"Christ Blessing Little Children" (Rembrandt), 186

"Christ Crowned with Thorns" (Morales), 210

"Christ Healing the Sick" (West), 266

"Christ in Glory" (Correggio), 134

Christian art. _See_ Early

Church decoration in Gothic period of Middle Ages, 60

Cimabue, G., 61-64

Cistercian monks, painted windows in churches of, 54

Clay used by Babylonian tile-painters, 12

Clement VII., portrait by Titian, 124

Club of St. Luke founded by Vandyck, 173

Coello, Alonso Sanchez, 210

Coello, Claudio, 208, 212-213

"Collocation of the Host" (Coello), 213

Cologne school of art, 188

Colonna, Vittoria, friendship with Michael Angelo, 103

Colors, Egyptian rules for use of, 5-7;

in Assyrian paintings, 11;

in Pompeian wall-paintings, 32;

in illumination, 47;

Raphael's skill in, 110;

discoveries by Hubert van Eyck in use of, 156

"Communion of St. Jerome" (Domenichino), 141

"Condemnation of Marie Antoinette" (Delaroche), 242

Consalvi, Cardinal, portrait by Lawrence, 271

Cook's "Southern Coast," illustrated by Turner, 282

Cooper, Samuel, 249

Copley, John Singleton, 259-264

"Copley Family" (Copley), 264

Corday, Charlotte, portrait by Goya, 233

Cornaro, Caterina, portrait by Titian, 124

Correggio, 132-139

"Cottage Door" (Gainsborough), 258

"Cottage Girl" (Gainsborough), 258

Court influence upon art during Romanesque period, 50

Coxie, Michael, copies Van Eyck's altar-piece for Philip I., 156

Cranach, Lucas, 202

"Cromwell at the House of Sir Walter Stewart" (Landseer), 293

"Cromwell Contemplating the Remains of Charles I." (Delaroche), 242

Cromwell's directions to Lely for painting his portrait, 251

Crucifixion as represented by Giotto, 68-69

"Crucifixion" (Fra Angelico), 75-76

"Crucifixion" (Tintoretto), 130

"Crucifixion" (Vandyck), 169, 171

"Crucifixion of St. Peter" (Bourdon), 238

Cunningham, Allan, quoted, 267

Cupid, statue of, by Michael Angelo, 98-99

Curran, portrait by Lawrence, 270

Cuyp, Albert, 186-187

Damophilos, 21

"Danäe" (Titian), 129

Dance, George, portrait of Turner, 279

"Dance of Death" (Holbein), 192-193

Daniell, William, portrait by Wilkie, 293

Dante, portrait by Giotto, 64-66;

and Michael Angelo, 103

Dante's "Inferno," painting by Delacroix of scene from, 245

David, Jacques Louis, 240-242

"David" (Michael Angelo), 99

"Dead Warrior, The" (Landseer), 298

"Death of the Duke of Guise" (Delaroche), 242, 244

"Death of Lord Chatham" (Copley), 262

"Death of Wolfe" (Romney), 267

"Death of Wolfe" (West), 266

"Decline of the Carthaginian Empire" (Turner), 282

"Decoration of a Roof," 44-45

Delacroix, Eugene, 244-245

Delaroche, Paul, 242

"Demeter Enthroned," 34

"Descent from the Cross" (Ribera), 151

"Descent from the Cross" (Volterra), 104

"Dido Building Carthage" (Turner), 282

"Dionysus, or Bacchus" (Aristides), 17

"Discovery of the Herb Mandragora," 47-48

Dobson, William, 249-251;

and Vandyck, 173

"Dodwell Vase (The)," 38

Domenichino, 141-143;

and Poussin, 234

Dorian school of Sikyon, 15-17

Dow, Gerhard, 181

Drawing first regularly taught in Sikyon school, 17

"Drunken Bacchus" (Michael Angelo), 99

Duccio, 64

Dupper, portrait of Landseer, 301

Dürer, Albert, 193-202

Dutch. _See_ Holland

Early Christian art, 41, 42-49

Early period of Middle Ages. _See_ Early Christian art

Eastern. _See_ Oriental

Eclectics of the seventeenth century, 140

"Edward the Confessor" (Mortimer), 267

Edward III., paintings by West from the life of, 266

Eeckhout, Gerbrandt van der, 186

Eginhard, 49

Egyptian mosaics, 36

Egyptian painting, 3-9

"Ehrenbreitstein" (Turner), 287

Ekphantos, 21

Encaustic paintings of Nikias, 18

England, painting in, 249-303;

glass-painting in, 53;

wall-painting in, 60

"England and Wales" (Turner), 282

Engravings, by Rembrandt, 185;

by Dürer, 194, 198;

by Hogarth, 254.

_See also_ Etchings

"Entombment of Christ" (Caravaggio), 150

"Entombment of Christ" (Titian), 128-129

Erasmus and Holbein, 189

Escorial, Giordano painted walls of, 213

Etching, Rembrandt's use of, 182

Etchings, of Salvator Rosa, 152;

of Teniers, 180;

of Rembrandt, 186

Etruscan tombs, decorated with mural paintings, 23;

stone-paintings found in, 36

Etruscans introduced painting into Italy from Greece, 13, 20-21

Euphranor, 17

"Extract from a Journal whilst at Abbotsford" (Landseer), 295

Eyck, Hubert van, 155-156

Eyck, Jan van, 156-158

Eyck, Lambert van, 158

Eyck, Margaretha van, 158

Faes, Peter van der, 251

"False Players" (Caravaggio), 150

"Family of Darius" (Veronese), 131

"Family Picture" (Copley), 262

Farnesina Villa, frescoes by Raphael in, 111

Farrari, Gaudenzio, 93

Fawkes, H., friend and patron of Turner, 277

"Feast of Rose Garlands" (Dürer), 197

Fernandez, Louis, 221

Ferrara, Duke of, and Titian, 124

"Field of Eylau" (Gros), 242

"Fifth Plague of Egypt" (Turner), 278-279

Figure-painting in ancient Greece, 20

Final period of Middle Ages. _See_ Gothic

"Five Senses" (Teniers), 180

Flanders, painting in, 155-176

"Flaying of St. Bartholomew" (Ribera), 151

"Flemish Kermes" (Teniers), 180

"Flora" (Titian), 124

Florentine school, 72-80, 93

Fonesca, portrait by Velasquez, 216

"Font, The" (Landseer), 300

Foreshortening of Correggio, 134

"Fortune Teller" (Caravaggio), 150

"Four Apostles, The" (Dürer), 201

France, painting in, 234-248;

glass-painting in, 51.

_See also_ Gaul

Francia, Francisco, 82-83

Francis I., and Da Vinci, 90-92;

and Sarto, 105;

and Raphael, 114

"Francis I. and Charles V. Visiting the Tombs at St. Denis" (Gros), 242

Franconian school, 193

Frederick Henry, Prince, scenes from the life of, painted by Jordaens, 167

Fuseli, and Angelica Kauffman, 204;

and Landseer, 294

Fyt, Jan, 167

Gaddi, A., 69

Gaddi, T., 69

Gainsborough, Thomas, 258

"Gamba, La" (Vargas), 213

Gardiner, quoted, 260

Gardiner, Miss Rebecca, portrait by Copley, 260

Gargasos, 21

Garrick, David, epitaph on Hogarth, 254

Gaul, miniature-painting in, 49

George III., and West, 265;

and Lawrence, 270

Géricault, Jean Louis, 244

German illuminated MSS., early, 49

Germany, painting in, 188-206;

glass-painting in, 51;

wall-painting in, 60

Gelée, Claude. _See_ Lorraine

Ghirlandajo, Domenico, 79-80, 96

Giordano, Luca, 213

Giorgione, 118-120;

and Titian, 123

Giotteschi, 69

Giotto di Bondone, 64-69

"Girl and Pigs" (Gainsborough), 258

Girtin, Tom, 274

Glass-painting, 51-54, 58-60

"Glykera" (Pausias), 17

Goes, Hugo van der, 158

Goethe, quoted, 205

Goldsmith, Oliver, and Reynolds, 258

Gomez, Sebastian, 228-229

Gongora, portrait by Velasquez, 216

Gonzaga, Giulia, portraits by Piombo, 120

Gothic architecture,

its influence upon painting and sculpture in Middle Ages, 54;

its influence upon glass-painting, 58

Gothic period of Middle Ages, 42, 54-71

Gower family, portraits by Romney, 267

Goya y Lucientes, Francisco, 232-233

Goyen, Jan van, 187

Gozzoli, Benozzo, 80

"Graces Decorating a Statue of Hymen" (Reynolds), 257

Granacci, Francisco, 80, 96

Great Book of the Hours, illumination of, 58

Greek painting, ancient, 13-34, 40;

on stone, 36

Greuze, Jean-Baptiste, 239-240

Grimm, quoted, 100-101

Grisaille glass, 54

Gros, Antoine Jean, 242

Guardi, Francesco, 153

Guérin, instructor of Géricault, 244;

of Delacroix, 245

Guido, Tommaso, 78-79

Guido of Siena, 64

Guido Reni, 143-148

Guilds among painters in Gothic period of Middle Ages, 56

Hals, Franz, 177;

and Vandyck, 169

Hamerton, on Turner, 286;

on Landseer, 298

Hamilton, Lady, portraits by Romney, 267-268

"Hamlet and Ophelia" (West), 266

"Harlot's Progress" (Hogarth), 252

Haydon, instructor of Landseer, 294

Hayman, Francis, instructor of Gainsborough, 258

Hayter, J., portrait of Landseer, 301

"Heidelberg Castle in the Olden Time" (Turner), 287

Hellenic school, 18

"Hemicycle" (Delaroche), 242-244

Henrietta Maria, Queen, portraits by Vandyck, 174

"Henry I.," 54-55

Henry III. and Titian, 127

Henry VIII. and Holbein, 189-192

Hercules, statue of, by Michael Angelo, 98

Herrera, Francisco de, 212, 214-215, 216

Hobbema, Mindert, 188

Hogarth, William, 252-254

Holbein, Hans, 188-193

Holland, painting in, 176-188;

fidelity to detail, 11

"Holy Family" (Vandyck), 169-170

Honthorst, Gerard, 180

Hooge, Pieter de, 181

Houssaye, A., 92

Hudson, instructor of Reynolds, 255

"Hundred Guilders Print" (Rembrandt), 186

Illumination of MSS., 41, 46-49, 58

Illustrations used in Egyptian papyrus rolls, 8

"Immaculate Conception" (Murillo), 224, 225-227, 228

Inquisition, its influence on Spanish painting, 207-208

Intaglios in Egyptian painting, 6

Interiors, Dutch painters of, 180-181

Ionian school, 15

Ireland, miniature-painting in ancient, 49

Isabella, Empress, portrait by Titian, 127

Isabella, Infanta, sends Rubens to Spain, 164

Isabella of Portugal, portrait by Jan van Eyck, 156

Italy, painting in, 13-34, 40, 72-154

"Ixion on the Wheel" (Ribera), 151

Jameson, Mrs., quoted, 119

Joanes, Vicente de, 229

"John Knox Preaching" (Wilkie), 293

Johnson, Samuel, and Sir Joshua Reynolds, 255

Jonah, statue of, modelled by Raphael, 115

Jordaens, Jacob, 167-168

Julius II., Pope, and Michael Angelo, 99-100;

and Raphael, 111

"Julius II., Tomb of," (Michael Angelo), 100, 101

"Justinian, Theodora, and Attendants," 45-46

Justus of Ghent, 158

Kauffman, Angelica, 203-206

"King David," 51

Kneller, Sir Godfrey, 251-252

"Knight (The), Death, and the Devil" (Dürer), 202

Kugler, quoted, 129

Landseer, Charles, 293

Landseer, Sir Edwin, 293-301

Landseer, John, 293

Landseer, Thomas, 293

Landscape-painting, in ancient Greece, 20;

in ancient Rome, 27-29;

in Holland, 186-187

"Larder Invaded" (Landseer), 295

"Large Holy Family of the Louvre" (Raphael), 114

"Last Judgment" (Michael Angelo), 101

"Last Supper" (Vinci), 87-89, 92

"Last Supper" (Titian), 211

"Last Supper" (Cespedes), 214

Last Supper, paintings by Joanes of, 229-230

Lastman, Pieter, 181

"Laughing Peasant" (Velasquez), 216

Lawrence, Sir Thomas, 269-271;

portrait of West, 266

"Lear" (West), 266

Le Brun, Charles, 238

Lee, Colonel and Mrs., portraits by Copley, 260

Lely, Sir Peter, 251

Leo X., and Da Vinci, 90;

and Raphael, 111;

and Titian, 124

Leonardo da Vinci, 84-93

Leopold William, Archduke, portrait by Teniers, 179

Leslie, portrait of West, 266;

portrait by Landseer, 301

Le Sueur, Eustache, 238

"Liber Fluviorum" (Turner), 286

"Liber Studiorum" (Turner), 280

"Liber Veritatis" (Claude Lorraine), 237

"Line-fishing off Hastings" (Turner), 287

Lippi, Fillipino, 79

Lippi, Filippo, 79

"Little Girl with a Lap Dog in her Arms" (Greuze), 240

Lombard school, 93

"Lomellini Family" (Vandyck), 171

"Lorelei Twilight" (Turner), 278

Lorenzo di Credi, 79

Lorraine, Claude, 236-238

Louis XII. and Da Vinci, 90

Louis XIII. and Poussin, 234-236

Louis XIV., and Le Brun, 238;

and Mignard, 239;

portraits by Rigaud, 239

Louis XV. and Vernet, 240

Louis Philippe and Vernet, 246

Lübke, quoted, 82, 237

"Lucretia" (Rembrandt), 186

Ludius, 21-23

Luini, Bernardino, 93

Luther, Dürer's admiration for, 201

Madonna del Sacco (Sarto), 107

"Madonna della Gran Duca" (Raphael), 108

"Madonna di San Francesco" (Correggio), 134

"Madonna di San Francesco" (Sarto), 107

"Madonna Enthroned" (Cimabue), 62

Madonnas of Fra Bartolommeo, 93

Madonnas of Raphael, 110

Madonnas of Elisabetta Sirani, 148

"Maids of Honor" (Velasquez), 218

Mannerists, 139-140

Mansfield, Lord, portrait by Copley, 263

Mantegna, Andrea, 82, 132

Mantua, Duke of, a patron of Rubens, 162-164

Manuscripts. _See_ Illumination

Margaritone of Arezzo, 64

Marochetti, Baron, portrait of Landseer, 301

"Marriage at Cana" (Veronese), 131

"Marriage à la Mode" (Hogarth), 252

"Marriage of St. Catharine" (Coello), 210

"Mars, Venus, and Vulcan" (Copley), 259-260

"Martyrdom of St. Andrew" (Utande), 212

"Martyrdom of St. Lawrence" (Titian), 127

Masaccio, 78-79

Maso, 69

Masolino, 78-79

"Massacre of the Innocents" (Volterra), 104

Matsys, Quintin, 161

Maximilian, Emperor, and Dürer, 198-199

Mazzuoli, Francesco, 139

Mediæval painting, 41-71

Medici, Lorenzo de, patron of Michael Angelo, 96-97

"Medusa's Head" (Vinci), 86

Meire, Gerard van der, 158

Memling, Hans, 160-161

Memorial windows, origin of, 58

Mengs, Raphael, 153

"Meniñas, Las" (Velasquez), 218

Metsu, Gabriel, 181

"Meyer Madonna" (Holbein), 192

Michael Angelo, 94-104;

his frescoes of Sistine Chapel, 112;

and Raphael, 115;

and Piombo, 120-121

Middle Ages. _See_ Mediæval

Mignard, Pierre, 238-239

Milan, Academia Leonardi Vinci, 87

Miniaturists in England, 249.

_See also_ Illumination

"Miracle of St. Mark" (Tintoretto), 130

Miranda, Juan Carreño de, 211-212

Modena school, 71

"Modern Rome" (Turner), 287

"Mona Lisa" (Vinci), 89-90

Morales, Luis de, 209-210

More, Sir Thomas, portraits by Holbein, 189

Morland, George, 268

"Morning Among the Corriston Fells" (Turner), 277

Moro, Antonio, 162

Mosaics, found in ancient Italy, 34-36;

of the Middle Ages, 41, 45-46;

none by early Germans or Celts left, 49;

transparent, 51

"Moses," 42-44

Mountfort, Dr. de, portrait by Copley, 259

"Mouth of the Seine" (Turner), 284

Mural paintings, Egyptian, 3;

Assyrian, 9;

Oriental, 13;

Pompeian, 15;

ancient Greek, 20;

of Ludius, 21;

ancient Italian, 23-24;

mosaics as, 35;

in catacombs, 44-45;

no early German or Celtic left, 49;

in Middle Ages, 60-61

Murillo, 220-228

"Napoleon and the Pope at Fontainebleau" (Wilkie), 293

Napoleon III., portrait by Horace Vernet, 247

"Nativity" (Navarrete), 211

"Nativity of the Saviour" (Correggio), 135

"Nativity of the Virgin" (Murillo), 224

Naturalists of the seventeenth century, 140, 150

Navarrete, Juan Fernandez, 211

"Navicella" (Giotto), 66

"Nest of Cupids," 34

Nicholas V., epitaph on Fra Angelico, 78

Nikias, 17-18

Nikomachos, 17

"Nile Mosaic (The)," 36

"Niobe," 36

Noort, Adam van, instructor of Rubens, 162;

of Jordaens, 167

"Notte" (Correggio), 135

Nude paintings forbidden by Spanish Inquisition, 208

Nuremburg school, 193

"Old Téméraire" (Turner), 287-288

Ophem, Anna van, and Vandyck, 169

Oppert, J., quoted, 9, 11

Orcagna, Andrea, 70-71

"Orestes and Pylades" (West), 265

Oriental nations more advanced in architecture and sculpture

than in painting, 2

Oriental origin of mosaics, 34

Orsay, Count d', portrait of Landseer, 301

Ostades, Van, 178

Outline drawing the best part of Egyptian painting, 7

Pacheco, Francisco, 208, 214, 216

Palma, Jacopo, 121

Panel-pictures, 23, 50-51, 60, 61

Papyrus rolls, Egyptian illustrations in, 8

"Paradise" (Tintoretto), 130

Pareja, Juan de, 220

Parmigianino, 139

Parrhasius, 14-15

"Parting of Hero and Leander" (Turner), 287

Paul III., portrait by Titian, 126

Pausias, 17

Pavement mosaics, 35-36

"Peep-o'-Day Boy's Cabin" (Wilkie), 293

Pelham, Charles, portrait by Copley, 259

Pembroke, Earl of. _See_ Wilton Family

Perkins, A. T., quoted, 260

Perkins, C. C., quoted, 70

Perkins, Mrs. Edmund, portrait by Copley, 260

Perspective, unknown to Egyptians, 5;

and to Oriental nations, 13;

first used by Apollodorus, 14;

its use in Middle Ages, 58;

Turner's lectures on, 280-281

Perugino, Pietro, 82, 84, 107

Petrus, Christus, 158

Philip I., and Berreguette, 209;

employs Coxie to copy Van Eyck's altar-piece, 156

Philip II., and Titian, 127;

and Morales, 209;

and Coello, 210;

and Navarrete, 211

Philip IV., and Carreño, 212;

and Zurbaran, 215;

and Herrera, 215;

and Velasquez, 216-218;

and Cano, 231

Philip of Burgundy, employs Jan van Eyck, 156

Philip of Macedon, portraits by Apelles, 18

"Phryne Going to the Public Baths as Venus" (Turner), 287

"Pietà, La" (Michael Angelo), 99

Pirkheimer, Willibald, and Dürer, 195

"Plague at Jaffa" (Gros), 242

Pliny, quoted, 14, 21-23

"Pointers, To-ho!" (Landseer), 295

Pollajuolo, Antonio, 79

Ponte, Da, family, 132

"Portrait of Dante" (Giotto), 64-66

"Portrait of a Young Woman" (Rembrandt), 186

"Ports of England" (Turner), 282

Potter, Paul, 187

Pourbus, Frans, 162

Pourbus, Peter, 162

Poussin, Nicholas, 175, 234-236

"Presentation in the Temple" (Titian), 123

"Presentation of Christ in the Temple" (Cammuccini), 154

"Prodigal Son" (Teniers), 180

Protogenes, 19-20

"Provincial Antiquities of Scotland," illustrated by Turner, 282

"Purisima, La" (Joanes), 229

"Raising of Lazarus" (Piombo), 115

"Rake's Progress" (Hogarth), 252

Raphael, 107-118

Razzi, or Bazzi, 118

"Reading Magdalen" (Correggio), 135, 139

Redgrave, quoted, 277

"Regulus Leaving Rome to Return to Carthage" (Turner), 287

"Rejected Christ" (West), 266

Religious influence, upon Egyptian artists, 8-9;

in Romanesque period, 50;

in Gothic period, 56;

upon Spanish painters, 207

Rembrandt, 181-186

Renaissance, 41, 72

"Rent Day" (Wilkie), 292

"Repulse and Defeat of the Spanish Floating Batteries

at Gibraltar" (Copley), 262

Reynolds, Sir Joshua, 251-258;

and Angelica Kauffman, 204;

portrait of, 250;

and Romney, 267

Ribalta, Francisco de, 230

Ribera, Giuseppe, 150-151

Ribera, Josef de, 230

Rigaud, Hyacinthe, 238, 239

Rincon, Antonio del, 207

Ritchie, Leitch, on Ruskin, 286-287

"Rivers of England" (Turner), 282

Robusti, Jacopo, 130

Robusti, Marietta, 130-131

Rogers's "Poems," illustrated by Turner, 286

Roman painting, ancient. _See_ Italian

Roman school, 107

Romanesque period of Middle Ages, 42, 50-54

Romano, Giulio, 116, 118

Romney, George, 266-268

Rosselli, Cosimo, 80

Rossi, de, quoted, 204

"Rotello del Fico" (Vinci), 86

"Rotterdam Ferry-boat" (Turner), 284

Rubens, 162-167;

and Vandyck, 168, 169;

as an alchemist, 175;

in England, 249

Rubrics, 47

Rupert, Prince, portraits by Vandyck, 174

Ruskin, on Turner, 280-281, 282, 283-284, 288

Ruysdael, Jacob, 187-188

Sacchi, Andrea, instructor of Poussin, 234

"Sacrifice of Iphigenia" (Timanthes), 15

"St. Anthony Adoring the Virgin and Child" (Sirani), 149

"St. Anthony of Padua" (Murillo), 224

"St. Cecilia" (Raphael), 118

"St. Clara of Assisi" (Murillo), 223

"St. Diego of Alcalá" (Murillo), 223

"St. Francis" (Murillo), 223

"St. George Slaying the Dragon" (Raphael), 108, 110

"St. Hermengild" (Herrera), 215

"St. Margaret" (Titian), 212

"St. Margaret Overcoming the Dragon" (Raphael), 114

"St. Martin" (Vandyck), 170

"St. Michael" (Guido Reni), 147

"St. Michael Attacking Satan" (Raphael), 108

"St. Peter Martyr" (Titian), 129

St. Peter's, Michael Angelo the architect of, 103;

supervision of building by Raphael, 114

"St. Sebastian" (Coello), 210

"St. Sebastian" (Vinci), 90

Salvator Rosa, 151-152

Sarto, Andrea del, 104-107

Savonarola, 94-97

Saxony, school of, 202

"Scene at Abbotsford" (Landseer), 295

"Scene in the Lower World," 38

"School of Anatomy" (Rembrandt), 182-184

Scott, Walter, "Poems" and "Life of Napoleon" illustrated by Turner, 284;

portrait by Leslie, 295;

and Landseer, 295-296

"Scourging of St. Andrew" (Domenichino), 141

Sculpture, more advanced than painting among Oriental nations, 112;

Greek, developed from Egyptian and Assyrian, 13

Sebastian del Piombo, 115, 120-121

Segnier, Chancellor, and Le Brun, 238

Seneca, head by Cespedes, 214

Seville in time of Murillo, 221

Seville Academy of Art, founded by Murillo, 225

Seville school of painting, 208, 213

Shakespeare's characters, painted by Romney, 268

"Shepherd Boy in a Shower" (Gainsborough), 258

"Shepherds Adoring the Infant Saviour" (Correggio), 135-137

"Shrine of St. Ursula" (Memling), 160-161

"Sibyl (The) and the Emperor" (Van der Weyden), 158-159

Siddons, Mrs., portrait by Reynolds, 255

Signorelli, Luca, 76, 80

Sikyon school, 15-17

Simone, Martini, 69-70

Sirani, Elisabetta, 148-150

"Sistine Madonna" (Raphael), 114

"Slave Ship" (Turner), 288-289

Smith, Sydney, and Landseer, 299

Snyders, Frans, 167

Solario, Andrea, 93

Sosos, 34

Spain, painting in, 207-233

"Sposalizio, Lo" (Raphael), 107-108

"Staffa Madonna" (Raphael), 108

Steen, Jan, 178

Still-life, Dutch excellence in painting, 177

Stirling, quoted, 215, 218, 228

Stone, paintings on, 36

Strada, portrait by Marietta Robusti, 130

Strafford, Earl of. _See_ Wentworth, Thomas

Studius. _See_ Ludius

Suckling, Sir John, portrait by Vandyck, 174

Suger, Abbot, 53

Sunder, Lucas, 202

"Surrender of Arundel Castle" (Landseer), 293

Swanenburg, J. J. van, instructor of Rembrandt, 181

Tadius. _See_ Ludius

Tafi, A., 64

Tasso, portrait by Bassano, 132

"Temporal Generation of Our Lord" (Vargas), 213

Teniers, David, 178-180

Terburg, Gerhard, 181

Thackeray's (Miss) "Miss Angel" the story of Angelica Kauffman, 203

Thornbury, quoted, 283

Thornhill, Sir James, 252

"Three Graces" (Palma), 121

"Three Graces" (Raphael), 110

Thurlow, Lord Chancellor, portrait by Romney, 267

Tile-painting, Assyrian, 9-11;

Babylonian, 11-12

Timanthes, 15

Tintoretto, 130

Titian, 121-130;

and Correggio, 135;

his "Last Supper," 211;

instructor of Navarrete, 211;

Carreño's copy of his "St. Margaret," 212

Tobar, Alonzo Miguel de, 213, 229

Toledo, Coello painter to the Cathedral of, 213

Torrigiano, Piètro, 98

"Tragic Muse" (Reynolds), 255

"Transfiguration" (Raphael), 115

Transitional period, 61

"Trattato della Pittura" (Vinci), 93

"Triumphal Arch of Maximilian" (Dürer), 199

Tulp, Professor, portrait by Rembrandt, 184

Turner, Charles, 280

Turner, J. M. W., 271-292

"Turner's Annual Tour," 286

Uccello, Paolo, 79

"Ulysses Dividing Polyphemus" (Turner), 283

"Ulysses in the Under-world" (Nikias), 17

Umbrian school, 82

Urban VIII. and Claude Lorraine, 236

Utande, Gregorio, 212

Vænius, Otto, instructor of Rubens, 162

Velde, Adrian van de, 186

Valencia school, 208, 229

Vandyck, Anthony, 168-176;

in England, 249

Vargas, Luis de, 213

Varnish, improvements by the Van Eycks in the use of, 156

Vasari, quoted, 75

Vase-painting by the ancients, 36-40

Vatican, decoration by Raphael of the halls of, 111

Vega, Lope de, on Coello, 210;

on Navarrete, 211

Velasquez, 215-220;

and Murillo, 222, 227

"Venice from the Salute Church" (Turner), 287

Venetian school, 80-82, 118

"Venus" (Titian), 124

"Venus Anadyomene" (Apelles), 19

Vernet, Carle, 245

Vernet, Claude Joseph, 240

Vernet, Horace, 245-248

Veronese, Paul, 131

Verrocchio, Andrea, 79, 84

Vescovi, Marco dei, portrait by Marietta Robusti, 130

Victoria, Queen, and Landseer, 298-299

Vien, Joseph Marie, 240

"Vierge, La, au Panier" (Correggio), 137-139

"View of Rome from the Aventine Hill" (Turner), 287

"Village Festival" (Wilkie), 292

"Village Politicians" (Wilkie), 292

Vincent, instructor of Horace Vernet, 245

Vinci, Leonardo da, 84-93, 99

Virgin, pictures by Murillo of, 227;

by Joanes, 229

"Virgen de la Sevilletá" (Murillo), 225

"Vision of St. Jerome" (Parmigianino), 139

Vitruvius, quoted, 20

Volterra, Daniele de, 104

"Von Tromp Returning from Battle" (Turner), 284

Waagen, Dr., on Turner, 290

Walls. _See_ Mural

Washington, George, portrait by Copley, 260

Water, Egyptian painting of, 5

"Water Carrier of Seville" (Velasquez), 216

Watson, Elkanah, portrait by Copley, 262-263

"Watson and the Shark" (Copley), 262

Watteau, Antoine, 239

"Way to Calvary" (Morales), 210

Wellington, Duke of, portrait by Lawrence, 270

Wells and Turner, 278

Welsteed, Rev. William, portrait by Copley, 259

Wentworth, Thomas, portrait by Vandyck, 174

Wentworth, Lady, and Angelica Kauffman, 204

West, Benjamin, 265-266;

and Copley, 261

Weyden, Rogier van der, 158-159

Weyden, Rogier van der, the younger, 159-160

Wilkie, Sir David, 292-293

Williams, quoted, 270

Wilson, Richard, 254

"Wilton Family, The" (Vandyck), 174

Winckelmann and Angelica Kauffman, 204

"Wind-Mills" (Hobbema), 188

Window-painting. _See_ Glass

Wohlgemuth, Michael, instructor of Dürer, 194

"Woodman and Dog in a Storm" (Gainsborough), 258

Wornum, on Turner, 290

Wouverman, Philip, 187

"Wreck of the Medusa" (Géricault), 244

Wynants, Jan, 187

Zeuxis, 14-15

Zuccaro, on Cespedes, 214

Zuccato, Sebastian, instructor of Titian, 123

Zurbaran, Francisco, 215