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A History of Art for Beginners and Students: Painting, Sculpture, Architecture - Painting
by Clara Erskine Clement
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About 1509 Duerer occupied himself considerably in writing poetry; but, although there was much earnest feeling in his verse, it was not such as to give him great fame as a poet. It was at the same period that he carved the wonderful bas-relief of the "Birth of John the Baptist," now in the British Museum. It is cut out of stone, is seven and one-half by five and one-half inches in size, and is a marvellous piece of work. Two thousand five hundred dollars were paid for it nearly a century ago. He made many exquisite little carvings in stone, ivory, and boxwood, and in these articles the result of his work as a goldsmith is best seen.

In 1512 Duerer was first employed by the Emperor Maximilian, and for the next seven years there was a close relation between the sovereign and the artist; but there are few records concerning it. It is said that one day when the painter was making a sketch of the emperor the latter took a charcoal crayon, and tried to draw a picture himself: he constantly broke the crayon, and made no progress toward his end. After watching him for a time Duerer took the charcoal from Maximilian, saying, "This is my sceptre, your Majesty;" and he then taught the emperor how to use it.

Duerer executed some very remarkable drawings and engravings. Among them was the "Triumphal Arch of Maximilian," composed of ninety-two blocks. The whole cut is ten and one-half feet high by nine feet wide. It shows all the remarkable events in the emperor's life, just as such subjects were carved upon the triumphal arches of the Romans and other nations. Hieronymus Roesch did the engraving of this great work from Duerer's blocks, and while it was in progress the emperor went often to see it. During one of these visits several cats ran into the room, from which happening arose the proverb, "A cat may look at a king."

The emperor granted Duerer a pension; but it was never regularly paid, and after the emperor's death the Council of Nuremburg refused to pay it unless it was confirmed by the new sovereign, Charles V. For the purpose of obtaining this confirmation Duerer made a journey to the Netherlands in the year 1520. His wife and her maid Susanna went with him. His diary gives a quaint account of the places they visited, the people whom they met, and of the honors which were paid him. In Antwerp he was received with great kindness, and the government of the city offered him a house and a liberal pension if he would remain there; but his love for his native town would not allow him to leave it.

After several months Duerer received the confirmation of his pension and also the appointment of court-painter. This last office was of very little account to him. The emperor spent little time at Nuremburg, and it was not until he was older that he was seized with the passion of having his portrait painted, and then Duerer had died, and Titian was painter to the court.



When Duerer returned to his home there was quite an excitement over the collection of curious and rare objects which he had made while absent. Some of these he had bought, and many others were gifts to him, and he gave much pleasure to his friends by displaying them. There had been a great change in Nuremburg, for the doctrines of the Reformation were accepted by many of its people, and it was the first free city that declared itself Protestant. The change, too, was quietly made; its convents and churches were saved from violence, and the art treasures of the city were not destroyed. Among the most important Lutherans was Pirkheimer, Duerer's friend. We do not know that Duerer became a Lutheran, but he wrote of his admiration for the great reformer in his diary, and it is a meaning fact that during the last six years of his life Duerer made no more pictures of the Madonna.

These last years were not as full of work as the earlier ones had been. A few portraits and engravings and the pictures of the Four Apostles were about all the works of this time. He gave much attention to the arrangement and publication of his writings upon various subjects connected with the arts. These books gave him much fame as a scholar, and some of them were translated into several languages.

As an architect Duerer executed but little work; but his writings upon architectural subjects prove that he was learned in its theories.

During several years his health was feeble, and he exerted himself to make provision for his old age if he should live, or for his wife after his death. He was saddened by the thought that he had never been rewarded as he should have been for his hard, faithful labors, and his latest letters were sad and touching. He died in April, 1528, after a brief illness, and was buried in the cemetery of St. John, beyond the walls, where a simple epitaph was inscribed upon his monument. This cemetery is an interesting place, and contains the graves of many men noted in the chronicles of Nuremburg.

On Easter Sunday in 1828, three hundred years after his death, a Duerer celebration was held in Nuremburg. Artists came from all parts of Germany. A solemn procession proceeded to his grave, where hymns were sung, and the statue by Rauch, near Duerer's house, was dedicated.

I can give you no description of Duerer's many works, and although it is true that he was a very great master, yet it is also true that his pictures and engravings are not noted for their beauty so much as for their strength and power. His subjects were often ugly and repulsive rather than beautiful, and his imagination was full of weird, strange fancies that can scarcely be understood. Indeed, some of them never have been explained, and one of his most famous engravings, called "The Knight, Death, and the Devil," has never yet been satisfactorily interpreted, and many different theories have been made about it.

Many of the principal galleries of Europe have Duerer's paintings, though they are not as numerous as his engravings, and, indeed, his fame rests more upon the latter than the former, and very large sums are paid by collectors for good impressions of his more important plates.

Duerer had several followers. His most gifted scholar was LUCAS SUNDER (1472-1553), who is called Lucas Cranach, from the place of his birth. He established a school of painting in Saxony, and was appointed court-painter. Although there were a goodly number of German painters late in the sixteenth century, there were none of great eminence, and, in truth, there have been few since that time whose lives were of sufficient interest to be recounted here, so I shall tell you of but one more before passing to the artists of Spain.

ANGELICA KAUFFMAN (1742-1808) was a very interesting woman who gained a good reputation as an artist; but there is such a difference of opinion among judges as to her merits as a painter that it is difficult to decide what to say of her. As a person, she excited an interest in her lifetime which has never died out, and Miss Thackeray's novel, "Miss Angel," tells what is claimed to be her story, as nearly as such stories are told in novels.

She was born at Coire, in the Grisons. Her father was an artist, a native of Schwarzenburg, and when Angelica was born he was occupied in executing some frescoes at Coire. When the child was a year old he settled at Morbegno, in Lombardy, and ten years later, when she had shown a taste for music, her parents again removed to Como, where there were better opportunities for her instruction. Her progress in music was remarkable, and for a time she was unable to say whether she loved this art or that of painting the better. Later in life she painted a picture in which she represented herself, as a child, standing between allegorical figures of Music and Painting.

The beautiful scenery about Como, the stately palaces and charming villas, the lake with its pleasure boats, and all the poetry of the life there, tended to develop her talents rapidly, and, though she remained but two years, the recollection of this time was a pleasure to her through all her life. She was next taken to Milan, where a world of art was opened to her, and she saw pictures which excelled all her imaginations. The works of Leonardo and other great Lombard masters stirred her soul to its very depths. She soon attracted attention by her pictures, and Robert d'Este became her patron, and placed her under the care of the Duchess of Carrara. She was now daily associated with people of culture and elegance, and thus early in her life acquired the modest dignity and self-possession which enabled her in her future life to accept becomingly the honors and attentions which were paid her.

Her mother's death occurred at Milan, and her father returned to Schwarzenburg. The people about her were so coarse and disagreeable to Angelica that she passed much of her time in the grand forests. At this time she painted frescoes of the Twelve Apostles, copied from the engravings after Piazetta. Her father was not content to remain away from Italy, and they went again to Milan, then to Florence, and at last to Rome. She was now eighteen years old, and found much profit in the friendship of the great scholar Winckelmann, who allowed her to paint his portrait. Angelica visited Naples and Bologna also, and finally Venice, where she met Lady Wentworth, who became her friend, and afterward took her to England.

She had a most brilliant career in London, where her friends were in the highest rank of society. De Rossi described her appearance at this time, and said that she was not very tall, but had a slight, elegant figure. Her complexion was dark and clear, her mouth well formed, her teeth white and even, and all her features good. He speaks of her azure eyes, so placid and bright that their expression had a charm which could not be described. No one felt like criticising her. Other artists paid her many honors, and she was made a member of the Academy of Arts. It has been said that Fuseli, the learned art critic, and Sir Joshua Reynolds, the great artist, both asked her hand in marriage. Some members of the royal family became her friends, and she was at the height of honorable success and of happiness.

It is painful to turn from this bright picture of her life to all the sorrow and darkness which followed it. She made an unhappy marriage, her husband proving to be an adventurer who had assumed a distinguished name. For a time she was crushed by this sorrow; but her friends remained true to her, and she found relief in absolute devotion to her art. For twelve years she supported herself and her father; then his health failed, and it was thought best for him to go to Italy. Angelica was now forty years old, and before leaving England she married Antonio Zucchi, an artist who had long been her friend. He devoted himself to her and to her father with untiring affection, and when the old man died he was happy in the thought that his beloved daughter had so true a friend as Zucchi.

From this time their home was in Rome, where Angelica was the centre of an artistic and literary society of a high order. Among her visitors were such men as Herder and Goethe. The latter wrote of her: "The light and pleasing in form and color, in design and execution, distinguish the numerous works of our artist. No living painter excels her in dignity or in the delicate taste with which she handles the pencil." She was very industrious, and her life seems to have been divided between two pleasures, her work and the society of her friends, until the death of her husband, which occurred in 1795. She lived twelve years longer, but they were years of great sadness. She made journeys in order to regain her spirits. She visited the scenes of her childhood, and remained some time in Venice with the family of Signor Zucchi.

Even after her last return to Rome she worked as much as her strength would permit, but her life was not long. She was mourned sincerely in Rome; her funeral was attended by the members of the Academy of St. Luke; and her latest works were borne in the procession. She was buried beside her husband in the Church of St. Andrea dei Frati. Her bust was placed in the Pantheon.

Various critics have praised her works in the most liberal manner; others can say nothing good of them. For myself, I cannot find the extreme of praise or blame a just estimate of her. No one can deny the grace of her design, which was also creditably correct. Her portraits were good; her poetical subjects are very pleasing; her historical pictures are not strong; her color was as harmonious and mellow as that of the best Italians, excepting a few of the greatest masters, and in all her pictures there is something which wins for her a certain fondness and praise, even while her faults are plainly seen. Her pictures are to be found in galleries in Rome, Florence, Vienna, Munich, and England; many are also in private collections. She painted several portraits of herself; one in the Uffizi, at Florence, is very pleasing. She represents herself seated in a solitary landscape, with a portfolio in one hand and a pencil in the other. She has an air of perfect unconsciousness, as if she thought of her work only. Her etchings are much valued, and sell for large prices. Many of her pictures were engraved by Bartolozzi, and good prints of them are rare. On one of her pictures she wrote: "I will not attempt to express supernatural things by human inspiration, but wait for that till I reach heaven, if there is painting done there."



CHAPTER V.

PAINTING IN SPAIN.

Spanish painting had its birth during the reign of Ferdinand and Isabella, and may be said to have been derived from Italy, through the influence of the Italian painters who went to Spain, and the Spanish artists who made their studies in Italy. But in spite of this strong Italian influence Spanish painting has its own characteristics which separate it from all other schools, and give it a high position on its own merits. ANTONIO DEL RINCON (1446-1500) was the first Spanish painter of whom we know. If any works of his remain they are portraits of his august sovereigns now in the Cathedral of Granada; but it is probable that these pictures are copies of the originals by Rincon.

Dating the beginning of the Spanish school from the last half of the fifteenth century, it is the third school in Europe as to age, it being about two centuries later than the Italian, and one century later than the Flemish school. Its importance is only exceeded by that of Italy. The distinguishing feature of Spanish art is its gravity, or we may almost say its strictly religious character, for, excepting portraits, there were few pictures of consequence that had not a religious meaning. Some artists were also priests, and, as the officers of the Inquisition appointed inspectors whose duty it was to report for punishment any artist who did not follow the rules of the Inquisition, it is easy to understand that the painters were careful to keep within the rules fixed for them. Whatever flights of imagination one might have in secret, he would scarcely run the risk of being excommunicated from the church, sent into exile for a year, and fined one thousand five hundred ducats for the pleasure of putting his fancies on canvas.

Pacheco, who was an inspector at Seville, published minute rules for the representation of sacred subjects and persons, and other writers did the same. There was a long and grave discussion over the propriety of painting the devil with horns and a tail. It was decided that he should have horns because, according to the legend of St. Theresa, he had horns when he appeared to that saint; and he was allowed to have a tail because it was thought to be a suitable appendage to a fallen angel who had lost his wings. One very strict rule was that the feet of the Virgin Mary should be covered, and nude figures or portions of the figure were strictly forbidden.

Another important influence upon the Spanish artists was their belief that the Virgin Mary and other holy spirits appeared to inspire them and aid them in painting their pictures. In fact, the church was the chief patron of art, and the artist was one of her most valuable teachers. A learned Spanish writer said: "For the ignorant, what master is like painting? They may read their duty in a picture though they may not search for it in books."

The painters of Spain were divided between the schools of Castile, Seville, and Valencia. That of Castile was founded at Toledo early in the fifteenth century, and was maintained about two hundred years. Claudio Coello was of this school; he died in 1693, and has well been called "the last of the old masters of Spain."

ALONZO BERREGUETTE (1480-1561), born at Parades de Nava, in Castile, was the most eminent Spanish artist of his time. He is called the Michael Angelo of Spain, because he was painter, sculptor, and architect. He was painter to Philip I. Later he went to Italy, and journeyed from Florence to Rome with Michael Angelo in 1505. He studied in Italy many years. He was appointed painter and sculptor to the Emperor Charles V. Berreguette received four thousand four hundred ducats for the altar in the Church of St. Benito el Real in Valladolid, where he settled. When he was almost eighty years old he went to Toledo to erect a monument in the Hospital of St. John Baptist. He was lodged in the hospital, and died there. He left a large fortune, and was buried with splendid ceremonies at the expense of the emperor.

LUIS DE MORALES (1510-1586) was called "the divine." He belonged to the school of Castile, and very little is known of his early life. When he was fifty-five years old Philip II. invited him to court. When Morales appeared he was so splendidly dressed that the king was angry, and gave orders that he should be paid a certain sum and dismissed. But the poor painter explained that he had spent all that he had in order to come before the king in a dress befitting Philip's dignity. Then Philip pardoned him, and allowed him to paint one picture; but as this was not hung in the Escorial, Morales was overcome by mortification, and almost forsook his painting, and fell into great poverty. In 1581 the king saw Morales at Badajoz, in a very different dress from that he had worn at court. The king said: "Morales, you are very old." "Yes, sire, and very poor," replied the painter. The king then commanded that he should have two hundred ducats a year from the crown rents with which to buy his dinners. Morales hearing this, exclaimed, "And for supper, sire?" This pleased Philip, and he added one hundred ducats to the pension. The street in Badajoz on which Morales lived bears his name.

Nearly all his pictures were of religious subjects, and on this account he was called "the divine." He avoided ghastly, painful pictures, and was one of the most spiritual of the artists of Spain. Very few of his pictures are seen out of Spain, and they are rare even there. His masterpiece is "Christ Crowned with Thorns," in the Queen of Spain's Gallery at Madrid. In the Louvre is his "Christ Bearing the Cross." At the sale of the Soult collection his "Way to Calvary" sold for nine hundred and eighty pounds sterling.

ALONSO SANCHEZ COELLO (about 1515-1590) was the first great portrait painter of Spain. He was painter-in-ordinary to Philip II., and that monarch was so fond of him that in his letters he called him "my beloved son." At Madrid the king had a key to a private entrance to the apartments of Coello, so that he could surprise the painter in his studio, and at times even entered the family rooms of the artist. Coello never abused the confidence of Philip, and was a favorite of the court as well as of the monarch. Among his friends were the Popes Gregory XIII. and Sixtus V., the Cardinal Alexander Farnese, and the Dukes of Florence and Savoy. Many noble and even royal persons were accustomed to visit him and accept his hospitality. He was obliged to live in style becoming his position, and yet when he died he left a fortune of fifty-five thousand ducats. He had lived in Lisbon, and Philip sometimes called him his "Portuguese Titian."

Very few of his portraits remain; they are graceful in pose and fine in color. He knew how to represent the repose and refinement of "gentle blood and delicate nurture." Many of his works were burned in the Prado. His "Marriage of St. Catherine" is in the Gallery of Madrid. A "St. Sebastian" painted for the Church of St. Jerome, at Madrid, is considered his masterpiece. Lope de Vega wrote Coello's epitaph, and called his pictures

"Eternal scenes of history divine, Wherein for aye his memory shall shine."

JUAN FERNANDEZ NAVARRETE (1526-1579), called El Mudo, because deaf and dumb, is a very interesting painter. He was not born a mute, but became deaf at three years of age, and could not learn to speak. He studied some years in Italy, and was in the school of Titian. In 1568 he was appointed painter to Philip II. His principal works were eight pictures for the Escorial, three of which were burned. His picture of the "Nativity" is celebrated for its lights, of which there are three; one is from the Divine Babe, a second from the glory above, and a third from a torch in the hand of St. Joseph. The group of shepherds is the best part of the picture, and when Tibaldi saw the picture he exclaimed, "O! gli belli pastori!" and it has since been known as the "Beautiful Shepherds."

His picture of "Abraham and the Three Angels" was placed near the door where the monks of the Escorial received strangers. The pictures of Navarrete are rare. After his death Lope de Vega wrote a lament for him, in which he said,

"No countenance he painted that was dumb."

When the "Last Supper" painted by Titian reached the Escorial, it was found to be too large for the space it was to occupy in the refectory. The king ordered it to be cut, which so distressed El Mudo that he offered to copy it in six months, in reduced size, and to forfeit his head if he did not fulfil his promise. He also added that he should hope to be knighted if he copied in six months what Titian had taken seven years to paint. But Philip was resolute, and the picture was cut, to the intense grief of the dumb Navarrete. While the painter lived Philip did not fully appreciate him; but after his death the king often declared that his Italian artists could not equal his mute Spaniard.

JUAN CARRENO DE MIRANDA (1614-1685) is commonly called Carreno. He was of an ancient noble family. His earliest works were for the churches and convents of Madrid, and he acquired so good a name that before the death of Philip IV. he was appointed one of his court-painters. In 1671 the young king Charles gave Carreno the cross of Santiago, and to his office of court-painter added that of Deputy Aposentador. He would allow no other artist to paint his likeness unless Carreno consented to it. The pictures of Carreno were most excellent, and his character was such as to merit all his good fortune. His death was sincerely mourned by all who knew him.

It is said that on one occasion he was in a house where a copy of Titian's "St. Margaret" hung upon the wall, and those present united in saying that it was abominably done. Carreno said: "It has at least one merit; it shows that no one need despair of improving in art, for I painted it myself when I was a beginner."

Gregorio Utande, a poor artist, had painted a "Martyrdom of St. Andrew" for the nuns of Alcala, and demanded one hundred ducats for it. The nuns thought the price too much, and wished to have Carreno value the work. Utande took the picture to Carreno, and first presenting the great master with a jar of honey, asked him to touch up his St. Andrew for him. Carreno consented, and, in fact, almost repainted Utande's picture. A short time after Carreno was asked to value the St. Andrew, but declined. Then Herrera valued it at two hundred ducats, which price the nuns paid. After Utande received his money he told the whole story, and the picture was then known as "La Cantarilla de Miel," or "the pot of honey."

CLAUDIO COELLO (1635-1693), who, as we have said, has been called the last of the old Spanish masters, was intended by his father for his own profession, that of bronze-casting. But Claudio persuaded his father to allow him to study painting, and before the close of his life he became the most famous painter in Madrid. He was not only the court-painter, but also the painter to the Cathedral of Toledo and keeper of the royal galleries. It was not strange that he should feel that he merited the honor of painting the walls of the Escorial, and when this was refused him and Luca Giordano was selected for the work, Coello threw aside his brushes and paints, grew sad, then ill, and died a year later. His masterpiece is now in the Escorial; it represents the "Collocation of the Host." His own portrait painted by himself is in the gallery of the Hermitage at St. Petersburg.

The school of Seville was the most important school of Spain. It is also known as the school of Andalusia. It dates from the middle of the fifteenth century, and its latest master, Alonso Miguel de Tobar, died in 1758.

LUIS DE VARGAS (1502-1568), one of the earliest of the painters of the school of Seville, was a devout and holy man. He was accustomed to do penance, and in his room after his death scourges were found with which he had beaten himself, and a coffin in which he had been accustomed to lie and meditate upon death and a future life. It is said that Vargas studied twenty-eight years in Italy. His pictures were fine. His female heads were graceful and pure, his color good, and the whole effect that of grand simplicity. His picture of the "Temporal Generation of Our Lord" is his best work in Seville. Adam is kneeling in the foreground, and his leg is so well painted that the picture has been called "La Gamba." In spite of his seriousness Vargas was a witty man. On one occasion he was asked to give his opinion of a very poor picture of "Christ on the Cross." Vargas replied: "He looks as if he were saying, 'Forgive them, Lord, for they know not what they do!'"

PABLO DE CESPEDES (1538-1608) was born at Cordova, and is an important person in the history of his time, for he was a divine, a poet, and a scholar, as well as an architect, sculptor, and painter. He was a graduate of the University of Alcala, and excelled in Oriental languages. He studied art in Rome, and while there made a head of Seneca in marble, and fitted it to an antique trunk; on account of this work he was called "Victor il Spagnuolo." Zuccaro was asked to paint a picture for the splendid Cathedral of Cordova; he declined, and said that while Cespedes was in Spain they had no need of Italian artists. The pictures of Cespedes which now remain are so faded and injured that a good judgment can scarcely be formed of them; but they do not seem to be as fine as they were thought to be in his day. His "Last Supper" is in the Cathedral of Cordova. In the foreground there are some jars and vases so well painted that visitors praised them. Cespedes was so mortified at this that he commanded his servant to rub them out, and only the most judicious admiration for the rest of the picture and earnest entreaty for the preservation of the jars saved them from destruction. He left many writings upon artistic subjects and an essay upon the antiquity of the Cathedral of Cordova. He was as modest as he was learned, and was much beloved. He was made a canon in the Cathedral of Cordova, and was received with "full approbation of the Cordovese bishop and chapter."

FRANCISCO PACHECO (1571-1654) was born at Seville. He was a writer on art, and is more famous as the master of Velasquez and on account of his books than for his pictures. He established a school where younger men than himself could have a thorough art education. Pacheco was the first in Spain to properly gild and paint statues and bas-reliefs. Some specimens of his work in this specialty still exist in Seville.

FRANCISCO DE HERRERA, the elder (1576-1656), was a very original painter. He was born at Seville, and never studied out of Andalusia. He had so bad a temper that he drove his children and his pupils away from him. He knew how to engrave on bronze, and made false coins; when his forgery was discovered, he took refuge with the Jesuits. While in their convent Herrera painted the history of St. Hermengild, one of the patron saints of Seville. When Philip IV. saw his picture he forgave him his crime, and set him at liberty.

FRANCISCO ZURBARAN (1598-1662) was one of the first among Spanish painters. He was skilful in the use of colors, and knew how to use sober tints and give them a brilliant effect. He did not often paint the Madonna. His female saints are like portraits of the ladies of his day. He was very successful in painting animals, and his pictures of drapery and still-life were exact in their representation of the objects he used for models. He painted historical and religious pictures, portraits and animals; but his best pictures were of monks. Stirling says: "He studied the Spanish friar, and painted him with as high a relish as Titian painted the Venetian noble, and Vandyck the gentleman of England."

Zurbaran was appointed painter to Philip IV. before he was thirty-five years old. He was a great favorite with Philip, who once called Zurbaran "the painter of the king, and king of painters." Zurbaran's finest works are in the Museum of Seville. He left many pictures, and the Louvre claims to have ninety-two of them in its gallery.

DIEGO RODRIGUEZ DE SILVA Y VELASQUEZ (1599-1660) was born at Seville, and died at Madrid. His parents were of noble families; his father was Juan Rodriguez de Silva, and his mother Geronima Velasquez, by whose name, according to the custom of Andalusia, he was called. His paternal grandfather was a Portuguese, but so poor that he was compelled to leave his own country, and seek his fortune at Seville, and to this circumstance Spain owes her greatest painter. Velasquez's father became a lawyer, and lived in comfort, and his mother devoted herself to his education. The child's great love of drawing induced his father to place young Velasquez in the school of Herrera, where the pupil acquired something of his free, bold style. But Velasquez soon became weary, and entered the school of Francisco Pacheco, an inferior painter, but a learned and polished gentleman. Here Velasquez soon learned that untiring industry and the study of nature were the surest guides to perfection for an artist. Until 1622 he painted pictures from careful studies of common life, and always with the model or subject before him—adhering strictly to form, color, and outline. He is said to have kept a peasant lad for a study, and from him executed a variety of heads in every posture and with every possible expression. This gave him wonderful skill in taking likenesses. To this period belong the "Water Carrier of Seville," now at Apsley House, several pictures of beggars, and the "Adoration of the Shepherds," now in the Louvre, where is also a "Beggar Boy munching a piece of Pastry." At Vienna is a "Laughing Peasant" holding a flower (Fig. 64), and in Munich another "Beggar Boy." In 1622 his strong desire to see the paintings in the Royal Galleries led him to Madrid. Letters which he carried gave him admission to the works of art; but excepting securing the friendship of Fonesca, a noted patron of art, and an order to paint a portrait of the poet Gongora, he was unnoticed, and so he returned in a few months to Seville. Subsequently Fonesca interested the minister Olivarez in his behalf. This resulted in a letter summoning Velasquez to court, with an enclosure of fifty ducats for the journey. He was attended by his slave, Juan Pareja, a mulatto lad, who was his faithful attendant for many years, and who became an excellent painter. His former instructor, Pacheco, now his father-in-law, also accompanied him. His first work at the capital, naturally, was a portrait of his friend Fonesca, which so pleased the king, Philip IV., that he appointed Velasquez to his service, in which he remained during his life. This gave him full opportunity to perfect himself, for the king was never weary of multiplying pictures of himself. Velasquez also painted many portraits of the other members of the royal family, in groups and singly. His life was even and prosperous, and he made steady advances toward perfection. He was sent to Italy to study and to visit the galleries and works in all the cities. A second time the king sent him to Italy to purchase works of art, with orders to buy anything he thought worth having. He was everywhere received with consideration and kindness. The pope sat to him for his portrait; the cardinals Barberini and Rospigliosi; the sculptors Bernini and Algardi; the painters Nicolas Poussin, Pietro da Cortona, Claude and Matteo Prete were his friends and associates. Upon his return to Madrid, Velasquez was appointed aposentador-major, with a yearly salary of three thousand ducats, and a key at his girdle to unlock every door in the palace. He superintended the ceremonies and festivals of the royal household; he arranged in the halls of the Alcazar the bronzes and marbles purchased in Italy; he also cast in bronze the models he brought from abroad, and he yet found time to paint his last great picture, "Las Meninas," or the "Maids of Honor," which represents the royal family, with the artist, maids of honor, the dwarfs, and a sleeping hound. It is said that when the king saw the picture he declared but one thing was wanting, and with his own hand significantly painted the cross of Santiago upon the breast of the artist. When the courts of France and Spain met on the Isle of Pheasants for the betrothal of the Infanta Maria Teresa to Louis XIV., Velasquez superintended all the ceremonies and all the festivities. These were of surpassing splendor, for these two courts were at this time the most luxurious in Europe. Stirling says the fatigues of the life of Velasquez shortened his days. He arrived at Madrid on his return, on June 26th, and from that time was gradually sinking. He died August 6th. He was buried with magnificent ceremonies in the Church of San Juan. His wife survived him but eight days; she was buried in the same grave.



The character of Velasquez was a rare combination of freedom from jealousy, power to conciliate, sweetness of temper, strength of will and intellect, and steadfastness of purpose. He was the friend of Rubens and of Ribera, the protector of Cano and Murillo, who succeeded and were, next to him, the greatest painters of Spain. As the favorite of Philip IV., in fact, his minister for artistic affairs, he filled his office with purity and disinterestedness.

JUAN DE PAREJA (1610-1670) was born in Spanish South America. He was never a great artist; but the circumstances of his life make him interesting. He was the slave of Velasquez, and was employed as color-grinder. He studied painting secretly, and at last, on an occasion when the king visited the studio of his master, Pareja showed him a picture of his own painting, and throwing himself at Philip's feet begged pardon for his audacity. Both Philip and Velasquez treated him very kindly. Velasquez gave Pareja his freedom; but it is said that he continued to serve his old master faithfully as long as he lived. Pareja succeeded best as a portrait painter. His works are not numerous, and are seen in few collections out of Spain.

BARTOLOME ESTEBAN MURILLO (1618-1682) was born at Seville. His parents were Gaspar Esteban and Maria Perez, and the name of his maternal grandmother, Elvira Murillo, was added to his own, according to Andalusian custom. From childhood he showed his inclination for art, and although this at first suggested to his parents that he should be educated as a priest, the idea was soon abandoned, as it was found that his interest in the paintings which adorned the churches was artistic rather than religious. He was therefore, at an early age, placed in the studio of his maternal uncle, Juan de Castillo, one of the leaders of the school of art of Seville. Castillo was then about fifty years old, and had as a student with Louis Fernandez acquired the Florentine style of the sixteenth century—combining chaste designing with cold and hard coloring. Murillo was thus early instructed not only in grinding colors and in indispensable mechanical details, but was thoroughly grounded in the important elements of purity of conception and dignity of treatment and arrangement. Seville at this time was the richest city in the Spanish empire. Its commerce with all Europe, and especially with Spanish America, was at its height. The Guadalquivir was alive with its shipping. Its palaces of semi-Moorish origin were occupied by a wealthy and luxurious nobility. The vast cathedral had been finished a century before. The tower "La Giralda," three hundred and forty feet in height, is to this day one of the greatest marvels in Christendom, and with its Saracenic ornament and its "lace work in stone" is beyond all compare. The royal palace of the Alcazar, designed by Moorish architects, rivalled the Alhambra, and was filled with the finest workmanship of Grenada. There were one hundred and forty churches, of which many had been mosques, and were laden with the exquisite ornaments of their original builders. Such a city was sure to stimulate artists and be their home. The poorer ones were in the habit of exposing their works on balconies, on the steps of churches or the cathedral, or in any place where they would attract attention. Thus it often happened on festival days that a good work would command fame for an artist, and gain for him the patronage of some cathedral chapter or generous nobleman. Castillo removed to Cadiz in 1640, and Murillo, who was very poor, could only bring himself before the public, and earn sufficient for the bare necessities of life by thus exposing his pictures in the market of the Feria, as it was called, in front of the Church of All Saints. He struggled along in this way for two years. Early in 1640, Murillo met with an old fellow-pupil, Moya, who had been campaigning in Flanders in the Spanish army, and had there become impressed with the worth of the clear and strong style of the Flemish masters. Especially was he pleased with Vandyck, so that he followed him to England, and there studied as his pupil during the last six months of Vandyck's life. Moved by Moya's romancing stories of travel, adventure, and study, Murillo resolved to see better pictures than were to be found at Seville, and, if possible, to visit Italy. As a first step he painted a quantity of banners, madonnas, flower-pieces—anything and everything—and sold them to a ship owner, who sent them to Spanish America; and it is said that this and similar trades originated the story that Murillo once visited Mexico and other Spanish-American countries. Thus equipped with funds, and without informing his friends (his parents were dead), he started on foot across the mountains and the equally dreaded plains for Madrid, which he entered at the age of twenty-five, friendless and poor. He sought out Velasquez, and asked him for letters to his friends in Rome. But Velasquez, then at the height of his fame and influence, was so much interested in the young enthusiast that he offered him lodgings and an opportunity to study and copy in the galleries of Madrid. The Royal Galleries contained carefully selected pictures from the Italian and Flemish schools, so that Murillo was at once placed in the very best possible conditions for success. Murillo thus spent more than two years, mostly under the direction of Velasquez, and worked early and late. He copied from the Italian and Flemish masters, and drew from casts and from life. This for a time so influenced his style that even now connoisseurs are said to discern reminiscences of Vandyck and Velasquez in the pictures painted by him on his first return to Seville. At the end of two years Velasquez advised Murillo to go to Rome, and offered to assist him. But Murillo decided first to return to Seville, and perhaps had come to the resolution not to go to Italy; but this may be doubted. He knew the progress he had made; he was reasonably certain that, if not the superior, he was the equal of any of the artists he had left behind in Seville. He was sure of the wealth, and taste, and love for art in his native city. His only sister was living there. The rich and noble lady he afterward married resided near there. And so we can hardly wonder that the artist gave up a cherished journey to Italy, and returned to the scene of his early struggles with poverty.

The first works which Murillo painted after his return were for the Franciscan Convent. They brought him little money but much fame. They were eleven in number, but even the names of some are lost. One represents St. Francis resting on his iron bed, listening in ecstacy to the notes of a violin which an angel is playing to him; another portrays St. Diego of Alcala, asking a blessing on a kettle of broth he is about to give to a group of beggars clustered before him; another represents the death of St. Clara of Assisi, in the rapturous trance in which her soul passed away, surrounded by pale nuns and emaciated monks looking upward to a contrasting group of Christ and the Madonna, with a train of celestial virgins bearing her shining robe of immortality. The companion picture is a Franciscan monk who passes into a celestial ecstacy while cooking in the convent kitchen, and who is kneeling in the air, while angels perform his culinary tasks. These pictures brought Murillo into speedy notice. Artists and nobles flocked to see them. Orders for portraits and altar-pieces followed in rapid succession, and he was full of work. Notwithstanding the fact that he was acknowledged to be at the head of his profession in Seville, his style at this time was cold and hard. It is called frio (cold), to distinguish it from his later styles. The Franciscan Convent pictures were carried off by Marshal Soult, and fortunately; for the convent was burned in 1810. His second style, called calido, or warm, dated from about the time of his marriage, in 1648, to a lady of distinguished family, named Dona Beatriz de Cabrera y Sotomayor. She was possessed of considerable property, and had lived in the village of Pilas, a few leagues southwest of Seville. Her portrait is not known to exist; but several of Murillo's madonnas which resemble each other are so evidently portraits, that the belief is these idealized faces were drawn from the countenance of the wife of the master.

His home now became famous for its hospitable reunions, and his social position, added to his artistic merits, procured for him orders beyond his utmost ability to fill. One after another in quick succession, large, grand works were sent out from his studio to be the pride of churches and convents. At this time his pictures were noted for a portrait-like naturalness in their faces, perhaps lacking in idealism, but withal pure and pleasing; the drapery graceful and well arranged, the lights skilfully disposed, the tints harmonious, and the contours soft. His flesh tints were heightened by dark gray backgrounds, so amazingly true that an admirer has said they were painted in blood and milk. The calido, or warm manner, was preserved for eight or ten years. In this style were painted an "Immaculate Conception," for the Franciscan Convent; "The Nativity of the Virgin," for the high altar of the Seville Cathedral; a "St. Anthony of Padua" for the same church, and very many others equally famous. In 1874 the St. Anthony was stolen from the cathedral, and for some time was unheard of, until two men offered to sell it for two hundred and fifty dollars to Mr. Schaus, the picture dealer in New York. He purchased the work and turned it over to the Spanish Consul, who immediately returned it to the Seville Cathedral, to the great joy of the Sevillians. In 1658 Murillo turned his attention to the founding of an Academy of Art, and, though he met with many obstacles, the institution was finally opened for instruction in 1660, and Murillo was its first president. At this time he was taking on his latest manner, called the vaporoso, or vapory, which was first used in some of his pictures executed for the Church of Sta. Maria la Blanca. In this manner the rigid outlines of his first style is gone; there is a feathery lightness of touch as if the brush had swept the canvas smoothly and with unbroken evenness: this softness is enhanced by frequent contrasts with harder and heavier groups in the same picture.

But the highest point in the art was reached by Murillo in the eleven pictures which he painted in the Hospital de la Caridad. Six of these are now in their original places; five were stolen by Soult and carried to France; some were returned to Spain, but not to the hospital.

The convent of the Capuchins at Seville at one time possessed twenty pictures by this master. The larger part of them are now in the Museum of Seville, and form the finest existing collection of his works. This museum was once a church, and the statue of Murillo is placed in front of it. Although the lighting of this museum is far inferior to that of Madrid and many others, yet here one must go to realize fully the glory of this master. Among the pictures is the "Virgen de la Sevilleta," or Virgin of the Napkin. It is said that the cook of the convent had become the friend of the painter, and begged of him some memento of his good feeling; the artist had no canvas, and the cook gave him a napkin upon which this great work was done.



Murillo's representation of that extremely spiritual and mystical subject called the Immaculate Conception, has so far excelled that of any other artist that he has sometimes been called "the painter of the Conception." His attention was especially called to this subject by the fact that the doctrine it sets forth was a pet with the clergy of Seville, who, when Pope Paul V., in 1617, published a bill making this doctrine obligatory, celebrated the occasion with all possible pomp in the churches; the nobles also gave entertainments, and the whole city was alive with a fervor of religious zeal and a desire to manifest its love for this dogma. The directions given by the Inspector of the Holy Office for the representation of this subject were extremely precise; but Murillo complied with them in general effect only, and disregarded details when it pleased him: for example, the rules prescribed the age of the Virgin to be from twelve to thirteen, and the hair to be of golden hue. Murillo sometimes pictured her as a dark-haired woman. It is said that when he painted the Virgin as very young his daughter Francesca was his model; later the daughter became a nun in the convent of the Madre de Dios.

The few portraits painted by Murillo are above all praise; his pictures of humble life, too, would of themselves have sufficed to make him famous. No Spanish artist, except Velasquez, has painted better landscapes than he. But so grand and vast were his religious works that his fame rests principally on them. It is true, however, that in England and in other countries out of Spain he was first made famous by his beggar boys and kindred subjects.

Murillo and Velasquez may be said to hold equivalent positions in the annals of Spanish Art—Murillo as the painter for the church, and Velasquez as that of the court. As a delineator of religious subjects Murillo ranked only a very little below the greatest Italian masters, and even beside them he excels in one direction; for he is able more generally and fully to arouse religious emotions and sympathies. This stamps his genius as that of the first order, and it should also be placed to his credit, in estimating his native talent, that he never saw anything of all the Classic Art which was such a source of inspiration to the artists of Italy. Stirling says: "All his ideas were of home growth: his mode of expression was purely national and Spanish; his model—nature, as it existed in and around Seville."

While painting a marriage of St. Catherine for the Capuchin Church of Cadiz, Murillo fell from the scaffold, and soon died from his injuries: he was buried in the Church of Sta. Cruz, and it is a sad coincidence that this church and that of San Juan, at Madrid, in which Velasquez was interred, were both destroyed by the French under the command of Soult.

The character of Murillo was such as to command the greatest respect, and though he was not associated with as many royal personages as Velasquez, he was invited to court, and received many flattering acknowledgments of his genius. His fame was not confined to his own country, and his portrait was engraved in Flanders during the last year of his life. He had many strong personal friends, and his interest in the academy and his generosity to other artists prove him to have been above all mean jealousies: he loved Art because it was Art, and did all in his power for its elevation in his own country. It is probable that since his death more money has been paid for a single picture by him than he received for the entire work of his life. The Immaculate Conception, now in the Louvre, was sold from the Soult collection for six hundred and fifteen thousand three hundred francs, or more than one hundred and twenty-three thousand dollars. At the time of its sale it was believed to be the largest price ever paid for a picture.

SEBASTIAN GOMEZ (about 1620) was a mulatto slave of Murillo's, and like Pareja he secretly learned to paint. At last one day when Murillo left a sketch of a head of the Virgin on his easel Gomez dared to finish it. Murillo was glad to find that he had made a painter of his slave, and though the pictures of Gomez were full of faults his color was much like that of his master. Two of his pictures are in the Museum of Seville. He did not live long after Murillo's death in 1682.

DON ALONSO MIGUEL DE TOBAR (1678-1758) never attained to greatness. His best original pictures were portraits. He made a great number of copies of the works of Murillo, and was chiefly famous for these pictures. There is little doubt that many pictures attributed to Murillo are replicas, or copies by the hand of Tobar.

The school of Valencia flourished from 1506 to 1680. VICENTE DE JOANES (about 1506-1579) was a painter of religious pictures who is scarcely known out of Spain, and in that country his pictures are, almost without exception, in churches and convents. He was very devout, and began his works with fasting and prayer. It is related that on one occasion a Jesuit of Valencia had a vision in which the Virgin Mary appeared to him, and commanded him to have a picture painted of her in a dress like that she then wore, which was a white robe with a blue mantle. She was to be represented standing on a crescent with the mystic dove floating above her; her Son was to crown her, while the Father was to lean from the clouds above all.

The Jesuit selected Joanes to be the painter of this work, and though he fasted and prayed much he could not paint it so as to please himself or the Jesuit. At last his pious zeal overcame all obstacles, and his picture was hung above the altar of the Immaculate in the convent of the Jesuits. It was very beautiful—the artists praised it, the monks believed that it had a miraculous power, and it was known as "La Purisima," or the perfectly pure one.

Joanes excelled in his pictures of Christ. He seemed to have conceived the very Christ of the Scriptures, the realization of the visions of St. John, or of the poetry of Solomon. In these pictures he combined majesty with grace and love with strength. Joanes frequently represented the Last Supper, and introduced a cup which is known as the Holy Chalice of Valencia. It is made of agate and adorned with gold and gems, and was believed to have been used by Christ at his Last Supper with his disciples. Some of the portraits painted by Joanes are very fine. In manner and general effect his works are strangely like those of the great Raphael.

FRANCISCO DE RIBALTA (1550-1628) was really the head of the school of Valencia, and one of the best historical painters of Spain. He studied his art first in Valencia, and there fell in love with the daughter of his master. The father refused him his suit, and the young couple parted in deep sorrow. Ribalta went to Italy, where he made such progress, and gained such fame that when he returned to Valencia he had no trouble in marrying his old master's daughter. Valencia has more pictures by Ribalta than are found elsewhere. Out of Spain they are very rare. One of his works is at Magdalene College, Oxford.

One peculiarity of the Spanish painters was that they painted the extremes of emotion. Their subjects represented the ecstacy of bliss or the most excruciating agony. They did not seem to have as much middle ground or to know as much of moderate emotions as the painters of other nations. Ribalta was no exception to this rule, and some of his pictures are painful to look at. His portraits are fine, and represent the most powerful men of Valencia of the time in which he lived.

JOSEF DE RIBERA was a native of Valencia, but lived and studied in Italy, and so became more of an Italian than a Spanish master. I have spoken of him in connection with the Naturalists and their school at Naples.

ALONSO CANO (1601-1667) was a very important artist, and cannot be said to belong to any school. He was born at Granada, and studied under masters of Seville, both in painting and sculpture. He became the best Spanish artist who studied in Spain only. He was something of an architect also, and his various talents acquired a high place for him among artists; but his temper was such as to cause him much trouble, and it so interfered with his life that he did not attain to the position to which his artistic gifts entitled him.

In 1637 he fought a duel, and was obliged to flee from Madrid, and in 1644 his wife was found murdered in her bed. Cano was suspected of the crime, and although he fled he was found, and brought back, and put to the torture. He made no confession, and was set at liberty; but many people believed in his guilt. He still held his office as painter to the king, and was sometimes employed on important works; but he determined to remove to his native Granada and become a priest. Philip IV. appointed him canon, and after he held this office he was still employed as a painter and sculptor by private persons, as well as by religious bodies, and was even sent to Malaga to superintend improvements in the cathedral there. But his temper led him into so many broils that at length, in 1659, the chapter of Granada deprived him of his office. He went to the king with his complaints, and was again made a canon; but he was so angry that he never would use his brush or his chisel in the service of the Cathedral of Granada.

His life was now devoted to charity and good works. He gave away all his money as soon as he received it. When his purse was empty he would go into a shop, and beg a pencil and paper, and sketching a head or other design would mark the price on it, and give it to a beggar with directions for finding a purchaser for it. After his death large numbers of these charity works were collected.

One of his strong characteristics was hatred of the Jews. He would cross the street, in order not to meet one of them, and would throw away a garment that had brushed against one of the race. One day he went home, and found his housekeeper bargaining with a Jew; he chased him away with great fury, sent the woman off to be purified, repaved the spot where the Jew had stood, and gave the shoes in which he had chased him to a servant. When about to die Cano would not receive the sacrament from the priest who was present, because he had communicated with Jews, and when a rude crucifix was held before him he pushed it away. When he was reproved for this he said: "Vex me not with this thing; but give me a simple cross that I may adore it, both as it is, and as I can figure it in my mind." When this was done, it is said that he died in a most edifying manner.

Very few of Cano's architectural works remain; a few drawings of this sort are in the Louvre which are simple and elegant in style. The finest carving by him is a small figure of the Virgin, now in the Cathedral of Granada. Eight of his pictures are in the Queen of Spain's gallery at Madrid, and the Church of Getafe, the Cathedral of Granada and that of Malaga have his works. A beautiful madonna, which was one of his latest works, is in the chapel of the Cathedral of Valencia, and is lighted by votive tapers only. His pictures are rare out of Spain. One of his portraits is in the Louvre. Other works are in Berlin, Dresden, Munich, and the Hermitage, St. Petersburg.

The last Spanish painter of whom I shall speak belongs to a much later period. FRANCISCO GOYA Y LUCIENTES (1746-1828) was a student in Rome, and after his return to Spain lived in fine style in a villa near Madrid. He was painter to Charles IV., and was always employed on orders from the nobility. He painted portraits and religious pictures, but his chief excellence was in painting caricatures. He was never weary of painting the priests and monks in all sorts of ridiculous ways. He made them in the form of apes and asses, and may be called the Hogarth of Spain, so well did he hold up the people about him to ridicule. He painted with great boldness and could use a sponge or stick in place of a brush. Sometimes he made a picture with his palette-knife, and put in the fine touches with his thumb. He executed engravings also, and published eighty prints which he called "Caprices." These were very famous; they were satires upon all Spanish laws and customs. He also made a series of plates about the French invasion, thirty-three prints of scenes in the bull-ring, and etchings of some of the works of Velasquez. Portraits of Charles IV. and his queen by Goya are in the museum at Madrid. Works of his are in the Louvre and in the National Gallery in London. His pictures sell for large prices. In 1870 his picture of Charlotte Corday sold for five hundred and eighty-four pounds.



CHAPTER VI.

PAINTING IN FRANCE.

The French school of painting does not date earlier than the sixteenth century, and the painters of that time were few in number, and little is known of them. Before the time when a French school could be said to exist the kings of France employed foreign artists to decorate their palaces and churches, and they naturally turned to the Italians for all that they needed. Hence it happened that in its earliest days the French school was almost entirely under Italian influence, and I shall first speak of French masters who studied in Italy.

NICHOLAS POUSSIN (1594-1665) may be said to belong to the seventeenth century, since he was born so late in the preceding one. Poussin was born in Normandy, and early began to draw and paint. He studied somewhat in France, and when thirty years old went to Rome, where, in reality, his artistic career began. He was a pupil of Andrea Sacchi, and received some instruction from Domenichino also; but he formed his style principally by studying the works of the ancients and those of the great Raphael. He was so devoted to the study of the habits and customs of the Greeks that he almost became one of them in his modes of thought.



He was very poor when he first went to Rome; but he worked hard, and began to be known and to receive orders for pictures. Louis XIII. heard of Poussin, and invited him to Paris, where he gave him apartments in the Tuileries. But the artist longed to return to Rome, and made a plea of going for his wife. Soon after he left, Louis died, and Poussin never returned to France. Poussin was always busy; but he asked such moderate prices that he was never rich, and, when a great man pitied the artist because he had so few servants, Poussin pitied him in return for having so many. His portrait painted by himself is in the Louvre, where are many of his mythological pictures. His love for the classic manner makes these subjects his best works. His paintings are seen in many European galleries.

CLAUDE LORRAINE (1600-1682), whose real name was Claude Gelee, was born in Champagne in Lorraine. His parents were very poor, and died when he was still young: he was apprenticed to a pastry-cook, and so travelled to Rome as servant to some young gentlemen. Not long after his arrival he engaged himself to the painter Agostino Tassi, for whom he cooked, and mixed colors. After a time he himself began to paint. Nature was his teacher; he studied her with unchanging devotion; he knew all her changes, and was in the habit of sitting for a whole day watching one scene, so that he could paint from memory its different aspects at the various hours of the day. His works brought him into notice when he was still young. He received many orders, and when about twenty-seven years old some pictures he painted for Pope Urban VIII. established his fame as an artist of high rank. His character was above reproach, and his feelings were as tender as many of his pictures. He was attractive in person, though his face was grave in its expression. It would seem that he should have left a large fortune, but he did not. This was partly because he suffered much from gout, and was often unable to paint; but a better reason probably is that he gave so much to his needy relations that he could not save large sums.

Claude Lorraine has been called the prince and poet of landscape painters. Luebke, the German art writer, praises him very much, and his praise is more valuable than it would be if it came from one of Claude's own countrymen. He says: "Far more profoundly than all other masters did Claude Gelee penetrate into the secrets of nature, and by the enchanting play of sunlight, the freshness of his dewy foregrounds, and the charm of his atmospheric distances, he obtained a tone of feeling which influences the mind like an eternal Sabbath rest. In his works there is all the splendor, light, untroubled brightness, and harmony of the first morning of creation in Paradise. His masses of foliage have a glorious richness and freshness, and even in the deepest shadows are interwoven with a golden glimmer of light. But they serve only as a mighty framework, for, more freely than with other masters, the eye wanders through a rich foreground into the far distance, the utmost limits of which fade away in golden mist."

His two great charms are the immense space which he represents in his pictures and his beautiful color. The latter appears as if he had first used a silvery gray, and then put his other colors over that, which gives his works a soft, lovely atmospheric effect, such as no other artist has surpassed. When he introduced buildings into his pictures they were well done; but his figures and animals were so imperfect that he was accustomed to say that he sold the landscape, and gave away the figures.

Before his death his pictures were so much valued that other artists tried to imitate them, and he was accustomed to keep a book of sketches by which his works could be proved. He called this book "Liber Veritatis," and before his death it reached six volumes; one of these containing two hundred drawings is at Chatsworth. A catalogue of his works describes more than four hundred landscapes. All the principal galleries of Europe have his pictures, and there are a great number of them in England, both in public and private collections.

SEBASTIAN BOURDON (1616-1671), who was born at Montpelier, made his studies in Rome. He brought himself into notice by a picture of the Crucifixion of St Peter, which is now in the Louvre. He was one of the earliest members of the French Academy. Bourdon resided in Sweden for some years; but was in Paris, and held the position of Rector of the Academy when he died. He painted a few genre subjects, and two of his portraits by himself are in the Louvre; but his best works were landscapes, and in these his style was like that of Salvator Rosa. It has been said that Rigaud assisted him in his portraits of himself. Bourdon made some engravings, and collectors prize his plates very much.

There were other French painters who studied in Italy, but those that I have mentioned are the important ones. Of those who studied in their own country only, EUSTACHE LE SUEUR (1617-1655) was the first of any importance; but his life was short and uneventful, and he was not appreciated. His most important works are in the Louvre.

CHARLES LE BRUN (1619-1690) was very prominent in his day. His father was a sculptor, and was employed by the Chancellor Segnier. This nobleman's attention was attracted to the son, and he at length sent the young Le Brun to Italy to study. He remained there six years, and after his return to Paris he was made painter to the king, and became the favorite of the court. He used his opportunities to persuade Louis XIV. to found the Royal Academy at Paris, which was done in 1648. All his principal pictures are in the Louvre.

PIERRE MIGNARD (1612-1695) has been called "the Roman," because he lived in Rome twenty-two years, and while there was patronized by three successive popes. In 1664 he was made President of the Academy of St. Luke in Rome. At length Louis XIV. invited him to return to France. In 1690 he succeeded Le Brun as court painter, and was made Chancellor of the Academy. His portraits are his best works, and these are seen in the galleries of various European countries.

HYACINTHE RIGAUD (1659-1743) became the most distinguished French portrait painter of his time; but his pictures are not very attractive or interesting in our day. He finished them too much, and so gave them an artificial appearance. Then, too, the costume of his day was such that his portraits seem to be the portraits of wigs and not of people. They are very numerous. He often painted the portrait of Louis XIV., and had illustrious people from all parts of Europe among his sitters.

ANTOINE WATTEAU (1684-1721) was the first to practise a new style of painting. The habit of the French court was to pass much time in elegant out-door amusements. Watteau represented the scenes of the fetes galantes and reunions then so much in fashion. His pictures are crowded with figures in beautiful costumes. There are groups of ladies and gentlemen promenading, dancing, love-making, and lounging in pleasant grounds with temples and fountains and everything beautiful about them. The pictures of Watteau are fine, and are seen in many galleries. His color is brilliant, and to their worth as pictures is added the historical interest which belongs to them, because they give us the best idea of court life, dress, and manners of the reign of Louis XIV. which can be had from any paintings.

The followers of Watteau were numerous, but are not of great importance. There were a few painters of animals and flowers in the French school; but we shall pass to the genre painters, among whom JEAN-BAPTISTE GREUZE (1725-1805) was important. He painted very beautiful pictures of young girls and children. His color is very agreeable, and some of his works are finished as finely as if they were done on ivory. Most of his pictures are in private galleries, but they are seen in some public collections. Probably the "Broken Jug," in the Louvre, is his best known work. His pictures sell for very large prices. At the Forster sale in 1876, "A Little Girl with a Lap Dog in her Arms" brought six thousand seven hundred and twenty pounds; in 1772 the same picture was sold for three hundred pounds, and in 1832 it was again sold for seven hundred and three pounds. Thus we see that in fifty-four years its value had increased to more than nine times its price, and in one hundred and four years it brought twenty-two times as much as it was first sold for.

CLAUDE JOSEPH VERNET (1714-1789) was the best marine painter of the French school. Louis XV. commissioned him to paint the seaports of France. Fifteen of these pictures are in the Louvre. There have been many engravings after his works. His pictures of Italian seaports and views near Rome and Tivoli are among his best paintings. His color has little variety; but his drawing is correct, and his finish is very careful and fine. Vernet also made a few etchings.

In the early part of the eighteenth century JOSEPH MARIE VIEN (1716-1809) returned to the classic style of painting, and created a feeling against the pretty manner which had been the chief feature of French pictures for some time. His pictures are very numerous in the churches and galleries of Paris. He was not a great painter, but he marks a change in the spirit of French painting. Vien was the teacher of JACQUES LOUIS DAVID (1748-1825), who was considered the first painter in modern art at the close of the eighteenth century. He was so devoted to the classic style that he took the remains of ancient art as models for the figures in his pictures. His groups are like groups of statues, and his flesh looks like marble, it is so hard and lifeless. During the time of the first Napoleon this style was carried to excess in everything connected with the arts. David was such a favorite with the emperor that after the return of the Bourbons he was banished, and his family were not allowed to bury him in France. He lived in Brussels, and executed many of his best pictures there.



ANTOINE JEAN GROS (1771-1835) was a great admirer of David, and first attracted attention in 1801 by a picture of "Bonaparte on the Bridge of Arcola." After this Gros painted many such works, and principally represented military events. Many of his pictures are very coarse. The "Plague at Jaffa" and the "Field of Eylau" are of this type, and the first is disgusting. Among his best works is "Francis I. and Charles V. visiting the Tombs at St. Denis." But although he received many honors, and was made a baron by Charles X., he could not bear the criticism which was made upon his pictures, and finally drowned himself in the Seine near Meudon.

PAUL DELAROCHE (1797-1856) was born at Paris, and studied under Baron Gros. He became a celebrated artist and was made a member of the Institute of France, a Professor in l'Ecole des Beaux-Arts, and an officer of the Legion of Honor. His principal works represent scenes of important historical interest, and he so arranged them that they appeal to one's sympathies with great power. Among these pictures are the "Condemnation of Marie Antoinette," the "Death of the Duke of Guise," "Cromwell Contemplating the Remains of Charles I.," and other similar historical incidents. His design was according to academical rules; but he was not entirely conventional, and in some of his religious pictures there was much expression and deep feeling.



His largest and most famous work is the "Hemicycle," in l'Ecole des Beaux-Arts, Paris. He was occupied with this painting during three years; it contains seventy-five figures of life size. The arts of different countries and ages are represented in it by portraits of the artists of the times and nations typified. Thus it is very interesting when considered merely as a great collection of portraits. Delaroche married the daughter of Horace Vernet, and it is said that the figure which stands for Gothic Architecture is a portrait of her. The Hemicycle is richly colored, and has a great deal of fine painting in it; but from its very nature it has no dramatic power, and does not arouse any deep sentiment in one who studies it. Delaroche was paid only about fifteen thousand dollars for this great labor, and refused to have any further reward.

Perhaps none of his works are more powerful than the "Death of the Duke of Guise." You will easily recall the circumstances of his assassination: the painter has so represented it that one really forgets that it is a picture, and can only remember the horror of the crime. The corpse of the duke is on one side of the immense chamber, near the bed; the assassins are in a terrified group on the other side, and with them the cowardly king, who was absolutely afraid of the dead body of his victim. The picture is a remarkable instance of the power that may be given to what is sometimes called historical-genre art. This picture was sold in 1853 for ten thousand five hundred dollars (Fig. 69).

JEAN LOUIS GERICAULT (1791-1824). He was born at Rouen, and studied first under Guerin and then in Rome. He was the first master of any power who entirely dismissed the influence of the art of David with its marble flesh and statuesque effect. The one great work by which he is known is the "Wreck of the Medusa," which is in the Louvre, and which may be said to mark the advent of the modern French school.

EUGENE DELACROIX (1799-1863) was the son of a Minister of Foreign Affairs, and was born to position and wealth. But through misfortunes all this was changed, and he was forced to work hard for his living. At last he managed to study under Guerin, and in the studio of the master became the friend of Gericault. The first work which brought Delacroix fame was a picture of a scene from Dante's "Inferno," in which Dante sees some of his old acquaintances who were condemned to float upon the lake which surrounds the infernal city. This work was exhibited in 1822, and was bought for the Gallery of the Luxembourg. Baron Gros tried to be his friend; but Delacroix wished to follow his own course, and for some time had but small success.

He travelled in Spain, Algiers, and Morocco, and at length was commissioned by Thiers to do some decorative work in the throne-room of the Chamber of Deputies. He was much criticised, but at length was accepted as a great artist, and was made a member of the Institute in 1857. He received another important order for the Chamber of Peers. Some of his works are at Versailles, and others are seen in various churches of Paris. When they are considered as a whole they are effective, but they do not bear examination; his design was free and spirited and his color good, and he painted a variety of subjects, and was able to vary the expression of his work to suit the impression he wished to produce.

EMILE JEAN HORACE VERNET (1789-1863) was born in the Louvre. He studied under his father, Carle Vernet, who was the son of Claude Joseph Vernet. Carle was a witty man, and it is said that when he was dying he exclaimed, "How much I resemble the Grand Dauphin—son of a king, father of a king, and never a king myself!" In spite of his being less than his father or his son, he was a good painter of horses. When Horace Vernet was but fifteen years old he supported himself by drawing; he studied with Vincent, and drew from living models. In 1814 he showed such bravery at the Barriere of Clichy that he was decorated with the Cross of the Legion of Honor: before he died he was a grand officer of the order on account of his artistic merits. He was also a member of the Institute and Director of the Academy of Rome.

His best works were executed in Rome, where he spent seven years; he travelled in Algiers, Syria, Egypt, Palestine, Russia, and England, and was everywhere received with the honors which his genius merited. His works embraced a great variety of subjects, and it is said that he often finished his picture the first time he went over it, and did not retouch it. There is no doubt that in certain ways the excellence of Vernet has been overestimated, and he has been too much praised; but his remarkable memory, which enabled him truthfully to paint scenes he had witnessed, and his facility of execution, are worthy of honorable mention.

When twenty years old Vernet was married, and from this time he kept an expense account in which all the prices he received for his works are set down. The smallest is twenty-four sous for a tulip; the largest is fifty thousand francs for the portrait of the Empress of Russia.

About 1817 Vernet became the favorite of the Duke of Orleans, and was therefore unpopular with the royal party. In 1820 he had made himself so displeasing to the king by some lithographs which were scattered among the people, that it was thought best for him to leave Paris. However, he overcame all this, and four years later Charles X. sat to him for his portrait. From this time orders and money flowed in from all sides.

The Vernets had originated in Avignon, and in 1826, when the museum there was opened, Horace and his father were invited to be present. Every honor was shown them; poems were read in their praise; they were conducted to the home of their ancestors, which they piously saluted, and inscribed their names upon the door-posts. After they returned to Paris they received rich gifts in return for the pictures they had given to Avignon. The Gallery Vernet, which contains works by Antoine, Francois, Joseph, Carle, and Horace Vernet, is regarded as a sacred place by the people of that region.

When Horace Vernet was Director of the Academy in Rome he held salons weekly; they were very gay, and all people of distinction who lived in Rome or visited that city were seen at these receptions, dancing and amusing themselves in the lively French manner. But after 1830 he felt that the Villa Medici was a prison. He wished to follow the French army in the East, and three years later did go to Algiers. In the same year the king decided to convert the palace at Versailles into an historical museum, and from this time Vernet had but two ideas, the East and Versailles. Almost every work he did was connected with these two thoughts.

Louis Philippe now desired him to paint four battle-pieces; but Vernet objected that no room was large enough to please him: for this reason a floor was removed, two stories turned into one, and the grand Gallery of Battles made. At length he had a difficulty with the king and went to Russia; but hearing that his father was dying he returned to Paris, and was made welcome back to Versailles, where he was really necessary.

We cannot stay to recount the honors which were showered upon him, and which he always received with great modesty of demeanor. He went from one triumph to another until 1848, when the Revolution almost broke his heart; he worked on, but his happiness was over. In the great Exposition of 1855 he had a whole salon devoted to his works, and men from all the world came to see and to praise. He lived still eight years; he made pictures of incidents in the Crimean War; he painted a portrait of Napoleon III., but he wrote of himself: "When time has worn out a portion of our faculties we are not entirely destroyed; but it is necessary to know how to leave the first rank and content one's self with the fourth."

His industry and the amount of work he did are simply marvellous. He loved excitement and adventure, and the works which have these elements were his best—and he liked best to do them. His color cannot be praised; he had no lofty intellectual aims; he was clever to a high degree, but he was not great; he was one to whom the happy medium of praise should be given, for he neither merits severity of criticism nor immoderate praise; he was simply a gifted painter and "the greatest and last of the Vernets."

He is also the last French painter of whom we shall speak, as we do not propose to take up the excellent artists of our own day, who would require a volume devoted strictly to themselves.



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.



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 Luebeck, 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 a 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."



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."



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.

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