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- Pictures Every Child Should Know - 2/52 -


XXVI. Claude Lorrain (Gellée), Classical French School, 1600-1682

XXVII. Masaccio (Tommaso Guidi), Florentine School, 1401-1428

XXVIII. Jean Louis Ernest Meissonier, French School, 1815-1891

XXIX. Jean François Millet, Fontainebleau-Barbizon School, 1814-1875

XXX. Claude Monet, Impressionist School of France, 1840-

XXXI. Murillo (Bartolomé Estéban), Andalusian School, 1617-1682

XXXII. Raphael (Sanzio), Umbrian, Florentine, and Roman Schools, 1483-1520

XXXIII. Rembrandt (Van Rijn), Dutch School, 1606-1669

XXXIV. Sir Joshua Reynolds, English School, 1723-1792

XXXV. Peter Paul Rubens, Flemish School, 1577-1640

XXXVI. John Singer Sargent, American and Foreign Schools, 1856-

XXXVII. Tintoretto (Jacopo Robusti), Venetian School, 1518-1594

XXXVIII. Titian (Tiziano Vecelli), Venetian School, 1489-1576

XXXIX. Joseph Mallord William Turner, English, 1775-1831

XL. Sir Anthony Van Dyck, Flemish School, 1599-1641

XLI. Velasquez (Diego Rodriguez de Silva), Castilian School, 1599-1660

XLII. Paul Veronese (Paolo Cagliari), Venetian School, 1528-1588.

XLIII. Leonardo da Vinci, Florentine School, 1452-1519.

XLIV. Jean Antoine Watteau, French (Genre) School, 1684-1721

XLV. Sir Benjamin West, American, 1738-1820

Index

ILLUSTRATIONS

FRONTISPIECE

The Avenue, Middleharnis, Holland--_Hobbema_

Madonna of the Sack--_Andrea del Sarto_

Daniel--_Michael Angelo (Buonarroti)_

The Isle of the Dead--_Arnold Böcklin_

The Horse Fair--_Rosa Bonheur_

Spring--_Alessandro Botticelli_

The Hay Wain--_John Constable_

A Family Picture--_John Singleton Copley_

The Holy Night--_Correggio (Antonio Allegri)_

Dance of the Nymphs--_Jean Baptiste Camille Corot_

The Virgin as Consoler--_Wm. Adolphe Bouguereau_

The Love Song--_Sir Edward Burne-Jones_

The Mystic Marriage of St. Catherine--_Correggio_

Moses Breaking the Tablets of the Law--_Paul Gustave Doré_

The Nativity--_Albrecht Dürer_

The Spanish Marriage--_Mariana Fortuny_

Mrs. Richard Brinsley Sheridan--_Thomas Gainsborough_

The Sword Dance--_Jean Léon Gérôme_

Portrait of Giovanna degli Albizi--_Ghirlandajo (Domenico Bigordi)_

The Nurse and the Child--_Franz Hals_

The Meeting of St. John and St. Anna at Jerusalem--_Giotto (Di Bordone)_

The Avenue--_Meyndert Hobbema_

The Marriage Contract--_Wm. Hogarth_

The Light of the World--_William Holman Hunt_

Robert Cheseman with his Falcon--_Hans Holbein, the Younger_

The Berkshire Hills--_George Inness_

The Old Shepherd's Chief Mourner--_Sir Edwin Henry Landseer_

The Artist's Portrait--_Tommaso Masaccio_

Acis and Galatea--_Claude Lorrain_

Retreat from Moscow--_Jean Louis Ernest Meissonier_

The Angelus--_Jean François Millet_

The Immaculate Conception--_Murillo (Bartolomé Estéban)_

Haystack in Sunshine--_Claude Monet_

The Sistine Madonna--_Raphael (Sanzio)_

The Night Watch--_Rembrandt (Van Rijn)_

The Duchess of Devonshire and Her Daughter--_Sir Joshua Reynolds_

The Infant Jesus and St. John--_Peter Paul Rubens_

Carmencita--_John Singer Sargent_

The Miracle of St. Mark--_Tintoretto (Jacopo Robusti)_

The Artist's Daughter, Lavinia--_Titian (Tiziano Vecelli)_

The Fighting Téméraire--_Joseph Mallord William Turner_

The Children of Charles the First--_Sir Anthony Van Dyck_

Equestrian Portrait of Don Balthasar Carlos--_Velasquez (Diego Rodriguez de Silva)_

The Marriage at Cana--_Paul Veronese_

The Death of Wolfe--_Sir Benjamin West_

The Artist's Two Sons--_Peter Paul Rubens_

The Last Supper--_Leonardo da Vinci_

Fłte Champłtre--_Jean Antoine Watteau_

I

ANDREA DEL SARTO

(Pronounced Ahn'dray-ah del Sar'to) _Florentine School_ 1486-1531 _Pupil of Piero di Cosimo_

Italian painters received their names in peculiar ways. This man's father was a tailor; and the artist was named after his father's profession. He was in fact "the Tailor's Andrea," and his father's name was Angelo.

One story of this brilliant painter which reads from first to last like a romance has been told by the poet, Browning, who dresses up fact so as to smother it a little, but there is truth at the bottom.

Andrea married a wife whom he loved tenderly. She had a beautiful face that seemed full of spirituality and feeling, and Andrea painted it over and over again. The artist loved his work and dreamed always of the great things that he should do; but he was so much in love with his wife that he was dependent on her smile for all that he did which was well done, and her frown plunged him into despair.

Andrea's wife cared nothing for his genius, painting did not interest her, and she had no worthy ambition for her husband, but she loved fine clothes and good living, and so encouraged him enough to keep him earning these things for her. As soon as some money was made she would persuade him to work no more till it was spent; and even when he had made agreements to paint certain pictures for which he was paid in advance she would torment him till he gave all of his time to her whims, neglected his duty and spent the money for which he had rendered no service. Thus in time he became actually dishonest, as we shall see. It is a sad sort of story to tell of so brilliant a young man.

Andrea was born in the Gualfonda quarter of Florence, and there is some record of his ancestors for a hundred years before that, although their lives were quite unimportant. Andrea was one of four children, and as usual with Italians of artistic temperament, he was set to work under the eye of a goldsmith. This craftsmanship of a fine order was as near to art as a man could get with any certainty of making his living. It was a time when the Italian world bedecked itself with rare golden trinkets, wreaths for women's hair, girdles, brooches, and the like, and the finest skill was needed to satisfy the taste. Thus it required talent of no mean order for a man to become a successful goldsmith.


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