MUSIC-IN-ART LUNAMAY-ENNIS fyxmll Hmwmtg ptag BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Hcuru W. Sage 1891 ^..1.256 ^^ nfeM.. Cornell University Library ML 85.E59 11111 Mimic in art / 3 1924 022 328 581 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022328581 MUSIC IN ART --■■y; ^SLNT '"-,;-:?¥. 7 DONATELLO St. CECILIA Mmxt in uKoPS* Art By Luna May Ennis St 3IUu0trat?jb M LC PAGE- &f COMPANY BOSTONS PUBLISHERS "*r>». i- ■-■■■■■■ fr~~ ■-"■'-■. ,.; ..•.:?"•■'*/ -"-■■-. - ; ---. . -i "'■ ■'- 1 • 9 - .f ■ ■ •"'■- it . i ■ - £&• iWgjMMfi s DOMENICHINO. ST. CECILIA ST. CECILIA 71 wood on which the original painting was made. Of the six single figures of St. Cecilia as patron saint by Domenico Zampieri, or Domenichino, as he was familiarly called, the one in the Louvre, reproduced here, is considered his masterpiece. At the time in which he lived, the art of play- ing the violoncello was very fashionable. He was himself a great lover of music, and found in it a diversion from the small cares of life. He understood the theory of music, and had several instruments made from suggestions of his own. The saint sits in three-quarter profile, her eyes raised toward heaven, as she sings and accompanies herself on the viol. On her head she wears a sort of jewelled turban, which is the head-dress usually chosen by Domenichino in his numerous paintings of her. He was in Rome at the time the sarcophagus was opened, the idea 72 MUSIC IN ART being thus suggested to him by the folds of cloth in which the saint's head was found wrapped. Her costume is one of great richness. She sits with her full face toward us, rest- ing her violoncello on a stone balustrade on which is also standing a little nude angel, in profile, holding out to her an open book of music which he supports upon his head. The book bears a little Latin verse. Her beautiful face, full of divine en- thusiasm and emotion, is of a dazzling whiteness ; and the angel is characteristic of the grace and spirit so typical of all Domenichino's figures. Gauthier says of this painting, " It sums up the talent of the painter — a grace somewhat heavy in its ingenuousness, but lovable on account of its very sincerity, a true feeling of nature in a toilsome work, where will has a greater part than inborn gift" ST. CECILIA 73 The picture is supposed to have been originally painted for Cardinal Ludovisi, and was brought into France by M. de Jabach, who afterward sold it to Louis XIV. Domenichino's celebrated series of frescoes, scenes from the life and mar- tyrdom of St. Cecilia, in San Luigi, Rome, are fine examples of his great talent. Mrs. Jameson refers to them as "extremely beautiful," and mentions others from his brush, one a single figure, representing Cecilia as patron saint, in which she wears a robe of amber and violet, and is crowned with a wreath of red and white roses. She holds a scroll of music, and near the organ is an angel carrying her palm. There is another painting of his in which her head is draped in a magnificent jewelled turban, and still another, in the possession of Lord Lansdowne, in which 74 MUSIC IN ART the saint is represented as both virgin martyr and patron saint. Mrs. Jameson's account of it is interesting : " Her tunic is of a deep red with white sleeves, and on her head she wears a kind of turban, which, in the artless disposition of its folds, recalls the linen head-dress in which her body was found, and no doubt was intended to imitate it. She holds the viol gracefully, and you almost hear the tender tones she draws from it. She looks up to heaven ; her expression is not ecstatic, as of one listening to the angel, but devout, tender, and melancholy — as one who anticipated her fate, and was resigned to it. She is listening to her own song, and her song is, ' Thy will be done.' " Domenichino also painted a St. Cecilia for an altar-piece illustrating the martyr- dom of the saint, which was placed in one of the Trastevere churches. It remains now to consider the work of ST. CECILIA 75 several modern artists, with whom the saint seems to have been a favourite sub- ject, — Paul Delaroche, Sir Joshua Reyn- olds, Burne-Jones, Strudwick, and others, all of whom put on canvas their ideals of St. Cecilia. Paul Delaroche, the well-known painter of historic scenes, of the modern French school of painting, has given us a pleas- ing St. Cecilia, with a landscape setting. She is dressed in white, and is represented out under the trees of her palace grounds, singing and accompanying herself on her little organ, which two kneeling angels support for her. This picture has been criticized as being too mediaeval in style, which may be accounted for by the fact that the artist was much influenced by Overbeck. Of the English painters of the eight- eenth century, Sir Joshua Reynolds has two canvases representing St. Cecilia. 76 MUSIC IN ART In one, a parody on Raphael's famous painting, he has painted Mrs. Billington, the English singer, as the patron saint of music, and placed in her hands, instead of the organ, a music book, but her attention is held by some angels singing above her. In the other, a more serious treatment of the subject, he has painted the lovely Elizabeth Linley as St. Cecilia. It was exhibited in the Royal Academy, in 1775, and fifteen years later Sheridan, who sur- vived his wife, bought it of the artist for one hundred and fifty guineas. It is now in the possession of the Marquis of Lansdowne. The " St. Cecilia," of J. M. Strudwick is, like all the other work of this disciple of Burne-Jones, the creation of a poet. It is as decorative in effect as it is beauti- ful in both conception and colouring. " His pictures speak for themselves," ST. CECILIA 77 says Percy Bate,, "and it is easy to see that with Strudwick as with Rossetti, the endeavour to embody beautifully a beauti- ful conception stands first and foremost. Inspired now to pay a painter's homage to music, now to depict some poetic theme from the regions of romance, he has painted such pictures as ' St. Cecilia,' ' Golden Strings,' and ' Elaine ; ' and in every case he has adorned his picture with such a wealth of charming detail, such glow of colour, and such delicacy of handling, that they haunt the memory even as other sweet visions do." There is a stained glass window, of great beauty, in Christ Church, Oxford, by Sir Edward Burne-Jones, illustrating the legend of St. Cecilia in a series of beautiful compositions. In the three upper divisions of the window, we see the saint, who plays upon a small organ, attended by two angels, who listen with 78 MUSIC IN ART rapt faces to her music. The three lower panels show the martyr girl in her room, with Valerian, whom she is exhorting ; the young couple being crowned by an angel with flowers from Paradise ; and the death of the kneeling bride. Lauenstein, Hofmann, and Knopp show us the modern German conception of St. Cecilia. That of Hofmann is a portrait painting, and the head, which is expres- sive, bears a crown of leaves. Lauen- stein's painting contains not only the figure of the saint, seated at the organ, but a host of angels, winging their way from an opening in the clouds, until they throng her room, and join their voices with hers. Mr. George Hitchcock has painted a most beautiful modern head of St. Cecilia. It is a fair young face with pale hair drawn meekly away on each side of the brow; dim, listening eyes, blind to all ST. CECILIA 79 things near them ; a simple robe fastened at the neck with a clasp ; a halo of gold as pale as the hair; and in her hand is the organ. The only brilliance is a mosaic-like background of green leaves and magenta-coloured flowers, and we feel that, " Beauty born of murmuring sound shall pass into her face." And lastly must be mentioned a St. Cecilia which displays the most delight- ful qualities of American art of to-day, painted by the late Frederick E. Church, who was one of the foremost painters of this country. The graceful young figure of the saint, whose face is seen in profile, is seated on a bench before the organ, attended by two angels, who listen to her heavenly music. The three figures are relieved by a background of dark green foliage, through which is seen a glimpse of the midnight sky. CHAPTER III. THE COMPOSERS " O strong-winged soul with prophetic Lips hot with the blood beats of song ; With tremor of heart-strings magnetic ; With thoughts as thunder in throng ; With constant ardour of chords That pierce men's souls as with swords And hale them hearing along." — Swinburne. iHE old masters of music gave their lives to their art, and the story of this wonderful devotion to music has been beautifully told on canvas. To-day we may see their baby fingers on piano, organ, and violin; we behold their court and drawing-room triumphs, and their friends. Artists have made immortal their death-bed scenes — 80 THE COMPOSERS 8 I sublime moments when music was still the reigning passion. From the godly-souled Palestrina of the sixteenth century to Wagner and Liszt, every composer of note has been the subject of painting. As Raphael, only a few short years before, had em- bodied the highest spiritual feeling of his time in his paintings of the Madonnas, so Palestrina, in the simple grandeur of his great masses, evolved a type of sacred music higher than had ever before existed. When he was chapel-master for the Church of Santa Maria Maggiore, Pope Pius IV. awoke to the fact that Church music was fast losing its dignity and so- lemnity, through the influence of Flemish composers, who, lacking ability to write great masses, chose secular airs to which they put sacred words. Ordinary folk-songs were sometimes in- 82 MUSIC IN ART troduced by the tenor, while the main part of the choir chanted a solemn " Gloria." The Pope would have none of this, and he directed Palestrina to compose a mass thoroughly devotional in character; one which would prove that music and relig- ion were not incompatible. Palestrina, his brain already full of beautiful ideas, gave himself up to the work with enthusiasm, finally evolving his famous " Mass of Pope Marcellus II.," for six voices, first sung in the Sistine Chapel. The composer passed the night before the critical event in devotion and prayer, keeping holy vigil, like a knight on the eve of battle. The next day the Pope, the nobles and ecclesiastics, the great composers and patrons of music, and many of Palestrina's friends thronged the chapel. The mass played by the master thrilled his hearers. It was pronounced a model on which all THE COMPOSERS 83 future Church music must be formed, and Palestrina was chosen composer to the pontifical choir at Rome. Denne- Baron, referring to this mass, 1 wrote, " Nothing has equalled the power, the profound and simple accent, the mystic tenderness, and the ravishing sweetness of his chants." After composing over ninety masses, nearly sixty-five motets, besides litanies, madrigals, magnificats and lamentations, many of which may still be heard in our churches on Easter Sundays and in Christ- mas services, Palestrina died in February, 1594. His "Stabat Mater," " Magnificat," and " Miserere " are sung in St. Peter's to-day. The scene in the Sistine Chapel, just described, has been the subject of an in- teresting painting, which is, perhaps, the most important of the many representing 1 From Lippincott's Biographical Dictionary, by permis- sion of the J. B. Lippincott Company. 84 MUSIC IN ART this " Homer of the most ancient music," as Dr. Charles Burney calls him. Pales- trina is seated at the organ in the chapel, his hands on the keys, and his foot on the pedal. His whole soul is in the music. A young woman stands at his left, singing, her hand resting on the back of his chair. Another, in a long robe of white, her hair softly waving down her back, kneels grace- fully at the master's right, and sings with rapt face, while three men stand just behind, with a sheet of music, and join in the chorus. Beyond, in a doorway, leans a shadowy figure, listening. Ferdinand Heilbuth, a German artist, has given us a picturesque representation of Palestrina in his old age, surrounded by some charmingly gowned young women, to whom he is evidently discoursing on music. Were it not for the violin Heil- buth has put in his right hand, the picture would impress us more, since Palestrina's THE COMPOSERS 85 biographers fail to record his ever having played on that instrument. Besides his historical scenes, Heilbuth has painted many charming chateaux, pastoral and water scenes so well that they have been described as " little Watteaus of the nine- teenth century." There is a painting of the composer Lulli as a little boy of about twelve, which appeals to all who see it. The artist, Hippolyte de la Charlerie, a Bel- gian, exhibited it at the Paris salon in 1869 (the year of his death), where it was a favourite. He represents young Lulli playing his violin in the kitchen of " La Grande Mademoiselle," as the Duchesse de Montpensier was called. Lulli evidently made as poor a cook as did Alfred the Great, for he seems en- tirely oblivious of his duties. He stands leaning against a tub, his work apron still on, and is surrounded by pots, pans, 86 MUSIC IN ART vegetables, and other kitchen parapher- nalia. Walter Rowland relates how the Cheva- lier de Guise once passed through Flor- ence, and heard a bright-faced boy singing to his guitar, in the street. He remem- bered the Duchesse de Montpensier had requested him to send her from Italy " a young musician to enliven my house." Lulli was persuaded to return with the chevalier, but " La Grande Mademoi- selle's " interest in the young singer was so short-lived that she tired of him almost at once, and ordered him to the kitchen. Continuing his music amid such sur- roundings, all went well until some one one day handed him some verses not too complimentary of his mistress. A bright air suggested itself to Lulli as fitting the verses, and with this new song he enter- tained the cooks and serving-men until the duchess, being informed of his un- THE COMPOSERS 87 courteous behaviour, this time banished him from the palace. Thus began the career of the great Lulli. So much fame did he win later in life, with his operas of " Armide," " Al- ceste," " Psyche," and others, that he is looked upon as the founder of French opera. " Tartini's Dream " is the subject of a painting by James Marshall. It is owned by Count von Schack, and hangs in his great collection of German paintings in Munich. Tartini's dream came about in a roman- tic way, as did most of the events of his early life. At the college of the " Padri delle Scuole," at Capo d'Istria, he had already had his first lessons on the instru- ment which was afterward to make him famous, — the violin. His relatives sent him to study law, but finding the pretty young niece of the Bishop of Padua more 88 MUSIC IN ART interesting, he won her heart, and one day the lovers were quietly married. When the bishop and Tartini's family discovered the secret, life was made so wretched for him that the young man fled to Assisi for safety, and his young wife saw him no more for two years. Tartini took refuge in a monastery, whose kindly sacristan proved to be from his native town. He was given a cell, and in it took place the dream which the artist Marshall has so vividly pictured. Tartini has thrown himself upon his cot to sleep, but the dream stirs bim into half- wakefulness. The cell is bathed in moon- light, one hand is raised to his forehead, and the other is thrust forward, grasping his violin. On the foot of the couch sits the devil, merrily fiddling. Tartini has himself told the story of his compos- ing of the " Devil's Sonata," as it is still called : " One night, in the year 1 7 1 3, I THE COMPOSERS 89 dreamed that I had made a compact with the devil, and he stood at my command. Everything thrived according to my wish, and whatever I desired or longed for was immediately realized through the effective- ness of my new vassal. A fancy seized me to give him my violin to see if he could, perchance, play some beautiful melodies for me. How surprised I was to hear a sonata, so beautiful and singu- lar, rendered in such an intelligent and masterly manner as I had never heard before. Astonishment and rapture over- came me so completely that I swooned away. On returning to consciousness I hastily took up my violin, hoping to play at least a part of what I had heard, but in vain. The sonata, I supposed at that time, was certainly my best, and I still call it the ' Devil's Sonata,' but this com- position is so far beneath the one I heard in my dream, that I would have broken 9° MUSIC IN ART my violin and given up music altogether, had I been able to live without it." The " Devil's Sonata," is one of the exhibits to-day in the library of the Paris Conservatory, and the diabolical laugh with which it ends appeals to lovers of descriptive music. Recently, the little town of Pirano has unveiled a statue of Tartini by the Italian sculptor, Dal Zotto, whose masterly pro- duction was so enthusiastically received, that the people carried the sculptor about on their shoulders. The moment chosen is when Tartini had just drawn his bow across his violin and pauses in wonder, having accidentally discovered the " third sound." Of the four best known paintings of " Old Bach," one represents him as the little " Sebastian," sitting in a deep win- dow copying music by moonlight, which floods the manuscript before him and falls THE COMPOSERS 9 1 tenderly on his boyish head and eager fin- gers. He toiled away at his beloved task, evening after evening for six long months, only to have the finished work confiscated by his unsympathetic brother Christoph. He had absorbed all the music he could get hold of until he knew the notes by heart, but remembering some fine manu- script volumes of his brother's, he asked for them only to be refused. One large volume of difficult compositions especially interested him, and he knew where it was kept, locked up on a shelf just behind a wicket gate. Since his brother refused it, why should he not get it himself, he thought, so he waited until the house was still. Softly he crept out of bed, up the stairs to the great, deep window, reached his baby fingers through the wire lattice, worked and tugged until he pulled the music through. How fast he made his fingers fly, for when the moonlight faded 92 MUSIC IN ART he knew he must stop, for he was afraid to light a candle. Back he tiptoed to bed, when he could no longer see the notes, and patiently waited for the next night. These long months of work were too great a strain on his eyes, however, and in his old age he lost his sight entirely. While quite a young man Bach was made organist of the newly built church at Arnstadt, where he met and fell in love with his cousin, Maria Barbara Bach, who was visiting in the town. Her tastes also were musical, and before long they were married. Bach composed his beautiful cantatas at this time. The years that fol- lowed were very happy ones for them both, surrounded by a large family. In the Museum of Leipsic, is Toby E. Rosenthal's painting, " Morning Devotions in the Family of Bach." Here we see eleven members of this charming family circle. His wife is over by the prettily cur- THE COMPOSERS 93 tained window with its growing flowers, putting the breakfast on the table, while one of the younger boys, probably Johann Christian Friedrich, leans over the back of a chair. Old Bach is seated at the clavichord, playing and directing the sing- ing of the morning hymn, glancing around with an amused but fatherly interest at one child who has lost his place. His eldest son, Wilhelm Friedemann, is given a prominent place in the picture, as he stands playing the violin, while near him is one of his baby sisters singing, but tightly holding a doll under her arm. Another child, too young to sing, plays on the floor with a kitten under the piano, and the elaborately carved cradle prob- ably holds still another, as he had twenty. Carl Philipp Emanuel, called the " Ber- lin Bach," who afterward became organist to Count von Lippe of Buckeburg, stands beside his eldest sister at Bach's right, 94 MUSIC IN ART both joining in the singing. It is a very domestic scene, and there is no reason to suppose Bach's household looked other- wise than as here painted. Bach himself wrote of his children : " They are one and all born musicians, and I can assure you I can already form a concert, both vocal and instrumental, of my own family." The artist of this painting, Rosenthal, left this country when very young to study art in Germany. He became a pupil of Piloty and Professor Raupp, and it is to him that we are also indebted for the beautiful painting of " Elaine," as she floats down to Launcelot on her funeral barge. Bach prospered and his fame spread during the eight or nine years he spent at Weimar as concert-master for the Duke of Saxe-Weimar. Although this was before Goethe lived there, the atmosphere of the place had been one of music and art for w Q o w s x THE COMPOSERS 95 hundreds of years, and Bach found it con- genial. Here he composed his remark- able "Actus Tragicus," and many preludes, chorales, and cantatas. This era was followed by another, equally prosperous, as capellmeister at the brilliant court of Prince Leopold of Anhalt-Cothen. The prince, being a rela- tive of the Duke of Saxe- Weimar, had met Bach in those earlier days. Edouard Jean Hamman, the Belgian artist who has painted many historical scenes in the lives of the old composers, is at his best in the beautiful painting, " Bach's Preludes," here reproduced. The scene is probably the chapel of the Duke of Saxe- Weimar. The "father of modern piano music " sits at the organ, richly dressed, accompanying the voices of the beautiful women of the duke's household as they sing one of his great preludes, possibly his charming aria, " Break and 96 MUSIC IN ART Die," to which Crowest refers when he says, " Nothing could be more exquisite than the soft and heavenly music which accompanies all that Jesus speaks, and, as it were, surrounds the divine Being with a halo of glory separating him from the other personages." This picture shows Bach much as Doc- tor Spitta describes him : " He was, above all, grave and earnest, and with all his politeness and consideration for his fellow men, his demeanour was dignified and commanded respect. He must have been of a powerfully broad and stalwart build, with a full, but vigorous and marked face, a wide brow, strongly arched eyebrows, and a stern or even sinister line between them. In the nose and mouth, on the contrary, we find an expression of easy humour; the eyes are keen and eager." The graceful figure standing by the organ singing, and gowned in white satin, THE COMPOSERS 97 is the Princess Frederike Henriette of Anhalt-Bernburg, and the lovely boy and girl sitting together below the organ are her children. Whether Bach's daughter and his second wife are the others is doubtful, yet Bach once wrote, " My pres- ent wife sings a very clear soprano and my eldest daughter joins in bravely." Indeed, Anna Magdalena Wiilken was a young professional singer when Bach married her, and biographers say she had " a lovely and powerful voice." Bach's style of fingering, which he originated, is noticeable in this painting; also the fact that he is using his thumbs, for it is known that he was the first organist to do so. The artist has painted an allegorical back- ground of cherubs and clouds above, while a cathedral with its gathering congrega- tion is vaguely outlined below. Hamman has a long list of distinctions to his credit, including the Legion of Honour, in 1864, 98 MUSIC IN ART and the Order of Leopold, in 1854. In the Luxembourg is his "Childhood of Francis the First," and many of his his- torical paintings were purchased by the Museum at Brussels. His " Painting Les- son " and a portrait were exhibited at the salon of 1877. Herman Kaulbach's painting of " Fred- erick the Great and Bach " refers to the last visit Bach ever made. His son, Philipp Emanuel, was court musician to Fred- erick at this time and urged his father to accept the king's invitation to come to Potsdam. Frederick the Great ceased a flute solo he had just begun, when Bach arrived, and at once gave the old composer possession of the organ. His playing so astonished the king that he arose from his seat and repeatedly cried out, " There is only one Bach ! " This is the moment Kaulbach has chosen to represent in his painting. THE COMPOSERS 99 Hamman's painting, " Gluck at the Trianon," shows us Gluck presenting a manuscript to Marie Antoinette, who is surrounded by her friends. This "musi- cian of the soul," as he has been called, was a frequent guest at the queen's coun- try home at Versailles. Her love for music began when, as Dauphiness, she first met Mozart. Gluck was her music master, and after she became Queen of France, she continued her lessons with him. From the brush of this same Bel- gian artist we have the " Workshop of Stradivarius," which he painted in 1869. This "greatest violin maker the world has ever known " is portrayed in his old age, sitting in the attic of his house, which he has chosen for his workshop, bending over a violin in his hand. From the rusty nails in the old beams of the wall of his room hang a number of other violins of his own workmanship, and on IOO MUSIC IN ART a table at his right and a stand in front of him are others. As he works the light from a high window falls across his brow, hands, and knees, the table, and the violins. Haweis, in his book on old violins, wrote, describing a visit to this shop : " Here, up in the high air, with the sun his helper, the light his minister, the blessed soft airs his journeymen, what time the work- aday noise of the city rose, and the sound of matins and vespers was in his ears, through the long, warm days, worked An- tonio Stradivari." Hamman has also given us the familiar painting of " Handel and George I." When George I. was the Elector of Han- over, and Handel his chapel-master, the latter was granted a year's vacation. He long overstayed the twelve months, and during his absence Queen Anne died and his master was crowned king. George I., THE COMPOSERS IOI the story runs, did not restore Handel at once to favour, and as time passed he grew anxious. Baron Kielmansegge, friend of both king and musician, planned a reconciliation. Soon there was to take place an imposing water fete including the entire court. At the baron's sugges- tion Handel composed a serenade for the king, his famous " Water Music," to be played and conducted by himself from another boat, following closely that of his Majesty. The painting shows George I., whose attention is attracted by the music in the accompanying boat, sitting in his splendid barge, under a royal canopy. Accom- panying him, as his guests, are several noblewomen and Baron Kielmansegge. The baron, with outstretched arm, is soliciting pardon for Handel. Oarsmen are seen at opposite ends of the boat. The picture of Handel which most 102 MUSIC IN ART touches our hearts is Margaret Dicksee's " Child Handel." Miss Dicksee, an Eng- lish artist, has painted a very dear and lovable little Handel sitting at a spinet and softly playing to himself in the moon- light. The moment depicted is when he is discovered by the family, the father entering first, holding a lantern up before the child's face in utter astonishment; next follows the child's mother, or per- haps the sympathetic aunt who secretly gave little Handel the spinet as well as her encouragement. Other members of the family throng the doorway. Little Handel, in his night clothes, is the most unconcerned figure in the picture, as he calmly looks up from his instrument at the intruders. The story accompanying this painting in the Royal Academy is to the effect that Handel's father intended him to study law. Music was forbidden the child ; and to THE COMPOSERS IO3 further make it impossible, all the musical instruments in the house were despatched to the attic. But little Handel was not to be baffled, for he was determined, young though he was. He discovered the hiding- place chosen, and when all were in bed he slipped up to the attic and softly played. " And there among the cobwebs," says Miss Chapin, " on nights both cold and warm, moonlit and dark, Georg sat by the little spinet and played. In the dim light the infinitesimal tones floated out in ghosts of melodies. All manner of musical spirits were evoked, to dance about the old, dusty garret while the boy played, and to depart silently when he left his treasure, to creep away to bed." Some accounts say the child dampened the keys to muffle the sound so that the family should not hear him ; others say that the strings were wrapped in cloth to subdue the sound. The strange sounds, 104 MUSIC IN ART distantly heard by the family, and the ghostly little figure flitting through the hallways and up the stairs at midnight, led the family to believe that the house must be haunted, until the discovery was made. Another of Margaret Dicksee's pictures is of " Sheridan at the Linleys'." The artist has painted the two beautiful sisters, Elizabeth Ann and Mary Linley, standing together singing from the same book, near a large window, through the white curtains of which the sunlight streams. Their brother is accompanying them on a highly decorated clavichord, and Sheridan, rest- ing one elbow on the instrument, gazes thoughtfully up at the two lovely girls in white, one of whom he afterward married. Mozart has, perhaps, been the subject of more paintings than any other composer, and this is not strange, for his short and brilliant career was as picturesque as it was romantic. The little child Wolfgang, THE COMPOSERS 105 or "Woferl," as he was affectionately called, and his sister " Nannerl," were inseparable companions, and both loved music above all else. Portraits of him show us a face of unusual beauty and of a more ideal type than that of many of the composers. Little Woferl was devoted to the Empress Maria Theresa, his royal patron- ess, and to the small archduchess, Marie Antoinette, who became his playmate. A. Borckmann has painted an elaborate scene of " Mozart and His Sister Before Maria Theresa." The two children, richly dressed, are seated at the piano, playing before the empress and her court. Maria Theresa sits near the piano, one hand raised in astonishment at the precocious children. She encouraged them in many ways, and sent them valuable presents, among them the vest and top-coat embroid- ered in gold, in which Mozart is painted. 106 MUSIC IN ART Wolfgang had another distinguished friend and well-wisher in Madame de Pompadour, before whom he often played. A painting by V. de Paredes shows us a brilliant drawing-room scene. Madame de Pompadour, gorgeously gowned, ex- tends her hand to the little Mozart, who is kissing it with a frank and natural grace. His father later took him to Italy, and while in Rome the Order of the Golden Spur was given him by Pope Clement XIV. Before he left that city he was allowed to hear Allegri's " Miserere " sung in the Sistine Chapel, which created a deep im- pression upon him and remained long in his memory. Carl Herpfer has painted " Mozart at the Organ," where he is again the centre of interest, as he glances from his music up into the lovely face of his sister Nannerl, who stands by the organ singing. In the Luxembourg is a bronze statue THE COMPOSERS 107 of " The Child Mozart," by Louis-Ernest Barrias. It represents a charming little boy of about ten or twelve in powdered wig, and court dress, bending over his violin. A facsimile of this statue is in the Museum of the Art Institute, Chicago. These were days of joy and triumph for young Mozart, the most brilliant of his short career. In the studio of Mr. Felix Moscheles, of London, there is a picture of the baby Mozart leading a visionary choir of angels. Troubles came to him, however. In his second successful tour he lost his mother, and hastening for consolation to his sweetheart, Aloysia Weber, he found that newly acquired wealth had turned her heart from him, and she received him so coldly that the engagement was broken at once. Mozart could not forget the Webers, however, and he afterward mar- ried Aloysia's sister, Constance. One day while he was composing the 108 MUSIC IN ART " Magic Flute," a tall, mysterious stranger solemnly entered, handed him an unsigned letter sealed in black and vanished. The writer besought Mozart to write a " Re- quiem," asking him his price, and urging him to begin at once. Mozart was far from rich, his wife ill, and his own health far from good. He agreed to begin the " Requiem " at once, although he never knew from whom the order came. He gave himself entirely up to this new work. He laboured long and late over it, day after day, until it became part of his very life. As the " Requiem " neared its end, so did its composer's young life, for he had grown steadily worse under the fatigue of writing. Constance's devotion was unceasing. She drove with him in the autumn sun- shine ; they took daily walks to their fa- vourite seats in the " Augarten," Emperor Joseph II.'s park, and she told him fairy stories which made him forget, for a time, THE COMPOSERS IO9 his illness and the " Requiem " which had so depressed him. " I am writing my own death mass," he said to her. His face was already pale, thin, and worn, and his hands wrote feebly, but he still continued writing even after he was confined to his bed. During these last days, while Mozart lay dying, his great consolation was to hear of the crowded houses his " Magic Flute " was drawing near by, and as even- ing came on he would follow the perform- ance with his watch, saying, " Now the first act is over." " Now they have come to the ' Great Queen of the Night,' " etc. On the day before his death Mozart went over the score of the " Requiem " with his favourite friends in the room. Arthur Eugen Simson has described the scene thus : " Those who had just entered were Abbot Stadler ; the composer Siissmaier, who was a young friend and pupil of IIO MUSIC IN ART Mozart's; Schack, the tenor; Hofer, the violinist; Mozart's brother-in-law; and Gerl, the bass. They looked grief-stricken. When they had greeted Mozart, Siissmaier sat down at the piano. Stadler acted as conductor, and gave out the scores. Schack, as was customary, sang the air; Hofer, the tenor; Gerl, the bass, and, in- credible as it may seem, Mozart himself took the contralto, — sang, although dying. Constance and the park-watcher composed the audience at that historical rehearsal. " In all its majestic fulness rose the magnificent song of the angels as Mozart had heard it in his dream, and the ' Prayer for the Eternal Rest of the Dead.' " When the cymbals announced the coming judgment, the souls of the singers were stirred to the utmost, and out of the depths of their hearts they sang and prayed, ' Et lux perpetua luceat ezs,' Then followed the magnificent ' Dies THE COMPOSERS III Irce] which so majestically describes the destruction of the world and the terror of judgment until the Lord appears as Judge and Mediator, and the clang of cymbals calls all creatures before the throne. At that point the baton fell from the hand of Abbot, who, deeply moved, threw his arms around the dying musician and wept bitterly. From every hand fell the score. The singers were silent, their hands folded in prayer. Mozart himself was so deeply moved by his own work, that, laying down the score, he buried his face in the pillow. The park-watcher sank on his knees, praying." On the morning of the next day, Sun- day, Mozart died, at the age of thirty-five. His burial took place during a driving snow-storm. The " Requiem " was not completed, but his friend, Francois Xavier Sussmaier, had been instructed to finish it. The illustration here given is by the 112 MUSIC IN ART renowned Hungarian painter of historical and Biblical subjects, Mihaly Munkacsy. His pictures are usually sombre and deeply impressive. Left an orphan when a mere child, a kindly uncle undertook his education. The boy had many trials, however, for his uncle forbade his becom- ing an artist, and only after a critical illness did the child gain his guardian's consent to study painting. Austria and Hungary have bestowed every honour upon Munkacsy. The " Mozart Directing His Requiem " is owned by ex-Governor Alger of Michi- gan, and is hung in his Detroit residence. It is a large canvas, and was painted in 1886 in Munkacsy 's characteristic manner. The artist's gloomy temperament seems to have influenced his choice of subjects, which were almost invariably of a melan- choly or tragic nature. He eventually lost his mind, dying a few years ago. THE COMPOSERS 113 There are two other familiar paintings of this sad scene. In Herman Kaulbach's painting, " The Last Days of Mozart," he is propped up in a large chair with pillows, as the Mass is being sung, and Mozart's wife, Constance, is kneeling be- side him, tenderly kissing his hand as she weeps. The painting of this same subject by Thomas Shields, " Mozart Singing His Requiem," is similar to the others, but Mozart looks much stronger, and the scene is not so affecting as Kaulbach has painted it. Ferdinand Barth's painting, " Paganini in Prison," shows the composer playing his violin in the prison in which he was con- fined for years, charged with the murder of his wife. He comforted himself with his one friend, — his old violin as the artist shows us. The painting is an effective one; the 114 MUSIC IN ART light from a small window, so high as to be partially hidden in the vaulted roof, falls on Paganini's hands and face, and long black hair; he holds his violin as though it were very dear to him, and seems absorbed in its strains. Beethoven has been a favourite subject with artists, as the many paintings of him prove. Paul Leyendecker, a Frenchman, has painted " Beethoven at Bonn." This master musician loved nature, and the artist has painted him in one of his favour- ite haunts, sitting under the trees of the wood, just outside Bonn, his native city. Beethoven has tossed his hat and stick on the grass, and is in the midst of a composition, just as a train of mourners, bearing a coffin, moves slowly up the road. The priest who heads the procession has observed Beethoven, and, pausing with out- stretched arm, bids the choristers cease chanting, lest they interrupt the master. THE COMPOSERS 115 Beethoven once wrote to his friend, the Baroness Drosdick, " No one can conceive the intense happiness I feel in getting into the country, among the woods, my dear trees, shrubs, hills and dales. It is as if every tree and every bush could under- stand my mute inquiries and respond to them." In the Royal Academy, was exhibited a few years ago, the painting, " Beethoven in His Study," by Carl Schloesser, who has painted Beethoven's room very much as Weber tells us it looked, one day when he called on the old master : " All lay in the wildest disorder — music, money, clothing on the floor. The open pianoforte was covered thickly with dust." Schloesser has represented the instrument, and the floor under it, littered all over with manu- script, and sheets of music. A large vio- lin rests against a chair, deep also in old music, and the light, drifting through a Il6 MUSIC IN ART partly closed window, falls on Beethoven as he sits at the piano absorbed in compo- sition. The conception is a striking one, effectively carried out, were it not for the inconsistency a musician would detect in the position of the great master's hands. Beethoven is made to pound out the notes with one hand, while he writes with the other. Moreover, his greatest works, such as his " Mass in D " and his " Choral Sym- phonies," were only composed after he had become deaf. Another of Beethoven's countrymen, Albert Graefle, has painted a " Symphony by Beethoven." In this interesting pic- ture the composer's friends are deeply moved by his playing. Possibly the most impressive of the many pictures of this " giant among players " is the one by Aime de Lemud, a Frenchman, whose concep- tion of " Beethoven's Dream " received a gold medal at the Salon of 1863. Beetho- THE COMPOSERS 117 ven has ceased playing, and dropped his head wearily on his folded arms on the piano. Fantastic shapes and visions form an allegorical background. The very familiar painting of Mendels- sohn, " Songs without Words," is the work of Robert Potzelberger, a Hunga- rian painter. It represents young Felix at the piano, his sister Fanny beside him, leaning her head on his shoulder. She is absorbed in the reflections her brother's music bring her. This picture has a cer- tain charm, and has long been popular. Frederic Francois Chopin, the " poet of the piano," has been represented in art by a number of paintings, two of which are of unusual interest. Hendrick Siemirad- ski, a distinguished artist of Chopin's own country, Poland, has painted the young pianist at the height of his popularity, playing in the drawing-room of his patron, Prince Anton Radziwill, before a brilliant Il8 MUSIC IN ART gathering of grace and beauty. The prince was himself both musician and composer, and Chopin passed much time at his house. Liszt, in his life of Chopin, tells us that the composer " could easily read the hearts which were attracted to him by friendship and the grace of youth. When his wan- dering fingers ran over the keys, suddenly touching some moving chords, he could see how the furtive tears coursed down the cheeks of the lovely girl, or the young, neglected wife ; how they moistened the eyes of the young man, enamoured of, and eager for, glory. Can we not fancy some young beauty asking him to play a simple prelude, then, softened by the tones, lean- ing her arms upon the instrument to sup- port her dreaming head, while she suffered the young artist to divine in the dewy glitter of her lustrous eyes the song sung by her youthful heart ? " The scene THE COMPOSERS 1 19 which Siemiradski has chosen to paint is founded, evidently, on these words of Liszt. One October day, twenty years after the evening represented by this Polish artist, Chopin's grief-stricken friends were gathered about his death-bed. The pa- thetic scene that took place on that Sun- day afternoon has been put on canvas by the French artist, Felix Joseph Barrias. In his beautiful painting, the " Death of Chopin," we can see the faithful Princess Czartoyska at the head of the bed with a Sister of Mercy, Chopin's own sister, Louise, who was sent for from Poland; Gutman, his favourite pupil ; M. Cuvard ; and the Countess Delphine Potocka, to whom he had dedicated his lovely valse, Op. 64, No. 1, who were all constantly with him. The Abbe Alexander Jelowicki, the Polish priest, kneels near the window. Liszt has best vividly described this 120 MUSIC IN ART scene. He tells us that on Sunday, October 15th, Chopin's condition became more seri- ous. " The Comtesse Delphine Potocka, who was present, was greatly distressed ; her tears were flowing quickly when he noticed her standing at the foot of his bed, tall, slight, clad in white, resembling the beautiful angels evolved from the imagina- tion of the most devout of the painters. Without doubt he believed her to be a celestial apparition, and when a moment of repose occurred in one of his par- oxysms, he asked her to sing. At first the bystanders thought he was seized with delirium, but he eagerly repeated his request. Who could have resisted his wish? The piano was brought from the parlour to his chamber door, and his gifted countrywoman sang, though sobs choked her utterance and scalding tears coursed down her cheeks. Her delightful voice had never before attained such an THE COMPOSERS 121 expression of profound pathos. As he listened he seemed to suffer less. She sang that famous song to the Virgin, which we are told once saved the life of Stradella. ' How beautiful it is ! ' he ex- claimed. ' My God, how very beautiful — again, again.' Though the countess was overpowered by emotion, she yet had the noble courage to gratify the last wish of her friend and compatriot ; again she sat down to the piano, and sang a hymn by Marcello. Chopin again became worse, and every one was seized with fright ; all present fell, by a spontaneous impulse, on their knees ; none ventured to speak ; the sacred silence was broken only by the voice of the countess, which, like a heaven-born melody, floated above the heavy sighs and mournful sobs which constituted its earthly accompaniment. It was at the mystic hour of twilight; the dying light of day lent its sombre shadows to the sad 122 MUSIC IN ART scene; Chopin's sister, prostrate near his bed, wept and prayed, never quitting her attitude of supplication while life remained with the brother whom she had so fondly cherished." As is well known it was in Gutman's arms that Chopin died, murmuring, " Cher ami ! " to him as he pressed his dear pupil's hands to his lips. It is a wonderfully effective picture. " As he lived so he died — loving," says Liszt. When the parlour door was opened, his friends, " unable to suppress their rushing tears, threw them- selves around the beloved corpse." The flowers he loved were brought " in such large quantities that the bed on which they had laid him, and, indeed, the entire room almost disappeared from sight, hidden by the varied and beautiful hues of the floral offerings. He seemed to sleep in a garden of roses." In compliance with Chopin's request, PL O X RT, having to do primarily with the beautiful, has given the music of Love a place of prominence. Love-music, by its very nature, is the essence of romance. It is probable that no age seems romantic to itself, certainly our own does not, and this very feeling for romance among our artists causes them to represent romantic subjects in 162 YOUTH AND LOVE 1 63 other times than our own. Alma-Tadema paints the love-music of ancient Greece and Rome; Gustav Wagrez takes his lovers to Florence and their serenades float up to us from shadowy gondolas. The serenade has figured often in art. The romance of the night, the starlight and moonlight effects, lovers in picturesque costumes and fair ladies in balconies, are subjects as tempting to the painter as to the dramatist. In most cases the artist has treated the serenade seriously ; he has drawn our attention to the sentiment and beauty of the idea. It remains for a modern artist, Vibert, to give us a bit of sarcasm on the subject. His lover, a handsome youth in embroidered cloak, velvet doublet, and laced hat, stands in the foreground playing on a guitar; his face is uplifted to an iron-railed balcony where we catch a glimpse of the satin skirt of his lady-love. He is evidently in 1 64 MUSIC IN ART a trance of delight, oblivious to everything except himself and her. Directly in front of him, concealed from the lady by the overhanging balcony, is his old servant seated in the niche of a disused drinking- fountain, with his feet among broken flower-pots. He holds clasped in his hands the case of his master's guitar. A more disgusted face it is impossible to imagine. He is evidently cold and hungry and engaged on a foolish enterprise much beneath his dignity. There is one striking difference between the pictured love-songs of the Eastern and Western worlds, which holds good for most of the prominent works produced in either before the nineteenth century. In all countries where woman is held in low esteem ; in Turkey, where she spends her life in the harem; in China, where she is a slave ; in India, and even in ancient Greece, it is the maiden who sings the YOUTH AND LOVE 1 65 love-song, it is she who strives to please and entertain her lover. With the introduction of chivalry into Europe, it became her role simply to be beautiful, to be adored. Man took up the making of music as one of his new duties, and the spirit of the troubadour pervaded the whole of civilized Europe. To fight for his lady's favour, and to sing songs in her honour, seemed to have been his chief occupation. This spirit lasted in a modi- fied form until the end of the eighteenth century, and has given us our most beautiful love-songs. Artists of the last quarter-century show a tendency to revert to a decidedly pastoral style. In music, it is shown in the renewed interest in the ballad form in songs; in literature, by the modern romantic novel ; and in painting, by a return to mediaeval costuming, simplicity of treatment, and strong feeling for the decorative. 1 66 MUSIC IN ART Perhaps as beautiful an example of the modern pastoral in art as can be found is Sir Edward Burne- Jones's " Le Chant d'Amour." Of this M. de la Sizeranne writes: "Although it contains only three figures, the ' Chant d'Amour ' is per- haps Burne-Jones's masterpiece from the point of view of composition. We see, almost in full face, a girl kneeling on a cushion in the centre of a flowery lawn. She is playing on one of those little organs which are played by angels in the pictures of the Primitives, amidst clouds and trump- ets, wings and halos ; nearer to us, with his back presented to the spectator, but with his head turned in profile, to the centre of the composition, a knight in armour, seated on the ground with his legs drawn under him, is listening. On the other side, a young shepherd, who is Love, half- nude, crowned with leaves, his eyelids cast down, kneeling on one knee, is gently at a o < o H 55 o w o w OS YOUTH AND LOVE I 67 blowing the bellows of the organ. In the foreground are flowers; in the back- ground a group of houses or a castle court, and the frame which cuts off the sky; thought is not lost in the heavenly blue ; heaven is here in the girl's eyes. No story, nothing to be guessed, but every- thing to be felt. The story here is the life of two hearts and a little air stirred by the waves of sound. The interest, accord- ing to Ruskin's precept, lies in the life of these beings, and not in what is going to happen to them. There is no movement — except in the gesture of Love the blower, a gentle motion, continuous and easy as in a dream. It is the form of the human body that is of interest here, not its contortion. The drawing of the knight and of the lady is wonderfully pure. The attitudes of the three figures, which are sufficiently different to complete each other, and sufficiently similar to be in 1 68 MUSIC IN ART unison, tend to that classical and Latin synthesis which may be despised in theory, but to which all fine works are found to revert when they are examined. The pyramid is replaced on its base. From whatever side it is regarded, the lines attract the eye to the centre, and raise it to the face of the immortal musician, to her parted lips, to the inaudible melody which fills the air, like the invisible bell in Millet's 'Angel us,' to the harmony which is felt in all the forms and details of this vision, to the Song of Love." Sir Edward Burne-Jones was perhaps the flower of the Preraphaelite brother- hood, the leader to whom all the later followers of that school turned. His pictures have always the charm of an apparent spontaneity, and impress one as the out-breathing of sweet thoughts on canvas. This effect is one proof that nothing good in art is even YOUTH AND LOVE 1 69 accidental; that genius means eternal patience. In the famous painting of " Paris and Helen," in the Louvre, painted by Jacques Louis David, and here reproduced, we have retold to us the story of the love of the Trojan prince for the fair Helen, for whom, as Homer tells us, the Greeks waged war on Troy. This classical subject, in the hands of David, has been rendered with great charm. The modelling of the two figures is as vividly portrayed as though done in marble by Canova or Thorwaldsen. The flesh tones, however, are cold and less lifelike, but typical of this artist's work. The lovers are represented in a hall of the palace, where Paris sits near a bed in front of a Roman wall, over which a rich drapery is thrown. Above the wall is shown part of an entablature, supported by caryatides. 170 MUSIC IN ART Paris, still holding the lyre he has been playing, turns his face to Helen, affec- tionately grasping her arm as he speaks a word of love in her ear. With a down- cast glance on her lovely face, Helen leans fondly over his shoulder. She wears a drapery of white gauze under a crimson outer robe. A narrow band of white ribbon confines her hair. Paris wears a Phrygian cap. The painting was first exhibited in the salon of 1789, and was painted for the Comte d'Artois, who became Charles X. A replica of this painting was made by David, the year of its exhibition, for the Princess Lubomirska. Through David, French art was re- stored to its true dignity. He lived in Paris, and for twenty-five years his influ- ence was supreme. In the eighth panel of Andrea Man- tegna's great painting "The Triumphal DAVID. PARIS AND HELEN YOUTH AND LOVE 171 March of Julius Caesar After the Conquest of Gaul," painted for the Duke of Mantua, and now a priceless possession in Hampton Court, England, is a cartoon of " Musi- cians." Of this splendid work, evidently a labour of love, done in Mantegna's noblest years, scarcely a figure in the nine large canvases has escaped almost complete obliteration by the hand of the restorer. Crowe and Cavalcaselle are able to mention only a few small portions, left uninjured : " Here part of a buskin, there a sleeve, a scabbard, a breastplate, a chariot-wheel." This panel of " Musicians," next to the last of the series, lies between the canvas of prisoners, or Senators, as they are sometimes called, and the final scene in which the procession culminates in the imperial figure of Caesar. The humiliation of the captives is made less endurable by the satirical songs, noisy 172 MUSIC IN ART gibes, and jingling bells of the musicians. Maud Cruttwell vividly describes this panel of "musicians appointed to insult the vanquished, half-dancing to their lyres, — a negro with a trumpet, a boy with a tambourine, and behind them great branches of withered leaves and fruits, to which birds are tied, — the fruits and birds of the captured country. And now the climax approaches, — the chariot of ' Caesar ' himself, heralded by all the emblems and insignia of Rome, — banners and busts, the suckling wolf, and lastly the imperial eagle borne by a richly armed soldier, who turns to do obeisance to the conqueror, Julius, who, clad in gold robes, is seated quietly and proudly in his gorgeous chariot. In the back-ground rises a triumphal arch surmounted by statues. " In and out between the chariot-wheels and the horse's hoofs play little naked YOUTH AND LOVE I 73 children bearing olive boughs, and behind Caesar, a youth, masqued as Victory, with white wings, holds the bay crown over his head, while another swings before him his device, Veni, Vidi, Vici — and so the procession ends." The painting is inexpressibly rich in detail, accurately reflecting the costume, armour, time, etc., of ancient Rome. It is the most important work we have from the brush of Mantegna, who was one of the greatest painters of the Venetian school. In the Louvre is the " Fete Cham- petre," or, as often called, " The Concert," attributed by Morelli and others to Giorgione, although Crowe and Caval- caselle are inclined to credit it to some Venetian imitator instead. The charm of this pastoral symphony is largely in the glow of rich colour which pervades the whole canvas. 174 MUSIC IN ART Sitting on the grass in the centre of a meadow landscape are two young men, in costumes of the fifteenth century, one playing a lute to the other who bends toward him, listening. Opposite them, a nymph, sitting with her back to the spec- tator, plays on a flute, while her com- panion, on the left, leans gracefully against a well or fountain from which she is about to drink. Both figures are almost nude. In the distance, near a waterfall, a shepherd is seen leading his flock. The scene is delightfully rustic, the colours warm and mellow. This painting was purchased by Charles I., of England, and at one time formed part of the collec- tion of the Dukes of Mantua, and later was owned by Louis XIV. For four hundred and fifty years Frans Hals's " Jester" has held its place in pop- ular affection. At first it was only known HALS. THE JESTER YOUTH AND LOVE 1 75 in the gallery of The Hague, where it hangs, but since the introduction of pho- tography it has become familiar to all, and reproductions of it are always in de- mand. The popularity of this picture is due in great measure to the charming personality of the jester himself. It is hard to think of him only as a picture, — he seems to be a living presence ; and the first liking is rather for the jolly singer than for the work of art. This is true of all Frans Hals's work. His people are real people of Holland, not people of his imagination. He was fond of this bluff, robust type, — men with health and good spirits, but with little of the ideal. In the " Jester," we have only the frankly human side, painted because the artist believed in it and loved it for truth's sake. The jester is a candid, honest fellow, full of light, whimsical jest and boisterous fun, but has, withal, nothing of the frivolous. 176 MUSIC IN ART While the influence which Frans Hals first wielded on his countrymen was doubtless through the vivid personalities he put on canvas, he became the most powerful influence in the formation of the Dutch school of painting. He presents the only instance in which the first man in a school is also the most perfect flower of its development. He shares with Velasquez the title of the " Painter's Painter." Fromentin says : " No man ever painted better, and no man ever will." He is to-day the most dominant influence throughout the art schools of Germany, France, and America ; and this is well, since upon technical excellence all good art must be founded. His art is materialistic, the only poetry is that of manner. He knows thoroughly the language of paint, and though what he says is sometimes coarse, his manner of saying it is eloquent, cultured, and YOUTH AND LOVE 1 77 refined. Flesh, bone, brawn, and weight he can translate into paint with convinc- ing precision. There is always a freedom, a buoyant joyousness about his touch, that make him the most perfect painter of a laugh the world has ever known. In the "Jester," he uses a harmony of soft grays and browns, and avoids all extremes of light or dark. He gains the effect of solidity, not by the use of line drawing, but by the exact relation of colour tones to each other. The forehead alone is a masterpiece of technique, being apparently entirely modelled with one stroke of the brush. His most direct influence upon the art of his time was through the school of painting of which he was the head until his death at the age of eighty-six. Another Dutch painter, Jan Steen, who was a contemporary of Frans Hals, has given us a number of musical pictures 178 MUSIC IN ART which are almost equal favourites with the people. They are so alike, so ani- mated by the same spirit. A typical one, " The Family Concert," in the Museum of the Art Institute of Chicago, was painted in 1666, which date, with the signature of Jan Steen, is inscribed on the roll of music on the table. It represents the interior of a tavern. The jolly lute-player seated near the win- dow is probably the artist himself. He wears a white shirt and full brown Dutch trousers; his plumed hat, set awry, gives an effect of careless insolence. The woman beside him wears a dress of dull grayish blue; the table before her is covered with a brilliant red and gold cloth ; and the small boy playing upon the 'cello, with a long stemmed clay pipe, is habited in dull blue velvet and wears a red hat. These colours are so blended, so neutral, and so har- monized, that a detailed description is YOUTH AND LOVE 1 79 unsatisfactory. It is interesting to note, however, the curious absence of green tones. In spite of the individual bril- liance of the colours, there is a certain mellow blending into a harmonious whole, making the general tone a rich golden brown. There is a remarkable amount of character study in the hands. The long thin ones of the flute-player bear no resemblance to the clumsy ones of the woman who sings, or to those of the man with the lute. The furniture of the room, the draperies, and the still life in general, are wonderfully well done, but are not so realistic as to detract from the idea of the picture. The English have always been fond of this style of genre painting, and have been influential in giving Jan Steen his modern vogue. There is a spirit of fun and good- fellowship in his pictures that endears them to us as do the same qualities in our 180 MUSIC IN ART friends. It has been said that "What Steen is to Rembrandt, Moliere is to Shakespeare." Like Moliere, Steen is often coarse, but he is always witty. A closer parallel can be drawn between his work and that of the Englishman, Ho- garth. Both struck at the follies and vices of their time, both show us the shadows as well as the lights of society as they knew it, and both are hopeful, with- out a trace of pessimism or morbid cyni- cism toward human nature. In " The Family Concert," we see him as he has been called, " The most jovial, careless Bohemian that ever quaffed a bowl or wielded a painter's brush." Rembrandt's very charming and sunny- faced " Singing Boy," here reproduced, is a fine example of the wonderful effect of light and shade, typical of that great mas- ter of the Dutch school. In his portraits he loved to paint dark backgrounds, with REMBRANDT. SINGING BOY YOUTH AND LOVE l8l contrasting deep shadows and bright lights on his faces, as in this instance, where the light strikes the boy's forehead, cheek, and nose. His fame rests largely on this peculiar mastery of chiaroscuro, which often gives a tender and subtle touch to his work. In Van Dyck's " Wife with 'Cello," we have, as the name implies, a picture of his own lovely young wife, Maria Ruthven, whom he married to please Charles I., for whom he was then court painter. With her, he visited Flanders, reviewing the scenes of his early childhood. They lived happily together, until their return to England at the end of the year, when he died at the age of forty-two. She was of noble Scotch ancestry, a niece of the Duchess of Montrose and of the Countess of Athol, and an attend- ant of Queen Henrietta, but brought no dowry to her artist-husband, beyond a 1 82 MUSIC IN ART certain sum provided by the king's gen- erosity. In portrait work Van Dyck was preem- inent, and this painting in the Munich gallery represents him at his best. The face turned partly toward us is that of a young and very lovely girl. Her gown is of rich white satin, and through her soft hair is run a string of pearls. She holds the bow of her 'cello lightly in her right hand, and in her left she takes the instrument she is about to play. The Cassel Gallery contains the " Lute- Player," by Gerard Terborch, of the Dutch School, and his " Concert " and " Music Lesson " are treasures in the Louvre. In the latter painting, a young woman in a dress of white satin is seated near a table, holding in one hand a sheet of music from which she sings, while she beats time with the other. A companion on the other side of the table plays her YOUTH AND LOVE I 83 accompaniment on the guitar, and a page holds a salver. In "The Guitar Lesson," in the Mu- seum of the Art Institute of Chicago, Terborch again represents a young woman in a gown of white satin, of which fabric he was painter par excellence. The sheen of the satin is rendered with con- summate skill, as is also the texture of the red velvet and ermine of her dress. She is seated, and plays the guitar as she sings, while her master stands by the table beating time for her with his hand. Giorgione's beautiful " Shepherd with a Flute," with its sweet eyes and mouth, broad brow, and lovely hair, is at Hamp- ton Court. Berenson claims that this is an undoubted work of Giorgione's. The American and English schools of the nineteenth century have little in common, partly through the influence of France on the Americans, and partly 184 MUSIC IN ART through their different environments. It is a strange fact that the most prominent men in the English school are those who depart most definitely from all its tradi- tions. The English have always loved pictures which tell a story, — they love pictures of action rather than of specula- tion. The art they appreciate and under- stand is usually illustrative, — that which has a literary value and tells pictorially what might have been told in words. The works of Frank Dicksee, Sir John Millais, and Bryam Shaw are the natural flower of this school. Against them may be set the greatest modern British painters, Dante Gabrielle Rossetti, Sir Edward Burne-Jones, and Sir Frederick Leighton. Frank Dicksee, whose painting, " Har- mony," is reproduced, stands perhaps at the head of British story-telling art. That is, he does not believe that a work of art DICKSEE. HARMONY YOUTH AND LOVE 1 85 has a right to exist simply because it is beautiful. He believes that no combina- tion of harmonious colours and perfect form is in itself a picture ; to these must be added a beautiful story either sug- gested or told, and often he enhances this literary value by a verse or two written underneath, which retells in words what he has told above in paint. In " Harmony," he has pictured for us a scene which suggests Germany in the sixteenth century. The colour scheme is most brilliant; in fact, no one in modern England can equal him in depth and rich- ness of colour. The light which floods the canvas from the stained glass window seems a real light, as it falls on the maiden's mediaeval gown, of yellow and purple silk, and surrounds her bright hair with a halo, making her a very Cecilia in her lover's eyes. In all Mr. Dicksee's pictures there is a delicacy of sentiment, a 1 86 MUSIC IN ART charming purity and refinement, rarely found even in the English school. Dante Gabrielle Rossetti was one of the founders of the Preraphaelite brother- hood, the formation of which marked a new development in English art. Ros- setti was a force most potent to inspire and encourage others, he was a formu- lator and promulgator of new theories, a prophet crying in the wilderness against an art whose sole aim was to please and control the Royal Academy. As a painter, his work embodies ideas rather than actions. Technically there are many of his followers who have surpassed him in drawing, colour, and composition. Among his real successes, however, is the paint- ing called " Veronica Veronese." The subject was taken from the letters of Girolania Ridolfi, which describe how a lady, after listening to the notes of a bird, tries to write them in music, and after- YOUTH AND LOVE I 87 ward to play its song on her violin. An alleged quotation to this effect is in- scribed on the frame; but it is said that the passage does not really occur in the letters, and was probably composed by Swinburne to fit the subject. The lady wears a rich velvet gown of Rossetti's favourite green, and beside her is a glass of yellow daffodils. The yellow of the flowers is repeated in the plumage of the canary perched outside a cage beside her. As she listens with dreamy blue eyes to the little songster, her fingers wander over the strings of the violin which is suspended on the wall before her. In " Veronica Veronese " we see the perfection of the type of beauty in which the whole Preraphaelite brotherhood delighted. The model was a celebrated beauty, Miss Wilding. The whole picture is full of consummate grace and rich colour. 1 88 MUSIC IN ART Rossetti was the friend, inspirer, and teacher of Sir Edward Burne-Jones, whose picture of the " Golden Stairs " is repro- duced here. " Music on the Stairs " was a title by which it was formerly known, and " The King's Wedding," another. In this picture he exemplifies all that is most beautiful in his work. It is a silent protest against the most striking tendencies of the modern world. Against its spirit of scientific research he opposes a love for the mystical ; he confronts prosaic realism and the struggle for mate- rial prosperity with the idealism of the poet; instead of the spirit of irreverence, he shows a love for the things unseen, and holds up the pure ideals of the soul. To his Welsh blood may be credited this single-hearted, poetic temperament, which gives us a glimpse into the land where the fairies still linger in the hills and the wood-gods still find devotees at their BURNE- JONES GOLDEN STAIRS YOUTH AND LOVE I 89 altars. Art, literature, and music owe much to this Welsh spirit, which again and again makes protest against com- mercial realism and materialistic irrever- ence. The actual had no charms for Burne- Jones. He was enamoured of beauty in all its forms, and the mere fact of the ex- istence of a thing was to him no reason why it should be painted. His figures are personified thoughts, not real people. One reason for the wide popularity of this picture of the " Golden Stairs," is that, as it is painted so nearly in mon- ochrome, the reproductions give a very satisfactory idea of the original. These beautiful maidens, bearing their musical instruments, are indeed robed in varying shades of ivory-white and gray, relieved by the delicate colour in their faces and the bright flowers in their hair. All the other colouring is in the most sub- I go MUSIC IN ART dued tints, and the whole effect is as of a musical harmony. The Belgian artist, Fernand Khnopff, has translated the message of the picture into words for us. " Like the array of our most tender and precious memories, in the progress of life, these ideal beings of youth and beauty are coming down, down the inevitable steps. At first heed- less and smiling; then one of them, already anxious, stops with her finger the possible sound of her long silver trumpet; the others bow their heads or hold them high, and their soft motions stir the myriad pleats of rippling crepe. Down they come; as they descend the winding stair the suppressed passion of it all finds utterance in the plaint of a violin. Behind the metallic gleam of light cymbals introducing the saddened hues of dim gold and fading purple like the glow of an autumn sunset, they turn away to depart. YOUTH AND LOVE igi But before going off into the great hall, through the solemn colonnade, the last of the maidens stops, and, turning her head once more, sheds a smile of farewell." Mention should be made of a decora- tive painting of Albert Moore's, entitled " The Quartette." This beautiful crea- tion is almost architectural in its sim- plicity ; it has no story to tell other than the old story of love and youth, — there is no violent action, a spirit of repose per- vades the whole. It is impossible not to feel that the musical instruments were introduced solely for their decorative effect, for their own beautiful lines and colour, and for the graceful poses taken by the players. There is no historical significance about it, the violins are an anachronism with the Greek draperies ; it is simply beauty for its own sake, ab- stract art crystallized into a decoration with music as its theme. 192 MUSIC IN ART While considering the English painters, Laura Alma-Tadema must not be for- gotten, for she has painted some things which are certainly worthy of her father's daughter. She, too, has felt the spell which music casts, and embodied it on canvas. There is a charming thing of hers called " The Carol," portraying the time of the Hotel de Rambouillet. A young Frenchman in the quaint long- skirted coat, with its broad white collar, and the full rosette-trimmed trousers of the eighteenth century, is seated at an old clavichord ; the light from a candle in a curious metal candlestick shines on his delicate face and on the beautiful girl who stands singing beside him. She wears a short-waisted gown of satin, with points of lace, in the style of Van Dyck's fair dames, adorning her throat and wrists. The background is a tile-covered wall with a mirror which reflects them in the YOUTH AND LOVE I93 distance. The fair lady sings directly to us, and we feel that the very words of the old French love-song are sounding in our ears. We are made a part of the music, — a part of the scene behind the frame, brought there by the charm of the song which breaks down all barriers of time, place, or unreality. And with Words- worth we ask: " Will no one tell us what she sings ? — Perhaps the plaintive numbers flow For old, unhappy, far-off things, And battles long ago. Or is it some more humble lay, Familiar matter of to-day ? Some natural sorrow, loss, or pain, That has been and may be again ? " This same tendency to clothe his ideas in the forms of bygone days is shown in the works of a young German artist, Heinrich Vogler. He has removed from Vienna to a small town near the 194 MUSIC IN ART borders of Austria, where, with a few other painters, he lives and sends to the world what might be called painted songs without words. They might be illuminations from some old missal, or shadows from stained glass windows. His " Liebe " is a little ballad in paint. The youth and maiden, seated so lovingly on the carved stone bench, wear charm- ingly decorative costumes of rich brocade and clinging wool, which suggest Flor- ence in the sixteenth century. Although we see only their backs, the idea of peace- ful, happy love is distinct even without the charming musician in the foreground; who is really the principal figure in the picture. The harmonies from her harp serve to accentuate the quiet beauty of the landscape, and float softly away to the distant castle by the sea. It is an unreal country where they are resting, and we feel with them that — YOUTH AND LOVE I 95 " It is a land of languors and delights, A land without a future or a past, Full of sweet dreams and measured harmonies, With never sorrow's shade upon it cast." The sixteenth century in Italy shows us the zenith of the Renaissance. Raphael and Michael Angelo and a host of hardly less brilliant artists enriched Rome and the other Italian cities with paintings which are among the greatest treasures of the world. There are many whose theme is music or in which it is represented. The most famous of these is the fresco by Raphael in the Vatican, known as " Parnassus," described in another chapter. To this same period belong the Delia Robbia family, who enriched Florence with their bas-reliefs. These sculptures are familiar to all art lovers, — the loveliest gift we have from the Renaissance, — look- ing, as Pater says, as " if a piece of the blue sky had fallen into the streets of Florence." 1 96 MUSIC IN ART This world-renowned "Singing Gallery," of Delia Robbia's, was designed by him to fill a space in the sacristy of the Cathedral of Florence. Or, according to Perkins, this series of ten beautiful reliefs was begun "for the balustrade of one of the organs in the Duomo," when he was about forty-five years old. " They represent," continues Mr. Per- kins, " a band of youths dancing, playing upon musical instruments, and singing; the expression in each chorister's face is so true to the nature of his voice, that we can hear the shrill treble, the rich con- tralto, the luscious tenor, and the sonorous bass of their quartette, and as we listen to their 'ditties of no tone,' feel with the poet, while looking upon such another marble braid of men and maidens, 'that heard melodies are sweet, but those unheard are sweeter.' " The skilful grouping of these figures, DELLA ROBBIA. SINGING BOYS YOUTH AND LOVE I 97 and the variety of graceful attitudes into which they are thrown, prevents a sub- ject in itself without variety from being monotonous." As Europe became more wealthy, and private houses rather than churches were places for decoration, we find the frescoes assuming a more cheerful tone. In the seventeenth century the musical angels have become laughing cupids, who float on fleecy clouds, delighting us with airs from guitars and flutes, as ethereal and unreal as themselves. This sentimental decoration culminated in the genre paint- ings of Watteau in the eighteenth century. These were produced to please the idle rich, who, without knowledge of either fitness or harmony, delighted in seeing themselves idealized, on canvas. They were represented seated under impossible trees, in unreal landscapes, playing daintily on gay instruments. I98 MUSIC IN ART Watteau's " Lute- Player," and the " Music Lesson," in the Louvre, by Lancret, his pupil and imitator, are examples. This portrayal of an artificial life was as far from true decoration as the tinkling airs of their mandolins were from real music. But with all this lack of living force, there is a charm of delicate colour- ing, graceful though extravagant pose, and a sentiment as far removed from the vulgar and sensual as it is possible to imagine. In the " Guitar-Player " of Meissonier, the celebrated French painter of our own century, we have a more realistic treatment of a similar subject. Of the two figures he represents, the ardent listener sits astride a low bench, on which the cavalier-musician has propped his spur-booted foot, as he plays. Perhaps the most beautiful thing pro- duced in the United States in the way YOUTH AND LOVE I 99 of a musical mural painting is the frieze in the concert-room of the Mendelssohn Glee Club in New York by Mr. Robert Blum, whose death was recently an- nounced. It is composed of two immense frescoes, each fifty feet long and twelve feet high, which face each other on oppo- site sides. The first is called " The Moods of Music," and suggests, as the name im- plies, the different movements of the symphony. The andante is represented by two graceful nymphs, who lead the procession; following them, the allegro, are two slender piping boys and a group of singing girls. The gaiety increases, and the allegretto comes in with a mad round of dancers circling and swaying to the clatter of the wild tambourine players, who follow them as the allegro con furio grows in power and brilliance. One feels the rhythm in the dancers' feet, and the harmonious flow of their garments. " The 200 MUSIC IN ART scene is laid in a meadow dappled with spring flowers," writes Pauline King, "and the background, except for a short stretch of sky at each end, is covered by the intertwining branches of orchard trees, heavily laden with blossoms. In this para- dise a procession of young maidens has halted ; and some of them are playing the old game of forming a ring around a favourite, and whirling madly round and round so that she cannot break through the clasped hands. To the right, against a bit of classic wall, are stately women with lyres, and tall, lithe flute-players, with skins girt against their hips, who play a tune upon their instruments, which sets the young feet springing on the sward; and beyond the merrymakers, on the left, the rest of their companions crowd up in pairs, some playing on enor- mous tambourines, and others singing as they appear around the edge of the trees. YOUTH AND LOVE 201 " The interest centres upon the leader of the pageant, surrounded by her ring of playmates, their wind-blown garments swirling around them in fantastic shapes, — a fair, ethereal company, their faces lighted with smiles and laughter. The tone of the landscape is of that delicate lightness both in leafage and blossom, which, mirrored under a clear, cool sky, makes the peerless loveliness of the early part of the spring. And in the midst of this, the notes of the girlish blonde and brunette heads, the bare arms and necks, and the many hues of gray, pink, lavender, and green, and white of their fluttering draperies, worn with careless negligence, are as harmonious as if a flock of soft- feathered doves had lighted upon the grass. The entire effect makes a match- less combination of delicate, pure colour with the dead white of the walls, the rhythmic movement of the figures is one 202 MUSIC IN ART with the strains of the voices that swell beneath them, and the composition is managed with such cleverness that in the throng of beauties, — each one worthy of closest study, — there is not one of them, or the least fold or garland, or fluttering lock of hair, however fascinating in itself, but that is obliged to play a subordinate part for the benefit of the decorative impression." In the second panel, Mr. Blum has given us the harmony of contrast; not of colour or drawing or technique, but of feeling. Instead of the airy, rhythmic grace of the dancers, we have a slow, stately procession to Bacchus — a vintage festival ; for green trees and gay blossoms, we have marble colonnades and a tessel- ated pavement; in one, the figures have the abandon of children; the other is a carefully rehearsed effect. The colours of the second, while perfectly in harmony with YOUTH AND LOVE 203 the first and with the other decorations, are stronger and more positive, — more the colours produced by the careful dyer than those reflected from nature. The lyres, pipes, and tambourines lend their accompaniment to the stately melody. As these two contrasting processions sweep onward toward the stage they illustrate for us the two great classes of music. The first, the natural expression of the primitive man when moved by happiness or pain, a simple, spontaneous expression of a simple emotion ; the second, a delib- erate arrangement of sound to gain a desired effect, a reproduction of emotions by means of music. Chopin is an expres- sion of the first school, Wagner of the last. The great size of these decorations makes a small reproduction of them unsat- isfactory. From these two large frescoes, which 204 MUSIC IN ART charm by their grace and vivacity, it is interesting to turn to the masterpiece of Jules Breton, "The Song of the Lark." This is among the few peasant pictures which are known and loved of all the world, and is one of the most popular pictures of any sort ever painted. Like the " Angelus" — the " Man with the Hoe" — and some of Raffaelli's " Labourers," it is interesting, apart from the technical side, for what it implies rather than for what it says. The peasant girl, heavy of soul, dull of brain, embruted by a life of hopeless toil and struggle, is starting in the early dawn for her day's labour. The subdued reflec- tion of the sky, in which the gray of night is just beginning to melt into the pearly pink of dawn, is thrown upon her white waist, and the coarse blue apron tucked above her dark skirt. The sun, a fiery ball, shows its upper rim over the dark masses BRETON. THE SONG OF THE LARK YOUTH AND LOVE 205 of the distant trees and illumines the damp, rich verdure of the fields. But the glorious tints of the awakening earth are not for her ; the beautiful earth is merely the unresponsive soil from which she must wrest the meagre bread she eats. She does not see the golden light which strikes along her path, till suddenly the voice of '' the prima donna of the dawn " falls on her ear. It is a language she understands, and it lifts her soul away from the things of earth, into the realms of pure delight. She is no more a clod, but a living soul, to whom is opened all the realm of beauty and of harmony. CHAPTER VI. WORSHIP " Praise the Lord with harp ; sing unto him with the psalter and an instrument of ten strings. Sing unto him a new song; play skilfully with a loud noise." — Psalm XXXI I I. [USIC has been an inseparable part of the worship of all ages. It is the expression of man's deeper nature, the voice of his soul, and from the dawn of worship there have been hymns and chorales. Her voice was heard in the earliest religious rites. The morning stars sang together at the crea- tion, and angelic choirs celebrated the birth of Christ. It was heaven itself that taught man the song of praise, and pagans as well as Christians used it. 206 WORSHIP 207 Art could not fail to reveal the insepa- rable nature of the two. It is seen in the bas-reliefs of Egypt as early as the fourth dynasty. The Sphinx-guarded tombs of Memphis and Thebes — the pyramids themselves — all bear witness to the deeply religious feeling of her people, which found expression here, as in Greece, in music. Not in the joyous worship of the Northern nations, for the sober religious ceremonial of the Egyptian was ever shadowed by his belief in judgment to come. Harps, — the most ancient of which his- tory speaks, — lutes, single and double flutes, kettle-drums, and the jingling sis- trum are represented on the tombs of El Amarna. Herodotus calls attention to the beautiful Egyptian melody, " Maneros," or the " Lament of Isis over the Death of Osiris, the Apollo of Egypt." Luis Falero, one of the greatest artists of the modern Spanish school, has, in 208 MUSIC IN ART his painting, " Prayer to Isis," imagined a priestess of that goddess chanting her prayer from a temple roof in Thebes. It is evening. Twilight fills the sky as the hymn of the kneeling young priestess rises in gratitude, to — " The Life in Life, the Dream within the Dream, The fountain which in silent melody Feeds the dumb waters of eternity." The graceful Egyptian harp of the priestess, as well as the sistrum of the young neophyte, who accompanies her, are instruments dedicated to the worship of Isis. Sir Frederick Leighton's " Daphne- phoria," here reproduced, — the crowning achievement of his third decade (1876), — brings vividly before us one of the ancient Boeotian religious festivals for the wor- ship of Apollo. The procession, with all its emblems and the chorus of singing WORSHIP 209 virgins, carrying olive-branches, moves onward to the temple of the sun god. A youth, chosen for his beauty from some distinguished family, and crowned with leaves, leads the pageant, wearing on his feet " Iphricatidae," peculiar to his service as a priest of Apollo. From the extraor- dinary symbol he bore in his hand, an olive-bough hung in garlands of laurel and flowers, he was called the " laurel bearer." On the top of the bough was a globe of brass, representing the sun, or Apollo. From this hung many smaller balls typify- ing the stars, and near the middle a lesser globe and three hundred and sixty-five crowns, the globe being symbolical of the moon and the crowns of the sun's revolu- tions. This "laurel bearer" was accom- panied by one of his nearest of kin, who preceded him as the procession made its way to the temple, where hymns of supplication were chanted to Apollo. 2IO MUSIC IN ART Ernest Rhys's description of Lord Leighton's painting of the " Daphne- phoria " is well worth giving in full. He says : " The procession is seen defiling along a terrace backed by trees through which the clear southern sky gleams. A youth carrying the symbolic olive bough called the ' Kopo,' adorned with its curious emblems, heads the pro- cession. He is clad in purple robes and crowned with leaves. The youthful priest, known as the ' Daphnephoros ' (the laurel bearer) follows, clothed in white raiment. He is similarly crowned and carries a slim laurel stem. " Then come three boys, in scanty red and green draperies, which serve only to emphasize the beauty of their almost naked forms, the middle and tallest one bearing aloft a draped trophy of golden armour. These are seen to be pausing whilst the leader of the chorus, a tall, finely modelled WORSHIP 2 1 1 man, whose back is turned, is giving directions to the chorus with uplifted right hand ; in his left hand is a lyre, and the left arm, from the elbow, is charac- teristically draped. The first row of the chorus is composed of five children, clothed in purple, crowned with flowers ; two rows of maidens in blue and white come next, and these in turn are succeeded by some boys with cymbals. The interest of the passing procession is very much enhanced by the effect produced on two lovely by- standers, — a girl and child in blue, beauti- fully designed, who are drawing water in the left foreground. In the valley below is seen the town of Thebes." This great classic theme, just described, is not the only musical subject from the brush of Lord Leighton. His " Music Lesson," as well as a number of fine frescoes, are other instances of his love for music. Aside from being a brilliant 212 MUSIC IN ART painter, he was a man of culture, whose friendship was valued by rival artists, as well as by those less fortunate than him- self. In the crypt of St. Paul's, his resting- place, he lies beside Turner, Benjamin West, and Sir Christopher Wren. Alma-Tadema's superb painting, the " Vintage Festival," ranks among this master's three or four greatest pictures, such as his " Death of the First- Born," the " Reading from Homer," his " Sappho," and "Cleopatra." This long painting of the " Vintage," evidently intended, from its length, to decorate a frieze, was begun in Brussels, and only given its last touches after he had left his unsympathetic Friesland home, and begun life over amid new surround- ings, in Regent's Park, London. The " Vintage " is a striking illustration of Alma-Tadema's love for truthfulness of detail ; and not less extraordinary is the WORSHIP 2 1 3 colouring and sense of motion conveyed. The vine-dressers have entered the temple to give thanks to their god Bacchus, for his blessings, and to express in music their joy and gratitude. A golden glow floods the sanctuary — the brilliance of full rosy daylight. The colours of the vintage are suggested throughout. The subdued gold, warm browns, soft red and indefinite purples of the autumn landscape giving a feeling of rich warmth. The gleam and translucence of the marble is a marvel of technique, and the soft, blurred reflections of the procession are wonderful spots of colour. With a light, gliding step moves in advance a beautiful young bacchante in the long white gown of the priestess. Her soft golden hair is wreathed in vine leaves and clusters of grapes. She bears in her hand the flaming torch with which she is to light the fires on the altar of the god. She glances back at her gracefully 214 MUSIC IN ART moving companions, who follow, with flutes and tambourines, accompanying the chanting voices of the multitude in the hall below. Strong men, carrying huge jars of the new wine, complete the festal scene. The most striking colour note in the painting is the crimson drapery of the tambourine girl- Describing the scene, Georg Ebers says : " Quietly, yet deeply penetrated by a devout feeling of gratitude, the proces- sion moves forward, and the most gen- uine holiday mood cheerily and reverently pervades the temple and throng. The marble gleams, the bronze shimmers in marvellous hues and in the clear, radiant light of the festal day; every face, every utensil, every ornament, every seam be- tween the stones, has its full and complete value. Whoever remembers this picture feels as if he had been permitted to share WORSHIP 2 1 5 as a guest in the holiday rejoicing of the Hellenes." Leaving the light festival music of the early Greek worship and that accompany- ing the Egyptian religious rites and cere- monials, in which the harp was given so important a part, we find in the time of King David this instrument at the sum- mit of its glory. Its rich, sympathetic chords were well suited to voice the fervent religious spirit of David's nature and of his time, when — " The Bards sang, and the soft hand of Virgins trembled on the string." The Hebrews sang their hymns of praise in their temple services and na- tional festivals to the accompaniment of the harp. According to mediaeval artists, we must suppose the " kinnor " with which David, the shepherd-minstrel, charmed away the 2l6 MUSIC IN ART evil spirits which troubled the heart of Saul, was not unlike the early Egyptian lyre, — a horizontal, stringed instrument from which has gradually developed our piano of to-day. After this royal harper came to the throne, we read that on the occasion of the moving of the ark, " David and all the house of Israel played before the Lord on all manner of instru- ments made of fir-wood, even on harps and on psalteries and on timbrels." Singing was also David's kingly accom- plishment, and in the psalms he com- posed and sang Hebrew poetry reached its supremest height. Three thousand years have passed, yet even to-day they stand unequalled. In the painting here given by the great Flemish master, Rubens, we catch, with Byron, a glimpse of — " The harp the monarch minstrel swept, The King of men, the loved of Heaven, 7" .„.. . V. y ■ \ ' '^^C' MEsHr^^ ' ' i f i ■, > ' ^""^L^.- /!i ^1 wKm3%Mt^BnrW ^JSHKdfl W & J 1 i . /' RUBENS. KING DAVID WORSHIP 2 1 7 Which music hallow'd while she wept O'er tones her heart of hearts had given, Redoubled be her tears, its chords are riven ! It soften'd men of iron mould, It gave them virtues not their own ; No ear so dull, no soul so cold, That felt not, fired not to the tone, Till David's lyre grew mightier than his throne." In this painting of David, Rubens shows us the sweet singer in his old age. The artist's conception is beautiful in its spirit of devotion and worship. David's eyes are raised as if in a hymn of praise, as he accompanies himself on his harp. The details are carefully stud- ied, such as the characterization of the hands. They are distinctly old hands, and the hands of a musician, yet how beautiful are the fingers as they touch the harp-strings, and with what delicacy and feeling are they painted ! This painting of Rubens is remarkable for its sympathetic and spiritual quality, 2l8 MUSIC IN ART which does not characterize all of this master's work. The head is of the Jewish type, with sweeping beard, the whole bearing of the aged " King of Judea " conveying a sense of majestic dignity. We find, however, a curious anachronism in the rich costume of ermine, velvet, and jewels, very like the costume of a mayor of Rubens's own time. Ermine was unknown in Judea, and velvet was only invented about two thousand years after the great Psalmist's death, and not a very beautiful velvet then. As in all Rubens's works, the flesh-tints are florid. The texture of the fur and of David's long white beard and hair ex- hibit a perfection of technique for which Rubens was famed. Faultless in its com- position, it contains the long, sweeping lines he loved to paint. There are many paintings of this sub- ject; among them should be mentioned WORSHIP 2ig Rembrandt's " David Playing before Saul," as well as Sir Frederick Leighton's " David the Psalmist," which represents the king sitting upon a housetop gazing upward at two doves. The painting was exhibited bearing the inscription, " Oh, had I the wings of a dove, for then would I fly away and be at rest." In Francia's " Coronation of the Virgin," at San Frediano at Lucca, there is a figure of David, crowned, standing with King Solomon on the flower-strewn ground on the left. His eyes are turned heaven- ward, as he plays upon a psaltery, which in the painting shows only seven strings and pegs, although it may have had others, as the number of brass strings varied. Luca Signorelli gives King David, the psalmist, a prominent place in his paint- ing of the "Madonna, Saints, and Proph- ets," in the Arezzo Gallery. He is seated beneath the Virgin, playing on a harp 2 20 MUSIC IN ART or psaltery. The colouring is very dark, and although the conception of David is majestic, the figure, as carried out, is rather ungainly. Angels, standing on either side of the Virgin, play to her, one on a lute, and the other on a violin. Giorgione's world-famous " Concert," a reproduction of which is given here, hangs in the Hall of the Iliad, of the Pitti Gallery, Florence. Few of the paintings of this brilliant Venetian master have escaped total de- struction, and of these, several are cred- ited by competent critics to other artists. While Morelli, Doctor Berenson, and others attribute the " Concert " to Titian, Crowe and Cavalcaselle consider it to be an unusually fine example of Giorgione's work, and say that it " gives a just measure of his skill, and explains his celebrity." It not only has suffered much from the WORSHIP 221 hand of a " restorer," as well as from the thick coat of varnish which covers it to- day, but was cut from its frame and carried to Paris in the time of Napoleon, and injured in so many ways, that it is little wonder that critics find difficulty in judg- ing the work. However, many important authorities — Muntz, Signor Conti, and others — agree with Crowe and Cavalcaselle, that the Pitti " Concert " is Giorgione's own work. The central figure of this extraordinary composition is, fortunately, the one best preserved. Giorgione was celebrated for his portraits, and of this group of three heads Herbert Cook says, " In concep- tion and spirit they are typically Gior- gionesque, and Morelli, I imagine, would scarcely have made the bold suggestion of Titian's authorship, but for the central figure of the young monk playing the 222 MUSIC IN ART harpsichord. This head stands out in grand relief, being in a far purer state of preservation than the rest, and we are able to appreciate, to some extent, the extraordinarily subtle modelling of the features, the clear-cut contours, the inten- sity of expression. . . . The subtlety of the composition, the bold sweep of diag- onal lines, the way the figure of the young monk is ' built up,' on a triangular design, the contrasts of black and white are essentially Giorgione's own. So, too, is the spirit of the scene, so telling in its movement, gesture, and expression." The colouring is rich and warm. We can almost hear the deep full chords from the hands of the monk, whose face, as he turns at the gentle touch of his compan- ion's hand on his shoulder, is one long to be remembered. The angelic choristers of the old mas- ters — exquisite creations of their won- WORSHIP 223 derful imaginations — are represented in every attitude of worship. Sometimes these heavenly musicians worship the Almighty with hymns of joy and praise, or attend the glorified Saviour, " And with songs And choral symphonies, day without night, Circle His throne rejoicing," as beautifully represented by Fra Angel- ico, in his " Christ in Glory Surrounded by Angels," which once formed the pre- della of an altar-piece to the Madonna of San Domenico at Fiesole. Sometimes they pour forth their songs of triumph, as in Luca Signorelli's " Crowning of the Elect," — in the Or- vieto Cathedral, where he represents nine angels playing upon musical instruments, in the clouds above ; or welcome the elect with music, as in his " Paradiso," — where music-making angels float in a sky 224 MUSIC IN ART of pure gold, showing the righteous the way. The wings of Signorelli's angels are not painted for purely decorative purposes, but are wings of great strength. His mighty archangels in his " Resurrection," sending forth their clarion notes from silver trumpets, have wings of superhuman strength — well able to bear aloft the angelic bodies they carry. Sometimes these blessed beings — "birds of God," as Dante calls them — from celestial choirs in the clouds above, rejoice at the birth of Christ, as in Botti- celli's " Nativity," or join in St. Cecilia's hymn, or pour forth their divine har- monies, as represented in the heavenly choruses of Raphael, Vivarini, Ghirlandajo, Palma and Fiesole. Where in early Christian art can one find anything more lovely than Melozzo da Forli's beautiful angels, playing on MELOZZO DA FORLI. AN ANGEL WORSHIP 225 golden lutes or viols, in St. Peter's, Rome, — one of which is given here ? Very little of his work has come down to us, — a few sacred fragments merely, but enough to show us the beautiful art of Upper Italy at its best. Berenson calls attention to these "grandly robust forms," and speaks of the charm of their entire absence of all personality. The colouring is of great delicacy, and the expression full of tender- ness and devotion, especially so in the angels of the sacristy of St. Peter's, where one plays a lute and another is striking the cymbals. Other angels of his surround the figure of Christ in the palace of the Quirinal. The Virgin was worshipped with " hymns of winged gladness," at the birth of Christ. Songs of hope and love were on the lips of the angels who watched over her, and the great masters who have 2 26 MUSIC IN ART painted the Madonna have pictured her attended by these angelic choristers who sit upon the steps of her throne, or stand or kneel near her playing on the lute, harp, viol, or trumpet. In Murillo's " Virgin and Infant Jesus," in Correggio's " Madonna and Child," in Van Dyck's " Madonna, Child, and Angels," and in Carpaccio's " Presenta- tion," we find the Virgin and infant Christ being worshipped not only with song, but with the music of these instruments, as we do also in Bouguereau's beautiful conception of this subject. This modern master of the French school has painted a lovable young mother, full of grace and tenderness, gently clasping the Christ- child to her bosom. It is a charming composition, filled with contrasts of light and shade, which filter through the foliage in the background and catch on the flanges of the angels' wings BOUGUEREAU. — MADONNA AND CHILD WITH ANGELS WORSHIP 227 in an effective way. The blue of the Virgin's draperies, symbolical of heaven, the white of her graceful head-dress and of the robes of the angels who kneel at her feet, worshipping her with strains of sweet music, form a soft and har- monious colour scheme. Bouguereau seems to have painted the faces of the three angels from the same model, the same prettiness of type being repeated in each. The waxy flesh-tones are char- acteristic of all this master's work. How- ever, his faultless drawing and skilful execution are noticeable, as well as a cer- tain refinement, taste, and feeling which are apparent in all his religious subjects. The expression of the Virgin's face is one of peculiar thoughtfulness and seren- ity, as if shadowed by some premonition of the future. Bouguereau followed this painting with his " Pieta," which shows the fulfilment of her forebodings. The 228 MUSIC IN ART principal group is again surrounded by the faces of adoring angels, but the Vir- gin's attitude and expression is now heart- broken and resigned. The wing of the altar-piece next to the Virgin in the Cathedral of St. Bavon, at Ghent, painted by the Van Eyck brothers, contains eight angels, who stand before a music-desk and worship the Virgin in song. Referring to this painting, Kugler says : " They are represented as choristers in splendid vestments and crowns. The brilliancy of the stuffs and precious stones is given with the hand of a master, the music-desk is richly ornamented with Gothic carved work and figures, and the countenances are full of expression and life; but in the effort to imitate nature with the utmost truth, so as even to enable us to distinguish with certainty the different voices of the double quartet, the .spirit of a holier influence has already WORSHIP 229 passed away." It is on the wing oppo- site this we find Van Eyck's lovely St. Cecilia, described in another chapter. In Correggio's " Madonna and Child with Angels," which hangs in the Uffizi Gallery, Florence, the attention of both Virgin and Child is held by the music of a child angel with wings, playing on the viola. Behind them, another angel sings and plays a lyre. Above the bright nim- bus about the Virgin's head is a group of sweet cherub heads with rosy flesh-tints. The angel holding the viola wears a robe of greenish-blue, while the one on the Madonna's right, who sings with the golden lyre, has a sad expression, and is robed in a soft and rich yellow. Her fair hair and pearly complexion are pleasing, and the wing that shows is of a deep crimson colour. The Virgin wears a drapery of blue over an under robe of crimson. Both 230 MUSIC IN ART figures are turned to the left, absorbed in the strains of music from the angel's viol. This brilliant little canvas is well pre- served, and was at one time attributed to Titian, but Morelli and later critics claim it to be an early work of Correggio's. The many beautiful music-making angels painted by that holy monk of San Marco, Fra Angelico, " The Blessed," are exquisite as they float in the heavens, serenely blowing on long silver trumpets or playing upon lutes, cymbals, viols, little organs, or harps. The spiritual beauty of these ideal figures is remarkable, and every detail of their painting shows the touch of a loving hand. In San Maria Novella at Florence, in the convent of San Marco in the Vatican, the Louvre and the Uffizi, his principal frescoes are to be found. His " Corona- tion of the Virgin," given here, is in the FRA ANGEUCO. ANGELS (DETAIL FROM THE CORONATION OF THE VIRGIN) WORSHIP 231 Uffizi. Langton Douglas describes "his glorious circlet of blessed personages in mid-air, above the clouds, in front of a glowing background of golden rays." " Above on the left," he continues, " is the Virgin, her face full of sweetness and con- tent. With her hands crossed over her breast, she bends forward a little as the Christ, who is seated opposite to her, places in her crown a jewel set in gold. " To the right hand, and to the left, is a choir of angels singing and playing on musical instruments. Once again the ar- tist has introduced the long Florentine trumpet with admirable effect. On either hand below are grouped, so as almost to complete the circle, fifty saints, male and female. The heads are full of character. In some cases the artist has reproduced faces which are to be found in the ear- lier Louvre altar-piece, but with added strength and subtlety of delineation. Here 232 MUSIC IN ART Fra Angelico's power of harmonious and rhythmical composition is seen at its best. This picture of the ' Coronation ' is like some glorious crown of coloured gems, floating in the empyrean." In Vivarini's beautiful painting the music of the angels is in praise of St. Am- brose; while in Paul Veronese's triptych the side wings are devoted to SS. Gregory and Jerome on one side, and SS. Augus- tine and Ambrose on the other. Angels playing upon musical instruments hover above the heads of each group. Mention must be made of that host of singing, piping, or fluting cherubs the early painters — especially of Upper Italy — loved to introduce into their sacred sub- jects. Bellini's piping cherubs, crowned with myrtle, sitting at the foot of the Madonna's throne, in his painting in the Frari, Venice, Francia's youthful chor- isters, and those of Botticelli, Filippino WORSHIP 233 Lippi, Ghirlandajo, Fra Bartolommeo, Mantegna, and other Italian masters, — all lovely little creations of childish beauty, pouring out their notes of worship. Pinturicchio's child - musicians are painted with much attention and used most effectively, as are also those of Vivarini, Alvise, and Vittore Carpaccio, but only by the latter were cherubs, — charming putti, or tiny boys with lutes, violins, trumpets, — introduced with really decorative effect, as in the example given here. How exquisite are the putti at the base of his " Presentation in the Temple," in the Academy of Fine Arts, Venice, and here reproduced. Especially lovely is the one in the centre playing the lute, with a sweetly serious face. Berenson speaks of Lorenzo Lotto's "two chubby baby-angels," perched on a wall in front of the enthroned Madonna 234 MUSIC IN ART with her sleeping infant. Each is repre- sented with little wings, and singing or playing on tiny lutes. In Mantegna's " Virgin and Child En- throned," in the Brera Gallery, he has painted three angioletti sitting below the Virgin on the steps of her throne, playing on a violin and lutes ; and in the Louvre is his lovely " Concert of Children." One of these three small boys, seated on a marble pedestal, strikes a timbrel, while the other two, on either side of him, accompany him on their flutes. The colours are pleasing and mellow, and the figures are natural and beautifully varied. Francia painted the musical instruments his angels hold, with such skill and accu- racy, that he must have felt as strong a love for music as he did for colour. In his " Felicini " altar-piece, in the Bologna Gallery, the charming putto, — or tiny angel seated at the Virgin's feet, plays WORSHIP 235 upon a lute — a beautifully shaped instru- ment with an elaborately carved "rose" beneath the strings. In his " Bentivoglio " altar-piece at San Giccomo Maggiore, Bologna, one of the two child-angels is playing on a lute with a lemon or pear-shaped back so carefully painted that the number of strings and pegs can easily be counted. In his " Cal- cina" altar-piece in the Hermitage Gallery, St. Petersburg, two little angels sit be- neath the enthroned Virgin, one playing a viol de braccio, with a bow, and the other playing on a rather large lute with a "rose" of unusual beauty, elaborately carved in a central star surrounded by roses. In the Hall of Arts and Sciences of the Borgia Apartments of the Vatican, is Pin- turicchio's beautiful painting of " Music," filling one of the seven spaces in this room decorated by him. In each panel 236 MUSIC IN ART is painted an emblematical group, the central figure of which is a woman. " Music " is perhaps the most beautiful of them all. This panel has been well described by Evelyn March Phillipps, who says : " With drooped eyelids the symbolic sister daintily plays a violin ; of four beautiful putti two hold back the splendid dark green curtains, and two play the flute at ' Music's ' feet. Two old men are grouped together with Tubal Cain, who, as in the Spanish Chapel, forges musical instruments and keeps time with his swing- ing hammer. On the left is a charming group of boys, — one playing the harp, an- other singing, a third, in rich dark robe and a student's cap upon his square out- flowing locks, touching a lute. In the spontaneity and unity that runs through all these figures, the suggestion of music, and the sense of pleasure in it, is ren- dered as in few other paintings of the WORSHIP 237 Renaissance. We almost hear the strain, soft, fresh, heart-stirring, given without ex- aggeration or self-consciousness, to which the little putti above seems to lean and listen, and we feel little doubt that this, the most lovingly painted, the most homo- geneous of all the scenes, was painted entirely, or almost entirely, by Pinturic- chio himself." Bernardino di Betti Biagio was the real name of Pinturicchio, which means only "Little Painter." The Sienese School, of which Simone Memmi was the chief, strove at spiritual expression rather than an imitation of the material form. Few of Memmi's works have withstood the wear of time, but Ruskin calls our attention to one of his frescoes in a cloister of Santa Maria Novella at Flor- ence, in the Cappella de' Spagnuoli, and refers to the figure representing " Music," 238 MUSIC IN ART following that of " Reason," as one of the most pleasing in the series, " an extreme refinement and tender severity being aimed at throughout." " She is crowned," he con- tinues, " not with laurel, but with small leaves. I am not sure what they are, being too much injured. The lips, not far open in their low singing, the hair rippling softly on the shoulders. She plays on a small organ, richly ornamented with Gothic tracery, the slope of it set with crockets like those of Sante Maria del Fiore. The action of both hands is singularly sweet. The right is one of the loveliest things I ever saw done in paint- ing. She is keeping down one note only, with the third finger seen under the raised fourth, the thumb just passing under. All the curves of the fingers are exquisite, the pale light and shade of the rosy flesh relieved against the ivory white and brown of the notes. Only the thumb WORSHIP 239 and end of the forefinger are seen of the left hand, but they indicate enough its pressure on the bellows. Fortunately, all these frescoes are absolutely intact." Taddeo Gaddi is sometimes credited with this work. Petrarch was a friend of Mem- mi's, and Giotto was his contemporary. The music of the early Christian wor- ship was copied by the hands of monks, and preserved in ponderous volumes, jealously guarded in convent and mon- astery under lock and key. Each order kept its music separate from the others, not permitting it to be copied. Some of those rare old tomes that have come down to us from the eighth and ninth centuries, such as we see lying by the organ in Gustave Dore's beautiful picture, " A Day Dream," are rare works of art, with their parchment pages richly illuminated like old missals. In this picture of Dore's, which might well be 240 MUSIC IN ART called " Inspiration," he brings vividly before us the end of a Sabbath morning cathedral service of music and worship. The procession of officiating priests files slowly out to the recessional of the young monk in the organ loft, whose soul seems wrapped in reverie, as his hands glide lightly over the keys, " the music yearning like a god in pain." Although the colour- ing is somewhat muddy and heavy, the composition is absolutely faultless. The flood of light from a stained glass window above the organ falls on the young organ- ist's uplifted face and tonsured head, his arms and the marble balustrade casting blurred shadows on the tiled floor and the books of music lying at his feet. The intense, imaginative quality of this great genius is here strongly felt. Unlike the lurid grandeur of most of Dore's can- vases, a delicate spirituality pervades this work. WORSHIP 24I Strangely similar to this painting of Dore's is George Von Hoesslin's " Organ Fantasie." The monk at the organ pauses with one hand lifted, as he hears the voices of two angels singing near him. As Dore originated a new style and taste in French art, so George Mason of " Harvest Moon " fame, did for the Eng- lish school of painting. This simple little town of Wetley Abbey became as dear to Mason as Barbizon had been to Millet. He wandered about the fields and valleys studying the peasant folk at their work, the children at play, the reapers in the field, and the strange effect of mists over the moors near by, and painted such charming pictures as his " Evening Hymn." In contrast to the " Evening Hymn " by Mason, are the Christmas angels, of E. H. Blashfield. Both represent an awakening to beauty, one of the soul 242 MUSIC IN ART of the peasant girl, the other the awaken- ing of the whole world to the beauty of peace and good-will through the music of the Christmas bells. In this picture the artist has dipped his brush in cold moonlight, and painted with the reflections from a snow-covered world, dappled with the shadows of dark pines. He has combined in a remarkable degree coldness of colour with brightness and gaiety of effect. There is little red or yellow in the whole picture, the general tone being greenish, which gives to the light of the angels' robes the crystalline effect of snow. Through all the fanciful ecstasy of this picture runs a vein of realism. The bells are actual bells, — they were studied from the old Church of St. Nicholas of Blois, and from Giotto's tower in Florence. The circling doves serve to accentuate the message which is pealing from their great bronze throats. WORSHIP 243 Mr. Blashfield is President of the So- ciety of American Artists, and is almost as eminent as. a mural decorator as he is as a painter of easel pictures. Among other large decorations of his is one of the domes of the building of the Manu- facturing and Liberal Arts at the World's Fair of 1893, and the central dome of the Congressional Library at Washington. THE END. BIBLIOGRAPHY J. D. Passavant: Raphael of Urbino. London, 1872. Percy Bate: The English Pre-Raphaelite Painters, their Associates and Successors. London, 1901. Malcolm Bell : Sir Edward Burne-Jones, a Record and Review. London, 1901. Philip Gilbert Hamerton : Contemporary French Painters. Boston, 1895. Rembrandt's Etchings. Man in Art, London. Lanzi : History of Painting in Italy. Translated from the Italian by Thomas Roscoe. London, 1852. Charles C. Perkins : Tuscan Sculptors ; their Lives, Works, and Times. London, 1864. Julia Cartwright: Raphael in Rome. London, 1895. J. A. Symonds: Renaissance in Italy. The Fine Arts. 1888. Langdon Douglas : Fra Angelico. London, 1902. Geo. Bell & Sons. George Ebers : Lorenz Alma-Tadema, his Life and Works. From the German, by Mary J. Safford. New York, 1886. Richard Muther : History of Modern Painting. London, 1895. LCbke: History of Art. New York and London, 1868. 245 246 BIBLIOGRAPHY Leander Scott: Luca Delia Robbia, with other Italian Sculptors. New York and London, 1883 Maud Cruttwell: Luca Signorelli. London, 1899. Walter H. Pater: Studies in the History of the Renaissance. London, 1873. Esther Wood : Dante Gabriel Rossetti and the Pre- Raphaelite Movement. London. H. M. Poynter : English Contemporary Art. Trans- lated from the French by Robert de la Sizeranne. New York, F. A. Stokes & Co. Eugene Muntz : Raphael ; his Life, Work, and Times. Translated by Walter Armstrong, 1882. Evelyn March Phillipps : Pinturicchio. London, George Bell & Sons, 1901. Ernest Rhys : Frederic, Lord Leighton. London, 1900. Frank Preston Stearns: Giorgione. New York and London, 1901. Crowe and Cavalcaselle : Lives of the Early Flem- ish Painters. London, 1879. A History of Paint- ing in North Italy. London, 1871. Dr. Franz Kugler : Early Flemish Painters. London, 1879. A Handbook of the History of Painting, edited by C. L. Eastlake. London, 1842. Kugler's German, Flemish, and Dutch Masters, edited by J. A. Crowe. London, 1 879. Bernhard Berenson : Lorenzo Lotto ; an Essay in Constructive Art Criticism. New York and Lon- don, 1895. The Venetian Painters of the Renais- sance. New York, 1894. The Florentine Painters of the Renaissance. New York, 1894. The Study and Criticism of Italian Art. London, 1901. BIBLIOGRAPHY 247 RUSKIN on Music : Edited by A. M. Wakefield. Lon- don, 1894. Mrs. Jameson : Sacred and Legendary Art. London, 1870. Vernon Lee: Belcaro, being Essays on Sundry Ms- thetical Questions. London. Studies in the Renais- sance. Boston, 1884. Frederick Wetmore : Studies in English Art Lon- don, 1876. Timothy Cole (Engr.): Old Dutch and Flemish Masters, with Critical Notes by John C. VanDyke. New York, 1885. Old Italian Masters, with Notes by W. J. Stillman. The Century Company, 1892. Henry Strachey: Raphael. London, 1900. Charles H. Caffin: American Masters of Painting; being a Brief Appreciation of Some American Painters. New York, 1902. Rembrandt : his Life, his Work, and his Time. From the French by F. Simmonds, edited by F. Wet- more. London, 1894. Lis2t: Life of Chopin. Translated by John Broad- house. London, 1900. Morelli: Critical Studies of the Italian Painters. Italian Masters in the German Galleries. London, 1883. W. C. Monkhouse: British Contemporary Artists. Scribner. New York, 1899. Clara Erskine Clement: A Handbook of Legend- ary and Mythological Art. Boston and New York, 1897. Maud Cruttwell: Mantegna. London, 1901. Vasari : Lives of the Painters. Edited by A. A. Hop- 248 BIBLIOGRAPHY kins and E. H. and E. W. Blashfield. New York, 1897. Frederick J. Crowest: The Great Tone Poets; being Short Memoirs of the Greater Musicians and Composers. London, 1878. Musicians, Wit, Humour and Anecdote. London, 1902. Charles A. Lidgey: Wagner.. London, 1899. Walter Rowlands: Among the Great Masters of Music. Boston, 1900. Maud Cruttwell: Luca and Andrea Delia Robbia and Their Successors. London and New York, 1902. Pauline King: American Mural Painting. Boston, 1902. N. D'Anvers: History of Art. London and New York, 1882. Corot and Millet, with Critical Essays by Gustave Geffroy and Arsdne Alexandre. Edited by Charles Holme. London, Paris, and New York. Emile Michel: Rembrandt, Sa Vie, Son Giuvre et Son Temps. Paris, 1893. P. Molmenti: Carpaccio, Son Temps et Son CEuvre. Venice, 1893. INDEX OF ARTISTS Alma-Tadema, 163; A Reading from Homer, 137, 212; Sappho, 141-143, 212; Vintage Festival, 212-215. Alma-Tadema, Laura, The Carol, 102-193. Alvise, 233. Amberg,WilheIm, Sappho, 143-144. Angeli, 41. Angelico, Fra, Christ in Glory Surrounded by Angels, 223; Coronation of the Virgin, 230-232. Angelo, Michael, 26, 35, 138, 195. Barrias, Felix Joseph, Death of Chopin, 1 19-124. Barrias, Louis-Ernest, The Child Mozart, 107. Barth, Ferdinand, Paganini in Prison, 113-114. Bartolommeo, 233. Bates, Harry, Homer, 133-137. Beckmann, W., Wagner at Home, 129. Begas, Carl, Lorelei, 41. Bellini, 232. Blashfield, E. H., Christmas Angels, 241-243. Blum, Robert, Moods of Music, 199-202; Vintage Festival, 202-204. Borckmann, A., Mozart and His Sister before Maria Theresa, 105. Botticelli, Nativity, 224, 232. 249 250 INDEX OF ARTISTS Bouguereau, Homer, 139; Madonna and Child with Angels, 226-227; Pieta, 227-228. Breton, Jules, Song of the Lark, 204-205. Burne-Jones, 76, 184; Pan and Psyche, 12-14; Or- pheus and Eurydice, 37; St. Cecilia, 75, 77-78; Paderewski, 131; " Le Chant d'Amour," 166-169; Golden Stairs, 188-191. Campi, Giulio, St. Cecilia, 52. Can ova, 169. Carpaccio, Presentation, 226, 233. Carracci, Annibale, 68; Pan Teaching Apollo, 15. Charlerie, Hippolyte de la, Lulli, 85-87. Church, Frederick E., St. Cecilia, 79. Cimabue, St. Cecilia, 53-54. Cogniet, Leon, 123. Corot, Orpheus Greeting the Morn, 37-38. Correggio, Madonna and Child with Angels, 226, 229-230. Crawford, Thomas, Orpheus in Search of Eurydice, 39- Dal Zotto, Tartini, go. David, Jacques Louis, Paris and Helen, 169-170. Delacroix, Homer, 138-139. Delaroche, Paul, St. Cecilia, 75. Delia Robbia, Singing Gallery, 195-197. Dicksee, Frank, Harmony, 184-186. Dicksee, Margaret, Child Handel, 102-104; Sheridan at the Linleys', 104. Dolce, Carlo, St. Cecilia, 61-63. Domenichino, St. Cecilia, 68, 71-74. Donatello, St. Cecilia, 63-65. Donoghue, John, Sophocles, 145-147. Dore, Gustave, " Marseillaise," 154; Deborah, 155; Day Dream, 239-240. Falero, Luis, Prayer of Isis, 207-208. INDEX OF ARTISTS 25 I Fettori, Caveliere Giovanni, Reproral of Herod, 155. Fiesole, 224. Forli, Melozzo da, 224-225. Francia, 234-235; Coronation of the Virgin, 219, 232. Gaddi, Taddeo, 239. Garofalo, St. Cecilia, 51-52. Gerard, Baron, Homer, 138. Gerome, Frederick the Great in His Study, 160-161. Ghirlandajo, 224. Giorgio, San, St. Cecilia, 52. Giorgione, Orpheus and Eurydice, 29; Concert, 173- 174, 220-222; Shepherd with a Lute, 183. Giotto, 239. Graefle, Albert, Symphony by Beethoven, 116. Guffins, G., " Marseillaise," 153. Hals, Frans, Jester, 174-177. Hamman, Edouard Jean, Bach's Preludes, 95-97; Gluck at the Trianon, 99; Workshop of Stradi- varius, 99-100; Handel and George I., 100-101; Meyerbeer, 124-125; Haydn Crossing the Eng- lish Channel, 125-126; Weber's Last Thoughts, 126-127. Heilbuth, Ferdinand, Palestrina, 84-85. Hensel, Wilhelm, Miriam, 154. Herpfer, Carl, Mozart at the Organ, 106. Hiolle, Ernest Eugene, Arion, 20-21. Hitchcock, George, St. Cecilia, 78-79. Hoesslin, George von, Organ Fantasie, 241. Hofmann, St. Cecilia, 78. Ingres, Cherubini, 128; Homer, 138. Kaulbach, Herman, Pied Piper of Hamelin, 42-44; Frederick the Great and Bach, 98; Last Days of Mozart, 113; Homer Approaching Greece, 137. Khnopff, Fernand, 190. Klimt, Gustav, Schubert at the Piano, 127-128. 252 INDEX OF ARTISTS Knopp, St. Cecilia, 78. Kray, Wilhelm, Lorelei, 40-41; "Ignis Fatuus," 42. Kriehuber, Joseph, Liszt Playing Beethoven's So- nata, 130-131. Kurzbauer, 41. Lancret, Music Lesson, 198. La Tour, Madame de Pompadour, 156. Lauenstein, St. Cecilia, 78. Leighton, Sir Frederick, 184; Eurydice Pleading with Her Lover, 37; Salome, 155; Daphne- phoria, 208-211; Music Lesson, 211; David the Psalmist, 219. Lemud, Aime de, Beethoven's Dream, 116-117. Leslie, Queen Katharine of Aragon and Her Maid, 156-158. Levy, Emile, Death of Orpheus, 32-33. Leyden, Lucas von, St. Cecilia, 54. Leyendecker, Paul, Beethoven at Bonn, 114. Lippi, Filippino, 233. Lomax, John A., " Marseillaise," 153. Lotto, Lorenzo, 233-234. Luini, St. Cecilia, 52. Lysippos, Borghese Faun, 25. Makart, Hans, 41. Mantegna, Andrea, 17, 233; Musicians, 170-173; Virgin and Child Enthroned, 234; Concert of Children, 234. Marshall, James, Tartini's Dream, 87-90. Mason, George, Pied Piper of Hamelin, 44; Evening Hymri, 44, 241; Harvest Moon, 44, 241. Mederno, Stefano, St. Cecilia Lying Dead, 50. Meissonier, Guitar-Player, 198. Memmi, Simone, Music, 237-239. Millais, Sir John, 184. Millet, 241; Angelus, 168, 204. INDEX OF ARTISTS 253 Moore, Albert, Quartette, 191. Moretto, II, St. Cecilia, 52-53. Morice, Arion, 21-22. Moritz, 41. Munkacsy, Mihaly, Mozart Directing His Requiem, III-II2. Murillo, Virgin and Infant Jesus, 226. Myron, Marsyas, 17. Neal, David, Mary Stuart and Rizzio, 158-159. Nouy, Lecomte du, Homer, 138. Overbeck, 75. Palma, 224. Papperitz, Wagner at Bayreuth, 129-130. Paredes, V. de, Mozart before Madame de Pompa- dour, 106. Perugino, 17. Phidias, 138. Picot, 33. Piloty, 94- Pils, Isidore Alexandre, Rouget de l'lsle Singing the "Marseillaise," 148-153. Pinturicchio, 17, 233; Music, 235-237. Pixis, Th., Siegfried Warned by the Rhine Maidens, 42. Pollaiuolo, 11. Potter, Edward G, Sleeping Infant Faun, 27. Potzelberger, Robert, Songs Without Words, 117. Praxiteles, Apollo and Marsyas, 16-17; Young Satyr at Rest, 26-27. Raphael, 20, 81, 138, 195, 224; Parnassus, 6-7, 137, 195; Apollo and Marsyas, 17; St. Cecilia, 56- 60; St. Cecilia's Martyrdom, 60-61. Raupp, 94. Rembrandt, 66; Singing Boy, 180-181; David Play- ing before Saul, 219. 254 INDEX OF ARTISTS Reni, Guido, St. Cecilia, 60, 66, 68-71. Reynolds, Sir Joshua, St. Cecilia, 75-76. Rodin, August, 136; Orpheus and Eurydiee, 33-33. Rosenthal, Toby E., Morning Devotions in the Family of Bach, 92-94. Rossetti, Dante Gabrielle, 77, 184, 188; Veronica Veronese, 186-187. Rubens, Pan and Syrinx, 14; St. Cecilia, 65-68; King David, 216-218. Rude, Frangois, " Marseillaise," 153. Sarto, Andrea del, Salome Dancing befpre Herod, 154-155- Sassoferrato, St. Cecilia, 61. Schloesser, Carl, Beethoven in His Study, 115-116. Schwanthaler, Nymph of the Rhine, 41. Scopas, Cymbal Player, 27. Shaw, Bryam, 184. Shields, Thomas, Mozart Singing His Requiem, 113. Siemiradski, Hendrick, Chopin, 117-119. Signorelli, Luca, School of Pan, 10-12; Madonna, Saints, and Prophets, 219-220; Crowning of the Elect, 223; Paradiso, 223-224; Resurrection, 224. Steen, Jan, Family Concert, 177-180. Strudwick, St. Cecilia, 75, 76-77. Swan, J. M., Orpheus and Eurydiee, 35-36. Terborch, Gerard, Lute-Player, 182; Concert, 182; Music Lesson, 182-183; Guitar Lesson, 183. Thorwaldsen, 169; Pan and a Young Satyr, 12. Titian, 230; Concert, 220-222. Van Dyck, 192; Organist Liberti, 128; Wife with 'Cello, 181-182; Madonna, Child, and Angels, 226. Van Eyck, H. and J., St. Cecilia, 54-56, 329; Angels, 228-229. Vedder, Young Marsyas, 18-20. INDEX OF ARTISTS 255 Velasquez, 176. Veronese, Paul, 332. Vibert, 164. Vinci, Leonardo da, 131. Vivarini, 224, 232, 233. Vogler, Heinrich, " Liebe," 193-195. Wagrez, Gustav, 163. Watteau, 197; Lute-Player, 198. Watts, George Frederick, Orpheus and Eurydice, 30- 32; Joseph Joachim, 131-132. Whistler, James M'Neill, Sarasate, 131-132. MBMMMBttl . _.: Pi*YAY4Y*Vr* r iV*Y*V#Vir^V»V«V^*^*«^y-lV»YilV«. .1