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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 GIFT OF 
 
 Alexander B. Griswold 
 
 FINE ARTS 
 
ii^l 
 
 <\ 
 
 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/cu31924016181103 
 
RT 
 
 EMS. 
 
 A SERIES OF THIRTY HIGH-CLASS ENGRAVINGS FROM 
 
 PICTURES BY THE MOST EMINENT PAINTERS 
 
 ANCIENT AND MODERN. 
 
 PRODUCED UNDER THE DIRECTION OF 
 
 EDOUARD LIEVRE, 
 
 WITH NOTICES OF THE ARTISTS AND THEIR WORKS. 
 
 HENRY SOTHERAN, JOSEPH BAER AND CO. 
 
 LONDON, PARIS, AND FRANKFORT. 
 
 1873- 
 
CHISWICK PRESS :— PRINTED BY WHITTINGHAM AND WILKINS, 
 TOOKS COURT, CHANCERY LANE. 
 
CONTENTS. 
 
 'ORTRAIT OF Andrea del Sarto 
 
 2. Margaret .... 
 
 3. Drinking the King's Health 
 
 4. Costume of a Basle Lady 
 
 5. A Venetian Promenade .... 
 
 6. The Smithy 
 
 7. A Souvenir of Cernay .... 
 
 8. Springtime 
 
 9. Daybreak 
 
 10. El Hiasseub, the Arab Story-teller 
 
 11. An Old English Mansion .... 
 
 12. The Princess Mary, Daughter of Charles I 
 
 13. Louis XL Visiting Cardinal la Balue . 
 
 14. The Good Priest 
 
 15. Incheville Marsh . . . . 
 
 16. The Maid-Servant 
 
 i;. Albanians Playing at Chess 
 
 18. La Ronda 
 
 19. Portrait of Madame F * * * 
 
 20. Pilgrims at San Pietro in Carcere . 
 
 21. Portrait of Andrea Salai 
 
 22. Haymaking 
 
 Andrea del Sarto 
 Tissot 
 
 F. Willems 
 H. Holbein 
 Bouington 
 C. Jacqne . 
 J. Achard 
 C. Marchal 
 C. Datibigny 
 
 G. R. Boulangcr 
 
 G. Howard 
 A. Vandyck 
 G^romc 
 
 E. Zamaco'is 
 Van Marcke 
 Henri Leys 
 Geronie 
 J. Worms 
 C. Duran . 
 P. Sautai 
 
 Leonardo da Vinei . 
 y. Veyrassat 
 
 Vagk 
 1 
 
 3 
 5 
 7 
 9 
 II 
 
 13 
 15 
 17 
 
 19 
 
 21 
 
 23 
 
 25 
 
 27 
 29 
 
 31 
 ■ 33 
 35 
 37 
 39 
 41 
 43 
 
CONTENTS. 
 
 23. Calling the Roll .... 
 
 24. The Doctor Puzzled . 
 
 25. A Court of Justice at Damascus 
 
 26. Cossacks' Horses in a Snow-storm 
 
 27. Francesca di Rimini 
 
 28. The Pond 
 
 29. The Plan 
 
 30. The Philosopher in Thought . 
 
 
 Page 
 
 y. G. Vibert . 
 
 45 
 
 C. Lasch . 
 
 47 
 
 Henriette Browne 
 
 49 
 
 A. Schreyer 
 
 51 
 
 Ingres 
 
 S3 
 
 J. Michelin 
 
 55 
 
 E. Detaille 
 
 57 
 
 Rembrandt 
 
 59 
 
PORTRAIT OF ANDREA DEL SARTO. 
 
 FROM A PAINTING BY HIMSELF. 
 
 (NATIONAL GALLERY.) 
 
 LTHOUGH the right of Andrea del Sarto to a place among painters 
 of the highest rank has sometimes been disputed, there can be no doubt 
 that his works produce a deep and lasting impression on the mind. The 
 traveller returning from Italy, and reflecting upon the various objects 
 
 of art he has seen, will find his recollection revert unceasingly to the 
 
 productions of the painter whose special talent was the delineation of the tender 
 and pathetic sides of human life. 
 
 Andrea, sometimes, but erroneously, surnamed Vannuchi, was born at Florence 
 in 1488, when that renowned city was at the very height of its prosperity. 
 His father, Agnolo, was a tailor, in Italian, sarto, and the artist was indebted 
 to this circumstance for the surname which he has immortalized by his works. 
 His first employment was in the workshop of a goldsmith, but having shown 
 a talent for design he was removed to the studio of Piero di Cosimo, an artist 
 of repute, one of whose pictures " The Coronation of the Virgin " is still to 
 be seen at the Louvre. Under his tuition the pupil made rapid progress, and 
 a careful study of the masterpieces of Leonardo da Vinci and Michael Angelo 
 produced the happiest effect upon his style. From them he acquired his delicacy 
 of touch, the nobility of his figures, and his wonderful power of delineating the 
 human face in all its moods ; but his own genius, and the harsh lessons of life, 
 were the main sources of that extreme sensitiveness and pure sentiment which 
 combined to make him one of the most impressive painters of the Italian school. 
 
 The earlier portion of Andrea's career was passed at Florence, where 
 he executed some very important works, including frescoes for the convents 
 of the Annunziata and the Scalzi. The latter very much increased his already 
 extensive reputation, and procured him the honour of an invitation from Francis I. 
 of France to settle at his court. He arrived in Paris in 15 18, and while there 
 
 /.^ B 
 
2 ANDREA DEL SARTO. 
 
 painted his celebrated picture " Charity," now in the Louvre, and still a magnificent 
 work, notwithstanding the vandalism with which it has been treated. 
 
 Andrea's prosperity had now reached its culminating point, but unfortunately 
 it was not destined to be of long continuance. His wife Lucrezia del Fede remained 
 at Florence while he was residing in Paris, and sinister rumours affecting her reputa- 
 tion were only too soon in reaching his ears. Being naturally anxious to investigate 
 the matter, he asked permission of the king to pass some time in Italy, and not 
 only obtained his consent, but was also entrusted with a large sum of money to be 
 expended in the purchase of works of art. This money Andrea is said to have 
 squandered recklessly, and it was of course impossible for him to return to Paris. 
 Ashamed of his conduct, and unhappy in his domestic relations he found his only 
 consolation in the assiduous practice of his art. His skill continually increased, 
 and he was looked upon as an honour to his country and his age, when he was 
 attacked by an epidemic then raging in Florence, and died there in 1530, at the 
 early age of forty-two. 
 
 Besides his frescoes and religious paintings, upon which his reputation is 
 principally founded, Andrea del Sarto executed a few portraits, which are still 
 held in the highest estimation. In accuracy of drawing and individuality of 
 expression they rival the productions of the best portrait painters. 
 
 The picture here reproduced was purchased at Florence in the year 1862, 
 and is described in the Catalogue of the National Gallery as a portrait of the 
 artist by his own hand. It was universally accepted as such until quite recently, 
 but Messrs. Crowe and Cavalcaselle, and M. Paul Mantz, in their elaborate 
 works on the history of painting in Italy, are of opinion that the figure represented 
 is that of a person unknown. However this may be, all authorities are agreed 
 in regarding it as a work of the highest value, and as an excellent specimen of the 
 master's style. The black cap with which the head is covered, and the whole 
 attitude and costume seem more indicative of an artist than of a man of wealth 
 and position. 
 
 The melancholy circumstances of the career of Andrea del Sarto produced a 
 visible effect upon the character of the majority of his productions. He suffered 
 much, and his mind acquired a tinge of sadness which was never eradicated. 
 The subjects which he selected were generally of a pathetic character; and even 
 when depicting a smile he could seldom resist the temptation of showing the 
 trace of a tear. 
 
MARGARET. 
 
 AFTER TISSOT. 
 
 
 ISSOT'S style is remarkable for a combination of genuine originality 
 with, studied singularity ; but his talents are so evident that none 
 would think of contesting the legitimacy of his success, because it is 
 due in a measure to his peculiarities. At any rate it must be acknow- 
 ledged that he possesses delicate taste and thorough distinctiveness, and if at first 
 sight his style is apt to cause astonishment, in the end it always succeeds in exciting 
 admiration. 
 
 Tissot was born at Nantes, but we know nothing of the manner in which he 
 acquired his education, as he has affectedly omitted to enter the usual particulars in 
 the books of the Paris Salon. His works have often been compared with those of 
 Henri Leys ; but if it cannot be denied that there is a great affinity between the styles 
 of the two artists, there is also sufficient dissimilarity to acquit both of the charge of 
 imitation. While the two are deeply attached to the ideas of the fifteenth century, in 
 practice they give them a very different interpretation. Tissot, though enamoured of 
 the works of the old German school, and fond of the study of the miniatures in old 
 manuscripts, has a strong bias for Oriental art, and a tinge of it may be found in 
 almost all his pictures. He loves colour for its own sake, and seems to endeavour to 
 withdraw it from the neutralizing action of light, which has the effect of changing the 
 tints of objects according to the positions in which they are placed. 
 
 Tissot does not conceal his predilection for the extreme east, and all who have 
 seen the picture will recollect the exquisite skill of his " Young Ladies looking at 
 Japanese Objects." His reputation, however, is mainly founded upon his delineations 
 of the manners and customs of the middle ages. Tired of the doleful and ghastly 
 style in which these subjects were treated by the romantic school, the public could not 
 
4 MARGARET. 
 
 fail to accord a favourable reception to the efforts of an artist, who, to an accurate com- 
 prehension of the picturesque in history, added a grace and beauty peculiarly his own. 
 Scenes of every-day life are more in M. Tissot's way than historical events. His 
 <' Walk in the Snow" is a capital example of his style, half-gay and half-sentimental, 
 of the most studied simplicity, but truly charming in effect. The artist is quite at 
 home in the delineation of a Gothic town, and if it were not well known that he resides 
 in Paris, it would be difficult to believe that he is not an inhabitant of Nuremberg. 
 With such a qualification, the legend of Faust was sure to attract the attention of a 
 painter who had already found several subjects in the writings of Goethe, and who 
 was enamoured of the old German Masters, and familiar with the works of Albert 
 Durer and Lucas Cranach. A reproduction of his beautiful picture, " Margaret after 
 her Fall," is, therefore, one of the most characteristic examples of Tissot's style that 
 could be selected. The girl is represented as sad and downcast at the recollection 
 of her sin, sitting in a melancholy posture, with her head bent as if in deep thought. 
 She seems to be pondering the question whether by prayer she can regain the peace 
 of mind that seems to have fled for ever. She cannot fail to remember with what 
 disdain she was accustomed to treat those unfortunate beings who had succumbed to 
 similar temptations, and now her own eyes are lowered with a consciousness of equal 
 guilt. Near her is a representation of the Deity against whom she has sinned, and 
 the steeple visible in the distance, rising above the venerable houses, is doubtless that 
 of the church in which she has been accustomed to worship. The deep melancholy 
 depicted in the girl's face in the original picture, has been admirably copied in the 
 accompanying engraving. 
 
CH c'30'fi.TM.r' St " 
 
\^fTH^O^ 
 
 DRINKING THE KING'S HEALTH. 
 
 AFTER F. WILLEMS. 
 
 (AMERICAN COLLECTION). 
 
 LTHOUGH so small in extent, and inhabited by a comparatively limited 
 population,- Belgium has produced a very large proportion of really 
 eminent men. In the arts, sciences, and industry, her position is very 
 prominent,, and recent exhibitions have proved that she possesses 
 several living painters who are worthy to be regarded as legitimate successors of the 
 old Flemish school. M. Willems is one of those whose productions are the most 
 popular; a keen contest invariably takes place for the possession of his pictures, and 
 they are often eagerly secured for public collections. His female costumes are un- 
 surpassed both in colour and arrangement, and his skill is equally evident whether 
 he is engaged in harmonizing a lady's delicate complexion with the tints of her 
 fair hair, or in giving the proper fierceness of twist to a gentleman's moustache. He 
 seldom selects open air subjects, but seems most at home in depicting interiors in 
 which he can diffuse a soft and whitish light, and accompany and set off his figures 
 by furniture designed in the most exquisite taste. 
 
 M. Willems seems to have acquired his art education less in schools and from 
 models, than in collections of old paintings and shops for the sale of them. When 
 very young he was engaged in the restoration of the works of various old masters, 
 and from his diligent study of these gained certain impressions, some of which 
 have adhered to him ever since. For this reason harsh and superficial critics 
 have charged him with imitation, but it would be difficult for them to point out 
 any old master to whom he bears a very striking resemblance. He cannot boast of 
 the colour of a Metzu, of the simplicity of a Terburg, or the minute delicacy of 
 a Mieris, while in one point he differs from all; his pictures are free from the 
 
 c 
 
6 DRINKING THE KING'S HEALTH. 
 
 slightest tinge of vulgarity. Nevertheless it must be admitted that he belongs to 
 the same family as the artists just enumerated, but the relationship is one of which 
 he may well be proud. 
 
 The first work that brought M. Willems prominently into notice was his " Sale 
 of Pictures," exhibited at Paris in 1853. Since that time he has produced many 
 successful paintings, among which may be specially mentioned " The Widow," 
 " A Silk-Mercer's Shop in 1660," " J'y dtais," " The Farewell," and " The Message." 
 The picture represented in the accompanying engraving is one of his best works, 
 and was formerly in the gallery of the Due de Morny ; it has how, however, 
 passed into the possession of an American connoisseur. It represents five gentlemen 
 grouped round a table, drinking to the health of the King. They are all standing 
 up and clinking their glasses, but their several demeanours are very different. One 
 young enthusiast with both arms outstretched seems to be boasting of services yet 
 to be rendered, while an old courtier extends his glass with the air of a man whose 
 position is made and whose loyalty has been proved ; a third, who seems to 
 have been taken by surprise, is holding his glass to a page to be filled. The 
 subject is simple in the extreme, but it is made interesting by the artistic skill with 
 which it is treated. 
 
 The accompanying etching is an admirable reproduction of the original picture. 
 The heads and costumes are copied with rare accuracy, and the difficulty of producing 
 a deep and yet not opaque black, has been successfully surmounted. 
 
COSTUME OF A BASLE LADY. 
 
 AFTER HANS HOLBEIN. 
 
 (BASLE MUSEUM.) 
 
 HE works of Holbein are so thoroughly well known and so generally 
 appreciated, that it is unnecessary here to do more than give a short 
 summary of the principal events in the life of the great master 
 who is still, after Albert Durer, the brightest ornament of the German 
 school. 
 
 Hans Holbein the younger (so called to distinguish him from his father, whose 
 Christian name was the same) was born at Augsburg in the year 1495. Belonging to 
 a family of painters, and living, so to speak, in an atmosphere of art, he soon caught 
 the enthusiasm of those around him, and commenced the study of his profession at a 
 very early age. There was no lack of good instruction for him, as without mention- 
 ing his father, who was himself a good painter, and to whom he was indebted for 
 many valuable lessons, he always had at his disposal the assistance of his uncle 
 Sigismund and of his brother Ambrose. Under these favourable circumstances, and 
 possessing a full share of that passion for art which was beginning to be felt in 
 Flanders and Germany at the commencement of the i6th century, his progress was 
 unusually rapid. An occasional visit to Italy did much to improve his style, and at 
 seventeen years of age he possessed a thorough knowledge of his profession ; at 
 twenty he was a master. 
 
 Although no satisfactory account has yet been written of his travels, the fact is 
 well ascertained that Holbein settled at Basle in the year 15 16, having previously 
 made a short stay there in 15 13. Basle was then famous for its press, and the young 
 Augsburg painter soon found employment in designing illustrations for books. Success 
 in this comparatively humble branch of his art gradually led to better things, and in 
 course of time he not only achieved a reputation as a portrait painter, but was also 
 entrusted with the execution of some very extensive frescoes. He became a member 
 of the corporation of painters in 15 19, and shortly afterwards received the freedom of 
 the city. Basle thus became his second home., 
 
 The name of Holbein was now well known in the world, and his friend Erasmus 
 
8 COSTUME OF A BASLE LADY. 
 
 having eulogized him in his letters, and sent specimens of his portraits to England, 
 the painter received an invitation from Sir Thomas More to settle in London. 
 Fortunately for himself, after some hesitation he decided to try his fortune in this 
 country, and quitted Basle at the close of the year 1526. Having paid a short visit 
 to Flanders, he placed himself without delay at his patron's disposal, and was soon 
 engaged in painting portraits of the Chancellor and his family. These caused 
 universal admiration, and even attracted the notice of King Henry VHI., who 
 gave Holbein the post of Court- Painter, lodged him in his own palace, and treated 
 him with the utmost consideration. From this time his residence in England was 
 interrupted only by brief visits to the Continent, and after an industrious career 
 the great artist died in London in 1543. 
 
 During the ten years that he remained at Basle, Holbein was employed in 
 practising the most varied branches of his art. Even when engaged on large frescoes, 
 in portrait painting, or in book illustratipn, he found time to make a very considerable 
 number of drawings. He was well aware that the lessons of nature are inexhaustible, 
 but he determined to learn as many as he could, and either pen or pencil was 
 perpetually in his hand. It was this activity that led him to produce, in Indian ink, a 
 series of figures in costume, now preserved in the Museum of Basle, one of which is 
 represented in the accompanying illustration. The points chiefly to be noted in this 
 figure are the truth and grace of the attitude, the freedom of the drawing, and a 
 certain appearance of colouring cleverly produced by the contrast of the deep black of 
 the velvet with the lighter shades of the other portions of the costume. In sketching 
 the form of this lady of Basle, an ordinary artist would have succeeded only in 
 depicting a costume, but in the hands of Holbein, the sketch assumes all the dignity 
 of a portrait. True genius may be seen even in the commonest things. Under the 
 garment of which he has drawn the folds, Holbein has delineated a mind, and to the 
 simplicity of an attitude studied from nature, he has added grace. 
 
H, lIOLljEIt 
 
 LIEVRE SC 
 
d'a/^rks B onmnqlon B rcu: Ljusnw nd 
 
A VENETIAN PROMENADE. 
 
 AFTER BONINGTON. 
 
 BARONESS N. DE ROTHSCHILD'S COLLECTION. 
 
 ONINGTON, like Delacroix, was a painter of an original turn of 
 mind, and if not so revolutionary in the character of his genius, 
 at any rate possessed a considerable share of his boldness. It 
 is worthy of remark that although he died at the early age of twenty- 
 seven, he succeeded in creating a name which will be imperishable. 
 
 At the age of nineteen Bonington went to Paris to enter the studio of the cele- 
 brated artist Gros, who would have been the best master that he could possibly have 
 selected, if the sturdy independence of the pupil had not soon created antagonism 
 between them. Bonington brought with him such an enthusiastic love of sketching 
 in the open air, that the quiet study of academical models soon became insufferably 
 tedious ; and Gros, although he had freed himself from the classical exaggeration 
 of his predecessors, was not less zealous than they in inculcating study and research. 
 As David had enslaved his pupils to a mathematical accuracy of drawing, so Gros 
 was especially rigid in insisting on the observance of the laws of colour. 
 
 Such discipline as this was not to Bonington's taste, and his earlier works 
 bear witness to his dislike to the study of the nude. Bare outlines were all that he 
 produced while in Gros' studio, save when called upon for an academical composition, 
 and then he hastily threw off a number of light sketches in pencil or water-colours. 
 Freedom had such charms for him that he drew all his "Views of Paris" while 
 seated in a carriage, sheltered from impertinent inquisitiveness, and the disturbances 
 of the street. 
 
 Bonington painted chiefly from nature, but he was also much attracted by 
 the works of the Flemish school, and when he turned from landscapes to genre 
 
 D 
 
12 THE SMITHY. 
 
 Of all his collections of illustrations, however, the finest, although perhaps the least 
 known, is a series of exceedingly delicate etchings inserted in the text of a humourous 
 story, and published in the " Pldiade," under the title of " Madame Acker." 
 
 After the revolution of 1848 Jacque established himself as a farmer in the 
 picturesque village of Barbizon, situated on the outskirts of the Forest of Fon- 
 tainebleau; and there, while principally engaged in breeding poultry, he continued 
 to paint with great perseverance. At first sight these two occupations seem incon- 
 gruous, but he managed to turn them both to account in his work called " Le 
 Poulailler," which is full of practical instruction on all subjects connected with 
 poultry, and illustrated with capital sketches carefully studied from nature. 
 
 Before he confined himself exclusively to painting, Jacque produced a prodigious 
 number both of drawings and etchings, and it is to the latter principally that he 
 is indebted for his fame. A list exists of no less than 420 etchings by his hand, 
 and it has been said with truth, that the popularity of the process in France is 
 due more to his productions than to those of any of his contemporaries. 
 
 Even at this early date some of Jacques etchings are as eagerly collected 
 by amateurs as those of the old masters, and it is easy to predict that before long 
 others will rise to an equal place in public estimation. His "Sheepfold" in its 
 effects of light, in the minuteness of its details, in its unusual dimensions, and in 
 the general success with which the difficulties of the subject are surmounted, is 
 one of the most remarkable productions of the modern school. " The Smithy," 
 faithfully reproduced in the accompanying illustration, is a better exponent of the 
 artist's consummate skill, than any words that can possibly be written. 
 
 The subjects undertaken by M. Jacque in his etchings are of a very varied 
 character ; in one we have Death playing the violin, in another revellers carousing ; 
 here a horseman halting in front of an inn, and drinking the beer brought to 
 him by a buxom maid, there an unfortunate pig in the hands of a butcher ; a 
 footpath across a cornfield is succeeded by a group of young peasants nestled under 
 a hedge and watching sheep. His devotion to such simple and natural subjects 
 as children playing on a dustheap, country maids going to the well, sheep pushing 
 and struggling to get into the fold, and cows going down to the pool, has not 
 prevented him from delineating Nature in her grander and more sublime aspects. 
 
 f'^c^^: 
 
 
A SOUVENIR OF CERNAY. 
 
 FROM AN ETCHING BY JEAN ACHARD. 
 
 m 
 
 HE extremity of a small sheet of water, fringed with bushes and 
 overshadowed by two slender elms, is all that is represented in the 
 accompanying sketch. There is nothing mysterious or unfamiliar 
 about it, and it does not contain a single figure either of a human 
 being or an animal. In short, it is simply a charming woodland scene, from which 
 all token of life and motion has been carefully excluded. 
 
 Subjects of this character are frequently selected by M. Achard for his paintings 
 as well as his etchings ; and for this reason the accompanying illustration is a fair 
 sample of his style. Uniformly careful and scrupulously accurate, he forces nothing 
 and owes nothing to contrast; content with his present rank, he knows that he 
 cannot be deprived of it, as his inferiors have not the skill requisite to displace 
 him, and the ambitious are invariably attracted by more pretentious subjects. 
 
 He is distinguished by the refinement of his style and its studied elegance ; 
 nothing unnatural or superfluous is to be found in any of his compositions. While 
 others are searching for novelties, and striving to obtain reputation by dint of artifice, 
 he is always quiet and unpretending ; and for this reason he has never met with any 
 of those unforeseen successes which in art, as in other things, often fall to the lot 
 of the enterprising. Some artists, who affect to look down upon Achard, would 
 do well to make a careful study of his works ; and as his skill is neither fantastic 
 nor peculiar to himself, it is capable of being imparted, and entitles him to the 
 designation of a master. 
 
 His principal fault is his invariable success, and his sole weakness is his want 
 of ambition. He has no share in the spirit that induces others to grapple with 
 
 E 
 
H A SOUVENIR OF CERNAY. 
 
 difficulties and endeavour to extort admiration ; and without this spirit no artist 
 can attain the highest rank in his profession. 
 
 About has wittily remarked that Achard is a veteran whom progress has 
 overlooked. While his competitors have been struggling in the full light of day, 
 attacking fortifications, and planting standards on heights carried by assault, he has 
 been content to fight quietly in his own sphere. He has not receded, but he has 
 not advanced, and the progress of others has left him in the background. If, 
 however, his name does not figure in the report of any brilliant victory, and is 
 not inscribed on any triumphal arch, it must at least be allowed that it is not 
 associated with the remembrance of a single defeat. 
 
;/■ OrhaiiV 
 
SPRING-TIME. 
 
 AFTER CHARLES MARCHAL. 
 
 PRINCESS MATHILDE'S COLLECTION. 
 
 ONE of the young painters of the modern French school are 
 regarded with more favour, either by amateurs or the general public, 
 than Charles Marchal. In his delineations of the manners and 
 customs of the inhabitants of Alsace, he has not only treated his 
 subject with great artistic skill, but also with a rare and delicate appreciation of the 
 graces peculiar to the women of that district. 
 
 All who have seen them will recollect those charming works, " The Servant's 
 Fair " and " Luther's Chorale," the style of which has caused universal admiration ; 
 but the chef-d'oeuvre of the artist is the picture of which an engraving is annexed, 
 although the subject is simple, and confined to the delineation of a single figure. 
 The title " Spring-time " is a happy one. 
 
 A modest and peaceful apartment, scrupulously neat and clean, is penetrated by 
 the clear light of the month of May, suggestive of the first perfumes of spring and 
 the scent of the balmy lilac. The sole occupant of the room is a young girl, who, 
 attracted by the pleasant rays of the sun and the fresh and fragrant breezes, for 
 a moment discontinues the discharge of her household duties. She turns her head 
 towards the open window, and looks unconsciously at the garden and at the 
 
1 6 SPRING-TIME. 
 
 green hedges which are studded with golden flowers. As she stands motionless 
 and dreamy,_ her heart is thrilling with an unknown feeling, with an indescribable 
 emotion she has never before experienced. It must be the first awakening, and 
 the first sweet sadness of the thought of love. 
 
 M. Charles Marchal has rendered this delightful idea with a delicacy and 
 felicity of expression, which give an additional charm to the original beauty of 
 the conception. 
 
DAY-BREAK. 
 
 FROM AN ETCHING BY CHARLES DAUBIGNY. 
 
 HARLES Daubigny has not always been so esteemed by the public, 
 so lauded by critics, and so encouraged by patronage, as he is at 
 the present day. In common with most of his contemporaries, he 
 had to toil through years of effort and obscurity, unlike some of the 
 young artists of the present day, to whom a first success has brought both fame 
 and fortune. 
 
 The popularity of Daubigny dates only from 1848, when he first turned his 
 attention to subjects suited to his genius. Educated in the studios of Paul Delaroche 
 and of his father, a miniature painter, his ideas received a strong classic tinge, and 
 under this influence his earlier compositions were wanting in simplicity. When, 
 however, he began to delineate nature, and ventured to send for exhibition pictures 
 of green and tranquil valleys, picturesque villages, and vernal groves, he rose rapidly 
 into fame. The public were tired of the works of the modern classical landscape 
 painters, and of the exaggerations of the romantic school, and welcomed eagerly 
 Daubigny's fresh, simple, and natural productions. 
 
 It is not, however, with his paintings that v/e have to deal at the present 
 moment, but with his etchings, which are equally and justly celebrated. His various 
 series of landscapes have had more effect than the productions of any other artist, 
 in reviving the influence of an art that ran great risk of being forgotten altogether in 
 the progress of lithography. 
 
 The subjects selected by Daubigny are always cheerful and natural ; such, 
 for instance, as sparrows collected in a footpath, and rejoicing over the genial 
 warmth of spring ; storks fishing in a pond for frogs ; stags chasing the hinds 
 through an autumnal forest ; sheep returning to the fold over fresh-ploughed land ; 
 
i8 DA Y-BREAK. 
 
 a valley through which runs a stream fringed with willows ; rabbits frolicking in a 
 footpath ; cows going to the water ; a storm bending slender poplars, and uprooting 
 sturdy oaks ; corn falling under the sickle ; or grapes piled up in the vintage- 
 tubs. 
 
 " Day-break," selected because it is peculiarly characteristic of the artist, 
 represents one of those scenes of fairy-like beauty, which are visible almost every 
 morning. The dawn, with its mysterious confusion of objects, has passed away, 
 and Nature in all her sublimity and beauty is born again. The triumphant sun 
 is emerging from the horizon, and bathes in its splendour a landscape sparkling with 
 dew. The air is filled with vapours as various in their tints as the gleams of an opal, 
 floating up towards heaven, or rolling gently along the ground. On earth, herbs 
 and flowers, insects and birds, are all awakening, and welcoming the return of 
 light and life. 
 
 Suddenly from the farm-yard there bursts forth a sound as resonant as that of a 
 brass instrument in a symphony ; it is the cock, who, with claws extended, chest 
 advanced, throat dilated, comb uplifted, and eye undaunted, mounts the heap at 
 which his hens are picking, and utters vociferously his harsh but sonorous note. 
 
 All the etchings of Daubigny depict with the same freedom the poetic aspects of 
 nature, and describe with singular fidelity the peculiar features of the meadows, 
 woods, and cultivated districts of central France. 
 
 

 -- ^^ 
 
 

 EL HIASSEUB, 
 
 THE ARAB STORY-TELLER. 
 AFTER GUSTAVE RODOLPHE BOULANGER. 
 
 M. GEKENTET'S COLLECTION. 
 
 T will scarcely be remembered at the present day that Boulanger 
 was once the winner of the French Prix de Rome, and that he was 
 crowned by the Institute more than 20 years ago for a competition 
 picture on the subject of " Ulysses recognised by his nurse Eurycleia." 
 Not that he has ever abandoned the great field of antiquity in which his earlier 
 laurels were culled ; but in his later productions his treatment of classical subjects has 
 diverged considerably from the traditions of the old Ecole des Beaux-Arts. The 
 painter who has exhibited in succession such pictures as " The House of a Tragic 
 Poet at Pompeii," " Lucretia," " Lesbia," " Hercules at the feet of Omphale," " Cella 
 frigidaria," and " A Walk on the Way of Tombs at Pompeii," shows an evident 
 predilection for the plastic figures, graceful contours, and elegant draperies, which 
 are necessary for the delineation of Greek and Roman life. Nevertheless, it is clear 
 from this enumeration of his principal works, that Boulanger has almost sedulously 
 avoided subjects of an heroic, fabulous, or historic character. To use an architectural 
 but expressive term, he has applied himself principally to the restoration of the 
 daily life, and manners and customs of the ancients. His qualifications for the due 
 execution of this self-imposed task are many and great, to say nothing of the fund 
 of positive knowledge that he acquired in the schools of Paris and Rome. Endowed 
 with a happy fancy and a lively wit, bold in his conceptions, scrupulously minute 
 and painstaking in everything connected with the practice of his art, it is not 
 surprising that he has succeeded in exciting a renewed taste for Greek and Roman 
 compositions. 
 
20 EL HIASSEUB. 
 
 Not content with establishing his reputation in this one department of art, 
 M. Boulanger has also succeeded in placing himself in the first rank of French 
 oriental painters. To prove this it is only necessary to mention his " Arab 
 Shepherds," " The Defeat," " Horsemen of the Sahara," and lastly his " Arab 
 Story-teller," exhibited only three years since, and now reproduced in the accom- 
 panying illustration. 
 
 The picture represents the chiefs of an Arab tribe congregated round the 
 entrance of a tent, pitched in a spot of remarkable beauty, under the shade of a 
 grove of palm-trees. The Arabs are listening, with deep attention but characteristic 
 impassibility, to the narration of one of those marvellous stories, in which their rich but 
 simple imagination finds the same interest at a given point, however often they 
 may have heard the tale before. In the distance two loiterers are approaching 
 with the grave and measured step peculiar to their race. The admirable arrange- 
 ment of the subject, the expressiveness of the various faces, and the elysian beauty 
 of the scene, are obvious in the engraving, but the original picture possesses a 
 peculiar charm in the brilliancy of its colours, which is of necessity wanting here. 
 The costume of the figure lying in the foreground is a happy example of boldness 
 of colouring, in its skilful combination of brilliant red with dazzling white. 
 
 M. Boulanger has been as successful in preserving the esteem of competent 
 judges, as he was quick in rising into popular favour. At the present time he 
 shows as much skill as ever in both the classes of subjects to which he has turned 
 his attention with so much spirit and success. 
 
^i^W^^S*^- 
 
 AN OLD ENGLISH MANSION 
 
 FROM AN ETCHING BY THE HON. GEORGE HOWARD. 
 
 HE building represented in the accompanying etching, so sad and 
 desolate in appearance, is all that remains of a mansion once 
 occupied by the great Alderley family, but destroyed by fire at 
 the commencement of the present century. It is situated in 
 
 Cheshire, a county still principally in the hands of small proprietors, who preserve 
 in a marked degree the manners, language, and carriage of their ancestors, and 
 have not yet adopted to any great extent the modern improved systems of agri- 
 culture. On account of the peculiar humidity of the atmosphere, Cheshire is one 
 of the most verdant districts in England, the meadows and woods being clothed 
 in a green that is almost as intense as that of an emerald. 
 
 In such a house as this, with its red bricks and Elizabethan gables reflected 
 in the quiet water below, imagination would find a home for a philosopher, released 
 from the cares of ambition and the every-day troubles of life ; engrossed in his 
 books and his memories, in his dogs and his thoughts. Many such retreats are 
 admirably described in the pages of the novels of the present day, whose authors 
 find a pleasure in tracing a resemblance between the features of the buildings, 
 and the characters of their inhabitants. 
 
 In the present instance, however, this is not the case. The venerable edifice 
 constructed to fulfil the conditions of the happy and hospitable life of the latter 
 portion of the sixteenth century, now serves a very humble purpose. It is inhabited 
 
 G 
 
2 2 AN OLD ENGLISH MANSION. 
 
 by a simple rustic, who, seated by the hearth, and caressed by numerous rosy- 
 cheeked children, rests from his daily labours in the large and only apartment 
 that has escaped destruction. 
 
 This picturesque scene was etched by the Hon. George Howard, the brother- 
 in-law of Lord Stanley of Alderley, and the artist has chosen a time of year when 
 the trees have lost their leaves, when the water is stagnant, and when the mists 
 of autumn give additional impressiveness to the character of this reminiscence 
 of the past. Even nature seems to be adapting itself to the aristocratic but calm 
 sadness of the building. 
 
 Mr. Howard was a pupil of the French artist, Alphonse Legros, who settled 
 in London several years since, and met with large and well-merited success. Many 
 of his compositions have been reproduced as etchings, amongst others a landscape, 
 very ambitious in style and elaborate in execution. 
 
 Mr. Howard is something better than an industrious amateur, he is a genuine 
 artist. He draws with care and paints with taste ; and his etchings are remarkable 
 for a simplicity and charm that professional artists may well endeavour to 
 imitate. 
 
THE PRINCESS MARY, 
 
 DAUGHTER OF CHARLES I. 
 
 AFTER ANTHONY VANDYCK. 
 
 BERLIN MUSEUM. 
 
 ANDYCK was the special painter of the EngHsh aristocracy, in 
 the same degree that Titian was of the aristocracy of Venice ; 
 and his numerous portraits are as valuable for the insight they 
 afford into the manners, customs, and costume of his time, as 
 for their admirable execution and high historical interest. 
 
 An artist, whose courtly manners were so well suited to the aristocratic 
 society into which he had succeeded in penetrating, could hardly fail to please 
 almost as much by his personal qualities as by his consummate skill. Shortly 
 after Vandyck's arrival in London he was overwhelmed with business, and the 
 greatest personages of the court, as well as the most illustrious and beautiful 
 ladies of the time, considered it an honour to be painted by him. But, of all 
 the numerous portraits by his hand now scattered throughout the public galleries 
 of Europe, and in the private collections of this country, those which are con- 
 nected with the family of Charles L possess the greatest interest. They are 
 looked upon not only as masterpieces of art, but also as touching relics of a 
 period second to none in historical importance. The King had a genuine and 
 sincere regard for Vandyck, and not only conferred upon him the honour of 
 knighthood, but also provided him with a residence, and granted him an annuity 
 for life. He often visited him while engaged in painting, and in his interesting 
 conversation seemed to forget the grave political troubles by which he was sur- 
 rounded. Notwithstanding the deplorable state of his affairs when the artist was 
 
24 THE PRINCESS MARY. 
 
 dying, the monarch promised the doctor the then enormous sum of ;^300, if he 
 should succeed in re-estabhshing his health. 
 
 Vandyck was a witness of the decline of the royal cause, although he had 
 passed, away before the occurrence of the final catastrophe. He was still alive 
 when Lord Strafford lost his head on the scaffold ; when the Queen was com- 
 pelled to take refuge in France ; when the King himself was in flight, and all 
 his partisans dispersed. But a short time previously all these great persons had 
 sat for their portraits in his studio ; and the members of the royal family had 
 been repeatedly painted by him. 
 
 The portrait of the Princess Mary, who was afterwards married to William 
 of Nassau, Prince of Orange, has been selected as the • subject of the accom- 
 panying illustration. She is represented in an attitude very similar to that which 
 she sustains in the picture in the Royal Gallery, called " The Children of 
 Charles I.," where she is associated with her brothers the Prince of Wales and 
 the Duke of York. Vandyck painted her portrait several times, and she is to 
 be found on her mother's knee, and in company with her brothers, in more than 
 one of his most remarkable works. The original of the annexed etching is in 
 the Museum at Berlin ; and this single upright figure, without any accessories, 
 is an example of what true art can do with the most simple materials. The 
 picture is as remarkable for the refinement of its style as for the richness and 
 harmony of its colouring. In the delineation of the hands and hair, and in the 
 arrangement of the folds of the dress, there are evident signs of the elegance 
 and delicacy peculiar to painters accustomed to move in aristocratic circles, and 
 to live the life of the great. 
 
LOUIS XI. VISITING CARDINAL LA BALUE. 
 
 AFTER GEROME. 
 
 M. AUGUSTE CAIN'S COLLECTION. 
 
 si 
 
 HE narrative of the career of Jean La Balue reads more like a 
 romance than a sober and well-authenticated history. The son of a 
 tailor in exceedingly humble circumstances, he entered the church, 
 and in a surprisingly short time rose to the highest offices in the 
 state. He was created successively Bishop of Angers, Cardinal, and Minister of 
 State; and Louis XL, who was not renowned for an excess of confidence, is said by 
 Commines " to have trusted wholly in him, and to have done more for him than for 
 any prince of his own blood and lineage." Nevertheless, if the narrative given in 
 " Quentin Durward " is to be believed, all the benefits of the king were insufficient to 
 counterbalance a wound which he inflicted upon the Cardinal's self-love. Louis XL, 
 who rejoiced in the possession of a caustic wit and an extreme love of raillery, was 
 fond of casting reflections on his manner of supporting his new dignities, and gave 
 utterance to epigrams which were not at all soothing to his vanity. The cardinal was 
 thin-skinned, ungrateful, and unscrupulous, and he endeavoured to take his revenge 
 by betraying his benefactor to Charles the Bold, Duke of Burgundy. His treason 
 was soon discovered, and his correspondence seized ; and having been arrested, tried, 
 and convicted, he was sentenced to be imprisoned in an iron cage in the Castle of 
 Plessis-lez-Tours. He remained there during eleven long years, and tradition asserts 
 that Louis was in the habit of visiting him from time to time, in order to gloat 
 over the spectacle of his revenge. 
 
 It is one of these occasional visits that Gdrome has depicted in the work 
 reproduced in the accompanying plate. In it may be traced all the skill in 
 arrangement, all the archaeological exactness, and all the perfection of detail which 
 
 H 
 
26 LOUIS XL VISITING CARDINAL LA BALUE. 
 
 have earned for the artist his exceptional rank in the modern French school. In the 
 hat ornamented with leaden figures, in the sardonic expression of his features, 
 in his attitude at once feeble and wary, it is easy to recognize Louis XI. leaning 
 on the strong arm of Olivier le Daim. He is accompanied by his favourite dogs, 
 who are sniffing suspiciously at the cage wherein lies the unfortunate La Balue, bent 
 almost double, with stiffened joints, and groaning with agony. The scene of this 
 incident, as represented in the picture, has a very sinister appearance. The walls 
 are damp, and the one window visible is guarded with thick bars ; but the most 
 painful sight of all is the heavy case of oak and iron, so closely crossed and bolted 
 together, that the little light and air which find their way into this subterranean 
 dungeon can scarcely filter through. 
 
 The accompanying etching is the work of M. Feyen. Perrin, himself a distin- 
 guished painter, who has rendered with admirable taste all the warmth and vigour of 
 IVI. Gerome's original work. The association of two such artists, so different in style, 
 and yet both so justly celebrated, is a circumstance of rare occurrence, and gives 
 to this plate an interest peculiar to itself 
 
 ,-p\Sir}'/>. 
 
 
 4k. , 
 
 V 
 
^^A 
 
 c^>, o- \T \ a s C, e^ X m ('_, 
 
THE GOOD PRIEST. 
 
 AFTER EDUARDO ZAMACOIS. 
 
 MR. JOHNSTON'S COLLECTION. 
 
 TIMULATED perhaps by the healthy activity of the French school, 
 all the Latin nations, during the last few years, have made remark- 
 able progress in the study of the art of painting. Spain, after ages 
 of obscurity, has regained a portion of her ancient glory, and can 
 boast of living artists whose productions have secured for them a world-wide 
 and lasting reputation. Amongst them may be mentioned the names of Madrazo, 
 Rosales, Palmaroli, Manzano, Gessa, Domingo y Marquez, Gisbert, and Ruyperez, 
 all of which must be familiar to the habituis of the fine-art exhibitions of the 
 last ten years. 
 
 The author of the work represented in the accompanying etching, made his 
 d4but in the year 1867, when he obtained a medal for a picture exhibited in the 
 Palais des Champs Elys^es, under the title of " Jesters in the Sixteenth Century." 
 In the following year he produced two other works, somewhat similar in design, 
 which he called respectively " The King's Favourite," and " The Refectory of 
 the Trinitarians at Rome." In 1869 he changed his tactics, and having abandoned 
 the study of the distorted limbs, the motley costumes, and the grinning masks 
 of the court-fools, he turned his attention to the numerous opportunities for satire 
 afforded by monastic life in Rome. Two works of this class are worthy of special 
 mention ; the first being " The Return to the Convent," and the other " The 
 Good Priest." 
 
28 THE GOOD PRIEST. 
 
 In his choice of subjects, and in the mode in which he deals with them, 
 M. Zamacois shows an inveterate tendency to look at things under their most 
 comic aspect. Sometimes his satire is broad, and at other times delicate ; in one 
 case nothing is left to the imagination, and in the other careful study is necessary 
 before the jest can be perceived. " The Good Priest" is an example of the latter 
 style, and for this reason is considered preferable to some of his other works. 
 
 The points most worthy of notice in the productions of M. Zamacois are 
 his skill in composition, his admirable knowledge of picturesque effect, and his 
 remarkable success in producing really " speaking " faces. All these points are 
 exemplified in the picture reproduced in the accompanying etching, the entire 
 interest of which is dependent upon the contrast exhibited between the demeanour 
 and appearance of two different types of priests. One of them is an example 
 of the lean, harsh, and crabbed confessor, who looks at everything from its worst 
 point of view, and is avoided with terror by the penitents. The other, who is 
 fat and jovial, with a ruddy complexion and twinkling eye, easy to please and 
 indulgent to mere peccadilloes, is perpetually surrounded by an ever-changing crowd 
 of the faithful, who receive absolution, and with it a tap from the good father's 
 wand. 
 
 M. Zamacois was a pupil of M. Meissonier. 
 
 i.' y 
 
 ■11 
 4/ 
 
 
INCHEVILLE MARSH. 
 
 BY VAN MARCKE. 
 
 M. VOITRIN'S COLLECTION. 
 
 RTISTS, whose skill is derived more from power of imagination than 
 from study and research, sometimes manifest striking originality even 
 in their very earliest productions ; but this is seldom the case with 
 those who, like M. van Marcke, undertake the delineation of country 
 scenes in their absolute reality and under their most common aspects. For them 
 it is extremely difficult and a work of time to detach themselves from the impressions 
 derived from the teachers who first initiated them in art, and gave them their first 
 lessons in the great book of nature. 
 
 Van Marcke was a pupil of Troyon, and his talents were admitted from the 
 first, but he was said to want originality and to follow too closely in the track of 
 his master. Troyon himself in his earlier days suffered under a similar imputation, 
 having been accused of imitating his predecessor, Jules Duprd. 
 
 Frequent intercourse with artists of different views, and above all a careful and 
 steady observation of nature, have gradually modified Van Marcke's style, and 
 rendered his individuality more and more apparent. At the present time his sound 
 and thorough education is the only evidence of his connection with Troyon ; and 
 although he still adheres to the same class of subjects, his mode of treating them 
 is essentially different. 
 
 It will scarcely be argued that Van Marcke should abstain from the delineation 
 of verdant pastures and picturesque groups of cattle, because an artist of the preceding 
 generation had interpreted them so admirably. Like his master, he has a genuine 
 love for nature in her beauty and freshness, but he represents her under an entirely 
 
30 INCHEVILLE MARSH. 
 
 different aspect. His delineations of animal life are remarkable, not only for their 
 spirited and robust expression, but also for their accuracy of shape, and suppleness 
 of motion. 
 
 It must be noticed, however, that in the pictures of Van Marcke, the animals 
 introduced are not treated as the sole or even chief consideration, but only as integral 
 portions of the landscapes in which they are placed. Thus in the picture of " Inche- 
 ville Marsh," although the cows are of large dimensions, and occupy the most 
 prominent positions, the other details are carefully worked out, and contribute much 
 to the general effect. Rain has been falling recently, and the grass is still wet ; 
 the hoof-marks of the cattle are filled with water, and there are many little rivulets 
 concealed beneath the growth of herbage. 
 
 In certain places these rivulets have formed ponds, one of which is depicted 
 in the foreground of the work. Two cows are approaching it in a leisurely manner 
 to quench their thirst, and a third, with her feet in the water, is rubbing her neck 
 against a fence. The weather is warm, and the sun throws a bright light on the 
 animals, but the atmosphere is heavy, and there is every probability that it will 
 shortly rain again. 
 
 Van Marcke understands perfectly how to suit every circumstance to the 
 moment that he is delineating, and far from being a mere copyist, enters thoroughly 
 into the spirit of his subject. It is hardly probable that such a picture as " Inche- 
 ville Marsh" is merely the representation of a scene before the eye of the artist, 
 but in the details of the work, and in the harmony between the animals and the 
 landscape, there is evidence of careful study and arrangement. Pictorial accuracy 
 is dependent not so much on the reality of the details, as on the probability with 
 which they are imagined. This excellent work was exhibited in the Paris Salon 
 of 1869, and the admirable etching, here reproduced, was also exhibited by 
 M. Duvivier in the following year. 
 
THE MAID-SERVANT. 
 
 AFTER HENRI LEYS. 
 
 NIVERSAL Exhibitions not only give evidence of the intellectual 
 activity, or commercial and industrial supremacy of different nations, 
 but also combine in a distinct group the most celebrated men of 
 a particular period, and thus demonstrate the international unity of 
 genius. Henri Leys was born at Antwerp in 1815, but it was at Paris, 
 during the Exhibition of 1855, that he first obtained European celebrity. His repu- 
 tation was still further increased by the London Exhibition of 1862, and on his 
 return to his native country, he was received with an ovation, and raised to the 
 dignity of a baron. An international jury, while awarding him a medal, took 
 occasion to testify to the high estimation in which his works held throughout 
 the whole of Europe, not only by artists but by the public in general. 
 
 The career of Henri Leys has been marked by perpetual progress in skill 
 and success. Before the production of that characteristic work, "A Promenade 
 outside the walls," which attracted so much attention in 1855, h^ ^^^ passed 
 through more than one phase of attempt and experiment. From the romantic 
 school of 1830 he had borrowed picturesqueness of arrangement, from the works 
 of Ostade an acquaintance with humble interiors, and from those of Rembrandt a 
 knowledge of the illusions of light and shade ; but a journey to Germany, and a 
 careful study of the works of the early masters, were necessary to put him in posses- 
 sion of his full powers. It was after this that he commenced his most celebrated 
 works, at once antique and contemporary, and imbued with a thorough knowledge 
 of the scenery, poetry, and history of old Flanders. 
 
 Neither the paintings, nor the drawings, nor the etchings of this consummate 
 artist, are competent to give an adequate idea of his powers, to judge accurately 
 of which it is necessary to have seen his mural paintings at Antwerp. His easel- 
 pieces however carefully executed, however natural in sentiment, and however original 
 and historically correct in their delineations of passions, places, attitudes, faces and 
 costumes, are only vigorous sketches compared with the striking compositions with 
 which he has decorated the walls of the great hall of the Hotel de Ville, and those 
 
32 THE MAID-SERVANT. 
 
 of his own dining-room. In these only is his colouring to be seen in all its harmony, 
 his drawing in all its accuracy, and his poetry in all its individuality. Here he 
 is really incomparable. 
 
 In the great hall of the Hotel de Ville at Antwerp, where the sittings of the 
 town council are held, Henri Leys has depicted six incidents in the history of 
 Flemish civil institutions. On entering the room, which is decorated throughout 
 according to the designs of the master, the visitor may almost fancy that he is 
 taking part in the historical scenes which are represented on the walls. In one 
 place there is the " Triumphal entry of the Archduke Charles," who swears before the 
 burgomaster to observe the laws in force, and to respect the privileges of his future 
 subjects. In other places the civic rights are illustrated by representations of the 
 " Admission of Battista Palavicini of Genoa to the freedom of the city of Antwerp," 
 and of the " Burgomaster and Sheriffs calling out the civic guard." The illusion 
 is perfect ; and the Antwerp of the present day can be clearly traced in the gray 
 sky, the softened daylight, the pebbly pavement, and the brick-built houses. The 
 women, so grave and mild, are the same as those now passing in the street, clad 
 in similar red petticoats and black cloaks ; and the energetic men who are re- 
 presented as brandishing their heavy swords and raising a yellow flag, might be 
 mistaken for the same as those who are rolling barrels on the quay, or walking 
 through the streets. In no other modern work is there such a bold mixture of 
 reality and passion, of art and simplicity, and nothing else produces so perfect an 
 idea of former times recalled in their most minute particulars. 
 
 For his own dining-room M. Leys has executed a series of admirable frescoes, 
 illustrative of a dinner party in the days when hospitality formed so important an 
 element in city life. In the first compartment the guests are setting out from their 
 own home, and walking arm in arm ; they are all wrapped up in warm furs, well 
 shod, and wearing gloves and ruffles, for the time is winter, and the snow lies like 
 a thick white carpet in the streets. They are preceded by servants and musicians, 
 and the passers-by regard them with respect or indifference as the case may be. 
 Arrived at their destination they knock at the door, and are received by the 
 master of the house, personated by M. Leys himself, who advances at the head of 
 his family to welcome his guests. In the last compartment is shown the table 
 ready spread ; and the healthy and robust servant, who forms the subject of the 
 accompanying illustration, is awaiting the arrival of the company, and the commence- 
 ment of the feast. 
 
^'aorh ,n. -Kp-IJJ. '^rn.rau.fmn-n.'i 
 
ALBANIANS PLAYING AT CHESS. 
 
 AFTER GEROME. 
 
 M. A. MOREAU'S COLLECTION. 
 
 EROME comes before the public in two distinct characters; now 
 as a learned antiquary, discovering in the records of the past some 
 pungent anecdote, and illustrating it with admirable wit and taste ; 
 and again, as an attentive observer, detailing his experiences with 
 picturesqueness and accuracy. He invariably succeeds in gratifying the public 
 taste ; and the favour with which his earliest production was received as yet shows 
 no signs of diminution. His works are remarkable for esprit, an eminently French 
 characteristic, and one that is best explained by the use of the French word. 
 
 Gdrome was the favourite pupil of Paul Delaroche, and, like his master, passed 
 through the usual course of instruction without achieving any of that precocious 
 success which is so often the precursor of utter failure. His picture called " The 
 Cock-fight," at its first exhibition, established him as the chief of a small Neo-Greek 
 school, much in favour twenty years ago, but now almost forgotten. Having taken 
 this path and achieved success therein, it is not a little remarkable that he should 
 almost immediately have abandoned it, and run the risk of losing his laurels in 
 an attempt of an entirely different character. It must, however, be borne in mind 
 that he possessed capacity enough for several different styles, and could undertake 
 without fear subjects of the most varied description. The versatility of his genius 
 is amply proved by a mere enumeration of some of his principal works. The 
 " Duel of Pierrot," and the " Death of Caesar;" " Moliere in the presence of 
 Louis XIV.," and " Phryne before the Areopagites ; " the "Age of Augustus," 
 and " Rembrandt engaged on an etching;" the " Pifferari," and the " Combatants 
 in the Arena ; " " Socrates at the house of Alcibiades," and the " Murder of Marshal 
 
 K 
 
34 ALBANIANS PLAYING AT CHESS. 
 
 Ney," may be mentioned as examples of the extent of the field that he has 
 explored ; but in addition to works which are evidently the productions of a 
 man of letters, he has also executed others, which are the embodiments of his 
 personal observation. He has a strong taste for travel, and has depicted on canvas 
 his impressions as a tourist in a style both piquant and original. His " Russian 
 Musicians," " Prisoner on a Nile Boat," " Door of the Mosque at Cairo," " Pilgrims 
 crossing the Desert," " Turkish , Butcher," and " Egyptian Chaff-cutter," are well 
 known to all true lovers of art. 
 
 Other artists have preceded him in the delineation of oriental subjects, but 
 none have presented them from the same point of view. While Decamps occupied 
 himself principally with the effects of the eastern sun, and Marilhat with views of 
 the Nile, G^rome has turned his attention mainly to the natives. He delineates 
 the different types with an accuracy which enchants ethnographers, observes their 
 manners with the minuteness of a novelist, and describes their customs, carriage, 
 and costume, with a fidelity not to be found in any book of travels. When western 
 civilization has transferred its peculiarities and characteristics to these regions, the 
 East of the present day will live again in these pictures, which will be regarded 
 as documents at once exact and curious. 
 
 One of these recollections of the East forms the subject of the accompanying 
 engraving. Two men, whose features and costume proclaim them of a race very 
 different to our own, are seated on a bench somewhat resembling a hen-coop, deeply 
 intent on a game they have just commenced. One of them, puffing away at his 
 long pipe, seems to be seeking inspiration in the smoke ; the other has laid down 
 his pipe, and is trying to fathom the scheme that his adversary is plotting. Teniers 
 has several times adopted this same subject with the inevitable addition of a jug 
 of ale, but there is very little resemblance between his pictures and that of Gdrome. 
 
 The people here represented have none of the simplicity of Flemish smokers, 
 but although their features are rugged, they are eminently sober, and prefer their 
 gorgeous garments, and never-forgotten sabres, to all the beverages in the world. 
 The drawing reproduced in the accompanying engraving forms part of the collection 
 of M. A. Moreau, and was made for the picture now in the Hertford Gallery. 
 
 /^^■•'•"j,. 
 
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LA RONDA. 
 
 AFTER JULES WORMS. 
 
 COMTE DE PERIGNY'S COLLECTION. 
 
 
 HE different branches of art having each a grandeur and a character 
 of their own, it is a difficult matter for an artist to turn from one to 
 another. The good qualities of to-day may become faults to-morrow, 
 and experience itself not unfrequently operates as an embarrassment. In this 
 respect those whose independence is most loudly asserted are often really captives. 
 
 Jules Worms was a draughtsman before he became a painter, and was for a long 
 time engaged in drawing for illustrated papers. Although, however, his productions 
 in this style are very numerous, he has not allowed them to spoil his hand. He 
 paints like a genuine artist, his brush has no resemblance to a disguised pencil, and 
 his style is broad and flexible. Already distinguished, he seems destined to acquire 
 a still higher reputation. 
 
 The picture from which the accompanying engraving was taken excited no 
 little admiration when first exhibited, but its success was divided with another 
 picture by the same artist, called " Romance a la Mode." These two works offered 
 a striking contrast; the one illustrating popular singing, and the other fashionable 
 
 music ; the first gravely listened to, and the second ironically applauded. In these 
 
36 LA RONDA. 
 
 pictures the contrast was evidently intentional, and was thoroughly carried out in 
 the execution. The one was painted with simplicity, and the other with studied 
 elegance. " La Ronda," with its severity of treatment, was more generally appreciated 
 by artists ; " Romance a la Mode," with its multiplicity of witty details, was re- 
 ceived with applause by the upper classes of society. 
 
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 AFTER CAROLUS DURAN. 
 
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 HE later works of Carolus Duran possess very different charac- 
 teristics to those which he produced during the earUer portion of 
 his artistic career. At that time his attention was mainly devoted 
 to the delineation of common occurrences, in the treatment of which 
 he was bold and not too delicate; but now he is occupied with more elegant 
 phases of life, and finds both pleasure and profit in the study of the infinite varieties 
 of female feature and costume. 
 
 The artist was born at Lille in 1837; and, at an early age, commenced the 
 study of his profession under the guidance of Fran9ois Souchon, a master who was 
 remarkable for the great merit afterwards displayed -by several of his pupils. 
 Duran's first exhibited work was a portrait of himself, and appeared in 1859; it 
 was received with favour, and was specially mentioned in laudatory terms by 
 M. Anstruc in his volume entitled, " Les quatorze stations du Salon." The two 
 pictures which followed this portrait, " After play," and " A Man asleep," evinced 
 great power, but were remarkable for excess of colour, and a mode of treatment 
 scarcely in accordance with good taste. They were sufficient, however, to call 
 attention to the artist's unusual abilities, and he was sent to Rome at the expense of 
 some of the inhabitants of his native city. During his stay there occurred the 
 change of style mentioned above. 
 
 The large picture exhibited at Paris in 1863, under the title of " Evening 
 Prayer," is the best evidence that can be adduced of the sincerity and extent of 
 the change that then took place in Duran's views and aspirations. A body of 
 monks and pilgrims, assembled in the Roman territory, and engaged in their 
 evening devotions in the open air, is the subject of this admirable composition, so 
 
 L 
 
38 PORTRAIT OF MADAME F. 
 
 full of sentiment and repose. ' The simple, yet powerful character of the work is 
 strengthened by the fact that the figures were studied from nature, although softened 
 in some of the details. Since that time M. Duran has adhered to his new role. 
 "The Murdered Man," painted at Rome in 1865, and now in the Museum at 
 Lille; "The Branding of St. Francis of Assisi," exhibited at Paris in 1868; and 
 a " Dead Christ," painted in the chapel of the Chateau de Rocheux, all testify to 
 his constant progress in his art. 
 
 From the first Duran was deeply interested in the delineation of the human 
 face. During his stay at Rome he copied a portrait in the Colonna Gallery, which 
 was attributed to Holbein, and on his return to France he commenced to paint 
 from nature. In the few years that have since elapsed, he has attained a high 
 position among French portrait painters. In the Salon of 1869 he exhibited the 
 portrait of a young lady, which attracted universal admiration for the elegance of 
 the figure, and the charming but quiet grace of the costume. An eminent critic 
 said of this picture ; — " Par son charme victorieux ce portrait est grave, et il devra 
 rester : c'est une note pour I'histoire de I'ideal feminin." 
 
 The same distinctiveness and the same skill are observable in the " Portrait of 
 Madame F.," exhibited in the Salon of 1870. In a standing position, attired in a 
 mauve satin dress tinged with grey and edged with fur, just affording a glimpse 
 of a blue petticoat beneath, with a ribbon of the same colour in her hair, and a 
 l)lush rose in her bosom, she is represented as raising a heavy green curtain with 
 her gloved hand. The tones and shades employed are worthy of being observed 
 with care, as, in such a portrait, or rather in such a picture, every trifling detail is 
 the result of deep calculation. The reader can judge for himself as to the grace 
 of the attitude, as to the beauty of the hand so naturall)' emerging from a sea of 
 lace, as to the charms of the face, and the elegance of carriage, as these are all 
 represented with accuracy in the accompanying etching. But little more can be 
 said ; the Parisian ladies were charmed with the picture, and for once the artistic 
 world endorsed their verdict. Duran has the rare merit of understanding how 
 to comply with all the requirements of high art, while depicting accurately both 
 features and costume. The dresses visible in his pictures, although apparently 
 the workmanship of the best modistes, are something more than the fashion of a 
 moment, and his portraits have greater merit than as mere sketches of the 
 present day. 
 
'C-DL'RMN - ? 
 
 H r i/UKT K. ( Si 
 
PILGRIMS AT SAN PIETRO IN CARCERE. 
 
 AFTER PAUL SAUTAI. 
 
 MUSEE DE L'ETAT, PARIS. 
 
 
 AUL SAUTAI is a new comer, and his reputation has not yet become 
 a matter of history. Following in the footsteps of Robert-Fleury 
 and Jules Lefebvre, he took up his abode at Rome, not for the study 
 of the old masterpieces, but for the assiduous and patient contemplation 
 of scenes of modern life. He specially directed his attention to the manners and 
 customs of Southern Italy, and to the costume of its inhabitants ; and it may be 
 fairly stated that he has observed them minutely and painted them well. 
 
 His d^dui was made at the Paris Salon of 1868, where he exhibited a picture 
 called " Scala Santa," a picturesque sketch of the church of San Benedetto, a place 
 well known to all who have visited Subiaco, and a favourite shrine for the devotions 
 of the Roman peasantry. Two other pictures on similar subjects were exhibited 
 by the artist in 1870, and were exceedingly well received. From that time M. 
 Sautai has occupied a prominent position among the delineators of Italian scenes. 
 
 The " Prison of Subiaco " was purchased by the French Government, and is 
 now in the Palais des Champs-Elysdes, where it forms part of a museum which is 
 gradually being enriched by the acquisition of choice specimens of modern art. 
 Those who have seen the picture will not readily forget the subject and its principal 
 details ; the white wall, the narrow door, the barred window, and the group of 
 peasants before the threshold, waiting in attitudes of hopeless expectation to catch 
 a glimpse or a sound of the victims of papal justice. It is a healthy and vigorous 
 work, in which the more prominent and interesting figures are well thrown up by 
 the white background. 
 
 An effect of light rather than of colour is one of the most prominent charac- 
 
40 PILGRIMS AT SAN PIETRO IN C ARC ERE. 
 
 teristics of the picture here presented as a specimen of the style of M. Sautai. 
 The subject is a group of pilgrims assembled before the chapel of San Pietro 
 in Carcere, a shrine of the most ancient date, and regarded with the utmost vene- 
 ration. It is situated in the old Mamertine prison, erected by Ancus Martius, 
 fourth king of Rome, and tradition affirms that St. Peter was confined therein ; 
 hence the name that has been assigned to this prison chapel. Pilgrims assemble 
 from all parts to offer their devotions, and to secure the favour of the apostle to 
 whom were committed the keys of heaven. M. Sautai exhibits them kneeling 
 piously beneath the darkened vaults, or prostrate on the ground, fervently kissing 
 the stone pavement. 
 
 This picture is a capital example of the effects of interior light, in which the 
 modern school has shown itself so exceedingly skilful. One of the first to distinguish 
 himself in this class of subject was that excellent painter Granet, Avho confined 
 himself principally to the delineation of interiors in twilight, or of subterranean 
 chapels with but one ray of light visible. As far as French art is concerned Granet 
 was the reviver of this style, but his hand was not sufficiently delicate ; he could 
 not always prevent his darker shades from becoming opaque. While following in 
 the same path, the artists of the present generation show more anxiety for the 
 preservation of transparency both in light and shade. Sautai, like his master, 
 Jules Lefebvre, who has so admirably painted the " Convent of San Benedetto," 
 carefully avoids the blacker shades, and takes refuge in clearer atmosphere. Shadow 
 with him is only a softened light. 
 
PORTRAIT OF ANDREA SALAL 
 
 AFTER LEONARDO DA VINCI. 
 
 MUSEUM OF THE LOUVRfi. 
 
 T is the general impression that this profile, drawn by Leonardo da 
 Vinci, is a portrait of his favourite and attached pupil, Andrea Salai, 
 of whom Vasari speaks in the following terms : — " Leonardo, when at 
 Milan, engaged as assistant a young Milanese named Salai, who was 
 remarkably handsome and graceful, and had a splendid head of hair, which curled 
 naturally. His master gave him a certain amount of instruction in the art of painting, 
 and even condescended to touch up with his own hand some of the works which 
 passed at Milan as those of Salai." So says Vasari ; but the written description is 
 vague and indefinite compared with the portrait, which represents so accurately the 
 youth's extraordinary beauty, his smooth and delicate skin, his full, but somewhat 
 effeminate lips, his handsome nose, his cheek rounded like that of a child, his large 
 and lustrous eye, and his curling and silky hair, all of which traits have been 
 reproduced by the great painter in most of his delineations of angels and virgins. 
 It is a pity that nothing, or rather that so little is known of this youth, whose life 
 was entirely blended with that of his master. 
 
 The position occupied by Salai in the establishment of Leonardo da Vinci is 
 only to be explained by the Italian word creato, which does not imply a domestic, or 
 a person hired for the performance of specified duties, but a familiar friend always at 
 hand, and one in whom implicit confidence is placed. The first mention of him 
 in the writings of his master occurs under the date of April 4, 1497, where the 
 painter alludes to a cloak which had just been made for his assistant, probably 
 at the time when he first came to reside with him. There is reason to believe 
 that the portrait must be referred to about the same period, and as it represents 
 
 M 
 
42 PORTRAIT OF ANDREA SALAI. 
 
 a youth of from fourteen to fifteen years of age, Salai must have been contemporary 
 with Raphael, whose birth occurred in 1483. From the age of fourteen or fifteen 
 to the death of Leonardo, on the 2nd of May, 15 19, he seems never to have quitted 
 his master. From time to time his name appears in the artist's memoranda, the 
 second notice being expressed in the following terms :— " This day, October 15, 1507, 
 I had thirty crowns ; I have lent thirteen of them to Salai to make up his sister's 
 dowry, and have consequently seventeen remaining." The word " lent," as here used, 
 probably signifies " given," as Leonardo was not the man to take back money from 
 so intimate a disciple, or even to suffer him to return it, although the amount must 
 have been a considerable one for an artist who at the time possessed only thirty 
 crowns. However this may be, the sentence quoted above proves conclusively that 
 Andrea Salai or Salaino was not identical with Andrea Solario, with whom he has 
 been confounded by several writers. Salai was with Leonardo at Milan in 1507, 
 while Solario at the same time was engaged in painting at the Chateau de Gaillon, 
 as has been proved by Deville in his work entitled, " Comptes de d^penses du 
 chdteau de Gaillon." 
 
 Twice after this the name of Salai occurs in the notes of his master. In 
 151 1, when Leonardo went to Florence to claim the estate of his deceased uncle, 
 Salai accompanied him ; and the painter, having exhausted his funds in the 
 prosecution of a law-suit in which he became involved, sent him to Milan with 
 letters to the Marshal de Chaumont and the President of the Grand Canal, claiming 
 money due to him for engineering labours connected with that great work. In 1513, 
 when Leonardo set out from Milan to go to Rome by way of Florence, Salai 
 accompanied him, together with Beltrafiio, Melzi, Lorenzo, and Fanfoia. Finally, 
 in 15 18, when the artist was invited by Francis I. to visit France, Salai went 
 with him, as is proved by Leonardo's will, dated 18 April, 15 18, in which he divided 
 between Salai and Battista de Villanis, his assistants, a garden situated outside the 
 walls of Milan, in recognition of good and faithful service rendered up to that 
 very day. 
 
 After the death of his master all trace is lost of Andrea Salai. 
 
HAY-MAKING. 
 
 FROM AN ETCHING BY J. VEYRASSAT. 
 
 AY-MAKING is one of the most picturesque episodes in rural life; 
 and the various operations of which it consists have often been 
 depicted by artists of renown, in works upon which they have 
 expended both labour and skill. 
 
 Some have represented the mowers engaged in their arduous task, with the 
 grass falling at each sweep of the formidable scythe, like the front ranks of a battalion 
 under the fire of a mitrailleuse. Others have chosen the lighter labours of the women 
 and children, as they scatter the grass over the field, or collect it into heaps after 
 it has been dried in the sun. 
 
 The hay season is one of the most delightful periods of the year, the air 
 being filled with odours which are soft as well as pungent, and enervating as well 
 as exhilarating. At night, especially, Nature seems to put forth her most irresistible 
 fascinations, for at no other time are the skies of a deeper blue, the stars more 
 brilliant or numerous, the silence more mysterious, or dimly-seen outlines more 
 grand in their indistinctness. It is a time which encourages reflection, and in 
 which the mind is more than usually susceptible of high and holy aspirations. 
 
 The hay season is, however, liable to storms, and the artist in the accompanying 
 etching has selected a threatening day in which it seems essential to get in the 
 crop with as little delay as possible. It is four o'clock in the afternoon ; heavy 
 clouds are traversing the sky, and there is every appearance of a wet night. 
 The hay has been collected in the centre of the field, a large cart with two horses 
 has been brought up, and the men are endeavouring to avoid a second journey 
 by cramming the vehicle to its utmost capacity. The ass standing by has seized 
 the opportunity of providing himself with an extra allowance of food. 
 
44 HAY-MAKING. 
 
 The etching is expressive and animated, and proves conclusively that M. 
 Veyrassat has minutely studied the details of rural occupations. Few other artists 
 can wield the point so agreeably, or adhere to nature so closely, and yet show 
 no sign of dulness in their compositions. The ass and horses are drawn with 
 admirable taste, and, which is not less praiseworthy, the shapeless masses of piled-up 
 hay are accurately defined by a careful distribution of shade. 
 
 M. Veyrassat is not an etcher merely, but is thoroughly well versed in the 
 other branches of his profession. His true role is that of a landscape-painter, and his 
 delicate and natural productions in that line have been the chief causes of his 
 reputation. He does not go out of his way to look for striking subjects, but is 
 satisfied with those which come under his eye in every-day life. His career is a proof, 
 if proof is needed, that a picturesque hollow, a cornfield, or a waggoner on a cart- 
 horse, is sufficient to exercise the talents of a true artist. Each year, in his own 
 modest and graceful style, he has written a new page in the rural history of France. 
 
CALLING THE ROLL 
 
 BY JEHAN-GEORGES VIBERT. 
 
 AMERICAN COLLECTION. 
 
 Si^bt^ a^m. 
 
 HIS spirited composition, so full of animation and humour, is the work 
 of an artist whose earliest success resulted from an admirable study 
 from the nude, entitled " Narcissus." It is not a little remarkable 
 that the same painter should have produced two works so different 
 in character, and yet both so excellent in their way. 
 
 " Narcissus" was exhibited at the Paris Salon of 1864, a year well remembered 
 in artistic circles as the one in which studies from the nude were so numerous and 
 so successful. It has been called the Salon of the Nude, as other years have been 
 distinguished by the appellations of the Salon of Snow, or the Salon of Plagues. 
 In this exhibition M. Vibert obtained a medal for " Narcissus." 
 
 The redundancy of Bathers, Nymphs, Dianas, Erigonas, Ledas, Bacchantes, 
 Venuses, and Cupids for which this exhibition was remarkable, was no doubt caused 
 by the success of M. Baudrey's " Wave," and M. Cabanel's " Aphrodite," in 
 the preceding year. The fashion was set by them, and the spirit of emulation 
 and imitation induced many others to follow in the same path. This is not to 
 be regretted, as the study of the nude is essential to the perfect education of an 
 artist, and it had been previously much neglected on account of the ridicule cast upon 
 it by the school of David. There was certainly an annual torso competition at the 
 Ecole des Beaux-Arts, but the miserable productions there exhibited did nothing to 
 encourage the study of the human figure. They were generally confined to the 
 representation of a bearded man with his hair flying in the wind, his brows sternly 
 knitted, and his arms folded over his shaggy chest. A good example was needed 
 
 N 
 
46 CALLING THE ROLL. 
 
 to demonstrate the value and importance of the field that had been abandoned, and 
 the simultaneous exhibition of the two works mentioned above, and the sensation 
 they created, soon worked the requisite revolution. 
 
 In the midst of all the feminine mythology, which, in the year 1864, invaded 
 the galleries of the palace in the Champs-Elys6es, public attention was arrested by a 
 pale figure of Narcissus reclining by the edge of a stream. The name of Vibert 
 emerged at once from obscurity, and has ever since been prominently before the 
 world. During the years that have elapsed since that time he has more than once 
 changed his role, and the picture here reproduced was his first experiment as a genre 
 painter. The applause with which it was received has induced him to adhere to 
 similar subjects ever since, and he has already been awarded two medals for com- 
 positions of this class. 
 
 The precision, strength, and freedom of the works of M. Vibert must be ascribed 
 in a great measure to his careful study of the nude figure. This band of heroic free- 
 booters, worthy of being commanded by Captain Fracasse, in hands less skilful 
 would have consisted only of a confused collection of costumes, armour, and rags. 
 M. Vibert, however, has so managed that all his bandits have the aspect of living 
 men. The " human animal " may be recognized through the leather of the high 
 boots, beneath the steel of the cuirasses, or under the shade of the battered morions 
 and broad-brimmed hats. 
 
 The animation and movement so characteristic of this work are not, however, 
 the only points in it worthy of being noted. Attention may also be called to the 
 careful details of the landscape, and the curious architecture of the buildings, as seen 
 through the smoke proceeding from a burning house. Taking all things into con- 
 sideration — the picturesqueness of the idea, the ingenuity with which it is worked 
 out, and the harmony of colour everywhere displayed, — the great and legitimate 
 success of M. Vibert is amply explained. 
 
THE DOCTOR PUZZLED. 
 
 AFTER C. LASCH. 
 
 
 HE accompanying plate represents one of those scenes of every-day 
 life, which in all ages have furnished subjects to artists of the highest 
 rank. The favour with which such works have always been regarded 
 is a sufficient proof that true genius can find ample scope for the exercise of its 
 powers in the delineation of the most ordinary occurrences. M. Lasch has devoted 
 himself almost exclusively to subjects of a domestic character, and has manifested 
 remarkable skill in pourtraying the emotions common to all classes of society. 
 
 In the work before us the village doctor has been summoned to the bedside 
 of a suffering child, whose complaint seems to present complications of an unusual 
 nature, to judge from the puzzled look depicted in the countenance of the disciple 
 of Esculapius. The patient may be presumed to be the pet of the household, and 
 the entire family has assembled to hear the result of the doctor's deliberations. 
 The aged grandmother looks on with calmness, but intense anxiety may be traced 
 in her features. The fond and careful mother, too agitated to be quiet, is evidently 
 expressing an opinion that an over-indulgence in apples has been the cause of the 
 malady. She points conclusively to the diminished quantity in the plate brought 
 in for inspection by her little daughter. The sick child's elder sisters are also 
 
48 THE DOCTOR PUZZLED. 
 
 there, and their faces are indicative of much concern ; while the presence of the 
 woman and child in the doorway gives evidence that the news of the misfortune 
 has spread among the neighbours. 
 
 From the costumes and furniture depicted in the work, it may be presumed 
 that the humble dwelling of a Norman peasant is intended to be represented. 
 In accuracy of drawing and fidelity of detail the picture leaves nothing to be desired, 
 and the more it is studied,- the more evident will its extraordinary merit appear. 
 
A COURT OF JUSTICE AT DAMASCUS. 
 
 AFTER HENRIETTA BROWNE. 
 
 EXHIBITED AT PARIS IN 1869. 
 
 
 HE number of ladies who at various times have distinguished them- 
 selves by the excellence of their paintings is far larger than is 
 generally supposed. Of the old miniatures, now so much and so 
 deservedly admired, a very large proportion were the work of female 
 hands ; and in the earliest days of painting in oil, Marguerite van Eyck was the 
 constant and valuable assistant of her brothers. In Italy, Marietta Robusti, the 
 daughter of Tintoretto, who was equally eminent both as a musician and as a 
 painter, devoted herself to portraiture, and by her early death furnished Cogniet 
 with the subject of one of his most celebrated works. At a later period Rosalba 
 Carriera, a Venetian lady, whose beautiful miniatures and superb crayons are to 
 be found in every public collection, was held in such estimation that she was invited 
 to all the principal courts of Europe, and was received everywhere with the con- 
 sideration due to her talents. In Germany, Angelica Kauffmann, by birth a Swiss, 
 acquired a high and legitimate reputation by her historical paintings, and was 
 honoured with the friendship of Goethe, of Raphael Mengs, and of other eminent 
 contemporaries, who were unanimous in extolling her dignity of character and 
 brilliancy of wit. She died in Rome, and the sculptor Canova and the director 
 of the French Academy were pall bearers at her funeral. 
 
 In France especially the number of ladies who have obtained eminence as 
 painters is very large. Hilaire Pader, an artist and poet of Toulouse, in a whimsical 
 work published in 1658 under the title of " Songe ^nigmatique sur la peinture 
 universelle," furnishes a long list of illustrious " peintresses " of his own day. 
 Catherine Duchemin, wife of the famous sculptor Girardon, was the first lady 
 
 o 
 
50 A COURT OF JUSTICE AT DAMASCUS. 
 
 admitted into the French Academy of Painting and Sculpture ; and from her 
 time down to that of Madame Lebrun, who was the most renowned of them all, 
 the list of female academicians is a very extensive one. When the Institute was 
 re-organized, ladies were no longer allowed to become members of the Academy, 
 but the privilege of sending pictures for exhibition was still continued in cases of 
 more than ordinary merit. In the present day there are many ladies whose pro- 
 ductions have contributed in a marked degree to the general progress of con- 
 temporary art. 
 
 Painting may be practised under every variety of circumstance, both in the 
 midst of social life, and in retirement, and it is even compatible with the engrossing 
 cares of a family. It is this consideration, no doubt, that has often induced ladies 
 to engage in an artistic career ; but it frequently happens that their pictures are signed 
 with a pseudonym, as they are unwilling that their names should figure in the 
 public prints. 
 
 Her "Sisters of Charity" was the first work which brought Madame Henriette 
 Browne prominently into notice. It represents a sick child lying in the lap of one 
 of the sisters, while another with obvious concern is preparing a draught for it. 
 The whole scene is rendered with a tenderness and feeling which would be quite 
 suffici cnt to prove that it is the production of a lady, even if the picture were 
 unsigned ; but at the same time the general execution of the work is marked by a 
 breadth and firmness which are evident signs of a solid education. Madame Browne 
 was a pupil of Chaplin, but if she has borrowed his touch, she has applied it to a 
 conception entirely her own. 
 
 Since the exhibition of this work the artist has shown us by various little 
 domestic scenes how charmingly she can depict the graces of childhood. Latterly 
 however, like many others, she has turned her attention to the picturesque East, 
 and has produced works of a very different order, from the " Flute-player in a 
 Harem at Constantinople," to the " Court of Justice at Damascus." In this picture, 
 which was exhibited in 1869, the members of the court are ranged round three 
 sides of a large hall, in the midst of which they have left their shoes. The only 
 ornaments on the walls are a few pieces of paper on which certain sentences are 
 written, but this bareness, far from having an adverse effect, gives the picture an 
 additional charm, which is increased by the artistic diffusion of light. The figures, 
 though comparatively very small, gain importance from the absence of detail in 
 the background. The entire picture differs so much from the earlier works of 
 Madame Browne, that it cannot fail to prove her great versatility as . well as her 
 artistic skill. 
 
UENRIETTE PROWNE PINX, 
 
 CH. CUURTR"V £C . 
 
COSSACKS' HORSES IN A SNOW-STORM. 
 
 AFTER ADOLPHE SCHREYER. 
 
 IN THE LUXEMBOURG PALACE. 
 
 DOLPHE SCHREYER is a native of Frankfort-on -the- Maine, 
 but his works are well-known in all the artistic circles of Europe, 
 and his reputation, although rapidly achieved, is perfectly legitimate. 
 His first important work, called "A Cavalry Conibat," was very 
 favourably received when exhibited at Paris in 1863; and the two pictures, which 
 he produced in the following year, raised him at once to a prominent position in 
 his profession. The first was called " An Arab hunting," and represented a pictu- 
 resque figure crossing a ford at sunset by the light of a sombre sky streaked with 
 red. The other, which was of more imposing dimensions, attracted even a larger 
 share of attention, and has therefore been appropriately selected as the subject of the 
 accompanying etching. 
 
 The artist has depicted a rude peasant's hut situated in the depths of a 
 Russian forest ; the time is winter, and a severe storm is raging, snow falling 
 heavily and being whirled about in every direction by furious gusts of wind. 
 Three irregular Cossacks, benumbed with the cold and almost worn out with fatigue, 
 have made their way to the hut and taken shelter therein, after fastening their 
 steeds to the door. The poor little animals, which have been left to the mercy of the 
 weather, are shivering and crowding together for warmth ; they have turned their 
 
52 COSSACKS' HORSES IN A SNOW-STORM. 
 
 heads away from the wind, and with nostrils lowered, seem to be steeling them- 
 selves against the cold. One of them is looking wistfully at the door at which its 
 master entered, but all are examples of patient endurance under trying circumstances. 
 M. Schreyer has a perfect knowledge of the horse ; understands to a nicety 
 the economy of a picture ; and has an intuitive perception of picturesque effect. 
 It must also be allowed that he paints with deep feeling and great artistic skill ; 
 and his remarkable abilities are nowhere more strikingly displayed than in this 
 picture of " Cossack Horses." 
 
FRANCESCA DI RIMINI. 
 
 FROM A DRAWING BY INGRES. 
 
 M. LECOMTE'S COLLECTION. 
 
 NGRES is usually regarded as one of the chief ornaments of the classic 
 school, but he was also in his own way a romanticist. One cause of 
 this was his exceeding love of nature, a love which in his day had 
 almost ceased to exist, and was unshared by any artist of his own 
 school, unless by Gros ; but the principal reason was his selection of certain mediaeval 
 subjects, which David and his disciples would certainly have rejected with contempt. 
 They .would have considered it beneath the dignity of an art, intended only for the 
 representation of gods and heroes, to abandon classic forms and draperies for the 
 purpose of delineating mere details of costume. 
 
 Ingres was one of the first to select subjects from modern history, such as " The 
 Death of Leonardo da Vinci,". " La Fornarina," and " L'Ardtin," as well as scenes 
 from the works of the romantic poets, such as " Francesca di Rimini/' and " Angelica." 
 He was also one of the first to show his divergence from the school of David, by the 
 production of what may be called anecdotal paintings, the chief interest of which 
 depended mainly on the accurate representation of the customs and costume of a 
 period which belonged neither to Grecian nor Roman antiquity. Notwithstanding 
 the extent of his range, Ingres never selected a subject which he was not capable of 
 rendering with expressiveness and taste, which was not either pleasing or dramatic, 
 descriptive of some noble deed, or illustrative of events of interest. The story of 
 Francesca di Rimini attracted his notice more than once, and it is the original sketch 
 for the first of his paintings on this subject, that is here reproduced. The figures in 
 the foreground are admirably drawn, and represent Paolo Malatesta reaching forward 
 
54 FRANCESCA DI RIMINI. 
 
 to kiss Francesca, who has dropped her book, and yields but half reluctantly to the 
 embrace. Her head is slightly bent and her eyes are cast down, but her reserved 
 attitude, her modesty of expression, her beautiful hands, and the touching grace of her 
 entire figure, cannot fail strongly to attract the attention of the spectator. 
 
 If anything could palliate the fault which cost this unlucky couple their lives, it 
 would be the personal appearance of Lanciotto Malatesta, who was lame, lean, and 
 cruel in demeanour, and is here depicted by the artist in all his historic ugliness 
 and deformity. The contrast between the different characters is carried so far, 
 that the miserable figure of Lanciotto almost borders on the grotesque, and therefore 
 diminishes the feeling of pity and horror which the scene is intended to produce. 
 Exaggeration, indeed, was a prominent characteristic of the works of Ingres, although 
 he was probably unconscious of it, and rendered his own ideas with fidelity. It can- 
 not be denied that Paolo's neck is an example of excess both in length and in disten- 
 tion, but the master, though always sincere and ingenuous, would have been much 
 surprised if the defect had been pointed out to him. Having once passed the limits 
 of truth, he seemed to lose the power of recognizing it. 
 
 The picture now under notice is remarkable .for its exquisite drawing, for the 
 beauty of Francesca, for the delicate painting of her hands, for the admirable arrange- 
 ment of the folds of her dress, and for the passion, here violent and there subdued, 
 displayed in the two principal figures. Notwithstanding these excellencies, when 
 forwarded to a Society of Artists, it was coldly received, and refused at the very 
 moderate price of ^25 put upon it by the author. Its merit, however, was quickly 
 perceived by M. Turpin de Crissd, who purchased it for his own collection, and after- 
 wards bequeathed it to the Museum of Angers. A copy of the same work was sold 
 by the artist to the Prince of Salerno, but in that the figure of Lanciotto was con- 
 siderably altered. In the lithograph by Aubry Lecomte, only the two central figures 
 were introduced, and even these were not given entire. 
 
(•I 1 ir I 
 
 1 1" r 
 
THE POND. 
 
 FROM AN ETCHING BY JULES MICHELIN. 
 
 NE of the most delightful spots in the neighbourhood of Paris is 
 the valley extending from Brunoy to Montgeron, watered by the 
 pleasant little stream of Hyeres. A well-known landscape painter, 
 Jules Michelin, several years since published a collection of sixteen 
 etchings, all of which were devoted to the delineation of its picturesque beauties. 
 The most successful of these were " The Quarryman's House," strongly resembling 
 one of Adrien van Ostade's creations ; " The Mustard Isle," the angler's El-dorado ; 
 ".The Stone-cutter's Hut," surrounded by a cabbage garden, and " The Bitter Isle," 
 shaded by willows. All these subjects were rendered with extreme delicacy and 
 skill, and their fidelity to nature has been acknowledged by all who are acquainted 
 with the features of the environs of Paris. 
 
 Jules Michelin comes from an artistic stock, being a descendant of the Belle 
 family, which in the eighteenth century produced several notable painters, one 
 of whom became director of the Gobelins. He is engaged in a public office, and 
 consequently enjoys but few and brief opportunities of rambling about the country 
 which he has depicted so well. 
 
 His first productions were a few extremely graceful pencil sketches, which 
 were highly commended by Susse and Giroux. Then he published in the Artiste 
 some capital lithographs of Auvergne scenery; and finally, in i860, took a fancy 
 to etching. He has since become a thorough master of this process, an accurate 
 
56 THE POND. 
 
 knowledge of which is seldom acquired without great difificulty by those who have 
 been accustomed to sketching. 
 
 M. Michelin is distinguished also by a taste for oriental porcelain, of which 
 his admirable judgment has enabled him to form a very remarkable collection. 
 His residence is adorned with the choicest productions of India, Persia, China, 
 and Japan ; and the most graceful shapes, the most harmonious tints, and the most 
 appropriate designs are consequently always before his eyes. Exquisite taste and 
 a consummate knowledge of the subject have guided him in making his purchases. 
 He even managed to procure one of the excessively rare specimens of the porcelain 
 manufactured by Fran9ois de Medicis in the sixteenth century at his laboratory in 
 Florence, but he generously presented it to the Ceramic Museum at Sevres. 
 
THE PLAN. 
 
 AFTER EDOUARD DETAILLE. 
 
 
 1 
 
 
 
 
 1 
 
 
 
 
 
 WILL have nothing to do with you . . . you are as clever as Horace 
 Vernet ! I should only hinder you ! " Such were the exclamations of 
 Meissonier after giving a hasty glance at the portfolio of sketches 
 which Detaille had brought with him, to support his request that the 
 former would receive him as a pupil. The poor lad, who had left school only the 
 day before, was quite overcome by this strange reception, and did not at once 
 perceive the genuineness of the remark, and the high compliment that it conveyed. 
 After a time he ventured to repeat his request, and the scruples of Meissonier 
 having been overcome by the intervention of some mutual friends, he gained his 
 point, and was received into the master's house at Poissy in the year 1865. 
 
 The result was satisfactory to both ; Detaille became Meissonier's most promising 
 pupil, and that without losing any of his originality. 
 
 The following account of the artist's career and productions is furnished by 
 M. Burty. 
 
 " I have seen various pen-and-ink drawings, relieved by water-colours, which 
 were executed by Detaille for the amusement of his sisters, who cut them out and 
 fastened them against the windows. Edmond Morin, who is an admirable judge, 
 possesses some of these sketches, and jagged as they are by the children's scissors, 
 prizes them as little gems. By a kind of instinct Detaille was early enabled to draw 
 soldiers and horses with far more exactness than the majority of artists acquire by the 
 most laborious study. In many respects his first little scenes of barrack and 
 tavern life, and sketches of reviews and battles, are almost equal to anything that he 
 has produced since ; or at least they contain the germ of the talents more recently 
 displayed. 
 
 " I was present when he was engaged upon his first oil-painting. In a corner of 
 
 o 
 
58 THE PLAN. 
 
 his master's studio he had arranged some armour and furniture, and was painting them 
 on the scale of one-tenth, with all the dexterity, method, precision of drawing, and 
 accuracy of tone of a finished artist. The picture was successfully completed and 
 was exhibited in 1867, but its merit was overlooked in the mass of works of art 
 brought together in the Paris Universal Exhibition of that year. Meissonier paid his 
 pupil the high compliment of purchasing his first work, and preserves it carefully, as 
 well as I can remember, suspended by the side of an admirable drawing by Charles 
 Marchal. 
 
 " The following year M. Detaille obtained a genuine success with his 
 ' Drummers of the Guard.' The attitudes were irreproachably correct, the details 
 worthy of Meissonier's pupil, the movements, though varied, well combined, and — 
 which is an important point — it was really an open-air scene. 
 
 " His next great work was his ' Manceuvries ;' but it was not so universally 
 admired, as the general effect was considered to be too much scattered. On the 
 whole, however, it was looked upon as a minute and animated production, and having 
 been purchased by an American amateur, was by him conveyed to New York. 
 
 " There are also two splendid water-colour drawings by M. Detaille which are 
 worthy of special notice. One of them represents an officer of the old Imperial Guard, 
 bareheaded, and leaning against a wall ; the other, a cavalry general attended by his 
 escort, visiting the outposts on the eve of a battle. The faces of the soldiers are 
 extremely martial, and the horses are drawn with almost photographic accuracy." 
 
 Those who have not seen the original works of this promising young artist, may 
 rest assured that the accompanying etching represents most faithfully his peculiarities 
 and excellencies of style and method. The subject explains itself. The plan, which 
 the soldier is drawing on the ground with his stick, is that of a frontier town besieged 
 by the armies of the first French Republic ; and the question under discussion is 
 the length of time that It Is likely to hold out. 
 
 Z^^^''^*-^/ 
 
THE PHILOSOPHER IN THOUGHT. 
 
 AFTER REMBRANDT. 
 
 LOUVRE MUSEUM, PARIS. 
 
 i 
 
 N the second edition of a work by Burgomaster Orlers, published in 
 1 64 1, it is stated that Rembrandt van Ryn was born at Leyden on the 
 fifteenth of July, 1606. This date has been disputed ; but as the author 
 of the " Description of the city of Leyden," in his official capacity, 
 had unusual facilities for consulting authentic documents, his assertion is entitled to 
 respect, in the absence of direct proof to the contrary. Rembrandt was intended 
 by his father to follow one of the learned professions, and was sent to school to 
 receive a sound classical education ; but his progress was small, as he had no taste 
 for any other study than that of painting. His only ambition was to achieve 
 excellence in this art, and when at length permitted to follow the bent of his inclination 
 his unusual abilities speedily became apparent. His teachers, Jacob von Swanenberg, 
 Peter Lastman, and Jacob Pinas, were all more or less obscure, and his success must 
 be ascribed not to them, but to his own genius, and his careful study of nature. 
 
 Rembrandt established himself as a painter in 1627, and produced his first 
 etchings in the following year. Two years later he settled at Amsterdam, where he 
 passed the remainder of his career, and from thence he issued an incessant stream of 
 productions of rare merit and striking originality. He was equally skilful as an 
 engraver and as a painter, and his works are characterized by power as well as delicacy, 
 and by depth as well as beauty. Notwithstanding certain peculiarities of style, which a 
 course of study in Italy would soon have removed, he was so natural and animated, so 
 happy in invention, and so persuasively eloquent, that all disposition to criticism 
 disappears in the presence of the admirable creations of his genius. 
 
6o THE PHILOSOPHER IN THOUGHT. 
 
 It is melancholy to reflect that the later years of the life of this great artist were 
 saddened by misfortune. In 1656 he got into pecuniary difficulties, and his collection 
 of curiosities and works of art was seized by his creditors. Shortly afterwards he 
 withdrew to Roosgracht, and resided there in very humble circumstances until he 
 died. His funeral was little better than that of a pauper. 
 
 To describe at all minutely the various interesting incidents in the life of 
 Rembrandt, an entire volume would be necessary ; but here we have only space 
 sufficient for a few words respecting one of his most remarkable productions, " The 
 Philosopher in Thought." 
 
 This picture, which has now found a final resting place in the Louvre, after 
 forming part of various collections of more or less celebrity, is signed R. van Ryn, 
 1633. At that time Rembrandt had executed only a comparatively small number of 
 works, but he had already acquired a considerable reputation, on account of the 
 novelty and originality of his style. In the picture before us the philosopher is 
 seen sitting by the side of a window in a vaulted room, the gloomy depths of 
 which seem designed to encourage meditation. There is an open folio before 
 him, but he has ceased to read, and to all appearance has abandoned himself 
 entirely to thought. The subject of his reverie is left to the imagination of the 
 spectator, but from the manner in which his hands are clasped, there seems a 
 probability that his meditations will find an end in prayer. He is evidently 
 unconscious of everything passing around him, and takes no notice of the bustling 
 servant, who in another part of the room is attending to the fire, and performing the 
 household duties. It may be presumed from this that Rembrandt intended to mark 
 the distinction between two very different modes of life, as the minor details of his 
 works were always carefully thought out, and accessories were never introduced 
 without adequate reason. 
 
 The present work is a fine example of the artist's consummate knoAyledge of 
 chiaroscuro. All that relates to every-day life is buried in transparent shadow, but 
 the figure of the philosopher is illuminated by a gentle sunbeam. The ray that lights 
 up h;s venerable features is emblematic of the enlightenment that pervades his mind. 
 
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