Vol. 6, No. 2
April, 1916
$2.00 a Year
THE
PRINT-COLLECTOR'S
QUARTERLY
EDITED BY
FITZROY CARRINGTON
CONTENTS
A JUPITER IN SABOTS
BY ROBERT J. WICKENDEN
DRAWINGS BY ITALIAN ARTISTS IN THE
METROPOLITAN MUSEUM OF ART
BY GEORGE S. HELLMAN
SOME FRENCH ARTISTS DURING THE
SIEGE AND COMMUNE
BY WILLIAM ASPENWALL BRADLEY
ALBERT STERNER'S LITHOGRAPHS
BY MAX BIRNBAUM
PUBLISHED FOR
MUSEUM OF FINE ARTS, BOSTON
BY
HOUGHTON MIFFLIN COMPANY
4 Park St., Boston 16 E. 40th St., New York
Entered as second-class mail matter, February 13, 1913, at the Post-Office at Boston, Mass.,
under the act of March 3, 1879.
M. KNOEDLER & CO.
556-558 FIFTH AVENUE
(Between 45th & 48th St>.)
NEW YORK
*
OLD AND MODERN PAINTINGS
i
XVIIITH CENTURY MEZZOTINTS
*
OLD PRINTS IN COLOR
*
Etchings and Engravings of Ail Schools
and Periods
i
FRAMING
*
PICTURE RESTORING
15 Old Bond St., London. 17 Place Vendôme, Paris.
Frederick Keppel & Co.
rare engravings
AND
etchings
FINE
PICTURE FRAMING
4 EAST THIRTY-NINTH STREET
NEW YORK
i
THE SCRIBE One Hundred Proofs Only
Latest Etching by William Auerbach-Levy
■ ■k- -
j
Price $18.00
" I THINK IT IS A RE-
1 MARKABLE AND
MASTERLY ACHIEVE¬
MENT AND I CONGRAT¬
ULATE YOU UPON ITS
SUCCESS. YOU MANAGE
TO INFUSE INTO YOUR
HEADS. (SUCH AS IN THE
PRESENT INSTANCE) A
PATRIARCHAL GRAND¬
EUR THAT LIFTS THEM j
OUT OF THE MUNDANE
INTO WHERE THEY
FITTINGLY ABIDE—THE
REALM OF ART, AND
THIS IS THEIR HIGH DIS¬
TINCTION."
TIMOTHY COLE |
I
Published by
ARTHUR H. HAHLO & CO.
569 Fifth Ave., N.Y.
NEW PUBLICATION
A STREET IN TOLEDO
Original Etching by A. H. Haig
Price $18.00
Kennedy & Co.. 613 Fifth Avenue, New York
hi
ALBERT ROULLIER
410 SOUTH MICHIGAN BOULEVARD
CHICAGO
RARE ETCHINGS
AND
ENGRAVINGS
OLD ENGLISH MEZZOTINTS
REMBRANDT, DURER, VAN LEYDEN, SCHONGAUER,
VAN MECKENEM, CLAUDE GELLÉE, PIRANESI,
VAN DYCK
ETCHINGS BY
MODERN ARTISTS
MERYON, WHISTLER, HADEN, CAMERON, ZORN, BUHOT,
LEPÈRE, LEHEUTRE, GRAVESANDE, JACQUE, HAIG,
FITTON, MACLAUGHLAN, SIR FRANK SHORT,
FRANK BRANGWYN, MARTIN HARDIE, LEGROS,
HOWARTH, LUMSDEN, SIMON, WEBSTER,
PENNELL, ETC.
The Roullier Booklets contain short biographical sketches of the following
celebrated etchers: George Walter Chandler, Jean Frélaut, C. K. Gleeson,
Lester G. Hornby, Auguste Lepère, D, S. MacLaughlan, B. J. O. Nord-
feldt, T. François Simon, J. André Smith, C. Washburn, Herman A. Web¬
ster, C. H. White, Joseph Pennell, D. Y. Cameron. "Mezzotints," "Charles
S. van's Gravesande." Any booklet will be sent postpaid to any address on
receipt of five two-cent postage stamps.
CORRESPONDENCE SOLICITED
iv
YICKERY
ATKINS &
TORREY
55o Sutter Street, San Francisco
Etchings and Engravings
Paintings and Drawings
Choice Japanese Prints
Chinese Porcelain and
Pottery
v
Min s den Episcopietching by F. L. Griggs.
Size of original 5" x 7", price two guineas
A NEW ETCHER
"It is in etching that he has found his medium, and
he is the most important addition to the exponents
of that art since the advent — so gradually made ap¬
parent to us— of Mr. D. Y. Cameron. ... If there
are print collectors disposed for a sporting venture,
we advise them to sell a single print from their col¬
lection of Muirhead Bones or Camerons and acquire
the entire oeuvre of Mr. Griggs, not missing in par¬
ticular his essays in imaginary architecture."
The Athenœum.
Extract from a criticism on Mr. Griggs's first exhibition of
etchings, May, 191 5, at
THE TWENTY ONE GALLERY, YORK BUILDINGS
IN THE ADELPHI, LONDON, W.G.
vi
E. J. VAN WISSELINGH & C°
78-80 Rokin Amsterdam
HOLLAND
Publishers of Original Etchings
by
M.A. J.BAUER, P.DUPONT,
W.WITSEN andW.DE ZWART.
Illustrated Catalogue oi Etchings on application
paintings and drawings
OFTHE DUTCH AND FRENCH SCHOOLS.
vii
MAGGS BROTHERS
109 STRAND, LONDON, ENGLAND
CARRY ONE OF THE LARGEST AND
CHOICEST STOCKS IN ENGLAND OF
FINE AND RARE
BOOKS, PRINTS
AND
AUTOGRAPHS
THE PRINT SECTION INCLUDES A VERY FINE
SELECTION OF MEZZOTINT, STIPPLE AND
LINE ENGRAVINGS ; ALSO ORIGINAL
ETCHINGS BY THE OLD AND
MODERN MASTERS
Illustrated Catalogues in each
department regularly issued.
These Catalogues appeal especially
to the Connoisseur, Collector and
Antiquarian
Customers " desiderata " searched
for and reported free of charge
Shipments to America every week
ITEMS OF RARITY AND INTEREST ALWAYS
GLADLY PURCHASED
Established over fifty years
vjij
Prints by Western Artists
LITHOGRAPHS
By Birger Sandzen
WOOD CUTS
By Michael Carmichael Carr
WOOD-BLOCK-COLOR-PRINTS
By Gustave Baumann and Elizabeth Colwell
PHOTOGRAPHS
By Imogen Cunningham Partridge
We always have on hand a fine selection of
etchings by many of the best known artists
Carl J. Smalley, McPherson, Kansas
ix
MR. R. EDERHEIMER
begs to draw the attention of all friends, clients and print-
lovers to the following advèrtisement of the American Art
Association, Madison Square South, New York, which
appeared in the New York Papers on
Sunday, March 5th, 1916
THE MOST IMPORTANT
PRINT SALE OF THE SEASON
Rare and Brilliant Examples
by the Masters
Schongauer's "Christ Bearing the Cross"; Mantegna's "Battle of Sea-
gods " and " Bacchanale with Silenus."
Duerer's " Adam and Eve " and "Melancholia."
" Early Italian Masters," including Nielli, Nicolletto da Modena, Jacopo de
Barbari, Zoan Andrea and Mocetto.
Early German Masters, including Burglcmair, Glockenton, Lautensack, all
the " Little Masters" and Anonymous Rareties.
Etchings by Rembrandt, Claude Lorrain, Callot, Dusart and Ostade.
Lucas van Leyden's " David before Saul," "Mahomet and the Monk."
Portrait Engravings by Goltzius, Delff, Cornelius Visscher, Masson, Van
Schuppen, Nanteuil and Drevet.
French and English 18th Century Engrav¬
ings, Stipples, Mezzotints and Color Prints
Including important Examples by Bartolozzi, Bonnet, Freudeberg, Janinet,
Morland-Ward, Watson, John Raphael Smith and Young.
Consigned by Mr. R. Ederheimer
Acting for himself and an undisclosed principal.
To be Sold Without Reserve or Protection at the American
Art Galleries, Madison Square South, N.Y.
April 12th and 13th at 8:30 P.M.
Catalogue with black and white and color plates. Sent on receipt of one dollar.
x
THE ANDERSON GALLERIES
Madison Avenue at Fortieth Street, New York
SPECIAL ATTENTION GIVEN TO THE PUBLIC SALE OF MERITORI¬
OUS ART AND LITERARY COLLECTIONS, FOR THE EXHIBITION
AND SALE OF WHICH THE NEW GALLERIES AFFORD THE BEST
FACILITIES. EXPERT INFORMATION ON REQUEST
xl
si- £hrich (Balleries
Dealers in "Old Masters" Exclusively
707 FIFTH AVENUE at 55th Street NEW YORK
THE works of the "Old
Masters " exclusively
are found in our gal¬
leries. Notable and rare
examples are constantly
being acquired by us, mak¬
ing the galleries always a
centre of interest to collec¬
tors and students of art.
Paintings sold by us are
always exchangeable at full
purchase price.
PHOTOGRAPHS FORWARDED ON REQUEST
NOTE:
THOSE WISHING TO PURSUE THE SERIOUS STUDY OF OLD MAS¬
TERS" ARE AT LIBERTY TO UTILIZE OUR LIBRARY. WHICH IS THE
MOST COMPLETE PRIVATE WORKl NG ART LI BRARY 1N THIS COUNTRY.
The Pocket Inkwell
and Pen of
Robert Burns
The silver inkwell, charming in design,
has a silver lid, with the initials R. B.
The lid is held in place by an ingenious
silver screw arrangement.
The silver pen is in three parts, the cen¬
tre part engraved as follows : A. C. to R.
B.—25 January, 1792.
Inkwell and pen are set into the original
little morocco, velvet-lined case.
This is the birthday present from Alex¬
ander Cunningham, the most loyal of
Burns's friends during the last years of
his life. Burns carried this gift in his
pocket, and with this pen wrote many
of his famous poems.
A well-known firm of New York jewellers
tested the silver, and examined the en¬
graving. They report that the oxidation
on the silver and in the lines of the en¬
graving is the oxidation of time, the style
of engraving that of the end of the 18th
century, and the morocco case also of
that period ; in a word, that all the points
confirm the genuineness of this unique
relic of Robert Burns.
GEORGE S. HELLMAN
366 Fifth Ave., New York
xiii
BERLIN PHOTOGRAPHIC CO.
jFtne DutMsfirrs
305 MADISON AVENUE NEW YORK CITY
BELVEDERE, PRAGUE
Original etching by J. C. Vondrous
Original Etchings, Lithographs, Drawings and Woodcuts
BAKST
ALBERT STERNER
STRUCK
JEROME MYERS
PREISSIG
by
MAURICE STERNE
CONDER
LIEBERMANN
ANNE GOLDTHWAITE
MALVINA HOFFMAN
ROTHENSTEIN
PLOWMAN
HASKELL
EMIL ORLIK
SCHMUTZER
AND OTHER DISTINGUISHED ARTISTS
New illustrated prospectus of original Graphic Works sent free on request.
Prints sent on approval.
xiv
WHEN THE CORN IS RIPE-Kemble. $15.00
1
ORIGINAL DRAWINGS
From the Century Company by the
Foremost and Recognized
AMERICAN ARTISTS
(The signed work)
E. W. KEMBLE
HENRY HUTT
ERIC PAPE
CECILIA BEAUX
PETER NEWELL
A. D. BLASHFIELD
HENRY FENN
A. CASTAIGNE
B. B. de MONVEL
W. T. BENDA
B. W. CLINEDINST
ALBERT E. STERNER
Real treasures for framing or for
Portfolio collection
Prices from 50c. to $250
E. P. Dutton & Co., 681 Fifth Ave., New York
XV
Spanish Old Masters
The following important illustrated articles dealing
with SPANISH PAINTING have appeared in the
Burlington Magazine. Copies of these issues
may be obtained at the usual price —
One Dollar Net, from the Publishers.
No.
Dr. Carvallo's Collection — Spanish Pictures. By
Léonce Amaudry ... ... ... 21
Pacheco, the Master of Velazquez. By Herbert Cook 59
Identification of an Early Spanish Master (Bartolomé
Bermejo). By Herbert Cook ... ... ... 32
A Signed Triptych by Bartholomé Bermejo at Acqui.
By Jose Pijoan ... ... ... ... ... 115
Bermejo in Castile. By V. von Loga ... ... ... 120
The Fraga Velazquez. By Roger Fry ... ... 97
The Rokeby Velazquez ... ... ... ... 34
Velazquez Masterpieces in the Vienna Gallery. By
Charles Ricketts ... ... ... ... ... 16
Velazquez Portrait in the Prado. By A. G. B. Russell 35
Portrait by Velazquez. By A. de Beruete ... ... 95
A Hitherto Unknown Velazquez. By A. de Beruete
y Moret ... ... ... ... ... ... 129
Goya Pictures at Vienna. By Hans W. Singer ... 62
F.arly Catalan School of Painting. By A. Van de Put 44
Portrait of a Cavalier by Murillo ... ... ... 44
A Re-discovered School of Romanesque Frescoes. By
Jose Pijoan ... ... ... ... ... ... 98
Iberian Sculpture. By Jose Pijoan ... ... ... 116
Further Light on Del Mazo. By Herbert Cook ... 126
Some Pictures by El Greco. By Roger Fry ... ... 127
Aragonese Primitives. By Jose Pijoan ... ... 128
When ordering please quote number.
A classified list of the principal articles published can be obtained
Free on application.
The Burlington Magazine,
New York : 15-17 East 40th Street, LTD.
London : 17 Old Burlington Street, W.
xvi
THE DUNE COUNTRY
An Etcher's Journeys
By EARL H. REED
Author of " The Voices of the
Dunes f etc.
With 60 Illustrations by the
Author. Cloth, $2.00 net.
The text and illustrations in this
book depict a strange and pictur-
j esque country — the big ranges of
sand dunes that skirt the Southern
and Eastern shores of Lake Michigan.
Mr. Reed's etchings, made in the re¬
gion of which he writes, have already
won him deserved fame.
SOME RARE
PORTRAITS OF JAMES
McNeill whistler
By A. E. GALLATIN
Author of " The Portraits and
Caricatures of Whistleretc.
Edition limited to 100 copies,
signed and numbered, and printed
at the De Vinne Press. #5.00
net. Only a few copies left.
A critical essay, with reproduc¬
tions, by the photo-gelatine process,
of hitherto unpublished portraits and
caricatures by Seymour Haden, Bol-
dini, Thomas R. Way, Helleu, E. T.
Reed and Max Beerbohm.
THE FIRST AUTHORITATIVE ART RECORD OF THE
RECENT PACIFIC COAST EXPOSITIONS
IMPRESSIONS OF THE ART
AT THE
PANAMA-PACIFIC EXPOSITION
By CHRISTIAN BRINTON
Member of the International Jury
J Author of "Modern Artistsetc. With five plates in full color
and eighty-two halftone reproductions. Quarto. Boards. $3.00 net.
This is more than a mere account of the Archi¬
tecture, Sculpture, and Painting shown at the San
Francisco and San Diego expositions. It ranks as a
critical survey of modern American and European art
and, as such, makes a permanent appeal. A special
feature of the work is the illustrations, which are not
only copious but carefully reproduced.
Publishers JOHN LANE COMPANY New York
xvii
COLLECTORS MtA\KS
zA new book on Collector's [Marks is in
preparation. The material already secured
more than triples that contained in Louis
Pagan's work, but many marks of private
collections may yet be unrecorded. The com¬
piler will be grateful for the communication
of all such marks, or for information con¬
cerning any marks hitherto unidentified.
Collectors are invited to send original
impressions of their own stamps or tracings
of other collectors' marks. Information con¬
cerning the personality of the collector and the
character of his collection will be valuable.
Address
F%ITS LUGT
Van Haerlestraat 10
eAmsterdam, Plolland
xviii
THE NEW STEVENSON MEMORIAL
At Saranac Lake, New York. By Gutzon BORGLUM
This cut shows the upper two-thirds ot the new Stevenson Memorial Tablet,of which
Lord Charles Guthrie of Edinburgh, the greatest living expert on Stevenson, says:
"Borglum has got beneath the surface and the mask. It has charm, and it hae
strength, and it has pathos. It has Stevenson's fascinating personality."
Published by special arrangement with the Stevenson Society of Saranac Lake ex¬
clusively in
In three sizes : 8 x 13, $3.00 ; 13 x 21, $6.00 ; 18 x 30, $10.00, the last being the size of
the original. Sent on approval.
Illustrated Catalogue of our Prints, in monotone and in color, including etchings,
sent upon receipt of 25 cents, — this cost to be deducted from a subsequent purchase.
Copyright by Gutzon Borglum. From a Copley Print Copyright by
CURTIS & CAMERON, 139 Harcourt St., Boston
SALESROOM : Pierce Building, opposite Public Library
mmsnx- LOU IS-STEVEN ^
ViaS':v . . |
||fvfl| Â
ggpljK 11
i mm
XXV
HILL TOLERTON
THE PRINT ROOMS
RARE ENGRAVINGS AND ETCHINGS
Both Old and Modern
FINE ENGLISH MEZZOTINTS
ARTIST'S DRAWINGS
Autograph Letters — Books on Art
107 GRANT AVENUE SAN FRANCISCO
MUSEUM OF FINE ARTS, BOSTON
Publications of the Department of Prints
Exhibition of the Etched Work of Rembrandt (1887). S. R.
Koehler.
Exhibition of the Work of the Women Etchers of America
(1887). S. R. Koehler.
Exhibition of Albert Diirer's Engravings, Etchings, and Dry
Points (1888). S. R. Koehler.
Exhibition of Etchings, Dry Points, and Mezzotints of Francis
Seymour Haden (1896). S. R. Koehler.
Exhibition of Book-Plates and Super-Libros (1898). Chas.
Dexter Allen.
Exhibition of Turner's Liber Studiorum (1904). Francis
Billiard.
Exhibition of Early Engraving in America: December 12,
1904-February 5, 1905.
In boards on hand-made paper.
Exhibition of Whistler Etchings.
Also
Catalogue of the Engraved and Lithographed Work of John
Cheney and Seth Wells Cheney (1891). S. R. Koehler. 2.50 2.65
Address the Secretary of the Museum.
A list of all the publications of the Museum may be had on application.
At the
By
Museum Mail
£1.00
$1.10
•5°
.60
1.00
1.10
1.00
1.10
1.00
1.10
1.00
I.XO
1.00
1.10
2.00
2.10
•15
.20
xxv i
Classics in Art
A:
A Pictorial Cyclopaedia of Art
Series of Books forming a Complete
Collection of the PAINTINGS of the
CLASSIC MASTERS IN ART, repro¬
duced in beautiful half-tone Illustrations.
Each Volume deals with a single Artist's
work, and contains from 200 to 500 Illustrations, including also a
Biographical Introduction. Each Volume boxed in slip case.
1 Raffael net, $3.00 9 Donatello net, $3.00
2 Rembrandt net, 4.50 10 Van Dyck net, 5.00
3 Titian net, 3.00 11 Memling net, 2.50
4 Durer net, 3.50 12 Mantegna net, 3.00
5 Rubens net, 4.00 13 FraAngelico net, 3.50
6 Velasquez net, 2.50 14 Holbein net, 3.50
7 Michelangelo net, 2.50 15 Watteau net, 3.00
8 Correggio net, 2.50 16 Murillo net, 3.50
Below each Painting reproduced are given the titles in English,
French and German, and the size and present location of the same.
Postage or Express Charges in addition to Prices Quoted
Send for Catalogue
BRENTANO'S, 5th Ave. and 27th St., New York City
M. M. KELTON'S SON
MANUFACTURER OF
PLATE PRINTING PRESSES
ETCHING PRESSES
OF ALL SIZES AND STYLES
A SPECIALTY
76 So. 8th Street
Brooklyn, N. Y.
xxvii
Announcement of the Book of the Dance,
by Arnold Genthe.
Seventy full page photographs and six
reproductions of photographs in color.
Special paper edition, linen binding, stamped
in gold, $6.00 net.
One hundred copies on Japanese vellum,
vellum binding, numbered and signed by
Arnold Genthe, $25.00.
THE BOOK OF THE DANCE
Pictorial art, which has the privilege and duty of minis¬
tering to the other arts, has done but ill heretofore in behalf
of the dance. There have been many delicate sketches
made and some really fine photographs, but these have not
been widely available, and the best books on the dance have
been calamitously illustrated. Now, at last, this deficiency
on the pictorial side has been supplied. The latest of the
arts, photography, has been used by one of its greatest mas¬
ters to give the world a definite, coherent, illuminating
record of the modern art of the dance. Arnold Genthe,
who during many years has used the camera with signal
success for making pictures of what his vision and imagin¬
ation perceived in the realities before him, was indeed the
ideal man to record the features of the dance in this day. To
vast resources of knowledge and superior intellect, Dr.
Genthe adds that keen sensitiveness and unquenchable
enthusiasm which enable him to approach and pursue his
problem with rare subtlety and devotion. He has given us
a great and beautiful book.
Shaemas O Sheel.
MITCHELL KENNERLEYM Publisher NEW YORK
xxviii
READY MAY TWENTY-FIFTH
ALEXANDER WYANT
By ELIOT CLARK
Crown octavo. IVith a frontispiece in colors and 14 photogravure
plates. Limited edition of 100 copies privately printed from the
Village type on Dutch handmade paper, sewn with silk and
hound in Italian paper hoards, cloth back. In a hox to match.
Stihscriptions received until May 25th at $10.00 net a copy.
Thereafter the price will he $12.50 net.
Mr. Clark's biographical and critical monograph
is the first adequate estimate of this great American
landscape painter whose canvases today enjoy a
popularity commensurate with their qualities of
beauty and of truth. The volume is distinguished
by a sympathetic appreciation of Wyant's art and
a happiness in the elucidation of its essential signifi¬
cance that will help one to a new understanding of
its characteristic charm. Reproductions of repre¬
sentative paintings of various periods illustrate the
artist's development from his earliest beginnings to
that final expression in which the creation of a
master is recognized. The work is full of new in¬
formation and illuminating anecdote gleaned from
Wyant's associates, and having the approval of his
family, must be recognized at once as indispensable
to the student and the collector as well as the
admirer of American art.
FREDERIC FAIRCHILD SHERMAN
1790 BROADWAY, NEW YORK
xxix
Cljc Jntcmational
/Manuscripts
TRUE Facsimiles from Originals in the De¬
partment of Manuscripts, British Museum,
of Royal, Historic and Diplomatic Documents,
State and Secret Papers, Letters and Autographs
of Kings and Queens, Princes, Statesmen, Gen¬
erals and World-F"amous Litterateurs; With De¬
scriptions, Translations, References and Editorial
Notes, By GEORGE F. WARNER, M.A.,
Assistant Keeper -of Manuscripts British
Museum, London, England.
"The Most Valuable Collection of Historical
and Literary Manuscripts Ever Issued. "
The Manuscripts show the hand-writing, erasures, interlinea¬
tions, and signatures — an exact facsimile in each case, and in
every sense equal to the originals. They are one of the greatest
curiosities of the age, and the most uncommon and original col¬
lection of State and literary archives in the world.
In three portfolio parts, 11x17 inches. Covers on heavy rough
paper, in black and red. Each manuscript is preceded by a
descriptive title-page giving the title, editorial notes, references,
etc., and each portfolio contains an index or list of manuscripts.
A LIMITED NUMBER OF SETS ARE TO BE HAD
IN CONNECTION WITH A SPECIAL SUBSCRIPTION
OFFER. WRITE TO-DAY TO
THE DIAL, 632 SHERMAN STREET, CHICAGO
XXX
THE AMERICAN
MAGAZINE OF ARTS
Formerly Art and Progress
Leila Mechlin, Editor
A monthly illustrated magazine containing brief articles by
authoritative writers; notes and news of current activities in
the field of art; reviews of exhibitions and books, and other
j matters of interest.
ptdly Illustrated. Subscripliott Price, $2.50 a Year.
THE AMERICAN
ART ANNUAL
VOLUME XII
Florence N. Levy, Editor
Who's Who in Art, a biographical directory of American
Artists. List of Art Museums and Societies in the United
.States — their officers and activities. Record of Paintings sold
at auction 1914-15.
Illustrated
Cloth Svo Price, $5.00 net.
Published by
THE AMERICAN FEDERATION OF ARTS
1741 New York Avenue Washington, D, C.
215 West 57th Street New York, N. Y.
xxxi
The Unpopular Review
A specimen cqfiy of an early number sent free on application ; of the
current number, if specially requested, subject to return or payment
THE FUNDAMENTAL OBJECT OF THIS RE¬
VIEW IS THE "UPLIFT" OF THE LESS
FORTUNATE PORTION OF MANKIND BY
OPPOSING THE CRAZES WHICH, UNDER
THAT MISUSED NAME, NOW SO EFFEC¬
TIVELY DELAY THE PROCESS
Contents of the April-June {1916) Number :
The Continental Army
The Principles at War
Organized Labor and Democracy
Mob-Psychology in Le Bon and Lear
"Efficiency" and Efficiency
History, War and Women
Why our Shipping has Declined
The Feminist Program
Absolute Democracy
The Professor of Pedagogy
Working for Someone Else
The Hack Reviewer
Religion and the Churches
The Great Waves
En Casserole
75 cents a number, S2.50 a year. Bound volumes $2. each, two a year.
(Canadian $2.65, Foreign $2,75.) For the present, subscribers can have
any back number or numbers additional to those subscribed for in ad- \
vance, for 50 cents each (plus 4 cents postage to Canada, 7 cents Foreign
countries), provided the whole amount is paid direct to the publishers j
at the time of the subscription.
Address The Unpopular Review
HENRY HOLT & COMPANY, 35 West 32d St., New York |
LONDON: WILLIAMS & NORGATE
Readers interested in promoting the work THE REVIEW attempts,
can do so by sending to the publishers names and addresses of persons
likely to be interested in it.
xxxii
" I shall be particularly interested in the number con¬
taining the 'Count Fortsas Hoax' as I consider that one
of the most amusing events in the annals of book collect¬
ing."— Mr. Edmund D. Brooks.
" Always 'The Miscellany' is delightful and refreshing.
. . . Anything I can say for it is too little." —Mr. J. T. Fred¬
erick. Editor " The Midland."
"The format of ' The Miscellany' is a thing of rare
beauty." — Mr. Julian Park.
THE MISCELLANY
Edited by MRS. ELISABETH C. T. MILLER
A quarterly publication devoted to literature and
book lore. A recent issue presented an account
of the Fortsas Library hoax : the rare catalogue of the
library being reprinted in connection with it.
Later issues will present articles on ancient paper-
making and ancient typefounding, among other feat¬
ures of interest. A department in each issue acts as
official journal for The American Bookplate Society.
Subscription : one dollar per year. Subscriptions
may be sent direct or through any bookseller.
THE MISCELLANY
ioio Euclid Ave., Cleveland, Ohio, U.S.A.
xxxiii
COLUMBIA
UNIVERSITY
QUARTERLY
HE QUARTER LY,
in addition to its record of
all official University action,
and to its historical and
biographical articles, aims
to represent that wide va¬
riety of literary, philosophic and scientific
activity which focuses at Columbia, and through
which the University contributes to the
thought and work of the world.
The Quarterly is issued in December,
March, June, and September, each volume
beginning with the December number. An¬
nual subscription, one dollar; single number,
thirty cents. 400 pages per volume.
All communications should be addressed to the
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LECTURER ON THE HISTORY AND PRINCIPLES OF
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CONTENTS
PAGE
A Jupiter in Sabots 131
BY ROBERT J. WICKENDEN
Drawings by Italian Artists in the Metropolitan Museum of
Art 157
BY GEORGE S. HELLMAN
Some French Artists during the Siege and Commune . . . 185
BY WILLIAM ASPENWALL BRADLEY
Albert Sterner's Lithographs 213
BY MAX BIRNBAUM
LIST OF ILLUSTRATIONS
PAGE
Millet. Portrait of Himself at the Age of Thirty-Three . 130
Photographs. Plateau de Belle-Croix, Forest of Fontaine¬
bleau 133
A Street in Barbizon Showing Millet's Studio and House
and Sensier's House 137
Millet. Millet's House at Barbizon 141
The Sower 145
The Woman Carding Wool 146
The Woman Feeding her Child 149
Photographs. Millet's Birthplace, Gruchy, Normandy . 150
Millet's Studio at Barbizon 153
Henri Michel Chaptt. Monument to the Memory of
Jean-François Millet and Théodore Rousseau in the
Forest of Fontainebleau 154
Filippino Lippi. The Angel of the Annunciation . . . 159
Anonymous Ferrarese Master. St. Nazaro (?)... 160
Domenico Campagnola. Landscape 163
Sebastiano del Piombo (Luciani). Head of a Woman . . 165
Lorenzo Leonbruno. Bacchanal 169
Francesco Primaticcio. St. Michael and the Fallen An¬
gels 170
Tintoretto (Jacopo Robusti). Adoration of the Shep¬
herds 173
Federigo Zuccaro. Figures in Prayer 174
xxiii
LIST OF ILLUSTRATIONS
PAGE
Leandro Bassano. The Apparition of the Angel to the
Shepherds 177
Annibale Carracci. Male Figure 178
Guercino (Giovanni Francesco Barbieri). View of a
Piazza 181
Francesco Guardi. Façade of St. Mark's, Venice . . . 182
Regnault. Automedon with the Horses of Achilles . . 187
Puvis de Chavannes. "La ville de Paris investie confie à
l'air son appel à la France " 191
"Paris serrant contre son cœur la colombe messagère qui
apporte la bonne nouvelle" 192
Falguière. La Résistance 197
Moulin. La République 198
Maxime Lalanne. Avenue de Boulogne 201
La Mare d'Auteuil 202
Martial. Arms of the City of Paris 205
La Colonne de la Place Vendôme 209
Albert Sterner. The Convalescent 214
Harold 215
"1860" 216
Dame am Wasser 219
Portrait of Edmond T. Quinn 220
Amour Mort 223
Narragansett Bay » 224
" /Jiipitet in odabotd"
JEAN-FRANCOIS MILLET
1814-1875
Millet. Portrait of Himself at the Age of Thirty-three
From a crayon drawing
130
"A JUPITER IN SABOTS"
By ROBERT J. WICKENDEN
Author of "Charles Jacque," "Jean-François Millet," "Le Père Corot,"
"Charles-François Daubigny," "The Men of 1830," "Gavarni," etc.
FTER a short stop at the White Horse Inn
in the village of Chailly, about a mile north
of the Forest, the diligence from Paris had
just started on the last stage of its journey-
to ward Fontainebleau.
It was a fine morning in June, 1849, and the old ve¬
hicle rumbled somewhat heavily over the large cobbles
of the Grande Route, for in addition to ordinary passen¬
gers, two men nearing middle age, with their wives and
families, had somewhat taxed its limited capacity. The
taller of the two men was broad-shouldered, with dark
curling locks and beard framing his clearly cut features;
and his grey-blue eyes seemed to observe with pleasure
every feature of the passing landscape. His compan¬
ion, to whom he spoke now and then, appeared rather
131
tired and pale, as if he were recovering from a recent
illness.
Just before they entered the Forest, which extends
on either side of the Route for the last six miles before
reaching Fontainebleau, the taller man pointed to an
irregular row of tiled roofs about a half-mile to the
south and said, " I wonder what the name of that village
might be, Jacque?" To which his companion quietly
replied that he did not know, nor did any one in the
vehicle offer to enlighten them. Then in a few moments
they entered the aisles of the Forest with its oaks, cen¬
turies old, on either side, and noted with pleasure the
vistas of sun-flecked foliage spreading over acres of
broad ferns, with rugged rocks cropping out here and
there through the rank undergrowth.
The name of the taller man with the dark locks and
thoughtful brow was Jean-François Millet and that of
his companion, Charles Jacque. They had started early
from Paris, glad to leave behind them its feverish atmo¬
sphere of revolution and the prevalent scourge of chol¬
era. Jacque had suffered from an attack of the dread
malady, but had recovered; his convalescence and the
safety of the other members of his family dictated an
early change to the country.
Millet, after enduring all sorts of miseries in Paris, had
been favored with a ray of good fortune in selling a pic¬
ture to the Government, and as he also had contem¬
plated going to the country, thought the moment oppor¬
tune, before the absorption of his little wind-fall by
pressing needs had made such a move impossible.
So Jacque and he had talked it over at his studio, but
could come to no definite decision as to where to go.
"I know of no other places than my native Gruchy and
132
Plateau de Belle-Croix, Forest of Fontainebleau
133
Gréville, and they are so far away in Normandy," said
Millet.
"I have heard of a little place near Fontainebleau,"
said Jacque, "but cannot recall its name, though I be¬
lieve it ends in 'zon'; we might go to Fontainebleau
first, and then find out the rest of the name and its exact
situation after we get there."
Millet, like Jacque, had a supreme desire to leave
Paris as soon as possible and fell in with the plan of his
more enterprising companion. No time was lost in pack¬
ing up and getting started next morning.
The village Millet saw just after leaving Chailly, and
which he had asked Jacque about, was the real object of
their quest, though they unwittingly passed it by on
their way to Fontainebleau. Here they took rooms at
the Hôtel du Cadran-Bleu, and Millet and Jacque, like
two boys let loose from school, set out to explore the
neighboring forest. In their enthusiasm over its wild
beauty they almost forgot the ultimate object of their
journey, but Mesdames Millet and Jacque, keeping in
view the relatively high expenses at the hotel, pressed
them to find the hamlet of their quest without further
delay. So they started out again, and on the afternoon
of the second day, met a friendly wood-cutter who, in
answer to their inquiries, told them they were then near
the route by which they had come from Paris, and not
far from Chailly.
"But," said Jacque, "do you know any place of
which the name ends in ' zon ' ? "
"Not unless it is Barbizon," replied the woodsman,
and Jacque hastened to exclaim, " That's it. I told you,
Millet, we should find the promised land!"
The rustic told them they were then near Barbizon,
134
and a short cut across the forest soon brought into view
the tiled roofs of the village that extended from the
forest in a straggling street for three quarters of a
mile towards Chailly, a mile or so distant across the
fields, and of which commune it forms a part. At the
inn they found a colony of artists including some ac¬
quaintances from Paris, and decided to come on from
Fontainebleau with their families the next day.
This they did, and on leaving the diligence at the
end of the path leading through the forest to the village
from the Grande Route the party encountered a sharp
shower. They pressed on, however, in "Indian file,"
Millet with a child on each shoulder, Madame Millet
with her five-months-old baby in her arms and Jacque
and his family following, with the servant-maid,—some
nine persons in all. The women had thrown their skirts
over their heads as a protection from the rain, and as
they passed the Porte des Vaches at the entry to the vil¬
lage, an old peasant woman said, " Tiens! here comes a
company of strolling actors."
However, at the inn they were warmly welcomed,
though Jacque and Millet were asked to submit to the
mock-test applied to all painter-arrivals. Diaz was the
master of ceremonies, and solemnly took down a well-
blackened pipe from over the chimney-shelf, and filling
it, handed this "calumet of peace" first to Jacque, re¬
questing him to give a few vigorous puffs. After careful
scrutiny the self-constituted Jury declared him to be a
coloriste, by the iridescence of the smoke as opposed
to the greyer hue it was supposed to reflect when
emitted by an académiste.
Next came Millet's turn; but he objected that he did
not use tobacco. "Then we shall not know in what
135
school to place you!" exclaimed the members of the
Jury.
"In that case, suppose you place me in my own,"
replied Millet.
Such a bold answer astonished them, but Diaz said
he knew Millet and his work, and that ce gaillard-là
might well surpass them all.
It was a gay bohemian crowd, making with the new
arrivals nearly fifty in number, that sat to dinner in the
large barn-like salle-à-manger. Twenty-five years had
passed since some artists had discovered the place.
Corot had visited Chailly as early as 1822 and it was two
years later, when Aligny and Ledieu, with Petit the cer¬
amic artist, whom they were visiting at Fontainebleau,
found themselves at night-fall practically lost in the
maze of paths that then crossed the Forest. They had
the good-fortune to hear the distant horn of a cow-herd
and on finding him, discovered that they were then over
six miles from Fontainebleau. He directed them to
Barbizon which was near by, as a place where food and
shelter might be found. Their strange brigand-like cos¬
tumes had the effect of frightening Ganne, the village
tailor, who with his wife kept the only buvette in the
place in the front part of his shop. However, they man¬
aged to get an omelette and some wine, but were
obliged to pass the night in a stable-loft. Next day, hav¬
ing explored the Forest and nearby Plain, and fully iden¬
tifying themselves, they persuaded Ganne and his wife,
induced by the chance for gain, to take them as pension¬
naires. This was the beginning of Barbizon's career as a
rendez-vous for artists, and during the next fifty years
many famous men inhabited or visited this humble
hamlet, which has now given its name to perhaps the
136
A Street in Barbizon Showing Millet's Studio and
House and Sensier's House
most famous group of artists the nineteenth century
produced.
In 1830, Rousseau, Corot and Barye came to Barbi-
zon, after first staying at the White Horse Inn at Chailly,
and Ganne, to accommodate the growing number of
visitors from Paris, made over a long row of rustic build¬
ings into rooms and studios and changed a barn into a
dining-hall.
Millet and Jacque with their families arrived on the
13th of June, 1849, and after two weeks at the inn, spent
principally in exploring the surrounding country, they
decided to stay some time and looked up more conven¬
ient quarters with a view to greater privacy and econ¬
omy. Millet took a bedroom, with the use of the kitchen
for1 cooking and salle-à-manger, in the house of a peasant,
Jean Gatelier, or "Petit Jean" as he was called, who
developed a great admiration for his new locataire, and
confided to him his burning ambition to become a suc¬
cessful dealer in rabbit-skins. Millet also found an
upper room in a house nearby to serve as a temporary
studio.
On June 28th he wrote to Sensier: "Jacque and I have
settled to stay here some time, and have accordingly
each of us taken rooms. The prices are excessively low,
compared with Paris; and as it is easy to get to town if
necessary, and the country is superbly beautiful, we
hope to work more quietly here and perhaps do better
things. In fact we intend to spend some time here."
He also asked Sensier to give formal notice to his land¬
lord in the rue de Delta of his intention to give up the
Paris apartment. The "some time" he was to spend at
Barbizon was the remaining twenty-five years of his life.
Alfred Sensier, whose sympathetic biography greatly
138
added to Millet's fame, first met the painter in 1847,
being introduced by Troyon. He was a lawyer by pro¬
fession but much interested in art, and holding a posi¬
tion under the Government, proved himself a most use¬
ful friend to Millet. Championing him, he bought all he
could afford himself, and helped constantly in the dis¬
position and sale of his work. The late Mr. Frederick
Keppel has told us that Millet's son Charles acknow¬
ledged the invaluable aid Sensier gave in years of the
direst distress, and Millet's daughter, Madame Saignier,
also said, "My father taught his children to love and
reverence Alfred Sensier next after le bon Dieu."
Though Millet's departure from Paris came rather
suddenly at the end, he had often considered such a
move, and had talked it over with Diaz. It was freedom
he most desired, to carry out and express his ideas in
his own way. Diaz, who admired Millet's originality and
power in painting the nude, opposed such a plan, assur¬
ing him that once his powers became more widely known
in Paris, fame and fortune would be sure to follow. Mil¬
let's Œdipus Being Taken from the Tree by Shepherds had
caused a sensation when it was exhibited in the Salon
of 1847 and in 1848 The Winnower and the Captivity of
the Jews in Babylon had again attracted considerable
attention. The younger men had already qualified Mil¬
let as "the master of the nude."
Millet was then particularly interested in the pictur¬
esque sides of pagan mythology, as well as in biblical
themes and read the classic pastoral poets, including
Virgil, in the original Greek and Latin. By temperament
he sympathized with all that was virile and energetic and
at this time showed a tendency to glorify and portray
the primitive forces of life, such as we find in the earlier
139
work of the poet Walt Whitman. This somewhat sen¬
suous and robust physical phase passed, but no painter
who admired Michelangelo as Millet did, could fail to
enjoy representing the "human form divine," free and
untrammelled by artificial additions of drapery. In his
purely rustic subjects, later on, we find the same grand
style governing the composition and sculpturesque con¬
struction of his often sparsely-elothed figures. The mo¬
tive may have been chosen from the humblest of human
occupations, but in its treatment Millet gave evidence
of a classicism as profound as we find in the Parthenon
groups at Athens, the Sistine ceiling at Rome, or the
figures of the Medicean Mausoleum at Florence. Few
were able to perceive this at the time : the bons bourgeois,
the Academic juries and official critics were unable to
see how these portrayals of peasant types, shod in sa¬
bots and clad in homespun, might be finer as works of
art than hundreds of other pictures in which the models
were more conventionally composed or appeared in "the
glass of fashion and the mould of form." Had Millet's
talent for great design been understood then, and more
generously encouraged, we might now be paying visits
to view vast decorations from his hand on the walls of
France's historic palaces and architectural monuments.
But fate, by the restraint of circumstances, willed it
otherwise, and as a result many smaller canvases, draw¬
ings and prints have carried original records of his
genius far and wide through the world.
If, after coming to Barbizon, he and his family still
suffered bodily privations, here at least Millet tells us
he had the satisfaction of feeding his soul on the ever-
changing beauties of nature, absorbing the glories of
sunrise and sunset over plain and forest, or of looking
140
Millet. Millet's House at Barbizon
From a charcoal drawing
141
into depths of celestial blue from the spreading shade of
ancient beeches and oaks as he lay prone on the grass
beneath them. A short time after his arrival, the oppor¬
tunity occurred to rent a peasant's home near the west¬
ern or forest end of the village. It consisted of a block
of buildings one story high, with attic, gable end to¬
wards the street, of which the width was sixteen feet and
the depth some sixty feet, divided into three separate
parts. First, a barn, seventeen feet deep, with plaster
floor several steps below street level, lighted by a win¬
dow three feet square, which Millet took for his studio;
then two rooms beyond served as bedroom, dining-room
and kitchen. This was flanked by a garden about fifty
feet wide, walled in and extending back to the plain, to
which a gate opened through the wall. Some other little
out-buildings and a chicken-house existed or were added
by Millet with his own hands.
No time was lost before moving his few effects thither,
and in the dismal, damp, barnlike studio Millet worked
for five years. There was no chimney, and the only
means of tempering the sharp cold in the winter was
by means of flambées of straw, burnt on the stone floor.
Yet from this comfortless workshop came forth The
Sower, The Woman Shearing Sheep, Peasants Going to
the Fields, and the many other masterpieces that Millet
produced between 1849 and 1854.
He rarely painted out of doors, though he observed
much, making careful notes and sketches. This material
was passed upon judiciously before taking its place in
pictures, his fine memory assisting with the facts neces¬
sary to the best expression of the dominant idea, as the
work progressed. His first important rustic picture, The
Winnower, exhibited in the Salon of 1848, had been
142
painted in Paris from souvenirs and sketches obtained
in his native Normandy, yet as an example of effective
design and solid construction, it can well stand by the
side of the later works done at Barbizon. Millet's art
was principally subjective, and did not consist solely
in his becoming a sort of human camera, merely to
transcribe any accident of form or color that came before
the lenses of his eyes. He valued facts, and it was his
constant aim to render in the most natural and truthful
way that which his mind had conceived, yet his eyes and
hand were always under the control of thought and
imagination.
Tennyson said, "an artist should live in Art," recog¬
nizing the fact that a high degree of skill, depending to
a certain extent on personal emulation, is as necessary
as the simple absorption of nature for the production of
the best art. Barbizon afforded such an atmosphere by
being at that time the meeting-place of many distin¬
guished men, and a common ground where "classics"
and "romantics" could mingle with greater freedom and
bonhomie than was possible under the limitations and
more rigid separations of the Paris studios and schools.
William Morris Hunt quoted Gérôme as having called
Millet "a Jupiter in sabots." To be thus qualified, by
one whose academic affiliations would scarcely be likely
to permit undue credit or praise, is eloquent evidence of
the powerful impression made on all who approached
Millet and his art with an open mind. There was a force
in his personality that compelled the respect even of
those who opposed him. Yet what conditions of pomp
and circumstance clothed and accompanied this acknow¬
ledged chief of the Olympians in nineteenth-century
French art? A contemporary photograph shows him
143
garbed in a loose woolen sailor's blouse, — probably
from his native Normandy,—shod in roomy sabots,
of which as he tells us the wooden soles were worn to
smoothness, while an old broad-brimmed straw hat
crowned his powerful and somewhat defiant head. For
his state abode, a small peasant's cottage on the unique
street of a modest hamlet whose first founders were
supposed to have been brigands, wood-cutters or poach¬
ers, more lately become tillers of the soil. — Emerson
has said, "Genius and virtue like diamonds are best
plain-set, — set in lead, set in poverty. The greatest man
in history was the poorest." This was true of Millet;
his greatest masterpieces were produced amid circum¬
stances that would have crushed many a weaker man.
As far back as 1847 he had said to Sensier, soon after
their first meeting, "Art is not a pleasure trip; it is a
battle, a mill in which one is ground up. I am no philos¬
opher. I do not pretend to do away with pain, nor to
find a formula that will make me stoical and indifferent.
Pain is perhaps the thing that makes an artist express
himself with the greatest power."
He had been accused by a number of critics of an in¬
tention to stir up social and political sympathy with the
hard condition of the peasants, but such a motive never
entered his head. He saw only the beauty that surrounds
human toil, especially that of the fields, and accepted
for himself as well as others the Genesiac dictum, "In
the sweat of thy face shalt thou eat bread."
Millet could do all the forms of the field work he por¬
trayed, having practiced them on the paternal farm in
Normandy. When he returned there after the first years
at Paris he preferred to wear the peasant costume, al¬
though as his brother Pierre has told us, his mother with
144
Millet. The Sower
Size of the original lithograph, iy2 X 6% inches
145
Millet. The Woman Carding Wool
Size of the original etching, 10% X 6% inches
146
pardonable pride, would have wished him to appear in
the more conventional dress of a "Monsieur" who had
lived in Paris. At Barbizon he adopted the same simple
costume, and was much respected by the country-peo¬
ple, some of whom had little sympathy with the ordin¬
ary run of "designers" as they called the artists. Millet
always cultivated his own garden, and attended to Sen-
sier's when this friend bought the neighboring property
and came to Barbizon every summer. Sensier afterwards
bought Millet's house and studio from Brèzar, surnamed
"The Wolf," and thus became Millet's landlord.
Millet had little in common with the bohemian crowd
that frequented Barbizon in the summer months, and
preferred its plain and forest in autumn and winter,
when these birds of passage had flown. Yet he never
refused to help sincere students. With William Morris
Hunt he was most intimate, and we have the accounts of
Wheelwright, Babcock, Low, Wyatt, Eaton and others
who were kindly received by him and profited by his in¬
struction. The poetically natural qualities of Millet's
art, with its Norman seriousness seemed to attract men
from America, where academies and official traditions
had less autocratic power than in the older world.
As to Millet's companions, we have seen how Jacque
was in a sense the cause of his finding Barbizon. Jacque
had excellent business acumen and soon commenced
to acquire property at Barbizon, where he arranged a
comfortable home and studio, and amused himself with
chicken-farming. The Plain offered him an excellent
field for his studies of sheep, which became very popular.
Of special interest to print-collectors is the fact that
Millet's first essays in etching were prompted by
Jacque, whose early plates done in Burgundy, depict-
147
ing peasant-life and its picturesque surroundings, may
have influenced Millet in suggesting a return to rustic
art. Jacque certainly profited by the great qualities of
Millet's art which he appreciated from the time of their
earliest acquaintanceship at Paris.
Millet's etchings were all done while he was at Bar-
bizon. He had often treated the same subjects in the
form of paintings and drawings before they were trans¬
ferred to copper. We know how carefully he prepared
and composed his designs before using the needle, so
that when he took this in hand, the greatest possible
effect could be attained with the fewest possible lines.
But when it came to the process of biting, his troubles
began, and he often called on others to help him in this,
for him, onerous task.
A letter exists, that was published in facsimile in the
catalogue of the official exhibition of Millet's works held
at the École des Beaux-Arts in 1887, of which the follow¬
ing is a translation : —
Barbizon, 6 June, 1861.
Sir, —
I will be at your house Monday morning at nine
o'clock with my copper-plate. As Mr. Bracquemond is
to do the biting, kindly let him know that 1 shall be
pleased to see this operation done in time to allow me to
see a proof of my plate before starting for home the same
evening. If Mr. Bracquemond can do me this kindness
I shall feel much obliged to him.
Accept, I pray you, my salutations
J. F. Millet.
[P.S.] Would it not be well also to tell Delâtre [the
printer] to be at his place Monday in the afternoon?
148
Millet. The Woman Feeding her Child
Size of the original etching, 8*4 X 6% inches
149
Millet's Birthplace. Gruchy, Normandy
The plate in question was probably La Soupe, some¬
times called Woman Feeding her Child, which appeared in
the Gazette des Beaux-Arts for September, 1861, with an
article by M. Philippe Burty on the etchings Millet had
produced up to that time. Madame Heymann, Millet's
daughter, with her baby, served as the models for this
plate. We can understand the rarity of proofs in the
first state, when we see by this letter that Delâtre had
to take them off under the master's eye before he re¬
turned with the plate to Barbizon that same evening.
Millet's plates were usually deeply bitten, and one, The
Woman Carding Wool, was by accident forgotten and left
in the mordant all night. The artist thought it spoiled,
but the clear treatment in pure line prevented this, ex¬
cept that the proofs are often veritable casts in ink,
which, in varying degree, is what all etchings are.
This habit of deep biting had its advantage, however,
when Goulding of London printed a limited edition of
fine prints from the plates after they were taken from
the coffer in which they had been sealed at the time of
Millet's death. They were then placed by the family
in the late Mr. Frederick Keppel's hands for the same
purpose, being specially marked and placed hors de
service afterwards.
Millet's almost unique lithograph of The Sower was
drawn at Barbizon, as well as the clichés-verres executed
by the Cuvelier process, and the wood-cuts, — in one case
only engraved by his hand,— drawn by him on the block,
which were afterwards engraved by his brother Pierre
or by Adrien Lavieille under the artist's direction.
Three trips to his native Normandy were made during
the period of his life at Barbizon. The first was in 1853
after his mother's death, when the family insisted on
151
his presence at the modest partage. He gave up his in¬
terest in the parental house and farm to his brother
Auguste who remained to work it, and only asked for
the old books of his great uncle the Abbé Charles, an
ancient oak cupboard that had been in the family for
centuries, and one of the brass cannes, used for carrying
water or milk. These he took with him to Barbizon,
where he always treasured them, and sometimes intro¬
duced them into his pictures.
During the summer of 1854, a passing wave of good
fortune permitted him to revisit Gréville and Gruchy,
this time accompanied by Madame Millet and his fam¬
ily. " Je vais revoir ma Normandie," he wrote to Sensier
on the 18th of June, just as he was starting. The visit
extended over four months, during which time Brèzar
his landlord rearranged an old building across the gar¬
den as a new studio, putting in a wooden floor, and a
good-sized window-light on the side facing the street.
The old studio was floored to a convenient level for a
dining-room, and a small kitchen was built near by. On
coming back to Barbizon with his family in the autumn,
Millet found all these improvements completed which
gave him for the first time a fairly comfortable home and
a well-lighted atelier of modest dimensions.
His last trip to Normandy was undertaken when the
approach of the German army in 1870 made it wise to
take the family to safer quarters. His two sons-in-law
were already at the front with their regiments. He took
the family first to Cherbourg, where he was unable to
sketch outside on account of the existing martial law,
though he managed to do some sea-studies from his
hotel window. Later he went to Gruchy and Gréville
where he made a number of sketches, at the latter place
152
Millet's Studio at Barbizon
Henri Michel Chapu.. Monument to the Memory of Jean-François Millet
and Théodore Rousseau in the Forest of Fontainebleau
painting a picture of the church which is now in the
Louvre Museum, and which may be seen on the easel in
the photograph of his studio made after his death in
1875 by Charles Bodmer — a son of Millet's friend, the
painter Karl Bodmer, — from whom I procured a copy
a few years later. In this photograph one sees how
simple were the means with which Millet produced
his great works. A solid easel, some rush-bottomed
stools, a simple paint-stand, and a few casts hung above
the plain table seen beyond the window. Here and on
the shelf above are a few panels and canvases leaning
against the wall. One odd touch is the model of a
brig under full sail placed on the top of the easel, —
possibly the gift of some mariner friend in Normandy.
The tools and furnishings are of that extreme simplicity
we might expect in a master whose force consisted in the
pure strength of his thought and the expressive skill of
his hand.
Perhaps the most persistent impressions, and those
that influenced all his work, were received as a child
and young man in Normandy. These qualified all he
produced, even the subjects composed at Barbizon.
Among the artists who lived at or near Barbizon, and
whom he saw oftenest, were Rousseau, Corot, Barye,
Daumier, and Diaz. Decamps rode over from Fon¬
tainebleau to see him several times. With these men
and with Sensier he kept up the most intimate and
friendly relations. Daubigny and Dupré who lived north
of Paris on the Oise at Auvers and LTsle-Adam were
also among his sympathetic friends. He went abroad
but little, for he was essentially a family man and a
lover of his own fireside.
Of his various friendships with fellow-painters, that
155
with Rousseau was the most intimate and permanent.
Slow to come together at first, their attachment was
constant when they fully understood each other's value.
The Forest and 1'lain were principally interesting to
Rousseau for their magnificent landscape motives,
while with Millet it was the human side that touched
him the most profoundly in all he saw or composed. It
was fitting that these two great painters should be
buried side by side at Chailly, under the shadow of the
church-tower which may be seen rising against the sun¬
set sky in Millet's Angelus, and that on the memorial
plaque inaugurated at Barbizon in 1884, their powerful
profiles should be placed side by side. This bronze relief
is fastened to the face of one of the great rocks in the
Forest near the Porte des Vaches.
It was by this gate that Millet entered Barbizon with
his family and Jacque in 1849. Here, too, he passed
oftenest with Rousseau when they visited their favorite
haunts of the Forest together, during those eventful
years spent in mutual contemplation of nature, and in
creating works, of which the beauty and supreme art
have made their names immortal.
DRAWINGS BY ITALIAN ARTISTS IN THE
METROPOLITAN MUSEUM OF ART
By GEORGE S. HELLMAN
Author of " Original Drawings by the Old Masters,'' 44 Eighteenth Century
French Engravings," 44 Jacques Callot," 44 Drawings by Dutch and
Flemish Artists in the Metropolitan Museum of Art," etc.
HE school which included Ghirlandaio,
Lorenzo di Credi, Fra Bartolommeo and
Filippino Lippi remains, after almost half a
thousand years, one of the most delightful in
art's record. Historically, also, this great Florentine
group is of significance, for in the work of these men
shall be noted those qualities which were their heritage
from the earlier Primitives ; while, as the precursors
of Raffaelle, who was influenced by the study of their
work, they left their impress on the great Roman school.
Of these drawings by the Florentines, the Metropoli¬
tan Museum has a very delightful example in its Angel
of the Annunciation by Filippino Lippi. In this circular
drawing (flanked by two little sketches of a later period)
there is epitomized the loveliness of the school which he
so well exemplifies. The sketch has that simplicity and
that purity which are distinguishing traits of XVth cen¬
tury Florentine drawings, and has, moreover, the cor¬
rectness in the presentation of the human figure, not so
apparent in preceding centuries.
Apart from delightful execution, what thought and
feeling there are in every detail of composition! The
157
Angel, in a mood of quiet elation, advances with a free
and swift motion, emphasized by the flowing garments.
The pari «I lips of the face shown in profile speak the
divine message, while the raised right hand imposes
reverential silence on the auditors. In the left hand a
spray of Easter lilies is symbolic of the Christ; and the
wings and aureole are hardly needed for a picture so
surcharged with the wonder of holiness. The drapery is
Florentine in character, but does not affect the eye with
any contemporaneous limitations; and while the drawing
incidentally is to be recognized as a document indicative
of XVth century influence over such XlXth century
artists as Burne-Jones and Rossetti, it leads the imagi¬
nation along paths of spiritual beauty, into realms not
bounded by epochs.
Filippino Lippi was born about 1457 and died in 1504.
That the serenity of his life explains, to some extent, the
sweetness of his work, may well be true; although the
direct influence of Ghirlandaio accounts more for the
style of Filippino than can any biographical facts.
Grace and tenderness are to be found in all his work; and
that nobility of attitude wherein he shows himself an
inspired precursor of the great artists who were so soon
to follow. His paintings had for the most part religious
themes, the episodes in the life of the Virgin being es¬
pecially favored by him. In the Church of the Badia, at
Florence, his painting of The Apparition of the Virgin to
St. Bernard, one of the most characteristic of his works,
has, at the lower left, the figure of an angel which may
be compared with the drawing at the Metropolitan.
While the hands are there shown in an attitude of prayer,
the general arrangement of the upper body is similar,
and the face, again shown in profile, has the sim-
158
Filippino Lippi. The Angel of the Annunciation
Size of the original drawing, 3% inches in diameter
Anonymous Ferrarese Master. St. Nazaro (?)
Size of the original drawing, ll-% X 6% inches
160
plicity and purity of expression that the present drawing
reveals.
While Florence was, in the second half of the XVth
century, contributing in such lovely wise to art, the North
Italian cities were bringing forth a multiplicity of im¬
portant painters. Most notable was Mantegna; and the
influence of this Paduan master (great in the field of en¬
gravings as well as in that of paintings) is to be seen
in the Metropolitan's fascinating drawing attributed to
some unnamed artist of the school of Ferrara. The draw¬
ing belongs to the late XVth or early XVIth century, and
is, one surmises, of the school of Ercole Grandi. There is,
in the National Gallery at Budapest, a drawing of a man
on horseback, a study for Grandi's painting in the Gar-
ganelli Chapel at Bologna. The formality in treatment
of costume is similar in both the Budapest and the
Metropolitan drawings, although the latter has more
charm, due in large measure to the tonal quality.
The school of Ferrara was inferior to most of the other
Italian schools at that time in the drawing of the human
body, and there is a certain woodenness, a primitive rude¬
ness, in many Ferrarese designs that have come down
to us. Even in so delightful an example as the present
drawing (which is considered as possibly a study of St.
Nazaro), deficiencies in the modelling of face, hands and
legs are not unapparent. There is, indeed, as little grace
in the right hand of this figure which holds its leaves of
palm, as there is in the right hand of the Budapest
drawing with its similar palm leaves. But the drawing
remains one of quiet dignity, and is worthy of much
study as presumably the most interesting among Fer¬
rarese drawings in any American museum.
It may be noted in passing that there is in the Na-
161
tional Museum at Stockholm a Florentine drawing of
a young man in similar costume to the Metropolitan
Ferrarrese drawing, showing the influence of Paolo
Uccello, who in turn may have heen influenced by Man-
tegna, the North Italian master who undoubtedly af¬
fected our unnamed Ferrarese artist.
Following in chronological sequence, the artists whom
we have chosen for consideration in an article which, in
view of the numbers of Italian drawings at the Metro¬
politan, is necessarily a very partial survey, we now
come to a representative of the Venetian school. Nor
is it merely as a matter of personal predilection that
Domenico Campagnola (1484-after 1563) is included.
Better known as an engraver than as a painter, Cam¬
pagnola is further distinguished from his contemporaries
in that his achievement was more notable in the field of
landscape than in the human form. His most attractive
drawing at the Metropolitan is typical, pleasing not
alone in composition, but also in detail, although it has
elements of that theatricality which differentiates the
Italian from the Dutch landscape school. Campagnola
has here recourse to a hilly road and high banks in the
foreground, a method of arrangement always felicitous
in lending distance to the middle and background. This
scheme of composition (including often a comparatively
large figure in the foreground), we have, in a previous
paper, noted as a favorite device of Jacques Callot, who
served his art apprenticeship in Italy.
The caravels in Campagnola's wide river remind us
interestingly that our artist was born less than a decade
before Columbus set out in similar vessels upon his dis¬
covery of America. Buildings add a classical touch to
the general effectiveness of this drawing; while the trees,
162
Domenico Campagnola. Landscape
Size of the original drawing, 8% X 14% inches
showing the Titian influence, are as deftly drawn as the
various little figures which decorate the foreground.
Campagnola's line, as is logical with so proficient an
engraver, is clear and expressive. The only criticism
that suggests itself is in regard to his tendency to intro¬
duce curves into his lines, with the result that the road
and rocks in the foreground have something of the ap¬
pearance of streams of water. The same mistaken effect
is to be seen in another Venetian landscape drawing by
Campagnola in the Albertina Collection at Vienna. For
all this, he remains one of the important names in the
realm of landscape; and although he figures, so far as
his own work is concerned, but modestly in the history
of painting, he may, through his influence on Pieter
Breughel the Elder, be considered as having left a more
important stamp on landscape painting than any other
of the Venetian artists, including Titian, whose landscape
studies those of Campagnola not infrequently resemble.
In Sebastiano del Piombo (1485-1547) we have an¬
other attractive artist of the Venetian school. Sebasti¬
ano had, in the company of Titian and Giorgione, studied
under Giovanni Bellini who, however, influenced him
far less than did his fellow student Giorgione. In 1512
Sebastiano (whose real name was Luciani, but who
gained the name of del Piombo on receiving appoint¬
ment in the office where the leaden seals were attached
to Papal decrees) began his career in Rome, under the
patronage of the princely banker, Agostino Chigi. It
was a time at which Michelangelo and Raffaelle were
the rival leaders in the world of art; and when Sebas¬
tiano became a student of Michelangelo, the great
Florentine, appreciating Sebastiano's power as a colorist,
conceived the idea that if to this capacity the structure
164
Sebastiano del Piombo (Luciani). Head of a Woman
Size of the original drawing, 8 X 6% inches
165
of great design were added, he might have in Sebastiano
a painter who could overthrow Raffaelle. This, at least,
is the theory advanced by Vasari; and there is good rea¬
son to believe that not alone did Sebastiano undertake
some of his paintings at the suggestion of Michel¬
angelo with a set purpose of rivalling Raffaelle, but it
is also sufficiently well established that Michelangelo
assisted Sebastiano in general structural design and com¬
position. The Flagellation and the Transfiguration in the
Church of St. Peter in Montorio at Rome are instances
in point, and the Resurrection of Lazarus in the Na¬
tional Gallery, London, a further one.
It is in relation to this alliance between these two
artists whose friendship was of the closest, that the draw¬
ing of the Head of a Woman by Sebastiano del Piombo
at the Metropolitan gains its chief interest. So mark¬
edly is shown the influence of Michelangelo, that it
almost visualizes for us the circumstances of their affilia¬
tion. It reveals at the same time, however, Sebastiano's
inferiority as a draughtsman. He achieves here the
colorist's effect in light and shade, but his minute cross-
hatching and numerous almost valueless small curved
lines are in significant contrast to the swift and potent
lines revealed in the drawings of Michelangelo. If we
study the nose or the chin of this woman, or the muscles
of her neck, we shall note how Sebastiano resorts to
meretricious art to gain his effect, while with his master
the structure of the human form or any of its component
parts is shown in far firmer and more simple manner.
As an historical document confirming Vasari's conten¬
tion and bringing to light one of the most interesting
episodes relating to the rivalry between Michelangelo
and Raffaelle, this drawing is of chief importance; an
166
interest accentuated by the fact that after Raffaelle's
death, Sebastiano became the foremost figure among
the painters at Rome.
Lorenzo Leonbruno (1489-1537) is a name of less note
than those that we have been considering, yet a drawing
of his in the Metropolitan deserves attention for more
than one reason. Here we have a bacchanalian scene
whose debt to Mantegna is readily obvious. In Man-
tegna's Bacchanalian Group with a Wine-press (Bartsch
No. 19) are twelve figures in a similar composition. Here
there are thirteen figures, with various decided differen¬
tiations and some minor transpositions. In both a child
hangs over the edge of the wine vat; a standing figure
at the left carries a human burden over the shoulders;
another holds a horn ; and still another clasps a youth in
his arms. Mantegna's design is infinitely more beautiful,
and his bodies are drawn with finer fidelity. Leonbruno,
however, for all the faults of his design, has achieved
an attractive sculptural quality in this drawing, which
is interesting not merely because of its rearrangement
of a famous model, but also in that his figures are those
alone of human beings engaged in a riot of wine, while
Mantegna's design is replete with the far feeling of myth¬
ological days. That this difference was a conscious
change on the part of Leonbruno is made evident by his
elimination of the only goat-footed satyr in Mantegna's
group.
A few years after the birth of Leonbruno, Giulio
Romano (1493-1546) was born. His name is as in¬
timately associated with Raffaelle's as Sebastiano's is
with that of Michelangelo; and, after years of asso¬
ciated labors and pleasures, he became one of the heirs
and executors of Raffaelle, of whom he was perhaps the
167
most famous pupil. The dark colors that he used in his
paintings — colors that have not well stood the test of
time - interfere with the beauty of his canvases; but
in his drawings Giulio Romano is revealed as an artist
of scholarly temperament in the study of accessories
as well as a master of original power. In Europa and
the Bull, the Metropolitan has a very characteristic
drawing in that mythological field which strongly ap¬
pealed to this artist. The bull is wading across the
river, bearing Europa on his back, while two shepherds,
one old, one young (with cattle and dog near by), are
watching the strange scene with varying interest. Above
Europa flies, bow in hand, a cupid — symbolic of the
amorous adventure in which Jupiter is engaged. This
pen-and-ink and wash drawing has the usual quality of
modelling which one associates with Giulio Romano, a
quality that was a result of his extensive studies of bas-
reliefs.
Many of the Italian painters of this period are yet
alive for us in an intimate way in the pages of Benvenuto
Cellini's inimitable record of genius and scoundrelism.
It is there that we learn how, through Cellini, Sebastiano
received the appointment that gave him the name by
which he is known; and there too we shall find amusing
anecdotes and trenchant criticism concerning the bit¬
terest and the meanest of Michelangelo's rivals.
Baccio Bandinelli (14911 .1560), by birth a Florentine,
naturally fell under the influence of the great cartoons of
Michelangelo for the Council Hall; but the wonderful
nude figures so aroused the envy of this man who con¬
sidered himself Michelangelo's superior in the repre¬
sentation of the human figure, that, during the political
upheaval in 1512, he took advantage of the confusion
168
Lorenzo Leonbruno. Bacchanal
Size of the original drawing, 10% X 16^4 inches
Francesco Primaticcio. St. Michael and the Fallen Angels
Size of the original drawing, 10 X 7% inches
170
to destroy Michelangelo's picture at the Palace at
Florence. Cellini has no words too contemptuous where¬
with to describe the art of Bandinelli ; but the Metropoli¬
tan's drawing, to which the name of The Holy Family is
given, is one among many indications of Bandinelli's
undoubted talent. He lapses at times, it is true, into
theatrical exaggerations of muscles, but in the present
instance he is not open to this criticism. Behind the
central figure of the woman stands a very old man, staff
in hand, and with flowing drapery. Both these figures
are drawn with bold and free lines and show a sculptor's
knowledge of the human form. The classical features of
the woman's face, her exposed breast, and the almost
naked form of the old man, lead one to believe that the
title of The Holy Family is a misnomer; and that indeed
the subject of this drawing is not the Virgin and Joseph,
but Helen of Troy. The drawing, in its reference to
the work of Michelangelo, has an historical interest re¬
lated to that which we find in the study by Sebastiano.
Michelangelo sought to train Sebastiano to become
the rival of Raffaelle; Bandinelli's aim was to outdo
Michelangelo.
With Michelangelo's and Raffaelle's influence the
Italian School had become paramount over all Europe.
Foreign princes were continually holding out induce¬
ments to the artists of Italy, where, similarly, popes and
princes heaped favors upon genius. One is familiar with
the journeyings of Cellini from Italy to France and from
France to Italy at the behest of royal patrons; and so,
too, we shall find Francesco Primaticcio (1504—1570),
invited by Francis I to take charge of the decorations for
the palace at Fontainebleau. Here he got into dangerous
rivalry with Cellini, who, on one occasion, threatened
171
him in the usual swaggering way. Primaticcio belongs
to that group of artists whose work shows those so-called
decadent qualities which enter into Italian art after the
death of Michelangelo and Raffaelle. Elegance and
charm begin to be the substitutes for essential idea and
structural truth; a decline revealed more, on the whole,
in the field of painting than of drawing. The Metropoli¬
tan's best example of a design by Primaticcio — St.
Michael and the Fallen Angels — exemplifies both the
quality and the limitations of the artist. The study is
pleasing, despite a composition that lacks the conviction
of greatness ; yet it is the work of a man who is a lover of
ancient statuary and who does not descend to planes of
unnatural exaggeration in gesture and attitude. The fig¬
ure of Lucifer, for all its faults in the drawing of hands
and arms, is still a graceful figure; although even here we
can see why, in later times, the significant French paint¬
ers deprecated the art of Primaticcio.
With Jacopo Robusti, II Tintoretto (1518-1594), we
come to a Titan among the Venetians; greater, however,
as a painter than as a draughtsman. From his drawings
are absent the correctness and finish of the Roman
school. Tintoretto seems ever eager to get at his canvas,
although he does not underrate the importance of draw¬
ing. His sketches are big in thought and composition;
masterful in the broad lines of his brush or the incisive
strokes of his pen. Details do not interest him; he al¬
ways seeks the general effect, an end which he attains in
his drawings largely through his powerful use of light
and shade. All this is shown in the sketch entitled The
Apparition of the Virgin (but perhaps more accurately
to be called "The Adoration of the Shepherds"), no
doubt a preliminary design for one of his paintings.
172
Tintoretto (Jacopo Robusti). Adoration of the Shepherds
Size of the original drawing, 12 X 6% inches
173
An artist of more importance for the historian than
for the lover of art is Federigo Barocci (1528-1612), a
painter of the Roman school, who has been called the
"first of the Italian decadents." Although, as a young
man, he personally met Michelangelo, it was Correg-
gio who most influenced the work of Barocci, in whose
drawings is evident the tenderness of feeling but not all
the virility of his great Bolognese master. The black
crayon study of a Head of a Woman shows resemblance
to French drawings of the XVIIIth century, and is thus
interesting as an indication of Barocci's affiliations with
a school whose charm is essentially different from the
vital delightfulness of the drawings of Italian art at its
best period.
With Barocci there was often employed by Pope Pius
IV another artist of the Roman School, Federigo Zuc-
caro (1542-1609). The Metropolitan has a very pleasing
drawing by this artist in which a nobleman and members
of his household are shown kneeling in the street, or
courtyard before the palace, in an attitude of prayer.
Zuccaro was much patronized by the nobility through¬
out Europe, receiving commissions in England, France
and Holland as well as in Italy, and it is more than
likely that in the present drawing we have the portrait
of one of his patrons. As a presentation of a contem¬
poraneous episode it is rare among Italian drawings.
It has pleasant illustrative quality, and one might
imagine it as a scene from "Romeo and Juliet"; but
that Zuccaro was not a draughtsman of the first rank,
the hands and leg of the male figure furthest to the
right suffice to reveal.
Of these secondary artists the Metropolitan has a vast
number of drawings, for the most part the gift, some
175
forty-five years ago, of Cornelius Vanderbilt: a collection
which is deserving of study especially in regard to archi¬
tectural and ornamental designs. In so brief a paper as
this, many interesting names must be passed by, but
one pauses to admire a drawing by the Bolognese artist,
Camillo Procaccini (1546-1626), in which Virgin and
Child are shown in a study that has the quality of monu¬
mental sculpture. The Infant Christ seems to be press¬
ing himself upwards towards the mother's down-turned
face, as if the Child were trying to comfort the mother,
whose expression is that of foreboding sorrow. The
strong lines of this picture may be those of a reed pen,
much in use among the artists of those days, and the
invariable medium of Cambiaso in his pen-and-ink
drawings. Procaccini, who was strongly influenced by
Parmigiano, made paintings for many of the Italian
churches, the life of the Virgin figuring frequently in his
work.
We have indicated that in Procaccini's drawing, the
charm for the imagination resides in its suggestion of
the mother's grief, as with prophetic instinct she foresees
what the years are to bring to her Infant. The human
note is sounded less keenly, but perhaps not less appeal-
ingly, in a drawing by Leandro Bassano (1558-1623),
whose subject is the appearance of the Angel to the
shepherds. In the foreground a woman milks a cow, sur¬
rounded by sheep, a goat, and a dog. The other four
figures are men. One of them is reclining, playing leis¬
urely on the flute, while a second shepherd stands near
the head of the cow. These two men, as well as the
woman, are engrossed in their rustic occupations; but the
other two men have seen the Angel, whose form, if we
look with half-closed eyes, becomes merged in the clouds
176
Leandro Bassano. The Apparition of the Angel to the Shepherds
Size of the original drawing, 11^4 X 9^4 inches
177
Annibale Carracci. Male Figure
Size of the original drawing, 12% X 9 inches
178
and foliage of the upper part of the drawing. Awe-struck
are the observant shepherds, and their attitude of sur¬
prise and wonder contrasts effectively with the repose of
their companions. The drawing is replete with poetry,
and the distant hills and glowing sky have the glamour
of romance. A drawing whose defects are gladly con¬
doned in view of the totality of its charm.
From the point of view of draughtsmanship, an artist
not subject to adverse criticism is Annibale Carracci.
He, his brother, Agostino, and his cousin, Lodovico, are
still regarded as masterful exponents of the principles
of classical drawing. They were not originators, but
eclectics eager to seize on many phases of life and beauty;
partisans of no particular school; teachers deeply im¬
bued with the sense of the value of correct drawing.
Annibale was the foremost member of the Carracci group,
and remains the most influential Italian artist of the lat¬
ter half of the XVIth century in relation to the academic
training of later painters. There are various of his draw¬
ings at the Metropolitan, but as illustrative of the fore¬
going comments, perhaps none could serve better than
his study of a Male Figure, the upper portion of which
is shown undraped, a rear view.
The Carraccis lived at Bologna, where Agostino was
the customer of a man named Barbieri, who provided
him with wood. Barbieri had a son, who, as a small boy,
often would sit beside him as he drove his cart. Agostino
Carracci, becoming one day aware of the boy's interest in
art, gave him a drawing of an eye, and bade him copy it.
This was the initial event that led to II Guercino's asso¬
ciation with the Carraccis, resulting in his career as a
successful artist. Guercino's drawings are easy to recog¬
nize, both by the freedom in his lines and that treatment
179
of light and shade which shows the influence of Oara-
vaggio. Of these characteristic drawings, the Metropol¬
itan has a number; but, for us at least, most interesting
is a view of a Piazza, a drawing which associates Guer-
cino with two artists hitherto, it may be, not thought
of in Ins connection.
The clock-tower and the other buildings in this draw¬
ing are not arranged in their actual relationship as they
stand in the lovely Venetian square. But this somewhat
curious point we pass over (for to shift buildings is ar¬
tistic license) in order to study the small figures in the
drawing. It would seem beyond much question that
Guercino was familiar with the etchings of Callot, his
contemporary, who lived and became famous in Florence
early in the XYIIth century. Rembrandt, soon there¬
after, was performing his miracles, but when Callot
wrought his delightful Florentine plates, he was the most
celebrated (and he may be considered the first) of great
etchers. I think there can be no doubt that this drawing
by Guercino was made directly under the Callot in¬
fluence.
Guercino's small figures attain their effect bv his char¬
acteristic use of chiaroscuro. They lack the imposing
dignity of even the most minute of Callot's figures; they
are clever, but not great. In an Italian artist of the
succeeding century, we shall see the marvellous little
figures of Callot reincarnated; and Francesco Guardi
(1712-17'G) should be added to the long list of artists
who owe a debt to the master of Lorraine.
Canaletto and Guardi are not alone important as
painters, but arc also, withPiranesi, the most interesting
architectural draughtsmen of their period in Italy. Guar-
di's chief wizardry is observable in those little blots and
180
/
mm &»p
Guercino (Giovanni Francesco Barbieri). View of a Piazza
Size of the original drawing, 7*4 X 10% inches
Francesco Guàrdi. Façade of St. Mark's, Venice
Size of the original drawing, 9% X SYs inches
182
slashes of ink, those swift scratchy lines, which resolve
themselves into vital beings either of the human or ani¬
mal world. The title of the drawing here reproduced is
the Façade of St. Mark's, the church which completes the
square, some of whose buildings Guercino's drawing
includes.
Scraggly lines, capped by little dots of ink (in indi¬
vidual analysis reminding us of musical notes), become
clusters of magnificent columns; and this is a sketch one
can have all manner of delight in letting the eyes play
on. If we almost close our lids and focus our gaze on the
noble entrance, the depth of the corridor becomes im¬
posing; or, with the same emphasized vision, we may
see the figure in the centre foreground throwing a
shadow that well-nigh seems to reflect character. The
note of humor, a note often struck in the etchings of
Callot, is to be found in the drawing of the two little
dogs and the fat man in the lower left corner; while per¬
haps the most masterly bit is the group at the right
which reveals all that is essential in depicting a father
looking down at the little boy with whom he is walking.
There are other excellent sketches by Guardi in the
Metropolitan, including some superb studies of a bull
fight, but none more succinctly combining his rare qual¬
ities as draughtsman with that power of giving character
and beauty to static as well as to animal forms. In such
a drawing as this, we have further confirmation of the
fact that the spirit of a drawing is the vital thing, and
that a great master can achieve in a figure too small to
admit of the presentation of the features of the face the
very essence of expression; and that, if genius be his, the
imagination of the artist will call forth such response
from the observer as to render inconsequent consider-
183
ations of the actual size or the meticulous finish in a
design, («real, draughtsmen have learned that secret
of idealization which in seeking to present permanent
types of character, permanent aspects of life, employs
the method of elimination as well as of accentuation.
The greater the master the more he can accomplish in
the slightest of sketches; but his economy is based on
sure knowledge.
Very briefly thus have we considered the Italian
drawings at the Metropolitan Museum; yet our partial
adventure has carried us into the three periods into
which many critics have divided Italian art. Filippino
Lippi belongs (although less centrally than his father,
Filippo Lippi) to the Primitive period; others of the
artists were associates of Michelangelo and Raffaelle,
who represent the epoch of greatest strength; and we
have followed, not without pleasure, the work of some
of the painters of the period of decline, recognizing that
in their canvases they show more elements of "deca¬
dence" than in their drawings where color and chiaro¬
scuro do not avail to hide structural weakness. And,
lastly, we have in Guardi a master not unrelated to
earlier men, and yet showing kinship with many a sig¬
nificant artist of our own day.
SOME FRENCH ARTISTS DURING THE
SIEGE AND COMMUNE
By WILLIAM ASPENWALL BRADLEY
Author of " Meryon and Baudelaire," " Charles Meryon, Poet," " Some
French Etchers and Sonneteers," " Maxime Lalanne,"
" The Goncourts and their Circle," etc.
I
DMOND DE CONCOURT was in the print-
room of the Bibliothèque Nationale when the
war broke out in August, 1870. Through the
window, he tells us in the lively, impression¬
istic: pages of his Journal du Sièçje, he saw people running
in the Rue Vivienne. Instinctively he pushed from him
the illustrated work he was examining and, reaching
the street, ran with the crowd.
Whether he returned later and finished his perusal,
he does not say. Profoundly impressionable, almost
neurasthenic, this literary maniac, as he has been called,
seems, on the whole, to have lived in a state of sur¬
excitation that must have rendered anything like con¬
secutive work on indifferent subjects difficult, if not
impossible.
But while he himself apparently spent most of his
time wandering about the streets, meeting people, and
making observations, there were, no doubt, those cap¬
able, like Goethe at Weimar and Kant at Kônigsberg,
in similar circumstances, of preserving their personal
detachment in the midst of public misfortune.
185
Indeed, one is struck, in the Journal, by the account
of Zola's call on Concourt towards the end of August,
when the tide of French fortunes on the frontier was at
its lowest ebb. The future author of Le Débâcle talked
exclusively of himself, sketching "a series of novels he
wished to write, an epic in ten volumes involving the
natural and social history of a family . . . with the ex¬
position of temperaments, characters, vices, and vir¬
tues, as developed by diverse environments and differ¬
entiated like the parts of a garden, 'with sun here,
shade there.'"
Already, it is seen, the fortunes of the Rougon-Mac-
quart family were of far more acute personal concern to
Zola than the fate of the French armies under Mac-
Mahon and Bazaine.
Other writers appear in Goncourt's gossiping pages, to
create a semblance of literary life in a city which starva¬
tion was already beginning to stare in the face. There
were, for example, those who, like Renan, Saint-Victor,
Neffter, and the great chemist, Berthelot, met every
week with Concourt at Brébant's on the Boulevard for
dinner and discussion. There was also the old, or elderly,
Théophile Gautier, returning "broke" from beyond the
Swiss frontier, and bemoaning his fate, which was al¬
ways to be the victim of revolutions. And there was
Victor Hugo, whom the fall of the Empire had at last
allowed to return from his long exile on the island of
Guernsey.
Of the younger Parisian artists and men of letters,
those fit for military service were for the most part
already with the colors or, like the debonnair Catulle
Mendès — who came dressed in the uniform of a volun¬
teer to bid Goncourt good-bye on his way to the front —
186
Regnault. Automedon with the Horses of Achilles
Size of the original painting, 10 feet 6 inches X 10 feet 11^2 inches
Museum of Fine Arts, Boston
187
were rapidly going thorn. Of these death took heavy
toll ; and among others, it cut off in his earliest prime one
in whom Gautier declared French art had lost its unique
hope of renewal.
" I go this morning to the funeral of Regnault," writes
Concourt under date of Friday, January 27, 1871, in the
Journal. "There is an enormous crowd. We lament
above the body of this talented youth, the burial of
France. It is horrible, this equality before the brutal
death dealt by rifle or cannon, which strikes genius or
imbecility, the precious life like that which is without
worth."
Gautier, who, like Concourt, has also given us his
Tableaux de Siège, describes in a croquis his meeting
with Regnault for the first time only a few days before
the fatal event. It was in the former's poor lodgings in
Paris, to which the artist, with all his military accoutre¬
ments, was brought by a common friend acquainted
with the long-standing wish of the two men to meet each
other. Not noticing the lack of chairs, the painter, just,
back from North Africa, sat on the bed as on a divan,
talking of Tangier and turning the pages of a complete
copy of Goya's Los Desastres de la Guerra, which
Gautier had recently borrowed from Philippe Burty.
There are those who think that, in times of great
national stress or crisis, and specifically in wartime, a
way should be found to relieve the creative artist, the
leader of the intellectual élite, from his share of the
common responsibility. The man of genius himself,
however, has rarely taken this narrow view of his human
obligations.
Regnault held the Prix de Rome, and was thus exempt
from military service. But, unwilling to profit by such a
188
privilege — feeling, as all high-minded men must at
such a time, that genius, like nobility, imposes superior
obligations — he abandoned the big studio he had just
built at Tangier, and returned to Paris. Enlisting as a
private, he was offered the rank of sous-lieutenant, which
he refused characteristically on the ground that "his
example would be more useful than his command."
" Having decided to stand the fatigues and troubles of
the soldier's trade, without flinching or seeking to avoid
a single one," he wrote his captain, — " having de¬
cided to be the first at every task and the first under
fire, I hope to encourage by my example those of my
comrades who might be tempted to complain or to
hesitate."
There was the usual protracted period of inaction
and suspense, hardest of all to bear. At length came
the order to advance to the outposts. Two days later
the battle began in the suburbs of Paris.
"The day wore on," writes M. Roger Marx, who bet¬
ter than any one else has told the story, "and the strug¬
gle was still desperate before the wall of the Parc de
Burzenval, where Regnault had fought since dawn. The
ground was strewn with corpses, and still the wall was
not won. The bugle sounds. It is the signal for retreat,
the heartrending order to descend once more the slopes
up which they had swept that morning with such enthu¬
siasm. The troops obey, but slowly, with sudden returns
of rage. Regnault cannot decide to leave. It galls him
to abandon the fight before firing his last cartridge."
Suddenly his friend, Georges Clairin, who had scarcely
been separated from his side all day, missed him from
the ranks. Anxious, he made inquiries. But it was not
until they had returned to the shelter of the bastions
189
that he found a soldier who had heard Regnault say:
''Le temps de lâcher mon dernier coup de fusil, et je vous
rejoins,'" and had seen him fall behind.
As soon as possible a search was instituted, and the
body of the artist was found where he had fallen on his
face, a bullet through the temple.
II
"Art has paid its debt to the fatherland without
stint in this fatal war," wrote Gautier. "Its dearest
children have fallen in the flower of their age, full of
daring, of genius, of iron resolution, and the future of
painting is perhaps for a long time compromised by their
death."
Another of these plus chers enfants was Victor Giraud,
who came of a family of painters. Dying of fever con¬
tracted in camp, he expressed a noble envy of Regnault,
who gained his glorious death on the field of honor.
Past active military age, Puvis de Chavannes took no
part in the actual fighting about Paris, but he did guard
duty with the others on the ramparts, where he received
his inspiration for two very remarkable compositions.
"Monsieur Puvis de Chavannes," writes Gautier,
"has brought back from the ramparts a superb design
which he has had lithographed, one that recalls the grand
but simple manner of the artist to whom we owe the
magnificent frescoes . . . la Guerre, la Paix, le Travail,
and le Repos.
"A slender, graceful woman, in a long mourning gown,
her hair arranged like a widow's, her right hand resting
on a rifle with fixed bayonet, her left uplifted, her face
less than profile, stands on the platform of a bastion.
190
Puvis de Chavannes. " La ville de Paris investie confie X
l'air son appel X la France"
Reproduced from the painting by permission of Mrs. James R. Jesup
and Mrs. Harry Harkness Flagler
191
Pttvis de Chavannes. " Paris serrant contre son cœur la
colombe messagère qui apporte la bonne nouvelle "
Reproduced from the painting by permission of Mrs. James R. Jesup
and Mrs. Harry Harkness Flagler
192
The folds of her black dress, breaking at her feet like
the sharp folds of Gothic drapery, make her a pedestal
which elevates her and adds to her elegance.
"A little below her are seen cannon, tents, gabion-
nades, pyramids of cannon-balls. From a fort whose
silhouette shows it to be Mont-Valérien, smoke drifts in
horizontal streaks, and in a corner of the sky, already
blurred by the distance, fades the spherical bulk of a
balloon, sole means of communication now left us with
the outside world.
"The symbolic figure, which might be real and repre¬
sent a portrait as well as a generalization, follows the
balloon with a look of love and anxiety. This frail bark
bears the burden of a great hope.
"A legend is written at the bottom of the picture: —
" La ville de Paris investie confie à l'air son appel à la France.
"This touching figure," adds Gautier, "demands as
its pendant: 'Paris serrant contre son cœur la colombe
messagère qui apporte la bonne nouvelle! ' For the correct
expression, M. Puvis de Chavannes has but to recall
Mademoiselle Favart reciting 'Les Pigeons de la Répub¬
lique,' in her gown lustred like the plumage of a turtle¬
dove. It [this second design] will be his distraction when,
next on guard, he sees, speeding across the sky, our
feathered postmen pursued, but not caught, by the post¬
men of Monsieur de Bismarck."
From the designs thus described, Puvis de Chavannes
executed two noble panel paintings in brown mono¬
chrome, which have had a singular history. In 1873 or
1874 they were sent to America as gifts to a lottery organ¬
ized to aid the sufferers from the Chicago fire, and were
lost sight of. They have, however, quite recently come
193
to light again, and are herewith reproduced for the first
time since their rediscovery.
Ill
"One of my friends," writes Gautier in December,
"came to find me yesterday to take me to Bastion 85
where, he said, I should see something interesting; but
there was need of haste, for night comes quickly these
sad December days, and, besides, a change of tempera¬
ture might destroy the object of our pilgrimage. So we
started off in haste, cursing the slowness of our poor
steed which slipped on the glazed surface of the snow
... as we penetrated the deserted streets of the quarter
beyond the Luxembourg and the Observatoire. . . .
"We pursued our way past the great gray walls pla¬
carded with dingy posters, bizarre old abodes given over
to the industries the elegant city banishes to its extreme
outer limits, barracks built of pine boards, hospitals or
shelters for the troops, dismantled enclosures of a tone
which recalled that of drawings on tinted paper, rein¬
forced with China white, the clinging patches of snow
representing the touches of gouache. . . .
"Arriving at the road which runs round the ramparts,
we abandoned our fiacre, whose horse could go no fur¬
ther, and my friend led me to the spot where we were to
find the curiosity which he had promised me, and which,
in fact, was well worth the journey to the bastion.
"The 7th company of the 19th Battalion of the Na¬
tional Guard contains many painters and sculptors who,
soon bored by the life, are eager to find some better
occupation for their leisure, from one turn of sentry
duty to another, than the eternal drawing of corks.
194
Pipe, cigar, cigarette help them to burn time; discus¬
sions on art and politics occasionally kill more of it, but
one cannot be forever smoking, talking, or sleeping.
"Now the last three or four days a considerable quan¬
tity of snow has fallen. This is already half melted in the
heart of Paris, but it still lies intact on the ramparts
where it is more exposed to the cold wind which comes
from the open country. And as there is always in the
artist, whatever his age, an element of childishness and
gaminerie, the sight of this lovely white covering at
once suggested a snow-fight as a welcome distraction.
Two sides were formed, and active hands had soon con¬
verted into projectiles the frozen, glittering flakes from
the slopes of the talus.
"The battle was about to begin when a voice cried:
'Would n't it be better to make a statue with all these
snowballs?' The idea made an immediate appeal, for
MM. Falguière, Moulin, and Chope happened to be on
guard that day. They erected a sort of framework of
cobblestones, and the artists — whom M. Chope gladly
served as assistant — set to work, receiving from every
side the hard-packed masses of snow passed up to them
by their comrades."
M. Falguière made a statue of Résistance, and M.
Moulin a colossal bust of la République. The former was
"placed below a parapet, not far from the guard house,
on the edge of the chemin de ronde, and facing the coun¬
try. The delicate artist to whom we owe the Vainqueur
en combat de coqs, le Petit Martyre, and Ophelia, has not
given his Résistance those robust, almost virile forms,
those great muscles, à la Michelange, that, at first, the
subject seems to demand. He has understood that it
is here a question of a moral, rather than a physical
195
resistance, and instead of personifying it under the traits
of a sort of female Hercules ready for the fray, he has
given her the frail grace of a Parisienne of our own day.
"La Resistance, seated or, rather, leaning against a
rock, crosses her arms on her nude breast with an air of
indomitable resolution. Her slender feet, the toes con¬
tracted, seem determined to take root, in the very soil.
With a haughty movement of her head, she has tossed
back her hair, as if to exhibit to the foe her charming
face, more terrible than that of the Medusa. On her lips
plays the light smile of a heroic disdain, and, in the slight
frown upon her brow, is concentrated the obstinacy of
an eternal interdict.
"At the base of this improvised statue, M. Falguière
has had the modesty to write in black letters on a bit of
board : La Résistance. The inscription was not necessary.
Anyone would interpret a figure expressing so stubborn
an energy, even if unaccompanied by its snow cannon.
" It is sad to think that the first warm breath will
melt this masterpiece and make it disappear, but the
artist has promised, as soon as he is off duty, to execute
a sketch of wax or clay in order to conserve its ex¬
pression and movement."
Moulin's statue was a colossal bust of La République.
Placed on the highest part of the parapet, Gautier
writes, its "gaze, beyond the bastion, seems to pene¬
trate the very depths of the country. But it is not from
that side that it should be seen: the right place for a
view is the chemin de ronde, at the foot of the talus.
While the artist was working at the head of his Répub¬
lique ... his friends called to him from below: 'Rajoute
le front, soutiens la joue, avance le menton, remets de la
neige au bonnet ! ' And the artist, perched on his parapet
196
Falguière. La Résistance
Etched by Bracquemoiid from the statue in snow
Size of the original etching, 8^s X 6^ inches
The New York Public Library
197
} C 2g,
L/s©
Moulin. La République
Etched by Bracquemorid from the bust in snow
Size of the original etching, 8Vê X 6*4 inches
The New York Public Library
198
like a Greek artisan on the summit of a pediment, lis¬
tened to the indications and criticisms till the bust,
little by little, took on a majestic and terrible beauty."
IV
Whether or not either Moulin or Falguière actually
made sketches in more permanent material of their
grandiose conceptions I do not know; but an interesting
record of them has been preserved in two plates etched
by Bracquemond.
"I have a friend," writes Gautier in still another
tableau, "who also turns to account the leisure of the
rampart, and who etches with a strange originality the
barbarous side of war as it appears contrasted with the
refinements of our modern civilization."
Doubtless this was Bracquemond, whose own bat¬
talion was stationed at the very bastion, 85, which had
thus been turned into a veritable Musée de Neige, and
who was, therefore, presumably Gautier's guide on the
above occasion. At all events, Bracquemond published
three years after the war, in 1874, a series of five etch¬
ings dealing with the Siege, numbers four and five of
which preserve, respectively, the forms of Falguière's
La Résistance, and Moulin's bust of La République.
Another, number two, gives a view of Bicêtre et les
Hautes-Bruyères, par un temps de neige, which we might
suppose to be the very snowstorm which supplied those
artists with their material, were it not for the date on the
plate itself, which places it a month earlier.
Another etcher, also serving with the National Guard,
who recorded his pictorial impressions on the copper¬
plate, was Maxime Lalanne. His series, which con-
199
tains twelve plates besides a supplementary plate, was
published under the title, Souvenirs artistiques du siège
de l'a ri s.
"C'est égal!" exclaims Réraidi cataloguing it. "Le
siège de Paris aboutissant à des souvenirs ' artistiques,'
quel titre, quand on y pense!"
One is, perhaps, inclined to agree with Béraldi at
first. But after all, why not? he concludes on reflection.
The Souvenirs, which give a very fair idea of the charac¬
ter of Lalanne's sometimes thin, but always distin¬
guished linear technique, are certainly none the worse
for being artistiques, and constitute a valuable record of
certain aspects of Paris during the siege.
They are particularly interesting if studied in conjunc¬
tion with Goncourt's record of impressions preserved in
the Journal du Siège, for which, it might almost seem
that they were made as illustrations, so close, very
often, is the correspondence in the choice of subject, if
not in the style of treatment.
This, always heightened and imaginative in Con¬
court, tends to become literal and matter-of-fact in La-
lanne. Take, for example, the plate entitled A renin de
Boulogne which shows how the superb trees had been
ruthlessly felled and the stumps sharpened so that the
pointed stakes would serve as an obstacle to the enemy's
advance. The impression which Lalanne has given is
simply that of some ugly llano estacado. Goncourt, on
the other hand, has been impressed by the way in which
"these great trees fall under the axe, swaying to and fro
like men fatally wounded," and, as he views the stakes
which are like the upturned teeth of some "sinister har¬
row," hate rises in his heart "for these Prussians, who
bring about such assassinations of nature."
200
Maxime Lalanne. Avenue de Boulogne. From "Souvenir artistiques du Siège de Paris"
Size of the original etching, 5 X 8% inches
Museum of Fine Arts, Boston
Maxime Lalanne. La Mare d'Auteuil. From "Souvenirs artistiques du Siège de Paris'1
Size of the original etching, 4% X 8% inches
Museum of Fine Arts, Boston
Both artists have noted the singular transformation
of the pretty little Mare d'Auteuil which, "half drained
by the cattle which kneel to drink among its reeds,"
its banks denuded of their trees and trampled by the
herds collected here by the commissariat, presents, in
Lalanne's plate, the appearance of a world returned
entirely to primal chaos, in whose marshy wastes, once
peopled plains, the last man sits on a stump fishing for
his obscene food.
A similar correspondence is to be noted in their
rendering of the view, from Point-du-Jour, of the Pont-
Viaduc, whose arches, "barricaded and closed with
great wooden cross-beams," as Concourt describes them,
supply the classical and somewhat academic Lalanne
with a striking architectural motive which quite makes
him forget that his real subject is the siege!
V
The supplementary plate in Lalanne's series, Le
section bastion 49 et porte Brieu, has an added per¬
sonal interest in that it is dedicated "A notre excellent
capitaine et ami Cadart, souvenir des gardes de la 8e cie,
du Se Bon."
Cadart, of course, was Lalanne's publisher, as he was
of so many other French etchers in the second half of the
last century, when etching had become a popular art,
and there had grown up a commercial demand for prints.
Taking advantage of this and of the popularity of the
subject, Cadart issued a number of sets of etchings
illustrating the siege and Commune. Among the best
after Lalanne's — and very much more in the spirit
of true illustrations than his slight sketches aspired to
203
bo — were t hose by Martial (Adolphe Martial Poté-
ment) : Pc Prussien chez nous, Paris en siège, IJaris
sous le commune, Paris incendié, and several others.
In connection with these too (though Martial often
supplies a text of his own either in verse or in prose), as
well as with the series depicting types and costumes
etched by Bertall and published with English text in a
volume entitled The Communists of Paris, one should
read Goncourt's Journal, which records more than one
exciting adventure, often in the company of his friends,
Bracquemond and Burty. Bracquemond, still liable for
military duty, and afraid of being drafted into the
National Guard at the orders of the Commune, joined
the medical staff as a hospital helper, while Burty's
house, one of Goncourt's headquarters in Paris, was
directly in the line of march of the troops of the Ré¬
publique from Versailles and so an excellent, if some¬
what hazardous, vantage point for the observation of
1 For a new generation of print-lovers, it may be interesting to note
what the late Philip Gilbert Hamerton had to say of this etcher who
was once regarded as one of the masters of his art in Paris.
"The technical skill of Martial is extraordinary," writes Hamerton,
after praising his enormous industry, "and a few years ago, before
skill in etching became more general in France, he had scarcely an
equal in this kind of ability. For example, Martial would go to a gal¬
lery of pictures and make sketches there in his note-book, and after¬
wards go home and take several large plates of copper, and write on
the copper an account of the pictures, and illustrate it as he went on
by many sketches of them etched in the text, feeling quite sure that
every one of the sketches would be successful. . . . Many another feat
of cleverness has he accomplished. . . . His two best qualities are a
brilliantly clear conception of facts, and perfect manual skill. He has
no creative imagination, nor any tenderness; and therefore his work,
though always admirable, can never be charming; never have any
hold upon the heart. But notwithstanding this restriction, it is emi¬
nently valuable work in its own way, and future students of the his¬
tory of Paris will be, or ought to be, very grateful for it." Martial's
collection of etchings of old Paris contains no less than three hundred
plates, exclusive of those included in numerous series such as I have
mentioned, and his Salons.
204
Martial. Arms of the City of Paris
(Plate suppressed by the Government)
Size of the original etching, 16% X 15 inches
The New York Public Library
205
fierce street-fighting from behind barricades on the
Boulevard.
Once Concourt went with Burty to call on the great
Dutch artist, Jongkind, who had gone on quietly living
in one of the more remote quarters all through the insur¬
rection.
"I was one of the first to appreciate the painter,"
writes Concourt, "but I had not previously met the
man himself. Imagine a big blond devil of a fellow, with
eyes of Delft blue, and a mouth whose corners droop,
painting away in a knitted waistcoat, and with a Dutch
sailor's cap on his head.
"He has, on his easel, a picture of a Parisian banlieu,
with a loamy bank represented by a delicious scrawl.
He shows us sketches of the streets of Paris, of the Quar¬
tier Mouffetard, of the approaches to Saint-Médard,
where the enchantment of the gray and mottled colors
of the Paris plaster seems to have been surprised by a
magician, in a radiant aqueous atmosphere.
"Then there are, in the card-board boxes, scribbled
sketches on paper, phantasmagorias of sky and of
water, the fireworks-like colorations of the ether.
" He shows us all this bonifacement, talking a patois of
Dutch and French through which pierces at times the
bitterness of a great talent — of a very great talent —
which requires but 3,000 francs a year, and has not
always been able to earn even that small amount in
order to live. . . . But immediately, his manner soften¬
ing once more, he speaks, with sadness, of his art, of his
struggle, of his constant striving, which renders him,
he says, the unhappiest of men.
"In the meantime, there hovers about him, with the
caressing words mothers have for their children, a short
206
woman, with silver locks and with thick moustaches —
an angel of devotion who looks like a vivandière of the
Imperial 'Old Guard.'
"The séance is long. The examination of the boxes
has lasted several hours. Jongkind talks much. He
grows animated on the subject of the politics of the
Commune. Suddenly his speech is confused, grows more
Dutch, his words become bizarre, incoherent. . . . He
begins to babble of the agents of Louis XVII, of horrible
things he claims to have seen. He jumps up, as if moved
by a spring. 'Look, an electric current has just passed
me!' and he whistles to imitate the sound of a rifle-
ball "
VI
The two friends also called, at the Hotel-de-Ville, on
Verlaine, who had become involved in the Commune
through weakness and, as it were, almost against his
own will. He told Goncourt and Burty that he had had to
combat a proposition on the part of the insurrectionists
for the destruction of Nôtre-Dame.
This was after the destruction of the Vendôme column,
one of the most celebrated incidents of the Commune,
to which, however, and to the part played in it by the
painter, Gustave Courbet, Goncourt makes but a pass¬
ing reference. Others have told the singular story, the
latest being Mr. Ernest A. Vizetelly, an eyewitness, in
a recent volume of reminiscences.1
"Gustave Courbet," he writes, "peasant-like in ap¬
pearance, puffed out with beer, good-humored, simple-
minded, and yet very conceited, was one of the curiosi-
1 My Adventures in the Commune, by Ernest Vizetelly. New York:
Duffield & Co., 1915.
207
ti.es of the Commune. How a great, artist, such as he
was, could have consented to join the band of the I loi eh
de-Ville, amazed many of his contemporaries. The
story that lu; positively hated the Vendôme column and
became a. member of the Commune for the one express
purpose of seeing it pulled down, is merely a foolish
legend, and one may assume that foolish vanity alone
led Courbet to accept the honor thrust upon him."
And yet, as Mr. Vizetelly himself proceeds to show, it
is undoubtedly true that the destruction of this monu¬
ment to Napoleon and "Caesarism" had long been a
mania with Courbet, who hated the Second Empire to
such an extent that he had even refused to accept the
decoration of the Legion of Honor at the hand of the
Emperor.
"At the time of the German siege of Paris," writes
Vizetelly, "Courbet proposed that the column should be
pulled down and melted in conjunction with all the
French and German guns of the period, with the view of
erecting with the metal a new and gigantic monument
which should be dedicated to universal peace and repub¬
licanism. Naturally, that Utopian idea found few sup¬
porters even among the French, and certainly none on
the side of Bismarck's 'big battalions.' At the Com¬
mune's sitting on April 2, however, both Courbet and
J. B. Clément complained of the delay in pulling down
the column, whereupon they were assured by Paschal
(}rousset and Andrieu that it was only a matter of a few
days, and that the work had been entrusted to two engin¬
eers of ability who had assumed all responsibility for
the undertaking. May 5 was the next date fixed for the
demolition, but it went by without anything being done,
and the Commune thereupon declared that there should
208
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'•"spwmot? d'oamw> powm'ù&appc/i cta twwdwru/rft'
Martial. La Colonne de la Place Vendôme
From "Paris sous la Commune"
Size of the original etching, 9% X 6^4 inches
The New York Public Library
209
be a. fine of 500 francs for each day's delay, the amount
to be deducted from the original contract price for the
demolition, which was 110 less than 36,000 francs."
Finally it was announced officially that the column
would fall at two o'clock in the afternoon of May 16.
"Long before the appointed hour, the Rue de la Paix
was a sea of heads. . . . We were all there — either in
the Rue de la Paix, or the Rue de Castiglione or in some
side street whence a glimpse of the column could be
obtained. I myself, my father and my brother Arthur
were in the Rue de la Paix. Every balcony there was
crowded, heads peeped out of every window, and no
little anxiety was blended with the general excitement,
for there might be some havoc should the column collide
in its fall with one or another building."
The long wait was beguiled by the music of bands and
the appearance of gaudily dressed and gold-braided of¬
ficials 011 the balcony of the Ministry of Just ice. At length
the capstans began to work.
"But all at once there came a strange, strident sound.
Did it emanate from the column? Everybody became
nervous, anxious, excited. Was there going to be an
accident — perhaps a disaster? No! only one of the
cables fixed to the summit of the column had snapped.
That, unfortunately, meant a further delay, and, in fact,
nearly two hours elapsed before everything was made
right again. Meantime we wore regaled with more ' Mar¬
seillaise,' more '('liant du Depart,' more 'Chant des
Girondins.' According to my watch (as noted in my
diary) operations only became effective at a quarter-
past five o'clock. Even then the capstans performed
their work very slowly, and the half-hour was reached
before the column really began to oscillate. Swiftly,
210
however, came the sequel. In another instant the great
pile was bending in our direction. Some of the lower
plates of bronze had been removed and some of the
masonry, just above the pedestal, cut to a certain depth.
... A great bed of fascines, sand, and manure had been
prepared for the reception of the lofty pile. It came
down in its entirety . . . until a certain angle was
reached. Then, all at once, it split into three sections,
and in that wise fell upon the bed prepared for it. There
was a loud thud. Particles of manure and sand arose,
cloud-like, and were carried hither and thither. The
ground trembled beneath one, houses shook, windows
rattled, but there was no damage.
"As the dust cleared away, I perceived Glais-Bizoin,
one of Gambetta's coadjutors during the war in the
provinces, standing on the column's pedestal, waving
his hat, with a queer smile upon his punchinello face.
Near him stood 'General' Bergeret and several guards,
waving large red flags. Loud were the shouts of ' Vive la
Commune ! ' Right quickly did one of the Guards' bands
strike up the 'Marseillaise,' but amidst and above it I
suddenly heard the strains of 'Hail, Columbia!' played
violently on a piano by some Yankee girl belonging to a
party of Americans who had installed themselves on the
first floor of the Hotel Mirabeau. They came out on to
the balcony and were loud in their plaudits. In those
days the cult of Napoleon had no disciples in the United
States. Both New Yorkists [sic] and Bostonians knew
but one hero — the George Washington, who, unlike
Napoleon, never lied."
Courbet was one of the committee appointed to super¬
intend the removal of valuable books and works of art
from the house of M. Thiers, which was likewise demol-
211
ished, and their distribution among the public museums
and libraries. These wen; all deposited in the Tuileries,
however, where they are said to have perished when
that palace was consumed by the flames.
About this same time there occurred a serious split in
the Communists' ranks, and Courbet was among those
who signed a protest complaining that the Commune
had abandoned all direct responsibility and thrown to
the winds its original policy of political and social re¬
form. The signatories threatened that they would no
longer attend the deliberations of the Commune, and
were accused of wishing to save their own skins in the
great crisis that was now felt to be at hand.
Courbet's attitude in these latter days, as well as his
great fame as an artist, may, indeed, have had some
effect in ameliorating the judgment passed upon him
by the courtmartial at the end of the Commune. Though
a number of his fellow-prisoners were condemned to
transportation, deportation, or hard labor for life,
Courbet was sentenced to only six months' imprison¬
ment and the payment of a fine of 1500 francs. His
last years were spent in Switzerland, where he died in
1877. The monument, in whose demolition he had been
the leading spirit, was afterwards restored.
ALBERT STERNER'S LITHOGRAPHS
By MARTIN BIRNBAUM
Author of "Contemporary Lithography in Germany."
HE fact that one of the most distinguished
and successful American artists, in the
midst of a lifelong fight with prudishness
and commercialism, has laid aside his lucra¬
tive pastels and paint-brushes and has set up a private
press, to refresh himself by adding to his already credit¬
able list of lithographs, is one of the most encouraging
items of contemporary artistic news. For it must be
regretfully admitted that in spite of the existence of
masterpieces by Whistler, Fantin-Latour, Menzel,
Gavarni, Daumier, Goya, Legros and others, this most
spontaneous and personal form of artistic expression
does not enjoy the popularity it deserves.
Albert Sterner has been engaged with the medium
for almost twenty years, and when he began his ex¬
periments, he had the good fortune to have the advice
and assistance of that excellent printer Lemercier, in
Paris. His earliest successes, however, were gained in
Munich, and the manner in which he sold his first prints
is worth retelling. Shortly after Sterner settled in the
Bavarian capital, the attention of the director of the
Kupferstich Kabinet was attracted by some lithographs
in the window of Littauer's fascinating shop on Odeons
Platz. One was a little seated boy, treated with such
213
Albert Sterner. The Convalescent
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 14 X 11 inches
214
Albert Sterner. Harold
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 11X7 inches
215
Albert Sterner. " 1860 "
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 13 X 8 Mi inches
216
ease, subtle grace and loving sympathy that one could
safely conclude it must be the artist's child. Another
was a delicate silvery print of an invalid. The third
was a crisp, brilliantly drawn figure of a dainty, old-
fashioned girl, with her hair in ringlets. The discrimi¬
nating director went into the shop and bought them
all for his gallery, without ever having heard of the
artist who created them. In the same way, solely on
the strength of their rare merits, Sterner's lithographs
found their way into the collection of the Dresden Gal¬
lery and into the fine private collection of the King of
Italy. A considerable number of prints were made in
Munich, but his success in other channels obliged him
to neglect the lithographic stone as a medium. In 1905
a gold medal was awarded him for the life-size portrait
painting of his son Harold standing beside a wolf-hound,
and he had already acquired international fame as an
illustrator, and as a pastellist. Stage decoration and
monotypes were other relaxations, and it was not until
1912, after a successful exhibition in New York, that
lithography again engaged his energies. The peculiar
problems, resources, and spirit of the medium, were
exactly suited to his impetuous, ardent nature, and to
his manual dexterity. It is in these works on stone that
he speaks his own language, and even a superficial ex¬
amination of his œuvre discloses a man who possesses
an original point of view and a unique personal vision.
Sterner is not an artist who is satisfied with that success¬
ful but uninspired uniformity, which is the curse of so
many American artists. We have seen him take up a
transfer paper and without any preparation, like a true
creator in a fine frenzy, draw a portrait which was not
merely faithful and infallible, but a poignant reading
217
of a character. In 1913, one year after his exhibition,
he set up the "Maryhohne Tress" and began a series
of st udies from I he nude, which has always furnished
him with themes for the embodiment of his finest pow¬
ers. The truth and vigor of these studies are noteworthy,
and each figure may lie recognized as the symbol of
some deeply felt emotion. Some of them are delightful
musical phrases, which open up fresh vistas to the
imagination. They express the entire gamut of moods,
— gaiety, mystery, abandonment, romance, grace of
movement, pathos, sensuality, brutality even. It was
at this time that he became acquainted with the charm¬
ing lithographs of Charles Conder, the gifted Austra¬
lian, and henceforth he printed many of his subjects in
sanguine. Not all of these studies were printed at his
studio, however, for Sterner, like every successful por¬
traitist, is obliged to travel a great deal, and following
the example of Whistler, he sought the services of sjuupa-
thetic and skillful printers. Such men he found in Messrs.
Gregor and Leinroth, of the Ketterlinus Lithographic
Company, in Philadelphia, who had done successful
work for Pennell. They furnish fine stones on which
Sterner is free to draw or to make lithotints, or they
transfer his drawings deftly from paper to the stone.
In the case of that beautiful print, entitled Baiser
d'un Ange, the new offset process was used, and the fig¬
ures face the same way in the print as they did on the
stone. The printing of these lithographs is done under
the artist's supervision, and that elusive quality known
as personal touch is always present. If the print be a
large one, it is more difficult to retain this quality of the
original, but Sterner has been remarkably successful in
preserving it, even in so large a lithograph as his lovely
218
Albert Sterner. Dame am Wasser
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 23% X 20 inches
219
$
*•
Albert Sterner. Portrait 1?
t, , oktrait of Edmond t. Qdin»
Reproduced by permission of the Ber]in photograph;c
S.*e of the original lithograph, 14 X 11 inches
220
Dame am 11 'asser, printed in two tones. He realizes
moreover that deterioration takes place if too many
proofs are pulled from a stone, and he wisely prints the
whole edition of a lithograph at once. If this is not done
the delicate tones have a tendency to grow fainter, and
as Mr. T. R. Way correctly says, in speaking of Whist¬
ler's old stones, "the stronger parts are apt to become
overstrong, in the printer's effort to recover the weaker."
Up to the year 1916, Sterner has executed about
fifty lithographs, but many of these are merely in the
nature of experiments, — eloquent testimony of his
determination to master the art completely. There are
lit.hotints and drawings on zinc as well as on paper and
stone, and he has experimented with various inks and
toned papers. The slightest among the prints can at
once be distinguished, for they all possess Sterner's
characteristic lyric grace, a quality which reaches its
highest level in the celebrated Amour Mort. The artist
can be vigorous as well, and he is equally at home in
nude, genre or landscape subjects. What splendid
draftsmanship in the backs of the men in the Mussel
Openers! What dash and rugged power in the por¬
trait of the sculptor Quinn! How thrilling the blacks
in Finale and what fine tonal effects in L'A?ne Malade!
One is tempted to linger over the versatility these dis¬
play, and the range of their appeal. Surely prints
which reveal such unchallenged gifts will put an end
to the collector's unaccountable apathy, and encour¬
age Sterner to add new items to the catalogue of his
works.
CHECK-LIST OF LITHOGRAPHS BY ALBERT
STERNER
(Printed in Paris and Munich
;prior to 1906)
1 The Mandolin.
2 Lady with the Feather.
3 Hans Neuert.
4 Harold.
5 "1860."
6 Marcia.
7 Nude.
8 Stage Carpenter of Munich.
9 The Poe Story.
10 Dame am M asser.
11 The Convalescent.
12 Hildegarde.
13 Spring.
14 Edward Howard Griggs.
15 Girl Reading.
16 La Russe.
17 Unrest.
18 Dr. Trumpp.
19 Two lithographs in Dau¬
phin Meunier's book, ' ' Bré¬
viaire pour mes Dames."
21 Nurse and Child. (Unique
proof.)
(Printed in Paris)
1913
22 Portrait of the Artist's Son
Harold. (Pen drawing on
stone.)
23 Morning.
24 Newport Mrharf.
25 The Penitent. (Pen draw¬
ing on stone.)
26 Seated Nude.
27 Miss Dorothy Berliner.
28 Amour Mort,.
29 Seated Dancer.
30 Narragansett Bay.
31 Mussel Openers.
32 The Little Model.
33 Awakening.
34 The Fall of the House of
Usher. (One or two proofs.)
35 Study Head.
36 Adam and Eve.
37 Odalisque.
38 The Study Hour.
39 La Nouvelle Mode.
1914
40 L'Ame Malade.
41 Finale.
42 Baiser d'un Ange.
43 Remorse. (Unique proof.)
1915
44 The Mother.
45 Edmond T. Quinn, Sculp¬
tor.
46 Martin Birnbaum.
47 Mrs. Benkard.
48 George Copeland, Pianist.
49 The Blind.
50 " Hertha."
51 Prayer.
Albert Sterner. Amour Mort
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 13 X 21 inches
Albert Sterner. Narragansett Bay
Reproduced by permission of the Berlin Photographic Company
Size of the original lithograph, 14 X 17 inches
224
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