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                    THE MENTOR 1916.04.01, No. 104,
                         The National Gallery

                            LEARN ONE THING
                               EVERY DAY

                   APRIL 1 1916      SERIAL No. 104

                                  THE
                                MENTOR

                            GREAT GALLERIES
                             OF THE WORLD

                             THE NATIONAL
                                GALLERY

                                LONDON

                             By Professor
                           JOHN C. VAN DYKE

                   DEPARTMENT OF           VOLUME 4
                   FINE ARTS               NUMBER 4

                         FIFTEEN CENTS A COPY




Why Knowledge?


“Knowledge gives power,” says the philosopher. “Knowledge enriches,”
says the scholar. But the practical individual exclaims: “Special
expert knowledge is a personal asset, but how does general knowledge
enrich?”

       *       *       *       *       *

“Knowledge makes life fuller and more interesting.” And what does
that mean? It means that life, through knowledge, may be made a joy
and a blessing in spite of what the cynics say. It means that through
knowledge we learn to appraise things at their true value. Our eyes
are opened to see other colors than purple and gold, our ears to hear
understandingly other sounds than the roar of traffic, the shriek of an
automobile horn, or syncopated music. Knowledge reveals to us the nicer
shades of color that give us quiet satisfaction--the finer and gentler
tones of Nature and of human life that afford us a lasting enjoyment.
It teaches us that there are things more “worth while” than ourselves.

       *       *       *       *       *

Why do some of us ignore fine art, dismiss good books with
indifference, yawn at good music, speed through a ravishing landscape
at sixty miles an hour, and neglect a friendship that would bring us
self-improvement? The sky and mountains have a thousand messages for
us, if we pause to listen to them. The sea is an oracle if we study it.
A good book is a mine of information if we search it. A fine painting
is an inspiration if we cherish it. Good music is a constant joy if we
give attention to it. And the voices of our fellow creatures are filled
with precious confidences if we give our ears and hearts to them.

       *       *       *       *       *

Let us then seek knowledge with the eager mind of a child; for indeed,
as Robert Louis Stevenson sang:

    The world is so full of a number of things,
    I’m sure we should all be as happy as kings.




[Illustration: NATIONAL GALLERY, LONDON

THE DOGE LOREDANO. BY GIOVANNI BELLINI]




THE NATIONAL GALLERY

GIOVANNI BELLINI

Monograph Number One in The Mentor Reading Course


There were three famous painters in the Bellini family. Jacopo
Bellini was the father, and his two sons were Gentile and Giovanni
(Jo-van´-nee), the latter being the younger and the greater.

He is supposed to have been born at Venice either in 1430 or 1431,
and was brought up in his father’s house, serving with his brother as
his father’s assistant until he was nearly thirty years old. However,
Giovanni seems to have been influenced more by his brother-in-law,
Mantegna, than by his father. This influence lasted until Mantegna
departed for the Court of Mantua in 1460. In 1470 Giovanni was
commissioned to paint a Deluge with Noah’s Ark. After this he painted
many pictures, among them the famous altar-piece for the Church of S.
Giovanni e Paolo, which was destroyed by a disastrous fire in 1867,
along with Titian’s “Peter Martyr” and “The Crucifixion” by Tintoretto.

After 1480 a great deal of Giovanni’s time and energy was taken up by
his duties as conservator of the paintings in the great hall of the
Ducal Palace at Venice. His duties were to repair and renew the works
of his predecessors. In addition, he was commissioned to paint a number
of new subjects himself. These pictures illustrated the part played by
Venice in the wars of Barbarossa. The works were much admired, but none
of them survived the fire of 1577.

About the end of the year 1505 Giovanni painted the portrait of
the Doge Loredano. This is the only portrait of his which has been
preserved. It is one of the most masterly in the whole range of
painting. Loredano was the man who carried the Venetian republic
through the most trying period of its existence. He became the doge,
or ruler, in 1501. France and Spain combined in an attempt to destroy
his power, but in vain. This firm man fought hard, although Venice was
impoverished and deprived of many of its possessions.

The last ten or twelve years of Bellini’s life were filled with more
commissions than he could handle. Albrecht Dürer, the famous German
painter, visited Venice for a second time in 1506. He reported that
Bellini was still the best painter in the city, and he also spoke of
the hospitality and courtesy of the artist. Bellini died in 1516.

As pupils he had many of the most famous artists of his time. Two of
them, in fact, surpassed him later on--Giorgione and Titian. Bellini
may be called the true founder of Venetian painting.

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




[Illustration: NATIONAL GALLERY, LONDON

ARIOSTO. BY TITIAN]




THE NATIONAL GALLERY

TITIAN

Monograph Number Two in The Mentor Reading Course


One day a great emperor was watching an artist paint, when one of the
painter’s brushes rolled to the floor. The king stooped and picked up
the brush, saying as he did so, “It becomes Caesar to serve Titian.”

It was in such esteem that the Emperor Charles V held the great artist.
“There are many princes, but there is only one Titian,” he said.

During the ninety-nine years of the life of Tiziano Vecello, or Titian
(Tish-en), as he is known today, some of the greatest events in the
history of mankind took place. The year that he was born, 1477, at
Cadore in Italy, the first dated English book was printed on the press
of William Caxton. When Titian was fifteen Columbus discovered America.
Hardly twenty-five years later Charles V, King of Spain, was crowned
Emperor of most of Europe. Then came the Reformation, with Luther as
its leader, and toward the end of the artist’s life the great revolt of
the Netherlands which freed them forever from the dominion of Spain.
Living in such stirring times, it was natural that Titian gave to the
world art that combined many truths of a universal nature.

Titian first studied at Venice. Giovanni Bellini, the great Venetian
master, was one of his teachers. Later on Titian formed a partnership
with Giorgione, the famous Italian painter. Albrecht Dürer, who visited
Venice after Giorgione died, also made a great impression on Titian.

Titian’s style formed itself early. He was famous before the age of
thirty. From this time on he lived in princely style, surrounded
by friends, and with honors and commissions from all sides. He was
considered the greatest portrait painter living; and he never let up in
his work--he was still a powerful artist when most men fail in strength.

Lodovico Ariosto, the Italian poet, was one of Titian’s friends. This
man was born at Reggio, in Lombardy, on September 8, 1474. He inclined
strongly to poetry from his earliest years; but his father made him
study law. At last, however, he was allowed to follow his inclination
and overjoyed, he threw himself heartily into the study of the
classics. He worked hard, but when his father died he was compelled to
give up literature to manage his family, whose affairs were in a poor
way.

But he managed to write at this time some comedies and prose, and a few
lyrical pieces. Later on he was more successful, particularly when a
brother of the Cardinal Ippolito d’Este took him under his patronage.
He not only distinguished himself as a poet, but also as a diplomatist.

There is a story told of Ariosto that when walking one day in a
deserted spot he fell in with bandits. They took him captive, but
discovering that he was the author of “Orlando Furioso,” they humbly
apologized for not having shown him the respect due him.

Ariosto spent the last part of his life at Ferrara, writing comedies,
and correcting his “Orlando Furioso,” of which the complete edition was
published only a year before his death, which occurred on June 6, 1533.

This was Titian’s friend and the man whose portrait is reproduced
herewith. The great artist did not spend his last years in happiness.
He lost his daughter, Lavinia, who had been his model for many
beautiful pictures. Most of his companions had passed away. His son,
Pomponio, was a worthless profligate; his son, Orazio, however,
attended his father with true affection. In 1575 the plague struck
Venice. The following year Titian was stricken. He died on August 27,
and was buried with great honor in the Church of St. Maria dei Frari,
for which he had painted his famous picture of the “Assumption.”

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




[Illustration: NATIONAL GALLERY, LONDON

THE DUCHESS OF MILAN. BY HANS HOLBEIN]




THE NATIONAL GALLERY

HANS HOLBEIN

Monograph Number Three in The Mentor Reading Course


It was at the end of the fifteenth century, about 1495, that one of the
greatest geniuses in German painting was born at Augsburg. He is known
as Hans Holbein the Younger, as his father is called Hans Holbein the
Elder, for he too was an excellent artist.

Hans and his brother, Ambrosius, worked under Holbein the Elder until
1516. They undoubtedly helped their father on his pictures. Later the
two brothers went to Basel, where Hans met his powerful patron, Jacob
Meier, who commissioned him to paint a picture which is now considered
one of his greatest works, “The Meier Madonna.”

In 1517 Hans Holbein left Basel for two years. He is supposed to have
visited Italy in his travels, returning to Basel in 1519. There he
met the learned Erasmus, whose friendship he gained. He also made a
number of sketches for his book, “Praise of Folly.” Jacob Meier still
continued to be his patron and turned many commissions his way. The
artist at this time designed stained glass, decorated furniture,
and illustrated books. His best illustrations were the drawings for
the book “The Dance of Death.” These are supposed to have been made
sometime before 1527.

It is as a portrait painter that Hans Holbein is best known. It was his
fame as such that brought him to England in 1526, where he spent most
of the last years of his life. To England Holbein had brought letters
of introduction from Erasmus to Sir Thomas More. Through this gentleman
he received many commissions. About 1536 he was appointed by Henry VIII
“King’s Painter” with a salary of thirty-four pounds a year (in value
today about $850) and rooms in the palace.

The last part of Hans Holbein’s life is enveloped in mystery. In 1543
the dreaded plague broke out in London once more. The city was still a
dirty, crowded town of the Middle Ages. The streets were narrow and the
houses and little shops were set close together. Consequently, London
was just the kind of a city in which the plague might take its terrible
course unchecked. On the 7th of October, 1543, Holbein made his will.
This was found some years ago in London. Not long after making his will
the great artist died. No one knows the details of his death, nor the
place of his burial.

But though Holbein was dead, his works lived on. They are known and
valued today as those of few other artists. He belongs among the
immortals of German art.

His portrait of the “Duchess of Milan” is a marvel of beauty in
its exquisite simplicity of rendering. “Both paint and painter are
forgotten in looking at a work like this; you see only the incarnate
spirit, and feel its very sphere. Though the woman is really not
beautiful, her expression is fascinating in the highest degree. The
rich brown eyes, with the yellow ring immediately around the pupil,
seem to admit you to the secrets of her thoughts, and the full pouting
lips irresistibly command admiration.”

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




[Illustration: NATIONAL GALLERY, LONDON

SAINT GEORGE AND THE DRAGON. BY TINTORETTO]




THE NATIONAL GALLERY

TINTORETTO

Monograph Number Four in The Mentor Reading Course


Tintoretto was called by his contemporaries “Il Furioso,” or “the
furious.” This was because of the passionate, fiery style which marked
his work.

His real name was Jacopo Robusti. He received his nickname from the
fact that his father was a dyer, or Tintore. Jacopo used to help him,
and so they called him Tintoretto, or “little dyer.”

He was born in Venice in 1518. Even as a child he daubed pictures on
the walls of his father’s dye house. His father soon noticed this,
and took him around to the studio of Titian, to see if he could be
trained as an artist. The famous old painter agreed to attempt it, but
Jacopo had only been ten days in the studio when Titian sent him home
for good. It is said that the great master did this out of jealousy,
believing that the boy might become his rival. However, it may be
fairer to presume that Titian really did not think that the young dyer
would ever become an artist. It is a well-known fact, however, that
Titian was a bad teacher.

Then Tintoretto began studying for himself. He obtained small copies of
Michelangelo’s sculptures and drew from them as models. He worked night
and day at this.

Many disappointments blocked his path. Titian dictated the public work
among the painters of Venice, and he invariably passed by Tintoretto.
Therefore, the young artist in order to make himself known, undertook
to do great works without pay. He neglected no order, however humble,
and he chose his subjects from all sources.

It was not until he was thirty years old that he received a commission
to paint in the Ducal Palace in Venice--the desire of his heart. Hard
times were then over for him. He married Faustina de’Vescovi, the
daughter of a Venetian nobleman. She was a careful housewife and an
excellent companion for her impetuous husband.

The next important event in Tintoretto’s life was the decoration of
the Scuola di St. Marco. This was in 1560. About thirty years later he
did the crowning production of his life. This was the huge “Paradise.”
It is seventy-four feet by thirty feet, and is said to be the largest
painting ever done upon canvas.

After the completion of this picture Tintoretto rested for awhile.
Thereafter he never undertook any work of importance. In 1594 he was
seized with an attack of sickness, and he died on May 31.

His daughter, Marietta, was also a portrait painter of some note. She
died at the age of thirty, and Tintoretto grieved for her greatly. It
is said that he painted her portrait as she lay dead.

Tintoretto hardly ever traveled out of Venice. He liked music, and as a
youth played the lute and other instruments, some of which he invented
himself. He liked to design theatrical costumes. He was an agreeable
companion, but as he was a hard worker he lived a rather retired life,
hardly admitting any, even his intimate friends, to his presence.

It is said that when the artist left the house his wife wrapped up
money for him in a handkerchief. On his return she made him tell how it
had been spent.

There are a number of Tintoretto’s works in England, among them being
the spirited work “St. George and the Dragon.” He had few pupils.

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




[Illustration: NATIONAL GALLERY, LONDON

THE GUITAR LESSON. BY GERARD TER BORCH]




THE NATIONAL GALLERY

GERARD TER BORCH

Monograph Number Five in The Mentor Reading Course


One of the most famous of the “Little Masters” of Holland was Gerard
Ter Borch, or Terburg, as he is sometimes called. This artist, whose
pictures are always full of color, loved to paint brilliant cloths and
dazzling jewelry. His paintings are pictures pure and simple.

Ter Borch was born at Zwolle, Holland, in 1617. His father, who was
also an artist, gave him a good education and developed the youth’s
talent very early. The boy evidently was in Amsterdam in 1632, studying
under C. Duyster or possibly P. Codde. Duyster’s influence can be
traced in a picture bearing the date of 1638. Before this picture was
painted, however, in 1634, he studied under Pieter Molyn in Haarlem.

About 1635 Ter Borch went to London and later on he traveled
extensively in Germany, France, Spain and Italy. In 1641 he painted
some small portraits on copper in Rome. Seven years later he was at
Münster during the meeting of the congress which ratified the treaty
of peace between Spain and the Netherlands. It was there that he did
his famous little picture on copper of the assembled ministers. This
picture, together with the “Guitar Lesson” and a “Portrait of a Man
Standing,” is now in the National Gallery. The picture of the peace
commissioners was bought by the Marquess of Hertford for $36,400, and
presented to the gallery by Sir Richard Wallace.

About this time Ter Borch was invited to visit Madrid in Spain. There
King Phillip IV gave him employment and honored him with knighthood.
However, the artist became involved in an intrigue and was forced to
return to Holland.

There he lived for a time at Haarlem. Later on he finally settled in
Deventer, where he became a member of the town council. It is as a
member of this body that he appears in the portrait now in the Gallery
of the Hague. Ter Borch died at Deventer in 1681.

Some critics rank this artist very close to Rembrandt and Franz Hals.
He liked to portray the higher social circles of his day with all the
stately pomp that distinguished them. This took delicate technical
skill in the representation of costly costumes, and in addition to all
this, Ter Borch was able to give a poetic charm to the interior of the
houses which he portrayed, throwing romantic interest over anything.

The paintings of Ter Borch are quite rare. Only about eighty have
been catalogued. His work is free from the touch of grossness that
characterized many of the Dutch artists of the time.

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




[Illustration: NATIONAL GALLERY, LONDON

LADY COCKBURN AND CHILDREN. BY SIR JOSHUA REYNOLDS]




THE NATIONAL GALLERY

SIR JOSHUA REYNOLDS

Monograph Number Six in The Mentor Reading Course


Sir Joshua Reynolds was one of the greatest of English portrait
painters; and as a painter of childhood he has no superior. He was
a rapid worker, and it is estimated by some authorities that he
finished as many as 3,000 portraits. His career was one long series of
successes, and he made an immense fortune by his painting.

Reynolds was born in Devonshire, England, on July 16, 1723. Thomas
Hudson was his first teacher. Then the young artist visited Italy.
There he studied carefully the works of the old masters. He returned
to London and almost immediately was accorded first place among the
portrait painters of the day. At the same time he became one of the
leading members of the famous Literary Club, among whose members were
Doctor Samuel Johnson and Oliver Goldsmith, the authors, David Garrick,
the leading actor of the time, and other men prominent in the fields of
art and letters.

The British Royal Academy was founded in 1768, and its first president
was Reynolds. There he distinguished himself by delivering his famous
“Discourses” on art. With these he proved himself to be as much a
master of words as of the brush.

Reynolds’ success and prosperity naturally made his less fortunate
rivals jealous of him; at the same time his attitude towards some
of them was not altogether generous. In particular his relations
with Gainsborough were not pleasant. Nevertheless, Reynolds went to
Gainsborough’s deathbed, and there was an apparent reconciliation.

In 1784, at the death of Ramsay, Reynolds was appointed painter to the
king. Two years before a stroke of paralysis had attacked him; but he
was able to resume his painting after a month of rest. In the summer of
1789, however, his sight began to fail. Nevertheless, he continued to
practise his art until about the end of 1790. But from then on he began
to sink gradually. He suffered for only a few months, and on February
23, 1792, passed peacefully away.

Sir Joshua Reynolds, though a great artist, lacked academic education,
and therefore he never could draw the human figure properly. He
sacrificed this ability to secure a thorough knowledge of the great
paintings of the world, their faults and their excellencies.

He also had a tendency to tamper with his pigments. It is said that
one day the famous American artist, Gilbert Stuart, was copying one of
Reynolds’ fine heads in a very warm room. Suddenly he noticed that one
eye on the painting seemed to be moving downward. At first he thought
his imagination was playing him false; but finally he was convinced
that the eye _was_ moving. He quickly removed the painting to a cold
room, and gradually worked the eye back in place. It was then that he
discovered that his great predecessor had used wax in his pigments.
This explained something that had baffled artists for years--the
brilliant transparency of many of Reynolds’ colors.

    PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
    ILLUSTRATION FOR THE MENTOR, VOL. 4, No. 4, SERIAL No. 104
    COPYRIGHT, 1916, BY THE MENTOR ASSOCIATION, INC.




GREAT GALLERIES OF THE WORLD

THE NATIONAL GALLERY

LONDON

By JOHN C. VAN DYKE, _Professor of the History of Art, Rutgers College_

    _MENTOR GRAVURES_

    THE DOGE LOREDANO
    _By Giovanni Bellini_

    ARIOSTO
    _By Titian_

    THE DUCHESS OF MILAN
    _By Hans Holbein_

    _MENTOR GRAVURES_

    SAINT GEORGE AND THE DRAGON
    _By Tintoretto_

    THE GUITAR LESSON
    _By Gerard Terborch_

    LADY COCKBURN AND CHILDREN
    _By Sir Joshua Reynolds_

[Illustration: The National Gallery]

    Entered at the postoffice at New York, N. Y., as second-class
    matter. Copyright, 1916, by The Mentor Association, Inc.

THE MENTOR · DEPARTMENT OF FINE ARTS

APRIL 1, 1916


The National Gallery, whether the tourist sees it first or last in his
trip around Europe, is sure to make an impression. It is one of the
famous galleries of the world, and has a rarefied atmosphere about
it, even to those who know the galleries by heart. The walk up the
wide stone steps approaching the first room excites a wonder that is
almost amazement. The pictures have a richness--a jewel quality about
them--that seems preternaturally splendid. You have not perhaps noticed
such depth and mellowness of color in other galleries. What does it
mean? Well, in some cases it may mean merely that the pictures are
framed under glass, and get a certain tone and richness from that; but
it more often means that you are looking at very unusual pictures. The
National Gallery is full of masterpieces.

[Illustration: THE VIRGIN AND CHILD, SAINT JOHN THE BAPTIST AND SAINT
NICHOLAS OF BARI

By Raphael]

[Illustration: SAINT HELENA--THE VISION OF THE CROSS

By Paolo Veronese (vay-ro-nay´-zee)]

Where did they come from? Out of the famous private collections of
England. When nobility dies without an heir, or the heir himself needs
money, then the pictures collected by the art-loving elders of perhaps
a dozen generations come by bequest to the National Gallery, or find
their way to the auction room and are purchased for the gallery.
Thus it is that the National Gallery has been the natural inheritor
of the rich collections of England. It started less than a hundred
years ago (in 1824) with the Angerstein collection, and has been
growing ever since with gifts of collections such as those of Vernon,
Wynn Ellis, Vaughan, Salting. If it is found necessary to bid for a
picture at auction, a government grant or the subscriptions of wealthy
art patrons, or both, generally carries the day against any private
collector. Thus such famous pictures as Raphael’s “Ansidei Madonna,”
Titian’s (tish´-an) “Ariosto,” Holbein’s “Duchess of Milan” were bought
for the gallery at enormous prices--the Raphael bringing over $350,000,
and the others some $150,000 each.

There are now about 3000 pictures in the gallery, though, of course,
all of them are not hung at any one time. There is not enough
wall space for that, though the building is in a chronic state of
enlargement. New rooms are added from year to year, and new editions of
the catalogue are being continually issued. The gallery is very well
arranged and lighted, and very well managed. Management of a gallery
seems very easy to the public because there is apparently no friction,
but the director has his trials. And the pictures have their perils,
not only from accidents, but from fanatical visitors. The greatest
perils however, are from dust, gas, the tooth of time, and the hand
of the careless cleaner. The pictures in the European galleries have
suffered more from drastic scrubbing and reckless restoration than from
all the other causes combined. The cleaning room has been the graveyard
of many a masterpiece.


ITALIAN MASTERPIECES

Beyond doubt the Italian pictures here are the most important, both
in quality and in quantity. No gallery in Europe quite equals that
of London in its Renaissance masterpieces. And its Pre-Renaissance
pictures are not to be despised. Of their kind nothing could be
finer than the altar-piece by Orcagna (or-can´-ya) and the panels of
Duccio (doo´-cho) or Monaco; but they are not carried so far, or so
effectively, as the works of the later men--the “Doge Loredano” by
Bellini, for example. Bellini is not the final word in art, but how
perfect of its kind is this portrait of the Doge (doje) with its serene
poise and supreme dignity! How devoid of anything like ostentation
or display! And how direct it is in the revelation of the stern old
warrior, who, when Doge of Venice, did not hesitate to wage war against
France, Germany, and the Papacy--all three together. There are a number
of attractive Madonnas by Bellini in the gallery, and an “Agony in the
Garden” with a famous landscape at the back; but none of them quite
comes up to the Doge in force or conviction of reality.

[Illustration: THE ANNUNCIATION

By Carlo Crivelli]

In the same vein, but with less nobility and more detail, is the
“Portrait of a Young Man” by Antonello da Messina and the “Young
Venetian” by Basaiti--(ba-sa-ee´-tee) both contemporaries of Bellini in
Venice. They were not his equals, however. Basaiti was his follower,
as was also Catena, who is represented here by a large “Warrior
Adoring the Infant Christ”--a notable picture for Catena. Among the
early Venetians in the gallery Crivelli makes a distinct impression.
There are half a dozen altarpieces by him, and one hesitates to say
which is the best, so very perfect in workmanship are all of them. The
“Annunciation” is perhaps the type, and for pure decorative charm few
pictures go beyond it. The architecture of it, the rugs, curtains,
bedspread, costumes, even the peacock and the children, are all put
in for color effect and to carry out the scheme of making the picture
beautiful to look at, as well as interesting in story. It fairly reeks
with color. Crivelli’s pictures are the most brilliant and the best
preserved in surface of any of the early Venetian works; and, oddly
enough, they are all painted, not in oil, but in distemper--the medium
used before the introduction of oil. It was the Antonello da Messina
mentioned above who is credited with bringing oil-painting to Venice
about 1470, but Crivelli declined to use it.


GREAT VENETIANS

Bellini was as famous for his pupils as for his work, he having been
the master, or the influencer, of almost all the great Venetians.
Giorgione (Jor-jo´-nee) and Titian were his direct pupils, and the
difference between the portrait of the “Doge Loredano” and the
portrait of “Ariosto” by Titian is the difference between master and
pupil. Both portraits are reproduced herewith in photogravure, and
the student has a good opportunity to compare them. Bellini belonged
to the Early and Titian to the High Renaissance, and, in a measure,
the portraits emphasize a difference in time, though they may have
been painted in the same year. Bellini lived to be old--lived into
the High Renaissance--and must have painted this portrait after 1501,
when Loredano became Doge; Titian was young, and probably painted the
“Ariosto” about 1508; but the style of the one is early, the style of
the other late. The “Doge” has great dignity, but with it rigidity
of poise, sharpness of line, paucity of light and shade, thinness of
color. It is emphatic rather than insinuating, and a little awkward in
its positive truth. The “Ariosto,” on the contrary, is superb in its
easy graceful poise, its inherent nobility of look, its perfect repose.
The workmanship of it is infallibly right in its composition, its full
light and shade, and its gamut of greys, browns and flesh colors.
Compare the drawings of the robes for the difference between the men,
and other differences will make themselves manifest. Both portraits are
excellent, but they are by no means alike in point of view or method.

[Illustration: A YOUNG LADY AT A SPINET

By Jan Vermeer]

[Illustration: PORTRAIT OF A TAILOR

By Giambattista Moroni]

[Illustration: A MAN’S PORTRAIT

By Jan Van Eyck]

Titian was perhaps the master-painter of the craft in Italy, and
the “Ariosto” is not his only masterpiece in the National Gallery.
There is an early “Madonna” and a “Christ and the Magdalen,” both of
them excellent, and yet giving way in interest to his large “Ariadne
and Bacchus,” the most considerable of his figure pictures north
of the Alps. It is a little cold in its blue color, but perfect in
workmanship, and a marvel of life and movement. Tintoretto’s “St.
George and the Dragon” is a romantic canvas that in life and spirit
presses the Titian very hard. It is not possible to pick flaws in it,
which cannot be said about every Tintoretto. The charging St. George,
the hurrying princess, the dead body, the sea, the sky, the distance,
are quite as they should be. And what a beautiful piece of color!
Tintoretto was a genius of exalted rank, as was also Paolo Veronese,
some of whose best canvases are here--notably the large “Family of
Darius at the Feet of Alexander.”

The “St. Helena” (reproduced herewith) is put down to Paolo in the
catalogue, and, though it may not be by him, is, nevertheless, a
fine picture in decorative arrangement and color. Lotto in a superb
“Family Group” and Paris Bordone (bor-do´-nee) in the “Portrait of a
Lady,” of a patrician type, are both extremely well represented in
the gallery; but perhaps they do not attract so much attention as a
more commonplace portraitist--Moroni. The reason of this is that the
National Gallery has two of the very best works by Moroni--the “Tailor”
and the “Lawyer.” The “Tailor” is very much admired, and justly so. He
is shown standing at his cutting board, shears in hand, and as the door
opens he looks up to see who has entered. What a very natural action!
And what a serene, even noble, type of man! The portrait is modern
enough in method to have been done today, only there is no painter of
today who could do it. It is not, however, in the class with the Titian
“Ariosto.” Compare them and you will see that intellectually the Titian
is the more profound, as technically it is the more subtle.


THE FLORENTINES

[Illustration: “CHAPEAU DE PAILLE”

This portrait, known as “The Straw Hat,” by Peter Paul Rubens, is of
Suzanne Fourment, his wife’s sister]

The Florentines never had the fine color sense of the Venetians, but
from that you will not infer that they never painted fine pictures.
They were different from the Venetians, were more intellectual or
romantic or pathetic, cared more for linear drawing than for light,
shade or color. The Botticellis in the gallery illustrate this
distinction. There are a number of them, and they all carry by pathetic
sentiment or romance, and exhibit linear drawing primarily. The famous
“Mars and Venus” shows the drawing and the “Nativity,” the sentiment.
The round picture of the “Madonna, Child and St. John,” shown in the
illustrations, is a school piece, but gives the Botticelli pathos in
the girlish types and the sad faces. Do you notice how cleverly the
circle is filled with lines and forms? Filippino, contemporary of
Botticelli, (botte-chél-lee) and much influenced by him, has here an
altar-piece that is admired and copied by students as it deserves to
be; and put down to Lorenzo di Credi is a portrait of “Costanza de
Medici” that is supremely fine not only in color but in character. An
early Florentine, Paolo Uccello, (Oo-chél-lo) famous for his study
of perspective, is here shown in his masterpiece, “The Rout of San
Romano,” and Antonio and Piero Pollajuolo (pol-la-you-oh´-lo) by the
“St. Sebastian,” their most important work. These are only the pictures
that may justly be called great masterpieces. It is astonishing what
a list may be made. The list should include the two wonderful panels
by Piero della Francesca--the very noblest kind of fine art,--all the
pictures by Cosimo Tura, the “Madonna” by Verrocchio, (ver-ro´-kee-o)
though it is merely a school piece, the “Agony in the Garden” by
Mantegna, and many another panel by Fra Filippo, or Pisanello, or
Benozzo.

[Illustration: THE VIRGIN AND CHILD

By Sandro Botticelli]

The Florentine trio--Michelangelo, Raphael and Leonardo--are
represented here in rather dubious examples. The two Michelangelos
are school pieces, though very good work, and the genuineness of the
Leonardo da Vinci (vín-chee) “Madonna of the Rocks” is disputed by
a similar picture in the Louvre. The London picture has much beauty
about it, and no doubt Leonardo had some hand in its production, but
he was probably assisted in it by a pupil. As for Raphael, there are
several pictures assigned to him, but none of them gives much of an
idea of that great artist. The “Ansidei Madonna” cost a great deal of
money, and has renown; but it is a thin, cold work of Raphael’s youth.
If you would see Raphael and judge him justly, you must go to Florence
and Rome. Florence, too, is the proper place to see painters such as
Andrea del Sarto, while Perugia is the spot for Perugino, and Parma for
Correggio (kor-red´-jo). One’s opinion of an Italian painter is not
to be formed from seeing one or more isolated examples of him in the
northern galleries.


FLEMISH MASTERS

[Illustration: PORTRAIT OF AN OLD LADY

By Rembrandt]

Among the Early Flemish painters there is nothing finer than the
Arnolfini portraits by Jan Van Eyck, the pathetic “Deposition” by
Bouts, or the two large panels by Gerard David (dah´-veed). Work of a
similar nature is shown by Gerard of Haarlem (Geertgen tot Sint Jans)
in his “Madonna and Child.” It is delicate, miniature-like work, and
not painting in any Hals or Velasquez sense; but done with tremendous
earnestness and sincerity and without a slip or flaw technically. A
much later man, Gossart (or Mabuse) tried to elaborate the miniature
method of the early men, and apply it to large canvases. The result is
here shown in the large “Adoration of Kings,” wherein everything is so
realized in surface appearance that you could pick up the tiles or hats
or jewelled presents, so deceptively are they portrayed. This is, of
course, considered a great feat in art, and ever since the picture was
added to the gallery there have been many admirers about it. But art
consists of something more than cats and fiddles to be picked up, as
Sir Joshua Reynolds remarked many years ago.

[Illustration: CHRIST AT THE COLUMN

By Velasquez (ve-las´-keth)]

The Later Flemings, Rubens and Van Dyck, did not despise a surface
realism, but they spent no time on petty details. They struck out with
a large brush, and sought to give also the body and bulk of things.
Rubens, all told, had perhaps the most learned and facile brush of any
of the great painters. He was more sure than Hals, more swift than
Titian, more learned than Velasquez. He was the master craftsman of
them all. His “Drunken Silenus,” “Judgment of Paris” and “Chapeau de
Paille” in this gallery will give you an excellent idea of his skill,
his color sense, his Flemish point of view. His pupil, Van Dyck, never
reached up to him, and was not the greatest portrait painter of the
world, though he occasionally did a great portrait. One of them is in
this gallery, the “Portrait of Cornelius Van der Geest,” a perfect
head, done in Van Dyck’s early period; and done so surely and truly
that it will stand comparison with the best works of any period or
country.


THE DUTCHMEN

In Dutch art the name of Rembrandt usually leads all the rest, and here
in the London gallery are many examples put down to him. The early
“Portrait of an Old Lady,” herewith reproduced, is perhaps the most
satisfactory of all, not only because of its wonderful rendering of an
aged face, but because of the great humanity shown in it. The tremulous
line of the lips and chin, the flabby cheeks of old age, the eyes that
seem filled with tears, all suggest a life that has known sorrow. That
appealed to Rembrandt very strongly. He was always sympathetic with
the suffering because, perhaps, he had suffered himself. No painter
could put more feeling or meaning into a face, a hand, an arm, a bent
form than he. He was the great genius of Netherland art. Hals was a
mere tavern-roysterer with a gift for painting, compared with him.
The National Gallery, however, has no first-rate example of Hals,
though several mediocre canvases are attributed to him. Nor is Steen,
or Vermeer of Delft, or De Hooch seen here at his best. By Terborch
there is a “Guitar Lesson” showing a young woman in white and yellow
satin that is attractive, and a beautifully drawn “Portrait of a
Gentleman.” Cuyp (kipe) is shown, in many examples, and better than in
any other European gallery. This is also true of the sea-painter Jan
van de Cappelle. There is a whole wall devoted to examples by Ruisdael,
(rise´-dale) and among the many Hobbemas is one at least of commanding
interest--“The Avenue, Middelharnis.” It is slate-grey in color, but
its linear perspective and atmosphere have made it very popular.

[Illustration: THE GRACES DECORATING A FIGURE OF HYMEN

By Sir Joshua Reynolds]

[Illustration: MARRIAGE A LA MODE

By William Hogarth]


SPANISH AND GERMAN PICTURES

The National Gallery is not by any means complete in its
representations of the Spanish painters, though it has a number of
excellent pictures. By Velasquez one bust portrait alone, that of
Philip, is worth a day’s journey to see. There probably never was a
more perfect presentation. It not only shows the physical but the
moral and mental in the sitter in a most convincing way. There are
several full-length portraits here ascribed to Velasquez, but they
are not entirely by his hand. The “Christ Bound to the Column” is
a great picture and the Rokeby “Venus” is another masterpiece; but
neither of them can be attributed with certainty to Velasquez. He was
the master-painter of Spain, and Murillo, with his “Holy Family” and
“St. John and the Lamb” looks very weak and sentimental beside him.
Ribalta who preceded Velasquez, and Goya, who came long after him, were
painters in the Velasquez tradition if they were not of his class.

The German pictures in the gallery are quite as limited as the
Spanish with only one masterpiece of commanding importance. The large
“Ambassadors” by Holbein is not that one, it being a rather commonplace
affair for all its vastness; but the “Portrait of Christina of Denmark,
Duchess of Milan,” makes amends for it. Here Holbein is at his simplest
and his noblest. The lady is dressed in black velvet and silk with
fur edgings, and is shown against a blue background. She stands there
looking at us with a faint attempt at a smile, with her beautiful
hands crossed in front of her. This is one of the ladies that Henry
VIII wished to marry. He had this portrait of her painted by Holbein,
but did not succeed in marrying her. The portrait is a wonder of
good drawing and good taste. There is nothing of value by Dürer in
the German collection, and the only other notable picture there is a
portrait of a young girl by Lucidel.

[Illustration: HEAD OF A GIRL, LOOKING UP

By Jean Baptiste Greuze]

[Illustration: PORTRAIT OF MRS. SIDDONS

By Sir Thomas Lawrence]

[Illustration: THE PARSON’S DAUGHTER

By George Romney]


ENGLISH MASTERS

Naturally the English pictures loom large in the National Gallery,
though many of them in recent years have been transferred to the Tate
Gallery. Here one sees Hogarth in his series “Marriage a la Mode”
and in several portraits. He was the beginner in the school and one
of its best painters. He, of course, had not the court and society
following of Sir Joshua Reynolds who came after, with many full-length
portraits of nobility painted to look a trifle nobler than reality.
He was a famous master, and never did a better group than the “Lady
Cockburn (co´-burn) Children.” He signed his name on the edge of the
dress at the bottom, and told Lady Cockburn, with a courtier’s bow,
that he could not neglect the opportunity to go down to posterity on
the hem of her ladyship’s garment. The saying pleased him quite as
much as his painting, for he repeated it to Mrs. Siddons when painting
her portrait. It is not known whether the ladies compared notes, but
if they did it probably resulted in a bad quarter of an hour for Sir
Joshua.

[Illustration: THE AVENUE AT MIDDELHARNIS, HOLLAND

By Meindert Hobbema]

[Illustration: PASTORAL LANDSCAPE

By Claude Lorrain]

Gainsborough, the contemporary of Reynolds, also painted Mrs. Siddons,
and made the more famous portrait of her. The color is a trifle cold
in blues, and the surface is glassy; but the portrait has dignity,
personality and style. This is the picture that Gainsborough had such
difficulty in painting the nose that at last he exclaimed in a rage,
and it is said with some mild profanity, “Madame, there seems to be
no end to your nose.” Many excellent portraits by both Reynolds and
Gainsborough, with their contemporaries Hoppner, Romney, and others are
here. The best Romney is the celebrated “Parson’s Daughter,” and the
best Lawrence, the sad-faced bust portrait of Mrs. Siddons.


THE TURNERS

The gallery some years ago had a very extensive collection of Turners,
but many of them are now removed to the Tate Gallery. The celebrated
ones, such as the “Frosty Morning,” “Crossing the Brook,” and “Rain,
Steam and Speed,” are still here. When Turner died he left many
canvases and about 19,000 sketches and drawings to the National
Gallery. Among the canvases were a “Dido Building Carthage” and a “Sun
Rising through Vapor” that Turner in his will requested should be
hung between two large pictures by Claude Lorrain--the thought being
to show how far Turner surpassed Claude. But the comparison is not
wholly in Turner’s favor. He is flushed, hectic, a little spectacular,
where Claude is cool, calm and serene. The Turners are more cunning
in artifice, but they lack Claude’s simplicity and sincerity. Claude
and Poussin (poo´-sang), by whom there are plenty of canvases here,
were past masters in their time and it is somewhat dangerous for any
modern to put himself in comparison with them. Art is not, after all, a
thing that will bear comparisons so well as contrasts. It is supposed
to reveal the individuality of the man behind the brush, and one great
pleasure of the great galleries is that they show us these differing
individualities--even as Turner and Claude.

[Illustration: RIVER SCENE

By Turner]


SUPPLEMENTARY READING

    NEW GUIDES TO OLD MASTERS

    LONDON--THE NATIONAL GALLERY                   _By John C. Van Dyke_

    ART OF THE NATIONAL GALLERY                     _By J. deW. Addison_

    NATIONAL GALLERY                                  _By A. A. Corkran_

    WHAT PICTURES TO SEE IN EUROPE                _By Lorinda M. Bryant_
    Containing chapters on The National Gallery

    NATIONAL GALLERY                                   _By P. J. Konody_

    LECTURES ON NATIONAL GALLERY                      _By J. P. Richter_

    THE NATIONAL GALLERY                            _By J. E. C. Flitch_

    MASTERPIECES IN THE NATIONAL GALLERY
    Reproductions from the paintings, with an introduction by Karl Voll

    GERMAN AND FLEMISH MASTERS IN NATIONAL GALLERY       _By M. H. Witt_

⁂ Information concerning the above books may be had on application to
the Editor of The Mentor




THE OPEN LETTER


[Illustration: THE NATIONAL GALLERY]

The National Gallery is situated on the north side of historic old
Trafalgar Square. It is a long, low building more imposing in its
proportions than beautiful. It was designed by Wilkins and is in the
Grecian style. It was erected in the years between 1832 and 1838 at
a cost of nearly $450,000. Since then it has been enlarged several
times. It is now 460 feet in length, and it contains one of the
finest collections of paintings in the world. The National Gallery
was established by an act of Parliament in 1824, and at first the
collection consisted of only 38 pictures, the gift of Mr. Angerstein,
whose portrait by Thomas Lawrence hangs on the wall of the staircase in
the entrance hall. As years passed by rich and important collections
were contributed until now the National Gallery is composed of nearly
3,000 pictures. More than half of them, however, are not housed in the
National Gallery building. About 1,100 are there. Most of the others
are in the Tate Gallery, which is situated on Grosvenor Road. The
great old masterpieces are in the National Gallery building, and that
is naturally the part of the collection that the art student visits
first. The Tate Gallery, which is under the management of the trustees
of the National Gallery, is regarded as a branch of that institute. The
Tate Gallery was built and presented to the nation by Sir Henry Tate
in 1897, and the paintings there are chiefly those of modern British
artists. If anyone wants to study the art work of English painters from
the time of Turner down to the present day, he should go to the Tate
Gallery. If the visitor is particularly interested in what has been
called the modern “Pre-Raphaelite School,” he will find there a great
wealth of representative work of G. F. Watts, Dante Gabriel Rossetti,
Ford Madox Brown, Sir Edward Burne-Jones, Holman Hunt, and Sir John
E. Millais. These were the leaders of that circle of artists of fifty
years ago which assumed the name of the “Pre-Raphaelite Brotherhood.”
The members drew their title from the fact that their art was inspired
by the simplicity and purity of feeling and the patient handiwork of
the painters that preceded Raphael. This movement in art and the work
of its brilliant leaders will receive attention later in The Mentor.
The present number is devoted to the famous master works included in
the collection in the National Gallery building.

[Illustration: W. D. Moffat

EDITOR]




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