LITMIR.BIZ

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and unwarmed by the golden hue of the rest of the picture; and, what is worse, with little distinction between its own illumined and shaded parts, so that it appears altogether out of sunshine – the colour of a bright vermilion in dead, cold daylight… And these failing parts, though they often escape the eye when we are near the picture and able to dwell upon what is beautiful in it, yet so injure its whole effect that I question if there be many Cuyps in which vivid colours occur, which will not lose their effect and become cold and flat at a distance of ten or twelve paces, retaining their influence only when the eye is close enough to rest on the right parts without including the whole. Take, for instance, the large one in our National Gallery. (Seen at a distance) the black cow appears a great deal nearer than the dogs, and the golden tones of the distance look like a sepia drawing rather than like sunshine, owing chiefly to the utter want of aerial greys indicated through them" (Modern Painters, vol. i. pt. ii. sec. ii. ch. i. §§ 11, 19).

      54. A WOMAN BATHING

Rembrandt (Dutch: 1606-1669). See 45.

      "Those who have been in Holland," says Mrs. Jameson, "must often have seen the peasant girls washing their linen and trampling on it, precisely in the manner here depicted. Rembrandt may have seen one of them from his window, and snatching up his pencil and palette, he threw the figure on the canvas and fixed it there as by a spell." More probably, however, this is one of Rembrandt's many pictures of his servant and model, Hendrickje Stoffels. "The finest of the whole series," says M. Michel, "is the study of Hendrickje in the National Gallery, the so-called 'Woman Bathing.' It bears the date 1654, and is undoubtedly a masterpiece among Rembrandt's less important works. The young woman, whose only garment is a chemise, stands facing the spectator, in a deep pool. Her attitude suggests a sensation of pleasure and refreshment tempered by the involuntary shrinking of the body at the first contact of the cold water. The light from above glances on her breast and forehead, and on the luxuriant disorder of her bright hair; the lower part of her face and her legs are in deep transparent shadow. The brown tones of the soil, the landscape background and the water, the purple and gold of the draperies, make up a marvellous setting alike for the brilliantly illuminated contour and the more subdued carnations of the model. The truth of the impression, the breadth of the careful but masterly execution, the variety of the handling, proclaim the matured power of the artist, and combine to glorify the hardy grace and youthful radiance of his creation" (Rembrandt: his Life, his Work, and his Time, ii. 70).

      55. THE DEATH OF PROCRIS (see under 698)

Claude (French: 1600-1682). See 2.

      "A most pathetic picture," says Constable (who made a copy of it when it was in Sir George Beaumont's possession). "The expression of Cephalus is very touching; and, indeed, nothing can be finer than the way in which Claude has told that affecting story throughout. Procris has come from her concealment to die at the feet of her husband. Above her is a withered tree clasped by ivy, an emblem of love in death, – while a stag seen on the outline of a hill, over which the rising sun spreads his rays, explains the cause of a fatal mistake… It is the fashion to find fault with his figures indiscriminately, yet in his best time they are so far from being objectionable that we cannot easily imagine anything else according so well with his scenes; as objects of colour they seem indispensable. Wilson said to a friend who was talking of them in the usual manner, 'Do not fall into the common mistake of objecting to Claude's figures'" (Leslie's Life of Constable, 1845, p. 339).

      56. LANDSCAPE WITH FIGURES

Annibale Carracci (Eclectic-Bologna: 1560-1609). See 9.

      57. THE CONVERSION OF ST. BAVON

Rubens (Flemish: 1577-1640). See 38.

      Bavon, a noble of Brabant, in the seventeenth century having determined to renounce the pomps and vanities of the world (his retinue is to be seen on the right), is met on the steps of the convent church by the bishop who is to receive him into his new life. To the left his goods are being given away to the poor, and above there is a group of ladies returning thanks for the noble penitent's conversion.

      58. A STUDY OF TREES

Claude (French: 1600-1682). See 2.

      This picture, when in Sir George Beaumont's collection at Coleorton, was copied by Constable and called by him "The Little Grove." In 1823 Constable wrote to a friend, "I have likewise begun 'The Little Grove' by Claude; a noonday scene 'which warms and cheers, but which does not inflame or irritate.' Through the depths of the trees are seen a waterfall and a ruined temple, and a solitary shepherd is piping to some goats and sheep: —

      'In closing shades and where the current strays,

      Pipes the lone shepherd to his feeding flocks.'"

      (Leslie's Life of Constable, 1845, p. 119.)

      59. THE BRAZEN SERPENT

Rubens (Flemish: 1577-1640). See 38.

      "It is interesting to observe the difference in the treatment of this subject by the three great masters, Michael Angelo, Rubens, and Tintoret… Rubens and Michael Angelo made the fiery serpents huge boa-constrictors, and knotted the sufferers together with them. Tintoret makes … the serpents little flying and fluttering monsters, like lampreys with wings; and the children of Israel, instead of being thrown into convulsed and writhing groups, are scattered, fainting in the fields, far away in the distance. As usual, Tintoret's conception, while thoroughly characteristic of himself, is also truer to the words of Scripture. We are told that 'the Lord sent fiery serpents among the people, and they bit the people'; we are not told that they crushed the people to death. And, while thus the truest, it is also the most terrific conception… Our instinct tells us that boa-constrictors do not come in armies; and we look upon the picture with as little emotion as upon the handle of a vase, or any other form worked out of serpents, when there is no probability of serpents actually occurring" (Stones of Venice: Venetian Index, "Rocco, Scuola di San," No. 24).

      61. LANDSCAPE WITH FIGURES

Claude (French: 1600-1682). See 2.

      The history of this picture is curiously interesting. It belonged to Sir George Beaumont, who valued it so highly that it was, we are told, his travelling companion. He presented it to the National Gallery in 1826, but unable to bear its loss begged it back for the rest of his life. He took it with him into the country, and on his death, two years later, his widow restored it to the nation. Sir George Beaumont was not the only artist who thought highly of this little picture. Constable, we are told, "looked back on the first sight of this exquisite work as an important epoch in his life… It is called The Annunciation; but the spring by which the female is seated, and the action of the angel who points to the buildings in the distance, leave little doubt that Claude's intention was to represent the first flight of Hagar from the presence of her mistress" (Leslie's Life of Constable, 1845, p. 6).

      62. A BACCHANALIAN DANCE

Nicolas Poussin (French: 1593-1665). See 39.

      This picture, one of Poussin's masterpieces, is probably one of four Bacchanals painted for Cardinal Richelieu: —

      Whence came ye, jolly Satyrs! whence came ye,

      So many, and so many, and such glee?

      Why have ye left your forest haunts, why left

      Your nuts in oak-tree cleft? —

      "For wine, for wine we left our kernel tree;

      For wine we left our heath, and yellow brooms,

      And cold mushrooms;

      For wine we follow Bacchus through the earth;

      Great god of breathless cups and chirping mirth!

      Come hither, lady fair, and joined be

      To our mad minstrelsy!"

Keats: Endymion.

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