M A S T E R S I N A R T

In a a a M T I N A RT nswering dvertisements , ple se mention AS E RS M A S T E R S I N A R T

I n a a a M T I N A RT nswering dvertisements , ple se mention AS ERS

P R TR T O F CLA U D E L R R B O AI O AIN Y J OA CH I M VON S A N DR A BT in his w i ll Claude l ef a co of a o r i i lf py p a o f h mse to th e Ch uc h of St L t tr t r . uke . P o a and c o y have bo h d a ea i p i d . Th e o nl li i i rtr t t s pp re y keness o f th e art st wh c h h as an c a m to au hen c is th y l i i i y e n ravi n b Sandrart i “ i li i t t t e g g y n his A cadem a Nobi s s ma A s Pic to riae ub h i , p li s ed at Nuember in 1 6 8 rt r g 3. [ 35 8 1

24 M A S T E R S I N A R T

— ' v alde mediocri - a rum imo n ib zl and learned little or nothing at school p ,

ere ro ceret. f , p fi The statement is borne out by such scra ps ofwriting as Claude In in later years scrawled on the backs of his drawings . these short notes he

I - jumbles up French , talian , and Latin ; he spells his own name in a half dozen ff di erent ways , so much so that in his will he has to record the correct spelling ’ Gellé e of it as ; and in his attempt to spell other people s names , even those of his best friends , he goes hopelessly astray .

Seeing that there was nothing to be made of the boy as a scholar , his parents

- apprenticed him to a pastry cook . Later Claude set o ff with some of his “ “ San d rart countrymen for Rome , whither , so informs us , the cooks and ” - pie makers of Lorraine had for centuries been accustomed to repair . ’ ’

d rart . Ba d in ucc i s fl San l i d i ers . Thus far narrat ve Claude , he tells us , had s lo t both his parents by the time he was twelve years old , and was obliged to cross the Rhine and seek a home under the roof of his eldest brother , Jean , who had set up at Freiburg as a wood engraver and carver . Here Cla ude t e mained twelve months , receiving instruction from his brother in the elements

. A of drawing t the end of that time a relative , a dealer in lace , the production i of of which was then , as it is now, an important ndustry in the neighborhood ’ Claude s native place , passing through Freiburg , on his way to Rome with his ff In wares , o ered to take the boy with him . Rome Claude found a lodging near the Pantheon , and continued his studies as best he could , apparently u naided . N at Thrown entirely on his own resources , Claude made his way to aples , tracted thither , it would appear , by the reputation of a German landscape Wael s painter , Gottfried , with whom he remained two years , studying archi tecture , perspective , and color . Then he returned to Rome , where he was A admitted into the household of gostino Tassi , from whom he received “ ” board , lodging , and instruction in the best principles of art , in return for ” - - his services as stable boy, color grinder , and general slavey . S uch is ’ Bald in uc c i s account . The only point of real importance in which it does not W l s tally with that of Sand ra rt is as to the instruction from ae . ’ Tas s i s San d rart How long Claude remained under roof does not tell us . Bal din uc ci A 16 2 of w an states that he left Rome in pril , 5, and began a series d erin s . fi g , which lasted over two years His rst stage was the Santa Casa of e Loretto . Thenc he went to Venice ; then through Bavaria to his native village ’ Bal d in uc c i in Lorraine . This short account given by of Cla ude s journey has been amplified by later biographers and adorned with picturesque details . K night Payne , for example , would have us believe that the young painter mmemo . co spent some time at Harlaching, a little village near Munich To s o f rate this suppo ed sojourn Claude at Harlaching , a monument , bearing his

186 K 1. . portrait and an inscription , was erected in 5 by ing Ludwig of Bavaria N From Chamagne Claude repaired to ancy , the capital of Lorraine and o fl ux ur i seat of the Ducal Court , a court famous for its love y and ts patronage of the arts . Through a relative who resided there , Claude was fortunate enough — ’ to secure an introduction to Claude Deruet Dervent in Bal din uc ci s text

- - painter in ordinary to the reigning duke . [ 3 6 0] C L A U D E L O R R A I N 25

’ Shortly after Claude s arrival at Nancy Deruet was called on by the prior C r of a armelite monaste y, erected at the beginning of the century , to ornament O the roof of the newly built church of the community . n this task Claude was ’ ’ Deruet s set to work , along with other assistants . Claude s share in the work Baldin uc c i was , according to , restricted to the architectural ornaments . Un fortunately this church and its contents were destroyed during the French

. and Revolution This work proved distasteful to Claude , , having already tasted the joys of life under a southern sky, he quitted the uncongenial service Deruet N of , left ancy and his native country, which he was destined never to 16 2 see again , and in the summer of 7 set his face southward , and made his way I toward taly , choosing this time the most rapid route , namely, —by Lyons to . I s Marseilles Here , while waiting for a ship to take him to taly o at least — h e his later biographers relate was stricken by an attack of fever , which

- well nigh proved fatal . On his recovery he found that he had been robbed of nearly all he possessed . After a series of adventures he finally reached Rome ’ 16 by way of Civita Vecchia on St . Luke s Day 2 7. Bald in ucc i To read the account of his life given by , one would be tempted to believe that Cla ude at once sprang into notice and sold his works to wealthy

I . San d rart patrons , both talian and foreign , however , who arrived about this ’ time in Rome , and made Claude s acquaintance there , gives us an account from which we gather that the next few years of Claude ’ s life were years of i constant study, and that the results of this study, though n the end they brought both fame and riches , were at first of small pecuniary profit . — —“ “Claude it is Sand rart who speaks was indefatigable in his en d eavo r - to get a real solid basis of art training, to penetrate into the inmost ” secrets of nature . Day after day he would be up before dawn and far out e into the Campagna . He dless of fatigue , he would stay there till after night t fall , noting every phase of dawn , straining to seize the tints of sunrise, sunse , l e amin i and the g g hours , t nts which he would endeavor to match with his colors on his palette . Then in his studio or garret he would set to work with ff the palette thus prepared , and endeavor to produce a transcri pt of the e ects “ which he had seen , and which he succeeded in rendering with a veracity ” which no painter before him has ever o btained .

During this period of study, and before he had succeeded in producing d a those landscapes which the connoisseurs of his y sought so eagerly, Claude executed several frescos which are referred to by his biographers with almost unstinted praise . They were landscape subjects , of realistic treatment , but have been either destroyed or repainted . When not engaged in studying in the open air or painting frescos for his livelihood , Claude would spend his time drawing from the life , or from statues A In at the cademy . this pursuit he persevered diligently, even to his latest

. years . His application , so far from being profitable to him , was noxious The i fact s that Claude did possess a certain facility for indicating figures , as is shown by many of his drawings . When , however , he set himself to elaborate A these sketches , to put in all the muscles which the cademic teaching of the In i i . day ns sted upon , he produced very painful results his pictures this defect [ 3 6 1 ] 25 M A S T E R S I N A R T

asserts itself even more plainly . The figures are nearly always painted with a en all the conscientiousness of inc pacity , and with a heavy touch which is tirely out of harmony with the treatment of the rest of the canvas ; the atmos h ere b e p which envelops the landscape seems , as it approaches the figures , t"o come suddenly exhausted ; sometimes the sun forbears to cast a shadow H Of his weakness in this branch of art the painter was fully conscious . e used to say that he sold the landscapes , but gave the figures . e Following a custom common in his century , Claude had frequently recours s to other artists for the execution of the figures in his pictures , but he alway himself carefully indicated their movements and their place in the composition . Among the painters from whom he derived assistance in this branch were A the Francesco llegrini , Filippo Lauri , Jan Miels , and one , perhaps both , of

. It e brothers Courtois was , however , in his middle and later periods that Claud had recourse to these collaborators ; in his earlier works the figures are nearly

a A . always his own , occasion lly by llegrini A hard worker, both from love of his art and from the necessity of gaining in his daily bread , the young Lorrain had little leisure or inclination to mingle

. San d rart an society With the exception of , he does not appear to have had y intimate friends among the cosmopolitan colony of artists in Rome . The most N prominent French painter then residing at Rome was icolas Poussin , an artist with the general bent of whose genius Claude must have had much sym ff pathy . The character of the two men , however , was entirely di erent

Claude , a rustic by birth and breeding , illiterate , simple ; Poussin , an aristo

- - c rat b e . It , a scholar , a would philosopher , not to say a pedant would only have been by the law of contraries that these two men could have been friends . “ “ ”

A . bsorbed in his work , Claude , says De Piles , never visited any one ” “ O San d rart e f a kind and sincere nature , says , he sought no other pleasur ” A than that which came to him from his art . part from the intrigue for pat ro na e o f g , apart from the drinking and brawling in taverns in which so many his contemporaries passed a large portion of their lives , Claude led a serene , the secluded existence , his days measured by the uprising and the setting of

i . sun , his soul wrapped n the contemplation of nature , his heart in his work I How and when Fame first came to Claude we cannot exactly determine . t ’ would appear from his account that before San d rart left Rome Claude s repu" tatio n . was firmly established Sebastian Bourdon , a French painter remark

i 16 . able for his wandering and adventurous career , arr ved in Rome about 34 ’ - finis hed t Having seen in Claude s studio a half landscape , on which the artis had been engaged for a fortnight , Bourdon set to work , and in eight days pro d uc ed maes tria b a finished copy of it , executed with such that it was hailed y the connoisseurs of Rome as a masterpiece of Claude . Claude had the curi o s it , y to go and see the forgery and was so enraged, at it that he would have taken a summary vengeance had not Bourdon discreetly kept out of his way . Bourdon would scarcely have been at the trouble of counterfeiting the work e of a man who had not already won a reputation . We also know that befor ’ Sand rart Gell ee h e left Rome Claude had sent for a nephew , Jean , to whom h his entrusted the whole management of his household , even the purc ase of [ 3 6 2] C L A U D E L O R R A I N 27

c . olors , in order to have his time quite free From all this we may gather that before 1635 Claude had an established reputation and clientele . One of Claude ’s earliest patrons would seem to have been Philippe de Béthun e et 16 2 , Comte de Selles de Charost , who in 7 was for the second time a ppointed ambassador of France at the Papal Court . For him Claude painted two fine canvases now in the Louvre , one representing a seaport with a classic i h a rch and a long vista of marble palaces , bathed in the golden l g t of the west ering sun , the other a view of the Campo Vaccino , or Forum . It was apparently about this time that Claude came under the notice and the protection of Cardinal Guido Bentivoglio , one of the most distinguished prelates of the Roman Court , and one of the ablest diplomatists of the day .

For this influential patron Claude painted two landscapes . This commission — ’ proved the turning point in the artist s career . The Cardinal , who was an old

V111. and intimate friend of the then Pope Urban , brought these works under ff the notice of the ponti , and aroused his interest in the young painter .

When the Pope showed the example , the Cardinals and Monsignori of his court hastened to follow it . Among the great prelates who patronized Cla ude Ro s i lio s i in the earlier part of his life were Cardinal p g (afterwards Pope , under the name of Clement Cardinal Medici , Cardinal Faustus Poli , and Cardi

- nal Angelo Giorio . For the last named prelate Cla ude painted no less than

- : fi ure . seven canvases three landscapes , three seaports , and a g subject ’ O to Claude s reputation was not limited to Rome . rders soon began come to him from beyond the Alps . As early as 1644 we find him painting a picture E E for ngland , the exquisite little landscape , introducing the fable of cho and N c N ar issus , which now hangs in the ational Gallery . Many of his works at ’ “ ” Veritatis this period were executed , as the Liber shows , pour Paris , or for

. A s . maitre d er c m ter French patrons mong t them was M Passart , the o p , who w as N tw o also the patron of icolas Poussin . For this amateur Claude painted Wi fine landsca pes , one now in the museum at Grenoble , the other at ndsor .

Both represent views of Tivoli , and are remarkable as being direct renderings of actual scenes rather than classical compositions . In 16 i 44 Claude lost his two most influential patrons , Cardinal Bent voglio

V111. and Urban , who died within a few months of each other . The conclave the Pamfili held in same year resulted in the election of Cardinal Giambattista , I x who now assumed the tiara under the title of nnocent . These changes do ff O not a ppear to have a ected Claude prej udicially . n the contrary, he gained ’ by them a new patron in the person of the Pope s nephew , Prince Camillo Pamfili . For him Claude painted four pictures . Three of these , a landscape ‘ M A ’ ‘ ’ ‘ with ercury Stealing the Cattle of dmetus , The Mill , and The Tem ’ — ’ A tw o ple of —pollo at Delos the latter perhaps Claude s most celebrated pictures still form part of the Doria Collection at Rome . The fourth pic ‘ ’ s et The N ture of this , Ford , is in the ational Gallery at Pesth . i i For the Duc de Bouillon Claude painted a replica , with some var at ons , of ‘ ’ ‘ I ’ The Mill , or , as it is otherwise called , the Marriage of saac and Rebecca , ‘ E and another picture , a seaport , entitled the mbarkation of the "ueen of Sheb af [ 3 6 3 ] 28 M A S T E R S I N A R T

- Claude had now achieved a world wide celebrity . The crowning honor

I . I came to him in a commission from Philip V . of Spain t has been surmised that the order came through the agency of Velasquez, for the great Spanish painter had been sent to Italy in 164 9 with a roving commission to purchase works of art for his royal patron Bald inuc ci o : The order consisted , according to , of eight w rks four subjects New O . A from the ld Testament, four from the ll these , with the addition of

v. now two from the collection of Philip , are in the Prado . Time and the climate of Madrid have wrought havoc with several of the number . Those which have escaped unharmed S how Claude at his best . It Bald in uc ci was about the time of this commission , according to , that his Claude , annoyed by the constant forgeries of work , determined to form an Ba in u c album containing sketches of all works produced by him . ld c i calls ’ ’ ‘ ’ this book the Libro d Invenz io ni or Libro di Verita ; in E ngland it is better ‘ ’ known by the Latin title Liber Veritatis . ‘ ’ ’ In calling the Liber Veritatis a monument to Claude s memory we are In using no figure of speech . this wonderful book we have an epitome of the ’ It artist s life and work , an epitome written and illustrated by his own hand . — is a collection of two hundred drawings not , as the title might lead us to ex ’ ect p , studies from nature , but sketches from or perhaps for the artist s pictures . ” “ Bal din ucc i - Poor Claude, says , simple minded as he was by nature , not knowing whom to guard against among the many who frequented his room , nor what precautions to take , seeing that every day similar pictures were brought to his house that he might pronounce whether they were by his hand , I resolved to make a book , which saw with great pleasure and admiration , he himself s howing it to me in his own house in Rome ; and in this book he began inw nz io n e o f x to copy the composition ( ) the works which he executed , e pressing i n them with a truly masterly touch every smallest detail of the picture itself, ifI t e making a note also of the person for whom it had been painted , and , ” member rightly, the sum he had received for it . The motive assigned to the artist by Bal d in uc c i for the composition of the ‘ ’ Verita i Liber t s has been frequently called in question . Were the drawings studies for or sketches from the pictures ? The generally received opinion is n u Ba l di c ci. that they were made from his finished pictures , as is asserted by ‘ ’ Veritati fl - The Liber s was to Claude much what —the y leaf of the family Bible was to many families of the last generation a place to register the birth of each new member and note any important events of after l ife . To

Claude his pictures were his children . The first impression which we receive as we turn over the pages of the Liber

Veritatis artific ialit . It is that of the intense y of the art that it records is , as it

- were , a man speaking Latin instead of his own mother tongue . Classic ruins , seaports , pasture lands , herds and herdsmen , piping shepherds , dancing peasants , gods , saints , banditti , sportsmen , all seem to belong to an unreal — a world world where things arrange themselves , or rather are evidently V arranged by the artist , with a iew to certain preconceived ideas about com

. o f position The harmony line , the unity of ensemble , aimed at by the artist , [ 3 6 4 ] C L A U D E L O R R A I N 29

and nearly always attained , aggravate the eye of a generation taught to shun in landscape- art the well - balanced composition which delighted the seven Y u un teenth century . o have but to surrender yourself to the charm of this real world , however, to lose sight of its unreality and live in it as one lives in a dream . Side by side with their poetic charm the drawings possess technical qualities - ff ff li ht an d . o i of a high order They express the m st di cult e ects of g _ atmos ff phere with a simplicity and a directness which it would be di icult to surpass .

The two hundred drawings are executed with pen or pencil , washed with

I . bistre or ndian ink , the high lights touched in with white ‘ ’ The value which the artist set on the Liber Veritatis is shown by the spe c ial mention which he makes of it in his will and his wishes were strictly a d ‘ ’ Veritatis hered to . The Liber remained for some time an heirloom in the

Gellée . A 1 0 family bout 77 it was purchased by the then Duke of Devonshire , and since then has remained in the possession of the Cavendish family in that

- great treasure house of art , Chatsworth . ‘ ’ Veritatis Besides the drawings contained in the Liber , and numerous others still preserved in public and private collections , there are extant some

- forty four etchings by Claude . From the dates which some of them contain it would appear that the artist devoted himself to etching at two distinct ’ 6 0 16 166 1 6 1 i 2 6 . periods , between 3 and 37 and n and 3 Claude s etchings are of unequal merit , but in his best work he attains a delicacy and tender

i . ness which few other etchers of any per od have equaled , none surpassed The next personage of importance for whom Claude worked was the son of

X I . the Comte de Brienn—e , Secretary of State to Louis I I , Henri L—ouis de Lo mé nie o r x 111. , for whom perhaps through him for Louis Claude painted the two curious little oval pictures now in the Louvre , representing e the sieg of La Rochelle and the forcing of the pass of Susa , the figures in which are attributed to one of the brothers Courtois , probably Jacques . Both are painted on copper plated with silver , a new invention about that time . ‘ In 1653 Cla ude painted for Signor Cardello the big picture The Worship ’ of the Golden Calf, now in Grosvenor House .

In 16 I X . A VI L 55 nnocent died , and was succeeded by lexander , who de A voted himself to the patronage of men of letters , architects , and artists . mong - O the last named was Claude , who painted for him two pictures . ne of these ‘ E ’ represents The Rape of uropa , apparently a favorite subject with the artist , i 16 for he has treated t in three other canvases , in an etching dated 34 , and in a 16 0 i finished sketch dated 7 , n the British Museum . The other is a landscape ‘ ’ known as The Battle of the Bridge , from the bridge covered with combatants i which forms the foreground . Both these pictures are now n the gallery of ’ Y uss u o o o ff . Prince p in Russia For one of the Pope s nephews, Don Camillo , the splendid palace in the Piazza Colonna was built . For this magnificent in 16 8 i N abode Claude painted _ 5 the picture now n the ational Gallery , vari ‘ ’ ‘ o us ly known as David at the Cave of Adullam and Sinon Brought before ’ a Priam . For the grand simplicity of composition and for the rendering of t ’ mo s here p this canvas ranks as one of the artist s best . [ 3 6 5 ] 3 0 M A S T E R S I N A R T

a V I I The year following the election of Alex nder . was marked by a visitation Man fled of the plague which decimated Rome . y the city . Claude and Poussin

. A remained , painting on serenely mong the three pictures mentioned in the ‘ ’ ‘ Veritatis Liber under this date , one , a landscape with Jacob Bargaining for ’ Rachel , remarkable for a peculiar silvery quality of light , deserves special

It . mention . is now one of the chief treasures of Petworth It would be impossible within the limits of our space to enumerate all ’ Claude s works during the next few years . The artist, if he was a slow worker , was an assiduous one , sometimes producing as many as five pictures in one year . The whole number credited to him in his long life is about four hundred . ‘ Among the principal pictures of this period we may mention the Metamo r u i ’ A l e an . Del a ard e 16 phosis of the p Shepherd painted for M g in 57, now in fi the Bridgewater Collection , a combination of landscape and marine with g A a ures of Polyphemus , cis , and Galatea for the s me patron , now in the Dres ‘ ’ a E t A den Gallery, very fine Flight into ygp , painted for ntwerp , now in the ‘ E ’ Hermitage , and The Decline of the Roman mpire , now in Grosvenor

House .

Fame and wealth had come to Claude , but the latter years of his life were Bal d n uc c i not without their trials . One of these was his failing health . i in . us forms that from the age of forty Claude was much troubled with the gout . To a man of Claude ’ s active habits such a malady must have been a terrible No burden . more walks in the dewy morning or the misty evening over the

Campagna , no more sunny days at Tivoli and Subiaco ; the poor artist , mewed up in his studio , would be obliged to have recourse to his souvenirs and to his H ow sketches from nature . much store he set on the latter we know from Bal din ucc i a f , who relates that Claude p inted one very fine picture for himsel 1x from nature at Vigna Madama , near Rome , for which his Holiness Clement . ff i i o ered him as many gold pieces as would cover t , but was never able to get t “ t out of his hands ; for he asserted , as was indeed rue , that he made use of it every day to see the variety of trees and foliage . We may note too that in his will Claude expressly qualifies two of the pictures which he kept in his house , ‘ E ’ ‘ E ’ “ The Flight into gypt and The Journey to mmaus , as painted on the “ ” spot by my hand and a landscape painted from nature . From this will we learn that in February of 1663 Claude was suffering from an illness which threatened to prove fatal . Believing his end to be at hand , the artist set about

ff a 28 166 . putting his a airs in order , and on Febru ry , 3, made his will 26 His illness did not , however, last long , for we find an entry under May , ’ 166 Veritatis 3, in the Liber , referring to a large landscape with Mercury and ’ Bacchus now in the Collection of the Duke of Devonshire . The artist s energy was unimpaired . For the next few years he continued to produce three or four pictures every year . His skill , however , was not always on a level with his energy . His hand , doubtless under the influence of the gout , often seems to have lost its old cunning . Side by side , however , with canvases which show ’ sad evidences of advancing age we find others in which the artist s genius re asserts itself with all the old charm . ’ N The chief patron of Claude s latter years was the Constable of aples , Don [ 3 6 6 ]

3 2 M A S T E R S I N A R T

Despite the high prices paid to him for his pictures , Claude died relatively Bal din uc ci poor . states that owing to his great generosity to his relatives dur ’ ing his life , the artist s property at his death amounted only to the value of

scudi . ’ Claude was buried , as his will directed , in the Church of Sta . Trinita de

Monti . Over his grave in front of the chapel of the Santissima Annunziata In 1 8 his nephews placed a slab with a laudatory Latin epitaph . 79 , during the occupation of Rome by the French , this church was ransacked by the ’ t e soldiery ; the slab disappeared , and for nearly forty years Claude s grave In 18 6 mained unmarked . 3 the French Government decided to remove the ’ a ’ great artist s remains from the Trinit de Monti to the Church of St . Luigi ’ — ’ ranc es i . ABR DG E D F ROM G . GRAH AME S MONO de F , near the Pantheon I ‘ , G RA PH ON CLAUDE LORRA IN I N TH E PORTF OLI O

Wbe an of « Haunt l on ain

G E O R G E G R A H A M E ‘ P O R T F O L I O ’ 1 8 9 5 H E man who first substituted for the golden or colored chequer back ground in picture or illuminated letter a blue sky graduated to the hori

- zon may rank as the initiator of landscape painting, as we understand that “ art . This was , as one critic has remarked , the crisis of change in the spirit ” of medieval art , the transition from the symbolic to the imitative method . It took place early in the fifteenth century . Giotto having got hold of some thing s uflic iently like a mountain or a tree to pass for such in the eyes of men who know nothing about geology or botany and do not scrutinize real I — trees and real mountains , several generations of talian painters Masaccio always excepted —are satisfied to go on painting the Giottesque mountain

t . and tree without fur her reference to nature While landscape , always a mere I accessory, is being thus cultivated by the talians , the Flemish artists , Hubert E and Jan van yck , take up the tale and unfold to the wondering eyes of the northern world visions of Paradise based on their own glimpses into southern lands . Rome , while contributing nothing to the arts , save the memory of her

- E greatness , became the meeting place of all schools . ducated in thi—s art center, Claude united the Flemish love for and knowledge of perspective Orizonte was th—e nickname by which Claude was known among the Flemish artists in Rome to the atmospheric touch of the Venetians . ’ Claude s landscapes are seldom , if ever , true in color ; and yet , contrast them with the works of some colorists . Take Corot , for instance . Step from ’ Claude s picture of the Campo Vaccino in the Louvre to the study of Corot , which hangs in an adjoining room , of the same subject from another point of view . Corot is infinitely superior to Claude in his analysis of each separate fragment of the color-mosaic of the scene ; but which of the two artists has [ 3 6 8 ] C L A U D E L O R R A I N 3 3 most successfully rendered the general impression of that scene ? E very one I who loves Rome and knows its atmosphere will , think , decide in favor of

Cla ude . Cla ude has sometimes been called the father of modern landscape art but that title might be claimed for Titian and other Venetian painters , who ’ before Cla ude s day had from time to time painted landscape pure and simple . ’ e i Claude s real m rit , a merit as to the magnitude of which h s admirers and - in : a his detractors are at one , his real service to landscape art , lay this th t he was the first painter to grapple seriously with the problem of representing the disc of the sun . Claude took up the idea seriously and worked it out success It f fully . is di ficult for us who have been accustomed to see the sun constantly represented in pictures to realize how great a revolution he thereby wrought in landscape art . Claude ’ s influence on the landscape art of his own and of the following cen

- u 1t . t ries was enormous . The result of was deplorable Landscape painters went to Claude instead of going to nature . They copied , as imitators are prone to do , all the defects of their model ; they failed to perceive the good points . They borrowed all Claude ’ s formulas of composition and never moved beyond

N . them . ature was poured like jelly into a mold ‘ ’ In This influence left its mark indelibly on Turner . his Carthage and Claude ’ s ‘ E mbarkation of the "ueen of Sheba ’ the two artists have ’ treated kindred subjects in a kindred way ; indeed , Turner s picture shows In - at every point the influence of Claude . both we have the same well bal an ced - masses of pseudo classic architecture , a too evidently artificial compo s itio n ff , helped out by the j udicious disposition of the figures , a similar e ect

. A i of sunlight t the very first glance we see the super ority of Turner , the a limitation of Claude . Cl ude seems like a caged bird , singing, and singing ’

l . 15 S . very sweetly, but a ways the same trill Turner like Shelley s kylark

He has seen all heaven and all earth , and caught in his flight the real radiance of the sun . It i is in the render ng of lights , particularly of the direct rays of the sun , that ’ Turner is incontestably Claude s superior . Claude had grasped one big fact , i ad in n itum the warm glow of sunlight , and repeated t fi , spreading it with an even touch over every inch of canvas . Turner went a step further . He ana l z ed y this glow , caught from nature the secret of the subtle silvery tones , the touches of cold color which occur even in the warmest effects of light and help ff to heighten those e ects .

To Turner, moreover , sunlight was the first, the essential thing . He never

i No t . hesitated to sacrifice other things to t . so Claude With a complacency d ull nes s he bordering upon , painted square and fair every stone of his edifices , I and , obedient to a tradition handed down from the early talian masters i through Perug no and Raphael , traced carefully and mechanically, as it were , with compass and ruler, every line of his architecture , showing thereby that he considered the object illuminated quite as worthy of his skill as the light it self. ’ Yet when all has been said that can be said about Turner s superiority and [ 3 6 9 ] M A S T E R S I N A R T

’ Claude s shortcomings , there remains to the older master a charm of serenity and sweetness which it is impossible to gainsay . Just as it is possible to ad mire the colossal genius o fWagner and yet listen with enjoyment to the melody of Mozart or Haydn , so too we may give Turner all his due without shutting our eyes to the merits and beauties of Claude .

S A R A H T YT L E R ‘ T H E O LD M A S T E R S A N D T H E I R P I C T U R E S ’ LAUDE LORRAIN’ S name has become a very vexed name with art

critics . There was a time when he had an unsurpassed reputation as a

- landscape painter . The possession of a Claude was enough to confer art glory E on a country house , and possibly for this reason ngland , in public and private collections , has more Claudes than are held by any other country . But ’ a Cl ude s admirers , among whom Sir George Beaumont , the great art critic of his generation , took the lead , have had their day, and , if they have not by any means passed away, are on the wane . E - The wrathful indignation of the nglish landscape painter , Turner , at the praise which was so glibly lavished on Cla ude helped to shake the E nglish art

’ ’ ' world s faith in its former idol . Mr . Ruskin s adoption and proclamation o f ’ Turner s opinion shook the old faith still further . This reversal of a verdict It with regard to Claude is peculiar . is by no means uncommon for the deci In sion of contemporaries to be set aside . fact, it is often ominous with regard ’ “ ” to a man s future fame when he is cried up to the skies in his own day . The probability may be that his easy success has been won by something s uperfi ’ c ial and fleeting . But Claude s great popularity has been in another genera ma i . E t on , an d with another nation nglish taste yhave been in fa ult ; or another — ’ explanation seems preferable that Claude s sense of beauty was great , with all its faults of expression , and he gave such glimpses of a beautiful world as the gazers on his pictures were ca pable of receiving, which to them proved irresistible . I Mr . Ruskin has been hard on Claude , whether justly or unjustly cannot i pretend to say. The critic den es the painter not only a sense of truth in art , “ ” - . O . but all imagination as a landscape painter f men of name , Mr Ruskin “ writes , perhaps Claude is the best instance of a want of imagination , nearly total , borne out by painful but untaught study of nature , and much feeling for ” abstract beauty of form , with none whatever for harmony of expression . Mr . “ Ruskin condemns in the s to nges t terms the mourning and murky o l ive brown s and verdigris greens in which Claude , with the industry and intelligence of e - - a S vres china painter , drags the laborious bramble leaves over his childish ” foreground . But Mr . Ruskin himself acknowledges , with a reservation , ’ i Claude s charm n foliage , and pronounces more conditionally his power, — a when it was at its best , in skies region in which the greater , as well as the “ l es s Po us s in . A , was declared to fail signally perfectly genuine and untouched ” “ sky of Claude , Mr . Ruskin writes , is indeed most perfect , and beyond praise in all qualities of air ; though even with him I often feel rather that there is a fi rmament fir great deal of pleasant air between me and the , than that the mament itself is only air . [ 3 7 0] C L A U D E L O R R A I N 3 5

R W ‘ R C R ’ W . C . B O N E L L F E N H A T

T seems hardly fanciful to say that the depreciation of Claude by Mr . I " in Ruskin , who is a painter himself, using the medium of words "landscape o f i . stead pigments , s , so to speak , professionally unj ust “ i Go out , n the springtime , among the meadows that slope from the shores h of the Swiss lakes to the roots of their lower mountains . There , mingled wit s an d the taller gentians and the white narcissus , the grass grow deep free ; and as you follow the winding mountain paths , beneath arching boughs all veiled and dim with blossom— paths that forever droop and rise over the green banks i i and mounds sweep ng down n scented undulation , steep to the blue water ,

- studded here and there with new mown heaps , filling the air with fainter sweet — ness look up towards the higher hills , where the waves of everlasting green ” roll silently into their long inlets among the shadows of the pines . ’ b Claude s landscape is not Swiss , but if it were it would awaken in the e holder a very similar sensation to that aroused in the reader of this famous passage . Claude indeed painted landscape in precisely this way . He was per — haps the firs t though priority in such matters is trivial beside preeminence

e ectr thin s . no t who painted fl instead of g Light and air were his material , ponds and rocks and clouds and trees and stretches of plain and mountain outlines . He first generalized the phenomena of inanimate nature , and in this he remains still unsurpassed . But , superficially, his scheme wore the classic aspect , and neither his contemporaries nor his successors , for over two hun i dred years , discovered the immense value of his point of v ew, and the puis sant charm of his way of rendering nature .

C R ‘ R R C P G ’ . H . S T A N A H A N A H I S T O Y O F F E N H A I N T I N KE ’ Poussin , Claude had the feeling, caught indeed from Poussin s ad E A vice , that the dignity of classic structure was necessary to his scene . t the same time , study led him , more profoundly than all other masters , to pen etrate the secrets of nature . His thorough Study of nature is abundantly at tested by his sketches . Reynolds said there would b e another Raphael before there would be another Claude . His three great charms are : the unlimited ff space expressed in his pictures , e ected by the use of soft vapor to define sep ff arate distances , and equaled , perhaps , only by Corot ; the e ects of air, shown in veiling and subduing outlines and tints , as well as in causing the foliage to q uiver , light clouds to sweep across the sky, and water to ripple ; and the bril liant effects of light on a charming coloring . ’ 8 But far as the eye may wander away into space in Claude pictures , it is always able to retrace its wanderings to a definite and beautiful foreground , 1s where all repose and serenity, crowned with some one of the varied mys teries of light ; the ethereal drapery of aerial perspective or the more tangible , ’

. though still dreamy, mist of sunrise or sunset He painted nature s worship , un erc e1ved un the morning and evening hymn of praise rising to heaven , p of anointed eyes .

[ 3 7 1 ] 3 6 M A S T E R S I N A R T

F R A N Z K U G L E R ‘ H I S T O R Y O F P A I N T I N G ’ E E ’ H S , however , are but the external features of Claude s pictures , and they form only the framework by means of which he sets before us the

. ef true creative power of nature , shown , as in the works of G Poussin , in the fect w rkin f o o . of air , and still more in the brilliant and vivid gs light The quivering of the foliage , the silent sweep of light clouds across the clear sky, the ripple of the lake or the brook , the play of the waves of the sea , the pure breezes of morning, the soft mists of evening, and the glistening dew upon l c A the grass are all truth itse f, and all seem instin t with joyous life . soft vapor separates one distance from another , and allows the eye to wander m into boundless space , only to be recalled by the war th and richness of the foreground . Light pervades the whole , and every object breathes a blessed

. i serenity and repose Claude paints the forms of earth , ndeed , but he veils them in an ethereal drapery, such as is only at moments visible to our eyes ; he paints that worship of the Creator which nature solemnizes , and in which man and all his works are only included as accessories .

“libs works of 01:13t i ntrata

D E S C R I P TI O N S O F T H E P L A T E S

‘ T H E A N N U N C I A T I O N ’ P L A T E 1

’ i - S in most of Claude s h storical or mythological subjects , the story telling i portion of th s picture , from which it has received its title , is a distinctly fi secondary matter . The landscape is of first importance ; and although the g ures take their place in the general composition , they , as well as the story they are intended to convey , are subordinated to the pictorial quality at which

Claude always aimed . The subject is supposed to be either ‘ The Annunciation ’ or ‘ The Angel A ’ i ppearing to Hagar , and it s of little moment which we choose , for the main interest for us lies in th e scene rather than in the episode . The figures in the foreground to the left are so placed as to balance the larger mass of trees at In the right , which cover a great portion of the picture . the middle ground is a broad , winding river to which the shores slope gradually, over which a sin gle- arched bridge conducts to a high rock occupying the center of the middle

. V distance , and which is surmounted by a castle or town The iew is bounded by low mountains . ‘ ’ Ve i ritat s No . 106 This picture is recorded in the Liber as , and was “ It Na painted in 1654 or 1655 pour Paris . came into the possession of the tio nal 18 26 Gallery in London upon its establishment in , with the collection d of Sir George Beaumont, who had promise to donate all his pictures to the nation as soon as the government should allot a proper place for their recep [ 3 7 2 ] C L A U D E L O R R A I N 37

t e tion . This picture was however so great a favorite with Sir George that he quested permission to h aVe it returned to him during his lifetime . 1s It 13 painted on canvas , and only one foot eight inches high by one foot

five inches W ide .

‘ A S E A P O R T A T S U N S E T ’ P L A T E I I

‘ ’ A o f rt , sometimes known as The ncient Port Messina and ‘ ’ as The Combatants , from the group of figures struggling in ’ 5 the foreground , represents a harbor with Claude favorite perspective of porticos and palaces , amongst which appears the Villa Medici (now the

French Academy m Rome). The whole canvas is illuminated with a ruddy 13 glow of light from the setting sun , which about to dip below the horizon . ffi Here and there the color has gone in patches , but not su ciently to mar the

fine general effect . ff This picture was one of four painted by order of Pope Urban VII . (Ma ei ’ Barberini). The order was the result of Claude s first interview with the Pope , to whose attention he had been brought by Cardinal Bentivoglio , one of the ’ ‘ ’ painter s former patrons . Together with The Village Dance , another of the

i CLAUDIO INV. ROME four , and also n the Louvre , it bears the inscription ’ These two are the master s earliest dated works in oil . A replica , with the composition reversed , is in the collection of the Duke of ‘

N No . 28 orthumberland , while another similar subject ( of the Liber Verita ’

z i No . 1 . Veri atis Ufli . i t tis is in the Gallery in Florence This s 4 of the Liber , and measures four feet three inches high by four feet s ix inches long .

‘ E M B A R K A T I O N O F T H E "U E E N O F S H E B A ’ P L A T E I I I een of Sheba and her attendants are descending a broad flight of the right of the picture to enter a boat which is waiting to re

c eive . them , while a ship lies at anchor near the center of the port The similarity of subject and treatment in Claude ’ s seaports is shown by ‘ comparing this picture with the preceding one and with The Landing of C10 ’ ‘ ’ atra I o p at Tarsus and Ulysses Restoring Chryseis to Her Father . n all four the arrangement and composition are the same , the figures grouped in the fore ground in complicated but carefully studied relation ; the rows of classic build ings in sharp perspective upon one or both sides ; the shipping and buildings i of medieval architecture n the middle distance , and the sea , marked by a dis tant horizon and reflecting the rays of the sun which hangs "ust above the hori zon line , in each case occupying the center of the picture . So striking is this i similarity that one s tempted to accuse the artist of employing a formula . But his mastery of the formula and the never- ceasing charm of varied deta il are s uflic ien t answer to such a charge . This picture is represented in morning light ; the whole scene is suffused with it ; there is not a single discordant note to mar the fresh tranquillity ; every figure is enveloped in an atmosphere which pervades and unifies the whole co mp o s 1t1o n . In Claude painted this picture for the Duc de Bouillon (and it is known [ 3 7 3 ] 38 M A S T E R S I N A R T as the Bouillon Claude in whose fa mily it remained until the French Rev

o l utio n . It A was then sold in Paris for eight thousand pounds to Mr . ngerstein , 18 2 whose collection was purchased in 4 by the British Government , and formed , together with that of Sir George Beaumont and others , the nucleus of N the ational Gallery . This picture is very like but not an exact facsimile of that in the Doria Gal It lery in Rome , and is generally treated as a replica . bears the inscription “ ” ‘ va It La Reine de Saba trover Salomon . is n umbered 1 14 in the Liber ’ Veritatis , and measures four feet eleven inches high by six feet seven inches long .

‘ L A N D I N G o r C L E O P A T R A A T T A R S U S ’ P L A T E 1v

LE OPATRA - a , whose treasure l den galleys are moored close to the shore , has stepped out of a richly caparisoned boat onto a quay strewn with Leamn fragments of sculpture . g on the arm of a negro , and followed by her A handmaidens , she advances to meet Mark ntony, who comes forward from

. In a lofty palace portal with attendant—pages The figures are not fortunate . deed , they look like what they are , men and women of the seventeenth cen tury pl aying in a classical charade . Lady Dilke believes the figures to have t been painted by Filippo Lauri . But these shor comings cannot destroy the - flec ked interest or mar the beauty of the wonderful cloud sky, iridescent with the light of a sun new risen , and still partially veiled by the morning mist , and of the blue waters— barred with a streak of silver light—whose wavelets come lapping up against the galleys and the marble quays . This picture is in excellent preservation and is esteemed one of Claude ’ s

. It . It finest seaports is full of life , and the execution is bold and confident ‘ ’ V ri e tatis No . 6 has no date or inscription , but is recorded in the Liber as 3, 16 6 A and was painted m 4 for Cardinal ngelo Giorio , formerly tutor of the III It nephews of Pope Urban V . measures three feet eleven inches high by

five feet seven inches long .

‘ M E R C U R Y A N D A G L A U R O S ' P L A T E V H IS ‘ A ’ ‘ picture , known as Mercury and glauros or as Landscape with ’ 6 A 1 2 . rcadian Shepherds , was painted by Claude in 4 The figures are believed to have been the work of Filippo Lauri , who , although only nineteen years old at this time , is known to have assisted Claude upon many of his 1c ur p t es . Herr Bode purchased this picture for the Berlin Royal Museum at the sale 8 8 0 It Po urtal es of the Marquis of Ganay at Paris in 1 . was previously in the

186 . It Collection , sold in Paris in 5 measures three feet two inches high by four feet three inches long .

‘ T H E F L I G H T I N T O E G Y P T ’ P L A T E V I N I i OH SM TH , in the Catalogue Raisonne , gives the follow ng description of this picture under the title of ‘ A Shepherdess Listening to a Shepherd A i Playing on a Pipe . s will be seen by comparison w th the reproduction , [3 7 4 ]

4 0 M A S T E R S I N A R T

‘ ’ R ‘ G G P ’ P N O O N , O T H E F L I H T I N T O E Y T L A T E V I I I

‘ ’ ‘ ’ H E N r E oon , othe wise known as The Flight into gyp t, is one of four

pictures now in the Hermitage Gallery at St . Petersburg . The scene is ’ one of peaceful serenity, and is among Claude s most charming compositions .

The Holy Family is placed at the right of the foreground , surrounded by a

. A b e group of domestic animals bridge occupies the center of the picture , n yond which are a mass of trees and a ruined Corinthian temple . I the middle distance a two- arched bridge crosses a river le a ding to an arm of the sea bounded by a distant shore, with low mountains upon the horizon . “ ” 166 1 Antw er as This picture was painted about for p , the inscription upon ‘ ’

No . 1 Veritatis . It 54 of the Liber indicates , with its three companions , ‘ ’ ‘ E ’ ‘ N ’ Morning , vening, and ight , formerly adorned the residence of the E N mpress Josephine at Malmaison , whither it was taken by apoleon from the

. In 18 1 A Gallery of Cassel 4 the Czar lexander bore them away to St . Peters burg as his prize . The picture measures three feet nine inches high by five feet one inch long .

‘ T H E T E M P L E O F A P O L L O A T D E L O S ’ P L A T E I X DY I KE ’ E D L says , This is perhaps Claude s most beautiful landscape , fi n reserved and sober , broad and free in handling, and of an extremely e “ ’

. O t e silvery tone Sweetser also says of it , ne of Claude s noblest works , ” l ete In p in beauty and variety, and flooded with fresh and sparkling air . the f oreground a group of priests and priestesses is seen , leading a sacrificial bull towards the temple o p o ll o . Beyond there is a vast expanse of country dotted w ith groves and buildings , intersected by rivers , and bounded by a broad sea . ff A magical light su uses the picture . The foreground is less dark and somber than is customary with Claude , while nothing detracts from the delicate charm o f the distance ; the enchanted country which leads toward the setting sun a shows a world of charming details , fin lly lost in the waters of the river which a c flows towards the distant sea . The gre t mass of trees whi h occupies the cen ter contrasts its shadows with the brilliant light of the distance and the sky .

This is a kind of contrast for which the painter had a great fondness , and w hich he often repeated . Pamfili The picture was painted for Prince Camillo , and still remains in ‘ ’ Verita I No . 1 1 tis . t the Doria Gallery is represented by 9 of the Liber , and measures four feet one inch high by six feet seven inches long .

‘ U L Y S S E S R E S T O R I N G C H R Y S E I S T O H E R F A T H E R ’ P L A T E X ‘ Ulysses Restoring Chryseis to Her Father ’ is another of Claude ’ s ‘ ’ It cal seaports . was painted , together with The Ford , also in the

Louvre , for the Duc de Liancourt . The figures are supposed to have been c o b erated painted by Filippo Lauri , who p with Claude upon many of his pic It . . 8 0 tures Despite the influence of time , this is a fine canvas is n umbered ‘ ’ Veritatis in the Liber , and measures three feet eleven inches high by four feet eleven inches long . [ 3 7 6 ] C L A U D E L O R R A I N

A L I S T O F S O M E O F T H E M O R E N O T A B L E P A I N T I N G S BY C L A U D E L O R R A I N W I T H T H E I R P R E S E N T L O C A T I O N S P U B L I C C O L L E C T I O N S

IA - H UN A R I C M : D a a La a —B P T USTR G Y . NNSB RU K USEUM i n ; ndsc pe UDA ES h F —V A C T w o La a — B E L U M B GALLE RY : T e ord IENNA ADEMY : ndsc pes G I . RUS M nea S a —DE NM A RK P G T S : fE s . C C ELS USEUM hunting the t g O EN HA EN , H RIS IANS — L N a — O N G La a E N A D . H PT C R : S L BO R : ndsc pe G AM ON OU RT , OYAL GALLERY e port DO N B C G P C : Ra E a —L D C G : F , U KIN HA M ALA E pe of urop ON DON , ULWI H ALLERY light a a a S a T w o La a into E gypt ; J acob and Laban ; E mb rkation of St . P ul ; e port ; ndsc pes L N : C a and S a Da at Ca ON DON , ATIONAL GALLERY eph lus Procris ; e port ; vid the ve of A a M a a I aa and R a E a a " S a a dull m ; rri ge of s c ebecc ; mb rk tion of the ueen of heb (Pl te h a a h a Narcissus an d E c o ; E mb rk tion of St . Ursul a ; D eath of Procris ; T e Annunci tion a A and [ E a at D a an d a — L S K E N (Pl te nchises ne s elos ; Go therd Go ts ON DON , OUTH S G M : La a — W R G R : T h e F V w o fTivo li IN TON USEUM ndsc pe INDSOR , OYAL ALLE Y ord ; ie ; a S — F R A NCE B X M : La a T w o Se aports ; Cl ude ketching . ORDEAU USEUM ndsc pe B M : S a V w T — P L R : Th e Ca V a G RENO LE USEUM e port ; ie of ivoli A RIS , OUV E mpo ccino ; Rustic D ance ; Samuel A nointing D avid ; Th e Ford ; Siege of La Rochelle ; Forcing the P ass of Susa ; Landing of Cleop atra at T arsus (Pl ate Iv); Ulysses Restoring Chryseis to her Father (Pl ate x); A Se aport at Sunset (Pl ate T w o Landsc apes ; Five Se aports - S M : La s a — T B M : V a F éte — G E RM A N RENN E USEUM nd c pe AR ES USEUM ill ge Y . A G RG M : La a —B R R M : M an d A a U SBU USEUM ndsc pe E LIN , OYAL USEUM ercury gl uros a V — D R : F l i ht into E a V I P A (Pl te ) RESDEN , OYAL GALLE RY g gypt (Pl te ); olyphemus , cis , and G a a a — : M a V w — M C P : E x l te GOTHA GALLERY rine ie UNI H , INAKOTH EK pulsion of — H aga r ; T h e Angel appearing to H agar ; Th e Ford ; Se aport STRASBU RG M USEUM V — ST TG R : T w o La a — H O LLAND T H E H G G AL enus UT A T GALLERY ndsc pes . A UE : a a —I T A L C U S a La a L . F Z : LE RY ndsc pe Y LO REN E , FFI I GALLE RY e port ; ndsc pe N P R M : D a a R r E a S a —R B ARB A LES , OYAL USEUM i n eposing, —o geri ; e port OM E , ERINI C : Ca a and La A l b anO P R D R R : T h e T P ALA E stel G ndolfo ke OM E , O I A GALLE Y emple o fA pollo at D elos (Pl ate Ix); The M ill (Pl ate V I I); M ercury Stealing the Cattle of A d C a and D a a H T R PALAz z o R : T w o La metus ; eph lus Procris , or i n unting U IN , EALE _ nd a —RU SSI A O BY R C Y O U SSOU P OF F : Ra E a F a s c pes . WNED P IN E pe of urop ; ight on — B ST . R B G H G : M a and Ra N ridge PETE S U R , E RMITA E GALLE RY orning, or J cob chel ; oon , o r T h e F E a V E T an d A N a light into gypt (Pl te III); vening , or obit the ngel ; ight, or J cob w restling with the Angel ; A pollo an d the Cumze an Sybil ; T he Journey to E mm aus ; Apollo and M arsyas ; The Piping Shepherdess ; M an angling and Ship with French Fl ag ; U L T w o S a —S A IN M R M lysses visiting ycomedes ; e ports P . AD RI D , OYAL USEUM

B a St . Sa a T he F M E a a St a a T an d uri l of bin ; inding of oses ; mb rk tion of . P ul ; obit the A a Ra a H a T he P M a a T a St A n rch ngel ph el ; ermit in Pr yer ; enitent gd len ; empt tion of . T w — t h o n Th e F o La a SWE D E N . S C R M y ; ord ; ndsc pes TO KHOLM , OYAL USEUM La a w A C a and C La a ndsc pe , ith rch of onst ntine oliseum ; ndsc pe .

P R I V A T E C O L L E C T I O N S

NG LA ND. A P H O TH E D O F W G E mb ark a SLEY OUSE , WN ED BY UKE ELLIN TON : St P a a —O T B G E S : La a —B R C tion of . ul WN ED BY . A RIN , "ndsc pe ELVOI ASTLE , — O WN ED BY T H E D UKE O F RUTLAN D : Apollo an d the Cum ae an Sybil B RIDG EWATER H O TH E E O F E : La a : M a A ul eian OUSE , WN ED BY A RL LLESM ERE ndsc pe et morphosis of the p S d M and B B D S a —C H hepher ; oses the urning ush ; emosthenes on the e shore O RSHAM OUSE , O L M T : St D — O T H E D D WNED B Y O RD E HUEN— . John in the esert WN ED BY UKE OE EVON S : M r and B a D C T H O R . S. H O LE O RD E S : H I RE ercu y ttus O R H ES E R OUSE , WN ED BY , " La a T he Sac rifi ce R H O T H E D O F W T ndsc pe ; G OSVENO R OUSE , WNED BY UKE ESTMINS ER T h e Rise of the Rom an E mpire ; The D ecline of the Rom an E mpire ; The Worship of the Ca The S M — H O T H E E o r L 1C Golden lf; ermon on the ount OLKHAM , WN ED B Y ARL E ES — T E R : Perseus OWN ED B Y T H E E A RL O F NO RTHB ROOK J acob an d Lab an ; M ill on the T T w o La a —L G R C T O T H E E O F R : R iber ; ndsc pes ON FO D AS LE , WNED BY ARL ADNO R ise o f R a E D R a E — T H O the om n mpire ; ecline of the om n mpire PETWOR H OUSE , WN ED BY [ 3 7 7 ] M A S T E R S I N A R T

— TH E E ARL O F LE C ONFI ELD J acob and Laban OWNED BY T H E E A RL O F PO RTA RLI NG — : E mb ark at1o n St . a a O B L W G : The E a Ca o r TON of P ul WNED Y O RD ANTA E nch nted stle , Psyche .

"uanta "attain Bibl io ra g phy

A L I S T O F T H E P R I N C I P A L B O O K S A N D M A G A Z I N E A R T I C L E S D E A L I N G W I T H C L A U D E L O R R A I N

H E ’ C a d a D M E . F . S . most complete study of l u e as yet published is L dy ilke s ( rs . ‘ ‘ P a C a L a s a et oe a T h e E h ttison) l ude orr in , vie ses uvres (P ris , best nglis ‘ ’ ‘ D l l a a a . a a in T h e L O . . u e s ccount is th t of G Gr h me Portfolio ( ondon , J ’ ' ’ ‘ C a G el l é e l e L a L 8 n F S ‘ C a L a 1 8 a d M . l ude orr in ( ondon , 7) . weetser s l ude orr in B 1 8 8 a n x ( oston , 7 )r nk e t in completeness .

E NDRE XA A a a a . a I 8 . H l a : , istoire popul ire de peinture école fr nc ise P ris [ 9 3]

NA R . L a i P a I 8 8 6 C a La a E nc cl o ed c . M ELIN , G orr in ( l ude Gelée (in Gr nde y p ) ris [ ] — ) — — BALDINU CCI N z 1 1 2 8 B C C. F . i D F 1 6 8 , oti ie di Professor del isegno . lorence, 7 LAN , — H E a 1 8 6 2 B R W C . F A . istoire des peintres de toutes les coles . P ris , OWN ELL , . rench rt New 1 0 1 —C O0 K A P H a a a Lo n E T a a N . York, 9 , . . opul r ndbook to the tion l G llery — ‘ I 8 D E . F . S C a L a s a et cr uvres d a ré s s don , 97 ILKE , . l ude orr in , vie ses , p des document — — a 1 8 D. . . P 8 D O 1 8 8 . C a G el l é e l e L a L d O . inédits ris , 4 ULLEA , J . l ude orr in on on , 7 , J ' C a G ell ée B r a D P a L 1 0 DU a a and E . l ude (in y n s iction ry of inters ngr vers) ondon , 9 3 - — P . E a x C a d L a a 1 8 E ARL0 M R . E a . l e . LESSIS , G u fortes de l u e orr in P ris [ 7—9] , ( ngr ver) Th e L V eritatis C a l e L a L 1 E C . L. N s o n iber of l ude orr in . ondon , 7 7 7 ASTLAKE , ote — P a P L 1 8 H P . . E a . L 8 the rincip l ictures in the ouv—re G llery ondon , 3 AM ERTON , G tch . L n L 1 8 and H W o A . 1 8 6 8 Z . C ing E tchers ondon , A LITT, riticisms rt ondon , 5 3 — N . a n . a e R. P W A B P a d T . L 1 8 6 . JAM ES , inters heir orks ondon , 9 JAM ESON , riv t — h a A in L L 1 8 K G R . . A H F G lleries of rt ondon . ondon , 4 4 IN SLEY , G istory of renc L 1 8 —K H a a : Th e a A . d G R F T P F rt on on , 9 9 U LE , . . ndbook of inting Germ n , lemish , A and D S . R D W aa r and a w . . utch chools emodeled by r . gen , evised , in p rt re ritten by J L 1 8 — I T NBE RG E R E Le M Na o al . LAF E E ST R R CH E . C N E G . rowe ondon , 74 , , AN D , usée ti n — d uL . Pa 1 8 L R A L a C a a ouvre ris , 9 3 A OUSSE , P . . orr in ( l ude Gelée)(in Gr nd diction a P a 1 8 6 6— 0 — M 0 La a a au xvuc s ié cl e et n ire universel) ris , 9 ERSON , . Peinture fr n c ise C — Lo 1 8 V II I . Pan 1 P T SI R E Th Na a a . auX o o . . e , 99 s [ 9 ] OYN ER , J tion l G llery ndon ’ ’ 0 —R G A L a B K d Kims tl er L 1 0 C . . C a 9 E N ET , l ude orr in (in ohme s unst un , eipsic , — L I 8 —Ro s R F P C . 1 8 8 o B . . T h e a a 7 7 O E RTSON , J Gre t inters of hristendom ondon ,

S W M C a IO md ia B a a . E d 1 8 8 . L a E nc C ETTI , . l ude of orr ine (in y p rit nnic ) inburgh , 3 A a a N M 1 SANDRART . . . d P a d 1 8 R . L USKIN , J o ern inters on on , 5 , J VON c demi obilis — L Ra . imae A Picto rize 1 6 S T . Ca a s . N 8 rtis uremburg, 3 MI H , t logue isonné ondon , — — J 1 8 2 2 S R C H A H F a . New 1 8 9 4 T ANAHAN , . . istory of rench P inting York, 9 5 — nd T M F B T T S . Th e O ld M a a S . . C a L a 1 8 8 WEE SER , l ude orr in . oston , 7 Y LER , sters B - V T F a a x x a a s T . 1 0 . N heir Pictures oston , 9 5 ILLO , otice des t ble u e posés d ns les g lerie - m 8 2 W G . F . d uM Na a d uL a : a a . a 1 8 usée tion l ouvre ; 3 p rtie école fr n c ise P ris , AA EN , G E X T a A a B a L 1 8 W Y Z E W A T . P . re sures of rt in Gre t rit in . ondon , 54 , DE , AN D ERR AU , es a l F a P 1 8 0 L a a . Gr nds peintres de r nce . ris , 9

M A G A Z I N E A R T I C L E S

’ S E . . A RT 1 6 : H a T et Cl a L a . 1 8 8 2 : F . D ; , 8 7 P . G . merton ; urner ude orr in ilke Les C a L a D D F S. D D x 1 8 8 : E . . eu ocuments inédits . 3 ilke ; essins de l ude orr in ‘ a e Z T U x - A R 6 1 : F T a] Le L F x d A rtifi c e C BE A 1 8 . GA E TE D ES TS , del ; ivre des eu de l ud — B aff Le M a C a L a LE TR R R 1 8 8 : E . G el l é e. 4 onn e ; usolée de l ude de orr ine PEIN E G AVEU — RT E O LI O 1 8 : F 1 E M eaume C a G el l é e l e L a P O , 9 5 1 8 : . RAN CAIS , 7 ; l ude dit orr in — E M 1chel C a 1 8 8 : . a a C a L a R V DE Ux M , 4 ; G . Gr h me ; l ude orr in E UE DES ONDES l ude

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