The Children's Book of Celebrated Pictures

Often beggar boys, who were everywhere in the market snatching fruits and other eatables from the stalls, would pose for him as they hid in some corner to eat their stolen dainties. These beggar-boy pictures that Murillo sold for a song to keep his soul and body together began to attract attention until finally they were looked upon as the greatest pictures Murillo ever painted. People outside of Spain, Murillo's native country, bought them until to-day scarcely a beggar-boy picture of his is found in Spain.

This picture of "The Melon Eaters" is known far and wide as a great masterpiece, and yet the boys were little rag-a-muffins, the pests of the market people. Murillo knew the joys and sorrows of those boys because he too at that time was very poor and hungry and no one was giving him a helping hand. Do you suppose that when he was famous as a painter he ever saw those boys? I think so, for he was greatly beloved by his townspeople of Seville. They probably came to his studio many times. Murillo painted many religious pictures for the churches of Seville.

THE MUSES

Giulio Romano (1492-1546)

I am sure you have heard of the Muses. Romano, a pupil of Raphael's, has left us this beautiful picture of them dancing with Apollo, their cousin. The Muses were the daughters of Zeus (Jove or Jupiter), and Memory. These lovely girls also come to every home to help care for the new baby.

The Greek names of the Muses are rather hard to pronounce, but you will want to call them by name. Then, too, each girl's name in Greek letters is just below where she dances. Now begin at the left of the circle. The first one, Calliope, stands for narrative poetry; No. 2, Clio, is history; No. 3, Erato, is love-poetry; No. 4, Melpomene, is tragedy; No. 5, Terpsichore, is dance and song. Now comes Apollo with his quiver full of arrows. He is the god of the hunt and twin brother to Diana, the goddess of hunt; also he is god of music and poetry. No. 6 is Polyhymnia, muse of hymn-music; No. 7, Euterpe, is song poetry; No. 8, Thalia, is comedy, and No. 9, Urania, muse of astronomy.

Athene gave the Muses the winged horse, Pegasus. But alack and alas! one of the poets became very poor and sold Pegasus to a farmer. He was fastened to the plow, but he could not plow through the hard earth. His spirit was broken and his body was weak. The angry farmer tried to make him work, but how could he when he had no courage? But just then a beautiful youth came and asked the farmer to let him try the horse. Of course the man was glad to have any one help get the plowing done. The young man petted the horse and slyly unfastened the harness as he patted him. He mounted upon his back and Pegasus rose in the air, and away they both went, Pegasus and Mercury. The farmer looked on with amazement. How could a good-for-nothing horse that could not plow do such a wonderful thing as fly?

"COME, ABIDE WITH US"

Fra Giovanni Angelico (1387-1455)

Nearly two thousand years ago two men were walking together along a dusty road in Palestine. They talked earnestly as they walked along of a great event that had happened. A man called Jesus, the Christ, had been crucified and buried, but after three days he was not found in the tomb. As the men talked, a traveler joined them and asked:

"What is it ye talk about and are sad?"

And the men asked if he were a stranger in Jerusalem and did not know the things that had come to pass.

The stranger said, "What things?"

Then the men told him of Jesus of Nazareth, which was a prophet mighty in deed and word before God and all the people. And they said that they had all hoped He was the mighty one who was to save the world but that He had been killed.

Then the stranger, who was Jesus himself, but the men did not know Him, began to tell them the story of all things about himself. Still they did not know Him, and as they came to the village of Emmaus and the stranger made as though He would have gone further, the men said, "Come, abide with us."

This picture, showing the men inviting the stranger, was painted by Fra Angelico for the Dominican monastery in Florence, Italy. You will find it over the entrance of San Marco, where it welcomes every stranger who comes.

Fra Angelico was so kind and gentle and helpful that his companions called him "Angel Brother"; in Italian, "Fra Angelico."

THE SUPPER AT EMMAUS

Rembrandt Van Rijn (1607? -1669)

Rembrandt has taken the story of the two men and the stranger on their way to Emmaus after they have gone into the house. You see the disciples still did not know that the stranger was Jesus, the Christ. But when He sat at meat with them, He took bread and blessed it and brake and gave to them. Then they knew that it was the Savior who was talking with them and sitting at the table with them. Rembrandt shows the wondering men as they begin to recognize who their guest is, and he makes us feel the warmth and gladness that fill their hearts when they know that it is the risen Lord. The boy, too, lingers at the Savior's side as though to hear the meaning of the scene. But as they look, Jesus disappears out of their sight. When He is gone they say to each other:

"Did not our heart burn within us, while he talked with us by the way, and while He opened to us the Scriptures?"

Rembrandt painted this picture after many sorrows had come to him. His beloved Saskia, the mother of the "golden lad," Titus, was dead; friends had deserted him and his patrons were gone. But the love of people still filled the heart of the great painter.

THREE CHILDREN OF CHARLES I OF ENGLAND

Sir Anthony Van Dyck (1599-1641)

The little boy standing between his brother and sister in this picture is Baby Stuart, the same child that is in the picture of "Baby Stuart" that you know so well. When Baby Stuart grew up he was crowned James II, king of England (1685). His brother was Charles II, king of England, and his sister was the mother of William III, king of England. James II, Baby Stuart, had a daughter, Mary, who became Mary, queen of England. When these cousins, William and Mary, grew up they were married and crowned king and queen of England in 1689.

A funny story is told of the crowning ceremony. William was very short and Mary was quite tall. It would not do to have Mary taller than her husband, so a stool was brought for William to stand on. Now they are the same height as they are crowned King William III and Queen Mary II of England. When William and Mary ruled England the country was happy and prosperous because love reigned in the royal household.

I have seen the stool that William stood on when he was crowned William III of England. It is in Westminster Abbey, London. That is another interesting bit of historic setting that you will see when you go to visit England.

Sir Anthony Van Dyck, the Flemish artist, painted many pictures of the royal families of England, especially the family of Charles I. He put little dogs into his pictures so often that the people began to call these little fellows "King Charles spaniels." To-day, two hundred years after, they are still called King Charles spaniels.

THE BUTTERY

Pieter de Hooch (1632? -1681)

Pieter de Hooch is a Dutch artist you are going to love. Usually you can tell his pictures by the checked or plaid floors. The floors in the homes in Holland are mostly made of squares of black and white marble. Did you ever see a cuter little girl than this one in the picture? She has come for her pitcher of milk. Her mother went to the "buttery" for it: a buttery is a place for keeping casks and barrels and bottles. We can see one end of the cask or barrel under the window in the buttery. Now look into the next room and see the chair on a little platform. That platform is quite common in the Dutch home and is probably the place where mother or grandmother sits to read or sew by the window. What a beautiful day it must be out of doors to make the rooms so cheerful and bright! Hooch loved the sunshine and used it to brighten every home he painted. The sunshine on the checked floors makes his pictures sing with joy and happiness.

We can find very little about the life of the "Dutch little masters," yet the pictures they have left us are among our greatest treasures: just little home scenes that you and I know about.

It is said that de Hooch often put in his people after he had finished painting his picture. In one picture he has added a girl near a fireplace to make the picture more balanced. We know that she was added after the picture was made, for we can see the plaid floor through her dress where the paint was too thin to cover the original floor. Such little things tell us something of the method of work of the Dutch painters.

THE CORONATION OF THE VIRGIN

Sandro Botticelli (1446-1510)

The children who are holding the book and ink-bottle in this picture, "The Coronation of the Virgin," lived four hundred years ago. Their names are Giovanni and Giulio de' Medici. Botticelli, the artist, knew them well for he was born and brought up in Florence and used to spend a great deal of time at the Medici Palace.

The boys were cousins. Giulio, the younger, was left an orphan when a wee child and his uncle, Lorenzo the Magnificent, adopted him and had him brought up with his own son Giovanni. The boys were nearly the same age and grew up to be great and good men. Both of them were popes of Rome. The older boy, Giovanni, was Pope Leo X and Giulio Pope Clement VII.

Now look at the picture again. The Madonna is reading to her little son, Jesus, "The Magnificat," that beautiful song from Luke, Chap. I, v. 46-56, sung so often in our churches. Let us repeat the song together:

My soul doth magnify the Lord,And my spirit hath rejoiced in God my Savior.For He hath regarded the low estate of his handmaiden:For, behold, from henceforth, all generations shall call me blessed.For He that is mighty hath done to me great things; and holy is His name.And His mercy is on them that fear Him from generation to generationHe hath shewed strength with his arm;He hath scattered the proud in the imagination of their hearts.He hath put down the mighty from their seats,And exalted them of low degree.He hath filled the hungry with good things;And the rich he hath sent empty away.He hath holpen his servant Israel, in remembrance of his mercy;As He spake to our fathers, to Abraham, and to his seed for ever.

THE WOLF CHARMER

John La Farge (1835-1910)

You see these wolves were once the old women gossips of the town, the story says; and when these women were unkind in what they said about people the Fates – I have told you another story about the Fates – the Fates to punish them turned them into wolves. The Wolf Charmer, who really is the old gypsy who killed the black cat of the village witch, goes out into the night. The owl calls the wolves to attack the gypsy. But the gypsy knew the old women before they were turned into wolves so he calls them by name: "Kate, Anne, and Bee!" And soon they follow him down the narrow path between the rocks and listen to his music on the bagpipes. "A funny story!" you say. You know there are people who have a strange power over wild animals.

John La Farge said about this picture, "I made it to be one of a series of some hundred subjects, more or less fantastic and imaginary." He never finished the pictures nor carried out his plan of making these books for children. I am giving you "The Wolf Charmer" because he painted the picture for you. Mr. La Farge named this picture as the one he liked best of his paintings.

THE OLD WOMAN CUTTING HER NAILS

Rembrandt Van Rijn (1607? -1669)

No artist in all history had a sadder life than Rembrandt. It was sad because the people of Amsterdam were stupid and too blind to know that a great man was living among them. Rembrandt could paint wonderful portraits, and the rich people wanted their portraits painted. At first all went well. The rich flocked to his studio and Rembrandt made marvelous likenesses. Then the guilds of the great commercial houses wanted pictures for their halls. They came to Rembrandt for these pictures, but thinking that their money had bought the great artist body and soul, they began to tell him how he should make the pictures that each one might have equal prominence in it. Naturally Rembrandt would not be bought off with money. His art was bigger than gold. The picture that was really the turning point in his life was "The Night Watch." I wish you would look at the picture again. You see the men away back in the picture were jealous that they were not put in the front row. All they cared for was to have a fine portrait of themselves and Rembrandt was only interested in making a great picture.

Rembrandt went on painting but no one bought his pictures. Many sorrows came to him. It was when the world had forsaken him that he painted "The Old Woman Cutting her Nails." Now you can understand why Rembrandt could paint an old woman with human sympathy. We could love that old woman because the unkindness of the world made her more tender and true to suffering humanity. She is the old grandmother we would go to if we were in trouble.

THE SPINNER

Nicolaes Maes (1632-1693)

This old woman is spinning flax. Have you ever seen a flax wheel? When you go to Holland try to visit Dordrecht, and if possible, go into a real Dutch home. There you may see some one, the grandmother maybe, spinning flax; then you will know that this picture is an actual scene.

Nicolaes Maes, who painted the picture, was born in Dordrecht or Dort. This city is said to be the oldest city in the Netherlands; it was founded in the tenth century. An old woman spinning was a familiar scene to Maes. Now look at this spinner closely. She will not mind, for she is too intent on picking up a thread, possibly a broken or a knotted one. Maes saw a picture in the old woman's dull red dress and bright red sleeves. He liked the brown wheel and the yellow floor and the beautiful bit of blue cloth thrown over the wheel-base. Then he saw how beautifully the white kerchief and apron and wall caught the light. He saw the helpfulness of the rugged old hand, worn and scarred as it was, yet patient and firm in repairing a mistake.

Maes's "The Spinner" and Rembrandt's "The Old Woman Cutting her Nails" make the tasks of every-day life very human. We in America owe much to these old Dutch women and to the artists who have made them live for us.

This picture of "The Spinner" is only sixteen and one fourth inches high and thirteen inches wide, yet that old woman at her spinning-wheel is as much a real person in the room where she hangs on the wall as she was when Maes painted her, nearly three hundred years ago. I want you to love these little Dutch pictures; they are so honest and true and tell us about real people and real things, and they make us feel that beauty is everywhere. Now look at your grandmother as she mends your stockings and see how beautiful she is with the light on her dear old face and hair.

ST. GEORGE AND THE DRAGON

Vittore Carfaccio (1440? -1522)

St. George, a noble youth of Cappadocia, was one of the oldest and most noted of the saints. The story always told of him is his killing the dragon. Once upon a time St. George was going through Palestine on horseback when he came to the City of Beirut. There he found a beautiful young girl in royal dress weeping outside the walls of the city. When he asked her why she was crying, she told him that a terrible dragon lived in the marshes near the city. And to keep him from destroying every one in the city, each day two young girls must be fed to him. These young girls were chosen by lot, and this day she, Cleodolinda, the king's daughter, must be eaten by the dragon.

St. George told her not to be afraid for he would destroy the dragon. But she cried:

"O noble youth, tarry not here, lest thou perish with me! but fly, I beseech thee!" St. George answered:

"God forbid that I should fly! I will lift my hand against the loathly thing, and will deliver thee through the power of Jesus Christ!"

Then St. George, rushed at the dragon and thrust his spear into his mouth and conquered him. He then took the young girl's mantle and bound the beast, and she led him into the city to her father. That day twenty thousand people of the city were baptized.

As time went on the name of St. George became very great. From the time that Richard I – the Lion-Hearted – placed his army under the protection of St. George the saint became the patron saint of England. In 1330 the order of the Garter, the highest order of knighthood in Great Britain, was founded and on its emblem is a picture of St. George and the dragon.

Carpaccio, a Venetian artist, painted this picture of "St. George and the Dragon." He painted many other stories of saints.

THE GRAND CANAL, VENICE

Joseph Mallard William Turner (1775-1851)

Venice is a very curious city. It is really built on stilts on top of the water. Its streets are canals. Instead of having street-cars and horses and taxicabs everybody goes in long boats called gondolas. The main street in the city is the Grand Canal, and in this canal come all sorts of people with all sorts of water-crafts.

The children play in the side streets just as you do except that they swim in the water instead of running on the ground. Even the babies are in the water fastened to the door-steps by a rope around their little bodies. How they do coo and gurgle as they paddle their little hands and feet like young frogs!

Turner shows in this picture the Grand Canal filled with ships from other countries with gaily colored flags fluttering in the breeze. Do you see the tower at the left in the picture? That is the Campanile, the bell-tower. This wonderful tower fell down flat in 1902. I talked with a man who has a store just opposite the tower, a few weeks after it fell. He said to me: "I thought it would fall on my store and destroy everything. It began to tip; then all at once it fell flat just where it stood." The Venetians soon built it up again.

When Napoleon, the great French emperor, took Venice, he rode up the inclined plane of this tower on his horse and stood on the very top overlooking the sea.

THE SONG OF THE LARK

Jules Adolphe Breton (1827-1906)

Up with me! up with me into the clouds!For thy song, Lark, is strong;Up with me, up with me into the clouds!Singing, singing,With clouds and sky above thee ringing,Lift me, guide me till I findThat spot which seems so to thy mind!Wordsworth

Can you not almost hear this girl singing? The sun is just coming up. The lark is rising in the sky, singing! The girl has come out to work in the fields; a peasant girl. Barefooted, barehanded, she stands straight like a soldier of work with her head lifted to drink in the morning air as she sings.

One morning early I was driving through the country roads in the south of England when larks began to rise from the fields where the workmen were, just like this lark from the French field, and how they did sing! I stopped and listened, watching them go up higher and higher, their song growing fainter and fainter, and then they disappeared. Where did they go? Let us ask this French peasant girl. Do you think that she can tell us? If she cannot, who can?

THE HOLY NIGHT

Antonio Allegra da Correggio (1494? -1534)

It is a wonderful story, the story of the Holy Night. The mother and father had traveled a long way; and when they came to Bethlehem every place was taken so they found a bed in a cave. In the night a baby boy came to the mother, and she "wrapped Him in swaddling clothes, and laid Him in a manger, because there was no room for them in an inn. And there was in the same country shepherds abiding in the fields, keeping watch over their flocks by night. And, lo, the angel of the Lord came upon them, and the glory of the Lord shone around about them; and they were sore afraid.

"And the angel said unto them, Fear not; for behold, I bring you good tidings of great joy, which shall be to all people. For unto you is born this day in the city of David, a Savior, which is Christ, the Lord. And this shall be a sign unto you; ye shall find the babe wrapped in swaddling clothes, lying in a manger. And suddenly there was with the angel a multitude of the heavenly host praising God, saying, Glory to God in the Highest, and on earth peace, good will unto men.

"And it came to pass as the angels were gone away from them into heaven, the shepherds said one to another, Let us go even to Bethlehem and see this thing which has come to pass, which the Lord has made known to us. And they came with great haste, and found Mary and Joseph; and the babe lying in a manger. At first a bright cloud overshadowed the cave but on a sudden the cloud became a great light in the cave, so that their eyes could not bear it. But the light gradually decreased until the Infant appeared, and sucked the breast of his mother, Mary."

The picture shows us the shepherds in the cave worshiping the young child, Jesus, the Christ.

THE GLEANERS

Jean François Millet (1814-1875)

Millet was a French peasant boy – very poor. He says his grandmother would come into his room early in the morning and call:

"Awake, my little François; if you only knew how long a time the birds have been singing the glory of the good God!"

He would insist when he was helping in the fields that there was beautiful color over the plowed ground, and when the other fellows laughed at him, he would say:

"Wait, some day I will paint a picture and show you the color."

After he was an artist he was going by a field one day when a peasant cutting grain called to him:

"I would like to see you take a sickle."

"I'll take your sickle," Millet answered quickly, "and reap faster than you and all your family."

Of course the man laughed, for how could an artist cut grain. He soon stopped laughing, for Millet cut much faster and farther than he could.

Millet would often go into the forest just back of his house to rest after painting all day. Then he would say:

"I do not know what those beggars of trees say to each other, but they say something which we do not understand, because we do not understand their language."

Millet's work is often called "the poems of the earth."

Once when I was in Barbizon I found the gate open into Millet's door-yard. Of course I walked in, but the owner insisted that I walk out again. I shall never forget the peep I had of the little garden and the doorway and the long rambling house. That Millet lived there with his large family and there painted the pictures we love makes the place a joy to us.

ST. CECILIA

Raphael Sanzio (1483-1520)

Did you know that St. Cecilia invented the organ, that wonderful musical instrument in our churches? Cecilia was born in Rome sixteen hundred years ago. She was a beautiful young girl who loved music and composed many hymns. The organ she dedicated to God's service.

When Cecilia was married, her husband, a rich nobleman, was converted and baptized. He knelt by the side of Cecilia, and an angel crowned them with crowns made from roses which bloomed in paradise. The first thing Valerian asked was that his brother, who was a heathen, might be converted too. They sent for the brother, and when he came and found the room filled with the sweet fragrance of roses, though it was not the rose season, then he too became a Christian.

The people of Rome were very unkind to Cecilia and Valerian and his brother because they preached the story of Jesus, the Christ. At last they killed them. St. Cecilia is the guardian saint of music and is always shown in art with the organ, as you see in this picture by Raphael. The man standing at the left of the picture with his hand up to his face is St. Paul. This is the most famous picture of St. Paul. Raphael shows the group listening to the heavenly choir while the earthly instruments of music have fallen at Cecilia's feet broken and out of tune.

HELENA FOURMENT RUBENS AND HER

SON AND DAUGHTER