When he painted "Christ in the Temple," he needed Jewish models, and it was almost impossible for him to get them. He could not let them know what they were to represent, or they would not have sat for him at all but he succeeded in painting the "first Semitic presentment of the Semitic Scriptures." In Jerusalem the Jews heard that he had come "to traffic with the souls of the faithful," and they forbade him to have any Jews come into his studio; so that he could not finish the picture there. Back in London he had to find his models in the Jewish school. He left the figures of Christ and the Virgin till the last and then painted them "from a lady of the ancient race, distinguished alike for her amiability and beauty, and a lad in one of the Jewish schools, to which the husband of the lady furnished a friendly introduction."

Thus, step by step, through the greatest difficulties, Holman Hunt established a new school of painting--allegory with a modern treatment which all could understand.

PLATE--THE LIGHT OF THE WORLD

This is the most popular picture of a sacred subject, ever painted; and John Ruskin's description of it, here quoted, is the best ever written or that can be written. "On the left of the picture is seen the door of the human soul. It is fast barred, its bars and nails are rusty; it is knitted and bound to its stanchions by creeping tendrils of ivy, showing that it has never been opened. A bat hovers over it; its threshold is overgrown with brambles, nettles and fruitless corn.... Christ approaches in the night time, ... he wears the white robe, representing the power of the Spirit upon Him; the jewelled robe and breastplate, representing the sacredotal invest.i.tude; the rayed crown of gold, interwoven with the crown of thorns; not dead thorns, but now bearing soft leaves, for the healing of the nations.... The lantern carried in Christ's left hand is the light of conscience....

Its fire is red and fierce; it falls only on the closed door, on the weeds that enc.u.mber it, and on an apple shaken from one of the trees of the orchard, thus marking that the entire awakening of the conscience is not to one's own guilt alone, but to the guilt of the world, or, 'hereditary guilt.'...

"This light is suspended by a chain, wrapt around the wrist of the figure, showing that the light which reveals sin to the sinner appears also to chain the hand of Christ. The light which proceeds from the head of the figure--is that of the hope of salvation; it springs from the crown of thorns, and, though itself sad, subdued and full of softness, is yet so powerful, that it entirely melts into the glow of it the forms of the leaves and boughs which it crosses, showing that every earthly object must be hidden by this light, where its sphere extends."

If you will study every detail of this reproduction, finding all the objects--the apple, the rusty bolts--noting how the full risen moon has formed a natural nimbus for the sacred head, and then re-read what Ruskin has said, you will discover the rarest truths in Holman Hunt's picture. The several pictures which he painted, but which cannot now be found are: "Hark!" which was first exhibited in the Royal Academy; "Scene from Woodstock," "The Eve of St. Agnes," "Jerusalem by Moonlight," "The King of Hearts," "Moonlight at Salerno," "Interior of the Mosque of Omar," "The Pathless Water," "Winter," "Afternoon,"

"Suss.e.x Downs," "Penzance," "The Archipelago," "Will-o'-the-Wisp,"

"Ivybridge," "The Foal of an a.s.s," "Road over the Downs," "The Haunt of the Gazelle," "'Oh, Pearl,' Quoth I," "Miss Flamborough," "The School-girl's Hymn." Portraits: Mr. Martineau; Mr. J. B. Brice. Small sketch of the "Scapegoat," "Sunset on the Sea," "Morning Prayer,"

"Bianca," "Past and Present," and "Dead Mallard."

Should you ever find one of these pictures bearing the initials P. R. B. or those of Holman Hunt, you will have made an interesting discovery and should make it known to others.

XXIV

GEORGE INNESS

_American_ 1825-1897 _Pupil of Regis Gignoux_

George Inness was destined to keep a grocery store as his father had kept one before him, and had grown rich in it. When George was a young man he was given a grocery store in Newark, New Jersey, a very small store indeed, and it is not surprising that the young man preferred art to b.u.t.ter and eggs. The Inness family had just moved from Newburg, probably the elder Innes seeking in Newark a good location for his son's beginning.

The first art-work Inness did was engraving; as he had been apprenticed to that business, but afterward he studied with Gignoux, a pupil of Delaroche.

At that time there was what is known as the Hudson River School. Its ideas were set and formal, and not very inspiring, aside from the subjects treated. Church was then a young man like Inness, and he was studying in the Hudson River School, but the young grocer struck out a line for himself.

He was forty years old before he got to Paris, but once there, he turned to the men at Barbizon--Rousseau, Millet, Corot, and the rest--for inspiration, and began to do beautiful things indeed. Rousseau became his friend, and the art of Inness grew large and rich through such influences.

Inness had inherited much religious feeling from his Scotch ancestors, and all his work was conscientious, very carefully done.

When Inness returned from Paris he was not yet well known. He went to Montclair, New Jersey, to live and it was there that he did his best work. Finally, after he was fifty years old, he became known as a truly splendid painter. He loved best to paint quiet scenes of morning, evening sunset, and the like. His pictures began to gain value, and one that he had sold for three hundred dollars jumped in price to ten thousand and more. His work is not equally good, because his moods greatly influenced him.

PLATE--BERKSHIRE HILLS

This picture in the George A. Hearn collection is full of the sense of restfulness that the works of this artist always convey. The trees are as motionless as the distant hills, and if the oxen are moving at all it is but slowly.

Some other Inness paintings are the "Georgia Pines," "Sunset on the Pa.s.saic," "The Wood Gatherers" and "After a Summer Shower."

XXV

SIR EDWIN HENRY LANDSEER

_English School_ 1802-1873 _Pupil of his father, John Landseer_

It is pleasant to speak of one artist whose good work began in the companionship of his father; the case of Edwin Landseer is most unusual.

His father was a skilful engraver who loved art, and encouraged the cultivation of it in his son, as other fathers of painters encouraged them to become priests or haberdashers or bakers, as the case might be. Little Landseer's beginning has been described by his father as he and a friend stood looking upon one of the scenes of his childhood:

"These two fields were Edwin's first studio. Many a time have I lifted him over this very stile. I then lived in Foley Street, and nearly all the way between Marylebone and Hampstead was open fields. It was a favourite walk with my boys; and one day when I had accompanied them, Edwin stopped by this stile to admire some sheep and cows which were quietly grazing. At his request I lifted him over, and finding a sc.r.a.p of paper and a pencil in my pocket, I made him sketch the cow. He was very young indeed, then--not more than six or seven years old.

"After this we came on several occasions, and as he grew older this was one of his favourite spots for sketching. He would start off alone, or with John (Thomas?) or Charles, and remain till I fetched him in the afternoon. I would then criticise his work, and make him correct defects before we left the spot. Sometimes he would sketch in one field, sometimes in the other, but generally in the one beyond the old oak we see there, as it was more pleasant and sunny."

All the Landseer men were gifted, and the mother was the beautiful woman whom Reynolds painted as a gleaner, carrying a bundle of wheat upon her head.

There were seven little Landseers, the oldest of them being Thomas, the famous engraver, whose reproduction of his brother's works will preserve them to us always, even after the originals are gone. The first of Edwin's drawings which seemed to his family worthy of publishing was a great St. Bernard dog, such a wonderful performance for a little fellow of thirteen that Thomas engraved it and distributed it all over England. Little Edwin had seen this beautiful dog one day in the streets of London in a servant's charge, and he was so delighted with its beauty, that he followed the two home and asked the dog's owner if he might sketch him. The St. Bernard was six feet four inches long "and at the middle of his back, stood two feet seven inches in height." A great critic said that this drawing was one of the very finest that any master of art had ever made, though it was done by a little child of thirteen years and it is also said that Landseer himself never did anything better than that little-boy work. A live dog who was let into the room with it--as critic, maybe--proved to be the most flattering of such, because he bristled instantly for a fight.

While the boy was still thirteen--which seems to have been a magic and not a tragic number to him--he exhibited pictures in the Royal Academy. These were a mule, and a dog with a puppy. In the stories of "Famous Artists" we are told that he was a fine, manly little chap with light curly hair and very well behaved. When he became a student of the Academy the keeper, Fuseli, used to look about among the students and cry: "Where is my little dog boy?" if Landseer was not in his place. The little chap's favourite dog was his own Brutus, which he painted lying at full length; and though the picture was small, it sold for seventy guineas. This means an earning capacity indeed, for a small boy.

When he was but seven years old he had made pictures of lions and tigers, each with a different expression from the other and each with a character of its own. Critics spoke specially of the tiger's whiskers as "admirable in the rendering of foreshortened curves."

Tigers' whiskers were thought to be most difficult things to make, but in Landseer's pictures, they were as "natural as life." The great success of the artist's animal pictures was that he made them seem to have human intelligence, and it was also said that if one only saw the dog's collar, as Landseer painted it, he would know it to be the work of a great artist, that a great dog-picture must be attached to it.

At least one of his pictures had a remarkable history. He had been commissioned by the Hon. H. Pierrpont to paint a "white horse in a stable." After the painting was ready for delivery it disappeared, and for twenty-four years it could not be found. At last it was discovered in a hay-loft! It had been stolen by a servant and hidden there. In spite of the long years that had pa.s.sed, Landseer sent it at once to the man for whom it had been made, with the message that he had not retouched it nor changed it in the least, "because," said he, "I thought it better not to mingle the style of my youth with that of my old age."

One of Landseer's early advisers had told him he must dissect animals to get the proper effects in painting them, as it was necessary for him to understand their construction. So, one time, when a famous old lion died in the Exeter Exchange menagerie Landseer got its body and dissected it, and immediately afterward he painted three great lion pictures: "The Lion Disturbed at His Repast," "A Lion Enjoying His Repast," and "A Prowling Lion."

Sir Walter Scott became so enchanted with Landseer's pictures that the great novelist came to London to take the young artist to his home at Abbotsford. "His dogs are the most magnificent things I ever saw,"

said Scott, "leaping and bounding and grinning all over the canvas."

Landseer lived in the centre of London till he was more than thirty years old, and then, looking for more quiet and s.p.a.ce he bought a very small house and garden at No. 1, St. John's Wood. There was not much room in the house but it had a stable attached which made a fine studio, and there Landseer lived with a sister of his, for nearly fifty years. When he first wished to rent the house, the landlord asked him a hundred pounds premium which Landseer felt that he could not pay and he was about to give it up, when a friend declared that if the matter of money was all that prevented him, he was to rent it immediately, and he could repay him as he chose. Landseer then took the house, his friend paying down the premium, and Landseer returned the money twenty-pounds at a time, till all the debt was paid.

Landseer made this a famous and hospitable house, and it is said that more great people gathered under his roof than had ever gathered about any other artist with the exception of Sir Joshua Reynolds. That was the house in which Landseer's loving old father spent his last days and finally died. A story is told of the witty D'Orsay, who would call out at the door, when he went to visit the artist: "Landseer, keep de dogs off me, I want to come in and some of dem will bite me--and dat fellow in de corner is growling furiously."

On one of his several visits to Abbotsford, where he went many times after his first invitation, to enjoy Scott's delightful hospitality, he painted a famous dog of Sir Walter's called Maida, which died six weeks afterward.

There are several such stories about dogs who died rather tragically and were also painted by Landseer. The two King Charles spaniels which he painted both died soon after sitting to the great painter. They had been pets of Mr. Vernon, who commissioned the painting, and the white Blenheim spaniel fell from a table and was killed, while the King Charles fell through the railings of a staircase and was picked up dead. The great bloodhound, Countess, belonging to Mr. Bell who gave her picture to the Academy, was watching for her master's return one dark night and when she heard the wheels of his carriage, then his voice, she leaped from the balcony, but missed her footing and fell nearly dead at Mr. Bell's feet. That gentleman loved the dog so much that he was distracted, and taking her into his gig, knowing that she must die, he raced in to London again that same night, and rousing Sir Edwin, begged him to paint the dog before it was too late. Then and there was the sketch of the dying animal made.

Sir Edwin Landseer was the most versatile and entertaining of artists. He was a wit, and could also perform all sorts of sleight of hand tricks, besides being so quick with his pencil that his doings seemed miraculous. One evening, during a conversation with many friends, someone declared that in point of time Sir Edwin could do a record-sketch. One young woman spoke up and said: "There is one thing that even he cannot do--he cannot make two different pictures at the same time."

"Think not?" cried Sir Edwin. "Let us see!" Gaily taking two pencils, he rapidly drew a stag's head with one hand and a horse's head with the other.

Landseer became the guest of royalty, a favourite of Queen Victoria, whose dog Dash was one of the many famous dogs painted by him. Dash was the favourite spaniel of the d.u.c.h.ess of Kent, Victoria's mother; and the Queen's biographer says that she too loved him very much. On Coronation Day she had been away from him longer than usual, and when the great state coach rolled up to the palace steps she could hear Dash barking for her in the hall. "Oh," she exclaimed, "there's Dash,"

and throwing aside the ball and sceptre which she carried, she hurried to change her fine robes, in order to wash the dog. This is a very homelike and picturesque story, but it is possibly not true. Doubtless the little Queen heard the dog bark--and was glad to see him.

At Windsor Landseer painted another royal dog, Islay, the pet terrier of Victoria; also Dandie Dinmont, belonging to the Princess Alice; then Eos, who was Prince Albert's--King Edward's--dog. All the last years of Sir Edwin Landseer' life, the royal family were his devoted and comforting friends. The painter suffered much and during his visits to Balmoral he wrote to his sister how the Queen used to go several times a day to his room, to look after his comfort and to inquire about his condition. He wrote:

"The Queen kindly commands me to get well here. She has to-day been twice to my room to show additions recently added to her already rich collection of photographs. Why, I know not, but since I have been in the High lands I have for the first time felt wretchedly weak, without appet.i.te. The easterly winds, and now again the unceasing cold rain, may possibly account for my condition, but I can't get out. Drawing tires me; however, I have done a little better to-day. The doctor residing in the castle has taken me in hand, and gives me leave to dine to-day with the Queen and the rest of the royal family....

Flogging would be mild compared with my sufferings. No sleep, fearful cramp at night, accompanied by a feeling of faintness and distressful feebleness."