When he was well, he was gay and cheerful; and d.i.c.kens, Thackeray, and many other noted men were his friends. We are told that above all things. Sir Edwin was a great mimic and that one night at dinner he threw everybody into fits of laughter by imitating his friend the sculptor Sir Francis Chantry. It was at the sculptor's table, where a large party was a.s.sembled. Chantry called Sir Edwin's attention, when the cloth was removed, to the reflection of light in the highly polished table.

"Come here and sit in my place," said Chantry, "and see the perspective you can get." Then he went and stood by the fire, while Landseer sat in his place. Seated then in Chantry's chair, Landseer called out in perfect imitation of his host: "Come, young man, you think yourself ornamental; now make yourself useful, and ring the bell." Chantry did so, and when the butler came in he was confused and amazed to hear his master's voice from where Landseer sat in Chantry's place at the table. The voice of his master from the head of the table ordered claret, while his master really stood before the fire with his hands under his coat-tails.

We are told that Landseer stood his pictures on their heads, or upon one corner or looked at them from between his legs, any way, every way, to get a complete view of them from all quarters. He went to bed very late and got up very late, but in the mornings, while lying in bed he mostly thought out the subjects of his pictures.

He was not much of a sportsman, preferring to paint animals rather than to kill them, and one day when hunting, he saw a fine stag before him. Instead of firing at it, he thrust his gun into a gillie's hands, crying: "Hold that! hold that!" and whipping out his pencil and pad he began to sketch the stag. Whereupon the gillies were disgusted that he should miss so fine a shot, and they said something to each other in Gaelic, which Sir Edwin must have understood, for he became very angry.

"It was a pity," wrote one who knew all his qualities, "that Landseer, who might have done so much for the good of the animal kind, never wrote on the subject of their treatment. He had a strong feeling against the way some dogs are tied up, only allowed their freedom now and then. He used to say a man would fare better tied up than a dog, because the former can take his coat off, but a dog lives in his forever. He declared a tied-up dog, without daily exercise, goes mad, or dies, in three years."

He had a wonderful power over dogs, and he told one lady it was because he had "peeped into their hearts." A great mastiff rushed delightedly upon him one day and someone remarked how the dog loved him. "I never saw the dog before in my life," the artist said.

While teaching some horses tricks for Astley's, he showed his friends some sugar in his hand and said: "Here is my whip." His studio was full of pets, and one dog used as a model used to bring the master's hat and lay it at his feet when he got tired of posing.

This charming man suffered a great deal before his death, and had dreadful fits of depression. During one of these he wrote: "I have got trouble enough; ten or twelve pictures about which I am tortured, and a large national monument to complete." That monument was the one in Trafalgar Square, for which he designed the lions at the base. "If I am bothered about anything and everything, no matter what, I know my head will not stand it much longer." Later he wrote: "My health (or rather condition), is a mystery beyond human intelligence. I sleep seven hours, and awake tired and jaded, and do not rally till after luncheon. J. L. came down yesterday and did her best to cheer me... I return to my own home in spite of kind invitations from Mr. and Mrs. Gladstone to meet Princess Louise at breakfast." Of the many anecdotes told of this great man, his introduction to the King of Portugal furnishes the most amusing. "I am delighted to make your acquaintance," the King said, "I am so fond of beasts."

Before he died he had made a large fortune from his work, and during his illness he was tended most lovingly by his friends and sister. One day, walking in his garden, much depressed, he said sadly: "I shall never see the green leaves again," but he did live through other seasons. He wished to die in his studio, and at one time when he was much distracted the Queen wrote him not to fear, but to trust those who were doing all they could for him, that her confidence in his physicians and nurses was complete. At last with brother, sister, friends and fortune about him the great animal painter died, and on October 11, 1873, and was buried with great honours in St. Paul's Cathedral.

PLATE--THE OLD SHEPHERD'S CHIEF MOURNER

Of all the dogs Landseer loved to paint, the sheep collie has the most character; and here he shows us one expressing in every line of his face and form the most profound grief. The Glengarry bonnet on the floor beside the shepherd's staff, the spectacles lying on the Bible, the ram's horn, the vacant chair, the black and white shawl known as a "Shepherd's plaid"--all these things have failed to comfort this humble follower. We can imagine him, not bounding ahead with a joyous bark, but walking staidly behind the coffin when it is borne away and laying himself down upon his master's grave, perhaps to die of starvation, as some of his kind have been known to do. The painting is one of the Sheepshanks Collection in the South Kensington Museum.

Among Landseer's other famous dog pictures are "Low Life and High Life," "Dignity and Impudence" and "The Sleeping Bloodhound," all in the National Gallery.

XXVI

CLAUDE LORRAIN (GELLEE)

_Cla.s.sical French School_ 1600-1689 _Pupil of G.o.dfrey Wals_

Of all the contrasts between the early and later lives of great artists, Claude Lorrain gives us the most complete.

He was born to make pastry. His family may have been all pastry cooks, because people of Lorrain were famous for that work; anyway as a little chap he was apprenticed to one. His parents were poor, lived in the Duchy of Lorrain and from that political division the Artist was named.

The town in which he was born was Chamagne, and his real name was Gell?e. As a pastry cook's apprentice he served his time, and then, without any thought of becoming anything else in the world, he set off with several other pastry cooks to go to Rome, where their talents were to be well rewarded.

But how strangely things fall out! In Rome he was engaged to make tarts for Agostine Ta.s.si, a landscape painter. His work was not simply to furnish his master with desserts, but to do general housekeeping, and it fell to his lot to clean Ta.s.si's paint brushes. So far as we know, this was the first introduction of Claude Lorrain to art other than culinary.

From cleaning brushes it was but a step to trying to use them upon canvas, and Ta.s.si being a good-natured man, began to give Lorrain instruction, till the pastry cook became his master's a.s.sistant in the studio. This led to a larger and larger life for the young Frenchman, and he copied great masters, did original things, and finally in his twenty-fifth year returned to France a full-fledged artist. He remained there two years, and then went back to Italy, where he lived till he died. The visit to France turned out fortunately because on his way back he fell in with one of the original twelve members of the French Academy, Charles Errard, who became the first director of the Academy in Rome. A warm friendship sprang up between the men, and Errard was very helpful to the young artist.

Nevertheless, Lorrain did not gain much fame till about his fortieth year, when he was noticed by Cardinal Bentivoglio, and was given certain commissions by him. He grew in Bentivoglio's favour so much that the Cardinal introduced him to the pope. The Catholic Church set the fashions in art, politics, and history of all sorts at that time, so that Lorrain could not have had better luck than to become its favourite. The pope was Urban VIII., whose main business was to hold the power of the Church and make it stronger if he could, so that he was continually building fortresses and other fortifications, and he had use for artists and decorators. Lorrain's fame outlasted the life of Urban VIII., and he became a favourite in turn with each of the three succeeding popes. All this time he was doing fine work in Italy and for Italy, besides receiving orders for pictures from France, Holland, Germany, Spain, and England, for his fame had reached throughout the world.

Besides leaving many paintings behind him when he died, he left half a hundred etchings; also a more precise record of his work than most artists have left. He executed two hundred sketches in pen or pencil, washed in with brown or India ink, the high lights being brought out with touches of white. On the backs of them the artist noted the date on which the sketch was developed into a picture, and for whom the latter was intended. The story is that his popularity produced many imitators, and that he adopted this means to establish the ident.i.ty of his own work and distinguish it from the many copies made.

These sketches were collected in a volume by Lorrain and called "Liber Veritatis," and for more than a hundred years the Dukes of Westminster have owned this.

PLATE--ACIS AND GALATEA

This picture in the Dresden Gallery is a scene from the mythical story of a G.o.ddess who fell in love with the youthful son of a faun and a naiad. Thus she excited the jealous fury of the cyclops, Polythemus, who is seen in the picture herding his flock of sheep upon the high cliff at the right. Soon he will rise and hurl a rock upon Acis, crushing the life out of him, so that there will be nothing left for Galatea to do but to turn him into the River Acis, but meanwhile the lovers are unconscious and happy. Venus is reposing near them on the waves and Cupid is closer still, while the sea in the background seems to be stirred with a fresh morning breeze.

Some of the famous Lorrains in the Louvre are: "Seaport at Sunset,"

"Cleopatra Landing at Tarsus," and "The Village Festival."

XXVII

MASACCIO (TOMMASO GUIDI)

(p.r.o.nounced Tome-mah'so Mah'sahch'cheeo) _Florentine School_ 1401-1428 _Pupil of Ghibertio, Donatello, and Brunellesco_

This artist, who lived and died within the century that witnessed the discovery of America, was famous for more than his painting. He was the original inventor who first learned and taught the mixing of colours with oils, thus making the peculiar "distemper" unnecessary.

The story of Italian artists includes a history of their names, for the Italians seem to have had most remarkable reasons for naming children. For example, this artist, Masaccio, was born on St. Thomas's day, hence, his name of Tommaso. Presently, for short, or for love, he was called Maso, and to cap all, being a careless lad, his friends added the derogatory "accio," and there we have the artist completely named. He owed nothing of this to his father, who was plain, or ornamentally, Ser Giovanni di Simone Guidi, of Castello San Giovanni, in the Valdamo.

As a very little boy, it was plain to be seen that slovenly Thomas was going to be a great artist, and no time was lost in putting him to work with the best of masters.

He was a veritable inventive genius. Until his time difficulties in drawing had been overcome mostly by ignoring them. Since no artist had been able to draw a foreshortened foot, it had been the fashion in art to paint people standing upon their tiptoes, to make it possible for an artist to paint the foot. The enterprising Thomas came along and he decided that feet must be painted both flat and crossed, on tiptoe or otherwise; in short he did not mean to lose by a foot.

He worked at this problem day and night, till at last the naturally poised foot came into existence for the artist. Never after Masaccio's time did an artist paint the foot stretched upon the toes. Moreover, until his time flesh had never been painted of a remotely natural colour, so Masaccio set about combining colours till he made one that had the tint of real flesh. Thus he was the first to overcome the difficulties of drawing and the first to discover a mixture that would not leave a glazed, hard, unnatural appearance and be likely to crack and destroy the finest effort of an artist.

He worked during his youth in Pisa, where the "leaning tower" stands; then he worked in Florence, finally in Rome, but those early pictures are long since gone. It was a century of adventure and discovery as well as of art, and with so much change, so many wars and rumours of wars, many great art works were lost. Besides, the horrible plague swept Italy east, west, north, and south. Who was to concern himself with saving works of art, when human life was going out wholesale all over the land?

Masaccio was certainly very poor most of his life. He lived with his mother and his brother Giovanni, an artist like himself, but not nearly so brilliant. Masaccio could not spend his life in painting but had to eke out the family fortunes by keeping a little shop near the old Badia, and being pestered day and night by his creditors he was forced again and again to go to the p.a.w.n shop.

Somewhere about 1422, careless Thomas painted his greatest picture which was doomed to destruction too early for us to know much about it; but it was named "San Paolo" and it was painted in the bell-room of the Church of the Carmine in Florence. The figure for his model was an ill.u.s.trious personage, Bartoli d'Angiolini, who had held many honourable offices in Florence for many years. A critic and friend of artists tells us that the portrait was so great it lacked only the power of speech.

In this picture Masaccio made his first great triumph in the foreshortening of feet.

He undertook to celebrate the consecration Of the Church of the Carmine, and for this he made many frescoes, among which was a correct painting of the procession as it entered from the cloisters of the church. "Among the citizens who followed in its wake, portraits are introduced of Brunellesco, Donatello, Masolino, Felice Brancacci (the founder of the chapel) Giovanni di Bicci de' Medici, and others, including the porter of the convent with the key of the door in his hand."

This work was thought to be very wonderful because the figures grew smaller in the distance, thereby giving "perspective" for the first time. Imagine how crude a thing was painting in the day of careless Thomas.

That fresco is long since gone, but drawings of it still exist which tell us something of the people of Christopher Columbus's day--previous to their appearance, and their conditions.

After Masaccio had finished the procession he went back to his painting of the chapel and in the end covered three of its four walls with his works. Many of those paintings are scenes from the life of St. Peter, and several were worked at by other artists than Masaccio.

Masaccio was greater than Raphael, greater than Michael Angelo in so far as he pointed the way that they were to go, having solved for them all the problems that had kept artists from being great before him. Sir Joshua Reynolds says that "he appeared to be the first who discovered the path that leads to every excellence to which the art afterward arrived; and may therefore be justly considered one of the great fathers of modern art."

The artist lived but a little time, and was most likely poisoned. n.o.body knows, but it is said that other painters were so wildly jealous of his original genius that they wished him out of the way, and his death was at least mysterious. He drew very rapidly and let the details go, caring only to represent motion and action. Because he painted so many portraits into his pictures there was great life and animation in them, and people said of him that he painted not only the body but the soul.

PLATE--ARTIST'S PORTRAIT [Footnote: Many artists have left us portraits of themselves, painted, no doubt, with the aid of a mirror, in a group or alone. This one of Masaccio in the Naples Museum, shows him to have been a picturesque model.]