Famous European Artists

Hermann Grimm says, "Reverence for what is great is a universal feeling.... When we look at great men, it is as if we saw a victorious army, the flower of a people, marching along.... They all speak one common language, know nothing of castes, of noble or pariah; and he who now or in times to come thinks or acts like them rises up to them, and is admitted into their circle."

Possibly, by reading of these great men some may be led to "think and act like them," and thus "be admitted into their circle." All of these possessed untiring industry and a resolute purpose to succeed. Most were poor in early life.

S. K. B.

CONTENTS.

PAGE. MICHAEL ANGELO 7

LEONARDO DA VINCI 66

RAPHAEL OF URBINO 105

TITIAN 155

MURILLO 203

RUBENS 246

REMBRANDT 286

SIR JOSHUA REYNOLDS 318

SIR EDWIN LANDSEER 367

TURNER 396

MICHAEL ANGELO.

Who has ever stood in Florence, and been warmed by her sunlight, refreshed by her fragrant flowers, and ennobled by her divine art, without saying with the poet Rogers,--

"Of all the fairest cities of the earth, None is so fair as Florence. 'Tis a gem Of purest ray; and what a light broke forth When it emerged from darkness! Search within, Without, all is enchantment! 'Tis the Past Contending with the Present; and in turn Each has the mastery."

Pitiful in her struggles for freedom, the very centre of art and learning in the fifteenth century, she has to-day a charm peculiarly her own.

"Other though not many cities have histories as noble, treasures as vast; but no other city has them living, and ever present in her midst, familiar as household words, and touched by every baby's hand and peasant's step, as Florence has.

"Every line, every road, every gable, every tower, has some story of the past present in it. Every tocsin that sounds is a chronicle; every bridge that unites the two banks of the river, unites also the crowds of the living with the heroism of the dead.

"The beauty of the past goes with you at every step in Florence. Buy eggs in the market, and you buy them where Donatello bought those which fell down in a broken heap before the wonder of the crucifix. Pause in a narrow by-street in a crowd, and it shall be that Borgo Allegri, which the people so baptized for love of the old painter and the new-born art. Stray into a great dark church at evening time, where peasants tell their beads in the vast marble silence, and you are where the whole city flocked, weeping, at midnight, to look their last upon the dead face of their Michael Angelo. Buy a knot of March anemones or April arum lilies, and you may bear them with you through the same city ward in which the child Ghirlandaio once played amidst the gold and silver garlands that his father fashioned for the young heads of the Renaissance. Ask for a shoemaker, and you shall find the cobbler sitting with his board in the same old twisting, shadowy street-way where the old man Toscanelli drew his charts that served a fair-haired sailor of Genoa, called Columbus."

Florence, Shelley's "Smokeless City," was the ardently loved home of Michael Angelo. He was born March 6, 1475, or, according to some authorities, 1474, the Florentines reckoning time from the incarnation of Christ, instead of his birth.

Lodovico Buonarotti, the father of Michael Angelo, had been appointed governor of Caprese and Chiusi, and had moved from Florence to the Castle of Caprese, where this boy, his second child, was born. The mother, Francesca, was, like her husband, of noble family, and but little more than half his age, being nineteen and he thirty-one.

After two years they returned to Florence, leaving the child at Settignano, three miles from the city, on an estate of the Buonarottis'. He was intrusted to the care of a stone-mason's wife, as nurse. Living among the quarrymen and sculptors of this picturesque region, he began to draw as soon as he could use his hands. He took delight in the work of the masons, and they in turn loved the bright, active child. On the walls of the stone-mason's house he made charcoal sketches, which were doubtless praised by the foster-parents.