Repository: UIHistories Project: Book - Gregory Art Collection Catalog (Gregory) [PAGE 33]

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1S3. Portrait of Louis XIW, by Rigaud (see No. 170). The French King is represented as he best loved to be viewed, in all the glory N^ of royal garments, and surrounded by the various insignia of his power,— the crown, sceptre and in the back ground, his throne. 1*4. School of Raphael.—The picture from which this photograph is taken is in the Luxembourg museum, and is the work of Horace Vernet, (178!i-l8i>:i), a well-known French painter who has left many works in the European galleries. The scene is laid in one of the courts of the Vatican. Michael Angelo, his arms full of tools, is leaving in seeming anger and disgust the parapet where Raphael stands surrounded by his pupils. Italian peasants are arranged as models around the steps ove; Julius I I , and a crowd of attendants are coming to visit the favorite Court painter. At the top of the Sight of stairs Leonardo da Vinci may be ignized ov his long beard and artist cap. . isr». Rrofccn Pitcher.—From a painting in the Louvre by Gireuze, a French artist of the 18th century. He has been termed genre-painter, j^ by one of the French critics, and though he only dealt with common, ry day subjects, produced many charming pictures. The scene here represented needs no explanation. v ; ' <iil86. Massacre of Setoff"' Delacroix, a French painter of this N century. The picture is in the Luxembourg gallery and is ona^of the best known works of that artist. It is a striking characteristic of the Freni-h School of that time that the subjects chosen for representation are generally strange and striking in themselves. -yitb187. Scene in a Harem.—This photograph is taken from a picture in the Luxembourg gallery, It is from the brush of Delacroix (see No. ~f 18ft) and represents an eastern harem filled with oriental beauties, attended by their dark-eyed hand-maidens. 188. Revolution of -IS.—From a picture in the Luxembourg m u s - \ l eum, by Delacroix. NICOLAS POUSSIN (1594-1665).—The chief of the early French School. For many years lie had no teacher and no patron; making his way on foot to Italy, he remained there (except at brief intervals) during his entire life. He was a hard student, and carried thought and logic so far into the realm of art, that he has been called the painter of intt Uect. His works are sometimes criticized as being too grave and austere in character, but iu many pictures he lias shown a spirited grace that is unsurpassed. S9. SI. Francis Xaricr Performinga Miracle —From a painting by Poussin, in the Louvre. It represents the missionary saint of the Jesuits in t h e a c t o f restoring a young girl to life. St. Francis and his companion are praying by the bed of the lifeless maiden whose bead is supported by a women sitting by the pillow; above, Christ appears in the midst of a glory, surrounded by two angels in the altitude of adoration. . 1 9 0 . tj'.ist Victims of the Reign of Terror.—This of the Reign of Terror.— This photograph . photograph, and the succeeding one art taken from separate parts of a very large a n d \ re beautiful painting in the Luxembourg gallery. It is from the brush of

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Charles Muller, a modern artist, and is one of the most admired of the Luxembourg pictures. The dungeons of the Bastile" are represented filled with royal and aristocratic prisoners, who, as their names are read by the official, are handed one by one to the blood-thirsty mob without and are quickly torn limb from limb. The contrast between the brute faces of the angry crowd without, insatiable in their cruelty,and the delicate patrician features of the prisoners within, is very finely depicted. Every face is a study, exhibiting as they do various emotions. Bewilderment, high-minded courage, sympathetic tenderness for the suffering of others, absolute terror—are all portrayed in the different groups. 191. Last Victims of the Reign of Terror.—(See No. 190). 19"2. The Father's Curse.—In the Louvre museum (for artist see ) \ No. 185). An aged father extends his hands in malediction towards his son who has just enlisted as a soldier.

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ClMABlTH.—(1240 ). One of the earliest Florentine painters and one of the first to free his style from the influence of the principles of primitive christian art. H e was held in such esteem by the people of his native country, that when his famous Madonna, now in the church of Santa Maria Novella, at Florence, was completed, it was carried by a triumphal procession through the streets, while throngs of people scattered flowers before it. 193. Virgin and Jtngels.—From a picture in the Louvre museum, by Cimabue. This work exhibits all the peculiar stiffness of manner and execution of early christian art.

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PBRUOINO.—(144G-lo24). A Florentine painter chiefly noted as being the master of Raphael. The early works of the divine painter show in a very marked degree the influence of the master's style, combining a certain quaint stiffness of arrangement and hard coloring with a tenderness of expression almost unequaled. 1 9 1 . . Virgin and Infant Christ, by Perugino.—This picture found in the Louvre museum, represents the Madonna and Christ surrounded by adoring saints and angels. j. ^ , 1 9 5 . 1M Belle Jardeniere, by Raphael, (see engravings No. 1). This beautiful picture is iu the Louvre museum, and represents the Virgin with the infant Jesus and St. John, sitting in the midst of a lovely landscape. Art erilics say that the work probably belongs to the second period of the great artist when he was passing from the timid style of his master Perugino to the bolder flights of independent genius. U g r\ 1 9 6 . The Jfladonna of the Vail.—Another beautiful Holy Family of Raphael's in the Louvre museum. f^0 197. The Visitation of Elizabeth.—From a painting in the Louvre gallery, by Ghirlandajo (1458-1498), the early master of Michatl Angelo. The coloring of this artist is generally hard and unsatisfactory and his drapery often incorrect; yet there is much of strength and boldness in his style. The Virgin Mary is here represented, receiving the