Estelle M. Hurll

In the city of Florence, Italy, there is a famous gallery of portraits unlike any other collection of pictures in the world. It consists of the portraits of artists, painted by their own hands, and includes the most celebrated painters of all nations, from the fifteenth century to the present time. Here may be seen the portraits of Velasquez, Titian, Tintoretto, Rembrandt,—the world's greatest portrait painters,—and in the same splendid company hangs the portrait of Reynolds, reproduced in our frontispiece.

Somewhat over a century ago, at the time when our American colonies were struggling for liberty, lived the great English portrait painter, Sir Joshua Reynolds. In those days photography had not been invented, and portrait painting was a profession patronized by all classes of people. There were many portrait studios in London, but none were so fashionable as that of Reynolds.

The name of Sir Joshua Reynolds holds a place of honor among the world's great portrait painters. To appreciate fully his originative power one must understand the disadvantages under which he worked. His technical training was of the meagrest kind, and all his life he was hampered by ignorance of anatomy. But on the other hand he combined all those peculiar qualities of the artist without which no amount of technical skill can produce great portrait work.

There was once on the throne of England a king named Henry VIII. He was a man of extraordinary character, with qualities both good and bad. His conduct was sometimes unscrupulous and tyrannical, and he let nothing interfere with his own pleasure. Nevertheless his reign brought many benefits to England, and his memory is respected by English people.

THE original biographical material on the subject of Reynolds was supplied by his own contemporaries. His friend Malone wrote a valuable Memoir (1804), and his pupil Northcote furnished the first biography of the painter, the Life of Reynolds in two volumes published in 1813. A half century later (1865) was published the most comprehensive work on Reynolds in two large volumes by C. R. Leslie and T. Taylor. At about the same time (1866) appeared a book by F. G. Stephens, "English Children as painted by Sir Joshua Reynolds."

A pretty story is told of a Roman matron named Cornelia, who was one day entertaining a visitor, when the conversation led to the subject of jewels. "These are my jewels," said the hostess, and turned to show the stranger her beautiful children. The story comes readily to mind as one looks at this portrait of Lady Cockburn and her Children. Indeed, the picture was once engraved[7] under the fanciful title of "Cornelia and her Children." Like the Roman matron of old, the English mother gathers her children about her as the choicest jewels of her possession.

Portrait frontispiece. Painted in 1776 for the Imperial Academy in Florence, and now in the Uffizi Gallery, Florence.

1. Penelope Boothby. Painted in July, 1788. In the possession of Mrs. Thwaites.

This little book is intended as a companion volume to "Child-Life in Art," and is a study of Madonna art as a revelation of motherhood. With the historical and legendary incidents in the life of the Virgin it has nothing to do. These subjects have been discussed comprehensively and finally in Mrs. Jameson's splendid work on the "Legends of the Madonna." Out of the great mass of Madonna subjects are selected, here, only the idealized and devotional pictures of the Mother and Babe. The methods of classifying such works are explained in the Introduction.

It is now about fifteen centuries since the Madonna with her Babe was first introduced into art, and it is safe to say that, throughout all this time, the subject has been unrivalled in popularity. It requires no very profound philosophy to discover the reason for this. The Madonna is the universal type of motherhood, a subject which, in its very nature, appeals to all classes and conditions of people. No one is too ignorant to understand it, and none too wise to be superior to its charm.

he first Madonna pictures known to us are of the portrait style, and are of Byzantine or Greek origin. They were brought to Rome and the western empire from Constantinople (the ancient Byzantium), the capital of the eastern empire, where a new school of Christian art had developed out of that of ancient Greece. Justinian's conquest of Italy sowed the new art-seed in a fertile field, where it soon took root and multiplied rapidly.