Painting

Companions in the studio of Delaroche:—
Charles François Hébert (1817- ).
Jalabert (1819- ).
Thomas Couture (1815-1879).
Edouard Frère (1819-1886).
Adolphe Yvon (1817- ).
Antigna (1818-1878).
Prosper Louis Roux (1817- ).

In the picture we have been examining we have seen something of the outdoor life of the French peasants, and now we are shown the interior of one of their houses, where a Knitting Lesson is being given. The girls of the French peasantry are taught only the plainest kinds of needlework. They have to begin to make themselves useful very early in life, and knitting is a matter of special importance. In these large families many pairs of stockings are needed, and all must be homemade. This is work which the little girls can do while the mother is busy with heavier labors.

All through the years of Millet's life and work in Barbizon, his thoughts used to turn often to the little village in Normandy where he spent his youth. His early life in the fields impressed upon his memory all the out-of-door sights peculiar to his native province. The customs of peasants in France differ in the various provinces just as do ours in the various states. Some of the household utensils in Millet's childhood's home were such as he never saw elsewhere, and always remembered with pleasure.

In the picture called The Potato Planters we are reminded at once of the peasants we have already seen in Going to Work. We see here married people a few years older than the young people of the other picture working together in the fields.

James Stuart, Duke of Lennox, was one of the most prominent personages at the English court. His uncle was a cousin and trusted friend of King James I., and the relations between the nephew and Charles I. were even closer. Immediately upon taking a degree at Cambridge, the young nobleman entered the royal service as Gentleman of the King's Bedchamber. He was just thirteen years of age, and a born courtier. "His courtesie was his nature, not his craft," quaintly says one historian. While still in his minority, he visited France, Italy, and Spain.

It was a part of our Lord's ministry among men to restore to health the body as well as the soul. He was often moved with compassion by the disease and suffering which he saw as he went about Galilee or passed through the streets of Jerusalem. St. John, the evangelist (chapter v.), relates an incident which took place at a pool called Bethesda near a sheep market in Jerusalem.

Philip, Lord Wharton, was an English nobleman of nearly the same age as the Duke of Lennox, and the two were painted by Van Dyck at about the same time. In both young men are apparent the same signs of gentle birth and breeding, a dignity of bearing, and a repose of manner characteristic of their class. That they were quite different in essential character, however, we shall presently see.

A great company of people had followed Jesus to his crucifixion, including not only his enemies, but his friends. The beloved disciple John was accompanied by Mary. "And many women were beholding afar off, which followed Jesus from Galilee, ministering unto him; among which was Mary Magdalene, and Mary the mother of James and Joses, and the mother of Zebedee's children.

The painter Van Dyck was the son of a rich merchant of Antwerp, and lacked no opportunities for the training of his artistic gifts. He was fortunate also in meeting ready appreciation wherever he went. In Italy, in Flanders, and finally in England, his paintings were highly valued. His life was passed amid luxurious surroundings, in the society of noblemen and princes. His was a brilliant and successful career.

by Estelle M. Hurll