MASTERS IN ART Lovers or Music FREDERIC CHOPIN In paper, $1.50 FORTY PIANO COMPOSITIONS Edited by JAMES HUNEKER In cloth, gilt, $2.50 C ONTAINS a portrait of Chopin, an elaborate essay by the editor, and the composer’s forty most beautiful numbers in 184 music pages in folio size. Mr. Huneker is the recognized authority on Chopin, and the volume is in every detail the most artistic issued. Send for booklet giving list of editors and volumes novu making for this EPOCH-MAKING SERIES OLIVER DITSON COMPANY, BOSTON, MASS. A9S0 THE FAMILY TREE THE BOSTON EVENING TRANSCRIPT prints more genealogical material than all other U. S. daily papers combined, and circulates where any in- terest is taken in the matter. Among the correspond- ents are some of the best genealogists. Their data is reliable. People interested in tracing ancestry should subscribe to the Monday and Wednesday issues. Subscription $3 per year ; 3 months’ trial 5 I: sample copies free. BOSTON TRANSCRIPT CO., Boston, Mass. BRAUN’S CARBON PRINTS FINEST AND MOST DURABLE IMPORTED WORKS OF ART rjNE HUNDRED THOUSAND direct reproductions from the original paintings and drawings by old and modern masters in the galleries of Amsterdam, Antwerp, Berlin, Dres- den, Florence, Haarlem, Hague, London, Ma- drid, Milan, Paris, St. Petersburg, Rome, Venice, Vienna, Windsor, and others. Special Terms to Schools BRAUN, CLEMENT & CO. 249 Fifth Avenue, corner 28th Street NEW YORK CITY In answering advertisements, please mention Masters in Art MASTERS IN ART MASTERS IN ART A Notice A Advance in Price of Back Numbers On and after January i, 1904, the price of all Back Numbers of ‘Masters in Art’ — that is all numbers published prior to that date — will be advanced from Fifteen Cents to TWENTY CENTS a copy, whether purchased singly or in yearly sets. The price of the Bound Yearly Volumes will be advanced correspondingly: those bound in Half- morocco from $3.50 to $4.25; and those bound in Cloth from $3.00 to $3.75. Orders for Back Numbers and Bound Vol- umes can be filled at present prices only until January i, 1904 List of Back Numbers and Illustrations of Styles of Bindings on Application BATES GUILD COMPANY: BOSTON In answering advertisements, please mention Masters in Art MASTERS IN ART ♦MASTERS TNFART- *13 04 /* PROSPECTUS MASTERS IN ART FOR 1904 list of painters to be presented in $3 -p?3 Masters in Art during 1904 — the fifth & ' & year of the Series — makes it already cer- tain that in variety, in interest, and in the charm of its pictures, the forthcoming volume of the magazine will not be surpassed by any of its predecessors. C.The artists chosen for subjects will range in date from the quaint, primitive painters of the fifteenth century to those of our own time, and will represent the art of the Italian, German, Flemish, Dutch, French, and English schools, while an American painter will be treated in the magazine for the first time. C.In general plan Masters in Art will remain unchanged, continuing to present in its text all the features of previous years — a faithful biog- raphy, criticisms by the foremost writers on art, detailed descriptions of the representative paint- ings shown, a list of each artist’s works, and careful bibliographies — while, as heretofore, ad- vantage will be taken of every improvement in photography, engraving, and printing that may make its illustrations more faithful and beautiful reproductions of their originals. C.The following page gives a partial list of the painters to be considered during 1904. The re- maining names, to be announced later, are of no less interest. MASTERS IN ART WWMONG THE ARTISTS TO |A | BE TREATED DURING THE WW YEAR MAY BE NAMED C.FRA BARTOLOMMEO. The friar painter of Madonnas and Holy Families, who with his own intuitive sense of symmetry, science of composi- tion, and tender feeling, combined something of Raphael’s grace. CDURER’S ENGRAVINGS. The first num- ber of the Series to be devoted wholly to engrav- ings will have for its subject the unmatched copperplates and woodcuts of Albrecht Diirer, the greatest master of engraving the world has seen. Among the plates to be reproduced may be named those masterpieces of imagination and technical skill, the “ Melancholia,” and 41 The Knight, Death, and the Devil.” C.COPLEY. The famous American painter of portraits in Colonial days. CY ERONESE, whose art was the most gorgeous of all the Venetian school, and who elevated pageantry to the height of most serious art. C.LANDSEER. The English painter of dogs and other animals, who expressed the emotional natures of the beasts he portrayed. C.MEISSONIER, whom French grace grafted upon Dutch fidelity made the master of modern genre-painting. C.PINTORICCHIO. A portrayer of the man- ners and costumes of his day in scenes of wonder- ful decorative quality. C. Subscribers are advised to renew expiring sub- scriptions promptly, that their files of the maga- zine may not be broken. MASTERS IN ART •MASTERS •INMUSIC 4904 '* PROSPECTUS MASTERS IN MUSIC FOR 1904 C^S^NDER the continued editorship of Mr. £u ^ Daniel Gregory Mason, Masters in M , S1C w *^» during 1^04, follow the same plan, and include all the features that have already won it a distinctive place among musical publications, and called forth the unani- mous praise of music teachers, critics, students, and its subscribers generally. «.It is, however, already assured that the num- bers of the second year will surpass those of the first in value and attractiveness. Not only are the musicians to be treated during 1904 com- posers whose works are of exceptional interest (a list of them is given on the opposite side of this sheet), but the experience gained and the many valuable suggestions received will enable the Editor and Publishers to produce numbers of still firmer grasp and more readable interest. C.In general appearance the magazine, which has been called “the aristocrat of musical produc- tions,” will continue unchanged ; and the two volumes into which the 1904 issues will be divi- ded may be bound uniform with those of the first year, thus putting continuing subscribers in pos- session of a musical library of unique value. C.The following page gives a partial list of the musicians to be treated. MASTERS IN ART WWMONG THE COMPOSERS TO | A§BE TREATED DURING THE &&&*& YEAR MAY BE NAMED C.JOHANN SEBASTIAN BACH. Often called “the musician’s composer.” The great fugal writer who established modern harmony.' A master of counterpoint, and the great master of church music. CFRANZ PETER SCHUBERT. After Mozart the most genial, spontaneous, and melodious of composers. CKARL MARIA von WEBER. The creator of “ Romantic ” opera ; the most brilliant of oper- atic masters, and the forerunner of Wagner. C.FRANZ LISZT. The great pioneer in pianistic effects. C.ANTONIN DVORAK. Founder of the Bo- hemian school of music. A master of the dance element in music, who glorified and made classic the native folk music of Bohemia, and did the same for American negro melodies. C.ROBERT FRANZ. One of Germany’s great- est lyrical composers, who brought the German lied to a high artistic development. C.THE SCARLATTIS. Quaint, old-fashioned writers for the clavichord, the precursor of the modern piano. C.The remaining numbers (among which may now be named one upon IRISH FOLK-SONGS, giving examples of the beautiful and highly ex- pressive folk music of Ireland) will be of no less interest and variety than those mentioned above. C,Subscribers are advised to renew expiring sub- scriptions promptly, that their files of the maga- zine may not be broken. Nz> MASTERS IN ART MASTERS IN ART a 3$ into imps mtto ISounto Volumes a BATES &? GUILD COMPANY: BOSTON T HE issues already published in ‘ Masters in Art’ can be ob- tained bound in handsome and substantial uniform volumes arranged as follows : Volume I., 1900 Contains numbers on Van Dyck, Titian, Velasquez, Holbein the Younger, Botticelli, Rembrandt, Reynolds, Millet, Giovanni Bel- lini, Murillo, Hals, and Raphael. Volume II., 1901 Contains numbers on Rubens, Leonardo da Vinci, Diirer, Michel- angelo (Sculptures), Michelangelo (Paintings), Corot, Burne- Jones, Ter Borch, Luca and Andrea della Robbia, Andrea del Sarto, Gainsborough, and Correggio. Volume III., 1902 Contains numbers on Phidias, Perugino, Holbein ( Drawings), Tin- toretto, Pieter de Hooch, Nattier, Paul Potter, Giotto, Praxiteles, Hogarth, Turner, and Luini. Volume IV.. 1903 Ready about January I, 1904. Contains numbers on Romney, Fra Angelico, Watteau, Raphael’s Frescos, Donatello, Gerard Dou, Car- paccio, Rosa Bonheur, Guido Reni, Puvis de Chavannes, Giorgione, and Rossetti. T HESE volumes may be obtained bound, with indexes and title-pages complete, in two styles. Half-Morocco Binding Green leather, with green and gold marbled paper sides, gold design and gilt top. Price, per volume, $3.50, postpaid, until January I, 1904, after which date the price will be advanced to S4-2S- Cloth Binding Brown Art Buckram, with gold design and gilt top. Price, per volume, $3. 00, postpaid, until January 1, 1904, after which date the price will be advanced to $3.75. Subscriber’s Copies Subscriber’s copies of any of the completed volumes will be bound to order in either of the ab«ve styles. Price for binding in half- morocco, $ 2 . 00 . Price for binding in cloth, $ 1 . 50. Half- Morocco Binding. Cloth Binding. In answering advertisements, please mention Masters in Art MASTERS IN ART A Charming Book for the Holidays Ciisttltitn 50 . 1 )) o By JOHN HAY, Secretary of State Entrance to the Bull Ring, Madrid C ASTLES in Spain are always interesting, and especially de- lightful is the opportunity to see them through the eyes of so keen an observer as the Hon, John Hay. With much enthusiasm and vigor he describes the natural scenery, the people, the works of art, the holidays and festivals, including, of course, a grand bull fight. Mr. Joseph Pennell’s numerous full-page and text pictures in crayon, pen and ink, and wash make a most attractive feature. Holiday Edition, with 70 illustrations, $3.00 DeLuxe Edition, limited to 350 copies, $5.00 net fbougfjton, ifttffltn & Co., 4 pars -at., Boston In answering advertisements, please mention Masters in Art MASTERS IN ART No furniture so charming as books, even if you never open them or read a single word said Sidney Smith W E know that The Unit Books are opened and read, because some good people write us every day that our paper and type have tempted them to read “every single word.” M ANY reprints are artistic, many are cheap. The Unit Books alone are both. They comprise the best works of fiction and scholarship ; are mechanically as perfect in their way as editions de luxe. Covers are green, rich and plain, in durable paper, cloth and leather. Type is legible, paper “ featherweight,” size 7 '/ 2 x 4. Text is carefully edited — biographies, bibliographies and notes. Printed from new type. Cost one cent for every twenty-five printed pages, paper cover free, cloth 30 cents extra, leather 50 cents extra. Books are uniform, issued once a month. Cheap- est good books made. Novel method of publishing described in the prospectus we send for the asking. First 3 books i The Marble Faun Hawthorne zi units (524 pages) paper 21c cloth 51c leather 71c 2 Letters anil Addresses Lincoln 16 units (399 pages) paper 16c cloth 46c leather 66c 3 Tales of Mystery Foe 21 units (507 pages) paper 21c cloth 51c leather 71c Postage 8 cents extra per volume. The Unit Books are so good they are not sent on approval. We mail everywhere to arrive Christmas morning. 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Next to the Heart of Candy Covers arc WHITMAN’S Chocolates and Confections The Perfection of Confections ASK FOR THEM AN T (THE R E WHITMAN’S Instantaneous Chocolate Made instantly with boiling milk. STEPHEN F. WHITMAN & SON 1316 Chestnut Street Philadelphia In answering advertisements, please mention Masters in Art MASTERS IN ART £)ante ©iibricl Hossctti ENGLISH SCHOOL NO sqi MASTERS IX ART PLATE I FmOTOGRAFm by HANFSTAENGL [ 465 ] ROSSETTI ‘ECCE AXCILLA DOMINI* NATIONAL GALLERY OF BRITISH ART, LONDON M A ST KBS IN ABT PLATE II PHOTOGRAPH BV HOILYER [ 467 ] BOSSETTI THE GIRLHOOD OK MART VIBGIN OWNED BY MRS. JEKYLL MASTERS IX ART PLATE III PHOTOGRAPH BY J. CASWALL SMITH [ 469 ] ROSSETTI THE BLESSED DAMOZEL OWNED BY THE HON. MRS. O'BRIEN MASTERS IX ART PLATE IV photograph sv mollvcr [ 471 ] ROSSETTI PROSEHPINE OWNED BY W. GRAHAM ROBERTSON, ESU* • * MASTERS IN ART PLATE VI ^HOTOQUAr* BY MOLLYER [ 475 ] ROSSETTI ALTAR-PIECE* THE SEED OF DAVID [DETAIL] LLAXDAFF CATHEDRAL MASTERS IN ART PLATE VII photograph by hawfstaingl [ 477 ] ROSSETTI HE AT A REATRIX NATIONAL GALLERY OF BRITISH ART, LONDON t qo;o 1 ><$&•> MASTERS IN ART PLATE VIII PHOTOGRAPH SV MOLLYE* [ 479 ] ROSSETTI PAOLO ANI) FRANCESCA OWNED BY W. R. MOSS, ESQ* MASTERS IN ART PLATE IX FROM MARULIER'S * ROSSETTI* [ 481 ] ROSSETTI THE BELOVED OWNED BY GEORGE BAE, ESQ* MASTERS IX ART PLATE X PHOTOGRAPH BY J. C A SMALL SMITH L 48 I ] ROSSETTI THE LOVING CUP OWXEI) HY T. H. ISMAY, ESQ* UM POKTHAIT OF ROSSKTTI FROM A PHOTOGRAPH The portrait of Rossetti here reproduced is from a photograph taken by W. and C. Downey, of London, in 1862, when the artist was thirty- four years old. The likeness, according to his brother, is an excellent one. A description of Rossetti's appearance will be found in the biography which follows. T 41(4 ] MASTERS IN ART SDantc Gabriel Rossetti BORN 1828: DIED 1882 ENGLISH SCHOOL G abriel Charles dante rossetti, commonly known as Dante Gabriel Rossetti, was born May 12, 1828, at 38 Charlotte Street, Portland Place, London. Though English by adoption, his family was of Italian origin. His father, Gabriele Rossetti, a native of the town of Vasto in the then kingdom of Naples, was a poet of considerable literary distinction, who, having by his patriotic songs incurred the enmity of the Bourbon King Ferdinand of Naples, was compelled to leave his country. After many vicis- situdes he found refuge in England, where, in 1824, he established himself as a teacher of Italian, and before long received an appointment as professor of that language at King’s College, London, and later achieved a reputation as a learned and original commentator on Dante. Two years after his ar- rival in England he married Frances Polidori, of Italian and English parent- age, and to them four children were born, all of whom distinguished them- selves in art or in letters. Maria Francesca, the eldest, was the author of a critical work entitled ‘The Shadow of Dante;’ Dante Gabriel, the subject of this monograph, won distinction as both poet and painter; William Michael became well known as a writer and art critic; and Christina was one of the most famous of English nineteenth-century poets. Although in the heart of London, the immediate environment of the Ros- setti family was far more Italian than English. Their unpretentious home became the resort of all classes of Italians, whether noblemen or humblest of refugees, men of letters, poets, artists, musicians, or political revolution- aries, passing through or resident in London. Such an atmosphere naturally stimulated Dante Gabriel Rossetti’s some- what precocious powers. At an early age he became familiar with Shake- speare, Scott, and other writers of imagination and romance ; and when five or six years old composed a drama in blank verse, called ‘The Slave,’ which, al- though childish in diction, was nevertheless marked by correctness of meter. His education was begun at a private school, but when nine years old he was [4 85] 24 MASTERS IN ART sent to King’s College, where he remained for five years, and acquired in that time a fair knowledge of the ordinary branches of learning. French and, of course, Italian he spoke with fluency, and in German he was tolerably versed. From early childhood he had shown so decided a proclivity for draw- ing and painting that it seems to have been understood that “ Gabriel,” as he was called in the family, was to be a painter. Accordingly upon leaving school he was sent to Cary’s drawing academy in London, and thence, after four years, to the Antique School of the Royal Academy. At neither place was his progress in any way remarkable. Impatient for great results, he chafed under the necessarily slow preparatory processes, and his defective drawing and imperfect knowledge of anatomy, which throughout life hampered him in his artistic achievement, may be traced to a lack of thoroughness at this period. The traditions of the Academy were then little calculated to encourage the imaginative powers to which Rossetti was eager to give expression; and finally, in 1848, out of patience with the technicalities of academic train- ing, he applied for instruction to an artist the originality of whose works had deeply impressed him. This was Ford Madox Brown, who, although not a professional teacher, agreed to receive the young man in his studio as a pupil. He refused, however, to accept any remuneration for his services; and from that time on became one of Rossetti’s firmest and most valued friends. But Rossetti’s hopes of being allowed to paint before he had mastered the difficulties of drawing were dashed when he was obliged by his new in- structor to paint a study of still-life — pickle-jars being the subject selected. T his was the sort of drudgery that in applying to Brown he had expected to avoid; and, disgusted with the continuance of what he regarded as unnec- essary training, he soon left his preceptor to share a studio with Holman Hunt, a young painter whose picture, ‘The Eve of St. Agnes,’ he had seen and admired at the recently opened annual exhibition of the Royal Academy. To Hunt Rossetti confided his troubles, and at his friend’s suggestion set to work to copy a composition of Hunt’s, beginning, for the sake of practice, with the accessories proper to such a picture. I'his same year, 1848, was an important one in Rossetti’s career. His fellowship with Hunt led to a friendship with John Everett Millais, his junior by a year, though already an exhibiting painter of promise. With these three young men, Hunt, Rossetti, and Millais, aged respectively twenty-one, twenty, and nineteen years, originated the movement known as Preraphael- itism — in other words, an emulation of the sincerity and love of truth that characterized the early Italian, p'lemish, and German painters in contradis- tinction to the more artificial methods that prevailed after Raphael’s time. The “ Preraphaelite Brotherhood” was, however, instituted rather to bring about a return to the more faithful study of nature than with the idea of any ex- act imitation of the painters who preceded Raphael — the term “Preraphael- ite” being adopted half in fun, half in a spirit of bravado in thus assuming a title which had first been used as a term of contempt by those not in sym- [48 6 ] ROSSETTI 25 pathy with this reaction against the conventional and commonplace art of that day. Four members were soon added to the original trio of Preraphael- ites — T homas Woolner, James Collinson, Frederic George Stephens, and William Michael Rossetti, who was made secretary of the Brotherhood. Ford Madox Brown, though in sympathy with the movement, refused to become a member of the band, as he disapproved of anything of the nature of an artistic clique. Weekly meetings were held by the Preraphaelite Brothers, who agreed to inscribe after their names on their pictures, and to use in all private inter- course, the mystic letters “P. R. B.” Upon the suggestion of Rossetti, who was the leading spirit in the association, a literary organ called ‘The Germ’ was established to spread their opinions. The magazine, however, was short- lived, only four numbers being published before it died for want of financial support. It was at this time that Rossetti painted the picture called ‘The Girl- hood of Mary Virgin,’ and soon afterwards his representation of the an- nunciation, entitled ‘ Ecce Ancilla Domini,’ both conceived in the Preraphael- ite spirit. The exhibition of the latter picture called forth from the critics a storm of abuse and raillery which was shared by the other Preraphaelite Brothers, whose pictures were greeted with similar derision. Just when the attacks were most bitter, however, a champion appeared in the person of John Ruskin, who in a letter to the London Times defended the Brother- hood from the charge of being mere slavish copyists and participants in a conspiracy against Raphael. And if Ruskin attributed sentiments and ideas to the Preraphaelites that in the original establishment of the Brotherhood had not been formulated by its members, their debt of gratitude to him for his defense of their cause was nevertheless great. As a definite organization the Preraphaelite Brotherhood was disbanded at the end of two or three years. The members drifted apart; each painted after his own special style, and Preraphaelitism, so-called, passed away ; but its stamp had been indelibly impressed upon the art, more especially upon the decorative art, of England, and it is now recognized as one of the impor- tant movements in the history of painting. In these first years of Rossetti’s career as a painter his progress in literary work had been remarkable. As early as 1843 he had written a romantic prose tale called ‘Sorrentino,’ and had made translations from the German. Soon afterwards, translations from Dante and other early Italian poets were begun, though not published until many years later, when his interest in the writings of Dante found expression through his brush as well. His most famous poem, ‘The Blessed Damozel,’ written in his nineteenth year, was first published in ‘The Germ,’ in which other verses by him also appeared. The years that followed found Rossetti occupied in both art and poetry, and were varied only by a trip to the continent in company with Holman Hunt. Rossetti had no love for travel, and with the exception of a few visits to Paris and Belgium, and occasional short sojourns in Scotland, he never left England, not even caring to go to Italy. [ 487 ] 26 MASTERS IN ART Hostile criticism of his paintings, lack of patrons, and consequent straight- ened circumstances made Rossetti’s life at this period a struggle. Discour- aged by the reception accorded his painting of the annunciation, he exhibited no more works, and did not even attempt to publish his poems. In 1850 an event occurred which had a lasting influence upon his life. Among the models who sat to him was Miss Elizabeth Siddal, then earning her living in London as a milliner’s assistant. She was gifted with unusual beauty, as well as with a natural love of poetry, and a talent for painting which rapidly developed under the instruction that Rossetti gave her. The painter was never tired of reproducing her delicate type of beauty ; she be- came the model for most of his pictures painted at this period, notably for the numerous portrayals of “ Beatrice;” and Rossetti, with all the force of his passionate nature, fell deeply and seriously in love with her. They be- came engaged; but a consumptive tendency rendered Miss Siddal’s health extremely delicate, and it may be that this, added to Rossetti’s uncertain means of support, necessitated the long, and never fully explained, postpone- ment of their marriage. In 1854, and later, Rossetti was engaged upon designs for some of Ten- nyson’s poems. Many of his principal drawings and water-colors were also executed at this time, and ‘Found,’ his one realistic picture, was now begun, though never entirely finished. Relief from financial difficulties first came to him through the patronage of Mr. Ruskin, who took keen delight in his artis- tic work, and agreed to buy, up to a certain amount, and at the same price that would have been asked of an ordinary purchaser, whatever picture of Rossetti’s pleased him. This arrangement, begun in 1854, lasted for some years, and terminated only when Rossetti could no longer brook the constant criticisms which Ruskin could not refrain from expressing. Another friendship formed during these years was that with Burne-Jones, then an Oxford student, who went to Rossetti for advice and guidance, even as Rossetti himself had gone to Madox Brown. Through Burne-Jones Ros- setti came to know William Morris and Algernon Charles Swinburne, also Oxford students. Together with Morris, Burne-Jones, and four other young artists, Rossetti undertook, in 1856, the decoration of the walls of the Union Debating Hall at Oxford with scenes from Malory’s ‘Morte d’Arthur,’ a work which was soon reduced to a mere wreck because of their ignorance of the processes of distemper painting. In May, 1860, Rossetti and Elizabeth Siddal were married, and, after a short wedding journey to Paris, took up their residence in Chatham Place, Blackfriar’s Bridge, London, where Rossetti had long had his studio and rooms. The two years of his married life were the happiest that he had known, and during this period he did some of his most inspired work in both poetry and painting. At the end of a year, and after the birth of a still-born child, Mrs. Rossetti’s health, always frail, failed perceptibly; and in February, 1862, she died from the effects of an overdose of laudanum, taken to relieve neuralgia. The blow was a terrible one to Rossetti, and on the day of her funeral he gave expression to the intensity of his grief in a [ 488 ] ROSSETTI 27 way Characteristic of his emotional nature by placing in her coffin the man- uscript copy of his poems, many of which existed only in that form. These poems remained buried until he was persuaded, seven years later, to consent to their disinterment and subsequent publication. After his wife’s death Rossetti removed from Chatham Place to chambers in Lincoln’s Inn Fields; and at the end of a few months took up his residence at Tudor House, Cheyne Walk, Chelsea, where for some time his brother, W. M. Rossetti, Mr. Swinburne, the poet, and Mr. George Meredith, the novelist, lived with him. Tudor House, described by Thackeray in ‘Henry Esmond’ as the residence of the old Countess of Chelsey, was Rossetti’s home for the remainder of his life. In its spacious and somewhat gloomy rooms he collected quantities of old oak furniture and curios, together with rare specimens of blue china and Japanese bric-a-brac, for all of which he had a passion. In the large garden at the back of the house Rossetti kept a number of animals. His fondness for “beasts” was well known. He was particularly partial to those of a quaint and grotesque nature — a tame wom- bat and still tamer woodchuck being his prime favorites. Among other pets were a Pomeranian puppv, an Irish deerhound, owls, hedgehogs, armadillos, kangaroos, wallabies, white mice, laughing jackasses, parrots, chameleons, lizards, a deer, and a raccoon. From 1862 to 187 0 Rossetti’s powers as an artist were at their best, and many of his finest pictures were produced. Among the most famous were ‘Beata Beatrix,’ ‘Joan of Arc,’ ‘The Beloved,’ ‘Lilith,’ ‘Venus Verticordia,’ ‘The Blue Bower,’ ‘The Loving Cup,’ ‘Monna Vanna,’ and a portrait of Mrs. William Morris, who was one of his favorite and most frequent mod- els. Although never courting fame, and even averse to sending his works to exhibitions, Rossetti found no dearth of patrons now, and his affairs having once become prosperous, they continued to be so for many years. His in- come in 1876 averaged £ 3,7 25 , or over eighteen thousand dollars. The publication of his poems in 1870 further increased his now estab- lisned fame, and placed him among the foremost of contemporary English poets. The appearance of the volume in print, however, proved provocative of strong adverse as well as favorable criticism; and, in October, 1871, a hostile article, entitled ‘The Fleshly School of Poetrv’ and signed Thomas Maitland (soon ascertained to be a pseudonym for Mr. Robert Buchanan), appeared in The Contemporary Revieiu , in which certain of Rossetti’s sonnets were attacked on literary, but more especially on moral, grounds. Rossetti at once published a dignified self-vindication, in The Athenaum, called ‘The Stealthv School of Criticism;’ and here the matter might have ended, had not Mr. Buchanan’s article been forthwith printed with additions in pamphlet form. The effect of this upon Rossetti was out of all proportion to its in- trinsic importance. His health for some time past had been impaired, and suffering, since the death of his wife, from insomnia, he had become addicted to the use of chloral, which he took in large and constantly increasing nightly doses. In this broken state of health the republication of ‘The P'leshly School of Poetrv’ proved sufficient to throw his mind off its balance, and he [ 489 ] 28 MASTERS IN ART developed such an excess of sensitiveness, that, a prey to the morbid fancies of an always vivid and powerful imagination, he now saw himself the object of a conspiracy for crushing his fame as an artist and as a man, and hounding him from society. Suspicious of even his closest friends, he became secluded in his habits, and at times depressed and moody. The devotion of his friends did much to palliate his sufferings, however, and no one was ever richer in friends than Rossetti, who, notwithstanding the self-will and domineering spirit that marked his character, was a man of such winning personality that he was beloved, nay, well-nigh adored, by a brilliant circle of men, who, attracted by his genius, his warmth of heart, and the charm of his conversation, looked upon him not as the spoiled child that he often showed himself, but as one whom it was an honor to serve. There were times in these last years of Rossetti’s life when the cloud lightened, and he seemed in a fair way to regain to some extent his broken health; but so long as the chloral habit continued — and no persuasions of friends or injunctions of physicians could effectually put a stop to it — there was no hope of lasting recovery. Nevertheless, his intellectual faculties seemed in no way impaired, and to these years some of his finest poems are to be as- signed. In painting, his achievements were, as a rule, less remarkable; and many of the single figures, of which he produced a great number at this period, are marked by an exaggeration of his peculiar mannerisms. Some few, nev- ertheless, stand out as preeminent, notably ‘Venus Astarte,’ ‘The Day- dream,’ ‘Pandora,’ ‘La Bella Mano,’ and ‘Proserpine.’ In 1881, accompanied by Mr. Hall Caine, who devoted himself to Ros- setti during the last years of the painter-poet’s life, he went for change of air and scene to the Vale of St.John, near Keswick ; but he soon returned to Lon- don, more broken than before he went away, and a paralytic shock further reduced his strength. When sufficiently recovered from its effects he was taken to Birchington-on-the-Sea, and there, tenderly cared for by his family and friends, he died, on Easter Sunday, April 9, 1882. In accordance with his wish, his funeral was conducted with the utmost simplicity, and none but his nearest relatives and a few intimate friends were present when he was buried in the quiet churchyard of the seaside village. D ANTE GABRIEL ROSSETTI was, in the words of his brother, “es- sentially of a dominant turn, in intellect and in temperament a leader. He was impetuous and vehement, and necessarily therefore impatient; easily angered and easily appeased, although the embittered feelings of his later years obscured this amiable quality to some extent ; free-handed and heedless of ex- penditure, whether for himself or for others; in family affection warm and equable, and (except in relation to our mother, for whom he had a fondling love) not demonstrative. Never on stilts in matters of the intellect, but steeped in the sense of beauty, and loving, if not always practising, the good; keenly alive also (though many people seem to discredit this now) to the laughable as well as the grave and solemn side of things ; superstitious in grain, and anti- scientific to the marrow. Extremely natural and unaffected, with the natu- [ 490 ] POSSETTI 29 ralism characteristic of Italian blood ; reserved at times, yet not haughty ; des- ultory enough in youth, diligent and persistent in maturity; self-centered always, and brushing aside whatever traversed his purpose or his bent. He was very generally and very greatly liked by persons of extremely diverse character. . . . “I have more than once had occasion to confute a current misconception that Dante Rossetti could be described as a sentimentalist, a dreamer, a mys- tic, an esthete, and the like, without allowance being made for a considerable counterbalance of attributes of a very opposite character. Certainly he had some sentiment; he dreamed several dreams, asleep and awake; he may have been a mystic (though I never quite understood what a mystic is); but it is not the less true that he was full of vigor and buoyancy, a quick-blooded, downright-speaking man, with plenty of will and an abundant lack of hum- bug. People who take an interest in him may depend upon it that the more they learn about him — of an authentic kind — the more will the masculine traits of his character appear in evidence, and the less will room be left for the notion of a pallid and anemic ‘esthete,’ a candidate for the sunflowers of a Du Maurier design. He did not ‘yearn.’ All this is said without at all derogating from the fact that in the very essence of his mind and temper- ament Dante Rossetti was a poet. . . . “The appearance of my brother was rather Italian than English. He was of rather low middle stature, say five feet seven and a half. Meager in youth, he was at times decidedly fat in mature age. The complexion, clear and warm, was also dark, but not dusky or somber. The hair was dark and silky; the brow grandly spacious and solid; the full-sized eyes bluish-gray; the nose shapely, with an aquiline tendency and large nostrils, and perhaps no detail in the face was more noticeable at a first glance than the strong indentation at the spring of the nose below the forehead; the mouth moderately well- shaped, but with a rather thick and unmolded under-lip; the chin unremark- able; the line of the jaw full, rounded, and sweeping. His hips were wide, his hands and feet small; the hands those of the artist or author type, white, delicate, plump, and soft as a woman’s. His gait was resolute and rapid ; his general aspect compact and determined; the prevailing expression of the face that of a fiery and dictatorial mind concentrated into repose. Some people regarded Rossetti as eminently handsome; few, I think, would have refused him the epithet of well-looking. His voice was deep and harmonious; in the reading of poetry, remarkably rich, with rolling swell and musical cadence.” CIjc 91rt of 3\ossrttt SIDNEY COLVIN ‘MAGAZINE OF ART’ 1883 R OSSETTI was essentially a romantic: I have even heard him express a - doubt whether familiar themes and surroundings, and every-day passions and affections, were capable in the modern world of yielding effective mate- [ 491 ] 30 MASTERS IN ART rial to art. In the midst of the nineteenth century he belonged by nature rather than by effort to the Middle Age, the age when the colors of life were most vivid and varied and the sense of supernatural agencies most alive. A mind teeming with colored and mystical imagery, and a sustained high temperature or intense habit of the soul — these were the gifts with which Rossetti grew up, and began, before the close of boyhood, to attempt both poetry and painting. The time was one more favorable in England to liter- ature than to the sister art, and we find that the poetry of Rossetti was re- markable, first as last, for the qualities of technical expertness and resource; but with his work as a painter the case is different. The years during which he grew to manhood were those when the state of English painting was at its worst, and a spirit like the young Rossetti felt as if he had nothing to learn from contemporary teaching. The schism which he headed among the students of his time was a movement, half, indeed, of serious and enthusias- tic purpose, but half also of whimsical and contemptuous revolt against what he held to be the brainlessness and triviality of the time. Great needs to be the courage of the artist who thus rebels against author- ity, and declines to profit by the teaching of his time. Let the seceder pos- sess what gifts and make what efforts he will, his work is certain to retain a character of crudeness and inexperience. When we look at the work of the early, the original, Preraphaelite schools of Europe, we are not put out by faults of proportion and perspective, because we know that the laws of pro- portion and perspective had not yet been discovered; but when we look at the work of a modern artist, and perceive these or kindred faults, we feel that he is not technically up to the standard of his time; that, in a word, he is in some degree not a master, but an amateur. Now taking the paintings of Rossetti all together, it is impossible, I think, to deny that they bear in some measure to the last this stamp of technical inexperience and amateur- ship. Some brilliant and original excellences, even of the technical kind, he indeed in the course of practice acquired; but they are rarely quite harmo- niously balanced, or free from an admixture of failure in other directions. To some of Rossetti’s contemporaries, his vivid realization of medieval life and legend, his glowing and rich vein of symbolism, were things that spoke with a peculiar and thrilling power. In their eyes what mattered the artist’s shortcomings, provided he was capable of thus stirring them to the deepest fibers of their souls? To others, in whom the same fibers are less awake, it must be expected that of such work as this the weaknesses, exaggerations, and self-repetitions will alone or principally be perceptible. . . . Rossetti’s artistic career as a painter may be most conveniently divided, I think, into three periods. The first period extends from the artist’s boy- hood to about his thirty-fourth year, that is from 1847 to 1862; the second from 1862 to 1870; the third from 1870 till his death. In the first period Rossetti’s aim in art was almost entirely of the dramatic and narrative kind; the subject and inspiration are sometimes Christian, sometimes literary and romantic; very often they are drawn directly from Dante, and only in one important instance, his never finished picture of ‘Found,’ from modern life. [ 492 ] ROSSETTI 31 To sum up generally the characteristics of this period, the first are vivid- ness and ingenuity of dramatic presentment, the idea so predominating over the matter that actions are allowed to appear as strained, and compositions as naive, as they please, provided only the emotional and intellectual points are driven home. These are among the qualities whereby Rossetti’s work is obviously allied to that of the Middle Age; other characteristics are his en- joyment of the quaint invention of costumes and furniture, and the weight of symbolical meaning which he makes every circumstantial detail and acces- sory bear. Others, again, are his neglect of the elements of chiaroscuro and atmosphere in painting, and his delight in and insistence on the element of color. Many of the little pictures of this time flash and glow like jewels or the fragments of some gorgeous painted window. Always interesting by their stamp of poetry and romance, thrilling by their poignancy of emotion, and originality and vividness of color, these were the pictures that had so powerful an effect on the minds of a few of Rossetti’s contemporaries and juniors. Aided by his own magnetic personality, by his impulsive and gen- erous temper, and his persuasive and authoritative power of speech, the work he did at this time made him, to every spirit susceptible of imaginative and poetical influences with whom he came in contact, a focus of inspiration such as no other man has been in England in our time. During the next period, from 1862 onwards, the dramatic and narrative aims wh ; ch had hitherto predominated in Rossetti’s painting gradually ceased to inspire it. A few, indeed, of his finest small water-colors in the old vein, with some added freedom of action and depth of variety of tone, belong to this period, but the characteristic products of the new time are single female heads and half-figures in oil. Such subjects Rossetti generally repeated in more than one different version, or replica, and the more important of them he always carefully worked out first in the shape of a cartoon in colored chalk. Occasionally the theme is still suggested by literature, as ‘ Beata Bea- trix’ bv Dante, and ‘The Beloved’ by the Song of Solomon; but more com- monly it is of the artist’s own invention. Rossetti’s invention in this order of subjects is of two kinds. Either he simply takes some type of beauty that interests him, attires her in gorgeous and far-fetched ornaments, and strains all his powers to express, as he feels it, the mere sensuous charm of woman- hood and rich array; or else he invests her with a halo of intellectual attri- butes and secondary meanings, making of herself a personification and a sym- bol of everything that adorns her. The productions of this class and period certainly include all that is most technically accomplished, if not what is most strikingly interesting and sug- gestive, in Rossetti’s work as a painter. He by degrees acquired breadth and ease and a real mastery in the design of these single female half-figures and heads. Depth of tone and chiaroscuro he as yet did not seek, but he attacked and vanquished the most daring problems of color in equal and diffused light. For the combination of keen and flashing intensity with mastery and delight- fulness of quality, his painting of tissues and jewels and flowers at this period stands, it is no extravagance to sav, alone in art. [4931 32 MASTERS IN ART In flesh-painting Rossetti’s manner is less assured, but in those faces which he has not afterwards spoiled by retouching he obtained a fine quality of bloom and charm, with much delicacy of modeling and shadow. The gloss and mystery of hair, also, Rossetti could render with admirable cunning ; but what he most cared for in the face was the expression of soul, and ac- cordingly it is on the organs of the soul, the eyes and mouth, that his chief efforts are concentrated. In the setting and coloring and expression of the feminine eye he exhibits an extraordinary mastery. But w'ith mouths he was much less successful. The great change, as it seems to me, happens about 187 0, when his works exhibit for the most part a manifest falling-off in artistic sanity and self-con- trol. They are always, indeed, the work of a poet, of a man who perceives things through a medium of strong imaginative emotion, and who has striven, in these visionary shapes, to express a profound and fervent sense of the power of beauty and sex, and of the awe and mystery of life. There is al- ways a fine intention to be discerned in them; in the conception, an abun- dant wealth of ideas of that involved, symbolical kind which lend themselves equally to verbal and to pictorial expression, and cannot be got perfectly in- telligible in either; in the realization, a striving after sweep and grandeur of design, with impressiveness of type and splendor and suggestiveness of de- tail. But the artist has become the slave of his own predilections. He has found a particular cast of beauty, with lips at once full and pining, and eyes overshadowed by a great thunder-cloud of hair — he has found this, and the length of throat, the litheness of limb and sinuousness of pose that go with it, so consonant to his imaginative mood that he repeats them again and again, sometimes with a mechanical insistence and exaggeration, especially in the drawing and coloring of the mouth, that almost degenerate into caricature. Technically he aims more and more at depth of tone, and at the same time his sense of color becomes sickbed. In the flesh, particularly, he in many pictures of this date gets a morbid tint into the shadows, and a dragging and stringy quality into the handling, that stand in the strongest contrast to the work of his healthier days. In this new series of mystic and symbolic, or merely sumptuous and fanciful female incarnations painted in the last twelve years of Rossetti’s life, there seems indeed to be only one, and that is the ‘Proserpine,’ fit to be chosen as a thoroughly adequate and worthy example of his powers. EDOUARD ROD ‘ETUDES SUR LE XIX e SIECLE’ I N common with the great painters of the Italian Renaissance, Rossetti preferred to paint man rather than nature; but — and herein his northern spirit showed itself — it was not the outer physical man, “the human animal” to use Taine’s phrase, but the inner, spiritual, man that attracted him. Care- less of the merely external beauties of the human body, he sought primarily for expression, and chose for his own that type of physical beauty which seemed to him best calculated to reveal it. His religion was not objective — not based upon a faith in the supernatural, [ 494 ] ROSSETTI 33 upon a transcendental ideal, a finite need of some fixed standard for life’s government; it was a wholly subjective thing, a pure emotion, an ecstasy. His soul was one of those which are capable of such intense and passionate feeling as to inwrap things terrestrial and things supernal in one and the same emotion, and thus to obliterate distinctions between the real and the imaginary. This type of emotion had almost entirely died out during the formal seventeenth and eighteenth centuries, but Rossetti brought it once more into the service of literature and art in his sonnet-cycle called ‘The House of Life.’ Therein we see the poet struggling to express the inexpress- ible; but now and again, although the finite sense of the words themselves is often intangible, they suddenly open to the imagination glimpses into the infinite, where thought, freed from the prison-house of reality, seems to have found liberty in a dream world, where unsubstantial images, like summer clouds, melt, are transformed and re-created into other shapes before we can grasp them, till one feels that he is in a vision universe, with nothing of the mundane left to tie to. . . . Rossetti himself never quitted this dream w’orld. Whether he expressed himself in line and color or in word and cadence, the character of his inspira- tion remained constantly the same. His pictures, like his poems, are visions. In the ‘Dante’s Dream,’ the ‘ Beata Beatrix,’ ‘The Blessed Damozel,’ and in how many more, the figures have an effect of immobility, of silence, of sus- pense in motion, that makes them resemble those dream images which we can never quite clearly visualize, because they define themselves upon our imaginations rather than upon our retinas. Sometimes he delights to surround his figures with brilliant accessories, to scatter flowers about them (roses above all, which he painted with a rare per- fection), to drape them in rich Venetian stuffs, the hues of which recall Gior- gione — and yet no matter how rich or real these surroundings, they never lose a supernatural quality, an indefinite something that betrays the fact that they have no real existence, and that even when fixed thus upon the canvas they are still part and parcel of the painter’s soul. Rossetti’s subjects, be they religious, profane, or mythologic, were for him no more than pretexts. How- ever diverse the forms in which he bodies them forth, w'e know that he is always painting his own dream. . . . Throughout his entire achievement, in painting as in verse, Rossetti re- mained wholly a poet. His drawing was often marred by salient errors. Al- most all his women have over-large hands; too often the stuff’s which drape them seem but half to conceal strange physical imperfections — an arm too short, or a defective shoulder — although the coloring atones for any such negligences in drawing. Rossetti’s art as a painter, however, lies — above any such question of technique — in the supreme intensity of expression which he succeeded in giving his figures, yet without recourse to violent gestures or movements. And it is, it seems to me, in this expressiveness that the artistic value of his pictures resides, for there can be no doubt as to their poetic value. He realized that in an overwhelmingly intellectual epoch paint- ing itself should conform to the general current, and pursue another ideal than [ 495 ] 34 MASTERS IN ART that of pure form, and that, moreover, this ideal could be none other than that o {expression. But he saw, further, that the calmest attitude and the slow- est gesture were perfectly compatible with a most vivid intensity of inner life, and thus he restored to art qualities which it had lacked since the days of the Renaissance. — from the french HARRY QU1LTER ‘PREFERENCES IN ART’ I X)R Rossetti’s fame it is probably unfortunate that he did not limit him- ’ self to poetry, or that he did not begin painting earlier, study it more rig- orously, and confine himself to it more entirely; but for the world at large I doubt whether he could have done, being what he was, better work. He was to all young artists and young writers a tower of strength, a light to encourage them to despise conventions, and to give up their lives to their art. He was, in fact, a standing protest against the idols of the market — an influence that made, as Arnold would say, for artistic righteousness. . . . What place in the history of art and literature Rossetti’s achievements will eventually hold is difficult even to surmise, but one or two points may be confidently asserted. In the future he will stand less as the painter-poet than as the leader of the great artistic movement of England in the nineteenth century, his work will be regarded and prized even more for what it effected than for its intrinsic merit. . . . In speaking, therefore, of his art, and trying to estimate its worth, we must always bear in mind that, as a set-ofF against many eccentricities and defi- ciencies of treatment, and many limitations of thought and feeling, we have this fact: that it was powerful to trouble the artistic Bethesda to the very depths of its sluggish waters, and to set artists upon new tracks of execution and new impulses of thought. Surely no mean praise to a painter that, un- der his awakening power, other painters did better and more vital work; and that the forward impulse in art which he was mainly instrumental in crea- ting bids fair to widen out into issues of which no one can at present pre- dict the end. Che H>orUo of Ixossrttt DESCRIPTIONS OF THE PLATES ‘ ECC E ANC1LLA DOMINI' PLATE I | 'HE best of Rossetti’s Preraphaelite work during the two years subse- A quent to 1848,” writes Mr. Marillier, “is the ‘ Ecce Ancilla Domini’ Behold, the Handmaid of the Lord ’), a sequel to his ‘ Girlhood of Mary Vir- gin,’ and the realization of the last lines of the sonnet written for that picture: ‘So held she through her girlhood; as it were An angel-watered lily, that near God Grows and is quiet. Till, one dawn at home, [496] ROSSETTI 35 She woke in her white bed, and had no fear At all, — yet wept till sunshine, and felt awed: Because the fullness of the time was come.’ There is an especial charm in this new conception of the oft-depicted scene — the angel, not gay with peacock wings and trappings as usual, but grave and simply clad; the Virgin, not raised triumphant on a throne, nor impossibly bedecked with jewels, but waked from slumber in the early dawn, and crouch- ing half in fear and awe upon a pallet.” The main tone of the picture is white. The walls of the bare chamber are white, so is the Virgin’s sculpture-like drapery, so likewise the coverings of the bed and the long garment of the archangel, who holds a white annun- ciation lily in his hand. A golden halo surrounds his auburn hair, and about his feet are pale yellow flames. Touches of bright color are given, however, in the red embroidery at the foot of the bed, and in the blue curtain behind the figure of the Virgin, whose long red hair is relieved by a gold aureole. On the wall above is a lamp, its flame dimmed by the flood of early morn- ing light which fills the room, and through the open window, beyond which we see the blue sky and a single green palm-tree, the Holy Spirit enters in the form of a dove. The picture is now in the National Gallery of British Art (Tate Gallerv), London. ‘THE GIRLHOOD OF MARY VIRGIN’ PLATE II I N 1848 Rossetti, inspired by the new ideas embodied in the Preraphaelite movement, began work upon his first oil-picture, ‘The Girlhood of Mary Virgin.’ Although it shows in some respects a deficiency in technical train- ing, this work, full of delicate sentiment and replete with symbolism, is a remarkable production for a young man of twenty. The scene represents a room in the home of the Virgin, who with her mother, St. Anna, is seated at an embroidery-frame engaged in copying the tall white lily, emblem of purity, that is before her. Needle in hand, she pauses in her work, her gaze fixed upon a child-angel with rose-colored wings, invisible save to her, who stands beside the lily. Beneath the pot in which the flower grows are six books, each inscribed with the name of a cardinal virtue, the dominant idea of the picture being that the Virgin advances in purity and virtue until fitted to become the bride and mother of Deity. Mary’s golden hair and gray dress with its touches of green at the wrists, and St. Anna’s nun-like garb of dark green and brown with a head-covering of dull red, are relieved against an olive-green curtain, beyond which is seen a garden where St. Joachim, the Virgin’s father, is training a symbolically fruitful vine, the young tendrils of which form the figure of a cross. A white dove, symbolizing the Holy Spirit, has alighted on a trellis, and on the floor at Mary’s feet lie palm branches and slips of thorn emblematic of the Passion. The picture, now owned by Mrs. Jekyll, was first exhibited in 1849. It [ 497 ] — 36 MASTERS I N ART is painted on a wooden panel, and is signed with the artist’s name followed by the initials “P. R. B.” Rossetti painted his mother’s face for St. Anna, and, for the Virgin, took for his model, as in the ‘Ecce Ancilla Domini,’ his sister Christina. ‘THE BLESSED DAMOZEL’ PLATE III T HE version of this subject here reproduced was painted by Rossetti in 1879, and is a replica of the original picture finished some two years earlier. The principal difference between the two versions is that in the back- ground of the first Rossetti introduced countless figures of embracing lovers, and by some critics it is considered the superior work, but the expression of the face of the ‘Blessed Damozel’ in this second version is more beautiful. The subject illustrates Rossetti’s poem of the same name, written many years before, in which he describes the expectant longing of a young girl in heaven for her lover, whom she had parted from on earth. “The blessed damozel leaned out From the gold bar of Heaven; Her eyes were deeper than the depth Of waters stilled at even ; She had three lilies in her hand. And the stars in her hair were seven.” The figure of ‘The Blessed Damozel’ is life-size. She is clad in a gar- ment of pale green and her hair is deep gold. Below the bar on which she leans are two angels, with wings of light reddish purple, holding branches of palm; and in the lowest compartment of all the earthly lover is represented. The picture is now owned by the Hon. Mrs. O’Brien. ‘PROSERPINE’ PLATE IV A MONG Rossetti’s works none is more celebrated than this picture of l ‘Proserpine.’ There are several replicas of the subject, and some un- certainty exists as to which may be regarded as the original painting. The picture reproduced in plate iv, formerly in the Leyland Collection, and now owned by Mr. W. Graham Robertson, is dated 1874. In one of his letters Rossetti has himself explained the subject. ‘‘The figure,” he writes, ‘‘represents Proserpine as Empress of Hades. After she was conveyed by Pluto to his realm, and became his bride, her mother, Ceres, importuned Ju- piter for her return to earth, and he was prevailed on to consent to this, pro- vided only she had not partaken of any of the fruits of Hades. It was found, however, that she had eaten one grain of a pomegranate, and this enchained her to her new empire and destiny. She is represented in a gloomy corridor of her palace, with the fatal fruit in her hand. As she passes a gleam strikes on the wall behind her from some inlet suddenly opened, admitting for the [ 498 ] ROSSETTI 37 moment the light of the upper world; and she glances furtively towards it, immersed in thought. The incense-burner stands beside her as the attribute of a goddess. The ivy-branch in the background may be taken as a sym- bol of clinging memory.” The life-size figure of Proserpine is clad in a steel-blue robe, and the heavy masses of hair that fall over her shoulders are brownish-black. The won- der of the picture is in the pale face with its moody eyes and its expression of tragic despair. •dante’s dream’ plate v T HIS celebrated picture, painted in 1869—7 1, is the only one of Ros- setti’s early designs that was executed on a scale commensurate with its importance. Although in technical qualities not equal to some of his other works, the picture is nevertheless so profoundly impressive in its conception that it is held by many to be the artist’s masterpiece. The subject is from Dante’s ‘Vita Nuova,’ in which the poet dreams that his loved lady, Beatrice, has been taken from this life, and in imagination he goes to look upon her “Then Love said, ‘Now shall all things be made clear: Come, and behold our lady where she lies.’ These ’wildering phantasies Then carried me to see my lady dead. Even as I there was led. Her ladies with a veil were covering her ; And with her was such very humbleness That she appeared to say, ‘I am at peace. ’ ” The scene represented is, to quote Rossetti’s own words, “a chamber of dreams, strewn with poppies, where Beatrice is lying on a couch recessed in the wall, as if just fallen back in death. The winged figure of Love, in red drapery, leads by the hand Dante, who walks conscious but absorbed as in sleep; in his other hand Love carries his arrow pointed at the dreamer’s heart; as he reaches the bier Love bends for a moment over Beatrice with the kiss which her lover has never given her, while the two green-clad dream ladies hold the pall full of may-bloom suspended for an instant before it covers her face forever.” On both sides of the picture, through the doorways that open on the streets of Florence, deserted now for grief, birds of scarlet plumage fly in and out, typifying the presence of the spirit of love. T he figure of Beatrice is robed in white, and her pale face is framed by the long golden hair that falls over her pillow. Dante is in black with touches of purple — a somber con- trast to the flame-colored figure of Love. The picture measures about seven feet high by ten and a half feet wide. It is now in the Walker Art Gallery, Liverpool. [ 499 ] 38 MASTERS IN ART •THE SEED OF DAVID’ [DETAIL] PLATE VI I N 1856 Rossetti received a commission to paint an altar-piece in three compartments for the cathedral of LlandafF, Wales, then under process of restoration. The subject selected by the artist for this, his largest work, was ‘The Seed of David,’ showing in the central portion (reproduced in plate vi) the worship of the infant Christ by a shepherd and a king, and in each of the side divisions a figure of David, in one as a shepherd-boy with crook and sling, and in the other as a king. The work was not finished until 1 864, and four or five years later was retouched by Rossetti. The treatment is dec- orative and the color deep and rich in tone. In a letter written by Rossetti in 1864 he gives the following description of this important composition: “It is intended,” he says, “to show Christ sprung from high and low in the person of David, who was both shepherd and king, and worshiped by high and low — a king and a shepherd — at his nativity. Accordingly in the center-piece an angel is represented leading the shepherd and the king to worship in the stable at the feet of Christ, who is in his mother’s arms. She holds his hand for the shepherd, and his foot for the king, to kiss — showing the superiority of poverty over riches in the eyes of Christ. There is an opening all round the stable, through which angels are looking in, whilst other angels are playing on musical instruments in a loft above.” ‘BEATA BEATRIX’ PLATE VII T HIS well-known picture, now in the National Gallery of British Art (Tate Gallery), London, was painted by Rossetti in 1863, not long after the death of his wife, “ with portraiture of her so faithfully reminiscent,” writes his brother, “that one might almost say she sat, in spirit and to the mind’s eye, for the face.” Several replicas of the picture were painted by Rossetti, but always reluctantly, and none proved equal in quality to the orig- inal version here reproduced. The following words of the painter himself are perhaps the best description of the work: “The picture illustrates the ‘Vita Nuova,’ embodying symbol- ically the death of Beatrice as treated in that work. The picture is not in- tended at all to represent death, but to render it under the semblance of a trance, in which Beatrice, seated at a balcony overlooking the city of Flor- ence, is suddenly rapt from earth to heaven. “You will remember how Dante dwells on the desolation of the city in connection with the incident of her death, and for this reason I have intro- duced it as my background, and made the figures of Dante and Love pass- ing through the street and gazing ominously on one another, conscious of the event; while the bird, a messenger of death, drops the poppy between the hands of Beatrice. She, through her shut lids, is conscious of a new world, as expressed in the last words of the ‘Vita Nuova’ — ‘ I hat blessed Beatrice who now gazeth continually on His countenance who is blessed throughout all ages.”’ [ 500 ] ROSSETTI 39 The life-size figure of Beatrice is clothed in a grayish purple robe with overgarment of green. The plumage of the bird bearing in his bill a pale yellow poppy, symbol of death, is crimson, as is also the figure of Love seen in the distance. A sun-dial points to the hour of the death of Beatrice on that fateful ninth of June, 1290. “Into this picture,” writes Mr. Marillier, “Rossetti has put the very best of himself — imagination, feeling, color, beauty, and perfect harmony. Not a flaw, not an ugly touch, mars the repose of that upturned entranced face, the purest of all the images that have made his wife immortal.” •PAOLO AND FRANCESCA’ PLATE VIII T HE subject of this picture is a scene from the story of Francesca da Rimini, daughter of Guido di Polenta, who, being married to Lanciotto, son of Malatesta di Rimini, fell in love with her husband’s brother, Paolo, and with her lover was put to death by Lanciotto upon his discovery of their guilty passion. In Rossetti’s picture the lovers are seated before a window bearing on its panes the arms of Malatesta. Paolo is clad in red and Francesca in green. Red roses are on the floor at their feet, a rose-bush grows at their right, and a red lute hangs on the wall beside them. In the midst of their reading the lovers have paused to give the fatal kiss that sealed their doom. On the frame of the picture this passage from Canto v of Dante’s ‘Inferno’ is inscribed: “One day For our delight we read of Launcelot, How him love thralled. Alone we were, and no Suspicion near us. Oft times by that reading Our eyes were drawn together, and the hue Fled from our altered cheek. But at one point Alone we fell. When of that smile we read. The wicked smile so rapturously kiss’d By one so deep in love, then he, who ne’er From me shall separate, at once my lips All trembling kiss’d.” The picture, painted in water-color, is now owned by Mr. W. R. Moss, of Bolton, England. It is a replica, possibly an early study, of one of the compartments of a three-part picture painted by Rossetti in 1855, in which in addition to the subject here shown he represents, in another compartment, the souls of the lovers clasped in each other’s arms floating in the flames of hell. Between these two divisions stand the figures of Dante and Virgil. ‘THE BELOVED’ PLATE IX T HIS picture ‘The Beloved,’ sometimes called ‘T he Bride,’ considered by many to be Rossetti’s finest work, was begun in 1864, and two years later delivered to its purchaser, Mr. Rae, the present owner. In 187 3, how- [ 501 ] 40 MASTERS IN ART ever, Rossetti requested that this his “pet among his pictures” should be re- turned to him for certain changes that he wished to make in the color and in the composition. Most of the published reproductions of the picture, how- ever, are taken from photographs made prior to this revision, and do not rep- resent it as it now appears, and as it is shown in plate ix. In the splendor of its glowing color this work is unsurpassed by any of the artist’s produc- tions. “I mean it to be like jewels,” he said; and certainly no canvas could be more jewel-like. The subject represents the bride of the ‘Song of Solomon,’ attended by her women, advancing to meet her bridegroom. “I am my beloved’s and mv beloved is mine,” says the Song. The bride is arrayed in a splendid robe of apple-green silk with flowing sleeves richly embroidered in gold and red. Be- hind her are four dark-haired maidens, one of whom carries clusters of bright- colored japonica blossoms and another brownish yellow tiger-lilies, while be- fore her, his jet-like skin serving as a foil to her own fair beauty, is a little negro boy with jeweled collar and head-band, bearing a golden vase of roses. With one hand the bride draws aside her veil of silken tissue fastened at either side with ornaments of gold and scarlet. Rossetti considered that he never surpassed in “downright loveliness” the type of womanhood here rep- resented. “Excepting one or two later works of the master, where sentiment of a more exalted sort, as in the ‘ Proserpine,’ inspired the designs, ‘The Beloved,’ ” writes Mr. F. G. Stephens, “appears to me to be the finest production of Rossetti’s genius. It indicates the consummation of his powers in the high- est order of modern art, and is in harmony with that poetic inspiration which is found in every one of his more ambitious pictures.” ‘THE LOVING CUP* P LATEX T HIS subject, of which the original and most beautiful version is here reproduced, Rossetti repeated many times. It represents a young woman in crimson robe, standing against a background of white linen embroidered in blue and crossed by a shelf on which is a row of brass plates. Her eyes are deep blue, and her brown hair, decorated with jewels, is looped about her neck, around which are necklaces of pearls and corals. Over her right shoul- der falls a green veil. In one hand she lifts the golden loving cup to her lips, holding the cover in the other. The picture, formerly in the Leyland Collection, is now owned by Mr. T. H. Ismay. A LIST OK THE PRINCIPAL PAINTINGS BV ROSSETTI Note : The letter o. following the name of a picture denotes that it is in oil ; the letter .; Mary in the House of St. John, .; Damsel of the Sane Grael, 0.; The Tune of Seven Towers, r w.; The Chapel before the Lists, ‘iv.; Wedding of St. George, .; Before the Battle, tu. — Chicago, Owned by Mr. C. L. Hutchinson: Beata Beatrix, 0. — New York, Owned by Mr. S. T. Peters: Joan of Arc, 0. — Rockford, near Wilmington, Owned by Mr. S. Ban- croft, Jr.: Found, 0.; Lady Lilith, 0.; Water-willow, 0.; Mary Magdalene, 0. i\0ssrttt Bthltogiaplj)) A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLE: DEALING WITH ROSSETTI B ATE, P. H. English Pre-Raphaelite Painters. London, 1899 — Bell, N. R. E. Representative Painters of the xixth Century. London, 1899 — Caine, T. H. Rec- ollections of Rossetti. London, 1882 — Carr, J. C. Rossetti’s Influence in Art (in Pa- [ 503 ] 42 MASTERS IN ART person Art). London, 1885 — Cary, E. L. The Rossettis. New York, 1900 — Des- tree, O. G. Les Preraphaelites. Paris, 1897 — Fred, W. Die Prae-Raphaelitcn, Strassburg, 1900 — Garnett, R. Rossetti (in Dictionary of National Biography). Lon- don, 1897 — Hoppin, J. M. Great Epochs in Art History. Boston, 1901 — Hake, G. Memoirs of Eighty Years. London, 1892 — Knight, J. Life of Rossetti. London, 1887 — La Sizeranne, R. de. English Contemporary Art: Trans, by H. M. Poynter. New York [1898] — Layard, G. S. Tennyson and his Pre-Raphaelite Illustrators. London, 1894 — MacColl, D. S. Nineteenth Century Art. Glasgow, 1902 — Marillier, H. C. Dante Gabriel Rossetti. London, 1899 — Muther, R. History of Modern Painting. New York, 1896 — Muther, R. Geschichte der englischen Malerei. Berlin, 1903 — Nicholson, P. W. Dante Gabriel Rossetti. Edinburgh, 1886 — Parkes, K. The Pre- Raphaelite Movement. London [1889] — Quilter, H. Sententise Artis. London, 1886 — Quilter, H. Preferences in Art. London, 1892 — Redgrave, S. A Century of Painters of the English School. London [1890] — Rod, E. Etudes sur le xix c siecle. Paris, 1888 — Rossetti, D. G. Ballads and Sonnets; Edited, with Memoir, by F. Huef- fer. Leipsic, 1882 — Rossetti, D. G. Collected Works. Edited, with Memoir, by W. M. Rossetti. London, 1886 — Rossetti, D. G. Letters to William Allingham. Edited by G. B. Hill. London, 1897 — Rossetti, H. M. M. Life and Works of D. G. Rossetti. London, 1902 — Rossetti, W. M. Rossetti as Designer and Writer. London, 1889 — Rossetti, W. M. Dante Gahriel Rossetti: Memoirs and Letters. London, 1895 — Ros- setti, W. M. Ruskin: Rossetti: Pre-Raphaelitism. London, 1899 — Rossetti, W. M. Preraphaelitc Diaries and Letters. London, 1900 — Rossetti, W. M. Rossetti Papers. London, 1903 — Ruskin, J. The Art of England. Orpington, 1884 — Scott, W. B. Autobiographical Notes. London, 1892 — Sharp, W. Dante Gabriel Rossetti. London, 1882 — Temple, A. G. Painting in the Queen’s Reign. London, 1897 — Tirebuck, W. Dante Gabriel Rossetti. London, 1882 — Watts, T. Rossetti (in Encyclopaedia Bri- tannica). Edinburgh, 1 883 — Wood, E. Rossetti and the Pre-Raphaelite Movement. Lon- don, 1894 — Wyzewa, T. D. Peintres de jadis et d'aujourd’hui. Paris, 1903. magazine articles ACADEMY, 1882: T. H. Caine; Obituary. 1883: W. C. Monkhouse; Exhibitions jLX. of Rossetti’ s Pictures — Art Journal, 1883: W. Tirebuck; D. G. Rossetti. 1884: W. M. Rossetti; Notes on Rossetti. 1892: V. Princep; Private Art Collections of London — Athentf.um, 1882: T. Watts; D. G. Rossetti — Blackwood’s Magazine, 1883: J. Bea- vington-Atkinson; Contemporary Art, etc. — Burlington Magazine, 1903: W. M. Rossetti; Rossetti and Elizabeth Siddal — Century Magazine, 1882: E. W. Gosse; D. G. Rossetti — Contemporary Review, 1886: W. H. Hunt; The Pre-Raphaelite Brotherhood — Edinburgh Review, 1900: Morris and Rossetti — Gazette des Beaux- Arts, 1883: T. Duret; Les Expositions de Londres — Harper’s Magazine, 1882: M. Robinson; D. G. Rossetti — The Hobby Horse, 1886: F. Shields; Notes on Ros- setti — Independent, 1898: W. C. Ward; D. G. Rossetti — Lippincott’s Magazine, 1901: H. H. Gilchrist; Recollections of Rossetti — Littell’s Living Age, 1897: T. Sulman; A Memorable Art Class — Magazine OF Art, 1883: S. Colvin; Rossetti as a Painter. 1889: W. M. Rossetti; Portraits of D. G. Rossetti. 1900: W. M. Rossetti; Marillier’s Record of Rossetti — National Review, 1883: D. Hannay; The Paintings of Rossetti — New Englander, 1885: L. J. Swinburne; Rossetti and the Preraphaelites — New Review, 1894: L. H. Caine; A Child’s Recollection of Rossetti — Nineteenth Century, 1883: F.. J. Barrington; The Painted Poetry of Watts and Rossetti. 1883 : T. Watts; The Truth about Rossetti — Portfolio, 1883: F. G. Stephens; Earlier Works of Rossetti. 1894: F. G. Stephens; Dante Gabriel Rossetti — Putnam’s Maga- zine, 1870: W. J. Stillman; Rossetti, Painter and Poet — Quarterly Review, 1896: D. G. Rossetti — Westermann’s Deutsche Monatshefte, 1899: A. Wilmersdoerffer; Rossetti und sein F.influss. [ 504 ] MASTERS IN ART BIGELOW KENNARD z. GOLDSMITHS SILVERSMITHS P IMPORTERS Designers and Makers of fine Hall and Mantel Clocks. Bronzes from the foundries of Barbedienne, Colin Z others. Makers of Electric# Gas Lighting Fixtures Experts in Indirect # Subdued Lighting Effects Wa s hington St. c or. West. In answering advertisements, please mention Masters in Art MASTERS IN ART THE POEMS OF DANTE GABRIEL ROSSETTI With 32 photogravure illustrations from his own designs Edited by Elisabeth Luther Cary, author of " The Rossettis,” etc. 2 vols. 8vo. Net, $6.50. 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THE ART OF THE ITALIAN RENAISSANCE A Handbook for the Use of Students, Travellers, and Readers By Heinrich WOlkflin, of the University of Munich. 8vo. With over 100 illustrations. Net, $2-25. With its profuse and beautiful illus- trations, and Professor Wblfflin's text, this is the ideal book for all lovers of Renaissance Art. LITTLE FRENCH MASTERPIECES Edited by Alexander Jessup. Translations by George Burnham Ives. With portraits in photogravure. 6 vols. i6mo. Cloth, each, $1.00. Limp leather, each, §1.25. I.-MERIMEE III. -GAUTIER V.- MAUPASSANT II. -FLAUBERT IV.-DAUDET VI. -BALZAC Each volume contains the best and most representative stories of a single author and an introductory essay by a competent critic, and also a portrait of each author. New York Send for Handsome Illustrated Catalogue of Holiday Books G. P. PUTNAM’S SONS In answering advertisements, please mention Masters in Art London MASTERS IN ART “A VENETIAN GIRL.” TESSARl FROM A COPLEY PRINT. 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It is divided into five sections, dealing respectively with Turner’s pictures in oil, water-color drawings, monochromes, Liber Studiorum, and the engravings after his works. AUTHORSHIP Articles on the various fields of Turner’s activity are contributed by the well-known and eminent critics M. Robert de la Sizeranne, Mr. C. F. Bell, and Mr. Walter Shaw Sparrow. ILLUSTRATIONS Reproductions in color form an important feature of the book, and the Editor h s been fortunate enough to obtain from private collections and other sources a number of hitherto unpublished works of great beauty and interest, which effectively demonstrate the artist’s extraordinary versatility. In addition to the colored reproductions, the black-and- white illustrations are numerous and attractive. A special feature of the number •will be ij plates in color , showing different phases of the master's work in sepia, oil-paint - ing , water-color , and body-color , on gray paper. Rare proofs and plates from Liber Studiorum, from the well-known collec- tion of Mr. IV . G. Rawltnson , will be represented by 16 beautiful prints in facsimile. JOHN LANE TH ? 7 ^A E L”f AD NEW YORK In answering advertisements, please mention Masters in Art MAST E RS IN ART RENAISSANCE PAINTING IN ITALY By JOHN C. VAN DYKE, L. H. D. Professor of the History of Art in Rutger's College. Author of “ Art for Art's Sake,” “ History of Painting,” “ Old Dutch Masters,” etc. «|A new hand-book on Italian Painting, presenting in a delightful form, brief but comprehensive, an introduction to the study of the Italian Masters; a valuable bibliography, and descriptions of sixty paintings representing the Gothic, Early Renaissance, and High Renaissance periods, and sixty full-page illustrations of the subjects chosen by Dr. Van Dyke to represent the three periods. CJThe illustrations are from large negatives made directly from the originals expressly for us, and which have taken nearly two years to bring together. cljool W E have just issued a booklet under the above title, containing announcements of three new publica- tions after originals by Walter Crane, and also of the different reproductions of the Pre-Raphaelite School alreadv published by us of Burne-Jones, Ros- setti, Strudwick, Holiday, etc. This booklet is adorned with a number of illustrations and we shall be pleased to mail a copy of the same upon receipt of 20 cents in stamps. To our fine collections from the Old Masters published in monochrome cop- per-prints of the highest standard we have added lately: THE MASTERPIECES OF THE VIENNA GALLERY. Prospectus of the same mailed upon application. Berlin pijotograplnc Company 3 ^ fine art piibltgljcrgs 14 EAST 23d STREET, NEW YORK COLORGRAPHS ^||UR new pictures, the “Colorgraphs,” are, as the title suggests, reproduc- ed tions in co r. The subjects have been carefully selected from the most famous works of both ancient and modern masters. The “Colorgraphs” will at once be recog- nized as gems of art, for their faithfulness to the originals in the depth and beauty of col- oring brings them close to the possible limits of reproductive art. Hist of .Subjects jftouj ttcoDp MADONNA DEL GRAN DDCA MADONNA OF THE CHAIR CORONATION OF THE VIRGIN ST. ANTHONY OF PADUA ST. CECILIA MARY’S VISIT TO ELIZABETH HOLY FAMILY MADONNA AND CHILD CHRIST THE CONSOLER THE GOOD SHEPHERD REPOSE IN EGYPT By Raphael By Raphael By Botticelli By Murillo By Raphael By Albertinelli By Andrea del Sarto By Murillo By Plockhorst By Plockhorst By Plockhorst HEAD OF CHRIST. From “Christ and the Rich Young Ruler ’ ’ By Hofmann C.The “Colorgraphs” are 8 x io inches in size, and each is enclosed in a neat declcle-edged portfolio. Price, 35 cents each W. A. WILDE COMPANY BOSTON CHICAGO 120 Boylston Street 192 Michigan Avenue Artistic Home Decorations You may be sure of obtain, ing genuine specimens protect- ed by our private mark of Navajo Indian Blankets, Cliff Dwelling Pottery and Pueblo Indian Pottery. 1 hese goods arc bought by us direct from the Indians. They are selected with taste, discrimination and knowl- edge. Remember everything we sell is guaranteed. If you will write us for our iriustrabd brochure, which includes our price-list, it will be mailed you for the asking and a two cent stamp to cover postage, and will be of in- terest to all lovers of Indian handicraft; also illustrated article showing how we can furnish for you an Indian cor. ncrin your den ; this free also. Please address the INDIAN ARIS CO., 100 Aztec Ave., Gallup, N. M. OUTLINES for ART STUDY EDITORS: Louie M. Powb, H. H. 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BELLINI -MURILLO -HALS -RAPHAEL *Sculf>turt Part 13. — Part 14.— Part 15.— Part 16.— Part 17.— Part 18.— Part 19.— Part 20.— Part 21.— Part 22.— Part 23.— Part 24.— f Paint IDol. Ul. IDol. UD. Part 17 , Part 58, Part jg, Part 40, Part 41 , Part 41, Part 45, Part 44, Part 45, Part 46, Part 47, Part 48 JANUARY FEBRUARY MARCH APRIL MAY JUNE JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER A partial list of the artists to be considered in 1 Masters in Art’ during the forthcoming, 1904, Volume will be lound on another page of this issue. The 1904 Volume will begin with PART 49, THE ISSUE FOR 3 a mint y WHICH WILL TREAT OF fm Bartolommeo NUMBERS ISSUED IN PREVIOUS VOLUMES OF ‘MASTERS IN ART * RUBENS DA VINCI DURER MICH ELAM . 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With five or ten dollars for a first payment, you can make the gift of all gifts — a 1 i Your C'hristuiiis Plans will not be complete until you have looked through J ur beautifully illustrated Catalogue, and considered what you can do in conjunction with the 1.0 FT IS SYSTEM. Write to-day for our Catalogue and from it select any article that you would like to wear and own, or to use as a Christmas remembrance lor the loved one. We will at once send the article to your home, place of business or express office as you may prefer. Examine it as carefully as you wish— when, if it is all that you anticipated, and the best value you ever saw for the money asked, pay one-fifth of the price and keep it. The balance you may send us in eight equal monthly payments. If it fails in any way to wholly please you, simply send it back at our, expense. Whether you buy or not, there are no express or other charges to pay. W e ask only one opportunity f r making you a pleased and per- manent patron of our house which is the largest Diamond house in the world and one of the oldest— Est 1858. Your local banker can tell you all about us. He can by referring to his books of Commercial ratings, show- you that we stand very high in the business world, and that our representations can be accepted without question. AW giv«* a Guarantee Certificate with every Diamond; we make the most liberal exchanges; we give a selection from the largest stock; we make the lowest prices and the easiest terms. We do business promptly, satisfactorily and confidentially. Every patron is assured I absolute satisfaction, and every courtesy that liberal business methods can extend. TO CASH BUYERS ; If you prefer to buy for cash, we have a ) proposition to make that is thoroughly characteristic of our house. It is nothing less than an agreement to return all that you pay fora Diamond — less ten per cent, at any time within one year. Thus, you might wear a fifty-dollar Diamond for a year, then send it back to us and get $45.00. making the cost of wearing the Dia- mond for a whole year less than ten cents a week. No other house is satisfied with a ten per cent profit, hence we are not followed in this offer. Write today for Catalogue. LOFTIS BROS. CO. Diamonds— Watches— Jewelry Dept. P-237. 02 to 08 State Street, CHICAGO, ILL,. v Cf)t Cta'otlcr’s 9lrt Club A PRACTICAL and successful method for the Study of Art at your home, or in clubs, devised and arranged by Mrs. Adeuza Brainerd Chaffee, after years of experience in Lecturing, Study, and Foreign Travel. »ir topics Full details upon application " ' ■ — ^Raphael’s Hours, adapted to Calendar form, there being 12 Hours and 12 Months, with portrait of Raphael for title-page. A description of each Hour, copyrighted by Mrs. Chaffee, accompanies each month. CA most artistic 1 904 Calendar, size 11x14 inches. 75cents,postpaid,uponreceiptof price, to all parts of the United States and Canada. ttle. Alcohol Lamp. Two Pieces Stamped Practice Wood, and full instructions. all con- t uned in neat leatherette B 01 . For sale hy your dealer, or sent by us C.O.D. for exami- nation. Write for our liijs fi4-pare Catalogue with colored inserts No. Q 52— FREE. ^ Illustrate* hundred* Of Gibson and other artistic designs on wood, ready ^ ( \ for burning, together with all kinds of Pyograpby outfits at lowest prices. hicagq/ This trade-mark on everything we make. It means quality. Gall for T. ft C. Pyrographlo Goods. Thayer & Chandler, 162-164 W. Jackson Blvd, Chicago. Largest Makers of Pyrography Goods in the World In answering advertisements, please mention Masters in Art MASTERS IN ART ANY Of these beautiful, genuine Diamonds and fine Pearls, in solid gold, hand-made mountings will be sent n direct from our factory on receipt of price, or C. O. D., subject to inspection. Order by number. We send goods prepaid and guarantee safe delivery. Your money back without a question if you are not wholly pleased. Our diamonds are of superior quality and we sell only fine, high-grade goods and list everything at wholesale prices. O ur beautifully illustrated Catalogue (240 pages) shows thousands of photographs of the newest and finest goods. IT’S FRFK — send for it to day and save one-half on your Christinas shopping. We are the largest concern in the business 'and one of the oldest. — Est. 1R40. We refer to the Commercial National Bank of Chicago. Capital two million dollars. s. X. ALTEMUS (SI CO., Diamond Merchant s , Cold and Sifxlersmiths . D iamonds. Watches. Jetoelry, Sterling Sillier, 330 - 1 * Stewart Building Cut Class, ffoslelties, Etc., Etc, — • ’ ----- - - Chicago, 111., U. S. A, Christmas (Sifts lUijc ©crry pictures ONE CENT EACH for 25 or more; 120 Send 25 cents for 25 Art Subjects, or 25 Madonnas, or 25 On Life of Christ, or 25 I .andscapcs, or 25 Dogs, Kittens, etc., or 25 Authors and Poets, or 25 For Children Each set in a portfolio, or 13 Pictures in Colors, or Art Booklet, Madonnas. or 50 cents for 50 Perry Pictures, assorted, or 25 Pictures in Colors, Birds, etc., or 11 Perry Pictures, Extra Size, or Portfolio 25 Pictures, New York Edition, 7x9. Gems of Art. ♦ Order to-day. [Sistine Madonna. The onc-( :ent pictures are 6 to xo times this size.] Send 50 cents for These 11 Extra Size, 10 x 12. Sistine Madonna Holy Night Feeding Her Birds Shepherdess Baby Stuart Horse Fair Angel Heads Christmas Chimes Pharaoh’s Horses Christ and Doctors Sir Galahad (Call it set 100) Or these and 12 others for $1.00 Or ii Madonnas. Or ii for Children Or ix of Animals for 50 cents These 3 sets for $1. 40 for $r.oo. Postpaid Send $1.00 for 50 New York Edition, or Christmas Set, No. 2, 120 pictures, 5*4 x 8. all in the new Boston Edition, no two alike, or 120 Perry Pictures, your own se- lection from 2.000 subjects. Or The Perry Magazine. or $1.50 for The Perry Magazine and 50 New York Edition, or 50 Pictures in Colors — to new subscribers only, limited time. Send three two-cent stamps for Catalogue of 1,000 miniature illustra- tions and two pictures. Gold Medal, Paris Exposition. Highest Award, Buffalo. Box x, Malden, Mass. 146 Fifth Avenue. New York Satisfaction guaranteed THE PERRY PICTURES COMPANY, Tremont Temple, BOSTON Send all Mail Orders to Malden Office Great Premium Offer to New Subscribers ! THE PERRY MAGAZINE (Price, One Dollar), and One Dollar’s Worth of the NEW YORK EDITION of the PERRY PICTURES. Size 7x9. Price, two cents each, in lots of 1 3 or more. Or ONE DOLLAR’S WORTH of PICTURES IN COLORS, Birds, Animals, etc. 7x9. Price, two cents each, for 13 or more. Or 100 BEAUTIFUL PICTURES, all in the new Boston edition ; our own choice of subjects. ALL FOR $1 - 5 ° For a Limited Time Only DO YOU WANT to know about the great paintings of the world — how to use pictures in teaching geography, history, lan- guage, in picture study and in the home? Also articles on bird study, nature study, home decoration, etc. THE PERRY MAGAZINE WILL HELP YOU THE PERRY PICTURES COMPANY, Box 664, Malden, Mass. TREMONT TEMPLE, BOSTON Send Mail Orders to Malden Office 146 FIFTH AVENUE, NEW YORK In answering advertisements, please mention Masters in Ar t MASTERS IN ART fwmwmmmmuw- FROM ST. LOUIS TO HOT SPRINGS ARK SAN ANTONIO HELMET ROCA AND OOLOEN GATE. AND POINTS IN MEXICO and CALIFORNIA ELEGANT THROUGH CAR SERVICE - DINING CARS MEALS A LA CARTE FOR FURTHER INFORMATION ADDRESS COM PAN YS AGENTS OR H. C. TOWNSEND, Gen'l Pass'r and Tkt. Agt., ST. LOUIS. Luxurious Travel The Pointy Of excellence in a Railway Journey are Good Roadbeds Fast Schedules Comfortable Coaches Palatial Sleepers Efficient Dining-Car Service and these are some of the Points in which the Boston & Albany R. R. excels in its train service from Boston and the New England Territory to the West. For rates, schedules, etc., address A. S. HANSON, G. P. A. BOSTON Icplanti line From BOSTON To LIVERPOOL= Low Rates, first cabin only carried $50 Winter rate Round Trip $95 Summer rate $65 These new and immense steamships are among the largest vessels sailing from Bos- ton, and have a limited number of staterooms for first-cabin passengers only. The state- rooms are large and are located on the upper decks. Splendid new steamers now running. Steamers ' DEVONIAN, 10,418 Tons WINIFRED I AN, 10,405 Tons BOHEMIAN, 10,300 Tons CESTRIAN, 10,300 Tons „ CANADIAN, 9,3°t Tons F. O. HOUGHTON & CO. General Passenger Agents 115 State Street, corner Broad Street, Boston Telephone, 1359 Main In answering advertisements, please mention Masters in Art MASTERS IN ART L* H ABERSTROH * SON MVRAL'PAINTERS *AND * INTERIOR* DECORATORS* WALLPAPERS ‘HANGINGS* AN D *FVRN I T VRE * IX* PARK* STREET* BO STONE £hr fork of &rt (chase school) INSTRUCTORS William M. Chase Robert Henri Susan F. Bissell F. Luis Mora Clifford Carlton Kenneth Hayes Miller Douglas John Conna h Elisa A. Sargbnt Howard Chandler Christy Theodora W. Thayer Drawing, Painting, Composition, Illustration, Decorative and Applied Art. Special Classes for Advanced Work in Por- traiture. Miniature, Illustration, and in Normal Art Work No requirements for admission to any of the classes. Refer- ences required of all students. For further particulars in refere-ce to the School, apply to DOL’GLASJOHN CONNAH, Director, 57 West 57th Street, New York SCHOOL - OF THE MUSEUM - OF* FINE -ARTS BOSTON, MASS. INSTRUCTORS E. C. TARBELL ) n _.„ . F. W. BENSON | D ™"' n P and PHILIP HALE ) p * IDUn 6- B. L. PRATT Modeling E. W. EMERSON Anatomy A. K. CROSS Perspective DEPT. OF DESIGN C. HOWARD WALKER DIRECTOR SCHOLARSHIPS Paige Foreign Scholarship for Men and Women. Helen Hamblen Scholarship. Ten Free Scholarships. Prizes in money awarded in each department. Twenty-eighth Year For circulars and terms address the manager Miss EMILY DANFORTH NORCROSS I 3rt academy of Cincinnati ENDOWED for HIGHER EDUCATION in ART Money Scholarships Year’s Tuition, $25.00 Frank Duveneck ^ Thomas S. Noble I V. Nowottny J L. H. Meakin J C. J. Barnhorn Wm. H. Fry Anna Riis Caroline A. Lord ^ Henrietta Wilson > Kate R. Miller ) 36th year: Sept. 28th, 1903, to May 28th, 1904. J. K. GEST, Director, Cincinnati, Ohio. For Drawing , Paintings Composition, Artistic Anatomy , etc . For Modeling For Wood-carving For Design and China Painting For Preparatory Drawing , etc. In answering advertisements, please mention Masters in Art MASTERS I N ART SATISFACTORY RESULTS in WATER COLORS are obtained by using only the very best material STRATHMORE ILLUSTRATING BOARD Cannot Be Equalled For This Purpose WRITE FOR SAMPLE BOOK MITTINEAGUE PAPER COMPANY H. A. MOSES, Treasurer MITTINEAGUE, MASSACHUSETTS, U . S . A. FROST ADAMS COMPANY IMPORTERS AND DEALERS IN artists’ jRatmals anti jRa fiicmattcal 'instruments A Full Line of f^yrocjicipljtj Srts From S2.50 to $7.50 ftnost Woob Isanti'S For Decorating ^Jcrforatttr Designs from tUicuti? to fiftn rrnts ractj CATALOGUES FREE ON APPLICATION 37 CORNHILL, BOSTON, MASSACHUSETTS ! In answering advertisements, please mention Masters in Art 6 0 3 7 3 1 1 _ GETTY CENTER LIBRARY MAIN NO 497 R78 IM2 BKS C. 1 Dante Gabriel Rossetti . English school 3 3125 00322 0007