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merely theatrical figures, and this is em- Dyck pictures thrill the soul, but all of phasized by his technical power in dealing them have what religious pictures often with the figures he does give, by the har- lack, a union of North and South, of mony of their grouping, the clearness of robust dignity with refined grace. Take their outline, the correctness of their as examples “ The Marriage of Saint modeling, and the satisfactoriness of their Catherine ” (Buckingham Palace, Loncolor-blending. During the latter half of don), The Madonna of the Donors his creative life Van Dyck found little (Louvre, Paris),

(Louvre, Paris), " The Repose in Egypt "

(Pinakothek, Munich), • The Tribute Money" (Brignole Palace, Genoa), and “ The Betrayal" (Prado, Madrid).

Van Dyck's greatest work was in portraiture. The criticism urged against him in this domain is the same criti

often brought against the fashionable portrait-painters of our own day, namely, that they flatter their subjects. While both Rubens and Var. Dyck are sometimes open to this charge, no one will deny that rarely, if ever, have portrait-painters possessed more marked ability exactly to reproduce their subjects. If they did not disdain to increase their exchequers by means of occasional Aattery, it only shows how wide spread is this trick of the portrait-making trade, whether the artist be a painter or a photographer, whether he stand in the lowest or highest rank. There are artists in every

rank, nevertheless, who Albertina, Vienna.

are faithful to absolute time to return to the field of his earlier truth and sincere simplicity. labors. When we gaze upon his latest The heads and hands painted by Sir works, the splendid “ Adoration of the Anthony van Dyck belong in general to Shepherds” in the church at Termonde, that first rank. If traces of Aattery and or (what is sometimes thought to be his of conventional mannerisms may be dereligious masterpiece) the “ Dead Christ tected in some, in most the impression is Lying in the Lap of his Mother”(Museum, one of minute and painstaking conscienAntwerp), we regret that he had not more tiousness and perseverance as well as of time. Indeed, we feel this even in view- genius. Indeed, the painter generally ing the earlier works. Some of the Van insisted on detaining his sitters to partake





of lunch or dinner, so that he might, at his glances at us over his shoulder. His ease, study face and hand characteristics features are clear-cut, his eyes bright and when his subjects were less conscious of intelligent, his expression grave yet winbeing watched.

ning. He wears his hair long, he has a If, as creative forces and all-round lace collar about his neck, and a gold artists, Velasquez, Rembrandt, and Titian chain over his black doublet. excel Van Dyck, at least in his particular His extravagant and luxurious living domain, portraiture, the name of the was almost justified by his unbounded Fleming is, with theirs, immortal. His hospitality, liberality, courtliness, kindname is naturally and must ever be associ

Even in his Italian days he was ated with another's, his master's, and both called “Il pittore cavalieresco.” While constitute the proudest glory of Antwerp. his studio was crowded with the most

In actual imaginative power, in brute aristocratic society of the day, every strollforce and fre, in virile energy, in brilliant ing player and musician knew that a mere color, in vigorous handling, and in versa painter was the most liberal lord in Lontility, Rubens was never equaled by his don. His was a handsome and fit figure pupil. The latter, however, more quies for that courtly time, and his were noble cent and reserved by nature. outdistanced portraits too. But little of his personality the former in harmony of compos.tion, in has come down to us, and he left his skill in subordinating accessories, in cor name to no particular school of art, save tectness and clearness of outline, in unob. as he may have more or less affected a trusive handling, in delicacy of modeling certain number of the English painters and color, in sensitiveness of psychologic who came after him. description, in an almost feminine touch What a pity that he left no school, and in the power to charm ; above all, in the what a pity that he could not have lived ability to emphasize what was refined or to a Titian-like age! He died before his elevated in his subject—that is to say, in own character and career had been endistinction. The painter is often not so tirely developed and rounded and made much in evidence as with Rubens; the what both might have become. However, artist more so.

we may not despair at the early death of We know well how Van Dyck looked, geniuses if they leave behind such works for he painted no less than thirteen por as those of Keats and Shelley and Chopin traits of himself. The best of these hangs and Schubert and Giorgione and Van in the Uffizi at Florence. The artist Dyck, above all of Raphael.


Joseph Chamberlain This portrait shows the Rt. Hon. Joseph Chamberlain as he generally appears. namely, with his monocle, but without the accustomed accompaniment of an orchid buttonhole bouquet. Mr. Chamberlain is now sixty-three years old, but he looks at least ten years younger. His early career was that of a merchant and a manufacturer. His entry on politics was coincident with the revolt of political dissenters against official Liberalism. He was thrice Mayor of Birming ham, and thrice married. The present Mrs. Chamberlain is an American, the daughter of ex-Secretary Endicott. Twenty years ago Mr. Chamberlain was an ardent supporter of Gladstone's domestic and foreign policy. While Mr. Chamber lain was even then no Little Englander, he was not the Imperialist he is to-day. When he entered Parliament, and when he became a Cabinet member, he espoused the cause of the Boers, and later the justice of the Anglo-Boer Conventions which his chief had signed. It must be admitted, however, that, though he defended the Conventions, Mr. Chamberlain also defended Bechuanaland, and thus prevented the Boers from doubling their territory. When Gladstone became a Home Ruler, Mr. Chamberlain wavered for a moment, and then became a Unionist. In those troublous times, as now, when, as Colonial Secretary, he is a member of a Unionist Coalition Cabinet, his coolness and cutting sarcasm in debate made him perhaps the man most feared in the House of Commons.

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President Kruger says of his early days: “I never had a chance to read books ; I was always campaigning or fighting lions.” When asked, in the light of present events, which he preferred, African or British lions, he replied : “ No choice. They are both bad.” He himself, however, has justly been called a slumbering lion. In physical appearance he stands six feet high, and has long legs, which must needs be long indeed if he once outran a fast horse for several hundred yards, as they say. He has also been a mighty horseman. His friends aver that, in hunting, if his saddle-girth ever snapped, he threw the saddle off while in motion, and continued the chase bareback. They add that he used to stand on his head in the saddle while his horse galloped, he holding on to the stirrup-straps.

" Oom Paul,” as the Boers love to call him, is very religious. Curiously enough, he was confirmed by an American missionary. The Bible is quite likely the only book he has read thoroughly. That he knows from beginning to end, and has a text for every circumstance in life. At the head of his grazing, pasturing fold, he seems like an Old Testament patriarch. At first sight he is not a particularly impressive person in his clumsy stovepipe hat and his misshapen coat and trousers, out of which come hands and feet of huge size, the whole an environment for ears, mouth, and chin also of huge size. After this preparation, however, the smallness of his head is as disappointing as is the shortsightedness of his unprogressive political policy ; and the Outlanders say that the stolidity of his manner is only equaled in exasperation by the bigotry of that policy. The stolid manner may be emphasized by the fact that the President smokes constantly. As a boy, Mr. Kruger left Cape Town with the Great Trek of 1836. All his life has been a struggle for independence, and it has been a brave life.

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