Part 2

We pass on to a little bevy of emigrants, women painters who visited foreign courts where they met with great successes. Sophonisba Anguisciola, born of a noble family in Cremona, was enriched by Philip II. of Spain; Artemesia Gentileschi came to London with her father and found a patron in Charles I.; Maria La Caffa (17th century), a flower painter, came upon her Mæcenas in the Court of Tyrol; it was in German Courts that Isabella del Pozzo (17th century), like Felicita Sartori (18th century), plucked bay leaves and laurels; and Violanta Beatrice Siries, after making for herself a name in Paris, returned home to Florence and painted many famous persons of the 18th century. Then we have Rosalba Carriera, whose career ended in blindness and loss of reason, and whose whole life is a touching story. As a child she made Point of Venice lace; at the age of fourteen or fifteen she painted snuff boxes with flowers and pretty faces; then miniatures of well-known persons kept her brushes busy; but this minute art tried her eyes so seriously that Rosalba adopted pastels instead, and soon became the most famous pastellist of her period. She journeyed pretty well all over the Continent, winning an extraordinary success wherever she went, as well as a place in all the Academies of note, from the Clementina at Bologna to the Royal Academy at Paris. Rosalba Carriera arrived in Paris in April 1720; she kept a diary of her experiences, and students of French history should read it in the edition annotated by Alfred Sensier. But here we are concerned with the art alone of Rosalba Carriera, an art rich in colour, swift and nervous in drawing, full of character, and modelled always with vigour and with ease.

Returning now to an earlier traveller, Sophonisba Anguisciola, we meet with another portraitist of real merit, more self-contained than Rosalba, less impetuous, but fresh, witty, sincere and charming. It is probable that she was born in 1533. After studying for some time at Cremona, under Bernardino Campi, Sophonisba Anguisciola began to make fun of the little girls of the period. Vasari set the greatest store by one of these satirical sketches, representing a boy with a lobster clawed to his finger, and a small girl laughing at his nimbleness. The subject of another skit was an old woman studying the Alphabet, much to the amusement of a baby girl.

[Illustration: SCHOOL OF CREMONA, XVI CENTURY THREE SISTERS OF SOPHONISBA ANGUISCIOLA PLAYING AT CHESS. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RACZYNSKI COLLECTION. VASARI SAW THIS PICTURE AND SAID THAT "THE FIGURES WANTED ONLY VOICE TO BE ALIVE." Sophonisba Anguisciola or Angussola, Painter 1533(?)-1626]

That Sophonisba Anguisciola was very young when she first attracted notice from the great, is proved by the fact that she sent a likeness of herself--a likeness now at Vienna--to Pope Julius III., who died in 1555. It was in her twenty-seventh year that she made her way, with ten attendants, to the Spanish Court, there to paint a history in admired portraits of the great age of the _auto-da-fé_: a history which _tempus edax_ has devoured, leaving us only those works which Sophonisba turned out in her native country, far away from the dark tragedies of the Escorial. Philip the Second married his protegée to a wealthy Sicilian noble, Don Fabrizio de Monçada, giving her a huge dowry of 12,000 ducats, a pension of 1,400 scudi, and a dress loaded with pearls, besides other presents.

Sophonisba retired with her husband to Palermo, where she soon became a widow. Then Philip and his Queen wished her to return to Madrid; but the artist pleaded an excuse, the excuse of homesickness, and set sail for Italy. The captain of the galley of war, Orazio Lomellini, was a handsome man of good family, a native of Genoa; his gallantry had suffered a sea-change, was altogether breezy, sailor-like, delightful; and Sophonisba not only fell in love with him, she took him at a leap-year advantage, and soon changed her "weeds" for a bridal dress.

When Van Dyck met her at Genoa (1622), and painted several members of her husband's family, Sophonisba was upwards of eighty-seven years old, and quite blind; but the blithe old lady still went on painting so well in her familiar conversations that Van Dyck said he had learnt more from her talk than from his other teachers. Had Steele an inkling of this magnificent compliment when he said that to love the Lady Elizabeth Hastings was a liberal education? Addison may have heard of it in Italy, and in turning over his thoughts before Master Richard, may have dropped it generously. But, however this may be, Stirling gives too much point to Van Dyck's words; for he says boldly, in _The Annals of the Artists of Spain_, that my painter's portraits are little inferior to those by Titian. "Of this evidence is afforded," says he, "by that beautiful portrait of her, which is now no mean gem of the galleries and libraries of Althorp."

Perhaps one may defy critics to name a single latter-day "realist" among the fair who has attained to Artemisia Gentileschi's masterful and singular ruthlessness, as in the several pictures of Judith that she painted. One of these pictures will be found on page 45. It is the least relentless of the series, but it shows clearly enough the grip of Artemisia's hand in tragedy. Curiously, the suave Guido was Artemisia's first teacher, but she learnt more from Domenichino, and more still from the years she passed at Naples, then known as "the sink of all iniquity." But Artemisia Gentileschi is sometimes kind in her work, and gentle; she does not always remind us of that Artemisia who fought so well at Salamis, causing Xerxes to cry: "Behold! the men behave like women, and the women like men!" In her excellent portraits, and in pictures like the "Mary Magdalene," on page 31, she blends some graciousness of thought with vigour and variety of technique.

Lavinia Fontana and Elisabetta Sirani were the ablest women painters whose travels did not extend beyond Italy. The first was a member of the old Roman Academy, and Pope Gregory XIII. made her his portraitist in ordinary. She was born of good family in Bologna, anno 1552. It was her father that shaped the laggard talents of Lodovico Carracci, and from him came the girl's first lessons in drawing. Lavinia spent most of her life in Rome, where, for close on two generations, she held society by the austere truth of her portraiture. Ladies of high rank vied with one another to become her sitters, and a long red line of cardinals sat to her. Pope Paul the Fifth was among Lavinia's models; very high prices were paid readily for her work, and not a few noblemen wished to marry her; but the artist remained true to the young Count of Imola, Giovanni Paolo Zappi, a good, kind, simple-hearted fellow, an aristocratic Barnaby Rudge. Him she married, and it was her ill-hap to see his simplicity repeat itself in one of their two sons, a lad who kept the Pope's antechamber merry.

My artist's style, though modelled to some extent on that of the Carracci, has a distinction of its own. Even the arid Kügler gives Lavinia his rare good word, reckoning her a better artist than her father, and adding: "Her work is clever and bold, and in portraiture, especially, she has left good things."

Does Elisabetta Sirani take precedence of Lady Waterford? Perhaps they may be regarded as two equal queens in the world of woman's art, each with a beautiful artistic intellect. Even at the age of nineteen, as old Bartsch admits, Elisabetta etched exquisite plates; and, before she was twenty-three, her paintings were sought after by all the patron-critics of her country. Yet her male rivals hinted that she was dishonest, that she did not paint her own pictures, but had "ghosts" to win fame and fortune for her--especially her father, a poor "ghost," afflicted with inherited gout. Elisabetta happily soon turned the sneer against her rivals. This she did by working before an audience of distinguished persons, like Cosimo, Crown Prince of Tuscany, who on May 13th, 1664, stood by whilst she painted a likeness of his uncle, the Prince Leopold.

Malvasia gives in his spirited monograph a list of 150 pictures by Elisabetta Sirani; and Lanzi deemed it marvellous that one who died so young should yet have brought to completion so many hopeful efforts of real genius. The brilliant girl painted with great rapidity. One of her finest achievements--the "Baptism of Christ"--is a very large picture, and the story of its conception is noteworthy. Elisabetta was little more than twenty at the time, and the clergy who had been sent to order the work for the Church of the Certosini at Bologna, looked on whilst she, radiant with inspiration, made her first impulsive sketch in pen-and-ink. The beholders were enchanted, and the huge picture, differing little in essentials from the sketch, was painted almost as rapidly as Dumas repeopled the distant past. In brief, Elisabetta Sirani, like all women of genius, worked under an intuitive rather than technical guidance; and in her art, consequently, as in Lady Waterford's, we find those blemishes and beauties which belong to a native habit of spontaneous workmanship.

As to her private life, it is full of heroic virtues. The noble girl kept the whole family: her mother, who was stricken with paralysis; her father, who suffered intolerably from the gout; and her two sisters, whom she educated with a large class of girl art-students. Then Cupid came, saw, and was overcome, and Elisabetta, by way of celebrating this unkind victory, painted the little god in the act of crowning his victor. But the pity of it all was this: the girl had so many taut strings to her bow that the frail bow could not but break. Elisabetta's health gave way, a painful disease of the stomach assailed her; and yet to the last day but one of her short life--i.e., August 27th, 1665--she remained true to her colours, and was one of art's truest soldiers. "The best way not to feel pain is not to think of it," said she, and then went slowly back to her studio.

The present book contains adequate examples of the work of Elisabetta Sirani, of Lavinia Fontana Zappi, of Artemisia Gentileschi, of Sophonisba Anguisciola, of Rosalba Carriera; and there is a good drawing by Diana Ghisi, the painter-engraver, an excellent copy by Maria Tibaldi Subleyras, and two characteristic pictures by Agnese Dolci, sister of Carlo Dolci and his equal in talent. These painters and the early nuns, Caterina Vigri and the three sisters of Santa Marta, Siena, are enough to represent the old Italian schools; while three characteristic pictures by Elisa Koch, Juana Romani, and Rosina Gutti, unite the present with the far-distant past, a past separated from the present day by four hundred and fifty years.

WALTER SHAW SPARROW.

[Illustration: BOLOGNESE SCHOOL, XVII CENTURY "MARY MAGDALENE." AFTER THE PAINTING IN THE PITTI GALLERY FLORENCE. FROM A PHOTOGRAPH BY ANDERSON, ROME Artemisia Lomi, called Artemisia Gentileschi, Painter 1590-1642]

[Illustration: BOLOGNESE SCHOOL, XV CENTURY SAINT URSULA AND HER MAIDENS. FROM A PHOTOGRAPH BY ALINARI AFTER THE ORIGINAL PICTURE IN THE ROYAL ACADEMY OF FINE ARTS, VENICE Santa Caterina Vigri di Bologna, Painter 1413-1463]

[Illustration: SIENESE SCHOOL, XVI CENTURY ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS Sister A., Convent of Santa Marta, Siena, Painter]

[Illustration: THE HOLY FAMILY WITH JOHN THE BAPTIST. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS Sister B., Convent of Santa Marta, Siena, Painter About 1500]

[Illustration: SIENESE SCHOOL, XVI CENTURY THE ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS Sister Barbara Ragnoni, Painter About 1500]

[Illustration: MADONNA AND CHILD, WITH ST CATHARINE AND OTHER SAINTS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE Sister A., Convent of Santa Marta, Siena, Painter About 1500]

[Illustration: SCHOOL OF CREMONA, XVI CENTURY PORTRAIT (PAINTED BY HERSELF) OF SOPHONISBA ANGUISCIOLA OR ANGUSSOLA, FAR-FAMED IN HER TIME AS ONE OF THE LEADING ITALIAN ARTISTS; SHE DID MUCH WORK FOR PHILIP II. OF SPAIN. WHEN SHE WAS VERY OLD AND BLIND, VAN DYCK MET HER AT GENOA, AND SAID THAT HE HAD LEARNT MORE FROM HER TALK THAN FROM HIS OTHER TEACHERS. FROM A PHOTOGRAPH BY ANDERSON, ROME, AFTER THE ORIGINAL PAINTING AT MILAN IN THE POLDI-PEZZOLI COLLECTION Sophonisba Auguisciola or Angussola, Painter 1533(?)-1626]

[Illustration: VENETIAN SCHOOL, XVIII CENTURY CHARITY AND JUSTICE. AFTER THE PASTEL IN THE ROYAL GALLERY DRESDEN. FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARIS Rosalba Carriera, Pastellist 1675-1757]

[Illustration: ITALIAN SCHOOL XVI CENTURY MARRIAGE OF ST. CATHARINE, AFTER AN ETCHING BY N. MUXEL Lavinia Fontana Zappi, Painter 1552-1614(?)]

[Illustration: PORTRAIT OF A LADY. AFTER AN ETCHING BY N. MUXEL Sophonisba Anguisciola, Painter 1533-(?)1626]

[Illustration: A VICTOR IN HIS TRIUMPHAL CHARIOT. AFTER THE DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM, FROM A PHOTOGRAPH BY W. E. GRAY Diana Ghisi, called Mantuana, Painter-Engraver 1530-1590]

[Illustration: BOLOGNESE SCHOOL, XVI CENTURY PORTRAIT (EXECUTED BY HERSELF) OF LAVINIA FONTANA ZAPPI, PAINTER IN ORDINARY TO POPE GREGORY XIII. FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE UFFIZI GALLERY, FLORENCE Lavinia Fontana Zappi, Painter 1552-1614(?)]

[Illustration: BOLOGNESE SCHOOL, XVI CENTURY JESUS CHRIST TALKING WITH THE WOMAN OF SAMARIA. AFTER THE ORIGINAL PAINTING IN THE NATIONAL MUSEUM, NAPLES. FROM A PHOTOGRAPH BY ALINARI Lavinia Fontana Zappi, Painter 1552-1614(?)]

[Illustration: MARY AND THE CHILD JESUS IN THE ACT OF CROWNING A SAINT. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS, FROM A PHOTOGRAPH BY MESSRS. W. A. MANSELL & CO. Barbara Longhi, Painter End of 16th Century]

[Illustration: BOLOGNESE SCHOOL, XVII CENTURY PORTRAIT: (EXECUTED BY HERSELF) OF ARTEMISIA GENTILESCHI, WHO LIVED FOR A TIME IN ENGLAND AND WORKED FOR CHARLES THE FIRST. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE ORIGINAL PAINTING IN EARL SPENCER'S COLLECTION Artemisia Lomi, called Artemisia Gentileschi, Painter 1590-1642]

[Illustration: BOLOGNESE SCHOOL, XVII CENTURY "THE DREAM OF SAINT ANTHONY OF PADUA." FROM A PHOTOGRAPH BY ANDERSON, ROME, AFTER THE PAINTING IN THE PINACOTECA IN BOLOGNA Elisabetta Sirani, Painter 1638-1665]

[Illustration: BOLOGNESE SCHOOL, XVII CENTURY JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES. FROM A PHOTOGRAPH BY ALINARI AFTER THE ORIGINAL PAINTING IN THE PITTI GALLERY, FLORENCE Artemisia Lomi, called Artemisia Gentileschi, Painter 1590-1642]

[Illustration: BOLOGNESE SCHOOL, XVII CENTURY THE MADONNA WEEPING. FROM AN ORIGINAL ETCHING DATED 1657, IN THE BRITISH MUSEUM Elisabetta Sirani, Painter-Etcher 1638-1665]

[Illustration: THE FLIGHT INTO EGYPT. FROM THE ORIGINAL ETCHING IN THE BRITISH MUSEUM Elisabetta Sirani, Painter-Etcher 1638-1665]

[Illustration: FLORENTINE SCHOOL, XVII CENTURY MARY AND THE CHILD JESUS. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE BESANCON MUSEUM "JESUS TOOK BREAD AND BLESSED IT..." FROM A PHOTOGRAPH BY BRAUN CLÉMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE LOUVRE Agnese Dolci Painter Died about 1686]

[Illustration: VENETIAN SCHOOL, XVIII CENTURY PORTRAIT STUDY OF A LADY WITH HER PET MONKEY. FROM A PHOTOGRAPH BY LÉVY & SONS AFTER THE ORIGINAL PASTEL IN THE LOUVRE, PARIS PORTRAIT STUDY OF CARDINAL DE POLIGNAC. FROM A PHOTOGRAPH BY ANDERSON AFTER THE ORIGINAL PASTEL IN VENICE Rosalba Carriera, Pastellist 1675-1757]

[Illustration: ITALIAN SCHOOL, ABOUT 1889 THE LITTLE SISTER. REPRODUCED FROM A PHOTOGRAPH BY PERMISSION OF BRAUN, CLEMENT & CO., PARIS Signorina Elisa Koch Painter]

[Illustration: VENETIAN SCHOOL, XVIII CENTURY PORTRAIT STUDY OF A GIRL. FROM A PHOTOGRAPH BY LÉVY & SONS, PARIS, AFTER THE ORIGINAL PASTEL IN THE LOUVRE PORTRAIT OF ROSALBA CARRIERA, THE MOST FAMOUS PASTELLIST OF HER TIME. FROM ANDERSON'S PHOTOGRAPH OF THE ORIGINAL PASTEL IN ROME Rosalba Carriera, Pastellist 1675-1757]

[Illustration: ROMAN SCHOOL, XVIII CENTURY MARY MAGDALENE AT THE FEET OF JESUS CHRIST IN THE HOUSE OF SIMON THE PHARISEE. FROM A PHOTOGRAPH BY ALINARI AFTER THE PAINTING IN ROME IN THE GALLERIA CAPITOLINA. IT IS A COPY AFTER A PICTURE BY THE ARTIST'S HUSBAND, PIERRE SUBLEYRAS, A PICTURE NOW IN THE LOUVRE, PARIS. MARIA TIBALDI SUBLEYRAS PRESENTED THIS COPY TO POPE BENEDICT XIV, WHO SENT HER A THOUSAND SCUDI, AND PLACED HER WORK IN HIS COLLECTION AT THE CAPITOL Maria Tibaldi Subleyras, Painter Born 1707]

[Illustration: ITALIAN SCHOOL, CONTEMPORARY THE PEACEMAKER. REPRODUCED AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY THE AUTOTYPE CO., NEW OXFORD STREET, LONDON Rosina Mantovani Gutti, Artist]

[Illustration: ITALIAN SCHOOL, CONTEMPORARY STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Juana Romani, Painter]

[Illustration: SCHOOL OF ENGLISH WATER COLOUR, XIX. CENTURY "THE AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S HOUSE." FROM THE WATER-COLOUR DRAWING IN THE COLLECTION OF JAMES ORROCK, ESQ., R.I. H.I.M. The Empress Frederick of Germany, R.I. 1840-1901]

Early British Women Painters

Everybody knows that it has fallen to England's lot to gem the remote seas with shining repetitions of herself. But everybody does not remember that she has done this quite at haphazard, just as the winds carry seeds from a garden to a waste ground. In herself, with fitful moments of purposeful energy, England has been self-critical and self-distrustful, disinclined to value her own doings or to take precautions when in the midst of dangers. But for the individual enterprise of her children, which she has often disowned and punished, her colonies would have been the Isle of Man and the Isle of Wight. And it is singular to note also that the history of England's genius in art has followed the traditional character of her devious makeshifts in commerce and in war. Despite all inherent weaknesses, she has achieved at random a recognised greatness in art, and is so surprised at it that she hesitates always to encourage the gifts of her own craftsmen, preferring rather to have confidence in the work which she can buy from men of genius in other countries. From the time of Henry VIII. to the coming of the school of Reynolds, she allowed her own painters to starve in order that she might employ strangers; and to-day, as in the past, she butterflies from foreign school to foreign school and treats her own native arts to side-glances and half-friendly nods.

Now, as this has ever been England's disposition, it is not surprising to find that Englishwomen, as well as Englishmen, long hesitated to follow the arts professionally. At a time when Italy and France had scores of women painters, England had scarcely one. Perhaps the earliest of any note, if we except Susannah Penelope Gibson, a miniature painter, was Mrs. Mary Beale, daughter of a Suffolk clergyman named Cradock. She lived between the years 1632 and 1697. After modelling her style on that of Lely, she worked with great courage, showing much real talent, particularly in quiet portraiture. She painted broadly and well, drew with force and discrimination, and although she told the truth plainly at a time when other painters flattered and fawned, she yet achieved success, and was encouraged by the highest in the land, from King Charles the Second to Archbishop Tillotson. Time has robbed her colour of its first freshness, but the character remains, and the portraits on page 81 represent Mary Beale in a characteristic manner.

The next English women painters in order of merit were Lady Diana Beauclerk, an amateur with much untutored talent, and Catharine Read, a distinguished professional artist of the Reynolds period. That she was appreciated in her day is proved by the fact that her portraits were engraved, side by side with those of Reynolds and Gainsborough. To-day she is forgotten, and very little can be learnt about her life or about the present owners of her pictures. Catharine Read lived near St. James's and sent frequently to the exhibitions. In 1770 she went to the East Indies, but in a few years returned to London, where she died in or about the year 1786.

Angelica Kauffman, R.A., though born at Coire, the capital of the Grisons, belongs to the British school, and holds in the early history of that school a position similar to that which has been assigned in France to Madame Vigée Le Brun. The art of the two ladies differs widely to be sure, that of Angelica Kauffman having less mirth, less wit, less sprightliness and homeful sincerity; it is quite artificial in spirit, with a strong bias towards the sentimental; but it has for all that considerable charm and ability, qualities, let us remember, that won the admiration of Reynolds and of Goethe. Turner, also, possessed two of her drawings, as I am told by his descendant, Mr Charles Mallord W. Turner. But in recent times Angelica Kauffman has been remembered for the romance of her personal life and treated with cool contempt in all that appertains to her work. Critics have searched in her pictures for manly qualities, and finding there the temperament of a sentimental woman, their judgment has failed them. The very men who would be astonished beyond measure if a prima donna sang to them in a voice like the leading tenor's, do not hesitate to complain when the voice in a woman's painting is one filled with womanhood.

In England, at the close of the 18th century, quite a number of ladies came to the front in art, like Caroline Watson, the admirable stipple engraver (page 89), or like Catherine Maria Fanshawe, a painter-etcher who could put a body into a peasant's smock and could show in a rustic figure the mingled influences of Morland and Gainsborough, while keeping a tender sympathy of her own (page 89). Amelia Hotham, too, in the native art of water-colour, attained to a broad and vigorous style in landscape, while taking far too many hints from the scenic pomp that Francis Nicholson made popular in outdoor scenes (page 88). Nevertheless, Amelia Hotham's work has interest in the history of British water-colour, like that of three other ladies who followed her, the Viscountess Templetown (page 94), Matilda Heming and Mrs. John Herford, the grandmother of Mrs. Allingham. Matilda Heming's picture on page 95, "Backwater, Weymouth, Dorset," is weak in the drawing of the hills, but the rest of the design is quite admirable, the boats particularly being very well drawn. We see, then, that during the last decades of the 18th century, and at the beginning of the nineteenth, a little band of Englishwomen studied landscape painting seriously; and this fact is worth remembering, as women have seldom been drawn in art to nature in the woods and fields. The gentler sex, as a rule, has not appreciated landscapes.

On the other hand, they have shown in art a great love for the beauty of flowers, the colour and the forms of insects, and the "other-naturalness" of many kinds of animals. Maria Sibylla Merian, Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell, Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch--these ladies will not be forgotten, let us hope, as long as there are students who take delight in plants, flowers, birds and animals.

Among the flower and fruit painters in England, during the 18th century and the first few decades of the nineteenth, conspicuous places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and Anne Frances Byrne, illustrations of whose pictures will be found on page 94; and the reader will do well to compare this early work with that of Mrs. Coleman Angell, the female counterpart of William Hunt (page 102).