CHAPTER VI. _Subject in Painting._—Art for the 139
artist—The voice of the public in the work of art—The old masters working for the Church—Various views of art held by artists—Partisan views and their advocates—Extravagant views in literature—Mr. Whistler on painting—Advocates of the decorative only—The meaning of pictures again—The subject cannot be omitted—Mr. Whistler’s marines—“Patriotism” in painting—Velasquez, Rembrandt, Frans Hals all show it—All painting must illustrate something—Historical painting—Whistler and Monet illustrating the social history of their time—The illustrative quality of Italian art—Whistler’s “White Girl” _vs._ Palma Vecchio’s “Santa Barbara”—The Dutch as subject painters—The historical landscapes of Claude and Turner—The story in painting—Titian’s “Sacred and Profane Love” once more—The silly incident and the degradation of painting—How the old masters worked upon given subjects—The subject in the “Sistine Madonna”—The subject in painting to be treated illustratively—Catholicity of taste—Education—Many elements united in “great art”—Conclusion
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LIST OF ILLUSTRATIONS
PALMA VECCHIO, ST. BARBARA _Frontispiece_ (DETAIL).
PAGE
I. HOLBEIN, PORTRAIT OF A MAN, 8
II. BENOZZO GOZZOLI, ADORATION OF KINGS 12 (DETAIL),
III. VAN DYCK, CORNELIUS VAN DER GEEST, 16
IV. MILLET, THE GLEANERS, 20
V. PAOLO VERONESE, MARRIAGE IN CANA, 24
VI. CARPACCIO, ST. URSULA AND PRINCE OF 28 ENGLAND (DETAIL),
VII. BELLINI, MADONNA AND SAINTS, 36
VIII. CORREGGIO, MYSTIC MARRIAGE OF ST. 40 CATHERINE,
IX. COROT, LANDSCAPE, 48
X. DÜRER, CHRIST ON THE CROSS, 56
XI. TURNER, THE FIGHTING TÉMÉRAIRE, 64
XII. ANTONELLO DA MESSINA, PORTRAIT OF A 70 MAN,
XIII. VELASQUEZ, INNOCENT X., 74
XIV. PAOLO VERONESE, VENICE ENTHRONED, 80
XV. TINTORETTO, MIRACLE OF THE SLAVE, 84
XVI. DAUBIGNY, SPRING, 88
XVII. BENOZZO GOZZOLI, ADORATION OF KINGS 92 (DETAIL),
XVIII. VAN DYCK, JEAN GRUSSET RICHARDOT, 96
XIX. GAINSBOROUGH, MRS. SIDDONS, 100
XX. GÉRÔME, NAPOLEON BEFORE THE SPHINX, 104
XXI. MICHAEL ANGELO, DELPHIC SIBYL, 108
XXII. HALS, THE JOLLY MAN, 116
XXIII. BONIFAZIO VERONESE, MOSES SAVED 120 FROM THE NILE,
XXIV. GIORGIONE, MADONNA AND SAINTS, 128
XXV. REYNOLDS, LADY COCKBURN AND FAMILY, 132
XXVI. CLAUDE LORRAINE, FLIGHT INTO EGYPT, 136
XXVII. TINTORETTO, MARRIAGE IN CANA, 140
XXVIII. RAPHAEL, SISTINE MADONNA, 148
XXIX. BOTTICELLI, ALLEGORY OF SPRING, 152
XXX. POUSSIN, SHEPHERDS IN ARCADIA, 156
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THE MEANING OF PICTURES
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THE MEANING OF PICTURES