SEPTEMBER, 1905 CLAUDE LORRAIN PRICE, 15 CENTS

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CLAUDE LORRAIN

PART 69 VOLUME 6

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 :

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 MASTERS IN ART

Clattbe Horrain
FRENCH SCHOO
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 POHTHAIT OF CLAUDE LORRAIN BT JOACHIM VOX SANDRAHT
Tn his will Claude left a copy of a portrait of himself to the Church of St. Luke.
Portrait and copy have both disappeared. The only likeness of the artist which has
any claim to authenticity is the engraving by Sandrart in his "Academia Nobilissimse
Artis Pictoriae," published at Nuremberg in 1683.
[ses]
 —

MASTERS IN ART

atlunXit ^tlUt
CALLED

€i^ntit %oxvKin
BORN 16 00: DIED 1682
FRENCH SCHOOL

CLOSE to the northern boundary of the modern French department of

the Vosges, some half-mile distant from the rightbank of the Moselle,
and hard by the Forest of Charmes, is the little village of Chamagne. In this
rural hamlet, once the chief place in the seignory of the same name in the old
—
Duchy of Lorraine, Claude Gellee or,to give him the name, Claude le Lor-
rain, which he received from his native country, although not a sixth part of
his long life w^as spent in it —
first saw the light in the year 1600. The exact

place of hi^ birth can still be pointed out. Towards the end of the village
street, where it approaches the meadows which form the common grazing-
ground, is an old house which bears on its walls a tablet, commemorating that
therein the great landscape-painter of the French school drew his first breath.
Beyond the fact that his parents, Jean Gellee and Anne Padose, were in
humble circumstances, the exact nature of the rustic occupation which kept
the wolf from their door is now unknown. They had a large family, of whom
five were sons: Jean, Dominique, Claude, Denis, and Michel.
Thus far the brief accounts of Claude's birth and parentage present no
difficulty. Concerning the events of his boyhood and youth, however, his
biographers differ considerably. Their information is derived from two
sources. One of these is Joachim von Sandrart, a Gernian painter, engraver,
and writer on art, who resided some years at Rome, where he became intimate
with Claude. His reminiscences of him are contained in his 'Teutsche Acad-
emie,' of which a Latin translation, entitled 'Academia Nobilissimae Artis Pic-
toriae,' was published in 1683. The other authority is Filippo Baldinucci, a
Florentine artist, whose account was derived from Jean Gellee and the Abbe

Joseph Gellee, the grand-nephew of the painter, and is included in his 'Notizie
de' professori del disegno.'
According to Sandrart, Claude was a dull boy, a very dull boy scientia

[359]
 — —

24 MASTERSINART
valde medtocri — and
learned little or nothing at school parum, imo nihil
fere, proficeret. The
statement is borne out by such scraps of writing as Claude
in later years scrawled on the backs of his drawings. In these short notes he
jumbles up French, ItaHan, and Latin; he spells his own name in a half-dozen
different ways, so much so that in his will he has to record the correct spelling
of it as Gellee; and
in his attempt to spell other people's names, even those of
his best friends, he goes hopelessly astray.
Seeing that there was nothing to be made of the boy as a scholar, his parents
apprenticed him to a pastry-cook. Later Claude set off with some of his
countrymen for Rome, "whither," so Sandrart informs us, "the cooks and
pie-makers of Lorraine had for centuries been accustomed to repair."
Thus far Sandrart. Baldinucci's narrative differs. Claude, he tells us, had
lost both his parents by the time he was twelve years old, and was obliged to
cross the Rhine and seek a home under the roof of his eldest brother, Jean,
who had set up at Freiburg as a wood engraver and carver. Here Claude re-
mained twelve months, receiving instruction from his brother in the elements
of drawing. At the end of that time a relative, a dealer in lace, the production
of which was then, as it is now, an important industry in the neighborhood of
Claude's native place, passing through Freiburg, on his way to Rome with his
wares, offered to take the boy with him. In Rome Claude found a lodging
near the Pantheon, and continued his studies as best he could, apparently
unaided.
Thrown entirely on his own resources, Claude made his way to Naples, at-
tracted thither, it would appear, by the reputation of a German landscape-
painter, Gottfried Waels, with whom he remained two years, studying archi-
tecture, perspective, and color. Then he returned to Rome, where he was
admitted into the household of Agostino Tassi, from whom he received
board, lodging, and "instruction in the best principles of art," in return for
his services as stable-boy, color-grinder, and general "slavey." Such is
Baldinucci's account. The only point of real importance in which it does not
tally with that of Sandrart is as to the instruction from Waels.
How long Claude remained under Tassi's roof Sandrart does not tell us.
Baldinucci states that he left Rome in April, 1625, and began a series of wan-
derings, which lasted over two years. His first stage was the Santa Casa of
Loretto. Thence he went to Venice; then through Bavaria to his native village
in Lorraine. This short account given by Baldinucci of Claude's journey has
been amplified by later biographers and adorned with picturesque details.
Knight Payne, for example, would have us believe that the young painter
spent some time at Harlaching, a little village near Munich. To commemo-
rate this supposed sojourn of Claude at Harlaching, a monument, bearing his
portrait and an inscription, was erected in 1865 by King Ludwig i. of Bavaria.
From Chamagne Claude repaired to Nancy, the capital of Lorraine and
seat of the Ducal Court, a court famous for its love of luxury and its patronage
of the arts. Through a relative who resided there, Claude was fortunate enough
to secure an introduction to Claude Deruet — Dervent in Baldinucci's text
painter-in-ordinary to the reigning duke.

[360]
 CLAUDE LORRAIN 25

Shortly after Claude's arrival at Nancy Deruet was called on by the prior
of a Carmelite monastery, erected at the beginning of the century, to ornament
the roof of the newly built church of the community. On this task Claude was
set to work, along with Deruet's other assistants, Claude's share in the work
was, according to Baldinucci, restricted to the architectural ornaments. Un-
fortunately this church and its contents were destroyed during the French
Revolution. This work proved distasteful to Claude, and, having already
tasted the joys of life under a southern sky, he quitted the uncongenial service
of Deruet, left Nancy and his native country, which he was destined never to
see again, and in the summer of 1627 set his face southward, and made his way
toward Italy, choosing this time the most rapid route, namely, by Lyons to
Marseilles. Here, while waiting for a ship to take him to Italy — so at least
his later biographers relate — he was stricken by an attack of fever, which
well-nigh proved fatal. On his recovery he found that he had been robbed of
nearly all he possessed. After a series of adventures he finally reached Rome
by way of Civita Vecchia on St. Luke's Day 1627.
To read the account of his life given by Baldinucci, one would be tempted
to believe that Claude at once sprang into notice and sold his works to wealthy
patrons, both Italian and foreign. Sandrart, however, who arriveji about this
time in Rome, and made Claude's acquaintance there, gives us an account
from which we gather that the next few years of Claude's life were years of
constant study, and that the results of this study, though in the end they

"Claude" it is Sandrart who speaks

—
brought both fame and riches, were at first of small pecuniary profit.
— "was indefatigable in his en-
deavor to get a real solid basis of art-training, to penetrate into the inmost
secrets of nature." Day after day he would be up before dawn and far out
into the Campagna. Heedless of fatigue, he would stay there till after night-
fall,noting every phase of dawn, straining to seize the tints of sunrise, sunset,
and the gloaming hours, tints which he would endeavor to match with his
colors on his palette. Then in his studio or garret he would set to work with
the palette thus prepared, and endeavor to produce a transcript of the eflPects
which he had seen, and which he succeeded in rendering "with a veracity
which no painter before him has ever obtained."
During this period of study, and before he had succeeded in producing
those landscapes which the connoisseurs of his day sought so eagerly, Claude
executed several frescos which are referred to by his biographers with almost
unstinted praise. They were landscape subjects, of realistic treatment, but
have been either destroyed or repainted.
When not engaged in studying in the open air or painting frescos for his
livelihood, Claude would spend his time drawing from the life, or from statues
at the Academy. In this pursuit he persevered diligently, even to his latest
years. His appHcation, so far from being profitable to him, was noxious. The
fact is that Claude did possess a certain facility for indicating figures, as is
shown by many of his drawings. When, however, he set himself to elaborate
these sketches, to put in all the muscles which the Academic teaching of the
day insisted upon, he produced very painful results. In his pictures this defect
[361]
 —

26 MASTERSINART
asserts itself even more plainly. The figures are nearly always painted with
all the conscientiousness of incapacity, and with a heavy touch which is en-
tirelyout of harmony with the treatment of the rest of the canvas; the atmos-
phere which envelops the landscape seems, as it approaches the figures, to be-
come suddenly exhausted; sometimes the sun forbears to cast a shadow!
Of his weakness in this branch of art the painter was fully conscious. He
used to say that he sold the landscapes, but gave the figures.
Following a custom common in his century, Claude had frequently recourse
to other artists for the execution of the figures in his pictures, but he always
himself carefully indicated their movements and their place in the composition.
Among the painters from whom he derived assistance in this branch were
Francesco Allegrini, Filippo Lauri, Jan Miels, and one, perhaps both, of the
brothers Courtois. It was, however, in his middle and later periods that Claude
had recourse to these collaborators; in his earlier works the figures are nearly
always his own, occasionally by Allegrini.
A hard worker, both from love of his art and from the necessity of gaining
his daily bread, the young Lorrain had little leisure or inclination to mingle in
society. With the exception of Sandrart, he does not appear to have had any
intimate friends among the cosmopolitan colony of artists in Rome. The most
prominent French painter then residing at Rome was Nicolas Poussin, an
artistwith the general bent of whose genius Claude must have had much sym-
pathy. The character of the two men, however, was entirely diflFerent
Claude, a rustic by birth and breeding, illiterate, simple; Poussin, an aristo-
crat, a scholar, a would-be-philosopher, not to say a pedant. It would only
have been by the law of contraries that these two men could have been friends.
"Absorbed in his work, Claude," says De Piles, "never visited any one."^
"Of a kind and sincere nature," says Sandrart, "he sought no other pleasure
than that which came to him from his art." Apart from the intrigue for pat-
ronage, apart from the drinking and brawling in taverns in which so many of
his contemporaries passed a large portion of their lives, Claude led a serene,
secluded existence, his days measured by the uprising and the setting of the
sun, his soul wrapped in the contemplation of nature, his heart in his work.
How and when Fame first came to Claude we cannot exactly determine. It
would appear from his account that before Sandrart left Rome Claude's repu-
tation was firmly estabHshed. Sebastian Bourdon, a French painter remark-
able for his wandering and adventurous career, arrived in Rome about 1634.
Having seen in Claude's studio a half-finished landscape, on which the artist
had been engaged for a fortnight. Bourdon set to work, and in eight days pro-
duced a finished copy of it, executed with such mcestria that it was hailed by
the connoisseurs of Rome as a masterpiece of Claude. Claude had the curi-
osity to go and see the forgery, and was so enraged at it that he would have
taken a summary vengeance had not Bourdon discreetly kept out of his way.
Bourdon would scarcely have been at the trouble of counterfeiting the work
of a man who had not already won a reputation. We also know that before
Sandrart left Rome Claude had sent for a nephew, Jean Gellee, to whom he
entrusted the whole management of his household, even the purchase of hist
[362]
 CLAUDELORRAIN 27

colors, in order to have his time quite free. From all this we may gather that
before 1635 Claude had an established reputation and clientele.
One of Claude's earliest patrons would seem to have been Philippe de
Bethune, Comte de Selles et de Charost, who in 1627 was for the second time
appointed ambassador of France at the Papal Court. For him Claude painted
two fine canvases now in the Louvre, one representing a seaport with a classic
arch and a long vista of marble palaces, bathed in the golden light of the west-
ering sun, the other a view of the Campo Vaccino, or Forum.
It was apparently about this time that Claude came under the notice and
the protection of Cardinal Guido Bentivoglio, one of the most distinguished
prelates of the Roman Court, and one of the ablest diplomatists of the day.
For this influential patron Claude painted two landscapes. This commission
proved the turning-point in the artist's career. The Cardinal, who was an old
and intimate friend of the then Pope Urban viii., brought these works under
the notice of the pontiff, and aroused his interest in the young painter.
When the Pope showed the example, the Cardinals and Monsignori of his
court hastened to follow it. Among the great prelates who patronized Claude
in the earlier part of his life were Cardinal Rospigliosi (afterwards Pope, under
the name of Clement ix.), Cardinal Medici, Cardinal Faustus Poli, and Cardi-
nal Angelo Giorio. For the last-named prelate Claude painted no less than
seven canvases: three landscapes, three seaports, and a figure-subject.
Claude's reputation was not limited to Rome. Orders soon began to come
to him from beyond the Alps. As early as 1644 we find him painting a picture
for England, the exquisite little landscape, introducing the fable of Echo and
Narcissus, which now hangs in the National Gallery, Many of his works at
this period were executed, as the 'Liber Veritatis' shows, "pour Paris," or for
French patrons. Amongst them was M. Passart, the mditre des comptes, who
was also the patron of Nicolas Poussin. For this amateur Claude painted two
fine landscapes, one now in the museum at Grenoble, the other at Windsor.
Both represent views of Tivoli, and are remarkable as being direct renderings
of actual scenes rather than classical compositions.
In 1644 Claude lost his two most influential patrons, Cardinal Bentivoglio
and Urban viii., who died within a few months of each other. The conclave
held in th^ same year resulted in the election of Cardinal Giambattista Pamfili,
who now assumed the tiara under the title of Innocent x. These changes do
not appear to have affected Claude prejudicially. On the contrary, he gained
by them a new patron in the person of the Pope's nephew. Prince Camillo
Pamfili. For him Claude painted four pictures. Three of these, a landscape
with 'Mercury Stealing the Cattle of Admetus,' 'The Mill,' and 'The Tem-
ple of Apollo at Delos' — the two latter perhaps Claude's most celebrated
pictures — still form part of the Doria Collection at Rome. The fourth pic-
ture of this set,' The Ford,' is in the National Gallery at Pesth.
For the Due de Bouillon Claude painted a replica, with some variations, of
'The Mill,' or, as it is otherwise called, the 'Marriage of Isaac and Rebecca,'
and another picture, a seaport, entitled the 'Embarkation of the Queen of
Sheba.'
[363]
28 MASTERSINART
Claude had now achieved a world-wide celebrity. The crowning honor
came to him in a commission from Philip iv. of Spain. It has been surmised
that the order came through the agency of Velasquez, for the great Spanish
painter had been sent to Italy in 1649 ^^^^ 2 roving commission to purchase
works of art for his royal patron.
The order consisted, according to Baldinucci, of eight works: four subjects
from the Old Testament, four from the New. All these, with the addition of
two from the collection of Philip v., are now in the Prado. Time and the
climate of Madrid have wrought havoc with several of the number. Those
which have escaped unharmed show Claude at his best.
It was about the time of this commission, according to Baldinucci, that
Claude, annoyed by the constant forgeries of his work, determined to form an
album containing sketches of all works produced by him. Baldinucci calls
this book the 'Libro d'Invenzioni' or 'Libro di Verita'; in England it is better
known by the Latin title 'Liber Veritatis.'
In calling the 'Liber Veritatis' a monument to Claude's memory we are
using no figure of speech. In this wonderful book we have an epitome of the
artist's life and work, an epitome written and illustrated by his own hand. It
is a collection of two hundred drawings —
not, as the title might lead us to ex-
pect, studiesfrom nature, but sketches from or perhaps for the artist's pictures.
"Poor Claude," says Baldinucci, "simple-minded as he was by nature, not
knowing whom to guard against among the many who frequented his room,
nor what precautions to take, seeing that every day similar pictures were
brought to his house that he might pronounce whether they were by his hand,
resolved to make a book, which I saw with great pleasure and admiration, he
himself showing it to me in his own house in Rome; and in this book he began
to copy the composition (/«i'^«z/o«^) of the works which he executed, expressing
inthem with a truly masterly touch every smallest detail of the picture itself,
making a note also of the person for whom it had been painted, and, if I re-
member rightly, the sum he had received for it."
The motive assigned to the artist by Baldinucci for the composition of the
'Liber Veritatis' has been frequently called in question. Were the drawings
studies for or sketches from the pictures The generally received opinion is
.?

that they were made from his finished pictures, as is asserted by Baldinucci.
The'Liber Veritatis' was to Claude much what the fly-leaf of the family
Bible wasto many families of the last generation —
a place to register the
birth of each new member and note any important events of after life. To
Claude his pictures were his children.
The first impression which we receive as we turn over the pages of the Liber '

Veritatis' is that of the intense artificiality of the art that it records. It is, as it
were, a man
speaking Latin instead of his own mother-tongue. Classic ruins,
seaports, pasture lands, herds and herdsmen, piping shepherds, dancing
peasants, gods, saints, banditti, sportsmen, all seem to belong to an unreal
world —
a world where things arrange themselves, or rather are evidently
arranged by the artist, with a view to certain preconceived ideas about com-
position. The harmony of line, the unity of ensemble, aimed at by the artist,

[364]
 CLAUDE LORRAIN 29

and nearly always attained, aggravate the eye of a generation taught to shun
in landscape-art the well-balanced composition which delighted the seven-
teenth century. You have but to surrender yourself to the charm of this un-
real world, however, to lose sight of its unreality and live in it as one lives in a
dream.
Side by side with their poetic charm the drawings possess technical qualities
of a high order. They express the most difficult effects of light and atmos-
phere with a simplicity and a directness which it would be difficult to surpass.
The two hundred drawings are executed with pen or pencil, washed with
bistre or Indian ink, the high lights touched in with white.
The value which the artist set on the 'Liber Veritatis' is shown by the spe-
cial mention which he makes of it in his will; and his wishes were strictly ad-
hered to. The 'Liber Veritatis' remained for some time an heirloom in the
Gellee family. About 1770 it was purchased by the then Duke of Devonshire,
and since then has remained in the possession of the Cavendish family in that
great treasure-house of art, Chatsworth.
Besides the drawings contained in the 'Liber Veritatis,' and numerous
others still preserved in public and private collections, there are extant some
forty-four etchingsby Claude. From the dates which some of them contain
itwould appear that the artist devoted himself to etching at two distinct
periods, between 1630 and 1637 and in 1662 and 1663. Claude's etchings
are of unequal merit, but in his best work he attains a delicacy and tender-
ness which few other etchers of any period have equaled, none surpassed.
The next personage of importance for whom Claude worked was the son of
the Comte de Brienne, Secretary of State to Louis xiii., Henri Louis de
Lomenie, for whom — or perhaps through him for Louis xiii. — Claude
painted the two curious little oval pictures now
Louvre, representing
in the
the siege of La Rochelle and the forcing of the pass of Susa, the figures in
which are attributed to one of the brothers Courtois, probably Jacques. Both
are painted on copper plated with silver, a new invention about that time.
In 1653 Claude painted for Signor Cardello the big picture 'The Worship
of the Golden Calf,' now in Grosvenor House.
In 1655 Innocent x. died, and was succeeded by Alexander vii., who de-
voted himself to the patronage of men of letters, architects, and artists. Among
the last-named was Claude, who painted for him two pictures. One of these
represents 'The Rape of Europa,' apparently a favorite subject with the artist,
for he has treated it in three other canvases, in an etching dated 1634, and in a
finished sketch dated 1670, in the British Museum. The other is a landscape
known as 'The Battle of the Bridge,' from the bridge covered with combatants
which forms the foreground. Both these pictures are now in the gallery of
Prince Youssoupoff in Russia. For one of the Pope's nephews, Don Camillo,
the splendid palace in the Piazza Colonna was built. For this magnificent
abode Claude painted in 1658 the picture now in the National Gallery, vari-
ously known as 'David at the Cave of Adullam' and 'Sinon Brought before
Priam.' For the grand simplicity of composition and for the rendering of at-
mosphere this canvas ranks as one of the artist's best.
[365]
30 MASTERS IN ART
The year following the election of Alexander vii. was marked by a visitation
of the plague which decimated Rome. Many fled the city. Claude and Poussin
remained, painting on serenely. Among the three pictures mentioned in the
'Liber Veritatis' under this date, one, a landscape with 'Jacob Bargaining for
Rachel,' remarkable for a peculiar silvery quality of light, deserves special
mention. It is now one of the chief treasures of Petworth.
It would be impossible within the limits of our space to enumerate all
Claude's works during the next few years. The artist, if he was a slow worker,
was an assiduous one, sometimes producing as many as five pictures in one
year. The whole number credited to him in his long life is about four hundred.
Among the principal pictures of this period we may mention the 'Metamor-
phosis of the Apuleian Shepherd' painted for M. Delagarde in 1657, now in
the Bridgewater Collection, a combination of landscape and marine with fig-
ures of Polyphemus, Acis, and Galatea for the same patron, now in the Dres-
den Gallery, a very fine Flight into Eygpt,' painted for Antwerp, now in the
'

Hermitage, and 'The Decline of the Roman Empire,' now in Grosvenor

House.
Fame and wealth had come to Claude, but the latter years of his life were
not without their trials. One of these was his failing health. Baldinucci in-
forms us that from the age of forty Claude was much troubled with the gout.
To a man of Claude's active habits such a malady must have been a terrible
burden. No more walks in the dewy morning or the misty evening over the
Campagna, no more sunny days at Tivoli and Subiaco; the poor artist, mewed
up in his studio, would be obliged to have recourse to his souvenirs and to his
sketches from nature. How much store he set on the latter we know from
Baldinucci, who relates that Claude painted one very fine picture for himself
from nature at Vigna Madama, near Rome, for which his Holiness Clement ix.
offered him as many gold pieces as would cover it, but was never able to get it
out of his hands; for he asserted, as was indeed true, that "he made use of it
every day to see the variety of trees and foliage." We may note too that in his
will Claude expressly qualifies two of the pictures which he kept in his house,
'The Flight into Egypt' and 'The Journey to Emmaus,' as "painted on the
spot by my hand" and "a landscape painted from nature." From this will
we learn that in February of 1663 Claude was suffering from an illness which
threatened to prove fatal. Believing his end to be at hand, the artist set about
putting his affairs in order, and on February 28, 1663, made his will.
His illness did not, however, last long, for we find an entry under May 26,
1663, in the 'Liber Veritatis,' referring to a large landscape with Mercury and
Bacchus now in the Collection of the Duke of Devonshire. The artist's energy
was unimpaired. For the next few years he continued to produce three or four
pictures every year. His skill, however, was not always on a level with his
energy. His hand, doubtless under the influence of the gout, often seems to
have lost its old cunning. Side by side, however, with canvases which show
sad evidences of advancing age we find others in which the artist's genius re-
asserts itself with all the old charm.
The chief patron of Claude's latter years was the Constable of Naples, Don
[366]
 CLAUDE LORRAIN 31

Filippo Colonna, head of the great Roman family of that name. The * Liber
Veritatis' records eight pictures painted for this nobleman. The major part
of these pictures, and most of the others by Claude, which once adorned the
Palazzo Colonna in Rome, are now in private collections in England. One,
'Egeria and Her Nymphs,' is in the Museum of Naples. The most famous is
the exquisite landscape, one of two in which the artist has introduced the
myth of Cupid and Psyche, generally known as 'The Enchanted Castle,' now
in the possession of Lord Wantage.
Another constant patron of the artist at this period was Monseigneur de
Bourlemont. Claude painted three landscapes and a marine for him: 'Moses
and the Burning Bush,' 'Cephalus and Procris,' 'Apollo and the Cumasan
Sybil,' and 'Demosthenes on the Seashore.' Of these works, one, the 'Ceph-
alus and Procris,' is in the Doria Palace at Rome; the others have found their
way to England.
Commissions continued to come to Claude from all sides. In 1668 he
painted two landscapes for a German patron, the Count Waldstein. Both
these pictures are now in the Pinakothek at Munich.
In June of 1670 Claude was again so seriously ill that on the twenty-fifth of
the month he sent for a notary to add a codicil to his will; but he was not long
recovering from this illness. His energy was still unabated. Not so his powers.
From Baldinucci we know that the artist in his latter years was able to work
only two or three hours a day. In all the works of this period there is evidence
of his failing health. It becomes more marked in some of his subsequent pic-
tures. The cold tone which pervades many of them is totally unlike the golden
sunshine of Claude's earlier days.
It would seem that ill health was not the only cross which cast its shadow
over the latter years of the artist's life. Envy and ingratitude conspired to dis-
turb his peace of mind. He continued to suffer from the old annoyance of
forgeries. In connection with this Baldinucci tells a curious story. Claude,
mindful perhaps of the kindness which he himself had received at Tassi's
hands, had taken into his household a poor lame and deformed boy, Giovanni
Domenico. Domenico passed twenty-five years under Claude's roof, and is
said to have acquired great skill in painting after the manner of his master.
Envious tongues whispered that Claude's works were not painted by his own
hand. The whispers reached Domenico's ears, and so inflated him with vanity
that, having quitted Claude's house, he claimed remuneration for his services
during the years that he had been the artist's pupil and protege. Claude,
valuing his peace of mind more than his money, without delay or demur
caused the claim to be paid out of his funds in the Bank of Santo Spirito.
Domenico, it is added, died very shortly after.
Though Claude's powers were failing him, his patrons, new and old, kept
him fully occupied. The latest date which occurs in the 'Liber Veritatis' is
168 1, in which year Claude painted several pictures, among them one for
Constable Colonna, a landscape, 'Parnassus and the Muses.' We know, how-
ever, from a drawing of 'The Temple of Castor and Pollux' dated 1682, now
in the British Museum, that the artist worked up to the last year of his life.
[367]
 —

32 MASTERS IN ART
Despite the high prices paid to him for his pictures, Claude died relatively
poor. Baldinucci states that owing to his great generosity to his relatives dur-
ing his life, the artist's property at his death amounted only to the value of
10,000 scudi.
Claude vv^as buried, as his Mrill directed, in the Church of Sta. Trinita de'
Monti. Over his grave in front of the chapel of the Santissima Annunziata
his nephews placed a slab with a laudatory Latin epitaph. In 1798, during
the occupation of Rome by the French, this church was ransacked by the
soldiery; the slab disappeared, and for nearly forty years Claude's grave re-
mained unmarked. In 1836 the French Government decided to remove the
great artist's remains from the Trinita de' Monti to the Church of St. Luigi
de' Francesi, near the Pantheon. abridged from g, grahame's mono-
graph ON CLAUDE LORRAIN IN *THE PORTFOLIO'

Cfje art of Clautie iLorram

GEORGE GRAHAME 'PORTFOLIO* 1895

THE man who first substituted for the golden or colored chequer back-

ground in picture or illuminated letter a blue sky graduated to the hori-

zon may rank as the initiator of landscape-painting, as we understand that
art. This was, as one critic has remarked, "the crisis of change in the spirit
of medieval art," the transition from the symboHc to the imitative method.
It took place early in the fifteenth century. Giotto having got hold of some-
thing sufficiently like a mountain or a tree to pass for such in the eyes of
men who know nothing about geology or botany and do not scrutinize real
trees and real mountains, several generations of Italian painters —Masaccio
always excepted — are satisfied to go on painting the Giottesque mountain
and tree without further reference to nature. While landscape, always a mere
accessory, is being thus cultivated by the Italians, the Flemish artists, Hubert
and Jan van Eyck, take up the tale and unfold to the wondering eyes of the
northern world visions of Paradise based on their own glimpses into southern
lands. Rome, while contributing nothing to the arts, save the memory of her
greatness, became the meeting-place of all Educated in this art center,
schools.
Claude united the Flemish love for and knowledge of perspective —
Orizonte
was the nickname by which Claude was known among the Flemish artists in
Rome —
to the atmospheric touch of the Venetians.
Claude's landscapes are seldom, if ever, true in color; and yet, contrast
them with the works of some colorists. Take Corot, for instance. Step from
Claude's picture of the Campo Vaccino in the Louvre to the study of Corot,
which hangs in an adjoining room, of the same subject from another point of
view. Corot is infinitely superior to Claude in his analysis of each separate
fragment of the color-mosaic of the scene; but which of the two artists has
[368]
 CLAUDE LORRAIN 33

most successfully rendered the general impression of that scene ? Every one
who loves Rome and know^s its atmosphere will, I think, decide in favor of
Claude.
Claude has sometimes been called "the father of modern landscape art;"
but that title might be claimed for Titian and other Venetian painters, who
before Claude's day had from time to time painted landscape pure and simple.
Claude's real merit, a merit as to the magnitude of which his admirers and
his detractors are at one, his real service to landscape art, lay in this: that he
was the first painter to grapple seriously with the problem of representing the
disc of the sun. Claude took up the idea seriously and worked it out success-
fully. It is difficult for us who have been accustomed to see the sun constantly
represented in pictures to realize how great a revolution he thereby wrought in
landscape art.
Claude's influence on the landscape art of his own and of the following cen-
turies was enormous. The result of it was deplorable. Landscape-painters
went to Claude instead of going to nature. They copied, as imitators are prone
to do, all the defects of their model; they failed to perceive the good points.
They borrowed all Claude's formulas of composition and never moved beyond
them. Nature was poured like jelly into a mold.
This influence left its mark indelibly on Turner. In his 'Carthage'
and Claude's 'Embarkation of the Queen of Sheba' the two artists have
treated kindred subjects in a kindred way; indeed. Turner's picture shows
at every point the influence of Claude. In both we have the same well-bal-
anced masses of pseudo-classic architecture, a too evidently artificial compo-
sition, helped out by the judicious disposition of the figures, a similar effect
of sunlight. At the very first glance we see the superiority of Turner, the
limitation of Claude. Claude seems like a caged bird, singing, and singing
very sweetly, but always the same trill. Turner is like Shelley's skylark.
He has seen all heaven and all earth, and caught in his flight the real radiance
of the sun.
It is in the rendering of lights, particularly of the direct rays of the sun, that
Turner is incontestably Claude's superior. Claude had grasped one big fact,
the warm glow of sunlight, and repeated it ad infinitum, spreading it with an
even touch over every inch of canvas. Turner went a step further. He ana-
lyzed this glow, caught from nature the secret of the subtle silvery tones, the
touches of cold color which occur even in the warmest effiects of light and help
to heighten those effects.
To Turner, moreover, sunlight was the first, the essential thing. He never
hesitated to sacrifice other things to it. Not so Claude. With a complacency
bordering upon dullness, he painted square and fair every stone of his edifices,
and, obedient to a tradition handed down from the early Italian masters
through Perugino and Raphael, traced carefully and mechanically, as it were,
with compass and ruler, every line of his architecture, showing thereby that he
considered the object illuminated quite a« worthy of his skill as the light it-
self.

Yet when all has been said that can be said about Turner's superiority and
[369]
34 MASTERS IN ART
Claude's shortcomings, there remains to the older master a charm of serenity
and sweetness which it is impossible to gainsay. Just as it is possible to ad-
mire the colossal genius of Wagner and yet listen with enjoyment to the melody
of Mozart or Haydn, so too we may give Turner all his due without shutting
our eyes to the merits and beauties of Claude.

SARAH TYTLER <THE OLD MASTERS AND THEIR PICTURES'

CLAUDE LORRAIN'S name has become a very vexed name with art
critics. There was a time when he had an unsurpassed reputation as a
landscape-painter. The
possession of a Claude was enough to confer art glory
on a country house,and possibly for this reason England, in public and private
collections, has more "Claudes" than are held by any other country. But
Claude's admirers, among whom Sir George Beaumont, the great art critic of
his generation, took the lead, have had their day, and, if they have not by any
means passed away, are on the wane.
The
wrathful indignation of the English landscape-painter. Turner, at the
praise which was so glibly lavished on Claude helped to shake the English art
world's faith in its former idol. Mr. Ruskin's adoption and proclamation of
Turner's opinion shook the old faith still further. This reversal of a verdict
with regard to Claude is peculiar. It is by no means uncommon for the deci-
sion of contemporaries to be set aside. In fact, it is often ominous with regard
to a man's future fame when he is " cried up to the skies " in his own day. The
probability may be that his easy success has been won by something superfi-
cial and fleeting. But Claude's great popularity has been in another genera-
tion, and with another nation. English taste may have been in fault; or another
explanation seems preferable —
that Claude's sense of beauty was great, with
all its faults of expression, and he gave such glimpses of a beautiful world as
the gazers on his pictures were capable of receiving, which to them proved
irresistible.
Mr. Ruskin has been hard on Claude, whether justly or unjustly I cannot
pretend to say. The critic denies the painter not only a sense of truth in art,
but all imagination as a landscape-painter. "Of men of name," Mr. Ruskin
writes, "perhaps Claude is the best instance of a want of imagination, nearly
total, borne out by painful but untaught study of nature, and much feeling for
abstract beauty of form, with none whatever for harmony of expression." Mr.
Ruskin condemns in the stongest terms" the mourning and murky olive browns
and verdigris greens in which Claude, with the industry and intelligence of
a Sevres china-painter, drags the laborious bramble-leaves over his childish
foreground." But Mr. Ruskin himself acknowledges, with a reservation,
Claude's charm in foliage, and pronounces more conditionally his power,
when it was at its best, in skies — a region in which the greater, as well as the
less,Poussin was declared to fail signally. "A perfectly genuine and untouched
sky of Claude," Mr. Ruskin writes, "is indeed most perfect, and beyond praise
in all qualities of air; though even with him I often feel rather that there is a
great deal of pleasant air between me and the firmament, than that the fir-
mament itself is only air."
[370]
 —

CLAUDE LORRAIN 35

W. C. BROWNELL 'FRENCH ART*

seems hardly fanciful to say that the depreciation of Claude by Mr.
IT Ruskin, who is a landscape-painter himself, using the medium of words in-
stead of pigments, is, so to speak, professionally unjust.
"Go among the meadows that slope from the shores
out, in the springtime,
of the Swiss lakes to the roots of their lower mountains. There, mingled with
the taller gentians and the white narcissus, the grass grows deep and free; and
as you follow the winding mountain paths, beneath arching boughs all veiled \
{\
and dim with blossom — paths that forever droop and rise over the green banks i '
''

and mounds sweeping down in scented undulation, steep to the blue water, |
studded here and there with new-mown heaps, filling the air with fainter sweet-
ness — look up towards the higher hills, where the waves of everlasting green
roll silently into their long inlets among the shadows of the pines,"
Claude's landscape is not Swiss, but if it were it would awaken in the be-
holder a very similar sensation to that aroused in the reader of this famous
u
passage. Claude indeed painted landscape in precisely this way. He was per-
haps the first — though priority in such matters is trivial beside preeminence
who painted effects instead of things. Light and air were his material, not
ponds and rocks and clouds and trees and stretches of plain and mountain
outlines. He first generalized the phenomena of inanimate nature, and in this
he remains still unsurpassed. But, superficially, his scheme wore the classic
aspect, and neither his contemporaries nor his successors, for over two hun-
dred years, discovered the immense value of his point of view, and the puis-
sant charm of his way of rendering nature.

C. H. STRANAHAN 'A HISTORY OF FRENCH PAINTING*

LIKE Poussin, Claude had the feeling, caught indeed from Poussin's ad-
^ vice, that the dignity of classic structure was necessary to his scene. At
the same time, study led him, more profoundly than all other masters, to pen-
etrate the secrets of nature. His thorough study of nature is abundantly at-
tested by his sketches. Reynolds said there would be another Raphael before
there would be another Claude. His three great charms are: the unlimited
space expressed in his pictures, effected by the use of soft vapor to define sep-
arate distances, and equaled, perhaps, only by Corot; the effects of air, shown
in veiling and subduing outlines and tints, as well as in causing the foliage to
quiver, light clouds to sweep across the sky, and water to ripple; and the bril-
liant effects of light on a charming coloring.
But far as the eye may wander away into space in Claude's pictures, it is
always able to retrace its wanderings to a definite and beautiful foreground,
where all is repose and serenity, crowned with some one of the varied mys-
teriesof light; the ethereal drapery of aerial perspective or the more tangible,
though still dreamy, mist of sunrise or sunset. He painted nature's worship,
the morning and evening hymn of praise rising to heaven, unperceived of un-
anointed eyes.

[371]
36 MASTERS IN ART
FRANZ KUGLER 'HISTORY OF PAINTING'

THESE, however, are but the external features of Claude's pictures, and
they form only the framework by means of which he sets before us the
true creative power of nature, shown, as in the works of G. Poussin, in the ef-
fect of air, and still more in the brilliant and vivid workings of light. The
quivering of the foliage, the silent sweep of Hght clouds across the clear sky,
the ripple of the lake or the brook, the play of the waves of the sea, the pure
breezes of morning, the soft mists of evening, and the glistening dew upon
the grass are all truth itself, and all seem instinct with joyous life. A soft
vapor separates one distance from another, and allows the eye to wander
into boundless space, only to be recalled by the warmth and richness of the
foreground. Light pervades the whole, and every object breathes a blessed
serenity and repose. Claude paints the forms of earth, indeed, but he veils
them in an ethereal drapery, such as is only at moments visible to our eyes;
he paints that worship of the Creator which nature solemnizes, and in which
man and all his works are only included as accessories.

C|)e Woxk^ of Clautie ilorrain

DESCRIPTIONS OF THE PLATES

«THE ANNUNCIATION* PLATE 1

AS in most of Claude's historical or mythological subjects, the story-telling

./A. portion of this picture, from which it has received its title, is a distinctly
secondary matter. The landscape is of first importance; and although the fig-
ures take their place in the general composition, they, as well as the story they
are intended to convey, are subordinated to the pictorial quality at which
Claude always aimed.
The subject is supposed to be either 'The Annunciation' or 'The Angel
Appearing to Hagar,' and it is of little moment which we choose, for the main
than in the episode. The figures in the
interest for us lies in the scene rather
foreground to the left are so placed as to balance the larger mass of trees at
the right, which cover a great portion of the picture. In the middle ground is
a broad, winding river to which the shores slope gradually, over which a sin-
gle-arched bridge conducts to a high rock occupying the center of the middle
distance, and which is surmounted by a castle or town. The view is bounded
by low mountains.
This picture is recorded in the 'Liber V-^ritatis' as No. io6, and was
painted in 1654 or 1655 "pour Paris." It came into the possession of the Na-
tional Gallery in London upon its establishment in 1826, with the collection
of Sir George Beaumont, who had promised to donate all his pictures to the
nation as soon as the government should allot a proper place for their recep-
[3-2]
 CLAUDE LORRAIN 37

tion. This picture was however so great a favorite with Sir George that he re-
quested permission to have it returned to him during his lifetime.
It is painted on canvas, and is only one foot eight inches high by one foot
five inches wide.

«A SEAPORT AT SUNSET" PLATE II

THIS seaport,as 'The

sometimes known as 'The Ancient Port of Messina' and
Combatants,' from the group of struggling
sometimes figures in
the foreground, represents a harbor with Claude's favorite perspective of
porticos and palaces, amongst which appears the Villa Medici (now the
French Academy in Rome). The whole canvas is illuminated with a ruddy
glow of light from the setting sun, which is about to dip below the horizon.
Here and there the color has gone in patches, but not sufficiently to mar the
fine general effect.
This picture was one of four painted by order of Pope Urban vii. (Maffei
Barberini). The order was the result of Claude's first interview with the Pope,
to whose attention he had been brought by Cardinal Bentivoglio, one of the
painter's former patrons. Together with 'The Village Dance,' another of the
four, and also in the Louvre, it bears the inscription "claudio inv. rom^
1639." These two are the master's earliest dated works in oil.
A replica, with the composition reversed, is in the collection of the Duke of
Northumberland, while another similar subject (No. 28 of the 'Liber Verita-
tis') is in the Uffizi Gallery in Florence. This is No. 14 of the 'Liber Veritatis,'
and measures four feet three inches high by four feet six inches long.

'EMBARKATION OF THE QUEEN OF SHEBA' PLATE III

THE Queen
uponsteps
of Sheba and her attendants are descending a broad flight of
the right of the picture to enter a boat which
is waiting to re-

ceive them, while a ship lies at anchor near the center of the port.
The similarity of subject and treatment in Claude's seaports is shown by
comparing this picture with the preceding one and with 'The Landing of Cl«-
opatra at Tarsus' and 'Ulysses Restoring Chryseis to Her Father.' In all four
the arrangement and composition are the same, the figures grouped in the fore-
ground in complicated but carefully studied relation; the rows of classic build-
ings in sharp perspective upon one or both sides; the shipping and buildings
of medieval architecture in the middle distance; and the sea, marked by a dis-
tant horizon and reflecting the rays of the sun which hangs just above the hori-
zon each case occupying the center of the picture. So striking is this
line, in
similarity that one is tempted to accuse the artist of employing a formula. But
his mastery of the formula and the never-ceasing charm of varied detail are
sufficient answer to such a charge.
This picture is represented in morning light; the whole scene is suffused
with it; there is not a single discordant note to mar the fresh tranquillity; every
figure is enveloped in an atmosphere which pervades and unifies the whole
composition.
In 1648 Claude painted this picture for the Due de Bouillon (and it is known
[373]
38 MASTERSINART
as the "Bouillon Claude"), in whose family it remained until the French Rev-
olution. Itwas then sold in Paris for eight thousand pounds to Mr. Angerstein,
whose collection was purchased in 1824 by the British Government, and
formed, together with that of Sir George Beaumont and others, the nucleus of
the National Gallery.
This picture very like but not an exact facsimile of that in the Doria Gal-
is

lery in Rome, and is generally treated as a replica. It bears the inscription

"La Reine de Saba va trover Salomon." It is numbered 114 in the 'Liber
Veritatis,' and measures four feet eleven inches high by six feet seven inches
long.

•LANDING OF CLEOPATRA AT TARSUS' PLATE IV

CLEOPATRA, whose treasure-laden galleys are moored close to the shore,

has stepped out of a richly caparisoned boat onto a quay strewn with
fragments of sculpture. Leaning on the arm of a negro, and followed by her
handmaidens, she advances to meet Mark Antony, who comes forward from
a lofty palace portal with attendant pages. The figures are not fortunate. In-
deed, they look like what they are, — men and women of the seventeenth cen-
tury playing in a classical charade. Lady Dilke believes the figures to have
been painted by Filippo Lauri. But these shortcomings cannot destroy the
interest or mar the beauty of the wonderful cloud-flecked sky, iridescent with
the light of a sun new risen, and still partially veiled by the morning mist, and
of the blue waters —
barred with a streak of silver light —
whose wavelets
come lapping up against the galleys and the marble quays.
This picture is in excellent preservation and is esteemed one of Claude's
finest seaports. It is full of life, and the execution is bold and confident. It
has no date or inscription, but is recorded in the 'Liber Veritatis' as No. 63,
and was painted in 1646 for Cardinal Angelo Giorio, formerly tutor of the
nephews of Pope Urban viii. It measures three feet eleven inches high by
five feet seven inches long.

•MERCURY AND AGLAUROS' PLATE V

THIS picture, known as 'Mercury and Aglauros' or as 'Landscape with

Arcadian Shepherds,' was painted by Claude in 1642. The figures are
believed to have been the work of Filippo Lauri, who, although only nineteen
years old at this time, is known to have assisted Claude upon many of his
pictures.
Herr Bode purchased this picture for the Berlin Royal Museum at the sale
of the Marquis of Ganay at Paris in 1880. It was previously in the Pourtales
Collection, sold in Paris in 1865. It measures three feet two inches high by
four feet three inches long.

«THE FLIGHT INTO EGYPT' PLATE VI

OHN SMITH, in the 'Catalogue Raisonne,' gives the following description

of this picture under the title of 'A Shepherdess Listening to a Shepherd
J Playing on a Pipe.' As will be seen by comparison with the reproduction,
[374]
 CLAUDE LORRAIN 39

there are some and the details described in the distant

slight discrepancies,
dim and indistinct as not t^ be discernible.
portion of the picture are so
"The landscape represents a delightfully wooded country, having the ap-
pearance on the left of a recent inundation, a large portion being covered with
water which, distributed into streams, rolls rapidly over broken banks flow-
ing to the front-ground, where it branches off through a narrow channel to the
opposite side. In this part is a young woman, kneeling on a stone, filling a
pitcher with water from a wooden spout, at the side of the bank, near which
sits a shepherdess with a crook listening to the music of a pipe played by a

peasant, who stands before her. A number of cows and goats are distributed
around them. Considerably beyond these, and close to the left, is introduced
'The Flight of the Holy Family.' From hence the eye looks among clusters of
trees of various kinds; and in the more distant landscape, towards the left, may
be observed a castle, at the side of a mountain, and buildings on its summit; a
bridge composed of several arches, and a very remote town are visible at the
base of the cliffs. The effect is that of a fine, clear morning. The picture was
painted for M. Parasson at Lyons, and afterwards came into the possession of
Count Nosse."
This picture is represented by No. i lo of the 'Liber Veritatis,' and is three
feet seven and a half inches high by four feet nine inches long. A duplicate or
replica is in the collection of Mr. Thomas Hope.

<THE MILL' PLATE VII

THE MILL '

It is certainly
generally conceded to be one of Claude's finest pictures.
is

one of his most celebrated ones. It shows him at the height

of his power. As compared with The Temple of Apollo at Delos, the composi-
'
'

tion may appear more forced and less beautiful, but these shortcomings are com-
pensated by a freshness and the perfume of spring, and an incomparable at-
mosphere of youth and sparkUng gaiety. There are, indeed, in the foreground
enough figures, accessories to the principal group, to compose a dozen pic-
tures, a fact which has excited the sarcasm of Ruskin and other critics; but
this does not materially detract from the beauty of the picture as a whole.
In the center a broad river, arrested in its course by the dam of the mill
which stands at the left, forms a small lake, whose water of turquoise blue
reflects the sunlight, and is shut in by the gray and misty banks. Upon the
gray horizon distant mountains gradually assume the tone of the sky, and
merge into a blue as strong as that of the water below. In the foreground the
dancing figures are dressed in red and blue, while in the center a single figure
robed in white gives a strong point of accent.
This picture was painted in 1648 for Prince Camillo Pamfili, and still re-
mains in the Doria Palace (formerly the Pamfili Palace). It is represented by .

No. 113 of the 'Liber Veritatis,' and a replica was painted by Claude for the
Due de Bouillon which now hangs in the National Gallery in London, and is
sometimes known as 'The Marriage of Isaac and Rebecca.'
The picture measures four feet one inch high by six feet seven inches long.

[375]
40 MASTERSINART
'NOON,' OR 'THE FLIGHT INTO EGYPT' PLATE VIII

THE 'Noon,' otherwise

pictures now
known as 'The Flight into Egypt,' is one of four
Hermitage Gallery at St, Petersburg. The scene is
in the
one of peaceful serenity, and is among Claude's most charming compositions.
The Holy Family is placed at the right of the foreground, surrounded by a
group of domestic animals. A bridge occupies the center of the picture, be-
yond which are a mass of trees and a ruined Corinthian temple. In the middle
distance a two-arched bridge crosses a river leading to an arm of the sea
bounded by a distant shore, with low mountains upon the horizon.
This picture was painted about 1661 "for Antwerp," as the inscription upon
No. 154 of the 'Liber Veritatis' indicates. It, with its three companions,
'Morning,' 'Evening,' and 'Night,' formerly adorned the residence of the
Empress Josephine at Malmaison, whither it was taken by Napoleon from the
Gallery of Cassel. In 18 14 the Czar Alexander bore them away to St. Peters-
burg as his prize. The picture measures three feet nine inches high by five
feet one inch long.

<THE TEMPLE OF APOLLO AT DELOS" PLATE IX

IADY DILKE says, "This is perhaps Claude's most beautiful landscape,

-> reserved and sober, broad and free in handling, and of an extremely fine
silvery tone." Sweetser also says of it, "One of Claude's noblest works, re-
plete in beauty and variety, and flooded with fresh and sparkling air." In the
foreground a group of priests and priestesses is seen, leading a sacrificial bull
towards the temple of Apollo. Beyond there is a vast expanse of country dotted
with groves and buildings, intersected by rivers, and bounded by a broad sea.
A magical light suffuses the picture. The foreground is less dark and somber
than is customary with Claude, while nothing detracts from the delicate charm
of the distance; the enchanted country which leads toward the setting sun
shows a world of charming details, finally lost in the waters of the river which
flows towards the distant sea. The great mass of trees which occupies the cen-
ter contrasts its shadows with the brilliant light of the distance and the sky.
This is a kind of contrast for which the painter had a great fondness, and
which he often repeated.
The picture was painted for Prince Camillo Pamfili, and still remains in
the Doria Gallery. It is represented by No. 119 of the 'Liber Veritatis,' and
measures four feet one inch high by six feet seven inches long.

<ULYSSES RESTORING CHRYSEIS TO HER FATHER' PLATE X

THE 'Ulysses Restoring Chryseis to Her Father' is another of Claude's

typical seaports.It was painted, together with 'The Ford,' also in the
Louvre, for the Due de Liancourt. The figures are supposed to have been
painted by Filippo Lauri, who cooperated with Claude upon many of his pic-
tures. Despite the influence of time, this is a fine canvas. It is numbered 80
in the 'Liber Veritatis,' and measures three feet eleven inches high by four
feet eleven inches long.

[376]
 — —

CLAUDE LORRAIN ,. ., '

'
"
L ^^'^V

A LIST OF SOME OF THE MORE NOTABLE PAINTINGS BY CLAUDE LORRAIN

WITH THEIR PRESENT LOCATIONS
PUBLIC COLLECTIONS
yiUSTRIA-HUNGARY. Innsbruck Museum: Diana; Landscape Budapest —
JLjLGallery: The Ford —
Vienna Academy: Two Landscapes —
BELGIUM. Brus-
sels Museum: ^neas hunting the Stag —
DENMARK. Copenhagen, Christians-
BORG: Landscape —
ENGLAND. Hampton Court, Royal Gallery: Seaport Lon- —
don, Buckingham Palace: Rape of Europa —
London, Dulwich Gallery: Flight
into Egypt; Jacob and Laban; Embarkation of St. Paula; Seaport; Two Landscapes —
London, National Gallery: Cephalus and Procris; Seaport; David at the Cave of
Adullam; Marriage of Isaac and Rebecca; Embarkation of the Queen of Sheba (Plate iii);
Narcissus and Echo; Embarkation of St. Ursula; Death of Procris; The Annunciation
(Plate i); Anchises and ./Eneas at Delos; Goatherd and Goats —
London, South Ken-
sington Museum: Landscape —
Windsor, Royal Gallery: TheFord; ViewofTivoli;
Two Seaports; Claude Sketching — FRANCE. Bordeaux Museum: Landscape —
Grenoble Museum: Seaport; ViewofTivoli— Paris, Louvre: The Campo Vaccino;
Rustic Dance; Samuel Anointing David; The Ford; Siege of La Rochelle; Forcing the
Pass of Susa; Landing of Cleopatra at Tarsus (Plate iv); Ulysses Restoring Chryseis to
her Father (Plate x); A
Seaport at Sunset (Plate li); Two Landscapes; Five Seaports
— Rennes Museum: Landscape —
Tarbes Museum: Village Fete — GERMANY.
Augsburg Museum: Landscape Berlin, Royal Museum: Mercury and Aglauros
(Plate v) —
Dresden, Royal Gallery: Flight into Egypt (Plate vi); Polyphemus, Acis,
and Galatea —Gotha Gallery: Marine View Munich, Pinakothek: Expulsion of
Hagar; The Angel appearing to Hagar; Tlie Ford; Seaport —
Strasburg Museum:
Venus — Stuttgart Gallery: Two Landscapes —
HOLLAND. The Hague Gal-
lery: Landscape —
ITALY. Florence, Uffizi Gallery: Seaport; Landscape —
Naples, Royal Museum: Diana Reposing, or Egeria; Seaport —
Rome, Barberini
Palace: Castel Gandolfo and Lake Albano —
Rome, Doria Gallery: The Temple
of Apollo at Delos (Plate ix); The Mill (Plate vii); Mercury Stealing the Cattle of Ad-
metus; Cephalus and Procris, or Diana Hunting Turin, Palazzo Reale: Two Land-
scapes — RUSSIA. Owned by Prince Youssoupoff: Rape of Europa; Fight on a
Bridge — St. Petersburg, Hermitage Gallery: Morning, or Jacob and Rachel; Noon,
or The Flight into Egypt (Plate viii); Evening, or Tobit and the Angel; Night, or Jacob
wrestling with the Angel; Apollo and the Cumaran Sybil; The Journey to Emmaus;
Apollo and Marsyas; The Piping Shepherdess; Man angling and Ship with French Flag;
Ulysses visiting Lycomedes; Two Seaports —
SPAIN. Madrid, Royal Museum:
Burial of St. Sabina; The Finding of Moses; Embarkation of St. Paula; Tobit and the
Archangel Raphael; Hermit in Prayer; The Penitent Magdalen; Temptation of St. An-
thony; The Ford; Two Landscapes —
SWEDEN. Stockholm, Royal Museum:
Landscape, with Arch of Constantine and Coliseum; Landscape.

private collections
ENGLAND. Apsley House, Owned by the Duke of Wellington: Embarka-
tion of St. Paula — —
Owned by T. Baring, Esc^: Landscape Belvoir Castle,
Owned by the Duke of Rutland: Apollo and the Cuma;an Sybil Bridgewater —
House, Owned by the Earl of Ellesmere: Landscape; Metamorphosis of the Apuleian
Shepherd; Moses and the Burning Bush; Demosthenes on the Seashore —
Corsham House,
—
Owned by Lord Methuen St. John in the Desert Owned by the Duke of Devon-
:

shire: Mercury and Battus —

Dorchester House, Owned by R. S. Holford, Esc^:
Landscape; The Sacrifice —
Grosvenor House, Owned by the Duke of Westminster:
The Roman Empire; The Decline of the Roman Empire; The Worship of the
Rise of the
Golden The Sermon on the Mount
Calf; —
Holkham, Owned by the Earl of Leices-
ter: Perseus —
Owned by the Earl of Northbrook: Jacob and Laban; Mill on the
Tiber; Two Landscapes —
Longford Castle, Owned by the Earl of Radnor: Rise
of the Roman Empire; Decline of the Roman Empire —
Petworth House, Owned by
[377]
 —— — — — — —— — —

'4?
* "
MASTERS IN ART
THE Earl of Leconfield: Jacob and Laban —
Owned by the Earl of Portarling-
TON: Embarkation of St. Paula —
Owned by Lord Wantage: The Enchanted Castle, or
Psyche.

Clautre ilorratn 3Btbltograp|)p

A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES
DEALING WITH CLAUDE LORRAIN

THE most complete study of Claude as yet published is Lady Dilke's (Mrs. E. F. S.
Pattison)Claude Lorrain, sa vie et ses oeuvres' (Paris, 1884). The best English
<

account is that of G. Grahame in 'The Portfolio' (London, 1895). O. J. DuUea's

'Claude Gellee le Lorrain' (London, 1887) and M. F. Sweetser's 'Claude Lorrain'
(Boston, 1878) rank next in completeness.

ALEXANDRE, A.
Histoire populaire de la peinture: ecole francjaise. Paris [1893] —
/x Armelin, G.
Lorrain (Claude Gelee) (in La Grande Encyclopedie). Paris [1886]
— Baldinucci, F. Notizie di Professor! del Disegno. Florence, 168 i-i 728 Blanc, C.
Histoire des peintres de toutes les fecoles. Paris, 1862 —
Brownell, W. C. French Art.
New York, 190X —
Cook, E. T. A
Popular Handbook to the National Gallery. Lon-
don, 1897 — DiLKE, E. F. S. Claude Lorrain, sa vie et ses oeuvres, d'apres des documents
inedits. Paris,i884 —
Dullea, O. J. Claude Gellee le Lorrain London,i887 —
D.,O.J.
Claude Gellee (in Bryan's Dictionary of Painters and Engravers). London, 1903 —
Du-
PLESSis, G. Eaux-fortes de Claude le Lorrain, Paris [1879] —
Earlom, R. (Engraver).
The Liber Veritatis of Claude le Lorrain. London, 1777 —
Eastlake, C. L. Notes oa
the Principal Pictures in the Louvre Gallery. London, 1883 —
Hamerton, P. G. Etch-
ing and Etchers. London, 1868 —
Hazlitt, W. Criticisms on Art. London, 1853 —
James, R. N. Painters and Their Works. London, 1896 —
Jameson, A. B. Private
Galleries of Art in London. London, 1844 —
Kingsley, R. G. A
History of French
Art. London, 1899 —
Kugler, F. T. Handbook of Painting: The German, Flemish,
and Dutch Schools. Remodeled by Dr. Waagen, revised, and in part rewritten by J. A.
Crowe. London, 1874 Lafenestre, G., and Richtenberger, E. Le Musee National
du Louvre. Paris, 1893 —
Larousse, P. A. Lorrain (Claude Gelee) (in Grand diction-
naire universel). 1866-90
Paris, —
Merson, O. La Peinture fran^aise au xviie siecle et
au xviii=. Paris [1900] —
Poynter, Sir E. J. The National Gallery. London, 1899—
1900 Regnet, C. a. Claude Lorrain (in Dohme's Kunst und Kvinstler, etc.). Leipsic,
1880 — Robertson, J. F. The Great Painters of Christendom. London, 1877 Ros-—
setti, W. M. Claude of Lorraine (in Encyclopaedia Britannica). Edinburgh, 1883 —
Ruskin, J. Modern Painters. London, 1851 Sandrart, J. von. Academia Nobilis-
simae Artis Pictoriae. Nuremburg, 1683 Smith, J. Catalogue Raisonne. London,
1829-42 Stranahan, C. H. a
History of French Painting. New York, 1895 —
Sweetser, M. F. Claude Lorrain. Boston, 1878 Tytler, S. The Old Masters and
Their Pictures. Boston, 1905 —
Villot, F. Notice des tableaux exposes dans les galeries
du Musee National du Louvre; 3™= partie: ecole fran9aise. Paris, 1882 —
Waagen, G. F.
Treasures of Art in Great Britain. London, 1854 Wyzewa, T. de, and Perrkau, X.
Les Grands peintres de la France. Paris, 1890.
magazine articles
L'ART, 1876: P. G. Hamerton; Turner et Claude Lorrain. 1882: E. F. S. Dilkej
Deux Documents inedits. 1883: E. F. S. Dilke; Les Dessins de Claude Lorrain —
Gazette des Beaux-Arts, 1861: F. del Tal; Le Livre des Feux d' Artifice de Claude
Gellee. 1884: E. BonnafFe; Le Mausolee de Claude de Lorraine —
Le Peintre Graveur
Fran^ais, 1871: E. Meaume; Claude Gellee dit le Lorrain Portfolio, 1895:
G, Grahame; Claude Lorrain Revue des deux Mondes, 1884: t. Michel; Claude
Lorrain.
[378]
 MASTERS IN ART

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American Country Houses
A LARGE
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number of The Architectural Revieto published primarily for
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With the aim of making these examples accessible, all the most excellent American
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7i /TASTERS IN ART was established in January, 1900. As will be
A VA. seen from the following list of painters and sculptors covered by the
first sixyears, the bound volumes form a fairly complete reference library of
Art. The subjects, in the order of publication, are as follows:
Volume I (1900) treats of Van Dyck, Titian, V<!law|ucz, Hdlbtin,
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book presents the very finest examples of Georgian
(or Colonial) furniture now existing. The variety of
pieces shown is very great, and ranges from the
simplest to the most elaborately carved the photo- ;

graphs have been made expressly for use, with

visible scales; the index gives complete descriptive
details. T^i'i book is worth its price to any one who
designs in the Colonial style because of its infinite
suggestiveness for all kinds of decorative detail in
that style, quite apart from the subject of furniture.

In Portfolio, $10.00, E:t:press Paid

Bou nd " $12.00, Express Paid

UNIFORM IN SIZE AND GENERAL STYLE WITH "ENGLISH

COUNTRY HOUSES," "ENGLISH COUNTRY CHURCHES"
AND "MODERN FRENCH ARCHITECTURE."
DESCRIPTIVE LIST OF PLATES SENT
ON APPLICATION.

42 CHAUNCY STRE,E,T, BOSTON, MASS.

In answering advertisements, please mention Masters in Art ii

Printed at The Everett Press