II—THE ITALIANS (PART II)

1. Life of Raphael—His family and his father's influence; change in his style through his instructors. His patrons, and what he did for them. His personal disposition, and its effect on his style.

2. Raphael as a Painter—Give the impressions of famous travelers, authors and art critics. Where his paintings are, their number, their subjects. The Madonna, his favorite subject. Various ways in which he treated it.

3. Michelangelo—The story of his life and training as a painter. Versatility (as architect, painter, sculptor and poet). Brief description of his works and their location. Readings from his sonnets.

4. A Comparison of Raphael and Michelangelo—Their relations in life, their difference of temperament, and the contrast in the spirit of their work.

5. Titian—History of his personal experience. Description of his most famous paintings. His effect on the history of painting, as a colorist.

Books to Consult—Muentz: Raphael. C. C. Black: Michelangelo Buonarotti. Crowe and Cavalcaselle: Titian. C. C. Perkins: Raphael and Michelangelo.

This program should be liberally illustrated with photographs; if no others can be obtained, the Perry pictures will do excellently. Those who have been abroad may compare impressions of different painters, and especially of the various Madonnas painted by Raphael. Pictures of the exterior and interior of the Sistine Chapel and of Saint Peter's should be shown, with colored photographs of the frescoes on the walls and ceiling of the former.

III—SPAIN

1. Early Spanish Painters—Murillo: the artist of the church; his Madonnas. Ribera.

2. Velazquez—The artist of the crown; influence on him of Herrera and Pacheco; peculiarly Spanish character; his patron, Philip IV.; the forty portraits of this king; visit of the painter to Italy; mythological and religious pictures; his Christ on the Cross.

3. Recent Spanish Painters—Goya: his portraits; story of his quarrel with the Duke of Wellington. Fortuny: influence upon him of Meissonier; small and motley figures. Zuloaga: resemblance of style to Goya. Sorolla y Bastida: painter of sunshine on figures; pictures in the Luxembourg and the Metropolitan Museum.

4. The Madrid Gallery—The greatest picture-gallery of the world; built for Charles III. Collections of Charles V., Philip II., and Philip IV. (2,000 pictures.) Its paintings by Titian, Raphael, Tintoretto, Velazquez, Van Dyck, Rubens, and Teniers. Huge modern historical works like those at Versailles.

Books to Consult—Curtis: Velazquez and Murillo. Armstrong: Life of Velazquez. Stirling-Maxwell: Annals of the Artists of Spain. Temple: Modern Spanish Painting.

There were several great patrons of art in Spain, like Charles V. and Philip II. Read of their relations to the painters and their work. Discuss the contribution of the Spanish painters to realism. How does Velazquez compare with Raphael? Analyze the peculiar contribution of Sorolla to modern painting.

IV—HOLLAND AND BELGIUM

1. Painters of Interiors—Metsu, Van Ostade, Jan Steen, Wouvermans. Note the humor and satire in the painters of genre; also, their minutely careful method.

2. Landscapes and Marines—Cuyp, Ruysdael, Van der Velde. Describe the characteristics of the Dutch landscape. Show pictures of cattle combined with landscape.

3. Figures—Hals, Van der Heist, Van Dyck, Rubens. Tell the story of Van Dyck and the English court, and describe his pictures of King Charles I. Note the huge canvases of Rubens, his high colors and his heavy figures. Mention the meeting of Rubens and Velazquez and its probable effect on the former. Notice the quantity of works attributed to Rubens (1,300 titles Smith's catalogue), and discuss the likelihood of his having produced all these without help.

4. Rembrandt—His history, style (light and shade), and effect on painting. Describe the numerous portraits of himself and his wife. Note his work as an etcher. Description of the Night Watch.

Books to Consult—Crowe and Cavalcaselle: Early Flemish Paintings. Max Rooses: Dutch Painters of the Nineteenth Century. Malcolm Bell: Rembrandt van Rijn and His Work. E. Dillon: Rubens.

The Dutch school was the pioneer of modern landscape-painting; show its influence on Constable and other English artists. The Dutch were faithful illustrators of peasant and burgher life, and it is interesting to make a study of costume, furniture, and jewelry as shown by them. Take up the galleries of Amsterdam, The Hague, and Antwerp, and show photographs of Van Dyck's Crucifixion, and Rembrandt's Night Watch. At Haarlem there is a small gallery noted for its paintings by Franz Hals, particularly The Syndics. There is a small group of modern Dutch painters deserving of notice: Mauve, the two Marises, Mesdag, and Israels.