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Laughing and rubbing our hands we asked humbly for news, and inquired what they had heard from Jena. Thereupon terror seized them, they were astonished that we already knew of that disaster. The Germans cried, ‘Ach Herri Gott! O Weh!’ and, hanging their heads, they ran into their houses, and then pell-mell out of their houses again. O that was a scramble!
Anthony, being enjoyable. The painter-persecuted saint sits in the foreground of a freshly painted landscape, harassed by the attentions of witches, several of them comely and clothed. To be precise, the composition suggests a much-married man listening to the reproaches of his spouses. Hanging in a doorway we found a Herri Met de Bles that is not marked doubtful.
Who was Herri met de Bles? Nearly all the large European galleries contain specimens of his work and in the majority of cases the pictures are queried. That fatal (?) which, since curators are more erudite and conscientious, is appearing more frequently than in former years, sets one to musing over the mutability of pictorial fortunes. Also, it awakens suspicions as to the genuineness of paint. Restorations, another fatal word, is usually a euphemism for overpainting. Between varnish and retouching it is difficult to tell where the old master leaves off and the "restorer" begins. Bles, for example, as seen in the Rijks Museum, is a fascinating subject to the student; but are we really looking at his work? The solitary picture of his here, Paradise, is so well preserved that it might have been painted a year ago. (It is an attribution.) Yet this painter is supposed to have been born at Bouvignes, 1480, and to have died at Liège, 1521. He was nicknamed Herri, for Hendrick, met de Bles, because he had a tuft of white in his hair (a forerunner of Whistler). The French called him Henri