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Those who have seen the paintings of the Italian artist Segantini will understand what I mean. There have been many painters of mountains, but none whom I know of save he who has reproduced the very spirit of those great snowy spaces. He spent his life among them till they soaked into his nerves, into the very blood of him.
He kept silence a space, and the two captives looked fixedly at him, strangely moved. On his withered cheeks they could see, by the dull bluish glow through the doorway, tears still wet. The long and venerable beard of spotless white trembled as it fell freely over the coarse mantle. "What a subject for a painter if there were any painters left!" thought Stern. The old man's lips moved again.
About A.D. 1350 panel pictures began to be more numerous, and from this time there are vague accounts of schools of painting at Prague and Cologne, and a few remnants exist which prove that such works were executed in France and Flanders; but I shall pass over what is often called the Transitional Period, by which we mean the time in which new influences were beginning to act, and hereafter I will tell our story by giving accounts of the lives of separate painters; for from about the middle of the thirteenth century it is possible to trace the history of painting through the study of individual artists.
The pictures of his later period are also distinguished from those of other painters by the large size of the figures, which for the first time in his country are of three-quarters or even actual life size. Among his most original and attractive pictures are the half-length figures of Christ and the Virgin.
A warmer general tone than is achieved by painters mainly occupied with line and mass is possibly what is oftenest meant by amateurs who profess themselves fond of color.
In a German metropolis of art one can even see sign-boards of sausage manufacturers on which sausages, hams, salted spare-ribs and swards are appetizingly painted with brilliant technique; and they too are conceived like mood-pictures, since that soft melancholy mist, with which our landscape painters are so fond of coquetting, spreads likewise over these sausages and hams, almost making them look as though they had all grown moldy.
In 1519, when he had been three years in Basle, he became a citizen of that town and a member of its guild of painters. His works at Basle were mostly decorative, and he painted few easel pictures there. Holbein married a widow with one son; her name was Elizabeth Schmid. She had a very bad temper. It is said that she made Holbein's life so miserable that he left Basle for that reason.
And as the food and the wine asserted their pacific and beatific sway, she and he steadily moved into better and better humor with each other. Her beauty grew until it had him thinking that never, not in the most spiritual feminine conceptions of the classic painters, had he seen a loveliness more ethereal.
If, on the other hand, other things remaining the same, the moon is drawn two inches in diameter, the church tower is now asserted to be eight times as far off, or about a mile and a third. Very generally these facts are not considered by painters.
The hotel swarmed with carpenters, bricklayers and painters. There was an architect up from the city with a bundle of blue prints in his hand. There was an engineer taking the street level with a theodolite, and a gang of navvies with shovels digging like fury as if to dig out the back foundations of the hotel. "That'll fool 'em," said Mr. Smith.
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