296 



THE POPULAR EDUCATOR. 



EXERCISE 64. GREEK-ENGLISH. 



1. Life brings many painful things with it. 2. Know thyself. 3. 

 Wish to please all, not thyself alone. 4. The wise man carries about 

 his property in himself. 5. Utter the praise of thy friends rather than 

 thine own. 6. Virtue is honourable in itself. 7. The greedy enrich 

 themselves, but injure others. 8. The incontinent are not only 

 injurious to others without being profitable to themselves, but are 

 doers of evil to others, but most so to themselves. 9. We gratify 

 ourselves most. 10. The gods are free from envy, even amongst one 

 another. 11. j'Jad men injure one another. 



EXERCISE 65. ENGLISH-GREEK. 



L O: <ro<j>ai ircpu/iepoi'iri TO irpayyuara v iavToit. 2. 'O jrXeove/CTrjf taurov 

 T \OKTifei aXXour ie /SXajrrei. 3. "Yfiaf xap<fe(70e. 4. 'O aKparnt ova e<ni roit 

 fie* aXXoir /3Xa/3epov, favriu ie <i)<j>e\inot, aXXa KaKovpfot /uei/ ruv aXXaic, 

 taurov ie vo\o KaKuvpfotepot. 5. Afatiot iraider, aXXijXovy a-repyere. 



EXERCISE 66. GREEK-ENGLISH. 



1. My father is good. 2. All men love their own fathers. 3. Your 

 children learn their letters earnestly. 4. Yur children are beautiful. 

 5. Yonr children are excellent. 6. Our children blame our condition. 

 7. Your friend is faithful. 8. My friend is faithless. 9. Your intellect 

 governs your body. 10. My boy is diligent, but yours is remiss. 



EXERCISE 67. ENGLISH-GREEK. 



1. lor iraTffp eartv afaOot. 2. 'O irurnp pov eanv ayaOor. 3. 'HyuaiK 6 



c-uTrjp ftrrtv afaDot. 4. 0CT6poi iov\oi er< KOXOI. 5. 'H/j.srepot fie* iruifitf 



<riroviai<at (lai/Oavovn, vfjLerepoi ie ei<n juefrijuovEr. 6. 'O <pt\os oov tuiiToy 

 fiev ra cpyu tiavfiafei, av ie TO TUV aXXwv. 



THE HISTORY OF ART. 



XVI. THE ENGLISH SCHOOL. 



ART, im its westward progress, at last reached the shores of 

 England. During the mediaeval period, we in Britain had 

 already possessed a large school of native architects and deco- 

 rators, who raised for us the great piles of Lincoln, Salisbury, 

 and Liohfield, of Windsor, Warwick, and Durham, of Oxford, 

 Cambridge, and Glastonbury. But our domestic artists had 

 never turned largely in the direction of painting and sculpture 

 in thoir highest forms. At best, they had been satisfied with 

 shrines and decorative frescoes ; they seldom attempted any- 

 thing in the way of high art, as practised even then in Italy 

 and Flanders. Moreover, from the Reformation onward, one 

 great stimulus of painting and sculpture was gone from Eng- 

 land. The old creed had encouraged art by encouraging 

 pictures and statues of saints and martyrs : the devotional 

 spirit of the people had been turned into a more or less 

 distinctly aesthetic channel. The new creed swept away almost 

 all church decorations at once, and the Puritan reaction, which 

 carried further the work of the first reformers, made many 

 people look upon art in any form as little short of sinful. 

 Thus for some time in England there was hardly any native 

 artistic movement of any sort ; and when an artistic movement 

 at last arose, it owed its origin rather to the wealthy few than 

 to the popular masses. In Italy and the Low Countries, 

 painting sprang from the many, and ministered to the wants 

 and sentiments of the many ; in England it was at first a 

 special product to meet the tastes of the few, and to those 

 tastes often artificially acquired abroad it entirely devoted 

 itself. Hence English art was originally a costly exotic, tended 

 with care by wealthy hands, and it only slowly acclimatised 

 itself to our peculiar circumstances. It began by being a 

 foreign import, a luxury for the noble mansions, and gradually 

 made its home among us, coming down at last in our own day 

 to the level of all. 



As early as the days of Henry VII., Italian artists found 

 occupation at the English court. Under his son, Henry VIII., 

 the famous German portrait-painter, Hans Holbein, came to 

 London by invitation of Sir Thomas More, and his pencil has 

 preserved for us many of the bearded statesmen and court 

 beauties of that stormy period. In Elizabeth's reign, a general 

 Italianising tendency became marked in England ; and the 

 great nobles began to build themselves large palaces in the 

 Italian style, with gardens and terraces, of which Knowle, 

 Audley End, and Somerset House are examples. A row of 

 such houses lined the whole length of the Strand, from the 

 City to Westminster. These mansions were decorated within 

 with painting, and presented a great contrast in their open 

 galleries and broad staircases to the dark rooms and narrow 



winding turret steps of the old-fashioned feudal castles. 

 Charles I. was a great patron of foreign art ; he invited over 

 Rubens, who painted several of his finest pictures here, and 

 Vandyck, who spent the best part of his life in producing 

 portraits of the king and his cavaliers. During the Puritan 

 triumph of the Commonwealth, the nascent feeling for art, as 

 yet unnaturalised in the native English mind, died down again 

 in great part ; and it only revived with the Eestoration. Sir 

 Peter Lely, a Dutch painter, born in Westphalia, but taught at 

 Haarlem, came to England in the reign of Charles I., and 

 became so thoroughly an Englishman by adoption that he may 

 almost be considered as the first great English artist. He 

 painted a portrait of Cromwell, and managed to exist through 

 the Commonwealth ; but with the return of Charles II. he rose 

 at once into the greatest eminence. He has kept alive for us 

 the fair faces and lissome figures of the beautiful women 

 who crowded the licentious court of the Eestoration. His 

 style is extremely refined, but very much marked by the pre- 

 vailing loose tastes of his times. The hands in his portraits 

 are especially famous for their grace and delicacy. Lely's 

 feeling is quite unlike that of the Dutch school, and is very 

 English in many of its characteristics. He caught exactly the 

 tone of the aristocratic world in which he mixed, and produced 

 such paintings as would please its refined and somewhat over- 

 delicate taste. In this he struck the key-note of the early 

 English school of painters, who lived as the clients of lordly 

 patrons. Sir Godfrey Kneller, a native of Liibeck, and pupil 

 of Eembrandt, took up the succession after Lely. He was 

 painter by appointment to all our sovereigns from Charles II. 

 to George I., and his portraits represent for us the round-faced, 

 periwigged, close-shaven nobles of that comfortable time with 

 some technical ability, but with very little power or feeling. 

 His attitudes are wooden, and his faces lack expression or 

 character. 



The first really English-born artist of any eminence, and the 

 true founder of the English school of painting, was William 

 Hogarth. This singular genius was born in London, in 1697, and 

 studied under Sir James Thornhill, the decorator of the dome 

 of St. Paul's, Blenheim Palace, Greenwich Hospital, and several 

 other public buildings. After trying his hand, without much 

 success, at portraits and historical painting, he at last struck 

 out that peculiar style of satirical and domestic art which has 

 made his name so famous. His principal works are the three 

 celebrated series of the " Eake's Progress," the " Harlot's 

 Progress," and " Marriage a, la Mode," each consisting of 

 several pictures, arranged so as to tell a consecutive story. 

 Hogarth's painting is English in the extreme more charac- 

 teristically English, indeed, than that of almost any among 

 his successors ; for he exhibited in the highest degree many of 

 our original national faults, which have been carefully toned 

 down and partially eliminated by subsequent taste and study. 

 He is coarse in sentiment and too powerful in satire, but he 

 invented a totally new department of art, and made his pictures 

 detail a plot as no one before him had ever succeeded in doing. 

 They might almost be described as novels on canvas. He loved 

 to take the common objects of low life around him a gin-shop, 

 a street musician, a drunken soldier, an election scene, a group 

 of strolling actresses and to reproduce them in vivid carica- 

 ture, with great humour and unsparing fidelity to the truth at 

 its very worst. Though at first but ill received, he slowly fought 

 his way up against prejudice and incredulity, amassed a con- 

 siderable fortune, and died painter by appointment to the king. 

 Altogether, it was Hogarth who first revealed the popular side of 

 modern English art. He left alone the portraits of kings and 

 duchesses, or the adventures of heathen gods and mediaeval 

 saints, to paint the subjects that he saw and knew the world 

 around him, with ail its loves and hates, its virtues and its 

 foibles, its mean vices and its genuine pathos. It must be 

 acknowledged, however, that the satirical and humorous view 

 of life was uppermost in Hogarth's mind, and that his pictures 

 often shock us as much by their brutality and coarseness as 

 they please us by their power and force. 



Very different in tone and feeling was our great national 

 portrait-painter, Sir Joshua Reynolds, the second founder of 

 the English school. Reynolds was born at Plympton, in 

 Devonshire, 1723, and studied under Hudson, then the leading 

 portrait-painter of his day, in London. He visited Italy, and 

 there made a personal acquaintance with the works of Raphael 



