The subject of our first picture--"Asleep," by the French painter, F. Charderon--is a little masterpiece of its kind. There may be prettier children than this one, but the natural and unconscious grace of the little warm and rosy body is infinitely charming.
Charming, too, is the face in the medallion in the heading of this article--the face of a child-angel, which seems to watch over the figure of the human child asleep below. It is taken from a painting by Bernardo Strozzi.
[Illustration]
[Illustration: "FLOWER OF THE HEATH."
_From the Painting by Schwentzen._
By permission of the Berlin Photographic Co.]
The picture reproduced above, entitled "Flower of the Heath," by the German painter, Schwentzen, is another delightful study. It is that of a child wandering alone over a flowery plain--or not quite alone, for she is accompanied by a shaggy terrier, who carries in his mouth a basket, from which protrudes a bottle. That bottle, as often happens with accessories of a picture which may seem quite unimportant at first sight, is not there for nothing. It tells, or at least elucidates, the story of the picture. The little girl has been the bearer of her father's dinner, and is returning through the flowering heather, filling her apron with blossoms as she goes. The whole picture--sunny landscape, flowers, dog, and child--is full of delicate power and subtle charm.
The three child-heads in the medallions above given must not be passed without a word of notice. The upper one is by Gainsborough, and a more winsome and delightful little face it is impossible to imagine. That on the right is from the same picture--the two children being named respectively Habbenal and Ganderetta. The head in the medallion on the left-hand side is from the portrait of James, the young Earl of Salisbury, by Kneller.
We come now to a picture full of pathetic meaning--"Tired Gleaners"--by our well-known English painter, Mr. Fred Morgan. They look so poor and sad, these pretty little girls, who have at the very outset of life already known so much of its hardship. The elder one has a mother's instinct of kindly care for the weaker little sister; her face expresses the self-forgetting resignation of a life filled with love for others. The little one, more beautiful than the elder sister, is one of those beings who are in all stations of life predestined to be loved and cared for. A whole touching life-story is in these two children's faces--beautiful but sad.
[Illustration: "TIRED GLEANERS."
_From the Painting by Fred Morgan._
By permission of the Berlin Photographic Co.]
The examples which have been selected to fill the medallions given in this article comprise illustrations of children's heads contained in some of the most celebrated pictures in the world. It is impossible in a limited space to give an adequate idea of the beauty and charm with which the old masters have immortalized childhood--or perhaps it would be more accurate to say babyhood, since the great majority are representations of the Child with the Madonna, and, though varying in age from a few weeks upwards, the infant is seldom shown as older than a year or two at most. These studies of what may, in a double sense, be called the divinity of childhood differ widely according to the nationality of the painter. As we shall see presently, in some of the examples given in these pages farther on, we can enumerate among the artists of this country certain painters, such as Gainsborough and Reynolds, who as delineators of child-life and character are not easily excelled. There are those, however, who would say that in this respect the Italian masters have never been surpassed. Raphael's child-head of Christ from the painting entitled the "Madonna Aldobrandini," which is reproduced in the first medallion above, will through all ages illustrate, perhaps without a rival, the mission of the eternally beautiful--the dignity of innocence, the holiness of love. Bernardo Strozzi, later than Raphael, painted a human child in the arms of the Holy Virgin. It is reproduced in the right-hand medallion above. The childish charm and smile are most alluring. Here we find an allegory of Christianity; but it is not, like the child's head in Raphael's "Madonna Aldobrandini," an allegory of the divinity.
[Illustration: "HIDE-AND-SEEK."
_By Fred Morgan._
By permission of the Berlin Photographic Co.]
Here is another of Mr. Fred Morgan's studies of child-life--a study notable for its expression of unreflecting and unconscious happiness. To be five years old and to play hide-and-seek among the blossoms, to feel them closing you in entirely, so that you can only just peep through and see with joy the others pass your hiding-place, to hold back the flowery branches and save with the other hand the little frock from the thorns--what pleasure! And there, right over head, is baby heard crowing; she comes nearer and nearer, held high above the flowers and thorns by her strong elder sister. She is sure to catch you! Can one ever feel in after years such delight, excitement, and suspense?
[Illustration: "FOR MOTHER'S BIRTHDAY."
_By Louise Jopling. From a Photo. by H. Dixon._]
In the picture entitled "For Mother's Birthday," by Louise Jopling, a large-eyed little maiden is seen carrying so huge a jar of flowers that she can scarcely hold it. The painter of this picture must be a lover of children; only those who are sensitive to the charm of children can observe their characteristics with so much acuteness. The little girl is so prim and tidy, her best frock and hair-ribbon have been put on with such care, the suppressed excitement and the consciousness of the great importance of the event are so well expressed in her closed mouth, in the fixed gaze of the eyes, that we feel that the painter has caught the fleeting moment to perfection. The next instant that spell of solemnity will be broken, when her mother will have received her birthday present and will have taken her in her arms and kissed her: and the child's expression, as she goes dancing back to the nursery, no longer with the measured steps with which she left it, will be, though not less child-like, the opposite in kind.
[Illustration: "DILIGENCE."
_From the Painting by A. Dieffenbach._
By permission of the Berlin Photographic Co.]
Let us turn again to the realm of fancy, to fairyland, where we all once wandered. Who of us has not feared and trembled for Little Red Riding-Hood; who has not cordially detested the wolf, and wished to warn her against his wiles? The mixture of trust in the wolf and of doubt in her own judgment has in our picture been charmingly expressed by the painter. This is one of those pictures which have the merit of containing an idea which throws a new light on the story which it illustrates. Every child who has read the adventures of Little Red Riding-Hood has wondered why she felt no fear at the first appearance of the wolf. It was because he had the wit, as the picture clearly shows, to disguise his nature and, with all his cunning, to show nothing but his natural likeness to a big and friendly dog, in which it is quite easy for a child to trust, as in a playfellow rather than an enemy.
[Illustration: "LITTLE RED RIDING-HOOD."
_From the Painting by Hiddeman._
By permission of the Berlin Photographic Co.]
In the picture, "Diligence," by Dieffenbach, there is perhaps no idea except what appears at first glance. Whether the child is really absorbed in her lessons, or whether the title is ironical and she is in fact dreaming over a fairy tale while the school-books repose in the basket, does not much matter; the reader may take his choice. The picture is most probably one of those which are painted solely for delight in their subject. Is not the whole thing perfectly charming?
[Illustration: "AN UNEXPECTED MEETING."
_From the Painting by Paul Peel._
By permission of Braun, Clément, & Co.]
On this page we have two pictures which present as marked a contrast as may easily be conceived. "An Unexpected Meeting," by Paul Peel, depicting the sturdy little fellow with the irresistible air of manliness greeting the frog as a boon-companion, is as natural a study of boy-life as is that of the little girl of the characteristics of the opposite sex. "Little Caprice" stands before us in scanty attire which is not the beginning of her morning toilet, but is merely the result of her caprice. But what does it all mean? If she knew that, or you, or I, it would be no longer what it is--an inexplicable freak of the child's mind. She has been left unobserved for a moment whilst playing in a corner and found it amusing to take off her clothes, till she came to the critical point, which the painter has seized with so much humour and truth to life. Suddenly it strikes her that it is not very amusing to be without one's clothes, but she does not wish to put her things on by herself, partly for the simple reason that she does not know how to do it, and also because she does not know whether she really wishes to be dressed again. Oh, misery! oh, aggravation! she wants to do neither one thing nor the other. In fact, she does not know exactly what she wants--a state of mind which, when she grows to womanhood, will doubtless very often be repeated.