Part 12

"Boom! boom! boom! The sun aflame burns the earth. Everything becomes heavy. Let us go home. We see too much now. Let us go home."

You see now why Corot could paint such a lovely picture as "The Nymphs." He saw these gauzy creatures in the early morning light and painted them before the sun scattered them to the four winds.

ST. FRANCIS PREACHING TO THE BIRDS

GIOTTO DI BONDONE (1266?-1337)

One time more than six hundred years ago St. Francis preached the dearest sermon to "My Sisters the Birds" that you ever heard. He said to them as they lifted their little heads to listen to his words:

"Ye are beholden unto God your Creator, and always and in every place it is your duty to praise him! Ye are bounden to him for the element of the air which he has deputed to you forever-more. You sow not, neither do you reap. God feeds you and gives you the streams and fountains for your thirst. He gives you the mountains and the valleys for your refuge, tall trees wherein to make your nests, and inasmuch as you neither spin nor reap God clothes you and your children, hence ye should love your Creator greatly, and therefore beware, my sisters, of the sins of ingratitude, and ever strive to praise God."

St. Francis then made the sign of the Cross and sent the birds north, south, east, and west to carry the story of the Cross to all mankind.

When Giotto, who painted this picture of "St. Francis Preaching to the Birds," was a little boy, he took care of his father's sheep in the fields. One day a noted painter, Cimabue, found Giotto drawing a sheep on a flat rock with colored stones. The picture of the sheep was so lifelike that the great man asked the boy, Giotto, to go with him and become an artist. He went, and one day years afterward the pope sent to Giotto for a sample of his work. Giotto sent him a big round O. It pleased the pope to find a man so original, and he gave Giotto many orders for pictures. To-day the saying is "Round as Giotto's O."

FIG. 38. ST. FRANCIS PREACHING TO THE BIRDS. GIOTTO. UPPER CHURCH, ASSISI, ITALY]

THE GOVERNESS

JEAN BAPTISTE SIMEON CHARDIN (1699-1779)

When Chardin began to paint pictures he went into the French homes and painted pictures of brass pots and kettles, of fruits and vegetables. Then he took common scenes of life and gave us a number of pictures showing just what was going on in the homes and back yards.

The French people were not used to having an artist see beauty in the every-day things they were doing; artists had been painting the rich for the rich. Everybody began to love the pictures Chardin painted. This is a very simple story in "The Governess." The child--is it a boy or a girl?--is now ready to go to school. He--I believe he is a boy--is hearing some advice, and I do not think he is pleased, for he has a little frown on his face. His dress is peculiar. The French children two hundred years ago did not dress as you do to-day. He is the same kind of a child that you are, I am sure, and you and he would soon be great friends.

Chardin's color was so wonderful that one of his artist friends cried out: "O Chardin! it is not white, red, or black that you grind to powder on your palette; it is the air and the light that you take on the point of your brush and fix on canvas."

Chardin's pictures are as beautiful and bright to-day as they were when he painted them.

THE LAST SUPPER

LEONARDO DA VINCI (1452-1519)

I want you to know the disciples of Jesus just as Leonardo da Vinci painted them four hundred years ago. Leonardo spent months among the men of Milan, Italy, looking into their faces and talking with them. When he began to paint "The Last Supper" he had gathered men together so like these twelve disciples that we feel we can know them as Jesus knew them. For three years those men of old walked with Jesus and talked with him as they went up and down Palestine; and at last, on that wonderful night, they met with Him in the upper chamber to eat with Him the Last Supper. Those disciples did not know that it was the last meal they would eat with Jesus before he was hung on the cross.

We shall begin in the center of the table and name the disciples as Leonardo has them in the picture. First is the Savior. At his left is James with his arms spread out in distress; back of him is Thomas with his finger uplifted; then Philip rising with his hand on his heart; next Matthew, his arms pointing to the Savior while he turns toward the two near the end; next to him is Thaddeus; and then Simon. On the other side of Jesus sits John, the beloved disciple. His hands are folded and his eyes are cast down. Next to John is Judas, the betrayer; he holds the bag clutched in his right hand and near him is the overturned salt cellar. Leaning back of Judas is Peter with one hand on John's shoulder; next to Peter is Andrew; then James, the less, laying one hand on Peter's arm. At the end of the table is Bartholomew, who has risen resting his hands on the table. These men are all asking, "Is it I?" For Jesus had said, "He it is to whom I give a sop."

SIR GALAHAD

GEORGE FREDERICK WATTS (1818-1904)

Of all the stories of King Arthur and his Knights of the Round Table none is so strange as that of Sir Galahad. Its beginning is in the upper chamber at the Last Supper with Jesus and his disciples. Legend says that the cup used by our Savior at the Last Supper was the Holy Grail. Joseph of Arimathea, who bought the cup from Pontius Pilate, used it to catch the blood that flowed from the pierced side of our Lord. The cup, or Holy Grail, was kept in the Convent of the Holy Grail by the descendants of Joseph of Arimathea.

The cup had marvelous powers in the hands of a perfect knight. Centuries passed and no perfect knight came to claim the Holy Grail. Then King Arthur founded the Knights of the Round Table. One seat at the round table was always vacant waiting for the sinless youth. Many tried to sit in the "seat perilous," as it was called, but the seat let each one down to disappear forever.

At last an old man--Joseph of Arimathea himself--brought a boy and seated him in the vacant chair. The knights were frightened but the boy sat unharmed and above the seat appeared the words:

THIS IS THE SEAT OF GALAHAD

King Arthur knighted him and sent him forth to find the Holy Grail. Years went by and awful trials and temptations came to Sir Galahad. He did not yield to the bad things that came, but kept looking for the Holy Grail. At last he held the cross before his face to keep off his tormentors when before his eyes he saw the cup, and the power of the Holy Grail came to him.

This picture of Sir Galahad in Eton College, England, hangs in the chapel opposite the entrance door where each boy passes in on his way to morning and evening prayers.

THE DUCHESS OF DEVONSHIRE AND HER CHILD