The Tribute Money

Titian (tish'-an), 1477-1576

AINT MATTHEW in his gospel gives us in dramatic words the story of this picture. The Evangelist relates how the Pharisees, envious of Jesus and seeking to entangle him, went with words of flattery, and asked him if it were lawful to give tribute unto Cæsar or not. "But Jesus perceived their Show me the

wickedness, and said, Why tempt ye me, ye hypocrites? tribute money! And they brought unto him a penny. And he saith unto them, Whose is this image and superscription? They say unto him, Cæsar's. Then saith he unto them, Render therefore unto Cæsar the things which are Cæsar's, and unto God the things that are God's."

This picture was painted in Ferrara, where Titian had gone in 1514 to execute an order for the duke. Technically it is noted for its combination of strength and breadth of treatment with great delicacy and fineness in details. In his earlier period Titian painted with carefully drawn outlines and nicely finished surfaces, while in his later years he adopted a brush treatment not unlike that of modern impressionists, laying on his colors in patches, which seen close at hand are a meaningless blur, but seen at the proper distance, blend and compose themselves to the image intended.

Essentially the picture is the contrast between an ignoble, mean and wily nature, and a character of lofty purity and wisdom, of infinite love and truth. This is wonderfully shown in every detail of the features, the expressions and attitudes, and strikingly in the very hands.

Jean François Millet (mil-la'), 1814-1875

ILLET was born at Gruchy, in Normandy, of sturdy peasant stock, learned something of the beginnings of his art in the near Cherbourg, and in 1837 was sent to Paris, where for a year or more he was in the studio of Delaroche, a famous painter of the romantic school. This yet unripe peasant nature was little suited to win quick success in the Paris of that day, and for many years trying to paint historical pictures and nudes like his associates, he did little which merited success.

His record of struggle and failure for a long time is most sad. In 1849 he was luckily led to settle in Barbizon, then beginning to be a rural painter's colony. Here, close to the soil he knew, he soon found his life work, painting the French peasant, in truth and poetic simplicity. In 1850 he sent to the Salon "The Sower," and from that date to his death followed the long and glorious series of peasant types and episodes which place him among the greatest of modern painters.

American

He had now found himself, but the world had not yet found him. His pictures were understood but by few, were slow or impossible of sale, and for ten or more years the struggle for existence went relentlessly on. artists and collectors were among the first to see his merit, and for the last ten years only of his troubled life he came to know success and fame.

Charm of color, grace of pose, with truth to nature and deep insight into character mark his work.

Paul Tbumann (ti-măn), I834

UIET elegance and neatness of design and a happy turn for a harmless and rather empty sentimentality make up the artistic outfit of this German painter, whose works enjoy a certain favor. Thumann began his studies in Berlin in 1855, but soon went to Leipsic under Julius Hübner, who was from the older Düsseldorf school and a painter of didactic genre pictures. Here he stayed until 1860, and then went to Weimar, then back to Leipsic, and later, like all the others, to Italy. From 1866 to 1887 he was an art teacher in the academies at Weimar, Dresden and at Berlin, but he was best known to the public as an illustrator.

An illustrator he has remained even in his pictures, prettily sentimental and slight. These are indeed amiable and inoffensive fates who do not wish to give us anything but agreeable emotions. Homer and Hesiod would hardly recognize in this pleasing central figure, in her attractive pose and coquettish, diaphanous draping, a Clotho, "spinner of the thread of life," or in the flower maiden, a Lachesis, "disposer of lots." The older person, with her dread shears to cut off the thread of life, may better play the part of the dire Atropos, her years and experience having given her more character.

The Greek conception of the Fates was carnest and profound, as an image of the inevitable course of human affairs in life and death; it cannot be adequately realized in a pretty group, excellent perhaps, with slight costume changes, for a living picture.