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 danger of mixing indiscriminately the good and the inferior. The following list of really fine works may be helpful: antique statue of the Emperor Augustus (Vatican, Rome); antique equestrian statue of the Emperor Marcus Aurelius (Capitol, Rome); Vischer’s statue of King Arthur, from Charlemagne’s tomb; Saint-Gaudens’s statue of Lincoln, and the equestrian group of General Sherman led by Victory; Stuart’s heads of George and Martha Washington; Sebastian del Piombo’s Columbus, in the Metropolitan Museum; Titian’s Francis I, Charles V, and Philip II; Velasquez’s Philip IV and the young princes and princesses of his court; Goya’s Charles IV of Spain; Henry VIII, from copies of Holbein’s portraits, and Holbein’s drawings of the statesmen of his court; Dürer’s Maximilian; Antonio Moro’s Queen Mary; Clouet’s Elizabeth of Austria; Van Dyck’s Charles I, Queen Henrietta Maria, many of their courtiers and statesmen, besides the young princes and princesses of the family; Sir Peter Lely’s Charles II; Richter’s Queen Louise (ideal); Rigaud’s Louis XIV; Greuze’s Louis XVI, and the Dauphin (son of Louis XII and Marie Antoinette), and Napoleon; Drouais’s Les Enfants de France (Charles and Marie Adelaide, in the Louvre); Madame Le Brun’s Marie Antoinette alone, and the same queen with her children, both pictures at Versailles; Lenbach’s Bismarck. The pupil who gets an insight into a historical character by means of a fine portrait has gained something towards understanding the meaning of portrait art.

In the study of ancient history there is very great