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+The Project Gutenberg EBook of Anecdotes of Painters, Engravers, Sculptors
+ and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Anecdotes of Painters, Engravers, Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3)
+
+Author: Shearjashub Spooner
+
+Release Date: April 21, 2007 [EBook #21198]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANECDOTES OF PAINTERS ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Janet Blenkinship
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+  ANECDOTES
+  OF
+  PAINTERS, ENGRAVERS
+  Sculptors and Architects,
+  AND
+  CURIOSITIES OF ART.
+
+  BY
+  S. SPOONER, M.D.,
+  AUTHOR OF "A BIOGRAPHICAL HISTORY OF THE FINE ARTS."
+
+  IN THREE VOLUMES.
+  VOL. II.
+
+
+  NEW YORK:
+  R. WORTHINGTON, PUBLISHER,
+  770 Broadway.
+
+
+
+
+  COPYRIGHT, S. SPOONER, 1853.
+
+  Reëntered, G. B., 1880.
+
+
+
+
+  CONTENTS.
+
+
+  Titian--Sketch of his Life,                                         1
+  Titian's Manners,                                                   5
+  Titian's Works,                                                     6
+  Titian's Imitators,                                                 7
+  Titian's Venus and Adonis,                                          8
+  Titian and the Emperor Charles V.,                                 10
+  Titian and Philip II.,                                             13
+  Titian's Last Supper and El Mudo,                                  14
+  Titian's Old Age,                                                  15
+  Monument to Titian,                                                15
+  Horace Vernet,                                                     16
+  The Colosseum,                                                     29
+  Nineveh and its Remains,                                           34
+  Description of a Palace Exhumed at Nimroud,                        37
+  Origin and Antiquity of the Arch,                                  41
+  Antiquities of Herculaneum, Pompeii, and Stabiæ,                   43
+  Ancient Fresco and Mosaic Painting,                                55
+  Mosaic of the Battle of Platæa,                                    55
+  The Aldobrandini Wedding,                                          56
+  The Portland Vase,                                                 56
+  Ancient Pictures on Glass,                                         58
+  Henry Fuseli; his Birth,                                           59
+  Fuseli's early Love of Art,                                        59
+  Fuseli's Literary and Poetical Taste,                              60
+  Fuseli, Lavater, and the Unjust Magistrate,                        61
+  Fuseli's Travels and his Literary Distinction,                     62
+  Fuseli's Arrival in London,                                        63
+  Fuseli's change from Literature to Painting,                       63
+  Fuseli's Sojourn in Italy,                                         65
+  Fuseli's Nightmare,                                                66
+  Fuseli's OEdipus and his Daughters,                                66
+  Fuseli and the Shakspeare Gallery,                                 67
+  Fuseli's "Hamlet's Ghost,"                                         68
+  Fuseli's Titania,                                                  69
+  Fuseli's Election as a Royal Academician,                          70
+  Fuseli and Horace Walpole,                                         71
+  Fuseli and the Banker Coutts,                                      72
+  Fuseli and Professor Porson,                                       73
+  Fuseli's method of giving vent to his Passion,                     73
+  Fuseli's Love for Terrific Subjects,                               73
+  Fuseli's and Lawrence's Pictures from the "Tempest,"               74
+  Fuseli's estimate of Reynolds' Abilities in Historical Painting,   75
+  Fuseli and Lawrence,                                               75
+  Fuseli as Keeper of the Royal Academy,                             76
+  Fuseli's Jests and Oddities with the Students of the Academy,      77
+  Fuseli's Sarcasms on Northcote,                                    78
+  Fuseli's Sarcasms on various rival Artists,                        79
+  Fuseli's Retorts,                                                  80
+  Fuseli's Suggestion of an Emblem of Eternity,                      82
+  Fuseli's Retort in Mr. Coutts' Banking House,                      82
+  Fuseli's Sarcasms on Landscape and Portrait Painters,              83
+  Fuseli's Opinion of his own Attainment of Happiness,               84
+  Fuseli's Private Habits,                                           84
+  Fuseli's Wife's method of Curing his fits of Despondency,          85
+  Fuseli's Personal Appearance, his Sarcastic Disposition,
+    and Quick Temper,                                                86
+  Fuseli's near Sight,                                               87
+  Fuseli's Popularity,                                               88
+  Fuseli's Artistic Merits,                                          88
+  Fuseli's Milton Gallery, the Character of his Works,
+    and the Permanency of his Fame,                                  89
+  Salvator Rosa,                                                     91
+  Salvator Rosa and Cav. Lanfranco,                                  91
+  Salvator Rosa at Rome and Florence,                                92
+  Salvator Rosa's Return to Rome,                                    93
+  Salvator Rosa's Subjects,                                          93
+  Flagellation of Salvator Rosa,                                     95
+  Salvator Rosa and the Higgling Prince,                             96
+  Salvator Rosa's Opinion of his own Works,                          98
+  Salvator Rosa's Banditti,                                          98
+  Salvator Rosa and Massaniello,                                    100
+  Salvator Rosa and Cardinal Sforza,                                100
+  Salvator Rosa's Manifesto Concerning his Satirical
+    Picture, La Fortuna,                                            101
+  Salvator Rosa's Banishment from Rome,                             102
+  Salvator Rosa's Wit,                                              103
+  Salvator Rosa's Reception at Florence,                            103
+  Histrionic Powers of Salvator Rosa,                               104
+  Salvator Rosa's Reception at the Palazzo Pitti,                   105
+  Satires of Salvator Rosa,                                         105
+  Salvator Rosa's Harpsichord,                                      106
+  Rare Portrait by Salvator Rosa,                                   106
+  Salvator Rosa's Return to Rome,                                   109
+  Salvator Rosa's Love of Magnificence,                             109
+  Salvator Rosa's Last Works,                                       111
+  Salvator Rosa's Desire to be Considered an Historical Painter,    112
+  Don Mario Ghigi, his Physician, and Salvator Rosa,                113
+  Death of Salvator Rosa,                                           115
+  Domenichino,                                                      121
+  The Dulness of Domenichino in Youth,                              121
+  Domenichino's Scourging of St. Andrew,                            123
+  The Communion of St. Jerome,                                      124
+  Domenichino's Enemies at Rome,                                    125
+  Decision of Posterity on the Merits of Domenichino,               126
+  Proof of the Merits of Domenichino,                               127
+  Domenichino's Caricatures,                                        127
+  Intrigues of the Neapolitan Triumvirate of Painters,              128
+  Giuseppe Ribera, called Il Spagnoletto--his early
+    Poverty and Industry,                                           133
+  Ribera's Marriage,                                                134
+  Ribera's Rise to Eminence,                                        135
+  Ribera's Discovery of the Philosopher's Stone,                    135
+  Ribera's Subjects,                                                136
+  Ribera's Disposition,                                             137
+  Singular Pictorial Illusions,                                     137
+  Raffaelle's Skill in Portraits,                                   138
+  Jacopo da Ponte,                                                  139
+  Giovanni Rosa,                                                    139
+  Cav. Giovanni Centarini,                                          139
+  Guercino's Power of Relief,                                       140
+  Bernazzano,                                                       140
+  Invention of Oil Painting,                                        141
+  Foreshortening,                                                   145
+  Method of Transferring Paintings from Walls and
+    Panels to Canvass,                                              146
+  Works in Scagliola,                                               147
+  The Golden Age of Painting,                                       149
+  Golden Age of the Fine Arts in Ancient Rome,                      152
+  Nero's Golden Palace,                                             155
+  Names of Ancient Architects Designated by Reptiles,               156
+  Triumphal Arches,                                                 157
+  Statue of Pompey the Great,                                       159
+  Antique Sculptures in Rome,                                       159
+  Ancient Map of Rome,                                              160
+  Julian the Apostate,                                              160
+  The Tomb of Mausolus,                                             161
+  Mandrocles' Bridge Across the Bosphorus,                          162
+  The Colossus of the Sun at Rhodes,                                162
+  Statues and Paintings at Rhodes,                                  164
+  Sostratus' Light-House on the Isle of Pharos,                     164
+  Dinocrates' Plan for Cutting Mount Athos into a
+    Statue of Alexander the Great,                                  165
+  Pope's idea of Forming Mount Athos into a Statue
+    of Alexander the Great,                                         166
+  Temple with an Iron Statue Suspended in the Air by Loadstone,     168
+  The Temple of Jupiter Olympius at Athens,                         168
+  The Parthenon at Athens,                                          170
+  The Elgin Marbles,                                                171
+  The first Odeon at Athens,                                        182
+  Perpetual Lamps,                                                  182
+  The Skull of Raffaelle,                                           183
+  The Four Finest Pictures in Rome,                                 183
+  The Four Carlos of the 17th Century,                              184
+  Pietro Galletti and the Bolognese Students,                       184
+  Ætion's Picture of the Nuptials of Alexander and Roxana,          184
+  Ageladas,                                                         185
+  The Porticos of Agaptos,                                          185
+  The Group of Niobe and her Children,                              185
+  Statue of the Fighting Gladiator,                                 187
+  The Group of Laocoön in the Vatican,                              187
+  Michael Angelo's Opinion of the Laocoön,                          190
+  Discovery of the Laocoön,                                         190
+  Sir John Soane,                                                   191
+  Soane's Liberality and Public Munificence,                        192
+  The Belzoni Sarcophagus,                                          194
+  Tasso's "Gerusalemme Liberata,"                                   195
+  George Morland,                                                   197
+  Morland's Early Talent                                            198
+  Morland's Early Fame,                                             199
+  Morland's Mental and Moral Education under an Unnatural Parent,   200
+  Morland's Escape from the Thraldom of his Father,                 201
+  Morland's Marriage and Temporary Reform,                          202
+  Morland's Social Position,                                        203
+  An Unpleasant Dilemma,                                            204
+  Morland at the Isle of Wight,                                     205
+  A Novel Mode of Fulfilling Commissions,                           206
+  Hassel's First Interview with Morland,                            206
+  Morland's Drawings in the Isle of Wight,                          207
+  Morland's Freaks,                                                 208
+  A Joke on Morland,                                                208
+  Morland's Apprehension as a Spy,                                  209
+  Morland's "Sign of the Black Bull,"                               210
+  Morland and the Pawnbroker,                                       211
+  Morland's idea of a Baronetcy,                                    212
+  Morland's Artistic Merits,.                                       212
+  Charles Jervas,                                                   213
+  Jervas the Instructor of Pope,                                    214
+  Jervas and Dr. Arbuthnot,                                         215
+  Jervas' Vanity,                                                   215
+  Holbein and the Fly,                                              216
+  Holbein's Visit to England,                                       216
+  Henry VIII.'s Opinion of Holbein,                                 217
+  Holbein's Portrait of the Duchess Dowager of Milan,               218
+  Holbein's Flattery in Portraits--a Warning to Painters,           219
+  Holbein's Portrait of Cratzer,                                    219
+  Holbein's Portrait of Sir Thomas More and Family,                 220
+  Sir John Vanbrugh and his Critics,                                221
+  Anecdote of the English Painter, James Seymour,                   223
+  Precocity of Luca Giordano,                                       224
+  Giordano's Enthusiasm,                                            225
+  Luca Fa Presto,                                                   226
+  Giordano's Skill in Copying,                                      226
+  Giordano's Success at Naples,                                     227
+  Giordano, the Viceroy, and the Duke of Diano,                     228
+  Giordano Invited to Florence,                                     229
+  Giordano and Carlo Dolci,                                         229
+  Giordano's Visit to Spain,                                        230
+  Giordano's Works in Spain,                                        231
+  Giordano at the Escurial,                                         232
+  Giordano's Habits in Spain,                                       233
+  Giordano's First Picture Painted in Spain,                        233
+  Giordano a Favorite at Court,                                     234
+  Giordano's Return to Naples,                                      236
+  Giordano's Personal Appearance and Character,                     237
+  Giordano's Riches,                                                238
+  Giordano's Wonderful Facility of Hand,                            239
+  Giordano's Powers of Imitation,                                   240
+  Giordano's Fame and Reputation,                                   240
+  Remarkable Instance of Giordano's Rapidity of Execution,          242
+  Revival of Painting in Italy,                                     244
+  Giovanni Cimabue,                                                 251
+  Cimabue's Passion for Art,                                        252
+  Cimabue's Famous Picture of the Virgin,                           253
+  The Works of Cimabue,                                             255
+  Death of Cimabue,                                                 256
+  Giotto,                                                           257
+  Giotto's St. Francis Stigmata,                                    259
+  Giotto's Invitation to Rome,                                      260
+  Giotto's Living Model,                                            262
+  Giotto and the King of Naples,                                    264
+  Giotto and Dante,                                                 266
+  Death of Giotto,                                                  266
+  Buonamico Buffalmacco,                                            267
+  Buffalmacco and his Master,                                       267
+  Buffalmacco and the Nuns of the Convent of Faenza,                270
+  Buffalmacco and the Nun's Wine,                                   272
+  Buffalmacco, Bishop Guido and his Monkey,                         273
+  Buffalmacco's Trick on the Bishop of Arezzo,                      277
+  Origin of Label Painting,                                         278
+  Utility of Ancient Works,                                         280
+  Buffalmacco and the Countryman,                                   282
+  Buffalmacco and the People of Perugia,                            283
+  Buffalmacco's Novel Method of Enforcing Payment,                  285
+  Stefano Fiorentino,                                               286
+  Giottino,                                                         286
+  Paolo Uccello,                                                    287
+  Ucello's Enthusiasm,                                              288
+  Uccello and the Monks of San Miniato,                             289
+  Uccello's Five Portraits,                                         290
+  Uccello's Incredulity of St. Thomas,                              291
+  The Italian Schools of Painting,                                  292
+  Claude Joseph Vernet,                                             295
+  Vernet's Precocity,                                               295
+  Vernet's Enthusiasm,                                              296
+  Vernet at Rome                                                    298
+  Vernet's "Alphabet of Tones,"                                     299
+  Vernet and the Connoisseur,                                       301
+  Vernet's Works,                                                   301
+  Vernet's Passion for Music,                                       306
+  Vernet's Opinion of his own Merits,                               307
+  Curious Letter of Vernet,                                         308
+  Charles Vernet,                                                   310
+  Anecdote of Charles Vernet,                                       311
+  M. de Lasson's Caricature,                                        311
+  Frank Hals and Vandyke,                                           312
+
+
+
+ANECDOTES
+
+OF
+
+PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS.
+
+
+
+
+TITIAN,--SKETCH OF HIS LIFE.
+
+The name of this illustrious painter was Tiziano Vecellio or Vecelli,
+and he is called by the Italians, Tiziano Vecellio da Cadore. He was
+descended of a noble family; born at the castle of Cadore in the Friuli
+in 1477, and died in 1576, according to Ridolfi; though Vasari and
+Sandrart place his birth in 1480. Lanzi says he died in 1576, aged 99
+years. He early showed a passion for the art, which was carefully
+cultivated by his parents.--Lanzi says in a note, that it is pretty
+clearly ascertained that he received his first instruction from Antonio
+Rossi, a painter of Cadore; if so, it was at a very tender age, for
+when he was ten years old he was sent to Trevigi, and placed under
+Sebastiano Zuccati. He subsequently went to Venice, and studied
+successively under Gentile and Giovanni Bellini. Giorgione was his
+fellow-student under the last named master, with whom Titian made
+extraordinary progress, and attained such an exact imitation of his
+style that their works could scarcely be distinguished, which greatly
+excited the jealousy of Bellini.
+
+On the death of Giorgione, Titian rose rapidly into favor. He was soon
+afterwards invited to the court of Alphonso, Duke of Ferrara, for whom
+he painted his celebrated picture of Bacchus and Ariadne, and two other
+fabulous subjects, which still retain somewhat of the style of
+Giorgione. It was there that he became acquainted with Ariosto, whose
+portrait he painted, and in return the poet spread abroad his fame in
+the Orlando Furioso. In 1523, the Senate of Venice employed him to
+decorate the Hall of the Council Chamber, where he represented the
+famous Battle of Cadore, between the Venetians and the Imperialists--a
+grand performance, that greatly increased his reputation. This work was
+afterwards destroyed by fire, but the composition has been preserved by
+the burin of Fontana. His next performance was his celebrated picture of
+St. Pietro Martire, in the church of SS. Giovanni e Paolo, at Venice,
+which is generally regarded as his master-piece in historical painting.
+This picture was carried to Paris by the French, and subsequently
+restored by the Allies. Notwithstanding the importance of these and
+other commissions, and the great reputation he had acquired, it is said,
+though with little probability of truth, that he received such a small
+remuneration for his works, that he was in actual indigence in 1530,
+when the praises bestowed upon him in the writings of his friend Pietro
+Aretino, recommended him to the notice of the Emperor Charles V., who
+had come to Bologna to be crowned by Pope Clement VII. Titian was
+invited thither, and painted the portrait of that monarch, and his
+principal attendants, for which he was liberally rewarded.--About this
+time, he was invited to the court of the Duke of Mantua, whose portrait
+he painted, and decorated a saloon in the palace with a series of the
+Twelve Cæsars, beneath which Giulio Romano afterwards painted a subject
+from the history of each. In 1543, Paul III. visited Ferrara, where
+Titian was then engaged, sat for his portrait and invited him to Rome,
+but previous engagements with the Duke of Urbino, obliged him to decline
+or defer the invitation. Having completed his undertakings for that
+prince, he went to Rome at the invitation of the Cardinal Farnese in
+1548, where he was received with marks of great distinction. He was
+accommodated with apartments in the palace of the Belvidere, and painted
+the Pope, Paul III., a second time, whom he represented seated between
+the Cardinal Farnese and Prince Ottavio. He also painted his famous
+picture of Danaë, which caused Michael Angelo to lament that Titian had
+not studied the antique as accurately as he had nature, in which case
+his works would have been inimitable, by uniting the perfection of
+coloring with correctness of design. It is said that the Pope was so
+captivated with his works that he endeavored to retain him at Rome, and
+offered him as an inducement the lucrative office of the Leaden Seal,
+then vacant by the death of Frà Sebastiano del Piombo, but he declined
+on account of conscientious scruples. Titian had no sooner returned from
+Rome to Venice, than he received so pressing an invitation from his
+first protector, Charles V., to visit the court of Spain, that he could
+no longer refuse; and he accordingly set out for Madrid, where he
+arrived at the beginning of 1550, and was received with extraordinary
+honors. After a residence of three years at Madrid, he returned to
+Venice, whence he was shortly afterwards invited to Inspruck, where he
+painted the portrait of Ferdinand, king of the Romans, his queen and
+children, in one picture.--Though now advanced in years, his powers
+continued unabated, and this group was accounted one of his best
+productions. He afterwards returned to Venice, where he continued to
+exercise his pencil to the last year of his long life.
+
+
+TITIAN'S MANNERS.
+
+Most writers observe that Titian had four different manners, at as many
+different periods of his life: first that of Bellini, somewhat stiff and
+hard, in which he imitated nature, according to Lanzi, with a greater
+precision than even Albert Durer, so that "the hairs might be numbered,
+the skin of the hands, the very pores of the flesh, and the reflection
+of objects in the pupils seen:" second, an imitation of Giorgione, more
+bold and full of force; Lanzi says that some of his portraits executed
+at this time, cannot be distinguished from those of Giorgione: third,
+his own inimitable style, which he practiced from about his thirtieth
+year, and which was the result of experience, knowledge, and judgment,
+beautifully natural, and finished with exquisite care: and fourth, the
+pictures which he painted in his old age. Sandrart says that, "at first
+he labored his pictures highly, and gave them a polished beauty and
+lustre, so as to produce their effect full as well when they were
+examined closely, as when viewed at a distance; but afterwards, he so
+managed his penciling that their greatest force and beauty appeared at a
+more remote view, and they pleased less when they were beheld more
+nearly; so that many of those artists who studied to imitate him, being
+misled by appearances which they did not sufficiently consider, imagined
+that Titian executed his works with readiness and masterly rapidity;
+and concluded that they should imitate his manner most effectually by a
+freedom of hand and a bold pencil; whereas Titian in reality took
+abundance of pains to work up his pictures to so high a degree of
+perfection, and the freedom that appears in the handling was entirely
+effected by a skillful combination of labor and judgment, and a few
+bold, artful strokes of the pencil to conceal his labor."
+
+
+TITIAN'S WORKS.
+
+The works of Titian, though many of his greatest productions have been
+destroyed by terrible conflagrations at Venice and Madrid, are numerous,
+scattered throughout Europe, in all the royal collections, and the most
+celebrated public galleries, particularly at Venice, Rome, Bologna,
+Milan, Florence, Vienna, Dresden, Paris, London, and Madrid. The most
+numerous are portraits, Madonnas, Magdalens, Bacchanals, Venuses, and
+other mythological subjects, some of which are extremely voluptuous. Two
+of his grandest and most celebrated works are the Last Supper in the
+Escurial, and Christ crowned with Thorns at Milan. It is said that the
+works of Titian, to be appreciated, should be seen at Venice or Madrid,
+as many claimed to be genuine elsewhere are of very doubtful
+authenticity. He painted many of his best works for the Spanish court,
+first for the Emperor Charles V., and next for his successor, Philip
+II., who is known to have given him numerous commissions to decorate
+the Escurial and the royal palaces at Madrid. There are numerous
+duplicates of some of his works, considered genuine, some of which he is
+supposed to have made himself, and others to have been carefully copied
+by his pupils and retouched by himself; he frequently made some slight
+alterations in the backgrounds, to give them more of the look of
+originals; thus the original of his Christ and the Pharisees, or the
+Tribute Money, is now in the Dresden Gallery, yet Lanzi says there are
+numerous copies in Italy, one of which he saw at St. Saverio di Rimini,
+inscribed with his name, which is believed to be a duplicate rather than
+a copy. There are more than six hundred engravings from his pictures,
+including both copper-plates and wooden cuts. He is said to have
+engraved both on wood and copper himself, but Bartsch considers all the
+prints attributed to him as spurious, though a few of them are signed
+with his name, only eight of which he describes.
+
+
+TITIAN'S IMITATORS.
+
+Titian, the great head of the Venetian school, like Raffaelle, the head
+of the Roman, had a host of imitators and copyists, some of whom
+approached him so closely as to deceive the best judges; and many works
+attributed to him, even in the public galleries of Europe, were
+doubtless executed by them.
+
+
+TITIAN'S VENUS AND ADONIS.
+
+This chef-d'oeuvre of Titian, so celebrated in the history of art,
+represents Venus endeavoring to detain Adonis from the fatal chase.
+Titian is known to have made several repetitions of this charming
+composition, some of them slightly varied, and the copies are almost
+innumerable. The original is supposed to have been painted at Rome as a
+companion to the Danaë, for the Farnese family, about 1548, and is now
+in the royal gallery at Naples. The most famous of the original
+repetitions is that at Madrid, painted for King Philip II., when prince
+of Spain, and about the period of his marriage with Queen Mary of
+England. There is a fine duplicate of this picture in the English
+National Gallery, another in the Dulwich gallery, and two or three more
+in the private collections of England. Ottley thus describes this
+picture:--
+
+     "The figure of Venus, which is seen in a back view, receives the
+     principal light, and is without drapery, save that a white veil,
+     which hangs from her shoulder, spreads itself over the right knee.
+     The chief parts of this figure are scarcely less excellent in
+     respect of form than of coloring. The head possesses great beauty,
+     and is replete with natural expression. The fair hair of the
+     goddess, collected into a braid rolled up at the back of her head,
+     is entwined by a string of pearls, which, from their whiteness,
+     give value to the delicate carnation of her figure. She throws her
+     arms, impassioned, around her lover, who, resting with his right
+     hand upon his javelin, and holding with the left the traces which
+     confine his dogs, looks upon her unmoved by her solicitations, and
+     impatient to repair to the chase. Cupid, meantime, is seen sleeping
+     at some distance off, under the shadow of a group of lofty trees,
+     from one of which are suspended his bow and quiver; a truly poetic
+     thought, by which, it is scarcely necessary to add, the painter
+     intended to signify that the blandishments and caresses of beauty,
+     unaided by love, may be exerted in vain. In the coloring, this
+     picture unites the greatest possible richness and depth of tone,
+     with that simplicity and sobriety of character which Sir Joshua
+     Reynolds so strongly recommends in his lectures, as being the best
+     adapted to the higher kinds of painting. The habit of the goddess,
+     on which she sits, is of crimson velvet, a little inclining to
+     purple, and ornamented with an edging of gold lace, which is,
+     however, so subdued in tone as not to look gaudy, its lining being
+     of a delicate straw color, touched here and there with a slight
+     glazing of lake. The dress of Adonis, also, is crimson, but of a
+     somewhat warmer hue. There is little or no blue in the sky, which
+     is covered with clouds, and but a small proportion of it on the
+     distant hills; the effect altogether appearing, to be the result of
+     a very simple principle of arrangement in the coloring, namely,
+     that of excluding almost all cold tints from the illuminated parts
+     of the picture."
+
+
+TITIAN AND THE EMPEROR CHARLES V.
+
+One of the most pleasant things recorded in the life of Titian, is the
+long and intimate friendship that subsisted between him and the great
+and good Emperor Charles V., whose name is known in history as one of
+the wisest and best sovereigns of Europe. According to Vasari, Titian,
+when he was first recommended to the notice of the Emperor by Pietro
+Aretino, was in deep poverty, though his name was then known all over
+Italy. Charles, who appreciated, and knew how to assist genius without
+wounding its delicacy, employed Titian to paint his portrait, for which
+he munificently rewarded him. He afterwards invited him to Madrid in the
+most pressing and flattering terms, where he was received with
+extraordinary honors. He was appointed gentleman of the Emperor's
+bed-chamber, that he might be near his person; Charles also conferred
+upon him the order of St. Jago, and made him a Count Palatine of the
+empire. He did not grace the great artist with splendid titles and
+decorations only, but showed him more solid marks of his favor, by be
+stowing upon him life-rents in Naples and Milan of two hundred ducats
+each, besides a munificent compensation for each picture. These honors
+and favors were, doubtless, doubly gratifying to Titian, as coming from
+a prince who was not only a lover of the fine arts, but an excellent
+connoisseur. "The Emperor," says Palomino, "having learned drawing in
+his youth, examined pictures and prints with all the keenness of an
+artist; and he much astonished Æneas Vicus of Parma, by the searching
+scrutiny that he bestowed on a print of his own portrait, which that
+famous engraver had submitted to his eye." Stirling, in his Annals of
+Spanish Artists, says, that of no prince are recorded more sayings which
+show a refined taste and a quick eye. He told the Burghers of Antwerp
+that, "the light and soaring spire of their cathedral deserved to be put
+under a glass case." He called Florence "the Queen of the Arno, decked
+for a perpetual holiday." He regretted that he had given his consent for
+the conversion of the famous mosque of Abderahman at Cordova into a
+cathedral, when he saw what havoc had been made of the forest of fairy
+columns by the erection of the Christian choir. "Had I known," said he
+to the abashed improvers, "of what you were doing, you should have laid
+no finger on this ancient pile. You have built _a something_, such as is
+to be found anywhere, and you have destroyed a wonder of the world."
+
+The Emperor delighted to frequent the studio of Titian, on which
+occasions he treated him with extraordinary familiarity and
+condescension. The fine speeches which he lavished upon him, are as well
+known as his more substantial rewards. The painter one day happening to
+let fall his brush, the monarch picked it up, and presented it to the
+astonished artist, saying, "It becomes Cæsar to serve Titian." On
+another occasion, Cæsar requested Titian to retouch a picture which hung
+over the door of the chamber, and with the assistance of his courtiers
+moved up a table for the artist to stand upon, but finding the height
+insufficient, without more ado, he took hold of one corner, and calling
+on those gentlemen to assist, he hoisted Titian aloft with his own
+imperial hands, saying, "We must all of us bear up this great man to
+show that his art is empress of all others." The envy and displeasure
+with which men of pomp and ceremonies viewed these familiarities, that
+appeared to them as so many breaches in the divinity that hedged their
+king and themselves, only gave their master opportunities to do fresh
+honors to his favorite in these celebrated and cutting rebukes: "There
+are many princes, but there is only one Titian;" and again, when he
+placed Titian on his right hand, as he rode out on horseback, "I have
+many nobles, but I have only one Titian." Not less valued, perhaps, by
+the great painter, than his titles, orders, and pensions, was the
+delicate compliment the Emperor paid him when he declared that "no other
+hand should draw his portrait, since he had thrice received immortality
+from the pencil of Titian." Palomino, perhaps carried away by an
+artist's enthusiasm, asserts that "Charles regarded the acquisition of a
+picture by Titian with as much satisfaction as he did the conquest of a
+province." At all events, when the Emperor parted with all his provinces
+by abdicating his throne, he retained some of Titian's pictures. When he
+betook himself to gardening, watchmaking, and manifold masses at San
+Yuste, the sole luxury to be found in his simple apartments, with their
+hangings of sombre brown, was that master's St. Jerome, meditating in a
+cavern scooped in the cliffs of a green and pleasant valley--a fitting
+emblem of his own retreat. Before this appropriate picture, or the
+"Glory," which hung in the church of the convent, and which was removed
+in obedience to his will, with his body to the Escurial, he paid his
+orisons and schooled his mind to forgetfulness of the pomps and vanities
+of life.
+
+
+TITIAN AND PHILIP II.
+
+Titian was not less esteemed by Philip II., than by his father, Charles
+V. When Philip married Mary, Queen of England, he presented him his
+famous picture of Venus and Adonis, with the following letter of
+congratulation, which may be found in Ticozzi's Life of Titian:
+
+     "_To Philip, King of England, greeting_:
+
+     "Most sacred Majesty! I congratulate your Majesty on the kingdom
+     which God has granted to you; and I accompany my congratulations
+     with the picture of Venus and Adonis, which I hope will be looked
+     upon by you with the favorable eye you are accustomed to cast upon
+     the works of your servant
+
+                                                         "TITIAN."
+
+According to Palomino, Philip was sitting on his throne, in council,
+when the news arrived of the disastrous conflagration of the palace of
+the Prado, in which so many works by the greatest masters were
+destroyed. He earnestly demanded if the Titian Venus was among those
+saved, and on being informed it was, he exclaimed, "Then every other
+loss may be supported!"
+
+
+TITIAN'S LAST SUPPER AND EL MUDO.
+
+Palomino says that when Titian's famous painting of the Last Supper
+arrived at the Escurial, it was found too large to fit the panel in the
+refectory, where it was designed to hang. The king, Philip II., proposed
+to cut it to the proper size. El Mudo (the dumb painter), who was
+present, to prevent the mutilation of so capital a work, made earnest
+signs of intercession with the king, to be permitted to copy it,
+offering to do it in the space of six months. The king expressed some
+hesitation, on account of the length of time required for the work, and
+was proceeding to put his design in execution, when El Mudo repeated his
+supplications in behalf of his favorite master with more fervency than
+ever, offering to complete the copy in less time than he at first
+demanded, tendering at the same time his head as the punishment if he
+failed. The offer was not accepted, and execution was performed on
+Titian, accompanied with the most distressing attitudes and distortions
+of El Mudo.
+
+
+TITIAN'S OLD AGE.
+
+Titian continued to paint to the last year of his long life, and many
+writers, fond of the marvellous, assert that his faculties and his
+powers continued to the last. Vasari, who saw him in 1566 for the last
+time, said he "could no longer recognize Titian in Titian." Lanzi says,
+"There remains in the church of S. Salvatore, one of these pictures
+(executed towards the close of his life), of the Annunciation, which
+attracts the attention only from the name of the master. Yet when he was
+told by some one that it was not, or at least did not appear to have
+been executed by his hand, he was so much irritated that, in a fit of
+senile indignation, he seized his pencil and inscribed upon it,
+'Tizianus fecit, fecit.' Still the most experienced judges are agreed
+that much may be learned, even from his latest works, in the same manner
+as the poets pronounce judgment upon the Odyssey, the product of old
+age, but still by Homer."
+
+
+MONUMENT TO TITIAN.
+
+A monument to Titian, from the studio of the brothers Zandomenghi, was
+erected in Venice in 1852; and the civil, ecclesiastical, and military
+authorities were present at the ceremony of inauguration. It represents
+Titian, surrounded by figures impersonating the Fine Arts; below are
+impersonations of the fifteenth and nineteenth centuries. The basement
+is adorned with five bas-reliefs, representing as many celebrated
+paintings by the great artist.
+
+
+HORACE VERNET.
+
+Among all the artists of our day, is one standing almost alone, and
+singularly characterized in many respects. He is entirely wanting in
+that lofty religious character which fills with pureness and beauty the
+works of the early masters; he has not the great and impressive
+historical qualities of the school of Raffaelle, nor the daring
+sublimity of Michael Angelo; he has not the rich luxury of color that
+renders the works of the great Venetians so gorgeous, nor even that sort
+of striking reality which makes the subjects rendered by the Flemish
+masters incomparably life-like. Yet he is rich in qualities deeply
+attractive and interesting to the people, especially the French people,
+of our own day. He displays an astonishing capacity and rapidity of
+execution, an almost unparalleled accuracy of memory, a rare life and
+motion on the canvass, a vigorous comprehension of the military tactics
+of the time, a wonderful aptitude at rendering the camp and field potent
+subjects for the pencil, notwithstanding the regularity of movement,
+and the unpicturesque uniformity of costume demanded by the military
+science of our day. Before a battle-piece, of Horace Vernet (and only
+his battle-pieces are his masterpieces), the crowd stands breathless and
+horrified at the terrible and bloody aspect of war; while the military
+connoisseur admires the ability and skill of the feats of arms, so
+faithfully rendered that he forgets he is not looking at real soldiers
+in action. In the landscapes and objects of the foreground or
+background, there are not that charm of color and aërial depth and
+transparency in which the eye revels, yet there is a hard vigorous
+actuality which adds to the force and energy of the actors, and
+strengthens the idea of presence at the battle, without attracting or
+charming away the mind from the terrible inhumanities principally
+represented. No poetry, no romance, no graceful and gentle beauty; but
+the stern dark reality as it might be written in an official bulletin,
+or related in a vigorous, but cold and accurate, page of history. Such
+is the distinguishing talent of Horace Vernet--talent sufficient,
+however, to make his pictures the attractive centres of crowds at the
+Louvre Exhibitions, and to make himself the favorite of courts and one
+of the _illustrissimi_ of Europe.
+
+The Vernets have been a family of painters during four generations. The
+great-grandfather of Horace was a well-known artist at Avignon, a
+hundred and fifty years ago. His son and pupil, Claude Joseph Vernet,
+was the first marine painter of his time; and occupies, with his works
+alone, an entire apartment of the French Gallery at the Louvre, besides
+great numbers of sea-pieces and landscapes belonging to private
+galleries. He died in 1789, but his son and pupil, Antoine Charles
+Horace Vernet, who had already during two years sat by his side in the
+Royal Academy, continued the reputation of the family during the
+Consulate and Empire. He was particularly distinguished for
+cavalry-battles, hunting scenes, and other incidents in which the horse
+figured largely as actor. In some of these pictures the hand of the son
+already joined itself to that of the father, the figures being from the
+pencil of Horace; and before the death of the father, which took place
+in 1836, he had already seen the artistic reputation of the family
+increased and heightened by the fame of his son.
+
+Horace Vernet was born at the Louvre on the 30th June, 1789, the year of
+the death of his grandfather, who, as painter to the king, had occupied
+rooms at the Louvre, where his father also resided; so that Horace not
+only inherited his art from a race of artist-ancestors, but was born
+amid the _chef d' oeuvres_ of the entire race of painters. Of course,
+his whole childhood and youth were surrounded with objects of Art; and
+it was scarcely possible for him not to be impressed in the most lively
+manner by the unbroken artist-life in which he was necessarily brought
+up. It would appear that from his childhood he employed himself in
+daubing on walls, and drawing on scraps of paper all sorts of little
+soldiers.
+
+Like his father and grandfather, his principal lessons as a student were
+drawn from the paternal experience, and certainly no professor could
+more willingly and faithfully save him all the loss of time and patience
+occasioned by the long and often fruitless groping of the almost
+solitary Art-student. He was also thus saved from falling into the
+errors of the school of David. Certainly no great _penchant_ towards the
+antique is discoverable in his father's works; nor in his own do we find
+painted casts of Greek statues dressed in the uniforms of the nineteenth
+century. At twenty, it is true, he tried, but without success, the
+classic subject offered to competition at the Academy for the prize of
+visiting Rome. The study of the antique did not much delight him. On the
+contrary, he rather joined with the innovators, whose example was then
+undermining the over-classic influence of David's school, the most
+formidable and influential of whom, a youth about his own age, and a
+fellow-student in his father's atelier, was then painting a great
+picture, sadly decried at the time, but now considered one of the
+masterpieces of the French school in the Louvre--the "Raft of the
+Medusa." Gericault was his companion in the studio and in the field, at
+the easel and on horseback; and we might trace here one of the many
+instances of the influence which this powerful and original genius
+exercised on the young artists of his time, and which, had it not been
+arrested by his premature death in January, 1824, would have made
+Gericault more strikingly distinguished as one of the master-spirits in
+French Art, and the head of a school entirely the opposite to that of
+David.
+
+Horace's youth, however, did not pass entirely under the smiles of
+fortune. He had to struggle with those difficulties of narrow means with
+which a very large number of young artists are tolerably intimate. He
+had to weather the gales of poverty by stooping to all sorts of
+illustrative work, whose execution we fancy must have been often a
+severe trial to him. Any youth aiming at "high art," and feeling, though
+poor, too proud to bend in order to feed the taste, (grotesque and
+unrefined enough, it must be allowed,) of the good public, which artists
+somewhat naturally estimate rather contemptuously, might get a lesson of
+patience by looking over an endless series of the most variedly hideous
+costumes or caricatures of costume which Horace was glad to draw, for
+almost any pecuniary consideration. A series of amusingly _naive_
+colored prints, illustrating the adventures of poor La Vallière with
+Louis XIV., would strengthen the lesson. These were succeeded by
+lithographs of an endless variety of subjects--the soldier's life in all
+its phases, the "horse and its rider" in all their costumes, snatches of
+romances, fables, caricatures, humorous pieces, men, beasts, and things.
+In short, young Horace tried his hand at any thing and every thing in
+the drawing line, at once earning a somewhat toughly-woven livelihood,
+and perfecting his talent with the pencil. In later years, the force and
+freedom of this talent were witnessed to by illustrations of a more
+important character in a magnificent edition of Voltaire's _Henriade_,
+published in 1825, and of the well known _Life of Napoleon_ by Laurent.
+
+Failing, as we have said, and perhaps fortunately for him, in the
+achievement of the great Prize of Rome, he turned to the line of Art for
+which he felt himself naturally endowed, the incidents of the camp and
+field. The "Taking of a Redoubt;" the "Dog of the Regiment;" the "Horse
+of the Trumpeter;" "Halt of French Soldiers;" the "Battle of Tolosa;"
+the "Barrier of Clichy, or Defense of Paris in 1814" (both of which
+last, exhibited in 1817, now hang in the gallery of the Luxembourg), the
+"Soldier-Laborer;" the "Soldier of Waterloo;" the "Last Cartridge;" the
+"Death of Poniatowski;" the "Defense of Saragossa," and many more,
+quickly followed each other, and kept up continually and increasingly
+the public admiration. The critics of the painted bas-relief school
+found much to say against, and little in favor of, the new talent that
+seemed to look them inimically in the face, or rather did not seem to
+regard them at all. But people in general, of simple enough taste in
+matter of folds of drapery or classic laws of composition or antique
+lines of beauty, saw before them with all the varied sentiments of
+admiration, terror, or dismay, the soldier mounting the breach at the
+cannon's mouth, or the general, covered with orders, cut short in the
+midst of his fame. Little of the romantic, little of poetical
+idealization, little of far-fetched _style_ was there on these
+canvasses, but the crowd recognized the soldier as they saw him daily,
+in the midst of the scenes which the bulletin of the army or the page of
+the historian had just narrated to them. They were content, they were
+full of admiration, they admired the pictures, they admired the artist;
+and, the spleen of critics notwithstanding, Horace Vernet was known as
+one of the favorite painters of the time.
+
+In 1819 appeared the "Massacre of the Mamelukes at Cairo," now in the
+Luxembourg. We do not know how the public accepted this production. We
+have no doubt, however, that they were charmed at the gaudy _éclat_ of
+the bloodthirsty tyrant, with his hookah and lion in the foreground, and
+dismayed at the base assassinations multiplied in the background. Nor do
+we doubt that the critics gave unfavorable judgments thereupon, and that
+most of those who loved Art seriously, said little about the picture. We
+would at all events express our own regret that the authorities do not
+find some better works than this and the "Battle of Tolosa," to
+represent in a public gallery the talent of the most famous
+battle-painter of France. The Battles of Jemmapes, Valmy, Hanau, and
+Montmirail, executed at this time, and hung till lately in the gallery
+of the Palais Royal (now, we fear, much, if not entirely, destroyed by
+the mob on the 24th February), were much more worthy of such a place.
+Whether it was by a considerate discernment that the mob attacked these,
+as the property of the ex-king, or by a mere goth-and-vandalism of
+revolution, we do not know; but certainly we would rather have delivered
+up to their wrath these others, the "property of the nation." The same
+hand would hardly seem to have executed both sets of paintings. It is
+not only the difference in size of the figures on the canvass, those of
+the Luxembourg being life-sized, and those of the Palais Royal only a
+few inches in length, but the whole style of the works is different. The
+first seem painted as if they had been designed merely to be reproduced
+in gay silks and worsteds at the Gobelins, where we have seen a copy of
+the "Massacre of the Mamelukes," in tapestry, which we would, for
+itself, have preferred to the original. But the latter four battles,
+notwithstanding the disadvantage of costume and arrangement necessarily
+imposed by the difference of time and country, produce far more
+satisfactory works of Art, and come much nearer to historical painting.
+They are painted without pretension, without exaggeration. The details
+are faithfully and carefully, though evidently rapidly, executed. The
+generals and personages in the front are speaking portraits; and the
+whole scene is full of that sort of life and action which impresses one
+at once as the very sort of action that must have taken place. Now it is
+a battery of artillery backed against a wood,--now it is a plain over
+which dense ranks of infantry march in succession to the front of the
+fire. Here it is a scene where in the full sunlight shows the whole
+details of the action; there it is night--and a night of cloud and
+storm, draws her sombre veil over the dead and wounded covering the
+field. A historian might find on these canvasses, far better than in
+stores of manuscript, wherewith to fill many a page of history with
+accurate and vivid details of these bloody days; or rather, many a page
+of history would not present so accurate and vivid a conception of what
+is a field of battle.
+
+In 1822, entry to the exhibition at the Louvre being refused to his
+works, Horace Vernet made an exhibition-room of his atelier, had a
+catalogue made out (for what with battles, hunts, landscapes, portraits,
+he had a numerous collection), and the public were admitted. In 1826 he
+was admitted a Member of the Institute, and in 1830 was appointed
+Director of the Academy at Rome, so that the young man who could not so
+far decline his antiques as to treat the classic subject of the Royal
+Academy, and thus gain the Academy at Rome, now went there as chief of
+the school, and as one of the most distinguished artists of his time.
+This residence for five years among the best works of the great masters
+of Italy naturally inspired him with ideas and desires which it had not
+been hitherto in his circumstances to gratify. And once installed in the
+Villa Medici, which he made to resound with the voices of joy and
+revelry, splendid fêtes and balls, he set himself to study the Italian
+school.
+
+A series of pictures somewhat new in subject and manner of treatment was
+the result of this change of circumstances and ideas. To the Paris
+Exhibition of 1831 he sent a "Judith and Holofernes," which is one of
+the least successful of his pictures in the Luxembourg, where it hangs
+still, with another sent two years after, "Raffaelle and Michael Angelo
+in the Vatican." This is perhaps the best of his works at the
+Luxembourg, all being inferior; but it has a certain dry gaudiness of
+color, and a want of seriousness of design, which render it unfit to be
+considered a master-work. One unquestionably preferable, the "Arresting
+of the Princes at the Palais Royal by order of Anne of Austria," found
+its way to the Palais Royal, so that in this, as in the other we have
+remarked, the king seemed to know how to choose better than the
+Art-authorities of the "Gallery of Living Painters." A number of other
+pictures testified to the activity of the artist's pencil at
+Rome:--"Combat of Brigands against the Pope's Riflemen," "Confession of
+the Dying Brigand," also at the Palais Royal, but also we fear destroyed
+by the popular vandalism of the 24th February; a "Chase in the Pontine
+Marshes," "Pope Leo XII. carried into St. Peter's." The favor of the
+public, however, still turned to the usual subject of Horace Vernet--the
+French soldier's life; finding which, on his return from Rome, he
+recurred to his original study. In 1836 he exhibited four new
+battle-pieces, "Friedland," "Wagram," "Jena," and "Fontenoy," in which
+were apparent all his usual excellencies.
+
+The occupation of the Algerine territory by the French troops afforded
+the artist an opportunity of exhibiting his powers in that department
+most suited to them. A whole gallery at Versailles was set apart for the
+battle-painter, called the _Constantine Gallery_, after the most
+important feat of arms yet performed by the French troops in Africa, the
+Taking of the town of Constantine. Some of the solitary and
+extraordinary, we might say accidental, military exploits in Europe of
+Louis Philippe's reign, are also commemorated there. The "Occupation of
+Ancona," the "Entry of the Army into Belgium," the "Attack of the
+Citadel of Antwerp," the "Fleet forcing the Tagus," show that nothing is
+forgotten of the Continental doings. The African feats are almost too
+many to enumerate. In a "Sortie of the Arab Garrison of Constantine,"
+the Duke de Nemours is made to figure in person. Then we have the
+Troops of Assault receiving the Signal to leave the Trenches, and "The
+Scaling of the Breach." There are the "Occupation of the Defile of
+Teniah," "Combat of the Habrah, of the Sickak, of Samah, of Afzoum." In
+fine, there is the largest canvass in existence, it is said, the
+"Taking of the Smalah," that renowned occasion when the army was so
+_very near_ taking Abd-el-Kader; and the "Battle of Isly," which gained
+that splendid trophy, the parasol of command. Besides these great
+subjects there are decorations of military trophies and allegorical
+figures, which seem to have been painted by some pupil of Vernet. These
+battles were first of all exhibited to the admiration of Paris in the
+various salons after their execution, and were then sent off to decorate
+Versailles. There are also, in the _Gallery of French History_, at
+Versailles, several others of his, such as the "Battle of Bouvines;"
+"Charles X. reviewing the National Guard;" the "Marshal St. Cyr," and
+some others among those we have already named. In them the qualities of
+the artist are manifested more fully, we think, than in any others of
+his works. They are full of that energy, vivacity, and daguerreotypic
+verity which he so eminently displays. There is none of that pretension
+after "high Art" which has injured the effect of some of his pictures.
+The rapidity of their execution too in general was such, that the public
+had hardly finished reading the last news of the combats, when the
+artist, returned in many cases from witnessing the scenes, had placed
+them on the canvass, and offered them to popular gaze. Yet the canvasses
+are in many cases of great extent, and often, the figures of life-size.
+But the artist rarely employs the model, painting mostly from memory, a
+faculty most astonishingly developed in him. He generally also saves
+himself the trouble of preparing a smaller sketch to paint after,
+working out his subject at once in the definitive size. Of course with
+more serious and elevated subjects, worked out in a more serious and
+elevated spirit, such a system would not do. But for the style of
+subject and execution required by Horace Vernet's artistic organization,
+these careful preparations would not answer. They would only tend to
+diminish the sweeping passion of the fiery _melée_, and freeze the swift
+impulsive rush of the attack or flight.
+
+Vernet has several times attempted Biblical subjects, but they have
+never succeeded so well as to add anything to his fame as a
+battle-painter. "Judah and Tamar," "Agar dismissed by Abraham," "Rebecca
+at the Fountain," "Judith with the head of Holofernes," "The Good
+Samaritan," have rather served to illustrate Arab costume and manners,
+(which he makes out to be the same as, or very similar to, those of old
+Biblical times,) than to illustrate his own power in the higher range of
+Art.
+
+In the midst of painting all these, Horace Vernet has found time, which
+for him is the smallest requisite in painting, to produce an innumerable
+mass of pictures for private galleries, or at the command of various
+crowned heads; which, with many of those already mentioned, are well
+known all over Europe by engravings. "The Post of the Desert," "The
+Prayer in the Desert," "The Lion Hunt in the Desert," "Council of
+Arabs," "Episode of the Pest of Barcelona," "The Breach of Constantine,"
+"Mazeppa," and a host of others, together with landscapes, portraits,
+&c., have served both to multiply his works in the galleries of every
+country in Europe, and to make him one of the most popular of living
+artists.
+
+
+THE COLOSSEUM.
+
+The Colosseum, or Coliseum, was commenced by Vespasian, and completed by
+Titus, (A. D. 79.) This enormous building occupied only three years in
+its erection. Cassiodorus affirms that this magnificent monument of
+folly cost as much as would have been required to build a capital city.
+We have the means of distinctly ascertaining its dimensions and its
+accommodations from the great mass of wall that still remains entire;
+and although the very clamps of iron and brass that held together the
+ponderous stones of this wonderful edifice were removed by Gothic
+plunderers, and succeeding generations have resorted to it as to a
+quarry for their temples and their palaces--yet the "enormous skeleton"
+still stands to show what prodigious works may be raised by the skill
+and perseverance of man, and how vain are the mightiest displays of his
+physical power when compared with those intellectual efforts which have
+extended the empire of virtue and of science.
+
+The Colosseum, which is of an oval form, occupies the space of nearly
+six acres. It may justly be said to have been the most imposing
+building, from its apparent magnitude, in the world; the Pyramids of
+Egypt can only be compared with it in the extent of their plan, as they
+each cover nearly the same surface. The greatest length, or major axis,
+is 620 feet; the greatest breadth, or minor axis, is 513 feet. The outer
+wall is 157 feet high in its whole extent. The exterior wall is divided
+into four stories, each ornamented with one of the orders of
+architecture. The cornice of the upper story is perforated for the
+purpose of inserting wooden masts, which passed also through the
+architrave and frieze, and descended to a row of corbels immediately
+above the upper range of windows, on which are holes to receive the
+masts. These masts were for the purpose of attaching cords to, for
+sustaining the awning which defended the spectators from the sun or
+rain. Two corridors ran all round the building, leading to staircases
+which ascended to the several stories; and the seats which descended
+towards the arena, supported throughout upon eighty arches, occupied so
+much of the space that the clear opening of the present inner wall next
+the arena is only 287 feet by 180 feet. Immediately above and around the
+arena was the podium, elevated about twelve or fifteen feet, on which
+were seated the emperor, senators, ambassadors of foreign nations, and
+other distinguished personages in that city of distinctions. From the
+podium to the top of the second story were seats of marble for the
+equestrian order; above the second story the seats appear to have been
+constructed of wood. In these various seats eighty thousand spectators
+might be arranged according to their respective ranks; and indeed it
+appears from inscriptions, as well as from expressions in Roman writers,
+that many of the places in this immense theatre were assigned to
+particular individuals, and that each might find his seat without
+confusion. On extraordinary occasions, 110,000 persons could crowd into
+it.
+
+Gibbon has given a splendid description, in his twelfth book, of the
+exhibitions in the Colosseum; but he acknowledges his obligations to
+Montaigne, who, says the historian, "gives a very just and lively view
+of Roman magnificence in these spectacles." Our readers will, we doubt
+not, be gratified by the quaint but most appropriate sketch of the old
+philosopher of France:--
+
+"It was doubtless a fine thing to bring and plant within the theatre a
+great number of vast trees, with all their branches in their full
+verdure, representing a great shady forest, disposed in excellent order,
+and the first day to throw into it a thousand ostriches, a thousand
+stags, a thousand boars, and a thousand fallow deer, to be killed and
+disposed of by the people: the next day to cause an hundred great lions,
+an hundred leopards and three hundred bears to be killed in his
+presence: and for the third day, to make three hundred pair of fencers
+to fight it out to the last,--as the Emperor Probus did. It was also
+very fine to see those vast amphitheatres, all faced with marble
+without, curiously wrought with figures and statues, and the inside
+sparkling with rare decorations and enrichments; all the sides of this
+vast space filled and environed from the bottom to the top, with three
+or four score ranks of seats, all of marble also, and covered with
+cushions, where an hundred thousand men might sit placed at their ease;
+and the place below, where the plays were played, to make it by art
+first open and cleave into chinks, representing caves that vomited out
+the beasts designed for the spectacle; and then secondly, to be
+overflowed with a profound sea, full of sea-monsters, and loaded with
+ships of war, to represent a naval battle: and thirdly, to make it dry
+and even again for the combats of the gladiators; and for the fourth
+scene, to have it strewed with vermilion and storax, instead of sand,
+there to make a solemn feast for all that infinite number of people--the
+last act of only one day.
+
+"Sometimes they have made a high mountain advance itself, full of
+fruit-trees and other flourishing sorts of woods, sending down rivulets
+of water from the top, as from the mouth of a fountain: other whiles, a
+great ship was seen to come rolling in, which opened and divided itself;
+and after having disgorged from the hold four or five hundred beasts for
+fight, closed again, and vanished without help. At other times, from the
+floor of this place, they made spouts of perfumed water dart their
+streams upward, and so high as to besprinkle all that infinite
+multitude. To defend themselves from the injuries of the weather, they
+had that vast place one while covered over with purple curtains of
+needle-work, and by-and-by with silk of another color, which they could
+draw off or on in a moment, as they had a mind. The net-work also that
+was set before the people to defend them from the violence of these
+turned-out beasts, was also woven of gold."
+
+"If there be anything excusable in such excesses as these," continues
+Montaigne, "it is where the novelty and invention creates more wonder
+than expense." Fortunately for the real enjoyments of mankind, even
+under the sway of a Roman despot, "the novelty and invention" had very
+narrow limits when applied to matters so utterly unworthy and
+unintellectual as the cruel sports of the amphitheatre. Probus indeed,
+transplanted trees to the arena, so that it had the appearance of a
+verdant grove; and Severus introduced four hundred ferocious animals in
+one ship sailing in the little lake which the arena formed. But on
+ordinary occasions, profusion,--tasteless, haughty, and uninventive
+profusion,--the gorgeousness of brute power, the pomp of satiated
+luxury--these constituted the only claim to the popular admiration. If
+Titus exhibited five thousand wild beasts at the dedication of the
+amphitheatre, Trajan bestowed ten thousand on the people at the
+conclusion of the Dacian war. If the younger Gordian collected together
+bears, elks, zebras, ostriches, boars, and wild horses, he was an
+imitator only of the spectacles of Carus, in which the rarity of the
+animals was as much considered as their fierceness.
+
+
+NINEVEH AND ITS REMAINS.
+
+"For very many centuries, the hoary monuments of Egypt--its temples, its
+obelisks, and its tombs--have presented to the eye of the beholder
+strange forms of sculpture and of language; the import of which none
+could tell. The wild valleys of Sinai, too, exhibited upon their rocky
+sides the unknown writings of a former people; whose name and existence
+none could trace. Among the ruined halls of Persepolis, and on the
+rock-hewn tablets of the surrounding regions, long inscriptions in
+forgotten characters seemed to enrol the deeds and conquests of mighty
+sovereigns; but none could read the record. Thanks to the skill and
+persevering zeal of scholars of the 19th century, the key of these
+locked up treasures has been found; and the records have mostly been
+read. The monuments of Egypt, her paintings and her hieroglyphics, mute
+for so many ages, have at length spoken out; and now our knowledge of
+this ancient people is scarcely less accurate and extensive than our
+acquaintance with the classic lands of Greece and Rome. The unknown
+characters upon the rocks of Sinai have been deciphered, but the meagre
+contents still leave us in darkness as to their origin and purpose. The
+cuneiform or arrow-headed inscriptions of the Persian monuments and
+tablets, have yielded up their mysteries, unfolding historical data of
+high importance; thus illustrating and confirming the few and sometimes
+isolated facts preserved to us in the Scriptures and other ancient
+writings. Of all the works, in which the progress and results of these
+discoveries have been made known, not one has been reproduced or made
+generally accessible in this country. The scholar who would become
+acquainted with them, and make them his own, must still have recourse to
+the Old World.
+
+"The work of Mr. Layard brings before us still another step of progress.
+Here we have not to do, with the hoary ruins that have borne the brunt
+of centuries in the presence of the world, but with a resurrection of
+the monuments themselves. It is the disentombing of temple-palaces from
+the sepulchre of ages; the recovery of the metropolis of a powerful
+nation from the long night of oblivion. Nineveh, the great city 'of
+three days' journey,' that was 'laid waste, and there was none to bemoan
+her,' whose greatness sank when that of Rome had just begun to rise, now
+stands forth again to testify to her own splendor, and to the
+civilization, and power, and magnificence of the Assyrian Empire. This
+may be said, thus far, to be the crowning historical discovery of the
+nineteenth century. But the century as yet, is only half elapsed.
+
+"Nineveh was destroyed in the year 606 before Christ; less than 150
+years after Rome was founded. Her latest monuments, therefore, date back
+not less than five-and-twenty centuries; while the foundation of her
+earliest is lost in an unknown antiquity. When the ten thousand Greeks
+marched over this plain in their celebrated retreat, (404 B.C.) they
+found in one part, a ruined city called Larissa; and in connection with
+it, Xenophon, their leader and historian, describes what is now the
+pyramid of Nimroud. But he heard not the name of Nineveh; it was already
+forgotten in its site; though it appears again in the later Greek and
+Roman writers. Even at that time, the widely extended walls and ramparts
+of Nineveh had perished, and mounds, covering magnificent palaces, alone
+remained at the extremities of the ancient city, or in its vicinity,
+much as at the present day.
+
+"Of the site of Nineveh, there is scarcely a further mention, beyond the
+brief notices by Benjamin of Tudela and Abulfeda, until Niebuhr saw it
+and described its mounds nearly a century ago. In 1820, Mr. Rich visited
+the spot; he obtained a few square sun-dried bricks with inscriptions,
+and some other slight remains; and we can all remember the profound
+impression made upon the public mind, even by these cursory memorials of
+Nineveh and Babylon."
+
+
+DESCRIPTION OF A PALACE EXHUMED AT NIMROUD.
+
+"During the winter, Mr. Longworth, and two other English travelers,
+visited me at Nimroud. As they were the only Europeans, (except Mr.
+Ross) who saw the palace when uncovered, it may be interesting to the
+reader to learn the impression which the ruins were calculated to make
+upon those who beheld them for the first time, and to whom the scene was
+consequently new. Mr. Longworth, in a letter, thus graphically describes
+his visit:--
+
+     "'I took the opportunity, whilst at Mosul, of visiting the
+     excavations of Nimroud. But before I attempt to give a short
+     account of them, I may as well say a few words as to the general
+     impression which these wonderful remains made upon me, on my first
+     visit to them. I should begin by stating, that they are all under
+     ground. To get at them, Mr. Layard has excavated the earth to the
+     depth of twelve to fifteen feet, where he has come to a building
+     composed of slabs of marble. In this place, which forms the
+     northwest angle of the mound, he has fallen upon the interior of a
+     large palace, consisting of a labyrinth of halls, chambers, and
+     galleries, the walls of which are covered with bas-reliefs and
+     inscriptions in the cuneiform character, all in excellent
+     preservation. The upper part of the walls, which was of brick,
+     painted with flowers, &c, in the brightest colors, and the roofs,
+     which were of wood, have fallen; but fragments of them are strewed
+     about in every direction. The time of day when I first descended
+     into these chambers happened to be towards evening; the shades of
+     which, no doubt, added to the awe and mystery of the surrounding
+     objects. It was of course with no little excitement that I suddenly
+     found myself in the magnificent abode of the old Assyrian Kings;
+     where, moreover, it needed not the slightest effort of imagination
+     to conjure up visions of their long departed power and greatness.
+     The walls themselves were covered with phantoms of the past; in the
+     words of Byron,'Three thousand years their cloudy wings expand,'
+     unfolding to view a vivid representation of those who conquered and
+     possessed so large a portion of the earth we now inhabit. There
+     they were, in the Oriental pomp of richly embroidered robes, and
+     quaintly-artificial coiffure. There also were portrayed their deeds
+     in peace and war, their audiences, battles, sieges, lion-hunts, &c.
+     My mind was overpowered by the contemplation of so many strange
+     objects; and some of them, the portly forms of kings and vizirs,
+     were so life-like, and carved in such fine relief, that they might
+     almost be imagined to be stepping from the walls to question the
+     rash intruder on their privacy. Then mingled with them were other
+     monstrous shapes--the old Assyrian deities, with human bodies, long
+     drooping wings, and the heads and beaks of eagles; or, still
+     faithfully guarding the portals of the deserted halls, the colossal
+     forms of winged lions and bulls, with gigantic human faces. All
+     these figures, the idols of a religion long since dead and buried
+     like themselves, seemed in the twilight to be actually raising
+     their desecrated heads from the sleep of centuries; certainly the
+     feeling of awe which they inspired me with, must have been
+     something akin to that experienced by their heathen votaries of
+     old.'--_Layard's Nineveh and its Remains_, vol. I. p. 298.
+
+"The interior of the Assyrian palace must have been as magnificent as
+imposing. I have led the reader through its ruins, and he may judge of
+the impression its halls were calculated to make upon the stranger who,
+in the days of old, entered for the first time into the abode of the
+Assyrian Kings. He was ushered in through the portal guarded by the
+colossal lions or bulls of white alabaster. In the first hall he found
+himself surrounded by the sculptured records of the empire. Battles,
+sieges, triumphs, the exploits of the chase, the ceremonies of religion,
+were portrayed on the walls, sculptured in alabaster, and painted in
+gorgeous colors. Under each picture were engraved, in characters filled
+up with bright copper, inscriptions describing the scenes represented.
+Above the sculptures were painted other events--the king attended by his
+eunuchs and warriors, receiving his prisoners, entering into alliances
+with other monarchs, or performing some sacred duty. These
+representations were enclosed in colored borders, of elaborate and
+elegant design. The emblematic tree, winged bulls, and monstrous
+animals were conspicuous among the ornaments.
+
+"At the upper end of the hall was the colossal figure of the king in
+adoration before the supreme deity, or receiving from his eunuch the
+holy cup. He was attended by warriors bearing his arms, and by the
+priests or presiding divinities. His robes, and those of his followers,
+were adorned with groups of figures, animals, and flowers, all painted
+with brilliant colors. The stranger trod upon the alabaster slabs, each
+bearing an inscription, recording the titles, genealogy, and
+achievements of the great King.--Several door-ways, formed by gigantic
+winged lions or bulls, or by the figures of guardian deities, led into
+other apartments, which again opened into more distant halls. In each
+were new sculptures. On the walls of some were processions of colossal
+figures--armed men and eunuchs following the king, warriors laden with
+spoil, leading prisoners, or bearing presents and offerings to the gods.
+On the walls of others were portrayed the winged priests, or presiding
+divinities, standing before the sacred trees.
+
+"The ceilings above him were divided into square compartments, painted
+with flowers, or with the figures of animals. Some were inlaid with
+ivory, each compartment being surrounded by elegant borders and
+mouldings. The beams as well as the sides of the chambers, may have been
+gilded, or even plated, with gold and silver; and the rarest woods, in
+which the cedar was conspicuous, were used for the wood work. Square
+openings in the ceilings of the chambers admitted the light of day. A
+pleasing shadow was thrown over the sculptured walls, and gave a
+majestic expression to the human features of the colossal figures which
+guarded the entrances. Through these apertures was seen the bright blue
+of an eastern sky, enclosed in a frame on which were painted, in varied
+colors, the winged circle, in the midst of elegant ornaments, and the
+graceful forms of ideal animals.
+
+"These edifices, as it has been shown, were great national monuments,
+upon the walls of which were represented in sculpture, or inscribed in
+alphabetic characters, the chronicles of the empire. He who entered them
+might thus read the history, and learn the glory and triumphs of the
+nation. They served at the same time to bring continually to the
+remembrance of those who assembled within them on festive occasions, or
+for the celebration of religious ceremonies, the deeds of their
+ancestors, and the power and majesty of their gods."--_Layard's Nineveh
+and its Remains_, vol. II. p 262.
+
+
+ORIGIN AND ANTIQUITY OF THE ARCH.
+
+The origin of the Arch is very uncertain. It was unknown to the
+Egyptians, for their chambers were roofed with long flat stones, and
+sometimes the upper layers of stones form projections, so as to diminish
+the roof surface. It is also supposed that it was unknown to the
+Greeks, when they constructed their most beautiful temples, in the 5th,
+4th, and 3d centuries B. C., as no structure answering to the true
+character of the Arch has been found in any of these works. Minutoli has
+given specimens of arches at Thebes; circular, and formed of four
+courses of bricks, and it is maintained that these belonged to a very
+ancient period, long before the Greek occupancy of that country. The
+Macedonians were a civilized people long before the rest of the Greeks,
+and were, in fact, their instructors; but the Greeks afterwards so far
+excelled them that they regarded them as barbarians. Some say that
+Etruria was the true birth-place of the Arch; it was doubtless from them
+that the Romans learned its use. Tarquinius Priscus conquered the
+Etrurians, and he it was who first introduced and employed the Arch in
+the construction of the cloacæ, or sewers of Rome. The _cloaca maxima_,
+or principal branch, received numerous other branches between the
+Capitoline, Palatine, and Quirinal hills. It is formed of three
+consecutive rows of large stones piled above each other without cement,
+and has stood nearly 2,500 years, surviving without injury the
+earthquakes and other convulsions that have thrown down temples,
+palaces, and churches of the superincumbent city. From the time of
+Tarquin, the Arch was in general use among the Romans in the
+construction of aqueducts, public edifices, bridges, &c. The Chinese
+understood the use of the Arch in the most remote times, and in such
+perfection as to enable them to bridge large streams with a single span.
+Mr. Layard has shown that the Ninevites knew its use at least 3000 years
+ago; he not only discovered a vaulted chamber, but that "arched
+gate-ways are continually represented in the bas-reliefs." Diodorus
+Siculus relates that the tunnel from the Euphrates at Babylon, ascribed
+to Semiramis, was vaulted. There are vaults under the site of the temple
+at Jerusalem, which are generally considered as ancient as that edifice,
+but some think them to have been of more recent construction, as they
+suppose the Jews were ignorant of the Arch; but it is evident that it
+was well known in the neighboring countries before the Jewish exile, and
+at least seven or eight centuries before the time of Herod. It seems
+highly probable, that the Arch was discovered by several nations in very
+remote times.
+
+
+ANTIQUITIES OF HERCULANEUM, POMPEII, AND STABIÆ.
+
+The city of Herculaneum, distant about 11,000 paces from Naples, was so
+completely buried by a stream of lava and a shower of ashes from the
+first known eruption of Vesuvius, during the reign of Titus, A. D. 79,
+that its site was unknown for many ages. The neighboring city of
+Pompeii, on the river Sarno, one of the most populous and flourishing
+towns on the coast, as well as Stabiæ, Oplontia, and Teglanum,
+experienced the same fate. Earlier excavations had already been
+forgotten, when three female figures, (now in the Dresden Gallery) were
+discovered while some workmen were digging a well for Prince Elbeuf at
+Portici, a village situated on the site of ancient Herculaneum. In 1738
+the well was dug deeper, and the theatre of Herculaneum was first
+discovered. In 1750, Pompeii and Stabiæ were explored; the former place
+being covered with ashes rather than lava, was more easily examined.
+Here was discovered the extensive remains of an amphitheatre. In the
+cellar of a villa twenty-seven female skeletons were found with
+ornaments for the neck and arms; lying around, near the lower door of
+another villa, two skeletons were found, one of which held a key in one
+hand, and in the other a bag of coins and some cameos, and near them
+were several beautiful silver and bronze vessels. It is probable,
+however, that most of the inhabitants of this city had time to save
+themselves by flight, as comparatively few bodies have been found. The
+excavations since the discovery, have been continued by the government,
+up to the present time, with more or less interruptions. For the
+antiquary and the archæologist, antiquity seems here to revive and
+awaken the sensations which Schiller has so beautifully described in his
+poem of Pompeii and Herculaneum. The ancient streets and buildings are
+again thrown open, and in them we see, as it were, the domestic life of
+the ancient Romans. We had never before such an opportunity of becoming
+acquainted with the disposition of their houses, and of their utensils.
+Whole streets, with magnificent temples, theatres, and private mansions,
+have been disentombed. Multitudes of statues, bas-reliefs, and other
+sculptures have been found in these buried cities; also many fresco
+paintings, the most remarkable of which are Andromeda and Perseus, Diana
+and Endymion, the Education of Bacchus, the Battle of Platea, &c. In one
+splendid mansion were discovered several pictures, representing
+Polyphemus and Galatea, Hercules and the three Hesperdies, Cupid and a
+Bacchante, Mercury and Io, Perseus killing Medusa, and other subjects.
+There were also in the store rooms of the same house, evidently
+belonging to a very rich family, an abundance of provisions, laid in for
+the winter, consisting of dates, figs, prunes, various kinds of nuts,
+hams, pies, corn, oil, peas, lentils, &c. There were also in the same
+house, vases, articles of glass, bronze, and terra-cotta, several
+medallions in silver, on one of which was represented in relief, Apollo
+and Diana. A great treasure of ancient books or manuscripts, consisting
+of papyrus rolls, has also been discovered, which has excited the
+greatest curiosity of the learned, in the hope of regaining some of the
+lost works of ancient writers; but though some valuable literary remains
+of Grecian and Roman antiquity have been more or less completely
+restored, the greater part remain yet untouched, no effectual means
+having been discovered by which the manuscripts could be unrolled and
+deciphered, owing to their charred and decomposed state.
+
+The following vivid sketch of the present appearance of these devoted
+cities, is from the pen of an American traveler:--
+
+"In the grounds of the Royal Palace at Portici, which are extensive,
+there is a small fortress, with its angles, its bastions,
+counter-scarps, and all the geometrical technicalities of Vauban, in
+miniature. It was erected by Charles III., for the instruction, or
+perhaps more correctly speaking, the amusement of his sons. The garden
+on the front of the palace next to the bay, is enchanting. Here, amidst
+statues, refreshing fountains, and the most luxurious foliage, the vine,
+the orange, the fig, in short, surrounded by all the poetry of life, one
+may while 'the sultry hours away,' till the senses, yielding to the
+voluptuous charm, unfit one for the sober realities of a busy world.
+
+"The towns of Portici and Resinia, which are in fact united, are very
+populous. The shops, at the season of my visit, Christmas, particularly
+those where eatables were sold, exhibited a very gay appearance; and
+gilt hams, gilt cheese, festoons of gilt sausages, intermixed with
+evergreens, and fringes of maccaroni, illuminated Virgin Marys, and
+gingerbread Holy Families, divided the attention of the stranger, with
+the motley crowds in all the gay variety of Neapolitan costume. At the
+depth of seventy or eighty feet beneath these crowded haunts of busy
+men, lies buried, in a solid mass of hard volcanic matter, the once
+splendid city of Herculaneum, which was overthrown in the first century
+of the Christian era, by a terrible eruption of Vesuvius. It was
+discovered about the commencement of the last century, by the digging of
+a well immediately over the theatre. For many years the excavations were
+carried on with spirit; and the forum, theatres, porticos, and splendid
+mansions, were successively exposed, and a great number of the finest
+bronzes, marble statues, busts, &c., which now delight the visitor to
+the Museum at Naples, were among the fruits of these labors.
+Unfortunately, the parts excavated, upon the removal of the objects of
+art discovered, were immediately filled up in lieu of pillars, or
+supports to the superincumbent mass being erected. As the work of
+disentombment had long since ceased, nothing remained to be seen but
+part of the theatre, the descent to which is by a staircase made for the
+purpose. By the light of a torch, carried by the _custode_, I saw the
+orchestra, proscenium, consular seats, as well as part of the corridors,
+all stripped, however, of the marbles and paintings which once adorned
+them. I was shewn the spot where the celebrated manuscripts were found.
+The reflection that this theatre had held its ten thousand spectators,
+and that it then lay, with the city of which it was an ornament, so
+horribly engulphed, gave rise to feelings in awful contrast to those
+excited by the elysium of Portici almost immediately above. About seven
+miles further along the base of the mountain, lies the long lost city of
+Pompeii. The road passes through, or rather over Torre del Greco, a town
+almost totally destroyed by the eruption in 1794. The whole surface of
+the country for some distance is laid waste by the river of lava, which
+flowed in a stream or body, of twenty feet in depth, destroyed in its
+course vineyards, cottages, and everything combustible, consumed and
+nearly overwhelmed the town, and at last poured into the sea, where as
+it cooled, it formed a rugged termination or promontory of considerable
+height. The surface of this mass presented a rocky and sterile aspect,
+strongly opposed to the exuberance of vegetation in the more fortunate
+neighborhood. Passing through Torre del Annunziata, a populous village,
+the street of which was literally lined with maccaroni hanging to dry, I
+soon reached Pompeii. Between these last mentioned places, I noticed at
+the corner of a road a few dwellings, upon the principal of which, an
+Inn, was inscribed in formidable looking letters, GIOACHINOPOLI. Puzzled
+at the moment, I inquired what this great word related to, when lo, I
+was told that I was now in the city of Gioachinopoli, so called in
+compliment to the reigning sovereign, Gioachino Murat, the termination
+being added in imitation of the emperor Constantine, who gave his name
+to the ancient Byzantium!
+
+"Although suffering a similar fate with the sister city Herculaneum, the
+manner of the destruction of Pompeii was essentially different, for
+while the former lies imbedded at a great depth in solid matter, like
+mortar or cement, the latter is merely covered with a stratum of
+volcanic ashes, the surface of which being partly decomposed by the
+atmosphere, affords a rich soil for the extensive vineyards which are
+spread over its surface. No scene on earth can vie in melancholy
+interest with that presented to the spectator on entering the streets of
+the disinterred city of Pompeii. On passing through a wooden enclosure,
+I suddenly found myself in a long and handsome street, bordered by rows
+of tombs, of various dimensions and designs, from the simple cippus or
+altar, bearing the touching appeal of _siste viator_, stop traveler, to
+the Patrician mausoleum with its long inscription. Many of these latter
+yet contain the urns in which the ashes of the dead were deposited.
+Several large semicircular stone seats mark where the ancient Pompeians
+had their evening chat, and no doubt debated upon the politics of the
+day. Approaching the massive walls, which are about thirty feet high and
+very thick, and entering by a handsome stone arch, called the
+Herculaneum gate, from the road leading to that city, I beheld a vista
+of houses or shops, and except that they were roofless, just as if they
+had been occupied but yesterday, although near eighteen centuries have
+passed away since the awful calamity which sealed the fate of their
+inhabitants. The facilities for excavation being great, both on account
+of the lightness of the material and the little depth of the mass, much
+of the city has been exposed to view. Street succeeds street in various
+directions, and porticos, theatres, temples, magazines, shops, and
+private mansions, all remain to attest the mixture of elegance and
+meanness of Pompeii; and we can, from an inspection, not only form a
+most correct idea of the customs and tastes of the ancient inhabitants,
+but are thereby the better enabled to judge of those of contemporary
+cities, and learn to qualify the accounts of many of the ancient writers
+themselves.
+
+"Pompeii is so perfectly unique in its kind, that I flatter myself a
+rather minute description of the state in which I saw it, will not be
+uninteresting. The streets, with the exception of the principal one,
+which is about thirty-three feet wide, are very narrow. They are paved
+with blocks of lava, and have raised side-walks for pedestrians, things
+very rare in modern Europe. At the corners of the streets are fountains,
+and also stepping-stones for crossing. The furrows worn by the carriage
+wheels are strongly marked, and are not more than forty-four inches
+apart, thus giving us the width of their vehicles.
+
+"The houses in general are built with small red bricks, or with volcanic
+matter from Vesuvius, and are only one or two stories high. The marble
+counters remain in many of the stores, and the numbers, names of the
+occupiers, and their occupations, still appear in red letters on the
+outside. The names of Julius, Marius, Lucius, and many others, only
+familiar to us through the medium of our classic studies, and fraught
+with heroic ideas, we here see associated with the retailing of oil,
+olives, bread, apothecaries' wares, and nearly all the various articles
+usually found in the trading part of Italian cities even at the present
+day. All the trades, followed in these various edifices, were likewise
+distinctly marked by the utensils found in them; but the greater part of
+these, as discovered, were removed for their better preservation to the
+great Museum at Naples; a measure perhaps indispensable, but which
+detracts in some degree from the local interest. We see, however, in the
+magazine of the oil merchant, his jars in perfect order, in the
+bakehouse are the hand mills in their original places, and of a
+description which exactly tallies with those alluded to in holy writ;
+the ovens scarcely want repairs; where a sculptor worked, there we find
+his marbles and his productions, in various states of forwardness, just
+as he left them.
+
+"The mansions of the higher classes are planned to suit the delicious
+climate in which they are situated, and are finished with great taste.
+They generally have an open court in the centre, in which is a fountain.
+The floors are of mosaic. The walls and ceilings are beautifully
+painted or stuccoed and statues, tripods, and other works of art,
+embellished the galleries and apartments. The kitchens do not appear to
+have been neglected by the artists who decorated the buildings, and
+although the painting is of a coarser description than in other parts of
+the edifices, the designs are in perfect keeping with the plan. Trussed
+fowls, hams, festoons of sausages, together with the representations of
+some of the more common culinary utensils, among which I noticed the
+gridiron, still adorn the walls. In some of the cellars skeletons were
+found, supposed to be those of the inmates who had taken refuge from the
+shower of ashes, and had there found their graves, while the bulk of
+their fellow citizens escaped. In one vault, the remains of sixteen
+human beings were discovered, and from the circumstance of some valuable
+rings and a quantity of money being found with the bones, it is
+concluded that the master of the house was among the sufferers. In this
+vault or cellar I saw a number of earthen jars, called Amphoræ, placed
+against the wall. These, which once held the purple juice, perhaps the
+produce of favorite vintages, were now filled to the brim with ashes.
+Many of the public edifices are large, and have been magnificent. The
+amphitheatre, which is oval, upon the plan of that at Verona, would
+contain above ten thousand spectators. This majestic edifice was
+disentombed by the French, to whose taste and activity, during their
+rule in Italy, particularly in the district of Naples, every lover of
+the arts stands indebted. I had the good fortune to be present at the
+clearing of a part of the arena of this colossal erection, and witnessed
+the disclosure of paintings which had not seen the light for above
+seventeen hundred years. They were executed in what is termed _fresco_,
+a process of coloring on wet plaster, but which, after it becomes hard,
+almost defies the effects of time. The subjects of those I allude to
+were nymphs, and the coloring of the draperies, in some instances, was
+as fresh as if just applied.
+
+"Not far distant from the amphitheatre are two semicircular theatres,
+one of which is supposed to have been appropriated to tragedy and the
+other to comedy. The first mentioned is large, and built of stone, or a
+substance called _tufo_, covered with marble. It had no roof. The
+Proscenium and Orchestra remain. The stage, or rather the place where it
+was, is of considerable width, but so very shallow that stage effect, as
+regards scenery, could not have been much studied, nor indeed did the
+dramas of the ancients require it. The comic theatre is small, and
+nearly perfect. It appears to have had a roof or covering. These two
+theatres are close together. Of the public edifices discovered, the
+Temple of Isis is one of the most interesting. It is of brick, but
+coated with a hard and polished stucco. The altars for sacrifice remain
+unmolested. A hollow pedestal or altar yet exists, from which oracles
+were once delivered to the credulous multitude, and we behold the
+secret stairs by which the priests descended to perform the office. In
+the chamber of this Temple, which may have been a refectory, were found
+some of the remains of eatables, which are now in the museum. I
+recollect noticing egg-shells, bread, with the maker's name or initials
+stamped thereon, bones, corn, and other articles, all burnt black, but
+perfect in form. The Temple of Hercules, as it is denominated, is a
+ruin, not one of its massive fragments being left upon another. It was
+of the Doric order of architecture, and is known to have suffered
+severely by an earthquake some years before the fatal eruption. Not far
+from this temple is an extensive court or forum, where the soldiers
+appear to have had their quarters. In what has evidently been a prison,
+is an iron frame, like the modern implements of punishment, the stocks,
+and in this frame the skeletons of some unfortunate culprits were found.
+On the walls of what are called the soldiers' quarters, from the
+helmets, shields, and pieces of armor which have been found there, are
+scrawled names and rude devices, just as we find on the walls of the
+buildings appropriated to the same purpose in the present day. At this
+point of the city, travelers who have entered at the other, usually make
+their exit. The scene possessed far too great an interest, however, in
+my eyes, to be hastily passed over, and on more than one visit, I
+lingered among the deserted thresholds, until the moon had thrown her
+chaste light upon this city of the dead. The feelings excited by a
+perambulation of Pompeii, especially at such an hour, are beyond the
+power of my pen to describe. To behold her streets once thronged with
+the busy crowd, to tread the forum where sages met and discoursed, to
+enter the theatres once filled with delighted thousands, and the temples
+whence incense arose, to visit the mansions of the opulent which had
+resounded with the shouts of revelry, and the humbler dwellings of the
+artisan, where he had plied his noisy trade, in the language of an
+elegant writer and philosopher, to behold all these, now tenantless, and
+silent as the grave, elevates the heart with a series of sublime
+meditations."
+
+
+ANCIENT FRESCO AND MOSAIC PAINTING.
+
+The ancients well understood the arts of painting both in fresco and
+mosaic, as is evinced by the discoveries made at Rome, but more
+especially at Pompeii. The most remarkable pictures discovered at
+Pompeii have been sawed from the walls, and deposited in the Royal
+Museums at Naples and Portici, for their preservation. Not only mosaic
+floors and pavements are numerous in the mansions of the wealthy at
+Pompeii, but some walls are decorated with pictures in mosaic.
+
+
+MOSAIC OF THE BATTLE OF PLATÆA.
+
+A grand mosaic, representing as some say the Battle of Platæa, and
+others, with more probability one of the victories of Alexander, is now
+in the Academy at Naples. It was discovered at Pompeii, and covered the
+whole side of the apartment where it was found. This great work is the
+admiration of connoisseurs and the learned, not only for its antiquity,
+but for the beauty of its execution. The most probable supposition is,
+that it is a copy of the celebrated Victory of Arbela, painted by
+Philoxenes, and described by Pliny as one of the most remarkable works
+of antiquity, with whose description the mosaic accords.
+
+
+THE ALDOBRANDINI WEDDING.
+
+This famous antique fresco was discovered in the time of Clement VIII.,
+not far from the church of S. Maria Maggiore, in the place where were
+the gardens of Mæcenas. It was carried from thence into the villa of the
+princely house of the Aldobrandini; hence its name. It is very
+beautifully executed, and evidently intended to represent or celebrate a
+wedding. Winckelmann supposes it to be the wedding of Peleus and Thetis;
+the Count Bondi, that of Manlius and Julia.
+
+
+THE PORTLAND VASE.
+
+The most celebrated antique vase is that which, during more than two
+centuries, was the principal ornament of the Barberini Palace, and which
+is now known as the Portland Vase. It was found about the middle of the
+16th century, enclosed in a marble sarcophagus within a sepulchral
+chamber under Monte del Grano, two miles and a half from Rome, supposed
+to have been the tomb of Alexander Severus, who died in the year 235. It
+is ornamented with white opaque figures in bas-relief, upon a dark blue
+transparent ground; the subject of which has not hitherto received a
+satisfactory elucidation, though it is supposed to represent the
+Eleusinian Mysteries; but the design, and more particularly the
+execution, are truly admirable. The whole of the blue ground, or at
+least the part below the handles, must have been originally covered with
+white enamel, out of which the figures have been sculptured in the style
+of a cameo, with most astonishing skill and labor. This beautiful Vase
+is sufficient to prove that the manufacture of glass was carried to a
+state of high perfection by the ancients. It was purchased by the
+Duchess of Portland for 1000 guineas, and presented to the British
+Museum in 1810.
+
+The subterranean ruins of Herculaneum afforded many specimens of the
+glass manufacture of the ancients: a great variety of phials and bottles
+were found, and these were chiefly of an elongate shape, composed of
+glass of unequal thickness, of a green color, and much heavier than
+common glass; of these the four large cinerary urns in the British
+Museum are very fine specimens. They are of an elegant round figure,
+with covers, and two double handles, the formation of which must
+convince persons capable of appreciating the difficulties which even
+the modern glass-maker would have in executing similar handles, that the
+ancients were well acquainted with the art of making round glass
+vessels; although their knowledge appears to have been extremely limited
+as respects the manufacture of square vessels, and more particularly of
+oval, octagonal, or pentagonal forms. Among a great number of
+lachrymatories and various other vessels in the British Museum, there is
+a small square bottle with a handle, the rudeness of which sufficiently
+bears out this opinion.
+
+
+ANCIENT PICTURES OF GLASS.
+
+A most singular art of forming pictures with colored glass seems to have
+been practiced by the ancients, which consisted in laying together
+fibres of glass of various colors, fitted to each other with the utmost
+exactness, so that a section across the fibres represented the object to
+be painted, and then cementing them into a homogeneous mass. In some
+specimens of this art which were discovered about the middle of the 18th
+century, the painting has on both sides a granular appearance, and seems
+to have been formed in the manner of mosaic work; but the pieces are so
+accurately united, that not even with the aid of a powerful magnifying
+glass can the junctures be discovered. One plate, described by
+Winckelmann, exhibits a Duck of various colors, the outlines of which
+are sharp and well-defined, the colors pure and vivid, and a brilliant
+effect is obtained by the artist having employed in some parts an
+opaque, and in others a transparent glass. The picture seems to be
+continued throughout the whole thickness of the specimen, as the reverse
+corresponds in the minutest points to the face; so that, were it to be
+cut transversely, the same picture of the Duck would be exhibited in
+every section. It is conjectured that this curious process was the first
+attempt of the ancients to preserve colors by fusing them into the
+internal part of glass, which was, however, but partially done, as the
+surfaces have not been preserved from the action of the atmosphere.
+
+
+HENRY FUSELI--HIS BIRTH.
+
+This eminent historical painter, and very extraordinary man, was born at
+Zurich, in Switzerland, in 1741, according to all accounts save his own;
+but he himself placed it in 1745, without adding the day or month. He
+always spoke of his age with reluctance. Once, when pressed about it, he
+peevishly exclaimed, "How should I know? I was born in February or
+March--it was some cursed cold month, as you may guess from my
+diminutive stature and crabbed disposition." He was the son of the
+painter, John Caspar Fuseli, and the second of eighteen children.
+
+
+FUSELI'S EARLY LOVE OF ART.
+
+During his school-boy days, as soon as released from his class, he was
+accustomed to withdraw to a secret place to enjoy unmolested the works
+of Michael Angelo, of whose prints his father had a fine collection. He
+loved when he grew old to talk of those days of his youth, of the
+enthusiasm with which he surveyed the works of his favorite masters, and
+the secret pleasure which he took in acquiring forbidden knowledge. With
+candles which he stole from the kitchen, and pencils which his
+pocket-money was hoarded to procure, he pursued his studies till late at
+night, and made many copies from Michael Angelo and Raffaelle, by which
+he became familiar thus early with the style and ruling character of the
+two greatest masters of the art.
+
+
+FUSELI'S LITERARY AND POETICAL TASTE.
+
+He early manifested strong powers of mind, and with a two-fold taste for
+literature and art, he was placed in Humanity College at Zurich, of
+which two distinguished men, Bodmer and Breitenger, were professors.
+Here he became the bosom companion of that amiable enthusiast, Lavater,
+studied English, and conceived such a love for the works of Shakspeare,
+that he translated Macbeth into German. The writings of Wieland and
+Klopstock influenced his youthful fancy, and from Shakspeare he extended
+his affection to the chief masters in English literature. His love of
+poetry was natural, not affected--he practiced at an early age the art
+which he admired through life, and some of his first attempts at
+composition were pieces in his native language, which made his name
+known in Zurich.
+
+
+FUSELI, LAVATER, AND THE UNJUST MAGISTRATE.
+
+In conjunction with his friend Lavater, Fuseli composed a pamphlet
+against a ruler in one of the bailiwicks, who had abused his powers, and
+perhaps personally insulted the two friends. The peasantry, it seems,
+conceiving themselves oppressed by their superior, complained and
+petitioned; the petitions were read by young Fuseli and his companion,
+who, stung with indignation at the tale of tyranny disclosed, expressed
+their feelings in a satire, which made a great stir in the city. Threats
+were publicly used against the authors, who were guessed at, but not
+known; upon which they distributed placards in every direction, offering
+to prove before a tribunal the accusations they had made. Nay, Fuseli
+actually appeared before the magistrates--named the offender
+boldly--arraigned him with great vehemence and eloquence, and was
+applauded by all and answered by none. Pamphlets and accusations were
+probably uncommon things in Zurich; in some other countries they would
+have dropped from the author's hands harmless or unheeded; but the
+united labors of Fuseli and Lavater drove the unjust magistrate into
+exile, and procured remuneration to those who had suffered.
+
+
+FUSELI'S TRAVELS, AND HIS LITERARY DISTINCTION.
+
+Fuseli early gained a reputation for scholarship, poetry, and painting.
+He possessed such extraordinary powers of memory, that when he read a
+book once, he thoroughly comprehended its contents; and he not only
+wrote in Latin and Greek, but spoke them with the fluency of his native
+tongue. He acquired such a perfect knowledge of the several modern
+languages of Europe, especially of the English, French, and Italian,
+that it was indifferent to him which he spoke or wrote, except that when
+he wished to express himself with most power, he said he preferred the
+German. After having obtained the degree of Master of Arts from the
+college at Zurich, Fuseli bade farewell to his father's house, and
+traveled in company with Lavater to Berlin, where he placed himself
+under the care of Sulzer, author of the "Lexicon of the Fine Arts." His
+talents and learning obtained him the friendship of several
+distinguished men, and his acquaintance with English poetry induced
+Professor Sulzer to select him as one well qualified for opening a
+communication between the literature of Germany and that of England. Sir
+Andrew Mitchell, British ambassador at the Prussian court, was
+consulted; and pleased with his lively genius, and his translations and
+drawings from Macbeth and Lear, he received Fuseli with much kindness,
+and advised him to visit Britain. Lavater, who till now had continued
+his companion, presented him at parting with a card, on which he had
+inscribed in German. "Do but the tenth part of what you can do." "Hang
+that up in your bed-head," said the physiognomist, "obey it--and fame
+and fortune will be the result."
+
+
+FUSELI'S ARRIVAL IN LONDON.
+
+Fuseli arrived in the capital of the British Empire early one morning,
+before the people were stirring. "When I stood in London," said he, "and
+considered that I did not know one soul in all this vast metropolis, I
+became suddenly impressed with a sense of forlornness, and burst into a
+flood of tears. An incident restored me. I had written a long letter to
+my father, giving him an account of my voyage, and expressing my filial
+affection--now not weakened by distance--and with this letter in my
+hand, I inquired of a rude fellow whom I met, the way to the Post
+Office. My foreign accent provoked him to laughter, and as I stood
+cursing him in good Shaksperian English, a gentleman kindly directed me
+to the object of my inquiry."
+
+
+FUSELI'S CHANGE FROM LITERATURE TO PAINTING.
+
+Fuseli's wit, learning, and talents gained him early admission to the
+company of wealthy and distinguished men. He devoted himself for a
+considerable time after his arrival in London to the daily toils of
+literature--translations, essays, and critiques. Among other works, he
+translated Winckelmann's book on Painting and Sculpture. One day
+Bonnycastle said to him, after dinner,
+
+"Fuseli, you can write well,--why don't you write something?"
+
+"Something!" exclaimed the other; "you always cry write--Fuseli
+write!--blastation! what shall I write?"
+
+"Write," said Armstrong, who was present, "write on the Voltaire and
+Rousseau _Row_--_there_ is a subject!"
+
+He said nothing, but went home and began to write. His enthusiastic
+temper spurred him on, so that he composed his essay with uncommon
+rapidity. He printed it forthwith; but the whole edition caught fire and
+was consumed! "It had," says one of his friends, "a short life and a
+bright ending."
+
+While busied with his translations and other literary labors, he had not
+forgotten his early attachment to Art. He found his way to the studio of
+Sir Joshua Reynolds, and submitted several of his drawings to the
+President's examination, who looked at them for some time, and then
+said, "How long have you studied in Italy?" "I never studied in Italy--I
+studied at Zurich--I am a native of Switzerland--do you think I should
+study in Italy?--and, above all, is it worth while?" "Young man," said
+Reynolds, "were I the author of these drawings, and were offered ten
+thousand a year _not_ to practice as an artist, I would reject the
+proposal with contempt." This very favorable opinion from one who
+considered all he said, and was so remarkable for accuracy of judgment,
+decided the destiny of Fuseli; he forsook for ever the hard and
+thankless _trade_ of literature--refused a living in the church from
+some patron who had been struck with his talents--and addressed himself
+to painting with heart and hand.
+
+
+FUSELI'S SOJOURN IN ITALY.
+
+No sooner had Fuseli formed the resolution of devoting his talents to
+painting, in 1770, than he determined to visit Rome. He resided in Italy
+eight years, and studied with great assiduity the pictures in the
+numerous galleries, particularly the productions of Michael Angelo,
+whose fine and bold imagination, and the lofty grandeur of his works,
+were most congenial to his taste. It was a story which he loved to tell
+in after life, how he lay on his back day after day, and week after
+week, with upturned and wondering eyes, musing on the splendid ceiling
+of the Sistine chapel--on the unattainable grandeur of the great
+Florentine. During his residence abroad, he made notes and criticisms on
+everything he met with that was excellent, much of which he subsequently
+embodied in his lectures before the Royal Academy. His talents,
+acquirements, and his great conversational powers made his society
+courted; and he formed some valuable acquaintances at Rome,
+particularly among the English nobility and gentry, who flocked there
+for amusement, and who heralded his fame at home. He also sent some of
+his choice drawings, illustrating Shakspeare and Milton, to the annual
+exhibitions of the Royal Academy. In 1778, he left Italy and returned to
+England, passing through Switzerland and his native city.
+
+
+FUSELI'S "NIGHTMARE."
+
+Soon after his return to England, Fuseli painted his "Nightmare," which
+was exhibited in 1782. It was unquestionably the work of an original
+mind. "The extraordinary and peculiar genius which it displayed," says
+one of his biographers, "was universally felt, and perhaps no single
+picture ever made a greater impression in this country. A very fine
+mezzotinto engraving of it was scraped by Raphael Smith, and so popular
+did the print become, that, although Mr. Fuseli received only twenty
+guineas for the picture, the publisher made five hundred by his
+speculation." This was a subject suitable to the unbridled fancy of the
+painter, and perhaps to no other imagination has the Fiend which murders
+our sleep ever appeared in a more poetical shape.
+
+
+FUSELI'S "OEDIPUS AND HIS DAUGHTERS."
+
+This picture was a work of far higher order than his "Nightmare,"
+although the latter caught the public fancy most. It is distinguished
+by singular power, full of feeling and terror. The desolate old man is
+seated on the ground, and his whole frame seems inspired with a
+presentiment of the coming vengeance of heaven. His daughters are
+clasping him wildly, and the sky seems mustering the thunder and fire in
+which the tragic bard has made him disappear. "Pray, sir, what is that
+old man afraid of?" said some one to Fuseli, when the picture was
+exhibited. "Afraid, sir," exclaimed the painter, "why, afraid of going
+to hell!"
+
+
+FUSELI AND THE SHAKSPEARE GALLERY.
+
+His rising fame, his poetic feeling, his great knowledge, and his
+greater confidence, now induced Fuseli to commence an undertaking worthy
+of the highest genius--the Shakspeare Gallery. An accidental
+conversation at the table of the nephew of Alderman Boydell, started, as
+it is said, the idea; and West, Romney, and Hayley shared with Fuseli in
+the honor. But to the mind of the latter, such a scheme had been long
+present; it dawned on his fancy in Rome, even as he lay on his back
+marveling in the Sistine, and he saw in imagination a long and shadowy
+succession of pictures. He figured to himself a magnificent temple, and
+filled it, as the illustrious artists of Italy did the Sistine, with
+pictures from his favorite poet. All was arranged according to
+character. In the panels and accessories were the figures of the chief
+heroes and heroines--on the extensive walls were delineated the changes
+of many-colored life, the ludicrous and the sad--the pathetic and the
+humorous--domestic happiness and heroic aspirations--while the dome
+which crowned the whole exhibited scenes of higher emotion--the joys of
+heaven--the agonies of hell--all that was supernatural and all that was
+terrible. This splendid piece of imagination was cut down to working
+dimensions by the practiced hands of Boydell, who supported the scheme
+anxiously and effectually. On receiving £500 Reynolds entered, though
+with reluctance, into an undertaking which consumed time and required
+much thought; but Fuseli had no rich commissions in the way--his heart
+was with the subject--in his own fancy he had already commenced the
+work, and the enthusiastic alderman found a more enthusiastic painter,
+who made no preliminary stipulations, but prepared his palette and
+began.
+
+
+FUSELI'S "HAMLET'S GHOST."
+
+This wonderful work, engraved for Boydell's Shakspeare Gallery, is
+esteemed among the best of Fuseli's works. It is, indeed, strangely wild
+and superhuman--if ever a Spirit visited earth, it must have appeared to
+Fuseli. The "majesty of buried Denmark" is no vulgar ghost such as
+scares the belated rustic, but a sad and majestic shape with the port of
+a god; to imagine this, required poetry, and in that our artist was
+never deficient. He had fine taste in matters of high import; he drew
+the boundary line between the terrible and the horrible, and he never
+passed it; the former he knew was allied to grandeur, the latter to
+deformity and disgust. An eminent metaphysician visited the gallery
+before the public exhibition; he saw the Hamlet's Ghost of Fuseli, and
+exclaimed, like Burns' rustic in Halloween, "Lord, preserve me!" He
+declared that it haunted him round the room.
+
+
+FUSELI'S "TITANIA."
+
+His Titania (also engraved in the Shakspeare Gallery), overflows with
+elvish fun and imaginative drollery. It professes to embody that portion
+of the first scene in the fourth act where the spell-blinded queen
+caresses Bottom the weaver, on whose shoulders Oberon's transforming
+wand has placed an ass' head. Titania, a gay and alluring being,
+attended by her troop of fairies, is endeavoring to seem as lovely as
+possible in the sight of her lover, who holds down his head and assumes
+the air of the most stupid of all creatures. One almost imagines that
+her ripe round lips are uttering the well-known words,--
+
+  "Come sit thee down upon this flowery bed,
+    While I thy amiable cheeks do coy,
+  And stick musk roses in thy sleek smooth head,
+    And kiss thy fair large ears, my gentle joy."
+
+The rout and revelry which the fancy of the painter has poured around
+this spell-bound pair, baffles all description. All is mirthful,
+tricksy, and fantastic. Sprites of all looks and all hues--of all
+"dimensions, shapes, and mettles,"--the dwarfish elf and the elegant
+fay--Cobweb commissioned to kill a red-hipped humble-bee on the top of a
+thistle, that Bottom might have the honey-bag--Pease-Blossom, who had
+the less agreeable employment of scratching the weaver's head--and that
+individual fairy who could find the hoard of the squirrel and carry away
+his nuts--with a score of equally merry companions are swarming
+everywhere and in full employment. Mustard-Seed, a fairy of dwarfish
+stature, stands on tiptoe in the hollow of Bottom's hand, endeavoring to
+reach his nose--his fingers almost touch, he is within a quarter of an
+inch of scratching, but it is evident he can do no more, and his new
+master is too much of an ass to raise him up.
+
+
+FUSELI'S ELECTION AS A ROYAL ACADEMICIAN.
+
+Fuseli was elected an Associate of the Royal Academy in 1788, and early
+in 1790 became an Academician--honors won by talent without the
+slightest coöperation of intrigue. His election was nevertheless
+unpleasant to Reynolds, who desired to introduce Bonomi the architect.
+Fuseli, to soothe the President, waited on him beforehand, and said, "I
+wish to be elected an academician. I have been disappointed hitherto by
+the deceit of pretended friends--shall I offend you if I offer myself
+next election?" "Oh, no," said Sir Joshua with a kindly air, "no offence
+to me; but you cannot be elected this time--we must have an architect
+in." "Well, well," said Fuseli, who could not conceive how an architect
+could be a greater acquisition to the Academy than himself--"Well, well,
+you say that I shall not offend you by offering myself, so I must make a
+trial." The trial was successful.
+
+
+FUSELI AND HORACE WALPOLE.
+
+Concerning his picture of Theodore and Honorio, Fuseli used to say,
+"Look at it--it is connected with the first patron I ever had." He then
+proceeded to relate how Cipriani had undertaken to paint for Horace
+Walpole a scene from Boccaccio's Theodore and Honorio, familiar to all
+in the splendid translation of Dryden, and, after several attempts,
+finding the subject too heavy for his handling, he said to Walpole, "I
+cannot please myself with a sketch from this most imaginative of Gothic
+fictions; but I know one who can do the story justice--a man of great
+powers, of the name of Fuseli." "Let me see this painter of yours," said
+the other. Fuseli was sent for, and soon satisfied Walpole that his
+imagination was equal to the task, by painting a splendid picture.
+
+
+FUSELI AND THE BANKER COUTTS.
+
+While Fuseli was laboring on his celebrated "Milton Gallery," he was
+frequently embarrassed by pecuniary difficulties. From these he was
+relieved by a steadfast friend--Mr. Coutts--who aided him while in Rome,
+and forsook him not in any of his after difficulties. The grateful
+painter once waited on the banker, and said, "I have finished the best
+of all my works--the Lazar House--when shall I send it home?" "My
+friend," said Mr. Coutts, "for me to take this picture would be a fraud
+upon you and upon the world. I have no place in which it could be fitly
+seen. Sell it to some one who has a gallery--your kind offer of it is
+sufficient for me, and makes all matters straight between us." For a
+period of sixty years that worthy man was the unchangeable friend of the
+painter. The apprehensions which the latter entertained of poverty were
+frequently without cause, and Coutts has been known on such occasions to
+assume a serious look, and talk of scarcity of cash and of sufficient
+securities. Away flew Fuseli, muttering oaths and cursing all
+parsimonious men, and having found a friend, returned with him
+breathless, saying, "There! I stop your mouth with a security." The
+cheque for the sum required was given, the security refused, and the
+painter pulled his hat over his eyes,
+
+  "To hide the tear that fain would fall"--
+
+and went on his way.
+
+
+FUSELI AND PROF. PORSON.
+
+Fuseli once repeated half-a-dozen sonorous and well sounding lines in
+Greek, to Prof. Porson, and said,--
+
+"With all your learning now, you cannot tell me who wrote that."
+
+The Professor, "much renowned in Greek," confessed his ignorance, and
+said, "I don't know him."
+
+"How the devil should you know him?" chuckled Fuseli, "I made them this
+moment."
+
+
+FUSELI'S METHOD OF GIVING VENT TO HIS PASSION.
+
+When thwarted in the Academy (which happened not unfrequently), his
+wrath aired itself in a polyglott. "It is a pleasant thing, and an
+advantageous," said the painter, on one of these occasions, "to be
+learned. I can speak Greek, Latin, French, English, German, Danish,
+Dutch, and Spanish, and so let my folly or my fury get vent through
+eight different avenues."
+
+
+FUSELI'S LOVE FOR TERRIFIC SUBJECTS.
+
+Fuseli knew not well how to begin with quiet beauty and serene grace:
+the hurrying measures, the crowding epithets, and startling imagery of
+the northern poetry suited his intoxicated fancy. His "Thor battering
+the Serpent" was such a favorite that he presented it to the Academy as
+his admission gift. Such was his love of terrific subjects, that he was
+known among his brethren by the name of _Painter in ordinary to the
+Devil_, and he smiled when some one officiously told him this, and said,
+"Aye! he has sat to me many times." Once, at Johnson the bookseller's
+table, one of the guests said, "Mr. Fuseli, I have purchased a picture
+of yours." "Have you, sir; what is the subject?" "Subject? really I
+don't know." "That's odd; you must be a strange fellow to buy a picture
+without knowing the subject." "I bought it, sir, that's enough--I don't
+know what the _devil_ it is." "Perhaps it is the devil," replied Fuseli,
+"I have often painted him." Upon this, one of the company, to arrest a
+conversation which was growing warm, said, "Fuseli, there is a member of
+your Academy who has strange looks--and he chooses as strange subjects
+as you do." "Sir," exclaimed the Professor, "he paints nothing but
+thieves and murderers, and when he wants a model, he looks in the
+glass."
+
+
+FUSELI'S AND LAWRENCE'S PICTURES FROM THE "TEMPEST."
+
+Cunningham says, "Fuseli had sketched a picture of Miranda and Prospero
+from the Tempest, and was considering of what dimensions he should make
+the finished painting, when he was told that Lawrence had sent in for
+exhibition a picture on the same subject, and with the same figures.
+His wrath knew no bounds. 'This comes,' he cried, 'of my blasted
+simplicity in showing my sketches--never mind--I'll teach the
+face-painter to meddle with my Prospero and Miranda.' He had no canvas
+prepared--he took a finished picture, and over the old performance
+dashed in hastily, in one laborious day, a wondrous scene from the
+Tempest--hung it in the exhibition right opposite that of Lawrence, and
+called it 'a sketch for a large picture.' Sir Thomas said little, but
+thought much--he never afterwards, I have heard, exhibited a poetic
+subject."
+
+
+FUSELI'S ESTIMATE OF REYNOLDS' ABILITIES IN HISTORICAL PAINTING.
+
+Fuseli mentions Reynolds in his Lectures, as a great portrait painter,
+and no more. One evening in company, Sir Thomas Lawrence was discoursing
+on what he called the "historic grandeur" of Sir Joshua, and contrasting
+him with Titian and Raffaelle. Fuseli kindled up--"Blastation! you will
+drive me mad--Reynolds and Raffaelle!--a dwarf and a giant!--why will
+you waste all your fine words?" He rose and left the room, muttering
+something about a tempest in a pint pot. Lawrence followed, soothed him,
+and brought him back.
+
+
+FUSELI AND LAWRENCE.
+
+"These two eminent men," says Cunningham, "loved one another. The Keeper
+had no wish to give permanent offence, and the President had as little
+desire to be on ill terms with one so bitter and so satirical. They were
+often together; and I have heard Sir Thomas say, that he never had a
+dispute with Fuseli save once--and that was concerning their pictures of
+Satan. Indeed, the Keeper, both with tongue and pen, took pleasure in
+pointing out the excellencies of his friend, nor was he blind to his
+defects. 'This young man,' thus he wrote in one of his early criticisms,
+'would do well to look at nature again; his flesh is too glassy.'
+Lawrence showed his sense of his monitor's accuracy by following the
+advice."
+
+
+FUSELI AS KEEPER OF THE ROYAL ACADEMY.
+
+Fuseli, on the whole, was liked as Keeper. It is true that he was often
+satirical and severe on the students--that he defaced their drawings by
+corrections which, compared to their weak and trembling lines, seemed
+traced with a tar-mop, and that he called them tailors and bakers,
+vowing that there was more genius in the _claw_ of one of Michael
+Angelo's eagles, than in all the _heads_ with which the Academy was
+swarming. The youths on whom fell this tempest of invective, smiled; and
+the Keeper pleased by submission, walked up to each easel, whispered a
+word of advice confidentially, and retired in peace to enjoy the company
+of his Homer, Michael Angelo, Dante, and Milton. The students were
+unquestionably his friends; those of the year 1807 presented him with a
+silver vase, designed by one whom he loved--Flaxman the sculptor; and he
+received it very graciously. Ten years after, he was presented with the
+diploma of the first class in the Academy of St. Luke at Rome.
+
+
+FUSELI'S JESTS AND ODDITIES WITH THE STUDENTS OF THE ACADEMY.
+
+The students found constant amusement from Fuseli's witty and
+characteristic retorts, and they were fond of repeating his jokes. He
+heard a violent altercation in the studio one day, and inquired the
+cause. "It is only those fellows, the students, sir," said one of the
+porters. "Fellows!" exclaimed Fuseli, "I would have you to know, sir,
+that those _fellows_ may one day become academicians." The noise
+increased--he opened the door, and burst in upon them, exclaiming, "You
+are a den of damned wild beasts." One of the offenders, Munro by name,
+bowed and said, "and Fuseli is our Keeper." He retired smiling, and
+muttering "the fellows are growing witty." Another time he saw a figure
+from which the students were making drawings lying broken to pieces.
+"Now who the devil has done this?" "Mr. Medland," said an officious
+probationer, "he jumped over the rail and broke it." He walked up to the
+offender--all listened for the storm. He calmly said, "Mr. Medland, you
+are fond of jumping--go to Sadler's Wells--it is the best academy in
+the world for improving agility." A student as he passed held up his
+drawing, and said confidently, "Here, sir--I finished it without using a
+crumb of bread." "All the worse for your drawing," replied Fuseli, "buy
+a two-penny loaf and rub it out." "What do you see, sir?" he said one
+day to a student, who, with his pencil in his hand and his drawing
+before him, was gazing into vacancy. "Nothing, sir," was the answer.
+"Nothing, young man," said the Keeper emphatically, "then I tell you
+that you ought to see _something_--you ought to see distinctly the true
+image of what you are trying to draw. I see the vision of all I
+paint--and I wish to heaven I could paint up to what I see."
+
+
+FUSELI'S SARCASMS ON NORTHCOTE.
+
+He loved especially to exercise his wit upon Northcote. He looked on his
+friend's painting of the Angel meeting Balaam and his Ass. "How do you
+like it?" said the painter. "Vastly, Northcote," returned Fuseli, "you
+are an angel at an ass--but an ass at an angel!"
+
+When Northcote exhibited his Judgment of Solomon, Fuseli looked at it
+with a sarcastic smirk on his face. "How do you like my picture?"
+inquired Northcote. "Much" was the answer--"the action suits the
+word--Solomon holds out his fingers like a pair of open scissors at the
+child, and says, 'Cut it.'--I like it much!" Northcote remembered this
+when Fuseli exhibited a picture representing Hercules drawing his arrow
+at Pluto. "How do you like my picture?" inquired Fuseli. "Much!" said
+Northcote--"it is clever, very clever, but he'll never hit him." "He
+shall hit him," exclaimed the other, "and that speedily." Away ran
+Fuseli with his brush, and as he labored to give the arrow the true
+direction, was heard to mutter "Hit him!--by Jupiter, but he shall hit
+him!"
+
+
+FUSELI'S' SARCASMS ON VARIOUS RIVAL ARTISTS.
+
+He rarely spared any one, and on Nollekens he was frequently merciless;
+he disliked him for his close and parsimonious nature, and rarely failed
+to hit him under the fifth rib. Once, at the table of Mr. Coutts the
+banker, Mrs. Coutts, dressed like Morgiana, came dancing in, presenting
+her dagger at every breast. As she confronted the sculptor, Fuseli
+called out, "Strike--strike--there's no fear; Nolly was never known to
+bleed!" When Blake, a man infinitely more wild in conception than Fuseli
+himself, showed him one of his strange productions, he said, "Now some
+one has told you this is very fine." "Yes," said Blake, "the Virgin Mary
+appeared to me and told me it was very fine; what can you say to that?"
+"Say!" exclaimed Fuseli, "why nothing--only her ladyship has not an
+immaculate taste."
+
+Fuseli had aided Northcote and Opie in obtaining admission to the
+Academy, and when he desired some station for himself, he naturally
+expected their assistance--they voted against him, and next morning went
+together to his house to offer an explanation. He saw them coming--he
+opened the door as they were scraping their shoes, and said, "Come
+in--come in--for the love of heaven come in, else you will ruin me
+entirely." "How so?" cried Opie "Marry, thus," replied the other, "my
+neighbors over the way will see you, and say, 'Fuseli's _done_,--for
+there's a bum bailiff,'" he looked at Opie, "'going to seize his person;
+and a little Jew broker,'" he looked at Northcote, "'going to take his
+furniture,--so come in I tell you--come in!'"
+
+
+FUSELI'S RETORTS.
+
+One day, during varnishing time in the exhibition, an eminent portrait
+painter was at work on the hand of one of his pictures; he turned to the
+Keeper, who was near him, and said, "Fuseli, Michael Angelo never
+painted such a hand." "No, by Pluto," retorted the other, "but you have,
+_many_!"
+
+He had an inherent dislike to Opie; and some one, to please Fuseli,
+said, in allusion to the low characters in the historical pictures of
+the Death of James I. of Scotland, and the Murder of David Rizzio, that
+Opie could paint nothing but vulgarity and dirt. "If he paints nothing
+but _dirt_," said Fuseli, "he paints it like an angel."
+
+One day, a painter who had been a student during the keepership of
+Wilton, called and said, "The students, sir, don't draw so well now as
+they did under Joe Wilton." "Very true," replied Fuseli, "anybody may
+draw here, let them draw ever so bad--_you_ may draw here, if you
+please!"
+
+During the exhibition of his Milton Gallery, a visitor accosted him,
+mistaking him for the keeper--"Those paintings, sir, are from Paradise
+Lost I hear, and Paradise Lost was written by Milton. I have never read
+the poem, but I shall do it now." "I would not advise you, sir," said
+the sarcastic artist, "you will find it an exceedingly tough job!"
+
+A person who desired to speak with the Keeper of the Academy, followed
+so close upon the porter whose business it was to introduce him, that he
+announced himself with, "I hope I don't intrude." "You do intrude," said
+Fuseli, in a surly tone. "Do I?" said the visitor; "then, sir, I will
+come to-morrow, if you please." "No, sir," replied he, "don't come
+to-morrow, for then you will intrude a second time: tell me your
+business now!"
+
+A man of some station in society, and who considered himself a powerful
+patron in art, said at a public dinner, where he was charmed with
+Fuseli's conversation, "If you ever come my way, Fuseli, I shall be
+happy to see you." The painter instantly caught the patronizing,
+self-important spirit of the invitation. "I thank you," retorted he,
+"but I never go your way--I never even go down your street, although I
+often pass by the end of it!"
+
+
+FUSELI'S SUGGESTION OF AN EMBLEM OF ETERNITY
+
+Looking upon a serpent with its tail in its mouth, carved upon an
+exhibited monument as an emblem of Eternity, and a very commonplace one,
+he said to the sculptor, "It won't do, I tell you; you must have
+something new." The _something new_ startled a man whose imagination was
+none of the brightest, and he said, "How shall I find something new?"
+"O, nothing so easy," said Fuseli, "I'll help you to it. When I went
+away to Rome I left two fat men cutting fat bacon in St. Martin's Lane;
+in ten years' time I returned, and found the two fat men cutting fat
+bacon still; twenty years more have passed, and there the two fat
+fellows cut the fat flitches the same as ever. Carve them! if they look
+not like an image of eternity, I wot not what does."
+
+
+FUSELI'S REPORT IN MR. COUTTS' BANKING HOUSE.
+
+During the exhibition of his Milton pictures, he called at the banking
+house of Mr. Coutts, saying he was going out of town for a few days, and
+wished to have some money in his pocket. "How much?" said one of the
+firm. "How much!" said Fuseli, "why, as much as twenty pounds; and as it
+is a large sum, and I don't wish to take your establishment by surprise,
+I have called to give you a day's notice of it!" "I thank you, sir,"
+said the cashier, imitating Fuseli's own tone of irony, "we shall be
+ready for you--but as the town is thin and money scarce with us, you
+will oblige me greatly by giving us a few orders to see your Milton
+Gallery--it will keep cash in our drawers, and hinder your exhibition
+from being empty." Fuseli shook him heartily by the hand, and cried,
+"Blastation! you shall have the tickets with all my heart; I have had
+the opinion of the virtuosi, the dilettanti, the cognoscenti, and the
+nobles and gentry on my pictures, and I want now the opinion of the
+blackguards. I shall send you and your friends a score of tickets, and
+thank you too for taking them."
+
+
+FUSELI'S GENERAL SARCASMS ON LANDSCAPE AND PORTRAIT PAINTERS.
+
+During the delivery of one of his lectures, in which he calls landscape
+painters the topographers of art, Beechey admonished Turner with his
+elbow of the severity of the sarcasm; presently, when Fuseli described
+the patrons of portrait painting as men who would give a few guineas to
+have their own senseless heads painted, and then assume the air and use
+the language of patrons, Turner administered a similar hint to Beechey.
+When the lecture was over, Beechey walked up to Fuseli, and said, "How
+sharply you have been cutting up us poor laborers in portraiture!" "Not
+you, Sir William," exclaimed the professor, "I only spoke of the blasted
+fools who employ you!"
+
+
+FUSELI'S OPINION OF HIS OWN ATTAINMENT OF HAPPINESS.
+
+His life was not without disappointment, but for upwards of eighty years
+he was free from sickness. Up to this period, and even beyond it, his
+spirits seemed inexhaustible; he had enjoyed the world, and obtained no
+little distinction; nor was he insensible to the advantages which he had
+enjoyed. "I have been a happy man," he said, "for I have always been
+well, and always employed in doing what I liked"--a boast which few men
+of genius can make. When work with the pencil failed, he lifted the pen;
+and as he was ready and talented with both, he was never obliged to fill
+up time with jobs that he disliked.
+
+
+FUSELI'S PRIVATE HABITS.
+
+He was an early riser, and generally sat down to breakfast with a book
+on entomology in his hand. He ate and read, and read and ate--regarding
+no one, and speaking to no one. He was delicate and abstemious, and on
+gross feeders he often exercised the severity of his wit. Two meals a
+day were all he ventured on--he always avoided supper--the story of his
+having supped on raw pork-chops that he might dream his picture of the
+Nightmare, has no foundation. Indeed, the dreams he delighted to relate
+were of the noblest kind, and consisted of galleries of the fairest
+pictures and statues, in which were walking the poets and painters of
+old. Having finished breakfast and noted down some remarks on
+entomology, he went into his studio--painted till dinner time--dined
+hastily, if at home, and then resumed his labors, or else forgot himself
+over Homer, or Dante, or Shakspeare, or Milton, till midnight.
+
+
+FUSELI'S WIFE'S METHOD OF CURING HIS FITS OF DESPONDENCY.
+
+He was subject to fits of despondency, and during the continuance of
+such moods he sat with his beloved book on entomology upon his
+knee--touched now and then the breakfast cup with his lips, and seemed
+resolutely bent on being unhappy. In periods such as these it was
+difficult to rouse him, and even dangerous. Mrs. Fuseli on such
+occasions ventured to become his monitress. "I know him well," she said
+one morning to a friend who found him in one of his dark moods, "he will
+not come to himself till he is put into a passion--the storm then clears
+off, and the man looks out serene." "Oh no," said her visitor, "let him
+alone for a while--he will soon think rightly." He was spared till next
+morning--he came to the breakfast table in the same mood of mind. "Now I
+must try what I can do," said his wife to the same friend whom she had
+consulted the day before; she now began to reason with her husband, and
+soothe and persuade him; he answered only by a forbidding look and a
+shrug of the shoulder. She then boldly snatched away his book, and
+dauntlessly abode the storm. The storm was not long in coming--his own
+fiend rises up not more furiously from the side of Eve than did the
+painter. He glared on his friend and on his wife--uttered a deep
+imprecation--rushed up stairs and strode about his room in great
+agitation. In a little while his steps grew more regular--he soon opened
+the door, and descended to his labors all smiles and good humor.
+
+Fuseli's method of curing his wife's anger was not less original and
+characteristic. She was a spirited woman, and one day, when she had
+wrought herself into a towering passion, her sarcastic husband said,
+"Sophia, my love, why don't you swear? You don't know how much it would
+ease your mind."
+
+
+FUSELI'S PERSONAL APPEARANCE, HIS SARCASTIC DISPOSITION, AND QUICK
+TEMPER.
+
+Fuseli was of low stature--his frame slim, his forehead high, and his
+eyes piercing and brilliant. His look was proud, wrapt up in
+sarcastic--his movements were quick, and by an eager activity of manner
+he seemed desirous of occupying as much space as belonged to men of
+greater stature. His voice was loud and commanding--nor had he learned
+much of the art of winning his way by gentleness and persuasion--he was
+more anxious as to say pointed and stinging things, than solicitous
+about their accuracy; and he had much pleasure in mortifying his
+brethren of the easel with his wit, and over whelming them with his
+knowledge. He was too often morose and unamiable--habitually despising
+those who were not his friends, and not unapt to dislike even his best
+friends, if they retorted his wit, or defended themselves successfully
+against his satire. In dispute he was eager, fierce, unsparing, and
+often precipitated himself into angry discussions with the Council,
+which, however, always ended in peace and good humor--for he was as
+placable as passionate. On one occasion he flew into his own room in a
+storm of passion, and having cooled and come to himself, was desirous to
+return; the door was locked and the key gone; his fury overflowed all
+bounds. "Sam!" he shouted to the porter, "Sam Strowager, they have
+locked me in like a blasted wild beast--bring crowbars and break open
+the door." The porter--a sagacious old man, who knew the trim of the
+Keeper--whispered through the keyhole, "Feel in your pocket, sir, for
+the key!" He did so, and unlocking the door with a loud laugh exclaimed,
+"What a fool!--never mind--I'll to the Council, and soon show them they
+are greater asses than myself."
+
+
+FUSELI'S NEAR SIGHT.
+
+Fuseli was so near-sighted that he was obliged to retire from his easel
+to a distance and examine his labors by means of an opera-glass, then
+return and retouch, and retire again to look. His weakness of sight was
+well known, and one of the students, in revenge for some satirical
+strictures, placed a bench in his way, over which he nearly fell. "Bless
+my soul," said the Keeper, "I must put spectacles on my shins!"
+
+
+FUSELI'S POPULARITY.
+
+Notwithstanding his sarcastic temper, and various peculiarities, Fuseli
+was generally liked, and by none more than by the students who were so
+often made the objects of his satire. They were sensible that he was
+assiduous in instruction, that he was very learned and very skilful, and
+that he allowed no one else to take liberties with their conduct or
+their pursuits. He had a wonderful tact in singling out the most
+intellectual of the pupils; he was the first to notice Lawrence, and at
+the very outset of Wilkie, he predicted his future eminence.
+
+
+FUSELI'S ARTISTIC MERITS.
+
+The following critique from the pen of Allan Cunningham, gives a good
+idea of Fuseli's abilities as an artist. "His main wish was to startle
+and astonish. It was his ambition to be called Fuseli the daring and the
+imaginative, the illustrator of Milton and Shakspeare, the rival of
+Michael Angelo. His merits are of no common order. He was no timid or
+creeping adventurer in the region of art, but a man peculiarly bold and
+daring--who rejoiced only in the vast, the wild, and the wonderful, and
+loved to measure himself with any subject, whether in the heaven above,
+the earth beneath, or the waters under the earth. The domestic and
+humble realities of life he considered unworthy of his pencil, and
+employed it only on those high or terrible themes where imagination may
+put forth all her strength, and fancy scatter all her colors. He
+associated only with the demi-gods of verse, and roamed through Homer,
+and Dante, and Shakspeare, and Milton, in search of subjects worthy of
+his hand; he loved to grapple with whatever he thought too weighty for
+others; and assembling round him the dim shapes which imagination
+readily called forth, he sat brooding over the chaos, and tried to bring
+the whole into order and beauty. His coloring is like his design;
+original; it has a kind of supernatural hue, which harmonizes with many
+of his subjects--the spirits of the other world and the hags of hell are
+steeped in a kind of kindred color, which becomes their natural
+characters. His notion of color suited the wildest of his subjects; and
+the hue of Satan and the lustre of Hamlet's Ghost are part of the
+imagination of those supernatural shapes."
+
+
+FUSELI'S MILTON GALLERY, THE CHARACTER OF HIS WORKS, AND THE PERMANENCY
+OF HIS FAME.
+
+The magnificent plan of the "Milton Gallery" originated with Fuseli, was
+countenanced by Johnson the bookseller, and supported by the genius of
+Cowper, who undertook to prepare an edition of Milton, with translations
+of his Latin and Italian poems. The pictures were to have been engraved,
+and introduced as embellishments to the work.--The Gallery was commenced
+in 1791, and completed in 1800, containing forty-seven pictures. "Out of
+the seventy exhibited paintings," says Cunningham, on which he reposed
+his hopes of fame, not one can be called commonplace--they are all
+poetical in their nature, and as poetically treated. "Some twenty of
+these alarm, startle, and displease; twenty more may come within the
+limits of common comprehension; the third twenty are such as few men
+could produce, and deserve a place in the noblest collections; while the
+remaining ten are equal in conception to anything that genius has
+hitherto produced, and second only in their execution to the true and
+recognised masterpieces of art. It cannot be denied, however, that a
+certain air of extravagance and a desire to stretch and strain, are
+visible in most of his works. A common mind, having no sympathy with his
+soaring, perceives his defects at once, and ranks him with the wild and
+unsober--a poetic mind will not allow the want of serenity and composure
+to extinguish the splendor of the conception; but whilst it notes the
+blemish, will feel the grandeur of the work. The approbation of high
+minds fixes the degree of fame to which genius of all degrees is
+entitled, and the name of Fuseli is safe."
+
+
+SALVATOR ROSA.
+
+This celebrated painter was born at Renella, a small village near
+Naples, in 1615. There is so much fiction mingled with his early
+history, that it is impossible to arrive at the truth. It is certain,
+however, that he commenced the study of painting under his
+brother-in-law, Francesco Fracanzani, that he passed his early days in
+poverty, that he was compelled to support himself by his pencil, and
+that he exposed his juvenile performances for sale in the public
+markets, and often sold them to the dealers for the most paltry prices.
+
+
+SALVATOR ROSA AND CAV. LANFRANCO.
+
+To the honor of Cav. Lanfranco, it is related that while riding in his
+carriage one day along the streets of Naples, he observed one of
+Salvator's pictures exposed for sale in a shop window, and surprised at
+the uncommon genius which it displayed, he purchased the picture, and
+inquired the name of the young artist. The picture dealer, who had
+probably found Salvator's necessities quite profitable to himself,
+refused to communicate the desired information, whereupon Lanfranco
+directed his scholars to watch for his pictures, and seek him out. When
+he had found him, he generously relieved his wants, and encouraged him
+in the pursuit of his studies. After receiving some instructions from
+Aniello Falcone, an eminent painter of battle-pieces, he was admitted,
+through the influence of Lanfranco, into the academy of Giuseppe
+Ribera, called Il Spagnoletto, and remained there until the age of
+twenty, when he accompanied that master to Rome.
+
+
+SALVATOR ROSA AT ROME AND FLORENCE.
+
+The Cardinal Brancacci, having become acquainted with the merits of
+Salvator Rosa at Naples, took him under his protection, and conducted
+him to his bishopric of Viterbo, where he painted several historical
+works, and an altar-piece for the cathedral, representing the
+Incredulity of St. Thomas. On his return to Rome, the prince Gio. Carlo
+de' Medici employed him to execute several important works, and
+afterwards invited him to Florence. During a residence of nine years in
+that city, he greatly distinguished himself as a painter, and also as a
+satirical and dramatic poet; his Satires, composed in Florence, have
+passed through several editions. His wit, lively disposition, and
+unusual conversational powers, drew around him many choice spirits, and
+his house was the great centre of attraction for the connoisseurs and
+literati of Florence. He fitted up a private theatre, and was accustomed
+to perform the principal parts in his comedies, in which he displayed
+extraordinary talents. He painted many of his choicest pictures for the
+Grand Duke, who nobly rewarded him; also for the noble family of the
+Maffei, for their palace at Volterra.
+
+
+SALVATOR ROSA'S RETURN TO ROME.
+
+After Salvator Rosa's return to Rome from Florence, he demanded
+exorbitant prices for his works, and though his greatest talent lay in
+landscape painting, he affected to despise that branch, being ambitious
+of shining as an historical painter. He painted some altar-pieces and
+other subjects for the churches, the chief of which are four pictures in
+S. Maria di Monte Santo, representing Daniel in the Lions' Den, Tobit
+and the Angel, the Resurrection of Christ, and the Raising of Lazarus;
+the Martyrdom of St. Cosimo and St. Damiano, in the church of S.
+Giovanni.
+
+The brightest era of landscape painting is said with truth to have been
+in the time of Pope Urban VIII., when flourished Claude Lorraine, Gaspar
+Poussin, and Salvator Rosa. Of these, Salvator was the most
+distinguished, though certainly not the best; each was the head of a
+perfectly original school, which had many followers, and each observed
+nature on the side in which he felt impelled to imitate her. The first
+admired and represented nature in her sweetest appearance; the second,
+in her most gorgeous array; and the third in her most convulsed and
+terrific aspects.
+
+
+SALVATOR ROSA'S SUBJECTS.
+
+Salvator Rosa painted history, landscape, battle-pieces, and sea-ports;
+and of these he was most eminent in landscape. The scholar of
+Spagnoletto, he attached himself to the strong natural style and dark
+coloring of that master, which well accords with his subjects. In his
+landscapes, instead of selecting the cultured amenity which captivates
+in the views of Claude or Poussin, he made choice of the lonely haunts
+of wolves and robbers; instead of the delightful vistas of Tivoli and
+the Campagna, he adopted the savage scenery of the Alps, rocky
+precipices, caves with wild thickets and desert plains; his trees are
+shattered, or torn up by the roots, and in the atmosphere itself he
+seldom introduced a cheerful hue, except occasionally a solitary
+sunbeam. These gloomy regions are peopled with congenial inhabitants,
+ferocious banditti, assassins, and outlaws. In his marines, he followed
+the same taste; they represent the desolate and shelvy shores of
+Calabria, whose dreary aspect is sometimes heightened by terrific
+tempests, with all the horrors of shipwreck. His battles and attacks of
+cavalry also partake of the same principle of wild beauty; the fury of
+the combatants, and the fiery animation of the horses are depicted with
+a truth and effect that strikes the mind with horror. Notwithstanding
+the singularity and fierceness of his style, he captivates by the
+unbounded wildness of his fancy, and the picturesque solemnity of his
+scenes.
+
+Salvator Rosa wrought with wonderful facility, and could paint a well
+finished landscape and insert all the figures in one day; it is
+impossible to inspect one of his bold, rapid sketches, without being
+struck with the fertility of his invention, and the skill of hand that
+rivalled in execution the activity of his mind. He was also an excellent
+portrait painter. A portrait of himself is in the church degli Angeli,
+where his remains were interred, and he introduced his own portrait into
+several of his pictures, one of which is in the Chigi gallery,
+representing a wild scene with a poet in a sitting attitude, (with the
+features of Salvator); before him stands a satyr, allusive to his
+satiric style of poetry. During his life-time, his works were much
+sought after by princes and nobles, and they are now to be found in the
+choicest collections of Italy and of Europe. There is a landscape in the
+English National Gallery which cost 1800 guineas; a picture in the
+collection of Sir Mark Sykes brought the enormous sum of 2100 guineas.
+
+
+FLAGELLATION OF SALVATOR ROSA.
+
+It happened one day that Salvator Rosa, in his youth, on his way to
+mass, brought with him by mistake, his bundle of burned sticks, with
+which he used to draw, instead of his mother's brazen clasped missal;
+and in passing along the magnificent cloisters of the great church of
+the Certosa at Naples, sacred alike to religion and the arts, he applied
+them between the interstices of its Doric columns to the only unoccupied
+space on the pictured walls. History has not detailed what was the
+subject which occupied his attention on this occasion, but he was
+working away with all the ardor which his enthusiastic genius inspired,
+when unfortunately the Prior, issuing with his train from the choir,
+caught the hapless painter in the very act of scrawling on those sacred
+walls which required all the influence of the greatest masters to get
+leave to ornament. The sacrilegious temerity of the boy artist, called
+for instant and exemplary punishment. Unluckily too, for the little
+offender, this happened in Lent, the season in which the rules of the
+rigid Chartreuse oblige the prior and procurator to flagellate all the
+frati, or lay brothers of the convent. They were, therefore, armed for
+their wonted pious discipline, when the miserable Salvatoriello fell in
+their way; whether he was honored by the consecrated hand of the prior,
+or writhed under the scourge of the procurator, does not appear; but
+that he was chastised with great severity more than proportioned to his
+crime, is attested by one of the most scrupulous of his biographers,
+Pascoli, who, though he dwells lightly on the fact, as he does on others
+of more importance, confesses that he suffered severely from the monks'
+flagellation.
+
+
+SALVATOR ROSA AND THE HIGGLING PRINCE.
+
+A Roman prince, more notorious for his pretensions to _virtu_ than for
+his liberality to artists, sauntering one day in Salvator's gallery, in
+the Via Babbuina, paused before one of his landscapes, and after a long
+contemplation of its merits, exclaimed, "Salvator mio! I am strongly
+tempted to purchase this picture: tell me at once the lowest
+price."--"Two hundred scudi," replied Salvator, carelessly. "Two hundred
+scudi! Ohime! that is a price! but we'll talk of that another time." The
+illustrissimo took his leave; but bent upon having the picture, he
+shortly returned, and again inquired the lowest price. "Three hundred
+scudi!" was the sullen reply. "Carpo di bacco!" cried the astonished
+prince; "mi burla, vostra signoria; you are joking! I see I must e'en
+wait upon your better humor; and so addio, Signor Rosa."
+
+The next day brought back the prince to the painter's gallery; who, on
+entering, saluted Salvator with a jocose air, and added, "Well, Signor
+Amico, how goes the market to-day? Have prices risen or fallen?"
+
+"Four hundred scudi is the price to-day!" replied Salvator, with
+affected calmness; when suddenly giving way to his natural impetuosity,
+and no longer stifling his indignation, he burst forth: "The fact is,
+your excellency shall not now obtain this picture from me at any price;
+and yet so little do I value its merits, that I deem it worthy no better
+fate than this;" and snatching the panel on which it was painted from
+the wall, he flung it to the ground, and with his foot broke it into a
+hundred pieces. His excellency made an unceremonious retreat, and
+returned no more to the enraged painter's studio.
+
+
+SALVATOR ROSA'S OPINION OF HIS OWN WORKS.
+
+While a Roman nobleman was one day endeavoring to drive a hard bargain
+with Salvator Rosa, he coolly interrupted him, saying that, till the
+picture was finished, he himself did not know its value; "I never
+bargain, sir, with my pencil; for it knows not the value of its own
+labor before the work is finished. When the picture is done, I will let
+you know what it costs, and you may then take it or not as you please."
+
+
+SALVATOR ROSA'S BANDITTI.
+
+There is an etching by Salvator Rosa, which seems so plainly to tell the
+story of the wandering artist's captivity, that it merits a particular
+description. In the midst of wild, rocky scenery, appears a group of
+banditti, armed at all points, and with all sorts of arms; they are
+lying in careless attitudes, but with fierce countenances, around a
+youthful prisoner, who forms the foreground figure, and is seated on a
+rock, with his languid limbs hanging over the precipice, which may be
+supposed to yawn beneath. It is impossible to describe the despair
+depicted in this figure: it is marked in his position, in the drooping
+of his head, which his nerveless arms seem with difficulty to support,
+and the little that may be seen of his face, over which, from his
+recumbent attitude, his hair falls in luxuriant profusion. All is alike
+destitute of energy and of hope, which the beings grouped around the
+captive seem to have banished forever by some sentence recently
+pronounced; yet there is one who watches over the fate of the young
+victim: a woman stands immediately behind him, with her hand stretched
+out, while her fore finger, resting on his head, marks him as the
+subject of discourse which she addresses to the listening bandits. Her
+figure, which is erect is composed of those bold, straight lines, which
+in art and nature, constitute the grand. Even the fantastic cap or
+turban, from which her long dishevelled hair has escaped, has no curve
+of grace; and her drapery partakes of the same rigid forms. Her
+countenance is full of stern melancholy--the natural character of one
+whose feelings and habits are at variance; whose strong passions may
+have flung her out of the pale of society, but whose womanly sympathies
+still remain unchanged. She is artfully pleading for the life of the
+youth, by contemptuously noting his insignificance; but she commands
+while she soothes. She is evidently the mistress or the wife of the
+chief, in whoso absence an act of vulgar violence may be meditated. The
+youth's life is saved: for that cause rarely fails, to which a woman
+brings the omnipotence of her feelings.
+
+
+SALVATOR ROSA AND MASSANIELLO.
+
+It was during the residence of Salvator Rosa in Naples, that the
+memorable popular tumult under Massaniello took place; and our painter
+was persuaded by his former master, Aniello Falcone, to become one of an
+adventurous set of young men, principally painters, who had formed
+themselves into a band for the purpose of taking revenge on the
+Spaniards, and were called "La Compagna della Morte." The tragical fate
+of Massaniello, however, soon dispersed these heroes; and Rosa, fearing
+he might be compelled to take a similar part in that fatal scene, sought
+safety by flight, and took refuge in Rome.
+
+
+SALVATOR ROSA AND CARDINAL SFORZA.
+
+Salvator Rosa is said never to have suffered the rank or office of his
+auditors to interfere with the freedom of his expressions in his poetic
+recitations. Cardinal Sforza Pullavicini, one of the most generous
+patrons of the fine arts, and a rigid critic of his day, was curious to
+hear the improvisatore of the Via Babbuina, and sent an invitation
+requesting Salvator's company at his palace. Salvator frankly declared
+that two conditions were annexed to his accepting the honor of his
+Eminence's acquaintance; first, that the Cardinal should come to his
+house, as he never recited in any other; and second, that he should not
+object to any passage, the omission of which would detract from the
+original character of his work, or compromise his own sincerity. The
+Cardinal accepted the conditions. The next day all the literary coxcombs
+of Rome crowded to the levee of the hypercritical prelate to learn his
+opinion of the poet, whose style was without precedent. The Cardinal
+declared, with a justice which posterity has sanctioned, that
+"Salvator's poetry was full of splendid passages, but that, as a whole,
+it was unequal."
+
+
+SALVATOR ROSA'S MANIFESTO CONCERNING HIS SATIRICAL PICTURE LA FORTUNA.
+
+In Salvator Rosa's celebrated picture of La Fortuna, the nose of one
+powerful ecclesiastic, and the eye of another were detected in the
+brutish physiognomy of the swine treading upon pearls, and in an ass,
+scattering with his hoofs the laurel and myrtle which lay in his path;
+and in an old goat, reposing on roses, some there were, who even fancied
+they discovered the Infallible Lover of Donna Olympia, the Sultana,
+queen of the Quirinal!
+
+The cry of atheism and sedition--of contempt of established
+authorities--was thus raised under the influence of private pique and
+long-cherished envy: it soon found an echo in the painted walls where
+the conclave sat "in close divan," and it was handed about from mouth to
+mouth, till it reached the ears of the Inquisitor, within the dark
+recesses of his house of terror. A cloud was now gathering over the head
+of the devoted Salvator which it seemed no human power could avert. But
+ere the bolt fell, his fast and tried friend Don Maria Ghigi threw
+himself between his protégé and the horrible fate which awaited him, by
+forcing the sullen satirist to draw up an apology, or rather an
+explanation of his offensive picture.
+
+This explanation, bearing title of a "Manifesto," he obtained permission
+to present to those powerful and indignant persons in whose hands the
+fate of Salvator now lay; Rosa explained away all that was supposed to
+be personal in his picture, and proved that his hogs were not churchmen,
+his mules pretending pedants, his asses Roman nobles, and his birds and
+beasts of prey the reigning despots of Italy. His imprudence however,
+subsequently raised such a storm that he was obliged to quit Rome, when
+he fled to Florence.
+
+
+SALVATOR ROSA'S BANISHMENT FROM ROME.
+
+Salvator Rosa secretly deplored his banishment from Rome; and his
+impatience at being separated from Carlo Rossi and some other of his
+friends, was so great that he narrowly escaped losing his liberty to
+obtain an interview with them. About three years after his arrival in
+Florence, he took post-horses, and at midnight set off for Rome. Having
+reached the gardens of the "Vigna Navicella," and bribed the custode to
+lend them for a few hours, and otherwise to assist him, he dispatched a
+circular billet to eighteen of his friends, supplicating them to give
+him a rendezvous at the Navicella. Each believed that Salvator had
+fallen into some new difficulty, which had obliged him to fly from
+Florence, and all attended his summons. He received them at the head of
+a well furnished table, embraced them with tenderness, feasted them
+sumptuously, and then mounting his horse, returned to Florence before
+his Roman persecutors or Tuscan friends were aware of his adventure.
+
+
+SALVATOR ROSA'S WIT.
+
+Salvator Rosa exhibited a clever picture, the work of an amateur by
+profession a surgeon, which had been rejected by the academicians of St.
+Luke. The artists came in crowds to see it; and by those who were
+ignorant of the painter, it was highly praised. On being asked who had
+painted it by some one, Salvator replied, "It was performed by a person
+whom the great academicians of St. Luke thought fit to scorn, because
+his ordinary profession was that of a surgeon. But (continued he), I
+think they have not acted wisely; for if they had admitted him into
+their academy, they would have had the advantage of his services in
+setting the broken and distorted limbs that so frequently occur in their
+exhibitions."
+
+
+SALVATOR ROSA'S RECEPTION AT FLORENCE.
+
+The departure of Salvator Rosa from Rome was an escape: his arrival in
+Florence was a triumph. The Grand Duke and the princes of his house
+received him, not as an hireling, but as one whose genius placed him
+beyond the possibility of dependence. An annual income was assigned to
+him during his residence in Florence, in the service of the court,
+besides a stipulated price for each of his pictures: and he was left
+perfectly unconstrained and at liberty to paint for whom he pleased.
+
+
+HISTRIONIC POWERS OF SALVATOR ROSA.
+
+In 1647, Salvator Rosa received an invitation to repair to the court of
+Tuscany, of which he availed himself the more willingly, as by the
+machinations of his enemies, he was in great danger of being thrown into
+prison. At Florence he met with the most flattering reception, not only
+at the court and among the nobility, but among the literary men and
+eminent painters with which that city abounded. His residence soon
+became the rendezvous of all who were distinguished for their talents,
+and who afterwards formed themselves into an academy, to which they gave
+the title of "I. Percossi." Salvator, during the carnivals, frequently
+displayed his abilities as a comic actor, and with such success, that
+when he and a friend of his (a Bolognese merchant, who, though sixty
+years old, regularly left his business three months in the year, for the
+sole pleasure of performing with Rosa) played the parts of Dottore
+Graziano and Pascariello, the laughter and applause of their audience
+were so excessive as often to interrupt their performance for a length
+of time.
+
+
+SALVATOR ROSA'S RECEPTION AT THE PALAZZO PITTI.
+
+The character, in fact the manners and the talents of Salvator Rosa came
+out in strong relief, as opposed to the servile deportment and mere
+professional acquirements of the herd of artists of all nations then
+under the protection of the Medici. He was received at the Palazzo Pitti
+not only as a distinguished artist, but as a guest; and the Medici, at
+whose board Pulci (in the time of their Magnifico) had sung his Morgante
+Maggiore with the fervor of a rhapsodist, now received at their table
+another improvisatore, with equal courtesy and graciousness. The Tuscan
+nobility, in imitation of the court, and in the desire to possess
+Salvator's pictures, treated him with singular honor.
+
+
+SATIRES OF SALVATOR ROSA.
+
+The boldness and rapidity of Salvator Rosa's pencil, aided by the
+fertility of his highly poetical imagination, enabled him to paint an
+immense number of pictures while he was at Florence; but not finding
+sufficient leisure to follow his other pursuits, he retired to Volterra,
+after having resided at Florence nine years, respected and beloved by
+all who knew him. The three succeeding years were passed in the family
+of the Maffei, alternately at Volterra and their villa at Monte Ruffoli,
+in which time he completed his Satires, except the Sixth, "L'Invidia;"
+which was written after the publication of the others. He also painted
+several portraits for the Maffei, and among others one of himself, which
+was afterwards presented to the Grand Duke of Tuscany, and placed in the
+Royal Gallery at Florence.
+
+
+SALVATOR ROSA'S HARPSICHORD.
+
+Salvator Rosa's confidence in his own powers was as frankly confessed as
+it was justified by success. Happening one day to be found by a friend
+in Florence, in the act of modulating on a very indifferent old
+harpsichord, he was asked how he could keep such an instrument in his
+house. "Why," said his friend, "it is not worth a scudo." "I will wager
+what you please," said Salvator, "that it shall be worth a thousand
+before you see it again." A bet was made, and Rosa immediately painted a
+landscape with figures on the lid, which was not only sold for a
+thousand scudi, but was esteemed a capital performance. On one end of
+the harpsichord he also painted a skull and music-books. Both these
+pictures were exhibited in the year 1823 at the British Institution.
+
+
+RARE PORTRAIT BY SALVATOR ROSA.
+
+While Salvator Rosa was on a visit to Florence, and refused all
+applications for his pictures he was accidentally taken in to paint what
+he so rarely condescended to do a portrait.
+
+There lived in Florence a good old dame of the name of Anna Gaetano, of
+some celebrity for keeping a notable inn, over the door of which was
+inscribed in large letters, "Al buon vino non bisogna fruscia" (good
+wine needs no bush). But it was not the good wines alone of Madonna Anna
+that drew to her house some of the most distinguished men of Florence,
+and made it particularly the resort of the Cavaliere Oltramontani--her
+humor was as racy as her wine; and many of the men of wit and pleasure
+about town were in the habit of lounging in the Sala Commune of Dame
+Gaetano, merely for the pleasure of drawing her out. Among these were
+Lorenzo Lippi and Salvator Rosa; and, although this Tuscan Dame Quickly
+was in her seventieth year, hideously ugly, and grotesquely dressed, yet
+she was so far from esteeming her age an "antidote to the tender
+passion," that she distinguished Salvator Rosa by a preference, which
+deemed itself not altogether hopeless of return. Emboldened by his
+familiarity and condescension, she had the vanity to solicit him to
+paint her portrait, "that she might," she said, "reach posterity by the
+hand of the greatest master of the age."
+
+Salvator at first received her proposition as a joke; but perpetually
+teased by her reiterated importunities, and provoked by her pertinacity,
+he at last exclaimed, "Well, Madonna, I have resolved to comply with
+your desire; but with this agreement, that, not to distract my mind
+during my work, I desire you will not move from your seat until I have
+finished the picture." Madonna, willing to submit to any penalty in
+order to obtain an honor which was to immortalize her charms, joyfully
+agreed to the proposition; and Salvator, sending for an easel and
+painting materials, drew her as she sat before him, to the life. The
+portrait was dashed off with the usual rapidity and spirit of the
+master, and was a chef d'oeuvre. But when at last the vain and
+impatient hostess was permitted to look upon it, she perceived that to a
+strong and inveterate likeness the painter had added a long beard; and
+that she figured on the canvas as an ancient male pilgrim--a character
+admirably suited to her furrowed face, weather-beaten complexion, strong
+lineaments, and grey hairs. Her mortified vanity vented itself in the
+most violent abuse of the ungallant painter, in rich Tuscan
+Billingsgate. Salvator, probably less annoyed by her animosity than
+disgusted by her preference, called upon some of her guests to judge
+between them. The artists saw only the merits of the picture, the
+laughers looked only to the joke. The value affixed to the exquisite
+portrait soon reconciled the vanity of the original through her
+interest. After the death of Madonna Anna, her portrait was sold by her
+heirs at an enormous price, and is said to be still in existence.--_Lady
+Morgan._
+
+
+SALVATOR ROSA'S RETURN TO ROME.
+
+At the time of Salvator Rosa's return to Rome says Pascoli, he figured
+away as the _great painter_, opening his house to all his friends, who
+came from all parts to visit him, and among others, Antonio Abbati, who
+had resided for many years in Germany. This old acquaintance of the poor
+Salvatoriello of the Chiesa della Morte at Viterbo, was not a little
+amazed to find his patient and humble auditor of former times one of the
+most distinguished geniuses and hospitable Amphitryons of the day.
+Pascoli gives a curious picture of the prevailing pedantry of the times,
+by describing a discourse of Antonio Abbati's at Salvator's
+dinner-table, on the superior merits of the ancient painters over the
+moderns, in which he "bestowed all the tediousness" of his erudition on
+the company. Salvator answered him in his own style, and having
+overturned all his arguments in favor of antiquity with more learning
+than they had been supported, ended with an impromptu epigram, in his
+usual way, which brought the laugher's on his side.
+
+
+SALVATOR ROSA'S LOVE OF MAGNIFICENCE.
+
+Salvator Rosa was fond of splendor and ostentatious display. He courted
+admiration from whatever source it could be obtained, and even sought it
+by means to which the frivolous and the vain are supposed alone to
+resort. He is described, therefore, as returning to Rome, from which he
+had made so perilous and furtive an escape, in a showy and pompous
+equipage, with "servants in rich liveries, armed with silver hafted
+swords, and otherwise well accoutred." The beautiful Lucrezia, as "sua
+Governante," accompanied him, and the little Rosalvo gave no scandal in
+a society where the instructions of religion substitute license for
+legitimate indulgence. Immediately on his arrival in Rome, Salvator
+fixed upon one of the loveliest of her hills for his residence, and
+purchased a handsome house upon the Monte Pincio, on the Piazza della
+Trinità del Monte--"which," says Pascoli, "he furnished with noble and
+rich furniture, establishing himself on the great scale, and in a lordly
+manner." A site more favorable than the Pincio, for a man of Salvator's
+taste and genius, could scarcely be imagined, commanding at once within
+the scope of its vast prospect, picturesque views, and splendid
+monuments of the most important events in the history of man--the
+Capitol and the Campus Martius, the groves of the Quirinal and the
+cupola of St. Peter's, the ruined palaces of the Cæsars, and sumptuous
+villas of the sons of the reigning church. Such was then, as now, the
+range of unrivalled objects which the Pincio commanded; but the noble
+terrace smoothed over its acclivities, which recalled the memory of
+Aurelian and the feast of Belisarius, presented at that period a far
+different aspect from that which it now offers. Everything in this
+enchanting sight was then fresh and splendid; the halls of the Villa
+Medici, which at present only echo to the steps of a few French students
+or English travelers, were then the bustling and splendid residence of
+the old intriguing Cardinal Carlo de Medici, called the Cardinal of
+Tuscany, whose followers and faction were perpetually going to and fro,
+mingling their showy uniforms and liveries with the sober vestments of
+the neighboring monks of the convent della Trinità! The delicious groves
+and gardens of the Villa de Medici then covered more than two English
+miles, and amidst cypress shades and shrubberies, watered by clear
+springs, and reflected in translucent fountains, stood exposed to public
+gaze all that now form the most precious treasures of the Florentine
+Gallery--the Niobe, the Wrestlers, the Apollo, the Vase, and above all,
+the Venus of Venuses, which has derived its distinguishing appellation
+from these gardens, of which it was long the boast and ornament.
+
+
+SALVATOR ROSA'S LAST WORKS.
+
+The last performances of Salvator's pencil were a collection of
+portraits of obnoxious persons in Rome--in other words, a series of
+caricatures, by which he would have an opportunity of giving vent to his
+satirical genius; but whilst he was engaged on his own portrait,
+intending it as the concluding one of the series he was attacked with a
+dropsy, which in the course of a few months brought him to the grave.
+
+
+SALVATOR ROSA'S DESIRE TO BE CONSIDERED AN HISTORICAL PAINTER.
+
+Salvator Rosa's greatest talent lay in landscape painting, a branch
+which he affected to despise, as he was ambitious of being called an
+historical painter. Hence he called his wild scenes, with small figures
+merely accessory, historical paintings, and was offended if others
+called them landscapes. Pascoli relates that Prince Francisco Ximenes,
+soon after his arrival at Rome, in the midst of the honors paid him,
+found time to visit the studio of Salvator Rosa, who showed him into his
+gallery. The Prince frankly said, "I have come, Signor Rosa, for the
+purpose of seeing and purchasing some of those beautiful landscapes,
+whose subjects and manner have delighted me in many foreign
+collections."--"Be it known then, to your excellency," interrupted
+Salvator impetuously, "that I know nothing of _landscape_ painting.
+Something indeed I do know of painting figures and historical subjects,
+which I strive to exhibit to such eminent judges as yourself, in order
+that, _once for all_, I may banish from the public mind that _fantastic
+humor_ of supposing I am a landscape and not an historical painter." At
+another time, a very rich (_ricchissimo_) Cardinal called on Salvator to
+purchase some of his pictures As he walked up and down the gallery, he
+paused before the landscapes, but only glanced at the historical
+subjects, while Salvator muttered from time to time, "_sempre, sempre,
+paesi piccoli_," (always, always, some little landscape.) When, at
+length, the Cardinal carelessly glanced his eye over one of Salvator's
+great historical pictures, and asked the price, as a sort of
+introduction, the painter bellowed out, _un milione_; his Eminence,
+justly offended, made an unceremonious retreat without making his
+intended purchases, and returned no more.
+
+
+DON MARIO GHIGI, HIS PHYSICIAN, AND SALVATOR ROSA.
+
+(_From Lady Morgan's Life of Salvator Rosa._)
+
+The princes of the family of Ghigi had been among the first of the
+aristocratic virtuosi of Rome to acknowledge the merits of Salvator
+Rosa, as their ancestors had been to appreciate the genius of Raffaelle.
+Between the Prince Don Mario Ghigi, (whose brother Fabio was raised to
+the pontifical throne by the name of Alexander VII.) and Salvator, there
+seems to have existed a personal intimacy; and the prince's fondness for
+the painter's conversation was such, that during a long illness he
+induced Salvator to bring his easel to his bedside, and to work in his
+chamber at a small picture he was then painting for the prince. It
+happened, that while Rosa was sketching and chatting by the prince's
+couch, one of the most fashionable physicians in Rome entered the
+apartment. He appears to have been one of those professional coxcombs,
+whose pretensions, founded on unmerited vogue, throws ridicule on the
+gravest calling.
+
+After some trite remarks upon the art, the doctor, either to flatter
+Salvator, or in imitation of the physician of the Cardinal Colonna, who
+asked for one of Raffaelle's finest pictures as a fee for saving the
+Cardinal's life, requested Don Mario to give him a picture by Salvator
+as a remuneration for his attendance. The prince willingly agreed to the
+proposal; and the doctor, debating on the subject he should choose,
+turned to Salvator and begged that he would not lay pencil to canvas,
+until _he_, the Signor Dottore, should find leisure to dictate to him
+_il pensiero e concetto della sua pittura_, the idea and conceit of his
+picture! Salvator bowed a modest acquiescence, and went on with his
+sketch. The doctor having gone the round of professional questions with
+his wonted pomposity, rose to write his prescription; when, as he sat
+before the table with eyes upturned, and pen suspended over the paper,
+Salvator approached him on tiptoe, and drawing the pen gently through
+his fingers, with one of his old _Coviello_ gesticulations in his
+character of the mountebank, he said, "_fermati dottor mio!_ stop
+doctor, you must not lay pen to paper till I have leisure to dictate the
+idea and conceit of the prescription I may think proper for the malady
+of his Excellency."
+
+"_Diavalo!_" cried the amazed physician, "you dictate a prescription!
+why, _I_ am the prince's physician, and not _you!_"
+
+"And _I, Caro_," said Salvator, "am a painter, and not _you_. I leave it
+to the prince whether I could not prove myself a better physician than
+you a painter; and write a better prescription than you paint a
+picture."
+
+The prince, much amused, decided in favor of the painter; Salvator
+coolly resumed his pencil, and the medical _cognoscente_ permitted the
+idea of the picture to die away, _sul proprio letto_.
+
+
+DEATH OF SALVATOR ROSA.
+
+Salvator Rosa, in his last illness, demanded of the priests and others
+that surrounded him, what they required of him. They replied, "in the
+first instance to receive the sacrament as it is administered in Rome to
+the dying." "To receive the sacrament," says his confessor, Baldovini,
+"he showed no repugnance, but he vehemently and positively refused to
+allow the host, with all the solemn pomp of its procession, to be
+brought to his house, which he deemed unworthy of the divine presence."
+He objected to the ostentation of the ceremony, to its _éclat_, to the
+noise and bustle, smoke and heat it would create in the close sick
+chamber. He appears to have objected to more than it was discreet to
+object to in Rome: and all that his family and his confessor could
+extort from him on the subject was, that he would permit himself to be
+carried from his bed to the parish church, and there, with the humility
+of a contrite heart, would consent to receive the sacrament at the foot
+of the altar.
+
+As immediate death might have been the consequence of this act of
+indiscretion, his family, who were scarcely less interested for a life
+so precious, than for the soul which was the object of their pious
+apprehensions, gave up the point altogether; and on account of the
+vehemence with which Salvator spoke on the subject, and the agitation it
+had occasioned, they carefully avoided renewing a proposition which had
+rallied all his force of character and volition to their long abandoned
+post.
+
+The rejection of a ceremony which was deemed in Rome indispensably
+necessary to salvation, by one who was already stamped with the church's
+reprobation, soon spread; report exaggerated the circumstance into a
+positive expression of infidelity; and the gossip of the Roman
+ante-rooms was supplied for the time with a subject of discussion, in
+perfect harmony with their love for slander, bigotry, and idleness.
+
+"As I went forth from Salvator's door," relates the worthy Baldovini, "I
+met the _Canonico Scornio_, a man who has taken out a license to speak
+of all men as he pleases. 'And how goes it with Salvator?' demands this
+Canonico of me. 'Bad enough, I fear.'--Well, a few nights back,
+happening to be in the anteroom of a certain great prelate, I found
+myself in the centre of a circle of disputants, who were busily
+discussing whether the aforesaid Salvator would die a Schismatic, a
+Huguenot, a Calvinist, or a Lutheran?--'He will die, Signor Canonico,' I
+replied, 'when it pleases God, a better Catholic than any of those who
+now speak so slightingly of him!'--and so pursued my way."
+
+This _Canonico_, whose sneer at the undecided faith of Salvator roused
+all the bile of the tolerant and charitable Baldovini, was the near
+neighbor of Salvator, a frequenter of his hospitable house, and one of
+whom the credulous Salvator speaks in one of his letters as being "his
+neighbor, and an excellent gentleman."
+
+On the following day, as the Padre sat by the pillow of the suffering
+Rosa, he had the simplicity, in the garrulity of his heart, to repeat
+all these idle reports and malicious insinuations to the invalid: "But,"
+says Baldovini, "as I spoke, Rosa only shrugged his shoulders."
+
+Early on the morning of the fifteenth of March, that month so delightful
+in Rome, the anxious and affectionate confessor, who seems to have been
+always at his post, ascended the Monte della Trinità, for the purpose of
+taking up his usual station by the bed's head of the fast declining
+Salvator. The young Agosto flew to meet him at the door, and with a
+countenance radiant with joy, informed him of the good news, that "his
+dear father had given evident symptoms of recovery, in consequence of
+the bursting of an inward ulcer."
+
+Baldovini followed the sanguine boy to Iris father's chamber; but, to
+all appearance Salvator was suffering great agony. "How goes it with
+thee, Rosa?" asked Baldovini kindly, as he approached him.
+
+"Bad, bad!" was the emphatic reply. While writhing with pain, the
+sufferer added after a moment:--"To judge by what I now endure, the hand
+of death grasps me sharply."
+
+In the restlessness of pain he then threw himself on the edge of the
+bed, and placed his head on the bosom of Lucrezia, who sat supporting
+and weeping over him. His afflicted son and friend took their station at
+the other side of the couch, and stood in mournful silence watching the
+issue of these sudden and frightful spasms. At that moment a celebrated
+Roman physician, the Doctor Catanni, entered the apartment. He felt the
+pulse of Salvator, and perceived that he was fast sinking. He
+communicated his approaching dissolution to those most interested in the
+melancholy intelligence, and it struck all present with unutterable
+grief. Baldovini, however, true to his sacred calling, even in the depth
+of his human affliction, instantly despatched the young Agosto to the
+neighboring Convent della Trinità, for the holy Viaticum. While life was
+still fluttering at the heart of Salvator, the officiating priest of
+the day arrived, bearing with him the holy apparatus of the last
+mysterious ceremony of the church. The shoulders of Salvator were laid
+bare, and anointed with the consecrated oil; some prayed fervently,
+others wept, and all even still hoped; but the taper which the Doctor
+Catanni held to the lips of Salvator while the Viaticum was
+administered, burned brightly and steadily! Life's last sigh had
+transpired, as religion performed her last rite.
+
+Between that luminous and soul-breathing form of genius, and the clod of
+the valley, there was now no difference; and the "end and object" of a
+man's brief existence was now accomplished in him who, while yet all
+young and ardent, had viewed the bitter perspective of humanity with a
+philosophic eye and pronounced even on the bosom of pleasure,
+
+  "Nasci poena--Vita labor--Necesse mori."
+
+On the evening of the fifteenth of March, 1673, all that remained of the
+author of Regulus, of Catiline, and the Satires--the gay Formica, the
+witty Coviello--of the elegant composer, and greatest painter of his
+time and country--of Salvator Rosa! was conveyed to the tomb, in the
+church of Santa Maria degli Angioli alle Terme--that magnificent temple,
+unrivalled even at Rome in interest and grandeur, which now stands as it
+stood when it formed the Pinacotheca of the Thermæ of Dioclesian. There,
+accompanied by much funeral pomp, the body of Salvator lay in state;
+the head and face, according to the Italian custom, being exposed to
+view. All Rome poured into the vast circumference of the church, to take
+a last view of the painter of the Roman people--the "Nostro Signor
+Salvatore" of the Pantheon; and the popular feelings of regret and
+admiration were expressed with the usual bursts of audible emotions in
+which Italian sensibility on such occasions loves to indulge. Some few
+there were, who gathered closely and in silence round the bier of the
+great master of the Neapolitan school; and who, weeping the loss of the
+man, forgot for a moment even that genius which had already secured its
+own meed of immortality. These were Carlo Rossi, Francesco Baldovini,
+and Paolo Oliva, each of whom returned from the grave of the friend he
+loved, to record the high endowments and powerful talents of the painter
+he admired, and the poet he revered. Baldovini retired to his cell to
+write the Life of Salvator Rosa, and then to resign his own; Oliva to
+his monastery, to compose the epitaph which is still read on the tomb of
+his friend; and Carlo Rossi to select from his gallery such works of his
+beloved painter, as might best adorn the walls of that chapel, now
+exclusively consecrated to his memory.
+
+On the following night, the remains of Salvator Rosa were deposited,
+with all the awful forms of the Roman church, in a grave opened
+expressly in the beautiful vestibule of Santa Maria degli Angioli alle
+Terme. Never did the ashes of departed genius find a more appropriate
+resting place;--the Pinacotheca of the Thermæ of Dioclesian had once
+been the repository of all that the genius of antiquity had perfected in
+the arts; and in the vast interval of time which had since elapsed, it
+had suffered no change, save that impressed upon it by the mighty mind
+of Michael Angelo.--_Lady Morgan._
+
+
+DOMENICHINO.
+
+This great artist is now universally esteemed the most distinguished
+disciple of the school of the Caracci, and the learned Count Algarotti
+prefers him even to the Caracci themselves. Poussin ranked him next
+after Raffaelle, and Passeri has expressed nearly the same opinion. He
+was born at Bologna in 1581, and received his first instruction from
+Denis Calvart, but having been treated with severity by that master, who
+had discovered him making a drawing after Annibale Caracci, contrary to
+his injunction, Domenichino prevailed upon his father to remove him from
+the school of Calvart, and place him in the Academy of the Caracci,
+where Guido and Albano were then students.
+
+
+THE DULLNESS OF DOMENICHINO IN YOUTH.
+
+The great talents of Domenichino did not develop themselves so early as
+in many other great painters. He was assiduous, thoughtful and
+circumspect; which his companions attributed to dullness, and they
+called him the Ox; but the intelligent Annibale Caracci, who observed
+his faculties with more attention, testified of his abilities by saying
+to his pupils, "this Ox will in time surpass you all, and be an honor to
+the art of painting." It was the practice in this celebrated school to
+offer prizes to the pupils for the best drawings, to excite them to
+emulation, and every pupil was obliged to hand in his drawing at certain
+periods. It was not long after Domenichino entered this school before
+one of these occasions took place, and while his fellow-students brought
+in their works with confidence, he timidly approached and presented his,
+which he would gladly have withheld. Lodovico Caracci, after having
+examined the whole, adjudged the prize to Domenichino. This triumph,
+instead of rendering him confident and presumptuous, only stimulated him
+to greater assiduity, and he pursued his studies with such patient and
+constant application, that he made such progress as to win the
+admiration of some of his cotemporaries, and to beget the hatred of
+others. He contracted a friendship with Albano, and on leaving the
+school of the Caracci, they visited together, Parma, Modena, and Reggio,
+to contemplate the works of Correggio and Parmiggiano. On their return
+to Bologna, Albano went to Rome, whither Domenichino soon followed him,
+and commenced his bright career.
+
+The student may learn a useful lesson from the untiring industry,
+patience, and humility of this great artist. Passeri attributes his
+grand achievements more to his amazing study than to his genius; and
+some have not hesitated to deny that he possessed any genius at all--an
+opinion which his works abundantly refute. Lanzi says, "From his acting
+as a continual censor of his own productions, he became among his fellow
+pupils the most exact and expressive designer, his colors most true to
+nature, and of the best _impasto_, the most universal master in the
+theory of his art, the sole painter amongst them all in whom Mengs found
+nothing to desire except a little more elegance. That he might devote
+his whole being to the art, he shunned all society, or if he
+occasionally sought it in the public theatres and markets, it was in
+order better to observe the play of nature's passions in the features of
+the people--those of joy, anger, grief, terror, and every affection of
+the mind, and commit it living to his tablets. Thus it was, exclaims
+Bellori, that he succeeded in delineating the soul, in coloring life,
+and raising those emotions in our breasts at which his works all aim; as
+if he waved the same wand which belonged to the poetical enchanters,
+Tasso and Ariosto."
+
+
+DOMENICHINO'S SCOURGING OF ST. ANDREW.
+
+Domenichino was employed by the Cardinal Borghese, to paint in
+competition with Guido, the celebrated frescos in the church of S.
+Gregorio at Rome. Both artists painted the same subject, but the former
+represented the _Scourging of St. Andrew_, and the latter _St. Andrew
+led away to the Gibbet_. Lanzi says it is commonly reported that an aged
+woman, accompanied by a little boy, was seen long wistfully engaged in
+viewing Domenichino's picture, showing it part by part to the boy, and
+next, turning to that of Guido, painted directly opposite, she gave it a
+cursory glance and passed on. Some assert that Annibale Caracci took
+occasion, from this circumstance, to give his preference to the former
+picture. It is also related that while Domenichino was painting one of
+the executioners, he actually threw himself into a passion, using high
+threatening words and actions, and that Annibale, surprising him at that
+moment, embraced him, exclaiming, "To-day, my Domenichino, thou art
+teaching me"--so novel, and at the same time so natural did it appear to
+him, that the artist, like the orator, should feel within himself all
+that he would represent to others.
+
+
+THE COMMUNION OF ST. JEROME.
+
+The chef-d'oeuvre of Domenichino is the dying St. Jerome receiving the
+last rites of his church, commonly called the Communion of St. Jerome,
+painted for the principal altar of St. Girolamo della Carita. This work
+has immortalized his name, and is universally allowed to be the finest
+picture Rome can boast after the Transfiguration of Raffaelle. It was
+taken to Paris by Napoleon, restored in 1815 by the Allies, and has
+since been copied in mosaic, to preserve so grand a work, the original
+having suffered greatly from the effects of time. Lanzi says, "One great
+attraction in the church paintings of Domenichino, consists in the glory
+of the angels, exquisitely beautiful in feature, full of lively action,
+and so introduced as to perform the most gracious offices in the piece,
+as the crowning of martyrs, the bearing of palms, the scattering of
+roses, weaving the mazy dance, and making sweet melodies."
+
+
+DOMENICHINO'S ENEMIES AT ROME.
+
+The reputation which Domenichino had justly acquired at Rome had excited
+the jealousy of some of his cotemporaries, and the applause bestowed
+upon his Communion of St. Jerome, only served to increase it. The Cav.
+Lanfranco in particular, one of his most inveterate enemies, asserted
+that the Communion of St. Jerome was little more than a copy of the same
+subject by Agostino Caracci, at the Certosa at Bologna, and he employed
+Perrier, one of his pupils, to make an etching from the picture by
+Agostino. But this stratagem, instead of confirming the plagiarism,
+discovered the calumny, as it proved that there was no more resemblance
+between the two works than must necessarily result in two artists
+treating the same subject, and that every essential part, and all that
+was admired was entirely his own. If it had been possible for modest
+merit to have repelled the shafts of slander, the work which he executed
+immediately afterwards in the church of S. Lodovico, representing the
+life of St. Cecilia, would have silenced the attacks of envy and
+malevolence; but they only tended to increase the alarm of his
+competitors, and excite them to redoubled injustice and malignity.
+Disgusted with these continued cabals, Domenichino quitted Rome, and
+returned to Bologna, where he resided several years in the quiet
+practice of his profession, and executed some of his most admired works,
+particularly the Martyrdom of St. Agnes for the church of that Saint,
+and the Madonna del Rosario, both of which were engraved by Gerard
+Audran, and taken to Paris and placed in the Louvre by order of
+Napoleon. The fame of Domenichino was now so well established that
+intrigue and malice could not suppress it, and Pope Gregory XV. invited
+him back to Rome, and appointed him principal painter, and architect to
+the pontifical palace.
+
+
+DECISION OF POSTERITY ON THE MERITS OF DOMENICHINO.
+
+"The public," says Lanzi, "is an equitable judge; but a good cause is
+not always sufficient without the advantage of many voices to sustain
+it. Domenichino, timid, retiring, and master of few pupils, was
+destitute of a party equal to his cause. He was constrained to yield to
+the crowd that trampled upon him, thus verifying the prediction of
+Monsignore Agucchi, that his merits would never be rightly appreciated
+during his life-time. The spirit of party having passed away, impartial
+posterity has rendered him justice; nor is there a royal gallery but
+confesses an ambition to possess his works. His figure pieces are in the
+highest esteem, and command enormous prices."
+
+
+PROOF OF THE MERITS OF DOMENICHINO.
+
+No better proof of the exalted merits of Domenichino can be desired,
+than the fact that upwards of fifty of his works have been engraved by
+the most renowned engravers, as Gerard Audran, Raffaelle Morghen, Sir
+Robert Strange, C. F. von Muller, and other illustrious artists; many of
+these also have been frequently repeated.
+
+
+DOMENICHINO'S CARICATURES.
+
+While Domenichino was in Naples, he was visited by his biographer
+Passeri, then a young man, who was engaged to assist in repairing the
+pictures in the Cardinal's chapel. "When he arrived at Frescati," says
+Passeri, "Domenichino received me with much courtesy, and hearing that I
+took a singular delight in the belles-lettres, it increased his kindness
+to me. I remember that I gazed on this man as though he were an angel. I
+remained there to the end of September, occupied in restoring the
+chapel of St. Sebastian, which had been ruined by the damp. Sometimes
+Domenichino would join us, singing delightfully to recreate himself.
+When night set in, we returned to our apartment; while he most
+frequently remained in his room, occupied in drawing, and permitting
+none to see him. Sometimes, however, to pass the time, he drew
+caricatures of us all, and of the inhabitants of the villa. When he
+succeeded to his perfect satisfaction, he was wont to indulge in
+immoderate fits of laughter; and we, who were in the adjoining room,
+would run in to know his reason, when he showed us his spirited
+sketches. He drew a caricature of me with a guitar, one of Carmini (the
+painter), and one of the Guarda Roba, who was lame of the gout; and of
+the Sub-guarda Roba, a most ridiculous figure--to prevent our being
+offended, he caricatured himself. These portraits are now preserved by
+Signor Giovanni Pietro Bellori."
+
+
+INTRIGUES OF THE NEAPOLITAN TRIUMVIRATE OF PAINTERS.
+
+The conspiracy of Bellisario Corenzio, Giuseppe Ribera, and Gio.
+Battista Caracciolo, called the Neapolitan Triumvirate of Painters, to
+monopolize to themselves all valuable commissions, and particularly the
+honor of decorating the chapel of St. Januarius, is one of the most
+curious passages in the history of art. The following is Lanzi's account
+of this disgraceful cabal:
+
+"The three masters whom I have just noticed in successive order,
+(Corenzio, Ribera, and Caracciolo) were the authors of the unceasing
+persecutions which many of the artists who had come to, or were invited
+to Naples, were for several years subjected to. Bellisario had
+established a supreme dominion, or rather a tyranny, over the Neapolitan
+painters, by calumny and insolence, as well as by his station. He
+monopolized all lucrative commissions to himself, and recommended, for
+the fulfilment of others, one or other of the numerous and inferior
+artists that were dependent on him. The Cav. Massimo Stanziozi,
+Santafede, and other artists of talent, if they did not defer to him,
+were careful not to offend him, as they knew him to be a man of a
+vindictive temper, treacherous, and capable of every violence, and who
+was known, through jealousy, to have administered poison to Luigi
+Roderigo, the most promising and the most amiable of his scholars.
+
+"Bellisario, in order to maintain himself in his assumed authority,
+endeavored to exclude all strangers who painted in fresco rather than in
+oil. Annibale Caracci arrived there in 1609, and was engaged to ornament
+the churches of Spirito Santo and Gesu Nuovo, for which, as a specimen
+of his style, he painted a small picture. The Greek and his adherents
+being required to give their opinion on this exquisite production,
+declared it to be tasteless, and decided that the painter of it did not
+possess talent for large compositions. This divine artist in
+consequence took his departure under a burning sun, for Rome, where he
+soon afterwards died. But the work in which strangers were the most
+opposed was the chapel of S. Gennaro, which a committee had assigned to
+the Cav. d'Arpino, as soon as he should finish painting the choir of the
+Certosa. Bellisorio, leaguing with Spagnoletto (like himself a fierce
+and ungovernable man) and with Caracciolo, who aspired to this
+commission, persecuted Cesari in such a manner, that before he had
+finished the choir he fled to Monte Cassino, and from thence returned to
+Rome. The work was then given to Guido, but after a short time two
+unknown persons assaulted the servant of that artist, and at the same
+time desired him to inform his master that he must prepare himself for
+death, or instantly quit Naples, with which latter mandate Guido
+immediately complied. Gessi, the scholar of Guido, was not however
+intimidated by this event, but applied for, and obtained the honorable
+commission, and came to Naples with two assistants, Gio. Batista
+Ruggieri and Lorenzo Menini. But these artists were scarcely arrived,
+when they were treacherously invited on board a galley, which
+immediately weighed anchor and carried them off, to the great dismay of
+their master, who although he made the most diligent inquiries both at
+Rome and Naples, could never procure any tidings of them.
+
+"Gessi in consequence also taking his departure, the committee lost all
+hope of succeeding in their task, and were in the act of yielding to
+the reigning cabal, assigning the fresco work to Corenzio and
+Caracciolo, and promising the pictures to Spagnoletto, when suddenly
+repenting of their resolution, they effaced all that was painted of the
+two frescos, and intrusted the decoration of the chapel entirely to
+Domenichino. It ought to be mentioned to the honor of these munificent
+persons, that they engaged to pay for every entire figure, 100 ducats,
+for each half-figure 50 ducats, and for each head 25 ducats. They took
+precautions also against any interruption to the artist, threatening the
+Viceroy's high displeasure if he were in any way molested. But this was
+only matter of derision to the junta. They began immediately to cry him
+down as a cold and insipid painter, and to discredit him with those, the
+most numerous class in every place, who see only with the eyes of
+others. They harassed him by calumnies, by anonymous letters, by
+displacing his pictures, by mixing injurious ingredients with his
+colors, and by the most insidious malice they procured some of his
+pictures to be sent by the viceroy to the court of Madrid; and these,
+when little more than sketched, were taken from his studio and carried
+to the court, where Spagnoletto ordered them to be retouched, and,
+without giving him time to finish them, hurried them to their
+destination. This malicious fraud of his rival, the complaints of the
+committee, who always met with some fresh obstacle to the completion of
+the work, and the suspicion of some evil design, at last determined
+Domenichino to depart secretly to Rome. As soon however as the news of
+his flight transpired, he was recalled, and fresh measures taken for his
+protection; when he resumed his labors, and decorated the walls and base
+of the cupola, and made considerable progress in the painting of his
+pictures.
+
+"But before he could finish his task he was interrupted by death,
+hastened either by poison, or by the many severe vexations he had
+experienced both from his relatives and his adversaries, and the weight
+of which was augmented by the arrival of his former enemy Lanfranco.
+This artist superceded Zampieri in the painting of the basin of the
+chapel; Spagnoletto, in one of his oil pictures; Stanzioni in another;
+and each of these artists, excited by emulation, rivaled, if he did not
+excel, Domenichino. Caracciolo was dead. Bellisario, from his great age,
+took no share in it, and was soon afterwards killed by a fall from a
+stage, which he had erected for the purpose of retouching some of his
+frescos. Nor did Spagnoletto experience a better fate; for, having
+seduced a young girl, and become insupportable even to himself from the
+general odium which he experienced, he embarked on board a ship; nor is
+it known whither he fled, or how he ended his life, if we may credit the
+Neapolitan writers. Palomino, however, states him to have died in Naples
+in 1656, aged sixty-seven, though he does not contradict the first part
+of our statement. Thus these ambitious men, who by violence or fraud
+had influenced and abused the generosity and taste of so many noble
+patrons, and to whose treachery and sanguinary vengeance so many
+professors of the art had fallen victims, ultimately reaped the merited
+fruit of their conduct in a violent death; and an impartial posterity,
+in assigning the palm of merit to Domenichino, inculcates the maxim,
+that it is a delusive hope to attempt to establish fame and fortune on
+the destruction of another's reputation."
+
+
+GIUSEPPE RIBERA, CALLED IL SPAGNOLETTO--HIS EARLY POVERTY AND INDUSTRY.
+
+José Ribera, a native of Valencia in Spain, studied for some time under
+Francisco Ribalta, and afterwards found his way to Italy. At the age of
+sixteen, he was living in Rome, in a very destitute condition;
+subsisting on crusts, clothed in rags, yet endeavoring with unswerving
+diligence to improve himself in art by copying the frescos on the
+façades of palaces, or at the shrines on the corners of the streets. His
+poverty and industry attracted the notice of a compassionate Cardinal,
+who happened to see him at work from his coach-window; and he provided
+the poor boy with clothes, and food, and lodging in his own palace.
+Ribera soon found, however, that to be clad in good raiment, and to fare
+plentifully every day, weakened his powers of application; he needed
+the spur of want to arouse him to exertion; and therefore, after a short
+trial of a life in clover, beneath the shelter of the purple, he
+returned to his poverty and his studies in the streets. The Cardinal was
+at first highly incensed at his departure, and when he next saw him,
+rated him soundly as an ungrateful little Spaniard; but being informed
+of his motives, and observing his diligence, his anger was turned to
+admiration. He renewed his offers of protection, which, however, Ribera
+thankfully declined.
+
+
+RIBERA'S MARRIAGE.
+
+Ribera's adventure with the Cardinal, and his abilities, soon
+distinguished him among the crowd of young artists in Rome. He became
+known by the name which still belongs to him, Il Spagnoletto, (the
+little Spaniard,) and as an imitator of Michael Angelo Caravaggio, the
+bold handling of whose works, and their powerful effects of light and
+shade, pleased his vigorous mind. Finding Rome overstocked with artists,
+he went to Naples, where he made the acquaintance of a rich
+picture-dealer. The latter was so much pleased with Ribera's genius,
+that be offered him his beautiful and well-dowered daughter in marriage.
+The Valencian, not less proud than poor, at first resented this proposal
+as an unseasonable pleasantry upon his forlorn condition; but at last
+finding that it was made in good faith, he took "the good the gods
+provided," and at once stepped from solitary indigence into the
+possession of a handsome wife, a comfortable home, a present field of
+profitable labor, and a prospect of future opulence.
+
+
+RIBERA'S RISE TO EMINENCE.
+
+Ease and prosperity now rather stimulated than relaxed his exertions.
+Choosing for his subject the Flaying of St. Bartholomew, he painted that
+horrible martyrdom with figures of life-size, so fearfully truthful to
+nature that when exposed to the public in the street, it immediately
+attracted a crowd of shuddering gazers. The place of exhibition being
+within view of the royal palace, the eccentric Viceroy, Don Pedro de
+Giron, Duke of Ossuna, who chanced to be taking the air on his balcony,
+inquired the cause of the unusual concourse, and ordered the picture and
+the artist to be brought into his presence. Being well pleased with
+both, he purchased the one for his own gallery, and appointed the other
+his court painter, with a monthly salary of sixty doubloons, and the
+superintendence of all decorations in the palace.
+
+
+RIBERA'S DISCOVERY OF THE PHILOSOPHER'S STONE.
+
+Ribera seems to have been a man of considerable social talent, lively in
+conversation, and dealing in playful wit and amusing sarcasm. Dominici
+relates that two Spanish officers, visiting at his house one day,
+entered upon a serious discussion on the subject of alchemy. The host,
+finding their talk some what tedious, gravely informed them that he him
+self happened to be in possession of the philosopher's stone, and that
+they might, if they pleased, see his way of using it, the next morning
+at his studio. The military adepts were punctual to their appointment,
+and found their friend at work, not in a mysterious laboratory, but at
+his easel, on a half-length picture of St. Jerome. Entreating them to
+restrain their eagerness, he painted steadily on, finished his picture,
+sent it out by his servant, and received a small rouleau in return. This
+he broke open in the presence of his visitors, and throwing ten gold
+doubloons on the table, said, "Learn of me how gold is to be made; I do
+it by painting, you by serving his majesty--diligence in business is the
+only true alchemy." The officers departed somewhat crest-fallen, neither
+relishing the jest, nor likely to reap any benefit from it.
+
+
+RIBERA'S SUBJECTS.
+
+His subjects are generally austere, representing anchorets, prophets,
+apostles, &c., and frequently of the most revolting character, such as
+sanguinary executions, martyrdoms, horrid punishments, and lingering
+torments, which he represented with a startling fidelity that
+intimidates and shocks the beholder. His paintings are very numerous,
+and his drawings and etchings are highly esteemed by connoisseurs.
+
+
+RIBERA'S DISPOSITION.
+
+The talents of this great painter, seem to have been obscured by a cruel
+and revengeful disposition, partaking of the character of his works. He
+was one of the triumvirate of painters, who assassinated, persecuted, or
+drove every talented foreign painter from Naples, that they might
+monopolize the business. He was also a reckless libertine, and,
+according to Dominici, having seduced a beautiful girl, he was seized
+with such remorse for his many crimes, as to become insupportable to
+himself; and to escape the general odium which was heaped upon him, he
+fled from Naples on board a ship, and was never heard of more. This
+story however is doubtless colored, for, according to Palomino and
+several other writers, Ribera died at Naples in 1656. See page 132 of
+this volume.
+
+
+SINGULAR PICTORIAL ILLUSIONS.
+
+Over a certain fountain in Rome, there was a cornice so skilfully
+painted, that the birds were deceived, and trying to alight on it,
+frequently fell into the water beneath. Annibale Caracci painted some
+ornaments on a ceiling of the Farnese palace, which the Duke of Sessa,
+Spanish ambassador to the Pope, took for sculptures, and would not
+believe they were painted on a flat ground, until he had touched them
+with a lance. Agostino Caracci painted a horse, which deceived the
+living animal--a triumph so celebrated in Apelles. Juan Sanchez Cotan,
+painted at Granada a "Crucifixion," on the cross of which Palomino says
+birds often attempted to perch, and which at first sight the keen-eyed
+Cean Bermudez mistook for a piece of sculpture. The reputation of this
+painter stood so high, that Vincenzio Carducci traveled from Madrid to
+Granada on purpose to see him; and he is said to have recognized him
+among the white-robed fraternity of which he was a member, by observing
+in the expression of his countenance, a certain affinity to the spirit
+of his works.
+
+It is related of Murillo's picture of St. Anthony of Padua, that the
+birds, wandering up and down the aisles of the cathedral at Seville,
+have often attempted to perch upon a vase of white lilies painted on a
+table in the picture, and to peck at the flowers. The preëminent modern
+Zeuxis, however, was Pierre Mignard, whose portrait of the Marquise de
+Gouvernet was accosted by that lady's pet parrot, with an affectionate
+"_Baise moi, ma maitresse!_"
+
+
+RAFFAELLE'S SKILL IN PORTRAITS.
+
+Raffaelle was transcendant not only in history, but in portrait. His
+portraits have deceived even persons most intimately acquainted with the
+originals. Lanzi says he painted a picture of Leo X. so full of life,
+that the Cardinal Datary approached it with a bull and pen and ink, for
+the Pope's signature. A similar story is related of Titian.
+
+
+JACOPO DA PONTE.
+
+Count Algarotti relates, that Annibale Caracci was so deceived by a book
+painted upon a table by Jacopo da Ponte, that he stretched out his hand
+to take it up. Bassano was highly honored by Paul Veronese, who placed
+his son Carletto under him as a pupil, to receive his general
+instructions, "and more particularly in regard to that just disposition
+of lights reflected from one object to another, and in those happy
+counterpositions, owing to which the depicted objects seemed clothed
+with a profusion of light."
+
+
+GIOVANNI ROSA.
+
+Giovanni Rosa, a Fleming who flourished at Rome in the first part of the
+seventeenth century, was famous for his pictures of animals. "He painted
+hares so naturally as to deceive the dogs, which would rush at them
+furiously, thus renewing the wonderful story of Zeuxis and his Grapes,
+so much boasted of by Pliny."
+
+
+CAV. GIOVANNI CONTARINI.
+
+This artist was a close imitator of Titian. He was extremely accurate in
+his portraits, which he painted with force, sweetness, and strong
+likeness. He painted a portrait of Marco Dolce, and when the picture was
+sent home, his dogs began to fawn upon it, mistaking it for their
+master.
+
+
+GUERCINO'S POWER OF RELIEF.
+
+The style of Guercino displays a strong contrast of light and shadow,
+both exceedingly bold, yet mingled with great sweetness and harmony, and
+a powerful effect in relief, a branch of art so much admired by
+professors. "Hence," says Lanzi, "some foreigners bestowed upon him the
+title of the Magician of Italian painting, for in him were renewed those
+celebrated illusions of antiquity. He painted a basket of grapes so
+naturally that a ragged urchin stretched out his hand to steal some of
+the fruit. Often, in comparing the figures of Guido with those of
+Guercino, one would say that the former had been fed with roses, and the
+latter with flesh, as observed by one of the ancients."
+
+
+BERNAZZANO.
+
+Lanzi says, "In painting landscape, fruit, and flowers, Bernazzano
+succeeded so admirably as to produce the same wonderful effects that are
+told of Zeuxis and Apelles in Greece. These indeed Italian artists have
+frequently renewed, though with a less degree of applause. Having
+painted a strawberry-bed in a court yard, the pea-fowls were so
+deceived by the resemblance, that they pecked at the wall till they had
+destroyed the painting. He painted the landscape part of a picture of
+the Baptism of Christ, and on the ground drew some birds in the act of
+feeding. On its being placed in the open air, the birds were seen to fly
+towards the picture, to join their companions. This beautiful picture is
+one of the chief ornaments in the gallery of the distinguished family of
+the Trotti at Milan."
+
+
+INVENTION OF OIL PAINTING.
+
+There has been a world of discussion on this subject, but there can be
+no doubt that John van Eyck, called John of Bruges, and by the Italians,
+Giovanni da Bruggia, and Gio. Abeyk or Eyck, is entitled to the honor of
+the invention of Oil Painting as applied to pictures, though Mr. Raspe,
+the celebrated antiquary, in his treatise on the invention of Oil
+Painting, has satisfactorily proved that Oil Painting was practised in
+Italy as early as the 11th century, but only as a means of protecting
+metalic substances from rust.
+
+According to van Mander, the method of painting in Flanders previous to
+the time of the van Eycks, was with gums, or a preparation called
+egg-water, to which a kind of varnish was afterwards applied in
+finishing, which required a certain degree of heat to dry. John van Eyck
+having worked a long time on a picture and finished it with great care,
+placed it in the sun-shine to dry, when the board on which it was
+painted split and spoiled the work. His disappointment at seeing so much
+labor lost, urged him to attempt the discovery, by his knowledge of
+chemistry, of some process which would not in future expose him to such
+an unfortunate accident. In his researches, he discovered the use of
+linseed and nut oil, which he found most siccative. This is generally
+believed to have happened about 1410. There is however, a great deal of
+contradiction among writers as to the van Eycks, no two writers being
+found to agree. Some assert that John van Eyck introduced his invention
+both into Italy and Spain, while others declare that he never left his
+own country, which would seem to be true. Vasari, the first writer on
+Italian art, awards the invention to Giovanni da Bruggia, and gives an
+account of its first introduction into Italy by Antonello da Messina, as
+we shall presently see. But Dominici asserts that oil painting was known
+and practised at Naples by artists whose names had been forgotten long
+before the time of van Eyck. Many other Italian writers have engaged in
+the controversy, and cited many instances of pictures which they
+supposed to have been painted in oil at Milan, Pisa, Naples, and
+elsewhere, as early as the 13th, 12th, and even the 9th centuries. But
+to proceed with the brothers van Eyck, John and Hubert--they generally
+painted in concert till the death of Hubert, and executed many works in
+oil, which were held in the highest estimation at the time when they
+flourished. Their most important work was an altar-piece, with folding
+doors, painted for Jodocus Vyts, who placed it in the church of St.
+Bavon at Ghent. The principal picture in this curious production
+represents the Adoration of the Lamb as described by St. John in the
+Revelations. On one of the folding doors is represented Adam and Eve,
+and on the other, St. Cecilia. This extraordinary work contains over
+three hundred figures, and is finished with the greatest care and
+exactness. It was formerly in the Louvre, but it is now unfortunately
+divided into two parts, one of which is at Berlin, and the other at
+Ghent. Philip I. of Spain desired to purchase it, but finding that
+impracticable, he employed Michael Coxis to copy it, who spent two years
+in doing: it, for which he received 4,000 florins. The king placed this
+copy in the Escurial, and this probably gave rise to the story that John
+van Eyck visited Spain and introduced his discovery into that country.
+In the sacristy of the cathedral at Bruges is preserved with great
+veneration, a picture painted by John van Eyck, after the death of
+Hubert, representing the Virgin and Infant, with St. George, St.
+Donatius, and other saints. It is dated 1436. John died in 1441.
+
+According to Vasari, the fame of Masaccio drew Antonello da Messina to
+Rome; from thence he proceeded to Naples, where he saw some oil
+paintings by John van Eyck, which had been brought to Naples from
+Flanders, by some Neapolitan merchants, and presented or sold to
+Alphonso I., King of Naples. The novelty of the invention, and the
+beauty of the coloring inspired Antonello with so strong a desire to
+become possessed of the secret, that he went to Bruges, and so far
+ingratiated himself into the favor of van Eyck, then advanced in years,
+that he instructed him in the art. Antonello afterwards returned to
+Venice, where he secretly practised the art for some time, communicating
+it only to Domenico Veneziano, his favorite scholar. Veneziano settled
+at Florence, where his works were greatly admired both on account of
+their excellence and the novelty of the process. Here he unfortunately
+formed a connexion with Andrea del Castagno, an eminent Tuscan painter,
+who treacherously murdered Domenico, that he might become, as he
+supposed, the sole possessor of the secret. Castagno artfully concealed
+the atrocious deed till on his death-bed, when struck with remorse, he
+confessed the crime for which innocent persons had suffered. Vasari also
+says that Giovanni Bellini obtained the art surreptitiously from
+Messina, by disguising himself and sitting for his portrait, thus
+gaining an opportunity to observe his method of operating; but Lanzi has
+shown that Messina made the method public on receiving a pension from
+the Venetian Senate. Many writers have appeared, who deny the above
+statement of Vasari; but Lanzi, who carefully investigated the whole
+subject, finds no just reason to claim for his countrymen priority of
+the invention, or to doubt the correctness of Vasari's statement in the
+main. Those old paintings at Milan, Pisa, Naples, Vienna, and elsewhere,
+have been carefully examined and proved to have been painted in
+encaustic or distemper. This subject will be found fully discussed in
+Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects,
+under the articles John and Hubert van Eyck, Antonello da Messina,
+Domenico Veneziano, Andrea del Castagno, and Roger of Bruges.
+
+
+FORESHORTENING.
+
+Foreshortening is the art of representing figures and objects as they
+appear to the eye, viewed in positions varying from the perpendicular.
+The meaning of the term is exemplified in the celebrated Ascension, in
+the Pietá dé Tárchini, at Naples, by Luca Giordano, in which the body of
+Christ is so much foreshortened, that the toes appear to touch the
+knees, and the knees the chin. This art is one of the most difficult in
+painting, and though absurdly claimed as a modern invention, was well
+known to the ancients. Pliny speaks expressly of its having been
+practised by Parrhasius and Pausias. Many writers erroneously attribute
+the invention to Correggio; but Lanzi says, "it was discovered and
+enlarged by Melozzo da Forli, improved by Andrea Mantegna and his
+school, and perfected by Correggio and others." About the year 1472,
+Melozzo painted his famous fresco of the Ascension in the great chapel
+of the Santi Apostoli at Rome. Vasari says of this work, "the figure of
+Christ is so admirably foreshortened, as to appear to pierce the vault;
+and in the same manner, the Angels are seen sweeping through the fields
+of air in different directions." This work was so highly esteemed that
+when the chapel was rebuilt in 1711, the painting was cut out of the
+ceiling with the greatest care, and placed in the Quirinal palace, where
+it is still preserved.
+
+
+METHOD OF TRANSFERRING PAINTINGS FROM WALLS AND PANELS TO CANVASS.
+
+According to Lanzi, Antonio Contri discovered a valuable process, by
+means of which he was enabled to transfer fresco paintings from walls to
+canvass, without the least injury to the work, and thus preserved many
+valuable paintings by the great masters, which obtained him wide
+celebrity and profitable employment. For this purpose, he spread upon a
+piece of canvass of the size of the painting to be transferred, a
+composition of glue or bitumen, and placed it upon the picture. When
+this was sufficiently dry, he beat the wall carefully with a mallet, cut
+the plaster around it, and applied to the canvass a wooden frame, well
+propped, to sustain it, and then, after a few days, cautiously removed
+the canvass, which brought the painting with it; and having extended it
+upon a smooth table he applied to the back of it another canvass
+prepared with a more adhesive composition than the former. After a few
+days, he examined the two pieces of canvass, detached the first by means
+of warm water, which left the whole painting upon the second as it was
+originally upon the wall.
+
+Contri was born at Ferrara about 1660, and died in 1732. Palmaroli, an
+Italian painter of the present century, rendered his name famous, and
+conferred a great benefit on art by his skill in transferring to canvass
+some of the frescos and other works of the great masters. In 1811 he
+transferred the famous fresco of the Descent from the Cross by Daniello
+da Volterra (erroneously said, as related above, to have been the first
+effort of the kind), which gained him immense reputation. He was
+employed to restore a great number of works at Rome, and in other
+places. He was invited to Germany, where, among other works, he
+transferred the Madonna di San Sisto, by Raffaelle, from the original
+panel, which was worm-eaten and decayed, and thus preserved one of the
+most famous works of that prince of painters. At the present time, this
+art is practised with success in various European cities, particularly
+in London and Paris.
+
+
+WORKS IN SCAGLIOLA.
+
+Guido Fassi, called del Conte, a native of Carpi, born in 1584, was the
+inventor of a valuable kind of work in imitation of marble, called by
+the Italians _Scagliola_ or _Mischia_, which was subsequently carried to
+great perfection, and is now largely employed in the imitation of works
+in marble. The stone called _selenite_ forms the principal ingredient.
+This is pulverized, mixed with colors and certain adhesive substances
+which gradually become as hard as stone, capable of receiving a high
+polish. Fassi made his first trials on cornices, and gave them the
+appearance of fine marble, and there remain two altar-pieces by him in
+the churches of Carpi. From him, the method rapidly spread over Italy,
+and many artists engaged in this then new art. Annibale Griffoni, a
+pupil of Fassi, applied the art to monuments. Giovanni Cavignani, also a
+pupil of Fassi, far surpassed his master, and executed an altar of St.
+Antonio, for the church of S. Niccolo, at Carpi, which is still pointed
+out as something extraordinary. It consists of two columns of porphyry
+adorned with a pallium, covered with lace, which last is an exact
+imitation of the covering of an altar, while it is ornamented in the
+margin with medals, bearing beautiful figures. In the Cathedral at
+Carpi, is a monument by one Ferrari, which so perfectly imitates marble
+that it cannot be distinguished from it, except by fracture. It has the
+look and touch of marble. Lanzi, from whom these facts are obtained,
+says that these artists ventured upon the composition of pictures,
+intended to represent engravings as well as oil paintings, and that
+there are several such works, representing even historical subjects, in
+the collections of Carpi. Lanzi considers this art of so much
+importance, that he thus concludes his article upon it: "After the
+practice of modeling had been brought to vie with sculpture, and after
+engraving upon wood had so well counterfeited works of design, we have
+to record this third invention, belonging to a State of no great
+dimensions. Such a fact is calculated to bring into higher estimation
+the geniuses who adorned it. There is nothing of which man is more
+ambitious, than of being called an inventor of new arts; nothing is more
+flattering to his intellect, or draws a broader line between him and the
+animals. Nothing was held in higher reverence by the ancients, and hence
+it is that Virgil, in his Elysian Fields, represented the band of
+inventors with their brows bound with white chaplets, equally distinct
+in merit as in rank, from the more vulgar shades around them."
+
+
+THE GOLDEN AGE OF PAINTING.
+
+"We have now arrived," says Lanzi, "at the most brilliant period of the
+Roman school, and of modern painting itself. We have seen the art
+carried to a high degree of perfection by Da Vinci and Buonarotti, at
+the beginning of the sixteenth century, and it is remarkable that the
+same period embraces not only Rafaelle, but also Correggio, Giorgione,
+Titian, and the most celebrated Venetian painters; so that a man
+enjoying the common term of life might have seen the works of all these
+illustrious masters. The art in a few years thus reached a height to
+which it had never before attained, and which has never been rivalled,
+except in the attempt to imitate these early masters, or to unite in one
+style their various and divided excellencies. It seems an ordinary law
+of providence that individuals of consummate genius should be born and
+flourish at the same period, or at least at short intervals from each
+other, a circumstance of which Velleius Paterculus protested he could
+never discover the real cause. 'I observe,' he says, 'men of the same
+commanding genius making their appearance together, in the smallest
+possible space of time; as it happens in the case of animals of
+different kinds, which, confined in a close place, nevertheless, each
+selects its own class, and those of a kindred race separate themselves
+from the rest. A single age sufficed to illustrate Tragedy, in the
+persons of Æschylus, Sophocles, and Euripides: ancient comedy under
+Cratinus, Aristophanes, and Eumolpides, and in like manner the new
+comedy under Menander, Diphilus, and Philemon. There appeared few
+philosophers of note after the days of Plato and Aristotle, and whoever
+has made himself acquainted with Isocrates and his school, is acquainted
+with the summit of Grecian eloquence.' The same remark applies to other
+countries. The great Roman writers are included under the single age of
+Octavius: Leo X. was the Augustus of modern Italy; the reign of Louis
+XIV. was the brilliant period of French letters; that of Charles II. of
+the English."
+
+This rule applies equally to the fine arts. _Hoc idem_, proceeds
+Velleius, _evenisse plastis, pictoribus, sculptoribus, quisquis temporum
+institerit notis reperiet, et eminentiam cujusque operis artissimis
+temporum claustris circumdatum_. Of this union of men of genius in the
+same age, _Causus_, he says, _quum sempre requiro, numquam invenio quas
+veras confidam_. It seems to him probable that when a man finds the
+first station in art occupied by another, he considers it as a post that
+has been rightfully seized on, and no longer aspires to the possession
+of it, but is humiliated, and contented to follow at a distance. But
+this solution does not satisfy my mind. It may indeed account to us why
+no other Michael Angelo, or Raffaelle, has ever appeared; but it does
+not satisfy me why these two, and the others before mentioned, should
+all have appeared in the same age. I am of opinion that the age is
+always influenced by certain principles, universally adopted both by
+professors of the art, and by amateurs; which principles happening at a
+particular period to be the most just and accurate of their kind,
+produce in that age some preëminent professors, and a number of good
+ones. These principles change through the instability of all human
+affairs, and the age partakes in the change. I may add that these happy
+periods never occur without the circumstance of a number of princes and
+influential individuals rivalling each other in the encouragement of
+works of taste; and amidst these there always arise persons of
+commanding genius, who give a bias and tone to art. The history of
+sculpture in Athens, where munificence and taste went hand in hand,
+favors my opinion, and it is confirmed by this golden period of Italian
+art. Nevertheless, I do not pretend to give a verdict on this important
+question, but leave the decision of it to a more competent tribunal.
+
+
+GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.
+
+"The reign of Augustus was the golden age of science and the fine arts.
+Grecian architecture at that period was so encouraged at Rome, that
+Augustus could with reason boast of having left a city of marble where
+he had found one of brick. In the time of the Cæsars, fourteen
+magnificent aqueducts, supported by immense arches, conducted whole
+rivers to Rome, from a distance of many miles, and supplied 150 public
+fountains, 118 large public baths, besides the water necessary for those
+artificial seas in which naval combats were represented: 100,000 statues
+ornamented the public squares, the temples, the streets, and the houses;
+90 colossal statues raised on pedestals; 48 obelisks of Egyptian
+granite, besides, adorned various parts of the city; nor was this
+stupendous magnificence confined to Rome, or even to Italy. All the
+provinces of the vast empire were embellished by Augustus and his
+successors, by the opulent nobles, by the tributary kings and the
+allies, with temples, circuses, theatres, palaces, aqueducts,
+amphitheatres, bridges, baths, and new cities. We have, unfortunately,
+but scanty memorials of the architects of those times; and, amidst the
+abundance of magnificent edifices, we search in vain for the names of
+those who erected them. However much the age of Augustus may be exalted,
+we cannot think it superior, or even equal to that of Alexander: the
+Romans were late in becoming acquainted with the arts; they cultivated
+them more from pride and ostentation than from feeling. Expensive
+collections were frequently made, without the possessors understanding
+their value; they knew only that such things were in reputation, and, to
+render themselves of consequence, purchased on the opinion of others. Of
+this, the Roman history gives frequent proofs. Domitian squandered seven
+millions in gilding the temple of Jupiter Capitolinus only, bringing
+from Athens a number of columns of Pentelic marble, extremely beautiful,
+and of good proportion, but which were recut and repolished, and thus
+deprived of their symmetry and grace. If the Romans did possess any
+taste for the fine arts, they left the exercise of it to the
+conquered--to Greece, who had no longer her Solon, Lycurgus,
+Themistocles, and Epaminondas, but was unarmed, depressed, and had
+become the slave of Rome. 'Græcia capta ferum victorem cepit.' How poor
+are such triumphs to those gained by the fine arts! The means by which
+Greece acquired and maintained such excellence, is worthy of an inquiry.
+It is generally allowed that climate and government have a powerful
+influence on the intellect. Greece was peculiarly favored in these two
+points; her atmosphere was serene and temperate, and being divided into
+a number of small, but independent states, a spirit of emulation was
+excited, which continually called forth some improvement in the liberal
+arts. The study of these formed a principal branch of education in the
+academies and schools, to which none but the free youth were admitted.
+To learning alone was the tribute of applause offered. At those solemn
+festivals to which all Greece resorted, whoever had the plurality of
+votes was crowned in the presence of the whole assembly, and his efforts
+afterwards rewarded with an immense sum of money; sometimes a million of
+crowns. Statues, with inscriptions, were also raised to those who had
+thus distinguished themselves, and their works, or whatever resembled
+them, for ever after bore their names; distinctions far more flattering
+than any pecuniary reward. Meticus gave his to a square which he built
+at Athens, and the appellation of Agaptos was applied to the porticos of
+the stadium. Zeuxis, when he painted Helen, collected a number of
+beautiful women, as studies for his subject: when completed, the
+Agrigentines, who had ordered it, were so delighted with this
+performance, that they requested him to accept of five of the ladies.
+Thebes, and other cities, fined those that presented a bad work, and
+looked on them ever afterwards with derision. The applause bestowed on
+the best efforts, was repeated by the orators, the poets, the
+philosophers, and historians; the Cow of Miron, the Venus of Apelles,
+and the Cupid of Praxiteles, have exercised every pen. By these means
+Greece brought the fine arts to perfection; by neglecting them, Rome
+failed to equal her; and, by pursuing the same course, every country may
+become as refined as Greece."--_Milizia._
+
+
+NERO'S GOLDEN PALACE.
+
+According to Tacitus, Nero's famous golden palace was one of the most
+magnificent edifices ever built, and far surpassed all that was
+stupendous and beautiful in Italy. It was erected on the site of the
+great conflagration at Rome, which was attributed by many to the
+wickedness of the tyrant. His statue, 120 feet high, stood in the midst
+of a court, ornamented with porticos of three files of lofty columns,
+each full a mile long; the gardens were of vast extent, with vineyards,
+meadows, and woods, filled with every sort of domestic and wild animals;
+a pond was converted into a sea, surrounded by a sufficient number of
+edifices to form a city; pearls, gems, and the most precious materials
+were used everywhere, and especially gold, the profusion of which,
+within and without, and ever on the roofs, caused it to be called the
+Golden House; the essences and costly perfumes continually shed around,
+showed the extreme extravagance of the inhuman monster who seized on the
+wealth of the people to gratify his own desires. Among other curiosities
+was a dining-room, in which was represented the firmament, constantly
+revolving, imitative of the motion of the heavenly bodies; from it was
+showered down every sort of odoriferous waters. This great palace was
+completed by Otho, but did not long remain entire, as Vespasian restored
+to the people the lands of which Nero had unjustly deprived them, and
+erected in its place the mighty Colosseum, and the magnificent Temple of
+Peace.
+
+
+NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.
+
+According to Pliny, Saurus and Batrarchus, two Lacedemonian architects,
+erected conjointly at their own expense, certain temples at Rome, which
+were afterwards enclosed by Octavius. Not being allowed to inscribe
+their names, they carved on the pedestals of the columns a lizard and a
+frog, which indicated them--_Saurus_ signifying a lizard, and
+_Batrarchus_ a frog. Milizia says that in the church of S. Lorenzo there
+are two antique Ionic capitals with a lizard and a frog carved in the
+eyes of the volutes, which are probably those alluded to by Pliny,
+although the latter says _pedestal_. Modern painters and engravers have
+frequently adopted similar devices as a _rebus_, or enigmatical
+representation of their names. See Spooner's Dictionary of Painters,
+Engravers, Sculptors, and Architects; Key to Monograms and Ciphers, and
+the twenty-four plates.
+
+
+TRIUMPHAL ARCHES.
+
+Triumphal arches are monuments consisting of a grand portico or archway,
+erected at the entrance of a town, upon a bridge, or upon a public road,
+to the glory of some celebrated general, or in memory of some important
+event. The invention of these structures is attributed to the Romans.
+The earliest specimens are destitute of any magnificence. For a long
+time, they consisted merely of a plain arch, at the top of which was
+placed the trophies and statue of the triumpher. Subsequently the span
+was enlarged, the style enriched, and a profusion of all kinds of
+sculptures and ornaments heaped upon them. The triumphal arches varied
+greatly in point of construction, form, and decoration. The arch of
+Constantine at Rome is the best preserved of all the great antique
+arches; the Arch of Septimus Severus at the foot of the Capitoline hill,
+greatly resembles that of Constantine. The Arch of Titus is the most
+considerable at Rome. The Arch of Benvenuto, erected in honor of Trajan,
+is one of the most remarkable relics of antiquity, as well on account
+of its sculptures as its architecture. The Arch of Trajan at Ancona is
+also one of the most elegant works of the kind. The Arch of Rimini,
+erected in honor of Augustus, on the occasion of his repairing the
+Flaminian Way from that town to Rome, is the most ancient of all the
+antique arches, and from its size, one of the noblest existing. Many
+beautiful structures of this kind have been erected in modern times, but
+principally on the plan, and in imitation of some of the above
+mentioned. Ancient medals often bear signs of this species of
+architecture, and some of them represent arches that have ceased to
+exist for centuries. Triumphal arches seem to have been in use among the
+Chinese in very ancient times. Milizia says, "There is no country in the
+world in which those arches are so numerous as in China. They are found
+not only in the cities but on the mountains; and are erected in the
+public streets in honor of princes, generals, philosophers, and
+mandarins, who have benefitted the public, or signalized themselves by
+any great action; there are more than 1100 of these latter, 200 of which
+are of extraordinary size and beauty; there are also some in honor of
+females. The Chinese annals record 3636 men who have merited triumphal
+arches." Milizia also says, the friezes of the Chinese arches are of
+great height, and ornamented with sculpture. The highest arches are
+twenty-five feet, embellished with human figures, animals, flowers, and
+grotesque forms, in various attitudes, and in full relief.
+
+
+STATUE OF POMPEY THE GREAT.
+
+The large Statue of Pompey, formerly in the collection of the Cardinal
+Spada, is supposed to be the same as that, at the base of which "Great
+Cæsar fell." It was found on the very spot where the Senate was held on
+the fatal ides of March, while some workmen were engaged in making
+excavations, to erect a private house. The Statue is not only
+interesting from its antiquity and historical associations, but for a
+curious episode that followed its discovery. The trunk lay in the ground
+of the discoverer, but the head projected into that of his neighbor;
+this occasioned a dispute as to the right of possession. The matter was
+at length referred to the decision of Cardinal Spada, who, like the wise
+man of old, ordered the Statue to be decapitated, and division made
+according to _position_--the trunk to one claimant, and the head to the
+other. The object of the wily Cardinal was not so much justice, as to
+get possession of the Statue himself, which he afterwards did, at a
+tithe of what it would otherwise have cost him. The whole cost him only
+500 crowns.
+
+
+OF ANTIQUE SCULPTURES IN ROME.
+
+In 1824, there were more than 10,600 pieces of ancient sculpture in
+Rome; (statues, busts, and relievos,) and upwards of 6300 ancient
+columns of marble. What multitudes of the latter have been sawed up for
+tables, and for wainscotting chapels, or mixed up with walls, and
+otherwise destroyed! And what multitudes may yet lie undiscovered
+underneath the many feet of earth and rubbish which buries ancient Rome!
+When we reflect on this, it may give us some faint idea of the vast
+magnificence of Rome in all its pristine splendor!
+
+
+ANCIENT MAP OF ROME.
+
+The Ichnography of Rome, in the fine collection of antiquities in the
+Palazzo Farnese, was found in the temple of Romulus and Remus, which is
+now dedicated to Sts. Cosmo and Damiano, who were also twin brothers.
+Though incomplete, it is one of the most useful remains of antiquity.
+The names of the particular buildings and palaces are marked upon it, as
+well as the outlines of the buildings themselves; and it is so large,
+that the Horrea Lolliana are a foot and a half long; and may serve as a
+scale to measure any other building or palace in it. It is published in
+Groevius's Thesaurus.
+
+
+JULIAN THE APOSTATE.
+
+The Emperor Julian commanded Alypius, a learned architect of Antioch,
+who held many important offices under that monarch, to rebuild the
+Temple of Jerusalem, A. D. 363, with the avowed object of falsifying the
+prophecy of our Saviour with regard to that structure. While the
+workmen were engaged in making excavations for the foundation, balls of
+fire issued from the earth and destroyed them. This indication of divine
+wrath against the reprobate Jews and the Apostate Julian, compelled him
+to abandon his project. The story is affirmed by many Christian and
+classic authors.
+
+
+THE TOMB OF MAUSOLUS.
+
+When Mausolus, king of Caria, died about B. C. 353, his wife Artemisia,
+was so disconsolate, that she drank up his ashes, and resolved to erect
+in the city of Halicarnassus, one of the grandest and noblest monuments
+of antiquity, to celebrate the memory of a husband whom she tenderly
+loved. She therefore employed Bryaxis, Scopas, Timotheus, and Leocarus,
+four of the most renowned sculptors and architects of the golden age of
+Grecian art, to erect that famous mausoleum which was accounted one of
+the seven wonders of the world, and gave its name to all similar
+structures in succeeding ages. Its dimensions on the north and south
+sides were sixty-three feet, the east and west sides were a little
+shorter, and its extreme height was one hundred and forty feet. It was
+surrounded with thirty-six splendid marble columns. Byaxis executed the
+north side, Scopas the east, Timotheus the south, and Leocarus the west.
+Artemisia died before the work was completed; but the artists continued
+their work with unabated zeal, and they endeavored to rival each other
+in the beauty and magnificence with which they decorated this admirable
+work. A fifth sculptor, named Pythis, was added to them, who executed a
+noble four horse chariot of marble, which was placed on a pyramid
+crowning the summit of the mausoleum.
+
+
+MANDROCLES' BRIDGE ACROSS THE BOSPHORUS.
+
+Mandrocles, probably a Greek architect in the service of Darius, King of
+Persia, who flourished about B. C. 500, acquired a great name for the
+bridge which he constructed across the Thracian Bosphorus, or Straits of
+Constantinople, by order of that monarch. This bridge was formed of
+boats so ingeniously and firmly united that the innumerable army of
+Persia passed over it from Asia to Europe. To preserve the memory of so
+singular a work, Mandrocles represented in a picture, the Bosphorus, the
+bridge, the king of Persia seated on a throne, and the army that passed
+over it. This picture was preserved in the Temple of Juno at Samos,
+where Herodotus saw it, with this inscription:--"Mandrocles, after
+having constructed a bridge of boats over the Bosphorus, by order of the
+king Darius of Persia, dedicated this monument to Juno, which does honor
+to Samos, his country, and confers glory on the artificer."
+
+
+THE COLOSSUS OF THE SUN AT RHODES.
+
+This prodigious Statue, which, was accounted one of the seven wonders of
+the world, was planned, and probably executed by Chares, an ancient
+sculptor of Lindus, and a disciple of Lysippus. According to Strabo, the
+statue was of brass, and was seventy cubits, or one hundred feet high;
+and Chares was employed upon it twelve years. It was said to have been
+placed at the entrance of the harbor of Rhodes, with the feet upon two
+rocks, in such a manner, that the ships then used in commerce could pass
+in full sail between them. This colossus, after standing fifty-six
+years, was overthrown by an earthquake. An oracle had forbidden the
+inhabitants to restore it to its former position, and its fragments
+remained in the same position until A. D. 667, when Moaviah, a calif of
+the Saracens, who invaded Rhodes in that year, sold them to a Jewish
+merchant, who is said to have loaded nine hundred camels with them.
+
+Pliny says that Chares executed the statue in three years, and he
+relates several interesting particulars, as that few persons could
+embrace its thumb, and that the fingers were as long as an ordinary
+statue. Muratori reckons this one of the fables of antiquity. Though the
+accounts in ancient authors concerning this colossal statue of Apollo
+are somewhat contradictory, they all agree that there was such a statue,
+seventy or eighty cubits high, and so monstrous a fable could not have
+been imposed upon the world in that enlightened age. Some antiquarians
+have thought, with great justice, that the fine head of Apollo which is
+stamped upon the Rhodian medals, is a representation of that of the
+Colossus.
+
+
+STATUES AND PAINTINGS AT RHODES.
+
+Pliny says, (lib. xxxiv. cap. 7.) that Rhodes, in his time, "possessed
+more than 3000 statues, the greater part finely executed; also paintings
+and other works of art, of more value than those contained in the cities
+of Greece. There was the wonderful Colossus, executed by Chares of
+Lindus, the disciple of Lysippus."
+
+
+SOSTRATUS' LIGHT-HOUSE ON THE ISLE OF PHAROS.
+
+This celebrated work of antiquity was built by Sostratus, by order of
+Ptolemy Philadelphus. It was a species of tower, erected on a high
+promontory or rock, on the above mentioned island, then situated about a
+mile from Alexandria. It was 450 ft. high, divided into several stories,
+each decreasing in size; the ground story was hexagonal, the sides
+alternately concave and convex, each an eighth of a mile in length; the
+second and third stories were of the same form; the fourth was a square,
+flanked by four round towers; the fifth was circular. The whole edifice
+was of wrought stone; a magnificent staircase led to the top, where
+fires were lighted every night, visible from the distance of a hundred
+miles, to guide the coasting vessels. Sostratus is said to have engraved
+an inscription on stone, and covered it with a species of cement, upon
+which he sculptured the name of Ptolemy, calculating that the cement
+would decay, and bring to light his original inscription. Strabo says
+it read, _Sostratus, the friend of kings, made me_. Lucian reports
+differently, and more probably, thus, _Sostratus of Cnidus, the son of
+Dexiphanes, to the Gods the Saviors, for the safety of Mariners_. It is
+also said that Ptolemy left the inscription to the inclination of the
+architect; and that by the _Gods the Saviors_ were meant the reigning
+king and queen, with their successors, who were ambitious of the title
+of Soteros or Savior.
+
+
+DINOCRATES' PLAN FOR CUTTING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE
+GREAT.
+
+According to Vitruvius, this famous architect, having provided himself
+with recommendatory letters to the principal personages of Alexander's
+court, set out from his native country with the hope of gaining, through
+their means, the favor of the monarch. The courtiers made him promises
+which they neglected to perform, and framed various excuses to prevent
+his access to the sovereign; he therefore determined upon the following
+expedient:--Being of a gigantic and well proportioned stature, he
+stripped himself, anointed his body with oil, bound his head with poplar
+leaves, and throwing a lion's skin across his shoulders, with a club in
+his hand, presented himself to Alexander, in the place where he held his
+public audience. Alexander, astonished at his Herculean figure, desired
+him to approach, demanding, at the same time, his name:--"I am," said
+he, "a Macedonian architect, and am come to submit to you designs worthy
+of the fame you have acquired. I have modelled Mount Athos in the form
+of a giant, holding in his right hand a city, and his left a shell, from
+which are discharged into the sea all the rivers collected from the
+mountain." It was impossible to imagine a scheme more agreeable to
+Alexander, who asked seriously whether there would be sufficient country
+round this city to maintain its inhabitants. Dinocrates answered in the
+negative, and that it would be necessary to supply it by sea. Athos
+consequently remained a mountain; but Alexander was so pleased with the
+novelty of the idea, and the genius of Dinocrates, that he at once took
+him into his service. The design of Dinocrates may be found in Fischer's
+History of Architecture. According to Pliny, Dinocrates planned and
+built the city of Alexandria.
+
+
+POPE'S IDEA OF FORMING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.
+
+"I cannot conceive," said Spence, the author of Polymetis, to Pope, "how
+Dinocrates could ever have carried his proposal of forming Mount Athos
+into a statue of Alexander the Great, into execution."--"For my part,"
+replied Pope, "I have long since had an idea how that might be done; and
+if any body would make me a present of a Welch mountain, and pay the
+workmen, I would undertake to see it executed. I have quite formed it
+sometimes in my imagination: the figure must be on a reclining posture,
+because of the hollowing that would be necessary, and for the city's
+being in one hand. It should be a rude unequal hill, and might be helped
+with groves of trees for the eye brows, and a wood for the hair. The
+natural green turf should be left wherever it would be necessary to
+represent the ground he reclines on. It should be so contrived, that the
+true point of view should be at a considerable distance. When you were
+near it, it should still have the appearance of a rough mountain, but at
+the proper distance such a rising should be the leg, and such another an
+arm. It would be best if there were a river, or rather a lake, at the
+bottom of it, for the rivulet that came through his other hand, to
+tumble down the hill, and discharge itself into it."
+
+Diodorus Siculus, says that Semiramis had the mountain Bajitanus, in
+Media, cut into a statue of herself, seventeen stadii high, (about two
+miles) surrounded by one hundred others, probably representing the
+various members of her court. China, among other wonders, is said to
+have many mountains cut into the figures of men, animals, and birds. It
+is probable, however, that all these stories have originated in the
+imagination, from the real or fanciful resemblance of mountains, to
+various objects, which are found in every country, as "The Old Man of
+the Mountain," Mt. Washington, N. H., "St. Anthony's Nose," in the
+Highlands, "Camel's Rump," Green Mountains, "Giant of the Valley," on
+lake Champlain, &c. It is easy to imagine a mountain as a cloud, "almost
+in shape of a camel," "backed like a weasel," or "very like a whale."
+
+
+TEMPLE WITH AN IRON STATUE SUSPENDED IN THE AIR BY LOADSTONE.
+
+According to Pliny, Dinocrates built a temple at Alexandria, in honor of
+Arsinoe, sister and wife of Ptolemy Philadelphus. The whole interior was
+to have been incrusted with loadstone, in order that the statue of the
+princess, composed of iron, should be suspended in the centre, solely by
+magnetic influence. On the death of Ptolemy and of the architect, the
+idea was abandoned, and has never been executed elsewhere, though
+believed to be practicable. A similar fable was invented of the tomb of
+Mahomet.
+
+
+THE TEMPLE OF JUPITER OLYMPIUS AT ATHENS.
+
+According to Vitruvius, Pisistratus, who flourished about B. C. 555,
+employed the four Grecian architects, Antistates, Antimachides,
+Calleschros, and Porinus, to erect this famous temple in the place of
+one built in the time of Deucalion, which the storms of a thousand years
+had destroyed. They proceeded so far with it that Pisistratus was
+enabled to dedicate it, but after his death the work ceased; and the
+completion of the temple, so magnificent and grand in its design that
+it impressed the beholder with wonder and awe, became the work of after
+ages. Perseus, king of Macedonia, and Antiochus Epiphanes, nearly four
+hundred years after Pisistratus, finished the grand nave, and placed the
+columns of the portico, Cossutius, a Roman, being the architect. It was
+considered, and with good reason, one of the four celebrated marble
+temples of Greece: the other three were that of Diana, at Ephesus;
+Apollo, at Miletus; and Ceres, at Eleusis. The Corinthian order
+prevailed in its design. In the siege that Sylla laid to Athens, this
+temple was greatly injured, but the allied kings afterwards restored it
+at their common expense, intending to dedicate it to the genius of
+Augustus. Livy says that among so many temples, this was the only one
+worthy of a god. Pausanias says the Emperor Adrian enclosed it with a
+wall, as was usual with the Grecian temples, of half a mile in
+circumference, which the cities of Greece adorned with statues erected
+to that monarch. The Athenians distinguished themselves by the elevation
+of a colossal statue behind the temple. This enclosure was also
+ornamented with a peristyle, one hundred rods in length, supported by
+superb marble Corinthian columns, and to this façade were three grand
+vestibules which led to the temple. Adrian dedicated it a second time.
+In the temple was placed a splendid statue of Jupiter Olympius, of gold
+and ivory; and the courtiers added four statues of the Emperor. This
+wonderful structure, which is said to have cost five millions of
+_scudi_, is now in ruins. Sixteen Corinthian columns are still standing,
+six feet four inches and some six feet six inches, in diameter. The
+length of the temple, according to Stuart, upon the upper step, was
+three hundred and fifty-four feet, and its breadth one hundred and
+seventy-one feet; the entire length of the walls of the peribolous is
+six hundred and eighty-eight feet, and the width four hundred and
+sixty-three feet.
+
+
+THE PARTHENON AT ATHENS.
+
+This celebrated temple was built by Ictinus and Callicrates, two Greek
+architects who flourished about B. C. 430. Ictinus was celebrated for
+the magnificent temples which he erected to the heathen gods. Among
+these were the famous Doric temple of Ceres and Proserpine at Eleusis,
+of which he built the outer cell, capable of accommodating thirty
+thousand persons; also the temple of Apollo, near Mount Cotylion, in
+Arcadia, which was considered one of the finest of antiquity, and was
+vaulted with stone. But his most important work was the famous Parthenon
+at Athens, erected within the citadel, by Ictinus and Callicrates, by
+order of Pericles. According to Vitruvius, the two artists exerted all
+their powers to make this temple worthy the goddess who presided over
+the arts. The plan was a rectangle, like most of the Greek and Roman;
+its length from east to west, was 227 feet 7 inches, and its width 101
+feet 2 inches, as measured on the top step. It was peripteral,
+octastyle; that is, surrounded with a portico of columns, with eight to
+each façade. The height of the columns was 34 feet, and their diameter 6
+feet. Within the outer portico was a second, also formed of isolated
+columns, but elevated two steps higher than the first; from thence the
+interior of the temple was entered, which contained the famous statue of
+Minerva in gold and ivory, by Phidias. This famous temple was built
+entirely of white marble, and from its elevated position, could be seen
+from an immense distance. On a nearer approach, it was admired for the
+elegance of its proportions, and the beauty of the bas-reliefs with
+which its exterior was decorated. It was preserved entire until 1677,
+when it was nearly destroyed by an explosion during the siege of Athens
+by Morosini. It was further dilapidated by the Turks, and afterwards by
+Lord Elgin, who removed all the bas-reliefs and other ornaments
+practicable, and transported them to London, where they now adorn the
+British Museum. King Otho has adopted measures to preserve the edifice
+from further mischief.
+
+
+THE ELGIN MARBLES.
+
+The following exceedingly interesting account of the removal of the
+sculptures from the Parthenon, is extracted from Hamilton's "Memorandum
+on the Subject of the Earl of Elgin's Pursuits in Greece."
+
+"In the year 1799, when Lord Elgin was appointed his majesty's
+ambassador extraordinary to the Ottoman Porte, he was in habits of
+frequent intercourse with Mr. Harrison, an architect of great eminence
+in the west of England, whom his lordship consulted on the benefits that
+might possibly be derived to the arts in this country, in case an
+opportunity could be found for studying minutely the architecture and
+sculpture of ancient Greece; whose opinion was, that although we might
+possess exact admeasurements of the public buildings in Athens, yet a
+young artist could never form to himself an adequate conception of their
+minute details, combinations, and general effects, without having before
+him some such sensible representation of them as might be conveyed by
+casts."
+
+On this suggestion Lord Elgin proposed to his majesty's government, that
+they should send out English artists of known eminence, capable of
+collecting this information in the most perfect manner; but the prospect
+appeared of too doubtful an issue for ministers to engage in the expense
+attending it. Lord Elgin then endeavored to engage some of these artists
+at his own charge; but the value of their time was far beyond his means.
+When, however, he reached Sicily, on the recommendation of Sir William
+Hamilton, he was so fortunate as to prevail on Don Tita Lusieri, one of
+the best general painters in Europe, of great knowledge in the arts,
+and of infinite taste, to undertake the execution of this plan; and Mr.
+Hamilton, who was then accompanying Lord Elgin to Constantinople,
+immediately went with Signor Lusieri to Rome, where, in consequence of
+the disturbed state of Italy, they were enabled to engage two of the
+most eminent _formatori_ or moulders, to make the _madreformi_ for the
+casts; Signor Balestra, a distinguished architect there, along with
+Ittar, a young man of promising talents, to undertake the architectural
+part of the plan; and one Theodore, a Calmouk, who during several years
+at Rome, had shown himself equal to the first masters in the design of
+the human figure.
+
+After much difficulty, Lord Elgin obtained permission from the Turkish
+government to establish these six artists at Athens, where they
+systematically prosecuted the business of their several departments
+during three years, under the general superintendence of Lusieri.
+
+Accordingly every monument, of which there are any remains in Athens,
+has been thus most carefully and minutely measured, and from the rough
+draughts of the architects (all of which are preserved), finished
+drawings have been made by them of the plans, elevations, and details of
+the most remarkable objects; in which the Calmouk has restored and
+inserted all the sculpture with exquisite taste and ability. He has
+besides made accurate drawings of all the bas-reliefs on the several
+temples, in the precise state of decay and mutilation in which they at
+present exist.
+
+Most of the bassi rilievi, and nearly all the characteristic features of
+architecture in the various monuments at Athens, have been moulded, and
+the moulds of them brought to London.
+
+Besides the architecture and sculpture at Athens, all similar remains
+which could be traced through several parts of Greece have been measured
+and delineated with the most scrupulous exactness, by the second
+architect Ittar.
+
+In the prosecution of this undertaking, the artists had the
+mortification of witnessing the very _willful devastation to which all
+the sculpture, and even the architecture, were daily exposed on the part
+of the Turks and travelers_: the former equally influenced by mischief
+and by avarice, the latter from an anxiety to become possessed, each
+according to his means, of some relic, however small, of buildings or
+statues which had formed the pride of Greece. The Ionic temple on the
+Ilyssus which, in Stuart's time, about the year 1759, was in tolerable
+preservation, had so entirely disappeared, that its foundation was no
+longer to be ascertained. Another temple near Olympia had shared a
+similar fate within the recollection of many. The temple of Minerva had
+been converted into a powder magazine, and was in great part shattered
+from a shell falling upon it during the bombardment of Athens by the
+Venetians, towards the end of the seventeenth century; and even this
+accident has not deterred the Turks from applying the beautiful temple
+of Neptune and Erectheus to the same use, whereby it is still constantly
+exposed to a similar fate. Many of the statues over the entrance of the
+temple of Minerva, which had been thrown down by the explosion, had been
+powdered to mortar, because they offered the whitest marble within
+reach; and parts of the modern fortification, and the miserable houses
+where this mortar had been so applied, are easily traced. In addition to
+these causes of degradation, the Turks will frequently climb up the
+ruined walls and amuse themselves in defacing any sculpture they can
+reach; or in breaking columns, statues, or other remains of antiquity,
+in the fond expectation of finding within them some hidden treasures.
+
+Under these circumstances, Lord Elgin felt himself irresistibly impelled
+to endeavor to preserve, by removal from Athens, any specimens of
+sculpture he could, without injury, rescue from such impending ruin. He
+had, besides, another inducement, and an example before him, in the
+conduct of the last French embassy sent to Turkey before the Revolution.
+French artists did then attempt to remove several of the sculptured
+ornaments from several edifices in the Acropolis, and particularly from
+the Parthenon. In lowering one of the Metopes the tackle failed, and it
+was dashed to pieces; one other object was conveyed to France, where it
+is held in the highest estimation, and where it occupies a conspicuous
+place in the gallery of the Louvre, and constituted national property
+during the French Revolution. The same agents were remaining at Athens
+during Lord Elgin's embassy, waiting only the return of French influence
+at the Porte to renew their operations. Actuated by these inducements,
+Lord Elgin made every exertion; and the sacrifices he has made have been
+attended with such entire success, that he has brought to England from
+the ruined temples at Athens, from the modern walls and fortifications,
+in which many fragments had been used as blocks for building, and from
+excavations from amongst the ruins, made on purpose, such a mass of
+Athenian sculpture, in statues, alti and bassi rilievi, capitals,
+cornices, friezes, and columns as, with the aid of a few of the casts,
+to present all the sculpture and architecture of any value to the artist
+or man of taste which can be traced at Athens.
+
+In proportion as Lord Elgin's plan advanced, and the means accumulated
+in his hands towards affording an accurate knowledge of the works of
+architecture and sculpture in Athens and in Greece, it became a subject
+of anxious inquiry with him, in what way the greatest degree of benefit
+could be derived to the arts from what he had been so fortunate as to
+procure.
+
+In regard to the works of the architects employed by him, he had
+naturally, from the beginning, looked forward to their being engraved;
+and accordingly all such plans, elevations, and details as to those
+persons appeared desirable for that object, were by them, and on the
+spot, extended with the greatest possible care for the purpose of
+publication. Besides these, all the working sketches and measurements
+offer ample materials for further drawings, if they should be required.
+It was Lord Elgin's wish that the whole of the drawings might be
+executed in the highest perfection of the art of engraving; and for this
+purpose a fund should be raised by subscription, exhibition, or
+otherwise; by aid of which these engravings might still be
+distributable, for the benefit of artists, at a rate of expense within
+the means of professional men.
+
+Great difficulty occurred in forming a plan for deriving the utmost
+advantage from the marbles and casts. Lord Elgin's first attempt was to
+have the statues and bassi rilievi restored; and in that view he went to
+Rome to consult and to employ Canova. The decision of that most eminent
+artist was conclusive. On examining the specimens produced to him, and
+making himself acquainted with the whole collection, and particularly
+with what came from the Parthenon, by means of the persons who had been
+carrying on Lord Elgin's operations at Athens, and who had returned with
+him to Rome, Canova declared, "That however greatly it was to be
+lamented that these statues should have suffered so much from time and
+barbarism, yet it was undeniable that they never had been retouched;
+that they were the work of the ablest artists the world had ever seen;
+executed under the most enlightened patron of the arts, and at a period
+when genius enjoyed the most liberal encouragement, and had attained the
+highest degree of perfection; and that they had been found worthy of
+forming the decoration of the most admired edifice ever erected in
+Greece. That he should have had the greatest delight, and derived the
+greatest benefit from the opportunity Lord Elgin offered him of having
+in his possession and contemplating these inestimable marbles." But
+(_his expression was_) "it would be sacrilege in him or any man to
+presume to touch them with his chisel." Since their arrival in this
+country they have been laid open to the inspection of the public; and
+the opinions and impressions, not only of artists, but of men of taste
+in general, have thus been formed and collected.
+
+From these the judgment pronounced by Canova has been universally
+sanctioned; and all idea of restoring the marbles deprecated. Meanwhile
+the most distinguished painters and sculptors have assiduously attended
+the Museum, and evinced the most enthusiastic admiration of the
+perfection to which these marbles now prove to them that Phidias had
+brought the art of sculpture, and which had hitherto only been known
+through the medium of ancient authors. They have attentively examined
+them, and they have ascertained that they were executed with the most
+scrupulous anatomical truth, not only in the human figure, but in the
+various animals to be found in this collection. They have been struck
+with the wonderful accuracy, and at the same time, the great effect of
+minute detail; and with the life and expression so distinctly produced
+in every variety of attitude and action. Those more advanced in years
+have testified great concern at not having had the advantage of studying
+these models; and many who have had the opportunity of forming a
+comparison (among these are the most eminent sculptors and painters in
+this metropolis), have publicly and unequivocally declared, that in the
+view of professional men, this collection is far more valuable than any
+other collection in existence.
+
+With such advantages as the possession of these unrivalled works of art
+afford, and with an enlightened and encouraging protection bestowed on
+genius and the arts, it may not be too sanguine to indulge a hope, that,
+prodigal as nature is in the perfections of the human figure in this
+country, animating as are the instances of patriotism, heroic actions,
+and private virtues deserving commemoration, sculpture may soon be
+raised in England to rival these, the ablest productions of the best
+times of Greece. The reader is referred to the synopsis of the British
+Museum, and to the Chevalier Visconti's Memoirs, before quoted, for
+complete and authentic catalogues of these marbles, but the following
+brief abstract is necessary to give a view of what they consist, to
+readers who may reside at a distance from the metropolis, or have not
+those works at hand.
+
+In that part of the collection which came from the eastern pediment of
+the Parthenon are several statues and fragments, consisting of two
+horses' heads in one block, and the head of one of the horses of Night,
+a statue of Hercules or Theseus, a group of two female figures, a female
+figure in quick motion, supposed to be Iris, and a group of two
+goddesses, one represented sitting, and the other half reclining on a
+rock. Among the statues and fragments from the western pediment are part
+of the chest and shoulders of the colossal figure in the centre,
+supposed to be Neptune, a fragment of the colossal figure of Minerva, a
+fragment of a head, supposed to belong to the preceding, a fragment of a
+statue of Victory, and a statue of a river god called Ilissus, and
+several fragments of statues from the pediments, the names or places of
+which are not positively ascertained, among which is one supposed to
+have been Latona, holding Apollo and Diana in her arms; another of the
+neck and arms of a figure rising out of the sea, called Hyperion, or the
+rising Sun; and a torso of a male figure with drapery thrown over one
+shoulder. The metopes represent the battles between the Centaurs and
+Lapithæ, at the nuptials of Pirithous. Each metope contains two figures,
+grouped in various attitudes; sometimes the Lapithæ, sometimes the
+Centaurs victorious. The figure of one of the Lapithæ, who is lying
+dead and trampled on by a Centaur, is one of the finest productions of
+the art, as well as the group adjoining to it of Hippodamia, the bride,
+carried off by the Centaur Eurytion; the furious style of whose
+galloping in order to secure his prize, and his shrinking from the spear
+that has been hurled after him, are expressed with prodigious animation.
+They are all in such high relief as to seem groups of statues; and they
+are in general finished with as much attention behind as before.
+
+They were originally continued round the entablature of the Parthenon,
+and formed ninety-two groups. The frieze which was carried along the
+outer walls of the cell offered a continuation of sculptures in low
+relief, and of the most exquisite beauty. It represented the whole of
+the solemn procession to the temple of Minerva during the Panathenaic
+festival; many of the figures are on horseback, others are about to
+mount, some are in chariots, others on foot, oxen and other victims are
+led to sacrifice, the nymphs called Canephoræ, Skiophoræ, &c., are
+carrying the sacred offering in baskets and vases; there are priests,
+magistrates, warriors, deities, &c., forming altogether a series of most
+interesting figures in great variety of costume, armor, and attitude.
+
+From the Opisthodomus of the Parthenon, Lord Elgin also procured some
+valuable inscriptions, written in the manner called Kionedon or
+columnar. The subjects of these monuments are public decrees of the
+people, accounts of the riches contained in the treasury, and delivered
+by the administrators to their successors in office, enumerations of the
+statues, the silver, gold, and precious stones, deposited in the temple,
+estimates for public works, &c.
+
+
+ODEON, OR ODEUM.
+
+The first Odeon, ([Greek: ôdeion], from [Greek: ôdê], a song), was built
+by Pericles at Athens. It was constructed on different principles from
+the theatre, being of an eliptical form, and roofed to preserve the
+harmony and increase the force of musical sounds. The building was
+devoted to poetical and musical contests and exhibitions. It was injured
+in the siege of Sylla, but was subsequently repaired by Ariobarzanes
+Philopator, king of Cappadocia. At a later period, two others were built
+at Athens by Pausanias and Herodes Atticus, and other Greek cities
+followed their example. The first Odeon at Rome was built in the time of
+the emperors; Domitian erected one, and Trajan another. The Romans
+likewise constructed them in several provincial cities, the ruins of one
+of which are still seen at Catanea, in Sicily.
+
+
+PERPETUAL LAMPS.
+
+According to Pausanias, Callimachus made a golden lamp for the Temple of
+Minerva at Athens, with a wick composed of asbestos, which burned day
+and night for a year without trimming or replenishing with oil. If this
+was true, the font of the lamp must have been large enough to have
+contained a year's supply of oil; for, though some profess that the
+economical inventions of the ancients have been forgotten, the least
+knowledge in chemistry proves that oil in burning must be consumed. The
+perpetual lamps, so much celebrated among the learned of former times,
+said to have been found burning after many centuries, on opening tombs,
+are nothing more than fables, arising perhaps from phosphorescent
+appearances, caused by decomposition in confined places, which vanished
+as soon as fresh air was admitted. Such phenomena have frequently been
+observed in opening sepulchres.
+
+
+THE SKULL OF RAFFAELLE.
+
+Is preserved as an object of great veneration in the Academy of St.
+Luke, which the students visit as if in the hope of being inspired with
+similar talents; and it is wonderful that, admiring him so much, modern
+painters should so little resemble him. Either they do not wish to
+imitate him, or do not know how to do so. Those who duly appreciate his
+merits have attempted it, and been successful. Mengs is an example of
+this observation.
+
+
+THE FOUR FINEST PICTURES IN ROME.
+
+The four most celebrated pictures in Rome, are _The Transfiguration_ by
+Raffaelle, _St. Jerome_ by Domenichino, _The Descent from the Cross_ by
+Daniele da Volterra, and _The Romualdo_ by Andrea Sacchi.
+
+
+THE FOUR CARLOS OF THE 17TH CENTURY.
+
+It is a singular fact that the four most distinguished painters of the
+17th century were named Charles, viz.: le Brun, Cignani, Maratta, and
+Loti, or Loth. Hence they are frequently called by writers, especially
+the Italian, "The four Carlos of the 17th century."
+
+
+PIETRO GALLETTI AND THE BOLOGNESE STUDENTS.
+
+Crespi relates that Pietro Galletti, misled by a pleasing self-delusion
+that he was born a painter, made himself the butt and ridicule of all
+the artists of Bologna. When they extolled his works and called him the
+greatest painter in the world, he took their irony for truth, and
+strutted with greater self-complacency. On one occasion, the students
+assembled with great pomp and ceremony, and solemnly invested him with
+the degree of _Doctor of Painting_.
+
+
+ÆTION'S PICTURE OF THE NUPTIALS OF ALEXANDER AND ROXANA.
+
+Ætion gained so much applause by his picture, representing the nuptials
+of Alexander and Roxana, which he publicly exhibited at the Olympic
+Games, that Proxenidas, the president, rewarded him, by giving him his
+daughter in marriage. This picture was taken to Rome after the conquest
+of Greece, where it was seen by Lucian, who gives an accurate
+description of it, from which, it is said, Raffaelle sketched one of his
+finest compositions.
+
+
+AGELADAS.
+
+This famous sculptor was a native of Argos, and flourished about B. C.
+500. He was celebrated for his works in bronze, the chief of which were
+a statue of Jupiter, in the citadel of Ithone, and one of Hercules,
+placed in the Temple at Melite, in Attica, after the great plague.
+Pausanias mentions several other works by him, which were highly
+esteemed. He was also celebrated as the instructor of Myron, Phidias,
+and Polycletus.
+
+
+THE PORTICOS OF AGAPTOS.
+
+According to Pausanias, Agaptos, a Grecian architect, invented the
+porticos around the square attached to the Greek stadii, or race courses
+of the Gymnasiums, which gained him so much reputation, that they were
+called the porticos of Agaptos, and were adopted in every stadium.
+
+
+THE GROUP OF NIOBE AND HER CHILDREN.
+
+Pliny says there was a doubt in his time, whether some statues
+representing the dying children of Niobe (_Niobæ liberos morientes_), in
+the Temple of Apollo Sosianus at Rome, were by Scopas or Praxiteles.
+The well known group of this subject in the Florentine gallery, is
+generally believed to be the identical work mentioned by Pliny. Whether
+it be an original production of one of these great artists, or as some
+critics have supposed, only a copy, it will ever be considered worthy of
+their genius, as one of the sweetest manifestations of that deep and
+intense feeling of beauty which the Grecian artists delighted to
+preserve in the midst of suffering. The admirable criticism of Schlegel
+(Lectures on the Drama, III), developes the internal harmony of the
+work. "In the group of Niobe, there is the most perfect expression of
+terror and pity. The upturned looks of the mother, and the mouth half
+open in supplication, seem to accuse the invisible wrath of Heaven. The
+daughter, clinging in the agonies of death to the bosom of her mother,
+in her infantile innocence, can have no other fear than for herself; the
+innate impulse of self-preservation was never represented in a manner
+more tender and affecting. Can there, on the other hand, be exhibited to
+the senses, a more beautiful image of self-devoting, heroic magnanimity
+than Niobe, as she bends her body forward, that, if possible, she may
+alone receive the destructive bolt? Pride and repugnance are melted down
+in the most ardent maternal love. The more than earthly dignity of the
+features are the less disfigured by pain, as from the quick repetition
+of the shocks, she appears, as in the fable, to have become insensible
+and motionless. Before this figure, twice transformed into stone, and
+yet so inimitably animated--before this line of demarkation of all human
+suffering, the most callous beholder is dissolved in tears."
+
+
+STATUE OF THE FIGHTING GLADIATOR.
+
+The famous antique statue of the Fighting Gladiator, which now adorns
+the Louvre, was executed by Agasias, a Greek sculptor of Ephesus, who
+flourished about B. C. 450. It was found among the ruins of a palace of
+the Roman Emperors at Capo d'Anzo, the ancient Antium, where also the
+Apollo Belvidere was discovered.
+
+
+THE GROUP OF LAOCOÖN IN THE VATICAN.
+
+As Laocoön, a priest of Neptune, (or according to some, of Apollo) was
+sacrificing a bull to Neptune, on the shore at Troy, after the pretended
+retreat of the Greeks, two enormous serpents appeared swimming from the
+island of Tenedos, and advanced towards the altar. The people fled; but
+Laocoön and his two sons fell victims to the monsters. The sons were
+first attacked, and then the father, who attempted to defend them, the
+serpents coiling themselves about him and his sons, while in his agony
+he endeavored to extricate them. They then hastened to the temple of
+Pallas, where, placing themselves at the foot of the goddess, they hid
+themselves under her shield. The people saw in this omen, Laocoön's
+punishment for his impiety in having pierced with his spear, the wooden
+horse which was consecrated to Minerva. Thus Virgil relates the story in
+the Æneid; others, as Hyginus, give different accounts, though agreeing
+in the main points. The fable is chiefly interesting to us, as having
+given rise to one of the finest and most celebrated works of antique
+sculpture, namely, the Laocoön, now in the Vatican. It was discovered in
+1506 by some workmen, while employed in making excavations in a vineyard
+on the site of the Baths of Titus. Pope Julius II. bought it for an
+annual pension, and placed it in the Belvidere in the Vatican. It was
+taken to Paris by Napoleon, but was restored to its place in 1815. It is
+perfect in preservation, except that the right arm of Laocoön was
+wanting, which was restored by Baccio Bandinelli. This group is so
+perfect a work, so grand and so instructive for the student of the fine
+arts, that many writers of all nations have written on it. It represents
+three persons in agony, but in different attitudes of struggling or
+fear, according to their ages, and the mental anguish of the father. All
+connoisseurs declare the group perfect, the product of the most thorough
+knowledge of anatomy, of character, and of ideal perfection. According
+to Pliny, it was the common opinion in his time, that the group was made
+of one stone by three sculptors, Agesander, Polydorus, and Athenadorus,
+all three natives of Rhodes, and the two last probably sons of the
+former. He says, "The Laocoön, which is in the palace of the Emperor
+Titus, is a work to be preferred to all others, either in painting or
+sculpture. Those great artists, Agesander, Polydorus, and Athenadorus,
+Rhodians, executed the principal figure, the sons, and the wonderful
+folds of the serpents, out of one piece of marble." Doubts exist
+respecting the era of this work. Maffei places it in the 88th Olympiad,
+or the first year of the Peloponnesian War; Winckelmann, in the time of
+Lysippus and Alexander; and Lessing, in the time of the first Emperors.
+Some doubt whether this is the work mentioned by Pliny, because it has
+been discovered that the group was not executed out of one block of
+marble, as asserted by him. In the opinion of many judicious critics,
+however, it is considered an original group, and not a copy, for no copy
+would possess its perfections; and that it is certainly the one
+described by Pliny, because, after his time, no known sculptor was
+capable of executing such a perfect work; and had there been one, his
+fame would certainly have reached us. It was found in the place
+mentioned by Pliny, and the joinings are so accurate and artfully
+concealed, that they might easily escape his notice. There are several
+copies of this matchless production by modern sculptors, the most
+remarkable of which, are one in bronze by Sansovino, and another in
+marble by Baccio Bandinelli, which last is in the Medici gallery at
+Florence. It has also been frequently engraved; the best is the famous
+plate by Bervic, engraved for the Musée Francais, pronounced by
+connoisseurs, the finest representation of a marble group ever executed,
+proof impressions of which have been sold for 30 guineas each.
+
+
+MICHAEL ANGELO'S OPINION OF THE LAOCOÖN.
+
+It is said that Julius II. desired Angelo to restore the missing arm
+behind the Laocoön. He commenced it, but left it unfinished, "because,"
+said he, "I found I could do nothing worthy of being joined to so
+admirable a work." What a testimony of the superiority of the best
+ancient sculptors over the moderns, for of all modern sculptors, Michael
+Angelo is universally allowed to be the best!
+
+
+DISCOVERY OF THE LAOCOÖN.
+
+There is a curious letter not generally known, but published by the
+Abate Fea, from Francesco da Sangallo, the sculptor, to Monsignore
+Spedalengo, in which the circumstances of the discovery of the Laocoön
+are thus alluded to. The letter is dated 1509. He says, "It being told
+to the Pope that some fine statues had been discovered in a vineyard
+near S. Maria Maggiore, he sent to desire my father, (Giuliano da
+Sangallo) to go and examine them. Michael Angelo Buonarotti being often
+at our house, father got him to go also; and so," continues Francesco,
+"I mounted behind my father, and we went. We descended to where the
+statues were. My father immediately exclaimed, 'This is the Laocoön
+spoken of by Pliny!' They made the workmen enlarge the aperture or
+excavation, so as to be able to draw them out, and then, having seen
+them, we returned to dinner."
+
+
+SIR JOHN SOANE.
+
+This eminent English architect, and munificent public benefactor, was
+the son of a poor bricklayer, and was born at Reading in 1753. He showed
+early indications of talent and a predilection for architecture; and, at
+the age of fifteen, his father placed him with Mr. George Dance (then
+considered one of the most accomplished of the English architects),
+probably in the capacity of a servant. At all events he was not
+regularly articled, but he soon attracted notice by his industry,
+activity, and talents. Mr. Donaldson says, "his sister was a servant in
+Mr. Dance's family, which proves that the strength of Soane's character
+enabled him to rise to so distinguished a rank merely by his own
+exertions." He afterwards studied under Holland, and in the Royal
+Academy, where he first attracted public notice by a design for a
+triumphal bridge, which drew the gold medal of that institution, and
+entitled him to go to Italy for three years on the pension of the
+Academy. During a residence of six years in Italy, he studied the
+remains of antiquity and the finest modern edifices with great
+assiduity, and made several original designs, which attracted
+considerable attention; among them were one for a British Senate House,
+and another for a Royal Palace. In 1780 he returned to England, and soon
+distinguished himself by several elegant palaces, which he was
+commissioned to erect for the nobility in different parts of the
+kingdom, the plans and elevations of which he published in a folio
+volume in 1788. In the same year, in a competition with nineteen other
+architects, he obtained the lucrative office of Surveyor and Architect
+to the Bank of England, which laid the foundation of the splendid
+fortune he afterwards acquired. Other advantageous appointments
+followed; that of Clerk of the Woods of St. James' Palace, in 1791;
+Architect of the Woods and Forests, in 1795; Professor of Architecture
+in the Royal Academy in 1806; and Surveyor of Chelsea Hospital in 1807.
+In addition to his public employments, he received many commissions for
+private buildings. He led a life of indefatigable industry in the
+practice of his profession till 1833, when he reached his eightieth
+year. He died in 1837.
+
+
+SOANE'S LIBERALITY AND PUBLIC MUNIFICENCE.
+
+Sir John Soane was a munificent patron of various public charities, and
+was even more liberal in his contributions for the advancement of art;
+he subscribed £1000 to the Duke of York's monument; a similar sum to
+the Royal British Institution; £750 to the Institute of British
+Architects; £250 to the Architectural Society, &c. He made a splendid
+collection of works of art, valued at upwards of £50,000 before his
+death, converted his house into a Museum, and left the whole to his
+country, which is now known as _Sir John Soane's Museum_--one of the
+most attractive institutions in London. He devoted the last four years
+of his life in classifying and arranging his Museum, which is
+distributed in twenty-four rooms, and consists of architectural models
+of ancient and modern edifices; a large collection of architectural
+drawings, designs, plans, and measurements, by many great architects; a
+library of the best works on art, particularly on Architecture; antique
+fragments of buildings, as columns, capitals, ornaments, and friezes in
+marble; also, models, casts, and copies of similar objects in other
+collections; fragments and relics of architecture in the middle ages;
+modern sculptures, especially by the best British sculptors; Greek and
+Roman antiquities, consisting of fragments of Greek and Roman sculpture
+antique busts, bronzes, and cinerary urns; Etruscan vases; Egyptian
+antiquities; busts of remarkable persons; a collection of 138 antique
+gems, cameos and intaglios, originally in the collection of M. Capece
+Latro, Archbishop of Tarentum, and 136 antique gems, principally from
+the Braschi collection; a complete set of Napoleon medals, selected by
+the Baron Denon for the Empress Josephine, and formerly in her
+possession, curiosities; rare books and illuminated manuscripts; a
+collection of about fifty oil paintings, many of them of great value,
+among which are the Rake's Progress, a series of eight pictures by
+Hogarth, and the Election, a series of four, by the same artist; and
+many articles of virtu too numerous to mention here, forming altogether
+a most rare, unique, and valuable collection. What a glorious monument
+did the poor bricklayer's son erect to his memory, which, while it
+blesses, will cause his countrymen to bless and venerate the donor, and
+make his name bright on the page of history! Some there are who regard
+posthumous fame a bubble, and present pomp substantial; but the one is
+godlike, the other sensual and vain.
+
+
+THE BELZONI SARCOPHAGUS.
+
+One of the most interesting and valuable relics in Sir John Soane's
+Museum, is the Belzoni Sarcophagus. It was discovered by Belzoni, the
+famous French traveler, in 1816, in a tomb in the valley of Beban el
+Malouk, near Gournon. He found it in the centre of a sepulchral chamber
+of extraordinary magnificence, and records the event with characteristic
+enthusiasm: "I may call this a fortunate day, one of the best, perhaps,
+of my life. I do not mean to say that fortune has made me rich, for I do
+not consider all rich men fortunate; but she has given me that
+satisfaction, that extreme pleasure which wealth cannot purchase--the
+pleasure of discovering what has long been sought in vain." It is
+constructed of one single piece of alabaster, so translucent that a lamp
+placed within it shines through, although it is more than two inches in
+thickness. It is nine feet four inches in length, three feet eight
+inches in width, and two feet eight inches in depth, and is covered with
+hieroglyphics outside and inside, which have not yet been satisfactorily
+interpreted, though they are supposed by some to refer to Osirei, the
+father of Rameses the Great. It was transported from Egypt to England at
+great expense, and offered to the Trustees of the British Museum for
+£2,000, which being refused, Sir John Soane immediately purchased it and
+exhibited it free, with just pride, to crowds of admiring visitors. When
+Belzoni discovered this remarkable relic of Egyptian royalty, the lid
+had been thrown off and broken into pieces, and its contents rifled; the
+sarcophagus itself is in perfect preservation.
+
+
+TASSO'S "GERUSALEMME LIBERATA."
+
+The original copy of "Gerusalemme Liberata," in the handwriting of
+Tasso, is in the Soane Museum. It was purchased by Sir John Soane, at
+the sale of the Earl of Guilford's Library, in 1829. This literary
+treasure, which cannot be contemplated without emotion, once belonged to
+Baruffaldi, one of the most eminent literary characters of modern
+Italy. Serassi describes it, and refers to the emendations made by the
+poet in the margin (Serassi's edit. Florence, 1724;) but expresses his
+_fear_ that it had been taken out of Italy. In allusion to this
+expression of Serassi, Lord Guilford has written on the fly-leaf of the
+MS., "I would not wish to hurt the honest pride of any Italian; but the
+works of a great genius are the property of all ages and all countries:
+and I hope it will be recorded to future ages, that England possesses
+the original MS. of one of the four greatest epic poems the world has
+produced, and, beyond all doubt, the only one of the four now existing."
+There is no date to this MS. The first printed edition of the
+Gerusalemme is dated 1580.
+
+There are other rare and valuable MSS. in this Museum, the most
+remarkable of which are a Commentary in Latin on the epistle of St. Paul
+to the Romans, by Cardinal Grimani. It is adorned with exquisite
+miniature illustrations, painted by Don Giulio Clovio, called the
+Michael Angelo of miniature painters. "The figures are about an inch in
+height," says Mrs. Jameson, "equaling in vigor, grandeur, and
+originality, the conceptions of Michael Angelo and of Raffaelle, who
+were his cotemporaries and admirers." Also, a missal of the fifteenth
+century, containing ninety-two miniatures by Lucas van Leyden and his
+scholars, executed in a truly Dutch style, just the reverse of those of
+Clovio, except in point of elaborate finishing.
+
+
+GEORGE MORLAND.
+
+The life of this extraordinary genius is full of interest, and his
+melancholy fall full of warning and instruction. He was the son of an
+indifferent painter, whose principal business was in cleaning and
+repairing, and dealing in ancient pictures. Morland showed an
+extraordinary talent for painting almost in his infancy, and before he
+was sixteen years old, his name was known far and wide by engravings
+from his pictures. His father, who seems to have been a man of a low and
+sordid disposition, had his son indented to him as an apprentice, for
+seven years, in order to secure his services as long as possible, and he
+constantly employed him in painting pictures and making drawings for
+sale; and these were frequently of a broad character, as such commanded
+the best prices, and found the most ready sale. Hence he acquired a
+wonderful facility of pencil, but wholly neglected academic study. His
+associates were the lowest of the low. On the expiration of his
+indenture, he left his father's house, and the remainder of his life is
+the history of genius degraded by intemperance and immorality, which
+alternately excites our admiration at his great talents, our regrets at
+the profligacy of his conduct, and our pity for his misfortunes.
+According to his biographer, Mr. George Dawe, who wrote an impartial and
+excellent life of Morland, he reached the full maturity of his powers,
+about 1790 when he was twenty-six years old; and from that time, they
+began and continued to decline till his death in 1804. Poor Morland was
+constantly surrounded by a set of harpies, who contrived to get him in
+their debt, and then compelled him to paint a picture for a guinea,
+which they readily sold for thirty or forty, and which now bring almost
+any sum asked for them. Many of his best works were painted in sponging
+houses to clear him from arrest.
+
+
+MORLAND'S EARLY TALENT.
+
+Morland's father having embarked in the business of picture dealing, had
+become bankrupt, and it is said that he endeavored to repair his broken
+fortunes by the talents of his son George, who, almost as soon as he
+escaped from the cradle, took to the pencil and crayon. Very many
+artists are recorded to have manifested an "early inclination for art,"
+but the indications of early talent in others are nothing when compared
+with Morland's. "_At four, five, and six years of age_," says
+Cunningham, "_he made drawings worthy of ranking him among the common
+race of students_; the praise bestowed on these by the Society of
+Artists, to whom they were exhibited, and the money which collectors
+were willing to pay for the works of this new wonder, induced his father
+to urge him onward in his studies, and he made rapid progress."
+
+
+MORLAND'S EARLY FAME.
+
+The danger of overtasking either the mind or body in childhood, is well
+known; and there is every reason to believe that young Morland suffered
+both of these evils. His father stimulated him by praise and by
+indulgence at the table, and to ensure his continuance at his allotted
+tasks, shut him up in a garret, and excluded him from free air, which
+strengthens the body, and from education--that free air which nourishes
+the mind. His stated work for a time was making drawings from pictures
+and from plaster casts, which his father carried out and sold; but as he
+increased in skill, he chose his subjects from popular songs and
+ballads, such as "Young Roger came tapping at Dolly's window," "My name
+is Jack Hall," "I am a bold shoemaker, from Belfast Town I came," and
+other productions of the mendicant muse. The copies of pictures and
+casts were commonly sold for three half-crowns each; the original
+sketches--some of them a little free in posture, and not over delicately
+handled, were framed and disposed of for any sum from two to five
+guineas, according to the cleverness of the piece, or the generosity of
+the purchaser. Though far inferior to the productions of his manhood,
+they were much admired; engravers found it profitable to copy them, and
+before he was sixteen years old, his name had flown far and wide.
+
+
+MORLAND'S MENTAL AND MORAL EDUCATION, UNDER AN UNNATURAL PARENT.
+
+From ten years of age, young Morland appears to have led the life of a
+prisoner and a slave under the roof of his father, hearing in his
+seclusion the merry din of the schoolboys in the street, without hope of
+partaking in their sports. By-and-by he managed to obtain an hour's
+relaxation at the twilight, and then associated with such idle and
+profligate boys as chance threw in his way, and learned from them a love
+for coarse enjoyment, and the knowledge that it could not well be
+obtained without money. Oppression keeps the school of Cunning; young
+Morland resolved not only to share in the profits of his own talents,
+but also to snatch an hour or so of amusement, without consulting his
+father. When he made three drawings for his father, he made one secretly
+for himself, and giving a signal from his window, lowered it by a string
+to two or three knowing boys, who found a purchaser at a reduced price,
+and spent the money with the young artist. A common tap-room was an
+indifferent school of manners, whatever it might be for painting, and
+there this gifted lad was now often to be found late in the evening,
+carousing with hostlers and potboys, handing round the quart pot, and
+singing his song or cracking his joke.
+
+His father, having found out the contrivance by which he raised money
+for this kind of revelry adopted, in his own imagination, a wiser
+course. He resolved to make his studies as pleasant to him as he could;
+and as George was daily increasing in fame and his works in price, this
+could be done without any loss. He indulged his son, now some sixteen
+years old, with wine, pampered his appetite with richer food, and
+moreover allowed him a little pocket-money to spend among his
+companions, and purchase acquaintance with what the vulgar call life. He
+dressed him, too, in a style of ultra-dandyism, and exhibited him at his
+easel to his customers, attired in a green coat with very long skirts,
+and immense yellow buttons, buckskin breeches, and top boots with spurs.
+He permitted him too to sing wild songs, swear grossly, and talk about
+anything he liked with such freedom as makes anxious parents tremble.
+With all these indulgences the boy was not happy; he aspired but the
+more eagerly after full liberty and the unrestrained enjoyment of the
+profits of his pencil.
+
+
+MORLAND'S ESCAPE FROM THE THRALDOM OF HIS FATHER.
+
+Hassell and Smith give contradictory accounts of this important step in
+young Morland's life, which occurred when he was seventeen years old.
+The former, who knew him well, says that, "he was determined to make his
+escape from the rigid confinement which paternal authority had imposed
+upon him; and, wild as a young quadruped that had broken loose from his
+den, at length, though late, effectually accomplished his purpose."
+"Young George was of so unsettled a disposition," says Smith, "that his
+father, being fully aware of his extraordinary talents, was determined
+to force him to get his own living, and gave him a guinea, with
+something like the following observation: 'I am _determined_ to
+encourage your idleness no longer; there--take that guinea, and apply to
+your art and support yourself.' This Morland told me, and added, that
+from that moment he commenced and continued wholly on his own account."
+It would appear by Smith's relation, that our youth, instead of
+supporting his father, had all along been depending on his help; this,
+however, contradicts not only Hassell, but Fuseli also, who, in his
+edition of Pilkington's Dictionary, accuses the elder Morland of
+avariciously pocketing the whole profits of his son's productions.
+
+
+MORLAND'S MARRIAGE, AND TEMPORARY REFORM.
+
+After leaving his father, Morland plunged into a career of wildness and
+dissipation, amidst which, however, his extraordinary talents kept his
+name still rising. While residing at Kensall Green, he was frequently
+thrown in the company of Ward, the painter, whose example of moral
+steadiness was exhibited to him in vain. At length, however, he fell in
+love with Miss Ward, a young lady of beauty and modesty, and the sister
+of his friend. Succeeding in gaining her affections, he soon afterwards
+married her; and to make the family union stronger, Ward sued for the
+hand of Maria Morland, and in about a month after his sister's marriage,
+obtained it. In the joy of this double union, the brother artists took
+joint possession of a good house in High Street, Marylebone. Morland
+suspended for a time his habit of insobriety, discarded the social
+comrades of his laxer hours, and imagined himself reformed. But discord
+broke out between the sisters concerning the proper division of rule and
+authority in the house; and Morland, whose partner's claim perhaps was
+the weaker, took refuge in lodgings in Great Portland Street. His
+passion for late hours and low company, restrained through courtship and
+the honey-moon, now broke out with the violence of a stream which had
+been dammed, rather than dried up. It was in vain that his wife
+entreated and remonstrated--his old propensities prevailed, and the
+post-boy, the pawnbroker, and the pugilist, were summoned again to his
+side, no more to be separated.
+
+
+MORLAND'S SOCIAL POSITION.
+
+Morland's dissipated habits and worthless companions, produced the
+effect that might have been expected; and this talented painter, who
+might have mingled freely among nobles and princes, came strength to
+hold a position in society that is best illustrated by the following
+anecdote. Raphael Smith, the engraver, had employed him for years on
+works _from_ which he engraved, and _by_ which he made large sums of
+money. He called one day with Bannister the comedian to look at a
+picture which was upon the easel. Smith was satisfied with the artist's
+progress, and said, "I shall now proceed on my morning ride." "Stay a
+moment," said Morland, laying down his brush, "and I will go with you."
+"Morland," answered the other, in an emphatic tone, which could not be
+mistaken, "I have an appointment with a _gentleman_, who is waiting for
+me." Such a sarcasm might have cured any man who was not incurable; it
+made but a momentary impression upon the mind of our painter, who cursed
+the engraver, and returned to his palette.
+
+
+AN UNPLEASANT DILEMMA.
+
+Morland once received an invitation to Barnet, and was hastening thither
+with Hassell and another friend, when he was stopped at Whetstone
+turnpike by a lumber or jockey cart, driven by two persons, one of them
+a chimney-sweep, who were disputing with the toll-gatherer. Morland
+endeavored to pass, when one of the wayfarers cried, "What! Mr. Morland,
+won't you speak to a body!" The artist endeavored to elude further
+greeting, but this was not to be; the other bawled out so lustily, that
+Morland was obliged to recognize at last his companion and croney,
+Hooper, a tinman and pugilist. After a hearty shake of the hand, the
+boxer turned to his neighbor the chimney-sweep and said, "Why, Dick,
+don't you know this here gentleman? 'tis my friend Mr. Morland." The
+sooty charioteer smiling a recognition, forced his unwelcome hand upon
+his brother of the brush; they then both whipt their horses and
+departed. This rencontre mortified Morland very sensibly; he declared
+that he knew nothing of the chimney-sweep, and that he was forced upon
+him by the impertinence of Hooper: but the artist's habits made the
+story generally believed, and "Sweeps, your honor," was a joke which he
+was often obliged to hear.
+
+
+MORLAND AT THE ISLE OF WIGHT.
+
+Morland loved to visit this isle in his better days, and some of his
+best pictures are copied from scenes on that coast. A friend once found
+him at Freshwater-Gate, in a low public-house called The Cabin. Sailors,
+rustics, and fishermen, were seated round him in a kind of ring, the
+rooftree rung with laughter and song; and Morland, with manifest
+reluctance, left their company for the conversation of his friend.
+"George," sad his monitor, "you must have reasons for keeping such
+company." "Reasons, and good ones," said the artist, laughing;
+"see--where could I find such a picture of life as that, unless among
+the originals of The Cabin?" He held up his sketch-book and showed a
+correct delineation of the very scene in which he had so lately been the
+presiding spirit. One of his best pictures contains this fac-simile of
+the tap-room, with its guests and furniture.
+
+
+A NOVEL MODE OF FULFILLING COMMISSIONS.
+
+"It frequently happened," says one of Morland's biographers, "when a
+picture had been bespoke by one of his friends, who advanced some of the
+money to induce him to work, if the purchaser did not stand by to see it
+finished and carry it away with him, some other person, who was lurking
+within sight for that purpose, and knew the state of Morland's pocket,
+by the temptation of a few guineas laid upon the table, carried off the
+picture. Thus all were served in their turn; and though each exulted in
+the success of the trick when he was so lucky as to get a picture in
+this easy way, they all joined in exclaiming against Morland's want of
+honesty in not keeping his promises to them."
+
+
+HASSELL'S FIRST INTERVIEW WITH MORLAND.
+
+Hassell's introduction to Morland was decidedly in character. "As I was
+walking," he says, "towards Paddington on a summer morning, to inquire
+about the health of a relation, I saw a man posting on before me with a
+sucking-pig, which he carried in his arms like a child. The piteous
+squeaks of the little animal, and the singular mode of conveyance, drew
+spectators to door and window; the person however who carried it minded
+no one, but to every dog that barked--and there were not a few--he sat
+down the pig, and pitted him against the dog, and then followed the
+chase which was sure to ensue. In this manner he went through several
+streets in Mary-le-bone, and at last, stopping at the door of one of my
+friends, was instantly admitted. I also knocked and entered, but my
+surprise was great on finding this original sitting with the pig still
+under his arm, and still greater when I was introduced to Morland the
+painter."
+
+
+MORLAND'S DRAWINGS IN THE ISLE OF WIGHT.
+
+A person at whose house Morland resided when in the Isle of Wight,
+having set out for London, left an order with an acquaintance at Cowes
+to give the painter his own price for whatever works he might please to
+send. The pictures were accompanied by a regular solicitation for cash
+in proportion, or according to the nature of the subject. At length a
+small but very highly finished drawing arrived, and as the sum demanded
+seemed out of all proportion with the size of the work, the
+conscientious agent transmitted the piece to London and stated the
+price. The answer by post was, "Pay what is asked, and get as many
+others as you can at the same price." There is not one sketch in the
+collection thus made but what would now produce thrice its original
+cost.
+
+
+MORLAND'S FREAKS.
+
+One evening Hassell and his friends were returning to town from
+Hempstead, when Morland accosted them in the character of a mounted
+patrole, wearing the parish great-coat, girded with a broad black belt,
+and a pair of pistols depending. He hailed them with "horse patrole!" in
+his natural voice; they recognised him and laughed heartily, upon which
+he entreated them to stop at the Mother Red Cap, a well known
+public-house, till he joined them. He soon made his appearance in his
+proper dress, and gave way to mirth and good fellowship. On another
+occasion he paid a _parishioner_, who was drawn for constable, to be
+permitted to serve in his place, he billeted soldiers during the day,
+and presided in the constable's chair at night.
+
+
+A JOKE ON MORLAND.
+
+At another time, having promised to paint a picture for M. de Calonne,
+Morland seemed unwilling to begin, but was stimulated by the following
+stratagem. Opposite to his house in Paddington was the White Lion.
+Hassell directed two of his friends to breakfast there, and instructed
+them to look anxiously towards the artist's window, and occasionally
+walk up and down before the house. He then waited on Morland, who only
+brandished his brush at the canvas and refused to work. After waiting
+some time, Hassell went to the window and effected surprise at seeing
+two strangers gazing intently at the artist's house. Morland looked at
+them earnestly--declared they were bailiffs, who certainly wanted
+him--and ordered the door to be bolted. Hassell having secured him at
+home, showed him the money for his work, and so dealt with him that the
+picture, a landscape with six figures, one of his best productions, was
+completed in six hours. He then paid him, and relieved his apprehensions
+respecting the imaginary bailiffs--Morland laughed heartily.
+
+
+MORLAND'S APPREHENSION AS A SPY.
+
+While spending some time at Yarmouth, Morland was looked upon as a
+suspicious character, and was apprehended as a spy. After a sharp
+examination, the drawings he had made on the shores of the Isle of Wight
+were considered as confirmation of his guilt; he was therefore honored
+with an escort of soldiers and constables to Newport, and there
+confronted by a bench of justices. At his explanation, they shook their
+heads, laid a strict injunction upon him to paint and draw no more in
+that neighborhood, and dismissed him. This adventure he considered a
+kind of pleasant interruption; and indeed it seems ridiculous enough in
+the officials who apprehended him.
+
+
+MORLAND'S "SIGN OF THE BLACK BULL."
+
+On one occasion, Morland was on his way from Deal, and Williams, the
+engraver, was his companion. The extravagance of the preceding evening
+had fairly emptied their pockets; weary, hungry and thirsty, they
+arrived at a small ale-house by the way-side; they hesitated to enter.
+Morland wistfully reconnoitered the house, and at length accosted the
+landlord--"Upon my life, I scarcely knew it: is this the Black Bull?"
+"To be sure it is, master," said the landlord, "there's the sign."--"Ay!
+the board is there, I grant," replied our wayfarer, "but the Black Bull
+is vanished and gone. I will paint you a capital new one for a crown."
+The landlord consented, and placed a dinner and drink before this
+restorer of signs, to which the travelers did immediate justice. "Now,
+landlord," said Morland, "take your horse, and ride to Canterbury--it is
+but a little way--and buy me proper paint and a good brush." He went on
+his errand with a grudge, and returned with the speed of thought, for
+fear that his guests should depart in his absence. By the time that
+Morland had painted the Black Bull, the reckoning had risen to ten
+shillings, and the landlord reluctantly allowed them to go on their way;
+but not, it is said, without exacting a promise that the remainder of
+the money should be paid with the first opportunity. The painter, on his
+arrival it town, related this adventure in the Hole-in-the-Wall, Fleet
+Street. A person who overheard him, mounted his horse, rode into Kent,
+and succeeded in purchasing the Black Bull from the Kentish Boniface for
+ten guineas.
+
+
+MORLAND AND THE PAWNBROKER.
+
+Even when Morland had sunk to misery and recklessness, the spirit of
+industry did not forsake him, nor did his taste or his skill descend
+with his fortunes. One day's work would have purchased him a week's
+sustenance, yet he labored every day, and as skilfully and beautifully
+as ever. A water man was at one time his favorite companion, whom, by
+way of distinction, Morland called "My Dicky." Dicky once carried a
+picture to the pawnbroker's, wet from the easel, with the request for
+the advance of three guineas upon it. The pawnbroker paid the money; but
+in carrying it into the room his foot slipped, and the head and
+foreparts of a hog were obliterated. The money-changer returned the
+picture with a polite note, requesting the artist to restore the damaged
+part. "My Dicky!" exclaimed Morland, "an that's a good one! but never
+mind!" He reproduced the hog in a few minutes, and said, "There! go back
+and tell the pawnbroker to advance me five guineas more upon it; and if
+he won't, say I shall proceed against him; the price of the picture is
+thirty guineas." The demand was complied with.
+
+
+MORLAND'S IDEA OF A BARONETCY.
+
+Morland was well descended. In his earlier and better days, a solicitor
+informed him that he was heir to a baronet's title, and advised him to
+assert his claim. "Sir George Morland!" said the painter--"It _sounds_
+well, but it won't do. Plain George Morland will always sell my
+pictures, and there is more honor in being a fine painter than in being
+a fine gentleman."
+
+
+MORLAND'S ARTISTIC MERIT.
+
+As an artist, Morland's claims are high and undisputed. He is original
+and alone; his style and conceptions are his own; his thoughts are ever
+at home, and always natural; he extracts pleasing subjects out of the
+most coarse and trivial scenes, and finds enough to charm the eye in the
+commonest occurrences. His subjects are usually from low life, such as
+hog-sties, farm-yards, landscapes with cattle and sheep, or fishermen
+with smugglers on the sea-coast. He seldom or ever produced a picture
+perfect in all its parts, but those parts adapted to his knowledge and
+taste were exquisitely beautiful. Knowing well his faults, he usually
+selected those subjects best suited to his talents. His knowledge of
+anatomy was extremely limited; he was totally unfitted for representing
+the human figure elegantly or correctly, and incapable of large
+compositions. He never paints above the most ordinary capacity, and
+gives an air of truth and reality to whatever he touches. He has taken a
+strong and lasting hold of the popular fancy: not by ministering to our
+vanity, but by telling plain and striking truths. He is the rustic
+painter for the people; his scenes are familiar to every eye, and his
+name is on every lip. Painting seemed as natural to him as language is
+to others, and by it he expressed his sentiments and his feelings, and
+opened his heart to the multitude. His gradual descent in society may be
+traced in the productions of his pencil; he could only paint well what
+he saw or remembered; and when he left the wild sea-shore and the green
+wood-side for the hedge ale-house and the Rules of the Bench, the
+character of his pictures shifted with the scene. Yet even then his
+wonderful skill of hand and sense of the picturesque never forsook him.
+His intimacy with low life only dictated his theme--the coarseness of
+the man and the folly of his company never touched the execution of his
+pieces. All is indeed homely--nay, mean--but native taste and elegance
+redeemed every detail. To a full command over every implement of his
+art, he united a facility of composition and a free readiness of hand
+perhaps quite unrivalled.
+
+
+CHARLES JERVAS.
+
+This artist was a pupil of Sir Godfrey Kneller, and met with plentiful
+employment in portrait painting. His abilities were very inferior, but,
+says Walpole, "Such was the badness of the age's taste, and the dearth
+of good masters, that Jervas sat at the head of his profession, although
+he was defective in drawing, coloring, composition, and likeness. In
+general, his pictures are a light flimsy kind of fan-painting as large
+as life. Yet I have seen a few of his works highly colored, and it is
+certain that his copies of Carlo Maratti, whom he most studied and
+imitated, were extremely just, and scarcely inferior to the originals."
+
+
+JERVAS THE INSTRUCTOR OF POPE.
+
+What will recommend the name of Jervas to inquisitive posterity, was his
+intimacy with Pope, whom he instructed to draw and paint. The poet has
+enshrined the feeble talents of the painter in "the lucid amber of his
+flowing lines." Spence informs us, that Pope was "the pupil of Jervas
+for the space of a year said a half," meaning that he was constantly so,
+for that period. Tillemans was engaged in painting a landscape for Lord
+Radnor, into which Pope by stealth inserted some strokes, which the
+prudent painter did not appear to observe; and of this circumstance Pope
+was not a little vain. In proof of his proficiency in the art of
+painting, Pope presented his friend Mr. Murray, with a head of Betterton
+the celebrated tragedian, which was afterwards at Caen Wood. During a
+long visit at Holm Lacy in Herefordshire, he amused his leisure by
+copying from Vandyck, in crayons, a head of Wentworth, Earl of
+Strafford, which was still preserved there many years afterwards, and is
+said to have possessed considerable merit. For an account of Pope's
+skill in painting fans, see vol. I. page 201 of this work.
+
+
+JERVAS AND DR. ARBUTHNOT.
+
+Jervas, who affected to be a Free-thinker, was one day talking very
+irreverently of the Bible. Dr. Arbuthnot maintained to him that he was
+not only a speculative, but a practical believer. Jervas denied it.
+Arbuthnot said that he would prove it: "You strictly observe the second
+commandment;" said the Doctor, "for in your pictures you 'make not the
+likeness of anything that is in the heavens above, or in the earth
+beneath, or in the waters under the earth'"!
+
+
+JERVAS' VANITY.
+
+His vanity and conceit knew no bounds. He copied a picture by Titian in
+the Royal collection, which he thought so vastly superior to the
+original, that on its completion he exclaimed with great complacency,
+"Poor little Tit, how he would stare!" Walpole says, "Jervas had
+ventured to look upon the fair Lady Bridgewater with more than a
+painter's eye; so entirely did that lovely form possess his imagination,
+that many a homely dame was delighted to find her picture resemble Lady
+Bridgewater. Yet neither his presumption nor his passion could
+extinguish his self-love." One day, as she was sitting to him, he ran
+over the beauties of her face with rapture--'but,' said he, "I cannot
+help telling your ladyship that you have not a handsome ear." "No!"
+returned the lady, "pray, Mr. Jervas, what is a handsome ear?" He turned
+his cap, and showed her his own. When Kneller heard that Jervas had sent
+up a carriage and four horses, he exclaimed, "Ah, mine Got! if his
+horses do not draw better than he does, he will never get to his
+journey's end!"
+
+
+HOLBEIN AND THE FLY.
+
+Before Holbein quitted Basile for England, he intimated that he should
+leave a specimen of the power of his abilities. Having a portrait in his
+house which he had just finished for one of his patrons, he painted a
+fly on the forehead, and sent it to the person for whom it was painted.
+The gentleman was struck with the beauty of the piece, and went eagerly
+to brush off the fly, when he found out the deceit. The story soon
+spread, and orders were immediately given to prevent the city being
+deprived of Holbein's talents; but he had already departed.
+
+
+HOLBEIN'S VISIT TO ENGLAND.
+
+Furnished with recommendatory letters from his friend Sir Thomas More,
+Holbein went to England, and was received into More's house, where he
+wrought for nearly three years, drawing the portraits of Sir Thomas, his
+relations and friends. The King, (Henry VIII.) visiting the Chancellor,
+saw some of these pictures, and expressed his satisfaction. Sir Thomas
+begged him to accept which ever he liked; but his Majesty inquired for
+the painter, who was accordingly introduced to him. Henry immediately
+took him into his own service and told the Chancellor that now he had
+got the artist, he did not want the pictures. An apartment in the palace
+was allotted to Holbein, with a salary of 200 florins besides the price
+of his pictures.
+
+
+HENRY VIII.'S OPINION OF HOLBEIN.
+
+The King retained Holbein in his service many years, during which time
+he painted the portrait of his Majesty many times, and probably those of
+all his queens, though no portrait of Catharine Parr is certainly known
+to be from his hand. An amusing and characteristic anecdote is related,
+showing the opinion the King entertained of this artist. One day, as
+Holbein was privately drawing some lady's picture for Henry, a great
+lord forced himself into the chamber, when the artist flew into a
+terrible passion, and forgetting everything else in his rage, ran at the
+peer and threw him down stairs! Upon a sober second thought, however,
+seeing the rashness of this act, Holbein bolted the door, escaped over
+the top of the house, and running directly to the King, besought
+pardon, without telling his offence. His majesty promised he would
+forgive him if he would tell the truth; but on finding out the offence,
+began to repent of his promise, and said he should not easily overlook
+such insults, and bade him wait in the apartment till he learned more of
+the matter. Immediately after, the lord arrived with his complaint, but
+diminishing the provocation. At first the monarch heard the story with
+temper, but soon broke out, reproaching the nobleman with his want of
+truth, and adding, "You have not to do with Holbein, but with me; I tell
+you, of seven peasants I can make seven lords; but of seven lords I
+cannot make one Holbein! Begone, and remember that if you ever attempt
+to revenge yourself, I shall look on any injury offered to the painter
+as done to myself."
+
+
+HOLBEIN'S PORTRAIT OF THE DUCHESS DOWAGER OF MILAN.
+
+After the death of Jane Seymour, Holbein was sent to Flanders by the
+King, to paint the portrait of the Duchess Dowager of Milan, widow of
+Francesco Sforza, whom Charles V. had recommended to Henry for a fourth
+wife, although the German Emperor subsequently changed his mind, and
+prevented the marriage. There is a letter among the Holbein MSS. from
+Sir Thomas Wyatt, congratulating his Majesty on his escape, as the
+Duchess' chastity was somewhat equivocal, but says Walpole, "If it was,
+I am apt to think, considering Henry's temper, that the Duchess had the
+greater escape!"--About the same time it is said that the Duchess
+herself, sent the King word, "That she had but one head; if she had two,
+one of them should be at his Majesty's service."
+
+
+HOLBEIN'S FLATTERY IN PORTRAITS--A WARNING TO PAINTERS.
+
+Holbein was dispatched by Cromwell, Henry's Minister, to paint the Lady
+Anne of Cleves, and by practising the common flattery of his profession,
+"he was," says Walpole, "the immediate cause of the destruction of that
+great subject, and of the disgrace which fell upon the princess herself.
+He drew so favorable a likeness that Henry was content to wed her; but
+when he found her so inferior to the miniature, the storm which should
+have really been directed at the painter, burst on the minister; and
+Cromwell lost his head, because Anne was _a Flanders mare_, and not a
+Venus, as Holbein had represented her."
+
+
+HOLBEIN'S PORTRAIT OF CRATZER.
+
+He painted the portrait of Nicholas Cratzer, astronomer to Henry VIII.,
+which Walpole mentions as being in the Royal collection in France. This
+astronomer erected the dial at Corpus Christi, Oxford College, in 1550.
+After thirty years' residence in England, he had scarce learned to
+speak the language, and his Majesty asking him how that happened, he
+replied, "I beseech your highness to pardon me; what can a man learn in
+only thirty years?" The latter half of this memorable sentence may
+remind the reader of Sir Isaac Newton; and perhaps the study of
+astronomy does naturally produce such a feeling in the reflective mind.
+
+
+HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.
+
+Holbein painted the portraits of the Chancellor and family; and no less
+than six different pictures of this subject are attributed to his hand;
+but of these Walpole thinks only two to possess good evidences of
+originality. One of these was in Deloo's collection, and after his death
+was purchased by Mr. Roper, More's grandson. Another was in the Palazzo
+Delfino at Venice, where it was long on sale, the price first set being
+£1500; but the King of Poland purchased it about 1750, for near £400.
+The coloring of this work is beautiful beyond description, and the
+carnations have that bloom so peculiar to Holbein, who touched his works
+until not a touch remained discernible. Walpole says, "It was evidently
+designed for a small altar-piece to a chapel; in the middle on a throne
+sits the Virgin and child; on one side kneels an elderly gentleman with
+two sons, one of them a naked infant opposite kneeling are his wife and
+daughters."
+
+There is recorded a bon-mot of Sir Thomas on the birth of his son. He
+had three daughters, but his wife was impatient for a son: at last they
+had one, but not much above an idiot--"you have prayed so long for a
+boy," said the Chancellor, "that now we have got one who I believe will
+be a boy as long as he lives!"
+
+
+SIR JOHN VANBRUGH AND HIS CRITICS.
+
+This eminent English architect, who flourished about the commencement of
+the 18th century, had to contend with the wits of the age. They waged no
+war against him as a wit, for he was not inferior; but as an architect,
+he was the object of their keenest derision, particularly for his
+celebrated work of the stupendous palace of Blenheim, erected for the
+Duke of Marlborough in accordance with the vote of a grateful nation.
+Swift was a satirist, therefore no true critic; and his disparagement of
+Blenheim arose from party-feeling. Pope was more decisive, and by the
+harmony of his numbers contributed to lead and bias the public opinion,
+until a new light emanated from the criticism of Sir Joshua Reynolds;
+and this national palace is now to be considered, not on its
+architectural, but its picturesque merits. A criticism which caused so
+memorable a revolution in public taste, must be worthy of an extract. "I
+pretend to no skill in architecture--I judge now of the art merely as a
+painter. To speak then of Vanbrugh in the language of a painter, he had
+originality of invention, he understood light and shadow, and had great
+skill in composition. To support his principal object he produced his
+second and third groups of masses; he perfectly understood in _his_ art
+what is most difficult in _ours_, the conduct of the background, by
+which the design and invention is set off to the greatest advantage.
+What the background is in painting, is the real ground upon which the
+building is erected; and no architect took greater care that his works
+should not appear crude and hard; that is, it did not start abruptly out
+of the ground, without speculation or preparation. This is the tribute
+which a painter owes to an architect who composed like a painter."
+
+Besides this, the testimony of Knight, Price, and Gilpin, have
+contributed to remove the prejudices against Vanbrugh. Knight says in
+his "Principles of Taste," Sir John Vanbrugh is the only architect I
+know of, who has either planned or placed his houses according to the
+principles recommended; and in his two chief works, Blenheim and Castle
+Howard, it appears to have been strictly adhered to, at least in the
+placing of them, and both are certainly worthy of the best situations,
+which not only the respective places, but the island of Great Britain
+could afford.
+
+Vanbrugh also evinced great talent as a dramatic writer, and his
+masterly powers in comedy are so well evinced in the Relapse, the
+Provoked Wife, and other plays, that were it not for their strong
+libertine tendency which have properly banished them from the stage, and
+almost from the closet, he would have been regarded as a standard
+classic author in English dramatic literature. His private character
+seems to have been amiable, and his conduct tolerably correct. He died
+at his own house in Whitehall, in 1726. In his character of architect,
+Dr. Evans bestowed on him the following witty epitaph:
+
+  "Lie heavy on him, earth, for he
+  Laid many a heavy load on thee"!
+
+
+ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.
+
+He was employed by the Duke of Somerset, commonly called "the Proud
+Duke," to paint the portraits of his horses at Petworth, who
+condescended to sit with Seymour (his namesake) at table. One day at
+dinner, the Duke filled his glass, and saying with a sneer, "_Cousin_
+Seymour, your health," drank it off. "My Lord," said the artist, "I
+believe I _have_ the honor of being related to your grace." The proud
+peer rose from the table, and ordered his steward to dismiss the
+presumptuous painter, and employ an humbler brother of the brush. This
+was accordingly done; but when the new painter saw the spirited works of
+his predecessor, he shook his head, and retiring said, "No man in
+England can compete with James Seymour." The Duke now condescended to
+recall his discarded cousin. "My Lord," was the answer of Seymour, "I
+will now prove to the world that I am of your blood--_I won't come._"
+Upon receiving this laconic reply, the Duke sent his steward to demand a
+former loan of £100. Seymour briefly replied that "he would write to his
+Grace." He did so, but directed his letter, "Northumberland House,
+opposite the Trunkmaker's, Charing Cross." Enraged at this additional
+insult, the Duke threw the letter into the fire without opening it, and
+immediately ordered his steward to have him arrested. But Seymour,
+struck with an opportunity of evasion, carelessly observed that "it was
+hasty in his Grace to burn his letter, because it contained a bank note
+for £100, and that _therefore_, they were now quits."
+
+
+PRECOCITY OF LUCA GIORDANO.
+
+At the age of five years, the natural taste of Lucia Giordano for
+painting, led him to adopt the pencil as a plaything; at six he could
+draw the human figure with surprising correctness. The Cav. Stanzioni,
+passing by his father's shop, and seeing the child at work, stopped to
+see his performances, and is said to have predicted that "he would one
+day become the first painter of the age." Before he was eight years old
+he painted, unknown to his father, two cherubs in a fresco, entrusted to
+that artist, in an obscure part of the church of S. Maria
+Nuova--figures so graceful as to attract considerable attention. This
+fact coming to the knowledge of the Duke de Medina de las Torres, the
+Viceroy of Naples, he rewarded the precocious painter with some gold
+ducats, and recommended him to the instruction of Spagnoletto, then the
+most celebrated painter in Naples, who accordingly received him into his
+studio. There, says Palomino, he spent nine years in close application
+to study, and there, he probably enjoyed the advantage of seeing
+Velasquez, during that great artist's second visit to Naples.
+
+
+GIORDANO'S ENTHUSIASM.
+
+When Giordano was about seventeen years old, having learned from Ribera
+all he could teach him, he conceived a strong desire to prosecute his
+studies at Rome. To this step, his father, who was poor, and could
+perhaps ill afford to lose his earnings, refused to give his consent.
+Luca therefore embraced the earliest opportunity to abscond, and ran
+away on foot to the metropolis of art, where he applied himself with the
+greatest assiduity. He copied all the great frescos of Raffaelle in the
+Vatican several times; he next turned his rapid pencil against the works
+of Annibale Caracci in the Farnese palace. Meantime, his father divining
+the direction which the truant had taken, followed him to Rome, where,
+after a long search, he discovered him sketching in St. Peter's church.
+
+
+LUCA FA PRESTO.
+
+Giordano resided at Rome about three years with his father, who seems to
+have been a helpless creature, subsisting by the sale of his son's
+drawings; but Luca cared for nothing but his studies, satisfied with a
+piece of bread or a few maccaroni. When their purse was low, the old man
+would accompany him to the scene of his labors, and constantly urge him
+on, by repeating _Luca, fa presto_, (hurry Luca) which became a byword
+among the painters, and was fixed upon the young artist as a nickname,
+singularly appropriate to his wonderful celerity of execution. He
+afterwards traveled through Lombardy to Venice, still accompanied by his
+father, and having studied the works of Correggio, Titian, and other
+great masters, returned by way of Florence and Leghorn to Naples, where
+he soon after married the Donna Margarita Ardi, a woman of exquisite
+beauty, who served him as a model for his Virgins, Madonnas, Lucretias,
+and Venuses.
+
+
+GIORDANO'S SKILL IN COPYING.
+
+Luca Giordano could copy any master so accurately as to deceive the best
+judges. Among his patrons in his youth was one Gasparo Romero, who was
+in the habit of inflicting upon him a great deal of tedious and
+impertinent advice. For this he had his revenge by causing his father to
+send to that connoisseur as originals, some of his imitations of
+Titian, Tintoretto, and Bassano, and afterwards avowing the deception;
+but he managed the joke so pleasantly that Romero was rather pleased
+than offended at his skill and wit.
+
+
+GIORDANO'S SUCCESS AT NAPLES.
+
+In 1655, Giordano painted in competition with Giacomo Forelli, a large
+picture of St. Nicholas borne away by angels, for the church of S.
+Brigida, a work of such power and splendor, that it completely eclipsed
+his rival, and established his reputation at the early age of
+twenty-three. Two years after, he was employed by the Viceroy to paint
+several pictures for the church of S. Maria del Pianto, in competition
+with Andrea Vaccaro. The principal subjects which fell to Giordano, were
+the Crucifixion, and the Virgin and St. Januarius pleading with the
+Saviour for Naples, afflicted with pestilence; these he executed with
+great ability. He and Vaccaro having a dispute about placing the
+pictures, the matter was referred to the Viceroy, who gave the choice to
+Vaccaro as the senior artist; Giordano immediately yielded with so much
+grace and discretion, that he made a firm friend of his successful
+rival. His master, Ribera, being now dead, he soon stepped into the
+vacant place of that popular artist. The religious bodies of the
+kingdom, the dignitaries of the church, and princes and nobles, eagerly
+sought after his works.
+
+
+GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.
+
+The honors heaped upon Giordano by the Marquess of Heliche, compelled
+him to neglect and offend other patrons. One of these personages, the
+Duke of Diano, being very anxious for the completion of his orders, at
+last, lost all patience, and collaring the artist, he threatened him
+with personal chastisement if he did not immediately fulfil his
+engagements. The Viceroy being informed of the insult, took up the
+painter's quarrel in right royal style. He invited the Duke, who
+affected connoisseurship, to pass judgment on a picture lately painted
+by Luca for the palace, in imitation of the style of Rubens. The unlucky
+noble fell into the trap, and pronounced it an undoubted work by the
+great Fleming. Seeming to assent to this criticism, the Viceroy replied
+that Giordano was painting a companion to the picture, a piece of
+information which Diano received with a sneer and a remark on the
+artist's uncivil treatment to persons of honor. Here Heliche hastily
+interposed, telling him that the work which he had praised was painted,
+not by Rubens, but by Giordano, and repeating the sentiment expressed by
+several crowned heads on like occasions, admonished him of the respect
+due to a man so highly endowed by his Maker. "And how dare you," cried
+he, in a loud tone, and seizing the Duke by the collar, as the latter
+had done to Giordano, "thus insult a man, who is besides, retained in
+my service? Know, for the future, that none shall play the brave here,
+so long as I bear rule in Naples!" "This scene," says Dominici, "passing
+in the presence of many of the courtiers, and some of these, witnesses
+of the insult offered to the painter, so mortified the pride of the
+provincial grandee, that he retired, covered with confusion, and falling
+into despondency, died soon after of a fever."
+
+
+GIORDANO INVITED TO FLORENCE.
+
+In 1679, Giordano was invited to Florence by the Grand Duke, Cosmo III.,
+to decorate the chapel of S. Andrea Corsini in the Carmine. His works
+gave so much satisfaction to that prince, that he not only liberally
+rewarded him, but overwhelmed him with civilities, and presented him
+with a gold medal and chain, which he did him the honor to place about
+his neck with his own royal hands.
+
+
+GIORDANO AND CARLO DOLCI.
+
+While sojourning in that city, he became acquainted with Carlo Dolci,
+then advanced in years, who is said to have been so affected at seeing
+the rapid Neapolitan execute in a few hours what would have required him
+months to perform, in his own slow and laborious manner, that he fell
+into a profound melancholy, of which he soon after died: This
+circumstance Dominici assures us, Giordano long afterwards remembered
+with tears, on being shown at Naples "a picture painted by poor
+Carlino."
+
+
+GIORDANO'S VISIT TO SPAIN.
+
+The fame of Giordano had already reached Madrid, when Don Cristobal de
+Ontañon, a favorite courtier of Charles II., returning from Italy, full
+of admiration for Giordano and his works, so sounded his praises in the
+royal ear, that the King invited him to his court, paying the expense of
+his journey, and giving him a gratuity of 1500 ducats, and appointing
+him his principal painter, with a salary of 200 crowns a month.
+
+The painter embarked from Naples on board one of the royal galleys,
+accompanied by his son Nicolo, a nephew named Baldassare Valente, and
+two scholars, Aniello Rossi and Matteo Pacelli, attended by three
+servants. Landing at Barcelona, and resting there a few days, he
+proceeded to Madrid, where he arrived in May 1692. Six of the royal
+coaches were sent to meet him on the road, and conduct him to the house
+of his friend Ontañon. On the day of his arrival, by the desire of the
+King, he was carried to the Alcaza and presented to his Majesty. Charles
+received him with great kindness, inquired how he had borne the fatigues
+of his journey, and expressed his joy at finding him much younger in
+appearance than he had been taught to expect. The painter, with his
+usual courtly tact, replied, that the journey he had undertaken to
+enter the service of so great a monarch, had revived his youth, and
+that in the presence of his Majesty, he felt as if he were twenty again.
+"Then," said Charles smiling, "you are not too weary to pay a visit to
+my gallery," and led him through the noble halls of Philip II., rich
+with the finest pictures of Italy and Spain. It was probably on this
+occasion, that Giordano, passing before Velasquez's celebrated picture
+of the Infanta and her meniñas, bestowed on it the well known name of
+the _Theology of Painting_. The King, who paid the painter the
+extraordinary honor to embrace him when first presented, gave him a
+still greater mark of his favor at parting, by kissing him on the
+forehead, and presenting him with the golden key as gentleman of the
+royal bed-chamber.
+
+
+GIORDANO'S WORKS IN SPAIN.
+
+Luca Giordano resided in Spain ten years, and in that time he executed
+an incredible number of grand frescos, and other works for the royal
+palaces, churches, and convents, as well as many more for individuals,
+enough to have occupied an ordinary man a long life. In the short space
+of two years, he painted in fresco, the stupendous ceiling of the
+church, and the grand staircase of the Escurial; the latter,
+representing the Battle of St. Quintin, and the Capture of Montmorenci,
+is considered one of his finest works. His next productions were the
+great saloon in the Bueno Retiro; the sacristy of the great church at
+Toledo; the ceiling of the Royal Chapel at Madrid, and other important
+works. After the death of Charles II., he was employed in the same
+capacity by his successor, Philip V. These labors raised his reputation
+to the highest pitch; he was loaded with riches and favors, and Charles
+conferred upon him the honor of knighthood.
+
+
+GIORDANO AT THE ESCURIAL.
+
+Whilst Giordano was employed at the Escurial two Doctors of Theology
+were ordered to attend upon him, to answer his questions, and resolve
+any doubts that might arise as to the orthodox manner of treating his
+subjects. A courier was despatched every evening to Madrid, with a
+letter from the prior to the King, rendering an account of the artist's
+day's work; and within the present century, some of these letters were
+preserved at the Escurial. On one occasion he wrote thus, "Sire, your
+Giordano has painted this day about twelve figures, thrice as large as
+life. To these he has added the powers and dominations, with proper
+angels, cherubs, and seraphs, and clouds to support the same. The two
+Doctors of Divinity have not answers ready for all his questions, and
+their tongues are too slow too keep pace with the speed of his pencil."
+
+
+GIORDANO'S HABITS IN SPAIN.
+
+Giordano was temperate and frugal. He wrought incessantly, and to the
+scandal of the more devout, was found at his easel, even on days of
+religious festivals. His daily habit was to paint from eight in the
+morning, till noon, when he dined and rested two hours. At two he
+resumed his pencil, and wrought till five or six o'clock. He then took
+an airing in one of the royal carriages which was placed at his
+disposal. "If I am idle a single day," he used to say, "my pencils get
+the better of me; I must keep them in subjection by constant practice."
+The Spanish writers accuse him of avarice, and attribute his intense
+application to his ambition to acquire a large fortune; that he received
+large prices for his works, and never spent a maravedi except in the
+purchase of jewelry, of which he was very fond, and considered a good
+investment; thus he astonished Palomino by showing him a magnificent
+pearl necklace; but it should be recollected he was in the service of
+the King, and had a fixed salary, by no means large, which he was
+entitled to receive whether he wrought or played. He was doubtless
+better paid for his private commissions, which he could quickly
+despatch, than for his royal labors.
+
+
+GIORDANO'S FIRST PICTURES PAINTED AT MADRID.
+
+The first work Giordano executed in Spain was a fine imitation of a
+picture by Bassano, which happened under the following circumstances.
+The King, during his first interview with the painter, had remarked with
+regret, that a certain picture in the Alcaza, by that master, wanted a
+companion, Giordano secretly procured a frame and a piece of old
+Venetian canvas of the size of the other, and speedily produced a
+picture, having all the appearance of age and a fine match to the
+original, and hung it by its side. The King, in his next walk through
+the gallery, instantly noticed the change with surprise and
+satisfaction, and learning the story from his courtiers, he approached
+the artist, and laying his hand on his shoulder, saluted him with "Long
+life to Giordano."
+
+
+GIORDANO A FAVORITE AT COURT.
+
+No painter, not even Titian himself, was more caressed at court, than
+Giordano. Not only Charles II., but Philip V., delighted to do him
+honor, and treated him with extraordinary favor and familiarity. His
+brilliant success is said to have shortened the life of Claudio Coello,
+the ablest of his Castilian rivals. According to Dominici, that painter,
+jealous of Giordano, and desirous of impairing his credit at the court
+of Spain, challenged him to paint in competition with him in the
+presence of the King, a large composition fifteen palms high,
+representing the Archangel Michael vanquishing Satan. Giordano at once
+accepted the challenge, and in little more than three hours, produced a
+work which not only amazed and delighted the royal judge, but confounded
+poor Coello. "Look you, man," said the King to the discomfited Spaniard,
+and pointing to Luca Fa-presto, "there stands the best painter in
+Naples, Spain, and the whole world; verily, _he_ is a painter for a
+King."
+
+Both Charles and Queen Mariana of Neuberg, sat several times to Giordano
+for their portraits. They were never weary of visiting his studio, and
+took great pleasure in his lively conversation, and exhibitions of
+artistic skill. One day, the Queen questioned him curiously about the
+personal appearance of his wife, who she had learned was very beautiful.
+Giordano dashed off the portrait of his _Cara Sposa_, and cut short her
+interrogation by saying, "Here, Madame, is your Majesty's most humble
+servant herself," an effort of skill and memory, which struck the Queen
+as something so wonderful as to require a particular mark of her
+approbation,--she accordingly "sent to the Donna Margarita a string of
+pearls from the neck of her most gracious sovereign." Giordano would
+sometimes amuse the royal pair, by laying on his colors with his fingers
+and thumb, instead of brushes. In this manner, says Palomino, he
+executed a tolerable portrait of Don Francisco Filipin, a feat over
+which the monarch rejoiced with almost boyish transport. "It seemed to
+him as if he was carried back to that delightful night when he first saw
+his beautiful Maria Louisa dance a saraband at the ball of Don Pedro of
+Aragon. His satisfaction found vent in a mark of favor which not a
+little disconcerted the recipient. Removing the sculpel which the artist
+had permission to wear in the royal presence, he kissed him on the crown
+of the head, pronounced him a prodigy, and desired him to execute in the
+same digital style, a picture of St. Francis of Assisi for the Queen."
+Charles, on another occasion, complimented the artist, by saying, "If,
+as a King I am greater than Luca, Luca as a man wonderfully gifted by
+God, is greater than myself," a sentiment altogether novel for a
+powerful monarch of the 17th century. The Queen mother, Mariana of
+Austria, was equally an admirer of the fortunate artist. On occasion of
+his painting for her apartment a picture of the Nativity of our Lord,
+she presented him with a rich jewel and a diamond ring of great value,
+from her own imperial finger. It was thus, doubtless, that he obtained
+the rich jewels which astonished Palomino, and not by purchase. Charles
+II., dying in 1700, Giordano continued for a time in the service of his
+successor Philip V., who treated him with the same marked favor, and
+commissioned him to paint a series of pictures as a present to his
+grandfather, Louis XIV., of France.
+
+
+GIORDANO'S RETURN TO NAPLES.
+
+The war of succession, however, breaking out, Giordano was glad to seize
+the opportunity of re-returning to his family, on the occasion of the
+King's visit to Naples. He accompanied the court to Barcelona, in
+February, 1702, but as Philip delayed his embarkation, he asked and
+received permission to proceed by land. Parting through Genoa and
+Florence to Rome, he was received everywhere with distinction, and left
+some pictures in those cities. At Rome he had the honor to kiss the feet
+of Clement XI., and was permitted by special favor to enter the Papal
+apartments with his sword at his side, and his spectacles upon his nose.
+These condescensions he repaid with two large pictures, highly praised,
+representing the passage of the Red Sea, and Moses striking the Rock. On
+his arrival at Naples, he met with the most enthusiastic reception from
+his fellow-citizens, his renown in Spain having made him still more
+famous at home. Commissions poured into him, more than he could execute,
+and though rich, he does not seem to have relaxed his efforts or his
+habits of industry, but he did not long survive; he died of a putrid
+fever in January, 1705, in the 73d year of his age.
+
+
+GIORDANO'S PERSONAL APPEARANCE AND CHARACTER.
+
+In person, Luca Giordano was of the middle height, and
+well-proportioned. His complexion was dark, his countenance spare, and
+chiefly remarkable for the size of its nose, and an expression rather
+melancholy than joyous. He was, however, a man of ready wit and jovial
+humor; he was an accomplished courtier, understood the weak points of
+men that might be touched to advantage, and possessed manners so
+engaging, that he passed through life a social favorite. His school was
+always filled with scholars, and as a master he was kind and popular,
+although, according to Palomino, on one occasion he was so provoked that
+he broke a silver-mounted maul-stick over the head of one of his
+assistants. Greediness of gain seems to have been his besetting sin. He
+refused no commission that was offered to him, and he despatched them
+according to the prices he received, saying that "he had three sorts of
+pencils, made of gold, of silver, and of wood." Yet he frequently
+painted works gratuitously, as pious offerings to the altars of poor
+churches and convents.
+
+
+GIORDANO'S RICHES.
+
+Giordano died very rich, leaving 150,000 ducats invested in various
+ways; 20,000 ducats worth of jewels; many thousands in ready money,
+1,300 pounds weight of gold and silver plate, and a fine house full of
+rich furniture. Out of this he founded an entailed estate for his eldest
+son, Lorenzo, and made liberal provisions for his widow, two younger
+sons and six daughters. His sons and sons-in-law enjoyed several posts
+conferred on them in the kingdom of Naples by the favor of Charles II.
+
+
+GIORDANO'S WONDERFUL FACILITY OF HAND.
+
+Giordano may be said to have been born with a pencil in his hand, and by
+constant practice, added to a natural quickness, he acquired that
+extraordinary facility of hand which, while in his subsequent career, it
+tended to corrupt art, materially aided his fame and success. He was
+also indefatigable in his application. Bellori says, "he made twelve
+different designs of the Loggia and paintings by Raffaelle in the
+Vatican; and twenty after the Battle of Constantine by Giulio Romano,
+besides many after Michael Angelo, Polidoro da Caravaggio, and others.
+The demand for his drawings and sketches was so great, that Luca, when
+obliged to take refreshments, did not retire from his work, but gaping
+like a young bird, gave notice to his father of the calls of nature,
+who, always on the watch, instantly supplied him with food, at the same
+time repeating, _Luca, fa presto_. The only principle which his father
+instilled into his mind was despatch." Probably no artist, not even
+Tintoretto, produced so many pictures as Giordano. Lanzi says, "his
+facility was not derived wholly from a rapidity of pencil, but was aided
+by the quickness of his imagination, which enabled him clearly to
+perceive, from the commencement of the work, the result he intended,
+without hesitating to consider the component parts, or doubling,
+proving, and selecting, like other painters." Hence Giordano was also
+called, _Il proteo della pittura_, and _Il Falmine della pittura_--the
+Proteus, and the Lightning of painting. As an instance of the latter, it
+is recorded that he painted a picture while his guests were waiting for
+dinner.
+
+
+GIORDANO'S POWERS OF IMITATION.
+
+Giordano had the rare talent of being able to imitate the manner of
+every master so successfully as frequently to deceive the best judges;
+he could do this also without looking at the originals, the result of a
+wonderful memory, which retained everything once seen. There are
+numerous instances of pictures painted by him in the style of Albert
+Durer, Bassano, Titian, and Rubens, which are valued in commerce at two
+or three times the price of pictures in his own style. In the church of
+S. Teresa at Naples, are two pictures by him in the style of Guido, and
+there is a Holy Family at Madrid, which Mengs says may be easily
+mistaken for a production of Raffaelle. Giordano also had several
+scholars, who imitated his own style with great precision.
+
+
+GIORDANO'S FAME AND REPUTATION.
+
+Perhaps no artist ever enjoyed a greater share of contemporary fame than
+Luca Giordano. Possessed of inexhaustible invention, and marvellous
+facility of hand, which enabled him to multiply his works to any
+required amount he had the good fortune to hit upon a style which
+pleased, though it still farther corrupted the declining taste of the
+age. He despatched a large picture in the presence of Cosmo III., Grand
+Duke of Florence, in so short a space of time as caused him to exclaim
+in wonder, "You are fit to be the painter of a sovereign prince." The
+same eulogium, under similar circumstances, was passed upon him by
+Charles II. A similar feat at Naples, had previously won the admiration
+and approbation of the Viceroy, the Marquess de Heliche, and laid the
+foundation of his fortune. It became _the fashion_, to admire everything
+that came from his prolific pencil, at Madrid, as well as at Naples.
+Everywhere, his works, good or bad, were received with applause. When it
+was related as a wonder that Giordano painted with his fingers, no
+Angelo was found to observe, "Why does not the blockhead use his brush."
+That Giordano was a man of genius, there can be no doubt, but had he
+executed only a tenth part of the multitude he did, his fame would have
+been handed down to posterity with much greater lustre. Cean Bermudez
+says of his works in Spain, "He left nothing that is absolutely bad, and
+nothing that is perfectly good." His compositions generally bear the
+marks of furious haste, and they are disfigured in many cases by
+incongruous associations of pagan mythology with sacred history, and of
+allegory with history, a blemish on the literature as well as the art of
+the age. Bermudez also accuses him of having corrupted and degraded
+Spanish art, by introducing a new and false style, which his great
+reputation and royal favoritism, brought into vogue. Still, he deserves
+praise for the great facility of his invention, the force and richness
+of his coloring, and a certain grandeur of conception and freedom of
+execution which belong only to a great master. The royal gallery at
+Madrid possesses no less than fifty-five of his pictures, selected from
+the multitude he left in the various royal palaces. There are also many
+in the churches. Lanzi says, "Naples abounds with the works of Giordano,
+both public and private. There is scarcely a church in this great city
+which does not boast some of his works."
+
+
+REMARKABLE INSTANCE OF GIORDANO'S RAPIDITY OF EXECUTION.
+
+Giordano, on his return to Naples from Florence, established himself in
+Ribera's fine house, opposite the Jesuit's church of S. Francesco
+Xavier. In 1685 he was commissioned by the Fathers to paint a large
+picture for one of the principal altars, and agreed that it should be
+completed by the approaching festival of the patron saint. Giordano,
+having other engagements on hand, put off the execution of the
+altar-piece so long, that the Jesuits began to be clamorous, and at
+length appealed to the Viceroy to exercise his authority. Determined to
+see for himself how matters stood, that great man paid an unexpected
+visit to Giordano's studio. The painter had barely time to escape by a
+back door to avoid his wrath, when the Marquess de Heliche entered, who
+perceiving that he had not touched the vast canvas with his brush, as
+suddenly retired, muttering imprecations and menaces. Luca's dashing
+pencil now stood him in good stead. He immediately sketched the outlines
+of his composition, and setting his disciples to prepare his palettes,
+he painted all that day and night with so much diligence that by the
+following afternoon, he was able to announce to the impatient Fathers
+the completion of the picture. The subject was the patron of the church,
+St. Francis Xavier, the great Jesuit missionary, baptizing the people of
+Japan. He is represented standing on a lofty flight of steps; behind
+him, in the distance, is a party of zealous converts pulling down the
+images of their gods, and beneath in the foreground, kneels St. Francis
+Borgia in the attitude of prayer. The picture was executed with such
+boldness and freedom, and excellence of coloring, that at the proper
+distance it produced a grand and magnificent effect. It was immediately
+carried to the church, and placed over the destined altar, the day
+before the appointed festival, and the Viceroy whose anger had hardly
+cooled, invited to inspect it. Charmed with the beauty of the work, and
+amazed by the celerity of its execution, he exclaimed, "the painter of
+this picture must be either an angel or a demon." Giordano received his
+compliments, and made his own excuses with so much address, that the
+Marquess, forgetting all past offences engaged him to paint in the
+palace, and passed much of his time by his side, observing his progress,
+and enjoying his lively conversation.
+
+
+REVIVAL OF PAINTING IN ITALY.
+
+"Poetry, Painting, and Sculpture," says Cunningham, "are of the same
+high order of genius; but, as words provide at once shape and color to
+our thoughts, Poetry has ever led the way in the march of intellect: as
+material forms are ready made, and require but to be skillfully copied,
+Sculpture succeeded; and as lights and shadows demand science and
+experience to work them into shape, and endow them with sentiment,
+Painting was the last to rise into elegance and sublimity. In this order
+these high Arts rose in ancient Greece; and in the like order they rose
+in modern Italy; but none of them reached true excellence, till the
+light of knowledge dawned on the human mind, nor before civilization,
+following in the steps of barbarism, prepared the world for the
+reception of works of polished grace and tranquil grandeur.
+
+"From the swoon into which the Fine Arts were cast by the overthrow of
+the Roman Empire, they were long in waking: all that was learned or
+lofty was extinguished: of Painting, there remained but the memory, and
+of Sculpture, some broken stones, yet smothered in the ruins of temples
+and cities the rules which gave art its science were lost; the
+knowledge of colors was passed away, and that high spirit which filled
+Italy and Greece with shapes and sentiments allied to heaven, had
+expired. In their own good time, Painting and Sculpture arose from the
+ruins in which they had been overwhelmed, but their looks were altered;
+their air was saddened; their voice was low, though it was, as it had
+been in Greece, holy, and it called men to the contemplation of works of
+a rude grace, and a but dawning beauty. These 'sisters-twin' came at
+first with pale looks and trembling steps, and with none of the
+confidence which a certainty of pleasing bestows: they came too with few
+of the charms of the heathen about them: of the scientific unity of
+proportion, of the modest ease, the graceful simplicity, or the almost
+severe and always divine composure of Greece, they had little or none.
+But they came, nevertheless, with an original air and character all
+their own; they spoke of the presence of a loveliness and sentiment
+derived from a nobler source than pagan inspiration; they spoke of Jesus
+Christ and his sublime lessons of peace, and charity, and belief, with
+which he had preached down the altars and temples of the heathen, and
+rebuked their lying gods into eternal silence.
+
+"Though Sculpture and Painting arose early in Italy, and arose with the
+mantle of the Christian religion about them, it was centuries before
+they were able to put on their full lustre and beauty. For this,
+various causes may be assigned. 1. The nations, or rather wild hordes,
+who ruled where consuls and emperors once reigned, ruled but for a
+little while, or were continually employed in expeditions of bloodshed
+and war. 2. The armed feet of the barbarians had trodden into dust all
+of art that was elegant or beautiful:--they lighted their camp-fires
+with the verses of Euripides or Virgil; they covered their tents with
+the paintings of Protogenes and Apelles, and they repaired the breaches
+in the walls of a besieged city, with the statues of Phidias and
+Praxiteles;--the desires of these barbarians were all barbarous. 3.
+Painting and Sculpture had to begin their labors anew; all rules were
+lost; all examples, particularly of the former, destroyed: men unable,
+therefore, to drink at the fountains of Greece, did not think, for
+centuries, of striking the rock for themselves. 4. The Christian
+religion, for which Art first wrought, demanded sentiment rather than
+shape: it was a matter of mind which was wanted: the personal beauty of
+Jesus Christ is nowhere insisted upon in all the New Testament: the
+earliest artists, when they had impressed an air of holiness or serenity
+on their works, thought they had done enough; and it was only when the
+fears of looking like the heathen were overcome, and a sense of the
+exquisite beauty of Grecian sculpture prevailed, that the geometrical
+loveliness of the human form found its way into art. It may be added,
+that no modern people, save the Italians alone, seem to share fully in
+the high sense of the ideal and the poetic, visible in the works of
+Greece.
+
+"The first fruits of this new impulse were representations of Christ on
+the Cross; of his forerunner, St. John; of his Virgin Mother; and of his
+companions, the Apostles. Our Saviour had a meek and melancholy look;
+the hands of the Virgin are held up in prayer; something of the wildness
+of the wilderness was in the air of St. John, and the twelve Apostles
+were kneeling or preaching. They were all clothed from head to heel; the
+faces, the hands, and the feet, alone were bare; the sentiment of
+suffering or rejoicing holiness, alone was aimed at. The artists of the
+heathen religion wrought in a far different spirit; the forms which they
+called to their canvas, and endowed with life and beauty, were all, or
+mostly naked; they saw and felt the symmetry and exquisite harmony of
+the human body, and they represented it in such elegance, such true
+simplicity and sweetness, as to render their nude figures the rivals in
+modesty and innocence of the most carefully dressed. A sense of this
+excellence of form is expressed by many writers. 'If,' says Plato, 'you
+take a man as he is made by nature, and compare him with another who is
+the effect of art, the work of nature will always appear the less
+beautiful, because art is more accurate than nature.' Maximus Tyrus also
+says, that 'the image which is taken by a painter from several bodies,
+produces a beauty which it is impossible to find in any single natural
+body, approaching to the perfection of the fairest statues.' And Cicero
+informs us, that Zeuxis drew his wondrous picture of Helen from various
+models, all the most beautiful that could be found; for he could not
+find in one body all those perfections, which his idea of that princess
+required.
+
+"So far did the heathens carry their notions of ideal beauty, that they
+taxed Demetrius with being too natural, and Dionysius they reproached as
+but a painter of men. Lysippus himself upbraided the ordinary sculptors
+of his day, for making men such as they were in nature, and boasted of
+himself, that he made men as they ought to be. Phidias copied his
+statues of Jupiter and Pallas from forms in his own soul, or those which
+the muse of Homer supplied. Seneca seems to wonder, that, the sculptor
+having never beheld either Jove or Pallas, yet could conceive their
+divine images in his mind; and another eminent ancient says, that 'the
+fancy more instructs the painter than the imitation; for the last makes
+only the things which it sees, but the first makes also the things which
+it never sees.' Such were also, in the fulness of time and study, the
+ideas of the most distinguished moderns. Alberti tells us, that 'we
+ought not so much to love the likeness as the beauty, and to choose from
+the fairest bodies, severally, the fairest parts.' Da Vinci uses almost
+the same words, and desires the painter to form the idea for himself;
+and the incomparable Raphael thus writes to Castiglione concerning his
+Galatea: 'To paint a fair one, it is necessary for me to see many fair
+ones; but because there is so great a scarcity of lovely women, I am
+constrained to make use of one certain idea, which I have formed in my
+own fancy.' Guido Reni approaches still closer to the pure ideal of the
+great Christian School of Painting, when he wishes for the wings of an
+angel, to ascend to Paradise, and see, with his own eyes, the forms and
+faces of the blessed spirits, that he might put more of heaven into his
+pictures.
+
+"Of the heaven which the great artist wished to infuse into his works,
+there was but little in painting, when it rose to aid religion in Italy.
+The shape was uncooth, the coloring ungraceful, and there was but the
+faint dawn of that divine sentiment, which in time elevated Roman art to
+the same eminence as the Grecian. Yet all that Christianity demanded
+from Art, at first, was readily accomplished: fine forms, and delicate
+hues, were not required for centuries, by the successors of the
+Apostles; a Christ on the Cross; the Virgin lulling her divine Babe in
+her bosom; the Miracle of Lazarus; the Preaching on the Mount; the
+Conversion of St. Paul; and the Ascension--roughly sculptured or
+coarsely painted, perhaps by the unskilful hands of the Christian
+preachers themselves--were found sufficient to explain to a barbarous
+people some of the great ruling truths of Christianity. These, and such
+as these, were placed in churches, or borne about by gospel
+missionaries and were appealed to, when words failed to express the
+doctrines and mysteries which were required to be taught. Such appeals
+were no doubt frequent, in times when Greek and Latin ceased to be
+commonly spoken, and the present languages of Europe were shaping
+themselves, like fruit in the leaf, out of the barbarous dissonance of
+the wild tongues which then prevailed. These Christian preachers, with
+their emblems and their relics, were listened to by the Gothic
+subverters of the empire of art and elegance, with the more patience and
+complacency, since they desired not to share in their plunder or their
+conquests, and opened to them the way to a far nobler kingdom--a kingdom
+not of this earth.
+
+"Though abundance of figures of saints were carved, and innumerable
+Madonnas painted throughout Italy, in the earlier days of the Christian
+church, they were either literal transcripts of common life, or
+mechanical copies or imitations of works furnished from the great store
+looms of the Asiatic Greeks. There were thousands--nay, tens of
+thousands of men, who wrote themselves artists, while not one of them
+had enough of imagination and skill to lift art above the low estate in
+which the rule and square of mechanical imitation had placed it. Niccolo
+Pisano appears to have been the first who, at Pisa, took the right way
+in sculpture: his groups, still in existence, are sometimes too crowded;
+his figures badly designed, and the whole defective in sentiment; but
+he gave an impulse--communicated through the antique--to composition,
+not unperceived by his scholars, who saw with his eyes and wrought with
+his spirit. The school which he founded produced, soon after, the
+celebrated Ghiberti, whose gates of bronze, embellished with figures,
+for the church of San Giovanni, were pronounced by Michael Angelo worthy
+to be the gates of Paradise. While the sister art took these large
+strides towards fame, Painting lagged ruefully behind; she had no true
+models, and she had no true rules; but 'the time and the man' came at
+last, and this man was Giovanni Cimabue."
+
+
+GIOVANNI CIMABUE.
+
+This great painter is universally considered the restorer of modern
+painting. The Italians call him "the Father of modern Painting;" and
+other nations, "the Creator of the Italian or Epic style of Painting."
+He was born at Florence in 1240, of a noble family, and was skilled both
+in architecture and sculpture. The legends of his own land make him the
+pupil of Giunta; for the men of Florence are reluctant to believe that
+he was instructed in painting by those Greek artists who were called in
+to embellish their city with miracles and Madonnas. He soon conquered an
+education which consisted in reproducing, in exact shape and color, the
+works of other men: he desired to advance: he went to nature for his
+forms; he grouped them with a new skill; he bestowed ease on his
+draperies, and a higher expression on his heads. His talent did not
+reside in the neat, the graceful, and the lovely; his Madonnas have
+little beauty, and his angels are all of one make: he succeeded best in
+the heads of the old and the holy, and impressed on them, in spite of
+the barbarism of his times, a bold sublimity, which few have since
+surpassed. Critics object to the fierceness of his eyes, the want of
+delicacy in the noses of his figures, and the absence of perspective in
+his compositions; but they admit that his coloring is bright and
+vigorous, his conceptions grand and vast, and that he loved the daring
+and the splendid. Nevertheless, a touch of the mechanical Greek School,
+and a rudeness all his own, have been observed in the works of this
+great painter. His compositions were all of a scriptural or religious
+kind, such as the church required: kings were his visitors, and the
+people of Florence paid him honors almost divine.
+
+
+CIMABUE'S PASSION FOR ART.
+
+Cimabue gave early proof of an accurate judgment and a clear
+understanding, and his father designed to give him a liberal education,
+but instead of devoting himself to letters, says Vasari, "he consumed
+the whole day in drawing men, horses, houses, and other various fancies
+on his books and different papers--an occupation to which he felt
+himself impelled by nature; and this natural inclination was favored by
+fortune, for the governors of the city, had invited certain Greek
+painters to Florence, for the purpose of restoring the art of painting,
+which had not merely degenerated, but was altogether lost; those
+artists, among other works, began to paint the chapel of Gondi, situated
+next to the principal chapel in S. Maria Novella, where Giovanni was
+being educated, who often escaping from school, and having already made
+a commencement in the art he was so fond of, would stand watching these
+masters at their work the day through." Vasari goes on to say, that this
+passion at length induced his father, already persuaded that he had the
+genius to become a great painter, to place Giovanni under the
+instruction of these Greek artists. From this time, he labored
+incessantly day and night, and aided by his great natural powers, he
+soon surpassed his teachers.
+
+
+CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.
+
+Cimabue had already distinguished himself by many works, executed in
+fresco and distemper for the churches at Florence, Pisa, and Assisi,
+when he painted his famous picture of the Holy Virgin for the church of
+S. Maria Novella in the former city. This picture was accounted such a
+wonderful performance by his fellow citizens, that they carried it from
+the house of Cimabue to the church in solemn procession, with sound of
+trumpets and every demonstration of joy. "It is further reported," says
+Vasari, "that whilst Cimabue was painting this picture in a garden near
+the gate of San Pietro, King Charles the elder, of Anjou, passed through
+Florence, and the authorities of the city, among other marks of respect,
+conducted him to see the picture of Cimabue." This picture, representing
+the Virgin and Infant Jesus surrounded by angels, larger than life, then
+so novel, was regarded as such a wonderful performance, that all the
+people of Florence flocked in crowds to admire it, making all possible
+demonstrations of delight. It still adorns the chapel of the Rucellai
+family in the church of S. Maria Novella for which it was painted. The
+heads of the Virgin, of the infant Jesus, and the angels, are all fine,
+but the hands are badly drawn; this defect, however, is common with the
+Quattrocentisti, or artists of the 14th century. The editors of the
+Florentine edition of Vasari, commenced in 1846, by an association of
+learned Italians, observe, "This picture, still in fair preservation, is
+in the chapel of the Rucellai family; and whoever will examine it
+carefully, comparing it, not only with works before the time of Cimabue,
+but also with those painted after him, by the Florentine masters,
+particularly Giotto, will perceive that the praises of Vasari are
+justified in every particular."
+
+
+THE WORKS OF CIMABUE.
+
+Some writers assert that the works of Cimabue possessed little merit
+when compared with those of later times; and that the extraordinary
+applause which he received flowed from an age ignorant of art. It should
+be recollected, however, that it is much easier to copy or follow, when
+the path has been marked out, than to invent or discover; and hence that
+the glorious productions of the "Prince of modern Painters," form no
+criterion by which to judge of the merits of those of the "Father of
+modern Painters." The former had "the accumulated wisdom of ages" before
+him, of which he availed himself freely; the latter had nothing worthy
+of note, but his own talents and the wild field of nature, from which he
+was the first of the moderns who drew in the spirit of inspiration.
+"Giotto," says Vasari, "did obscure the fame of Cimabue, as a great
+light diminishes the splendor of a lesser one; so that, although Cimabue
+may be considered the cause of the restoration of the art of painting,
+yet Giotto, his disciple, impelled by a laudable ambition, and well
+aided by heaven and nature, was the man, who, attaining to superior
+elevation of thought, threw open the gate of the true way, to those who
+afterwards exalted the art to that perfection and greatness which it
+displays in our own age; when accustomed, as men are, daily to see the
+prodigies and miracles, nay the _impossibilities_, now performed by
+artists, they have arrived at such a point, that they no longer marvel
+at anything accomplished by man, even though it be more divine than
+human. Fortunate, indeed, are artists who now labor, however
+meritoriously, if they do not incur censure instead of praise; nay, if
+they can even escape disgrace." It should be recollected that Vasari
+held this language in the days of Michael Angelo.
+
+All the great frescos of Cimabue, and most of his easel pictures, have
+perished. Besides the picture of the Virgin before mentioned, there is a
+St. Francis in the church of S. Croce, an excellent picture of St.
+Cecilia, in that of S. Stefano, and a Madonna in the convent of S.
+Paolino at Florence. There are also two paintings by Cimabue in the
+Louvre--the Virgin with angels, and the Virgin with the infant Jesus.
+Others are attributed to him, but their authenticity is very doubtful.
+
+
+DEATH OF CIMABUE.
+
+According to Vasari, Cimabue died in 1300, and was entombed in the
+church of S. Maria del Fiore at Florence. The following epitaph,
+composed by one of the Nini, was inscribed on his monument:
+
+  "Credidit ut Cimabos picturæ castra tenere
+  Sic tenuit, vivens, nunc tenet astra poli."
+
+It appears, however, from an authentic document, cited by Campi, that
+Cimabue was employed in 1302 in executing a mosaic picture of St. John,
+for the cathedral of Pisa; and as he left this figure unfinished, it is
+probable that he did not long survive that year.
+
+
+GIOTTO.
+
+This great artist, one of the fathers of modern painting, was born at
+Vespignano, a small town near Florence, in 1276. He was the son of a
+shepherd named Bondone, and while watching his father's flocks in the
+field, he showed a natural genius for art by constantly delineating the
+objects around him. A sheep which he had drawn upon a flat stone, after
+nature, attracted the attention of Cimabue, who persuaded his father,
+Bondone, to allow him to go to Florence, confident that he would be an
+ornament to the art. Giotto commenced by imitating his master, but he
+quickly surpassed him. A picture of the Annunciation, in the possession
+of the Fathers of Badia at Florence, is one of his earliest works, and
+manifests a grace and beauty superior to Cimabue, though the style is
+somewhat dry. In his works, symmetry became more chaste, design more
+pleasing, and coloring softer than before. Lanzi says that if Cimabue
+was the Michael Angelo of that age, Giotto was the Raffaelle. He was
+highly honored, and his works were in great demand. He was invited to
+Rome by Boniface VIII., and afterwards to Avignon by Clement V. The
+noble families of Verona, Milan, Ravenna, Urbino, and Bologna, were
+eager to possess his works. In 1316, according to Vasari, he returned
+from Avignon, and was employed at Padua, where he painted the chapel of
+the Nunziata all' Arena, divided all around into compartments, each of
+which represents some scriptural event. Lanzi says it is truly
+surprising to behold, not less on account of its high state of
+preservation beyond any other of his frescos, than for its graceful
+expression, and that air of grandeur which Giotto so well understood.
+About 1325 he was invited to Naples by King Robert, to paint the church
+of S. Chiara, which he decorated with subjects from the New Testament,
+and the Mysteries of the Apocalypse. These, like many of his works, have
+been destroyed; but there remains a Madonna, and several other pictures,
+in this church. Giotto's portraits were greatly admired, particularly
+for their air of truth and correct resemblance. Among other illustrious
+persons whom he painted, were the poet Dante, and Clement VIII. The
+portrait of the former was discovered in the chapel of the Podesta, now
+the Bargello, at Florence, which had for two centuries been covered with
+whitewash, and divided into cells for prisoners. The whitewash was
+removed by the painter Marini, at the instance of Signor Bezzi and
+others, and the portrait discovered in the "Gloria" described by Vasari.
+Giotto was also distinguished in the art of mosaic, particularly for the
+famous Death of the Virgin at Florence, greatly admired by Michael
+Angelo; also the celebrated Navicella, or Boat of St. Peter, in the
+portico of the Basilica of St. Peter's at Rome, which is now so
+mutilated and altered as to leave little of the original design.
+
+As an architect, Giotto attained considerable eminence, according to
+Milizia, and erected many important edifices, among which is the
+bell-tower of S. Maria del Fiore. The thickness of the walls is about
+ten feet; the height is two hundred and eighty feet. The cornice which
+supports the parapet is very bold and striking; the whole exterior is of
+Gothic design, inlaid with marble and mosaic, and the work may be
+considered one of the finest specimens of campanile in Italy.
+
+
+GIOTTO'S ST. FRANCIS STIGMATA
+
+In the church of S. Francesco at Pisa, is a picture by Giotto,
+representing St. Francis receiving the Stigmata,[A] which is in good
+preservation, and held in great veneration, not only for the sake of the
+master, but for the excellence of the work. Vasari says, "It represents
+St. Francis, standing on the frightful rocks of La Verna; and is
+finished with extraordinary care. It exhibits a landscape with many
+trees and precipices, which was a new thing in those times. In the
+attitude and expression of St. Francis, who is on his knees receiving
+the Stigmata, the most eager desire to obtain them is clearly manifest,
+as well as infinite love towards Jesus Christ, who, from heaven above,
+where he is seen surrounded by the seraphim, grants those stigmata to
+his servant, with looks of such lively affection, that it is not
+possible to conceive anything more perfect. Beneath this picture are
+three others, also from the life of St. Francis, and very beautiful."
+
+[Footnote A: Stigmata, signifies the five wounds of the Saviour
+impressed by himself on the persons of certain saints, male and female,
+in reward for their sanctity and devotion to the service.]
+
+
+GIOTTO'S INVITATION TO ROME.
+
+Boniface VIII., desirous of decorating St. Peter's church with some
+paintings, having heard of the extraordinary talents of Giotto,
+despatched one of his courtiers to Tuscany, to ascertain the truth, as
+to his merits, and to procure designs from other artists for his
+approbation and selection. Vasari says, "The messenger, when on his way
+to visit Giotto, and to enquire what other good masters there were in
+Florence, spoke first with many artists in Siena--then, having received
+designs from them, he proceeded to Florence, and repaired one morning to
+the workshop where Giotto was occupied with his labors. He declared the
+purpose of the Pope, and the manner in which that pontiff desired to
+avail himself of his assistance, and finally requested to have a drawing
+that he might send it to his holiness. Giotto, who was very courteous,
+took a sheet of paper and a pencil dipped in a red color; then resting
+his elbow on his side to form a sort of compass, with one turn of the
+hand, he drew a circle so perfect and exact that it was a marvel to
+behold. This done, he turned smiling to the courtier, saying, 'There is
+your drawing.' 'Am I to have nothing more than this?' enquired the
+latter, conceiving himself to be jested with. 'That is enough and to
+spare,' replied Giotto, 'send it with the rest, and you will see if it
+will not be recognized.' The messenger, unable to obtain anything more,
+went away very ill satisfied, and fearing that he had been fooled.
+Nevertheless, having despatched the other drawings to the Pope, with the
+names of those who had done them, he sent that of Giotto also, relating
+the mode in which he had made his circle, without moving his arm and
+without compass; from which the Pope, and such of the courtiers as were
+well versed in the subject, perceived how far Giotto surpassed all the
+other painters of his time. This incident becoming known, gave rise to
+the proverb still used in relation to people of dull wits, 'In sei più
+tondo che l'O di Giotto,' (round as Giotto's O,) the significance of
+which consists in the double meaning of the word _tondo_, which is used
+in the Tuscan for slowness of intellect, and slowness of comprehension,
+as well as for an exact circle. The proverb besides has an interest from
+the circumstance which gave it birth."
+
+Giotto was immediately invited to Rome by the Pope, who received him
+with distinction, and commissioned him to paint a large picture in the
+sacristy of St. Peter's, with five others in the church, representing
+subjects from the life of Christ, which gave so much satisfaction to the
+pontiff, that he commanded 600 gold ducats to be paid to the artist,
+"besides conferring on him so many favors," says Vasari, "that there was
+talk of them throughout Italy."
+
+
+GIOTTO'S LIVING MODEL.
+
+Giotto, about to paint a picture of the Crucifixion, induced a poor man
+to suffer himself to be bound to a cross, under the promise of being set
+at liberty in an hour, and handsomely rewarded for his pains. Instead of
+this, as soon as Giotto had made his victim secure, he seized a dagger,
+and, shocking to tell, stabbed him to the heart! He then set about
+painting the dying agonies of the victim to his foul treachery. When he
+had finished his picture, he carried it to the Pope; who was so well
+pleased with it, that he resolved to place it above the altar of his own
+chapel. Giotto observed, that, as his holiness liked the copy so well,
+he might perhaps like to see the original. The Pope, shocked at the
+impiety of the idea, uttered an exclamation of surprise. "I mean," added
+Giotto, "I will show you the person whom I employed as my model in this
+picture, but it must be on condition that your holiness will absolve me
+from all punishment for the use which I have made of him." The Pope
+promised Giotto the absolution for which he stipulated, and accompanied
+the artist to his workshop. On entering, Giotto drew aside a curtain
+which hung before the dead man, still stretched on the cross, and
+covered with blood.
+
+The barbarous exhibition struck the pontiff with horror; he told Giotto
+he could never give him absolution for so cruel a deed, and that he must
+expect to suffer the most exemplary punishment. Giotto, with seeming
+resignation, said that he had only one favor to ask, that his holiness
+would give him leave to finish the piece before he died. The request had
+too important an object to be denied; the Pope readily granted it; and,
+in the meantime, a guard was set over Giotto to prevent his escape.
+
+On the painting being replaced in the artist's hands, the first thing he
+did was to take a brush, and, dipping it into a thick varnish, he daubed
+the picture all over with it, and then announced that he had finished
+his task. His holiness was greatly incensed at this abuse of the
+indulgence he had given, and threatened Giotto that he should be put to
+the most cruel death, unless he painted another picture equal to the one
+which he had destroyed. "Of what avail is your threat," replied Giotto,
+"to a man whom you have doomed to death at any rate?" "But," replied his
+holiness, "I can revoke that doom." "Yes," continued Giotto, "but you
+cannot prevail on me to trust to your verbal promise a second time."
+"You shall have a pardon under my signet before you begin." On that, a
+conditional pardon was accordingly made out and given to Giotto, who,
+taking a wet sponge, in a few minutes wiped off the coating with which
+he had bedaubed the picture, and instead of a copy, restored the
+original in all its beauty to his holiness. Although this story is
+related by many writers, it is doubtless a gross libel on the fair fame
+of this great artist, originating with some witless wag, who thought
+nothing too horrible to impose upon the credulity of mankind. It is
+discredited by the best authors. A similar fable is related of
+Parrhasius. See the Olynthian Captive, vol. I. page 151 of this work.
+
+
+GIOTTO AND THE KING OF NAPLES.
+
+After Giotto's return to Florence, about 1325, Robert, King of Naples,
+wrote to his son Charles, King of Calabria, who was then in Florence,
+desiring that he would by all means send Giotto to him at Naples, to
+decorate the church and convent of Santa Clara, which he had just
+completed, and desired to have adorned with noble paintings. Giotto
+readily accepted this flattering invitation from so great and renowned a
+monarch, and immediately set out to do him service. He was received at
+Naples with every mark of distinction, and executed many subjects from
+the old and New Testaments in the different chapels of the building. It
+is said that the pictures from the Apocalypse, which he painted in one
+of the chapels, were the inventions of Dante; but Dante was then dead,
+and if Giotto derived any advantage from him, it must have been from
+previous discussions on the subject. These works gave the greatest
+satisfaction to the King, who munificently rewarded the artist, and
+treated him with great kindness and extraordinary familiarity. Vasari
+says that Giotto was greatly beloved by King Robert, who delighted to
+visit him in his painting room, to watch the progress of his work, to
+hear his remarks, and to hold conversation with him; for Giotto had a
+ready wit, and was always as ready to amuse the monarch with his lively
+conversation and witty replies as with his pencil. One day the King said
+to him, "Giotto, I will make you the first man in Naples," to which
+Giotto promptly replied, "I am already the first man in Naples; for this
+reason it is that I dwell at the Porta Reale." At another time the King,
+fearing that he would injure himself by overworking in the hot season,
+said to him, "Giotto, if I were in your place, now that it is so hot, I
+would give up painting for a time, and take my rest." "And so would I
+do, certainly," replied Giotto, "were I the King of Naples." One day the
+King to amuse himself, desired Giotto to _paint his kingdom_. The
+painter drew an ass carrying a packsaddle loaded with a crown and
+sceptre, while a similar saddle, also bearing the ensigns of royalty,
+lay at his feet; these last were all new, and the ass scented them,
+with an eager desire to change them for those he bore. "What does this
+signify, Giotto?" enquired the King. "Such is thy kingdom," replied
+Giotto, "and such thy subjects, who are every day desiring a new lord."
+
+
+GIOTTO AND DANTE.
+
+The children of Giotto were remarkably ill-favored. Dante, one day,
+quizzed him by asking, "Giotto, how is it that you, who make the
+children of others so beautiful, make your own so ugly?" "Ah, my dear
+friend," replied the painter, "mine were made in the dark."
+
+
+DEATH OF GIOTTO.
+
+"Giotto," says Vasari, "having passed his life in the production of so
+many admirable works, and proved himself a good Christian, as well as an
+excellent painter, resigned his soul to God in the year 1336, not only
+to the great regret of his fellow citizens, but of all who had known
+him, or even heard his name. He was honorably entombed, as his high
+deserts had well merited, having been beloved all his life, but more
+especially by the learned men of all professions." Dante and Petrarch
+were his warm admirers, and immortalized him in their verse. The
+commentator of Dante, who was cotemporary with Giotto, says, "Giotto
+was, and is, the most eminent of all the painters of Florence, and to
+this his works bear testimony in Rome, Naples, Avignon, Florence, Padua,
+and many other parts of the world."
+
+
+BUONAMICO BUFFALMACCO.
+
+The first worthy successor of Giotto in the Florentine school, was
+Buffalmacco, whose name has been immortalized by Boccaccio in his
+_Decameron_, as a man of most facetious character. He executed many
+works in fresco and distemper, but they have mostly perished. He chiefly
+excelled in Crucifixions and Ascensions. He was born, according to
+Vasari, in 1262, and died in 1340, aged 78; but Baldinucci says that he
+lived later than 1358. His name is mentioned in the old Book of the
+Company of Painters, under the date of 1351, (_Editors of the Florentine
+edition of Vasari_, 1846.). Buffalmacco was a merry wag, and a careless
+spendthrift, and died in the public hospital.
+
+
+BUFFALMACCO AND HIS MASTER.
+
+"Among the Three Hundred Stories of Franco Saccheti," says Vasari, "we
+find it related to begin with, what our artist did in his youth--that
+when Buffalmacco was studying with Andrea Tafi, his master had the habit
+of rising before daylight when the nights were long, compelling his
+scholars also to awake and proceed to their work. This provoked
+Buonamico, who did not approve of being aroused from his sweetest
+sleep. He accordingly bethought himself of finding some means by which
+Andrea might be prevented from rising so early, and soon found what he
+sought." Now it happened that Tafi was a very superstitious man,
+believing that demons and hobgoblins walked the earth at their pleasure.
+Buffalmacco, having caught about thirty large beetles, he fastened to
+the back of each, by means of small needles, a minute taper, which he
+lighted, and sent them one by one into his master's room, through a
+crack in the door, about the time he was accustomed to rise and summon
+him to his labors. Tafi seeing these strange lights wandering about his
+room, began to tremble with fright, and repeated his prayers and
+exorcisms, but finding they produced no effect on the apparitions, he
+covered his head with the bed clothes, and lay almost petrified with
+terror till daylight. When he rose he enquired of Buonamico, if "he had
+seen more than a thousand demons wandering about his room, as he had
+himself in the night?" Buonamico replied that he had seen nothing, and
+wondered he had not been called to work. "Call thee to work!" exclaimed
+the master, "I had other things to think of besides painting, and am
+resolved to stay in this house no longer;" and away he ran to consult
+the parish priest, who seems to have been as superstitious as the poor
+painter himself. When Tafi discoursed of this strange affair with
+Buonamico, the latter told him that he had been taught to believe that
+the demons were the greatest enemies of God, consequently they must be
+the most deadly adversaries of painters. "For," said he, "besides that
+we always make them most hideous, we think of nothing but painting
+saints, both men and women, on walls and pictures, which is much worse,
+since we thereby render men better and more devout to the great despite
+of the demons; and for all this, the devils being angry with us, and
+having more power by night than by day, they play these tricks upon us.
+I verily believe too, that they will get worse and worse, if this
+practice of rising to work in the night be not discontinued altogether."
+Buffalmacco then advised his master to make the experiment, and see
+whether the devils would disturb him if he did not work at night. Tafi
+followed this advice for a short time, and the demons ceased to disturb
+him; but forgetting his fright, he began to rise betimes, as before, and
+to call Buffalmacco to his work. The beetles then recommenced their
+wanderings, till Tafi was compelled by his fears and the earnest advice
+of the priest to desist altogether from that practice. "Nay," says
+Vasari, "the story becoming known through the city, produced such an
+effect that neither Tafi, nor any other painter dared for a long time to
+work at night."
+
+Another laughable story is related of Buffalmacco's ingenuity to rid
+himself of annoyance. Soon after he left Tafi, he took apartments
+adjoining those occupied by a man who was a penurious old simpleton,
+and compelled his wife to rise long before daylight to commence work at
+her spinning wheel. The old woman was often at her wheel, when Buonamico
+retired to bed from his revels. The buzz of the instrument put all sleep
+out of the question; so the painter resolved to put a stop to this
+annoyance. Having provided himself with a long tube, and removed a brick
+next to the chimney, he watched his opportunity, and blew salt into
+their soup till it was spoiled. He then succeeded in making them believe
+that it was the work of demons, and to desist from such early rising.
+Whenever the old woman touched her wheel before daylight, the soup was
+sure to be spoiled, but when she was allowed reasonable rest, it was
+fresh and savory.
+
+
+BUFFALMACCO AND THE NUNS OF THE CONVENT OF FAENZA.
+
+Soon after Buffalmacco left his master, he was employed by the nuns of
+Faenza to execute a picture for their convent. The subject was the
+slaughter of the Innocents. While the work was in progress, those ladies
+some times took a peep at the picture through the screen he had raised
+for its protection. "Now Buffalmacco," says Vasari, "was very eccentric
+and peculiar in his dress, as well as manner of living, and as he did
+not always wear the head-dress and mantle usual at the time, the nuns
+remarked to their intendant, that it did not please them to see him
+appear thus in his doublet; but the steward found means to pacify them,
+and they remained silent on the subject for some time. At length,
+however, seeing the painter always accoutred in like manner, and
+fancying that he must be some apprentice, who ought to be merely
+grinding colors, they sent a messenger to Buonamico from the abbess, to
+the effect, that they would like to see the master sometimes at the
+work, and not always himself. To this Buffalmacco, who was very pleasant
+in manner, replied, that as soon as the master came to the work he would
+let them know of his arrival; for he perceived clearly how the matter
+stood. Thereupon, he placed two stools, one on the other, with a
+water-jar on the top; on the neck of the jar he set a cap, which was
+supported by the handle; he then arranged a long mantle carefully around
+the whole, and securing a pencil within the mouth, on that side of the
+jar whence the water is poured, he departed. The nuns, returning to
+examine the work through the hole which they had made in the screen, saw
+the supposed master in full robes, when, believing him to be working
+with all his might, and that he would produce a very different kind of
+thing from any that his predecessor in the jacket could accomplish, they
+went away contented, and thought no more of the matter for some days. At
+length, they were desirous of seeing what fine things the master had
+done, and at the end of a fortnight (during which Buffalmacco had never
+set foot within the place), they went by night, when they concluded that
+he would not be there, to see his work. But they were all confused and
+ashamed, when one, bolder than the rest, approached near enough to
+discover the truth respecting this solemn master, who for fifteen days
+had been so busy doing nothing. They acknowledged, nevertheless, that
+they had got but what they merited--the work executed by the painter in
+the jacket being all that could be desired. The intendant was therefore
+commanded to recall Buonamico, who returned in great glee and with many
+a laugh, to his labor, having taught these good ladies the difference
+between a man and a water-jug, and shown them that they should not
+always judge the works of men by their vestments."
+
+
+BUFFALMACCO AND THE NUNS' WINE.
+
+Buffalmacco executed an historical painting for the nuns, which greatly
+pleased them, every part being excellent in their estimation, except the
+faces, which they thought too pale and wan. Buonamico, knowing that they
+kept the very best Vernaccia (a kind of delicious Tuscan wine, kept for
+the uses of the mass) to be found in Florence, told his fair patrons,
+that this defect could only be remedied by mixing the colors with good
+Vernaccia, but that when the cheeks were touched with colors thus
+tempered, they would become rosy and life-like enough. "The good
+ladies," says Vasari, "believing all he said, kept him supplied with
+the very best Vernaccia during all the time that his labors lasted, and
+he joyously swallowing this delicious nectar, found color enough on his
+palette to give his faces the fresh rosiness they so much desired."
+Bottari says, that Buonamico, on one occasion, was surprised by the
+nuns, while drinking the Vernaccia, when he instantly spirted what he
+had in his mouth on the picture, whereby they were fully satisfied; if
+they cut short his supply, his pictures looked pale and lifeless, but
+the Vernaccia always restored them to warmth and beauty. The nuns were
+so much pleased with his performances that they employed him a long
+time, and he decorated their whole church with his own hand,
+representing subjects from the life of Christ, all extremely well
+executed.
+
+
+BUFFALMACCO, BISHOP GUIDO, AND HIS MONKEY.
+
+"In the year 1302," says Vasari, "Buffalmacco was invited to Assisi,
+where, in the church of San Francesco, he painted in fresco the chapel
+of Santa Caterina, with stories taken from her life. These paintings are
+still preserved, and many figures in them are well worthy of praise.
+Having finished this chapel, Buonamico was passing through Arezzo, when
+he was detained by the Bishop Guido, who had heard that he was a
+cheerful companion, as well as a good painter, and who wished him to
+remain for a time in that city, to paint the chapel of the episcopal
+church, where the baptistery now is. Buonamico began the work, and had
+already completed the greater part of it, when a very curious
+circumstance occurred; and this, according to Franco Sacchetti, who
+relates it among his Three Hundred Stories, was as follows. The bishop
+had a large ape, of extraordinary cunning, the most sportive and
+mischievous creature in the world. This animal sometimes stood on the
+scaffold, watching Buonamico at his work, and giving a grave attention
+to every action: with his eyes constantly fixed on the painter, he
+observed him mingle his colors, handle the various flasks and tools,
+beat the eggs for his paintings in distemper--all that he did, in short;
+for nothing escaped the creature's observation. One Saturday evening,
+Buffalmacco left his work; and on the Sunday morning, the ape, although
+fastened to a great log of wood, which the bishop had commanded his
+servants to fix to his foot, that he might not leap about at his
+pleasure, contrived, in despite of the weight, which was considerable,
+to get on the scaffold where Buonamico was accustomed to work. Here he
+fell at once upon the vases which held the colors, mingled them all
+together, beat up whatever eggs he could find, and, plunging the pencils
+into this mixture, he daubed over every figure, and did not cease till
+he had repainted the whole work with his own hand. Having done that, he
+mixed all the remaining colors together, and getting down from the
+scaffold, he went his way. When Monday morning came, Buffalmacco
+returned to his work; and, finding his figures ruined, his vessels all
+heaped together, and every thing turned topsy-turvy, he stood amazed in
+sore confusion. Finally, having considered the matter within himself, he
+arrived at the conclusion that some Aretine, moved by jealousy, or other
+cause, had worked the mischief he beheld. Proceeding to the bishop, he
+related what had happened, and declared his suspicions, by all which
+that prelate was greatly disturbed; but, consoling Buonamico as best he
+could, he persuaded him to return to his labors, and repair the
+mischief. Bishop Guido, thinking him nevertheless likely to be right,
+his opinion being a very probable one, gave him six soldiers, who were
+ordered to remain concealed on the watch, with drawn weapons, during the
+master's absence, and were commanded to cut down any one, who might be
+caught in the act, without mercy. The figures were again completed in a
+certain time; and one day as the soldiers were on guard, they heard a
+strange kind of rolling sound in the church, and immediately after saw
+the ape clamber up to the scaffold and seize the pencils. In the
+twinkling of an eye, the new master had mingled his colors; and the
+soldiers saw him set to work on the saints of Buonamico. They then
+summoned the artist, and showing him the malefactor, they all stood
+watching the animal at his operations, being in danger of fainting with
+laughter, Buonamico more than all; for, though exceedingly disturbed by
+what had happened, he could not help laughing till the tears ran down
+his cheeks. At length he betook himself to the bishop, and said: 'My
+lord, you desire to have your chapel painted in one fashion, but your
+ape chooses to have it done in another.' Then, relating the story, he
+added: 'There was no need whatever for your lordship to send to foreign
+parts for a painter, since you had the master in your house; but perhaps
+he did not know exactly how to mix the colors; however, as he is now
+acquainted with the method, he can proceed without further help; I am no
+longer required here, since we have discovered his talents, and will ask
+no other reward for my labors, but your permission to return to
+Florence.' Hearing all this, the bishop, although heartily vexed, could
+not restrain his laughter; and the rather, as he remembered that he who
+was thus tricked by an ape, was himself the most incorrigible trickster
+in the world. However, when they had talked and laughed over this new
+occurrence to their hearts' content, the bishop persuaded Buonamico to
+remain; and the painter agreed to set himself to work for the third
+time, when the chapel was happily completed. But the ape, for his
+punishment, and in expiation of the crimes he had committed, was shut up
+in a strong wooden cage, and fastened on the platform where Buonamico
+worked; there he was kept till the whole was finished; and no
+imagination could conceive the leaps and flings of the creature thus
+enclosed in his cage, nor the contortions he made with his feet, hands,
+muzzle, and whole body, at the sight of others working, while he was not
+permitted to do anything."
+
+
+BUFFALMACCO'S TRICK ON THE BISHOP OF AREZZO.
+
+"When the works of the chapel before mentioned, were completed, the
+bishop ordered Buonamico--either for a jest, or for some other cause--to
+paint, on one of the walls of his palace, an eagle on the back of a
+lion, which the bird had killed. The crafty painter, having promised to
+do all that the bishop desired, caused a stout scaffolding and screen of
+wood-work to be made before the building, saying that he could not be
+seen to paint such a thing. Thus prepared, and shut up alone within his
+screen, Buonamico painted the direct contrary of what the bishop had
+required--a lion, namely, tearing an eagle to pieces; and, having
+painted the picture, he requested permission from the bishop to repair
+to Florence, for the purpose of seeking certain colors needful to his
+work. He then locked up the scaffold, and departed to Florence,
+resolving to return no more to the bishop. But the latter, after waiting
+some time, and finding that the painter did not reappear, caused the
+scaffolding to be taken down, and discovered that Buonamico had been
+making a jest of him. Furious at this affront, Guido condemned the
+artist to banishment for life from his dominions; which, when Buonamico
+learnt, he sent word to the bishop that he might do his worst,
+whereupon the bishop threatened him with fearful consequences. Yet
+considering afterwards that he had been tricked, only because he had
+intended to put an affront upon the painter, Bishop Guido forgave him,
+and even rewarded him liberally for his labors. Nay, Buffalmacco was
+again invited to Arezzo, no long time after, by the same prelate, who
+always treated him as a valued servant and familiar friend, confiding
+many works in the old cathedral to his care, all of which, unhappily,
+are now destroyed. Buonamico also painted the apsis of the principal
+chapel in the church of San Giustino in Arezzo."
+
+In the notes of the Roman and other earlier editions of Vasari, we are
+told that the lion being the insignia of Florence, and the eagle, that
+of Arezzo, the bishop designed to assert his own superiority over the
+former city, he being lord of Arezzo; but later commentators affirm,
+that Guido, being a furious Ghibelline, intended rather to offer an
+affront to the Guelfs, by exalting the eagle, which was the emblem of
+his party, over the lion, that of the Guelfs.
+
+
+ORIGIN OF LABEL PAINTING.
+
+Buffalmacco is generally considered the inventor of label painting, or
+the use of a label drawn from the mouth to represent it speaking; but it
+was practiced by Cimabue, and probably long before his time, in Italy.
+Pliny tells us that it was practiced by the early Greek painters.
+Vasari says that Buffalmacco was invited to Pisa, where he painted many
+pictures in the Abbey of St. Paul, on the banks of the Arno, which then
+belonged to the monks of Vallambrosa. He covered the entire surface of
+the church, from the roof to the floor, with histories from the Old
+Testament, beginning with the creation of man and continuing to the
+building of the Tower of Babel. In the church of St. Anastasia, he also
+painted certain stories from the life of that saint, "in which," says
+Vasari, "are very many beautiful costumes and head-dresses of women,
+painted with a charming grace of manner." Bruno de Giovanni, the friend
+and pupil of Buonamico, was associated with him in this work. He too, is
+celebrated by Boccaccio, as a man of joyous memory. When the stories on
+the façade were finished, Bruno painted in the same church, an
+altar-piece of St. Ursula, with her company of virgins. In one hand of
+the saint, he placed a standard bearing the arms of Pisa--a white cross
+on a field of red; the other is extended towards a woman, who, climbing
+between two rocks, has one foot in the sea, and stretches out both hands
+towards the saint, in the act of supplication. This female form
+represents Pisa. She bears a golden horn upon her head, and wears a
+mantle sprinkled over with circlets and eagles. Being hard pressed by
+the waves, she earnestly implores succor of the saint.
+
+While employed on this work, Bruno complained that his faces had not
+the life and expression which distinguished those of Buonamico, when the
+latter, in his playful manner, advised him to paint words proceeding
+from the mouth of the woman supplicating the saint, and in like manner
+those proceeding from the saint in reply. "This," said the wag, "will
+make your figures not only life-like, but even eloquently expressive."
+Bruno followed this advice; "And this method," says Vasari, "as it
+pleased Bruno and other dull people of that day, so does it equally
+satisfy certain simpletons of our own, who are well served by artists as
+commonplace as themselves. It must, in truth, be allowed to be an
+extraordinary thing that a practice thus originating in jest, and in no
+other way, should have passed into general use; insomuch that even a
+great part of the Campo Santo, decorated by much esteemed masters, is
+full of this absurdity." This picture is now in the Academy of the Fine
+Arts at Pisa.
+
+
+UTILITY OF ANCIENT WORKS.
+
+The works of Buffalmacco greatly pleased the good people of Pisa, who
+gave him abundant employment; yet he and his boon companion Bruno,
+merrily squandered all they had earned, and returned to Florence, as
+poor as when they left that city. Here they also found plenty of work.
+They decorated the church of S. Maria Novella with several productions
+which were much applauded, particularly the Martyrdom of St. Maurice
+and his companions, who were decapitated for their adherence to the
+faith of Christ. The picture was designed by Buonamico, and painted by
+Bruno, who had no great power of invention or design. It was painted for
+Guido Campere, then constable of Florence, whose portrait was introduced
+as St. Maurice.--The martyrs are led to execution by a troop of
+soldiers, armed in the ancient manner, and presenting a very fine
+spectacle. "This picture," says Vasari, "can scarcely be called a very
+fine one, but it is nevertheless worthy of consideration as well for the
+design and invention of Buffalmacco, as for the variety of vestments,
+helmets, and other armor used in those times; and from which I have
+myself derived great assistance in certain historical paintings,
+executed for our lord, the Duke Cosmo, wherein it was necessary to
+represent men armed in the ancient manner, with other accessories
+belonging to that period; and his illustrious excellency, as well as all
+else who have seen these works, have been greatly pleased with them;
+whence we may infer the valuable assistance to be obtained from the
+inventions and performances of the old master, and the mode in which
+great advantages may be derived from them, even though they may not be
+altogether perfect; for it is these artists who have opened the path to
+us, and led the way to all the wonders performed down to the present
+time, and still being performed even in these of our days."
+
+
+BUFFALMACCO AND THE COUNTRYMAN.
+
+While Buonamico was employed at Florence, a countryman came and engaged
+him to paint a picture of St. Christopher for his parish church; the
+contract was, that the figure should be twelve braccia in length,[B] and
+the price eight florins. But when the painter proceeded to look at the
+church for which the picture was ordered, he found it but nine braccia
+high, and the same in length; therefore, as he was unable to paint the
+saint in an upright position he represented him reclining, bent the legs
+at the knees, and turned them up against the opposite wall. When the
+work was completed, the countryman declared that he had been cheated,
+and refused to pay for it. The matter was then referred to the
+authorities, who decided that Buffalmacco had performed his contract,
+and ordered the stipulated payment to be made.
+
+[Footnote B: The braccio, (arm, cubit) is an Italian measure which
+varies in length, not only in different parts of Italy, but also
+according to the thing measured. In Parma, for example, the braccio for
+measuring silk is 23 inches, for woolens and cottons 25 and a fraction,
+while that for roads and buildings is 21 only. In Siena, the braccio for
+cloth is 14 inches, while in Florence it is 23, and in Milan it is 39
+inches, English measure.]
+
+The writer of these pages, in his intercourse with artists, has met with
+incidents as comical as that just related of Buonamico. Some artists
+proceed to paint without having previously designed, or even sketched
+out their subject on the canvass. We know an artist, who painted a fancy
+portrait of a child, in a landscape, reclining on a bank beside a
+stream; but when he had executed the landscape, and the greater part of
+the figure, he found he had not room in his canvass to get the feet in;
+so he turned the legs up in such a manner, as to give the child the
+appearance of being in great danger of sliding into the water. We
+greatly offended the painter by advising him to drive a couple of stakes
+into the bank to prevent such a catastrophe. Another artist, engaged in
+painting a full-length portrait, found, when he had got his picture
+nearly finished, that his canvass was at least four inches too short.
+"What shall I do," said the painter to a friend, "I have not room for
+the feet." "Cover them up with green grass," was the reply. "But my
+background represents an interior." "Well, hay will do as well."
+"Confound your jokes; a barn is a fine place to be sure for fine
+carpets, fine furniture, and a fine gentleman. I'll tell you what I'll
+do; I'll place one foot on this stool, and hide the other beneath this
+chair." He did so, but the figure looked all body and no legs, and the
+sitter refused to take the portrait.
+
+
+BUFFALMACCO AND THE PEOPLE OF PERUGIA.
+
+The Perugians engaged Buonamico to decorate their market-place with a
+picture of the patron saint of the city. Having erected an enclosure of
+planks and matting, that he might not be disturbed in his labors, the
+painter commenced his operations. Ten days had scarcely elapsed before
+every one who passed by enquired with eager curiosity, "when the picture
+would be finished?" as though they thought such works could be cast in a
+mould. Buffalmacco, wearied and disgusted at their impatient outcries,
+resolved on a bit of revenge. Therefore, keeping the work still
+enclosed, he admitted the Perugians to examine it, and when they
+declared themselves satisfied and delighted with the performance, and
+wished to remove the planks and matting, Buonamico requested that they
+would permit them to remain two days longer as he wished to retouch
+certain parts when the painting was fully dry. This was agreed to; and
+Buonamico instantly mounting his scaffold, removed the great gilt diadem
+from the head of the saint, and replaced it with a coronet of gudgeons.
+This accomplished, he paid his host, and set off to Florence.
+
+Two days having past, and the Perugians not seeing the painter going
+about as they were accustomed to do, inquired of his host what had
+become of him, and learning that he had left the city, they hastened to
+remove the screen that concealed the picture, when they discovered their
+saint solemnly crowned with gudgeons. Their rage now knew no bounds, and
+they instantly despatched horsemen in pursuit of Buonamico,--but in
+vain--the painter having found shelter in Florence. They then set an
+artist of their own to remove the crown of fishes and replace the gilded
+diadem, consoling themselves for the affront, by hurling maledictions at
+the head of Buonamico and every other Florentine.
+
+
+BUFFALMACCO'S NOVEL METHOD OF ENFORCING PAYMENT.
+
+Buffalmacco painted a fresco at Calcinaia, representing the Virgin with
+the Child in her arms. But the man for whom it was executed, only made
+fair promises in place of payment. Buonamico was not a man to be trifled
+with or made a tool of; therefore, he repaired early one morning to
+Calcinaia, and turned the child in the arms of the Holy Virgin into a
+young bear. The change being soon discovered, caused the greatest
+scandal, and the poor countryman for whom it was painted, hastened to
+the painter, and implored him to remove the cub and replace the child as
+before, declaring himself ready to pay all demands. This Buonamico
+agreed to do on being paid for the first and second painting, which last
+was only in water colors, when with a wet sponge, he immediately
+restored the picture to its peristine beauty. The Editors of the
+Florentine edition of Vasari, (1846) say that "in a room of the priory
+of Calcinaia, are still to be seen the remains of a picture on the
+walls, representing the Madonna with the Child in her arms, and other
+saints, evidently a work of the 14th century; and a tradition preserved
+to this day, declares that painting to be the one alluded to by our
+author."
+
+
+STEFANO FIORENTINO.
+
+This old Florentine painter was born in 1301. He was the grandson and
+disciple of Giotto, whom, according to Vasari, he greatly excelled in
+every department of art. From his close imitations of nature, he was
+called by his fellow citizens, "Stefano the Ape," (ape of nature.) He
+was the first artist who attempted to show the naked under his
+draperies, which were loose, easy, and delicate. He established the
+rules of perspective, little known at that early period, on more
+scientific principles. He was the first who attempted the difficult task
+of foreshortening. He also succeeded better than any of his
+cotemporaries in giving expression to his heads, and a less Gothic turn
+to his figures. He acquired a high reputation, and executed many works,
+in fresco and distemper, for the churches and public edifices of
+Florence, Rome, and other cities, all of which have perished, according
+to Lanzi, except a picture of the Virgin and Infant Christ in the Campo
+Santo at Pisa. He died in 1350.
+
+
+GIOTTINO.
+
+Tommaso Stefano, called II Giottino, the son and scholar of Stefano
+Fiorentino, was born at Florence in 1324. According to Vasari, he
+adhered so closely to the style of Giotto, that the good people of
+Florence called him Giottino, and averred that the soul of his great
+ancestor had transmigrated and animated him. There are some frescoes by
+him, still preserved at Assissi, and a Dead Christ with the Virgin and
+St. John, in the church of S. Remigio at Florence, which so strongly
+partake of the manner of Giotto as to justify the name bestowed upon him
+by his fellow citizens. He died in the flower of his life at Florence in
+1356.
+
+
+PAOLO UCCELLO.
+
+This old painter was born at Florence in 1349, and was a disciple of
+Antonio Veneziano. His name was Mazzocchi, but being very celebrated as
+a painter of animals, and especially so of birds, of which last he
+formed a large collection of the most curious, he was called Uccello
+(bird). He was one of the first painters who cultivated perspective.
+Before his time buildings had not a true point of perspective, and
+figures appeared sometimes as if falling or slipping off the canvass. He
+made this branch so much his hobby, that he neglected other essential
+parts of the art. To improve himself he studied geometry with Giovanni
+Manetti, a celebrated mathematician. He acquired great distinction in
+his time and some of his works still remain in the churches and convents
+of Florence. In the church of S. Maria Novella are several fresco
+histories from the Old Testament, which he selected for the purpose of
+introducing a multitude of his favorite objects, beasts and birds; among
+them, are Adam and Eve in Paradise, Noah entering the Ark, the Deluge,
+&c. He painted battles of lions, tigers, serpents, &c, with peasants
+flying in terror from the scene of combat. He also painted landscapes
+with figures, cattle and ruins, possessing so much truth and nature,
+that Lanzi says "he may be justly called the Bassano of his age." He was
+living in 1436. Vasari places his birth in 1396-7, and his death in
+1479, but later writers have proved his dates to be altogether
+erroneous.
+
+
+UCCELLO'S ENTHUSIASM.
+
+"Paolo Uccello employed himself perpetually and without any
+intermission," says Vasari, "in the consideration of the most difficult
+questions connected with art, insomuch that he brought the method of
+preparing the plans and elevations of buildings, by the study of linear
+perspective, to perfection. From the ground plan to the cornice, and
+summit of the roof, he reduced all to strict rules, by the convergence
+of intersecting lines, which he diminished towards the centre, after
+having fixed the point of view higher or lower, as seemed good to him;
+he labored, in short, so earnestly in these difficult matters that he
+found means, and fixed rules, for making his figures really to seem
+standing on the plane whereon they were placed; not only showing how in
+order manifestly to draw back or retire, they must gradually be
+diminished, but also giving the precise manner and degree required for
+this, which had previously been done by chance, or effected at the
+discretion of the artist, as he best could. He also discovered the
+method of turning the arches and cross-vaulting of ceilings, taught how
+floors are to be foreshortened by the convergence of the beams; showed
+how the artist must proceed to represent the columns bending round the
+sharp corners of a building, so that when drawn in perspective, they
+efface the angle and cause it to seem level. To pore over all these
+matters, Paolo would remain alone, almost like a hermit, shut up in his
+house for weeks and months without suffering himself to be approached."
+
+
+UCCELLO AND THE MONKS OF SAN MINIATO.
+
+Uccello was employed to decorate one of the cloisters of the monastery
+of San Miniato, situated without the city of Florence, with subjects
+from the lives of the Holy Fathers. While he was engaged on these works,
+the monks gave him scarcely anything to eat but cheese, of which the
+painter soon became tired, and being shy and timid, he resolved to go no
+more to work in the cloister. The prior sent to enquire the cause of his
+absence, but when Paolo heard the monks asking for him, he would never
+be at home, and if he chanced to meet any of the brothers of that order
+in the street, he gave them a wide berth. This extraordinary conduct
+excited the curiosity of the monks to such a degree that one day, two of
+the brothers, more swift of foot than the rest, gave chase to Paolo, and
+having, cornered him, demanded why he did not come to finish the work
+according to his agreement, and wherefore he fled at the sight of one of
+their body. "Faith," replied the painter, "you have so murdered me, that
+I not only run away from you, but dare not stop near the house of any
+joiner, or even pass by one; and all this owing to the bad management of
+your abbot; for, what with his cheese-pies, and cheese-soup, he has made
+me swallow such a mountain of cheese, that I am all turned into cheese
+myself, and tremble lest the carpenters should seize me, to make their
+glue of me; of a certainty had I stayed any longer with you, I should be
+no more Paolo, but a huge lump of cheese." The monks, bursting with
+laughter, went their way, and told the story to their abbot, who at
+length prevailed on Uccello to return to his work on condition that he
+would order him no more dishes made of cheese.
+
+
+UCCELLO'S FIVE PORTRAITS.
+
+Uccello was a man of very eccentric character and peculiar habits; but
+he was a great lover of art, and applauded those who excelled in any of
+its branches. He painted the portraits of five distinguished men, in
+one oblong picture, that he might preserve their memory and features to
+posterity. He kept it in his own house, as a memorial of them, as long
+as he lived. In the time of Vasari, it was in the possession of Giuliano
+da Sangallo. At the present day, (Editor's Florentine edition of Vasari,
+1846) all trace of this remarkable picture is lost. The first of these
+portraits was that of the painter Giotto, as one who had given new light
+and life to art; the second, Fillippo Brunelleschi, distinguished for
+architecture; the third, Donatello, eminent for sculpture; the fourth,
+Uccello himself, for perspective and animals; and the fifth was his
+friend Giovanni Manetti, for the mathematics.
+
+
+UCCELLO'S INCREDULITY OF ST. THOMAS.
+
+It is related, says Vasari, of this master, that being commissioned to
+paint a picture of St. Thomas seeking the wound in the side of Christ,
+above the door of the church dedicated to that saint, in the Mercato
+Vecchio, he declared that he would make known in that work, the extent
+of what he had acquired and was capable of producing. He accordingly
+bestowed upon it the utmost care and consideration, and erected an
+enclosure around the place that he might not be disturbed until it
+should be completed. One day, his friend Donatello met him, and asked
+him, "What kind of work is this of thine, that thou art shutting up so
+closely?" Paolo replied, "Thou shalt see it some day; let that suffice
+thee." Donatello would not press him, thinking that when the time came,
+he should, as usual, behold a miracle of art. It happened one morning,
+as he was in the Mercato Vecchio, buying fruit, he saw Paolo uncovering
+his picture, and saluting him courteously, the latter anxiously demanded
+what he thought of his work. Donatello having examined the painting very
+closely, turned to the painter with a disappointed look, and said, "Why,
+Paolo, thou art uncovering thy picture at the very moment when thou
+shouldst be shutting it up from the sight of all!" These words so
+grievously afflicted the painter, who at once perceived that he would be
+more likely to incur derision from his boasted master-piece, than the
+honor he had hoped for, that he hastened home and shut himself up,
+devoting himself to the study of perspective, which, says Vasari, kept
+him in poverty and depression till the day of his death. If this story
+be true, Uccello must have painted the picture referred to in his old
+age.
+
+
+THE ITALIAN SCHOOLS OF PAINTING.
+
+The fame and success of Cimabue and Giotto, brought forth painters in
+abundance, and created schools all over Italy. The church increasing in
+power and riches, called on the arts of painting and sculpture, to add
+to the beauty and magnificence of her sanctuaries; riches and honors
+were showered on men whose genius added a new ray of grace to the
+Madonna, or conferred a diviner air on St. Peter or St. Paul; and as
+much of the wealth of Christendom found its way to Rome, the successors
+of the apostles were enabled to distribute their patronage over all the
+schools of Italy. Lanzi reckons fourteen schools of painting in Italy,
+each of which is distinguished by some peculiar characteristics, as
+follows: 1, the Florentine school; 2, the Sienese school; 3, the Roman
+school; 4, the Neapolitan school; 5, the Venetian school; 6, the Mantuan
+school; 7, the Modenese school; 8, the school of Parma; 9, the school of
+Cremona; 10, the school of Milan; 11, the school of Bologna; 12, the
+school of Ferrara; 13, the school of Genoa; 14, the school of Piedmont.
+Of these, the Florentine, the Roman, and the Bolognese are celebrated
+for their epic grandeur of composition; that of Siena for its poetic
+taste; that of Naples for its fire; and that of Venice for the splendor
+of its coloring.
+
+Other writers make different divisions, according to style or country;
+thus, Correggio, being by birth a Lombard, and the originator of a new
+style, the name of the Lombard school has been conferred by many upon
+the followers of his maxims, the characteristics of which are contours
+drawn round and full, the countenances warm and smiling, the union of
+the colors clear and strong, and the foreshortenings frequent, with a
+particular attention to the chiaro-scuro. Others again, rank the artists
+of Milan, Mantua Parma, Modena, and Cremona, under the one head of the
+Lombard school; but Lanzi justly makes the distinctions before
+mentioned, because their manners are very different. Writers of other
+nations rank all these subdivisions under one head--the Italian school.
+Lanzi again divides these schools into epochs, as they rose from their
+infancy, to their greatest perfection, and again declined into
+mannerism, or servile imitation, or as eminent artists rose who formed
+an era in art. Thus writers speak of the schools of Lionardo da Vinci,
+of Michael Angelo, of Raffaelle, of Correggio, of Titian, of the
+Caracci, and of every artist who acquired a distinguished reputation,
+and had many followers. Several great artists formed such a marked era
+in their schools, that their names and those of their schools are often
+used synonymously by many writers; thus, when they speak of the Roman
+school, they mean that of Raffaelle; of the Florentine, that of Michael
+Angelo; of Parma or Lombardy, that of Correggio; of Bologna, that of the
+Caracci; but not so of the Venetian and Neapolitan schools, because the
+Venetian school produced several splendid colorists, and that of Naples
+as many, distinguished by other peculiarities. These distinctions should
+be borne in mind in order rightly to understand writers, especially
+foreigners, on Italian art.
+
+
+CLAUDE JOSEPH VERNET.
+
+Claude Joseph Vernet, the father of Carl Vernet, and the grandfather of
+Horace, was born at Avignon in 1714. He was the son of Antoine Vernet,
+an obscure painter, who foretold that he would one day render his family
+illustrious in art, and gave him every advantage that his limited means
+would permit. Such were the extraordinary talents he exhibited almost in
+his infancy, that his father regarded him as a prodigy, and dreaming of
+nothing but seeing him become the greatest historical painter of the
+age, he resolved to send him to Rome; and having, by great economy,
+saved a few louis d'or, he put them into Joseph's pocket, when he was
+about eighteen years of age, and sent him off with a wagoner, who
+undertook to conduct him to Marseilles.
+
+
+VERNET'S PRECOCITY.
+
+The wonderful stories told about the early exhibitions of genius in many
+celebrated painters are really true with respect to Joseph Vernet. In
+his infancy, he exhibited the most extraordinary passion for painting.
+He himself has related, that on his return from Italy, his mother gave
+him some drawings which he had executed at the age of five years, when
+he was rewarded by being allowed to use the pencils he had tried to
+purloin. Before he was fifteen, he painted frieze-panels, fire-screens,
+coach-panels, sedan chair-panels, and the like, whenever he could get a
+commission; he also gave proof of that facility of conceiving and
+executing, which was one of the characteristics of his genius.
+
+
+VERNET'S ENTHUSIASM.
+
+It has been before stated that Vernet's father intended him for an
+historical painter, but nature formed his genius to imitate her
+sweetest, as well as most terrible aspect. When he was on his way to
+Marseilles, he met with so many charming prospects, that he induced his
+companion to halt so often while he sketched them, that it took them a
+much longer time to reach that port than it would otherwise have done.
+
+When he first saw the sea from the high hill, called La Viste, near
+Marseilles, he stood wrapt in admiration. Before him stretched the blue
+waters of the Mediterranean as far as the eye could reach, while three
+islands, a few leagues from the shore, seemed to have been placed there
+on purpose to break the uniformity of the immense expanse of waters, and
+to gratify the eye; on his right rose a sloping town of country houses,
+intersected with trees, rising above one another on successive terraces;
+on his left was the little harbor of Mastigues; in front, innumerable
+vessels rocked to and fro in the harbor of Marseilles, while the horizon
+was terminated by the picturesque tower of Bouc, nearly lost, however,
+in the distance. This scene made a lasting impression on Vernet. Nature
+seemed not only to invite, but to woo him to paint marine subjects, and
+from that moment his vocation was decided on. Thus nature frequently
+instructs men of genius, and leads them on in the true path to
+excellence and renown. Like the Æolian harp, which waits for a breath of
+air to produce a sound, so they frequently wait or strive in vain, till
+nature strikes a sympathetic chord, that vibrates to the soul. Thus
+Joseph Vernet never thought of his forte till he first stood on La
+Viste; and after that, he was nothing but a painter of ships and
+harbors, and tranquil seas, till the day when lashed to the mast, he
+first beheld the wild sea in such rude commotion, as threatened to
+engulf the noble ship and all on board at every moment. Then his mind
+was elevated to the grandeur of the scene; and he recollected forever
+the minutest incident of the occasion.
+
+"It was on going from Marseilles to Rome," says one of his biographers,
+M. Pitra, "that Joseph Vernet, on seeing a tempest gathering, when they
+were off the Island of Sardinia, was seized, not with terror, but with
+admiration; in the midst of the general alarm, the painter seemed really
+to relish the peril; his only desire was to face the tempest, and to be,
+so to say, mixed up with it, in order that, some day or other, he might
+astonish and frighten others by the terrible effects he would learn to
+produce; his only fear was that he might lose the sight of a spectacle
+so new to him. He had himself lashed to the main mast, and while he was
+tossed about in every direction, saturated with seawater, and excited by
+this hand-to-hand struggle with his model, he painted the tempest, not
+on his canvass, but in his memory, which never forgot anything. He saw
+and remembered all--clouds, waves, and rock, hues and colors, with the
+motion of the boats and the rocking of the ship, and the accidental
+light which intersected a slate-colored sky that served as a ground to
+the whiteness of the sea-foam." But, according to D'Argenville and
+others, this event occurred in 1752, when he was on his way to Paris, at
+the invitation of Louis XV. Embarking at Leghorn in a small felucca, he
+sailed to Marseilles. A violent storm happened on the voyage, which
+greatly terrified some of the passengers, but Vernet, undaunted, and
+struck with the grandeur of the scene, requested the sailors to lash him
+to the mast head, and there he remained, absorbed in admiration, and
+endeavoring to transfer to his sketch-book, a correct picture of the
+sublime scene with which he was surrounded. His grandson, Horace Vernet,
+painted an excellent picture of this scene, which was exhibited in the
+Louvre in 1816, and attracted a great deal of attention.
+
+
+VERNET AT ROME.
+
+Vernet arrived at Rome in 1732, and became the scholar of Bernardino
+Fergioni, then a celebrated marine painter, but Lanzi says, "he was
+soon eclipsed by Joseph Vernet, who had taken up his abode at Rome."
+Entirely unknown in that metropolis of art, always swarming with
+artists, Vernet lived for several years in the greatest poverty,
+subsisting by the occasional sale of a drawing or picture at any price
+he could get. He even painted panels for coach builders, which were
+subsequently sawed out and sold as works of great value. Fiorillo
+relates that he painted a superb marine for a suit of coarse clothes,
+which brought 5000 francs at the sale of M. de Julienne. Finding large
+pictures less saleable, he painted small ones, which he sold for two
+sequins a-piece, till a Cardinal, one day gave him four louis d'or for a
+marine. Yet his ardor and enthusiasm were unabated; on the contrary, he
+studied with the greatest assiduity, striving to perfect himself in his
+art, and feeling confident that his talents would ultimately command a
+just reward.
+
+
+VERNET'S "ALPHABET OF TONES."
+
+It was the custom of Vernet to rise with the lark, and he often walked
+forth before dawn and spent the whole day in wandering about the
+surrounding country, to study the ever changing face of nature. He
+watched the various hues presented by the horizon at different hours of
+the day. He soon found that with all his powers of observation and
+pencil, great and impassioned as they were, he could not keep pace with
+the rapidly changing and evanescent hues of the morning and evening sky.
+He began to despair of ever being able to represent on canvass the
+moving harmony of those pictures which nature required so little time to
+execute in such perfection, and which so quickly passed away. At length,
+after long contemplating how he could best succeed in catching and
+transferring these furtive tints to his canvass, bethought himself of a
+contrivance which he called his Alphabet of tones, and which is
+described by Renou in his "Art de Peindre."
+
+The various characters of this alphabet are joined together, and
+correspond to an equal number of different tints; if Vernet saw the sun
+rise silvery and fresh, or set in the colors of crimson; or if he saw a
+storm approaching or disappearing, he opened his table and set down the
+gradations of the tones he admired, as quickly as he could write ten or
+twelve letters on a piece of paper. After having thus noted down in
+short hand, the beauties of the sky and the accidental effects of
+nature, he returned to his studio, and endeavored to make stationary on
+canvass the moving picture he had just been contemplating. Effects which
+had long disappeared were thus recomposed in all their charming harmony
+to delight the eye of every lover of painting.
+
+
+VERNET AND THE CONNOISSEUR.
+
+Vernet relates, that he was once employed to paint a landscape, with a
+cave, and St. Jerome in it; he accordingly painted the landscape, with
+St. Jerome at the entrance of the cave. When he delivered the picture,
+the purchaser, who understood nothing of perspective, said, "the
+landscape and the cave are well made, but St. Jerome is not _in_ the
+cave." "I understand you, Sir," replied Vernet, "I will alter it." He
+therefore took the painting, and made the shade darker, so that the
+saint seemed to sit farther in. The gentleman took the painting; but it
+again appeared to him that the saint was not in the cave. Vernet then
+wiped out the figure, and gave it to the gentleman, who seemed perfectly
+satisfied. Whenever he saw strangers to whom he shewed the picture, he
+said, "Here you see a picture by Vernet, with St. Jerome in the cave."
+"But we cannot see the saint," replied the visitors. "Excuse me,
+gentlemen," answered the possessor, "he is there; for _I_ have seen him
+standing at the entrance, and afterwards farther back; and am therefore
+quite sure that he is in it."
+
+
+VERNET'S WORKS.
+
+Far from confining himself within the narrow limits of one branch of his
+profession, Vernet determined to take as wide a range as possible. At
+Rome, he made the acquaintance of Lucatelli, Pannini, and Solimene. Like
+them, he studied the splendid ruins of the architecture of ancient Rome,
+and the noble landscapes of its environs, together with every
+interesting scene and object, especially the celebrated cascades of
+Tivoli. He paid particular attention to the proportions and attitudes of
+his figures, which were mostly those of fishermen and lazzaroni, as well
+as to the picturesque appearance of their costume. Such love of nature
+and of art, such assiduous study of nature at different hours of the
+day, of the phenomena of light, and such profound study of the numerous
+accessories essential to beauty and effect, made an excellent landscape
+painter of Vernet, though his fame rests chiefly on the unrivalled
+excellence of his marine subjects. Diderot remarks, that "though he was
+undoubtedly inferior to Claude Lorraine in producing bold and luminous
+effects, he was quite equal to that great painter in rendering the
+effects of vapor, and superior to him in the invention of scenes, in
+designing figures, and in the variety of his incidents."
+
+At a later period, Diderot compared his favorite painter to the Jupiter
+of Lucian, who, tired of listening to the lamentable cries of mankind,
+rose from table and exclaimed: 'Let it hail in Thrace!' and the trees
+were immediately stripped of their leaves, the heaviest cut to pieces,
+and the thatch of the houses scattered before the wind: then he said,
+"Let the plague fall on Asia!" and the doors of the houses were
+immediately closed, the streets were deserted, and men shunned one
+another; and again he exclaimed: 'Let a volcano appear here!' and the
+earth immediately shook, the buildings were thrown down, the animals
+were terrified, and the inhabitants fled into the surrounding country;
+and on his crying out: 'Let this place be visited with a death!' the old
+husbandman died of want at his door. Jupiter calls that governing the
+world, but he was wrong. Vernet calls it painting pictures, and he is
+right.
+
+It was with reference to the twenty-five paintings exhibited by Vernet,
+in 1765, that Diderot penned the foregoing lines, which formed the
+peroration to an eloquent and lengthy eulogium, such as it rarely falls
+to a painter to be the subject of. Among other things, the great critic
+there says: "There is hardly a single one of his compositions which any
+painter would have taken not less than two years to execute, however
+well he might have employed his time. What incredible effects of light
+do we not behold in them! What magnificent skies! what water! what
+ordonnance! what prodigious variety in the scenes! Here, we see a child
+borne off on the shoulders of his father, after having been saved from a
+watery grave; while there, lies a woman dead upon the beach, with her
+forlorn and widowed husband weeping at her side. The sea roars, the wind
+bowls, the thunder fills the air with its peals, and the pale and
+sombre glimmers of the lightning that shoots incessantly through the
+sky, illuminate and hide the scene in turn. It appears as if you heard
+the sides of the ship crack, so natural does it look with its broken
+masts and lacerated sails; the persons on deck are stretching their
+hands toward heaven, while others have thrown themselves into the sea.
+The latter are swept by the waves against the neighboring rocks, where
+their blood mingles with the white foam of the raging billows. Some,
+too, are floating on the surface of the sea, some are about to sink, and
+some are endeavoring to reach the shore, against which they will be
+inevitably dashed to pieces. The same variety of character, action, and
+expression is observable among the spectators, some of whom are turning
+aside with a shudder, some are doing their utmost to assist the drowning
+persons, while others remain motionless and are merely looking on. A few
+persons have made a fire beneath a rock, and are endeavoring to revive a
+woman, who is apparently expiring. But now turn your eyes, reader,
+towards another picture, and you will there see a calm, with all its
+charms. The waters, which are tranquil, smooth, and cheerful-looking,
+insensibly lose their transparency as they extend further from the
+sight, while their surface gradually assumes a lighter tint, as they
+roll from the shore to the horizon. The ships are motionless, and the
+sailors and passengers are whiling away the time in various amusements.
+If it is morning, what light vapors are seen rising all around! and how
+they have refreshed and vivified every object they have fallen on! If it
+is evening, what a golden tint do the tops of the mountains assume! How
+various, too, are the hues of the sky! And how gently do the clouds move
+along, as they cast the reflection of their different colors into the
+sea! Go, reader, into the country, lift your eyes up towards the azure
+vault of heaven, observe well the phenomena you then see there, and you
+will think that a large piece of the canvass lighted by the sun himself
+has been cut out and placed upon the easel of the artist: or form your
+hand into a tube, so that, by looking through it, you will only be able
+to see a limited space of the canvass painted by nature, and you will at
+once fancy that you are gazing on one of Vernet's pictures which has
+been taken from off his easel and placed in the sky. His nights, too,
+are as touching as his days are fine; while his ports are as fine as his
+imaginative pieces are piquant. He is equally wonderful, whether he
+employs his pencil to depict a subject of everyday life, or he abandons
+himself completely to his imagination; and he is equally
+incomprehensible, whether he employs the orb of day or the orb of night,
+natural or artificial lights, to light his pictures with: he is always
+bold, harmonious, and staid, like those great poets whose judgment
+balances all things so well, that they are never either exaggerated or
+cold. His fabrics, edifices, costumes, actions, men and animals are all
+true. When near, he astonishes you, and, at a distance, he astonishes
+you still more."
+
+
+VERNET'S PASSION FOR MUSIC
+
+Vernet, notwithstanding he loved to depict the sea in its most convulsed
+and terrible aspects, was a perfect gentleman of the French school,
+whose manners were most amiable and engaging. What he most loved after
+painting was music. He had formed at Rome, an intimate friendship with
+Pergolesi, the composer, who afterwards became so celebrated, and they
+lived almost continually together. Vernet placed a harpsichord in his
+studio for the express use of his friend, and while the painter, carried
+away by his imagination, put the waters of the mighty main into
+commotion, or suspended persons on the towering waves, the grave
+composer sought, with the tips of his fingers, for the rudiments of his
+immortal melodies. It was thus that the melancholy stanzas of that _chef
+d'oeuvre_ of sadness and sorrow, the _Stabat-Mater_, were composed for
+a little convent in which one of Pergolesi's sisters resided. It seems
+to one that while listening to this plaintive music, Vernet must have
+given a more mellow tint to his painting; and it was, perhaps, while
+under its influence, that he worked at his calms and moonlights, or,
+making a truce with the roaring billows of the sea, painted it tranquil
+and smooth, and represented on the shore nothing but motionless
+fishermen, sailors seated between the carriages of two cannons, and
+whiling away the time by relating their travels to one another, or else
+stretched on the grass in so quiescent a state, that the spectator
+himself becomes motionless while gazing on them.
+
+Pergolesi died in the arms of Joseph Vernet, who could never after hear
+the name of his friend pronounced, without being moved to tears. He
+religiously preserved the scraps of paper, on which he had seen the
+music of the _Stabat-Mater_ dotted down before his eyes, and brought
+them with him to France in 1752, at which period he was sent for by the
+Marquis de Marigny, after an absence of twenty years. Vernet's love for
+music procured Grétry a hearty welcome, when the young composer came to
+Paris. Vernet discovered his talent, and predicted his success. Some of
+Grétry's features, his delicate constitution, and, above all, several of
+his simple and expressive airs, reminded the painter of the immortal man
+to whom music owes so large a portion of its present importance; for it
+was Pergolesi who first introduced in Italy the custom of paying such
+strict attention to the sense of the words and to the choice of the
+accompaniments.
+
+
+VERNET'S OPINION OF HIS OWN MERITS.
+
+Though Vernet rose to great distinction, he was never fully appreciated
+till long after his decease. At the present day, he is placed in the
+first rank of marine painters, not only by his own countrymen, but by
+every other nation. He himself pronounced judgment on his own merits,
+the justness of which, posterity has sanctioned. The sentence deserves
+to be preserved, for it is great. Comparing himself to the great
+painters, his rivals, he says, "If you ask me whether I painted skies
+better than such and such an artist, I should answer 'no!' or figures
+better than any one else, I should also say 'no!' or trees and
+landscapes better than others, still I should answer 'no!' or fogs,
+water, and vapors better than others, my answer would ever be the same
+but though _inferior to each of them in one branch of the art, I surpass
+them in all the others_."
+
+
+CURIOUS LETTER OF VERNET.
+
+The Marquis de Marigny, like his sister, Madame de Pompadour, loved and
+protected the arts. It was mainly through his influence that Vernet was
+invited to Paris in 1752, and commissioned to paint the sea-ports of
+France. No one could have been found better fitted for the ungrateful
+task, which, though offering so few resources, required so much
+knowledge. Thus imprisoned in official programme, Vernet must have felt
+ill at ease, if we may judge from a letter which he wrote to the Marquis
+at a subsequent period, with respect to another order. Indeed, the truth
+of his remarks were verified in the very series just mentioned, which
+are not considered among his happiest productions. The following is the
+main part of the letter referred to, dated May 6th, 1765:
+
+     "I am not accustomed to make sketches for my pictures. My general
+     practice is to compose on the canvass of the picture I am about to
+     execute, and to paint it immediately, while my imagination is still
+     warm with conception; the size, too, of my canvas tells me at once
+     what I have to do, and makes me compose accordingly. I am sure, if
+     I made a sketch beforehand, that I should not only not put in it
+     what might be in the picture, but that I should also throw into it
+     all the fire I possess, and the larger picture would, in
+     consequence, become cold. This would also be making a sort of copy,
+     which it would annoy me to do. Thus, sir, after thoroughly weighing
+     and examining everything, I think it best _that I should be left
+     free to act as I like_. This is what I require from all those for
+     whom I wish to do my best; and this is also what I beg your friend
+     towards whom I am desirous of acting conscientiously, to let me do.
+     He can tell me what size he wishes the picture to be, with the
+     general subject of it, such as calm, tempest, sun-rise, sun-set,
+     moon-light, landscape, marine-piece, etc., but nothing more.
+     Experience has taught me that, when I am constrained by the least
+     thing, I always succeed worse than generally.
+
+     "If you wish to know the usual prices of my pictures, they are as
+     follows:--For every one four feet wide, and two and a half, or
+     three high, £60, for every one three feet wide, and of a
+     proportionate height, £48; for every one two feet and a half wide
+     £40; for every one two feet wide, £32; and for every one eighteen
+     inches wide, £24, with larger or smaller ones as required; but it
+     is as well to mention that I succeed much better with the large
+     ones."
+
+
+CHARLES VERNET.
+
+Antoine Charles Horace Vernet was the son of Claude Joseph Vernet, and
+born at Bordeaux in 1758. He acquired distinction as a painter, and was
+made a Chevalier of the Legion of Honor, and of the order of St Michael.
+He chiefly excelled in battle and parade pieces of large dimensions; and
+he thus commemorated the battles of Rivoli, Marengo, Austerlitz, Wagram,
+the Departure of the Marshals, and other events of French history which
+occurred during his artistical career. More pleasing to many are his
+smaller pictures, mostly referring to battles and camps. He was
+uncommonly successful in depicting the horse, and there are numerous
+equestrian portraits by him, which are greatly admired. His studies from
+nature, and his hunting pieces, for vivacity, spirit, and boldness of
+conception, are only rivaled by those of his son Horace. Many of his
+works have been lithographed; the twenty-eight plates in folio,
+illustrating the Campaign of Bonaparte in Italy, are esteemed among his
+most successful efforts. He died in 1836.
+
+
+ANECDOTE OF CHARLES VERNET.
+
+A short time before his death, Charles Vernet, having some business to
+transact with one of the public functionaries, called at his office and
+sent in his card. The minister left him waiting two whole hours in the
+anteroom before he admitted him to his presence, when the business was
+quickly dispatched. Meeting Vernet at a soiree soon afterwards, the
+minister apologized for his _apparent_ neglect, which not appearing very
+satisfactory to the veteran painter, he mildly rebuked him by observing,
+"It is of no consequence, sir, but permit me to say that I think a
+little more respect should have been shown to the son of Joseph and the
+father of Horace Vernet."
+
+
+M. DE LASSON'S CARICATURE.
+
+A Norman priest, who lived in the middle of the seventeenth century,
+named the Abbé Malotru, was remarkably deformed in his figure, and
+ridiculous in his dress. One day, while he was performing mass, he
+observed a smile of contempt on the face of M. de Lasson, which
+irritated him so much that the moment the service was over, he
+instituted a process against him. Lasson possessed the talent of
+caricature drawing: he sketched a figure of the ill-made priest,
+accoutred, as he used to be, in half a dozen black caps over one
+another, nine waistcoats, and as many pair of breeches. When the court
+before whom he was cited urged him to produce his defense, he suddenly
+exhibited his Abbé Malotru, and the irresistible laughter which it
+occasioned insured his acquittal.
+
+
+FRANK HALS AND VANDYKE.
+
+In the early part of Frank Hals' life, to accommodate his countrymen,
+who were sparing both of their time and money, he painted portraits for
+a low price at one sitting in a single hour. Vandyke on his way to Rome,
+passing through the place, sat his hour as a stranger to the rapid
+portrait painter. Hals had seen some of the works of Vandyke, but was
+unacquainted with his person. When the picture was finished, Vandyke,
+assuming a silly manner, said it appeared to be easy work, and that he
+thought he could do it. Hals, thinking to have some fun, consented to
+sit an hour precisely by the clock, and not to rise or look at what he
+fully expected to find a laughable daub. Vandyke began his work; Hals
+looked like a sitter. At the close, the wag rose with all his risible
+muscles prepared for a hearty laugh; but when he saw the splendid
+sketch, he started, looked, and exclaimed, "You must be either Vandyke
+or the Devil!"
+
+
+
+
+
+End of the Project Gutenberg EBook of Anecdotes of Painters, Engravers,
+Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
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+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Anecdotes of Painters, Engravers, Sculptors and
+Architects and Cruiosities of Art , by S Spooner.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Anecdotes of Painters, Engravers, Sculptors
+ and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Anecdotes of Painters, Engravers, Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3)
+
+Author: Shearjashub Spooner
+
+Release Date: April 21, 2007 [EBook #21198]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANECDOTES OF PAINTERS ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Janet Blenkinship
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
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+</pre>
+
+
+
+
+
+
+<h1>ANECDOTES</h1>
+
+<h4>OF</h4>
+
+<h1>PAINTERS, ENGRAVERS</h1>
+
+<h3>Sculptors and Architects,</h3>
+
+<h4>AND</h4>
+
+<h3>CURIOSITIES OF ART.</h3>
+
+<h4>BY</h4>
+
+<h2>S. SPOONER, M. D.,</h2>
+
+<p class='center'>AUTHOR OF "A BIOGRAPHICAL HISTORY OF THE FINE ARTS."</p>
+
+<h4>IN THREE VOLUMES.</h4>
+
+<h3>VOL. II.</h3>
+
+<p class='center'>NEW YORK:<br />R. WORTHINGTON, <span class="smcap">Publisher</span>,<br />770 Broadway.</p>
+
+<p class='center'>COPYRIGHT, S. SPOONER, 1853.<br />
+Re&euml;ntered, G. B., 1880.</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2>
+
+
+
+<div class='centered'>
+<table border="0" cellpadding="2" width="65%" cellspacing="0" summary="CONTENTS">
+<tr><td align='left'>Titian&mdash;Sketch of his Life,</td><td align='right'><a href='#Page_1'><b>1</b></a></td></tr>
+<tr><td align='left'>Titian's Manners,</td><td align='right'><a href='#Page_5'><b>5</b></a></td></tr>
+<tr><td align='left'>Titian's Works,</td><td align='right'><a href='#Page_6'><b>6</b></a></td></tr>
+<tr><td align='left'>Titian's Imitators,</td><td align='right'><a href='#Page_7'><b>7</b></a></td></tr>
+<tr><td align='left'>Titian's Venus and Adonis,</td><td align='right'><a href='#Page_8'><b>8</b></a></td></tr>
+<tr><td align='left'>Titian and the Emperor Charles V.,</td><td align='right'><a href='#Page_10'><b>10</b></a></td></tr>
+<tr><td align='left'>Titian and Philip II.,</td><td align='right'><a href='#Page_13'><b>13</b></a></td></tr>
+<tr><td align='left'>Titian's Last Supper and El Mudo,</td><td align='right'><a href='#Page_14'><b>14</b></a></td></tr>
+<tr><td align='left'>Titian's Old Age,</td><td align='right'><a href='#Page_15'><b>15</b></a></td></tr>
+<tr><td align='left'>Monument to Titian,</td><td align='right'><a href='#Page_15'><b>15</b></a></td></tr>
+<tr><td align='left'>Horace Vernet,</td><td align='right'><a href='#Page_16'><b>16</b></a></td></tr>
+<tr><td align='left'>The Colosseum,</td><td align='right'><a href='#Page_29'><b>29</b></a></td></tr>
+<tr><td align='left'>Nineveh and its Remains,</td><td align='right'><a href='#Page_34'><b>34</b></a></td></tr>
+<tr><td align='left'>Description of a Palace Exhumed at Nimroud,</td><td align='right'><a href='#Page_37'><b>37</b></a></td></tr>
+<tr><td align='left'>Origin and Antiquity of the Arch,</td><td align='right'><a href='#Page_41'><b>41</b></a></td></tr>
+<tr><td align='left'>Antiquities of Herculaneum, Pompeii, and Stabi&aelig;,</td><td align='right'><a href='#Page_43'><b>43</b></a></td></tr>
+<tr><td align='left'>Ancient Fresco and Mosaic Painting,</td><td align='right'><a href='#Page_55'><b>55</b></a></td></tr>
+<tr><td align='left'>Mosaic of the Battle of Plat&aelig;a,</td><td align='right'><a href='#Page_55'><b>55</b></a></td></tr>
+<tr><td align='left'>The Aldobrandini Wedding,</td><td align='right'><a href='#Page_56'><b>56</b></a></td></tr>
+<tr><td align='left'>The Portland Vase,</td><td align='right'><a href='#Page_56'><b>56</b></a></td></tr>
+<tr><td align='left'>Ancient Pictures on Glass,</td><td align='right'><a href='#Page_58'><b>58</b></a></td></tr>
+<tr><td align='left'>Henry Fuseli; his Birth,</td><td align='right'><a href='#Page_59'><b>59</b></a></td></tr>
+<tr><td align='left'>Fuseli's early Love of Art,</td><td align='right'><a href='#Page_59'><b>59</b></a></td></tr>
+<tr><td align='left'>Fuseli's Literary and Poetical Taste,</td><td align='right'><a href='#Page_60'><b>60</b></a></td></tr>
+<tr><td align='left'>Fuseli, Lavater, and the Unjust Magistrate,</td><td align='right'><a href='#Page_61'><b>61</b></a></td></tr>
+<tr><td align='left'>Fuseli's Travels and his Literary Distinction,</td><td align='right'><a href='#Page_62'><b>62</b></a></td></tr>
+<tr><td align='left'>Fuseli's Arrival in London,</td><td align='right'><a href='#Page_63'><b>63</b></a></td></tr>
+<tr><td align='left'>Fuseli's change from Literature to Painting,</td><td align='right'><a href='#Page_63'><b>63</b></a></td></tr>
+<tr><td align='left'>Fuseli's Sojourn in Italy,</td><td align='right'><a href='#Page_65'><b>65</b></a></td></tr>
+<tr><td align='left'>Fuseli's Nightmare,</td><td align='right'><a href='#Page_66'><b>66</b></a></td></tr>
+<tr><td align='left'>Fuseli's &OElig;dipus and his Daughters,</td><td align='right'><a href='#Page_66'><b>66</b></a></td></tr>
+<tr><td align='left'>Fuseli and the Shakspeare Gallery,</td><td align='right'><a href='#Page_67'><b>67</b></a></td></tr>
+<tr><td align='left'>Fuseli's "Hamlet's Ghost,"</td><td align='right'><a href='#Page_68'><b>68</b></a></td></tr>
+<tr><td align='left'>Fuseli's Titania,</td><td align='right'><a href='#Page_69'><b>69</b></a></td></tr>
+<tr><td align='left'>Fuseli's Election as a Royal Academician,</td><td align='right'><a href='#Page_70'><b>70</b></a></td></tr>
+<tr><td align='left'>Fuseli and Horace Walpole,</td><td align='right'><a href='#Page_71'><b>71</b></a></td></tr>
+<tr><td align='left'>Fuseli and the Banker Coutts,</td><td align='right'><a href='#Page_72'><b>72</b></a></td></tr>
+<tr><td align='left'>Fuseli and Professor Porson,</td><td align='right'><a href='#Page_73'><b>73</b></a></td></tr>
+<tr><td align='left'>Fuseli's method of giving vent to his Passion,</td><td align='right'><a href='#Page_73'><b>73</b></a></td></tr>
+<tr><td align='left'>Fuseli's Love for Terrific Subjects,</td><td align='right'><a href='#Page_73'><b>73</b></a></td></tr>
+<tr><td align='left'>Fuseli's and Lawrence's Pictures from the "Tempest,"</td><td align='right'><a href='#Page_74'><b>74</b></a></td></tr>
+<tr><td align='left'>Fuseli's estimate of Reynolds' Abilities in Historical Painting,</td><td align='right'><a href='#Page_75'><b>75</b></a></td></tr>
+<tr><td align='left'>Fuseli and Lawrence,</td><td align='right'><a href='#Page_75'><b>75</b></a></td></tr>
+<tr><td align='left'>Fuseli as Keeper of the Royal Academy,</td><td align='right'><a href='#Page_76'><b>76</b></a></td></tr>
+<tr><td align='left'>Fuseli's Jests and Oddities with the Students of the Academy,</td><td align='right'><a href='#Page_77'><b>77</b></a></td></tr>
+<tr><td align='left'>Fuseli's Sarcasms on Northcote,</td><td align='right'><a href='#Page_78'><b>78</b></a></td></tr>
+<tr><td align='left'>Fuseli's Sarcasms on various rival Artists,</td><td align='right'><a href='#Page_79'><b>79</b></a></td></tr>
+<tr><td align='left'>Fuseli's Retorts,</td><td align='right'><a href='#Page_80'><b>80</b></a></td></tr>
+<tr><td align='left'>Fuseli's Suggestion of an Emblem of Eternity,</td><td align='right'><a href='#Page_82'><b>82</b></a></td></tr>
+<tr><td align='left'>Fuseli's Retort in Mr. Coutts' Banking House,</td><td align='right'><a href='#Page_82'><b>82</b></a></td></tr>
+<tr><td align='left'>Fuseli's Sarcasms on Landscape and Portrait Painters,</td><td align='right'><a href='#Page_83'><b>83</b></a></td></tr>
+<tr><td align='left'>Fuseli's Opinion of his own Attainment of Happiness,</td><td align='right'><a href='#Page_84'><b>84</b></a></td></tr>
+<tr><td align='left'>Fuseli's Private Habits,</td><td align='right'><a href='#Page_84'><b>84</b></a></td></tr>
+<tr><td align='left'>Fuseli's Wife's method of Curing his fits of Despondency,</td><td align='right'><a href='#Page_85'><b>85</b></a></td></tr>
+<tr><td align='left'>Fuseli's Personal Appearance, his Sarcastic Disposition, and Quick Temper,</td><td align='right'><a href='#Page_86'><b>86</b></a></td></tr>
+<tr><td align='left'>Fuseli's near Sight,</td><td align='right'><a href='#Page_87'><b>87</b></a></td></tr>
+<tr><td align='left'>Fuseli's Popularity,</td><td align='right'><a href='#Page_88'><b>88</b></a></td></tr>
+<tr><td align='left'>Fuseli's Artistic Merits,</td><td align='right'><a href='#Page_88'><b>88</b></a></td></tr>
+<tr><td align='left'>Fuseli's Milton Gallery, the Character of his Works, and the Permanency of his Fame,</td><td align='right'><a href='#Page_89'><b>89</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa,</td><td align='right'><a href='#Page_91'><b>91</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa and Cav. Lanfranco,</td><td align='right'><a href='#Page_91'><b>91</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa at Rome and Florence,</td><td align='right'><a href='#Page_92'><b>92</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Return to Rome,</td><td align='right'><a href='#Page_93'><b>93</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Subjects,</td><td align='right'><a href='#Page_93'><b>93</b></a></td></tr>
+<tr><td align='left'>Flagellation of Salvator Rosa,</td><td align='right'><a href='#Page_95'><b>95</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa and the Higgling Prince,</td><td align='right'><a href='#Page_96'><b>96</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Opinion of his own Works,</td><td align='right'><a href='#Page_98'><b>98</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Banditti,</td><td align='right'><a href='#Page_98'><b>98</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa and Massaniello,</td><td align='right'><a href='#Page_100'><b>100</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa and Cardinal Sforza,</td><td align='right'><a href='#Page_100'><b>100</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Manifesto Concerning his Satirical Picture, La Fortuna,</td><td align='right'><a href='#Page_101'><b>101</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Banishment from Rome,</td><td align='right'><a href='#Page_102'><b>102</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Wit,</td><td align='right'><a href='#Page_103'><b>103</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Reception at Florence,</td><td align='right'><a href='#Page_103'><b>103</b></a></td></tr>
+<tr><td align='left'>Histrionic Powers of Salvator Rosa,</td><td align='right'><a href='#Page_104'><b>104</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Reception at the Palazzo Pitti,</td><td align='right'><a href='#Page_105'><b>105</b></a></td></tr>
+<tr><td align='left'>Satires of Salvator Rosa,</td><td align='right'><a href='#Page_105'><b>105</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Harpsichord,</td><td align='right'><a href='#Page_106'><b>106</b></a></td></tr>
+<tr><td align='left'>Rare Portrait by Salvator Rosa,</td><td align='right'><a href='#Page_106'><b>106</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Return to Rome,</td><td align='right'><a href='#Page_109'><b>109</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Love of Magnificence,</td><td align='right'><a href='#Page_109'><b>109</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Last Works,</td><td align='right'><a href='#Page_111'><b>111</b></a></td></tr>
+<tr><td align='left'>Salvator Rosa's Desire to be Considered an Historical Painter,</td><td align='right'><a href='#Page_112'><b>112</b></a></td></tr>
+<tr><td align='left'>Don Mario Ghigi, his Physician, and Salvator Rosa,</td><td align='right'><a href='#Page_113'><b>113</b></a></td></tr>
+<tr><td align='left'>Death of Salvator Rosa,</td><td align='right'><a href='#Page_115'><b>115</b></a></td></tr>
+<tr><td align='left'>Domenichino,</td><td align='right'><a href='#Page_121'><b>121</b></a></td></tr>
+<tr><td align='left'>The Dulness of Domenichino in Youth,</td><td align='right'><a href='#Page_121'><b>121</b></a></td></tr>
+<tr><td align='left'>Domenichino's Scourging of St. Andrew,</td><td align='right'><a href='#Page_123'><b>123</b></a></td></tr>
+<tr><td align='left'>The Communion of St. Jerome,</td><td align='right'><a href='#Page_124'><b>124</b></a></td></tr>
+<tr><td align='left'>Domenichino's Enemies at Rome,</td><td align='right'><a href='#Page_125'><b>125</b></a></td></tr>
+<tr><td align='left'>Decision of Posterity on the Merits of Domenichino,</td><td align='right'><a href='#Page_126'><b>126</b></a></td></tr>
+<tr><td align='left'>Proof of the Merits of Domenichino,</td><td align='right'><a href='#Page_127'><b>127</b></a></td></tr>
+<tr><td align='left'>Domenichino's Caricatures,</td><td align='right'><a href='#Page_127'><b>127</b></a></td></tr>
+<tr><td align='left'>Intrigues of the Neapolitan Triumvirate of Painters,</td><td align='right'><a href='#Page_128'><b>128</b></a></td></tr>
+<tr><td align='left'>Giuseppe Ribera, called Il Spagnoletto&mdash;his early Poverty and Industry,</td><td align='right'><a href='#Page_133'><b>133</b></a></td></tr>
+<tr><td align='left'>Ribera's Marriage,</td><td align='right'><a href='#Page_134'><b>134</b></a></td></tr>
+<tr><td align='left'>Ribera's Rise to Eminence,</td><td align='right'><a href='#Page_135'><b>135</b></a></td></tr>
+<tr><td align='left'>Ribera's Discovery of the Philosopher's Stone,</td><td align='right'><a href='#Page_135'><b>135</b></a></td></tr>
+<tr><td align='left'>Ribera's Subjects,</td><td align='right'><a href='#Page_136'><b>136</b></a></td></tr>
+<tr><td align='left'>Ribera's Disposition,</td><td align='right'><a href='#Page_137'><b>137</b></a></td></tr>
+<tr><td align='left'>Singular Pictorial Illusions,</td><td align='right'><a href='#Page_137'><b>137</b></a></td></tr>
+<tr><td align='left'>Raffaelle's Skill in Portraits,</td><td align='right'><a href='#Page_138'><b>138</b></a></td></tr>
+<tr><td align='left'>Jacopo da Ponte,</td><td align='right'><a href='#Page_139'><b>139</b></a></td></tr>
+<tr><td align='left'>Giovanni Rosa,</td><td align='right'><a href='#Page_139'><b>139</b></a></td></tr>
+<tr><td align='left'>Cav. Giovanni Centarini,</td><td align='right'><a href='#Page_139'><b>139</b></a></td></tr>
+<tr><td align='left'>Guercino's Power of Relief,</td><td align='right'><a href='#Page_140'><b>140</b></a></td></tr>
+<tr><td align='left'>Bernazzano,</td><td align='right'><a href='#Page_140'><b>140</b></a></td></tr>
+<tr><td align='left'>Invention of Oil Painting,</td><td align='right'><a href='#Page_141'><b>141</b></a></td></tr>
+<tr><td align='left'>Foreshortening,</td><td align='right'><a href='#Page_145'><b>145</b></a></td></tr>
+<tr><td align='left'>Method of Transferring Paintings from Walls and Panels to Canvass,</td><td align='right'><a href='#Page_146'><b>146</b></a></td></tr>
+<tr><td align='left'>Works in Scagliola,</td><td align='right'><a href='#Page_147'><b>147</b></a></td></tr>
+<tr><td align='left'>The Golden Age of Painting,</td><td align='right'><a href='#Page_149'><b>149</b></a></td></tr>
+<tr><td align='left'>Golden Age of the Fine Arts in Ancient Rome,</td><td align='right'><a href='#Page_152'><b>152</b></a></td></tr>
+<tr><td align='left'>Nero's Golden Palace,</td><td align='right'><a href='#Page_155'><b>155</b></a></td></tr>
+<tr><td align='left'>Names of Ancient Architects Designated by Reptiles,</td><td align='right'><a href='#Page_156'><b>156</b></a></td></tr>
+<tr><td align='left'>Triumphal Arches,</td><td align='right'><a href='#Page_157'><b>157</b></a></td></tr>
+<tr><td align='left'>Statue of Pompey the Great,</td><td align='right'><a href='#Page_159'><b>159</b></a></td></tr>
+<tr><td align='left'>Antique Sculptures in Rome,</td><td align='right'><a href='#Page_159'><b>159</b></a></td></tr>
+<tr><td align='left'>Ancient Map of Rome,</td><td align='right'><a href='#Page_160'><b>160</b></a></td></tr>
+<tr><td align='left'>Julian the Apostate,</td><td align='right'><a href='#Page_160'><b>160</b></a></td></tr>
+<tr><td align='left'>The Tomb of Mausolus,</td><td align='right'><a href='#Page_161'><b>161</b></a></td></tr>
+<tr><td align='left'>Mandrocles' Bridge Across the Bosphorus,</td><td align='right'><a href='#Page_162'><b>162</b></a></td></tr>
+<tr><td align='left'>The Colossus of the Sun at Rhodes,</td><td align='right'><a href='#Page_162'><b>162</b></a></td></tr>
+<tr><td align='left'>Statues and Paintings at Rhodes,</td><td align='right'><a href='#Page_164'><b>164</b></a></td></tr>
+<tr><td align='left'>Sostratus' Light-House on the Isle of Pharos,</td><td align='right'><a href='#Page_164'><b>164</b></a></td></tr>
+<tr><td align='left'>Dinocrates' Plan for Cutting Mount Athos into a</td></tr>
+<tr><td align='left'>Statue of Alexander the Great,</td><td align='right'><a href='#Page_165'><b>165</b></a></td></tr>
+<tr><td align='left'>Pope's idea of Forming Mount Athos into a Statue of Alexander the Great,</td><td align='right'><a href='#Page_166'><b>166</b></a></td></tr>
+<tr><td align='left'>Temple with an Iron Statue Suspended in the Air by Loadstone,</td><td align='right'><a href='#Page_168'><b>168</b></a></td></tr>
+<tr><td align='left'>The Temple of Jupiter Olympius at Athens,</td><td align='right'><a href='#Page_168'><b>168</b></a></td></tr>
+<tr><td align='left'>The Parthenon at Athens,</td><td align='right'><a href='#Page_170'><b>170</b></a></td></tr>
+<tr><td align='left'>The Elgin Marbles,</td><td align='right'><a href='#Page_171'><b>171</b></a></td></tr>
+<tr><td align='left'>The first Odeon at Athens,</td><td align='right'><a href='#Page_182'><b>182</b></a></td></tr>
+<tr><td align='left'>Perpetual Lamps,</td><td align='right'><a href='#Page_182'><b>182</b></a></td></tr>
+<tr><td align='left'>The Skull of Raffaelle,</td><td align='right'><a href='#Page_183'><b>183</b></a></td></tr>
+<tr><td align='left'>The Four Finest Pictures in Rome,</td><td align='right'><a href='#Page_183'><b>183</b></a></td></tr>
+<tr><td align='left'>The Four Carlos of the 17th Century,</td><td align='right'><a href='#Page_184'><b>184</b></a></td></tr>
+<tr><td align='left'>Pietro Galletti and the Bolognese Students,</td><td align='right'><a href='#Page_184'><b>184</b></a></td></tr>
+<tr><td align='left'>&AElig;tion's Picture of the Nuptials of Alexander and Roxana,</td><td align='right'><a href='#Page_184'><b>184</b></a></td></tr>
+<tr><td align='left'>Ageladas,</td><td align='right'><a href='#Page_185'><b>185</b></a></td></tr>
+<tr><td align='left'>The Porticos of Agaptos,</td><td align='right'><a href='#Page_185'><b>185</b></a></td></tr>
+<tr><td align='left'>The Group of Niobe and her Children,</td><td align='right'><a href='#Page_185'><b>185</b></a></td></tr>
+<tr><td align='left'>Statue of the Fighting Gladiator,</td><td align='right'><a href='#Page_187'><b>187</b></a></td></tr>
+<tr><td align='left'>The Group of Laoco&ouml;n in the Vatican,</td><td align='right'><a href='#Page_187'><b>187</b></a></td></tr>
+<tr><td align='left'>Michael Angelo's Opinion of the Laoco&ouml;n,</td><td align='right'><a href='#Page_190'><b>190</b></a></td></tr>
+<tr><td align='left'>Discovery of the Laoco&ouml;n,</td><td align='right'><a href='#Page_190'><b>190</b></a></td></tr>
+<tr><td align='left'>Sir John Soane,</td><td align='right'><a href='#Page_191'><b>191</b></a></td></tr>
+<tr><td align='left'>Soane's Liberality and Public Munificence,</td><td align='right'><a href='#Page_192'><b>192</b></a></td></tr>
+<tr><td align='left'>The Belzoni Sarcophagus,</td><td align='right'><a href='#Page_194'><b>194</b></a></td></tr>
+<tr><td align='left'>Tasso's "Gerusalemme Liberata,"</td><td align='right'><a href='#Page_195'><b>195</b></a></td></tr>
+<tr><td align='left'>George Morland,</td><td align='right'><a href='#Page_197'><b>197</b></a></td></tr>
+<tr><td align='left'>Morland's Early Talent</td><td align='right'><a href='#Page_198'><b>198</b></a></td></tr>
+<tr><td align='left'>Morland's Early Fame,</td><td align='right'><a href='#Page_199'><b>199</b></a></td></tr>
+<tr><td align='left'>Morland's Mental and Moral Education under an Unnatural Parent,</td><td align='right'><a href='#Page_200'><b>200</b></a></td></tr>
+<tr><td align='left'>Morland's Escape from the Thraldom of his Father,</td><td align='right'><a href='#Page_201'><b>201</b></a></td></tr>
+<tr><td align='left'>Morland's Marriage and Temporary Reform,</td><td align='right'><a href='#Page_202'><b>202</b></a></td></tr>
+<tr><td align='left'>Morland's Social Position,</td><td align='right'><a href='#Page_203'><b>203</b></a></td></tr>
+<tr><td align='left'>An Unpleasant Dilemma,</td><td align='right'><a href='#Page_204'><b>204</b></a></td></tr>
+<tr><td align='left'>Morland at the Isle of Wight,</td><td align='right'><a href='#Page_205'><b>205</b></a></td></tr>
+<tr><td align='left'>A Novel Mode of Fulfilling Commissions,</td><td align='right'><a href='#Page_206'><b>206</b></a></td></tr>
+<tr><td align='left'>Hassel's First Interview with Morland,</td><td align='right'><a href='#Page_206'><b>206</b></a></td></tr>
+<tr><td align='left'>Morland's Drawings in the Isle of Wight,</td><td align='right'><a href='#Page_207'><b>207</b></a></td></tr>
+<tr><td align='left'>Morland's Freaks,</td><td align='right'><a href='#Page_208'><b>208</b></a></td></tr>
+<tr><td align='left'>A Joke on Morland,</td><td align='right'><a href='#Page_208'><b>208</b></a></td></tr>
+<tr><td align='left'>Morland's Apprehension as a Spy,</td><td align='right'><a href='#Page_209'><b>209</b></a></td></tr>
+<tr><td align='left'>Morland's "Sign of the Black Bull,"</td><td align='right'><a href='#Page_210'><b>210</b></a></td></tr>
+<tr><td align='left'>Morland and the Pawnbroker,</td><td align='right'><a href='#Page_211'><b>211</b></a></td></tr>
+<tr><td align='left'>Morland's idea of a Baronetcy,</td><td align='right'><a href='#Page_212'><b>212</b></a></td></tr>
+<tr><td align='left'>Morland's Artistic Merits,.</td><td align='right'><a href='#Page_212'><b>212</b></a></td></tr>
+<tr><td align='left'>Charles Jervas,</td><td align='right'><a href='#Page_213'><b>213</b></a></td></tr>
+<tr><td align='left'>Jervas the Instructor of Pope,</td><td align='right'><a href='#Page_214'><b>214</b></a></td></tr>
+<tr><td align='left'>Jervas and Dr. Arbuthnot,</td><td align='right'><a href='#Page_215'><b>215</b></a></td></tr>
+<tr><td align='left'>Jervas' Vanity,</td><td align='right'><a href='#Page_215'><b>215</b></a></td></tr>
+<tr><td align='left'>Holbein and the Fly,</td><td align='right'><a href='#Page_216'><b>216</b></a></td></tr>
+<tr><td align='left'>Holbein's Visit to England,</td><td align='right'><a href='#Page_216'><b>216</b></a></td></tr>
+<tr><td align='left'>Henry VIII.'s Opinion of Holbein,</td><td align='right'><a href='#Page_217'><b>217</b></a></td></tr>
+<tr><td align='left'>Holbein's Portrait of the Duchess Dowager of Milan,</td><td align='right'><a href='#Page_218'><b>218</b></a></td></tr>
+<tr><td align='left'>Holbein's Flattery in Portraits&mdash;a Warning to Painters,</td><td align='right'><a href='#Page_219'><b>219</b></a></td></tr>
+<tr><td align='left'>Holbein's Portrait of Cratzer,</td><td align='right'><a href='#Page_219'><b>219</b></a></td></tr>
+<tr><td align='left'>Holbein's Portrait of Sir Thomas More and Family,</td><td align='right'><a href='#Page_220'><b>220</b></a></td></tr>
+<tr><td align='left'>Sir John Vanbrugh and his Critics,</td><td align='right'><a href='#Page_221'><b>221</b></a></td></tr>
+<tr><td align='left'>Anecdote of the English Painter, James Seymour,</td><td align='right'><a href='#Page_223'><b>223</b></a></td></tr>
+<tr><td align='left'>Precocity of Luca Giordano,</td><td align='right'><a href='#Page_224'><b>224</b></a></td></tr>
+<tr><td align='left'>Giordano's Enthusiasm,</td><td align='right'><a href='#Page_225'><b>225</b></a></td></tr>
+<tr><td align='left'>Luca Fa Presto,</td><td align='right'><a href='#Page_226'><b>226</b></a></td></tr>
+<tr><td align='left'>Giordano's Skill in Copying,</td><td align='right'><a href='#Page_226'><b>226</b></a></td></tr>
+<tr><td align='left'>Giordano's Success at Naples,</td><td align='right'><a href='#Page_227'><b>227</b></a></td></tr>
+<tr><td align='left'>Giordano, the Viceroy, and the Duke of Diano,</td><td align='right'><a href='#Page_228'><b>228</b></a></td></tr>
+<tr><td align='left'>Giordano Invited to Florence,</td><td align='right'><a href='#Page_229'><b>229</b></a></td></tr>
+<tr><td align='left'>Giordano and Carlo Dolci,</td><td align='right'><a href='#Page_229'><b>229</b></a></td></tr>
+<tr><td align='left'>Giordano's Visit to Spain,</td><td align='right'><a href='#Page_230'><b>230</b></a></td></tr>
+<tr><td align='left'>Giordano's Works in Spain,</td><td align='right'><a href='#Page_231'><b>231</b></a></td></tr>
+<tr><td align='left'>Giordano at the Escurial,</td><td align='right'><a href='#Page_232'><b>232</b></a></td></tr>
+<tr><td align='left'>Giordano's Habits in Spain,</td><td align='right'><a href='#Page_233'><b>233</b></a></td></tr>
+<tr><td align='left'>Giordano's First Picture Painted in Spain,</td><td align='right'><a href='#Page_233'><b>233</b></a></td></tr>
+<tr><td align='left'>Giordano a Favorite at Court,</td><td align='right'><a href='#Page_234'><b>234</b></a></td></tr>
+<tr><td align='left'>Giordano's Return to Naples,</td><td align='right'><a href='#Page_236'><b>236</b></a></td></tr>
+<tr><td align='left'>Giordano's Personal Appearance and Character,</td><td align='right'><a href='#Page_237'><b>237</b></a></td></tr>
+<tr><td align='left'>Giordano's Riches,</td><td align='right'><a href='#Page_238'><b>238</b></a></td></tr>
+<tr><td align='left'>Giordano's Wonderful Facility of Hand,</td><td align='right'><a href='#Page_239'><b>239</b></a></td></tr>
+<tr><td align='left'>Giordano's Powers of Imitation,</td><td align='right'><a href='#Page_240'><b>240</b></a></td></tr>
+<tr><td align='left'>Giordano's Fame and Reputation,</td><td align='right'><a href='#Page_240'><b>240</b></a></td></tr>
+<tr><td align='left'>Remarkable Instance of Giordano's Rapidity of Execution,</td><td align='right'><a href='#Page_242'><b>242</b></a></td></tr>
+<tr><td align='left'>Revival of Painting in Italy,</td><td align='right'><a href='#Page_244'><b>244</b></a></td></tr>
+<tr><td align='left'>Giovanni Cimabue,</td><td align='right'><a href='#Page_251'><b>251</b></a></td></tr>
+<tr><td align='left'>Cimabue's Passion for Art,</td><td align='right'><a href='#Page_252'><b>252</b></a></td></tr>
+<tr><td align='left'>Cimabue's Famous Picture of the Virgin,</td><td align='right'><a href='#Page_253'><b>253</b></a></td></tr>
+<tr><td align='left'>The Works of Cimabue,</td><td align='right'><a href='#Page_255'><b>255</b></a></td></tr>
+<tr><td align='left'>Death of Cimabue,</td><td align='right'><a href='#Page_256'><b>256</b></a></td></tr>
+<tr><td align='left'>Giotto,</td><td align='right'><a href='#Page_257'><b>257</b></a></td></tr>
+<tr><td align='left'>Giotto's St. Francis Stigmata,</td><td align='right'><a href='#Page_259'><b>259</b></a></td></tr>
+<tr><td align='left'>Giotto's Invitation to Rome,</td><td align='right'><a href='#Page_260'><b>260</b></a></td></tr>
+<tr><td align='left'>Giotto's Living Model,</td><td align='right'><a href='#Page_262'><b>262</b></a></td></tr>
+<tr><td align='left'>Giotto and the King of Naples,</td><td align='right'><a href='#Page_264'><b>264</b></a></td></tr>
+<tr><td align='left'>Giotto and Dante,</td><td align='right'><a href='#Page_266'><b>266</b></a></td></tr>
+<tr><td align='left'>Death of Giotto,</td><td align='right'><a href='#Page_266'><b>266</b></a></td></tr>
+<tr><td align='left'>Buonamico Buffalmacco,</td><td align='right'><a href='#Page_267'><b>267</b></a></td></tr>
+<tr><td align='left'>Buffalmacco and his Master,</td><td align='right'><a href='#Page_267'><b>267</b></a></td></tr>
+<tr><td align='left'>Buffalmacco and the Nuns of the Convent of Faenza,</td><td align='right'><a href='#Page_270'><b>270</b></a></td></tr>
+<tr><td align='left'>Buffalmacco and the Nun's Wine,</td><td align='right'><a href='#Page_272'><b>272</b></a></td></tr>
+<tr><td align='left'>Buffalmacco, Bishop Guido and his Monkey,</td><td align='right'><a href='#Page_273'><b>273</b></a></td></tr>
+<tr><td align='left'>Buffalmacco's Trick on the Bishop of Arezzo,</td><td align='right'><a href='#Page_277'><b>277</b></a></td></tr>
+<tr><td align='left'>Origin of Label Painting,</td><td align='right'><a href='#Page_278'><b>278</b></a></td></tr>
+<tr><td align='left'>Utility of Ancient Works,</td><td align='right'><a href='#Page_280'><b>280</b></a></td></tr>
+<tr><td align='left'>Buffalmacco and the Countryman,</td><td align='right'><a href='#Page_282'><b>282</b></a></td></tr>
+<tr><td align='left'>Buffalmacco and the People of Perugia,</td><td align='right'><a href='#Page_283'><b>283</b></a></td></tr>
+<tr><td align='left'>Buffalmacco's Novel Method of Enforcing Payment,</td><td align='right'><a href='#Page_285'><b>285</b></a></td></tr>
+<tr><td align='left'>Stefano Fiorentino,</td><td align='right'><a href='#Page_286'><b>286</b></a></td></tr>
+<tr><td align='left'>Giottino,</td><td align='right'><a href='#Page_286'><b>286</b></a></td></tr>
+<tr><td align='left'>Paolo Uccello,</td><td align='right'><a href='#Page_287'><b>287</b></a></td></tr>
+<tr><td align='left'>Ucello's Enthusiasm,</td><td align='right'><a href='#Page_288'><b>288</b></a></td></tr>
+<tr><td align='left'>Uccello and the Monks of San Miniato,</td><td align='right'><a href='#Page_289'><b>289</b></a></td></tr>
+<tr><td align='left'>Uccello's Five Portraits,</td><td align='right'><a href='#Page_290'><b>290</b></a></td></tr>
+<tr><td align='left'>Uccello's Incredulity of St. Thomas,</td><td align='right'><a href='#Page_291'><b>291</b></a></td></tr>
+<tr><td align='left'>The Italian Schools of Painting,</td><td align='right'><a href='#Page_292'><b>292</b></a></td></tr>
+<tr><td align='left'>Claude Joseph Vernet,</td><td align='right'><a href='#Page_295'><b>295</b></a></td></tr>
+<tr><td align='left'>Vernet's Precocity,</td><td align='right'><a href='#Page_295'><b>295</b></a></td></tr>
+<tr><td align='left'>Vernet's Enthusiasm,</td><td align='right'><a href='#Page_296'><b>296</b></a></td></tr>
+<tr><td align='left'>Vernet at Rome</td><td align='right'><a href='#Page_298'><b>298</b></a></td></tr>
+<tr><td align='left'>Vernet's "Alphabet of Tones,"</td><td align='right'><a href='#Page_299'><b>299</b></a></td></tr>
+<tr><td align='left'>Vernet and the Connoisseur,</td><td align='right'><a href='#Page_301'><b>301</b></a></td></tr>
+<tr><td align='left'>Vernet's Works,</td><td align='right'><a href='#Page_301'><b>301</b></a></td></tr>
+<tr><td align='left'>Vernet's Passion for Music,</td><td align='right'><a href='#Page_306'><b>306</b></a></td></tr>
+<tr><td align='left'>Vernet's Opinion of his own Merits,</td><td align='right'><a href='#Page_307'><b>307</b></a></td></tr>
+<tr><td align='left'>Curious Letter of Vernet,</td><td align='right'><a href='#Page_308'><b>308</b></a></td></tr>
+<tr><td align='left'>Charles Vernet,</td><td align='right'><a href='#Page_310'><b>310</b></a></td></tr>
+<tr><td align='left'>Anecdote of Charles Vernet,</td><td align='right'><a href='#Page_311'><b>311</b></a></td></tr>
+<tr><td align='left'>M. de Lasson's Caricature,</td><td align='right'><a href='#Page_311'><b>311</b></a></td></tr>
+<tr><td align='left'>Frank Hals and Vandyke,</td><td align='right'><a href='#Page_312'><b>312</b></a></td></tr>
+</table></div>
+
+
+
+
+
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<hr style="width: 65%;" />
+<h2>TITIAN,&mdash;SKETCH OF HIS LIFE.</h2>
+
+
+
+
+<p>The name of this illustrious painter was Tiziano Vecellio or Vecelli,
+and he is called by the Italians, Tiziano Vecellio da Cadore. He was
+descended of a noble family; born at the castle of Cadore in the Friuli
+in 1477, and died in 1576, according to Ridolfi; though Vasari and
+Sandrart place his birth in 1480. Lanzi says he died in 1576, aged 99
+years. He early showed a passion for the art, which was carefully
+cultivated by his parents.&mdash;Lanzi says in a note, that it is pretty
+clearly ascertained that he received his first instruction from Antonio
+Rossi, a painter of Cadore; if so, it was at a<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> very tender age, for
+when he was ten years old he was sent to Trevigi, and placed under
+Sebastiano Zuccati. He subsequently went to Venice, and studied
+successively under Gentile and Giovanni Bellini. Giorgione was his
+fellow-student under the last named master, with whom Titian made
+extraordinary progress, and attained such an exact imitation of his
+style that their works could scarcely be distinguished, which greatly
+excited the jealousy of Bellini.</p>
+
+<p>On the death of Giorgione, Titian rose rapidly into favor. He was soon
+afterwards invited to the court of Alphonso, Duke of Ferrara, for whom
+he painted his celebrated picture of Bacchus and Ariadne, and two other
+fabulous subjects, which still retain somewhat of the style of
+Giorgione. It was there that he became acquainted with Ariosto, whose
+portrait he painted, and in return the poet spread abroad his fame in
+the Orlando Furioso. In 1523, the Senate of Venice employed him to
+decorate the Hall of the Council Chamber, where he represented the
+famous Battle of Cadore, between the Venetians and the Imperialists&mdash;a
+grand performance, that greatly increased his reputation. This work was
+afterwards destroyed by fire, but the composition has been preserved by
+the burin of Fontana. His next performance was his celebrated picture of
+St. Pietro Martire, in the church of SS. Giovanni e Paolo, at Venice,
+which is generally regarded as his master-piece in historical paint<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span>ing.
+This picture was carried to Paris by the French, and subsequently
+restored by the Allies. Notwithstanding the importance of these and
+other commissions, and the great reputation he had acquired, it is said,
+though with little probability of truth, that he received such a small
+remuneration for his works, that he was in actual indigence in 1530,
+when the praises bestowed upon him in the writings of his friend Pietro
+Aretino, recommended him to the notice of the Emperor Charles V., who
+had come to Bologna to be crowned by Pope Clement VII. Titian was
+invited thither, and painted the portrait of that monarch, and his
+principal attendants, for which he was liberally rewarded.&mdash;About this
+time, he was invited to the court of the Duke of Mantua, whose portrait
+he painted, and decorated a saloon in the palace with a series of the
+Twelve C&aelig;sars, beneath which Giulio Romano afterwards painted a subject
+from the history of each. In 1543, Paul III. visited Ferrara, where
+Titian was then engaged, sat for his portrait and invited him to Rome,
+but previous engagements with the Duke of Urbino, obliged him to decline
+or defer the invitation. Having completed his undertakings for that
+prince, he went to Rome at the invitation of the Cardinal Farnese in
+1548, where he was received with marks of great distinction. He was
+accommodated with apartments in the palace of the Belvidere, and painted
+the Pope, Paul III., a second time, whom he represented seated<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> between
+the Cardinal Farnese and Prince Ottavio. He also painted his famous
+picture of Dana&euml;, which caused Michael Angelo to lament that Titian had
+not studied the antique as accurately as he had nature, in which case
+his works would have been inimitable, by uniting the perfection of
+coloring with correctness of design. It is said that the Pope was so
+captivated with his works that he endeavored to retain him at Rome, and
+offered him as an inducement the lucrative office of the Leaden Seal,
+then vacant by the death of Fr&agrave; Sebastiano del Piombo, but he declined
+on account of conscientious scruples. Titian had no sooner returned from
+Rome to Venice, than he received so pressing an invitation from his
+first protector, Charles V., to visit the court of Spain, that he could
+no longer refuse; and he accordingly set out for Madrid, where he
+arrived at the beginning of 1550, and was received with extraordinary
+honors. After a residence of three years at Madrid, he returned to
+Venice, whence he was shortly afterwards invited to Inspruck, where he
+painted the portrait of Ferdinand, king of the Romans, his queen and
+children, in one picture.&mdash;Though now advanced in years, his powers
+continued unabated, and this group was accounted one of his best
+productions. He afterwards returned to Venice, where he continued to
+exercise his pencil to the last year of his long life.<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S MANNERS.</h2>
+
+<p>Most writers observe that Titian had four different manners, at as many
+different periods of his life: first that of Bellini, somewhat stiff and
+hard, in which he imitated nature, according to Lanzi, with a greater
+precision than even Albert Durer, so that "the hairs might be numbered,
+the skin of the hands, the very pores of the flesh, and the reflection
+of objects in the pupils seen:" second, an imitation of Giorgione, more
+bold and full of force; Lanzi says that some of his portraits executed
+at this time, cannot be distinguished from those of Giorgione: third,
+his own inimitable style, which he practiced from about his thirtieth
+year, and which was the result of experience, knowledge, and judgment,
+beautifully natural, and finished with exquisite care: and fourth, the
+pictures which he painted in his old age. Sandrart says that, "at first
+he labored his pictures highly, and gave them a polished beauty and
+lustre, so as to produce their effect full as well when they were
+examined closely, as when viewed at a distance; but afterwards, he so
+managed his penciling that their greatest force and beauty appeared at a
+more remote view, and they pleased less when they were beheld more
+nearly; so that many of those artists who studied to imitate him, being
+misled by appearances which they did not sufficiently consider, imagined
+that Titian executed his works with readiness and mas<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>terly rapidity;
+and concluded that they should imitate his manner most effectually by a
+freedom of hand and a bold pencil; whereas Titian in reality took
+abundance of pains to work up his pictures to so high a degree of
+perfection, and the freedom that appears in the handling was entirely
+effected by a skillful combination of labor and judgment, and a few
+bold, artful strokes of the pencil to conceal his labor."</p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S WORKS.</h2>
+
+<p>The works of Titian, though many of his greatest productions have been
+destroyed by terrible conflagrations at Venice and Madrid, are numerous,
+scattered throughout Europe, in all the royal collections, and the most
+celebrated public galleries, particularly at Venice, Rome, Bologna,
+Milan, Florence, Vienna, Dresden, Paris, London, and Madrid. The most
+numerous are portraits, Madonnas, Magdalens, Bacchanals, Venuses, and
+other mythological subjects, some of which are extremely voluptuous. Two
+of his grandest and most celebrated works are the Last Supper in the
+Escurial, and Christ crowned with Thorns at Milan. It is said that the
+works of Titian, to be appreciated, should be seen at Venice or Madrid,
+as many claimed to be genuine elsewhere are of very doubtful
+authenticity. He painted many of his best works for the Spanish court,
+first for the Emperor Charles V., and next for his successor, Philip
+II., who is known<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> to have given him numerous commissions to decorate
+the Escurial and the royal palaces at Madrid. There are numerous
+duplicates of some of his works, considered genuine, some of which he is
+supposed to have made himself, and others to have been carefully copied
+by his pupils and retouched by himself; he frequently made some slight
+alterations in the backgrounds, to give them more of the look of
+originals; thus the original of his Christ and the Pharisees, or the
+Tribute Money, is now in the Dresden Gallery, yet Lanzi says there are
+numerous copies in Italy, one of which he saw at St. Saverio di Rimini,
+inscribed with his name, which is believed to be a duplicate rather than
+a copy. There are more than six hundred engravings from his pictures,
+including both copper-plates and wooden cuts. He is said to have
+engraved both on wood and copper himself, but Bartsch considers all the
+prints attributed to him as spurious, though a few of them are signed
+with his name, only eight of which he describes.</p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S IMITATORS.</h2>
+
+<p>Titian, the great head of the Venetian school, like Raffaelle, the head
+of the Roman, had a host of imitators and copyists, some of whom
+approached him so closely as to deceive the best judges; and many works
+attributed to him, even in the public galleries of Europe, were
+doubtless executed by them.<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S VENUS AND ADONIS.</h2>
+
+<p>This chef-d'&oelig;uvre of Titian, so celebrated in the history of art,
+represents Venus endeavoring to detain Adonis from the fatal chase.
+Titian is known to have made several repetitions of this charming
+composition, some of them slightly varied, and the copies are almost
+innumerable. The original is supposed to have been painted at Rome as a
+companion to the Dana&euml;, for the Farnese family, about 1548, and is now
+in the royal gallery at Naples. The most famous of the original
+repetitions is that at Madrid, painted for King Philip II., when prince
+of Spain, and about the period of his marriage with Queen Mary of
+England. There is a fine duplicate of this picture in the English
+National Gallery, another in the Dulwich gallery, and two or three more
+in the private collections of England. Ottley thus describes this
+picture:&mdash;</p>
+
+<div class="blockquot"><p>"The figure of Venus, which is seen in a back view, receives the
+principal light, and is without drapery, save that a white veil,
+which hangs from her shoulder, spreads itself over the right knee.
+The chief parts of this figure are scarcely less excellent in
+respect of form than of coloring. The head possesses great beauty,
+and is replete with nat<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>ural expression. The fair hair of the
+goddess, collected into a braid rolled up at the back of her head,
+is entwined by a string of pearls, which, from their whiteness,
+give value to the delicate carnation of her figure. She throws her
+arms, impassioned, around her lover, who, resting with his right
+hand upon his javelin, and holding with the left the traces which
+confine his dogs, looks upon her unmoved by her solicitations, and
+impatient to repair to the chase. Cupid, meantime, is seen sleeping
+at some distance off, under the shadow of a group of lofty trees,
+from one of which are suspended his bow and quiver; a truly poetic
+thought, by which, it is scarcely necessary to add, the painter
+intended to signify that the blandishments and caresses of beauty,
+unaided by love, may be exerted in vain. In the coloring, this
+picture unites the greatest possible richness and depth of tone,
+with that simplicity and sobriety of character which Sir Joshua
+Reynolds so strongly recommends in his lectures, as being the best
+adapted to the higher kinds of painting. The habit of the goddess,
+on which she sits, is of crimson velvet, a little inclining to
+purple, and ornamented with an edging of gold lace, which is,
+however, so subdued in tone as not to look gaudy, its lining being
+of a delicate straw color, touched here and there with a slight
+glazing of lake. The dress of Adonis, also, is crimson, but of a
+somewhat warmer hue. There is little or no blue in the sky, which
+is covered with clouds, and but a small pro<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>portion of it on the
+distant hills; the effect altogether appearing, to be the result of
+a very simple principle of arrangement in the coloring, namely,
+that of excluding almost all cold tints from the illuminated parts
+of the picture." </p></div>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN AND THE EMPEROR CHARLES V.</h2>
+
+<p>One of the most pleasant things recorded in the life of Titian, is the
+long and intimate friendship that subsisted between him and the great
+and good Emperor Charles V., whose name is known in history as one of
+the wisest and best sovereigns of Europe. According to Vasari, Titian,
+when he was first recommended to the notice of the Emperor by Pietro
+Aretino, was in deep poverty, though his name was then known all over
+Italy. Charles, who appreciated, and knew how to assist genius without
+wounding its delicacy, employed Titian to paint his portrait, for which
+he munificently rewarded him. He afterwards invited him to Madrid in the
+most pressing and flattering terms, where he was received with
+extraordinary honors. He was appointed gentleman of the Emperor's
+bed-chamber, that he might be near his person; Charles also conferred
+upon him the order of St. Jago, and made him a Count Palatine of the
+empire. He did not grace the great artist with splendid titles and
+decorations only, but showed him more solid marks of his favor, by be
+stowing upon him life-rents in Naples and Milan of<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> two hundred ducats
+each, besides a munificent compensation for each picture. These honors
+and favors were, doubtless, doubly gratifying to Titian, as coming from
+a prince who was not only a lover of the fine arts, but an excellent
+connoisseur. "The Emperor," says Palomino, "having learned drawing in
+his youth, examined pictures and prints with all the keenness of an
+artist; and he much astonished &AElig;neas Vicus of Parma, by the searching
+scrutiny that he bestowed on a print of his own portrait, which that
+famous engraver had submitted to his eye." Stirling, in his Annals of
+Spanish Artists, says, that of no prince are recorded more sayings which
+show a refined taste and a quick eye. He told the Burghers of Antwerp
+that, "the light and soaring spire of their cathedral deserved to be put
+under a glass case." He called Florence "the Queen of the Arno, decked
+for a perpetual holiday." He regretted that he had given his consent for
+the conversion of the famous mosque of Abderahman at Cordova into a
+cathedral, when he saw what havoc had been made of the forest of fairy
+columns by the erection of the Christian choir. "Had I known," said he
+to the abashed improvers, "of what you were doing, you should have laid
+no finger on this ancient pile. You have built <i>a something</i>, such as is
+to be found anywhere, and you have destroyed a wonder of the world."</p>
+
+<p>The Emperor delighted to frequent the studio of Titian, on which
+occasions he treated him with ex<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>traordinary familiarity and
+condescension. The fine speeches which he lavished upon him, are as well
+known as his more substantial rewards. The painter one day happening to
+let fall his brush, the monarch picked it up, and presented it to the
+astonished artist, saying, "It becomes C&aelig;sar to serve Titian." On
+another occasion, C&aelig;sar requested Titian to retouch a picture which hung
+over the door of the chamber, and with the assistance of his courtiers
+moved up a table for the artist to stand upon, but finding the height
+insufficient, without more ado, he took hold of one corner, and calling
+on those gentlemen to assist, he hoisted Titian aloft with his own
+imperial hands, saying, "We must all of us bear up this great man to
+show that his art is empress of all others." The envy and displeasure
+with which men of pomp and ceremonies viewed these familiarities, that
+appeared to them as so many breaches in the divinity that hedged their
+king and themselves, only gave their master opportunities to do fresh
+honors to his favorite in these celebrated and cutting rebukes: "There
+are many princes, but there is only one Titian;" and again, when he
+placed Titian on his right hand, as he rode out on horseback, "I have
+many nobles, but I have only one Titian." Not less valued, perhaps, by
+the great painter, than his titles, orders, and pensions, was the
+delicate compliment the Emperor paid him when he declared that "no other
+hand should draw his portrait, since he had thrice received immortality
+from<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span> the pencil of Titian." Palomino, perhaps carried away by an
+artist's enthusiasm, asserts that "Charles regarded the acquisition of a
+picture by Titian with as much satisfaction as he did the conquest of a
+province." At all events, when the Emperor parted with all his provinces
+by abdicating his throne, he retained some of Titian's pictures. When he
+betook himself to gardening, watchmaking, and manifold masses at San
+Yuste, the sole luxury to be found in his simple apartments, with their
+hangings of sombre brown, was that master's St. Jerome, meditating in a
+cavern scooped in the cliffs of a green and pleasant valley&mdash;a fitting
+emblem of his own retreat. Before this appropriate picture, or the
+"Glory," which hung in the church of the convent, and which was removed
+in obedience to his will, with his body to the Escurial, he paid his
+orisons and schooled his mind to forgetfulness of the pomps and vanities
+of life.</p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN AND PHILIP II.</h2>
+
+<p>Titian was not less esteemed by Philip II., than by his father, Charles
+V. When Philip married Mary, Queen of England, he presented him his
+famous picture of Venus and Adonis, with the following letter of
+congratulation, which may be found in Ticozzi's Life of Titian:</p>
+
+<div class="blockquot"><p>"<i>To Philip, King of England, greeting</i>:</p>
+
+<p>"Most sacred Majesty! I congratulate your Majesty on the kingdom
+which God has granted to<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> you; and I accompany my congratulations
+with the picture of Venus and Adonis, which I hope will be looked
+upon by you with the favorable eye you are accustomed to cast upon
+the works of your servant</p>
+
+<p class='author'>
+<span class="smcap">"Titian</span>."
+</p>
+
+</div>
+
+<p>According to Palomino, Philip was sitting on his throne, in council,
+when the news arrived of the disastrous conflagration of the palace of
+the Prado, in which so many works by the greatest masters were
+destroyed. He earnestly demanded if the Titian Venus was among those
+saved, and on being informed it was, he exclaimed, "Then every other
+loss may be supported!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S LAST SUPPER AND EL MUDO.</h2>
+
+<p>Palomino says that when Titian's famous painting of the Last Supper
+arrived at the Escurial, it was found too large to fit the panel in the
+refectory, where it was designed to hang. The king, Philip II., proposed
+to cut it to the proper size. El Mudo (the dumb painter), who was
+present, to prevent the mutilation of so capital a work, made earnest
+signs of intercession with the king, to be permitted to copy it,
+offering to do it in the space of six months. The king expressed some
+hesitation, on account of the length of time required for the work, and
+was proceeding to put his design in execution, when El Mudo repeated his
+supplications in behalf of his favorite master with more fervency than
+ever, offering to complete the copy in less time than he at first
+demanded, ten<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>dering at the same time his head as the punishment if he
+failed. The offer was not accepted, and execution was performed on
+Titian, accompanied with the most distressing attitudes and distortions
+of El Mudo.</p>
+
+
+<hr style="width: 65%;" />
+<h2>TITIAN'S OLD AGE.</h2>
+
+<p>Titian continued to paint to the last year of his long life, and many
+writers, fond of the marvellous, assert that his faculties and his
+powers continued to the last. Vasari, who saw him in 1566 for the last
+time, said he "could no longer recognize Titian in Titian." Lanzi says,
+"There remains in the church of S. Salvatore, one of these pictures
+(executed towards the close of his life), of the Annunciation, which
+attracts the attention only from the name of the master. Yet when he was
+told by some one that it was not, or at least did not appear to have
+been executed by his hand, he was so much irritated that, in a fit of
+senile indignation, he seized his pencil and inscribed upon it,
+'Tizianus fecit, fecit.' Still the most experienced judges are agreed
+that much may be learned, even from his latest works, in the same manner
+as the poets pronounce judgment upon the Odyssey, the product of old
+age, but still by Homer."</p>
+
+
+<hr style="width: 65%;" />
+<h2>MONUMENT TO TITIAN.</h2>
+
+<p>A monument to Titian, from the studio of the brothers Zandomenghi, was
+erected in Ve<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span>nice in 1852; and the civil, ecclesiastical, and military
+authorities were present at the ceremony of inauguration. It represents
+Titian, surrounded by figures impersonating the Fine Arts; below are
+impersonations of the fifteenth and nineteenth centuries. The basement
+is adorned with five bas-reliefs, representing as many celebrated
+paintings by the great artist.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HORACE VERNET.</h2>
+
+<p>Among all the artists of our day, is one standing almost alone, and
+singularly characterized in many respects. He is entirely wanting in
+that lofty religious character which fills with pureness and beauty the
+works of the early masters; he has not the great and impressive
+historical qualities of the school of Raffaelle, nor the daring
+sublimity of Michael Angelo; he has not the rich luxury of color that
+renders the works of the great Venetians so gorgeous, nor even that sort
+of striking reality which makes the subjects rendered by the Flemish
+masters incomparably life-like. Yet he is rich in qualities deeply
+attractive and interesting to the people, especially the French people,
+of our own day. He displays an astonishing capacity and rapidity of
+execution, an almost unparalleled accuracy of memory, a rare life and
+motion on the canvass, a vigorous comprehension of the military tactics
+of the time, a wonderful aptitude at rendering the camp and field potent
+subjects for the pencil, not<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span>withstanding the regularity of movement,
+and the unpicturesque uniformity of costume demanded by the military
+science of our day. Before a battle-piece, of Horace Vernet (and only
+his battle-pieces are his masterpieces), the crowd stands breathless and
+horrified at the terrible and bloody aspect of war; while the military
+connoisseur admires the ability and skill of the feats of arms, so
+faithfully rendered that he forgets he is not looking at real soldiers
+in action. In the landscapes and objects of the foreground or
+background, there are not that charm of color and a&euml;rial depth and
+transparency in which the eye revels, yet there is a hard vigorous
+actuality which adds to the force and energy of the actors, and
+strengthens the idea of presence at the battle, without attracting or
+charming away the mind from the terrible inhumanities principally
+represented. No poetry, no romance, no graceful and gentle beauty; but
+the stern dark reality as it might be written in an official bulletin,
+or related in a vigorous, but cold and accurate, page of history. Such
+is the distinguishing talent of Horace Vernet&mdash;talent sufficient,
+however, to make his pictures the attractive centres of crowds at the
+Louvre Exhibitions, and to make himself the favorite of courts and one
+of the <i>illustrissimi</i> of Europe.</p>
+
+<p>The Vernets have been a family of painters during four generations. The
+great-grandfather of Horace was a well-known artist at Avignon, a
+hundred and fifty years ago. His son and pupil, Claude Joseph<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> Vernet,
+was the first marine painter of his time; and occupies, with his works
+alone, an entire apartment of the French Gallery at the Louvre, besides
+great numbers of sea-pieces and landscapes belonging to private
+galleries. He died in 1789, but his son and pupil, Antoine Charles
+Horace Vernet, who had already during two years sat by his side in the
+Royal Academy, continued the reputation of the family during the
+Consulate and Empire. He was particularly distinguished for
+cavalry-battles, hunting scenes, and other incidents in which the horse
+figured largely as actor. In some of these pictures the hand of the son
+already joined itself to that of the father, the figures being from the
+pencil of Horace; and before the death of the father, which took place
+in 1836, he had already seen the artistic reputation of the family
+increased and heightened by the fame of his son.</p>
+
+<p>Horace Vernet was born at the Louvre on the 30th June, 1789, the year of
+the death of his grandfather, who, as painter to the king, had occupied
+rooms at the Louvre, where his father also resided; so that Horace not
+only inherited his art from a race of artist-ancestors, but was born
+amid the <i>chef d' &oelig;uvres</i> of the entire race of painters. Of course,
+his whole childhood and youth were surrounded with objects of Art; and
+it was scarcely possible for him not to be impressed in the most lively
+manner by the unbroken artist-life in which he was necessarily brought
+up. It would appear that from his<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> childhood he employed himself in
+daubing on walls, and drawing on scraps of paper all sorts of little
+soldiers.</p>
+
+<p>Like his father and grandfather, his principal lessons as a student were
+drawn from the paternal experience, and certainly no professor could
+more willingly and faithfully save him all the loss of time and patience
+occasioned by the long and often fruitless groping of the almost
+solitary Art-student. He was also thus saved from falling into the
+errors of the school of David. Certainly no great <i>penchant</i> towards the
+antique is discoverable in his father's works; nor in his own do we find
+painted casts of Greek statues dressed in the uniforms of the nineteenth
+century. At twenty, it is true, he tried, but without success, the
+classic subject offered to competition at the Academy for the prize of
+visiting Rome. The study of the antique did not much delight him. On the
+contrary, he rather joined with the innovators, whose example was then
+undermining the over-classic influence of David's school, the most
+formidable and influential of whom, a youth about his own age, and a
+fellow-student in his father's atelier, was then painting a great
+picture, sadly decried at the time, but now considered one of the
+masterpieces of the French school in the Louvre&mdash;the "Raft of the
+Medusa." Gericault was his companion in the studio and in the field, at
+the easel and on horseback; and we might trace here one of the many
+instances of the influence which this powerful and original<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> genius
+exercised on the young artists of his time, and which, had it not been
+arrested by his premature death in January, 1824, would have made
+Gericault more strikingly distinguished as one of the master-spirits in
+French Art, and the head of a school entirely the opposite to that of
+David.</p>
+
+<p>Horace's youth, however, did not pass entirely under the smiles of
+fortune. He had to struggle with those difficulties of narrow means with
+which a very large number of young artists are tolerably intimate. He
+had to weather the gales of poverty by stooping to all sorts of
+illustrative work, whose execution we fancy must have been often a
+severe trial to him. Any youth aiming at "high art," and feeling, though
+poor, too proud to bend in order to feed the taste, (grotesque and
+unrefined enough, it must be allowed,) of the good public, which artists
+somewhat naturally estimate rather contemptuously, might get a lesson of
+patience by looking over an endless series of the most variedly hideous
+costumes or caricatures of costume which Horace was glad to draw, for
+almost any pecuniary consideration. A series of amusingly <i>naive</i>
+colored prints, illustrating the adventures of poor La Valli&egrave;re with
+Louis XIV., would strengthen the lesson. These were succeeded by
+lithographs of an endless variety of subjects&mdash;the soldier's life in all
+its phases, the "horse and its rider" in all their costumes, snatches of
+romances, fables, caricatures, humorous pieces, men, beasts, and things.
+In short, young Horace tried his hand<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span> at any thing and every thing in
+the drawing line, at once earning a somewhat toughly-woven livelihood,
+and perfecting his talent with the pencil. In later years, the force and
+freedom of this talent were witnessed to by illustrations of a more
+important character in a magnificent edition of Voltaire's <i>Henriade</i>,
+published in 1825, and of the well known <i>Life of Napoleon</i> by Laurent.</p>
+
+<p>Failing, as we have said, and perhaps fortunately for him, in the
+achievement of the great Prize of Rome, he turned to the line of Art for
+which he felt himself naturally endowed, the incidents of the camp and
+field. The "Taking of a Redoubt;" the "Dog of the Regiment;" the "Horse
+of the Trumpeter;" "Halt of French Soldiers;" the "Battle of Tolosa;"
+the "Barrier of Clichy, or Defense of Paris in 1814" (both of which
+last, exhibited in 1817, now hang in the gallery of the Luxembourg), the
+"Soldier-Laborer;" the "Soldier of Waterloo;" the "Last Cartridge;" the
+"Death of Poniatowski;" the "Defense of Saragossa," and many more,
+quickly followed each other, and kept up continually and increasingly
+the public admiration. The critics of the painted bas-relief school
+found much to say against, and little in favor of, the new talent that
+seemed to look them inimically in the face, or rather did not seem to
+regard them at all. But people in general, of simple enough taste in
+matter of folds of drapery or classic laws of composition or antique
+lines of beauty, saw before them with all the varied<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> sentiments of
+admiration, terror, or dismay, the soldier mounting the breach at the
+cannon's mouth, or the general, covered with orders, cut short in the
+midst of his fame. Little of the romantic, little of poetical
+idealization, little of far-fetched <i>style</i> was there on these
+canvasses, but the crowd recognized the soldier as they saw him daily,
+in the midst of the scenes which the bulletin of the army or the page of
+the historian had just narrated to them. They were content, they were
+full of admiration, they admired the pictures, they admired the artist;
+and, the spleen of critics notwithstanding, Horace Vernet was known as
+one of the favorite painters of the time.</p>
+
+<p>In 1819 appeared the "Massacre of the Mamelukes at Cairo," now in the
+Luxembourg. We do not know how the public accepted this production. We
+have no doubt, however, that they were charmed at the gaudy <i>&eacute;clat</i> of
+the bloodthirsty tyrant, with his hookah and lion in the foreground, and
+dismayed at the base assassinations multiplied in the background. Nor do
+we doubt that the critics gave unfavorable judgments thereupon, and that
+most of those who loved Art seriously, said little about the picture. We
+would at all events express our own regret that the authorities do not
+find some better works than this and the "Battle of Tolosa," to
+represent in a public gallery the talent of the most famous
+battle-painter of France. The Battles of Jemmapes, Valmy, Hanau, and
+Montmirail, exe<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span>cuted at this time, and hung till lately in the gallery
+of the Palais Royal (now, we fear, much, if not entirely, destroyed by
+the mob on the 24th February), were much more worthy of such a place.
+Whether it was by a considerate discernment that the mob attacked these,
+as the property of the ex-king, or by a mere goth-and-vandalism of
+revolution, we do not know; but certainly we would rather have delivered
+up to their wrath these others, the "property of the nation." The same
+hand would hardly seem to have executed both sets of paintings. It is
+not only the difference in size of the figures on the canvass, those of
+the Luxembourg being life-sized, and those of the Palais Royal only a
+few inches in length, but the whole style of the works is different. The
+first seem painted as if they had been designed merely to be reproduced
+in gay silks and worsteds at the Gobelins, where we have seen a copy of
+the "Massacre of the Mamelukes," in tapestry, which we would, for
+itself, have preferred to the original. But the latter four battles,
+notwithstanding the disadvantage of costume and arrangement necessarily
+imposed by the difference of time and country, produce far more
+satisfactory works of Art, and come much nearer to historical painting.
+They are painted without pretension, without exaggeration. The details
+are faithfully and carefully, though evidently rapidly, executed. The
+generals and personages in the front are speaking portraits; and the
+whole scene is full of that sort of life and action which im<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>presses one
+at once as the very sort of action that must have taken place. Now it is
+a battery of artillery backed against a wood,&mdash;now it is a plain over
+which dense ranks of infantry march in succession to the front of the
+fire. Here it is a scene where in the full sunlight shows the whole
+details of the action; there it is night&mdash;and a night of cloud and
+storm, draws her sombre veil over the dead and wounded covering the
+field. A historian might find on these canvasses, far better than in
+stores of manuscript, wherewith to fill many a page of history with
+accurate and vivid details of these bloody days; or rather, many a page
+of history would not present so accurate and vivid a conception of what
+is a field of battle.</p>
+
+<p>In 1822, entry to the exhibition at the Louvre being refused to his
+works, Horace Vernet made an exhibition-room of his atelier, had a
+catalogue made out (for what with battles, hunts, landscapes, portraits,
+he had a numerous collection), and the public were admitted. In 1826 he
+was admitted a Member of the Institute, and in 1830 was appointed
+Director of the Academy at Rome, so that the young man who could not so
+far decline his antiques as to treat the classic subject of the Royal
+Academy, and thus gain the Academy at Rome, now went there as chief of
+the school, and as one of the most distinguished artists of his time.
+This residence for five years among the best works of the great masters
+of Italy naturally inspired him with ideas and de<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>sires which it had not
+been hitherto in his circumstances to gratify. And once installed in the
+Villa Medici, which he made to resound with the voices of joy and
+revelry, splendid f&ecirc;tes and balls, he set himself to study the Italian
+school.</p>
+
+<p>A series of pictures somewhat new in subject and manner of treatment was
+the result of this change of circumstances and ideas. To the Paris
+Exhibition of 1831 he sent a "Judith and Holofernes," which is one of
+the least successful of his pictures in the Luxembourg, where it hangs
+still, with another sent two years after, "Raffaelle and Michael Angelo
+in the Vatican." This is perhaps the best of his works at the
+Luxembourg, all being inferior; but it has a certain dry gaudiness of
+color, and a want of seriousness of design, which render it unfit to be
+considered a master-work. One unquestionably preferable, the "Arresting
+of the Princes at the Palais Royal by order of Anne of Austria," found
+its way to the Palais Royal, so that in this, as in the other we have
+remarked, the king seemed to know how to choose better than the
+Art-authorities of the "Gallery of Living Painters." A number of other
+pictures testified to the activity of the artist's pencil at
+Rome:&mdash;"Combat of Brigands against the Pope's Riflemen," "Confession of
+the Dying Brigand," also at the Palais Royal, but also we fear destroyed
+by the popular vandalism of the 24th February; a "Chase in the Pontine
+Marshes," "Pope Leo XII. carried into St. Peter's." The favor of<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> the
+public, however, still turned to the usual subject of Horace Vernet&mdash;the
+French soldier's life; finding which, on his return from Rome, he
+recurred to his original study. In 1836 he exhibited four new
+battle-pieces, "Friedland," "Wagram," "Jena," and "Fontenoy," in which
+were apparent all his usual excellencies.</p>
+
+<p>The occupation of the Algerine territory by the French troops afforded
+the artist an opportunity of exhibiting his powers in that department
+most suited to them. A whole gallery at Versailles was set apart for the
+battle-painter, called the <i>Constantine Gallery</i>, after the most
+important feat of arms yet performed by the French troops in Africa, the
+Taking of the town of Constantine. Some of the solitary and
+extraordinary, we might say accidental, military exploits in Europe of
+Louis Philippe's reign, are also commemorated there. The "Occupation of
+Ancona," the "Entry of the Army into Belgium," the "Attack of the
+Citadel of Antwerp," the "Fleet forcing the Tagus," show that nothing is
+forgotten of the Continental doings. The African feats are almost too
+many to enumerate. In a "Sortie of the Arab Garrison of Constantine,"
+the Duke de Nemours is made to figure in person. Then we have the
+Troops of Assault receiving the Signal to leave the Trenches, and "The
+Scaling of the Breach." There are the "Occupation of the Defile of
+Teniah," "Combat of the Habrah, of the Sickak, of Samah, of Afzoum." In
+fine, there is<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span> the largest canvass in existence, it is said, the
+"Taking of the Smalah," that renowned occasion when the army was so
+<i>very near</i> taking Abd-el-Kader; and the "Battle of Isly," which gained
+that splendid trophy, the parasol of command. Besides these great
+subjects there are decorations of military trophies and allegorical
+figures, which seem to have been painted by some pupil of Vernet. These
+battles were first of all exhibited to the admiration of Paris in the
+various salons after their execution, and were then sent off to decorate
+Versailles. There are also, in the <i>Gallery of French History</i>, at
+Versailles, several others of his, such as the "Battle of Bouvines;"
+"Charles X. reviewing the National Guard;" the "Marshal St. Cyr," and
+some others among those we have already named. In them the qualities of
+the artist are manifested more fully, we think, than in any others of
+his works. They are full of that energy, vivacity, and daguerreotypic
+verity which he so eminently displays. There is none of that pretension
+after "high Art" which has injured the effect of some of his pictures.
+The rapidity of their execution too in general was such, that the public
+had hardly finished reading the last news of the combats, when the
+artist, returned in many cases from witnessing the scenes, had placed
+them on the canvass, and offered them to popular gaze. Yet the canvasses
+are in many cases of great extent, and often, the figures of life-size.
+But the artist rarely employs the model, painting mostly from memory, a<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+faculty most astonishingly developed in him. He generally also saves
+himself the trouble of preparing a smaller sketch to paint after,
+working out his subject at once in the definitive size. Of course with
+more serious and elevated subjects, worked out in a more serious and
+elevated spirit, such a system would not do. But for the style of
+subject and execution required by Horace Vernet's artistic organization,
+these careful preparations would not answer. They would only tend to
+diminish the sweeping passion of the fiery <i>mel&eacute;e</i>, and freeze the swift
+impulsive rush of the attack or flight.</p>
+
+<p>Vernet has several times attempted Biblical subjects, but they have
+never succeeded so well as to add anything to his fame as a
+battle-painter. "Judah and Tamar," "Agar dismissed by Abraham," "Rebecca
+at the Fountain," "Judith with the head of Holofernes," "The Good
+Samaritan," have rather served to illustrate Arab costume and manners,
+(which he makes out to be the same as, or very similar to, those of old
+Biblical times,) than to illustrate his own power in the higher range of
+Art.</p>
+
+<p>In the midst of painting all these, Horace Vernet has found time, which
+for him is the smallest requisite in painting, to produce an innumerable
+mass of pictures for private galleries, or at the command of various
+crowned heads; which, with many of those already mentioned, are well
+known all over Europe by engravings. "The Post of the Desert," "The
+Prayer in the Desert," "The Lion Hunt in the<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span> Desert," "Council of
+Arabs," "Episode of the Pest of Barcelona," "The Breach of Constantine,"
+"Mazeppa," and a host of others, together with landscapes, portraits,
+&amp;c., have served both to multiply his works in the galleries of every
+country in Europe, and to make him one of the most popular of living
+artists.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE COLOSSEUM.</h2>
+
+<p>The Colosseum, or Coliseum, was commenced by Vespasian, and completed by
+Titus, (A. D. 79.) This enormous building occupied only three years in
+its erection. Cassiodorus affirms that this magnificent monument of
+folly cost as much as would have been required to build a capital city.
+We have the means of distinctly ascertaining its dimensions and its
+accommodations from the great mass of wall that still remains entire;
+and although the very clamps of iron and brass that held together the
+ponderous stones of this wonderful edifice were removed by Gothic
+plunderers, and succeeding generations have resorted to it as to a
+quarry for their temples and their palaces&mdash;yet the "enormous skeleton"
+still stands to show what prodigious works may be raised by the skill
+and perseverance of man, and how vain are the mightiest displays of his
+physical power when compared with those intellectual efforts which have
+extended the empire of virtue and of science.</p>
+
+<p>The Colosseum, which is of an oval form, occupies the space of nearly
+six acres. It may<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> justly be said to have been the most imposing
+building, from its apparent magnitude, in the world; the Pyramids of
+Egypt can only be compared with it in the extent of their plan, as they
+each cover nearly the same surface. The greatest length, or major axis,
+is 620 feet; the greatest breadth, or minor axis, is 513 feet. The outer
+wall is 157 feet high in its whole extent. The exterior wall is divided
+into four stories, each ornamented with one of the orders of
+architecture. The cornice of the upper story is perforated for the
+purpose of inserting wooden masts, which passed also through the
+architrave and frieze, and descended to a row of corbels immediately
+above the upper range of windows, on which are holes to receive the
+masts. These masts were for the purpose of attaching cords to, for
+sustaining the awning which defended the spectators from the sun or
+rain. Two corridors ran all round the building, leading to staircases
+which ascended to the several stories; and the seats which descended
+towards the arena, supported throughout upon eighty arches, occupied so
+much of the space that the clear opening of the present inner wall next
+the arena is only 287 feet by 180 feet. Immediately above and around the
+arena was the podium, elevated about twelve or fifteen feet, on which
+were seated the emperor, senators, ambassadors of foreign nations, and
+other distinguished personages in that city of distinctions. From the
+podium to the top of the second story were seats of marble for<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> the
+equestrian order; above the second story the seats appear to have been
+constructed of wood. In these various seats eighty thousand spectators
+might be arranged according to their respective ranks; and indeed it
+appears from inscriptions, as well as from expressions in Roman writers,
+that many of the places in this immense theatre were assigned to
+particular individuals, and that each might find his seat without
+confusion. On extraordinary occasions, 110,000 persons could crowd into
+it.</p>
+
+<p>Gibbon has given a splendid description, in his twelfth book, of the
+exhibitions in the Colosseum; but he acknowledges his obligations to
+Montaigne, who, says the historian, "gives a very just and lively view
+of Roman magnificence in these spectacles." Our readers will, we doubt
+not, be gratified by the quaint but most appropriate sketch of the old
+philosopher of France:&mdash;</p>
+
+<p>"It was doubtless a fine thing to bring and plant within the theatre a
+great number of vast trees, with all their branches in their full
+verdure, representing a great shady forest, disposed in excellent order,
+and the first day to throw into it a thousand ostriches, a thousand
+stags, a thousand boars, and a thousand fallow deer, to be killed and
+disposed of by the people: the next day to cause an hundred great lions,
+an hundred leopards and three hundred bears to be killed in his
+presence: and for the third day, to make three hundred pair of fencers
+to fight it out to the last,&mdash;as the Emperor<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span> Probus did. It was also
+very fine to see those vast amphitheatres, all faced with marble
+without, curiously wrought with figures and statues, and the inside
+sparkling with rare decorations and enrichments; all the sides of this
+vast space filled and environed from the bottom to the top, with three
+or four score ranks of seats, all of marble also, and covered with
+cushions, where an hundred thousand men might sit placed at their ease;
+and the place below, where the plays were played, to make it by art
+first open and cleave into chinks, representing caves that vomited out
+the beasts designed for the spectacle; and then secondly, to be
+overflowed with a profound sea, full of sea-monsters, and loaded with
+ships of war, to represent a naval battle: and thirdly, to make it dry
+and even again for the combats of the gladiators; and for the fourth
+scene, to have it strewed with vermilion and storax, instead of sand,
+there to make a solemn feast for all that infinite number of people&mdash;the
+last act of only one day.</p>
+
+<p>"Sometimes they have made a high mountain advance itself, full of
+fruit-trees and other flourishing sorts of woods, sending down rivulets
+of water from the top, as from the mouth of a fountain: other whiles, a
+great ship was seen to come rolling in, which opened and divided itself;
+and after having disgorged from the hold four or five hundred beasts for
+fight, closed again, and vanished without help. At other times, from the
+floor of this place, they made spouts of perfumed water dart their
+streams<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> upward, and so high as to besprinkle all that infinite
+multitude. To defend themselves from the injuries of the weather, they
+had that vast place one while covered over with purple curtains of
+needle-work, and by-and-by with silk of another color, which they could
+draw off or on in a moment, as they had a mind. The net-work also that
+was set before the people to defend them from the violence of these
+turned-out beasts, was also woven of gold."</p>
+
+<p>"If there be anything excusable in such excesses as these," continues
+Montaigne, "it is where the novelty and invention creates more wonder
+than expense." Fortunately for the real enjoyments of mankind, even
+under the sway of a Roman despot, "the novelty and invention" had very
+narrow limits when applied to matters so utterly unworthy and
+unintellectual as the cruel sports of the amphitheatre. Probus indeed,
+transplanted trees to the arena, so that it had the appearance of a
+verdant grove; and Severus introduced four hundred ferocious animals in
+one ship sailing in the little lake which the arena formed. But on
+ordinary occasions, profusion,&mdash;tasteless, haughty, and uninventive
+profusion,&mdash;the gorgeousness of brute power, the pomp of satiated
+luxury&mdash;these constituted the only claim to the popular admiration. If
+Titus exhibited five thousand wild beasts at the dedication of the
+amphitheatre, Trajan bestowed ten thousand on the people at the
+conclusion of the Dacian war. If the younger Gordian collected together
+bears, elks, ze<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>bras, ostriches, boars, and wild horses, he was an
+imitator only of the spectacles of Carus, in which the rarity of the
+animals was as much considered as their fierceness.</p>
+
+
+<hr style="width: 65%;" />
+<h2>NINEVEH AND ITS REMAINS.</h2>
+
+<p>"For very many centuries, the hoary monuments of Egypt&mdash;its temples, its
+obelisks, and its tombs&mdash;have presented to the eye of the beholder
+strange forms of sculpture and of language; the import of which none
+could tell. The wild valleys of Sinai, too, exhibited upon their rocky
+sides the unknown writings of a former people; whose name and existence
+none could trace. Among the ruined halls of Persepolis, and on the
+rock-hewn tablets of the surrounding regions, long inscriptions in
+forgotten characters seemed to enrol the deeds and conquests of mighty
+sovereigns; but none could read the record. Thanks to the skill and
+persevering zeal of scholars of the 19th century, the key of these
+locked up treasures has been found; and the records have mostly been
+read. The monuments of Egypt, her paintings and her hieroglyphics, mute
+for so many ages, have at length spoken out; and now our knowledge of
+this ancient people is scarcely less accurate and extensive than our
+acquaintance with the classic lands of Greece and Rome. The unknown
+characters upon the rocks of Sinai have been deciphered, but the meagre
+contents still leave us in darkness as to their origin and purpose. The<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+cuneiform or arrow-headed inscriptions of the Persian monuments and
+tablets, have yielded up their mysteries, unfolding historical data of
+high importance; thus illustrating and confirming the few and sometimes
+isolated facts preserved to us in the Scriptures and other ancient
+writings. Of all the works, in which the progress and results of these
+discoveries have been made known, not one has been reproduced or made
+generally accessible in this country. The scholar who would become
+acquainted with them, and make them his own, must still have recourse to
+the Old World.</p>
+
+<p>"The work of Mr. Layard brings before us still another step of progress.
+Here we have not to do, with the hoary ruins that have borne the brunt
+of centuries in the presence of the world, but with a resurrection of
+the monuments themselves. It is the disentombing of temple-palaces from
+the sepulchre of ages; the recovery of the metropolis of a powerful
+nation from the long night of oblivion. Nineveh, the great city 'of
+three days' journey,' that was 'laid waste, and there was none to bemoan
+her,' whose greatness sank when that of Rome had just begun to rise, now
+stands forth again to testify to her own splendor, and to the
+civilization, and power, and magnificence of the Assyrian Empire. This
+may be said, thus far, to be the crowning historical discovery of the
+nineteenth century. But the century as yet, is only half elapsed.</p>
+
+<p>"Nineveh was destroyed in the year 606 before<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> Christ; less than 150
+years after Rome was founded. Her latest monuments, therefore, date back
+not less than five-and-twenty centuries; while the foundation of her
+earliest is lost in an unknown antiquity. When the ten thousand Greeks
+marched over this plain in their celebrated retreat, (404 B.C.) they
+found in one part, a ruined city called Larissa; and in connection with
+it, Xenophon, their leader and historian, describes what is now the
+pyramid of Nimroud. But he heard not the name of Nineveh; it was already
+forgotten in its site; though it appears again in the later Greek and
+Roman writers. Even at that time, the widely extended walls and ramparts
+of Nineveh had perished, and mounds, covering magnificent palaces, alone
+remained at the extremities of the ancient city, or in its vicinity,
+much as at the present day.</p>
+
+<p>"Of the site of Nineveh, there is scarcely a further mention, beyond the
+brief notices by Benjamin of Tudela and Abulfeda, until Niebuhr saw it
+and described its mounds nearly a century ago. In 1820, Mr. Rich visited
+the spot; he obtained a few square sun-dried bricks with inscriptions,
+and some other slight remains; and we can all remember the profound
+impression made upon the public mind, even by these cursory memorials of
+Nineveh and Babylon."<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>DESCRIPTION OF A PALACE EXHUMED AT NIMROUD.</h2>
+
+<p>"During the winter, Mr. Longworth, and two other English travelers,
+visited me at Nimroud. As they were the only Europeans, (except Mr.
+Ross) who saw the palace when uncovered, it may be interesting to the
+reader to learn the impression which the ruins were calculated to make
+upon those who beheld them for the first time, and to whom the scene was
+consequently new. Mr. Longworth, in a letter, thus graphically describes
+his visit:&mdash;</p>
+
+<div class="blockquot"><p>"'I took the opportunity, whilst at Mosul, of visiting the
+excavations of Nimroud. But before I attempt to give a short
+account of them, I may as well say a few words as to the general
+impression which these wonderful remains made upon me, on my first
+visit to them. I should begin by stating, that they are all under
+ground. To get at them, Mr. Layard has excavated the earth to the
+depth of twelve to fifteen feet, where he has come to a building
+composed of slabs of marble. In this place, which forms the
+northwest angle of the mound, he has fallen upon the interior of a
+large palace, consisting of a labyrinth of halls, chambers, and
+galleries, the walls of which are covered with bas-reliefs and
+inscriptions in the cuneiform character, all in excellent
+preservation. The upper part of the walls, which was of brick,
+painted with flowers, &amp;c., in the brightest colors, and the roofs,
+which were of wood, have fallen; but fragments of them are strewed<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+about in every direction. The time of day when I first descended
+into these chambers happened to be towards evening; the shades of
+which, no doubt, added to the awe and mystery of the surrounding
+objects. It was of course with no little excitement that I suddenly
+found myself in the magnificent abode of the old Assyrian Kings;
+where, moreover, it needed not the slightest effort of imagination
+to conjure up visions of their long departed power and greatness.
+The walls themselves were covered with phantoms of the past; in the
+words of Byron,'Three thousand years their cloudy wings expand,'
+unfolding to view a vivid representation of those who conquered and
+possessed so large a portion of the earth we now inhabit. There
+they were, in the Oriental pomp of richly embroidered robes, and
+quaintly-artificial coiffure. There also were portrayed their deeds
+in peace and war, their audiences, battles, sieges, lion-hunts, &amp;c.
+My mind was overpowered by the contemplation of so many strange
+objects; and some of them, the portly forms of kings and vizirs,
+were so life-like, and carved in such fine relief, that they might
+almost be imagined to be stepping from the walls to question the
+rash intruder on their privacy. Then mingled with them were other
+monstrous shapes&mdash;the old Assyrian deities, with human bodies, long
+drooping wings, and the heads and beaks of eagles; or, still
+faithfully guarding the portals of the deserted halls, the colossal
+forms of winged lions and bulls, with gigantic human faces.<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> All
+these figures, the idols of a religion long since dead and buried
+like themselves, seemed in the twilight to be actually raising
+their desecrated heads from the sleep of centuries; certainly the
+feeling of awe which they inspired me with, must have been
+something akin to that experienced by their heathen votaries of
+old.'&mdash;<i>Layard's Nineveh and its Remains</i>, vol. I. p. 298. </p></div>
+
+<p>"The interior of the Assyrian palace must have been as magnificent as
+imposing. I have led the reader through its ruins, and he may judge of
+the impression its halls were calculated to make upon the stranger who,
+in the days of old, entered for the first time into the abode of the
+Assyrian Kings. He was ushered in through the portal guarded by the
+colossal lions or bulls of white alabaster. In the first hall he found
+himself surrounded by the sculptured records of the empire. Battles,
+sieges, triumphs, the exploits of the chase, the ceremonies of religion,
+were portrayed on the walls, sculptured in alabaster, and painted in
+gorgeous colors. Under each picture were engraved, in characters filled
+up with bright copper, inscriptions describing the scenes represented.
+Above the sculptures were painted other events&mdash;the king attended by his
+eunuchs and warriors, receiving his prisoners, entering into alliances
+with other monarchs, or performing some sacred duty. These
+representations were enclosed in colored borders, of elaborate and
+elegant design.<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span> The emblematic tree, winged bulls, and monstrous
+animals were conspicuous among the ornaments.</p>
+
+<p>"At the upper end of the hall was the colossal figure of the king in
+adoration before the supreme deity, or receiving from his eunuch the
+holy cup. He was attended by warriors bearing his arms, and by the
+priests or presiding divinities. His robes, and those of his followers,
+were adorned with groups of figures, animals, and flowers, all painted
+with brilliant colors. The stranger trod upon the alabaster slabs, each
+bearing an inscription, recording the titles, genealogy, and
+achievements of the great King.&mdash;Several door-ways, formed by gigantic
+winged lions or bulls, or by the figures of guardian deities, led into
+other apartments, which again opened into more distant halls. In each
+were new sculptures. On the walls of some were processions of colossal
+figures&mdash;armed men and eunuchs following the king, warriors laden with
+spoil, leading prisoners, or bearing presents and offerings to the gods.
+On the walls of others were portrayed the winged priests, or presiding
+divinities, standing before the sacred trees.</p>
+
+<p>"The ceilings above him were divided into square compartments, painted
+with flowers, or with the figures of animals. Some were inlaid with
+ivory, each compartment being surrounded by elegant borders and
+mouldings. The beams as well as the sides of the chambers, may have been
+gilded, or even plated, with gold and silver; and the rarest<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span> woods, in
+which the cedar was conspicuous, were used for the wood work. Square
+openings in the ceilings of the chambers admitted the light of day. A
+pleasing shadow was thrown over the sculptured walls, and gave a
+majestic expression to the human features of the colossal figures which
+guarded the entrances. Through these apertures was seen the bright blue
+of an eastern sky, enclosed in a frame on which were painted, in varied
+colors, the winged circle, in the midst of elegant ornaments, and the
+graceful forms of ideal animals.</p>
+
+<p>"These edifices, as it has been shown, were great national monuments,
+upon the walls of which were represented in sculpture, or inscribed in
+alphabetic characters, the chronicles of the empire. He who entered them
+might thus read the history, and learn the glory and triumphs of the
+nation. They served at the same time to bring continually to the
+remembrance of those who assembled within them on festive occasions, or
+for the celebration of religious ceremonies, the deeds of their
+ancestors, and the power and majesty of their gods."&mdash;<i>Layard's Nineveh
+and its Remains</i>, vol. II. p 262.</p>
+
+
+<hr style="width: 65%;" />
+<h2>ORIGIN AND ANTIQUITY OF THE ARCH.</h2>
+
+<p>The origin of the Arch is very uncertain. It was unknown to the
+Egyptians, for their chambers were roofed with long flat stones, and
+sometimes the upper layers of stones form projections, so as to diminish
+the roof surface. It is also supposed that it was<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> unknown to the
+Greeks, when they constructed their most beautiful temples, in the 5th,
+4th, and 3d centuries B. C., as no structure answering to the true
+character of the Arch has been found in any of these works. Minutoli has
+given specimens of arches at Thebes; circular, and formed of four
+courses of bricks, and it is maintained that these belonged to a very
+ancient period, long before the Greek occupancy of that country. The
+Macedonians were a civilized people long before the rest of the Greeks,
+and were, in fact, their instructors; but the Greeks afterwards so far
+excelled them that they regarded them as barbarians. Some say that
+Etruria was the true birth-place of the Arch; it was doubtless from them
+that the Romans learned its use. Tarquinius Priscus conquered the
+Etrurians, and he it was who first introduced and employed the Arch in
+the construction of the cloac&aelig;, or sewers of Rome. The <i>cloaca maxima</i>,
+or principal branch, received numerous other branches between the
+Capitoline, Palatine, and Quirinal hills. It is formed of three
+consecutive rows of large stones piled above each other without cement,
+and has stood nearly 2,500 years, surviving without injury the
+earthquakes and other convulsions that have thrown down temples,
+palaces, and churches of the superincumbent city. From the time of
+Tarquin, the Arch was in general use among the Romans in the
+construction of aqueducts, public edifices, bridges, &amp;c. The Chinese
+understood the use of the Arch in the most remote<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> times, and in such
+perfection as to enable them to bridge large streams with a single span.
+Mr. Layard has shown that the Ninevites knew its use at least 3000 years
+ago; he not only discovered a vaulted chamber, but that "arched
+gate-ways are continually represented in the bas-reliefs." Diodorus
+Siculus relates that the tunnel from the Euphrates at Babylon, ascribed
+to Semiramis, was vaulted. There are vaults under the site of the temple
+at Jerusalem, which are generally considered as ancient as that edifice,
+but some think them to have been of more recent construction, as they
+suppose the Jews were ignorant of the Arch; but it is evident that it
+was well known in the neighboring countries before the Jewish exile, and
+at least seven or eight centuries before the time of Herod. It seems
+highly probable, that the Arch was discovered by several nations in very
+remote times.</p>
+
+<hr style="width: 65%;" />
+<h2>ANTIQUITIES OF HERCULANEUM, POMPEII, AND STABI&AElig;.</h2>
+
+<p>The city of Herculaneum, distant about 11,000 paces from Naples, was so
+completely buried by a stream of lava and a shower of ashes from the
+first known eruption of Vesuvius, during the reign of Titus, A. D. 79,
+that its site was unknown for many ages. The neighboring city of
+Pompeii, on the river Sarno, one of the most populous and flourishing
+towns on the coast, as well as Stabi&aelig;, Oplontia, and Teglanum,
+experienced the same fate. Earlier<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> excavations had already been
+forgotten, when three female figures, (now in the Dresden Gallery) were
+discovered while some workmen were digging a well for Prince Elbeuf at
+Portici, a village situated on the site of ancient Herculaneum. In 1738
+the well was dug deeper, and the theatre of Herculaneum was first
+discovered. In 1750, Pompeii and Stabi&aelig; were explored; the former place
+being covered with ashes rather than lava, was more easily examined.
+Here was discovered the extensive remains of an amphitheatre. In the
+cellar of a villa twenty-seven female skeletons were found with
+ornaments for the neck and arms; lying around, near the lower door of
+another villa, two skeletons were found, one of which held a key in one
+hand, and in the other a bag of coins and some cameos, and near them
+were several beautiful silver and bronze vessels. It is probable,
+however, that most of the inhabitants of this city had time to save
+themselves by flight, as comparatively few bodies have been found. The
+excavations since the discovery, have been continued by the government,
+up to the present time, with more or less interruptions. For the
+antiquary and the arch&aelig;ologist, antiquity seems here to revive and
+awaken the sensations which Schiller has so beautifully described in his
+poem of Pompeii and Herculaneum. The ancient streets and buildings are
+again thrown open, and in them we see, as it were, the domestic life of
+the ancient Romans. We had never before such an opportu<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>nity of becoming
+acquainted with the disposition of their houses, and of their utensils.
+Whole streets, with magnificent temples, theatres, and private mansions,
+have been disentombed. Multitudes of statues, bas-reliefs, and other
+sculptures have been found in these buried cities; also many fresco
+paintings, the most remarkable of which are Andromeda and Perseus, Diana
+and Endymion, the Education of Bacchus, the Battle of Platea, &amp;c. In one
+splendid mansion were discovered several pictures, representing
+Polyphemus and Galatea, Hercules and the three Hesperdies, Cupid and a
+Bacchante, Mercury and Io, Perseus killing Medusa, and other subjects.
+There were also in the store rooms of the same house, evidently
+belonging to a very rich family, an abundance of provisions, laid in for
+the winter, consisting of dates, figs, prunes, various kinds of nuts,
+hams, pies, corn, oil, peas, lentils, &amp;c. There were also in the same
+house, vases, articles of glass, bronze, and terra-cotta, several
+medallions in silver, on one of which was represented in relief, Apollo
+and Diana. A great treasure of ancient books or manuscripts, consisting
+of papyrus rolls, has also been discovered, which has excited the
+greatest curiosity of the learned, in the hope of regaining some of the
+lost works of ancient writers; but though some valuable literary remains
+of Grecian and Roman antiquity have been more or less completely
+restored, the greater part remain yet untouched, no effectual means
+having been discovered<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> by which the manuscripts could be unrolled and
+deciphered, owing to their charred and decomposed state.</p>
+
+<p>The following vivid sketch of the present appearance of these devoted
+cities, is from the pen of an American traveler:&mdash;</p>
+
+<p>"In the grounds of the Royal Palace at Portici, which are extensive,
+there is a small fortress, with its angles, its bastions,
+counter-scarps, and all the geometrical technicalities of Vauban, in
+miniature. It was erected by Charles III., for the instruction, or
+perhaps more correctly speaking, the amusement of his sons. The garden
+on the front of the palace next to the bay, is enchanting. Here, amidst
+statues, refreshing fountains, and the most luxurious foliage, the vine,
+the orange, the fig, in short, surrounded by all the poetry of life, one
+may while 'the sultry hours away,' till the senses, yielding to the
+voluptuous charm, unfit one for the sober realities of a busy world.</p>
+
+<p>"The towns of Portici and Resinia, which are in fact united, are very
+populous. The shops, at the season of my visit, Christmas, particularly
+those where eatables were sold, exhibited a very gay appearance; and
+gilt hams, gilt cheese, festoons of gilt sausages, intermixed with
+evergreens, and fringes of maccaroni, illuminated Virgin Marys, and
+gingerbread Holy Families, divided the attention of the stranger, with
+the motley crowds in all the gay vari<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>ety of Neapolitan costume. At the
+depth of seventy or eighty feet beneath these crowded haunts of busy
+men, lies buried, in a solid mass of hard volcanic matter, the once
+splendid city of Herculaneum, which was overthrown in the first century
+of the Christian era, by a terrible eruption of Vesuvius. It was
+discovered about the commencement of the last century, by the digging of
+a well immediately over the theatre. For many years the excavations were
+carried on with spirit; and the forum, theatres, porticos, and splendid
+mansions, were successively exposed, and a great number of the finest
+bronzes, marble statues, busts, &amp;c., which now delight the visitor to
+the Museum at Naples, were among the fruits of these labors.
+Unfortunately, the parts excavated, upon the removal of the objects of
+art discovered, were immediately filled up in lieu of pillars, or
+supports to the superincumbent mass being erected. As the work of
+disentombment had long since ceased, nothing remained to be seen but
+part of the theatre, the descent to which is by a staircase made for the
+purpose. By the light of a torch, carried by the <i>custode</i>, I saw the
+orchestra, proscenium, consular seats, as well as part of the corridors,
+all stripped, however, of the marbles and paintings which once adorned
+them. I was shewn the spot where the celebrated manuscripts were found.
+The reflection that this theatre had held its ten thousand spectators,
+and that it<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> then lay, with the city of which it was an ornament, so
+horribly engulphed, gave rise to feelings in awful contrast to those
+excited by the elysium of Portici almost immediately above. About seven
+miles further along the base of the mountain, lies the long lost city of
+Pompeii. The road passes through, or rather over Torre del Greco, a town
+almost totally destroyed by the eruption in 1794. The whole surface of
+the country for some distance is laid waste by the river of lava, which
+flowed in a stream or body, of twenty feet in depth, destroyed in its
+course vineyards, cottages, and everything combustible, consumed and
+nearly overwhelmed the town, and at last poured into the sea, where as
+it cooled, it formed a rugged termination or promontory of considerable
+height. The surface of this mass presented a rocky and sterile aspect,
+strongly opposed to the exuberance of vegetation in the more fortunate
+neighborhood. Passing through Torre del Annunziata, a populous village,
+the street of which was literally lined with maccaroni hanging to dry, I
+soon reached Pompeii. Between these last mentioned places, I noticed at
+the corner of a road a few dwellings, upon the principal of which, an
+Inn, was inscribed in formidable looking letters,
+<span class="smcap">Gioachinopoli</span>. Puzzled at the moment, I inquired what this
+great word related to, when lo, I was told that I was now in the city of
+Gioachinopoli, so called in compliment to the reigning sovereign,
+Gioachino Murat, the termina<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>tion being added in imitation of the
+emperor Constantine, who gave his name to the ancient Byzantium!</p>
+
+<p>"Although suffering a similar fate with the sister city Herculaneum, the
+manner of the destruction of Pompeii was essentially different, for
+while the former lies imbedded at a great depth in solid matter, like
+mortar or cement, the latter is merely covered with a stratum of
+volcanic ashes, the surface of which being partly decomposed by the
+atmosphere, affords a rich soil for the extensive vineyards which are
+spread over its surface. No scene on earth can vie in melancholy
+interest with that presented to the spectator on entering the streets of
+the disinterred city of Pompeii. On passing through a wooden enclosure,
+I suddenly found myself in a long and handsome street, bordered by rows
+of tombs, of various dimensions and designs, from the simple cippus or
+altar, bearing the touching appeal of <i>siste viator</i>, stop traveler, to
+the Patrician mausoleum with its long inscription. Many of these latter
+yet contain the urns in which the ashes of the dead were deposited.
+Several large semicircular stone seats mark where the ancient Pompeians
+had their evening chat, and no doubt debated upon the politics of the
+day. Approaching the massive walls, which are about thirty feet high and
+very thick, and entering by a handsome stone arch, called the
+Herculaneum gate, from the road leading to that city, I beheld a vista
+of houses or shops, and except that they were roof<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>less, just as if they
+had been occupied but yesterday, although near eighteen centuries have
+passed away since the awful calamity which sealed the fate of their
+inhabitants. The facilities for excavation being great, both on account
+of the lightness of the material and the little depth of the mass, much
+of the city has been exposed to view. Street succeeds street in various
+directions, and porticos, theatres, temples, magazines, shops, and
+private mansions, all remain to attest the mixture of elegance and
+meanness of Pompeii; and we can, from an inspection, not only form a
+most correct idea of the customs and tastes of the ancient inhabitants,
+but are thereby the better enabled to judge of those of contemporary
+cities, and learn to qualify the accounts of many of the ancient writers
+themselves.</p>
+
+<p>"Pompeii is so perfectly unique in its kind, that I flatter myself a
+rather minute description of the state in which I saw it, will not be
+uninteresting. The streets, with the exception of the principal one,
+which is about thirty-three feet wide, are very narrow. They are paved
+with blocks of lava, and have raised side-walks for pedestrians, things
+very rare in modern Europe. At the corners of the streets are fountains,
+and also stepping-stones for crossing. The furrows worn by the carriage
+wheels are strongly marked, and are not more than forty-four inches
+apart, thus giving us the width of their vehicles.</p>
+
+<p>"The houses in general are built with small red bricks, or with volcanic
+matter from Vesuvius, and<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> are only one or two stories high. The marble
+counters remain in many of the stores, and the numbers, names of the
+occupiers, and their occupations, still appear in red letters on the
+outside. The names of Julius, Marius, Lucius, and many others, only
+familiar to us through the medium of our classic studies, and fraught
+with heroic ideas, we here see associated with the retailing of oil,
+olives, bread, apothecaries' wares, and nearly all the various articles
+usually found in the trading part of Italian cities even at the present
+day. All the trades, followed in these various edifices, were likewise
+distinctly marked by the utensils found in them; but the greater part of
+these, as discovered, were removed for their better preservation to the
+great Museum at Naples; a measure perhaps indispensable, but which
+detracts in some degree from the local interest. We see, however, in the
+magazine of the oil merchant, his jars in perfect order, in the
+bakehouse are the hand mills in their original places, and of a
+description which exactly tallies with those alluded to in holy writ;
+the ovens scarcely want repairs; where a sculptor worked, there we find
+his marbles and his productions, in various states of forwardness, just
+as he left them.</p>
+
+<p>"The mansions of the higher classes are planned to suit the delicious
+climate in which they are situated, and are finished with great taste.
+They generally have an open court in the centre, in which is a fountain.
+The floors are of mosaic. The walls and<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> ceilings are beautifully
+painted or stuccoed and statues, tripods, and other works of art,
+embellished the galleries and apartments. The kitchens do not appear to
+have been neglected by the artists who decorated the buildings, and
+although the painting is of a coarser description than in other parts of
+the edifices, the designs are in perfect keeping with the plan. Trussed
+fowls, hams, festoons of sausages, together with the representations of
+some of the more common culinary utensils, among which I noticed the
+gridiron, still adorn the walls. In some of the cellars skeletons were
+found, supposed to be those of the inmates who had taken refuge from the
+shower of ashes, and had there found their graves, while the bulk of
+their fellow citizens escaped. In one vault, the remains of sixteen
+human beings were discovered, and from the circumstance of some valuable
+rings and a quantity of money being found with the bones, it is
+concluded that the master of the house was among the sufferers. In this
+vault or cellar I saw a number of earthen jars, called Amphor&aelig;, placed
+against the wall. These, which once held the purple juice, perhaps the
+produce of favorite vintages, were now filled to the brim with ashes.
+Many of the public edifices are large, and have been magnificent. The
+amphitheatre, which is oval, upon the plan of that at Verona, would
+contain above ten thousand spectators. This majestic edifice was
+disentombed by the French, to whose taste and activity, during their
+rule in Italy,<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span> particularly in the district of Naples, every lover of
+the arts stands indebted. I had the good fortune to be present at the
+clearing of a part of the arena of this colossal erection, and witnessed
+the disclosure of paintings which had not seen the light for above
+seventeen hundred years. They were executed in what is termed <i>fresco</i>,
+a process of coloring on wet plaster, but which, after it becomes hard,
+almost defies the effects of time. The subjects of those I allude to
+were nymphs, and the coloring of the draperies, in some instances, was
+as fresh as if just applied.</p>
+
+<p>"Not far distant from the amphitheatre are two semicircular theatres,
+one of which is supposed to have been appropriated to tragedy and the
+other to comedy. The first mentioned is large, and built of stone, or a
+substance called <i>tufo</i>, covered with marble. It had no roof. The
+Proscenium and Orchestra remain. The stage, or rather the place where it
+was, is of considerable width, but so very shallow that stage effect, as
+regards scenery, could not have been much studied, nor indeed did the
+dramas of the ancients require it. The comic theatre is small, and
+nearly perfect. It appears to have had a roof or covering. These two
+theatres are close together. Of the public edifices discovered, the
+Temple of Isis is one of the most interesting. It is of brick, but
+coated with a hard and polished stucco. The altars for sacrifice remain
+unmolested. A hollow pedestal or altar yet exists, from which oracles
+were once de<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>livered to the credulous multitude, and we behold the
+secret stairs by which the priests descended to perform the office. In
+the chamber of this Temple, which may have been a refectory, were found
+some of the remains of eatables, which are now in the museum. I
+recollect noticing egg-shells, bread, with the maker's name or initials
+stamped thereon, bones, corn, and other articles, all burnt black, but
+perfect in form. The Temple of Hercules, as it is denominated, is a
+ruin, not one of its massive fragments being left upon another. It was
+of the Doric order of architecture, and is known to have suffered
+severely by an earthquake some years before the fatal eruption. Not far
+from this temple is an extensive court or forum, where the soldiers
+appear to have had their quarters. In what has evidently been a prison,
+is an iron frame, like the modern implements of punishment, the stocks,
+and in this frame the skeletons of some unfortunate culprits were found.
+On the walls of what are called the soldiers' quarters, from the
+helmets, shields, and pieces of armor which have been found there, are
+scrawled names and rude devices, just as we find on the walls of the
+buildings appropriated to the same purpose in the present day. At this
+point of the city, travelers who have entered at the other, usually make
+their exit. The scene possessed far too great an interest, however, in
+my eyes, to be hastily passed over, and on more than one visit, I
+lingered among the deserted thresholds, until the moon had thrown her<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span>
+chaste light upon this city of the dead. The feelings excited by a
+perambulation of Pompeii, especially at such an hour, are beyond the
+power of my pen to describe. To behold her streets once thronged with
+the busy crowd, to tread the forum where sages met and discoursed, to
+enter the theatres once filled with delighted thousands, and the temples
+whence incense arose, to visit the mansions of the opulent which had
+resounded with the shouts of revelry, and the humbler dwellings of the
+artisan, where he had plied his noisy trade, in the language of an
+elegant writer and philosopher, to behold all these, now tenantless, and
+silent as the grave, elevates the heart with a series of sublime
+meditations."</p>
+
+
+<hr style="width: 65%;" />
+<h2>ANCIENT FRESCO AND MOSAIC PAINTING.</h2>
+
+<p>The ancients well understood the arts of painting both in fresco and
+mosaic, as is evinced by the discoveries made at Rome, but more
+especially at Pompeii. The most remarkable pictures discovered at
+Pompeii have been sawed from the walls, and deposited in the Royal
+Museums at Naples and Portici, for their preservation. Not only mosaic
+floors and pavements are numerous in the mansions of the wealthy at
+Pompeii, but some walls are decorated with pictures in mosaic.</p>
+
+<hr style="width: 65%;" />
+<h2>MOSAIC OF THE BATTLE OF PLAT&AElig;A.</h2>
+
+<p>A grand mosaic, representing as some say the Battle of Plat&aelig;a, and
+others, with more probability<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> one of the victories of Alexander, is now
+in the Academy at Naples. It was discovered at Pompeii, and covered the
+whole side of the apartment where it was found. This great work is the
+admiration of connoisseurs and the learned, not only for its antiquity,
+but for the beauty of its execution. The most probable supposition is,
+that it is a copy of the celebrated Victory of Arbela, painted by
+Philoxenes, and described by Pliny as one of the most remarkable works
+of antiquity, with whose description the mosaic accords.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE ALDOBRANDINI WEDDING.</h2>
+
+<p>This famous antique fresco was discovered in the time of Clement VIII.,
+not far from the church of S. Maria Maggiore, in the place where were
+the gardens of M&aelig;cenas. It was carried from thence into the villa of the
+princely house of the Aldobrandini; hence its name. It is very
+beautifully executed, and evidently intended to represent or celebrate a
+wedding. Winckelmann supposes it to be the wedding of Peleus and Thetis;
+the Count Bondi, that of Manlius and Julia.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE PORTLAND VASE.</h2>
+
+<p>The most celebrated antique vase is that which, during more than two
+centuries, was the principal ornament of the Barberini Palace, and which
+is now known as the Portland Vase. It was found about the middle of the
+16th century, enclosed in a mar<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span>ble sarcophagus within a sepulchral
+chamber under Monte del Grano, two miles and a half from Rome, supposed
+to have been the tomb of Alexander Severus, who died in the year 235. It
+is ornamented with white opaque figures in bas-relief, upon a dark blue
+transparent ground; the subject of which has not hitherto received a
+satisfactory elucidation, though it is supposed to represent the
+Eleusinian Mysteries; but the design, and more particularly the
+execution, are truly admirable. The whole of the blue ground, or at
+least the part below the handles, must have been originally covered with
+white enamel, out of which the figures have been sculptured in the style
+of a cameo, with most astonishing skill and labor. This beautiful Vase
+is sufficient to prove that the manufacture of glass was carried to a
+state of high perfection by the ancients. It was purchased by the
+Duchess of Portland for 1000 guineas, and presented to the British
+Museum in 1810.</p>
+
+<p>The subterranean ruins of Herculaneum afforded many specimens of the
+glass manufacture of the ancients: a great variety of phials and bottles
+were found, and these were chiefly of an elongate shape, composed of
+glass of unequal thickness, of a green color, and much heavier than
+common glass; of these the four large cinerary urns in the British
+Museum are very fine specimens. They are of an elegant round figure,
+with covers, and two double handles, the formation of which must
+convince persons capable<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> of appreciating the difficulties which even
+the modern glass-maker would have in executing similar handles, that the
+ancients were well acquainted with the art of making round glass
+vessels; although their knowledge appears to have been extremely limited
+as respects the manufacture of square vessels, and more particularly of
+oval, octagonal, or pentagonal forms. Among a great number of
+lachrymatories and various other vessels in the British Museum, there is
+a small square bottle with a handle, the rudeness of which sufficiently
+bears out this opinion.</p>
+
+
+<hr style="width: 65%;" />
+<h2>ANCIENT PICTURES OF GLASS.</h2>
+
+<p>A most singular art of forming pictures with colored glass seems to have
+been practiced by the ancients, which consisted in laying together
+fibres of glass of various colors, fitted to each other with the utmost
+exactness, so that a section across the fibres represented the object to
+be painted, and then cementing them into a homogeneous mass. In some
+specimens of this art which were discovered about the middle of the 18th
+century, the painting has on both sides a granular appearance, and seems
+to have been formed in the manner of mosaic work; but the pieces are so
+accurately united, that not even with the aid of a powerful magnifying
+glass can the junctures be discovered. One plate, described by
+Winckelmann, exhibits a Duck of various colors, the outlines of which
+are sharp and well-defined, the<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> colors pure and vivid, and a brilliant
+effect is obtained by the artist having employed in some parts an
+opaque, and in others a transparent glass. The picture seems to be
+continued throughout the whole thickness of the specimen, as the reverse
+corresponds in the minutest points to the face; so that, were it to be
+cut transversely, the same picture of the Duck would be exhibited in
+every section. It is conjectured that this curious process was the first
+attempt of the ancients to preserve colors by fusing them into the
+internal part of glass, which was, however, but partially done, as the
+surfaces have not been preserved from the action of the atmosphere.</p>
+
+<hr style="width: 65%;" />
+<h2>HENRY FUSELI&mdash;HIS BIRTH.</h2>
+
+<p>This eminent historical painter, and very extraordinary man, was born at
+Zurich, in Switzerland, in 1741, according to all accounts save his own;
+but he himself placed it in 1745, without adding the day or month. He
+always spoke of his age with reluctance. Once, when pressed about it, he
+peevishly exclaimed, "How should I know? I was born in February or
+March&mdash;it was some cursed cold month, as you may guess from my
+diminutive stature and crabbed disposition." He was the son of the
+painter, John Caspar Fuseli, and the second of eighteen children.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S EARLY LOVE OF ART.</h2>
+
+<p>During his school-boy days, as soon as released<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> from his class, he was
+accustomed to withdraw to a secret place to enjoy unmolested the works
+of Michael Angelo, of whose prints his father had a fine collection. He
+loved when he grew old to talk of those days of his youth, of the
+enthusiasm with which he surveyed the works of his favorite masters, and
+the secret pleasure which he took in acquiring forbidden knowledge. With
+candles which he stole from the kitchen, and pencils which his
+pocket-money was hoarded to procure, he pursued his studies till late at
+night, and made many copies from Michael Angelo and Raffaelle, by which
+he became familiar thus early with the style and ruling character of the
+two greatest masters of the art.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S LITERARY AND POETICAL TASTE.</h2>
+
+<p>He early manifested strong powers of mind, and with a two-fold taste for
+literature and art, he was placed in Humanity College at Zurich, of
+which two distinguished men, Bodmer and Breitenger, were professors.
+Here he became the bosom companion of that amiable enthusiast, Lavater,
+studied English, and conceived such a love for the works of Shakspeare,
+that he translated Macbeth into German. The writings of Wieland and
+Klopstock influenced his youthful fancy, and from Shakspeare he extended
+his affection to the chief masters in English literature. His love of
+poetry was natural, not affected&mdash;he practiced at an early age the art
+which he admired through life, and<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> some of his first attempts at
+composition were pieces in his native language, which made his name
+known in Zurich.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI, LAVATER, AND THE UNJUST MAGISTRATE.</h2>
+
+<p>In conjunction with his friend Lavater, Fuseli composed a pamphlet
+against a ruler in one of the bailiwicks, who had abused his powers, and
+perhaps personally insulted the two friends. The peasantry, it seems,
+conceiving themselves oppressed by their superior, complained and
+petitioned; the petitions were read by young Fuseli and his companion,
+who, stung with indignation at the tale of tyranny disclosed, expressed
+their feelings in a satire, which made a great stir in the city. Threats
+were publicly used against the authors, who were guessed at, but not
+known; upon which they distributed placards in every direction, offering
+to prove before a tribunal the accusations they had made. Nay, Fuseli
+actually appeared before the magistrates&mdash;named the offender
+boldly&mdash;arraigned him with great vehemence and eloquence, and was
+applauded by all and answered by none. Pamphlets and accusations were
+probably uncommon things in Zurich; in some other countries they would
+have dropped from the author's hands harmless or unheeded; but the
+united labors of Fuseli and Lavater drove the unjust magistrate into
+exile, and procured remuneration to those who had suffered.<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S TRAVELS, AND HIS LITERARY DISTINCTION.</h2>
+
+<p>Fuseli early gained a reputation for scholarship, poetry, and painting.
+He possessed such extraordinary powers of memory, that when he read a
+book once, he thoroughly comprehended its contents; and he not only
+wrote in Latin and Greek, but spoke them with the fluency of his native
+tongue. He acquired such a perfect knowledge of the several modern
+languages of Europe, especially of the English, French, and Italian,
+that it was indifferent to him which he spoke or wrote, except that when
+he wished to express himself with most power, he said he preferred the
+German. After having obtained the degree of Master of Arts from the
+college at Zurich, Fuseli bade farewell to his father's house, and
+traveled in company with Lavater to Berlin, where he placed himself
+under the care of Sulzer, author of the "Lexicon of the Fine Arts." His
+talents and learning obtained him the friendship of several
+distinguished men, and his acquaintance with English poetry induced
+Professor Sulzer to select him as one well qualified for opening a
+communication between the literature of Germany and that of England. Sir
+Andrew Mitchell, British ambassador at the Prussian court, was
+consulted; and pleased with his lively genius, and his translations and
+drawings from Macbeth and Lear, he received Fuseli with much kindness,
+and advised him to visit Britain. Lavater, who till now had<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span> continued
+his companion, presented him at parting with a card, on which he had
+inscribed in German. "Do but the tenth part of what you can do." "Hang
+that up in your bed-head," said the physiognomist, "obey it&mdash;and fame
+and fortune will be the result."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S ARRIVAL IN LONDON.</h2>
+
+<p>Fuseli arrived in the capital of the British Empire early one morning,
+before the people were stirring. "When I stood in London," said he, "and
+considered that I did not know one soul in all this vast metropolis, I
+became suddenly impressed with a sense of forlornness, and burst into a
+flood of tears. An incident restored me. I had written a long letter to
+my father, giving him an account of my voyage, and expressing my filial
+affection&mdash;now not weakened by distance&mdash;and with this letter in my
+hand, I inquired of a rude fellow whom I met, the way to the Post
+Office. My foreign accent provoked him to laughter, and as I stood
+cursing him in good Shaksperian English, a gentleman kindly directed me
+to the object of my inquiry."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S CHANGE FROM LITERATURE TO PAINTING.</h2>
+
+<p>Fuseli's wit, learning, and talents gained him early admission to the
+company of wealthy and distinguished men. He devoted himself for a
+considerable time after his arrival in London to the daily toils of
+literature&mdash;translations, essays, and critiques.<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> Among other works, he
+translated Winckelmann's book on Painting and Sculpture. One day
+Bonnycastle said to him, after dinner,</p>
+
+<p>"Fuseli, you can write well,&mdash;why don't you write something?"</p>
+
+<p>"Something!" exclaimed the other; "you always cry write&mdash;Fuseli
+write!&mdash;blastation! what shall I write?"</p>
+
+<p>"Write," said Armstrong, who was present, "write on the Voltaire and
+Rousseau <i>Row</i>&mdash;<i>there</i> is a subject!"</p>
+
+<p>He said nothing, but went home and began to write. His enthusiastic
+temper spurred him on, so that he composed his essay with uncommon
+rapidity. He printed it forthwith; but the whole edition caught fire and
+was consumed! "It had," says one of his friends, "a short life and a
+bright ending."</p>
+
+<p>While busied with his translations and other literary labors, he had not
+forgotten his early attachment to Art. He found his way to the studio of
+Sir Joshua Reynolds, and submitted several of his drawings to the
+President's examination, who looked at them for some time, and then
+said, "How long have you studied in Italy?" "I never studied in Italy&mdash;I
+studied at Zurich&mdash;I am a native of Switzerland&mdash;do you think I should
+study in Italy?&mdash;and, above all, is it worth while?" "Young man," said
+Reynolds, "were I the author of these drawings, and were offered ten
+thousand a year <i>not</i> to<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> practice as an artist, I would reject the
+proposal with contempt." This very favorable opinion from one who
+considered all he said, and was so remarkable for accuracy of judgment,
+decided the destiny of Fuseli; he forsook for ever the hard and
+thankless <i>trade</i> of literature&mdash;refused a living in the church from
+some patron who had been struck with his talents&mdash;and addressed himself
+to painting with heart and hand.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S SOJOURN IN ITALY.</h2>
+
+<p>No sooner had Fuseli formed the resolution of devoting his talents to
+painting, in 1770, than he determined to visit Rome. He resided in Italy
+eight years, and studied with great assiduity the pictures in the
+numerous galleries, particularly the productions of Michael Angelo,
+whose fine and bold imagination, and the lofty grandeur of his works,
+were most congenial to his taste. It was a story which he loved to tell
+in after life, how he lay on his back day after day, and week after
+week, with upturned and wondering eyes, musing on the splendid ceiling
+of the Sistine chapel&mdash;on the unattainable grandeur of the great
+Florentine. During his residence abroad, he made notes and criticisms on
+everything he met with that was excellent, much of which he subsequently
+embodied in his lectures before the Royal Academy. His talents,
+acquirements, and his great conversational powers made his society
+courted; and he formed some valuable acquaint<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span>ances at Rome,
+particularly among the English nobility and gentry, who flocked there
+for amusement, and who heralded his fame at home. He also sent some of
+his choice drawings, illustrating Shakspeare and Milton, to the annual
+exhibitions of the Royal Academy. In 1778, he left Italy and returned to
+England, passing through Switzerland and his native city.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S "NIGHTMARE."</h2>
+
+<p>Soon after his return to England, Fuseli painted his "Nightmare," which
+was exhibited in 1782. It was unquestionably the work of an original
+mind. "The extraordinary and peculiar genius which it displayed," says
+one of his biographers, "was universally felt, and perhaps no single
+picture ever made a greater impression in this country. A very fine
+mezzotinto engraving of it was scraped by Raphael Smith, and so popular
+did the print become, that, although Mr. Fuseli received only twenty
+guineas for the picture, the publisher made five hundred by his
+speculation." This was a subject suitable to the unbridled fancy of the
+painter, and perhaps to no other imagination has the Fiend which murders
+our sleep ever appeared in a more poetical shape.</p>
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S "&OElig;DIPUS AND HIS DAUGHTERS."</h2>
+
+<p>This picture was a work of far higher order than his "Nightmare,"
+although the latter caught the<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> public fancy most. It is distinguished
+by singular power, full of feeling and terror. The desolate old man is
+seated on the ground, and his whole frame seems inspired with a
+presentiment of the coming vengeance of heaven. His daughters are
+clasping him wildly, and the sky seems mustering the thunder and fire in
+which the tragic bard has made him disappear. "Pray, sir, what is that
+old man afraid of?" said some one to Fuseli, when the picture was
+exhibited. "Afraid, sir," exclaimed the painter, "why, afraid of going
+to hell!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AND THE SHAKSPEARE GALLERY.</h2>
+
+<p>His rising fame, his poetic feeling, his great knowledge, and his
+greater confidence, now induced Fuseli to commence an undertaking worthy
+of the highest genius&mdash;the Shakspeare Gallery. An accidental
+conversation at the table of the nephew of Alderman Boydell, started, as
+it is said, the idea; and West, Romney, and Hayley shared with Fuseli in
+the honor. But to the mind of the latter, such a scheme had been long
+present; it dawned on his fancy in Rome, even as he lay on his back
+marveling in the Sistine, and he saw in imagination a long and shadowy
+succession of pictures. He figured to himself a magnificent temple, and
+filled it, as the illustrious artists of Italy did the Sistine, with
+pictures from his favorite poet. All was arranged according to
+character. In the panels and accessories<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> were the figures of the chief
+heroes and heroines&mdash;on the extensive walls were delineated the changes
+of many-colored life, the ludicrous and the sad&mdash;the pathetic and the
+humorous&mdash;domestic happiness and heroic aspirations&mdash;while the dome
+which crowned the whole exhibited scenes of higher emotion&mdash;the joys of
+heaven&mdash;the agonies of hell&mdash;all that was supernatural and all that was
+terrible. This splendid piece of imagination was cut down to working
+dimensions by the practiced hands of Boydell, who supported the scheme
+anxiously and effectually. On receiving &pound;500 Reynolds entered, though
+with reluctance, into an undertaking which consumed time and required
+much thought; but Fuseli had no rich commissions in the way&mdash;his heart
+was with the subject&mdash;in his own fancy he had already commenced the
+work, and the enthusiastic alderman found a more enthusiastic painter,
+who made no preliminary stipulations, but prepared his palette and
+began.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S "HAMLET'S GHOST."</h2>
+
+<p>This wonderful work, engraved for Boydell's Shakspeare Gallery, is
+esteemed among the best of Fuseli's works. It is, indeed, strangely wild
+and superhuman&mdash;if ever a Spirit visited earth, it must have appeared to
+Fuseli. The "majesty of buried Denmark" is no vulgar ghost such as
+scares the belated rustic, but a sad and majestic shape with the port of
+a god; to imagine this, required poetry, and<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> in that our artist was
+never deficient. He had fine taste in matters of high import; he drew
+the boundary line between the terrible and the horrible, and he never
+passed it; the former he knew was allied to grandeur, the latter to
+deformity and disgust. An eminent metaphysician visited the gallery
+before the public exhibition; he saw the Hamlet's Ghost of Fuseli, and
+exclaimed, like Burns' rustic in Halloween, "Lord, preserve me!" He
+declared that it haunted him round the room.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S "TITANIA."</h2>
+
+<p>His Titania (also engraved in the Shakspeare Gallery), overflows with
+elvish fun and imaginative drollery. It professes to embody that portion
+of the first scene in the fourth act where the spell-blinded queen
+caresses Bottom the weaver, on whose shoulders Oberon's transforming
+wand has placed an ass' head. Titania, a gay and alluring being,
+attended by her troop of fairies, is endeavoring to seem as lovely as
+possible in the sight of her lover, who holds down his head and assumes
+the air of the most stupid of all creatures. One almost imagines that
+her ripe round lips are uttering the well-known words,&mdash;</p>
+
+<p>
+<span style="margin-left: 1em;">"Come sit thee down upon this flowery bed,</span><br />
+<span style="margin-left: 2em;">While I thy amiable cheeks do coy,</span><br />
+<span style="margin-left: 1em;">And stick musk roses in thy sleek smooth head,</span><br />
+<span style="margin-left: 2em;">And kiss thy fair large ears, my gentle joy."</span><br />
+<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+<p>The rout and revelry which the fancy of the painter has poured around
+this spell-bound pair, baffles all description. All is mirthful,
+tricksy, and fantastic. Sprites of all looks and all hues&mdash;of all
+"dimensions, shapes, and mettles,"&mdash;the dwarfish elf and the elegant
+fay&mdash;Cobweb commissioned to kill a red-hipped humble-bee on the top of a
+thistle, that Bottom might have the honey-bag&mdash;Pease-Blossom, who had
+the less agreeable employment of scratching the weaver's head&mdash;and that
+individual fairy who could find the hoard of the squirrel and carry away
+his nuts&mdash;with a score of equally merry companions are swarming
+everywhere and in full employment. Mustard-Seed, a fairy of dwarfish
+stature, stands on tiptoe in the hollow of Bottom's hand, endeavoring to
+reach his nose&mdash;his fingers almost touch, he is within a quarter of an
+inch of scratching, but it is evident he can do no more, and his new
+master is too much of an ass to raise him up.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S ELECTION AS A ROYAL ACADEMICIAN.</h2>
+
+<p>Fuseli was elected an Associate of the Royal Academy in 1788, and early
+in 1790 became an Academician&mdash;honors won by talent without the
+slightest co&ouml;peration of intrigue. His election was nevertheless
+unpleasant to Reynolds, who desired to introduce Bonomi the architect.
+Fuseli, to soothe the President, waited on him beforehand, and said, "I
+wish to be elected an academician. I have been disappoint<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span>ed hitherto by
+the deceit of pretended friends&mdash;shall I offend you if I offer myself
+next election?" "Oh, no," said Sir Joshua with a kindly air, "no offence
+to me; but you cannot be elected this time&mdash;we must have an architect
+in." "Well, well," said Fuseli, who could not conceive how an architect
+could be a greater acquisition to the Academy than himself&mdash;"Well, well,
+you say that I shall not offend you by offering myself, so I must make a
+trial." The trial was successful.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AND HORACE WALPOLE.</h2>
+
+<p>Concerning his picture of Theodore and Honorio, Fuseli used to say,
+"Look at it&mdash;it is connected with the first patron I ever had." He then
+proceeded to relate how Cipriani had undertaken to paint for Horace
+Walpole a scene from Boccaccio's Theodore and Honorio, familiar to all
+in the splendid translation of Dryden, and, after several attempts,
+finding the subject too heavy for his handling, he said to Walpole, "I
+cannot please myself with a sketch from this most imaginative of Gothic
+fictions; but I know one who can do the story justice&mdash;a man of great
+powers, of the name of Fuseli." "Let me see this painter of yours," said
+the other. Fuseli was sent for, and soon satisfied Walpole that his
+imagination was equal to the task, by painting a splendid picture.<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AND THE BANKER COUTTS.</h2>
+
+<p>While Fuseli was laboring on his celebrated "Milton Gallery," he was
+frequently embarrassed by pecuniary difficulties. From these he was
+relieved by a steadfast friend&mdash;Mr. Coutts&mdash;who aided him while in Rome,
+and forsook him not in any of his after difficulties. The grateful
+painter once waited on the banker, and said, "I have finished the best
+of all my works&mdash;the Lazar House&mdash;when shall I send it home?" "My
+friend," said Mr. Coutts, "for me to take this picture would be a fraud
+upon you and upon the world. I have no place in which it could be fitly
+seen. Sell it to some one who has a gallery&mdash;your kind offer of it is
+sufficient for me, and makes all matters straight between us." For a
+period of sixty years that worthy man was the unchangeable friend of the
+painter. The apprehensions which the latter entertained of poverty were
+frequently without cause, and Coutts has been known on such occasions to
+assume a serious look, and talk of scarcity of cash and of sufficient
+securities. Away flew Fuseli, muttering oaths and cursing all
+parsimonious men, and having found a friend, returned with him
+breathless, saying, "There! I stop your mouth with a security." The
+cheque for the sum required was given, the security refused, and the
+painter pulled his hat over his eyes,</p>
+
+<p class='center'>
+"To hide the tear that fain would fall"&mdash;
+</p>
+
+<p>and went on his way.<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AND PROF. PORSON.</h2>
+
+<p>Fuseli once repeated half-a-dozen sonorous and well sounding lines in
+Greek, to Prof. Porson, and said,&mdash;</p>
+
+<p>"With all your learning now, you cannot tell me who wrote that."</p>
+
+<p>The Professor, "much renowned in Greek," confessed his ignorance, and
+said, "I don't know him."</p>
+
+<p>"How the devil should you know him?" chuckled Fuseli, "I made them this
+moment."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S METHOD OF GIVING VENT TO HIS PASSION.</h2>
+
+<p>When thwarted in the Academy (which happened not unfrequently), his
+wrath aired itself in a polyglott. "It is a pleasant thing, and an
+advantageous," said the painter, on one of these occasions, "to be
+learned. I can speak Greek, Latin, French, English, German, Danish,
+Dutch, and Spanish, and so let my folly or my fury get vent through
+eight different avenues."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S LOVE FOR TERRIFIC SUBJECTS.</h2>
+
+<p>Fuseli knew not well how to begin with quiet beauty and serene grace:
+the hurrying measures, the crowding epithets, and startling imagery of
+the northern poetry suited his intoxicated fancy. His "Thor battering
+the Serpent" was such a favorite<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> that he presented it to the Academy as
+his admission gift. Such was his love of terrific subjects, that he was
+known among his brethren by the name of <i>Painter in ordinary to the
+Devil</i>, and he smiled when some one officiously told him this, and said,
+"Aye! he has sat to me many times." Once, at Johnson the bookseller's
+table, one of the guests said, "Mr. Fuseli, I have purchased a picture
+of yours." "Have you, sir; what is the subject?" "Subject? really I
+don't know." "That's odd; you must be a strange fellow to buy a picture
+without knowing the subject." "I bought it, sir, that's enough&mdash;I don't
+know what the <i>devil</i> it is." "Perhaps it is the devil," replied Fuseli,
+"I have often painted him." Upon this, one of the company, to arrest a
+conversation which was growing warm, said, "Fuseli, there is a member of
+your Academy who has strange looks&mdash;and he chooses as strange subjects
+as you do." "Sir," exclaimed the Professor, "he paints nothing but
+thieves and murderers, and when he wants a model, he looks in the
+glass."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S AND LAWRENCE'S PICTURES FROM THE "TEMPEST."</h2>
+
+<p>Cunningham says, "Fuseli had sketched a picture of Miranda and Prospero
+from the Tempest, and was considering of what dimensions he should make
+the finished painting, when he was told that Lawrence had sent in for
+exhibition a picture on the<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> same subject, and with the same figures.
+His wrath knew no bounds. 'This comes,' he cried, 'of my blasted
+simplicity in showing my sketches&mdash;never mind&mdash;I'll teach the
+face-painter to meddle with my Prospero and Miranda.' He had no canvas
+prepared&mdash;he took a finished picture, and over the old performance
+dashed in hastily, in one laborious day, a wondrous scene from the
+Tempest&mdash;hung it in the exhibition right opposite that of Lawrence, and
+called it 'a sketch for a large picture.' Sir Thomas said little, but
+thought much&mdash;he never afterwards, I have heard, exhibited a poetic
+subject."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S ESTIMATE OF REYNOLDS' ABILITIES IN HISTORICAL PAINTING.</h2>
+
+<p>Fuseli mentions Reynolds in his Lectures, as a great portrait painter,
+and no more. One evening in company, Sir Thomas Lawrence was discoursing
+on what he called the "historic grandeur" of Sir Joshua, and contrasting
+him with Titian and Raffaelle. Fuseli kindled up&mdash;"Blastation! you will
+drive me mad&mdash;Reynolds and Raffaelle!&mdash;a dwarf and a giant!&mdash;why will
+you waste all your fine words?" He rose and left the room, muttering
+something about a tempest in a pint pot. Lawrence followed, soothed him,
+and brought him back.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AND LAWRENCE.</h2>
+
+<p>"These two eminent men," says Cunningham, "loved one another. The Keeper
+had no wish to<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> give permanent offence, and the President had as little
+desire to be on ill terms with one so bitter and so satirical. They were
+often together; and I have heard Sir Thomas say, that he never had a
+dispute with Fuseli save once&mdash;and that was concerning their pictures of
+Satan. Indeed, the Keeper, both with tongue and pen, took pleasure in
+pointing out the excellencies of his friend, nor was he blind to his
+defects. 'This young man,' thus he wrote in one of his early criticisms,
+'would do well to look at nature again; his flesh is too glassy.'
+Lawrence showed his sense of his monitor's accuracy by following the
+advice."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI AS KEEPER OF THE ROYAL ACADEMY.</h2>
+
+<p>Fuseli, on the whole, was liked as Keeper. It is true that he was often
+satirical and severe on the students&mdash;that he defaced their drawings by
+corrections which, compared to their weak and trembling lines, seemed
+traced with a tar-mop, and that he called them tailors and bakers,
+vowing that there was more genius in the <i>claw</i> of one of Michael
+Angelo's eagles, than in all the <i>heads</i> with which the Academy was
+swarming. The youths on whom fell this tempest of invective, smiled; and
+the Keeper pleased by submission, walked up to each easel, whispered a
+word of advice confidentially, and retired in peace to enjoy the company
+of his Homer, Michael Angelo, Dante, and Milton. The students were
+unquestionably his friends; those of the year<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> 1807 presented him with a
+silver vase, designed by one whom he loved&mdash;Flaxman the sculptor; and he
+received it very graciously. Ten years after, he was presented with the
+diploma of the first class in the Academy of St. Luke at Rome.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S JESTS AND ODDITIES WITH THE STUDENTS OF THE ACADEMY.</h2>
+
+<p>The students found constant amusement from Fuseli's witty and
+characteristic retorts, and they were fond of repeating his jokes. He
+heard a violent altercation in the studio one day, and inquired the
+cause. "It is only those fellows, the students, sir," said one of the
+porters. "Fellows!" exclaimed Fuseli, "I would have you to know, sir,
+that those <i>fellows</i> may one day become academicians." The noise
+increased&mdash;he opened the door, and burst in upon them, exclaiming, "You
+are a den of damned wild beasts." One of the offenders, Munro by name,
+bowed and said, "and Fuseli is our Keeper." He retired smiling, and
+muttering "the fellows are growing witty." Another time he saw a figure
+from which the students were making drawings lying broken to pieces.
+"Now who the devil has done this?" "Mr. Medland," said an officious
+probationer, "he jumped over the rail and broke it." He walked up to the
+offender&mdash;all listened for the storm. He calmly said, "Mr. Medland, you
+are fond of jumping&mdash;go to Sadler's Wells&mdash;it is the<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> best academy in
+the world for improving agility." A student as he passed held up his
+drawing, and said confidently, "Here, sir&mdash;I finished it without using a
+crumb of bread." "All the worse for your drawing," replied Fuseli, "buy
+a two-penny loaf and rub it out." "What do you see, sir?" he said one
+day to a student, who, with his pencil in his hand and his drawing
+before him, was gazing into vacancy. "Nothing, sir," was the answer.
+"Nothing, young man," said the Keeper emphatically, "then I tell you
+that you ought to see <i>something</i>&mdash;you ought to see distinctly the true
+image of what you are trying to draw. I see the vision of all I
+paint&mdash;and I wish to heaven I could paint up to what I see."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S SARCASMS ON NORTHCOTE.</h2>
+
+<p>He loved especially to exercise his wit upon Northcote. He looked on his
+friend's painting of the Angel meeting Balaam and his Ass. "How do you
+like it?" said the painter. "Vastly, Northcote," returned Fuseli, "you
+are an angel at an ass&mdash;but an ass at an angel!"</p>
+
+<p>When Northcote exhibited his Judgment of Solomon, Fuseli looked at it
+with a sarcastic smirk on his face. "How do you like my picture?"
+inquired Northcote. "Much" was the answer&mdash;"the action suits the
+word&mdash;Solomon holds out his fingers like a pair of open scissors at the
+child, and says, 'Cut it.'&mdash;I like it much!" Northcote remembered this<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+when Fuseli exhibited a picture representing Hercules drawing his arrow
+at Pluto. "How do you like my picture?" inquired Fuseli. "Much!" said
+Northcote&mdash;"it is clever, very clever, but he'll never hit him." "He
+shall hit him," exclaimed the other, "and that speedily." Away ran
+Fuseli with his brush, and as he labored to give the arrow the true
+direction, was heard to mutter "Hit him!&mdash;by Jupiter, but he shall hit
+him!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S' SARCASMS ON VARIOUS RIVAL ARTISTS.</h2>
+
+<p>He rarely spared any one, and on Nollekens he was frequently merciless;
+he disliked him for his close and parsimonious nature, and rarely failed
+to hit him under the fifth rib. Once, at the table of Mr. Coutts the
+banker, Mrs. Coutts, dressed like Morgiana, came dancing in, presenting
+her dagger at every breast. As she confronted the sculptor, Fuseli
+called out, "Strike&mdash;strike&mdash;there's no fear; Nolly was never known to
+bleed!" When Blake, a man infinitely more wild in conception than Fuseli
+himself, showed him one of his strange productions, he said, "Now some
+one has told you this is very fine." "Yes," said Blake, "the Virgin Mary
+appeared to me and told me it was very fine; what can you say to that?"
+"Say!" exclaimed Fuseli, "why nothing&mdash;only her ladyship has not an
+immaculate taste."</p>
+
+<p>Fuseli had aided Northcote and Opie in obtain<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>ing admission to the
+Academy, and when he desired some station for himself, he naturally
+expected their assistance&mdash;they voted against him, and next morning went
+together to his house to offer an explanation. He saw them coming&mdash;he
+opened the door as they were scraping their shoes, and said, "Come
+in&mdash;come in&mdash;for the love of heaven come in, else you will ruin me
+entirely." "How so?" cried Opie "Marry, thus," replied the other, "my
+neighbors over the way will see you, and say, 'Fuseli's <i>done</i>,&mdash;for
+there's a bum bailiff,'" he looked at Opie, "'going to seize his person;
+and a little Jew broker,'" he looked at Northcote, "'going to take his
+furniture,&mdash;so come in I tell you&mdash;come in!'"</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S RETORTS.</h2>
+
+<p>One day, during varnishing time in the exhibition, an eminent portrait
+painter was at work on the hand of one of his pictures; he turned to the
+Keeper, who was near him, and said, "Fuseli, Michael Angelo never
+painted such a hand." "No, by Pluto," retorted the other, "but you have,
+<i>many</i>!"</p>
+
+<p>He had an inherent dislike to Opie; and some one, to please Fuseli,
+said, in allusion to the low characters in the historical pictures of
+the Death of James I. of Scotland, and the Murder of David Rizzio, that
+Opie could paint nothing but vulgarity and dirt. "If he paints nothing
+but <i>dirt</i>," said Fuseli, "he paints it like an angel."<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span></p>
+
+<p>One day, a painter who had been a student during the keepership of
+Wilton, called and said, "The students, sir, don't draw so well now as
+they did under Joe Wilton." "Very true," replied Fuseli, "anybody may
+draw here, let them draw ever so bad&mdash;<i>you</i> may draw here, if you
+please!"</p>
+
+<p>During the exhibition of his Milton Gallery, a visitor accosted him,
+mistaking him for the keeper&mdash;"Those paintings, sir, are from Paradise
+Lost I hear, and Paradise Lost was written by Milton. I have never read
+the poem, but I shall do it now." "I would not advise you, sir," said
+the sarcastic artist, "you will find it an exceedingly tough job!"</p>
+
+<p>A person who desired to speak with the Keeper of the Academy, followed
+so close upon the porter whose business it was to introduce him, that he
+announced himself with, "I hope I don't intrude." "You do intrude," said
+Fuseli, in a surly tone. "Do I?" said the visitor; "then, sir, I will
+come to-morrow, if you please." "No, sir," replied he, "don't come
+to-morrow, for then you will intrude a second time: tell me your
+business now!"</p>
+
+<p>A man of some station in society, and who considered himself a powerful
+patron in art, said at a public dinner, where he was charmed with
+Fuseli's conversation, "If you ever come my way, Fuseli, I shall be
+happy to see you." The painter instantly caught the patronizing,
+self-important spirit of the invitation. "I thank you," retorted he,
+"but I never go your way&mdash;I never even go down your street, although I
+often pass by the end of it!"<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S SUGGESTION OF AN EMBLEM OF ETERNITY</h2>
+
+<p>Looking upon a serpent with its tail in its mouth, carved upon an
+exhibited monument as an emblem of Eternity, and a very commonplace one,
+he said to the sculptor, "It won't do, I tell you; you must have
+something new." The <i>something new</i> startled a man whose imagination was
+none of the brightest, and he said, "How shall I find something new?"
+"O, nothing so easy," said Fuseli, "I'll help you to it. When I went
+away to Rome I left two fat men cutting fat bacon in St. Martin's Lane;
+in ten years' time I returned, and found the two fat men cutting fat
+bacon still; twenty years more have passed, and there the two fat
+fellows cut the fat flitches the same as ever. Carve them! if they look
+not like an image of eternity, I wot not what does."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S REPORT IN MR. COUTTS' BANKING HOUSE.</h2>
+
+<p>During the exhibition of his Milton pictures, he called at the banking
+house of Mr. Coutts, saying he was going out of town for a few days, and
+wished to have some money in his pocket. "How much?" said one of the
+firm. "How much!" said Fuseli, "why, as much as twenty pounds; and as it
+is a large sum, and I don't wish to take your establishment by surprise,
+I have called to give you a day's notice of it!" "I thank you, sir,"
+said the<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> cashier, imitating Fuseli's own tone of irony, "we shall be
+ready for you&mdash;but as the town is thin and money scarce with us, you
+will oblige me greatly by giving us a few orders to see your Milton
+Gallery&mdash;it will keep cash in our drawers, and hinder your exhibition
+from being empty." Fuseli shook him heartily by the hand, and cried,
+"Blastation! you shall have the tickets with all my heart; I have had
+the opinion of the virtuosi, the dilettanti, the cognoscenti, and the
+nobles and gentry on my pictures, and I want now the opinion of the
+blackguards. I shall send you and your friends a score of tickets, and
+thank you too for taking them."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S GENERAL SARCASMS ON LANDSCAPE AND PORTRAIT PAINTERS.</h2>
+
+<p>During the delivery of one of his lectures, in which he calls landscape
+painters the topographers of art, Beechey admonished Turner with his
+elbow of the severity of the sarcasm; presently, when Fuseli described
+the patrons of portrait painting as men who would give a few guineas to
+have their own senseless heads painted, and then assume the air and use
+the language of patrons, Turner administered a similar hint to Beechey.
+When the lecture was over, Beechey walked up to Fuseli, and said, "How
+sharply you have been cutting up us poor laborers in portraiture!" "Not
+you, Sir William," exclaimed the professor, "I only spoke of the blasted
+fools who employ you!"<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S OPINION OF HIS OWN ATTAINMENT OF HAPPINESS.</h2>
+
+<p>His life was not without disappointment, but for upwards of eighty years
+he was free from sickness. Up to this period, and even beyond it, his
+spirits seemed inexhaustible; he had enjoyed the world, and obtained no
+little distinction; nor was he insensible to the advantages which he had
+enjoyed. "I have been a happy man," he said, "for I have always been
+well, and always employed in doing what I liked"&mdash;a boast which few men
+of genius can make. When work with the pencil failed, he lifted the pen;
+and as he was ready and talented with both, he was never obliged to fill
+up time with jobs that he disliked.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S PRIVATE HABITS.</h2>
+
+<p>He was an early riser, and generally sat down to breakfast with a book
+on entomology in his hand. He ate and read, and read and ate&mdash;regarding
+no one, and speaking to no one. He was delicate and abstemious, and on
+gross feeders he often exercised the severity of his wit. Two meals a
+day were all he ventured on&mdash;he always avoided supper&mdash;the story of his
+having supped on raw pork-chops that he might dream his picture of the
+Nightmare, has no foundation. Indeed, the dreams he delighted to relate
+were of the noblest kind, and consisted of galleries of the fairest
+pictures and statues, in which<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> were walking the poets and painters of
+old. Having finished breakfast and noted down some remarks on
+entomology, he went into his studio&mdash;painted till dinner time&mdash;dined
+hastily, if at home, and then resumed his labors, or else forgot himself
+over Homer, or Dante, or Shakspeare, or Milton, till midnight.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S WIFE'S METHOD OF CURING HIS FITS OF DESPONDENCY.</h2>
+
+<p>He was subject to fits of despondency, and during the continuance of
+such moods he sat with his beloved book on entomology upon his
+knee&mdash;touched now and then the breakfast cup with his lips, and seemed
+resolutely bent on being unhappy. In periods such as these it was
+difficult to rouse him, and even dangerous. Mrs. Fuseli on such
+occasions ventured to become his monitress. "I know him well," she said
+one morning to a friend who found him in one of his dark moods, "he will
+not come to himself till he is put into a passion&mdash;the storm then clears
+off, and the man looks out serene." "Oh no," said her visitor, "let him
+alone for a while&mdash;he will soon think rightly." He was spared till next
+morning&mdash;he came to the breakfast table in the same mood of mind. "Now I
+must try what I can do," said his wife to the same friend whom she had
+consulted the day before; she now began to reason with her husband, and
+soothe and persuade him; he answered only by a forbidding look and a
+shrug<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> of the shoulder. She then boldly snatched away his book, and
+dauntlessly abode the storm. The storm was not long in coming&mdash;his own
+fiend rises up not more furiously from the side of Eve than did the
+painter. He glared on his friend and on his wife&mdash;uttered a deep
+imprecation&mdash;rushed up stairs and strode about his room in great
+agitation. In a little while his steps grew more regular&mdash;he soon opened
+the door, and descended to his labors all smiles and good humor.</p>
+
+<p>Fuseli's method of curing his wife's anger was not less original and
+characteristic. She was a spirited woman, and one day, when she had
+wrought herself into a towering passion, her sarcastic husband said,
+"Sophia, my love, why don't you swear? You don't know how much it would
+ease your mind."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S PERSONAL APPEARANCE, HIS SARCASTIC DISPOSITION, AND QUICK
+TEMPER.</h2>
+
+<p>Fuseli was of low stature&mdash;his frame slim, his forehead high, and his
+eyes piercing and brilliant. His look was proud, wrapt up in
+sarcastic&mdash;his movements were quick, and by an eager activity of manner
+he seemed desirous of occupying as much space as belonged to men of
+greater stature. His voice was loud and commanding&mdash;nor had he learned
+much of the art of winning his way by gentleness and persuasion&mdash;he was
+more anxious as to say pointed and stinging things, than solicitous
+about their<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> accuracy; and he had much pleasure in mortifying his
+brethren of the easel with his wit, and over whelming them with his
+knowledge. He was too often morose and unamiable&mdash;habitually despising
+those who were not his friends, and not unapt to dislike even his best
+friends, if they retorted his wit, or defended themselves successfully
+against his satire. In dispute he was eager, fierce, unsparing, and
+often precipitated himself into angry discussions with the Council,
+which, however, always ended in peace and good humor&mdash;for he was as
+placable as passionate. On one occasion he flew into his own room in a
+storm of passion, and having cooled and come to himself, was desirous to
+return; the door was locked and the key gone; his fury overflowed all
+bounds. "Sam!" he shouted to the porter, "Sam Strowager, they have
+locked me in like a blasted wild beast&mdash;bring crowbars and break open
+the door." The porter&mdash;a sagacious old man, who knew the trim of the
+Keeper&mdash;whispered through the keyhole, "Feel in your pocket, sir, for
+the key!" He did so, and unlocking the door with a loud laugh exclaimed,
+"What a fool!&mdash;never mind&mdash;I'll to the Council, and soon show them they
+are greater asses than myself."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S NEAR SIGHT.</h2>
+
+<p>Fuseli was so near-sighted that he was obliged to retire from his easel
+to a distance and examine his labors by means of an opera-glass, then
+return and<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span> retouch, and retire again to look. His weakness of sight was
+well known, and one of the students, in revenge for some satirical
+strictures, placed a bench in his way, over which he nearly fell. "Bless
+my soul," said the Keeper, "I must put spectacles on my shins!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S POPULARITY.</h2>
+
+<p>Notwithstanding his sarcastic temper, and various peculiarities, Fuseli
+was generally liked, and by none more than by the students who were so
+often made the objects of his satire. They were sensible that he was
+assiduous in instruction, that he was very learned and very skilful, and
+that he allowed no one else to take liberties with their conduct or
+their pursuits. He had a wonderful tact in singling out the most
+intellectual of the pupils; he was the first to notice Lawrence, and at
+the very outset of Wilkie, he predicted his future eminence.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S ARTISTIC MERITS.</h2>
+
+<p>The following critique from the pen of Allan Cunningham, gives a good
+idea of Fuseli's abilities as an artist. "His main wish was to startle
+and astonish. It was his ambition to be called Fuseli the daring and the
+imaginative, the illustrator of Milton and Shakspeare, the rival of
+Michael Angelo. His merits are of no common order. He was no timid or
+creeping adventurer in the region of art, but a man peculiarly bold and
+daring&mdash;who rejoiced only<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> in the vast, the wild, and the wonderful, and
+loved to measure himself with any subject, whether in the heaven above,
+the earth beneath, or the waters under the earth. The domestic and
+humble realities of life he considered unworthy of his pencil, and
+employed it only on those high or terrible themes where imagination may
+put forth all her strength, and fancy scatter all her colors. He
+associated only with the demi-gods of verse, and roamed through Homer,
+and Dante, and Shakspeare, and Milton, in search of subjects worthy of
+his hand; he loved to grapple with whatever he thought too weighty for
+others; and assembling round him the dim shapes which imagination
+readily called forth, he sat brooding over the chaos, and tried to bring
+the whole into order and beauty. His coloring is like his design;
+original; it has a kind of supernatural hue, which harmonizes with many
+of his subjects&mdash;the spirits of the other world and the hags of hell are
+steeped in a kind of kindred color, which becomes their natural
+characters. His notion of color suited the wildest of his subjects; and
+the hue of Satan and the lustre of Hamlet's Ghost are part of the
+imagination of those supernatural shapes."</p>
+
+
+<hr style="width: 65%;" />
+<h2>FUSELI'S MILTON GALLERY, THE CHARACTER OF HIS WORKS, AND THE PERMANENCY
+OF HIS FAME.</h2>
+
+<p>The magnificent plan of the "Milton Gallery" originated with Fuseli, was
+countenanced by Johnson the bookseller, and supported by the genius of<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>
+Cowper, who undertook to prepare an edition of Milton, with translations
+of his Latin and Italian poems. The pictures were to have been engraved,
+and introduced as embellishments to the work.&mdash;The Gallery was commenced
+in 1791, and completed in 1800, containing forty-seven pictures. "Out of
+the seventy exhibited paintings," says Cunningham, on which he reposed
+his hopes of fame, not one can be called commonplace&mdash;they are all
+poetical in their nature, and as poetically treated. "Some twenty of
+these alarm, startle, and displease; twenty more may come within the
+limits of common comprehension; the third twenty are such as few men
+could produce, and deserve a place in the noblest collections; while the
+remaining ten are equal in conception to anything that genius has
+hitherto produced, and second only in their execution to the true and
+recognised masterpieces of art. It cannot be denied, however, that a
+certain air of extravagance and a desire to stretch and strain, are
+visible in most of his works. A common mind, having no sympathy with his
+soaring, perceives his defects at once, and ranks him with the wild and
+unsober&mdash;a poetic mind will not allow the want of serenity and composure
+to extinguish the splendor of the conception; but whilst it notes the
+blemish, will feel the grandeur of the work. The approbation of high
+minds fixes the degree of fame to which genius of all degrees is
+entitled, and the name of Fuseli is safe."<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA.</h2>
+
+<p>This celebrated painter was born at Renella, a small village near
+Naples, in 1615. There is so much fiction mingled with his early
+history, that it is impossible to arrive at the truth. It is certain,
+however, that he commenced the study of painting under his
+brother-in-law, Francesco Fracanzani, that he passed his early days in
+poverty, that he was compelled to support himself by his pencil, and
+that he exposed his juvenile performances for sale in the public
+markets, and often sold them to the dealers for the most paltry prices.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA AND CAV. LANFRANCO.</h2>
+
+<p>To the honor of Cav. Lanfranco, it is related that while riding in his
+carriage one day along the streets of Naples, he observed one of
+Salvator's pictures exposed for sale in a shop window, and surprised at
+the uncommon genius which it displayed, he purchased the picture, and
+inquired the name of the young artist. The picture dealer, who had
+probably found Salvator's necessities quite profitable to himself,
+refused to communicate the desired information, whereupon Lanfranco
+directed his scholars to watch for his pictures, and seek him out. When
+he had found him, he generously relieved his wants, and encouraged him
+in the pursuit of his studies. After receiving some instructions from
+Aniello Falcone, an eminent painter of battle-pieces, he was admitted,
+through the influence of Lanfranco, into the<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span> academy of Giuseppe
+Ribera, called Il Spagnoletto, and remained there until the age of
+twenty, when he accompanied that master to Rome.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA AT ROME AND FLORENCE.</h2>
+
+<p>The Cardinal Brancacci, having become acquainted with the merits of
+Salvator Rosa at Naples, took him under his protection, and conducted
+him to his bishopric of Viterbo, where he painted several historical
+works, and an altar-piece for the cathedral, representing the
+Incredulity of St. Thomas. On his return to Rome, the prince Gio. Carlo
+de' Medici employed him to execute several important works, and
+afterwards invited him to Florence. During a residence of nine years in
+that city, he greatly distinguished himself as a painter, and also as a
+satirical and dramatic poet; his Satires, composed in Florence, have
+passed through several editions. His wit, lively disposition, and
+unusual conversational powers, drew around him many choice spirits, and
+his house was the great centre of attraction for the connoisseurs and
+literati of Florence. He fitted up a private theatre, and was accustomed
+to perform the principal parts in his comedies, in which he displayed
+extraordinary talents. He painted many of his choicest pictures for the
+Grand Duke, who nobly rewarded him; also for the noble family of the
+Maffei, for their palace at Volterra.<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S RETURN TO ROME.</h2>
+
+<p>After Salvator Rosa's return to Rome from Florence, he demanded
+exorbitant prices for his works, and though his greatest talent lay in
+landscape painting, he affected to despise that branch, being ambitious
+of shining as an historical painter. He painted some altar-pieces and
+other subjects for the churches, the chief of which are four pictures in
+S. Maria di Monte Santo, representing Daniel in the Lions' Den, Tobit
+and the Angel, the Resurrection of Christ, and the Raising of Lazarus;
+the Martyrdom of St. Cosimo and St. Damiano, in the church of S.
+Giovanni.</p>
+
+<p>The brightest era of landscape painting is said with truth to have been
+in the time of Pope Urban VIII., when flourished Claude Lorraine, Gaspar
+Poussin, and Salvator Rosa. Of these, Salvator was the most
+distinguished, though certainly not the best; each was the head of a
+perfectly original school, which had many followers, and each observed
+nature on the side in which he felt impelled to imitate her. The first
+admired and represented nature in her sweetest appearance; the second,
+in her most gorgeous array; and the third in her most convulsed and
+terrific aspects.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S SUBJECTS.</h2>
+
+<p>Salvator Rosa painted history, landscape, battle-pieces, and sea-ports;
+and of these he was most<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> eminent in landscape. The scholar of
+Spagnoletto, he attached himself to the strong natural style and dark
+coloring of that master, which well accords with his subjects. In his
+landscapes, instead of selecting the cultured amenity which captivates
+in the views of Claude or Poussin, he made choice of the lonely haunts
+of wolves and robbers; instead of the delightful vistas of Tivoli and
+the Campagna, he adopted the savage scenery of the Alps, rocky
+precipices, caves with wild thickets and desert plains; his trees are
+shattered, or torn up by the roots, and in the atmosphere itself he
+seldom introduced a cheerful hue, except occasionally a solitary
+sunbeam. These gloomy regions are peopled with congenial inhabitants,
+ferocious banditti, assassins, and outlaws. In his marines, he followed
+the same taste; they represent the desolate and shelvy shores of
+Calabria, whose dreary aspect is sometimes heightened by terrific
+tempests, with all the horrors of shipwreck. His battles and attacks of
+cavalry also partake of the same principle of wild beauty; the fury of
+the combatants, and the fiery animation of the horses are depicted with
+a truth and effect that strikes the mind with horror. Notwithstanding
+the singularity and fierceness of his style, he captivates by the
+unbounded wildness of his fancy, and the picturesque solemnity of his
+scenes.</p>
+
+<p>Salvator Rosa wrought with wonderful facility, and could paint a well
+finished landscape and insert all the figures in one day; it is
+impossible to inspect<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> one of his bold, rapid sketches, without being
+struck with the fertility of his invention, and the skill of hand that
+rivalled in execution the activity of his mind. He was also an excellent
+portrait painter. A portrait of himself is in the church degli Angeli,
+where his remains were interred, and he introduced his own portrait into
+several of his pictures, one of which is in the Chigi gallery,
+representing a wild scene with a poet in a sitting attitude, (with the
+features of Salvator); before him stands a satyr, allusive to his
+satiric style of poetry. During his life-time, his works were much
+sought after by princes and nobles, and they are now to be found in the
+choicest collections of Italy and of Europe. There is a landscape in the
+English National Gallery which cost 1800 guineas; a picture in the
+collection of Sir Mark Sykes brought the enormous sum of 2100 guineas.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FLAGELLATION OF SALVATOR ROSA.</h2>
+
+<p>It happened one day that Salvator Rosa, in his youth, on his way to
+mass, brought with him by mistake, his bundle of burned sticks, with
+which he used to draw, instead of his mother's brazen clasped missal;
+and in passing along the magnificent cloisters of the great church of
+the Certosa at Naples, sacred alike to religion and the arts, he applied
+them between the interstices of its Doric columns to the only unoccupied
+space on the pictured walls. History has not detailed what was the
+subject which oc<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span>cupied his attention on this occasion, but he was
+working away with all the ardor which his enthusiastic genius inspired,
+when unfortunately the Prior, issuing with his train from the choir,
+caught the hapless painter in the very act of scrawling on those sacred
+walls which required all the influence of the greatest masters to get
+leave to ornament. The sacrilegious temerity of the boy artist, called
+for instant and exemplary punishment. Unluckily too, for the little
+offender, this happened in Lent, the season in which the rules of the
+rigid Chartreuse oblige the prior and procurator to flagellate all the
+frati, or lay brothers of the convent. They were, therefore, armed for
+their wonted pious discipline, when the miserable Salvatoriello fell in
+their way; whether he was honored by the consecrated hand of the prior,
+or writhed under the scourge of the procurator, does not appear; but
+that he was chastised with great severity more than proportioned to his
+crime, is attested by one of the most scrupulous of his biographers,
+Pascoli, who, though he dwells lightly on the fact, as he does on others
+of more importance, confesses that he suffered severely from the monks'
+flagellation.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA AND THE HIGGLING PRINCE.</h2>
+
+<p>A Roman prince, more notorious for his pretensions to <i>virtu</i> than for
+his liberality to artists, sauntering one day in Salvator's gallery, in
+the Via Babbuina, paused before one of his landscapes, and af<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>ter a long
+contemplation of its merits, exclaimed, "Salvator mio! I am strongly
+tempted to purchase this picture: tell me at once the lowest
+price."&mdash;"Two hundred scudi," replied Salvator, carelessly. "Two hundred
+scudi! Ohime! that is a price! but we'll talk of that another time." The
+illustrissimo took his leave; but bent upon having the picture, he
+shortly returned, and again inquired the lowest price. "Three hundred
+scudi!" was the sullen reply. "Carpo di bacco!" cried the astonished
+prince; "mi burla, vostra signoria; you are joking! I see I must e'en
+wait upon your better humor; and so addio, Signor Rosa."</p>
+
+<p>The next day brought back the prince to the painter's gallery; who, on
+entering, saluted Salvator with a jocose air, and added, "Well, Signor
+Amico, how goes the market to-day? Have prices risen or fallen?"</p>
+
+<p>"Four hundred scudi is the price to-day!" replied Salvator, with
+affected calmness; when suddenly giving way to his natural impetuosity,
+and no longer stifling his indignation, he burst forth: "The fact is,
+your excellency shall not now obtain this picture from me at any price;
+and yet so little do I value its merits, that I deem it worthy no better
+fate than this;" and snatching the panel on which it was painted from
+the wall, he flung it to the ground, and with his foot broke it into a
+hundred pieces. His excellency made an uncere<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>monious retreat, and
+returned no more to the enraged painter's studio.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S OPINION OF HIS OWN WORKS.</h2>
+
+<p>While a Roman nobleman was one day endeavoring to drive a hard bargain
+with Salvator Rosa, he coolly interrupted him, saying that, till the
+picture was finished, he himself did not know its value; "I never
+bargain, sir, with my pencil; for it knows not the value of its own
+labor before the work is finished. When the picture is done, I will let
+you know what it costs, and you may then take it or not as you please."</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S BANDITTI.</h2>
+
+<p>There is an etching by Salvator Rosa, which seems so plainly to tell the
+story of the wandering artist's captivity, that it merits a particular
+description. In the midst of wild, rocky scenery, appears a group of
+banditti, armed at all points, and with all sorts of arms; they are
+lying in careless attitudes, but with fierce countenances, around a
+youthful prisoner, who forms the foreground figure, and is seated on a
+rock, with his languid limbs hanging over the precipice, which may be
+supposed to yawn beneath. It is impossible to describe the despair
+depicted in this figure: it is marked in his position, in the drooping
+of his head, which his nerveless arms seem with difficulty to support,
+and the little that may be seen of his face, over which, from his
+recum<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>bent attitude, his hair falls in luxuriant profusion. All is alike
+destitute of energy and of hope, which the beings grouped around the
+captive seem to have banished forever by some sentence recently
+pronounced; yet there is one who watches over the fate of the young
+victim: a woman stands immediately behind him, with her hand stretched
+out, while her fore finger, resting on his head, marks him as the
+subject of discourse which she addresses to the listening bandits. Her
+figure, which is erect is composed of those bold, straight lines, which
+in art and nature, constitute the grand. Even the fantastic cap or
+turban, from which her long dishevelled hair has escaped, has no curve
+of grace; and her drapery partakes of the same rigid forms. Her
+countenance is full of stern melancholy&mdash;the natural character of one
+whose feelings and habits are at variance; whose strong passions may
+have flung her out of the pale of society, but whose womanly sympathies
+still remain unchanged. She is artfully pleading for the life of the
+youth, by contemptuously noting his insignificance; but she commands
+while she soothes. She is evidently the mistress or the wife of the
+chief, in whoso absence an act of vulgar violence may be meditated. The
+youth's life is saved: for that cause rarely fails, to which a woman
+brings the omnipotence of her feelings.<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA AND MASSANIELLO.</h2>
+
+<p>It was during the residence of Salvator Rosa in Naples, that the
+memorable popular tumult under Massaniello took place; and our painter
+was persuaded by his former master, Aniello Falcone, to become one of an
+adventurous set of young men, principally painters, who had formed
+themselves into a band for the purpose of taking revenge on the
+Spaniards, and were called "La Compagna della Morte." The tragical fate
+of Massaniello, however, soon dispersed these heroes; and Rosa, fearing
+he might be compelled to take a similar part in that fatal scene, sought
+safety by flight, and took refuge in Rome.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA AND CARDINAL SFORZA.</h2>
+
+<p>Salvator Rosa is said never to have suffered the rank or office of his
+auditors to interfere with the freedom of his expressions in his poetic
+recitations. Cardinal Sforza Pullavicini, one of the most generous
+patrons of the fine arts, and a rigid critic of his day, was curious to
+hear the improvisatore of the Via Babbuina, and sent an invitation
+requesting Salvator's company at his palace. Salvator frankly declared
+that two conditions were annexed to his accepting the honor of his
+Eminence's acquaintance; first, that the Cardinal should come to his
+house, as he never recited in any other; and second, that he should not
+object to any passage, the omission of which would detract from the
+original character of<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> his work, or compromise his own sincerity. The
+Cardinal accepted the conditions. The next day all the literary coxcombs
+of Rome crowded to the levee of the hypercritical prelate to learn his
+opinion of the poet, whose style was without precedent. The Cardinal
+declared, with a justice which posterity has sanctioned, that
+"Salvator's poetry was full of splendid passages, but that, as a whole,
+it was unequal."</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S MANIFESTO CONCERNING HIS SATIRICAL PICTURE LA FORTUNA.</h2>
+
+<p>In Salvator Rosa's celebrated picture of La Fortuna, the nose of one
+powerful ecclesiastic, and the eye of another were detected in the
+brutish physiognomy of the swine treading upon pearls, and in an ass,
+scattering with his hoofs the laurel and myrtle which lay in his path;
+and in an old goat, reposing on roses, some there were, who even fancied
+they discovered the Infallible Lover of Donna Olympia, the Sultana,
+queen of the Quirinal!</p>
+
+<p>The cry of atheism and sedition&mdash;of contempt of established
+authorities&mdash;was thus raised under the influence of private pique and
+long-cherished envy: it soon found an echo in the painted walls where
+the conclave sat "in close divan," and it was handed about from mouth to
+mouth, till it reached the ears of the Inquisitor, within the dark
+recesses of his house of terror. A cloud was now gathering over the head
+of the devoted Salvator which it seemed<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> no human power could avert. But
+ere the bolt fell, his fast and tried friend Don Maria Ghigi threw
+himself between his prot&eacute;g&eacute; and the horrible fate which awaited him, by
+forcing the sullen satirist to draw up an apology, or rather an
+explanation of his offensive picture.</p>
+
+<p>This explanation, bearing title of a "Manifesto," he obtained permission
+to present to those powerful and indignant persons in whose hands the
+fate of Salvator now lay; Rosa explained away all that was supposed to
+be personal in his picture, and proved that his hogs were not churchmen,
+his mules pretending pedants, his asses Roman nobles, and his birds and
+beasts of prey the reigning despots of Italy. His imprudence however,
+subsequently raised such a storm that he was obliged to quit Rome, when
+he fled to Florence.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S BANISHMENT FROM ROME.</h2>
+
+<p>Salvator Rosa secretly deplored his banishment from Rome; and his
+impatience at being separated from Carlo Rossi and some other of his
+friends, was so great that he narrowly escaped losing his liberty to
+obtain an interview with them. About three years after his arrival in
+Florence, he took post-horses, and at midnight set off for Rome. Having
+reached the gardens of the "Vigna Navicella," and bribed the custode to
+lend them for a few hours, and otherwise to assist him, he dispatched a
+circular billet to eighteen of his friends, suppli<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>cating them to give
+him a rendezvous at the Navicella. Each believed that Salvator had
+fallen into some new difficulty, which had obliged him to fly from
+Florence, and all attended his summons. He received them at the head of
+a well furnished table, embraced them with tenderness, feasted them
+sumptuously, and then mounting his horse, returned to Florence before
+his Roman persecutors or Tuscan friends were aware of his adventure.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S WIT.</h2>
+
+<p>Salvator Rosa exhibited a clever picture, the work of an amateur by
+profession a surgeon, which had been rejected by the academicians of St.
+Luke. The artists came in crowds to see it; and by those who were
+ignorant of the painter, it was highly praised. On being asked who had
+painted it by some one, Salvator replied, "It was performed by a person
+whom the great academicians of St. Luke thought fit to scorn, because
+his ordinary profession was that of a surgeon. But (continued he), I
+think they have not acted wisely; for if they had admitted him into
+their academy, they would have had the advantage of his services in
+setting the broken and distorted limbs that so frequently occur in their
+exhibitions."</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S RECEPTION AT FLORENCE.</h2>
+
+<p>The departure of Salvator Rosa from Rome was an escape: his arrival in
+Florence was a triumph. The Grand Duke and the princes of his house
+re<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span>ceived him, not as an hireling, but as one whose genius placed him
+beyond the possibility of dependence. An annual income was assigned to
+him during his residence in Florence, in the service of the court,
+besides a stipulated price for each of his pictures: and he was left
+perfectly unconstrained and at liberty to paint for whom he pleased.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HISTRIONIC POWERS OF SALVATOR ROSA.</h2>
+
+<p>In 1647, Salvator Rosa received an invitation to repair to the court of
+Tuscany, of which he availed himself the more willingly, as by the
+machinations of his enemies, he was in great danger of being thrown into
+prison. At Florence he met with the most flattering reception, not only
+at the court and among the nobility, but among the literary men and
+eminent painters with which that city abounded. His residence soon
+became the rendezvous of all who were distinguished for their talents,
+and who afterwards formed themselves into an academy, to which they gave
+the title of "I. Percossi." Salvator, during the carnivals, frequently
+displayed his abilities as a comic actor, and with such success, that
+when he and a friend of his (a Bolognese merchant, who, though sixty
+years old, regularly left his business three months in the year, for the
+sole pleasure of performing with Rosa) played the parts of Dottore
+Graziano and Pascariello, the laughter and applause of their audience
+were so excessive as often to interrupt their performance for a length
+of time.<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S RECEPTION AT THE PALAZZO PITTI.</h2>
+
+<p>The character, in fact the manners and the talents of Salvator Rosa came
+out in strong relief, as opposed to the servile deportment and mere
+professional acquirements of the herd of artists of all nations then
+under the protection of the Medici. He was received at the Palazzo Pitti
+not only as a distinguished artist, but as a guest; and the Medici, at
+whose board Pulci (in the time of their Magnifico) had sung his Morgante
+Maggiore with the fervor of a rhapsodist, now received at their table
+another improvisatore, with equal courtesy and graciousness. The Tuscan
+nobility, in imitation of the court, and in the desire to possess
+Salvator's pictures, treated him with singular honor.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SATIRES OF SALVATOR ROSA.</h2>
+
+<p>The boldness and rapidity of Salvator Rosa's pencil, aided by the
+fertility of his highly poetical imagination, enabled him to paint an
+immense number of pictures while he was at Florence; but not finding
+sufficient leisure to follow his other pursuits, he retired to Volterra,
+after having resided at Florence nine years, respected and beloved by
+all who knew him. The three succeeding years were passed in the family
+of the Maffei, alternately at Volterra and their villa at Monte Ruffoli,
+in which time<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span> he completed his Satires, except the Sixth, "L'Invidia;"
+which was written after the publication of the others. He also painted
+several portraits for the Maffei, and among others one of himself, which
+was afterwards presented to the Grand Duke of Tuscany, and placed in the
+Royal Gallery at Florence.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S HARPSICHORD.</h2>
+
+<p>Salvator Rosa's confidence in his own powers was as frankly confessed as
+it was justified by success. Happening one day to be found by a friend
+in Florence, in the act of modulating on a very indifferent old
+harpsichord, he was asked how he could keep such an instrument in his
+house. "Why," said his friend, "it is not worth a scudo." "I will wager
+what you please," said Salvator, "that it shall be worth a thousand
+before you see it again." A bet was made, and Rosa immediately painted a
+landscape with figures on the lid, which was not only sold for a
+thousand scudi, but was esteemed a capital performance. On one end of
+the harpsichord he also painted a skull and music-books. Both these
+pictures were exhibited in the year 1823 at the British Institution.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RARE PORTRAIT BY SALVATOR ROSA.</h2>
+
+<p>While Salvator Rosa was on a visit to Florence, and refused all
+applications for his pictures he was accidentally taken in to paint what
+he so rarely condescended to do a portrait.<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p>
+
+<p>There lived in Florence a good old dame of the name of Anna Gaetano, of
+some celebrity for keeping a notable inn, over the door of which was
+inscribed in large letters, "Al buon vino non bisogna fruscia" (good
+wine needs no bush). But it was not the good wines alone of Madonna Anna
+that drew to her house some of the most distinguished men of Florence,
+and made it particularly the resort of the Cavaliere Oltramontani&mdash;her
+humor was as racy as her wine; and many of the men of wit and pleasure
+about town were in the habit of lounging in the Sala Commune of Dame
+Gaetano, merely for the pleasure of drawing her out. Among these were
+Lorenzo Lippi and Salvator Rosa; and, although this Tuscan Dame Quickly
+was in her seventieth year, hideously ugly, and grotesquely dressed, yet
+she was so far from esteeming her age an "antidote to the tender
+passion," that she distinguished Salvator Rosa by a preference, which
+deemed itself not altogether hopeless of return. Emboldened by his
+familiarity and condescension, she had the vanity to solicit him to
+paint her portrait, "that she might," she said, "reach posterity by the
+hand of the greatest master of the age."</p>
+
+<p>Salvator at first received her proposition as a joke; but perpetually
+teased by her reiterated importunities, and provoked by her pertinacity,
+he at last exclaimed, "Well, Madonna, I have resolved to comply with
+your desire; but with this agreement, that, not to distract my mind
+during my<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> work, I desire you will not move from your seat until I have
+finished the picture." Madonna, willing to submit to any penalty in
+order to obtain an honor which was to immortalize her charms, joyfully
+agreed to the proposition; and Salvator, sending for an easel and
+painting materials, drew her as she sat before him, to the life. The
+portrait was dashed off with the usual rapidity and spirit of the
+master, and was a chef d'&oelig;uvre. But when at last the vain and
+impatient hostess was permitted to look upon it, she perceived that to a
+strong and inveterate likeness the painter had added a long beard; and
+that she figured on the canvas as an ancient male pilgrim&mdash;a character
+admirably suited to her furrowed face, weather-beaten complexion, strong
+lineaments, and grey hairs. Her mortified vanity vented itself in the
+most violent abuse of the ungallant painter, in rich Tuscan
+Billingsgate. Salvator, probably less annoyed by her animosity than
+disgusted by her preference, called upon some of her guests to judge
+between them. The artists saw only the merits of the picture, the
+laughers looked only to the joke. The value affixed to the exquisite
+portrait soon reconciled the vanity of the original through her
+interest. After the death of Madonna Anna, her portrait was sold by her
+heirs at an enormous price, and is said to be still in existence.&mdash;<i>Lady
+Morgan</i>.<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S RETURN TO ROME.</h2>
+
+<p>At the time of Salvator Rosa's return to Rome says Pascoli, he figured
+away as the <i>great painter</i>, opening his house to all his friends, who
+came from all parts to visit him, and among others, Antonio Abbati, who
+had resided for many years in Germany. This old acquaintance of the poor
+Salvatoriello of the Chiesa della Morte at Viterbo, was not a little
+amazed to find his patient and humble auditor of former times one of the
+most distinguished geniuses and hospitable Amphitryons of the day.
+Pascoli gives a curious picture of the prevailing pedantry of the times,
+by describing a discourse of Antonio Abbati's at Salvator's
+dinner-table, on the superior merits of the ancient painters over the
+moderns, in which he "bestowed all the tediousness" of his erudition on
+the company. Salvator answered him in his own style, and having
+overturned all his arguments in favor of antiquity with more learning
+than they had been supported, ended with an impromptu epigram, in his
+usual way, which brought the laugher's on his side.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S LOVE OF MAGNIFICENCE.</h2>
+
+<p>Salvator Rosa was fond of splendor and ostentatious display. He courted
+admiration from whatever source it could be obtained, and even sought it
+by means to which the frivolous and the vain are<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span> supposed alone to
+resort. He is described, therefore, as returning to Rome, from which he
+had made so perilous and furtive an escape, in a showy and pompous
+equipage, with "servants in rich liveries, armed with silver hafted
+swords, and otherwise well accoutred." The beautiful Lucrezia, as "sua
+Governante," accompanied him, and the little Rosalvo gave no scandal in
+a society where the instructions of religion substitute license for
+legitimate indulgence. Immediately on his arrival in Rome, Salvator
+fixed upon one of the loveliest of her hills for his residence, and
+purchased a handsome house upon the Monte Pincio, on the Piazza della
+Trinit&agrave; del Monte&mdash;"which," says Pascoli, "he furnished with noble and
+rich furniture, establishing himself on the great scale, and in a lordly
+manner." A site more favorable than the Pincio, for a man of Salvator's
+taste and genius, could scarcely be imagined, commanding at once within
+the scope of its vast prospect, picturesque views, and splendid
+monuments of the most important events in the history of man&mdash;the
+Capitol and the Campus Martius, the groves of the Quirinal and the
+cupola of St. Peter's, the ruined palaces of the C&aelig;sars, and sumptuous
+villas of the sons of the reigning church. Such was then, as now, the
+range of unrivalled objects which the Pincio commanded; but the noble
+terrace smoothed over its acclivities, which recalled the memory of
+Aurelian and the feast of Belisarius, presented at that period a far
+different aspect from<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> that which it now offers. Everything in this
+enchanting sight was then fresh and splendid; the halls of the Villa
+Medici, which at present only echo to the steps of a few French students
+or English travelers, were then the bustling and splendid residence of
+the old intriguing Cardinal Carlo de Medici, called the Cardinal of
+Tuscany, whose followers and faction were perpetually going to and fro,
+mingling their showy uniforms and liveries with the sober vestments of
+the neighboring monks of the convent della Trinit&agrave;! The delicious groves
+and gardens of the Villa de Medici then covered more than two English
+miles, and amidst cypress shades and shrubberies, watered by clear
+springs, and reflected in translucent fountains, stood exposed to public
+gaze all that now form the most precious treasures of the Florentine
+Gallery&mdash;the Niobe, the Wrestlers, the Apollo, the Vase, and above all,
+the Venus of Venuses, which has derived its distinguishing appellation
+from these gardens, of which it was long the boast and ornament.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S LAST WORKS.</h2>
+
+<p>The last performances of Salvator's pencil were a collection of
+portraits of obnoxious persons in Rome&mdash;in other words, a series of
+caricatures, by which he would have an opportunity of giving vent to his
+satirical genius; but whilst he was engaged on his own portrait,
+intending it as the concluding<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> one of the series he was attacked with a
+dropsy, which in the course of a few months brought him to the grave.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SALVATOR ROSA'S DESIRE TO BE CONSIDERED AN HISTORICAL PAINTER.</h2>
+
+<p>Salvator Rosa's greatest talent lay in landscape painting, a branch
+which he affected to despise, as he was ambitious of being called an
+historical painter. Hence he called his wild scenes, with small figures
+merely accessory, historical paintings, and was offended if others
+called them landscapes. Pascoli relates that Prince Francisco Ximenes,
+soon after his arrival at Rome, in the midst of the honors paid him,
+found time to visit the studio of Salvator Rosa, who showed him into his
+gallery. The Prince frankly said, "I have come, Signor Rosa, for the
+purpose of seeing and purchasing some of those beautiful landscapes,
+whose subjects and manner have delighted me in many foreign
+collections."&mdash;"Be it known then, to your excellency," interrupted
+Salvator impetuously, "that I know nothing of <i>landscape</i> painting.
+Something indeed I do know of painting figures and historical subjects,
+which I strive to exhibit to such eminent judges as yourself, in order
+that, <i>once for all</i>, I may banish from the public mind that <i>fantastic
+humor</i> of supposing I am a landscape and not an historical painter." At
+another time, a very rich (<i>ricchissimo</i>) Cardinal called on Salvator to
+purchase some of his pictures<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> As he walked up and down the gallery, he
+paused before the landscapes, but only glanced at the historical
+subjects, while Salvator muttered from time to time, "<i>sempre, sempre,
+paesi piccoli</i>," (always, always, some little landscape.) When, at
+length, the Cardinal carelessly glanced his eye over one of Salvator's
+great historical pictures, and asked the price, as a sort of
+introduction, the painter bellowed out, <i>un milione</i>; his Eminence,
+justly offended, made an unceremonious retreat without making his
+intended purchases, and returned no more.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DON MARIO GHIGI, HIS PHYSICIAN, AND SALVATOR ROSA.</h2>
+
+<p class='center'>(<i>From Lady Morgan's Life of Salvator Rosa.</i>)</p>
+
+<p>The princes of the family of Ghigi had been among the first of the
+aristocratic virtuosi of Rome to acknowledge the merits of Salvator
+Rosa, as their ancestors had been to appreciate the genius of Raffaelle.
+Between the Prince Don Mario Ghigi, (whose brother Fabio was raised to
+the pontifical throne by the name of Alexander VII.) and Salvator, there
+seems to have existed a personal intimacy; and the prince's fondness for
+the painter's conversation was such, that during a long illness he
+induced Salvator to bring his easel to his bedside, and to work in his
+chamber at a small picture he was then painting for the prince. It
+happened, that while Rosa was sketching and chatting by the prince's
+couch, one of the most fashionable physi<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span>cians in Rome entered the
+apartment. He appears to have been one of those professional coxcombs,
+whose pretensions, founded on unmerited vogue, throws ridicule on the
+gravest calling.</p>
+
+<p>After some trite remarks upon the art, the doctor, either to flatter
+Salvator, or in imitation of the physician of the Cardinal Colonna, who
+asked for one of Raffaelle's finest pictures as a fee for saving the
+Cardinal's life, requested Don Mario to give him a picture by Salvator
+as a remuneration for his attendance. The prince willingly agreed to the
+proposal; and the doctor, debating on the subject he should choose,
+turned to Salvator and begged that he would not lay pencil to canvas,
+until <i>he</i>, the Signor Dottore, should find leisure to dictate to him
+<i>il pensiero e concetto della sua pittura</i>, the idea and conceit of his
+picture! Salvator bowed a modest acquiescence, and went on with his
+sketch. The doctor having gone the round of professional questions with
+his wonted pomposity, rose to write his prescription; when, as he sat
+before the table with eyes upturned, and pen suspended over the paper,
+Salvator approached him on tiptoe, and drawing the pen gently through
+his fingers, with one of his old <i>Coviello</i> gesticulations in his
+character of the mountebank, he said, "<i>fermati dottor mio!</i> stop
+doctor, you must not lay pen to paper till I have leisure to dictate the
+idea and conceit of the prescription I may think proper for the malady
+of his Excellency."<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span></p>
+
+<p>"<i>Diavalo!</i>" cried the amazed physician, "you dictate a prescription!
+why, <i>I</i> am the prince's physician, and not <i>you!</i>"</p>
+
+<p>"And <i>I, Caro</i>," said Salvator, "am a painter, and not <i>you</i>. I leave it
+to the prince whether I could not prove myself a better physician than
+you a painter; and write a better prescription than you paint a
+picture."</p>
+
+<p>The prince, much amused, decided in favor of the painter; Salvator
+coolly resumed his pencil, and the medical <i>cognoscente</i> permitted the
+idea of the picture to die away, <i>sul proprio letto</i>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DEATH OF SALVATOR ROSA.</h2>
+
+<p>Salvator Rosa, in his last illness, demanded of the priests and others
+that surrounded him, what they required of him. They replied, "in the
+first instance to receive the sacrament as it is administered in Rome to
+the dying." "To receive the sacrament," says his confessor, Baldovini,
+"he showed no repugnance, but he vehemently and positively refused to
+allow the host, with all the solemn pomp of its procession, to be
+brought to his house, which he deemed unworthy of the divine presence."
+He objected to the ostentation of the ceremony, to its <i>&eacute;clat</i>, to the
+noise and bustle, smoke and heat it would create in the close sick
+chamber. He appears to have objected to more than it was discreet to
+object to in Rome: and all that his<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> family and his confessor could
+extort from him on the subject was, that he would permit himself to be
+carried from his bed to the parish church, and there, with the humility
+of a contrite heart, would consent to receive the sacrament at the foot
+of the altar.</p>
+
+<p>As immediate death might have been the consequence of this act of
+indiscretion, his family, who were scarcely less interested for a life
+so precious, than for the soul which was the object of their pious
+apprehensions, gave up the point altogether; and on account of the
+vehemence with which Salvator spoke on the subject, and the agitation it
+had occasioned, they carefully avoided renewing a proposition which had
+rallied all his force of character and volition to their long abandoned
+post.</p>
+
+<p>The rejection of a ceremony which was deemed in Rome indispensably
+necessary to salvation, by one who was already stamped with the church's
+reprobation, soon spread; report exaggerated the circumstance into a
+positive expression of infidelity; and the gossip of the Roman
+ante-rooms was supplied for the time with a subject of discussion, in
+perfect harmony with their love for slander, bigotry, and idleness.</p>
+
+<p>"As I went forth from Salvator's door," relates the worthy Baldovini, "I
+met the <i>Canonico Scornio</i>, a man who has taken out a license to speak
+of all men as he pleases. 'And how goes it with Salvator?' demands this
+Canonico of me. 'Bad<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> enough, I fear.'&mdash;Well, a few nights back,
+happening to be in the anteroom of a certain great prelate, I found
+myself in the centre of a circle of disputants, who were busily
+discussing whether the aforesaid Salvator would die a Schismatic, a
+Huguenot, a Calvinist, or a Lutheran?&mdash;'He will die, Signor Canonico,' I
+replied, 'when it pleases God, a better Catholic than any of those who
+now speak so slightingly of him!'&mdash;and so pursued my way."</p>
+
+<p>This <i>Canonico</i>, whose sneer at the undecided faith of Salvator roused
+all the bile of the tolerant and charitable Baldovini, was the near
+neighbor of Salvator, a frequenter of his hospitable house, and one of
+whom the credulous Salvator speaks in one of his letters as being "his
+neighbor, and an excellent gentleman."</p>
+
+<p>On the following day, as the Padre sat by the pillow of the suffering
+Rosa, he had the simplicity, in the garrulity of his heart, to repeat
+all these idle reports and malicious insinuations to the invalid: "But,"
+says Baldovini, "as I spoke, Rosa only shrugged his shoulders."</p>
+
+<p>Early on the morning of the fifteenth of March, that month so delightful
+in Rome, the anxious and affectionate confessor, who seems to have been
+always at his post, ascended the Monte della Trinit&agrave;, for the purpose of
+taking up his usual station by the bed's head of the fast declining
+Salvator. The young Agosto flew to meet him at the door, and with a
+countenance radiant with joy, informed him<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> of the good news, that "his
+dear father had given evident symptoms of recovery, in consequence of
+the bursting of an inward ulcer."</p>
+
+<p>Baldovini followed the sanguine boy to Iris father's chamber; but, to
+all appearance Salvator was suffering great agony. "How goes it with
+thee, Rosa?" asked Baldovini kindly, as he approached him.</p>
+
+<p>"Bad, bad!" was the emphatic reply. While writhing with pain, the
+sufferer added after a moment:&mdash;"To judge by what I now endure, the hand
+of death grasps me sharply."</p>
+
+<p>In the restlessness of pain he then threw himself on the edge of the
+bed, and placed his head on the bosom of Lucrezia, who sat supporting
+and weeping over him. His afflicted son and friend took their station at
+the other side of the couch, and stood in mournful silence watching the
+issue of these sudden and frightful spasms. At that moment a celebrated
+Roman physician, the Doctor Catanni, entered the apartment. He felt the
+pulse of Salvator, and perceived that he was fast sinking. He
+communicated his approaching dissolution to those most interested in the
+melancholy intelligence, and it struck all present with unutterable
+grief. Baldovini, however, true to his sacred calling, even in the depth
+of his human affliction, instantly despatched the young Agosto to the
+neighboring Convent della Trinit&agrave;, for the holy Viaticum. While life was
+still fluttering at the heart of Salvator, the officiating<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span> priest of
+the day arrived, bearing with him the holy apparatus of the last
+mysterious ceremony of the church. The shoulders of Salvator were laid
+bare, and anointed with the consecrated oil; some prayed fervently,
+others wept, and all even still hoped; but the taper which the Doctor
+Catanni held to the lips of Salvator while the Viaticum was
+administered, burned brightly and steadily! Life's last sigh had
+transpired, as religion performed her last rite.</p>
+
+<p>Between that luminous and soul-breathing form of genius, and the clod of
+the valley, there was now no difference; and the "end and object" of a
+man's brief existence was now accomplished in him who, while yet all
+young and ardent, had viewed the bitter perspective of humanity with a
+philosophic eye and pronounced even on the bosom of pleasure,</p>
+
+<p>
+<span style="margin-left: 1em;">"Nasci p&oelig;na&mdash;Vita labor&mdash;Necesse mori."</span><br />
+</p>
+
+<p>On the evening of the fifteenth of March, 1673, all that remained of the
+author of Regulus, of Catiline, and the Satires&mdash;the gay Formica, the
+witty Coviello&mdash;of the elegant composer, and greatest painter of his
+time and country&mdash;of Salvator Rosa! was conveyed to the tomb, in the
+church of Santa Maria degli Angioli alle Terme&mdash;that magnificent temple,
+unrivalled even at Rome in interest and grandeur, which now stands as it
+stood when it formed the Pinacotheca of the Therm&aelig; of Dioclesian. There,
+accompanied by much funeral pomp, the body of Salvator lay in<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> state;
+the head and face, according to the Italian custom, being exposed to
+view. All Rome poured into the vast circumference of the church, to take
+a last view of the painter of the Roman people&mdash;the "Nostro Signor
+Salvatore" of the Pantheon; and the popular feelings of regret and
+admiration were expressed with the usual bursts of audible emotions in
+which Italian sensibility on such occasions loves to indulge. Some few
+there were, who gathered closely and in silence round the bier of the
+great master of the Neapolitan school; and who, weeping the loss of the
+man, forgot for a moment even that genius which had already secured its
+own meed of immortality. These were Carlo Rossi, Francesco Baldovini,
+and Paolo Oliva, each of whom returned from the grave of the friend he
+loved, to record the high endowments and powerful talents of the painter
+he admired, and the poet he revered. Baldovini retired to his cell to
+write the Life of Salvator Rosa, and then to resign his own; Oliva to
+his monastery, to compose the epitaph which is still read on the tomb of
+his friend; and Carlo Rossi to select from his gallery such works of his
+beloved painter, as might best adorn the walls of that chapel, now
+exclusively consecrated to his memory.</p>
+
+<p>On the following night, the remains of Salvator Rosa were deposited,
+with all the awful forms of the Roman church, in a grave opened
+expressly in the beautiful vestibule of Santa Maria degli An<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>gioli alle
+Terme. Never did the ashes of departed genius find a more appropriate
+resting place;&mdash;the Pinacotheca of the Therm&aelig; of Dioclesian had once
+been the repository of all that the genius of antiquity had perfected in
+the arts; and in the vast interval of time which had since elapsed, it
+had suffered no change, save that impressed upon it by the mighty mind
+of Michael Angelo.&mdash;<i>Lady Morgan</i>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOMENICHINO.</h2>
+
+<p>This great artist is now universally esteemed the most distinguished
+disciple of the school of the Caracci, and the learned Count Algarotti
+prefers him even to the Caracci themselves. Poussin ranked him next
+after Raffaelle, and Passeri has expressed nearly the same opinion. He
+was born at Bologna in 1581, and received his first instruction from
+Denis Calvart, but having been treated with severity by that master, who
+had discovered him making a drawing after Annibale Caracci, contrary to
+his injunction, Domenichino prevailed upon his father to remove him from
+the school of Calvart, and place him in the Academy of the Caracci,
+where Guido and Albano were then students.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE DULLNESS OF DOMENICHINO IN YOUTH.</h2>
+
+<p>The great talents of Domenichino did not develop themselves so early as
+in many other great painters. He was assiduous, thoughtful and
+circumspect;<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> which his companions attributed to dullness, and they
+called him the Ox; but the intelligent Annibale Caracci, who observed
+his faculties with more attention, testified of his abilities by saying
+to his pupils, "this Ox will in time surpass you all, and be an honor to
+the art of painting." It was the practice in this celebrated school to
+offer prizes to the pupils for the best drawings, to excite them to
+emulation, and every pupil was obliged to hand in his drawing at certain
+periods. It was not long after Domenichino entered this school before
+one of these occasions took place, and while his fellow-students brought
+in their works with confidence, he timidly approached and presented his,
+which he would gladly have withheld. Lodovico Caracci, after having
+examined the whole, adjudged the prize to Domenichino. This triumph,
+instead of rendering him confident and presumptuous, only stimulated him
+to greater assiduity, and he pursued his studies with such patient and
+constant application, that he made such progress as to win the
+admiration of some of his cotemporaries, and to beget the hatred of
+others. He contracted a friendship with Albano, and on leaving the
+school of the Caracci, they visited together, Parma, Modena, and Reggio,
+to contemplate the works of Correggio and Parmiggiano. On their return
+to Bologna, Albano went to Rome, whither Domenichino soon followed him,
+and commenced his bright career.</p>
+
+<p>The student may learn a useful lesson from the<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> untiring industry,
+patience, and humility of this great artist. Passeri attributes his
+grand achievements more to his amazing study than to his genius; and
+some have not hesitated to deny that he possessed any genius at all&mdash;an
+opinion which his works abundantly refute. Lanzi says, "From his acting
+as a continual censor of his own productions, he became among his fellow
+pupils the most exact and expressive designer, his colors most true to
+nature, and of the best <i>impasto</i>, the most universal master in the
+theory of his art, the sole painter amongst them all in whom Mengs found
+nothing to desire except a little more elegance. That he might devote
+his whole being to the art, he shunned all society, or if he
+occasionally sought it in the public theatres and markets, it was in
+order better to observe the play of nature's passions in the features of
+the people&mdash;those of joy, anger, grief, terror, and every affection of
+the mind, and commit it living to his tablets. Thus it was, exclaims
+Bellori, that he succeeded in delineating the soul, in coloring life,
+and raising those emotions in our breasts at which his works all aim; as
+if he waved the same wand which belonged to the poetical enchanters,
+Tasso and Ariosto."</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOMENICHINO'S SCOURGING OF ST. ANDREW.</h2>
+
+<p>Domenichino was employed by the Cardinal Borghese, to paint in
+competition with Guido, the cele<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span>brated frescos in the church of S.
+Gregorio at Rome. Both artists painted the same subject, but the former
+represented the <i>Scourging of St. Andrew</i>, and the latter <i>St. Andrew
+led away to the Gibbet</i>. Lanzi says it is commonly reported that an aged
+woman, accompanied by a little boy, was seen long wistfully engaged in
+viewing Domenichino's picture, showing it part by part to the boy, and
+next, turning to that of Guido, painted directly opposite, she gave it a
+cursory glance and passed on. Some assert that Annibale Caracci took
+occasion, from this circumstance, to give his preference to the former
+picture. It is also related that while Domenichino was painting one of
+the executioners, he actually threw himself into a passion, using high
+threatening words and actions, and that Annibale, surprising him at that
+moment, embraced him, exclaiming, "To-day, my Domenichino, thou art
+teaching me"&mdash;so novel, and at the same time so natural did it appear to
+him, that the artist, like the orator, should feel within himself all
+that he would represent to others.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE COMMUNION OF ST. JEROME.</h2>
+
+<p>The chef-d'&oelig;uvre of Domenichino is the dying St. Jerome receiving the
+last rites of his church, commonly called the Communion of St. Jerome,
+painted for the principal altar of St. Girolamo della Carita. This work
+has immortalized his name, and is universally allowed to be the finest
+picture Rome<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> can boast after the Transfiguration of Raffaelle. It was
+taken to Paris by Napoleon, restored in 1815 by the Allies, and has
+since been copied in mosaic, to preserve so grand a work, the original
+having suffered greatly from the effects of time. Lanzi says, "One great
+attraction in the church paintings of Domenichino, consists in the glory
+of the angels, exquisitely beautiful in feature, full of lively action,
+and so introduced as to perform the most gracious offices in the piece,
+as the crowning of martyrs, the bearing of palms, the scattering of
+roses, weaving the mazy dance, and making sweet melodies."</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOMENICHINO'S ENEMIES AT ROME.</h2>
+
+<p>The reputation which Domenichino had justly acquired at Rome had excited
+the jealousy of some of his cotemporaries, and the applause bestowed
+upon his Communion of St. Jerome, only served to increase it. The Cav.
+Lanfranco in particular, one of his most inveterate enemies, asserted
+that the Communion of St. Jerome was little more than a copy of the same
+subject by Agostino Caracci, at the Certosa at Bologna, and he employed
+Perrier, one of his pupils, to make an etching from the picture by
+Agostino. But this stratagem, instead of confirming the plagiarism,
+discovered the calumny, as it proved that there was no more resemblance
+between the two works than must necessarily result in two artists
+treating the same subject, and that every essential part, and all that
+was admired was entirely<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> his own. If it had been possible for modest
+merit to have repelled the shafts of slander, the work which he executed
+immediately afterwards in the church of S. Lodovico, representing the
+life of St. Cecilia, would have silenced the attacks of envy and
+malevolence; but they only tended to increase the alarm of his
+competitors, and excite them to redoubled injustice and malignity.
+Disgusted with these continued cabals, Domenichino quitted Rome, and
+returned to Bologna, where he resided several years in the quiet
+practice of his profession, and executed some of his most admired works,
+particularly the Martyrdom of St. Agnes for the church of that Saint,
+and the Madonna del Rosario, both of which were engraved by Gerard
+Audran, and taken to Paris and placed in the Louvre by order of
+Napoleon. The fame of Domenichino was now so well established that
+intrigue and malice could not suppress it, and Pope Gregory XV. invited
+him back to Rome, and appointed him principal painter, and architect to
+the pontifical palace.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DECISION OF POSTERITY ON THE MERITS OF DOMENICHINO.</h2>
+
+<p>"The public," says Lanzi, "is an equitable judge; but a good cause is
+not always sufficient without the advantage of many voices to sustain
+it. Domenichino, timid, retiring, and master of few pupils, was
+destitute of a party equal to his cause. He was constrained to yield to
+the crowd that trampled<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> upon him, thus verifying the prediction of
+Monsignore Agucchi, that his merits would never be rightly appreciated
+during his life-time. The spirit of party having passed away, impartial
+posterity has rendered him justice; nor is there a royal gallery but
+confesses an ambition to possess his works. His figure pieces are in the
+highest esteem, and command enormous prices."</p>
+
+
+<hr style="width: 65%;" />
+<h2>PROOF OF THE MERITS OF DOMENICHINO.</h2>
+
+<p>No better proof of the exalted merits of Domenichino can be desired,
+than the fact that upwards of fifty of his works have been engraved by
+the most renowned engravers, as Gerard Audran, Raffaelle Morghen, Sir
+Robert Strange, C. F. von Muller, and other illustrious artists; many of
+these also have been frequently repeated.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DOMENICHINO'S CARICATURES.</h2>
+
+<p>While Domenichino was in Naples, he was visited by his biographer
+Passeri, then a young man, who was engaged to assist in repairing the
+pictures in the Cardinal's chapel. "When he arrived at Frescati," says
+Passeri, "Domenichino received me with much courtesy, and hearing that I
+took a singular delight in the belles-lettres, it increased his kindness
+to me. I remember that I gazed on this man as though he were an angel. I
+remained there to the end of September, occupied in restoring the<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>
+chapel of St. Sebastian, which had been ruined by the damp. Sometimes
+Domenichino would join us, singing delightfully to recreate himself.
+When night set in, we returned to our apartment; while he most
+frequently remained in his room, occupied in drawing, and permitting
+none to see him. Sometimes, however, to pass the time, he drew
+caricatures of us all, and of the inhabitants of the villa. When he
+succeeded to his perfect satisfaction, he was wont to indulge in
+immoderate fits of laughter; and we, who were in the adjoining room,
+would run in to know his reason, when he showed us his spirited
+sketches. He drew a caricature of me with a guitar, one of Carmini (the
+painter), and one of the Guarda Roba, who was lame of the gout; and of
+the Sub-guarda Roba, a most ridiculous figure&mdash;to prevent our being
+offended, he caricatured himself. These portraits are now preserved by
+Signor Giovanni Pietro Bellori."</p>
+
+
+<hr style="width: 65%;" />
+<h2>INTRIGUES OF THE NEAPOLITAN TRIUMVIRATE OF PAINTERS.</h2>
+
+<p>The conspiracy of Bellisario Corenzio, Giuseppe Ribera, and Gio.
+Battista Caracciolo, called the Neapolitan Triumvirate of Painters, to
+monopolize to themselves all valuable commissions, and particularly the
+honor of decorating the chapel of St. Januarius, is one of the most
+curious passages in the history of art. The following is Lanzi's account
+of this disgraceful cabal:<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p>
+
+<p>"The three masters whom I have just noticed in successive order,
+(Corenzio, Ribera, and Caracciolo) were the authors of the unceasing
+persecutions which many of the artists who had come to, or were invited
+to Naples, were for several years subjected to. Bellisario had
+established a supreme dominion, or rather a tyranny, over the Neapolitan
+painters, by calumny and insolence, as well as by his station. He
+monopolized all lucrative commissions to himself, and recommended, for
+the fulfilment of others, one or other of the numerous and inferior
+artists that were dependent on him. The Cav. Massimo Stanziozi,
+Santafede, and other artists of talent, if they did not defer to him,
+were careful not to offend him, as they knew him to be a man of a
+vindictive temper, treacherous, and capable of every violence, and who
+was known, through jealousy, to have administered poison to Luigi
+Roderigo, the most promising and the most amiable of his scholars.</p>
+
+<p>"Bellisario, in order to maintain himself in his assumed authority,
+endeavored to exclude all strangers who painted in fresco rather than in
+oil. Annibale Caracci arrived there in 1609, and was engaged to ornament
+the churches of Spirito Santo and Gesu Nuovo, for which, as a specimen
+of his style, he painted a small picture. The Greek and his adherents
+being required to give their opinion on this exquisite production,
+declared it to be tasteless, and decided that the painter of it did not
+possess talent for large compositions. This divine artist in
+conse<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>quence took his departure under a burning sun, for Rome, where he
+soon afterwards died. But the work in which strangers were the most
+opposed was the chapel of S. Gennaro, which a committee had assigned to
+the Cav. d'Arpino, as soon as he should finish painting the choir of the
+Certosa. Bellisorio, leaguing with Spagnoletto (like himself a fierce
+and ungovernable man) and with Caracciolo, who aspired to this
+commission, persecuted Cesari in such a manner, that before he had
+finished the choir he fled to Monte Cassino, and from thence returned to
+Rome. The work was then given to Guido, but after a short time two
+unknown persons assaulted the servant of that artist, and at the same
+time desired him to inform his master that he must prepare himself for
+death, or instantly quit Naples, with which latter mandate Guido
+immediately complied. Gessi, the scholar of Guido, was not however
+intimidated by this event, but applied for, and obtained the honorable
+commission, and came to Naples with two assistants, Gio. Batista
+Ruggieri and Lorenzo Menini. But these artists were scarcely arrived,
+when they were treacherously invited on board a galley, which
+immediately weighed anchor and carried them off, to the great dismay of
+their master, who although he made the most diligent inquiries both at
+Rome and Naples, could never procure any tidings of them.</p>
+
+<p>"Gessi in consequence also taking his departure, the committee lost all
+hope of succeeding in their<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span> task, and were in the act of yielding to
+the reigning cabal, assigning the fresco work to Corenzio and
+Caracciolo, and promising the pictures to Spagnoletto, when suddenly
+repenting of their resolution, they effaced all that was painted of the
+two frescos, and intrusted the decoration of the chapel entirely to
+Domenichino. It ought to be mentioned to the honor of these munificent
+persons, that they engaged to pay for every entire figure, 100 ducats,
+for each half-figure 50 ducats, and for each head 25 ducats. They took
+precautions also against any interruption to the artist, threatening the
+Viceroy's high displeasure if he were in any way molested. But this was
+only matter of derision to the junta. They began immediately to cry him
+down as a cold and insipid painter, and to discredit him with those, the
+most numerous class in every place, who see only with the eyes of
+others. They harassed him by calumnies, by anonymous letters, by
+displacing his pictures, by mixing injurious ingredients with his
+colors, and by the most insidious malice they procured some of his
+pictures to be sent by the viceroy to the court of Madrid; and these,
+when little more than sketched, were taken from his studio and carried
+to the court, where Spagnoletto ordered them to be retouched, and,
+without giving him time to finish them, hurried them to their
+destination. This malicious fraud of his rival, the complaints of the
+committee, who always met with some fresh obstacle to the completion of
+the work, and the sus<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span>picion of some evil design, at last determined
+Domenichino to depart secretly to Rome. As soon however as the news of
+his flight transpired, he was recalled, and fresh measures taken for his
+protection; when he resumed his labors, and decorated the walls and base
+of the cupola, and made considerable progress in the painting of his
+pictures.</p>
+
+<p>"But before he could finish his task he was interrupted by death,
+hastened either by poison, or by the many severe vexations he had
+experienced both from his relatives and his adversaries, and the weight
+of which was augmented by the arrival of his former enemy Lanfranco.
+This artist superceded Zampieri in the painting of the basin of the
+chapel; Spagnoletto, in one of his oil pictures; Stanzioni in another;
+and each of these artists, excited by emulation, rivaled, if he did not
+excel, Domenichino. Caracciolo was dead. Bellisario, from his great age,
+took no share in it, and was soon afterwards killed by a fall from a
+stage, which he had erected for the purpose of retouching some of his
+frescos. Nor did Spagnoletto experience a better fate; for, having
+seduced a young girl, and become insupportable even to himself from the
+general odium which he experienced, he embarked on board a ship; nor is
+it known whither he fled, or how he ended his life, if we may credit the
+Neapolitan writers. Palomino, however, states him to have died in Naples
+in 1656, aged sixty-seven, though he does not contradict the first part
+of our state<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>ment. Thus these ambitious men, who by violence or fraud
+had influenced and abused the generosity and taste of so many noble
+patrons, and to whose treachery and sanguinary vengeance so many
+professors of the art had fallen victims, ultimately reaped the merited
+fruit of their conduct in a violent death; and an impartial posterity,
+in assigning the palm of merit to Domenichino, inculcates the maxim,
+that it is a delusive hope to attempt to establish fame and fortune on
+the destruction of another's reputation."</p>
+
+<hr style="width: 65%;" />
+<h2>GIUSEPPE RIBERA, CALLED IL SPAGNOLETTO&mdash;HIS EARLY POVERTY AND INDUSTRY.</h2>
+
+<p>Jos&eacute; Ribera, a native of Valencia in Spain, studied for some time under
+Francisco Ribalta, and afterwards found his way to Italy. At the age of
+sixteen, he was living in Rome, in a very destitute condition;
+subsisting on crusts, clothed in rags, yet endeavoring with unswerving
+diligence to improve himself in art by copying the frescos on the
+fa&ccedil;ades of palaces, or at the shrines on the corners of the streets. His
+poverty and industry attracted the notice of a compassionate Cardinal,
+who happened to see him at work from his coach-window; and he provided
+the poor boy with clothes, and food, and lodging in his own palace.
+Ribera soon found, however, that to be clad in good raiment, and to fare
+plentifully every day, weakened his powers of<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> application; he needed
+the spur of want to arouse him to exertion; and therefore, after a short
+trial of a life in clover, beneath the shelter of the purple, he
+returned to his poverty and his studies in the streets. The Cardinal was
+at first highly incensed at his departure, and when he next saw him,
+rated him soundly as an ungrateful little Spaniard; but being informed
+of his motives, and observing his diligence, his anger was turned to
+admiration. He renewed his offers of protection, which, however, Ribera
+thankfully declined.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RIBERA'S MARRIAGE.</h2>
+
+<p>Ribera's adventure with the Cardinal, and his abilities, soon
+distinguished him among the crowd of young artists in Rome. He became
+known by the name which still belongs to him, Il Spagnoletto, (the
+little Spaniard,) and as an imitator of Michael Angelo Caravaggio, the
+bold handling of whose works, and their powerful effects of light and
+shade, pleased his vigorous mind. Finding Rome overstocked with artists,
+he went to Naples, where he made the acquaintance of a rich
+picture-dealer. The latter was so much pleased with Ribera's genius,
+that be offered him his beautiful and well-dowered daughter in marriage.
+The Valencian, not less proud than poor, at first resented this proposal
+as an unseasonable pleasantry upon his forlorn condition; but at last
+finding that it was made in<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span> good faith, he took "the good the gods
+provided," and at once stepped from solitary indigence into the
+possession of a handsome wife, a comfortable home, a present field of
+profitable labor, and a prospect of future opulence.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RIBERA'S RISE TO EMINENCE.</h2>
+
+<p>Ease and prosperity now rather stimulated than relaxed his exertions.
+Choosing for his subject the Flaying of St. Bartholomew, he painted that
+horrible martyrdom with figures of life-size, so fearfully truthful to
+nature that when exposed to the public in the street, it immediately
+attracted a crowd of shuddering gazers. The place of exhibition being
+within view of the royal palace, the eccentric Viceroy, Don Pedro de
+Giron, Duke of Ossuna, who chanced to be taking the air on his balcony,
+inquired the cause of the unusual concourse, and ordered the picture and
+the artist to be brought into his presence. Being well pleased with
+both, he purchased the one for his own gallery, and appointed the other
+his court painter, with a monthly salary of sixty doubloons, and the
+superintendence of all decorations in the palace.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RIBERA'S DISCOVERY OF THE PHILOSOPHER'S STONE.</h2>
+
+<p>Ribera seems to have been a man of considerable social talent, lively in
+conversation, and dealing in<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> playful wit and amusing sarcasm. Dominici
+relates that two Spanish officers, visiting at his house one day,
+entered upon a serious discussion on the subject of alchemy. The host,
+finding their talk some what tedious, gravely informed them that he him
+self happened to be in possession of the philosopher's stone, and that
+they might, if they pleased, see his way of using it, the next morning
+at his studio. The military adepts were punctual to their appointment,
+and found their friend at work, not in a mysterious laboratory, but at
+his easel, on a half-length picture of St. Jerome. Entreating them to
+restrain their eagerness, he painted steadily on, finished his picture,
+sent it out by his servant, and received a small rouleau in return. This
+he broke open in the presence of his visitors, and throwing ten gold
+doubloons on the table, said, "Learn of me how gold is to be made; I do
+it by painting, you by serving his majesty&mdash;diligence in business is the
+only true alchemy." The officers departed somewhat crest-fallen, neither
+relishing the jest, nor likely to reap any benefit from it.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RIBERA'S SUBJECTS.</h2>
+
+<p>His subjects are generally austere, representing anchorets, prophets,
+apostles, &amp;c., and frequently of the most revolting character, such as
+sanguinary executions, martyrdoms, horrid punishments, and lingering
+torments, which he represented with a startling fidelity that
+intimidates and shocks the<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> beholder. His paintings are very numerous,
+and his drawings and etchings are highly esteemed by connoisseurs.</p>
+
+
+<hr style="width: 65%;" />
+<h2>RIBERA'S DISPOSITION.</h2>
+
+<p>The talents of this great painter, seem to have been obscured by a cruel
+and revengeful disposition, partaking of the character of his works. He
+was one of the triumvirate of painters, who assassinated, persecuted, or
+drove every talented foreign painter from Naples, that they might
+monopolize the business. He was also a reckless libertine, and,
+according to Dominici, having seduced a beautiful girl, he was seized
+with such remorse for his many crimes, as to become insupportable to
+himself; and to escape the general odium which was heaped upon him, he
+fled from Naples on board a ship, and was never heard of more. This
+story however is doubtless colored, for, according to Palomino and
+several other writers, Ribera died at Naples in 1656. See page <a href='#Page_132'><b>132</b></a> of
+this volume.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SINGULAR PICTORIAL ILLUSIONS.</h2>
+
+<p>Over a certain fountain in Rome, there was a cornice so skilfully
+painted, that the birds were deceived, and trying to alight on it,
+frequently fell into the water beneath. Annibale Caracci painted some
+ornaments on a ceiling of the Farnese palace, which the Duke of Sessa,
+Spanish ambassador to<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> the Pope, took for sculptures, and would not
+believe they were painted on a flat ground, until he had touched them
+with a lance. Agostino Caracci painted a horse, which deceived the
+living animal&mdash;a triumph so celebrated in Apelles. Juan Sanchez Cotan,
+painted at Granada a "Crucifixion," on the cross of which Palomino says
+birds often attempted to perch, and which at first sight the keen-eyed
+Cean Bermudez mistook for a piece of sculpture. The reputation of this
+painter stood so high, that Vincenzio Carducci traveled from Madrid to
+Granada on purpose to see him; and he is said to have recognized him
+among the white-robed fraternity of which he was a member, by observing
+in the expression of his countenance, a certain affinity to the spirit
+of his works.</p>
+
+<p>It is related of Murillo's picture of St. Anthony of Padua, that the
+birds, wandering up and down the aisles of the cathedral at Seville,
+have often attempted to perch upon a vase of white lilies painted on a
+table in the picture, and to peck at the flowers. The pre&euml;minent modern
+Zeuxis, however, was Pierre Mignard, whose portrait of the Marquise de
+Gouvernet was accosted by that lady's pet parrot, with an affectionate
+"<i>Baise moi, ma maitresse!</i>"</p>
+
+
+<hr style="width: 65%;" />
+<h2>RAFFAELLE'S SKILL IN PORTRAITS.</h2>
+
+<p>Raffaelle was transcendant not only in history, but in portrait. His
+portraits have deceived even persons most intimately acquainted with the
+origi<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span>nals. Lanzi says he painted a picture of Leo X. so full of life,
+that the Cardinal Datary approached it with a bull and pen and ink, for
+the Pope's signature. A similar story is related of Titian.</p>
+
+
+<hr style="width: 65%;" />
+<h2>JACOPO DA PONTE.</h2>
+
+<p>Count Algarotti relates, that Annibale Caracci was so deceived by a book
+painted upon a table by Jacopo da Ponte, that he stretched out his hand
+to take it up. Bassano was highly honored by Paul Veronese, who placed
+his son Carletto under him as a pupil, to receive his general
+instructions, "and more particularly in regard to that just disposition
+of lights reflected from one object to another, and in those happy
+counterpositions, owing to which the depicted objects seemed clothed
+with a profusion of light."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOVANNI ROSA.</h2>
+
+<p>Giovanni Rosa, a Fleming who flourished at Rome in the first part of the
+seventeenth century, was famous for his pictures of animals. "He painted
+hares so naturally as to deceive the dogs, which would rush at them
+furiously, thus renewing the wonderful story of Zeuxis and his Grapes,
+so much boasted of by Pliny."</p>
+
+
+<hr style="width: 65%;" />
+<h2>CAV. GIOVANNI CONTARINI.</h2>
+
+<p>This artist was a close imitator of Titian. He was extremely accurate in
+his portraits, which he<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> painted with force, sweetness, and strong
+likeness. He painted a portrait of Marco Dolce, and when the picture was
+sent home, his dogs began to fawn upon it, mistaking it for their
+master.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GUERCINO'S POWER OF RELIEF.</h2>
+
+<p>The style of Guercino displays a strong contrast of light and shadow,
+both exceedingly bold, yet mingled with great sweetness and harmony, and
+a powerful effect in relief, a branch of art so much admired by
+professors. "Hence," says Lanzi, "some foreigners bestowed upon him the
+title of the Magician of Italian painting, for in him were renewed those
+celebrated illusions of antiquity. He painted a basket of grapes so
+naturally that a ragged urchin stretched out his hand to steal some of
+the fruit. Often, in comparing the figures of Guido with those of
+Guercino, one would say that the former had been fed with roses, and the
+latter with flesh, as observed by one of the ancients."</p>
+
+
+<hr style="width: 65%;" />
+<h2>BERNAZZANO.</h2>
+
+<p>Lanzi says, "In painting landscape, fruit, and flowers, Bernazzano
+succeeded so admirably as to produce the same wonderful effects that are
+told of Zeuxis and Apelles in Greece. These indeed Italian artists have
+frequently renewed, though with a less degree of applause. Having
+painted a strawberry-bed in a court yard, the pea-fowls were so
+deceived<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> by the resemblance, that they pecked at the wall till they had
+destroyed the painting. He painted the landscape part of a picture of
+the Baptism of Christ, and on the ground drew some birds in the act of
+feeding. On its being placed in the open air, the birds were seen to fly
+towards the picture, to join their companions. This beautiful picture is
+one of the chief ornaments in the gallery of the distinguished family of
+the Trotti at Milan."</p>
+
+
+<hr style="width: 65%;" />
+<h2>INVENTION OF OIL PAINTING.</h2>
+
+<p>There has been a world of discussion on this subject, but there can be
+no doubt that John van Eyck, called John of Bruges, and by the Italians,
+Giovanni da Bruggia, and Gio. Abeyk or Eyck, is entitled to the honor of
+the invention of Oil Painting as applied to pictures, though Mr. Raspe,
+the celebrated antiquary, in his treatise on the invention of Oil
+Painting, has satisfactorily proved that Oil Painting was practised in
+Italy as early as the 11th century, but only as a means of protecting
+metalic substances from rust.</p>
+
+<p>According to van Mander, the method of painting in Flanders previous to
+the time of the van Eycks, was with gums, or a preparation called
+egg-water, to which a kind of varnish was afterwards applied in
+finishing, which required a certain degree of heat to dry. John van Eyck
+having worked a long time on a picture and finished it with great care,
+placed<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> it in the sun-shine to dry, when the board on which it was
+painted split and spoiled the work. His disappointment at seeing so much
+labor lost, urged him to attempt the discovery, by his knowledge of
+chemistry, of some process which would not in future expose him to such
+an unfortunate accident. In his researches, he discovered the use of
+linseed and nut oil, which he found most siccative. This is generally
+believed to have happened about 1410. There is however, a great deal of
+contradiction among writers as to the van Eycks, no two writers being
+found to agree. Some assert that John van Eyck introduced his invention
+both into Italy and Spain, while others declare that he never left his
+own country, which would seem to be true. Vasari, the first writer on
+Italian art, awards the invention to Giovanni da Bruggia, and gives an
+account of its first introduction into Italy by Antonello da Messina, as
+we shall presently see. But Dominici asserts that oil painting was known
+and practised at Naples by artists whose names had been forgotten long
+before the time of van Eyck. Many other Italian writers have engaged in
+the controversy, and cited many instances of pictures which they
+supposed to have been painted in oil at Milan, Pisa, Naples, and
+elsewhere, as early as the 13th, 12th, and even the 9th centuries. But
+to proceed with the brothers van Eyck, John and Hubert&mdash;they generally
+painted in concert till the death of Hubert, and executed many works in
+oil, which were held in the highest estima<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>tion at the time when they
+flourished. Their most important work was an altar-piece, with folding
+doors, painted for Jodocus Vyts, who placed it in the church of St.
+Bavon at Ghent. The principal picture in this curious production
+represents the Adoration of the Lamb as described by St. John in the
+Revelations. On one of the folding doors is represented Adam and Eve,
+and on the other, St. Cecilia. This extraordinary work contains over
+three hundred figures, and is finished with the greatest care and
+exactness. It was formerly in the Louvre, but it is now unfortunately
+divided into two parts, one of which is at Berlin, and the other at
+Ghent. Philip I. of Spain desired to purchase it, but finding that
+impracticable, he employed Michael Coxis to copy it, who spent two years
+in doing: it, for which he received 4,000 florins. The king placed this
+copy in the Escurial, and this probably gave rise to the story that John
+van Eyck visited Spain and introduced his discovery into that country.
+In the sacristy of the cathedral at Bruges is preserved with great
+veneration, a picture painted by John van Eyck, after the death of
+Hubert, representing the Virgin and Infant, with St. George, St.
+Donatius, and other saints. It is dated 1436. John died in 1441.</p>
+
+<p>According to Vasari, the fame of Masaccio drew Antonello da Messina to
+Rome; from thence he proceeded to Naples, where he saw some oil
+paintings by John van Eyck, which had been brought to<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> Naples from
+Flanders, by some Neapolitan merchants, and presented or sold to
+Alphonso I., King of Naples. The novelty of the invention, and the
+beauty of the coloring inspired Antonello with so strong a desire to
+become possessed of the secret, that he went to Bruges, and so far
+ingratiated himself into the favor of van Eyck, then advanced in years,
+that he instructed him in the art. Antonello afterwards returned to
+Venice, where he secretly practised the art for some time, communicating
+it only to Domenico Veneziano, his favorite scholar. Veneziano settled
+at Florence, where his works were greatly admired both on account of
+their excellence and the novelty of the process. Here he unfortunately
+formed a connexion with Andrea del Castagno, an eminent Tuscan painter,
+who treacherously murdered Domenico, that he might become, as he
+supposed, the sole possessor of the secret. Castagno artfully concealed
+the atrocious deed till on his death-bed, when struck with remorse, he
+confessed the crime for which innocent persons had suffered. Vasari also
+says that Giovanni Bellini obtained the art surreptitiously from
+Messina, by disguising himself and sitting for his portrait, thus
+gaining an opportunity to observe his method of operating; but Lanzi has
+shown that Messina made the method public on receiving a pension from
+the Venetian Senate. Many writers have appeared, who deny the above
+statement of Vasari; but Lanzi, who carefully investigated the whole
+subject, finds no<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> just reason to claim for his countrymen priority of
+the invention, or to doubt the correctness of Vasari's statement in the
+main. Those old paintings at Milan, Pisa, Naples, Vienna, and elsewhere,
+have been carefully examined and proved to have been painted in
+encaustic or distemper. This subject will be found fully discussed in
+Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects,
+under the articles John and Hubert van Eyck, Antonello da Messina,
+Domenico Veneziano, Andrea del Castagno, and Roger of Bruges.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FORESHORTENING.</h2>
+
+<p>Foreshortening is the art of representing figures and objects as they
+appear to the eye, viewed in positions varying from the perpendicular.
+The meaning of the term is exemplified in the celebrated Ascension, in
+the Piet&aacute; d&eacute; T&aacute;rchini, at Naples, by Luca Giordano, in which the body of
+Christ is so much foreshortened, that the toes appear to touch the
+knees, and the knees the chin. This art is one of the most difficult in
+painting, and though absurdly claimed as a modern invention, was well
+known to the ancients. Pliny speaks expressly of its having been
+practised by Parrhasius and Pausias. Many writers erroneously attribute
+the invention to Correggio; but Lanzi says, "it was discovered and
+enlarged by Melozzo da Forli, improved by Andrea Mantegna and his
+school, and perfected by Correggio and<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span> others." About the year 1472,
+Melozzo painted his famous fresco of the Ascension in the great chapel
+of the Santi Apostoli at Rome. Vasari says of this work, "the figure of
+Christ is so admirably foreshortened, as to appear to pierce the vault;
+and in the same manner, the Angels are seen sweeping through the fields
+of air in different directions." This work was so highly esteemed that
+when the chapel was rebuilt in 1711, the painting was cut out of the
+ceiling with the greatest care, and placed in the Quirinal palace, where
+it is still preserved.</p>
+
+
+<hr style="width: 65%;" />
+<h2>METHOD OF TRANSFERRING PAINTINGS FROM WALLS AND PANELS TO CANVASS.</h2>
+
+<p>According to Lanzi, Antonio Contri discovered a valuable process, by
+means of which he was enabled to transfer fresco paintings from walls to
+canvass, without the least injury to the work, and thus preserved many
+valuable paintings by the great masters, which obtained him wide
+celebrity and profitable employment. For this purpose, he spread upon a
+piece of canvass of the size of the painting to be transferred, a
+composition of glue or bitumen, and placed it upon the picture. When
+this was sufficiently dry, he beat the wall carefully with a mallet, cut
+the plaster around it, and applied to the canvass a wooden frame, well
+propped, to sustain it, and then, after a few days, cautiously removed
+the canvass, which brought the painting with it; and<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> having extended it
+upon a smooth table he applied to the back of it another canvass
+prepared with a more adhesive composition than the former. After a few
+days, he examined the two pieces of canvass, detached the first by means
+of warm water, which left the whole painting upon the second as it was
+originally upon the wall.</p>
+
+<p>Contri was born at Ferrara about 1660, and died in 1732. Palmaroli, an
+Italian painter of the present century, rendered his name famous, and
+conferred a great benefit on art by his skill in transferring to canvass
+some of the frescos and other works of the great masters. In 1811 he
+transferred the famous fresco of the Descent from the Cross by Daniello
+da Volterra (erroneously said, as related above, to have been the first
+effort of the kind), which gained him immense reputation. He was
+employed to restore a great number of works at Rome, and in other
+places. He was invited to Germany, where, among other works, he
+transferred the Madonna di San Sisto, by Raffaelle, from the original
+panel, which was worm-eaten and decayed, and thus preserved one of the
+most famous works of that prince of painters. At the present time, this
+art is practised with success in various European cities, particularly
+in London and Paris.</p>
+
+
+<hr style="width: 65%;" />
+<h2>WORKS IN SCAGLIOLA.</h2>
+
+<p>Guido Fassi, called del Conte, a native of Carpi, born in 1584, was the
+inventor of a valuable kind<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> of work in imitation of marble, called by
+the Italians <i>Scagliola</i> or <i>Mischia</i>, which was subsequently carried to
+great perfection, and is now largely employed in the imitation of works
+in marble. The stone called <i>selenite</i> forms the principal ingredient.
+This is pulverized, mixed with colors and certain adhesive substances
+which gradually become as hard as stone, capable of receiving a high
+polish. Fassi made his first trials on cornices, and gave them the
+appearance of fine marble, and there remain two altar-pieces by him in
+the churches of Carpi. From him, the method rapidly spread over Italy,
+and many artists engaged in this then new art. Annibale Griffoni, a
+pupil of Fassi, applied the art to monuments. Giovanni Cavignani, also a
+pupil of Fassi, far surpassed his master, and executed an altar of St.
+Antonio, for the church of S. Niccolo, at Carpi, which is still pointed
+out as something extraordinary. It consists of two columns of porphyry
+adorned with a pallium, covered with lace, which last is an exact
+imitation of the covering of an altar, while it is ornamented in the
+margin with medals, bearing beautiful figures. In the Cathedral at
+Carpi, is a monument by one Ferrari, which so perfectly imitates marble
+that it cannot be distinguished from it, except by fracture. It has the
+look and touch of marble. Lanzi, from whom these facts are obtained,
+says that these artists ventured upon the composition of pictures,
+intended to represent engravings as well as oil paintings, and that<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+there are several such works, representing even historical subjects, in
+the collections of Carpi. Lanzi considers this art of so much
+importance, that he thus concludes his article upon it: "After the
+practice of modeling had been brought to vie with sculpture, and after
+engraving upon wood had so well counterfeited works of design, we have
+to record this third invention, belonging to a State of no great
+dimensions. Such a fact is calculated to bring into higher estimation
+the geniuses who adorned it. There is nothing of which man is more
+ambitious, than of being called an inventor of new arts; nothing is more
+flattering to his intellect, or draws a broader line between him and the
+animals. Nothing was held in higher reverence by the ancients, and hence
+it is that Virgil, in his Elysian Fields, represented the band of
+inventors with their brows bound with white chaplets, equally distinct
+in merit as in rank, from the more vulgar shades around them."</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE GOLDEN AGE OF PAINTING.</h2>
+
+<p>"We have now arrived," says Lanzi, "at the most brilliant period of the
+Roman school, and of modern painting itself. We have seen the art
+carried to a high degree of perfection by Da Vinci and Buonarotti, at
+the beginning of the sixteenth century, and it is remarkable that the
+same period embraces not only Rafaelle, but also Correggio, Giorgione,
+Titian, and the most celebrated Venetian paint<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span>ers; so that a man
+enjoying the common term of life might have seen the works of all these
+illustrious masters. The art in a few years thus reached a height to
+which it had never before attained, and which has never been rivalled,
+except in the attempt to imitate these early masters, or to unite in one
+style their various and divided excellencies. It seems an ordinary law
+of providence that individuals of consummate genius should be born and
+flourish at the same period, or at least at short intervals from each
+other, a circumstance of which Velleius Paterculus protested he could
+never discover the real cause. 'I observe,' he says, 'men of the same
+commanding genius making their appearance together, in the smallest
+possible space of time; as it happens in the case of animals of
+different kinds, which, confined in a close place, nevertheless, each
+selects its own class, and those of a kindred race separate themselves
+from the rest. A single age sufficed to illustrate Tragedy, in the
+persons of &AElig;schylus, Sophocles, and Euripides: ancient comedy under
+Cratinus, Aristophanes, and Eumolpides, and in like manner the new
+comedy under Menander, Diphilus, and Philemon. There appeared few
+philosophers of note after the days of Plato and Aristotle, and whoever
+has made himself acquainted with Isocrates and his school, is acquainted
+with the summit of Grecian eloquence.' The same remark applies to other
+countries. The great Roman writers are included under the single age of
+Octavius: Leo X. was the Augustus of modern<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> Italy; the reign of Louis
+XIV. was the brilliant period of French letters; that of Charles II. of
+the English."</p>
+
+<p>This rule applies equally to the fine arts. <i>Hoc idem</i>, proceeds
+Velleius, <i>evenisse plastis, pictoribus, sculptoribus, quisquis temporum
+institerit notis reperiet, et eminentiam cujusque operis artissimis
+temporum claustris circumdatum</i>. Of this union of men of genius in the
+same age, <i>Causus</i>, he says, <i>quum sempre requiro, numquam invenio quas
+veras confidam</i>. It seems to him probable that when a man finds the
+first station in art occupied by another, he considers it as a post that
+has been rightfully seized on, and no longer aspires to the possession
+of it, but is humiliated, and contented to follow at a distance. But
+this solution does not satisfy my mind. It may indeed account to us why
+no other Michael Angelo, or Raffaelle, has ever appeared; but it does
+not satisfy me why these two, and the others before mentioned, should
+all have appeared in the same age. I am of opinion that the age is
+always influenced by certain principles, universally adopted both by
+professors of the art, and by amateurs; which principles happening at a
+particular period to be the most just and accurate of their kind,
+produce in that age some pre&euml;minent professors, and a number of good
+ones. These principles change through the instability of all human
+affairs, and the age partakes in the change. I may add that these happy
+periods never occur without<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> the circumstance of a number of princes and
+influential individuals rivalling each other in the encouragement of
+works of taste; and amidst these there always arise persons of
+commanding genius, who give a bias and tone to art. The history of
+sculpture in Athens, where munificence and taste went hand in hand,
+favors my opinion, and it is confirmed by this golden period of Italian
+art. Nevertheless, I do not pretend to give a verdict on this important
+question, but leave the decision of it to a more competent tribunal.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.</h2>
+
+<p>"The reign of Augustus was the golden age of science and the fine arts.
+Grecian architecture at that period was so encouraged at Rome, that
+Augustus could with reason boast of having left a city of marble where
+he had found one of brick. In the time of the C&aelig;sars, fourteen
+magnificent aqueducts, supported by immense arches, conducted whole
+rivers to Rome, from a distance of many miles, and supplied 150 public
+fountains, 118 large public baths, besides the water necessary for those
+artificial seas in which naval combats were represented: 100,000 statues
+ornamented the public squares, the temples, the streets, and the houses;
+90 colossal statues raised on pedestals; 48 obelisks of Egyptian
+granite, besides, adorned various parts of the city; nor was this
+stupendous magnificence confined to Rome, or even to Italy. All the
+pro<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span>vinces of the vast empire were embellished by Augustus and his
+successors, by the opulent nobles, by the tributary kings and the
+allies, with temples, circuses, theatres, palaces, aqueducts,
+amphitheatres, bridges, baths, and new cities. We have, unfortunately,
+but scanty memorials of the architects of those times; and, amidst the
+abundance of magnificent edifices, we search in vain for the names of
+those who erected them. However much the age of Augustus may be exalted,
+we cannot think it superior, or even equal to that of Alexander: the
+Romans were late in becoming acquainted with the arts; they cultivated
+them more from pride and ostentation than from feeling. Expensive
+collections were frequently made, without the possessors understanding
+their value; they knew only that such things were in reputation, and, to
+render themselves of consequence, purchased on the opinion of others. Of
+this, the Roman history gives frequent proofs. Domitian squandered seven
+millions in gilding the temple of Jupiter Capitolinus only, bringing
+from Athens a number of columns of Pentelic marble, extremely beautiful,
+and of good proportion, but which were recut and repolished, and thus
+deprived of their symmetry and grace. If the Romans did possess any
+taste for the fine arts, they left the exercise of it to the
+conquered&mdash;to Greece, who had no longer her Solon, Lycurgus,
+Themistocles, and Epaminondas, but was unarmed, depressed, and had
+become the slave of Rome. 'Gr&aelig;cia capta ferum victorem<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span> cepit.' How poor
+are such triumphs to those gained by the fine arts! The means by which
+Greece acquired and maintained such excellence, is worthy of an inquiry.
+It is generally allowed that climate and government have a powerful
+influence on the intellect. Greece was peculiarly favored in these two
+points; her atmosphere was serene and temperate, and being divided into
+a number of small, but independent states, a spirit of emulation was
+excited, which continually called forth some improvement in the liberal
+arts. The study of these formed a principal branch of education in the
+academies and schools, to which none but the free youth were admitted.
+To learning alone was the tribute of applause offered. At those solemn
+festivals to which all Greece resorted, whoever had the plurality of
+votes was crowned in the presence of the whole assembly, and his efforts
+afterwards rewarded with an immense sum of money; sometimes a million of
+crowns. Statues, with inscriptions, were also raised to those who had
+thus distinguished themselves, and their works, or whatever resembled
+them, for ever after bore their names; distinctions far more flattering
+than any pecuniary reward. Meticus gave his to a square which he built
+at Athens, and the appellation of Agaptos was applied to the porticos of
+the stadium. Zeuxis, when he painted Helen, collected a number of
+beautiful women, as studies for his subject: when completed, the
+Agrigentines, who had ordered it, were so delighted<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span> with this
+performance, that they requested him to accept of five of the ladies.
+Thebes, and other cities, fined those that presented a bad work, and
+looked on them ever afterwards with derision. The applause bestowed on
+the best efforts, was repeated by the orators, the poets, the
+philosophers, and historians; the Cow of Miron, the Venus of Apelles,
+and the Cupid of Praxiteles, have exercised every pen. By these means
+Greece brought the fine arts to perfection; by neglecting them, Rome
+failed to equal her; and, by pursuing the same course, every country may
+become as refined as Greece."&mdash;<i>Milizia</i>.</p>
+
+
+<hr style="width: 65%;" />
+<h2>NERO'S GOLDEN PALACE.</h2>
+
+<p>According to Tacitus, Nero's famous golden palace was one of the most
+magnificent edifices ever built, and far surpassed all that was
+stupendous and beautiful in Italy. It was erected on the site of the
+great conflagration at Rome, which was attributed by many to the
+wickedness of the tyrant. His statue, 120 feet high, stood in the midst
+of a court, ornamented with porticos of three files of lofty columns,
+each full a mile long; the gardens were of vast extent, with vineyards,
+meadows, and woods, filled with every sort of domestic and wild animals;
+a pond was converted into a sea, surrounded by a sufficient number of
+edifices to form a city; pearls, gems, and the most precious materials
+were used everywhere, and especially gold, the<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> profusion of which,
+within and without, and ever on the roofs, caused it to be called the
+Golden House; the essences and costly perfumes continually shed around,
+showed the extreme extravagance of the inhuman monster who seized on the
+wealth of the people to gratify his own desires. Among other curiosities
+was a dining-room, in which was represented the firmament, constantly
+revolving, imitative of the motion of the heavenly bodies; from it was
+showered down every sort of odoriferous waters. This great palace was
+completed by Otho, but did not long remain entire, as Vespasian restored
+to the people the lands of which Nero had unjustly deprived them, and
+erected in its place the mighty Colosseum, and the magnificent Temple of
+Peace.</p>
+
+
+<hr style="width: 65%;" />
+<h2>NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.</h2>
+
+<p>According to Pliny, Saurus and Batrarchus, two Lacedemonian architects,
+erected conjointly at their own expense, certain temples at Rome, which
+were afterwards enclosed by Octavius. Not being allowed to inscribe
+their names, they carved on the pedestals of the columns a lizard and a
+frog, which indicated them&mdash;<i>Saurus</i> signifying a lizard, and
+<i>Batrarchus</i> a frog. Milizia says that in the church of S. Lorenzo there
+are two antique Ionic capitals with a lizard and a frog carved in the
+eyes of the volutes, which are probably those alluded to by<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span> Pliny,
+although the latter says <i>pedestal</i>. Modern painters and engravers have
+frequently adopted similar devices as a <i>rebus</i>, or enigmatical
+representation of their names. See Spooner's Dictionary of Painters,
+Engravers, Sculptors, and Architects; Key to Monograms and Ciphers, and
+the twenty-four plates.</p>
+
+
+<hr style="width: 65%;" />
+<h2>TRIUMPHAL ARCHES.</h2>
+
+<p>Triumphal arches are monuments consisting of a grand portico or archway,
+erected at the entrance of a town, upon a bridge, or upon a public road,
+to the glory of some celebrated general, or in memory of some important
+event. The invention of these structures is attributed to the Romans.
+The earliest specimens are destitute of any magnificence. For a long
+time, they consisted merely of a plain arch, at the top of which was
+placed the trophies and statue of the triumpher. Subsequently the span
+was enlarged, the style enriched, and a profusion of all kinds of
+sculptures and ornaments heaped upon them. The triumphal arches varied
+greatly in point of construction, form, and decoration. The arch of
+Constantine at Rome is the best preserved of all the great antique
+arches; the Arch of Septimus Severus at the foot of the Capitoline hill,
+greatly resembles that of Constantine. The Arch of Titus is the most
+considerable at Rome. The Arch of Benvenuto, erected in honor of Trajan,
+is one of the most remarkable relics of antiquity, as<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> well on account
+of its sculptures as its architecture. The Arch of Trajan at Ancona is
+also one of the most elegant works of the kind. The Arch of Rimini,
+erected in honor of Augustus, on the occasion of his repairing the
+Flaminian Way from that town to Rome, is the most ancient of all the
+antique arches, and from its size, one of the noblest existing. Many
+beautiful structures of this kind have been erected in modern times, but
+principally on the plan, and in imitation of some of the above
+mentioned. Ancient medals often bear signs of this species of
+architecture, and some of them represent arches that have ceased to
+exist for centuries. Triumphal arches seem to have been in use among the
+Chinese in very ancient times. Milizia says, "There is no country in the
+world in which those arches are so numerous as in China. They are found
+not only in the cities but on the mountains; and are erected in the
+public streets in honor of princes, generals, philosophers, and
+mandarins, who have benefitted the public, or signalized themselves by
+any great action; there are more than 1100 of these latter, 200 of which
+are of extraordinary size and beauty; there are also some in honor of
+females. The Chinese annals record 3636 men who have merited triumphal
+arches." Milizia also says, the friezes of the Chinese arches are of
+great height, and ornamented with sculpture. The highest arches are
+twenty-five feet, embellished with human figures, animals, flowers, and
+grotesque forms, in various attitudes, and in full relief.<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>STATUE OF POMPEY THE GREAT.</h2>
+
+<p>The large Statue of Pompey, formerly in the collection of the Cardinal
+Spada, is supposed to be the same as that, at the base of which "Great
+C&aelig;sar fell." It was found on the very spot where the Senate was held on
+the fatal ides of March, while some workmen were engaged in making
+excavations, to erect a private house. The Statue is not only
+interesting from its antiquity and historical associations, but for a
+curious episode that followed its discovery. The trunk lay in the ground
+of the discoverer, but the head projected into that of his neighbor;
+this occasioned a dispute as to the right of possession. The matter was
+at length referred to the decision of Cardinal Spada, who, like the wise
+man of old, ordered the Statue to be decapitated, and division made
+according to <i>position</i>&mdash;the trunk to one claimant, and the head to the
+other. The object of the wily Cardinal was not so much justice, as to
+get possession of the Statue himself, which he afterwards did, at a
+tithe of what it would otherwise have cost him. The whole cost him only
+500 crowns.</p>
+
+
+<hr style="width: 65%;" />
+<h2>OF ANTIQUE SCULPTURES IN ROME.</h2>
+
+<p>In 1824, there were more than 10,600 pieces of ancient sculpture in
+Rome; (statues, busts, and relievos,) and upwards of 6300 ancient
+columns of marble. What multitudes of the latter have been<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> sawed up for
+tables, and for wainscotting chapels, or mixed up with walls, and
+otherwise destroyed! And what multitudes may yet lie undiscovered
+underneath the many feet of earth and rubbish which buries ancient Rome!
+When we reflect on this, it may give us some faint idea of the vast
+magnificence of Rome in all its pristine splendor!</p>
+
+
+<hr style="width: 65%;" />
+<h2>ANCIENT MAP OF ROME.</h2>
+
+<p>The Ichnography of Rome, in the fine collection of antiquities in the
+Palazzo Farnese, was found in the temple of Romulus and Remus, which is
+now dedicated to Sts. Cosmo and Damiano, who were also twin brothers.
+Though incomplete, it is one of the most useful remains of antiquity.
+The names of the particular buildings and palaces are marked upon it, as
+well as the outlines of the buildings themselves; and it is so large,
+that the Horrea Lolliana are a foot and a half long; and may serve as a
+scale to measure any other building or palace in it. It is published in
+Gr&oelig;vius's Thesaurus.</p>
+
+
+<hr style="width: 65%;" />
+<h2>JULIAN THE APOSTATE.</h2>
+
+<p>The Emperor Julian commanded Alypius, a learned architect of Antioch,
+who held many important offices under that monarch, to rebuild the
+Temple of Jerusalem, A. D. 363, with the avowed object of falsifying the
+prophecy of our Saviour with regard to that structure. While the
+workmen<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> were engaged in making excavations for the foundation, balls of
+fire issued from the earth and destroyed them. This indication of divine
+wrath against the reprobate Jews and the Apostate Julian, compelled him
+to abandon his project. The story is affirmed by many Christian and
+classic authors.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE TOMB OF MAUSOLUS.</h2>
+
+<p>When Mausolus, king of Caria, died about B. C. 353, his wife Artemisia,
+was so disconsolate, that she drank up his ashes, and resolved to erect
+in the city of Halicarnassus, one of the grandest and noblest monuments
+of antiquity, to celebrate the memory of a husband whom she tenderly
+loved. She therefore employed Bryaxis, Scopas, Timotheus, and Leocarus,
+four of the most renowned sculptors and architects of the golden age of
+Grecian art, to erect that famous mausoleum which was accounted one of
+the seven wonders of the world, and gave its name to all similar
+structures in succeeding ages. Its dimensions on the north and south
+sides were sixty-three feet, the east and west sides were a little
+shorter, and its extreme height was one hundred and forty feet. It was
+surrounded with thirty-six splendid marble columns. Byaxis executed the
+north side, Scopas the east, Timotheus the south, and Leocarus the west.
+Artemisia died before the work was completed; but the artists continued
+their work with unabated zeal, and they endeavored to rival<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> each other
+in the beauty and magnificence with which they decorated this admirable
+work. A fifth sculptor, named Pythis, was added to them, who executed a
+noble four horse chariot of marble, which was placed on a pyramid
+crowning the summit of the mausoleum.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MANDROCLES' BRIDGE ACROSS THE BOSPHORUS.</h2>
+
+<p>Mandrocles, probably a Greek architect in the service of Darius, King of
+Persia, who flourished about B. C. 500, acquired a great name for the
+bridge which he constructed across the Thracian Bosphorus, or Straits of
+Constantinople, by order of that monarch. This bridge was formed of
+boats so ingeniously and firmly united that the innumerable army of
+Persia passed over it from Asia to Europe. To preserve the memory of so
+singular a work, Mandrocles represented in a picture, the Bosphorus, the
+bridge, the king of Persia seated on a throne, and the army that passed
+over it. This picture was preserved in the Temple of Juno at Samos,
+where Herodotus saw it, with this inscription:&mdash;"Mandrocles, after
+having constructed a bridge of boats over the Bosphorus, by order of the
+king Darius of Persia, dedicated this monument to Juno, which does honor
+to Samos, his country, and confers glory on the artificer."</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE COLOSSUS OF THE SUN AT RHODES.</h2>
+
+<p>This prodigious Statue, which, was accounted one of the seven wonders of
+the world, was planned, and<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> probably executed by Chares, an ancient
+sculptor of Lindus, and a disciple of Lysippus. According to Strabo, the
+statue was of brass, and was seventy cubits, or one hundred feet high;
+and Chares was employed upon it twelve years. It was said to have been
+placed at the entrance of the harbor of Rhodes, with the feet upon two
+rocks, in such a manner, that the ships then used in commerce could pass
+in full sail between them. This colossus, after standing fifty-six
+years, was overthrown by an earthquake. An oracle had forbidden the
+inhabitants to restore it to its former position, and its fragments
+remained in the same position until A. D. 667, when Moaviah, a calif of
+the Saracens, who invaded Rhodes in that year, sold them to a Jewish
+merchant, who is said to have loaded nine hundred camels with them.</p>
+
+<p>Pliny says that Chares executed the statue in three years, and he
+relates several interesting particulars, as that few persons could
+embrace its thumb, and that the fingers were as long as an ordinary
+statue. Muratori reckons this one of the fables of antiquity. Though the
+accounts in ancient authors concerning this colossal statue of Apollo
+are somewhat contradictory, they all agree that there was such a statue,
+seventy or eighty cubits high, and so monstrous a fable could not have
+been imposed upon the world in that enlightened age. Some antiquarians
+have thought, with great justice, that the fine head of Apollo which is
+stamped upon the Rhodian medals, is a representation of that of the
+Colossus.<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>STATUES AND PAINTINGS AT RHODES.</h2>
+
+<p>Pliny says, (lib. xxxiv. cap. 7.) that Rhodes, in his time, "possessed
+more than 3000 statues, the greater part finely executed; also paintings
+and other works of art, of more value than those contained in the cities
+of Greece. There was the wonderful Colossus, executed by Chares of
+Lindus, the disciple of Lysippus."</p>
+
+
+<hr style="width: 65%;" />
+<h2>SOSTRATUS' LIGHT-HOUSE ON THE ISLE OF PHAROS.</h2>
+
+<p>This celebrated work of antiquity was built by Sostratus, by order of
+Ptolemy Philadelphus. It was a species of tower, erected on a high
+promontory or rock, on the above mentioned island, then situated about a
+mile from Alexandria. It was 450 ft. high, divided into several stories,
+each decreasing in size; the ground story was hexagonal, the sides
+alternately concave and convex, each an eighth of a mile in length; the
+second and third stories were of the same form; the fourth was a square,
+flanked by four round towers; the fifth was circular. The whole edifice
+was of wrought stone; a magnificent staircase led to the top, where
+fires were lighted every night, visible from the distance of a hundred
+miles, to guide the coasting vessels. Sostratus is said to have engraved
+an inscription on stone, and covered it with a species of cement, upon
+which he sculptured the name of Ptolemy, calculating that the cement
+would decay, and bring to<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> light his original inscription. Strabo says
+it read, <i>Sostratus, the friend of kings, made me</i>. Lucian reports
+differently, and more probably, thus, <i>Sostratus of Cnidus, the son of
+Dexiphanes, to the Gods the Saviors, for the safety of Mariners</i>. It is
+also said that Ptolemy left the inscription to the inclination of the
+architect; and that by the <i>Gods the Saviors</i> were meant the reigning
+king and queen, with their successors, who were ambitious of the title
+of Soteros or Savior.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DINOCRATES' PLAN FOR CUTTING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE
+GREAT.</h2>
+
+<p>According to Vitruvius, this famous architect, having provided himself
+with recommendatory letters to the principal personages of Alexander's
+court, set out from his native country with the hope of gaining, through
+their means, the favor of the monarch. The courtiers made him promises
+which they neglected to perform, and framed various excuses to prevent
+his access to the sovereign; he therefore determined upon the following
+expedient:&mdash;Being of a gigantic and well proportioned stature, he
+stripped himself, anointed his body with oil, bound his head with poplar
+leaves, and throwing a lion's skin across his shoulders, with a club in
+his hand, presented himself to Alexander, in the place where he held his
+public audience. Alexander, astonished at his Herculean figure, desired
+him to approach, demanding, at the same time, his name:&mdash;"I am,"<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> said
+he, "a Macedonian architect, and am come to submit to you designs worthy
+of the fame you have acquired. I have modelled Mount Athos in the form
+of a giant, holding in his right hand a city, and his left a shell, from
+which are discharged into the sea all the rivers collected from the
+mountain." It was impossible to imagine a scheme more agreeable to
+Alexander, who asked seriously whether there would be sufficient country
+round this city to maintain its inhabitants. Dinocrates answered in the
+negative, and that it would be necessary to supply it by sea. Athos
+consequently remained a mountain; but Alexander was so pleased with the
+novelty of the idea, and the genius of Dinocrates, that he at once took
+him into his service. The design of Dinocrates may be found in Fischer's
+History of Architecture. According to Pliny, Dinocrates planned and
+built the city of Alexandria.</p>
+
+
+<hr style="width: 65%;" />
+<h2>POPE'S IDEA OF FORMING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.</h2>
+
+<p>"I cannot conceive," said Spence, the author of Polymetis, to Pope, "how
+Dinocrates could ever have carried his proposal of forming Mount Athos
+into a statue of Alexander the Great, into execution."&mdash;"For my part,"
+replied Pope, "I have long since had an idea how that might be done; and
+if any body would make me a present of a Welch mountain, and pay the
+workmen, I would under<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span>take to see it executed. I have quite formed it
+sometimes in my imagination: the figure must be on a reclining posture,
+because of the hollowing that would be necessary, and for the city's
+being in one hand. It should be a rude unequal hill, and might be helped
+with groves of trees for the eye brows, and a wood for the hair. The
+natural green turf should be left wherever it would be necessary to
+represent the ground he reclines on. It should be so contrived, that the
+true point of view should be at a considerable distance. When you were
+near it, it should still have the appearance of a rough mountain, but at
+the proper distance such a rising should be the leg, and such another an
+arm. It would be best if there were a river, or rather a lake, at the
+bottom of it, for the rivulet that came through his other hand, to
+tumble down the hill, and discharge itself into it."</p>
+
+<p>Diodorus Siculus, says that Semiramis had the mountain Bajitanus, in
+Media, cut into a statue of herself, seventeen stadii high, (about two
+miles) surrounded by one hundred others, probably representing the
+various members of her court. China, among other wonders, is said to
+have many mountains cut into the figures of men, animals, and birds. It
+is probable, however, that all these stories have originated in the
+imagination, from the real or fanciful resemblance of mountains, to
+various objects, which are found in every country, as "The Old Man of
+the Mountain," Mt. Washington, N. H., "St.<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> Anthony's Nose," in the
+Highlands, "Camel's Rump," Green Mountains, "Giant of the Valley," on
+lake Champlain, &amp;c. It is easy to imagine a mountain as a cloud, "almost
+in shape of a camel," "backed like a weasel," or "very like a whale."</p>
+
+
+<hr style="width: 65%;" />
+<h2>TEMPLE WITH AN IRON STATUE SUSPENDED IN THE AIR BY LOADSTONE.</h2>
+
+<p>According to Pliny, Dinocrates built a temple at Alexandria, in honor of
+Arsinoe, sister and wife of Ptolemy Philadelphus. The whole interior was
+to have been incrusted with loadstone, in order that the statue of the
+princess, composed of iron, should be suspended in the centre, solely by
+magnetic influence. On the death of Ptolemy and of the architect, the
+idea was abandoned, and has never been executed elsewhere, though
+believed to be practicable. A similar fable was invented of the tomb of
+Mahomet.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE TEMPLE OF JUPITER OLYMPIUS AT ATHENS.</h2>
+
+<p>According to Vitruvius, Pisistratus, who flourished about B. C. 555,
+employed the four Grecian architects, Antistates, Antimachides,
+Calleschros, and Porinus, to erect this famous temple in the place of
+one built in the time of Deucalion, which the storms of a thousand years
+had destroyed. They proceeded so far with it that Pisistratus was
+enabled to dedicate it, but after his death the work ceased; and the
+completion of the temple, so mag<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span>nificent and grand in its design that
+it impressed the beholder with wonder and awe, became the work of after
+ages. Perseus, king of Macedonia, and Antiochus Epiphanes, nearly four
+hundred years after Pisistratus, finished the grand nave, and placed the
+columns of the portico, Cossutius, a Roman, being the architect. It was
+considered, and with good reason, one of the four celebrated marble
+temples of Greece: the other three were that of Diana, at Ephesus;
+Apollo, at Miletus; and Ceres, at Eleusis. The Corinthian order
+prevailed in its design. In the siege that Sylla laid to Athens, this
+temple was greatly injured, but the allied kings afterwards restored it
+at their common expense, intending to dedicate it to the genius of
+Augustus. Livy says that among so many temples, this was the only one
+worthy of a god. Pausanias says the Emperor Adrian enclosed it with a
+wall, as was usual with the Grecian temples, of half a mile in
+circumference, which the cities of Greece adorned with statues erected
+to that monarch. The Athenians distinguished themselves by the elevation
+of a colossal statue behind the temple. This enclosure was also
+ornamented with a peristyle, one hundred rods in length, supported by
+superb marble Corinthian columns, and to this fa&ccedil;ade were three grand
+vestibules which led to the temple. Adrian dedicated it a second time.
+In the temple was placed a splendid statue of Jupiter Olympius, of gold
+and ivory; and the courtiers added four statues of the Emperor.<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> This
+wonderful structure, which is said to have cost five millions of
+<i>scudi</i>, is now in ruins. Sixteen Corinthian columns are still standing,
+six feet four inches and some six feet six inches, in diameter. The
+length of the temple, according to Stuart, upon the upper step, was
+three hundred and fifty-four feet, and its breadth one hundred and
+seventy-one feet; the entire length of the walls of the peribolous is
+six hundred and eighty-eight feet, and the width four hundred and
+sixty-three feet.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE PARTHENON AT ATHENS.</h2>
+
+<p>This celebrated temple was built by Ictinus and Callicrates, two Greek
+architects who flourished about B. C. 430. Ictinus was celebrated for
+the magnificent temples which he erected to the heathen gods. Among
+these were the famous Doric temple of Ceres and Proserpine at Eleusis,
+of which he built the outer cell, capable of accommodating thirty
+thousand persons; also the temple of Apollo, near Mount Cotylion, in
+Arcadia, which was considered one of the finest of antiquity, and was
+vaulted with stone. But his most important work was the famous Parthenon
+at Athens, erected within the citadel, by Ictinus and Callicrates, by
+order of Pericles. According to Vitruvius, the two artists exerted all
+their powers to make this temple worthy the goddess who presided over
+the arts. The plan was a rectangle, like most of the Greek and Roman;<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>
+its length from east to west, was 227 feet 7 inches, and its width 101
+feet 2 inches, as measured on the top step. It was peripteral,
+octastyle; that is, surrounded with a portico of columns, with eight to
+each fa&ccedil;ade. The height of the columns was 34 feet, and their diameter 6
+feet. Within the outer portico was a second, also formed of isolated
+columns, but elevated two steps higher than the first; from thence the
+interior of the temple was entered, which contained the famous statue of
+Minerva in gold and ivory, by Phidias. This famous temple was built
+entirely of white marble, and from its elevated position, could be seen
+from an immense distance. On a nearer approach, it was admired for the
+elegance of its proportions, and the beauty of the bas-reliefs with
+which its exterior was decorated. It was preserved entire until 1677,
+when it was nearly destroyed by an explosion during the siege of Athens
+by Morosini. It was further dilapidated by the Turks, and afterwards by
+Lord Elgin, who removed all the bas-reliefs and other ornaments
+practicable, and transported them to London, where they now adorn the
+British Museum. King Otho has adopted measures to preserve the edifice
+from further mischief.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE ELGIN MARBLES.</h2>
+
+<p>The following exceedingly interesting account of the removal of the
+sculptures from the Parthenon, is extracted from Hamilton's "Memorandum
+on the<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span> Subject of the Earl of Elgin's Pursuits in Greece."</p>
+
+<p>"In the year 1799, when Lord Elgin was appointed his majesty's
+ambassador extraordinary to the Ottoman Porte, he was in habits of
+frequent intercourse with Mr. Harrison, an architect of great eminence
+in the west of England, whom his lordship consulted on the benefits that
+might possibly be derived to the arts in this country, in case an
+opportunity could be found for studying minutely the architecture and
+sculpture of ancient Greece; whose opinion was, that although we might
+possess exact admeasurements of the public buildings in Athens, yet a
+young artist could never form to himself an adequate conception of their
+minute details, combinations, and general effects, without having before
+him some such sensible representation of them as might be conveyed by
+casts."</p>
+
+<p>On this suggestion Lord Elgin proposed to his majesty's government, that
+they should send out English artists of known eminence, capable of
+collecting this information in the most perfect manner; but the prospect
+appeared of too doubtful an issue for ministers to engage in the expense
+attending it. Lord Elgin then endeavored to engage some of these artists
+at his own charge; but the value of their time was far beyond his means.
+When, however, he reached Sicily, on the recommendation of Sir William
+Hamilton, he was so fortunate as to prevail on Don Tita Lusieri, one of
+the best general painters in Europe, of great knowledge in the<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> arts,
+and of infinite taste, to undertake the execution of this plan; and Mr.
+Hamilton, who was then accompanying Lord Elgin to Constantinople,
+immediately went with Signor Lusieri to Rome, where, in consequence of
+the disturbed state of Italy, they were enabled to engage two of the
+most eminent <i>formatori</i> or moulders, to make the <i>madreformi</i> for the
+casts; Signor Balestra, a distinguished architect there, along with
+Ittar, a young man of promising talents, to undertake the architectural
+part of the plan; and one Theodore, a Calmouk, who during several years
+at Rome, had shown himself equal to the first masters in the design of
+the human figure.</p>
+
+<p>After much difficulty, Lord Elgin obtained permission from the Turkish
+government to establish these six artists at Athens, where they
+systematically prosecuted the business of their several departments
+during three years, under the general superintendence of Lusieri.</p>
+
+<p>Accordingly every monument, of which there are any remains in Athens,
+has been thus most carefully and minutely measured, and from the rough
+draughts of the architects (all of which are preserved), finished
+drawings have been made by them of the plans, elevations, and details of
+the most remarkable objects; in which the Calmouk has restored and
+inserted all the sculpture with exquisite taste and ability. He has
+besides made accurate drawings of all the bas-reliefs on the several
+temples, in the pre<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span>cise state of decay and mutilation in which they at
+present exist.</p>
+
+<p>Most of the bassi rilievi, and nearly all the characteristic features of
+architecture in the various monuments at Athens, have been moulded, and
+the moulds of them brought to London.</p>
+
+<p>Besides the architecture and sculpture at Athens, all similar remains
+which could be traced through several parts of Greece have been measured
+and delineated with the most scrupulous exactness, by the second
+architect Ittar.</p>
+
+<p>In the prosecution of this undertaking, the artists had the
+mortification of witnessing the very <i>willful devastation to which all
+the sculpture, and even the architecture, were daily exposed on the part
+of the Turks and travelers</i>: the former equally influenced by mischief
+and by avarice, the latter from an anxiety to become possessed, each
+according to his means, of some relic, however small, of buildings or
+statues which had formed the pride of Greece. The Ionic temple on the
+Ilyssus which, in Stuart's time, about the year 1759, was in tolerable
+preservation, had so entirely disappeared, that its foundation was no
+longer to be ascertained. Another temple near Olympia had shared a
+similar fate within the recollection of many. The temple of Minerva had
+been converted into a powder magazine, and was in great part shattered
+from a shell falling upon it during the bombardment of Athens by the
+Venetians, towards the end of the seventeenth century;<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span> and even this
+accident has not deterred the Turks from applying the beautiful temple
+of Neptune and Erectheus to the same use, whereby it is still constantly
+exposed to a similar fate. Many of the statues over the entrance of the
+temple of Minerva, which had been thrown down by the explosion, had been
+powdered to mortar, because they offered the whitest marble within
+reach; and parts of the modern fortification, and the miserable houses
+where this mortar had been so applied, are easily traced. In addition to
+these causes of degradation, the Turks will frequently climb up the
+ruined walls and amuse themselves in defacing any sculpture they can
+reach; or in breaking columns, statues, or other remains of antiquity,
+in the fond expectation of finding within them some hidden treasures.</p>
+
+<p>Under these circumstances, Lord Elgin felt himself irresistibly impelled
+to endeavor to preserve, by removal from Athens, any specimens of
+sculpture he could, without injury, rescue from such impending ruin. He
+had, besides, another inducement, and an example before him, in the
+conduct of the last French embassy sent to Turkey before the Revolution.
+French artists did then attempt to remove several of the sculptured
+ornaments from several edifices in the Acropolis, and particularly from
+the Parthenon. In lowering one of the Metopes the tackle failed, and it
+was dashed to pieces; one other object was conveyed to France, where it
+is held in the highest estimation, and where it occupies<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span> a conspicuous
+place in the gallery of the Louvre, and constituted national property
+during the French Revolution. The same agents were remaining at Athens
+during Lord Elgin's embassy, waiting only the return of French influence
+at the Porte to renew their operations. Actuated by these inducements,
+Lord Elgin made every exertion; and the sacrifices he has made have been
+attended with such entire success, that he has brought to England from
+the ruined temples at Athens, from the modern walls and fortifications,
+in which many fragments had been used as blocks for building, and from
+excavations from amongst the ruins, made on purpose, such a mass of
+Athenian sculpture, in statues, alti and bassi rilievi, capitals,
+cornices, friezes, and columns as, with the aid of a few of the casts,
+to present all the sculpture and architecture of any value to the artist
+or man of taste which can be traced at Athens.</p>
+
+<p>In proportion as Lord Elgin's plan advanced, and the means accumulated
+in his hands towards affording an accurate knowledge of the works of
+architecture and sculpture in Athens and in Greece, it became a subject
+of anxious inquiry with him, in what way the greatest degree of benefit
+could be derived to the arts from what he had been so fortunate as to
+procure.</p>
+
+<p>In regard to the works of the architects employed by him, he had
+naturally, from the beginning, looked forward to their being engraved;
+and accordingly<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> all such plans, elevations, and details as to those
+persons appeared desirable for that object, were by them, and on the
+spot, extended with the greatest possible care for the purpose of
+publication. Besides these, all the working sketches and measurements
+offer ample materials for further drawings, if they should be required.
+It was Lord Elgin's wish that the whole of the drawings might be
+executed in the highest perfection of the art of engraving; and for this
+purpose a fund should be raised by subscription, exhibition, or
+otherwise; by aid of which these engravings might still be
+distributable, for the benefit of artists, at a rate of expense within
+the means of professional men.</p>
+
+<p>Great difficulty occurred in forming a plan for deriving the utmost
+advantage from the marbles and casts. Lord Elgin's first attempt was to
+have the statues and bassi rilievi restored; and in that view he went to
+Rome to consult and to employ Canova. The decision of that most eminent
+artist was conclusive. On examining the specimens produced to him, and
+making himself acquainted with the whole collection, and particularly
+with what came from the Parthenon, by means of the persons who had been
+carrying on Lord Elgin's operations at Athens, and who had returned with
+him to Rome, Canova declared, "That however greatly it was to be
+lamented that these statues should have suffered so much from time and
+barbarism, yet it was undeniable that they never had been retouched;
+that<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span> they were the work of the ablest artists the world had ever seen;
+executed under the most enlightened patron of the arts, and at a period
+when genius enjoyed the most liberal encouragement, and had attained the
+highest degree of perfection; and that they had been found worthy of
+forming the decoration of the most admired edifice ever erected in
+Greece. That he should have had the greatest delight, and derived the
+greatest benefit from the opportunity Lord Elgin offered him of having
+in his possession and contemplating these inestimable marbles." But
+(<i>his expression was</i>) "it would be sacrilege in him or any man to
+presume to touch them with his chisel." Since their arrival in this
+country they have been laid open to the inspection of the public; and
+the opinions and impressions, not only of artists, but of men of taste
+in general, have thus been formed and collected.</p>
+
+<p>From these the judgment pronounced by Canova has been universally
+sanctioned; and all idea of restoring the marbles deprecated. Meanwhile
+the most distinguished painters and sculptors have assiduously attended
+the Museum, and evinced the most enthusiastic admiration of the
+perfection to which these marbles now prove to them that Phidias had
+brought the art of sculpture, and which had hitherto only been known
+through the medium of ancient authors. They have attentively examined
+them, and they have ascertained that they were executed with the most
+scrupulous anatomical truth,<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span> not only in the human figure, but in the
+various animals to be found in this collection. They have been struck
+with the wonderful accuracy, and at the same time, the great effect of
+minute detail; and with the life and expression so distinctly produced
+in every variety of attitude and action. Those more advanced in years
+have testified great concern at not having had the advantage of studying
+these models; and many who have had the opportunity of forming a
+comparison (among these are the most eminent sculptors and painters in
+this metropolis), have publicly and unequivocally declared, that in the
+view of professional men, this collection is far more valuable than any
+other collection in existence.</p>
+
+<p>With such advantages as the possession of these unrivalled works of art
+afford, and with an enlightened and encouraging protection bestowed on
+genius and the arts, it may not be too sanguine to indulge a hope, that,
+prodigal as nature is in the perfections of the human figure in this
+country, animating as are the instances of patriotism, heroic actions,
+and private virtues deserving commemoration, sculpture may soon be
+raised in England to rival these, the ablest productions of the best
+times of Greece. The reader is referred to the synopsis of the British
+Museum, and to the Chevalier Visconti's Memoirs, before quoted, for
+complete and authentic catalogues of these marbles, but the following
+brief abstract is necessary to give a view of what they consist, to
+readers who may reside at a distance<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> from the metropolis, or have not
+those works at hand.</p>
+
+<p>In that part of the collection which came from the eastern pediment of
+the Parthenon are several statues and fragments, consisting of two
+horses' heads in one block, and the head of one of the horses of Night,
+a statue of Hercules or Theseus, a group of two female figures, a female
+figure in quick motion, supposed to be Iris, and a group of two
+goddesses, one represented sitting, and the other half reclining on a
+rock. Among the statues and fragments from the western pediment are part
+of the chest and shoulders of the colossal figure in the centre,
+supposed to be Neptune, a fragment of the colossal figure of Minerva, a
+fragment of a head, supposed to belong to the preceding, a fragment of a
+statue of Victory, and a statue of a river god called Ilissus, and
+several fragments of statues from the pediments, the names or places of
+which are not positively ascertained, among which is one supposed to
+have been Latona, holding Apollo and Diana in her arms; another of the
+neck and arms of a figure rising out of the sea, called Hyperion, or the
+rising Sun; and a torso of a male figure with drapery thrown over one
+shoulder. The metopes represent the battles between the Centaurs and
+Lapith&aelig;, at the nuptials of Pirithous. Each metope contains two figures,
+grouped in various attitudes; sometimes the Lapith&aelig;, sometimes the
+Centaurs victorious. The figure of one of the La<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span>pith&aelig;, who is lying
+dead and trampled on by a Centaur, is one of the finest productions of
+the art, as well as the group adjoining to it of Hippodamia, the bride,
+carried off by the Centaur Eurytion; the furious style of whose
+galloping in order to secure his prize, and his shrinking from the spear
+that has been hurled after him, are expressed with prodigious animation.
+They are all in such high relief as to seem groups of statues; and they
+are in general finished with as much attention behind as before.</p>
+
+<p>They were originally continued round the entablature of the Parthenon,
+and formed ninety-two groups. The frieze which was carried along the
+outer walls of the cell offered a continuation of sculptures in low
+relief, and of the most exquisite beauty. It represented the whole of
+the solemn procession to the temple of Minerva during the Panathenaic
+festival; many of the figures are on horseback, others are about to
+mount, some are in chariots, others on foot, oxen and other victims are
+led to sacrifice, the nymphs called Canephor&aelig;, Skiophor&aelig;, &amp;c., are
+carrying the sacred offering in baskets and vases; there are priests,
+magistrates, warriors, deities, &amp;c., forming altogether a series of most
+interesting figures in great variety of costume, armor, and attitude.</p>
+
+<p>From the Opisthodomus of the Parthenon, Lord Elgin also procured some
+valuable inscriptions, written in the manner called Kionedon or
+columnar. The subjects of these monuments are public decrees<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> of the
+people, accounts of the riches contained in the treasury, and delivered
+by the administrators to their successors in office, enumerations of the
+statues, the silver, gold, and precious stones, deposited in the temple,
+estimates for public works, &amp;c.</p>
+
+
+<hr style="width: 65%;" />
+<h2>ODEON, OR ODEUM.</h2>
+
+<p>The first Odeon, (&#8033;&#948;&#949;&#953;&#959;&#957;, from &#8033;&#948;&#951;, a song), was built
+by Pericles at Athens. It was constructed on different principles from
+the theatre, being of an eliptical form, and roofed to preserve the
+harmony and increase the force of musical sounds. The building was
+devoted to poetical and musical contests and exhibitions. It was injured
+in the siege of Sylla, but was subsequently repaired by Ariobarzanes
+Philopator, king of Cappadocia. At a later period, two others were built
+at Athens by Pausanias and Herodes Atticus, and other Greek cities
+followed their example. The first Odeon at Rome was built in the time of
+the emperors; Domitian erected one, and Trajan another. The Romans
+likewise constructed them in several provincial cities, the ruins of one
+of which are still seen at Catanea, in Sicily.</p>
+
+
+<hr style="width: 65%;" />
+<h2>PERPETUAL LAMPS.</h2>
+
+<p>According to Pausanias, Callimachus made a golden lamp for the Temple of
+Minerva at Athens, with a wick composed of asbestos, which burned day
+and night for a year without trimming or re<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span>plenishing with oil. If this
+was true, the font of the lamp must have been large enough to have
+contained a year's supply of oil; for, though some profess that the
+economical inventions of the ancients have been forgotten, the least
+knowledge in chemistry proves that oil in burning must be consumed. The
+perpetual lamps, so much celebrated among the learned of former times,
+said to have been found burning after many centuries, on opening tombs,
+are nothing more than fables, arising perhaps from phosphorescent
+appearances, caused by decomposition in confined places, which vanished
+as soon as fresh air was admitted. Such phenomena have frequently been
+observed in opening sepulchres.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE SKULL OF RAFFAELLE.</h2>
+
+<p>Is preserved as an object of great veneration in the Academy of St.
+Luke, which the students visit as if in the hope of being inspired with
+similar talents; and it is wonderful that, admiring him so much, modern
+painters should so little resemble him. Either they do not wish to
+imitate him, or do not know how to do so. Those who duly appreciate his
+merits have attempted it, and been successful. Mengs is an example of
+this observation.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE FOUR FINEST PICTURES IN ROME.</h2>
+
+<p>The four most celebrated pictures in Rome, are <i>The Transfiguration</i> by
+Raffaelle, <i>St. Jerome</i> by<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> Domenichino, <i>The Descent from the Cross</i> by
+Daniele da Volterra, and <i>The Romualdo</i> by Andrea Sacchi.</p>
+
+<hr style="width: 65%;" />
+<h2>THE FOUR CARLOS OF THE 17TH CENTURY.</h2>
+
+<p>It is a singular fact that the four most distinguished painters of the
+17th century were named Charles, viz.: le Brun, Cignani, Maratta, and
+Loti, or Loth. Hence they are frequently called by writers, especially
+the Italian, "The four Carlos of the 17th century."</p>
+
+
+<hr style="width: 65%;" />
+<h2>PIETRO GALLETTI AND THE BOLOGNESE STUDENTS.</h2>
+
+<p>Crespi relates that Pietro Galletti, misled by a pleasing self-delusion
+that he was born a painter, made himself the butt and ridicule of all
+the artists of Bologna. When they extolled his works and called him the
+greatest painter in the world, he took their irony for truth, and
+strutted with greater self-complacency. On one occasion, the students
+assembled with great pomp and ceremony, and solemnly invested him with
+the degree of <i>Doctor of Painting</i>.</p>
+
+<hr style="width: 65%;" />
+<h2>&AElig;TION'S PICTURE OF THE NUPTIALS OF ALEXANDER AND ROXANA.</h2>
+
+<p>&AElig;tion gained so much applause by his picture, representing the nuptials
+of Alexander and Roxana, which he publicly exhibited at the Olympic
+Games, that Proxenidas, the president, rewarded him, by giving him his
+daughter in marriage. This picture<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> was taken to Rome after the conquest
+of Greece, where it was seen by Lucian, who gives an accurate
+description of it, from which, it is said, Raffaelle sketched one of his
+finest compositions.</p>
+
+
+<hr style="width: 65%;" />
+<h2>AGELADAS.</h2>
+
+<p>This famous sculptor was a native of Argos, and flourished about B. C.
+500. He was celebrated for his works in bronze, the chief of which were
+a statue of Jupiter, in the citadel of Ithone, and one of Hercules,
+placed in the Temple at Melite, in Attica, after the great plague.
+Pausanias mentions several other works by him, which were highly
+esteemed. He was also celebrated as the instructor of Myron, Phidias,
+and Polycletus.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE PORTICOS OF AGAPTOS.</h2>
+
+<p>According to Pausanias, Agaptos, a Grecian architect, invented the
+porticos around the square attached to the Greek stadii, or race courses
+of the Gymnasiums, which gained him so much reputation, that they were
+called the porticos of Agaptos, and were adopted in every stadium.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE GROUP OF NIOBE AND HER CHILDREN.</h2>
+
+<p>Pliny says there was a doubt in his time, whether some statues
+representing the dying children of Niobe (<i>Niob&aelig; liberos morientes</i>), in
+the Temple of Apollo Sosianus at Rome, were by Scopas or Prax<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span>iteles.
+The well known group of this subject in the Florentine gallery, is
+generally believed to be the identical work mentioned by Pliny. Whether
+it be an original production of one of these great artists, or as some
+critics have supposed, only a copy, it will ever be considered worthy of
+their genius, as one of the sweetest manifestations of that deep and
+intense feeling of beauty which the Grecian artists delighted to
+preserve in the midst of suffering. The admirable criticism of Schlegel
+(Lectures on the Drama, III), developes the internal harmony of the
+work. "In the group of Niobe, there is the most perfect expression of
+terror and pity. The upturned looks of the mother, and the mouth half
+open in supplication, seem to accuse the invisible wrath of Heaven. The
+daughter, clinging in the agonies of death to the bosom of her mother,
+in her infantile innocence, can have no other fear than for herself; the
+innate impulse of self-preservation was never represented in a manner
+more tender and affecting. Can there, on the other hand, be exhibited to
+the senses, a more beautiful image of self-devoting, heroic magnanimity
+than Niobe, as she bends her body forward, that, if possible, she may
+alone receive the destructive bolt? Pride and repugnance are melted down
+in the most ardent maternal love. The more than earthly dignity of the
+features are the less disfigured by pain, as from the quick repetition
+of the shocks, she appears, as in the fable, to have become insensible
+and<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span> motionless. Before this figure, twice transformed into stone, and
+yet so inimitably animated&mdash;before this line of demarkation of all human
+suffering, the most callous beholder is dissolved in tears."</p>
+
+
+<hr style="width: 65%;" />
+<h2>STATUE OF THE FIGHTING GLADIATOR.</h2>
+
+<p>The famous antique statue of the Fighting Gladiator, which now adorns
+the Louvre, was executed by Agasias, a Greek sculptor of Ephesus, who
+flourished about B. C. 450. It was found among the ruins of a palace of
+the Roman Emperors at Capo d'Anzo, the ancient Antium, where also the
+Apollo Belvidere was discovered.</p>
+
+<hr style="width: 65%;" />
+<h2>THE GROUP OF LAOCO&Ouml;N IN THE VATICAN.</h2>
+
+<p>As Laoco&ouml;n, a priest of Neptune, (or according to some, of Apollo) was
+sacrificing a bull to Neptune, on the shore at Troy, after the pretended
+retreat of the Greeks, two enormous serpents appeared swimming from the
+island of Tenedos, and advanced towards the altar. The people fled; but
+Laoco&ouml;n and his two sons fell victims to the monsters. The sons were
+first attacked, and then the father, who attempted to defend them, the
+serpents coiling themselves about him and his sons, while in his agony
+he endeavored to extricate them. They then hastened to the temple of
+Pallas, where, placing themselves at the foot of the goddess, they hid
+themselves under her shield. The people saw in<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> this omen, Laoco&ouml;n's
+punishment for his impiety in having pierced with his spear, the wooden
+horse which was consecrated to Minerva. Thus Virgil relates the story in
+the &AElig;neid; others, as Hyginus, give different accounts, though agreeing
+in the main points. The fable is chiefly interesting to us, as having
+given rise to one of the finest and most celebrated works of antique
+sculpture, namely, the Laoco&ouml;n, now in the Vatican. It was discovered in
+1506 by some workmen, while employed in making excavations in a vineyard
+on the site of the Baths of Titus. Pope Julius II. bought it for an
+annual pension, and placed it in the Belvidere in the Vatican. It was
+taken to Paris by Napoleon, but was restored to its place in 1815. It is
+perfect in preservation, except that the right arm of Laoco&ouml;n was
+wanting, which was restored by Baccio Bandinelli. This group is so
+perfect a work, so grand and so instructive for the student of the fine
+arts, that many writers of all nations have written on it. It represents
+three persons in agony, but in different attitudes of struggling or
+fear, according to their ages, and the mental anguish of the father. All
+connoisseurs declare the group perfect, the product of the most thorough
+knowledge of anatomy, of character, and of ideal perfection. According
+to Pliny, it was the common opinion in his time, that the group was made
+of one stone by three sculptors, Agesander, Polydorus, and Athenadorus,
+all three natives of Rhodes, and the two last probably sons of the
+former. He<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> says, "The Laoco&ouml;n, which is in the palace of the Emperor
+Titus, is a work to be preferred to all others, either in painting or
+sculpture. Those great artists, Agesander, Polydorus, and Athenadorus,
+Rhodians, executed the principal figure, the sons, and the wonderful
+folds of the serpents, out of one piece of marble." Doubts exist
+respecting the era of this work. Maffei places it in the 88th Olympiad,
+or the first year of the Peloponnesian War; Winckelmann, in the time of
+Lysippus and Alexander; and Lessing, in the time of the first Emperors.
+Some doubt whether this is the work mentioned by Pliny, because it has
+been discovered that the group was not executed out of one block of
+marble, as asserted by him. In the opinion of many judicious critics,
+however, it is considered an original group, and not a copy, for no copy
+would possess its perfections; and that it is certainly the one
+described by Pliny, because, after his time, no known sculptor was
+capable of executing such a perfect work; and had there been one, his
+fame would certainly have reached us. It was found in the place
+mentioned by Pliny, and the joinings are so accurate and artfully
+concealed, that they might easily escape his notice. There are several
+copies of this matchless production by modern sculptors, the most
+remarkable of which, are one in bronze by Sansovino, and another in
+marble by Baccio Bandinelli, which last is in the Medici gallery at
+Florence. It has also been frequently engraved; the best is the famous<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span>
+plate by Bervic, engraved for the Mus&eacute;e Francais, pronounced by
+connoisseurs, the finest representation of a marble group ever executed,
+proof impressions of which have been sold for 30 guineas each.</p>
+
+<hr style="width: 65%;" />
+<h2>MICHAEL ANGELO'S OPINION OF THE LAOCO&Ouml;N.</h2>
+
+<p>It is said that Julius II. desired Angelo to restore the missing arm
+behind the Laoco&ouml;n. He commenced it, but left it unfinished, "because,"
+said he, "I found I could do nothing worthy of being joined to so
+admirable a work." What a testimony of the superiority of the best
+ancient sculptors over the moderns, for of all modern sculptors, Michael
+Angelo is universally allowed to be the best!</p>
+
+<hr style="width: 65%;" />
+<h2>DISCOVERY OF THE LAOCO&Ouml;N.</h2>
+
+<p>There is a curious letter not generally known, but published by the
+Abate Fea, from Francesco da Sangallo, the sculptor, to Monsignore
+Spedalengo, in which the circumstances of the discovery of the Laoco&ouml;n
+are thus alluded to. The letter is dated 1509. He says, "It being told
+to the Pope that some fine statues had been discovered in a vineyard
+near S. Maria Maggiore, he sent to desire my father, (Giuliano da
+Sangallo) to go and examine them. Michael Angelo Buonarotti being often
+at our house, father got him to go also; and so," continues Francesco,
+"I mounted behind my father, and we<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span> went. We descended to where the
+statues were. My father immediately exclaimed, 'This is the Laoco&ouml;n
+spoken of by Pliny!' They made the workmen enlarge the aperture or
+excavation, so as to be able to draw them out, and then, having seen
+them, we returned to dinner."</p>
+
+
+<hr style="width: 65%;" />
+<h2>SIR JOHN SOANE.</h2>
+
+<p>This eminent English architect, and munificent public benefactor, was
+the son of a poor bricklayer, and was born at Reading in 1753. He showed
+early indications of talent and a predilection for architecture; and, at
+the age of fifteen, his father placed him with Mr. George Dance (then
+considered one of the most accomplished of the English architects),
+probably in the capacity of a servant. At all events he was not
+regularly articled, but he soon attracted notice by his industry,
+activity, and talents. Mr. Donaldson says, "his sister was a servant in
+Mr. Dance's family, which proves that the strength of Soane's character
+enabled him to rise to so distinguished a rank merely by his own
+exertions." He afterwards studied under Holland, and in the Royal
+Academy, where he first attracted public notice by a design for a
+triumphal bridge, which drew the gold medal of that institution, and
+entitled him to go to Italy for three years on the pension of the
+Academy. During a residence of six years in Italy, he studied the
+remains of antiquity and the<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> finest modern edifices with great
+assiduity, and made several original designs, which attracted
+considerable attention; among them were one for a British Senate House,
+and another for a Royal Palace. In 1780 he returned to England, and soon
+distinguished himself by several elegant palaces, which he was
+commissioned to erect for the nobility in different parts of the
+kingdom, the plans and elevations of which he published in a folio
+volume in 1788. In the same year, in a competition with nineteen other
+architects, he obtained the lucrative office of Surveyor and Architect
+to the Bank of England, which laid the foundation of the splendid
+fortune he afterwards acquired. Other advantageous appointments
+followed; that of Clerk of the Woods of St. James' Palace, in 1791;
+Architect of the Woods and Forests, in 1795; Professor of Architecture
+in the Royal Academy in 1806; and Surveyor of Chelsea Hospital in 1807.
+In addition to his public employments, he received many commissions for
+private buildings. He led a life of indefatigable industry in the
+practice of his profession till 1833, when he reached his eightieth
+year. He died in 1837.</p>
+
+
+<hr style="width: 65%;" />
+<h2>SOANE'S LIBERALITY AND PUBLIC MUNIFICENCE.</h2>
+
+<p>Sir John Soane was a munificent patron of various public charities, and
+was even more liberal in his contributions for the advancement of art;
+he subscribed &pound;1000 to the Duke of York's monument;<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> a similar sum to
+the Royal British Institution; &pound;750 to the Institute of British
+Architects; &pound;250 to the Architectural Society, &amp;c. He made a splendid
+collection of works of art, valued at upwards of &pound;50,000 before his
+death, converted his house into a Museum, and left the whole to his
+country, which is now known as <i>Sir John Soane's Museum</i>&mdash;one of the
+most attractive institutions in London. He devoted the last four years
+of his life in classifying and arranging his Museum, which is
+distributed in twenty-four rooms, and consists of architectural models
+of ancient and modern edifices; a large collection of architectural
+drawings, designs, plans, and measurements, by many great architects; a
+library of the best works on art, particularly on Architecture; antique
+fragments of buildings, as columns, capitals, ornaments, and friezes in
+marble; also, models, casts, and copies of similar objects in other
+collections; fragments and relics of architecture in the middle ages;
+modern sculptures, especially by the best British sculptors; Greek and
+Roman antiquities, consisting of fragments of Greek and Roman sculpture
+antique busts, bronzes, and cinerary urns; Etruscan vases; Egyptian
+antiquities; busts of remarkable persons; a collection of 138 antique
+gems, cameos and intaglios, originally in the collection of M. Capece
+Latro, Archbishop of Tarentum, and 136 antique gems, principally from
+the Braschi collection; a complete set of Napoleon medals, selected by
+the Baron Denon for the Em<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span>press Josephine, and formerly in her
+possession, curiosities; rare books and illuminated manuscripts; a
+collection of about fifty oil paintings, many of them of great value,
+among which are the Rake's Progress, a series of eight pictures by
+Hogarth, and the Election, a series of four, by the same artist; and
+many articles of virtu too numerous to mention here, forming altogether
+a most rare, unique, and valuable collection. What a glorious monument
+did the poor bricklayer's son erect to his memory, which, while it
+blesses, will cause his countrymen to bless and venerate the donor, and
+make his name bright on the page of history! Some there are who regard
+posthumous fame a bubble, and present pomp substantial; but the one is
+godlike, the other sensual and vain.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE BELZONI SARCOPHAGUS.</h2>
+
+<p>One of the most interesting and valuable relics in Sir John Soane's
+Museum, is the Belzoni Sarcophagus. It was discovered by Belzoni, the
+famous French traveler, in 1816, in a tomb in the valley of Beban el
+Malouk, near Gournon. He found it in the centre of a sepulchral chamber
+of extraordinary magnificence, and records the event with characteristic
+enthusiasm: "I may call this a fortunate day, one of the best, perhaps,
+of my life. I do not mean to say that fortune has made me rich, for I do
+not consider all rich men fortunate; but she has given me that
+satisfaction, that extreme pleasure which<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> wealth cannot purchase&mdash;the
+pleasure of discovering what has long been sought in vain." It is
+constructed of one single piece of alabaster, so translucent that a lamp
+placed within it shines through, although it is more than two inches in
+thickness. It is nine feet four inches in length, three feet eight
+inches in width, and two feet eight inches in depth, and is covered with
+hieroglyphics outside and inside, which have not yet been satisfactorily
+interpreted, though they are supposed by some to refer to Osirei, the
+father of Rameses the Great. It was transported from Egypt to England at
+great expense, and offered to the Trustees of the British Museum for
+&pound;2,000, which being refused, Sir John Soane immediately purchased it and
+exhibited it free, with just pride, to crowds of admiring visitors. When
+Belzoni discovered this remarkable relic of Egyptian royalty, the lid
+had been thrown off and broken into pieces, and its contents rifled; the
+sarcophagus itself is in perfect preservation.</p>
+
+
+<hr style="width: 65%;" />
+<h2>TASSO'S "GERUSALEMME LIBERATA."</h2>
+
+<p>The original copy of "Gerusalemme Liberata," in the handwriting of
+Tasso, is in the Soane Museum. It was purchased by Sir John Soane, at
+the sale of the Earl of Guilford's Library, in 1829. This literary
+treasure, which cannot be contemplated without emotion, once belonged to
+Baruffaldi, one of the most eminent literary characters of mo<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span>dern
+Italy. Serassi describes it, and refers to the emendations made by the
+poet in the margin (Serassi's edit. Florence, 1724;) but expresses his
+<i>fear</i> that it had been taken out of Italy. In allusion to this
+expression of Serassi, Lord Guilford has written on the fly-leaf of the
+MS., "I would not wish to hurt the honest pride of any Italian; but the
+works of a great genius are the property of all ages and all countries:
+and I hope it will be recorded to future ages, that England possesses
+the original MS. of one of the four greatest epic poems the world has
+produced, and, beyond all doubt, the only one of the four now existing."
+There is no date to this MS. The first printed edition of the
+Gerusalemme is dated 1580.</p>
+
+<p>There are other rare and valuable MSS. in this Museum, the most
+remarkable of which are a Commentary in Latin on the epistle of St. Paul
+to the Romans, by Cardinal Grimani. It is adorned with exquisite
+miniature illustrations, painted by Don Giulio Clovio, called the
+Michael Angelo of miniature painters. "The figures are about an inch in
+height," says Mrs. Jameson, "equaling in vigor, grandeur, and
+originality, the conceptions of Michael Angelo and of Raffaelle, who
+were his cotemporaries and admirers." Also, a missal of the fifteenth
+century, containing ninety-two miniatures by Lucas van Leyden and his
+scholars, executed in a truly Dutch style, just the reverse of those of
+Clovio, except in point of elaborate finishing.<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>GEORGE MORLAND.</h2>
+
+<p>The life of this extraordinary genius is full of interest, and his
+melancholy fall full of warning and instruction. He was the son of an
+indifferent painter, whose principal business was in cleaning and
+repairing, and dealing in ancient pictures. Morland showed an
+extraordinary talent for painting almost in his infancy, and before he
+was sixteen years old, his name was known far and wide by engravings
+from his pictures. His father, who seems to have been a man of a low and
+sordid disposition, had his son indented to him as an apprentice, for
+seven years, in order to secure his services as long as possible, and he
+constantly employed him in painting pictures and making drawings for
+sale; and these were frequently of a broad character, as such commanded
+the best prices, and found the most ready sale. Hence he acquired a
+wonderful facility of pencil, but wholly neglected academic study. His
+associates were the lowest of the low. On the expiration of his
+indenture, he left his father's house, and the remainder of his life is
+the history of genius degraded by intemperance and immorality, which
+alternately excites our admiration at his great talents, our regrets at
+the profligacy of his conduct, and our pity for his misfortunes.
+According to his biographer, Mr. George Dawe, who wrote an impartial and
+excellent life of Morland, he reached the full maturity of his powers,
+about 1790<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span> when he was twenty-six years old; and from that time, they
+began and continued to decline till his death in 1804. Poor Morland was
+constantly surrounded by a set of harpies, who contrived to get him in
+their debt, and then compelled him to paint a picture for a guinea,
+which they readily sold for thirty or forty, and which now bring almost
+any sum asked for them. Many of his best works were painted in sponging
+houses to clear him from arrest.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S EARLY TALENT.</h2>
+
+<p>Morland's father having embarked in the business of picture dealing, had
+become bankrupt, and it is said that he endeavored to repair his broken
+fortunes by the talents of his son George, who, almost as soon as he
+escaped from the cradle, took to the pencil and crayon. Very many
+artists are recorded to have manifested an "early inclination for art,"
+but the indications of early talent in others are nothing when compared
+with Morland's. "<i>At four, five, and six years of age</i>," says
+Cunningham, "<i>he made drawings worthy of ranking him among the common
+race of students</i>; the praise bestowed on these by the Society of
+Artists, to whom they were exhibited, and the money which collectors
+were willing to pay for the works of this new wonder, induced his father
+to urge him onward in his studies, and he made rapid progress."<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S EARLY FAME.</h2>
+
+<p>The danger of overtasking either the mind or body in childhood, is well
+known; and there is every reason to believe that young Morland suffered
+both of these evils. His father stimulated him by praise and by
+indulgence at the table, and to ensure his continuance at his allotted
+tasks, shut him up in a garret, and excluded him from free air, which
+strengthens the body, and from education&mdash;that free air which nourishes
+the mind. His stated work for a time was making drawings from pictures
+and from plaster casts, which his father carried out and sold; but as he
+increased in skill, he chose his subjects from popular songs and
+ballads, such as "Young Roger came tapping at Dolly's window," "My name
+is Jack Hall," "I am a bold shoemaker, from Belfast Town I came," and
+other productions of the mendicant muse. The copies of pictures and
+casts were commonly sold for three half-crowns each; the original
+sketches&mdash;some of them a little free in posture, and not over delicately
+handled, were framed and disposed of for any sum from two to five
+guineas, according to the cleverness of the piece, or the generosity of
+the purchaser. Though far inferior to the productions of his manhood,
+they were much admired; engravers found it profitable to copy them, and
+before he was sixteen years old, his name had flown far and wide.<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S MENTAL AND MORAL EDUCATION, UNDER AN UNNATURAL PARENT.</h2>
+
+<p>From ten years of age, young Morland appears to have led the life of a
+prisoner and a slave under the roof of his father, hearing in his
+seclusion the merry din of the schoolboys in the street, without hope of
+partaking in their sports. By-and-by he managed to obtain an hour's
+relaxation at the twilight, and then associated with such idle and
+profligate boys as chance threw in his way, and learned from them a love
+for coarse enjoyment, and the knowledge that it could not well be
+obtained without money. Oppression keeps the school of Cunning; young
+Morland resolved not only to share in the profits of his own talents,
+but also to snatch an hour or so of amusement, without consulting his
+father. When he made three drawings for his father, he made one secretly
+for himself, and giving a signal from his window, lowered it by a string
+to two or three knowing boys, who found a purchaser at a reduced price,
+and spent the money with the young artist. A common tap-room was an
+indifferent school of manners, whatever it might be for painting, and
+there this gifted lad was now often to be found late in the evening,
+carousing with hostlers and potboys, handing round the quart pot, and
+singing his song or cracking his joke.</p>
+
+<p>His father, having found out the contrivance by which he raised money
+for this kind of revelry<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> adopted, in his own imagination, a wiser
+course. He resolved to make his studies as pleasant to him as he could;
+and as George was daily increasing in fame and his works in price, this
+could be done without any loss. He indulged his son, now some sixteen
+years old, with wine, pampered his appetite with richer food, and
+moreover allowed him a little pocket-money to spend among his
+companions, and purchase acquaintance with what the vulgar call life. He
+dressed him, too, in a style of ultra-dandyism, and exhibited him at his
+easel to his customers, attired in a green coat with very long skirts,
+and immense yellow buttons, buckskin breeches, and top boots with spurs.
+He permitted him too to sing wild songs, swear grossly, and talk about
+anything he liked with such freedom as makes anxious parents tremble.
+With all these indulgences the boy was not happy; he aspired but the
+more eagerly after full liberty and the unrestrained enjoyment of the
+profits of his pencil.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S ESCAPE FROM THE THRALDOM OF HIS FATHER.</h2>
+
+<p>Hassell and Smith give contradictory accounts of this important step in
+young Morland's life, which occurred when he was seventeen years old.
+The former, who knew him well, says that, "he was determined to make his
+escape from the rigid confinement which paternal authority had imposed
+upon<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> him; and, wild as a young quadruped that had broken loose from his
+den, at length, though late, effectually accomplished his purpose."
+"Young George was of so unsettled a disposition," says Smith, "that his
+father, being fully aware of his extraordinary talents, was determined
+to force him to get his own living, and gave him a guinea, with
+something like the following observation: 'I am <i>determined</i> to
+encourage your idleness no longer; there&mdash;take that guinea, and apply to
+your art and support yourself.' This Morland told me, and added, that
+from that moment he commenced and continued wholly on his own account."
+It would appear by Smith's relation, that our youth, instead of
+supporting his father, had all along been depending on his help; this,
+however, contradicts not only Hassell, but Fuseli also, who, in his
+edition of Pilkington's Dictionary, accuses the elder Morland of
+avariciously pocketing the whole profits of his son's productions.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S MARRIAGE, AND TEMPORARY REFORM.</h2>
+
+<p>After leaving his father, Morland plunged into a career of wildness and
+dissipation, amidst which, however, his extraordinary talents kept his
+name still rising. While residing at Kensall Green, he was frequently
+thrown in the company of Ward, the painter, whose example of moral
+steadiness was exhibited to him in vain. At length, however, he<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> fell in
+love with Miss Ward, a young lady of beauty and modesty, and the sister
+of his friend. Succeeding in gaining her affections, he soon afterwards
+married her; and to make the family union stronger, Ward sued for the
+hand of Maria Morland, and in about a month after his sister's marriage,
+obtained it. In the joy of this double union, the brother artists took
+joint possession of a good house in High Street, Marylebone. Morland
+suspended for a time his habit of insobriety, discarded the social
+comrades of his laxer hours, and imagined himself reformed. But discord
+broke out between the sisters concerning the proper division of rule and
+authority in the house; and Morland, whose partner's claim perhaps was
+the weaker, took refuge in lodgings in Great Portland Street. His
+passion for late hours and low company, restrained through courtship and
+the honey-moon, now broke out with the violence of a stream which had
+been dammed, rather than dried up. It was in vain that his wife
+entreated and remonstrated&mdash;his old propensities prevailed, and the
+post-boy, the pawnbroker, and the pugilist, were summoned again to his
+side, no more to be separated.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S SOCIAL POSITION.</h2>
+
+<p>Morland's dissipated habits and worthless companions, produced the
+effect that might have been expected; and this talented painter, who
+might have mingled freely among nobles and princes, came<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> strength to
+hold a position in society that is best illustrated by the following
+anecdote. Raphael Smith, the engraver, had employed him for years on
+works <i>from</i> which he engraved, and <i>by</i> which he made large sums of
+money. He called one day with Bannister the comedian to look at a
+picture which was upon the easel. Smith was satisfied with the artist's
+progress, and said, "I shall now proceed on my morning ride." "Stay a
+moment," said Morland, laying down his brush, "and I will go with you."
+"Morland," answered the other, in an emphatic tone, which could not be
+mistaken, "I have an appointment with a <i>gentleman</i>, who is waiting for
+me." Such a sarcasm might have cured any man who was not incurable; it
+made but a momentary impression upon the mind of our painter, who cursed
+the engraver, and returned to his palette.</p>
+
+
+<hr style="width: 65%;" />
+<h2>AN UNPLEASANT DILEMMA.</h2>
+
+<p>Morland once received an invitation to Barnet, and was hastening thither
+with Hassell and another friend, when he was stopped at Whetstone
+turnpike by a lumber or jockey cart, driven by two persons, one of them
+a chimney-sweep, who were disputing with the toll-gatherer. Morland
+endeavored to pass, when one of the wayfarers cried, "What! Mr. Morland,
+won't you speak to a body!" The artist endeavored to elude further
+greeting, but this was not to be; the other bawled out so lustily, that<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span>
+Morland was obliged to recognize at last his companion and croney,
+Hooper, a tinman and pugilist. After a hearty shake of the hand, the
+boxer turned to his neighbor the chimney-sweep and said, "Why, Dick,
+don't you know this here gentleman? 'tis my friend Mr. Morland." The
+sooty charioteer smiling a recognition, forced his unwelcome hand upon
+his brother of the brush; they then both whipt their horses and
+departed. This rencontre mortified Morland very sensibly; he declared
+that he knew nothing of the chimney-sweep, and that he was forced upon
+him by the impertinence of Hooper: but the artist's habits made the
+story generally believed, and "Sweeps, your honor," was a joke which he
+was often obliged to hear.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND AT THE ISLE OF WIGHT.</h2>
+
+<p>Morland loved to visit this isle in his better days, and some of his
+best pictures are copied from scenes on that coast. A friend once found
+him at Freshwater-Gate, in a low public-house called The Cabin. Sailors,
+rustics, and fishermen, were seated round him in a kind of ring, the
+rooftree rung with laughter and song; and Morland, with manifest
+reluctance, left their company for the conversation of his friend.
+"George," sad his monitor, "you must have reasons for keeping such
+company." "Reasons, and good ones," said the artist, laughing;
+"see&mdash;where could I find such a picture of life as that, unless among
+the originals of The Cabin?" He<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> held up his sketch-book and showed a
+correct delineation of the very scene in which he had so lately been the
+presiding spirit. One of his best pictures contains this fac-simile of
+the tap-room, with its guests and furniture.</p>
+
+
+<hr style="width: 65%;" />
+<h2>A NOVEL MODE OF FULFILLING COMMISSIONS.</h2>
+
+<p>"It frequently happened," says one of Morland's biographers, "when a
+picture had been bespoke by one of his friends, who advanced some of the
+money to induce him to work, if the purchaser did not stand by to see it
+finished and carry it away with him, some other person, who was lurking
+within sight for that purpose, and knew the state of Morland's pocket,
+by the temptation of a few guineas laid upon the table, carried off the
+picture. Thus all were served in their turn; and though each exulted in
+the success of the trick when he was so lucky as to get a picture in
+this easy way, they all joined in exclaiming against Morland's want of
+honesty in not keeping his promises to them."</p>
+
+
+<hr style="width: 65%;" />
+<h2>HASSELL'S FIRST INTERVIEW WITH MORLAND.</h2>
+
+<p>Hassell's introduction to Morland was decidedly in character. "As I was
+walking," he says, "towards Paddington on a summer morning, to inquire
+about the health of a relation, I saw a man posting on before me with a
+sucking-pig, which he carried in his arms like a child. The piteous
+squeaks<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> of the little animal, and the singular mode of conveyance, drew
+spectators to door and window; the person however who carried it minded
+no one, but to every dog that barked&mdash;and there were not a few&mdash;he sat
+down the pig, and pitted him against the dog, and then followed the
+chase which was sure to ensue. In this manner he went through several
+streets in Mary-le-bone, and at last, stopping at the door of one of my
+friends, was instantly admitted. I also knocked and entered, but my
+surprise was great on finding this original sitting with the pig still
+under his arm, and still greater when I was introduced to Morland the
+painter."</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S DRAWINGS IN THE ISLE OF WIGHT.</h2>
+
+<p>A person at whose house Morland resided when in the Isle of Wight,
+having set out for London, left an order with an acquaintance at Cowes
+to give the painter his own price for whatever works he might please to
+send. The pictures were accompanied by a regular solicitation for cash
+in proportion, or according to the nature of the subject. At length a
+small but very highly finished drawing arrived, and as the sum demanded
+seemed out of all proportion with the size of the work, the
+conscientious agent transmitted the piece to London and stated the
+price. The answer by post was, "Pay what is asked, and get as many
+others as you can at the same price." There is not one sketch in<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> the
+collection thus made but what would now produce thrice its original
+cost.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S FREAKS.</h2>
+
+<p>One evening Hassell and his friends were returning to town from
+Hempstead, when Morland accosted them in the character of a mounted
+patrole, wearing the parish great-coat, girded with a broad black belt,
+and a pair of pistols depending. He hailed them with "horse patrole!" in
+his natural voice; they recognised him and laughed heartily, upon which
+he entreated them to stop at the Mother Red Cap, a well known
+public-house, till he joined them. He soon made his appearance in his
+proper dress, and gave way to mirth and good fellowship. On another
+occasion he paid a <i>parishioner</i>, who was drawn for constable, to be
+permitted to serve in his place, he billeted soldiers during the day,
+and presided in the constable's chair at night.</p>
+
+
+<hr style="width: 65%;" />
+<h2>A JOKE ON MORLAND.</h2>
+
+<p>At another time, having promised to paint a picture for M. de Calonne,
+Morland seemed unwilling to begin, but was stimulated by the following
+stratagem. Opposite to his house in Paddington was the White Lion.
+Hassell directed two of his friends to breakfast there, and instructed
+them to look anxiously towards the artist's window, and occasionally
+walk up and down before the house. He then waited<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> on Morland, who only
+brandished his brush at the canvas and refused to work. After waiting
+some time, Hassell went to the window and effected surprise at seeing
+two strangers gazing intently at the artist's house. Morland looked at
+them earnestly&mdash;declared they were bailiffs, who certainly wanted
+him&mdash;and ordered the door to be bolted. Hassell having secured him at
+home, showed him the money for his work, and so dealt with him that the
+picture, a landscape with six figures, one of his best productions, was
+completed in six hours. He then paid him, and relieved his apprehensions
+respecting the imaginary bailiffs&mdash;Morland laughed heartily.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S APPREHENSION AS A SPY.</h2>
+
+<p>While spending some time at Yarmouth, Morland was looked upon as a
+suspicious character, and was apprehended as a spy. After a sharp
+examination, the drawings he had made on the shores of the Isle of Wight
+were considered as confirmation of his guilt; he was therefore honored
+with an escort of soldiers and constables to Newport, and there
+confronted by a bench of justices. At his explanation, they shook their
+heads, laid a strict injunction upon him to paint and draw no more in
+that neighborhood, and dismissed him. This adventure he considered a
+kind of pleasant interruption; and indeed it seems ridiculous enough in
+the officials who apprehended him.<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S "SIGN OF THE BLACK BULL."</h2>
+
+<p>On one occasion, Morland was on his way from Deal, and Williams, the
+engraver, was his companion. The extravagance of the preceding evening
+had fairly emptied their pockets; weary, hungry and thirsty, they
+arrived at a small ale-house by the way-side; they hesitated to enter.
+Morland wistfully reconnoitered the house, and at length accosted the
+landlord&mdash;"Upon my life, I scarcely knew it: is this the Black Bull?"
+"To be sure it is, master," said the landlord, "there's the sign."&mdash;"Ay!
+the board is there, I grant," replied our wayfarer, "but the Black Bull
+is vanished and gone. I will paint you a capital new one for a crown."
+The landlord consented, and placed a dinner and drink before this
+restorer of signs, to which the travelers did immediate justice. "Now,
+landlord," said Morland, "take your horse, and ride to Canterbury&mdash;it is
+but a little way&mdash;and buy me proper paint and a good brush." He went on
+his errand with a grudge, and returned with the speed of thought, for
+fear that his guests should depart in his absence. By the time that
+Morland had painted the Black Bull, the reckoning had risen to ten
+shillings, and the landlord reluctantly allowed them to go on their way;
+but not, it is said, without exacting a promise that the remainder of
+the money should be paid with the first opportunity. The painter, on his
+arrival it town, related this adventure in the Hole-in-the-Wall,<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span> Fleet
+Street. A person who overheard him, mounted his horse, rode into Kent,
+and succeeded in purchasing the Black Bull from the Kentish Boniface for
+ten guineas.</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND AND THE PAWNBROKER.</h2>
+
+<p>Even when Morland had sunk to misery and recklessness, the spirit of
+industry did not forsake him, nor did his taste or his skill descend
+with his fortunes. One day's work would have purchased him a week's
+sustenance, yet he labored every day, and as skilfully and beautifully
+as ever. A water man was at one time his favorite companion, whom, by
+way of distinction, Morland called "My Dicky." Dicky once carried a
+picture to the pawnbroker's, wet from the easel, with the request for
+the advance of three guineas upon it. The pawnbroker paid the money; but
+in carrying it into the room his foot slipped, and the head and
+foreparts of a hog were obliterated. The money-changer returned the
+picture with a polite note, requesting the artist to restore the damaged
+part. "My Dicky!" exclaimed Morland, "an that's a good one! but never
+mind!" He reproduced the hog in a few minutes, and said, "There! go back
+and tell the pawnbroker to advance me five guineas more upon it; and if
+he won't, say I shall proceed against him; the price of the picture is
+thirty guineas." The demand was complied with.<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S IDEA OF A BARONETCY.</h2>
+
+<p>Morland was well descended. In his earlier and better days, a solicitor
+informed him that he was heir to a baronet's title, and advised him to
+assert his claim. "Sir George Morland!" said the painter&mdash;"It <i>sounds</i>
+well, but it won't do. Plain George Morland will always sell my
+pictures, and there is more honor in being a fine painter than in being
+a fine gentleman."</p>
+
+
+<hr style="width: 65%;" />
+<h2>MORLAND'S ARTISTIC MERIT.</h2>
+
+<p>As an artist, Morland's claims are high and undisputed. He is original
+and alone; his style and conceptions are his own; his thoughts are ever
+at home, and always natural; he extracts pleasing subjects out of the
+most coarse and trivial scenes, and finds enough to charm the eye in the
+commonest occurrences. His subjects are usually from low life, such as
+hog-sties, farm-yards, landscapes with cattle and sheep, or fishermen
+with smugglers on the sea-coast. He seldom or ever produced a picture
+perfect in all its parts, but those parts adapted to his knowledge and
+taste were exquisitely beautiful. Knowing well his faults, he usually
+selected those subjects best suited to his talents. His knowledge of
+anatomy was extremely limited; he was totally unfitted for representing
+the human figure elegantly or correctly, and incapable of large
+compositions. He never paints above the most ordi<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span>nary capacity, and
+gives an air of truth and reality to whatever he touches. He has taken a
+strong and lasting hold of the popular fancy: not by ministering to our
+vanity, but by telling plain and striking truths. He is the rustic
+painter for the people; his scenes are familiar to every eye, and his
+name is on every lip. Painting seemed as natural to him as language is
+to others, and by it he expressed his sentiments and his feelings, and
+opened his heart to the multitude. His gradual descent in society may be
+traced in the productions of his pencil; he could only paint well what
+he saw or remembered; and when he left the wild sea-shore and the green
+wood-side for the hedge ale-house and the Rules of the Bench, the
+character of his pictures shifted with the scene. Yet even then his
+wonderful skill of hand and sense of the picturesque never forsook him.
+His intimacy with low life only dictated his theme&mdash;the coarseness of
+the man and the folly of his company never touched the execution of his
+pieces. All is indeed homely&mdash;nay, mean&mdash;but native taste and elegance
+redeemed every detail. To a full command over every implement of his
+art, he united a facility of composition and a free readiness of hand
+perhaps quite unrivalled.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CHARLES JERVAS.</h2>
+
+<p>This artist was a pupil of Sir Godfrey Kneller, and met with plentiful
+employment in portrait painting. His abilities were very inferior, but,
+says Walpole,<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span> "Such was the badness of the age's taste, and the dearth
+of good masters, that Jervas sat at the head of his profession, although
+he was defective in drawing, coloring, composition, and likeness. In
+general, his pictures are a light flimsy kind of fan-painting as large
+as life. Yet I have seen a few of his works highly colored, and it is
+certain that his copies of Carlo Maratti, whom he most studied and
+imitated, were extremely just, and scarcely inferior to the originals."</p>
+
+
+<hr style="width: 65%;" />
+<h2>JERVAS THE INSTRUCTOR OF POPE.</h2>
+
+<p>What will recommend the name of Jervas to inquisitive posterity, was his
+intimacy with Pope, whom he instructed to draw and paint. The poet has
+enshrined the feeble talents of the painter in "the lucid amber of his
+flowing lines." Spence informs us, that Pope was "the pupil of Jervas
+for the space of a year said a half," meaning that he was constantly so,
+for that period. Tillemans was engaged in painting a landscape for Lord
+Radnor, into which Pope by stealth inserted some strokes, which the
+prudent painter did not appear to observe; and of this circumstance Pope
+was not a little vain. In proof of his proficiency in the art of
+painting, Pope presented his friend Mr. Murray, with a head of Betterton
+the celebrated tragedian, which was afterwards at Caen Wood. During a
+long visit at Holm Lacy in Herefordshire, he amused his leisure by
+copying from Vandyck, in crayons, a<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span> head of Wentworth, Earl of
+Strafford, which was still preserved there many years afterwards, and is
+said to have possessed considerable merit. For an account of Pope's
+skill in painting fans, see vol. I. page 201 of this work.</p>
+
+
+<hr style="width: 65%;" />
+<h2>JERVAS AND DR. ARBUTHNOT.</h2>
+
+<p>Jervas, who affected to be a Free-thinker, was one day talking very
+irreverently of the Bible. Dr. Arbuthnot maintained to him that he was
+not only a speculative, but a practical believer. Jervas denied it.
+Arbuthnot said that he would prove it: "You strictly observe the second
+commandment;" said the Doctor, "for in your pictures you 'make not the
+likeness of anything that is in the heavens above, or in the earth
+beneath, or in the waters under the earth'"!</p>
+
+
+<hr style="width: 65%;" />
+<h2>JERVAS' VANITY.</h2>
+
+<p>His vanity and conceit knew no bounds. He copied a picture by Titian in
+the Royal collection, which he thought so vastly superior to the
+original, that on its completion he exclaimed with great complacency,
+"Poor little Tit, how he would stare!" Walpole says, "Jervas had
+ventured to look upon the fair Lady Bridgewater with more than a
+painter's eye; so entirely did that lovely form possess his imagination,
+that many a homely dame was delighted to find her picture resemble Lady
+Bridgewater. Yet neither his presumption nor his passion<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> could
+extinguish his self-love." One day, as she was sitting to him, he ran
+over the beauties of her face with rapture&mdash;'but,' said he, "I cannot
+help telling your ladyship that you have not a handsome ear." "No!"
+returned the lady, "pray, Mr. Jervas, what is a handsome ear?" He turned
+his cap, and showed her his own. When Kneller heard that Jervas had sent
+up a carriage and four horses, he exclaimed, "Ah, mine Got! if his
+horses do not draw better than he does, he will never get to his
+journey's end!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN AND THE FLY.</h2>
+
+<p>Before Holbein quitted Basile for England, he intimated that he should
+leave a specimen of the power of his abilities. Having a portrait in his
+house which he had just finished for one of his patrons, he painted a
+fly on the forehead, and sent it to the person for whom it was painted.
+The gentleman was struck with the beauty of the piece, and went eagerly
+to brush off the fly, when he found out the deceit. The story soon
+spread, and orders were immediately given to prevent the city being
+deprived of Holbein's talents; but he had already departed.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN'S VISIT TO ENGLAND.</h2>
+
+<p>Furnished with recommendatory letters from his friend Sir Thomas More,
+Holbein went to England, and was received into More's house, where he<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span>
+wrought for nearly three years, drawing the portraits of Sir Thomas, his
+relations and friends. The King, (Henry VIII.) visiting the Chancellor,
+saw some of these pictures, and expressed his satisfaction. Sir Thomas
+begged him to accept which ever he liked; but his Majesty inquired for
+the painter, who was accordingly introduced to him. Henry immediately
+took him into his own service and told the Chancellor that now he had
+got the artist, he did not want the pictures. An apartment in the palace
+was allotted to Holbein, with a salary of 200 florins besides the price
+of his pictures.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HENRY VIII.'S OPINION OF HOLBEIN.</h2>
+
+<p>The King retained Holbein in his service many years, during which time
+he painted the portrait of his Majesty many times, and probably those of
+all his queens, though no portrait of Catharine Parr is certainly known
+to be from his hand. An amusing and characteristic anecdote is related,
+showing the opinion the King entertained of this artist. One day, as
+Holbein was privately drawing some lady's picture for Henry, a great
+lord forced himself into the chamber, when the artist flew into a
+terrible passion, and forgetting everything else in his rage, ran at the
+peer and threw him down stairs! Upon a sober second thought, however,
+seeing the rashness of this act, Holbein bolted the door, escaped over
+the top of the house, and running directly to the<span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> King, besought
+pardon, without telling his offence. His majesty promised he would
+forgive him if he would tell the truth; but on finding out the offence,
+began to repent of his promise, and said he should not easily overlook
+such insults, and bade him wait in the apartment till he learned more of
+the matter. Immediately after, the lord arrived with his complaint, but
+diminishing the provocation. At first the monarch heard the story with
+temper, but soon broke out, reproaching the nobleman with his want of
+truth, and adding, "You have not to do with Holbein, but with me; I tell
+you, of seven peasants I can make seven lords; but of seven lords I
+cannot make one Holbein! Begone, and remember that if you ever attempt
+to revenge yourself, I shall look on any injury offered to the painter
+as done to myself."</p>
+
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN'S PORTRAIT OF THE DUCHESS DOWAGER OF MILAN.</h2>
+
+<p>After the death of Jane Seymour, Holbein was sent to Flanders by the
+King, to paint the portrait of the Duchess Dowager of Milan, widow of
+Francesco Sforza, whom Charles V. had recommended to Henry for a fourth
+wife, although the German Emperor subsequently changed his mind, and
+prevented the marriage. There is a letter among the Holbein MSS. from
+Sir Thomas Wyatt, congratulating his Majesty on his escape, as the
+Duchess' chastity was somewhat equivocal, but says Walpole, "If<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> it was,
+I am apt to think, considering Henry's temper, that the Duchess had the
+greater escape!"&mdash;About the same time it is said that the Duchess
+herself, sent the King word, "That she had but one head; if she had two,
+one of them should be at his Majesty's service."</p>
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN'S FLATTERY IN PORTRAITS&mdash;A WARNING TO PAINTERS.</h2>
+
+<p>Holbein was dispatched by Cromwell, Henry's Minister, to paint the Lady
+Anne of Cleves, and by practising the common flattery of his profession,
+"he was," says Walpole, "the immediate cause of the destruction of that
+great subject, and of the disgrace which fell upon the princess herself.
+He drew so favorable a likeness that Henry was content to wed her; but
+when he found her so inferior to the miniature, the storm which should
+have really been directed at the painter, burst on the minister; and
+Cromwell lost his head, because Anne was <i>a Flanders mare</i>, and not a
+Venus, as Holbein had represented her."</p>
+
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN'S PORTRAIT OF CRATZER.</h2>
+
+<p>He painted the portrait of Nicholas Cratzer, astronomer to Henry VIII.,
+which Walpole mentions as being in the Royal collection in France. This
+astronomer erected the dial at Corpus Christi, Oxford College, in 1550.
+After thirty years' residence in England, he had scarce learned to
+speak<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> the language, and his Majesty asking him how that happened, he
+replied, "I beseech your highness to pardon me; what can a man learn in
+only thirty years?" The latter half of this memorable sentence may
+remind the reader of Sir Isaac Newton; and perhaps the study of
+astronomy does naturally produce such a feeling in the reflective mind.</p>
+
+
+<hr style="width: 65%;" />
+<h2>HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.</h2>
+
+<p>Holbein painted the portraits of the Chancellor and family; and no less
+than six different pictures of this subject are attributed to his hand;
+but of these Walpole thinks only two to possess good evidences of
+originality. One of these was in Deloo's collection, and after his death
+was purchased by Mr. Roper, More's grandson. Another was in the Palazzo
+Delfino at Venice, where it was long on sale, the price first set being
+&pound;1500; but the King of Poland purchased it about 1750, for near &pound;400.
+The coloring of this work is beautiful beyond description, and the
+carnations have that bloom so peculiar to Holbein, who touched his works
+until not a touch remained discernible. Walpole says, "It was evidently
+designed for a small altar-piece to a chapel; in the middle on a throne
+sits the Virgin and child; on one side kneels an elderly gentleman with
+two sons, one of them a naked infant opposite kneeling are his wife and
+daughters.<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span>"</p>
+
+<p>There is recorded a bon-mot of Sir Thomas on the birth of his son. He
+had three daughters, but his wife was impatient for a son: at last they
+had one, but not much above an idiot&mdash;"you have prayed so long for a
+boy," said the Chancellor, "that now we have got one who I believe will
+be a boy as long as he lives!"</p>
+
+
+<hr style="width: 65%;" />
+<h2>SIR JOHN VANBRUGH AND HIS CRITICS.</h2>
+
+<p>This eminent English architect, who flourished about the commencement of
+the 18th century, had to contend with the wits of the age. They waged no
+war against him as a wit, for he was not inferior; but as an architect,
+he was the object of their keenest derision, particularly for his
+celebrated work of the stupendous palace of Blenheim, erected for the
+Duke of Marlborough in accordance with the vote of a grateful nation.
+Swift was a satirist, therefore no true critic; and his disparagement of
+Blenheim arose from party-feeling. Pope was more decisive, and by the
+harmony of his numbers contributed to lead and bias the public opinion,
+until a new light emanated from the criticism of Sir Joshua Reynolds;
+and this national palace is now to be considered, not on its
+architectural, but its picturesque merits. A criticism which caused so
+memorable a revolution in public taste, must be worthy of an extract. "I
+pretend to no skill in architecture&mdash;I judge now of the art merely as a
+painter. To speak then of Vanbrugh in the language of a painter, he had
+origi<span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span>nality of invention, he understood light and shadow, and had great
+skill in composition. To support his principal object he produced his
+second and third groups of masses; he perfectly understood in <i>his</i> art
+what is most difficult in <i>ours</i>, the conduct of the background, by
+which the design and invention is set off to the greatest advantage.
+What the background is in painting, is the real ground upon which the
+building is erected; and no architect took greater care that his works
+should not appear crude and hard; that is, it did not start abruptly out
+of the ground, without speculation or preparation. This is the tribute
+which a painter owes to an architect who composed like a painter."</p>
+
+<p>Besides this, the testimony of Knight, Price, and Gilpin, have
+contributed to remove the prejudices against Vanbrugh. Knight says in
+his "Principles of Taste," Sir John Vanbrugh is the only architect I
+know of, who has either planned or placed his houses according to the
+principles recommended; and in his two chief works, Blenheim and Castle
+Howard, it appears to have been strictly adhered to, at least in the
+placing of them, and both are certainly worthy of the best situations,
+which not only the respective places, but the island of Great Britain
+could afford.</p>
+
+<p>Vanbrugh also evinced great talent as a dramatic writer, and his
+masterly powers in comedy are so well evinced in the Relapse, the
+Provoked Wife, and other plays, that were it not for their strong<span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span>
+libertine tendency which have properly banished them from the stage, and
+almost from the closet, he would have been regarded as a standard
+classic author in English dramatic literature. His private character
+seems to have been amiable, and his conduct tolerably correct. He died
+at his own house in Whitehall, in 1726. In his character of architect,
+Dr. Evans bestowed on him the following witty epitaph:</p>
+
+<p>
+<span style="margin-left: 1em;">"Lie heavy on him, earth, for he</span><br />
+<span style="margin-left: 1em;">Laid many a heavy load on thee"!</span><br />
+</p>
+
+
+<hr style="width: 65%;" />
+<h2>ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.</h2>
+
+<p>He was employed by the Duke of Somerset, commonly called "the Proud
+Duke," to paint the portraits of his horses at Petworth, who
+condescended to sit with Seymour (his namesake) at table. One day at
+dinner, the Duke filled his glass, and saying with a sneer, "<i>Cousin</i>
+Seymour, your health," drank it off. "My Lord," said the artist, "I
+believe I <i>have</i> the honor of being related to your grace." The proud
+peer rose from the table, and ordered his steward to dismiss the
+presumptuous painter, and employ an humbler brother of the brush. This
+was accordingly done; but when the new painter saw the spirited works of
+his predecessor, he shook his head, and retiring said, "No man in
+England can compete with James Seymour." The Duke now con<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span>descended to
+recall his discarded cousin. "My Lord," was the answer of Seymour, "I
+will now prove to the world that I am of your blood&mdash;<i>I won't come.</i>"
+Upon receiving this laconic reply, the Duke sent his steward to demand a
+former loan of &pound;100. Seymour briefly replied that "he would write to his
+Grace." He did so, but directed his letter, "Northumberland House,
+opposite the Trunkmaker's, Charing Cross." Enraged at this additional
+insult, the Duke threw the letter into the fire without opening it, and
+immediately ordered his steward to have him arrested. But Seymour,
+struck with an opportunity of evasion, carelessly observed that "it was
+hasty in his Grace to burn his letter, because it contained a bank note
+for &pound;100, and that <i>therefore</i>, they were now quits."</p>
+
+
+<hr style="width: 65%;" />
+<h2>PRECOCITY OF LUCA GIORDANO.</h2>
+
+<p>At the age of five years, the natural taste of Lucia Giordano for
+painting, led him to adopt the pencil as a plaything; at six he could
+draw the human figure with surprising correctness. The Cav. Stanzioni,
+passing by his father's shop, and seeing the child at work, stopped to
+see his performances, and is said to have predicted that "he would one
+day become the first painter of the age." Before he was eight years old
+he painted, unknown to his father, two cherubs in a fresco, entrusted to
+that artist, in an obscure part of the church of S. Maria<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>
+Nuova&mdash;figures so graceful as to attract considerable attention. This
+fact coming to the knowledge of the Duke de Medina de las Torres, the
+Viceroy of Naples, he rewarded the precocious painter with some gold
+ducats, and recommended him to the instruction of Spagnoletto, then the
+most celebrated painter in Naples, who accordingly received him into his
+studio. There, says Palomino, he spent nine years in close application
+to study, and there, he probably enjoyed the advantage of seeing
+Velasquez, during that great artist's second visit to Naples.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S ENTHUSIASM.</h2>
+
+<p>When Giordano was about seventeen years old, having learned from Ribera
+all he could teach him, he conceived a strong desire to prosecute his
+studies at Rome. To this step, his father, who was poor, and could
+perhaps ill afford to lose his earnings, refused to give his consent.
+Luca therefore embraced the earliest opportunity to abscond, and ran
+away on foot to the metropolis of art, where he applied himself with the
+greatest assiduity. He copied all the great frescos of Raffaelle in the
+Vatican several times; he next turned his rapid pencil against the works
+of Annibale Caracci in the Farnese palace. Meantime, his father divining
+the direction which the truant had taken, followed him to Rome, where,
+after a long search, he discovered him sketching in St. Peter's church.<span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>LUCA FA PRESTO.</h2>
+
+<p>Giordano resided at Rome about three years with his father, who seems to
+have been a helpless creature, subsisting by the sale of his son's
+drawings; but Luca cared for nothing but his studies, satisfied with a
+piece of bread or a few maccaroni. When their purse was low, the old man
+would accompany him to the scene of his labors, and constantly urge him
+on, by repeating <i>Luca, fa presto</i>, (hurry Luca) which became a byword
+among the painters, and was fixed upon the young artist as a nickname,
+singularly appropriate to his wonderful celerity of execution. He
+afterwards traveled through Lombardy to Venice, still accompanied by his
+father, and having studied the works of Correggio, Titian, and other
+great masters, returned by way of Florence and Leghorn to Naples, where
+he soon after married the Donna Margarita Ardi, a woman of exquisite
+beauty, who served him as a model for his Virgins, Madonnas, Lucretias,
+and Venuses.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S SKILL IN COPYING.</h2>
+
+<p>Luca Giordano could copy any master so accurately as to deceive the best
+judges. Among his patrons in his youth was one Gasparo Romero, who was
+in the habit of inflicting upon him a great deal of tedious and
+impertinent advice. For this he had his revenge by causing his father to
+send to that connoisseur as originals, some of his imitations of<span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>
+Titian, Tintoretto, and Bassano, and afterwards avowing the deception;
+but he managed the joke so pleasantly that Romero was rather pleased
+than offended at his skill and wit.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S SUCCESS AT NAPLES.</h2>
+
+<p>In 1655, Giordano painted in competition with Giacomo Forelli, a large
+picture of St. Nicholas borne away by angels, for the church of S.
+Brigida, a work of such power and splendor, that it completely eclipsed
+his rival, and established his reputation at the early age of
+twenty-three. Two years after, he was employed by the Viceroy to paint
+several pictures for the church of S. Maria del Pianto, in competition
+with Andrea Vaccaro. The principal subjects which fell to Giordano, were
+the Crucifixion, and the Virgin and St. Januarius pleading with the
+Saviour for Naples, afflicted with pestilence; these he executed with
+great ability. He and Vaccaro having a dispute about placing the
+pictures, the matter was referred to the Viceroy, who gave the choice to
+Vaccaro as the senior artist; Giordano immediately yielded with so much
+grace and discretion, that he made a firm friend of his successful
+rival. His master, Ribera, being now dead, he soon stepped into the
+vacant place of that popular artist. The religious bodies of the
+kingdom, the dignitaries of the church, and princes and nobles, eagerly
+sought after his works.<span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.</h2>
+
+<p>The honors heaped upon Giordano by the Marquess of Heliche, compelled
+him to neglect and offend other patrons. One of these personages, the
+Duke of Diano, being very anxious for the completion of his orders, at
+last, lost all patience, and collaring the artist, he threatened him
+with personal chastisement if he did not immediately fulfil his
+engagements. The Viceroy being informed of the insult, took up the
+painter's quarrel in right royal style. He invited the Duke, who
+affected connoisseurship, to pass judgment on a picture lately painted
+by Luca for the palace, in imitation of the style of Rubens. The unlucky
+noble fell into the trap, and pronounced it an undoubted work by the
+great Fleming. Seeming to assent to this criticism, the Viceroy replied
+that Giordano was painting a companion to the picture, a piece of
+information which Diano received with a sneer and a remark on the
+artist's uncivil treatment to persons of honor. Here Heliche hastily
+interposed, telling him that the work which he had praised was painted,
+not by Rubens, but by Giordano, and repeating the sentiment expressed by
+several crowned heads on like occasions, admonished him of the respect
+due to a man so highly endowed by his Maker. "And how dare you," cried
+he, in a loud tone, and seizing the Duke by the collar, as the latter
+had done to Giordano, "thus insult a man, who is besides, retained in
+my<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> service? Know, for the future, that none shall play the brave here,
+so long as I bear rule in Naples!" "This scene," says Dominici, "passing
+in the presence of many of the courtiers, and some of these, witnesses
+of the insult offered to the painter, so mortified the pride of the
+provincial grandee, that he retired, covered with confusion, and falling
+into despondency, died soon after of a fever."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO INVITED TO FLORENCE.</h2>
+
+<p>In 1679, Giordano was invited to Florence by the Grand Duke, Cosmo III.,
+to decorate the chapel of S. Andrea Corsini in the Carmine. His works
+gave so much satisfaction to that prince, that he not only liberally
+rewarded him, but overwhelmed him with civilities, and presented him
+with a gold medal and chain, which he did him the honor to place about
+his neck with his own royal hands.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO AND CARLO DOLCI.</h2>
+
+<p>While sojourning in that city, he became acquainted with Carlo Dolci,
+then advanced in years, who is said to have been so affected at seeing
+the rapid Neapolitan execute in a few hours what would have required him
+months to perform, in his own slow and laborious manner, that he fell
+into a profound melancholy, of which he soon after died: This
+circumstance Dominici assures us, Giordano long afterwards remembered
+with tears, on being<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span> shown at Naples "a picture painted by poor
+Carlino."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S VISIT TO SPAIN.</h2>
+
+<p>The fame of Giordano had already reached Madrid, when Don Cristobal de
+Onta&ntilde;on, a favorite courtier of Charles II., returning from Italy, full
+of admiration for Giordano and his works, so sounded his praises in the
+royal ear, that the King invited him to his court, paying the expense of
+his journey, and giving him a gratuity of 1500 ducats, and appointing
+him his principal painter, with a salary of 200 crowns a month.</p>
+
+<p>The painter embarked from Naples on board one of the royal galleys,
+accompanied by his son Nicolo, a nephew named Baldassare Valente, and
+two scholars, Aniello Rossi and Matteo Pacelli, attended by three
+servants. Landing at Barcelona, and resting there a few days, he
+proceeded to Madrid, where he arrived in May 1692. Six of the royal
+coaches were sent to meet him on the road, and conduct him to the house
+of his friend Onta&ntilde;on. On the day of his arrival, by the desire of the
+King, he was carried to the Alcaza and presented to his Majesty. Charles
+received him with great kindness, inquired how he had borne the fatigues
+of his journey, and expressed his joy at finding him much younger in
+appearance than he had been taught to expect. The painter, with his
+usual courtly tact, replied, that the journey he had undertaken to
+enter<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> the service of so great a monarch, had revived his youth, and
+that in the presence of his Majesty, he felt as if he were twenty again.
+"Then," said Charles smiling, "you are not too weary to pay a visit to
+my gallery," and led him through the noble halls of Philip II., rich
+with the finest pictures of Italy and Spain. It was probably on this
+occasion, that Giordano, passing before Velasquez's celebrated picture
+of the Infanta and her meni&ntilde;as, bestowed on it the well known name of
+the <i>Theology of Painting</i>. The King, who paid the painter the
+extraordinary honor to embrace him when first presented, gave him a
+still greater mark of his favor at parting, by kissing him on the
+forehead, and presenting him with the golden key as gentleman of the
+royal bed-chamber.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S WORKS IN SPAIN.</h2>
+
+<p>Luca Giordano resided in Spain ten years, and in that time he executed
+an incredible number of grand frescos, and other works for the royal
+palaces, churches, and convents, as well as many more for individuals,
+enough to have occupied an ordinary man a long life. In the short space
+of two years, he painted in fresco, the stupendous ceiling of the
+church, and the grand staircase of the Escurial; the latter,
+representing the Battle of St. Quintin, and the Capture of Montmorenci,
+is considered one of his finest works. His next productions were the<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span>
+great saloon in the Bueno Retiro; the sacristy of the great church at
+Toledo; the ceiling of the Royal Chapel at Madrid, and other important
+works. After the death of Charles II., he was employed in the same
+capacity by his successor, Philip V. These labors raised his reputation
+to the highest pitch; he was loaded with riches and favors, and Charles
+conferred upon him the honor of knighthood.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO AT THE ESCURIAL.</h2>
+
+<p>Whilst Giordano was employed at the Escurial two Doctors of Theology
+were ordered to attend upon him, to answer his questions, and resolve
+any doubts that might arise as to the orthodox manner of treating his
+subjects. A courier was despatched every evening to Madrid, with a
+letter from the prior to the King, rendering an account of the artist's
+day's work; and within the present century, some of these letters were
+preserved at the Escurial. On one occasion he wrote thus, "Sire, your
+Giordano has painted this day about twelve figures, thrice as large as
+life. To these he has added the powers and dominations, with proper
+angels, cherubs, and seraphs, and clouds to support the same. The two
+Doctors of Divinity have not answers ready for all his questions, and
+their tongues are too slow too keep pace with the speed of his pencil."<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S HABITS IN SPAIN.</h2>
+
+<p>Giordano was temperate and frugal. He wrought incessantly, and to the
+scandal of the more devout, was found at his easel, even on days of
+religious festivals. His daily habit was to paint from eight in the
+morning, till noon, when he dined and rested two hours. At two he
+resumed his pencil, and wrought till five or six o'clock. He then took
+an airing in one of the royal carriages which was placed at his
+disposal. "If I am idle a single day," he used to say, "my pencils get
+the better of me; I must keep them in subjection by constant practice."
+The Spanish writers accuse him of avarice, and attribute his intense
+application to his ambition to acquire a large fortune; that he received
+large prices for his works, and never spent a maravedi except in the
+purchase of jewelry, of which he was very fond, and considered a good
+investment; thus he astonished Palomino by showing him a magnificent
+pearl necklace; but it should be recollected he was in the service of
+the King, and had a fixed salary, by no means large, which he was
+entitled to receive whether he wrought or played. He was doubtless
+better paid for his private commissions, which he could quickly
+despatch, than for his royal labors.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S FIRST PICTURES PAINTED AT MADRID.</h2>
+
+<p>The first work Giordano executed in Spain was a fine imitation of a
+picture by Bassano, which hap<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span>pened under the following circumstances.
+The King, during his first interview with the painter, had remarked with
+regret, that a certain picture in the Alcaza, by that master, wanted a
+companion, Giordano secretly procured a frame and a piece of old
+Venetian canvas of the size of the other, and speedily produced a
+picture, having all the appearance of age and a fine match to the
+original, and hung it by its side. The King, in his next walk through
+the gallery, instantly noticed the change with surprise and
+satisfaction, and learning the story from his courtiers, he approached
+the artist, and laying his hand on his shoulder, saluted him with "Long
+life to Giordano."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO A FAVORITE AT COURT.</h2>
+
+<p>No painter, not even Titian himself, was more caressed at court, than
+Giordano. Not only Charles II., but Philip V., delighted to do him
+honor, and treated him with extraordinary favor and familiarity. His
+brilliant success is said to have shortened the life of Claudio Coello,
+the ablest of his Castilian rivals. According to Dominici, that painter,
+jealous of Giordano, and desirous of impairing his credit at the court
+of Spain, challenged him to paint in competition with him in the
+presence of the King, a large composition fifteen palms high,
+representing the Archangel Michael vanquishing Satan. Giordano at once
+accepted the challenge, and<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span> in little more than three hours, produced a
+work which not only amazed and delighted the royal judge, but confounded
+poor Coello. "Look you, man," said the King to the discomfited Spaniard,
+and pointing to Luca Fa-presto, "there stands the best painter in
+Naples, Spain, and the whole world; verily, <i>he</i> is a painter for a
+King."</p>
+
+<p>Both Charles and Queen Mariana of Neuberg, sat several times to Giordano
+for their portraits. They were never weary of visiting his studio, and
+took great pleasure in his lively conversation, and exhibitions of
+artistic skill. One day, the Queen questioned him curiously about the
+personal appearance of his wife, who she had learned was very beautiful.
+Giordano dashed off the portrait of his <i>Cara Sposa</i>, and cut short her
+interrogation by saying, "Here, Madame, is your Majesty's most humble
+servant herself," an effort of skill and memory, which struck the Queen
+as something so wonderful as to require a particular mark of her
+approbation,&mdash;she accordingly "sent to the Donna Margarita a string of
+pearls from the neck of her most gracious sovereign." Giordano would
+sometimes amuse the royal pair, by laying on his colors with his fingers
+and thumb, instead of brushes. In this manner, says Palomino, he
+executed a tolerable portrait of Don Francisco Filipin, a feat over
+which the monarch rejoiced with almost boyish transport. "It seemed to
+him as if he was carried back to that delightful night when he first saw
+his beautiful Maria Louisa dance a<span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span> saraband at the ball of Don Pedro of
+Aragon. His satisfaction found vent in a mark of favor which not a
+little disconcerted the recipient. Removing the sculpel which the artist
+had permission to wear in the royal presence, he kissed him on the crown
+of the head, pronounced him a prodigy, and desired him to execute in the
+same digital style, a picture of St. Francis of Assisi for the Queen."
+Charles, on another occasion, complimented the artist, by saying, "If,
+as a King I am greater than Luca, Luca as a man wonderfully gifted by
+God, is greater than myself," a sentiment altogether novel for a
+powerful monarch of the 17th century. The Queen mother, Mariana of
+Austria, was equally an admirer of the fortunate artist. On occasion of
+his painting for her apartment a picture of the Nativity of our Lord,
+she presented him with a rich jewel and a diamond ring of great value,
+from her own imperial finger. It was thus, doubtless, that he obtained
+the rich jewels which astonished Palomino, and not by purchase. Charles
+II., dying in 1700, Giordano continued for a time in the service of his
+successor Philip V., who treated him with the same marked favor, and
+commissioned him to paint a series of pictures as a present to his
+grandfather, Louis XIV., of France.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S RETURN TO NAPLES.</h2>
+
+<p>The war of succession, however, breaking out, Giordano was glad to seize
+the opportunity of re-<span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span>returning to his family, on the occasion of the
+King's visit to Naples. He accompanied the court to Barcelona, in
+February, 1702, but as Philip delayed his embarkation, he asked and
+received permission to proceed by land. Parting through Genoa and
+Florence to Rome, he was received everywhere with distinction, and left
+some pictures in those cities. At Rome he had the honor to kiss the feet
+of Clement XI., and was permitted by special favor to enter the Papal
+apartments with his sword at his side, and his spectacles upon his nose.
+These condescensions he repaid with two large pictures, highly praised,
+representing the passage of the Red Sea, and Moses striking the Rock. On
+his arrival at Naples, he met with the most enthusiastic reception from
+his fellow-citizens, his renown in Spain having made him still more
+famous at home. Commissions poured into him, more than he could execute,
+and though rich, he does not seem to have relaxed his efforts or his
+habits of industry, but he did not long survive; he died of a putrid
+fever in January, 1705, in the 73d year of his age.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S PERSONAL APPEARANCE AND CHARACTER.</h2>
+
+<p>In person, Luca Giordano was of the middle height, and
+well-proportioned. His complexion was dark, his countenance spare, and
+chiefly remarkable for the size of its nose, and an expression ra<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span>ther
+melancholy than joyous. He was, however, a man of ready wit and jovial
+humor; he was an accomplished courtier, understood the weak points of
+men that might be touched to advantage, and possessed manners so
+engaging, that he passed through life a social favorite. His school was
+always filled with scholars, and as a master he was kind and popular,
+although, according to Palomino, on one occasion he was so provoked that
+he broke a silver-mounted maul-stick over the head of one of his
+assistants. Greediness of gain seems to have been his besetting sin. He
+refused no commission that was offered to him, and he despatched them
+according to the prices he received, saying that "he had three sorts of
+pencils, made of gold, of silver, and of wood." Yet he frequently
+painted works gratuitously, as pious offerings to the altars of poor
+churches and convents.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S RICHES.</h2>
+
+<p>Giordano died very rich, leaving 150,000 ducats invested in various
+ways; 20,000 ducats worth of jewels; many thousands in ready money,
+1,300 pounds weight of gold and silver plate, and a fine house full of
+rich furniture. Out of this he founded an entailed estate for his eldest
+son, Lorenzo, and made liberal provisions for his widow, two younger
+sons and six daughters. His sons and sons-in-law enjoyed several posts
+conferred on them in the kingdom of Naples by the favor of Charles II.<span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S WONDERFUL FACILITY OF HAND.</h2>
+
+<p>Giordano may be said to have been born with a pencil in his hand, and by
+constant practice, added to a natural quickness, he acquired that
+extraordinary facility of hand which, while in his subsequent career, it
+tended to corrupt art, materially aided his fame and success. He was
+also indefatigable in his application. Bellori says, "he made twelve
+different designs of the Loggia and paintings by Raffaelle in the
+Vatican; and twenty after the Battle of Constantine by Giulio Romano,
+besides many after Michael Angelo, Polidoro da Caravaggio, and others.
+The demand for his drawings and sketches was so great, that Luca, when
+obliged to take refreshments, did not retire from his work, but gaping
+like a young bird, gave notice to his father of the calls of nature,
+who, always on the watch, instantly supplied him with food, at the same
+time repeating, <i>Luca, fa presto</i>. The only principle which his father
+instilled into his mind was despatch." Probably no artist, not even
+Tintoretto, produced so many pictures as Giordano. Lanzi says, "his
+facility was not derived wholly from a rapidity of pencil, but was aided
+by the quickness of his imagination, which enabled him clearly to
+perceive, from the commencement of the work, the result he intended,
+without hesitating to consider the component parts, or doubling,
+proving, and selecting, like other painters." Hence Giordano was also
+called, <i>Il pro<span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span>teo della pittura</i>, and <i>Il Falmine della pittura</i>&mdash;the
+Proteus, and the Lightning of painting. As an instance of the latter, it
+is recorded that he painted a picture while his guests were waiting for
+dinner.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S POWERS OF IMITATION.</h2>
+
+<p>Giordano had the rare talent of being able to imitate the manner of
+every master so successfully as frequently to deceive the best judges;
+he could do this also without looking at the originals, the result of a
+wonderful memory, which retained everything once seen. There are
+numerous instances of pictures painted by him in the style of Albert
+Durer, Bassano, Titian, and Rubens, which are valued in commerce at two
+or three times the price of pictures in his own style. In the church of
+S. Teresa at Naples, are two pictures by him in the style of Guido, and
+there is a Holy Family at Madrid, which Mengs says may be easily
+mistaken for a production of Raffaelle. Giordano also had several
+scholars, who imitated his own style with great precision.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIORDANO'S FAME AND REPUTATION.</h2>
+
+<p>Perhaps no artist ever enjoyed a greater share of contemporary fame than
+Luca Giordano. Possessed of inexhaustible invention, and marvellous
+facility of hand, which enabled him to multiply his works to any
+required amount he had the good fortune to<span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span> hit upon a style which
+pleased, though it still farther corrupted the declining taste of the
+age. He despatched a large picture in the presence of Cosmo III., Grand
+Duke of Florence, in so short a space of time as caused him to exclaim
+in wonder, "You are fit to be the painter of a sovereign prince." The
+same eulogium, under similar circumstances, was passed upon him by
+Charles II. A similar feat at Naples, had previously won the admiration
+and approbation of the Viceroy, the Marquess de Heliche, and laid the
+foundation of his fortune. It became <i>the fashion</i>, to admire everything
+that came from his prolific pencil, at Madrid, as well as at Naples.
+Everywhere, his works, good or bad, were received with applause. When it
+was related as a wonder that Giordano painted with his fingers, no
+Angelo was found to observe, "Why does not the blockhead use his brush."
+That Giordano was a man of genius, there can be no doubt, but had he
+executed only a tenth part of the multitude he did, his fame would have
+been handed down to posterity with much greater lustre. Cean Bermudez
+says of his works in Spain, "He left nothing that is absolutely bad, and
+nothing that is perfectly good." His compositions generally bear the
+marks of furious haste, and they are disfigured in many cases by
+incongruous associations of pagan mythology with sacred history, and of
+allegory with history, a blemish on the literature as well as the art of
+the age. Bermudez also accuses him of having corrupted and degraded
+Spanish art,<span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span> by introducing a new and false style, which his great
+reputation and royal favoritism, brought into vogue. Still, he deserves
+praise for the great facility of his invention, the force and richness
+of his coloring, and a certain grandeur of conception and freedom of
+execution which belong only to a great master. The royal gallery at
+Madrid possesses no less than fifty-five of his pictures, selected from
+the multitude he left in the various royal palaces. There are also many
+in the churches. Lanzi says, "Naples abounds with the works of Giordano,
+both public and private. There is scarcely a church in this great city
+which does not boast some of his works."</p>
+
+
+<hr style="width: 65%;" />
+<h2>REMARKABLE INSTANCE OF GIORDANO'S RAPIDITY OF EXECUTION.</h2>
+
+<p>Giordano, on his return to Naples from Florence, established himself in
+Ribera's fine house, opposite the Jesuit's church of S. Francesco
+Xavier. In 1685 he was commissioned by the Fathers to paint a large
+picture for one of the principal altars, and agreed that it should be
+completed by the approaching festival of the patron saint. Giordano,
+having other engagements on hand, put off the execution of the
+altar-piece so long, that the Jesuits began to be clamorous, and at
+length appealed to the Viceroy to exercise his authority. Determined to
+see for himself how matters stood, that great man paid an unexpected
+visit to Giordano's studio. The<span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span> painter had barely time to escape by a
+back door to avoid his wrath, when the Marquess de Heliche entered, who
+perceiving that he had not touched the vast canvas with his brush, as
+suddenly retired, muttering imprecations and menaces. Luca's dashing
+pencil now stood him in good stead. He immediately sketched the outlines
+of his composition, and setting his disciples to prepare his palettes,
+he painted all that day and night with so much diligence that by the
+following afternoon, he was able to announce to the impatient Fathers
+the completion of the picture. The subject was the patron of the church,
+St. Francis Xavier, the great Jesuit missionary, baptizing the people of
+Japan. He is represented standing on a lofty flight of steps; behind
+him, in the distance, is a party of zealous converts pulling down the
+images of their gods, and beneath in the foreground, kneels St. Francis
+Borgia in the attitude of prayer. The picture was executed with such
+boldness and freedom, and excellence of coloring, that at the proper
+distance it produced a grand and magnificent effect. It was immediately
+carried to the church, and placed over the destined altar, the day
+before the appointed festival, and the Viceroy whose anger had hardly
+cooled, invited to inspect it. Charmed with the beauty of the work, and
+amazed by the celerity of its execution, he exclaimed, "the painter of
+this picture must be either an angel or a demon." Giordano received his
+compliments, and made his own excuses with so much<span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span> address, that the
+Marquess, forgetting all past offences engaged him to paint in the
+palace, and passed much of his time by his side, observing his progress,
+and enjoying his lively conversation.</p>
+
+
+<hr style="width: 65%;" />
+<h2>REVIVAL OF PAINTING IN ITALY.</h2>
+
+<p>"Poetry, Painting, and Sculpture," says Cunningham, "are of the same
+high order of genius; but, as words provide at once shape and color to
+our thoughts, Poetry has ever led the way in the march of intellect: as
+material forms are ready made, and require but to be skillfully copied,
+Sculpture succeeded; and as lights and shadows demand science and
+experience to work them into shape, and endow them with sentiment,
+Painting was the last to rise into elegance and sublimity. In this order
+these high Arts rose in ancient Greece; and in the like order they rose
+in modern Italy; but none of them reached true excellence, till the
+light of knowledge dawned on the human mind, nor before civilization,
+following in the steps of barbarism, prepared the world for the
+reception of works of polished grace and tranquil grandeur.</p>
+
+<p>"From the swoon into which the Fine Arts were cast by the overthrow of
+the Roman Empire, they were long in waking: all that was learned or
+lofty was extinguished: of Painting, there remained but the memory, and
+of Sculpture, some broken stones, yet smothered in the ruins of temples
+and cities<span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span> the rules which gave art its science were lost; the
+knowledge of colors was passed away, and that high spirit which filled
+Italy and Greece with shapes and sentiments allied to heaven, had
+expired. In their own good time, Painting and Sculpture arose from the
+ruins in which they had been overwhelmed, but their looks were altered;
+their air was saddened; their voice was low, though it was, as it had
+been in Greece, holy, and it called men to the contemplation of works of
+a rude grace, and a but dawning beauty. These 'sisters-twin' came at
+first with pale looks and trembling steps, and with none of the
+confidence which a certainty of pleasing bestows: they came too with few
+of the charms of the heathen about them: of the scientific unity of
+proportion, of the modest ease, the graceful simplicity, or the almost
+severe and always divine composure of Greece, they had little or none.
+But they came, nevertheless, with an original air and character all
+their own; they spoke of the presence of a loveliness and sentiment
+derived from a nobler source than pagan inspiration; they spoke of Jesus
+Christ and his sublime lessons of peace, and charity, and belief, with
+which he had preached down the altars and temples of the heathen, and
+rebuked their lying gods into eternal silence.</p>
+
+<p>"Though Sculpture and Painting arose early in Italy, and arose with the
+mantle of the Christian religion about them, it was centuries before
+they were able to put on their full lustre and beauty. For<span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span> this,
+various causes may be assigned. 1. The nations, or rather wild hordes,
+who ruled where consuls and emperors once reigned, ruled but for a
+little while, or were continually employed in expeditions of bloodshed
+and war. 2. The armed feet of the barbarians had trodden into dust all
+of art that was elegant or beautiful:&mdash;they lighted their camp-fires
+with the verses of Euripides or Virgil; they covered their tents with
+the paintings of Protogenes and Apelles, and they repaired the breaches
+in the walls of a besieged city, with the statues of Phidias and
+Praxiteles;&mdash;the desires of these barbarians were all barbarous. 3.
+Painting and Sculpture had to begin their labors anew; all rules were
+lost; all examples, particularly of the former, destroyed: men unable,
+therefore, to drink at the fountains of Greece, did not think, for
+centuries, of striking the rock for themselves. 4. The Christian
+religion, for which Art first wrought, demanded sentiment rather than
+shape: it was a matter of mind which was wanted: the personal beauty of
+Jesus Christ is nowhere insisted upon in all the New Testament: the
+earliest artists, when they had impressed an air of holiness or serenity
+on their works, thought they had done enough; and it was only when the
+fears of looking like the heathen were overcome, and a sense of the
+exquisite beauty of Grecian sculpture prevailed, that the geometrical
+loveliness of the human form found its way into art. It may be added,
+that no modern people, save the Italians alone, seem to<span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span> share fully in
+the high sense of the ideal and the poetic, visible in the works of
+Greece.</p>
+
+<p>"The first fruits of this new impulse were representations of Christ on
+the Cross; of his forerunner, St. John; of his Virgin Mother; and of his
+companions, the Apostles. Our Saviour had a meek and melancholy look;
+the hands of the Virgin are held up in prayer; something of the wildness
+of the wilderness was in the air of St. John, and the twelve Apostles
+were kneeling or preaching. They were all clothed from head to heel; the
+faces, the hands, and the feet, alone were bare; the sentiment of
+suffering or rejoicing holiness, alone was aimed at. The artists of the
+heathen religion wrought in a far different spirit; the forms which they
+called to their canvas, and endowed with life and beauty, were all, or
+mostly naked; they saw and felt the symmetry and exquisite harmony of
+the human body, and they represented it in such elegance, such true
+simplicity and sweetness, as to render their nude figures the rivals in
+modesty and innocence of the most carefully dressed. A sense of this
+excellence of form is expressed by many writers. 'If,' says Plato, 'you
+take a man as he is made by nature, and compare him with another who is
+the effect of art, the work of nature will always appear the less
+beautiful, because art is more accurate than nature.' Maximus Tyrus also
+says, that 'the image which is taken by a painter from several bodies,
+produces a beauty which it is impossible to find in<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span> any single natural
+body, approaching to the perfection of the fairest statues.' And Cicero
+informs us, that Zeuxis drew his wondrous picture of Helen from various
+models, all the most beautiful that could be found; for he could not
+find in one body all those perfections, which his idea of that princess
+required.</p>
+
+<p>"So far did the heathens carry their notions of ideal beauty, that they
+taxed Demetrius with being too natural, and Dionysius they reproached as
+but a painter of men. Lysippus himself upbraided the ordinary sculptors
+of his day, for making men such as they were in nature, and boasted of
+himself, that he made men as they ought to be. Phidias copied his
+statues of Jupiter and Pallas from forms in his own soul, or those which
+the muse of Homer supplied. Seneca seems to wonder, that, the sculptor
+having never beheld either Jove or Pallas, yet could conceive their
+divine images in his mind; and another eminent ancient says, that 'the
+fancy more instructs the painter than the imitation; for the last makes
+only the things which it sees, but the first makes also the things which
+it never sees.' Such were also, in the fulness of time and study, the
+ideas of the most distinguished moderns. Alberti tells us, that 'we
+ought not so much to love the likeness as the beauty, and to choose from
+the fairest bodies, severally, the fairest parts.' Da Vinci uses almost
+the same words, and desires the painter to form the idea for himself;
+and the incomparable Raphael thus<span class='pagenum'><a name="Page_249" id="Page_249">[Pg 249]</a></span> writes to Castiglione concerning his
+Galatea: 'To paint a fair one, it is necessary for me to see many fair
+ones; but because there is so great a scarcity of lovely women, I am
+constrained to make use of one certain idea, which I have formed in my
+own fancy.' Guido Reni approaches still closer to the pure ideal of the
+great Christian School of Painting, when he wishes for the wings of an
+angel, to ascend to Paradise, and see, with his own eyes, the forms and
+faces of the blessed spirits, that he might put more of heaven into his
+pictures.</p>
+
+<p>"Of the heaven which the great artist wished to infuse into his works,
+there was but little in painting, when it rose to aid religion in Italy.
+The shape was uncooth, the coloring ungraceful, and there was but the
+faint dawn of that divine sentiment, which in time elevated Roman art to
+the same eminence as the Grecian. Yet all that Christianity demanded
+from Art, at first, was readily accomplished: fine forms, and delicate
+hues, were not required for centuries, by the successors of the
+Apostles; a Christ on the Cross; the Virgin lulling her divine Babe in
+her bosom; the Miracle of Lazarus; the Preaching on the Mount; the
+Conversion of St. Paul; and the Ascension&mdash;roughly sculptured or
+coarsely painted, perhaps by the unskilful hands of the Christian
+preachers themselves&mdash;were found sufficient to explain to a barbarous
+people some of the great ruling truths of Christianity. These, and such
+as these, were placed in churches, or borne about by gospel
+missionaries<span class='pagenum'><a name="Page_250" id="Page_250">[Pg 250]</a></span> and were appealed to, when words failed to express the
+doctrines and mysteries which were required to be taught. Such appeals
+were no doubt frequent, in times when Greek and Latin ceased to be
+commonly spoken, and the present languages of Europe were shaping
+themselves, like fruit in the leaf, out of the barbarous dissonance of
+the wild tongues which then prevailed. These Christian preachers, with
+their emblems and their relics, were listened to by the Gothic
+subverters of the empire of art and elegance, with the more patience and
+complacency, since they desired not to share in their plunder or their
+conquests, and opened to them the way to a far nobler kingdom&mdash;a kingdom
+not of this earth.</p>
+
+<p>"Though abundance of figures of saints were carved, and innumerable
+Madonnas painted throughout Italy, in the earlier days of the Christian
+church, they were either literal transcripts of common life, or
+mechanical copies or imitations of works furnished from the great store
+looms of the Asiatic Greeks. There were thousands&mdash;nay, tens of
+thousands of men, who wrote themselves artists, while not one of them
+had enough of imagination and skill to lift art above the low estate in
+which the rule and square of mechanical imitation had placed it. Niccolo
+Pisano appears to have been the first who, at Pisa, took the right way
+in sculpture: his groups, still in existence, are sometimes too crowded;
+his figures badly designed, and the whole de<span class='pagenum'><a name="Page_251" id="Page_251">[Pg 251]</a></span>fective in sentiment; but
+he gave an impulse&mdash;communicated through the antique&mdash;to composition,
+not unperceived by his scholars, who saw with his eyes and wrought with
+his spirit. The school which he founded produced, soon after, the
+celebrated Ghiberti, whose gates of bronze, embellished with figures,
+for the church of San Giovanni, were pronounced by Michael Angelo worthy
+to be the gates of Paradise. While the sister art took these large
+strides towards fame, Painting lagged ruefully behind; she had no true
+models, and she had no true rules; but 'the time and the man' came at
+last, and this man was Giovanni Cimabue."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOVANNI CIMABUE.</h2>
+
+<p>This great painter is universally considered the restorer of modern
+painting. The Italians call him "the Father of modern Painting;" and
+other nations, "the Creator of the Italian or Epic style of Painting."
+He was born at Florence in 1240, of a noble family, and was skilled both
+in architecture and sculpture. The legends of his own land make him the
+pupil of Giunta; for the men of Florence are reluctant to believe that
+he was instructed in painting by those Greek artists who were called in
+to embellish their city with miracles and Madonnas. He soon conquered an
+education which consisted in reproducing, in exact shape and color, the
+works of other men: he desired to advance: he<span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span> went to nature for his
+forms; he grouped them with a new skill; he bestowed ease on his
+draperies, and a higher expression on his heads. His talent did not
+reside in the neat, the graceful, and the lovely; his Madonnas have
+little beauty, and his angels are all of one make: he succeeded best in
+the heads of the old and the holy, and impressed on them, in spite of
+the barbarism of his times, a bold sublimity, which few have since
+surpassed. Critics object to the fierceness of his eyes, the want of
+delicacy in the noses of his figures, and the absence of perspective in
+his compositions; but they admit that his coloring is bright and
+vigorous, his conceptions grand and vast, and that he loved the daring
+and the splendid. Nevertheless, a touch of the mechanical Greek School,
+and a rudeness all his own, have been observed in the works of this
+great painter. His compositions were all of a scriptural or religious
+kind, such as the church required: kings were his visitors, and the
+people of Florence paid him honors almost divine.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CIMABUE'S PASSION FOR ART.</h2>
+
+<p>Cimabue gave early proof of an accurate judgment and a clear
+understanding, and his father designed to give him a liberal education,
+but instead of devoting himself to letters, says Vasari, "he consumed
+the whole day in drawing men, horses, houses, and other various fancies
+on his books and different pa<span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span>pers&mdash;an occupation to which he felt
+himself impelled by nature; and this natural inclination was favored by
+fortune, for the governors of the city, had invited certain Greek
+painters to Florence, for the purpose of restoring the art of painting,
+which had not merely degenerated, but was altogether lost; those
+artists, among other works, began to paint the chapel of Gondi, situated
+next to the principal chapel in S. Maria Novella, where Giovanni was
+being educated, who often escaping from school, and having already made
+a commencement in the art he was so fond of, would stand watching these
+masters at their work the day through." Vasari goes on to say, that this
+passion at length induced his father, already persuaded that he had the
+genius to become a great painter, to place Giovanni under the
+instruction of these Greek artists. From this time, he labored
+incessantly day and night, and aided by his great natural powers, he
+soon surpassed his teachers.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.</h2>
+
+<p>Cimabue had already distinguished himself by many works, executed in
+fresco and distemper for the churches at Florence, Pisa, and Assisi,
+when he painted his famous picture of the Holy Virgin for the church of
+S. Maria Novella in the former city. This picture was accounted such a
+wonderful performance by his fellow citizens, that they carried it from
+the house of Cimabue to the church in solemn<span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span> procession, with sound of
+trumpets and every demonstration of joy. "It is further reported," says
+Vasari, "that whilst Cimabue was painting this picture in a garden near
+the gate of San Pietro, King Charles the elder, of Anjou, passed through
+Florence, and the authorities of the city, among other marks of respect,
+conducted him to see the picture of Cimabue." This picture, representing
+the Virgin and Infant Jesus surrounded by angels, larger than life, then
+so novel, was regarded as such a wonderful performance, that all the
+people of Florence flocked in crowds to admire it, making all possible
+demonstrations of delight. It still adorns the chapel of the Rucellai
+family in the church of S. Maria Novella for which it was painted. The
+heads of the Virgin, of the infant Jesus, and the angels, are all fine,
+but the hands are badly drawn; this defect, however, is common with the
+Quattrocentisti, or artists of the 14th century. The editors of the
+Florentine edition of Vasari, commenced in 1846, by an association of
+learned Italians, observe, "This picture, still in fair preservation, is
+in the chapel of the Rucellai family; and whoever will examine it
+carefully, comparing it, not only with works before the time of Cimabue,
+but also with those painted after him, by the Florentine masters,
+particularly Giotto, will perceive that the praises of Vasari are
+justified in every particular."<span class='pagenum'><a name="Page_255" id="Page_255">[Pg 255]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>THE WORKS OF CIMABUE.</h2>
+
+<p>Some writers assert that the works of Cimabue possessed little merit
+when compared with those of later times; and that the extraordinary
+applause which he received flowed from an age ignorant of art. It should
+be recollected, however, that it is much easier to copy or follow, when
+the path has been marked out, than to invent or discover; and hence that
+the glorious productions of the "Prince of modern Painters," form no
+criterion by which to judge of the merits of those of the "Father of
+modern Painters." The former had "the accumulated wisdom of ages" before
+him, of which he availed himself freely; the latter had nothing worthy
+of note, but his own talents and the wild field of nature, from which he
+was the first of the moderns who drew in the spirit of inspiration.
+"Giotto," says Vasari, "did obscure the fame of Cimabue, as a great
+light diminishes the splendor of a lesser one; so that, although Cimabue
+may be considered the cause of the restoration of the art of painting,
+yet Giotto, his disciple, impelled by a laudable ambition, and well
+aided by heaven and nature, was the man, who, attaining to superior
+elevation of thought, threw open the gate of the true way, to those who
+afterwards exalted the art to that perfection and greatness which it
+displays in our own age; when accustomed, as men are, daily to see the
+prodigies and miracles, nay the <i>impossibilities</i>, now performed by
+artists,<span class='pagenum'><a name="Page_256" id="Page_256">[Pg 256]</a></span> they have arrived at such a point, that they no longer marvel
+at anything accomplished by man, even though it be more divine than
+human. Fortunate, indeed, are artists who now labor, however
+meritoriously, if they do not incur censure instead of praise; nay, if
+they can even escape disgrace." It should be recollected that Vasari
+held this language in the days of Michael Angelo.</p>
+
+<p>All the great frescos of Cimabue, and most of his easel pictures, have
+perished. Besides the picture of the Virgin before mentioned, there is a
+St. Francis in the church of S. Croce, an excellent picture of St.
+Cecilia, in that of S. Stefano, and a Madonna in the convent of S.
+Paolino at Florence. There are also two paintings by Cimabue in the
+Louvre&mdash;the Virgin with angels, and the Virgin with the infant Jesus.
+Others are attributed to him, but their authenticity is very doubtful.</p>
+
+
+<hr style="width: 65%;" />
+<h2>DEATH OF CIMABUE.</h2>
+
+<p>According to Vasari, Cimabue died in 1300, and was entombed in the
+church of S. Maria del Fiore at Florence. The following epitaph,
+composed by one of the Nini, was inscribed on his monument:</p>
+
+<p>
+<span style="margin-left: 1em;">"Credidit ut Cimabos pictur&aelig; castra tenere</span><br />
+<span style="margin-left: 1em;">Sic tenuit, vivens, nunc tenet astra poli."</span><br />
+</p>
+
+<p>It appears, however, from an authentic document, cited by Campi, that
+Cimabue was employed in 1302 in executing a mosaic picture of St. John,
+for<span class='pagenum'><a name="Page_257" id="Page_257">[Pg 257]</a></span> the cathedral of Pisa; and as he left this figure unfinished, it is
+probable that he did not long survive that year.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTO.</h2>
+
+<p>This great artist, one of the fathers of modern painting, was born at
+Vespignano, a small town near Florence, in 1276. He was the son of a
+shepherd named Bondone, and while watching his father's flocks in the
+field, he showed a natural genius for art by constantly delineating the
+objects around him. A sheep which he had drawn upon a flat stone, after
+nature, attracted the attention of Cimabue, who persuaded his father,
+Bondone, to allow him to go to Florence, confident that he would be an
+ornament to the art. Giotto commenced by imitating his master, but he
+quickly surpassed him. A picture of the Annunciation, in the possession
+of the Fathers of Badia at Florence, is one of his earliest works, and
+manifests a grace and beauty superior to Cimabue, though the style is
+somewhat dry. In his works, symmetry became more chaste, design more
+pleasing, and coloring softer than before. Lanzi says that if Cimabue
+was the Michael Angelo of that age, Giotto was the Raffaelle. He was
+highly honored, and his works were in great demand. He was invited to
+Rome by Boniface VIII., and afterwards to Avignon by Clement V. The
+noble families of Verona, Milan, Ravenna, Urbino, and Bologna, were
+eager to possess his works. In<span class='pagenum'><a name="Page_258" id="Page_258">[Pg 258]</a></span> 1316, according to Vasari, he returned
+from Avignon, and was employed at Padua, where he painted the chapel of
+the Nunziata all' Arena, divided all around into compartments, each of
+which represents some scriptural event. Lanzi says it is truly
+surprising to behold, not less on account of its high state of
+preservation beyond any other of his frescos, than for its graceful
+expression, and that air of grandeur which Giotto so well understood.
+About 1325 he was invited to Naples by King Robert, to paint the church
+of S. Chiara, which he decorated with subjects from the New Testament,
+and the Mysteries of the Apocalypse. These, like many of his works, have
+been destroyed; but there remains a Madonna, and several other pictures,
+in this church. Giotto's portraits were greatly admired, particularly
+for their air of truth and correct resemblance. Among other illustrious
+persons whom he painted, were the poet Dante, and Clement VIII. The
+portrait of the former was discovered in the chapel of the Podesta, now
+the Bargello, at Florence, which had for two centuries been covered with
+whitewash, and divided into cells for prisoners. The whitewash was
+removed by the painter Marini, at the instance of Signor Bezzi and
+others, and the portrait discovered in the "Gloria" described by Vasari.
+Giotto was also distinguished in the art of mosaic, particularly for the
+famous Death of the Virgin at Florence, greatly admired by Michael
+Angelo; also the celebrated Navicella, or Boat of<span class='pagenum'><a name="Page_259" id="Page_259">[Pg 259]</a></span> St. Peter, in the
+portico of the Basilica of St. Peter's at Rome, which is now so
+mutilated and altered as to leave little of the original design.</p>
+
+<p>As an architect, Giotto attained considerable eminence, according to
+Milizia, and erected many important edifices, among which is the
+bell-tower of S. Maria del Fiore. The thickness of the walls is about
+ten feet; the height is two hundred and eighty feet. The cornice which
+supports the parapet is very bold and striking; the whole exterior is of
+Gothic design, inlaid with marble and mosaic, and the work may be
+considered one of the finest specimens of campanile in Italy.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTO'S ST. FRANCIS STIGMATA</h2>
+
+<p>In the church of S. Francesco at Pisa, is a picture by Giotto,
+representing St. Francis receiving the Stigmata,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> which is in good
+preservation, and held in great veneration, not only for the sake of the
+master, but for the excellence of the work. Vasari says, "It represents
+St. Francis, standing on the frightful rocks of La Verna; and is
+finished with extraordinary care. It exhibits a landscape with many
+trees and precipices, which was a new thing in those times. In the
+attitude and expression of<span class='pagenum'><a name="Page_260" id="Page_260">[Pg 260]</a></span> St. Francis, who is on his knees receiving
+the Stigmata, the most eager desire to obtain them is clearly manifest,
+as well as infinite love towards Jesus Christ, who, from heaven above,
+where he is seen surrounded by the seraphim, grants those stigmata to
+his servant, with looks of such lively affection, that it is not
+possible to conceive anything more perfect. Beneath this picture are
+three others, also from the life of St. Francis, and very beautiful."</p>
+
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Stigmata, signifies the five wounds of the Saviour
+impressed by himself on the persons of certain saints, male and female,
+in reward for their sanctity and devotion to the service.</p></div>
+
+<hr style="width: 65%;" />
+<h2>GIOTTO'S INVITATION TO ROME.</h2>
+
+<p>Boniface VIII., desirous of decorating St. Peter's church with some
+paintings, having heard of the extraordinary talents of Giotto,
+despatched one of his courtiers to Tuscany, to ascertain the truth, as
+to his merits, and to procure designs from other artists for his
+approbation and selection. Vasari says, "The messenger, when on his way
+to visit Giotto, and to enquire what other good masters there were in
+Florence, spoke first with many artists in Siena&mdash;then, having received
+designs from them, he proceeded to Florence, and repaired one morning to
+the workshop where Giotto was occupied with his labors. He declared the
+purpose of the Pope, and the manner in which that pontiff desired to
+avail himself of his assistance, and finally requested to have a drawing
+that he might send it to his holiness. Giotto, who was very courteous,
+took a sheet of paper and a pencil dipped in a red color;<span class='pagenum'><a name="Page_261" id="Page_261">[Pg 261]</a></span> then resting
+his elbow on his side to form a sort of compass, with one turn of the
+hand, he drew a circle so perfect and exact that it was a marvel to
+behold. This done, he turned smiling to the courtier, saying, 'There is
+your drawing.' 'Am I to have nothing more than this?' enquired the
+latter, conceiving himself to be jested with. 'That is enough and to
+spare,' replied Giotto, 'send it with the rest, and you will see if it
+will not be recognized.' The messenger, unable to obtain anything more,
+went away very ill satisfied, and fearing that he had been fooled.
+Nevertheless, having despatched the other drawings to the Pope, with the
+names of those who had done them, he sent that of Giotto also, relating
+the mode in which he had made his circle, without moving his arm and
+without compass; from which the Pope, and such of the courtiers as were
+well versed in the subject, perceived how far Giotto surpassed all the
+other painters of his time. This incident becoming known, gave rise to
+the proverb still used in relation to people of dull wits, 'In sei pi&ugrave;
+tondo che l'O di Giotto,' (round as Giotto's O,) the significance of
+which consists in the double meaning of the word <i>tondo</i>, which is used
+in the Tuscan for slowness of intellect, and slowness of comprehension,
+as well as for an exact circle. The proverb besides has an interest from
+the circumstance which gave it birth."</p>
+
+<p>Giotto was immediately invited to Rome by the Pope, who received him
+with distinction, and com<span class='pagenum'><a name="Page_262" id="Page_262">[Pg 262]</a></span>missioned him to paint a large picture in the
+sacristy of St. Peter's, with five others in the church, representing
+subjects from the life of Christ, which gave so much satisfaction to the
+pontiff, that he commanded 600 gold ducats to be paid to the artist,
+"besides conferring on him so many favors," says Vasari, "that there was
+talk of them throughout Italy."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTO'S LIVING MODEL.</h2>
+
+<p>Giotto, about to paint a picture of the Crucifixion, induced a poor man
+to suffer himself to be bound to a cross, under the promise of being set
+at liberty in an hour, and handsomely rewarded for his pains. Instead of
+this, as soon as Giotto had made his victim secure, he seized a dagger,
+and, shocking to tell, stabbed him to the heart! He then set about
+painting the dying agonies of the victim to his foul treachery. When he
+had finished his picture, he carried it to the Pope; who was so well
+pleased with it, that he resolved to place it above the altar of his own
+chapel. Giotto observed, that, as his holiness liked the copy so well,
+he might perhaps like to see the original. The Pope, shocked at the
+impiety of the idea, uttered an exclamation of surprise. "I mean," added
+Giotto, "I will show you the person whom I employed as my model in this
+picture, but it must be on condition that your holiness will absolve me
+from all punishment for the use which I have made of him." The Pope
+pro<span class='pagenum'><a name="Page_263" id="Page_263">[Pg 263]</a></span>mised Giotto the absolution for which he stipulated, and accompanied
+the artist to his workshop. On entering, Giotto drew aside a curtain
+which hung before the dead man, still stretched on the cross, and
+covered with blood.</p>
+
+<p>The barbarous exhibition struck the pontiff with horror; he told Giotto
+he could never give him absolution for so cruel a deed, and that he must
+expect to suffer the most exemplary punishment. Giotto, with seeming
+resignation, said that he had only one favor to ask, that his holiness
+would give him leave to finish the piece before he died. The request had
+too important an object to be denied; the Pope readily granted it; and,
+in the meantime, a guard was set over Giotto to prevent his escape.</p>
+
+<p>On the painting being replaced in the artist's hands, the first thing he
+did was to take a brush, and, dipping it into a thick varnish, he daubed
+the picture all over with it, and then announced that he had finished
+his task. His holiness was greatly incensed at this abuse of the
+indulgence he had given, and threatened Giotto that he should be put to
+the most cruel death, unless he painted another picture equal to the one
+which he had destroyed. "Of what avail is your threat," replied Giotto,
+"to a man whom you have doomed to death at any rate?" "But," replied his
+holiness, "I can revoke that doom." "Yes," continued Giotto, "but you
+cannot prevail on me to trust to your verbal promise a second time."
+"You shall have a pardon<span class='pagenum'><a name="Page_264" id="Page_264">[Pg 264]</a></span> under my signet before you begin." On that, a
+conditional pardon was accordingly made out and given to Giotto, who,
+taking a wet sponge, in a few minutes wiped off the coating with which
+he had bedaubed the picture, and instead of a copy, restored the
+original in all its beauty to his holiness. Although this story is
+related by many writers, it is doubtless a gross libel on the fair fame
+of this great artist, originating with some witless wag, who thought
+nothing too horrible to impose upon the credulity of mankind. It is
+discredited by the best authors. A similar fable is related of
+Parrhasius. See the Olynthian Captive, vol. I. page <a href='#Page_151'><b>151</b></a> of this work.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTO AND THE KING OF NAPLES.</h2>
+
+<p>After Giotto's return to Florence, about 1325, Robert, King of Naples,
+wrote to his son Charles, King of Calabria, who was then in Florence,
+desiring that he would by all means send Giotto to him at Naples, to
+decorate the church and convent of Santa Clara, which he had just
+completed, and desired to have adorned with noble paintings. Giotto
+readily accepted this flattering invitation from so great and renowned a
+monarch, and immediately set out to do him service. He was received at
+Naples with every mark of distinction, and executed many subjects from
+the old and New Testaments in the different chapels of the building. It
+is said<span class='pagenum'><a name="Page_265" id="Page_265">[Pg 265]</a></span> that the pictures from the Apocalypse, which he painted in one
+of the chapels, were the inventions of Dante; but Dante was then dead,
+and if Giotto derived any advantage from him, it must have been from
+previous discussions on the subject. These works gave the greatest
+satisfaction to the King, who munificently rewarded the artist, and
+treated him with great kindness and extraordinary familiarity. Vasari
+says that Giotto was greatly beloved by King Robert, who delighted to
+visit him in his painting room, to watch the progress of his work, to
+hear his remarks, and to hold conversation with him; for Giotto had a
+ready wit, and was always as ready to amuse the monarch with his lively
+conversation and witty replies as with his pencil. One day the King said
+to him, "Giotto, I will make you the first man in Naples," to which
+Giotto promptly replied, "I am already the first man in Naples; for this
+reason it is that I dwell at the Porta Reale." At another time the King,
+fearing that he would injure himself by overworking in the hot season,
+said to him, "Giotto, if I were in your place, now that it is so hot, I
+would give up painting for a time, and take my rest." "And so would I
+do, certainly," replied Giotto, "were I the King of Naples." One day the
+King to amuse himself, desired Giotto to <i>paint his kingdom</i>. The
+painter drew an ass carrying a packsaddle loaded with a crown and
+sceptre, while a similar saddle, also bearing the ensigns of royalty,
+lay at his feet; these last were all new,<span class='pagenum'><a name="Page_266" id="Page_266">[Pg 266]</a></span> and the ass scented them,
+with an eager desire to change them for those he bore. "What does this
+signify, Giotto?" enquired the King. "Such is thy kingdom," replied
+Giotto, "and such thy subjects, who are every day desiring a new lord."</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTO AND DANTE.</h2>
+
+<p>The children of Giotto were remarkably ill-favored. Dante, one day,
+quizzed him by asking, "Giotto, how is it that you, who make the
+children of others so beautiful, make your own so ugly?" "Ah, my dear
+friend," replied the painter, "mine were made in the dark."</p>
+
+
+<hr style="width: 65%;" />
+<h2>DEATH OF GIOTTO.</h2>
+
+<p>"Giotto," says Vasari, "having passed his life in the production of so
+many admirable works, and proved himself a good Christian, as well as an
+excellent painter, resigned his soul to God in the year 1336, not only
+to the great regret of his fellow citizens, but of all who had known
+him, or even heard his name. He was honorably entombed, as his high
+deserts had well merited, having been beloved all his life, but more
+especially by the learned men of all professions." Dante and Petrarch
+were his warm admirers, and immortalized him in their verse. The
+commentator of Dante, who was cotemporary with Giotto, says, "Giotto
+was, and is, the most eminent of all the painters of Florence,<span class='pagenum'><a name="Page_267" id="Page_267">[Pg 267]</a></span> and to
+this his works bear testimony in Rome, Naples, Avignon, Florence, Padua,
+and many other parts of the world."</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUONAMICO BUFFALMACCO.</h2>
+
+<p>The first worthy successor of Giotto in the Florentine school, was
+Buffalmacco, whose name has been immortalized by Boccaccio in his
+<i>Decameron</i>, as a man of most facetious character. He executed many
+works in fresco and distemper, but they have mostly perished. He chiefly
+excelled in Crucifixions and Ascensions. He was born, according to
+Vasari, in 1262, and died in 1340, aged 78; but Baldinucci says that he
+lived later than 1358. His name is mentioned in the old Book of the
+Company of Painters, under the date of 1351, (<i>Editors of the Florentine
+edition of Vasari</i>, 1846.). Buffalmacco was a merry wag, and a careless
+spendthrift, and died in the public hospital.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO AND HIS MASTER.</h2>
+
+<p>"Among the Three Hundred Stories of Franco Saccheti," says Vasari, "we
+find it related to begin with, what our artist did in his youth&mdash;that
+when Buffalmacco was studying with Andrea Tafi, his master had the habit
+of rising before daylight when the nights were long, compelling his
+scholars also to awake and proceed to their work. This provoked
+Buonamico, who did not approve of being<span class='pagenum'><a name="Page_268" id="Page_268">[Pg 268]</a></span> aroused from his sweetest
+sleep. He accordingly bethought himself of finding some means by which
+Andrea might be prevented from rising so early, and soon found what he
+sought." Now it happened that Tafi was a very superstitious man,
+believing that demons and hobgoblins walked the earth at their pleasure.
+Buffalmacco, having caught about thirty large beetles, he fastened to
+the back of each, by means of small needles, a minute taper, which he
+lighted, and sent them one by one into his master's room, through a
+crack in the door, about the time he was accustomed to rise and summon
+him to his labors. Tafi seeing these strange lights wandering about his
+room, began to tremble with fright, and repeated his prayers and
+exorcisms, but finding they produced no effect on the apparitions, he
+covered his head with the bed clothes, and lay almost petrified with
+terror till daylight. When he rose he enquired of Buonamico, if "he had
+seen more than a thousand demons wandering about his room, as he had
+himself in the night?" Buonamico replied that he had seen nothing, and
+wondered he had not been called to work. "Call thee to work!" exclaimed
+the master, "I had other things to think of besides painting, and am
+resolved to stay in this house no longer;" and away he ran to consult
+the parish priest, who seems to have been as superstitious as the poor
+painter himself. When Tafi discoursed of this strange affair with
+Buonamico, the latter told him that he had been taught to believe<span class='pagenum'><a name="Page_269" id="Page_269">[Pg 269]</a></span> that
+the demons were the greatest enemies of God, consequently they must be
+the most deadly adversaries of painters. "For," said he, "besides that
+we always make them most hideous, we think of nothing but painting
+saints, both men and women, on walls and pictures, which is much worse,
+since we thereby render men better and more devout to the great despite
+of the demons; and for all this, the devils being angry with us, and
+having more power by night than by day, they play these tricks upon us.
+I verily believe too, that they will get worse and worse, if this
+practice of rising to work in the night be not discontinued altogether."
+Buffalmacco then advised his master to make the experiment, and see
+whether the devils would disturb him if he did not work at night. Tafi
+followed this advice for a short time, and the demons ceased to disturb
+him; but forgetting his fright, he began to rise betimes, as before, and
+to call Buffalmacco to his work. The beetles then recommenced their
+wanderings, till Tafi was compelled by his fears and the earnest advice
+of the priest to desist altogether from that practice. "Nay," says
+Vasari, "the story becoming known through the city, produced such an
+effect that neither Tafi, nor any other painter dared for a long time to
+work at night."</p>
+
+<p>Another laughable story is related of Buffalmacco's ingenuity to rid
+himself of annoyance. Soon after he left Tafi, he took apartments
+adjoining those occupied by a man who was a penurious old simple<span class='pagenum'><a name="Page_270" id="Page_270">[Pg 270]</a></span>ton,
+and compelled his wife to rise long before daylight to commence work at
+her spinning wheel. The old woman was often at her wheel, when Buonamico
+retired to bed from his revels. The buzz of the instrument put all sleep
+out of the question; so the painter resolved to put a stop to this
+annoyance. Having provided himself with a long tube, and removed a brick
+next to the chimney, he watched his opportunity, and blew salt into
+their soup till it was spoiled. He then succeeded in making them believe
+that it was the work of demons, and to desist from such early rising.
+Whenever the old woman touched her wheel before daylight, the soup was
+sure to be spoiled, but when she was allowed reasonable rest, it was
+fresh and savory.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO AND THE NUNS OF THE CONVENT OF FAENZA.</h2>
+
+<p>Soon after Buffalmacco left his master, he was employed by the nuns of
+Faenza to execute a picture for their convent. The subject was the
+slaughter of the Innocents. While the work was in progress, those ladies
+some times took a peep at the picture through the screen he had raised
+for its protection. "Now Buffalmacco," says Vasari, "was very eccentric
+and peculiar in his dress, as well as manner of living, and as he did
+not always wear the head-dress and mantle usual at the time, the nuns
+remarked to their intendant, that it did not<span class='pagenum'><a name="Page_271" id="Page_271">[Pg 271]</a></span> please them to see him
+appear thus in his doublet; but the steward found means to pacify them,
+and they remained silent on the subject for some time. At length,
+however, seeing the painter always accoutred in like manner, and
+fancying that he must be some apprentice, who ought to be merely
+grinding colors, they sent a messenger to Buonamico from the abbess, to
+the effect, that they would like to see the master sometimes at the
+work, and not always himself. To this Buffalmacco, who was very pleasant
+in manner, replied, that as soon as the master came to the work he would
+let them know of his arrival; for he perceived clearly how the matter
+stood. Thereupon, he placed two stools, one on the other, with a
+water-jar on the top; on the neck of the jar he set a cap, which was
+supported by the handle; he then arranged a long mantle carefully around
+the whole, and securing a pencil within the mouth, on that side of the
+jar whence the water is poured, he departed. The nuns, returning to
+examine the work through the hole which they had made in the screen, saw
+the supposed master in full robes, when, believing him to be working
+with all his might, and that he would produce a very different kind of
+thing from any that his predecessor in the jacket could accomplish, they
+went away contented, and thought no more of the matter for some days. At
+length, they were desirous of seeing what fine things the master had
+done, and at the end of a fortnight (during which Buffalmacco had<span class='pagenum'><a name="Page_272" id="Page_272">[Pg 272]</a></span> never
+set foot within the place), they went by night, when they concluded that
+he would not be there, to see his work. But they were all confused and
+ashamed, when one, bolder than the rest, approached near enough to
+discover the truth respecting this solemn master, who for fifteen days
+had been so busy doing nothing. They acknowledged, nevertheless, that
+they had got but what they merited&mdash;the work executed by the painter in
+the jacket being all that could be desired. The intendant was therefore
+commanded to recall Buonamico, who returned in great glee and with many
+a laugh, to his labor, having taught these good ladies the difference
+between a man and a water-jug, and shown them that they should not
+always judge the works of men by their vestments."</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO AND THE NUNS' WINE.</h2>
+
+<p>Buffalmacco executed an historical painting for the nuns, which greatly
+pleased them, every part being excellent in their estimation, except the
+faces, which they thought too pale and wan. Buonamico, knowing that they
+kept the very best Vernaccia (a kind of delicious Tuscan wine, kept for
+the uses of the mass) to be found in Florence, told his fair patrons,
+that this defect could only be remedied by mixing the colors with good
+Vernaccia, but that when the cheeks were touched with colors thus
+tempered, they would become rosy and life-like enough. "The good
+ladies," says Vasari, "be<span class='pagenum'><a name="Page_273" id="Page_273">[Pg 273]</a></span>lieving all he said, kept him supplied with
+the very best Vernaccia during all the time that his labors lasted, and
+he joyously swallowing this delicious nectar, found color enough on his
+palette to give his faces the fresh rosiness they so much desired."
+Bottari says, that Buonamico, on one occasion, was surprised by the
+nuns, while drinking the Vernaccia, when he instantly spirted what he
+had in his mouth on the picture, whereby they were fully satisfied; if
+they cut short his supply, his pictures looked pale and lifeless, but
+the Vernaccia always restored them to warmth and beauty. The nuns were
+so much pleased with his performances that they employed him a long
+time, and he decorated their whole church with his own hand,
+representing subjects from the life of Christ, all extremely well
+executed.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO, BISHOP GUIDO, AND HIS MONKEY.</h2>
+
+<p>"In the year 1302," says Vasari, "Buffalmacco was invited to Assisi,
+where, in the church of San Francesco, he painted in fresco the chapel
+of Santa Caterina, with stories taken from her life. These paintings are
+still preserved, and many figures in them are well worthy of praise.
+Having finished this chapel, Buonamico was passing through Arezzo, when
+he was detained by the Bishop Guido, who had heard that he was a
+cheerful companion, as well as a good painter, and who wished him to
+remain for a time in that city, to paint the chapel<span class='pagenum'><a name="Page_274" id="Page_274">[Pg 274]</a></span> of the episcopal
+church, where the baptistery now is. Buonamico began the work, and had
+already completed the greater part of it, when a very curious
+circumstance occurred; and this, according to Franco Sacchetti, who
+relates it among his Three Hundred Stories, was as follows. The bishop
+had a large ape, of extraordinary cunning, the most sportive and
+mischievous creature in the world. This animal sometimes stood on the
+scaffold, watching Buonamico at his work, and giving a grave attention
+to every action: with his eyes constantly fixed on the painter, he
+observed him mingle his colors, handle the various flasks and tools,
+beat the eggs for his paintings in distemper&mdash;all that he did, in short;
+for nothing escaped the creature's observation. One Saturday evening,
+Buffalmacco left his work; and on the Sunday morning, the ape, although
+fastened to a great log of wood, which the bishop had commanded his
+servants to fix to his foot, that he might not leap about at his
+pleasure, contrived, in despite of the weight, which was considerable,
+to get on the scaffold where Buonamico was accustomed to work. Here he
+fell at once upon the vases which held the colors, mingled them all
+together, beat up whatever eggs he could find, and, plunging the pencils
+into this mixture, he daubed over every figure, and did not cease till
+he had repainted the whole work with his own hand. Having done that, he
+mixed all the remaining colors together, and getting down from the
+scaffold, he went<span class='pagenum'><a name="Page_275" id="Page_275">[Pg 275]</a></span> his way. When Monday morning came, Buffalmacco
+returned to his work; and, finding his figures ruined, his vessels all
+heaped together, and every thing turned topsy-turvy, he stood amazed in
+sore confusion. Finally, having considered the matter within himself, he
+arrived at the conclusion that some Aretine, moved by jealousy, or other
+cause, had worked the mischief he beheld. Proceeding to the bishop, he
+related what had happened, and declared his suspicions, by all which
+that prelate was greatly disturbed; but, consoling Buonamico as best he
+could, he persuaded him to return to his labors, and repair the
+mischief. Bishop Guido, thinking him nevertheless likely to be right,
+his opinion being a very probable one, gave him six soldiers, who were
+ordered to remain concealed on the watch, with drawn weapons, during the
+master's absence, and were commanded to cut down any one, who might be
+caught in the act, without mercy. The figures were again completed in a
+certain time; and one day as the soldiers were on guard, they heard a
+strange kind of rolling sound in the church, and immediately after saw
+the ape clamber up to the scaffold and seize the pencils. In the
+twinkling of an eye, the new master had mingled his colors; and the
+soldiers saw him set to work on the saints of Buonamico. They then
+summoned the artist, and showing him the malefactor, they all stood
+watching the animal at his operations, being in danger of fainting with
+laughter, Buonamico more than all;<span class='pagenum'><a name="Page_276" id="Page_276">[Pg 276]</a></span> for, though exceedingly disturbed by
+what had happened, he could not help laughing till the tears ran down
+his cheeks. At length he betook himself to the bishop, and said: 'My
+lord, you desire to have your chapel painted in one fashion, but your
+ape chooses to have it done in another.' Then, relating the story, he
+added: 'There was no need whatever for your lordship to send to foreign
+parts for a painter, since you had the master in your house; but perhaps
+he did not know exactly how to mix the colors; however, as he is now
+acquainted with the method, he can proceed without further help; I am no
+longer required here, since we have discovered his talents, and will ask
+no other reward for my labors, but your permission to return to
+Florence.' Hearing all this, the bishop, although heartily vexed, could
+not restrain his laughter; and the rather, as he remembered that he who
+was thus tricked by an ape, was himself the most incorrigible trickster
+in the world. However, when they had talked and laughed over this new
+occurrence to their hearts' content, the bishop persuaded Buonamico to
+remain; and the painter agreed to set himself to work for the third
+time, when the chapel was happily completed. But the ape, for his
+punishment, and in expiation of the crimes he had committed, was shut up
+in a strong wooden cage, and fastened on the platform where Buonamico
+worked; there he was kept till the whole was finished; and no
+imagination could conceive the leaps and flings of the<span class='pagenum'><a name="Page_277" id="Page_277">[Pg 277]</a></span> creature thus
+enclosed in his cage, nor the contortions he made with his feet, hands,
+muzzle, and whole body, at the sight of others working, while he was not
+permitted to do anything."</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO'S TRICK ON THE BISHOP OF AREZZO.</h2>
+
+<p>"When the works of the chapel before mentioned, were completed, the
+bishop ordered Buonamico&mdash;either for a jest, or for some other cause&mdash;to
+paint, on one of the walls of his palace, an eagle on the back of a
+lion, which the bird had killed. The crafty painter, having promised to
+do all that the bishop desired, caused a stout scaffolding and screen of
+wood-work to be made before the building, saying that he could not be
+seen to paint such a thing. Thus prepared, and shut up alone within his
+screen, Buonamico painted the direct contrary of what the bishop had
+required&mdash;a lion, namely, tearing an eagle to pieces; and, having
+painted the picture, he requested permission from the bishop to repair
+to Florence, for the purpose of seeking certain colors needful to his
+work. He then locked up the scaffold, and departed to Florence,
+resolving to return no more to the bishop. But the latter, after waiting
+some time, and finding that the painter did not reappear, caused the
+scaffolding to be taken down, and discovered that Buonamico had been
+making a jest of him. Furious at this affront, Guido condemned the
+artist to banishment for life from his dominions; which, when Buonamico
+learnt, he sent<span class='pagenum'><a name="Page_278" id="Page_278">[Pg 278]</a></span> word to the bishop that he might do his worst,
+whereupon the bishop threatened him with fearful consequences. Yet
+considering afterwards that he had been tricked, only because he had
+intended to put an affront upon the painter, Bishop Guido forgave him,
+and even rewarded him liberally for his labors. Nay, Buffalmacco was
+again invited to Arezzo, no long time after, by the same prelate, who
+always treated him as a valued servant and familiar friend, confiding
+many works in the old cathedral to his care, all of which, unhappily,
+are now destroyed. Buonamico also painted the apsis of the principal
+chapel in the church of San Giustino in Arezzo."</p>
+
+<p>In the notes of the Roman and other earlier editions of Vasari, we are
+told that the lion being the insignia of Florence, and the eagle, that
+of Arezzo, the bishop designed to assert his own superiority over the
+former city, he being lord of Arezzo; but later commentators affirm,
+that Guido, being a furious Ghibelline, intended rather to offer an
+affront to the Guelfs, by exalting the eagle, which was the emblem of
+his party, over the lion, that of the Guelfs.</p>
+
+
+<hr style="width: 65%;" />
+<h2>ORIGIN OF LABEL PAINTING.</h2>
+
+<p>Buffalmacco is generally considered the inventor of label painting, or
+the use of a label drawn from the mouth to represent it speaking; but it
+was practiced by Cimabue, and probably long before his time, in Italy.
+Pliny tells us that it was prac<span class='pagenum'><a name="Page_279" id="Page_279">[Pg 279]</a></span>ticed by the early Greek painters.
+Vasari says that Buffalmacco was invited to Pisa, where he painted many
+pictures in the Abbey of St. Paul, on the banks of the Arno, which then
+belonged to the monks of Vallambrosa. He covered the entire surface of
+the church, from the roof to the floor, with histories from the Old
+Testament, beginning with the creation of man and continuing to the
+building of the Tower of Babel. In the church of St. Anastasia, he also
+painted certain stories from the life of that saint, "in which," says
+Vasari, "are very many beautiful costumes and head-dresses of women,
+painted with a charming grace of manner." Bruno de Giovanni, the friend
+and pupil of Buonamico, was associated with him in this work. He too, is
+celebrated by Boccaccio, as a man of joyous memory. When the stories on
+the fa&ccedil;ade were finished, Bruno painted in the same church, an
+altar-piece of St. Ursula, with her company of virgins. In one hand of
+the saint, he placed a standard bearing the arms of Pisa&mdash;a white cross
+on a field of red; the other is extended towards a woman, who, climbing
+between two rocks, has one foot in the sea, and stretches out both hands
+towards the saint, in the act of supplication. This female form
+represents Pisa. She bears a golden horn upon her head, and wears a
+mantle sprinkled over with circlets and eagles. Being hard pressed by
+the waves, she earnestly implores succor of the saint.</p>
+
+<p>While employed on this work, Bruno complained<span class='pagenum'><a name="Page_280" id="Page_280">[Pg 280]</a></span> that his faces had not
+the life and expression which distinguished those of Buonamico, when the
+latter, in his playful manner, advised him to paint words proceeding
+from the mouth of the woman supplicating the saint, and in like manner
+those proceeding from the saint in reply. "This," said the wag, "will
+make your figures not only life-like, but even eloquently expressive."
+Bruno followed this advice; "And this method," says Vasari, "as it
+pleased Bruno and other dull people of that day, so does it equally
+satisfy certain simpletons of our own, who are well served by artists as
+commonplace as themselves. It must, in truth, be allowed to be an
+extraordinary thing that a practice thus originating in jest, and in no
+other way, should have passed into general use; insomuch that even a
+great part of the Campo Santo, decorated by much esteemed masters, is
+full of this absurdity." This picture is now in the Academy of the Fine
+Arts at Pisa.</p>
+
+
+<hr style="width: 65%;" />
+<h2>UTILITY OF ANCIENT WORKS.</h2>
+
+<p>The works of Buffalmacco greatly pleased the good people of Pisa, who
+gave him abundant employment; yet he and his boon companion Bruno,
+merrily squandered all they had earned, and returned to Florence, as
+poor as when they left that city. Here they also found plenty of work.
+They decorated the church of S. Maria Novella with several productions
+which were much applauded, particu<span class='pagenum'><a name="Page_281" id="Page_281">[Pg 281]</a></span>larly the Martyrdom of St. Maurice
+and his companions, who were decapitated for their adherence to the
+faith of Christ. The picture was designed by Buonamico, and painted by
+Bruno, who had no great power of invention or design. It was painted for
+Guido Campere, then constable of Florence, whose portrait was introduced
+as St. Maurice.&mdash;The martyrs are led to execution by a troop of
+soldiers, armed in the ancient manner, and presenting a very fine
+spectacle. "This picture," says Vasari, "can scarcely be called a very
+fine one, but it is nevertheless worthy of consideration as well for the
+design and invention of Buffalmacco, as for the variety of vestments,
+helmets, and other armor used in those times; and from which I have
+myself derived great assistance in certain historical paintings,
+executed for our lord, the Duke Cosmo, wherein it was necessary to
+represent men armed in the ancient manner, with other accessories
+belonging to that period; and his illustrious excellency, as well as all
+else who have seen these works, have been greatly pleased with them;
+whence we may infer the valuable assistance to be obtained from the
+inventions and performances of the old master, and the mode in which
+great advantages may be derived from them, even though they may not be
+altogether perfect; for it is these artists who have opened the path to
+us, and led the way to all the wonders performed down to the present
+time, and still being performed even in these of our days."<span class='pagenum'><a name="Page_282" id="Page_282">[Pg 282]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO AND THE COUNTRYMAN.</h2>
+
+<p>While Buonamico was employed at Florence, a countryman came and engaged
+him to paint a picture of St. Christopher for his parish church; the
+contract was, that the figure should be twelve braccia in length,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> and
+the price eight florins. But when the painter proceeded to look at the
+church for which the picture was ordered, he found it but nine braccia
+high, and the same in length; therefore, as he was unable to paint the
+saint in an upright position he represented him reclining, bent the legs
+at the knees, and turned them up against the opposite wall. When the
+work was completed, the countryman declared that he had been cheated,
+and refused to pay for it. The matter was then referred to the
+authorities, who decided that Buffalmacco had performed his contract,
+and ordered the stipulated payment to be made.</p>
+
+<p>The writer of these pages, in his intercourse with artists, has met with
+incidents as comical as that just related of Buonamico. Some artists
+proceed to paint without having previously designed, or even<span class='pagenum'><a name="Page_283" id="Page_283">[Pg 283]</a></span> sketched
+out their subject on the canvass. We know an artist, who painted a fancy
+portrait of a child, in a landscape, reclining on a bank beside a
+stream; but when he had executed the landscape, and the greater part of
+the figure, he found he had not room in his canvass to get the feet in;
+so he turned the legs up in such a manner, as to give the child the
+appearance of being in great danger of sliding into the water. We
+greatly offended the painter by advising him to drive a couple of stakes
+into the bank to prevent such a catastrophe. Another artist, engaged in
+painting a full-length portrait, found, when he had got his picture
+nearly finished, that his canvass was at least four inches too short.
+"What shall I do," said the painter to a friend, "I have not room for
+the feet." "Cover them up with green grass," was the reply. "But my
+background represents an interior." "Well, hay will do as well."
+"Confound your jokes; a barn is a fine place to be sure for fine
+carpets, fine furniture, and a fine gentleman. I'll tell you what I'll
+do; I'll place one foot on this stool, and hide the other beneath this
+chair." He did so, but the figure looked all body and no legs, and the
+sitter refused to take the portrait.</p>
+
+<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> The braccio, (arm, cubit) is an Italian measure which
+varies in length, not only in different parts of Italy, but also
+according to the thing measured. In Parma, for example, the braccio for
+measuring silk is 23 inches, for woolens and cottons 25 and a fraction,
+while that for roads and buildings is 21 only. In Siena, the braccio for
+cloth is 14 inches, while in Florence it is 23, and in Milan it is 39
+inches, English measure.</p></div>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO AND THE PEOPLE OF PERUGIA.</h2>
+
+<p>The Perugians engaged Buonamico to decorate their market-place with a
+picture of the patron saint of the city. Having erected an enclosure of
+planks<span class='pagenum'><a name="Page_284" id="Page_284">[Pg 284]</a></span> and matting, that he might not be disturbed in his labors, the
+painter commenced his operations. Ten days had scarcely elapsed before
+every one who passed by enquired with eager curiosity, "when the picture
+would be finished?" as though they thought such works could be cast in a
+mould. Buffalmacco, wearied and disgusted at their impatient outcries,
+resolved on a bit of revenge. Therefore, keeping the work still
+enclosed, he admitted the Perugians to examine it, and when they
+declared themselves satisfied and delighted with the performance, and
+wished to remove the planks and matting, Buonamico requested that they
+would permit them to remain two days longer as he wished to retouch
+certain parts when the painting was fully dry. This was agreed to; and
+Buonamico instantly mounting his scaffold, removed the great gilt diadem
+from the head of the saint, and replaced it with a coronet of gudgeons.
+This accomplished, he paid his host, and set off to Florence.</p>
+
+<p>Two days having past, and the Perugians not seeing the painter going
+about as they were accustomed to do, inquired of his host what had
+become of him, and learning that he had left the city, they hastened to
+remove the screen that concealed the picture, when they discovered their
+saint solemnly crowned with gudgeons. Their rage now knew no bounds, and
+they instantly despatched horsemen in pursuit of Buonamico,&mdash;but in
+vain&mdash;the painter having found shelter in Florence. They then set<span class='pagenum'><a name="Page_285" id="Page_285">[Pg 285]</a></span> an
+artist of their own to remove the crown of fishes and replace the gilded
+diadem, consoling themselves for the affront, by hurling maledictions at
+the head of Buonamico and every other Florentine.</p>
+
+
+<hr style="width: 65%;" />
+<h2>BUFFALMACCO'S NOVEL METHOD OF ENFORCING PAYMENT.</h2>
+
+<p>Buffalmacco painted a fresco at Calcinaia, representing the Virgin with
+the Child in her arms. But the man for whom it was executed, only made
+fair promises in place of payment. Buonamico was not a man to be trifled
+with or made a tool of; therefore, he repaired early one morning to
+Calcinaia, and turned the child in the arms of the Holy Virgin into a
+young bear. The change being soon discovered, caused the greatest
+scandal, and the poor countryman for whom it was painted, hastened to
+the painter, and implored him to remove the cub and replace the child as
+before, declaring himself ready to pay all demands. This Buonamico
+agreed to do on being paid for the first and second painting, which last
+was only in water colors, when with a wet sponge, he immediately
+restored the picture to its peristine beauty. The Editors of the
+Florentine edition of Vasari, (1846) say that "in a room of the priory
+of Calcinaia, are still to be seen the remains of a picture on the
+walls, representing the Madonna with the Child in her arms, and other
+saints, evidently a work of the 14th century; and a<span class='pagenum'><a name="Page_286" id="Page_286">[Pg 286]</a></span> tradition preserved
+to this day, declares that painting to be the one alluded to by our
+author."</p>
+
+
+<hr style="width: 65%;" />
+<h2>STEFANO FIORENTINO.</h2>
+
+<p>This old Florentine painter was born in 1301. He was the grandson and
+disciple of Giotto, whom, according to Vasari, he greatly excelled in
+every department of art. From his close imitations of nature, he was
+called by his fellow citizens, "Stefano the Ape," (ape of nature.) He
+was the first artist who attempted to show the naked under his
+draperies, which were loose, easy, and delicate. He established the
+rules of perspective, little known at that early period, on more
+scientific principles. He was the first who attempted the difficult task
+of foreshortening. He also succeeded better than any of his
+cotemporaries in giving expression to his heads, and a less Gothic turn
+to his figures. He acquired a high reputation, and executed many works,
+in fresco and distemper, for the churches and public edifices of
+Florence, Rome, and other cities, all of which have perished, according
+to Lanzi, except a picture of the Virgin and Infant Christ in the Campo
+Santo at Pisa. He died in 1350.</p>
+
+
+<hr style="width: 65%;" />
+<h2>GIOTTINO.</h2>
+
+<p>Tommaso Stefano, called II Giottino, the son and scholar of Stefano
+Fiorentino, was born at Florence in 1324. According to Vasari, he
+adhered so close<span class='pagenum'><a name="Page_287" id="Page_287">[Pg 287]</a></span>ly to the style of Giotto, that the good people of
+Florence called him Giottino, and averred that the soul of his great
+ancestor had transmigrated and animated him. There are some frescoes by
+him, still preserved at Assissi, and a Dead Christ with the Virgin and
+St. John, in the church of S. Remigio at Florence, which so strongly
+partake of the manner of Giotto as to justify the name bestowed upon him
+by his fellow citizens. He died in the flower of his life at Florence in
+1356.</p>
+
+
+<hr style="width: 65%;" />
+<h2>PAOLO UCCELLO.</h2>
+
+<p>This old painter was born at Florence in 1349, and was a disciple of
+Antonio Veneziano. His name was Mazzocchi, but being very celebrated as
+a painter of animals, and especially so of birds, of which last he
+formed a large collection of the most curious, he was called Uccello
+(bird). He was one of the first painters who cultivated perspective.
+Before his time buildings had not a true point of perspective, and
+figures appeared sometimes as if falling or slipping off the canvass. He
+made this branch so much his hobby, that he neglected other essential
+parts of the art. To improve himself he studied geometry with Giovanni
+Manetti, a celebrated mathematician. He acquired great distinction in
+his time and some of his works still remain in the churches and convents
+of Florence. In the church of S. Maria Novella are several fresco
+his<span class='pagenum'><a name="Page_288" id="Page_288">[Pg 288]</a></span>tories from the Old Testament, which he selected for the purpose of
+introducing a multitude of his favorite objects, beasts and birds; among
+them, are Adam and Eve in Paradise, Noah entering the Ark, the Deluge,
+&amp;c. He painted battles of lions, tigers, serpents, &amp;c., with peasants
+flying in terror from the scene of combat. He also painted landscapes
+with figures, cattle and ruins, possessing so much truth and nature,
+that Lanzi says "he may be justly called the Bassano of his age." He was
+living in 1436. Vasari places his birth in 1396-7, and his death in
+1479, but later writers have proved his dates to be altogether
+erroneous.</p>
+
+
+<hr style="width: 65%;" />
+<h2>UCCELLO'S ENTHUSIASM.</h2>
+
+<p>"Paolo Uccello employed himself perpetually and without any
+intermission," says Vasari, "in the consideration of the most difficult
+questions connected with art, insomuch that he brought the method of
+preparing the plans and elevations of buildings, by the study of linear
+perspective, to perfection. From the ground plan to the cornice, and
+summit of the roof, he reduced all to strict rules, by the convergence
+of intersecting lines, which he diminished towards the centre, after
+having fixed the point of view higher or lower, as seemed good to him;
+he labored, in short, so earnestly in these difficult matters that he
+found means, and fixed rules, for making his figures really to seem
+standing on the plane<span class='pagenum'><a name="Page_289" id="Page_289">[Pg 289]</a></span> whereon they were placed; not only showing how in
+order manifestly to draw back or retire, they must gradually be
+diminished, but also giving the precise manner and degree required for
+this, which had previously been done by chance, or effected at the
+discretion of the artist, as he best could. He also discovered the
+method of turning the arches and cross-vaulting of ceilings, taught how
+floors are to be foreshortened by the convergence of the beams; showed
+how the artist must proceed to represent the columns bending round the
+sharp corners of a building, so that when drawn in perspective, they
+efface the angle and cause it to seem level. To pore over all these
+matters, Paolo would remain alone, almost like a hermit, shut up in his
+house for weeks and months without suffering himself to be approached."</p>
+
+
+<hr style="width: 65%;" />
+<h2>UCCELLO AND THE MONKS OF SAN MINIATO.</h2>
+
+<p>Uccello was employed to decorate one of the cloisters of the monastery
+of San Miniato, situated without the city of Florence, with subjects
+from the lives of the Holy Fathers. While he was engaged on these works,
+the monks gave him scarcely anything to eat but cheese, of which the
+painter soon became tired, and being shy and timid, he resolved to go no
+more to work in the cloister. The prior sent to enquire the cause of his
+absence, but when Paolo heard the monks asking for him, he would never
+be at home, and if he chanced to meet any of<span class='pagenum'><a name="Page_290" id="Page_290">[Pg 290]</a></span> the brothers of that order
+in the street, he gave them a wide berth. This extraordinary conduct
+excited the curiosity of the monks to such a degree that one day, two of
+the brothers, more swift of foot than the rest, gave chase to Paolo, and
+having, cornered him, demanded why he did not come to finish the work
+according to his agreement, and wherefore he fled at the sight of one of
+their body. "Faith," replied the painter, "you have so murdered me, that
+I not only run away from you, but dare not stop near the house of any
+joiner, or even pass by one; and all this owing to the bad management of
+your abbot; for, what with his cheese-pies, and cheese-soup, he has made
+me swallow such a mountain of cheese, that I am all turned into cheese
+myself, and tremble lest the carpenters should seize me, to make their
+glue of me; of a certainty had I stayed any longer with you, I should be
+no more Paolo, but a huge lump of cheese." The monks, bursting with
+laughter, went their way, and told the story to their abbot, who at
+length prevailed on Uccello to return to his work on condition that he
+would order him no more dishes made of cheese.</p>
+
+
+<hr style="width: 65%;" />
+<h2>UCCELLO'S FIVE PORTRAITS.</h2>
+
+<p>Uccello was a man of very eccentric character and peculiar habits; but
+he was a great lover of art, and applauded those who excelled in any of
+its branches. He painted the portraits of five distin<span class='pagenum'><a name="Page_291" id="Page_291">[Pg 291]</a></span>guished men, in
+one oblong picture, that he might preserve their memory and features to
+posterity. He kept it in his own house, as a memorial of them, as long
+as he lived. In the time of Vasari, it was in the possession of Giuliano
+da Sangallo. At the present day, (Editor's Florentine edition of Vasari,
+1846) all trace of this remarkable picture is lost. The first of these
+portraits was that of the painter Giotto, as one who had given new light
+and life to art; the second, Fillippo Brunelleschi, distinguished for
+architecture; the third, Donatello, eminent for sculpture; the fourth,
+Uccello himself, for perspective and animals; and the fifth was his
+friend Giovanni Manetti, for the mathematics.</p>
+
+
+<hr style="width: 65%;" />
+<h2>UCCELLO'S INCREDULITY OF ST. THOMAS.</h2>
+
+<p>It is related, says Vasari, of this master, that being commissioned to
+paint a picture of St. Thomas seeking the wound in the side of Christ,
+above the door of the church dedicated to that saint, in the Mercato
+Vecchio, he declared that he would make known in that work, the extent
+of what he had acquired and was capable of producing. He accordingly
+bestowed upon it the utmost care and consideration, and erected an
+enclosure around the place that he might not be disturbed until it
+should be completed. One day, his friend Donatello met him, and asked
+him, "What kind of work is this of thine, that thou art shutting up so
+closely?" Paolo re<span class='pagenum'><a name="Page_292" id="Page_292">[Pg 292]</a></span>plied, "Thou shalt see it some day; let that suffice
+thee." Donatello would not press him, thinking that when the time came,
+he should, as usual, behold a miracle of art. It happened one morning,
+as he was in the Mercato Vecchio, buying fruit, he saw Paolo uncovering
+his picture, and saluting him courteously, the latter anxiously demanded
+what he thought of his work. Donatello having examined the painting very
+closely, turned to the painter with a disappointed look, and said, "Why,
+Paolo, thou art uncovering thy picture at the very moment when thou
+shouldst be shutting it up from the sight of all!" These words so
+grievously afflicted the painter, who at once perceived that he would be
+more likely to incur derision from his boasted master-piece, than the
+honor he had hoped for, that he hastened home and shut himself up,
+devoting himself to the study of perspective, which, says Vasari, kept
+him in poverty and depression till the day of his death. If this story
+be true, Uccello must have painted the picture referred to in his old
+age.</p>
+
+
+<hr style="width: 65%;" />
+<h2>THE ITALIAN SCHOOLS OF PAINTING.</h2>
+
+<p>The fame and success of Cimabue and Giotto, brought forth painters in
+abundance, and created schools all over Italy. The church increasing in
+power and riches, called on the arts of painting and sculpture, to add
+to the beauty and magnificence of her sanctuaries; riches and honors
+were showered<span class='pagenum'><a name="Page_293" id="Page_293">[Pg 293]</a></span> on men whose genius added a new ray of grace to the
+Madonna, or conferred a diviner air on St. Peter or St. Paul; and as
+much of the wealth of Christendom found its way to Rome, the successors
+of the apostles were enabled to distribute their patronage over all the
+schools of Italy. Lanzi reckons fourteen schools of painting in Italy,
+each of which is distinguished by some peculiar characteristics, as
+follows: 1, the Florentine school; 2, the Sienese school; 3, the Roman
+school; 4, the Neapolitan school; 5, the Venetian school; 6, the Mantuan
+school; 7, the Modenese school; 8, the school of Parma; 9, the school of
+Cremona; 10, the school of Milan; 11, the school of Bologna; 12, the
+school of Ferrara; 13, the school of Genoa; 14, the school of Piedmont.
+Of these, the Florentine, the Roman, and the Bolognese are celebrated
+for their epic grandeur of composition; that of Siena for its poetic
+taste; that of Naples for its fire; and that of Venice for the splendor
+of its coloring.</p>
+
+<p>Other writers make different divisions, according to style or country;
+thus, Correggio, being by birth a Lombard, and the originator of a new
+style, the name of the Lombard school has been conferred by many upon
+the followers of his maxims, the characteristics of which are contours
+drawn round and full, the countenances warm and smiling, the union of
+the colors clear and strong, and the foreshortenings frequent, with a
+particular attention to the chiaro-scuro. Others again, rank the artists
+of Milan, Mantua<span class='pagenum'><a name="Page_294" id="Page_294">[Pg 294]</a></span> Parma, Modena, and Cremona, under the one head of the
+Lombard school; but Lanzi justly makes the distinctions before
+mentioned, because their manners are very different. Writers of other
+nations rank all these subdivisions under one head&mdash;the Italian school.
+Lanzi again divides these schools into epochs, as they rose from their
+infancy, to their greatest perfection, and again declined into
+mannerism, or servile imitation, or as eminent artists rose who formed
+an era in art. Thus writers speak of the schools of Lionardo da Vinci,
+of Michael Angelo, of Raffaelle, of Correggio, of Titian, of the
+Caracci, and of every artist who acquired a distinguished reputation,
+and had many followers. Several great artists formed such a marked era
+in their schools, that their names and those of their schools are often
+used synonymously by many writers; thus, when they speak of the Roman
+school, they mean that of Raffaelle; of the Florentine, that of Michael
+Angelo; of Parma or Lombardy, that of Correggio; of Bologna, that of the
+Caracci; but not so of the Venetian and Neapolitan schools, because the
+Venetian school produced several splendid colorists, and that of Naples
+as many, distinguished by other peculiarities. These distinctions should
+be borne in mind in order rightly to understand writers, especially
+foreigners, on Italian art.<span class='pagenum'><a name="Page_295" id="Page_295">[Pg 295]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>CLAUDE JOSEPH VERNET.</h2>
+
+<p>Claude Joseph Vernet, the father of Carl Vernet, and the grandfather of
+Horace, was born at Avignon in 1714. He was the son of Antoine Vernet,
+an obscure painter, who foretold that he would one day render his family
+illustrious in art, and gave him every advantage that his limited means
+would permit. Such were the extraordinary talents he exhibited almost in
+his infancy, that his father regarded him as a prodigy, and dreaming of
+nothing but seeing him become the greatest historical painter of the
+age, he resolved to send him to Rome; and having, by great economy,
+saved a few louis d'or, he put them into Joseph's pocket, when he was
+about eighteen years of age, and sent him off with a wagoner, who
+undertook to conduct him to Marseilles.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S PRECOCITY.</h2>
+
+<p>The wonderful stories told about the early exhibitions of genius in many
+celebrated painters are really true with respect to Joseph Vernet. In
+his infancy, he exhibited the most extraordinary passion for painting.
+He himself has related, that on his return from Italy, his mother gave
+him some drawings which he had executed at the age of five years, when
+he was rewarded by being allowed to use the pencils he had tried to
+purloin. Before he was fifteen, he painted frieze-panels, fire-screens,<span class='pagenum'><a name="Page_296" id="Page_296">[Pg 296]</a></span>
+coach-panels, sedan chair-panels, and the like, whenever he could get a
+commission; he also gave proof of that facility of conceiving and
+executing, which was one of the characteristics of his genius.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S ENTHUSIASM.</h2>
+
+<p>It has been before stated that Vernet's father intended him for an
+historical painter, but nature formed his genius to imitate her
+sweetest, as well as most terrible aspect. When he was on his way to
+Marseilles, he met with so many charming prospects, that he induced his
+companion to halt so often while he sketched them, that it took them a
+much longer time to reach that port than it would otherwise have done.</p>
+
+<p>When he first saw the sea from the high hill, called La Viste, near
+Marseilles, he stood wrapt in admiration. Before him stretched the blue
+waters of the Mediterranean as far as the eye could reach, while three
+islands, a few leagues from the shore, seemed to have been placed there
+on purpose to break the uniformity of the immense expanse of waters, and
+to gratify the eye; on his right rose a sloping town of country houses,
+intersected with trees, rising above one another on successive terraces;
+on his left was the little harbor of Mastigues; in front, innumerable
+vessels rocked to and fro in the harbor of Marseilles, while the horizon
+was terminated by the picturesque tower of Bouc, nearly<span class='pagenum'><a name="Page_297" id="Page_297">[Pg 297]</a></span> lost, however,
+in the distance. This scene made a lasting impression on Vernet. Nature
+seemed not only to invite, but to woo him to paint marine subjects, and
+from that moment his vocation was decided on. Thus nature frequently
+instructs men of genius, and leads them on in the true path to
+excellence and renown. Like the &AElig;olian harp, which waits for a breath of
+air to produce a sound, so they frequently wait or strive in vain, till
+nature strikes a sympathetic chord, that vibrates to the soul. Thus
+Joseph Vernet never thought of his forte till he first stood on La
+Viste; and after that, he was nothing but a painter of ships and
+harbors, and tranquil seas, till the day when lashed to the mast, he
+first beheld the wild sea in such rude commotion, as threatened to
+engulf the noble ship and all on board at every moment. Then his mind
+was elevated to the grandeur of the scene; and he recollected forever
+the minutest incident of the occasion.</p>
+
+<p>"It was on going from Marseilles to Rome," says one of his biographers,
+M. Pitra, "that Joseph Vernet, on seeing a tempest gathering, when they
+were off the Island of Sardinia, was seized, not with terror, but with
+admiration; in the midst of the general alarm, the painter seemed really
+to relish the peril; his only desire was to face the tempest, and to be,
+so to say, mixed up with it, in order that, some day or other, he might
+astonish and frighten others by the terrible effects he would learn to
+produce; his only fear was that he might lose the<span class='pagenum'><a name="Page_298" id="Page_298">[Pg 298]</a></span> sight of a spectacle
+so new to him. He had himself lashed to the main mast, and while he was
+tossed about in every direction, saturated with seawater, and excited by
+this hand-to-hand struggle with his model, he painted the tempest, not
+on his canvass, but in his memory, which never forgot anything. He saw
+and remembered all&mdash;clouds, waves, and rock, hues and colors, with the
+motion of the boats and the rocking of the ship, and the accidental
+light which intersected a slate-colored sky that served as a ground to
+the whiteness of the sea-foam." But, according to D'Argenville and
+others, this event occurred in 1752, when he was on his way to Paris, at
+the invitation of Louis XV. Embarking at Leghorn in a small felucca, he
+sailed to Marseilles. A violent storm happened on the voyage, which
+greatly terrified some of the passengers, but Vernet, undaunted, and
+struck with the grandeur of the scene, requested the sailors to lash him
+to the mast head, and there he remained, absorbed in admiration, and
+endeavoring to transfer to his sketch-book, a correct picture of the
+sublime scene with which he was surrounded. His grandson, Horace Vernet,
+painted an excellent picture of this scene, which was exhibited in the
+Louvre in 1816, and attracted a great deal of attention.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET AT ROME.</h2>
+
+<p>Vernet arrived at Rome in 1732, and became the scholar of Bernardino
+Fergioni, then a celebra<span class='pagenum'><a name="Page_299" id="Page_299">[Pg 299]</a></span>ted marine painter, but Lanzi says, "he was
+soon eclipsed by Joseph Vernet, who had taken up his abode at Rome."
+Entirely unknown in that metropolis of art, always swarming with
+artists, Vernet lived for several years in the greatest poverty,
+subsisting by the occasional sale of a drawing or picture at any price
+he could get. He even painted panels for coach builders, which were
+subsequently sawed out and sold as works of great value. Fiorillo
+relates that he painted a superb marine for a suit of coarse clothes,
+which brought 5000 francs at the sale of M. de Julienne. Finding large
+pictures less saleable, he painted small ones, which he sold for two
+sequins a-piece, till a Cardinal, one day gave him four louis d'or for a
+marine. Yet his ardor and enthusiasm were unabated; on the contrary, he
+studied with the greatest assiduity, striving to perfect himself in his
+art, and feeling confident that his talents would ultimately command a
+just reward.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S "ALPHABET OF TONES."</h2>
+
+<p>It was the custom of Vernet to rise with the lark, and he often walked
+forth before dawn and spent the whole day in wandering about the
+surrounding country, to study the ever changing face of nature. He
+watched the various hues presented by the horizon at different hours of
+the day. He soon found that with all his powers of observation and
+pencil, great and im<span class='pagenum'><a name="Page_300" id="Page_300">[Pg 300]</a></span>passioned as they were, he could not keep pace with
+the rapidly changing and evanescent hues of the morning and evening sky.
+He began to despair of ever being able to represent on canvass the
+moving harmony of those pictures which nature required so little time to
+execute in such perfection, and which so quickly passed away. At length,
+after long contemplating how he could best succeed in catching and
+transferring these furtive tints to his canvass, bethought himself of a
+contrivance which he called his Alphabet of tones, and which is
+described by Renou in his "Art de Peindre."</p>
+
+<p>The various characters of this alphabet are joined together, and
+correspond to an equal number of different tints; if Vernet saw the sun
+rise silvery and fresh, or set in the colors of crimson; or if he saw a
+storm approaching or disappearing, he opened his table and set down the
+gradations of the tones he admired, as quickly as he could write ten or
+twelve letters on a piece of paper. After having thus noted down in
+short hand, the beauties of the sky and the accidental effects of
+nature, he returned to his studio, and endeavored to make stationary on
+canvass the moving picture he had just been contemplating. Effects which
+had long disappeared were thus recomposed in all their charming harmony
+to delight the eye of every lover of painting.<span class='pagenum'><a name="Page_301" id="Page_301">[Pg 301]</a></span></p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET AND THE CONNOISSEUR.</h2>
+
+<p>Vernet relates, that he was once employed to paint a landscape, with a
+cave, and St. Jerome in it; he accordingly painted the landscape, with
+St. Jerome at the entrance of the cave. When he delivered the picture,
+the purchaser, who understood nothing of perspective, said, "the
+landscape and the cave are well made, but St. Jerome is not <i>in</i> the
+cave." "I understand you, Sir," replied Vernet, "I will alter it." He
+therefore took the painting, and made the shade darker, so that the
+saint seemed to sit farther in. The gentleman took the painting; but it
+again appeared to him that the saint was not in the cave. Vernet then
+wiped out the figure, and gave it to the gentleman, who seemed perfectly
+satisfied. Whenever he saw strangers to whom he shewed the picture, he
+said, "Here you see a picture by Vernet, with St. Jerome in the cave."
+"But we cannot see the saint," replied the visitors. "Excuse me,
+gentlemen," answered the possessor, "he is there; for <i>I</i> have seen him
+standing at the entrance, and afterwards farther back; and am therefore
+quite sure that he is in it."</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S WORKS.</h2>
+
+<p>Far from confining himself within the narrow limits of one branch of his
+profession, Vernet determined to take as wide a range as possible. At<span class='pagenum'><a name="Page_302" id="Page_302">[Pg 302]</a></span>
+Rome, he made the acquaintance of Lucatelli, Pannini, and Solimene. Like
+them, he studied the splendid ruins of the architecture of ancient Rome,
+and the noble landscapes of its environs, together with every
+interesting scene and object, especially the celebrated cascades of
+Tivoli. He paid particular attention to the proportions and attitudes of
+his figures, which were mostly those of fishermen and lazzaroni, as well
+as to the picturesque appearance of their costume. Such love of nature
+and of art, such assiduous study of nature at different hours of the
+day, of the phenomena of light, and such profound study of the numerous
+accessories essential to beauty and effect, made an excellent landscape
+painter of Vernet, though his fame rests chiefly on the unrivalled
+excellence of his marine subjects. Diderot remarks, that "though he was
+undoubtedly inferior to Claude Lorraine in producing bold and luminous
+effects, he was quite equal to that great painter in rendering the
+effects of vapor, and superior to him in the invention of scenes, in
+designing figures, and in the variety of his incidents."</p>
+
+<p>At a later period, Diderot compared his favorite painter to the Jupiter
+of Lucian, who, tired of listening to the lamentable cries of mankind,
+rose from table and exclaimed: 'Let it hail in Thrace!' and the trees
+were immediately stripped of their leaves, the heaviest cut to pieces,
+and the thatch of the houses scattered before the wind: then he said<span class='pagenum'><a name="Page_303" id="Page_303">[Pg 303]</a></span>,
+"Let the plague fall on Asia!" and the doors of the houses were
+immediately closed, the streets were deserted, and men shunned one
+another; and again he exclaimed: 'Let a volcano appear here!' and the
+earth immediately shook, the buildings were thrown down, the animals
+were terrified, and the inhabitants fled into the surrounding country;
+and on his crying out: 'Let this place be visited with a death!' the old
+husbandman died of want at his door. Jupiter calls that governing the
+world, but he was wrong. Vernet calls it painting pictures, and he is
+right.</p>
+
+<p>It was with reference to the twenty-five paintings exhibited by Vernet,
+in 1765, that Diderot penned the foregoing lines, which formed the
+peroration to an eloquent and lengthy eulogium, such as it rarely falls
+to a painter to be the subject of. Among other things, the great critic
+there says: "There is hardly a single one of his compositions which any
+painter would have taken not less than two years to execute, however
+well he might have employed his time. What incredible effects of light
+do we not behold in them! What magnificent skies! what water! what
+ordonnance! what prodigious variety in the scenes! Here, we see a child
+borne off on the shoulders of his father, after having been saved from a
+watery grave; while there, lies a woman dead upon the beach, with her
+forlorn and widowed husband weeping at her side. The sea roars, the wind
+bowls, the thunder fills the air with its peals, and<span class='pagenum'><a name="Page_304" id="Page_304">[Pg 304]</a></span> the pale and
+sombre glimmers of the lightning that shoots incessantly through the
+sky, illuminate and hide the scene in turn. It appears as if you heard
+the sides of the ship crack, so natural does it look with its broken
+masts and lacerated sails; the persons on deck are stretching their
+hands toward heaven, while others have thrown themselves into the sea.
+The latter are swept by the waves against the neighboring rocks, where
+their blood mingles with the white foam of the raging billows. Some,
+too, are floating on the surface of the sea, some are about to sink, and
+some are endeavoring to reach the shore, against which they will be
+inevitably dashed to pieces. The same variety of character, action, and
+expression is observable among the spectators, some of whom are turning
+aside with a shudder, some are doing their utmost to assist the drowning
+persons, while others remain motionless and are merely looking on. A few
+persons have made a fire beneath a rock, and are endeavoring to revive a
+woman, who is apparently expiring. But now turn your eyes, reader,
+towards another picture, and you will there see a calm, with all its
+charms. The waters, which are tranquil, smooth, and cheerful-looking,
+insensibly lose their transparency as they extend further from the
+sight, while their surface gradually assumes a lighter tint, as they
+roll from the shore to the horizon. The ships are motionless, and the
+sailors and passengers are whiling away the time in various amusements.
+If it is<span class='pagenum'><a name="Page_305" id="Page_305">[Pg 305]</a></span> morning, what light vapors are seen rising all around! and how
+they have refreshed and vivified every object they have fallen on! If it
+is evening, what a golden tint do the tops of the mountains assume! How
+various, too, are the hues of the sky! And how gently do the clouds move
+along, as they cast the reflection of their different colors into the
+sea! Go, reader, into the country, lift your eyes up towards the azure
+vault of heaven, observe well the phenomena you then see there, and you
+will think that a large piece of the canvass lighted by the sun himself
+has been cut out and placed upon the easel of the artist: or form your
+hand into a tube, so that, by looking through it, you will only be able
+to see a limited space of the canvass painted by nature, and you will at
+once fancy that you are gazing on one of Vernet's pictures which has
+been taken from off his easel and placed in the sky. His nights, too,
+are as touching as his days are fine; while his ports are as fine as his
+imaginative pieces are piquant. He is equally wonderful, whether he
+employs his pencil to depict a subject of everyday life, or he abandons
+himself completely to his imagination; and he is equally
+incomprehensible, whether he employs the orb of day or the orb of night,
+natural or artificial lights, to light his pictures with: he is always
+bold, harmonious, and staid, like those great poets whose judgment
+balances all things so well, that they are never either exaggerated or
+cold. His fabrics, edifices, cos<span class='pagenum'><a name="Page_306" id="Page_306">[Pg 306]</a></span>tumes, actions, men and animals are all
+true. When near, he astonishes you, and, at a distance, he astonishes
+you still more."</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S PASSION FOR MUSIC</h2>
+
+<p>Vernet, notwithstanding he loved to depict the sea in its most convulsed
+and terrible aspects, was a perfect gentleman of the French school,
+whose manners were most amiable and engaging. What he most loved after
+painting was music. He had formed at Rome, an intimate friendship with
+Pergolesi, the composer, who afterwards became so celebrated, and they
+lived almost continually together. Vernet placed a harpsichord in his
+studio for the express use of his friend, and while the painter, carried
+away by his imagination, put the waters of the mighty main into
+commotion, or suspended persons on the towering waves, the grave
+composer sought, with the tips of his fingers, for the rudiments of his
+immortal melodies. It was thus that the melancholy stanzas of that <i>chef
+d'&oelig;uvre</i> of sadness and sorrow, the <i>Stabat-Mater</i>, were composed for
+a little convent in which one of Pergolesi's sisters resided. It seems
+to one that while listening to this plaintive music, Vernet must have
+given a more mellow tint to his painting; and it was, perhaps, while
+under its influence, that he worked at his calms and moonlights, or,
+making a truce with the roaring billows of the sea, painted it tranquil
+and smooth, and represented on the<span class='pagenum'><a name="Page_307" id="Page_307">[Pg 307]</a></span> shore nothing but motionless
+fishermen, sailors seated between the carriages of two cannons, and
+whiling away the time by relating their travels to one another, or else
+stretched on the grass in so quiescent a state, that the spectator
+himself becomes motionless while gazing on them.</p>
+
+<p>Pergolesi died in the arms of Joseph Vernet, who could never after hear
+the name of his friend pronounced, without being moved to tears. He
+religiously preserved the scraps of paper, on which he had seen the
+music of the <i>Stabat-Mater</i> dotted down before his eyes, and brought
+them with him to France in 1752, at which period he was sent for by the
+Marquis de Marigny, after an absence of twenty years. Vernet's love for
+music procured Gr&eacute;try a hearty welcome, when the young composer came to
+Paris. Vernet discovered his talent, and predicted his success. Some of
+Gr&eacute;try's features, his delicate constitution, and, above all, several of
+his simple and expressive airs, reminded the painter of the immortal man
+to whom music owes so large a portion of its present importance; for it
+was Pergolesi who first introduced in Italy the custom of paying such
+strict attention to the sense of the words and to the choice of the
+accompaniments.</p>
+
+
+<hr style="width: 65%;" />
+<h2>VERNET'S OPINION OF HIS OWN MERITS.</h2>
+
+<p>Though Vernet rose to great distinction, he was never fully appreciated
+till long after his decease.<span class='pagenum'><a name="Page_308" id="Page_308">[Pg 308]</a></span> At the present day, he is placed in the
+first rank of marine painters, not only by his own countrymen, but by
+every other nation. He himself pronounced judgment on his own merits,
+the justness of which, posterity has sanctioned. The sentence deserves
+to be preserved, for it is great. Comparing himself to the great
+painters, his rivals, he says, "If you ask me whether I painted skies
+better than such and such an artist, I should answer 'no!' or figures
+better than any one else, I should also say 'no!' or trees and
+landscapes better than others, still I should answer 'no!' or fogs,
+water, and vapors better than others, my answer would ever be the same
+but though <i>inferior to each of them in one branch of the art, I surpass
+them in all the others</i>."</p>
+
+
+<hr style="width: 65%;" />
+<h2>CURIOUS LETTER OF VERNET.</h2>
+
+<p>The Marquis de Marigny, like his sister, Madame de Pompadour, loved and
+protected the arts. It was mainly through his influence that Vernet was
+invited to Paris in 1752, and commissioned to paint the sea-ports of
+France. No one could have been found better fitted for the ungrateful
+task, which, though offering so few resources, required so much
+knowledge. Thus imprisoned in official programme, Vernet must have felt
+ill at ease, if we may judge from a letter which he wrote to the Marquis
+at a subsequent period, with respect to another order. Indeed, the truth
+of his remarks were verified in<span class='pagenum'><a name="Page_309" id="Page_309">[Pg 309]</a></span> the very series just mentioned, which
+are not considered among his happiest productions. The following is the
+main part of the letter referred to, dated May 6th, 1765:</p>
+
+<div class="blockquot"><p>"I am not accustomed to make sketches for my pictures. My general
+practice is to compose on the canvass of the picture I am about to
+execute, and to paint it immediately, while my imagination is still
+warm with conception; the size, too, of my canvas tells me at once
+what I have to do, and makes me compose accordingly. I am sure, if
+I made a sketch beforehand, that I should not only not put in it
+what might be in the picture, but that I should also throw into it
+all the fire I possess, and the larger picture would, in
+consequence, become cold. This would also be making a sort of copy,
+which it would annoy me to do. Thus, sir, after thoroughly weighing
+and examining everything, I think it best <i>that I should be left
+free to act as I like</i>. This is what I require from all those for
+whom I wish to do my best; and this is also what I beg your friend
+towards whom I am desirous of acting conscientiously, to let me do.
+He can tell me what size he wishes the picture to be, with the
+general subject of it, such as calm, tempest, sun-rise, sun-set,
+moon-light, landscape, marine-piece, etc., but nothing more.
+Experience has taught me that, when I am constrained by the least
+thing, I always succeed worse than generally.<span class='pagenum'><a name="Page_310" id="Page_310">[Pg 310]</a></span></p>
+
+<p>"If you wish to know the usual prices of my pictures, they are as
+follows:&mdash;For every one four feet wide, and two and a half, or
+three high, &pound;60, for every one three feet wide, and of a
+proportionate height, &pound;48; for every one two feet and a half wide
+&pound;40; for every one two feet wide, &pound;32; and for every one eighteen
+inches wide, &pound;24, with larger or smaller ones as required; but it
+is as well to mention that I succeed much better with the large
+ones." </p></div>
+
+
+<hr style="width: 65%;" />
+<h2>CHARLES VERNET.</h2>
+
+<p>Antoine Charles Horace Vernet was the son of Claude Joseph Vernet, and
+born at Bordeaux in 1758. He acquired distinction as a painter, and was
+made a Chevalier of the Legion of Honor, and of the order of St Michael.
+He chiefly excelled in battle and parade pieces of large dimensions; and
+he thus commemorated the battles of Rivoli, Marengo, Austerlitz, Wagram,
+the Departure of the Marshals, and other events of French history which
+occurred during his artistical career. More pleasing to many are his
+smaller pictures, mostly referring to battles and camps. He was
+uncommonly successful in depicting the horse, and there are numerous
+equestrian portraits by him, which are greatly admired. His studies from
+nature, and his hunting pieces, for vivacity, spirit, and boldness of
+conception, are only rivaled by those of his son Horace. Many of his
+works have been litho<span class='pagenum'><a name="Page_311" id="Page_311">[Pg 311]</a></span>graphed; the twenty-eight plates in folio,
+illustrating the Campaign of Bonaparte in Italy, are esteemed among his
+most successful efforts. He died in 1836.</p>
+
+
+<hr style="width: 65%;" />
+<h2>ANECDOTE OF CHARLES VERNET.</h2>
+
+<p>A short time before his death, Charles Vernet, having some business to
+transact with one of the public functionaries, called at his office and
+sent in his card. The minister left him waiting two whole hours in the
+anteroom before he admitted him to his presence, when the business was
+quickly dispatched. Meeting Vernet at a soiree soon afterwards, the
+minister apologized for his <i>apparent</i> neglect, which not appearing very
+satisfactory to the veteran painter, he mildly rebuked him by observing,
+"It is of no consequence, sir, but permit me to say that I think a
+little more respect should have been shown to the son of Joseph and the
+father of Horace Vernet."</p>
+
+
+<hr style="width: 65%;" />
+<h2>M. DE LASSON'S CARICATURE.</h2>
+
+<p>A Norman priest, who lived in the middle of the seventeenth century,
+named the Abb&eacute; Malotru, was remarkably deformed in his figure, and
+ridiculous in his dress. One day, while he was performing mass, he
+observed a smile of contempt on the face of M. de Lasson, which
+irritated him so much that the moment the service was over, he
+instituted a<span class='pagenum'><a name="Page_312" id="Page_312">[Pg 312]</a></span> process against him. Lasson possessed the talent of
+caricature drawing: he sketched a figure of the ill-made priest,
+accoutred, as he used to be, in half a dozen black caps over one
+another, nine waistcoats, and as many pair of breeches. When the court
+before whom he was cited urged him to produce his defense, he suddenly
+exhibited his Abb&eacute; Malotru, and the irresistible laughter which it
+occasioned insured his acquittal.</p>
+
+
+<hr style="width: 65%;" />
+<h2>FRANK HALS AND VANDYKE.</h2>
+
+<p>In the early part of Frank Hals' life, to accommodate his countrymen,
+who were sparing both of their time and money, he painted portraits for
+a low price at one sitting in a single hour. Vandyke on his way to Rome,
+passing through the place, sat his hour as a stranger to the rapid
+portrait painter. Hals had seen some of the works of Vandyke, but was
+unacquainted with his person. When the picture was finished, Vandyke,
+assuming a silly manner, said it appeared to be easy work, and that he
+thought he could do it. Hals, thinking to have some fun, consented to
+sit an hour precisely by the clock, and not to rise or look at what he
+fully expected to find a laughable daub. Vandyke began his work; Hals
+looked like a sitter. At the close, the wag rose with all his risible
+muscles prepared for a hearty laugh; but when he saw the splendid
+sketch, he started, looked, and exclaimed, "You must be either Vandyke
+or the Devil!"</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Anecdotes of Painters, Engravers,
+Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
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+</body>
+</html>
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+The Project Gutenberg EBook of Anecdotes of Painters, Engravers, Sculptors
+ and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Anecdotes of Painters, Engravers, Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3)
+
+Author: Shearjashub Spooner
+
+Release Date: April 21, 2007 [EBook #21198]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK ANECDOTES OF PAINTERS ***
+
+
+
+
+Produced by Barbara Tozier, Bill Tozier, Janet Blenkinship
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+
+  ANECDOTES
+  OF
+  PAINTERS, ENGRAVERS
+  Sculptors and Architects,
+  AND
+  CURIOSITIES OF ART.
+
+  BY
+  S. SPOONER, M.D.,
+  AUTHOR OF "A BIOGRAPHICAL HISTORY OF THE FINE ARTS."
+
+  IN THREE VOLUMES.
+  VOL. II.
+
+
+  NEW YORK:
+  R. WORTHINGTON, PUBLISHER,
+  770 Broadway.
+
+
+
+
+  COPYRIGHT, S. SPOONER, 1853.
+
+  Reentered, G. B., 1880.
+
+
+
+
+  CONTENTS.
+
+
+  Titian--Sketch of his Life,                                         1
+  Titian's Manners,                                                   5
+  Titian's Works,                                                     6
+  Titian's Imitators,                                                 7
+  Titian's Venus and Adonis,                                          8
+  Titian and the Emperor Charles V.,                                 10
+  Titian and Philip II.,                                             13
+  Titian's Last Supper and El Mudo,                                  14
+  Titian's Old Age,                                                  15
+  Monument to Titian,                                                15
+  Horace Vernet,                                                     16
+  The Colosseum,                                                     29
+  Nineveh and its Remains,                                           34
+  Description of a Palace Exhumed at Nimroud,                        37
+  Origin and Antiquity of the Arch,                                  41
+  Antiquities of Herculaneum, Pompeii, and Stabiae,                   43
+  Ancient Fresco and Mosaic Painting,                                55
+  Mosaic of the Battle of Plataea,                                    55
+  The Aldobrandini Wedding,                                          56
+  The Portland Vase,                                                 56
+  Ancient Pictures on Glass,                                         58
+  Henry Fuseli; his Birth,                                           59
+  Fuseli's early Love of Art,                                        59
+  Fuseli's Literary and Poetical Taste,                              60
+  Fuseli, Lavater, and the Unjust Magistrate,                        61
+  Fuseli's Travels and his Literary Distinction,                     62
+  Fuseli's Arrival in London,                                        63
+  Fuseli's change from Literature to Painting,                       63
+  Fuseli's Sojourn in Italy,                                         65
+  Fuseli's Nightmare,                                                66
+  Fuseli's OEdipus and his Daughters,                                66
+  Fuseli and the Shakspeare Gallery,                                 67
+  Fuseli's "Hamlet's Ghost,"                                         68
+  Fuseli's Titania,                                                  69
+  Fuseli's Election as a Royal Academician,                          70
+  Fuseli and Horace Walpole,                                         71
+  Fuseli and the Banker Coutts,                                      72
+  Fuseli and Professor Porson,                                       73
+  Fuseli's method of giving vent to his Passion,                     73
+  Fuseli's Love for Terrific Subjects,                               73
+  Fuseli's and Lawrence's Pictures from the "Tempest,"               74
+  Fuseli's estimate of Reynolds' Abilities in Historical Painting,   75
+  Fuseli and Lawrence,                                               75
+  Fuseli as Keeper of the Royal Academy,                             76
+  Fuseli's Jests and Oddities with the Students of the Academy,      77
+  Fuseli's Sarcasms on Northcote,                                    78
+  Fuseli's Sarcasms on various rival Artists,                        79
+  Fuseli's Retorts,                                                  80
+  Fuseli's Suggestion of an Emblem of Eternity,                      82
+  Fuseli's Retort in Mr. Coutts' Banking House,                      82
+  Fuseli's Sarcasms on Landscape and Portrait Painters,              83
+  Fuseli's Opinion of his own Attainment of Happiness,               84
+  Fuseli's Private Habits,                                           84
+  Fuseli's Wife's method of Curing his fits of Despondency,          85
+  Fuseli's Personal Appearance, his Sarcastic Disposition,
+    and Quick Temper,                                                86
+  Fuseli's near Sight,                                               87
+  Fuseli's Popularity,                                               88
+  Fuseli's Artistic Merits,                                          88
+  Fuseli's Milton Gallery, the Character of his Works,
+    and the Permanency of his Fame,                                  89
+  Salvator Rosa,                                                     91
+  Salvator Rosa and Cav. Lanfranco,                                  91
+  Salvator Rosa at Rome and Florence,                                92
+  Salvator Rosa's Return to Rome,                                    93
+  Salvator Rosa's Subjects,                                          93
+  Flagellation of Salvator Rosa,                                     95
+  Salvator Rosa and the Higgling Prince,                             96
+  Salvator Rosa's Opinion of his own Works,                          98
+  Salvator Rosa's Banditti,                                          98
+  Salvator Rosa and Massaniello,                                    100
+  Salvator Rosa and Cardinal Sforza,                                100
+  Salvator Rosa's Manifesto Concerning his Satirical
+    Picture, La Fortuna,                                            101
+  Salvator Rosa's Banishment from Rome,                             102
+  Salvator Rosa's Wit,                                              103
+  Salvator Rosa's Reception at Florence,                            103
+  Histrionic Powers of Salvator Rosa,                               104
+  Salvator Rosa's Reception at the Palazzo Pitti,                   105
+  Satires of Salvator Rosa,                                         105
+  Salvator Rosa's Harpsichord,                                      106
+  Rare Portrait by Salvator Rosa,                                   106
+  Salvator Rosa's Return to Rome,                                   109
+  Salvator Rosa's Love of Magnificence,                             109
+  Salvator Rosa's Last Works,                                       111
+  Salvator Rosa's Desire to be Considered an Historical Painter,    112
+  Don Mario Ghigi, his Physician, and Salvator Rosa,                113
+  Death of Salvator Rosa,                                           115
+  Domenichino,                                                      121
+  The Dulness of Domenichino in Youth,                              121
+  Domenichino's Scourging of St. Andrew,                            123
+  The Communion of St. Jerome,                                      124
+  Domenichino's Enemies at Rome,                                    125
+  Decision of Posterity on the Merits of Domenichino,               126
+  Proof of the Merits of Domenichino,                               127
+  Domenichino's Caricatures,                                        127
+  Intrigues of the Neapolitan Triumvirate of Painters,              128
+  Giuseppe Ribera, called Il Spagnoletto--his early
+    Poverty and Industry,                                           133
+  Ribera's Marriage,                                                134
+  Ribera's Rise to Eminence,                                        135
+  Ribera's Discovery of the Philosopher's Stone,                    135
+  Ribera's Subjects,                                                136
+  Ribera's Disposition,                                             137
+  Singular Pictorial Illusions,                                     137
+  Raffaelle's Skill in Portraits,                                   138
+  Jacopo da Ponte,                                                  139
+  Giovanni Rosa,                                                    139
+  Cav. Giovanni Centarini,                                          139
+  Guercino's Power of Relief,                                       140
+  Bernazzano,                                                       140
+  Invention of Oil Painting,                                        141
+  Foreshortening,                                                   145
+  Method of Transferring Paintings from Walls and
+    Panels to Canvass,                                              146
+  Works in Scagliola,                                               147
+  The Golden Age of Painting,                                       149
+  Golden Age of the Fine Arts in Ancient Rome,                      152
+  Nero's Golden Palace,                                             155
+  Names of Ancient Architects Designated by Reptiles,               156
+  Triumphal Arches,                                                 157
+  Statue of Pompey the Great,                                       159
+  Antique Sculptures in Rome,                                       159
+  Ancient Map of Rome,                                              160
+  Julian the Apostate,                                              160
+  The Tomb of Mausolus,                                             161
+  Mandrocles' Bridge Across the Bosphorus,                          162
+  The Colossus of the Sun at Rhodes,                                162
+  Statues and Paintings at Rhodes,                                  164
+  Sostratus' Light-House on the Isle of Pharos,                     164
+  Dinocrates' Plan for Cutting Mount Athos into a
+    Statue of Alexander the Great,                                  165
+  Pope's idea of Forming Mount Athos into a Statue
+    of Alexander the Great,                                         166
+  Temple with an Iron Statue Suspended in the Air by Loadstone,     168
+  The Temple of Jupiter Olympius at Athens,                         168
+  The Parthenon at Athens,                                          170
+  The Elgin Marbles,                                                171
+  The first Odeon at Athens,                                        182
+  Perpetual Lamps,                                                  182
+  The Skull of Raffaelle,                                           183
+  The Four Finest Pictures in Rome,                                 183
+  The Four Carlos of the 17th Century,                              184
+  Pietro Galletti and the Bolognese Students,                       184
+  AEtion's Picture of the Nuptials of Alexander and Roxana,          184
+  Ageladas,                                                         185
+  The Porticos of Agaptos,                                          185
+  The Group of Niobe and her Children,                              185
+  Statue of the Fighting Gladiator,                                 187
+  The Group of Laocooen in the Vatican,                              187
+  Michael Angelo's Opinion of the Laocooen,                          190
+  Discovery of the Laocooen,                                         190
+  Sir John Soane,                                                   191
+  Soane's Liberality and Public Munificence,                        192
+  The Belzoni Sarcophagus,                                          194
+  Tasso's "Gerusalemme Liberata,"                                   195
+  George Morland,                                                   197
+  Morland's Early Talent                                            198
+  Morland's Early Fame,                                             199
+  Morland's Mental and Moral Education under an Unnatural Parent,   200
+  Morland's Escape from the Thraldom of his Father,                 201
+  Morland's Marriage and Temporary Reform,                          202
+  Morland's Social Position,                                        203
+  An Unpleasant Dilemma,                                            204
+  Morland at the Isle of Wight,                                     205
+  A Novel Mode of Fulfilling Commissions,                           206
+  Hassel's First Interview with Morland,                            206
+  Morland's Drawings in the Isle of Wight,                          207
+  Morland's Freaks,                                                 208
+  A Joke on Morland,                                                208
+  Morland's Apprehension as a Spy,                                  209
+  Morland's "Sign of the Black Bull,"                               210
+  Morland and the Pawnbroker,                                       211
+  Morland's idea of a Baronetcy,                                    212
+  Morland's Artistic Merits,.                                       212
+  Charles Jervas,                                                   213
+  Jervas the Instructor of Pope,                                    214
+  Jervas and Dr. Arbuthnot,                                         215
+  Jervas' Vanity,                                                   215
+  Holbein and the Fly,                                              216
+  Holbein's Visit to England,                                       216
+  Henry VIII.'s Opinion of Holbein,                                 217
+  Holbein's Portrait of the Duchess Dowager of Milan,               218
+  Holbein's Flattery in Portraits--a Warning to Painters,           219
+  Holbein's Portrait of Cratzer,                                    219
+  Holbein's Portrait of Sir Thomas More and Family,                 220
+  Sir John Vanbrugh and his Critics,                                221
+  Anecdote of the English Painter, James Seymour,                   223
+  Precocity of Luca Giordano,                                       224
+  Giordano's Enthusiasm,                                            225
+  Luca Fa Presto,                                                   226
+  Giordano's Skill in Copying,                                      226
+  Giordano's Success at Naples,                                     227
+  Giordano, the Viceroy, and the Duke of Diano,                     228
+  Giordano Invited to Florence,                                     229
+  Giordano and Carlo Dolci,                                         229
+  Giordano's Visit to Spain,                                        230
+  Giordano's Works in Spain,                                        231
+  Giordano at the Escurial,                                         232
+  Giordano's Habits in Spain,                                       233
+  Giordano's First Picture Painted in Spain,                        233
+  Giordano a Favorite at Court,                                     234
+  Giordano's Return to Naples,                                      236
+  Giordano's Personal Appearance and Character,                     237
+  Giordano's Riches,                                                238
+  Giordano's Wonderful Facility of Hand,                            239
+  Giordano's Powers of Imitation,                                   240
+  Giordano's Fame and Reputation,                                   240
+  Remarkable Instance of Giordano's Rapidity of Execution,          242
+  Revival of Painting in Italy,                                     244
+  Giovanni Cimabue,                                                 251
+  Cimabue's Passion for Art,                                        252
+  Cimabue's Famous Picture of the Virgin,                           253
+  The Works of Cimabue,                                             255
+  Death of Cimabue,                                                 256
+  Giotto,                                                           257
+  Giotto's St. Francis Stigmata,                                    259
+  Giotto's Invitation to Rome,                                      260
+  Giotto's Living Model,                                            262
+  Giotto and the King of Naples,                                    264
+  Giotto and Dante,                                                 266
+  Death of Giotto,                                                  266
+  Buonamico Buffalmacco,                                            267
+  Buffalmacco and his Master,                                       267
+  Buffalmacco and the Nuns of the Convent of Faenza,                270
+  Buffalmacco and the Nun's Wine,                                   272
+  Buffalmacco, Bishop Guido and his Monkey,                         273
+  Buffalmacco's Trick on the Bishop of Arezzo,                      277
+  Origin of Label Painting,                                         278
+  Utility of Ancient Works,                                         280
+  Buffalmacco and the Countryman,                                   282
+  Buffalmacco and the People of Perugia,                            283
+  Buffalmacco's Novel Method of Enforcing Payment,                  285
+  Stefano Fiorentino,                                               286
+  Giottino,                                                         286
+  Paolo Uccello,                                                    287
+  Ucello's Enthusiasm,                                              288
+  Uccello and the Monks of San Miniato,                             289
+  Uccello's Five Portraits,                                         290
+  Uccello's Incredulity of St. Thomas,                              291
+  The Italian Schools of Painting,                                  292
+  Claude Joseph Vernet,                                             295
+  Vernet's Precocity,                                               295
+  Vernet's Enthusiasm,                                              296
+  Vernet at Rome                                                    298
+  Vernet's "Alphabet of Tones,"                                     299
+  Vernet and the Connoisseur,                                       301
+  Vernet's Works,                                                   301
+  Vernet's Passion for Music,                                       306
+  Vernet's Opinion of his own Merits,                               307
+  Curious Letter of Vernet,                                         308
+  Charles Vernet,                                                   310
+  Anecdote of Charles Vernet,                                       311
+  M. de Lasson's Caricature,                                        311
+  Frank Hals and Vandyke,                                           312
+
+
+
+ANECDOTES
+
+OF
+
+PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS.
+
+
+
+
+TITIAN,--SKETCH OF HIS LIFE.
+
+The name of this illustrious painter was Tiziano Vecellio or Vecelli,
+and he is called by the Italians, Tiziano Vecellio da Cadore. He was
+descended of a noble family; born at the castle of Cadore in the Friuli
+in 1477, and died in 1576, according to Ridolfi; though Vasari and
+Sandrart place his birth in 1480. Lanzi says he died in 1576, aged 99
+years. He early showed a passion for the art, which was carefully
+cultivated by his parents.--Lanzi says in a note, that it is pretty
+clearly ascertained that he received his first instruction from Antonio
+Rossi, a painter of Cadore; if so, it was at a very tender age, for
+when he was ten years old he was sent to Trevigi, and placed under
+Sebastiano Zuccati. He subsequently went to Venice, and studied
+successively under Gentile and Giovanni Bellini. Giorgione was his
+fellow-student under the last named master, with whom Titian made
+extraordinary progress, and attained such an exact imitation of his
+style that their works could scarcely be distinguished, which greatly
+excited the jealousy of Bellini.
+
+On the death of Giorgione, Titian rose rapidly into favor. He was soon
+afterwards invited to the court of Alphonso, Duke of Ferrara, for whom
+he painted his celebrated picture of Bacchus and Ariadne, and two other
+fabulous subjects, which still retain somewhat of the style of
+Giorgione. It was there that he became acquainted with Ariosto, whose
+portrait he painted, and in return the poet spread abroad his fame in
+the Orlando Furioso. In 1523, the Senate of Venice employed him to
+decorate the Hall of the Council Chamber, where he represented the
+famous Battle of Cadore, between the Venetians and the Imperialists--a
+grand performance, that greatly increased his reputation. This work was
+afterwards destroyed by fire, but the composition has been preserved by
+the burin of Fontana. His next performance was his celebrated picture of
+St. Pietro Martire, in the church of SS. Giovanni e Paolo, at Venice,
+which is generally regarded as his master-piece in historical painting.
+This picture was carried to Paris by the French, and subsequently
+restored by the Allies. Notwithstanding the importance of these and
+other commissions, and the great reputation he had acquired, it is said,
+though with little probability of truth, that he received such a small
+remuneration for his works, that he was in actual indigence in 1530,
+when the praises bestowed upon him in the writings of his friend Pietro
+Aretino, recommended him to the notice of the Emperor Charles V., who
+had come to Bologna to be crowned by Pope Clement VII. Titian was
+invited thither, and painted the portrait of that monarch, and his
+principal attendants, for which he was liberally rewarded.--About this
+time, he was invited to the court of the Duke of Mantua, whose portrait
+he painted, and decorated a saloon in the palace with a series of the
+Twelve Caesars, beneath which Giulio Romano afterwards painted a subject
+from the history of each. In 1543, Paul III. visited Ferrara, where
+Titian was then engaged, sat for his portrait and invited him to Rome,
+but previous engagements with the Duke of Urbino, obliged him to decline
+or defer the invitation. Having completed his undertakings for that
+prince, he went to Rome at the invitation of the Cardinal Farnese in
+1548, where he was received with marks of great distinction. He was
+accommodated with apartments in the palace of the Belvidere, and painted
+the Pope, Paul III., a second time, whom he represented seated between
+the Cardinal Farnese and Prince Ottavio. He also painted his famous
+picture of Danae, which caused Michael Angelo to lament that Titian had
+not studied the antique as accurately as he had nature, in which case
+his works would have been inimitable, by uniting the perfection of
+coloring with correctness of design. It is said that the Pope was so
+captivated with his works that he endeavored to retain him at Rome, and
+offered him as an inducement the lucrative office of the Leaden Seal,
+then vacant by the death of Fra Sebastiano del Piombo, but he declined
+on account of conscientious scruples. Titian had no sooner returned from
+Rome to Venice, than he received so pressing an invitation from his
+first protector, Charles V., to visit the court of Spain, that he could
+no longer refuse; and he accordingly set out for Madrid, where he
+arrived at the beginning of 1550, and was received with extraordinary
+honors. After a residence of three years at Madrid, he returned to
+Venice, whence he was shortly afterwards invited to Inspruck, where he
+painted the portrait of Ferdinand, king of the Romans, his queen and
+children, in one picture.--Though now advanced in years, his powers
+continued unabated, and this group was accounted one of his best
+productions. He afterwards returned to Venice, where he continued to
+exercise his pencil to the last year of his long life.
+
+
+TITIAN'S MANNERS.
+
+Most writers observe that Titian had four different manners, at as many
+different periods of his life: first that of Bellini, somewhat stiff and
+hard, in which he imitated nature, according to Lanzi, with a greater
+precision than even Albert Durer, so that "the hairs might be numbered,
+the skin of the hands, the very pores of the flesh, and the reflection
+of objects in the pupils seen:" second, an imitation of Giorgione, more
+bold and full of force; Lanzi says that some of his portraits executed
+at this time, cannot be distinguished from those of Giorgione: third,
+his own inimitable style, which he practiced from about his thirtieth
+year, and which was the result of experience, knowledge, and judgment,
+beautifully natural, and finished with exquisite care: and fourth, the
+pictures which he painted in his old age. Sandrart says that, "at first
+he labored his pictures highly, and gave them a polished beauty and
+lustre, so as to produce their effect full as well when they were
+examined closely, as when viewed at a distance; but afterwards, he so
+managed his penciling that their greatest force and beauty appeared at a
+more remote view, and they pleased less when they were beheld more
+nearly; so that many of those artists who studied to imitate him, being
+misled by appearances which they did not sufficiently consider, imagined
+that Titian executed his works with readiness and masterly rapidity;
+and concluded that they should imitate his manner most effectually by a
+freedom of hand and a bold pencil; whereas Titian in reality took
+abundance of pains to work up his pictures to so high a degree of
+perfection, and the freedom that appears in the handling was entirely
+effected by a skillful combination of labor and judgment, and a few
+bold, artful strokes of the pencil to conceal his labor."
+
+
+TITIAN'S WORKS.
+
+The works of Titian, though many of his greatest productions have been
+destroyed by terrible conflagrations at Venice and Madrid, are numerous,
+scattered throughout Europe, in all the royal collections, and the most
+celebrated public galleries, particularly at Venice, Rome, Bologna,
+Milan, Florence, Vienna, Dresden, Paris, London, and Madrid. The most
+numerous are portraits, Madonnas, Magdalens, Bacchanals, Venuses, and
+other mythological subjects, some of which are extremely voluptuous. Two
+of his grandest and most celebrated works are the Last Supper in the
+Escurial, and Christ crowned with Thorns at Milan. It is said that the
+works of Titian, to be appreciated, should be seen at Venice or Madrid,
+as many claimed to be genuine elsewhere are of very doubtful
+authenticity. He painted many of his best works for the Spanish court,
+first for the Emperor Charles V., and next for his successor, Philip
+II., who is known to have given him numerous commissions to decorate
+the Escurial and the royal palaces at Madrid. There are numerous
+duplicates of some of his works, considered genuine, some of which he is
+supposed to have made himself, and others to have been carefully copied
+by his pupils and retouched by himself; he frequently made some slight
+alterations in the backgrounds, to give them more of the look of
+originals; thus the original of his Christ and the Pharisees, or the
+Tribute Money, is now in the Dresden Gallery, yet Lanzi says there are
+numerous copies in Italy, one of which he saw at St. Saverio di Rimini,
+inscribed with his name, which is believed to be a duplicate rather than
+a copy. There are more than six hundred engravings from his pictures,
+including both copper-plates and wooden cuts. He is said to have
+engraved both on wood and copper himself, but Bartsch considers all the
+prints attributed to him as spurious, though a few of them are signed
+with his name, only eight of which he describes.
+
+
+TITIAN'S IMITATORS.
+
+Titian, the great head of the Venetian school, like Raffaelle, the head
+of the Roman, had a host of imitators and copyists, some of whom
+approached him so closely as to deceive the best judges; and many works
+attributed to him, even in the public galleries of Europe, were
+doubtless executed by them.
+
+
+TITIAN'S VENUS AND ADONIS.
+
+This chef-d'oeuvre of Titian, so celebrated in the history of art,
+represents Venus endeavoring to detain Adonis from the fatal chase.
+Titian is known to have made several repetitions of this charming
+composition, some of them slightly varied, and the copies are almost
+innumerable. The original is supposed to have been painted at Rome as a
+companion to the Danae, for the Farnese family, about 1548, and is now
+in the royal gallery at Naples. The most famous of the original
+repetitions is that at Madrid, painted for King Philip II., when prince
+of Spain, and about the period of his marriage with Queen Mary of
+England. There is a fine duplicate of this picture in the English
+National Gallery, another in the Dulwich gallery, and two or three more
+in the private collections of England. Ottley thus describes this
+picture:--
+
+     "The figure of Venus, which is seen in a back view, receives the
+     principal light, and is without drapery, save that a white veil,
+     which hangs from her shoulder, spreads itself over the right knee.
+     The chief parts of this figure are scarcely less excellent in
+     respect of form than of coloring. The head possesses great beauty,
+     and is replete with natural expression. The fair hair of the
+     goddess, collected into a braid rolled up at the back of her head,
+     is entwined by a string of pearls, which, from their whiteness,
+     give value to the delicate carnation of her figure. She throws her
+     arms, impassioned, around her lover, who, resting with his right
+     hand upon his javelin, and holding with the left the traces which
+     confine his dogs, looks upon her unmoved by her solicitations, and
+     impatient to repair to the chase. Cupid, meantime, is seen sleeping
+     at some distance off, under the shadow of a group of lofty trees,
+     from one of which are suspended his bow and quiver; a truly poetic
+     thought, by which, it is scarcely necessary to add, the painter
+     intended to signify that the blandishments and caresses of beauty,
+     unaided by love, may be exerted in vain. In the coloring, this
+     picture unites the greatest possible richness and depth of tone,
+     with that simplicity and sobriety of character which Sir Joshua
+     Reynolds so strongly recommends in his lectures, as being the best
+     adapted to the higher kinds of painting. The habit of the goddess,
+     on which she sits, is of crimson velvet, a little inclining to
+     purple, and ornamented with an edging of gold lace, which is,
+     however, so subdued in tone as not to look gaudy, its lining being
+     of a delicate straw color, touched here and there with a slight
+     glazing of lake. The dress of Adonis, also, is crimson, but of a
+     somewhat warmer hue. There is little or no blue in the sky, which
+     is covered with clouds, and but a small proportion of it on the
+     distant hills; the effect altogether appearing, to be the result of
+     a very simple principle of arrangement in the coloring, namely,
+     that of excluding almost all cold tints from the illuminated parts
+     of the picture."
+
+
+TITIAN AND THE EMPEROR CHARLES V.
+
+One of the most pleasant things recorded in the life of Titian, is the
+long and intimate friendship that subsisted between him and the great
+and good Emperor Charles V., whose name is known in history as one of
+the wisest and best sovereigns of Europe. According to Vasari, Titian,
+when he was first recommended to the notice of the Emperor by Pietro
+Aretino, was in deep poverty, though his name was then known all over
+Italy. Charles, who appreciated, and knew how to assist genius without
+wounding its delicacy, employed Titian to paint his portrait, for which
+he munificently rewarded him. He afterwards invited him to Madrid in the
+most pressing and flattering terms, where he was received with
+extraordinary honors. He was appointed gentleman of the Emperor's
+bed-chamber, that he might be near his person; Charles also conferred
+upon him the order of St. Jago, and made him a Count Palatine of the
+empire. He did not grace the great artist with splendid titles and
+decorations only, but showed him more solid marks of his favor, by be
+stowing upon him life-rents in Naples and Milan of two hundred ducats
+each, besides a munificent compensation for each picture. These honors
+and favors were, doubtless, doubly gratifying to Titian, as coming from
+a prince who was not only a lover of the fine arts, but an excellent
+connoisseur. "The Emperor," says Palomino, "having learned drawing in
+his youth, examined pictures and prints with all the keenness of an
+artist; and he much astonished AEneas Vicus of Parma, by the searching
+scrutiny that he bestowed on a print of his own portrait, which that
+famous engraver had submitted to his eye." Stirling, in his Annals of
+Spanish Artists, says, that of no prince are recorded more sayings which
+show a refined taste and a quick eye. He told the Burghers of Antwerp
+that, "the light and soaring spire of their cathedral deserved to be put
+under a glass case." He called Florence "the Queen of the Arno, decked
+for a perpetual holiday." He regretted that he had given his consent for
+the conversion of the famous mosque of Abderahman at Cordova into a
+cathedral, when he saw what havoc had been made of the forest of fairy
+columns by the erection of the Christian choir. "Had I known," said he
+to the abashed improvers, "of what you were doing, you should have laid
+no finger on this ancient pile. You have built _a something_, such as is
+to be found anywhere, and you have destroyed a wonder of the world."
+
+The Emperor delighted to frequent the studio of Titian, on which
+occasions he treated him with extraordinary familiarity and
+condescension. The fine speeches which he lavished upon him, are as well
+known as his more substantial rewards. The painter one day happening to
+let fall his brush, the monarch picked it up, and presented it to the
+astonished artist, saying, "It becomes Caesar to serve Titian." On
+another occasion, Caesar requested Titian to retouch a picture which hung
+over the door of the chamber, and with the assistance of his courtiers
+moved up a table for the artist to stand upon, but finding the height
+insufficient, without more ado, he took hold of one corner, and calling
+on those gentlemen to assist, he hoisted Titian aloft with his own
+imperial hands, saying, "We must all of us bear up this great man to
+show that his art is empress of all others." The envy and displeasure
+with which men of pomp and ceremonies viewed these familiarities, that
+appeared to them as so many breaches in the divinity that hedged their
+king and themselves, only gave their master opportunities to do fresh
+honors to his favorite in these celebrated and cutting rebukes: "There
+are many princes, but there is only one Titian;" and again, when he
+placed Titian on his right hand, as he rode out on horseback, "I have
+many nobles, but I have only one Titian." Not less valued, perhaps, by
+the great painter, than his titles, orders, and pensions, was the
+delicate compliment the Emperor paid him when he declared that "no other
+hand should draw his portrait, since he had thrice received immortality
+from the pencil of Titian." Palomino, perhaps carried away by an
+artist's enthusiasm, asserts that "Charles regarded the acquisition of a
+picture by Titian with as much satisfaction as he did the conquest of a
+province." At all events, when the Emperor parted with all his provinces
+by abdicating his throne, he retained some of Titian's pictures. When he
+betook himself to gardening, watchmaking, and manifold masses at San
+Yuste, the sole luxury to be found in his simple apartments, with their
+hangings of sombre brown, was that master's St. Jerome, meditating in a
+cavern scooped in the cliffs of a green and pleasant valley--a fitting
+emblem of his own retreat. Before this appropriate picture, or the
+"Glory," which hung in the church of the convent, and which was removed
+in obedience to his will, with his body to the Escurial, he paid his
+orisons and schooled his mind to forgetfulness of the pomps and vanities
+of life.
+
+
+TITIAN AND PHILIP II.
+
+Titian was not less esteemed by Philip II., than by his father, Charles
+V. When Philip married Mary, Queen of England, he presented him his
+famous picture of Venus and Adonis, with the following letter of
+congratulation, which may be found in Ticozzi's Life of Titian:
+
+     "_To Philip, King of England, greeting_:
+
+     "Most sacred Majesty! I congratulate your Majesty on the kingdom
+     which God has granted to you; and I accompany my congratulations
+     with the picture of Venus and Adonis, which I hope will be looked
+     upon by you with the favorable eye you are accustomed to cast upon
+     the works of your servant
+
+                                                         "TITIAN."
+
+According to Palomino, Philip was sitting on his throne, in council,
+when the news arrived of the disastrous conflagration of the palace of
+the Prado, in which so many works by the greatest masters were
+destroyed. He earnestly demanded if the Titian Venus was among those
+saved, and on being informed it was, he exclaimed, "Then every other
+loss may be supported!"
+
+
+TITIAN'S LAST SUPPER AND EL MUDO.
+
+Palomino says that when Titian's famous painting of the Last Supper
+arrived at the Escurial, it was found too large to fit the panel in the
+refectory, where it was designed to hang. The king, Philip II., proposed
+to cut it to the proper size. El Mudo (the dumb painter), who was
+present, to prevent the mutilation of so capital a work, made earnest
+signs of intercession with the king, to be permitted to copy it,
+offering to do it in the space of six months. The king expressed some
+hesitation, on account of the length of time required for the work, and
+was proceeding to put his design in execution, when El Mudo repeated his
+supplications in behalf of his favorite master with more fervency than
+ever, offering to complete the copy in less time than he at first
+demanded, tendering at the same time his head as the punishment if he
+failed. The offer was not accepted, and execution was performed on
+Titian, accompanied with the most distressing attitudes and distortions
+of El Mudo.
+
+
+TITIAN'S OLD AGE.
+
+Titian continued to paint to the last year of his long life, and many
+writers, fond of the marvellous, assert that his faculties and his
+powers continued to the last. Vasari, who saw him in 1566 for the last
+time, said he "could no longer recognize Titian in Titian." Lanzi says,
+"There remains in the church of S. Salvatore, one of these pictures
+(executed towards the close of his life), of the Annunciation, which
+attracts the attention only from the name of the master. Yet when he was
+told by some one that it was not, or at least did not appear to have
+been executed by his hand, he was so much irritated that, in a fit of
+senile indignation, he seized his pencil and inscribed upon it,
+'Tizianus fecit, fecit.' Still the most experienced judges are agreed
+that much may be learned, even from his latest works, in the same manner
+as the poets pronounce judgment upon the Odyssey, the product of old
+age, but still by Homer."
+
+
+MONUMENT TO TITIAN.
+
+A monument to Titian, from the studio of the brothers Zandomenghi, was
+erected in Venice in 1852; and the civil, ecclesiastical, and military
+authorities were present at the ceremony of inauguration. It represents
+Titian, surrounded by figures impersonating the Fine Arts; below are
+impersonations of the fifteenth and nineteenth centuries. The basement
+is adorned with five bas-reliefs, representing as many celebrated
+paintings by the great artist.
+
+
+HORACE VERNET.
+
+Among all the artists of our day, is one standing almost alone, and
+singularly characterized in many respects. He is entirely wanting in
+that lofty religious character which fills with pureness and beauty the
+works of the early masters; he has not the great and impressive
+historical qualities of the school of Raffaelle, nor the daring
+sublimity of Michael Angelo; he has not the rich luxury of color that
+renders the works of the great Venetians so gorgeous, nor even that sort
+of striking reality which makes the subjects rendered by the Flemish
+masters incomparably life-like. Yet he is rich in qualities deeply
+attractive and interesting to the people, especially the French people,
+of our own day. He displays an astonishing capacity and rapidity of
+execution, an almost unparalleled accuracy of memory, a rare life and
+motion on the canvass, a vigorous comprehension of the military tactics
+of the time, a wonderful aptitude at rendering the camp and field potent
+subjects for the pencil, notwithstanding the regularity of movement,
+and the unpicturesque uniformity of costume demanded by the military
+science of our day. Before a battle-piece, of Horace Vernet (and only
+his battle-pieces are his masterpieces), the crowd stands breathless and
+horrified at the terrible and bloody aspect of war; while the military
+connoisseur admires the ability and skill of the feats of arms, so
+faithfully rendered that he forgets he is not looking at real soldiers
+in action. In the landscapes and objects of the foreground or
+background, there are not that charm of color and aerial depth and
+transparency in which the eye revels, yet there is a hard vigorous
+actuality which adds to the force and energy of the actors, and
+strengthens the idea of presence at the battle, without attracting or
+charming away the mind from the terrible inhumanities principally
+represented. No poetry, no romance, no graceful and gentle beauty; but
+the stern dark reality as it might be written in an official bulletin,
+or related in a vigorous, but cold and accurate, page of history. Such
+is the distinguishing talent of Horace Vernet--talent sufficient,
+however, to make his pictures the attractive centres of crowds at the
+Louvre Exhibitions, and to make himself the favorite of courts and one
+of the _illustrissimi_ of Europe.
+
+The Vernets have been a family of painters during four generations. The
+great-grandfather of Horace was a well-known artist at Avignon, a
+hundred and fifty years ago. His son and pupil, Claude Joseph Vernet,
+was the first marine painter of his time; and occupies, with his works
+alone, an entire apartment of the French Gallery at the Louvre, besides
+great numbers of sea-pieces and landscapes belonging to private
+galleries. He died in 1789, but his son and pupil, Antoine Charles
+Horace Vernet, who had already during two years sat by his side in the
+Royal Academy, continued the reputation of the family during the
+Consulate and Empire. He was particularly distinguished for
+cavalry-battles, hunting scenes, and other incidents in which the horse
+figured largely as actor. In some of these pictures the hand of the son
+already joined itself to that of the father, the figures being from the
+pencil of Horace; and before the death of the father, which took place
+in 1836, he had already seen the artistic reputation of the family
+increased and heightened by the fame of his son.
+
+Horace Vernet was born at the Louvre on the 30th June, 1789, the year of
+the death of his grandfather, who, as painter to the king, had occupied
+rooms at the Louvre, where his father also resided; so that Horace not
+only inherited his art from a race of artist-ancestors, but was born
+amid the _chef d' oeuvres_ of the entire race of painters. Of course,
+his whole childhood and youth were surrounded with objects of Art; and
+it was scarcely possible for him not to be impressed in the most lively
+manner by the unbroken artist-life in which he was necessarily brought
+up. It would appear that from his childhood he employed himself in
+daubing on walls, and drawing on scraps of paper all sorts of little
+soldiers.
+
+Like his father and grandfather, his principal lessons as a student were
+drawn from the paternal experience, and certainly no professor could
+more willingly and faithfully save him all the loss of time and patience
+occasioned by the long and often fruitless groping of the almost
+solitary Art-student. He was also thus saved from falling into the
+errors of the school of David. Certainly no great _penchant_ towards the
+antique is discoverable in his father's works; nor in his own do we find
+painted casts of Greek statues dressed in the uniforms of the nineteenth
+century. At twenty, it is true, he tried, but without success, the
+classic subject offered to competition at the Academy for the prize of
+visiting Rome. The study of the antique did not much delight him. On the
+contrary, he rather joined with the innovators, whose example was then
+undermining the over-classic influence of David's school, the most
+formidable and influential of whom, a youth about his own age, and a
+fellow-student in his father's atelier, was then painting a great
+picture, sadly decried at the time, but now considered one of the
+masterpieces of the French school in the Louvre--the "Raft of the
+Medusa." Gericault was his companion in the studio and in the field, at
+the easel and on horseback; and we might trace here one of the many
+instances of the influence which this powerful and original genius
+exercised on the young artists of his time, and which, had it not been
+arrested by his premature death in January, 1824, would have made
+Gericault more strikingly distinguished as one of the master-spirits in
+French Art, and the head of a school entirely the opposite to that of
+David.
+
+Horace's youth, however, did not pass entirely under the smiles of
+fortune. He had to struggle with those difficulties of narrow means with
+which a very large number of young artists are tolerably intimate. He
+had to weather the gales of poverty by stooping to all sorts of
+illustrative work, whose execution we fancy must have been often a
+severe trial to him. Any youth aiming at "high art," and feeling, though
+poor, too proud to bend in order to feed the taste, (grotesque and
+unrefined enough, it must be allowed,) of the good public, which artists
+somewhat naturally estimate rather contemptuously, might get a lesson of
+patience by looking over an endless series of the most variedly hideous
+costumes or caricatures of costume which Horace was glad to draw, for
+almost any pecuniary consideration. A series of amusingly _naive_
+colored prints, illustrating the adventures of poor La Valliere with
+Louis XIV., would strengthen the lesson. These were succeeded by
+lithographs of an endless variety of subjects--the soldier's life in all
+its phases, the "horse and its rider" in all their costumes, snatches of
+romances, fables, caricatures, humorous pieces, men, beasts, and things.
+In short, young Horace tried his hand at any thing and every thing in
+the drawing line, at once earning a somewhat toughly-woven livelihood,
+and perfecting his talent with the pencil. In later years, the force and
+freedom of this talent were witnessed to by illustrations of a more
+important character in a magnificent edition of Voltaire's _Henriade_,
+published in 1825, and of the well known _Life of Napoleon_ by Laurent.
+
+Failing, as we have said, and perhaps fortunately for him, in the
+achievement of the great Prize of Rome, he turned to the line of Art for
+which he felt himself naturally endowed, the incidents of the camp and
+field. The "Taking of a Redoubt;" the "Dog of the Regiment;" the "Horse
+of the Trumpeter;" "Halt of French Soldiers;" the "Battle of Tolosa;"
+the "Barrier of Clichy, or Defense of Paris in 1814" (both of which
+last, exhibited in 1817, now hang in the gallery of the Luxembourg), the
+"Soldier-Laborer;" the "Soldier of Waterloo;" the "Last Cartridge;" the
+"Death of Poniatowski;" the "Defense of Saragossa," and many more,
+quickly followed each other, and kept up continually and increasingly
+the public admiration. The critics of the painted bas-relief school
+found much to say against, and little in favor of, the new talent that
+seemed to look them inimically in the face, or rather did not seem to
+regard them at all. But people in general, of simple enough taste in
+matter of folds of drapery or classic laws of composition or antique
+lines of beauty, saw before them with all the varied sentiments of
+admiration, terror, or dismay, the soldier mounting the breach at the
+cannon's mouth, or the general, covered with orders, cut short in the
+midst of his fame. Little of the romantic, little of poetical
+idealization, little of far-fetched _style_ was there on these
+canvasses, but the crowd recognized the soldier as they saw him daily,
+in the midst of the scenes which the bulletin of the army or the page of
+the historian had just narrated to them. They were content, they were
+full of admiration, they admired the pictures, they admired the artist;
+and, the spleen of critics notwithstanding, Horace Vernet was known as
+one of the favorite painters of the time.
+
+In 1819 appeared the "Massacre of the Mamelukes at Cairo," now in the
+Luxembourg. We do not know how the public accepted this production. We
+have no doubt, however, that they were charmed at the gaudy _eclat_ of
+the bloodthirsty tyrant, with his hookah and lion in the foreground, and
+dismayed at the base assassinations multiplied in the background. Nor do
+we doubt that the critics gave unfavorable judgments thereupon, and that
+most of those who loved Art seriously, said little about the picture. We
+would at all events express our own regret that the authorities do not
+find some better works than this and the "Battle of Tolosa," to
+represent in a public gallery the talent of the most famous
+battle-painter of France. The Battles of Jemmapes, Valmy, Hanau, and
+Montmirail, executed at this time, and hung till lately in the gallery
+of the Palais Royal (now, we fear, much, if not entirely, destroyed by
+the mob on the 24th February), were much more worthy of such a place.
+Whether it was by a considerate discernment that the mob attacked these,
+as the property of the ex-king, or by a mere goth-and-vandalism of
+revolution, we do not know; but certainly we would rather have delivered
+up to their wrath these others, the "property of the nation." The same
+hand would hardly seem to have executed both sets of paintings. It is
+not only the difference in size of the figures on the canvass, those of
+the Luxembourg being life-sized, and those of the Palais Royal only a
+few inches in length, but the whole style of the works is different. The
+first seem painted as if they had been designed merely to be reproduced
+in gay silks and worsteds at the Gobelins, where we have seen a copy of
+the "Massacre of the Mamelukes," in tapestry, which we would, for
+itself, have preferred to the original. But the latter four battles,
+notwithstanding the disadvantage of costume and arrangement necessarily
+imposed by the difference of time and country, produce far more
+satisfactory works of Art, and come much nearer to historical painting.
+They are painted without pretension, without exaggeration. The details
+are faithfully and carefully, though evidently rapidly, executed. The
+generals and personages in the front are speaking portraits; and the
+whole scene is full of that sort of life and action which impresses one
+at once as the very sort of action that must have taken place. Now it is
+a battery of artillery backed against a wood,--now it is a plain over
+which dense ranks of infantry march in succession to the front of the
+fire. Here it is a scene where in the full sunlight shows the whole
+details of the action; there it is night--and a night of cloud and
+storm, draws her sombre veil over the dead and wounded covering the
+field. A historian might find on these canvasses, far better than in
+stores of manuscript, wherewith to fill many a page of history with
+accurate and vivid details of these bloody days; or rather, many a page
+of history would not present so accurate and vivid a conception of what
+is a field of battle.
+
+In 1822, entry to the exhibition at the Louvre being refused to his
+works, Horace Vernet made an exhibition-room of his atelier, had a
+catalogue made out (for what with battles, hunts, landscapes, portraits,
+he had a numerous collection), and the public were admitted. In 1826 he
+was admitted a Member of the Institute, and in 1830 was appointed
+Director of the Academy at Rome, so that the young man who could not so
+far decline his antiques as to treat the classic subject of the Royal
+Academy, and thus gain the Academy at Rome, now went there as chief of
+the school, and as one of the most distinguished artists of his time.
+This residence for five years among the best works of the great masters
+of Italy naturally inspired him with ideas and desires which it had not
+been hitherto in his circumstances to gratify. And once installed in the
+Villa Medici, which he made to resound with the voices of joy and
+revelry, splendid fetes and balls, he set himself to study the Italian
+school.
+
+A series of pictures somewhat new in subject and manner of treatment was
+the result of this change of circumstances and ideas. To the Paris
+Exhibition of 1831 he sent a "Judith and Holofernes," which is one of
+the least successful of his pictures in the Luxembourg, where it hangs
+still, with another sent two years after, "Raffaelle and Michael Angelo
+in the Vatican." This is perhaps the best of his works at the
+Luxembourg, all being inferior; but it has a certain dry gaudiness of
+color, and a want of seriousness of design, which render it unfit to be
+considered a master-work. One unquestionably preferable, the "Arresting
+of the Princes at the Palais Royal by order of Anne of Austria," found
+its way to the Palais Royal, so that in this, as in the other we have
+remarked, the king seemed to know how to choose better than the
+Art-authorities of the "Gallery of Living Painters." A number of other
+pictures testified to the activity of the artist's pencil at
+Rome:--"Combat of Brigands against the Pope's Riflemen," "Confession of
+the Dying Brigand," also at the Palais Royal, but also we fear destroyed
+by the popular vandalism of the 24th February; a "Chase in the Pontine
+Marshes," "Pope Leo XII. carried into St. Peter's." The favor of the
+public, however, still turned to the usual subject of Horace Vernet--the
+French soldier's life; finding which, on his return from Rome, he
+recurred to his original study. In 1836 he exhibited four new
+battle-pieces, "Friedland," "Wagram," "Jena," and "Fontenoy," in which
+were apparent all his usual excellencies.
+
+The occupation of the Algerine territory by the French troops afforded
+the artist an opportunity of exhibiting his powers in that department
+most suited to them. A whole gallery at Versailles was set apart for the
+battle-painter, called the _Constantine Gallery_, after the most
+important feat of arms yet performed by the French troops in Africa, the
+Taking of the town of Constantine. Some of the solitary and
+extraordinary, we might say accidental, military exploits in Europe of
+Louis Philippe's reign, are also commemorated there. The "Occupation of
+Ancona," the "Entry of the Army into Belgium," the "Attack of the
+Citadel of Antwerp," the "Fleet forcing the Tagus," show that nothing is
+forgotten of the Continental doings. The African feats are almost too
+many to enumerate. In a "Sortie of the Arab Garrison of Constantine,"
+the Duke de Nemours is made to figure in person. Then we have the
+Troops of Assault receiving the Signal to leave the Trenches, and "The
+Scaling of the Breach." There are the "Occupation of the Defile of
+Teniah," "Combat of the Habrah, of the Sickak, of Samah, of Afzoum." In
+fine, there is the largest canvass in existence, it is said, the
+"Taking of the Smalah," that renowned occasion when the army was so
+_very near_ taking Abd-el-Kader; and the "Battle of Isly," which gained
+that splendid trophy, the parasol of command. Besides these great
+subjects there are decorations of military trophies and allegorical
+figures, which seem to have been painted by some pupil of Vernet. These
+battles were first of all exhibited to the admiration of Paris in the
+various salons after their execution, and were then sent off to decorate
+Versailles. There are also, in the _Gallery of French History_, at
+Versailles, several others of his, such as the "Battle of Bouvines;"
+"Charles X. reviewing the National Guard;" the "Marshal St. Cyr," and
+some others among those we have already named. In them the qualities of
+the artist are manifested more fully, we think, than in any others of
+his works. They are full of that energy, vivacity, and daguerreotypic
+verity which he so eminently displays. There is none of that pretension
+after "high Art" which has injured the effect of some of his pictures.
+The rapidity of their execution too in general was such, that the public
+had hardly finished reading the last news of the combats, when the
+artist, returned in many cases from witnessing the scenes, had placed
+them on the canvass, and offered them to popular gaze. Yet the canvasses
+are in many cases of great extent, and often, the figures of life-size.
+But the artist rarely employs the model, painting mostly from memory, a
+faculty most astonishingly developed in him. He generally also saves
+himself the trouble of preparing a smaller sketch to paint after,
+working out his subject at once in the definitive size. Of course with
+more serious and elevated subjects, worked out in a more serious and
+elevated spirit, such a system would not do. But for the style of
+subject and execution required by Horace Vernet's artistic organization,
+these careful preparations would not answer. They would only tend to
+diminish the sweeping passion of the fiery _melee_, and freeze the swift
+impulsive rush of the attack or flight.
+
+Vernet has several times attempted Biblical subjects, but they have
+never succeeded so well as to add anything to his fame as a
+battle-painter. "Judah and Tamar," "Agar dismissed by Abraham," "Rebecca
+at the Fountain," "Judith with the head of Holofernes," "The Good
+Samaritan," have rather served to illustrate Arab costume and manners,
+(which he makes out to be the same as, or very similar to, those of old
+Biblical times,) than to illustrate his own power in the higher range of
+Art.
+
+In the midst of painting all these, Horace Vernet has found time, which
+for him is the smallest requisite in painting, to produce an innumerable
+mass of pictures for private galleries, or at the command of various
+crowned heads; which, with many of those already mentioned, are well
+known all over Europe by engravings. "The Post of the Desert," "The
+Prayer in the Desert," "The Lion Hunt in the Desert," "Council of
+Arabs," "Episode of the Pest of Barcelona," "The Breach of Constantine,"
+"Mazeppa," and a host of others, together with landscapes, portraits,
+&c., have served both to multiply his works in the galleries of every
+country in Europe, and to make him one of the most popular of living
+artists.
+
+
+THE COLOSSEUM.
+
+The Colosseum, or Coliseum, was commenced by Vespasian, and completed by
+Titus, (A. D. 79.) This enormous building occupied only three years in
+its erection. Cassiodorus affirms that this magnificent monument of
+folly cost as much as would have been required to build a capital city.
+We have the means of distinctly ascertaining its dimensions and its
+accommodations from the great mass of wall that still remains entire;
+and although the very clamps of iron and brass that held together the
+ponderous stones of this wonderful edifice were removed by Gothic
+plunderers, and succeeding generations have resorted to it as to a
+quarry for their temples and their palaces--yet the "enormous skeleton"
+still stands to show what prodigious works may be raised by the skill
+and perseverance of man, and how vain are the mightiest displays of his
+physical power when compared with those intellectual efforts which have
+extended the empire of virtue and of science.
+
+The Colosseum, which is of an oval form, occupies the space of nearly
+six acres. It may justly be said to have been the most imposing
+building, from its apparent magnitude, in the world; the Pyramids of
+Egypt can only be compared with it in the extent of their plan, as they
+each cover nearly the same surface. The greatest length, or major axis,
+is 620 feet; the greatest breadth, or minor axis, is 513 feet. The outer
+wall is 157 feet high in its whole extent. The exterior wall is divided
+into four stories, each ornamented with one of the orders of
+architecture. The cornice of the upper story is perforated for the
+purpose of inserting wooden masts, which passed also through the
+architrave and frieze, and descended to a row of corbels immediately
+above the upper range of windows, on which are holes to receive the
+masts. These masts were for the purpose of attaching cords to, for
+sustaining the awning which defended the spectators from the sun or
+rain. Two corridors ran all round the building, leading to staircases
+which ascended to the several stories; and the seats which descended
+towards the arena, supported throughout upon eighty arches, occupied so
+much of the space that the clear opening of the present inner wall next
+the arena is only 287 feet by 180 feet. Immediately above and around the
+arena was the podium, elevated about twelve or fifteen feet, on which
+were seated the emperor, senators, ambassadors of foreign nations, and
+other distinguished personages in that city of distinctions. From the
+podium to the top of the second story were seats of marble for the
+equestrian order; above the second story the seats appear to have been
+constructed of wood. In these various seats eighty thousand spectators
+might be arranged according to their respective ranks; and indeed it
+appears from inscriptions, as well as from expressions in Roman writers,
+that many of the places in this immense theatre were assigned to
+particular individuals, and that each might find his seat without
+confusion. On extraordinary occasions, 110,000 persons could crowd into
+it.
+
+Gibbon has given a splendid description, in his twelfth book, of the
+exhibitions in the Colosseum; but he acknowledges his obligations to
+Montaigne, who, says the historian, "gives a very just and lively view
+of Roman magnificence in these spectacles." Our readers will, we doubt
+not, be gratified by the quaint but most appropriate sketch of the old
+philosopher of France:--
+
+"It was doubtless a fine thing to bring and plant within the theatre a
+great number of vast trees, with all their branches in their full
+verdure, representing a great shady forest, disposed in excellent order,
+and the first day to throw into it a thousand ostriches, a thousand
+stags, a thousand boars, and a thousand fallow deer, to be killed and
+disposed of by the people: the next day to cause an hundred great lions,
+an hundred leopards and three hundred bears to be killed in his
+presence: and for the third day, to make three hundred pair of fencers
+to fight it out to the last,--as the Emperor Probus did. It was also
+very fine to see those vast amphitheatres, all faced with marble
+without, curiously wrought with figures and statues, and the inside
+sparkling with rare decorations and enrichments; all the sides of this
+vast space filled and environed from the bottom to the top, with three
+or four score ranks of seats, all of marble also, and covered with
+cushions, where an hundred thousand men might sit placed at their ease;
+and the place below, where the plays were played, to make it by art
+first open and cleave into chinks, representing caves that vomited out
+the beasts designed for the spectacle; and then secondly, to be
+overflowed with a profound sea, full of sea-monsters, and loaded with
+ships of war, to represent a naval battle: and thirdly, to make it dry
+and even again for the combats of the gladiators; and for the fourth
+scene, to have it strewed with vermilion and storax, instead of sand,
+there to make a solemn feast for all that infinite number of people--the
+last act of only one day.
+
+"Sometimes they have made a high mountain advance itself, full of
+fruit-trees and other flourishing sorts of woods, sending down rivulets
+of water from the top, as from the mouth of a fountain: other whiles, a
+great ship was seen to come rolling in, which opened and divided itself;
+and after having disgorged from the hold four or five hundred beasts for
+fight, closed again, and vanished without help. At other times, from the
+floor of this place, they made spouts of perfumed water dart their
+streams upward, and so high as to besprinkle all that infinite
+multitude. To defend themselves from the injuries of the weather, they
+had that vast place one while covered over with purple curtains of
+needle-work, and by-and-by with silk of another color, which they could
+draw off or on in a moment, as they had a mind. The net-work also that
+was set before the people to defend them from the violence of these
+turned-out beasts, was also woven of gold."
+
+"If there be anything excusable in such excesses as these," continues
+Montaigne, "it is where the novelty and invention creates more wonder
+than expense." Fortunately for the real enjoyments of mankind, even
+under the sway of a Roman despot, "the novelty and invention" had very
+narrow limits when applied to matters so utterly unworthy and
+unintellectual as the cruel sports of the amphitheatre. Probus indeed,
+transplanted trees to the arena, so that it had the appearance of a
+verdant grove; and Severus introduced four hundred ferocious animals in
+one ship sailing in the little lake which the arena formed. But on
+ordinary occasions, profusion,--tasteless, haughty, and uninventive
+profusion,--the gorgeousness of brute power, the pomp of satiated
+luxury--these constituted the only claim to the popular admiration. If
+Titus exhibited five thousand wild beasts at the dedication of the
+amphitheatre, Trajan bestowed ten thousand on the people at the
+conclusion of the Dacian war. If the younger Gordian collected together
+bears, elks, zebras, ostriches, boars, and wild horses, he was an
+imitator only of the spectacles of Carus, in which the rarity of the
+animals was as much considered as their fierceness.
+
+
+NINEVEH AND ITS REMAINS.
+
+"For very many centuries, the hoary monuments of Egypt--its temples, its
+obelisks, and its tombs--have presented to the eye of the beholder
+strange forms of sculpture and of language; the import of which none
+could tell. The wild valleys of Sinai, too, exhibited upon their rocky
+sides the unknown writings of a former people; whose name and existence
+none could trace. Among the ruined halls of Persepolis, and on the
+rock-hewn tablets of the surrounding regions, long inscriptions in
+forgotten characters seemed to enrol the deeds and conquests of mighty
+sovereigns; but none could read the record. Thanks to the skill and
+persevering zeal of scholars of the 19th century, the key of these
+locked up treasures has been found; and the records have mostly been
+read. The monuments of Egypt, her paintings and her hieroglyphics, mute
+for so many ages, have at length spoken out; and now our knowledge of
+this ancient people is scarcely less accurate and extensive than our
+acquaintance with the classic lands of Greece and Rome. The unknown
+characters upon the rocks of Sinai have been deciphered, but the meagre
+contents still leave us in darkness as to their origin and purpose. The
+cuneiform or arrow-headed inscriptions of the Persian monuments and
+tablets, have yielded up their mysteries, unfolding historical data of
+high importance; thus illustrating and confirming the few and sometimes
+isolated facts preserved to us in the Scriptures and other ancient
+writings. Of all the works, in which the progress and results of these
+discoveries have been made known, not one has been reproduced or made
+generally accessible in this country. The scholar who would become
+acquainted with them, and make them his own, must still have recourse to
+the Old World.
+
+"The work of Mr. Layard brings before us still another step of progress.
+Here we have not to do, with the hoary ruins that have borne the brunt
+of centuries in the presence of the world, but with a resurrection of
+the monuments themselves. It is the disentombing of temple-palaces from
+the sepulchre of ages; the recovery of the metropolis of a powerful
+nation from the long night of oblivion. Nineveh, the great city 'of
+three days' journey,' that was 'laid waste, and there was none to bemoan
+her,' whose greatness sank when that of Rome had just begun to rise, now
+stands forth again to testify to her own splendor, and to the
+civilization, and power, and magnificence of the Assyrian Empire. This
+may be said, thus far, to be the crowning historical discovery of the
+nineteenth century. But the century as yet, is only half elapsed.
+
+"Nineveh was destroyed in the year 606 before Christ; less than 150
+years after Rome was founded. Her latest monuments, therefore, date back
+not less than five-and-twenty centuries; while the foundation of her
+earliest is lost in an unknown antiquity. When the ten thousand Greeks
+marched over this plain in their celebrated retreat, (404 B.C.) they
+found in one part, a ruined city called Larissa; and in connection with
+it, Xenophon, their leader and historian, describes what is now the
+pyramid of Nimroud. But he heard not the name of Nineveh; it was already
+forgotten in its site; though it appears again in the later Greek and
+Roman writers. Even at that time, the widely extended walls and ramparts
+of Nineveh had perished, and mounds, covering magnificent palaces, alone
+remained at the extremities of the ancient city, or in its vicinity,
+much as at the present day.
+
+"Of the site of Nineveh, there is scarcely a further mention, beyond the
+brief notices by Benjamin of Tudela and Abulfeda, until Niebuhr saw it
+and described its mounds nearly a century ago. In 1820, Mr. Rich visited
+the spot; he obtained a few square sun-dried bricks with inscriptions,
+and some other slight remains; and we can all remember the profound
+impression made upon the public mind, even by these cursory memorials of
+Nineveh and Babylon."
+
+
+DESCRIPTION OF A PALACE EXHUMED AT NIMROUD.
+
+"During the winter, Mr. Longworth, and two other English travelers,
+visited me at Nimroud. As they were the only Europeans, (except Mr.
+Ross) who saw the palace when uncovered, it may be interesting to the
+reader to learn the impression which the ruins were calculated to make
+upon those who beheld them for the first time, and to whom the scene was
+consequently new. Mr. Longworth, in a letter, thus graphically describes
+his visit:--
+
+     "'I took the opportunity, whilst at Mosul, of visiting the
+     excavations of Nimroud. But before I attempt to give a short
+     account of them, I may as well say a few words as to the general
+     impression which these wonderful remains made upon me, on my first
+     visit to them. I should begin by stating, that they are all under
+     ground. To get at them, Mr. Layard has excavated the earth to the
+     depth of twelve to fifteen feet, where he has come to a building
+     composed of slabs of marble. In this place, which forms the
+     northwest angle of the mound, he has fallen upon the interior of a
+     large palace, consisting of a labyrinth of halls, chambers, and
+     galleries, the walls of which are covered with bas-reliefs and
+     inscriptions in the cuneiform character, all in excellent
+     preservation. The upper part of the walls, which was of brick,
+     painted with flowers, &c, in the brightest colors, and the roofs,
+     which were of wood, have fallen; but fragments of them are strewed
+     about in every direction. The time of day when I first descended
+     into these chambers happened to be towards evening; the shades of
+     which, no doubt, added to the awe and mystery of the surrounding
+     objects. It was of course with no little excitement that I suddenly
+     found myself in the magnificent abode of the old Assyrian Kings;
+     where, moreover, it needed not the slightest effort of imagination
+     to conjure up visions of their long departed power and greatness.
+     The walls themselves were covered with phantoms of the past; in the
+     words of Byron,'Three thousand years their cloudy wings expand,'
+     unfolding to view a vivid representation of those who conquered and
+     possessed so large a portion of the earth we now inhabit. There
+     they were, in the Oriental pomp of richly embroidered robes, and
+     quaintly-artificial coiffure. There also were portrayed their deeds
+     in peace and war, their audiences, battles, sieges, lion-hunts, &c.
+     My mind was overpowered by the contemplation of so many strange
+     objects; and some of them, the portly forms of kings and vizirs,
+     were so life-like, and carved in such fine relief, that they might
+     almost be imagined to be stepping from the walls to question the
+     rash intruder on their privacy. Then mingled with them were other
+     monstrous shapes--the old Assyrian deities, with human bodies, long
+     drooping wings, and the heads and beaks of eagles; or, still
+     faithfully guarding the portals of the deserted halls, the colossal
+     forms of winged lions and bulls, with gigantic human faces. All
+     these figures, the idols of a religion long since dead and buried
+     like themselves, seemed in the twilight to be actually raising
+     their desecrated heads from the sleep of centuries; certainly the
+     feeling of awe which they inspired me with, must have been
+     something akin to that experienced by their heathen votaries of
+     old.'--_Layard's Nineveh and its Remains_, vol. I. p. 298.
+
+"The interior of the Assyrian palace must have been as magnificent as
+imposing. I have led the reader through its ruins, and he may judge of
+the impression its halls were calculated to make upon the stranger who,
+in the days of old, entered for the first time into the abode of the
+Assyrian Kings. He was ushered in through the portal guarded by the
+colossal lions or bulls of white alabaster. In the first hall he found
+himself surrounded by the sculptured records of the empire. Battles,
+sieges, triumphs, the exploits of the chase, the ceremonies of religion,
+were portrayed on the walls, sculptured in alabaster, and painted in
+gorgeous colors. Under each picture were engraved, in characters filled
+up with bright copper, inscriptions describing the scenes represented.
+Above the sculptures were painted other events--the king attended by his
+eunuchs and warriors, receiving his prisoners, entering into alliances
+with other monarchs, or performing some sacred duty. These
+representations were enclosed in colored borders, of elaborate and
+elegant design. The emblematic tree, winged bulls, and monstrous
+animals were conspicuous among the ornaments.
+
+"At the upper end of the hall was the colossal figure of the king in
+adoration before the supreme deity, or receiving from his eunuch the
+holy cup. He was attended by warriors bearing his arms, and by the
+priests or presiding divinities. His robes, and those of his followers,
+were adorned with groups of figures, animals, and flowers, all painted
+with brilliant colors. The stranger trod upon the alabaster slabs, each
+bearing an inscription, recording the titles, genealogy, and
+achievements of the great King.--Several door-ways, formed by gigantic
+winged lions or bulls, or by the figures of guardian deities, led into
+other apartments, which again opened into more distant halls. In each
+were new sculptures. On the walls of some were processions of colossal
+figures--armed men and eunuchs following the king, warriors laden with
+spoil, leading prisoners, or bearing presents and offerings to the gods.
+On the walls of others were portrayed the winged priests, or presiding
+divinities, standing before the sacred trees.
+
+"The ceilings above him were divided into square compartments, painted
+with flowers, or with the figures of animals. Some were inlaid with
+ivory, each compartment being surrounded by elegant borders and
+mouldings. The beams as well as the sides of the chambers, may have been
+gilded, or even plated, with gold and silver; and the rarest woods, in
+which the cedar was conspicuous, were used for the wood work. Square
+openings in the ceilings of the chambers admitted the light of day. A
+pleasing shadow was thrown over the sculptured walls, and gave a
+majestic expression to the human features of the colossal figures which
+guarded the entrances. Through these apertures was seen the bright blue
+of an eastern sky, enclosed in a frame on which were painted, in varied
+colors, the winged circle, in the midst of elegant ornaments, and the
+graceful forms of ideal animals.
+
+"These edifices, as it has been shown, were great national monuments,
+upon the walls of which were represented in sculpture, or inscribed in
+alphabetic characters, the chronicles of the empire. He who entered them
+might thus read the history, and learn the glory and triumphs of the
+nation. They served at the same time to bring continually to the
+remembrance of those who assembled within them on festive occasions, or
+for the celebration of religious ceremonies, the deeds of their
+ancestors, and the power and majesty of their gods."--_Layard's Nineveh
+and its Remains_, vol. II. p 262.
+
+
+ORIGIN AND ANTIQUITY OF THE ARCH.
+
+The origin of the Arch is very uncertain. It was unknown to the
+Egyptians, for their chambers were roofed with long flat stones, and
+sometimes the upper layers of stones form projections, so as to diminish
+the roof surface. It is also supposed that it was unknown to the
+Greeks, when they constructed their most beautiful temples, in the 5th,
+4th, and 3d centuries B. C., as no structure answering to the true
+character of the Arch has been found in any of these works. Minutoli has
+given specimens of arches at Thebes; circular, and formed of four
+courses of bricks, and it is maintained that these belonged to a very
+ancient period, long before the Greek occupancy of that country. The
+Macedonians were a civilized people long before the rest of the Greeks,
+and were, in fact, their instructors; but the Greeks afterwards so far
+excelled them that they regarded them as barbarians. Some say that
+Etruria was the true birth-place of the Arch; it was doubtless from them
+that the Romans learned its use. Tarquinius Priscus conquered the
+Etrurians, and he it was who first introduced and employed the Arch in
+the construction of the cloacae, or sewers of Rome. The _cloaca maxima_,
+or principal branch, received numerous other branches between the
+Capitoline, Palatine, and Quirinal hills. It is formed of three
+consecutive rows of large stones piled above each other without cement,
+and has stood nearly 2,500 years, surviving without injury the
+earthquakes and other convulsions that have thrown down temples,
+palaces, and churches of the superincumbent city. From the time of
+Tarquin, the Arch was in general use among the Romans in the
+construction of aqueducts, public edifices, bridges, &c. The Chinese
+understood the use of the Arch in the most remote times, and in such
+perfection as to enable them to bridge large streams with a single span.
+Mr. Layard has shown that the Ninevites knew its use at least 3000 years
+ago; he not only discovered a vaulted chamber, but that "arched
+gate-ways are continually represented in the bas-reliefs." Diodorus
+Siculus relates that the tunnel from the Euphrates at Babylon, ascribed
+to Semiramis, was vaulted. There are vaults under the site of the temple
+at Jerusalem, which are generally considered as ancient as that edifice,
+but some think them to have been of more recent construction, as they
+suppose the Jews were ignorant of the Arch; but it is evident that it
+was well known in the neighboring countries before the Jewish exile, and
+at least seven or eight centuries before the time of Herod. It seems
+highly probable, that the Arch was discovered by several nations in very
+remote times.
+
+
+ANTIQUITIES OF HERCULANEUM, POMPEII, AND STABIAE.
+
+The city of Herculaneum, distant about 11,000 paces from Naples, was so
+completely buried by a stream of lava and a shower of ashes from the
+first known eruption of Vesuvius, during the reign of Titus, A. D. 79,
+that its site was unknown for many ages. The neighboring city of
+Pompeii, on the river Sarno, one of the most populous and flourishing
+towns on the coast, as well as Stabiae, Oplontia, and Teglanum,
+experienced the same fate. Earlier excavations had already been
+forgotten, when three female figures, (now in the Dresden Gallery) were
+discovered while some workmen were digging a well for Prince Elbeuf at
+Portici, a village situated on the site of ancient Herculaneum. In 1738
+the well was dug deeper, and the theatre of Herculaneum was first
+discovered. In 1750, Pompeii and Stabiae were explored; the former place
+being covered with ashes rather than lava, was more easily examined.
+Here was discovered the extensive remains of an amphitheatre. In the
+cellar of a villa twenty-seven female skeletons were found with
+ornaments for the neck and arms; lying around, near the lower door of
+another villa, two skeletons were found, one of which held a key in one
+hand, and in the other a bag of coins and some cameos, and near them
+were several beautiful silver and bronze vessels. It is probable,
+however, that most of the inhabitants of this city had time to save
+themselves by flight, as comparatively few bodies have been found. The
+excavations since the discovery, have been continued by the government,
+up to the present time, with more or less interruptions. For the
+antiquary and the archaeologist, antiquity seems here to revive and
+awaken the sensations which Schiller has so beautifully described in his
+poem of Pompeii and Herculaneum. The ancient streets and buildings are
+again thrown open, and in them we see, as it were, the domestic life of
+the ancient Romans. We had never before such an opportunity of becoming
+acquainted with the disposition of their houses, and of their utensils.
+Whole streets, with magnificent temples, theatres, and private mansions,
+have been disentombed. Multitudes of statues, bas-reliefs, and other
+sculptures have been found in these buried cities; also many fresco
+paintings, the most remarkable of which are Andromeda and Perseus, Diana
+and Endymion, the Education of Bacchus, the Battle of Platea, &c. In one
+splendid mansion were discovered several pictures, representing
+Polyphemus and Galatea, Hercules and the three Hesperdies, Cupid and a
+Bacchante, Mercury and Io, Perseus killing Medusa, and other subjects.
+There were also in the store rooms of the same house, evidently
+belonging to a very rich family, an abundance of provisions, laid in for
+the winter, consisting of dates, figs, prunes, various kinds of nuts,
+hams, pies, corn, oil, peas, lentils, &c. There were also in the same
+house, vases, articles of glass, bronze, and terra-cotta, several
+medallions in silver, on one of which was represented in relief, Apollo
+and Diana. A great treasure of ancient books or manuscripts, consisting
+of papyrus rolls, has also been discovered, which has excited the
+greatest curiosity of the learned, in the hope of regaining some of the
+lost works of ancient writers; but though some valuable literary remains
+of Grecian and Roman antiquity have been more or less completely
+restored, the greater part remain yet untouched, no effectual means
+having been discovered by which the manuscripts could be unrolled and
+deciphered, owing to their charred and decomposed state.
+
+The following vivid sketch of the present appearance of these devoted
+cities, is from the pen of an American traveler:--
+
+"In the grounds of the Royal Palace at Portici, which are extensive,
+there is a small fortress, with its angles, its bastions,
+counter-scarps, and all the geometrical technicalities of Vauban, in
+miniature. It was erected by Charles III., for the instruction, or
+perhaps more correctly speaking, the amusement of his sons. The garden
+on the front of the palace next to the bay, is enchanting. Here, amidst
+statues, refreshing fountains, and the most luxurious foliage, the vine,
+the orange, the fig, in short, surrounded by all the poetry of life, one
+may while 'the sultry hours away,' till the senses, yielding to the
+voluptuous charm, unfit one for the sober realities of a busy world.
+
+"The towns of Portici and Resinia, which are in fact united, are very
+populous. The shops, at the season of my visit, Christmas, particularly
+those where eatables were sold, exhibited a very gay appearance; and
+gilt hams, gilt cheese, festoons of gilt sausages, intermixed with
+evergreens, and fringes of maccaroni, illuminated Virgin Marys, and
+gingerbread Holy Families, divided the attention of the stranger, with
+the motley crowds in all the gay variety of Neapolitan costume. At the
+depth of seventy or eighty feet beneath these crowded haunts of busy
+men, lies buried, in a solid mass of hard volcanic matter, the once
+splendid city of Herculaneum, which was overthrown in the first century
+of the Christian era, by a terrible eruption of Vesuvius. It was
+discovered about the commencement of the last century, by the digging of
+a well immediately over the theatre. For many years the excavations were
+carried on with spirit; and the forum, theatres, porticos, and splendid
+mansions, were successively exposed, and a great number of the finest
+bronzes, marble statues, busts, &c., which now delight the visitor to
+the Museum at Naples, were among the fruits of these labors.
+Unfortunately, the parts excavated, upon the removal of the objects of
+art discovered, were immediately filled up in lieu of pillars, or
+supports to the superincumbent mass being erected. As the work of
+disentombment had long since ceased, nothing remained to be seen but
+part of the theatre, the descent to which is by a staircase made for the
+purpose. By the light of a torch, carried by the _custode_, I saw the
+orchestra, proscenium, consular seats, as well as part of the corridors,
+all stripped, however, of the marbles and paintings which once adorned
+them. I was shewn the spot where the celebrated manuscripts were found.
+The reflection that this theatre had held its ten thousand spectators,
+and that it then lay, with the city of which it was an ornament, so
+horribly engulphed, gave rise to feelings in awful contrast to those
+excited by the elysium of Portici almost immediately above. About seven
+miles further along the base of the mountain, lies the long lost city of
+Pompeii. The road passes through, or rather over Torre del Greco, a town
+almost totally destroyed by the eruption in 1794. The whole surface of
+the country for some distance is laid waste by the river of lava, which
+flowed in a stream or body, of twenty feet in depth, destroyed in its
+course vineyards, cottages, and everything combustible, consumed and
+nearly overwhelmed the town, and at last poured into the sea, where as
+it cooled, it formed a rugged termination or promontory of considerable
+height. The surface of this mass presented a rocky and sterile aspect,
+strongly opposed to the exuberance of vegetation in the more fortunate
+neighborhood. Passing through Torre del Annunziata, a populous village,
+the street of which was literally lined with maccaroni hanging to dry, I
+soon reached Pompeii. Between these last mentioned places, I noticed at
+the corner of a road a few dwellings, upon the principal of which, an
+Inn, was inscribed in formidable looking letters, GIOACHINOPOLI. Puzzled
+at the moment, I inquired what this great word related to, when lo, I
+was told that I was now in the city of Gioachinopoli, so called in
+compliment to the reigning sovereign, Gioachino Murat, the termination
+being added in imitation of the emperor Constantine, who gave his name
+to the ancient Byzantium!
+
+"Although suffering a similar fate with the sister city Herculaneum, the
+manner of the destruction of Pompeii was essentially different, for
+while the former lies imbedded at a great depth in solid matter, like
+mortar or cement, the latter is merely covered with a stratum of
+volcanic ashes, the surface of which being partly decomposed by the
+atmosphere, affords a rich soil for the extensive vineyards which are
+spread over its surface. No scene on earth can vie in melancholy
+interest with that presented to the spectator on entering the streets of
+the disinterred city of Pompeii. On passing through a wooden enclosure,
+I suddenly found myself in a long and handsome street, bordered by rows
+of tombs, of various dimensions and designs, from the simple cippus or
+altar, bearing the touching appeal of _siste viator_, stop traveler, to
+the Patrician mausoleum with its long inscription. Many of these latter
+yet contain the urns in which the ashes of the dead were deposited.
+Several large semicircular stone seats mark where the ancient Pompeians
+had their evening chat, and no doubt debated upon the politics of the
+day. Approaching the massive walls, which are about thirty feet high and
+very thick, and entering by a handsome stone arch, called the
+Herculaneum gate, from the road leading to that city, I beheld a vista
+of houses or shops, and except that they were roofless, just as if they
+had been occupied but yesterday, although near eighteen centuries have
+passed away since the awful calamity which sealed the fate of their
+inhabitants. The facilities for excavation being great, both on account
+of the lightness of the material and the little depth of the mass, much
+of the city has been exposed to view. Street succeeds street in various
+directions, and porticos, theatres, temples, magazines, shops, and
+private mansions, all remain to attest the mixture of elegance and
+meanness of Pompeii; and we can, from an inspection, not only form a
+most correct idea of the customs and tastes of the ancient inhabitants,
+but are thereby the better enabled to judge of those of contemporary
+cities, and learn to qualify the accounts of many of the ancient writers
+themselves.
+
+"Pompeii is so perfectly unique in its kind, that I flatter myself a
+rather minute description of the state in which I saw it, will not be
+uninteresting. The streets, with the exception of the principal one,
+which is about thirty-three feet wide, are very narrow. They are paved
+with blocks of lava, and have raised side-walks for pedestrians, things
+very rare in modern Europe. At the corners of the streets are fountains,
+and also stepping-stones for crossing. The furrows worn by the carriage
+wheels are strongly marked, and are not more than forty-four inches
+apart, thus giving us the width of their vehicles.
+
+"The houses in general are built with small red bricks, or with volcanic
+matter from Vesuvius, and are only one or two stories high. The marble
+counters remain in many of the stores, and the numbers, names of the
+occupiers, and their occupations, still appear in red letters on the
+outside. The names of Julius, Marius, Lucius, and many others, only
+familiar to us through the medium of our classic studies, and fraught
+with heroic ideas, we here see associated with the retailing of oil,
+olives, bread, apothecaries' wares, and nearly all the various articles
+usually found in the trading part of Italian cities even at the present
+day. All the trades, followed in these various edifices, were likewise
+distinctly marked by the utensils found in them; but the greater part of
+these, as discovered, were removed for their better preservation to the
+great Museum at Naples; a measure perhaps indispensable, but which
+detracts in some degree from the local interest. We see, however, in the
+magazine of the oil merchant, his jars in perfect order, in the
+bakehouse are the hand mills in their original places, and of a
+description which exactly tallies with those alluded to in holy writ;
+the ovens scarcely want repairs; where a sculptor worked, there we find
+his marbles and his productions, in various states of forwardness, just
+as he left them.
+
+"The mansions of the higher classes are planned to suit the delicious
+climate in which they are situated, and are finished with great taste.
+They generally have an open court in the centre, in which is a fountain.
+The floors are of mosaic. The walls and ceilings are beautifully
+painted or stuccoed and statues, tripods, and other works of art,
+embellished the galleries and apartments. The kitchens do not appear to
+have been neglected by the artists who decorated the buildings, and
+although the painting is of a coarser description than in other parts of
+the edifices, the designs are in perfect keeping with the plan. Trussed
+fowls, hams, festoons of sausages, together with the representations of
+some of the more common culinary utensils, among which I noticed the
+gridiron, still adorn the walls. In some of the cellars skeletons were
+found, supposed to be those of the inmates who had taken refuge from the
+shower of ashes, and had there found their graves, while the bulk of
+their fellow citizens escaped. In one vault, the remains of sixteen
+human beings were discovered, and from the circumstance of some valuable
+rings and a quantity of money being found with the bones, it is
+concluded that the master of the house was among the sufferers. In this
+vault or cellar I saw a number of earthen jars, called Amphorae, placed
+against the wall. These, which once held the purple juice, perhaps the
+produce of favorite vintages, were now filled to the brim with ashes.
+Many of the public edifices are large, and have been magnificent. The
+amphitheatre, which is oval, upon the plan of that at Verona, would
+contain above ten thousand spectators. This majestic edifice was
+disentombed by the French, to whose taste and activity, during their
+rule in Italy, particularly in the district of Naples, every lover of
+the arts stands indebted. I had the good fortune to be present at the
+clearing of a part of the arena of this colossal erection, and witnessed
+the disclosure of paintings which had not seen the light for above
+seventeen hundred years. They were executed in what is termed _fresco_,
+a process of coloring on wet plaster, but which, after it becomes hard,
+almost defies the effects of time. The subjects of those I allude to
+were nymphs, and the coloring of the draperies, in some instances, was
+as fresh as if just applied.
+
+"Not far distant from the amphitheatre are two semicircular theatres,
+one of which is supposed to have been appropriated to tragedy and the
+other to comedy. The first mentioned is large, and built of stone, or a
+substance called _tufo_, covered with marble. It had no roof. The
+Proscenium and Orchestra remain. The stage, or rather the place where it
+was, is of considerable width, but so very shallow that stage effect, as
+regards scenery, could not have been much studied, nor indeed did the
+dramas of the ancients require it. The comic theatre is small, and
+nearly perfect. It appears to have had a roof or covering. These two
+theatres are close together. Of the public edifices discovered, the
+Temple of Isis is one of the most interesting. It is of brick, but
+coated with a hard and polished stucco. The altars for sacrifice remain
+unmolested. A hollow pedestal or altar yet exists, from which oracles
+were once delivered to the credulous multitude, and we behold the
+secret stairs by which the priests descended to perform the office. In
+the chamber of this Temple, which may have been a refectory, were found
+some of the remains of eatables, which are now in the museum. I
+recollect noticing egg-shells, bread, with the maker's name or initials
+stamped thereon, bones, corn, and other articles, all burnt black, but
+perfect in form. The Temple of Hercules, as it is denominated, is a
+ruin, not one of its massive fragments being left upon another. It was
+of the Doric order of architecture, and is known to have suffered
+severely by an earthquake some years before the fatal eruption. Not far
+from this temple is an extensive court or forum, where the soldiers
+appear to have had their quarters. In what has evidently been a prison,
+is an iron frame, like the modern implements of punishment, the stocks,
+and in this frame the skeletons of some unfortunate culprits were found.
+On the walls of what are called the soldiers' quarters, from the
+helmets, shields, and pieces of armor which have been found there, are
+scrawled names and rude devices, just as we find on the walls of the
+buildings appropriated to the same purpose in the present day. At this
+point of the city, travelers who have entered at the other, usually make
+their exit. The scene possessed far too great an interest, however, in
+my eyes, to be hastily passed over, and on more than one visit, I
+lingered among the deserted thresholds, until the moon had thrown her
+chaste light upon this city of the dead. The feelings excited by a
+perambulation of Pompeii, especially at such an hour, are beyond the
+power of my pen to describe. To behold her streets once thronged with
+the busy crowd, to tread the forum where sages met and discoursed, to
+enter the theatres once filled with delighted thousands, and the temples
+whence incense arose, to visit the mansions of the opulent which had
+resounded with the shouts of revelry, and the humbler dwellings of the
+artisan, where he had plied his noisy trade, in the language of an
+elegant writer and philosopher, to behold all these, now tenantless, and
+silent as the grave, elevates the heart with a series of sublime
+meditations."
+
+
+ANCIENT FRESCO AND MOSAIC PAINTING.
+
+The ancients well understood the arts of painting both in fresco and
+mosaic, as is evinced by the discoveries made at Rome, but more
+especially at Pompeii. The most remarkable pictures discovered at
+Pompeii have been sawed from the walls, and deposited in the Royal
+Museums at Naples and Portici, for their preservation. Not only mosaic
+floors and pavements are numerous in the mansions of the wealthy at
+Pompeii, but some walls are decorated with pictures in mosaic.
+
+
+MOSAIC OF THE BATTLE OF PLATAEA.
+
+A grand mosaic, representing as some say the Battle of Plataea, and
+others, with more probability one of the victories of Alexander, is now
+in the Academy at Naples. It was discovered at Pompeii, and covered the
+whole side of the apartment where it was found. This great work is the
+admiration of connoisseurs and the learned, not only for its antiquity,
+but for the beauty of its execution. The most probable supposition is,
+that it is a copy of the celebrated Victory of Arbela, painted by
+Philoxenes, and described by Pliny as one of the most remarkable works
+of antiquity, with whose description the mosaic accords.
+
+
+THE ALDOBRANDINI WEDDING.
+
+This famous antique fresco was discovered in the time of Clement VIII.,
+not far from the church of S. Maria Maggiore, in the place where were
+the gardens of Maecenas. It was carried from thence into the villa of the
+princely house of the Aldobrandini; hence its name. It is very
+beautifully executed, and evidently intended to represent or celebrate a
+wedding. Winckelmann supposes it to be the wedding of Peleus and Thetis;
+the Count Bondi, that of Manlius and Julia.
+
+
+THE PORTLAND VASE.
+
+The most celebrated antique vase is that which, during more than two
+centuries, was the principal ornament of the Barberini Palace, and which
+is now known as the Portland Vase. It was found about the middle of the
+16th century, enclosed in a marble sarcophagus within a sepulchral
+chamber under Monte del Grano, two miles and a half from Rome, supposed
+to have been the tomb of Alexander Severus, who died in the year 235. It
+is ornamented with white opaque figures in bas-relief, upon a dark blue
+transparent ground; the subject of which has not hitherto received a
+satisfactory elucidation, though it is supposed to represent the
+Eleusinian Mysteries; but the design, and more particularly the
+execution, are truly admirable. The whole of the blue ground, or at
+least the part below the handles, must have been originally covered with
+white enamel, out of which the figures have been sculptured in the style
+of a cameo, with most astonishing skill and labor. This beautiful Vase
+is sufficient to prove that the manufacture of glass was carried to a
+state of high perfection by the ancients. It was purchased by the
+Duchess of Portland for 1000 guineas, and presented to the British
+Museum in 1810.
+
+The subterranean ruins of Herculaneum afforded many specimens of the
+glass manufacture of the ancients: a great variety of phials and bottles
+were found, and these were chiefly of an elongate shape, composed of
+glass of unequal thickness, of a green color, and much heavier than
+common glass; of these the four large cinerary urns in the British
+Museum are very fine specimens. They are of an elegant round figure,
+with covers, and two double handles, the formation of which must
+convince persons capable of appreciating the difficulties which even
+the modern glass-maker would have in executing similar handles, that the
+ancients were well acquainted with the art of making round glass
+vessels; although their knowledge appears to have been extremely limited
+as respects the manufacture of square vessels, and more particularly of
+oval, octagonal, or pentagonal forms. Among a great number of
+lachrymatories and various other vessels in the British Museum, there is
+a small square bottle with a handle, the rudeness of which sufficiently
+bears out this opinion.
+
+
+ANCIENT PICTURES OF GLASS.
+
+A most singular art of forming pictures with colored glass seems to have
+been practiced by the ancients, which consisted in laying together
+fibres of glass of various colors, fitted to each other with the utmost
+exactness, so that a section across the fibres represented the object to
+be painted, and then cementing them into a homogeneous mass. In some
+specimens of this art which were discovered about the middle of the 18th
+century, the painting has on both sides a granular appearance, and seems
+to have been formed in the manner of mosaic work; but the pieces are so
+accurately united, that not even with the aid of a powerful magnifying
+glass can the junctures be discovered. One plate, described by
+Winckelmann, exhibits a Duck of various colors, the outlines of which
+are sharp and well-defined, the colors pure and vivid, and a brilliant
+effect is obtained by the artist having employed in some parts an
+opaque, and in others a transparent glass. The picture seems to be
+continued throughout the whole thickness of the specimen, as the reverse
+corresponds in the minutest points to the face; so that, were it to be
+cut transversely, the same picture of the Duck would be exhibited in
+every section. It is conjectured that this curious process was the first
+attempt of the ancients to preserve colors by fusing them into the
+internal part of glass, which was, however, but partially done, as the
+surfaces have not been preserved from the action of the atmosphere.
+
+
+HENRY FUSELI--HIS BIRTH.
+
+This eminent historical painter, and very extraordinary man, was born at
+Zurich, in Switzerland, in 1741, according to all accounts save his own;
+but he himself placed it in 1745, without adding the day or month. He
+always spoke of his age with reluctance. Once, when pressed about it, he
+peevishly exclaimed, "How should I know? I was born in February or
+March--it was some cursed cold month, as you may guess from my
+diminutive stature and crabbed disposition." He was the son of the
+painter, John Caspar Fuseli, and the second of eighteen children.
+
+
+FUSELI'S EARLY LOVE OF ART.
+
+During his school-boy days, as soon as released from his class, he was
+accustomed to withdraw to a secret place to enjoy unmolested the works
+of Michael Angelo, of whose prints his father had a fine collection. He
+loved when he grew old to talk of those days of his youth, of the
+enthusiasm with which he surveyed the works of his favorite masters, and
+the secret pleasure which he took in acquiring forbidden knowledge. With
+candles which he stole from the kitchen, and pencils which his
+pocket-money was hoarded to procure, he pursued his studies till late at
+night, and made many copies from Michael Angelo and Raffaelle, by which
+he became familiar thus early with the style and ruling character of the
+two greatest masters of the art.
+
+
+FUSELI'S LITERARY AND POETICAL TASTE.
+
+He early manifested strong powers of mind, and with a two-fold taste for
+literature and art, he was placed in Humanity College at Zurich, of
+which two distinguished men, Bodmer and Breitenger, were professors.
+Here he became the bosom companion of that amiable enthusiast, Lavater,
+studied English, and conceived such a love for the works of Shakspeare,
+that he translated Macbeth into German. The writings of Wieland and
+Klopstock influenced his youthful fancy, and from Shakspeare he extended
+his affection to the chief masters in English literature. His love of
+poetry was natural, not affected--he practiced at an early age the art
+which he admired through life, and some of his first attempts at
+composition were pieces in his native language, which made his name
+known in Zurich.
+
+
+FUSELI, LAVATER, AND THE UNJUST MAGISTRATE.
+
+In conjunction with his friend Lavater, Fuseli composed a pamphlet
+against a ruler in one of the bailiwicks, who had abused his powers, and
+perhaps personally insulted the two friends. The peasantry, it seems,
+conceiving themselves oppressed by their superior, complained and
+petitioned; the petitions were read by young Fuseli and his companion,
+who, stung with indignation at the tale of tyranny disclosed, expressed
+their feelings in a satire, which made a great stir in the city. Threats
+were publicly used against the authors, who were guessed at, but not
+known; upon which they distributed placards in every direction, offering
+to prove before a tribunal the accusations they had made. Nay, Fuseli
+actually appeared before the magistrates--named the offender
+boldly--arraigned him with great vehemence and eloquence, and was
+applauded by all and answered by none. Pamphlets and accusations were
+probably uncommon things in Zurich; in some other countries they would
+have dropped from the author's hands harmless or unheeded; but the
+united labors of Fuseli and Lavater drove the unjust magistrate into
+exile, and procured remuneration to those who had suffered.
+
+
+FUSELI'S TRAVELS, AND HIS LITERARY DISTINCTION.
+
+Fuseli early gained a reputation for scholarship, poetry, and painting.
+He possessed such extraordinary powers of memory, that when he read a
+book once, he thoroughly comprehended its contents; and he not only
+wrote in Latin and Greek, but spoke them with the fluency of his native
+tongue. He acquired such a perfect knowledge of the several modern
+languages of Europe, especially of the English, French, and Italian,
+that it was indifferent to him which he spoke or wrote, except that when
+he wished to express himself with most power, he said he preferred the
+German. After having obtained the degree of Master of Arts from the
+college at Zurich, Fuseli bade farewell to his father's house, and
+traveled in company with Lavater to Berlin, where he placed himself
+under the care of Sulzer, author of the "Lexicon of the Fine Arts." His
+talents and learning obtained him the friendship of several
+distinguished men, and his acquaintance with English poetry induced
+Professor Sulzer to select him as one well qualified for opening a
+communication between the literature of Germany and that of England. Sir
+Andrew Mitchell, British ambassador at the Prussian court, was
+consulted; and pleased with his lively genius, and his translations and
+drawings from Macbeth and Lear, he received Fuseli with much kindness,
+and advised him to visit Britain. Lavater, who till now had continued
+his companion, presented him at parting with a card, on which he had
+inscribed in German. "Do but the tenth part of what you can do." "Hang
+that up in your bed-head," said the physiognomist, "obey it--and fame
+and fortune will be the result."
+
+
+FUSELI'S ARRIVAL IN LONDON.
+
+Fuseli arrived in the capital of the British Empire early one morning,
+before the people were stirring. "When I stood in London," said he, "and
+considered that I did not know one soul in all this vast metropolis, I
+became suddenly impressed with a sense of forlornness, and burst into a
+flood of tears. An incident restored me. I had written a long letter to
+my father, giving him an account of my voyage, and expressing my filial
+affection--now not weakened by distance--and with this letter in my
+hand, I inquired of a rude fellow whom I met, the way to the Post
+Office. My foreign accent provoked him to laughter, and as I stood
+cursing him in good Shaksperian English, a gentleman kindly directed me
+to the object of my inquiry."
+
+
+FUSELI'S CHANGE FROM LITERATURE TO PAINTING.
+
+Fuseli's wit, learning, and talents gained him early admission to the
+company of wealthy and distinguished men. He devoted himself for a
+considerable time after his arrival in London to the daily toils of
+literature--translations, essays, and critiques. Among other works, he
+translated Winckelmann's book on Painting and Sculpture. One day
+Bonnycastle said to him, after dinner,
+
+"Fuseli, you can write well,--why don't you write something?"
+
+"Something!" exclaimed the other; "you always cry write--Fuseli
+write!--blastation! what shall I write?"
+
+"Write," said Armstrong, who was present, "write on the Voltaire and
+Rousseau _Row_--_there_ is a subject!"
+
+He said nothing, but went home and began to write. His enthusiastic
+temper spurred him on, so that he composed his essay with uncommon
+rapidity. He printed it forthwith; but the whole edition caught fire and
+was consumed! "It had," says one of his friends, "a short life and a
+bright ending."
+
+While busied with his translations and other literary labors, he had not
+forgotten his early attachment to Art. He found his way to the studio of
+Sir Joshua Reynolds, and submitted several of his drawings to the
+President's examination, who looked at them for some time, and then
+said, "How long have you studied in Italy?" "I never studied in Italy--I
+studied at Zurich--I am a native of Switzerland--do you think I should
+study in Italy?--and, above all, is it worth while?" "Young man," said
+Reynolds, "were I the author of these drawings, and were offered ten
+thousand a year _not_ to practice as an artist, I would reject the
+proposal with contempt." This very favorable opinion from one who
+considered all he said, and was so remarkable for accuracy of judgment,
+decided the destiny of Fuseli; he forsook for ever the hard and
+thankless _trade_ of literature--refused a living in the church from
+some patron who had been struck with his talents--and addressed himself
+to painting with heart and hand.
+
+
+FUSELI'S SOJOURN IN ITALY.
+
+No sooner had Fuseli formed the resolution of devoting his talents to
+painting, in 1770, than he determined to visit Rome. He resided in Italy
+eight years, and studied with great assiduity the pictures in the
+numerous galleries, particularly the productions of Michael Angelo,
+whose fine and bold imagination, and the lofty grandeur of his works,
+were most congenial to his taste. It was a story which he loved to tell
+in after life, how he lay on his back day after day, and week after
+week, with upturned and wondering eyes, musing on the splendid ceiling
+of the Sistine chapel--on the unattainable grandeur of the great
+Florentine. During his residence abroad, he made notes and criticisms on
+everything he met with that was excellent, much of which he subsequently
+embodied in his lectures before the Royal Academy. His talents,
+acquirements, and his great conversational powers made his society
+courted; and he formed some valuable acquaintances at Rome,
+particularly among the English nobility and gentry, who flocked there
+for amusement, and who heralded his fame at home. He also sent some of
+his choice drawings, illustrating Shakspeare and Milton, to the annual
+exhibitions of the Royal Academy. In 1778, he left Italy and returned to
+England, passing through Switzerland and his native city.
+
+
+FUSELI'S "NIGHTMARE."
+
+Soon after his return to England, Fuseli painted his "Nightmare," which
+was exhibited in 1782. It was unquestionably the work of an original
+mind. "The extraordinary and peculiar genius which it displayed," says
+one of his biographers, "was universally felt, and perhaps no single
+picture ever made a greater impression in this country. A very fine
+mezzotinto engraving of it was scraped by Raphael Smith, and so popular
+did the print become, that, although Mr. Fuseli received only twenty
+guineas for the picture, the publisher made five hundred by his
+speculation." This was a subject suitable to the unbridled fancy of the
+painter, and perhaps to no other imagination has the Fiend which murders
+our sleep ever appeared in a more poetical shape.
+
+
+FUSELI'S "OEDIPUS AND HIS DAUGHTERS."
+
+This picture was a work of far higher order than his "Nightmare,"
+although the latter caught the public fancy most. It is distinguished
+by singular power, full of feeling and terror. The desolate old man is
+seated on the ground, and his whole frame seems inspired with a
+presentiment of the coming vengeance of heaven. His daughters are
+clasping him wildly, and the sky seems mustering the thunder and fire in
+which the tragic bard has made him disappear. "Pray, sir, what is that
+old man afraid of?" said some one to Fuseli, when the picture was
+exhibited. "Afraid, sir," exclaimed the painter, "why, afraid of going
+to hell!"
+
+
+FUSELI AND THE SHAKSPEARE GALLERY.
+
+His rising fame, his poetic feeling, his great knowledge, and his
+greater confidence, now induced Fuseli to commence an undertaking worthy
+of the highest genius--the Shakspeare Gallery. An accidental
+conversation at the table of the nephew of Alderman Boydell, started, as
+it is said, the idea; and West, Romney, and Hayley shared with Fuseli in
+the honor. But to the mind of the latter, such a scheme had been long
+present; it dawned on his fancy in Rome, even as he lay on his back
+marveling in the Sistine, and he saw in imagination a long and shadowy
+succession of pictures. He figured to himself a magnificent temple, and
+filled it, as the illustrious artists of Italy did the Sistine, with
+pictures from his favorite poet. All was arranged according to
+character. In the panels and accessories were the figures of the chief
+heroes and heroines--on the extensive walls were delineated the changes
+of many-colored life, the ludicrous and the sad--the pathetic and the
+humorous--domestic happiness and heroic aspirations--while the dome
+which crowned the whole exhibited scenes of higher emotion--the joys of
+heaven--the agonies of hell--all that was supernatural and all that was
+terrible. This splendid piece of imagination was cut down to working
+dimensions by the practiced hands of Boydell, who supported the scheme
+anxiously and effectually. On receiving L500 Reynolds entered, though
+with reluctance, into an undertaking which consumed time and required
+much thought; but Fuseli had no rich commissions in the way--his heart
+was with the subject--in his own fancy he had already commenced the
+work, and the enthusiastic alderman found a more enthusiastic painter,
+who made no preliminary stipulations, but prepared his palette and
+began.
+
+
+FUSELI'S "HAMLET'S GHOST."
+
+This wonderful work, engraved for Boydell's Shakspeare Gallery, is
+esteemed among the best of Fuseli's works. It is, indeed, strangely wild
+and superhuman--if ever a Spirit visited earth, it must have appeared to
+Fuseli. The "majesty of buried Denmark" is no vulgar ghost such as
+scares the belated rustic, but a sad and majestic shape with the port of
+a god; to imagine this, required poetry, and in that our artist was
+never deficient. He had fine taste in matters of high import; he drew
+the boundary line between the terrible and the horrible, and he never
+passed it; the former he knew was allied to grandeur, the latter to
+deformity and disgust. An eminent metaphysician visited the gallery
+before the public exhibition; he saw the Hamlet's Ghost of Fuseli, and
+exclaimed, like Burns' rustic in Halloween, "Lord, preserve me!" He
+declared that it haunted him round the room.
+
+
+FUSELI'S "TITANIA."
+
+His Titania (also engraved in the Shakspeare Gallery), overflows with
+elvish fun and imaginative drollery. It professes to embody that portion
+of the first scene in the fourth act where the spell-blinded queen
+caresses Bottom the weaver, on whose shoulders Oberon's transforming
+wand has placed an ass' head. Titania, a gay and alluring being,
+attended by her troop of fairies, is endeavoring to seem as lovely as
+possible in the sight of her lover, who holds down his head and assumes
+the air of the most stupid of all creatures. One almost imagines that
+her ripe round lips are uttering the well-known words,--
+
+  "Come sit thee down upon this flowery bed,
+    While I thy amiable cheeks do coy,
+  And stick musk roses in thy sleek smooth head,
+    And kiss thy fair large ears, my gentle joy."
+
+The rout and revelry which the fancy of the painter has poured around
+this spell-bound pair, baffles all description. All is mirthful,
+tricksy, and fantastic. Sprites of all looks and all hues--of all
+"dimensions, shapes, and mettles,"--the dwarfish elf and the elegant
+fay--Cobweb commissioned to kill a red-hipped humble-bee on the top of a
+thistle, that Bottom might have the honey-bag--Pease-Blossom, who had
+the less agreeable employment of scratching the weaver's head--and that
+individual fairy who could find the hoard of the squirrel and carry away
+his nuts--with a score of equally merry companions are swarming
+everywhere and in full employment. Mustard-Seed, a fairy of dwarfish
+stature, stands on tiptoe in the hollow of Bottom's hand, endeavoring to
+reach his nose--his fingers almost touch, he is within a quarter of an
+inch of scratching, but it is evident he can do no more, and his new
+master is too much of an ass to raise him up.
+
+
+FUSELI'S ELECTION AS A ROYAL ACADEMICIAN.
+
+Fuseli was elected an Associate of the Royal Academy in 1788, and early
+in 1790 became an Academician--honors won by talent without the
+slightest cooeperation of intrigue. His election was nevertheless
+unpleasant to Reynolds, who desired to introduce Bonomi the architect.
+Fuseli, to soothe the President, waited on him beforehand, and said, "I
+wish to be elected an academician. I have been disappointed hitherto by
+the deceit of pretended friends--shall I offend you if I offer myself
+next election?" "Oh, no," said Sir Joshua with a kindly air, "no offence
+to me; but you cannot be elected this time--we must have an architect
+in." "Well, well," said Fuseli, who could not conceive how an architect
+could be a greater acquisition to the Academy than himself--"Well, well,
+you say that I shall not offend you by offering myself, so I must make a
+trial." The trial was successful.
+
+
+FUSELI AND HORACE WALPOLE.
+
+Concerning his picture of Theodore and Honorio, Fuseli used to say,
+"Look at it--it is connected with the first patron I ever had." He then
+proceeded to relate how Cipriani had undertaken to paint for Horace
+Walpole a scene from Boccaccio's Theodore and Honorio, familiar to all
+in the splendid translation of Dryden, and, after several attempts,
+finding the subject too heavy for his handling, he said to Walpole, "I
+cannot please myself with a sketch from this most imaginative of Gothic
+fictions; but I know one who can do the story justice--a man of great
+powers, of the name of Fuseli." "Let me see this painter of yours," said
+the other. Fuseli was sent for, and soon satisfied Walpole that his
+imagination was equal to the task, by painting a splendid picture.
+
+
+FUSELI AND THE BANKER COUTTS.
+
+While Fuseli was laboring on his celebrated "Milton Gallery," he was
+frequently embarrassed by pecuniary difficulties. From these he was
+relieved by a steadfast friend--Mr. Coutts--who aided him while in Rome,
+and forsook him not in any of his after difficulties. The grateful
+painter once waited on the banker, and said, "I have finished the best
+of all my works--the Lazar House--when shall I send it home?" "My
+friend," said Mr. Coutts, "for me to take this picture would be a fraud
+upon you and upon the world. I have no place in which it could be fitly
+seen. Sell it to some one who has a gallery--your kind offer of it is
+sufficient for me, and makes all matters straight between us." For a
+period of sixty years that worthy man was the unchangeable friend of the
+painter. The apprehensions which the latter entertained of poverty were
+frequently without cause, and Coutts has been known on such occasions to
+assume a serious look, and talk of scarcity of cash and of sufficient
+securities. Away flew Fuseli, muttering oaths and cursing all
+parsimonious men, and having found a friend, returned with him
+breathless, saying, "There! I stop your mouth with a security." The
+cheque for the sum required was given, the security refused, and the
+painter pulled his hat over his eyes,
+
+  "To hide the tear that fain would fall"--
+
+and went on his way.
+
+
+FUSELI AND PROF. PORSON.
+
+Fuseli once repeated half-a-dozen sonorous and well sounding lines in
+Greek, to Prof. Porson, and said,--
+
+"With all your learning now, you cannot tell me who wrote that."
+
+The Professor, "much renowned in Greek," confessed his ignorance, and
+said, "I don't know him."
+
+"How the devil should you know him?" chuckled Fuseli, "I made them this
+moment."
+
+
+FUSELI'S METHOD OF GIVING VENT TO HIS PASSION.
+
+When thwarted in the Academy (which happened not unfrequently), his
+wrath aired itself in a polyglott. "It is a pleasant thing, and an
+advantageous," said the painter, on one of these occasions, "to be
+learned. I can speak Greek, Latin, French, English, German, Danish,
+Dutch, and Spanish, and so let my folly or my fury get vent through
+eight different avenues."
+
+
+FUSELI'S LOVE FOR TERRIFIC SUBJECTS.
+
+Fuseli knew not well how to begin with quiet beauty and serene grace:
+the hurrying measures, the crowding epithets, and startling imagery of
+the northern poetry suited his intoxicated fancy. His "Thor battering
+the Serpent" was such a favorite that he presented it to the Academy as
+his admission gift. Such was his love of terrific subjects, that he was
+known among his brethren by the name of _Painter in ordinary to the
+Devil_, and he smiled when some one officiously told him this, and said,
+"Aye! he has sat to me many times." Once, at Johnson the bookseller's
+table, one of the guests said, "Mr. Fuseli, I have purchased a picture
+of yours." "Have you, sir; what is the subject?" "Subject? really I
+don't know." "That's odd; you must be a strange fellow to buy a picture
+without knowing the subject." "I bought it, sir, that's enough--I don't
+know what the _devil_ it is." "Perhaps it is the devil," replied Fuseli,
+"I have often painted him." Upon this, one of the company, to arrest a
+conversation which was growing warm, said, "Fuseli, there is a member of
+your Academy who has strange looks--and he chooses as strange subjects
+as you do." "Sir," exclaimed the Professor, "he paints nothing but
+thieves and murderers, and when he wants a model, he looks in the
+glass."
+
+
+FUSELI'S AND LAWRENCE'S PICTURES FROM THE "TEMPEST."
+
+Cunningham says, "Fuseli had sketched a picture of Miranda and Prospero
+from the Tempest, and was considering of what dimensions he should make
+the finished painting, when he was told that Lawrence had sent in for
+exhibition a picture on the same subject, and with the same figures.
+His wrath knew no bounds. 'This comes,' he cried, 'of my blasted
+simplicity in showing my sketches--never mind--I'll teach the
+face-painter to meddle with my Prospero and Miranda.' He had no canvas
+prepared--he took a finished picture, and over the old performance
+dashed in hastily, in one laborious day, a wondrous scene from the
+Tempest--hung it in the exhibition right opposite that of Lawrence, and
+called it 'a sketch for a large picture.' Sir Thomas said little, but
+thought much--he never afterwards, I have heard, exhibited a poetic
+subject."
+
+
+FUSELI'S ESTIMATE OF REYNOLDS' ABILITIES IN HISTORICAL PAINTING.
+
+Fuseli mentions Reynolds in his Lectures, as a great portrait painter,
+and no more. One evening in company, Sir Thomas Lawrence was discoursing
+on what he called the "historic grandeur" of Sir Joshua, and contrasting
+him with Titian and Raffaelle. Fuseli kindled up--"Blastation! you will
+drive me mad--Reynolds and Raffaelle!--a dwarf and a giant!--why will
+you waste all your fine words?" He rose and left the room, muttering
+something about a tempest in a pint pot. Lawrence followed, soothed him,
+and brought him back.
+
+
+FUSELI AND LAWRENCE.
+
+"These two eminent men," says Cunningham, "loved one another. The Keeper
+had no wish to give permanent offence, and the President had as little
+desire to be on ill terms with one so bitter and so satirical. They were
+often together; and I have heard Sir Thomas say, that he never had a
+dispute with Fuseli save once--and that was concerning their pictures of
+Satan. Indeed, the Keeper, both with tongue and pen, took pleasure in
+pointing out the excellencies of his friend, nor was he blind to his
+defects. 'This young man,' thus he wrote in one of his early criticisms,
+'would do well to look at nature again; his flesh is too glassy.'
+Lawrence showed his sense of his monitor's accuracy by following the
+advice."
+
+
+FUSELI AS KEEPER OF THE ROYAL ACADEMY.
+
+Fuseli, on the whole, was liked as Keeper. It is true that he was often
+satirical and severe on the students--that he defaced their drawings by
+corrections which, compared to their weak and trembling lines, seemed
+traced with a tar-mop, and that he called them tailors and bakers,
+vowing that there was more genius in the _claw_ of one of Michael
+Angelo's eagles, than in all the _heads_ with which the Academy was
+swarming. The youths on whom fell this tempest of invective, smiled; and
+the Keeper pleased by submission, walked up to each easel, whispered a
+word of advice confidentially, and retired in peace to enjoy the company
+of his Homer, Michael Angelo, Dante, and Milton. The students were
+unquestionably his friends; those of the year 1807 presented him with a
+silver vase, designed by one whom he loved--Flaxman the sculptor; and he
+received it very graciously. Ten years after, he was presented with the
+diploma of the first class in the Academy of St. Luke at Rome.
+
+
+FUSELI'S JESTS AND ODDITIES WITH THE STUDENTS OF THE ACADEMY.
+
+The students found constant amusement from Fuseli's witty and
+characteristic retorts, and they were fond of repeating his jokes. He
+heard a violent altercation in the studio one day, and inquired the
+cause. "It is only those fellows, the students, sir," said one of the
+porters. "Fellows!" exclaimed Fuseli, "I would have you to know, sir,
+that those _fellows_ may one day become academicians." The noise
+increased--he opened the door, and burst in upon them, exclaiming, "You
+are a den of damned wild beasts." One of the offenders, Munro by name,
+bowed and said, "and Fuseli is our Keeper." He retired smiling, and
+muttering "the fellows are growing witty." Another time he saw a figure
+from which the students were making drawings lying broken to pieces.
+"Now who the devil has done this?" "Mr. Medland," said an officious
+probationer, "he jumped over the rail and broke it." He walked up to the
+offender--all listened for the storm. He calmly said, "Mr. Medland, you
+are fond of jumping--go to Sadler's Wells--it is the best academy in
+the world for improving agility." A student as he passed held up his
+drawing, and said confidently, "Here, sir--I finished it without using a
+crumb of bread." "All the worse for your drawing," replied Fuseli, "buy
+a two-penny loaf and rub it out." "What do you see, sir?" he said one
+day to a student, who, with his pencil in his hand and his drawing
+before him, was gazing into vacancy. "Nothing, sir," was the answer.
+"Nothing, young man," said the Keeper emphatically, "then I tell you
+that you ought to see _something_--you ought to see distinctly the true
+image of what you are trying to draw. I see the vision of all I
+paint--and I wish to heaven I could paint up to what I see."
+
+
+FUSELI'S SARCASMS ON NORTHCOTE.
+
+He loved especially to exercise his wit upon Northcote. He looked on his
+friend's painting of the Angel meeting Balaam and his Ass. "How do you
+like it?" said the painter. "Vastly, Northcote," returned Fuseli, "you
+are an angel at an ass--but an ass at an angel!"
+
+When Northcote exhibited his Judgment of Solomon, Fuseli looked at it
+with a sarcastic smirk on his face. "How do you like my picture?"
+inquired Northcote. "Much" was the answer--"the action suits the
+word--Solomon holds out his fingers like a pair of open scissors at the
+child, and says, 'Cut it.'--I like it much!" Northcote remembered this
+when Fuseli exhibited a picture representing Hercules drawing his arrow
+at Pluto. "How do you like my picture?" inquired Fuseli. "Much!" said
+Northcote--"it is clever, very clever, but he'll never hit him." "He
+shall hit him," exclaimed the other, "and that speedily." Away ran
+Fuseli with his brush, and as he labored to give the arrow the true
+direction, was heard to mutter "Hit him!--by Jupiter, but he shall hit
+him!"
+
+
+FUSELI'S' SARCASMS ON VARIOUS RIVAL ARTISTS.
+
+He rarely spared any one, and on Nollekens he was frequently merciless;
+he disliked him for his close and parsimonious nature, and rarely failed
+to hit him under the fifth rib. Once, at the table of Mr. Coutts the
+banker, Mrs. Coutts, dressed like Morgiana, came dancing in, presenting
+her dagger at every breast. As she confronted the sculptor, Fuseli
+called out, "Strike--strike--there's no fear; Nolly was never known to
+bleed!" When Blake, a man infinitely more wild in conception than Fuseli
+himself, showed him one of his strange productions, he said, "Now some
+one has told you this is very fine." "Yes," said Blake, "the Virgin Mary
+appeared to me and told me it was very fine; what can you say to that?"
+"Say!" exclaimed Fuseli, "why nothing--only her ladyship has not an
+immaculate taste."
+
+Fuseli had aided Northcote and Opie in obtaining admission to the
+Academy, and when he desired some station for himself, he naturally
+expected their assistance--they voted against him, and next morning went
+together to his house to offer an explanation. He saw them coming--he
+opened the door as they were scraping their shoes, and said, "Come
+in--come in--for the love of heaven come in, else you will ruin me
+entirely." "How so?" cried Opie "Marry, thus," replied the other, "my
+neighbors over the way will see you, and say, 'Fuseli's _done_,--for
+there's a bum bailiff,'" he looked at Opie, "'going to seize his person;
+and a little Jew broker,'" he looked at Northcote, "'going to take his
+furniture,--so come in I tell you--come in!'"
+
+
+FUSELI'S RETORTS.
+
+One day, during varnishing time in the exhibition, an eminent portrait
+painter was at work on the hand of one of his pictures; he turned to the
+Keeper, who was near him, and said, "Fuseli, Michael Angelo never
+painted such a hand." "No, by Pluto," retorted the other, "but you have,
+_many_!"
+
+He had an inherent dislike to Opie; and some one, to please Fuseli,
+said, in allusion to the low characters in the historical pictures of
+the Death of James I. of Scotland, and the Murder of David Rizzio, that
+Opie could paint nothing but vulgarity and dirt. "If he paints nothing
+but _dirt_," said Fuseli, "he paints it like an angel."
+
+One day, a painter who had been a student during the keepership of
+Wilton, called and said, "The students, sir, don't draw so well now as
+they did under Joe Wilton." "Very true," replied Fuseli, "anybody may
+draw here, let them draw ever so bad--_you_ may draw here, if you
+please!"
+
+During the exhibition of his Milton Gallery, a visitor accosted him,
+mistaking him for the keeper--"Those paintings, sir, are from Paradise
+Lost I hear, and Paradise Lost was written by Milton. I have never read
+the poem, but I shall do it now." "I would not advise you, sir," said
+the sarcastic artist, "you will find it an exceedingly tough job!"
+
+A person who desired to speak with the Keeper of the Academy, followed
+so close upon the porter whose business it was to introduce him, that he
+announced himself with, "I hope I don't intrude." "You do intrude," said
+Fuseli, in a surly tone. "Do I?" said the visitor; "then, sir, I will
+come to-morrow, if you please." "No, sir," replied he, "don't come
+to-morrow, for then you will intrude a second time: tell me your
+business now!"
+
+A man of some station in society, and who considered himself a powerful
+patron in art, said at a public dinner, where he was charmed with
+Fuseli's conversation, "If you ever come my way, Fuseli, I shall be
+happy to see you." The painter instantly caught the patronizing,
+self-important spirit of the invitation. "I thank you," retorted he,
+"but I never go your way--I never even go down your street, although I
+often pass by the end of it!"
+
+
+FUSELI'S SUGGESTION OF AN EMBLEM OF ETERNITY
+
+Looking upon a serpent with its tail in its mouth, carved upon an
+exhibited monument as an emblem of Eternity, and a very commonplace one,
+he said to the sculptor, "It won't do, I tell you; you must have
+something new." The _something new_ startled a man whose imagination was
+none of the brightest, and he said, "How shall I find something new?"
+"O, nothing so easy," said Fuseli, "I'll help you to it. When I went
+away to Rome I left two fat men cutting fat bacon in St. Martin's Lane;
+in ten years' time I returned, and found the two fat men cutting fat
+bacon still; twenty years more have passed, and there the two fat
+fellows cut the fat flitches the same as ever. Carve them! if they look
+not like an image of eternity, I wot not what does."
+
+
+FUSELI'S REPORT IN MR. COUTTS' BANKING HOUSE.
+
+During the exhibition of his Milton pictures, he called at the banking
+house of Mr. Coutts, saying he was going out of town for a few days, and
+wished to have some money in his pocket. "How much?" said one of the
+firm. "How much!" said Fuseli, "why, as much as twenty pounds; and as it
+is a large sum, and I don't wish to take your establishment by surprise,
+I have called to give you a day's notice of it!" "I thank you, sir,"
+said the cashier, imitating Fuseli's own tone of irony, "we shall be
+ready for you--but as the town is thin and money scarce with us, you
+will oblige me greatly by giving us a few orders to see your Milton
+Gallery--it will keep cash in our drawers, and hinder your exhibition
+from being empty." Fuseli shook him heartily by the hand, and cried,
+"Blastation! you shall have the tickets with all my heart; I have had
+the opinion of the virtuosi, the dilettanti, the cognoscenti, and the
+nobles and gentry on my pictures, and I want now the opinion of the
+blackguards. I shall send you and your friends a score of tickets, and
+thank you too for taking them."
+
+
+FUSELI'S GENERAL SARCASMS ON LANDSCAPE AND PORTRAIT PAINTERS.
+
+During the delivery of one of his lectures, in which he calls landscape
+painters the topographers of art, Beechey admonished Turner with his
+elbow of the severity of the sarcasm; presently, when Fuseli described
+the patrons of portrait painting as men who would give a few guineas to
+have their own senseless heads painted, and then assume the air and use
+the language of patrons, Turner administered a similar hint to Beechey.
+When the lecture was over, Beechey walked up to Fuseli, and said, "How
+sharply you have been cutting up us poor laborers in portraiture!" "Not
+you, Sir William," exclaimed the professor, "I only spoke of the blasted
+fools who employ you!"
+
+
+FUSELI'S OPINION OF HIS OWN ATTAINMENT OF HAPPINESS.
+
+His life was not without disappointment, but for upwards of eighty years
+he was free from sickness. Up to this period, and even beyond it, his
+spirits seemed inexhaustible; he had enjoyed the world, and obtained no
+little distinction; nor was he insensible to the advantages which he had
+enjoyed. "I have been a happy man," he said, "for I have always been
+well, and always employed in doing what I liked"--a boast which few men
+of genius can make. When work with the pencil failed, he lifted the pen;
+and as he was ready and talented with both, he was never obliged to fill
+up time with jobs that he disliked.
+
+
+FUSELI'S PRIVATE HABITS.
+
+He was an early riser, and generally sat down to breakfast with a book
+on entomology in his hand. He ate and read, and read and ate--regarding
+no one, and speaking to no one. He was delicate and abstemious, and on
+gross feeders he often exercised the severity of his wit. Two meals a
+day were all he ventured on--he always avoided supper--the story of his
+having supped on raw pork-chops that he might dream his picture of the
+Nightmare, has no foundation. Indeed, the dreams he delighted to relate
+were of the noblest kind, and consisted of galleries of the fairest
+pictures and statues, in which were walking the poets and painters of
+old. Having finished breakfast and noted down some remarks on
+entomology, he went into his studio--painted till dinner time--dined
+hastily, if at home, and then resumed his labors, or else forgot himself
+over Homer, or Dante, or Shakspeare, or Milton, till midnight.
+
+
+FUSELI'S WIFE'S METHOD OF CURING HIS FITS OF DESPONDENCY.
+
+He was subject to fits of despondency, and during the continuance of
+such moods he sat with his beloved book on entomology upon his
+knee--touched now and then the breakfast cup with his lips, and seemed
+resolutely bent on being unhappy. In periods such as these it was
+difficult to rouse him, and even dangerous. Mrs. Fuseli on such
+occasions ventured to become his monitress. "I know him well," she said
+one morning to a friend who found him in one of his dark moods, "he will
+not come to himself till he is put into a passion--the storm then clears
+off, and the man looks out serene." "Oh no," said her visitor, "let him
+alone for a while--he will soon think rightly." He was spared till next
+morning--he came to the breakfast table in the same mood of mind. "Now I
+must try what I can do," said his wife to the same friend whom she had
+consulted the day before; she now began to reason with her husband, and
+soothe and persuade him; he answered only by a forbidding look and a
+shrug of the shoulder. She then boldly snatched away his book, and
+dauntlessly abode the storm. The storm was not long in coming--his own
+fiend rises up not more furiously from the side of Eve than did the
+painter. He glared on his friend and on his wife--uttered a deep
+imprecation--rushed up stairs and strode about his room in great
+agitation. In a little while his steps grew more regular--he soon opened
+the door, and descended to his labors all smiles and good humor.
+
+Fuseli's method of curing his wife's anger was not less original and
+characteristic. She was a spirited woman, and one day, when she had
+wrought herself into a towering passion, her sarcastic husband said,
+"Sophia, my love, why don't you swear? You don't know how much it would
+ease your mind."
+
+
+FUSELI'S PERSONAL APPEARANCE, HIS SARCASTIC DISPOSITION, AND QUICK
+TEMPER.
+
+Fuseli was of low stature--his frame slim, his forehead high, and his
+eyes piercing and brilliant. His look was proud, wrapt up in
+sarcastic--his movements were quick, and by an eager activity of manner
+he seemed desirous of occupying as much space as belonged to men of
+greater stature. His voice was loud and commanding--nor had he learned
+much of the art of winning his way by gentleness and persuasion--he was
+more anxious as to say pointed and stinging things, than solicitous
+about their accuracy; and he had much pleasure in mortifying his
+brethren of the easel with his wit, and over whelming them with his
+knowledge. He was too often morose and unamiable--habitually despising
+those who were not his friends, and not unapt to dislike even his best
+friends, if they retorted his wit, or defended themselves successfully
+against his satire. In dispute he was eager, fierce, unsparing, and
+often precipitated himself into angry discussions with the Council,
+which, however, always ended in peace and good humor--for he was as
+placable as passionate. On one occasion he flew into his own room in a
+storm of passion, and having cooled and come to himself, was desirous to
+return; the door was locked and the key gone; his fury overflowed all
+bounds. "Sam!" he shouted to the porter, "Sam Strowager, they have
+locked me in like a blasted wild beast--bring crowbars and break open
+the door." The porter--a sagacious old man, who knew the trim of the
+Keeper--whispered through the keyhole, "Feel in your pocket, sir, for
+the key!" He did so, and unlocking the door with a loud laugh exclaimed,
+"What a fool!--never mind--I'll to the Council, and soon show them they
+are greater asses than myself."
+
+
+FUSELI'S NEAR SIGHT.
+
+Fuseli was so near-sighted that he was obliged to retire from his easel
+to a distance and examine his labors by means of an opera-glass, then
+return and retouch, and retire again to look. His weakness of sight was
+well known, and one of the students, in revenge for some satirical
+strictures, placed a bench in his way, over which he nearly fell. "Bless
+my soul," said the Keeper, "I must put spectacles on my shins!"
+
+
+FUSELI'S POPULARITY.
+
+Notwithstanding his sarcastic temper, and various peculiarities, Fuseli
+was generally liked, and by none more than by the students who were so
+often made the objects of his satire. They were sensible that he was
+assiduous in instruction, that he was very learned and very skilful, and
+that he allowed no one else to take liberties with their conduct or
+their pursuits. He had a wonderful tact in singling out the most
+intellectual of the pupils; he was the first to notice Lawrence, and at
+the very outset of Wilkie, he predicted his future eminence.
+
+
+FUSELI'S ARTISTIC MERITS.
+
+The following critique from the pen of Allan Cunningham, gives a good
+idea of Fuseli's abilities as an artist. "His main wish was to startle
+and astonish. It was his ambition to be called Fuseli the daring and the
+imaginative, the illustrator of Milton and Shakspeare, the rival of
+Michael Angelo. His merits are of no common order. He was no timid or
+creeping adventurer in the region of art, but a man peculiarly bold and
+daring--who rejoiced only in the vast, the wild, and the wonderful, and
+loved to measure himself with any subject, whether in the heaven above,
+the earth beneath, or the waters under the earth. The domestic and
+humble realities of life he considered unworthy of his pencil, and
+employed it only on those high or terrible themes where imagination may
+put forth all her strength, and fancy scatter all her colors. He
+associated only with the demi-gods of verse, and roamed through Homer,
+and Dante, and Shakspeare, and Milton, in search of subjects worthy of
+his hand; he loved to grapple with whatever he thought too weighty for
+others; and assembling round him the dim shapes which imagination
+readily called forth, he sat brooding over the chaos, and tried to bring
+the whole into order and beauty. His coloring is like his design;
+original; it has a kind of supernatural hue, which harmonizes with many
+of his subjects--the spirits of the other world and the hags of hell are
+steeped in a kind of kindred color, which becomes their natural
+characters. His notion of color suited the wildest of his subjects; and
+the hue of Satan and the lustre of Hamlet's Ghost are part of the
+imagination of those supernatural shapes."
+
+
+FUSELI'S MILTON GALLERY, THE CHARACTER OF HIS WORKS, AND THE PERMANENCY
+OF HIS FAME.
+
+The magnificent plan of the "Milton Gallery" originated with Fuseli, was
+countenanced by Johnson the bookseller, and supported by the genius of
+Cowper, who undertook to prepare an edition of Milton, with translations
+of his Latin and Italian poems. The pictures were to have been engraved,
+and introduced as embellishments to the work.--The Gallery was commenced
+in 1791, and completed in 1800, containing forty-seven pictures. "Out of
+the seventy exhibited paintings," says Cunningham, on which he reposed
+his hopes of fame, not one can be called commonplace--they are all
+poetical in their nature, and as poetically treated. "Some twenty of
+these alarm, startle, and displease; twenty more may come within the
+limits of common comprehension; the third twenty are such as few men
+could produce, and deserve a place in the noblest collections; while the
+remaining ten are equal in conception to anything that genius has
+hitherto produced, and second only in their execution to the true and
+recognised masterpieces of art. It cannot be denied, however, that a
+certain air of extravagance and a desire to stretch and strain, are
+visible in most of his works. A common mind, having no sympathy with his
+soaring, perceives his defects at once, and ranks him with the wild and
+unsober--a poetic mind will not allow the want of serenity and composure
+to extinguish the splendor of the conception; but whilst it notes the
+blemish, will feel the grandeur of the work. The approbation of high
+minds fixes the degree of fame to which genius of all degrees is
+entitled, and the name of Fuseli is safe."
+
+
+SALVATOR ROSA.
+
+This celebrated painter was born at Renella, a small village near
+Naples, in 1615. There is so much fiction mingled with his early
+history, that it is impossible to arrive at the truth. It is certain,
+however, that he commenced the study of painting under his
+brother-in-law, Francesco Fracanzani, that he passed his early days in
+poverty, that he was compelled to support himself by his pencil, and
+that he exposed his juvenile performances for sale in the public
+markets, and often sold them to the dealers for the most paltry prices.
+
+
+SALVATOR ROSA AND CAV. LANFRANCO.
+
+To the honor of Cav. Lanfranco, it is related that while riding in his
+carriage one day along the streets of Naples, he observed one of
+Salvator's pictures exposed for sale in a shop window, and surprised at
+the uncommon genius which it displayed, he purchased the picture, and
+inquired the name of the young artist. The picture dealer, who had
+probably found Salvator's necessities quite profitable to himself,
+refused to communicate the desired information, whereupon Lanfranco
+directed his scholars to watch for his pictures, and seek him out. When
+he had found him, he generously relieved his wants, and encouraged him
+in the pursuit of his studies. After receiving some instructions from
+Aniello Falcone, an eminent painter of battle-pieces, he was admitted,
+through the influence of Lanfranco, into the academy of Giuseppe
+Ribera, called Il Spagnoletto, and remained there until the age of
+twenty, when he accompanied that master to Rome.
+
+
+SALVATOR ROSA AT ROME AND FLORENCE.
+
+The Cardinal Brancacci, having become acquainted with the merits of
+Salvator Rosa at Naples, took him under his protection, and conducted
+him to his bishopric of Viterbo, where he painted several historical
+works, and an altar-piece for the cathedral, representing the
+Incredulity of St. Thomas. On his return to Rome, the prince Gio. Carlo
+de' Medici employed him to execute several important works, and
+afterwards invited him to Florence. During a residence of nine years in
+that city, he greatly distinguished himself as a painter, and also as a
+satirical and dramatic poet; his Satires, composed in Florence, have
+passed through several editions. His wit, lively disposition, and
+unusual conversational powers, drew around him many choice spirits, and
+his house was the great centre of attraction for the connoisseurs and
+literati of Florence. He fitted up a private theatre, and was accustomed
+to perform the principal parts in his comedies, in which he displayed
+extraordinary talents. He painted many of his choicest pictures for the
+Grand Duke, who nobly rewarded him; also for the noble family of the
+Maffei, for their palace at Volterra.
+
+
+SALVATOR ROSA'S RETURN TO ROME.
+
+After Salvator Rosa's return to Rome from Florence, he demanded
+exorbitant prices for his works, and though his greatest talent lay in
+landscape painting, he affected to despise that branch, being ambitious
+of shining as an historical painter. He painted some altar-pieces and
+other subjects for the churches, the chief of which are four pictures in
+S. Maria di Monte Santo, representing Daniel in the Lions' Den, Tobit
+and the Angel, the Resurrection of Christ, and the Raising of Lazarus;
+the Martyrdom of St. Cosimo and St. Damiano, in the church of S.
+Giovanni.
+
+The brightest era of landscape painting is said with truth to have been
+in the time of Pope Urban VIII., when flourished Claude Lorraine, Gaspar
+Poussin, and Salvator Rosa. Of these, Salvator was the most
+distinguished, though certainly not the best; each was the head of a
+perfectly original school, which had many followers, and each observed
+nature on the side in which he felt impelled to imitate her. The first
+admired and represented nature in her sweetest appearance; the second,
+in her most gorgeous array; and the third in her most convulsed and
+terrific aspects.
+
+
+SALVATOR ROSA'S SUBJECTS.
+
+Salvator Rosa painted history, landscape, battle-pieces, and sea-ports;
+and of these he was most eminent in landscape. The scholar of
+Spagnoletto, he attached himself to the strong natural style and dark
+coloring of that master, which well accords with his subjects. In his
+landscapes, instead of selecting the cultured amenity which captivates
+in the views of Claude or Poussin, he made choice of the lonely haunts
+of wolves and robbers; instead of the delightful vistas of Tivoli and
+the Campagna, he adopted the savage scenery of the Alps, rocky
+precipices, caves with wild thickets and desert plains; his trees are
+shattered, or torn up by the roots, and in the atmosphere itself he
+seldom introduced a cheerful hue, except occasionally a solitary
+sunbeam. These gloomy regions are peopled with congenial inhabitants,
+ferocious banditti, assassins, and outlaws. In his marines, he followed
+the same taste; they represent the desolate and shelvy shores of
+Calabria, whose dreary aspect is sometimes heightened by terrific
+tempests, with all the horrors of shipwreck. His battles and attacks of
+cavalry also partake of the same principle of wild beauty; the fury of
+the combatants, and the fiery animation of the horses are depicted with
+a truth and effect that strikes the mind with horror. Notwithstanding
+the singularity and fierceness of his style, he captivates by the
+unbounded wildness of his fancy, and the picturesque solemnity of his
+scenes.
+
+Salvator Rosa wrought with wonderful facility, and could paint a well
+finished landscape and insert all the figures in one day; it is
+impossible to inspect one of his bold, rapid sketches, without being
+struck with the fertility of his invention, and the skill of hand that
+rivalled in execution the activity of his mind. He was also an excellent
+portrait painter. A portrait of himself is in the church degli Angeli,
+where his remains were interred, and he introduced his own portrait into
+several of his pictures, one of which is in the Chigi gallery,
+representing a wild scene with a poet in a sitting attitude, (with the
+features of Salvator); before him stands a satyr, allusive to his
+satiric style of poetry. During his life-time, his works were much
+sought after by princes and nobles, and they are now to be found in the
+choicest collections of Italy and of Europe. There is a landscape in the
+English National Gallery which cost 1800 guineas; a picture in the
+collection of Sir Mark Sykes brought the enormous sum of 2100 guineas.
+
+
+FLAGELLATION OF SALVATOR ROSA.
+
+It happened one day that Salvator Rosa, in his youth, on his way to
+mass, brought with him by mistake, his bundle of burned sticks, with
+which he used to draw, instead of his mother's brazen clasped missal;
+and in passing along the magnificent cloisters of the great church of
+the Certosa at Naples, sacred alike to religion and the arts, he applied
+them between the interstices of its Doric columns to the only unoccupied
+space on the pictured walls. History has not detailed what was the
+subject which occupied his attention on this occasion, but he was
+working away with all the ardor which his enthusiastic genius inspired,
+when unfortunately the Prior, issuing with his train from the choir,
+caught the hapless painter in the very act of scrawling on those sacred
+walls which required all the influence of the greatest masters to get
+leave to ornament. The sacrilegious temerity of the boy artist, called
+for instant and exemplary punishment. Unluckily too, for the little
+offender, this happened in Lent, the season in which the rules of the
+rigid Chartreuse oblige the prior and procurator to flagellate all the
+frati, or lay brothers of the convent. They were, therefore, armed for
+their wonted pious discipline, when the miserable Salvatoriello fell in
+their way; whether he was honored by the consecrated hand of the prior,
+or writhed under the scourge of the procurator, does not appear; but
+that he was chastised with great severity more than proportioned to his
+crime, is attested by one of the most scrupulous of his biographers,
+Pascoli, who, though he dwells lightly on the fact, as he does on others
+of more importance, confesses that he suffered severely from the monks'
+flagellation.
+
+
+SALVATOR ROSA AND THE HIGGLING PRINCE.
+
+A Roman prince, more notorious for his pretensions to _virtu_ than for
+his liberality to artists, sauntering one day in Salvator's gallery, in
+the Via Babbuina, paused before one of his landscapes, and after a long
+contemplation of its merits, exclaimed, "Salvator mio! I am strongly
+tempted to purchase this picture: tell me at once the lowest
+price."--"Two hundred scudi," replied Salvator, carelessly. "Two hundred
+scudi! Ohime! that is a price! but we'll talk of that another time." The
+illustrissimo took his leave; but bent upon having the picture, he
+shortly returned, and again inquired the lowest price. "Three hundred
+scudi!" was the sullen reply. "Carpo di bacco!" cried the astonished
+prince; "mi burla, vostra signoria; you are joking! I see I must e'en
+wait upon your better humor; and so addio, Signor Rosa."
+
+The next day brought back the prince to the painter's gallery; who, on
+entering, saluted Salvator with a jocose air, and added, "Well, Signor
+Amico, how goes the market to-day? Have prices risen or fallen?"
+
+"Four hundred scudi is the price to-day!" replied Salvator, with
+affected calmness; when suddenly giving way to his natural impetuosity,
+and no longer stifling his indignation, he burst forth: "The fact is,
+your excellency shall not now obtain this picture from me at any price;
+and yet so little do I value its merits, that I deem it worthy no better
+fate than this;" and snatching the panel on which it was painted from
+the wall, he flung it to the ground, and with his foot broke it into a
+hundred pieces. His excellency made an unceremonious retreat, and
+returned no more to the enraged painter's studio.
+
+
+SALVATOR ROSA'S OPINION OF HIS OWN WORKS.
+
+While a Roman nobleman was one day endeavoring to drive a hard bargain
+with Salvator Rosa, he coolly interrupted him, saying that, till the
+picture was finished, he himself did not know its value; "I never
+bargain, sir, with my pencil; for it knows not the value of its own
+labor before the work is finished. When the picture is done, I will let
+you know what it costs, and you may then take it or not as you please."
+
+
+SALVATOR ROSA'S BANDITTI.
+
+There is an etching by Salvator Rosa, which seems so plainly to tell the
+story of the wandering artist's captivity, that it merits a particular
+description. In the midst of wild, rocky scenery, appears a group of
+banditti, armed at all points, and with all sorts of arms; they are
+lying in careless attitudes, but with fierce countenances, around a
+youthful prisoner, who forms the foreground figure, and is seated on a
+rock, with his languid limbs hanging over the precipice, which may be
+supposed to yawn beneath. It is impossible to describe the despair
+depicted in this figure: it is marked in his position, in the drooping
+of his head, which his nerveless arms seem with difficulty to support,
+and the little that may be seen of his face, over which, from his
+recumbent attitude, his hair falls in luxuriant profusion. All is alike
+destitute of energy and of hope, which the beings grouped around the
+captive seem to have banished forever by some sentence recently
+pronounced; yet there is one who watches over the fate of the young
+victim: a woman stands immediately behind him, with her hand stretched
+out, while her fore finger, resting on his head, marks him as the
+subject of discourse which she addresses to the listening bandits. Her
+figure, which is erect is composed of those bold, straight lines, which
+in art and nature, constitute the grand. Even the fantastic cap or
+turban, from which her long dishevelled hair has escaped, has no curve
+of grace; and her drapery partakes of the same rigid forms. Her
+countenance is full of stern melancholy--the natural character of one
+whose feelings and habits are at variance; whose strong passions may
+have flung her out of the pale of society, but whose womanly sympathies
+still remain unchanged. She is artfully pleading for the life of the
+youth, by contemptuously noting his insignificance; but she commands
+while she soothes. She is evidently the mistress or the wife of the
+chief, in whoso absence an act of vulgar violence may be meditated. The
+youth's life is saved: for that cause rarely fails, to which a woman
+brings the omnipotence of her feelings.
+
+
+SALVATOR ROSA AND MASSANIELLO.
+
+It was during the residence of Salvator Rosa in Naples, that the
+memorable popular tumult under Massaniello took place; and our painter
+was persuaded by his former master, Aniello Falcone, to become one of an
+adventurous set of young men, principally painters, who had formed
+themselves into a band for the purpose of taking revenge on the
+Spaniards, and were called "La Compagna della Morte." The tragical fate
+of Massaniello, however, soon dispersed these heroes; and Rosa, fearing
+he might be compelled to take a similar part in that fatal scene, sought
+safety by flight, and took refuge in Rome.
+
+
+SALVATOR ROSA AND CARDINAL SFORZA.
+
+Salvator Rosa is said never to have suffered the rank or office of his
+auditors to interfere with the freedom of his expressions in his poetic
+recitations. Cardinal Sforza Pullavicini, one of the most generous
+patrons of the fine arts, and a rigid critic of his day, was curious to
+hear the improvisatore of the Via Babbuina, and sent an invitation
+requesting Salvator's company at his palace. Salvator frankly declared
+that two conditions were annexed to his accepting the honor of his
+Eminence's acquaintance; first, that the Cardinal should come to his
+house, as he never recited in any other; and second, that he should not
+object to any passage, the omission of which would detract from the
+original character of his work, or compromise his own sincerity. The
+Cardinal accepted the conditions. The next day all the literary coxcombs
+of Rome crowded to the levee of the hypercritical prelate to learn his
+opinion of the poet, whose style was without precedent. The Cardinal
+declared, with a justice which posterity has sanctioned, that
+"Salvator's poetry was full of splendid passages, but that, as a whole,
+it was unequal."
+
+
+SALVATOR ROSA'S MANIFESTO CONCERNING HIS SATIRICAL PICTURE LA FORTUNA.
+
+In Salvator Rosa's celebrated picture of La Fortuna, the nose of one
+powerful ecclesiastic, and the eye of another were detected in the
+brutish physiognomy of the swine treading upon pearls, and in an ass,
+scattering with his hoofs the laurel and myrtle which lay in his path;
+and in an old goat, reposing on roses, some there were, who even fancied
+they discovered the Infallible Lover of Donna Olympia, the Sultana,
+queen of the Quirinal!
+
+The cry of atheism and sedition--of contempt of established
+authorities--was thus raised under the influence of private pique and
+long-cherished envy: it soon found an echo in the painted walls where
+the conclave sat "in close divan," and it was handed about from mouth to
+mouth, till it reached the ears of the Inquisitor, within the dark
+recesses of his house of terror. A cloud was now gathering over the head
+of the devoted Salvator which it seemed no human power could avert. But
+ere the bolt fell, his fast and tried friend Don Maria Ghigi threw
+himself between his protege and the horrible fate which awaited him, by
+forcing the sullen satirist to draw up an apology, or rather an
+explanation of his offensive picture.
+
+This explanation, bearing title of a "Manifesto," he obtained permission
+to present to those powerful and indignant persons in whose hands the
+fate of Salvator now lay; Rosa explained away all that was supposed to
+be personal in his picture, and proved that his hogs were not churchmen,
+his mules pretending pedants, his asses Roman nobles, and his birds and
+beasts of prey the reigning despots of Italy. His imprudence however,
+subsequently raised such a storm that he was obliged to quit Rome, when
+he fled to Florence.
+
+
+SALVATOR ROSA'S BANISHMENT FROM ROME.
+
+Salvator Rosa secretly deplored his banishment from Rome; and his
+impatience at being separated from Carlo Rossi and some other of his
+friends, was so great that he narrowly escaped losing his liberty to
+obtain an interview with them. About three years after his arrival in
+Florence, he took post-horses, and at midnight set off for Rome. Having
+reached the gardens of the "Vigna Navicella," and bribed the custode to
+lend them for a few hours, and otherwise to assist him, he dispatched a
+circular billet to eighteen of his friends, supplicating them to give
+him a rendezvous at the Navicella. Each believed that Salvator had
+fallen into some new difficulty, which had obliged him to fly from
+Florence, and all attended his summons. He received them at the head of
+a well furnished table, embraced them with tenderness, feasted them
+sumptuously, and then mounting his horse, returned to Florence before
+his Roman persecutors or Tuscan friends were aware of his adventure.
+
+
+SALVATOR ROSA'S WIT.
+
+Salvator Rosa exhibited a clever picture, the work of an amateur by
+profession a surgeon, which had been rejected by the academicians of St.
+Luke. The artists came in crowds to see it; and by those who were
+ignorant of the painter, it was highly praised. On being asked who had
+painted it by some one, Salvator replied, "It was performed by a person
+whom the great academicians of St. Luke thought fit to scorn, because
+his ordinary profession was that of a surgeon. But (continued he), I
+think they have not acted wisely; for if they had admitted him into
+their academy, they would have had the advantage of his services in
+setting the broken and distorted limbs that so frequently occur in their
+exhibitions."
+
+
+SALVATOR ROSA'S RECEPTION AT FLORENCE.
+
+The departure of Salvator Rosa from Rome was an escape: his arrival in
+Florence was a triumph. The Grand Duke and the princes of his house
+received him, not as an hireling, but as one whose genius placed him
+beyond the possibility of dependence. An annual income was assigned to
+him during his residence in Florence, in the service of the court,
+besides a stipulated price for each of his pictures: and he was left
+perfectly unconstrained and at liberty to paint for whom he pleased.
+
+
+HISTRIONIC POWERS OF SALVATOR ROSA.
+
+In 1647, Salvator Rosa received an invitation to repair to the court of
+Tuscany, of which he availed himself the more willingly, as by the
+machinations of his enemies, he was in great danger of being thrown into
+prison. At Florence he met with the most flattering reception, not only
+at the court and among the nobility, but among the literary men and
+eminent painters with which that city abounded. His residence soon
+became the rendezvous of all who were distinguished for their talents,
+and who afterwards formed themselves into an academy, to which they gave
+the title of "I. Percossi." Salvator, during the carnivals, frequently
+displayed his abilities as a comic actor, and with such success, that
+when he and a friend of his (a Bolognese merchant, who, though sixty
+years old, regularly left his business three months in the year, for the
+sole pleasure of performing with Rosa) played the parts of Dottore
+Graziano and Pascariello, the laughter and applause of their audience
+were so excessive as often to interrupt their performance for a length
+of time.
+
+
+SALVATOR ROSA'S RECEPTION AT THE PALAZZO PITTI.
+
+The character, in fact the manners and the talents of Salvator Rosa came
+out in strong relief, as opposed to the servile deportment and mere
+professional acquirements of the herd of artists of all nations then
+under the protection of the Medici. He was received at the Palazzo Pitti
+not only as a distinguished artist, but as a guest; and the Medici, at
+whose board Pulci (in the time of their Magnifico) had sung his Morgante
+Maggiore with the fervor of a rhapsodist, now received at their table
+another improvisatore, with equal courtesy and graciousness. The Tuscan
+nobility, in imitation of the court, and in the desire to possess
+Salvator's pictures, treated him with singular honor.
+
+
+SATIRES OF SALVATOR ROSA.
+
+The boldness and rapidity of Salvator Rosa's pencil, aided by the
+fertility of his highly poetical imagination, enabled him to paint an
+immense number of pictures while he was at Florence; but not finding
+sufficient leisure to follow his other pursuits, he retired to Volterra,
+after having resided at Florence nine years, respected and beloved by
+all who knew him. The three succeeding years were passed in the family
+of the Maffei, alternately at Volterra and their villa at Monte Ruffoli,
+in which time he completed his Satires, except the Sixth, "L'Invidia;"
+which was written after the publication of the others. He also painted
+several portraits for the Maffei, and among others one of himself, which
+was afterwards presented to the Grand Duke of Tuscany, and placed in the
+Royal Gallery at Florence.
+
+
+SALVATOR ROSA'S HARPSICHORD.
+
+Salvator Rosa's confidence in his own powers was as frankly confessed as
+it was justified by success. Happening one day to be found by a friend
+in Florence, in the act of modulating on a very indifferent old
+harpsichord, he was asked how he could keep such an instrument in his
+house. "Why," said his friend, "it is not worth a scudo." "I will wager
+what you please," said Salvator, "that it shall be worth a thousand
+before you see it again." A bet was made, and Rosa immediately painted a
+landscape with figures on the lid, which was not only sold for a
+thousand scudi, but was esteemed a capital performance. On one end of
+the harpsichord he also painted a skull and music-books. Both these
+pictures were exhibited in the year 1823 at the British Institution.
+
+
+RARE PORTRAIT BY SALVATOR ROSA.
+
+While Salvator Rosa was on a visit to Florence, and refused all
+applications for his pictures he was accidentally taken in to paint what
+he so rarely condescended to do a portrait.
+
+There lived in Florence a good old dame of the name of Anna Gaetano, of
+some celebrity for keeping a notable inn, over the door of which was
+inscribed in large letters, "Al buon vino non bisogna fruscia" (good
+wine needs no bush). But it was not the good wines alone of Madonna Anna
+that drew to her house some of the most distinguished men of Florence,
+and made it particularly the resort of the Cavaliere Oltramontani--her
+humor was as racy as her wine; and many of the men of wit and pleasure
+about town were in the habit of lounging in the Sala Commune of Dame
+Gaetano, merely for the pleasure of drawing her out. Among these were
+Lorenzo Lippi and Salvator Rosa; and, although this Tuscan Dame Quickly
+was in her seventieth year, hideously ugly, and grotesquely dressed, yet
+she was so far from esteeming her age an "antidote to the tender
+passion," that she distinguished Salvator Rosa by a preference, which
+deemed itself not altogether hopeless of return. Emboldened by his
+familiarity and condescension, she had the vanity to solicit him to
+paint her portrait, "that she might," she said, "reach posterity by the
+hand of the greatest master of the age."
+
+Salvator at first received her proposition as a joke; but perpetually
+teased by her reiterated importunities, and provoked by her pertinacity,
+he at last exclaimed, "Well, Madonna, I have resolved to comply with
+your desire; but with this agreement, that, not to distract my mind
+during my work, I desire you will not move from your seat until I have
+finished the picture." Madonna, willing to submit to any penalty in
+order to obtain an honor which was to immortalize her charms, joyfully
+agreed to the proposition; and Salvator, sending for an easel and
+painting materials, drew her as she sat before him, to the life. The
+portrait was dashed off with the usual rapidity and spirit of the
+master, and was a chef d'oeuvre. But when at last the vain and
+impatient hostess was permitted to look upon it, she perceived that to a
+strong and inveterate likeness the painter had added a long beard; and
+that she figured on the canvas as an ancient male pilgrim--a character
+admirably suited to her furrowed face, weather-beaten complexion, strong
+lineaments, and grey hairs. Her mortified vanity vented itself in the
+most violent abuse of the ungallant painter, in rich Tuscan
+Billingsgate. Salvator, probably less annoyed by her animosity than
+disgusted by her preference, called upon some of her guests to judge
+between them. The artists saw only the merits of the picture, the
+laughers looked only to the joke. The value affixed to the exquisite
+portrait soon reconciled the vanity of the original through her
+interest. After the death of Madonna Anna, her portrait was sold by her
+heirs at an enormous price, and is said to be still in existence.--_Lady
+Morgan._
+
+
+SALVATOR ROSA'S RETURN TO ROME.
+
+At the time of Salvator Rosa's return to Rome says Pascoli, he figured
+away as the _great painter_, opening his house to all his friends, who
+came from all parts to visit him, and among others, Antonio Abbati, who
+had resided for many years in Germany. This old acquaintance of the poor
+Salvatoriello of the Chiesa della Morte at Viterbo, was not a little
+amazed to find his patient and humble auditor of former times one of the
+most distinguished geniuses and hospitable Amphitryons of the day.
+Pascoli gives a curious picture of the prevailing pedantry of the times,
+by describing a discourse of Antonio Abbati's at Salvator's
+dinner-table, on the superior merits of the ancient painters over the
+moderns, in which he "bestowed all the tediousness" of his erudition on
+the company. Salvator answered him in his own style, and having
+overturned all his arguments in favor of antiquity with more learning
+than they had been supported, ended with an impromptu epigram, in his
+usual way, which brought the laugher's on his side.
+
+
+SALVATOR ROSA'S LOVE OF MAGNIFICENCE.
+
+Salvator Rosa was fond of splendor and ostentatious display. He courted
+admiration from whatever source it could be obtained, and even sought it
+by means to which the frivolous and the vain are supposed alone to
+resort. He is described, therefore, as returning to Rome, from which he
+had made so perilous and furtive an escape, in a showy and pompous
+equipage, with "servants in rich liveries, armed with silver hafted
+swords, and otherwise well accoutred." The beautiful Lucrezia, as "sua
+Governante," accompanied him, and the little Rosalvo gave no scandal in
+a society where the instructions of religion substitute license for
+legitimate indulgence. Immediately on his arrival in Rome, Salvator
+fixed upon one of the loveliest of her hills for his residence, and
+purchased a handsome house upon the Monte Pincio, on the Piazza della
+Trinita del Monte--"which," says Pascoli, "he furnished with noble and
+rich furniture, establishing himself on the great scale, and in a lordly
+manner." A site more favorable than the Pincio, for a man of Salvator's
+taste and genius, could scarcely be imagined, commanding at once within
+the scope of its vast prospect, picturesque views, and splendid
+monuments of the most important events in the history of man--the
+Capitol and the Campus Martius, the groves of the Quirinal and the
+cupola of St. Peter's, the ruined palaces of the Caesars, and sumptuous
+villas of the sons of the reigning church. Such was then, as now, the
+range of unrivalled objects which the Pincio commanded; but the noble
+terrace smoothed over its acclivities, which recalled the memory of
+Aurelian and the feast of Belisarius, presented at that period a far
+different aspect from that which it now offers. Everything in this
+enchanting sight was then fresh and splendid; the halls of the Villa
+Medici, which at present only echo to the steps of a few French students
+or English travelers, were then the bustling and splendid residence of
+the old intriguing Cardinal Carlo de Medici, called the Cardinal of
+Tuscany, whose followers and faction were perpetually going to and fro,
+mingling their showy uniforms and liveries with the sober vestments of
+the neighboring monks of the convent della Trinita! The delicious groves
+and gardens of the Villa de Medici then covered more than two English
+miles, and amidst cypress shades and shrubberies, watered by clear
+springs, and reflected in translucent fountains, stood exposed to public
+gaze all that now form the most precious treasures of the Florentine
+Gallery--the Niobe, the Wrestlers, the Apollo, the Vase, and above all,
+the Venus of Venuses, which has derived its distinguishing appellation
+from these gardens, of which it was long the boast and ornament.
+
+
+SALVATOR ROSA'S LAST WORKS.
+
+The last performances of Salvator's pencil were a collection of
+portraits of obnoxious persons in Rome--in other words, a series of
+caricatures, by which he would have an opportunity of giving vent to his
+satirical genius; but whilst he was engaged on his own portrait,
+intending it as the concluding one of the series he was attacked with a
+dropsy, which in the course of a few months brought him to the grave.
+
+
+SALVATOR ROSA'S DESIRE TO BE CONSIDERED AN HISTORICAL PAINTER.
+
+Salvator Rosa's greatest talent lay in landscape painting, a branch
+which he affected to despise, as he was ambitious of being called an
+historical painter. Hence he called his wild scenes, with small figures
+merely accessory, historical paintings, and was offended if others
+called them landscapes. Pascoli relates that Prince Francisco Ximenes,
+soon after his arrival at Rome, in the midst of the honors paid him,
+found time to visit the studio of Salvator Rosa, who showed him into his
+gallery. The Prince frankly said, "I have come, Signor Rosa, for the
+purpose of seeing and purchasing some of those beautiful landscapes,
+whose subjects and manner have delighted me in many foreign
+collections."--"Be it known then, to your excellency," interrupted
+Salvator impetuously, "that I know nothing of _landscape_ painting.
+Something indeed I do know of painting figures and historical subjects,
+which I strive to exhibit to such eminent judges as yourself, in order
+that, _once for all_, I may banish from the public mind that _fantastic
+humor_ of supposing I am a landscape and not an historical painter." At
+another time, a very rich (_ricchissimo_) Cardinal called on Salvator to
+purchase some of his pictures As he walked up and down the gallery, he
+paused before the landscapes, but only glanced at the historical
+subjects, while Salvator muttered from time to time, "_sempre, sempre,
+paesi piccoli_," (always, always, some little landscape.) When, at
+length, the Cardinal carelessly glanced his eye over one of Salvator's
+great historical pictures, and asked the price, as a sort of
+introduction, the painter bellowed out, _un milione_; his Eminence,
+justly offended, made an unceremonious retreat without making his
+intended purchases, and returned no more.
+
+
+DON MARIO GHIGI, HIS PHYSICIAN, AND SALVATOR ROSA.
+
+(_From Lady Morgan's Life of Salvator Rosa._)
+
+The princes of the family of Ghigi had been among the first of the
+aristocratic virtuosi of Rome to acknowledge the merits of Salvator
+Rosa, as their ancestors had been to appreciate the genius of Raffaelle.
+Between the Prince Don Mario Ghigi, (whose brother Fabio was raised to
+the pontifical throne by the name of Alexander VII.) and Salvator, there
+seems to have existed a personal intimacy; and the prince's fondness for
+the painter's conversation was such, that during a long illness he
+induced Salvator to bring his easel to his bedside, and to work in his
+chamber at a small picture he was then painting for the prince. It
+happened, that while Rosa was sketching and chatting by the prince's
+couch, one of the most fashionable physicians in Rome entered the
+apartment. He appears to have been one of those professional coxcombs,
+whose pretensions, founded on unmerited vogue, throws ridicule on the
+gravest calling.
+
+After some trite remarks upon the art, the doctor, either to flatter
+Salvator, or in imitation of the physician of the Cardinal Colonna, who
+asked for one of Raffaelle's finest pictures as a fee for saving the
+Cardinal's life, requested Don Mario to give him a picture by Salvator
+as a remuneration for his attendance. The prince willingly agreed to the
+proposal; and the doctor, debating on the subject he should choose,
+turned to Salvator and begged that he would not lay pencil to canvas,
+until _he_, the Signor Dottore, should find leisure to dictate to him
+_il pensiero e concetto della sua pittura_, the idea and conceit of his
+picture! Salvator bowed a modest acquiescence, and went on with his
+sketch. The doctor having gone the round of professional questions with
+his wonted pomposity, rose to write his prescription; when, as he sat
+before the table with eyes upturned, and pen suspended over the paper,
+Salvator approached him on tiptoe, and drawing the pen gently through
+his fingers, with one of his old _Coviello_ gesticulations in his
+character of the mountebank, he said, "_fermati dottor mio!_ stop
+doctor, you must not lay pen to paper till I have leisure to dictate the
+idea and conceit of the prescription I may think proper for the malady
+of his Excellency."
+
+"_Diavalo!_" cried the amazed physician, "you dictate a prescription!
+why, _I_ am the prince's physician, and not _you!_"
+
+"And _I, Caro_," said Salvator, "am a painter, and not _you_. I leave it
+to the prince whether I could not prove myself a better physician than
+you a painter; and write a better prescription than you paint a
+picture."
+
+The prince, much amused, decided in favor of the painter; Salvator
+coolly resumed his pencil, and the medical _cognoscente_ permitted the
+idea of the picture to die away, _sul proprio letto_.
+
+
+DEATH OF SALVATOR ROSA.
+
+Salvator Rosa, in his last illness, demanded of the priests and others
+that surrounded him, what they required of him. They replied, "in the
+first instance to receive the sacrament as it is administered in Rome to
+the dying." "To receive the sacrament," says his confessor, Baldovini,
+"he showed no repugnance, but he vehemently and positively refused to
+allow the host, with all the solemn pomp of its procession, to be
+brought to his house, which he deemed unworthy of the divine presence."
+He objected to the ostentation of the ceremony, to its _eclat_, to the
+noise and bustle, smoke and heat it would create in the close sick
+chamber. He appears to have objected to more than it was discreet to
+object to in Rome: and all that his family and his confessor could
+extort from him on the subject was, that he would permit himself to be
+carried from his bed to the parish church, and there, with the humility
+of a contrite heart, would consent to receive the sacrament at the foot
+of the altar.
+
+As immediate death might have been the consequence of this act of
+indiscretion, his family, who were scarcely less interested for a life
+so precious, than for the soul which was the object of their pious
+apprehensions, gave up the point altogether; and on account of the
+vehemence with which Salvator spoke on the subject, and the agitation it
+had occasioned, they carefully avoided renewing a proposition which had
+rallied all his force of character and volition to their long abandoned
+post.
+
+The rejection of a ceremony which was deemed in Rome indispensably
+necessary to salvation, by one who was already stamped with the church's
+reprobation, soon spread; report exaggerated the circumstance into a
+positive expression of infidelity; and the gossip of the Roman
+ante-rooms was supplied for the time with a subject of discussion, in
+perfect harmony with their love for slander, bigotry, and idleness.
+
+"As I went forth from Salvator's door," relates the worthy Baldovini, "I
+met the _Canonico Scornio_, a man who has taken out a license to speak
+of all men as he pleases. 'And how goes it with Salvator?' demands this
+Canonico of me. 'Bad enough, I fear.'--Well, a few nights back,
+happening to be in the anteroom of a certain great prelate, I found
+myself in the centre of a circle of disputants, who were busily
+discussing whether the aforesaid Salvator would die a Schismatic, a
+Huguenot, a Calvinist, or a Lutheran?--'He will die, Signor Canonico,' I
+replied, 'when it pleases God, a better Catholic than any of those who
+now speak so slightingly of him!'--and so pursued my way."
+
+This _Canonico_, whose sneer at the undecided faith of Salvator roused
+all the bile of the tolerant and charitable Baldovini, was the near
+neighbor of Salvator, a frequenter of his hospitable house, and one of
+whom the credulous Salvator speaks in one of his letters as being "his
+neighbor, and an excellent gentleman."
+
+On the following day, as the Padre sat by the pillow of the suffering
+Rosa, he had the simplicity, in the garrulity of his heart, to repeat
+all these idle reports and malicious insinuations to the invalid: "But,"
+says Baldovini, "as I spoke, Rosa only shrugged his shoulders."
+
+Early on the morning of the fifteenth of March, that month so delightful
+in Rome, the anxious and affectionate confessor, who seems to have been
+always at his post, ascended the Monte della Trinita, for the purpose of
+taking up his usual station by the bed's head of the fast declining
+Salvator. The young Agosto flew to meet him at the door, and with a
+countenance radiant with joy, informed him of the good news, that "his
+dear father had given evident symptoms of recovery, in consequence of
+the bursting of an inward ulcer."
+
+Baldovini followed the sanguine boy to Iris father's chamber; but, to
+all appearance Salvator was suffering great agony. "How goes it with
+thee, Rosa?" asked Baldovini kindly, as he approached him.
+
+"Bad, bad!" was the emphatic reply. While writhing with pain, the
+sufferer added after a moment:--"To judge by what I now endure, the hand
+of death grasps me sharply."
+
+In the restlessness of pain he then threw himself on the edge of the
+bed, and placed his head on the bosom of Lucrezia, who sat supporting
+and weeping over him. His afflicted son and friend took their station at
+the other side of the couch, and stood in mournful silence watching the
+issue of these sudden and frightful spasms. At that moment a celebrated
+Roman physician, the Doctor Catanni, entered the apartment. He felt the
+pulse of Salvator, and perceived that he was fast sinking. He
+communicated his approaching dissolution to those most interested in the
+melancholy intelligence, and it struck all present with unutterable
+grief. Baldovini, however, true to his sacred calling, even in the depth
+of his human affliction, instantly despatched the young Agosto to the
+neighboring Convent della Trinita, for the holy Viaticum. While life was
+still fluttering at the heart of Salvator, the officiating priest of
+the day arrived, bearing with him the holy apparatus of the last
+mysterious ceremony of the church. The shoulders of Salvator were laid
+bare, and anointed with the consecrated oil; some prayed fervently,
+others wept, and all even still hoped; but the taper which the Doctor
+Catanni held to the lips of Salvator while the Viaticum was
+administered, burned brightly and steadily! Life's last sigh had
+transpired, as religion performed her last rite.
+
+Between that luminous and soul-breathing form of genius, and the clod of
+the valley, there was now no difference; and the "end and object" of a
+man's brief existence was now accomplished in him who, while yet all
+young and ardent, had viewed the bitter perspective of humanity with a
+philosophic eye and pronounced even on the bosom of pleasure,
+
+  "Nasci poena--Vita labor--Necesse mori."
+
+On the evening of the fifteenth of March, 1673, all that remained of the
+author of Regulus, of Catiline, and the Satires--the gay Formica, the
+witty Coviello--of the elegant composer, and greatest painter of his
+time and country--of Salvator Rosa! was conveyed to the tomb, in the
+church of Santa Maria degli Angioli alle Terme--that magnificent temple,
+unrivalled even at Rome in interest and grandeur, which now stands as it
+stood when it formed the Pinacotheca of the Thermae of Dioclesian. There,
+accompanied by much funeral pomp, the body of Salvator lay in state;
+the head and face, according to the Italian custom, being exposed to
+view. All Rome poured into the vast circumference of the church, to take
+a last view of the painter of the Roman people--the "Nostro Signor
+Salvatore" of the Pantheon; and the popular feelings of regret and
+admiration were expressed with the usual bursts of audible emotions in
+which Italian sensibility on such occasions loves to indulge. Some few
+there were, who gathered closely and in silence round the bier of the
+great master of the Neapolitan school; and who, weeping the loss of the
+man, forgot for a moment even that genius which had already secured its
+own meed of immortality. These were Carlo Rossi, Francesco Baldovini,
+and Paolo Oliva, each of whom returned from the grave of the friend he
+loved, to record the high endowments and powerful talents of the painter
+he admired, and the poet he revered. Baldovini retired to his cell to
+write the Life of Salvator Rosa, and then to resign his own; Oliva to
+his monastery, to compose the epitaph which is still read on the tomb of
+his friend; and Carlo Rossi to select from his gallery such works of his
+beloved painter, as might best adorn the walls of that chapel, now
+exclusively consecrated to his memory.
+
+On the following night, the remains of Salvator Rosa were deposited,
+with all the awful forms of the Roman church, in a grave opened
+expressly in the beautiful vestibule of Santa Maria degli Angioli alle
+Terme. Never did the ashes of departed genius find a more appropriate
+resting place;--the Pinacotheca of the Thermae of Dioclesian had once
+been the repository of all that the genius of antiquity had perfected in
+the arts; and in the vast interval of time which had since elapsed, it
+had suffered no change, save that impressed upon it by the mighty mind
+of Michael Angelo.--_Lady Morgan._
+
+
+DOMENICHINO.
+
+This great artist is now universally esteemed the most distinguished
+disciple of the school of the Caracci, and the learned Count Algarotti
+prefers him even to the Caracci themselves. Poussin ranked him next
+after Raffaelle, and Passeri has expressed nearly the same opinion. He
+was born at Bologna in 1581, and received his first instruction from
+Denis Calvart, but having been treated with severity by that master, who
+had discovered him making a drawing after Annibale Caracci, contrary to
+his injunction, Domenichino prevailed upon his father to remove him from
+the school of Calvart, and place him in the Academy of the Caracci,
+where Guido and Albano were then students.
+
+
+THE DULLNESS OF DOMENICHINO IN YOUTH.
+
+The great talents of Domenichino did not develop themselves so early as
+in many other great painters. He was assiduous, thoughtful and
+circumspect; which his companions attributed to dullness, and they
+called him the Ox; but the intelligent Annibale Caracci, who observed
+his faculties with more attention, testified of his abilities by saying
+to his pupils, "this Ox will in time surpass you all, and be an honor to
+the art of painting." It was the practice in this celebrated school to
+offer prizes to the pupils for the best drawings, to excite them to
+emulation, and every pupil was obliged to hand in his drawing at certain
+periods. It was not long after Domenichino entered this school before
+one of these occasions took place, and while his fellow-students brought
+in their works with confidence, he timidly approached and presented his,
+which he would gladly have withheld. Lodovico Caracci, after having
+examined the whole, adjudged the prize to Domenichino. This triumph,
+instead of rendering him confident and presumptuous, only stimulated him
+to greater assiduity, and he pursued his studies with such patient and
+constant application, that he made such progress as to win the
+admiration of some of his cotemporaries, and to beget the hatred of
+others. He contracted a friendship with Albano, and on leaving the
+school of the Caracci, they visited together, Parma, Modena, and Reggio,
+to contemplate the works of Correggio and Parmiggiano. On their return
+to Bologna, Albano went to Rome, whither Domenichino soon followed him,
+and commenced his bright career.
+
+The student may learn a useful lesson from the untiring industry,
+patience, and humility of this great artist. Passeri attributes his
+grand achievements more to his amazing study than to his genius; and
+some have not hesitated to deny that he possessed any genius at all--an
+opinion which his works abundantly refute. Lanzi says, "From his acting
+as a continual censor of his own productions, he became among his fellow
+pupils the most exact and expressive designer, his colors most true to
+nature, and of the best _impasto_, the most universal master in the
+theory of his art, the sole painter amongst them all in whom Mengs found
+nothing to desire except a little more elegance. That he might devote
+his whole being to the art, he shunned all society, or if he
+occasionally sought it in the public theatres and markets, it was in
+order better to observe the play of nature's passions in the features of
+the people--those of joy, anger, grief, terror, and every affection of
+the mind, and commit it living to his tablets. Thus it was, exclaims
+Bellori, that he succeeded in delineating the soul, in coloring life,
+and raising those emotions in our breasts at which his works all aim; as
+if he waved the same wand which belonged to the poetical enchanters,
+Tasso and Ariosto."
+
+
+DOMENICHINO'S SCOURGING OF ST. ANDREW.
+
+Domenichino was employed by the Cardinal Borghese, to paint in
+competition with Guido, the celebrated frescos in the church of S.
+Gregorio at Rome. Both artists painted the same subject, but the former
+represented the _Scourging of St. Andrew_, and the latter _St. Andrew
+led away to the Gibbet_. Lanzi says it is commonly reported that an aged
+woman, accompanied by a little boy, was seen long wistfully engaged in
+viewing Domenichino's picture, showing it part by part to the boy, and
+next, turning to that of Guido, painted directly opposite, she gave it a
+cursory glance and passed on. Some assert that Annibale Caracci took
+occasion, from this circumstance, to give his preference to the former
+picture. It is also related that while Domenichino was painting one of
+the executioners, he actually threw himself into a passion, using high
+threatening words and actions, and that Annibale, surprising him at that
+moment, embraced him, exclaiming, "To-day, my Domenichino, thou art
+teaching me"--so novel, and at the same time so natural did it appear to
+him, that the artist, like the orator, should feel within himself all
+that he would represent to others.
+
+
+THE COMMUNION OF ST. JEROME.
+
+The chef-d'oeuvre of Domenichino is the dying St. Jerome receiving the
+last rites of his church, commonly called the Communion of St. Jerome,
+painted for the principal altar of St. Girolamo della Carita. This work
+has immortalized his name, and is universally allowed to be the finest
+picture Rome can boast after the Transfiguration of Raffaelle. It was
+taken to Paris by Napoleon, restored in 1815 by the Allies, and has
+since been copied in mosaic, to preserve so grand a work, the original
+having suffered greatly from the effects of time. Lanzi says, "One great
+attraction in the church paintings of Domenichino, consists in the glory
+of the angels, exquisitely beautiful in feature, full of lively action,
+and so introduced as to perform the most gracious offices in the piece,
+as the crowning of martyrs, the bearing of palms, the scattering of
+roses, weaving the mazy dance, and making sweet melodies."
+
+
+DOMENICHINO'S ENEMIES AT ROME.
+
+The reputation which Domenichino had justly acquired at Rome had excited
+the jealousy of some of his cotemporaries, and the applause bestowed
+upon his Communion of St. Jerome, only served to increase it. The Cav.
+Lanfranco in particular, one of his most inveterate enemies, asserted
+that the Communion of St. Jerome was little more than a copy of the same
+subject by Agostino Caracci, at the Certosa at Bologna, and he employed
+Perrier, one of his pupils, to make an etching from the picture by
+Agostino. But this stratagem, instead of confirming the plagiarism,
+discovered the calumny, as it proved that there was no more resemblance
+between the two works than must necessarily result in two artists
+treating the same subject, and that every essential part, and all that
+was admired was entirely his own. If it had been possible for modest
+merit to have repelled the shafts of slander, the work which he executed
+immediately afterwards in the church of S. Lodovico, representing the
+life of St. Cecilia, would have silenced the attacks of envy and
+malevolence; but they only tended to increase the alarm of his
+competitors, and excite them to redoubled injustice and malignity.
+Disgusted with these continued cabals, Domenichino quitted Rome, and
+returned to Bologna, where he resided several years in the quiet
+practice of his profession, and executed some of his most admired works,
+particularly the Martyrdom of St. Agnes for the church of that Saint,
+and the Madonna del Rosario, both of which were engraved by Gerard
+Audran, and taken to Paris and placed in the Louvre by order of
+Napoleon. The fame of Domenichino was now so well established that
+intrigue and malice could not suppress it, and Pope Gregory XV. invited
+him back to Rome, and appointed him principal painter, and architect to
+the pontifical palace.
+
+
+DECISION OF POSTERITY ON THE MERITS OF DOMENICHINO.
+
+"The public," says Lanzi, "is an equitable judge; but a good cause is
+not always sufficient without the advantage of many voices to sustain
+it. Domenichino, timid, retiring, and master of few pupils, was
+destitute of a party equal to his cause. He was constrained to yield to
+the crowd that trampled upon him, thus verifying the prediction of
+Monsignore Agucchi, that his merits would never be rightly appreciated
+during his life-time. The spirit of party having passed away, impartial
+posterity has rendered him justice; nor is there a royal gallery but
+confesses an ambition to possess his works. His figure pieces are in the
+highest esteem, and command enormous prices."
+
+
+PROOF OF THE MERITS OF DOMENICHINO.
+
+No better proof of the exalted merits of Domenichino can be desired,
+than the fact that upwards of fifty of his works have been engraved by
+the most renowned engravers, as Gerard Audran, Raffaelle Morghen, Sir
+Robert Strange, C. F. von Muller, and other illustrious artists; many of
+these also have been frequently repeated.
+
+
+DOMENICHINO'S CARICATURES.
+
+While Domenichino was in Naples, he was visited by his biographer
+Passeri, then a young man, who was engaged to assist in repairing the
+pictures in the Cardinal's chapel. "When he arrived at Frescati," says
+Passeri, "Domenichino received me with much courtesy, and hearing that I
+took a singular delight in the belles-lettres, it increased his kindness
+to me. I remember that I gazed on this man as though he were an angel. I
+remained there to the end of September, occupied in restoring the
+chapel of St. Sebastian, which had been ruined by the damp. Sometimes
+Domenichino would join us, singing delightfully to recreate himself.
+When night set in, we returned to our apartment; while he most
+frequently remained in his room, occupied in drawing, and permitting
+none to see him. Sometimes, however, to pass the time, he drew
+caricatures of us all, and of the inhabitants of the villa. When he
+succeeded to his perfect satisfaction, he was wont to indulge in
+immoderate fits of laughter; and we, who were in the adjoining room,
+would run in to know his reason, when he showed us his spirited
+sketches. He drew a caricature of me with a guitar, one of Carmini (the
+painter), and one of the Guarda Roba, who was lame of the gout; and of
+the Sub-guarda Roba, a most ridiculous figure--to prevent our being
+offended, he caricatured himself. These portraits are now preserved by
+Signor Giovanni Pietro Bellori."
+
+
+INTRIGUES OF THE NEAPOLITAN TRIUMVIRATE OF PAINTERS.
+
+The conspiracy of Bellisario Corenzio, Giuseppe Ribera, and Gio.
+Battista Caracciolo, called the Neapolitan Triumvirate of Painters, to
+monopolize to themselves all valuable commissions, and particularly the
+honor of decorating the chapel of St. Januarius, is one of the most
+curious passages in the history of art. The following is Lanzi's account
+of this disgraceful cabal:
+
+"The three masters whom I have just noticed in successive order,
+(Corenzio, Ribera, and Caracciolo) were the authors of the unceasing
+persecutions which many of the artists who had come to, or were invited
+to Naples, were for several years subjected to. Bellisario had
+established a supreme dominion, or rather a tyranny, over the Neapolitan
+painters, by calumny and insolence, as well as by his station. He
+monopolized all lucrative commissions to himself, and recommended, for
+the fulfilment of others, one or other of the numerous and inferior
+artists that were dependent on him. The Cav. Massimo Stanziozi,
+Santafede, and other artists of talent, if they did not defer to him,
+were careful not to offend him, as they knew him to be a man of a
+vindictive temper, treacherous, and capable of every violence, and who
+was known, through jealousy, to have administered poison to Luigi
+Roderigo, the most promising and the most amiable of his scholars.
+
+"Bellisario, in order to maintain himself in his assumed authority,
+endeavored to exclude all strangers who painted in fresco rather than in
+oil. Annibale Caracci arrived there in 1609, and was engaged to ornament
+the churches of Spirito Santo and Gesu Nuovo, for which, as a specimen
+of his style, he painted a small picture. The Greek and his adherents
+being required to give their opinion on this exquisite production,
+declared it to be tasteless, and decided that the painter of it did not
+possess talent for large compositions. This divine artist in
+consequence took his departure under a burning sun, for Rome, where he
+soon afterwards died. But the work in which strangers were the most
+opposed was the chapel of S. Gennaro, which a committee had assigned to
+the Cav. d'Arpino, as soon as he should finish painting the choir of the
+Certosa. Bellisorio, leaguing with Spagnoletto (like himself a fierce
+and ungovernable man) and with Caracciolo, who aspired to this
+commission, persecuted Cesari in such a manner, that before he had
+finished the choir he fled to Monte Cassino, and from thence returned to
+Rome. The work was then given to Guido, but after a short time two
+unknown persons assaulted the servant of that artist, and at the same
+time desired him to inform his master that he must prepare himself for
+death, or instantly quit Naples, with which latter mandate Guido
+immediately complied. Gessi, the scholar of Guido, was not however
+intimidated by this event, but applied for, and obtained the honorable
+commission, and came to Naples with two assistants, Gio. Batista
+Ruggieri and Lorenzo Menini. But these artists were scarcely arrived,
+when they were treacherously invited on board a galley, which
+immediately weighed anchor and carried them off, to the great dismay of
+their master, who although he made the most diligent inquiries both at
+Rome and Naples, could never procure any tidings of them.
+
+"Gessi in consequence also taking his departure, the committee lost all
+hope of succeeding in their task, and were in the act of yielding to
+the reigning cabal, assigning the fresco work to Corenzio and
+Caracciolo, and promising the pictures to Spagnoletto, when suddenly
+repenting of their resolution, they effaced all that was painted of the
+two frescos, and intrusted the decoration of the chapel entirely to
+Domenichino. It ought to be mentioned to the honor of these munificent
+persons, that they engaged to pay for every entire figure, 100 ducats,
+for each half-figure 50 ducats, and for each head 25 ducats. They took
+precautions also against any interruption to the artist, threatening the
+Viceroy's high displeasure if he were in any way molested. But this was
+only matter of derision to the junta. They began immediately to cry him
+down as a cold and insipid painter, and to discredit him with those, the
+most numerous class in every place, who see only with the eyes of
+others. They harassed him by calumnies, by anonymous letters, by
+displacing his pictures, by mixing injurious ingredients with his
+colors, and by the most insidious malice they procured some of his
+pictures to be sent by the viceroy to the court of Madrid; and these,
+when little more than sketched, were taken from his studio and carried
+to the court, where Spagnoletto ordered them to be retouched, and,
+without giving him time to finish them, hurried them to their
+destination. This malicious fraud of his rival, the complaints of the
+committee, who always met with some fresh obstacle to the completion of
+the work, and the suspicion of some evil design, at last determined
+Domenichino to depart secretly to Rome. As soon however as the news of
+his flight transpired, he was recalled, and fresh measures taken for his
+protection; when he resumed his labors, and decorated the walls and base
+of the cupola, and made considerable progress in the painting of his
+pictures.
+
+"But before he could finish his task he was interrupted by death,
+hastened either by poison, or by the many severe vexations he had
+experienced both from his relatives and his adversaries, and the weight
+of which was augmented by the arrival of his former enemy Lanfranco.
+This artist superceded Zampieri in the painting of the basin of the
+chapel; Spagnoletto, in one of his oil pictures; Stanzioni in another;
+and each of these artists, excited by emulation, rivaled, if he did not
+excel, Domenichino. Caracciolo was dead. Bellisario, from his great age,
+took no share in it, and was soon afterwards killed by a fall from a
+stage, which he had erected for the purpose of retouching some of his
+frescos. Nor did Spagnoletto experience a better fate; for, having
+seduced a young girl, and become insupportable even to himself from the
+general odium which he experienced, he embarked on board a ship; nor is
+it known whither he fled, or how he ended his life, if we may credit the
+Neapolitan writers. Palomino, however, states him to have died in Naples
+in 1656, aged sixty-seven, though he does not contradict the first part
+of our statement. Thus these ambitious men, who by violence or fraud
+had influenced and abused the generosity and taste of so many noble
+patrons, and to whose treachery and sanguinary vengeance so many
+professors of the art had fallen victims, ultimately reaped the merited
+fruit of their conduct in a violent death; and an impartial posterity,
+in assigning the palm of merit to Domenichino, inculcates the maxim,
+that it is a delusive hope to attempt to establish fame and fortune on
+the destruction of another's reputation."
+
+
+GIUSEPPE RIBERA, CALLED IL SPAGNOLETTO--HIS EARLY POVERTY AND INDUSTRY.
+
+Jose Ribera, a native of Valencia in Spain, studied for some time under
+Francisco Ribalta, and afterwards found his way to Italy. At the age of
+sixteen, he was living in Rome, in a very destitute condition;
+subsisting on crusts, clothed in rags, yet endeavoring with unswerving
+diligence to improve himself in art by copying the frescos on the
+facades of palaces, or at the shrines on the corners of the streets. His
+poverty and industry attracted the notice of a compassionate Cardinal,
+who happened to see him at work from his coach-window; and he provided
+the poor boy with clothes, and food, and lodging in his own palace.
+Ribera soon found, however, that to be clad in good raiment, and to fare
+plentifully every day, weakened his powers of application; he needed
+the spur of want to arouse him to exertion; and therefore, after a short
+trial of a life in clover, beneath the shelter of the purple, he
+returned to his poverty and his studies in the streets. The Cardinal was
+at first highly incensed at his departure, and when he next saw him,
+rated him soundly as an ungrateful little Spaniard; but being informed
+of his motives, and observing his diligence, his anger was turned to
+admiration. He renewed his offers of protection, which, however, Ribera
+thankfully declined.
+
+
+RIBERA'S MARRIAGE.
+
+Ribera's adventure with the Cardinal, and his abilities, soon
+distinguished him among the crowd of young artists in Rome. He became
+known by the name which still belongs to him, Il Spagnoletto, (the
+little Spaniard,) and as an imitator of Michael Angelo Caravaggio, the
+bold handling of whose works, and their powerful effects of light and
+shade, pleased his vigorous mind. Finding Rome overstocked with artists,
+he went to Naples, where he made the acquaintance of a rich
+picture-dealer. The latter was so much pleased with Ribera's genius,
+that be offered him his beautiful and well-dowered daughter in marriage.
+The Valencian, not less proud than poor, at first resented this proposal
+as an unseasonable pleasantry upon his forlorn condition; but at last
+finding that it was made in good faith, he took "the good the gods
+provided," and at once stepped from solitary indigence into the
+possession of a handsome wife, a comfortable home, a present field of
+profitable labor, and a prospect of future opulence.
+
+
+RIBERA'S RISE TO EMINENCE.
+
+Ease and prosperity now rather stimulated than relaxed his exertions.
+Choosing for his subject the Flaying of St. Bartholomew, he painted that
+horrible martyrdom with figures of life-size, so fearfully truthful to
+nature that when exposed to the public in the street, it immediately
+attracted a crowd of shuddering gazers. The place of exhibition being
+within view of the royal palace, the eccentric Viceroy, Don Pedro de
+Giron, Duke of Ossuna, who chanced to be taking the air on his balcony,
+inquired the cause of the unusual concourse, and ordered the picture and
+the artist to be brought into his presence. Being well pleased with
+both, he purchased the one for his own gallery, and appointed the other
+his court painter, with a monthly salary of sixty doubloons, and the
+superintendence of all decorations in the palace.
+
+
+RIBERA'S DISCOVERY OF THE PHILOSOPHER'S STONE.
+
+Ribera seems to have been a man of considerable social talent, lively in
+conversation, and dealing in playful wit and amusing sarcasm. Dominici
+relates that two Spanish officers, visiting at his house one day,
+entered upon a serious discussion on the subject of alchemy. The host,
+finding their talk some what tedious, gravely informed them that he him
+self happened to be in possession of the philosopher's stone, and that
+they might, if they pleased, see his way of using it, the next morning
+at his studio. The military adepts were punctual to their appointment,
+and found their friend at work, not in a mysterious laboratory, but at
+his easel, on a half-length picture of St. Jerome. Entreating them to
+restrain their eagerness, he painted steadily on, finished his picture,
+sent it out by his servant, and received a small rouleau in return. This
+he broke open in the presence of his visitors, and throwing ten gold
+doubloons on the table, said, "Learn of me how gold is to be made; I do
+it by painting, you by serving his majesty--diligence in business is the
+only true alchemy." The officers departed somewhat crest-fallen, neither
+relishing the jest, nor likely to reap any benefit from it.
+
+
+RIBERA'S SUBJECTS.
+
+His subjects are generally austere, representing anchorets, prophets,
+apostles, &c., and frequently of the most revolting character, such as
+sanguinary executions, martyrdoms, horrid punishments, and lingering
+torments, which he represented with a startling fidelity that
+intimidates and shocks the beholder. His paintings are very numerous,
+and his drawings and etchings are highly esteemed by connoisseurs.
+
+
+RIBERA'S DISPOSITION.
+
+The talents of this great painter, seem to have been obscured by a cruel
+and revengeful disposition, partaking of the character of his works. He
+was one of the triumvirate of painters, who assassinated, persecuted, or
+drove every talented foreign painter from Naples, that they might
+monopolize the business. He was also a reckless libertine, and,
+according to Dominici, having seduced a beautiful girl, he was seized
+with such remorse for his many crimes, as to become insupportable to
+himself; and to escape the general odium which was heaped upon him, he
+fled from Naples on board a ship, and was never heard of more. This
+story however is doubtless colored, for, according to Palomino and
+several other writers, Ribera died at Naples in 1656. See page 132 of
+this volume.
+
+
+SINGULAR PICTORIAL ILLUSIONS.
+
+Over a certain fountain in Rome, there was a cornice so skilfully
+painted, that the birds were deceived, and trying to alight on it,
+frequently fell into the water beneath. Annibale Caracci painted some
+ornaments on a ceiling of the Farnese palace, which the Duke of Sessa,
+Spanish ambassador to the Pope, took for sculptures, and would not
+believe they were painted on a flat ground, until he had touched them
+with a lance. Agostino Caracci painted a horse, which deceived the
+living animal--a triumph so celebrated in Apelles. Juan Sanchez Cotan,
+painted at Granada a "Crucifixion," on the cross of which Palomino says
+birds often attempted to perch, and which at first sight the keen-eyed
+Cean Bermudez mistook for a piece of sculpture. The reputation of this
+painter stood so high, that Vincenzio Carducci traveled from Madrid to
+Granada on purpose to see him; and he is said to have recognized him
+among the white-robed fraternity of which he was a member, by observing
+in the expression of his countenance, a certain affinity to the spirit
+of his works.
+
+It is related of Murillo's picture of St. Anthony of Padua, that the
+birds, wandering up and down the aisles of the cathedral at Seville,
+have often attempted to perch upon a vase of white lilies painted on a
+table in the picture, and to peck at the flowers. The preeminent modern
+Zeuxis, however, was Pierre Mignard, whose portrait of the Marquise de
+Gouvernet was accosted by that lady's pet parrot, with an affectionate
+"_Baise moi, ma maitresse!_"
+
+
+RAFFAELLE'S SKILL IN PORTRAITS.
+
+Raffaelle was transcendant not only in history, but in portrait. His
+portraits have deceived even persons most intimately acquainted with the
+originals. Lanzi says he painted a picture of Leo X. so full of life,
+that the Cardinal Datary approached it with a bull and pen and ink, for
+the Pope's signature. A similar story is related of Titian.
+
+
+JACOPO DA PONTE.
+
+Count Algarotti relates, that Annibale Caracci was so deceived by a book
+painted upon a table by Jacopo da Ponte, that he stretched out his hand
+to take it up. Bassano was highly honored by Paul Veronese, who placed
+his son Carletto under him as a pupil, to receive his general
+instructions, "and more particularly in regard to that just disposition
+of lights reflected from one object to another, and in those happy
+counterpositions, owing to which the depicted objects seemed clothed
+with a profusion of light."
+
+
+GIOVANNI ROSA.
+
+Giovanni Rosa, a Fleming who flourished at Rome in the first part of the
+seventeenth century, was famous for his pictures of animals. "He painted
+hares so naturally as to deceive the dogs, which would rush at them
+furiously, thus renewing the wonderful story of Zeuxis and his Grapes,
+so much boasted of by Pliny."
+
+
+CAV. GIOVANNI CONTARINI.
+
+This artist was a close imitator of Titian. He was extremely accurate in
+his portraits, which he painted with force, sweetness, and strong
+likeness. He painted a portrait of Marco Dolce, and when the picture was
+sent home, his dogs began to fawn upon it, mistaking it for their
+master.
+
+
+GUERCINO'S POWER OF RELIEF.
+
+The style of Guercino displays a strong contrast of light and shadow,
+both exceedingly bold, yet mingled with great sweetness and harmony, and
+a powerful effect in relief, a branch of art so much admired by
+professors. "Hence," says Lanzi, "some foreigners bestowed upon him the
+title of the Magician of Italian painting, for in him were renewed those
+celebrated illusions of antiquity. He painted a basket of grapes so
+naturally that a ragged urchin stretched out his hand to steal some of
+the fruit. Often, in comparing the figures of Guido with those of
+Guercino, one would say that the former had been fed with roses, and the
+latter with flesh, as observed by one of the ancients."
+
+
+BERNAZZANO.
+
+Lanzi says, "In painting landscape, fruit, and flowers, Bernazzano
+succeeded so admirably as to produce the same wonderful effects that are
+told of Zeuxis and Apelles in Greece. These indeed Italian artists have
+frequently renewed, though with a less degree of applause. Having
+painted a strawberry-bed in a court yard, the pea-fowls were so
+deceived by the resemblance, that they pecked at the wall till they had
+destroyed the painting. He painted the landscape part of a picture of
+the Baptism of Christ, and on the ground drew some birds in the act of
+feeding. On its being placed in the open air, the birds were seen to fly
+towards the picture, to join their companions. This beautiful picture is
+one of the chief ornaments in the gallery of the distinguished family of
+the Trotti at Milan."
+
+
+INVENTION OF OIL PAINTING.
+
+There has been a world of discussion on this subject, but there can be
+no doubt that John van Eyck, called John of Bruges, and by the Italians,
+Giovanni da Bruggia, and Gio. Abeyk or Eyck, is entitled to the honor of
+the invention of Oil Painting as applied to pictures, though Mr. Raspe,
+the celebrated antiquary, in his treatise on the invention of Oil
+Painting, has satisfactorily proved that Oil Painting was practised in
+Italy as early as the 11th century, but only as a means of protecting
+metalic substances from rust.
+
+According to van Mander, the method of painting in Flanders previous to
+the time of the van Eycks, was with gums, or a preparation called
+egg-water, to which a kind of varnish was afterwards applied in
+finishing, which required a certain degree of heat to dry. John van Eyck
+having worked a long time on a picture and finished it with great care,
+placed it in the sun-shine to dry, when the board on which it was
+painted split and spoiled the work. His disappointment at seeing so much
+labor lost, urged him to attempt the discovery, by his knowledge of
+chemistry, of some process which would not in future expose him to such
+an unfortunate accident. In his researches, he discovered the use of
+linseed and nut oil, which he found most siccative. This is generally
+believed to have happened about 1410. There is however, a great deal of
+contradiction among writers as to the van Eycks, no two writers being
+found to agree. Some assert that John van Eyck introduced his invention
+both into Italy and Spain, while others declare that he never left his
+own country, which would seem to be true. Vasari, the first writer on
+Italian art, awards the invention to Giovanni da Bruggia, and gives an
+account of its first introduction into Italy by Antonello da Messina, as
+we shall presently see. But Dominici asserts that oil painting was known
+and practised at Naples by artists whose names had been forgotten long
+before the time of van Eyck. Many other Italian writers have engaged in
+the controversy, and cited many instances of pictures which they
+supposed to have been painted in oil at Milan, Pisa, Naples, and
+elsewhere, as early as the 13th, 12th, and even the 9th centuries. But
+to proceed with the brothers van Eyck, John and Hubert--they generally
+painted in concert till the death of Hubert, and executed many works in
+oil, which were held in the highest estimation at the time when they
+flourished. Their most important work was an altar-piece, with folding
+doors, painted for Jodocus Vyts, who placed it in the church of St.
+Bavon at Ghent. The principal picture in this curious production
+represents the Adoration of the Lamb as described by St. John in the
+Revelations. On one of the folding doors is represented Adam and Eve,
+and on the other, St. Cecilia. This extraordinary work contains over
+three hundred figures, and is finished with the greatest care and
+exactness. It was formerly in the Louvre, but it is now unfortunately
+divided into two parts, one of which is at Berlin, and the other at
+Ghent. Philip I. of Spain desired to purchase it, but finding that
+impracticable, he employed Michael Coxis to copy it, who spent two years
+in doing: it, for which he received 4,000 florins. The king placed this
+copy in the Escurial, and this probably gave rise to the story that John
+van Eyck visited Spain and introduced his discovery into that country.
+In the sacristy of the cathedral at Bruges is preserved with great
+veneration, a picture painted by John van Eyck, after the death of
+Hubert, representing the Virgin and Infant, with St. George, St.
+Donatius, and other saints. It is dated 1436. John died in 1441.
+
+According to Vasari, the fame of Masaccio drew Antonello da Messina to
+Rome; from thence he proceeded to Naples, where he saw some oil
+paintings by John van Eyck, which had been brought to Naples from
+Flanders, by some Neapolitan merchants, and presented or sold to
+Alphonso I., King of Naples. The novelty of the invention, and the
+beauty of the coloring inspired Antonello with so strong a desire to
+become possessed of the secret, that he went to Bruges, and so far
+ingratiated himself into the favor of van Eyck, then advanced in years,
+that he instructed him in the art. Antonello afterwards returned to
+Venice, where he secretly practised the art for some time, communicating
+it only to Domenico Veneziano, his favorite scholar. Veneziano settled
+at Florence, where his works were greatly admired both on account of
+their excellence and the novelty of the process. Here he unfortunately
+formed a connexion with Andrea del Castagno, an eminent Tuscan painter,
+who treacherously murdered Domenico, that he might become, as he
+supposed, the sole possessor of the secret. Castagno artfully concealed
+the atrocious deed till on his death-bed, when struck with remorse, he
+confessed the crime for which innocent persons had suffered. Vasari also
+says that Giovanni Bellini obtained the art surreptitiously from
+Messina, by disguising himself and sitting for his portrait, thus
+gaining an opportunity to observe his method of operating; but Lanzi has
+shown that Messina made the method public on receiving a pension from
+the Venetian Senate. Many writers have appeared, who deny the above
+statement of Vasari; but Lanzi, who carefully investigated the whole
+subject, finds no just reason to claim for his countrymen priority of
+the invention, or to doubt the correctness of Vasari's statement in the
+main. Those old paintings at Milan, Pisa, Naples, Vienna, and elsewhere,
+have been carefully examined and proved to have been painted in
+encaustic or distemper. This subject will be found fully discussed in
+Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects,
+under the articles John and Hubert van Eyck, Antonello da Messina,
+Domenico Veneziano, Andrea del Castagno, and Roger of Bruges.
+
+
+FORESHORTENING.
+
+Foreshortening is the art of representing figures and objects as they
+appear to the eye, viewed in positions varying from the perpendicular.
+The meaning of the term is exemplified in the celebrated Ascension, in
+the Pieta de Tarchini, at Naples, by Luca Giordano, in which the body of
+Christ is so much foreshortened, that the toes appear to touch the
+knees, and the knees the chin. This art is one of the most difficult in
+painting, and though absurdly claimed as a modern invention, was well
+known to the ancients. Pliny speaks expressly of its having been
+practised by Parrhasius and Pausias. Many writers erroneously attribute
+the invention to Correggio; but Lanzi says, "it was discovered and
+enlarged by Melozzo da Forli, improved by Andrea Mantegna and his
+school, and perfected by Correggio and others." About the year 1472,
+Melozzo painted his famous fresco of the Ascension in the great chapel
+of the Santi Apostoli at Rome. Vasari says of this work, "the figure of
+Christ is so admirably foreshortened, as to appear to pierce the vault;
+and in the same manner, the Angels are seen sweeping through the fields
+of air in different directions." This work was so highly esteemed that
+when the chapel was rebuilt in 1711, the painting was cut out of the
+ceiling with the greatest care, and placed in the Quirinal palace, where
+it is still preserved.
+
+
+METHOD OF TRANSFERRING PAINTINGS FROM WALLS AND PANELS TO CANVASS.
+
+According to Lanzi, Antonio Contri discovered a valuable process, by
+means of which he was enabled to transfer fresco paintings from walls to
+canvass, without the least injury to the work, and thus preserved many
+valuable paintings by the great masters, which obtained him wide
+celebrity and profitable employment. For this purpose, he spread upon a
+piece of canvass of the size of the painting to be transferred, a
+composition of glue or bitumen, and placed it upon the picture. When
+this was sufficiently dry, he beat the wall carefully with a mallet, cut
+the plaster around it, and applied to the canvass a wooden frame, well
+propped, to sustain it, and then, after a few days, cautiously removed
+the canvass, which brought the painting with it; and having extended it
+upon a smooth table he applied to the back of it another canvass
+prepared with a more adhesive composition than the former. After a few
+days, he examined the two pieces of canvass, detached the first by means
+of warm water, which left the whole painting upon the second as it was
+originally upon the wall.
+
+Contri was born at Ferrara about 1660, and died in 1732. Palmaroli, an
+Italian painter of the present century, rendered his name famous, and
+conferred a great benefit on art by his skill in transferring to canvass
+some of the frescos and other works of the great masters. In 1811 he
+transferred the famous fresco of the Descent from the Cross by Daniello
+da Volterra (erroneously said, as related above, to have been the first
+effort of the kind), which gained him immense reputation. He was
+employed to restore a great number of works at Rome, and in other
+places. He was invited to Germany, where, among other works, he
+transferred the Madonna di San Sisto, by Raffaelle, from the original
+panel, which was worm-eaten and decayed, and thus preserved one of the
+most famous works of that prince of painters. At the present time, this
+art is practised with success in various European cities, particularly
+in London and Paris.
+
+
+WORKS IN SCAGLIOLA.
+
+Guido Fassi, called del Conte, a native of Carpi, born in 1584, was the
+inventor of a valuable kind of work in imitation of marble, called by
+the Italians _Scagliola_ or _Mischia_, which was subsequently carried to
+great perfection, and is now largely employed in the imitation of works
+in marble. The stone called _selenite_ forms the principal ingredient.
+This is pulverized, mixed with colors and certain adhesive substances
+which gradually become as hard as stone, capable of receiving a high
+polish. Fassi made his first trials on cornices, and gave them the
+appearance of fine marble, and there remain two altar-pieces by him in
+the churches of Carpi. From him, the method rapidly spread over Italy,
+and many artists engaged in this then new art. Annibale Griffoni, a
+pupil of Fassi, applied the art to monuments. Giovanni Cavignani, also a
+pupil of Fassi, far surpassed his master, and executed an altar of St.
+Antonio, for the church of S. Niccolo, at Carpi, which is still pointed
+out as something extraordinary. It consists of two columns of porphyry
+adorned with a pallium, covered with lace, which last is an exact
+imitation of the covering of an altar, while it is ornamented in the
+margin with medals, bearing beautiful figures. In the Cathedral at
+Carpi, is a monument by one Ferrari, which so perfectly imitates marble
+that it cannot be distinguished from it, except by fracture. It has the
+look and touch of marble. Lanzi, from whom these facts are obtained,
+says that these artists ventured upon the composition of pictures,
+intended to represent engravings as well as oil paintings, and that
+there are several such works, representing even historical subjects, in
+the collections of Carpi. Lanzi considers this art of so much
+importance, that he thus concludes his article upon it: "After the
+practice of modeling had been brought to vie with sculpture, and after
+engraving upon wood had so well counterfeited works of design, we have
+to record this third invention, belonging to a State of no great
+dimensions. Such a fact is calculated to bring into higher estimation
+the geniuses who adorned it. There is nothing of which man is more
+ambitious, than of being called an inventor of new arts; nothing is more
+flattering to his intellect, or draws a broader line between him and the
+animals. Nothing was held in higher reverence by the ancients, and hence
+it is that Virgil, in his Elysian Fields, represented the band of
+inventors with their brows bound with white chaplets, equally distinct
+in merit as in rank, from the more vulgar shades around them."
+
+
+THE GOLDEN AGE OF PAINTING.
+
+"We have now arrived," says Lanzi, "at the most brilliant period of the
+Roman school, and of modern painting itself. We have seen the art
+carried to a high degree of perfection by Da Vinci and Buonarotti, at
+the beginning of the sixteenth century, and it is remarkable that the
+same period embraces not only Rafaelle, but also Correggio, Giorgione,
+Titian, and the most celebrated Venetian painters; so that a man
+enjoying the common term of life might have seen the works of all these
+illustrious masters. The art in a few years thus reached a height to
+which it had never before attained, and which has never been rivalled,
+except in the attempt to imitate these early masters, or to unite in one
+style their various and divided excellencies. It seems an ordinary law
+of providence that individuals of consummate genius should be born and
+flourish at the same period, or at least at short intervals from each
+other, a circumstance of which Velleius Paterculus protested he could
+never discover the real cause. 'I observe,' he says, 'men of the same
+commanding genius making their appearance together, in the smallest
+possible space of time; as it happens in the case of animals of
+different kinds, which, confined in a close place, nevertheless, each
+selects its own class, and those of a kindred race separate themselves
+from the rest. A single age sufficed to illustrate Tragedy, in the
+persons of AEschylus, Sophocles, and Euripides: ancient comedy under
+Cratinus, Aristophanes, and Eumolpides, and in like manner the new
+comedy under Menander, Diphilus, and Philemon. There appeared few
+philosophers of note after the days of Plato and Aristotle, and whoever
+has made himself acquainted with Isocrates and his school, is acquainted
+with the summit of Grecian eloquence.' The same remark applies to other
+countries. The great Roman writers are included under the single age of
+Octavius: Leo X. was the Augustus of modern Italy; the reign of Louis
+XIV. was the brilliant period of French letters; that of Charles II. of
+the English."
+
+This rule applies equally to the fine arts. _Hoc idem_, proceeds
+Velleius, _evenisse plastis, pictoribus, sculptoribus, quisquis temporum
+institerit notis reperiet, et eminentiam cujusque operis artissimis
+temporum claustris circumdatum_. Of this union of men of genius in the
+same age, _Causus_, he says, _quum sempre requiro, numquam invenio quas
+veras confidam_. It seems to him probable that when a man finds the
+first station in art occupied by another, he considers it as a post that
+has been rightfully seized on, and no longer aspires to the possession
+of it, but is humiliated, and contented to follow at a distance. But
+this solution does not satisfy my mind. It may indeed account to us why
+no other Michael Angelo, or Raffaelle, has ever appeared; but it does
+not satisfy me why these two, and the others before mentioned, should
+all have appeared in the same age. I am of opinion that the age is
+always influenced by certain principles, universally adopted both by
+professors of the art, and by amateurs; which principles happening at a
+particular period to be the most just and accurate of their kind,
+produce in that age some preeminent professors, and a number of good
+ones. These principles change through the instability of all human
+affairs, and the age partakes in the change. I may add that these happy
+periods never occur without the circumstance of a number of princes and
+influential individuals rivalling each other in the encouragement of
+works of taste; and amidst these there always arise persons of
+commanding genius, who give a bias and tone to art. The history of
+sculpture in Athens, where munificence and taste went hand in hand,
+favors my opinion, and it is confirmed by this golden period of Italian
+art. Nevertheless, I do not pretend to give a verdict on this important
+question, but leave the decision of it to a more competent tribunal.
+
+
+GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.
+
+"The reign of Augustus was the golden age of science and the fine arts.
+Grecian architecture at that period was so encouraged at Rome, that
+Augustus could with reason boast of having left a city of marble where
+he had found one of brick. In the time of the Caesars, fourteen
+magnificent aqueducts, supported by immense arches, conducted whole
+rivers to Rome, from a distance of many miles, and supplied 150 public
+fountains, 118 large public baths, besides the water necessary for those
+artificial seas in which naval combats were represented: 100,000 statues
+ornamented the public squares, the temples, the streets, and the houses;
+90 colossal statues raised on pedestals; 48 obelisks of Egyptian
+granite, besides, adorned various parts of the city; nor was this
+stupendous magnificence confined to Rome, or even to Italy. All the
+provinces of the vast empire were embellished by Augustus and his
+successors, by the opulent nobles, by the tributary kings and the
+allies, with temples, circuses, theatres, palaces, aqueducts,
+amphitheatres, bridges, baths, and new cities. We have, unfortunately,
+but scanty memorials of the architects of those times; and, amidst the
+abundance of magnificent edifices, we search in vain for the names of
+those who erected them. However much the age of Augustus may be exalted,
+we cannot think it superior, or even equal to that of Alexander: the
+Romans were late in becoming acquainted with the arts; they cultivated
+them more from pride and ostentation than from feeling. Expensive
+collections were frequently made, without the possessors understanding
+their value; they knew only that such things were in reputation, and, to
+render themselves of consequence, purchased on the opinion of others. Of
+this, the Roman history gives frequent proofs. Domitian squandered seven
+millions in gilding the temple of Jupiter Capitolinus only, bringing
+from Athens a number of columns of Pentelic marble, extremely beautiful,
+and of good proportion, but which were recut and repolished, and thus
+deprived of their symmetry and grace. If the Romans did possess any
+taste for the fine arts, they left the exercise of it to the
+conquered--to Greece, who had no longer her Solon, Lycurgus,
+Themistocles, and Epaminondas, but was unarmed, depressed, and had
+become the slave of Rome. 'Graecia capta ferum victorem cepit.' How poor
+are such triumphs to those gained by the fine arts! The means by which
+Greece acquired and maintained such excellence, is worthy of an inquiry.
+It is generally allowed that climate and government have a powerful
+influence on the intellect. Greece was peculiarly favored in these two
+points; her atmosphere was serene and temperate, and being divided into
+a number of small, but independent states, a spirit of emulation was
+excited, which continually called forth some improvement in the liberal
+arts. The study of these formed a principal branch of education in the
+academies and schools, to which none but the free youth were admitted.
+To learning alone was the tribute of applause offered. At those solemn
+festivals to which all Greece resorted, whoever had the plurality of
+votes was crowned in the presence of the whole assembly, and his efforts
+afterwards rewarded with an immense sum of money; sometimes a million of
+crowns. Statues, with inscriptions, were also raised to those who had
+thus distinguished themselves, and their works, or whatever resembled
+them, for ever after bore their names; distinctions far more flattering
+than any pecuniary reward. Meticus gave his to a square which he built
+at Athens, and the appellation of Agaptos was applied to the porticos of
+the stadium. Zeuxis, when he painted Helen, collected a number of
+beautiful women, as studies for his subject: when completed, the
+Agrigentines, who had ordered it, were so delighted with this
+performance, that they requested him to accept of five of the ladies.
+Thebes, and other cities, fined those that presented a bad work, and
+looked on them ever afterwards with derision. The applause bestowed on
+the best efforts, was repeated by the orators, the poets, the
+philosophers, and historians; the Cow of Miron, the Venus of Apelles,
+and the Cupid of Praxiteles, have exercised every pen. By these means
+Greece brought the fine arts to perfection; by neglecting them, Rome
+failed to equal her; and, by pursuing the same course, every country may
+become as refined as Greece."--_Milizia._
+
+
+NERO'S GOLDEN PALACE.
+
+According to Tacitus, Nero's famous golden palace was one of the most
+magnificent edifices ever built, and far surpassed all that was
+stupendous and beautiful in Italy. It was erected on the site of the
+great conflagration at Rome, which was attributed by many to the
+wickedness of the tyrant. His statue, 120 feet high, stood in the midst
+of a court, ornamented with porticos of three files of lofty columns,
+each full a mile long; the gardens were of vast extent, with vineyards,
+meadows, and woods, filled with every sort of domestic and wild animals;
+a pond was converted into a sea, surrounded by a sufficient number of
+edifices to form a city; pearls, gems, and the most precious materials
+were used everywhere, and especially gold, the profusion of which,
+within and without, and ever on the roofs, caused it to be called the
+Golden House; the essences and costly perfumes continually shed around,
+showed the extreme extravagance of the inhuman monster who seized on the
+wealth of the people to gratify his own desires. Among other curiosities
+was a dining-room, in which was represented the firmament, constantly
+revolving, imitative of the motion of the heavenly bodies; from it was
+showered down every sort of odoriferous waters. This great palace was
+completed by Otho, but did not long remain entire, as Vespasian restored
+to the people the lands of which Nero had unjustly deprived them, and
+erected in its place the mighty Colosseum, and the magnificent Temple of
+Peace.
+
+
+NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.
+
+According to Pliny, Saurus and Batrarchus, two Lacedemonian architects,
+erected conjointly at their own expense, certain temples at Rome, which
+were afterwards enclosed by Octavius. Not being allowed to inscribe
+their names, they carved on the pedestals of the columns a lizard and a
+frog, which indicated them--_Saurus_ signifying a lizard, and
+_Batrarchus_ a frog. Milizia says that in the church of S. Lorenzo there
+are two antique Ionic capitals with a lizard and a frog carved in the
+eyes of the volutes, which are probably those alluded to by Pliny,
+although the latter says _pedestal_. Modern painters and engravers have
+frequently adopted similar devices as a _rebus_, or enigmatical
+representation of their names. See Spooner's Dictionary of Painters,
+Engravers, Sculptors, and Architects; Key to Monograms and Ciphers, and
+the twenty-four plates.
+
+
+TRIUMPHAL ARCHES.
+
+Triumphal arches are monuments consisting of a grand portico or archway,
+erected at the entrance of a town, upon a bridge, or upon a public road,
+to the glory of some celebrated general, or in memory of some important
+event. The invention of these structures is attributed to the Romans.
+The earliest specimens are destitute of any magnificence. For a long
+time, they consisted merely of a plain arch, at the top of which was
+placed the trophies and statue of the triumpher. Subsequently the span
+was enlarged, the style enriched, and a profusion of all kinds of
+sculptures and ornaments heaped upon them. The triumphal arches varied
+greatly in point of construction, form, and decoration. The arch of
+Constantine at Rome is the best preserved of all the great antique
+arches; the Arch of Septimus Severus at the foot of the Capitoline hill,
+greatly resembles that of Constantine. The Arch of Titus is the most
+considerable at Rome. The Arch of Benvenuto, erected in honor of Trajan,
+is one of the most remarkable relics of antiquity, as well on account
+of its sculptures as its architecture. The Arch of Trajan at Ancona is
+also one of the most elegant works of the kind. The Arch of Rimini,
+erected in honor of Augustus, on the occasion of his repairing the
+Flaminian Way from that town to Rome, is the most ancient of all the
+antique arches, and from its size, one of the noblest existing. Many
+beautiful structures of this kind have been erected in modern times, but
+principally on the plan, and in imitation of some of the above
+mentioned. Ancient medals often bear signs of this species of
+architecture, and some of them represent arches that have ceased to
+exist for centuries. Triumphal arches seem to have been in use among the
+Chinese in very ancient times. Milizia says, "There is no country in the
+world in which those arches are so numerous as in China. They are found
+not only in the cities but on the mountains; and are erected in the
+public streets in honor of princes, generals, philosophers, and
+mandarins, who have benefitted the public, or signalized themselves by
+any great action; there are more than 1100 of these latter, 200 of which
+are of extraordinary size and beauty; there are also some in honor of
+females. The Chinese annals record 3636 men who have merited triumphal
+arches." Milizia also says, the friezes of the Chinese arches are of
+great height, and ornamented with sculpture. The highest arches are
+twenty-five feet, embellished with human figures, animals, flowers, and
+grotesque forms, in various attitudes, and in full relief.
+
+
+STATUE OF POMPEY THE GREAT.
+
+The large Statue of Pompey, formerly in the collection of the Cardinal
+Spada, is supposed to be the same as that, at the base of which "Great
+Caesar fell." It was found on the very spot where the Senate was held on
+the fatal ides of March, while some workmen were engaged in making
+excavations, to erect a private house. The Statue is not only
+interesting from its antiquity and historical associations, but for a
+curious episode that followed its discovery. The trunk lay in the ground
+of the discoverer, but the head projected into that of his neighbor;
+this occasioned a dispute as to the right of possession. The matter was
+at length referred to the decision of Cardinal Spada, who, like the wise
+man of old, ordered the Statue to be decapitated, and division made
+according to _position_--the trunk to one claimant, and the head to the
+other. The object of the wily Cardinal was not so much justice, as to
+get possession of the Statue himself, which he afterwards did, at a
+tithe of what it would otherwise have cost him. The whole cost him only
+500 crowns.
+
+
+OF ANTIQUE SCULPTURES IN ROME.
+
+In 1824, there were more than 10,600 pieces of ancient sculpture in
+Rome; (statues, busts, and relievos,) and upwards of 6300 ancient
+columns of marble. What multitudes of the latter have been sawed up for
+tables, and for wainscotting chapels, or mixed up with walls, and
+otherwise destroyed! And what multitudes may yet lie undiscovered
+underneath the many feet of earth and rubbish which buries ancient Rome!
+When we reflect on this, it may give us some faint idea of the vast
+magnificence of Rome in all its pristine splendor!
+
+
+ANCIENT MAP OF ROME.
+
+The Ichnography of Rome, in the fine collection of antiquities in the
+Palazzo Farnese, was found in the temple of Romulus and Remus, which is
+now dedicated to Sts. Cosmo and Damiano, who were also twin brothers.
+Though incomplete, it is one of the most useful remains of antiquity.
+The names of the particular buildings and palaces are marked upon it, as
+well as the outlines of the buildings themselves; and it is so large,
+that the Horrea Lolliana are a foot and a half long; and may serve as a
+scale to measure any other building or palace in it. It is published in
+Groevius's Thesaurus.
+
+
+JULIAN THE APOSTATE.
+
+The Emperor Julian commanded Alypius, a learned architect of Antioch,
+who held many important offices under that monarch, to rebuild the
+Temple of Jerusalem, A. D. 363, with the avowed object of falsifying the
+prophecy of our Saviour with regard to that structure. While the
+workmen were engaged in making excavations for the foundation, balls of
+fire issued from the earth and destroyed them. This indication of divine
+wrath against the reprobate Jews and the Apostate Julian, compelled him
+to abandon his project. The story is affirmed by many Christian and
+classic authors.
+
+
+THE TOMB OF MAUSOLUS.
+
+When Mausolus, king of Caria, died about B. C. 353, his wife Artemisia,
+was so disconsolate, that she drank up his ashes, and resolved to erect
+in the city of Halicarnassus, one of the grandest and noblest monuments
+of antiquity, to celebrate the memory of a husband whom she tenderly
+loved. She therefore employed Bryaxis, Scopas, Timotheus, and Leocarus,
+four of the most renowned sculptors and architects of the golden age of
+Grecian art, to erect that famous mausoleum which was accounted one of
+the seven wonders of the world, and gave its name to all similar
+structures in succeeding ages. Its dimensions on the north and south
+sides were sixty-three feet, the east and west sides were a little
+shorter, and its extreme height was one hundred and forty feet. It was
+surrounded with thirty-six splendid marble columns. Byaxis executed the
+north side, Scopas the east, Timotheus the south, and Leocarus the west.
+Artemisia died before the work was completed; but the artists continued
+their work with unabated zeal, and they endeavored to rival each other
+in the beauty and magnificence with which they decorated this admirable
+work. A fifth sculptor, named Pythis, was added to them, who executed a
+noble four horse chariot of marble, which was placed on a pyramid
+crowning the summit of the mausoleum.
+
+
+MANDROCLES' BRIDGE ACROSS THE BOSPHORUS.
+
+Mandrocles, probably a Greek architect in the service of Darius, King of
+Persia, who flourished about B. C. 500, acquired a great name for the
+bridge which he constructed across the Thracian Bosphorus, or Straits of
+Constantinople, by order of that monarch. This bridge was formed of
+boats so ingeniously and firmly united that the innumerable army of
+Persia passed over it from Asia to Europe. To preserve the memory of so
+singular a work, Mandrocles represented in a picture, the Bosphorus, the
+bridge, the king of Persia seated on a throne, and the army that passed
+over it. This picture was preserved in the Temple of Juno at Samos,
+where Herodotus saw it, with this inscription:--"Mandrocles, after
+having constructed a bridge of boats over the Bosphorus, by order of the
+king Darius of Persia, dedicated this monument to Juno, which does honor
+to Samos, his country, and confers glory on the artificer."
+
+
+THE COLOSSUS OF THE SUN AT RHODES.
+
+This prodigious Statue, which, was accounted one of the seven wonders of
+the world, was planned, and probably executed by Chares, an ancient
+sculptor of Lindus, and a disciple of Lysippus. According to Strabo, the
+statue was of brass, and was seventy cubits, or one hundred feet high;
+and Chares was employed upon it twelve years. It was said to have been
+placed at the entrance of the harbor of Rhodes, with the feet upon two
+rocks, in such a manner, that the ships then used in commerce could pass
+in full sail between them. This colossus, after standing fifty-six
+years, was overthrown by an earthquake. An oracle had forbidden the
+inhabitants to restore it to its former position, and its fragments
+remained in the same position until A. D. 667, when Moaviah, a calif of
+the Saracens, who invaded Rhodes in that year, sold them to a Jewish
+merchant, who is said to have loaded nine hundred camels with them.
+
+Pliny says that Chares executed the statue in three years, and he
+relates several interesting particulars, as that few persons could
+embrace its thumb, and that the fingers were as long as an ordinary
+statue. Muratori reckons this one of the fables of antiquity. Though the
+accounts in ancient authors concerning this colossal statue of Apollo
+are somewhat contradictory, they all agree that there was such a statue,
+seventy or eighty cubits high, and so monstrous a fable could not have
+been imposed upon the world in that enlightened age. Some antiquarians
+have thought, with great justice, that the fine head of Apollo which is
+stamped upon the Rhodian medals, is a representation of that of the
+Colossus.
+
+
+STATUES AND PAINTINGS AT RHODES.
+
+Pliny says, (lib. xxxiv. cap. 7.) that Rhodes, in his time, "possessed
+more than 3000 statues, the greater part finely executed; also paintings
+and other works of art, of more value than those contained in the cities
+of Greece. There was the wonderful Colossus, executed by Chares of
+Lindus, the disciple of Lysippus."
+
+
+SOSTRATUS' LIGHT-HOUSE ON THE ISLE OF PHAROS.
+
+This celebrated work of antiquity was built by Sostratus, by order of
+Ptolemy Philadelphus. It was a species of tower, erected on a high
+promontory or rock, on the above mentioned island, then situated about a
+mile from Alexandria. It was 450 ft. high, divided into several stories,
+each decreasing in size; the ground story was hexagonal, the sides
+alternately concave and convex, each an eighth of a mile in length; the
+second and third stories were of the same form; the fourth was a square,
+flanked by four round towers; the fifth was circular. The whole edifice
+was of wrought stone; a magnificent staircase led to the top, where
+fires were lighted every night, visible from the distance of a hundred
+miles, to guide the coasting vessels. Sostratus is said to have engraved
+an inscription on stone, and covered it with a species of cement, upon
+which he sculptured the name of Ptolemy, calculating that the cement
+would decay, and bring to light his original inscription. Strabo says
+it read, _Sostratus, the friend of kings, made me_. Lucian reports
+differently, and more probably, thus, _Sostratus of Cnidus, the son of
+Dexiphanes, to the Gods the Saviors, for the safety of Mariners_. It is
+also said that Ptolemy left the inscription to the inclination of the
+architect; and that by the _Gods the Saviors_ were meant the reigning
+king and queen, with their successors, who were ambitious of the title
+of Soteros or Savior.
+
+
+DINOCRATES' PLAN FOR CUTTING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE
+GREAT.
+
+According to Vitruvius, this famous architect, having provided himself
+with recommendatory letters to the principal personages of Alexander's
+court, set out from his native country with the hope of gaining, through
+their means, the favor of the monarch. The courtiers made him promises
+which they neglected to perform, and framed various excuses to prevent
+his access to the sovereign; he therefore determined upon the following
+expedient:--Being of a gigantic and well proportioned stature, he
+stripped himself, anointed his body with oil, bound his head with poplar
+leaves, and throwing a lion's skin across his shoulders, with a club in
+his hand, presented himself to Alexander, in the place where he held his
+public audience. Alexander, astonished at his Herculean figure, desired
+him to approach, demanding, at the same time, his name:--"I am," said
+he, "a Macedonian architect, and am come to submit to you designs worthy
+of the fame you have acquired. I have modelled Mount Athos in the form
+of a giant, holding in his right hand a city, and his left a shell, from
+which are discharged into the sea all the rivers collected from the
+mountain." It was impossible to imagine a scheme more agreeable to
+Alexander, who asked seriously whether there would be sufficient country
+round this city to maintain its inhabitants. Dinocrates answered in the
+negative, and that it would be necessary to supply it by sea. Athos
+consequently remained a mountain; but Alexander was so pleased with the
+novelty of the idea, and the genius of Dinocrates, that he at once took
+him into his service. The design of Dinocrates may be found in Fischer's
+History of Architecture. According to Pliny, Dinocrates planned and
+built the city of Alexandria.
+
+
+POPE'S IDEA OF FORMING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.
+
+"I cannot conceive," said Spence, the author of Polymetis, to Pope, "how
+Dinocrates could ever have carried his proposal of forming Mount Athos
+into a statue of Alexander the Great, into execution."--"For my part,"
+replied Pope, "I have long since had an idea how that might be done; and
+if any body would make me a present of a Welch mountain, and pay the
+workmen, I would undertake to see it executed. I have quite formed it
+sometimes in my imagination: the figure must be on a reclining posture,
+because of the hollowing that would be necessary, and for the city's
+being in one hand. It should be a rude unequal hill, and might be helped
+with groves of trees for the eye brows, and a wood for the hair. The
+natural green turf should be left wherever it would be necessary to
+represent the ground he reclines on. It should be so contrived, that the
+true point of view should be at a considerable distance. When you were
+near it, it should still have the appearance of a rough mountain, but at
+the proper distance such a rising should be the leg, and such another an
+arm. It would be best if there were a river, or rather a lake, at the
+bottom of it, for the rivulet that came through his other hand, to
+tumble down the hill, and discharge itself into it."
+
+Diodorus Siculus, says that Semiramis had the mountain Bajitanus, in
+Media, cut into a statue of herself, seventeen stadii high, (about two
+miles) surrounded by one hundred others, probably representing the
+various members of her court. China, among other wonders, is said to
+have many mountains cut into the figures of men, animals, and birds. It
+is probable, however, that all these stories have originated in the
+imagination, from the real or fanciful resemblance of mountains, to
+various objects, which are found in every country, as "The Old Man of
+the Mountain," Mt. Washington, N. H., "St. Anthony's Nose," in the
+Highlands, "Camel's Rump," Green Mountains, "Giant of the Valley," on
+lake Champlain, &c. It is easy to imagine a mountain as a cloud, "almost
+in shape of a camel," "backed like a weasel," or "very like a whale."
+
+
+TEMPLE WITH AN IRON STATUE SUSPENDED IN THE AIR BY LOADSTONE.
+
+According to Pliny, Dinocrates built a temple at Alexandria, in honor of
+Arsinoe, sister and wife of Ptolemy Philadelphus. The whole interior was
+to have been incrusted with loadstone, in order that the statue of the
+princess, composed of iron, should be suspended in the centre, solely by
+magnetic influence. On the death of Ptolemy and of the architect, the
+idea was abandoned, and has never been executed elsewhere, though
+believed to be practicable. A similar fable was invented of the tomb of
+Mahomet.
+
+
+THE TEMPLE OF JUPITER OLYMPIUS AT ATHENS.
+
+According to Vitruvius, Pisistratus, who flourished about B. C. 555,
+employed the four Grecian architects, Antistates, Antimachides,
+Calleschros, and Porinus, to erect this famous temple in the place of
+one built in the time of Deucalion, which the storms of a thousand years
+had destroyed. They proceeded so far with it that Pisistratus was
+enabled to dedicate it, but after his death the work ceased; and the
+completion of the temple, so magnificent and grand in its design that
+it impressed the beholder with wonder and awe, became the work of after
+ages. Perseus, king of Macedonia, and Antiochus Epiphanes, nearly four
+hundred years after Pisistratus, finished the grand nave, and placed the
+columns of the portico, Cossutius, a Roman, being the architect. It was
+considered, and with good reason, one of the four celebrated marble
+temples of Greece: the other three were that of Diana, at Ephesus;
+Apollo, at Miletus; and Ceres, at Eleusis. The Corinthian order
+prevailed in its design. In the siege that Sylla laid to Athens, this
+temple was greatly injured, but the allied kings afterwards restored it
+at their common expense, intending to dedicate it to the genius of
+Augustus. Livy says that among so many temples, this was the only one
+worthy of a god. Pausanias says the Emperor Adrian enclosed it with a
+wall, as was usual with the Grecian temples, of half a mile in
+circumference, which the cities of Greece adorned with statues erected
+to that monarch. The Athenians distinguished themselves by the elevation
+of a colossal statue behind the temple. This enclosure was also
+ornamented with a peristyle, one hundred rods in length, supported by
+superb marble Corinthian columns, and to this facade were three grand
+vestibules which led to the temple. Adrian dedicated it a second time.
+In the temple was placed a splendid statue of Jupiter Olympius, of gold
+and ivory; and the courtiers added four statues of the Emperor. This
+wonderful structure, which is said to have cost five millions of
+_scudi_, is now in ruins. Sixteen Corinthian columns are still standing,
+six feet four inches and some six feet six inches, in diameter. The
+length of the temple, according to Stuart, upon the upper step, was
+three hundred and fifty-four feet, and its breadth one hundred and
+seventy-one feet; the entire length of the walls of the peribolous is
+six hundred and eighty-eight feet, and the width four hundred and
+sixty-three feet.
+
+
+THE PARTHENON AT ATHENS.
+
+This celebrated temple was built by Ictinus and Callicrates, two Greek
+architects who flourished about B. C. 430. Ictinus was celebrated for
+the magnificent temples which he erected to the heathen gods. Among
+these were the famous Doric temple of Ceres and Proserpine at Eleusis,
+of which he built the outer cell, capable of accommodating thirty
+thousand persons; also the temple of Apollo, near Mount Cotylion, in
+Arcadia, which was considered one of the finest of antiquity, and was
+vaulted with stone. But his most important work was the famous Parthenon
+at Athens, erected within the citadel, by Ictinus and Callicrates, by
+order of Pericles. According to Vitruvius, the two artists exerted all
+their powers to make this temple worthy the goddess who presided over
+the arts. The plan was a rectangle, like most of the Greek and Roman;
+its length from east to west, was 227 feet 7 inches, and its width 101
+feet 2 inches, as measured on the top step. It was peripteral,
+octastyle; that is, surrounded with a portico of columns, with eight to
+each facade. The height of the columns was 34 feet, and their diameter 6
+feet. Within the outer portico was a second, also formed of isolated
+columns, but elevated two steps higher than the first; from thence the
+interior of the temple was entered, which contained the famous statue of
+Minerva in gold and ivory, by Phidias. This famous temple was built
+entirely of white marble, and from its elevated position, could be seen
+from an immense distance. On a nearer approach, it was admired for the
+elegance of its proportions, and the beauty of the bas-reliefs with
+which its exterior was decorated. It was preserved entire until 1677,
+when it was nearly destroyed by an explosion during the siege of Athens
+by Morosini. It was further dilapidated by the Turks, and afterwards by
+Lord Elgin, who removed all the bas-reliefs and other ornaments
+practicable, and transported them to London, where they now adorn the
+British Museum. King Otho has adopted measures to preserve the edifice
+from further mischief.
+
+
+THE ELGIN MARBLES.
+
+The following exceedingly interesting account of the removal of the
+sculptures from the Parthenon, is extracted from Hamilton's "Memorandum
+on the Subject of the Earl of Elgin's Pursuits in Greece."
+
+"In the year 1799, when Lord Elgin was appointed his majesty's
+ambassador extraordinary to the Ottoman Porte, he was in habits of
+frequent intercourse with Mr. Harrison, an architect of great eminence
+in the west of England, whom his lordship consulted on the benefits that
+might possibly be derived to the arts in this country, in case an
+opportunity could be found for studying minutely the architecture and
+sculpture of ancient Greece; whose opinion was, that although we might
+possess exact admeasurements of the public buildings in Athens, yet a
+young artist could never form to himself an adequate conception of their
+minute details, combinations, and general effects, without having before
+him some such sensible representation of them as might be conveyed by
+casts."
+
+On this suggestion Lord Elgin proposed to his majesty's government, that
+they should send out English artists of known eminence, capable of
+collecting this information in the most perfect manner; but the prospect
+appeared of too doubtful an issue for ministers to engage in the expense
+attending it. Lord Elgin then endeavored to engage some of these artists
+at his own charge; but the value of their time was far beyond his means.
+When, however, he reached Sicily, on the recommendation of Sir William
+Hamilton, he was so fortunate as to prevail on Don Tita Lusieri, one of
+the best general painters in Europe, of great knowledge in the arts,
+and of infinite taste, to undertake the execution of this plan; and Mr.
+Hamilton, who was then accompanying Lord Elgin to Constantinople,
+immediately went with Signor Lusieri to Rome, where, in consequence of
+the disturbed state of Italy, they were enabled to engage two of the
+most eminent _formatori_ or moulders, to make the _madreformi_ for the
+casts; Signor Balestra, a distinguished architect there, along with
+Ittar, a young man of promising talents, to undertake the architectural
+part of the plan; and one Theodore, a Calmouk, who during several years
+at Rome, had shown himself equal to the first masters in the design of
+the human figure.
+
+After much difficulty, Lord Elgin obtained permission from the Turkish
+government to establish these six artists at Athens, where they
+systematically prosecuted the business of their several departments
+during three years, under the general superintendence of Lusieri.
+
+Accordingly every monument, of which there are any remains in Athens,
+has been thus most carefully and minutely measured, and from the rough
+draughts of the architects (all of which are preserved), finished
+drawings have been made by them of the plans, elevations, and details of
+the most remarkable objects; in which the Calmouk has restored and
+inserted all the sculpture with exquisite taste and ability. He has
+besides made accurate drawings of all the bas-reliefs on the several
+temples, in the precise state of decay and mutilation in which they at
+present exist.
+
+Most of the bassi rilievi, and nearly all the characteristic features of
+architecture in the various monuments at Athens, have been moulded, and
+the moulds of them brought to London.
+
+Besides the architecture and sculpture at Athens, all similar remains
+which could be traced through several parts of Greece have been measured
+and delineated with the most scrupulous exactness, by the second
+architect Ittar.
+
+In the prosecution of this undertaking, the artists had the
+mortification of witnessing the very _willful devastation to which all
+the sculpture, and even the architecture, were daily exposed on the part
+of the Turks and travelers_: the former equally influenced by mischief
+and by avarice, the latter from an anxiety to become possessed, each
+according to his means, of some relic, however small, of buildings or
+statues which had formed the pride of Greece. The Ionic temple on the
+Ilyssus which, in Stuart's time, about the year 1759, was in tolerable
+preservation, had so entirely disappeared, that its foundation was no
+longer to be ascertained. Another temple near Olympia had shared a
+similar fate within the recollection of many. The temple of Minerva had
+been converted into a powder magazine, and was in great part shattered
+from a shell falling upon it during the bombardment of Athens by the
+Venetians, towards the end of the seventeenth century; and even this
+accident has not deterred the Turks from applying the beautiful temple
+of Neptune and Erectheus to the same use, whereby it is still constantly
+exposed to a similar fate. Many of the statues over the entrance of the
+temple of Minerva, which had been thrown down by the explosion, had been
+powdered to mortar, because they offered the whitest marble within
+reach; and parts of the modern fortification, and the miserable houses
+where this mortar had been so applied, are easily traced. In addition to
+these causes of degradation, the Turks will frequently climb up the
+ruined walls and amuse themselves in defacing any sculpture they can
+reach; or in breaking columns, statues, or other remains of antiquity,
+in the fond expectation of finding within them some hidden treasures.
+
+Under these circumstances, Lord Elgin felt himself irresistibly impelled
+to endeavor to preserve, by removal from Athens, any specimens of
+sculpture he could, without injury, rescue from such impending ruin. He
+had, besides, another inducement, and an example before him, in the
+conduct of the last French embassy sent to Turkey before the Revolution.
+French artists did then attempt to remove several of the sculptured
+ornaments from several edifices in the Acropolis, and particularly from
+the Parthenon. In lowering one of the Metopes the tackle failed, and it
+was dashed to pieces; one other object was conveyed to France, where it
+is held in the highest estimation, and where it occupies a conspicuous
+place in the gallery of the Louvre, and constituted national property
+during the French Revolution. The same agents were remaining at Athens
+during Lord Elgin's embassy, waiting only the return of French influence
+at the Porte to renew their operations. Actuated by these inducements,
+Lord Elgin made every exertion; and the sacrifices he has made have been
+attended with such entire success, that he has brought to England from
+the ruined temples at Athens, from the modern walls and fortifications,
+in which many fragments had been used as blocks for building, and from
+excavations from amongst the ruins, made on purpose, such a mass of
+Athenian sculpture, in statues, alti and bassi rilievi, capitals,
+cornices, friezes, and columns as, with the aid of a few of the casts,
+to present all the sculpture and architecture of any value to the artist
+or man of taste which can be traced at Athens.
+
+In proportion as Lord Elgin's plan advanced, and the means accumulated
+in his hands towards affording an accurate knowledge of the works of
+architecture and sculpture in Athens and in Greece, it became a subject
+of anxious inquiry with him, in what way the greatest degree of benefit
+could be derived to the arts from what he had been so fortunate as to
+procure.
+
+In regard to the works of the architects employed by him, he had
+naturally, from the beginning, looked forward to their being engraved;
+and accordingly all such plans, elevations, and details as to those
+persons appeared desirable for that object, were by them, and on the
+spot, extended with the greatest possible care for the purpose of
+publication. Besides these, all the working sketches and measurements
+offer ample materials for further drawings, if they should be required.
+It was Lord Elgin's wish that the whole of the drawings might be
+executed in the highest perfection of the art of engraving; and for this
+purpose a fund should be raised by subscription, exhibition, or
+otherwise; by aid of which these engravings might still be
+distributable, for the benefit of artists, at a rate of expense within
+the means of professional men.
+
+Great difficulty occurred in forming a plan for deriving the utmost
+advantage from the marbles and casts. Lord Elgin's first attempt was to
+have the statues and bassi rilievi restored; and in that view he went to
+Rome to consult and to employ Canova. The decision of that most eminent
+artist was conclusive. On examining the specimens produced to him, and
+making himself acquainted with the whole collection, and particularly
+with what came from the Parthenon, by means of the persons who had been
+carrying on Lord Elgin's operations at Athens, and who had returned with
+him to Rome, Canova declared, "That however greatly it was to be
+lamented that these statues should have suffered so much from time and
+barbarism, yet it was undeniable that they never had been retouched;
+that they were the work of the ablest artists the world had ever seen;
+executed under the most enlightened patron of the arts, and at a period
+when genius enjoyed the most liberal encouragement, and had attained the
+highest degree of perfection; and that they had been found worthy of
+forming the decoration of the most admired edifice ever erected in
+Greece. That he should have had the greatest delight, and derived the
+greatest benefit from the opportunity Lord Elgin offered him of having
+in his possession and contemplating these inestimable marbles." But
+(_his expression was_) "it would be sacrilege in him or any man to
+presume to touch them with his chisel." Since their arrival in this
+country they have been laid open to the inspection of the public; and
+the opinions and impressions, not only of artists, but of men of taste
+in general, have thus been formed and collected.
+
+From these the judgment pronounced by Canova has been universally
+sanctioned; and all idea of restoring the marbles deprecated. Meanwhile
+the most distinguished painters and sculptors have assiduously attended
+the Museum, and evinced the most enthusiastic admiration of the
+perfection to which these marbles now prove to them that Phidias had
+brought the art of sculpture, and which had hitherto only been known
+through the medium of ancient authors. They have attentively examined
+them, and they have ascertained that they were executed with the most
+scrupulous anatomical truth, not only in the human figure, but in the
+various animals to be found in this collection. They have been struck
+with the wonderful accuracy, and at the same time, the great effect of
+minute detail; and with the life and expression so distinctly produced
+in every variety of attitude and action. Those more advanced in years
+have testified great concern at not having had the advantage of studying
+these models; and many who have had the opportunity of forming a
+comparison (among these are the most eminent sculptors and painters in
+this metropolis), have publicly and unequivocally declared, that in the
+view of professional men, this collection is far more valuable than any
+other collection in existence.
+
+With such advantages as the possession of these unrivalled works of art
+afford, and with an enlightened and encouraging protection bestowed on
+genius and the arts, it may not be too sanguine to indulge a hope, that,
+prodigal as nature is in the perfections of the human figure in this
+country, animating as are the instances of patriotism, heroic actions,
+and private virtues deserving commemoration, sculpture may soon be
+raised in England to rival these, the ablest productions of the best
+times of Greece. The reader is referred to the synopsis of the British
+Museum, and to the Chevalier Visconti's Memoirs, before quoted, for
+complete and authentic catalogues of these marbles, but the following
+brief abstract is necessary to give a view of what they consist, to
+readers who may reside at a distance from the metropolis, or have not
+those works at hand.
+
+In that part of the collection which came from the eastern pediment of
+the Parthenon are several statues and fragments, consisting of two
+horses' heads in one block, and the head of one of the horses of Night,
+a statue of Hercules or Theseus, a group of two female figures, a female
+figure in quick motion, supposed to be Iris, and a group of two
+goddesses, one represented sitting, and the other half reclining on a
+rock. Among the statues and fragments from the western pediment are part
+of the chest and shoulders of the colossal figure in the centre,
+supposed to be Neptune, a fragment of the colossal figure of Minerva, a
+fragment of a head, supposed to belong to the preceding, a fragment of a
+statue of Victory, and a statue of a river god called Ilissus, and
+several fragments of statues from the pediments, the names or places of
+which are not positively ascertained, among which is one supposed to
+have been Latona, holding Apollo and Diana in her arms; another of the
+neck and arms of a figure rising out of the sea, called Hyperion, or the
+rising Sun; and a torso of a male figure with drapery thrown over one
+shoulder. The metopes represent the battles between the Centaurs and
+Lapithae, at the nuptials of Pirithous. Each metope contains two figures,
+grouped in various attitudes; sometimes the Lapithae, sometimes the
+Centaurs victorious. The figure of one of the Lapithae, who is lying
+dead and trampled on by a Centaur, is one of the finest productions of
+the art, as well as the group adjoining to it of Hippodamia, the bride,
+carried off by the Centaur Eurytion; the furious style of whose
+galloping in order to secure his prize, and his shrinking from the spear
+that has been hurled after him, are expressed with prodigious animation.
+They are all in such high relief as to seem groups of statues; and they
+are in general finished with as much attention behind as before.
+
+They were originally continued round the entablature of the Parthenon,
+and formed ninety-two groups. The frieze which was carried along the
+outer walls of the cell offered a continuation of sculptures in low
+relief, and of the most exquisite beauty. It represented the whole of
+the solemn procession to the temple of Minerva during the Panathenaic
+festival; many of the figures are on horseback, others are about to
+mount, some are in chariots, others on foot, oxen and other victims are
+led to sacrifice, the nymphs called Canephorae, Skiophorae, &c., are
+carrying the sacred offering in baskets and vases; there are priests,
+magistrates, warriors, deities, &c., forming altogether a series of most
+interesting figures in great variety of costume, armor, and attitude.
+
+From the Opisthodomus of the Parthenon, Lord Elgin also procured some
+valuable inscriptions, written in the manner called Kionedon or
+columnar. The subjects of these monuments are public decrees of the
+people, accounts of the riches contained in the treasury, and delivered
+by the administrators to their successors in office, enumerations of the
+statues, the silver, gold, and precious stones, deposited in the temple,
+estimates for public works, &c.
+
+
+ODEON, OR ODEUM.
+
+The first Odeon, ([Greek: odeion], from [Greek: ode], a song), was built
+by Pericles at Athens. It was constructed on different principles from
+the theatre, being of an eliptical form, and roofed to preserve the
+harmony and increase the force of musical sounds. The building was
+devoted to poetical and musical contests and exhibitions. It was injured
+in the siege of Sylla, but was subsequently repaired by Ariobarzanes
+Philopator, king of Cappadocia. At a later period, two others were built
+at Athens by Pausanias and Herodes Atticus, and other Greek cities
+followed their example. The first Odeon at Rome was built in the time of
+the emperors; Domitian erected one, and Trajan another. The Romans
+likewise constructed them in several provincial cities, the ruins of one
+of which are still seen at Catanea, in Sicily.
+
+
+PERPETUAL LAMPS.
+
+According to Pausanias, Callimachus made a golden lamp for the Temple of
+Minerva at Athens, with a wick composed of asbestos, which burned day
+and night for a year without trimming or replenishing with oil. If this
+was true, the font of the lamp must have been large enough to have
+contained a year's supply of oil; for, though some profess that the
+economical inventions of the ancients have been forgotten, the least
+knowledge in chemistry proves that oil in burning must be consumed. The
+perpetual lamps, so much celebrated among the learned of former times,
+said to have been found burning after many centuries, on opening tombs,
+are nothing more than fables, arising perhaps from phosphorescent
+appearances, caused by decomposition in confined places, which vanished
+as soon as fresh air was admitted. Such phenomena have frequently been
+observed in opening sepulchres.
+
+
+THE SKULL OF RAFFAELLE.
+
+Is preserved as an object of great veneration in the Academy of St.
+Luke, which the students visit as if in the hope of being inspired with
+similar talents; and it is wonderful that, admiring him so much, modern
+painters should so little resemble him. Either they do not wish to
+imitate him, or do not know how to do so. Those who duly appreciate his
+merits have attempted it, and been successful. Mengs is an example of
+this observation.
+
+
+THE FOUR FINEST PICTURES IN ROME.
+
+The four most celebrated pictures in Rome, are _The Transfiguration_ by
+Raffaelle, _St. Jerome_ by Domenichino, _The Descent from the Cross_ by
+Daniele da Volterra, and _The Romualdo_ by Andrea Sacchi.
+
+
+THE FOUR CARLOS OF THE 17TH CENTURY.
+
+It is a singular fact that the four most distinguished painters of the
+17th century were named Charles, viz.: le Brun, Cignani, Maratta, and
+Loti, or Loth. Hence they are frequently called by writers, especially
+the Italian, "The four Carlos of the 17th century."
+
+
+PIETRO GALLETTI AND THE BOLOGNESE STUDENTS.
+
+Crespi relates that Pietro Galletti, misled by a pleasing self-delusion
+that he was born a painter, made himself the butt and ridicule of all
+the artists of Bologna. When they extolled his works and called him the
+greatest painter in the world, he took their irony for truth, and
+strutted with greater self-complacency. On one occasion, the students
+assembled with great pomp and ceremony, and solemnly invested him with
+the degree of _Doctor of Painting_.
+
+
+AETION'S PICTURE OF THE NUPTIALS OF ALEXANDER AND ROXANA.
+
+AEtion gained so much applause by his picture, representing the nuptials
+of Alexander and Roxana, which he publicly exhibited at the Olympic
+Games, that Proxenidas, the president, rewarded him, by giving him his
+daughter in marriage. This picture was taken to Rome after the conquest
+of Greece, where it was seen by Lucian, who gives an accurate
+description of it, from which, it is said, Raffaelle sketched one of his
+finest compositions.
+
+
+AGELADAS.
+
+This famous sculptor was a native of Argos, and flourished about B. C.
+500. He was celebrated for his works in bronze, the chief of which were
+a statue of Jupiter, in the citadel of Ithone, and one of Hercules,
+placed in the Temple at Melite, in Attica, after the great plague.
+Pausanias mentions several other works by him, which were highly
+esteemed. He was also celebrated as the instructor of Myron, Phidias,
+and Polycletus.
+
+
+THE PORTICOS OF AGAPTOS.
+
+According to Pausanias, Agaptos, a Grecian architect, invented the
+porticos around the square attached to the Greek stadii, or race courses
+of the Gymnasiums, which gained him so much reputation, that they were
+called the porticos of Agaptos, and were adopted in every stadium.
+
+
+THE GROUP OF NIOBE AND HER CHILDREN.
+
+Pliny says there was a doubt in his time, whether some statues
+representing the dying children of Niobe (_Niobae liberos morientes_), in
+the Temple of Apollo Sosianus at Rome, were by Scopas or Praxiteles.
+The well known group of this subject in the Florentine gallery, is
+generally believed to be the identical work mentioned by Pliny. Whether
+it be an original production of one of these great artists, or as some
+critics have supposed, only a copy, it will ever be considered worthy of
+their genius, as one of the sweetest manifestations of that deep and
+intense feeling of beauty which the Grecian artists delighted to
+preserve in the midst of suffering. The admirable criticism of Schlegel
+(Lectures on the Drama, III), developes the internal harmony of the
+work. "In the group of Niobe, there is the most perfect expression of
+terror and pity. The upturned looks of the mother, and the mouth half
+open in supplication, seem to accuse the invisible wrath of Heaven. The
+daughter, clinging in the agonies of death to the bosom of her mother,
+in her infantile innocence, can have no other fear than for herself; the
+innate impulse of self-preservation was never represented in a manner
+more tender and affecting. Can there, on the other hand, be exhibited to
+the senses, a more beautiful image of self-devoting, heroic magnanimity
+than Niobe, as she bends her body forward, that, if possible, she may
+alone receive the destructive bolt? Pride and repugnance are melted down
+in the most ardent maternal love. The more than earthly dignity of the
+features are the less disfigured by pain, as from the quick repetition
+of the shocks, she appears, as in the fable, to have become insensible
+and motionless. Before this figure, twice transformed into stone, and
+yet so inimitably animated--before this line of demarkation of all human
+suffering, the most callous beholder is dissolved in tears."
+
+
+STATUE OF THE FIGHTING GLADIATOR.
+
+The famous antique statue of the Fighting Gladiator, which now adorns
+the Louvre, was executed by Agasias, a Greek sculptor of Ephesus, who
+flourished about B. C. 450. It was found among the ruins of a palace of
+the Roman Emperors at Capo d'Anzo, the ancient Antium, where also the
+Apollo Belvidere was discovered.
+
+
+THE GROUP OF LAOCOOeN IN THE VATICAN.
+
+As Laocooen, a priest of Neptune, (or according to some, of Apollo) was
+sacrificing a bull to Neptune, on the shore at Troy, after the pretended
+retreat of the Greeks, two enormous serpents appeared swimming from the
+island of Tenedos, and advanced towards the altar. The people fled; but
+Laocooen and his two sons fell victims to the monsters. The sons were
+first attacked, and then the father, who attempted to defend them, the
+serpents coiling themselves about him and his sons, while in his agony
+he endeavored to extricate them. They then hastened to the temple of
+Pallas, where, placing themselves at the foot of the goddess, they hid
+themselves under her shield. The people saw in this omen, Laocooen's
+punishment for his impiety in having pierced with his spear, the wooden
+horse which was consecrated to Minerva. Thus Virgil relates the story in
+the AEneid; others, as Hyginus, give different accounts, though agreeing
+in the main points. The fable is chiefly interesting to us, as having
+given rise to one of the finest and most celebrated works of antique
+sculpture, namely, the Laocooen, now in the Vatican. It was discovered in
+1506 by some workmen, while employed in making excavations in a vineyard
+on the site of the Baths of Titus. Pope Julius II. bought it for an
+annual pension, and placed it in the Belvidere in the Vatican. It was
+taken to Paris by Napoleon, but was restored to its place in 1815. It is
+perfect in preservation, except that the right arm of Laocooen was
+wanting, which was restored by Baccio Bandinelli. This group is so
+perfect a work, so grand and so instructive for the student of the fine
+arts, that many writers of all nations have written on it. It represents
+three persons in agony, but in different attitudes of struggling or
+fear, according to their ages, and the mental anguish of the father. All
+connoisseurs declare the group perfect, the product of the most thorough
+knowledge of anatomy, of character, and of ideal perfection. According
+to Pliny, it was the common opinion in his time, that the group was made
+of one stone by three sculptors, Agesander, Polydorus, and Athenadorus,
+all three natives of Rhodes, and the two last probably sons of the
+former. He says, "The Laocooen, which is in the palace of the Emperor
+Titus, is a work to be preferred to all others, either in painting or
+sculpture. Those great artists, Agesander, Polydorus, and Athenadorus,
+Rhodians, executed the principal figure, the sons, and the wonderful
+folds of the serpents, out of one piece of marble." Doubts exist
+respecting the era of this work. Maffei places it in the 88th Olympiad,
+or the first year of the Peloponnesian War; Winckelmann, in the time of
+Lysippus and Alexander; and Lessing, in the time of the first Emperors.
+Some doubt whether this is the work mentioned by Pliny, because it has
+been discovered that the group was not executed out of one block of
+marble, as asserted by him. In the opinion of many judicious critics,
+however, it is considered an original group, and not a copy, for no copy
+would possess its perfections; and that it is certainly the one
+described by Pliny, because, after his time, no known sculptor was
+capable of executing such a perfect work; and had there been one, his
+fame would certainly have reached us. It was found in the place
+mentioned by Pliny, and the joinings are so accurate and artfully
+concealed, that they might easily escape his notice. There are several
+copies of this matchless production by modern sculptors, the most
+remarkable of which, are one in bronze by Sansovino, and another in
+marble by Baccio Bandinelli, which last is in the Medici gallery at
+Florence. It has also been frequently engraved; the best is the famous
+plate by Bervic, engraved for the Musee Francais, pronounced by
+connoisseurs, the finest representation of a marble group ever executed,
+proof impressions of which have been sold for 30 guineas each.
+
+
+MICHAEL ANGELO'S OPINION OF THE LAOCOOeN.
+
+It is said that Julius II. desired Angelo to restore the missing arm
+behind the Laocooen. He commenced it, but left it unfinished, "because,"
+said he, "I found I could do nothing worthy of being joined to so
+admirable a work." What a testimony of the superiority of the best
+ancient sculptors over the moderns, for of all modern sculptors, Michael
+Angelo is universally allowed to be the best!
+
+
+DISCOVERY OF THE LAOCOOeN.
+
+There is a curious letter not generally known, but published by the
+Abate Fea, from Francesco da Sangallo, the sculptor, to Monsignore
+Spedalengo, in which the circumstances of the discovery of the Laocooen
+are thus alluded to. The letter is dated 1509. He says, "It being told
+to the Pope that some fine statues had been discovered in a vineyard
+near S. Maria Maggiore, he sent to desire my father, (Giuliano da
+Sangallo) to go and examine them. Michael Angelo Buonarotti being often
+at our house, father got him to go also; and so," continues Francesco,
+"I mounted behind my father, and we went. We descended to where the
+statues were. My father immediately exclaimed, 'This is the Laocooen
+spoken of by Pliny!' They made the workmen enlarge the aperture or
+excavation, so as to be able to draw them out, and then, having seen
+them, we returned to dinner."
+
+
+SIR JOHN SOANE.
+
+This eminent English architect, and munificent public benefactor, was
+the son of a poor bricklayer, and was born at Reading in 1753. He showed
+early indications of talent and a predilection for architecture; and, at
+the age of fifteen, his father placed him with Mr. George Dance (then
+considered one of the most accomplished of the English architects),
+probably in the capacity of a servant. At all events he was not
+regularly articled, but he soon attracted notice by his industry,
+activity, and talents. Mr. Donaldson says, "his sister was a servant in
+Mr. Dance's family, which proves that the strength of Soane's character
+enabled him to rise to so distinguished a rank merely by his own
+exertions." He afterwards studied under Holland, and in the Royal
+Academy, where he first attracted public notice by a design for a
+triumphal bridge, which drew the gold medal of that institution, and
+entitled him to go to Italy for three years on the pension of the
+Academy. During a residence of six years in Italy, he studied the
+remains of antiquity and the finest modern edifices with great
+assiduity, and made several original designs, which attracted
+considerable attention; among them were one for a British Senate House,
+and another for a Royal Palace. In 1780 he returned to England, and soon
+distinguished himself by several elegant palaces, which he was
+commissioned to erect for the nobility in different parts of the
+kingdom, the plans and elevations of which he published in a folio
+volume in 1788. In the same year, in a competition with nineteen other
+architects, he obtained the lucrative office of Surveyor and Architect
+to the Bank of England, which laid the foundation of the splendid
+fortune he afterwards acquired. Other advantageous appointments
+followed; that of Clerk of the Woods of St. James' Palace, in 1791;
+Architect of the Woods and Forests, in 1795; Professor of Architecture
+in the Royal Academy in 1806; and Surveyor of Chelsea Hospital in 1807.
+In addition to his public employments, he received many commissions for
+private buildings. He led a life of indefatigable industry in the
+practice of his profession till 1833, when he reached his eightieth
+year. He died in 1837.
+
+
+SOANE'S LIBERALITY AND PUBLIC MUNIFICENCE.
+
+Sir John Soane was a munificent patron of various public charities, and
+was even more liberal in his contributions for the advancement of art;
+he subscribed L1000 to the Duke of York's monument; a similar sum to
+the Royal British Institution; L750 to the Institute of British
+Architects; L250 to the Architectural Society, &c. He made a splendid
+collection of works of art, valued at upwards of L50,000 before his
+death, converted his house into a Museum, and left the whole to his
+country, which is now known as _Sir John Soane's Museum_--one of the
+most attractive institutions in London. He devoted the last four years
+of his life in classifying and arranging his Museum, which is
+distributed in twenty-four rooms, and consists of architectural models
+of ancient and modern edifices; a large collection of architectural
+drawings, designs, plans, and measurements, by many great architects; a
+library of the best works on art, particularly on Architecture; antique
+fragments of buildings, as columns, capitals, ornaments, and friezes in
+marble; also, models, casts, and copies of similar objects in other
+collections; fragments and relics of architecture in the middle ages;
+modern sculptures, especially by the best British sculptors; Greek and
+Roman antiquities, consisting of fragments of Greek and Roman sculpture
+antique busts, bronzes, and cinerary urns; Etruscan vases; Egyptian
+antiquities; busts of remarkable persons; a collection of 138 antique
+gems, cameos and intaglios, originally in the collection of M. Capece
+Latro, Archbishop of Tarentum, and 136 antique gems, principally from
+the Braschi collection; a complete set of Napoleon medals, selected by
+the Baron Denon for the Empress Josephine, and formerly in her
+possession, curiosities; rare books and illuminated manuscripts; a
+collection of about fifty oil paintings, many of them of great value,
+among which are the Rake's Progress, a series of eight pictures by
+Hogarth, and the Election, a series of four, by the same artist; and
+many articles of virtu too numerous to mention here, forming altogether
+a most rare, unique, and valuable collection. What a glorious monument
+did the poor bricklayer's son erect to his memory, which, while it
+blesses, will cause his countrymen to bless and venerate the donor, and
+make his name bright on the page of history! Some there are who regard
+posthumous fame a bubble, and present pomp substantial; but the one is
+godlike, the other sensual and vain.
+
+
+THE BELZONI SARCOPHAGUS.
+
+One of the most interesting and valuable relics in Sir John Soane's
+Museum, is the Belzoni Sarcophagus. It was discovered by Belzoni, the
+famous French traveler, in 1816, in a tomb in the valley of Beban el
+Malouk, near Gournon. He found it in the centre of a sepulchral chamber
+of extraordinary magnificence, and records the event with characteristic
+enthusiasm: "I may call this a fortunate day, one of the best, perhaps,
+of my life. I do not mean to say that fortune has made me rich, for I do
+not consider all rich men fortunate; but she has given me that
+satisfaction, that extreme pleasure which wealth cannot purchase--the
+pleasure of discovering what has long been sought in vain." It is
+constructed of one single piece of alabaster, so translucent that a lamp
+placed within it shines through, although it is more than two inches in
+thickness. It is nine feet four inches in length, three feet eight
+inches in width, and two feet eight inches in depth, and is covered with
+hieroglyphics outside and inside, which have not yet been satisfactorily
+interpreted, though they are supposed by some to refer to Osirei, the
+father of Rameses the Great. It was transported from Egypt to England at
+great expense, and offered to the Trustees of the British Museum for
+L2,000, which being refused, Sir John Soane immediately purchased it and
+exhibited it free, with just pride, to crowds of admiring visitors. When
+Belzoni discovered this remarkable relic of Egyptian royalty, the lid
+had been thrown off and broken into pieces, and its contents rifled; the
+sarcophagus itself is in perfect preservation.
+
+
+TASSO'S "GERUSALEMME LIBERATA."
+
+The original copy of "Gerusalemme Liberata," in the handwriting of
+Tasso, is in the Soane Museum. It was purchased by Sir John Soane, at
+the sale of the Earl of Guilford's Library, in 1829. This literary
+treasure, which cannot be contemplated without emotion, once belonged to
+Baruffaldi, one of the most eminent literary characters of modern
+Italy. Serassi describes it, and refers to the emendations made by the
+poet in the margin (Serassi's edit. Florence, 1724;) but expresses his
+_fear_ that it had been taken out of Italy. In allusion to this
+expression of Serassi, Lord Guilford has written on the fly-leaf of the
+MS., "I would not wish to hurt the honest pride of any Italian; but the
+works of a great genius are the property of all ages and all countries:
+and I hope it will be recorded to future ages, that England possesses
+the original MS. of one of the four greatest epic poems the world has
+produced, and, beyond all doubt, the only one of the four now existing."
+There is no date to this MS. The first printed edition of the
+Gerusalemme is dated 1580.
+
+There are other rare and valuable MSS. in this Museum, the most
+remarkable of which are a Commentary in Latin on the epistle of St. Paul
+to the Romans, by Cardinal Grimani. It is adorned with exquisite
+miniature illustrations, painted by Don Giulio Clovio, called the
+Michael Angelo of miniature painters. "The figures are about an inch in
+height," says Mrs. Jameson, "equaling in vigor, grandeur, and
+originality, the conceptions of Michael Angelo and of Raffaelle, who
+were his cotemporaries and admirers." Also, a missal of the fifteenth
+century, containing ninety-two miniatures by Lucas van Leyden and his
+scholars, executed in a truly Dutch style, just the reverse of those of
+Clovio, except in point of elaborate finishing.
+
+
+GEORGE MORLAND.
+
+The life of this extraordinary genius is full of interest, and his
+melancholy fall full of warning and instruction. He was the son of an
+indifferent painter, whose principal business was in cleaning and
+repairing, and dealing in ancient pictures. Morland showed an
+extraordinary talent for painting almost in his infancy, and before he
+was sixteen years old, his name was known far and wide by engravings
+from his pictures. His father, who seems to have been a man of a low and
+sordid disposition, had his son indented to him as an apprentice, for
+seven years, in order to secure his services as long as possible, and he
+constantly employed him in painting pictures and making drawings for
+sale; and these were frequently of a broad character, as such commanded
+the best prices, and found the most ready sale. Hence he acquired a
+wonderful facility of pencil, but wholly neglected academic study. His
+associates were the lowest of the low. On the expiration of his
+indenture, he left his father's house, and the remainder of his life is
+the history of genius degraded by intemperance and immorality, which
+alternately excites our admiration at his great talents, our regrets at
+the profligacy of his conduct, and our pity for his misfortunes.
+According to his biographer, Mr. George Dawe, who wrote an impartial and
+excellent life of Morland, he reached the full maturity of his powers,
+about 1790 when he was twenty-six years old; and from that time, they
+began and continued to decline till his death in 1804. Poor Morland was
+constantly surrounded by a set of harpies, who contrived to get him in
+their debt, and then compelled him to paint a picture for a guinea,
+which they readily sold for thirty or forty, and which now bring almost
+any sum asked for them. Many of his best works were painted in sponging
+houses to clear him from arrest.
+
+
+MORLAND'S EARLY TALENT.
+
+Morland's father having embarked in the business of picture dealing, had
+become bankrupt, and it is said that he endeavored to repair his broken
+fortunes by the talents of his son George, who, almost as soon as he
+escaped from the cradle, took to the pencil and crayon. Very many
+artists are recorded to have manifested an "early inclination for art,"
+but the indications of early talent in others are nothing when compared
+with Morland's. "_At four, five, and six years of age_," says
+Cunningham, "_he made drawings worthy of ranking him among the common
+race of students_; the praise bestowed on these by the Society of
+Artists, to whom they were exhibited, and the money which collectors
+were willing to pay for the works of this new wonder, induced his father
+to urge him onward in his studies, and he made rapid progress."
+
+
+MORLAND'S EARLY FAME.
+
+The danger of overtasking either the mind or body in childhood, is well
+known; and there is every reason to believe that young Morland suffered
+both of these evils. His father stimulated him by praise and by
+indulgence at the table, and to ensure his continuance at his allotted
+tasks, shut him up in a garret, and excluded him from free air, which
+strengthens the body, and from education--that free air which nourishes
+the mind. His stated work for a time was making drawings from pictures
+and from plaster casts, which his father carried out and sold; but as he
+increased in skill, he chose his subjects from popular songs and
+ballads, such as "Young Roger came tapping at Dolly's window," "My name
+is Jack Hall," "I am a bold shoemaker, from Belfast Town I came," and
+other productions of the mendicant muse. The copies of pictures and
+casts were commonly sold for three half-crowns each; the original
+sketches--some of them a little free in posture, and not over delicately
+handled, were framed and disposed of for any sum from two to five
+guineas, according to the cleverness of the piece, or the generosity of
+the purchaser. Though far inferior to the productions of his manhood,
+they were much admired; engravers found it profitable to copy them, and
+before he was sixteen years old, his name had flown far and wide.
+
+
+MORLAND'S MENTAL AND MORAL EDUCATION, UNDER AN UNNATURAL PARENT.
+
+From ten years of age, young Morland appears to have led the life of a
+prisoner and a slave under the roof of his father, hearing in his
+seclusion the merry din of the schoolboys in the street, without hope of
+partaking in their sports. By-and-by he managed to obtain an hour's
+relaxation at the twilight, and then associated with such idle and
+profligate boys as chance threw in his way, and learned from them a love
+for coarse enjoyment, and the knowledge that it could not well be
+obtained without money. Oppression keeps the school of Cunning; young
+Morland resolved not only to share in the profits of his own talents,
+but also to snatch an hour or so of amusement, without consulting his
+father. When he made three drawings for his father, he made one secretly
+for himself, and giving a signal from his window, lowered it by a string
+to two or three knowing boys, who found a purchaser at a reduced price,
+and spent the money with the young artist. A common tap-room was an
+indifferent school of manners, whatever it might be for painting, and
+there this gifted lad was now often to be found late in the evening,
+carousing with hostlers and potboys, handing round the quart pot, and
+singing his song or cracking his joke.
+
+His father, having found out the contrivance by which he raised money
+for this kind of revelry adopted, in his own imagination, a wiser
+course. He resolved to make his studies as pleasant to him as he could;
+and as George was daily increasing in fame and his works in price, this
+could be done without any loss. He indulged his son, now some sixteen
+years old, with wine, pampered his appetite with richer food, and
+moreover allowed him a little pocket-money to spend among his
+companions, and purchase acquaintance with what the vulgar call life. He
+dressed him, too, in a style of ultra-dandyism, and exhibited him at his
+easel to his customers, attired in a green coat with very long skirts,
+and immense yellow buttons, buckskin breeches, and top boots with spurs.
+He permitted him too to sing wild songs, swear grossly, and talk about
+anything he liked with such freedom as makes anxious parents tremble.
+With all these indulgences the boy was not happy; he aspired but the
+more eagerly after full liberty and the unrestrained enjoyment of the
+profits of his pencil.
+
+
+MORLAND'S ESCAPE FROM THE THRALDOM OF HIS FATHER.
+
+Hassell and Smith give contradictory accounts of this important step in
+young Morland's life, which occurred when he was seventeen years old.
+The former, who knew him well, says that, "he was determined to make his
+escape from the rigid confinement which paternal authority had imposed
+upon him; and, wild as a young quadruped that had broken loose from his
+den, at length, though late, effectually accomplished his purpose."
+"Young George was of so unsettled a disposition," says Smith, "that his
+father, being fully aware of his extraordinary talents, was determined
+to force him to get his own living, and gave him a guinea, with
+something like the following observation: 'I am _determined_ to
+encourage your idleness no longer; there--take that guinea, and apply to
+your art and support yourself.' This Morland told me, and added, that
+from that moment he commenced and continued wholly on his own account."
+It would appear by Smith's relation, that our youth, instead of
+supporting his father, had all along been depending on his help; this,
+however, contradicts not only Hassell, but Fuseli also, who, in his
+edition of Pilkington's Dictionary, accuses the elder Morland of
+avariciously pocketing the whole profits of his son's productions.
+
+
+MORLAND'S MARRIAGE, AND TEMPORARY REFORM.
+
+After leaving his father, Morland plunged into a career of wildness and
+dissipation, amidst which, however, his extraordinary talents kept his
+name still rising. While residing at Kensall Green, he was frequently
+thrown in the company of Ward, the painter, whose example of moral
+steadiness was exhibited to him in vain. At length, however, he fell in
+love with Miss Ward, a young lady of beauty and modesty, and the sister
+of his friend. Succeeding in gaining her affections, he soon afterwards
+married her; and to make the family union stronger, Ward sued for the
+hand of Maria Morland, and in about a month after his sister's marriage,
+obtained it. In the joy of this double union, the brother artists took
+joint possession of a good house in High Street, Marylebone. Morland
+suspended for a time his habit of insobriety, discarded the social
+comrades of his laxer hours, and imagined himself reformed. But discord
+broke out between the sisters concerning the proper division of rule and
+authority in the house; and Morland, whose partner's claim perhaps was
+the weaker, took refuge in lodgings in Great Portland Street. His
+passion for late hours and low company, restrained through courtship and
+the honey-moon, now broke out with the violence of a stream which had
+been dammed, rather than dried up. It was in vain that his wife
+entreated and remonstrated--his old propensities prevailed, and the
+post-boy, the pawnbroker, and the pugilist, were summoned again to his
+side, no more to be separated.
+
+
+MORLAND'S SOCIAL POSITION.
+
+Morland's dissipated habits and worthless companions, produced the
+effect that might have been expected; and this talented painter, who
+might have mingled freely among nobles and princes, came strength to
+hold a position in society that is best illustrated by the following
+anecdote. Raphael Smith, the engraver, had employed him for years on
+works _from_ which he engraved, and _by_ which he made large sums of
+money. He called one day with Bannister the comedian to look at a
+picture which was upon the easel. Smith was satisfied with the artist's
+progress, and said, "I shall now proceed on my morning ride." "Stay a
+moment," said Morland, laying down his brush, "and I will go with you."
+"Morland," answered the other, in an emphatic tone, which could not be
+mistaken, "I have an appointment with a _gentleman_, who is waiting for
+me." Such a sarcasm might have cured any man who was not incurable; it
+made but a momentary impression upon the mind of our painter, who cursed
+the engraver, and returned to his palette.
+
+
+AN UNPLEASANT DILEMMA.
+
+Morland once received an invitation to Barnet, and was hastening thither
+with Hassell and another friend, when he was stopped at Whetstone
+turnpike by a lumber or jockey cart, driven by two persons, one of them
+a chimney-sweep, who were disputing with the toll-gatherer. Morland
+endeavored to pass, when one of the wayfarers cried, "What! Mr. Morland,
+won't you speak to a body!" The artist endeavored to elude further
+greeting, but this was not to be; the other bawled out so lustily, that
+Morland was obliged to recognize at last his companion and croney,
+Hooper, a tinman and pugilist. After a hearty shake of the hand, the
+boxer turned to his neighbor the chimney-sweep and said, "Why, Dick,
+don't you know this here gentleman? 'tis my friend Mr. Morland." The
+sooty charioteer smiling a recognition, forced his unwelcome hand upon
+his brother of the brush; they then both whipt their horses and
+departed. This rencontre mortified Morland very sensibly; he declared
+that he knew nothing of the chimney-sweep, and that he was forced upon
+him by the impertinence of Hooper: but the artist's habits made the
+story generally believed, and "Sweeps, your honor," was a joke which he
+was often obliged to hear.
+
+
+MORLAND AT THE ISLE OF WIGHT.
+
+Morland loved to visit this isle in his better days, and some of his
+best pictures are copied from scenes on that coast. A friend once found
+him at Freshwater-Gate, in a low public-house called The Cabin. Sailors,
+rustics, and fishermen, were seated round him in a kind of ring, the
+rooftree rung with laughter and song; and Morland, with manifest
+reluctance, left their company for the conversation of his friend.
+"George," sad his monitor, "you must have reasons for keeping such
+company." "Reasons, and good ones," said the artist, laughing;
+"see--where could I find such a picture of life as that, unless among
+the originals of The Cabin?" He held up his sketch-book and showed a
+correct delineation of the very scene in which he had so lately been the
+presiding spirit. One of his best pictures contains this fac-simile of
+the tap-room, with its guests and furniture.
+
+
+A NOVEL MODE OF FULFILLING COMMISSIONS.
+
+"It frequently happened," says one of Morland's biographers, "when a
+picture had been bespoke by one of his friends, who advanced some of the
+money to induce him to work, if the purchaser did not stand by to see it
+finished and carry it away with him, some other person, who was lurking
+within sight for that purpose, and knew the state of Morland's pocket,
+by the temptation of a few guineas laid upon the table, carried off the
+picture. Thus all were served in their turn; and though each exulted in
+the success of the trick when he was so lucky as to get a picture in
+this easy way, they all joined in exclaiming against Morland's want of
+honesty in not keeping his promises to them."
+
+
+HASSELL'S FIRST INTERVIEW WITH MORLAND.
+
+Hassell's introduction to Morland was decidedly in character. "As I was
+walking," he says, "towards Paddington on a summer morning, to inquire
+about the health of a relation, I saw a man posting on before me with a
+sucking-pig, which he carried in his arms like a child. The piteous
+squeaks of the little animal, and the singular mode of conveyance, drew
+spectators to door and window; the person however who carried it minded
+no one, but to every dog that barked--and there were not a few--he sat
+down the pig, and pitted him against the dog, and then followed the
+chase which was sure to ensue. In this manner he went through several
+streets in Mary-le-bone, and at last, stopping at the door of one of my
+friends, was instantly admitted. I also knocked and entered, but my
+surprise was great on finding this original sitting with the pig still
+under his arm, and still greater when I was introduced to Morland the
+painter."
+
+
+MORLAND'S DRAWINGS IN THE ISLE OF WIGHT.
+
+A person at whose house Morland resided when in the Isle of Wight,
+having set out for London, left an order with an acquaintance at Cowes
+to give the painter his own price for whatever works he might please to
+send. The pictures were accompanied by a regular solicitation for cash
+in proportion, or according to the nature of the subject. At length a
+small but very highly finished drawing arrived, and as the sum demanded
+seemed out of all proportion with the size of the work, the
+conscientious agent transmitted the piece to London and stated the
+price. The answer by post was, "Pay what is asked, and get as many
+others as you can at the same price." There is not one sketch in the
+collection thus made but what would now produce thrice its original
+cost.
+
+
+MORLAND'S FREAKS.
+
+One evening Hassell and his friends were returning to town from
+Hempstead, when Morland accosted them in the character of a mounted
+patrole, wearing the parish great-coat, girded with a broad black belt,
+and a pair of pistols depending. He hailed them with "horse patrole!" in
+his natural voice; they recognised him and laughed heartily, upon which
+he entreated them to stop at the Mother Red Cap, a well known
+public-house, till he joined them. He soon made his appearance in his
+proper dress, and gave way to mirth and good fellowship. On another
+occasion he paid a _parishioner_, who was drawn for constable, to be
+permitted to serve in his place, he billeted soldiers during the day,
+and presided in the constable's chair at night.
+
+
+A JOKE ON MORLAND.
+
+At another time, having promised to paint a picture for M. de Calonne,
+Morland seemed unwilling to begin, but was stimulated by the following
+stratagem. Opposite to his house in Paddington was the White Lion.
+Hassell directed two of his friends to breakfast there, and instructed
+them to look anxiously towards the artist's window, and occasionally
+walk up and down before the house. He then waited on Morland, who only
+brandished his brush at the canvas and refused to work. After waiting
+some time, Hassell went to the window and effected surprise at seeing
+two strangers gazing intently at the artist's house. Morland looked at
+them earnestly--declared they were bailiffs, who certainly wanted
+him--and ordered the door to be bolted. Hassell having secured him at
+home, showed him the money for his work, and so dealt with him that the
+picture, a landscape with six figures, one of his best productions, was
+completed in six hours. He then paid him, and relieved his apprehensions
+respecting the imaginary bailiffs--Morland laughed heartily.
+
+
+MORLAND'S APPREHENSION AS A SPY.
+
+While spending some time at Yarmouth, Morland was looked upon as a
+suspicious character, and was apprehended as a spy. After a sharp
+examination, the drawings he had made on the shores of the Isle of Wight
+were considered as confirmation of his guilt; he was therefore honored
+with an escort of soldiers and constables to Newport, and there
+confronted by a bench of justices. At his explanation, they shook their
+heads, laid a strict injunction upon him to paint and draw no more in
+that neighborhood, and dismissed him. This adventure he considered a
+kind of pleasant interruption; and indeed it seems ridiculous enough in
+the officials who apprehended him.
+
+
+MORLAND'S "SIGN OF THE BLACK BULL."
+
+On one occasion, Morland was on his way from Deal, and Williams, the
+engraver, was his companion. The extravagance of the preceding evening
+had fairly emptied their pockets; weary, hungry and thirsty, they
+arrived at a small ale-house by the way-side; they hesitated to enter.
+Morland wistfully reconnoitered the house, and at length accosted the
+landlord--"Upon my life, I scarcely knew it: is this the Black Bull?"
+"To be sure it is, master," said the landlord, "there's the sign."--"Ay!
+the board is there, I grant," replied our wayfarer, "but the Black Bull
+is vanished and gone. I will paint you a capital new one for a crown."
+The landlord consented, and placed a dinner and drink before this
+restorer of signs, to which the travelers did immediate justice. "Now,
+landlord," said Morland, "take your horse, and ride to Canterbury--it is
+but a little way--and buy me proper paint and a good brush." He went on
+his errand with a grudge, and returned with the speed of thought, for
+fear that his guests should depart in his absence. By the time that
+Morland had painted the Black Bull, the reckoning had risen to ten
+shillings, and the landlord reluctantly allowed them to go on their way;
+but not, it is said, without exacting a promise that the remainder of
+the money should be paid with the first opportunity. The painter, on his
+arrival it town, related this adventure in the Hole-in-the-Wall, Fleet
+Street. A person who overheard him, mounted his horse, rode into Kent,
+and succeeded in purchasing the Black Bull from the Kentish Boniface for
+ten guineas.
+
+
+MORLAND AND THE PAWNBROKER.
+
+Even when Morland had sunk to misery and recklessness, the spirit of
+industry did not forsake him, nor did his taste or his skill descend
+with his fortunes. One day's work would have purchased him a week's
+sustenance, yet he labored every day, and as skilfully and beautifully
+as ever. A water man was at one time his favorite companion, whom, by
+way of distinction, Morland called "My Dicky." Dicky once carried a
+picture to the pawnbroker's, wet from the easel, with the request for
+the advance of three guineas upon it. The pawnbroker paid the money; but
+in carrying it into the room his foot slipped, and the head and
+foreparts of a hog were obliterated. The money-changer returned the
+picture with a polite note, requesting the artist to restore the damaged
+part. "My Dicky!" exclaimed Morland, "an that's a good one! but never
+mind!" He reproduced the hog in a few minutes, and said, "There! go back
+and tell the pawnbroker to advance me five guineas more upon it; and if
+he won't, say I shall proceed against him; the price of the picture is
+thirty guineas." The demand was complied with.
+
+
+MORLAND'S IDEA OF A BARONETCY.
+
+Morland was well descended. In his earlier and better days, a solicitor
+informed him that he was heir to a baronet's title, and advised him to
+assert his claim. "Sir George Morland!" said the painter--"It _sounds_
+well, but it won't do. Plain George Morland will always sell my
+pictures, and there is more honor in being a fine painter than in being
+a fine gentleman."
+
+
+MORLAND'S ARTISTIC MERIT.
+
+As an artist, Morland's claims are high and undisputed. He is original
+and alone; his style and conceptions are his own; his thoughts are ever
+at home, and always natural; he extracts pleasing subjects out of the
+most coarse and trivial scenes, and finds enough to charm the eye in the
+commonest occurrences. His subjects are usually from low life, such as
+hog-sties, farm-yards, landscapes with cattle and sheep, or fishermen
+with smugglers on the sea-coast. He seldom or ever produced a picture
+perfect in all its parts, but those parts adapted to his knowledge and
+taste were exquisitely beautiful. Knowing well his faults, he usually
+selected those subjects best suited to his talents. His knowledge of
+anatomy was extremely limited; he was totally unfitted for representing
+the human figure elegantly or correctly, and incapable of large
+compositions. He never paints above the most ordinary capacity, and
+gives an air of truth and reality to whatever he touches. He has taken a
+strong and lasting hold of the popular fancy: not by ministering to our
+vanity, but by telling plain and striking truths. He is the rustic
+painter for the people; his scenes are familiar to every eye, and his
+name is on every lip. Painting seemed as natural to him as language is
+to others, and by it he expressed his sentiments and his feelings, and
+opened his heart to the multitude. His gradual descent in society may be
+traced in the productions of his pencil; he could only paint well what
+he saw or remembered; and when he left the wild sea-shore and the green
+wood-side for the hedge ale-house and the Rules of the Bench, the
+character of his pictures shifted with the scene. Yet even then his
+wonderful skill of hand and sense of the picturesque never forsook him.
+His intimacy with low life only dictated his theme--the coarseness of
+the man and the folly of his company never touched the execution of his
+pieces. All is indeed homely--nay, mean--but native taste and elegance
+redeemed every detail. To a full command over every implement of his
+art, he united a facility of composition and a free readiness of hand
+perhaps quite unrivalled.
+
+
+CHARLES JERVAS.
+
+This artist was a pupil of Sir Godfrey Kneller, and met with plentiful
+employment in portrait painting. His abilities were very inferior, but,
+says Walpole, "Such was the badness of the age's taste, and the dearth
+of good masters, that Jervas sat at the head of his profession, although
+he was defective in drawing, coloring, composition, and likeness. In
+general, his pictures are a light flimsy kind of fan-painting as large
+as life. Yet I have seen a few of his works highly colored, and it is
+certain that his copies of Carlo Maratti, whom he most studied and
+imitated, were extremely just, and scarcely inferior to the originals."
+
+
+JERVAS THE INSTRUCTOR OF POPE.
+
+What will recommend the name of Jervas to inquisitive posterity, was his
+intimacy with Pope, whom he instructed to draw and paint. The poet has
+enshrined the feeble talents of the painter in "the lucid amber of his
+flowing lines." Spence informs us, that Pope was "the pupil of Jervas
+for the space of a year said a half," meaning that he was constantly so,
+for that period. Tillemans was engaged in painting a landscape for Lord
+Radnor, into which Pope by stealth inserted some strokes, which the
+prudent painter did not appear to observe; and of this circumstance Pope
+was not a little vain. In proof of his proficiency in the art of
+painting, Pope presented his friend Mr. Murray, with a head of Betterton
+the celebrated tragedian, which was afterwards at Caen Wood. During a
+long visit at Holm Lacy in Herefordshire, he amused his leisure by
+copying from Vandyck, in crayons, a head of Wentworth, Earl of
+Strafford, which was still preserved there many years afterwards, and is
+said to have possessed considerable merit. For an account of Pope's
+skill in painting fans, see vol. I. page 201 of this work.
+
+
+JERVAS AND DR. ARBUTHNOT.
+
+Jervas, who affected to be a Free-thinker, was one day talking very
+irreverently of the Bible. Dr. Arbuthnot maintained to him that he was
+not only a speculative, but a practical believer. Jervas denied it.
+Arbuthnot said that he would prove it: "You strictly observe the second
+commandment;" said the Doctor, "for in your pictures you 'make not the
+likeness of anything that is in the heavens above, or in the earth
+beneath, or in the waters under the earth'"!
+
+
+JERVAS' VANITY.
+
+His vanity and conceit knew no bounds. He copied a picture by Titian in
+the Royal collection, which he thought so vastly superior to the
+original, that on its completion he exclaimed with great complacency,
+"Poor little Tit, how he would stare!" Walpole says, "Jervas had
+ventured to look upon the fair Lady Bridgewater with more than a
+painter's eye; so entirely did that lovely form possess his imagination,
+that many a homely dame was delighted to find her picture resemble Lady
+Bridgewater. Yet neither his presumption nor his passion could
+extinguish his self-love." One day, as she was sitting to him, he ran
+over the beauties of her face with rapture--'but,' said he, "I cannot
+help telling your ladyship that you have not a handsome ear." "No!"
+returned the lady, "pray, Mr. Jervas, what is a handsome ear?" He turned
+his cap, and showed her his own. When Kneller heard that Jervas had sent
+up a carriage and four horses, he exclaimed, "Ah, mine Got! if his
+horses do not draw better than he does, he will never get to his
+journey's end!"
+
+
+HOLBEIN AND THE FLY.
+
+Before Holbein quitted Basile for England, he intimated that he should
+leave a specimen of the power of his abilities. Having a portrait in his
+house which he had just finished for one of his patrons, he painted a
+fly on the forehead, and sent it to the person for whom it was painted.
+The gentleman was struck with the beauty of the piece, and went eagerly
+to brush off the fly, when he found out the deceit. The story soon
+spread, and orders were immediately given to prevent the city being
+deprived of Holbein's talents; but he had already departed.
+
+
+HOLBEIN'S VISIT TO ENGLAND.
+
+Furnished with recommendatory letters from his friend Sir Thomas More,
+Holbein went to England, and was received into More's house, where he
+wrought for nearly three years, drawing the portraits of Sir Thomas, his
+relations and friends. The King, (Henry VIII.) visiting the Chancellor,
+saw some of these pictures, and expressed his satisfaction. Sir Thomas
+begged him to accept which ever he liked; but his Majesty inquired for
+the painter, who was accordingly introduced to him. Henry immediately
+took him into his own service and told the Chancellor that now he had
+got the artist, he did not want the pictures. An apartment in the palace
+was allotted to Holbein, with a salary of 200 florins besides the price
+of his pictures.
+
+
+HENRY VIII.'S OPINION OF HOLBEIN.
+
+The King retained Holbein in his service many years, during which time
+he painted the portrait of his Majesty many times, and probably those of
+all his queens, though no portrait of Catharine Parr is certainly known
+to be from his hand. An amusing and characteristic anecdote is related,
+showing the opinion the King entertained of this artist. One day, as
+Holbein was privately drawing some lady's picture for Henry, a great
+lord forced himself into the chamber, when the artist flew into a
+terrible passion, and forgetting everything else in his rage, ran at the
+peer and threw him down stairs! Upon a sober second thought, however,
+seeing the rashness of this act, Holbein bolted the door, escaped over
+the top of the house, and running directly to the King, besought
+pardon, without telling his offence. His majesty promised he would
+forgive him if he would tell the truth; but on finding out the offence,
+began to repent of his promise, and said he should not easily overlook
+such insults, and bade him wait in the apartment till he learned more of
+the matter. Immediately after, the lord arrived with his complaint, but
+diminishing the provocation. At first the monarch heard the story with
+temper, but soon broke out, reproaching the nobleman with his want of
+truth, and adding, "You have not to do with Holbein, but with me; I tell
+you, of seven peasants I can make seven lords; but of seven lords I
+cannot make one Holbein! Begone, and remember that if you ever attempt
+to revenge yourself, I shall look on any injury offered to the painter
+as done to myself."
+
+
+HOLBEIN'S PORTRAIT OF THE DUCHESS DOWAGER OF MILAN.
+
+After the death of Jane Seymour, Holbein was sent to Flanders by the
+King, to paint the portrait of the Duchess Dowager of Milan, widow of
+Francesco Sforza, whom Charles V. had recommended to Henry for a fourth
+wife, although the German Emperor subsequently changed his mind, and
+prevented the marriage. There is a letter among the Holbein MSS. from
+Sir Thomas Wyatt, congratulating his Majesty on his escape, as the
+Duchess' chastity was somewhat equivocal, but says Walpole, "If it was,
+I am apt to think, considering Henry's temper, that the Duchess had the
+greater escape!"--About the same time it is said that the Duchess
+herself, sent the King word, "That she had but one head; if she had two,
+one of them should be at his Majesty's service."
+
+
+HOLBEIN'S FLATTERY IN PORTRAITS--A WARNING TO PAINTERS.
+
+Holbein was dispatched by Cromwell, Henry's Minister, to paint the Lady
+Anne of Cleves, and by practising the common flattery of his profession,
+"he was," says Walpole, "the immediate cause of the destruction of that
+great subject, and of the disgrace which fell upon the princess herself.
+He drew so favorable a likeness that Henry was content to wed her; but
+when he found her so inferior to the miniature, the storm which should
+have really been directed at the painter, burst on the minister; and
+Cromwell lost his head, because Anne was _a Flanders mare_, and not a
+Venus, as Holbein had represented her."
+
+
+HOLBEIN'S PORTRAIT OF CRATZER.
+
+He painted the portrait of Nicholas Cratzer, astronomer to Henry VIII.,
+which Walpole mentions as being in the Royal collection in France. This
+astronomer erected the dial at Corpus Christi, Oxford College, in 1550.
+After thirty years' residence in England, he had scarce learned to
+speak the language, and his Majesty asking him how that happened, he
+replied, "I beseech your highness to pardon me; what can a man learn in
+only thirty years?" The latter half of this memorable sentence may
+remind the reader of Sir Isaac Newton; and perhaps the study of
+astronomy does naturally produce such a feeling in the reflective mind.
+
+
+HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.
+
+Holbein painted the portraits of the Chancellor and family; and no less
+than six different pictures of this subject are attributed to his hand;
+but of these Walpole thinks only two to possess good evidences of
+originality. One of these was in Deloo's collection, and after his death
+was purchased by Mr. Roper, More's grandson. Another was in the Palazzo
+Delfino at Venice, where it was long on sale, the price first set being
+L1500; but the King of Poland purchased it about 1750, for near L400.
+The coloring of this work is beautiful beyond description, and the
+carnations have that bloom so peculiar to Holbein, who touched his works
+until not a touch remained discernible. Walpole says, "It was evidently
+designed for a small altar-piece to a chapel; in the middle on a throne
+sits the Virgin and child; on one side kneels an elderly gentleman with
+two sons, one of them a naked infant opposite kneeling are his wife and
+daughters."
+
+There is recorded a bon-mot of Sir Thomas on the birth of his son. He
+had three daughters, but his wife was impatient for a son: at last they
+had one, but not much above an idiot--"you have prayed so long for a
+boy," said the Chancellor, "that now we have got one who I believe will
+be a boy as long as he lives!"
+
+
+SIR JOHN VANBRUGH AND HIS CRITICS.
+
+This eminent English architect, who flourished about the commencement of
+the 18th century, had to contend with the wits of the age. They waged no
+war against him as a wit, for he was not inferior; but as an architect,
+he was the object of their keenest derision, particularly for his
+celebrated work of the stupendous palace of Blenheim, erected for the
+Duke of Marlborough in accordance with the vote of a grateful nation.
+Swift was a satirist, therefore no true critic; and his disparagement of
+Blenheim arose from party-feeling. Pope was more decisive, and by the
+harmony of his numbers contributed to lead and bias the public opinion,
+until a new light emanated from the criticism of Sir Joshua Reynolds;
+and this national palace is now to be considered, not on its
+architectural, but its picturesque merits. A criticism which caused so
+memorable a revolution in public taste, must be worthy of an extract. "I
+pretend to no skill in architecture--I judge now of the art merely as a
+painter. To speak then of Vanbrugh in the language of a painter, he had
+originality of invention, he understood light and shadow, and had great
+skill in composition. To support his principal object he produced his
+second and third groups of masses; he perfectly understood in _his_ art
+what is most difficult in _ours_, the conduct of the background, by
+which the design and invention is set off to the greatest advantage.
+What the background is in painting, is the real ground upon which the
+building is erected; and no architect took greater care that his works
+should not appear crude and hard; that is, it did not start abruptly out
+of the ground, without speculation or preparation. This is the tribute
+which a painter owes to an architect who composed like a painter."
+
+Besides this, the testimony of Knight, Price, and Gilpin, have
+contributed to remove the prejudices against Vanbrugh. Knight says in
+his "Principles of Taste," Sir John Vanbrugh is the only architect I
+know of, who has either planned or placed his houses according to the
+principles recommended; and in his two chief works, Blenheim and Castle
+Howard, it appears to have been strictly adhered to, at least in the
+placing of them, and both are certainly worthy of the best situations,
+which not only the respective places, but the island of Great Britain
+could afford.
+
+Vanbrugh also evinced great talent as a dramatic writer, and his
+masterly powers in comedy are so well evinced in the Relapse, the
+Provoked Wife, and other plays, that were it not for their strong
+libertine tendency which have properly banished them from the stage, and
+almost from the closet, he would have been regarded as a standard
+classic author in English dramatic literature. His private character
+seems to have been amiable, and his conduct tolerably correct. He died
+at his own house in Whitehall, in 1726. In his character of architect,
+Dr. Evans bestowed on him the following witty epitaph:
+
+  "Lie heavy on him, earth, for he
+  Laid many a heavy load on thee"!
+
+
+ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.
+
+He was employed by the Duke of Somerset, commonly called "the Proud
+Duke," to paint the portraits of his horses at Petworth, who
+condescended to sit with Seymour (his namesake) at table. One day at
+dinner, the Duke filled his glass, and saying with a sneer, "_Cousin_
+Seymour, your health," drank it off. "My Lord," said the artist, "I
+believe I _have_ the honor of being related to your grace." The proud
+peer rose from the table, and ordered his steward to dismiss the
+presumptuous painter, and employ an humbler brother of the brush. This
+was accordingly done; but when the new painter saw the spirited works of
+his predecessor, he shook his head, and retiring said, "No man in
+England can compete with James Seymour." The Duke now condescended to
+recall his discarded cousin. "My Lord," was the answer of Seymour, "I
+will now prove to the world that I am of your blood--_I won't come._"
+Upon receiving this laconic reply, the Duke sent his steward to demand a
+former loan of L100. Seymour briefly replied that "he would write to his
+Grace." He did so, but directed his letter, "Northumberland House,
+opposite the Trunkmaker's, Charing Cross." Enraged at this additional
+insult, the Duke threw the letter into the fire without opening it, and
+immediately ordered his steward to have him arrested. But Seymour,
+struck with an opportunity of evasion, carelessly observed that "it was
+hasty in his Grace to burn his letter, because it contained a bank note
+for L100, and that _therefore_, they were now quits."
+
+
+PRECOCITY OF LUCA GIORDANO.
+
+At the age of five years, the natural taste of Lucia Giordano for
+painting, led him to adopt the pencil as a plaything; at six he could
+draw the human figure with surprising correctness. The Cav. Stanzioni,
+passing by his father's shop, and seeing the child at work, stopped to
+see his performances, and is said to have predicted that "he would one
+day become the first painter of the age." Before he was eight years old
+he painted, unknown to his father, two cherubs in a fresco, entrusted to
+that artist, in an obscure part of the church of S. Maria
+Nuova--figures so graceful as to attract considerable attention. This
+fact coming to the knowledge of the Duke de Medina de las Torres, the
+Viceroy of Naples, he rewarded the precocious painter with some gold
+ducats, and recommended him to the instruction of Spagnoletto, then the
+most celebrated painter in Naples, who accordingly received him into his
+studio. There, says Palomino, he spent nine years in close application
+to study, and there, he probably enjoyed the advantage of seeing
+Velasquez, during that great artist's second visit to Naples.
+
+
+GIORDANO'S ENTHUSIASM.
+
+When Giordano was about seventeen years old, having learned from Ribera
+all he could teach him, he conceived a strong desire to prosecute his
+studies at Rome. To this step, his father, who was poor, and could
+perhaps ill afford to lose his earnings, refused to give his consent.
+Luca therefore embraced the earliest opportunity to abscond, and ran
+away on foot to the metropolis of art, where he applied himself with the
+greatest assiduity. He copied all the great frescos of Raffaelle in the
+Vatican several times; he next turned his rapid pencil against the works
+of Annibale Caracci in the Farnese palace. Meantime, his father divining
+the direction which the truant had taken, followed him to Rome, where,
+after a long search, he discovered him sketching in St. Peter's church.
+
+
+LUCA FA PRESTO.
+
+Giordano resided at Rome about three years with his father, who seems to
+have been a helpless creature, subsisting by the sale of his son's
+drawings; but Luca cared for nothing but his studies, satisfied with a
+piece of bread or a few maccaroni. When their purse was low, the old man
+would accompany him to the scene of his labors, and constantly urge him
+on, by repeating _Luca, fa presto_, (hurry Luca) which became a byword
+among the painters, and was fixed upon the young artist as a nickname,
+singularly appropriate to his wonderful celerity of execution. He
+afterwards traveled through Lombardy to Venice, still accompanied by his
+father, and having studied the works of Correggio, Titian, and other
+great masters, returned by way of Florence and Leghorn to Naples, where
+he soon after married the Donna Margarita Ardi, a woman of exquisite
+beauty, who served him as a model for his Virgins, Madonnas, Lucretias,
+and Venuses.
+
+
+GIORDANO'S SKILL IN COPYING.
+
+Luca Giordano could copy any master so accurately as to deceive the best
+judges. Among his patrons in his youth was one Gasparo Romero, who was
+in the habit of inflicting upon him a great deal of tedious and
+impertinent advice. For this he had his revenge by causing his father to
+send to that connoisseur as originals, some of his imitations of
+Titian, Tintoretto, and Bassano, and afterwards avowing the deception;
+but he managed the joke so pleasantly that Romero was rather pleased
+than offended at his skill and wit.
+
+
+GIORDANO'S SUCCESS AT NAPLES.
+
+In 1655, Giordano painted in competition with Giacomo Forelli, a large
+picture of St. Nicholas borne away by angels, for the church of S.
+Brigida, a work of such power and splendor, that it completely eclipsed
+his rival, and established his reputation at the early age of
+twenty-three. Two years after, he was employed by the Viceroy to paint
+several pictures for the church of S. Maria del Pianto, in competition
+with Andrea Vaccaro. The principal subjects which fell to Giordano, were
+the Crucifixion, and the Virgin and St. Januarius pleading with the
+Saviour for Naples, afflicted with pestilence; these he executed with
+great ability. He and Vaccaro having a dispute about placing the
+pictures, the matter was referred to the Viceroy, who gave the choice to
+Vaccaro as the senior artist; Giordano immediately yielded with so much
+grace and discretion, that he made a firm friend of his successful
+rival. His master, Ribera, being now dead, he soon stepped into the
+vacant place of that popular artist. The religious bodies of the
+kingdom, the dignitaries of the church, and princes and nobles, eagerly
+sought after his works.
+
+
+GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.
+
+The honors heaped upon Giordano by the Marquess of Heliche, compelled
+him to neglect and offend other patrons. One of these personages, the
+Duke of Diano, being very anxious for the completion of his orders, at
+last, lost all patience, and collaring the artist, he threatened him
+with personal chastisement if he did not immediately fulfil his
+engagements. The Viceroy being informed of the insult, took up the
+painter's quarrel in right royal style. He invited the Duke, who
+affected connoisseurship, to pass judgment on a picture lately painted
+by Luca for the palace, in imitation of the style of Rubens. The unlucky
+noble fell into the trap, and pronounced it an undoubted work by the
+great Fleming. Seeming to assent to this criticism, the Viceroy replied
+that Giordano was painting a companion to the picture, a piece of
+information which Diano received with a sneer and a remark on the
+artist's uncivil treatment to persons of honor. Here Heliche hastily
+interposed, telling him that the work which he had praised was painted,
+not by Rubens, but by Giordano, and repeating the sentiment expressed by
+several crowned heads on like occasions, admonished him of the respect
+due to a man so highly endowed by his Maker. "And how dare you," cried
+he, in a loud tone, and seizing the Duke by the collar, as the latter
+had done to Giordano, "thus insult a man, who is besides, retained in
+my service? Know, for the future, that none shall play the brave here,
+so long as I bear rule in Naples!" "This scene," says Dominici, "passing
+in the presence of many of the courtiers, and some of these, witnesses
+of the insult offered to the painter, so mortified the pride of the
+provincial grandee, that he retired, covered with confusion, and falling
+into despondency, died soon after of a fever."
+
+
+GIORDANO INVITED TO FLORENCE.
+
+In 1679, Giordano was invited to Florence by the Grand Duke, Cosmo III.,
+to decorate the chapel of S. Andrea Corsini in the Carmine. His works
+gave so much satisfaction to that prince, that he not only liberally
+rewarded him, but overwhelmed him with civilities, and presented him
+with a gold medal and chain, which he did him the honor to place about
+his neck with his own royal hands.
+
+
+GIORDANO AND CARLO DOLCI.
+
+While sojourning in that city, he became acquainted with Carlo Dolci,
+then advanced in years, who is said to have been so affected at seeing
+the rapid Neapolitan execute in a few hours what would have required him
+months to perform, in his own slow and laborious manner, that he fell
+into a profound melancholy, of which he soon after died: This
+circumstance Dominici assures us, Giordano long afterwards remembered
+with tears, on being shown at Naples "a picture painted by poor
+Carlino."
+
+
+GIORDANO'S VISIT TO SPAIN.
+
+The fame of Giordano had already reached Madrid, when Don Cristobal de
+Ontanon, a favorite courtier of Charles II., returning from Italy, full
+of admiration for Giordano and his works, so sounded his praises in the
+royal ear, that the King invited him to his court, paying the expense of
+his journey, and giving him a gratuity of 1500 ducats, and appointing
+him his principal painter, with a salary of 200 crowns a month.
+
+The painter embarked from Naples on board one of the royal galleys,
+accompanied by his son Nicolo, a nephew named Baldassare Valente, and
+two scholars, Aniello Rossi and Matteo Pacelli, attended by three
+servants. Landing at Barcelona, and resting there a few days, he
+proceeded to Madrid, where he arrived in May 1692. Six of the royal
+coaches were sent to meet him on the road, and conduct him to the house
+of his friend Ontanon. On the day of his arrival, by the desire of the
+King, he was carried to the Alcaza and presented to his Majesty. Charles
+received him with great kindness, inquired how he had borne the fatigues
+of his journey, and expressed his joy at finding him much younger in
+appearance than he had been taught to expect. The painter, with his
+usual courtly tact, replied, that the journey he had undertaken to
+enter the service of so great a monarch, had revived his youth, and
+that in the presence of his Majesty, he felt as if he were twenty again.
+"Then," said Charles smiling, "you are not too weary to pay a visit to
+my gallery," and led him through the noble halls of Philip II., rich
+with the finest pictures of Italy and Spain. It was probably on this
+occasion, that Giordano, passing before Velasquez's celebrated picture
+of the Infanta and her meninas, bestowed on it the well known name of
+the _Theology of Painting_. The King, who paid the painter the
+extraordinary honor to embrace him when first presented, gave him a
+still greater mark of his favor at parting, by kissing him on the
+forehead, and presenting him with the golden key as gentleman of the
+royal bed-chamber.
+
+
+GIORDANO'S WORKS IN SPAIN.
+
+Luca Giordano resided in Spain ten years, and in that time he executed
+an incredible number of grand frescos, and other works for the royal
+palaces, churches, and convents, as well as many more for individuals,
+enough to have occupied an ordinary man a long life. In the short space
+of two years, he painted in fresco, the stupendous ceiling of the
+church, and the grand staircase of the Escurial; the latter,
+representing the Battle of St. Quintin, and the Capture of Montmorenci,
+is considered one of his finest works. His next productions were the
+great saloon in the Bueno Retiro; the sacristy of the great church at
+Toledo; the ceiling of the Royal Chapel at Madrid, and other important
+works. After the death of Charles II., he was employed in the same
+capacity by his successor, Philip V. These labors raised his reputation
+to the highest pitch; he was loaded with riches and favors, and Charles
+conferred upon him the honor of knighthood.
+
+
+GIORDANO AT THE ESCURIAL.
+
+Whilst Giordano was employed at the Escurial two Doctors of Theology
+were ordered to attend upon him, to answer his questions, and resolve
+any doubts that might arise as to the orthodox manner of treating his
+subjects. A courier was despatched every evening to Madrid, with a
+letter from the prior to the King, rendering an account of the artist's
+day's work; and within the present century, some of these letters were
+preserved at the Escurial. On one occasion he wrote thus, "Sire, your
+Giordano has painted this day about twelve figures, thrice as large as
+life. To these he has added the powers and dominations, with proper
+angels, cherubs, and seraphs, and clouds to support the same. The two
+Doctors of Divinity have not answers ready for all his questions, and
+their tongues are too slow too keep pace with the speed of his pencil."
+
+
+GIORDANO'S HABITS IN SPAIN.
+
+Giordano was temperate and frugal. He wrought incessantly, and to the
+scandal of the more devout, was found at his easel, even on days of
+religious festivals. His daily habit was to paint from eight in the
+morning, till noon, when he dined and rested two hours. At two he
+resumed his pencil, and wrought till five or six o'clock. He then took
+an airing in one of the royal carriages which was placed at his
+disposal. "If I am idle a single day," he used to say, "my pencils get
+the better of me; I must keep them in subjection by constant practice."
+The Spanish writers accuse him of avarice, and attribute his intense
+application to his ambition to acquire a large fortune; that he received
+large prices for his works, and never spent a maravedi except in the
+purchase of jewelry, of which he was very fond, and considered a good
+investment; thus he astonished Palomino by showing him a magnificent
+pearl necklace; but it should be recollected he was in the service of
+the King, and had a fixed salary, by no means large, which he was
+entitled to receive whether he wrought or played. He was doubtless
+better paid for his private commissions, which he could quickly
+despatch, than for his royal labors.
+
+
+GIORDANO'S FIRST PICTURES PAINTED AT MADRID.
+
+The first work Giordano executed in Spain was a fine imitation of a
+picture by Bassano, which happened under the following circumstances.
+The King, during his first interview with the painter, had remarked with
+regret, that a certain picture in the Alcaza, by that master, wanted a
+companion, Giordano secretly procured a frame and a piece of old
+Venetian canvas of the size of the other, and speedily produced a
+picture, having all the appearance of age and a fine match to the
+original, and hung it by its side. The King, in his next walk through
+the gallery, instantly noticed the change with surprise and
+satisfaction, and learning the story from his courtiers, he approached
+the artist, and laying his hand on his shoulder, saluted him with "Long
+life to Giordano."
+
+
+GIORDANO A FAVORITE AT COURT.
+
+No painter, not even Titian himself, was more caressed at court, than
+Giordano. Not only Charles II., but Philip V., delighted to do him
+honor, and treated him with extraordinary favor and familiarity. His
+brilliant success is said to have shortened the life of Claudio Coello,
+the ablest of his Castilian rivals. According to Dominici, that painter,
+jealous of Giordano, and desirous of impairing his credit at the court
+of Spain, challenged him to paint in competition with him in the
+presence of the King, a large composition fifteen palms high,
+representing the Archangel Michael vanquishing Satan. Giordano at once
+accepted the challenge, and in little more than three hours, produced a
+work which not only amazed and delighted the royal judge, but confounded
+poor Coello. "Look you, man," said the King to the discomfited Spaniard,
+and pointing to Luca Fa-presto, "there stands the best painter in
+Naples, Spain, and the whole world; verily, _he_ is a painter for a
+King."
+
+Both Charles and Queen Mariana of Neuberg, sat several times to Giordano
+for their portraits. They were never weary of visiting his studio, and
+took great pleasure in his lively conversation, and exhibitions of
+artistic skill. One day, the Queen questioned him curiously about the
+personal appearance of his wife, who she had learned was very beautiful.
+Giordano dashed off the portrait of his _Cara Sposa_, and cut short her
+interrogation by saying, "Here, Madame, is your Majesty's most humble
+servant herself," an effort of skill and memory, which struck the Queen
+as something so wonderful as to require a particular mark of her
+approbation,--she accordingly "sent to the Donna Margarita a string of
+pearls from the neck of her most gracious sovereign." Giordano would
+sometimes amuse the royal pair, by laying on his colors with his fingers
+and thumb, instead of brushes. In this manner, says Palomino, he
+executed a tolerable portrait of Don Francisco Filipin, a feat over
+which the monarch rejoiced with almost boyish transport. "It seemed to
+him as if he was carried back to that delightful night when he first saw
+his beautiful Maria Louisa dance a saraband at the ball of Don Pedro of
+Aragon. His satisfaction found vent in a mark of favor which not a
+little disconcerted the recipient. Removing the sculpel which the artist
+had permission to wear in the royal presence, he kissed him on the crown
+of the head, pronounced him a prodigy, and desired him to execute in the
+same digital style, a picture of St. Francis of Assisi for the Queen."
+Charles, on another occasion, complimented the artist, by saying, "If,
+as a King I am greater than Luca, Luca as a man wonderfully gifted by
+God, is greater than myself," a sentiment altogether novel for a
+powerful monarch of the 17th century. The Queen mother, Mariana of
+Austria, was equally an admirer of the fortunate artist. On occasion of
+his painting for her apartment a picture of the Nativity of our Lord,
+she presented him with a rich jewel and a diamond ring of great value,
+from her own imperial finger. It was thus, doubtless, that he obtained
+the rich jewels which astonished Palomino, and not by purchase. Charles
+II., dying in 1700, Giordano continued for a time in the service of his
+successor Philip V., who treated him with the same marked favor, and
+commissioned him to paint a series of pictures as a present to his
+grandfather, Louis XIV., of France.
+
+
+GIORDANO'S RETURN TO NAPLES.
+
+The war of succession, however, breaking out, Giordano was glad to seize
+the opportunity of re-returning to his family, on the occasion of the
+King's visit to Naples. He accompanied the court to Barcelona, in
+February, 1702, but as Philip delayed his embarkation, he asked and
+received permission to proceed by land. Parting through Genoa and
+Florence to Rome, he was received everywhere with distinction, and left
+some pictures in those cities. At Rome he had the honor to kiss the feet
+of Clement XI., and was permitted by special favor to enter the Papal
+apartments with his sword at his side, and his spectacles upon his nose.
+These condescensions he repaid with two large pictures, highly praised,
+representing the passage of the Red Sea, and Moses striking the Rock. On
+his arrival at Naples, he met with the most enthusiastic reception from
+his fellow-citizens, his renown in Spain having made him still more
+famous at home. Commissions poured into him, more than he could execute,
+and though rich, he does not seem to have relaxed his efforts or his
+habits of industry, but he did not long survive; he died of a putrid
+fever in January, 1705, in the 73d year of his age.
+
+
+GIORDANO'S PERSONAL APPEARANCE AND CHARACTER.
+
+In person, Luca Giordano was of the middle height, and
+well-proportioned. His complexion was dark, his countenance spare, and
+chiefly remarkable for the size of its nose, and an expression rather
+melancholy than joyous. He was, however, a man of ready wit and jovial
+humor; he was an accomplished courtier, understood the weak points of
+men that might be touched to advantage, and possessed manners so
+engaging, that he passed through life a social favorite. His school was
+always filled with scholars, and as a master he was kind and popular,
+although, according to Palomino, on one occasion he was so provoked that
+he broke a silver-mounted maul-stick over the head of one of his
+assistants. Greediness of gain seems to have been his besetting sin. He
+refused no commission that was offered to him, and he despatched them
+according to the prices he received, saying that "he had three sorts of
+pencils, made of gold, of silver, and of wood." Yet he frequently
+painted works gratuitously, as pious offerings to the altars of poor
+churches and convents.
+
+
+GIORDANO'S RICHES.
+
+Giordano died very rich, leaving 150,000 ducats invested in various
+ways; 20,000 ducats worth of jewels; many thousands in ready money,
+1,300 pounds weight of gold and silver plate, and a fine house full of
+rich furniture. Out of this he founded an entailed estate for his eldest
+son, Lorenzo, and made liberal provisions for his widow, two younger
+sons and six daughters. His sons and sons-in-law enjoyed several posts
+conferred on them in the kingdom of Naples by the favor of Charles II.
+
+
+GIORDANO'S WONDERFUL FACILITY OF HAND.
+
+Giordano may be said to have been born with a pencil in his hand, and by
+constant practice, added to a natural quickness, he acquired that
+extraordinary facility of hand which, while in his subsequent career, it
+tended to corrupt art, materially aided his fame and success. He was
+also indefatigable in his application. Bellori says, "he made twelve
+different designs of the Loggia and paintings by Raffaelle in the
+Vatican; and twenty after the Battle of Constantine by Giulio Romano,
+besides many after Michael Angelo, Polidoro da Caravaggio, and others.
+The demand for his drawings and sketches was so great, that Luca, when
+obliged to take refreshments, did not retire from his work, but gaping
+like a young bird, gave notice to his father of the calls of nature,
+who, always on the watch, instantly supplied him with food, at the same
+time repeating, _Luca, fa presto_. The only principle which his father
+instilled into his mind was despatch." Probably no artist, not even
+Tintoretto, produced so many pictures as Giordano. Lanzi says, "his
+facility was not derived wholly from a rapidity of pencil, but was aided
+by the quickness of his imagination, which enabled him clearly to
+perceive, from the commencement of the work, the result he intended,
+without hesitating to consider the component parts, or doubling,
+proving, and selecting, like other painters." Hence Giordano was also
+called, _Il proteo della pittura_, and _Il Falmine della pittura_--the
+Proteus, and the Lightning of painting. As an instance of the latter, it
+is recorded that he painted a picture while his guests were waiting for
+dinner.
+
+
+GIORDANO'S POWERS OF IMITATION.
+
+Giordano had the rare talent of being able to imitate the manner of
+every master so successfully as frequently to deceive the best judges;
+he could do this also without looking at the originals, the result of a
+wonderful memory, which retained everything once seen. There are
+numerous instances of pictures painted by him in the style of Albert
+Durer, Bassano, Titian, and Rubens, which are valued in commerce at two
+or three times the price of pictures in his own style. In the church of
+S. Teresa at Naples, are two pictures by him in the style of Guido, and
+there is a Holy Family at Madrid, which Mengs says may be easily
+mistaken for a production of Raffaelle. Giordano also had several
+scholars, who imitated his own style with great precision.
+
+
+GIORDANO'S FAME AND REPUTATION.
+
+Perhaps no artist ever enjoyed a greater share of contemporary fame than
+Luca Giordano. Possessed of inexhaustible invention, and marvellous
+facility of hand, which enabled him to multiply his works to any
+required amount he had the good fortune to hit upon a style which
+pleased, though it still farther corrupted the declining taste of the
+age. He despatched a large picture in the presence of Cosmo III., Grand
+Duke of Florence, in so short a space of time as caused him to exclaim
+in wonder, "You are fit to be the painter of a sovereign prince." The
+same eulogium, under similar circumstances, was passed upon him by
+Charles II. A similar feat at Naples, had previously won the admiration
+and approbation of the Viceroy, the Marquess de Heliche, and laid the
+foundation of his fortune. It became _the fashion_, to admire everything
+that came from his prolific pencil, at Madrid, as well as at Naples.
+Everywhere, his works, good or bad, were received with applause. When it
+was related as a wonder that Giordano painted with his fingers, no
+Angelo was found to observe, "Why does not the blockhead use his brush."
+That Giordano was a man of genius, there can be no doubt, but had he
+executed only a tenth part of the multitude he did, his fame would have
+been handed down to posterity with much greater lustre. Cean Bermudez
+says of his works in Spain, "He left nothing that is absolutely bad, and
+nothing that is perfectly good." His compositions generally bear the
+marks of furious haste, and they are disfigured in many cases by
+incongruous associations of pagan mythology with sacred history, and of
+allegory with history, a blemish on the literature as well as the art of
+the age. Bermudez also accuses him of having corrupted and degraded
+Spanish art, by introducing a new and false style, which his great
+reputation and royal favoritism, brought into vogue. Still, he deserves
+praise for the great facility of his invention, the force and richness
+of his coloring, and a certain grandeur of conception and freedom of
+execution which belong only to a great master. The royal gallery at
+Madrid possesses no less than fifty-five of his pictures, selected from
+the multitude he left in the various royal palaces. There are also many
+in the churches. Lanzi says, "Naples abounds with the works of Giordano,
+both public and private. There is scarcely a church in this great city
+which does not boast some of his works."
+
+
+REMARKABLE INSTANCE OF GIORDANO'S RAPIDITY OF EXECUTION.
+
+Giordano, on his return to Naples from Florence, established himself in
+Ribera's fine house, opposite the Jesuit's church of S. Francesco
+Xavier. In 1685 he was commissioned by the Fathers to paint a large
+picture for one of the principal altars, and agreed that it should be
+completed by the approaching festival of the patron saint. Giordano,
+having other engagements on hand, put off the execution of the
+altar-piece so long, that the Jesuits began to be clamorous, and at
+length appealed to the Viceroy to exercise his authority. Determined to
+see for himself how matters stood, that great man paid an unexpected
+visit to Giordano's studio. The painter had barely time to escape by a
+back door to avoid his wrath, when the Marquess de Heliche entered, who
+perceiving that he had not touched the vast canvas with his brush, as
+suddenly retired, muttering imprecations and menaces. Luca's dashing
+pencil now stood him in good stead. He immediately sketched the outlines
+of his composition, and setting his disciples to prepare his palettes,
+he painted all that day and night with so much diligence that by the
+following afternoon, he was able to announce to the impatient Fathers
+the completion of the picture. The subject was the patron of the church,
+St. Francis Xavier, the great Jesuit missionary, baptizing the people of
+Japan. He is represented standing on a lofty flight of steps; behind
+him, in the distance, is a party of zealous converts pulling down the
+images of their gods, and beneath in the foreground, kneels St. Francis
+Borgia in the attitude of prayer. The picture was executed with such
+boldness and freedom, and excellence of coloring, that at the proper
+distance it produced a grand and magnificent effect. It was immediately
+carried to the church, and placed over the destined altar, the day
+before the appointed festival, and the Viceroy whose anger had hardly
+cooled, invited to inspect it. Charmed with the beauty of the work, and
+amazed by the celerity of its execution, he exclaimed, "the painter of
+this picture must be either an angel or a demon." Giordano received his
+compliments, and made his own excuses with so much address, that the
+Marquess, forgetting all past offences engaged him to paint in the
+palace, and passed much of his time by his side, observing his progress,
+and enjoying his lively conversation.
+
+
+REVIVAL OF PAINTING IN ITALY.
+
+"Poetry, Painting, and Sculpture," says Cunningham, "are of the same
+high order of genius; but, as words provide at once shape and color to
+our thoughts, Poetry has ever led the way in the march of intellect: as
+material forms are ready made, and require but to be skillfully copied,
+Sculpture succeeded; and as lights and shadows demand science and
+experience to work them into shape, and endow them with sentiment,
+Painting was the last to rise into elegance and sublimity. In this order
+these high Arts rose in ancient Greece; and in the like order they rose
+in modern Italy; but none of them reached true excellence, till the
+light of knowledge dawned on the human mind, nor before civilization,
+following in the steps of barbarism, prepared the world for the
+reception of works of polished grace and tranquil grandeur.
+
+"From the swoon into which the Fine Arts were cast by the overthrow of
+the Roman Empire, they were long in waking: all that was learned or
+lofty was extinguished: of Painting, there remained but the memory, and
+of Sculpture, some broken stones, yet smothered in the ruins of temples
+and cities the rules which gave art its science were lost; the
+knowledge of colors was passed away, and that high spirit which filled
+Italy and Greece with shapes and sentiments allied to heaven, had
+expired. In their own good time, Painting and Sculpture arose from the
+ruins in which they had been overwhelmed, but their looks were altered;
+their air was saddened; their voice was low, though it was, as it had
+been in Greece, holy, and it called men to the contemplation of works of
+a rude grace, and a but dawning beauty. These 'sisters-twin' came at
+first with pale looks and trembling steps, and with none of the
+confidence which a certainty of pleasing bestows: they came too with few
+of the charms of the heathen about them: of the scientific unity of
+proportion, of the modest ease, the graceful simplicity, or the almost
+severe and always divine composure of Greece, they had little or none.
+But they came, nevertheless, with an original air and character all
+their own; they spoke of the presence of a loveliness and sentiment
+derived from a nobler source than pagan inspiration; they spoke of Jesus
+Christ and his sublime lessons of peace, and charity, and belief, with
+which he had preached down the altars and temples of the heathen, and
+rebuked their lying gods into eternal silence.
+
+"Though Sculpture and Painting arose early in Italy, and arose with the
+mantle of the Christian religion about them, it was centuries before
+they were able to put on their full lustre and beauty. For this,
+various causes may be assigned. 1. The nations, or rather wild hordes,
+who ruled where consuls and emperors once reigned, ruled but for a
+little while, or were continually employed in expeditions of bloodshed
+and war. 2. The armed feet of the barbarians had trodden into dust all
+of art that was elegant or beautiful:--they lighted their camp-fires
+with the verses of Euripides or Virgil; they covered their tents with
+the paintings of Protogenes and Apelles, and they repaired the breaches
+in the walls of a besieged city, with the statues of Phidias and
+Praxiteles;--the desires of these barbarians were all barbarous. 3.
+Painting and Sculpture had to begin their labors anew; all rules were
+lost; all examples, particularly of the former, destroyed: men unable,
+therefore, to drink at the fountains of Greece, did not think, for
+centuries, of striking the rock for themselves. 4. The Christian
+religion, for which Art first wrought, demanded sentiment rather than
+shape: it was a matter of mind which was wanted: the personal beauty of
+Jesus Christ is nowhere insisted upon in all the New Testament: the
+earliest artists, when they had impressed an air of holiness or serenity
+on their works, thought they had done enough; and it was only when the
+fears of looking like the heathen were overcome, and a sense of the
+exquisite beauty of Grecian sculpture prevailed, that the geometrical
+loveliness of the human form found its way into art. It may be added,
+that no modern people, save the Italians alone, seem to share fully in
+the high sense of the ideal and the poetic, visible in the works of
+Greece.
+
+"The first fruits of this new impulse were representations of Christ on
+the Cross; of his forerunner, St. John; of his Virgin Mother; and of his
+companions, the Apostles. Our Saviour had a meek and melancholy look;
+the hands of the Virgin are held up in prayer; something of the wildness
+of the wilderness was in the air of St. John, and the twelve Apostles
+were kneeling or preaching. They were all clothed from head to heel; the
+faces, the hands, and the feet, alone were bare; the sentiment of
+suffering or rejoicing holiness, alone was aimed at. The artists of the
+heathen religion wrought in a far different spirit; the forms which they
+called to their canvas, and endowed with life and beauty, were all, or
+mostly naked; they saw and felt the symmetry and exquisite harmony of
+the human body, and they represented it in such elegance, such true
+simplicity and sweetness, as to render their nude figures the rivals in
+modesty and innocence of the most carefully dressed. A sense of this
+excellence of form is expressed by many writers. 'If,' says Plato, 'you
+take a man as he is made by nature, and compare him with another who is
+the effect of art, the work of nature will always appear the less
+beautiful, because art is more accurate than nature.' Maximus Tyrus also
+says, that 'the image which is taken by a painter from several bodies,
+produces a beauty which it is impossible to find in any single natural
+body, approaching to the perfection of the fairest statues.' And Cicero
+informs us, that Zeuxis drew his wondrous picture of Helen from various
+models, all the most beautiful that could be found; for he could not
+find in one body all those perfections, which his idea of that princess
+required.
+
+"So far did the heathens carry their notions of ideal beauty, that they
+taxed Demetrius with being too natural, and Dionysius they reproached as
+but a painter of men. Lysippus himself upbraided the ordinary sculptors
+of his day, for making men such as they were in nature, and boasted of
+himself, that he made men as they ought to be. Phidias copied his
+statues of Jupiter and Pallas from forms in his own soul, or those which
+the muse of Homer supplied. Seneca seems to wonder, that, the sculptor
+having never beheld either Jove or Pallas, yet could conceive their
+divine images in his mind; and another eminent ancient says, that 'the
+fancy more instructs the painter than the imitation; for the last makes
+only the things which it sees, but the first makes also the things which
+it never sees.' Such were also, in the fulness of time and study, the
+ideas of the most distinguished moderns. Alberti tells us, that 'we
+ought not so much to love the likeness as the beauty, and to choose from
+the fairest bodies, severally, the fairest parts.' Da Vinci uses almost
+the same words, and desires the painter to form the idea for himself;
+and the incomparable Raphael thus writes to Castiglione concerning his
+Galatea: 'To paint a fair one, it is necessary for me to see many fair
+ones; but because there is so great a scarcity of lovely women, I am
+constrained to make use of one certain idea, which I have formed in my
+own fancy.' Guido Reni approaches still closer to the pure ideal of the
+great Christian School of Painting, when he wishes for the wings of an
+angel, to ascend to Paradise, and see, with his own eyes, the forms and
+faces of the blessed spirits, that he might put more of heaven into his
+pictures.
+
+"Of the heaven which the great artist wished to infuse into his works,
+there was but little in painting, when it rose to aid religion in Italy.
+The shape was uncooth, the coloring ungraceful, and there was but the
+faint dawn of that divine sentiment, which in time elevated Roman art to
+the same eminence as the Grecian. Yet all that Christianity demanded
+from Art, at first, was readily accomplished: fine forms, and delicate
+hues, were not required for centuries, by the successors of the
+Apostles; a Christ on the Cross; the Virgin lulling her divine Babe in
+her bosom; the Miracle of Lazarus; the Preaching on the Mount; the
+Conversion of St. Paul; and the Ascension--roughly sculptured or
+coarsely painted, perhaps by the unskilful hands of the Christian
+preachers themselves--were found sufficient to explain to a barbarous
+people some of the great ruling truths of Christianity. These, and such
+as these, were placed in churches, or borne about by gospel
+missionaries and were appealed to, when words failed to express the
+doctrines and mysteries which were required to be taught. Such appeals
+were no doubt frequent, in times when Greek and Latin ceased to be
+commonly spoken, and the present languages of Europe were shaping
+themselves, like fruit in the leaf, out of the barbarous dissonance of
+the wild tongues which then prevailed. These Christian preachers, with
+their emblems and their relics, were listened to by the Gothic
+subverters of the empire of art and elegance, with the more patience and
+complacency, since they desired not to share in their plunder or their
+conquests, and opened to them the way to a far nobler kingdom--a kingdom
+not of this earth.
+
+"Though abundance of figures of saints were carved, and innumerable
+Madonnas painted throughout Italy, in the earlier days of the Christian
+church, they were either literal transcripts of common life, or
+mechanical copies or imitations of works furnished from the great store
+looms of the Asiatic Greeks. There were thousands--nay, tens of
+thousands of men, who wrote themselves artists, while not one of them
+had enough of imagination and skill to lift art above the low estate in
+which the rule and square of mechanical imitation had placed it. Niccolo
+Pisano appears to have been the first who, at Pisa, took the right way
+in sculpture: his groups, still in existence, are sometimes too crowded;
+his figures badly designed, and the whole defective in sentiment; but
+he gave an impulse--communicated through the antique--to composition,
+not unperceived by his scholars, who saw with his eyes and wrought with
+his spirit. The school which he founded produced, soon after, the
+celebrated Ghiberti, whose gates of bronze, embellished with figures,
+for the church of San Giovanni, were pronounced by Michael Angelo worthy
+to be the gates of Paradise. While the sister art took these large
+strides towards fame, Painting lagged ruefully behind; she had no true
+models, and she had no true rules; but 'the time and the man' came at
+last, and this man was Giovanni Cimabue."
+
+
+GIOVANNI CIMABUE.
+
+This great painter is universally considered the restorer of modern
+painting. The Italians call him "the Father of modern Painting;" and
+other nations, "the Creator of the Italian or Epic style of Painting."
+He was born at Florence in 1240, of a noble family, and was skilled both
+in architecture and sculpture. The legends of his own land make him the
+pupil of Giunta; for the men of Florence are reluctant to believe that
+he was instructed in painting by those Greek artists who were called in
+to embellish their city with miracles and Madonnas. He soon conquered an
+education which consisted in reproducing, in exact shape and color, the
+works of other men: he desired to advance: he went to nature for his
+forms; he grouped them with a new skill; he bestowed ease on his
+draperies, and a higher expression on his heads. His talent did not
+reside in the neat, the graceful, and the lovely; his Madonnas have
+little beauty, and his angels are all of one make: he succeeded best in
+the heads of the old and the holy, and impressed on them, in spite of
+the barbarism of his times, a bold sublimity, which few have since
+surpassed. Critics object to the fierceness of his eyes, the want of
+delicacy in the noses of his figures, and the absence of perspective in
+his compositions; but they admit that his coloring is bright and
+vigorous, his conceptions grand and vast, and that he loved the daring
+and the splendid. Nevertheless, a touch of the mechanical Greek School,
+and a rudeness all his own, have been observed in the works of this
+great painter. His compositions were all of a scriptural or religious
+kind, such as the church required: kings were his visitors, and the
+people of Florence paid him honors almost divine.
+
+
+CIMABUE'S PASSION FOR ART.
+
+Cimabue gave early proof of an accurate judgment and a clear
+understanding, and his father designed to give him a liberal education,
+but instead of devoting himself to letters, says Vasari, "he consumed
+the whole day in drawing men, horses, houses, and other various fancies
+on his books and different papers--an occupation to which he felt
+himself impelled by nature; and this natural inclination was favored by
+fortune, for the governors of the city, had invited certain Greek
+painters to Florence, for the purpose of restoring the art of painting,
+which had not merely degenerated, but was altogether lost; those
+artists, among other works, began to paint the chapel of Gondi, situated
+next to the principal chapel in S. Maria Novella, where Giovanni was
+being educated, who often escaping from school, and having already made
+a commencement in the art he was so fond of, would stand watching these
+masters at their work the day through." Vasari goes on to say, that this
+passion at length induced his father, already persuaded that he had the
+genius to become a great painter, to place Giovanni under the
+instruction of these Greek artists. From this time, he labored
+incessantly day and night, and aided by his great natural powers, he
+soon surpassed his teachers.
+
+
+CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.
+
+Cimabue had already distinguished himself by many works, executed in
+fresco and distemper for the churches at Florence, Pisa, and Assisi,
+when he painted his famous picture of the Holy Virgin for the church of
+S. Maria Novella in the former city. This picture was accounted such a
+wonderful performance by his fellow citizens, that they carried it from
+the house of Cimabue to the church in solemn procession, with sound of
+trumpets and every demonstration of joy. "It is further reported," says
+Vasari, "that whilst Cimabue was painting this picture in a garden near
+the gate of San Pietro, King Charles the elder, of Anjou, passed through
+Florence, and the authorities of the city, among other marks of respect,
+conducted him to see the picture of Cimabue." This picture, representing
+the Virgin and Infant Jesus surrounded by angels, larger than life, then
+so novel, was regarded as such a wonderful performance, that all the
+people of Florence flocked in crowds to admire it, making all possible
+demonstrations of delight. It still adorns the chapel of the Rucellai
+family in the church of S. Maria Novella for which it was painted. The
+heads of the Virgin, of the infant Jesus, and the angels, are all fine,
+but the hands are badly drawn; this defect, however, is common with the
+Quattrocentisti, or artists of the 14th century. The editors of the
+Florentine edition of Vasari, commenced in 1846, by an association of
+learned Italians, observe, "This picture, still in fair preservation, is
+in the chapel of the Rucellai family; and whoever will examine it
+carefully, comparing it, not only with works before the time of Cimabue,
+but also with those painted after him, by the Florentine masters,
+particularly Giotto, will perceive that the praises of Vasari are
+justified in every particular."
+
+
+THE WORKS OF CIMABUE.
+
+Some writers assert that the works of Cimabue possessed little merit
+when compared with those of later times; and that the extraordinary
+applause which he received flowed from an age ignorant of art. It should
+be recollected, however, that it is much easier to copy or follow, when
+the path has been marked out, than to invent or discover; and hence that
+the glorious productions of the "Prince of modern Painters," form no
+criterion by which to judge of the merits of those of the "Father of
+modern Painters." The former had "the accumulated wisdom of ages" before
+him, of which he availed himself freely; the latter had nothing worthy
+of note, but his own talents and the wild field of nature, from which he
+was the first of the moderns who drew in the spirit of inspiration.
+"Giotto," says Vasari, "did obscure the fame of Cimabue, as a great
+light diminishes the splendor of a lesser one; so that, although Cimabue
+may be considered the cause of the restoration of the art of painting,
+yet Giotto, his disciple, impelled by a laudable ambition, and well
+aided by heaven and nature, was the man, who, attaining to superior
+elevation of thought, threw open the gate of the true way, to those who
+afterwards exalted the art to that perfection and greatness which it
+displays in our own age; when accustomed, as men are, daily to see the
+prodigies and miracles, nay the _impossibilities_, now performed by
+artists, they have arrived at such a point, that they no longer marvel
+at anything accomplished by man, even though it be more divine than
+human. Fortunate, indeed, are artists who now labor, however
+meritoriously, if they do not incur censure instead of praise; nay, if
+they can even escape disgrace." It should be recollected that Vasari
+held this language in the days of Michael Angelo.
+
+All the great frescos of Cimabue, and most of his easel pictures, have
+perished. Besides the picture of the Virgin before mentioned, there is a
+St. Francis in the church of S. Croce, an excellent picture of St.
+Cecilia, in that of S. Stefano, and a Madonna in the convent of S.
+Paolino at Florence. There are also two paintings by Cimabue in the
+Louvre--the Virgin with angels, and the Virgin with the infant Jesus.
+Others are attributed to him, but their authenticity is very doubtful.
+
+
+DEATH OF CIMABUE.
+
+According to Vasari, Cimabue died in 1300, and was entombed in the
+church of S. Maria del Fiore at Florence. The following epitaph,
+composed by one of the Nini, was inscribed on his monument:
+
+  "Credidit ut Cimabos picturae castra tenere
+  Sic tenuit, vivens, nunc tenet astra poli."
+
+It appears, however, from an authentic document, cited by Campi, that
+Cimabue was employed in 1302 in executing a mosaic picture of St. John,
+for the cathedral of Pisa; and as he left this figure unfinished, it is
+probable that he did not long survive that year.
+
+
+GIOTTO.
+
+This great artist, one of the fathers of modern painting, was born at
+Vespignano, a small town near Florence, in 1276. He was the son of a
+shepherd named Bondone, and while watching his father's flocks in the
+field, he showed a natural genius for art by constantly delineating the
+objects around him. A sheep which he had drawn upon a flat stone, after
+nature, attracted the attention of Cimabue, who persuaded his father,
+Bondone, to allow him to go to Florence, confident that he would be an
+ornament to the art. Giotto commenced by imitating his master, but he
+quickly surpassed him. A picture of the Annunciation, in the possession
+of the Fathers of Badia at Florence, is one of his earliest works, and
+manifests a grace and beauty superior to Cimabue, though the style is
+somewhat dry. In his works, symmetry became more chaste, design more
+pleasing, and coloring softer than before. Lanzi says that if Cimabue
+was the Michael Angelo of that age, Giotto was the Raffaelle. He was
+highly honored, and his works were in great demand. He was invited to
+Rome by Boniface VIII., and afterwards to Avignon by Clement V. The
+noble families of Verona, Milan, Ravenna, Urbino, and Bologna, were
+eager to possess his works. In 1316, according to Vasari, he returned
+from Avignon, and was employed at Padua, where he painted the chapel of
+the Nunziata all' Arena, divided all around into compartments, each of
+which represents some scriptural event. Lanzi says it is truly
+surprising to behold, not less on account of its high state of
+preservation beyond any other of his frescos, than for its graceful
+expression, and that air of grandeur which Giotto so well understood.
+About 1325 he was invited to Naples by King Robert, to paint the church
+of S. Chiara, which he decorated with subjects from the New Testament,
+and the Mysteries of the Apocalypse. These, like many of his works, have
+been destroyed; but there remains a Madonna, and several other pictures,
+in this church. Giotto's portraits were greatly admired, particularly
+for their air of truth and correct resemblance. Among other illustrious
+persons whom he painted, were the poet Dante, and Clement VIII. The
+portrait of the former was discovered in the chapel of the Podesta, now
+the Bargello, at Florence, which had for two centuries been covered with
+whitewash, and divided into cells for prisoners. The whitewash was
+removed by the painter Marini, at the instance of Signor Bezzi and
+others, and the portrait discovered in the "Gloria" described by Vasari.
+Giotto was also distinguished in the art of mosaic, particularly for the
+famous Death of the Virgin at Florence, greatly admired by Michael
+Angelo; also the celebrated Navicella, or Boat of St. Peter, in the
+portico of the Basilica of St. Peter's at Rome, which is now so
+mutilated and altered as to leave little of the original design.
+
+As an architect, Giotto attained considerable eminence, according to
+Milizia, and erected many important edifices, among which is the
+bell-tower of S. Maria del Fiore. The thickness of the walls is about
+ten feet; the height is two hundred and eighty feet. The cornice which
+supports the parapet is very bold and striking; the whole exterior is of
+Gothic design, inlaid with marble and mosaic, and the work may be
+considered one of the finest specimens of campanile in Italy.
+
+
+GIOTTO'S ST. FRANCIS STIGMATA
+
+In the church of S. Francesco at Pisa, is a picture by Giotto,
+representing St. Francis receiving the Stigmata,[A] which is in good
+preservation, and held in great veneration, not only for the sake of the
+master, but for the excellence of the work. Vasari says, "It represents
+St. Francis, standing on the frightful rocks of La Verna; and is
+finished with extraordinary care. It exhibits a landscape with many
+trees and precipices, which was a new thing in those times. In the
+attitude and expression of St. Francis, who is on his knees receiving
+the Stigmata, the most eager desire to obtain them is clearly manifest,
+as well as infinite love towards Jesus Christ, who, from heaven above,
+where he is seen surrounded by the seraphim, grants those stigmata to
+his servant, with looks of such lively affection, that it is not
+possible to conceive anything more perfect. Beneath this picture are
+three others, also from the life of St. Francis, and very beautiful."
+
+[Footnote A: Stigmata, signifies the five wounds of the Saviour
+impressed by himself on the persons of certain saints, male and female,
+in reward for their sanctity and devotion to the service.]
+
+
+GIOTTO'S INVITATION TO ROME.
+
+Boniface VIII., desirous of decorating St. Peter's church with some
+paintings, having heard of the extraordinary talents of Giotto,
+despatched one of his courtiers to Tuscany, to ascertain the truth, as
+to his merits, and to procure designs from other artists for his
+approbation and selection. Vasari says, "The messenger, when on his way
+to visit Giotto, and to enquire what other good masters there were in
+Florence, spoke first with many artists in Siena--then, having received
+designs from them, he proceeded to Florence, and repaired one morning to
+the workshop where Giotto was occupied with his labors. He declared the
+purpose of the Pope, and the manner in which that pontiff desired to
+avail himself of his assistance, and finally requested to have a drawing
+that he might send it to his holiness. Giotto, who was very courteous,
+took a sheet of paper and a pencil dipped in a red color; then resting
+his elbow on his side to form a sort of compass, with one turn of the
+hand, he drew a circle so perfect and exact that it was a marvel to
+behold. This done, he turned smiling to the courtier, saying, 'There is
+your drawing.' 'Am I to have nothing more than this?' enquired the
+latter, conceiving himself to be jested with. 'That is enough and to
+spare,' replied Giotto, 'send it with the rest, and you will see if it
+will not be recognized.' The messenger, unable to obtain anything more,
+went away very ill satisfied, and fearing that he had been fooled.
+Nevertheless, having despatched the other drawings to the Pope, with the
+names of those who had done them, he sent that of Giotto also, relating
+the mode in which he had made his circle, without moving his arm and
+without compass; from which the Pope, and such of the courtiers as were
+well versed in the subject, perceived how far Giotto surpassed all the
+other painters of his time. This incident becoming known, gave rise to
+the proverb still used in relation to people of dull wits, 'In sei piu
+tondo che l'O di Giotto,' (round as Giotto's O,) the significance of
+which consists in the double meaning of the word _tondo_, which is used
+in the Tuscan for slowness of intellect, and slowness of comprehension,
+as well as for an exact circle. The proverb besides has an interest from
+the circumstance which gave it birth."
+
+Giotto was immediately invited to Rome by the Pope, who received him
+with distinction, and commissioned him to paint a large picture in the
+sacristy of St. Peter's, with five others in the church, representing
+subjects from the life of Christ, which gave so much satisfaction to the
+pontiff, that he commanded 600 gold ducats to be paid to the artist,
+"besides conferring on him so many favors," says Vasari, "that there was
+talk of them throughout Italy."
+
+
+GIOTTO'S LIVING MODEL.
+
+Giotto, about to paint a picture of the Crucifixion, induced a poor man
+to suffer himself to be bound to a cross, under the promise of being set
+at liberty in an hour, and handsomely rewarded for his pains. Instead of
+this, as soon as Giotto had made his victim secure, he seized a dagger,
+and, shocking to tell, stabbed him to the heart! He then set about
+painting the dying agonies of the victim to his foul treachery. When he
+had finished his picture, he carried it to the Pope; who was so well
+pleased with it, that he resolved to place it above the altar of his own
+chapel. Giotto observed, that, as his holiness liked the copy so well,
+he might perhaps like to see the original. The Pope, shocked at the
+impiety of the idea, uttered an exclamation of surprise. "I mean," added
+Giotto, "I will show you the person whom I employed as my model in this
+picture, but it must be on condition that your holiness will absolve me
+from all punishment for the use which I have made of him." The Pope
+promised Giotto the absolution for which he stipulated, and accompanied
+the artist to his workshop. On entering, Giotto drew aside a curtain
+which hung before the dead man, still stretched on the cross, and
+covered with blood.
+
+The barbarous exhibition struck the pontiff with horror; he told Giotto
+he could never give him absolution for so cruel a deed, and that he must
+expect to suffer the most exemplary punishment. Giotto, with seeming
+resignation, said that he had only one favor to ask, that his holiness
+would give him leave to finish the piece before he died. The request had
+too important an object to be denied; the Pope readily granted it; and,
+in the meantime, a guard was set over Giotto to prevent his escape.
+
+On the painting being replaced in the artist's hands, the first thing he
+did was to take a brush, and, dipping it into a thick varnish, he daubed
+the picture all over with it, and then announced that he had finished
+his task. His holiness was greatly incensed at this abuse of the
+indulgence he had given, and threatened Giotto that he should be put to
+the most cruel death, unless he painted another picture equal to the one
+which he had destroyed. "Of what avail is your threat," replied Giotto,
+"to a man whom you have doomed to death at any rate?" "But," replied his
+holiness, "I can revoke that doom." "Yes," continued Giotto, "but you
+cannot prevail on me to trust to your verbal promise a second time."
+"You shall have a pardon under my signet before you begin." On that, a
+conditional pardon was accordingly made out and given to Giotto, who,
+taking a wet sponge, in a few minutes wiped off the coating with which
+he had bedaubed the picture, and instead of a copy, restored the
+original in all its beauty to his holiness. Although this story is
+related by many writers, it is doubtless a gross libel on the fair fame
+of this great artist, originating with some witless wag, who thought
+nothing too horrible to impose upon the credulity of mankind. It is
+discredited by the best authors. A similar fable is related of
+Parrhasius. See the Olynthian Captive, vol. I. page 151 of this work.
+
+
+GIOTTO AND THE KING OF NAPLES.
+
+After Giotto's return to Florence, about 1325, Robert, King of Naples,
+wrote to his son Charles, King of Calabria, who was then in Florence,
+desiring that he would by all means send Giotto to him at Naples, to
+decorate the church and convent of Santa Clara, which he had just
+completed, and desired to have adorned with noble paintings. Giotto
+readily accepted this flattering invitation from so great and renowned a
+monarch, and immediately set out to do him service. He was received at
+Naples with every mark of distinction, and executed many subjects from
+the old and New Testaments in the different chapels of the building. It
+is said that the pictures from the Apocalypse, which he painted in one
+of the chapels, were the inventions of Dante; but Dante was then dead,
+and if Giotto derived any advantage from him, it must have been from
+previous discussions on the subject. These works gave the greatest
+satisfaction to the King, who munificently rewarded the artist, and
+treated him with great kindness and extraordinary familiarity. Vasari
+says that Giotto was greatly beloved by King Robert, who delighted to
+visit him in his painting room, to watch the progress of his work, to
+hear his remarks, and to hold conversation with him; for Giotto had a
+ready wit, and was always as ready to amuse the monarch with his lively
+conversation and witty replies as with his pencil. One day the King said
+to him, "Giotto, I will make you the first man in Naples," to which
+Giotto promptly replied, "I am already the first man in Naples; for this
+reason it is that I dwell at the Porta Reale." At another time the King,
+fearing that he would injure himself by overworking in the hot season,
+said to him, "Giotto, if I were in your place, now that it is so hot, I
+would give up painting for a time, and take my rest." "And so would I
+do, certainly," replied Giotto, "were I the King of Naples." One day the
+King to amuse himself, desired Giotto to _paint his kingdom_. The
+painter drew an ass carrying a packsaddle loaded with a crown and
+sceptre, while a similar saddle, also bearing the ensigns of royalty,
+lay at his feet; these last were all new, and the ass scented them,
+with an eager desire to change them for those he bore. "What does this
+signify, Giotto?" enquired the King. "Such is thy kingdom," replied
+Giotto, "and such thy subjects, who are every day desiring a new lord."
+
+
+GIOTTO AND DANTE.
+
+The children of Giotto were remarkably ill-favored. Dante, one day,
+quizzed him by asking, "Giotto, how is it that you, who make the
+children of others so beautiful, make your own so ugly?" "Ah, my dear
+friend," replied the painter, "mine were made in the dark."
+
+
+DEATH OF GIOTTO.
+
+"Giotto," says Vasari, "having passed his life in the production of so
+many admirable works, and proved himself a good Christian, as well as an
+excellent painter, resigned his soul to God in the year 1336, not only
+to the great regret of his fellow citizens, but of all who had known
+him, or even heard his name. He was honorably entombed, as his high
+deserts had well merited, having been beloved all his life, but more
+especially by the learned men of all professions." Dante and Petrarch
+were his warm admirers, and immortalized him in their verse. The
+commentator of Dante, who was cotemporary with Giotto, says, "Giotto
+was, and is, the most eminent of all the painters of Florence, and to
+this his works bear testimony in Rome, Naples, Avignon, Florence, Padua,
+and many other parts of the world."
+
+
+BUONAMICO BUFFALMACCO.
+
+The first worthy successor of Giotto in the Florentine school, was
+Buffalmacco, whose name has been immortalized by Boccaccio in his
+_Decameron_, as a man of most facetious character. He executed many
+works in fresco and distemper, but they have mostly perished. He chiefly
+excelled in Crucifixions and Ascensions. He was born, according to
+Vasari, in 1262, and died in 1340, aged 78; but Baldinucci says that he
+lived later than 1358. His name is mentioned in the old Book of the
+Company of Painters, under the date of 1351, (_Editors of the Florentine
+edition of Vasari_, 1846.). Buffalmacco was a merry wag, and a careless
+spendthrift, and died in the public hospital.
+
+
+BUFFALMACCO AND HIS MASTER.
+
+"Among the Three Hundred Stories of Franco Saccheti," says Vasari, "we
+find it related to begin with, what our artist did in his youth--that
+when Buffalmacco was studying with Andrea Tafi, his master had the habit
+of rising before daylight when the nights were long, compelling his
+scholars also to awake and proceed to their work. This provoked
+Buonamico, who did not approve of being aroused from his sweetest
+sleep. He accordingly bethought himself of finding some means by which
+Andrea might be prevented from rising so early, and soon found what he
+sought." Now it happened that Tafi was a very superstitious man,
+believing that demons and hobgoblins walked the earth at their pleasure.
+Buffalmacco, having caught about thirty large beetles, he fastened to
+the back of each, by means of small needles, a minute taper, which he
+lighted, and sent them one by one into his master's room, through a
+crack in the door, about the time he was accustomed to rise and summon
+him to his labors. Tafi seeing these strange lights wandering about his
+room, began to tremble with fright, and repeated his prayers and
+exorcisms, but finding they produced no effect on the apparitions, he
+covered his head with the bed clothes, and lay almost petrified with
+terror till daylight. When he rose he enquired of Buonamico, if "he had
+seen more than a thousand demons wandering about his room, as he had
+himself in the night?" Buonamico replied that he had seen nothing, and
+wondered he had not been called to work. "Call thee to work!" exclaimed
+the master, "I had other things to think of besides painting, and am
+resolved to stay in this house no longer;" and away he ran to consult
+the parish priest, who seems to have been as superstitious as the poor
+painter himself. When Tafi discoursed of this strange affair with
+Buonamico, the latter told him that he had been taught to believe that
+the demons were the greatest enemies of God, consequently they must be
+the most deadly adversaries of painters. "For," said he, "besides that
+we always make them most hideous, we think of nothing but painting
+saints, both men and women, on walls and pictures, which is much worse,
+since we thereby render men better and more devout to the great despite
+of the demons; and for all this, the devils being angry with us, and
+having more power by night than by day, they play these tricks upon us.
+I verily believe too, that they will get worse and worse, if this
+practice of rising to work in the night be not discontinued altogether."
+Buffalmacco then advised his master to make the experiment, and see
+whether the devils would disturb him if he did not work at night. Tafi
+followed this advice for a short time, and the demons ceased to disturb
+him; but forgetting his fright, he began to rise betimes, as before, and
+to call Buffalmacco to his work. The beetles then recommenced their
+wanderings, till Tafi was compelled by his fears and the earnest advice
+of the priest to desist altogether from that practice. "Nay," says
+Vasari, "the story becoming known through the city, produced such an
+effect that neither Tafi, nor any other painter dared for a long time to
+work at night."
+
+Another laughable story is related of Buffalmacco's ingenuity to rid
+himself of annoyance. Soon after he left Tafi, he took apartments
+adjoining those occupied by a man who was a penurious old simpleton,
+and compelled his wife to rise long before daylight to commence work at
+her spinning wheel. The old woman was often at her wheel, when Buonamico
+retired to bed from his revels. The buzz of the instrument put all sleep
+out of the question; so the painter resolved to put a stop to this
+annoyance. Having provided himself with a long tube, and removed a brick
+next to the chimney, he watched his opportunity, and blew salt into
+their soup till it was spoiled. He then succeeded in making them believe
+that it was the work of demons, and to desist from such early rising.
+Whenever the old woman touched her wheel before daylight, the soup was
+sure to be spoiled, but when she was allowed reasonable rest, it was
+fresh and savory.
+
+
+BUFFALMACCO AND THE NUNS OF THE CONVENT OF FAENZA.
+
+Soon after Buffalmacco left his master, he was employed by the nuns of
+Faenza to execute a picture for their convent. The subject was the
+slaughter of the Innocents. While the work was in progress, those ladies
+some times took a peep at the picture through the screen he had raised
+for its protection. "Now Buffalmacco," says Vasari, "was very eccentric
+and peculiar in his dress, as well as manner of living, and as he did
+not always wear the head-dress and mantle usual at the time, the nuns
+remarked to their intendant, that it did not please them to see him
+appear thus in his doublet; but the steward found means to pacify them,
+and they remained silent on the subject for some time. At length,
+however, seeing the painter always accoutred in like manner, and
+fancying that he must be some apprentice, who ought to be merely
+grinding colors, they sent a messenger to Buonamico from the abbess, to
+the effect, that they would like to see the master sometimes at the
+work, and not always himself. To this Buffalmacco, who was very pleasant
+in manner, replied, that as soon as the master came to the work he would
+let them know of his arrival; for he perceived clearly how the matter
+stood. Thereupon, he placed two stools, one on the other, with a
+water-jar on the top; on the neck of the jar he set a cap, which was
+supported by the handle; he then arranged a long mantle carefully around
+the whole, and securing a pencil within the mouth, on that side of the
+jar whence the water is poured, he departed. The nuns, returning to
+examine the work through the hole which they had made in the screen, saw
+the supposed master in full robes, when, believing him to be working
+with all his might, and that he would produce a very different kind of
+thing from any that his predecessor in the jacket could accomplish, they
+went away contented, and thought no more of the matter for some days. At
+length, they were desirous of seeing what fine things the master had
+done, and at the end of a fortnight (during which Buffalmacco had never
+set foot within the place), they went by night, when they concluded that
+he would not be there, to see his work. But they were all confused and
+ashamed, when one, bolder than the rest, approached near enough to
+discover the truth respecting this solemn master, who for fifteen days
+had been so busy doing nothing. They acknowledged, nevertheless, that
+they had got but what they merited--the work executed by the painter in
+the jacket being all that could be desired. The intendant was therefore
+commanded to recall Buonamico, who returned in great glee and with many
+a laugh, to his labor, having taught these good ladies the difference
+between a man and a water-jug, and shown them that they should not
+always judge the works of men by their vestments."
+
+
+BUFFALMACCO AND THE NUNS' WINE.
+
+Buffalmacco executed an historical painting for the nuns, which greatly
+pleased them, every part being excellent in their estimation, except the
+faces, which they thought too pale and wan. Buonamico, knowing that they
+kept the very best Vernaccia (a kind of delicious Tuscan wine, kept for
+the uses of the mass) to be found in Florence, told his fair patrons,
+that this defect could only be remedied by mixing the colors with good
+Vernaccia, but that when the cheeks were touched with colors thus
+tempered, they would become rosy and life-like enough. "The good
+ladies," says Vasari, "believing all he said, kept him supplied with
+the very best Vernaccia during all the time that his labors lasted, and
+he joyously swallowing this delicious nectar, found color enough on his
+palette to give his faces the fresh rosiness they so much desired."
+Bottari says, that Buonamico, on one occasion, was surprised by the
+nuns, while drinking the Vernaccia, when he instantly spirted what he
+had in his mouth on the picture, whereby they were fully satisfied; if
+they cut short his supply, his pictures looked pale and lifeless, but
+the Vernaccia always restored them to warmth and beauty. The nuns were
+so much pleased with his performances that they employed him a long
+time, and he decorated their whole church with his own hand,
+representing subjects from the life of Christ, all extremely well
+executed.
+
+
+BUFFALMACCO, BISHOP GUIDO, AND HIS MONKEY.
+
+"In the year 1302," says Vasari, "Buffalmacco was invited to Assisi,
+where, in the church of San Francesco, he painted in fresco the chapel
+of Santa Caterina, with stories taken from her life. These paintings are
+still preserved, and many figures in them are well worthy of praise.
+Having finished this chapel, Buonamico was passing through Arezzo, when
+he was detained by the Bishop Guido, who had heard that he was a
+cheerful companion, as well as a good painter, and who wished him to
+remain for a time in that city, to paint the chapel of the episcopal
+church, where the baptistery now is. Buonamico began the work, and had
+already completed the greater part of it, when a very curious
+circumstance occurred; and this, according to Franco Sacchetti, who
+relates it among his Three Hundred Stories, was as follows. The bishop
+had a large ape, of extraordinary cunning, the most sportive and
+mischievous creature in the world. This animal sometimes stood on the
+scaffold, watching Buonamico at his work, and giving a grave attention
+to every action: with his eyes constantly fixed on the painter, he
+observed him mingle his colors, handle the various flasks and tools,
+beat the eggs for his paintings in distemper--all that he did, in short;
+for nothing escaped the creature's observation. One Saturday evening,
+Buffalmacco left his work; and on the Sunday morning, the ape, although
+fastened to a great log of wood, which the bishop had commanded his
+servants to fix to his foot, that he might not leap about at his
+pleasure, contrived, in despite of the weight, which was considerable,
+to get on the scaffold where Buonamico was accustomed to work. Here he
+fell at once upon the vases which held the colors, mingled them all
+together, beat up whatever eggs he could find, and, plunging the pencils
+into this mixture, he daubed over every figure, and did not cease till
+he had repainted the whole work with his own hand. Having done that, he
+mixed all the remaining colors together, and getting down from the
+scaffold, he went his way. When Monday morning came, Buffalmacco
+returned to his work; and, finding his figures ruined, his vessels all
+heaped together, and every thing turned topsy-turvy, he stood amazed in
+sore confusion. Finally, having considered the matter within himself, he
+arrived at the conclusion that some Aretine, moved by jealousy, or other
+cause, had worked the mischief he beheld. Proceeding to the bishop, he
+related what had happened, and declared his suspicions, by all which
+that prelate was greatly disturbed; but, consoling Buonamico as best he
+could, he persuaded him to return to his labors, and repair the
+mischief. Bishop Guido, thinking him nevertheless likely to be right,
+his opinion being a very probable one, gave him six soldiers, who were
+ordered to remain concealed on the watch, with drawn weapons, during the
+master's absence, and were commanded to cut down any one, who might be
+caught in the act, without mercy. The figures were again completed in a
+certain time; and one day as the soldiers were on guard, they heard a
+strange kind of rolling sound in the church, and immediately after saw
+the ape clamber up to the scaffold and seize the pencils. In the
+twinkling of an eye, the new master had mingled his colors; and the
+soldiers saw him set to work on the saints of Buonamico. They then
+summoned the artist, and showing him the malefactor, they all stood
+watching the animal at his operations, being in danger of fainting with
+laughter, Buonamico more than all; for, though exceedingly disturbed by
+what had happened, he could not help laughing till the tears ran down
+his cheeks. At length he betook himself to the bishop, and said: 'My
+lord, you desire to have your chapel painted in one fashion, but your
+ape chooses to have it done in another.' Then, relating the story, he
+added: 'There was no need whatever for your lordship to send to foreign
+parts for a painter, since you had the master in your house; but perhaps
+he did not know exactly how to mix the colors; however, as he is now
+acquainted with the method, he can proceed without further help; I am no
+longer required here, since we have discovered his talents, and will ask
+no other reward for my labors, but your permission to return to
+Florence.' Hearing all this, the bishop, although heartily vexed, could
+not restrain his laughter; and the rather, as he remembered that he who
+was thus tricked by an ape, was himself the most incorrigible trickster
+in the world. However, when they had talked and laughed over this new
+occurrence to their hearts' content, the bishop persuaded Buonamico to
+remain; and the painter agreed to set himself to work for the third
+time, when the chapel was happily completed. But the ape, for his
+punishment, and in expiation of the crimes he had committed, was shut up
+in a strong wooden cage, and fastened on the platform where Buonamico
+worked; there he was kept till the whole was finished; and no
+imagination could conceive the leaps and flings of the creature thus
+enclosed in his cage, nor the contortions he made with his feet, hands,
+muzzle, and whole body, at the sight of others working, while he was not
+permitted to do anything."
+
+
+BUFFALMACCO'S TRICK ON THE BISHOP OF AREZZO.
+
+"When the works of the chapel before mentioned, were completed, the
+bishop ordered Buonamico--either for a jest, or for some other cause--to
+paint, on one of the walls of his palace, an eagle on the back of a
+lion, which the bird had killed. The crafty painter, having promised to
+do all that the bishop desired, caused a stout scaffolding and screen of
+wood-work to be made before the building, saying that he could not be
+seen to paint such a thing. Thus prepared, and shut up alone within his
+screen, Buonamico painted the direct contrary of what the bishop had
+required--a lion, namely, tearing an eagle to pieces; and, having
+painted the picture, he requested permission from the bishop to repair
+to Florence, for the purpose of seeking certain colors needful to his
+work. He then locked up the scaffold, and departed to Florence,
+resolving to return no more to the bishop. But the latter, after waiting
+some time, and finding that the painter did not reappear, caused the
+scaffolding to be taken down, and discovered that Buonamico had been
+making a jest of him. Furious at this affront, Guido condemned the
+artist to banishment for life from his dominions; which, when Buonamico
+learnt, he sent word to the bishop that he might do his worst,
+whereupon the bishop threatened him with fearful consequences. Yet
+considering afterwards that he had been tricked, only because he had
+intended to put an affront upon the painter, Bishop Guido forgave him,
+and even rewarded him liberally for his labors. Nay, Buffalmacco was
+again invited to Arezzo, no long time after, by the same prelate, who
+always treated him as a valued servant and familiar friend, confiding
+many works in the old cathedral to his care, all of which, unhappily,
+are now destroyed. Buonamico also painted the apsis of the principal
+chapel in the church of San Giustino in Arezzo."
+
+In the notes of the Roman and other earlier editions of Vasari, we are
+told that the lion being the insignia of Florence, and the eagle, that
+of Arezzo, the bishop designed to assert his own superiority over the
+former city, he being lord of Arezzo; but later commentators affirm,
+that Guido, being a furious Ghibelline, intended rather to offer an
+affront to the Guelfs, by exalting the eagle, which was the emblem of
+his party, over the lion, that of the Guelfs.
+
+
+ORIGIN OF LABEL PAINTING.
+
+Buffalmacco is generally considered the inventor of label painting, or
+the use of a label drawn from the mouth to represent it speaking; but it
+was practiced by Cimabue, and probably long before his time, in Italy.
+Pliny tells us that it was practiced by the early Greek painters.
+Vasari says that Buffalmacco was invited to Pisa, where he painted many
+pictures in the Abbey of St. Paul, on the banks of the Arno, which then
+belonged to the monks of Vallambrosa. He covered the entire surface of
+the church, from the roof to the floor, with histories from the Old
+Testament, beginning with the creation of man and continuing to the
+building of the Tower of Babel. In the church of St. Anastasia, he also
+painted certain stories from the life of that saint, "in which," says
+Vasari, "are very many beautiful costumes and head-dresses of women,
+painted with a charming grace of manner." Bruno de Giovanni, the friend
+and pupil of Buonamico, was associated with him in this work. He too, is
+celebrated by Boccaccio, as a man of joyous memory. When the stories on
+the facade were finished, Bruno painted in the same church, an
+altar-piece of St. Ursula, with her company of virgins. In one hand of
+the saint, he placed a standard bearing the arms of Pisa--a white cross
+on a field of red; the other is extended towards a woman, who, climbing
+between two rocks, has one foot in the sea, and stretches out both hands
+towards the saint, in the act of supplication. This female form
+represents Pisa. She bears a golden horn upon her head, and wears a
+mantle sprinkled over with circlets and eagles. Being hard pressed by
+the waves, she earnestly implores succor of the saint.
+
+While employed on this work, Bruno complained that his faces had not
+the life and expression which distinguished those of Buonamico, when the
+latter, in his playful manner, advised him to paint words proceeding
+from the mouth of the woman supplicating the saint, and in like manner
+those proceeding from the saint in reply. "This," said the wag, "will
+make your figures not only life-like, but even eloquently expressive."
+Bruno followed this advice; "And this method," says Vasari, "as it
+pleased Bruno and other dull people of that day, so does it equally
+satisfy certain simpletons of our own, who are well served by artists as
+commonplace as themselves. It must, in truth, be allowed to be an
+extraordinary thing that a practice thus originating in jest, and in no
+other way, should have passed into general use; insomuch that even a
+great part of the Campo Santo, decorated by much esteemed masters, is
+full of this absurdity." This picture is now in the Academy of the Fine
+Arts at Pisa.
+
+
+UTILITY OF ANCIENT WORKS.
+
+The works of Buffalmacco greatly pleased the good people of Pisa, who
+gave him abundant employment; yet he and his boon companion Bruno,
+merrily squandered all they had earned, and returned to Florence, as
+poor as when they left that city. Here they also found plenty of work.
+They decorated the church of S. Maria Novella with several productions
+which were much applauded, particularly the Martyrdom of St. Maurice
+and his companions, who were decapitated for their adherence to the
+faith of Christ. The picture was designed by Buonamico, and painted by
+Bruno, who had no great power of invention or design. It was painted for
+Guido Campere, then constable of Florence, whose portrait was introduced
+as St. Maurice.--The martyrs are led to execution by a troop of
+soldiers, armed in the ancient manner, and presenting a very fine
+spectacle. "This picture," says Vasari, "can scarcely be called a very
+fine one, but it is nevertheless worthy of consideration as well for the
+design and invention of Buffalmacco, as for the variety of vestments,
+helmets, and other armor used in those times; and from which I have
+myself derived great assistance in certain historical paintings,
+executed for our lord, the Duke Cosmo, wherein it was necessary to
+represent men armed in the ancient manner, with other accessories
+belonging to that period; and his illustrious excellency, as well as all
+else who have seen these works, have been greatly pleased with them;
+whence we may infer the valuable assistance to be obtained from the
+inventions and performances of the old master, and the mode in which
+great advantages may be derived from them, even though they may not be
+altogether perfect; for it is these artists who have opened the path to
+us, and led the way to all the wonders performed down to the present
+time, and still being performed even in these of our days."
+
+
+BUFFALMACCO AND THE COUNTRYMAN.
+
+While Buonamico was employed at Florence, a countryman came and engaged
+him to paint a picture of St. Christopher for his parish church; the
+contract was, that the figure should be twelve braccia in length,[B] and
+the price eight florins. But when the painter proceeded to look at the
+church for which the picture was ordered, he found it but nine braccia
+high, and the same in length; therefore, as he was unable to paint the
+saint in an upright position he represented him reclining, bent the legs
+at the knees, and turned them up against the opposite wall. When the
+work was completed, the countryman declared that he had been cheated,
+and refused to pay for it. The matter was then referred to the
+authorities, who decided that Buffalmacco had performed his contract,
+and ordered the stipulated payment to be made.
+
+[Footnote B: The braccio, (arm, cubit) is an Italian measure which
+varies in length, not only in different parts of Italy, but also
+according to the thing measured. In Parma, for example, the braccio for
+measuring silk is 23 inches, for woolens and cottons 25 and a fraction,
+while that for roads and buildings is 21 only. In Siena, the braccio for
+cloth is 14 inches, while in Florence it is 23, and in Milan it is 39
+inches, English measure.]
+
+The writer of these pages, in his intercourse with artists, has met with
+incidents as comical as that just related of Buonamico. Some artists
+proceed to paint without having previously designed, or even sketched
+out their subject on the canvass. We know an artist, who painted a fancy
+portrait of a child, in a landscape, reclining on a bank beside a
+stream; but when he had executed the landscape, and the greater part of
+the figure, he found he had not room in his canvass to get the feet in;
+so he turned the legs up in such a manner, as to give the child the
+appearance of being in great danger of sliding into the water. We
+greatly offended the painter by advising him to drive a couple of stakes
+into the bank to prevent such a catastrophe. Another artist, engaged in
+painting a full-length portrait, found, when he had got his picture
+nearly finished, that his canvass was at least four inches too short.
+"What shall I do," said the painter to a friend, "I have not room for
+the feet." "Cover them up with green grass," was the reply. "But my
+background represents an interior." "Well, hay will do as well."
+"Confound your jokes; a barn is a fine place to be sure for fine
+carpets, fine furniture, and a fine gentleman. I'll tell you what I'll
+do; I'll place one foot on this stool, and hide the other beneath this
+chair." He did so, but the figure looked all body and no legs, and the
+sitter refused to take the portrait.
+
+
+BUFFALMACCO AND THE PEOPLE OF PERUGIA.
+
+The Perugians engaged Buonamico to decorate their market-place with a
+picture of the patron saint of the city. Having erected an enclosure of
+planks and matting, that he might not be disturbed in his labors, the
+painter commenced his operations. Ten days had scarcely elapsed before
+every one who passed by enquired with eager curiosity, "when the picture
+would be finished?" as though they thought such works could be cast in a
+mould. Buffalmacco, wearied and disgusted at their impatient outcries,
+resolved on a bit of revenge. Therefore, keeping the work still
+enclosed, he admitted the Perugians to examine it, and when they
+declared themselves satisfied and delighted with the performance, and
+wished to remove the planks and matting, Buonamico requested that they
+would permit them to remain two days longer as he wished to retouch
+certain parts when the painting was fully dry. This was agreed to; and
+Buonamico instantly mounting his scaffold, removed the great gilt diadem
+from the head of the saint, and replaced it with a coronet of gudgeons.
+This accomplished, he paid his host, and set off to Florence.
+
+Two days having past, and the Perugians not seeing the painter going
+about as they were accustomed to do, inquired of his host what had
+become of him, and learning that he had left the city, they hastened to
+remove the screen that concealed the picture, when they discovered their
+saint solemnly crowned with gudgeons. Their rage now knew no bounds, and
+they instantly despatched horsemen in pursuit of Buonamico,--but in
+vain--the painter having found shelter in Florence. They then set an
+artist of their own to remove the crown of fishes and replace the gilded
+diadem, consoling themselves for the affront, by hurling maledictions at
+the head of Buonamico and every other Florentine.
+
+
+BUFFALMACCO'S NOVEL METHOD OF ENFORCING PAYMENT.
+
+Buffalmacco painted a fresco at Calcinaia, representing the Virgin with
+the Child in her arms. But the man for whom it was executed, only made
+fair promises in place of payment. Buonamico was not a man to be trifled
+with or made a tool of; therefore, he repaired early one morning to
+Calcinaia, and turned the child in the arms of the Holy Virgin into a
+young bear. The change being soon discovered, caused the greatest
+scandal, and the poor countryman for whom it was painted, hastened to
+the painter, and implored him to remove the cub and replace the child as
+before, declaring himself ready to pay all demands. This Buonamico
+agreed to do on being paid for the first and second painting, which last
+was only in water colors, when with a wet sponge, he immediately
+restored the picture to its peristine beauty. The Editors of the
+Florentine edition of Vasari, (1846) say that "in a room of the priory
+of Calcinaia, are still to be seen the remains of a picture on the
+walls, representing the Madonna with the Child in her arms, and other
+saints, evidently a work of the 14th century; and a tradition preserved
+to this day, declares that painting to be the one alluded to by our
+author."
+
+
+STEFANO FIORENTINO.
+
+This old Florentine painter was born in 1301. He was the grandson and
+disciple of Giotto, whom, according to Vasari, he greatly excelled in
+every department of art. From his close imitations of nature, he was
+called by his fellow citizens, "Stefano the Ape," (ape of nature.) He
+was the first artist who attempted to show the naked under his
+draperies, which were loose, easy, and delicate. He established the
+rules of perspective, little known at that early period, on more
+scientific principles. He was the first who attempted the difficult task
+of foreshortening. He also succeeded better than any of his
+cotemporaries in giving expression to his heads, and a less Gothic turn
+to his figures. He acquired a high reputation, and executed many works,
+in fresco and distemper, for the churches and public edifices of
+Florence, Rome, and other cities, all of which have perished, according
+to Lanzi, except a picture of the Virgin and Infant Christ in the Campo
+Santo at Pisa. He died in 1350.
+
+
+GIOTTINO.
+
+Tommaso Stefano, called II Giottino, the son and scholar of Stefano
+Fiorentino, was born at Florence in 1324. According to Vasari, he
+adhered so closely to the style of Giotto, that the good people of
+Florence called him Giottino, and averred that the soul of his great
+ancestor had transmigrated and animated him. There are some frescoes by
+him, still preserved at Assissi, and a Dead Christ with the Virgin and
+St. John, in the church of S. Remigio at Florence, which so strongly
+partake of the manner of Giotto as to justify the name bestowed upon him
+by his fellow citizens. He died in the flower of his life at Florence in
+1356.
+
+
+PAOLO UCCELLO.
+
+This old painter was born at Florence in 1349, and was a disciple of
+Antonio Veneziano. His name was Mazzocchi, but being very celebrated as
+a painter of animals, and especially so of birds, of which last he
+formed a large collection of the most curious, he was called Uccello
+(bird). He was one of the first painters who cultivated perspective.
+Before his time buildings had not a true point of perspective, and
+figures appeared sometimes as if falling or slipping off the canvass. He
+made this branch so much his hobby, that he neglected other essential
+parts of the art. To improve himself he studied geometry with Giovanni
+Manetti, a celebrated mathematician. He acquired great distinction in
+his time and some of his works still remain in the churches and convents
+of Florence. In the church of S. Maria Novella are several fresco
+histories from the Old Testament, which he selected for the purpose of
+introducing a multitude of his favorite objects, beasts and birds; among
+them, are Adam and Eve in Paradise, Noah entering the Ark, the Deluge,
+&c. He painted battles of lions, tigers, serpents, &c, with peasants
+flying in terror from the scene of combat. He also painted landscapes
+with figures, cattle and ruins, possessing so much truth and nature,
+that Lanzi says "he may be justly called the Bassano of his age." He was
+living in 1436. Vasari places his birth in 1396-7, and his death in
+1479, but later writers have proved his dates to be altogether
+erroneous.
+
+
+UCCELLO'S ENTHUSIASM.
+
+"Paolo Uccello employed himself perpetually and without any
+intermission," says Vasari, "in the consideration of the most difficult
+questions connected with art, insomuch that he brought the method of
+preparing the plans and elevations of buildings, by the study of linear
+perspective, to perfection. From the ground plan to the cornice, and
+summit of the roof, he reduced all to strict rules, by the convergence
+of intersecting lines, which he diminished towards the centre, after
+having fixed the point of view higher or lower, as seemed good to him;
+he labored, in short, so earnestly in these difficult matters that he
+found means, and fixed rules, for making his figures really to seem
+standing on the plane whereon they were placed; not only showing how in
+order manifestly to draw back or retire, they must gradually be
+diminished, but also giving the precise manner and degree required for
+this, which had previously been done by chance, or effected at the
+discretion of the artist, as he best could. He also discovered the
+method of turning the arches and cross-vaulting of ceilings, taught how
+floors are to be foreshortened by the convergence of the beams; showed
+how the artist must proceed to represent the columns bending round the
+sharp corners of a building, so that when drawn in perspective, they
+efface the angle and cause it to seem level. To pore over all these
+matters, Paolo would remain alone, almost like a hermit, shut up in his
+house for weeks and months without suffering himself to be approached."
+
+
+UCCELLO AND THE MONKS OF SAN MINIATO.
+
+Uccello was employed to decorate one of the cloisters of the monastery
+of San Miniato, situated without the city of Florence, with subjects
+from the lives of the Holy Fathers. While he was engaged on these works,
+the monks gave him scarcely anything to eat but cheese, of which the
+painter soon became tired, and being shy and timid, he resolved to go no
+more to work in the cloister. The prior sent to enquire the cause of his
+absence, but when Paolo heard the monks asking for him, he would never
+be at home, and if he chanced to meet any of the brothers of that order
+in the street, he gave them a wide berth. This extraordinary conduct
+excited the curiosity of the monks to such a degree that one day, two of
+the brothers, more swift of foot than the rest, gave chase to Paolo, and
+having, cornered him, demanded why he did not come to finish the work
+according to his agreement, and wherefore he fled at the sight of one of
+their body. "Faith," replied the painter, "you have so murdered me, that
+I not only run away from you, but dare not stop near the house of any
+joiner, or even pass by one; and all this owing to the bad management of
+your abbot; for, what with his cheese-pies, and cheese-soup, he has made
+me swallow such a mountain of cheese, that I am all turned into cheese
+myself, and tremble lest the carpenters should seize me, to make their
+glue of me; of a certainty had I stayed any longer with you, I should be
+no more Paolo, but a huge lump of cheese." The monks, bursting with
+laughter, went their way, and told the story to their abbot, who at
+length prevailed on Uccello to return to his work on condition that he
+would order him no more dishes made of cheese.
+
+
+UCCELLO'S FIVE PORTRAITS.
+
+Uccello was a man of very eccentric character and peculiar habits; but
+he was a great lover of art, and applauded those who excelled in any of
+its branches. He painted the portraits of five distinguished men, in
+one oblong picture, that he might preserve their memory and features to
+posterity. He kept it in his own house, as a memorial of them, as long
+as he lived. In the time of Vasari, it was in the possession of Giuliano
+da Sangallo. At the present day, (Editor's Florentine edition of Vasari,
+1846) all trace of this remarkable picture is lost. The first of these
+portraits was that of the painter Giotto, as one who had given new light
+and life to art; the second, Fillippo Brunelleschi, distinguished for
+architecture; the third, Donatello, eminent for sculpture; the fourth,
+Uccello himself, for perspective and animals; and the fifth was his
+friend Giovanni Manetti, for the mathematics.
+
+
+UCCELLO'S INCREDULITY OF ST. THOMAS.
+
+It is related, says Vasari, of this master, that being commissioned to
+paint a picture of St. Thomas seeking the wound in the side of Christ,
+above the door of the church dedicated to that saint, in the Mercato
+Vecchio, he declared that he would make known in that work, the extent
+of what he had acquired and was capable of producing. He accordingly
+bestowed upon it the utmost care and consideration, and erected an
+enclosure around the place that he might not be disturbed until it
+should be completed. One day, his friend Donatello met him, and asked
+him, "What kind of work is this of thine, that thou art shutting up so
+closely?" Paolo replied, "Thou shalt see it some day; let that suffice
+thee." Donatello would not press him, thinking that when the time came,
+he should, as usual, behold a miracle of art. It happened one morning,
+as he was in the Mercato Vecchio, buying fruit, he saw Paolo uncovering
+his picture, and saluting him courteously, the latter anxiously demanded
+what he thought of his work. Donatello having examined the painting very
+closely, turned to the painter with a disappointed look, and said, "Why,
+Paolo, thou art uncovering thy picture at the very moment when thou
+shouldst be shutting it up from the sight of all!" These words so
+grievously afflicted the painter, who at once perceived that he would be
+more likely to incur derision from his boasted master-piece, than the
+honor he had hoped for, that he hastened home and shut himself up,
+devoting himself to the study of perspective, which, says Vasari, kept
+him in poverty and depression till the day of his death. If this story
+be true, Uccello must have painted the picture referred to in his old
+age.
+
+
+THE ITALIAN SCHOOLS OF PAINTING.
+
+The fame and success of Cimabue and Giotto, brought forth painters in
+abundance, and created schools all over Italy. The church increasing in
+power and riches, called on the arts of painting and sculpture, to add
+to the beauty and magnificence of her sanctuaries; riches and honors
+were showered on men whose genius added a new ray of grace to the
+Madonna, or conferred a diviner air on St. Peter or St. Paul; and as
+much of the wealth of Christendom found its way to Rome, the successors
+of the apostles were enabled to distribute their patronage over all the
+schools of Italy. Lanzi reckons fourteen schools of painting in Italy,
+each of which is distinguished by some peculiar characteristics, as
+follows: 1, the Florentine school; 2, the Sienese school; 3, the Roman
+school; 4, the Neapolitan school; 5, the Venetian school; 6, the Mantuan
+school; 7, the Modenese school; 8, the school of Parma; 9, the school of
+Cremona; 10, the school of Milan; 11, the school of Bologna; 12, the
+school of Ferrara; 13, the school of Genoa; 14, the school of Piedmont.
+Of these, the Florentine, the Roman, and the Bolognese are celebrated
+for their epic grandeur of composition; that of Siena for its poetic
+taste; that of Naples for its fire; and that of Venice for the splendor
+of its coloring.
+
+Other writers make different divisions, according to style or country;
+thus, Correggio, being by birth a Lombard, and the originator of a new
+style, the name of the Lombard school has been conferred by many upon
+the followers of his maxims, the characteristics of which are contours
+drawn round and full, the countenances warm and smiling, the union of
+the colors clear and strong, and the foreshortenings frequent, with a
+particular attention to the chiaro-scuro. Others again, rank the artists
+of Milan, Mantua Parma, Modena, and Cremona, under the one head of the
+Lombard school; but Lanzi justly makes the distinctions before
+mentioned, because their manners are very different. Writers of other
+nations rank all these subdivisions under one head--the Italian school.
+Lanzi again divides these schools into epochs, as they rose from their
+infancy, to their greatest perfection, and again declined into
+mannerism, or servile imitation, or as eminent artists rose who formed
+an era in art. Thus writers speak of the schools of Lionardo da Vinci,
+of Michael Angelo, of Raffaelle, of Correggio, of Titian, of the
+Caracci, and of every artist who acquired a distinguished reputation,
+and had many followers. Several great artists formed such a marked era
+in their schools, that their names and those of their schools are often
+used synonymously by many writers; thus, when they speak of the Roman
+school, they mean that of Raffaelle; of the Florentine, that of Michael
+Angelo; of Parma or Lombardy, that of Correggio; of Bologna, that of the
+Caracci; but not so of the Venetian and Neapolitan schools, because the
+Venetian school produced several splendid colorists, and that of Naples
+as many, distinguished by other peculiarities. These distinctions should
+be borne in mind in order rightly to understand writers, especially
+foreigners, on Italian art.
+
+
+CLAUDE JOSEPH VERNET.
+
+Claude Joseph Vernet, the father of Carl Vernet, and the grandfather of
+Horace, was born at Avignon in 1714. He was the son of Antoine Vernet,
+an obscure painter, who foretold that he would one day render his family
+illustrious in art, and gave him every advantage that his limited means
+would permit. Such were the extraordinary talents he exhibited almost in
+his infancy, that his father regarded him as a prodigy, and dreaming of
+nothing but seeing him become the greatest historical painter of the
+age, he resolved to send him to Rome; and having, by great economy,
+saved a few louis d'or, he put them into Joseph's pocket, when he was
+about eighteen years of age, and sent him off with a wagoner, who
+undertook to conduct him to Marseilles.
+
+
+VERNET'S PRECOCITY.
+
+The wonderful stories told about the early exhibitions of genius in many
+celebrated painters are really true with respect to Joseph Vernet. In
+his infancy, he exhibited the most extraordinary passion for painting.
+He himself has related, that on his return from Italy, his mother gave
+him some drawings which he had executed at the age of five years, when
+he was rewarded by being allowed to use the pencils he had tried to
+purloin. Before he was fifteen, he painted frieze-panels, fire-screens,
+coach-panels, sedan chair-panels, and the like, whenever he could get a
+commission; he also gave proof of that facility of conceiving and
+executing, which was one of the characteristics of his genius.
+
+
+VERNET'S ENTHUSIASM.
+
+It has been before stated that Vernet's father intended him for an
+historical painter, but nature formed his genius to imitate her
+sweetest, as well as most terrible aspect. When he was on his way to
+Marseilles, he met with so many charming prospects, that he induced his
+companion to halt so often while he sketched them, that it took them a
+much longer time to reach that port than it would otherwise have done.
+
+When he first saw the sea from the high hill, called La Viste, near
+Marseilles, he stood wrapt in admiration. Before him stretched the blue
+waters of the Mediterranean as far as the eye could reach, while three
+islands, a few leagues from the shore, seemed to have been placed there
+on purpose to break the uniformity of the immense expanse of waters, and
+to gratify the eye; on his right rose a sloping town of country houses,
+intersected with trees, rising above one another on successive terraces;
+on his left was the little harbor of Mastigues; in front, innumerable
+vessels rocked to and fro in the harbor of Marseilles, while the horizon
+was terminated by the picturesque tower of Bouc, nearly lost, however,
+in the distance. This scene made a lasting impression on Vernet. Nature
+seemed not only to invite, but to woo him to paint marine subjects, and
+from that moment his vocation was decided on. Thus nature frequently
+instructs men of genius, and leads them on in the true path to
+excellence and renown. Like the AEolian harp, which waits for a breath of
+air to produce a sound, so they frequently wait or strive in vain, till
+nature strikes a sympathetic chord, that vibrates to the soul. Thus
+Joseph Vernet never thought of his forte till he first stood on La
+Viste; and after that, he was nothing but a painter of ships and
+harbors, and tranquil seas, till the day when lashed to the mast, he
+first beheld the wild sea in such rude commotion, as threatened to
+engulf the noble ship and all on board at every moment. Then his mind
+was elevated to the grandeur of the scene; and he recollected forever
+the minutest incident of the occasion.
+
+"It was on going from Marseilles to Rome," says one of his biographers,
+M. Pitra, "that Joseph Vernet, on seeing a tempest gathering, when they
+were off the Island of Sardinia, was seized, not with terror, but with
+admiration; in the midst of the general alarm, the painter seemed really
+to relish the peril; his only desire was to face the tempest, and to be,
+so to say, mixed up with it, in order that, some day or other, he might
+astonish and frighten others by the terrible effects he would learn to
+produce; his only fear was that he might lose the sight of a spectacle
+so new to him. He had himself lashed to the main mast, and while he was
+tossed about in every direction, saturated with seawater, and excited by
+this hand-to-hand struggle with his model, he painted the tempest, not
+on his canvass, but in his memory, which never forgot anything. He saw
+and remembered all--clouds, waves, and rock, hues and colors, with the
+motion of the boats and the rocking of the ship, and the accidental
+light which intersected a slate-colored sky that served as a ground to
+the whiteness of the sea-foam." But, according to D'Argenville and
+others, this event occurred in 1752, when he was on his way to Paris, at
+the invitation of Louis XV. Embarking at Leghorn in a small felucca, he
+sailed to Marseilles. A violent storm happened on the voyage, which
+greatly terrified some of the passengers, but Vernet, undaunted, and
+struck with the grandeur of the scene, requested the sailors to lash him
+to the mast head, and there he remained, absorbed in admiration, and
+endeavoring to transfer to his sketch-book, a correct picture of the
+sublime scene with which he was surrounded. His grandson, Horace Vernet,
+painted an excellent picture of this scene, which was exhibited in the
+Louvre in 1816, and attracted a great deal of attention.
+
+
+VERNET AT ROME.
+
+Vernet arrived at Rome in 1732, and became the scholar of Bernardino
+Fergioni, then a celebrated marine painter, but Lanzi says, "he was
+soon eclipsed by Joseph Vernet, who had taken up his abode at Rome."
+Entirely unknown in that metropolis of art, always swarming with
+artists, Vernet lived for several years in the greatest poverty,
+subsisting by the occasional sale of a drawing or picture at any price
+he could get. He even painted panels for coach builders, which were
+subsequently sawed out and sold as works of great value. Fiorillo
+relates that he painted a superb marine for a suit of coarse clothes,
+which brought 5000 francs at the sale of M. de Julienne. Finding large
+pictures less saleable, he painted small ones, which he sold for two
+sequins a-piece, till a Cardinal, one day gave him four louis d'or for a
+marine. Yet his ardor and enthusiasm were unabated; on the contrary, he
+studied with the greatest assiduity, striving to perfect himself in his
+art, and feeling confident that his talents would ultimately command a
+just reward.
+
+
+VERNET'S "ALPHABET OF TONES."
+
+It was the custom of Vernet to rise with the lark, and he often walked
+forth before dawn and spent the whole day in wandering about the
+surrounding country, to study the ever changing face of nature. He
+watched the various hues presented by the horizon at different hours of
+the day. He soon found that with all his powers of observation and
+pencil, great and impassioned as they were, he could not keep pace with
+the rapidly changing and evanescent hues of the morning and evening sky.
+He began to despair of ever being able to represent on canvass the
+moving harmony of those pictures which nature required so little time to
+execute in such perfection, and which so quickly passed away. At length,
+after long contemplating how he could best succeed in catching and
+transferring these furtive tints to his canvass, bethought himself of a
+contrivance which he called his Alphabet of tones, and which is
+described by Renou in his "Art de Peindre."
+
+The various characters of this alphabet are joined together, and
+correspond to an equal number of different tints; if Vernet saw the sun
+rise silvery and fresh, or set in the colors of crimson; or if he saw a
+storm approaching or disappearing, he opened his table and set down the
+gradations of the tones he admired, as quickly as he could write ten or
+twelve letters on a piece of paper. After having thus noted down in
+short hand, the beauties of the sky and the accidental effects of
+nature, he returned to his studio, and endeavored to make stationary on
+canvass the moving picture he had just been contemplating. Effects which
+had long disappeared were thus recomposed in all their charming harmony
+to delight the eye of every lover of painting.
+
+
+VERNET AND THE CONNOISSEUR.
+
+Vernet relates, that he was once employed to paint a landscape, with a
+cave, and St. Jerome in it; he accordingly painted the landscape, with
+St. Jerome at the entrance of the cave. When he delivered the picture,
+the purchaser, who understood nothing of perspective, said, "the
+landscape and the cave are well made, but St. Jerome is not _in_ the
+cave." "I understand you, Sir," replied Vernet, "I will alter it." He
+therefore took the painting, and made the shade darker, so that the
+saint seemed to sit farther in. The gentleman took the painting; but it
+again appeared to him that the saint was not in the cave. Vernet then
+wiped out the figure, and gave it to the gentleman, who seemed perfectly
+satisfied. Whenever he saw strangers to whom he shewed the picture, he
+said, "Here you see a picture by Vernet, with St. Jerome in the cave."
+"But we cannot see the saint," replied the visitors. "Excuse me,
+gentlemen," answered the possessor, "he is there; for _I_ have seen him
+standing at the entrance, and afterwards farther back; and am therefore
+quite sure that he is in it."
+
+
+VERNET'S WORKS.
+
+Far from confining himself within the narrow limits of one branch of his
+profession, Vernet determined to take as wide a range as possible. At
+Rome, he made the acquaintance of Lucatelli, Pannini, and Solimene. Like
+them, he studied the splendid ruins of the architecture of ancient Rome,
+and the noble landscapes of its environs, together with every
+interesting scene and object, especially the celebrated cascades of
+Tivoli. He paid particular attention to the proportions and attitudes of
+his figures, which were mostly those of fishermen and lazzaroni, as well
+as to the picturesque appearance of their costume. Such love of nature
+and of art, such assiduous study of nature at different hours of the
+day, of the phenomena of light, and such profound study of the numerous
+accessories essential to beauty and effect, made an excellent landscape
+painter of Vernet, though his fame rests chiefly on the unrivalled
+excellence of his marine subjects. Diderot remarks, that "though he was
+undoubtedly inferior to Claude Lorraine in producing bold and luminous
+effects, he was quite equal to that great painter in rendering the
+effects of vapor, and superior to him in the invention of scenes, in
+designing figures, and in the variety of his incidents."
+
+At a later period, Diderot compared his favorite painter to the Jupiter
+of Lucian, who, tired of listening to the lamentable cries of mankind,
+rose from table and exclaimed: 'Let it hail in Thrace!' and the trees
+were immediately stripped of their leaves, the heaviest cut to pieces,
+and the thatch of the houses scattered before the wind: then he said,
+"Let the plague fall on Asia!" and the doors of the houses were
+immediately closed, the streets were deserted, and men shunned one
+another; and again he exclaimed: 'Let a volcano appear here!' and the
+earth immediately shook, the buildings were thrown down, the animals
+were terrified, and the inhabitants fled into the surrounding country;
+and on his crying out: 'Let this place be visited with a death!' the old
+husbandman died of want at his door. Jupiter calls that governing the
+world, but he was wrong. Vernet calls it painting pictures, and he is
+right.
+
+It was with reference to the twenty-five paintings exhibited by Vernet,
+in 1765, that Diderot penned the foregoing lines, which formed the
+peroration to an eloquent and lengthy eulogium, such as it rarely falls
+to a painter to be the subject of. Among other things, the great critic
+there says: "There is hardly a single one of his compositions which any
+painter would have taken not less than two years to execute, however
+well he might have employed his time. What incredible effects of light
+do we not behold in them! What magnificent skies! what water! what
+ordonnance! what prodigious variety in the scenes! Here, we see a child
+borne off on the shoulders of his father, after having been saved from a
+watery grave; while there, lies a woman dead upon the beach, with her
+forlorn and widowed husband weeping at her side. The sea roars, the wind
+bowls, the thunder fills the air with its peals, and the pale and
+sombre glimmers of the lightning that shoots incessantly through the
+sky, illuminate and hide the scene in turn. It appears as if you heard
+the sides of the ship crack, so natural does it look with its broken
+masts and lacerated sails; the persons on deck are stretching their
+hands toward heaven, while others have thrown themselves into the sea.
+The latter are swept by the waves against the neighboring rocks, where
+their blood mingles with the white foam of the raging billows. Some,
+too, are floating on the surface of the sea, some are about to sink, and
+some are endeavoring to reach the shore, against which they will be
+inevitably dashed to pieces. The same variety of character, action, and
+expression is observable among the spectators, some of whom are turning
+aside with a shudder, some are doing their utmost to assist the drowning
+persons, while others remain motionless and are merely looking on. A few
+persons have made a fire beneath a rock, and are endeavoring to revive a
+woman, who is apparently expiring. But now turn your eyes, reader,
+towards another picture, and you will there see a calm, with all its
+charms. The waters, which are tranquil, smooth, and cheerful-looking,
+insensibly lose their transparency as they extend further from the
+sight, while their surface gradually assumes a lighter tint, as they
+roll from the shore to the horizon. The ships are motionless, and the
+sailors and passengers are whiling away the time in various amusements.
+If it is morning, what light vapors are seen rising all around! and how
+they have refreshed and vivified every object they have fallen on! If it
+is evening, what a golden tint do the tops of the mountains assume! How
+various, too, are the hues of the sky! And how gently do the clouds move
+along, as they cast the reflection of their different colors into the
+sea! Go, reader, into the country, lift your eyes up towards the azure
+vault of heaven, observe well the phenomena you then see there, and you
+will think that a large piece of the canvass lighted by the sun himself
+has been cut out and placed upon the easel of the artist: or form your
+hand into a tube, so that, by looking through it, you will only be able
+to see a limited space of the canvass painted by nature, and you will at
+once fancy that you are gazing on one of Vernet's pictures which has
+been taken from off his easel and placed in the sky. His nights, too,
+are as touching as his days are fine; while his ports are as fine as his
+imaginative pieces are piquant. He is equally wonderful, whether he
+employs his pencil to depict a subject of everyday life, or he abandons
+himself completely to his imagination; and he is equally
+incomprehensible, whether he employs the orb of day or the orb of night,
+natural or artificial lights, to light his pictures with: he is always
+bold, harmonious, and staid, like those great poets whose judgment
+balances all things so well, that they are never either exaggerated or
+cold. His fabrics, edifices, costumes, actions, men and animals are all
+true. When near, he astonishes you, and, at a distance, he astonishes
+you still more."
+
+
+VERNET'S PASSION FOR MUSIC
+
+Vernet, notwithstanding he loved to depict the sea in its most convulsed
+and terrible aspects, was a perfect gentleman of the French school,
+whose manners were most amiable and engaging. What he most loved after
+painting was music. He had formed at Rome, an intimate friendship with
+Pergolesi, the composer, who afterwards became so celebrated, and they
+lived almost continually together. Vernet placed a harpsichord in his
+studio for the express use of his friend, and while the painter, carried
+away by his imagination, put the waters of the mighty main into
+commotion, or suspended persons on the towering waves, the grave
+composer sought, with the tips of his fingers, for the rudiments of his
+immortal melodies. It was thus that the melancholy stanzas of that _chef
+d'oeuvre_ of sadness and sorrow, the _Stabat-Mater_, were composed for
+a little convent in which one of Pergolesi's sisters resided. It seems
+to one that while listening to this plaintive music, Vernet must have
+given a more mellow tint to his painting; and it was, perhaps, while
+under its influence, that he worked at his calms and moonlights, or,
+making a truce with the roaring billows of the sea, painted it tranquil
+and smooth, and represented on the shore nothing but motionless
+fishermen, sailors seated between the carriages of two cannons, and
+whiling away the time by relating their travels to one another, or else
+stretched on the grass in so quiescent a state, that the spectator
+himself becomes motionless while gazing on them.
+
+Pergolesi died in the arms of Joseph Vernet, who could never after hear
+the name of his friend pronounced, without being moved to tears. He
+religiously preserved the scraps of paper, on which he had seen the
+music of the _Stabat-Mater_ dotted down before his eyes, and brought
+them with him to France in 1752, at which period he was sent for by the
+Marquis de Marigny, after an absence of twenty years. Vernet's love for
+music procured Gretry a hearty welcome, when the young composer came to
+Paris. Vernet discovered his talent, and predicted his success. Some of
+Gretry's features, his delicate constitution, and, above all, several of
+his simple and expressive airs, reminded the painter of the immortal man
+to whom music owes so large a portion of its present importance; for it
+was Pergolesi who first introduced in Italy the custom of paying such
+strict attention to the sense of the words and to the choice of the
+accompaniments.
+
+
+VERNET'S OPINION OF HIS OWN MERITS.
+
+Though Vernet rose to great distinction, he was never fully appreciated
+till long after his decease. At the present day, he is placed in the
+first rank of marine painters, not only by his own countrymen, but by
+every other nation. He himself pronounced judgment on his own merits,
+the justness of which, posterity has sanctioned. The sentence deserves
+to be preserved, for it is great. Comparing himself to the great
+painters, his rivals, he says, "If you ask me whether I painted skies
+better than such and such an artist, I should answer 'no!' or figures
+better than any one else, I should also say 'no!' or trees and
+landscapes better than others, still I should answer 'no!' or fogs,
+water, and vapors better than others, my answer would ever be the same
+but though _inferior to each of them in one branch of the art, I surpass
+them in all the others_."
+
+
+CURIOUS LETTER OF VERNET.
+
+The Marquis de Marigny, like his sister, Madame de Pompadour, loved and
+protected the arts. It was mainly through his influence that Vernet was
+invited to Paris in 1752, and commissioned to paint the sea-ports of
+France. No one could have been found better fitted for the ungrateful
+task, which, though offering so few resources, required so much
+knowledge. Thus imprisoned in official programme, Vernet must have felt
+ill at ease, if we may judge from a letter which he wrote to the Marquis
+at a subsequent period, with respect to another order. Indeed, the truth
+of his remarks were verified in the very series just mentioned, which
+are not considered among his happiest productions. The following is the
+main part of the letter referred to, dated May 6th, 1765:
+
+     "I am not accustomed to make sketches for my pictures. My general
+     practice is to compose on the canvass of the picture I am about to
+     execute, and to paint it immediately, while my imagination is still
+     warm with conception; the size, too, of my canvas tells me at once
+     what I have to do, and makes me compose accordingly. I am sure, if
+     I made a sketch beforehand, that I should not only not put in it
+     what might be in the picture, but that I should also throw into it
+     all the fire I possess, and the larger picture would, in
+     consequence, become cold. This would also be making a sort of copy,
+     which it would annoy me to do. Thus, sir, after thoroughly weighing
+     and examining everything, I think it best _that I should be left
+     free to act as I like_. This is what I require from all those for
+     whom I wish to do my best; and this is also what I beg your friend
+     towards whom I am desirous of acting conscientiously, to let me do.
+     He can tell me what size he wishes the picture to be, with the
+     general subject of it, such as calm, tempest, sun-rise, sun-set,
+     moon-light, landscape, marine-piece, etc., but nothing more.
+     Experience has taught me that, when I am constrained by the least
+     thing, I always succeed worse than generally.
+
+     "If you wish to know the usual prices of my pictures, they are as
+     follows:--For every one four feet wide, and two and a half, or
+     three high, L60, for every one three feet wide, and of a
+     proportionate height, L48; for every one two feet and a half wide
+     L40; for every one two feet wide, L32; and for every one eighteen
+     inches wide, L24, with larger or smaller ones as required; but it
+     is as well to mention that I succeed much better with the large
+     ones."
+
+
+CHARLES VERNET.
+
+Antoine Charles Horace Vernet was the son of Claude Joseph Vernet, and
+born at Bordeaux in 1758. He acquired distinction as a painter, and was
+made a Chevalier of the Legion of Honor, and of the order of St Michael.
+He chiefly excelled in battle and parade pieces of large dimensions; and
+he thus commemorated the battles of Rivoli, Marengo, Austerlitz, Wagram,
+the Departure of the Marshals, and other events of French history which
+occurred during his artistical career. More pleasing to many are his
+smaller pictures, mostly referring to battles and camps. He was
+uncommonly successful in depicting the horse, and there are numerous
+equestrian portraits by him, which are greatly admired. His studies from
+nature, and his hunting pieces, for vivacity, spirit, and boldness of
+conception, are only rivaled by those of his son Horace. Many of his
+works have been lithographed; the twenty-eight plates in folio,
+illustrating the Campaign of Bonaparte in Italy, are esteemed among his
+most successful efforts. He died in 1836.
+
+
+ANECDOTE OF CHARLES VERNET.
+
+A short time before his death, Charles Vernet, having some business to
+transact with one of the public functionaries, called at his office and
+sent in his card. The minister left him waiting two whole hours in the
+anteroom before he admitted him to his presence, when the business was
+quickly dispatched. Meeting Vernet at a soiree soon afterwards, the
+minister apologized for his _apparent_ neglect, which not appearing very
+satisfactory to the veteran painter, he mildly rebuked him by observing,
+"It is of no consequence, sir, but permit me to say that I think a
+little more respect should have been shown to the son of Joseph and the
+father of Horace Vernet."
+
+
+M. DE LASSON'S CARICATURE.
+
+A Norman priest, who lived in the middle of the seventeenth century,
+named the Abbe Malotru, was remarkably deformed in his figure, and
+ridiculous in his dress. One day, while he was performing mass, he
+observed a smile of contempt on the face of M. de Lasson, which
+irritated him so much that the moment the service was over, he
+instituted a process against him. Lasson possessed the talent of
+caricature drawing: he sketched a figure of the ill-made priest,
+accoutred, as he used to be, in half a dozen black caps over one
+another, nine waistcoats, and as many pair of breeches. When the court
+before whom he was cited urged him to produce his defense, he suddenly
+exhibited his Abbe Malotru, and the irresistible laughter which it
+occasioned insured his acquittal.
+
+
+FRANK HALS AND VANDYKE.
+
+In the early part of Frank Hals' life, to accommodate his countrymen,
+who were sparing both of their time and money, he painted portraits for
+a low price at one sitting in a single hour. Vandyke on his way to Rome,
+passing through the place, sat his hour as a stranger to the rapid
+portrait painter. Hals had seen some of the works of Vandyke, but was
+unacquainted with his person. When the picture was finished, Vandyke,
+assuming a silly manner, said it appeared to be easy work, and that he
+thought he could do it. Hals, thinking to have some fun, consented to
+sit an hour precisely by the clock, and not to rise or look at what he
+fully expected to find a laughable daub. Vandyke began his work; Hals
+looked like a sitter. At the close, the wag rose with all his risible
+muscles prepared for a hearty laugh; but when he saw the splendid
+sketch, he started, looked, and exclaimed, "You must be either Vandyke
+or the Devil!"
+
+
+
+
+
+End of the Project Gutenberg EBook of Anecdotes of Painters, Engravers,
+Sculptors  and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner
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