,,anecdotes   ,,of   ,,painters1        
,,engravers   ,sculptors and            
,architects1   ,,and   ,,curiosities    
,,of ,,art4   ,,by   ,s4 ,,spooner1 ,m4 
,d41   ,,author ,,of ,a ,,biographical  
,,history ,,of ,,the ,,fine ,,arts4     
,,in ,,three ,,volumes4   ,,vol4 ,,iii4 
,,new ,,york3 ,r4 ,,worthington1        
,,publisher1 #ggj ,broadway4            
,,copyright1 ,s4 ,,spooner1 #ahec4      
,reentered1 ,g4 ,b41 #ahhj4             
,,contents4    ,egyptian ,art1          
#a   ,ancient ,thebes1                  
#b   ,the ,temple of ,carnac1           
#e   ,temple of ,luxor1                 
#e   ,the ,statues of ,memnon1          
#f   ,heliopolis1                       
#g   ,memphis1                          
#h   ,lake ,moeris1                     
#i   ,the ,colossal ,sphinx1            
#aj   ,the ,labyrinth of ,egypt1        
#aa   ,the ,catacombs of ,egypt1        
#ab   ,the ,pyramids of ,egypt1         
#ai   ,perilous ,ascent of the ,pyramid 
of ,cephren1                            

#bg   ,egyptian ,obelisks1              
#cj   ,removal of an ,obelisk by        
,fontana1                               
#cc   ,removal of an ,obelisk from      
,thebes to ,paris1                      
#dj   ,carburi's ,base for the          
,equestrian ,statue of ,peter the       
,great1        #db   ,comparative ,skill
 of the ,ancients and ,moderns in       
,mechanics1         #de   ,the          
,britannia ,tubular ,railway ,bridge1   
#df   ,the ,tubes1                      
#dg   ,construction of the ,tubes1      
#di   ,floating the ,tubes1             
#ej   ,raising the ,tubes1              
#eb   ,glory of ,ancient ,rome1         
#eg   ,the ,capitol1                    
#ei   ,modern ,rome1                    
#fj   ,the ,foundation of ,venice1      
#gb   ,theodoric the ,great1 and his    
,love of the ,fine ,arts1               
#gc   ,archimedes1                      
#gg   ,the ,trials of ,genius--,filippo 
,brunelleschi1                          
#hj   ,brunelleschi's ,enthusiasm1      

#abb   ,brunelleschi and ,donatello1    
#abc   ,donatello1                      
#abe   ,donatello and the ,merchant1    
#abf   ,donatello and his ,kinsmen1     
#abg   ,death of ,donatello1            
#abh   ,donatello and ,michael ,angelo  
,compared1                              
#abh   ,sofonisba ,anguisciola's ,early 
,distinction1                           
#abi   ,sofonisba's ,visit to ,rome1    
#acj   ,sofonisba's ,marriages1         
#aca   ,sofonisba's ,residence at       
,genoa1 and her ,intercourse with       
,vandyck1  #acb   ,carriera ,rosalba1   
#acc   ,rosalba's ,modesty1             
#acc   ,rosalba's ,knowledge of         
,tempers1                               
#acc   ,elizabeth ,sirani1              
#acd   ,death of ,elizabeth ,sirani1    
#ace   ,rachel ,ruysch1                 
#ace   ,sir ,anthony ,vandyck1          
#acf   ,vandyck's ,visit to ,italy1     
#ach   ,vandyck's ,return to ,antwerp1  
#aci   ,vandyck's ,visit to ,england1   
#ada   ,william van de ,velde the       

,elder1                                 
#adc   ,van de ,velde and ,charles      
,,ii41                                  
#add   ,william van de ,velde the       
,younger1                               
#ade   ,the ,younger van de ,velde's    
,works1                                 
#adf   ,nicholas ,poussin1              
#adh   ,poussin's first ,celebrity1     
#adi   ,poussin's first ,visit to ,rome1
                                        
#aej   ,poussin's ,distress at ,rome1   
#aea   ,poussin's ,success at ,rome1    
#aeb   ,poussin's ,invitation to ,paris1
                                        
#aec   ,poussin's ,return to ,rome1     
#aed   ,sir ,joshua ,reynolds' ,critique
 on ,poussin1                           
#aef   ,poussin's ,views of his ,art1   
#aeg   ,poussin's ,works1               
#aeh   ,marino and ,poussin1            
#aei   ,poussin ,romanized1             
#afj   ,poussin's ,habits of ,study1    
#afa   ,poussin's ,old ,age1            
#afb   ,poussin's ,last ,work and       

,death1                                 
#afc   ,poussin's ,ideas of ,painting1  
#afd   ,poussin and the ,nobleman1      
#afe   ,poussin and ,mengs1             
#afe   ,poussin and ,domenichino1       
#aff   ,poussin and ,salvator ,rosa1    
#aff   ,poussin1 ,angelo1 and ,raffaelle
 ,compared1                             
#afh   ,rembrandt1                      
#agj   ,rembrandt's ,works1             
#agc   ,rembrandt as an ,engraver1      
#agd   ,anecdote of ,schwarts1          
#age   ,jacques ,callot1                
#agf   ,callot's ,patriotism1           
#agg   ,ingenuity of ,artists1          
#agh   ,a ,hint to ,jewelers1           
#agi   ,curious ,paintings1             
#ahj   ,the ,oldest ,oil ,painting      
,extant1                                
#aha   ,curious ,representations of the 
,harpies1                               
#aha   ,adrian ,brower1                 
#ahb   ,brower1 the ,duke d',aremberg1  
and ,rubens1                            
#ahc   ,death of ,brower1               

#ahd   ,brower's ,works1                
#ahe   ,rosa da ,tivoli1                
#ahe   ,rosa da ,tivoli's ,works1       
#ahf   ,rosa da ,tivoli's ,facility of  
,execution1                             
#ahf   ,rosa da ,tivoli's ,habits1      
#ahg   ,luca ,cambiaso's ,facility in   
,painting1                              
#ahg   ,cambiaso's ,works in ,spain1    
#ahh   ,cambiaso's ,artistic ,merits1   
#aij   ,rarity of ,female ,portraits in 
,spain1                                 
#aia   ,murillo's ,pictures in ,spanish 
,america1                               
#aib   ,murillo's ,virgin of the        
,napkin1                                
#aic   ,anecdote of an ,altar-,piece by 
,murillo1                               
#aid   ,murillo and his slave ,gomez1   
#aie   ,an ,artist's ,love of ,romance1 
#aie   ,esteban ,march's ,strange       
,method of ,study1                      
#aih   ,march's ,adventure of the ,fish1
 fried in ,linseed ,oil1                
#aii   ,a ,painter's ,rebuke1           

#bjj   ,a ,painter's ,retort ,courteous1
                                        
#bja   ,ardemans and ,bocanegra--,a     
,trial of ,skill1                       
#bja   ,a ,painter's ,artifice to ,keep 
up ,appearances1                        
#bjb   ,a ,good ,natured ,criticism1    
#bjc   ,alonso ,cano and the ,intendant 
of the ,bishop of ,malaga1              
#bjc   ,cano's ,love of ,sculpture1     
#bjd   ,castillo's ,sarcasm on ,alfaro1 
#bjd   ,torres' ,imitations of          
,caravaggio1                            
#bje   ,pantoja and the ,eagle1         
#bje   ,the ,painter ,methodius and the 
,king of ,bulgaria1                     
#bjf   ,john ,c4 ,vermeyen and ,charles 
,v41                                    
#bjf   ,blas de ,prado and the ,emperor 
of ,morocco1                            
#bjg   ,don ,juan ,carreno1             
#bjh   ,carreno's ,copy of ,titian's    
,st4 ,margaret1                         
#bjh   ,carreno's ,abstraction of ,mind1
                                        

#bji   ,anecdote of ,cespedes' ,last    
,supper1                                
#bji   ,zuccaro's ,compliment to        
,cespedes1                              
#baj   ,dona ,barbara ,maria de ,hueva1 
#baj   ,the ,miraculous ,picture of the 
,virgin1                                
#baa   ,the ,chair of ,st4 ,peter1      
#bac   ,the ,sagro ,catino1 or ,emerald 
,dish1                                  
#bae   ,the ,painter of ,florence1      
#bag   ,legend of the ,painter-,friar1  
the ,devil1 and the ,virgin1            
#bbj   ,gerard ,douw1                   
#bbb   ,douw's ,style1                  
#bbd   ,douw's ,method of ,painting1    
#bbe   ,douw's ,works1                  
#bbf   ,albert ,durer1                  
#bbh   ,durer's ,works as a ,painter1   
#bbi   ,durer's ,works as an ,engraver1 
#bca   ,durer's ,fame and ,death1       
#bcc   ,durer's ,habits and ,literary   
,works1                                 
#bcd   ,ludolph ,backhuysen1            
#bce   ,john ,baptist ,weenix the       

,elder1                                 
#bcf   ,weenix's ,facility of ,hand1    
#bcf   ,john ,baptist ,weenix the       
,younger1                               
#bcg   ,jan ,steen1                     
#bch   ,jan ,steen's ,works1            
#bch   ,kugler's ,critique on the ,works
 of ,jan ,steen1                        
#bdj   ,frolics of ,mieris and ,jan     
,steen1                                 
#bda   ,sir ,anthony ,more1             
#bdb   ,sir ,anthony ,more and ,philip  
,,ii41                                  
#bdc   ,more's ,success and ,works1     
#bdc   ,perilous ,adventure of a        
,painter1                               
#bde   ,anecdote of ,john de ,mabuse1   
#bdf   ,capugnano and ,lionello ,spada1 
#bdg   ,michael ,angelo                 
,caravaggio--,his ,quarrelsome          
,disposition1            #bdh   ,jacopo 
,amiconi1                               
#bdi   ,painting the ,dead1             
#bej   ,taddeo ,zuccaro1                
#bej   ,zuccaro's ,resentment1          

#bea   ,royal ,criticism1               
#beb   ,pietro da ,cortona1             
#bec   ,know ,thyself1                  
#bed   ,benvenuto ,cellini1             
#bee   ,fracanzani and ,salvator ,rosa1 
#bef   ,pope ,urban ,,viii4 and         
,bernini1                               
#bef   ,emulation and ,rivalry in the   
,fine ,arts1                            
#beg   ,the ,notte of ,correggio1       
#bei   ,the ,dresden ,gallery1          
#bfb   ,painting among the ,egyptians1  
#bfc   ,painting among the ,greeks1     
#bfe   ,numismatics1                    
#bfi   ,restoring ,ancient ,edifices1   
#bgd   ,napoleon's ,love of ,art1       
#bgd   ,napoleon's ,works at ,paris1    
#bgf   ,the ,napoleon ,medals1          
#bha   ,the ,elephant ,fountain1        
#bhf   ,interesting ,drawing1           
#bhg   ,sevre ,china1                   
#bhh   ,dismantling of the ,louvre1     
#bhi   ,removal of the ,venetian ,horses
 from ,paris1                           
#bif   ,removal of the ,statue of       

,napoleon from the ,place ,vendome1     
#cja   ,the ,musee ,francais and the    
,musee ,royal1                          
#cjb   ,boydell's ,shakspeare ,gallery1 
#cje   ,brief ,sketch of a ,plan for an 
,american ,national ,gallery of ,art1   
#cjg     ,,anecdotes  ,,of  ,,painters1 
,,engravers1 ,,sculptors1 ,,and         
,,architects4     ,,egyptian ,,art4     
,champollion1 the famous explorer of    
,egyptian antiquities1 holds the        
following language at the end of his    
fifteenth letter1 dated at ,thebes4 ,it 
is evident to me1 as it must be to all  
who have thoroughly examined ,egypt or  
have an accurate knowledge of the       
,egyptian monuments existing in ,europe1
 that the arts commenced in ,greece by a
 servile imitation of the arts in       
,egypt1 much more advanced than is      
vulgarly believed1 at the period when   
the ,egyptian colonies came in contact  
with the savage inhabitants of ,attica  
or the ,peloponnesus4 ,without ,egypt1  
,greece would probably never have become

 the classical land of the fine arts4   
,such is my entire belief on this great 
problem4 ,i write these lines almost in 
the presence of bas-reliefs which the   
,egyptians executed1 with the most      
elegant delicacy of workmanship1        
seventeen hundred years before the      
,christian era4 ,what were the ,greeks  
then doing8  ,the sculptures of the     
monument of ,el ,asaffif are ascertained
 to be more than three thousand five    
hundred years old4     ,,ancient        
,,thebes4   ,thebes1 an ancient city and
 capital of ,egypt1 and the oldest city 
in the world1 was situated in ,upper    
,egypt1 on both sides of the ,nile1     
about two hundred and sixty miles south 
of ,cairo4 ,thebes is the city of a     
hundred gates1 the theme and admiration 
of ancient poets and historians1 and the
 wonder of travelers--that venerable    
city1 in the language of ,dr4 ,pocoke1  
the date of whose destruction is older  
than the foundation of other cities1 and
 the extent of whose ruins1 and the     

immensity of whose colossal fragments   
still offer so many astonishing objects1
 that one is riveted to the spot1 unable
 to decide whither to direct the step1  
or fix the attention4 ,these ruins      
extend about eight miles along the      
,nile1 from each bank to the sides of   
the enclosing mountains1 and describe a 
circuit of twenty-seven miles4 ,the most
 remarkable objects on the eastern side 
are the temples of ,carnac and ,luxor2  
and on the western side are the         
,memnonium or palace of ,memnon1 two    
colossal statues1 the sepulchres of the 
kings1 and the temple of ,medinet ,abu4 
,the glory of ,thebes belongs to a      
period prior to the commencement of     
authentic history4 ,it is recorded only 
in the dim lights of poetry and         
tradition1 which might be suspected of  
fable1 did not such mighty witnesses    
remain to attest their truth4 ,strabo   
and ,diodorus ,siculus described ,thebes
 under the name of ,diospolis 7the city 
of ,god71 and gave such magnificent     

descriptions of its monuments as caused 
the fidelity of those writers to be     
called in question1 till the            
observations of modern travelers proved 
their accounts to have fallen short of  
the reality4 ,at the time of the        
,persian invasion under ,cambyses1      
,memphis had supplanted ,thebes2 and the
 ,ptolemys afterwards removed the seat  
of empire to ,alexandria4 ,at present1  
its site presents only a few scattered  
villages1 consisting of miserable       
cottages built in the courts of the     
temples4 ,the ancient structures1       
however1 remain in a state of wonderful 
preservation4 ,almost the whole extent  
of eight miles along the river is       
covered with magnificent portals1       
obelisks decorated with most beautiful  
sculptures1 forests of columns1 and long
 avenues of sphynxes and colossal       
statues4 ,the most remarkable monuments1
 the ruins of which remain1 are the     
temples of ,carnac1 ,luxor1 the         
,memnonium or temple of ,memnon1 and the

 temple of ,medinet ,abu4 ,the tomb of  
,osymandyas1 the temple of ,iris1 the   
,labyrinth1 and the ,catacombs lie on   
the western side of the ,nile4 ,in the  
interior of the mountains which rise    
behind these monuments1 are found       
objects less imposing and magnificent   
indeed1 but not less interesting--the   
tombs of the kings of ,thebes4 ,several 
of these were opened by ,belzoni1 and   
were found in great preservation1 with  
mummies in the sarcophagi1 as well as   
dispersed through the chambers4  ,such  
was ancient ,thebes--a city so populous 
that1 according to ancient writers1 in  
times of war #aj1jjj soldiers issued    
from each of her hundred gates1 forming 
an army of #a1jjj1jjj men4 ,that these  
magnificent ruins are the remains of the
 city of an hundred gates1--the earliest
 capital in the world1 cannot be        
doubted4 ,according to the measurements 
made by the ,french1 their distance from
 the sea on the north1 is #fhj1jjj      
metres 7#hej miles71 and from           

,elephantine on the south1 #ahj1jjj     
metres 7#bbe miles7--corresponding      
exactly with the #f1hjj and #a1hjj      
stadia of ,herodotus4 ,the circumference
 of the ruins is about #ae1jjj metres   
7#aga_/b miles71 agreeing with the #adj 
stadia given by ,diodorus as the        
circumference of ,thebes4 ,the origin of
 the name of this celebrated city1 as   
well as the date of its foundation1 is  
unknown4 ,according to ,champollion1 who
 deciphered many of the inscriptions on 
these ruins1 the ,egyptian name was     
,thbaki-antepi-,amoun 7,city of the     
,most ,high71 of which the ,no-,ammon of
 the ,hebrews and ,diospolis of the     
,greeks are mere translations2 ,thebae1 
of the ,greeks is also perhaps derived  
from the ,egyptian ,thbaki 7the city74  
,,the ,,temple ,,of ,,carnac4   ,the    
largest of the temples of ,thebes1 and  
of any in ,egypt1 is that of ,carnac1 on
 the site of the ancient ,diospolis4    
,diodorus describes it as thirteen      
stadia1 or about a mile and a half in   

circumference1 which nearly agrees with 
the admeasurements of ,denon4 ,it has   
twelve principal entrances2 and the body
 of the temple1 which is preceded by a  
large court1 consists of a prodigious   
hall or portico1 the roof of which is   
supported by one hundred and thirty-four
 columns1 some twenty-six1 and others   
thirty feet in circumference2 four      
beautiful obelisks then mark the        
entrance to the shrine1 which consists  
of three apartments1 built entirely of  
granite4     ,,temple ,,of ,,luxor4     
,the temple of ,luxor is about one and a
 fourth mile above that of ,carnac1 and 
though it is of smaller dimensions it is
 in a superior style of architecture1   
and in more complete preservation4 ,the 
entrance is thought to surpass          
everything else that ,egypt presents4   
,in front are the two finest obelisks in
 the world1 formed of rose-colored      
granite1 and rising1 as ,denon supposes1
 after allowing for the portion buried  
in the ground1 to the height of one     

hundred feet4 ,but the objects which    
most attract attention1 are the         
sculptures which cover the east wing of 
the northern front4 ,they represent on a
 grand scale1 a victory gained by one of
 the ancient kings of ,egypt over their 
,asiatic enemies1 consisting of         
multitudes of figures1 horses1 and      
chariots1 executed in the best style of 
,egyptian art2 the number of human      
figures introduced exceeds fifteen      
hundred1 five hundred of which are on   
foot1 and the rest in chariots4         
,,the ,,statues ,,of ,,memnon4   ,there 
were many colossal statues of ,memnon in
 ,egypt1 but the most remarkable were   
the two in the ,memnonium or palace of  
,memnon1 at ,thebes4 ,the largest is of 
rose-colored granite1 and stood in the  
centre of the principal court2 its      
height was sixty-four feet1 and its     
remains are scattered forty feet around 
it4 ,rigaud1 one of the ,french savans1 
says1 the excavations are still visible 
where the wedges were placed which      

divided the monument when it was thrown 
down by ,cambyses4 ,the trunk is broke  
off at the waist1 and the upper part    
lies prostrate on the back2 it measures 
six feet ten inches over the front of   
the head1 and sixty-two feet round the  
shoulders4 ,at the entrance of the gate 
which leads from the second court to the
 palace1 is the famous colossal sounding
 statue1 which1 according to ,herodotus1
 ,strabo1 and ,pausanias1 uttered a     
joyful sound when the sun rose1 and a   
mournful one when it set4 ,it is also   
related that it shed tears1 and gave out
 oracular responses in seven verses1 and
 that these sounds were heard till the  
fourth century after ,christ4 ,these    
phenomena1 attested by many ancient and 
modern writers1 are variously accounted 
for by the learned1 as priestcraft1     
peculiar construction1 escape of        
rarified air1 c4 ,this statue is in     
excellent preservation4 ,the head is of 
rose-colored granite1 and the rest of a 
kind of black stone4 ,two other colossal

 statues1 about fifty feet high1 are    
seated on the plain4     ,,heliopolis4  
,the name of ,heliopolis1 or ,city of   
the ,sun1 was given by the ,greeks to   
the ,egyptian ,city of ,on4 ,it was     
situated a little to the north of       
,memphis1 was one of the largest cities 
of ,egypt during the reign of the       
,pharaohs1 and so adorned with statues  
as to be esteemed one of the first      
sacred cities in the kingdom4 ,the      
temple dedicated to ,re1 was a          
magnificent building1 having in front an
 avenue of sphynxes1 celebrated in      
history1 and adorned with several       
obelisks1 raised by ,sethosis ,rameses1 
,b4,c4 #aijj4 ,by means of lakes and    
canals1 the town1 though built on an    
artificial eminence1 communicated with  
the ,nile1 and during the flourishing   
ages of the ,egyptian monarchy1 the     
priests and scholars acquired and taught
 the elements of learning within the    
precincts of its temples4 ,at the time  
of ,strabo who visited this town about  

,a4 ,d4 #de1 the apartments were still  
shown in which1 four centuries before1  
,eudoxus and ,plato had labored to learn
 the philosophy of ,egypt4 ,here ,joseph
 and ,mary are said to have rested with 
our ,saviour4 ,a miserable village1     
called ,metarea1 now stands on the site 
of this once magnificent city4 ,near the
 village is the ,pillar of ,on1 a famous
 obelisk1 supposed to be the oldest     
monument of the kind existing4 ,its     
height is #fga_/b feet1 and its breadth 
at the base #f feet4 ,it is one single  
shaft of reddish granite 7,sienite71 and
 hieroglyphical characters are rudely   
sculptured upon it4     ,,memphis4      
,the very situation of this famous      
ancient city of ,egypt had long been a  
subject of learned dispute1 till it was 
accurately ascertained by the ,french   
expedition to ,egypt4 ,numerous heaps of
 rubbish1 of blocks of granite covered  
with hieroglyphics and sculptures1 of   
colossal fragments1 scattered over a    
space three or four leagues in          

circumference1 marks its site1 a few    
miles south of ,metarea or ,heliopolis1 
at a village called ,moniet-,rahinet4   
,according to ,herodotus1 the foundation
 of ,memphis was ascribed to ,menes1 the
 first king of ,egypt4 ,it was a large1 
rich1 and splendid city1 and the second 
capital of ,egypt4 ,among its buildings 
were several magnificent temples1 as    
those of ,phtha1 ,osiris1 ,serapis1     
etc42 its palaces were also remarkable4 
,in ,strabo's time1 it was next to      
,alexandria in size and population4     
,edrisi1 who visited ,memphis in the    
#abth century1 thus describes its       
remains then existing3 ,notwithstanding 
the vast extent of this city1 the remote
 period at which it was built1 the      
attempts made by various nations to     
destroy it and to obliterate every trace
 of it1 by removing the materials of    
which it was constructed1 combined with 
the decay of #d1jjj years1 there are yet
 in it works so wonderful as to confound
 the reflecting1 and such as the most   

eloquent could not adequately describe4 
,among the works specified by him1 are a
 monolithic temple of granite1 thirteen 
and a half feet high1 twelve long1 and  
seven broad1 entirely covered1 within   
and without1 with inscriptions2 and     
colossal statues of great beauty1 one of
 which was forty-five feet high1 carved 
out of a single block of red granite4   
,these ruins then extended about nine   
miles in every direction4     ,,lake    
,,moeris4   ,this famous lake1 according
 to ,herodotus1 with whose account      
,diodorus ,siculus and ,mela agree1 was 
entirely an artificial excavation1 made 
by king ,moeris1 to carry off the       
overflowing waters of the ,nile1 and    
reserve them for the purposes of        
irrigation4 ,it was1 in the time of     
,herodotus1 #c1fjj stadia or #dej miles 
in circumference1 and #cjj feet deep1   
with innumerable canals and reservoirs4 
,denon1 ,belzoni1 and other modern      
travelers1 describe it at the present   
time as a natural basin1 thirty or forty

 miles long1 and six broad4 ,the works1 
therefore1 which ,herodotus attributes  
to ,king ,moeris1 must have been the    
mounds1 dams1 canals1 and sluices which 
rendered it subservient to the purposes 
of irrigation4 ,these1 also1 would give 
it the appearance of being entirely the 
product of human industry4     ,,the    
,,colossal ,,sphinx4   ,the ,egyptian   
,sphinx is represented by a human head  
on the body of a lion2 it is always in a
 recumbent position with the fore paws  
stretched forward1 and a head dress     
resembling an old-fashioned wig4 ,the   
features are like those of the ancient  
,egyptians1 as represented on their     
monuments4 ,the colossal ,sphinx1 near  
the group of pyramids at ,jizeh1 which  
lay half buried in the sand1 was        
uncovered and measured by ,caviglia4 ,it
 is about #aej feet long1 and #fc feet  
high4 ,the body is made out of a single 
stone2 but the paws1 which are thrown   
out about fifty feet in front1 are      
constructed of masonry4 ,the ,sphinx of 

,sais1 formed of a block of red granite1
 twenty-two feet long1 is now in the    
,egyptian ,museum in the ,louvre4 ,there
 has been much speculation among the    
learned1 concerning the signification of
 these figures4 ,winckelmann observes   
that they have the head of a female1 and
 the body of a male1 which has led to   
the conjecture that they are intended as
 emblems of the generative powers of    
nature1 which the old mythologies are   
accustomed to indicate by the mystical  
union of the two sexes in one           
individual2 they were doubtless of a    
sacred character1 as they guarded the   
entrance of temples1 and often formed   
long avenues leading up to them4        
,,the ,,labyrinth ,,of ,,egypt   ,a     
labyrinth1 with the ancients1 was a     
building containing a great number of   
chambers and galleries1 running into one
 another in such a manner as to make it 
very difficult to find the way through  
the edifice4 ,the most famous was the   
,egyptian labyrinth1 situated in        

,central ,egypt1 above ,lake ,moeris1   
not far from ,crocodilopolis1 in the    
country now called ,fejoom4 ,herodotus1 
who visited and examined this edifice   
with great attention1 affirms that it   
far surpassed everything he had         
conceived of it4 ,it is very uncertain  
when1 by whom1 and for what purpose it  
was built1 though in all probability it 
was for a royal sepulchre4 ,the         
building1 half above and half below the 
ground1 was one of the finest in the    
world1 and is said to have contained    
#c1jjj apartments4 ,the arrangements of 
the work and the distribution of the    
parts were remarkable4 ,it was divided  
into sixteen principal regions1 each    
containing a number of spacious         
buildings1 which taken together1 might  
be defined an assemblage of palaces4    
,there were also as many temples as     
there were gods in ,egypt1 the number of
 which was prodigious1 besides various  
other sacred edifices1 and four lofty   
pyramids at the angles of the walls4    

,the entrance was by vast halls1        
followed by saloons1 which conducted to 
grand porticos1 the ascent to which was 
by a flight of ninety steps4 ,the       
interior was decorated with columns of  
porphyry and colossal statues of        
,egyptian gods4 ,the whole was          
surrounded by a wall1 but the passages  
were so intricate that no stranger could
 find the way without a guide4 ,the     
substructions of this famous labyrinth  
still exist1 and ,milizia says1 as they 
were not arched1 it is wonderful that   
they should have been so long preserved1
 with so many stupendous edifices above 
them4 ,the ,cretan labyrinth was built  
by ,daedalus on the model of the        
,egyptian1 but it was only a hundredth  
part the size2 yet1 according to        
,diodorus ,siculus1 it was a spacious   
and magnificent edifice1 divided into a 
great number of apartments1 and         
surrounded entirely by a wall4 ,what    
would the ancients say1 could they see  
our modern imitations of their          

labyrinths8     ,,the ,,catacombs ,,of  
,,egypt4   ,there are numerous catacombs
 in ,egypt1 the principal of which are  
at ,alexandria2 at ,sakkara1 near       
,cairo2 at ,siut1 near the ancient      
,lycopolis or ,city of the ,wolf2 at    
,gebel ,silsilis1 on the banks of the   
,nile between ,etfu and ,ombos1 the site
 of one of the principal quarries of    
ancient ,egypt2 and at ,thebes4 ,many of
 these are of vast extent1 and were     
doubtless formed by quarrying the rocks 
and mountains for building materials4   
,they consist of grottos1 galleries1 and
 chambers1 penetrating often to a       
considerable distance1 the              
superincumbent mass being supported by  
huge pillars of rock2 or the galleries  
running parallel1 with masses of solid  
rock intervening for supports4 ,many of 
these chambers and grottos contained    
multitudes of mummies1 probably the     
bodies of the less wealthy2 many were   
evidently private family tombs of       
wealthy individuals1 some of which are  

of great magnificence1 adorned with     
sculptures1 paintings1 and              
hieroglyphics4 ,the ,arabs for centuries
 have been plundering these abodes of   
the dead1 and great numbers of the      
mummies have been destroyed for fuel1   
and for the linen1 rosin1 and asphaltum 
they contain1 which is sold to advantage
 at ,cairo4 ,an immense number of them  
have been found in the plain of         
,sakkara1 near ,memphis1 consisting not 
only of human bodies1 but of various    
sacred animals1 as bulls1 crocodiles1   
apes1 ibises1 fish1 c42 hence it is     
called ,the ,plain of the ,mummies4     
,numerous caves or grottos1 with        
contents of the same kind1 are found in 
the two mountainous ridges which run    
nearly parallel with the ,nile1 from    
,cairo to ,syene4 ,many of these tombs  
and mummies are two or three thousand   
years old1 and some of them perhaps     
older4  ,among all the wonderful        
subterranean monuments of ,egypt1 the   
,catacombs of ,thebes are the most      

extraordinary and magnificent4 ,these   
consist of the ,necropolis1 or city of  
the dead1 on the west bank of the ,nile 
7which was the common burial-place of   
the people71 and the ,tombs of the      
,kings4 ,the latter lie to the northwest
 of the city1 at some distance in the   
,desert4 ,having passed the ,necropolis1
 the traveler enters a narrow and rugged
 valley1 flanked with perpendicular     
rocks1 and ascending a narrow1 steep    
passage about ten feet high1 which seems
 to have been broken down through the   
rock1 the ancient passage being from the
 ,memnonium under the hills1 he comes to
 a kind of amphitheatre about #ajj yards
 wide1 which is called                  
,bab-il-,meluke--that is1 the gate or   
court of the kings--being the sepulchres
 of the kings of ,thebes4 ,in this court
 there are signs of about eighteen      
excavations2 but only nine can be       
entered4 ,the hills on each side are    
high1 steep rocks1 and the whole plain  
is covered with rough stones that seem  

to have rolled down from them4  ,the    
grottos present externally no other     
ornaments than a door in a simple square
 frame1 with an oval in the centre of   
the upper part1 on which are inscribed  
the hieroglyphical figures of a beetle1 
a man with a hawk's head1 and beyond the
 circle two figures on their knees1 in  
the act of adoration4 ,having passed the
 first gate1 long arched galleries are  
discovered1 about twelve feet wide and  
twenty feet high1 cased with stucco1    
sculptured and painted2 the vaults1 of  
an elegant elliptical figure1 are       
covered with innumerable hieroglyphics1 
disposed with so much taste1 that       
notwithstanding the singular            
grotesqueness of the forms1 and the     
total absence of demi-tint or aerial    
perspective1 the ceilings make an       
agreeable whole1 a rich and harmonious  
association of colors4 ,four of five of 
these galleries1 one within the other1  
generally lead to a spacious room1      
containing the sarcophagus of the king1 

composed of a single block of granite1  
about twelve feet long by eight in      
breadth1 ornamented with hieroglyphics1 
both within and without2 they are square
 at one end1 and rounded at the other1  
like the splendid sarcophagus deposited 
in the ,british ,museum1 and supposed by
 ,dr4 ,clarke to have contained the body
 of ,alexander4 ,they are covered with a
 lid of the same material1 and of       
enormous thickness1 shutting with a     
groove2 but neither this precaution1 nor
 these vast blocks of stone1 brought    
from such a distance with immense labor1
 have been able to preserve the relics  
of the sovereigns from the attempts of  
avarice2 all these tombs have been      
violated4 ,the figure of the king       
appears to have been sculptured and     
painted at full length on the lid of    
each sarcophagus4  ,the paintings found 
in these sepulchres are among the most  
curious and interesting remains of      
,egyptian art2 and they are in wonderful
 preservation1 the colors being as fresh

 as when first executed4 ,some of these 
figures were copied by ,bruce2 and      
,denon1 a member of the ,french         
,commission sent by ,napoleon to examine
 the antiquities of ,egypt1 has         
published a most valuable collection    
which have all the appearance of        
spirited and characteristic             
resemblances4 ,i discovered1 says he1   
some little chambers1 on the walls of   
which were represented all kinds of     
arms1 such as panoplies1 coats of mail1 
tigers' skins1 bows1 arrows1 quivers1   
pikes1 javelins1 sabres1 helmets1 and   
whips3 in another was a collection of   
household utensils1 such as caskets1    
chests of drawers1 chairs1 sofas1 and   
beds1 all of exquisite forms1 and such  
as might well grace the apartments of   
modern luxury4 ,as these were probably  
accurate representations of the objects 
themselves1 it is almost a proof that   
the ancient ,egyptians employed for     
their furniture ,indian wood1 carved and
 gilt1 which they covered with          

embroidery4 ,besides these1 were        
represented various smaller articles1 as
 vases1 coffee-pots1 ewers with their   
basins1 a tea-pot and basket4 ,another  
chamber was consecrated to agriculture1 
in which were represented all its       
various instruments--a sledge similar to
 those in use at present1 a man sowing  
grain by the side of a canal1 from the  
borders of which the inundation is      
beginning to retire1 a field of corn    
reaped with a sickle1 and fields of rice
 with men watching them4 ,in a fourth   
chamber was a figure clothed in white1  
playing on a richly ornamented harp1    
with eleven strings4  ,denon observed   
everything with the eye of an artist4   
,speaking of the ,necropolis1 which     
consists of numerous double galleries of
 grottos1 excavated in the solid rock   
for nearly a mile and a half square1 he 
observes1 ,i was convinced by the       
magnificence both of the paintings and  
sculptures1 that ,i was among the tombs 
of great men and heros4 ,the sculpture  

in all is incomparably more labored and 
higher finished than any ,i had seen in 
the temples2 and ,i stood in            
astonishment at the high perfection of  
the art1 and its singular destiny to be 
devoted to places of such silence and   
obscurity4 ,in working these galleries1 
beds of a very fine calcareous clay have
 occasionally been crossed1 and here the
 lines of the hieroglyphics have been   
cut with a firmness of touch and a      
precision1 of which marble offers but   
few examples4 ,the figures have elegance
 and correctness of contour1 of which ,i
 never thought ,egyptian sculpture      
susceptible4 ,here1 too1 ,i could judge 
of the style of this people in subjects 
which had neither hieroglyphic1 nor     
historical1 nor scientific2 for there   
were representations of small scenes    
taken from nature1 in which the stiff   
profile outlines1 so common with        
,egyptian artists1 were exchanged for   
supple and natural attitudes2 groups of 
persons were given in perspective1 and  

cut in deeper relief than ,i should have
 supposed anything but metal could have 
been worked4  ,the ,sepulchres of the   
,kings of ,thebes are mentioned by      
,diodorus ,siculus as wonderful works1  
and such as could never be exceeded by  
anything afterwards executed in this    
kind4 ,he says that forty-seven of them 
were mentioned in their history2 that   
only seventeen of them remained to the  
time of ,ptolemy ,lagus2 adding that    
most of them were destroyed in his time4
 ,strabo says1 that above the           
,memnonium1 the precise locality of     
,denon's description1 were the          
sepulchres of the kings of ,thebes1 in  
grottos cut out of the rock1 being about
 forty in number1 wonderfully executed  
and worthy to be seen4 ,in these1 he    
says1 were obelisks with inscriptions on
 them1 setting forth the riches1 power1 
and empire of these kings1 as far as    
,scythia1 ,bactria1 ,india1 and ,ionia1 
their great revenues1 and their immense 
armies1 consisting of one million of    

men4  ,in ,egypt1 the honors paid to the
 dead partook of the nature of a        
religious homage4 ,by the process of    
embalming1 they endeavored to preserve  
the body from the common laws of nature2
 and they provided those magnificent and
 durable habitations for the            
dead--sublime monuments of human        
folly--which have not preserved but     
buried the memory of their founders4 ,by
 a singular fatality1 the well-adapted  
punishment of pride1 the extraordinary  
precautions by which it seemed in a     
manner to triumph over death1 have only 
led to a more humiliating               
disappointment4 ,the splendor of the    
tomb has but attracted the violence of  
rapine2 the sarcophagus has been        
violated2 and while other bodies have   
quietly returned to their native dust in
 the bosom of their mother earth1 the   
,egyptian1 converted into a mummy1 has  
been preserved only to the insults of   
curiosity1 or avarice1 or barbarism4    
,,the ,,pyramids ,,of ,,egypt4   ,the   

pyramids of ,egypt1 especially the two  
largest of the group of ,jizeh or ,gize1
 are the most stupendous masses of      
buildings in stone that human labor has 
ever been known to accomplish1 and have 
been the wonder of ancient and modern   
times4--,the number of the ,egyptian    
pyramids1 large and small1 is very      
considerable2 they are situated on the  
west bank of the ,nile1 and extend in an
 irregular line1 and in groups at some  
distance from each other1 from the      
neighborhood of ,jizeh1 in #cj deg4 ,n4 
,latitude1 as far as sixty or seventy   
miles south of that place4 ,the pyramids
 of ,jizeh are nearly opposite ,cairo4  
,they stand on a plateau or terrace of  
limestone1 which is a projection of the 
,lybian mountain-chain4 ,the surface of 
the terrace is barren and irregular1 and
 is covered with sand and small         
fragments of rock2 its height1 at the   
base of the great pyramid1 is one       
hundred and sixty four feet above the   
ordinary level of the ,nile1 from which 

it is distant about five miles4 ,there  
are in this group three large pyramids1 
and several small ones4 ,herodotus1 who 
was born ,b4,c4 #dhd1 visited these     
pyramids4 ,he was informed by the       
priests of ,memphis1 that the great     
pyramid was built by ,cheops1 king of   
,egypt1 about ,b4,c4 #ijj1 and that one 
hundred thousand workmen were employed  
twenty years in building it1 and that   
the body of ,cheops was placed in a room
 beneath the bottom1 surrounded by a    
vault1 to which the waters of the ,nile 
were conveyed through a subterranean    
tunnel4 ,a chamber has been discovered  
under the centre of the pyramid1 but it 
is about fifty-six feet above the       
low-water mark of the ,nile4 ,the second
 pyramid1 ,herodotus says1 was built by 
,cephren or ,cephrenes1 the brother and 
successor of ,cheops1 and the third by  
,mycerinus1 the son of ,cheops4         
,herodotus also says that the two       
largest pyramids are wholly covered with
 white marble2 ,diodorus and ,pliny1    

that they are built of this costly      
material4 ,the account of ,herodotus is 
confirmed by present appearances4       
,denon1 who accompanied the ,french     
expedition to ,egypt1 was commissioned  
by ,buonaparte to examine the great     
pyramid of ,jizeh2 three hundred persons
 were appointed to this duty4 ,they     
approached the borders of the desert in 
boats1 to within half a league of the   
pyramid1 by means of the canals from the
 ,nile4 ,denon says1 the first          
impression made on me by the sight of   
the pyramids1 did not equal my          
expectations1 for ,i had no object with 
which to compare them2 but on           
approaching them1 and seeing men at     
their base1 their gigantic size became  
evident4 ,when ,savary first visited    
these pyramids1 he left ,jizeh at one   
o'clock in the morning1 and soon reached
 them4 ,the full moon illuminated their 
summits1 and they appeared to him like  
rough1 craggy peaks piercing the clouds4
 ,herodotus gives #hjj feet as the      

height of the great pyramid1 and says   
this is likewise the length of its base1
 on each side2 ,strabo makes it #fbe1   
and ,diodorus #fjj4 ,modern measurements
 agree most nearly with the latter4     
,the pyramid of ,cheops consists of a   
series of platforms1 each of which is   
smaller than the one on which it rests1 
and consequently presents the appearance
 of steps which diminish in length from 
the bottom to the top4 ,there are #bjc  
of these steps1 and the height of them  
decreases1 but not regularly1 the       
greatest height being about four feet   
eight inches1 and the least about one   
foot eight inches4 ,the horizontal lines
 of the platforms are perfectly         
straight1 the stones are cut and fitted 
to each other with the greatest         
accuracy1 and joined with a cement of   
lime1 with little or no sand in it4 ,it 
has been ascertained that a bed has been
 cut in the solid rock1 eight inches    
deep1 to receive the lowest external    
course of stones4 ,the vertical height1 

measured from this base in the rock to  
the top of the highest platform now     
remaining1 is #def feet4 ,this last     
platform is thirty two feet eight inches
 square1 and if to this were added what 
is necessary to complete the pyramid1   
the total height would be #dgi feet4    
,each side of the base1 measured round  
the stones let into the rock1 is #gfc   
feet #e inches1 and the perimeter of the
 base is about #c1jec feet4 ,the        
measurements of travelers differ        
somewhat1 but the above are very nearly 
correct4 ,the area of the base is       
#fd1gec square yards1 or about #ac-a_/c 
acres4 ,the surface of each face1 not   
including the base1 is #be1dic square   
yards2 and that of the four faces is    
consequently #aja1igb square yards1 or  
more than #ba acres4 ,the solid contents
 of the pyramid1 without making         
deductions for the small interior       
chambers1 is #c1cid1cjg cubic yards4    
,reckoning the total height at #dgi     
feet1 the pyramid would be #ae feet     

higher than ,st4 ,peter's at ,rome1 and 
#aai higher than ,st4 ,paul's1 ,london4 
,the entrance to the great pyramid is on
 the north face1 #dga_/b feet above the 
base1 and on the level of the fifteenth 
step from the foundation4 ,the entrance 
is easily reached by the mass of rubbish
 which has fallen or been thrown down   
from the top4 ,the passage to which this
 opening leads is #c feet #ga_/b inches 
square1 with a downward inclination of  
about #bf deg44 ,it is lined with slabs 
of limestone1 accurately joined         
together4 ,this passage leads to        
another1 which has an ascending         
inclination of #bg deg44 ,the descending
 passage is #gc feet long1 to the place 
where it meets the ascending one1 which 
is #aji feet long2 at the top of this is
 a platform1 where is the opening of a  
well or shaft1 which goes down into the 
body of the pyramid1 and the            
commencement of a horizontal gallery    
#abg feet long which leads to the       
,queen's chamber1 an apartment #ag feet 

long1 #ad wide1 and #ab high4 ,another  
gallery1 #acb feet long1 #bfa_/b high1  
and #g wide1 commences also at this     
platform1 and is continued in the same  
line as the former ascending passage1   
till it reaches a landing place1 from   
which a short passage leads to a small  
chamber or vestibule1 whence another    
short passage leads to the ,king's      
chamber1 which as well as the vestibule 
and intermediate passage1 is lined with 
large blocks of granite1 well worked4   
,the king's chamber is #cda_/b feet     
long1 #ag wide1 and #aic_/d high4 ,the  
roof is formed of nine slabs of granite1
 reaching from side to side2 the slabs  
are therefore more than #ag feet long by
 #c feet #ia_/b inches wide4 ,this      
chamber contains a sarcophagus of red   
granite2 the cover is gone1 having      
probably been broken and carried away4  
,the sarcophagus is #g feet #fa_/b      
inches long1 #c feet #c inches wide1 #c 
feet #ha_/b inches high on the outside1 
the bottom being #ga_/b inches thick4   

,there are no hieroglyphics upon it4    
,several other chambers have been       
discovered above the king's chamber1 but
 as they are not more than three or four
 feet high1 they were probably intended 
to lessen and break the weight of the   
mass above1 which would otherwise fall  
on the ,king's chamber4  ,in #ahaf1     
,captain ,caviglia discovered that the  
entrance passage did not terminate at   
the bottom of the ascending passage1 but
 was continued downwards in the same    
inclined plane of #bf deg41 #bjj feet   
further1 and by a short horizontal      
passage1 opened on what appeared to be  
the bottom of the well4 ,the passage1   
however1 continued in the same direction
 #bc feet farther2 then became narrower1
 and was continued horizontally #bh feet
 more1 where it opened into a large     
chamber cut out of the rock below and   
under the centre of the pyramid4 ,this  
chamber is about #bf by #bg feet4       
,another passage leads from this chamber
 #ee feet1 where it appears to terminate

 abruptly4  ,the well1 which appeared to
 ,mr4 ,davidson and ,capt4 ,caviglia to 
descend no lower than where it was      
intersected by the descending passage1  
its depth there being #aee feet1 was    
afterwards cleared out by the ,french to
 the depth of near #bjh feet1 of which  
#ade feet are in the solid rock2 so that
 the base of the pyramid being #afd feet
 above the low water level of the ,nile1
 the present bottom of the well is #ai  
feet above the ,nile2 but the actual    
bottom does not appear to have been     
reached4 ,the temperature within the    
body of the pyramid was found to be #ha 
deg4 #e'1 ,farenheit1 and in the well it
 was still higher4 ,herodotus was       
informed that the chambers cut in the   
solid rock1 were made before the        
building of the pyramid was commenced4  
,it is evident it was intended that the 
pyramid should not be entered after the 
body or bodies were deposited in it1 as 
blocks of granite were fixed in the     
entrances to the principal passages1 in 

such a manner as not only to close them1
 but to conceal them4--,there are       
evidences1 however1 that this pyramid   
was entered both by the ,roman and ,arab
 conquerors of ,egypt4  ,the materials  
of all the pyramids are limestone1 and1 
according to ,herodotus1 were brought   
from the mountains near ,cairo1 where   
there are ancient quarries of vast      
extent2 but ,belzoni is of opinion that 
a part of them1 for the second pyramid  
at least1 was procured immediately on   
the spot2 others think that the greatest
 part of the materials came from the    
west side of the ,nile4 ,the granite    
which forms the roofing of the chambers1
 etc41 was brought down the ,nile from  
,syene4 ,the stones of which it is      
built1 rarely exceed #i feet in length1 
and #fa_/b in breadth2 the thickness has
 already been stated4  ,the ascent to   
the great pyramid1 though not without   
difficulty and danger1 is frequently    
accomplished1 even by females4  ,the    
pyramid of ,cephren1 the second in size1

 according to ,belzoni1 has the         
following dimensions3    ,side of the   
base1                     #fhd feet4    
,vertical height1                       
#def     ,perpendicular1 bisecting the  
face of     the pyramid1                
#efh     ,coating from the top1 to where
 it     ends1                           
#adj    ,belzoni1 after great exertion1 
succeeded in opening the second pyramid1
 and after traversing passages similar  
to those already described in the great 
pyramid1 reached the main chamber1 which
 is cut in the solid rock1 and is #df   
feet #c inches long1 #af feet #c inches 
wide1 and #bc feet #f inches high4 ,the 
covering is made of blocks of limestone1
 which meet in an angular point1 forming
 a roof1 of the same slope as the       
pyramid4 ,the chamber contained a       
sarcophagus1 formed of granite1 #h feet 
long1 #c feet #f inches wide1 and #b    
feet #c inches deep1 on the inside4     
,there were no hieroglyphics on it4     
,some bones were found in it1 which were

 sent to ,london1 and proved to be those
 of a bull or an ox4 ,from an ,arabic   
inscription on the wall of the chamber1 
it appears that some of the ,arab rulers
 of ,egypt had entered the pyramid1 and 
closed it again4 ,belzoni also          
discovered another chamber in this      
pyramid4  ,the pyramid of ,mycernius1   
the third in size of the ,jizeh group1  
is about #ccj feet square at the base1  
and #agd feet high4 ,this pyramid has   
never been opened4  ,there are some     
large pyramids at ,sakkarah1 one of     
which is next in dimensions to the      
pyramid of ,cheops1 each side of the    
base being #fef feet1 and the height    
#cci feet4 ,at ,dashour there are also  
some large pyramids1 one of which has a 
base of #gjj feet on each side1 and a   
perpendicular height of #cdc feet2 and  
it has #aed steps or platforms4 ,another
 pyramid1 almost as large at the base as
 the preceding1 is remarkable4 ,it rises
 to the height of #ahd feet at an angle 
of #gj deg41 when the plane of the side 

is changed1 to one of less inclination1 
which completes the pyramid4 ,at        
,thebes1 there are some small pyramids  
of sun dried bricks4 ,herodotus says1   
,about the middle of ,lake ,moeris1     
there are two pyramids1 each rising     
about #cjj feet above the water4 ,the   
part that is under the water is just the
 same height4 ,it is probable that these
 pyramids were built on an island in the
 lake1 and that ,herodotus was          
misinformed as to the depth of the      
water4 ,there are numerous pyramids in  
,nubia--eighty or more--but they are    
generally small4  ,the object of the    
,egyptians in building these pyramids1  
is not known4 ,some writers maintain    
that they were as memorials1 pillars1 or
 altars consecrated to the sun2 others1 
that they served as a kind of gnomon for
 astronomical observations2 that they   
were built to gratify the vanity and    
tyranny of kings1 or for the celebration
 of religious mysteries2 according to   
,diderot1 for the transmission and      

preservation of historical information2 
and to others1 for sepulchres for the   
kings1--which last was the common       
opinion of the ancients4 ,some suppose  
that they were intended as places for   
secret meetings1 magazines for corn1 or 
lighthouses2 but their structure1 and   
great distance from the sea1 are        
sufficient refutations of these absurd  
hypotheses4     ,,perilous ,,ascent ,,of
 ,,the ,,pyramid ,,of ,,cephren4   ,the 
upper part of this pyramid is still     
covered with the original polished      
coating of marble1 to the distance of   
#adj feet from the top towards the base1
 which makes the ascent extremely       
difficult and dangerous4 ,mr4 ,wilde1 in
 his ,narrative of a ,voyage to         
,madeira1 ,teneriffe1 and along the     
shore of the ,mediterranean1 published  
in #ahdj1 made the ascent to the top1   
and thus describes the adventure3  ,i   
engaged two ,arabs to conduct me to the 
summit of the pyramid--one an old man1  
and the other about forty1 both of a    

mould1 which for combination of strength
 and agility1 ,i never saw surpassed4   
,we soon turned to the north1 and       
finally reached the outer casing on the 
west side4 ,all this was very laborious 
to be sure1 though not very dangerous2  
but here was an obstacle that ,i knew   
not how the ,arabs themselves could     
surmount1 much less how ,i could        
possibly master--for above our heads    
jutted out1 like an eave or coping1 the 
lower stones of the coating1 which still
 remain and retain a smooth1 polished   
surface4 ,as considerable precaution was
 necessary1 the men made me take off my 
hat1 coat1 and shoes at this place2 the 
younger then placed his raised and      
extended hands against the projecting   
edge of the lower stone1 which reached  
above his chin2 and the elder1 taking me
 up in his arms as ,i would a child1    
placed my feet on the other's shoulders1
 and my body flat on the smooth surface 
of the stone4 ,in this position1 we     
formed an angle with each other2 and    

here ,i remained for upwards of two     
minutes1 till the older man went round1 
and by some other means1 contrived to   
get over the projection1 when1 creeping 
along the line of junction of the       
casing1 he took my hands1 drew me up to 
where he was above me1 and then letting 
down his girdle1 assisted to mount up   
the younger1 but less daring and less   
active of the two4 ,we then proceeded   
much as follows4 ,one of them got on the
 shoulders of the other1 and so gained  
the joining of the stone above4 ,the    
upper man then helped me in a similar   
action1 while the lower pushed me up by 
the feet4 ,having gained this row1 we   
had after to creep to some distance     
along the joining1 to where another     
opportunity of ascending was offered4   
,in this way we proceeded to the summit2
 and some idea may be formed of my      
feelings1 when it is recollected that   
all of these stones of such a span are  
highly polished1 are set on an angle of 
little less than #de deg41 and that the 

places we had to grip with our hands and
 feet were often not more than two      
inches wide1 and their height above the 
ground more than #djj feet4 ,a single   
slip of the foot1 and we all three must 
have been dashed to atoms long before we
 reached the bottom4 7,this actually    
happened to an ,english traveler in     
#ahej47 ,on gaining the top1 my guides  
gave vent to sundry demonstrations of   
satisfaction1 clapping me on the back1  
patting me on the head1 and kissing my  
hands4 ,from this ,i began to suspect   
that something wonderful had been       
achieved2 and some idea of my perilous  
situation broke upon me1 when ,i saw    
some of my friends beneath1 waving their
 handkerchiefs and looking up with      
astonishment1 as we sat perched upon the
 top1 which is not more than six feet   
square4 ,the apex stone is off1 and it  
now consists of four outer slabs1 and   
one in the centre1 which is raised up on
 the end and leans to the eastward4 ,i  
do not think human hands could have     

raised it from its bed1 on account of   
its size1 and the confined space they   
would have to work in4 ,i am inclined to
 think the top was struck by lightning1 
and the position of the stone thus      
altered by it4 ,the three of us had just
 room to sit upon the place4 ,the       
descent1 as might be expected1 was much 
more dangerous1 though not so difficult4
 ,the guides tied a long sash under my  
arms1 and so let me slide down from     
course to course of these coverings of  
stones1 which are of a yellowish        
limestone1 somewhat different from the  
material of which the steps are         
composed1 and totally distinct from the 
rock at the base1 or the coating of the 
passages4     ,,egyptian ,,obelisks4    
,obelisks belong to the oldest and most 
simple monuments of ,egyptian           
architecture1 and are high four-sided   
pillars1 diminishing as they ascend1 and
 terminating in a small pyramid4        
,herodotus speaks of them1 and ,pliny   
gives a particular account of them4 ,the

 latter mentions king ,mesphres1 or     
,mestres1 of ,thebes1 as the first      
builder of obelisks1 but does not give  
the time2 nor is this king noticed      
either by ,herodotus or ,diodorus4 ,it  
is probable that these monuments were   
first built before the time of ,moses1  
at least two centuries before the       
,trojan war4 ,there are still several   
obelisks in ,egypt2 there is one erect1 
and another fallen at ,alexandria1      
between the new city and the            
light-house2 one at ,matarea1 among the 
ruins of old ,heliopolis2 one in the    
territory of ,fayoum1 near ancient      
,arsinoe2 eight or ten among the ruins  
of ,thebes2 the two finest at ,luxor1 at
 the entrance of the temple1 c4 ,these  
obelisks1 exclusively of the pedestals1 
are mostly from #ej to #ajj feet high1  
and of a red polished granite 7sienite72
 a few of the later ones are of white   
marble and other kinds of stone4 ,at    
their base1 they commonly occupy a space
 of from #da_/b to #ab feet square1 and 

often more4 ,some are adorned on all    
sides1 and some on fewer1 with          
hieroglyphics cut in them1 sometimes to 
the depth of two inches1 divided into   
little squares and sections1 and filled 
with paint3 sometimes they are striped  
with various colors4 ,some are entirely 
plain and without hieroglyphics4 ,the   
foot of the obelisk stands upon a       
quadrangular base1 commonly two or three
 feet broader than the obelisk1 with a  
socket1 in which it rests4 ,they were   
commonly hewn out of a single stone1 in 
the quarries of ,upper ,egypt1 and      
brought on canals1 fed by the ,nile1 to 
the place of their erection4  ,the      
,romans carried many of them from ,egypt
 to ,rome1 ,arles1 and ,constantinople1 
most of which were afterwards           
overturned1 but have been put together  
and replaced in modern times4 ,augustus1
 for instance1 had two large obelisks   
brought from ,heliopolis to ,rome1 one  
of which he placed in the ,campus       
,martius4 ,the other stood upon the     

,spina1 in the ,circus ,maximus1 and is 
said to have been the same which king   
,semneserteus 7according to ,pliny7     
erected4 ,at the sack of ,rome by the   
barbarians1 it was thrown down1 and     
remained1 broken in three pieces1 amidst
 the rubbish1 until1 in #aehi1 ,sixtus  
,v4 had it restored by the architect    
,domenico ,fontana1 and placed near the 
church ,madonna del ,popolo4 ,under     
,caligula1 another large obelisk was    
brought from ,heliopolis to ,rome1 and  
placed in the ,circus ,vaticanus4 ,it   
has stood1 since #aehf1 before ,st4     
,peter's church3 it is without          
hieroglyphics2 and1 with the cross and  
pedestal1 measures #abf feet in height4 
,it is the only one in ,rome which has  
remained entire4 ,its weight is         
estimated at #aj1jjj cwt4 ,claudius had 
two obelisks brought from ,egypt1 which 
stood before the entrance of the        
,mausoleum of ,augustus1 and one of     
which was restored in #aefg1 and placed 
near the church of ,santa ,maria        

,maggiore4 ,caracalla also procured an  
,egyptian obelisk for his circus1 and   
for the ,appian ,way4 ,the largest      
obelisk 7probably erected by ,rameses7  
was placed by ,constantius ,,ii41 in the
 ,circus ,maximus at ,rome4 ,in the     
fifth century1 it was thrown down by the
 barbarians1 and lay in pieces upon the 
ground1 until ,sixtus ,v41 in #aehh1 had
 it raised upon the square1 before ,st4 
,john's church of the ,lateran1 thence  
called the ,lateran obelisk4 ,it is     
beautifully adorned with sculpture2 its 
weight is #ac1jjj cwt42 its height1     
exclusive of the pedestal1 #adj feet2   
with the pedestal1 #agi feet4 ,several  
others have been erected by succeeding  
popes4     ,,removal ,,of ,,an ,,obelisk
 ,,by ,,fontana4   ,the following       
curious account of the removal of the   
obelisk in the ,circus ,vaticanus to the
 centre of ,st4 ,peter's square1 by     
,domenico ,fontana1 is extracted from   
,milizia's life of that famous          
architect4 ,it shows plainly that the   

,egyptians must have attained great     
skill and perfection in mechanics and   
engineering1 to have been able to quarry
 out obelisks at least a third larger1  
and convey them often several hundred   
miles1 to the places where they erected 
them4  ,sixtus ,v4 was now desirous of  
raising in the centre of the square of  
,st4 ,peter's the only obelisk which    
remained standing1 but partly interred1 
near the wall of the ,sacristy1 where   
was formerly the ,circus of ,nero4      
,other pontiffs had had the same wish1  
but the difficulty of the enterprise had
 prevented the execution4  ,this        
obelisk1 or pyramid1 is of red granite1 
called by the ancient ,romans1 ,marmor  
,thebanum 7,theban marble71 on account  
of having been worked near ,thebes1 in  
,egypt1 whence it was transported to    
,rome in the time of ,caesar4 ,of the   
immense number in ,rome1 this is the    
only one remaining entire2 it is without
 hieroglyphics1 #hd feet high1 #h feet  
#f inches wide at the base1 and #e feet 

#f inches at the top4 ,one cubic foot of
 this granite weighs about #afj pounds2 
so that the whole weight of the obelisk 
must be somewhat less than #gei1jjj lbs4
 ,of the manner in which the ,egyptians 
and ,romans moved these enormous masses 
we have no idea1 and so many centuries  
having elapsed since such a thing had   
been done1 this proposition of ,sixtus  
,v4 was considered so novel1 that a     
general assembly was called of all the  
mathematicians1 engineers1 and learned  
men from various parts of ,europe2 and1 
in a congress held by the pope1 more    
than #ejj persons presented themselves1 
bringing with them their inventions2    
some with drawings1 some with models1   
others with writings or arguments4  ,the
 greater number were for removing it by 
means of an iron carriage and thirty-two
 levers4 ,others invented a half wheel1 
on which the obelisk was to be raised by
 degrees4 ,some proposed screws1 and    
others thought of carrying it upon      
slings4  ,bartolomeo ,ammanati1 a       

,florentine architect and sculptor1 sent
 expressly by the grand duke1 presented 
himself before the pope1 without either 
models or designs1 and requested a year 
to consider it2 for this he was most    
severely reprimanded by the pontiff4    
,fontana exhibited his wooden model1    
with a leaden pyramid1 which1 by means  
of a windlass and crane1 was raised and 
lowered with the greatest facility2 he  
explained the nature of these machines  
and movements1 and gave a practical     
proof of their capability by raising a  
small pyramid in the mausoleum of       
,augustus1 which was in a ruinous       
condition4 ,after many disputes1        
,fontana's invention was approved2 but1 
as he had not yet acquired a name of    
sufficient importance1 the execution of 
it was committed to two architects of   
renown1 ,giacomo della ,porta and       
,bartolomeo ,ammanati4--,these          
immediately commenced a scaffold in the 
centre of the square where the obelisk  
was to stand4  ,fontana being justly    

displeased that his own discovery should
 not be entrusted to his execution1 went
 to the pope1 and respectfully          
represented to him1 that no one could so
 properly execute a design as the       
inventor4 ,sixtus was persuaded1 and    
committed the entire direction of it to 
him4 ,the architect then commenced his  
work with the utmost celerity4 ,he dug a
 square hole of #dd feet1 in the piazza1
 #bd feet deep1 and finding the soil    
watery and chalky1 he made it firm by   
strong and massive piles4 ,at the same  
time he had ropes made1 three inches in 
diameter1 #aejj feet long1 an immense   
quantity of cords1 large iron rods to   
strengthen the obelisk1 and other pieces
 of iron for the cases of the cranes1   
pins1 circles1 pivots1 and instruments  
of every kind4 ,the iron to secure the  
obelisk alone amounted to #dj1jjj lbs41 
and was made in the manufactories of    
,rome1 ,ronciglione1 and ,subbiaco4 ,the
 beams1 taken from the woods of         
,nettuno1 were of such a prodigious     

size1 that each was drawn by seven pair 
of buffalos4 ,from ,terracina1 elm was  
brought1 for the caseing1 and ,holm oak 
for the shafts of windlass2 and to      
prevent the ground from giving way1 it  
being soft and marshy1 in consequence of
 the great weight1 he made a bed with   
two layers of timber1 crossing each     
other in a contrary direction4 ,on this 
foundation he placed the castle or      
carriage1 which had eight columns3 each 
of these columns was composed of so many
 thick planks1 that they measured #ac   
feet in circumference4 ,these were      
united together by thick cords1 without 
screws1 in order to be done and undone  
with greater quickness4 ,the height of  
the beams was required to be #ij feet2  
and not any being of that length1 they  
were placed one on the other1 and united
 by iron bands4 ,these columns were     
strengthened by forty-eight braces1 and 
tied together on all sides4 ,the obelisk
 was entirely covered with double mats1 
to prevent its being injured2 it was    

then surrounded by planks1 over which   
were placed large rods of iron1 and     
these embracing the thick part          
underneath1 came directly over the four 
faces of the mass1 which thus became    
totally encircled with these coverings4 
,the whole pyramid thus weighed one     
million and a half pounds4 ,fontana     
calculated that every windlass1 with    
good ropes and cranes1 would be able to 
move #bj1jjj lbs4 weight2 and           
consequently forty would move #hjj1jjj1 
and he gained the rest by five levers of
 thick beams #eb feet long4  ,so novel  
an apparatus excited the curiosity of   
all ,rome1 and of foreigners also1 who  
came from distant countries to see what 
effect would be produced by this mass of
 beams1 mingled with ropes1 windlasses1 
levers1 and pulleys4 ,in order to       
prevent confusion1 ,sixtus ,v4 issued   
one of his mandates1 that on the day of 
its being worked1 no one1 except the    
workmen1 should enter the enclosure1 on 
pain of death1 and that no one should   

make the least noise1 nor even speak    
loud4 ,accordingly1 on the #cjth of     
,april1 #aehf1 the first to enter the   
barrier was the chief justice and his   
officers1 and the executioner to plant  
the gibbet1 not merely as a matter of   
ceremony4 ,fontana went to receive the  
benediction of the pope1 who1 after     
having bestowed it1 told him to be      
cautious of what he did1 for a failure  
would certainly cost him his head4 ,on  
this occasion1 ,sixtus felt the         
difference between his regard for his   
own glory1 and his affection for the    
architect4 ,fontana1 in terror1 secretly
 placed horses at every gate1 ready to  
convey him from the papal anger1 in case
 of an accident4 ,at the dawn of day1   
two masses of the ,holy ,ghost were     
celebrated2 all the artificers made     
their communion1 and received the papal 
benediction1 and before the rising of   
the sun all entered the barrier4 ,the   
concourse of spectators was such1 that  
the tops of the houses were covered1 and

 the streets crowded4 ,the nobility and 
prelates were at the barriers1 between  
the ,swiss guards and the cavalry3 all  
were fixed and attentive to the         
proceedings2 and1 terrified at the sight
 of the inexorable gibbet1 every one was
 silent4  ,the architect gave an order  
that1 at the sound of the trumpet1 each 
should begin working1 and at that of the
 bell1 placed in the castle of wood1    
each should desist2 there were more than
 #ijj workmen1 and #ge horses4 ,the     
trumpet sounded1 and in an instant1 men1
 horses1 windlasses1 cranes1 and levers 
were all in motion4 ,the ground         
trembled1 the castle cracked1 all the   
planks bent from the enormous weight1   
and the pyramid1 which inclined a foot  
towards the choir of ,st4 ,peter1 was   
raised perpendicularly4 ,the            
commencement having prospered so well1  
the bell sounded a rest4 ,in twelve more
 movements the pyramid was raised almost
 two feet from the ground1 in such a    
situation that it could be placed on the

 rollers1 and it remained firmly fixed  
by means of wedges of iron and wood4 ,at
 this happy event the castle of ,st4    
,angelo discharged all its artillery1   
and a universal joy pervaded the whole  
city4  ,fontana was now convinced that  
the ropes were better than iron bands1  
these being most broken or distorted1 or
 expanded by the weight4 ,on the #gth of
 ,may the pyramid was placed on the     
sledge--a more difficult and tedious    
operation than that of raising it1 it   
being necessary to convey it over the   
piazza to the situation intended for it1
 which was #aae rods from where it then 
stood4 ,the level of the piazza being   
about #cj feet lower1 it was necessary  
to throw up an earthen embankment from  
one place to the other1 well secured by 
piles1 c4 ,this being done1 on the #acth
 of ,june1 by means of four windlasses1 
the pyramid was removed with the        
greatest facility on the rollers1 to the
 place of its destination4 ,the pope    
deferred its erection to the next       

autumn1 lest the summer heats should    
injure the workmen and spectators4  ,in 
the meantime the pedestal1 which was    
interred #cj feet1 was removed3 it was  
composed of two parts1 the ogee and     
basement being of the same mass1 and the
 plinth of white marble4 ,all the       
preparations were made for this last    
operation on the #ajth of ,september1   
with the same solemnities2 #adj horses  
and #hjj men were employed4 ,the pope   
selected this day for the solemn        
entrance of the duke of ,luxembourg1    
ambassador of ceremony from ,henry      
,,iii4 of ,france1 and caused the       
procession to enter by the ,porta       
,angelica1 instead of the ,porta del    
,popolo4 ,when this nobleman crossed the
 ,piazza of ,st4 ,peter's1 he stopped to
 observe the concourse of workmen in the
 midst of a forest of machines1 and saw1
 admiring1 ,rome rising again by the    
hand of ,sixtus ,v4 ,in fifty-two       
movements the pyramid was raised1 and at
 the setting of the sun it was placed   

firm upon its pedestal4 ,the castle     
disappeared1 and the artificers1        
intoxicated with joy1 carried ,fontana  
on their shoulders in triumph to his own
 house1 amidst the sound of drums and   
trumpets1 and the plaudits of an immense
 crowd4  ,in placing it upright on the  
pedestal1 ,fontana considered the method
 adopted by the ancients as the least   
difficult2 which was to rest one end on 
two globes1 then draw the point round1  
raising it at the same time1 afterwards 
letting it fall perpendicularly on the  
pedestal4 ,it is conjectured that this  
was the practice adopted by the         
ancients1 because two dies alone were   
always covered with lead for a foot or  
more1 and were moreover crushed at the  
extremities4 ,sixtus ,v4 placed a cross 
#g feet high at the top of the obelisk1 
which was carried in procession1 and    
which made the whole height #acb feet4  
,for this undertaking1 ,fontana was     
created a knight of the ,golden ,spur1  
and a ,roman nobleman2 he had a pension 

of #bjjj crowns1 transferable to his    
heirs1 ten knighthoods1 #ejjj crowns of 
gold in ready money1 and every          
description of material used in the     
work1 which was valued at more than     
#bj1jjj crowns4 ,two bronze medals of   
him were struck2 and the following      
inscription was placed on the base of   
the pyramid by order of the pope3--     
,dominicvs ,fontana1              ,ex4  
,pago4 ,agri4 ,novocomensis4            
,transtvlit4 ,et4 ,erexit4     ,,removal
 ,,of ,,an ,,obelisk ,,from ,,thebes    
,,to ,,paris4   ,in #ahcc1 the ,french  
removed the smallest of the two obelisks
 which stood before the propylon of the 
temple of ,luxor to ,paris1 and elevated
 it in the ,place de la ,concorde4 ,the 
shaft is #gf feet high1 and eight feet  
wide on the broadest side of the base2  
the pedestal is #aj feet square by #af  
feet high4 ,permission for the removal  
of both the obelisks having been granted
 to the ,french government by the       
,viceroy of ,egypt1 a vessel constructed

 for the purpose was sent out in ,march1
 #ahca1 under ,m4 ,lebas1 an eminent    
engineer1 to whom the undertaking was   
confided1 it being previously determined
 to bring away only one1 and ,m4 ,lebas 
found it sufficiently difficult to bring
 away the smallest of the two4 ,after   
three months' labor with #hjj men1 the  
obelisk was removed on an inclined plane
 into the vessel1 through a hole made in
 the end for the purpose4 ,it arrived   
safely up the ,seine to ,paris1 ,dec4   
#bc;d1 #ahcc4 ,an inclined plane of     
solid masonry was then constructed1     
leading from the river up to a platform1
 also of rough masonry1 level with the  
top of the pedestal4 ,the obelisk1      
having been placed on a kind of timber  
car or sledge1 was drawn up by means of 
ropes and capstans4 ,one edge of the    
base having been brought to its place on
 the pedestal1 it was raised to a       
perpendicular position by ropes and     
pulleys attached to the heads of ten    
masts1 five on each side4 ,when all was 

ready1 the obelisk was elevated to its  
place under the direction of ,m4 ,lebas1
 in three hours1 without the least      
accident1 ,oct4 #beth1 #ahcf4 ,it is    
said that ,lebas had provided himself   
with loaded pistols1 in the firm        
determination to blow out his brains in 
case of an accident6  ,in #ahbj1 the    
,viceroy of ,egypt presented to the     
,english government the monolith lying  
on the ground at ,alexandria1 one of the
 two obelisks called ,cleopatra's       
,needles2 the other is still standing4  
,the project of removing it to ,london  
and erecting it in ,waterloo ,square1   
was entertained for some time by the    
,english government1 but seems to have  
been long abandoned2 recently1 however1 
an expedition is being fitted out for   
the purpose4     ,,carburi',s ,,base    
,,for ,,the ,,equestrian ,,statue ,,of  
,,peter ,,the ,,great4   ,milizia gives 
the following interesting account of the
 removal of the immense mass of granite1
 which forms the pedestal or base of the

 equestrian statue of ,peter the ,great1
 from the bogs of the ,neva to ,st4     
,petersburg1 a distance of about        
fourteen miles4 ,he also cites it as an 
instance of extraordinary ingenuity and 
skill in mechanics4 ,it is1 however1 a  
much easier task to move a ponderous    
mass of rough1 unhewn rock1 than a      
brittle obelisk1 an hundred feet or so  
in length1 requiring the greatest care  
to preserve it from injury4 ,it is also 
worthy of mention1 that in widening     
streets in ,new ,york1 it is no uncommon
 thing to see a three-story brick house 
set back ten or fifteen feet1 and even  
moved across the street1 and raised an  
extra story into the bargain--the story 
being added to the bottom instead of the
 top of the building4 ,thus the large   
free stone and brick school-house in the
 ,first ,ward1 an edifice of four lofty 
stories1 #ej by #gj feet1 and basement  
walls #ba_/b feet thick1 has been raised
 six feet1 to make it correspond with   
the new grade in the lower part of      

,greenwich-street4 ,it is also no       
uncommon thing to see a ship of a       
thousand tons1 with her cargo on board1 
raised out of the water at the          
,hydraulic ,dock1 to stop a leak1 or    
make some unexpected but necessary      
repairs4  ,in #agfi1 the ,count ,marino 
,carburi1 of ,cephalonia1 moved a mass  
of granite1 weighing three million      
pounds1 to ,st4 ,petersburg1 to serve as
 a base for the equestrian statue of    
,peter the ,great1 to be erected in the 
square of that city1 after the design of
 ,m4 ,falconet1 who discarded the common
 mode of placing an equestrian statue on
 a pedestal1 where1 properly speaking1  
it never could be2 and suggested a rock1
 on which the hero was to have the      
appearance of galloping1 but suddenly be
 arrested at the sight of an enormous   
serpent1 which1 with other obstacles1 he
 overcomes for the happiness of the     
,muscovites4 ,none but a ,catherine     
,,ii41 who so gloriously accomplished   
all the great ideas of that hero1 could 

have brought to perfection this         
extraordinary one of the artist4 ,an    
immense mass was accidentally found     
buried #ae feet in a bog1 four miles and
 a half from the river ,neva and        
fourteen from ,st4 ,petersburg4 ,it was 
also casually that ,carburi was at the  
city to undertake the removal of it4    
,nature alone sometimes forms a         
mechanic1 as she does a sovereign1 a    
general1 a painter1 a philosopher4 ,the 
expense of this removal was only #gj1jjj
 rubles and the materials left after the
 operation were worth two-thirds of that
 sum4 ,the obstacles surmounted do honor
 to the human understanding4 ,the rock  
was #cg feet long1 #bb high1 and #ba    
broad1 in the form of a                 
parallelopipedon4 ,it was cleft by a    
blast1 the middle part taken away1 and  
in the cavity was constructed a forge   
for the wants of the journey4 ,carburi  
did not use cylindrical rollers for his 
undertaking1 these causing an attrition 
sufficient to break the strongest       

cables4 ,instead of rollers he used     
balls composed of brass1 tin1 and       
calamina1 which rolled with their burden
 under a species of boat #ahj feet long1
 and #ff wide4 ,this extraordinary      
spectacle was witnessed by the whole    
court1 and by ,prince ,henry of         
,prussia1 a branch from the great       
,frederick4 ,two drums at the top       
sounded the march2 forty stone-cutters  
were continually at work on the mass    
during the journey1 to give it the      
proposed form--a singularly ingenious   
idea4 ,the forge was always at work3 a  
number of other men were also in        
attendance to keep the balls at proper  
distances1 of which there were thirty1  
of the diameter of five inches4 ,the    
mountain was moved by four windlasses1  
and sometimes by two2 each required     
thirty-two men3 it was raised and       
lowered by screws1 to remove the balls  
and put them on the other side4 ,when   
the road was even1 the machine moved #fj
 feet in the hour4 ,the mechanic1       

although continually ill from the       
dampness of the air1 was still          
indefatigable in regulating the         
arrangements2 and in six weeks the whole
 arrived at the river4 ,it was embarked1
 and safely landed4 ,carburi then placed
 the mass in the square of ,st4         
,peter's1 to the honor of ,peter1       
,falconet1 ,carburi1 and of ,catherine1 
who may always1 from her actions1 be    
classed among illustrious men4 ,it is to
 be observed1 that in this operation the
 moss and straw that was placed         
underneath the rock1 became by          
compression so compact1 that it almost  
equalled in hardness the ball of a      
musket4 ,similar mechanical operations  
of the ancients have been wonderfully   
exaggerated by their poets4             
,,comparative ,,skill ,,of ,,the        
,,ancients ,,and ,,moderns ,,in         
,,mechanics4   ,many persons suppose1   
and maintain1 that the grandeur of the  
monuments of the ancients1 and the great
 size of the stones they employed for   

building purposes1 prove that they      
understood mechanics better than the    
moderns4 ,the least knowledge in        
mechanics1 however1 will show this      
opinion to be erroneous4 ,the moderns   
possess powers which were unknown to the
 ancients1 as the screw1 and the        
hydraulic press1 the power of which last
 is only limited by the strength of the 
machinery4 ,the works of the ancients   
show that they expended a vast deal of  
power and labor to gratify the pride and
 ambition of kings2 but the moderns can 
do all these things much easier1 and in 
far less time1 whenever they deem it    
proper4 ,there was nothing in ancient   
times to be compared with that daring1  
ingenious1 and stupendous monument of   
engineering skill--the ,britannia       
,tubular ,bridge1 across the ,menai     
straits--projected1 designed1 and built 
by ,robert ,stephenson1 the famous      
,english engineer4 ,he had previously   
built a similar but smaller             
structure--the ,conway ,tubular ,bridge4

     ,,the ,,britannia ,,tubular        
,,railway ,,bridge4   ,had this         
stupendous fabric existed in ancient    
times1 it would have been regarded as   
the first of the seven wonders of the   
world4 ,greater and more expensive      
structures have been raised1 but none   
displaying more science1 skill1 and     
ingenuity1 and none requiring such      
tremendous mechanical power to execute4 
,the ,britannia ,tubular ,bridge was    
built to conduct the ,chester and       
,holyhead ,railway across the ,menai    
,straits1 to the island of ,anglesea1 in
 the ,irish ,sea4  ,the difficulties    
which the engineer had to overcome1 were
 greatly augmented by the peculiar form 
and situation of the straits4 ,sir      
,francis ,head says1 ,the point of the  
straits which it was desired to cross1  
although broader than that about a mile 
distant2 preoccupied by ,mr4 ,telford's 
suspension bridge--was of course one of 
the narrowest that could be selected1 in
 consequence of which the ebbing and    

flowing torrent rushes through it with  
such violence1 that1 except where there 
is back water1 it is often impossible   
for a small boat to pull against it2    
besides which1 the gusts of wind which  
come over the tops1 down the ravines1   
and round the sides of the neighboring  
mountains1 are so sudden1 and           
occasionally so violent1 that it is as  
dangerous to sail as it is difficult to 
row2 in short1 the wind and the water1  
sometimes playfully and sometimes       
angrily1 seem to vie with each          
other--like some of ,shakspeare's       
fairies--in exhibiting before the       
stranger the utmost variety of fantastic
 changes which it is in the power of    
each to assume4 ,the ,menai ,straits are
 about twelve miles long1 through which1
 imprisoned between the precipitous     
shores1 the waters of the ,irish ,sea   
and ,st4 ,george's ,channel are not only
 everlastingly vibrating1 backwards and 
forwards1 but at the same time and from 
the same causes1 are progressively      

rising and falling #bj to #be feet1 with
 each successive tide1 which1 varying   
its period of high water1 every day     
forms altogether an endless succession  
of aqueous changes4     ,,the ,,tubes4  
,the tubes forming the viaducts1 rest   
upon two abutments and three piers1     
called respectively the ,anglesea       
abutment and pier1 the ,carnarvon       
abutment and pier1 and the ,britannia or
 central pier1 built upon the ,britannia
 rock in the middle of the straits1     
which gives name to the bridge4 ,the    
,anglesea abutment is #adc feet #f      
inches high1 #ee feet wide1 and #age    
feet long to the end of the wings1 which
 terminate in pedestals1 supporting     
colossal lions on either side1 #be feet 
#f inches in length1 #ab feet #f inches 
high1 and #h feet broad1 carved out of a
 single block of ,anglesea marble4 ,the 
space between the ,anglesea abutment and
 pier is #bcj feet4 ,this pier is #aif  
feet high1 #ee feet wide1 and #cb feet  
long4 ,the ,carnarvon abutment and pier 

are of the same dimensions as those     
above described1 on the opposite shore4 
,the ,britannia pier is #bdj feet high1 
#ee feet wide1 and #de feet long4 ,this 
pier is #dfj feet clear of each of the  
two side piers4 ,the bottom of the tubes
 are #abd feet above low water mark1 so 
that large ships can pass under them1   
under full sail4  ,there are two tubes1 
to accommodate a double track 7one would
 have done in this country1 but in      
,england they do nothing by halves71 and
 each is #aeac feet long4 ,the total    
length of the bridge is #ahda feet4     
,these tubes are not round or oval1 but 
nearly square at the termini2 the bridge
 being constructed on the principle of  
the arch4 ,a section of one of the tubes
 at the ,britannia pier is in the form  
of a parallelogram1 where it is #cj feet
 high1 gradually diminishing towards    
each end to #bj feet4 ,the tubes are    
riveted together into continuous hollow 
beams2 they are of the uniform width of 
#ad feet #h inches throughout2 they are 

constructed entirely of iron1 and weigh 
about #ab1jjj tons1 each tube containing
 #ejjj tons of wrought iron1 and about  
#ajjj tons of cast iron4 ,the tubes were
 constructed each in four sections2 the 
sections extending from the abutments to
 their corresponding piers1 each #bej   
feet long1 were built in situ1 on       
immense scaffolding1 made of heavy      
timbers for the purpose1 even with the  
railway2 but the middle sections1 each  
#dgj feet long1 were built on piers on  
the ,carnarvonshire shore1 then floated 
into the stream1 and elevated to their  
position2 each of these sections weighed
 #ahjj tons4     ,,construction ,,of    
,,the ,,tubes4   ,the sides1 bottom1 and
 top of these gigantic tubes are formed 
of oblong wrought iron plates1 varying  
in length1 width1 and thickness1        
according to circumstances1 but of      
amazing size and weight4 ,they are so   
arranged as to obtain the greatest      
possible strength1 the whole being      
riveted together in the strongest       

manner4 ,in addition to the #afjj tons  
of wrought iron in each of the four     
large pieces1 an additional #bjj tons   
was used to form lifting frames1 and    
cast iron beams for the purpose of      
attaching the tube to those huge chains 
by which they were elevated4 ,the       
construction of the tubes is thus       
described in the ,london ,illustrated   
,news1 from which this account is       
derived3  ,in order to carry out this   
vast work 7the construction of the      
tubes71 eighty houses have been erected 
for the accommodation of the workmen1   
which1 being whitewashed1 have a        
peculiarly neat and picturesque         
appearance2 among them are seen         
butcher's1 grocer's1 and tobacconist's  
shops1 supplying the wants of a numerous
 population4 ,a day school1 ,sunday     
school1 and meeting-house also          
conspicuously figure4 ,workshops1       
steam-engines1 store-houses1 offices1   
and other buildings meet the eye at     
every turn2 one is led to conclude that 

a considerable time has elapsed since   
the works were commenced1 yet it is     
little more than two years ago4 ,a      
stranger1 on coming to the ground1 is   
struck with wonder when for the first   
time he obtains a near view of the vast 
piles of masonry towering majestically  
above all the surrounding               
objects--strong as the pillars of       
,hercules1 and apparently as            
endurable--his eyes wander instinctively
 to the ponderous tubes1 those          
masterpieces of engineering             
constructiveness and mathematical       
adjustment2 he shrinks into himself as  
he gazes1 and is astonished when he     
thinks that the whole is the developed  
idea of one man1 and carried out1 too1  
in the face of difficulties which few   
would have dared to encounter4          
,,floating ,,of ,,the ,,tubes4   ,the   
tubes were floated to the places whence 
they were elevated to their positions on
 eight huge pontoons1 fitted with valves
 and pumps to exhaust the water from    

them1 when all was ready to float the   
prodigious iron beams4 ,these pontoons  
or boxes were each #ij feet long1 #be   
feet wide1 and #ae feet deep4 ,the      
pontoons having been placed under one of
 the tubes 7sections71 the floating was 
easily effected1 and the operation is   
thus described by the ,assistant        
,engineer4  ,the operation of floating  
the tubes 7the four sections1 and one   
only at a time71 will be commenced by   
closing the valves in the pontoons at   
low water2 as the tide rises1 the       
pontoons will begin to float1 and       
shortly afterwards to bear the weight of
 the tube1 which will at last be raised 
by them entirely off its temporary      
supporting piers2 about an hour and a   
half before high water1 the current     
running about four miles an hour1 it    
will be dragged out into the middle of  
the stream1 by powerful capstans and    
hawsers1 reaching from the pontoons at  
each end1 to the opposite shore4 ,in    
order to guide it into its place with   

the greatest possible certainty1 three  
large hawsers will be laid down the     
stream1 one end of two of them being    
made fast to the towers 7piers7 between 
which the tube is intended to rest1 and 
the other to strong fixed points on the 
two shores1 near to and opposite the    
further end of the tube platforms2 in   
their course1 they will pass over and   
rest upon the pontoons1 being taken     
through 'cable-stoppers' which are      
contrivances for embracing and gripping 
the hawser extended across the stream1  
and thereby retarding1 or if necessary  
entirely destroying1 the speed induced  
by the current4     ,,raising ,,the     
,,tubes   ,the tubes of the ,britannia  
bridge were raised by means of three    
hydraulic presses of the most prodigious
 size1 strength1 weight1 and power2 two 
of which were placed in the ,britannia  
pier1 above the points where the tubes  
rest1 and the other alternately on the  
,anglesea and ,carnarvon piers4  ,in    
order that all who read these pages may 

understand this curious operation1 it is
 necessary to describe the principle of 
the hydraulic press4 ,if a tube be      
screwed into a cask or vessel filled    
with water1 and then water poured into  
the tube1 the pressure on the bottom and
 sides of the vessel will not be the    
contents of the vessel and tube1 but    
that of a column of water equal to the  
length of the tube and the depth of the 
vessel4 ,this law of pressure in fluids 
is rendered very striking in the        
experiment of bursting a strong cask by 
the action of a few ounces of water4    
,this law1 so extraordinary and         
startling of belief to those who do not 
understand the reasoning upon which it  
is founded1 has been called the         
,hydrostatic paradox1 though there is   
nothing in reality more paradoxical in  
it1 than that one pound at the long end 
of a lever1 should balance ten pounds at
 the short end4 ,this principle has been
 applied to the construction of the     
,hydrostatic or ,hydraulic press1 whose 

power is only limited by the strength of
 the materials of which it is made4     
,thus1 with a hydraulic press no larger 
than a common tea-pot1 a bar of iron may
 be cut as easily as a slip of          
pasteboard4 ,the exertion of a single   
man1 with a short lever1 will produce a 
pressure of #aejj atmospheres1 or       
#bb1ejj pounds on every square inch of  
surface inside the cylinder4 ,by means  
of hydraulic presses1 ships of a        
thousand tons burthen1 with cargo on    
board1 are lifted out of the water for  
repairs1 and the heaviest bodies raised 
and moved1 without any other expense of 
human labor beyond the management of the
 engine4  ,the tubes on the ,anglesea   
side were raised first4 ,the presses in 
the ,britannia tower were each capable  
of raising a weight of #abej tons2 that 
in the ,anglesea tower1 larger than the 
others1 #ahjj tons1 or the whole weight 
of the tube4 ,these presses were worked 
by two steam engines of #dj horse power 
each1 which forced the water into the   

cylinders1 through a tube half an inch  
in diameter4 ,these steam engines were  
placed in the ,britannia and ,anglesea  
piers4 ,the press in the ,anglesea pier 
is thus described1 the others being     
constructed in the same manner4 ,the    
hydraulic press stands on massive beams 
of wrought iron plates constructed on   
the principle of the arch1 placed in the
 tower above the points where the tubes 
rest4 ,the press consists of a huge     
cylinder1 #i feet #b inches in length1  
#c feet #f inches outside diameter1 and 
the ram #a foot #h inches in diameter1  
making the sides and bottom of the      
cylinder #aa inches thick2 it was       
calculated that it would resist a       
pressure of #hjjj or #ijjj pounds to the
 square inch4 ,the ram or piston was    
attached to an exceedingly thick and    
heavy beam of cast iron1 called the     
cross-head1 strengthened with bars of   
wrought iron4 ,to the cross-head were   
attached the huge chains that descended 
to the tubes far below1 to which they   

were secured1 so that1 as the ram was   
forced up #f feet at each stroke1 the   
tube was raised the same distance4 ,the 
power of the press is exerted on the    
tube by aid of chains1 the links of     
which are #f feet in length1 bolted     
together in sets of eight or nine links 
alternately4--,the ram raises the       
cross-head #f feet at each stroke1 and  
with it the tube1 when that height is   
attained1 a lower set of chains on the  
beams grip the next set of links1 and   
thus prevent them from slipping down1   
whilst the clamps on the cross-heads are
 unscrewed1 the upper links taken off1  
and the ram and cross-head lowered to   
take another stroke4 ,to guard against  
all chances of injury to the tubes in   
case of accident to the machinery1 a    
contrivance was adopted by which the    
tubes were followed up with wedges4 ,the
 importance of this precaution was fully
 proved on the very first attempt to    
raise the tube on the ,anglesea side1   
when the huge cylinder broke1 almost at 

the commencement of the operations4 ,the
 following is the engineer's interesting
 report of the accident3  ,on ,friday   
last 7,august #ag1 #ahdi71 at a quarter 
to twelve o'clock1 we commenced lifting 
the tube at the ,anglesea end1 intending
 to raise it six feet1 and afterwards to
 have raised the opposite end the same  
height4  ,the tube rose steadily to the 
height of two feet six inches1 being    
closely followed up by inch wooden      
boards packed beneath it1 when suddenly1
 and without any warning1 the bottom of 
the hydraulic press gave way1 separating
 completely from the body of the press4 
,the ram1 cross-head1 and chains        
descended violently on the press1 with a
 tremendous noise1 the tube sinking down
 upon the wooden packing beneath it4    
,the bottom of the press1 weighing      
nearly two tons and a half1 fell on the 
top of the tube1 a depth of eighty feet4
  ,a sailor1 named ,owen ,parry1 was    
ascending a rope ladder at the time1    
from the top of the tube into the tower2

 the broken piece of press in its       
descent struck the ladder and shook him 
off2 he fell on to the tube1 a height of
 fifty feet1 receiving a contusion of   
the skull1 and other injuries1 of so    
serious a nature that he died the same  
evening4 ,he was not engaged in the     
raising1 and had only chosen to cross   
the tube1 as being the nearest road from
 one tower to the other4 ,an inquest was
 held on the following day1 and a       
verdict of accidental death returned4   
,no one actually engaged in the         
operation was injured1 although ,mr4    
,edwin ,clark1 who was superintending   
the operation1 on the top of the        
cross-head1 and his brother1 ,mr4 ,l4   
,clark1 who was standing beneath it1 had
 both a very narrow escape4  ,the tube  
is not at all injured1 but some portions
 of the cast iron lifting frames are    
broken1 and require repairing2 some     
weeks must elapse before a new cylinder 
is made1 and the operation continued4   
,sir ,francis ,head1 when he saw one of 

the tubes raised1 and in its place1     
observed1 ,it seemed surprising to us   
that by any arrangement of materials1 it
 could possibly be made strong enough to
 support even itself1--much less heavily
 laden trains of passengers and goods1  
flying through it1 and actually passing 
each other in the air at railway speed4 
,and the more we called reason and      
reflection to our assistance1 the more  
incomprehensible did the mystery        
practically appear2 for the plate iron  
of which the aerial gallery is composed 
is literally not so thick as the lid1   
sides1 and bottom which1 by heartless   
contract1 are required for an elm coffin
 #fa_/b feet long1 #ba_/d wide1 and #b  
deep1 of strength merely sufficient to  
carry the corpse of an emaciated pauper 
from the workhouse to his grave6 ,the   
covering of this iron passage1 #ahda    
feet in length1 is literally not thicker
 than the hide of an elephant2 lastly1  
it is scarcely thicker than the bark of 
the good old ,english oak1--and if this 

noble sovereign1 notwithstanding 'the   
heart' and interior substance of which  
it boasts1 is1 even in the              
well-protected park in which it has been
 born and bred1 often prostrated by the 
storm1 how difficult is it to conceive  
that an attenuated aerial hollow beam1  
no thicker than its mere rind1 should1  
by human science1 be constructed strong 
enough to withstand1 besides the weights
 rushing through it1 the natural gales  
and artificial squalls of wind to which1
 throughout its entire length1 and at   
its fearful height1 it is permanently to
 be exposed4  ,notwithstanding these    
incomprehensible speculations1 the tubes
 are abundantly strong to sustain the   
pressure of the heaviest trains1 even   
were they to stand still in the middle  
of the bridge4 ,it is calculated that   
each tube1 in its weakest part1 would   
sustain a pressure of four or five      
thousand tons1 support a line of battle 
ship1 with all her munitions and stores 
on board1 and bear a line of locomotives

 covering the entire bridge4 ,the bridge
 was completed1 and the first train     
passed through it ,march #eth1 #ahej4   
,the total cost of this gigantic        
structure was only ,l#fja1hfe4          
,,glory ,,of ,,ancient ,,rome4          
,ancient ,rome was built upon seven     
hills1 which are now scarcely           
discoverable on account of the vast     
quantities of rubbish with which the    
valleys are filled4 ,pliny estimates the
 circumference of the city in his time  
at #ac1jjj paces 7which nearly agrees   
with modern measurements71 and the      
population at #c1jjj1jjj4 ,rome was     
filled with magnificent public edifices1
 temples1 theatres1 amphitheatres1      
circuses1 naumachiae1 porticos1         
basilicae1 baths1 gardens1 triumphal    
arches1 columns1 sewers1 aqueducts1     
sepulchres1 public and private palaces1 
etc4  ,in the time of the ,caesars1     
fourteen magnificent aqueducts1         
supported by immense arches1 conducted  
whole rivers into ,rome1 from a distance

 of many miles1 and supplied one hundred
 and fifty public fountains1 one hundred
 and eighteen large public baths1 the   
artificial seas in which naval combats  
were represented in the ,colosseum1 and 
the golden palace of ,nero1 besides the 
water necessary to supply the daily use 
of the inhabitants4 ,one hundred        
thousand marble and bronze statues      
ornamented the public squares1 the      
temples1 the streets1 and the houses of 
the nobility3 ninety colossal statues   
raised on pedestals2 and forty-eight    
,egyptian obelisks of red granite1 some 
of the largest size1 also adorned the   
city4  ,such was ancient ,rome1 the     
,eternal ,city4 ,although visited for   
more than a thousand years by various   
calamities1 she is still the most       
majestic of cities2 the charm of beauty1
 dignity1 and grandeur still lingers    
around the ruins of ancient1 as well as 
the splendid structures of modern ,rome1
 and brilliant recollections of every   
age are connected with the monuments    

which the passing traveler meets at     
every step4     ,,the ,,capitol4   ,the 
,capitol or ,citadel of ancient ,rome   
stood on the ,capitoline hill1 the      
smallest of the seven hills of ,rome1   
called the ,saturnine and ,tarpeian     
rock4 ,it was begun ,b4,c4 #fad1 by     
,tarquinius ,priscus1 but was not       
completed till after the expulsion of   
the kings4 ,after being thrice destroyed
 by fire and civil commotion1 it was    
rebuilt by ,domitian1 who instituted    
there the ,capitoline games4 ,dionysius 
says the temple1 with the exterior      
palaces1 was #bjj feet long1 and #ahe   
broad4 ,the whole building consisted of 
three temples1 which were dedicated to  
,jupiter1 ,juno1 and ,minerva1 and      
separated from one another by walls4 ,in
 the wide portico1 triumphal banquets   
were given to the people4 ,the statue of
 ,jupiter1 in the ,capitol1 represented 
the god sitting on a throne of ivory and
 gold1 and consisted in the earliest    
times of clay painted red2 under        

,trajan1 it was formed of gold4 ,the    
roof of the temple was made of bronze2  
it was gilded by ,q4 ,catulus4 ,the     
doors were of the same metal4 ,splendor 
and expense were profusely lavished upon
 the whole edifice4 ,the gilding alone  
cost #ab1jjj talents 7about             
#ab1jjj1jjj71 for which reason the      
,romans called it the ,golden ,capitol4 
,on the pediment stood a chariot drawn  
by four horses1 at first of clay1 and   
afterwards of brass gilded4 ,the temple 
itself contained an immense quantity of 
the most magnificent presents4 ,the most
 important state papers1 and            
particularly the ,sibylline books were  
preserved in it4 ,a few pillars and some
 ruins are all that now remain of the   
magnificent temple of ,jupiter          
,capitolinus4 ,its site is mostly       
occupied by the church of the           
,franciscans1 and partly by the modern  
capitol called the ,campidoglio1 which  
was erected after the design of ,michael
 ,angelo1 consisting of three buildings4

 ,from the summit of the middle one1 the
 spectator has a splendid view of one of
 the most remarkable regions in the     
world--the ,campagna1 up to the         
mountains4 ,for a description of the    
,colosseum1 see vol ii1 page #bi1 of    
this work4     ,,modern ,,rome4         
,modern ,rome is about thirteen miles in
 circuit1 and is divided by the ,tiber  
into two parts4 ,in #ahcj1 ,rome        
contained #add1edb inhabitants1 #ce1ijj 
houses1 #cdf churches1 #cj monasteries1 
and upwards of #abj palaces4 ,the view  
of the majestic ruins2 the solemn       
grandeur of the churches and palaces2   
the recollections of the past2 the      
religious customs2 the magic and almost 
melancholy tranquillity which pervades  
the city2 the enjoyment of the endless  
treasures of art--all conspire to raise 
the mind of the traveler to a high state
 of excitement4 ,the churches1 palaces1 
villas1 squares1 streets1 fountains1    
aqueducts1 antiquities1 ruins--in short1
 everything proclaims the ancient       

majesty and the present greatness of    
,rome4 ,almost every church1 palace1 and
 villa is a treasury of art4 ,among the 
churches1 ,st4 ,peter's is the most     
conspicuous1 and is1 perhaps1 the most  
beautiful building in the world4        
,bramante began it2 ,sangallo and       
,peruzzi succeeded him2 but ,michael    
,angelo1 who erected its immense dome1  
which is four hundred and fifty feet    
high to the top of the cross1 designed  
the greatest part4 ,many other          
architects were often employed upon it2 
,maderno finished the front and the two 
towers4 ,the erection of this edifice1  
from #aejf to #afad1 cost #de1jjj1jjj   
,roman crowns4 ,before we arrive at this
 grand temple1 the eye is attracted by  
the beautiful square in front of it1    
surrounded by a magnificent colonnade by
 ,bernini1 and ornamented by an         
,egyptian obelisk1 together with two    
splendid fountains4 ,upon entering the  
vestibule1 ,giotto's mosaic1 la         
,navicella1 is seen4 ,under the portico1

 opposite the great door1 is ,bernini's 
great bas relief representing ,christ   
commanding ,peter to feed his sheep2 and
 at the ends of the portico are the     
equestrian statues of ,constantine by   
,bernini1 and of ,charlemagne by        
,cornachini4 ,the union of these        
masterpieces has an indescribable       
effect4 ,the harmony and proportion     
which prevail in the interior of this   
august temple are such1 that1 immense as
 it is1 the eye distinguishes all the   
parts without confusion or difficulty4  
,when each object is minutely examined1 
we are astonished at its magnitude1 so  
much more considerable than appears at  
first sight4 ,the immense canopy of the 
high altar1 supported by four bronze    
pillars of #abj feet in height1         
particularly attracts the attention4    
,the dome is the boldest work of modern 
architecture4 ,the cross thereon is #dej
 feet above the pavement4 ,the lantern  
affords the most beautiful prospect of  
the city and the surrounding country4   

,the splendid mosaics1 tombs1 paintings1
 frescos1 works in marble1 gilded bronze
 and stucco1 the new sacristy--a        
beautiful piece of architecture1 but not
 in unison with the rest--deserve       
separate consideration4 ,the two most   
beautiful churches in ,rome next to ,st4
 ,peter's are the ,st4 ,john's of the   
,lateran1 and the ,santa ,maria         
,maggiore4 ,the former1 built by        
,constantine the ,great1 is the         
parochial church of the pope2 it        
therefore takes precedence of all       
others1 and is called ,omnium urbis el  
orbis ecclesiarum mater et caput 7the   
head and mother of all churches of the  
city and the world74 ,in it is          
celebrated the coronation of the popes4 
,it contains several pillars of granite1
 verde antico1 and gilt bronze2 the     
twelve apostles by ,rusconi and ,legros2
 and the beautiful chapel of ,corsini1  
which is unequalled in its proportions1 
built by ,alexander ,galilei4 ,the      
altar-piece is a mosaic from a painting 

by ,guido1 and the beautiful porphyry   
sarcophagus1 which is under the statue  
of ,clement ,,xii41 was found in the    
,pantheon1 and is supposed to have      
contained the ashes of ,m4 ,agrippa4    
,the nave of the church of ,santa ,maria
 ,maggiore is supported by forty ,ionic 
pillars of ,grecian marble1 which were  
taken from a temple of ,juno ,lucina3   
the ceiling was gilded with the first   
gold brought from ,peru4 ,we are here   
struck with admiration at the mosaics2  
the high altar1 consisting of an antique
 porphyry sarcophagus2 the chapel of    
,sixtus ,v41 built from the designs of  
,fontana1 and richly ornamented2 the    
chapel of ,paul ,v41 adorned with marble
 and precious stones2 the chapel of     
,sforza1 by ,michael ,angelo2 and the   
sepulchres of ,guglielmo della ,porta   
and ,algardi4 ,in the square before the 
front is a ,corinthian column1 which is 
considered a masterpiece of its kind4   
,the largest church in ,rome next to    
,st4 ,peter's was the ,basilica di ,san 

,paolo fuori delle ,mura1 on the road to
 ,ostia1 burnt a few years since4 ,the  
church of ,s4 ,lorenzo1 without the     
city1 possesses some rare monuments of  
antiquity4 ,the church of ,san ,pietro  
in ,vincola contains the celebrated     
statue of ,moses1 by ,michael ,angelo4  
,the church of ,st4 ,agnes1 in the place
 ,navona1 begun by ,rainaldi and        
completed by ,borromini1 is one of the  
most highly ornamented1 particularly    
with modern sculpture4 ,here is the     
admirable relief of ,algardi1           
representing ,st4 ,agnes deprived of her
 clothes1 and covered only with her     
hair4 ,the ,basilica of ,st4 ,sebastian1
 before the ,porta ,capena1 contains the
 statue of the dying saint1 by          
,giorgetti1 a pupil of ,algardi1 and the
 master of ,bernini4 ,under these       
churches are the catacombs1 which       
formerly served as places of burial4 ,in
 the church of ,st4 ,agnes1 before the  
,porta ,pia1 among many other beautiful 
columns are four of porphyry1 belonging 

to the high altar1 and considered the   
most beautiful in ,rome4 ,in a small    
chapel is a bust of the ,savior by      
,michael ,angelo--a masterpiece4 ,in the
 church of ,st4 ,augustine1 there is a  
picture by ,raphael representing the    
prophet ,isaiah1 and an ,ascension by   
,lanfranco4 ,the monastery has a rich   
library1 called the ,angelica1 and      
increased by the library of cardinal    
,passionei4 ,the following churches also
 deserve to be mentioned1 on account of 
their architecture and works of art2 the
 churches of ,st4 ,ignatius1 ,st4       
,cecilia1 ,s4 ,andrea della ,valle1 ,s4 
,andrea del ,noviziato1 the ,pantheon   
7also called la ,rotonda71 in which     
,raffaelle1 ,annibale ,caracci1 ,mengs1 
etc41 are interred4 ,all the #cfd       
churches of ,rome contain monuments of  
art or antiquity4 ,among the palaces1   
the principal is the ,vatican1 an       
immense pile1 in which the most valuable
 monuments of antiquity1 and the works  
of the greatest modern masters are      

preserved4 ,here are the museum         
,pio-,clementinum1 established by       
,clement ,,xiv41 and enlarged by ,pius  
,,vi41 and the celebrated library of the
 ,vatican4 ,the treasures carried away  
by the ,french have been restored4      
,among the paintings of this palace1 the
 most beautiful are ,raffaelle's frescos
 in the stanze and loggie4 ,the         
principal oil paintings are in the      
appartamento ,borgia1 which also        
contains the ,transfiguration1 by       
,raphael4 ,in the ,sistine chapel is the
 ,last ,judgment by ,michael ,angelo4   
,the popes have chosen the palace of    
,monte ,cavallo1 or the ,quirinal       
palace1 with its extensive and beautiful
 gardens1 for their usual residence1 on 
account of its healthy air and fine     
prospect4 ,the ,lateran palace1 which   
,sixtus ,v4 had rebuilt by ,fontana1 was
 changed1 in #afic1 into an alms-house4 
,besides these1 the following are       
celebrated3 the palace della            
,cancellario1 the palace de'            

,conservatori1 the palace of ,st4 ,mark1
 the buildings of the ,academy1 etc4    
,among the private palaces1 the         
,barberini is the largest2 it was built 
by ,bernini1 in a beautiful style4 ,here
 are the ,magdalen of ,guido1 one of the
 finest works of ,caravaggio1 the       
,paintings of the great hall1 a         
masterpiece of ,pietro da ,cortona1 and 
other valuable paintings4 ,of works of  
sculpture1 the ,sleeping ,fawn1 now in  
,munich1 was formerly here2 the masterly
 group representing ,atalanta and       
,meleager1 a ,juno1 a sick ,satyr by    
,bernini1 the bust of ,cardinal         
,barberini by the same artist1 and the  
busts of ,marius1 ,sylla1 and ,scipio   
,africanus1 are in this palace4 ,the    
library is calculated to contain #fj1jjj
 printed books1 and #ijjj manuscripts2 a
 cabinet of medals1 bronzes1 and        
precious stones1 is also connected with 
the library4 ,the ,borghese palace1     
erected by ,bramante1 is extensive1 and 
in a beautiful style2 the colonnade of  

the court is splendid4 ,this palace     
contains a large collection of          
paintings1 rare works of sculpture1     
valuable tables1 and utensils of rich   
workmanship1 of red porphyry1 alabaster1
 and other materials4 ,the upper hall is
 unrivalled2 the great landscapes of    
,vernet1 with which it is adorned1 are  
so true to nature1 that1 upon entering1 
one imagines himself transported into   
real scenes4 ,the palace ,albani1 the   
situation of which is remarkably fine1  
possesses a valuable library1 a great   
number of paintings1 and a collection of
 designs by ,caracci1 ,polidoro1        
,lanfranco1 ,spagnoletto1 ,cignani1 and 
others4 ,the palace ,altieri1 one of the
 largest in ,rome1 is in a simple style 
of architecture1 and contains rare      
manuscripts1 medals1 paintings1 etc41   
and valuable furniture4 ,in the palace  
,colonna there is a rich collection of  
paintings by the first masters2 all the 
rooms are decorated with them1 and      
particularly the gallery1 which is one  

of the finest in ,europe4 ,in the       
gardens are the ruins of the baths of   
,constantine and those of the temple of 
,sol4 ,the ,aldobrandini palace contains
 the proudest monument of ancient       
painting--the ,aldobrandine ,wedding1 a 
fresco purchased by ,pius ,,vii41 in    
#ahah1 in which the design is admirable4
 ,the great ,farnese palace1 begun from 
the designs of ,sangallo1 and completed 
under the direction of ,michael ,angelo1
 is celebrated both for its beauty and  
its treasures of art4 ,the ,caracci and 
,domenichino have immortalized          
themselves by their frescos in its      
gallery4 ,the ,farnese ,hercules1 the   
masterly ,flora1 and the urn of         
,caecilia ,metella1 formerly adorned the
 court2 and in the palace itself was the
 beautiful group of the ,farnese bull4  
,but when the king of ,naples inherited 
the ,farnese estate1 these statues1 with
 other works of art1 were carried to    
,naples1 where they now adorn the palace
 degli ,studi4 ,not far off is the      

palace ,corsini1 where queen ,christina 
lived and died in #afhi4 ,it contains a 
valuable library and gallery4 ,the      
palace ,giustiniani also had a gallery  
adorned with numerous valuable statues  
and works of sculpture2 its principal   
ornaments were the celebrated statue of 
,minerva1 the finest of that goddess now
 known1 and the bas-relief of ,amalthaea
 suckling ,jupiter4 ,these treasures    
were nominally bought by ,napoleon1 and 
are now in ,paris4 ,the paintings are   
chiefly in the possession of the king of
 ,prussia4 ,in the palace ,spada is the 
statue of ,pompey1 at the foot of which 
,caesar fell under the daggers of his   
murderers4 ,we have yet to mention the  
palace ,costaguti1 on account of its    
fine frescos2 ,chigi1 for its beautiful 
architecture1 its paintings and library2
 ,mattei1 for its numerous statues1     
reliefs1 and ancient inscriptions2 the  
palace of ,pamfili1 built by ,borromini1
 for its splendid paintings and internal
 magnificence2 that of ,pamfili in the  

square of ,navona1 with a library and   
gallery2 ,rospigliosi1 upon the         
,quirinal hill1 etc4 ,among the palaces 
of ,rome1 which bear the name of villas1
 is the ,villa ,medici1 on the ,pincian 
mount1 on which were formerly situated  
the splendid gardens of ,lucullus3 it   
once contained a vast number of         
masterpieces of every kind2 but the     
grand dukes ,leopold and ,ferdinand have
 removed the finest works 7among them1  
the group of ,niobe1 by ,scopas7 to     
,florence4 ,this palace1 however1 is yet
 worthy of being visited4 ,under the    
portico of the ,villa ,negroni are the  
two fine statues of ,sylla and ,marius1 
seated on the sella curulis4 ,in the    
extensive garden1 which is three miles  
in circuit1 some beautiful fresco       
paintings have been found in the ruins  
of some of the houses4 ,the ,villa      
,mattei1 on the ,coelian mount1 contains
 a splendid collection of statues4 ,the 
,villa ,ludovisi1 on the ,pincian mount1
 not far from the ruins of the circus   

and the gardens of ,sallust1 is one and 
a half miles in circuit1 and contains   
valuable monuments of art1 particularly 
the ,aurora of ,guercino1 an ancient    
group of the senator ,papirius and his  
mother 7or rather of ,phaedra and       
,hippolytus71 another of ,arria and     
,paetus1 and ,bernini's rape of         
,proserpine4 ,the ,villa ,borghese1 near
 ,rome1 has a fine but an unhealthy     
situation4 ,the greatest part of the    
city1 and the environs as far as        
,frascati and ,tivoli1 are visible from 
it4 ,it has a garden1 with a park three 
miles in circuit4 ,this palace was      
ornamented in its interior1 and         
furnished with so much richness and     
elegance1 that it might have been       
considered the first edifice in ,rome1  
next to the capitol1 particularly for   
its fine collection of statues4 ,the    
most remarkable among them were the     
,fighting ,gladiator2 ,silenus and a    
,faun2 ,seneca1 in black marble1 or     
rather a slave at the baths2 ,camillus2 

the ,hermaphrodite2 the ,centaur and    
,cupid2 two ,fauns1 playing on the      
flute2 ,ceres2 an ,egyptian2 a statue of
 the younger ,nero2 the busts of ,lucius
 ,verus1 ,alexander1 ,faustina and      
,verus2 various relievos1 among which   
was one representing ,curtius2 an urn1  
on which was represented the festival of
 ,bacchus2 another supported by the     
,graces2 two horns of plenty1 etc4 ,the 
greatest part of these has not been     
restored from ,paris4 ,the exterior is  
ornamented with ancient reliefs4 ,the   
,villa ,pamfili1 before the ,porta di   
,san ,pancrazio1 also called            
,belrespiro1 has an agreeable situation1
 and is seven miles in circumference4   
,the architecture is by ,algardi1 but   
has been censured by connoisseurs4 ,in  
the interior there are some fine        
specimens of sculpture4 ,full           
descriptions of this and of the ,villa  
,borghese have been published4 ,the     
,villa ,albani1 upon an eminence which  
commands ,tivoli and the ,sabina1 is an 

edifice of taste and splendor4 ,the     
cardinal ,alexander ,albani expended    
immense sums upon it1 and1 during the   
space of fifty years1 collected a       
splendid cabinet4 ,the ceiling of the   
gallery was painted by ,mengs1 and is a 
model of elegance4 ,the ,villa ,lante   
and the ,villa ,corsini deserve to be   
mentioned on account of their fine      
prospects4 ,the ,villa ,doria 7formerly 
,algiati71 in which ,raffaelle lived1   
contains three fresco paintings of this 
great master4 ,the ,villa ,farnese      
contains the remains of the palace of   
the ,roman emperors4 ,the capitol       
contains so many and such magnificent   
objects of every description1 that it is
 impossible to enumerate them here4 ,we 
must be satisfied with mentioning the   
equestrian statue of ,marcus ,aurelius1 
before the palace2 the ,captive ,kings1 
in the court2 the columna rostrata2 and 
within1 the colossal statue of ,pyrrhus2
 the tomb of ,severus2 the ,centaurs1 of
 basalt2 the beautiful alabaster        

pillars2 the masterpiece in mosaic1     
which once belonged to cardinal         
,furietti1 representing three doves on  
the edge of a vessel filled with water1 
which is described by ,pliny4 ,the      
fountains are among the principal       
ornaments of the squares in ,rome4 ,the 
fountain in the ,piazza ,navona1 the    
most splendid of them all1 has been     
particularly admired2 it is surmounted  
by an obelisk1 and ornamented by four   
colossal statues1 which represent the   
four principal rivers in the world4 ,the
 fountain of ,paul ,v41 near the church 
di ,san ,pietro in ,montorio1 is in bad 
taste1 but furnishes such a body of     
water1 that several mills are carried by
 it4 ,the fountain di ,termini is       
adorned with three reliefs1 representing
 ,moses striking water from the rock1   
and with a colossal statue of that      
prophet1 and two ,egyptian lions in     
basalt4 ,the splendid fountain of ,trevi
 supplies the best water1 which it      
receives through an ancient aqueduct4   

,among the streets1 the ,strada ,felice 
and the ,strada ,pia1 which cross each  
other1 are the most remarkable2 among   
the bridges1 that of ,st4 ,angelo       
7formerly ,pons ,a,elius71 #cjj feet in 
length2 and among the gates the ,porta  
del ,popolo 7formerly ,porta ,flaminia74
 ,of ancient monuments1 the following   
yet remain3 the ,pantheon1 the          
,coliseum1 the column of ,trajan1 that  
of ,antonine1 the amphitheatre of       
,vespasian2 the mausoleum of ,augustus1 
the mausoleum of ,adrian 7now the       
fortress of ,st4 ,angelo72 the triumphal
 arches of ,severus1 ,titus1            
,constantine1 ,janus1 ,nero1 and        
,drusus2 the ruins of the temple of     
,jupiter ,stator1 of ,jupiter ,tonans1  
of ,concordia1 of ,pax1 of ,antoninus   
and ,faustina1 of the sun and moon1 of  
,romulus1 of ,romulus and ,remus1 of    
,pallas1 of ,fortuna ,virilis1 of       
,fortuna ,muliebris1 of ,virtue1 of     
,bacchus1 of ,vesta1 of ,minerva        
,medica1 and of ,venus and ,cupid2 the  

remains of the baths of ,dioclesian1 of 
,caracalla and ,titus1 etc42 the ruins  
of the theatre of ,pompey1 near the     
,curia ,pompeii1 where ,caesar was      
murdered1 and those of the theatre of   
,marcellus2 the ruins of the old forum  
7now called ,campo ,vaccino72 the       
remains of the old bridges2 the circus  
,maximus2 the circus of ,caracalla2 the 
house of ,cicero2 the ,curia ,hostilia2 
the trophies of ,marius2 the portico of 
,philip and ,octavius2 the country house
 and tower of ,maecenas2 the ,claudian  
aqueduct2 the monuments of the family of
 ,aruns1 of the ,scipios1 of ,metella   
7called ,capo di ,bove72 the prison of  
,jugurtha 7,carcero ,mamertino71 in     
which ,st4 ,peter was imprisoned2 the   
monument of ,caius ,cestius1 which is   
entirely uninjured1 in form of a        
pyramid1 near which the ,protestants are
 buried2 the ,cloaca ,maxima1 built by  
,tarquin1 etc4 ,besides the obelisk near
 the ,porta del ,popolo1 that raised in 
the pontificate of ,pius ,,vi41 on mount

 ,cavallo1 is deserving of notice4 ,the 
principal collections of literature and 
the arts have already been noticed2 but 
the ,museo ,kircheliano deserves to be  
particularly mentioned2 there are1      
besides1 many private collections and   
monastic libraries1 which contain many  
valuable works4 ,such treasures1        
especially in the arts1 make ,rome the  
great school of painters1 statuaries1   
and architects1 and a place of          
pilgrimage to all lovers of the arts2   
and there are here innumerable studios  
of painters and sculptors4 ,roman art   
seems to have received a new impulse4   
,the academy of ,san ,luca was          
established solely for the art of       
painting4 ,there are also many literary 
institutions in the city4     ,,the     
,,foundation ,,of ,,venice4   ,it is    
recorded in the archives of ,padua1 says
 ,milizia1 that when ,rhadagasius       
entered ,italy1 and the cruelties       
exercised by the ,visigoths obliged the 
people to seek refuge in various places1

 an architect of ,candia1 named         
,eutinopus1 was the first to retire to  
the fens of the ,adriatic1 where he     
built a house1 which remained the only  
one there for several years4 ,at length1
 when ,alaric continued to desolate the 
country1 others sought an asylum in the 
same marshes1 and built twenty-four     
houses1 which formed the germ of        
,venice4 ,the security of the place now 
induced people to settle there rapidly1 
and ,venice soon sprung up a city and   
gradually rose to be mistress of the    
seas4 ,the ,venetian historians inform  
us that the house of ,eutinopus1 during 
a dreadful conflagration1 was           
miraculously saved by a shower of rain1 
at the prayer of the architect1 who made
 a vow to convert it into a church2 he  
did this1 and dedicated it to ,st4      
,james1 the magistrates and inhabitants 
contributing to build and ornament the  
edifice4 ,the church is still standing1 
in the quarter of the ,rialto1 which is 
universally considered the oldest part  

of ,venice4     ,,theodoric ,,the       
,,great1 ,,and ,,his ,,love ,,of ,,the  
,,fine ,,arts4   ,theodoric1 king of the
 ,ostrogoths1 and afterwards also king  
of ,italy1 was born at ,amali1 near     
,vienna1 in #dee1 and died in #ebf4     
,though a ,goth1 he was so far from     
delighting in the destruction of public 
monuments1 and works of art1 that he    
issued edicts for their preservation at 
,rome and throughout ,italy1 and        
assigned revenues for the repair of the 
public edifices1 for which purpose he   
employed the most skillful and learned  
architects1 particularly ,aloisius1     
,boetius1 and ,symmachus4 ,according to 
,cassiodorus 7lib4 ii4 ,varior4 ,epist4 
xxxix471 ,theodoric said3 ,it is        
glorious to preserve the works of       
antiquity2 and it is our duty to restore
 the most useful and the most beautiful4
 ,symmachus had the direction of the    
buildings constructed or rebuilt at     
,rome4 ,the king thus wrote to him3 ,you
 have constructed fine edifices2 you    

have1 moreover1 disposed of them with so
 much wisdom that they equal those of   
antiquity1 and serve as examples to the 
moderns2 and all you show us is a       
perfect image of the excellence of your 
mind1 because it is not possible to     
build correctly without good sense and a
 well cultivated understanding4  ,in his
 directions to the ,prefect of ,rome1 on
 the architecture of the public         
edifices1 ,theodoric thus wrote3  ,the  
beauty of the ,roman buildings requires 
a skillful overseer1 in order that such 
a wonderful forest of edifices should be
 preserved with constant care1 and the  
new ones properly constructed1 both     
internally and externally4 ,therefore we
 direct our generosity not only to the  
preservation of ancient things1 but to  
the investing the new ones with the     
glories of antiquity4 ,be it known1     
therefore1 to your illustrious person1  
that for this end an architect of the   
,roman walls is appointed4 ,and because 
the study of the arts requires          

assistance1 we desire that he may have  
every reasonable accommodation that his 
predecessors have enjoyed4 ,he will     
certainly see things superior to what he
 has read of1 and more beautiful than he
 could ever have imagined4 ,the statues 
still feel their renowned authors1 and  
appear to live3 he will observe         
expressed in the bronze1 the veins1 the 
muscles swollen by exertion1 the nerves 
gradually stretched1 and the figure     
expressing those feelings which act on a
 living subject4  ,it is said that the  
first artists in ,italy were the        
,etruscans1 and thus posterity has given
 to them1 as well as to ,rome1 almost   
the power of creating man4 ,how         
wonderful are the horses1 so full of    
spirit1 with their fiery nostrils1 their
 sparkling eyes1 their easy and graceful
 limbs2--they would move1 if not of     
metal4 ,and what shall we say of those  
lofty1 slender1 and finely fluted       
columns1 which appear a part of the     
sublime structure they support8 ,that   

appears wax1 which is hard and elegant  
metal2 the joints in the marble being   
like natural veins4 ,the beauty of art  
is to deceive the eye4 ,ancient         
historians acquaint us with only seven  
wonders in the world3 the ,temple of    
,diana1 at ,ephesus2 the magnificent    
sepulchre of the king ,mausolus1 from   
whence is derived the word mausoleum2   
the bronze ,colossus of the ,sun1 in    
,rhodes2 the statue of ,jupiter         
,olympius1 of gold and ivory1 formed by 
the masterly hand of ,phidias1 the first
 of architects2 the palace of ,cyrus1   
,king of ,media1 built by ,memnon of    
stones united by gold2 the walls of     
,babylon1 constructed by ,semiramis of  
brick1 pitch1 and iron2 the pyramids of 
,egypt1 the shadows of which do not     
extend beyond the space of their        
construction4 ,but who can any longer   
consider these as wonders1 after having 
seen so many in ,rome8 ,those were      
famous because they preceded us2 it is  
natural that the new productions of the 

then barbarous ages should be renowned4 
,it may truly be said that all ,rome is 
wonderful4 ,we have therefore selected a
 man clever in the arts1 who1 in seeing 
so many ingenious things of antiquity1  
instead of remaining merely enchanted   
with them1 has set himself to work to   
investigate the reason1 study their     
books1 and instruct himself1 that he may
 become as learned as those in the place
 of whom he is to consider himself      
appointed4  ,milizia says of ,theodoric1
 ,is this the language of a ,gothic     
barbarian1 the destroyer of good taste8 
,pericles1 ,alexander1 ,adrian1 or one  
of the ,medici could not have reasoned  
better4 ,and again1 ,can these ,goths be
 the inventors of that architecture     
vulgarly called ,gothic8 and are these  
the barbarians said to have been the    
destroyers of the beautiful monuments of
 antiquity8 ,ecclesiastical history     
gives to the good ,christians and the   
jealous ecclesiastics the honor of      
having dismantled temples1 and          

disfigured statues in ,italy1 ,greece1  
,asia1 and ,egypt4 99  99  99 ,it is    
clear that the ,goths were not the      
authors of that architecture called     
,gothic4 ,the ,goths and barbarians who 
overran ,italy had not any              
characteristic architecture1 good or    
bad4 ,they brought with them neither    
architects1 painters1 nor poets4 ,they  
were all soldiers1 and when fixed in    
,italy employed ,italian artists2 but as
 in that country1 good taste was much on
 the decline1 it now became more        
debased1 notwithstanding the efforts    
made by the ,goths to revive it4        
,,archimedes4   ,this wonderful genius  
was of royal descent1 and born at       
,syracuse about ,b4,c4 #bhg4 ,he was a  
relative of king ,hiero1 who held him in
 the highest esteem and favor1 though he
 does not appear to have held any public
 office1 preferring to devote himself   
entirely to science4 ,such was his      
enthusiasm1 that he appears at times to 
have been so completely absorbed in     

contemplation and calculations1 as to be
 totally unconscious of what was passing
 around him4 ,we cannot fully estimate  
his services to mathematics1 for want of
 an acquaintance with the previous state
 of science2 still we know that he      
enriched it with discoveries of the     
highest importance1 upon which the      
moderns have founded their              
admeasurements of curvilinear surfaces  
and solids4 ,euclid1 in his elements1   
considers only the relations of some of 
these magnitudes to each other1 but does
 not compare them with surfaces and     
solids bounded by straight lines4       
,archimedes developed the proportions   
necessary for effecting this comparison1
 in his treatises on the sphere and     
cylinder1 the spheroid and conoid1 and  
in his work on the measure of the       
circle4 ,he rose to still more abstruse 
considerations in his treatise on the   
spiral4 ,archimedes is also the only one
 of the ancients who has left us        
anything satisfactory on the theory of  

mechanics and hydrostatics4 ,he first   
taught the principle that a body        
immersed in a fluid1 loses as much in   
weight1 as the weight of an equal volume
 of the fluid4 ,he discovered this while
 bathing1 which is said to have caused  
him so much joy that he ran home from   
the bath undressed1 exclaiming1 ,i have 
found it2 ,i have found it6 ,by means of
 this principle1 he determined how much 
alloy a goldsmith had added to a crown  
which king ,hiero had ordered of pure   
gold4 ,archimedes had a profound        
knowledge of mechanics1 and in a moment 
of enthusiasm1 with which the           
extraordinary performances of his       
machines had inspired him1 he exclaimed 
that he could move the earth with ease1 
by means of his machines placed on a    
fixed point near it4 ,he was the        
inventor of the compound pulley1 and    
probably of the endless screw which     
bears his name4 ,he invented many       
surprising engines and machines4 ,some  
suppose that he visited ,egypt1 and     

raised the sites of the towns and       
villages of ,egypt1 and begun those     
mounds of earth by means of which       
communication was kept up from town to  
town1 during the inundations of the     
,nile4 ,when ,marcellus1 the ,roman     
consul1 besieged ,syracuse1 he devoted  
all his talents to the defense of his   
native country4 ,he constructed machines
 which suddenly raised up in the air the
 ships of the enemy in the bay before   
the city1 and then let them fall with   
such violence into the water that they  
sunk2 he also set them on fire with his 
burning glasses4 ,polybius1 ,livy1 and  
,plutarch speak in detail1 with wonder  
and admiration1 of the machines with    
which he repelled the attacks of the    
,romans4 ,when the town was taken and   
given up to pillage1 the ,roman general 
gave strict orders to his soldiers not  
to hurt ,archimedes1 and even offered a 
reward to him who should bring him alive
 and safe to his presence4 ,all these   
precautions proved useless1 for the     

philosopher was so deeply engaged at the
 time in solving a problem1 that he was 
even ignorant that the enemy were in    
possession of the city1 and when a      
soldier entered his apartment1 and      
commanded him to follow him1 he         
exclaimed1 according to some1 ,disturb  
not my circle6 and to others1 he begged 
the soldier not to kill him till he had 
solved his problem2 but the rough       
warrior1 ignorant of the august person  
before him1 little heeded his request1  
and struck him down4 ,this happened     
,b4,c4 #bab1 so that ,archimedes1 at his
 death1 must have been about #ge years  
old4 ,marcellus raised a monument over  
him1 and placed upon it a cylinder and a
 sphere1 thereby to immortalize his     
discovery of their mutual relations1 on 
which he set a particular value2 but it 
remained long neglected and unknown1    
till ,cicero1 during his questorship of 
,sicily1 found it near one of the gates 
of ,syracuse1 and had it repaired4 ,the 
story of his burning glasses had always 

appeared fabulous to some of the        
moderns1 till the experiments of ,buffon
 demonstrated its truth and             
practicability4 ,these celebrated       
glasses are supposed to have been       
reflectors made of metal1 and capable of
 producing their effect at the distance 
of a bow-shot4     ,,the ,,trials ,,of  
,,genius4   ,,filippo ,,brunelleschi4   
,this eminent architect was one of those
 illustrious men1 who1 having conceived 
and matured a grand design1 proceed1    
cool1 calm1 and indefatigable1 to put it
 in execution1 undismayed by obstacles  
that seem insuperable1 by poverty1 want1
 and what is worse1 the jeers of men    
whose capacities are too limited to     
comprehend their sublime conceptions4   
,the world is apt to term such men      
enthusiasts1 madmen1 or fools1 till     
their glorious achievements stamp them  
almost divinely inspired4  ,brunelleschi
 was nobly descended on his mother's    
side1 she being a member of the ,spini  
family1 which1 according to ,bottari1   

became extinct towards the middle of the
 last century4 ,his ancestors on his    
father's side were also learned and     
distinguished men--his father was a     
notary1 his grandfather a very learned  
man1 and his great-grandfather a famous 
physician in those times4 ,filippo's    
father1 though poor1 educated him for   
the legal or medical profession2 but    
such was his passion for art and        
mechanics1 that his father1 greatly     
against his will1 was compelled to allow
 him to follow the bent of his genius3  
he accordingly placed him1 at a proper  
age1 in the ,guild of the ,goldsmiths1  
that he might acquire the art of design4
 ,filippo soon became a proficient in   
the setting of precious stones1 which he
 did much better than any old artists in
 the vocation4 ,he also wrought in      
niello1 and executed several figures    
which were highly commended1            
particularly two figures of ,prophets1  
for an altar in the ,cathedral of       
,pistoja4 ,filippo next turned his      

attention to sculpture1 and executed    
works in basso-relievo1 which showed an 
extraordinary genius4 ,subsequently1    
having made the acquaintance of several 
learned men1 he began to turn his       
attention to the computation of the     
divisions of time1 the adjustment of    
weights1 the movement of wheels1 etc4   
,he next bent his thoughts to the study 
of perspective1 to which1 before his    
time1 so little attention was paid by   
artists1 that the figures often appeared
 to be slipping off the canvas1 and the 
buildings had not a true point of view4 
,he was one of the first who revived the
 ,greek practice of rendering the       
precepts of geometry subservient to the 
painter2 for this purpose1 he studied   
with the famous geometrician            
,toscanelli1 who was also the           
instructor1 friend1 and counsellor of   
,columbus4 ,filippo pursued his         
investigations until he brought         
perspective to great perfection2 he was 
the first who discovered a perfectly    

correct method of taking the ground plan
 and sections of buildings1 by means of 
intersecting lines--a truly ingenious   
thing1 says ,vasari1 and of great       
utility to the arts of design4 ,filippo 
freely communicated his discoveries to  
his brother artists4 ,he was imitated in
 mosaic by ,benedetto da ,macano1 and in
 painting by ,masaccio1 who were his    
pupils4 ,vasari says ,brunelleschi was a
 man of such exalted genius1 that we may
 truly declare him to have been given to
 us by ,heaven1 for the purpose of      
imparting a new spirit to architecture1 
which for hundreds of years had been    
lost2 for the men of those times had    
badly expended great treasures in the   
erection of buildings without order1    
constructed in a most wretched manner1  
after deplorable designs1 with fantastic
 inventions1 labored graces1 and worse  
decorations4 ,but it then pleased       
,heaven1 the earth having been for so   
many years destitute of any             
distinguished mind and divine genius1   

that ,filippo ,brunelleschi should leave
 to the world1 the most noble1 vast1 and
 beautiful edifice that had ever been   
constructed in modern times1 or even in 
those of the ancients2 giving proof that
 the talent of the ,tuscan artists1     
although lost for a time1 was not       
extinguished4 ,he was1 moreover1 adorned
 by the most excellent qualities1 among 
which was that of kindliness1 insomuch  
that there never was a man of more      
benign and amicable disposition2 in     
judgment he was calm and dispassionate1 
and laid aside all thought of his own   
interest and even that of his friends1  
whenever he perceived the merits and    
talents of others to demand that he     
should do so4 ,he knew himself1         
instructed many from the stores of his  
genius1 and was ever ready to succor his
 neighbor in all his necessities2 he    
declared himself the confirmed enemy of 
all vice1 and the friend of those who   
labored in the cause of virtue4 ,never  
did he spend his moments vainly1 but1   

although constantly occupied in his own 
works1 in assisting those of others1 or 
administering to their necessities1 he  
had yet always time to bestow on his    
friends1 for whom his aid was ever      
ready4  ,in the meantime1 ,brunelleschi 
had studied architecture1 and made such 
progress that he had already conceived  
two grand projects--the one was the     
revival of the good manner of ancient   
architecture1 which was then extinct1   
and the other was to discover a method  
for constructing the cupola of the      
church of ,santa ,maria del ,fiore1 in  
,florence1 the difficulties of which    
were so great that1 after the death of  
,arnolfo di ,lapi1 no architect had been
 found of sufficient courage and        
capacity to attempt the vaulting of that
 cupola4#a ,if he could accomplish one  
or both of these designs1 he believed   
that he would not only immortalize his  
own name1 but confer a lasting benefit  
on mankind4 ,filippo1 having resolved to
 devote himself entirely to architecture

 in future1 set out for ,rome in company
 with his friend ,donatello1 without    
imparting his purpose to any one4 ,here 
his mind became so absorbed that he     
labored incessantly1 scarcely allowing  
himself the rest which nature required4 
,he examined1 measured1 and made careful
 drawings of all the edifices1 ruins1   
arches1 and vaults of antiquity2 to     
these he devoted perpetual study1 and if
 by chance he found fragments of        
capitals1 columns1 cornices1 or         
basements of buildings1 partly buried in
 the earth1 he set laborers at work to  
lay them open to view4 ,one day1        
,filippo and ,donatello found an earthen
 vase full of ancient coins1 which      
caused a report to be spread about ,rome
 that the artists were treasure-seekers1
 and this name they often heard1 as they
 passed along the streets1 negligently  
clothed1 the people believing them to be
 men who studied geomancy1 for the      
discovery of treasures4 ,donatello soon 
returned to ,florence1 but ,filippo     

pursued his studies with unremitting    
diligence4 ,having exhausted his means1 
although he lived in the most frugal    
manner1 he contrived to supply his      
wants1 says ,milizia1 by pawning his    
jewels1 but ,vasari with greater        
probability1 by setting precious stones 
for the goldsmiths1 who were his        
friends4 ,nor did he rest1 says ,vasari1
 until he had drawn every description of
 fabric--temples1 round1 square1 or     
octagon2 basilicas1 aqueducts1 baths1   
arches1 the ,colosseum1 amphitheatres1  
and every church built of bricks1 of    
which he examined all the modes of      
binding and clamping1 as well as the    
turning of the vaults and arches2 he    
took note1 likewise1 of all the methods 
used for uniting the stones1 as well as 
of the means used for securing the      
equilibrium and close conjunction of all
 the parts2 and having found that in all
 the larger stones there was a hole1    
formed exactly in the centre of each on 
the under side1 he discovered that this 

was for the insertion of the iron       
instrument with which the stones are    
drawn up1 and which is called by us the 
mason's clamps 7la ulivella71 an        
invention1 the use of which he restored1
 and ever afterwards put in practice4   
,the different orders were next divided 
by his cares1 each order1 the ,doric1   
,ionic1 or ,corinthian being placed     
apart2 and such was the effect of his   
zeal in that study1 that he became      
capable of entirely reconstructing the  
city in his imagination1 and of         
beholding ,rome as she had been before  
she was ruined4 ,but in the year #adjg  
the air of the place caused ,filippo    
some slight indisposition1 when he was  
advised by his friends to try change of 
air4 ,he consequently returned to       
,florence1 where many buildings had     
suffered by his absence1 and for these  
he made many drawings and gave numerous 
counsels on his return4  ,in the same   
year an assemblage of architects and    
engineers was gathered in ,florence1 by 

the ,superintendents of the works of    
,santa ,maria del ,fiore1 and by the    
,syndics of the ,guild of wool-workers1 
to consult on the means by which the    
cupola might be raised4 ,among these    
appeared ,filippo1 who gave it as his   
opinion that the edifice above the roof 
must be constructed1 not after the      
design of ,arnolfo1 but that a frieze1  
fifteen braccia high1 must be erected1  
with a large window in each of its      
sides3 since not only would this take   
the weight off the piers of the tribune1
 but would also permit the cupola itself
 to be more easily raised4  ,the        
obstacles appeared so insuperable to the
 ,superintendents and the ,syndics1 that
 they delayed the execution of the      
cupola for several years4 ,in the       
meantime1 ,filippo secretly made models 
and designs for his cupola1 which       
perpetually occupied his thoughts4 ,he  
boldly asserted that the project was not
 only practicable1 but that it could be 
done with much less difficulty and at   

less expense than was believed4 ,at     
length1 his boldness1 genius1 and       
powerful arguments1 brought many of the 
citizens to his opinion1 though he      
refused to show his models1 because he  
knew the powerful opposition and        
influences he would have to encounter1  
and the almost certain loss of the honor
 of building the cupola1 which he       
coveted above everything else4 ,vasari  
thus continues his admirable history3   
,but one morning the fancy took him1    
hearing that there was some talk of     
providing engineers for the construction
 of the cupola1 of returning to ,rome1  
thinking that he would have more        
reputation and be more sought for from  
abroad1 than if he remained in          
,florence4 ,when ,filippo had returned  
to ,rome accordingly1 the acuteness of  
his genius and his readiness of resource
 were taken into consideration1 when it 
was remembered that in his discourses he
 had showed a confidence and courage    
that had not been found in any of the   

other architects1 who stood confounded1 
together with the builders1 having lost 
all power of proceeding2 for they were  
convinced that no method of constructing
 the cupola would ever be found1 nor any
 beams that would make a scaffold strong
 enough to support the framework and    
weight of so vast an edifice4 ,the      
,superintendents were therefore resolved
 to have an end of the matter1 and wrote
 to ,filippo in ,rome1 entreating him to
 repair to ,florence1 when he1 who      
desired nothing better1 returned very   
readily4 ,the wardens of ,santa ,maria  
del ,fiore and the syndics of the ,guild
 of ,woolworkers1 having assembled on   
his arrival1 set before him all the     
difficulties1 from the greatest to the  
smallest1 which had been made by the    
masters1 who were present1 together with
 himself1 at the audience3 whereupon    
,filippo replied in these               
words--',gentlemen ,superintendents1    
there is no doubt that great            
undertakings always present difficulties

 in their execution2 and if none ever   
did so before1 this of yours does it to 
an extent of which you are not perhaps  
even yet fully aware1 for ,i do not know
 that even the ancients ever raised so  
enormous a vault as this will be4 ,i1   
who have many times reflected on the    
scaffoldings required1 both within and  
without1 and on the method to be pursued
 for working securely at this erection1 
have never been able to come to a       
decision2 and ,i am confounded1 no less 
by the breadth than the height of the   
edifice4 ,now1 if the cupola could be   
arched in a circular form1 we might     
pursue the method adopted by the ,romans
 in erecting the ,pantheon of ,rome2    
that is1 the ,rotunda4 ,but here we must
 follow the eight sides of the building1
 dove-tailing1 and1 so to speak1        
enchaining the stones1 which will be a  
very difficult thing4 ,yet1 remembering 
that this is a temple consecrated to    
,god and the ,virgin1 ,i confidently    
trust1 that for a work executed to their

 honor1 they will not fail to infuse    
knowledge where it is now wanting1 and  
will bestow strength1 wisdom1 and genius
 on him who shall be the author of such 
a project4 ,but how can ,i help you in  
the matter1 seeing that the work is not 
mine8 ,i tell you plainly1 that if it   
belonged to me1 my courage and power    
would beyond all doubt suffice to       
discover means whereby the work might be
 effected without so many difficulties2 
but as yet ,i have not reflected on the 
matter to any extent1 and you would have
 me tell you by what method it is to be 
accomplished4 ,but even if your worships
 should determine that the cupola shall 
be raised1 you will be compelled not    
only to make trial of me1 who do not    
consider myself capable of being the    
sole adviser in so important a matter1  
but also to expend money1 and to command
 that within a year1 and on a fixed day1
 many architects shall assemble in      
,florence2 not ,tuscans and ,italians   
only1 but ,germans1 ,french1 and of     

every other nation3 to them it is that  
such an undertaking should be proposed1 
to the end that having discussed the    
matter and decided among so many        
masters1 the work may be commenced and  
entrusted to him who shall give the best
 evidence of capacity1 or shall display 
the best method and judgment for the    
execution of so great a charge4 ,i am   
not able to offer you other counsel1 or 
to propose a better arrangement than    
this4'  ,the proposal and plan of       
,filippo pleased the ,syndics and       
,wardens of the works1 but they would   
have liked that he should meanwhile     
prepare a model1 on which they might    
have decided4 ,but he showed himself to 
have no such intention1 and taking leave
 of them1 declared that he was solicited
 by letters to return to ,rome4 ,the    
syndics then perceiving that their      
request and those of the wardens did not
 suffice to detain him1 caused several  
of his friends to entreat his stay2 but 
,filippo not yielding to these prayers1 

the wardens1 one morning1 ordered him a 
present of money2 this was on the #bfth 
of ,may1 #adag1 and the sum is to be    
seen among the expenses of ,filippo1 in 
the books of the works4 ,all this was   
done to render him favorable to their   
wishes2 but1 firm to his resolution1 he 
departed nevertheless from ,florence and
 returned to ,rome1 where he continued  
the unremitting study of the same       
subject1 making various arrangements and
 preparing himself for the completion of
 that work1 being convinced1 as was the 
truth1 that no other than himself could 
conduct such an undertaking to its      
conclusion4 ,nor had ,filippo advised   
the syndics to call new architects for  
any other reason1 than was furnished by 
his desire that those masters should be 
the witnesses of his own superior       
genius3 he by no means expected that    
they could or would receive the         
commission for vaulting that tribune1 or
 would undertake the charge1 which he   
believed to be altogether too difficult 

for them4 ,much time was meanwhile      
consumed1 before the architects1 whom   
the syndics had caused to be summoned   
from afar1 could arrive from their      
different countries4 ,orders had been   
given to the ,florentine merchants      
resident in ,france1 ,germany1 ,england1
 and ,spain1 who were authorized to     
spend large sums of money for the       
purpose of sending them1 and were       
commanded to obtain from the sovereigns 
of each realm the most experienced and  
distinguished masters of the respective 
countries4  ,in the year #adbj1 all     
these foreign masters were at length    
assembled in ,florence1 with those of   
,tuscany1 and all the best ,florentine  
artists in design4 ,filippo likewise    
then returned from ,rome4 ,they all     
assembled1 therefore1 in the hall of the
 wardens of ,santa ,maria del ,fiore1   
the ,syndics and ,superintendents1      
together with a select number of the    
most capable and ingenious citizens     
being present1 to the end that having   

heard the opinion of each on the        
subject1 they might at length decide on 
the method to be adopted for vaulting   
the tribune4 ,being called into the     
audience1 the opinions of all were heard
 one after another1 and each architect  
declared the method which he had thought
 of adopting4 ,and a fine thing it was  
to hear the strange and various notions 
then propounded on that matter3 for one 
said that columns must be raised from   
the ground up1 and that on these they   
must turn the arches1 whereon the       
woodwork for supporting the weight must 
rest4 ,others affirmed that the vault   
should be turned in cysteolite or       
sponge-stone 7spugna71 thereby to       
diminish the weight2 and several of the 
masters agreed in the opinion that a    
column must be erected in the centre1   
and the cupola raised in the form of a  
pavilion1 like that of ,san ,giovanni in
 ,florence4 ,nay1 there were not wanting
 those who maintained that it would be a
 good plan to fill the space with earth1

 among which small coins 7quatrini7     
should be mingled1 that when the cupola 
should be raised1 they might then give  
permission that whoever should desire   
the soil might go and fetch it1 when the
 people would immediately carry it away 
without expense4 ,filippo alone declared
 that the cupola might be erected       
without so great a mass of woodwork1    
without a column in the centre1 and     
without the mound of earth2 at a much   
lighter expense than would be caused by 
so many arches1 and very easily1 without
 any framework whatever4  ,hearing this1
 the syndics1 who were listening in the 
expectation of hearing some fine method1
 felt convinced that ,filippo had talked
 like a mere simpleton1 as did the      
superintendents1 and all the other      
citizens2 they derided him therefore1   
laughing at him1 and turning away2 they 
bade him discourse of something else1   
for that this was the talk of a fool or 
madman1 as he was4 ,therefore ,filippo1 
thinking he had cause of offence1       

replied1 ',but consider1 gentlemen1 that
 it is not possible to raise the cupola 
in any other manner than this of mine1  
and although you laugh at me1 yet you   
will be obliged to admit 7if you do not 
mean to be obstinate71 that it neither  
must nor can be done in any other       
manner2 and if it be erected after the  
method that ,i propose1 it must be      
turned in the manner of the pointed     
arch1 and must be double--the one       
vaulting within1 the other without1 in  
such sort that a passage should be      
formed between the two4 ,at the angles  
of the eight walls1 the building must be
 strengthened by the dove-tailing of the
 stones1 and in like manner the walls   
themselves must be girt around by strong
 beams of oak4 ,we must also provide for
 the lights1 the staircases1 and the    
conduits by which the rain-water may be 
carried off4 ,and none of you have      
remembered that we must prepare supports
 within1 for the execution of the       
mosaics1 with many other difficult      

arrangements2 but ,i1 who see the cupola
 raised1 ,i have reflected on all these 
things1 and ,i know that there is no    
other mode of accomplishing them1 than  
that of which ,i have spoken4' ,becoming
 heated as he proceeded1 the more       
,filippo sought to make his views clear 
to his hearers1 that they might         
comprehend and agree with him1 the more 
he awakened their doubts1 and the less  
they confided in him1 so that1 instead  
of giving him their faith1 they held him
 to be a fool and a babbler4 ,whereupon1
 being more than once dismissed1 and    
finally refusing to go1 they caused him 
to be carried forcibly from the audience
 by the servants of the place1          
considering him to be altogether mad4   
,this contemptuous treatment caused     
,filippo at a later period to say1 that 
he dared not at that time pass through  
any part of the city1 lest some one     
should say1 ',see1 where goes that      
fool6' ,the syndics and others forming  
the assembly remained confounded1 first1

 by the difficult methods proposed by   
the other masters1 and next by that of  
,filippo1 which appeared to them stark  
nonsense4 ,he appeared to them to render
 the enterprise impossible by his two   
propositions--first1 by that of making  
the cupola double1 whereby the great    
weight to be sustained would be rendered
 altogether unmanageable1 and next by   
the proposal of building without a      
framework4 ,filippo1 on the other hand1 
who had spent so many years in close    
study to prepare himself for this work1 
knew not to what course to betake       
himself1 and was many times on the point
 of leaving ,florence4 ,still1 if he    
desired to conquer1 it was necessary to 
arm himself with patience1 and he had   
seen enough to know that the heads of   
the city seldom remained long fixed to  
one resolution4 ,he might easily have   
shown them a small model which he had   
secretly made1 but he would not do so1  
knowing the imperfect intelligence of   
the syndics1 the envy of the artists1   

and the instability of the citizens1 who
 favored now one and now another1 as    
each chanced to please them4 ,and ,i do 
not wonder at this1 because every one in
 ,florence professes to know as much of 
these matters1 as do the most           
experienced masters1 although there are 
very few who really understand them2 a  
truth which we may be permitted to      
affirm without offence to those who are 
well informed on the subject4 ,what     
,filippo therefore could not effect     
before the tribunal1 he began to attempt
 with individuals1 and talking apart now
 with a syndic1 now with a warden1 and  
again with different citizens1 showing  
moreover certain parts of his design2 he
 thus brought them at length to resolve 
on confiding the conduct of this work1  
either to him or to one of the foreign  
architects4 ,hereupon1 the syndics1 the 
wardens1 and the citizens1 selected to  
be judges in the matter1 having regained
 courage1 gathered together once again1 
and the architects disputed respecting  

the matter before them2 but all were put
 down and vanquished on sufficient      
grounds by ,filippo1 and here it is said
 that the dispute of the egg arose1 in  
the manner following4 ,the other        
architects desired that ,filippo should 
explain his purpose minutely1 and show  
his model1 as they had shown theirs4    
,this he would not do1 but proposed to  
all the masters1 foreigners and         
compatriots1 that he who could make an  
egg stand upright on a piece of smooth  
marble1 should be appointed to build the
 cupola1 since in doing that1 his genius
 would be made manifest4 ,they took an  
egg accordingly1 and all those masters  
did their best to make it stand upright1
 but none discovered the method of doing
 so4 ,wherefore1 ,filippo1 being told   
that he might make it stand himself1    
took it daintily into his hand1 gave the
 end of it a blow on the plane of the   
marble1 and made it stand upright4#b    
,beholding this1 the artists loudly     
protested1 exclaiming that they could   

all have done the same2 but ,filippo    
replied1 laughing1 that they might also 
know how to construct the cupola1 if    
they had seen the model and design4 ,it 
was thus at length resolved that        
,filippo should receive the charge of   
conducting the work1 but was told that  
he must furnish the syndics and wardens 
with more exact information4  ,he       
returned1 therefore1 to his house1 and  
stated his whole purpose on a sheet of  
paper1 as clearly as he could possibly  
express it1 when it was given to the    
tribunal in the following terms3--',the 
difficulties of this erection being well
 considered1 magnificent signors and    
wardens1 ,i find that it cannot by any  
means be constructed in a perfect       
circle1 since the extent of the upper   
part1 where the lantern has to be       
placed1 would be so vast1 that when a   
weight was laid thereon1 it would soon  
give way4 ,now it appears to me that    
those architects who do not aim at      
giving perpetual duration to their      

fabrics1 cannot have any regard for the 
durability of the memorial1 nor do they 
even know what they are doing4 ,i have  
therefore determined to turn the inner  
part of this vault in angles1 according 
to the form of the walls1 adopting the  
proportions and manner of the pointed   
arch1 this being a form which displays a
 rapid tendency to ascend1 and when     
loaded with the lantern1 each part will 
help to give stability to the other4    
,the thickness of the vault at the base 
must be three braccia and               
three-quarters2 it must then rise in the
 form of a pyramid1 decreasing from     
without up to the point where it closes1
 and where the lantern has to be placed1
 and at this junction the thickness must
 be one braccia and a quarter4 ,a second
 vault shall then be constructed outside
 the first1 to preserve the latter from 
the rain1 and this must be two braccia  
and a half thick at the base1 also      
diminishing proportionally in the form  
of a pyramid1 in such a manner that the 

parts shall have their junction at the  
commencement of the lantern1 as did the 
other1 and at the highest point it must 
have two-thirds of the thickness of the 
base4 ,there must be a buttress at each 
angle1 which will be eight in all1 and  
between the angles1 in the face of each 
wall1 there shall be two1 sixteen in    
all2 and these sixteen buttresses on the
 inner and outer side of each wall must 
each have the breadth of four braccia at
 the base4 ,these two vaults1 built in  
the form of a pyramid1 shall rise       
together in equal proportion to the     
height of the round window closed by the
 lantern4 ,there will thus be           
constructed twenty-four buttresses with 
the said vaults built around1 and six   
strong high arches of a hard stone      
7macigno71 well clamped and bound with  
iron fastenings1 which must be covered  
with tin1 and over these stones shall be
 cramping irons1 by which the vaults    
shall be bound to the buttresses4 ,the  
masonry must be solid1 and must leave no

 vacant space up to the height of five  
braccia and a quarter2 the buttresses   
being then continued1 the arches will be
 separated4 ,the first and second       
courses from the base must be           
strengthened everywhere by long plates  
of macigno laid crosswise1 in such sort 
that both vaults of the cupola shall    
rest on these stones4 ,throughout the   
whole height1 at every ninth braccia    
there shall be small arches constructed 
in the vaults between the buttresses1   
with strong cramps of oak1 whereby the  
buttresses by which the inner vault is  
supported will be bound and             
strengthened2 these fastenings of oak   
shall then be covered with plates of    
iron1 on account of the staircases4 ,the
 buttresses are all to be built of      
macigno1 or other hard stone1 and the   
walls of the cupola are1 in like manner1
 to be all of solid stone bound to the  
buttresses to the height of twenty-four 
braccia1 and thence upward they shall be
 constructed of brick or of spongite    

7spugne71 as shall be determined on by  
the masters who build it1 they using    
that which they consider lightest4 ,on  
the outside1 a passage or gallery shall 
be made above the windows1 which below  
shall form a terrace1 with an open      
parapet or balustrade two braccia high1 
after the manner of those of the lower  
tribunes1 and forming two galleries1 one
 over the other1 placed on a richly     
decorated cornice1 the upper gallery    
being covered4 ,the rain-water shall be 
carried off the cupola by means of a    
marble channel1 one third of an ell     
broad1 the water being discharged at an 
outlet to be constructed of hard stone  
7pietra forte71 beneath the channel4    
,eight ribs of marble shall be formed on
 the angles of the external surface of  
the cupola1 of such thickness as may be 
requisite2 these shall rise to the      
height of one braccia above the cupola1 
with cornices projecting in the manner  
of a roof1 two braccia broad1 that the  
summit may be complete1 and sufficiently

 furnished with eaves and channels on   
every side2 and these must have the form
 of the pyramid1 from their base1 or    
point of junction1 to their extremity4  
,thus the cupola shall be constructed   
after the method described above1 and   
without framework1 to the height of     
thirty braccia1 and from that height    
upwards1 it may be continued after such 
manner as shall be determined on by the 
masters who may have to build it1 since 
practice teaches us by what methods to  
proceed4'  ,when ,filippo had written   
the above1 he repaired in the morning to
 the tribunal1 and gave his paper to the
 syndics and wardens1 who took the whole
 of it into their consideration2 and1   
although they were not able to          
understand it all1 yet seeing the       
confidence of ,filippo1 and finding that
 the other architects gave no evidence  
of having better ground to proceed      
on1--he moreover showing a manifest     
security1 by constantly repeating the   
same things in such a manner that he had

 all the appearance of having vaulted   
ten cupolas3--the ,syndics1 seeing all  
this1 retired apart1 and finally        
resolved to give him the work2 they     
would have liked to see some example of 
the manner in which he meant to turn    
this vault without framework1 but to all
 the rest they gave their approbation4  
,and fortune was favorable to this      
desire3 ,bartolomeo ,barbadori having   
determined to build a chapel in ,santa  
,felicita1 and having spoken concerning 
it with ,filippo1 the latter had        
commenced the work1 and caused the      
chapel1 which is on the right of the    
entrance1 where is also the holy water  
vase 7likewise by the hand of ,filippo71
 to be vaulted without any framework4   
,at the same time he constructed        
another1 in like manner1 for ,stiatta   
,ridolfi1 in the church of ,santo       
,jacopo sopr' ,arno2 that1 namely1      
beside the chapel of the ,high ,altar2  
and these works obtained him more credit
 than was given to his words4 ,the      

consuls and wardens feeling at length   
assured1 by the writing he had given    
them1 and by the works which they had   
seen1 entrusted the cupola to his care1 
and he was made principal master of the 
works by a majority of votes4 ,they     
would nevertheless not commission him to
 proceed beyond the height of twelve    
braccia1 telling him that they desired  
to see how the work would succeed1 but  
that if it proceeded as successfully as 
he expected1 they would not fail to give
 him the appointment for the remainder4 
,the sight of so much obstinacy and     
distrust in the syndics and wardens was 
so surprising to ,filippo1 that if he   
had not known himself to be the only    
person capable of conducting the work1  
he would not have laid a hand upon it2  
but desiring1 as he did1 to secure the  
glory of its completion1 he accepted the
 terms1 and pledged himself to conduct  
the undertaking perfectly to the end4   
,the writing ,filippo had given was     
copied into a book wherein the purveyor 

kept the accounts of the works in wood  
and marble1 together with the obligation
 into which ,filippo had entered as     
above said4 ,an allowance was then made 
to him1 conformably with what had at    
other times been given to other masters 
of the works4  ,when the commission     
given to ,filippo became known to the   
artists and citizens1 some thought well 
of it1 and others ill1 as always is the 
case with a matter which calls forth the
 opinions of the populace1 the          
thoughtless1 and the envious4 ,whilst   
the preparation of materials for        
beginning to build was making1 a party  
was formed among the artists and        
citizens2 and these men proceeding to   
the syndics and wardens1 declared that  
the matter had been concluded too       
hastily1 and that such a work ought not 
to be executed according to the opinion 
of one man only2 they added1 that if the
 syndics and wardens had been destitute 
of distinguished men1 instead of being  
furnished with such in abundance1 they  

would have been excusable1 but that what
 was now done was not likely to redound 
to the honor of the citizens1 seeing1   
that if any accident should happen1 they
 would incur blame1 as persons who had  
conferred too great a charge on one man1
 without considering the losses and     
disgrace that might result to the       
public4 ,all this considered1 it would  
be well to give ,filippo a colleague1   
who might restrain his impetuosity      
7furore74  ,lorenzo ,ghiberti had at    
that time attained to high credit by the
 evidence of his genius1 which he had   
given in the doors of ,san ,giovanni2   
and that he was much beloved by certain 
persons who were very powerful in the   
government was now proved with          
sufficient clearness1 since1 perceiving 
the glory of ,filippo to increase so    
greatly1 they labored in such a manner  
with the syndics and wardens1 under the 
pretext of care and anxiety for the     
building1 that ,ghiberti was united with
 ,filippo in the work4 ,the bitter      

vexation of ,filippo1 the despair into  
which he fell1 when he heard what the   
wardens had done1 may be understood by  
the fact that he was on the point of    
flying from ,florence2 and had it not   
been that ,donato and ,luca della       
,robbia comforted and encouraged him1 he
 would have gone out of his senses4 ,a  
truly wicked and cruel rage is that of  
those men1 who1 blinded by envy1        
endanger the honors and noble works of  
others in the base strife of ambition3  
it was not the fault of these men that  
,filippo did not break in pieces the    
models1 set fire to the designs1 and in 
one half hour destroy all the labors so 
long endured1 and ruin the hopes of so  
many years4 ,the wardens excused        
themselves at first to ,filippo1        
encouraging him to proceed1 reminding   
him that the inventor and author of so  
noble a fabric was still himself1 and no
 other2 but they1 nevertheless1 gave    
,lorenzo a stipend equal to that of     
,filippo4 ,the work was then continued  

with but little pleasure on the part of 
,filippo1 who knew that he must endure  
all the labors connected therewith1 and 
would then have to divide the honor and 
fame equally with ,lorenzo4 ,taking     
courage1 nevertheless1 from the thought 
that he should find a method of         
preventing the latter from remaining    
very long attached to that undertaking1 
he continued to proceed after the manner
 laid down in the writing given to the  
wardens4 ,meanwhile the thought occurred
 to the mind of ,filippo of constructing
 a complete model1 which1 as yet1 had   
never been done4 ,this he commenced     
forthwith1 causing the parts to be made 
by a certain ,bartolomeo1 a joiner1 who 
dwelt near his studio4 ,in this model   
7the measurements of which were in      
strict accordance with those of the     
building itself1 the difference being of
 size only71 all the difficult parts of 
the structure were shown as they were to
 be when completed2 as1 for example1    
staircases lighted and dark1 with every 

other kind of light1 with the buttresses
 and other inventions for giving        
strength to the building1 the doors1 and
 even a portion of the gallery4         
,lorenzo1 having heard of this model1   
desired to see it1 but ,filippo         
refusing1 he became angry1 and made     
preparations for constructing a model of
 his own1 that he might not appear to be
 receiving his salary for nothing1 but  
that he also might seem to count for    
something in the matter4 ,for these     
models ,filippo received fifty lire and 
fifteen soldi1 as we find by an order in
 the book of ,migliore di ,tommaso1     
under date of the #c;d ,october1 #adai1 
while ,lorenzo was paid three hundred   
lire for the labor and cost of his      
model1 a difference occasioned by the   
partiality and favor shown to him1      
rather than merited by any utility or   
benefit secured to the building by the  
model which he had constructed4  ,this  
vexatious state of things continued     
beneath the eyes of ,filippo until the  

year #adbf1c the friends of ,lorenzo    
calling him the inventor of the work1   
equally with ,filippo1 and this caused  
so violent a commotion in the mind of   
the latter1 that he lived in the utmost 
disquietude4 ,various improvements and  
new inventions were1 besides1 presenting
 themselves to his thoughts1 and he     
resolved to rid himself of his colleague
 at all hazards1 knowing of how little  
use he was to the work4 ,filippo had    
already raised the walls of the cupola  
to the height of twelve braccia in both 
vaults1 but the works1 whether in wood  
or stone1 that were to give strength to 
the fabric1 had still to be executed1   
and as this was a matter of difficulty1 
he determined to speak with ,lorenzo    
respecting it1 that he might ascertain  
whether the latter had taken it into    
consideration4 ,but ,lorenzo was so far 
from having thought of this exigency1   
and so entirely unprepared for it1 that 
he replied by declaring that he would   
refer that to ,filippo as the inventor4 

,the answer of ,lorenzo pleased         
,filippo1 who thought he here saw the   
means of removing his colleague from the
 works1 and of making it manifest that  
he did not possess that degree of       
knowledge in the matter that was        
attributed to him by his friends1 and   
implied in the favor which had placed   
him in the situation he held4 ,all the  
builders were now engaged in the work1  
and waited only for directions1 to      
commence the part above the twelve      
braccia1 to raise the vaults1 and render
 all secure4 ,the closing in of the     
cupola towards the top having commenced1
 it was necessary to provide the        
scaffolding1 that the masons and        
laborers might work without danger1     
seeing that the height was such as to   
make the most steady head turn giddy1   
and the firmest spirit shrink1 merely to
 look down from it4 ,the masons and     
other masters were therefore waiting in 
expectation of directions as to the     
manner in which the chains were to be   

applied1 and the scaffoldings erected2  
but1 finding there was nothing          
determined on either by ,lorenzo or     
,filippo1 there arose a murmur among the
 masons and other builders1 at not      
seeing the work pursued with the        
solicitude previously shown2 and as the 
workmen were poor persons who lived by  
the labor of their hands1 and who now   
believed that neither one nor the other 
of the architects had courage enough to 
proceed further with the undertaking1   
they went about the building employing  
themselves as best they could in looking
 over and furbishing up all that had    
been already executed4  ,but one        
morning1 ,filippo did not appear at the 
works3 he tied up his head1 went to bed 
complaining bitterly1 and causing plates
 and towels to be heated with great     
haste and anxiety1 pretending that he   
had an attack of pleurisy4 ,the builders
 who stood waiting directions to proceed
 with their work1 on hearing this1      
demanded orders of ,lorenzo for what    

they were to do2 but he replied that the
 arrangement of the work belonged to    
,filippo1 and that they must wait for   
him4 ',how8' said one of them1 'do you  
not know what his intentions are8'      
',yes1' replied ,lorenzo1 'but ,i would 
not do anything without him4' ,this he  
said by way of excusing himself2 for as 
he had not seen the model of ,filippo1  
and had never asked him what method he  
meant to pursue1 that he might not      
appear ignorant1 so he now felt         
completely out of his depth1 being thus 
referred to his own judgment1 and the   
more so as he knew that he was employed 
in that undertaking against the will of 
,filippo4 ,the illness of the latter    
having already lasted more than two     
days1 the purveyor of the works1 with   
many of the master-builders1 went to see
 him1 and repeatedly asked him to tell  
them what they should do2 but he        
constantly replied1 ',you have ,lorenzo1
 let him begin to do something for      
once4' ,nor could they obtain from him  

any other reply4 ,when this became      
known1 it caused much discussion3 great 
blame was thrown upon the undertaking1  
and many adverse judgments were uttered4
 ,some said that ,filippo had taken to  
his bed from grief1 at finding that he  
had not power to accomplish the erection
 of the ,cupola1 and that he was now    
repenting of having meddled with the    
matter2 but his friends defended him1   
declaring that his vexation might arise 
from the wrong he had suffered in having
 ,lorenzo given to him as a colleague1  
but that his disorder was pleurisy1     
brought on by his excessive labors for  
the work4 ,in the midst of all this     
tumult of tongues1 the building was     
suspended1 and almost all the operations
 of the masons and stone-cutters came to
 a stand4 ,these men murmured against   
,lorenzo1 and said1 ',he is good enough 
at drawing the salary1 but when it comes
 to directing the manner in which we are
 to proceed1 he does nothing2 if        
,filippo were not here1 or if he should 

remain long disabled1 what can ,lorenzo 
do8 and if ,filippo be ill1 is that his 
fault8' ,the wardens1 perceiving the    
discredit that accrued to them from this
 state of things1 resolved to make      
,filippo a visit1 and having reached his
 house1 they first condoled with him on 
his illness1 told him into what disorder
 the building had fallen1 and described 
the troubles which this malady had      
brought on them4 ,whereupon ,filippo1   
speaking with much heat1 partly to keep 
up the feint of illness1 but also in    
part from his interest in the work1     
exclaimed1 ',what6 is not ,lorenzo      
there8 why does not he do something8 ,i 
cannot but wonder at your complaints4'  
,to this the wardens replied1 ',he will 
not do anything without you4' ,whereunto
 ,filippo made answer1 ',but ,i could do
 it well enough without him4' ,this     
acute and doubly significant reply      
sufficed to the wardens1 and they       
departed1 having convinced themselves   
that ,filippo was sick of the desire to 

work alone2 they therefore sent certain 
of his friends to draw him from his bed1
 with the intention of removing ,lorenzo
 from the work4 ,filippo then returned  
to the building1 but seeing the power   
that ,lorenzo possessed by means of the 
favor he enjoyed1 and that he desired to
 receive the salary without taking any  
share whatever in the labor1 he         
bethought himself of another method for 
disgracing him1 and making it publicly  
and fully evident that he had very      
little knowledge of the matter in hand4 
,he consequently made the following     
discourse to the wardens 7,operai7      
,lorenzo being present3--',signori      
,operai1 if the time we have to live    
were as well secured to us as is the    
certainty that we may very quickly die1 
there is no doubt whatever that many    
works would be completed1 which are now 
commenced and left imperfect4 ,the      
malady with which ,i have had the       
misfortune to be attacked1 might have   
deprived me of life1 and put a stop to  

this work2 wherefore1 lest ,i should    
again fall sick1 or ,lorenzo either1    
which ,god forbid1 ,i have considered   
that it would be better for each to     
execute his own portion of the work3 as 
your worships have divided the salary1  
let us also divide the labor1 to the end
 that each1 being incited to show what  
he knows and is capable of performing1  
may proceed with confidence1 to his own 
honor and benefit1 as well as to that of
 the republic4 ,now there are two       
difficult operations which must at this 
time be put into course of              
execution--the one is the erection of   
scaffoldings for enabling the builders  
to work in safety1 and which must be    
prepared both for the inside and outside
 of the fabric1 where they will be      
required to sustain the weight of the   
men1 the stones and the mortar1 with    
space also for the crane to draw up the 
different materials1 and for other      
machines and tools of various kinds4    
,the other difficulty is the chain-work1

 which has to be constructed upon the   
twelve braccia already erected1 this    
being requisite to bind and secure the  
eight sides of the cupola1 and which    
must surround the fabric1 enchaining the
 whole1 in such a manner that the weight
 which has hereafter to be laid on it   
shall press equally on all sides1 the   
parts mutually supporting each other1 so
 that no part of the edifice shall be   
too heavily pressed on or overweighed1  
but that all shall rest firmly on its   
own basis4 ,let ,lorenzo then take one  
of these works1 whichever he may think  
he can most easily execute2 ,i will take
 the other1 and answer for bringing it  
to a successful issue1 that we may lose 
no more time4' ,lorenzo having heard    
this1 was compelled1 for the sake of his
 honor1 to accept one or other of these 
undertakings2 and although he did it    
very unwillingly1 he resolved to take   
the chain work1 thinking that he might  
rely on the counsels of the builders1   
and remembering also that there was a   

chain-work of stone in the vaulting of  
,san ,giovanni di ,fiorenza1 from which 
he might take a part1 if not the whole1 
of the arrangement4 ,one took the       
scaffolds in hand accordingly1 and the  
other the chain-work1 so that both were 
put in progress4 ,the scaffolds of      
,filippo were constructed with so much  
ingenuity and judgment1 that in this    
matter the very contrary of what many   
had before expected was seen to have    
happened1 since the builders worked     
thereon with as much security as they   
would have done on the ground beneath1  
drawing up all the requisite weights and
 standing themselves in perfect safety4 
,the models of these scaffolds were     
deposited in the hall of the wardens4   
,lorenzo executed the chain-work on one 
of the eight walls with the utmost      
difficulty1 and when it was finished the
 wardens caused ,filippo to look at it4 
,he said nothing to them1 but with some 
of his friends he held discourse on the 
subject1 declaring that the building    

required a very different work of       
ligature and security to that one1 laid 
in a manner altogether unlike the method
 there adopted2 for that this would not 
suffice to support the weight which was 
to be laid on it1 the pressure not being
 of sufficient strength and firmness4   
,he added that the sums paid to         
,lorenzo1 with the chain-work which he  
had caused to be constructed1 were so   
much labor1 time1 and money thrown away4
 ,the remarks of ,filippo became known1 
and he was called upon to show the      
manner that ought to be adopted for the 
construction of such a chain-work2      
wherefore1 having already prepared his  
designs and models1 he exhibited them   
immediately1 and they were no sooner    
examined by the wardens and other       
masters1 than they perceived the error  
into which they had fallen by favoring  
,lorenzo4 ,for this they now resolved to
 make amends2 and desiring to prove that
 they were capable of distinguishing    
merit1 they made ,filippo chief and     

superintendent of the whole fabric for  
life1 commanding that nothing should be 
done in the work but as he should       
direct4 ,as a further mark of           
approbation1 they presented him moreover
 with a hundred florins1 ordered by the 
syndics and wardens1 under date of      
,august #ac1 #adbc1 through ,lorenzo    
,paoli1 notary of the administration of 
the works1 and signed by ,gherardo di   
,messer ,filippo ,corsini3 they also    
voted him an allowance of one hundred   
florins for life4 ,whereupon1 having    
taken measures for the future progress  
of the fabric1 ,filippo conducted the   
works with so much solicitude and such  
minute attention1 that there was not a  
stone placed in the building which he   
had not examined4 ,lorenzo on the other 
hand1 finding himself vanquished and in 
a manner disgraced1 was nevertheless so 
powerfully assisted and favored by his  
friends1 that he continued to receive   
his salary1 under the pretext that he   
could not be dismissed until the        

expiration of three years from that     
time4#d  ,drawings and models were      
meanwhile continually prepared by       
,filippo for the most minute portions of
 the building1 for the stages or        
scaffolds for the workmen1 and for the  
machines used in raising the materials4 
,there were nevertheless several        
malicious persons1 friends of ,lorenzo1 
who did not cease to torment him by     
daily bringing forward models in rivalry
 of those constructed by him1 insomuch  
that one was made by ,maestro ,antonio  
da ,verzelli1 and other masters who were
 favored and brought into notice--now by
 one citizen and now by another1 their  
fickleness and mutability betraying the 
insufficiency of their knowledge and the
 weakness of their judgment1 since      
having perfection within their reach1   
they perpetually brought forward the    
imperfect and useless4  ,the chain-work 
was now completed around all the eight  
sides1 and the builders1 animated by    
success1 worked vigorously2 but being   

pressed more than usual by ,filippo1 and
 having received certain reprimands     
concerning the masonry and in relation  
to other matters of daily occurrence1   
discontents began to prevail4 ,moved by 
this circumstance and by their envy1 the
 chiefs among them drew together and got
 up a faction1 declaring that the work  
was a laborious and perilous            
undertaking1 and that they would not    
proceed with the vaulting of the cupola1
 but on condition of receiving large    
payments1 although their wages had      
already been increased and were much    
higher than was usual3 by these means   
they hoped to injure ,filippo and       
increase their own gains4 ,this         
circumstance displeased the wardens     
greatly1 as it did ,filippo also2 but   
the latter1 having reflected on the     
matter1 took his resolution1 and one    
,saturday evening he dismissed them all4
 ,the men seeing themselves thus sent   
about their business1 and not knowing   
how the affair would turn1 were very    

sullen2 but on the following ,monday    
,filippo set ten ,lombards to work at   
the building1 and by remaining          
constantly present with them1 and       
saying1 'do this here' and 'do that     
there1' he taught them so much in one   
day that they were able to continue the 
work during many weeks4 ,the masons1    
seeing themselves thus disgraced as well
 as deprived of their employment1 and   
knowing that they would find no work    
equally profitable1 sent messengers to  
,filippo1 declaring that they would     
willingly return1 and recommending      
themselves to his consideration4        
,filippo kept them for several days in  
suspense1 and seemed not inclined to    
admit them again2 they were afterwards  
reinstated1 but with lower wages than   
they had received at first3 thus where  
they had thought to make gain they      
suffered loss1 and by seeking to revenge
 themselves on ,filippo1 they brought   
injury and shame on their own heads4    
,the tongues of the envious were now    

silenced1 and when the building was seen
 to proceed so happily1 the genius of   
,filippo obtained its due consideration2
 and1 by all who judged dispassionately1
 he was already held to have shown a    
boldness which has1 perhaps1 never      
before been displayed in their works1 by
 any architect1 ancient or modern4 ,this
 opinion was confirmed by the fact that 
,filippo now brought out his model1 in  
which all might see the extraordinary   
amount of thought bestowed on every     
detail of the building4 ,the varied     
invention displayed in the staircases1  
in the provision of lights1 both within 
and without1 so that none might strike  
or injure themselves in the darkness1   
were all made manifest1 with the careful
 consideration evinced by the different 
supports of iron which were placed to   
assist the footsteps wherever the ascent
 was steep4 ,in addition to all this1   
,filippo had even thought of the irons  
for fixing scaffolds within the cupola1 
if ever they should be required for the 

execution of mosaics or pictures2 he had
 selected the least dangerous positions 
for the places of the conduits1 to be   
afterwards constructed for carrying off 
the rain water1 had shown where these   
were to be covered and where uncovered2 
and had moreover contrived different    
outlets and apertures1 whereby the force
 of the winds should be diminished1 to  
the end that neither vapors nor the     
vibrations of the earth1 should have    
power to do injury to the building3 all 
which proved the extent to which he had 
profited by his studies1 during the many
 years of his residence in ,rome4 ,when 
in addition to these things1 the        
superintendents considered how much he  
had accomplished in the shaping1 fixing1
 uniting1 and securing the stones of    
this immense pile1 they were almost     
awe-struck on perceiving that the mind  
of one man had been capable of all that 
,filippo had now proved himself able to 
perform4 ,his powers and facilities     
continually increased1 and that to such 

an extent1 that there was no operation1 
however difficult and complex1 which he 
did not render easy and simple2 of this 
he gave proof in one instance among     
others1 by the employment of wheels and 
counterpoises to raise heavy weights1 so
 that one ox could draw more than six   
pairs could have moved by the ordinary  
methods4 ,the building had now reached  
such a height1 that when a man had once 
arrived at the summit1 it was a very    
great labor to descend to the ground1   
and the workmen lost much time in going 
to their meals1 and to drink2           
arrangements were therefore made by     
,filippo1 for opening wine-shops and    
eating-houses in the cupola2 where the  
required food being sold1 none were     
compelled to leave their labor until the
 evening1 which was a relief and        
convenience to the men1 as well as a    
very important advantage to the work4   
,perceiving the building to proceed     
rapidly1 and finding all his            
undertakings happily successful1 the    

zeal and confidence of ,filippo         
increased1 and he labored perpetually2  
he went himself to the ovens where the  
bricks were made1 examined the clay1    
proved the quality of the working1 and  
when they were baked he would select and
 set them apart1 with his own hands4 ,in
 like manner1 while the stones were     
under the hands of the stone-cutters1 he
 would look narrowly to see that they   
were hard and free from clefts2 he      
supplied the stone-cutters with models  
in wood or wax1 or hastily cut on the   
spot from turnips1 to direct them in the
 shaping and junction of the different  
masses2 he did the same for the men who 
prepared the iron work2 ,filippo        
likewise invented hook hinges1 with the 
mode of fixing them to the door-posts1  
and greatly facilitated the practice of 
architecture1 which was certainly       
brought by his labors to a perfection   
that it would else perhaps never have   
attained among the ,tuscans4  ,in the   
year #adbc1 when the utmost rejoicing   

and festivity was prevailing in         
,florence1 ,filippo was chosen one of   
the ,signori for the district of ,san   
,giovanni1 for the months of ,may and   
,june2 ,lapo ,niccolini being chosen    
,gonfalonier for the district of ,santa 
,croce3 and if ,filippo be found        
registered in the ,priorista as 'di ,ser
 ,brunellesce ,lippi1' this need not    
occasion surprise1 since they called him
 so after his grandfather1 ,lippo1      
instead of 'di ,lapi1' as they ought to 
have done4 ,and this practice is seen to
 prevail in the ,priorista1 with respect
 to many others1 as is well known to all
 who have examined it1 or who are       
acquainted with the custom of those     
times4 ,filippo performed his functions 
carefully in that office2 and in others 
connected with the magistracy of the    
city1 to which he was subsequently      
appointed1 he constantly acquitted      
himself with the most judicious         
consideration4  ,the two vaults of the  
cupola were now approaching their close1

 at the circular window where the       
lantern was to begin1 and there now     
remained to ,filippo1 who had made      
various models in wood and clay1 both of
 the one and the other1 in ,rome and    
,florence1 to decide finally as to which
 of these he would put in execution1    
wherefore he resolved to complete the   
gallery1 and accordingly made different 
plans for it1 which remained in the hall
 of wardens after his death1 but which  
by the neglect of those officials have  
since been lost4 ,but it was not until  
our own days that even a fragment was   
executed on a part of one of the eight  
sides 7to the end that the building     
might be completed72 but as it was not  
in accordance with the plan of ,filippo1
 it was removed by the advice of        
,michael ,angelo ,buonarotti1 and was   
not again attempted4  ,filippo also     
constructed a model for the lantern1    
with his own hand2 it had eight sides1  
the proportions were in harmony with    
those of the cupola1 and for the        

invention as well as variety and        
decoration1 it was certainly very       
beautiful4 ,he did not omit the         
staircase for ascending to the ball1    
which was an admirable thing2 but as he 
had closed the entrance with a morsel of
 wood fixed at the lower part1 no one   
but himself knew its position4 ,filippo 
was now highly renowned1 but            
notwithstanding this1 and although he   
had already overcome the envy and abated
 the arrogance of so many opponents1 he 
could not yet escape the vexation of    
finding that all the masters of         
,florence1 when his model had been seen1
 were setting themselves to make others 
in various manners2 nay1 there was even 
a lady of the ,gaddi family1 who        
ventured to place her knowledge in      
competition with that of ,filippo4 ,the 
latter1 meanwhile1 could not refrain    
from laughing at the presumption of     
these people1 and when he was told by   
certain of his friends that he ought not
 to show his model to any artist lest   

they should learn from it1 he replied   
that there was but one true model1 and  
that the others were good for nothing4  
,some of the other masters had used     
parts of ,filippo's model for their own1
 which1 when the latter perceived1 he   
remarked1 ',the next model made by this 
personage will be mine altogether4' ,the
 work of ,filippo was very highly       
praised1 with the exception1 that1 not  
perceiving the staircase by which the   
ball was to be attained1 the model was  
considered defective on that point4 ,the
 superintendents determined1            
nevertheless1 to give him the commission
 for the work1 but on condition that he 
should show the staircase2#e whereupon  
,filippo1 removing the morsel of wood   
which he had placed at the foot of the  
stair1 showed it constructed as it is   
now seen1 within one of the piers1 and  
presenting the form of a hollow reed or 
blow-pipe1 having a recess or groove on 
one side1 with bars of bronze1 by means 
of which the summit was gradually       

attained4 ,filippo was now at an age    
which rendered it impossible that he    
should live to see the lantern          
completed2 he therefore left directions1
 by his will1 that it should be built   
after the model here described1 and     
according to the rules which he had laid
 down in writing1 affirming that the    
fabric would otherwise be in danger of  
falling1 since1 being constructed with  
the pointed arch1 it required to be     
rendered secure by means of the pressure
 of the weight to be thus added4 ,but1  
though ,filippo could not complete the  
edifice before his death1 he raised the 
lantern to the height of several        
braccia1 causing almost all the marbles 
required for the completion of the      
building to be carefully prepared and   
brought to the place4 ,at the sight of  
these huge masses as they arrived1 the  
people stood amazed1 marvelling that it 
should be possible for ,filippo to      
propose the laying of such a weight on  
the cupola4 ,it was1 indeed1 the opinion

 of many intelligent men that it could  
not possibly support that weight4 ,it   
appeared to them to be a piece of good  
fortune that he had conducted it so far1
 and they considered the loading it so  
heavy to be a tempting of ,providence4  
,filippo constantly laughed at these    
fears1 and having prepared all the      
machines and instruments required for   
the construction of the edifice1 he     
ceased not to employ all his time in    
taking thought for its future           
requirements1 providing and preparing   
all the minutiae1 even to guarding      
against the danger of the marbles being 
chipped as they were drawn up3 to which 
intent the arches of the tabernacles    
were built within defences of woodwork2 
and for all beside the master gave      
models and written directions1 as we    
have said4  ,how beautiful this building
 is1 it will itself bear testimony4     
,with respect to the height1 from the   
level ground to the commencement of the 
lantern1 there are one hundred and      

fifty-four braccia2#f the body of the   
lanthorn is thirty-six braccia high2 the
 copper ball four braccia2 the cross    
eight braccia2 in all two hundred and   
two braccia4 ,and it may be confidently 
affirmed that the ancients never carried
 their buildings to so vast a height1   
nor committed themselves to so great a  
risk as to dare a competition with the  
heavens1 which this structure verily    
appears to do1 seeing that it rears     
itself to such an elevation that the    
hills around ,florence do not appear to 
equal it4 ,and of a truth it might seem 
that the heavens were envious of its    
height1 since their lightnings          
perpetually strike it4 ,while this work 
was in progress1 ,filippo constructed   
many other fabrics4                     
,,brunelleschi',s ,,enthusiasm4   ,one  
morning1 as ,brunelleschi was amusing   
himself on the ,piazza di ,santa ,maria 
del ,fiore1 in company with ,donatello  
and other artists1 the conversation     
happened to turn on ancient sculpture4  

,donatello related that when he was     
returning from ,rome1 he had taken the  
road of ,orvieto1 to see the remarkable 
facade of the ,cathedral of that city--a
 highly celebrated work1 executed by    
various masters1 and considered in those
 days a very remarkable production4 ,he 
added that as he was passing through    
,cortona1 he had seen in the capitular  
church of that city a most beautiful    
antique marble vase1 adorned with       
sculpture--a rare thing at that time1 as
 most of the beautiful works of         
antiquity have since been brought to    
light4 ,as ,donatello proceeded to      
describe the manner in which the artist 
had treated this work1 the delicacy1    
beauty1 and perfection of the           
workmanship1 ,filippo became inflamed   
with such an ardent desire to see it1   
that he set off immediately1 on foot1 to
 ,cortona1 dressed as he was in his     
mantle1 hood1 and wooden shoes1 without 
communicating his purpose to any one4   
,finding that ,donatello had not been   

too lavish of his praise1 he drew the   
vase1 returned to ,florence1 and        
surprised his friends with the accurate 
drawing he had made1 before they knew of
 his departure1 they believing that he  
must be occupied with his inventions4   
,this urn1 or funeral vase1 according to
 the ,florentine editors of ,vasari1 is 
still in the ,cathedral of ,cortona4    
,the sculptures represent the ,battle of
 the ,centaurs and ,lapithae1 or as some
 say1 a ,warlike ,expedition of         
,bacchus4 ,the design and workmanship   
are exquisite4 ,it was found in a field 
without the city1 and almost close to   
the ,cathedral4     ,,brunelleschi ,,and
 ,,donatello4   ,among other works1 says
 ,vasari1 ,donato received an order for 
a crucifix in wood1 for the church of   
,santa ,croce at ,florence1 on which he 
bestowed extraordinary labor4 ,when the 
work was completed1 believing himself to
 have produced an admirable thing1 he   
showed it to ,filippo di ,ser           
,brunellesco1 his most intimate friend1 

desiring to have his opinion of it4     
,filippo1 who had expected from the     
words of ,donato1 to see a much finer   
production1 smiled somewhat as he       
regarded it1 and ,donato seeing this1   
entreated him by the friendship existing
 between them1 to say what he thought of
 it4 ,whereupon ,filippo1 who was       
exceedingly frank1 replied that         
,donatello appeared to him to have      
placed a clown on the cross1 and not a  
figure resembling that of ,jesus        
,christ1 whose person was delicately    
beautiful1 and in all parts the most    
perfect form of man that had ever been  
born4 ,donato hearing himself censured  
where he had expected praise1 and more  
hurt than he was perhaps willing to     
admit1 replied1 ',if it were as easy to 
execute a work as to judge it1 my figure
 would appear to thee to be ,christ and 
not a boor2 but take wood1 and try to   
make one thyself4' ,filippo1 without    
saying anything more1 returned home1 and
 set to work on a crucifix1 wherein he  

labored to surpass ,donato1 that he     
might not be condemned by his own       
judgment2 but he suffered no one to know
 what he was doing4 ,at the end of some 
months1 the work was completed to the   
height of perfection1 and this done1    
,filippo one morning invited ,donato to 
dine with him1 and the latter accepted  
the invitation4 ,thereupon1 as they were
 proceeding together towards the house  
of ,filippo1 they passed by the ,mercato
 ,vecchio1 where the latter purchased   
various articles1 and giving them to    
,donato1 said1 ',do thou go forward with
 these things to the house1 and wait for
 me there2 ,i'll be after thee in a     
moment4' ,donato1 therefore1 having     
entered the house1 had no sooner done so
 than he saw the crucifix1 which        
,filippo had placed in a suitable light4
 ,stopping short to examine the work1 he
 found it so perfectly executed1 that   
feeling himself conquered1 full of      
astonishment1 and1 as it were startled  
out of himself1 he dropped the hands    

which were holding up his apron1 wherein
 he had placed the purchases1 when the  
whole fell to the ground1 eggs1 cheese1 
and other things1 all broken to pieces  
and mingled together4 ,but ,donato1 not 
recovering from his astonishment1       
remained still gazing in amazement and  
like one out of his wits when ,filippo  
arrived1 and inquired1 laughing1 ',what 
hast thou been about1 ,donato8 and what 
dost thou mean us to have for dinner1   
since thou hast overturned everything8' 
',i1 for my part1' replied ,donato1     
'have had my share of dinner for to-day2
 if thou must needs have thine1 take it4
 ,but enough said3 to thee it has been  
given to represent ,christ2 to me1 boors
 only4' ,this crucifix now adorns the   
altar of the chapel of the ,gondi4      
,,donatello4   ,this old ,florentine    
sculptor was born in #achc4 ,he was the 
first of the moderns who forsook the    
stiff and gothic manner1 and endeavored 
to restore to sculpture the grace and   
beauty of the antique4 ,he executed a   

multitude of works in wood1 marble and  
bronze1 consisting of images1 statues1  
busts1 basso-relievos1 monuments1       
equestrian statues1 etc4 which gained   
him great reputation1 and some of which 
are much esteemed at the present day4   
,he was much patronized by ,cosmo de'   
,medici1 and his son ,pietro4  ,among   
,donatello's principal works1 are three 
statues1 each three braccia and a half  
high1 7,vasari erroneously says four1   
and each five braccia high71 for the    
facade of the church of ,santa ,maria   
del ,fiore1 which faces the ,campanile4 
,they represent ,st4 ,john2 ,david1     
called ,lo ,zuccone 7so called1 because 
bald-headed72 and ,solomon1 or as some  
say1 the prophet ,jeremiah4 ,the        
,zuccone is considered the most         
extraordinary and the most beautiful    
work ever produced by ,donatello1 who1  
while working on it1 was so delighted   
with his success1 that he frequently    
exclaimed1 ,speak then6 why wilt thou   
not speak8 ,whenever he wished to affirm

 a thing in a manner that should        
preclude all doubt1 he would say1 ,by   
the faith ,i place in my ,zuccone4      
,,donatello ,,and ,,the ,,merchant4   ,a
 rich ,genoese merchant commissioned    
,donatello to execute his bust in       
bronze1 of life size4 ,when the work was
 completed1 it was pronounced a capital 
performance1 and ,cosmo de' ,medici1 who
 was the friend of both parties1 caused 
it to be placed in the upper court of   
the palace1 between the battlements     
which overlook the street1 that it might
 be seen by the citizens4 ,when the     
merchant1 unacquainted with the value of
 such works1 came to pay for it1 the    
price demanded appeared to him so       
exorbitant that he refused to take it1  
whereupon the mutter was referred to    
,cosmo4 ,when the latter sought to      
settle the difference1 he found the     
offer of the merchant to be very far    
from the just demand of ,donatello1 and 
turning towards him1 observed that he   
offered too small compensation4 ,the    

merchant replied that ,donatello could  
have made it in a month1 and would thus 
be gaining half a florin a day 7about   
one dollar74 ,donatello1 disgusted and  
stung with rage1 told the merchant that 
he had found means in the hundredth part
 of an hour to destroy the whole labor  
and cures of a year1 and knocked the    
bust out of the window1 which was dashed
 to pieces on the pavement below1       
observing1 at the same time1 that it was
 evident he was better versed in        
bargaining for horse-beans than in      
purchasing statues4 ,the merchant now   
ashamed of his conduct1 and regretting  
what had happened1 offered him double   
his price if he would reconstruct the   
bust1--but ,donatello1 though poor1     
flatly refused to do it on any terms1   
even at the request of ,cosmo himself4  
,,donatello ,,and ,,his ,,kinsman4      
,when ,donatello was very sick1 certain 
of his kinsfolk1 who were well to do in 
the world1 but had not visited him in   
many years1 went to condole with him in 

his last illness4 ,before they left1    
they told him it was his duty to leave  
to them a small farm which he had in the
 territories of ,prato1 and this they   
begged very earnestly1 though it was    
small and produced a very small income4 
,donatello1 perceiving the motive of    
their visit1 thus rebuked them3 ,i      
cannot content you in this matter1      
kinsmen1 because ,i resolve--and it     
appears to me just and proper--to leave 
the farm to the poor husbandman who has 
always tilled it1 and who has bestowed  
great labor on it2 not to you1 who      
without ever having done anything for   
it1 or for me1 but only thought of      
obtaining it1 now come with this visit  
of yours1 desiring that ,i should leave 
it to you4 ,go6 and the ,lord be with   
you4     ,,death ,,of ,,donatello4      
,donatello died on the #acth of         
,december1 #adff4 ,he was buried with   
great pomp and solemnity in the church  
of ,san ,lorenzo1 near the tomb of      
,cosmo1 as he himself had commanded 7for

 he had purchased the right71 to the    
end1 as he said1 that his body might be 
near him when dead1 as his spirit had   
ever been near him when in life4        
,bottari observes that another reason   
for his choice of ,san ,lorenzo1 may    
have been that many of his works were in
 that church4     ,,donatello ,,and     
,,michael ,,angelo ,,compared4   ,i will
 not omit to mention1 says ,vasari1 that
 the most learned and very reverend ,don
 ,vincenzio ,borghini1 of whom we have  
before spoken in relation to other      
matters1 has collected into a large     
book1 innumerable drawings of           
distinguished painters and sculptors1   
ancient as well as modern1 and among    
these are two drawings on two leaves    
opposite to each other1 one of which is 
by ,donato1 and the other by ,michael   
,angelo ,buonarroti4 ,on these he has   
with much judgment inscribed the two    
,greek mottos which follow2 on the      
drawing of ,donato1 ,greek3 ,e ,donatos 
,bonarrotixei1 and on that of ,michael  

,angelo1 ,greek3 ,e ,bonarrotos         
,donatixei1 which in ,latin ran thus3   
,aut ,donatus ,bonarrotom exprimit et   
refert1 aut ,bonarrotus ,donatum2 and in
 our language they mean1 ',either the   
spirit of ,donato worked in ,buonarroti1
 or that of ,buonarroti first acted in  
,donato4'     ,,sofonisba               
,,anguisciola',s ,,early ,,distinction4 
,this noble lady of ,cremona 7born about
 #aecj71 was one of six sisters1 all    
amiable1 and much distinguished in arts 
and letters4 ,she displayed a taste for 
drawing at a very early age1 and soon   
became the best pupil in the school of  
,antonio ,campi4 ,one of her early      
sketches1 of a boy caught with his hand 
in the claw of a lobster1 with a little 
girl laughing at his plight1 was in     
possession of ,vasari1 and by him       
esteemed worthy of a place in a volume  
which he had filled with drawings by the
 most famous masters of that great age4 
,portraiture was her chief study2 and   
,vasari commends a picture which he saw 

at her father's house1 of three of the  
sisters1 and an ancient housekeeper of  
the family playing at chess1 as a work  
painted with so much skill and care1    
that the figures wanted only voice to   
appear alive4 ,he also praises a        
portrait which she painted of herself1  
and presented to ,pope ,julius ,,iii41  
who died in #aeee1 which shows that she 
must have attracted the notice of       
princes while yet in her girlhood4 ,at  
,milan1 whither she accompanied her     
father1 she painted the portrait of the 
,duke of ,sessa1 the ,viceroy1 who      
rewarded her with four pieces of brocade
 and various rich gifts4                
,,sofonisba',s ,,visit ,,to ,,spain4    
,her name having become famous in       
,italy1 in #aeei1 the ,king of ,spain   
ordered the ,duke of ,alba1 who was then
 at ,rome1 to invite her to the court of
 ,madrid4 ,she arrived there in the same
 year1 and was received with great      
distinction1 and lodged in the palace4  
,her first work was the portrait of the 

king1 who was so much pleased with the  
performance that he rewarded her with a 
diamond worth #aejj ducats1 and settled 
upon her a pension of #bjj ducats4 ,her 
next sitters were the young queen       
,elizabeth of ,valois1 known in ,spain  
as ,isabel of the ,peace1 then in the   
bloom of bridal beauty1 and the unhappy 
boy1 ,don ,carlos4 ,by the desire of    
,pope ,pius ,,iv41 she made a second    
portrait of the ,queen1 sent to his     
,holiness with a dutiful letter1 which  
,vasari has preserved1 as well as the   
gracious reply of the pontiff1 who      
assures her that her painting shall be  
placed among his most precious          
treasures4 ,sofonisba held the post of  
lady-in-waiting to the queen1 and was   
for some time governess to her daughter1
 the ,infanta ,isabella ,clara          
,eugenia1--an appointment which proves  
that she must have resided in ,spain for
 some time after #aeff1 the year of that
 princess' birth4     ,,sofonisba',s    
,,marriages4   ,her royal patrons at    

last married their fair artist1 now     
arrived to a mature age1 to ,don        
,fabrizio de ,moncada1 a noble          
,sicilian1 giving her a dowry of #ab1jjj
 ducats and a pension of #a1jjj1 besides
 many rich presents in tapestries and   
jewels4 ,the newly wedded pair retired  
to ,palermo1 where the husband died some
 years after4 ,sofonisba was then       
invited back to the court of ,madrid1   
but excused herself on account of her   
desire to see ,cremona and her kindred  
once more4 ,embarking for this purpose  
on board of a ,genoese galley1 she was  
entertained with such gallant courtesy  
by the captain1 ,orazio ,lomellini1 one 
of the merchant princes of the city of  
,palaces1 that she fell in love with    
him1 and1 according to ,soprani1 offered
 him her hand in marriage1 which he     
accepted4 ,on hearing of her second     
nuptials1 their ,catholic ,majesties    
added #djj crowns to her pension4       
,,sofonisba',s ,,residence ,,at ,,genoa1
 ,,and ,,her ,,intercourse ,,with       

,,vandyck4   ,after her second marriage1
 ,sofonisba continued to pursue the art 
at ,genoa1 where her house became the   
resort of all the polished and          
intellectual society of the ,republic4  
,the ,empress of ,germany paid her a    
visit on her way to ,spain1 and accepted
 a little picture1--one of the most     
finished and beautiful of her works4    
,she was also visited by her former     
charge1 the ,infanta1 then the wife of  
the ,archduke ,albert1 and with him     
co-sovereign of ,flanders4 ,that        
princess spent many hours in conversing 
with her of by-gone days and family     
affairs2 she also sat for her portrait1 
and presented ,sofonisba with a gold    
chain enriched with jewels1 as a        
memorial of their friendship4 ,thus     
courted in the society of ,genoa1 and   
caressed by royalty1 this eminent       
paintress lived to the extreme age of   
ninety-three years4 ,a medal was struck 
in her honor at ,bologna2 artists       
listened reverentially to her opinions2 

and poets sang her praises4 ,though     
deprived of sight in her latter years1  
she retained to the last her other      
faculties1 her love of art1 and her     
relish for the society of its           
professors4 ,vandyck was frequently her 
guest during his residence at ,genoa1 in
 #afba2 and he used to say of her that  
he had learned more of the practical    
principles of the art from a blind      
woman1 than by studying all the works of
 the best ,italian masters4             
,,carriera ,,rosalba4   ,this celebrated
 ,italian paintress was born at         
,chiozza1 near ,venice1 in #afge4 ,she  
acquired an immense reputation1 and was 
invited to several of the courts of     
,europe4 ,few artists have equalled     
,rosalba in crayon painting4            
,,rosalba',s ,,modesty4                 
,notwithstanding she received so many   
flattering marks of distinction from    
crowned heads1 ,rosalba's native modesty
 never deserted her1 and she seemed to  
esteem her works less than did many of  

her admirers1 because she was sensible  
how far she fell short of her idea of   
perfection4 ,everything ,i do1 said she1
 seems good enough to me just after ,i  
have done it1 and perhaps for a few     
hours afterwards1 but then ,i begin to  
discover my imperfections6 ,thus it is  
with true merit2 those who are          
superficial or pretending can never find
 out1 or never will acknowledge their   
own faults4     ,,rosalba',s ,,knowledge
 ,,of ,,tempers4   ,rosalba used to say1
 ,i have so long been accustomed to     
study features1 and the expression of   
the mind by them1 that ,i know people's 
tempers by their faces4 ,she frequently 
surprised her friends by the accuracy of
 character which she read in the faces  
of persons who were entire strangers to 
her4     ,,elizabeth ,,sirani4          
,elizabeth ,sirani was born at ,bologna 
in #afch4 ,she early exhibited the most 
extraordinary talent for painting1 which
 was perfectly cultivated by her father1
 ,gio4 ,andrea ,sirani1 an excellent    

disciple and imitator of ,guido4 ,she   
attached herself to an imitation of the 
best style of ,guido1 which unites great
 relief with the most captivating       
amenity4 ,her first public work appeared
 in #afee1 when she was seventeen years 
of age4 ,it is almost incredible that in
 a short life of not more than          
twenty-six or twenty-seven years1 she   
could have executed the long list of    
works enumerated by ,malvasia1 copied   
from a register kept by herself1        
amounting to upwards of one hundred and 
fifty pictures and portraits2 and our   
astonishment is increased1 when we are  
told by the same author1 that many of   
them are pictures and altar-pieces of   
large size1 and finished with a care    
that excludes all appearance of         
negligence and haste4 ,there are quite a
 number of her works in the churches of 
,bologna4 ,lanzi also speaks of her in  
terms of high commendation1 and says1   
that in her smaller works1 painted by   
commission1 she still improved herself1 

as may be seen by her numerous pictures 
of ,madonnas1 ,magdalens1 saints1 and   
the infant ,saviour1 found in the       
,zampieri1 ,zambeccari1 and ,caprara    
palaces at ,bologna1 and in the ,corsini
 and ,bolognetti collections at ,rome4  
,she received many commissions from many
 of the sovereigns and most             
distinguished persons of ,europe4 ,she  
had two sisters1 ,anna and ,barbara1    
whom1 according to ,crespi1 she         
instructed in the art1 and who possessed
 considerable talent4 ,her fame was so  
great1 that after her death not only the
 works of her sisters1 but many of those
 of her father1 were attributed to her4 
,lanzi says1 ,she is nearly the sole    
individual of the family whose name     
occurs in collections out of ,bologna4  
,she also executed some spirited        
etchings mostly from her own designs4   
,,death ,,of ,,elizabeth ,,sirani4      
,this accomplished1 amiable1 and        
talented lady was cut off in the flower 
of her life1 ,august #bith1 #affe1 by   

poison1 administered by one of her own  
maids1 instigated1 as is supposed1 by   
some jealous young artists4 ,her        
melancholy death was bewailed with      
demonstrations of public sorrow1 and her
 remains were interred with great pomp  
and solemnity in the church of ,s4      
,domenico1 in the same vault where      
reposed the ashes of ,guido4            
,,rachel ,,ruysch4   ,this celebrated   
paintress of fruit and flowers was born 
at ,amsterdam in #affd4 ,she was the    
daughter of ,frederick ,ruisch or       
,ruysch1 the celebrated professor of    
anatomy4 ,she early showed an           
extraordinary taste for depicting fruit 
and flowers1 and attained to such       
perfection in her art1 that some have   
not hesitated to equal and even prefer  
her works to those of ,john van ,huysum4
 ,she grouped her flowers in the most   
tasteful and picturesque manner1 and    
depicted them with a grace and          
brilliancy that rivalled nature4        
,descamps says that in her pictures of  

fruit and flowers1 she surpassed nature 
herself4 ,the extraordinary talents of  
this lady recommended her to the        
patronage of the ,elector ,palatine--a  
great admirer of her pictures--for whom 
she executed some of her choicest works1
 and received for them a munificent     
reward4 ,though she exercised her       
talents to an advanced age1 her works   
are exceedingly rare1 so great was the  
labor bestowed upon them4 ,she spent    
seven years in painting two pictures1 a 
fruit and a flower piece1 which she     
presented to one of her daughters as a  
marriage portion4 ,she married ,jurian  
,pool1 an eminent portrait painter1 by  
whom she had ten children2 she is       
frequently called by his name1 though   
she always signed her pictures with her 
maiden name4 ,smith1 in his ,catalogue  
raisonne1 vols4 vi4 and ix41 gives a    
description of only about thirty pieces 
by her--a proof of their extreme rarity4
 ,they now command very high prices when
 offered for sale1 which rarely happens4

 ,she died in #agfj1 aged #hf years4    
,,sir ,,anthony ,,vandyck4   ,this      
eminent ,flemish painter was born at    
,antwerp in #aeii4 ,his father early    
gave him instruction in drawing2 he was 
also instructed by his mother1 who      
painted landscapes1 and was very        
skillful in embroidery4 ,he studied     
afterwards under ,henry van ,balen1 and 
made rapid progress in the art2 but     
attracted by the fame of ,rubens1 he    
entered the school of that master1 and  
showed so much ability as to be soon    
entrusted with the execution of some of 
his instructor's designs4 ,some writers1
 among whom ,d',argenville was the      
first1 assert that ,rubens became       
jealous of ,vandyck's growing           
excellence1 and therefore advised him to
 devote himself to portrait painting2   
assigning the following anecdote as the 
cause of his jealousy4 ,during the short
 absences of ,rubens from his house1 for
 the purpose of recreation1 his         
disciples frequently obtained access to 

his studio1 by means of bribing an old  
servant who kept the keys2 and on one of
 these occasions1 while they were all   
eagerly pressing forward to view the    
great picture of the ,descent from the  
,cross 7although later investigations   
concerning dates seem to indicate that  
it was some other picture71 ,diepenbeck 
accidentally fell against the canvas1   
effacing the face of the ,virgin1 and   
the ,magdalen's arm1 which had just been
 finished1 and were not yet dry4        
,fearful of expulsion from the school1  
the terrified pupils chose ,vandyck to  
restore the work1 and he completed it   
the same day with such success that     
,rubens did not at first perceive the   
change1 and afterwards concluded not to 
alter it4 ,walpole entertains a         
different and more rational view        
respecting ,rubens' supposed jealousy3  
he thinks that ,vandyck felt the        
hopelessness of surpassing his master in
 historical painting1 and therefore     
resolved to devote himself to portrait4 

,one authority states that the above    
mentioned incident only increased       
,rubens' esteem for his pupil1 in       
perfect accordance with the             
distinguished character for generosity  
and liberality1 which that great master 
so often evinced1 and which forms very  
strong presumptive evidence against so  
base an accusation4 ,besides1 his advice
 to ,vandyck to visit ,italy--where his 
own powers had been1 as his pupil's     
would be1 greatly strengthened--may be  
considered as sufficient to refute it   
entirely4 ,they appear to have parted on
 the best terms2 ,vandyck presented     
,rubens with an ,ecce ,homo1 ,christ in 
the ,garden1 and a portrait of ,helen   
,forman1 ,rubens' second wife2 he was   
presented in return1 by ,rubens1 with   
one of his finest horses4               
,,vandyck',s ,,visit ,,to ,,italy4   ,at
 the age of twenty1 ,vandyck set out for
 ,italy1 but delayed some time at       
,brussels1 fascinated by the charms of a
 peasant girl of ,saveltheim1 named     

,anna van ,ophem1 who persuaded him to  
paint two pictures for the church of her
 native place--a ,st4 ,martin on        
horseback1 painted from himself and the 
horse given him by ,rubens2 and a ,holy 
,family1 for which the girl and her     
parents were the models4 ,on arriving in
 ,italy1 he spent some time at ,venice1 
studying with great attention the works 
of ,titian2 after which he visited      
,genoa1 and painted many excellent      
portraits for the nobility1 as well as  
several pictures for the churches and   
private collections1 which gained him   
great applause4 ,from ,genoa he went to 
,rome1 where he was also much employed1 
and lived in great style4 ,his portrait 
of ,cardinal ,bentivoglio1 painted about
 this time1 is one of his masterpieces1 
and in every respect an admirable       
picture2 it is now in the ,palazzo      
,pitti1 at ,florence1 hanging near      
,raffaelle's celebrated portrait of ,leo
 ,x4 ,vandyck was known at ,rome as the 
,pittore ,cavalieresco2 his countrymen  

there being men of low and intemperate  
habits1 he avoided their society1 and   
was thenceforward so greatly annoyed by 
their criticisms and revilings1 that he 
was obliged to leave ,rome about #afbe1 
and return to ,genoa1 where he met with 
a flattering reception1 and plentiful   
encouragement4 ,invited to ,palermo1 he 
visited that city1 and painted the      
portraits of ,prince ,philibert of      
,savoy1 the ,viceroy of ,sicily1 and    
several distinguished persons1 among    
whom was the celebrated paintress       
,sofonisba ,anguisciola1 then in her    
#ib;d year2 but the plague breaking out1
 he returned to ,genoa1 and thence to   
his own country4     ,,vandyck',s       
,,return ,,to ,,antwerp4   ,on his      
return to ,antwerp1 whither his         
reputation had preceded him1 ,vandyck   
was speedily employed by various        
religious societies1 and his picture of 
,st4 ,augustine for the church of the   
,augustines in that city1 established   
his reputation among the first painters 

of his time4 ,he painted other          
historical pictures1 for the principal  
public edifices at ,antwerp1 ,brussels1 
,mechlin1 and ,ghent2 but acquired      
greater fame by his portraits1          
particularly his well known series of   
the eminent artists of his time1 which  
were engraved by ,vorstermans1 ,pontius1
 ,bolswert1 and others4 ,his brilliant  
reputation at length roused the jealousy
 of his cotemporaries1 many of whom were
 indefatigable in their intrigues to    
calumniate his works4 ,in addition to   
these annoyances1 the conduct of the    
canons of the ,collegiate church of     
,courtray1 for whom he painted an       
admirable picture of the ,elevation of  
the ,cross1 proved too much for his     
endurance4 ,after he had exerted all his
 powers to produce a masterpiece of art1
 the canons1 upon viewing the picture1  
pronounced it a contemptible            
performance1 and the artist a miserable 
dauber2 and ,vandyck could hardly obtain
 payment for his work4 ,when the picture

 had received high commendation from    
good judges1 they became sensible of    
their error1 and requested him to       
execute two more works2 but the         
indignant artist refused the commission4
 ,disgusted with such treatment1        
,vandyck readily accepted an invitation 
to visit the ,hague1 from ,frederick1   
,prince of ,orange1 whose portrait he   
painted1 and those of his family1 the   
principal personages of his court1 and  
the foreign ambassadors4                
,,vandyck',s ,,visit ,,to ,,england4    
,hearing of the great encouragement     
extended to the arts by ,charles ,i41 he
 determined to visit ,england in #afbi4 
,while there1 he lodged with his friend 
and countryman1 ,george ,geldorp the    
painter1 and expected to be presented to
 the king2 but his hopes not being      
realized1 he visited ,paris2 and meeting
 no better success there1 be returned to
 his own country1 with the intention of 
remaining there during the rest of his  
life4 ,charles1 however1 having seen a  

portrait by ,vandyck1 of the musician1  
,fic4 ,laniere1 director of the music of
 the king's chapel1 requested ,sir      
,kenelm ,digby to invite him to return  
to ,england4 ,accordingly1 in #afca1 he 
arrived a second time at ,london1 and   
was received by the king in a flattering
 manner4 ,he was lodged at ,blackfriars1
 among the ,king's artists1 where his   
majesty frequently went to sit for his  
portrait1 as well as to enjoy the       
society of the painter4 ,the honor of   
knighthood was conferred upon him in    
#afcb1 and the following year he was    
appointed painter to the king1 with an  
annuity of ,l#bjj4  ,prosperity now     
flowed in upon the ,fleming in          
abundance1 and although he operated with
 the greatest industry and facility1    
painting single portraits in one day1 he
 could hardly fulfill all his           
commissions4 ,naturally fond of display1
 he kept a splendid establishment1 and  
his sumptuous table was frequented by   
persons of the highest distinction4 ,he 

often detained his sitters to dinner1   
where he had an opportunity to observe  
more of their peculiar characteristics1 
and retouched their pictures in the     
afternoon4 ,notwithstanding his         
distinguished success1 he does not      
appear to have been satisfied with      
eminence in portrait painting2 and not  
long after his marriage with ,maria     
,ruthven1 granddaughter of ,lord        
,gowrie1 he went to ,antwerp with his   
lady1 on a visit to his family and      
friends1 and thence proceeded to ,paris4
 ,the fame which ,rubens had acquired by
 his celebrated performances at the     
,luxembourg1 rendered ,vandyck desirous 
to execute the decorations at the       
,louvre2 but on arriving at the ,french 
capital1 he found the commission        
disposed of to ,nicholas ,poussin4 ,he  
soon returned to ,england1 and being    
still desirous of executing some great  
work1 proposed to the king through ,sir 
,kenelm ,digby1 to decorate the walls of
 the ,banqueting ,house 7of which the   

ceiling was already adorned by ,rubens71
 with the ,history and ,progress of the 
,order of the ,garter4 ,the sum demanded
 was ,l#hjjj1 and while the king was    
treating with him for a less amount1 the
 project was terminated by the death of 
,vandyck1 ,december #ith1 #afda1 aged   
#db years4 ,he was buried with          
extraordinary honors in ,st4 ,paul's    
cathedral4 ,his high living had brought 
on the gout during his latter years1 and
 luxury had considerably reduced his    
fortune1 which he endeavored to repair  
by the study of alchemy4 ,he left       
property amounting to about ,l#bj1jjj4  
,in his private character1 ,vandyck was 
universally esteemed for the urbanity of
 his manners1 and his generous patronage
 to all who excelled in any science or  
art1 many of whose portraits he painted 
gratuitously4     ,,william ,,van ,,de  
,,velde1 ,,the ,,elder4   ,this eminent 
,dutch marine painter was born at       
,leyden1 in #afaj4 ,he drew everything  
after nature1 and was one of the most   

correct1 spirited1 and admirable        
designers of marine subjects4 ,he made  
an incredible number of drawings on     
paper1 heightened with ,india ink1 all  
of them sketched from nature with       
uncommon elegance and fidelity4 ,his    
talents recommended him to the notice of
 the ,states of ,holland1 and ,descamps 
says they furnished him with a small    
vessel to accompany their fleets1 that  
he might design the different manoeuvres
 and engagements2 that he was present in
 various sea-fights1 in which he        
fearlessly exposed himself to the most  
imminent danger1 while making his       
sketches2 he was present at the severe  
battle between the ,english and ,dutch  
fleets1 under the command of the ,duke  
of ,york and ,admiral ,opdam1 in which  
the ship of the latter1 with five       
hundred men1 was blown up1 and in the   
still more memorable engagement in the  
following year1 between the ,english    
under the ,duke of ,albemarle1 and the  
,dutch ,admiral de ,ruyter1 which lasted

 three days4 ,it is said that during    
these engagements he sailed alternately 
between the fleets1 so as to represent  
minutely every movement of the ships1   
and the most1 material circumstances of 
the actions with incredible exactness   
and truth4 ,so intent was he upon his   
drawing1 that he constantly exposed     
himself to the greatest danger1 without 
the least apparent anxiety4 ,he wrote   
over the ships their names and those of 
their commanders2 and under his own     
frail craft ,v4 ,velde's ,gallijodt1 or 
,myn ,gallijodt4     ,,van ,,de ,,velde 
,,and ,,charles ,,ii4   ,after having   
executed many capital pictures for the  
,states of ,holland1 ,van de ,velde was 
invited to ,england by ,charles ,,ii41  
who had become acquainted with his      
talents during his residence in         
,holland4 ,he arrived in ,london about  
#afge1 well advanced in years1 and the  
king settled upon him a pension of      
,l#ajj per annum until his death1 in    
#afic1 as appears from this inscription 

on his tomb-stone in ,st4 ,james'       
church3 ,mr4 ,william van de ,velde1    
senior1 late painter of sea-fights to   
their ,majesties1 ,king ,charles ,,ii4  
and ,king ,james1 died in #afic4 ,he was
 accompanied by his son1 who was also   
taken into the service of the king1 as  
appears from an order of the privy seal1
 as follows3 ,charles the ,second1 by   
the grace of ,god1 c41 to our dear      
,cousin1 ,prince ,rupert1 and the rest  
of our commissioners for executing the  
place of ,lord ,high ,admiral of        
,england1 greeting4 ,whereas1 we have   
thought fit to allow the salary of      
,l#ajj per annum unto ,william van de   
,velde the ,elder1 for taking and making
 draughts of sea-fights2 and the like   
salary of ,l#ajj per annum unto ,william
 van de ,velde the younger1 for putting 
the said draughts in color for our      
particular use2 our will and pleasure   
is1 and we do hereby authorize and      
require you to issue your orders for the
 present and the future establishment of

 said salaries to the aforesaid ,william
 van de ,velde the ,elder and ,william  
van de ,velde the ,younger1 to be paid  
unto them1 or either of them1 during our
 pleasure1 and for so doing1 these our  
letters shall be your sufficient warrant
 and discharge4 ,given under our        
privy-seal1 at our palace of            
,westminster1 the #bjth day of          
,february1 in the #bfth year of our     
reign4  ,many of the large pictures of  
sea-fights in ,england1 and doubtless in
 ,holland1 bearing the signature ,w4 van
 de ,velde1 and generally attributed to 
the son1 were executed by him from the  
designs of his father4 ,such are the    
series of twelve naval engagements and  
sea-ports in the palace at ,hampton     
,court1 though signed like the best     
works of the younger van de ,velde2 they
 are dated #afgf and #afhb4             
,,william ,,van ,,de ,,velde ,,the      
,,younger4   ,this eminent artist was   
the son of the preceding1 and born at   
,amsterdam in #afcc4 ,he had already    

acquired a distinguished reputation in  
his native country for his admirable    
cabinet pictures of marine subjects1    
when he accompanied his father to       
,england1 where his talents not only    
recommended him to the patronage of the 
king1 but to the principal nobility and 
personages of his court1 for whom he    
executed many of his most beautiful     
works4 ,the palm1 says ,lord ,orford1 is
 not less disputed with ,raffaelle for  
history1 than with ,van de ,velde for   
sea-pieces4 ,he died in #agjg4     ,,the
 ,,younger ,,van ,,de ,,velde',s        
,,works4   ,like his father1 the younger
 ,van de ,velde designed everything from
 nature1 and his compositions are       
distinguished by a more elegant and     
tasteful arrangement of his objects1    
than is to be found in the productions  
of any other painter of marines4 ,his   
vessels are designed with the greatest  
accuracy1 and from the improvements     
which had been made in ship-building1   
they are of a more graceful and pleasing

 form than those of his predecessors2   
the cordage and rigging are finished    
with a delicacy1 and at the same time   
with a freedom almost without example2  
his small figures are drawn with        
remarkable correctness1 and touched with
 the greatest spirit4 ,in his calms the 
sky is sunny1 and brilliant1 and every  
object is reflected in the glassy       
smoothness of the water1 with a luminous
 transparency peculiar to himself4 ,in  
his fresh breezes and squalls1 the swell
 and curl of the waves is delineated    
with a truth and fidelity which could   
only be derived from the most attentive 
and accurate study of nature2 in his    
storms1 tempests1 and hurricanes1 the   
tremendous conflict of the elements and 
the horrors of shipwreck are represented
 with a truthfulness that strikes the   
beholder with terror4  ,the works of the
 younger ,van de ,velde are very        
numerous1 and the greater part of them  
are in ,england1 where ,houbraken says  
they were so highly esteemed that they  

were eagerly sought after in ,holland1  
and purchased at high prices to         
transport to ,london2 so that they are  
rarely to be met with in his native     
country4 ,smith1 in his ,catalogue      
raisonne1 vol4 vi4 and ,supplement1     
describes about three hundred and thirty
 pictures by him1 the value of which has
 increased amazingly1 as may be seen by 
a few examples4 ,the two marines now in 
the ,earl of ,ellesmere's collection1   
one a ,view of the ,entrance to the     
,texel1 sold in #agff for ,l#hj1 now    
valued at ,l#a1jjj2 the other sold in   
#agfe for ,l#hd1 now valued at ,l#ejj4  
,a ,sea-,view1 formerly in the          
collection of ,sir ,robert ,peel1 sold  
in #aggb for only ,l#ca2 brought in     
#ahbh1 ,l#cjj4 ,the ,departure of       
,charles ,,ii4 from ,holland in #affj1  
sold in #agha for ,l#hb2 it brought     
recently1 at public sale1 ,l#hjj4 ,a    
,view off the ,coast of ,holland sold in
 #ahaf for ,l#add2 it brought1 in ,sir  
,simon ,clarke's sale in #ahdj1         

,l#a1jbi4 ,a ,view on the ,sea-,shore1  
#af inches by #ab1 sold in #agbf for    
,l#i1 and in #ahce for ,l#ajh4 ,the     
picture known as ,le ,coup de ,canon1   
sold in #aghf for ,l#eb1 in #agij for   
only ,l#cf1 but in #ahdd it brought     
#a1chj guineas4  ,the drawings1 and     
especially the sketches and studies of  
the younger ,van de ,velde are very     
numerous1 and prove the indefatigable   
pains he took in designing his vessels1 
their appurtenances1 and the ordonnance 
of his compositions4 ,his sketches are  
executed in black lead only2 his more   
finished drawings with the pencil or    
pen1 and shaded with ,india ink4 ,he    
executed these with wonderful facility2 
it is recorded that he was so rapid in  
his sketching1 that he frequently filled
 a quire of paper in an evening4        
,stanley says that during the years     
#aggh and #aghj1 about #h1jjj of his    
drawings were sold in ,london at public 
auction4 ,some of his choicest drawings 
in ,india ink brought1 at the sale of   

,m4 ,goll de ,frankenstein at           
,amsterdam1 in #ahcc1 and at that of the
 late ,baron ,verstolk de ,soelen1 in   
the same city in #ahdg1 prices varying  
from ,l#bg up to ,l#add each4 ,he       
inherited his father's drawings1 and all
 these seem now to be attributed to him4
     ,,nicholas ,,poussin4   ,this      
distinguished ,french painter was born  
at ,andely1 in ,normandy1 in #aeid4 ,he 
was descended from a noble family1      
originally of ,soissons1 whose fortunes 
had been ruined in the disastrous civil 
wars in the time of ,charles ,,ix4 and  
,henry ,,iii4 ,his father1 ,jean        
,poussin1 after serving in the army of  
,henry ,,iv41 settled on a small        
paternal inheritance at ,andely1 where  
he cultivated a taste for literature and
 the sciences1 and instructed his son in
 the same4 ,young ,poussin had already  
distinguished himself for the solidity  
of his judgment1 and his progress in    
letters1 when a natural fondness for    
drawing1 developed by an acquaintance he

 had formed with ,quintin ,varin1 an    
artist of some eminence1 induced him to 
solict the permission of his father to  
adopt painting as a profession4         
,,poussin',s ,,first ,,celebrity4   ,in 
#afab1 at the age of eighteen1 ,poussin 
went to ,paris in search of improvement1
 where he devoted himself to studying   
the best works to which he could gain   
access 7for the fine arts were then at a
 low ebb in ,france7 with the greatest  
assiduity4 ,in #afbj1 according to      
,felibien1 the ,jesuits celebrated the  
canonization of the founder of their    
order1 ,ignatius ,loyola and ,st4       
,francis ,xavier1 on which occasion they
 determined to display a series of      
pictures by the first artists in ,paris1
 representing the miracles performed by 
their patron saints4 ,of these1 ,poussin
 painted six in distemper1 in an        
incredibly short space of time1 and when
 the exhibition came off1 although he   
had been obliged to neglect detail1 his 
pictures excited the greatest admiration

 on account of the grandeur of          
conception1 and the elegance of design  
displayed in them4 ,they obtained the   
preference over all the others1 and     
brought ,poussin immediately into       
notice4     ,,poussin',s ,,first ,,visit
 ,,to ,,rome4   ,while ,poussin resided 
at ,paris1 his talents1 and the         
endowments of his mind procured him the 
esteem of several men of letters and    
distinction1 among whom was the ,cav4   
,marino1 the celebrated ,italian poet1  
who happened then to be in ,paris4      
,marino strongly urged him to accompany 
him to ,rome1 an invitation which       
,poussin would gladly have accepted1 had
 he not then been engaged in some       
commissions of importance1 which having 
completed1 he set out for ,rome in      
#afbd1 where he was warmly received by  
his friend ,marino1 who introduced him  
to the ,cardinal ,barberini4 ,he however
 derived little advantage from this     
favorable notice at the time1 as the    
,cardinal soon after left ,rome on his  

legation to ,france and ,spain1 and the 
,cav4 ,marino died about the same time4 
,poussin now found himself a stranger1  
friendless and unknown in the ,eternal  
,city1 in very embarrassed              
circumstances2 but he consoled himself  
with the thought that his wants were    
few1 that he was in the very place where
 he had long sighed to be1 surrounded by
 the glorious works of ancient and      
modern art1 and that he should have     
abundant leisure to study4 ,therefore1  
though he could scarcely supply his     
necessities by the disposal of his      
works1 and was often compelled to sell  
them for the most paltry prices1 his    
courage did not fail him1 but rather    
stimulated him to the greatest assiduity
 to perfect himself in the art4 ,he     
lodged in the same house with ,francis  
du ,quesnoy1 called ,il ,fiammingo1 the 
state of whose finances at that time    
were not more flourishing than his own1 
and he lived in habits of intimacy and  
strict friendship with that eminent     

sculptor1 with whom he explored1        
studied1 and modeled the most celebrated
 antique statues and bas-reliefs1       
particularly the ,meleager in the       
,vatican1 from which he derived his     
rules of proportion4 ,at first he copied
 several of the works of ,titian1 and   
improved his style of coloring1 but he  
afterwards contemplated the works of    
,raffaelle with an enthusiasm bordering 
on adoration4 ,the admirable expression 
and purity of the works of ,domenichino1
 rendered them particularly interesting 
to him1 and he used to regard his       
,communion of ,st4 ,jerome as the second
 picture at ,rome1 the ,transfiguration 
by ,raffaelle being the first4          
,,poussin',s ,,distress ,,at ,,rome4    
,while ,poussin was thus pursuing his   
studies at ,rome1 he was left by the    
death of his friend ,marino1 in a state 
of extreme distress1 and was obliged to 
dispose of his paintings at the most    
paltry prices1 to procure the           
necessaries of life4 ,filibien says that

 he sold the two fine battle-pieces     
which were afterwards in the collection 
of the ,duke de ,noailles for seven     
crowns each1 and a picture of a ,prophet
 for eight livres4 ,his celebrated      
picture of the ,ark of ,god among the   
,philistines brought him but sixty      
crowns2 the original purchaser sold it  
not long afterwards to the ,duc de      
,richelieu for one thousand crowns6     
,,poussin',s ,,success ,,at ,,rome4   ,a
 brighter day now dawned upon ,poussin4 
,what had happened to him1 which would  
have been regarded by most young artists
 as the greatest misfortune and sunk    
them in despondency and ruin1 proved of 
the greatest advantage to him4 ,the     
,cardinal ,barberini having returned to 
,rome1 gave him some commissions1 which 
he executed in such an admirable manner 
as at once established his reputation   
among those of the greatest artists of  
the age4 ,the first work he executed for
 his patron was his celebrated picture  
of the ,death of ,germanicus1 which     

,lanzi pronounces one of his finest     
productions4 ,he next painted the       
,taking of ,jerusalem by ,titus4 ,these 
works gave the ,cardinal so much        
satisfaction that he procured for him   
the commission to paint a large picture 
of the ,martyrdom of ,st4 ,erasmus1 for 
,st4 ,peter's1 now in the pontifical    
palace at ,monte ,cavallo4 ,these works 
procured him the friendship and         
patronage of the ,cav4 del ,pozzo1 for  
whom he painted his first set of        
pictures1 representing the ,seven       
,sacraments1 now in the collection of   
the ,duke of ,rutland4 ,he afterwards   
painted another set of the same1 with   
some variations1 for ,m4 de ,chantelou1 
formerly in the ,orleans collection1 now
 in that of the ,marquis of ,stafford4  
,,poussin',s ,,invitation ,,to ,,paris4 
,in #afci1 ,poussin was invited to      
,paris by ,louis ,,xiii41 who honored   
him on this occasion with the following 
autograph letter1 which was an          
extraordinary and unusual homage to art3

   ,,dear ,,and ,,well ,,beloved1  ,some
 of our especial servants having made a 
report to us of the reputation which you
 have acquired1 and the rank which you  
hold among the best and most famous     
painters of ,italy2 and we being        
desirous1 in imitation of our           
predecessors1 to contribute1 as much as 
lies in us1 to the ornament and         
decoration of our royal houses1 by      
fixing around us those who excel in the 
arts1 and whose attainments in them have
 attracted notice in the places where   
those arts are most cherished1 do       
therefore write you this letter1 to     
acquaint you that we have chosen and    
appointed you to be one of our painters 
in ordinary1 and that1 henceforward1 we 
will employ you in that capacity4 ,to   
this effect our intention is1 that on   
the receipt of this present1 you shall  
dispose yourself to come hither1 where  
the services you perform shall meet with
 as much consideration as do your merits
 and your works1 in the place where you 

now reside4 ,by our order1 given to ,m4 
de ,noyers1 you will learn more         
particularly the favor we have          
determined to shew you4 ,we will add    
nothing to this present1 but to pray    
,god to have you in his holy keeping4   
,given at ,fontainebleau1    ,jan4 #ae1 
#afci4   ,poussin accepted the          
invitation with great reluctance1 at the
 earnest solicitation of his friends4   
,on his arrival at ,paris he was        
received with marked distinction1       
appointed principal painter to the king1
 with a pension1 and accommodated with  
apartments in the ,tuileries4 ,he was   
commissioned to paint an altar-piece for
 the chapel of ,st4 ,germain en ,laie1  
where he produced his admirable work of 
the ,last ,supper1 and was engaged to   
decorate the ,gallery of the ,louvre    
with the ,labors of ,hercules4 ,he had  
already prepared the designs and some of
 the cartoons for these works1 when he  
was assailed by the machinations of     
,simon ,vouet and his adherents2 and    

even the landscape painter ,fouquieres1 
jealous of his fame1 presumed to        
criticise his works and detract from    
their merit4    ,,poussin',s ,,return   
,,to ,,rome4   ,poussin1 naturally of a 
peaceful turn of mind1 fond of          
retirement and the society of a few     
select literary friends1 was disgusted  
with the ostentation of the court and   
the cabals by which he was surrounded2  
he secretly sighed for the quiet        
felicity he had left at ,rome1 and      
resolved to return thither without      
delay4 ,for this purpose1 he solicited  
and obtained leave of the king to visit 
,italy and settle his affairs1 and fetch
 his wife2 but when he had once crossed 
the ,alps1 no inducement could prevail  
on him to revisit his native country1 or
 even to leave ,rome4 ,during a period  
of twenty-three years after his return  
to ,rome from ,paris1 he lived a quiet1 
unostentatious life1 and executed a     
great number of pictures1 which decorate
 the principal cabinets of ,europe1 and 

will ever be regarded as among their    
most valuable ornaments4 ,he confined   
himself mostly to works of the large    
easel size1 which were eagerly sought   
after1 and usually disposed of as soon  
as they were executed4 ,he never made   
any words about the price of his        
pictures1 but asked a modest and        
moderate price1 which he always marked  
upon the back of his canvas1 and which  
was invariably paid4 ,many of his works 
were sent to ,paris1 where they were    
valued next to the productions of       
,raffaelle4 ,he was plain and unassuming
 in his manners1 very frugal in his     
living1 yet so liberal and generous that
 at his death he left an estate of only 
#fj1jjj livres--about #ab1jjj4 ,felibien
 relates an anecdote which pleasingly   
illustrates his simple and              
unostentatious mode of life4 ,the       
,cardinal ,mancini was accustomed to    
visit his studio frequently1 and on one 
occasion1 having staid later than usual1
 ,poussin lighted him to the door1 at   

which the prelate observed1 ,i pity you1
 ,monsieur ,poussin1 that you have not  
one servant4 ,and ,i1 replied the       
painter1 pity your ,excellency much     
more1 that you are obliged to keep so   
many4     ,,sir ,,joshua ,,reynolds'    
,,critique ,,on ,,poussin4   ,the       
favorite subjects of ,poussin were      
ancient fables2 and no painter was ever 
better qualified to paint such subjects1
 not only from his being eminently      
skilled in the knowledge of the         
ceremonies1 customs1 and habits of the  
ancients1 but from his being so well    
acquainted with the different characters
 which those who invented them gave to  
their allegorical figures4 ,though      
,rubens has shown great fancy in his    
,satyrs1 ,silenuses1 and ,fauns1 yet    
they are not that distinct1 separate    
class of beings which is carefully      
exhibited by the ancients1 and by       
,poussin4 ,certainly1 when such subjects
 of antiquity are represented1 nothing  
should remind us of modern times4 ,the  

mind is thrown back into antiquity1 and 
nothing ought to be introduced that may 
tend to awaken it from the illusion4    
,poussin seemed to think that the style 
and the language in which such stories  
are told is not the worse for preserving
 some relish of the old way of painting1
 which seemed to give a general         
uniformity to the whole1 so that the    
mind was thrown back into antiquity1 not
 only by the subject1 but also by the   
execution4  ,if ,poussin1 in imitation  
of the ancients1 represents ,apollo     
driving his ,chariot out of the sea1 by 
way of representing the sun rising1 if  
he personifies lakes and rivers1 it is  
noways offensive in him1 but seems      
perfectly of a piece with the general   
air of the picture4 ,on the contrary1 if
 the figures which people his pictures  
had a modern air and countenance1 if    
they appeared like our countrymen1 if   
the draperies were like cloth or silk of
 our manufacture1 if the landscape had  
the appearance of a modern one1 how     

ridiculous would ,apollo appear instead 
of the sun1 and an old ,man or a ,nymph 
with an urn to represent a river or     
lake8 ,he also says1 in another place1  
that it may be doubted whether any      
alteration of what is considered        
defective in his works1 would not       
destroy the effect of the whole4        
,,poussin',s ,,views ,,of ,,his ,,art4  
,poussin1 in his directions to artists  
who came to study at ,rome1 used to say 
that the remains of antiquity afforded  
him instruction that he could not expect
 from masters2 and in one of his letters
 to ,m4 de ,chantelou1 he observes that 
he had applied to painting the theory   
which the ,greeks had introduced into   
their music--the ,dorian for the grave  
and the serious2 the ,phrygian for the  
vehement and the passionate2 the ,lydian
 for the soft and the tender2 and the   
,ionian for the riotous festivity of his
 bacchanalians4 ,he was accustomed to   
say that a particular attention to      
coloring was an obstacle to the student 

in his progress to the great end and    
design of the art2 and that he who      
attaches himself to this principal end1 
will acquire by practice a reasonably   
good method of coloring4 ,he well knew  
that splendor of coloring and brilliancy
 of tints would ill accord with the     
solidity and simplicity of effect so    
essential to heroic subjects1 and that  
the sublime and majestic would be       
degraded by a union with the florid and 
the gay4 ,the elevation of his mind is  
conspicuous in all his works4 ,he was   
attentive to vary his style and the tone
 of his color1 distinguishing them by a 
finer and more delicate touch1 a tint   
more cheerful or austere1 a site more   
cultivated or wild1 according to the    
character of his subject and the        
impression he designed to make2 so that 
we are not less impressed with the      
beauty and grandeur of his scenery1 than
 with the varied1 appropriate1 and      
dignified characteristics which         
distinguish his works4     ,,poussin',s 

,,works4   ,in ,smith's ,catalogue      
raisonne may be found a descriptive     
account of upwards of three hundred and 
fifty of the works of this great artist1
 in many instances tracing the history  
from the time they were painted1 the    
names of the present possessors1 and the
 principal artists by whom they have    
been engraved1 together with many       
interesting particulars of the life of  
the painter4 ,there are eight of his    
pictures in the ,english ,national      
,gallery1 fourteen in the ,dulwich      
,gallery1 and many in the possession of 
the nobility of ,england4 ,the prices   
paid for those in the ,national ,gallery
 vary from #aej to #ajjj guineas4       
,,marino ,,and ,,poussin4   ,marino was 
born at ,naples4 ,some political        
disturbances1 in which he and his family
 had taken part1 obliged him to quit    
that kingdom1 and he took refuge        
successively in several of the petty    
courts of ,italy4 ,his talent for satire
 involved him in various literary       

disputes1 as well as some political     
quarrels1 and he never resided long in  
one place1 until ,mary of ,medicis      
invited him to the court of ,france1    
where he passed much of his life1 and   
where he wrote most of his poems1 which1
 though licentious both in matter and   
style1 contain numerous beauties1 and   
are full of classical imagery4 ,marino  
gave ,poussin an apartment in his house 
at ,rome1 and as his own health was at  
that time extremely deranged1 he loved  
to have ,poussin by the side of his     
couch1 where he drew or painted1 while  
,marino read aloud to him from some     
,latin or ,italian author1 or from his  
own poems1 which ,poussin illustrated by
 beautiful drawings1 most of which it is
 to be feared are lost2 although it is  
believed that there is still existing in
 the ,massimi library1 a copy of the    
,adonis in ,marino's hand-writing1 with 
,poussin's drawings interleaved4 ,to    
this kind of study which he pursued with
 ,marino1 may perhaps be attributed     

,poussin's predilection for compositions
 wherein nymphs1 and fairies1 and       
bacchanals are the                      
subjects--compositions in which he      
greatly excelled4     ,,poussin         
,,romanized4   ,while the court of      
,france was at variance with the ,holy  
,see1 considerable acrimony existed     
among his ,holiness's troops against all
 ,frenchmen2 consequently1 wherever they
 met them in ,rome1 they instantly      
attacked them with sticks and stones1   
and sometimes with even more formidable 
weapons4 ,it happened one day that      
,poussin and three or four of his       
countrymen1 returning from a drawing    
excursion1 met at the ,quattro ,fontane 
near ,monte ,cavallo1 a company of      
soldiers1 who seeing them dressed in the
 ,french costume1 instantly attacked    
them4 ,they all fled but ,poussin1 who  
was surrounded1 and received a cut from 
a sabre between the first and second    
finger4 ,passeri1 who relates the       
anecdote1 says that the sword turned1   

otherwise a great misfortune must have  
happened both to him and to painting4   
,not daunted1 however1 he fought under  
the shelter of his portfolio1 throwing  
stones as he retreated1 till being      
recognized by some ,romans who took his 
part1 he effected his escape to his     
lodgings4 ,from that day he put on the  
,roman dress1 adopted the ,roman way of 
living1 and became so much a ,roman1    
that he considered the city as his true 
home4     ,,poussin',s ,,habits ,,of    
,,study4   ,poussin not only studied    
every vestige of antiquity at ,rome and 
in its environs1 with the greatest      
assiduity while young1 but he followed  
this practice through life4 ,it was his 
delight to spend every hour he could    
spare at the different villas in the    
neighborhood of ,rome1 where1 besides   
the most beautiful remains of antiquity1
 he enjoyed the unrivalled landscape    
which surrounds that city1 so much      
dignified by the noble works of ancient 
days1 that every hill is classical1 the 

very trees have a poetic air1 and       
everything combines to excite in the    
soul a kind of dreaming rapture from    
which it would not be awakened1 and     
which those who have not felt it can    
scarcely understand4  ,he restored the  
antique temples1 and made plans and     
accurate drawings of the fragments of   
ancient ,rome2 and there are few of his 
pictures1 where the subject admits of   
it1 in which we may not trace the       
buildings1 both of the ancient and the  
modern city4 ,in the beautiful landscape
 of the death of ,eurydice1 the bridge  
and castle of ,st4 ,angelo1 and the     
tower1 commonly called that of ,nero1   
form the middle ground of the picture4  
,the castle of ,st4 ,angelo appears     
again in one of his pictures of the     
,exposing of ,moses2 and the pyramid of 
,caius ,cestius1 the ,pantheon1 the     
ruins of the ,forum1 and the walls of   
,rome1 may be recognised in the ,finding
 of ,moses1 and several others of his   
remarkable pictures4  ,i have often     

admired1 said ,vigneul de ,marville1 who
 knew him at a late period of his life1 
the love he had for his art4 ,old as he 
was1 ,i frequently saw him among the    
ruins of ancient ,rome1 out in the      
,campagna1 or along the banks of the    
,tyber1 sketching a scene which had     
pleased him2 and ,i often met him with  
his handkerchief full of stones1 moss1  
or flowers1 which he carried home1 that 
he might copy them exactly from nature4 
,one day ,i asked him1 how he had       
attained to such a degree of perfection 
as to have gained so high a rank among  
the great painters of ,italy8 ,he       
answered1 ',i have neglected nothing6'  
,,poussin',s ,,old ,,age4   ,the genius 
of ,poussin seems to have gained vigor  
with age4 ,nearly his last works1 which 
were begun in #affj1 and sent to ,paris 
#affd1 were the four pictures1          
allegorical of the seasons1 which he    
painted for the ,duc de ,richelieu4 ,he 
chose the terrestrial paradise1 in all  
the freshness of creation1 to designate 

spring4 ,the beautiful story of ,boaz   
and ,ruth formed the subject of summer4 
,autumn was aptly pictured1 in the two  
,israelites bearing the bunch of grapes 
from the ,promised ,land4 ,but the      
masterpiece was ,winter1 represented in 
the ,deluge4 ,this picture has been1    
perhaps1 the most praised of all        
,poussin's works4 ,a narrow space1 and a
 very few persons have sufficed him for 
this powerful representation of that    
great catastrophe4 ,the sun's disc is   
darkened with clouds2 the lightning     
shoots in forked flashes through the    
air3 nothing but the roofs of the       
highest houses are visible above the    
distant water upon which the ark floats1
 on a level with the highest mountains4 
,nearer1 where the waters1 pent in by   
rocks1 form a cataract1 a boat is forced
 down the fall1 and the wretches who had
 sought safety in it are perishing3 but 
the most pathetic incident is brought   
close to the spectator4 ,a mother in a  
boat is holding up her infant to its    

father1 who1 though upon a high rock1 is
 evidently not out of reach of the      
water1 and is only protracting life a   
very little4     ,,poussin',s ,,last    
,,work ,,and ,,death4   ,the long and   
honorable race of ,poussin was now      
nearly run4 ,early in the following     
year1 #affe1 he was slightly affected by
 palsy1 and the only picture of figures 
that he painted afterwards was the      
,samaritan ,woman at the ,well1 which he
 sent to ,m4 de ,chantelou1 with a note1
 in which he says1 ,this is my last     
work2 ,i have already one foot in the   
grave4 ,shortly afterwards he wrote the 
following letter to ,m4 ,felibien3 ,i   
could not answer the letter which your  
brother1 ,m4 le ,prieur de ,st4         
,clementin1 forwarded to me1 a few days 
after his arrival in this city1 sooner1 
my usual infirmities being increased by 
a very troublesome cold1 which continues
 and annoys me very much4 ,i must now   
thank you not only for your remembrance1
 but for the kindness you have done me1 

by not reminding the prince of the wish 
he once expressed to possess some of my 
works4 ,it is too late for him to be    
well served2 ,i am become too infirm1   
and the palsy hinders me in working1 so 
that ,i have given up the pencil for    
some time1 and think only of preparing  
for death1 which ,i feel bodily upon me4
 ,it is all over with me4 ,he expired   
shortly afterwards1 aged #ga years4     
,,poussin',s ,,ideas ,,of ,,painting4   
,painting is an imitation by means of   
lines and colors1 on some superfices1 of
 everything that can be seen under the  
sun2 its end is to please4  ,principles 
that every man capable of reasoning may 
learn3--,there can be nothing           
represented1    ,without light1         
,without form1   ,without color1        
,without distance1   ,without an        
instrument1 or medium4  ,things which   
are not to be learned1 and which make an
 essential part of painting4  ,first1   
the subject must be noble4 ,it should   
have received no quality from the mere  

workmen2 and to allow scope to the      
painter to display his powers1 he should
 choose it capable of receiving the most
 excellent form4 ,he must begin by      
composition1 then ornament1 propriety1  
beauty1 grace1 vivacity1 probability1   
and judgment1 in each and all4 ,these   
last belong solely to the painter1 and  
cannot be taught4 ,the nine are the     
golden bough of ,virgil1 which no man   
can find or gather1 if his fate do not  
lead him to it4     ,,poussin ,,and     
,,the ,,nobleman4   ,a person of rank   
who dabbled in painting for his         
amusement1 having one day shown ,poussin
 one of his performances1 and asked his 
opinion of its merits1 the latter       
replied1 ,you only want a little        
poverty1 sir1 to make a good painter4   
,,poussin ,,and ,,mengs4   ,the admirers
 of ,mengs1 jealous of ,poussin's title 
of the ,painter of ,philosophers1       
conferred on him the antithetical one of
 the ,philosopher of ,painters4 ,though 
it cannot be denied that ,mengs'        

writings and his pictures are learned1  
yet few artists have encountered such a 
storm of criticism4     ,,poussin ,,and 
,,domenichino4   ,next to correctness of
 drawing and dignity of conception1     
,poussin valued expression in painting4 
,he ranked ,domenichino next to         
,raffaelle for this quality1 and not    
long after his arrival at ,rome1 he set 
about copying the ,flagellation of ,st4 
,andrew1 painted by that master in the  
church of ,s4 ,gregorio1 in competition 
with ,guido1 whose ,martyrdom of that   
,saint is on the opposite side of the   
same church4 ,poussin found all the     
students in ,rome busily copying the    
,guido1 which1 though a most beautiful  
work1 lacks the energy and expression   
which distinguish the ,flagellation2 but
 he was too sure of his object to be led
 away by the crowd4 ,according to       
,felibien1 ,domenichino1 who then       
resided at ,rome1 in a very delicate    
state of health1 having heard that a    
young ,frenchman was making a careful   

study of his picture1 caused himself to 
be conveyed in his chair to the church1 
where he conversed some time with       
,poussin1 without making himself known2 
charmed with his talents and highly     
cultivated mind1 he invited him to his  
house1 and from that time ,poussin      
enjoyed his friendship and profited by  
his advice1 till that illustrious       
painter went to ,naples1 to paint the   
chapel of ,st4 ,januarius4     ,,poussin
 ,,and ,,salvator ,,rosa4   ,among the  
strolling parties of monks and friars1  
cardinals and prelates1 ,roman          
princesses and ,english peers1 ,spanish 
grandees and ,french cavaliers which    
crowded the ,pincio1 towards the latter 
end of the seventeenth century1 there   
appeared two groups1 which may have     
recalled those of the ,portico or the   
,academy1 and which never failed to     
interest and fix the attention of the   
beholders4 ,the leader of one of these  
singular parties was the venerable      
,niccolo ,poussin6 ,the air of antiquity

 which breathed over all his works      
seemed to have infected even his person 
and his features2 and his cold1 sedate1 
and passionless countenance1 his        
measured pace and sober deportment1     
spoke that phlegmatic temperament and   
regulated feeling1 which had led him to 
study monuments rather than men1 and to 
declare that the result of all his      
experience was to teach him to live well
 with all persons4 ,soberly clad1 and   
sagely accompanied by some learned      
antiquary or pious churchman1 and by a  
few of his deferential disciples1 he    
gave out his trite axioms in measured   
phrase and emphatic accent1 lectured    
rather than conversed1 and appeared like
 one of the peripatetic teachers of the 
last days of ,athenian pedantry and     
pretension4  ,in striking contrast to   
these academic figures1 which looked    
like their own grandsires cut in        
alabaster1 appeared1 unremittingly1 on  
the ,pincio1 after sun-set1 a group of a
 different stamp and character1 led on  

by one who1 in his flashing eye1 mobile 
brow1 and rapid movement1 all fire1     
feeling1 and perception--was the very   
personification of genius itself4 ,this 
group consisted of ,salvator ,rosa1     
gallantly if not splendidly habited1 and
 a motley gathering of the learned and  
witty1 the gay and the grave1 who       
surrounded him4 ,he was constantly      
accompanied in these walks on the       
,pincio by the most eminent virtuosi1   
poets1 musicians1 and cavaliers in      
,rome2 all anxious to draw him out on a 
variety of subjects1 when air1 exercise1
 the desire of pleasing1 and the        
consciousness of success1 had wound him 
up to his highest pitch of excitement2  
while many who could not appreciate1 and
 some who did not approve1 were still   
anxious to be seen in his train1 merely 
that they might have to boast nos       
quoque4  ,from the ,pincio1 ,salvator   
,rosa was generally accompanied home by 
the most distinguished persons1 both for
 talent and rank2 and while the frugal  

,poussin was lighting out some reverend 
prelate or antiquarian with one sorry   
taper1 ,salvator1 the prodigal          
,salvator1 was passing the evening in   
his elegant gallery1 in the midst of    
princes1 nobles1 and men of wit and     
science1 where he made new claims on    
their admiration1 both as an artist and 
as an improvisatore2 for till within a  
few years of his death he continued to  
recite his own poetry1 and sing his own 
compositions to the harpsichord or lute4
     ,,poussin1 ,,angelo1 ,,and         
,,raffaelle ,,compared4   ,poussin is1  
in the strict sense of the word1 an     
historical painter4  ,michael ,angelo is
 too intent on the sublime1 too much    
occupied with the effect of the whole1  
to tell a common history4 ,his          
conceptions are epic1 and his persons1  
and his colors1 have as little to do    
with ordinary life1 as the violent      
action of his actors have resemblance to
 the usually indolent state of ordinary 
men4  ,raffaelle's figures interest so  

much in themselves1 that they make us   
forget that they are only part of a     
history4 ,we follow them eagerly1 as we 
do the personages of a drama2 we grieve1
 we hope1 we despair1 we rejoice with   
them4  ,poussin's figures1 on the       
contrary1 tell their story2 we feel not 
the intimate acquaintance with          
themselves1 that we do with the         
creations of ,raffaelle4 ,his ,cicero   
would thunder in the forum and dissipate
 a conspiracy1 and we should take leave 
of him with respect at the end of the   
scene2 but with ,raffaelle's we should  
feel in haste to quit the tumult1 and   
retire with him to his ,tusculum1 and   
learn to love the virtues1 and almost to
 cherish the weaknesses of such a man4  
,poussin has shown that grace and       
expression may be independent of what is
 commonly called beauty4 ,his women have
 none of that soft1 easy1 and attractive
 air1 which many other painters have    
found the secret of imparting1 not only 
to their ,venuses and ,graces1 but to   

their ,madonnas and ,saints4 ,his       
beauties are austere and dignified4     
,minerva and the ,muses appear to have  
been his models1 rather than the        
inhabitants of ,mount ,cithaeron4 ,hence
 subjects of action are more suited to  
him than those of repose4--,graham's    
,life of ,poussin4     ,,rembrandt4     
,paul ,rembrandt van ,rhyn1 one of the  
most eminent painters and engravers of  
the ,dutch school1 was the son of a     
miller1 and was born in #afjf1 at a     
small village on the banks of the       
,rhine1 between ,leyderdorp and ,leyden1
 whence he was called ,rembrandt van    
,rhyn1 though his family name was       
,gerretz4 ,it is said that his father1  
being in easy circumstances1 intended   
him for one of the learned professions1 
but was induced by ,rembrandt's passion 
for the art to allow him to follow his  
inclination4 ,he entered the school of  
,j4 van ,zwaanenberg at ,amsterdam1     
where he continued three years1 and made
 such surprising progress as astonished 

his instructor4 ,having learned from    
,zwaanenberg all he was capable of      
imparting1 he next studied about six    
months with ,peter ,lastmann1 and       
afterwards for a short time with ,jacob 
,pinas1 from whom it is said he acquired
 that taste for strong contrasts of     
light and shadow1 for which his works   
are so remarkable4 ,he was1 however1    
more indebted for his best improvement  
to the vivacity of his own genius1 and  
an attentive study of nature1 than to   
any information he derived from his     
instructors4 ,on returning home1 he     
fitted up an attic room1 with a         
skylight1 in his father's mill1 for a   
studio1 where he probably pursued his   
labors for several years1 as he did not 
remove to ,amsterdam till #afcj4 ,here  
he studied the grotesque figure of the  
,dutch boor1 or the rotund contour of   
the bar-maid of an ale house1 with as   
much precision as the great artists of  
,italy have imitated the ,apollo        
,belvidere1 or the ,medicean ,venus4 ,he

 was exceedingly ignorant1 and it is    
said that he could scarcely read4 ,he   
was of a wayward and eccentric          
disposition1 and sought for recreation  
among the lowest orders of the people1  
in the amusements of the ale-house1     
contracting habits which continued      
through life2 even when in prosperous   
circumstances1 he manifested no         
disposition to associate with more      
refined and intellectual society4 ,it   
will readily be perceived that his      
habits1 disposition1 and studies could  
not conduct him to the noble conceptions
 of ,raffaelle1 but rather to an exact  
imitation of the lowest order of nature1
 with which he delighted to be          
surrounded4 ,the life of ,rembrandt is  
much involved in fable1 and in order to 
form a just estimate of his powers1 it  
is necessary to take these things into  
consideration4 ,it is said by some      
writers1 that1 had he studied the       
antique1 he would have reached the very 
perfection of the art1 but ,nieuwenhuys1

 in his review of the ,lives and ,works 
of the most eminent painters of the     
,dutch and ,flemish schools1 in ,smith's
 ,catalogue raisonne1 vol xii4 and      
supplement1 says that he was by no means
 deficient on that point4 ,for it is    
known that he purchased1 at a high      
price1 casts from the antique marbles1  
paintings1 drawings1 and engravings by  
the most excellent ,italian masters1 to 
assist him in his studies1 and which are
 mentioned in the inventory of his goods
 when seized for debt4  ,he then goes on
 to give a list of the works so seized4 
,be this as it may he certainly never   
derived any advantage from them4 ,he had
 collected a great variety of old armor1
 sabres1 flags1 and fantastical         
vestments1 ironically terming them his  
antiques1 and frequently introducing    
them into his pictures4  ,rembrandt had 
already brought both the arts of        
painting and engraving to very great    
perfection 7in his own way71 when a     
slight incident led him to fame and     

fortune4 ,he was induced by a friend to 
take one of his choicest pictures to a  
picture-dealer at the ,hague1 who1 being
 charmed with the performance1 instantly
 gave him a hundred florins for it1 and 
treated him with great respect4 ,this   
occurrence served to convince the public
 of his merit1 and contributed to make  
the artist sensible of his own          
abilities4 ,in #afcj he went to         
,amsterdam1 where he married a handsome 
peasant girl 7frequently copied in his  
works71 and settled there for life4 ,his
 paintings were soon in extraordinary   
demand1 and his fame spread far and     
wide2 pupils flocked to his studio1 and 
he received for the instruction of each 
a hundred florins a year4 ,he was so    
excessively avaricious that he soon     
abandoned his former careful and        
finished style1 for a rapid execution2  
also frequently retouched the pictures  
of his best pupils1 and sold them as his
 own4 ,his deceits in dating several of 
his etchings at ,venice1 to make them   

more saleable1 led some of his          
biographers to believe that he visited  
,italy1 and resided at ,venice in #afce 
and #afcf2 but it has been              
satisfactorily proved that he never left
 ,holland1 though he constantly         
threatened to do so1 in order to        
increase the sale of his works4 ,as     
early as #afbh1 he applied himself      
zealously to etching1 and soon acquired 
great perfection in the art4 ,his       
etchings were esteemed as highly as his 
paintings1 and he had recourse to       
several artifices to raise their price  
and increase their sales4 ,for example1 
he sold impressions from the unfinished 
plates1 then finished them1 and after   
having used them1 made some slight      
alterations1 and thus sold the same     
works three or four times2 producing    
what connoisseurs term variations in    
prints4 ,by these practices1 and his    
parsimonious manner of living1          
,rembrandt amassed a large fortune4     
,,rembrandt',s ,,works4   ,his works are

 numerous1 and are dispersed in various 
public and private collections of       
,europe2 and when they are offered for  
sale they command enormous prices4      
,there are eight of his pictures in the 
,english ,national ,gallery2 one of     
these1 the ,woman taken in ,adultery1   
formerly in the ,orleans collection1    
sold for ,l#ejjj4 ,in ,smith's          
,catalogue raisonne is a description of 
six hundred and forty pictures by him1  
the public and private galleries and    
collections in which they were located  
at the time of the publication of the   
work1 together with a copious list of   
his drawings and etchings1 and much     
other interesting information4 ,he left 
many studies1 sketches1 and drawings1   
executed in a charming style1 which are 
now scarce and valuable4     ,,rembrandt
 ,,as ,,an ,,engraver4   ,rembrandt     
holds a distinguished rank among the    
engravers of his country2 he established
 a more important epoch in this art than
 any other master4 ,he was indebted     

entirely to his own genius for the      
invention of a process which has thrown 
an indescribable charm over his plates4 
,they are partly etched1 frequently much
 assisted by the dry point1 and         
occasionally1 though rarely1 finished   
with the graver2 evincing the most      
extraordinary facility of hand1 and     
displaying the most consummate knowledge
 of light and shadow4 ,his free and     
playful point sports in picturesque     
disorder1 producing the most surprising 
and enchanting effects1 as if by        
accident2 yet an examination will show  
that his motions are always regulated by
 a profound knowledge of the principles 
of light and shadow4 ,his most admirable
 productions in both arts are his       
portraits1 which are executed with      
unexampled expression and skill4 ,for a 
full description of his prints1 the     
reader is referred to ,bartsch's        
,peintre ,graveur4  ,his prints are very
 numerous1 yet they command very high   
prices4 ,the largest collection of his  

prints known1 was made by ,m4 de ,burgy 
at the ,hague1 who died in #agee4 ,this 
collection contained #ffe prints with   
their variations1 namely1 #beg          
portraits1 #afa histories1 #aee figures1
 and #he landscapes4 ,there are no less 
than #bg portraits of ,rembrandt by     
himself4     ,,anecdote ,,of ,,schwarts4
   ,sandrart relates the following      
anecdote of ,christopher ,schwarts1 a   
famous ,german painter1 which1 if true1 
redounds more to his ingenuity than to  
his credit4 ,having been engaged to     
paint the ceiling of the ,town ,hall at 
,munich by the day1 his love of         
dissipation induced him to neglect his  
work1 so that the magistrates and       
overseers of the work were frequently   
obliged to hunt him out at the cabaret4 
,as he could no longer drink in quiet1  
he stuffed an image of himself1 left the
 legs hanging down between the staging  
where he was accustomed to work1 and    
sent one of his boon companions to move 
the image a little two or three times a 

day1 and to take it away at noon and    
night4 ,by means of this deception1 he  
drank without the least disturbance a   
whole fortnight together1 the inn-keeper
 being privy to the plot4 ,the officers 
came in twice a day to look after him1  
and seeing the well known stockings and 
shoes which he was accustomed to wear1  
suspected nothing wrong1 and went their 
way1 greatly extolling their own        
convert1 as the most industrious and    
conscientious painter in the world4     
,,jacques ,,callot4   ,this eminent     
,french engraver was born at ,nancy1 in 
,lorraine1 in #aeic4 ,he was the son of 
,jean ,callot1 a gentleman of noble     
family1 who intended him for a very     
different profession1 and endeavored to 
restrain his natural passion for art2   
but when he was twelve years old1 he    
left his home without money or          
resources1 joined a company of wandering
 ,bohemians1 and found his way to       
,florence1 where some officer of the    
court1 discovering his inclination for  

drawing1 placed him under ,cantagallina4
 ,after passing some time at ,florence1 
he went to ,rome1 where he was          
recognized by some friends of his       
family1 who persuaded him to return to  
his parents4 ,meeting with continual    
opposition1 he again absconded1 but was 
followed by his brother to ,turin1 and  
taken back to ,nancy4 ,his parents1 at  
length finding his love of art too      
firmly implanted to be eradicated1      
concluded to allow him to follow the    
bent of his genius1 and they sent him to
 ,rome in the suite of the ,envoy from  
the ,duke of ,lorraine to the ,pope4    
,here he studied with the greatest      
assiduity1 and soon distinguished       
himself as a very skillful engraver4    
,from ,rome he went to ,florence1 where 
his talents recommended him to the      
patronage of the ,grand ,duke ,cosmo    
,,ii41 on whose death he returned to    
,nancy1 where he was liberally          
patronized by ,henry1 ,duke of          
,lorraine4 ,when misfortune overtook    

that prince1 he went to ,paris1 whither 
his reputation had preceded him1 where  
he was employed by ,louis ,,xiii4 to    
engrave the successes of the ,french    
arms1 particularly the siege of the     
,isle de ,re1 in sixteen sheets2 the    
siege of ,rochelle1 do42 and the siege  
of ,breda1 in eight sheets4 ,his prints 
are very numerous1 and are highly       
esteemed2 ,heineken gives a full list of
 his prints1 amounting to over fifteen  
hundred6 ,the fertility of his invention
 and the facility of his hand were      
wonderful2 yet his prints are accurately
 designed4 ,he frequently made several  
drawings for the same plate before he   
was satisfied4 ,watelet says that he saw
 four different drawings by him for the 
celebrated ,temptation of ,st4 ,anthony4
 ,his drawings are also greatly admired 
and highly prized4     ,,callot',s      
,,patriotism4   ,when ,cardinal         
,richelieu desired ,callot to design and
 engrave a set of plates descriptive of 
the siege and fall of his native town1  

he promptly refused2 and when the       
,cardinal peremptorily insisted that he 
should do it1 he replied1 ,my ,lord1 if 
you continue to urge me1 ,i will cut off
 the thumb of my right hand before your 
face1 for ,i never will consent to      
perpetuate the calamity and disgrace of 
my sovereign and protector4             
,,ingenuity ,,of ,,artists4   ,pliny    
asserts that an ingenious artist wrote  
the whole of the ,iliad on so small a   
piece of parchment that it might be     
enclosed within the compass of a        
nut-shell4 ,cicero also records the same
 thing4 ,this doubtless might be done on
 a strip of thin parchment1 and rolling 
it compactly4  ,heylin1 in his life of  
,charles ,i41 says that in ,queen       
,elizabeth's time1 a person wrote the   
,ten ,commandments1 the ,creed1 the     
,pater ,noster1 the ,queen's name1 and  
the date1 within the compass of a penny1
 which he presented to her ,majesty1    
together with a pair of spectacles of   
such an artificial make1 that by their  

help she plainly discerned every letter4
 ,one ,francis ,almonus wrote the       
,creed1 and the first fourteen verses of
 the ,gospel of ,st4 ,john1 on a piece  
of parchment no larger than a penny4 ,in
 the library of ,st4 ,john's ,college1  
,oxford1 is a picture of ,charles ,i4   
done with a pen1 the lines of which     
contain all the psalms1 written in a    
legible hand4  ,at ,halston1 in         
,shropshire1 the seat of the ,myttons1  
is preserved a carving much resembling  
that mentioned by ,walpole in his       
,anecdotes of ,painting1 vol4 ii41 p4   
#db4 ,it is the portrait of ,charles    
,i41 full-faced1 cut on a peach-stone2  
above1 is a crown2 his face1 and clothes
 which are of a ,vandyck dress are      
painted2 on the reverse is an eagle     
transfixed with an arrow1 and round it  
is this motto3 ,i feathered this arrow4 
,the whole is most admirably executed1  
and is set in gold1 with a crystal on   
each side4 ,it probably was the work of 
,nicholas ,bryot1 a great graver of the 

mint in the time of ,charles            
,i4--,pennant's ,wales4  ,in the ,royal 
,museum at ,copenhagen is a common      
cherry-stone1 on the surface of which   
are cut two hundred and twenty heads6   
,a ,,hint ,,to ,,jewelers4   ,when the  
haughty and able ,pope ,innocent ,,iii4 
caused ,cardinal ,langton to be elected 
,archbishop of ,canterbury in despite of
 ,king ,john1 and compelled him to      
submit1 to appease the latter and to    
admonish him1 his ,holiness presented   
him with four golden rings1 set with    
precious stones1 at the same time taking
 care to inform him of the many         
mysteries implied in them4 ,his         
,holiness begged of him 7,king ,john71  
says ,hume1 to consider seriously the   
form of the rings1 their number1 their  
matter1 and their color4 ,their form1 he
 said1 shadowed out eternity1 which had 
neither beginning nor end2 and he ought 
thence to learn his duty of aspiring    
from earthly objects to heavenly1 from  
things temporal to things eternal4 ,the 

number1 from being a square1 denoted    
steadiness of mind1 not to be subverted 
either by adversity or prosperity1 fixed
 forever on the firm base of the four   
cardinal virtues4 ,gold1 which is the   
matter1 being the most precious of the  
metals1 signified wisdom1 which is the  
most precious of all the                
accomplishments1 and justly preferred by
 ,solomon to riches1 power1 and all     
exterior attainments4 ,the blue color of
 the sapphire represented ,faith2 the   
verdure of the emerald1 ,hope2 the      
redness of the ruby1 ,charity2 and the  
splendor of the topaz1 good works4      
,jewelers1 who usually deal so little in
 sentiment in their works1 may learn    
from this ingenious allegory the        
advantage of calling up the             
wonder-working aid of fancy1 in forming 
their combinations of precious things4  
,,curious ,,paintings4   ,in the        
,cathedral at ,worms1 over the altar1 is
 a very old painting1 in which the      
,virgin is represented throwing the     

infant ,jesus into the hopper of a mill2
 while from the other side he issues1   
changed into wafers or little morsels of
 bread1 which the priests are           
administering to the people4  ,mathison1
 in his letters1 thus describes a       
picture in a church at ,constance1      
called the ,conception of the ,holy     
,virgin4 ,an old man lies on a cloud1   
whence he darts a vast beam1 which      
passes through a dove hovering just     
below2 at the end of the beam appears a 
large transparent egg1 in which egg is  
seen a child in swaddling clothes1 with 
a glory round it2 ,mary sits leaning in 
an arm-chair and opens her mouth to     
receive the egg6 ,which are the most    
profane--these pictures1 or the ,venus  
,anadyomene of ,apelles1 the ,venus of  
,titian1 and the ,leda of ,correggio8   
,,the ,,oldest ,,oil ,,painting         
,,extant4   ,the oldest oil painting now
 in existence1 is believed to be one of 
the ,madonna and infant ,jesus in her   
arms1 with an ,eastern style of         

countenance4 ,it is marked ,,dccclxxxvi4
 7#hhf74 ,this singular and valuable    
painting formed part of the treasures of
 art in the old palace of the           
,florentine ,republic1 and was purchased
 by the ,director ,bencivenni from a    
broker in the street1 for a few livres4 
,the above is found quoted in many      
books1 in proof that oil painting was   
known long before the time of the ,van  
,eycks2 but all these old supposed oil  
paintings have been proved by chemical  
analysis to have been painted in        
distemper4 ,see vol4 ii41 p4 #ada1 of   
this work4     ,,curious                
,,representations ,,of ,,the ,,harpies4 
,homer represents the ,harpies as the   
rapacious goddesses of the storms1      
residing near the ,erinnyes1 or the     
,ocean1 before the jaws of hell4 ,if any
 person was so long absent from home    
that it was not known what had become of
 him1 and he was supposed to be dead1 it
 was commonly said1 ,the ,harpies have  
carried him off4 ,hesiod represents them

 as young virgins of great beauty4 ,the 
later poets and artists vied with each  
other in depicting them under the most  
hideous forms2 they commonly represented
 them as winged monsters1 having the    
face of a woman and the body of a       
vulture1 with their feet and fingers    
armed with sharp claws4 ,spanheim1 in   
his work1 gives three representations of
 the harpies1 taken from ancient coins  
and works of art2 they have female      
heads1 with the bodies and claws of     
birds of prey2 the first has a coarse   
female face1 the second a beautiful     
feminine head1 and two breasts1 and the 
third a visage ornamented with wreaths  
and a head-dress4 ,there are various    
other representations of them1 one of   
the most remarkable of which is a       
monster with a human head and the body  
of a vampire bat4     ,,adrian ,,brower4
   ,this extraordinary painter was born 
at ,haerlem1 in #afjh4 ,his parents were
 extremely poor1 and his mother sold to 
the peasants bonnets and handkerchiefs1 

which the young ,adrian painted with    
flowers and birds4 ,these attempts were 
noticed by ,francis ,hals1 a            
distinguished painter of ,haerlem1 who  
offered to take the young artist into   
his school--which proposal was gladly   
accepted4 ,hals1 on discovering his     
superior genius1 separated him from all 
his companions1 and locked him up in a  
garret1 that he might profit by his     
talents4 ,the pictures of ,brower sold  
readily at high prices1 but the         
avaricious ,hals treated him with       
increased severity1 lest he should      
become acquainted with the value of his 
talents1 and leave him4 ,this cruelty   
excited the pity of ,adrian van ,ostade1
 then a pupil of ,hals2 and he found an 
opportunity of advising ,brower to make 
his escape1 which the latter effected1  
and fled to ,amsterdam4 ,soon after     
arriving in that city1 he painted a     
picture of ,boors ,fighting1 which he   
gave to the landlord of the inn where he
 lodged1 and requested him to sell it4  

,the host soon returned with one hundred
 ducats1 which he had received for the  
work4 ,the artist was amazed at such a  
result of his labors1 but instead of    
exerting his wonderful talents1 he      
plunged into a course of dissipation4   
,this natural propensity to alternate   
work and indulgence marked his whole    
life1 and involved him in many          
extraordinary adventures4     ,,brower1 
,,the ,,duke ,d',,aremberg1 ,,and       
,,rubens4   ,when the ,states-,general  
were at war with ,spain1 ,brower started
 on a visit to ,antwerp1 whither his    
reputation had already proceeded him4   
,omitting to provide himself with a     
passport1 he was arrested as a spy1 and 
confined in the citadel1 where the ,duke
 d',aremberg was imprisoned4 ,that      
nobleman lived in friendship with       
,rubens1 who often visited him in his   
confinement2 and the ,duke1 having      
observed the genius of ,brower1 desired 
,rubens to bring a palette and pencils1 
which he gave to ,brower1 and the latter

 soon produced a representation of      
,soldiers playing at ,cards1 which he   
designed from a group he had seen from  
his prison window4 ,the ,duke showed the
 picture to ,rubens1 who immediately    
exclaimed that it was by the celebrated 
,brower1 whose pictures he often        
admired2 and he offered the ,duke six   
hundred guilders for the work1 but the  
latter refused to part with it1 and     
presented the artist with a much larger 
sum4 ,rubens lost no time in procuring  
his liberty1 which he did by becoming   
his surety1 took him into his own house1
 and treated him with the greatest      
kindness4     ,,death ,,of ,,brower4    
,brower did not continue long in the    
hospitable mansion of ,rubens1 whose    
refined and elegant manners1 love of    
literature1 and domestic happiness were 
less congenial to this erratic genius   
than the revels of his pot-companions4  
,brower soon became weary of his        
situation1 and returned to his vicious  
habits1 to which he soon fell a victim  

in #afdj1 at the early age of #cb years4
 ,he died in the public hospital at     
,antwerp1 and was buried in an obscure  
manner2 but when ,rubens knew it1 he had
 the body reinterred1 with funeral pomp1
 in the church of the ,carmelites2 and  
he intended also to have erected a      
superb monument to his memory1 had he   
lived to see it executed2 though        
,sandrart says there was a magnificent  
one over his tomb1 with an epitaph to   
perpetuate his honor4     ,,brower',s   
,,works4   ,the subjects of ,brower were
 of the lowest order1 representing the  
frolics of his pot companions2 but his  
expression is so lively and             
characteristic1 his coloring so         
transparent and brilliant1 and the      
passions and movements of his figures   
are so admirably expressed1 that his    
works have justly elicited the applause 
of the world4 ,they are highly valued1  
and in consequence of his irregular     
life1 are exceedingly scarce4 ,brower   
also etched a few plates in a very      

spirited style4     ,,rosa ,,da         
,,tivoli4   ,the name of this artist was
 ,philip ,roos1 and he was born at      
,frankfort in #afee4 ,he early showed a 
passion for painting1 and exhibited such
 extraordinary talents that the         
,landgrave of ,hesse took him under his 
protection1 and sent him to ,italy with 
a pension sufficient for his support4   
,to facilitate his studies1 he          
established himself at ,tivoli 7whence  
his name71 where he kept a kind of      
menagerie1 and on account of the number 
and variety of the animals1 his house   
was called ,noah's ,ark4     ,,rosa ,,da
 ,,tivoli',s ,,works4   ,rosa da        
,tivoli's pictures usually represent    
pastoral subjects1 with herdsmen and    
cattle1 or shepherds with sheep and     
goats1 which he frequently painted as   
large as life4 ,he designed everything  
from nature1 not only his animals1 but  
the sites of his landscapes1 ruins1     
buildings1 rocks1 precipices1 rivers1   
etc4 ,his groups are composed with great

 judgment and taste1 and his landscapes1
 backgrounds1 skies1 and distances are  
treated in a masterly style4 ,his cattle
 and animals1 in particular1 are        
designed with wonderful truth and       
spirit2 his coloring is full of force1  
his lights and shadows are distributed  
with judgment and his touch is          
remarkably firm and spirited4     ,,rosa
 ,,da ,,tivoli',s ,,facility ,,of       
,,execution4   ,rosa da ,tivoli acquired
 a wonderful facility in design and     
execution1 for which reason he was named
 ,mercurius by the ,bentvogel ,society4 
,a remarkable instance of his powers is 
recorded by ,c4 le ,blond1 then a       
student at ,rome4 ,it happened one day1 
says he1 that several young artists and 
myself were occupied in designing from  
the bassi-relievi of the ,arch of       
,titus1 when ,roos passing by1 was      
particularly struck with some           
picturesque object which caught his     
attention1 and he requested one of the  
students to accommodate him with a      

crayon and paper4 ,what was our         
surprise1 when in half an hour he       
produced an admirable drawing1 finished 
with accuracy and spirit4  ,it is also  
related that the ,imperial ,ambassador1 
,count ,martinez1 laid a wager with a   
,swedish general that ,roos would paint 
a picture of three-quarters' size1 while
 they were playing a game at cards2 and 
in less than half an hour the picture   
was well finished1 though it consisted  
of a landscape1 a shepherd1 and several 
sheep and goats4     ,,rosa ,,da        
,,tivoli',s ,,habits4   ,rosa da ,tivoli
 unfortunately fell into extravagant and
 dissipated habits1 which frequently    
caused him great inconvenience4 ,from   
his facility1 he multiplied his pictures
 to such an extent as greatly to        
depreciate their value4 ,it is related  
that he would sit down1 when pressed for
 money1 dispatch a large picture in a   
few hours1 and send it directly to be   
sold at any price4 ,his servant1        
possessing more discretion than his     

master1 usually paid him the highest    
price offered by the dealers1 and kept  
the pictures himself1 till he could     
dispose of them to more advantage4      
,,luca ,,cambiaso',s ,,facility ,,in    
,,painting4   ,the most remarkable      
quality of this distinguished ,genoese  
painter was his rapidity of operation4  
,he began to paint when ten years old1  
under the eye of his father1 ,giovanni  
,cambiaso1 who evinced good taste in    
setting him to copy some works by the   
correct and noble ,mantegna4 ,his       
progress was so rapid that at the age of
 seventeen he was entrusted to decorate 
some facades and chambers of the ,doria 
palace at ,genoa1 where he displayed his
 rash facility of hand by painting the  
story of ,niobe on a space of wall fifty
 palms long and of proportionate height1
 without cartoons or any drawing larger 
than his first hasty sketch on a single 
sheet of paper6 ,while he was engaged on
 this work1 there came one morning some 
,florentine artists to look at it4      

,seeing a lad enter soon after1 and     
commence painting with prodigious fury1 
they called out to him to desist2 but   
his mode of handling the brushes and    
colors1 which they had imagined it was  
his business merely to clean or pound1  
soon convinced them that this daring    
youngster was no other than ,luca       
himself2 whereupon they crossed         
themselves1 and declared he would one   
day eclipse ,michael ,angelo4           
,,cambiaso',s ,,works ,,in ,,spain4     
,after attaining a high reputation in   
,italy1 ,cambiaso was invited to ,madrid
 by ,philip ,,ii4 of ,spain4 ,he        
executed there a great number of works1 
among which the most important was the  
vault of the choir of the ,escurial     
church1 where he painted in fresco the  
,glory of the ,blessed in ,heaven4      
,instead of allowing the artist to paint
 from his own conceptions1 the king     
listened to the counsels of the monks1  
who recommended that the heavenly host  
should be drawn up in due theological   

order4 ,a design more pious than        
picturesque being at last agreed upon1  
the painter fell to work with his wonted
 fury1 and so speedily covered vast     
spaces with a multitude of figures1 that
 the king1 according to the expressive  
,italian phrase1 remained stupid1 not   
being able to believe that the master1  
with only one assistant1 could have     
accomplished so much4 ,philip often     
visited ,cambiaso while at work1 and one
 day remarking that the head of ,st4    
,anne among the blessed was too         
youthful1 the painter replied by seizing
 his pencil1 and with four strokes so   
seamed the face with wrinkles1 and so   
entirely altered its air1 that the royal
 critic once more remained stupid1      
hardly knowing whether he had judged    
amiss1 or the change had been effected  
by magic4 ,by means of thus painting at 
full speed1 frequently without sketches1
 and sometimes with both hands at once1 
,cambiaso clothed the vault with its    
immense fresco in about fifteen months4 

,the coloring is still fresh1 and many  
of the forms are fine and the figures   
noble2 but the composition cannot be    
called pleasing4 ,the failure must be   
mainly attributed to the unlucky        
meddling of the friars1 who have        
marshalled    ,the helmed ,cherubim1    
,and sworded ,seraphim1  with exact     
military precision1 ranged the celestial
 choir in rows like the fiddlers of a   
sublunary orchestra1 and accommodated   
the congregation of the righteous with  
long benches1 like those of a ,methodist
 meeting-house6 ,however1 the king was  
so well pleased with the work1 that he  
rewarded ,cambiaso with #ab1jjj ducats4 
,,cambiaso',s ,,artistic ,,merits4   ,in
 the earlier part of his career1 the    
impetuosity of his genius led him       
astray2 he usually painted his pictures 
in oil or fresco without preparing      
either drawing or cartoon2 and his first
 style was gigantic and unnatural4      
,subsequently1 however1 he checked this 
impetuosity1 and it was in the middle of

 his life that he produced his best     
works4 ,his fertility of invention was  
wonderful2 his genius grappled with and 
conquered the most arduous difficulties 
of the art1 and he shows his powers in  
foreshortening in the most daring       
variety4 ,he was rapid and bold in      
design1 yet was selected by ,boschini as
 a model of correctness2 hence his      
drawings1 though numerous1 are highly   
esteemed4 ,his ,rape of the ,sabines1 in
 the ,palazzo ,imperiali at ,terralba1  
near ,genoa1 has been highly extolled4  
,it is a large work full of life and    
motion1 passionate ravishers and        
reluctant damsels1 fine horses and      
glimpses of noble architecture1 with    
several episodes heightening the effect 
of the main story4 ,mengs declared he   
had seen nothing out of ,rome that so   
vividly reminded him of the chambers of 
the ,vatican4     ,,rarity ,,of ,,female
 ,,portraits ,,in ,,spain4   ,very few  
female portraits are found in the       
,spanish collections4 ,their painters   

were seldom brought in professional     
contact with the beauty of high-born    
women--the finest touchstone of         
professional skill--and their great     
portrait painters lived in an age of    
jealous husbands1 who cared not to set  
off to public admiration the charms of  
their spouses4 ,velasquez came to reside
 at court about the same time that      
,madrid was visited by ,sir ,kenelm     
,digby1 who had like to have been slain 
the first night of his arrival1 for     
merely looking at a lady4 ,returning    
with two friends from supper at ,lord   
,bristol's1 the adventurous knight      
relates in his ,private ,memoirs1 how   
they came beneath a balcony where a     
love-lorn fair one stood touching her   
lute1 and how they loitered awhile to   
admire her beauty1 and listen to her    
soul-ravishing harmony4 ,their          
delightful contemplations1 however1 were
 soon arrested by a sudden attack from  
several armed men1 who precipitated     
themselves upon the three ,britons4     

,their swords were instantly drawn1 and 
a fierce combat ensued2 but the valiant 
,digby slew the leader of the band1 and 
finally succeeded in escaping with his  
companions4  ,of the sixty-two works by 
,velasquez in the ,royal ,gallery at    
,madrid1 there are only four female     
portraits2 and of these1 two represent  
children1 another an ancient matron1 and
 a fourth his own wife6 ,the ,duke of   
,abuquerque1 who at the door of his own 
palace waylaid and horsewhipped ,philip 
,,iv41 and his minister ,olivarez1      
feigning ignorance of their persons1 as 
the monarch came to pay a nocturnal     
visit to the ,duchess1 was not very     
likely to call in the court painter to  
take her ,grace's portrait4 ,ladies     
lived for the most part in a sort of    
,oriental seclusion1 amongst duennas1   
waiting-women1 and dwarfs2 and going    
abroad only to mass1 or to take the air 
in curtained carriages on the ,prado4   
,in such a state of things1 the rarity  
of female portraits in the ,spanish     

collections was a natural consequence4  
,,murillo',s ,,pictures ,,in ,,spanish  
,,america4   ,it is related that this   
great ,spanish painter visited ,america 
in early life1 and painted there many   
works2 but the later ,spanish historians
 have shown that he never quitted his   
native country2 and the circumstance of 
his pictures being found in ,america1 is
 best accounted for by the following    
narrative4 ,after acquiring considerable
 knowledge of the art under ,juan del   
,castillo at ,seville1 he determined to 
travel for improvement2 but how to raise
 the necessary funds was a matter of    
difficulty1 for his parents had died    
leaving little behind them1 and his     
genius had not yet recommended him to   
the good offices of any wealthy or      
powerful patron4 ,but ,murillo was not  
to be balked of his cherished desires4  
,buying a large quantity of canvas1 he  
divided it into squares of various      
sizes1 which he primed and prepared with
 his own hands for the pencil1 and then 

converted into pictures of the more     
popular saints1 landscapes1 and         
flower-pieces4 ,these he sold to the    
,american traders for exportation1 and  
thus obtained a sum of money sufficient 
for his purpose4     ,,murillo',s       
,,virgin ,,of ,,the ,,napkin4   ,the    
small picture which once adorned the    
tabernacle of the ,capuchin high altar  
at ,seville1 is interesting on account  
of its legend1 as well as its           
extraordinary artistic merits4 ,murillo1
 whilst employed at the convent1 had    
formed a friendship with a lay brother1 
the cook of the fraternity1 who attended
 to his wants and waited on him with    
peculiar assiduity4 ,at the conclusion  
of his labors1 this ,capuchin of the    
kitchen begged for some trifling        
memorial of his pencil4 ,the painter was
 quite willing to comply1 but said that 
he had exhausted his stock of canvas4   
,never mind1 said the ready cook1 take  
this napkin1 offering him that which he 
had used at dinner4 ,the good-natured   

artist accordingly went to work1 and    
before evening he had converted the     
piece of coarse linen into a picture    
compared to which cloth of gold or the  
finest tissue of the ,east would be     
accounted worthless4 ,the ,virgin has a 
face in which thought is happily blended
 with maidenly innocence2 and the divine
 infant1 with his deep earnest eyes1    
leans forward in her arms1 struggling as
 it were almost out of the frame1 as if 
to welcome the carpenter ,joseph home   
from his daily toil4 ,the picture is    
colored with a brilliancy which ,murillo
 never excelled1 glowing with a golden  
light1 as if the sun were always shining
 on the canvas4 ,this admirable work is 
now in the ,museum of ,seville4         
,,anecdote ,,of ,,an ,,altar-,,piece    
,,by ,,murillo4   ,one of ,murillo's    
pictures1 in the possession of a society
 of friars in ,flanders1 was bought by  
an ,englishman for a considerable sum1  
and the purchaser affixed his signature 
and seal to the back of the canvas1 at  

the desire of the venders4 ,in due time 
it followed him to ,england1 and became 
the pride of his collection4 ,several   
years afterwards1 however1 while passing
 through ,belgium1 the purchaser turned 
aside to visit his friends the monks1   
when he was greatly surprised to find   
the beautiful work which he had supposed
 was in his own possession1 smiling in  
all its original brightness on the very 
same wall where he had been first       
smitten by its charms6 ,the truth was1  
that the monks always kept under the    
canvas an excellent copy1 which they    
sold in the manner above related1 as    
often as they could find a purchaser4   
,,murillo ,,and ,,his ,,slave ,,gomez4  
,sebastian ,gomez1 the mulatto slave of 
,murillo1 is said to have become        
enamored of art while performing the    
menial offices of his master's studio4  
,like ,erigonus1 the color grinder of   
,nealces1 or like ,pareja1 the mulatto  
of ,velasquez1 he devoted his leisure to
 the secret study of the principles of  

drawing1 and in time acquired a skill   
with the brush rivalled by few of the   
regular scholars of ,murillo4 ,there is 
a tradition at ,seville1 that he took   
the opportunity one day1 when the       
painting room was empty1 of giving the  
first proof of his abilities1 by        
finishing the head of a ,virgin1 that   
stood ready sketched on his master's    
easel4 ,pleased with the beauty of this 
unexpected interpolation1 ,murillo1 when
 he discovered the author of it1        
immediately promoted ,gomez to the use  
of those colors which it had hitherto   
been his task to grind4 ,i am indeed    
fortunate1 ,sebastian1 said the         
good-natured artist1 for ,i have not    
only created pictures1 but a painter4   
,,an ,,artist',s ,,love ,,romance4      
,francisco ,vieira1 an eminent          
,portuguese painter1 was still a child  
when he became enamored of ,dona ,ignez 
,elena de ,lima1 the daughter of noble  
parents1 who lived on friendly terms    
with his own and permitted the          

intercourse of their children4 ,the     
thread of their loves was broken for a  
while by the departure of the young     
wooer to ,rome1 in the suite of the     
,marquis of ,abrantes4 ,there he applied
 himself diligently to the study of     
painting1 under ,trevisani1 and carried 
off the first prize in the ,academy of  
,st4 ,luke4 ,on returning to ,portugal1 
although only in his #afth year1 he was 
immediately appointed by ,king ,john ,v4
 to paint a large picture of the        
,mystery of the ,eucharist1 to be used  
at the approaching feast of ,corpus     
,christi2 and he also painted the king's
 portrait4  ,an absence of seven years  
had not affected ,vieira's constancy1   
and he took the first opportunity of    
flying once more to ,ignez4 ,he was     
kindly received by the ,lima family1 at 
their villa on the beautiful shores of  
the ,tagus1 and was permitted to reside 
there for a while1 painting the scenery1
 and wooing his not unwilling mistress4 
,when the maiden's heart was fairly won1

 the parents at length interfered1 and  
the lovers found the old adage verified1
 that the course of true love never did 
run smooth4 ,vieira was ignominiously   
turned out of doors1 and the fair ,ignez
 was shut up in the convent of ,st4     
,anna1 and compelled to take the veil4  
,the afflicted lover immediately laid   
his cause before the king1 but received 
an unfavorable answer4 ,nothing daunted1
 he then went to ,rome1 and succeeded in
 obtaining from the ,pope a commission  
to the ,patriarch of ,lisbon1 empowering
 him to inquire into the facts of the   
case2 and that prelate's report being   
favorable1 the lover was made happy with
 a bull annulling the religious vows of 
the nun1 and authorizing their marriage4
 ,it is uncertain how long this affair  
remained undecided2 but a ,portuguese   
,jesuit having warned ,vieira that at   
home he ran the risk of being punished  
by confiscation of his property1 for    
obtaining a bull without the consent of 
the civil power1 he prolonged his       

residence at ,rome to six years1 that   
the affair might have time to be        
forgotten at ,lisbon4 ,during this      
period he continued to exercise his     
pencil with so much success that he was 
elected a member of the ,academy of ,st4
 ,luke4  ,after such a probation1 the   
energy and perseverance of the lover is 
almost unparalleled4 ,he finally        
ventured to return to his native ,tagus1
 and accomplished the object of his     
life4 ,disguising himself as a          
bricklayer1 he skulked about the convent
 where ,ignez lay immured1 mingling with
 the workmen employed there1 till he    
found means to open a communication with
 her and concert a plan of escape4 ,he  
then furnished her with male attire1 and
 at last successfully carried her off on
 horseback 7though not without a severe 
wound from the brother of his bride71 to
 another bishopric1 where they were     
married in virtue of the ,pope's bull4  
,after residing for some time in ,spain 
and ,italy1 however1 ,vieira was        

commanded to return to ,portugal1 and   
appointed painter to the king4 ,being   
the best artist in that kingdom1 his    
talents soon obliterated the remembrance
 of his somewhat irregular marriage1 and
 during forty years he painted with     
great reputation and success for the    
royal palaces at ,nafra and elsewhere1  
for the convents1 and the collections of
 the nobility4 ,it will doubtless be    
pleasing to the fair readers of these   
anecdotes1 that all this long course of 
outward prosperity was sweetened by the 
affection of his constant wife4         
,,esteban ,,march',s ,,strange ,,method 
,,of ,,study4   ,esteban ,march1 a      
distinguished ,spanish painter of the   
#agth century1 was eccentric in         
character and violent in temperament4   
,battles being his favorite subjects1   
his studio was hung round with pikes1   
cutlasses1 javelins1 and other          
implements of war1 which he used in a   
very peculiar and boisterous manner4 ,as
 the mild and saintly ,joanes was wont  

to prepare himself for his daily task by
 prayer and fasting1 so his riotous     
countryman used to excite his           
imagination to the proper creative pitch
 by beating a drum1 or blowing a        
trumpet1 and then valiantly assaulting  
the walls of his chamber with sword and 
buckler1 laying about him1 like another 
,don ,quixote1 with a blind energy that 
told severely on the plaster and        
furniture1 and drove his terrified      
scholars or assistants to seek safety in
 flight4 ,having thus lashed himself    
into sufficient frenzy1 he performed    
miracles1 according to ,palomino1 in the
 field of battle-pieces1 throwing off   
many bold and spirited pictures of      
,pharaoh and his host struggling in the 
angry waters1 or mailed ,christians     
quelling the turbaned armies of the     
,crescent4 ,few will withhold from him  
the praise of ,bermudez1 for brilliancy 
of coloring1 and for the skill with     
which the dust1 smoke1 and dense        
atmosphere of the combat are depicted4  

,,march',s ,,adventure ,,of ,,the ,,fish
 ,,fried ,,in ,,linseed ,,oil4          
,palomino says that ,march had gone out 
one day1 leaving neither meat nor money 
in the house1 and was absent till past  
midnight1 when he returned with a few   
fish1 which he insisted on having       
instantly dressed for supper4 ,his wife 
said there was no oil2 and ,juan        
,conchillos1 one of his pupils1 being   
ordered to get some1 objected that all  
the shops were shut up4 ,then take      
linseed oil1 cried the impetuous ,march1
 for1 por ,dios1 ,i will have these fish
 presently fried4 ,the mess was         
therefore served with this unwonted     
sauce1 but was no sooner tasted than it 
began to act as a vigorous emetic upon  
the whole party1 for indeed1 gravely    
writes ,palomino1 linseed oil1 at all   
times of a villainous flavor1 when hot  
is the very devil4 ,without more ado1   
the master of the feast threw fish and  
frying-pan out of the window2 and       
,conchillos1 knowing his humor1 flung   

the earthen chafing-dish and charcoal   
after them4 ,march was delighted with   
this sally1 and embracing the youth1 he 
lifted him from the floor1 putting him  
in bodily fear1 as he after wards told  
,palomino1 that he was about to follow  
the coal and viands into the street4 ,as
 for the poor weary wife1 she thought of
 her crockery1 and remarking in a matter
 of-fact way1 ,what shall we have for   
supper now8 went to bed2 whither her    
husband1 pleased with the frolic of     
spoiling his meal and breaking the      
dishes1 seems to have followed her in a 
more complacent mood than common4     ,a
 ,,painter',s ,,rebuke4   ,jose         
,antonilez1 a ,spanish painter1 studied 
under ,francisco ,rizi at ,madrid4 ,when
 the latter was occupied in preparing   
some new scenery for the theatre at     
,buon ,retiro1 ,antonilez spoke of him  
as a painter of foot-cloths--an         
expression which was soon communicated  
to his master4 ,rizi immediately        
administered a wholesome practical      

rebuke1 by commanding the attendance of 
,antinolez on his ,majesty's service1   
and ordering him to execute a piece of  
painting in distemper4 ,the unlucky wag1
 being quite ignorant of the mode of    
performing the work1 and too proud to   
confess it1 worked for a whole day1 at  
the end of which he had merely spoiled a
 large piece of canvas4 ,so1 sir1 said  
,rizi1 quietly1 you see painting        
foot-cloths is not so easy after all2   
and turning to his servant1 added1 here1
 boy1 take this canvas and carry it to  
the cistern to be washed4     ,a        
,,painter',s ,,retort ,,courteous4      
,jean ,ranc1 an eminent ,french portrait
 painter1 was sometimes annoyed by      
impertinent and vexatious criticism4    
,having exhausted all his talent upon a 
particular portrait1 the friends of the 
sitter refused to be pleased1 although  
the sitter himself appears to have been 
well satisfied4 ,in concert with the    
latter1 ,ranc concerted a plan for a    
practical retort4 ,after privately      

painting a copy of the picture1 he cut  
the head out of the canvas1 and placed  
it in such a position that the original 
could supply the opening with his own   
veritable face1 undetected4 ,after all  
was ready1 the cavilers were invited to 
view the performance1 but they were no  
better pleased4 ,falling completely into
 the snare1 the would-be critics were   
going on to condemn the likeness1 when  
the relaxing features and hearty        
laughter of the supposed portrait1      
speedily and sufficiently avenged the   
painter of their fastidiousness4        
,,ardemans ,,and ,,bocanegra--,a ,,trial
 ,,of ,,skill4   ,these ,spanish        
painters contended in #afhi for the     
office of ,master of the ,works in the  
,cathedral of ,granada4 ,bocanegra was  
excessively vain and overbearing1 and   
boasted his superiority to all the      
artists of his time2 but ,ardemans1     
though a stranger in ,granada1 was not  
to be daunted1 and a trial of skill1 a  
duel with pencils1 was accordingly      

arranged between them1 which was1 that  
each should paint the other's portrait4 
,ardemans1 who was then hardly          
twenty-five years of age1 first entered 
the lists1 and without drawing any      
outline on the canvas1 produced an      
excellent likeness of his adversary in  
less than an hour4 ,bocanegra1 quite    
daunted by this feat1 and discouraged by
 the applause accorded to his rival by  
the numerous spectators1 put off his own
 exhibition till another day1 and in the
 end utterly failed in his attempt to   
transfer the features of his rival to   
canvas4 ,his defeat1 and the jeers of   
his former admirers1 so overwhelmed him 
with mortification1 that he died shortly
 after4     ,a ,,painter',s ,,artifice  
,,to ,,keep ,,up ,,appearances4   ,the  
,spanish painter ,antonio ,pereda       
married ,dona ,maria de ,bustamente1 a  
woman of some rank1 and greater         
pretension1 who would associate only    
with people of high fashion1 and        
insisted on having a duenna in constant 

waiting in her antechamber1 like a lady 
of quality4 ,pereda was not rich enough 
to maintain such an attendant2 he       
therefore compromised matters by        
painting on a screen an old lady sitting
 at her needle1 with spectacles on her  
nose1 and so truthfully executed that   
visitors were wont to salute her as they
 passed1 taking her for a real duenna1  
too deaf or too discreet to notice their
 entrance6     ,a ,,good-,,natured      
,,criticism4   ,bartolomeo ,carducci1   
who was employed in the service of the  
,spanish court for many years1 was      
expressing one day his admiration of a  
newly finished picture by a brother     
artist1 when one of his own scholars    
drew his attention to a badly executed  
foot4 ,i did not observe it1 replied he1
 it is so concealed by the difficult    
excellence of this bosom and these      
hands--a piece of kindly criticism that 
deserves to be recorded4     ,,alonso   
,,cano ,,and ,,the ,,intendant ,,of     
,,the ,,bishop ,,of ,,malaga4   ,the    

,bishop of ,malaga1 being engaged in    
improving his ,cathedral church1 invited
 ,cano to that city1 for the purpose of 
designing a new tabernacle for the high 
altar1 and new stalls for the choir4 ,he
 had finished his plans1 very much to   
the prelate's satisfaction1 when he was 
privately informed that the ,intendant  
of the works proposed to allow him but a
 very trifling remuneration4 ,these     
drawings1 said ,cano1 are either to be  
given away1 or to fetch #b1jjj ducats2  
and packing them up1 he mounted his     
mule1 and took the road to ,granada4    
,the niggardly ,intendant1 learning the 
cause of his departure1 became alarmed1 
and sent a messenger after him          
post-haste1 offering him his own price  
for the plans6     ,,cano',s ,,love ,,of
 ,,sculpture4   ,skillful as ,cano was  
with the pencil1 he loved the chisel    
above all his other artistic implements4
 ,he was so fond of sculpture that1 when
 wearied with painting1 he would take   
his tools1 and block out a piece of     

carving4 ,a disciple one day remarking  
that to lay down a pencil and take up a 
mallet1 was a strange method of repose1 
he replied1 ,blockhead6 don't you see   
that to create form and relief on a flat
 surface1 is a greater labor than to    
fashion one shape into another8         
,,castillo',s ,,sarcasm ,,on ,,alfaro4  
,juan de ,alfaro first studied under    
,antonio del ,castillo at ,seville1 and 
subsequently in the school of ,velasquez
 at ,madrid4 ,after his return to       
,seville1 he was wont to plume himself  
upon the knowledge of art which he had  
acquired in the school of that great    
painter2 and he also signed all his     
pictures in a conspicuous manner1       
,alfaro1 pinxit4 ,this was too much for 
,castillo1 and he accordingly inscribed 
his ,baptism of ,st4 ,francis1 executed 
for the ,capuchin convent1 where his    
juvenile rival was likewise employed1   
,non pinxit ,alfaro4 ,years after1      
,palomino became sufficiently intimate  
with ,alfaro1 to ask him what he thought

 of ,castillo's sarcastic inscription4  
,i think1 replied the unabashed object  
of the jest1 that it was a great honor  
for me1 who was then a beardless boy1 to
 be treated as a rival by so able an    
artist4     ,,torres' ,,imitations ,,of 
,,caravaggio4   ,matias de ,torres1 a   
,spanish painter1 affected the style of 
,caravaggio4 ,his compositions were half
 veiled in thick impenetrable shadows1  
which concealed the design1 and         
sometimes left the subject a mystery4   
,francisco de ,solis was standing before
 one of them1 in the church of ,victory 
at ,madrid1 representing a scene from   
the life of ,st4 ,diego1 and was asked  
to explain the subject depicted4 ,it    
represents1 said the witty painter1 ,san
 ,brazo1 ,st4 ,arm1 nothing being       
distinguished but the arm of a mendicant
 in the background4     ,,pantoja ,,and 
,,the ,,eagle4   ,palomino relates that 
a superb eagle1 of the bearded kind1    
having been captured in the royal chase1
 near the ,prado1 the king 7,philip     

,,iii47 gave orders to ,pantoja to paint
 its likeness1 which he did with such   
truthfulness that the royal bird1 on    
seeing it1 mistook it for a real eagle1 
and attacked the picture with such      
impetuosity that he tore it in pieces   
with his beak and talons before they    
could secure him4 ,the indignant bird   
was then tied more carefully1 and the   
portrait painted over again4     ,,the  
,,painter ,,methodius ,,and ,,the ,,king
 ,,of ,,bulgaria4   ,pacheco relates a  
remarkable effect produced by a picture 
from the pencil of ,methodius1 who      
resided at ,constantinople about #hed4  
,he was invited to ,nicopolis by        
,bogoris1 king of the ,bulgarians1 to   
decorate a banqueting-hall in his       
palace4 ,that prince left the choice of 
his subject to the artist1 limiting him 
to those of a tragic or terrible        
character4 ,the sister of ,bogoris1     
during a long captivity at              
,constantinople1 had become a convert to
 the ,greek church1 and greatly desired 

that her brother should renounce        
paganism2 therefore it was probably at  
her instance1 in this case1 that        
,methodius painted the ,last ,judgment4 
,he succeeded in depicting the glories  
of the blessed and the pains of the     
damned in such a fearful manner1 that   
the heathen king was induced in his     
terror to send for a ,bishop1 and       
signify his willingness to unite with   
the ,greek church2 and the whole        
,bulgarian nation soon followed his     
example4     ,,john ,c4 ,,vermeyen ,,and
 ,,charles ,v4   ,this ,dutch painter   
was invited to ,spain by ,charles ,v41  
and accompanied that monarch on his     
expedition to ,tunis1 of which he       
preserved some scenes that were         
afterwards transferred to ,brussels     
tapestries4 ,he followed the court for  
many years1 and exercised his art with  
honor and profit1 in portrait1          
landscape1 and sacred subjects4 ,the    
palace of the ,prado was adorned with a 
number of his works1 particularly eight 

pictures representing the ,imperial     
progresses in ,germany1 and ,views of   
,madrid1 ,valladolid1 ,naples1 and      
,london2 all of which perished in the   
fire of #afjh4 ,vermeyen was an especial
 favorite of ,charles ,v41 who ordered  
his bust to be executed in marble1 for  
the sake of the gravity and nobleness of
 his countenance4 ,he was very          
remarkable for his long beard1 which    
gained him the surname of ,el ,barbudo  
or ,barbalonga4 ,in fact1 so very       
lengthy was this beard1 that ,descamps  
says the ,emperor in his playful moods  
used to amuse himself by treading on it1
 as it trailed on the ground6     ,,blas
 ,,de ,,prado ,,and ,,the ,,emperor ,,of
 ,,morocco4   ,in #aeic the ,emperor of 
,morocco applied to ,philip ,,ii4 for   
the loan of a painter1 to which the     
latter made answer that they had in     
,spain two sorts of painters--the       
ordinary and the excellent--and desired 
to know which his infidel brother       
preferred4 ,kings should always have the

 best1 replied the ,moor2 and so ,philip
 sent him ,blas de ,prado to ,fez4      
,there he painted various works for the 
palace1 and a portrait of the monarch's 
daughter1 to the great satisfaction of  
her father4 ,after keeping the artist   
several years in his service1 the       
emperor finally sent him away1 with many
 rich gifts2 and he returned to ,castile
 with considerable wealth4 ,the ,academy
 of ,san ,ferdinando possesses a fine   
work by him1 representing the ,virgin   
and ,infant seated in the clouds4       
,,don ,,juan ,,carreno   ,this ,spanish 
painter was a favorite with ,king       
,charles ,,ii4 ,he was painting his     
,majesty's portrait one day in the      
presence of the ,queen mother1 when the 
royal sitter asked him to which of the  
knightly orders he belonged4 ,to none1  
replied the artist1 but the order of    
your ,majesty's servants4 ,why is this8 
said ,charles4 ,the ,admiral of         
,castile1 who was standing by1 replied  
that he should have a cross immediately2

 and on leaving the royal presence1 he  
sent ,carreno a rich badge of ,santiago1
 assuring him that what the king had    
said entitled him to wear it4 ,palomino 
says1 however1 that the artist's modesty
 prevented him from accepting the       
proffered honor4 ,his royal master      
continued to treat him with unabated    
regard1 and would allow no artist to    
paint him without ,carreno's permission4
     ,,carreno',s ,,copy ,,of           
,,titian',s ,,st4 ,,margaret4           
,palomino was one day in company with   
,carreno at the house of ,don ,pedro de 
,arce1 when a discussion arose about the
 merits of a certain copy of ,titian's  
,st4 ,margaret1 which hung in the room  
,after all present had voted it         
execrable1 ,carreno quietly remarked1   
,it at least has the merit of showing   
that no man need despair of improving in
 art1 for ,i painted it myself when ,i  
was a beginner4     ,,carreno',s        
,,abstraction ,,of ,,mind4   ,being at  
his easel one morning with two friends1 

one of them1 for a jest1 drank the cup  
of chocolate which stood untasted by his
 side4 ,the maid-servant removing the   
cup1 ,carreno remonstrated1 saying that 
he had not breakfasted1 and on being    
shown that the contents were gone1      
appealed to the visitors4 ,being gravely
 assured by them that he had actually   
emptied the cup with his own lips1 he   
replied1 like ,newton1 ,well really1 ,i 
was so busy that ,i had entirely        
forgotten it4     ,,anecdote ,,of       
,,cespedes' ,,last ,,supper4   ,the     
,cathedral of ,cordova still possesses  
his famous ,supper1 but in so faded and 
ruinous a condition that it is          
impossible to judge fairly of its       
merits4 ,palomino extols the dignity and
 beauty of the ,saviour's head1 and the 
masterly discrimination of character    
displayed in those of the apostles4 ,of 
the jars and vases standing in the      
foreground1 it is related that while the
 picture was on the easel1 these        
accessories attracted1 by their         

exquisite finish1 the attention of some 
visitors1 to the exclusion of the higher
 parts of the composition1 to the great 
disgust of the artist4 ,andres6 cried   
he1 somewhat testily1 to his servant1   
rub out these things1 since after all my
 care and study1 and amongst so many    
heads1 figures1 hands1 and expressions1 
people choose to see nothing but these  
impertinences2 and much persuasion and  
entreaty were needed to save the devoted
 pipkins from destruction4              
,,zuccaro',s ,,compliment ,,to          
,,cespedes4   ,the reputation which the 
,spanish painter ,cespedes enjoyed among
 his cotemporaries1 is proved by an     
anecdote of ,federigo ,zuccaro4 ,on     
being requested to paint a picture of   
,st4 ,margaret for the ,cathedral of    
,cordova1 he for some time refused to   
comply1 asking1 ,where is ,cespedes1    
that you send to ,italy for pictures8   
,,dona ,,barbara ,,maria ,,de ,,hueva4  
,dona ,barbara ,maria de ,hueva was born
 at ,madrid in #agcc4 ,before she had   

reached her twentieth year1 according to
 ,bermudez1 she had acquired so much    
skill in painting1 that at the first    
meeting of the ,academy of ,st4         
,ferdinand in #ageb1 on the exhibition  
of some of her sketches1 she was        
immediately elected an honorary         
academician1 and received the first     
diploma issued under the royal charter4 
,this proud distinction1 said the       
president1 is conferred in the hope that
 the fair artist may be encouraged to   
rival the fame of those ladies already  
illustrious in art4 ,how far this hope  
was realized1 ,bermudez has omitted to  
inform us4     ,,the ,,miraculous       
,,picture ,,of ,,the ,,virgin4   ,the   
eminent ,american sculptor ,greenough1  
who has recently 7#ahec7 departed this  
life1 wrote several years ago a very    
interesting account of a wonderful      
picture at ,florence1 from which the    
following is extracted3  ,when you enter
 the church of ,santissima ,annunziata1 
at ,florence1 your attention is drawn at

 once to a sort of miniature temple on  
the left hand4 ,it is of white marble2  
but the glare and flash of crimson      
hangings and silver lamps scarcely allow
 your eye the quiet necessary to        
appreciate either form or material4 ,a  
picture hangs there4 ,it is the         
,miraculous ,annunciation4 ,the artist  
who was employed to paint it1 had       
finished all except the head of the     
,virgin ,mary1 and fell asleep before   
the easel while the work was in that    
condition4 ,on awakening1 he beheld the 
picture finished2 and the short time    
which had elapsed1 and his own position 
relative to the canvas1 made it clear   
7so says the tradition7 that a divine   
hand had completed a task which1 to say 
the least1 a mortal could only attempt  
with despair4  ,less than this has made 
many pictures in ,italy the objects of  
attentions which our ,puritan fathers   
condemned as idolatrous4 ,the miraculous
 ',annunziata' became1 accordingly1 the 
divinity of a splendid shrine4 ,the fame

 of her interposition spread far and    
wide1 and her tabernacle was filled with
 the costly offerings of the devout1 the
 showy tributes of the zealous4 ,the    
prince gave of his abundance1 nor was   
the widow's mite refused2 and to this   
day the reputation of this shrine stands
 untouched among all papal devotees4    
,the ,santissima ,annunziata is always  
veiled1 unless her interposition is     
urgently demanded by the apprehension of
 famine1 plague1 cholera1 or some other 
public calamity4 ,during my own         
residence at ,florence1 ,i have never   
known the miraculous picture to be      
uncovered during a drought1 without the 
desired result immediately following4   
,in cases of long continued rains1 its  
intervention has been equally happy4 ,i 
have heard several persons1 rather      
inclined to skepticism as to the        
miraculous qualities of the picture1    
hint that the barometer was consulted on
 these occasions2 else1 say they1 why   
was not the picture uncovered before the

 mischief had gone so far8 ,what an idea
 is suggested by the bare hint6  ,i     
stood on the pavement of the church1    
with an old man who had himself been    
educated as a priest4 ,he had a talent  
for drawing1 and became a painter4 ,as a
 practical painter1 he was mediocre2 but
 he was learned in everything relating  
to art4 ,he gradually sank from history 
to portrait1 from portrait to miniature1
 from miniature to restoration2 and had 
the grim satisfaction1 in his old age1  
of mending what in his best days he     
never could make--good pictures4 ,when  
,i knew him1 he was one of the          
conservators of the ,royal ,gallery4 ,he
 led me before the shrine1 and          
whispered1 with much veneration1 the    
story ,i have related of its origin4    
,when ,i had gazed long at the picture1 
,i turned to speak to him1 but he had   
left the church4 ,as ,i walked through  
the vestibule1 however1 ,i saw him      
standing near one of the pillars that   
adorn the facade4 ,he was evidently     

waiting for me4 ,me-thinks ,i see him   
now1 with his face of seventy and his   
dress of twenty-five1 his bright black  
wig1 his velvet waistcoat1 and          
glittering gold chain--his snuff-box in 
his hand1 and a latent twinkle in his   
black eyes4 ',what is really remarkable 
in that miraculous picture1' said he1   
taking me by the button1 and forcing me 
to bend till his mouth and my ear were  
exactly on a line--',what is really     
remarkable about it is1 that the angel  
who painted that ,virgin1 so completely 
adopted the style of that epoch6 ,same  
angular1 incorrect outline6 ,same opaque
 shadows6 eh8 eh8' ,he took a pinch1 and
 wishing me a good appetite1 turned up  
the ,via ,s4 ,sebastiano4     ,,the     
,,chair ,,of ,,st4 ,,peter4   ,la       
,festra di ,cattreda1 or commemoration  
of the placing of the chair of ,st4     
,peter1 on the #ahth of ,january1 is one
 of the most striking ceremonies1 at    
,rome1 which follow ,christmas and      
precede the holy week4 ,at the extremity

 of the great nave of ,st4 ,peter's1    
behind the high altar1 and mounted upon 
a tribune designed or ornamented by     
,michael ,angelo1 stands a sort of      
throne1 composed of precious materials1 
and supported by four gigantic figures4 
,a glory of seraphim1 with groups of    
angels1 shed a brilliant light upon its 
splendors4 ,this throne enshrines the   
real1 plain1 worm-eaten wooden chair1 on
 which ,st4 ,peter1 the prince of the   
apostles1 is said to have pontificated2 
more precious than all the bronze1 gold1
 and gems with which it is hidden1 not  
only from impious1 but holy eyes1 and   
which once only1 in the flight of ages1 
was profaned by mortal inspection4  ,the
 sacrilegious curiosity of the ,french1 
however1 broke through all obstacles to 
their seeing the chair of ,st4 ,peter4  
,they actually removed its superb       
casket1 and discovered the relic4 ,upon 
its mouldering and dusty surface were   
traced carvings1 which bore the         
appearance of letters4 ,the chair was   

quickly brought into a better light1 the
 dust and cobwebs removed1 and the      
inscription 7for an inscription it was71
 faithfully copied4 ,the writing is in  
,arabic characters1 and is the well     
known confession of ,mahometan          
faith--',there is but one ,god1 and     
,mahomet is his prophet4' ,it is        
supposed that this chair had been1 among
 the spoils of the ,crusaders1 offered  
to the church at a time when a taste for
 antiquarian lore1 and the deciphering  
of inscriptions1 were not yet in        
fashion4 ,the story has been since      
hushed up1 the chair replaced1 and none 
but the unhallowed remember the fact1   
and none but the audacious repeat it4   
,yet such there are1 even at            
,rome6--,ireland's ,anecdotes of        
,napoleon4     ,,the ,,sagro ,,catino1  
,,or ,,emerald ,,dish4   ,the church of 
,st4 ,lorenzo1 at ,genoa1 is celebrated 
for containing a most sacred relic1 the 
',sagro ,catino1' a dish of one entire  
and perfect emerald1 said to be that on 

which our ,saviour ate his last supper4 
,such a dish in the house of a ,jewish  
publican was a miracle in itself4 ,mr4  
,eustace says1 he looked for this dish1 
but found that the ,french1 'whose      
delight is brutal violence1 as it is    
that of the lion or the tiger1' had     
carried it away4 ,and so indeed they    
did4 ,but that was nothing4 ,the        
carrying off relics--the robbing of     
,peter to pay ,paul1 and spoliating one 
church to enrich another--was an old    
trick of legitimate conquerors in all   
ages2 for this very 'dish' had been     
carried away by the royal crusaders1    
when they took ,cesarea in ,palestine1  
under ,guillaume ,embriaco1 in the      
twelfth century4 ,in the division of    
spoils1 this emerald fell to the share  
of the ,genoese ,crusaders1 into whose  
holy vocation some of their old trading 
propensities evidently entered2 and they
 deemed the vulgar value1 the profane   
price1 of this treasure1 so high1 that  
on an emergency1 they pledged it for    

nine thousand five hundred livres4      
,redeemed and replaced1 it was guarded  
by the knights of honor called          
,clavigeri2 and only escaped once a     
year6 ,millions knelt before it1 and the
 penalty on the bold but zealous hand   
that touched it with a diamond1 was a   
thousand golden ducats4  ,the ,french   
seized this relic1 as the crusaders had 
done in the twelfth century2 but instead
 of conveying it from the church of ,san
 ,lorenzo to the abbey of ,st4 ,denis   
7selon les regles71 they most           
sacrilegiously sent it to a laboratory4 
,instead of submitting it1 with a       
traditional story1 to a council of      
,trent1 they handed it over to the      
institute of ,paris2 and chemists1      
geologists1 and philosophers1 were      
called on to decide the fate of that    
relic which bishops1 priests and deacons
 had pronounced to be too sacred for    
human investigation1 or even for human  
touch4 ,the result of the scientific    
investigation was1 that the emerald dish

 was a piece of green glass6  ,when     
,england made the ,king of ,sardinia a  
present of the dukedom of one of the    
oldest republics in ,europe1 and        
restitutions were making de part et     
d'autre2 ,victor ,emmanuel insisted upon
 having his emerald dish2 not for the   
purpose of putting it in a cabinet of   
curiosities1 as they had done at ,paris1
 to serve as a curious monument of the  
remote epoch in which the art of making 
colored glass was known--7of its great  
antiquity there is no doubt7--but of    
restoring it to its shrine at ,san      
,lorenzo--to its guard of knights       
servitors--to the homage1 offerings1 and
 bigotry of the people6 with a          
republished assurance that this is the  
invaluable emerald dish1 the ',sagro    
,catino1' which ,queen ,sheba offered1  
with other gems1 to ,king ,solomon 7who 
deposited it1 where all gems should be1 
in his church71 and which afterwards was
 reserved for a higher destiny than even
 that assigned to it in the gorgeous    

temple of ,jerusalem4 ,the story of the 
analysis by the institute of ,paris is  
hushed up1 and those who would revive it
 would be branded with the odium of     
blasphemy and sedition2 none now        
remember such things1 but those who are 
the determined enemies of social order1 
or as the ,genoese ,royal ,journal would
 call them1 'the radicals of the        
age4'--,italy1 by ,lady ,morning4       
,,the ,,painter ,,of ,,florence4        
,there is an old painting in the church 
of the ,holy ,virgin at ,florence1      
representing the ,virgin with the infant
 ,jesus in her arms1 trampling the      
dragon under her feet1 about which is   
the following curious legend1 thus      
humorously described by ,southey1 in the
 ,annals of the ,fine ,arts3    ,there  
once was a ,painter in ,catholic days1  
,like ,job who eschewed all evil1       
,still on his ,madonnas the curious may 
gaze   ,with applause and amazement2 but
 chiefly his praise       ,and delight  
was in painting the devil4    ,they were

 angels compared to the devils he drew1 
,who besieged poor ,st4 ,anthony's cell1
   ,such burning hot eyes1 such a       
d----mnable hue1   ,you could even smell
 brimstone1 their breath was so blue    
,he painted his devils so well4    ,and 
now had the artist a picture begun1     
',twas over the ,virgin's church door2  
,she stood on the dragon embracing her  
son1   ,many devils already the artist  
had done1       ,but this must outdo all
 before4    ,the old dragon's imps as   
they fled through the air1       ,at    
seeing it paused on the wing1   ,for he 
had a likeness so just to a hair1       
,that they came as ,apollyon himself had
 been there1       ,to pay their        
respects to their king4    ,every child 
on beholding it1 shivered with dread1   
,and screamed1 as he turned away quick2 
,not an old woman saw it1 but raising   
her head1   ,dropp'd a bead1 made a     
cross on her wrinkles1 and said1        
,god help me from ugly old ,nick6       
,what the ,painter so earnestly thought 

on by day1       ,he sometimes would    
dream of by night2   ,but once he was   
started as sleeping he lay1   ',twas no 
fancy1 no dream--he could plainly survey
       ,that the devil himself was in   
sight4    ,you rascally dauber1 old     
,beelzebub cries1       ,take heed how  
you wrong me1 again6   ,though your     
caricatures for myself ,i despise1      
,make me handsomer now in the           
multitude's eyes1       ,or see if ,i   
threaten in vain4    ,now the painter   
was bold and religious beside1          
,and on faith he had certain reliance1  
,so earnestly he all his countenance    
eyed1   ,and thanked him for sitting    
with ,catholic pride1       ,and        
sturdily bid him defiance4    ,betimes  
in the morning1 the ,painter arose1     
,he is ready as soon as 'tis light2     
,every look1 every line1 every feature  
he knows1   ',twas fresh to his eye1 to 
his labor he goes1       ,and he has the
 wicked old one quite4    ,happy man1 he
 is sure the resemblance can't fail1    

,the tip of his nose is red hot1        
,there's his grin and his fangs1 his    
skin cover'd with scales   ,and         
that--the identical curl of the tail1   
,not a mark--not a claw is forgot4      
,he looks and retouches again with      
delight2       ',tis a portrait complete
 to his mind6   ,he touches again1 and  
again feeds his sight1   ,he looks      
around for applause1 and he sees with   
affright1       ,the original standing  
behind4    ,fool6 idiot6 old ,beelzebub 
grinned as he spoke1       ,and stamp'd 
on the scaffold in ire2   ,the painter  
grew pale1 for he knew it no joke1      
',twas a terrible height1 and the       
scaffolding broke2       ,and the devil 
could wish it no higher4    ,help6 help 
me1 ,o ,mary1 he cried in alarm1        
,as the scaffold sank under his feet1   
,from the canvas the ,virgin extended   
her arm1   ,she caught the good painter1
 she saved him from harm1       ,there  
were thousands who saw in the street4   
,the old dragon fled when the wonder he 

spied1       ,and curs'd his own        
fruitless endeavor3   ,while the        
,painter called after1 his rage to      
deride1   ,shook his palette and brushes
 in triumph1 and cried1       ,now ,i'll
 paint thee more ugly than ever6        
,,legend ,,of ,,the ,,painter-,,friar1  
,,the ,,devil ,,and ,,the ,,virgin4     
,don ,jose de ,valdivielso1 one of the  
chaplains of the gay ,cardinal ,infant  
,ferdinand of ,austria1 relates the     
following legend in his paper on the    
,tax on ,pictures1 appended to          
,carducho's ,dialogos de la ,pintura4 ,a
 certain young friar was famous amongst 
his order1 for his skill in painting2   
and he took peculiar delight in drawing 
the ,virgin and the ,devil4 ,to heighten
 the divine beauty of the one1 and to   
devise new and extravagant forms of     
ugliness for the other1 were the chief  
recreations for his leisure hours4      
,vexed at last by the variety and vigor 
of his sketches1 ,beelzebub1 to be      
revenged1 assumed the form of a lovely  

maiden1 and crossed under this guise the
 path of the friar1 who being of an     
amorous disposition1 fell at once into  
the trap4 ,the seeming damsel smiled on 
her shaven wooer1 but though nothing    
loth to be won1 would not surrender her 
charms at a less price than certain     
reliquaries and jewels in the convent   
treasury--a price which the friar in an 
evil hour consented to pay4 ,he admitted
 her at midnight within the convent     
walls1 and leading her to the sacristy1 
took from its antique cabinet the things
 for which she had asked4 ,then came the
 moment of vengeance4 ,passing in their 
return through the moonlit cloister as  
the friar stole along1 embracing the    
booty with one arm1 and his false       
,duessa with the other1 the demon-lady  
suddenly cried out ,thieves6 with       
diabolical energy1 and instantly        
vanished4 ,the snoring monks rushed     
disordered from their cells and detected
 their unlucky brother making off with  
their plate4 ,excuse being impossible1  

they tied the culprit to a column1 and  
leaving him till matins1 when his       
punishment was to be determined1 went   
back to their slumbers4 ,when all was   
quiet1 the ,devil reappeared1 but this  
time in his most hideous shape4 ,half   
dead with cold and terror1 the          
discomfited caricaturist stood shivering
 at his column1 while his tormentor made
 unmercifully merry with him2 twitting  
him with his amorous overtures1 mocking 
his stammered prayers1 and irreverently 
suggesting an appeal for aid to the     
beauty he so loved to delineate4 ,the   
penitent wretch at last took the advice 
thus jeeringly given--when lo6 the      
,virgin descended1 radiant in heavenly  
loveliness1 loosened his cords1 and bade
 him bind the ,evil ,one to the column  
in his place--an order which he obeyed  
through her strength1 with no less      
alacrity than astonishment4 ,she further
 ordered him to appear among the other  
monks at table1 and charged herself with
 the task of restoring the stolen plate 

to its place4 ,thus the tables were     
suddenly turned4 ,the friar presented   
himself among his brethren in the       
morning1 to their no small astonishment1
 and voted with much contrition for his 
own condemnation--a sentence which was  
reversed when they came to examine the  
contents of the sacristy1 and found     
everything correct4 ,as to the ,devil1  
who remained fast bound to the pillar1  
he was soundly flogged1 and so fell into
 the pit which he had digged for        
another4 ,his dupe1 on the other hand1  
gathered new strength from his fall1 and
 became not only a wiser and a better   
man1 but also an abler artist2 for the  
experience of that terrible night had   
supplied all that was wanting to        
complete the ideal of his favorite      
subjects4 ,thenceforth1 he followed no  
more after enticing damsels1 but        
remained in his cloister1 painting the  
,madonna more serenely beautiful1 and   
the ,arch ,enemy more curiously         
appalling than ever4     ,,gerard       

,,douw4   ,this extraordinary artist was
 born at ,leyden1 in #afac4 ,he was the 
son of a glazier1 and early exhibited a 
passion for the fine arts1 which his    
father encouraged4 ,he received his     
first instruction in drawing from       
,dolendo1 the engraver4 ,he was         
afterwards placed with ,peter           
,kowenhoorn1 to learn the trade of a    
glass-stainer or painter2 but disliking 
this business1 he became the pupil of   
,rembrandt when only fifteen years of   
age1 in whose school be continued three 
years4 ,from ,rembrandt he learned the  
true principles of coloring1 to which he
 added a delicacy of pencilling1 and a  
patience in working up his pictures to  
the highest degree of neatness and      
finish1 superior to any other master4   
,he was more pleased with the earlier   
and more finished works of ,rembrandt1  
than with his later productions1        
executed with more boldness and freedom 
of pencilling2 he therefore conceived   
the project of combining the rich and   

glowing colors of that master with the  
polish and suavity of extreme finishing1
 and he adopted the method of uniting   
the powerful tunes and the magical light
 and shadow of his instructor with a    
minuteness and precision of pencilling  
that so nearly approached nature as to  
become perfect illusion4 ,but though his
 manner appears so totally different    
from that of ,rembrandt1 yet it was to  
him he owed that excellence of coloring 
which enabled him to triumph over all   
the artists of his time4 ,his pictures  
are usually of small size1 with figures 
so exquisitely touched1 and with a      
coloring so harmonious1 transparent1 and
 delicate1 as to excite the astonishment
 and admiration of the beholder4        
,although his pictures are wrought up   
beyond the works of any other artist1   
there is still discoverable a spirited  
and characteristic touch that evinces   
the hand of a consummate master1 and a  
breadth of light and shadow which is    
only to be found in the works of the    

greatest masters of the art of          
chiaro-scuro4 ,the fame acquired by     
,douw is a crowning proof that          
excellence is not confined to any       
particular style or manner1 and had he  
attempted to arrive at distinction by a 
bolder and less finished pencil1 it is  
highly probable that his fame would not 
have been so great4 ,it has been truly  
said that there are no positive rules by
 which genius must be bounded to arrive 
at excellence4 ,every intermediate      
style1 from the grand and daring        
handling of ,michael ,angelo to the     
laborious and patient finishing of      
,douw1 may conduct the painter to       
distinction1 provided he adapts his     
manner to the character of the subjects 
he treats4     ,,douw',s ,,style4       
,douw designed everything from nature1  
and with such exactness that each object
 appears as perfect as nature herself4  
,he was incontestibly the most wonderful
 in his finishing of all the ,flemish   
masters1 although the number of artists 

of that school who have excelled in this
 particular style are quite large4 ,the 
pictures he first painted were          
portraits1 and he wrought by the aid of 
a concave mirror1 and sometimes by      
looking at the object through a frame of
 many squares of small silk thread4 ,he 
spent so much time in these works that1 
notwithstanding they were extremely     
admired1 his sitters became disgusted1  
and he was obliged to abandon portrait  
painting entirely1 and devote his       
attention to fancy subjects1 in the     
execution of which he could devote as   
much time as he pleased4 ,this will not 
appear surprising1 when ,sandrart       
informs us that1 on one occasion1 in    
company with ,peter de ,laer1 he visited
 ,douw1 and found him at work on a      
picture1 which they could not forbear   
admiring for its extraordinary neatness1
 and on taking particular notice of a   
broom1 and expressing their surprise    
that he could devote so much time in    
finishing so minute an object1 ,douw    

informed them that he should work on it 
three days more before he should think  
it complete4 ,the same author also says 
that in a family picture of ,mrs4       
,spiering1 that lady sat five days for  
the finishing of one of her hands1      
supporting it on the arm of a chair4    
,,douw',s ,,method ,,of ,,painting4     
,his mind was naturally turned to       
precision and exactness1 and it is      
evident that he would have shown this   
quality in any other profession1 had he 
practiced another4 ,methodical and      
regular in all his habits1 he prepared  
and ground his own colors1 and made his 
own brushes of a peculiar shape1 and he 
kept them locked up in a case made for  
the purpose1 that they might be free    
from soil4 ,he permitted no one to enter
 his studio1 save a very few friends1   
and when he entered himself1 he went as 
softly as he could tread1 so as not to  
raise the dust1 and after taking his    
seat1 waited some time till the air was 
settled before he opened his box and    

went to work2 scarcely a breath of air  
was allowed to ventilate his            
painting-room4     ,,douw',s ,,works4   
,everything that came from his pencil   
was precious1 even in his life-time4    
,houbraken says that his great patron1  
,mr4 ,spiering the banker1 allowed him  
one thousand guilders a year1 and paid  
besides whatever sum he pleased to ask  
for his pictures1 some of which he      
purchased for their weight in silver2   
but ,sandrart informs us1 with more     
probability1 that the thousand guilders 
were paid to ,douw by ,spiering on      
condition that the artist should give   
him the choice of all the pictures he   
painted4 ,the following description of  
one of ,gerhard's most capital pictures1
 for a long time in the possession of   
the family of ,van ,hoek1 at ,amsterdam1
 will serve to give a good idea of his  
method of treating his subjects4 ,the   
picture is much larger than his usual   
size1 being three feet long by two feet 
six inches wide1 inside the frame4 ,the 

room is divided into two apartments by a
 curtain of curiously wrought tapestry4 
,in one apartment sits a woman giving   
suck to her child2 at her side is a     
cradle1 and a table covered with        
tapestry1 on which is placed a gilt lamp
 which lights the room4 ,in the second  
apartment is a surgeon performing an    
operation upon a countryman1 and by his 
side stands a woman holding some        
utensils4 ,the folding doors on one side
 shows a study1 and a man making a pen  
by candle light2 and on the other1 a    
school1 with boys writing1 and sitting  
at different tables4 ,the whole is      
lighted in an agreeable and surprising  
manner2 every object is expressed with  
beauty and astonishing force4 ,nor does 
the subject appear too crowded1 for it  
was one of his peculiar talents to show1
 in a small compass1 more than other    
painters could do in a much larger      
space4 ,his pictures are generally      
confined to a few figures1 and sometimes
 to a single one1 and when he attempted 

larger compositions1 he was generally   
less successful4 ,the works of this     
artist are not numerous1 from the       
immense labor and time he bestowed upon 
a single one2 and from this             
circumstance1 and the estimation in     
which they are held by the curious      
collectors1 they have ever commanded    
enormous prices4 ,they were always      
particularly admired in ,france1 in the 
days of ,napoleon1 there were no less   
than seventeen of his pictures gathered 
into the ,louvre1 most of which were1   
after his downfall1 restored to their   
original proprietors1 among which was   
the famous ,dropsical ,woman1 from the  
collection of the ,king of ,sardinia4   
,at ,turin1 are several pictures by     
,douw1 the most famous of which is the  
one just named--the ,dropsical ,woman1  
attended by her physician1 who is       
examining an urinal4 ,this picture is   
wonderfully true to nature1 and each    
particular hair and pore of the skin is 
represented4 ,in the gallery at         

,florence is one of his pictures1       
representing an interior by             
candle-light1 with a mountebank1        
surrounded by a number of clowns1 which 
is exquisitely finished4 ,the great fame
 of ,gerhard ,douw1 and the eager desire
 for his works1 have given rise to      
numerous counterfeits4 ,we may safely   
say that there is not an original       
picture by this artist in the ,united   
,states4 ,douw died1 very rich1 in      
#afgd4     ,,albert ,,durer4   ,this    
extraordinary artist was born at        
,nuremberg in #adga4 ,his father was a  
skillful goldsmith1 from ,hungary1 and  
taught his son the first rudiments of   
design1 intending him for his own       
profession2 but his early and decided   
inclination for the arts and sciences   
induced him to permit young ,durer to   
follow the bent of his genius4 ,he      
received his first instruction in       
painting and engraving from ,martin     
,hapse4 ,when he had reached the age of 
fourteen1 it was his father's intention 

to have placed him under the instruction
 of ,martin ,schoen1 of ,colmar1 the    
most distinguished artist of his time in
 ,germany1 but the death of the latter  
happening about that time1 he became a  
pupil of ,michael ,wolgemut1 in #adhf1  
the first artist then in ,nuremberg1    
with whom he studied diligently four    
years4 ,he also cultivated the study of 
perspective1 the mathematics1 and       
architecture1 in all of which he        
acquired a profound knowledge4 ,having  
finished his studies1 he commenced his  
travels in #adij1 and spent four years  
in traveling through ,germany1 the      
,netherlands1 and the adjacent counties 
and provinces4 ,on his return to        
,nuremberg1 in #adid1 he ventured to    
exhibit his works to the public1 which  
immediately attracted great attention4  
,his first work was a piece of the      
,three ,graces1 represented by as many  
female figures1 with a globe over their 
heads4 ,he soon after executed one of   
his masterpieces1 a drawing of ,orpheus4

 ,about this time1 to please his father1
 as it is said1 he married the daughter 
of ,hans ,fritz1 a celebrated mechanic1 
who proved a fierce ,xantippe1 and      
embittered1 and some say shortened his  
life4 ,in #aejf1 he went to ,venice to  
improve himself1 where his abilities    
excited envy and admiration4 ,here he   
painted the ,martyrdom of ,st4          
,bartholomew for the church of ,s4      
,marco1 which was afterwards purchased  
by the ,emperor ,rodolphus1 and removed 
to ,prague4 ,he also went to ,bologna1  
and returned home in #aejg4 ,this       
journey to ,italy had no effect whatever
 upon his style1 though doubtless he    
obtained much information that was      
valuable to him1 for at this period     
commenced the proper era of his         
greatness4     ,,durer',s ,,works ,,as  
,a ,,painter4   ,though ,durer was most 
famous as an engraver1 yet he executed  
many large paintings1 which occupy a    
distinguished place in the royal        
collections of ,germany1 and other      

,european countries4 ,in the imperial   
collection at ,munich are some of the   
most celebrated1 as ,adam and ,eve1 the 
,adoration of the ,magi1 the            
,crucifixion--a grand composition--the  
,crowning of the ,virgin1 the ,battle   
between ,alexander and ,darius1 and many
 other great works4 ,durer painted the  
,wise ,men's ,offering1 two pictures of 
the ,passion of ,christ1 and an         
,assumption of the ,virgin1 for a       
monastery of ,frankfort1 which proved a 
source of income to the monks1 from the 
presents they received for exhibiting   
them4 ,the people of ,nuremberg still   
preserve1 in the ,town ,hall1 his       
portraits of ,charlemagne and some      
,emperors of the ,house of ,austria1    
with the ,twelve ,apostles1 whose       
drapery is remarkable for being modern  
,german1 instead of ,oriental4 ,he sent 
his own portrait to ,raffaelle1 painted 
on canvas1 without any coloring or touch
 of the pencil1 only heightened with    
shades and white1 yet exhibiting such   

strength and elegance that the great    
artist to whom it was presented         
expressed the greatest surprise at the  
sight of it4 ,this piece1 after the     
death of ,raffaelle1 fell into the      
possession of ,giulio ,romano1 who      
placed it among the curiosities of the  
palace of ,mantua4 ,besides the pictures
 already mentioned1 there is by him an  
,ecce ,homo at ,venice1 his own         
portrait1 and two pictures representing 
,st4 ,james and ,st4 ,philip1 and an    
,adam and ,eve in the ,florentine       
,gallery4 ,there are also some of his   
works in the ,louvre1 and in the royal  
collections in ,england4 ,as a painter1 
it has been observed of ,durer that he  
studied nature only in her unadorned    
state1 without attending to those graces
 which study and art might have afforded
 him2 but his imagination was lively1   
his composition grand1 and his pencil   
delicate4 ,he finished his works with   
exact neatness1 and he was particularly 
excellent in his ,madonnas1 though he   

encumbered them with heavy draperies4   
,he surpassed all the painters of his   
own country1 yet he did not avoid their 
defects--such as dryness and formality  
of outline1 the want of a just          
degradation of the tints1 an expression 
without agreeableness1 and draperies    
broad in the folds1 but stiff in the    
forms4 ,he was no observer of the       
propriety of costume1 and paid so little
 attention to it that he appears to have
 preferred to drape his saints and      
heroes of antiquity in the costume of   
his own time and country4 ,fuseli       
observes that the coloring of ,durer    
went beyond his age1 and in his easel   
pictures it as far excelled the oil     
color of ,raffaelle in juice1 and       
breadth1 and handling1 as ,raffaelle    
excelled him in every other quality4    
,,durer',s ,,works ,,as ,,an ,,engraver4
   ,durer derived most of his fame from 
his engravings1 and he is allowed to    
have surpassed every artist of his time 
in this branch of art4 ,born in the     

infancy of the art1 he carried engraving
 to a perfection that has hardly been   
surpassed4 ,when we consider that1      
without any models worthy of imitation1 
he brought engraving to such great      
perfection1 we are astonished at his    
genius1 and his own resources4 ,although
 engraving has had the advantage and    
experience of more than three centuries1
 it would perhaps be difficult to select
 a specimen of executive excellence     
surpassing his print of ,st4 ,jerome1   
engraved in #aead4 ,he had a perfect    
command of the graver1 and his works are
 executed with remarkable neatness and  
clearness of stroke2 if we do not find  
in his plates that boldness and freedom 
desirable in large historical works1 we 
find in them everything that can be     
wished in works more minute and         
finished1 as were his4 ,to him is       
attributed the invention of etching2 and
 if he was not the inventor1 he was the 
first who excelled in the art4 ,he also 
invented the method of printing         

wood-cuts in chiaro-scuro1 or with two  
blocks4 ,his great mathematical         
knowledge enabled him to form a regular 
system of rules for drawing and painting
 with geometrical precision4 ,he had the
 power of catching the exact expression 
of the features1 and of delineating all 
the passions4 ,although he was well     
acquainted with the anatomy of the human
 figure1 and occasionally designed it   
correctly1 his contours are neither     
graceful nor pleasing1 and his prints   
are never entirely divested of the stiff
 and formal taste that prevailed at the 
time1 both in his figures and drapery4  
,such was his reputation1 both at home  
and abroad1 that ,marc' ,antonio        
,raimondi counterfeited his ,passion of 
,christ1 and the ,life of the ,virgin at
 ,venice1 and sold them for the genuine 
works of ,durer4 ,the latter1 hearing of
 the fraud1 was so exasperated that he  
set out for ,venice1 where he complained
 to the government of the wrong that had
 been done him by the plagiarist1 but he

 could obtain no other satisfaction than
 a decree prohibiting ,raimondi from    
affixing ,durer's monogram or signatures
 to these copies in future4 ,vasari says
 that when the prints of ,durer were    
first brought into ,italy1 they incited 
the painters there to elevate themselves
 in that branch of art1 and to make his 
works their models4     ,,durer',s      
,,fame ,,and ,,death4   ,the fame of    
,durer spread far and wide in his       
life-time4 ,the ,emperor ,maximillian   
,i4 had a great esteem for him1 and     
appointed him his court painter1 with a 
liberal pension1 and conferred on him   
letters of nobility2 ,charles ,v41 his  
successor1 confirmed him in his office1 
bestowing upon him at the same time the 
painter's coat of arms1 viz41 three     
escutcheons1 argent1 in a deep azure    
field4 ,ferdinand1 ,king of ,hungary1   
also bestowed upon him marked favors and
 liberality4 ,durer was in favor with   
high and low4 ,all the artists and      
learned men of his time honored and     

loved him1 and his early death in #aebh 
was universally lamented4     ,,durer',s
 ,,habits ,,and ,,literary ,,works4     
,durer always lived in a frugal manner1 
without the least ostentation for the   
distinguished favors heaped upon him4   
,he applied himself to his profession   
with the most constant and untiring     
industry1 which1 together with his great
 knowledge1 great facility of mechanical
 execution1 and a remarkable talent for 
imitation1 enabled him to rise to such  
distinction1 and to exert so powerful an
 influence on ,german art for a great   
length of time4 ,he was the first artist
 in ,germany who practiced and taught   
the rules of perspective1 and of the    
proportions of the human figure1        
according to mathematical principles4   
,his treatise on proportions is said to 
have resulted from his studies of his   
picture of ,adam and ,eve4 ,his         
principal works are ,de ,symmetria      
partium in rectis formis humanorum      
corporum1 printed at ,nuremberg in      

#aecb2 and ,de ,verieitate ,figurarum1  
et flexuris partium1 et ,gestibus       
,imaginum2 #aecd4 ,these works were     
written in ,german1 and after ,durer's  
death translated into ,latin4 ,the      
figures illustrating the subjects were  
executed by ,durer1 on wood1 in an      
admirable manner4 ,durer had also much  
merit as a miscellaneous writer1 and    
labored to purify and elevate the       
,german language1 in which he was       
assisted by his friend1 ,w4 ,pirkheimer4
 ,his works were published in a         
collected form at ,arnheim1 in #afjc1   
folio1 in ,latin and in ,french4 ,j4 ,j4
 ,roth wrote a life of ,durer1 published
 at ,leipsic in #agia4     ,,ludolph    
,,backhuysen4   ,this eminent painter   
was born in #afca4 ,his father intended 
him for the mercantile profession1 but  
nature for a marine painter4 ,his       
passion for art induced him to neglect  
his employer's business1 with whom his  
father had placed him1 and to spend his 
time in drawing1 and in frequenting the 

studios of the painters at ,amsterdam4  
,his fondness for shipping led him      
frequently to the port of the city1     
where he made admirable drawings of the 
vessels with a pen1 which were much     
sought after by the collectors1 and were
 purchased at liberal prices4 ,several  
of his drawings were sold at #ajj       
florins each4 ,this success induced him 
to paint marine subjects4 ,his first    
essays were successful1 and his pictures
 universally admired4 ,while painting1  
he would not admit his most intimate    
friends to his studio1 lest his fancy   
might be disturbed4 ,he hired fishermen 
to take him out to sea in the most      
tremendous gales1 and on landing1 he    
would run impatiently to his palette to 
secure the grand impressions of the     
views he had just witnessed4 ,he has    
represented that element in its most    
terrible agitation1 with a fidelity that
 intimidates the beholder4 ,his pictures
 on these subjects have raised his      
reputation even higher than that of ,w4 

van de ,velde2 although the works of the
 later1 which represent the sea at rest1
 or in light breezes1 are much superior1
 and indeed inimitable4 ,his pictures   
are distinguished for their admirable   
perspective1 correct drawing1 neatness  
and freedom of touch1 and remarkable    
facility of execution4 ,for the         
burgomasters of ,amsterdam1 he painted a
 large picture with a multitude of      
vessels1 and a view of the city in the  
distance2 for which they gave him #a1cjj
 guilders1 and a handsome present4 ,this
 picture was presented to the ,king of  
,france1 who placed it in the ,louvre4  
,the ,king of ,prussia visited          
,backhuysen1 and the ,czar ,peter took  
delight in seeing him paint1 and often  
endeavored to make drawings after       
vessels which the artist had designed4  
,,john ,,baptist ,,weenix1 ,,the        
,,elder4   ,this eminent ,dutch painter 
was born at ,amsterdam in #afba4 ,he    
possessed extraordinary and varied      
talents4 ,he painted history1 portraits1

 landscapes1 sea-ports1 animals1 and    
dead game1 in all which branches he     
showed uncommon ability2 but his        
greatest excellence lay in painting     
,italian sea-ports1 of a large size1    
enriched with noble edifices1 and       
decorated with figures representing     
embarkations and all the activity of    
commercial industry4 ,in these subjects 
he has scarcely been surpassed except by
 his pupil1 ,nicholas ,berghem4         
,,weenix',s ,,facility ,,of ,,hand4     
,houbraken relates several instances of 
his remarkable facility of hand4 ,he    
frequently painted a large landscape and
 inserted all the figures in a single   
day--feats so much admired in ,salvator 
,rosa1 and ,gaspar ,ponssin4 ,on one    
occasion he commenced and finished three
 portraits1 on canvass1 of              
three-quarters size1 with heads as large
 as life1 from sun-rise to sun-set1 on a
 summer's day4 ,lanzi warns all artists1
 especially the youthful aspirant1 not  
to imitate such expedition1 as they     

value their reputation4     ,,john      
,,baptist ,,weenix1 ,,the ,,younger4    
,was the son of the preceding1 and born 
at ,amsterdam in #afdd4 ,possessing less
 varied talent than his father2 he was  
unrivaled in painting all sorts of      
animals1 huntings1 dead games1 birds1   
flowers1 and fruit4 ,he was appointed   
,court painter to the ,elector          
,palatine1 with a liberal pension1 and  
decorated his palace at ,bernsberg with 
many of his choicest works4 ,he painted 
in one gallery a series of pictures     
representing the ,hunting of the ,stag2 
and in another the ,chase of the ,wild  
,boar1 which gained him the greatest    
applause4 ,there are many of his best   
works in the ,dusseldorf ,gallery4 ,he  
painted all kinds of birds and fowls in 
an inimitable manner2 the soft down of  
the duck1 the glossy plumage of the     
pigeon1 the splendor of the peacock1 the
 magnificent spread of an inanimate swan
 producing a flood of light1 and serving
 as a contrast to all the objects around

 it1 are so attractive that it is       
impossible to contemplate one of his    
pictures of these subjects without      
feeling admiration and delight at the   
painter's skill in rivaling nature4     
,,jan ,,steen4   ,the life of this      
extraordinary artist1 if we are to      
believe his biographers1 is soon told4  
,he was born at ,leyden in #afcf4 ,he   
early exhibited a passion for art1 which
 his father1 a wealthy brewer of that   
city1 endeavored to restrain1 and       
afterwards apprehending that he could   
not procure a comfortable subsistence by
 the exercise of his pencil1 established
 him in his own business at ,delft1     
where1 instead of attending to his      
affairs1 he gave himself up to          
dissipation1 and soon squandered his    
means and ruined his establishment2 his 
indulgent parent1 after repeated        
attempts to reclaim him1 was compelled  
to abandon him to his fate4 ,he opened a
 tavern1 which proved more calamitous   
than the former undertaking4 ,he gave   

himself up entirely to reveling and     
intoxication1 wrought only when his     
necessities compelled him1 and sold his 
pictures to satisfy his immediate wants1
 and often for the most paltry prices to
 escape arrest4     ,,jan ,,steen',s    
,,works4   ,the pictures of ,jan ,steen 
usually represent merry-makings1 and the
 frolics and festivities of the         
ale-house1 which he treated with a      
characteristic expression of humorous   
drollery1 that compensated for the      
vulgarity of his subjects4 ,he sometimes
 painted interiors1 domestic assemblies1
 conversations1 mountebanks1 etc41 which
 he generally accompanied with some     
facetious trait of wit or humor1        
admirably rendered4 ,some of his works  
of this description are little inferior 
to the charming productions of ,gabriel 
,metzu4 ,his compositions are ingenious 
and interesting1 his design is correct  
and spirited1 his coloring chaste and   
clear1 and his pencil free and decided4 
,he also had a good knowledge of the    

chiaro-scuro1 which enabled him to give 
his figures a fine relief4 ,his works   
are invariably finished with care and   
diligence1 and do not betray any haste  
or infirmity of hand or head4 ,it is    
evident that1 from some untoward        
circumstance1 his works were not        
appreciated in his day1 but after his   
death they rose amazingly in value1 and 
have continued to increase ever         
since1--a true test of a master's       
merit--till now they are scarcely to be 
found except in royal and noble         
collections and the public galleries of 
,europe4 ,his pictures were1 for a long 
time1 scarcely known out of ,holland1   
but now they are deservedly placed in   
the choicest collections4 ,his works are
 very numerous1 sufficient to have      
continually occupied the life time of   
not only a sober and industrious artist1
 but one possessing great facility of   
hand4 ,smith1 in his ,catalogue         
raisonne1 vol4 iv4 and ,supplement1     
gives a descriptive account of upwards  

of #cjj genuine pictures by ,steen1 many
 of them compositions of numerous       
figures1 and almost all of them executed
 with the greatest care4 ,it cannot be  
believed that a man living in a state of
 continued dissipation and inebriety1   
could find time to produce so many      
admirable works1 displaying1 as they do1
 a deep study of human nature1 and a    
great discrimination of character1 or   
that the hand of a habitual drunkard    
could operate with such beauty and      
precision4 ,nor is it probable that a   
mind besotted by drink1 and debased by  
low intercourse1 could moralize so      
admirably as he has done on the evil    
consequences of intemperance and the    
indulgence of evil passions4            
,,kugler',s ,,critique ,,on ,,the       
,,works ,,of ,,jan ,,steen4   ,dr       
,kuegler1 a judicious critic1 thus sums 
up his character as an artist3 ,the     
works of ,jan ,steen imply a free and   
cheerful view of common life1 and he    
treats it with a careless humor1 such as

 seems to deal with all its daily       
occurrences1 high and low1 as a         
laughable masquerade and a mere scene of
 perverse absurdity4 ,his treatment of  
the subjects differed essentially from  
that adopted by other artists4          
,frequently1 indeed1 they are the same  
jolly drinking parties1 or the meetings 
of boors2 but in other masters the      
object is1 for the most part1 to depict 
a certain situation1 either quiet or    
animated1 whilst in ,jan ,steen is      
generally to be found action more or    
less developed1 together with all the   
reciprocal relations and interests      
between the characters which spring from
 it4 ,this is accompanied by great      
variety and force of individual         
expression1 such as evinces the sharpest
 observation4 ,he is almost the only    
artist in the ,netherlands who has thus1
 with true genius1 brought into full    
play all these elements of comedy4 ,his 
technical execution suits his design2 it
 is carefully finished1 and             

notwithstanding the closest attention to
 minute details1 it is as firm and      
correct as it is light and free4        
,,frolics ,,of ,,mieris ,,and ,,jan     
,,steen4   ,sandrart says that ,mieris  
had a real friendship for ,jan ,steen1  
and delighted in his company1 though he 
was by no means fond of drinking as     
freely as ,jan was accustomed to do     
every evening at the tavern4            
,notwithstanding this1 he often passed  
whole nights with his friend in a joyous
 manner1 and frequently returned very   
late to his lodging4 ,one evening1 when 
it was very dark and almost midnight1 as
 ,mieris strolled home from the tavern1 
he unluckily fell into the common sewer1
 which had been opened for the purpose  
of cleansing1 and the workmen had left  
unguarded4 ,there he must have perished1
 had not a cobbler and his wife1 who    
worked in a neighboring stall1 heard his
 cries and instantly ran to his relief4 
,having extricated ,mieris1 they took   
all possible care of him1 and procured  

the best refreshment in their power4    
,the next morning ,mieris1 having       
thanked his preservers1 took his leave1 
but particularly remarked the house1    
that he might know it another time4 ,the
 poor people were totally ignorant of   
the person whom they had relieved1 but  
,mieris had too grateful a heart to     
forget his benefactors1 and having      
painted a picture in his best manner1 he
 brought it to the cobbler and his wife1
 telling them it was a present from the 
person whose life they had contributed  
to save1 and desired them to carry it to
 his friend ,cornelius ,plaats1 who     
would give them the full value for it4  
,the woman1 unacquainted with the real  
worth of the present1 concluded she     
might receive a moderate gratuity for   
the picture1 but her astonishment was   
inexpressible1 when she received the sum
 of eight hundred florins4     ,,sir    
,,anthony ,,more4   ,this eminent       
painter was born at ,utrecht1 in #aeai4 
,in #aeeb1 he accompanied the ,cardinal 

,granville to ,spain1 who recommended   
him to the patronage of the ,emperor    
,charles ,v41 whose portrait he painted1
 and that of ,prince ,philip1 which gave
 so much satisfaction to the monarch1   
that he sent him to ,portugal1 to paint 
the portraits of ,king ,john ,,iii41    
,catherine of ,austria his ,queen1 and  
sister to ,charles1 and that of their   
daughter1 the ,princess ,donna ,maria1  
then contracted to ,philip2 he also     
painted the portrait of ,donna          
,catalina1 ,charles' younger sister2 all
 of which gave entire satisfaction1 and 
the artist was munificently rewarded1   
and the honor of knighthood conferred on
 him4 ,the ,emperor next despatched     
,more to ,england to take the portrait  
of the princess ,mary previous to her   
marriage with ,philip of ,spain4 ,on    
this occasion1 he is said to have       
employed all the flattering aids of his 
art1 and so captivated the courtiers of 
,spain1 with the charms of ,mary's      
person1 that he was employed by         

,cardinal ,granville and several of the 
grandees to make copies of it for them4 
,he accompanied ,philip to ,england1    
where he remained till the death of     
,queen ,mary1 who highly honored him1   
presented him a gold chain1 and allowed 
him a pension of ,l#ajj a year4 ,the    
,emperor ,charles ,v4 having abdicated  
in favor of his son ,philip ,,ii41 the  
latter returned to ,spain1 and made     
,more his court-painter1 where his      
talents procured him great respect and  
abundant employment4     ,,sir ,,anthony
 ,,more ,,and ,,philip ,,ii4   ,philip  
,,ii4 was accustomed to honor ,more by  
frequent visits to his studio1 on which 
occasions he treated him with           
extraordinary familiarity4 ,one day1 in 
a moment of condescension and           
admiration1 the monarch jocosely slapped
 ,more on the shoulder which compliment 
the painter1 in an unguarded moment1    
playfully returned by smearing his hand 
with a little carmine from his brush4   
,the ,king withdrew his hand and        

surveyed it for a moment1 seriously2 the
 courtiers were petrified with horror   
and amazement2 the hand to which ladies 
knelt before they had the honor to kiss 
it1 had never before been so dishonored 
since the foundation of the monarchy2 at
 that moment the fate of ,more was      
balanced on a hair2 he saw his rashness1
 fell on his knees1 kissed the ,king's  
feet1 and humbly begged pardon for the  
offence4 ,philip smiled1 and pardoned   
him1 and all seemed to be well again2   
but the person of the ,king was too     
sacred in those days1 and the act too   
daring to escape the notice of the      
,inquisition1 from whose bigotry and    
vengeance the ,king himself could not   
have shielded him4 ,happily for ,more1  
one of ,philip's ministers advised him  
of his danger1 and without loss of time 
he set out for ,brussels1 upon the      
feigned pretence of pressing            
engagements1 nor could ,philip ever     
induce him to return to his court4      
,,more',s ,,success ,,and ,,works4      

,more was employed by most of the       
princes of ,europe1 who liberally       
rewarded him1 and at every court his    
paintings were beheld with admiration   
and applause1 but at none more than at  
those of ,spain and ,england4 ,he       
acquired an ample fortune4 ,when he was 
in ,portugal1 the nobility of that      
country1 in token of their esteem1      
presented him1 in the name of their     
order1 a gold chain valued at a thousand
 ducats4 ,he closely imitated nature4   
,he designed and painted in a bold1     
masculine style1 with a rich tone of    
coloring2 he showed a good knowledge of 
the chiaro-scuro1 and he finished his   
pictures with neatness and care2 his    
style is said to resemble that of ,hans 
,holbein1 though not possessing his     
delicacy and clearness2 and there is    
something dry and hard in his manner4   
,his talents were not confined to       
portraits2 he painted several historical
 subjects in ,spain for the ,royal      
,collection1 which were highly          

applauded1 but which were unfortunately 
destroyed in the conflagration of the   
palace of the ,prado4 ,while he resided 
in ,spain1 he copied some portraits of  
illustrious women1 in a style said to   
approach ,titian4 ,his own portrait1    
painted by himself1 charmingly colored1 
and full of life and nature1 is in the  
,florentine ,gallery4 ,his best work was
 a picture of the ,circumcision1        
intended for the ,cathedral at ,antwerp1
 but he did not live to finish it1 and  
died there in #aege4     ,,perilous     
,,adventure ,,of ,a ,,painter4   ,john  
,griffier1 a ,dutch painter of          
celebrity1 went to ,london in #affg1    
where he met with great encouragement4  
,while there he painted many views on   
the ,thames1 and in order to observe    
nature more attentively1 he bought a    
yacht1 embarked his family1 and spent   
his whole time on the river4 ,after     
several years he sailed for ,holland in 
his frail craft but was wrecked in the  
,texel1 where1 after eight days of      

suffering1 he and his family barely     
escaped with their lives1 having lost   
all his paintings1 and the fruits of his
 industry4 ,this mishap cured him of his
 passion for the sea4     ,,anecdote    
,,of ,,john ,,de ,,mabuse4   ,an amusing
 anecdote is related of this eminent    
painter4 ,he was inordinately given to  
dissipation1 and spent all his money1 as
 fast as he earned it1 in carousing with
 his boon companions4 ,he was for a long
 time in the service of the ,marquess de
 ,veren1 for whom he executed some of   
his most capital works4 ,it happened on 
one occasion that the ,emperor ,charles 
,v4 made a visit to the ,marquess1 who  
made magnificent preparations for his   
reception1 and among other things       
ordered all his household to be dressed 
in white damask4 ,when the tailor came  
to measure ,mabuse1 he desired to have  
the damask1 under the pretence of       
inventing a singular habit4 ,he sold it 
immediately1 spent the money1 and then  
painted a paper suit1 so like damask    

that it was not distinguished as he     
walked in procession between a          
philosopher and a poet1 other pensioners
 of the ,marquess2 but the joke was too 
good to be kept1 so his friends betrayed
 him to the ,marquess1 who1 instead of  
being displeased was highly diverted1   
and asked the ,emperor which of the     
three suits he liked best4 ,the ,emperor
 pointed to that of ,mabuse1 as         
excelling in whiteness and beauty of the
 flowers2 and when he was told of the   
painter's stratagem1 he would not       
believe it1 till he had examined it with
 his own hands4     ,,capugnano ,,and   
,,lionello ,,spada4   ,lanzi relates the
 following amusing anecdote of ,giovanni
 da ,capugnano1 an artist of little     
merit1 but whose assurance enabled him  
to attract considerable attention in his
 day4 ,misled by a pleasing             
self-delusion1 he believed himself born 
to become a painter2 like that ancient  
personage1 mentioned by ,horace1 who    
imagined himself the owner of all the   

vessels that arrived in the ,athenian   
port4 ,his chief talent lay in making   
crucifixes1 to fill up the angles1 and  
in giving a varnish to the balustrades4 
,next1 he attempted landscape in        
water-colors1 in which were exhibited   
the most strange proportions2 of houses 
less than the men2 these last smaller   
than his sheep2 and the sheep again than
 his birds4 ,extolled1 however1 in his  
own district1 he determined to leave his
 native mountains1 and figure on a wider
 theatre at ,bologna2 there he opened   
his house1 and requested the ,caracci1  
the only artists he believed to be more 
learned than himself1 to furnish him    
with a pupil1 whom he intended to polish
 in his studio4 ,lionello ,spada1 an    
admirable wit1 accepted this invitation2
 he went and copied designs1 affecting  
the utmost obsequiousness towards his   
master4 ,at length1 conceiving it time  
to put an end to the jest1 he left      
behind him a most exquisite painting of 
,lucretia1 and over the entrance of the 

chamber some fine satirical octaves1 in 
apparent praise1 but real ridicule of   
,capugnano4 ,his worthy master only     
accused ,lionello of ingratitude1 for   
having acquired from him in so short a  
space the art of painting so beautifully
 from his designs2 but the ,caracci at  
last acquainted him with the joke1 which
 acted as a complete antidote to his    
folly4     ,,michael ,,angelo ,,da      
,,caravaggio--,,his ,,quarrelsome       
,,disposition4   ,caravaggio possessed a
 very irascible and roving disposition4 
,at the height of his popularity at     
,rome1 he got into a quarrel with one of
 his own young friends1 in a            
tennis-court1 and struck him dead with a
 racket1 having been severely wounded   
himself in the affray4 ,he fled to      
,naples1 where he executed some of his  
finest pictures1 but he soon got weary  
of his residence there1 and went to     
,malta4 ,here his superb picture of the 
,grand ,master obtained for him the     
,cross of ,malta1 a rich gold chain1    

placed on his neck by the ,grand        
,master's own hands1 and two slaves to  
attend him4 ,all these honors did not   
prevent the new knight from falling back
 into old habits4 ,il suo torbido       
ingegno1 says ,bellori1 plunged him into
 new difficulties2 he fought and wounded
 a noble cavalier1 was thrown into      
prison1 from which he escaped almost by 
a miracle1 and fled to ,syracuse1 where 
he obtained the favor of the ,syracusans
 by painting a splendid picture of the  
,santa ,morte1 for the church of ,s4    
,lucia4 ,in apprehension of being taken 
by the ,knights of ,malta1 he soon fled 
to ,messina1 thence to ,palermo1 and    
returned to ,naples1 where hopes were   
held out to him of the ,pope's pardon4  
,here he got into a quarrel with some   
military men in a public house1 was     
wounded1 and took refuge on board a     
felucca1 about to sail for ,rome4       
,stopping at a small port on the way1 he
 was arrested by a ,spanish guard1 by   
mistake1 for another person2 when       

released1 he found the felucca gone1 and
 in it all his property4 ,traversing the
 burning shore1 under an almost vertical
 sun1 he was seized with a brain fever1 
and continued to wander through the     
,pontine ,marshes till he arrived at    
,porto ,ercoli1 when he expired1 aged   
forty years4     ,,jacopo ,,amiconi4    
,giacomo ,amiconi1 a ,venetian painter1 
went to ,england1 in #agbi1 where he was
 first employed by ,lord ,tankerville to
 paint the staircase of his palace in   
,st4 ,james' ,square4 ,he there         
represented the stories of ,achilles1   
,telemachus and ,tiresias1 which gained 
him great applause4 ,when he was to be  
paid1 he produced his bills of the      
workmen for scaffolding1 materials1 c41 
amounting to ,l#ij1 and asked no more1  
saying that he was content with the     
opportunity of showing what he could do4
 ,the peer1 however1 gave him ,l#bjj    
more4 ,this brought him into notice1 and
 he was much employed by the nobility to
 decorate their houses4     ,,painting  

,,the ,,dead4   ,giovanni ,baptista     
,gaulli1 called ,baciccio1 one of the   
most eminent ,genoese painters1 was no  
less celebrated for portraits than for  
history4 ,pascoli says he painted no    
less than seven different ,pontiffs1    
besides many illustrious personages4    
,possessing great colloquial powers1 he 
engaged his sitters in the most animated
 conversation1 and thus transferred     
their features to his canvas1 so full of
 life and expression1 that they looked  
as though they were about to speak to   
the beholder4 ,he also had a remarkable 
talent of painting the dead1 so as to   
obtain an exact resemblance of deceased 
persons whom he had never seen4 ,for    
this purpose1 he drew a face at random1 
afterwards altering it in every feature1
 by the advice and under the inspection 
of those who had known the original1    
till he had improved it to a striking   
likeness4     ,,taddeo ,,zuccaro4       
,this eminent painter was born at ,san  
,angiolo1 in the ,duchy of ,urbino1 in  

#aebi4 ,at a very early age he evinced a
 passion for art and a precocious       
genius4 ,after having received          
instruction from his father1 a painter  
of little note1 his extraordinary       
enthusiasm induced him1 at fourteen     
years of age1 to go to ,rome1 without a 
penny in his pocket1 where he passed the
 day in designing1 from the works of    
,raffaelle4 ,such was his poverty1 that 
he was compelled to sleep under the     
loggie of the ,chigi palace2 he         
contrived to get money enough barely to 
supply the wants of nature1 by grinding 
colors for the shops4 ,undaunted by     
difficulties that would have driven a   
less devoted lover of the art from the  
field1 he pursued his studies with      
undiminished ardor1 till his talents and
 industry attracted the notice of       
,daniello da ,por1 an artist then in    
repute1 who generously relieved his     
wants and gave him instruction4 ,from   
that time he made rapid progress1 and   
soon acquired a distinguished           

reputation1 but he died at ,rome in     
#aeff1 in the prime of life4            
,,zuccaro',s ,,resentment4   ,federigo  
,zuccaro1 the brother of ,taddeo1 was   
employed by ,pope ,gregory ,,xiii4 in   
the ,pauline chapel4 ,while proceeding  
with his work1 however1 he fell out with
 some of the ,pope's officers2 and      
conceiving himself treated with         
indignity1 he painted an allegorical    
picture of ,calumny1 introducing the    
portraits of all those individuals who  
had offended him1 decorated with asses' 
ears4 ,this he caused to be exhibited   
publicly over the gate of ,st4 ,luke's  
church1 on the festival day of that     
,saint4 ,his enemies1 upon this1 made   
such complaints that he was forced to   
fly from ,rome1 and passing into        
,france1 he visited ,flanders and       
,england4 ,as soon as the pontiff was   
appeased1 he returned to ,rome1 and     
completed his work in the ,pauline      
chapel1 fortunate in not losing his head
 as the price of such a daring exploit4 

,,royal ,,criticism4   ,federigo        
,zuccaro was invited to ,madrid by      
,philip ,,ii4 to execute some frescos in
 the lower cloister of the ,escurial1   
which1 failing to give satisfaction to  
his royal patron1 were subsequently     
effaced1 and their place supplied by    
,pellegrino ,tibaldi2 the king          
nevertheless munificently rewarded him4 
,one day1 as he was displaying a picture
 of the ,nativity1 which he had painted 
for the great altar of the ,escurial1   
for the inspection of the monarch1 he   
said1 ,sire1 you now behold all that art
 can execute2 beyond this which ,i have 
done1 the powers of painting cannot go4 
,the king was silent for some time2 his 
countenance betrayed neither approbation
 nor contempt2 at last1 preserving the  
same indifference1 he quietly asked the 
painter what those things were in the   
basket of one of the shepherds in the   
act of running8 ,he replied they were   
eggs4 ,it is well then1 that he did not 
break them1 said the king1 as he turned 

on his way--a just rebuke for such      
fulsome self-adulation4     ,,pietro    
,,da ,,cortona4   ,the name of this     
illustrious painter and architect was   
,berrettini1 and he was born at         
,cortona1 near ,florence1 in #aeif4 ,at 
the age of fourteen he went to ,rome1   
where he studied the works of ,raffaelle
 and ,caravaggio with the greatest      
assiduity4 ,it is said that at first he 
betrayed but little talent for painting1
 but his genius burst forth suddenly1 to
 the astonishment of those companions   
who had laughed at his incapacity2 this 
doubtless was owing to his previous     
thorough course of study4 ,while yet    
young1 he painted two pictures for the  
,cardinal ,sacchetti1 representing the  
,rape of the ,sabines1 and a ,battle of 
,alexander1 which gained him so much    
celebrity that ,pope ,urban ,,viii4     
commissioned him to paint a chapel in   
the church of ,s4 ,bibiena1 where       
,ciampelli was employed4 ,the latter at 
first regarded with contempt the        

audacity of so young a man's daring to  
attempt so important a public work1 but 
,cortona had no sooner commenced than   
,ciampelli's disgust changed to         
admiration of his abilities4 ,his       
success in this performance gained him  
the celebrated work of the ceiling of   
the grand saloon in the ,barberini      
palace1 which is considered one of the  
greatest productions of the kind ever   
executed4 ,cortona was invited to       
,florence by the ,grand ,duke ,ferdinand
 ,,ii41 to paint the saloon and four    
apartments in the ,pitti palace1 where  
he represented the ,clemency of         
,alexander to the family of ,darius1 the
 ,firmness of ,porsena1 the ,continence 
of ,cyrus1 the ,history of ,massanissa1 
and other subjects4 ,while thus         
employed1 the ,duke1 one day1 having    
expressed his admiration of a weeping   
child which he had just painted1        
,cortona with a single stroke of his    
pencil made it appear laughing1 and with
 another restored it to its former      

state2 ,prince1 said he1 you see how    
easily children laugh and cry4          
,disgusted with the intrigues of some   
artists jealous of his reputation1 he   
left ,florence abruptly1 without        
completing his works1 and the ,grand    
,duke could never persuade him to       
return4 ,on his return to ,rome1 he     
abounded with commissions1 and ,pope    
,alexander ,,vii4 honored him with the  
order of the ,golden ,spur4 ,cortona was
 also distinguished as an architect4 ,he
 made a design for the ,palace of the   
,louvre1 which was so highly approved by
 ,louis ,,xiv4 that he sent him his     
picture richly set in jewels4 ,cortona  
was a laborious artist1 and though      
tormented with the gout1 and in affluent
 circumstances1 he continued to paint   
till his death1 in #afii4     ,,know    
,,thyself4   ,mario ,ballassi1 a        
,florentine painter born in #afjd1      
studied successively under ,ligozzi1    
,roselli1 and ,passignano2 he assisted  
the latter in the works he executed at  

,rome for ,pope ,urban ,,xiii4 ,his     
chief talent lay in copying the works of
 the great masters1 which he did to     
admiration4 ,don ,taddeo ,barberini     
employed him to copy the                
,transfiguration of ,raffaelle1 for the 
,church of the ,conception1 in which he 
imitated the touch and expression of the
 original in so excellent a manner as to
 excite the surprise of the best judges 
at ,rome4 ,at the recommendation of the 
,cardinal ,piccolomini1 he was          
introduced to the ,emperor ,ferdinand   
,,iii41 who received him in an honorable
 manner4 ,elated with his success1 he   
vainly imagined that if he could imitate
 the old masters1 he could also equal   
them in an original style of his own4   
,he signally failed in the attempt1     
which brought him into as much contempt 
as his former works had gained him      
approbation4     ,,benvenuto ,,cellini4 
,this eminent sculptor and famous       
medalist was in high favor with ,clement
 ,,vii41 who took him into his service4 

,during the time of the ,spanish        
invasion1 ,cellini asked the ,pope for  
absolution for certain homicides which  
he believed himself to have committed in
 the service of the church4 ,the ,pope  
absolved him1 and1 to save time1 he     
added an absolution in prospectu1 for   
all the homicides thereafter which the  
said ,benvenuto might commit in the same
 service4 ,on another occasion1 ,cellini
 got into a broil1 and committed a      
homicide that was not in the service of 
the church4 ,the friends of the deceased
 insisted upon condign punishment1 and  
presumed to make some mention to the    
,pope about the laws2 upon which the    
successor of ,st4 ,peter1 knowing that  
it was easier to hang than to replace   
such a man1 assumed a high tone1 and    
told the complainants that men who were 
masters of their art should not be      
subject to the laws4     ,,fracanzani   
,,and ,,salvator ,,rosa4   ,the first   
accents of the thrilling melody of sweet
 renown which ever vibrated to the heart

 of ,salvator ,rosa1 came to his ear    
from the kind-hearted ,fracanzani1 his  
sister's husband1 and a painter of      
merit4 ,when ,salvator returned home    
from his sketching tours among the      
mountains1 ,fracanzani would examine his
 drawings1 and when he saw anything     
good1 he would smilingly pat him on the 
head and exclaim1 ,fruscia1 fruscia1    
,salvatoriello--che va buono 7,go on1 go
 on1 ,salvator--this is good74 ,these   
simple plaudits were recalled to his    
memory with pleasure1 in after years1   
when his fame rung among the polished   
circles at ,rome and ,florence4         
,,pope ,,urban ,,viii4 ,,and ,,bernini4 
,when the ,cardinal ,barberini1 who had 
been the warm friend1 patron1 and       
protector of ,bernini1 was elevated to  
the pontificate1 the latter went to     
offer his congratulations to his        
benefactor4 ,the ,pope received him in  
the most gracious manner1 uttering these
 memorable words1 ,e gran fortuna la    
vostra1 ,bernini1 di vedere ,papa1 il   

,card4 ,maffeo ,barberini2 ma assai     
maggiore e la nostra1 che il ,cav4      
,bernini viva nel nostro pontificato2   
7,it is a great piece of fortune for    
you1 ,bernini1 to behold the ,cardinal  
,maffeo ,barberini ,pope2 but how much  
greater is ours1 that the ,cav4 ,bernini
 lives in our pontificate27 and he      
immediately charged him with the        
execution of those great works which    
have immortalized both their names4     
,among the great works which he executed
 in this pontificate are the ,baldachin1
 or great altar of ,st4 ,peter's1 in    
bronze and gilt1 under the centre of the
 great dome2 the four colossal statues  
which fill the niches under the         
pedatives2 the pulpit and canopy of ,st4
 ,peter's2 the ,campanile2 and the      
,barberini palace4 ,for these services1 
the ,pope gave ,bernini #aj1jjj crowns1 
besides his monthly salary of #cjj1     
which he increased1 and extended his    
favors to his brothers--a grand piece of
 fortune1 truly4     ,,emulation ,,and  

,,rivalry ,,in ,,the ,,fine ,,arts4     
,emulation carries with it neither envy 
nor unfair rivalry1 but inspires a man  
to surpass all others by superiority    
alone4 ,such was the emulation and      
rivalry between ,zeuxis and ,parrhasius1
 which contributed to the improvement of
 both2 and similar thereto was that     
which inspired the master-minds of      
,michael ,angelo and ,raffaelle2 of     
,titian and ,pordenone2 of ,albert      
,durer and ,lucas van ,leyden2 of       
,agostino and ,annibale ,caracci2 and we
 may add1 in our own country1 of ,thomas
 ,cole and ,durand4 ,the emulation      
between the ,caracci1 though it tended  
to the improvement of both1 was more    
unfortunate in its result1 as it finally
 engendered such a bitter rivalry as to 
drive ,agostino from the field1 and it  
is said by some that both the ,caracci  
declined when their competition ceased4 
,the confraternity of the ,chartreuse at
 ,bologna proposed to the artists of    
,italy to paint a picture for them in   

competition1 and to send designs for    
selection4 ,the ,caracci were among the 
competitors1 and the design of ,agostino
 was preferred before all others2 this1 
according to several authors1 first gave
 rise to the jealousy between the two   
brothers4 ,the picture which ,agostino  
painted was his celebrated ,communion of
 ,st4 ,jerome which ,napoleon placed in 
the ,louvre1 but is now in the gallery  
at ,bologna4 ,it is esteemed the        
masterpiece of the artist4 ,it          
represents the venerable saint1 carried 
to the church of ,bethlehem on his      
approaching dissolution1 where he       
receives the last sacrament of the      
,roman ,church1 the ,viaticum1 in the   
midst of his disciples1 while a monk    
writes down his pious exhortations4     
,soon after the completion of this      
sublime picture1 the two brothers       
commenced the celebrated ,farnese       
,gallery in conjunction2 but the jealous
 feelings which existed between them    
caused continual dissentions1 and the   

turbulent disposition of ,annibale      
compelled ,agostino to abandon him and  
quit ,rome4 ,agostino1 who according to 
all authorities was the best tempered of
 the two1 from that time gave himself up
 almost entirely to engraving4          
,annibale1 though he has the honor of   
having executed the immortal works in   
the ,farnese ,gallery1 yet owed much    
there1 as elsewhere1 to the acquirements
 and poetical genius of ,agostino4 ,in  
the composition of such mythological    
subjects the unlettered ,annibale was   
totally inadequate4 ,see vol4 i41 page  
#ga of this work4     ,,the ,,notte ,,of
 ,,correggio4   ,this wonderful picture 
is one of the most singular and         
beautiful works of that great master4   
,adopting an idea till then unknown to  
painters1 he has created a new principle
 of light and shade2 and in the limited 
space of nine feet by six1 has expanded 
a breadth and depth of perspective which
 defies description4 ,the subject he has
 chosen1 is the adoration of the        

shepherds1 who1 after hearing the glad  
tidings of joy and salvation1 proclaimed
 by the heavenly host1 hasten to hail   
the new-born ,king and ,saviour4 ,on so 
unpromising a subject as the birth of a 
child1 in so mean a place as a stable1  
the painter has1 however1 thrown the air
 of divinity itself4 ,the principal     
light emanates from the body of the     
infant1 and illuminates the surrounding 
objects2 but a secondary light is       
borrowed from a group of angels above1  
which1 while it aids the general effect1
 is yet itself irradiated by the glory  
breaking from the child1 and            
allegorizing the expression of          
scripture1 that ,christ is the true     
light of the world4 ,nor is the art1    
with which the figures are represented  
less admirable than the management of   
the light4 ,the face of the child is    
skillfully hidden1 by its oblique       
position1 from the conviction that the  
features of a new-born infant are       
ill-adapted to please the eye2 but that 

of the ,virgin is warmly irradiated1 and
 yet so disposed1 that in bending with  
maternal fondness over her offspring1 it
 exhibits exquisite beauty1 without the 
harshness of deep shadows4 ,the light   
strikes boldly on the lower part of her 
face1 and is lost in a fainter glow on  
the eyes1 while the forehead is thrown  
into shade4 ,the figures of ,joseph and 
the shepherds are traced with the same  
skillful pencil2 and the glow which     
illuminates the piece is heightened to  
the imagination1 by the attitude of a   
shepherdess1 bringing an offering of    
doves1 who shades her eyes with her     
hand1 as if unable to sustain the       
brightness of incarnate divinity4 ,the  
glimmering of the rising dawn1 which    
shews the figures in the background1    
contributes to augment the splendor of  
the principal glory4 ,the beauty1 grace1
 and finish of the piece1 says ,mengs1  
are admirable1 and every part is        
executed in a peculiar and appropriate  
style4  ,opie1 in his lectures1 speaking

 of this work1 justly observes1 ,in the 
,notte1 where the light diffused over   
the piece emanates from the child1 he   
has embodied a thought at once          
beautiful1 picturesque1 and sublime2 an 
idea which has been seized upon with    
such avidity1 and produced so many      
imitations that no one is accused of    
plagiarism4 ,the real author is         
forgotten1 and the public accustomed to 
consider this incident as naturally a   
part of the subject1 have long ceased to
 inquire1 when1 or by whom1 it was      
invented4  ,the history of this picture 
is curious1 though involved in much     
obscurity4 ,it is generally stated that 
while ,correggio was engaged upon the   
grand cupola at ,parma1 he generally    
passed the colder season1 when he could 
not work in fresco1 in his native place4
 ,passing through ,reggio in one of his 
journeys1 he received a commission from 
,alberto ,pratonero for an altar-piece  
of the ,nativity1 which produced one of 
his finest pictures1 now called ,la     

,notte4 ,the indefatigable ,tiraboschi  
discovered the original contract for the
 work1 which is dated ,october #adth1   
#aebb1 and fixes the price at two       
hundred and eight livre di moneta       
,vecchia1 or forty-seven and a half gold
 ducats 7about #ajd74 ,it was painted   
for the ,pratoneri chapel in the church 
of ,s4 ,prospero at ,reggio1 but it was 
not fixed in its destined place till    
#aecj4 ,it is said that it was removed  
surreptitiously by order of ,francesco  
,i41 the reigning ,duke of ,modena1 who 
substituted a copy4 ,the same story1    
however1 is related of ,correggio's     
,ancona1 painted for the church of the  
,conventuals at ,correggio4 7,see vol4  
ii41 page #beg1 of this work47 ,at all  
events1 the elector of ,saxony          
subsequently purchased this gem1 with   
other valuable pictures1 from the ,ducal
 ,gallery at ,mantua1 and it now forms  
one of the principal ornaments of the   
,dresden ,gallery4     ,,the ,,dresden  
,,gallery4   ,the ,gallery of ,dresden  

is well known to most amateurs from the 
engravings which have been made of many 
of its most capital pictures4 ,in the   
works of ,correggio it stands preeminent
 above all others2 and although some of 
these have suffered by injudicious      
cleaning1 still they are by ,correggio4 
,in the works of ,titian1 ,raffaelle1   
,lionardo da ,vinci1 ,parmiggiano1      
,andrea del ,sarto1 the ,caracci1       
,guido1 c41 it holds also a high place2 
while it is rich in the works of the    
,flemish and ,dutch masters4 ,of the    
works of ,reubens there are1 #cj2 of    
,vandyck1 #ah2 of ,rembrandt1 #ae2 of   
,paul ,potter1 #c2 of ,david ,teniers1  
jun41 #bd2 of ,philip ,wouvermans1 #eb2 
of ,adrian ,ostade1 #f2 of ,gerard      
,douw1 #af2 of ,francis ,mieris1 #ad2 of
 ,gabriel ,metzu1 #f2 of ,berghem1 #i2  
of ,adrian van de ,velde1 #e2 of        
,ruysdael1 #ac2 and others by the ,dutch
 masters4 ,tho entire collection        
contains #ajaj ,flemish and ,dutch      
pictures1 and #cej pictures of the      

,italian schools1 the principal part of 
which1 particularly the pictures of     
,correggio1 etc41 belonged formerly to  
the ,mantua collection1 and were        
purchased by the ,elector ,augustus     
,,iii41 afterwards ,king of ,poland4    
,,painting ,,among ,,the ,,egyptians4   
,the antiquity of painting1 as well as  
of sculpture1 among the ,egyptians1 is  
sunk in fable4 ,yet it is certain that  
they made little or no progress in      
either art4 ,plato1 who flourished about
 #djj ,b4,c41 says that the art of      
painting had been practiced by the      
,egyptians upwards of ten thousand      
years1 and that there were existing in  
that country paintings of that high     
antiquity1 which were neither inferior  
to1 nor very different from1 those      
executed by the ,egyptian artists in his
 own time4  ,before the ,french         
expedition to ,egypt1 a great deal had  
been written on the subject of ,egyptian
 art1 without eliciting anything        
satisfactory4 ,norden1 ,pococke1 ,bruce1

 and other modern travelers1 speak of   
extraordinary paintings found on the    
walls of the temples and in the tombs at
 ,thebes1 ,denderah1 and other places in
 ,upper ,egypt2 and ,winckelmann justly 
regrets that those curious remains had  
not been visited by artists or persons  
skilled in works of art1 by whose       
testimony we might have been correctly  
informed of their character1 style1 and 
manoeuvre4 ,the man at last came1 and   
,denon1 in his ,voyage dans le ,basse et
 ,haute ,egypt1 has set the matter at   
rest4 ,he has given a curious and       
interesting account of the paintings at 
,thebes1 which he reports to be as fresh
 in color as when they were first       
executed4 ,the design is in general     
stiff and incorrect2 and whatever       
attitude is given to the figure1 the    
head is always in profile4 ,the colors  
are entire1 without blending or         
degradation1 as in playing cards1 and   
the whole exhibits the art in a very    
rude state4 ,they exhibit little or no  

knowledge of anatomy4 ,the colors they  
used were confined to four--blue1 red1  
yellow1 and green2 and of these1 the    
blue and red predominate4 ,the perfect  
preservation of the ,egyptian paintings 
for so many ages is to be attributed to 
the dryness of a climate where it never 
rains4  ,the ,egyptian painters and     
sculptors designed their figures in a   
style peculiarly stiff and formal1 with 
the legs invariably closed1 except in   
some instances in the tombs of the      
,kings at ,thebes1 and their arms stuck 
to their sides1 as if they had consulted
 no other models than their bandaged    
mummies4 ,the reasons why the ,egyptians
 never made any progress in art till the
 time of the ,greco-,egyptian kings1    
were their manners and customs1 which   
prohibited any innovations1 and         
compelled every one to follow the beaten
 track of his cast1 without the least   
deviation from established rules1 thus  
chaining down genius1 and the stimulus  
of emulation1 honor1 renown and reward4 

,when ,egypt passed under the dominion  
of the ,ptolemys1 she made rapid        
progress in art1 and produced some      
excellent painters1 sculptors1 and      
architects1 though doubtless they were  
mostly of ,greek origin4 ,it is related 
of ,ptolemy ,philopator1 that he sent a 
hundred architects to rebuild ,rhodes1  
when it was destroyed by an earthquake4 
,see vol4 iii41 page #a1 of this work4  
,,painting ,,among ,,the ,,greeks4      
,the origin of ,painting in ,greece was 
unknown to ,pliny1 to whom we are       
chiefly indebted for the few fragments  
of the biography of ,greek artists2 he  
could only obtain his information from  
,greek writers1 of whom he complains    
that they have not been very attentive  
to their accustomed accuracy4 ,it is    
certain1 however1 that the arts were    
practiced in ,egypt and in the ,east1   
many ages before they were known in     
,greece1 and it is the common opinion   
that they were introduced into that     
country from ,egypt and ,asia1 through  

the channel of the ,phoenecian traders4 
,it has been a matter of admiration that
 the ,greeks1 in the course of three or 
four centuries1 should have attained    
such perfection in every species of art 
that ennobles the human mind1 as        
oratory1 poetry1 music1 painting1       
sculpture1 and architecture4 ,two things
 explain the cause--freedom of action1  
and certainty of reward4 ,this is       
exemplified in the whole history of the 
arts and sciences4 ,the ancient eastern 
nations1 among whom the freedom of      
thought and action was forbidden1 and   
every man obliged to follow the trade of
 his caste1 never made any progress2 nor
 will the moderns progress in those     
countries till caste is done away1 and  
every man allowed to follow the         
inclinations of his genius4  ,the       
,greeks were favored with a climate the 
most congenial for the perfect          
development of the mental and physical  
powers1 and beauty of form4 ,every man  
was at liberty freely to follow his     

favorite pursuits4 ,they rewarded all   
who excelled in anything that was useful
 or beautiful1 and that with a lavish   
hand4 ,the prices they paid their great 
artists were truly astonishing2 in      
comparison to which1 the prices paid to 
the greatest artists of modern times are
 small4 ,nor was this so great an       
incentive as the admiration and the     
caresses they received4 ,the man of     
genius was sure of immortality and      
wealth4 ,their academic groves and their
 games were the admiration and resort of
 all the surrounding countries4 ,they   
decreed statues to their great men who  
deserved well of their country4 ,to     
other powerful incentives1 the ,greek   
artists had the advantage of the best   
models before them1 in their gymnastic  
exercises and public games1 where the   
youth contended for the prize quite     
naked4 ,the ,greeks esteemed natural    
qualities so highly that they decreed   
the first rewards to those who          
distinguished themselves in feats of    

agility and strength4 ,statues were     
often raised to wrestlers4 ,not only the
 first youth of ,greece1 but the sons of
 kings and princes sought renown in the 
public games and gymnastic exercises4   
,chrysippus and ,cleanthus distinguished
 themselves in these games before they  
were known as philosophers4 ,plato      
appeared as a wrestler both at the      
,isthmian and ,pythian games2 and       
,pythagoras carried off the prize at    
,elis4 ,the passion which inspired them 
was glory--the ambition of having       
statues erected to their memory1 in the 
most sacred place in ,greece1 to be     
admired by the whole people4  ,although 
it is universally admitted that the     
,greeks carried sculpture and           
architecture to such a state of         
perfection that they have never been    
equalled by the moderns1 except in      
imitating them1 yet there is a great    
contrariety of opinion among the most   
eminent modern writers as to their      
success in painting2 some1 full of      

admiration for the works of antiquity   
which have descended to us1 have not    
hesitated to declare that the ,greeks   
must have been equally successful in    
painting1 while others1 professing that 
we possess colors1 vehicles1 and science
 7as the knowledge of foreshortening1   
perspective1 and of the chiaro-scuro7   
unknown to them1 have as roundly        
asserted that they were far inferior to 
the moderns in this branch1 and that    
their pictures1 could we now see them in
 all their beauty1 would excite our     
contempt4 ,much of this boasted modern  
knowledge is1 however1 entirely         
gratuitous2 the ,greeks certainly well  
understood foreshortening and           
perspective1 as we have abundance of    
evidence in their works1 to say nothing 
of these being expressly mentioned by   
,pliny1 and that it is impossible to    
execute any work of excellence without  
them4 ,this erroneous opinion has sprung
 from the ignorance and imperfections of
 the old fathers of ,italian art in     

these particulars1 and the discoveries  
and perfections of those more modern4   
,if the moderns possess any advantages  
over the ancients1 it is that chemistry 
has invented some beautiful colors      
unknown to them1 the invention of oil   
painting1 and that illusion which       
results from a perfect acquaintance with
 the principles of the chiaro-scuro2 but
 even here the mineral colors--the most 
valuable and permanent--were well known 
to them2 and if they had not oil colors1
 they had a method of encaustic painting
 not positively known to us1 which might
 have answered as good a purpose--nor   
are we sure they did not practice the   
chiaro-scuro4 ,besides1 the most        
renowned modern masters were more       
celebrated in fresco than in oil        
painting1 and the ancients well         
understood painting in fresco4  ,in     
this1 as in most other disputes1 it may 
reasonably be presumed1 that a just     
estimation of both will be found between
 the extremes4 ,in comparing the        

paintings of the moderns with those of  
the ancients1 it may be fairly inferred 
that the latter surpassed the former in 
expression1 in purity of design1 in     
attitude of the figures1 and in ideal   
beauty4 ,the moderns have doubtless     
surpassed the ancients in the           
arrangement of their groups1 in         
perspective1 foreshortening and         
chiaro-scuro--and in coloring4 ,for a   
further disquisition on this subject1   
see ,vol4 ,i4 p4 #bb1 of this work1     
article ,apelles4     ,,numismatics4    
,numismatics is the science which has   
for its object the study of coins and   
medals1 especially those struck by the  
ancient ,greeks and ,romans4 ,the word  
is derived from the ,greek ,greek3      
nomisma1 or the ,latin numus1 coin or   
medal4 ,numismatics is now regarded as  
indispensable to archaeology1 and to a  
thorough acquaintance of the fine arts2 
it is also of great assistance in       
philology and the explanation of the    
ancient classics2 it appears to have    

been entirely unknown to the ancients1  
but since the middle of the sixteenth   
century1 it has occupied the attention  
of many learned men4  ,the name of coins
 is given to pieces of metal1 on which  
the public authority has impressed      
different marks to indicate their weight
 and value1 to make them a convenient   
medium of exchange4 ,by the word medals1
 when used in reference to modern times1
 is understood pieces of metal similar  
to coins but not intended as a medium of
 exchange1 but struck and distributed to
 commemorate some important event1 or in
 memory of some distinguished personage4
 ,the name of medals1 however1 is also  
given to all pieces of money which have 
remained from ancient times4 ,the term  
medallion is given to medals of a very  
large size1 many of them being several  
inches in diameter4 ,the parts of a coin
 or medal are the two sides2 first1 the 
obverse side1 face or head1 which       
contains the portrait of the person at  
whose command or in whose honor it was  

struck1 or other figures relating to    
him3 this portrait consists either of   
the head alone1 or the bust1 half       
length1 or full figure2 second1 the     
reverse contains mythological1          
allegorical1 or historical figures4 ,the
 words around the border form the       
legend1 and those in the middle the     
inscription4 ,the lower part of the     
coin1 which is separated by a line from 
the figures or the inscription1 is the  
basis or exergue1 and contains          
subsidiary matter1 as the date1 the     
place where the piece was struck1 etc4  
,numismatics has the same divisions as  
history4--,ancient ,numismatics extends 
to the extinction of the empire of the  
,west2 the ,numismatics of the middle   
ages commences with ,charlemagne2 and   
modern ,numismatics with the revival of 
learning4  ,medals indicate the names of
 provinces and cities1 determine their  
position1 and present pictures of many  
celebrated places4 ,they fix the period 
of events1 frequently determine their   

character1 and enable us to trace the   
series of kings4 ,they also enable us to
 learn the different metallurgical      
processes1 the different alloys1 the    
modes of gilding and plating practiced  
by the ancients1 the metals which they  
used1 their weight and measures1 their  
different modes of reckoning1 the names 
and titles of the various kings and     
magistrates1 and also their portraits1  
their different divinities1 with their  
attributes and titles1 the utensils and 
ceremonies of their worship1 the costume
 of their priests--in fine1 everything  
which relates to their usages1 civil1   
military1 and religious4 ,medals also   
acquaint us with the history of art4    
,they contain representations of several
 celebrated works of antiquity which    
have been lost1 the value of which may  
be estimated from the ancient medals of 
those still existing1 as the ,farnese   
,hercules1 ,niobe and her ,children1 the
 ,venus of ,gnidos1 etc4 ,like gems and 
statues1 they enable us to trace the    

epochs of different styles of art1 to   
ascertain its progress among the most   
civilized nations1 and its condition    
among the rude4  ,the ancient medals    
were struck or cast2 some were first    
cast and then struck4 ,the first coins  
of ,rome and other cities of ,italy must
 have been cast1 as the hammer could not
 have produced so bold a relief4 ,the   
copper coins of ,egypt were cast4 ,the  
right of coining money has always been  
one of the privileges which rulers have 
confined to themselves4 ,the free cities
 have inscribed only their names on     
their coins4 ,the cities subject to     
kings sometimes obtained permission to  
strike money in their own name1 but were
 most frequently required to add the    
name or image of the king to whom they  
were subject4 ,the medals of the        
,parthians and the ,phoenecians offer   
many examples of this sort4 ,rome1 under
 the republic1 allowed no individual the
 right to coin money2 no magistrate     
could put his name thereon1 though this 

honor was sometimes allowed1 as a       
special favor1 by a decree of the       
,senate4 ,we can count as numismatic    
countries only those into which the     
,greeks and ,romans carried the use of  
money2 though some of the oriental      
nations used gold and silver as a medium
 of exchange1 before their time it was  
by weight4 ,the people in the northern  
part of ,europe had no money4  ,the     
coins preserved from antiquity are      
estimated to be more numerous than those
 we possess from the middle ages1 in the
 proportion of a hundred to one6 ,millin
 thinks that the number of extant       
ancient medals amounts to #gj1jjj6 ,what
 a fund of the most curious and         
authentic information do they contain1  
and what a multitude of errors have been
 corrected by their means6 ,there are   
valuable cabinets of medals in all the  
principal cities of ,europe2 that of    
,paris is by far the richest2 ,pillerin 
alone added to it #cc1jjj ancient coins 
and medals4 ,the coins of the kings of  

,macedon are the most ancient of any yet
 discovered having portraits2 and       
,alexander ,i41 who commenced his reign 
about ,b4,c4 #ejj1 is the earliest      
monarch whose medals have yet been      
found4 ,then succeed the sovereigns who 
reigned in ,sicily1 ,caria1 ,cyprus1    
,heraclea1 and ,pontus4 ,afterwards     
comes the series of kings of ,egypt1    
,syria1 the ,cimmerian ,bosphorus1      
,thrace1 ,parthia1 ,armenia1 ,damascus1 
,cappadocia1 ,paphlagonia1 ,pergamos1   
,galatia1 ,cilicia1 ,sparta ,paeonia1   
,epirus1 ,illyricum1 ,gaul1 and the     
,alps4 ,this series reaches from the    
time of ,alexander the ,great to the    
,christian ,era1 comprising a period of 
about #ccj years4 ,a perfect and        
distinct series is formed by the ,roman 
emperors1 from the time of ,julius      
,caesar to the destruction of the       
empire1 and even still later4 ,the      
,grecian medals claim that place in a   
cabinet1 from their antiquity1 which    
their workmanship might ensure them1    

independently of that advantageous      
consideration4 ,it is observed by       
,pinkerton1 that an immense number of   
the medals of cities1 which1 from their 
character1 we might judge to be of the  
highest antiquity1 have a surprising    
strength1 beauty1 and relief in their   
impressions4 ,about the time of         
,alexander the ,great1 this art appears 
to have attained its highest perfection4
 ,the coins of ,alexander and his father
 exceed in beauty all that were ever    
executed1 if we except those of ,sicily1
 ,magna ,grecia1 and the ancient ones of
 ,asia ,minor4 ,sicilian medals are     
famous for workmanship1 even from the   
time of ,gelo4 ,the coins of the ,syrian
 kings1 successors to ,alexander1 almost
 equal his own in beauty2 but adequate  
judges confine their high praises of the
 ,greek mint to those coins struck      
before the subjection of ,greece to the 
,roman empire4 ,the ,roman coins1       
considered as medals in a cabinet1 may  
be divided into two great classes--the  

consular and the imperial2 both are     
numerous and valuable4 ,in the cabinet  
of the ,grand ,duke of ,tuscany is a set
 of twelve medals of ,antonius ,pius1   
each with one of the signs of the       
,zodiac on the reverse1 and part of     
another set1 eight in number with as    
many of the labors of ,hercules4        
,,restoring ,,ancient ,,edifices4   ,as 
in comparative anatomy it is easy1 from 
a single bone1 to designate and describe
 the animal to which it belonged1 so in 
architecture it is easy to restore1 by a
 few fragments1 any ancient building4   
,in consequence of the known simplicity 
and regularity of most antique edifices1
 the task of restoration1 by means of   
drawings and models1 is much less       
difficult than might be supposed4 ,the  
ground work1 or some sufficient parts of
 it1 commonly extant1 shows the length  
and breadth of the building1 with the   
positions of the walls1 doors and       
columns4 ,a single column1 or part of a 
column1 whether standing or fallen1 with

 a fragment of the entablature1         
furnishes data from which the remainder 
of the colonnade and the height of the  
edifice can be made out4 ,a single stone
 from the cornice of the pediment1 is   
sufficient to give the angle of         
inclination1 and consequently the height
 of the roof4 ,in this way the structure
 of many beautiful edifices has been    
accurately determined1 when in so       
ruinous a state as scarcely to have left
 one stone upon another4                
,,napoleon',s ,,love ,,of ,,art4        
,napoleon was not only a true lover of  
art1 but an excellent connoisseur4 ,he  
did more to elevate the arts and        
sciences in ,france than all the        
monarchs together who had preceded him4 
,it was a part of his policy to honor   
and reward every man of genius1 no      
matter what his origin1 and thus to     
develop the intellect of his country4   
,he foresaw the advantage of making     
,paris the great centre of art2         
therefore he did not hesitate to        

transport from the countries he         
conquered1 the most renowned and        
valuable works of ancient and modern    
times4 ,paris is ,rome2 ,paris is now   
the great centre of art1 said he to     
,canova in #ahaj1 when that great       
sculptor visited ,paris at his command1 
and whom he endeavored to persuade to   
permanently remain in his service4      
,west1 after his return to ,england from
 ,paris1 where he had had several       
interviews with ,bonaparte1 expressed   
his admiration of the man in such warm  
terms as offended the officials of the  
government1 and caused such opposition1 
that he deemed it proper to resign the  
,president's chair in the ,royal        
,academy4 ,the truth is1 it was not the 
conqueror1 as the ,english pretended1   
but his exalted ideas of the arts1 and  
of their value to a country1 which      
captivated ,west1 whose peaceful tenets 
led him to abhor war and devastation4   
,napoleon's enlightened policy is also  
seen in those stupendous works published

 by the ,french government1 as the      
,description de l',egypte1 ou ,recueil  
des ,observationes et des ,recherches   
pendant l',expedition de l',armee       
,francais1 #be vols4 in elephant folio4 
,this work corresponds in grandeur of   
its proportions to the edifices and     
monuments which it describes4           
,everything that zeal in the cause of   
science1 combined with the most         
extensive knowledge1 had been able to   
collect in a land abounding in monuments
 of every kind1 and in the rarest       
curiosities1 is described and           
illustrated in this work by a committee 
of savans appointed for the purpose4 ,it
 contains more than #ijj engravings1 and
 #cjjj illustrative sketches4 ,the      
,musee ,francais1 and the ,musee ,royal1
 containing #ebb plates1 after the gems 
of the world1 are not less grand and    
magnificent1 and far more valuable      
contributions to art4 ,these will be    
described in a subsequent page4 ,such   
was ,napoleon2 deprive him of every     

other glory1 his love of art1 and what  
he did for its promotion1 and the       
adornment of his country1 would         
immortalize his name4  ,napoleon        
delighted to spend some of his leisure  
moments in contemplating the master     
pieces of art which he had gathered in  
the ,louvre1 and that he might go there 
when he pleased1 without parade1 he had 
a private gallery constructed leading to
 that edifice from the ,tuilleries4     
7,see ,spooner's ,dictionary of         
,painters1 ,engravers1 ,sculptors1 and  
,architects1 articles ,west1 ,david1    
,denon1 ,canova1 etc41 and vol i41 page 
#h1 of this work47     ,,napoleon',s    
,,works ,,at ,,paris4   ,the emperor    
was1 most indisputably1 the monarch who 
contributed in the greatest degree to   
the embellishment of ,paris4 ,how many  
establishments originated under his     
reign6 nevertheless1 on beholding them1 
the observer has but a faint idea of all
 he achieved2 since every principal city
 of the empire witnessed alike the      

effects of his munificence and grandeur 
of mind2 the streets were widened1 roads
 constructed and canals cut2 even the   
smallest towns experienced improvements1
 the result of that expanded genius     
which was daily manifested4 ,i shall1   
therefore1 content myself by placing    
before the reader a mere sketch of the  
works achieved at ,paris2 for were it   
requisite to give a catalogue of all the
 monuments erected during his reign1    
throughout the ,french empire1 a series 
of volumes would be required to         
commemorate those multifarious          
labors4--,ireland4   ,palaces4  ,the    
,louvre was completely restored1 which a
 succession of ,french monarchs had not 
been able to accomplish4 ,the ,palace of
 the ,luxembourg equally embellished    
throughout1 as well in the interior as  
the exterior1 and its gardens replanted4
 ,the ,exchange founded4 ,the ,palace of
 the ,university reconstructed1 as well 
as the ,gallery uniting the ,palace of  
the ,tuilleries to that of the ,louvre4 

,fountains4  ,the situation of the      
,fountain of the ,innocents changed1 and
 the whole reerected2 that of ,saint    
,sulpicius2 of the ,four ,nations2 of   
,desaix in the ,place ,dauphine2 of     
,gros-,caillon2 of the ,quay de         
,l',ecole2 of the ,bridge of ,saint     
,eustatius2 of the ,rue ,ceusder2 of the
 ,rue ,popincourt2 of the ,chateau      
,d',eau2 of the ,square of the          
,chatelet2 of the ,place ,notre ,dame2  
of the ,temple2 and of the ,elephant1 in
 the ,place of the ,bastille4           
,acqueducts4  ,the subterranean         
acqueducts were constructed1 which      
convey the water of the ,canal de       
,l',ourcq throughout the different      
quarters of ,paris1 from whence a vast  
number of small fountains distribute    
them in every direction1 to refresh the 
streets during the summer season1 and to
 cleanse them in the winter2 these same 
channels being also formed to receive   
the waters which flow from the gutters  
in the streets4   ,markets4  ,that of   

the ,innocents1 the largest in ,paris2  
the ,jacobins1 where formerly stood the 
monastery of that name1 and during the  
heat of the revolution1 the club so     
called2 the ,valley for the sale of     
,poultry2 the ,market of ,saint ,joseph2
 the ,halle for the sale of ,wines2 the 
,market of ,saint ,martin2 that of      
,saint ,germain1 and of ,saint          
,jacques-la-,boucherie4  ,slaughter     
,houses4  ,those of the ,deux ,moulins2 
of the ,invalids2 of ,popincourt2 of    
,miromeuil1 and of ,les ,martyrs4  ,as  
the killing of animals1 for the         
consumption of ,paris1 within the       
confines of the city1 was deemed not    
only unwholesome1 but very disgusting1  
these buildings were erected by order of
 ,napoleon1 and have proved of the      
greatest utility4 ,the edifices are very
 spacious1 containing all the requisites
 for the purpose intended1 and being    
also placed in different directions and 
without the barriers of the city1 the   
eyes of the inhabitants are no longer   

disgusted by beholding those torrents of
 blood which formerly inundated the     
streets1 and which1 in the summer       
season1 produced an effluvia not only   
disgusting to the smell1 but highly     
detrimental to the health of the        
population of the city4   ,watering     
,places for ,animals4  ,that of the     
,school of ,medicine1 a superb marble   
structure1 together with the ,abreuvoir 
of the ,rue ,l',egout1 ,saint ,germain4 
,public ,granary1 or ,halle du ,ble4    
,necessity gave rise to the noble plan  
of this stupendous fabric1 the idea of  
which was taken from the people of      
antiquity4   ,boulevard4  ,that called  
,bourdon was formed1 occupying the      
environs of the spot where the ,bastille
 stood4  ,bridges4  ,those of the ,arts2
 of the ,city2 of ,austerlitz2 and of   
,jena4   ,triumphal ,arches4  ,the      
,carousel2 the ,etoile2 and the ,arch of
 ,louis ,,xiv41 restored4   ,quays4     
,those of ,napoleon2 of ,flowers2 of    
,morland2 and of ,catenat4   ,the       

,column of ,austerlitz4  ,situated in   
the centre of the ,place ,vendome1      
formed of the brass produced from the   
cannon which were taken from the        
,austrians during the memorable campaign
 of #ahje4   ,place de ,victoires4  ,in 
the middle of this square was erected a 
colossal bronze statue of the gallant   
,general ,desaix1 who nobly fell at the 
battle of ,marengo1 when leading to the 
charge a body of cavalry1 which decided 
the fate of that desperate conflict2    
this tribute1 however1 to the memory of 
the brave1 was removed by order of the  
,bourbons1 on their first restoration4  
,squares4  ,in the middle of the ,place 
,royale a fine basin has been           
constructed1 from whence plays a        
magnificent piece of water2 the ,squares
 of the ,apport de ,paris2 of the       
,rotunda2 and of ,rivoli4   ,the        
,pantheon4  ,the pillars supporting the 
vast dome of this lofty pile1 which had 
long threatened the overthrow of the    
structure were replaced1 and the        

tottering foundations rendered perfect  
and solid4   ,the ,hotel ,dieu4  ,the   
whole facade of this immense ,hospital  
was reconstructed4   ,the ,canal de     
,l',ourcq4  ,this grand undertaking was 
rendered navigable1 and the basin1      
sluices1 c4 completely finished4        
,,the ,,napoleon ,,medals4   ,of the    
numerous means employed to commemorate  
the achievements of ,napoleon1 the      
public buildings and monuments of       
,france bear ample witness4 ,indeed1    
,bonaparte's name and fame are so       
engrafted with the arts and literature  
of ,france1 that it would be impossible 
for the government to erase the         
estimation in which he is held by the   
,french people4  ,a series of medals in 
bronze1 nearly one hundred and thirty in
 number1 struck at different epochs of  
his career1 exist1 each in celebration  
of the prowess of the ,french army1 or  
of some great act of his government3 a  
victory1 a successful expedition1 the   
conquest of a nation1 the establishment 

of a new state1 the elevation of some of
 his family1 or his own personal        
aggrandizement4  ,the medal             
commemorative of the battle of ,marengo 
bears1 on one side1 a large bunch of    
keys1 environed by two laurel branches2 
and1 on the reverse1 ,bonaparte1 as a   
winged genius1 standing on a dismounted 
cannon to which four horses are attached
 upon the summit of ,mount ,st4         
,bernard1 urges their rapid speed1 with 
a laurel branch in one hand1 whilst he  
directs the reins with the other4  ,that
 on the peace of ,luneville is two      
inches and a quarter in diameter1 with  
the head of the first consul in         
uncommonly bold relief2 the device1 as  
mentioned in another place1 is the sun  
arising in splendor upon that part of   
the globe which represents ,france1 and 
which is overshadowed by laurels1 whilst
 a cloud descends and obscures ,great   
,britain4  ,the commencement of         
hostilities by ,england1 after the peace
 of ,amiens1 is designated by the       

,english leopard tearing a scroll1 with 
the inscription1 ,le ,traite d',amiens  
,rompu par l',angleterre en ,mai de     
l',an #ahjc2 on the reverse1 a winged   
female figure in breathless haste       
forcing on a horse at full speed1 and   
holding a laurel crown1 inscribed1      
,l',hanovre occupe var l',armee         
,francaise en ,juin de l',an #ahjc2 and 
beneath1 ,frappee avec l',argent des    
,mines d',hanovre1 l',an #d de          
,bonaparte4  ,his medal1 on assuming the
 purple1 has his portrait1 ,napoleon    
,empereur1 by ,andrieu1 who executed    
nearly all the portraits on his medals2 
on the reverse1 he is in his imperial   
robes1 elevated by two figures1 one     
armed1 inscribed1 ,le ,senat et le      
,peuple4  ,the battle of ,austerlitz    
has1 on the reverse1 simply a           
thunderbolt1 with a small figure of     
,napoleon1 enrobed and enthroned on the 
upper end of the shaft of the thunder4  
,in #ahjd1 he struck a medal with a     
,herculean figure on the reverse1       

confining the head of the ,english      
leopard between his knees1 whilst       
preparing a cord to strangle him1       
inscribed ,en l',an ,,xii4 #bjjj barques
 sont construites2--this was in         
condemnation of the invasion and        
conquest of ,england4  ,the reverse of  
the medal on the battle of ,jena        
represents ,napoleon on an eagle in the 
clouds1 as warring with giants on the   
earth1 whom he blasts with thunderbolts4
  ,the medal on the ,confederation of   
the ,rhine has1 for its reverse1        
numerous warriors in ancient armor1     
swearing with their right hands on an   
altar1 formed of an immense fasces1 with
 the imperial eagle projecting from it4 
,not the least characteristic of the    
series is a medal1 with the usual head  
,napoleon ,emp4 et ,roi1 on the exergue1
 with this remarkable reverse1 a throne1
 with the imperial robes over the back  
and across the sceptre1 which is in the 
chair2 before the throne is a table1    
with several crowns1 differing in shape 

and dignity1 and some sceptres with them
 lying upon it2 three crowns are on the 
ground1 one broken and two upside down2 
an eagle with a fasces hovers in the    
air2 the inscription is1 ,souverainetes 
donnes ,m4,,dcccvi4  ,the reverses of   
the last four in succession1 struck     
during the reign of ,napoleon1 are1 #a4 
,the ,wolga1 rising with astonishment   
from his bed at the sight of the ,french
 eagle2 #b4 ,a representation of la     
,bataille de la ,moskowa1 #g ,septembre1
 #ahab2 #c4 ,a view of ,moscow1 with the
 ,french flag flying on the ,kremlin1   
and an ensign of the ,french eagle1     
bearing the letter ,n4 loftily elevated 
above its towers and minarets1 dated    
#adth ,september1 #ahab2 #d4 ,a figure  
in the air1 directing a furious storm   
against an armed warrior resembling     
,napoleon1 who1 unable to resist the    
attack1 is sternly looking back1 whilst 
compelled to fly before it--a dead      
horse1 cannon dismounted1 and a wagon   
full of troops standing still1 perishing

 in fields of snow2 the inscription is1 
,retraite de l',armee1 ,novembre1 #ahab4
  ,the workmanship of the preceding     
medals are admirable1 but most of them  
are surpassed in that respect by some to
 which we can do little more than       
allude4  ,a finely executed medal1 two  
inches and five-eights in diameter1     
represents ,napoleon enthroned in his   
full imperial costume1 holding a laurel 
wreath2 on the reverse is a head of     
,minerva1 surrounded by laurel and      
various trophies of the fine arts1 with 
this inscription--,ecole ,francaise des 
,beaux ,arts a ,rome1 retablie et       
augmentee par ,napoleon en #ahjc4 ,the  
reverses--of the ,cathedral at ,paris--a
 warrior sheathing his sword 7on the    
battle of ,jena7--and ,bonaparte holding
 up the ,king of ,rome1 and presenting  
him to the people--are amongst the most 
highly finished and most inestimable    
specimens of art4  ,unquestionably the  
worst in the collection is the consular 
medal1 which1 on that account1 deserves 

description2 it is1 in size1 about a    
half crown piece1 on the exergue1 over a
 small head of ,bonaparte1 is inscribed 
,bonaparte premier consul2 beneath it1  
,cambaceres second consul1 le ,brun     
troisieme consul de la republique       
,francaise2 on the reverse1 ,le peuple  
,francais a defenseurs1 cette premiere  
pierre de la colonne nationale1 posee   
par ,lucien ,bonaparte1 ministre de     
l'interieur1 #be ,messidore1 ,an #h1 #ad
 ,juillet1 #ahjj4--,one other medal only
 appears with the name of ,lucien       
,bonaparte2 it is that struck in honor  
of ,marshal ,turenne1 upon the          
,translation du corps de ,turenne au    
,temple de ,mars par les ordres du      
premier ,consul ,bonaparte2 and is of a 
large size1 bearing the head of         
,turenne1 with1 beneath it1 ,sa gloire  
appartient au peuple ,francais4 ,several
 are in honor of ,general ,desaix1 whose
 memory ,napoleon held in great esteem4 
,those on his marriage with ,marie      
,louise bear her head beside his own2   

and a small one on that occasion has for
 its reverse1 a ,cupid carrying with    
difficulty a thunderbolt4 ,those on the 
birth of their child bear the same heads
 on the exergue1 with the head of an    
infant1 on the reverse1 inscribed1      
,napoleon ,francois ,joseph ,charles1   
,rio de ,rome1 ,,xx4 ,mars              
,m4,,dcccxi4--,ireland4     ,,the       
,,elephant ,,fountain4   ,when ,napoleon
 had decided that a stupendous fountain 
should occupy the centre of the area    
where the celebrated state prison of the
 ,bastille stood1 the several artists1  
employed by the government1 were ordered
 to prepare designs for the undertaking1
 and numerous drawings were in          
consequence sent in for the emperor's   
inspection4 ,on the day appointed1 he   
proceeded to examine these specimens1   
not one of which1 however1 proved at all
 commensurate with the vast idea he had 
in contemplation2 wherefore1 after      
pacing the chamber a few minutes1       
,napoleon suddenly halted1 exclaiming3  

,plant me a colossal elephant there1 and
 let the water spout from his extended  
trunk6 ,all the artists stood astonished
 at this bold idea1 the propriety and   
grandeur of which immediately flashed   
conviction upon their minds1 and the    
only wonder of each was1 that no such   
thought should have presented itself to 
his own imagination3 the simple fact is1
 there was but one ,napoleon            
present6--,communicated to ,ireland by  
,david4  ,this fountain was modeled in  
,plaster of ,paris on the spot4 ,it is  
seventy-two feet in height2 the jet     
d'eau is through the nostrils of his    
trunk2 the reservoir in the tower on his
 back2 and one of his legs contains the 
staircase for ascending to the large    
room in the inside of his belly4 ,the   
elephant was to have been executed in   
bronze1 with tusks of silver1 surrounded
 by lions of bronze1 which were to spout
 water from one cistern to another4     
,,interesting ,,drawings4   ,on the     
sailing of the ,french expedition for   

,egypt1 from ,malta1 under the orders of
 ,bonaparte1 the fleet was intentionally
 dispersed in order to arrive without   
being noticed2 they had no sooner1      
however1 left ,malta1 than they learned 
that ,nelson had penetrated their       
design1 and was in pursuit of them4     
,expecting every hour to be come up     
with1 and being too weak to risk a      
combat1 it was the resolution of        
,bonaparte and the rest of the          
illustrious persons on board the ,orient
 to blow her up1 rather than be taken   
prisoners2 but1 that the memory of those
 who perished might be preserved1 and   
their features known by posterity1      
,bonaparte caused the portraits of      
eighteen to be taken on two sheets of   
paper1 which were to be rolled up1 put  
in bottles1 and committed to the waves3 
the names of the persons are1--  ,first 
,drawing4    ,desaix1   ,berthier1      
,kleber1   ,dalomieu1   ,berthollet1    
,bonaparte1   ,caffarelli1   ,brueys1   
,monge4   ,second ,drawing4    ,rampon1 

,junot1   ,regnier1   ,desgenettes1     
,larrey1   ,murat1   ,lasnes1           
,belliard1   ,snulkanski4  ,the         
portraits were executed in medallions1  
with ,india ink2 they were carefully    
preserved by the famous surgeon1 ,baron 
,larrey2 and they adorned his study at  
,paris till his death4     ,,sevres     
,,china4   ,on the river at ,sevres1    
near ,paris1 a manufactory is carried   
on1 which produces the beautiful        
porcelain1 commonly called ,sevres1     
china4 ,it is equal to all that has been
 said of it1 and after declining1 as    
every other great national establishment
 did1 during the revolution1 flourished 
greatly under the peculiar patronage of 
the emperor ,napoleon4 ,he made presents
 hence to those sovereigns of ,europe   
with whom he was in alliance4 ,napoleon 
had two vases made of this china1 which1
 even at this day1 form the principal   
ornament of the gallery at ,st4 ,cloud4 
,these were made at ,sevres1 and are    
valued at #ajj1jjj francs each4 ,the    

clay made use of was brought at a great 
expense from a distant part of ,france1 
and affords an instance of how much the 
value of raw material may be increased  
by the ingenuity of a skillful artist4  
,,dismantling ,,of ,,the ,,louvre4   ,in
 ,scott's ,paris ,revisited 7,a4 ,d4    
#ahae71 we have the following           
interesting particulars of the removal  
of the celebrated pictures and statues  
from this famous emporium of the fine   
arts4  ,every day new arrivals of       
strangers poured into ,paris1 all       
anxious to gain a view of the ,louvre1  
before its collection was broken up2 it 
was the first point to which all the    
,british directed their steps every     
morning1 in eager curiosity to know     
whether the business of removal had     
commenced4 ,the towns and               
principalities1 that had been plundered1
 were making sedulous exertions to      
influence the councils of the allies to 
determine on a general restoration2 and 
several of the great powers leaned      

decidedly towards such a decision4      
,before actual force was employed1      
representations were repeated to the    
,french government1 but the ministers of
 the king of ,france would neither      
promise due satisfaction1 nor uphold a  
strenuous opposition4 ,they showed a    
sulky disregard of every application4 ,a
 deputation from the ,netherlands       
formally claimed the ,dutch and ,flemish
 pictures taken during the revolutionary
 wars from those countries2 and this    
demand was conveyed through the ,duke of
 ,wellington1 as commander-in-chief of  
the ,dutch and ,belgian armies4 ,about  
the same time1 also1 ,austria determined
 that her ,italian and ,german towns1   
which had been despoiled1 should have   
their property replaced1 and ,canova1   
the anxious representative of ,rome1    
after many fruitless appeals to         
,talleyrand1 received assurances that   
he1 too1 should be furnished with an    
armed force sufficient to protect him in
 taking back to that venerable city1    

what lost its highest value in its      
removal from thence4  ,contradicting    
reports continued to prevail among the  
crowds of strangers and natives as to   
the intentions of the allies1 but on    
,saturday1 the #bc;d of ,september1 all 
doubt was removed4 ,on going up to the  
door of the ,louvre1 ,i found a guard of
 one hundred and fifty ,british riflemen
 drawn up outside4 ,i asked one of the  
soldiers what they were there for8      
',why1 they tell me1 sir1 that they mean
 to take away the pictures1' was his    
reply4 ,i walked in amongst the statues 
below1 and on going to the great        
staircase1 ,i saw the ,english guard    
hastily trampling up its magnificent    
ascent3 a crowd of astonished ,french   
followed in the rear1 and1 from above1  
many of the visitors in the gallery of  
pictures were attempting to force their 
way past the ascending soldiers1        
catching an alarm from their sudden     
entrance4 ,the alarm1 however1 was      
unfounded2 but the spectacle that       

presented itself was very impressive4 ,a
 ,british officer dropped his men in    
files along this magnificent gallery1   
until they extended1 two and two1 at    
small distances1 from its entrance to   
its extremity4 ,all the spectators were 
breathless1 in eagerness to know what   
was to be done1 but the soldiers stopped
 as machines1 having no care beyond     
obedience to their orders4  ,the work of
 removal now commenced in good earnest3 
porters with barrows1 and ladders1 and  
tackles of ropes made their appearance4 
,the collection of the ,louvre might    
from that moment be considered as broken
 up for ever4 ,the sublimity of its     
orderly aspect vanished3 it took now the
 melancholy1 confused1 desolate air of a
 large auction room1 after a day's sale4
 ,before this1 the visitors had walked  
down its profound length with a sense of
 respect on their minds1 influencing    
them to preserve silence and decorum1 as
 they contemplated the majestic         
pictures2 but decency and quiet were    

dispelled when the signal was given for 
the breaking up of the establishment4   
,it seemed as if a nation had become    
ruined through improvidence1 and was    
selling off4  ,the guarding of the      
,louvre was committed by turns to the   
,british and ,austrians1 while this     
process lasted4 ,the ,prussians said    
that they had done their own business   
for themselves1 and would not now incur 
odium for others4 ,the workmen being    
incommoded by the crowds that now rushed
 to the ,louvre1 as the news spread of  
the destruction of its great collection1
 a military order came that no visitors 
should be admitted without permission   
from the foreign commandant of ,paris4  
,this direction was pretty much adhered 
to by the sentinels as far as the       
exclusion of the ,french1 but the words 
,je suis ,anglais1 were always          
sufficient to gain leave to pass from   
the ,austrians3 our own countrymen were 
rather more strict1 but1 in general1    
foreigners could1 with but little       

difficulty1 procure admission4 ,the     
,parisians stood in crowds around the   
door1 looking wistfully within it1 as it
 occasionally opened to admit ,germans1 
,english1 ,russians1 c41 into a palace  
of their capital from which they were   
excluded4 ,i was frequently asked by    
,french gentlemen1 standing with ladies 
on their arms1 and kept back from the   
door by the guards1 to take them into   
their own ,louvre1 under my protection  
as an unknown foreigner6 ,it was        
impossible not to feel for them in these
 remarkable circumstances of            
mortification and humiliation2 and the  
agitation of the ,french public was now 
evidently excessive4 ,every ,frenchman  
looked a walking volcano1 ready to spit 
forth fire4 ,groups of the common people
 collected in the space before the      
,louvre1 and a spokesman was generally  
seen1 exercising the most violent       
gesticulations1 sufficiently indicative 
of rage1 and listened to by the others1 
with lively signs of sympathy with his  

passion4 ,as the packages came out1 they
 crowded round them1 giving vent to     
torrents of pestes1 diables1 sacres1 and
 other worse interjections4  ,wherever  
an ,englishman went1 in ,paris1 at this 
time1 whether into a shop or a company1 
he was assailed with the exclamation1   
',ah6 vos compatriotes6' and the ladies 
had always some wonderful story to tell 
him1 of an embarrassment or             
mortification that had happened to his  
duke2 of the evil designs of the ,prince
 ,regent1 or the dreadful revenge that  
was preparing against the injuries of   
,france4 ,the great gallery of the      
,louvre presented every fresh day a more
 and more forlorn aspect2 but to the    
reflecting mind1 it combined a number of
 interesting points of view4 ,the       
gallery now seemed to be the abode of   
all the foreigners in the ,french       
capital3--we collected there1 as a      
matter of course1 every morning--but it 
was easy to distinguish the last comers 
from the rest4 ,they entered the ,louvre

 with steps of eager haste1 and looks of
 anxious inquiry2 they seemed to have   
scarcely stopped by the way--and to have
 made directly for the pictures on the  
instant of their reaching ,paris4 ,the  
first view of the stripped walls made   
their countenances sink under the       
disappointment1 as to the great object  
of their journey4 ,crowds collected     
round the ,transfiguration--that picture
 which1 according to the ,french        
account1 destiny had always intended for
 the ,french nation3 it was every one's 
wish to see it taken down1 for the fame 
which this great work of ,raffaelle had 
acquired1 and its notoriety in the      
general knowledge1 caused its departure 
to be regarded as the consummation of   
the destruction of the picture gallery  
of the ,louvre4 ,it was taken away among
 the last4  ,students of all nations    
fixed themselves round the principal    
pictures1 anxious to complete their     
copies before the workmen came to remove
 the originals4 ,many young ,french     

girls were seen among these1 perched    
upon small scaffolds1 and calmly        
pursuing their labors in the midst of   
the throng and bustle4 ,when the ,french
 gallery was thoroughly cleared of the  
property of other nations1 ,i reckoned  
the number of pictures which then       
remained to it1 and found that the total
 left to the ,french nation1 of the     
fifteen hundred pictures which          
constituted their magnificent           
collection1 was two hundred and         
seventy-four6 ,the ,italian division    
comprehended about eighty-five          
specimens2 these were now dwindled to   
twelve3 in this small number1 however1  
there are some very exquisite pictures  
by ,raffaelle1 and other great masters4 
,their ,titians are much reduced1 but   
they keep the ,entombment1 as belonging 
to the ,king of ,france's old           
collection1 which is one of the finest  
by that artist4 ,a melancholy air of    
utter ruin mantled over the walls of    
this superb gallery3 the floor was      

covered with empty frames3 a ,frenchman1
 in the midst of his sorrow1 had his    
joke1 in saying1 ',well1 we should not  
have left to them even these6' ,in      
walking down this exhausted place1 ,i   
observed a person1 wearing the insignia 
of the legion of honor1 suddenly stop   
short1 and heard him exclaim1 ',ah1 my  
,god--and the ,paul ,potter1 too6' ,this
 referred to the famous painting of a   
bull by that master1 which is the       
largest of his pictures1 and is very    
highly valued4 ,it belonged to the      
,netherlands1 and has been returned to  
them4 ,it was said that the emperor     
,alexander offered fifteen thousand     
pounds for it4  ,the removal of the     
statues was later in commencing1 and    
took up more time2 they were still      
packing these up when ,i quitted ,paris4
 ,i saw the ,venus1 the ,apollo1 and the
 ,laocooen removed3 these may be deemed 
the presiding deities of the collection4
 ,the solemn antique look of these halls
 fled forever1 when the workmen came in 

with their straw and ,plaster of ,paris1
 to pack up4 ,the ,french could not1 for
 some time1 allow themselves to believe 
that their enemies would dare to deprive
 them of these sacred works2 it appeared
 to them impossible that they should be 
separated from ,france--from la         
,france--the country of the ,louvre and 
the ,institute2 it seemed a contingency 
beyond the limits of human reverses4    
,but it happened1 nevertheless3 they    
were all removed4 ,one afternoon1 before
 quitting the place1 ,i accidentally    
stopped longer than usual1 to gaze on   
the ,venus1 and ,i never saw so clearly 
her superiority over the ,apollo1 the   
impositions of whose style1 even more   
than the great beauties with which they 
are mingled1 have gained for it an      
inordinate and indiscriminating         
admiration4 ,on this day1 very few1 if  
any of the statues had been taken       
away--and many said that ,france would  
retain them1 although she was losing the
 pictures4 ,on the following morning ,i 

returned1 and the pedestal on which the 
,venus had stood for so many years1 the 
pride of ,paris1 and the delight of     
every observer1 was vacant6 ,it seemed  
as if a soul had taken its flight from a
 body4     ,,removal ,,of ,,the         
,,venetian ,,horses ,,from ,,paris4     
,the removal of the well known horses   
taken from the church of ,st4 ,mark in  
,venice1 was a bitter mortification to  
the people of ,paris4 ,these had been   
peculiarly the objects of popular pride 
and admiration4 ,being exposed to the   
public view1 in one of the most         
frequented situations of ,paris1 this   
was esteemed the noblest trophy         
belonging to the capital2 and there was 
not a ,parisian vender of a pail-full of
 water who did not look like a hero when
 the ,venetian horses were spoken of4   
',have you heard what has been          
determined about the horses8' was every 
foreigner's question4 ',oh6 they cannot 
mean to take the horses away1' was every
 ,frenchman's answer4 ,on the morning of

 ,thursday1 the #bfth of ,september1    
#ahae1 however it was whispered that    
they had been at work all night in      
loosening them from their fastening4 ,it
 was soon confirmed that this was       
true--and the ,french then had nothing  
left for it1 but to vow1 that if the    
allies were to attempt to touch them in 
the daylight1 ,paris would rise at once1
 exterminate its enemies1 and rescue its
 honor4 ,on ,friday morning ,i walked   
through the square2 it was clear that   
some considerable change had taken      
place2 the forms of the horses appeared 
finer than ,i had ever before witnessed4
 ,when looking to discover what had been
 done1 a private of the ,british staff  
corps came up1 ',you see1 sir1 we took  
away the harness last night1' said he4  
',you have made a great improvement by  
so doing1' ,i replied2 'but are the     
,british employed on this work8' ,the   
man said that the ,austrians had        
requested the assistance of our staff   
corps1 for it included better workmen   

than any they had in their service4 ,i  
heard that an angry ,french mob had     
given some trouble to the people        
employed on the ,thursday night1 but    
that a body of ,parisian gendarmerie had
 dispersed the assemblage4 ,the         
,frenchmen continued their sneers       
against the allies for working in the   
dark3 fear and shame were the causes    
assigned4 ',if you take them at all1 why
 not take them in the face of day8 ,but 
you are too wise to drag upon yourselves
 the irresistible popular fury1 which   
such a sight would excite against you6' 
,on the night of ,friday1 the order of  
proceeding was entirely changed4 ,it had
 been found proper to call out a strong 
guard of ,austrians1 horse and foot4    
,the mob had been charged by the        
cavalry1 and it was said that several   
had their limbs broken4 ,i expected to  
find the place on ,saturday morning     
quiet and open as usual2 but when ,i    
reached its entrance1 what an impressive
 scene presented itself6 ,the delicate  

plan--for such in truth it was--of      
working by night1 was now over4 ,the    
,austrians had wished to spare the      
feelings of the king the pain of seeing 
his capital dismantled before his palace
 windows1 where he passed in his        
carriage when he went out for his daily 
exercise4 ,but the acute feelings of the
 people rendered severer measures       
necessary4 ,my companion and myself were
 stopped from entering the place by     
,austrian dragoons3 a large mob of      
,frenchmen were collected here1 standing
 on tip-toe to catch the arch in the    
distance1 on the top of which the       
ominous sight of numbers of workmen1    
busy about the horses1 was plainly to be
 distinguished4 ,we advanced again to   
the soldiers3 some of the ,french1 by   
whom we were surrounded1 said1 ',whoever
 you are1 you will not be allowed to    
pass4' ,i confess ,i was for            
retiring--for the whole assemblage1     
citizens and soldiers1 seemed to wear an
 angry and alarming aspect4 ,but my     

companion was eager for admittance4 ,he 
was put back again by an ,austrian      
hussar3--',what1 not the ,english6' he  
exclaimed in his own language4 ,the mob 
laughed loudly1 when they heard the     
foreign soldier so addressed2 but the   
triumph was ours2 way was instantly made
 for us--and an officer on duty1 close  
by1 touched his helmet as we passed4    
,the king and princes had left the      
,tuilleries1 to be out of the view of so
 mortifying a business ,the court of the
 palace1 which used to be gay with young
 gardes du corps and equipages1 was now 
silent1 deserted1 and shut up4 ,not a   
soul moved in it4 ,the top of the arch  
was filled with people1 and the horses1 
though as yet all there1 might be seen  
to begin to move4 ,the carriages that   
were to take them away were in waiting  
below1 and a tackle of ropes was already
 affixed to one4 ,the small door leading
 to the top was protected by a strong   
guard3 every one was striving to obtain 
permission to gratify his curiosity1 by 

visiting the horses for the last time   
that they could be visited in this      
situation4 ,permission1 however1 could  
necessarily be granted but to few4 ,i   
was of the fortunate number4 ,in a      
minute ,i had climbed the narrow dark   
stair1 ascended a small ladder1 and was 
out on the top1 with the most           
picturesque view before me that can be  
imagined4 ,an ,english lady asked me to 
assist her into ,napoleon's car of      
victory3 his own statue was to have been
 placed in it1 when he came back a      
conqueror from his ,russian expedition6 
,i followed the lady and her husband    
into the car1 and we found a ,prussian  
officer there before us4 ,he looked at  
us1 and1 with a good humored smile1     
said1 ',the emperor kept the ,english   
out of ,france1 but the ,english have   
now got where he could not6 ',ah1       
pauvre1 ,napoleon6'  ,the cry of the    
,french now was1 that it was abominable1
 execrable1 to insult the king in his   
palace--to insult him in the face of his

 own subjects by removing the horses in 
the face of day6 ,i adjourned with a    
friend to dine at a restaurateur's1 near
 the garden of the ,tuilleries1 after   
witnessing what ,i have described4      
,between seven and eight in the evening 
we heard the rolling of wheels1 the     
clatter of cavalry1 and the tramp of    
infantry4 ,a number of ,british were in 
the room2 they all rose and rushed to   
the door without hats1 and carrying in  
their haste their white table napkins in
 their hands4 ,the horses were going    
past in military procession1 lying on   
their sides1 in separate cars4 ,first   
came cavalry1 then infantry1 then a car2
 then more cavalry1 more infantry1 then 
another car2 and so on till all four    
passed4 ,the drums were beating1 and the
 standards went waving by4 ,this was the
 only appearance of parade that attended
 any of the removals4 ,three ,frenchmen1
 seeing the group of ,english1 came up  
to us1 and began a conversation4 ,they  
appealed to us if this was not shameful4

 ,a gentleman observed1 that the horses 
were only going back to the place from  
whence the ,french had taken them3 if   
there was a right in power for ,france1 
there must also be one for other states 
but the better way to consider these    
events was as terminating the times of  
robbery and discord4 ,two of them seemed
 much inclined to come instantly round  
to our opinion3 but one was much more   
consistent4 ,he appeared an officer1 and
 was advanced beyond the middle age of  
life4 ,he kept silence for a moment2 and
 then1 with strong emphasis1 said--',you
 have left me nothing for my children   
but hatred against ,england2 this shall 
be my legacy to them4'--,scott4         
,,removal ,,of ,,the ,,statue ,,of      
,,napoleon ,,from ,,the ,,place         
,,vendome4   ,what will posterity think 
of the madness of the ,french government
 and the exasperation of public feeling 
in a nation like the ,french1 so        
uniformly proud of military glory1 when 
very shortly after the first arrival of 

their new monarch1 ,louis ,,xviii41 an  
order was issued for leveling with the  
dust that proud monument of their       
victories1 the famous column and statue 
of ,napoleon in the ,place ,vendome cast
 from those cannon which their frequent 
victories over the ,austrians had placed
 at their disposal8 ,the ropes attached 
to the neck of the colossal brazen      
figure of the ,emperor1 wherewith the   
pillar was crowned1 extended to the very
 iron gratings of the ,tuillerie        
gardens2 thousands essayed to move it1  
but all attempts were vain--the statue  
singly defied their malice2 upon which a
 second expedient was resorted to1 and  
the carriage horses1 etc41 from the     
royal stables were impressed into this  
service1 and affixed to the ropes1 thus 
uniting their powerful force to that of 
the bipeds3 but even this proved        
abortive2 the statue and column braved  
the united shocks of man and beast1 and 
both remained immoveable4 ,the statue   
was afterwards quietly dislodged from   

its station by the regular labors of the
 experienced artisan4 ,it was not       
replaced till after the ,revolution in  
#ahcj4--;,ireland4     ,,the ,,musee    
,,francais ,,and ,,the ,,musee ,,royal4 
,when the ,allies entered ,paris in     
#ahae1 they found in the gallery of the 
,louvre about two thousand works of     
art--the gems of the world in painting  
and antique sculpture--mostly the spoils
 of war1 deposited there by the ,emperor
 ,napoleon4 ,the selection of these     
works was entrusted to a commission1 at 
the head of whom was the ,baron ,denon1 
who accompanied the ,emperor in all his 
expeditions for this purpose4 ,the      
,louvre1 at this time1 was the          
acknowledged emporium of the fine arts4 
,the grand determination of ,napoleon to
 place ,france highest in art among the 
nations1 did not rest here4 ,the design 
of combining in one single series1 five 
hundred and twenty-two line engravings  
from the finest paintings and antique   
statues in the world1 was a conception  

worthy of his genius and foresight1 and 
by its execution he conferred a lasting 
favor not only on the artistic1 but the 
civilized world1 for the originals were 
subsequently restored by the ,allies to 
their rightful owners and only about    
three hundred and fifty pieces remained 
of that splendid collection4 ,these     
works 7the ,musee ,francais1 and the    
,musee ,royal71 says a distinguished    
connoisseur1 are unquestionably the     
greatest production of modern times4    
,they exhibit a series of exquisite     
engravings by the most distinguished    
artists1 of such a magnificent          
collection of painting and of sculpture 
as can never be again united4 ,these    
works were intended as a great treasury 
of art1 from which not only artists1 but
 the whole world might derive           
instruction and profit4 ,to secure the  
utmost perfection in every department1  
no expense was spared4 ,the drawings for
 the engravers to engrave from1 were    
executed by the most distinguished      

artists1 in order to ensure that every  
peculiarity1 perfection1 and            
imperfection in the originals should be 
exactly copied1 and these are pointed   
out in the accompanying criticisms4     
,these drawings alone cost the ,french  
government #djj1jjj francs4  ,the       
engravings were executed by the most    
distinguished engravers of ,europe1     
without regard to country1 among whom it
 is sufficient to mention ,raffaelle    
,morghen1 the ,chevalier von ,mueller1  
and his son ,c4 ,f4 von ,mueller1       
,bervic1 ,richomme1 ,rosaspina1         
,bartolozzi1 ,gandolfi1 ,schiavonetti1  
the elder and younger ,laurent1         
,massard1 ,girardet1 ,lignon1           
,chatillon1 ,audouin1 ,forster1         
,claessens1 etc4 ,stanley says that     
proof impressions of ,bervic's          
masterpiece1 the ,laocooen1 have been   
sold in ,london for thirty guineas each4
 ,there are many prints in these works  
not less celebrated1 and which are      
regarded by connoisseurs as masterpieces

 of the art4  ,nor was this all4        
,napoleon summoned ,visconti1 the famous
 antiquary1 archaeologist1 and          
connoisseur1 from ,rome to ,paris1 to   
assist in getting up the admirable      
descriptions and criticisms1            
particularly of the ancient statues4    
,this department was confided to        
,visconti1 ,guizot1 ,clarac1 and the    
elder ,duchesne4 ,the supervision of the
 engraving and publishing department was
 entrusted to the ,messrs4 ,robilliard1 
,peronville1 and ,laurent4 ,these works 
were published in numbers of four       
plates1 atlas folio1 at the price of #if
 francs each for the proofs before the  
letter1 and #dh francs for the prints4  
,the first number of the ,musee         
,francais was issued in #ahjc1 and the  
last in #ahaa2 but the ,musee ,royal1   
which was intended to supply the        
deficiencies of the ,musee ,francais1   
was not completed till #ahai2           
nevertheless1 it was ,napoleon's work1  
though consummated in the reign of      

,louis ,,xviii4  ,the ,musee ,francais  
was originally published in five        
volumes1 and contains1 besides the      
descriptions and criticisms on the      
plates1 admirable essays--#ast4 on the  
,history of ,painting1 from its origin  
in ancient times down to the time of    
,cimabue2 #b;d4 on the ,history of      
,painting in the ,german1 ,dutch1       
,flemish1 and ,french schools2 #c;d4 on 
the ,history of ,engraving2 #dth4 on the
 ,history of ,ancient ,sculpture4 ,the  
,musee ,royal was published in two      
volumes4 ,a second edition of the ,musee
 ,francais was published by the ,messrs4
 ,galignani1 in four volumes1 with an   
,english and ,french letter-press1 but  
both greatly abridged4 ,the letter-press
 of the ,musee ,royal has never been    
rendered into ,english4 ,the plates were
 sold by the ,french government in      
#ahcf1 since which time a small edition 
has been printed from both works4       
,,boydell',s ,,shakspeare ,,gallery4    
,about the year #aghe1 ,alderman ,j4    

,boydell1 of ,london1 conceived the     
project of establishing a ',shakspeare  
,gallery1' upon a scale of grandeur and 
magnificence which should be in         
accordance with the fame of the poet1   
and1 at the same time1 reflect honor    
upon the state of the arts in ,great    
,britain and throughout the world4 ,mr4 
,boydell was at this time a man of great
 wealth and influence1 and a patron of  
the fine arts1 being an engraver        
himself1 and having accumulated his     
fortune mostly by dealings in works of  
that character4  ,he advertised for     
designs from artists throughout ,great  
,britain1 and paid a guinea for every   
one submitted1 whether accepted or not2 
and for every one accepted by the       
committee1 a prize of one hundred       
guineas4 ,the committee for selecting   
these designs was composed of five      
eminent artists1 ,boydell himself being 
the president4 ,the first painters of   
the age were then employed to paint     
these pictures1 among whom were ,sir    

,joshua ,reynolds1 ,sir ,benjamin ,west1
 ,fusell1 ,romney1 ,northcote1 ,smirke1 
,sir ,william ,beechy1 and ,opie4       
,allan ,cunningham1 in his ',lives of   
,eminent ,british ,artists1' mentions   
that ,sir ,joshua ,reynolds was at first
 opposed to ,boydell's project1 as      
impracticable on such an immense scale1 
and ,boydell1 to gain his approbation   
and assistance1 privately sent him a    
letter enclosing a ,l#ajjj ,bank of     
,england note1 and requesting him to    
paint two pictures at his own price4    
,what sum was paid by ,boydell for these
 pictures was never known4 ,a           
magnificent building was erected in     
,pall ,mall to exhibit this immense     
collection1 called the ,shakspeare      
,gallery1 which was for a long time the 
pride of ,london4  ,the first engravers 
of ,england were employed to transfer   
these gems to copper1 and such artists  
as ,sharp1 ,bartolozzi1 ,earlom1 ,thew1 
,simon1 ,middiman1 ,watson1 ,fyttler1   
,wilson1 and many others1 exerted their 

talents for years in this great work4   
,in some instances1 the labor of more   
than five years was expended on a single
 plate1 and proof impressions were taken
 for subscribers at almost every stage  
of the work4 ,at length in #ahjc1 after 
nearly twenty years1 the work was       
completed4 ,the price fixed 7which was  
never reduced7 was two guineas each for 
the first three hundred impressions1 and
 the subscription list was then filled  
up at one guinea each1 or one hundred   
guineas a set of one hundred plates4    
,besides these subscriptions1 large     
donations were made by many of the      
noblemen of ,england1 to encourage the  
undertaking1 and to enable ,boydell to  
meet his enormous outlay4 ,the cost of  
the whole work1 from the commencement1  
is said to have been about one million  
pounds sterling2 and although the       
projector was a wealthy man when he     
commenced it1 he died soon after its    
completion1 a bankrupt to the amount1 it
 is said1 of ,l#bej1jjj4  ,after these  

plates were issued1 ,boydell petitioned 
,parliament to allow him to dispose of  
his gallery of paintings by a lottery4  
,the petition was granted1 and the whole
 collection was thus disposed of4 ,one  
of the finest of these pictures1 ,king  
,lear1 by ,sir ,benjamin ,west1 is now  
in the ,boston ,athenaeum4  ,one fact in
 relation to these plates gives great   
value to them4 ,all the principal       
historical characters are genuine       
portraits of the persons represented in 
the play2 every picture gallery and old 
castle in ,england was ransacked to     
furnish these portraits4     ,,brief    
,,sketch ,,of ,a ,,plan ,,for ,,an      
,,american ,,national ,,gallery ,,of    
,,art4   ,public ,galleries of ,art are 
now regarded by the most enlightened    
men1 and the wisest legislators1 as of  
incalculable benefit to every civilized 
country4 7,see vol4 i41 page #f1 of this
 work47 ,they communicate to the mind1  
through the eye1 the accumulated wisdom 
of ages1 relative to every form of      

beauty1 in the most rapid and           
captivating manner4 ,if such            
institutions are important in ,europe1  
abounding in works of art1 how much more
 so in our country1 separated as it is  
by the broad ,atlantic from the artistic
 world1 which few comparatively can ever
 visit3 many of our young artists1 for  
the want of such an institution1 are    
obliged to grope their way in the dark1 
and to spend months and years to find   
out a few simple principles of art4  ,a 
distinguished professor1 high in public 
estimation1 has declared that the       
formation of such an institution in this
 country1 however important and         
desirable it may be1 is almost hopeless4
 ,he founds his opinion on the          
difficulty of obtaining the             
authenticated works of the great        
masters1 and the enormous prices they   
now command in ,europe4 ,the writer     
ventures to declare it as his long      
cherished opinion that a ,united ,states
 ,national ,gallery is entirely         

practicable1 as far as all useful       
purposes are concerned2 and at a tithe  
of the cost of such institutions in     
,europe4 ,in the present state of the   
,fine ,arts in our country1 we should   
not attempt to emulate ,european        
magnificence1 but utility4 ,the course  
of empire is westward1 and in the course
 of time1 as wealth and taste increases1
 sale will be sought here1 as now in    
,england1 for many works of the highest 
art4 ,it is also to be hoped that some  
public benefactors will rise to our     
assistance4 ,after the foundation of the
 institution1 it may be extended        
according to the taste and wants of the 
country2 professorships may be added1   
and the rarest works purchased4 ,when   
the country can and will afford it1 no  
price should be regarded too great for a
 perfect masterpiece of art1 as a model 
in a national collection4 ,to begin1 the
 ,gallery should contain1  #ast4 ,a     
complete library of all standard works  
on ,art1 historical and illustrative1 in

 every language4  #b;d4 ,a collection of
 the masterpieces of engraving2 these   
should be mounted on linen1 numbered1   
bound1 described and criticised4  #c;d4 
,a complete collection of casts of      
medals and antique gems1 where the      
originals cannot be obtained4 ,there are
 about #gj1jjj antique medals of high   
importance to art4 7,see ,numismatics1  
vol4 iii41 p4 #bfi1 of this work47      
,these casts could easily be obtained   
through our diplomatic agents2 they     
should be taken in ,plaster of ,paris or
 ,sulphur1 double--i4e41 the reverse and
 obverse1--classified1 catalogued1      
described1 and arranged in cases covered
 with plate glass1 for their            
preservation4  #dth4 ,a collection of   
plaster casts of all the best works of  
sculpture1 particularly of the antique4 
,correct casts of the ,elgin marbles are
 sold by the ,british ,museum at a very 
reasonable price1 and in this case would
 doubtless be presented to the          
institution4  #eth4 ,a collection of    

,paintings4 ,this is the most difficult 
part of the project1 yet practicable4   
,masterpieces of the art only should be 
admitted1 but historical authenticity   
disregarded4 ,the works of the great    
masters have been so closely imitated1  
that there are no certain marks of      
authenticity1 where the history of the  
picture cannot be traced4 7,see         
,spooner's ,dictionary of ,painters1    
etc41 ,introduction1 and ,table of      
,imitators47 ,half the pictures in      
foreign collections cannot be           
authenticated1 and many of those which  
are1 are not the best productions of the
 master1 nor worthy of the places they  
occupy4 7,see ,mrs4 ,jameson's          
,hand-,book to the ,public ,galleries in
 and near ,london2 also the ,catalogues 
of the various ,public ,galleries of    
,europe47 ,therefore1 instead of paying 
#e1jjj or #aj1jjj guineas for an        
authenticated piece by a certain master1
 as is sometimes done in ,europe1       
competent and true men should be        

appointed to select capital works1      
executed in the style of the great      
masters4 ,many such can be had in this  
country as well as in ,europe1 at       
moderate prices4  #fth4 ,the            
,institution should be located in ,new  
,york1 as the most convenient place1 and
 as the great centre of commerce1 where 
artists could most readily dispose of   
their works4 ,for this favor1 the city  
would doubtless donate the ground1 and  
her citizens make liberal contributions4
 ,the edifice should be built           
fire-proof1 and three stories high--the 
upper with a skylight1 for the gallery  
of paintings4 ,such an institution need 
not be very expensive2 yet it would     
afford the elements for the instruction 
and accomplishment of the painter1 the  
engraver1 the sculptor1 the architect1  
the connoisseur1 the archaeologist1 and 
the public at large2 it would be the    
means of awakening and developing the   
sleeping genius of many men1 to the     
honor1 glory1 and advantage of their    

country1 which1 without it1 must sleep  
on forever4 ,see vol4 ii41 pp4 #adi and 
#aee1 and vol4 iii41 p4 #bfe of this    
work4     ,,index4     ,advantages of   
the ,cultivation of the ,fine ,arts to a
 ,country1 i1 #f2     ,sir ,m4 ,a4      
,shoe's ,opinion1 i1 #f2     ,sir       
,george ,beaumont's1 i1 #g2     ,west's1
 i1 #h2     ,taylor's1 i1 #i2     see   
also1 i1 #fi2     ,reynolds' ,opinion1  
i1 #bjd2     ,napoleon's1 iii1 #bgd4    
,a,etion1 his picture of the ,nuptials  
of ,alexander and ,roxana1 ii1 #ahd4    
,agaptos1 ,porticos of1 ii1 #ahe4       
,ageladus1 his works1 ii1 #ahe4         
,aldobrandini ,wedding1 ,fresco of1 ii1 
#ee4    ,allston1 ,washington1 i1 #fj2  
his ,prayer answered1 i1 #fa2     his   
success in ,london1 i1 #fb2     his     
,death1 i1 #fb2     ,vanderlyn's        
letter--his ,reflections on his ,death1 
i1 #fc4    ,american ,patronage at ,home
 and ,abroad1 i1 #ff2     ,weir1        
,greenough1 and ,cooper's testimony1 i1 
#fg2     ,cooper's ,letter1 i1 #fh4     

,amiconi1 ,jacopo1 iii1 #bdi4           
,angelo1 ,michael1 his ,early ,passion  
for ,art1 i1 #dg2     his ,mask of a    
,satyr1 i1 #dh2     his ,sleeping       
,cupid1 i1 #dh2     ,angela and ,julius 
,,ii1 i1 #ej2     ,st4 ,peter's ,church1
 i1 #ej2     ,angelo and ,lorenzo the   
,magnificent1 i1 #eb2     his ,cartoon  
of ,pisa1 i1 #ec2     his ,last         
,judgment1 i1 #ed2     his ,coloring1 i1
 #ef2     his ,grace1 i1 #eg2     his   
,oil ,paintings1 i1 #eh2     his        
,prophets and ,julius ,,ii1 i1 #eh2     
his ,bon-,mots1 i1 #ei2     ,angelo and 
,raffaelle1 i1 #gj-gb4    ,anguisciola1 
,sofonisba1 iii1 #abi2     her ,early   
,distinction1 iii1 #abi2     her        
,invitation to ,spain iii1 #acj2     her
 ,marriages1 iii1 #aca2     her         
,residence at ,genoa1 her ,honors1 and  
her ,intercourse with     ,vandyck1 iii1
 #acb4    ,antique ,sculptures in ,rome1
 ii1 #aei4    ,antiquities of           
,herculaneum and ,pompeii1 ii1 #dc4     
,antiquity of the ,fine ,arts1 i1 #ab4  

,aparicio1 ,canova1 and ,thorwaldsen1 i1
 #bcf4    ,apelles1 i1 #ah2     his     
,works1 i1 #ah2     his ,industry1 i1   
#ai2     his ,portraits of ,philip and  
,alexander1 i1 #ai2     his ,venus      
,anadyomene1 i1 #bj2    ,apelles and the
 ,cobbler1 i1 #bc2     his ,foaming     
,charger1 i1 #bd2     his ,freedom with 
,alexander1 i1 #be2     ,apelles and    
,protogenes1 i1 #be2     the celebrated 
,contest of ,lines1 i1 #bf2     his     
,generosity to ,protogenes1 i1 #bh4     
,apelles of ,ephesus1 i1 #ic2     his   
,treatment by ,ptolomy ,philopator1 i1  
#id2     his ,revenge in his famous     
,picture of ,calumny1 i1 #id2           
,lucian's description of it1 i1 #id2    
,raffaelle's ,drawing of it1 i1 #ie2    
,proof that there were two ,painters    
named ,apelles1 i1 #ie4    ,apollo      
,belvidere--,west's ,criticism1 i1 #da4 
,apollo1 ,colossal ,etruscan1 i1 #ij4   
,apollo ,sauroctonos1 i1 #aee4          
,apollodorus the ,painter1 i1 #afb2     
his ,works and ,style1 i1 #afc4         

,apollodorus the ,architect1 i1 #afc2   
his ,worke1 i1 #afd2     ,trajan's      
,column1 i1 #afd2     ,apollodorus and  
,adrian1 i1 #afe2     his ,wicked       
,death1 i1 #afe4    ,aqueducts of       
,ancient ,rome1 ii #aeb4    ,arch1      
,origin and ,antiquity of the1 ii4 #da4 
,arches1 ,triumphal1 ii1 #aeg4          
,archimedes1 iii1 #gg2     his ,genius1 
,discoveries1 and ,inventions1 iii1 #gg2
     his ,wonderful ,machines1 iii1 #gh2
     his ,death and ,monument1 iii1 #gi2
     ,story of his ,burning ,glasses    
proved true1 iii1 #gi4    ,ardemans and 
,bocanegra--a ,trial of ,skill1 iii1    
#bja4    ,art1 ,egyptian1 iii1 #a-db1   
and iii1 #bfc4    ,art1 ,grecian1       
derived from the                        
,egyptian--,champollion's ,opinion1 iii1
 #a2     ,origin of1 iii1 #bfe4         
,athenians1 ,ingratitude of1 to         
,artists1 i1 #aei4     ,backhuysen1     
,ludolph1 ,sketch of his ,life and      
,works1 iii1 #bce4    ,banks1           
,thomas--his ,ambition1 i1 #b2     his  

,character1 i1 #bie2     his ,genius1 i1
 #big2     his ,kindness to ,young      
,sculptors1 i1 #bih2     his ,personal  
,appearance and ,habits1 i1 #bii2       
,flaxman's ,tribute1 i1 #cjj4    ,barry1
 ,james--his ,enthusiasm1 i1 #b2     his
 ,poverty1 ,death1 and ,monument1 i1 #c2
     ,johnson's ,opinion of his ,genius1
 i1 #c4    ,bassano1 ,jacopo--singular  
instance of his ,skill1 ii1 #aci4       
,beaumont1 ,sir ,george--his ,opinion of
 the ,importance of the    ,fine ,arts1 
i1 #g2    his ,enthusiasm and munificent
 gift to the ,english ,national         
,gallery1 i1 #g4    ,beauty1 ,ideal1 as 
,conceived and ,practiced by the        
,greatest     ,masters1 ii1 #bdg4       
,belzoni--his ,travels in ,egypt1 iii1  
#be4    ,the ,belzoni ,sarcophagus1 ii1 
#aid4    ,bernazzano1 the ,zeuxis of    
,italy1 ii1 #adj4    ,bernini1 the      
,cav41 i1 #aja2     his ,precocity1 i1  
#aja2     his ,bust of ,charles ,i4 and 
his ,prediction1 i1 #aja2    ,bernini   
and ,louis ,,xiv41 i1 #ajb2     his     

,triumphal ,visit to ,paris1 i1 #ajb2   
the ,medal struck in his ,honor1 i1     
#ajc2     his ,works1 i1 #ajc2     his  
,restoration of the ,verospi ,hercules1 
i1 #ajd2     ,lanzi's ,critique1 i1     
#ajc2     his ,love of ,splendor and his
 ,riches1 i1 #ajd2     ,bernini and     
,urban ,,viii41 iii1 #bef4    ,blake1   
,william--his ,enthusiasm1              
,eccentricity1 and ,poverty1 i1 #c2     
his melancholy yet triumphant ,death1   
#a1 #d4    ,boydell's ,shakespeare      
,gallery1 iii1 #cje4    ,bridge1        
,trajan's1 across the ,danube1 i1 #afd4 
,bridge1 ,mandrocles'1 across the       
,bosphorus1 ii1 #afb4    ,bridge1 the   
,britannia ,railway ,tubular1 iii #df2  
the ,tubes1 iii1 #dg2     the ,piers1   
iii1 #dh2     ,construction of the      
,tubes1 iii1 #di2     ,floating the     
,tubes1 iii1 #ej2     ,raising the      
,tubes1 iii1 #eb2     the prodigious    
,hydraulic ,presses used1 iii1 #ec2     
,bursting of one1 iii1 #ee2     ,sir    
,francis ,head's ,description1 iii1 #ef2

     ,cost of the ,structure1 iii1 #eg4 
,brower1 ,adrian1 iii1 #ahb2     his    
,escape from a ,cruel ,master1 iii1     
#ahc2     ,brower1 the ,duke            
d',aremberg1 and ,rubens1 iii1 #ahd2    
his ,death1 iii1 #ahd2     his ,works1  
iii1 #ahe4    ,brunelleschi1            
,filippo--remarkable instance of the    
,trials and ,triumphs     of ,genius1   
iii1 #hj2     his ,inquiring ,mind1     
,industry1 and ,discoveries1 iii1 #ha2  
his ,genius1 iii1 #hb2     his          
,ambition1 iii1 #hc2     his first      
,visit to ,rome and ,assiduity1 iii1    
#hd2     ,assembly of ,architects to    
consult on the best means of raising the
     ,cupola of the ,cathedral of       
,florence1 iii1 #he2     his ,return to 
,rome1 iii1 #hf2     his ,invitation    
back to ,florence1 iii1 #hg2     his    
,discourse1 iii1 #hg2     his ,return to
 ,rome1 iii1 #hi2     grand ,assemblage 
of ,architects from all parts of        
,europe1 iii1 #ij2     their ,opinions  
and ridiculous ,projects to raise the   

,cupola1 iii1 #ia2     ,filippo's       
,opposition and ,discourse1 iii1 #ib2   
taken for a ,madman1 and driven out of  
the ,assembly1 iii1 #ic2     his        
,discourse1 iii1 #id2     his           
,arguments1 and his ,proposal that he   
who could make an ,egg stand     on one 
end should build the ,cupola1 iii1 #id2 
his ,plan submitted1 iii1 #if2     its  
,adoption1 iii1 #ii2     ,opposition    
encountered1 iii1 #aja2     ,lorenzo    
,ghiberti associated with him1 iii1     
#aja2     his ,vexation and ,despair1   
iii1 #ajb2     ,commencement of the     
,work1 iii1 #ajc2     ,lorenzo's        
incapacity for such a ,work1 iii1 #ajd2 
,filippo's ,scheme to get rid of him1   
iii1 #aje2     ,lorenzo disgraced1 iii1 
#aji2     ,filippo appointed ,sole      
,architect1 iii1 #aaa2     his          
,industry1 the wonderful ,resources of  
his ,mind1 and his     triumphant       
,success1 iii1 #aab2     ,filippo chosen
 ,magistrate of the ,city1 iii1 #aaf2   
,jealousies he still encountered1 iii1  

#aah2     his ,arrest1 ,mortifying      
,affront1 and ,triumph1 iii1 #aah2      
,grandeur and ,magnificence of his      
,cupola1 iii1 #abj2     his ,enthusiasm1
 iii1 #abb2     ,brunelleschi and       
,donatello1 iii1 #abc4    ,buffalmacco1 
the successor of ,giotto1 ii1 #bfg2     
his comical ,tricks to enjoy his        
sweetest ,sleep1 ii1 #bfh2     his      
,employment by the ,nuns of ,faenza1 ii1
 #bgj2     his ,use of their best wine1 
ii1 #bgb2     his ,employment by ,bishop
 ,guido1 ii1 #bgc2     ,comical ,pranks 
of the ,bishop's ,monkey1 ii1 #bgd2     
his ,trick on the ,bishop1 ii1 #bgg2    
,origin of ,libel ,painting1 ii1 #bgh2  
,utility of ancient paintings1 ii1 #bhj2
     his ,commission from the           
,countryman1 and its curious execution1 
ii1 #bhb2     his ,commission from the  
,perugians1 ii1 #bhc2     their         
,impertinence requited1 ii1 #bhd2       
his ,novel ,mode of enforcing ,payment1 
ii1 #bhe4    ,callot1 ,jacques1 iii1    
#agf2     his uncontrollable ,passion   

for ,art1 iii1 #agf2     his            
,patriotism1 iii1 #agg4                 
,callimachus--his invention of the      
,corinthian ,capital1 i1 #aeb4          
,cambiaso1 ,luca--his ,precocity and    
remarkable ,facility of ,hand1 iii1     
#ahg2     his ,invitation to ,spain1    
iii1 #ahh2     ,luca and ,philip ,,ii41 
iii1 #ahi2     his ,artistic ,merits1   
iii1 #aij2     ,boschini and ,mengs'    
,opinions1 iii1 #aij4    ,campaspe and  
,apelles1 i1 #ba4    ,campus ,martius1  
i1 #ia4    ,cano1 ,alonso1 i1 #bcj2     
his ,liberality1 i1 #bca2     his       
,eccentricities1 i1 #bca2     his       
,hatred of the ,jews1 i1 #bcb2     his  
,ruling ,passion strong in ,death1 i1   
#bcd2     ,cano and the ,intendant of   
the ,bishop of ,malaga1 iii1 #bjc2      
his love of ,sculpture1 iii1 #bjd4      
,canova--his ,visit to his ,native      
,place in his old age1 i1 #cb4          
,capitol1 ancient1 of ,rome1 iii1 #ei4  
,capugnano and ,lionello ,spada1 iii1   
#bdg4    ,caracci1 the ,school of1 ii1  

#abb4    ,caracci1 ,annibale--his       
,letter to ,lodovico1 and his ,opinion  
of the     ,works of ,correggio1 i1     
#bec2     instance of his ,skill1 ii1   
#acg2     his ,jealousy of ,agostino1   
iii1 #beh4    ,carburi1 ,count--his     
,skill in ,engineering1 iii1 #db4       
,caracciolo1 ,gio4 ,battista--his       
,intrigues1 ii1 #abh4    ,carducci1     
,bartolomeo--his kind ,criticism1 iii1  
#bjc4    ,carlos1 the ,four1 of the     
#agth ,century1 ii1 #ahd4               
,caravaggio1 ,michael ,angelo da--his   
,quarrelsome ,disposition     and his   
,death1 iii1 #bdh4    ,carreno1 ,don    
,juan1 and ,charles ,,ii1 iii1 #bjh2    
his ,copy of ,titian's ,st4 ,margaret1  
iii1 #bjh2     his ,abstraction of      
,mind1 iii1 #bji4    ,castagno1 ,andrea 
del1 his ,treachery and ,death1 ii1     
#add4    ,castillo's ,sarcasm on        
,alfaro1 iii1 #bjd4    ,catacombs of    
,egypt1 iii1 #ab4    ,catino1 the       
,sagro1 or ,emerald ,dish1 iii1 #bae4   
,cellini1 ,benvenute1 iii1 #bee2        

,cellini and ,urban ,,viii2     his     
absolution for sins committed in the    
service of the     ,church1 iii1 #bee4  
,cespedes1 ,pablo--his ,last ,supper1   
iii1 #bji2     ,zuccaro's ,compliment to
 ,cespedes1 iii1 #baj4    ,chair of ,st4
 ,peter1 iii1 #bac4    ,church1 ,st     
,peter's1 iii1 #fa    ,churches of      
,rome1 iii1 #fj4    ,cimabue1           
,giovanni--,sketch of his ,life1 ii1    
#bea2     his ,style1 ii1 #beb2     his 
,passion for ,art1 ii1 #beb2     his    
famous picture of the ,virgin1 ii1 #bec2
     remarkable instance of homage to   
,art1 ii1 #bed2     his ,works1 ii1     
#bee2     his ,death1 ii1 #bef2     his 
,care of ,giotto1 ii1 #beg4    ,cloaca  
,maxima at ,rome1 ii1 #db4    ,coello1  
,claudio1 his challenge to ,giordano1   
ii1 #bcd4    ,column1 ,trajan's1 i1     
#afd4    ,column of ,austerlitz1 iii1   
#bhj4    ,colosseum1 description of1 ii1
 #bi2     ,montaigne's quaint account of
 its ,spectacles1 ii1 #ca4    ,colossus 
of the ,sun at ,rhodes1 ii1 #afb4       

,columbus and the ,egg1 story of1       
derived by him from     ,brunelleschi1  
iii1 #ie4    ,contarini1 ,cav4          
,giovanni--his skill in ,portraits1 ii1 
#aci4    ,contri1 ,antonio--his method  
of transferring frescos from walls to   
canvass1 ii1 #adf2     see also         
,palmarolis1 ii1 #adg4    ,cooper1 ,j4  
,fennimore--his ,encouragement of       
,greenough1 i1 #ff2     his ,letter to  
,induce his ,countrymen to ,patronize   
their own     ,artists1 i1 #fg4         
,corenzio1 ,belisario--his ,intrigues1  
ii1 #abh4    ,corinthian ,capital1      
invention of1 i1 #aeb4                  
,correggio--,sketch of his ,life1 i1    
#bdc2     his ,cupola of the ,church of 
,st4 ,john at ,parma1 i1 #bdd2     his  
grand ,cupola of the ,cathedral1 i1     
#bdf2     his ,fate ,exaggerated1 i1    
#bdi2     ,lanzi's ,opinion1 i1 #bea2   
his ,marriage and ,children1 i1 #beb2   
,caracci's ,opinion of ,correggio1 and  
his ,letter1 i1 #beh2     his           
,enthusiasm1 i1 #bee2     his ,grace1 i1

 #bee2     ,correggio and the ,monks1 i1
 #bef2     his ,kindness--his ,muleteer1
 i1 #bef2     ,duke of ,wellington's    
,correggio1 i1 #beg2     ,correggio's   
,ancona1 i1 #beg2     ,portraits of     
,correggio1 i1 #beh2     did ,correggio 
ever visit ,rome8 i1 #bei2     ,singular
 ,history of ,correggio's ,adoration of 
the ,shepherds1 i1 #bfa2     of his     
,education of ,cupid1 i1 #bfb2     of a 
,magdalen1 i1 #bfd2     of a ,charity1  
i1 #bfe2     the celebrated ,notte of   
,correggio1 iii1 #bei4    ,cortona1     
,pietro--,sketch of his ,life1 iii1     
#bec2     ,anecdotes of1 iii1 #bed4     
,david1 ,jacques ,louis1 i1 #agf2       
his ,politics and ,love of ,liberty1 i1 
#agf2     ,david and ,napoleon1 i1 #agg2
     his ,banishment to ,brussels1 i1   
#agg2     his famous picture of the     
,coronation of ,napoleon1 i1 #agh2      
,david and ,canova1 i1 #agi2            
,napoleon's ,compliments to ,david1 i1  
#ahj2     the ,king of ,wurtemberg's1 i1
 #aha2     ,list of ,portraits it       

contained1 i1 #ahb2     its ,barbarous  
,destruction by the ,bourbons1 i1 #ahd2 
,david and the ,duke of ,wellington at  
,brussels1 i1 #ahd2     ,david and the  
,cardinal ,caprara1 i1 #ahe2     ,talma 
and ,david in his ,banishment1 #a1 #ahf4
    ,denon1 the ,baron--his description 
of the ,necropolis of ,thebes1 iii1 #af1
     his ,employment by ,napoleon1 iii1 
#hjb4    ,digby1 ,sir ,kenelm--his ,love
 ,adventure in ,spain1 iii1 #aii4       
,dinocrates--his ,proposal to cut ,mount
 ,athos into a ,statue of ,alexander    
the ,great1 ii1 #afe2     ,pope's ,idea 
of its ,practicability1 ii1 #aff2       
,dinocrates' ,temple with an ,iron      
,statue suspended in the air by         
,loadstone1 ii1 #afh4    ,domenichino1  
ii1 #aba2     his ,dullness in his      
,youth1 ii1 #aba2     ,caracci's        
prediction of his rise to ,eminence1 ii1
 #abb2     ,lanzi and ,mengs' ,testimony
 of his ,genius and ,merits1 ii1 #abc2  
his ,scourging of ,st4 ,andrew1 ii1     
#abc2     his ,communion of ,st4        

,jerome1 ii1 #abd2     his ,enemies at  
,rome1 ii1 #abe2     ,lanzi's ,account  
of the ,decision of ,posterity on his   
,merits1 ii1 #abf2     his ,caricatures1
 ii1 #abh2     ,intrigues of the        
,neapolitan ,triumvirate of ,painters1  
ii1 #abh2     ,lanzi's ,account of this 
disgraceful ,cabal1 ii1 #abi2     his   
,works in the ,chapel of ,st ,januarius1
 and the ,prices he     received1 ii1   
#aca2     his ,death1 ii1 #acb4         
,donatello1 iii1 #abe2     ,donatello   
and the ,merchant1 iii1 #abf2           
,donatello and his unworthy ,kinsmen1   
iii1 #abg2     his ,death1 iii1 #abh2   
,donatello and ,michael ,angelo         
,compared1 iii1 #abh2     ,donatello and
 ,brunelleschi1 iii1 #abc2              
,donatello and ,uccello1 ii1 #bib4      
,douw1 ,gerard1 iii1 #bbb2     his      
,style1 iii1 #bbd2     his ,method of   
,painting1 iii1 #bbe2     his ,works1   
iii1 #bbf2     his ,dropsical ,woman1   
iii1 #bbg4    ,dramatic ,scenery at     
,rome1 i1 #ic4    ,durer1 ,albert1 iii1 

#bbh2     his unfortunate ,marriage1    
iii1 #bbi2     his ,works as a ,painter1
 iii1 #bbi2     his ,works as an        
,engraver1 iii1 #bca2     his ,fame and 
,death1 iii1 #bcc2     his ,habits1 iii1
 #bcd2     his ,literary ,works1 iii1   
#bcd4     ,egyptian ,art1 iii1 #a1 and  
iii1 #bfc4    ,electioneering ,pictures 
at ,rome1 i1 #ia4    ,emulation and     
,rivalry of ,advantage to ,artists1 iii1
 #beg4    ,engraving1 ,invention of     
,copper-,plate1 i1 #bhg4    ,era1       
,brightest1 of ,grecian ,art1 i1 #aa1   
and ii1 #aed4    ,era1 ,brightest1 of   
,roman ,art1 ii1 #aeb4    ,era1         
,brightest1 of ,italian ,art1 ii1 #adi4 
,eyck1 ,john van--his ,invention of ,oil
 ,painting1 ii1 #ada4     ,fabius       
,maximus--his ,estimation of ,art1 i1   
#ade4    ,fanaticism1 ,religious1       
destructive to ,art1 i1 #aje2     its   
,effects in ,england1 i1 #aje4          
,figure1 the ,nude1 i1 #aji2            
,barry's ,opinion1 i1 #aji2             
,schlegel's1 i1 #aaj4    ,fine ,arts1   

,golden ,age of1 in ,greece1 i1 #aa4    
,fine ,arts1 ,golden ,age of1 in ,rome1 
ii1 #aeb    ,fine ,arts1 ,golden ,age   
of1 ,in ,italy1 ii1 #adi4               
,finiguerra1 ,maso--his ,invention of   
,copper-,plate ,engraving1 i1 #bhg4     
,fiorentino1 ,stefano1 one of the       
,fathers of ,painting1 ii1 #bhf4        
,foreshortening1 ii1 #ade2     its      
,invention1 ii1 #ade4    ,fontana1      
,domenico1 iii1 #cc2     his ,removal of
 an ,obelisk at ,rome1 iii1 #cd2        
,dangers he ,encountered1 iii1 #cg2     
,honors bestowed on him for his         
,success1 iii1 #dj4    ,force of ,habit1
 i1 #bjb4    ,fornarina1 ,la ,bella1 i1 
#ge4    ,fountain1 the ,elephant1 iii1  
#bhf4    ,four ,carlos of the #agth     
,century1 ii1 #ahd4    ,four ,finest    
,pictures at ,rome1 ii1 #ahc            
,frescos1 ,ancient1 ii1 #ee2     the    
,aldobrandini ,wedding1 ii1 #ef4        
,fuseli1 ,henry--his ,birth1 ii1 #ei2   
his ,early ,passion for ,art1 ii1 #ei2  
his ,literary and ,poetical ,taste1 ii1 

#fj2     ,fuseli1 ,lavater1 and the     
,unjust ,magistrate1 ii1 #fa2     his   
,travels and ,literary ,distinction1 ii1
 #fb2     his ,arrival in ,london1 ii1  
#fc2     his ,change from ,literature to
 ,painting1 ii1 #fc2     his ,visit to  
,italy1 ii1 #fe2     his ,nightmare1 ii1
 #ff2     his ,o,edipus and his         
,daughters1 ii1 #ff2     ,fuseli and the
 ,shakspeare ,gallery1 ii1 #fg2     his 
,hamlet's ,ghost1 ii1 #fi2     his      
,titania1 ii1 #fi2     his ,election as 
a ,royal ,academician1 ii1 #gj2         
,fuseli and ,walpole1 ii1 #ga2          
,fuseli and ,coutts1 ii1 #gb2           
,fuseli and ,prof4 ,porson1 ii1 #gb2    
his ,method of giving ,vent to his      
,passion1 ii1 #gc2     his ,love of     
,terrific ,subjects1 ii1 #gc2     his   
,revenge on ,lawrence1 ii1 #gd2     his 
,estimate of ,reynolds as an ,historical
 ,painter1 ii1 #ge2     his ,friendship 
for ,lawrence1 ii1 #ge2     ,fuseli as  
,keeper of the ,royal ,academy1 ii1 #gf2
     his ,jests and ,oddities with the  

,students1 ii1 #gg2     his ,sarcasms on
 ,northcote1 ii1 #gh2     on various    
,artists1 ii1 #gi2     his ,retorts1 ii1
 #hj2     his ,retort in ,mr4 ,coutts'  
,banking-,house1 ii1 #hb2     his       
,sarcasm on ,landscape and ,portrait    
,painters1 ii1 #hc2     his own         
,attainment of ,happiness1 ii1 #hd2     
his ,habits1 ii1 #hd2     his ,wife's   
,novel ,method of ,curing his ,fits of  
,despondency1 ii1 #he2     his ,personal
 ,appearance1 ,sarcastic ,disposition1  
and ,quick     ,temper1 ii1 #hf2     his
 ,near ,sight1 ii1 #hg2     his         
,popularity1 ii1 #hh2     his ,artistic 
,merits1 ii1 #hh2     his ,milton       
,gallery1 etc41 ii1 #hi4    ,fulton1    
,robert1 as a ,painter1 i1 #abb2     his
 ,love of ,art1 i1 #abc2     his        
,exalted ,mind1 i1 #abc2     his        
,account of his first ,steamboat ,voyage
 to ,albany1 and his     ,predictions1  
i1 #abd4     ,gallery1 ,english         
,national1 i1 #ajg4    ,gallery1        
,dresden1 iii1 #bfb4    ,gallery of the 

,louvre1 iii1 #bhi and #cjb4            
,gallery1 ,united ,states               
,national--,suggestions for ,one1 iii1  
#cjg4    ,galleries1 ,prices of1 i1     
#aab4    ,galletti1 ,pietro1 and the    
,bolognese ,students1 ii1 #ahd4         
,garland ,twiner1 i1 #adh4    ,gaulli1  
,gio4 ,battista--his ,excellence in     
,portraiture1 iii1 #bej2     his curious
 method of ,painting the ,dead1 iii1    
#bej4    ,genius1 ,trials of1 i1 #a1 and
 iii1 #hj4    ,ghiberti1 ,lorenzo--his  
famous ,doors of ,san ,giovanni1 i1 #fj1
 and iii1 #aja2     as an ,architect1   
iii1 #ajb4    ,giordano1 ,luca--his     
,wonderful ,precocity1 ii1 #bbd2     his
 ,enthusiasm1 ii1 #bbe2     ,origin of  
his ,nickname of ,luca-fa ,presto1 ii1  
#bbf2     his ,skill in copying and     
,imitating1 ii1 #bbf2     his ,success  
at ,naples1 ii1 #bbg2     ,giordano1 the
 ,viceroy1 and the ,duke of ,diano1 ii1 
#bbh2     his ,invitation to            
,florence--,giordano and ,carlo ,dolci1 
ii1 #bbi2     his ,invitation to the    

,court of ,spain1 ii1 #bcj2     his     
,flattering ,reception1 ii1 #bcj2       
his ,works in ,spain1 ii1 #bca2     in  
the ,escurial1 ii1 #bcb2     his        
,habits1 iii #bcc2     his first        
,picture at ,madrid1 ii1 #bcc2     a    
great ,favorite at ,court1 ii1 #bcd2    
,coello's ,challenge1 ii1 #bcd2         
,anecdotes1 ii1 #bcd2     ,painting with
 his ,fingers1 ii1 #bce2     ,rich      
,presents he ,received1 ii1 #bcf2       
his ,return to ,naples1 ii1 #bcf2       
his ,reception at ,genoa1 ,florence1    
,rome and ,naples1 ii1 #bcg2     his    
,personal ,appearance and ,character1   
ii1 #bcg2     his ,popularity1 ,love of 
,gain1 and ,three ,sorts of ,pencils1   
ii1 #bch2     his ,riches1 ii1 #bch2    
his ,wonderful ,facility of ,hand1 ii1  
#bci2     his ,fame and ,reputation1 ii1
 #bdj2     his ,genius and merits1 ii1  
#bda2     his ,tricks for ,notoriety1   
his ,false ,style and its ,injurious    
,effects     on ,art at the ,time1 ii1  
#bda2     ,remarkable ,instance of his  

,rapidity of ,execution in his          
altar-piece     of ,st4 ,francis        
,xavier1 ii1 #bdb4    ,giotto--,sketch  
of his ,life1 ii1 #beg2     his ,early  
,passion for ,art1 ii1 #beg2     his    
,works1 ii1 #beh2     as an ,architect1 
ii1 #bei2     his ,st4 ,francis         
,stigmata1 ii1 #bei2     his ,invitation
 to ,rome1 ii1 #bfj2     ,round as      
,giotto's ,o1 ii1 #bfa2     ,story of   
his ,living ,model1 ii1 #bfb2           
,giotto and the ,king of ,naples1 ii1   
#bfd2     his ,bon ,mots1 ii1 #bfe2     
,giotto and ,dante1 ii1 #bff2     ,death
 of ,giotto ii #bff4    ,giottino1 ii1  
#bhf4    ,gladiator1 ,statue of the     
,dying1 i1 #add4    ,gladiator1 ,statue 
of the ,fighting1 ii1 #ahg4    ,glass1  
,ancient1 ii1 #eg2     ,ancient         
,pictures of1 ii1 #eh4    ,golden ,age  
of ,art in ,greece1 i1 #aa1 and ii1     
#aed4    ,golden ,age of ,art in ,rome1 
ii1 #aeb4    ,golden ,age of ,art in    
,italy1 ii1 #adi4    ,goldsmith1 ,dr41  
and ,reynolds1 i1 #aii2     his         

,deserted ,village1 i1 #bjj2     his    
,retaliation1 i1 #bjj4    ,gomez1 the   
,slave of ,murillo1 iii1 #aie4          
,grecian ,art derived from the          
,egyptians1 iii1 #a4    ,greenough1     
,horatio--his ,chanting ,cherubs1 i1    
#fg2     ,commission for his ,statue of 
,washington for the ,capitol1 i1 #fh2   
his ,modesty1 i1 #fi2     his account of
 the ,miraculous ,picture of the ,virgin
 at     ,florence1 iii1 #baa4           
,griffier1 ,john--his ,perilous         
,adventure1 iii1 #bde4    ,group of     
,niobe and her ,children1 ii1 #ahe4     
,group of ,laocooen and his ,sons1 ii1  
#ahg4    ,guercino--his ,power of       
,relief1 ii1 #adj4     ,hals1 ,frank1   
and ,vandyck1 ii1 #cab4                 
,hanneman--his picture of ,peace1 i1    
#caj4    ,harpies1 ,curious             
,representations of1 iii1 #aha4         
,heliopolis1 iii1 #g4                   
,herculaneum--its                       
,destruction--,antiquities and ,works of
 ,art     discovered1 ii1 #dc4          

,hogarth--,value of his ,works1 i1 #f2  
his ,genius1 i1 #aff2     his           
,apprenticeship1 i1 #afg2     his       
,revenge1 i1 #afh2     his ,method of   
,sketching an ,incident1 i1 #afh2       
his ,marriage1 i1 #afh2     his         
,successful ,expedient to get ,payment1 
i1 #afi2     his ,picture of the ,red   
,sea1 i1 #agj2     his ,courtesy1 i1    
#aga2     his ,absence of ,mind1 i1     
#aga2     his ,march to ,finchley1 i1   
#agb2     his unfortunate ,dedication to
 the ,king1 i1 #agb2     his ,strange   
,manner of ,selling his ,pictures1 i1   
#agb2     ,paltry ,prices he received1  
i1 #agd2     his last ,work1 the        
,tail-,piece1 i1 #age2     his ,death1  
i1 #agf4    ,holbein1 ,hans1 ii1 #baf2  
his ,portrait with the ,fly1 ii1 #baf2  
his ,visit to ,england1 ii1 #baf2       
,holbein and ,henry ,,viii41 ii1 #bag2  
his ,adventure with the ,nobleman1 ii1  
#bag2     the ,king's ,rebuke and       
,protection1 ii1 #bah2     his ,portrait
 of the ,duchess of ,milan1 ii1 #bah2   

his ,dangerous ,flattery1 ii1 #bai2     
his ,portrait of ,cratzer1 ii1 #bai2    
his ,portraits of ,sir ,thomas ,more and
 his ,family1 ii1 #bbj2     ,bon-,mot of
 ,sir ,thomas1 ii1 #bba4     ,illusions 
in ,painting1 i1 #bbh2     ,singular    
,pictorial1 ii1 #acg4    ,industry      
necessary to ,success in                
,art--,reynold's ,opinion1 i1 #bja2     
,durer's1 iii1 #bbh and #bcd2           
,michael ,angelo's1 i1 #fj2             
,apelles'1 i1 #ai2     ,da ,vinci's1 i1 
#bge1 #bhj1 and #bhb2     ,vernet's1 ii1
 #big and #bii2     ,rubens'1 i1 #hj and
 #hb2     ,raffaelle's1 i1 #ga2         
,poussin's1 iii1 #aej and #afa2         
,gierdano's1 ii1 #bbf and #bcc2         
,brunelleschi's1 iii1 #ha and #hd4      
,infelicities of ,artists1 i1 #a-f4     
,ingenuity of ,artists1 iii1 #agh4      
,inquisition1 ,evil ,influence of the1  
on ,spanish ,art1 i1 #baa2     and      
,torreggiano1 i1 #b2     and ,sir       
,anthony ,moore1 iii1 #bdc4     ,jarvis1
 ,john ,wesley1 i1 #aac2     his        

,eccentricity1 and ,lore of ,jesting1   
,mimicking1 and     ,story-,telling1 i1 
#aac2     his ,ludicrous ,readings from 
,shakspeare1 i1 #aae2     ,dr4 ,francis'
 ,account of him1 i1 #aaf2     the      
,biggest ,lie1 i1 #aah2     ,jarvis and 
,bishop ,moore1 i1 #aai2     and        
,commodore ,perry1 i1 #aai2     and the 
,philosopher1 i1 #abj2     and ,dr4     
,mitchell1 i1 #abj2     his ,habits1 i1 
#aba2     ,jarvis and ,sully1 i1 #abb2  
his ,fondness for ,notoriety1 i1 #abb4  
,jervas1 ,charles1 ii1 #bac2     ,jervas
 and ,pope1 ii1 #bad2     and ,dr4      
,arbuthnot1 ii1 #bae2     his ,vanity1  
ii1 #bae2     ,kneller's ,sarcasm1 ii1  
#baf4    ,jewelers1 a hint to1 iii1     
#agi4    ,johnson1 ,dr4--his ,friendship
 for ,reynolds1 i1 #aif2     his        
,apology for ,portrait ,painting1 i1    
#aig2     his ,portrait1 i1 #aih2       
his ,death1 i1 #aii4    ,julian the     
,apostate--his ,attempt to rebuild      
,jerusalem1 ii1 #afj4    ,jupiter--see  
,temples and ,statues4     ,kirk1       

,thomas--his ,genius1 ,misfortune1 and  
untimely ,death1 i1 #e4    ,kneller1    
,sir ,godfrey--his ,arrival in ,england1
 and great ,success1 i1 #if2            
,kneller's ,portrait of ,charles ,,ii41 
i1 #ii2     ,kneller and ,james ,,ii41  
i1 #ig2     his ,compliment to ,louis   
,,xiv41 i1 #ig2     his ,wit and        
,bon-,mots1 i1 #ih2     his ,knowledge  
of ,physiognomy1 i1 #ii2     ,kneller as
 a ,justice of the ,peace1 i1 #ii2      
his ,decisions regulated by ,equity     
rather than ,law1 i1 #ii2     ,kneller  
and ,clostermans1 i1 #ajj4     ,la      
,bella ,fornarina1 i1 #ge4    ,labyrinth
 of ,egypt1 iii1 #aa4    ,lake ,moeris1 
iii1 #i4    ,lamps1 ,perpetual1 ii1     
#ahb4    ,laocooen1 ,group of the1 ii1  
#ahg2     ,pliny's ,account of1 ii1     
#ahi2     ,michael ,angelo's ,opinion1  
ii1 #aij2     ,sangallo's ,account of   
its ,discovery1 ii1 #aij4    ,lanfranco1
 the ,cav41 ii1 #ia2     his ,hostility 
to ,domenichino1 ii1 #abe4    ,lasson1  
,m4 de--his ,caricature1 ii1 #caa4      

,layard--his ,nineveh and its ,remains1 
ii1 #cd4    ,lebas1 ,m4--his ,removal of
 an ,obelisk from ,thebes to ,paris1    
iii1 #dj4    ,louvre1 ,gallery of the1  
iii1 #cjb2     ,dismantling of1 iii1    
#bhi4    ,love makes a ,painter1 i1     
#aab1 i1 #adh1 i1 #bce1 and iii1 #aie4  
,love of ,art among the ,romans1 i1     
#adf4    ,luca-fa-,presto1 ii1 #bbf4    
,mabuse1 ,john de1 ,anecdote of1 iii1   
#bdf4    ,mandrocles' ,bridge across the
 ,bosphorus1 ii1 #afb4    ,march1       
,esteban--his ,strange ,method of       
,study1 iii1 #aih2     his ,adventure of
 the ,fish fried in ,linseed ,oil1 iii1 
#aii4    ,marbles1 very curious         
,imitations of1 ii1 #adg4    ,marbles1  
the ,elgin1 ii1 #aga4    ,matsys1       
,quintin1 i1 #aab2     his ,love and    
,monument1 i1 #aac4    ,masters1 the    
,old1 i1 #aaa4    ,mausolus1 ,tomb of1  
ii1 #afa4    ,mechanics1 ,comparative   
,skill of the ,ancients and ,moderns in1
 iii1 #de4    ,medals1 #gj1jjj          
,ancients1 iii1 #bgb4    ,medals of     

,napoleon1 iii1 #bha4    ,memphis1 iii1 
#h4    ,messina1 ,antonella da1 ii1     
#adc4    ,methodius and the ,king of    
,bulgaria1 iii1 #bjf4    ,mieris and    
,jan ,steen1 ,frolics of1 iii1 #bda4    
,mignard ,pierre--his ,skill in         
imitating other ,masters1 i1 #ahf2      
amusing instance of1 i1 #ahg2     his   
,skill in ,portraits1 ii1 #ach4         
,modesty1 an ,overplus of1 dangerous to 
,success1 i1 #cjg4    ,moeris1 ,lake of1
 iii1 #i4    ,more1 ,sir ,anthony1 iii1 
#bdb2     his ,visit to ,spain and great
 ,success1 iii1 #bdb2     his ,visit to 
,england and flattering ,reception1 iii1
 #bdc2     ,more and ,philip ,,ii41 iii1
 #bdd2     his fortunate ,escape1 iii1  
#bdd2     his ,success and ,works1 iii1 
#bdd4    ,morland1 ,george--,sketch of  
his ,life1 ii4 #aig2     his wonderful  
,precocity1 ii1 #aih2     his early     
,fame1 ii1 #aii2     his ,mental and    
,moral ,culture under an ,unnatural     
,parent1 ii1 #bfj2     his ,escape from 
his ,thraldom1 ii1 #bja2     his        

,marriage and ,temporary ,reform1 ii1   
#bjb2     his ,social ,position1 ii1    
#bjc2     his unpleasant ,encounter1 ii1
 #bjd2     his ,stay in the ,isle of    
,wight1 ii1 #bje2     his ,novel ,mode  
of fulfilling commissions1 ii1 #bjf2    
,morland and the ,pig1 ii1 #bjf2     his
 ,pictures in the ,isle of ,wight1 ii1  
#bjg2     his ,freaks1 ii1 #bjh2     his
 ,dread of ,bailiffs1 ii1 #bjh2     his 
,apprehension as a ,spy1 ii1 #bji2      
his ,sign of the ,black ,bull1 ii1 #baj2
     ,morland and the ,pawnbroker1 ii1  
#baa2     his ,idea of a ,baronetcy1 ii1
 #bab2     his ,artistic ,merits1 ii1   
#bab4    ,mosaics1 i1 #ae2     ancient1 
ii1 #ee2     of the ,battle of ,platea1 
ii1 #ee4    ,mudo1 ,el1 and ,titian's   
,last ,supper1 ii1 #ad4    ,murillo1 i4 
#bcf2     his ,visit to ,madrid and     
,velasquez1 i1 #bcf2     his ,return to 
,seville1 i1 #bcg2     ,murillo and     
,iriarte1 i1 #bch2     his ,death1 i1   
#bch2     his ,style1 i1 #bci2     his  
,works1 i1 #bdj2     ,soult's ,murillos1

 i1 #bdj and #bdb2     ,castillo's      
,tribute1 i1 #bdb2     his ,virgin of   
the ,napkin1 iii1 #aic2     his pictures
 in ,spanish ,america1 iii1 #aib2       
,anecdote of an ,altar-,piece in        
,flanders1 iii1 #aid2     his ,slave    
,gomez1 iii1 #aie4    ,musee ,francais  
and ,musee ,royal1 iii1 #cjb4     ,names
 of ,architects designated by ,reptiles1
 ii1 #aef4    ,napoleon--his ,love of   
,art1 iii1 #bgd2     his ,enlightened   
,policy to ,encourage ,art1 iii1 #bge2  
his ,works at ,paris1 iii1 #bgf2        
,the ,napoleon ,medals1 iii1 #bha2      
the ,elephant ,fountain1 iii1 #bhf2     
,interesting ,drawing1 iii1 #bhg2       
,sevres ,china1 iii1 #bhh2              
,dismantling of the ,louvre1 iii1 #bhi2 
,removal of the ,venetian ,horses1 iii1 
#bif2     ,removal of the ,statue of    
,napoleon from the ,column of           
,austerlitz1 iii1 #cja4    ,needles1    
,cleopatra's1 iii1 #db4    ,niello1     
,works in1 i1 #bhf4    ,nineveh and its 
,remains1 ii1 #cd2     ,description of  

the ,royal ,palace exhumed at ,nimroud1 
ii1 #cg2     ,layard's description of   
its interior1 ii1#ci4    ,niobe and her 
,children1 ,group of1 ii1 #ahe2         
,schlegel's ,criticism1 ii1 #ahf4       
,nollekens1 ,joseph1 i1 #cja2     his   
,visit to ,rome1 i1 #cja2     ,nollekens
 and ,garrick1 i1 #cjb2     his ,talents
 in ,bust ,sculpture1 i1 #cjc2     his  
,bust of ,johnson1 i1 #cjd2     his     
,liberality and ,kindness to ,chantrey1 
i1 #cjd2     ,nollekens and the ,widow1 
i1 #cje2     his odd ,compliments1 i1   
#cjf4    ,norgate1 ,edward--his ,visit  
to ,italy1 ,mishaps1 and travelling     
,home on     foot1 i1 #cjh4             
,northcote1 ,james1 and ,fuseli1 ii1    
#gh4    ,numismatics1 iii1 #bfi2        
,value of the ,science to ,archaeology1 
,philology1 the ,fine     ,arts1 etc41  
iii1 #bgj2     #gj1jjj ,ancient ,medals1
 iii1 #bgb4     ,obelisks1 ,egyptian1   
iii1 #cj2     ,number of1 at ,rome1 ii1 
#aeb2     ,removal of one by ,fontana1  
iii1 #cc2     ,removal of one from      

,thebes to ,paris1 iii1 #dj2            
,cleopatra's ,needles1 iii1 #db4        
,odeon1 the first at ,athens1 ii1 #ahb4 
,olynthian ,captive1 ,story of1 i1 #aea4
    ,origin of ,label ,painting1 ii1    
#bgh4     ,pacheco--his ,opinions on    
,art as restricted by the ,inquisition1 
i1 #bab4    ,pareda1 ,antonio--his      
,artifice to ,keep up ,appearances1 iii1
 #bjb4    ,pareja1 ,juan de1 the ,slave 
of ,velasquez1 i1 #bbh2     his ,love of
 ,painting and his ,success1 i1 #bbi2   
his ,gratitude to his ,master1 i1 #bbi4 
,painter1 perilous adventure of a1 iii1 
#bde    ,painter of ,florence1 ,curious 
,legend of the1 iii1 #bag               
,painter-,friar1 the ,devil1 and the    
,virgin1 iii1 #bbj4    ,painting among  
the ,egyptians1 iii1 #a and #bfc4       
,painting among the ,greeks1 i1 #bb1    
#bg1 and iii1 #bfe4    ,painting among  
the ,romans1 i1 #hh1 and ii1 #aeb4      
,painting1 ,revival of1 in ,italy1 ii1  
#bdd4    ,painting1 ,italian ,schools   
of1 ii1 #bib4    ,painting1 ,golden ,age

 of1 in ,italy1 ii1 #adi2     ,lanzi's  
,philosophy of1 ii1 #aej2               
,milizia's1 ii1 #aed4                   
,painting--different ,schools ,compared1
 i1 #aaj4    ,painting1 ,effects of1 on 
the ,mind1 i1 #adg4    ,painting from   
,nature1 i1 #ah4    ,painting1 ,oil1    
,invention of1 ii1 #ada4    ,painting1  
oldest ,oil1 extant1 iii1 #aha4         
,painting1 ,portrait1 ,johnson's        
,apology for1 i1 #aig4    ,painting1    
,origin of ,label1 ii1 #bgh4            
,paintings transferred from ,walls and  
,panels to ,canvas1 ii1 #adf4           
,paintings1 ,curious1 iii1 #ahj4        
,paintings1 ,evanescent1 i1 #ajf4       
,palace1 ,nero's ,golden1 ii1 #aee4     
,palaces of ,rome1 iii1 #fe4            
,palmaroli--his ,method of transferring 
,paintings from ,walls and ,panels      
to ,canvas1 ii1 #adg4    ,pantoja and   
the ,eagle1 iii1 #bje4    ,parrhasius1  
i1 #aej2     his ,demos and other       
,works1 i1 #aej2     the ,olynthian     
,captive1 i1 #aea2     his ,vanity1 i1  

#aeb4    ,parthenon at ,athens1 ii1     
#agj2     its ,dilapidation1 by the     
,venetians1 ,turks1 and ,lord ,elgin1   
ii1 #aga4    ,pausias1 i1 #adh2 his     
,works and the ,garland ,twiner1 i1     
#adh4    ,perpetual ,lamps1 ii1 #ahb4   
,pharos1 ,light-house of1 ii1 #afd4     
,phidias1 i1 #aeg2     his ,statue of   
,minerva1 i1 #aeh1 and ii1 #aga2        
,phidias and ,alcamenes1 i1 #aei2       
,ingratitude of the ,athenians1 i1 #aei2
     his ,olympian ,jupiter1 i1 #ag1 and
 i1 #afj2     his ,model for the        
,olympian ,jupiter1 i1 #afa4    ,picture
 of ,ialysus and his ,dog1 ,protogenes1 
i1 #adi1 and i1 #bha4    ,picture of    
,calumny1 ,apelles'1 i1 #id4    ,picture
 of the ,virgin1 the ,miraculous1 iii1  
#baa4    ,pictures1 first brought to    
,rome1 i1 #hh4    ,pictures of ,glass1  
,ancient1 ii1 #eh4    ,pictures1 ,four  
finest at ,rome1 ii1 #ahc4    ,pillar of
 ,on1 iii1 #h4    ,poecile at ,athens1  
i1 #ac4    ,pompeii--its ,destruction2  
,antiquities and ,works of ,art         

discovered1 ii1 #dc2     ,vivid ,sketch 
of its present ,appearance1 etc41 by an 
,american     ,traveler1 ii1 #df4       
,pope as a ,painter--his ,fame1 i1 #bja2
     his ,proficiency in the ,art1 ii1  
#bad2     his ,idea of the              
,practicability of ,dinocrates' ,plan of
 cutting ,mount     ,athos into a       
,statue of ,alexander the ,great1 ii1   
#aff4    ,portici1 the ,site of         
,herculaneum1 ii1 #dd and #df4          
,portraits1 ,female1 ,rarity of1 in     
,spain1 iii1 #aia4    ,poussin1         
,nicholas--his ,noble ,descent1 iii1    
#adh2     his ,first ,celebrity1 iii1   
#adi2     his first ,visit to ,rome1    
iii1 #aej2     his ,enthusiasm and      
,assiduity1 iii1 #aej2     his          
,distress1 and the ,paltry ,prices he   
received for his     ,works1 iii1 #aea2 
his ,ultimate ,appreciation and         
,success1 iii1 #aeb2     his ,invitation
 back to ,paris1 iii1 #aec2     the     
,king's ,autograph ,letter on the       
,occasion1 iii1 #aec2    ,intrigues1 his

 ,disgust1 and ,secret ,return to ,rome1
 iii1 #aed2     his ,modesty1           
unostentatious ,mode of ,living1 and his
     ,generosity1 iii1 #aee2            
,poussin and ,cardinal ,mancini1 iii1   
#aee2     ,reynolds' ,critique1 iii1    
#aef2     ,poussin and ,marino1 iii1    
#aei2     ,poussin ,romanized1 iii1     
#afj2     his ,habits of ,study1 iii1   
#afa2     his ,old ,age1 iii1 #afb2     
his ,master-,piece1 iii1 #afc2     his  
last ,work and ,death1 iii1 #afc2       
his ,letter to ,m4 ,felibien1 iii1 #afd2
     his ,ideas of ,painting1 iii1 #afd2
     ,poussin and the ,nobleman1 iii1   
#afe2     and ,mengs1 iii1 #afe2     and
 ,domenichino1 iii1 #aff2     and       
,salvator ,rosa1 iii1 #aff2     his     
,dignity1 iii1 #afg2     ,poussin1      
,angelo1 and ,raffaelle compared1 iii1  
#afh4    ,prado1 ,blas de1 and the      
,emperor of ,morocco1 iii1 #bjg4        
,praxiteles1 i1 #aee2     his           
,works--the ,venus of ,cnidus and the   
,apollo ,sauroctonos1 i1 #aee2          

,praxiteles and ,phryne1 i1 #aef2       
the ,king of ,bithynia1 and the ,venus  
of ,cnidus1 i1 #aeg4    ,press1         
,hydraulic1 explained1 iii #eb2     its 
,tremendous ,power and ,use1 iii1 #ec4  
,proctor1 his ,genius and ,works1 i1 #d2
     his ,misfortunes and melancholy    
,death1 i1 #e4    ,protogenes1 i1 #adi2 
his ,works1 and his famous picture of   
,ialysus and his ,dog1 i1 #adi2         
,protogenes and ,demetrius ,poliorcetes1
 i1 #bh1 and i1 #adi2     and ,apelles1 
i1 #be4    ,pyramids of ,egypt1 iii1    
#ai4    ,pyramid of ,cephren1 ,perilous 
,ascent of1 iii1 #bg4     ,raffaelle1 i1
 #gj2     his ambition1 i1 #gj2         
,raffaelle and ,michael ,angelo1 i1 #ga2
     his ,transfiguration1 i1 #gb2      
his ,death1 i1 #gd2     his ,character1 
i1 #gd2     his ,mistress1 i1 #ge2      
his ,genius1 i1 #gf2     his ,model for 
his ,female ,saints1 i1 #gf2     his    
,oil ,paintings1 i1 #gg2     his        
,portraits of ,julius ,,ii41 i1 #gh2    
his different ,manners1 i1 #gh2     his 

,skill in ,portraits1 ii1 #ach2         
,skull of ,raffaelle in the ,academy of 
,st ,luke1 ii1 #ahc4    ,ranc1          
,jean--his ,retort1 iii1 #bja4          
,rebuke1 a ,painter's just1 iii1 #bjj4  
,retort ,courteous1 a ,painter's1 iii1  
#bja4    ,rembrandt--,sketch of his     
,life1 iii1 #agj2     his ,studio and   
,models1 iii1 #aga2     his great       
,success1 iii1 #agb2     his ,deceits to
 sell and increase the ,price of his    
,works1 iii1 #agc2     his numerous     
,works1 iii1 #agc2     his extraordinary
 ,merits as an ,engraver1 iii1 #agd4    
,reynolds1 ,sir ,joshua1 i1 #ahh2       
his pleasing ,manners1 ,fortune1 and    
,collection of ,works of ,art1 i1 #ahi2 
his new ,style and its ,success1 i1     
#ahi2     his ,prices1 i1 #aia2     his 
,method with his ,sitters1 i1 #aib2     
his ,removal to ,leicester ,square1 i1  
#aib2     his showy ,coach1 i1 #aic2    
his ,table and ,guests1 i1 #aid2     the
 ,founding of the ,royal ,academy1 and  
his election as     ,president1 i1 #aid2

     ,reynolds and ,dr4 ,johnson1 i1    
#aie2     ,johnson's ,friendship for    
,reynolds1 and his ,apology for         
,portrait     ,painting1 i1 #aif and    
#aig2     the ,literary ,club1 i1 #aih2 
,johnson's ,portrait1 i1 #aih2          
,johnson's ,death1 i1 #aii2             
,reynolds and ,dr4 ,goldsmith1 i1 #aii2 
the ,deserted ,village1 i1 #bjj2        
,retaliation1 i1 #bjj2     ,pope's ,fan 
i1 #bja2     ,reynolds' first ,attempts 
in ,art1 i1 #bjb2     ,force of ,habit1 
i1 #bjb2     ,paying the ,piper1 i1     
#bjc2     his ,modesty and his          
,generosity1 i1 #bjc2     his ,love of  
,art1 i1 #bjd2     his ,critique on     
,rubens1 i1 #bje2     ,reynolds and     
,haydn1 i1 #bjf2     his ,skill in      
,compliment1 i1 #bjg2     his ,excellent
 ,advice1 i1 #bjh2     ,reynolds as     
,mayor of ,plympton and his two         
,portraits1 i1 #bjh2     his ,kindness  
of ,heart1 i1 #bji2     ,burke's        
,eulogy1 i1 #bji2     his ,experiments  
and ,use of ,old ,paintings1 i1 #baj2   

his ,method of ,working1 i1 #aic2       
,rubens' ,last ,supper1 i1 #bjf4        
,rhodes1 ,statues and ,paintings at1 ii1
 #afd4    ,ribalta ,francisco--his ,love
 ,romance and his ,success1 i1 #bce4    
,ribera1 ,giuseppe1 7,spagnoletto17 his 
,early ,enthusiasm1 ,poverty1 and       
,industry at ,rome1 ii1 #acc2     his   
,return to ,naples and ,marriage1 ii1   
#acd2     his ,rise to ,eminence1 ii1   
#ace2     his ,discovery of the         
,philosopher's ,stone1 ii1 #ace2     his
 ,favorite ,subjects1 ii4 #acf2     his 
,disposition1 ii1 #acg2     his         
,intrigues1 ii1 #ach2     ,lanzi's      
,account of his ,death1 ii1 #acb4       
,riley1 ,john1 i1 #cjg2     his         
,diffidence and ,merits1 i1 #cjh4       
,rizi1 ,francisco--his ,rebuke to       
,antonilez1 iii1 #bjj4    ,romans1      
,fondness of1 for ,works of ,art1 i1    
#hh2     for ,etruscan ,sculpture1 i1   
#ij4    ,rome1 ,ancient1 ,glory of1 ii1 
#aeb1 and iii1 #eg and #ga2     first   
,pictures brought to ,rome1 i1 #hh2     

,electioneering pictures at ,rome1 i1   
#ia2     ,dramatic ,scenery at ,rome1 i1
 #ic2     ,ancient ,map of ,rome1 ii1   
#afj2     #ajj1jjj ,statues at ,rome1   
ii1 #aeb4    ,rome1 ,modem--its         
,churches1 ,palaces1 ,villas1 and       
,treasures of     ,art1 iii1 #fj4       
,rosa1 ,salvator1 ii1 #ia2     ,cav4    
,lanfranco's ,generosity1 ii1 #ia2      
,rosa at ,rome and ,florence1 ii1 #ib2  
his ,return to ,rome1 ii1 #ic2          
brightest ,era of ,landscape ,painting1 
ii1 #ic2     his ,subjects1 ii1 #ic2    
his wonderful ,facility of ,execution1  
ii1 #id2     his ,flagellation by the   
,monks1 ii1 #ie2     ,rosa and the      
higgling ,prince1 ii1 #if2     his      
,opinion of his own ,works1 ii1 #ih2    
his ,banditti1 ii1 #ih2     ,rosa and   
,massaniello1 ii1 #ajj2     and         
,cardinal ,sforza1 ii1 #ajj2     his    
,manifesto1 ii1 #aja2     his           
,banishment from ,rome1 ii1 #ajb2       
his ,secret ,visit to ,rome1 ii1 #ajb2  
his ,wit1 ii1 #ajc2     his ,reception  

at ,florence1 ii1 #ajc2     his         
,histrionic ,powers1 ii1 #ajd2     his  
,reception at the ,pitti ,palace1 ii1   
#aje2     his ,satires1 ii1 #ib and     
#aje2     his ,harpsichord1 ii1 #ajf2   
,rare ,portrait1 ii1 #ajf2     his      
,return to ,rome1 ii1 #aji2     his     
,love of ,show and ,magnificence1 ii1   
#aji2     his ,last ,works1 ii1 #aaa2   
his over-weening ,desire to be          
considered a ,historical ,painter1 ii1  
#aab2     ,ghigi1 his ,physician and    
,rosa1 ii1 #aac2     ,lady ,morgan's    
,account of his ,death-,bed1 ii1 #aae2  
,rosa and ,poussin iii1 #aff2     ,rosa 
and ,fracanzani1 iii1 #bef4    ,rosada  
,tivoli1 iii1 #ahe2     his ,works1 iii1
 #ahf2     his wonderful ,rapidity of   
,hand1 iii1 #ahf2     a ,wager won1 iii1
 #ahg2     his ,habits and              
,improvidence1 iii1 #ahg4    ,rosa1     
,giovanni--a modern ,zeuxis1 ii1 #aci4  
,rosalba1 ,carriera1 iii1 #acc2     her 
,modesty1 and ,knowledge of ,tempers1   
iii1 #acc4    ,rubens1 ,peter ,paul1 i1 

#gi2     his ,visit to ,italy1 i1 #hj2  
his ,reception by the ,duke of ,mantua1 
i1 #hj2     his ,enthusiasm1 i1 #hj2    
his ,embassy to ,spain1 i1 #ha2     his 
,return to ,antwerp1 i1 #ha2     his    
,marriage1 ,house1 and rich collection  
of ,works of ,art1 i1 #ha2     his      
,habits1 ,extraordinary ,memory and     
,acquirements1 i1 #hb2     his          
,detractors1 i1 #hb2     his            
,magnanimity1 i1 #hc2     the ,gallery  
of the ,luxembourg1 i1 #hc2     ,rubens 
sent ,ambassador to the ,courts of      
,spain and ,england1 i1 #hc2     his    
,reception and ,works at ,madrid1 i1    
#hd2     his ,reception and ,works in   
,england1 i1 #hd2     his ,delicacy1    
,address1 and the ,honors conferred on  
him on the     occasion1 i1 #he2     his
 ,death1 i1 #he2     his ,numerous      
,works1 i1 #hf2     his ,method of      
,working1 i1 #bjf4    ,ruysch1          
,rachel--her ,life and ,works1 iii1     
#ace4     ,scagliola or ,mischia1 ,works
 in1 ii1 #adg4    ,schwarts1 amusing    

,anecdote of1 iii1 #age4    ,sculpture1 
,invention of1 i1 #aec2     ,etruscan1  
i1 #ij2     ,egyptian1 iii1 #a2         
,grecian1 i1 #aed and #aeg4             
,sculptures1 ,antique1 at ,rome1 ii1    
#aei4    ,seymour1 ,anecdotes of1 and   
the ,proud ,duke1 ii1 #bbc4             
,shakspeare ,gallery1 iii1 #cje4        
,sirani1 ,elizabeth--her ,life and      
,works1 iii1 #acd2     her melancholy   
,death1 iii1 #ace4    ,soane1 ,sir      
,john1 ii1 #aia2     his ,success and   
,works1 ii1 #aib2     his ,liberality   
and ,public ,munificence1 ii1 #aib2     
his ,museum1 ii1 #aic 2     the ,belzoni
 ,sarcophagus1 ii1 #aid2     ,tasso's   
,,ms4 of ,gerusalemme ,liberata1 ii1    
#aie2     other rare ,,mss41            
,antiquities1 ,works of ,art1 etc41 ii1 
#aie4    ,sostratus1 his ,light-,house  
on the ,isle of ,pharos1 ii1 #afd4      
,spagnoletto--,see ,ribera4    ,spain1  
,melancholy ,state of the ,fine ,arts   
in1 i1 #bag2     ,rarity of ,female     
,portraits in1 iii1 #aia4    ,spanish   

,art1 ,evil ,effects of the ,inquisition
 on1 i1 #baa4    ,sphinx1 the ,colossal1
 iii1 #aj4    ,stabiae--its             
,destruction1 ii1 #dc4    ,statue of the
 ,apollo ,belvidere1 i1 #da2     of the 
,apollo ,sauroctonos1 i1 #aee2     of   
the ,apollo1 ,colossal ,etruscan1 i1    
#ij4    ,statue of the ,venus de        
,medici1 i1 #adg4    ,statue of the     
,venus of ,cnidus1 i1 #aef    ,statue of
 the ,venus ,victrix1 i1 #adg4          
,statue of ,minerva1 ,phidia's1 i1 #aeh1
 and ii1 #aga4    ,statue of the        
,olympian ,jupiter1 ,phidias'1 i1 #afj  
,statue of the ,fighting ,gladiator1 ii1
 #ahg4    ,statue of the ,dying         
,gladiator1 i1 #add4    ,statue of      
,pompey the ,great1 ii1 #aei4    ,statue
 of ,semiramis1 cut out of a ,mountain1 
ii1 #afg4    ,statue of ,napoleon on the
 ,column of ,austerlitz1 iii1 #cja4     
,statue1 ,equestrian1 of ,peter the     
,great1 iii1 #db4    ,statues1 the      
,greek1 i1 #aji4    ,statues1 ,sounding1
 iii1 #f4    ,statues of ,memnon1 iii1  

#f4    ,stratagem1 an ,architect's1 i1  
#cji4    ,stratagem1 ,hogarth's1 i1     
#afi4    ,steen1 ,jan1 iii1 #bch2       
his ,works1 iii1 #bch2     ,kugler's    
,critique on1 iii1 #bdj2     ,frolics of
 ,steen and ,mieris1 iii1 #bda4         
,stephenson1 ,robert1 and the ,britannia
 ,bridge1 iii1 #df4    ,stuart1 ,charles
 ,gilbert1 i1 #abd2     his ,visit to   
,scotland and ,return before the ,mast1 
i1 #abe2     his ,visit to ,london1 i1  
#abe2     his ,skill in ,music1 and its 
,use in ,time of ,need1 i1 #abf2     his
 ,introduction to ,west1 i1 #abf2       
his ,portrait of ,west1 i1 #abf2     his
 ,scholarship1 i1 #aca2     his ,rule of
 half prepayment1 i1 #aca2     his      
,powers of ,perception i1 #acb2         
,allston's ,eulogium1 i1 #acc2     his  
great ,conversational ,powers1 i1 #acc2 
his ,success in ,europe1 i1 #acf2     in
 ,ireland1 i1 #acf2     his ,return to  
,america1 i1 #acg2     ,stuart and      
,washington1 i1 #acg2     his ,last     
,picture1 i1 #adb2     ,stuart1 his ,boy

 and his ,dog1 i1 #adb2     his ,mark1  
i1 #adb4     ,tasso's ,,ms4 of          
,gerusalemme ,liberata1 ii1 #aie4       
,temple of ,diana at ,ephesus1 i1 #add4 
,temple of ,jupiter ,olympius at        
,athens1 ii1 #afh4    ,temple of        
,jupiter ,capitolinus1 ii1 #aec1 and    
iii1 #ei4    ,temple of ,minerva at     
,athens1 ii1 #agj4    ,temple of        
,carnac1 iii1 #e4    ,temple of ,luxor1 
iii1 #e4    ,titian--,sketch of his     
,life1 ii1 #a2     his famous picture of
 ,st4 ,peter the ,martyr1 ii1 #b2       
his ,refusal of the ,office of the      
,leaden ,seal1 ii1 #d2     his different
 ,manners1 ii1 #e2     his ,works1 ii1  
#f2     his ,imitators1 ii1 #g2     his 
,venus1 ii1 #h2     ,ottley's           
,description of it1 ii1 #h2     ,titian 
and the ,emperor ,charles ,v41 ii4 #aj2 
extraordinary ,friendship of ,charles   
for ,titian1 his ,favors and            
,remarkable ,sayings1 ii1 #aa2          
,charles' rebukes to his jealous        
,nobles1 ii1 #ab2     ,titian and       

,philip ,,ii41 ii1 #ac2     his ,letter 
of ,congratulation to ,philip1 ii1 #ac2 
,philip and the ,titian ,venus1 ii1 #ad2
     ,titian's ,last ,supper and ,el    
,mudo1 ii1 #ad2     his ,old ,age1 ii1  
#ae2     ,monument to ,titian1 ii1 #ae4 
,thebes1 ,ancient1 iii1 #b4             
,theodoric the ,great--his ,love of     
,art1 iii1 #gc4    ,torregiano--his     
,visit to ,spain1 and his ,group of the 
,virgin and     ,child1 i1 #a2     his  
,horrid ,treatment and ,death1 i1 #b4   
,torres--,sarcasm on his ,imitations of 
,caravaggio1 iii1 #bje4                 
,transfiguration of ,raffaelle1 i1 #gb4 
,tristan1 ,luis1 i1 #bbi2     ,tristan  
and ,velasquez1 i1 #bbi2     ,tristan   
and ,el ,greco1 i1 #bcj4    ,triumvirate
 of ,historical ,painters1 i1 #bdd4     
,triumvirate of ,landscape ,painters1   
ii1 #ic4    ,triumvirate of ,neapolitan 
,painters1 ,intrigues of1 ii1 #abh4     
,uccello1 ,paolo1 one of the ,fathers of
 ,painting1 ii1 #bhg2     his           
,enthusiasm1 ii1 #bhh2     ,uccello and 

the ,monks of ,san ,miniato1 ii1 #bhi2  
his remarkable ,picture of the most     
distinguished ,artists of his     ,time1
 ii1 #bij2     his ,incredulity of ,st4 
,thomas1 ii1 #bia2     ,uccello and     
,donatello1 ii1 #bib4    ,utility of    
,ancient ,works1 ii1 #bhj4              
,vanbrugh1 ,sir ,john1 and his ,severe  
,critics1 ii1 #bba2     ,reynolds'      
celebrated ,criticism in his favor1 ii1 
#bba4    ,vase1 the ,portland1 ii1 #ef4 
,vandyck1 ,sir ,anthony--his ,conduct in
 the ,school of ,rubens1 iii1 #acf2     
his ,visit to ,italy1 iii1 #ach2     his
 ,return to ,antwerp1 iii1 #aci2     his
 ,success and the ,jealousy of ,artists1
 iii1 #adj2     his celebrated ,picture 
of the ,elevation of the ,cross1 and the
 ,canons     of ,courtray1 iii1 #adj2   
his ,visit to ,england1 iii1 #ada2      
his ,success and ,honors1 iii1 #ada2    
his ,death and ,character1 iii1 #adb2   
,remarkable ,instance of his ,rapidity  
of ,execution1 ii1 #cab4    ,velasquez1 
,don ,diego1 i1 #bbf2     ,velasquez and

 ,rubens compared by ,mrs4 ,jameson1 i1 
#bbf2     ,velasquez and ,philip        
,,iv--the favors and extraordinary      
,honors     conferred on him1 i1 #bbg2  
his ,skill in ,portraits1 i1 #bbg2      
his ,portrait of ,innocent ,x1 i1 #bbh2 
his ,generosity to his ,slave1 i1 #bbh4 
,velde1 ,william van de1 the ,elder1    
iii1 #adc2     his ,intrepidity in      
,painting ,naval ,engagements1 iii1     
#adc2     his ,invitation to ,england   
and his ,works1 iii1 #adc2     ,van de  
,velde and ,charles ,,ii41 iii1 #ade4   
,velde1 ,william van de1 the ,younger1  
iii1 #ade2     his ,admirable ,works1   
iii1 #adf2     ,present ,value of his   
,works1 iii1 #adg2     his numerous     
,drawings1 and their ,estimation and    
,value1 iii1 #adh4    ,veneziano1       
,domenico1 ii1 #add2     his treacherous
 ,death1 ii1 #add4    ,venice1          
,foundation of1 iii1 #gb4    ,venetian  
,horses1 the famous1 ,removal of from   
,paris1 iii1 #bif4    ,venus            
,anadyomene1 i1 #b4    ,venus of        

,cnidus1 i1 #aee4    ,venus de ,medici1 
i1 #adg4    ,venus ,victrix1 i1 #adg4   
,venus1 ,titian's1 ii1 #h4    ,vermeyen1
 ,john ,c41 and the ,emperor ,charles   
,v41 iii1 #bjf2     his singular ,dress 
and long ,beard1 iii1 #bjg4    ,vernet1 
,claude ,joseph1 ii1 #bie2     his      
,passion for ,art1 and his ,precocity1  
ii1 #bie2     his ,enthusiasm1 ii1 #bif2
     his ,sketching the ,tempest1 lashed
 to the ,mast1 ii1 #big2     his        
,arrival at ,rome1 ii1 #bih2     his    
,industry and ,poverty1 ii1 #bii2       
his ,alphabet of ,tones1 ii1 #bii2      
,vernet and the ,connoisseur1 ii1 #cja2 
his ,success and ,works1 ii1 #cja2      
,diderot's ,eulogy1 ii1 #cjc2     his   
,passion for ,music1 ii1 #cjf2     his  
,opinion of his own ,artistic ,merits1  
ii1 #cjg2     ,characteristic ,letter to
 the ,marquis de ,marigny1 ii1 #cji2    
his ,prices1 ii1 #caj4    ,vernet1      
,charles1 ii1 #caj2     his ,works1 ii1 
#caj2     his rebuke to a ,minister of  
,state1 ii1 #caa4    ,vernet1           

,horace--his ,life1 ,style1 and ,works1 
ii1 #af-bh4    ,vieira1 ,francisco--his 
,love ,romance1 iii1 #aie2     his      
,success1 iii1 #aih4    ,vinci1         
,lionardo da1 i1 #bff2     ,precocity of
 his ,genius1 i1 #bff2     his first    
remarkable ,picture1 i1 #bfg2     the   
extraordinary ,versatility of his       
,talents1 i1 #bfh2     his ,works at    
,milan1 i1 #bfh2     his famous ,battle 
of the ,standard1 i1 #bgj2     ,vinci   
and ,leo ,x41 i1 #bga2     ,vinci and   
,francis ,i41 i1 #bga2     his ,death1  
i1 #bgb2     his ,learning1 i1 #bgb2    
his ,writings1 i1 #bgc2     his ,sketch 
,books1 i1 #bge2     his ,last ,supper1 
i1 #bgf2     ,copies of his ,last       
,supper1 i1 #bgh2     his               
,discrimination1 i1 #bgi2     his ,idea 
of ,perfection in ,art1 i1 #bhj2        
,vinci and the ,prior1 i1 #bhb2     his 
,drawings of the ,heads in the ,last    
,supper1 i1 #bhd2     ,francis ,i4 and  
the ,last ,supper1 i1 #bhd2             
,authenticated ,works of ,da ,vinci1 i1 

#bhe4     ,weenix1 ,john ,baptist the   
,elder1 iii1 #bcf2     his wonderful    
,facility of ,hand1 iii1 #bcf4          
,weenix1 the ,younger1 iii1 #bcg4       
,weesop1 ,anecdote of1 i1 #caj4         
,west1 ,benjamin--his ,opinion of the   
,value of the ,fine ,arts to a          
,country1 i1 #h2     ,anecdotes of      
,west1 i1 #bh2     his ,ancestry1 i1    
#bh2     his ,birth1 i1 #bi2     his    
,first ,remarkable ,feat1 i1 #cj2       
his doings with the ,indians1 i1 #cj2   
his ,cat's-,tail's ,pencils1 i1 #cj2    
his ,first ,picture1 i1 #ca2     his    
,first ,visit to ,philadelphia1 i1 #cb2 
his ,ambition1 i1 #cc2     his ,first   
,patrons1 i1 #cd2     his ,education1 i1
 #ce2     his ,dedication to ,art1 i1   
#cf2     his ,early ,prices1 i1 #ch2    
his ,arrival at ,rome1 i1 #ci2     his  
,reception at ,rome1 i1 #dj2     his    
,criticism on the ,apollo ,belvidere1 i1
 #da2     his ,early ,friends1 i1 #da2  
his ,course of ,study1 i1 #db2     a    
,remarkable ,prophecy1 i1 #dc2     ,west

 in ,london--his ,fondness for ,skating1
 i1 #dd2     his ,death of ,wolfe1 i1   
#de2     his ,defense for ,innovation   
before the ,king1 i1 #df2     ,stuart's 
,anecdotes of ,west1 i1 #abg-aca4       
,wilson1 ,richard--his ,poverty and     
,want of ,appreciation1 i1 #f2          
,present ,value of his ,works1 i1 #f4   
,winde ,william--his successful         
,stratagem1 i1 #cii4    ,wissing1       
,william--,freedom of the ,times in     
,england in the reign of     ,charles   
,,ii41 i1 #cji4    ,wolf1 the ,bronze1  
the ,thunder-,stricken ,nurse of ,rome1 
i1 #ij4    ,wonders1 the ,seven1 of the 
,world1 iii1 #ge4    ,wren1 ,sir        
,christopher1 i1 #bij2     his          
,self-,command1 i1 #bij2     his        
,restraints in designing his ,edifices1 
i1 #bib2     the great ,fire in ,london1
 i1 #bic2     ,st4 ,paul's ,cathedral1  
i1 #bid2     his ,death1 i1 #bie2       
,wren and ,charles ,,ii41 i1 #bie4      
,zuccaro1 ,taddeo1 iii1 #bej2 his       
,poverty1 ,enthusiasm1 and ,works1 iii1 

#bea4    ,zuccaro1 ,federigo--his       
,resentment1 iii1 #bea2 ,royal          
,criticism on his     ,self-,adulation1 
iii1 #beb4     ,,footnotes3  ,footnote  
#a3 ,arnolfo had proposed to raise the  
cupola immediately above the first      
cornice1 from the model of the church in
 the chapel of the ,spaniards1 where the
 cupola is extremely small4 ,arnolfo was
 followed by ,giotto in #acca4 ,to      
,giotto succeeded ,taddeo ,gaddi1 after 
whom1 first ,andrea ,orgagna1 next      
,lorenzo di ,filippo1 and lastly        
,brunelleschi were architects of the    
,cathedral4  ,footnote #b3 ,the story of
 ,columbus and the ,egg is familiar to  
every one4 ,the jest undoubtedly        
originated with ,brunelleschi1 as it is 
attested by many of the ,italian        
writers2 it happened in #adbj1 fourteen 
years before ,columbus was born4        
,toscanelli was a great admirer of      
,brunelleschi1 whose knowledge of the   
,scriptures and powers of argument were 
so great1 that he could successfully    

dispute in public assemblies1 or in     
private with the most learned           
theologians1 so that ,toscanelli was    
accustomed to say that to hear ,filippo 
in argument1 one might fancy one's self 
listening to a second ,paul4 ,so capital
 a retort could hardly have failed to   
reach ,columbus1 through his instructor1
 nor would he have hesitated to use it  
against his antagonists under similar   
circumstances4 ,brunelleschi was born in
 #acgg and died in #addd2 ,columbus in  
#adcf1 and died in #aejf4  ,footnote #c3
 ,vasari means that ,lorenzo continued  
to receive his salary till #adbf1       
although ,filippo had been appointed    
sole master of the works in #adbc1 as he
 himself relates in the sequel4         
,footnote #d3 ,how different was the    
treatment ,ghiberti received from       
,brunelleschi1 when the artists         
presented their models for one of the   
bronze doors of the ,baptistery of ,san 
,giovanni at ,florence4 ,the designs of 
,ghiberti1 ,brunelleschi1 and           

,donatello1 were considered the three   
best2 but the two latter1 considering   
that ,ghiberti was fairly entitled to   
the prize1 withdrew their claims in his 
favor1 and persuaded the syndics to     
adjudge the work to him4 ,brunelleschi  
was requested to undertake the work in  
concert with ,ghiberti1 but he would not
 consent to this1 desiring to be first  
in some other art or undertaking than   
equal1 or perhaps secondary1 in another4
 ,now1 this was in truth1 says ,vasari1 
the sincere rectitude of friendship2 it 
was talent without envy1 and uprightness
 of judgment in a decision respecting   
themselves1 by which these artists were 
more highly honored than they could have
 been by conducting the work to the     
utmost summit of perfection4 ,happy     
spirits6 who1 while aiding each other   
took pleasure in commending the labors  
of their competitors4 ,how unhappy1 on  
the contrary1 are the artists of our    
day1 laboring to injure each other1 yet 
still unsatisfied1 they burst with envy1

 while seeking to wound others4         
,footnote #e3 ,this distrust seems      
astonishing1 after what ,brunelleschi   
had accomplished1 but it shows the      
opposition and enmity he had to         
encounter4 ,in #adcd1 he received a     
mortifying affront from the ,guild of   
,builders4 ,finding that he carried on  
the building without thinking to pay the
 annual tax due from every artist who   
exercised his calling1 they caused him  
to be apprehended and thrown into       
prison4 ,as soon as this outrage was    
known to the wardens1 they instantly    
assembled with indignation1 and issued a
 solemn decree1 commanding that ,filippo
 should be liberated1 and that the      
,consuls of the ,guild should be        
imprisoned1 which was accordingly done4 
,baldinucci discovered and printed the  
authentic document containing the       
decree1 which is dated ,august #bj1     
#adcd4  ,footnote #f3 ,masselli says    
that the ,tuscan braccio1 is the ancient
 ,roman foot doubled for greater        

convenience1 and is equal to one foot   
nine inches and six lines1 ,paris       
measure4 ,the editors of the ,florentine
 edition of ,vasari1 #ahdf-i1 remark    
that the measure of the whole edifice as
 given by ,vasari1 differs from that    
given by ,fantozzi2 the latter gives    
#aif braccia as its total height4       
,milizia says1 ,brunelleschi completed  
his undertaking1 which surpassed in     
height any work of the ancients4 ,the   
lantern alone remained imperfect2 but he
 left a model for it1 and always        
recommended1 even in his last moments1  
that it should be built of heavy marble1
 because the cupola being raised on four
 arches1 it would have a tendency to    
spring upwards if not pressed with a    
heavy weight4 ,the three mathematicians 
who have written on the cupola of ,st4  
,peter's1 have clearly demonstrated a   
truth differing from the opinion of     
,brunelleschi1 viz41 that the small     
cupola increases1 in a great degree1 the
 lateral pressure4 ,the whole height of 

the structure from the ground to the    
top1 is #che feet2 that is1 to the      
lantern #bic feet1 the latter being #fh 
feet #f inches2 the ball #h feet2 the   
cross #ae feet #f inches4 99  99  99    
,the plan of the dome is octangular2    
each side in the interior is #eg feet1  
and the clear width between the sides1  
not measuring into the angles1 is #acg  
feet2 the walls are #af feet #i inches  
thick2 the whole length of the church is
 #ejj feet4 ,the nave has four pointed  
arches on each side1 on piers1          
separating it from the side aisles4 ,the
 transept and choir have no side aisles1
 but are portions of an octagon1        
attached to the base of the dome1 giving
 the whole plan the figure of a cross4  
,the edifice has a ,gothic character1   
and is incrusted in marble and mosaic   
work4 99  99  99  ,according to         
,fontani1 this cupola exceeds that of   
the ,vatican1 both in height and        
circumference by four braccia2 and      
although supported by eight ribs only1  

which renders it much lighter than that 
of the ,vatican1 which has sixteen      
flanking buttresses1 it is nevertheless 
more solid and firm4 ,thus it has never 
required to be supported by circling    
hoops of iron1 nor has it demanded the  
labors of the many engineers and        
architects who have printed volumes upon
 the subject4 ,the construction of this 
cupola is remarkable in these           
particulars--that it is octangular1 that
 it is double1 and built entirely on the
 walls1 unsupported by piers1 and that  
there are no apparent counterforts4