,,anecdotes                             
,,of                                    
,,painters1 ,,engravers1                
,sculptors and ,architects1             
,,and                                   
,,curiosities ,,of ,,art4               
,,by                      ,,shearjashub 
,,spooner1 ,a4 ,b41 ,m4 ,d41            
,,author ,,of 8,a ,,biographical ,,and  
,,critical ,,dictionary ,,of ,,painters1
            ,,engravers1 ,,sculptors1   
,,and ,,architects1 ,,from ,,ancient    
,,to ,,modern ,,times40                 
,,in ,,three ,,volumes4                 
,,vol4 ,i4                              
,new ,york3                             
,,published ,,for ,,the ,,author1       
,,by ,g4 ,p4 ,,putnam  ,,company1 #aj   
,,park ,,place4                         
#ahec4          ,,preface4      ,this   
work is not a mere compilation1 or      
republication of anecdote4 ,it  will be 
found to contain much original matter1  
and much of the most  interesting and   
instructive portions of the history of  

art4 ,for a list  of authorities1 the   
reader is referred to the author's      
,dictionary of  ,painters1 etc41 and for
 a convenient reference1 to the ,index  
at the end  of vol4 iii4 ,the author has
 studied his subject con amore1 for many
  years1 and has gathered abundant      
materials for three more volumes1       
should these be favorably received4 ,but
 he fears lest in these  romance-loving 
days1 the recital of the trials1        
misfortunes1  achievements and          
exaltations of those men of genius and  
fine  sensibilities1 to whom the world  
is indebted for the creation and        
development of the most beautiful arts1 
will fail to arrest the  attention or   
move the heart4    ,although it does not
 become a man to prate of himself1 yet  
the author  trusts he will be pardoned  
when he speaks of his labors and their  
object4 ,for a long period1 his labors  
have been directed to the great  object 
of the restoration and publication of   
,napoleon's magnificent  works1 the     

,muse ,franais and the ,muse ,royal1 a  
notice of which may be  found in vol4   
iii41 page #cjb1 of this work4 ,he      
trusts he may soon be  able to present  
the first numbers to the public4 ,these1
 and his other  achieved undertakings1  
have made his life one of the most      
untiring  industry4 ,in order to find   
time for these enterprises1 and still   
attend  to the calls of his profession1 
he has been obliged to deprive himself  
of repose and relaxation2 and during the
 five years he was engaged in           
publishing ,boydell's ,illustrations of 
,shakspeare1 and in preparing his       
,dictionary for the press1 he spent but 
one evening out of his study1  except   
those of the ,sabbath1 relinquishing his
 toil only at midnight1 to  be resumed  
at dawn4    ,these self-imposed labors  
have not been assumed through any       
mercenary or  selfish motives4 ,his     
experience has taught him the precarious
 results of  literary and publishing    
enterprises of the nature undertaken by 

him1 in  the present state of the ,fine 
,arts in our country4 ,the amount of    
capital  and labor he has invested has  
been enormous1 and the risks            
proportionate2 his books admonish him   
that he has already embarked many       
thousands of dollars which he can never 
hope to regain4 ,still1 what he  has    
accomplished is to him a theme of pride 
and exultation2 it has also  been a     
labor of love4 ,his reward is the       
consciousness of having done  something 
toward awakening a love for1 and an     
interest in art and  artists1 and that  
he will leave to his countrymen1 for    
their delight and  instruction1 so many 
world-renowned and world-approved       
specimens of the  highest art4          
,posterity must be his judge2 but he    
cannot forbear to add1  that can he now 
succeed in restoring the great works    
before mentioned1  and leave them as a  
rich legacy to his country1 for the     
promotion of the  ,fine ,arts in coming 
time1 he will have accomplished his     

every earthly  aspiration4              
,,contents4      ,infelicities of       
,artists--an ,extract from the ,american
  ,edition of ,boydell's ,illustrations 
of ,shakspeare1  containing anecdotes of
 ,torregiano1 ,banks1  ,barry1 ,blake1  
,proctor1 c41                           
#a    ,advantages of the ,cultivation of
 the ,fine ,arts to  a ,country1        
#f    ,antiquity of the ,fine ,arts1    
#ab    ,the ,pcile at ,athens1          
#ac    ,mosaics1                        
#ae    ,the ,olympian ,jupiter1         
#ag    ,painting from ,nature1          
#ah    ,apelles1                        
#ah    ,apelles and the ,cobbler1       
#bc    ,apelles' ,foaming ,charger1     
#bd    ,apelles and ,alexander1         
#be    ,apelles and ,protogenes1        
#be    ,benjamin ,west's ,ancestry1     
#bh    ,west's ,birth1                  
#bi    ,west's first remarkable ,feat1  
#cj    ,little ,benjamin and the        
,indians1                               
#cj    ,west's ,cat's ,tail ,pencils1   

#cj    ,west's ,first ,picture1         
#ca    ,west's first ,visit to          
,philadelphia1                          
#cb    ,west's ,ambition1               
#cc    ,west's first ,patron1           
#cd    ,west's ,education1              
#ce    ,west's ,dedication to ,art1     
#cf    ,west's ,early ,prices1          
#ch    ,west's ,arrival at ,rome1       
#ci    ,west's ,early ,friends1         
#da    ,west's ,course of ,study1       
#dc    ,a ,remarkable ,prophecy1        
#dc    ,west's ,fondness for ,skating1  
#dd    ,west's 8,death of ,wolfe10      
#de    ,michael ,angelo1                
#dg    ,michael ,angelo and ,julius     
,,ii41                                  
#ej    ,st ,peter's ,church1            
#ej    ,michael ,angelo and ,lorenzo the
 ,magnificent1                          
#eb    ,the ,cartoon of ,pisa1          
#ec    ,michael ,angelo's ,last         
,judgment1                              
#ed    ,michael ,angelo's ,coloring1    
#ef    ,michael ,angelo's ,grace1       

#eg    ,michael ,angelo's ,oil          
,paintings1                             
#eh    ,michael ,angelo1 his            
8,prophets10 and ,julius ,,ii41         
#eh    ,bon-,mots of ,michael ,angelo1  
#ei    ,washington ,allston1            
#fj    ,allston and ,vanderlyn1         
#fb    ,american ,patronage at ,home and
 ,abroad1                               
#ff    ,raffaelle ,sanzio di ,urbino1   
#gj    ,raffaelle's ,ambition1          
#gj    ,raffaelle and ,michael ,angelo1 
#ga    ,raffaelle's ,transfiguration1   
#gb    ,death of ,raffaelle1            
#gd    ,character of ,raffaelle1        
#gd    ,la ,bella ,fornarina1           
#ge    ,the ,genius of ,raffaelle1      
#gf    ,raffaelle's ,model for his      
,female ,saints1                        
#gf    ,raffaelle's ,oil ,paintings1    
#gg    ,portraits of ,pope ,julius      
,,ii41                                  
#gh    ,manners of ,raffaelle1          
#gh    ,peter ,paul ,rubens1            
#gi    ,rubens' ,visit to ,italy1       

#hj    ,rubens' ,enthusiasm1            
#hj    ,rubens' ,return to ,antwerp1    
#ha    ,rubens' ,habits1                
#hb    ,rubens' ,detractors1            
#hb    ,the ,gallery of the ,luxembourg1
                                        
#hc    ,rubens sent as ,ambassador to   
the ,courts of ,spain  and ,england1    
#hc    ,death of ,rubens1               
#he    ,rubens' ,numerous ,works1       
#hf    ,the first ,picture brought to   
,rome1                                  
#hh    ,etruscan ,sculpture1            
#ij    ,campus ,martius1                
#ia    ,electioneering ,pictures at     
,rome1                                  
#ia    ,dramatic ,scenery at ,rome1     
#ic    ,apelles of ,ephesus and ,ptolemy
 ,philopator1                           
#ic    ,apelles' famous ,picture of     
,calumny1                               
#id    ,sir ,godfrey ,kneller1          
#if    ,kneller and ,james ,,ii41       
#ig    ,kneller's ,compliment to ,louis 
,,xiv41                                 

#ig    ,kneller's ,wit1                 
#ih    ,kneller's ,knowledge of         
,physiognomy1                           
#ii    ,kneller as ,justice of the      
,peace1                                 
#ii    ,kneller and ,clostermans1       
#ajj    ,the ,cavaliere ,bernini1       
#aja    ,bernini's ,precocity1          
#aja    ,bernini's ,striking            
,prediction1                            
#aja    ,bernini and ,louis ,,xiv41     
#ajb    ,bernini's ,works1              
#ajc    ,bernini and the ,verospi       
,hercules1                              
#ajd    ,fanaticism destructive to ,art1
                                        
#ajd    ,paintings ,evanescent1         
#ajf    ,the ,english ,national         
,gallery1                               
#ajg    ,the ,nude ,figure1             
#aji    ,different ,schools of ,painting
 ,compared1                             
#aaj    ,the ,old ,masters1             
#aaa    ,prices of ,galleries1          
#aab    ,love makes a ,painter1         

#aab    ,john ,wesley ,jarvis1          
#aac    ,the ,biggest ,lie1             
#aah    ,jarvis and ,bishop ,moore1     
#aai    ,jarvis and ,commodore ,perry1  
#aai    ,jarvis and the ,philosopher1   
#abj    ,jarvis and ,dr4 ,mitchell1     
#abj    ,jarvis' ,habits1               
#aba    ,robert ,fulton1                
#abb    ,an ,exalted ,mind and ,true    
,patriot1                               
#abc    ,gilbert ,charles ,stuart1      
#abd    ,stuart goes to ,london1        
#abe    ,stuart as ,organist1           
#abf    ,stuart's ,introduction to      
,west1                                  
#abf    ,stuart and ,west1              
#abh    ,stuart's ,scholarship1         
#aca    ,stuart's ,rule of the ,payment 
of ,half-,price at the  ,first ,sitting1
                                        
#aca    ,stuart's ,powers of            
,perception1                            
#acb    ,stuart's ,conversational       
,powers1                                
#acc    ,stuart in ,ireland1            

#acf    ,stuart's ,return to ,america1  
#acg    ,stuart and ,washington1        
#acg    ,stuart's ,last ,picture1       
#ach    ,stuart's ,reputation1          
#aci    ,stuart's ,drawing1             
#aci    ,stuart a ,punster1             
#adj    ,stuart born in a ,snuff-,mill1 
#adj    ,stuart's ,nose1                
#adj    ,stuart's ,sitters1             
#ada    ,stuart's ,mark1                
#adb    ,stuart and his ,dog1           
#adb    ,the ,temple of ,diana at       
,ephesus1                               
#add    ,the ,dying ,gladiator1         
#add    ,fabius ,maximus1               
#ade    ,love of the ,arts among the    
,romans1                                
#adf    ,comparative ,merits of the     
,venus de ,medici and the  ,venus       
,victrix1                               
#adg    ,the ,effect of ,painting on the
 ,mind1                                 
#adg    ,pausias1                       
#adh    ,the ,garland ,twiner1          
#adh    ,protogenes1 the great ,rhodian 

,painter1                               
#adi    ,parrhasius1                    
#aej    ,the ,demos1 and other ,works of
 ,parrhasius1                           
#aej    ,parrhasius and the ,olynthian  
,captive1                               
#aea    ,the ,vanity of ,parrhasius1    
#aeb    ,the ,invention of the          
,corinthian ,capital1                   
#aeb    ,the ,invention of ,sculpture1  
#aec    ,praxiteles1                    
#aed    ,praxiteles and ,phidias        
compared1                               
#aed    ,the ,works of ,praxiteles1     
#aee    ,the ,venus of ,cnidus1         
#aee    ,praxiteles and ,phryne1        
#aef    ,the ,king of ,bithynia and the 
,venus of ,cnidus1                      
#aeg    ,phidias1                       
#aeg    ,phidias and ,alcamenes1        
#aei    ,ingratitude of the ,athenians1 
#aei    ,the ,jupiter of ,phidias1      
#afj    ,phidias' ,model for the        
,olympian ,jupiter1                     
#afa    ,apollodorus1 the ,athenian1    

#afb    ,apollodorus1 the ,architect1   
#afc    ,trajan's ,column1              
#afd    ,the ,death of ,apollodorus1    
#afe    ,hogarth1                       
#aff    ,hogarth's ,apprenticeship1     
#afg    ,hogarth's ,revenge1            
#afh    ,hogarth's ,method of           
,sketching1                             
#afh    ,hogarth's ,marriage1           
#afh    ,successful ,expedient of       
,hogarth1                               
#afi    ,hogarth's ,picture of the ,red 
,sea1                                   
#agj    ,hogarth's ,courtesy1           
#aga    ,hogarth's ,absence of ,mind1   
#aga    ,hogarth's ,march to ,finchley1 
#agb    ,hogarth's unfortunate          
,dedication of a ,picture1              
#agb    ,hogarth's manner of selling his
 ,pictures1                             
#agb    ,hogarth's ,last ,work1         
#age    ,jacques ,louis ,david1         
#agf    ,david's ,picture of the        
,coronation of ,napoleon1               
#agh    ,david and the ,duke of         

,wellington1                            
#ahd    ,david and the ,cardinal        
,caprara1                               
#ahe    ,david at ,brussels1            
#ahe    ,pierre ,mignard1               
#ahf    ,sir ,joshua ,reynolds1         
#ahh    ,reynolds' ,new ,style1         
#ahi    ,reynolds' ,prices1             
#aia    ,reynolds' in ,leicester        
,square1                                
#aib    ,the ,founding of the ,royal    
,academy1                               
#aid    ,reynolds and ,dr4 ,johnson1    
#aie    ,dr4 ,johnson's ,friendship for 
,reynolds1                              
#aif    ,johnson's ,apology for         
,portrait ,painting1                    
#aig    ,the ,literary ,club1           
#aih    ,johnson's ,portrait1           
#aih    ,johnson's ,death1              
#aii    ,reynolds and ,goldsmith1       
#aii    ,the ,deserted ,village1        
#bjj    ,goldsmith's 8,retaliation10    
#bjj    ,pope a ,painter1               
#bja    ,reynolds' ,first ,attempts in  

,art1                                   
#bjb    ,the ,force of ,habit1          
#bjb    ,paying the ,piper1             
#bjc    ,reynolds' ,modesty1            
#bjc    ,reynolds' ,generosity1         
#bjc    ,reynolds' ,love of his ,art1   
#bjd    ,reynolds' ,criticism on        
,rubens1                                
#bje    ,reynolds and ,haydn's          
,portrait1                              
#bjf    ,rubens' ,last ,supper1         
#bjf    ,reynolds' ,skill in            
,compliments1                           
#bjg    ,excellent ,advice1             
#bjh    ,sir ,joshua ,reynolds and his  
,portraits1                             
#bjh    ,reynolds' ,flag1               
#bji    ,burke's ,eulogy1               
#bji    ,reynolds' ,estimate and ,use of
 ,old ,paintings1                       
#baj    ,influence of the ,inquisition  
upon ,spanish ,painting1                
#baa    ,a ,melancholy ,picture of the  
,state of the ,fine ,arts  in ,spain1   
#bag    ,don ,diego ,velasquez1         

#bbf    ,velasquez honored by the ,king 
of ,spain1                              
#bbg    ,velasquez's ,slave1            
#bbh    ,luis ,tristan1                 
#bbi    ,tristan and ,el ,greco1        
#bcj    ,alonso ,cano1                  
#bcj    ,cano's ,liberality1            
#bca    ,cano's ,eccentricities1        
#bca    ,cano's ,hatred of the ,jews1   
#bcb    ,cano's ,ruling ,passion strong 
in ,death1                              
#bcd    ,ribalta's ,marriage1           
#bce    ,aparicio1 ,canova1 and         
,thorwaldsen1                           
#bcf    ,bartolom ,estban ,murillo1     
#bcf    ,murillo and ,velasquez1        
#bcf    ,murillo's ,return to ,seville1 
#bcg    ,murillo and ,iriarte1          
#bch    ,murillo's ,death1              
#bch    ,murillo's ,style1              
#bci    ,murillo's ,works1              
#bdj    ,murillo's ,assumption of the   
,virgin1                                
#bda    ,castillo's ,tribute to         
,murillo1                               

#bdb    ,correggio1                     
#bdc    ,correggio's ,grand ,cupola of  
the ,church of ,st4  ,john at ,parma1   
#bdd    ,correggio's ,grand ,cupola of  
the ,cathedral at  ,parma1              
#bdf    ,correggio's ,fate1             
#bdi    ,annibale ,caracci's ,opinion of
 ,correggio's ,grand  ,cupola at ,parma1
                                        
#bec    ,correggio's ,enthusiasm1       
#bee    ,correggio's ,grace1            
#bee    ,correggio and the ,monks1      
#bef    ,correggio's ,muleteer1         
#bef    ,duke of ,wellington's          
,correggio captured at ,vittoria1       
#beg    ,correggio's ,ancona1           
#beg    ,portraits of ,correggio1       
#beh    ,did ,correggio ever visit      
,rome8                                  
#bei    ,singular ,fate of ,correggio's 
,adoration of the ,shepherds1           
#bfa    ,curious ,history of            
,correggio's 8,education of ,cupid10    
#bfb    ,magdalen by ,correggio1        
#bfd    ,discovery of a ,correggio1     

#bfe    ,lionardo da ,vinci1            
#bff    ,precocity of ,da ,vinci's      
,genius1                                
#bff    ,extraordinary ,talents of ,da  
,vinci1                                 
#bfh    ,da ,vinci's ,works at ,milan1  
#bfh    ,da ,vinci's 8,battle of the    
,standard10                             
#bgj    ,lionardo da ,vinci and ,leo    
,x41                                    
#bga    ,lionardo da ,vinci and ,francis
 ,i41                                   
#bga    ,death of ,da ,vinci1           
#bgb    ,da ,vinci's ,learning1         
#bgb    ,da ,vinci's ,writings1         
#bgc    ,da ,vinci's ,sketch ,books1    
#bge    ,the ,last ,supper of ,lionardo 
da ,vinci1                              
#bgf    ,copies of the ,last ,supper of 
,da ,vinci1                             
#bgh    ,da ,vinci's ,discrimination1   
#bgi    ,da ,vinci's ,idea of           
,perfection in ,art1                    
#bhj    ,da ,vinci and the ,prior1      
#bhb    ,da ,vinci's ,drawings of the   

,heads in his celebrated  ,last ,supper1
                                        
#bhd    ,francis ,i4 and the ,last      
,supper of ,da ,vinci1                  
#bhd    ,authenticated ,works of ,da    
,vinci1                                 
#bhe    ,works in ,niello1              
#bhf    ,sir ,christopher ,wren1        
#bij    ,wren's ,self-,command1         
#bij    ,wren's ,restraints in designing
 his ,edifices1                         
#bib    ,the ,great ,fire in ,london1   
#bic    ,st4 ,paul's ,cathedral1        
#bid    ,wren's ,death1                 
#bie    ,wren and ,charles ,,ii41       
#bie    ,thomas ,banks1 the ,english    
,sculptor1                              
#bie    ,the ,genius of ,banks1         
#big    ,banks' ,kindness to ,young     
,sculptors1                             
#bih    ,the ,personal ,appearance and  
,character of ,banks1                   
#bii    ,flaxman's ,tribute to ,banks1  
#cjj    ,joseph ,nollekens1 the ,english
 ,sculptor1                             

#cja    ,nollekens' ,visit to ,rome1    
#cja    ,nollekens and ,garrick1        
#cjb    ,nollekens' ,talent in ,bust    
,sculpture1                             
#cjc    ,nollekens' ,bust of ,dr4       
,johnson1                               
#cjd    ,nollekens' ,liberality to      
,chantrey1                              
#cjd    ,nollekens and the ,widow1      
#cje    ,nollekens' ,compliments1       
#cjf    ,an ,overplus of ,modesty1      
#cjg    ,the ,artist ,footman1          
#cjh    ,an ,architect's ,stratagem1    
#cji    ,the ,freedom of the ,times in  
the ,reign of ,charles ,,ii41           
#cji    ,hanneman's ,picture of         
8,peace10                               
#caj    ,weesop1                        
#caj          ,,anecdotes    ,,of       
,,painters1 ,,engravers1 ,,sculptors1   
,,and ,,architects4          ,,extract  
,,from ,,text ,,to ,,plate ,,liii ,,of  
,,the ,,american ,,edition ,,of         
,,boydell',s  ,,illustrations ,,of      
,,shakspeare4      ,it is deemed        

appropriate to devote this page to the  
infelicities which  often fall to the   
lot of men of genius1 in hopes to strike
 a sympathetic  chord2 since to them the
 world owes all that is beautiful as    
well as  useful in art4 ,it is well     
known that men of fine imaginations and 
delicate taste1 are generally           
distinguished for acute sensibilities1  
and  for being deficient in more        
practical qualities2 they are frequently
  eccentric1 and illy adapted to contend
 with the coldness and  indifference of 
the world1 much less its sarcasm and    
enmity4 ,the history  of ,art is full of
 melancholy examples4    ,when          
,torregiano1 the cotemporary of ,michael
 ,angelo1 had finished his  exquisite   
group of the ,madonna and ,child for the
 ,duke d',arcos1 with the  assurance of 
a rich reward1 the nobleman sent two    
servants1 bearing two  well-filled bags 
of money1 with orders to bring the work 
to his palace4  ,the sculptor1 upon     
opening the bags1 found nothing but     

brass maravedi6  ,filled with just      
indignation1 he seized his mallet1 in a 
moment of  uncontrollable rage1 and     
smashed the beautiful group into a      
thousand  pieces1 saying to the         
servants1 8,go1 take your base metal to 
your  ignoble lord1 and tell him he     
shall never possess a sculpture by my   
hand60 ,the infamous nobleman1 burning  
with shame1 resolved on a terrible      
revenge2 he arraigned the unhappy artist
 before the ,inquisition1 on a  charge  
of sacrilege for destroying the sacred  
images4 ,torregiano was  imprisoned and 
condemned to death by torture2 but to   
escape that awful  fate1 he destroyed   
himself in the dungeon4    ,it is not   
necessary to go back further than the   
history of this work1 to  find          
melancholy examples of the trials of    
genius4 ,thomas ,banks vainly           
endeavored to introduce a lofty and     
heroic style of sculpture into his      
native country4 ,he could obtain no     
commissions to execute in marble his    

most beautiful and sublime compositions1
 and was compelled to confine  himself  
to monumental sculpture4 ,james ,barry1 
after struggling with  poverty and      
neglect all his days1 died in a garret1 
a raving maniac4 ,a  subscription had   
been started for his relief2 but it was 
all expended in  defraying his funeral  
expenses1 and in erecting a monument to 
his memory  in ,st4 ,paul's ,cathedral1 
with this inscription1--8,the ,great    
,historical  ,painter1 ,,james ,,barry4 
,died1 ,feb4 #ahjf1 aged #fe06 ,his     
remains were laid  out in state1 in the 
,great ,room of the ,adelphi--the true  
and appropriate  monument of his genius4
 ,the ,society had requested the members
 of the  ,royal ,academy to decorate    
their ,room1 and when all others        
declined1  ,barry nobly came forward1   
and offered his services gratuitously1  
which  were gladly accepted4 ,he spent  
seven long years in decorating this     
apartment with fresco paintings1 which  
the ,society publicly declared was  8a  

national ornament1 as well as a monument
 of the talents and ingenuity  of the   
artist02 and ,dr4 ,johnson said1 8,they 
shew a grasp of mind that  you will find
 nowhere else40 ,observe the contrast3  
,cunningham says1 that  when he began   
this great work1 he had but a shilling  
in his pocket1 and  during its execution
 he lived on the coarsest fare1 in a    
miserable  garret1 subsisting by the    
sale of an occasional drawing1 when he  
could  find a purchaser6    ,the life of
 ,william ,blake presents a picture no  
less melancholy4 ,an  eccentric and     
extraordinary genius1 he seemed1 in the 
flights of his  wild imagination1 to    
hold converse with the spirits of the   
departed2 and  in some of his works     
there is a truly wonderful sublimity of 
conception  and grandeur of execution4  
,although not appreciated during his    
lifetime1  he toiled on in abject       
poverty with indefatigable industry1    
reveling in  visions of future fame4    
,his ,ancient of ,days was his greatest 

favorite2  three days before his death1 
he sat bolstered up in bed1 and touched 
it  over and over with the choicest     
colors1 in his happiest style2 then held
  it off at arms' length1 exclaiming1   
8,there6 that will do6 ,i cannot mend   
it40 ,observing his wife in tears1 he   
said1 8,stay1 ,kate6 keep just as you   
are2 ,i will draw your portrait1 for you
 have been an angel to me40 ,she        
obeyed1 and the dying artist made a fine
 likeness4 ,he was cheerful and         
contented to the last4 8,i glory10 said 
he1 8in dying1 and have no grief  but in
 leaving you1 ,katharine2 we have lived 
happy and we have lived  long2 we have  
ever been together1 but we shall be     
divided soon4 ,why  should ,i fear      
death6 ,nor do ,i fear it4 ,i have      
endeavored to live as  ,christ commands1
 and have sought to worship ,god truly40
 ,on the day of  his death1 ,aug4 #ab1  
#ahbg1 he composed and sung hymns to his
 ,maker1 so  sweetly to the ear of his  
beloved ,katharine1 that she stood wrapt

 to  hear him4 ,observing this1 he said 
to her1 with looks of intense           
affection1 8,my beloved1 they are not   
mine--no1 they are the songs of the     
angels40    ,young ,proctor1 the        
sculptor1 was a student of the rarest   
promise1 in the  ,royal ,academy4 ,after
 obtaining two silver medals1 the       
president1  ,benjamin ,west1 had the    
suggestion conveyed to him1 that he had 
better  execute a historical            
composition4 ,accordingly1 in the next  
year1 ,proctor  produced his model of   
8,ixion on the ,wheel10 and in the      
following year1  8,pirithous slain by   
,cerberus10 both of which excited great 
admiration4  ,in the third year1 he     
conceived a much bolder flight of       
imagination1  8,diomed torn in pieces by
 ,wild ,horses10 which was far more     
successful  than his previous efforts1  
approaching1 in the opinion of the best 
judges1 the grandeur of ,michael        
,angelo1 and even the ,phidian period of
  ,greek design4 ,but this noble        

emanation of high native talent could   
not  find a purchaser1 and at the close 
of the exhibition it was returned to    
the studio of the sculptor1 who1 stung  
to the heart by this severe             
disappointment1 instantly destroyed his 
sublime creation4 ,derided by his  more 
favored but less deserving              
cotemporaries1 ,proctor shunned society1
  and having exhausted all his means of 
support to produce this last work1  he  
was reduced to the greatest straits4    
,when ,mr4 ,west1 after some time1      
succeeded in ascertaining the place of  
his obscure retreat1 he stated  the     
circumstance to the ,academy1 who       
unanimously agreed to send ,proctor  to 
,italy1 with the usual pension1 and     
fifty pounds besides1 for  necessary    
preparations4 ,this joyful intelligence 
was immediately  communicated to the    
despairing artist1 but it came too late6
 his  constitution1 undermined by want  
and vexation1 was unable to bear the    
revulsion of his feelings1 and he       

shortly after breathed his last1 8a     
victim10 says his biographer1 8to       
anti-national prejudices40    ,the life 
of ,thomas ,kirk1 termed the 8,english  
,raffaelle10 is another  melancholy     
example of unappreciated genius4        
,chagrin and disappointment  of his     
ambitious hopes1 consigned him to an    
untimely grave4 ,taylor1 in  his        
,history of the ,fine ,arts in ,great   
,britain1 says1 that a few years  ago1  
one of ,hogarth's pictures brought at   
public sale in ,london1 more  money than
 the artist ever received for all his   
paintings together4  ,nollekens1 the    
sculptor1 bought two landscapes of      
,richard ,wilson1 for  fifteen guineas1 
to relieve his pressing necessities4 ,at
 the sale of the  effects of the former 
after his decease1 they brought two     
hundred and  fifty guineas each6        
,shall instances like these stain the   
annals of ,american ,art1 or will  this 
free people accord to its gifted sons   
the encouragement they so  richly       

deserve8 ,may the sympathies of those   
who can perceive in painting  and       
sculpture1 most efficient means of      
mental culture1 refinement1 and         
gratification1 be enlisted by these sad 
memories1 to render timely              
encouragement to exalted genius6 ,it    
adds to national and individual  profit1
 pride1 and glory4 ,how much does       
,america owe ,robert ,fulton and  ,eli  
,whitney8 ,millions1 untold millions6   
,,advantages ,,of ,,the ,,cultivation   
,,of ,,the ,,fine ,,arts ,,to ,a        
,,country4      ,the advantages which a 
country derives from the cultivation of 
the fine  arts1 are thus admirably      
summed up by ,sir ,m4 ,a4 ,shee1 late   
,president of  the ,royal ,academy1     
,london3--    8,it should be the policy 
of a great nation to be liberal and     
magnificent2 to be free of her rewards1 
splendid in her establishments1  and    
gorgeous in her public works4 ,these are
 not the expenses that sap  and mine the
 foundations of public prosperity1 that 

break in upon the  capital1 or lay waste
 the income of a state2 they may be said
 to arise  in her most enlightened views
 of general advantage2 to be amongst her
  best and most profitable speculations2
 they produce large sums of  respect and
 consideration from our neighbors and   
competitors1 and of  patriotic          
exultation among ourselves2 they make   
men proud of their  country1 and from   
priding it1 prompt in its defense2 they 
play upon all  the chords of generous   
feeling1 elevate us above the animal and
 the  machine1 and make us triumph in   
the powers and attributes of men40      
,sir ,george ,beaumont1 in a letter to  
,lord ,dover1 on the subject of the     
purchase of the ,angerstein collection  
by the government1 speaking of the      
benefit which a country derives from the
 possession of the best works of  art1  
says1 8,my belief is that the ,apollo1  
the ,venus1 the ,laocon1 c41  are worth 
many thousands a year to the country    
that possesses them40  ,when ,parliament

 was debating the propriety of buying   
the ,angerstein  ,collection for        
#fj1jjj1 he advocated the measure with  
enthusiasm1 and  exclaimed1 8,buy this  
collection of pictures for the nation1  
and ,i will  give you mine40 ,and this  
he nobly did1 not in the form of a      
bequest1 but  he transferred them at    
once as soon as the galleries were      
prepared for  their reception1 with the 
exception of one little gem1 with him a 
household god1 which he retained till   
his death4 ,this picture was a          
landscape by ,claude1 with figures      
representing ,hagar and her child1 and  
he was so much attached to it that he   
took it with him as a constant          
traveling companion4 ,when he died1 it  
was sent to its place in the  ,gallery4 
,the value of this collection was       
#gj1jjj guineas4 ,such instances  of    
noble generosity for public benefaction1
 deserve to be held in  grateful        
remembrance1 and should be 8written in  
letters of gold on  enduring marble10   

for the imitation of mankind4    ,after 
the peace of ,amiens1 ,benjamin ,west   
visited ,paris1 for the purpose  of     
viewing the world's gems of art1 which  
,bonaparte had collected  together in   
the ,louvre4 ,he had already conceived a
 project for  establishing in ,england a
 national institution for the           
encouragement of  art1 similar to that  
of the ,louvre1 and he took occasion one
 day1 while  strolling about the        
galleries in company with ,mr4 ,fox1 the
 ,british  minister1 and ,sir ,francis  
,baring1 to point out to them the       
advantages of  such an institution1 not 
only in promoting the ,fine ,arts1 by   
furnishing  models of study for artists1
 but he showed the propriety1 in a      
commercial point of view1 of encouraging
 to a seven fold extent1 the  higher    
department of art in ,england4          
,cunningham relates that ,fox was so    
forcibly struck with his remarks that he
 said1 8,i have been rocked in  the     
cradle of politics1 but never before was

 so much struck with the  advantages1   
even in a political bearing1 of the     
,fine ,arts1 to the  prosperity1 as well
 as the renown of a kingdom2 and ,i do  
assure you1 ,mr4  ,west1 if ,i ever have
 it in my power to influence our        
government to  promote the ,arts1 the   
conversation which we have had to-day   
shall not be  forgotten40 ,sir ,francis 
,baring also promised his hearty        
coperation4  ,west was mainly           
instrumental in establishing the ,royal 
,british  ,institution4 ,taylor1 in his 
,history of the ,fine ,arts in ,great   
,britain1  says1 he battled for years   
against coldly calculating politicians  
for  its accomplishment2 at length1 his 
plan was adopted with scarcely an       
alteration4    8,the commercial states  
of the classic ages of antiquity held   
the arts in  very high estimation4 ,the 
,rhodians were deeply engaged in        
commerce1 yet  their cultivation of the 
arts1 more especially that of sculpture1
 was  most surprising4 ,the people of   

gina were equally engaged in commercial 
pursuits1 but they were also admired for
 the correctness and elegance of  their 
taste and manners1 as well as their     
sculpture4 ,a more ancient  people      
still1 the ,phnicians1 ,tyrians1        
,tyrrhenians1 ,etruscans1 or            
,carthagenians1 who were all colonies   
from one race of men1 long before  the  
foundation of ,rome1 understood and     
taught others the working in  metals1   
one instance of which is remarkable3    
,hiram1 king of ,tyre1 cast  the brazen 
sea1 and other immense objects in metal1
 for ,solomon's  temple4 ,let us cast   
our eyes on ,argos1 ,athens1 ,corinth1  
and ,sicyon1  those ancient abodes of   
good taste and transcendent genius2 each
 of them  were commercial states and    
cities4 ,the remains of their           
beautifully-sculptured marbles1 which   
once were in profusion1 and of  which we
 now strive to possess even the         
fragments1 at almost any cost1  show    
evidently that their commercial pursuits

 and relations with other  countries had
 not narrowed1 if it had not rather     
developed1 the powers1  and given that  
elastic vigor to the human mind that    
can1 under due  encouragement1 overcome 
the greatest difficulties1 and produce  
the  grandest or the most enchanting    
works of utility or imagination4 ,the   
marble quarries of ,paros and           
,pentelicus were by such encouragements 
transformed into the noblest temples and
 most exquisitely beautiful  statues of 
deities1 heroes1 and men1 that it is    
possible to conceive4  ,such was the    
case throughout all the cities on the   
coast of the gean  sea and of the       
,cyclades4 ,their arts increased their  
commerce2 this was  the source of their 
wealth2 and fully aware of these        
advantages1 their  wealth reacted again 
on their arts1 and thus there was kept  
alive that  healthful movement of the   
whole popular mind1 directed to the     
useful and  elegant purposes of life4   
8,let us come down to much later times1 

and to states far less remote1  and ask 
what it was that gave such wealth and   
consequence to ,venice1  ,genoa1        
,holland1 and ,flanders1 to ,pisa1      
,florence1 and ,lucca1 not one of  which
 states possessed much extent of        
territory1 nor any large amount  of     
population8 ,the answer is1 #8their     
commercial enterprise and industry  did 
it for them4' ,true2 but it is equally  
remarkable1 that in all these  states   
and cities the fine arts gave their     
powerful aid to those  pursuits1 as the 
splendid manufactures of these people   
testify4 ,and  where have the arts been 
fostered with more parental solicitude1 
or in  what region have they shed more  
glory upon mankind1 than they have done 
in these comparatively small            
territories8 ,but it was the same       
principle  that produced such splendid  
works in ,greece3 the cause and effect  
were  precisely the same1 the mode only 
was changed4 ,but the principles are    
universal and eternal1 and they may be  

brought to operate in other  countries1 
to the fullest extent1 and with as much 
grandeur1 grace1 and  beauty1 as they   
ever did attain1 even in their most     
prosperous periods1  under the guidance 
of ,pericles1 when they reached the     
highest splendor  of ,chryselephantine  
art1 under the master minds of ,phidias 
and  ,praxiteles1 ,callicrates and      
,ictinus1 and at a later period         
displayed the  equally resplendent      
genius of ,apelles1 ,zeuxis1 and        
,parrhasius1 in the  time of            
,alexander--those splendid epochs of    
painting1 sculpture1 and  architecture1 
which shed an imperishable lustre upon  
the most  enlightened states of the     
,hellenodic confederacy1 and on the     
throne of  the greatest conqueror of    
ancient times4 ,we must not omit        
mentioning  their palmy state in the    
,augustan age of ,rome1 and their still 
more  glorious elevation there during   
the memorable cinque cento4    8,but to 
reach these proud eminences of          

intellectual grandeur and  extensive    
usefulness1 the arts must be solicited1 
ample protection must  be afforded to   
them2 similar inducements to those which
 produced these  great results must not 
only be offered1 but substantially and  
permanently provided for their use4     
,this garden of the human intellect     
must be regularly and assiduously       
cultivated with great care1 and kept    
clear of the noxious weeds that would   
deform its beauties4 ,under genial      
treatment1 all its charms develop       
themselves1 and an endless variety of   
interesting and charming creations are  
called into existence1  illustrating the
 high principles of religion1 the       
noblest traits of  moral and heroic     
conduct1 and the sweetest dreams of the 
poetic muse3  but the turmoils of war   
and high political contention are to    
them most  injurious1 blasting their    
fairest bloom1 as the poisonous simoon  
of the  desert withers the gardens of   
,palestine2 and to these two causes1 and

  these only1 aided by anti-,english    
prejudice1 can we attribute the very    
slow advances which the arts had made   
among the natives of ,britain until  the
 auspicious period of which we are now  
treating0--time of ,george              
,,iii4--,taylor's ,history of the ,fine 
,arts in ,great ,britain1 vol4 ii1 p4   
#aej4          ,,antiquity ,,of ,,the   
,,fine ,,arts4      ,homer1 who         
flourished about ,b4 ,c4 #ijj1 gives a  
striking proof of the  antiquity of the 
fine arts1 in his description of that   
admirable piece  of chased and inlaid   
work--the shield of ,achilles4 ,its rich
 design  could not have been imagined1  
unless the arts necessary to produce it 
had arrived to a high degree of         
perfection in his country at the time he
  wrote1 though we may doubt whether1 at
 the period of the ,trojan war1  three  
hundred years before ,homer1 there      
existed artificers capable of  executing
 it4    ,within a century after the     
taking of ,troy1 the ,greeks had founded

 many  new colonies in ,asia ,minor1 and
 the ,heraclid finally regained their   
ancient seats in the ,peloponnesus4 ,it 
is worthy of remark that about  that    
period1 ,david built his house of       
cedars1 and ,solomon adorned  ,jerusalem
 with her magnificent first temple1 and 
that ,hiram1 king of  ,tyre1 sent to    
,solomon 8a cunning man1 endued with    
understanding10 to  assist him in the   
building of the temple1 but more        
especially to  superintend the execution
 of the ornaments4 7#ast ,kings1 vii1   
#ac1 and #b;d  ,chron41 ii1 #ad47       
,,the ,p,,cile ,,at ,,athens4      ,the 
stoa or celebrated ,portico at ,athens1 
called the ,pcile on account  of its    
paintings1 was the pride of the         
,athenians4 ,polygnotus1 ,mycon1 and    
,pantnus adorned it with pictures of    
gods1 heroes1 benefactors1 and the  most
 memorable acts of the ,athenians1 as   
the incidents of the siege and  sacking 
of ,troy1 the battle of ,theseus against
 the ,amazons1 the battle  between the  

,athenians and ,lacedmonians at noe in  
,argolis1 the battle  of ,marathon1 and 
other memorable actions4 ,the most      
celebrated of these  were a series of   
the ,siege of ,troy1 and the ,battle of 
,marathon by  ,polygnotus1 more         
especially the latter1 which eclipsed   
all the others1  and gained the painter 
so much reputation that the ,athenians  
offered him  any sum he should ask1 and 
when he refused all compensation1 the   
,amphictyonic council decreed that      
wherever he might travel in ,greece1 he 
should be received with public honors1  
and provided for at the public  expense4
    ,according to ,pausanias1           
,polygnotus represented the hero        
,marathon1 after  whom the plain was    
named1 in the act of receiving ,minerva1
 the patroness  of ,athens1 accompanied 
by ,hercules1 about to be joined by     
,theseus1 whose  shade is seen rising   
out of the earth--thus claiming ,attica 
as his  native soil4 ,in the foreground1
 the ,greeks and ,persians are combating

  with equal valor1 but in extending the
 view to the middle of the  composition1
 the barbarians were seen routed and    
flying to the ,phnician  ships1 which   
were visible in the distance1 and to the
 marshes1 while the  ,greeks were in hot
 pursuit1 slaying their foes in their   
flight4 ,the  principal commanders of   
both parties were distinguished1        
particularly  ,mardonius1 the ,persian  
general1 the insertion of whose portrait
  gratified the ,athenians little less  
than that of their own commander1       
,miltiades1 along with whom were        
,callimachus1 ,echetlus1 and the poet   
schylus1 who was in the battle that day4
 ,it is evident that the painter  did   
not strictly follow history1 but treated
 his subject in a grand  poetic and     
heroic style1 and that too1 we may rest 
assured1 with  consummate skill1 to have
 elicited such applause from a people   
too  refined to be deceived by any      
meretricious trickery of art4           
,,mosaics4      ,mosaics are ornamented 

works1 made in ancient times1 of cubes  
of  variously colored stones1 and in    
modern1 more frequently of glass of     
different colors4 ,the art originated in
 the ,east1 and seems first to  have    
been introduced among the ,romans in the
 time of ,sylla4 ,it was an  ornament in
 great request by the luxurious ,romans1
 especially in the  time of the         
,emperors1 for the decoration of every  
species of edifice1  and to this day    
they continue to discover1 in the ruins 
of the ,imperial  ,baths1 and elsewhere1
 many magnificent specimens in the      
finest  preservation4 ,in ,pompeii1     
mosaic floors and pavements may be said 
to  have been universal among the       
wealthy4    ,in modern times1 great     
attention has been bestowed to revive   
and improve  the art1 with a view to    
perpetuate the works of the great       
masters4 ,in  this way1 ,guercino's     
,martyrdom of ,st4 ,petronilla1 and     
,domenichino's  ,communion of the dying 
,st4 ,jerome1 in ,st4 ,peter's ,church1 

which were  falling into decay1 have    
been rendered eternal4 ,also1 the       
,transfiguration of ,raffaelle1 and     
other great works4 ,pope ,clement       
,,viii4  had the whole interior dome of 
,st4 ,peter's ornamented with this work4
 ,a  grand ,mosaic1 covering the whole  
side of a wall1 representing1 as some   
suppose1 the ,battle of ,platea2 as     
others1 with more probability1 one of   
the ,victories of ,alexander1 was       
discovered in ,pompeii4 ,this work1 now 
in  the ,academy of ,naples1 is the     
admiration of connoisseurs and the      
learned1 not only from its antiquity1   
but from the beauty of its  execution4  
,the most probable supposition is1 that 
it is a copy of the  celebrated ,victory
 of ,arbela1 by ,philoxenes4    ,vasari 
says that the art of ,mosaic work had   
been brought to such  perfection at     
,venice in the time of the ,bianchini1  
famous mosaic  painters of the #afth    
century1 that 8it would not be possible 
to effect  more with colors40 ,lanzi    

observes that 8the church and portico of
 ,st4  ,mark remain an invaluable museum
 of this kind of work2 where1 commencing
  with the #aath century1 we may trace  
the gradual progress of design          
belonging to each age1 up to the        
present1 as exhibited in many works in  
mosaic1 beginning from the ,greeks1 and 
continued by the ,italians4 ,they       
consist chiefly of histories from the   
,old and ,new ,testaments1 and at the   
same time1 furnish very interesting     
notices of civic and ecclesiastical     
history40 ,there are a multitude of     
mosaic pictures in the churches1        
galleries1 and public edifices of       
,italy1 especially at ,venice1 ,rome1   
,florence1 ,milan2 and some of the      
greatest artists were employed to       
furnish the designs4 ,in delicate       
ornamental work1 the pieces are         
multiplied by sawing into thin slabs4   
,some specimens made of precious        
stones1 are of incredible value4    ,in 
working1 the different pieces are       

cemented together1 and when dry the     
surface is highly polished1 which brings
 out the colors in great  brilliancy4   
,the ancients usually employed different
 colored marbles1  stones1 and shells2  
the ,italians formerly employed         
brilliant stones1 as  agate1 jaspar1    
onyx1 cornelian1 c41 but now they employ
 glass  exclusively4          ,,the     
,,olympian ,,jupiter4      ,the ,greek  
masters in sculpture have been happily  
designated as  8,magicians in ,marble40 
,the taste which the ,grecian people    
possessed for  the beautiful1 is well   
known4 ,it stands among the chief of    
those  characteristics by which they    
designated persons of great eminence4   
,their artists considered beauty as the 
first object of their studies2  and by  
this means they surpassed all other     
nations1 and have become  models for all
 ages4    ,of ,phidias1 the most        
celebrated sculptor of ,greece1 the     
,athenians spoke  with rapture which    
knew no bounds4 ,lucian says1 8,we adore

 ,phidias in his  works1 and he partakes
 of the incense we offer to the gods he 
has made40  ,pausanias relates1 that    
when this artist had finished his       
magnificent  statue of the ,olympian    
,jupiter1 ,jupiter himself applauded his
 labors2  for when ,phidias urged the   
god to show by some sign if the work was
  agreeable to him1 the pavement of the 
,temple was immediately struck  with    
lightning4 ,such incidents though       
fabulous1 are valuable1 inasmuch  as    
they serve to prove the exalted notions 
the people entertained of the  objects  
to which they relate4                   
,,painting ,,from ,,nature4             
,eupompus1 the painter1 was asked by    
,lysippus1 the sculptor1 whom1 among    
his predecessors1 he should make the    
objects of his imitation8 8,behold10    
said the painter1 showing his friend a  
multitude of people passing by1  8behold
 my models4 ,from nature1 not from art1 
by whomsoever wrought1  must the artist 
labor1 who hopes to attain honor1 and   

extend the  boundaries of his art40     
,,apelles4      ,apelles1 according to  
the general testimony of ancient        
writers1 was the  most renowned painter 
of antiquity2 hence painting is termed1 
by some of  the ,romans1 the ,apellean  
art4 ,he flourished in the last half of 
the  fourth century before ,christ4     
,pliny affirms that he contributed more 
towards perfecting the art than all     
other painters4 ,he seems to have       
claimed the palm in elegance and grace1 
or beauty1 the charis of the  ,greeks1  
and the venustas of the ,romans2 a      
quality for which1 among the  moderns1  
perhaps ,correggio is the most          
distinguished2 but in the works  of     
,apelles1 it was unquestionably         
connected with a proportionably  perfect
 design2 a combination not found among  
the moderns4 ,pliny  remarks that       
,apelles allowed that he was equalled by
 ,protogenes in all  respects save one1 
namely1 in knowing when to take his hand
 from the  picture4 ,from this we may   

infer that the deficiency in grace which
 he  remarked in the works of           
,protogenes1 was owing to the excessive 
finish  for which that painter was      
celebrated4 ,lucian speaks of ,apelles  
as one  of the best colorists among the 
ancient painters4    ,apelles was famed 
for his industry2 he is said never to   
have allowed a  day to pass without     
exercising his pencil4 8,nulla dies sine
 linea10 is  a saying that arose from   
one of his maxims4 ,his principal works 
appear  to have been generally single   
figures1 and rarely of more than a      
single  group4 ,the only large          
compositions of his execution that are  
mentioned  by the ancient writers are1  
,diana surrounded by her ,nymphs1 in    
which he  was allowed to have surpassed 
the lines of ,homer from which he took  
the  subject2 and the ,procession of the
 ,high ,priest of ,diana at ,ephesus4   
,in portraits1 ,apelles was unrivalled4 
,he is said to have enjoyed the         
exclusive privilege of painting ,philip 

and ,alexander the ,great1 both of  whom
 he painted many times4 ,in one of his  
portraits of ,alexander1 which  was     
preserved in the temple of ,diana at    
,ephesus1 he represented him  wielding  
the thunderbolts of ,jupiter3 ,pliny    
says the hand and lightning  appeared to
 start from the picture2 and1 judging   
from an observation in  ,plutarch1 the  
figure of the king was lighted solely by
 the radiance of  the lightning4        
,apelles received for this picture1     
termed the ,alexander  ,ceraunophorus1  
twenty talents of gold 7about #bj1jjj74 
,the criticism of  ,lysippus1 upon this 
picture1 which has been approved by     
ancients and  moderns1 that a lance1 as 
he had himself given the king1 would    
have been  a more appropriate weapon in 
the hands of ,alexander1 than the       
lightnings  of ,jupiter2 is the         
criticism of a sculptor who overlooked  
the pictorial  value of the color1 and  
of light and shade4 ,the lightning would
  certainly have had little effect in a 

work of sculpture1 but had a lance  been
 substituted in its place in the picture
 of ,apelles1 a totally  different      
production would have been the result4  
,this picture gave rise  to a saying1   
that there were two ,alexanders1 the one
 of ,philip1 the  invincible1 the other 
of ,apelles1 the inimitable4            
,competent judges1 says ,pliny1 decided 
the portrait of ,antigonus 7king of     
,asia ,minor7 on horseback1 the         
master-piece of ,apelles4 ,he excelled  
greatly in painting horses1 which he    
frequently introduced into his          
pictures4 ,the most celebrated of all   
his works was the ,venus ,anadyomene1   
which was painted for the people of     
,cos1 and was placed in the temple  of  
sculapius on that island1 where it      
remained until it was removed by        
,augustus1 who took it in lieu of #ajj  
talents tribute1 and dedicated it  in   
the temple of ,julius ,csar4 ,it was    
unfortunately damaged on the  voyage1   
and was in such a decayed state in the  

time of ,nero1 that the  ,emperor       
replaced it with a copy by a painter    
named ,dorotheus4 ,this  happened about 
#cej years after it was executed1 and   
what then became of  it is not known4   
,this celebrated painting1 upon which   
every writer who  has noticed it has    
bestowed unqualified praise1 represented
 ,venus naked1  rising out of the ocean1
 squeezing the water from her hair with 
her  fingers1 while her only veil was   
the silver shower that fell from her    
shining locks4 ,this picture is said to 
have been painted from ,campaspe1  a    
beautiful slave of ,apelles1 formerly   
the favorite of ,alexander4 ,the  king  
had ordered ,apelles to paint her naked 
portrait1 and perceiving  that the      
painter was smitten with the charms of  
his beautiful model1 he  gave her to    
him1 contenting himself with the        
painting4 ,he commenced a  second ,venus
 for the people of ,cos1 which1         
according to ,pliny1 would  have        
surpassed the first1 had not its        

completion been interrupted by the      
death of the painter3 the only parts    
finished were the head and bust4  ,two  
portraits of ,alexander painted by      
,apelles1 were dedicated by  ,augustus1 
in the most conspicuous part of the     
forum bearing his name2 in  one was     
,alexander1 with ,castor and ,pollux1   
and a figure of ,victory2 in  the other 
was ,alexander in a triumphal car1      
accompanied by a figure of  ,war1 with  
her hands pinioned behind her4 ,the     
,emperor ,claudius took out  the heads  
of ,alexander1 and substituted those of 
,augustus4 ,the following  portraits are
 also mentioned among the most famous   
works of this great  artist3 ,clitus    
preparing for ,battle2 ,antigonus in    
armor1 walking by the  side of his      
,horse2 and ,archelaus the ,general1    
with his wife and  daughter4 ,pausanias 
mentions a draped figure of one of the  
,graces by  him1 which he saw in the    
,odeon at ,smyrna4 ,a famous back view  
of a  ,hercules1 in the temple of       

,antonius at ,rome1 was said to have    
been by  ,apelles4 ,he painted many     
other famous works3 ,pliny mentions a   
naked  figure by him1 which he says     
challenged ,nature herself4 ,the same   
author  says he covered his pictures    
with a dark transparent liquid or       
varnish1  which had the effect of       
harmonising the colors1 and also of     
preserving  the work from injury4       
,pliny says ,apelles was the first      
artist who painted tetrachromes1 or     
paintings executed with four colors1    
viz42 lamp black1 white chalk1  ruddle1 
and yellow ochre2 yet1 in describing his
 ,venus ,anadyomene1 he  says she was   
rising from the green or azure ocean    
under a bright blue  sky4 ,zeuxis       
painted grapes so naturally as to       
deceive the birds4 ,where  got he his   
green and purple8 ,there has been a     
great deal of useless  disquisition     
about the merits of ancient painters1   
and the materials  they employed4 ,when 
we take into consideration their        

thorough system of  education2 that the 
sister arts had been brought to such    
perfection as  to render them the models
 of all succeeding times2 that these    
painters  enjoyed the highest honors and
 admiration of their polished           
countrymen1  who1 it must be admitted1  
were competent to judge of the merits of
  their works2 that the ,romans prized  
and praised them as much as the  ,greeks
 themselves2 that there were in ,rome in
 the time of ,pliny many  ancient       
paintings #fjj years old1 still         
retaining all their original  freshness 
and beauty1 it can scarcely be doubted  
that the paintings of  the great ,greek 
artists equaled the best of the moderns2
 that they  possessed all the requisite 
colors and materials2 and1 if they did  
not  possess all those now known1 they  
had others unknown to us4 ,it is        
certain that they employed canvass for  
paintings of a temporary  character1 as 
decorations2 and that they treated every
 subject1 both  such as required those  

colors suitable to represent the        
solemnity and  dignity of the gods1 as  
well as others of the most delicate     
tints1 with  which to depict flowers2   
for the ,venus of ,apelles1 and the     
,flower-,girl  of ,pausias must have    
glowed with ,titian tints to have       
attracted such  admiration4 ,colonel    
,leake1 in his ,topography of ,athens1  
speaking of the  temple of ,theseus1    
says that the stucco still bears the    
marks or stains  of the ancient         
paintings1 in which he distinctly       
recognized the blue  sky1 vestiges of   
bronze and gold colored armor1 and blue1
 green1 and red  draperies4 ,what then  
becomes of the tetrachromes of ,apelles1
 and the  monochromes of previous       
artists8 for ,mycon painted the ,theseum
 near #bjj  years before the time of    
,apelles4          ,,apelles ,,and ,,the
 ,,cobbler4      ,it was customary with 
,apelles to expose to public view the   
works which  he had finished1 and to    
hide himself behind the canvass1 in     

order to  hear the remarks made by      
spectators4 ,he once overheard himself  
blamed by  a shoemaker for a fault in   
the slippers of some figure2 having too 
much  good sense to be offended with any
 objection1 however trifling1 which     
came from a competent judge1 he         
corrected the fault which the man had   
noticed4 ,on the following day1 however1
 the shoemaker began to  animadvert upon
 the leg2 on which ,apelles1 with some  
anger1 looked out  from the canvass1 and
 reproved him in these words1 which are 
also become  a proverb1 8ne sutor ultra 
crepidam0--8let the cobbler keep to his 
last10 or 8every man to his trade40     
,,apelles' ,,foaming ,,charger4      ,in
 finishing a drawing of a horse1 in the 
portraiture of which he much  excelled1 
a very remarkable circumstance is       
related of him4 ,he had  painted a war  
horse returning from battle1 and had    
succeeded to his  wishes in describing  
nearly every mark that could indicate a 
high-mettled steed impatient of         

restraint2 there was wanting nothing but
  a foam of bloody hue issuing from the 
mouth4 ,he again and again  endeavored  
to express this1 but his attempts were  
unsuccessful4 ,at last  in vexation1 he 
threw against the mouth of the horse a  
sponge filled  with different colors1   
which produced the very effect desired  
by the  painter4 ,a similar story is    
related of ,protogenes1 in painting his 
picture of ,jalysus and his ,dog4       
,,apelles ,,and ,,alexander4            
,apelles was held in great esteem by    
,alexander the ,great1 and was  admitted
 into the most intimate familiarity with
 him4 ,he executed a  portrait of this  
prince in the character of a thundering 
,jove2 a piece  which was finished with 
such skill and dexterity1 that it used  
to be  said there were 8two ,alexanders1
 the one invincible1 the son of ,philip1
  and the other inimitable1 the         
production of ,apelles40 ,alexander     
appears  to have been a patron of the   
fine arts more from vanity than taste2  

and  it is related1 as an instance of   
those freedoms which ,apelles was       
permitted to use with him1 that when on 
one occasion he was talking in  this    
artist's painting room very ignorantly  
of the art of painting1  ,apelles       
requested him to be silent lest the boys
 who ground his colors  should laugh at 
him4 ,on another occasion1 when he had  
painted a picture  of his famous        
war-horse1 ,alexander did not seem to   
appreciate its  excellence2 but         
,bucephalus1 on seeing his own portrait1
 began to prance  and neigh1 when the   
painter observed that the horse was a   
better judge  of painting than his      
master4          ,,apelles ,,and        
,,protogenes4      ,apelles1 being      
highly delighted with a picture of      
,jalysus1 painted by  ,protogenes of    
,rhodes1 sailed thither to pay him a    
visit4 ,protogenes was  gone from home1 
but an old woman was left watching a    
large piece of  canvass which was fitted
 in a frame for painting4 ,she told     

,apelles that  ,protogenes was gone out1
 and asked him his name1 that she might 
inform  her master who had inquired for 
him4 8,tell him10 said ,apelles1 8he was
  inquired for by this person10 at the  
same time taking up a pencil1 and       
drawing on the canvass a line of great  
delicacy4 ,when ,protogenes  returned1  
the old woman acquainted him with what  
had happened4 ,the  artist1 upon        
contemplating the fine stroke of the    
pencil1 immediately  proclaimed that    
,apelles must have been there1 for so   
finished a work  could be produced by no
 other person4 ,protogenes1 however1    
drew a finer  line of another color2 and
 as he was going away ordered the old   
woman to  show that line to ,apelles if 
he came again1 and to say1 8,this is the
  person for whom you were inquiring40  
,when ,apelles returned and saw the     
line1 he resolved not to be overcome1   
and in a color different from  either of
 the former1 he drew some lines so      
exquisitely delicate1 that  it was      

impossible for finer strokes to be made4
 ,having done so1 he  departed4         
,protogenes now confessed the           
superiority of ,apelles2 flew to  the   
harbor in search of him2 and resolved to
 leave the canvass as it  was1 with the 
lines on it1 for the astonishment of    
future artists4 ,it  was in after years 
taken to ,rome1 and was there seen by   
,pliny1 who  speaks of it as having the 
appearance of a large black surface1 the
  extreme delicacy of the lines         
rendering them invisible1 except on     
close  inspection4 ,they were drawn with
 different colors1 the one upon or      
rather within1 the other4 ,this picture 
7continues ,pliny71 was handed  down1 a 
wonder for posterity1 but especially for
 artists2 and1  notwithstanding it      
contained only those three scarcely     
visible lines  7tres lineas71 still it  
was the most noble work in the ,gallery1
 though  surrounded by many finished    
paintings by renowned masters4    ,this 
celebrated contest of lines between     

,apelles and ,protogenes1 is a  subject 
which has greatly perplexed painters and
 critics2 and in fact1  ,carducci       
asserts that ,michael ,angelo and other 
great artists treated the  idea with    
contempt4 ,the picture was preserved in 
the gallery of the  ,imperial palace on 
the ,palatine1 and was destroyed by the 
first fire  that consumed that palace1  
in the time of ,augustus2 therefore it  
could  not have been seen by ,pliny1 and
 the account must have been related by  
him from some other work4 ,in regard to 
its vagueness1 one of the  principal    
causes1 undoubtedly1 is a mutilation of 
the text2 but the  whole thing is told  
with obscurity4 ,suffice it to say1 that
 in the  opinion of ,professor ,tlken of
 ,berlin1 and the best modern critics1  
this  wonderful piece could not have    
contained only three simple lines1 as   
stated by ,pliny1 else how could it have
 been termed 8the most noble work  in   
the gallery1 and the wonder of          
posterity40    ,at the time this        

occurrence took place1 ,protogenes lived
 in a state of  poverty and neglect2 but
 the generous notice of ,apelles soon   
caused him  to be valued as he deserved 
by the ,rhodians4 ,apelles acknowledged 
that  ,protogenes was even in some      
respects his superior2 the chief fault  
he  found with him was1 that 8he did not
 know when to take his hand from his    
work20 a phrase which has become        
proverbial among artists4 ,he           
volunteered to purchase all the works he
 had by him1 at any price he  should    
name1 and when ,protogenes estimated    
them far below their real  value1 he    
offered him fifty talents1 and spread   
the report that he  intended to sell    
them as his own4 ,he thus opened the    
eyes of the  ,rhodians to the merit of  
their painter1 and they accordingly     
secured his  works at a still higher    
price4    ,in ,protogenes1 the able     
rival of ,apelles1 the arts received one
 of the  highest tokens of regard they  
were ever favored with2 for when        

,demetrius  ,poliorcetes was besieging  
the city of ,rhodes1 and might have     
taken it by  assaulting it on the side  
where ,protogenes resided1 he forbore1  
lest he  should do an injury to his     
works2 and when the ,rhodians delivered 
the  place to him1 requesting him to    
spare the pictures of this admired      
artist1 he replied1 8that he would      
sooner destroy the images of his        
forefathers1 than the productions of    
,protogenes40          ,,anecdotes ,,of 
,,benjamin ,,west4    ,,his ,,ancestry4 
,cunningham says1 8,john ,west1 the     
father of ,benjamin1 was of that family 
settled at ,long-,crendon1 in           
,buckinghamshire1 which produced        
,colonel  ,james ,west1 the friend and  
companion in arms of ,john ,hampden4    
,upon one  occasion1 in the course of a 
conversation in ,buckingham palace1     
respecting his picture of the           
,institution of the ,garter1 ,west      
happened  to make some allusion to his  
,english descent1 when the ,marquis of  

,buckingham1 to the manifest pleasure of
 the king1 declared that the  ,wests of 
,long-,crendon were undoubted           
descendants of the ,lord ,delaware1     
renowned in the wars of ,edward the     
,third and the ,black ,prince1 and that 
the artist's likeness had therefore a   
right to a place amongst those of  the  
nobles and warriors1 in his historical  
picture40          ,,west',s ,,birth4   
,galt says ,benjamin's birth was brought
 on prematurely by a vehement  sermon1  
preached in the fields1 by ,edward      
,peckover1 on the corrupt state  of the 
,old ,world1 which he prophesied was    
about to be visited with the  tempest of
 ,god's judgments1 the wicked to be     
swallowed up1 and the  terrified remnant
 compelled to seek refuge in happy      
,america4 ,mrs4 ,west  was so affected  
that she swooned away1 was carried home 
severely ill1  and the pains of labor   
came upon her2 she was1 however1 safely 
delivered1 and the preacher consoled the
 parents by predicting that 8a  child   

sent into the world under such          
remarkable circumstances1 would         
assuredly prove a wonderful man10 and   
admonished them to watch over  their son
 with more than ordinary care4          
,,his ,,first ,,remarkable ,,feat4      
,the first remarkable incident recorded 
of the infant prodigy1 occurred  in his 
seventh year2 when1 being placed to     
watch the sleeping infant of  his eldest
 sister1 he drew a sort of likeness of  
the child1 with a pen1  in red and black
 ink4 ,his mother returned1 and         
snatching the paper which  he sought to 
conceal1 exclaimed to her daughter1 8,i 
declare1 he has made  a likeness of     
little ,sally60 ,she took him in her    
arms1 and kissed him  fondly4 ,this feat
 appeared so wonderful in the eyes of   
his parents that  they recalled to mind 
the prediction of ,peckover4            
,,little ,,benjamin ,,and ,,the         
,,indians4      ,when he was about eight
 years old1 a party of ,indians1 who    
were always  kindly treated by the      

followers of ,george ,fox1 paid their   
summer visit  to ,springfield1 and      
struck with the rude sketches which the 
boy had made  of birds1 fruit1 and      
flowers1 they taught him to prepare the 
red and  yellow colors with which they  
stained their weapons and ornamented    
their  skins2 his mother added indigo1  
and thus he was possessed of three      
primary colors4 ,the ,indians also      
instructed him in archery4      ,,his   
,,cat',s ,,tail ,,pencils4    ,the wants
 of the child increased with his        
knowledge2 he could draw1 and  had      
colors1 but how to lay them on          
skillfully1 he could not conceive2 a    
pen would not answer1 and he tried      
feathers with no better success2 a      
neighbor informed him that it was done  
with a camel's hair pencil1 but  as such
 a thing was not to be had1 he bethought
 himself of the cat1 and  supplied      
himself from her back and tail4 ,the cat
 was a favorite1 and the  altered       
condition of her fur was attributed to  

disease1 till the boy's  confession     
explained the cause1 much to the        
amusement of his parents and  friends4  
,his cat's tail pencils enabled him to  
make more satisfactory  efforts than he 
had before done4          ,,west',s     
,,first ,,picture4      ,when he was    
only eight years old1 a merchant of     
,philadelphia1 named  ,pennington1 and a
 cousin of the ,wests1 was so much      
pleased with the  sketches of little    
,benjamin1 that he sent him a box of    
paints and  pencils1 with canvass       
prepared for the easel1 and six         
engravings by  ,gribelin4 ,the child was
 perfectly enraptured with his treasure2
 he  carried the box about in his arms1 
and took it to his bedside1 but could   
not sleep4 ,he rose with the dawn1      
carried his canvass and colors to the   
garret1 hung up the engravings1 prepared
 a palette1 and commenced work4  ,so    
completely was he under this species of 
enchantment1 that he absented  himself  
from school1 labored secretly and       

incessantly1 and without  interruption1 
for several days1 when the anxious      
inquiries of his  schoolmaster          
introduced his mother into his studio1  
with no pleasure  in her looks4 ,he had 
avoided copyism1 and made a picture1    
composed from  two of the engravings1   
telling a new story1 and colored with a 
skill and  effect which1 to her eyes1   
appeared wonderful4 ,galt1 who wrote    
,west's  life1 and had the story from   
the artist's own lips1 says1 8,she      
kissed  him with transports of          
affection1 and assured him that she     
would not  only intercede with his      
father to pardon him for having absented
 himself  from school1 but would go     
herself to the master1 and beg that he  
might  not be punished4 ,sixty-seven    
years afterwards the writer of these    
memoirs had the gratification to see    
this piece1 in the same room with  the  
sublime painting of ,christ ,rejected   
7,west's brother had sent it to  him    
from ,springfield71 on which occasion   

the painter declared to him  that there 
were inventive touches of art in his    
first and juvenile  essay1 which1 with  
all his subsequent knowledge and        
experience1 he had  not been able to    
surpass40 ,a similar story is told of   
,canova1 who  visited his native place  
towards the close of his brilliant      
career1 and  looking earnestly at his   
youthful performances1 sorrowfully said1
 8,i  have been walking1 but not        
climbing40          ,,west',s ,,first   
,,visit ,,to ,,philadelphia4      ,in   
the ninth year of his age1 he           
accompanied his relative ,pennington to 
,philadelphia1 and executed a view of   
the banks of the river1 which so  much  
pleased a painter named ,williams1 that 
he took him to his studio1  and showed  
him all his pictures1 at the sight of   
which he was so  affected that he burst 
into tears4 ,the artist1 surprised1     
declared like  ,peckover that ,benjamin 
would be a remarkable man2 he gave him  
two books1  ,du ,fresnoy1 and           

,richardson on ,painting1 and invited   
him to call whenever  he pleased1 to see
 his pictures4 ,from this time1         
,benjamin resolved to  become a painter1
 and returned home with the love of     
painting too firmly  implanted to be    
eradicated4 ,his parents1 also1 though  
the art was not  approved by the        
,friends1 now openly encouraged him1    
being strongly  impressed with the      
opinion that he was predestinated to    
become a great  artist4                 
,,west',s ,,ambition4      ,his notions 
of a painter at this time were also very
 grand1 as the  following characteristic
 anecdote will show4 ,one of his        
school-fellows  allured him1 on a half  
holiday from school1 to take a ride with
 him to a  neighboring plantation4      
8,here is the horse1 bridled and        
saddled10 said  the boy1 8so come1 get  
up behind me40 8,behind you60 said      
,benjamin2 8,i  will ride behind        
nobody40 8,oh1 very well10 replied the  
other2 8,i will  ride behind you1 so    

mount40 ,he mounted accordingly1 and    
away they rode4  8,this is the last ride
 ,i shall have for some time10 said his 
companion2  8to-morrow ,i am to be      
apprenticed to a tailor40 8,a tailor60  
exclaimed  ,west2 8you will surely never
 be a tailor80 8,indeed but ,i shall10  
replied  the other2 8it is a good trade4
 ,what do you intend to be1 ,benjamin80 
8,a  painter40 8,a painter6 what sort of
 a trade is a painter8 ,i never heard   
of it before40 8,a painter10 said ,west1
 8is the companion of kings and         
emperors40 8,you are surely mad10 said  
the embryo tailor2 8there are  neither  
kings nor emperors in ,america40 8,aye1 
but there are plenty in  other parts of 
the world4 ,and do you really intend to 
be a tailor80  8,indeed ,i do2 there is 
nothing surer40 8,then you may ride     
alone10 said  the future companion of   
kings and emperors1 leaping down2 8,i   
will not  ride with one who is willing  
to be a tailor60          ,,west',s     
,,first ,,patrons4      ,west's first   

patron was ,mr4 ,wayne1 the father of   
,general ,anthony ,wayne1  who gave him 
a dollar a piece for two small pictures 
he made on poplar  boards which a       
carpenter had given him4 ,another patron
 was ,mr4 ,flower1 a  justice of        
,chester1 who took young ,west to his   
house for a short time1  where he was   
made acquainted with a young ,english   
lady1 governess to ,mr4  ,flower's      
daughters1 who had a good knowledge of  
art1 and told him  stories of ,greek and
 ,roman history1 fit for a painter's    
pencil4 ,he had  never before heard of  
the heroes1 philosophers1 poets1        
painters1 and  historians of ,greece and
 ,rome1 and he listened while the lady  
spoke of  them1 with an enthusiasm which
 he loved to live over again in his old 
age4 ,his first painting which attracted
 much notice was a portrait of  ,mrs4   
,ross1 a very beautiful lady1 the wife  
of a lawyer of ,lancaster4  ,the picture
 was regarded as a wonderful            
performance1 and gained him so  much    

reputation1 says ,galt1 8that the       
citizens came in such crowds to  sit to 
the boy for portraits1 that he had some 
trouble in meeting the  demand40 ,at the
 same time1 a gunsmith1 named ,henry1   
who had a classic  turn1 commissioned   
him to paint a picture of the ,death of 
,socrates4 ,west  forthwith made a      
sketch which his employer thought       
excellent1 but he now  began to see his 
difficulties1 and feel his deficiencies4
 8,i have  hitherto painted faces10 said
 he1 8and people clothed4 ,what am ,i to
 do  with the slave who presents the    
poison8 ,he ought1 ,i think1 to be      
painted  naked40 ,henry went to his     
shop1 and returned with one of his      
workmen1 a  handsome young negro man    
half naked1 saying1 8,there is your     
model40 ,he  accordingly introduced him 
into his picture1 which excited great   
attention4          ,,west',s           
,,education4      ,west was now fifteen 
years old4 ,dr4 ,smith1 ,provost of the 
,college at  ,philadelphia1 happened to 

see him at ,lancaster1 and perceiving   
his  wonderful talents1 and that his    
education was being neglected1          
generously proposed to his father to    
take him with him to ,philadelphia1     
where he proposed to direct his studies1
 and to instruct him in all the         
learning most important for a painter to
 know4          ,,west',s ,,dedication  
,,to ,,art4      ,the art of painting   
being regarded by the ,quakers as not   
only useless  but pernicious1 8in       
preserving voluptuous images1 and adding
 to the  sensual gratifications of man10
 ,mr4 ,west determined to submit the    
matter  to the wisdom of the ,society1  
before giving a positive answer4 ,he    
accordingly sent for his son to attend  
the solemn assembly4 ,the ,friends  met1
 and the spirit of speech first         
descended on ,john ,williamson1 who1    
according to ,galt1 thus spake3 8,to    
,john ,west and ,sarah ,pearson1 a      
man-child hath been born1 on whom ,god  
hath conferred some remarkable  gifts of

 mind2 and you have all heard that1 by  
something amounting to  inspiration1 the
 youth has been induced to study the art
 of painting4 ,it  is true that our     
tenets refuse to own the utility of that
 art to  mankind1 but it seemeth to me  
that we have considered the matter too  
nicely4 ,god hath bestowed on this youth
 a genius for art--shall we  question   
his wisdom8 ,can we believe that he     
gives such rare gifts but  for a wise   
and good purpose8 ,i see the ,divine    
hand in this2 we shall do  well to      
sanction the art and encourage this     
youth40 ,the ,quakers gave  their       
unanimous consent1 and summoned the     
youth before them4 ,he came1  and took  
his station in the middle of the room1  
his father on his right  hand1 his      
mother on his left1 while around him    
gathered the whole  assembly4 ,one of   
the women first spake1 but the words of 
,williamson1  says ,galt1 are alone     
remembered4 8,painting10 said he1 8has  
hitherto  been employed to embellish    

life1 to preserve voluptuous images1 and
 add  to the sensual gratifications of  
men4 ,for this we classed it among vain 
and merely ornamental things1 and       
excluded it from amongst us4 ,but this  
is not the principle but the            
mis-employment of painting4 ,in wise and
  pure hands1 it rises in the scale of  
moral excellence1 and displays a        
loftiness of sentiment1 and a devout    
dignity1 worthy of the  contemplation of
 ,christians4 ,i think genius is given  
by ,god for some  high purpose4 ,what   
the purpose is1 let us not inquire--it  
will be  manifest in ,his own good time 
and way4 ,he hath in this remote        
wilderness  endowed with rich gifts of a
 superior spirit this youth1 who has now
 our  consent to cultivate his talents  
for art2 may it be demonstrated in his  
life and works1 that the gifts of ,god  
have not been bestowed in vain1  nor the
 motives of the beneficent inspiration1 
which induces us to  suspend the strict 
operations of our tenets1 prove barren  

of religious  and moral effect60 ,at the
 conclusion of this address1 says ,galt1
 the  women rose and kissed the young   
artist1 and the men1 one by one1 laid   
their hands on his head4 ,the scene made
 so strong an impression on the  mind of
 ,west1 that he looked upon himself as  
expressly dedicated to art1  and        
considered this release from the strict 
tenets of his sect1 as  enjoining on his
 part a covenant to employ his powers on
 subjects pure  and holy4 ,the grave    
simplicity of the ,quaker continued to  
the last in  his looks1 manners1 and    
deportment2 and the moral rectitude and 
internal purity of the man were diffused
 through all his productions4           
,,west',s ,,early ,,prices4      ,at    
about eighteen years of age1 ,west      
commenced portrait painting as a        
profession in ,philadelphia4 ,his       
extreme youth1 the peculiar             
circumstances of his history1 and his   
undoubted merit1 brought him many       
sitters4 ,his prices were very          

humble--#ab4ej for a head1 and #be for a
  full-length2 all the money he thus    
laboriously earned1 he carefully        
treasured1 to secure1 at some future    
period1 the means of travel and  study2 
for his sagacious mind perceived that   
travel not only influenced  public      
opinion1 but was absolutely necessary   
for him if he wished to  excel1         
especially in historical painting4      
,there were no galleries in  ,america2  
he knew that the masterpieces of art    
were in ,italy1 and he had  already set 
his heart on visiting that delightful   
country4 ,he made a  copy of a picture  
of ,st4 ,ignatius1 by ,murillo1 which   
had been captured  in a ,spanish vessel1
 and belonged to ,governor ,hamilton2 he
 also painted  a large picture for ,mr4 
,cox1 from the history of ,susanna1 the 
,elders1  and ,daniel1 in which he      
introduced no less than forty figures4  
,this work  gained him great reputation1
 and ,west always considered it the     
masterpiece of his youth2 it was        

afterwards unfortunately destroyed by   
fire4 ,after having painted the         
portraits of all who desired it in      
,philadelphia1 he proceeded to ,new     
,york1 where he opened a studio1 and    
,dunlap says for eleven months he had   
all the portraits he could execute1  at 
double the prices he had charged in     
,philadelphia4 ,an opportunity now      
presented itself1 which enabled him to  
gratify his long cherished desire  of   
going to ,italy4 ,the harvest had       
partially failed in that country1 and   
,mr4 ,allen1 a merchant of              
,philadelphia1 was loading a ship with  
wheat and  flour for ,leghorn4 ,he had  
resolved to send his son as supercargo1 
to  give him the benefit of travel1 and 
,west's invaluable friend1 ,provost     
,smith1 made arrangements for the young 
painter to accompany the young          
merchant4 ,it happened that a ,new ,york
 merchant1 of the name of ,kelly1  was  
sitting for his portrait when this good 
news arrived1 and ,west with  joy spoke 

to him of the great advantage he        
expected to derive from a  residence of 
two or three years in ,italy4 ,the      
portrait being finished1  ,mr4 ,kelly   
paid him ten guineas1 and gave him a    
letter to his agent in  ,philadelphia1  
which1 on being presented1 proved to be 
an order from the  generous merchant to 
pay him fifty guineas1 as 8a present to 
aid in his  equipment for ,italy40      
,,west',s ,,arrival ,,at ,,rome4        
,west arrived at ,rome on the #ajth of  
,july1 #agfj1 in the #bb;d year of his  
age4 ,cunningham thus describes his     
reception3 8,when it was known that a   
young ,american had come to study       
,raffaelle and ,michael ,angelo1 some   
curiosity was excited among the ,roman  
virtuosi4 ,the first fortunate          
exhibitor of this lion from the western 
wilderness was ,lord ,grantham1  the    
,english ambassador1 to whom ,west had  
letters4 ,he invited ,west to  dinner1  
and afterwards took him to an evening   
party1 where he found  almost all those 

persons to whom he had brought letters  
of introduction4  ,among the rest was   
,cardinal ,albani1 who1 though old and  
blind1 had such  delicacy of touch that 
he was considered supreme in all matters
 of  judgment regarding medals and      
intaglios4 #8,i have the honor1' said   
,lord  ,grantham1 #8to present you a    
young ,american1 who has a letter for   
your  ,eminence1 and who has come to    
,italy for the purpose of studying the  
,fine  ,arts4' ,the ,cardinal knew so   
little of the ,new ,world1 that he      
conceived  an ,american must needs be a 
savage4 #8,is he black or white8' said  
the  aged virtuoso1 holding out both    
hands1 that he might have the           
satisfaction of touching1 at least1 this
 new wonder4 ,lord ,grantham  smiled and
 said1 #8he is fair--very fair4'        
#8,what6 as fair as ,i am8'  exclaimed  
the prelate4 ,now the complexion of the 
churchman was a deep  olive--that of    
,west more than commonly fair2 and as   
they stood together1  the company       

smiled4 #8,as fair as the ,cardinal1'   
became for a while  proverbial4 ,others1
 who had the use of their eyes1 seemed  
to consider  the young ,american as at  
most a better kind of savage1 and       
accordingly  were curious to watch him4 
,they wished to try what effect the     
,apollo1  the ,venus1 and the works of  
,raffaelle would have upon him1 and     
thirty of  the most magnificent         
equipages in the capital1 filled with   
some of the  most erudite characters in 
,europe1 says ,galt1 conducted the young
 ,quaker  to view the masterpieces of   
art4 ,it was agreed that the ,apollo    
should be  first submitted to his view2 
the statue was enclosed in a case1 and  
when  the keeper threw open the doors1  
,west unconsciously exclaimed1 #8,my    
,god6  a young ,mohawk warrior6' ,the   
,italians were surprised and mortified  
with  the comparison of their noblest   
statue to a wild savage2 and ,west1     
perceiving the unfavorable impression1  
proceeded to remove it4 ,he  described  

the ,mohawks1 the natural elegance and  
admirable symmetry of  their persons1   
the elasticity of their limbs1 and their
 motions free and  unconstrained4 #8,i  
have seen them often1' he continued1    
#8standing in the  attitude of this     
,apollo1 and pursuing with an intense   
eye the arrow  which they had just      
discharged from the bow4' ,the ,italians
 cleared their  moody brows1 and allowed
 that a better criticism had rarely been
 made4  ,west was no longer a           
barbarian40          ,,west',s ,,early  
,,friends4      ,the excitement to which
 ,west was subjected at ,rome1 his      
intense  application1 and his anxiety to
 distinguish himself1 brought on a      
fever1  and for a time1 interrupted his 
studies2 by the advice of his           
physicians1 he returned to ,leghorn1 for
 the benefit of the sea air1  where1    
after a lingering sickness of eleven    
months1 he was completely  cured4 ,but  
he found his funds almost exhausted1 and
 he began to despair  of being able to  

prosecute his studies according to the  
proposed plan4  ,he called on his       
agents1 to take up the last ten pounds  
he had in the  world1 when to his       
astonishment and joy1 he was handed a   
letter of  unlimited credit from his old
 friends in ,philadelphia1 ,mr4 ,allen  
and  ,governor ,hamilton2 they had heard
 of his glorious reception at ,rome1 and
  his success with the portrait of ,lord
 ,grantham4 ,at a dinner1 one day1  with
 ,governor ,hamilton1 ,mr ,allen said1  
8,i regard this young man as an  honor  
to his country1 and as he is the first  
that ,america has sent out  to cultivate
 the ,fine ,arts1 he shall not be       
frustrated in his studies1  for ,i shall
 send him whatever money he may         
require40 8,i think with you1  sir10    
replied ,hamilton1 8but you must not    
have all the honor to  yourself2 allow  
me to unite with you in the             
responsibility of the  credit40 ,those  
who befriend genius when it is          
struggling for  distinction1 are public 

benefactors1 and their names should be  
held in  grateful remembrance4 ,the     
names of ,hamilton1 ,allen1 ,smith1     
,kelly1  ,jackson1 ,rutherford1 and     
,lord ,grantham1 must be dear to all the
 admirers  of ,west2 they aided him in  
the infancy of his fame and fortune1    
cheered  him when he was drooping and   
desponding2 and watched over his person 
and  purse with the vigilance of true   
friendship4 ,west always expressed his  
deepest obligation to these generous    
men1 and it was at his particular       
request that ,galt recorded their names1
 and their deeds4          ,,west',s    
,,course ,,of ,,study4      ,west now   
proceeded with redoubled alacrity1 to   
execute the plan  recommended by ,mengs4
 ,he visited ,florence1 ,bologna1       
,parma1 and ,venice1  and diligently    
examined everything worth studying4 ,he 
everywhere  received marks of attention1
 and was elected a member of the        
,academies  of ,florence1 ,bologna1 and 
,parma4 ,in the latter city1 he painted 

and  presented to the ,academy1 a copy  
of the famous ,st4 ,jerome by           
,correggio1  8of such excellence10 says 
,galt1 8that the reigning prince desired
 to  see the artist4 ,he went to court1 
and to the utter astonishment of the    
attendants1 appeared with his hat on4   
,the prince was familiar with the       
tenets of the ,quakers1 and was a lover 
of ,william ,penn2 he received the      
young artist with complacency1 and      
dismissed him with many expressions  of 
regard40 ,west returned to ,rome1 where 
he painted two pictures which  were     
highly commended1 one of ,cimon and     
,iphigenia1 and the other of  ,angelica 
and ,medora4 ,at ,venice1 he            
particularly studied the works of       
,titian1 and ,cunningham says1 8he      
imagined he had discovered his          
principles of coloring40          ,a    
,,remarkable ,,prophecy4      ,as ,west 
was conversing one evening with ,gavin  
,hamilton in the ,british  ,coffee      
,house1 at ,rome1 an old man1 with a    

long and flowing beard and a  harp in   
his hand1 entered and offered his       
services as an improvisatore  bard4     
8,here is an ,american10 said the wily  
,scot1 8come to study the ,fine  ,arts  
in ,rome2 take him for your theme1 and1 
it is a magnificent one40  ,the minstrel
 casting a glance at ,west1 who never in
 his life could  perceive what a joke   
was1 commenced his song4 8,i behold in  
this youth an  instrument chosen by     
heaven to create in his native country a
 taste for  those arts which have       
elevated the nature of man--an assurance
 that his  land will be the refuge of   
science and knowledge1 when in the old  
age of  ,europe they shall have forsaken
 her shores4 ,all things of heavenly    
origin move westward1 and ,truth1 and   
,art1 have their periods of light  and  
darkness4 ,rejoice1 ,o ,rome1 for thy   
spirit immortal and undecayed now       
spreads towards a new world1 where1 like
 the soul of man in ,paradise1 it  will 
be perfected more and more40 ,the       

prediction of ,peckover1 the fond       
expressions of his beloved mother1 and  
his solemn dedication to art1  rushed   
upon ,west's memory1 and he burst into  
tears2 and even in his  riper years1 he 
was willing to consider the poor        
mendicant's song as  another prophecy4  
,,west',s ,,fondness ,,for ,,skating4   
,there are other minor matters1 says    
,cunningham1 which help a man on to     
fame and fortune4 ,west was a skillful  
skater1 and in ,america had formed  an  
acquaintance on the ice with ,colonel   
,howe4 ,one day1 the painter  having    
tied on his skates at the ,serpentine1  
was astonishing the timid  practitioners
 of ,london with the rapidity of his    
motions1 and the  graceful figure which 
he cut4 ,some one shouted 8,west6       
,west60 ,it was  ,colonel ,howe4 8,i am 
glad to see you10 said he1 8and not less
 so that you  came in good time to      
vindicate my praises of ,american       
skating40 ,he  called to him ,lord      
,spencer ,hamilton1 and some of the     

,cavendishes1 to  whom he introduced    
,west as one of the ,philadelphia       
prodigies of skating1  and requested him
 to show them what was called 8the      
,salute40 ,he  performed this feat so   
much to their satisfaction that they    
spread the  praises of the ,american    
skater all over ,london4 ,west was      
exceedingly  fond of this invigorating  
amusement1 and used frequently to       
gratify  large crowds by cutting the    
,philadelphia ,salute4 ,cunningham says1
 8,many  to the praise of skating1 added
 panegyrics on his professional skill1  
and not a few to vindicate their        
applause1 followed him to his easel1    
and sat for their portraits40           
,,west',s ,,death ,,of ,,wolfe4      ,a 
change was now to be effected in the    
character of ,british art4  ,hitherto1  
historical painting had appeared in a   
masking habit2 the  actions of          
,englishmen1 says ,cunningham1 had all  
been performed1 if  costume were to be  
believed1 by ,greeks and ,romans4 ,west 

dismissed at  once this pedantry1 and   
restored nature and propriety in his    
noble work  of 8the ,death of ,wolfe40  
,the multitude acknowledged its         
excellence at  once1 on its being       
exhibited at the ,royal ,academy2 but   
the lovers of  old art1 or of the       
compositions called classical1          
complained of the  barbarism of boots1  
buttons1 and blunderbusses1 and cried   
out for naked  warriors1 with bows1     
bucklers1 and battering rams4 ,lord     
,grosvenor was so  pleased with the     
picture1 that1 disregarding the frowns  
of amateurs1 and  the cold approbation  
of the ,academy1 he purchased it4 ,galt 
says that the  king questioned ,west    
concerning this picture1 and put him on 
his defense  of this new heresy in art4 
8,when it was understood10 said the     
artist1  8that ,i intended to paint the 
characters as they had actually appeared
  on the scene1 the ,archbishop of ,york
 called on ,reynolds1 and asked his     
opinion2 they both came to my house to  

dissuade me from running so great  a    
risk4 ,reynolds began a very ingenious  
and elegant dissertation on the  state  
of the public taste in this country1 and
 the danger which every  innovator      
incurred of contempt and ridicule1 and  
concluded by urging me  earnestly to    
adopt the costume of antiquity1 as more 
becoming the  greatness of my subject   
than the modern garb of ,european       
warriors4 ,i  answered that the event to
 be commemorated happened in the year   
#ageh1 in  a region of the world unknown
 to the ,greeks and ,romans1 and at a   
period  of time when no warriors who    
wore such costume existed4 ,the subject 
,i  have to represent is a great battle 
fought and won1 and the same truth      
which gives law to the historian1 should
 rule the painter4 ,if instead of  the  
facts of the action1 ,i introduce       
fiction1 how shall ,i be understood  by 
posterity8 ,the classic dress is        
certainly picturesque1 but by using  it1
 ,i shall lose in sentiment what ,i gain

 in external grace4 ,i want to  mark the
 place1 the time1 and the people1 and to
 do this1 ,i must abide  by truth4 ,they
 went away1 and returned again when ,i  
had finished the  painting4 ,reynolds   
seated himself before the picture1      
examined it with  deep and minute       
attention for half an hour2 then rising1
 said to  ,drummond1 #8,west has        
conquered2 he has treated his subject as
 it ought to  be treated2 ,i retract my 
objections4 ,i foresee that this picture
 will  not only become one of the most  
popular1 but will occasion a revolution 
in art4' #8,i wish1' said the king1     
#8that ,i had known all this before1 for
  the objection has been the means of   
,lord ,grosvenor's getting the  picture2
 but you shall make a copy for me4'0    
,,michael ,,angelo4      ,michael       
,angelo was descended from the noble    
family of ,canosa4 ,from his  earliest  
infancy1 he discovered a passion for    
drawing and sculpture4 ,it  is said that
 his nurse was the wife of a poor       

sculptor1 or as some say1  a mason4 ,his
 father1 ,lodovico ,simone ,buonarotti1 
intended him for one of  the learned    
professions1 and placed him in a grammar
 school at ,florence4  ,here young      
,angelo soon manifested the greatest    
fondness for drawing1 and  became quite 
intimate with the students in painting4 
,the decided bent  of his genius induced
 his parents1 against their wishes1 to  
place him at  the age of fourteen under 
the instruction of ,domenico            
,ghirlandaio4 ,he  made such rapid      
progress1 that he soon not only         
surpassed all his fellow  disciples1 but
 even his instructor1 so that he was    
able to correct  ,domenico's drawing4   
,while pursuing his studies under       
,ghirlandaio1 he was accustomed to visit
  the gardens of the ,grand ,duke1      
7,lorenzo the ,magnificent7 to study the
  antique4 ,one day1 when he was about  
fifteen years of age1 he found a  piece 
of marble in the garden1 and carved it  
into the mask of a satyr1  borrowing the

 design from an antique fragment4       
,lorenzo1 on seeing the  work1 was      
struck with its excellence1 and         
jestingly told the young  ,angelo that  
he had made a mistake in giving a full  
set of teeth to an  old man4 ,this hint 
was not lost2 the next day it was found 
that the  artist had broken one of the  
teeth from the upper jaw1 and drilled a 
hole in the gum to represent the cavity 
left by the lost tooth4 ,the  first work
 executed by ,michael ,angelo1 on his   
return to ,florence from  ,bologna1     
where he had fled on account of the     
disturbances in the former  city1 was a 
,sleeping ,cupid1 in marble1 which      
considerably enhanced his  reputation2  
but so great was the prejudice in favor 
of the antique1 that  by the advice of a
 friend1 ,michael ,angelo sent his      
statue to ,rome1 to  undergo the process
 of burial1 in order to give it the     
appearance of a  work of ancient art1   
before it should be submitted to public 
inspection4  ,this fraud1 like many of a

 similar kind at this time practiced1   
succeeded completely2 and the ,cupid was
 eagerly purchased by the  ,cardinal    
,st4 ,giorgio1 for #bjj ducats4 ,it was 
not long before the  ,cardinal was told 
that a trick had been played upon him1  
and he sent a  person to ,florence1 in  
order to ascertain1 if possible the     
truth of the  charge4 ,the latter       
repaired to the studios of the different
 artists in  that city1 on the pretence 
of seeing their productions4 ,on        
visiting the  atelier of ,michael       
,angelo1 he requested to see a specimen 
of his work2  but not having anything   
finished at the time1 he carelessly took
 up a  pen1 and made a sketch of a hand4
 ,the ,cardinal's messenger1 struck by  
the freedom and grandeur of the style1  
inquired what was the last work  he had 
executed4 ,the artist1 without          
consideration1 answered at the  moment1 
it was a ,sleeping ,cupid2 and so       
minutely described the supposed  antique
 statue1 that there remained no doubt   

whose work it was4 ,the  messenger at   
once confessed the object of his        
journey1 and so strongly  recommended   
,michael ,angelo to visit ,rome1 that he
 soon after went to  that city1 on the  
express invitation of the ,cardinal ,st4
 ,giorgio  himself4 ,here he executed   
several admirable works1 among which the
  ,piet1 or dead ,christ1 has been      
highly extolled for the great knowledge 
of anatomy displayed in the figure4 ,he 
afterwards returned to ,florence1  where
 he executed his celebrated marble      
statue of ,david4          ,,michael    
,,angelo ,,and ,,julius ,,the ,,second4 
,julius the ,second1 a patron of genius 
and learning1 having ascended the  papal
 throne1 ,michael ,angelo was among the 
first invited to ,rome1 and  was        
immediately employed by the pope in the 
execution of a magnificent  mausoleum4  
,on the completion of the design1 it was
 difficult to find a  site befitting its
 splendor2 and it was finally determined
 to rebuild  ,st4 ,peter's1 in order    

that this monument might be contained in
 a  building of corresponding           
magnificence4 ,thus originated the      
design of  that edifice1 which was one  
hundred and fifty years in completion1  
and  which is now the noblest triumph of
 architectural genius the world can     
boast4 ,the completion of this grand    
monument was delayed by various  causes 
during the pontificates of several      
succeeding popes1 until the  time of    
,paul ,,iii4 ,it was not placed in ,st4 
,peter's1 as originally  intended1 but  
in the church of ,s4 ,pietro1 in        
,vincoli4 ,on this monument  is the     
celebrated colossal statue of ,moses1   
which ranks ,michael ,angelo  among the 
first sculptors1 and has contributed    
largely to his renown4          ,,st4   
,,peter',s ,,church4      ,michael      
,angelo's greatest architectural work   
was the cupola of ,st4  ,peter's church4
 ,bramante1 the original architect1 had 
executed his  design only up to the     
springing of the four great arches of   

the central  intersection4 ,giuliano di 
,sangallo1 ,giocondo1 ,raffaelle1       
,peruzzi1 and  ,antonio ,sangallo1 had  
been successively engaged1 after        
,bramante's  decease1 to carry on the   
work2 but during the inert sway of      
,adrian ,,vi41  and amid the            
catastrophes of ,clement ,,vii41 little 
had been accomplished4  ,at length ,paul
 ,,iii4 appointed ,michael ,angelo to   
the post of architect1  much against his
 will1 as he was then seventy-two years 
of age4 ,he  immediately laid aside all 
the drawings and models of his          
predecessors1  and taking the simple    
subject of the original idea1 he carried
 it out  with remarkable purity1        
divesting it of all the intricacies and 
puerilities of the previous successors  
of ,bramante1 and by its  unaffected    
dignity1 and unity of conception1 he    
rendered the interior of  the cupola    
superior to any similar work of modern  
times4 ,he was engaged  upon it         
seventeen years1 and at the age of      

eighty-seven he had a model  prepared of
 the dome1 which he carried up to a     
considerable height2 in  fact1 to such a
 point as rendered it impossible to     
deviate from his  plan2 and it was      
completed in conformity with his design1
 by ,giacomo  della ,porta1 and         
,domenico ,fontana4 ,the work was       
greatly delayed in  consequence of the  
want of necessary funds1 or else        
,michael ,angelo would  have himself    
completed this great monument of his    
taste and skill4 ,if we  are indebted to
 ,bramante for the first simple plan of 
the ,greek ,cross of  ,st4 ,peter's1 and
 the idea of a cupola to crown the      
centre1 still it must  be allowed that  
to ,michael ,angelo is due the merit of 
carrying out the  conception of the     
original architect1 with a beauty of    
proportion1 a  simplicity and unity of  
form1 a combination of dignity and      
magnificence  of decoration1 beyond what
 even the powers of ,bramante could have
  effected4    ,such was the            

unparalleled eminence which this        
wonderful genius attained  in the three 
sister arts of sculpture1 architecture1 
and painting4 ,his  chief               
characteristics were grandeur and       
sublimity4 ,his powers were  little     
adapted to represent the gentle and the 
beautiful2 but whatever  in nature      
partook of the sublime and the terrible1
 were portrayed by him  with such       
fidelity and grandeur as intimidates the
 beholder4 ,never  before nor since has 
the world beheld so powerful a genius4  
,the name of  ,michael ,angelo will be  
immortal as long as the peopled walls of
 the  ,sistine chapel endure1 or the    
mighty fabric of ,st4 ,peter's rears its
  proud dome above the spires of the    
,eternal city4          ,,michael       
,,angelo',s ,,first ,,patron4           
,lanzi says that ,lorenzo the           
,magnificent1 desirous of encouraging   
the  statuary art1 then on the decline  
in his country1 had collected in his    
gardens many antique marbles1 which he  

committed to the care of  ,bertoldo4 ,he
 requested ,ghirlandaio to send him a   
talented young man1 to  be educated     
there1 and he sent him ,michael ,angelo1
 then a youth of  sixteen4 ,lorenzo was 
so pleased with his genius that he took 
him into  his palace1 rather as a       
relative than a dependent1 placing him  
at the  same table with his own sons1   
with ,poliziano and other learned men   
who  graced his residence4 ,during the  
four years that he remained there1 he   
laid the foundation of all his          
acquirements4          ,,the ,,cartoon  
,,of ,,pisa4      ,according to         
,condivi1 ,michael ,angelo devoted      
twelve years to the study  of anatomy1  
with great injury to his health1 and    
this course 8determined  his style1 his 
practice1 and his glory40 ,his perfect  
knowledge of the  human body was best   
shown in his famous ,cartoon of the     
,battle of ,pisa1  prepared in          
competition with ,leonardo da ,vinci1 in
 the saloon of the  public palace at    

,florence4 ,angelo did not rest         
satisfied with  representing the        
,florentines1 cased in armor1 and       
mingling with their  enemies in deadly  
combat2 but choosing the moment of the  
attack upon the  van1 while bathing in  
the river ,arno1 he seized the          
opportunity of  representing many naked 
figures1 as they rushed to arms from the
 water1  by which he was enabled to     
introduce a prodigious variety of       
foreshortenings1 and attitudes the most 
energetic--in a word1 the  highest      
perfection of his peculiar excellence4  
,cellini observes of this  work1 that   
8when ,michael ,angelo painted in the   
chapel of ,julius ,,ii41 he  did not    
reach half that dignity20 and ,vasari   
says that 8all the artists  who studied 
and designed after this cartoon1 became 
eminent40    ,this sublime production   
has perished1 and report1 though not    
authenticated1 accuses ,baccio          
,bandinelli of having destroyed it1     
either  that others might not derive    

advantage from its study1 or1 because of
  his partiality to ,vinci and his      
hatred to ,buonarotti he wished to      
remove  a subject of comparison that    
might exalt the reputation of the latter
  above that of the former4             
,,michael ,,angelo',s ,,last ,,judgment4
      ,lanzi says1 8,in the succeeding  
pontificates 7to that of ,julius ,,ii47 
,michael ,angelo1 always occupied in    
sculpture and architecture1 almost      
wholly abandoned painting1 till he was  
induced by ,paul ,,iii4 to resume  the  
pencil4 ,clement ,,vii4 had conceived   
the design of employing him in  the     
,sistine chapel1 on two other grand     
historical pictures--the ,fall of  the  
,angels1 over the gate2 and the ,last   
,judgment1 in the opposite  faade1 over 
the altar4 ,michael ,angelo had composed
 designs for the ,last  ,judgment1 and  
,paul ,,iii4 being aware of this1       
commanded1 or rather  entreated1 him to 
commence the work2 for he went to his   
house1  accompanied by ten              

,cardinals1--an honor1 except in this   
instance1  unknown in the annals of the 
art40 ,this sublime work was finished by
  ,michael ,angelo in eight years1 and  
was exhibited in #aeda4 ,vasari says    
that at the suggestion of ,fra          
,sebastiano del ,piombo1 the ,pope      
desired  that it should be painted in   
oil2 but ,michael ,angelo positively    
declined  to undertake it1 except in    
fresco1 saying 8that oil painting was an
  employment only fit for women1 or     
idlers of mean capacity40 ,varchio in   
his funeral oration says1 8,such was the
 delicacy of his taste that no  artist  
could please him2 and as in sculpture1  
every pincer1 file1 and  chisel which he
 used1 was the work of his own hands1 so
 in painting1 he  prepared his own      
colors1 and did not commit the mixing   
and other  necessary manipulations to   
mechanics and boys40    ,lanzi says that
 ,michael ,angelo must be acknowledged  
supreme in that  peculiar branch of the 
profession 7the nude71 at which he aimed

 in all  his works1 especially in his   
,last ,judgment4 8,the subject appeared 
rather  created than selected by him4   
,to a genius so comprehensive1 and so   
skilled in drawing the human figure1 no 
subject could be better adapted  than   
the ,resurrection2 and to an artist who 
delighted in the awful1 no  story more  
suitable than the day of supernal       
terrors4 ,he saw ,raffaelle  preminent  
in every other department of the art2 he
 foresaw that in this  alone could he   
expect to be triumphant2 and perhaps he 
indulged the hope  that posterity would 
adjudge the palm to him who excelled all
 others in  the most arduous walk of    
art40    8,the ,last ,judgment10 says   
,lanzi1 8was filled with such a         
profusion of  nudity that it was in     
great danger of being destroyed1 from a 
regard to  the decency of the sanctuary4
 ,paul ,,iv4 proposed to whitewash it1  
and was  hardly appeased with the       
correction of its most glaring          
indelicacies1 by  some drapery          

introduced here and there by ,daniello  
da ,volterra1 on whom  the facetious    
,romans1 from this circumstance1        
conferred the nickname of  the          
,breeches-maker40 ,other corrections    
were proposed by different  critics1 and
 some alterations made4 ,angelo was     
censured for mixing  sacred with profane
 history2 for introducing the angels of 
revelation  with the ,stygian ferryman2 
,christ sitting in judgment1 and ,minos 
assigning his proper station to each of 
the damned4 ,to this profanity1  he     
added satire2 in ,minos1 he portrayed   
the features of the ,master of          
,ceremonies1 who in the hearing of the  
pope1 had pronounced this picture  more 
suitable for a ,bagnio than a church2   
and an officious ,cardinal1 he  placed  
among the damned1 with a fiend dragging 
him by the testes down to  hell4        
,,michael ,,angelo',s ,,coloring4       
,the coloring of ,michael ,angelo has   
been generally criticised as being  too 
cold and inharmonious1 but the best     

critics now consider that it was        
admirably adapted to his design4 ,his   
chief characteristics were grandeur  and
 sublimity1 and whatever partook of the 
sublime and the terrible1 he  portrayed 
with a fidelity that intimidates the    
beholder4 ,it is an error  to suppose   
that he could not color delicately and  
brilliantly when he  chose4 ,during his 
residence at ,florence1 he painted an   
exquisite ,leda  for ,alphonso1 ,duke of
 ,ferrara4 ,michael ,angelo was so much 
offended at  the manner of one of the   
courtiers of that prince1 who was sent  
to bring  it to ,ferrara1 that he       
refused to let him have it1 but made it 
a present  to his favorite pupil1       
,antonio ,mini1 who carried it to       
,france4 ,vasari  describes it as 8a    
grand picture1 painted in distemper1    
that seemed as  if it breathed on the   
canvass02 and ,mariette1 in his notes on
 ,condivi1  affirms that he saw the     
picture1 and that 8,michael ,angelo     
appeared to  have forgot his usual      

style1 and approached the tone of       
,titian40  ,d',argenville informs us    
that the picture was destroyed by fire  
in the  reign of ,louis ,,xiii4 ,lanzi  
says1 8,in chiaro-scuro1 ,michael       
,angelo had  not the skill and delicacy 
of ,correggio2 but his paintings in the 
,vatican have a force and relief much   
commended by ,renfesthein1 an  eminent  
connoisseur1 who1 on passing from the   
,sistine chapel to the  ,farnesian      
gallery1 remarked how greatly in this   
respect the ,caracci  themselves were   
eclipsed by ,buonarotti40               
,,michael ,,angelo',s ,,grace4      8,it
 is a vulgar error10 says ,lanzi1 8to   
suppose that ,michael ,angelo had  no   
idea of grace and beauty2 the ,eve in   
the ,sistine chapel turns to  thank her 
,maker1 on her creation1 with an        
attitude so fine and lovely1  that it   
would do honor to the school of         
,raffaelle4 ,annibale ,caracci  admired 
this1 and many other naked figures in   
this grand ceiling1 so  highly that he  

proposed them to himself as models in   
the art1 and  according to ,bellori1    
preferred them to the ,last ,judgment1  
which  appeared to him to be too        
anatomical40          ,,michael         
,,angelo',s ,,oil ,,paintings4      ,it 
has long been a disputed point whether  
,michael ,angelo ever painted in  oil2  
but it has been ascertained by ,lanzi   
that the ,holy ,family in the           
,florentine gallery1 which is the only  
picture by him supposed to be  painted  
in oil1 is in reality in distemper4     
,many of his designs1  however1 were    
executed in oil by his cotemporaries1   
especially  ,sebastiano del ,piombo1    
,jacopo da ,pontormo1 and ,marcello     
,venusti4 ,fresco  painting was better  
adapted to the elevated character of his
  composition1 which required a simple  
and solid system of coloring1  rather   
subdued than enlivened1 and producing a 
grand and impressive  effect1 which     
could not have been expressed by the    
glittering splendor  of oil painting4   

,there are many oil paintings           
erroneously attributed to  him in the   
galleries at ,rome1 ,florence1 ,milan1  
the ,imperial gallery at  ,vienna1 and  
elsewhere4 7,see ,spooner's ,dict4 of   
,painters1 ,engravers1  ,sculptors1 and 
,architects2 table of ,imitators47      
,,michael ,,angelo1 ,,his ,,prophets1   
,,and ,,julius ,,ii4      ,when ,michael
 ,angelo had finished the works in the  
,sistine chapel which  ,julius ,,ii4 had
 commanded him to paint1 the ,pope1 not 
appreciating their  native dignity and  
simplicity1 told him that 8the chapel   
appeared cold  and mean1 and there      
wanted some brilliancy of coloring1 and 
some gilding  to be added to it40 8,holy
 father10 replied the artist1 8formerly 
men did  not dress as they do now1 in   
gold and silver2 those personages whom  
,i  have represented in my pictures in  
the chapel1 were not persons of  wealth1
 but saints1 who were divinely inspired1
 and despised pomp and  riches40        
,,bon-,,mots ,,of ,,michael ,,angelo4   

,michael ,angelo was a true poet4 ,he   
was endowed with a ready wit and        
consummate eloquence4 ,his bon-mots1    
recorded by ,dati1 rival those of the   
,grecian painters1 and he was esteemed  
one of the most witty and lively  men of
 his time4    ,when he had finished his 
statue of ,julius ,,ii4 for the         
,bolognese1 the  ,pope thought it too   
severe1 and said to him1 8,angelo1 my   
statue appears  rather to curse than to 
bless the good people of ,bologna40     
8,holy  father10 replied the artist1 8as
 they have not always been the most     
obedient of your subjects1 it will teach
 them to be afraid of you1 and  to      
behave better in future40    ,under the 
pontificate of ,julius ,,iii41 the      
faction of ,san ,gallo went so  far1 as 
to prevail upon the ,pope to appoint a  
committee to examine the  fabric4       
,angelo paid no attention to the cavils 
of his enemies4 ,finally  the ,pope     
summoned him before him1 and told him   
that a particular part of  the church   

was too dark4 8,who told you that1 holy 
father80 said ,angelo4  8,i did10       
interrupted the ,cardinal ,marcello4    
8,your eminence should  consider1 then10
 said the artist1 casting at the prelate
 a look of cool  contempt1 8that besides
 the window there is at present1 ,i have
 designed  three more in the ceiling of 
the church60 8,you did not tell me      
that10  replied the ,cardinal4 8,no     
indeed1 ,i did not1 sir4 ,i am not      
obliged to  tell you2 nor would ,i ever 
consent to be obliged to tell your      
eminence1  or any person whomsoever1    
anything concerning it4 ,your business  
is to  take care that money is plenty at
 ,rome2 that there are no thieves there2
  to let me alone2 and to permit me to  
go on with my plan as ,i please40       
,when asked why he did not marry1 he    
replied that 8his art was his  mistress1
 and gave him trouble enough40 ,again1  
that 8an artist should  never cease to  
learn40 ,when told that some one had    
performed a  remarkable feat in painting

 with his fingers1 he said1 8,why don't 
the  blockhead use his brush80 ,when    
shown ,titian's ,dana1 he observed1     
8,what  a pity these ,venetians do not  
study design40 ,of the ,gates of        
,ghiberti1  he said1 8they are fit to   
adorn the portals of ,paradise40        
,,washington ,,allston4      8,soon     
after ,allston's marriage with his first
 wife1 the sister of the  late ,dr4     
,channing1 he made his second visit to  
,europe4 ,after a residence  there of a 
little more than a year1 his pecuniary  
wants became very  pressing and         
urgent--more so than at any other period
 of his life4 ,on  one of these         
occasions1 as he himself used to narrate
 the event1 he was  in his studio1      
reflecting with a feeling of almost     
desperation upon his  condition4 ,his   
conscience seemed to tell him that he   
had deserved his  afflictions1 and drawn
 them upon himself1 by his want of due  
gratitude  for past favors from heaven4 
,his heart1 all at once1 seemed filled  

with  the hope that ,god would listen to
 his prayers1 if he would offer up his  
direct expressions of penitence1 and ask
 for divine aid4 ,he accordingly  locked
 his door1 withdrew to a corner of the  
room1 threw himself upon  his knees1 and
 prayed for a loaf of bread for himself 
and his wife4  ,while thus employed1 a  
knock was heard at the door4 ,a feeling 
of  momentary shame at being detected in
 this position1 and a feeling of  fear  
lest he might have been observed1       
induced him to hasten and open  the     
door4 ,a stranger inquired for ,mr4     
,allston4 ,he was anxious to learn  who 
was the fortunate purchaser of the      
painting of 8,angel ,uriel10  regarded  
by the artist as one of his             
masterpieces1 and which had won the     
prize at the exhibition of the ,academy4
 ,he was told that it had not been      
sold4 8,can it be possible8 ,not sold6  
,where is it to be had80 8,in this  very
 room4 ,here it is10 producing the      
painting from a corner1 and wiping  off 

the dust4 8,it is for sale--but its     
value has never yet1 to my idea  of its 
worth1 been adequately appreciated--and 
,i would not part with  it40 8,what is  
its price80 8,i have done affixing any  
nominal sum4 ,i have  always1 so far1   
exceeded my offers4 ,i leave it for you 
to name the  price40 8,will four hundred
 pounds be an adequate recompense80 8,it
 is  more than ,i have ever asked for   
it40 8,then the painting is mine40 ,the 
stranger introduced himself as the      
,marquis of ,stafford2 and he became1   
from that moment1 one of the warmest    
friends of ,mr4 ,allston4 ,by him ,mr4  
,a4 was introduced to the society of the
 nobility and gentry2 and he  became one
 of the most favored among the many     
gifted minds that adorned  the circle1  
in which he was never fond of appearing 
often4    8,the instantaneous relief    
thus afforded by the liberality of this 
noble  visitor1 was always regarded by  
,allston as a direct answer to his      
prayer1 and it made a deep impression   

upon his mind4 ,to this event he  was   
ever after wont to attribute the        
increase of devotional feelings  which  
became a prominent trait in his         
character40--,boston ,atlas4            
,,allston',s ,,death4                   
8,notwithstanding the general respect   
which is manifested to the memory  of   
this distinguished artist1 there are    
unsympathising1 ice-hearted men  of the 
world who yet reproach him for          
uncontrollable events in his  career4   
,the actions of the painter1 the poet1  
and the musician1 are dictated  often by
 other motives than those impelling the 
arm of the mechanic1 or  the tongue of  
the advocate4 ,men of genius are of a   
more delicate  organization than those  
possessing inferior abilities1 and are  
swayed by  emotions the most lofty that 
can actuate humanity4 ,the world's      
neglect1  the contempt of critics1      
depressed spirits induced by pecuniary  
embarrassments1 blast their hopes1      
enervate their energies1 and deprive    

them of the potency to cope with the    
heartless world4    ,men there are who  
would visit the generous ,allston with  
censure1  because1 while laboring under 
disappointments1 ill health1 and crushed
  anticipations1 he failed to finish his
 painting of ,belshazzar's ,feast1 a    
theme that possibly became uncongenial  
to his pencil4 ,may their ill  feeling  
be forgotten1 and1 if the fountain of   
their sympathies be not  wholly dried   
up1 may it yield a little lenity towards
 one of ,america's  noblest sons4    ,it
 may not be inappropriate to insert a   
tribute to the memory of  ,allston1     
which will serve to vindicate his       
character from his aspersers1  and      
exhibit it as traced by one for many    
years connected with him by the  dearest
 ties of friendship3                    
#8,,paris1 ,november1 #ahdc4            
,the ,duke de ,luynes1 a ,french        
nobleman1 has lately given a            
commission to ,monsieur ,ingres1 the    
painter1 recently ,director of       the

 ,french ,academy of ,arts in ,rome1 to 
decorate his palace at       ,dampierre 
with a series of pictures1 the subjects 
of which ,i have       not heard4 ,one  
hundred thousand francs are allowed to  
the artist       for this work4 ,m4     
,ingres was a student at ,rome1         
pensioned by his       government1 at   
the time ,mr4 ,w4 ,allston and myself   
were there       pursuing the same      
studies--not1 however1 aided by a       
government4         ,when the melancholy
 news of the death of my much regretted 
friend       and fellow artist reached  
here1 which was about the time the above
       favor was granted to ,m4 ,ingres1
 ,i could not but reflect on the less   
fortunate destiny of our highly         
accomplished countryman1 whose          
muse1 alas6 was doomed to linger out a  
languid existence in a state       of   
society unfavorable to the arts1 or at  
least where there was       little to   
encourage and sustain them1 compared    
with the capitals in       ,europe where

 he had lived and studied4 ,such an     
indifference to the       arts is not   
confined to one section of our country1 
but pervades       the whole ,united    
,states4         ,it is indeed a subject
 of regret that so highly-gifted an     
artist       should not have been       
commissioned to ornament some public    
building1       or private mansion of   
opulence1 with a series of pictures in  
the       free style of fresco1         
comprising poetical designs and         
landscapes1       in which he was so    
superior1 instead of being subjected to 
finish a       picture which1 from some 
cause1 he had become dissatisfied with1 
for the prosecution of which he found   
himself debarred of even the            
advantages of models and costume1 not to
 mention those of a less       material 
nature--the absence of all the great    
models of art to       kindle and       
inspire his genius1 etc4 ,a work of the 
kind before       suggested would admit 
of a free execution1 independent in a   

degree       of models and costume4     
,such a commission1 ,i am persuaded1    
would       have cheered up his spirit1 
and called forth fresh images from his  
fancy4 ,it is ever to be regretted that 
he was not employed in this       way2  
had he been1 our country would no doubt 
have had a beautiful       creation from
 a highly cultivated and poetic mind1   
now forever       lost4         ,no one 
who was ever acquainted with the subject
 of this notice1 but       must feel    
sincere regret1 also1 that so fair and  
amiable a       character was not       
soothed in his latter years with all the
 ease and       comfort of mind and body
 that the world could bestow1 which thus
       far has been seldom if ever the  
lot of his profession in our            
country4 ,how many there are who have   
not undergone half the       fatigue1   
physical or mental1 endured by ,mr4     
,allston--not to mention       the far  
greater amount of time and money        
expended in the       acquisition of his

 profession than in most other          
pursuits--yet have       secured to     
themselves the means to reach the       
decline of life in a       condition to 
assure ease and comfort4 ,such is the   
unequal       compensation of the world4
         ,when ,i look back some five or
 six-and-thirty years1 when we were     
both in ,rome1 and next-door neighbors  
on the ,trinita del ,monte1       and in
 the spring of life1 full of enthusiasm 
for our art1 and       fancying fair    
prospects awaiting us in after          
years--and few       certainly had more 
right than my worthy colleague to look  
towards       such a futurity--it is    
painful to reflect how far these hopes  
have       been from being realized4    
,such may be the lot of a great many2   
still we may believe and hope that so   
melancholy an example rarely            
occurs4                                 
,j4 ,,vanderlyn40    ,the ,art-,union of
 ,new-,york have struck a commemorative 
medal1 with  ,allston's face on the     

obverse side2 and thus is the great     
artist  rewarded4    ,genius1 that      
breaks the fetters encircling the mind1 
is fated to drink  life's bitterest cup 
to the dregs4 ,after earth has flung the
 gem away1  she proclaims its value4    
,reformers must be martyrs4 ,every      
,socrates must quaff his hemlock--every 
,burns pine in unpitied poverty4 ,in    
life1 the artist appears on the  reverse
 side of the world's medal--in death1 on
 the obverse40--,dewey  ,fay4           
,,american ,,patronage ,,at ,,home ,,and
 ,,abroad4      ,the writer has         
frequently heard our artists bitterly   
complain of the  meanness of their      
countrymen in patronizing everything    
foreign1 not only  at home but abroad4  
,it is mortifying enough to them to see 
the palaces  of many of our merchant    
princes disgraced1 not adorned1 with a  
multitude of modern flashy ,french      
pictures1 without a single piece by a   
native artist4 ,how cutting then must be
 the slight to those young  artists1    

who1 having gone to ,italy for          
improvement1 are visited in their       
studios1 by their countrymen1 who1      
desirous of bringing home some copies   
of favorite pictures1 give their        
commissions to foreigners4 ,our young   
artists1 during their residence abroad1 
are generally poor1 and  frequently     
undergo every privation to enable them  
to achieve the object  of their         
ambition4 ,weir says that at one time   
during his residence at  ,rome1 he was  
obliged 8to live on ten cents a day for 
a month40  ,greenough1 during his second
 visit to ,italy1 was almost driven to  
despair4 ,mr4 ,j4 ,fenimore ,cooper     
found him in this deplorable state in   
#ahbi1 and gave him a commission for his
 beautiful group of ,chanting  ,cherubs4
 ,he had already distinguished himself  
by several admirable busts  of ,john    
,quincy ,adams1 ,chief ,justice         
,marshall1 ,henry ,clay1 and others1    
but this was the first commission he had
 ever received for a group4 ,the        

grateful sculptor says in a letter to   
,mr4 ,dunlap1 8,mr4 ,fenimore ,cooper   
saved me from despair1 after my second  
return to ,italy4 ,he employed me  as ,i
 wished to be employed2 and has1 up to  
this moment1 been a father to  me in    
kindness40    ,mr4 ,cooper1 in a letter 
published in the ,new-,york ,american1  
,april #cj1  #ahca1 says3    8,most of  
our people1 who come to ,italy1 employ  
the artists of the  country to make     
copies1 under the impression that they  
will be both  cheaper and better1 than  
those done by ,americans1 studying here4
 ,my own  observation has led me to     
adopt a different course4 ,i am well    
assured  that few things are done for us
 by ,europeans1 under the same sense of 
responsibility1 as when they work for   
customers near home4 ,the very          
occupation of the copyist1 infers some  
want of that original capacity1  without
 which no man can impart to a work1     
however exact it may be in  its         
mechanical details1 the charm of        

expression4 ,in the case of ,mr4        
,greenough1 ,i was led even to try the  
experiment of an original4 ,the         
difference in value between an original 
and a copy is so greatly in  favor of   
the former1 with anything like approach 
to success1 that ,i am  surprised that  
more of our amateurs are not induced to 
command them4 ,the  little group ,i have
 sent home1 7the ,chanting ,cherubs7    
will always have  an interest that can  
belong to no other work of the same     
character4 ,it  is the first effort of a
 young artist who bids fair to build for
 himself  a name1 and whose life will be
 connected with the history of the art  
in  that country which is so soon to    
occupy such a place in the world4 ,it is
  more2 it is probably the first group  
ever completed by an ,american          
sculptor40    ,when this beautiful group
 had been exhibited a sufficient time in
 the  ,united ,states1 to bring its     
merits before the public1 ,mr4 ,cooper1 
in the  hope of influencing the         

government to employ ,greenough on a    
statue of  ,washington1 wrote to the    
,president1 and to ,mr4 ,mc,lane the    
,secretary of  the ,treasury1 strongly  
urging the plan of a statue of the      
8,father of his  ,country10 by the first
 ,american sculptor who had shown       
himself competent  to so great a task4  
,he was successful1 and ,congress       
commissioned  ,greenough to execute a   
statue of ,washington for the ,capitol4 
,the  sculptor received the intelligence
 with transports of delight1 but when   
he had had time for reflection1 he      
modestly began to doubt his ability  to 
do justice to his subject1 and 8answer  
all the expectations of his  friends40  
8,when ,i went10 says he1 8the other    
morning1 into the large  room in which  
,i propose to execute my statue1 ,i felt
 like a spoiled boy1  who1 after        
insisting upon riding on horseback1     
bawled aloud with fright1  at finding   
himself in the saddle1 so far from the  
ground60    ,is it not a burning shame1 

that the most gifted artists of this    
great  and glorious country should be   
compelled to go abroad to seek both fame
  and bread1 not fortune8 ,what merchant
 prince will set his countrymen an      
example1 and1 like ,sir ,george         
,beaumont1 bribe ,congress and his      
fellow  citizens to form a national     
gallery1 by giving a collection of casts
  from the antique1 first class         
paintings and engravings1 rare works of 
art1 and a library on art1 worth #gj1jjj
 guineas8 ,it is a mistaken  opinion1   
entertained by many1 that the fine arts 
are of little  importance to our        
country4 ,on the contrary1 every person 
is directly  interested4 ,a foreign     
writer observes that1 8silver-plating in
 the  ,united ,states1 is what          
tin-smithery is in ,paris40 ,fuseli     
terms ,venice  8the toy-shop of         
,europe20 better ,paris4 ,what a        
multitude of people are  supported in   
that great city by the manufacture of   
ten thousand fabrics1  exquisitely      

designed and executed4 ,the ,parisians  
have a keen perception  of the          
beautiful1 simply from being educated in
 a city abounding with  galleries and   
the best models of art1 or as ,reynolds 
terms it1 8the  accumulated genius of   
ages40          ,,raffaelle ,,sanzio    
,,di ,,urbino4      ,by the general     
approbation of mankind1 this illustrious
 artist has been  styled 8the prince of 
modern painters40 ,he is universally    
acknowledged  to have possessed a       
greater combination of the excellencies 
of art than  has fallen to the lot of   
any other individual4 ,it is a          
remarkable fact1  mentioned by many     
artists and writers1 that the most      
capital frescoes of  ,raffaelle in the  
,vatican1 do not at first strike the    
beholder with  surprise1 nor satisfy his
 expectations2 but as he begins to study
 them1  he constantly discovers new     
beauties1 and his admiration continues  
to  increase with contemplation4        
,,raffaelle',s ,,ambition4              

,raffaelle was inspired by the most     
unbounded ambition2 the efforts of      
,michael ,angelo to supplant him only   
stimulated him to greater exertions2    
and1 on his death-bed1 he thanked ,god  
he was born in the days of  ,buonarotti4
 ,he was instructed in the principles of
 architecture for six  years by         
,bramante1 that on his death he might   
succeed him in  superintending the      
erection of ,st4 ,peter's4 ,he lived    
among the ancient  sculptures1 and      
derived from them not only the contours1
 drapery1 and  attitudes1 but the spirit
 and principles of the art4 ,not content
 with  what he saw at ,rome1 he employed
 able artists to copy the remains of    
antiquity at ,pozzuolo1 throughout all  
,italy1 and even in ,greece4 ,it is     
also probable that he derived much      
assistance from living artists1 whom  he
 consulted in regard to his             
compositions4 ,the universal esteem     
which  he enjoyed1 his attractive       
person1 and his engaging manners1 which 

all  authors unite in describing as     
incomparable1 conciliated the favor of  
the most eminent men of letters1 as     
,bembo1 ,castiglione1 ,giovio1          
,navagero1 ,ariosto1 ,fulvio1           
,calcagnini1 etc41 who set a high value 
on his  friendship1 and were doubtless  
ready to supply him with many valuable  
hints and ideas4          ,,raffaelle   
,,and ,,michael ,,angelo4      8,michael
 ,angelo1 his rival10 says ,lanzi1      
8contributed not a little to  the       
success of ,raffaelle4 ,as the contest  
between ,zeuxis and ,parrhasius  was    
beneficial to both1 so the rivalship of 
,buonarotti and ,sanzio aided  the fame 
of ,michael ,angelo1 and produced the   
paintings in the ,sistine  chapel2 and  
at the same time contributed to the     
celebrity of ,raffaelle1  by producing  
the pictures in the ,vatican1 and not a 
few others4 ,michael  ,angelo1          
disdaining any secondary honors1 came to
 the combat1 as it were1  attended by   
his shield-bearer1 for he made drawings 

in his grand style1  and then gave them 
to ,fra ,sebastiano del ,piombo1 the    
scholar of  ,giorgione1 to execute2 and1
 by this means1 he hoped that ,raffaelle
 would  never be able to rival his      
productions1 either in design or color4 
,raffaelle stood alone1 but aimed at    
producing works with a degree of        
perfection beyond the united efforts of 
,michael ,angelo and ,f4  ,sebastiano1  
combining in himself a fertile          
imagination1 ideal beauty  founded on a 
correct imitation of the ,greek style1  
grace1 ease1 amenity1  and a            
universality of genius in every         
department of art4 ,the noble           
determination of triumphing in such a   
powerful contest animated him  night and
 day1 and allowed him no respite4 ,it   
also animated him to  surpass both his  
rivals and himself in every new work40  
,,raffaelle',s ,,transfiguration4       
8,this great artist0 7,michael ,angelo71
 says ,vasari1 8had felt some           
uneasiness at the growing fame of       

,raffaelle1 and he gladly availed       
himself of the powers of ,sebastiano del
 ,piombo1 as a colorist1 in the  hope   
that1 assisted by his designs1 he might 
be enabled to enter the  lists          
successfully with his illustrious       
antagonist1 if not to drive him  from   
the field4 ,with this view1 he furnished
 him with the designs for  the ,piet in 
the church of the ,conventuali at       
,viterbo1 and the  ,transfiguration and 
,flagellation1 in ,s4 ,pietro in        
,montorio1 at ,rome1  which1 as he was  
very tedious in the process1 occupied   
him six years40  ,it was at this        
juncture that the ,cardinal de ,medici  
commissioned  ,raffaelle to paint a     
picture of the ,transfiguration1 and in 
order to  stimulate the rivalry1 he     
engaged ,sebastiano to paint one of the 
,resurrection of ,lazarus1 of precisely 
the same dimensions1 for his  ,cathedral
 of ,narbonne4 ,that ,sebastiano might  
enter the lists with some  chance of    
success1 he was again assisted by       

,buonarotti1 who composed and  designed 
the picture4 ,on this occasion1         
,raffaelle exerted his utmost  powers1  
triumphed over both his competitors1 and
 produced that immortal  picture which  
has received the most unqualified       
approbation of mankind  as the finest   
picture in the world4 ,both pictures    
were publicly  exhibited in competition1
 and the palm of victory was adjudged to
  ,raffaelle--the ,transfiguration was  
pronounced inimitable in composition1   
in design1 in expression1 and in grace4 
,this sublime composition  represents   
the mystery of ,christ's                
,transfiguration on ,mount ,tabor4 ,at  
the foot of the ,mount is assembled a   
multitude1 among whom are the           
,disciples of our ,lord1 endeavoring in 
vain to relieve a youth from the        
dominion of an evil spirit4 ,the various
 emotions of human doubt1  anxiety1 and 
pity1 exhibited in the different        
figures1 present one of  the most       
pathetic incidents ever conceived2 yet  

this part of the  composition does not  
fix the attention so much as the        
principal figure  on the summit of the  
mountain4 ,there ,christ appears        
elevated in the air1  surrounded with a 
celestial radiance1 between ,moses and  
,elias1 while the  three favored        
,apostles are kneeling in devout        
astonishment on the  ground4 ,the head  
and attitude of the ,saviour are        
distinguished by a  divine majesty and  
sublimity1 that is indescribable4       
,,death ,,of ,,raffaelle4      ,with his
 incomparable work of the               
,transfiguration1 ceased the life and   
the labors of ,raffaelle2 he did not    
live to entirely complete it1 and  the  
few remaining parts were finished by his
 scholar1 ,giulio ,romano4  ,while      
engaged upon it1 he was seized with a   
fever1 of which he died on  his         
birth-day1 ,good ,friday1 ,april #gth1  
#aebj1 aged #cg years4 ,his body lay  in
 state in the chamber where he had been 
accustomed to paint1 and near  the bier 

was placed the noble picture of the     
,transfiguration4 ,the  throngs who came
 to pay their respects to the           
illustrious artist were  deeply         
affected2 there was not an artist in    
,rome but was moved to tears  by the    
sight1 and his death was deplored       
throughout ,italy as a national         
calamity4 ,the funeral ceremony was     
performed with great pomp and           
solemnity1 and his remains were interred
 in the church of the ,rotunda1         
otherwise called the ,pantheon4 ,the    
,cardinal ,bembo1 at the desire of the  
,pope1 wrote the epitaph which is now   
inscribed on his tomb4                  
,,character ,,of ,,raffaelle4      ,all 
cotemporary writers unite in describing 
,raffaelle as amiable1  modest1 kind1   
and obliging2 equally respected and     
beloved by the high  and the low4 ,his  
beauty of person and noble countenance  
inspired  confidence1 and strongly      
prepossessed the beholder in his favor  
at first  sight4 ,respectful to the     

memory of ,perugino1 and grateful for   
the  instructions he had received from  
him1 he exerted all his influence  with 
the ,pope1 that the works of his master 
in one of the ceilings of  the ,vatican 
might be spared1 when the other         
paintings were destroyed to  make room  
for his own embellishments4 ,just and   
generous to his  cotemporaries1 though  
not ignorant of their intrigues1 he     
thanked ,god  that he had been born in  
the days of ,buonarotti4 ,gracious      
towards his  pupils1 he loved and       
instructed them as his own sons2        
courteous even to  strangers1 he        
cheerfully extended his advice to all   
who asked it1 and in  order to make     
designs for others1 or to direct them in
 their studies1 he  had been known to   
neglect his own works1 rather than      
refuse them his  assistance4            
,,la ,,bella ,,fornarina4               
,raffaelle was never married1 though by 
no means averse to female  society4 ,the
 ,cardinal da ,bibiena offered him his  

niece1 which high  alliance he is said  
to have declined because the honors of  
the purple  were held out to him by the 
,pope1 who favored him greatly1 and made
 him  groom of his chamber4 ,early in   
life he became attached to a young      
woman1  the daughter of a baker at      
,rome1 called by way of distinction1 ,la
 ,bella  ,fornarina1 to whom he was     
solely and constantly attached1 and he  
left  her in his will sufficient for an 
independent maintenance4 ,the rest of   
his property he bequeathed to a relative
 in ,urbino1 and to his favorite        
scholars1 ,giulio ,romano1 and ,gio4    
,francesco ,penni4          ,,the       
,,genius ,,of ,,raffaelle4              
,raffaelle possessed in an eminent      
degree all the qualities necessary to   
constitute a preminent painter4 ,when we
 consider the number of his  paintings1 
and the multitude of his designs1 7it is
 said he left behind  him #bhg pictures1
 and #egf cartoons1 drawings1 and       
studies7 to which he  devoted so much   

study1 as is shown in his numerous      
sketches of ,madonnas  and ,holy        
,families1 c41 and especially his great 
works in the ,vatican1  in which1 in    
many cases1 he drew all the figures     
naked1 in order the  better to adapt the
 drapery and its folds to their         
respective attitudes2  and further1 his 
supervision of the building of ,st4     
,peter's church1 his  admeasurements of 
the ancient edifices of ,rome with exact
 drawings and  descriptions1 the        
preparation of designs for various      
churches and  palaces1 with several     
collateral tasks1 it seems incredible   
that even a  long life were sufficient  
for their execution2 and when we further
  reflect that he accomplished all this 
at an age when most men only begin  to  
distinguish themselves1 we are struck   
with astonishment at the  wonderful     
fecundity of his genius4                
,,raffaelle',s ,,model ,,for ,,his      
,,female ,,saints4      8,his own       
,fornarina10 says ,lanzi1 8assisted him 

in this object4 ,her  portrait by       
,raffaelle's own hand was formerly in   
the ,barberini ,palace1  and it is      
repeated in many of his ,madonnas1 in   
the picture of ,st4  ,cecilia at        
,bologna1 and in many female heads40    
,,raffaelle',s ,,oil ,,paintings4       
8,of his oil paintings10 says ,lanzi1 8a
 considerable number are to be  found in
 private collections1 particularly on   
sacred subjects1 such as  the ,madonna  
and ,child1 and other compositions of   
the ,holy ,family4 ,they  are in three  
styles1 which we have before described3 
the ,grand ,duke of  ,florence has some 
specimens of each4 ,the most admired is 
that which is  named the ,madonna della 
,seggiola4 ,of this class of pictures it
 is often  doubted whether they ought to
 be considered as originals or copies1  
as  some of them have been three1 five1 
or ten times repeated4 ,the same may  be
 said of other cabinet pictures by him1 
particularly the ,st4 ,john in  the     
,desert1 which is in the ,grand ,ducal  

gallery at ,florence1 and is  found     
repeated in many collections both in    
,italy and other countries4  ,this was  
likely to happen in a school where the  
most common mode was the                
following3--,the subject was designed by
 ,raffaello1 the picture prepared  by   
,giulio1 and finished by the master so  
exquisitely1 that one might  almost     
count the hairs of the head4 ,when      
pictures were thus finished1  they were 
copied by the scholars of ,raffaello1   
who were very numerous1  and of the     
second and third order2 and these were  
also sometimes  retouched by ,giulio and
 by ,raffaello himself4 ,but whoever is 
experienced  in the freedom and delicacy
 of the chief of this school1 need not  
fear  confounding his productions with  
those of the scholars1 or ,giulio       
himself2 who1 besides having a more     
timid pencil1 made use of a darker  tint
 than his master was accustomed to do4  
,i have met with an  experienced person1
 who declared that he could recognize   

the character  of ,giulio in the dark   
parts of the flesh tints1 and in the    
middle dark  tints1 not of a leaden     
color as ,raffaello used1 nor so well   
harmonized2  in the greater quantity of 
light1 and in the eyes designed more    
roundly1  which ,raffaello painted      
somewhat long1 after the manner of      
,pietro  ,perugino40                    
,,portraits ,,of ,,pope ,,julius ,,ii4  
,there are no less than eight portraits 
of ,julius ,,ii4 attributed to          
,raffaelle4 #a4 ,the original1 by       
,raffaelle's own hand1 is in the        
,palazzo  ,pitti at ,florence1 the best 
of all2 #b4 a scarcely inferior one in  
the  ,tribune of the ,florentine        
,gallery2 #c4 one in the ,english       
,national  ,gallery1 from the           
,falconieri ,palace at ,rome2 #d4 a very
 fine one1  formerly in the ,orleans    
,gallery2 #e4 an inferior one in the    
,corsini  ,palace at ,rome2 #f4 a very  
fine one in the ,borghese ,gallery at   
,rome2 #g4  one at ,berlin1 from the    

,giustinian ,gallery2 #h4 one in the    
possession of  ,count ,torlonia at      
,rome4 ,most of these are doubtless     
copies by  ,raffaelle's scholars1 some  
of them finished by himself4 ,the       
original  cartoon is preserved in the   
,corsini ,palace at ,florence4          
,,manners ,,of ,,raffaelle4             
,raffaelle had three manners2 first1    
that of his instructor1 ,pietro         
,perugino1 hence many exquisite pictures
 in the style of that master are        
erroneously attributed to him2 second1  
the same1 modified by his  residence and
 studies at ,florence1 which continued  
till his completion  of the ,theology in
 the ,vatican1 though constantly        
improving2 and the  third1 his own grand
 original manner1 commencing with the   
school of  ,athens4 ,for a very full    
life of ,raffaelle1 with ,lanzi's       
admirable  critique1 see ,spooner's     
,dictionary of ,painters1 ,engravers1   
,sculptors1  and ,architects4           
,,peter ,,paul ,,rubens4      ,this     

preminent painter1 accomplished scholar1
 and skillful diplomatist1  was born at 
,antwerp in #aegg1 on the feast day of  
,st4 ,peter and ,st4 ,paul1  for which  
reason he received at the baptismal font
 the names of those  ,apostles4 ,rubens1
 in his earliest years1 discovered      
uncommon ability1  vivacity of genius1  
literary taste1 and a mild and docile   
disposition4  ,his father1 intending him
 for one of the learned professions1    
gave him a  very liberal education1 and 
on the completion of his studies1 placed
 him  as a page with the ,countess of   
,lalain1 in order that his son might    
acquire graceful and accomplished       
manners1 so important to success in a   
professional career4 ,his father dying  
soon afterwards1 young ,rubens  obtained
 the permission of his mother1 to follow
 the bent of his genius4  ,he studied   
under several masters1 the last of whom 
was the celebrated  ,otho ,venius4 ,he  
made such extraordinary progress1 that  
when he had  reached his twenty-third   

year1 ,venius frankly told him that he  
could be  of no further service to him1 
and that nothing more remained for his  
improvement but a journey to ,italy1    
which he recommended as the surest      
means of ripening his extraordinary     
talents to the greatest perfection4     
,,rubens' ,,visit ,,to ,,italy4         
,rubens having secured the favor and    
patronage of the ,archduke ,albert1     
governor of the ,netherlands1 for whom  
he executed several pictures1 set  out  
for ,italy1 with letters from his       
patron1 recommending him in the  most   
honorable manner to the ,duke of        
,mantua1 that at his court he might     
have access to his admirable collection 
of paintings and antique  statues4 ,he  
was received with the most marked       
distinction by the ,duke1  who took him 
into his service1 and appointed him one 
of the gentlemen of  his bed-chamber1 an
 honor which was the more acceptable to 
,rubens1 as it  gave him greater        
facility for studying the great works of

 ,giulio ,romano  in the ,palazzo del   
,te1 which were the objects of his      
particular  admiration4                 
,,rubens' ,,enthusiasm4      ,giulio    
,romano's masterly illustrations of the 
sublime poetry of ,homer  excited       
,rubens' emulation in the highest       
degree4 ,one day1 while he was  engaged 
in painting the history of ,turnus and  
neas1 in order to warm  his imagination 
with poetic rapture1 he repeated with   
great energy1 the  lines of ,virgil1    
beginning1        8,ille etiam patriis  
agmen ciet10 c4    ,the ,duke1          
overhearing his recitations1 entered the
 apartment1 and was  surprised to find  
the young painter's mind richly stored  
with classical  literature4 ,rubens     
remained in the service of the ,duke of 
,mantua1 who  had conceived the         
strongest attachment to him1 nearly     
eight years1  visiting ,venice1 ,rome1  
,genoa1 and other cities1 executing many
  commissions1 and leaving everywhere   
superb specimens of his magic  pencil4  

,in #afje1 the ,duke having occasion to 
send an envoy to the court  of ,spain1  
employed ,rubens as a person eminently  
fitted for the delicate  mission4 ,he   
successfully accomplished the           
negotiations confided to him1  painted  
the portrait of ,philip ,,iii41 and     
received from that monarch the  most    
flattering marks of distinction4        
,,rubens' ,,return ,,to ,,antwerp4      
,in #afjh1 after an absence of eight    
years1 ,rubens was suddenly recalled  to
 ,antwerp by the severe illness of his  
mother1 who died before his  arrival4   
,the loss of his dearly beloved parent  
was a severe affliction  to him4 ,he had
 proposed to return to ,italy1 but the  
,archduke ,albert1 and  the ,infanta    
,isabella1 induced him to settle at     
,antwerp1 where he  married1 built a    
magnificent house1 with a saloon in the 
form of a  rotunda1 which he embellished
 with a rich collection of antique      
statues1  busts1 vases1 and pictures by 
the greatest masters4 ,this collection  

he  sold many years afterwards to the   
,duke of ,buckingham for #aj1jjj4       
,amidst  these select productions of    
art1 he passed about twelve years in the
  tranquil exercise of his great        
abilities1 producing an astonishing     
number of admirable pictures for the    
churches and public edifices of the     
,low ,countries4          ,,rubens'     
,,habits4      ,in order to continue his
 mental improvement1 to enjoy the sweets
 of  friendly intercourse1 and to       
economize his precious time1 ,rubens    
regulated his affairs with a precision  
which nothing was permitted to  derange4
 ,he received company at stated times1  
took regular exercise out  of doors1    
usually on horseback1 and it is said    
that he never painted  without having   
some one to read to him from a classic  
work of history or  poetry4 ,he         
possessed an extraordinary memory1 and  
understood the ancient  and several     
modern languages1 writing and speaking  
them with ease and  fluency4 ,his       

familiar acquaintance with ancient and  
modern literature1  had enriched his    
mind with inexhaustible resources4      
,,rubens' ,,detractors4      ,rubens'   
great popularity naturally excited envy1
 and created enemies4  ,generous and    
affable to all1 and a liberal encourager
 of art1 he found  himself assailed by  
those who were most indebted to him for 
assistance4  ,with the most audacious   
effrontery1 they insinuated that he owed
 the  best part of his reputation in the
 great variety of his works1 for which  
he was celebrated1 to the talents of two
 of his disciples1 ,snyders and         
,wildens1 whom he employed occasionally 
in forwarding the animals and           
landscapes in his pictures4 ,the        
principal of these vilifiers were       
,abraham ,janssens1 ,cornelius ,schut1  
and ,theodore ,rombouts2 the first had  
the hardihood to challenge him to paint 
a picture in competition with  him4     
,rubens treated these attacks with a    
dignity and philanthropy that  shows his

 exalted mind1 and the goodness of his  
heart2 he relieved the  necessities of  
his accusers1 and exposed his immortal  
production of the  ,descent from the    
,cross4          ,,the ,,gallery ,,of   
,,the ,,luxembourg4      ,in #afbj1     
,mary of ,medicis commissioned ,rubens  
to decorate the gallery of  the         
,luxembourg with a series of            
emblematical paintings1 in twenty-four  
compartments1 illustrative of the       
principal events of her life4 ,the      
series was painted at ,antwerp1 except  
two pictures1 which he finished at      
,paris in #afbc1 when he arranged the   
whole in the gallery4 ,these great      
works1 executed in less than three      
years1 are alone sufficient to attest   
the abundant fertility of his genius1   
and the wonderful facility of his  hand4
          ,,rubens ,,sent ,,as          
,,ambassador ,,to ,,the ,,courts ,,of   
,,spain ,,and ,,england4      ,in #afbh1
 the ,infanta ,isabella despatched      
,rubens on a delicate political  mission

 to the court of ,spain1 relative to the
 critical state of the  government of   
the ,low ,countries1 and for            
instructions preparatory to a           
negotiation of peace between ,spain and 
,england4 ,on his arrival at the        
,spanish capital1 he was received in the
 most gracious manner by ,philip  ,,iv41
 acquitted himself of his diplomatic    
mission to the entire  satisfaction of  
the ,infanta and the ,king1 and         
completely captivated that  monarch1 and
 his minister1 the ,duke de ,olivares1  
by the magnificent  productions of his  
pencil4 ,he executed several great      
works1 for which he  was munificently   
rewarded1 received the honors of        
knighthood1 and was  presented with the 
golden key1 as a ,gentleman of the      
,royal ,bed-,chamber4    ,in #afbi he   
returned to ,flanders1 and was          
immediately despatched to  ,england by  
the ,infanta1 on a secret mission1 to   
ascertain the  disposition of the       
government on the subject of peace4 ,the

 king1 ,charles  ,i41 an ardent lover of
 the fine arts1 received the illustrious
 painter  with every mark of            
distinction1 and immediately employed   
him in painting  the ceiling of the     
,banqueting ,house at ,whitehall1 where 
he represented  the ,apotheosis of his  
father1 ,james ,i41 for which he        
received #c1jjj4  ,here ,rubens showed  
himself no less skillful as a           
diplomatist than as a  painter4 ,in one 
of the frequent visits with which the   
king honored him  during the execution  
of the work1 he alluded with infinite   
delicacy and  address to the subject of 
a peace with ,spain1 and finding the    
monarch  not averse to such a measure1  
he immediately produced his credentials4
  ,charles at once appointed some       
members of his council to negociate with
  him1 and a pacification was soon      
effected4 ,the ,king was so highly      
pleased with the productions of his     
pencil1 and particularly with his       
conduct in this diplomatic emergency1   

that he gave him a munificent  reward1  
and conferred upon him the honor of     
knighthood1 ,feb4 #ba1 #afcj4  ,on this 
occasion1 the king presented ,rubens    
with his own sword1 enriched  with      
diamonds1 his hat-band of jewels1 valued
 at ten thousand crowns1  and a gold    
chain1 which ,rubens wore ever          
afterwards4          ,,death ,,of       
,,rubens4      ,rubens1 after having    
successfully accomplished the objects of
 his  missions to the courts of ,spain  
and ,england1 returned to ,antwerp1     
where  he was received with all the     
honors and distinction due to his       
services  and exalted merit4 ,he still  
continued to exercise his pencil with   
undiminished industry and reputation    
till #afce1 when he experienced some    
aggravated attacks of the gout1 to which
 he had been subject1 succeeded  by an  
infirmity and trembling of the hand1    
which obliged him to decline  executing 
all works of large dimensions4 ,though  
he had now reached his  fifty-eighth    

year1 and was loaded with deserved      
honors and wealth1 he  nevertheless     
continued to instruct his pupils1 to    
correspond with his  cherished friends1 
and to paint easel pictures when his    
torturing malady  would permit1 till his
 death1 in #afdj1 aged #fc years4 ,he   
was buried  with extraordinary pomp and 
solemnity in the church of ,st4 ,james1 
under  the altar of the private chapel1 
which he had decorated with one of his  
finest pictures4 ,a superb monument was 
erected to his memory4                  
,,rubens' ,,numerous ,,works4      ,the 
number of works executed by ,rubens is  
truly astonishing2 ,smith1 in  his      
,catalogue raisonn1 vols4 ii4 and ix41  
describes about eighteen  hundred       
considered genuine by him1 in the       
different public and private            
collections of ,europe4 ,there can be no
 doubt that a great number of  these    
were executed by his numerous scholars  
and assistants1 under his  direction1   
from his designs1 and then finished by  

himself4 ,it is well  known that he     
employed his pupils in forwarding many  
of his pictures1  and that ,wildens1 van
 ,uden1 and ,mompers1 in particular1    
assisted him in  his landscapes1 and    
,snyders in his animals4 ,his principal 
scholars were  ,anthony ,vandyck1       
,justus van ,egmont1 ,theodore van      
,thulden1 ,abraham  ,diepenbeck1 ,jacob 
,jordaens1 ,peter van ,mol1 ,cornelius  
,schut1 ,john van  ,hoeck1 ,simon de    
,vos1 ,peter ,soutman1 ,deodato         
,delmont1 ,erasmus ,quellinus1  ,francis
 ,wouters1 ,francis ,snyders1 ,john     
,wildens1 ,lucas van ,uden1 and         
,jodocus ,mompers4 ,several other       
distinguished ,flemish painters of the  
period1 who were not his pupils1        
imitated his style2 the most eminent of 
whom were ,gerard ,seghers1 ,gaspar de  
,crayer1 and ,martin ,pepin4 ,besides   
the genuine paintings of ,rubens1 there 
are a multitude of doubtful             
authenticity1 attributed to him1 most of
 which were executed by his  pupils and 

imitators4 ,many such1 fine pictures1   
are in the ,united  ,states4 ,there are 
upwards of twelve hundred engravings    
after works  attributed to ,rubens2 some
 of which1 however1 are of doubtful     
authenticity4 ,those executed by the    
,bolswerts1 ,paul ,pontius1 and other   
cotemporary engravers who worked under  
,rubens' supervision1 are  undoubtedly  
genuine4 ,there are a great number of   
his works in ,england in  the public    
galleries and the collections of the    
nobility2 there are nine  in the        
,national gallery1 fourteen in the      
,dulwich gallery1 and others at         
,windsor1 ,hampton ,court1 and          
,whitehall4 ,the enormous value set upon
 his  works at the present time1 maybe  
seen by referring to the catalogue of   
the ,national gallery2 thus1 the ,brazen
 ,serpent cost #abfj2 a ,landscape1     
called ,rubens' ,chateau1 #aejj2 ,peace 
and ,war1 #cjjj2 the ,rape of the       
,sabines1 #cjjj2 and the ,judgment of   
,paris1 #djjj guineas4 ,many of the     

works of ,rubens1 like those of other   
great masters1 have suffered  greatly   
from the effects of time1 but more from 
improper cleaning and  unskillful       
restoration1 especially in retouching   
injured parts1 by which  the original   
harmony of coloring has been destroyed4 
,thus his pictures  in the ,banqueting  
house at ,whitehall1 have been three    
times cleaned1  repaired1 and painted   
over1 so that little of the original    
splendor of  coloring remains4          
,,the ,,first ,,picture ,,brought ,,to  
,,rome4      ,the first picture carried 
to ,rome from ,greece1 according to     
,pliny1 was  the famous ,bacchus and    
,ariadne1 painted by ,aristides of      
,thebes4 ,it was  painted on a heavy    
panel1 and ,king ,attalus offered for   
it1 its weight in  gold1 which excited  
the suspicion of the ,consul ,mummius   
that it  contained some secret charm4   
,he accordingly broke off the bargain1  
and  took it himself to ,rome1 where he 
dedicated it in the temple of ,ceres4   

,after this example1 every ,roman       
commander seems to have been ambitious  
of adorning the city with the finest    
pictures and statues of ,greece1  ,asia 
,minor1 ,egypt1 and ,sicily4 ,julius    
,csar enshrined the two exquisite       
pictures of ,medea and ,ajax1 by        
,timomachus1 in the ,temple of ,venus4  
,augustus hung his forum with pictures  
of the horrors of war1 and the  glories 
of a triumph2 and he adorned the temple 
which he dedicated to  the deified      
,julius with many choice pictures1 the  
most beautiful of  which was the ,venus 
,anadyomene of ,apelles4 ,another1      
scarcely less  celebrated1 by the same  
painter1 was one of ,alexander in       
triumph1  leading ,war1 bound and       
manacled4 ,this picture was afterwards  
defaced by  ,claudius1 who caused the   
head of ,alexander to be scraped out1   
and that  of ,augustus to be inserted4  
,another picture of especial note1 in   
the  same temple1 was one of ,castor and
 ,pollux4    ,augustus also placed in   

the ,comitium some excellent works1 by  
,nicias of  ,athens1 and others4 ,the   
,temple of ,peace was rich in pictures  
of the  highest class4 ,there was placed
 the most valued of all the works of    
,protogenes1 the hunter ,jalysus with   
his dogs and game1 the ,cyclops of      
,timanthes1 and the sea-monster ,scylla1
 by ,nicomachus4    ,in the ,temple of  
,concord1 there was a precious picture  
by ,zeuxis--that  of ,marsyas bound to a
 ,tree2 and the ,muses and the ,helen of
 the same  painter adorned some of the  
private villas at ,rome4    ,in the     
,temple of ,minerva1 on the ,capitol1   
was the ,theseus of ,parrhasius1  with  
the ,rape of ,proserpine1 and a ,victory
 by ,nicomachus4    ,in the shrine of   
,ceres1 where ,mummius had placed the   
,bacchus and ,ariadne  of ,aristides1   
were several other works by the same    
painter4    ,the ,portico of ,octavia   
was adorned with pictures of ,greek     
mythology and  history by ,antiphilus2  
and that of ,pompey boasted a rare      

fragment by  ,polygnotus1 of a ,soldier 
upon a ,scaling ,ladder1 probably a part
 of some  great battle-piece1 which that
 illustrious painter had executed in    
honor  of his countrymen4 ,some suppose 
it to have been taken from the ,pcile at
  ,athens1 where the pictures were not  
painted in fresco1 but on panels4  ,the 
,portico of ,pompey was still further   
adorned with pictures by ,nicias1  among
 which were a large portrait of         
,alexander1 a picture of ,calypso1  and 
some animals1 which were much prized4   
,there was also a beautiful  picture of 
,hyacinthus1 by the same artist1 which  
was so highly valued by  ,augustus1     
that1 after his death1 ,tiberius        
consecrated it to his memory1  in the   
temple dedicated to him4    ,the ,romans
 did not hesitate to carry off          
everything appertaining to the  fine    
arts in the countries they conquered4   
,the greatest influx of ,greek  pictures
 into ,rome1 at any one time1 was during
 the edileship of  ,scaurus1 when1 on   

account of a real or pretended debt     
owing by the  people of ,sicyon to      
,rome1 all the valuable pictures in that
 city were  seized and conveyed to      
,italy4 ,such were a few of the many    
pictures1 the  spoils of war1 which were
 carried to ,rome1 to adorn the temples1
  palaces1 and public places1 not to    
speak of those which decorated the      
villas of persons of rank and taste4    
,,etruscan ,,sculpture4      ,the       
,romans were so fond of ,etruscan       
statues that they collected them  from  
all quarters4 ,at the taking of         
,volsinum 7now ,bolsena71 they removed  
two thousand bronze statues to ,rome4   
,the ,etruscans were also much  employed
 by the ,romans to make bronze statues  
of their divinities and  great          
personages4 ,one of the most ancient    
remaining works executed by  them for   
,rome1 is the bronze ,wolf1 8the        
thunder-stricken nurse of ,rome10       
preserved in the ,capitol1 and of which 
,micali has given an excellent  figure4 

,there was a colossal ,etruscan ,apollo1
 fifty feet high1 placed in  the library
 of the ,temple of ,augustus1 8the      
bigness of which10 says  ,pliny1 8is not
 so remarkable as the material and the  
workmanship2 for  hard it is to say     
whether is most admirable1 the beautiful
 figure of the  body1 or the exquisite  
temperature of the metal0 ,there was    
also a  colossal ,jupiter of the        
,capitol1 cast by ,corovillius out of   
the brazen  armor taken from the dead   
bodies of the conquered ,samnites4      
,pliny says  the first bronze statue    
cast in ,rome1 was that of the goddess  
,ceres1 the  expense of which was       
defrayed by the forfeited goods of      
,spurius ,capius1  who was put to death 
for aspiring to the dignity of king4    
,,campus ,,martius4      ,the ,campus   
,martius was a large plain without the  
city of ,rome1 which was  adorned with a
 multitude of statues1 the spoils of    
war2 also with  columns1 arches1 and    
porticos4 ,the public assemblies were   

held there1  the officers of state      
chosen1 and audience given to foreign   
ambassadors2  there1 also1 the ,roman   
youths performed their exercises1       
learned to  wrestle and box1 to throw   
the discus1 hurl the javelin1 ride a    
horse1  drive a chariot1 etc4           
,,electioneering ,,pictures ,,at ,,rome4
      ,the ,roman commanders made a     
singular use of painting to advance     
their  interests4 ,their inordinate love
 of military fame discovered a mode of  
feeding that ruling passion by means of 
this charming art4 ,according to        
,valerius ,maximus1 ,massala was the    
first who1 when he offered himself for  
the consulship1 instead of sitting in   
the market-place1 dressed in the  white 
robe of humility1 and pointing to his   
wounds like ,coriolanus1        8,show  
them the scars that ,i would hide1      
,as if ,i had received them for the hire
          ,of their breath only10       
caused a picture to be hung up in the   
portico ,hostilia1 representing the     

battle of ,messana1 where he had        
vanquished both the ,carthagenians and  
,syracusans4 ,the picture told the story
 of his achievements to the best        
advantage1 and secured his election4    
,scipio ,africanus was greatly  incensed
 against his brother1 ,lucius ,scipio1  
for placing in the ,capitol  a picture  
of the battle near ,sardis1 which won   
him the title of  ,asiaticus1 but in    
which1 his nephew1 the son of           
,africanus1 was taken  prisoner4 ,again1
 ,scipio ,emilianus was highly offended 
at the display of  a picture of the     
,taking of ,carthage1 exhibited in the  
market-place by  ,lucius ,hostilius     
,mancinus4 ,it appears that ,mancinus   
was the first to  enter the city1 and on
 his return to ,rome1 being desirous of 
the  consulship1 he had a picture       
painted1 representing the situation of  
the  town1 its strong fortifications1   
all the machines used in the attack and 
defense1 and the actions of the         
besiegers1 in which care was taken that 

those of ,mancinus should be most       
conspicuous4 ,this he hung up in the    
,forum1 and personally explained to the 
people in such a manner1 that he  won   
their good will1 and gained the         
consulship4 ,we learn from ,quintilian  
that the lawyers of ,rome often made use
 of pictures in their pleadings  for the
 purpose of moving the judges4          
,,dramatic ,,scenery ,,at ,,rome4       
,it is related that when ,claudius      
,pulcher1 during his edileship1         
exhibited dramas publicly at ,rome1 the 
scenery1 representing trees1  houses and
 other buildings was so naturally       
depicted1 that the ravens  and other    
birds came to perch upon them4 ,many    
such anecdotes are related  as having   
occurred in all ages of the history of  
the art1 but they are  not so sure a    
test of excellence as people generally  
imagine1 for  animals are easily        
deceived4 ,the writer has made          
experiments to satisfy  himself on this 
point2 he has seen a whiffet dog bark   

obstreperously at  the portrait of a    
person it disliked2 birds approach a    
picture of fruit1  and bees one of      
flowers4 ,he has a picture of three     
dogs1 so naturally  painted1 that almost
 every dog1 admitted into the room1 not 
only looks  at it1 but endeavors to     
smell of it4 ,every sportsman knows that
 it is  easy to decoy wild ducks with an
 artificial one4          ,,apelles ,,of
 ,,ephesus ,,and ,,ptolemy ,,philopator4
      ,during a voyage in the eastern   
part of the ,mediterranean1 ,apelles was
  driven into ,alexandria1 in ,egypt1 by
 stress of weather4 ,not being in  favor
 with king ,ptolemy1 he did not venture 
to appear at the court2 but  some of his
 enemies suborned one of the royal      
buffoons to invite him to  supper in the
 king's name1 ,apelles attended         
accordingly1 but ,ptolemy1  indignant at
 the intrusion1 demanded by whom he had 
been invited2  whereupon the painter1   
seizing an extinguished coal from the   
hearth1  drew upon the wall the features

 of the man who had invited him1 with   
such accuracy1 that the king1 even from 
the first lines1 immediately  recognized
 the buffoon1 and thenceforth received  
,apelles into his favor4                
,,apelles' ,,famous ,,picture ,,of      
,,calumny4      ,according to ,lucian1  
the reputation of ,apelles1 and the     
favor he enjoyed  at the court of       
,ptolemy1 excited the jealousy of       
,antiphilus1 a  celebrated ,egyptian    
painter1 who unjustly accused him of    
having  participated in the conspiracy  
of ,theodotus of ,tyre4 ,apelles was    
thrown  into the dungeon1 and treated   
with great severity1 but his innocence  
being clearly established1 ,ptolemy     
endeavored to make reparation1          
presented him with one hundred talents1 
and condemned ,antiphilus to be  his    
slave4 ,apelles1 however1 was not       
satisfied with this reparation1 and  on 
returning to ,ephesus1 painted in       
retaliation his famous picture of       
,calumny1 in which ,ptolemy acted a     

principal part4 ,lucian saw this        
picture1 and thus describes it3    8,on 
the right1 is seated a person of        
magisterial authority1 to whom the      
painter has given ears like ,midas1 who 
holds forth his hand to ,calumny1  as if
 inviting her to approach4 ,he is       
attended by ,ignorance and  ,suspicion1 
who stand by his side4 ,calumny advances
 in the form of a  beautiful female1 her
 countenance and demeanor exhibiting an 
air of fury  and hatred2 in one hand she
 holds the torch of discord1 and with   
the  other1 she drags by the hair a     
youth personifying ,innocence1 who1 with
  eyes raised to heaven1 seems to       
implore succor of the gods4 ,she is     
preceded by ,envy1 a figure with a      
pallid visage and emaciated form1 who   
appears to be the leader of the band4   
,calumny is also attended by two  other 
figures who seem to excite and animate  
her1 and whose deceitful  looks discover
 them to be ,intrigue and ,treachery4   
,at last follows  ,repentance clothed in

 black1 and covered with confusion at   
the discovery  of ,truth in the         
distance1 environed with celestial      
light40    ,this sketch has been        
regarded as one of the most ingenious   
examples of  allegorical painting which 
the history of the art affords4         
,raffaelle  made a drawing from         
,lucian's description1 which was        
formerly in the  collection of the ,duke
 of ,modena1 and was afterwards         
transferred to the  ,french ,museum4    
,professor ,tlken1 of ,berlin1 has shown
 that this ,apelles was not the  great  
cotemporary of ,alexander1 for the      
persons mentioned in connection  with   
the story1 lived more than a hundred    
years after the death of  ,alexander--or
 about the #addth ,olympiad4 ,this      
reconciles many  contradictory          
statements with regard to ,apelles1 both
 by ancient and  modern writers4 ,see   
,spooner's ,dictionary of ,painters1    
,engravers1  ,sculptors1 and            
,architects4          ,,sir ,,godfrey   

,,kneller4      ,soon after ,kneller's  
arrival in ,england1 he painted the     
portrait of the  ,duke of ,monmouth1 who
 was so much pleased with it that he    
persuaded the  king1 his father         
7,charles ,,ii47 to have his portrait   
painted by the new  artist4 ,the ,king  
had promised the ,duke of ,york his     
portrait1 to be  painted by ,sir ,peter 
,lely1 and unwilling to go through the  
ceremony of a  double sitting1 he       
proposed that both artists should paint 
him at the  same time4 ,lely1 as the    
king's painter1 took the light and      
station he  liked2 but ,kneller took the
 next best he could find1 and went to   
work  with so much expedition1 that he  
had nearly finished his portrait1 when  
,lely had only laid in his dead         
coloring4 ,this novelty pleased1 and    
,lely  himself had the candor to        
acknowledge his merit4 ,kneller         
immediately  found himself in the       
possession of great reputation and      
abundant  employment1 and the immense   

number of portraits he executed1 proves 
the  stability of his reputation4 ,he   
was equally patronized by ,kings        
,charles1  ,james1 and ,william1 and he 
had the honor of painting ten           
sovereigns4 ,his  best friend was ,king 
,william1 for whom he painted the       
beauties of  ,hampton ,court1 and by    
whom he was knighted in #afib1 and      
presented with a  gold chain and medal1 
worth #cjj4 ,in the latter part of this 
reign1 he  painted the portraits of the 
members of the famous ,kit-cat ,club1   
forty-two in number1 and the several    
portraits now in the gallery of the     
,admirals4 ,he lived to paint the       
portrait of ,george ,i41 who made him a 
,baronet4 ,he died in #agbc4 ,his body  
lay in state1 and he was buried at  his 
country-seat at ,wilton2 a monument was 
erected to his memory in  ,westminster  
,abbey4          ,,kneller ,,and ,,james
 ,,ii4      ,it was while sitting to    
this artist1 that ,james the ,second    
manifested a  most surprising instance  

of coolness and shrewdness united4      
,kneller was  painting his portrait as a
 present to ,pepys1 when suddenly       
intelligence  arrived of the landing of 
the ,prince of ,orange4 ,the artist was 
confounded1 and laid down his brush4    
8,go on1 ,kneller10 said the king1      
betraying no outward emotion2 8,i wish  
not to disappoint my friend  ,pepys40   
,,kneller',s ,,compliment ,,to ,,louis  
,,xiv4      ,when ,kneller painted the  
portrait of ,louis ,,xiv41 the monarch  
asked him  what mark of his esteem would
 be most agreeable to him2 whereupon he 
modestly answered that he should feel   
honored if his ,majesty would  bestow a 
quarter of an hour upon him1 that he    
might execute a drawing of  his face for
 himself4 ,the request was granted4     
,kneller painted ,dryden in  his own    
hair1 in plain drapery1 holding a       
laurel1 and made him a present  of the  
work2 to which the poet responded in an 
epistle containing  encomiums such as   
few painters deserve4        8,such are 

thy pictures1 ,kneller6 such thy skill1 
,that nature seems obedient to thy will1
      ,comes out and meets thy pencil in
 the draught1      ,lives there1 and    
wants but words to speak the thought40  
,,kneller',s ,,wit4      ,the servants  
of his neighbor1 ,dr4 ,radcliffe1 abused
 the liberty of a  private entrance to  
the painter's garden1 and plucked his   
flowers4  ,kneller sent him word that he
 must shut the door up2 whereupon the   
doctor peevishly replied1 8,tell him he 
may do any thing with it but  paint it40
 8,never mind what he says10 retorted   
,sir ,godfrey2 8,i can take  anything   
from him but physic40 ,he once overheard
 a low fellow cursing  himself4 8,god   
damn you1 indeed60 exclaimed the artist 
in wonder2 8,god  may damn the ,duke of 
,marlborough1 and perhaps ,sir ,godfrey 
,kneller2 but  do you think he will ever
 take the trouble of damning such a     
scoundrel  as you80 ,to his tailor1 who 
proposed his son for a pupil1 he said1  
8,dost  thou think1 man1 ,i can make thy

 son a painter8 ,no1 ,god ,almighty only
  makes painters40 ,he gave a reason for
 preferring portraiture to  historical  
painting1 which forms an admirable      
bon-mot1 for its  shrewdness1           
truthfulness1 and ingenuity4 8,painters 
of history10 said he1  8make the dead   
live1 and do not begin to live till they
 are dead4 ,i  paint the living1 and    
they make me live60                     
,,kneller',s ,,knowledge ,,of           
,,physiognomy4      ,in a conversation  
concerning the legitimacy of the        
unfortunate son of  ,james ,,ii41 some  
doubts having been expressed by an      
,oxford ,doctor1  ,kneller exclaimed1   
with much warmth1 8,his father and      
mother have sat to  me about thirty-six 
times apiece1 and ,i know every line and
 bit of their  faces4 ,mein ,gott6 ,i   
could paint ,king ,james now by memory4 
,i say the  child is so like both1 that 
there is not a feature of his face but  
what  belongs either to father or       
mother2 this ,i am sure of1 and cannot  

be  mistaken2 nay1 the nails of his     
fingers are his mother's1 the queen that
  was4 ,doctor1 you may be out in your  
letters1 but ,i cannot be out in my     
lines40          ,,kneller ,,as ,a      
,,justice ,,of ,,the ,,peace4      ,sir 
,godfrey acted as a justice of the peace
 at ,wilton1 and his sense of  justice  
induced him always to decide rather by  
equity than law4 ,his  judgments1 too1  
were often accompanied with so much     
humor1 as caused the  greatest merriment
 among his acquaintance4 ,thus1 he      
dismissed a poor  soldier who had stolen
 a piece of meat1 and fined the butcher 
for  purposely tempting him to commit   
the crime4 ,hence ,pope wrote the       
following lines3            8,i think   
,sir ,godfrey should decide the suit1   
,who sent the thief 7that stole the     
cash7 away1      ,and punished him that 
put it in his way40    ,whenever he was 
applied to by paupers1 he always        
inquired which were the  richest        
parishes1 and settled them there4 ,he   

could never be induced to  sign a       
warrant to distrain the goods of a poor 
man1 who could not pay a  tax1 and he   
took pleasure in assisting the honest   
poor with his advice  and purse4 ,he    
disliked interruption1 and if the case  
appeared trivial1  or was the result of 
a row1 he would not be disturbed4       
,seeing a  constable coming to him one  
day1 with two men1 having bloody noses1 
and  a mob at his heels1 he called out  
to him1 8,mr4 ,constable1 do you see    
that turning8 ,go that way1 and you will
 find an ale-house--the sign of  the    
,king's ,head4 ,go and make it up40 ,a  
handsome young woman came before  him   
one day to swear a rape2 struck with her
 beauty1 he continued  examining her as 
he sat painting1 till he had taken her  
likeness4  ,perceiving from her manner  
that she was not free from guilt1 he    
advised  her not to prosecute her suit1 
but seek some other mode of redress4    
,these instances show the goodness of   
his heart1 and refute the many  absurd  

and malicious stories that are told of  
him4          ,,kneller ,,and           
,,clostermans4      ,when ,clostermans1 
an inferior artist1 sent a challenge to 
,kneller to  paint a picture in         
competition with him for a wager1 he    
courteously  declined the contest1 and  
sent him word that 8he allowed him to be
 his  superior40          ,,the         
,,cavaliere ,,bernini4      ,giovanni   
,lorenzo ,bernini1 whose renown filled  
all ,europe in the  seventeenth century1
 was called the ,michael ,angelo of his 
age1 because1  like that great artist1  
he united in an eminent degree1 the     
three great  branches of art--painting1 
sculpture1 and architecture1 though he  
was  chiefly renowned in the two last4  
,,bernini',s ,,precocity4      ,bernini 
manifested his extraordinary talents    
almost in infancy4 ,at the  age of eight
 years1 he executed a child's head in   
marble1 which was  considered a wonder4 
,when he was ten years old1 his talents 
had become  so widely known1 that ,pope 

,paul ,v4 wished to see the prodigy who 
was the  astonishment of artists1 and on
 his being brought into his presence1   
desired him to draw a figure of ,st4    
,paul1 which he did in half an hour1  so
 much to the satisfaction of the pontiff
 that he recommended him to  ,cardinal  
,barberini1 saying1 8,direct the studies
 of this child1 who will  become the    
,michael ,angelo of this century40      
,,bernini',s ,,striking ,,prediction4   
,during ,bernini's distinguished career1
 ,charles ,i4 of ,england endeavored  in
 vain to allure him to visit his court4 
,not succeeding in this1 he  employed   
,vandyck to paint two excellent         
portraits of himself1 one in  profile   
and the other in full face1 and sent    
them to ,bernini1 to enable  him to     
execute his bust4 ,the sculptor surveyed
 them with an anxious eye1  and         
exclaimed1 8,something evil will befall 
this man2 he carries  misfortune in his 
face40 ,the tragical termination of the 
monarch's  career1 verified the         

sculptor's knowledge of physiognomy4    
,bernini made a  striking likeness1 with
 which the king was so much pleased1    
that1 in  addition to the stipulated    
price1 six thousand crowns1 he made him 
a  present of a diamond ring1 worth six 
thousand more4          ,,bernini ,,and 
,,louis ,,xiv4      ,bernini received   
the most flattering and pressing        
invitations from ,louis  ,,xiv4 to visit
 ,paris4 ,at length1 he was persuaded by
 the great ,colbert to  undertake the   
journey1 and having with great          
difficulty obtained  permission of the  
,pope1 he set out for ,france1 at the   
age of  sixty-eight1 accompanied by one 
of his sons1 and a numerous retinue4    
,never did an artist travel with so much
 pomp1 and under so many  flattering    
circumstances4 ,by order of the ,king1  
he was received  everywhere on his way  
with the honors due to a prince1 and on 
his  arrival at ,paris1 he was received 
by the king with every mark of          
distinction1 and apartments assigned to 

him in the royal palace4 ,louis         
defrayed all the expenses of his        
journey1 and to immortalize the event1  
had a medal struck1 with the portrait of
 the artist1 and on the reverse1  the   
,muses of the ,arts1 with this          
inscription1 8,singularis in            
singularis2 in omnibus1 unicus40 ,when  
he returned to ,rome1 ,louis  presented 
him with ten thousand crowns1 gave him a
 pension of two  thousand1 and one of   
four hundred to his son1 and            
commissioned him to  execute an         
equestrian statue of himself1 in marble1
 of colossal  proportions4 ,the statue  
was executed in four years1 and sent to 
,versailles1 where it was afterwards    
converted into ,marcus ,curtius1 and    
where1 as such1 it still remains4       
,,bernini',s ,,works4      ,bernini     
designed and wrought with wonderful     
facility2 his life was one  of continued
 exertion1 and he lived to the great age
 of eighty-two  years1 so that he was   
enabled to execute an astonishing number

 of works4  ,richly endowed by nature1  
and favored by circumstances1 he rose   
superior  to the rules of art1 creating 
for himself an easy manner1 the faults  
of  which he knew well how to disguise  
by its brilliancy2 yet this course1  as 
must ever be the case1 did not lead to a
 lasting reputation4 8,the  ,cav4       
,bernini10 says ,lanzi1 8the great      
architect and skillful sculptor1  was   
the arbiter and dispenser of all the    
works at ,rome1 under the  pontificates 
of ,urban ,,viii4 and ,innocent ,x4 ,his
 style necessarily  influenced those of 
all the artists1 his cotemporaries4 ,he 
was affected1  particularly in his      
drapery4 ,he opened the way to caprice1 
changed the  true principles of art1 and
 substituted for them the false4 ,at    
different times1 the study of painting  
has taken the same vicious  course2     
above all1 among the imitators of       
,pietro da ,cortona1 some of  whom went 
so far as to condemn a study of the     
works of ,raffaelle1 and  even to decry1

 as useless1 the imitation of nature40  
,bernini lived in  splendor and         
magnificence1 and left a fortune of     
#djj1jjj ,roman crowns  7about          
#gjj1jjj71 to his children4             
,,bernini ,,and ,,the ,,verospi         
,,hercules4      ,when the ,verospi     
statue of ,hercules killing the ,hydra  
was first  discovered1 some parts of it1
 particularly the monster itself1 were  
wanting1 and were supplied by ,bernini4 
,some years after1 in further  digging  
the same piece of ground1 they found the
 hydra that originally  belonged to it1 
which differs very much from ,bernini's 
supplemental one2  yet the latter is    
given in ,maffei's ,statues1 and other  
books of prints1  as the antique4 ,the  
statue was removed from the ,verospi    
palace to the  ,capitol1 where it now   
is2 and the original hydra1 with a      
horned sort of  a human face1 snakes for
 hair1 and a serpentine body1 is there  
also1 in  the same court4               
,,fanaticism ,,destructive ,,to ,,art4  

,queen ,elizabeth was a bitter          
persecutor of art2 she ordered all      
sacred  pictures in the churches to be  
utterly destroyed1 and the walls to be  
white-washed1 so that no memorial of    
them might remain4 ,in her reign1 it    
became fashionable to sally forth and   
knock pictures and images to  pieces4   
,flaxman says1 8,the commands for       
destroying sacred paintings and         
sculpture prevented the artist from     
suffering his mind to rise to the       
contemplation or execution of any       
sublime effort1 as he dreaded a prison  
or a stake1 and reduced him to the      
lowest drudgery in his profession4      
,this extraordinary check to our        
national art occurred at a time which   
offered the most essential and          
extraordinary assistance to its         
progress40 ,flaxman proceeds to remark1 
8the civil wars completed what          
fanaticism had begun1 and ,english art  
was so completely extinguished  that    
foreign artists were always employed for

 public or private  undertakings40      
,charles ,i4 was a great lover and      
patron of the fine arts1 and during his 
reign they made rapid advances in       
,england2 but the blind zeal of the     
,puritans dispersed his splendid        
gallery1 and destroyed almost every     
vestige of art4 ,in the ,journal of the 
,house1 ,july #bc;d1 #afde1 it is       
8,ordered1 that all pictures having the 
second person of the ,trinity1 be       
burnt40 ,walpole relates that 8one      
,blessie was hired at half-a-crown a    
day to break the painted windows in     
,croydon church40 ,one ,dowsing was     
employed from ,june #ith1 #afdb1 to     
,october #dth1 #afdd1 in this holy      
business1 and by calculation it is found
 that he and his agents had  destroyed  
about #dffj pictures1 evidently not all 
glass1 because when  they were glass he 
so specified them4    8,the result of   
this continued persecution10 says       
,haydon1 8was the ruin  of high art1 for
 the people had not taste enough to feel

 any sympathy  for it independently of  
religion1 and every man who has pursued 
it  since1 who had not a private        
fortune1 and was not supported by a     
pension1 like ,west1 became infallibly  
ruined40          ,,paintings           
,,evanescent4      8,few works are more 
evanescent than paintings4 ,sculpture   
retains its  freshness for twenty       
centuries4 ,the ,apollo and the ,venus  
are as they  were4 ,but books are       
perhaps the only productions of man     
coeval with the  human race4 ,sophocles 
and ,shakspeare can be produced and     
reproduced  forever4 ,but how evanescent
 are paintings1 and must necessarily be6
  ,those of ,zeuxis and ,apelles are no 
more1 and perhaps they have the same    
relation to ,homer and schylus1 that    
those of ,raffaelle and ,guido have  to 
,dante and ,petrarch4    8,there is     
however1 one refuge from the despondency
 of this  contemplation4 ,the material  
part1 indeed1 of their works must       
perish1  but they survive in the mind of

 man1 and the remembrances of them are  
transmitted from generation to          
generation4 ,the poet embodies them in  
his  creations1 and the systems of      
philosophers are modeled to gentleness  
by  their contemplation2 opinion1 that  
legislator1 is infected with their      
influence2 men become better and wiser2 
and the unseen seeds are perhaps  thus  
sown which shall produce a plant more   
excellent than that from  which they    
fell40--,shelley4    ,there is at least 
another refuge4 ,paintings are now      
rendered as  permanent as books by      
engraving1 or statuary1 by mosaics4 ,in 
the time of  ,pliny1 there were ,greek  
paintings in ,rome #fjj years old4      
,there is a  painting at ,florence dated
 #hhf4 ,it is also to be hoped that     
christianity  and civilization have made
 such advances1 that no more ,goths1    
,vandals1  ,turks1 and fanatics1 will   
take pleasure in demolishing works of   
art as  in ages past4          ,,the    
,,english ,,national ,,gallery4      8,a

 fine gallery of pictures is a sort of  
illustration of ,berkeley's  theory of  
matter and spirit4 ,it is like a palace 
of thought--another  universe1 built of 
air1 of shadows1 of colors4 ,everything 
seems palpable  to feeling as to sight3 
substances turn to shadows by the       
arch-chemic  touch2 shadows harden into 
substances2 #8the eye is made the fool  
of the  other senses1 or else worth all 
the rest4' ,the material is in some     
sense  embodied in the immaterial1 or at
 least we see all things in a sort of   
intellectual mirror4 ,the world of art  
is an enchanting deception4 ,we         
discover distance in a glazed surface2 a
 province is contained in a foot  of    
canvass2 a thin evanescent tint gives   
the form and pressure of rocks  and     
trees2 an inert shape has life and      
motion in it4 ,time stands still1  and  
the dead reappear by means of this so   
potent art6    8,what hues 7those of    
nature mellowed by time7 breathe around1
 as we  enter6 ,what forms are there    

woven into the memory6 ,what looks1     
which  only the answering looks of the  
spectator can express6 ,what            
intellectual  stores have been yearly   
poured forth from the shrine of ancient 
art6 ,the  works are various1 but the   
names the same2 heaps of ,rembrandts    
frowning  from their darkened           
walls--,rubens' glad gorgeous           
groups--,titian's more  rich and        
rare--,claude always exquisite1         
sometimes beyond  compare--,guido's     
endless cloying sweetness--the learning 
of ,poussin and  the ,caracci--and      
,raphael's princely magnificence1       
crowning all4 ,we read  certain letters 
and syllables in the catalogue1 and at  
the well-known  magic sound a miracle of
 skill and beauty starts to view4       
8,pictures are a set of chosen images1 a
 stream of pleasant thoughts  passing   
through the mind4 ,it is a luxury to    
have the walls of our rooms  hung round 
with them1 and no less so to have such a
 gallery in the  mind1--to con over the 

relics of ancient art bound up #8within 
the book  and volume of the brain1      
unmixed1 7if it were possible7 with     
baser  matter4' ,a life passed among    
pictures1 in the study and love of art1 
is  a happy1 noiseless dream3 or rather 
it is to dream and to be awake at  the  
same time1 for it has all #8the sober   
certainty of waking bliss1'  with the   
romantic voluptuousness of a visionary  
and abstracted being4  ,they are the    
bright consummate essence of things1 and
 he who knows of  these delights1 #8to  
taste and interpose them oft1 is not    
unwise6'0--,hazlitt4          ,,the     
,,nude ,,figure4      8,it is difficult 
to discover any settled rules of        
propriety in the  different modes of    
dress1 as all ages and nations have     
fluctuated with  regard to their notions
 and fashions in this matter4 ,the      
,greek statues  of the ,laocon1 ,apollo1
 ,meleager1 ,hercules2 the ,fighting and
 ,dying  ,gladiator1 and the ,venus de  
,medicis1 though altogether without     

drapery1  yet surely there is nothing in
 them offensive to modesty1 nothing     
immoral3 on the contrary1 looking on    
these figures1 the mind of the          
spectator is taken up with the          
surprising beauty or sublimity of the   
personage1 his great strength1 vigorous 
and manly character2 or those  pains and
 agonies that so feelingly discover     
themselves throughout the  whole work4  
,it is not in showing or concealing the 
form that modesty or  the want of it    
depends2 that rises entirely from the   
choice and  intentions of the artist    
himself4 ,the ,greeks and other great   
designers  came into this practice 7of  
representing the figure undraped7 in    
order  to show in its full extent the   
idea of character they meant to         
establish4 ,if it was beauty1 they show 
it to you in all the limbs2 if          
strength1 the same2 and the agonies of  
the ,laocon are as discernible in  his  
foot as in his face4 ,this pure and     
naked nature speaks a universal         

language1 which is understood and valued
 in all times and countries1  where the 
,grecian dress1 language1 and manners   
are neither regarded or  known4 ,it is  
worth observing also that many of the   
fair sex do sometimes  betray themselves
 by their over-delicacy 7which is the   
want of all true  delicacy7 in this     
respect4 ,but ,i am ashamed to be       
obliged to combat such  silly           
affectations2 they are beneath men who  
have either head or heart2  they are    
unworthy of women who have either       
education or simplicity of  manner2 they
 would disgrace even waiting-maids and  
sentimental  milliners-40--,barry4      
8,there is no more potent antidote to   
low sensuality than the adoration  of   
beauty4 ,all the higher arts of design  
are essentially chaste1 without  respect
 of the object4 ,they purify the        
thoughts1 as tragedy1 according  to     
,aristotle1 purifies the passions4      
,their accidental effects are not  worth
 consideration4 ,there are souls to whom

 even a vestal is not  holy40--,a4 ,w4  
von ,schlegel4          ,,different     
,,schools ,,of ,,painting ,,compared4   
8,the painters of the ,roman school were
 the best designers1 and had more  of   
the antique taste in their works than   
any of the others1 but  generally they  
were not good colorists4 ,those of      
,florence were good  designers1 and had 
a kind of greatness1 but it was not     
antique4 ,the  ,venetian and ,lombard   
schools had excellent colorists1 and a  
certain  grace1 but entirely modern1    
especially those of ,venice2 but their  
drawing was generally incorrect1 and    
their knowledge in history and the      
antique very little4 ,and the ,bolognese
 school of the ,caracci is a sort  of   
composition of the others2 even ,annibal
 himself possessed not any  part of     
painting in the perfection which is to  
be seen in those from  whom his manner  
is composed1 though1 to make amends1 he 
possessed more  parts than perhaps any  
other master1 and all in a very high    

degree4 ,the  works of those of the     
,german school have a dryness and       
ungraceful  stiffness1 not unlike what  
is seen amongst the old ,florentines4   
,the  ,flemings were good colorists1 and
 imitated nature as they conceived      
it--that is1 instead of raising nature1 
they fell below it1 though not  so much 
as the ,germans1 nor in the same manner4
 ,rubens himself lived and  died a      
,fleming1 though he would fain have been
 an ,italian2 but his  imitators have   
caricatured his manner--that is1 they   
have been more  ,rubens in his defects  
than he himself was1 but without his    
excellencies4  ,the ,french1 excepting  
some few of them 7,n4 ,poussin1 ,le     
,sueur1 ,sebastian  ,bourdon71 as they  
have not the ,german stiffness nor the  
,flemish  ungracefulness1 neither have  
they the ,italian solidity2 and in their
  airs of heads and manners they are    
easily distinguished from the  antique1 
how much soever they may have endeavored
 to imitate  it40--,richardson4         

,,the ,,old ,,masters4      8,the       
duration and stability of the fame of   
the old masters of painting  is         
sufficient to evince that it has not    
been suspended upon the slender  thread 
of fashion and caprice1 but bound to the
 human heart by every  chord of         
sympathetic approbation40--,sir ,j4     
,reynolds4          ,,prices ,,of       
,,galleries4      ,the prices given for 
the three great collections of paintings
 sold in  ,england within the last      
century1 may perhaps not be             
uninteresting4 ,the  ,houghton gallery1 
of two hundred and thirty-two pictures1 
collected by  ,sir ,robert ,walpole1 was
 sold to the ,empress ,catharine of     
,russia for  #dc1ejj4 ,the ,orleans     
gallery of two hundred and ninety-six   
pictures was  sold in ,london1 in #agih1
 for #dc1eee2 and the ,angerstein       
collection of  thirty-eight pictures was
 bought by the ,british government1 in  
#ahbc1 for  #eg1jjj4 ,this last purchase
 was the commencement of the ,english   

,national  ,gallery4          ,,love    
,,makes ,a ,,painter4      ,quintin     
,matsys1 called the ,blacksmith of      
,antwerp1 was bred up to the  trade of a
 blacksmith or farrier1 which business  
he followed till he was  twenty years of
 age1 when1 according to ,lampsonius1   
his love for a  blue-eyed lass1 whose   
cruel father1 an artist1 refused her    
hand to any  one but a painter1 caused  
him to abandon his devotion to ,vulcan1 
and  inspired him with the ambition to  
become a worshipper at the shrine of    
the ,muses4 ,he possessed uncommon      
talents and genius1 applied himself     
with great assiduity1 and in a short    
time produced pictures that gave        
promise of the highest excellence1 and  
gained him the fair hand for  which he  
sighed4 ,the inscription on the monument
 erected to his memory  in the          
,cathedral of ,notre ,dame1 at ,antwerp1
 records in a few expressive  words the 
singular story of his life3             
8,connubialis amor de ,mulcibre fecit   

,apellem40          ,,john ,,wesley     
,,jarvis4      ,jarvis1 though a wayward
 and eccentric man1 unfortunately for   
himself  and the world too much given to
 strong potations1 was 8a fellow of     
infinite jest1 of most excellent fancy10
 whose 8gambols1 songs1 and  flashes of 
merriment were wont to set the table on 
a roar40 ,he was a  merry wag1 and an   
inimitable story-teller and mimic4 ,some
 of his stories  were dramatized by     
,dunlap1 ,hackett1 and ,matthews1 the   
best of which is  the laughable farce of
 ,monsieur ,mallet4 ,dunlap says1       
8,another story  which ,matthews dressed
 up for ,john ,bull1 originated with    
,jarvis4 ,from a  friend ,i have what ,i
 suppose to be the original scene4 ,my  
friend was  passing the painter's room1 
when he suddenly threw up the window1   
and  called him in1 saying1 #8,i have   
something for your criticism1 that you  
will be pleased with4' ,he entered1     
expecting to see a picture1 or some     
other specimen of the fine arts1 but    

nothing of the kind was  produced--he   
was1 however1 introduced with a great   
deal of ceremony1  to ,monsieur ,b----1 
#8celebrated for his accurate knowledge 
of the  ,english language1 and intimate 
critical acquaintance with its          
poetry--particularly ,shakspeare4' ,mr4 
,a----1 as ,i shall call my friend1     
began to understand ,jarvis' object in  
calling him in4 ,after a little         
preliminary conversation1 ,jarvis said1 
#8,i hope1 ,monsieur ,b----1 you  still 
retain your love of the drama8' #8,o    
certainly1 sir1 wid my life ,i  renounce
 it4' #8,mr4 ,a----1 did you ever hear  
,monsieur recite8' #8,never4'  #8,your  
recitations from ,racine1 ,monsieur     
,b----1 will you oblige us8'    8,the   
polite and vain ,frenchman was easily   
prevailed upon to roll out  several long
 speeches1 from ,racine and ,corneille1 
with much  gesticulation and many a     
well-rounded ,r4 ,this was only to      
introduce  the main subject of          
entertainment4 #8,monsieur ,b---- is not

 only  remarkable1 as you hear1 for his 
very extraordinary recitations from the 
poets of his native land1 but for his   
perfect conquest over the  difficulties 
of the ,english language1 in the most   
difficult of all our                    
poets--,shakspeare4 ,he has studied     
,hamlet and ,macbeth thoroughly--and if 
he would oblige us--do1 #8,monsieur     
,b----1 do give us1 8,to be1 or not to  
be40' #8,sur1 the language is too       
difficult--,i make great efforts to be  
sure1 but still the foreigner is to be  
detected4' ,this gentleman's            
peculiarities were in extreme precision 
and double efforts with the th  and the 
other shibboleths of ,english4 ,the     
unsuspecting and vain man is  soon      
induced to give ,hamlet's soliloquy1 the
 th forced out as from a  pop-gun1 and  
some of the words irresistibly comic4   
#8,but1 ,monsieur ,b----1  you are      
particularly great in ,macbeth--that 8if
 it were done1 when it  is done10 and   
8peep through the blanket10--come1 let  

us have ,macbeth4'  ,then followed      
,macbeth's soliloquies in the same      
style4 ,all this was  ludicrous enough1 
but upon this foundation ,jarvis raised 
a  superstructure1 which he carried as  
high as the zest with which it was      
received by his companions1 his own     
feelings1 or other circumstances        
prompted or warranted4 ,the unfortunate 
,monsieur ,b---- was imitated and       
caricatured with most laugh-provoking   
effect2 but to add to the treat1  he was
 made not only to recite1 but to comment
 and criticise4 #8,if it  were done1'   
#8peep through the blanket1' and1       
#8catch with the sursease1  success1'   
gave a rich field for the imaginary     
critic's  commentaries--then he would   
expose1 and overthrow ,voltaire's       
criticisms1  and give as examples of the
 true sublime in tragedy1 the scene of  
the  witches in ,macbeth4    8#8,huen   
shall we thtree meet aggen8' but1       
#8mounched1 and mounched1 and           
mounched1' was a delicious feast for the

 critic--and #8rrump fed  rronion1' gave
 an opportunity to show that the        
,english witch was a true  ,john ,bull1 
and fed upon the #8rrump of the beef1'  
#8thither in a sieve  ,i'll sail and    
like a rat without a tail1 ,i'll        
do--,i'll do--,i'll do1'  being recited 
in burlesque imitation1 gives an        
opportunity for comment  and criticism1 
something in this manner4 #8,you see not
 only how true to  nature1 but to the   
science of navigation all this is4 ,if  
the rat had a  tail1 he could steer the 
sieve as the sailor steer his ship by   
the  rudder2 but if he have no tail1 he 
cannot command the navigation1 that  is1
 the course of the sieve2 and it will   
run round--and round--and  round--that  
is what the witch say--8,i'll do--,i'll 
do--,i'll do60' ,but how  can the humor 
of the story-teller be represented by   
the writer--or how  can ,i dispose my   
reader to receive a story dressed in    
cold black and  white--in formal        
type--with the same hilarity which      

attends upon the  table1 and the warm   
and warming rosy wine8 ,the reader has  
perceived the  want of these magical    
auxiliaries in the above40    ,jarvis   
was equally ludicrous in his readings   
from ,shakspeare1 in  imitation of the  
stutterer and lisper4 ,the venerable    
,dr4 ,c4 ,s4 ,francis1  who was         
intimately acquainted with the painter1 
says1 8,dr4 ,syntax never  with more    
avidity sought after the sublime and    
picturesque1 than did  ,jarvis after the
 scenes of many-colored life2 whether   
his subject was  the author of ,common  
,sense or the notorious ,baron von      
,hoffman4 ,his  stories1 particularly   
those connected with his southern tours1
 abounded  in motley scenes and         
ludicrous occurrences2 there was no     
lacking of  hair-breadth escapes1       
whether the incidents involved the      
collisions of  intellect1 or sprung from
 alligators and rattlesnakes4 ,his humor
 won the  admiration of every hearer1   
and he is recognized as the master of   

anecdote4 ,but he deserves to be        
remembered on other accounts--his       
corporeal intrepidity and his reckless  
indifference of consequences4 ,i        
believe there have been not a few of the
 faculty who have exercised1  with      
public advantage1 their professional    
duties among us for a series  of years1 
who never became as familiar with the   
terrific scenes of  yellow fever and of 
malignant cholera as ,jarvis did4 ,he   
seemed to have a  singular desire to    
become personally acquainted with the   
details  connected with such            
occurrences2 and a death-bed scene1 with
 all its  appalling circumstances1 in a 
disorder of a formidable character1 was 
sought after by him with the solicitude 
of the inquirer after fresh  news4 ,nor 
was this wholly an idle curiosity4      
,jarvis often freely gave of  his       
limited stores to the indigent1 and he  
listened with a fellow  feeling to the  
recital of the profuse liberality with  
which that opulent  merchant of our     

city1 the late ,thomas ,h4 ,smith1      
supplied daily the wants  of the        
afflicted and necessitous sufferer      
during the pestilence of #ahcb4    8,we 
are indebted to ,jarvis for probably the
 best1 if not the only good  drawing of 
the morbid effects of cholera on the    
human body while it  existed here in    
#ahcb4 ,during that season of dismay and
 danger our  professional artists       
declined visiting the cholera hospitals1
 and were  reluctant to delineate when  
the subject was brought to them4 ,but it
  afforded a new topic for the          
consideration of ,jarvis1 and perhaps   
also  for the better display of his     
anatomical attainments1 he with         
promptitude discharged the task4 ,when  
making a drawing from the lifeless  and 
morbid organs of digestion1 to one who  
inquired if he were not  apprehensive of
 danger while thus employed1 he put the 
interrogatory1  #8,pray what part of the
 system is affected by the cholera8'    
#8,the  digestive organs1' was the      

reply4 #8,oh no1 then1' said ,jarvis1   
#8for now  you see ,i am doubly armed---
 ,i am furnished with two sets4'0       
,,the ,,biggest ,,lie4      ,jarvis     
resided a long time at ,charleston1 ,s4 
,c41 where his convivial  qualities made
 him a great favorite4 ,on one occasion1
 at a large dinner  party1 after the    
wine had freely circulated1 banishing   
not only form1  but discretion1 some one
 of the company proposed that they      
should make  up a prize to the man who  
would tell the greatest and most        
palpable  lie4 ,it was purposely        
arranged that ,jarvis should speak last4
 ,the  ,president began4 ,they          
8,spoke of most disastrous chances1     
,of moving accidents by flood and       
field40    ,lie followed lie2 and as it 
is easy to heap absurdity upon          
absurdity1  and extravagance on enormous
 exaggeration2 and as easy to excite    
laughter and command applause1 when     
champaigne has been enthroned in the    
seat of judgment1 each lie was hailed   

with shouts of approbation and  bursts  
of merriment4 ,one of the company1 who  
sat next to ,jarvis1 had  exceeded all  
his competitors1 and unanimous          
admiration seemed to ensure  him the    
prize4 ,the lie was so monstrous and    
palpable1 that it was  thought wit or   
ingenuity could not equal it4 ,still1   
something was  expected from the famous 
story-teller1 and every eye was turned  
on the  painter4 ,he rose1 and placing  
his hand on his breast and making a low 
bow1 gravely said1 8,gentlemen1 ,i      
assure you that ,i fully and            
unequivocally believe every word the    
last speaker has uttered40 ,a burst  of 
applause followed1 and the prize was    
adjudged to the witty artist4           
,,jarvis ,,and ,,bishop ,,moore4        
,jarvis painted the portrait of ,bishop 
,benjamin ,moore1 who used to relate    
one of his quick strokes of humor with  
great glee4 ,the good ,bishop1  during  
one of the sittings1 introduced the     
subject of religion1 and  asked ,jarvis 

some questions as to his belief or      
practice4 ,the painter1  with an arch   
look1 but as if intent upon catching the
 likeness of the  sitter1 waved his hand
 and said1 8,turn your face more that   
way1 ,bishop1  and shut your mouth40    
,,jarvis ,,and ,,commodore ,,perry4     
,when ,jarvis painted the portrait of   
,commodore ,perry1 he wished to infuse  
into the likeness of the hero the fire  
which he supposed animated him  during  
the terrible contest on ,lake ,erie4    
,during two or three sittings  he tried 
in vain to rouse him by his lively      
conversation2 he would soon  sink into a
 reverie2 it was evident that his       
thoughts were far away4 ,the  painter   
now had recourse to artifice4 ,he       
deliberately laid down his  palette and 
pencils1 got up1 and seizing a chair1   
swung it over his head  in a menacing   
manner4 ,this strange conduct instantly 
brought ,perry to  his feet1 his eyes   
flashing fire1 and every feature lit up 
with the  desired expression4 8,there1  

that will do10 said the painter2 8please
 sit  just as you are40 ,the result was 
the admirable picture which now adorns  
our ,city ,hall1 representing the hero  
standing in his boat1 with his flag  in 
one arm1 triumphantly waving his sword1 
as he left the dismantled ,st4          
,lawrence for the ,niagara1 to renew the
 contest1 resolved to conquer or  die4  
,,jarvis ,,and ,,the ,,philosopher4     
,jarvis was a great wag as well as an   
inimitable story-teller4 ,whenever  he  
met with an eccentric genius1 he        
delighted to make him indulge in  strong
 potations1 and then engage him on his  
favorite hobby4 ,on one such  occasion1 
a gentleman who had a smattering of     
,zoology1 declared it as  his opinion1  
that it was possible to change the      
nature of animals2 for  instance1 that  
by cutting off the end of dogs' or      
monkeys' tails for a  few generations1  
they would become tailless4 8,that is   
capital logic10  said ,jarvis1 8,i      
wonder that the ,jews have now any      

tails60 ,the  philosopher shot out of   
the room amidst shouts of laughter4     
,,jarvis ,,and ,,dr4 ,,mitchell4        
,jarvis could not forbear to crack a    
joke on the learned ,dr4 ,mitchell1     
whose profundity sometimes led him to   
analyze cause and effect in a           
hyper-philosophical manner4 8,can you   
tell10 said he one day to the  learned  
,doctor1 who was sitting for his        
portrait1 8why white sheep eat  more    
than black ones80 8,but is it a fact80  
enquired the ,doctor4 8,most            
assuredly10 said the painter1 8as every 
farmer will tell you40 ,the  ,doctor    
then went on to give sundry             
philosophical reasons why white sheep   
might require more food than black ones4
 8,your reasons are  excellent--but ,i  
think ,i can give you a better one4 ,in 
my opinion the  reason why white sheep  
eat more than black ones is1 because    
there are  more of them60               
,,jarvis' ,,habits4      ,jarvis1 in his
 more prosperous days1 was always       

improvident and  recklessly extravagant4
 ,dunlap says1 8when he went to ,new    
,orleans for  the first time1 7in #ahcc7
 he took ,henry ,inman with him4 ,to use
 his own  words1--#8my purse and my     
pockets were empty2 7when he went to ,n4
 ,o47 ,i  spent #cjjj there in six      
months1 and brought #cjjj to ,new ,york4
 ,the next  winter ,i did the same4' ,he
 used to receive six sitters a day4 ,a  
sitting  occupied an hour4 ,the picture 
was then handed to ,inman1 who painted  
upon  the background and drapery under  
the master's directions4 ,thus six      
portraits were finished each week40 ,his
 prices at this time were #ajj  for a   
head1 and #aej for head and hands4      
8,mr4 ,sully once told me10 says        
,dunlap1 8that calling on ,jarvis1 he   
was  shown into a room1 and left to wait
 some minutes before he entered4 ,he    
saw a book on the table amidst palette1 
brushes1 tumblers1 candlesticks1  and   
other heterogeneous affairs1 and on     
opening it1 he found a life of          

,moreland4 ,when ,jarvis came into the  
room1 ,sully sat with the book in his   
hand4 #8,do you know why ,i like that   
book8' said ,jarvis4 #8,i suppose       
because it is the life of a painter1'   
was the reply4 #8,not merely that1'     
rejoined the other1 #8but because ,i    
think he was like myself4'0 ,what a     
commentary6 ,moreland was a man of      
genius1 and might have shone as a       
bright star in the history of art1 had  
he not degraded himself by  dissipation1
 almost to a level with the pigs he     
delighted to paint4 ,the  glory of both 
,stuart and ,jarvis is obscured by the  
same fatal passion4  8,o that men should
 put an enemy in their mouths1 to steal 
away their  brains6 that we should1 with
 joy1 revel1 pleasure1 and applause1    
transform ourselves into beasts40       
8,jarvis10 says ,dunlap1 8was fond of   
notoriety from almost any source1  and  
probably thought it aided him in his    
profession4 ,his dress was  generally   
unique4 ,his long coat1 trimmed with    

furs like a ,russian  prince1 or a      
potentate from the north pole1 and his  
two enormous dogs  which accompanied him
 through the streets1 and often carried 
home his  market basket1 must be        
remembered by many40          ,,robert  
,,fulton4      ,it is not generally     
known that this celebrated engineer was 
in his early  life a practical          
painter4--,from the age of #ag to #ba1  
he painted  portraits and landscapes in 
,philadelphia4 ,in his #bb;d year1 he   
went to  ,england to prosecute his      
studies under ,west1 who received him   
with great  kindness1 and was so much   
pleased with his genius and amiable     
qualities1  that he took him into his   
own house1 as a member of his family4   
,after  leaving ,west1 he seems to have 
made painting his chief employment for a
  livelihood for several years1 though  
at this time1 his mind was occupied     
with various great projects connected   
with engineering4 ,in #agig1 he went  to
 ,paris in prosecution of these         

projects1 and to fill his empty         
coffers1 he projected the first panorama
 ever exhibited in that city4 ,he  was a
 true lover of art1 too1 and endeavored 
to induce the citizens of  ,philadelphia
 to get up a subscription to purchase   
some of ,west's  choicest pictures1     
which then could have been bought very  
cheap1 as the  commencement of a gallery
 in that city4          ,,an ,,exalted  
,,mind ,,and ,a ,,true ,,patriot4       
,robert ,fulton1 after years of toil1   
anxiety1 and ridicule1 thus writes  to  
his friend1 ,joel ,barlow1 immediately  
after his first steam-boat  voyage from 
,new ,york to ,albany and back3         
8,new ,york1 ,august #b1 #ahjg4         
8,,my ,,dear ,,friend--,my steam-boat   
voyage to ,albany and back1 has         
turned out rather more favorably than ,i
 had calculated4 ,the       distance    
from ,new ,york to ,albany is #aej      
miles2 ,i ran it up in       thirty-two 
hours1 and down in thirty hours2 the    
latter is five       miles an hour4 ,i  

had a light breeze against me the whole 
way1       goings and coming1 so that no
 use was made of my sails1 and the      
voyage has been performed wholly by the 
power of the steam engine4       ,i     
overtook many sloops and schooners1     
beating to windward1 and       passed   
them as if they had been at anchor4     
8,the power of propelling boats by      
steam1 is now fully proved4 ,the        
morning ,i left ,new ,york1 there were  
not1 perhaps1 thirty persons1       who 
believed that the boat would move one   
mile an hour1 or be of       the least  
utility2 and while we were putting off  
from the wharf1       which was crowded 
with spectators1 ,i heard a number of   
sarcastic       remarks4 ,this is the   
way1 you know1 in which ignorant men    
compliment what they call philosophers  
and projectors4         8,having        
employed much time1 money1 and zeal1 in 
accomplishing this       work1 it gives 
me1 as it will you1 great pleasure1 to  
see it so       fully answer my         

expectations4 ,it will give a quick and 
cheap       conveyance to merchandize on
 the ,mississippi1 ,missouri1 and other 
great rivers1 which are now laying open 
their treasures to the       enterprise 
of our countrymen4 ,although the        
prospect of personal       emolument has
 been some inducement to me1 yet ,i feel
 infinitely       more pleasure in      
reflecting on the immense advantages my 
country       will derive from the      
invention40          ,,gilbert ,,charles
 ,,stuart4      ,this preminent portrait
 painter was born at ,narragansett1     
,rhode ,island1  in #agef4 ,he received 
his first instruction from a ,scotch    
painter at  ,newport1 named ,alexander1 
who was so much pleased with his talents
 and  lively disposition1 that he took  
him with him on his return to ,scotland4
  ,his friend dying soon after1 the     
youth found himself pennyless in a      
strange country1 but undismayed1 he     
resolved to return home1 and found      
himself obliged to work his passage     

before the mast4 ,he had already made   
considerable progress in art1 and on his
 return commenced portrait  painting1   
although without meeting much           
encouragement4 ,he was in ,boston  at   
the time of the ,battle of ,lexington1  
but immediately left that city  and went
 to ,new ,york1 where he painted the    
portrait of his grandmother  from       
memory1 though she had been dead about  
ten years1 which is said to  have been a
 capital likeness1 and gained him some  
business4 ,about this  time he painted  
his own portrait1 the only one he ever  
took of himself1  to the excellence of  
which his friend ,dr4 ,waterhouse bears 
ample  testimony4 ,he says1 8it was     
painted in his freest manner1 and with a
  ,rubens' hat10 and in another place1  
that 8,stuart in his best days1 said  he
 need not be ashamed of it40            
,,stuart ,,goes ,,to ,,london4      ,not
 meeting with any adequate              
encouragement1 and the country being in 
a  deplorable state1 in the midst of the

 ,revolution1 ,stuart set sail for      
,london in #aggh1 at the age of         
twenty-two1 to try his fortunes in that 
city4 ,he was a wayward and eccentric   
genius1 proud as ,lucifer withal2  and  
on his arrival in that metropolis1 he   
found himself full of poverty1          
enthusiasm1 and hope1--often a painter's
 only capital4 ,he expected to  have    
found ,waterhouse1 who would have helped
 him with his advice1 and  purse if     
necessary1 but he had gone to ,edinburg4
 ,instead of going  directly to ,west1  
as he should have done1 he wandered     
about the 8dreary  solitude0 of ,london1
 as ,johnson used to characterize the   
busy hum of  that crowded city to the   
poverty-stricken sons of genius1 till he
 had  expended his last dollar4         
,,stuart ,,an ,,organist4      ,stuart  
had a great taste for music1 which he   
had cultivated1 and was an  accomplished
 musician4 ,one day1 as he was passing a
 church in  ,foster-,lane1 hearing the  
sound of an organ1 he stepped in1 and   

ascertaining that the vestry were       
testing the candidates for the post of  
organist1 he asked if he might try4     
,being told that he could1 he did so1   
and succeeded in getting the place1 with
 a salary of thirty guineas a  year6    
,,stuart',s ,,introduction ,,to ,,west4 
,during all this time1 for some unknown 
reason1 ,stuart never sought the        
acquaintance of ,west1 but the moment   
that excellent man heard of the  young  
painter and his circumstances1 he       
immediately sent a messenger to  him    
with money to relieve his necessities1  
and invited him to call at  his studio4 
8,such was ,stuart's first              
introduction10 says ,dunlap1 8to  the   
man from whose instruction he derived   
the most important advantages  from that
 time forward2 whose character he always
 justly appreciated1  but whose example 
he could not1 or would not follow40     
,stuart himself  says1 8,on application 
to ,west to receive me as a pupil1 ,i   
was welcomed  with true benevolence1    

encouraged and taken into the family1   
and nothing  could exceed the attentions
 of the great artist to me--they were   
paternal40 ,he was twenty-four years old
 when he entered the studio of  ,west4  
,before he left the roof of his         
benefactor and teacher1 he painted  a   
full-length portrait of him1 which      
elicited general admiration4 ,it was    
exhibited at the ,royal ,academy1 and   
the young painter paid frequent  visits 
to the exhibition rooms4 ,it happened   
that one day1 as he stood  near the     
picture1 surrounded by artists and      
students 7for he had fine  wit1 and was 
an inimitable story-teller71 ,west came 
in and joined the  group4 ,he praised   
the picture1 and addressing himself to  
his pupil1  said1 8you have done well1  
,stuart1 very well2 now all you have to 
do is  to go home and do better40       
,stuart always expressed the obligations
 he  was under to that distinguished    
artist4 ,when ,west saw that he was     
fitted  for the field1 prepared for and 

capable of contending with the best     
portrait painters1 he advised him to    
commence his professional career1  and  
pointed out to him the way to fame and  
fortune4 ,but ,stuart did not  follow   
this wise counsel1 preferring to indulge
 his own wayward fancy4  ,he had a      
noble1 generous1 and disinterested      
heart1 but he was eccentric1            
improvident1 and extravagant1 and       
consequently he was always in           
necessitous circumstances4              
,,stuart ,,and ,,west4      8,i used    
often to provoke my good old master10   
said ,stuart to ,dunlap1  8though1      
heaven knows1 without intending it4 ,you
 remember the color  closet at the      
bottom of his painting-room4 ,one day1  
,trumbull and ,i came  into his room1   
and little suspecting that he was within
 hearing1 ,i began  to lecture on his   
pictures1 and particularly upon one then
 on his easel4  ,i was a giddy1 foolish 
fellow then4 ,he had begun a portrait of
 a child1  and he had a way of making   

curly hair by a flourish of his brush1  
thus1  like a figure of three4 8,here1  
,trumbull10 said ,i1 8do you want to    
learn  how to paint hair8 ,there it is1 
my boy6 ,our master figures out a head  
of  hair like a sum in arithmetic4 ,let 
us see--we may tell how many guineas  he
 is to have for this head by simple     
addition1--three and three make  six1   
and three are nine1 and three are       
twelve--0 ,how much the sum would  have 
amounted to1 ,i can't tell1 for just    
then in stalked the master1  with       
palette-knife and palette1 and put to   
flight my calculations4 8,very  well1   
,mr4 ,stuart0--he always mistered me    
when he was angry1 as a man's  wife     
calls him my dear1 when she wishes him  
to the d----l1--8,very  well1 ,mr4      
,stuart6 very well indeed60 ,you may    
believe that ,i looked  foolish enough1 
and he gave me a pretty sharp lecture1  
without my making  any reply4 ,but when 
the head was finished1 there were no    
figures of  three in the hair40    8,mr4

 ,west10 says ,stuart1 8treated me very 
cavalierly on one occasion3  but ,i had 
my revenge4 ,my old master1 who was     
always called upon to paint  a portrait 
of his majesty for every                
governor-general sent out to ,india1    
received an order for one for ,lord     
----4 ,he was busily employed upon one  
of his ten-acre pictures1 in company    
with prophets and apostles1 and  thought
 he could turn over the king to me4 ,he 
could never paint a  portrait4          
8#8,stuart1' said he1 #8it is a pity to 
make his majesty sit again for his      
picture2 there is the portrait of him   
that you painted2 let me have it  for   
,lord ----4 ,i will retouch it1 and it  
will do well enough4' #8,well  enough6  
very pretty1' thought ,i2 #8you might be
 civil1 when you ask a  favor4' ,so ,i  
thought2 but ,i said1 #8,very well1     
sir4' ,so the picture  was carried down 
to his room1 and at it he went4 ,i saw  
he was puzzled4  ,he worked at it all   
that day4 ,the next morning1 #8,stuart1'

 says he1 #8have  you got your palette  
set8' #8,yes1 sir4' #8,well1 you can    
soon set another2  let me have it2 ,i   
can't satisfy myself with that head4'   
8,i gave him my palette1 and he worked  
the greater part of that day4 ,in  the  
afternoon ,i went into his room1 and he 
was hard at it4 ,i saw that he  had got 
up to the knees in mud4 #8,stuart1' says
 he1 #8,i don't know how it  is1 but you
 have a way of managing your tints      
unlike everybody else4  ,here1 take the 
palette1 and finish the head4' #8,i     
can't1 sir1' #8,you  can't8' #8,i can't 
indeed1 sir1 as it is2 but let it stand 
till to-morrow  morning and get dry1 and
 ,i will go over it with all my heart4' 
,the  picture was to go away the day    
after the morrow2 so he made me promise 
to do it early next morning4    ,he     
never came down into the painting room  
until about ten o'clock1 ,i  went into  
his room bright and early1 and by half  
past nine ,i had  finished the head4    
,that done1 ,rafe 7,raphael ,west1 the  

master's son7  and ,i began to fence2 ,i
 with my maul-stick1 and he with his    
father's4 ,i  had just driven ,rafe up  
to the wall1 with his back to one of his
  father's best pictures1 when the old  
gentleman1 as neat as a lad of wax1     
with his hair powdered1 his white silk  
stockings and yellow morocco  slippers1 
popped into the room1 looking as if he  
had stepped out of a  band-box4 ,we had 
made so much noise that we did not hear 
him come down  the gallery1 or open the 
door4 #8,there1 you dog1' says ,i to    
,rafe1 #8there  ,i have you1 and nothing
 but your back-ground relieves you4'    
8,the old gentleman could not help      
smiling at my technical joke1 but  soon1
 looking very stern1 #8,mr4 ,stuart1'   
says he1 #8is this the way you  use me8'
 #8,why6 what's the matter1 sir8 ,i have
 neither hurt the boy nor  the          
background4' #8,sir1 when you knew ,i   
had promised that the picture of  his   
majesty should be finished to-day1 ready
 to be sent away to-morrow1  thus to be 

neglecting me and your promise6 ,how can
 you answer it to me  or to yourself8'  
8#8,sir1' said ,i1 #8do not condemn me  
without examining the easel4 ,i have    
finished the picture3 please to look at 
it4' ,he did so1 complimented me        
highly1 and ,i had ample revenge for    
his1 #8,it will do well enough4'0       
,,stuart',s ,,scholarship4              
,trumbull1 speaking of ,stuart as he    
knew him in ,london1 says1 8,he was a   
much better scholar than ,i had supposed
 he was4 ,he once undertook to  paint my
 portrait1 and ,i sat every day for a   
week1 and then he left off  without     
finishing it1 saying1 #8he could make   
nothing of my d----d  sallow face4' ,but
 during the time1 in his conversation1  
,i observed that  he had not only read1 
but remembered what he had read4 ,in    
speaking of  the character of man1 he   
said1 #8,linnus is right2 ,plato and    
,diogenes  call man a biped without     
feathers2 that's a shallow definition4  
,franklin's is better--a tool-making    

animal2 but ,linnus' is the  best--homo1
 animal mendax1 rapax1 pugnax4'0        
,,stuart',s ,,rule ,,of ,,the ,,payment 
,,of ,,half ,,price ,,at ,,the ,,first  
,,sitting4      ,stuart thus explains   
how he came to adopt a custom1 which1   
when  practicable1 commends itself to   
others4 8,lord ,st4 ,vincent1 the ,duke 
of  ,northumberland1 and ,colonel       
,barre1 came unexpectedly into my room1 
one  morning after my setting up an     
independent easel1 and explained the    
object of their visit4 ,they understood 
that ,i was under pecuniary             
embarrassment1 and offered me           
assistance1 which ,i declined4 ,they    
then  said they would sit for their     
portraits2 of course ,i was ready to    
serve  them4 ,they then advised that ,i 
should make it a rule that half the     
price  must be paid at the first        
sitting4 ,they insisted on setting the  
example1  and ,i followed the practice1 
ever after this delicate mode of their  
showing their friendship40              

,,stuart',s ,,powers ,,of ,,perception4 
,stuart read men's characters at a      
glance1 and always engaged his sitters  
on some interesting topic of            
conversation1 and while their features  
were  thus lit up1 he transferred them  
to his canvass1 with the magic of his   
pencil4 ,hence his portraits are full of
 animation1 truth1 and nature4  ,this   
trait is well illustrated by the        
following anecdote4 ,lord ,mulgrave     
employed him to paint his brother1      
,general ,phipps1 who was going out to  
,india4 ,when the portrait was finished1
 and the general had sailed1 the  ,earl 
called for the picture1 and on examining
 it1 he seemed disturbed1  and said1    
8,this picture looks strange1 sir2 how  
is it8 ,i think ,i see  insanity in that
 face60 8,i painted your brother as ,i  
saw him10 replied  the painter4 ,the    
first account ,lord ,mulgrave had of his
 brother was1  that insanity1 unknown   
and unapprehended by any of his friends1
 had  driven him to commit suicide4     

,washington ,allston1 in his eulogium on
  ,stuart1 says1 8,the narratives and   
anecdotes with which his knowledge of   
men and the world had stored his memory1
 and which he often gave with  great    
beauty and dramatic effect1 were not    
unfrequently employed by ,mr4  ,stuart  
in a way1 and with an address peculiar  
to himself4 ,from this  store it was his
 custom to draw largely1 while occupied 
with his  sitters1 apparently for their 
amusement2 but his object was rather1 by
  thus banishing all restraint1 to call 
forth1 if possible1 some  involuntary   
traits of natural character4 ,it was    
this which enabled him  to animate his  
canvass1 not with the appearance of mere
 general life1  but with that peculiar1 
distinctive life which separates the    
humblest  individual from his kind4 ,he 
seemed to dive into the thoughts of     
men--for they were made to rise and     
speak on the surface40                  
,,stuart',s ,,conversational ,,powers4  
,dr4 ,waterhouse relates the following  

anecdote of ,stuart4 ,he was  traveling 
one day in an ,english stage-coach1 with
 some gentlemen who  were all strangers1
 and at first rather taciturn1 but he   
soon engaged  them in the most animated 
conversation4 ,at length they arrived at
 their  place of destination1 and       
stopped at an inn to dine4 8,his        
companions10  says the ,doctor1 8were   
very desirous to know who and what he   
was1  for whatever ,dr4 ,franklin may   
have said a half century ago about the  
question-asking propensity of his       
countrymen1 ,i never noticed so much  of
 that kind of traveling curiosity in    
,new ,england as in ,britain4 ,to the   
round-about inquiries to find out his   
calling or profession1 ,stuart  answered
 with a grave face and serious tone1    
8#8,i sometimes dress gentlemen's and   
ladies' hair' 7at that time1 the  high  
craped1 pomatumed hair was all the      
fashion74    8#8,you are a hair-dresser1
 then8'    8#8,what1' said he1 #8do ,i  
look like a barber8'    8#8,i beg your  

pardon1 sir1 but ,i inferred it from    
what you said4 ,if ,i  mistook you1 ,i  
may take the liberty to ask you what you
 are then8'    8#8,why1 ,i sometimes    
brush a gentleman's coat or hat1 and    
sometimes adjust  a cravat4'    8#8,o1  
you are a valet1 then1 to some          
nobleman8'    8#8,a valet6 ,indeed sir1 
,i am not4 ,i am not a servant4 ,to be  
sure1 ,i make  coats and waistcoats for 
gentlemen4'    8#8,o1 you are a tailor8'
    8#8,a tailor6 ,do ,i look like a    
tailor8 ,i assure you1 ,i never handled 
a  goose1 other than a roasted one4'    
,by this time they were all in a roar4  
8#8,what are you1 then8' said one4      
8#8,i'll tell you1' said ,stuart4 #8,be 
assured1 all ,i have told you is        
literally true4 ,i dress hair1 brush    
hats and coats1 adjust a cravat1 and    
make coats1 waistcoats1 and breeches1   
and likewise boots and shoes1 at  your  
service4'    8#8,o1 ho6 a boot and      
shoemaker after all6'    8,guess again1 
gentlemen4 ,i never handled boot or     

shoe1 but for my own  feet and legs2 yet
 all ,i told you is true4'    8#8,we may
 as well give up guessing4'    8#8,well 
then1 ,i will tell you1 upon my honor as
 a gentleman1 my bona  fide profession4 
,i get my bread by making faces4'    ,he
 then screwed his countenance1 and      
twisted the lineaments of his  visage in
 a manner such as ,samuel ,foote or     
,charles ,matthews might have  envied4  
,his companions1 after loud peals of    
laughter1 each took credit  to himself  
for having suspected that the gentleman 
belonged to the  theatre1 and they all  
knew he must be a comedian by           
profession1 when1 to  their utter       
astonishment1 he assured them he was    
never on the stage1 and  very rarely saw
 the inside of a playhouse1 or any      
similar place of  amusement4 ,they all  
now looked at each other in utter       
amazement4 ,before  parting1 ,stuart    
said to his companions1--               
8#8,gentlemen1 you will find that all ,i
 have said of various employments  is   

comprised in these few words3 ,i am a   
portrait painter6 ,if you will  call at 
,john ,palmer's1 ,york ,buildings1      
,london1 ,i shall be ready and  willing 
to brush you a coat or hat1 dress your  
hair a la mode1 supply  you1 if in need1
 with a wig of any fashion or           
dimensions1 accommodate  you boots or   
shoes1 give you ruffles or cravat1 and  
make faces for  you4'0                  
,,stuart',s ,,success ,,in ,,europe4    
,stanley1 in his edition of ,bryan's    
,dictionary of ,painters and ,engravers 
says1 8,he rose into eminence1 and his  
claims were acknowledged1 even in  the  
life time of ,sir ,joshua ,reynolds4    
,his high reputation as a portrait      
painter1 as well in ,ireland as in      
,england1 introduced him to a large     
acquaintance among the higher circles of
 society1 and he was in the road  of    
realizing a large fortune1 had he not   
returned to ,america40          ,,stuart
 ,,in ,,ireland4      8,the ,duke of    
,rutland10 says ,dunlap1 who had the    

story from the artist  himself1 8invited
 ,stuart to his house in ,dublin4       
,stuart got money enough  together      
somehow to pay his passage to ,ireland2 
but when he got there1  he found that   
the duke had died the day before4 ,if   
anybody else had gone  there1 the duke  
would have been just as sure to live1   
for something  extraordinary must happen
 to ,stuart1 of course4 ,he soon got    
into the  debtors' prison again2 but he 
was a star still4 ,he would not let     
people  give him money4 ,rich people and
 nobles would be painted by him1 and    
they had to go to jail to find the      
painter4 ,there he held his court2      
flashing equipages of lords and ladies  
came dashing up to prison1 while  their 
exquisite proprietors waited for their  
first sitting4 ,he began the  pictures  
of a great many nobles and men of wealth
 and fashion1 received  half price at   
the first sitting1 and left their ,irish
 lordships  imprisoned in effigy4       
,having thus liberated himself1 and     

there being  no law that would justify  
the jailor in holding half-finished     
peers in  prison1 the painter fulfilled 
his engagements1 more at his ease1 in   
his  own house1 and in the bosom of his 
own family2 and it is probable the      
,irish gentlemen laughed heartily at the
 trick1 and willingly paid the          
remainder of the price40                
,,stuart',s ,,return ,,to ,,america4    
,miss ,stuart1 the daughter of the      
painter1 says1 8he arrived in ,dublin in
  #aghh1 and notwithstanding the loss of
 his friendly inviter1 he met with      
great success1 painted most of the      
nobility1 and lived in a good deal of   
splendor4 ,the love of his own country1 
his admiration of ,general  ,washington1
 and the very great desire he had to    
paint his portrait1 was  his only       
inducement to turn his back on his good 
fortunes in ,europe40  ,accordingly1 in 
#agic1 he embarked for ,new ,york1 where
 he took up his  abode for some months1 
and painted the portraits of ,sir ,john 

,temple1  ,john ,jay1 ,gen4 ,clarkson1  
,john ,r4 ,murray1 ,colonel ,giles1 and 
other  persons of distinction4          
,,stuart ,,and ,,washington4      ,in   
#agid1 ,stuart proceeded to             
,philadelphia1 for the purpose of       
painting a  portrait of ,washington1 who
 received him courteously4 ,he used to  
say  that when he entered the room where
 ,washington was1 he felt embarrassed1  
and that it was the first time in his   
life he had ever felt awed in the       
presence of a fellowman4 ,washington was
 then standing on the highest  eminence 
of earthly glory1 and the gaze of the   
world was steadily fixed  upon the man1 
whom ,botta terms 8the ,father of       
,freedom40 ,to leave to  posterity a    
faithful portrait of the ,father of his 
country1 had become  the most earnest   
wish of ,stuart's life4 ,this he        
accomplished1 but not at  the first     
time2 he was not satisfied with the     
expression1 and destroyed  the picture4 
,the ,president sat again1 and he       

produced that head which  embodies not  
only the features but the soul of       
,washington1 from which he  painted all 
his other portraits of that great man4  
,this picture is now  in the ,boston    
,atheneum4          ,,stuart',s ,,last  
,,picture4      ,after the removal of   
,congress to ,washington1 ,stuart       
followed1 and  resided there till #ahjf1
 when he went to ,boston1 and passed    
there the  rest of his days4 ,he painted
 a great many portraits1 which are      
scattered  all over the country4 ,the   
last work he ever painted was a head of 
the  elder ,john ,quincy ,adams4 ,he    
began it a full-length3 but he was an   
old  man1 and only lived to complete the
 head1 which is considered one of his   
best likenesses1 and shows that the     
powers of his mind and the magic of  his
 pencil continued brilliant to the last4
 ,the picture was finished by  that     
eminent and highly gifted artist1       
,thomas ,sully1 who would not touch  the
 head1 as he said1 8he would have       

thought it little less than  sacrilege40
 ,he died in #ahbh1 in the seventy-fifth
 year of his age4          ,,stuart',s  
,,reputation4      ,as a painter of     
heads1 ,stuart stands almost unrivalled 
in any age or  country2 beyond this he  
made no pretensions1 and indeed bestowed
 very  little care or labor4 ,he used to
 express his contempt for fine finishing
  of the extremities1 or rich and       
elegant accessories1 which he used to   
say was 8work for girls40 ,whether these
 were his real sentiments1 or           
affectation1 it is difficult to         
determine4 ,he was1 however1 totally    
deficient in that academic education    
which is necessary to success in  the   
highest branch of the art--historical   
painting4 ,he had genius enough  to have
 distinguished himself in any branch1   
but he could not1 or would  not1 brook  
the necessary toil4          ,,stuart',s
 ,,drawing4      ,stuart never had      
patience to undergo the drudgery        
necessary to become a  skillful         

draughtsman4 ,his kind instructor1 ,mr4 
,west1 urged upon him its  importance   
and necessity1 and advised him to       
frequent the ,royal ,academy  for this  
purpose1 which he neglected to do4      
,trumbull relates that  ,fuseli1 on     
being shown some of his drawings1       
observed in his usual  sarcastic manner1
 8young man1 if this is the best you can
 do1 you had  better go and make shoes40
          ,,stuart ,a ,,punster4        
,stuart was an inveterate punster4 ,mr4 
,allston1 calling on him a short  time  
before his death1 asked him how he was4 
8,ah60 said he1 drawing up  his         
pantaloons1 and showing his emaciated   
leg1 which in his youth had  been his   
pride1 8you can judge how much ,i am out
 of drawing40          ,,stuart ,,born  
,,in ,a ,,snuff-,,mill4      ,stuart was
 an inordinate snuff-taker4 ,he used to 
jocosely apologize for  the habit1 by   
saying that 8he was born in a           
snuff-mill10 which was  literally true1 
for his father was a manufacturer of    

snuff4 ,he said1 8a  pinch of snuff had 
a wonderful effect upon a man's         
spirits40 ,an old sea  captain once     
observed to him1 8you see1 sir1 ,i have 
always a nostril in  reserve4 ,when the 
right becomes callous after a few weeks'
 usage1 ,i  apply for comfort to the    
left1 which having had time to regain   
its sense  of feeling1 enjoys the       
blackguard till the right comes to its  
senses40  8,thank you10 said ,stuart1   
8it's a great discovery4 ,strange that  
,i should  not have made it myself1 when
 ,i have been voyaging all my life in   
these  channels40          ,,stuart',s  
,,nose4      ,stuart always maintained  
that a likeness depended more on the    
nose1  than any other feature1 and in   
proof of his theory1 he would put his   
thumb under his own large and flexible  
proboscis1 and turning it up1  exclaim1 
8who would know my portrait with such a 
nose as this80  ,therefore1 he is said  
to have generally painted a likeness1   
before  putting in the eyes4 ,on one    

occasion1 a pert young coxcomb1 who was 
sitting for his portrait1 stole a glance
 at the canvass and exclaimed1  8why1 it
 has no eyes60 ,stuart coolly observed1 
8,it is not nine days old  yet10        
referring of course to the time when a  
puppy first opens its  eyes4            
,,stuart',s ,,sitters4      ,a portrait 
was once returned to ,stuart with the   
grievous complaint1 that  the muslin of 
the cravat was too coarsely executed4   
,stuart indignantly  observed to a      
friend1 8,i am determined to glue a     
piece of muslin of the  finest texture  
on the part that offends their exquisite
 judgment1 and  send it back again40 ,a 
lady once sat to him dressed in the     
extreme of  fashion1 loaded with jewelry
 and gewgaws1 besides an abundance of   
hair  powder and rouge4 ,stuart1 being  
hard up for cash1 consented to 8raise  a
 monument to her folly40 ,after the     
picture was completed1 he observed  to a
 friend1 8,there is what ,i have all my 
life been endeavoring to  avoid1--vanity

 and bad taste40    ,a gentleman of note
 employed ,stuart to paint his own      
portrait and that  of his wife1 who1    
when he married her1 was a very rich    
widow1 but a very  ordinary looking     
person4 ,the husband was handsome1 and  
of a noble  figure1 and the painter hit 
him off1 to admiration4 ,not so with the
  lady2 he flattered her as much as he  
could without destroying the  likeness1 
but the husband was not satisfied1      
expressed his  dissatisfaction in polite
 terms1 and requested him to try again4 
,he did  so1 without any better success4
 ,the husband now began to fret1 when   
the  painter losing his patience1 jumped
 up1 laid down his palette1 took a  huge
 pinch of snuff1 and stalking rapidly up
 and down the room1  exclaimed1 8,what a
 d--d business is this of a portrait    
painter--zounds1  you bring a potato1   
and expect him to paint you a peach40   
,,stuart',s ,,mark4      ,stuart1 it is 
said1 never signed but one picture in   
his life1 and that  was his own         

portrait1 before mentioned1 on which he 
wrote ,gilbert  ,charles ,stuart4 ,dr4  
,waterhouse says1 8his parents named him
 after his  father1 and ,charles the    
,pretender1 but ,stuart soon dropt the  
,charles1 as  he was a staunch          
republican4 ,when asked why he did not  
sign his  pictures1 he replied1 8,i mark
 them all over40          ,,stuart ,,and
 ,,his ,,dog4      ,in the early part of
 ,stuart's career as a portrait painter 
in ,london1 he  had for his attendant a 
wild boy1 the son of a poor widow1 who  
spent  half his time in frolicking with 
a fine ,newfoundland dog belonging to   
his master4 ,the boy and dog were       
inseparable companions1 and when ,tom   
went on an errand1 ,towzer must         
accompany him4 ,tom was a terrible      
truant1 and played so many tricks upon  
,stuart1 that he again and again        
threatened to discharge him4 ,one day1  
out of all patience at his long         
absence1 he posted off to his mother1 in
 a rage1 to dismiss him4 ,the old       

woman1 perceiving a tempest1 began      
first1 and told a pitiful story1  how   
his dog had upset her mutton pie1 broke 
the dish1 greased the floor1  and       
devoured the meat4 8,i am glad of it2   
you encourage the rascal to  come here1 
and here ,i will send him40 ,an idea    
struck ,stuart1 and he  consented to    
keep ,tom1 on condition that she kept   
his visit a profound  secret4 ,when the 
boy returned1 he found his master at his
 easel1 and  being roundly lectured1 he 
told a story that had no relation to his
  mother1 ,towzer1 or the pie4 8,very   
well10 said the painter1 8bring in      
dinner1 ,i shall know all about it      
by-and-by40 ,stuart sat down to his     
dinner1 and ,towzer took his accustomed 
place by his side1 while ,tom  stood in 
attendance4 8,well1 ,towzer1 your mouth 
don't water for your  share2 where have 
you been80 and he put his ear to the    
dog's mouth1 8,i  thought so1 with      
,tom's mother1 ha60 8,bow-wow40 8,and   
have you had your  dinner80 8,bow40 8,i 

thought so2 what have you been eating8  
,put your mouth  nearer1 sir4           
,mutton-pie2 very pretty4 ,so you and   
,tom have eaten ,mrs4  ,jenkins'        
mutton-pie1 have you80 8,bow-wow40 8,he 
lies1 sir10 exclaimed  ,tom1 in         
amazement1 8,i didn't touch it2 he broke
 mother's dish1 and eat  all the        
mutton60 ,from that time1 ,tom concluded
 that the devil must be in  the dog or  
the painter1 and that he had no chance  
for successful lying4          ,,the    
,,temple ,,of ,,diana ,,at ,,ephesus4   
,this famous temple1 according to       
,vitruvius1 was designed and commenced  
by ,ctesiphon1 a ,cretan architect of   
great eminence4 ,it was two hundred     
years in building1 and was accounted one
 of the seven wonders of the  world4    
,the gods having designated the spot1   
according to tradition1  every nation of
 ,asia ,minor contributed to its        
completion1 with the most  fervent zeal4
 ,it was ornamented with one hundred and
 twenty-seven  columns of ,parian       

marble1 of the ,ionic order1 sixty feet 
high1  thirty-seven of which were the   
gifts of as many kings1 and were        
exquisitely wrought4 ,this great temple 
was finished by ,demetrius and  ,paonius
 of ,ephesus4 ,it was afterwards burned 
by ,erostratus1 in order to  immortalize
 his name4 ,it was subsequently rebuilt1
 but was finally  destroyed totally by  
the barbarians1 in the third or fourth  
century4          ,,the ,,dying         
,,gladiator4      ,the most famous work 
of ,ctesilas was the ,dying ,gladiator1 
which has  received the highest         
commendations from both ancient and     
modern writers4  ,it was long preserved 
at ,rome1 in the ,chigi palace1 but was 
taken to  ,paris with the ,laocon and   
other antiques1 in #agif4 ,these works  
were  restored by the allies1 in #ahae4 
,ctesilas flourished about ,b4 ,c4 #dcb1
  was a cotemporary of ,phidias1 and    
with him and others competed for the    
prize offered for six statues of the    
temple of ,diana at ,ephesus2 the  first

 was awarded to ,polycletus1 the second 
to ,phidias1 and the third to           
,ctesilas4 ,he also distinguished       
himself by a number of other works1     
among which were a statue of ,pericles1 
and a ,wounded ,amazon4                 
,,fabius ,,maximus4      ,it was not    
until the second ,punic war that the    
,romans acquired a taste  for the arts  
and elegancies of life3 for though in   
the first war with  ,carthage1 they had 
conquered ,sicily 7which in the old     
,roman geography  made a part of        
,greece71 and were masters of several   
cities in the  eastern part of ,italy1  
7which were inhabited by ,grecian       
colonies1 and  adorned with pictures and
 statues in which the ,greeks excelled  
all the  world17 they had hitherto      
looked on them with so careless an eye1 
that  they were not touched with their  
beauty4 ,this insensibility long        
remained1 either from the grossness of  
their minds1 or from  superstition1 or  
7what is more likely7 from a political  

dread that their  martial spirit and    
natural roughness might be destroyed by 
,grecian art  and elegance4 ,when       
,fabius ,maximus1 in the second ,punic  
war1 captured  ,tarentum1 he found it   
full of riches1 and adorned with        
pictures and  statues1 particularly with
 some fine colossal figures of the gods 
fighting against the rebel giants3      
,fabius ordered that the money and      
plate should be sent to ,rome1 but that 
the statues and pictures should  be left
 behind4 ,the ,secretary1 struck with   
the size and noble air of the  statues1 
asked whether they too were to be left  
with the rest8 8,yes10  replied he1     
8leave their angry gods to the          
,tarentines2 we will have  nothing to do
 with them40          ,,love ,,of ,,the 
,,arts ,,among ,,the ,,romans4      ,we 
may judge to what extent the love of the
 arts prevailed in ,rome1 by a  speech  
of ,cato the ,censor1 in the ,senate1   
about seventeen years after  the taking 
of ,syracuse4 ,in vain did ,cato exclaim

 against the pernicious  taste1 and its 
demoralizing effects2 the ,roman        
generals1 in their  several conquests1  
seem to have striven who should bring   
away the most  statues and pictures to  
adorn their triumphs and the city of    
,rome4  ,flaminius from ,greece1 and    
more particularly milius from           
,macedonia1  brought a very great number
 of vases and statues4 ,not many years  
after1  ,scipio ,africanus destroyed    
,carthage1 and transferred to ,rome the 
chief  ornaments of that city4 ,the same
 year1 ,mummius sacked ,corinth1 one of 
the principal repositories of the finest
 works of art4 ,having but little  taste
 himself1 he took the surest method not 
to be mistaken1 for he  carried off all 
that came in his way1 and in such       
quantities1 that he  alone is said to   
have filled ,rome with pictures and     
statues4 ,sylla1  besides many others1  
made vast additions to them afterwards1 
by the  taking of ,athens1 and by his   
conquests in ,asia4                     

,,comparative ,,merits ,,of ,,the       
,,venus ,,de ,,medici1 ,,and ,,the      
,,venus ,,victrix4      ,the ,venus de  
,medici is placed in the tribune of the 
,florentine gallery1  between two other 
,venuses1 the ,celestial and the        
,victorious4 8,if you  observe them     
well10 says ,spence1 8you will find as  
much difference  between her air1 and   
that of the celestial ,venus1 as there  
is between  ,titian's wife as a ,venus1 
and as a ,madonna1 in the same room40   
,,the ,,effect ,,of ,,painting ,,on     
,,the ,,mind4      ,the effects of the  
pencil are sometimes wonderful4 ,it is  
said that  ,alexander trembled and grew 
pale on seeing a picture of ,palamedes  
betrayed to death by his friends4 ,it   
doubtless brought to his mind a         
stinging remembrance of his treatment of
 ,aristonicus4    ,portia could bear    
with an unshaken constancy her last     
separation from  ,brutus2 but when she  
saw1 a few hours after1 a picture of the
 ,parting of  ,hector and ,andromache1  

she burst into a flood of tears4 ,full  
as seemed  her cup of sorrow1 the       
painter suggested new ideas of grief1 or
  impressed more strongly her own4      
,an ,athenian courtezan1 in the midst of
 a riotous banquet with her  lovers1    
accidentally cast her eye on the        
portrait of a philosopher that  hung    
opposite to her seat2 the happy         
character of temperance and virtue      
struck her with so lively an image of   
her own unworthiness1 that she          
instantly quitted the room1 and retiring
 home1 became ever after an  example of 
temperance1 as she had before been of   
debauchery4          ,,pausias4         
,pausias1 an eminent ,greek painter1 was
 a native of ,sicyon1 and  flourished   
about ,b4 ,c4 #dej4 ,his most famous    
picture was one representing  the       
,sacrifice of an ,ox1 which1 according  
to ,pliny1 decorated the ,hall of       
,pompey in his time4 ,pausanias mentions
 two of his paintings at                
,epidaurus--the one a ,cupid with a lyre

 in his hand2 and the other a  figure of
 ,methe1 or ,drunkenness1 drinking out  
of a glass vessel1 through  which his   
face is seen4 ,these pictures were held 
in the highest  estimation by the       
,sicyonians1 but they were compelled to 
give them up to  ,m4 ,scaurus1 who took 
them to ,rome4          ,,the ,,garland 
,,twiner4      ,pausias fell in love    
with a beautiful damsel1 a native of his
 own city1  called ,glycera1 who gained 
a livelihood by making garlands of      
flowers1  and wreaths of roses4 ,her    
skill in this art induced ,pausias1 in a
 loving  rivalry1 to attempt to compete 
with her1 and he ultimately became an   
inimitable flower painter4 ,a portrait  
of ,glycera with a garland of  flowers1 
called ,stephanopolis1 or the ,garland  
,twiner1 was reckoned his  masterpiece4 
,so great was the fame of it1 that      
,lucius ,lucullus gave for  a copy1 at  
,athens1 two talents1 or about two      
thousand dollars4          ,,protogenes1
 ,,the ,,great ,,rhodian ,,painter4     

,the most famous of his works was the   
picture of ,ialysus and his ,dog1  which
 occupied him seven years4 ,the dog1    
represented as panting and  foaming at  
the mouth1 was greatly admired2 and it  
is related that  ,protogenes was for a  
long time unable to represent the foam  
in the  manner he wished1 till at length
 he threw his sponge in a fury at the   
mouth1 and produced the very effect he  
desired6 ,the fame of this  painting was
 so great1 that1 according to ,pliny1   
,demetrius ,poliorcetes1  when besieging
 ,rhodes1 did not assault that part of  
the city where  ,protogenes lived1 lest 
he should destroy the picture4 ,his     
studio was  situated without the walls1 
where1 to the astonishment of the       
besiegers1  he continued to paint with  
perfect tranquillity4 ,this coming to   
the ears  of ,demetrius1 he ordered the 
artist to be brought to his tent1 and   
demanded how he could persist in the    
quiet exercise of his profession1  when 
surrounded by enemies8 ,protogenes      

replied that he did not consider        
himself in any danger1 convinced that a 
great prince like ,demetrius did  not   
make war against the ,arts1 but against 
the ,rhodians4          ,,parrhasius4   
,this great painter was a native of     
,ephesus1 but became a citizen of       
,athens1 where he flourished about ,b4  
,c4 #cij4 ,he raised the art to a much  
higher degree of perfection than it had 
before attained4 ,comparing his  three  
great predecessors with each other1 he  
rejected their errors1 and  adopted     
their excellencies4 ,the classic        
invention of ,polygnotus1 the  magic    
tones of ,apollodorus1 and the exquisite
 design of ,zeuxis1 are said  to have   
been united in the works of ,parrhasius4
 ,he reduced to theory the  practice of 
former artists1 and all cotemporary and 
subsequent painters  adopted his        
standard of heroic and divine           
proportions2 hence he was  called the   
,legislator of ,painting4          ,,the
 ,,demos ,,and ,,other ,,works ,,of     

,,parrhasius4      ,one of the most     
celebrated works of ,parrhasius was his 
,demos1 or an  allegorical picture of   
the ,athenians4 ,pliny says that 8it    
represented  and expressed equally all  
the good as well as the bad qualities of
 the  ,athenians at the same time2 one  
might trace the changeable1 the         
irritable1 the kind1 the unjust1 the    
forgiving1 the vain-glorious1 the       
proud1 the humble1 the fierce1 the      
timid40 ,there has been considerable    
dispute among critics whether this      
picture was a composition of one or     
several figures4 ,supposing it to have  
been a single figure1 ,pliny's          
description is absurd and ridiculous1   
for it is impossible to represent  all  
the passions in a single figure4 ,it    
does not seem1 however1 that            
,parrhasius usually introduced many     
figures into his compositions4 ,pliny   
mentions as among his principal works1 a
 ,theseus2 a ,telephus2 an  ,achilles2  
an ,agamemnon2 an neas2 two famous      

pictures of ,hoplites1 or  heavily armed
 warriors1 one in action1 the other in  
repose2 a ,naval  ,commander in his     
armor2 ,ulysses feigning insanity2      
,castor and ,pollux2  ,bacchus and      
,virtue2 a ,cretan nurse with an ,infant
 in her arms2 and many  others1         
apparently composed of one1 two1 or at  
most three figures4    ,parrhasius was  
equally celebrated for his small1 or    
cabinet pictures of  libidinous         
subjects2 hence he was called the       
,pornograph4 ,his famous  picture of    
,archigallus1 the priest of ,cybele1    
mentioned by ,pliny1 is  supposed to    
have been of this description4 ,also the
 ,meleager and  ,atalanta mentioned by  
,suetonius4 ,this picture was bequeathed
 to  ,tiberius1 on the condition that if
 he were offended with the subject1 he  
should receive in its stead one million 
sesterces 7about forty thousand         
dollars74 ,the ,emperor not only        
preferred the picture1 but had it hung  
up  in his own chamber1 where the       

,archigallus1 valued at six hundred     
thousand sesterces1 was also preserved4 
,,parrhasius ,,and ,,the ,,olynthian    
,,captive4      ,seneca relates that    
,parrhasius1 when about to paint a      
picture of  ,prometheus ,chained1       
crucified an old ,olynthian captive1 to 
serve as a  model1 that he might be able
 to portray correctly the agonies of    
,prometheus while the ,vulture preyed   
upon his vitals4 ,this story is         
doubtless a fiction1 as it is found     
nowhere but in the ,controversies4      
,olynthus was taken by ,philip of       
,macedon1 ,b4 ,c4 #cdg1 about forty     
years  subsequent to the latest accounts
 of ,parrhasius4          ,,the ,,vanity
 ,,of ,,parrhasius4      ,this great    
artist was well aware of his powers1 but
 the applause which  he received1 added 
to a naturally vain and conceited       
disposition1 so  completely carried him 
away1 that ,pliny terms him 8the most   
insolent and  the most arrogant of      
artists40 ,he assumed the title of ,the 

,elegant1  styled himself the ,prince of
 ,painters1 wrote an epigram upon       
himself1  in which he proclaimed his    
birth1 and declared that he had carried 
the  art to perfection4 ,he clothed     
himself in purple1 and wore a wreath of 
gold on his head2 and when he appeared  
on public occasions1 particularly  at   
the ,olympic games1 he changed his robes
 several times a day4 ,he went  so far  
as to pretend that he was descended from
 ,apollo1 one of whose  surnames was    
,parrhasius1 and even to dedicate his   
own portrait as  ,mercury in a temple1  
and thus received the adoration of the  
multitude4          ,,the ,,invention   
,,of ,,the ,,corinthian ,,capital4      
,about ,b4 ,c4 #eej1 there died at      
,corinth a marriageable virgin2 and her 
nurse1 according to the custom of the   
times1 placed on her tomb a  basket     
containing those viands most agreeable  
to her when alive1  covering them with a
 tile1 for better preservation4 ,this   
basket was  unintentionally placed over 

the root of an acanthus1 the spring     
leaves  and stems of which growing up1  
covered it in so elegant a manner as to 
attract the notice of ,callimachus1 who1
 struck with the idea and novelty  of   
the figure1 modelled from it the        
,corinthian capital1 thus giving a      
remarkable proof of the intimate        
connection between ,art1 and            
,nature--the  source of all true        
art--and producing that exquisitely     
graceful design  which for twenty-four  
centuries has charmed the civilized     
world4          ,,the ,,invention ,,of  
,,sculpture4      ,pliny relates a      
pleasing and highly poetic anecdote of  
the invention of  sculpture4 ,dibutades1
 the fair daughter of a celebrated      
potter of  ,sicyon1 contrived a private 
meeting with her lover1 on the eve of a 
long  separation4 ,after a repetition of
 vows of constancy1 and a stay          
prolonged to a very late hour1 the youth
 fell fast asleep4 ,the fair  nymph1    
whose imagination was on the alert1     

observing that her admirer's  profile   
was strongly reflected on the wall by   
the light of a lamp1  eagerly snatched  
up a piece of charcoal1 and1 inspired by
 love1 traced  the outline1 that she    
might have the image of her lover before
 her  during his absence4 ,her father1  
when he chanced to see the sketch1      
struck with its correctness1 determined 
to preserve it1 if possible1 as  a      
memento of such a remarkable            
circumstance4 ,with this view1 he formed
 a  kind of clay model from it1 and     
baked it2 which1 being the first essay  
of the kind1 was preserved in the public
 repository of ,corinth1 even to  the   
fatal day of its destruction by that    
enemy to the arts1 ,mummius  ,achaicus4 
,,praxiteles4      ,praxiteles1 one of  
the most eminent ,grecian sculptors1 was
 cotemporary  with ,euphranor1 and      
flourished1 according to ,pliny1 in the 
one hundred  and fourth ,olympiad1 or   
,b4 ,c4 #cfj4 ,the place of his birth is
 not  mentioned4 ,he lived in the period

 immediately subsequent to the age of   
,phidias1 but his genius took a         
different course from that style of     
elevation and sublimity which           
distinguishes the schylus of ,sculpture4
  ,praxiteles was the founder of a new  
school4 ,his style was eminently        
distinguished for softness1 delicacy1   
and high finish2 and he was fond  of    
representing whatsoever in nature       
appeared gentle1 tender1 and  lovely4   
,consequently his favorite subjects were
 the soft and delicate  forms of females
 and children1 rather than the masculine
 forms of  athletes1 warriors1 and      
heroes4          ,,praxiteles ,,and     
,,phidias ,,compared4      ,the peculiar
 abilities of ,praxiteles were admirably
 displayed in the  ,venus of ,cnidus1   
which1 with the exception of the        
,olympian ,jupiter of  ,phidias1 has    
received higher and more unqualified    
eulogiums from ancient  writers1 than   
any other work of ,grecian art4 ,these  
two great artists may  therefore be     

considered as standing at the head of   
their respective  schools2 ,praxiteles1 
the delicate and beautiful--,phidias1   
the grand and  sublime4          ,,the  
,,works ,,of ,,praxiteles4              
,praxiteles was eminent for his works1  
both in bronze and marble1 but he  seems
 to have had the highest reputation for 
his skill in the latter4  ,among those  
in bronze1 ,pliny and ,pausanias mention
 a statue of ,bacchus2  and one of a    
,satyr so excellent1 that it was called 
,periboetos1 or the  ,celebrated4 ,he   
also made a statue of ,venus2 a statue  
of a ,matron  weeping2 and one of a     
,courtesan laughing1 believed to be a   
portrait of  the celebrated ,thespian   
courtesan1 ,phryne4 ,his ,apollo        
,sauroctonos 7or  the ,lizard ,killer71 
was the finest of his works in bronze1  
and was  greatly distinguished for      
purity of style1 and graceful beauty of 
form4  ,in the ,vatican there is a      
well-authenticated marble copy of this  
work1  which is justly considered one of

 the greatest treasures of that         
storehouse of art4 ,among the works in  
marble by ,praxiteles1 the famous       
,venus of ,cnidus takes the preminence4 
,,the ,,venus ,,of ,,cnidus4            
,praxiteles executed two statues of     
,venus--the one draped1 and the other   
naked4 ,the people of ,cos chose the    
former1 as the most delicate2 but  the  
,cnidians immediately purchased the     
latter4 ,this work is mentioned by      
,lucian as the masterpiece of           
,praxiteles2 and it is also the subject 
of  numerous epigrams in the ,greek     
,anthology4 ,its fame was so great that 
travelers visited ,cnidus on purpose to 
see it4 ,the original work was          
destroyed at ,constantinople1 in the    
fifth century1 in the dreadful fire     
which consumed so many of the admirable 
monuments of art1 collected in  that    
city4          ,,praxiteles ,,and       
,,phryne4      ,pausanias relates that  
the beautiful ,phryne1 whose influence  
over  ,praxiteles seems to have been    

considerable1 was anxious to possess a  
work from his chisel1 and when desired  
to choose for herself1 not  knowing     
which of his exquisite works to select1 
devised the following  expedient4 ,she  
commanded a servant to hasten to him1   
and tell him that  his workshop was in  
flames1 and that with few exceptions1   
his works had  already perished4        
,praxiteles1 not doubting the truth of  
the  announcement1 rushed out in the    
greatest anxiety and alarm1 exclaiming1 
8all is lost1 if my ,satyr and ,cupid   
are not saved60 ,the object of  ,phryne 
was answered--she confessed her         
stratagem1 and chose the ,cupid4        
,pliny mentions two figures of ,cupids  
as among the finest works of            
,praxiteles1 one of which he ranks on an
 equality with the ,venus of  ,cnidus4  
,it was made of ,parian marble4 ,there  
is an exquisite antique  ,cupid in the  
,vatican1 supposed to be a copy of the  
,cupid of ,phryne4          ,,the ,,king
 ,,of ,,bithynia ,,and ,,the ,,venus    

,,of ,,cnidus4      ,according to       
,lucian1 ,nicomedes1 ,king of ,bithynia1
 was so captivated with  the ,venus of  
,cnidus1 that he offered to pay a debt  
of the city1  amounting to one hundred  
talents1 7about one hundred thousand    
dollars7  on condition of their giving  
up to him this celebrated statue2 but   
the  citizens1 to their honor1 refused  
to part with it on any terms1  regarding
 it as the principal glory of the state4
          ,,phidias4      ,phidias1 the 
most renowned sculptor of antiquity1 was
 born about ,b4 ,c4  #dij4 ,quintilian  
calls him 8the ,sculptor of the ,gods10 
and others1 8the  schylus of            
,sculpture10 from the character of      
grandeur and sublimity in  his works4   
,the times in which he lived were       
peculiarly favorable to the  development
 of his genius4 ,he was employed upon   
great public works  during the          
administration of ,cimon1 and           
subsequently1 when ,pericles  attained  
the height of his power1 ,phidias seems 

to have been consulted  in regard to the
 conduct of all the works in sculpture1 
as well as  architecture4 ,plutarch     
says1 8,it was ,phidias who had the     
direction of  these works1 although     
great architects and skillful sculptors 
were  employed in erecting them40 ,among
 the most remarkable objects upon which 
his talents were exercised1 the         
,parthenon1 or ,temple of ,minerva1     
claims  preminence4 ,it was built by    
,callicrates and ,ictinus1 under the    
superintendence of ,phidias4 ,within the
 temple1 ,phidias executed his          
celebrated statue1 in gold and ivory1 of
 ,minerva1 represented standing  erect1 
holding in one hand a spear1 and in the 
other a statue of  ,victory4 ,the helmet
 was highly decorated1 and surmounted by
 a sphinx2  the naked parts were of     
ivory2 the eyes of precious stones2 and 
the  drapery throughout was of gold4 ,it
 is said there were forty talents       
weight of this metal used in the statue4
 ,the people1 being desirous of  having 

all the glory of the work1 prohibited   
,phidias from inscribing his  name upon 
it2 but he contrived to introduce his   
own portrait as an old  bald-headed man 
throwing a stone1 in the representation 
of the combat  between the ,athenians   
and ,amazons1 which decorated the       
shield4 ,a  likeness of ,pericles was   
also introduced in the same composition4
 ,the  exterior of the ,parthenon was   
enriched with admirable sculptures1 many
  of which were from the hand of        
,phidias1 and all of them executed under
  his direction4 ,a portion of these1   
termed the ,elgin marbles1 from their   
having been taken to ,england by the    
,earl of ,elgin1 are now in the         
,british ,museum4 ,they have been highly
 commended by the most excellent        
judges2 and the eminent sculptor        
,canova1 after visiting ,london1        
declared  that 8he should have been well
 repaid for his journey to ,england1 had
  he seen nothing but the ,elgin        
marbles40          ,,phidias ,,and      

,,alcamenes4      ,the comprehensive    
character of the genius of this         
preminent sculptor1  is well attested by
 his contest with ,alcamenes4 ,it was   
intended to place  a statue of ,minerva 
on a column of great height in the city 
of ,athens2  and both these artists were
 employed to produce images for the     
purpose1  which were to be chosen by the
 citizens4 ,when the statues were       
completed1 the universal preference was 
given to the work of ,alcamenes1  which 
appeared elegantly finished1 while that 
of ,phidias appeared rude  and sketchy1 
with coarse and ill-proportioned        
features4 ,however1 at the  request of  
,phidias1 the statues were successively 
exhibited on the  elevation for which   
they were intended1 when all the minute 
beauties of  his rival's work completely
 disappeared1 together with the seeming 
defects of his own2 and the latter1     
though previously despised1 seemed      
perfect in its proportions1 and was     
surveyed with wonder and delight4       

,,ingratitude ,,of ,,the ,,athenians4   
,the enemies of ,pericles1 with the view
 of implicating that statesman1  accused
 ,phidias of having misapplied part of  
the gold entrusted to him  for the      
statue of ,minerva1 and desired that he 
should be brought to  trial4 ,the       
sculptor1 however1 by the prudent advice
 of ,pericles1 had  executed the work in
 such a manner that the gold might      
easily be  removed1 and it was ordered  
by ,pericles to be carefully weighed    
before  the people4 ,as might have been 
expected1 this test was not required1   
and  the malicious accusation was       
overthrown4 ,they then declared the     
sculptor  guilty of sacrilege in placing
 his own portrait upon the shield of    
,minerva2 and some writers state that he
 was thrown into prison2 others1  that  
he was banished4          ,,the         
,,jupiter ,,of ,,phidias4      ,phidias 
fled from ,athens to ,elis1 where he was
 employed to execute a  costly statue of
 the ,olympian ,jupiter1 for the temple 

in ,altis4 ,this  statue was the most   
renowned of all the works of ,phidias4  
,it was of  colossal dimensions1 being  
sixty feet in height2 and seated on a   
throne2  the head was crowned with      
olive2 the right hand held a small      
statue of  ,victory1 in gold and ivory2 
the left hand grasped a golden sceptre  
of  exquisite workmanship1 surmounted by
 an eagle2 the sandals and mantle  were 
also of the same material1 the latter   
sculptured with every  description of   
flowers and animals2 the pedestal was   
also of gold1  ornamented with a number 
of deities in bas-relief4 ,in the front 
of the  throne was a representation of  
the ,sphynx carrying off the ,theban    
youths2 beneath these1 the ,fate of     
,niobe and her ,children2 and1 on the   
pedestal joining the feet1 the ,contest 
of ,hercules with the ,amazons1         
embracing twenty-nine figures1 among    
which was one intended to  represent    
,theseus4 ,on the hinder feet of the    
throne were four ,victories1  as        

treading in the dance4 ,on the back of  
the throne1 above the head of  the god1 
were figures of the ,hours and ,graces2 
on the seat1 ,theseus  warring with the 
,amazons1 and ,lions of gold4 ,its base1
 which was of  gold1 represented various
 groups of ,divinities1 among which were
 ,jupiter  and ,juno1 with the ,graces  
leading on ,mercury and ,vesta2 ,cupid  
receiving  ,venus from the ,sea2 ,apollo
 with ,diana2 ,minerva with ,hercules2  
and1 below  these1 ,neptune1 and the    
,moon in her ,chariot4 ,on the base of  
the statue1  was the inscription1       
,phidias1 the son of ,charmidas1 made   
me4--,quintilian observes that this     
unparalleled work even added new        
feelings to the religion of ,greece4 ,it
 was without a rival in ancient  times1 
all writers speaking of it as a         
production that none would even  dare to
 imitate4 ,there is a tradition         
connected with this celebrated  work4   
,phidias1 after the completion of his   
design1 is said to have  prayed ,jupiter

 to favor him with some intimation of   
his approbation1  whereupon a flash of  
lightning darted into the temple1 and   
struck the  pavement before him4 ,this  
was hailed as a proof of divine favor1  
and a  brazen urn or vase was placed    
upon the spot1 which ,pausanias mentions
 as  existing in his time4              
,,phidias' ,,model ,,for ,,the          
,,olympian ,,jupiter4      ,phidias1    
being asked how he could conceive that  
air of divinity which he  had expressed 
in the face of the ,olympian ,jupiter1  
replied that he had  copied it from     
,homer's celebrated description of him4 
,all the personal  strokes in that      
description relate to the hair1 the     
eye-brows1 and the  beard3 and indeed to
 these it is that the best heads of     
,jupiter owe most  of their dignity2 for
 though we have now a mean opinion of   
beards1 yet  all over the east a full   
beard carries the idea of majesty along 
with  it2 and the ,grecians had a share 
of this ,oriental notion1 as may be seen

  in their busts of ,jupiter1 and the   
heads of kings on ,greek medals4 ,but   
the ,romans1 though they held beards in 
great esteem1 even as far down as  the  
sacking of ,rome by the ,goths1 yet in  
their better ages held them in          
contempt1 and spoke disrespectfully of  
their bearded forefathers4 ,they  were  
worn only by poor philosophers1 and by  
those who were under  disgrace or       
misfortune4 ,for this reason ,virgil1 in
 copying ,homer's  striking description 
of ,jupiter1 has omitted all the        
picturesque strokes  on the beard1 hair1
 and eye-brows2 for which ,macrobius    
censures him1 and  ,scaliger extols him4
 ,the matter might have been compounded 
between them1  by allowing that         
,virgil's description was the most      
proper for the  ,romans1 and ,homer's   
the noblest among the ,greeks4          
,,apollodorus ,,the ,,athenian4         
,apollodorus1 one of the most famous of 
the ancient ,greek painters1 was  born  
at ,athens ,b4 ,c4 #ddj4 ,pliny         

commences his history of ,greek painting
  with this artist1 terming him 8the    
first luminary of the art40 ,he also    
says of him1 8,i may well and truly say 
that none before him brought the  pencil
 into a glorious name and especial      
credit40 ,the two most famous  works of 
,apollodorus1 were1 a ,priest in the act
 of ,devotion1 and ,ajax  ,oileus       
,wrecked1 both remarkable1 not only in  
coloring and chiaro-scuro1  but in      
invention and composition4 ,these       
paintings were preserved at  ,pergamos  
in the time of ,pliny1 six hundred years
 after they were  executed4 ,apollodorus
 was the first who attained the perfect 
imitation  of the effects of light and  
shadow invariably seen in nature4 ,if we
 may  depend upon the criticisms of     
ancient writers1 the works of this      
master  were not inferior in this       
respect to those of the most            
distinguished  moderns4 ,his pictures   
riveted the eye1 not merely from their  
general  coloring1 but also from a      

powerful and peculiar effect of light   
and  shade1 on which account he was     
called 8the ,shadower40                 
,,apollodorus ,,the ,,architect4        
,this great architect1 who flourished   
about ,a4 ,d4 #ajj1 was born at         
,damascus4 ,by his great genius he      
acquired the favor of the emperor       
,trajan1 for whom he executed many      
works4 ,he built the great ,square of   
,trajan1 to effect which1 he leveled a  
hill1 one hundred and forty-four  feet  
high2 in the centre he raised the famous
 column1 of the same height  as the hill
 that had been removed1 which           
commemorated the victories of  ,trajan1 
and served as a monument to that        
victorious ,emperor4 ,around the        
,square1 he erected the most beautiful  
assemblage of buildings then known  in  
the world1 among which was the triumphal
 arch commemorative of  ,trajan's       
victories4 ,the marble pavements of this
 ,square are fifteen feet  below the    
streets of modern ,rome4 ,apollodorus   

also erected a college1 a  theatre      
appropriated to music1 the ,basilica    
,nepia1 a celebrated library1  the      
,baths of ,trajan1 aqueducts1 and other 
important works at ,rome4 ,his  most    
famous work was a stone bridge over the 
,danube1 in ,lower ,hungary1  near      
,zeverino4 ,it was one mile and a half  
long1 three hundred feet high1  forty   
feet wide1 and was built upon twenty    
piers and twenty-two arches4  ,its      
extremities were defended by two        
fortresses4 ,trajan had it  constructed 
to facilitate the passage of his troops1
 but his successor  dismantled it1      
fearing that the barbarians would use it
 against the  ,romans4                  
,,trajan',s ,,column4      ,this column 
is one of the most celebrated monuments 
of antiquity4 ,its  height1 including   
the pedestal and statue1 is one hundred 
and forty-four  ,english feet4 ,it was  
erected in the centre of the forum of   
,trajan1 and  was dedicated to that     
emperor by the senate and people of     

,rome in  commemoration of his decisive 
victory over the ,dacians4 ,it is of the
  ,doric order1 and its shaft is        
constructed of thirty-four pieces of    
,greek  marble1 hollowed out in the     
centre for the stairs1 and joined       
together  with cramps of bronze4 ,for   
elegance of proportion1 beauty of style1
 and  for simplicity and dexterity of   
sculpture1 it is accounted the finest   
column in the world4 ,the sculptures on 
the pedestal are master-pieces of       
,roman art4 ,the shaft is embellished   
with bassi-rilievi1 representing the    
expedition of ,trajan against the       
,dacians1 which run spirally1           
twenty-three times around the column1   
and which gradually increase in  size1  
so that those at the top appear to the  
spectator1 to be of the  same size as   
those at the bottom4 ,a spiral          
stair-case1 of one hundred  and         
eighty-five steps1 runs up the interior1
 and receives light from  sixty-three   
openings in the shaft4 ,a gold medal1   

struck in commemoration  of the         
completion of the column1 shows that it 
was formerly surmounted  by a statue of 
,trajan1 holding in one hand a sceptre1 
and in the other a  globe1 in which were
 deposited the ashes of that prince4    
,pope ,sixtus ,v4  placed a statue of   
,st4 ,peter1 by the ,cavaliere ,fontana1
 in the place of  that of ,trajan1 which
 had been destroyed some centuries      
before4 ,a  greater absurdity than      
placing the statue of a peaceful apostle
 over the  sculptured representation of 
the ,dacian war1 can scarcely be        
conceived4          ,,the ,,death ,,of  
,,apollodorus4      ,apollodorus fell a 
victim to the envy of ,adrian1 the      
successor of  ,trajan1 who himself      
dabbled in architecture1 as well as the 
other arts4  ,according to ,pliny1 he   
ridiculed the proportions of the temple 
of ,rome  and ,venus1 which had been    
built from ,adrian's designs1 saying    
that 8if  the goddesses who were placed 
in it should be disposed to stand up1   

they  would be in danger of breaking    
their heads against the roof1 or if they
  should wish to go out1 they could     
not10 which so incensed the ,emperor1   
that he banished the architect1 and had 
him put to death4 ,another  account is1 
that as ,trajan was conversing about    
some of the buildings1  ,adrian1 who was
 present1 made some remarks1 on which   
the architect said1  8,go and paint     
pumpkins1 for you know nothing about    
these matters10 an  affront which       
,adrian never forgot1 and avenged by the
 death of the  architect when he became 
,emperor4 ,what a return to the         
architect of  ,trajan's ,column6        
,,hogarth4      ,the talents of this    
eccentric genius were preminent in      
burlesque and  satire4 ,he therefore    
chiefly devoted himself to delineate the
 calamities  and crimes of private life1
 and the vices and follies of the age4  
,he  portrayed vice as leading to       
disgrace and misery1 while he           
represented  virtue as conducting to    

happiness and honor4 ,his series of the 
8,harlot's  ,progress10 the 8,rake's    
,progress10 8,marriage  la ,mode10      
gained him great  reputation2 and the   
prints which he engraved and published  
from them1  although rude specimens of  
the art1 met with an enormous sale1     
greatly  to his own emolument4 ,lord    
,orford characterizes him as a painter  
of  comedy4 8,if catching the manners   
and follies of the age1 #8living as they
  rise'2 if general satire on vices and 
ridicules1 familiarized by strokes  of  
nature1 and heightened by wit1 and the  
whole animated by just and  proper      
expressions of the persons1 be comedy1  
,hogarth composed comedy as  much as    
,moliere40 ,others have better          
characterized him as a great moral      
preacher4 ,alderman ,boydell was        
accustomed to say that every merchant1  
shopkeeper1 mechanic1 and others who had
 youth in their employment1  ought to   
have some of ,hogarth's prints framed   
and hung up for their  admonition4      

,,hogarth',s ,,apprenticeship4          
,hogarth was apprenticed1 at an early   
age1 to an engraver of arms on  plate4  
,while thus engaged1 his inclination for
 painting was manifested  in a          
remarkable manner4 ,going out one day   
with some companions on an  excursion to
 ,highgate1 the weather being very hot1 
they entered a public  house1 where     
before long a quarrel occurred4 ,one of 
the disputants  struck the other on the 
head with a quart pot1 which cut him    
severely2  and the blood running down   
the man's face1 gave him a singular     
appearance1 which1 with the contortions 
of his countenance1 presented  ,hogarth 
with a laughable subject4 ,taking out   
his pencil1 he sketched the  scene in   
such a truthful and ludicrous manner1   
that order and good  feeling were at    
once restored4          ,,hogarth',s    
,,revenge4      ,hogarth1 in his early  
career1 was once greatly distressed to  
raise the  paltry sum of twenty         
shillings1 to satisfy his landlady1 who 

endeavored  to enforce payment4 ,to be  
revenged on her1 he painted her an ugly 
and  malicious hag1 her features so     
truthfully drawn1 that every person who 
had seen her at once recognized the     
individual4 ,woe betided the man who    
incurred his ire2 he crucified him      
without mercy4 ,in his controversy  with
 ,wilkes1 he caricatured him in his     
print of 8,the ,times20 and  ,churchill1
 the poet1 he represented as a canonical
 bear1 with a ragged  staff1 and a pot  
of porter4          ,,hogarth',s        
,,method ,,of ,,sketching4      ,it was 
,hogarth's custom to sketch on the spot 
any remarkable face that  struck him4 ,a
 gentleman being once with him at the   
,bedford ,coffee ,house1  observing him 
to draw something on his thumb nail1    
inquired what he was  doing1 when he was
 shown the likeness of a comical looking
 person  sitting in the company4        
,,hogarth',s ,,marriage4      ,hogarth  
married the only daughter of ,sir ,james
 ,thornhill1 who was  dissatisfied with 

the match4 ,soon after this period1 he  
began his  ,harlot's ,progress1 and was 
advised by ,lady ,thornhill to place    
some of  the prints in the way of his   
father-in-law4 ,accordingly1 early one  
morning1 ,mrs4 ,hogarth conveyed several
 of them into the dining room1  when    
,sir ,james inquired whence they came8  
,being told1 he said1 8,very  well1 very
 well3 the man who can produce          
representations like these1 can  also   
maintain a wife without a portion40 ,he 
soon after became both  reconciled and  
generous to the young couple4    ,the   
8,harlot's ,progress0 was the first work
 which rendered the genius of  ,hogarth 
conspicuously known4 ,above twelve      
hundred names were entered in  his      
subscription book4 ,it was dramatized1  
and represented on the stage4  ,fans    
were likewise embellished with miniature
 representations of all the  six plates4
          ,,successful ,,expedient ,,of 
,,hogarth4      ,a nobleman1 not        
remarkable for personal beauty1 once sat

 to ,hogarth for  his portrait1 which   
the artist executed in his happiest     
manner1 but with  rigid fidelity4 ,the  
peer1 disgusted at this exact           
counterpart of his  dear self1 did not  
feel disposed to pay for the picture4   
,after some time  had elapsed1 and      
numerous unsuccessful attempts had been 
made to obtain  payment1 the painter    
resorted to an expedient which he knew  
must alarm  the nobleman's pride4 ,he   
sent him the following card3--    8,mr4 
,hogarth's dutiful respects to ,lord    
----4 ,finding he does not mean to  have
 the picture drawn for him1 ,lord ----  
is informed again of ,mr4  ,hogarth's   
pressing necessity for money4 ,if1      
therefore1 his ,lordship  does not send 
for it in three days1 it will be        
disposed of1 with the  addition of a    
tail and some other appendages1 to ,mr4 
,pau1 the famous  wild beast man2 ,mr4  
,h4 having given that gentleman a       
conditional promise  of it for an       
exhibition picture1 on his ,lordship's  

refusal40 ,this  intimation had the     
desired effect2 the picture was paid    
for1 and  committed to the flames4      
,,hogarth',s ,,picture ,,of ,,the ,,red 
,,sea4      ,hogarth was once applied   
to1 by a certain nobleman1 to paint on  
his  staircase a representation of the  
,destruction of ,pharaoh's host in the  
,red ,sea4 ,in attempting to fix upon   
the price1 ,hogarth became disgusted    
with the miserly conduct of his patron1 
who was unwilling to give more  than    
half the real value of the picture4 ,at 
last1 out of all patience1  he agreed to
 his terms4 ,in two or three days the   
picture was ready4 ,the  nobleman1      
surprised at such expedition1           
immediately called to examine  it1 and  
found the space painted all over red4   
8,zounds60 said the purchaser1 8what    
have you here8 ,i ordered a scene of    
the ,red ,sea40    8,the ,red ,sea you  
have10 said the painter4    8,but where 
are the ,israelites80    8,they are all 
gone over40    8,and where are the      

,egyptians80    8,they are all drowned40
    ,the miser's confusion could only be
 equalled by the haste with which he    
paid his bill4 ,the biter was bit4      
,,hogarth',s ,,courtesy4      ,hogarth  
treated those who sat for their         
portraits with a courtesy which  is not 
always practiced1 even now1 in ,england4
 8,when ,i sat to ,hogarth10  says ,mr4 
,cole1 8the custom of giving vails to   
servants was not  discontinued4 ,on     
taking leave of the painter at the door1
 ,i offered his  servant a small        
gratuity2 but the man politely refused  
it1 telling me it  would be as much as  
the loss of his place if his master knew
 it4 ,this  was so uncommon and so      
liberal in a man of ,hogarth's          
profession1 at that  time1 that it much 
struck me1 as nothing of the kind had   
happened to me  before40 ,nor is it     
likely that such a thing would happen   
again3 ,sir  ,joshua ,reynolds gave his 
servant six pounds annually as wages1   
and  offered him one hundred pounds a   

year for the door4          ,,hogarth',s
 ,,absence ,,of ,,mind4      ,hogarth   
was one of the most absent minded of    
men4 ,soon after he set up  his         
carriage1 he had occasion to pay a visit
 to the ,lord ,mayor4 ,when he  went1   
the weather was fine2 but he was        
detained by business till a  violent    
shower of rain came on4 ,being let out  
of the mansion house by a  different    
door from the one at which he had       
entered1 he immediately  began to call  
for a hackney coach4 ,not being able to 
procure one1 he  braved the storm1 and  
actually reached his house in ,leicester
 ,fields1  without bestowing a thought  
on his carriage1 till his wife1         
astonished  to see him so wet1 asked him
 where he had left it4                  
,,hogarth',s ,,march ,,to ,,finchley4   
,hogarth disposed of this celebrated    
picture by lottery4 ,there were         
eighteen hundred and forty-three chances
 subscribed for2 he gave the  remaining 
one hundred and sixty-seven tickets to  

the ,foundling ,hospital1  and the same 
night delivered the picture to the      
governors4          ,,hogarth',s        
,,unfortunate ,,dedication ,,of ,a      
,,picture4      ,hogarth dedicated his  
picture of the ,march to ,finchley to   
,george ,,ii4 ,the  following dialogue  
is said to have ensued1 on this         
occasion1 between the  sovereign and the
 nobleman in waiting3    8,pray1 who is 
this ,hogarth80    8,a painter1 my      
liege40    8,i hate painting1 and poetry
 too2 neither the one nor the other ever
 did  any good40    8,the picture1      
please your majesty1 must undoubtedly be
 considered as a  burlesque40    8,what6
 burlesque a soldier8 ,he deserves to be
 picketed for his  insolence4 ,take his 
trumpery out of my sight40              
,,hogarth',s ,,manner ,,of ,,selling    
,,his ,,pictures4      ,hogarth         
supported himself by the sale of his    
prints3 the prices of his  pictures kept
 pace neither with his fame nor with his
 expectations4 ,he  knew1 however1 the  

passion of his countrymen for           
novelty--how they love  to encourage    
whatever is strange and mysterious2 and 
hoping to profit by  these feelings1 the
 artist determined to sell his principal
 paintings by  an auction of a very     
singular nature4    ,on the #beth of    
,january1 #agde1 he offered for sale the
 six paintings of  the ,harlot's        
,progress1 the eight paintings of the   
,rake's ,progress1 the  ,four ,times of 
the ,day1 and the ,strolling ,actresses1
 on the following  conditions3    8#a4  
,every bidder shall have an entire leaf 
numbered in the book of sale1  on the   
top of which will be entered his name   
and place of abode1 the sum  paid by    
him1 the time when1 and for what        
picture4    #b4 ,that on the day of     
sale1 a clock1 striking every five      
minutes1 shall  be placed in the room2  
and when it has struck five minutes     
after twelve1  the first picture        
mentioned in the sale book shall be     
deemed as sold2  the second picture when

 the clock has struck the next five     
minutes after  twelve2 and so on in     
succession1 till the whole nineteen     
pictures are  sold4    #c4 ,that none   
advance anything short of gold at each  
bidding4    #d4 ,no person to bid on the
 last day1 except those whose names were
  before entered on the book4 ,as ,mr4  
,hogarth's room is but small1 he begs   
the favor that no person1 except those  
whose names are entered on the  book1   
will come to view his paintings on the  
last day of sale40    ,this plan was    
new1 startling1 and unproductive4 ,it   
was probably planned  to prevent        
biddings by proxy1 and so secure to the 
artist the price  which men of wealth   
and rank might be induced to offer      
publicly for  works of genius4 8,a      
method so novel10 observes ,ireland1    
8probably  disgusted the town2 they     
might not exactly understand this       
tedious  formula of entering their names
 and places of abode in a book open to  
indiscriminate inspection2 they might   

wish to humble an artist who1 by  his   
proposals1 seemed to consider that he   
did the world a favor in  suffering them
 to bid for his works2 or the rage for  
paintings might be  confined to the     
admirers of the old masters40 ,be that  
as it may1 he  received only four       
hundred and twenty-seven pounds seven   
shillings for  his nineteen pictures--a 
price by no means equal to their merit4 
,the prints of the ,harlot's ,progress  
had sold much better than those of  the 
,rake's2 yet the paintings of the former
 produced only fourteen  guineas each1  
while those of the latter were sold for 
twenty-two4 ,that  admirable picture1   
,morning1 brought twenty guineas2 and   
,night1 in every  respect inferior to   
almost any of his works1 six and twenty4
 ,such was  the reward1 then1 to which  
these patrons of genius thought his     
works  entitled4 ,more has since been   
given1 over and over again1 for a single
  painting1 than ,hogarth obtained for  
all his paintings put together4         

,,hogarth',s ,,last ,,work4      ,a     
short time before ,hogarth was seized   
with the malady which deprived  society 
of one of its brightest ornaments1 he   
proposed to his matchless  pencil the   
work he has entitled the ,tail ,piece4  
,the first idea of this  picture is said
 to have been started in company1 while 
the convivial  glass was circulating    
round his own table4 8,my next          
undertaking10 said  ,hogarth1 8shall be 
the end of all things40 8,if that is the
 case10  replied one of his friends1    
8your business will be finished1 or     
there  will be an end to the painter40  
8,the fact will be so10 answered        
,hogarth1  sighing heavily1 8and        
therefore the sooner my work is done1   
the better40  ,accordingly he began the 
next day1 and continued his design with 
a  diligence that seemed to indicate an 
apprehension that he should not  live to
 complete it4 ,this however he did1 and 
in the most ingenious  manner1 by       
grouping everything that could denote   

the end of all things3  a broken bottle2
 an old broom worn to the stump2 the    
butt-end of an old  musket2 a cracked   
bell2 a bow unstrung2 a crown tumbled to
 pieces2  towers in ruins2 the sign-post
 of a tavern called the ,world's ,end   
falling down2 the moon in her wane2 the 
map of the globe burning2 a  gibbet     
falling1 the body gone1 and the chains  
which held it dropping  down2 ,phbus and
 his horses lying dead in the clouds2 a 
vessel wrecked2  ,time1 with his        
hour-glass and scythe broken2 a         
tobacco-pipe1 with the  last whiff of   
smoke going out2 a play-book opened1    
with exeunt omnes  stamped in the       
corner2 an empty purse2 and a statute of
 bankruptcy taken  out against ,nature4 
8,so far so good10 said ,hogarth1 on    
reviewing his  performance2 8nothing    
remains but this20 taking his pencil1   
and  sketching the resemblance of a     
painter's palette broken4 8,finis60 he  
then exclaimed1 8the deed is done2 all  
is over40 ,it is a very remarkable      

fact1 and not generally known1 that     
,hogarth never again took the palette   
in his hand1 and that he died in about a
 month after he had finished  this ,tail
 ,piece4          ,,jacques ,,louis     
,,david4      ,this great painter was   
born at ,paris in #agej4 ,his countrymen
 have  conferred upon him the           
distinguished title of ,the ,head and   
,restorer of  the ,french ,school1 which
 he brought back from its previous gaudy
 and  affected style1 to the study of   
nature and the antique4 ,his reputation 
was established as the first painter in 
,france when the ,french  ,revolution   
broke out1 and filled with an ardent    
love of liberty1 he lent  all his powers
 in overturning the government1 and     
establishing the  ,republic4 ,for this  
purpose1 in #aghi1 he executed his      
,brutus condemning  his sons to death4  
,he also executed the designs for the   
numerous  republican monuments and      
festivals of the time4 ,he was chosen a 
deputy  to the ,national ,convention1   

and voted for the king's death4 ,during 
the  ,reign of ,terror1 he was one of   
the most zealous ,jacobins1 wholly      
devoted  to ,robespierre2 and on the    
fall of that monster1 he was thrown into
  prison1 and his great reputation as a 
painter alone saved him from the        
guillotine4 ,at length1 disgusted with  
the excesses and revolting scenes       
transpiring on all sides1 and seeing no 
hopes of the ,republic being            
established on a permanent basis1 he    
retired to private life1 and  devoted   
himself exclusively to his pencil4 ,when
 ,napoleon came into  power1 perceiving 
the advantage of employing such a       
painter as ,david to  immortalize his   
glorious victories on canvass1 he       
appointed him his  chief painter1 showed
 him every mark of his favor1 and       
endeavored to  engage him to paint the  
successes of the ,french armies4 ,but   
these  subjects were not congenial to   
his taste1 which ran to the antique4 8,i
  wish10 said he1 8that my works may    

have so completely an antique           
character1 that if it were possible for 
an ,athenian to return to life1  they   
might appear to him to be the           
productions of a ,greek painter40 ,he   
however painted several portraits of the
 ,emperor and the members of the        
,imperial family1 and other subjects1   
the chief of which were1 ,napoleon  as  
,first ,consul crossing the ,alps1 and  
pointing out to his troops the  path to 
glory1 and the ,coronation of ,napoleon4
    ,on the restoration of the          
,bourbons1 ,david was included in the   
decree  which banished all the regicides
 forever from ,france1 when he retired  
to  ,brussels1 where he continued to    
practice his profession till his death  
in #ahbe4          ,,david',s ,,picture 
,,of ,,the ,,coronation ,,of ,,napoleon4
      ,the largest picture ever known to
 have been executed1 prior to this      
production1 is the celebrated ,marriage 
at ,cana by ,paul ,veronese1 now at  the
 ,louvre2 being thirty-three feet long1 

and eighteen high3 whereas the  present 
composition1 containing two hundred and 
ten personages1 eighty  of whom are     
whole lengths1 is thirty-three feet     
long1 and twenty-one  high4 ,this       
performance occupied four years in its  
completion1 during  which many          
impediments were thrown in the way of   
the artist's labor1 by  the clergy on   
the one hand1 and the orders of the     
,emperor on the other4  ,cardinal       
,caprara1 for instance1 who is          
represented bareheaded1 producing  one  
of the finest heads in the picture1 was 
very desirous of being  painted with the
 decoration of his wig2 ,napoleon had   
also ordered the  ,turkish ambassador to
 be exhibited in company with the other 
envoys2 but  he objected1 because the   
law of the ,koran forbids to ,mahometans
 the  entrance into a ,christian church4
 ,his consent1 however1 was at length   
obtained1 and these scruples removed1   
under the consideration that1 in  the   
character of an ambassador1 he belonged 

to no religious sect4    ,during the    
execution of this colossal picture1 ,m4 
,david was incessantly  interrupted by  
applications from artists to witness the
 progress of his  work2 amongst whom was
 ,camucini1 prince of the ,roman school1
 and the  late famous statuary ,canova1 
who daily presented themselves at the   
artist's painting gallery4 ,at the last 
visit made by ,camucini1 he found       
,david surrounded by many of his pupils1
 and on taking leave of the  painter1 he
 bowed to him in the most respectful    
manner1 using the  following expressive 
words on the occasion3        8,adio il 
piu bravo pittore di scholari ben       
bravi40    ,on ,canova's return to      
,italy1 in order to fulfil what he      
conceived to be  a duty in regard to    
this artist1 he proposed to the ,academy
 of ,saint  ,luke1 that he should be    
received as an honorary member2 when the
  academicians set aside their usual    
forms1 and in honor of ,m4 ,david1      
unanimously elected him one of their    

body1 ,canova being chosen to  announce 
this pleasing intelligence to their new 
associate4    ,the picture was completed
 in #ahjg1 and prior to its public      
exposition  ,napoleon appointed a day to
 inspect it in person1 which was the    
fourth  of ,january1 #ahjh2 upon which  
occasion1 in order to confer a greater  
honor upon the artist1 he went in state1
 attended by a detachment of  horse and 
a military band1 accompanied by the     
,empress ,josephine1 the  princes and   
princesses of his family1 and followed  
by his ministers and  the great officers
 of the crown4    ,several criticisms   
had been previously passed upon the     
composition1  which had gained the      
,emperor's ear1 and in particular1 that 
it was not  the coronation of ,napoleon1
 but of his consort2 the moment selected
 by  the painter1 however1 was highly   
approved by his master1 who1 after an   
attentive examination of the work1      
expressed himself in these words4       
8,m4 ,david1 this is well2 very well    

indeed2 you have conceived my whole     
idea2 the ,empress1 my mother1 the      
,emperor1 all1 are most appropriately   
placed1 you have made me a ,french      
knight1 and ,i am gratified that you    
have thus transmitted to future ages the
 proofs of affection ,i was  desirous of
 testifying towards the ,empress40      
,after a silence of some  seconds1      
,napoleon's hat being on1 and ,josephine
 standing at his right  hand1 with ,m4  
,david on his left1 the ,emperor        
advanced two steps1 and  turning to the 
painter1 uncovered himself1 making a    
profound obeisance  while uttering these
 words in an elevated tone of voice1    
8,monsieur  ,david1 ,i salute you60     
8,sire10 replied the painter1 8,i       
receive the compliment of the ,emperor1 
in the name of all the artists of the   
empire1 happy in being the  individual  
one1 you deign to make the channel of   
such an honor40    ,in the month of     
,october1 #ahjh1 when this performance  
was removed to the  museum1 the ,emperor

 wished to inspect it a second time2 and
 ,m4 ,david in  consequence attended in 
the hall of the ,louvre1 surrounded by  
his  pupils2 upon which occasion1 at the
 ,emperor's desire1 having pointed out  
the most conspicuous leves1 who received
 the decorations of the  ,legion of     
,honor3 8,it is requisite10 said        
,napoleon1 8that ,i should  testify my  
satisfaction to the master of so many   
distinguished artists2  therefore1 ,i   
promote you to be an officer of the     
,legion of ,honor3 ,m4  ,duroc1 give a  
golden decoration to ,m4 ,david60       
8,sire1 ,i have none with  me10 answered
 the grand marshal4 8,no matter10       
replied the ,emperor1 8do  not let this 
day transpire without executing my      
order40 ,duroc1 although  no friend to  
the painter1 was obliged to obey1 and on
 the same evening  the insignia were    
forwarded to ,m4 ,david4    ,the ,king  
of ,wurtemberg1 at the suggestion of the
 ,emperor1 also waited  upon the artist 
to inspect his labor1 who1 on           

contemplating the  performance1 and in  
particular1 the luminous brightness     
spread over the  group in which are the 
pope and ,cardinal ,caprara1 his majesty
 thus  expressed himself3 8,i did not   
believe that your art could effect such 
wonders2 white and black in painting    
afford but very weak resources4  ,when  
you produced this you had1 no doubt1 a  
sunbeam upon your pencil40    ,this     
compliment1 which displayed great       
knowledge of the art1 surprised  the    
painter1 who1 after offering his thanks1
 added3 8,sire1 your  conception1 and   
the mode in which you express it1       
bespeak either the  practical artist or 
the well informed amateur4 ,your majesty
 has  doubtless learned to              
paint40--8,yes10 said the king1 8,i     
sometimes occupy  myself with the art1  
and all my brothers possess a similar   
taste2 that  one in particular1 who     
frequently visits you1 has acquired some
  celebrity2 for his performances are   
not like the generality of royal        

paintings1 they are worthy of the       
artist4 ,m4 ,david0 added the monarch1  
8,i dare not hope to obtain a copy of   
this picture2 but you may indemnify  me 
by placing my name at the head of the   
subscribers to the engraving1  pray do  
not forget me40    ,the personages      
represented in this picture are as      
follow3 the ,emperor2  the ,empress     
,josephine2 the ,pope2 ,cambaceres1     
,duke of ,parma1  arch-chancellor2 the  
,duke of ,plaisance1 arch-treasurer2    
,mareschal  ,berthier1 ,prince of       
,wagram2 ,m4 ,talleyrand1 ,prince of    
,benevento1 grand  chamberlain to the   
emperor2 ,prince ,eugene ,beauharnais1  
viceroy of the  kingdom of ,lombardy2   
,caulaincourt1 ,duke of ,vicenza1 grand 
cuyer2  ,mareschal ,bernadotte1 ,prince 
of ,ponte ,corvo1 and afterwards ,king  
of  ,sweden2 ,cardinal ,pacca1          
councillor of the pope2 ,cardinal       
,fesch1 the  uncle of ,napoleon2        
,cardinal ,caprara1 then the ,pope's    
legate at the court  of ,france2 the    

,count ,d',harville1 senator and        
governor of the palace of  the          
,tuileries2 ,esteve1 grand treasurer of 
the crown2 ,mareschal ,prince  ,murat1  
afterwards ,king of ,naples2 ,mareschal 
,serrurier1 governor of the  royal      
,hotel of ,invalids2 ,mareschal ,moncey1
 ,duke of ,cornegliane1                 
inspector-general of the gendarmerie2   
,mareschal ,bessierre1 ,duke of         
,treviso1 general of the imperial guard2
 ,compte ,segur1 grand master of  the   
,ceremonies2 the beautiful and heroic   
,madame ,lavalette1 and the  ,countess  
of ,la ,rochefoucault1 ladies of honor  
to the empress2 ,cardinal  du ,belloy1  
archbishop of ,paris2 ,maria ,annunciade
 ,carolina1 wife of  ,murat2 ,maria     
,paulina1 wife of ,prince ,borghese1    
,duke of ,guastalla2 and  ,maria ,anna  
,elisa1 ,duchess of ,tuscany1 and       
,princess of ,lucca and  ,piombino2--the
 three sisters of ,napoleon2 ,hortense  
,eugenia ,beauharnais1  daughter of     
,josephine1 and wife of ,louis          

,napoleon1 ,king of ,holland1  together 
with her son ,louis ,napoleon2 ,maria   
,julia ,clary1 wife of ,joseph          
,napoleon2 ,junot1 ,duke of ,abrantes1  
colonel-general of hussars2 ,louis      
,napoleon1 grand constable2 ,joseph     
,napoleon1 grand electeur1 ,king of     
,spain1 afterwards a citizen of the     
,united ,states2 ,mareschal ,le ,febvre1
  ,duke of ,dantzic2 ,mareschal         
,perignon1 governor of ,naples2 ,counts 
de ,very1  de ,longis1 ,d',arjuzen1     
,nansouty1 ,forbin1 ,beausset1 and      
,detemaud1 all  filling distinguished   
posts2 ,duroc1 ,duke of ,frioul1 grand  
mareschal of  the palace2 ,counts de    
,jaucourt1 ,brigade1 de ,boudy1 and de  
,laville2 the  ,baron ,beaumont2 the    
,duke of ,coss ,brissac2 ,madame1 mother
 of the  emperor2 ,count ,beaumont2     
,countess ,fontanges2 ,madame la        
,mareschal ,soult2  the ,duke of        
,gravina1 ambassador from ,spain2 ,count
 ,marescalchi1 minister  of the kingdom 
of ,lombardy2 ,count ,cobenzel1         

,austrian ambassador2 the  ,turkish     
envoy2 ,mr4 ,armstrong1 ambassador from 
the ,united ,states2 the  ,marquis of   
,luchesini1 ,prussian envoy2 ,m4 and    
,madame ,david2 and the  senator ,vien1 
master of the artist2 of whom the       
emperor said1 when  viewing the picture1
 8,i perceive the likeness of the good  
,m4 ,vien40  ,whereto the painter       
replied1 8,i was desirous to testify my 
gratitude to  my master1 by placing him 
in a picture1 which from its subject    
will be  the most important of my       
labors40 ,there were1 besides1 the poet 
,lebrun2  ,gretry the musician2 ,monges1
 member of the ,institute2 ,count       
,d',aubusson  de la ,feuillade2         
chamberlain1 etc41 etc4    ,the         
,bourbons1 upon their restoration1      
unmindful of the arts1 and  actuated by 
a mean spirit of vengeance1 ordered this
 chef d'uvre of  ,david to be destroyed1
 which was accordingly done66 ,when     
,napoleon  returned to ,paris1 the      
existing government1 conceiving it      

important that  the picture should be   
replaced1 requested ,david to repaint   
his former  picture1 which he felt great
 repugnance to do1 regarding it as not  
within the province of real genius to   
repaint former productions4 ,he  was1   
however1 prevailed upon to acquiesce1   
and the government agreed to  pay the   
same price that he had received for the 
original1 #ajj1jjj  francs4 ,upon       
,napoleon's second abdication1 the      
,emperor ,alexander1 aware  of the      
history of the performance1 made        
overtures to become possessed of  it1   
after ,david had completed it at        
,brussels2 but1 though his offers  were 
munificent1 the painter refused to part 
with it1 and left it to his  son1 who   
subsequently exhibited it in ,london4   
,,david ,,and ,,the ,,duke ,,of         
,,wellington4      ,during ,david's     
exile at ,brussels1 the ,duke of        
,wellington called on him1  and said1   
8,monsieur ,david1 ,i have called to    
have my portrait taken by  the          

illustrious painter of ,leonidas at     
,thermopyl40 ,david1 eyeing  fiercely   
the man who had humbled his country1 and
 dethroned her ,emperor1  replied1      
8,sir1 ,i cannot paint the ,english40   
,,david ,,and ,,the ,,cardinal          
,,caprara4      ,david introduced the   
,cardinal ,caprara1 as the ,pope's      
legate1 into the  picture of the        
,coronation of ,napoleon1 without his   
wig4 ,the likeness was  exact1 and the  
,cardinal remonstrated with ,david on   
the omission1  desiring him to supply   
it4 ,the painter replied that he never  
had1 and  never would paint a wig4 ,the 
,cardinal then applied to the ,minister 
of  ,foreign ,affairs1 and represented  
that as no pope had hitherto worn a     
wig1 it might seem as if he 7,caprara7  
had purposely left his own off1 to  show
 his pretensions to the tiara4 ,david   
however stood firm as a rock1  even     
before ,talleyrand1 and said1 8his      
,eminence may think himself lucky  that 
nothing but his wig has been taken off40

          ,,david ,,at ,,brussels4      
,david1 then advanced in years1 severely
 felt his exile at ,brussels4 ,he  lived
 very retired1 saw little company1 and  
seldom went abroad4 ,it is  related that
 ,talma1 during a professional          
engagement at ,brussels1 got up  the    
tragedy of ,leonidas1 expressly to      
gratify his old friend1 and  invited him
 to the theatre to see the performance4 
,david consented to  go1 but told ,talma
 he must pardon him if he should happen 
to nod4 ,as  soon as ,david was         
recognized in the theatre1 the whole    
house rose en  masse1 and gave three    
hearty cheers for the illustrious exile1
 which so  affected him that he burst   
into tears4 ,when the performance       
commenced1  so far from giving way to   
sleep1 he became completely absorbed in 
the  interest of the play1 and when the 
curtain dropped1 he exclaimed1          
8,heavens6 how glorious it is to possess
 such a talent40          ,,pierre      
,,mignard4      ,there have been found  

occasionally some artists1 who could so 
perfectly  imitate the spirit1 the      
taste1 the character1 and the           
peculiarities of  great masters1 that   
they have not unfrequently deceived the 
most  skillful connoisseurs4    ,an     
anecdote of ,pierre ,mignard is         
singular4 ,this great artist painted a  
,magdalen on a canvass fabricated at    
,rome4 ,a broker in concert with him1   
went to the ,chevalier de ,clairville1  
and told him as a secret1 that he  was  
to receive from ,italy a ,magdalen of   
,guido1 and one of his  masterpieces4   
,the ,chevalier caught the bait1 begged 
the preference1 and  purchased the      
picture at a very high price4 ,some time
 afterwards1 he was  informed that he   
had been imposed upon1 for that the     
,magdalen was  painted by ,mignard4     
,although ,mignard himself caused the   
alarm to be  given1 the amateur would   
not believe it2 all the connoisseurs    
agreed it  was a ,guido1 and the famous 
,le ,brun corroborated this opinion4    

,the  ,chevalier came to ,mignard2      
8,there are10 said he1 8some persons who
  assure me that my ,magdalen is your   
work40 8,mine60 replied ,mignard2 8they 
do me great honor4 ,i am sure that ,le  
,brun is not of that opinion40 8,le     
,brun swears it can be no other than a  
,guido10 said the ,chevalier2 8you      
shall dine with me1 and meet several of 
the first connoisseurs40 ,on the  day of
 meeting1 the picture was more closely  
inspected than ever4  ,mignard hinted   
his doubts whether the piece was the    
work by ,guido2 he  insinuated that it  
was possible to be deceived1 and added  
that1 if it  was ,guido's1 he did not   
think it in his best manner4 8,i am     
perfectly  convinced that it is a       
,guido1 sir1 and in his very best       
manner10 replied  ,le ,brun1 with       
warmth2 and all the critics unanimously 
agreed with him4  ,mignard then said1 in
 a firm tone of voice1 8,and ,i1        
gentlemen1 will  wager three hundred    
louis that it is not a ,guido40 ,the    

dispute now  became violent--,le ,brun  
was desirous of accepting the wager4 ,in
 a word1  the affair became such as     
could add nothing more to the glory of  
,mignard4 8,no1 sir10 replied the       
latter2 8,i am too honest to bet1 when  
,i  am certain to win4 ,monsieur le     
,chevalier1 this piece cost you two     
thousand crowns2 the money must be      
returned--the painting is by my  hand40 
,le ,brun would not believe it4 8,the   
proof10 continued ,mignard1 8is  easy2  
on this canvass1 which is a ,roman one1 
was the portrait of a  ,cardinal2 ,i    
will show you his cap40    ,the         
,chevalier did not know which of the    
rival artists to believe2 the           
proposition alarmed him4 8,he who       
painted the picture shall mend it10     
said ,mignard2 and taking a pencil      
dipped in spirits1 and rubbing the  hair
 of the ,magdalen1 he soon discovered   
the cap of the ,cardinal4 ,the  honor of
 the ingenious painter could no longer  
be disputed4          ,,sir ,,joshua    

,,reynolds4      ,this eminent painter  
was born at ,plympton1 in ,devonshire1  
in #agbc4 ,he  was the son of the ,rev4 
,samuel ,reynolds1 who intended him for 
the  medical profession2 but his natural
 taste and genius for painting1  induced
 his father to send him to ,london to   
study painting under ,hudson1  when he  
was seventeen years of age4 ,in #agdi1  
he accompanied ,captain1  afterwards    
,lord ,keppel to the ,mediterranean1 and
 passed about three  years in ,italy4   
,on his return to ,england1 he          
established himself in  ,london1 where  
he soon acquired a distinguished        
reputation1 and rose to  be esteemed the
 head of the ,english school of         
painting4 ,at the formation  of the     
,royal ,academy in #agfh1 he was elected
 president1 and received the  honor of  
knighthood4 ,in #agha he visited        
,holland and the ,netherlands to        
examine the productions of the ,dutch   
and ,flemish masters1 by which he is    
said to have improved his coloring4 ,in 

#aghd1 on the death of ,ramsay1 he  was 
appointed principal painter to the      
,king4 ,he died in #agib1 and his       
remains were deposited in the crypt of  
,st4 ,paul's cathedral1 near the  tomb  
of ,sir ,christopher ,wren4 ,he formed a
 splendid collection of works  of art1  
which1 after his death1 brought at      
public sale about #ag1jjj2  and the     
whole of his property amounted to about 
#hj1jjj1 the bulk of  which he left to  
his niece1 who married ,lord ,inchiquin1
 afterwards  ,marquis of ,thomond4 ,he  
never married1 but his sister ,frances  
,reynolds  conducted his domestic       
affairs4 ,he was fond of the society of 
literary  men1 kept open house1 and     
seldom dined without his table being    
graced by  the presence of some of the  
chosen spirits of the land4 ,he was     
simple  and unostentatious in his       
habits1 and affable in his deportment2  
and  while his table was abundantly     
supplied1 there was an absence of all   
ceremony1 and each guest was made to    

feel himself perfectly at home1  which  
gave a delightful zest to his           
hospitality4          ,,reynolds' ,,new 
,,style4      ,soon after ,reynolds'    
return to ,england from ,italy1 in      
#ageb1 he commenced  his professional   
career in ,st4 ,martin's ,lane1 ,london4
 ,he found such  opposition as genius is
 commonly doomed to encounter1 and does 
not  always overcome4 ,the boldness of  
his attempts1 and the brilliancy of his 
coloring1 were considered innovations   
upon the established and orthodox       
system of portrait manufacture1 in the  
styles of ,lely and ,kneller4 ,the  old 
artists first raised their voices4 ,his 
old master ,hudson called at  his rooms 
to see his ,turkish ,boy1 which had     
caused quite a sensation in  the town4  
,after contemplating the picture some   
minutes1 he said with a  national       
oath1--8,why1 ,reynolds1 you do not     
paint as well as you did when  you left 
,england40 ,ellis1 an eminent portrait  
maker1 who had studied  under ,kneller1 

next lifted up his voice4 8,ah1         
,reynolds10 said he1 8this  will never  
answer1 you do not paint in the least   
like ,sir ,godfrey40 ,when  the young   
artist vindicated himself with much     
ability1 ,ellis1 finding  himself unable
 to give any good reasons for the       
objections he had made1  cried out in a 
rage1 8,shakspeare in poetry1 and       
,kneller in painting for  me10 and      
stalked out of the room4 ,reynolds' new 
style1 notwithstanding  the vigorous    
opposition he met with1 took with the   
fashionable world1  his fame spread far 
and wide1 and he soon became the leading
 painter in  ,london4 ,in #aged1 he     
removed from ,st4 ,martin's ,lane1 the  
,grub-street of  artists1 and took a    
handsome house on the north side of     
,great  ,newport-,street1 which he      
furnished with elegance and taste4      
,northcote  says his apartments were    
filled with ladies of quality and with  
men of  rank1 all alike desirous to have
 their persons preserved to posterity by

  one who touched no subject without    
adorning it4 8,the desire to  perpetuate
 the form of self-complacency1 crowded  
the sitting room of  ,reynolds with     
women who wished to be transmitted as   
angels1 and with men  who wished to     
appear as heroes and philosophers4 ,from
 his pencil they  were sure to be       
gratified4 ,the force and facility of   
his portraits1 not  only drew around him
 the opulence and beauty of the nation1 
but happily  gained him the merited     
honor of perpetuating the features of   
all the  eminent and distinguished men  
of learning then living40               
,,reynolds' ,,prices4      8,the price10
 says ,cunningham1 8which ,reynolds at  
first received for a  head was five     
guineas2 the rate increased with his    
fame1 and in the  year #agee his charge 
was twelve4 ,experience about this time 
dictated the  following memorandum      
respecting his art4 #8,for painting the 
flesh3--black1 blue-black1 white1 lake1 
carmine1 orpiment1 yellow-ochre1        

ultramarine1 and varnish4 ,to lay the   
palette3--first lay1 carmine and  white 
in different degrees2 second lay1       
orpiment and white ditto2 third  lay1   
blue-black and white ditto4 ,the first  
sitting1 for expedition1 make  a mixture
 as like the sitter's complexion as you 
can4' ,some years  afterwards ,i find1  
by a casual notice from ,johnson1 that  
,reynolds had  raised his price for a   
head to twenty guineas4    8,the year   
#ageh was perhaps the most lucrative of 
his professional  career4 ,the account  
of the economy of his studies1 and the  
distribution  of his time at this       
period1 is curious and instructive4 ,it 
was his  practice to keep all the prints
 engraved from his portraits1 together  
with his sketches1 in a large portfolio2
 these he submitted to his  sitters2 and
 whatever position they selected1 he    
immediately proceeded  to copy it on the
 canvass1 and paint the likeness to     
correspond4 ,he  received six sitters   
daily1 who appeared in their turns2 and 

he kept  regular lists of those who sat1
 and of those who were waiting until a  
finished portrait should open a vacancy 
for their admission4 ,he painted  them  
as they stood on his list1 and often    
sent the work home before the  colors   
were dry4 ,of lounging visitors he had a
 great abhorrence1 and1 as  he reckoned 
up the fruits of his labors1 #8,those   
idle people1' said this  disciple of the
 grand historical school of ,raphael and
 ,angelo1 #8those  idle people do not   
consider that my time is worth five     
guineas an hour4'  ,this calculation    
incidentally informs us1 that it was    
,reynolds'  practice1 in the height of  
his reputation and success1 to paint a  
portrait in four hours40                
,,reynolds ,,in ,,leicester ,,square4   
,reynolds' commissions continued to     
increase1 and to pour in so  abundantly1
 that in addition to his pupils1 he     
found it necessary to  employ several   
subordinate artists1 skillful in        
painting drapery and  backgrounds1 as   

assistants4 ,he also raised his price to
 twenty-five  guineas a head4    8,in   
the year #agfa10 says ,cunningham1 8the 
accumulating thousands which  ,johnson  
speaks of1 began to have a visible      
effect on ,reynolds'  establishment4 ,he
 quitted ,newport ,street1 purchased a  
fine house on the  west side of         
,leicester ,square1 furnished it with   
much taste1 added a  splendid gallery   
for the exhibition of his works1 and an 
elegant  dining-room2 and finally taxed 
his invention and his purse in the      
production of a carriage1 with wheels   
carved and gilt1 and bearing on  its    
pannels the ,four ,seasons of the year4 
,those who flocked to see his  new      
gallery1 were sometimes curious enough  
to desire a sight of this gay  carriage1
 and the coachman1 imitating the lackey 
who showed the gallery1  earned a little
 money by opening the coach-house doors4
 ,his sister  complained that it was too
 showy--#8,what6' said the painter1     
#8would you  have one like an           

apothecary's carriage8'    8,by what    
course of study he attained his skill in
 art1 ,reynolds has not  condescended to
 tell us2 but of many minor matters we  
are informed by  one of his pupils1 with
 all the scrupulosity of biography4 ,his
 study was  octagonal1 some twenty feet 
long1 sixteen broad1 and about fifteen  
feet  high4 ,the window was small and   
square1 and the sill nine feet from the 
floor4 ,his sitter's chair moved on     
castors1 and stood above the floor a    
foot and a half2 he held his palettes by
 a handle1 and the sticks of his        
brushes were eighteen inches long4 ,he  
wrought standing1 and with great        
celerity4 ,he rose early1 breakfasted at
 nine1 entered his study at ten1        
examined designs or touched unfinished  
portraits till eleven brought a  sitter2
 painted till four2 then dressed1 and   
gave the evening to  company4    8,his  
table was now elegantly furnished1 and  
round it men of genius were  often      
found4 ,he was a lover of poetry and    

poets2 they sometimes read  their       
productions at his house1 and were      
rewarded by his approbation1  and       
occasionally by their portraits4        
,johnson was a frequent and a  welcome  
guest3 though the sage was not seldom   
sarcastic and overbearing1  he was      
endured and caressed1 because he poured 
out the riches of his  conversation more
 lavishly than ,reynolds did his wines4 
,percy was there  too with his ancient  
ballads and his old ,english lore2 and  
,goldsmith  with his latent genius1     
infantine vivacity1 and plum-colored    
coat4 ,burke  and his brothers were     
constant guests1 and ,garrick was seldom
 absent1  for he loved to be where      
greater men were4 ,it was honorable to  
this  distinguished artist that he      
perceived the worth of such men1 and    
felt  the honor which their society shed
 upon him2 but it stopped not here--he  
often aided them with his purse1 nor    
insisted upon repayment40          ,,the
 ,,founding ,,of ,,the ,,royal          

,,academy4      8,the ,royal ,academy10 
says ,cunningham1 8was planned and      
proposed in #agfh  by ,chambers1 ,west1 
,cotes1 and ,moser2 the caution or      
timidity of ,reynolds  kept him for some
 time from assisting4 ,a list of thirty 
members was made  out2 and ,west1 a     
prudent and amiable man1 called on      
,reynolds1 and1 in a  conference of two 
hours' continuance1 succeeded in        
persuading him to  join them4 ,he       
ordered his carriage1 and1 accompanied  
by ,west1 entered  the room where his   
brother artists were assembled4 ,they   
rose up to a  man1 and saluted him      
#8,president4' ,he was affected by the  
compliment1 but  declined the honor till
 he had talked with ,johnson and ,burke2
 he went1  consulted his friends1 and   
having considered the consequences      
carefully1  then consented4 ,he         
expressed his belief at the same time   
that their  scheme was a mere delusion3 
the ,king1 he said1 would not patronize 
nor  even acknowledge them1 as his      

majesty was well known to be the friend 
of  another body--,the ,incorporated    
,society of ,artists40    ,the truth is1
 the ,royal ,academy was planned at the 
suggestion of the  ,king himself4 ,he   
had learned1 through ,west1 the causes  
of the indecent  bickerings in the      
,society of ,artists1 and declared to   
him that he was  ready to patronize any 
institution founded on principles       
calculated to  advance the interests of 
art4 ,west communicated the ,king's     
declaration  to some of the dissenters1 
who drew up a plan which the king       
corrected  with his own hand4 ,see      
,spooner's ,dictionary of ,painters1    
,engravers1  ,sculptors1 and            
,architects1 article ,west4             
,,reynolds ,,and ,,dr4 ,,johnson4       
,in the year #aged1 ,reynolds           
accidentally made the acquaintance of   
,dr4  ,samuel ,johnson1 which ripened   
into a mutual and warm friendship1 that 
continued through life4 ,of the fruit   
which he derived from this  intercourse1

 ,reynolds thus speaks1 in one of his   
,discourses on ,art3    8,whatever merit
 these ,discourses may have1 must be    
imputed in a great  measure to the      
education which ,i may be said to have  
had under ,dr4  ,johnson4 ,i do not mean
 to say1 though it certainly would be to
 the  credit of these ,discourses if ,i 
could say it with truth1 that he        
contributed even a single sentiment to  
them2 but he qualified my mind to  think
 justly4 ,no man had1 like him1 the art 
of teaching inferior minds  the art of  
thinking4 ,perhaps other men might have 
equal knowledge1 but  few were so       
communicative4 ,his great pleasure was  
to talk to those who  looked up to him4 
,it was here he exhibited his wonderful 
powers4 ,the  observations which he made
 on poetry1 on life1 and on everything  
about  us1 ,i applied to one art--with  
what success1 others must judge40       
,,dr4 ,,johnson',s ,,friendship ,,for   
,,reynolds4      ,in #agfd1 ,reynolds   
was attacked by a sudden and dangerous  

illness4 ,he was  cheered by the        
sympathy of many friends1 and by the    
solicitude of  ,johnson1 who thus wrote 
him from ,northamptonshire3    8,i did  
not hear of your sickness till ,i heard 
likewise of your recovery1  and         
therefore escaped that part of your pain
 which every man must feel  to whom you 
are known as you are known to me4 ,if   
the amusement of my  company can        
exhilarate the languor of a slow        
recovery1 ,i will not delay  a day to   
come to you2 for ,i know not how ,i can 
so effectually promote my  own pleasure 
as by pleasing you1 or my own interest  
as by preserving  you2 in whom1 if ,i   
should lose you1 ,i should lose almost  
the only man  whom ,i can call a        
friend40 ,he to whom ,johnson could thus
 write1 must  have possessed many noble 
qualities1 for no one could estimate    
human  nature more truly than that      
illustrious man4          ,,johnson',s  
,,apology ,,for ,,portrait ,,painting4  
,johnson showed his kindly feelings for 

,sir ,joshua ,reynolds1 by writing  the 
following apology for portrait painting4
 ,had the same friendship  induced him  
to compliment ,west1 he doubtless would 
have written in a  very different       
strain3    8,genius10 said he1 8is      
chiefly exerted in historical pictures1 
and the  art of the painter of portraits
 is often lost in the obscurity of the  
subject4 ,but it is in painting as in   
life2 what is greatest is not  always   
best4 ,i should grieve to see ,reynolds 
transfer to heroes and  goddesses1 to   
empty splendor and to airy fiction1 that
 art which is now  employed in diffusing
 friendship1 in renewing tenderness1 in 
quickening  the affections of the       
absent1 and continuing the presence of  
the dead4  ,every man is always present 
to himself1 and has1 therefore1 little  
need  of his own resemblance2 nor can   
desire it1 but for the sake of those    
whom he loves1 and by whom he hopes to  
be remembered4 ,this use of the  art is 
a natural and reasonable consequence of 

affection3 and though1  like all other  
human actions1 it is often complicated  
with pride1 yet  even such pride is more
 laudable than that by which palaces are
 covered  with pictures1 which however  
excellent1 neither imply the owner's    
virtue1 nor excite it40          ,,the  
,,literary ,,club4      ,the ,literary  
,club was founded by ,dr4 ,johnson in   
#agfd1 and among many men  of eminence  
and talent1 it numbered ,reynolds4 ,his 
modesty would not  permit him to assume 
to himself the distinction which        
literature  bestows1 but his friends    
knew too well the value of his presence1
 to  lose it by a fastidious observance 
of the title of the club4 ,poets1       
painters1 and sculptors are all         
brothers2 and had ,reynolds been less   
eminent in art1 his sound sense1 varied 
information1 and pleasing  manners would
 have made him an acceptable companion  
in the most  intellectual society4      
,,johnson',s ,,portrait4      ,in #agge1
 ,sir ,joshua ,reynolds painted his     

famous portrait of ,dr4 ,johnson1  in   
which he represented him as reading1 and
 near-sighted4 ,this latter             
circumstance was very displeasing to the
 8,giant of ,literature10 who  reproved 
,reynolds1 saying1 8,it is not friendly 
to hand down to posterity  the          
imperfections of any man40 ,but         
,reynolds1 on the contrary1 considered  
it a natural peculiarity which gave     
additional value to the portrait4       
,johnson complained of the caricature to
 ,mrs4 ,thrale1 who to console him1     
said that he would not be known to      
posterity by his defects only1 and  that
 ,reynolds had painted for her his own  
portrait1 with the  ear-trumpet4 ,he    
replied1 8,he may paint himself as deaf 
as he chooses1  but he shall not paint  
me as blinking ,sam40                   
,,johnson',s ,,death4      8,amidst the 
applause10 says ,cunningham1 8which     
these works obtained for  him1 the      
,president met with a loss which the    
world could not  repair--,samuel        

,johnson died on the #acth of ,december1
 #aghd1 full of years  and honors4 ,a   
long1 a warm1 and a beneficial          
friendship had subsisted  between them4 
,the house and the purse of ,reynolds   
were ever open to  ,johnson1 and the    
word and the pen of ,johnson were       
equally ready for  ,reynolds4 ,it was   
pleasing to contemplate this            
affectionate brotherhood1  and it was   
sorrowful to see it dissevered4 #8,i    
have three requests to  make1' said     
,johnson1 the day before his death1     
#8and ,i beg that you will  attend to   
them1 ,sir ,joshua4 ,forgive me thirty  
pounds1 which ,i borrowed  from         
you--read the ,scriptures--and abstain  
from using your pencil on the           
,sabbath-day4' ,reynolds promised1      
and--what is better--remembered his     
promise80          ,,reynolds ,,and     
,,goldsmith4      ,we hear much about   
8poetic inspiration10 and the 8poet's   
eye in a fine  frenzy rolling40         
,reynolds use to tell an anecdote of    

goldsmith  calculated to abate our      
notions about the ardor of composition4 
,calling upon the poet one day1 he      
opened the door without ceremony1 and   
found him engaged in the double         
occupation of tuning a couplet and      
teaching a pet dog to sit upon its      
haunches4 ,at one time he would glance  
at his desk1 and at another shake his   
finger at the dog to make him  retain   
his position4 ,the last lines on the    
page were still wet2 they  form a part  
of the description of ,italy3           
8,by sports like these are all their    
cares beguiled2       ,the sports of    
children satisfy the child40            
,goldsmith1 with his usual good humor1  
joined in the laugh caused by his       
whimsical employment1 and acknowledged  
that his boyish sport with the  dog     
suggested the stanza4          ,,the    
,,deserted ,,village4      ,when ,dr4   
,goldsmith published his ,deserted      
,village1 he dedicated it to  ,sir      
,joshua ,reynolds1 in the following kind

 and touching manner4 8,the  only       
dedication ,i ever made was to my       
brother1 because ,i loved him  better   
than most other men2 he is since dead4  
,permit me to inscribe this  poem to    
you40          ,,goldsmith',s           
8,,retaliation40      ,at a festive     
meeting1 where ,johnson1 ,reynolds1     
,burke1 ,garrick1 ,douglas1  and        
,goldsmith1 were conspicuous1 the idea  
of composing a set of  extempore        
epitaphs on one another was started4    
,garrick offended  ,goldsmith so much by
 two very indifferent lines of waggery1 
that the  latter avenged himself by     
composing the celebrated poem           
,retaliation1 in  which he exhibits the 
characters of his companions with great 
liveliness  and talent4 ,the lines have 
a melancholy interest1 from being the   
last  the author wrote4 ,the character  
of ,sir ,joshua ,reynolds is drawn with 
discrimination and judgment--a little   
flattered1 resembling his own           
portraits1 in which the features are a  

little softened1 and the  expression a  
little elevated4        8,here ,reynolds
 is laid1 and1 to tell you my mind1     
,he has not left a wiser or better      
behind2       ,his pencil was striking1 
resistless1 and grand2       ,his       
manners were gentle1 complying1 and     
bland2       ,still born to improve us  
in every part1       ,his pencil our    
faces1 his manners our heart40          
,,pope ,a ,,painter4      ,reynolds was 
a great admirer of ,pope4 ,a fan which  
the poet presented to  ,martha ,blount1 
and on which he had painted with his own
 hand the story  of ,cephalus and       
,procris1 with the motto 8,aura ,veni10 
was to be sold at  auction4 ,reynolds   
sent a messenger to bid for it as far as
 thirty  guineas1 but it was knocked    
down for two pounds4 8,see10 said the   
president to his pupils1 who gathered   
around him1 8the painting of            
,pope2--this must always be the case1   
when the work is taken up for  idleness1
 and is laid aside when it ceases to    

amuse2 it is like the  work of one who  
paints only for amusement4 ,those who   
are resolved to  excel1 must go to their
 work1 willing or unwilling1 morning1   
noon1 and  night2 they will find it to  
be no play1 but very hard labor40       
,,reynolds' ,,first ,,attempts ,,in     
,,art4      ,this excellent painter1 in 
his boyhood1 showed his natural taste   
for  painting1 by copying the various   
prints that fell in his way4 ,his       
father1 a clergyman1 thought this an    
idle passion1 which ought not to be     
encouraged2 he esteemed one of these    
youthful performances worthy of his     
endorsement1 and he wrote underneath it1
 8,done by ,joshua out of pure          
idleness40 ,the drawing is still        
preserved in the family4    ,dr4        
,johnson says that ,sir ,joshua         
,reynolds had his first fondness of the 
art excited by the perusal of           
,richardson's ,treatise on ,painting4   
,,the ,,force ,,of ,,habit4             
,portraits in the time of ,hudson1 the  

master of ,reynolds1 were usually       
painted in one attitude--one hand in the
 waistcoat1 and the hat under  the arm4 
,a gentleman whose portrait young       
,reynolds painted1 desired to  have his 
hat on his head4 ,the picture was       
quickly despatched and sent  home1 when 
it was discovered that it had two hats1 
one on the head1 and  another under the 
arm6          ,,paying ,,the ,,piper4   
8,what do you ask for this sketch80 said
 ,reynolds to a dealer in old  pictures 
and prints1 as he was looking over his  
portfolio4 ,the shrewd  tradesman1      
observing from his manner that he had   
found a gem1 quickly  replied1 8,twenty 
guineas1 your honor40 8,twenty pence1 ,i
 suppose you  mean40 8,no1 sir2 it is   
true ,i would have sold it for twenty   
pence this  morning2 but if you think it
 worth having1 all the world will think 
it  worth buying40 ,sir ,joshua gave him
 his price4 ,it was an exquisite        
drawing by ,rubens4          ,,reynolds'
 ,,modesty4      ,sir ,joshua ,reynolds1

 like many other distinguished artists1 
was never  satisfied with his works1 and
 endeavored to practice his maxim1 that 
8an  artist should endeavor to improve  
over his every performance40 ,when an   
eminent ,french painter was one day     
praising the excellence of one of his   
pictures1 he said1 8,ah6 ,monsieur1 ,je 
ne fais que des ebauches1 des           
ebauches40--,alas6 sir1 ,i can only make
 sketches1 sketches4                    
,,reynolds' ,,generosity4      ,sir     
,joshua ,reynolds has been charged by   
his enemies with avarice2 but  there are
 many instances recorded which show that
 he possessed a noble  and generous     
heart4    ,when ,gainsborough charged   
him but sixty guineas for his celebrated
  picture of the ,girl and ,pigs1       
,reynolds1 conscious that it was worth  
much  more1 gave him one hundred4       
,hearing that a worthy artist with a    
large  family was in distress1 and      
threatened with arrest1 he paid him a   
visit1  and learning that the extent of 

his debts was but forty pounds1 he shook
  him warmly by the hand as he took his 
leave1 and the artist was  astonished to
 find in his fingers a bank-note of one 
hundred pounds4  ,when ,dayes1 an artist
 of merit1 showed him his drawings of a 
,royal  pageant at ,st4 ,paul's1        
,reynolds complimented him1 and said    
that he had  bestowed so much labor upon
 them that he could not be remunerated  
by  selling them1 but told him that if  
he would publish them he would loan  him
 the necessary funds1 and engage to get 
him a handsome subscription  among the  
nobility4          ,,reynolds' ,,love   
,,of ,,his ,,art4      ,reynolds was an 
ardent lover of his profession1 and ever
 as ready to  defend it when assailed1  
as to add to its honors by his pencil4  
,when ,dr4  ,tucker1 the famous ,dean of
 ,gloucester1 in his discourse before   
the  ,society for the ,encouragement of 
,arts1 ,manufactures1 and ,commerce1    
asserted that 8a pin-maker was a more   
valuable member of society than         

,raffaelle10 ,reynolds was greatly      
nettled1 and said1 with some asperity1  
8,this is an observation of a very      
narrow mind2 a mind that is confined  to
 the mere object of commerce--that sees 
with a microscopic eye1 but a  part of  
the great machine of the economy of     
life1 and thinks that small  part which 
he sees to be the whole4 ,commerce is   
the means1 not the end  of happiness or 
pleasure2 the end is a rational         
enjoyment by means of  arts and         
sciences4 ,it is therefore the highest  
degree of folly to set  the means in a  
higher rank of esteem than the end4 ,it 
is as much as to  say that the          
brick-maker is superior to the          
architect40 ,he might have  added that  
the artisan is indebted to the artist   
for the design of every  beautiful      
fabric1 therefore the artist is a more  
8valuable member of  society0 than the  
manufacturer or the merchant4           
,,reynolds' ,,criticism ,,on ,,rubens4  
,when ,sir ,joshua ,reynolds made his   

first tour to ,flanders and ,holland1 he
  was struck with the brilliancy of     
coloring which appeared in the works  of
 ,rubens1 and on his return he said that
 his own works were deficient  in force1
 in comparison with what he had seen4   
8,on his return from his  second tour10 
says ,sir ,george ,beaumont1 8he        
observed to me that the  pictures of    
,rubens appeared much less brilliant    
than they had done on  the former       
inspection4 ,he could not for some time 
account for this  circumstance2 but when
 he recollected that when he first saw  
them he had  his note-book in his hand1 
for the purpose of writing down short   
remarks1 he perceived what had          
occasioned their now making a less      
impression than they had done formerly4 
,by the eye passing immediately  from   
the white paper to the picture1 the     
colors derived uncommon  richness and   
warmth2 but for want of this foil they  
afterwards appeared  comparatively      
cold40          ,,reynolds ,,and        

,,haydn',s ,,portrait4      ,when       
,haydn1 the eminent composer1 was in    
,england1 one of the princes            
commissioned ,reynolds to paint his     
portrait4 ,haydn sat twice1 but he  soon
 grew tired1 and ,reynolds finding he   
could make nothing out of his  8stupid  
countenance10 communicated the          
circumstance to his royal  highness1 who
 contrived the following stratagem to   
rouse him4 ,he sent to  the painter's   
house a beautiful ,german girl1 in the  
service of the  queen4 ,haydn took his  
seat1 for the third time1 and as soon as
 the  conversation began to flag1 a     
curtain rose1 and the fair ,german      
addressed him in his native language    
with a most elegant compliment4  ,haydn1
 delighted1 overwhelmed the enchantress 
with questions2 and  ,reynolds1 rapidly 
transferring to the canvass his features
 thus lit up1  produced an admirable    
likeness4          ,,rubens' ,,last     
,,supper4      ,sir ,joshua ,reynolds   
relates the following anecdote1 in his  

8,journey to  ,flanders and ,holland40  
,he stopped at ,mechlin to see the      
celebrated  altar-piece by ,rubens in   
the cathedral1 representing the ,last   
,supper4  ,after describing the picture1
 he proceeds3--    8,there is a         
circumstance belonging to the           
altar-piece1 which may be  worth        
relating1 as it shows ,rubens' manner of
 proceeding in large works4  ,the person
 who bespoke this picture1 a citizen of 
,mechlin1 desired1 to  avoid the danger 
of carriage1 that it might be painted at
 ,mechlin2 to  this the painter easily  
consented1 as it was very near his      
country-seat  at ,steen4 ,rubens1 having
 finished his sketch in colors1 gave it 
as usual  to one of his scholars1 7,van 
,egmont7 and sent him to ,mechlin to    
dead-color from it the great picture4   
,the gentleman1 seeing this  proceeding1
 complained that he bespoke a picture of
 the hand of the  master1 not of the    
scholar1 and stopped the pupil in his   
progress4  ,however1 ,rubens satisfied  

him that this was always his method of  
proceeding1 and that this piece would be
 as completely his work as if he  had   
done the whole from the beginning4 ,the 
citizen was satisfied1 and  ,rubens     
proceeded with the picture1 which       
appears to me to have no  indications of
 neglect in any part2 on the contrary1  
,i think it has  been one of his best   
pictures1 though those who know this    
circumstance  pretend to see ,van       
,egmont's inferior genius transpire     
through ,rubens'  touches40             
,,reynolds' ,,skill ,,in ,,compliments4 
,when he painted the portrait of ,mrs4  
,siddons as the ,tragic ,muse1 he       
wrought his name on the border of her   
robe4 ,the great actress1  conceiving it
 to be a piece of classic embroidery1   
went near to examine  it1 and seeing the
 words1 smiled4 ,the artist bowed1 and  
said1 8,i could  not lose this          
opportunity of sending my name to       
posterity on the hem of  your garment40 
,,excellent ,,advice4      ,sir ,joshua 

,reynolds1 in his letter to ,barry1     
observes1 8,whoever has  great views1 ,i
 would recommend to him1 whilst at      
,rome1 rather to live on  bread and     
water1 than lose advantages which he can
 never hope to enjoy a  second time1 and
 which he will find only in the         
,vatican40          ,,sir ,,joshua      
,,reynolds ,,and ,,his ,,portraits4     
,when ,sir ,joshua was elected mayor of 
,plympton1 his native town1 he  painted 
an admirable portrait of himself and    
presented it to the mayor  and          
corporation1 and it now hangs in the    
town-hall4 ,when he sent the  picture1  
he wrote to his friend ,sir ,wm4        
,elford1 requesting him to put it  in a 
good light1 which he did1 and to set it 
off he placed by its side1  what he     
considered to be a bad picture4 ,when   
,sir ,william communicated to  ,reynolds
 what he had done in order that the     
excellence of his picture  might have a 
more striking effect1 the latter wrote  
his worthy friend  that he was greatly  

obliged to him for his pains1 but that  
the portrait  he so much despised was   
painted by himself in early life4       
,,reynolds' ,,flag4      ,in the year   
#aggj1 a boy named ,buckingham1         
presuming upon his father's             
acquaintance with ,sir ,joshua          
,reynolds1 called on the president1 and 
asked him if he would have the kindness 
to paint him a flag to carry in  the    
procession of the next breaking up of   
the school4 ,reynolds1 whose  every hour
 was worth guineas1 smiled1 and told the
 lad to call again at  a certain time1  
and he would see what could be done for 
him4 ,the boy  accordingly called at the
 set time1 and was presented with an    
elegant  flag a yard square1 decorated  
with the ,king's coat of arms4 ,the flag
 was  triumphantly carried in           
procession1 an honor as well as a       
delight to the  boys1 and a still       
greater honor to him who painted it1 and
 gave his  valuable time to promote     
their holiday amusements4               

,,burke',s ,,eulogy4      ,burke1 in his
 eulogy on ,reynolds1 says1 8,in full   
affluence of foreign  and domestic fame1
 admired by the expert in art and by the
 learned in  science1 courted by the    
great1 caressed by sovereign powers1 and
  celebrated by distinguished poets1 his
 native humility1 modesty1 and  candor  
never forsook him1 even on surprise or  
provocation3 nor was the  least degree  
of arrogance or assumption visible to   
the most scrutinizing  eye in any part  
of his conduct or discourse40           
,,reynolds' ,,estimate ,,and ,,use ,,of 
,,old ,,paintings4      ,he was fond of 
seeking into the secrets of the old     
painters2 and  dissected some of their  
performances1 to ascertain their mode of
  laying on color and finishing with    
effect4 ,titian he conceived to be the  
great master spirit in portraiture2 and 
no enthusiastic ever sought more        
incessantly for the secret of the       
philosopher's stone than did ,reynolds  
to possess himself of the whole theory  

and practice of the ,venetian4 8,to     
possess10 said he1 8a real fine picture 
by that great master--,i would  sell all
 my gallery--,i would willingly ruin    
myself40 ,the capital old  paintings of 
the ,venetian school destroyed by ,sir  
,joshua's dissections  were not few2 and
 his experiments of this kind can only  
properly be  likened to that of the boy 
who cut open the bellows to get at the  
wind6  ,he was ignorant of chemistry1 so
 much so that he sometimes employed     
mineral colors that reacted in a short  
time2 and also vegetable colors2  and he
 mixed with these various vehicles1 as  
megilips and different  kinds of        
varnishes or glazes1 so that he had the 
misfortune of seeing  some of his finest
 works change and lose all their        
harmony1 or become  cracked with        
unsightly seams4 ,he kept his system of 
coloring a profound  secret4 ,he lived  
to regret these experiments1 and would  
never permit his  pupils to practice    
them4 ,his method has been largely      

imitated1 not only  in ,england1 but in 
the ,united ,states1 greatly to the     
injury of many  fine works and the      
reputation of the artist4 ,the only true
 method for  excellence and permanence  
in coloring1 is that employed by the    
great  ,italian masters1 viz3 to use    
well prepared and seasoned canvass2 then
 to  lay on a good heavy body-color2 to 
employ only the best mineral colors1    
which will not chemically react1 giving 
the colors time to harden after  laying 
on each successive coat2 and above all1 
to use no varnishes in  the process1 nor
 after the completion of the work1 till 
it is  sufficiently hardened by age4    
,,the ,,influence ,,of ,,the            
,,inquisition ,,upon ,,spanish          
,,painting4      ,a strong and          
enthusiastic feeling of a religious     
character has often  inspired the ,fine 
,arts3 we owe to such sentiments the    
finest and purest  productions of modern
 painting4 ,progress in art1 however1   
implies the  study of nature2 the study 

of nature and the exhibition of its     
results  have continually shocked the   
rigid asceticism of a severe morality--a
  morality which makes indecency depend 
on the simple fact of exposure1  not on 
the feeling in which the work is        
conceived4 ,scrupulous persons  often   
appear unconscious that in this1 as in  
other things1 it is easy to  observe the
 letter1 and to violate the spirit4 ,a  
picture or statue may  be perfectly     
decent1 so far as regards drapery1 and  
yet suggest thoughts  and ideas far more
 objectionable than those resulting from
 the  contemplation of figures wholly   
unclothed4 ,still1 it must be admitted  
that such a jealousy of the fine arts   
might reasonably exist in ,italy  at the
 end of the #aeth1 and the beginning of 
the #afth centuries1 in the  days of    
,alexander ,,vi41 ,julius ,,ii41 and    
,leo ,x42 when all the abominations  of 
heathenism prevailed at ,rome in        
practice1 and when ,christianity can    
hardly be said to have existed more than

 in theory4 ,it would have been         
strange1 amidst such universal          
depravity1 that ,art should escape      
unsullied by the general pollution4     
,still1 it was against the abuses  of   
art that the efforts of the ,catholic   
church under ,paul ,,iv4 were  directed2
 and while those efforts gave a somewhat
 different character to  the subjects   
and to their treatment in later schools1
 they cannot be  said to have acted on  
either ,painting or ,sculpture with any 
repressive  force4    ,but in ,spain the
 case was wholly different4 ,there was  
no transient  insurrection of a purer   
morality against the vicious            
extravagancies of a  particular period1 
but a constant and uniform pressure     
exerted without  intermission on all the
 means of developing and cultivating the
 human  mind1 or of imparting its       
sentiments to others4 ,painting and     
,sculpture  came in for their share of  
restriction1 and the nature of the      
discipline  to which they were subjected

 may be gathered from the work of       
,pacheco1  7,arte de la ,pintura7 who   
was appointed in #afah1 by a particular 
commission from the ,inquisition1 8to   
denounce the errors committed in        
pictures of sacred subjects through the 
ignorance or wickedness of  artists40   
,he was commissioned to 8take particular
 care to visit and  inspect the         
paintings of sacred subjects which may  
stand in the public  places of ,seville1
 and if anything objectionable appeared 
in them1 to  take them before the       
,inquisition40 ,his rules1 therefore1   
may properly be  received as a fair     
exponent of the strictures placed upon  
,art by the  ,inquisition4 ,in his work 
upon the ,art of ,painting1 ,pacheco    
censures the  nudity of the figures in  
,michael ,angelo's ,last ,judgment1 as  
well as  other things4 ,thus he says3   
8,as to placing the damned in the air1  
fighting as they are one with another1  
and pulling against the devils1  when it
 is matter of faith that they must want 

the free gifts of glory1  and cannot1   
therefore1 possess the requisite        
lightness or agility--the  impropriety  
of this mode of exhibiting them is      
self-evident4 ,with  regard1 again1 to  
the angels without wings and the saints 
without  clothes1 although the former do
 not possess the one and the latter will
  not have the other1 yet1 as angels    
without wings are unknown to us1 and    
our eyes do not allow us to see the     
saints without clothes1 as we shall     
hereafter--there can be no doubt1 that  
this again is improper4 ,it is          
moreover1 highly indecent and improper1 
having regard to their nature1  to paint
 angels with beards40    ,on the general
 question of how an artist is to acquire
 sufficient skill  in the figure1       
without exposing himself to risks which 
the ,inspector of  the ,inquisition is  
bound to deprecate1 ,pacheco is somewhat
 embarrassed4  8,i seem10 he says1 8to  
hear some one asking me1 #8,senor       
,painter1  scrupulous as you are1 whilst

 you place before us the ancient artists
  as examples1 who contemplated the     
figures of naked women in order to      
imitate them perfectly1 and whilst you  
charge us to paint as well1 what        
resource do you afford us8' ,i would    
answer1 #8,senor ,licentiate1 this is   
what ,i would do2 ,i would paint the    
faces and hands from nature1 with the   
requisite beauty and variety1 after     
women of good character2 in which1  in  
my opinion1 there is no danger4 ,with   
regard to the other parts1 ,i  would    
avail myself of good pictures1          
engravings1 drawings1 models1  ancient  
and modern statues1 and the excellent   
designs of ,albert ,durer1  so that ,i  
might choose what was most graceful and 
best composed without  running into     
danger4'0 ,so it appears that they might
 profit by the works  of other sinners1 
without incurring the same danger4      
,notwithstanding this advice1 as the    
,inquisition always persecuted  nudity1 
,spain was deficient in models from the 

antique2 wherefore  ,velasquez1 the head
 of the ,spanish school1 never designed 
an exquisite  figure2 and the collection
 of models and casts which he made in   
,italy1  late in life1 was allowed to go
 to destruction after his death6    ,in 
discussing the proper mode of painting  
the ,nativity of ,christ1  ,pacheco says
 he is always much affected at seeing   
the infant ,jesus  represented naked in 
the arms of his mother6 ,the impropriety
 of this1 he  urges1 is shown by the    
consideration that 8,st4 ,joseph had an 
office1  and it was not possible that   
poverty could have obliged him to forego
  those comforts for his child1 which   
scarcely the meanest beggars are        
without40 ,another fertile subject of   
dispute among the ,spanish artists  and 
theologians1 was the number of nails    
used in the ,crucifixion1 some  arguing 
for three1 and some for four1 and       
drawing their proofs on either  side    
from the vision of some saint6    ,the  
precepts as to the proper modes of      

painting the ,virgin1 are  innumerable4 
,the greatest caution against any       
approach to nudity is of  course        
requisite4 ,nay1 ,pacheco says1 8,what  
can be more foreign from the  respect   
which we owe to the purity of ,our ,lady
 the ,virgin1 than to paint  her sitting
 down1 with one of her knees placed over
 the other1 and often  with her sacred  
feet uncovered and naked80 ,we scarcely 
ever1 therefore1  see the feet of the   
,virgin in ,spanish pictures4 ,carducho 
speaks more  particularly on the        
impropriety of painting the ,virgin     
unshod1 since it  is manifest that she  
was in the habit of wearing shoes1 as is
 proved by  8the much venerated relic of
 one of them1 from her divine feet1 in  
the  ,cathedral of ,burgos60    ,a      
painter had a penance inflicted on him  
at ,cordova1 for painting the  ,virgin  
at the foot of the ,cross in a hooped   
petticoat1 pointed boddice1  and a      
saffron-colored head-dress2 ,st4 ,john  
had pantaloons1 and a doublet  with     

points4 ,this chastisement ,pacheco     
considers richly deserved4 ,don  ,luis  
,pasqual also erred greatly1 in his     
,marriage of the ,virgin1  representing 
her without any mantle1 in a ,venetian  
petticoat1 fitting  very close in the   
waist1 covered with knots of colored    
ribbon1 and with  wide round            
sleeves1--8a dress10 adds ,pacheco1 8in 
my opinion highly  unbecoming the       
gravity and dignity of our ,sovereign   
,lady40 ,nor were  there wanting awful  
examples of warning to painters1 as in  
the story  related by ,martin de ,roa1  
in his ,state of ,souls in ,purgatory4  
8,a  painter10 so runs the legend1 8had 
executed in youth1 at the request of  a 
gentleman1 an improper picture4 ,after  
the painter's death1 this  picture was  
laid to his charge1 and it was only by  
the intercession of  those ,saints whom 
he had at various times painted1 that he
 got off with  severe torments in       
,purgatory4 ,whilst there1 however1 he  
contrived to  appear to his confessor1  

and prevailed upon him to go to the     
gentleman  for whom this picture was    
painted1 and entreat him to burn it4    
,the  request was complied with1 and the
 painter then got out of ,purgatory60   
,the author cannot close this too       
lengthy article without citing the ,life
  of the ,virgin written by ,maria de   
,agreda1 whose absurd and blasphemous   
vagaries were 8swallowed whole0 by the  
,spanish nation--an unanswerable  proof 
and a fitting result of the blight      
inflicted by ,jesuitism and the         
,inquisition4 ,bayle says1 8the only    
wonder is1 that the ,sorbonne confined  
itself to saying that her proposition   
was false1 rash1 and contrary to  the   
doctrines of the ,gospel1 when she      
taught that ,god gave the ,virgin  all  
he could1 and that he could give her all
 his own attributes1 except  the essence
 of the ,godhead40 ,the condemnation of 
,maria de ,agreda's ,life  of the       
,virgin was not carried in the ,sorbonne
 without the greatest  opposition and   

tumult4 ,the book was censured at ,rome1
 notwithstanding  all the efforts of the
 ,spanish ambassador4 ,the ,spanish     
feeling1 with  reference to the ,virgin1
 and more particularly to the doctrine  
of the  ,immaculate ,conception1 went   
far beyond the rest of ,papal ,europe2  
it was  impossible for the ,pope and the
 ,french ,church to sanction at once the
  absurdities that ,spain was quite     
ready to adopt4 7,see ,sir ,edmund      
,head's  ,hand-,book of the ,history of 
the ,spanish and ,french ,schools of    
,painting47          ,a ,,melancholy    
,,picture ,,of ,,the ,,state ,,of ,,the 
,,fine ,,arts ,,in ,,spain4      ,a most
 interesting article on the present     
state of the fine arts in  ,spain1 may  
be found in the ,appendix to ,sir       
,edmund ,head's ,hand-,book of  the     
,history of the ,spanish and ,french    
schools of ,painting4 ,on the #acth  of 
,june1 #ahdd1 a ,royal ordinance was    
issued1 establishing a ,central         
,commission 8de ,monumentos ,historicos 

y ,artisticos del ,reino10 with local   
or provincial commissions1 to act in    
concert with the former body4 ,the      
chief object of the ,commission was1 to 
report upon the condition of  works of  
art1 antiquities1 libraries1 etc41      
contained in the numerous  convents and 
monasteries1 which had been suppressed1 
and what measures  had been adopted for 
their preservation4 ,the members of the 
,commission  were divided into three    
sections1 one for libraries and         
archives1  another for painting and     
sculpture1 and a third for architecture 
and  archology4    ,the first annual    
report of the ,central ,commission to   
the ,secretary of  ,state for the ,home 
,department is printed in pamphlet form1
 and embraces  the proceedings of the   
,commission from ,july #ast1 #ahdd1 to  
,july #ast1  #ahde4         8,nothing   
can be more melancholy than the picture 
of ,spain drawn by       this           
,commission4 ,they tell us that the most
 valuable contents of       the         

conventual libraries had been thrown    
away or mutilated1 and       that       
thousands of volumes had been sold as   
waste paper for three or       four     
reals the arroba1 and had been exported 
to enrich foreign       libraries4 ,a   
hope had been entertained of forming    
collections in       each province1 of  
pictures and other works of art2 the    
,commission       was soon undeceived as
 to the possibility of effecting this4  
,baron       ,taylor and a host of      
foreign dealers had in some provinces   
carried       off all they could lay    
their hands upon2 in others the         
,commissioners tell us1 #8,many of the  
most esteemed works of art1 the         
glory and ornament of the most sumptuous
 churches1 had perished in       their  
application to the vilest uses2 in      
others scarcely any record       was    
preserved of what had been in existence 
at the time of the       dissolution of 
the monasteries1 and no inventory or    
catalogue of       any kind had been    

made4' ,our only consolation perhaps is 
that these       books and works of art 
will be better appreciated in other     
countries1 and we may derive comfort    
from the views expressed by             
,madame ,hahn-,hahn4,a         8,it is  
clear that in such a state of things the
 plunder and       destruction of       
pictures must have been enormous4 ,in   
the summary of       the proceedings of 
the ,commission with reference to       
pictures1       which ,i shall proceed  
to give1 the reader will see that all   
sorts       of obstacles to any claim of
 the central government were raised by  
the local authorities2 such a course was
 sometimes no doubt the       result of 
genuine ,spanish obstinacy1 strong in   
local attachments1       and hating all 
interference2 but it too often probably 
originated       in the desire to       
conceal peculation and robbery on the   
part of the       alcalde1 or the parish
 priest1 or the sacristan1 or the porter
 of a       suppressed convent4 ,let us 

remember that in all probability no one 
of these functionaries ever received the
 salary which was due to       him1 and 
that the unfortunate monks turned out of
 their convents       had neither       
interest nor duty in protecting what had
 ceased to be       theirs4 ,if they did
 not 7as it may be hoped7 themselves    
carry off       what they could1 they   
would abandon it to the first plunderer4
       ,added to which1 the habitual    
feeling of every ,spaniard is1 that     
what belongs to the government is fair  
game1 and may be stolen with       a    
safe conscience4         8,when all this
 is considered1 it will not appear      
surprising that       bribery and       
robbery should have stripped the        
deserted convents1 and       scattered  
the memorials of ,spanish art and       
literature4 ,it is       greatly to be  
feared too that the ignorance of the    
local       commissioners will cause    
many an interesting picture of early    
date       to be thrown on one side as  

barbarous and rude1 and that few such   
valuable records as the altar of the    
time of ,don ,jayme el                  
,conquistador1 mentioned as rescued at  
,valencia1 will be preserved       at   
all2 indifferent second-rate copies1 or 
imitations of the       ,italian and    
,flemish masters1 will probably pass    
current as the       staple article in  
most of the provincial museums1 even    
where such       institutions are       
finally formed4 ,at any rate1 as a      
picture of the       state of ,spain    
with reference to the ,fine ,arts1 and  
as a sort of       guide to tourists1 it
 may be useful to give1 in alphabetical 
order1       as they are enumerated in  
the report1 an abstract of the general  
result as to the number of paintings got
 together in each       province40      
,here follows the result of the labors  
of the ,commission in forty-eight       
provinces1 alphabetically arranged1     
presenting a sorry picture indeed4      
,only a few of them can be given here1  

which may be taken as specimens of  the 
whole3         8,almeria4--,here the    
existence of any local collection was   
denied1       but accidentally a        
catalogue was discovered containing a   
list of       one hundred and ninety-six
 pictures1 which had been got together  
in       #ahcg1 and had apparently      
disappeared4         8,burgos4--,the    
,commissioners say1 #8,on seeing the    
small number of       works of art in   
the province of ,burgos1 and after      
examining       carefully the           
communication of the 8,gefe ,poltico10  
dated in ,april1       #ahdd1 together  
with the inventory which accompanied it1
 containing       only sixty-nine       
pictures and thirteen coins1 deposited  
in the       ,literary ,institution of  
the capital of the province1 we could   
not       refrain from signifying our   
surprise at finding so poor a museum in 
a province which was at one time one of 
the richest in ,spain in                
monasteries4'         8,cceres4--,here  

again the ,central ,commission could get
 no account       of the works of art   
which were known to have existed1 more  
especially in the magnificent           
,hieronymite ,monastery of ,guadalupe1  
near ,logrosan4 ,the ,provincial        
,commission1 acting on the authority    
of that in ,madrid1 proceeded to        
ascertain what still remained           
within the walls of the convent1 when   
they were resisted by the               
#8,ayuntamiento' of the town of         
,guadalupe1 who pretended that all      
that was in the church and convent      
belonged to the parish1 and not       to
 the state4         8,cadiz4--,those who
 first collected the pictures took care 
to       catalogue them without giving  
the subjects or the sizes1 and mixed    
up together paintings and prints1 so    
that it was impossible to say       what
 had been stolen4 ,the report goes on to
 say that the sale of       certain     
pictures was not less irregular and     
culpable in itself1       than the      

lawfulness of the manner in which the   
produce of the sale       was applied   
appeared doubtful4 ,the ,local          
,commission of ,arts and       ,sciences
 thought it prudent to abstain from     
criminal proceedings       against any  
one2 but the pictures yet remaining were
 in such a       state of decay that to 
protect themselves they caused a procs  
verbal to be drawn up1 setting forth    
their condition4         8,cuenca4--,all
 sorts of plunder had gone on here1 as  
elsewhere1       but the ,local         
,commissioners seem to have exerted     
themselves to       rescue and place in 
safety what could yet be secured4 ,the  
head of       the ,priory of ,santiago  
de ,ucls resisted them4 ,the number of  
pictures collected is not given4        
8,gerona4--,in ,august1 #ahdb1 the      
#8,gefe ,poltico' reported the          
existence of certain pictures1 as he    
said1 of little merit2 but1       bad or
 good1 they seem to have disappeared by 
#ahde4         8,granada4--,here a      

museum was formed in #ahci1 and in #ahdb
 a       catalogue of eight hundred and 
eighty-four pieces of sculpture and     
painting was transmitted to the         
,secretary of ,state4 ,by ,january1     
#ahdd1 it would appear that some1       
probably many1 of them had been         
stolen1 and the report does not tell us 
how many remained4                      
8,guadalajara4--,it appears that out of 
four hundred and thirty       pictures1 
a few only were considered to be        
originals of any value1       and were  
attributed to ,ribera1 ,zurbaran1       
,carreo1 el ,greco1 and       others1   
for the most part ,spanish masters4     
,twenty-five were       completely      
ruined4         8,guipuzcoa4--,the civil
 war in this province has been the cause
       and the pretext for the          
disappearance of many works of art4     
#8,since1' says the report1 #8whilst    
many have been destroyed on the         
one hand1 on the other the state of     
affairs has thrown a shield       over  

those who have profited by the          
confusion1 and have unjustly            
appropriated the property of the state4'
         8,jaen4--,the ,local           
,commission of ,jaen in the course of   
nine months       got together five     
hundred and twenty-three pictures1 of   
which they       reported two hundred   
and eighty-five as worthless1 and placed
 two       hundred and thirty-eight in  
the old ,jesuit convent4 ,the names of  
,murillo1 ,zurbaran1 ,alonso ,cano1     
,castillo1 ,orrente1 ,melgar1 ,juan de  
,sevilla1 ,guzman1 ,coello1 ,titian1 el 
,greco1 and ,albano1 appear in       the
 catalogue4         8,leon4--#8,the     
necessity1' says the report1 #8of       
quartering troops       in the various  
convents of this province1 and the      
scandalous tricks       which we know to
 have been played with the works of art 
in the       same1 are the causes why   
the catalogue1 which was framed in      
,september of last year1 appeared so    
imperfect and so scanty1 since       the

 number of objects was reduced to       
sixty-one pictures and three            
pieces of sculpture1 deposited in the   
convent of the so-called       8,monjas 
,catalinas40' ,no more favorable account
 seems to have been       received at   
the time the report was drawn up4       
8,lrida4--,here too the civil war is    
said to have caused the                 
disappearance of most of the pictures in
 the convents2 only       eighteen of   
any merit had been collected in ,april1 
#ahdd1 but some       more were known to
 exist in the ,seo de ,urgel1 where the 
local       authorities however refused 
to give them up to the government4 ,the 
,commission had not been able to obtain 
an accurate account even of       the   
eighteen4         8,malaga4--,a         
miserable return of six pieces sculpture
 and four       pictures was all that   
could be obtained by the ,central       
,commission1       and they attribute   
this result to #8the natural indolence  
and purely       mercantile spirit of   

that district4' ,probably the facility  
for       exportation had a good deal to
 do with the disappearance of the       
various works of art which the report   
affirms to have been once               
collected and deposited in various      
public buildings40          ,,don       
,,diego ,,velasquez4      ,this great   
painter1 justly esteemed the ,head of   
the ,spanish school1 was  born at       
,seville in #aeid4 ,he pursued almost   
every branch of painting1  except the   
marine1 and excelled almost equally in  
all4--,philip ,,iv4  conferred on him   
extraordinary honors1 appointed him his 
principal  painter1 and ordained that   
none but the modern ,apelles should     
paint his  likeness4 ,when ,rubens      
visited ,madrid in #afbg1 to discharge  
the duties of  his embassy1 he formed an
 intimate and lasting friendship with   
,velasquez1 which continued through     
life4 8,there is something in the       
history of this painter10 says ,mrs4    
,jameson1 8which fills the  imagination 

like a gorgeous romance4 ,in the very   
sound of his name1 ,don  ,diego         
,rodriguez ,velasquez de ,silva--there  
is something mouth-filling  and         
magnificent4 ,when we read of his fine  
chivalrous qualities1 his  noble birth1 
his riches1 his palaces1 his orders of  
knighthood1 and what  is most rare1 the 
warm1 real1 steady friendship of a king1
 and added to  this a long life1 crowned
 with genius1 felicity1 and fame1 it    
seems  almost beyond the lot of         
humanity4 ,i know of nothing to be      
compared with  it but the history of    
,rubens1 his friend and cotemporary1    
whom he  resembled in character and     
fortune1 and in that union of rare      
talents  with practical good sense which
 ensures success in life40 ,for a full  
life of this painter1 see ,spooner's    
,dictionary of ,painters1 ,engravers1   
,sculptors1 and ,architects4            
,,velasquez ,,honored ,,by ,,the ,,king 
,,of ,,spain4      ,philip ,,iv4 relaxed
 the rigor of ,spanish etiquette in     

favor of ,velasquez1  as ,charles ,v4   
had done with ,titian4 ,he had his      
studio in the royal  palace1 and the    
,king kept a private key1 by means of   
which he had access  to it whenever he  
pleased4 ,almost every day ,philip used 
to visit the  artist1 and would sit and 
watch him while at work4 ,when          
,velasquez  produced his celebrated     
picture of the ,infanta ,margarita      
surrounded by  her maids of honor1 with 
a portrait of himself1 standing near at 
his  easel1 the ,king conferred upon him
 a very unusual honor4 ,after the       
picture had been greatly admired1       
,philip remarked1 8,there is one thing  
wanting10 and taking the palette and    
pencils1 he drew in with his own  hand  
upon the breast of ,velasquez's         
portrait1 the much coveted ,cross of    
,santiago6 ,the nobles resented this    
profanation of a decoration hitherto    
only given to high birth2 but all       
difficulties were removed by a papal    
dispensation and a grant of ,hidalguia4 

,velasquez's portraits baffle           
description or praise--they produce     
complete illusion1 and must be seen  to 
be known4 ,he depicted the minds of men2
 they live1 breathe1 and  seem about to 
walk out of their frames4 ,the          
freshness1 individuality1  and identity 
of every person are quite startling2 nor
 can we doubt the  anecdote related of  
,philip ,,iv41 who1 mistaking for the   
original the  portrait of ,admiral      
,pareja in a dark corner of ,velasquez's
 room1  exclaimed1 as he had been       
ordered to sea1 8,what6 still here8 ,did
 ,i not  send thee off8 ,how is it that 
thou art not gone80 ,but seeing the     
figure  did not salute him1 the ,king   
discovered his mistake4 ,while          
,velasquez  sojourned in ,rome1 he      
painted the portrait of ,innocent ,x41  
which is now  the gem of the ,doria     
collection1 and in which1 says ,lanzi1  
8he renewed  the wonders which are      
recounted of those of ,leo ,x4 by       
,raffaelle1 and  ,paul ,,iii4 by        

,titian2 for this picture so entirely   
deceived the eye as to  be taken for the
 ,pope himself40          ,,velasquez',s
 ,,slave4      ,juan de ,pareja was the 
slave of ,don ,diego ,velasquez4        
,palomino and  others1 say he was born  
in ,mexico1 of a ,spanish father and an 
,indian  mother2 but ,bermudez says he  
was born at ,seville4 ,from being       
employed in  his master's studio to     
attend on him1 grind his colors1 clean  
his  palette1 brushes1 c41 he imbibed a 
passion for painting1 and sought  every 
opportunity to practice during his      
master's absence4 ,he spent  whole      
nights in drawing and endeavoring to    
imitate him1 for he durst not  let him  
know of his aspiring dreams4 ,at length 
he had made such  proficiency1 that he  
resolved to lay his case before the     
,king1 ,philip  ,,iv41 who was not only 
an excellent judge1 but a true lover1 of
 art4 ,it  was the ,king's custom to    
resort frequently to the apartments of  
,velasquez1 and to order those pictures 

which were placed with the  painted side
 to the wall1 to be turned to his view4 
,pareja placed one of  his own          
productions in that position1 which the 
,king's curiosity caused  to be turned1 
when the slave fell on his knees and    
besought the monarch  to obtain his     
pardon from his master1 for having      
presumed to practice  painting without  
his approbation4 ,philip1 agreeably     
surprised at his  address1 and well     
pleased with the work1 bid ,pareja to   
rest contented4  ,he interceded in his  
behalf1 and ,velasquez not only forgave 
him1 but  emancipated him from          
servitude2 yet such was his attachment  
and  gratitude to his master1 that he   
would never leave him till his death1   
and afterwards continued to serve his   
daughter with the same fidelity4  ,he is
 said to have painted portraits so much 
in the style of ,velasquez1  that they  
could not easily be distinguished from  
his works4 ,he also  painted some       
historical works1 as the ,calling of    

,st4 ,matthew1 at  ,aranjuez2 the       
,baptism of ,christ1 at ,toledo1 and    
some ,saints at ,madrid4          ,,luis
 ,,tristan4      ,this eminent ,spanish 
painter was born near ,toledo1 according
 to  ,palomino1 in #aeid1 though        
,bermudez says in #aehf4 ,he was a pupil
 of ,el  ,greco1 whom he surpassed in   
design and purity of taste4 ,his        
instructor1  far from being jealous of  
his talents1 was the first to applaud   
his  works1 and to commend him to the   
public4 ,he executed many admirable     
works for the churches and public       
edifices at ,toledo and ,madrid4 ,it is 
no mean proof of his ability1 that      
,velasquez professed himself his        
admirer1 and quitting the precepts of   
,pacheco1 he formed his style from  the 
works of ,tristan4          ,,tristan   
,,and ,,el ,,greco4      ,tristan was   
the favorite pupil of ,el ,greco1 to    
whom his master made over  many         
commissions1 which he was unable to     
execute himself4 ,in this manner  he was

 employed to paint the ,last ,supper1   
for the ,hieronymite monastery  of ,la  
,sisla4 ,the monks liked the picture2   
but they thought the price  which the   
artist asked for it1 of two hundred     
ducats1 excessive4 ,they  therefore sent
 for ,el ,greco to value it2 but when   
this master saw his  pupil's work1 he   
raised his stick and ran at him1 calling
 him a  scoundrel and a disgrace to his 
profession4 ,the monks restrained the   
angry painter1 and soothed him by saying
 that the young man did not know  what  
he asked1 and no doubt would submit to  
the opinion of his master4  8,in good   
truth10 returned ,el ,greco1 8he does   
not know what he has asked2  and if he  
does not get five hundred ducats for the
 picture1 ,i desire  it may be rolled up
 and sent to my house40 ,the            
,hieronymites were  compelled to pay the
 larger sum6          ,,alonso ,,cano4  
,this eminent ,spanish painter1         
sculptor1 and architect1 was born at    
,granada1 according to ,bermudez1 in    

#afja4 ,he early showed a passion for   
the fine arts1 and exhibited            
extraordinary talents4 ,he excelled in  
all  the three sister arts1 particularly
 in painting4 ,there are many  excellent
 works by ,cano in the churches and     
public edifices at ,cordova1  ,madrid1  
,granada1 and ,seville1 which rank him  
among the greatest ,spanish  painters4  
,as a sculptor1 he manifested great     
abilities1 and executed  many fine      
works1 which excited universal          
admiration4 ,he also gained             
considerable reputation as an architect1
 and was appointed architect and        
painter to the king4          ,,cano',s 
,,liberality4      ,cano executed many  
works for the churches and convents     
gratuitously4  ,when he was young1 he   
painted many pictures for the public    
places of  ,seville1 which were regarded
 as astonishing performances4 ,for these
 he  would receive no remuneration1     
declaring that he considered them       
unfinished and deficient1 and that he   

wrought for practice and  improvement4  
,,cano',s ,,eccentricities4             
,palomino relates several characteristic
 anecdotes of ,cano4 ,an ,auditor of    
the ,chancery of ,granada bore especial 
devotion to ,st4 ,anthony of ,padua1    
and wished for an image of that saint   
from the hands of ,cano4 ,when the      
figure was finished1 the judge liked it 
much4 ,he inquired what money the       
artist expected for it3 the answer was1 
one hundred doubloons4 ,the  amateur was
 astonished1 and asked1 8,how many days 
he might have spent  upon it80 ,cano    
replied1 8,some five-and-twenty days40  
8,well10 said the  ,auditor1 8that comes
 to four doubloons per day40 8,your     
lordship reckons  wrong10 said ,cano1   
8for ,i have spent fifty years in       
learning to execute  it in twenty-five  
days40 8,that is all very well1 but ,i  
have spent my  patrimony and my youth in
 studying at the ,university1 and in a  
higher  profession2 now here ,i am1     
,auditor in ,granada1 and if ,i get a   

doubloon a  day1 it is as much as ,i    
do40 ,cano had scarce patience to hear  
him out4  8,a higher profession1        
indeed60 he exclaimed2 8the king can    
make judges  out of the dust of the     
earth1 but it is reserved for ,god alone
 to make  an ,alonso ,cano40 ,saying    
this1 he took up the figure and dashed  
it to  pieces on the pavement2 whereupon
 the ,auditor escaped as fast as he     
could1 not feeling sure that ,cano's    
fury would confine itself to the        
statue4          ,,cano',s ,,hatred ,,of
 ,,the ,,jews4      ,another            
characteristic of ,cano1 was his        
insuperable repugnance for any  persons 
tainted with ,judaism4 ,it appears that 
in ,granada the unhappy  persons of that
 nation who were penitenciados 7i4e4 who
 had been  subjected to penance by the  
,inquisition7 were in the habit of      
getting  what they could to support     
themselves1 by selling linen and other  
articles about the streets2 they wore of
 course the sambenito1 or  habit        

prescribed by the ,inquisition as the   
mark of their penance4 ,if  ,cano met   
one of these men in the street1 he would
 cross to the other  side1 or get out of
 his way into the passage of a house4   
,occasionally1  however1 in turning a   
corner1 or by mere accident1 one of     
these persons  would sometimes brush the
 garment of the artist1 who then        
instantly sent  his servant home for    
another1 whether cloak or doublet1 and  
gave the  polluted one to his attendant4
 ,the servant1 however1 did not dare to 
wear what he had thus acquired1 or his  
master would have turned him out  of the
 house forthwith--he could only sell it4
 ,it is added that the  manifest profit 
which the servant derived from his      
master's scruples1  made the people     
doubt whether in all cases the ,jew had 
really brushed  against the artist1 or  
whether the servant had himself twitched
 the  cloak as the ,jew passed4 ,at any 
rate the servant has been heard to      
remonstrate1 and urge that 8it was the  

slightest touch in the world1  sir--it  
cannot matter40 8,not matter8--you      
scoundrel1 in such things as  these1    
everything matters20 and the valet got  
the cloak4    ,on one occasion1 ,cano's 
housekeeper1 with an excess of audacity1
 had  actually brought one of these     
penitenciados into the house1 and was   
buying some linen of him2 a dispute     
about the price caused high words1  and 
the master came1 hearing a disturbance4 
,what could he do8 he could  not defile 
himself by laying hands on the          
miscreant1 who got away while  the      
wrathful artist was looking for some    
weapon that he could use  without       
touching him4 ,but the housekeeper had  
to fly to a neighbor's2  and it was only
 after many entreaties1 and performing a
 rigorous  quarantine1 that she was     
received back again4          ,,cano',s 
,,ruling ,,passion ,,strong ,,in        
,,death4      ,his passion for art1 and 
his eccentric notions respecting the    
,jews1 were  strongly manifested in his 

last sickness4 ,he lived in the parish  
of the  city which contained the prison 
of the ,inquisition4 ,the priest of the 
parish visited him upon his death-bed1  
and proposed to administer the          
sacraments to him after confession1 when
 the artist quietly asked him  whether  
he was in the habit of administering it 
to the ,jews on whom  penance was       
imposed by the ,inquisition4 ,the priest
 replying in the  affirmative1 ,cano    
said1 8,senor ,licenciado1 go your way1 
and do not  trouble yourself to call    
again2 for the priest who administers   
the  sacraments to the ,jews shall not  
administer them to me40 ,accordingly he 
sent for the priest of the parish of    
,st4 ,andrew4 ,this last1 however1  gave
 offence in another form2 he put into   
the artist's hands a crucifix  of       
indifferent execution1 when ,cano       
desired him to take it away4 ,the       
priest was so shocked at this1 that he  
thought him possessed1 and was at  the  
point of exorcising him4 8,my son10 he  

said1 8what dost thou mean8  this is the
 ,lord who redeemed thee1 and who must  
save thee40--8,i know  that well10      
replied ,cano1 8but do you want to      
provoke me with that  wretched thing1 so
 as to give me over to the devil8 let me
 have a  simple cross1 for with that ,i 
can reverence ,christ in faith2 ,i can  
worship him as he is in himself1 and as 
,i contemplate him in my own  mind40    
,this was accordingly done1 so that the 
artist was no longer  troubled by an    
indifferent specimen of sculpture4      
,,ribalta',s ,,marriage4      ,francisco
 ,ribalta1 an eminent ,spanish painter1 
studied first in  ,valencia1 where he   
fell in love with the daughter of his   
instructor4 ,the  father refused his    
consent to the marriage2 but the        
daughter promised to  wait for her lover
 while he studied in ,italy4 ,ribalta   
accordingly went  thither and devoted   
himself to his art1 studying            
particularly the works  of ,raffaelle   
and the ,caracci1 and returned1 after a 

considerable time1  to his native       
country4 ,quickened by love1 he had     
attained a high degree  of excellence4  
,on arriving at the city of ,valencia1  
he went to the house  of his beloved1   
who meanwhile had proved faithful2 and  
her father being  away from home1 he    
finished the sketch of a picture in his 
studio1 in  his mistress' presence1 and 
left it to produce its effect upon the  
hitherto inflexible parent4 ,the latter1
 on returning1 asked his daughter  who  
had been there1 adding1 with a look at  
the picture1 8,this is the man  to whom 
,i would marry thee1 and not to that    
dauber1 ,ribalta40 ,the  marriage of    
course took place1 immediately2 and the 
fame of ,ribalta soon  procured him     
abundant employment4                    
,,aparicio1 ,,canova1 ,,and             
,,thorwaldsen4      ,aparicio1 a        
,spanish painter who died in #ahch1     
possessed little merit1  but great      
vanity4 ,among other works1 he painted  
the ,ransoming of #agjj  slaves at      

,algiers1 which occurred in #agfh1 by   
order of ,charles ,,iii4 ,when  the     
picture was exhibited at ,rome1 ,canova1
 who knew the man1 told  ,aparicio1     
8,this is the finest thing in the world1
 and you are the first  of painters40   
,soon after1 ,thorwaldsen came in and   
ventured a critique1  whereupon the ,don
 indignantly quoted ,canova4 8,sir1 he  
has been laughing  at you10 said the    
honest ,dane1 to whom ,aparicio never   
spoke again4          ,,bartolome       
,,esteban ,,murillo4      ,this         
preminent ,spanish painter was born at  
,pilas1 near ,seville1 in  #afac4 ,there
 is a great deal of contradiction among 
writers as to his  early history1 but it
 has been proved that he never left his 
own  country4 ,he first studied under   
,don ,juan del ,castillo1 an eminent    
historical painter at ,seville1 on      
leaving whom1 he went to ,cadiz4 ,it was
  the custom of the young artists at    
that time to expose their works for     
sale at the annual fairs1 and many of   

the earliest productions of  ,murillo   
were exported to ,south ,america1 which 
gave rise to the  tradition1 that he had
 proceeded thither in person4           
,,murillo ,,and ,,velasquez4      ,the  
fame of ,velasquez1 then at its zenith1 
inspired ,murillo with a  desire to     
visit ,madrid1 in the hope to profit by 
his instruction4 ,he  accordingly       
proceeded thither in #afdb1 and paid his
 court to ,velasquez1  who received him 
with great kindness1 admitted him into  
his academy1 and  procured for him the  
best means of improvement beyond his own
  instruction1 by obtaining for him     
access to the rich treasures of art in  
the royal collections1 where his        
attention was particularly directed to  
the works of ,titian1 ,rubens1 and      
,vandyck4          ,,murillo',s ,,return
 ,,to ,,seville4      ,after a residence
 of three years at ,madrid1 ,murillo    
returned to ,seville1  where he was     
commissioned to paint his great fresco  
of ,st4 ,thomas of  ,villanuova         

distributing alms to the poor1 in the   
convent of ,san  ,francisco1 consisting 
of sixteen compartments4--,the subject  
suited his  genius1 and gave full scope 
for the display of his powers1 which    
were  peculiarly adapted to the         
representation of nature in her most    
simple  and unsophisticated forms4 ,the 
,saint stands in a dignified posture1   
with  a countenance beaming with        
benevolence and compassion1 while he is 
surrounded by groups of paupers1 eagerly
 pressing forward to receive his        
charity1 whose varied character and     
wretchedness are portrayed with         
wonderful art and truthfulness of       
expression4 ,this and other works       
produced emotions of the greatest       
astonishment among his countrymen1      
established his reputation as one of the
 greatest artists of his age1  and      
procured him abundant employment4       
,,murillo ,,and ,,iriarte4      ,about  
this time1 ,murillo was employed by the 
,marquis of ,villamanrique1  to paint a 

series of pictures from the life of     
,david1 in which the  backgrounds were  
to be painted by ,ignacio ,iriarte1 an  
eminent landscape  painter of ,seville4 
,murillo rightly proposed that the      
landscape parts  should be first        
painted1 and that he should afterwards  
put in the  figures2 but ,iriarte       
contended that the historical part ought
 to be  first finished1 to which he     
would adapt the backgrounds4 ,to put an 
end  to the dispute1 ,murillo undertook 
to execute the whole1 and changing the  
,history of ,david to that of ,jacob1 he
 produced the famous series of five     
pictures1 now in the possession of the  
,marquis de ,santiago at ,madrid1 in    
which the beauty of the landscapes      
contends with that of the figures1  and 
which remain a monument of his powers in
 these different departments  of the    
art4          ,,murillo',s ,,death4     
,the last work which ,murillo painted   
was a picture of ,st4 ,catherine1 in    
the convent of the ,capuchins at        

,seville1 his death being hastened by a 
fall from the scaffold4 ,he died at     
,seville in #afhe1 universally          
deplored--for he was greatly beloved1   
not merely for his extraordinary        
talents1 but for the generous qualities 
of his heart4 ,such was his noble  and  
charitable disposition1 that he is said 
to have left but little  property1      
though he received large prices for his 
works4          ,,murillo',s ,,style4   
,few painters have a juster claim to    
originality of style than ,murillo1  and
 his works show an incontestible proof  
of the perfection to which the  ,spanish
 school attained1 and the real character
 of its artists2 for he  was never out  
of his native country1 and could have   
borrowed little from  foreign artists2  
and this originality places him in the  
first rank among  the painters of every 
school4 ,all his works are distinguished
 by a close  and lively imitation of    
nature4 ,his pictures of the ,virgin1   
,saints1  ,magdalens1 and even of the   

,saviour1 are stamped with a            
characteristic  expression of the eye1  
and have a national peculiarity of      
countenance  and habiliments1 which are 
very remarkable4 ,there is little of the
  academy discernible in his design or  
his composition4 ,it is a chaste and    
faithful representation of what he saw  
or conceived2 truth and  simplicity are 
never lost sight of2 his coloring is    
clear1 tender1 and  harmonious1 and     
though it possesses the truth of        
,titian1 and the  sweetness of ,vandyck1
 it has nothing of the appearance of    
imitation4  ,there is little of the     
ideal in his forms or heads1 and though 
he  frequently adopts a beautiful       
expression1 there is usually a          
portrait-like simplicity in his         
countenances4 ,in short1 his pictures   
are  said to hold a middle rank between 
the unpolished naturalness of the       
,flemish1 and the graceful and dignified
 taste of the ,italian schools4         
,,murillo',s ,,works4      ,the works of

 ,murillo are numerous1 and widely      
scattered over the world4  ,most of his 
greatest works are in the churches of   
,spain2 some are in the  ,royal         
collections at ,madrid1 some in ,france 
and ,flanders1 many in  ,england1 and a 
few in the ,united ,states4 ,they now   
command enormous  prices4 ,the ,national
 ,gallery of ,london paid four thousand 
guineas for a  picture of the ,holy     
,family1 and two thousand for one of    
,st4 ,john with  the ,lamb4 ,the late   
,marshal ,soult's collection was very   
rich in  ,murillos--the fruits of his   
campaigns in ,spain4 ,the famous        
,assumption of  the ,virgin1 considered 
the chef d'uvre of the master1 brought  
the  enormous sum of five hundred and   
eighty-six thousand francs1 and was     
bought by the ,french government to     
adorn the ,louvre2 but it should be     
recollected that the heads of three     
governments--those of ,france1  ,russia1
 and ,spain--and an ,english ,marquis1  
competed for it4 ,such works1  too1 are 

esteemed above all price1 as models of  
art1 in a national  collection of       
pictures4 ,of the other ,murillos in the
 ,soult collection1  the principal      
brought the following prices3 8,the     
,ravages of the ,plague10  twenty       
thousand francs2 8,the ,miracle of ,st4 
,diego10 eighty-five thousand  francs2  
8,the ,flight into ,egypt10 fifty-one   
thousand francs2 8,the  ,nativity of the
 ,virgin10 ninety thousand francs2 8,the
 ,repentance of ,st4  ,peter10          
fifty-five thousand francs2 8,christ on 
the ,cross10 thirty-one  thousand       
francs2 8,st4 ,peter in ,prison10 one   
hundred and fifty-one  thousand francs2 
8,jesus and ,st4 ,john--children10      
fifty-one thousand  seven hundred and   
fifty francs4 ,the two last were        
purchased for the  ,emperor of ,russia4 
,the collection was sold in ,may1 #aheb4
    ,the works of ,murillo have been    
largely copied and imitated1 and so     
successfully as to deceive even         
connoisseurs4          ,,murillo',s     

,,assumption ,,of ,,the ,,virgin4       
,the ,assumption of the ,virgin is      
considered by all the ,spanish writers  
as  the masterpiece of ,murillo1 and    
never1 perhaps1 did that great master   
attain such sublimity of expression and 
such magnificent coloring1 as in  this  
almost divine picture4 ,it represents   
the ,virgin in the act of being  carried
 up into ,heaven4 ,her golden hair      
floats on her shoulders1 and her  white 
robe gently swells in the breeze1 while 
a mantle of blue  gracefully falls from 
her left shoulder4 ,groups of angels and
 cherubim  of extraordinary beauty1     
sport around her in the most evident    
admiration1 those below thronging       
closely together1 while those above     
open their ranks1 as if not in any way  
to conceal the glory shed around  the   
ascending ,virgin4 ,the size of the     
picture is eight feet six inches  in    
height1 by six feet broad1 ,french      
measure4 ,this picture was the gem  of  
the famous collection made by ,marshal  

,soult1 during his campaigns in  ,spain1
 who used humorously to relate that it  
cost him two monks1 which  he thus      
explained4 ,one morning two of his      
soldiers were found with their  throats 
cut1 and the deed being traced to the   
instigation of the monks1  near whose   
convent they had encamped1 he           
immediately arraigned them  before a    
court-martial1 sentenced two of the     
fraternity to expiate the  deed1 and    
compelled them to designate the victims 
by lot4 ,one of the  chances fell to the
 ,prior1 who offered ,soult this        
peerless picture as  the price of their 
redemption4          ,,castillo',s      
,,tribute ,,to ,,murillo4      ,castillo
 was educated in the school of          
,zurbaran4 ,after returning to his      
native city1 he flattered himself that  
he was the first ,spanish painter  of   
the day2 but subsequently1 on a visit to
 ,seville1 he was painfully  undeceived4
 ,the works of ,murillo struck him with 
astonishment1 and when  he saw the ,st4 

,leander and ,st4 ,isidore1 as well as  
the ,st4 ,anthony of  ,padua by that    
master1 he exclaimed1 8,it is all over  
with ,castillo6 ,is it  possible that   
,murillo can be the author of all this  
grace and beauty of  coloring80 ,he     
returned to ,cordova1 and attempted to  
imitate and equal  ,murillo1 but felt   
satisfied that he had failed2 and it is 
said that he  died in the following     
year1 from the effects of envy and      
annoyance4          ,,correggio4        
,the name of this great artist was      
,antonio ,allegri1 and he was born at   
,correggio1 a small town in the ,duchy  
of ,modena1 in #adid2 hence his         
acquired name4 ,it was for a long time  
the fashion to regard the divine        
creations of ,correggio as the mere     
product of genius and accident2  himself
 as a man born in the lowest grade of   
society2 uneducated in the  elements of 
his art1 owing all to the wondrous      
resources of his own  unassisted genius2
 living and dying in obscurity and      

poverty2 ill paid  for his pictures2 and
 at length perishing tragically4 ,it has
 been proved  that there is no          
foundation for these popular fallacies4 
,correggio's own  pictures are a        
sufficient refutation of a part of them2
 they exhibit not  only a classical and 
cultivated taste1 but a profound        
knowledge of  anatomy1 and of the       
sciences of optics1 perspective1 and    
chemistry1 as  far as they were then    
carried4 ,his exquisite chiaro-scuro and
 harmonious  blending of colors were    
certainly not the result of mere chance3
 all his  sensibility to these effects  
of nature would not have enabled him to 
render them1 without the profoundest    
study of the mechanical means he        
employed4 ,the great works on which he  
was employed--his lavish use of  the    
rarest and most expensive colors1 and   
the time and labor he bestowed  in      
analyzing and refining them--the report 
that he worked on a ground  overlaid    
with gold--all refute the idea of his   

being either an ignorant  or a          
distressed man4 ,of the rank he held in 
the estimation of the  princes of his   
country we have evidence in a curious   
document discovered  in the archives of 
the city of ,correggio--the marriage    
contract between  ,ippolito 7the son of 
,giberto1 ,lord of ,correggio1 by his   
wife1 the  celebrated poetess ,vittoria 
,gambara71 and ,chiara da ,correggio1 in
 which  we find the signature of the    
great painter as one of the witnesses4  
,correggio was one of that splendid     
triumvirate of painters who1 living  at 
the same time1 were working on different
 principles1 and achieving1  each in his
 own department1 excellence hitherto    
unequalled2 and if  ,correggio must be  
allowed to be inferior to ,raffaelle in 
invention and  expression1 and to       
,titian in life-like color1 he has      
united design and  color with the       
illusion of light and shadow in a degree
 of perfection  not then nor since      
approached by any painter4 ,hence       

,annibale ,caracci1 on  seeing one of   
his great pictures1 exclaimed in a      
transport that he was  8the only        
painter60          ,,correggio',s       
,,grand ,,cupola ,,of ,,the ,,church    
,,of ,,st4 ,,john ,,at ,,parma4         
,the admiration which the works of      
,correggio excited1 induced the monks   
of ,st4 ,john to engage him in          
ornamenting the grand cupola1 and other 
parts of their church4 ,the original    
agreement has not been discovered1  but 
various entries have been found in the  
books of the convent1 between  #aeai and
 #aecf1 which prove1 that for adorning  
the cupola he received1  as ,tiraboschi 
asserts1 two hundred and seventy-two    
gold ducats1 and two  hundred more for  
other parts of the fabric4 ,the last    
payment of twenty  seven gold ducats was
 made on the #bc;d of ,january1 #aebd1  
and the  acknowledgment of the painter1 
under his own signature1 is still       
extant4    ,the subject is the          
,ascension of ,christ in glory1         

surrounded by the  twelve ,apostles1    
seated on the clouds2 and in the        
lunettes the four  ,evangelists and four
 ,doctors of the ,church4 ,the situation
 for the  picture presented difficulties
 which none but so great an artist could
  have overcome2 for the cupola has     
neither sky-light nor windows1 and      
consequently the whole effect of the    
piece must depend on the light          
reflected from below4 ,the figures of   
the ,apostles are chiefly naked1        
gigantic1 and in a style of peculiar    
grandeur4    ,besides the cupola1       
various parts of the same church were   
adorned by his  hand4 ,he decorated the 
tribune1 which was afterwards demolished
 to  enlarge the choir2 and it was so   
highly esteemed1 that ,cesare ,aretusi  
was employed by the monks to copy it for
 the new tribune4 ,he painted  also in  
fresco1 the two sides of the fifth      
chapel on the right hand1 the  first    
representing the ,martyrdom of ,st4     
,placido and ,st4 ,flavia1 and the      

second a dead ,christ1 with the ,virgin 
,mary swooning at his feet4 ,of  these  
paintings ,mengs particularly admires   
the head of ,st4 ,placido and  the      
exquisite figure of the ,magdalen in the
 last mentioned picture4                
,,correggio',s ,,grand ,,cupola ,,of    
,,the ,,cathedral ,,at ,,parma4         
,the grand fresco painting in the cupola
 of the ,cathedral of ,parma1 is        
considered ,correggio's greatest work1  
and has ever been regarded as a  most   
wonderful production4    ,the           
difficulties he had to encounter1 were  
greater than those in the  church of    
,st4 ,john1 and in overcoming them he   
displayed the most  consummate skill and
 judgment4 ,this cupola1 which is nearly
 thirty-nine  feet in diameter1 is      
octagonal1 the compartments diminishing 
as it  rises2 and it is not surmounted  
with a lantern1 but towards the lower   
part is lighted by windows1 approaching 
to an oval form4 ,on this surface  he   
delineated numerous groups of figures1  

with extraordinary boldness  and effect2
 though1 for the sake of variety1 he    
partially adopted a  smaller scale than 
in the cupola of ,st4 ,john4 ,the       
subject is the  ,assumption of the      
,virgin ,mary4 ,she is represented with 
an air in the  highest degree indicative
 of devotion and beatitude1 as rising to
 meet  ,christ in the clouds1 surrounded
 by the heavenly choir of saints and    
angels2 while beneath1 the apostles     
behold her reception into glory with    
the most dignified expression of        
reverence and astonishment4 ,over the   
whole is an effusion of light1 which    
produces an impression truly  celestial4
    ,the figures which are depicted in  
the upper part of the dome1 are         
foreshortened with consummate skill4    
,mengs1 who saw them near1 and  judged  
of them as an artist1 appears astonished
 at their boldness1 which  he calls     
8sconcia terribile10 particularly that  
of ,christ1 which  occupies the centre4 
,but the effect1 when seen from below1  

proves that  the painter had deeply     
studied that delicate branch of the art2
 for  nothing can exceed the bold and   
exquisite management of the light and   
shade1 and the beautiful proportion in  
which the figures appear to the  eye1   
except the life and spirit with which   
they are animated1 and the  general     
harmony of the whole4    ,in decorating 
the lower part of the cupola1 ,correggio
 displayed  undiminished resources4 ,he 
figured a species of socle1 or cornice1 
which  runs round the whole cupola1 yet 
at such a distance as to afford a space 
between the windows for the apostles1   
who appear1 some single1 some in  pairs1
 surrounded with angels1 and delineated 
in the same grand style as  those in the
 cupola of ,st4 ,john4 ,yet1 although   
placed on the very lines  of the angles1
 formed in the dome1 they are so        
artfully disposed and  foreshortened1 as
 to appear painted vertically on the    
cornice4 ,to unite  these with the      
principal figures1 he distributed above 

and on the socle1  between the gigantic 
figures of the apostles1 and the light  
and airy  forms of the celestial choir  
above1 groups of angels1 of an          
intermediate  size1 some with torches1  
and others bearing vases and censers4   
,but a striking proof of his taste and  
skill is manifested in the four         
lunettes between the arches supporting  
the cupola4 ,here he feigned the        
architecture to form four capacious     
niches or shells1 in which he           
introduced the patrons of the city1 ,st4
 ,john the ,baptist1 ,st4 ,hilary1  ,st4
 ,thomas1 and ,st4 ,bernard degli       
,uberti1 in magnitude equal to the      
,apostles1 resting on clouds and        
attended by angels4 ,in depicting the   
light as transmitted from the groups    
above1 he has thrown it so  naturally   
upon these figures and their angelic    
suite1 that they appear  as if detached 
from the wall1 and animated with more   
than human spirit  and grace4    ,this  
great work was commenced about #aebc1   

and finished in #aecj1 as  appears from 
the original agreements and receipts1   
preserved in the  archives of the       
,chapter1 which were published by his   
biographer  ,pungileoni1 from a copy    
taken and authenticated by a ,notary    
,public1 in  #ahjc4 ,the work seems to  
have been delayed by the feuds and      
warfare which  agitated ,parma at that  
time1 and perhaps by other engagements  
of the  artist4 ,the contract was signed
 on the #c;d of ,november1 #aebb4 ,in   
the plan  or estimate which ,correggio  
drew up at the desire of the ,chapter1  
and  which is still preserved in his own
 handwriting1 he required twelve        
hundred gold ducats1 and one hundred for
 gold leaf2 the scaffolding1  lime1 and 
other requisites to be provided by the  
,chapter4 ,but in the  contract itself1 
the price was reduced to one thousand   
ducats1 exclusive  of the one hundred   
for gold leaf4 ,for this sum he engaged 
to paint the  choir1 and the cupola with
 its arches and pillars1 as far as the  

altar2  also the lateral chapels1 in    
imitation of living subjects1 bronze and
  marble1 according to the plan1 and in 
conformity to the nature of the  place1 
comprising in the whole a surface of one
 hundred and fifty-four  square perches 
7perteche74 ,the ,chapter1 on their     
part1 were to provide  the scaffolding  
and the lime1 and to defray the expense 
of preparing the  walls4 ,thus          
,correggio received the sum of one      
thousand gold ducats  7about two        
thousand dollars7 for his work1 out of  
which he had to pay  for his colors1 and
 the labors of his assistants4 ,what    
then becomes of  the miserable story    
generally current1 that this was his    
last work2 that  when he went to receive
 payment1 that he might take home the   
price of  his labors to his             
poverty-stricken family1 the canons     
found fault with  his picture1 and      
refused to pay him more than half the   
paltry sum  originally promised2 that   
they paid him in copper coin2 that he   

took the  heavy burden upon his         
shoulders1 and walked a distance of     
eight miles to  his cottage1 under the  
burning heat of an ,italian sun1 which  
together  with his despair threw him    
into a fever1 of which he died1 on his  
bed of  straw1 in three days8 ,it       
appears from the documents before cited1
 that  ,correggio received payment in   
instalments1 as his work progressed4    
,,correggio',s ,,fate4      ,vasari     
commiserates the fate of ,correggio1    
whom he represents as of a  melancholy  
turn of mind timid and diffident of his 
own powers2  burthened with a numerous  
family1 which1 with all his prodigious  
talents1 he could scarcely support2 illy
 recompensed for his works2 and  to     
crown the sad story1 we are told that1  
having received at ,parma a  payment of 
sixty crowns in copper money1 he caught 
a fever in the  exertion of carrying it 
home on his shoulders1 which occasioned 
his  death4    ,this picture1 however1  
according to ,lanzi1 is exaggerated2 for

 although  the situation of ,correggio  
was far beneath his merits1 yet it was  
by no  means deplorable4 ,his family was
 highly respectable1 and possessed      
considerable landed property1 which is  
said to have been augmented by  his own 
earnings2 and so far from his having    
died of the fatigue of  carrying home   
copper money1 he was usually paid in    
gold4 ,for the cupola  and tribune of   
the church of ,st4 ,john1 he received   
four hundred and  seventy-two sequins2  
for that of the ,cathedral1 three       
hundred and fifty2  payments by no means
 inconsiderable in those times4 ,for his
 celebrated  ,notte he was paid forty   
sequins1 and for the ,st4 ,jerome1 which
 cost him  six months' labor1           
forty-seven4 ,it does not appear        
probable that he  acquired great riches1
 but there is no doubt that he was      
equally  screened from the evils        
attendant on penury and affluence4      
,the researches and discoveries of the  
learned ,tiraboschi1 the  indomitable   

,dr4 ,michele ,antonioli1 and the       
zealous and impartial ,padre  ,luigi    
,pungileoni1 have thrown much light upon
 the life of ,correggio4  ,his father1  
,pellegrino ,allegri1 was a general     
merchant in ,correggio1  esteemed by his
 fellow-citizens4 ,his circumstances    
were easy1 and he  intended ,antonio for
 one of the learned professions1 but his
 passion for  painting induced him to   
allow him to follow the bent of his     
genius4 ,it  is not certainly known     
under whom he studied painting4 ,some of
 the  ,italian writers say that he was  
instructed by ,francesco ,bianchi and   
,giovanni ,murani1 called ,il ,frari2   
others that he was a pupil of ,lionardo 
da ,vinci and ,andrea ,mantegna2 ,lanzi 
is decidedly of the opinion that he     
formed his style by studying the works  
of ,mantegna1 who died in #aejf1  which 
does away with the supposition that he  
could have studied with  him4 8,the     
manner10 says ,lanzi1 8in which         
,correggio could have imbibed so        

exquisite a taste1 has always been      
considered surprising and               
unaccountable1 prevailing everywhere1 as
 we find in his canvass1 in his  laying 
on his colors1 in the last touches of   
his pictures2 but let us  for a moment  
suppose him a student of ,mantegna's    
models1 surpassing all  others in the   
same taste1 and the wonder will be      
accounted for4 ,let us1  moreover1      
consider the grace and vivacity so      
predominant in the  compositions of     
,correggio1 the rainbow as it were of   
his colors1 that  accurate care in his  
foreshortenings1 and of those upon      
ceilings2 his  abundance of laughing    
boys and cherubs1 of flowers1 fruits1   
and all  delightful objects2 and let us 
ask ourselves whether this new style    
does  not appear an exquisite completion
 of that of ,mantegna1 as the pictures  
of ,raffaelle and ,titian display the   
progress and perfection of those of     
,perugino and ,giovanni ,bellini40 ,the 
authentic documents revealed by the     

three savans before mentioned1 show that
 ,correggio was most highly  esteemed by
 his cotemporaries1 and that he         
associated with persons of  rank and    
letters4 ,on two occasions he passed    
some time at ,padua1 with  the ,marchese
 ,manfredo1 and the celebrated patroness
 of arts and letters1  ,veronica        
,gambara1 relict of ,gilberto1 ,lord of 
,correggio4 ,that he was  cheerful and  
lively1 may be inferred from the        
expression of a writer  concerning him3 
8,la vivacit e dal brio del nostro      
,antonio20 yet  affectionate and gentle1
 as is evident from his being sponsor on
 three  occasions to infants of his     
friends 7in #aeaa1 #aeaf1 and #aeah71   
before he  had reached his twenty-second
 year4 ,in #aebj he was admitted by     
diploma1  as a brother of the           
,congregation ,cassinensi1 in the       
monastery of ,st4  ,john the            
,evangelist1 at ,parma--the fraternity  
to which the illustrious  ,tasso        
belonged4 ,in the same year he married  

,girolama ,merlini1 a lady of  good     
family1 amiable disposition1 and great  
beauty1 who was his model  for the      
,zingara1 probably after the birth of   
his first child4 ,by this  lady he had  
one son and three daughters4 ,in #aebi1 
to his great  affliction1 she died1 and 
was buried by her own request in the    
church of  ,st4 ,john at ,parma4        
,correggio did not marry again4 ,he died
 suddenly on  the fifth day of ,march1  
#aecd1 aged forty years1 and was buried 
with  solemnities worthy of his great   
endowments1 in the church of ,san       
,francesco1 at the foot of the altar in 
the chapel of the ,arrivabene4          
,,annibale ,,caracci',s ,,opinion ,,of  
,,correggio',s ,,grand ,,cupola ,,at    
,,parma4      8,i went10 says ,annibale 
,caracci1 in a letter to his cousin     
,lodovico1 8to  see the grand cupola1   
which you have so often commended to me1
 and am  quite astonished4 ,to observe  
so large a composition1 so well         
contrived2  and seen from below with    

such great exactness2 and at the same   
time1  such judgment1 such grace1 and   
coloring of real flesh1 good ,god1 not  
,tibaldi1 not ,nicolini1 nor even ,i may
 say1 ,raffaelle himself1 can be        
compared with him4 ,i know not how many 
paintings ,i have seen this  morning2   
the ,ancona1 or altar-piece of ,st4     
,john1 and ,st4 ,catharine1 and  the    
,madonna della ,scodella going to       
,egypt1 and ,i swear1 ,i would change   
none of these for the ,st4 ,cecilia4 ,to
 speak of the graces of this ,st4       
,catharine1 who so gracefully lays her  
head on the feet of the beautiful       
little ,savior2 is she not more lovely  
than the ,st4 ,mary ,magdalen8 ,that    
fine old man ,st4 ,jerome1 is he not    
grander1 and at the same time more      
tender than that ,st4 ,paul1 which first
 appeared to me a miracle1 and now      
seems like a piece of wood1 it is so    
hard and sharp4 ,however you must  have 
patience even for your own ,parmiggiano1
 because ,i now acknowledge  that ,i    

have learnt from this great man1 to     
imitate all his grace1  though at a     
great distance2 for the children of     
,correggio breathe and  smile with such 
a grace and truth1 that one cannot      
refrain from smiling  and enjoying one's
 self with them4    8,i write to my     
brother that he must come1 for he will  
see things which  he could never have   
believed1--#ahth ,april1 #aehj4    8,i  
have been to the ,steccata1 and the     
,zocoli1 and have observed what you     
told me many times1 and what ,i now     
confess to be true2 but ,i will say     
that1 to my taste1 ,parmeggiano bears no
 comparison with ,correggio1  because   
the thoughts and conceptions of         
,correggio were his own1  evidently     
drawn from his own mind1 and invented by
 himself1 guided only  by the original  
idea4 ,the others all rest on something 
not their own2  some on models1 some on 
statues or drawings3 all the productions
 of the  others are represented as they 
may be2 all of this man as they truly   

are4    8,the opportunities which       
,agostino wished for1 have not occurred2
 and  this appears to me a country1     
which one never could have believed so  
totally devoid of good taste and of the 
delights of a painter1 for they  do     
nothing but eat and drink1 and make     
love4 ,i promised to impart to you  my  
sentiments2 but ,i confess ,i am so     
confused that it is impossible4 ,i  rage
 and weep1 to think of the misfortune of
 poor ,antonio2 so great a  man1 if     
indeed he were a man1 and not an angel  
in the flesh1 to be lost  here1 in a    
country where he was unknown1 and though
 worthy of  immortality1 here to die    
unhappily4 ,he and ,titian will always  
be my  delight3 and if ,i do not see the
 works of the latter at ,venice1 ,i     
shall  not die content4--,april #bh1    
#aehj40          ,,correggio',s         
,,enthusiasm4      ,among the many      
legends respecting ,correggio1 it is    
related that when he  first contemplated
 one of the masterpieces of ,raffaelle1 

his brow  colored1 his eye brightened1  
and he exclaimed1 8,i also am a         
painter60  ,when ,titian first saw the  
great works of ,correggio at ,parma1 he 
said1  8,were ,i not ,titian1 ,i would  
wish to be ,correggio40                 
,,correggio',s ,,grace4      ,no one can
 contemplate the works of ,correggio1   
without being captivated  by that       
peculiar beauty which the ,italians have
 very appropriately  distinguished by   
the epithet ,correggiesque1 for it was  
the complexion  of the individual mind  
and temperament of the artist1 stamped  
upon the  work of his hand4 ,no one     
approached him in this respect1 if      
perhaps we  except ,lionardo da ,vinci4 
,though so often imitated1 it remains in
 fact  inimitable2 an attempt           
degenerating into affectation of the    
most  intolerable kind4 ,it consists in 
the blending of sentiment in            
expression1 with flowing1 graceful      
forms1 an exquisite fullness and        
softness in the tone of color1 and an   

almost illusive chiaro-scuro1 all       
together conveying to the mind of the   
spectator the most delightful           
impression of harmony1 both spiritual   
and sensual4 ,he is the painter of      
beauty par excellence2 he is to us what 
,apelles was to the  ancients--the      
standard of the amiable and the         
graceful4          ,,correggio ,,and    
,,the ,,monks4      ,the pleasure which 
the monks derived from the works of     
,correggio1 even  in their incipient    
state1 and the esteem which they had for
 him1 is  manifested by a remarkable    
document4 ,this is a letter or patent of
  confraternity1 passed in the general  
assembly of the order1 held at          
,pratalea1 in the latter end of #aeba2 a
 privilege which was eagerly  sought at 
this and earlier periods1 and was seldom
 conferred on persons  not eminent for  
rank or talents4 ,it conveyed a         
participation in the  spiritual benefits
 derived from the prayers1 masses1 alms1
 and other  pious works of the          

community1 and was coupled with an      
engagement to  perform the same offices 
for the repose of his soul1 and the     
souls of  his family1 as were performed 
for their own members4                  
,,correggio',s ,,muleteer4      ,it is  
said that ,correggio painted a picture  
of a muleteer1 as a sign to  a small    
public house1 which was kept by a man   
who had frequently obliged  him1 and who
 had been a muleteer4 ,this picture was 
purchased by a person  sent to ,italy   
many years ago to collect ancient       
paintings4 ,it has all  the marks in the
 upper corner1 of having been joined to 
a piece of wood1  and used for a sign2  
it cost five hundred guineas6           
,,duke ,,of ,,wellington',s ,,correggio 
,,captured ,,at ,,vittoria4             
,cunningham warms into rapture in       
speaking of this picture4 8,the size is 
small1 some fifteen inches or so2 but   
true genius can work miracles in  small 
compass4 ,the central light of the      
picture is altogether heavenly2  we     

never saw anything so insufferably      
brilliant2 it haunted us round the  room
 at ,apsley ,house1 and fairly          
extinguished the light of its companion 
pictures40          ,,correggio',s      
,,ancona4      ,correggio painted for   
the church of the ,conventuali at       
,correggio1 an  ,ancona1 7a small       
altar-piece in wood17 consisting of     
three pictures when  he was in his      
twentieth year1 as appears1 says ,lanzi1
 from the written  agreement1 which     
fixes the price at one hundred gold     
ducats1 or one  hundred zecchins1 and   
proves the esteem in which his talents  
were then  held4 8,he here represented  
,st4 ,bartholomew and ,st4 ,john1 each  
occupying  one side1 while in the middle
 compartment1 he drew a ,repose of the  
,holy  ,family flying into ,egypt1 to   
which last was added a figure of ,st4   
,francis4 ,francesco ,i41 ,duke of      
,modena1 was so greatly delighted with  
this picture1 that he sent the artist   
,boulanger to copy it for him1 and  thus

 obtaining possession of the original1  
he contrived dexterously to  substitute 
his own copy in its place40 ,the ,duke  
satisfied the monks by  giving them more
 lands4 ,it is supposed that it was     
afterwards presented  to the ,medicean  
family1 and by them given to the house  
of ,este in  exchange for the ,sacrifice
 of ,abraham by ,andrea del ,sarto4 ,it 
is now in  the ,florentine gallery4     
,,portraits ,,of ,,correggio4           
,correggio appears to have been far less
 solicitous than most other  painters1  
that his likeness should be transmitted 
to posterity1 for of  him there is no   
unquestioned portrait extant4 ,that     
which is prefixed to  his life1 in the  
,roman edition of ,vasari1 is evidently 
false1 for it  exhibits the head and    
countenance of a man aged seventy4 ,it  
was taken  from a collection of designs1
 in the possession of ,father ,resta1 to
 one  of which1 representing a man and  
his wife with three sons and one        
daughter1 in mean apparel1 he gave the  

name of the ,family of ,correggio1      
forgetting that the family consisted of 
three daughters and one son4    ,another
 portrait1 with the title1 ,antonius    
,correggius1 and  consequently supposed 
to be painted by himself1 was preserved 
in a villa  which belonged to the ,queen
 of ,sardinia1 near ,turin1 and engraved
 by  ,valperga2 but its authenticity    
seems justly questioned by ,lanzi and   
,pungileoni4 ,a third1 which was sent   
from ,genoa to ,england1 bore an        
inscription signifying that it was the  
portrait of ,maestro ,antonio da        
,correggio1 by ,dosso ,dossi1 and was   
accordingly engraved for the memoirs  of
 ,correggio by ,ratti1 who obtained a   
copy4 ,lanzi is inclined to infer1      
however1 that it is the portrait of     
,antonio ,bernieri1 the miniature       
painter1 who also bore the name of      
,antonio da ,correggio4    ,a copy of   
this portrait is still preserved in the 
,pinacotheca ,bodoniana1  at ,parma1 and
 has been engraved1 first by ,asioli1   

and since as a  medallion1 by ,professor
 ,rocca1 of ,reggio4 ,pungileoni1 who is
 inclined to  consider it as genuine1   
has prefixed the medallion to his life  
of  ,correggio4    ,tiraboschi and      
,pungileoni mention other supposed      
portraits and busts1 of  questionable   
authenticity2 and ,pungileoni1 in       
particular1 adverts to a  portrait still
 preserved near a door of the cathedral 
at ,parma1 which is  exhibited as a     
likeness of ,correggio4 ,it is supposed 
to have been copied  in the middle of   
the seventeenth century1 by ,lattanzio  
,gambara1 from a  more ancient one of   
this celebrated painter1 in another part
 of the  cathedral2 but its authenticity
 is questioned1 merely on the ground    
that  it represents a man of more       
advanced age than ,correggio1 who only  
attained his forty-first year4          
,,did ,,correggio ,,ever ,,visit ,,rome8
      ,the question has been long       
agitated whether ,correggio ever visited
 ,rome1  and profited by the study of   

the antique1 and the works of ,raffaelle
  and ,michael ,angelo2 on this point1  
the only historical evidence which  has 
been adduced1 is a tradition recorded by
 ,father ,resta1 and said to  have been 
derived through three generations1 from 
the information of  ,correggio's wife4  
,as an authority so light and doubtful  
could not be  seriously advanced1 his   
biographers and admirers have sought in 
his  works for more valid traces of the 
models to which he recurred4 ,mengs     
contends that his paintings exhibit     
proofs of an acquaintance with the      
antique1 and the works of ,raffaelle and
 ,michael ,angelo4 ,in the head of  the 
,dana1 he traces a resemblance to that  
of ,venus de ,medici2 and in  the ,st4  
,jerome1 and ,mercury teaching ,cupid to
 read1 he recognises  imitations of the 
,farnese ,hercules and the ,apollo      
,belvidere2 he also  discovers a        
resemblance to one of the children of   
,niobe1 in the young  man who endeavors 
to escape from the soldiers1 in the     

picture  representing ,christ betrayed  
in the garden4 ,the countenance of the  
,magdalen1 in the ,st4 ,jerome1 he      
considers as an imitation of ,raffaelle2
  and in the cupola of the church of    
,st4 ,john1 he perceives a similitude   
to the grand style of ,michael ,angelo1 
in the frescos of the ,vatican4 ,in     
corroboration of this opinion1 he       
adduces the sudden change which is      
perceived in the style of ,correggio at 
an earlier period1 as a proof  that he  
must have seen and studied compositions 
superior to his own4  ,ratti1 the       
copyist of ,mengs1 coincides with him in
 opinion4 ,lanzi  cautiously adopts the 
same sentiment2 and ,tiraboschi1 after  
comparing  the testimony on both sides1 
leaves the question unsettled4 ,we      
cannot  decide with certainty1 that     
,correggio never visited ,rome1 and yet 
there  is no argument to prove that he  
ever saw that ,capital4 ,pungileoni1    
with  superior advantage of research1   
pronounces a contrary decision2 and     

affirms1 from the evidence of the       
continued series of unquestionable      
documents1 in which his presence is     
mentioned at ,parma1 ,correggio1 and    
other parts of ,lombardy1 during a      
number of years1 that even if he did    
visit ,rome1 his stay must have been    
limited to a very short period4         
,finally1 this opinion is corroborated  
in the assertion of ,ortensio  ,landi1  
who had resided some time at ,correggio2
 and who1 in his ,sette  ,libri de      
,cataloghi1 printed at ,venice by       
,giolito1 as early as #aeeb1 says  of   
,correggio1 8,he was a noble production 
of nature1 rather than of any  master3  
he died young1 without being able to see
 ,rome40 ,were all other  evidence      
wanting1 this testimony of a            
cotemporary1 who must have  collected   
his information on the spot1 and who    
published it within  eighteen years     
after the death of ,correggio1 must be  
allowed to carry  great weight4         
,,singular ,,fate ,,of ,,correggio',s   

,,adoration ,,of ,,the ,,shepherds4     
,a few days before the entry of the     
,french into ,seville1 during the       
,peninsular war1 when the inhabitants in
 great consternation were packing  up   
their most valuable effects to send them
 to ,cadiz1 a masterpiece of            
,correggio1 in one of the convents1     
representing the ,adoration of the      
,shepherds1 painted on wood1 was sawn in
 two1 for its more easy carriage  to a  
place of safety1 to preserve it from the
 enemy4 ,by some accident1  the two     
parts were separated on their way to    
,cadiz2 and on their arrival  in that   
city1 one part was sold to one          
connoisseur1 with the promise  that the 
part wanting should subsequently be     
delivered to him2 while the  other part 
was sold to another connoisseur under   
the same engagement4  ,both the parts   
arrived in ,england1 and the possessor  
of each maintained  that he was entitled
 to the other4    ,it is somewhat       
remarkable that though the harmony of   

the picture is  somewhat broken by the  
separation1 yet each part forms of      
itself an  admirable picture1 and as the
 rival proprietors are rich and         
obstinate1  the parts are not likely to 
be united4 ,the whole picture is        
reckoned to  be worth about #d1jjj      
guineas4          ,,curious ,,history   
,,of ,,correggio',s 8,,education ,,of   
,,cupid40      ,correggio's picture of  
,mercury teaching ,cupid to read1 in the
 presence  of ,venus1 called the        
,education of ,cupid1 is one of the most
 celebrated  works of art extant4 ,it   
now adorns the ,english ,national       
,gallery1 and its  history is           
exceedingly interesting4 ,it was painted
 for ,federigo  ,gonzaga1 ,duke of      
,mantua1 the predecessor of him who a   
hundred years  later patronized ,rubens4
 ,when ,charles ,i4 of ,england1 in     
#afcj1 purchased  the ,mantuan          
collection for #bj1jjj1 this picture and
 three others by  ,correggio were       
included in the bargain4 ,on the sale of

 the king's  effects by order of        
parliament1 it was purchased by the     
,duke of ,alva1  and from his family    
passed into the hands of the famous     
,godoy1 ,prince of  ,peace4 ,when his   
collection was sold at ,madrid during   
the ,french  invasion1 it was bought by 
,murat1 who took it to ,naples1 where it
  adorned the royal palace4 ,on his fall
 from power1 it was among the  precious 
effects with which his wife1 ,caroline  
,buonaparte1 escaped to  ,rome1 and     
thence to ,vienna1 where her collection 
of pictures was bought  by the ,marquis 
of ,londonderry1 the ,english           
ambassador1 who instantly  dispatched   
the two ,correggios--the ,education of  
,cupid and the ,ecce  ,homo--to ,london4
 ,they were purchased of his ,lordship  
by ,parliament in  #ahcd1 for #aj1jjj   
guineas1 and now adorn the ,english     
,national ,gallery4  ,sir ,thomas       
,lawrence was allowed a furtive glance  
at these pictures1 at  ,rome1 in the    
hope that he would procure a purchaser  

for them4 ,he says in  a letter1 8,i had
 them brought down to me1 and placed    
them in all lights1  and ,i know them to
 be most rare and precious40 ,by his    
recommendation1  ,mr4 ,angerstein       
offered #f1ejj for the two1 which was   
declined4 ,at the  time when the        
,marquis of ,londonderry closed with    
,general ,m',donald1 who  was           
chamberlain to ,madame ,murat1 then     
known as ,countess ,lipona 7this  was   
during the ,congress of ,sovereigns at  
,verona in #ahbb71 the ,emperor of      
,russia was negociating for them1 and   
supposing that he had a right to  them1 
messengers were despatched after        
,londonderry's couriers1 but            
fortunately they were not overtaken1    
though pursued to the ,hague4           
,,magdalen ,,by ,,correggio4      ,in   
#ahcg1 ,mr4 ,atherstone bought at an    
auction mart in ,london1 a genuine      
picture of a ,magdalen by ,correggio1   
for a small sum4 ,he found it among a   
parcel of rubbish sent to be sold by a  

gentleman1 who had bought the  picture  
in ,italy for ten pounds1 without       
knowing anything of its value4  ,it was 
in perfect preservation1 executed in the
 greatest style of  ,correggio1         
surpassing in beauty of coloring and    
depth of tone the famous  specimens in  
the ,national ,gallery6    ,the writer  
can tell an amusing story of a picture  
that was not by  ,correggio4 ,it was a  
small picture of a ,holy ,family1 on    
copper4 ,it was  bought in ,naples1 for 
a very large sum1 by a gentleman who    
resides not  many miles from ,new ,york1
 who smuggled it out of the country4 ,on
 his  arrival home1 wishing to improve  
the brilliancy of the coloring1 which   
appeared much obscured by the smoke and 
dust of many years1 he sent it  to a    
skillful artist to be cleaned1 who1 on  
removing the plentiful coats  of        
varnish1 soon discovered that it was    
nothing but a transfer4 ,the  artist    
gently hinted to the connoisseur that he
 had been duped4  8,zounds1 sir1 this   

cannot be2 the picture was valued at    
#e1jjj in  ,naples1 and ,i was offered  
very large prices for it by some of the 
best  judges in ,paris40 ,the artist1   
with a little spirits1 quickly brought  
the  lines of a print into full view1 so
 that not even a glass was required  to 
see them6 ,it is needless to say that   
the proprietor was greatly  chagrined1  
and vented his rage in curses loud and  
deep against foreign  impostors4 ,yet he
 ordered the coats of varnish to be     
replaced1 and  afterwards sold the      
picture as an original ,correggio4      
,,discovery ,,of ,a ,,correggio4        
,among the numerous restorers of old    
pictures who resided at ,rome about     
#aghj1 were two friends1 an ,italian    
named ,lovera1 and a ,german named      
,hunterspergh4 ,they were both pupils of
 the ,cavaliere ,mengs4 ,they           
frequented the sales of old pictures at 
the ,piazza ,nuova1 as well to  purchase
 the works of the old masters at a low  
price1 as to supply  themselves with old

 canvass1 which they might repaint4 ,on 
one occasion1  having bought a lot of   
old canvass and divided it between them1
 ,lovera  received as a part of his     
share a very indifferent flower-piece4  
,on  taking it home1 he found that the  
ground scaled off1 and to his surprise  
discovered traces of a figure painted in
 an admirable style4 ,he employed       
himself with the utmost care in removing
 the ground which covered the  original 
picture1 and thus restored a capital    
performance1 representing  ,charity1    
under the emblem of a ,woman surrounded 
by three ,children4 ,the  report of this
 happy discovery soon spread2 all the   
artists and amateurs  ran to behold it4 
,the best judges1 among whom was ,mengs1
 acknowledged  the genuine style of     
,correggio1 and valued the performance  
at #b1jjj4  ,the ,earl of ,bristol      
bought it from ,lovera for about #a1ejj4
 ,an engraving  has since been made from
 it4 ,the value was afterwards the      
subject of a  suit at law between       

,hunterspergh and ,lovera4              
,,lionardo ,,da ,,vinci4      ,this     
illustrious artist1 denominated by      
,lanzi 8the ,father of ,modern          
,painting10 was also an eminent         
sculptor1 architect1 and engineer1 the  
natural son of ,pietro da ,vinci1 notary
 to the ,florentine ,republic4  ,vasari 
and his annotators place his birth in   
#adde2 but ,durazzini1 in his           
,panegyrics on ,illustrious ,tuscans1   
satisfactorily proves that he was  born 
in ,lower ,valdarno1 at the castle of   
,vinci1 in #adeb4          ,,precocity  
,,of ,,da ,,vinci',s ,,genius4      ,at 
a very early age1 ,lionardo da ,vinci   
showed remarkably quick abilities  for  
everything he turned his attention to1  
but more particularly for  arithmetic1  
music1 and drawing4 ,his drawings       
appeared something  wonderful to his    
father1 who showed them to ,andrea      
,verocchio1 and that  celebrated artist1
 greatly surprised at seeing productions
 of such  merit from an uninstructed    

hand1 willingly took ,lionardo as a     
pupil4 ,he  was soon much more          
astonished when he perceived the rapid  
progress his  pupil made2 he felt his   
own inferiority1 and when ,lionardo     
painted an  angel in a picture of the   
,baptism of ,christ1 in ,s4 ,salvi at   
,vallombrosa1  so much superior to the  
other figures that it rendered the      
inferiority  of ,verocchio apparent to  
all1 he immediately relinquished the    
pencil for  ever4 ,this picture is now  
in the academy at ,florence4 ,the first 
original  work by ,lionardo1 mentioned  
by ,vasari1 was the so-called ,rotella  
del  ,fico1 a round board of a fig-tree1
 upon which his father requested him  to
 paint something for one of his tenants4
 ,lionardo1 wishing to astonish  his    
father1 determined to execute something 
extraordinary1 that should  produce the 
effect of the ,head of ,medusa2 and     
having prepared the  rotella1 and       
covered it with plaster1 he collected   
almost every kind of  reptile1 and      

composed from them a monster of most    
horrible appearance2  it seemed alive1  
its eyes flashed fire1 and it appeared  
to breathe  destruction from its open   
mouth4 ,the picture produced the desired
 effect  upon his father1 who thought it
 so wonderful that he carried it        
immediately to a picture dealer in      
,florence1 sold it for a hundred        
ducats1 and purchased for a trifle an   
ordinary piece for his tenant4          
,,extraordinary ,,talents ,,of ,,da     
,,vinci4      ,lionardo da ,vinci was   
endowed by nature with a genius         
uncommonly  elevated and penetrating1   
eager after discovery1 and diligent in  
the  pursuit1 not only in what related  
to painting1 sculpture1 and             
architecture1 but in mathematics1       
mechanics1 hydrostatics1 music1  poetry1
 botany1 astronomy1 and also in the     
accomplishments of  horsemanship1       
fencing1 and dancing4 ,unlike most men  
of versatile talent1  he was so perfect 
in all these1 that when he performed any

 one1 the  beholders were ready to      
imagine that it must have been his sole 
study4  ,to such vigor of intellect he  
joined an elegance of features and      
manners1 that graced the virtues of his 
mind2 he was affable with  strangers1   
with citizens1 with private individuals1
 and with princes4  ,this extraordinary 
combination of qualities in a single    
man1 soon spread  his fame over all     
,italy4          ,,da ,,vinci',s ,,works
 ,,at ,,milan4      ,in #adid1 ,da      
,vinci was invited to ,milan by the     
,duke ,lodovico ,sforza1 who  appointed 
him ,director of the ,academy of        
,painting and ,architecture1  which he  
had recently revived with additional    
splendor and  encouragement4 ,during his
 residence there1 he painted but little1
 with  the exception of his celebrated  
picture of the ,last ,supper1 a         
description of which will be found in a 
subsequent article4 ,as ,director  of   
the ,academy1 he banished all the dry1  
gothic principles established  by his   

predecessor1 ,michelino1 and introduced 
the beautiful simplicity  and purity of 
the ,grecian and ,roman styles4 ,lanzi  
says that in this  capacity1 8he left a 
degree of refinement at ,milan1 so      
productive of  illustrious pupils that  
this period may be ranked as the most   
glorious  era of his life40 ,the ,duke  
engaged ,lionardo in the stupendous     
project of  conducting the waters of the
 ,adda1 from ,mortesana1 through the    
,valteline1 and the valley of the       
,chiavenna to the walls of ,milan1 a    
distance of nearly two hundred miles4   
,sensible of the greatness of this      
undertaking1 ,lionardo applied himself  
more closely to those branches of       
philosophy and mathematics which are    
most adapted to mechanics1 and  finally 
accomplished this immense work1 greatly 
to the astonishment and  admiration of  
all ,italy4 ,he executed the model for a
 colossal bronze  equestrian statue of  
the ,duke's father1 ,francesco ,sforza1 
and would have  completed it1 but the   

,duke's affairs were becoming greatly   
embarrassed1  so that the necessary     
metal 7#bjj1jjj lbs47 was not furnished4
 ,in #aejj1  ,lodovico ,sforza was      
overthrown in battle by the ,french1    
made prisoner1  and conducted to        
,france1 where he soon after died in the
 castle of  ,loches4 ,the ,academy was  
suppressed1 the professors dispersed1   
and  ,lionardo1 after losing all1 was   
obliged to quit the city1 and take      
refuge in ,florence4          ,,da      
,,vinci',s 8,,battle ,,of ,,the         
,,standard40      ,soon after           
,lionardo's return to ,florence1 in     
#aejc1 he was commissioned  by the      
,gonfalonire ,soderini to decorate one  
side of the ,council ,hall of  the      
,palazzo ,vecchio1 while ,michael       
,angelo was engaged to paint the        
opposite side4 ,lionardo selected the   
battle in which the ,milanese  general1 
,niccolo ,piccinino1 was defeated by the
 ,florentines at ,anghiari1  near ,borgo
 ,san ,sepolcro4 ,this composition1 of  

which he only made the  cartoon of a    
part1 was called the ,battle of the     
,standard2 it represents  a group of    
horsemen contending for a standard1 with
 various accessories4  ,vasari praises  
the beauty and anatomical correctness of
 the horses1 and  the costumes of the   
soldiers4 ,lanzi says it was never      
executed1 after  his failing in an      
attempt to paint it in a new method upon
 the wall1 but  ,lucini afterwards      
represented it in a painting which is in
 the ,ambrosian  ,library at ,milan1    
esteemed one of the finest works in that
 collection4  ,the fame of this contest 
between the two great artists1 caused   
great  excitement1 and induced          
,raffaelle1 who had recently quitted the
 school  of ,perugino1 to visit         
,florence4 ,the grace and delicacy of   
,lionardo's  style1 compared with the   
dry and gothic manner of ,perugino1     
excited the  admiration of the young    
painter1 and inspired him with a more   
modern  taste4          ,,lionardo ,,da 

,,vinci ,,and ,,leo ,x4      ,the       
patronage extended to the arts by ,leo  
,x41 induced ,lionardo to visit  ,rome4 
,accordingly1 in #aead1 he went to that 
metropolis1 in the train of  ,duke      
,giuliano de ,medici1 by whom he was    
introduced to the ,pope1 who soon  after
 signified his intention of employing   
,lionardo's pencil4 ,upon this1  the    
painter began to distil his oils and    
prepare his varnishes1 which  the ,pope 
seeing1 exclaimed with surprise1 that   
8nothing could be  expected of a painter
 who thought of finishing his works     
before he had  begun them40 ,this want  
of courtesy in the ,pope offended       
,lionardo1 and  according to ,vasari1   
was the reason why he immediately       
quitted ,rome in  disgust4 ,it is       
probable1 however1 that the talents and 
fame of  ,buonarotti and ,raffaelle had 
more to do with producing the           
dissatisfaction of this great painter1  
who was then declining into the  vale of
 years4          ,,lionardo ,,da ,,vinci

 ,,and ,,francis ,i4      ,francis ,i4  
of ,france was not only a liberal patron
 of ,lionardo da ,vinci1  but           
entertained for him a strong personal   
friendship4 ,he gave #djjj gold  crowns 
for his celebrated portrait of ,mona    
,lisa1 the wife of ,francesco           
,giocondo1 which occupied ,vinci four   
years4 ,when ,lionardo was advanced in  
years1 and his health declining1 he took
 him into his service1 treated  him with
 the greatest kindness1 and gave him a  
pension of #gjj crowns  annually4 ,the  
,king delighted in the society of ,da   
,vinci1 and when his  courtiers ventured
 to express their surprise that he      
should prefer his  company to theirs1 he
 rebuked them by saying1 that 8he could 
make as  many lords as he chose1 but    
that ,god alone could make a ,lionardo  
da  ,vinci40          ,,death ,,of ,,da 
,,vinci4      ,this great artist expired
 at ,fontainbleau on the #b;d day of    
,may1 #aeai1  aged sixty-seven years4   
,his health had been gradually failing  

for  several years1 and ,vasari relates1
 that ,francis ,i4 having honored him   
with a visit in his dying moments1      
,lionardo1 deeply affected at this      
testimony of his regard1 raised himself 
in the bed to express his thanks  and   
gratitude1 when falling back exhausted1 
the ,king caught him1 and he  expired in
 his arms4          ,,da ,,vinci',s     
,,learning4      ,lionardo da ,vinci was
 one of the most learned1 accomplished1 
and eminent  men of the #aeth century4  
,hallam says of him1 8,the discoveries  
which made  ,galileo and ,kepler1       
,maestlin1 ,maurolicus1 ,castelli1 and  
other names  illustrious1 the system of 
,copernicus1 the very theories of recent
  geologists1 are anticipated by        
,lionardo da ,vinci1 within the compass 
of  a very few pages1 not perhaps in the
 most precise language1 or on the  most 
conclusive reasoning1 but so as to      
strike us with something like  the awe  
of preternatural knowledge4 ,in an age  
of so much dogmatism1 he  first laid    

down the grand principle of ,bacon1 that
 experiment and  observation must be the
 guides to just theory in the           
investigation of  nature40 ,his         
scientific knowledge proved the means of
 conferring  incalculable benefits upon 
the art of painting1 one of the most    
important of which was the invention of 
the chiaro-scuro4 ,his intimate         
acquaintance with mathematical studies  
enabled him to develope greatly  the    
knowledge of optics1 and no one was     
better acquainted with the  nature of   
arial perspective1 which became a       
distinctive and hereditary              
characteristic of his school4 ,lanzi    
says1 8,being extremely well versed  in 
poetry and history1 it was through him  
that the ,milanese school  became one of
 the most accurate and observing in     
regard to antiquity and  to costume4    
,mengs has noticed that no artist could 
surpass ,vinci in the  grand effect of  
his chiaro-scuro4 ,he instructed his    
pupils to make as  cautious a use of    

light as of a gem1 not lavishing it too 
freely1 but  reserving it always for the
 best place4 ,and hence we find in his1 
and in  the best of his disciples'      
paintings1 that fine relief1 owing to   
which  the pictures1 and in particular  
the countenances1 seem as if starting   
from the canvass40          ,,da        
,,vinci',s ,,writings4      ,almost of  
equal value with the pictures of this   
immortal artist1 are his  writings1 part
 of which1 unfortunately1 have been     
lost1 and others have  remained in      
manuscript4 ,his ,trattato della        
,pittura1 c41 appeared for  the first   
time in #afea4 ,it was translated into  
,english1 and published by  ,john       
,senex1 ,london1 #agba4 ,the most       
complete edition was published by       
,manzi1 in ,italian1 in #ahag4 ,the     
learned connoisseur1 ,count ,algarotti1 
esteemed this work so highly1 that he   
regarded it the only work  necessary to 
be put into the hands of the student4   
8,with a deep insight  into nature10    

says ,fiorillo1 8,lionardo has treated  
in this book1 of  light1 shades1        
reflections1 and particularly of        
backgrounds4 ,he  perfectly understood1 
and has explained in the best way1 that 
natural  bodies being bounded mostly by 
curved lines1 which have a natural      
softness1 it is important to give this  
softness to the outlines2 that  this can
 be done only by means of the ground on 
which the object is  represented2 that  
the inner line of the surrounding       
ground1 and the  outer line of the      
object1 are one and the same2 nay1 that 
the figure of  the object becomes       
visible only by means of that which     
surrounds it2  that even the colors     
depend upon the surrounding objects1 and
 mutually  weaken and heighten each     
other2 that when objects of the same    
color are  to be represented1 one before
 the other1 different degrees of light  
must  be used to separate them from each
 other1 since the mass of air between   
the eye and the object lessens and      

softens the color in proportion to  the 
distance40 ,among the works of ,da      
,vinci1 were ,treatises on  ,hydraulics1
 ,anatomy1 ,perspective1 ,light and     
,shadow1 and the ,anatomy of  the       
,horse4 ,the ,ambrosian ,library of     
,milan originally possessed sixteen     
volumes of his manuscripts4 ,the        
,french1 during their occupancy of      
,milan1  carried off twelve of these1   
7probably all there were then remaining7
  but only three of them reached ,paris1
 one of which was published under  the  
title of ,fragment d'un ,trait sur les  
,mouvements du corps humain4  ,only one 
volume was returned to ,milan by the    
,allies in #ahae4 ,what  abominable     
sacrilege6 ,it is said that seven       
volumes more of his  manuscripts were in
 the collection of the ,king of ,spain4 
,,da ,,vinci',s ,,sketch ,,books4       
,da ,vinci always carried in his pocket 
a book1 in which he was in the  habit of
 sketching every remarkable face1       
object1 and effect of nature  that      

struck his fancy2 and these sketches    
supplied him with abundant  materials   
for his compositions4 ,caylus published 
a collection of  beautiful sketches and 
studies by ,lionardo1 under the title of
 ,recueil  de ,tetes de ,caractres et de
 ,charges1 c41 #agcj1 of which there is 
also  a ,german edition4 ,two more were 
published at ,milan in #aghd1 under the 
titles of ,desseins de ,leonardo da     
,vinci1 ,gravs par ,ch4 ,t4 ,gerli1 and 
,osservazioni sopra i ,disegni di       
,lionardo dall' ,abbate ,amoretti1 c4   
,besides these appeared in ,london in   
#agif1 engravings of the numerous       
sketches of ,lionardo in the possession 
of the ,king of ,england1 entitled      
,imitations of ,original ,designs of    
,lionardo da ,vinci1 c41 published by   
,chamberlaine1 folio4 ,see also the     
,life of ,lionardo da ,vinci in ,german1
  published at ,halle in #ahai4         
,,the ,,last ,,supper ,,of ,,lionardo   
,,da ,,vinci4      8,his ,last ,supper  
has been stated in history as an        

imperfect production1  although at the  
same time all history is agreed in      
celebrating it as one  of the most      
beautiful paintings that ever proceeded 
from the hand of  man4 ,it was painted  
for the ,refectory of the ,dominican    
fathers at ,milan1  and may be          
pronounced a compendium1 not only of all
 that ,lionardo taught  in his books1   
but also of what he embraced in his     
studies4 ,he here gave  expression to   
the exact point of time best adapted to 
animate his  history1 which is the      
moment when the ,redeemer addresses his 
disciples1  saying1 #8,one of you will  
betray me4' ,then each of his innocent  
followers  is seen to start as if struck
 with a thunderbolt2 those at a distance
  seem to interrogate their companions1 
as if they think they must have         
mistaken what he had said2 others1      
according to their natural  disposition1
 appear variously affected2 one of them 
swoons away1 one  stands lost in        
astonishment1 a third rises in          

indignation1 while the  very simplicity 
and candor depicted upon the countenance
 of a fourth1  seem to place him beyond 
the reach of suspicion4 ,but ,judas     
instantly  draws in his countenance1 and
 while he appears as it were attempting 
to  give it an air of innocence1 the eye
 rests upon him in a moment1 as the     
undoubted traitor4 ,vinci himself used  
to observe1 that for the space of  a    
whole year he employed his time in      
meditating how he could best give       
expression to the features of so bad a  
heart2 and that being accustomed  to    
frequent a place where the worst        
characters were known to assemble1  he  
there met with a physiognomy to his     
purpose2 to which he also added  the    
features of many others4 ,in his figures
 of the two saints ,james1  presenting  
fine forms1 most appropriate to the     
characters1 he availed  himself of the  
same plan1 and being unable with his    
utmost diligence to  invest that of     
,christ with a superior air to the rest1

 he left the head  in an unfinished     
state1 as we learn from ,vasari1 though 
,armenini  pronounced it exquisitely    
complete4 ,the rest of the picture1 the 
table-cloth with its folds1 the whole of
 the utensils1 the table1 the           
architecture1 the distribution of the   
lights1 the perspective of the  ceiling 
7which1 in the tapestry of ,s4 ,pietro1 
at ,rome1 is changed almost  into a     
hanging garden71 all was conducted with 
the most exquisite care2  all was worthy
 of the finest pencil in the world4 ,had
 ,lionardo desired  to follow the       
practice of his age in painting in      
fresco1 the art at this  time would have
 been in possession of this treasure4   
,but being always  fond of attempting   
new methods1 he painted this            
master-piece upon a  peculiar ground1   
formed of distilled oils1 which was the 
reason that it  gradually detached      
itself from the wall4 ,about half a     
century  subsequent to the execution of 
this wonderful work1 when ,armenini saw 

it1 it was already half decayed3 and    
,scanelli1 who examined it in  #afdb1   
declared that it #8was with difficulty  
he could discern the  history as it had 
been4' ,nothing now remains except the  
heads of three  apostles1 which may be  
said to be rather sketched than         
painted40--,lanzi4          ,,copies    
,,of ,,the ,,last ,,supper ,,of ,,da    
,,vinci4      ,the great loss of the    
original picture is in some measure     
compensated by  several excellent       
copies1 some of which are by ,lionardo's
 most eminent  disciples2 the best are1 
that by ,marco ,uggione1 at the         
,carthusians of  ,pavia2 another in the 
,refectory of the ,franciscans at       
,lugano1 by  ,bernardino ,luini2 and one
 in ,la ,pace at ,milan1 by ,gio4 ,paolo
 ,lomazzo4  ,fuseli1 lecturing on the   
copy by ,marco ,uggione1 says1 8the face
 of the  ,saviour is an abyss of        
thought1 and broods over the immense    
revolution  in the economy of mankind1  
which throngs inwardly on his absorbed  

eye--as the ,spirit creative in the     
beginning over the water's darksome     
wave--undisturbed and quiet4 ,it could  
not be lost in the copy before us2  how 
could its sublime expression escape     
those who saw the original8 ,it  has    
survived the hand of time in the study  
which ,lionardo made in  crayons1       
exhibited with most of the attendant    
heads in the ,british  ,gallery1 and    
even in the feeble transcripts of       
,pietro ,testa4 ,i am not  afraid of    
being under the necessity of retracting 
what ,i am going to  advance1 that      
neither during the splendid period      
immediately subsequent  to ,lionardo1   
nor in those which succeeded to our own 
time1 has a face of  the ,redeemer been 
produced1 which1 ,i will not say        
equalled1 but  approached ,lionardo's   
conception1 and in quiet and simple     
features of  humanity1 embodied divine1 
or what is the same1 incomprehensible   
and  infinite powers40 ,in #ahbe1 ,prof4
 ,phillips examined the remains of this 

picture1 and says1 8,of the heads1 there
 is not one untouched1 and many  are    
totally ruined4 ,fortunately1 that of   
the ,saviour is the most pure1  being   
but faintly retouched2 and it presents1 
even yet1 a most perfect  image of the  
,divine character4 ,whence arose the    
story of its not having  been finished1 
is now difficult to conceive1 and the   
history itself  varies among the writers
 who have mentioned it4 ,but perhaps a  
man so  scrupulous as ,lionardo da      
,vinci1 in the definement of character  
and  expression1 and so ardent in his   
pursuit of them1 might have expressed   
himself unsatisfied1 where all others   
could only see perfection40             
,,da ,,vinci',s ,,discrimination4       
,lionardo da ,vinci possessed the rare  
faculty of being able to ascertain  the 
just medium between hasty and labored   
work2 and though very minute  in the    
finishing of his pictures1 yet he       
painted in a free and  unrestrained     
style4 ,the same master who consumed    

four years on the  portrait of ,mona    
,lisa ,giocondo1 gave one of the        
earliest and best  lessons to the age1  
in the great style1 in his memorable    
painting of the  ,last ,supper4 ,this   
power of attending at the same moment to
 the minuti  of detail1 and to the grand
 and leading principles of the art or   
science  in which a person may be       
employed1 shows a species of            
universality of  power that may be      
reckoned among the highest perfections  
of the human  mind2 and it places ,da   
,vinci not merely in the rank of the    
first of  painters1 but of the greatest 
of men4          ,,da ,,vinci',s ,,idea 
,,of ,,perfection ,,in ,,art4      ,da  
,vinci was never satisfied with his     
works1 and ,lanzi finds the same  fault 
with him that ,apelles did with         
,protogenes--his not knowing when to    
take his hand from his work4 ,phidias   
himself1 says ,tully1 bore in his  mind 
a more beautiful ,minerva and a grander 
,jove than he was capable of  exhibiting

 with his chisel4 ,it is prudent counsel
 that teaches us to  aspire to the best1
 but to rest satisfied with attaining   
what is good4  8,vinci10 says ,lanzi1   
8was never satisfied with his labors1 if
 he did not  execute them as perfectly  
as he had conceived them2 and being     
unable to  reach the high point proposed
 with a mortal hand1 he sometimes only  
designed his work1 or conducted it only 
to a certain degree of  completion4     
,sometimes he devoted to it so long a   
period as almost to  renew the example  
of the ancient who employed seven years 
over his  picture 7,protogenes' ,ialysus
 and his ,dog74 ,but as there was no    
limit to  the discovery of fresh        
beauties in that work1 so in the opinion
 of  ,lomazzo it happens with the       
perfections of ,vinci's paintings1      
including  even those which ,vasari and 
others allude to as left imperfect40    
,lanzi  says it is certain that he left 
some of his works only half finished4   
8,such is his ,epiphany1 in the ,ducal  

,gallery at ,florence1 and his ,holy    
,family1 in the ,archbishop's palace at 
,milan40 ,others he finished in the     
most exquisite manner4 8,he was not     
satisfied with only perfecting the      
heads1 counterfeiting the shining of the
 eyes1 the pores of the skin1  the roots
 of the hair1 and even the beating of   
the arteries2 but he  likewise portrayed
 each separate garment1 and every       
accessory1 with  equal minuteness4 ,thus
 in his landscapes1 also1 there was not 
a single  herb1 or leaf of a tree1 which
 he had not taken1 like a portrait1 from
  the face of nature2 and even to his   
very leaves he gave a peculiar air1     
fold1 and position best adapted to      
represent their rustling in the wind4   
,while he bestowed his attention in this
 manner to minuti1 he at the  same time1
 as is observed by ,mengs1 led the way  
to a more enlarged and  dignified style2
 entered into the most abstruse         
inquiries as to the  source and nature  
of expression--the most philosophical   

and elevated  branch of the art--and    
smoothed the way for the appearance of  
,raffaelle40 ,vinci spent four years on 
his portrait of ,mona ,lisa  ,giocondo4 
,,da ,,vinci ,,and ,,the ,,prior4       
,the ,last ,supper of ,lionardo da      
,vinci was painted in the ,refectory of 
the  ,dominican convent of ,s4 ,maria   
della ,grazia1 at ,milan4 ,it was       
considered  one of the proudest         
monuments of that city4 ,while forming  
the plan of  its composition1 ,da ,vinci
 meditated profoundly on the subject2   
and  having prepared himself by long    
study1 and above all by a closer        
examination of nature1 he began the     
execution by repeated sketches1 both  of
 the whole design1 and of all its       
individual parts4 ,he used to  frequent 
the accustomed haunts of persons        
resembling1 in their character  and     
habits1 those whom he was about to      
introduce in his picture2 and as  often 
as he met with any attitudes1 groups1 or
 features which suited his  purpose1 he 

sketched them in his tablets1 which he  
always carried with  him4 ,having nearly
 finished the other apostles in this    
way1 he had left  the head of ,judas    
untouched for a long time1 as he could  
find no  physiognomy which satisfied    
him1 or came up to the ideas he had     
formed  of such a villainous and        
treacherous character4    ,the prior of 
the convent grew impatient at being so  
long incommoded in  that essential      
branch of monastic discipline which was 
carried on in the  refectory or dining  
hall1 where the picture was being       
painted1 and  complained to the ,grand  
,duke1 who called on the artist to      
explain the  delay4 ,da ,vinci excused  
himself by saying that he worked at it  
two  whole hours every day4 ,the pious  
head of the house renewed his           
representations with great warmth1 and  
alleged that ,lionardo had only  one    
head to finish2 and that so far from    
working two hours a day1 he had  not    
been near the place for almost twelve   

months4 ,again summoned before  the     
prince1 the painter thus defended       
himself4 8,it is true ,i have not       
entered the convent for a long time2 but
 it is not less true that ,i have  been 
employed every day at least two hours   
upon the picture4 ,the head of  ,judas  
remains to be executed1 and in order to 
give it a physiognomy  suitable to the  
excessive wickedness of the character1  
,i have for more  than a year past been 
daily frequenting the ,borghetto1       
morning and  evening1 where the lowest  
refuse of the capital live2 but ,i have 
not yet  found the features ,i am in    
quest of4 ,these once found1 the picture
 shall  be finished in a day4 ,if1      
however10 he added1 8,i still am        
unsuccessful  in my search1 ,i shall    
rest satisfied with the face of the     
,prior himself1  which would suit my    
purpose extremely well2 only that ,i    
have for a long  time been hesitating   
about taking such a liberty with him in 
his own  convent40 ,it is hardly        

necessary to add that the ,duke was     
perfectly  satisfied with this apology4 
,the artist soon after met with his     
,judas1  and finished his great work4   
,it is stated by several ,italian       
writers  that ,da ,vinci1 out of        
revenge1 did actually take this liberty 
with the  prior4          ,,da          
,,vinci',s ,,drawings ,,of ,,the ,,heads
 ,,in ,,his ,,celebrated ,,last         
,,supper4      ,the series of drawings  
for the celebrated work of the ,last    
,supper1 which  were formerly in the    
,ambrosian ,library at ,milan1 are now  
in the  possession of ,sir ,thomas      
,baring4 ,from the great injuries which 
that  sublime composition has sustained1
 these may be considered as among the   
most precious reliques of this master4  
,the drawing which represents the  head 
of the ,saviour is magnificent1 and     
probably superior to the same  head in  
the picture1 which is said to have been 
left unfinished4 ,whether  this         
circumstance arose from the troubles    

which then existed in ,italy1  and in   
which the ,sforza family were so        
immediately engaged1 or from a  feeling 
on the part of the artist1 that he had  
not been able to surpass  that sublimity
 of character to which he had attained  
in his first  design1 and therefore left
 the same to a more happy moment1 may   
now be  matter of speculative           
conjecture4          ,,francis ,i4 ,,and
 ,,the ,,last ,,supper ,,of ,,vinci4    
,francis ,i4 was so struck with         
admiration when he first saw the ,last  
,supper of ,da ,vinci1 that he resolved 
to carry it to ,france4 ,for this       
purpose he attempted to saw it from the 
wall2 but finding that he could  not    
detach it without destroying the        
picture1 he abandoned the project4      
,,authenticated ,,works ,,of ,,da       
,,vinci4      ,the authenticated works  
of ,da ,vinci are exceedingly scarce2 he
 bestowed  so much labor upon them that 
they were never very numerous1 and time 
and  casualty has reduced the number4   

,it is said that one of the proprietors 
of the ,orleans collection destroyed    
some of the most capital works of ,da   
,vinci and ,correggio from conscientious
 scruples6 ,the most celebrated are  the
 ,mona ,lisa ,giocondo1 in the ,louvre2 
a lovely picture called ,la ,vierge  aux
 ,rochers2 a ,leda1 in the collection of
 ,prince ,kaunitz at ,vienna2  ,christ  
disputing with the ,doctors1 in the     
,pamfili palace at ,rome2 ,john  the    
,baptist1 formerly in the ,french       
,museum2 the portrait of ,lodovico      
,maria ,sforza1 in the ,dresden gallery4
 ,there are a few others in the         
collections at ,florence1 ,milan1 and   
,rome4 ,there are some in ,england2 but 
the authenticity of most of these1 to   
say the least1 is extremely  doubtful4  
,the ,christ disputing with the         
,doctors1 in the ,national  gallery1 is 
doubtless a copy by some one of his     
pupils4 ,the original1 as  before       
mentioned1 is at ,rome4 ,passavant says1
 8,the numerous copies or  repetitions  

of this picture1 now existing1 imply the
 estimation in which  the original      
cartoon was held1 and are additional    
proofs of its being an  original work4  
,one of these ,i saw in the ,spada      
gallery at ,rome2 two  others at        
,milan--one in the ,episcopal palace1   
and the other in the house  of the      
,consigliere ,commendatore ,casati40    
,most of the pictures claimed  to be    
original by ,da ,vinci1 even in the     
public galleries of ,europe1 were       
executed by his pupils and imitators1   
several of whom copied and  imitated him
 with great success4 ,lanzi says that   
,lorenzo di ,credi  approached him so   
closely1 that one of his copies of      
,lionardo could  hardly be distinguished
 from the original4 ,for a list of his  
imitators1  see ,spooner's ,dictionary  
of ,painters1 ,engravers1 ,sculptors1   
and  ,architects1 table of ,imitators4  
,,works ,,in ,,niello4      ,the art of 
working in niello1 which led ,maso      
,finiguerra1 a sculptor and  worker in  

gold and silver1 to the invention of    
copper plate engraving1  was very early 
practiced in ,italy4 ,in the #aeth      
century1 and long before1  it was the   
practice to decorate the church and     
other plate with designs  in niello2 and
 also caskets1 sword and dagger hilts1  
and various kinds  of ornaments4 ,the   
designs were hatched with a steel point 
in gold or  silver1 then engraved with  
the burin1 and run in while hot1 with a 
composition called niello1 an ,italian  
term derived from the ,latin            
nigellum--a compound of silver1 lead1   
copper1 sulphur1 and borax1 used  by the
 ancients1 and easily fusible1 and of a 
dark color4 ,the  superfluous parts of  
the niello were then scraped away1 and  
the surface  polished1 when the engraved
 part appeared with all the effect of a 
print4 ,lanzi says1 8this substance     
7nigellum7 being incorporated with  the 
silver1 and the whole being polished1   
produced the effect of  shadows1 which1 
contrasted with the clearness of the    

silver1 gave the  entire work the       
appearance of a chiaro-scuro in silver40
 ,there are many  very beautiful        
specimens of this species of work1      
particularly vases1  cups1 and paxes1 or
 images of ,christ on the cross1 which  
the people in  ,catholic countries kiss 
after service1 called the kiss of peace4
 ,the  most remarkable known specimen in
 niello1 is a very curious cup1         
preserved in the ,british ,museum4 ,its 
total height1 including the  statuette  
of a cherub on the top of the lid1 is   
about three feet4 ,it is  composed of   
silver1 and the whole1 except the border
 and statuette1 is  embellished with    
various fanciful designs4 ,for a long   
time it was the  property of the noble  
family of van ,bekerhout1 who made a    
present of it  to ,calonia1 the sculptor
 of the statue of ,john van ,eyck1 in   
the ,academy  of ,arts at ,bruges4 ,the 
widow of this artist sold it to ,mr4    
,henry ,farrer1  who afterwards disposed
 of it to the ,british ,museum for the  

sum of #cej4    ,remarkable as this     
process was1 there arose out of it      
another  incalculably more so4 ,it      
became a practice for goldsmiths1 who   
wished to  preserve their designs1 to   
take impressions of their plates with   
earth1  over which liquid sulphur was   
poured1 and from which1 when cold1 the  
earth was removed4 ,but ,maso           
,finiguerra1 a goldsmith and sculptor of
  ,florence1 and a pupil of the         
celebrated ,masaccio1 about the middle  
of  the #aeth century1 carried the      
process still further1 for with a       
mixture  of soot and oil he filled the  
cavities of the engraving he had made1  
as  a preparation for niello1 and by    
pressing damp paper upon it with a      
roller1 obtained impressions on the     
paper1 having1 as ,vasari says1 8,veni  
vano come disegnate di penna0--all the  
appearance of drawings done with  a pen4
 ,finiguerra was followed by ,baccio    
,baldini1 a goldsmith of  ,florence1    
who1 according to ,vasari1 employed the 

eminent artist ,sandro  ,botticelli1 to 
design for him4    ,lanzi says in #ahja1
 a pax from the collection of the ,grand
 ,duke of  ,florence1 supposed to have  
been executed by ,matteo ,dei1 an       
eminent  worker in niello in the early  
part of the #aeth century1 was taken to 
pieces to examine the workmanship4 ,the 
embellishments upon its surface         
represented the ,conversion of ,st4     
,paul1 and on the niello being          
extracted1 the engraved work was found  
not at all deep2 and ink and  paper     
being provided1 twenty-five fine proof  
prints were struck from it1  which were 
distributed among a few eminent artists 
and connoisseurs4 ,one  of them is now  
in the collection of the senator        
,martelli at ,florence4    ,the arts are
 generally to be traced to a humble     
origin1 and in these  works in niello1  
often discovering little taste1 we      
recognize the cradle  of that of        
engraving on copper1 to which engraving 
on steel has  within the last few years 

succeeded4 ,in the earliest efforts of  
this  kind1 the lines produced were     
comparatively rude and unmeaning1 and   
had  nothing more to recommend them than
 their merely representing a  particular
 sort of markings1 or slight hatchings  
with a pen1 without any  apparent degree
 of execution or expression4 ,it was not
 long1 however1  before this incipient  
art became indebted to the elegant      
etchings of the  great masters in       
painting1 as well as to their drawings  
in pen and ink4  ,it acquired accuracy  
and taste from the drawings of          
,raffaelle1 ,michael  ,angelo1 and      
,lionardo da ,vinci1 which connoisseurs 
of our own time have  seen and admired4 
,some of those by ,da ,vinci were       
hatched in a square and  delicate       
manner1 with a white fluid on dark      
colored paper2 while those  of ,michael 
,angelo and ,raffaelle inclined more to 
the lozenge1 in black  or brown ink4    
,they even carried this style of        
hatching with the pencil  into their    

pictures1 some of which adorn the       
,vatican1 and into the  famous cartoons1
 which are the glory of the picture     
gallery at ,hampton  ,court2 and by the 
persevering application of the graver1  
the art has  been advancing to the      
present period4    ,when compared with  
painting1 it appears but of recent      
invention1 being  coeval only with the  
art of printing4    ,it is for us to    
rejoice in the immense power that it now
 possesses1 and  to avoid the error     
pointed out by ,lord ,bacon when he     
said3 8,we are too  prone to pass those 
ladders by which the arts are reared1   
and generally  to reflect all the merit 
to the last new performer40             
,,sir ,,christopher ,,wren4      ,this  
great architect1 and learned man1 was   
born in #afcb4 ,though he was  of a weak
 bodily constitution in childhood1 he   
possessed a most  precocious mind1 and  
early manifested a strong inclination   
for the paths  of science and           
philosophy4 ,at the age of thirteen1 he 

invented an  astronomical instrument1 a 
pneumatic engine1 and another instrument
 of  use in gnomonics4 ,when fourteen   
years old1 he was entered as a gentleman
  commoner at ,wadham ,college1 ,oxford2
 and during the period of his           
collegiate course1 he associated with   
,hooke1 7whom he assisted in his        
,micrographia7 and other scientific men1
 whose meetings laid the  foundation of 
the ,royal ,society4 ,in #afec1 he was  
elected a ,fellow of ,all  ,souls'      
,college2 and by the age of twenty-four1
 he was known to the  learned of        
,europe1 for his various theories1      
inventions1 and  improvements1 a list of
 which would be too long for insertion4 
,in #afeg  he was appointed to the      
professor's chair of astronomy at       
,gresham  ,college1 ,london1 and three  
years after1 to that of the ,savilian   
professor at ,oxford4 ,on the           
establishment of the ,royal ,society1 he
  contributed largely to the success and
 reputation of that learned body4       

,,wren',s ,,self-,,command4      ,wren  
possessed great self-command1 as appears
 from the following  anecdote of him and
 his uncle1 the ,bishop of ,ely1 whom   
the ,parliament  had imprisoned in the  
,tower4 ,some time before the decease of
 ,oliver  ,cromwell1 ,wren became       
acquainted with ,mr4 ,claypole1 who     
married ,oliver's  favorite daughter4   
,claypole1 being a lover of mathematics1
 had conceived  a great esteem for young
 ,wren1 and took all occasions to       
cultivate his  friendship1 and to court 
his conversation1 particularly by       
frequent  invitations to his house and  
table4 ,it happened in one of these     
conversations that ,cromwell came into  
the room as they sat at dinner1  and    
without any ceremony1 as was his usual  
way in his own family1 he  took his     
place4 ,after a little time1 fixing his 
eyes on ,wren1 he said1  8,your uncle   
has been long confined in the ,tower40  
8,he has so1 sir10  replied ,wren1 8but 
he bears his afflictions with great     

patience and  resignation40 8,he may    
come out if he will10 returned          
,cromwell4 8,will  your highness permit 
me to tell him so80 asked ,wren4 8,yes10
 answered the  ,protector1 8you may40   
,as soon as ,wren could retire with     
propriety1 he  hastened with no little  
joy to the ,tower1 and informed his     
uncle of all  the particulars of his    
interview with ,cromwell2 to which the  
,bishop  replied with warm indignation1 
that 8it was not the first time he had  
received the like intimation from that  
miscreant1 but he disdained the  terms  
proposed for his enlargement1 which were
 a mean acknowledgment of  his favor1   
and an abject submission to his         
detestable tyranny3 that he  was        
determined to tarry the ,lord's leisure1
 and owe his deliverance to  him only40 
,this expected deliverance was not far  
distant1 for he was  released from      
confinement by the ,restoration4        
,,wren',s ,,restraints ,,in ,,designing 
,,his ,,edifices4      ,it is often     

seen1 that when kings patronize genius1 
instead of allowing  it to develop      
itself according to its own laws1 they  
hamper it according  to their own       
preconceived fancies4 ,the palace at    
,hampton ,court is  censured for its ill
 proportions2 but ,cunningham says that 
,wren moved  under sad restraints from  
the commissioners in one place1 and the 
court  in the other4 ,when the lowness  
of the cloisters under the apartments of
  the palace was noticed by one of the  
courtiers1 ,king ,william turned on  his
 heel like a challenged sentinel1 and   
answered sharply1 8,such were my        
express orders60 ,the rebuked nobleman  
bowed1 and acquiesced in the royal      
taste4 ,when ,st4 ,paul's ,cathedral was
 nearly completed1 the 8nameless        
officials0 called commissioners of that 
edifice1 decided to have a stone        
balustrade upon the upper cornice1 and  
declared their determination to  that   
effect1 8unless ,sir ,christopher ,wren 
should set forth that it was  contrary  

to the principles of architecture40 ,to 
this resolution1 in  which blind        
ignorance gropes its way1 calling on    
knowledge to set its  stumblings right1 
,wren returned the following answer3 8,i
 take leave  first to declare ,i never  
designed a balustrade4 ,persons of      
little skill  in architecture did       
expect1 ,i believe1 to see something    
that had been  used in ,gothic          
structures1 and ladies think nothing    
well without an  edging40 ,after this   
deserved satire1 he showed clearly1 at  
considerable  length1 that a balustrade 
was not in harmony with the general plan
 and  unique combinations of the        
edifice2 but his opinion was            
disregarded1 and  the balustrade was    
placed on the cornice4          ,,the   
,,great ,,fire ,,in ,,london4           
,while the discussions were going on    
whether ,st4 ,paul's ,cathedral should  
be restored1 or the entire edifice be   
rebuilt1 the great fire in ,london1  in 
#afff1 not only decided this question1  

but opened an extensive field  for the  
display of ,wren's talents in various   
other metropolitan  buildings4 ,one of  
his immediate labors1 arising from the  
conflagration1  was a survey of the     
whole of the ruins1 and the preparation 
of a plan  for laying out the devastated
 space in a regular and commodious      
manner1  with wide streets1 and piazzas 
at intervals1 which he laid before      
,parliament2 but his plans were not     
adopted1 and the new streets arose in   
that dense and intricate maze of narrow 
lanes1 which even now are but  slowly   
disappearing before modern improvements4
 ,furthermore1 instead of  the line of  
spacious quays along the ,thames which  
,wren proposed1 the  river is shut out  
from view by wharfs and warehouses1 to  
such an extent  as to render any        
adequate scheme for the improvement of  
its banks hardly  practicable4 ,london  
might have arisen from her ashes the    
finest city in  the world1 had ,wren's  
plans been followed4          ,,st4     

,,paul',s ,,cathedral4      ,wren       
prepared several designs and models for 
this great edifice4 ,the  composition of
 his favorite plan was compact and      
simple1 forming a  general octagonal    
mass1 surmounted by a cupola1 and       
extended on its west  side by a portico1
 and a short nave or vestibule within4  
,the plan  adopted1 exhibits an almost  
opposite mode of treatment1 both as to  
arrangement and proportions4 ,while the 
first exhibits concentration and        
uniform spaciousness1 the other is more 
extended as to length1 but  contracted  
in other respects1 and the diagonal     
vistas that would have  been obtained in
 the other case1 are altogether lost in 
this4 ,the first  stone of the present  
edifice was laid ,june #ba1 #afge2 the  
choir was  opened for divine service in 
,december1 #afig2 and the whole was     
completed  in thirty-five years1 the    
last stone on the summit of the lantern 
being  laid by the architect's son      
,christopher1 in #agaj4 ,taken          

altogether1 ,st4  ,paul's ,cathedral is 
a truly glorious work1 and its cupola is
 matchless  in beauty4 ,there are few   
churches of the past or present day that
 can  vie with it in richness of design2
 and ,st4 ,peter's1 with its single     
order and attic1 appearing of much      
smaller dimensions than it really is1   
cannot be put in comparison with it4    
,for a description of this edifice1  see
 ,spooner's ,dictionary of ,painters1   
,engravers1 ,sculptors1 and             
,architects4          ,,wren',s ,,death4
      ,this illustrious artist died in  
#agbc1 and was buried in the vault of   
,st4  ,paul's ,cathedral1 the most      
enduring monument of his genius1 under  
the  south aisle of the choir4          
,inscribed upon his tomb are four words 
8that  comprehend10 says ,walpole1 8his 
merit and his fame10 sublimely and      
eloquently expressed3 8,si monumentum   
quris1 circumspice0--8,if thou          
inquirest for a monument1 look around   
thee60          ,,wren ,,and ,,charles  

,,ii4      ,wren's small stature1 and   
his intimacy with ,charles ,,ii41 are   
humorously  shown in an anecdote        
preserved by ,seward4 ,the king1 on     
walking through  his newly erected      
palace at ,newmarket1 said1 8,these     
rooms are too low40  ,wren went up to   
the king and replied1 8,an please your  
majesty1 ,i think  them high enough40   
,whereupon ,charles1 stooping down to   
,sir ,christopher's  stature1 answered  
with a smile1 8,on second thoughts1 ,i  
think so too40          ,,thomas        
,,banks1 ,,the ,,english ,,sculptor4    
,among the friends of this gifted man1  
were ,flaxman1 ,fuseli1 and the         
talented ,john ,horne ,tooke4 ,his      
friendship with the last nearly proved  
mischievous to ,banks1 and perhaps would
 certainly have been so1 had it  not    
been for the uprightness of his         
character4 ,during those perilous  days1
 when 8revolution0 and 8mad equality0   
were causing such  commotions1 suspicion
 fell upon the politician1 who was      

subjected to an  official examination   
and a trial1 ,banks being also          
implicated in the  charge1 although his 
offence consisted at most in listening  
to the  other's declamations4 8,i       
remember10 says his daughter ,lavinia1  
8when  ,tooke1 and ,hardy1 and others   
were arrested on the charge of high     
treason1 that an officer waited on my   
father with an order from the           
,secretary of the ,state to go to his   
office4 ,i chanced to be in the next    
room1 and the door being partly open1 ,i
 heard all that passed4 ,my father  only
 requested to be allowed to go into his 
study1 and give directions  to his      
workmen2 this was complied with1 and he 
then accompanied the  messenger4 ,i said
 nothing to my mother of what ,i had    
heard1 since father  had been silent for
 fear of exciting unnecessary           
apprehensions2 but ,i  sat with much    
trouble at heart for several hours1 when
 to my  inexpressible joy ,i heard his  
well known knock at the door1 and ran to

  greet his return--a return rendered   
doubly happy1 since his own simple  and 
manly explanation had acquitted him of  
all suspicion of treasonable  designs1  
or of a thought injurious to his        
country40 ,the intercourse  between     
,banks and his daughter ,lavinia was of 
the most delightful  character4 ,his    
chief pleasure for many years was in her
 instruction2 he  superintended her     
education in all things1 and more       
particularly in  drawing2 she sat beside
 him whilst he modeled1 accompanied him 
in his  walks1 and in the evenings      
cheered him with music1 of which he was 
passionately fond4 ,a most touching     
instance of filial and paternal love6   
,,the ,,genius ,,of ,,banks      ,as    
,banks never received anything like the 
encouragement which he  deserved1 the   
character of his genius must be sought  
more in the works  that he sketched1    
than those that he executed in marble4  
,among his  sketches1 the poetical      
abounded1 and these were founded chiefly

 on  ,homer4 ,several splendid sketches 
are his ,andromache lamenting with her  
handmaidens over the body of ,hector1   
the ,venus rising from the ,sea1        
shedding back her tresses as she        
ascends1 and a ,venus bearing neas      
wounded from the ,battle4 8,in his      
classical sketches10 says ,cunningham1  
8the man fully comes out3 we see that he
 had surrendered his whole soul  to     
those happier days of sculpture when the
 human frame was unshackled  and free1  
and the dresses as well as deeds of men 
were heroic2 that the  bearing of gods  
was familiar to his dreams2 and that it 
was not his  fault if he aspired in vain
 to be the classic sculptor of his age  
and  nation40 ,his monument to the only 
daughter of ,sir ,brooke ,boothby1 now  
in  ,ashbourne church1 ,derbyshire1     
represents the child when six years old1
  lying asleep on her couch in all her  
innocence and beauty4 8,simplicity  and 
elegance10 says ,dr4 ,mavor1 8appear in 
the workmanship1 tenderness  and        

innocence in the image40 ,the sculptor's
 daughter ,lavinia says1 8,he  was a    
minute observer of nature1 and often    
have ,i seen him stop in his  walk to   
remark an attitude1 or some group of    
figures1 and unconsciously  trace the   
outline in air with his finger as if    
drawing paper had been  before him4 ,he 
would in the same way remark folds of   
drapery1 and note  them in his mind1 or 
sketch them on paper1 to be used when   
occasion  called40          ,,banks'    
,,kindness ,,to ,,young ,,sculptors4    
,his daughter ,lavinia often marvelled  
at his patience in pointing out the     
imperfections or beauties of drawings   
and models submitted by young  artists  
to his inspection4 ,even when little    
hope of future excellence  appeared1 he 
was careful not to wound the feelings of
 a race whose  sensitiveness he too well
 knew4 ,he would say1 8,this and better 
will  do1--but this and worse will never
 do10 and ended by recommending         
industry and perseverance4 ,one morning 

a youth of about thirteen years  of age1
 came to the door of ,banks with        
drawings in his hand4 ,owing to  some   
misgiving of mind1 the knock which he   
intended should be modest and           
unassuming1 was loud and astounding1 and
 the servant who opened the door  was in
 no pleasant mood with what he imagined 
to be forwardness in one  so young4     
,banks1 happening to overhear the       
chiding of the servant1 went  out and   
said with much gentleness1 8,what do you
 want with me1 young  man80 8,i want1   
sir10 said the boy1 8that you should get
 me to draw at  the academy40 8,that10  
replied the sculptor1 8is not in my     
power1 for no  one is admitted there but
 by ballot1 and ,i am only one of those 
persons  on whose pleasure it depends4  
,but you have got a drawing there--let  
me  look at it40 ,he examined it for a  
moment1 and said1 8,time enough for the 
academy yet1 my little man6 go home and 
mind your schooling1--try and  make a   
better drawing of the ,apollo1 and in a 

month come again and let  me see it40   
,the boy went home1 drew with three-fold
 diligence1 and on  that day month      
appeared again at the door of ,banks    
with a new drawing in  his hand4 ,the   
sculptor liked this drawing better than 
he did the other1  gave him a week to   
improve it1 encouraged him much1 and    
showed him the  various works of art in 
his own study4 ,he went away and        
returned in a  week1 when the ,apollo   
was visibly improved--he conceived a    
kindness for  the boy1 and said if he   
were spared he would distinguish        
himself4 ,the  prediction has been      
fulfilled1--the academician ,mulready   
has attained  wide distinction4         
,,the ,,personal ,,appearance ,,and     
,,character ,,of ,,banks4      ,in      
person1 ,banks was tall1 with looks     
silent and dignified1 and an            
earnestness of carriage that well became
 him2 he spoke seldom2 he had a  winning
 sweetness in his way of address1 and a 
persuasive manner which  was not unfelt 

by his academic companions4 ,he was     
simple and frugal in  his general style 
of living1 yet liberal to excess in all 
that related  to the encouragement of   
art2 his purse was open to virtuous     
sufferers1  and what is far more1 he    
shrank not from going personally into   
the  houses of the poor and sick1 to    
console and aid them in adversity4 ,in  
his younger days it was his custom to   
work at his marbles in the  solitude of 
the ,sabbath morning1 when his          
assistants were not at hand to          
interrupt him2 but as he advanced in    
life he discontinued the practice1  and 
became an example to his brother artists
 in the observance of the  ,sabbath day4
 ,he grew strict in religious duty1 and1
 like ,flaxman1 added  another to the   
number of those devout sculptors1 whose 
purity of life1  and reach of intellect1
 are an honor to their country4         
,,flaxman',s ,,tribute ,,to ,,banks4    
,that ,flaxman appreciated and honored  
,banks' genius1 he was ever ready to    

give strong proof4--8,we have had a     
sculptor10 he says in one of his        
lectures1 8in the late ,mr4 ,banks1     
whose works have eclipsed the most1 if  
not all his continental cotemporaries40 
,on another occasion--that of the  sale 
of the sculptor's models--,mrs4 ,siddons
 and ,flaxman were seated  together1    
when the auctioneer began to expatiate  
upon the beauty of an  antique figure1  
saying1 8,behold where the deceased     
artist found some of  his beauties40    
8,sir10 exclaimed ,flaxman1 more warmly 
than was his wont1  8you do ,mr4 ,banks 
much wrong1 he wanted no assistance40   
,banks died in #ahje4 ,in ,westminster  
,abbey a tablet is erected with this    
inscription1 8,in memory of ,thomas     
,banks1 ,esq41 ,r4 ,a41 ,sculptor1 whose
  superior abilities in the profession  
added a lustre to the arts of his       
country1 and whose character as a man   
reflected honor on human nature40       
,,joseph ,,nollekens1 ,,the ,,english   
,,sculptor4      ,cunningham says1 8,he 

was passionately fond of drawing and    
modelling1 and  labored early and late  
to acquire knowledge in his profession2 
yet he  was so free from all pride1 or  
so obliging by nature1 that he would run
  on any errand2 nor did he hesitate to 
relate1 in the days of his wealth  and  
eminence1 how he used to carry pots of  
porter to his master's maids  on a      
washing day1 and with more success than 
,barry did when he treated  ,burke1     
#8for1' says he1 #8,i always crept      
slowly along to save the head of  foam  
that the lasses might taste it in all   
its strength4' ,such traits as  these1  
however1 ,i cannot consent to set down  
as incontrovertible proofs  of a mean   
and vulgar spirit2 nay1 they often keep 
company with real  loftiness of nature40
          ,,nollekens' ,,visit ,,to     
,,rome4      ,in #agfj1 ,nollekens      
proceeded to ,italy1 by the way of      
,paris4 ,on arriving  in the ,french    
capital1 he presented himself at the    
house of an uncle  there1 told his name1

 and claimed kindred4 ,the old gentleman
 stood with  his door half opened1 put a
 few cool questions1 and seemed to doubt
 the  veracity of his story2 but at     
length catching a glimpse of a gold     
watch-chain1 he invited him to dinner4  
,the pride of the young artist1         
however1 had been deeply touched--he    
declined the invitation1 and went  his  
way4 ,on reaching ,rome1 the friendless 
youth found his stock reduced  to some  
twenty guineas2 and dreading want1 and  
what was worse1  dependence1 he set     
about mending his fortune with equal    
despatch and  success4 ,he modelled and 
carved in stone a bas-relief1 which     
brought him  ten guineas from ,england2 
and in the next year the ,society of    
,arts voted  him fifty guineas for his  
,timoclea before ,alexander1 which was  
in  marble4 ,he was now noticed by the  
artists of ,rome1 and lived on friendly 
terms with ,barry1 who was waging a     
useless and vexatious war with          
interested antiquarians and visitors of 

wealth and virtu4 ,indeed1 such  was the
 gentleness of his nature1 and his mild 
and unassuming demeanor1  that he never 
made enemies except amongst those who   
could have done no  one credit as       
friends4          ,,nollekens ,,and     
,,garrick4      ,during ,nollekens'     
residence at ,rome1 ,garrick came one   
day into the  ,vatican1 and observing   
the young sculptor1 said1 8,ah6 what8   
let me look  at you6 ,you are the little
 fellow to whom we gave the prizes in   
the  ,society of ,arts8 eh60 ,nollekens 
answered1 8,yes10 upon which the actor  
shook him kindly by the hand1 inquired  
concerning his studies1 and  invited him
 to breakfast the next morning4 ,he did 
more--he sat to him  for his bust1 and  
when the model was finished1 he gave him
 twelve  guineas4 ,this was the first   
bust he ever modelled4                  
,,nollekens' ,,talents ,,in ,,bust      
,,sculpture4      ,the bust of ,sterne1 
which he afterwards executed at ,rome in
 terra cotta1  materially increased his 

reputation2 and the applause that it    
received  probably warned the sculptor  
of his talents in that branch of the    
art1  in which he afterwards became so  
distinguished4 ,it forms a truly        
admirable image of the original1 and    
,nollekens1 to his last hour1  alluded  
to it with pleasure4 8,dance10 he used  
to say1 8made my picture  with my hand  
leaning on ,sterne's head--he was       
right40 ,this striking bust  is now in  
the collection of ,mr4 ,agar ,ellis4    
,his talents in bust  sculpture were    
universally acknowledged1 and when ,mr4 
,coutts1 the  banker1 applied to        
,fuseli1 then keeper of the ,royal      
,academy1 for the  best sculptor to     
execute his bust1 the painter replied1  
8,i can have no  difficulty in telling  
you2 for though ,nollekens is weak in   
many things1  in a bust he stands       
unrivalled4 ,had you required a group of
 figures1 ,i  should have recommended   
,flaxman1 but for a bust1 give me       
,nollekens40          ,,nollekens'      

,,bust ,,of ,,dr4 ,,johnson4      ,while
 he was modelling the bust of ,dr4      
,johnson1 the latter came one day       
accompanied by ,miss ,williams1 a blind 
lady2 and being very impatient of  the  
protracted sittings1 he came quite late1
 which so displeased the  sculptor that 
he cried out1 8,now1 ,doctor1 you did   
say you would give  my bust half an hour
 before dinner1 and the dinner has been 
waiting this  long time40 8,nolly1 be   
patient1 ,nolly10 said the sage1 making 
his way to  the bust4 8,how is this1    
,nolly1 you have loaded the head with   
hair40 8,all  the better10 returned the 
artist1 8it will make you look more like
 one  of the ancient sages or           
poets4--,i'll warrant now1 you wanted to
 have it  in a wig40 ,the ,doctor       
remonstrated seriously1 saying1 8a man1 
sir1  should be portrayed as he appears 
in company0--but the sculptor           
persisted4 ,the bust is an admirable    
work of art1 besides being a  faithful  
likeness4          ,,nollekens'         

,,liberality ,,to ,,chantrey4      ,when
 ,chantrey sent his bust of ,horne      
,tooke to the ,exhibition1 he was  young
 and unfriended2 but the great merit of 
the work did not escape the  eye of     
,nollekens4 ,he lifted it from the      
floor1 set it before him1 moved  his    
head to and fro1 and having satisfied   
himself of its excellence1  turned to   
those who were arranging the works for  
the ,exhibition1 and  said1 8,there's a 
very fine work3 let the man who made it 
be  known--remove one of my busts1 and  
put this in its place1 for it well      
deserves it40 ,often afterwards1 when   
desired to model a bust1 he said in  his
 most persuasive way1 8,go to ,chantrey1
 he is the man for a bust2 he  will make
 a good bust of you--,i always recommend
 him40 ,he sat for his  bust to         
,chantrey1 who always mentioned his name
 with tenderness and  respect4          
,,nollekens ,,and ,,the ,,widow4        
,smith gives a rather amusing account of
 a lady in weeds for her husband1  who  

8came drooping like a willow to the     
sculptor1 desiring a monument1  and     
declaring that she did not care what    
money was expended on the  memory of one
 she loved so4 #8,do what you please1   
but oh6 do it quickly1'  were her       
parting orders4 ,nollekens went to work1
 made the design1  finished the model1  
and began to look for a block of marble 
to carve it  from1 when in dropped the  
lady--she had been absent some three    
months4  #8,poor soul1' said the        
sculptor1 when she was announced1 #8,i  
thought she  would come soon1 but ,i am 
ready4' ,the lady came light of foot1   
and  lighter of look4 #8,ah1 how do you 
do1 ,mr4 ,nollekens8 ,well1 you have not
  commenced the model8' #8,aye1 but ,i  
have though1' returned the sculptor1    
#8and there it stands1 finished4'       
#8,there it is1 indeed1' sighed the     
lady1  throwing herself into a chair2   
they looked at one another for a        
minute's  space or so--she spoke first4 
#8,these1 my good friend1 are1 ,i know1 

early  days for this little change'--she
 looked at her dress1 from which the    
early profusion of crape had            
disappeared1--#8but since ,i saw you1 ,i
 have  met with an old ,roman           
acquaintance of yours1 who has made me  
an offer1  and ,i don't know how he     
would like to see in our church a       
monument of  such expense to my late    
husband4 ,indeed1 on second thoughts1 it
 would  perhaps be considered quite     
enough1 if ,i got our mason to put up a 
mural  tablet1 and that you know he can 
cut very prettily4' #8,my charge1 madam1
  for the model1' said the sculptor1    
#8is one hundred guineas4' #8,enormous6 
enormous6' said the lady1 but drew out  
her purse and paid it40 ,the  mutability
 of human nature6          ,,nollekens' 
,,compliments4      ,cunningham says    
that a portion of his sitters 8were     
charmed into  admirers by the downright 
bluntness of his compliments1 which they
  regarded as so many testimonies on    
oath of their beauty4 ,as a specimen  of

 his skill in the difficult art of      
pleasing1 take the following  anecdotes4
 ,he was modelling the head of a lady of
 rank1 when she forgot  herself1 changed
 her position1 and looked more loftily  
than he wished4  #8,don't look so       
scorney1 woman1' said the sculptor1     
modelling all the  while1 #8else you    
will spoil my bust--and you're a very   
fine woman--,i  think it will make one  
of my very best busts4' ,another time he
 said to a  lady1 who had a serious     
squint1 #8,look for a minute the other  
way1 for  then ,i shall get rid of a    
slight shyness in your eye1 which1      
though not  ungraceful in life1 is      
unusual in art4' ,on another occasion1 a
 lady with  some impatience in her      
nature was sitting for her portrait2    
every minute  she changed her position1 
and with every change of position put on
 a  change of expression1 until his     
patience gave way4 #8,lord1 woman6'     
exclaimed the unceremonious sculptor1   
#8what's the matter how handsome  you   

are1 if you won't sit still till ,i     
model you6' ,the lady smiled1 and  sat  
ever afterwards like a lay figure40     
,,an ,,overplus ,,of ,,modesty4      ,it
 has been remarked by some close        
observer1 that modesty is like shadow   
in a picture--too much of it obscures   
real excellence1 while the proper       
medium exhibits all parts in agreeable  
relief4 ,john ,riley1 an ,english       
portrait painter who flourished in the  
latter part of the seventeenth  century1
 was a proof that one may have a        
superabundance of this in  itself       
excellent quality4 ,walpole says1 8,he  
was one of the best native  artists who 
had flourished in ,england2 but he was  
very modest1 had the  greatest          
diffidence of himself1 and was easily   
disgusted with his own  works4 ,his     
talents were obscured by the fame rather
 than by the merit of  ,kneller1 and    
with a quarter of the latter's vanity1  
he might have  persuaded the world that 
he was as great a master40 ,he was but  

little  noticed until the death of      
,lely1 when ,chiffinch being persuaded  
to sit  to him1 the picture was shown1  
and recommended him to the king4        
,charles  ,,ii4 sat to him1 but almost  
discouraged the bashful artist from     
pursuing  a profession so proper for    
him4 ,looking at the picture1 he cried1 
8,is  this like me8 ,then od's fish1    
,i'm an ugly fellow60 ,this discouraged 
,riley so much that he could not bear   
the picture1 though he sold it for  a   
large price4 ,however1 he kept on1 and  
had the satisfaction of painting  ,james
 ,,ii4 and his ,queen1 and also their   
successors1 who appointed him  their    
painter4 ,riley died three years after  
the accession of ,william and  ,mary1 in
 #afia4          ,,the ,,artist         
,,footman4      ,edward ,norgate1 an    
,english painter of excellent judgment  
in pictures1  was sent into ,italy by   
the ,earl of ,arundel to purchase works 
of art4 ,on  returning1 however1 he was 
disappointed in receiving remittances1  

and  was obliged to remain some time in 
,marseilles4 ,being totally unknown     
there1 he used frequently to walk for   
several hours in a public part of  the  
city1 with a most dejected air2 and     
while thus engaged1 he was  occasionally
 observed by a merchant1 who1 doubtless 
impelled by kind  feelings1 ventured one
 day to speak to the wanderer1 and told 
him that  so much walking would have    
soon brought him to the end of his      
journey1  when ,norgate confessed his   
inability to proceed for want of money4 
,the  merchant then inquired into his   
circumstances1 and told him that        
perceiving he was able to walk at least 
twenty miles a day1 if he would  set out
 on his journey homeward1 he would      
furnish him handsomely for a  foot      
traveler4 ,by this assistance1 ,norgate 
arrived in his own country4             
,,an ,,architect',s ,,stratagem4        
,william ,winde1 a ,dutch architect who 
visited ,england in the reign of        
,charles ,,ii41 erected1 among other    

works1 ,buckingham ,house in ,st4       
,james'  ,park1 for the ,duke of ,bucks4
 ,he had nearly finished this edifice1  
but  the payment was most sadly in      
arrears4 ,accordingly ,winde enticed the
  ,duke one day to mount upon the leads1
 to enjoy the grand prospect4 ,when     
there1 he coolly locked the trapdoor and
 threw the key over the parapet1        
addressing his astounded patron1 8,i am 
a ruined man1 and unless ,i have  your  
word of honor that the debts shall be   
paid1 ,i will instantly throw  myself   
over40 8,and what is to become of me80  
asked the ,duke4 8,you shall  go along  
with me60 returned the desperate        
architect4 ,this prospect of  affairs   
speedily drew from the ,duke the        
wished-for promise1 and the  trapdoor   
was opened by a workman below1 who was a
 party in the plot4          ,,the      
,,freedom ,,of ,,the ,,times ,,in ,,the 
,,reign ,,of ,,charles ,,ii4      ,the  
freedom allowed in social intercourse is
 well illustrated by a  sketch in the   

account of ,graham4 ,william ,wissing1 a
 ,dutch painter who  succeeded ,sir     
,peter ,lely in fashionable portrait    
painting in ,england1  was noted for his
 complaisant manners1 which recommended 
him to most  people's esteem1 8,in      
drawing his portraits1 especially those 
of the fair  sex1 he always took the    
beautiful likeness2 and when any lady   
came to  sit to him whose complexion was
 in any ways pale1 he would commonly    
take  her by the hand and dance her     
about the room till she became warmer2  
by  which means he heightened her       
natural beauty1 and made her fit to be  
represented by his hand06               
,,hanneman',s ,,picture ,,of 8,,peace0  
,descamps says that ,adrian ,hanneman   
painted for the ,states of ,holland an  
emblematical subject of ,peace1         
impersonated by a beautiful young female
  habited in white satin1 and seated on 
a throne4 ,the picture was very         
charming1 so much so that the gallant   
burgomasters presented the living  model

 who served for it with a gratuity of   
#ajjj florins6          ,,weesop4       
,this ,dutch painter is chiefly known in
 ,england1 for his successful           
imitations of ,vandyck4 ,he spent some  
time there1 but left in #afdi1  saying1 
8,he would never stay in a country where
 they cut off their  king's head1 and   
were not ashamed of the action40        
,walpole remarks that  it would have    
been more sensible to say1 he would not 
stay where they  cut off the head of a  
king who rewarded painters1 and then    
defaced and  sold his collection4       
,,footnote3    ,a 8,i cannot forbear    
quoting ,madame ,hahn-,hahn's           
reflections on the  ,museum of ,seville1
 and the custody of pictures in that    
city in #ahda4    8#8,it is wretched to 
see how these invaluable jewels of      
pictures are  preserved6 ,uncleaned'    
7this is at least some comfort71        
#8without the  necessary varnish1       
sometimes without frames1 they lean     
against the  walls1 or stand unprotected

 in the passages where they are copied4 
,every dauber may mark his squares upon 
them1 to facilitate his drawing2  and   
since these squares are permanent in    
some pictures in order to  spare these  
admirable artists the trouble of        
renewing them1 the threads  have1 in    
certain cases1 begun to leave their     
impression on the picture4  ,the proof  
of this negligence is the fact that we  
found to-day the  mark of a finger-nail 
on the ,st4 ,augustine1 which was not   
there on  the first day that we saw it4 
,we can only thank ,god if nothing worse
  than a finger-nail make a scar on the 
picture6 ,it stands there on the        
ground1 without a frame1 leaning against
 the wall4 ,one might knock it  over1 or
 kick one's foot through it6 ,there is  
to be sure a kind of  ragged custode    
sitting by1 but if one were to give him 
a couple of  dollars he would hold his  
tongue2 he is1 moreover1 always         
sleeping1 and  yawns as if he would put 
his jaws out4 ,he does not forget1      

however1 on  these occasions to make the
 sign of the cross with his thumb1      
opposite  his open mouth1 for fear the  
devils should fly in--such is the common
  belief4 ,you see clearly that with    
this amount of neglect and want  of     
order1 the same fate awaits all the     
,murillos here as has already  befallen 
,leonardo's ,last ,supper at ,milan4    
,these are all collected in  two public 
buildings1 in the church of the ,caridad
 and in the ,museum4    #8,the ,caridad 
was a hospital or charitable            
institution4 ,the pictures  were brought
 thither from ,murillo's own studio2    
there are five--,moses1  the ,feeding of
 the ,five ,thousand1 the ,st4 ,juan de 
,dios1 a little  ,salvator ,mundi1 and a
 small ,john the ,baptist2 the sixth1   
the pendant  to the ,st4 ,juan de ,dios1
 the ,st4 ,elizabeth with the ,sick1 has
 been  carried to the ,museum at        
,madrid4 ,it is very questionable       
whether  these fine pictures will be    
still in the ,caridad in ten years'     

time4  ,nothing would be easier than to 
smuggle out the two small pictures6 ,a  
painter comes--copies them--does not    
stand upon a few dollars more or        
less--takes off the originals and leaves
 the copies behind in their  places1    
which are high up and badly lighted--the
 pictures are gone  for ever6 ,this sort
 of proceeding is not impossible here1  
and ,baron  ,taylor's purchases for     
,paris prove the fact4 ,it cannot of    
course be  done without corruption and  
connivance on the part of the official  
guardians2 and after all one has hardly 
the courage to lament it4 ,the  pictures
 are1 in fact1 saved--they are protected
 and duly valued2  whilst to me it is   
completely a matter of indifference     
whether a  custode1 on account of this  
sort of sin1 suffer a little more or a  
little less in                          
,purgatory4'0--,reisebriefe1 ii4 s4     
#abf-h4      ,typographical errors      
corrected by the etext transcriber3     
,charles ,i4 of ,england1 in #aecj1     

purchased the ,mantuan collection for   
#bj1jjj ,charles ,i4 of ,england1 in    
#afcj1 purchased the ,mantuan           
collection for #bj1jjj pg #bfc          
,fragment d'un ,trait sur les           
,moveuments du corp humain ,fragment    
d'un  ,trait sur les ,mouvements du     
corps humain pg #bge