Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art (Vol. 3 of 3) by S. Spooner (best ebook reader under 100 TXT) 📖
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Holiness presented him with four golden rings, set with precious stones,
at the same time taking care to inform him of the many mysteries implied
in them. His Holiness begged of him (King John)," says Hume, "to
consider seriously the _form_ of the rings, their _number_, their
_matter_, and their _color_. Their _form_, he said, shadowed out
eternity, which had neither beginning nor end; and he ought thence to
learn his duty of aspiring from earthly objects to heavenly, from things
temporal to things eternal. The _number_, from being a square, denoted
steadiness of mind, not to be subverted either by adversity or
prosperity, fixed forever on the firm base of the four cardinal
virtues. _Gold_, which is the matter, being the most precious of the
metals, signified wisdom, which is the most precious of all the
accomplishments, and justly preferred by Solomon to riches, power, and
all exterior attainments. The _blue color_ of the sapphire represented
Faith; the _verdure_ of the emerald, Hope; the _redness_ of the ruby,
Charity; and the _splendor_ of the topaz, good works." Jewelers, who
usually deal so little in sentiment in their works, may learn from this
ingenious allegory the advantage of calling up the wonder-working aid of
fancy, in forming their combinations of precious things.
CURIOUS PAINTINGS.
In the Cathedral at Worms, over the altar, is a very old painting, in
which the Virgin is represented throwing the infant Jesus into the
hopper of a mill; while from the other side he issues, changed into
wafers or little morsels of bread, which the priests are administering
to the people.
Mathison, in his letters, thus describes a picture in a church at
Constance, called the Conception of the Holy Virgin. "An old man lies on
a cloud, whence he darts a vast beam, which passes through a dove
hovering just below; at the end of the beam appears a large transparent
egg, in which egg is seen a child in swaddling clothes, with a glory
round it; Mary sits leaning in an arm-chair and opens her mouth to
receive the egg!" Which are the most profane--these pictures, or the
Venus Anadyomene of Apelles, the Venus of Titian, and the Leda of
Correggio?
THE OLDEST OIL PAINTING EXTANT.
"The oldest oil painting now in existence, is believed to be one of the
Madonna and infant Jesus in her arms, with an Eastern style of
countenance. It is marked DCCCLXXXVI. (886). This singular and
valuable painting formed part of the treasures of art in the old palace
of the Florentine Republic, and was purchased by the Director Bencivenni
from a broker in the street, for a few livres."
The above is found quoted in many books, in proof that oil painting was
known long before the time of the Van Eycks; but all these old
_supposed_ oil paintings have been proved by chemical analysis to have
been painted in distemper. See vol. ii., p. 141, of this work.
CURIOUS REPRESENTATIONS OF THE HARPIES.
Homer represents the Harpies as the rapacious goddesses of the storms,
residing near the Erinnyes, or the Ocean, before the jaws of hell. If
any person was so long absent from home that it was not known what had
become of him, and he was supposed to be dead, it was commonly said,
"The Harpies have carried him off." Hesiod represents them as young
virgins of great beauty. The later poets and artists vied with each
other in depicting them under the most hideous forms; they commonly
represented them as winged monsters, having the face of a woman and the
body of a vulture, with their feet and fingers armed with sharp claws.
Spanheim, in his work, gives three representations of the harpies, taken
from ancient coins and works of art; they have female heads, with the
bodies and claws of birds of prey; the first has a coarse female face,
the second a beautiful feminine head, and two breasts, and the third a
visage ornamented with wreaths and a head-dress. There are various other
representations of them, one of the most remarkable of which is a
monster with a human head and the body of a vampire bat.
ADRIAN BROWER.
This extraordinary painter was born at Haerlem, in 1608. His parents
were extremely poor, and his mother sold to the peasants bonnets and
handkerchiefs, which the young Adrian painted with flowers and birds.
These attempts were noticed by Francis Hals, a distinguished painter of
Haerlem, who offered to take the young artist into his school--which
proposal was gladly accepted. Hals, on discovering his superior genius,
separated him from all his companions, and locked him up in a garret,
that he might profit by his talents. The pictures of Brower sold
readily at high prices, but the avaricious Hals treated him with
increased severity, lest he should become acquainted with the value of
his talents, and leave him. This cruelty excited the pity of Adrian van
Ostade, then a pupil of Hals; and he found an opportunity of advising
Brower to make his escape, which the latter effected, and fled to
Amsterdam. Soon after arriving in that city, he painted a picture of
Boors Fighting, which he gave to the landlord of the inn where he
lodged, and requested him to sell it. The host soon returned with one
hundred ducats, which he had received for the work. The artist was
amazed at such a result of his labors, but instead of exerting his
wonderful talents, he plunged into a course of dissipation. This natural
propensity to alternate work and indulgence marked his whole life, and
involved him in many extraordinary adventures.
BROWER, THE DUKE D'AREMBERG, AND RUBENS.
When the States-General were at war with Spain, Brower started on a
visit to Antwerp, whither his reputation had already proceeded him.
Omitting to provide himself with a passport, he was arrested as a spy,
and confined in the citadel, where the Duke d'Aremberg was imprisoned.
That nobleman lived in friendship with Rubens, who often visited him in
his confinement; and the Duke, having observed the genius of Brower,
desired Rubens to bring a palette and pencils, which he gave to Brower,
and the latter soon produced a representation of Soldiers playing at
Cards, which he designed from a group he had seen from his prison
window. The Duke showed the picture to Rubens, who immediately exclaimed
that it was by the celebrated Brower, whose pictures he often admired;
and he offered the Duke six hundred guilders for the work, but the
latter refused to part with it, and presented the artist with a much
larger sum. Rubens lost no time in procuring his liberty, which he did
by becoming his surety, took him into his own house, and treated him
with the greatest kindness.
DEATH OF BROWER.
Brower did not continue long in the hospitable mansion of Rubens, whose
refined and elegant manners, love of literature, and domestic happiness
were less congenial to this erratic genius than the revels of his
pot-companions. Brower soon became weary of his situation, and returned
to his vicious habits, to which he soon fell a victim in 1640, at the
early age of 32 years. He died in the public hospital at Antwerp, and
was buried in an obscure manner; but when Rubens knew it, he had the
body reinterred, with funeral pomp, in the church of the Carmelites; and
he intended also to have erected a superb monument to his memory, had he
lived to see it executed; though Sandrart says there was a magnificent
one over his tomb, with an epitaph to perpetuate his honor.
BROWER'S WORKS.
The subjects of Brower were of the lowest order, representing the
frolics of his pot companions; but his expression is so lively and
characteristic, his coloring so transparent and brilliant, and the
passions and movements of his figures are so admirably expressed, that
his works have justly elicited the applause of the world. They are
highly valued, and in consequence of his irregular life, are exceedingly
scarce. Brower also etched a few plates in a very spirited style.
ROSA DA TIVOLI.
The name of this artist was Philip Roos, and he was born at Frankfort in
He early showed a passion for painting, and exhibited suchextraordinary talents that the Landgrave of Hesse took him under his
protection, and sent him to Italy with a pension sufficient for his
support. To facilitate his studies, he established himself at Tivoli
(whence his name), where he kept a kind of menagerie, and on account of
the number and variety of the animals, his house was called _Noah's
Ark_.
ROSA DA TIVOLI'S WORKS.
Rosa da Tivoli's pictures usually represent pastoral subjects, with
herdsmen and cattle, or shepherds with sheep and goats, which he
frequently painted as large as life. He designed everything from nature,
not only his animals, but the sites of his landscapes, ruins, buildings,
rocks, precipices, rivers, etc. His groups are composed with great
judgment and taste, and his landscapes, backgrounds, skies, and
distances are treated in a masterly style. His cattle and animals, in
particular, are designed with wonderful truth and spirit; his coloring
is full of force, his lights and shadows are distributed with judgment
and his touch is remarkably firm and spirited.
ROSA DA TIVOLI'S FACILITY OF EXECUTION.
Rosa da Tivoli acquired a wonderful facility in design and execution,
for which reason he was named _Mercurius_ by the Bentvogel Society. A
remarkable instance of his powers is recorded by C. le Blond, then a
student at Rome. "It happened one day," says he, "that several young
artists and myself were occupied in designing from the bassi-relievi of
the Arch of Titus, when Roos passing by, was particularly struck with
some picturesque object which caught his attention, and he requested one
of the students to accommodate him with a crayon and paper. What was
our surprise, when in half an hour he produced an admirable drawing,
finished with accuracy and spirit."
It is also related that the Imperial Ambassador, Count Martinez, laid a
wager with a Swedish general that Roos would paint a picture of
three-quarters' size, while they were playing a game at cards; and in
less than half an hour the picture was well finished, though it
consisted of a landscape, a shepherd, and several sheep and goats.
ROSA DA TIVOLI'S HABITS.
Rosa da Tivoli unfortunately fell into extravagant and dissipated
habits, which frequently caused him great inconvenience. From his
facility, he multiplied his pictures to such an extent as greatly to
depreciate their value. It is related that he would sit down, when
pressed for money, dispatch a large picture in a few hours, and send it
directly to be sold at any price. His servant, possessing more
discretion than his master, usually paid him the highest price offered
by the dealers, and kept the pictures himself, till he could dispose of
them to more advantage.
LUCA CAMBIASO'S FACILITY IN PAINTING.
The most remarkable quality of this distinguished Genoese painter was
his rapidity of operation. He began to paint when ten years old, under
the eye of his father, Giovanni Cambiaso, who evinced good taste in
setting him to copy some works by the correct and noble Mantegna. His
progress was so rapid that at the age of seventeen he was entrusted to
decorate some façades and chambers of the Doria palace at Genoa, where
he displayed his rash facility of hand by painting the story of Niobe on
a space of wall fifty palms long and of proportionate height, without
cartoons or any drawing larger than his first hasty sketch on a single
sheet of paper! While he was engaged on this work, there came one
morning some Florentine artists to look at it. Seeing a lad enter soon
after, and commence painting with prodigious fury, they called out to
him to desist; but his mode of handling the brushes and colors, which
they had imagined it was his business merely to clean or pound, soon
convinced them that this daring youngster was no other than Luca
himself; whereupon they crossed themselves, and declared he would one
day eclipse Michael Angelo.
CAMBIASO'S WORKS IN SPAIN.
After attaining a high reputation in Italy, Cambiaso was invited to
Madrid by Philip II. of Spain. He executed there a great number of
works, among which the most important was the vault of the choir of the
Escurial church, where he painted in fresco the "Glory of the Blessed in
Heaven." Instead of allowing the artist to paint from his own
conceptions, the king listened to the counsels of the monks, who
"recommended that the heavenly host should be drawn up in due
theological order." A design "more pious than picturesque" being at last
agreed upon, the painter fell to work with his wonted fury, and so
speedily covered vast spaces with a multitude of figures, that the king,
according to the expressive Italian phrase, "remained stupid," not being
able to believe that the master, with only one assistant, could have
accomplished so much. Philip often visited Cambiaso while at work, and
one day remarking that the head of St. Anne among the
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