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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the Porta di San Pancrazio, also called Belrespiro, has an agreeable
situation, and is seven miles in circumference. The architecture is by
Algardi, but has been censured by connoisseurs. In the interior there
are some fine specimens of sculpture. Full descriptions of this and of
the Villa Borghese have been published. The Villa Albani, upon an
eminence which commands Tivoli and the Sabina, is an edifice of taste
and splendor. The cardinal Alexander Albani expended immense sums upon
it, and, during the space of fifty years, collected a splendid cabinet.
The ceiling of the gallery was painted by Mengs, and is a model of
elegance. The Villa Lante and the Villa Corsini deserve to be mentioned
on account of their fine prospects. The Villa Doria (formerly Algiati),
in which Raffaelle lived, contains three fresco paintings of this great
master. The Villa Farnese contains the remains of the palace of the
Roman emperors. The capitol contains so many and such magnificent
objects of every description, that it is impossible to enumerate them
here. We must be satisfied with mentioning the equestrian statue of
Marcus Aurelius, before the palace; the Captive Kings, in the court;
the _columna rostrata_; and within, the colossal statue of Pyrrhus; the
tomb of Severus; the Centaurs, of basalt; the beautiful alabaster
pillars; the masterpiece in mosaic, which once belonged to cardinal
Furietti, representing three doves on the edge of a vessel filled with
water, which is described by Pliny. The fountains are among the
principal ornaments of the squares in Rome. The fountain in the Piazza
Navona, the most splendid of them all, has been particularly admired; it
is surmounted by an obelisk, and ornamented by four colossal statues,
which represent the four principal rivers in the world. The fountain of
Paul V., near the church di San Pietro in Montorio, is in bad taste, but
furnishes such a body of water, that several mills are carried by it.
The fountain di Termini is adorned with three reliefs, representing
Moses striking water from the rock, and with a colossal statue of that
prophet, and two Egyptian lions in basalt. The splendid fountain of
Trevi supplies the best water, which it receives through an ancient
aqueduct. Among the streets, the Strada Felice and the Strada Pia, which
cross each other, are the most remarkable; among the bridges, that of
St. Angelo (formerly Pons Ælius), 300 feet in length; and among the
gates the Porta del Popolo (formerly Porta Flaminia). Of ancient
monuments, the following yet remain: the Pantheon, the Coliseum, the
column of Trajan, that of Antonine, the amphitheatre of Vespasian; the
mausoleum of Augustus, the mausoleum of Adrian (now the fortress of St.
Angelo); the triumphal arches of Severus, Titus, Constantine, Janus,
Nero, and Drusus; the ruins of the temple of Jupiter Stator, of Jupiter
Tonans, of Concordia, of Pax, of Antoninus and Faustina, of the sun and
moon, of Romulus, of Romulus and Remus, of Pallas, of Fortuna Virilis,
of Fortuna Muliebris, of Virtue, of Bacchus, of Vesta, of Minerva
Medica, and of Venus and Cupid; the remains of the baths of Dioclesian,
of Caracalla and Titus, etc.; the ruins of the theatre of Pompey, near
the Curia Pompeii, where Cæsar was murdered, and those of the theatre of
Marcellus; the ruins of the old forum (now called Campo Vaccino); the
remains of the old bridges; the circus Maximus; the circus of Caracalla;
the house of Cicero; the Curia Hostilia; the trophies of Marius; the
portico of Philip and Octavius; the country house and tower of Mæcenas;
the Claudian aqueduct; the monuments of the family of Aruns, of the
Scipios, of Metella (called Capo di Bove); the prison of Jugurtha
(Carcero Mamertino), in which St. Peter was imprisoned; the monument of
Caius Cestius, which is entirely uninjured, in form of a pyramid, near
which the Protestants are buried; the Cloaca Maxima, built by Tarquin,
etc. Besides the obelisk near the Porta del Popolo, that raised in the
pontificate of Pius VI., on mount Cavallo, is deserving of notice. The
principal collections of literature and the arts have already been
noticed; but the Museo Kircheliano deserves to be particularly
mentioned; there are, besides, many private collections and monastic
libraries, which contain many valuable works. Such treasures, especially
in the arts, make Rome the great school of painters, statuaries, and
architects, and a place of pilgrimage to all lovers of the arts; and
there are here innumerable _studios_ of painters and sculptors. Roman
art seems to have received a new impulse. The academy of San Luca was
established solely for the art of painting. There are also many literary
institutions in the city.
THE FOUNDATION OF VENICE.
It is recorded in the archives of Padua, says Milizia, that when
Rhadagasius entered Italy, and the cruelties exercised by the Visigoths
obliged the people to seek refuge in various places, an architect of
Candia, named Eutinopus, was the first to retire to the fens of the
Adriatic, where he built a house, which remained the only one there for
several years. At length, when Alaric continued to desolate the country,
others sought an asylum in the same marshes, and built twenty-four
houses, which formed the germ of Venice. The security of the place now
induced people to settle there rapidly, and Venice soon sprung up a city
and gradually rose to be mistress of the seas. The Venetian historians
inform us that the house of Eutinopus, during a dreadful conflagration,
was miraculously saved by a shower of rain, at the prayer of the
architect, who made a vow to convert it into a church; he did this, and
dedicated it to St. James, the magistrates and inhabitants contributing
to build and ornament the edifice. The church is still standing, in the
quarter of the Rialto, which is universally considered the oldest part
of Venice.
THEODORIC THE GREAT, AND HIS LOVE OF THE FINE ARTS.
Theodoric, king of the Ostrogoths, and afterwards also king of Italy,
was born at Amali, near Vienna, in 455, and died in 526. Though a Goth,
he was so far from delighting in the destruction of public monuments,
and works of art, that he issued edicts for their preservation at Rome
and throughout Italy, and assigned revenues for the repair of the public
edifices, for which purpose he employed the most skillful and learned
architects, particularly Aloïsius, Boëtius, and Symmachus. According to
Cassiodorus (lib. ii. Varior. Epist. xxxix.), Theodoric said: "It is
glorious to preserve the works of antiquity; and it is our duty to
restore the most useful and the most beautiful." Symmachus had the
direction of the buildings constructed or rebuilt at Rome. The king thus
wrote to him: "You have constructed fine edifices; you have, moreover,
disposed of them with so much wisdom that they equal those of antiquity,
and serve as examples to the moderns; and all you show us is a perfect
image of the excellence of your mind, because it is not possible to
build correctly without good sense and a well cultivated understanding."
In his directions to the Prefect of Rome, on the architecture of the
public edifices, Theodoric thus wrote:
"The beauty of the Roman buildings requires a skillful overseer, in
order that such a wonderful forest of edifices should be preserved with
constant care, and the new ones properly constructed, both internally
and externally. Therefore we direct our generosity not only to the
preservation of ancient things, but to the investing the new ones with
the glories of antiquity. Be it known, therefore, to your illustrious
person, that for this end an architect of the Roman walls is appointed.
And because the study of the arts requires assistance, we desire that he
may have every reasonable accommodation that his predecessors have
enjoyed. He will certainly see things superior to what he has read of,
and more beautiful than he could ever have imagined. The statues still
feel their renowned authors, and appear to live: he will observe
expressed in the bronze, the veins, the muscles swollen by exertion, the
nerves gradually stretched, and the figure expressing those feelings
which act on a living subject.
"It is said that the first artists in Italy were the Etruscans, and thus
posterity has given to them, as well as to Rome, almost the power of
creating man. How wonderful are the horses, so full of spirit, with
their fiery nostrils, their sparkling eyes, their easy and graceful
limbs;--they would move, if not of metal. And what shall we say of those
lofty, slender, and finely fluted columns, which appear a part of the
sublime structure they support? That appears wax, which is hard and
elegant metal; the joints in the marble being like natural veins. The
beauty of art is to deceive the eye. Ancient historians acquaint us with
only seven wonders in the world: the Temple of Diana, at Ephesus; the
magnificent sepulchre of the king Mausolus, from whence is derived the
word mausoleum; the bronze Colossus of the Sun, in Rhodes; the statue of
Jupiter Olympius, of gold and ivory, formed by the masterly hand of
Phidias, the first of architects; the palace of Cyrus, King of Media,
built by Memnon of stones united by gold; the walls of Babylon,
constructed by Semiramis of brick, pitch, and iron; the pyramids of
Egypt, the shadows of which do not extend beyond the space of their
construction. But who can any longer consider these as wonders, after
having seen so many in Rome? Those were famous because they preceded us;
it is natural that the new productions of the then barbarous ages should
be renowned. It may truly be said that all Rome is wonderful. We have
therefore selected a man clever in the arts, who, in seeing so many
ingenious things of antiquity, instead of remaining merely enchanted
with them, has set himself to work to investigate the reason, study
their books, and instruct himself, that he may become as learned as
those in the place of whom he is to consider himself appointed."
Milizia says of Theodoric, "Is this the language of a Gothic barbarian,
the destroyer of good taste? Pericles, Alexander, Adrian, or one of the
Medici could not have reasoned better." And again, "Can these Goths be
the inventors of that architecture vulgarly called Gothic? and are these
the barbarians said to have been the destroyers of the beautiful
monuments of antiquity? Ecclesiastical history gives to the good
Christians and the jealous ecclesiastics the honor of having dismantled
temples, and disfigured statues in Italy, Greece, Asia, and Egypt. * * *
It is clear that the Goths were not the authors of that architecture
called Gothic. The Goths and barbarians who overran Italy had not any
characteristic architecture, good or bad. They brought with them neither
architects, painters, nor poets. They were all soldiers, and when fixed
in Italy employed Italian artists; but as in that country, good taste
was much on the decline, it now became more debased, notwithstanding the
efforts made by the Goths to revive it."
ARCHIMEDES.
This wonderful genius was of royal descent, and born at Syracuse about
B.C. 287. He was a relative of king Hiero, who held him in the highest
esteem and favor, though he does not appear to have held any public
office, preferring to devote himself entirely to science. Such was his
enthusiasm, that he appears at times to have been so completely absorbed
in contemplation and calculations, as to be totally unconscious of what
was passing around him. We cannot fully estimate his services to
mathematics, for want of an acquaintance with the previous state of
science; still we know that he enriched it with discoveries of the
highest importance, upon which the moderns have founded their
admeasurements of curvilinear surfaces and solids. Euclid, in his
elements, considers only the relations of some of these magnitudes to
each other, but does not compare them with surfaces and solids bounded
by straight lines. Archimedes developed the proportions necessary for
effecting this comparison, in his treatises on the sphere and cylinder,
the spheroid and conoid, and in his work on the measure of the circle.
He rose to still more abstruse considerations in his treatise on the
spiral. Archimedes is also the only one of the ancients who has left us
anything satisfactory on the theory of mechanics and hydrostatics. He
first taught the principle "that a body immersed in a fluid, loses as
much in weight, as the weight of an equal volume of the fluid." He
discovered this while bathing, which is said to have caused him so much
joy that he ran home from the bath undressed, exclaiming, "I have found
it; I have found it!" By means of this principle, he determined how much
alloy a goldsmith had added to a crown which king Hiero had ordered of
pure gold. Archimedes had a profound knowledge of mechanics, and in a
moment of enthusiasm, with which the extraordinary performances of his
machines had inspired him, he exclaimed that he "could move the earth
with ease, by means of his machines placed
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