Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, Shearjashub Spooner [big screen ebook reader .TXT] 📗

antiquity, as well on account of its sculptures as its architecture. The Arch of Trajan at Ancona is also one of the most elegant works of the kind. The Arch of Rimini, erected in honor of Augustus, on the occasion of his repairing the Flaminian Way from that town to Rome, is the most ancient of all the antique arches, and from its size, one of the noblest existing. Many beautiful structures of this kind have been erected in modern times, but principally on the plan, and in imitation of some of the above mentioned. Ancient medals often bear signs of this species of architecture, and some of them represent arches that have ceased to exist for centuries. Triumphal arches seem to have been in use among the Chinese in very ancient times. Milizia says, "There is no country in the world in which those arches are so numerous as in China. They are found not only in the cities but on the mountains; and are erected in the public streets in honor of princes, generals, philosophers, and mandarins, who have benefitted the public, or signalized themselves by any great action; there are more than 1100 of these latter, 200 of which are of extraordinary size and beauty; there are also some in honor of females. The Chinese annals record 3636 men who have merited triumphal arches." Milizia also says, the friezes of the Chinese arches are of great height, and ornamented with sculpture. The highest arches are twenty-five feet, embellished with human figures, animals, flowers, and grotesque forms, in various attitudes, and in full relief. STATUE OF POMPEY THE GREAT.

The large Statue of Pompey, formerly in the collection of the Cardinal Spada, is supposed to be the same as that, at the base of which "Great Cæsar fell." It was found on the very spot where the Senate was held on the fatal ides of March, while some workmen were engaged in making excavations, to erect a private house. The Statue is not only interesting from its antiquity and historical associations, but for a curious episode that followed its discovery. The trunk lay in the ground of the discoverer, but the head projected into that of his neighbor; this occasioned a dispute as to the right of possession. The matter was at length referred to the decision of Cardinal Spada, who, like the wise man of old, ordered the Statue to be decapitated, and division made according to position—the trunk to one claimant, and the head to the other. The object of the wily Cardinal was not so much justice, as to get possession of the Statue himself, which he afterwards did, at a tithe of what it would otherwise have cost him. The whole cost him only 500 crowns.

OF ANTIQUE SCULPTURES IN ROME.

In 1824, there were more than 10,600 pieces of ancient sculpture in Rome; (statues, busts, and relievos,) and upwards of 6300 ancient columns of marble. What multitudes of the latter have been sawed up for tables, and for wainscotting chapels, or mixed up with walls, and otherwise destroyed! And what multitudes may yet lie undiscovered underneath the many feet of earth and rubbish which buries ancient Rome! When we reflect on this, it may give us some faint idea of the vast magnificence of Rome in all its pristine splendor!

ANCIENT MAP OF ROME.

The Ichnography of Rome, in the fine collection of antiquities in the Palazzo Farnese, was found in the temple of Romulus and Remus, which is now dedicated to Sts. Cosmo and Damiano, who were also twin brothers. Though incomplete, it is one of the most useful remains of antiquity. The names of the particular buildings and palaces are marked upon it, as well as the outlines of the buildings themselves; and it is so large, that the Horrea Lolliana are a foot and a half long; and may serve as a scale to measure any other building or palace in it. It is published in Grœvius's Thesaurus.

JULIAN THE APOSTATE.

The Emperor Julian commanded Alypius, a learned architect of Antioch, who held many important offices under that monarch, to rebuild the Temple of Jerusalem, A. D. 363, with the avowed object of falsifying the prophecy of our Saviour with regard to that structure. While the workmen were engaged in making excavations for the foundation, balls of fire issued from the earth and destroyed them. This indication of divine wrath against the reprobate Jews and the Apostate Julian, compelled him to abandon his project. The story is affirmed by many Christian and classic authors.

THE TOMB OF MAUSOLUS.

When Mausolus, king of Caria, died about B. C. 353, his wife Artemisia, was so disconsolate, that she drank up his ashes, and resolved to erect in the city of Halicarnassus, one of the grandest and noblest monuments of antiquity, to celebrate the memory of a husband whom she tenderly loved. She therefore employed Bryaxis, Scopas, Timotheus, and Leocarus, four of the most renowned sculptors and architects of the golden age of Grecian art, to erect that famous mausoleum which was accounted one of the seven wonders of the world, and gave its name to all similar structures in succeeding ages. Its dimensions on the north and south sides were sixty-three feet, the east and west sides were a little shorter, and its extreme height was one hundred and forty feet. It was surrounded with thirty-six splendid marble columns. Byaxis executed the north side, Scopas the east, Timotheus the south, and Leocarus the west. Artemisia died before the work was completed; but the artists continued their work with unabated zeal, and they endeavored to rival each other in the beauty and magnificence with which they decorated this admirable work. A fifth sculptor, named Pythis, was added to them, who executed a noble four horse chariot of marble, which was placed on a pyramid crowning the summit of the mausoleum.

MANDROCLES' BRIDGE ACROSS THE BOSPHORUS.

Mandrocles, probably a Greek architect in the service of Darius, King of Persia, who flourished about B. C. 500, acquired a great name for the bridge which he constructed across the Thracian Bosphorus, or Straits of Constantinople, by order of that monarch. This bridge was formed of boats so ingeniously and firmly united that the innumerable army of Persia passed over it from Asia to Europe. To preserve the memory of so singular a work, Mandrocles represented in a picture, the Bosphorus, the bridge, the king of Persia seated on a throne, and the army that passed over it. This picture was preserved in the Temple of Juno at Samos, where Herodotus saw it, with this inscription:—"Mandrocles, after having constructed a bridge of boats over the Bosphorus, by order of the king Darius of Persia, dedicated this monument to Juno, which does honor to Samos, his country, and confers glory on the artificer."

THE COLOSSUS OF THE SUN AT RHODES.

This prodigious Statue, which, was accounted one of the seven wonders of the world, was planned, and probably executed by Chares, an ancient sculptor of Lindus, and a disciple of Lysippus. According to Strabo, the statue was of brass, and was seventy cubits, or one hundred feet high; and Chares was employed upon it twelve years. It was said to have been placed at the entrance of the harbor of Rhodes, with the feet upon two rocks, in such a manner, that the ships then used in commerce could pass in full sail between them. This colossus, after standing fifty-six years, was overthrown by an earthquake. An oracle had forbidden the inhabitants to restore it to its former position, and its fragments remained in the same position until A. D. 667, when Moaviah, a calif of the Saracens, who invaded Rhodes in that year, sold them to a Jewish merchant, who is said to have loaded nine hundred camels with them.

Pliny says that Chares executed the statue in three years, and he relates several interesting particulars, as that few persons could embrace its thumb, and that the fingers were as long as an ordinary statue. Muratori reckons this one of the fables of antiquity. Though the accounts in ancient authors concerning this colossal statue of Apollo are somewhat contradictory, they all agree that there was such a statue, seventy or eighty cubits high, and so monstrous a fable could not have been imposed upon the world in that enlightened age. Some antiquarians have thought, with great justice, that the fine head of Apollo which is stamped upon the Rhodian medals, is a representation of that of the Colossus.

STATUES AND PAINTINGS AT RHODES.

Pliny says, (lib. xxxiv. cap. 7.) that Rhodes, in his time, "possessed more than 3000 statues, the greater part finely executed; also paintings and other works of art, of more value than those contained in the cities of Greece. There was the wonderful Colossus, executed by Chares of Lindus, the disciple of Lysippus."

SOSTRATUS' LIGHT-HOUSE ON THE ISLE OF PHAROS.

This celebrated work of antiquity was built by Sostratus, by order of Ptolemy Philadelphus. It was a species of tower, erected on a high promontory or rock, on the above mentioned island, then situated about a mile from Alexandria. It was 450 ft. high, divided into several stories, each decreasing in size; the ground story was hexagonal, the sides alternately concave and convex, each an eighth of a mile in length; the second and third stories were of the same form; the fourth was a square, flanked by four round towers; the fifth was circular. The whole edifice was of wrought stone; a magnificent staircase led to the top, where fires were lighted every night, visible from the distance of a hundred miles, to guide the coasting vessels. Sostratus is said to have engraved an inscription on stone, and covered it with a species of cement, upon which he sculptured the name of Ptolemy, calculating that the cement would decay, and bring to light his original inscription. Strabo says it read, Sostratus, the friend of kings, made me. Lucian reports differently, and more probably, thus, Sostratus of Cnidus, the son of Dexiphanes, to the Gods the Saviors, for the safety of Mariners. It is also said that Ptolemy left the inscription to the inclination of the architect; and that by the Gods the Saviors were meant the reigning king and queen, with their successors, who were ambitious of the title of Soteros or Savior.

DINOCRATES' PLAN FOR CUTTING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.

According to Vitruvius, this famous architect, having provided himself with recommendatory letters to the principal personages of Alexander's court, set out from his native country with the hope of gaining, through their means, the favor of the monarch. The courtiers made him promises which they neglected to perform, and framed various excuses to prevent his access to the sovereign; he therefore determined upon the following expedient:—Being of a gigantic and well proportioned stature, he stripped himself, anointed his body with oil, bound his head with poplar leaves, and throwing a lion's skin across his shoulders, with a club in his hand, presented himself to Alexander, in the place where he held his public audience. Alexander, astonished at his Herculean figure, desired him to approach, demanding, at the same time, his name:—"I am," said he, "a Macedonian architect, and am come to submit to you designs worthy of the fame you have acquired. I have modelled Mount Athos in the form of a giant, holding in his right hand a city, and his left a shell, from which are discharged into the sea all the rivers collected from the mountain." It was impossible to imagine a scheme more agreeable to Alexander, who asked seriously whether there would be sufficient country round this city