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

the Temple of Minerva at Athens, with a wick composed of asbestos, which burned day and night for a year without trimming or replenishing with oil. If this was true, the font of the lamp must have been large enough to have contained a year's supply of oil; for, though some profess that the economical inventions of the ancients have been forgotten, the least knowledge in chemistry proves that oil in burning must be consumed. The perpetual lamps, so much celebrated among the learned of former times, said to have been found burning after many centuries, on opening tombs, are nothing more than fables, arising perhaps from phosphorescent appearances, caused by decomposition in confined places, which vanished as soon as fresh air was admitted. Such phenomena have frequently been observed in opening sepulchres. THE SKULL OF RAFFAELLE.

Is preserved as an object of great veneration in the Academy of St. Luke, which the students visit as if in the hope of being inspired with similar talents; and it is wonderful that, admiring him so much, modern painters should so little resemble him. Either they do not wish to imitate him, or do not know how to do so. Those who duly appreciate his merits have attempted it, and been successful. Mengs is an example of this observation.

THE FOUR FINEST PICTURES IN ROME.

The four most celebrated pictures in Rome, are The Transfiguration by Raffaelle, St. Jerome by Domenichino, The Descent from the Cross by Daniele da Volterra, and The Romualdo by Andrea Sacchi.

THE FOUR CARLOS OF THE 17TH CENTURY.

It is a singular fact that the four most distinguished painters of the 17th century were named Charles, viz.: le Brun, Cignani, Maratta, and Loti, or Loth. Hence they are frequently called by writers, especially the Italian, "The four Carlos of the 17th century."

PIETRO GALLETTI AND THE BOLOGNESE STUDENTS.

Crespi relates that Pietro Galletti, misled by a pleasing self-delusion that he was born a painter, made himself the butt and ridicule of all the artists of Bologna. When they extolled his works and called him the greatest painter in the world, he took their irony for truth, and strutted with greater self-complacency. On one occasion, the students assembled with great pomp and ceremony, and solemnly invested him with the degree of Doctor of Painting.

ÆTION'S PICTURE OF THE NUPTIALS OF ALEXANDER AND ROXANA.

Ætion gained so much applause by his picture, representing the nuptials of Alexander and Roxana, which he publicly exhibited at the Olympic Games, that Proxenidas, the president, rewarded him, by giving him his daughter in marriage. This picture was taken to Rome after the conquest of Greece, where it was seen by Lucian, who gives an accurate description of it, from which, it is said, Raffaelle sketched one of his finest compositions.

AGELADAS.

This famous sculptor was a native of Argos, and flourished about B. C. 500. He was celebrated for his works in bronze, the chief of which were a statue of Jupiter, in the citadel of Ithone, and one of Hercules, placed in the Temple at Melite, in Attica, after the great plague. Pausanias mentions several other works by him, which were highly esteemed. He was also celebrated as the instructor of Myron, Phidias, and Polycletus.

THE PORTICOS OF AGAPTOS.

According to Pausanias, Agaptos, a Grecian architect, invented the porticos around the square attached to the Greek stadii, or race courses of the Gymnasiums, which gained him so much reputation, that they were called the porticos of Agaptos, and were adopted in every stadium.

THE GROUP OF NIOBE AND HER CHILDREN.

Pliny says there was a doubt in his time, whether some statues representing the dying children of Niobe (Niobæ liberos morientes), in the Temple of Apollo Sosianus at Rome, were by Scopas or Praxiteles. The well known group of this subject in the Florentine gallery, is generally believed to be the identical work mentioned by Pliny. Whether it be an original production of one of these great artists, or as some critics have supposed, only a copy, it will ever be considered worthy of their genius, as one of the sweetest manifestations of that deep and intense feeling of beauty which the Grecian artists delighted to preserve in the midst of suffering. The admirable criticism of Schlegel (Lectures on the Drama, III), developes the internal harmony of the work. "In the group of Niobe, there is the most perfect expression of terror and pity. The upturned looks of the mother, and the mouth half open in supplication, seem to accuse the invisible wrath of Heaven. The daughter, clinging in the agonies of death to the bosom of her mother, in her infantile innocence, can have no other fear than for herself; the innate impulse of self-preservation was never represented in a manner more tender and affecting. Can there, on the other hand, be exhibited to the senses, a more beautiful image of self-devoting, heroic magnanimity than Niobe, as she bends her body forward, that, if possible, she may alone receive the destructive bolt? Pride and repugnance are melted down in the most ardent maternal love. The more than earthly dignity of the features are the less disfigured by pain, as from the quick repetition of the shocks, she appears, as in the fable, to have become insensible and motionless. Before this figure, twice transformed into stone, and yet so inimitably animated—before this line of demarkation of all human suffering, the most callous beholder is dissolved in tears."

STATUE OF THE FIGHTING GLADIATOR.

The famous antique statue of the Fighting Gladiator, which now adorns the Louvre, was executed by Agasias, a Greek sculptor of Ephesus, who flourished about B. C. 450. It was found among the ruins of a palace of the Roman Emperors at Capo d'Anzo, the ancient Antium, where also the Apollo Belvidere was discovered.

THE GROUP OF LAOCOÖN IN THE VATICAN.

As Laocoön, a priest of Neptune, (or according to some, of Apollo) was sacrificing a bull to Neptune, on the shore at Troy, after the pretended retreat of the Greeks, two enormous serpents appeared swimming from the island of Tenedos, and advanced towards the altar. The people fled; but Laocoön and his two sons fell victims to the monsters. The sons were first attacked, and then the father, who attempted to defend them, the serpents coiling themselves about him and his sons, while in his agony he endeavored to extricate them. They then hastened to the temple of Pallas, where, placing themselves at the foot of the goddess, they hid themselves under her shield. The people saw in this omen, Laocoön's punishment for his impiety in having pierced with his spear, the wooden horse which was consecrated to Minerva. Thus Virgil relates the story in the Æneid; others, as Hyginus, give different accounts, though agreeing in the main points. The fable is chiefly interesting to us, as having given rise to one of the finest and most celebrated works of antique sculpture, namely, the Laocoön, now in the Vatican. It was discovered in 1506 by some workmen, while employed in making excavations in a vineyard on the site of the Baths of Titus. Pope Julius II. bought it for an annual pension, and placed it in the Belvidere in the Vatican. It was taken to Paris by Napoleon, but was restored to its place in 1815. It is perfect in preservation, except that the right arm of Laocoön was wanting, which was restored by Baccio Bandinelli. This group is so perfect a work, so grand and so instructive for the student of the fine arts, that many writers of all nations have written on it. It represents three persons in agony, but in different attitudes of struggling or fear, according to their ages, and the mental anguish of the father. All connoisseurs declare the group perfect, the product of the most thorough knowledge of anatomy, of character, and of ideal perfection. According to Pliny, it was the common opinion in his time, that the group was made of one stone by three sculptors, Agesander, Polydorus, and Athenadorus, all three natives of Rhodes, and the two last probably sons of the former. He says, "The Laocoön, which is in the palace of the Emperor Titus, is a work to be preferred to all others, either in painting or sculpture. Those great artists, Agesander, Polydorus, and Athenadorus, Rhodians, executed the principal figure, the sons, and the wonderful folds of the serpents, out of one piece of marble." Doubts exist respecting the era of this work. Maffei places it in the 88th Olympiad, or the first year of the Peloponnesian War; Winckelmann, in the time of Lysippus and Alexander; and Lessing, in the time of the first Emperors. Some doubt whether this is the work mentioned by Pliny, because it has been discovered that the group was not executed out of one block of marble, as asserted by him. In the opinion of many judicious critics, however, it is considered an original group, and not a copy, for no copy would possess its perfections; and that it is certainly the one described by Pliny, because, after his time, no known sculptor was capable of executing such a perfect work; and had there been one, his fame would certainly have reached us. It was found in the place mentioned by Pliny, and the joinings are so accurate and artfully concealed, that they might easily escape his notice. There are several copies of this matchless production by modern sculptors, the most remarkable of which, are one in bronze by Sansovino, and another in marble by Baccio Bandinelli, which last is in the Medici gallery at Florence. It has also been frequently engraved; the best is the famous plate by Bervic, engraved for the Musée Francais, pronounced by connoisseurs, the finest representation of a marble group ever executed, proof impressions of which have been sold for 30 guineas each.

MICHAEL ANGELO'S OPINION OF THE LAOCOÖN.

It is said that Julius II. desired Angelo to restore the missing arm behind the Laocoön. He commenced it, but left it unfinished, "because," said he, "I found I could do nothing worthy of being joined to so admirable a work." What a testimony of the superiority of the best ancient sculptors over the moderns, for of all modern sculptors, Michael Angelo is universally allowed to be the best!

DISCOVERY OF THE LAOCOÖN.

There is a curious letter not generally known, but published by the Abate Fea, from Francesco da Sangallo, the sculptor, to Monsignore Spedalengo, in which the circumstances of the discovery of the Laocoön are thus alluded to. The letter is dated 1509. He says, "It being told to the Pope that some fine statues had been discovered in a vineyard near S. Maria Maggiore, he sent to desire my father, (Giuliano da Sangallo) to go and examine them. Michael Angelo Buonarotti being often at our house, father got him to go also; and so," continues Francesco, "I mounted behind my father, and we went. We descended to where the statues were. My father immediately exclaimed, 'This is the Laocoön spoken of by Pliny!' They made the workmen enlarge the aperture or excavation, so as to be able to draw them out, and then, having seen them, we returned to dinner."

SIR JOHN SOANE.

This eminent English architect, and munificent public benefactor, was the son of a poor bricklayer, and was born at Reading in 1753. He showed early indications of talent and a predilection for architecture; and, at the age of fifteen, his father placed him with Mr. George Dance (then considered one of the most accomplished of the English architects), probably in the capacity of a servant. At all events he was not regularly articled, but he soon attracted notice