An Elementary History of Art

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"Giovanni Lorenzo Bernini (1598—1680) was the chief master of this style, and the extent to which: unmenning and copricious decoration was indulged im is seen in his bronze baldrechino (i.e. canopy) covering the high altar of St, Peter's. His greatest architectural work is the colossal colonnade in front of St. Peter's (Fig. 50). Bernini was also famous as a sculptor. One of his best works is the group of Apollo and Daphne, finished in his eighteenth year. His rival, Francesco Borromini (1599— 1667), endeavoured to outdo him by even greater exaggeration of ornament. From his buildings rectilinear forms disappear almost entirely,—even the gables of the windows, the cornices, and the entablatures are broken and cane torted, so that all regularity of design is last, and an effect produced of painful confusion and instability."--An Elementary History of Art (1874) by Nancy Bell

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An Elementary History of Art (1874) is a book by Nancy Bell.

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AN ELEMENTARY

HISTORY OF ART

(AIL righte reserved.)

Tanpox: Re CLAY, Sone, axe Taytont BREAN SIRERT WILL, #.«

MY DEAR FATHER T DEDICATE THIS THE SECOND EDITION OF MY FIRST BOOK, N. D’ANVERS.

Belsize Park Gardens, Hampetead, December, 1881,

INTRODUCTION.

‘HE fine arts once played a very important part in the refined and intellectual life of this country ; but since the close of the middle ages they have been undervalued and neglected among us. Happily at the present day many signs of a revival are presenting them- selves, and art is now in much greater danger of being misunderstood than forgotten. Classical languages are no longer the only instruments of culture, and literary attain- ment have now ceased to be considered—as they for long were—the sole objects of a cultivated man's ambition ; for causes of an almost opposite nature have largely directed nttention to science and to the arts. The marvellous advances, brilliant discoveries, and splendid attainments of our foremost natural philosophers have been among the most powerful of the influences which have seeursd for scientific research so large a share of public attention, In other words, we have cared for acience because it is living and growing under our eyes. With art the case is different. It is revival and “not a fresh growth which we are witnessing. Without

—

xii INTRODUCTION,

this purpose, except after going through some portion at lenst of the training of a practical artist. Few, if any, can thoroughly appreciate an artistic rendering of outline, of colour, or of form, without some ekill in drawing, colour- ing, or modelling, A great deal, however, remains to be known about works of art which can be learned from books, which these who cannot draw a line may most usefully learn, and of which even thase who practise some branch of the fine arts with great success are often jgnorant, Tt is the object of this little volame to convey an outline of so much of this knowledge as can be com- prised under the form of a History. Perhaps the best starting-point for the study of all, or any of the fine arts, is their history. In the case of each country where art has been cultivated, we have a simple commencement, a grulual growth, a culminating point, and a decline; it is while endeavouring to understand the course which ‘was run by any one art, or any one school of artists, that we can best nequire a knowledge of the principles as well as the practice of the art or school in question.

Such a knowledge also enables the student to appreciate at their due value the works of any individual artist which may mee, and to assign to them their true position.

Ata time, then, when some knowledge of pictures and architecture, of statues and of music, is becoming indispensable to those who desire to sharo in the culture of the day—when the architecture of public and private buildings is constantly attracting attention—when the galleries of this country aro being thrown open to the publico—and when many thousands of our countrymen

xiv INTRODUCTION.

omit much which in a larger volume ought to find a place, the ‘Elementary History’ contains sufficient in- formation to be of real service to the art-student or the traveller. The history of architecture is so intimately allied to the theory and tho artistic motives of the archi- tect, that it is hopeless to attempt to appreciate any important building or group-of buildings without some knowledge of their place in the development or decadence of the art. What is true of architecture in this respect ts also true of the sister arts; and the information which this volume contains will suffice, if thoroughly understood and borne in mind, to act as a key to much which without it must remain closed, even to persons naturally possessing artistic instincts and gifted with artistic skill.

T. Rocer Smiru

‘bare im Girrat Bediaie in the eighteenth century ; & Archi- tecture f Great Hettats in the sinetesath ovatary -

Pare IL SCULPTURE. Entnopeesiox =

Mtriala celta Sexpere; Procemea wed in Seapoare

1, Inn and the Neighbosring Coeatsion; 2 Eeypt 9. Babylon and Nineveh ; 4 Persia; & Asia Minor and Byrn; @ China aud Joyan ; 7. Pera and Mexico

TT. Gueex Scuarrone:

1. Firt Periot; eee recent 2 tae Reet 4 Fourth Peried toe

MEL Erneecax Socurrums 5 TY, Romas Sevsrrons : 4. First Period ; 2 Second Period; 3 Thint Period . V, Banty Cunuras Securteas. Finer ro Tesra Cesreay VI. Soutrrens or rim Roxaxmyen Prenton: 1. Tenth and deventh centuries; 2 From 1160 to 1400 AD. ‘ VIL, Sovtrrenk ix tie Gotire Pextoo (frum 1225 to 1409 4-0.)

‘TH, Bocrervas ix rie Rexarssayer Pratop: |. Sonlpture io Htaly ke th fifterntls and sixtennths uci 3. Sealpere of the Resakemnce Peck in France and the rest of Europe hg ter

IX, Sovterowe ox rink Sevawrmern axe Reommee Ces. Pr i oe ee OS

X. Sowueroms ax rien eres ome w) dr Ne Xi. Barrism Sounrrone. - ww ee XIL Amenioax Scctytune 2 2 se ek

mee

+ 6

88 Es te

xviii CONTENTS.

Vi. Pastore or Brass; 1. ‘The Valencian School; 2 The Andalucian School ; 3. The Castilian School ; 4. The [tatiai-Spanish Painters of Madrid ; 5, Velazyuce and his followers. - “

VIL Parerese i tax Nerientaxps 1x rae Sererrmerra asp Fooureesta Ceerexse:

1, The Antwerp Sehecl—{a) Rubens and his Cotem- perarics—(b) The Pupils of Bubena—(e) The later Ant- weergt Schoel-—(6) France-Kemith Painters—(¢) The Meilern Belgian Sebost. 2 The Dutch School—{a) Rewsrandé and Ais pupils (2) The later Dutch Painters of domestic life—(c) Dutch Painters of Lanilecapes and Batile Serwes—{a) Dutch Morine Paintere—(¢) Dutch Painters of Architecture, Pooiliry, SiUHife, and Flowers 5 5 we 48

Vill. pon iy Geusaxy x run Nuxeveeera Cexromy: . Overbeck and his School ; 2 ‘The School of Munich ; z Genres Painters in Germany . a0

TX Pisrrese cx Pease: 1, In the fiftoeath, sixteenth, and serentoenth conturies 5 2% In the eighteenth century; 4. In the nineteenth century < 560

X. Parerove ox Esotasp: 1, Foreign Artists in England; 2 The first English Arties: other Foreigners ; 3. English Painters of the tighteceth century; 4 Baily Engliah Water Colour Painters; 5, English Paiuters of the nineteenth century ;

& Later English Water-colour Painters. 296

XA. Pauwrexo ox Agnemica Tass Lak tT Lier oy THe rrectrAn Gopa axp Gopprsses or Gmenon

RM LTS yr seu OEE

LIST OF ILLUSTRATIONS.

ARCHITECTURE. ms, Chartres Cathedral. Interior of Choir (Frontispiece). Miserere Seat. From Wells Cathedral lentele nape a

1. Tope of Ceylon .

2 Cave of Elephants

4. Pillar in Hindu Temple .

{Hindu Temple. Gopura, or Gate Pyramid

5. Pylon (Entrance-gate) of an Eexptian ‘Temple

6. Egyptian Columns . . 7 Capital of an Egyptian Column, Palm Ornament

& Egyptian Pillar and Beam. =. 2

9. Rock-cut Temple at Ipsambul, on the Nile 9a. Egyptian Sphing .

10, Winged Bulls of the gateway at Khorsabed

UL, Pavement Slab from the Palace of Koyunjik 7 12. Part of the Rock-cut Facade of the Tomb of Darius . 18 Column with Spiral Ornament .

1. Rock-cut front of a grave at Doganlu. The so-called Grave of

‘Midas . . . 15, Reck-eut Tomb at Myre in Lycia 6, Palace of Zayi. Be as T, Cum de las Monjas at Uxmal ie Groand-plan of the Temple of Neptune at Pastum 18 Dorie Order ; from the Temple of Theseus at Athens . “WD, Jonic Order ; from the Temple of Athena at Priene

20. Corinthian Order ; from the Monument of Lysicrates at Athens.

21, The Temple of Theseus at Athens 42 Acropolis at Athens, Propylaa and Parthenon (restored)

mex

= LIST OF ILLUSTRATIONS.

ne,

23, Caryatid Porch of the Erechtheum . 234, Facade of Tomb at Custelinccio =.

24 Roumn-Corinthian Cxpital =

25 Composite Capital... 1 ke 36, Bection of theTantheow, =. . - . + 27. TI teh of Constantine . . . . .

28, Trajen's Column.

20. Interior of « Pouyeian Dasiica (ratored),

30. Ground-plan of the old Basilica of 5. Peter's, Rome. 5 21. Interior of the Basilica of 8. Paul, Rome . 92, Ground-plan of 8, Sophin at Constantinople . 83, 5 Mark's, Venice, Part of the Frone

34. Ground-plan of a Romanoeque Basilica, 8, Godehard at Hi- desheim

35. Basketaplial, from the CathedmlofGurk . 36, Romanesque Areaded Comice. From a church at Vienna

37. Gateway of tho Trunsition Period. Chnreh of 8. Juky Manger.

28, Church of Swarts Rheindorf on the Rhine. 89. Extyrior of $. Staphon's, Caon Kaapkre 40. Romancaque Arches.

1 Hommes)

a Doorwiy inthe Albambs 5... se

41. Avabinn Gateway at feonfum . , Ale. Moorish Pevilion near Grounda =.

42% Interior of » Gothlo Cwthedral. Besurals Dea :

43. Plan of a Gothic Cathedral. Ameine 44, West Front of Bhetma Cathedral.

48. The Ch W'Oro, Vento AT, The Cathedral at Floronco, with Glotto’s Campanile

45, "Tho Church ofS, Catherine at Oppeaboim =. |

43, Polazto Vendramin Colorgi, Venice. 6 . +

49, Court of the Cencellaria Place at Home. =. 60. 8. Peter’, Remo aa

BI. Chitown of Chenonceatx, on the Loire |. 52. ‘Tower of Ear)"s Barton Church, Nordapiosie' 5 Doorway of Rarfreston Church, Kent

GA. Lato Normmn Shafts, Capitals, anit Arches

85. Ground-plan of Peterboroagh Onthaind .

G8, Narn ol Petertoroagh Catheind =. ss.

87. Norwich Castle; the Keep, 48 Chusterod Pillar in the Nave of Wells Cathedral

xxii LIST OF ILLUSTRATIONS,

m0. 97. Angol Gabrial and the Virgin. Am{ons Cathedral,

92, Figuro of Christ. From the Cathelral of Amiens . , . 295 99. Virtues and Vices. Prom the Cathedral of Steasburg . . 287 2100, Aitoration of the Kh, from the palpit in the Baptistery of Pim. Raa ERT Jol. The Solsiation. By Andrea Fimuo 241

102 Retief from the Baptistery at Florenen Hy Laronso Ghiberti | 246 103, Tho Madonna adoring the Infant Saviour. By Luca dolla

Robbin. + UT 404. Statue of Bartolomeo Coleont, By Awire Verechio. | 248 105, The Baptism of Christ. By Andrea Sansovino ee 106, Statue of Moses, By Michelangelo mi os + + OS 107. The Entombment of Christ, By Jacopo Tattl . - . 25 10K, Perseus with tha Head of Medum . . = 37 100. Monument of Admiral Chabot. =. . » + 5 » 96% 120, Relief. By Adam Kreft. + 265 TLL. Brora Shrine of St. Sobald, Nuremberg. By Peter Vischor _ 266 ‘U2, Thesous nd the Centanr. By Canova . . 270 128, Equestrian Statue of tho Elector of Saxony. By Seiliter | 278 116, The Marseillaise, By Mrangols Rude - 78

PAINTING,

‘T1G. The Sons of Removes IT, Temple of Ipssmbal + 4 18 216. Hunters bringing home Game. Egyptian 2. ne 217. From a Greek Vass in the Museam at Naples. + 37 M18. Painting of Still Life. Pompeii . . . . . . 38 219. The Parting of Achillesand Briss. . . . k 885 120. Wattle of fens. a + oT ‘121. Freseo from the Catacombs of S. Oclistus . . 39 ‘322. Christ Mdored by Justinian, 8 Sophia, Constantinople . ms 123. Obedience, By Giotto . m8 124. Fragment of the Fresco tomy attributed to Simone Memmi, 349 195. ‘The Imholf Altar-pioce at Naremberg . + 346 125. The Expulsion from Parndian, By Mueecio . =. . . 381 127. 8, Lawrence giving Alms, By Fra Angolico . + 364 12k. B. John taking lonve of his Parente. By Fra Filippo Lippi 366 120, Zocharins writing the name of John. By Ghirlandajo . . 359 190, Judith with the Hvad of Holoferncs. By Mentyme . . 362

xxiv LIST OF ILLUSTRATIONS.

ne. 171. Shepherds of Arcadia. By Poussin 172. Crossing the Brock. By Claude 173. Manhood. By Lancret . 174. Bleeping Girl, By Greuze p 175. The Sabine Women. By David . 176. Divine Justice. By Prad’hon

177. Raft of the Medusa, By Géricault 178. Btratonice. By Ingres .

179. Marriage & la Mode. By Hogarth 180. Age of Innocence, By Reynolds . 181. The Brook. By Gainsborough

182. Lake Avernus. By Turner

183. Village Politicians. By Wilkio

gee)

gest

SEZEEE

2 Intropverion.

A building may be said to have character when its form and proportions express the purpose for which it is intended. ‘The effect may be improved by well-designed ornamentation. Its form and style depend in a great measure upon the mode of covering openings, such as doors and windows, and forming roofs; and the building is of course much affected by the nature of the material which is chosen. Rock-hewn caves, such as those of the Hindus, Egyptians, Etruscans, and other ancient peoples, are monoliths (of one stone), even when the cave is large and divided into different parts by props of stone left standing.

When an important building is to be erected, the first course is to define its form by walls, or sometimes by pillars, which last may consist either of a succession of stones of similar size, or of a single mass. The openings between the pillars and the doorways and the other openings in the walls are then spanned by horizontal stones (lintels). ‘This was the plan adopted by the Egyptians and Greeks. Wooden lintels were sometimes employed instead of stone.

‘The nature of the material nocessarily restricts, within certain limits, the dimensions of the openings or spaces which ars to. be covered with lintels. Wider openings can be covered if the stone lintel is replaced by the areh, which is formed of stones cut wedge-shaped (voussoira) and cemented together with mortar. The arch, of whatever kind —semicircular, pointed, or horseshoe — supplanted stone lintels, and the vault took the place of the flat roof, These were the methods of roofing adopted by the Romans, and by different nations in the early Christian and middle ages, and at the time of the Renaissance.

4 Marmniats avo Meraops ov Burnptxo.

stances are often required in addition to the actual bricks, —such as terra-cotta and plaster. Bricks were employed in the erection of simple, massive structures in the earliest times, in Persia, Babylon, and Assyria, In our own day plain brick building, without stucco, has been brought to great perfection. Concrete, a mixture of mortar with gravel, is aleo used where great strength is required.

3. Wood. Timber was employed in the erection of log- huts in the earliest times, strong beams being usually piled up horizontally, and ingeniously joined at the comers. Tn the middle ages a wooden architecture provailed, having a framing of timbers, the spaces between them being filled in with stone, clay, or bricks (half-timbered con- structions). The beams and posts were often elaborately carved, as we see in many buildings which have been preserved from that time

The wooden architecture of Russia is rough, consisting merely of trunks of trees piled up horizontally, but is often ornamented with carved barge-boards and window dross- ings and pierced panels, ‘The well-known chalet of Swit- zerland is characteristic and pleasing. An extremely artistic style of wooden architecture prevailed in Norway in the early part of the middle ages. Many churches of that style aro still extant; the largest is that of Hitterdal, the ap- pearance of which is very remarkable,

4 Tron is a material employed chiefly as an important auxiliary, either for the making of ties and beame, or, in combination with glass, for the construction of large roofs, such as we see in railway stations, markets, and exhibition buildings. In America, buildings are frequently constructed entirely of iron, in imitation of stone,

6 Inpian Anoutrscruns,

of Sanchi,* for instance, the langest of which is 120 foet in diameter and 50 feet in height. The topes of Ceylon are even larger: the Abayagiri (nc. 85) was 1100 feet in cir- cumference, and 244 feet in height: the Ruanwelle was 270. fect high. The Thuparamaya dagoba, near Anuradhapoora, the ancient capital of Ceylon, is smaller, but. it stands on a platform nine feet high, and is surrounded by rows of pillars (Fig. 1).

pe uf Ceylon,

2. Rock-cut Cuves,—Originally intended as residences or monasteries for the followers of Buddha; these were subsequently converted into temples, Such are the cave~ temples of Ellora, Ajunta, Kannari, etc. Those buildings were closely followed by the carly Christian churches in their internal arrangements: rows of pillars separate

A cast of tho gateway of one of these topes ia in tho Indian

section of the South Kensington Museum,

Isptax Anonirecturr. 7

the nave fram the aisles; and in Buddhist temples a small dagoba, or shrine, containing o seated image of Buddha, rises at the end of the cave, in much the same place as the altar in Christian churches, Buddhist caves are of simple construction, with plain piers and unpretending ermamentation; the Brahminical, or Hindu, on the other hand, are often intricate structures, with every part pro- fusely decorated with sculptures.

Fig. 2—Cavy of Ekpbanta,

‘There are no less than thirty-six caves of this description scattered through the Western Ghauts and in the island of EBlephanta in the harbour of Bombay. The illustration (Fig. 2) is of one of those. ‘The cave of Karli, om the mad betwoon Bombay ani Poonah, is the largest, most perfect, and most beautiful.

‘On tho Coromanitol coast, near the village of Sadras, are the cave-temples of Mahavellipore, which are probably the

8 Ixpras Ancurrecture.

remains of a once important royal city. They are hewn from rocks above ground.

8. Pagodas—Hindu places of worship, consisting of

detached buildings above ground. A

T) pagoda consists of a group of structures sacred to the god, surrounded by seve- ‘ral gerics of walle forming an enclosure. Tho central building is of pyramidal form, and is covered all over with pro~ fuse ornamentation—sometimes even overlaid with strips of copper. The walls are generally of hewn stones of colossal size, and the gateways are borate pyramidal structures of several stories. The pagodas of Mahavellipore and Jaggernant are fine specimens of this style of building.

A system of civilisation so vigorous and advanced as that of the Hindus could not fail to exercise a lasting influence on surrounding nations; and wo find their religion and their style of art widely adopted in the large island groups, and the neigh- bouring continents,

4. Mosques,—But the most remarkable of all Indian buildings are those erected by the Mahomedan conquerors, who brought their own style with them, and combined it with the system of ornament prevalent amongst the natives. The city of Ahmedabad, the Moslem capital of Guzerat, is especially rich in mosques of surprising beauty. In front of them is usually-a court-yard, surrounded on three sides by open colonnades, the mosque itself filling up the fourth side. Three large doors give access to the mosque,

Pig. 3 Polar in Winds Temple.

IL—Boverian Agcurrecruns.

Ir is on the banks of the Nile that we meet with the earliest examples of architecture which have come down to us. The history of Egyptian architecture ia divided into two great periods: the first is that of the Pyramids, the prin- cipal of which are near Memphis, once the capital of Lower Egypt; and the second is that of the Temples erected by the kings of the Theban dynasty, whose royal city was Thebes.

The Pyramids are the oldest monuments of the world, and date from about 3000 s.c. They consist. of masses of masonry, each raised over a small tomb which con- tained the sarcophagus of the monarch; their mode of construction was as follows: A shaft of the size of the sarcophagus was first sunk in the rock, and a suitable chamber for it hollowed out when the night depth was roached ; above this chamber a step-formod, gradually tapering mound was erected, and blocks of masonry wore thon laid on each layer of the steps, enlarging the size of the pyramid till the intonded dimensions were reachod, the whole being subsequently cut to an evenly sloping surface, ‘The outor masonry ar coating has in most cass been pare tially removed. ‘These huge buildings are constructed in most cases of blocks of stone; bricks were occasionally employed.

The three great pyramids are at Gizeh, a village near Cairo; and according to the inzeriptions the first was erected by Choops, the second by Kephren or Suphis IL, and the third by Menkara or Mycorinus. The height of the oldest, or Groat, Pyramid, was 480 ft. 9 ins., and its base was 764 ft.

3 Eoyrriax Ancuirecrune.

shrine. Toworing pyramidal fngades, called pylons, with their mighty cornices (Fig. 5), give an imposing appearance to the entrance ; but with this exception the temples were designed almost entirely for internal effect. They were shut in by enelosing walls, and the severe and heavy architecture ean have been seen only by those admitted within the

Fig. 5—Pyton (Rntrance-pate) of an Regyptinn Temple.

sacred precinct, Here no window-openings, no fanciful grouping of columns, break the monotony of the desolate courts, which are covered, as with a tapestry, with mystic mariy-coloured hieroglyphics (sacred sculptures) and repre- sentations of gods and rulers. A double row of sphinxes, or of ram-headed colossi, often leads up to the entrance,

lai,

oa Eoyrrtay Ancurrecrune,

original one, and in some cases this seems to have been done more than once. In almost every instance the in- ternal walls, the ceilings, the pillars, a3 well as the outside of the building, are all profusely decorated with coloured symbolic carvings, which add greatly to the majestic ap- pearance of the structure.

The ruins of Thebes, the “ City of a Hundred Gates,” grand and imposing even in its decay, are the most extensive in Egypt, and aro sattorod on both sidos ofthe Nilo, which runs through the ancient town. Those of the Temple of Karnacare the largest and most remarkable. The Sancta- ary of Kamae was built by Osortasen 1, ‘and the rest of the building was added by later monarchs. ‘The great hypostyle® hall covers more than $8,000 square fect, and contains a central avenue of twelve columns, 60 feet high and 12 feet in diameter, and 122 of lesser dimensions, Nearly all the larger Egyptian tomples contain hypostyle halls, which derive their name from their having an upper row of columns, through which the light was admitted to the central hall. The temple of Luxor, on the same side of the Nile asx that of Karnac, was connected with the latter by an avenue of sphinxes,

Colunms are largely employed in the architecture of Egyptian temples. They are of various forms. One of the oldest is represented in Fig. 6. The shaft, supported an a round base, somewhat resembles a bundle of reed-stems,

Fig. ayn Pie = and lara

The literal moaning of the word hyportyle is “raised on columns”

Eoverias Axcurrectone. 6

and its espital (top), springing from the necking of the shaft and banded together with it, is supposed to reeetnble a lotus bud = above the capital is laid the abacus (a level tablet or shallow block), supporting the entablature (the horizontal bears and cornice). Many columns have capitals representing fally-opened flowers and palm leaves (Fig. 7),

Vig. B—Reckeeut Tesple wt Ipmembiul, on the Nie.

snd in later temples we meet with pillars in which heads of the goddess Hathor and other deities are used as the omaments of eapitals. We must not close this notice of Egyptian pillars without a word on the so-called caryatid columns, which are square piers with colossi placed in front of them. Although not strictly architectural objects, as

16 Eovrman Ancnurecrone.

they do not support the entablature, they greatly add to the architectural effect of Egyptian temples

‘The royal Theban tombs of the eighteenth and following dynasties, excavated from the living rock in the western plain of the Nile, are no less worthy of study than the temples. A labyrinth of winding passages, alternating with halls, of which the roof is supported by pillars loft in the live rock, loads from a vestibule to the sarcophagus chamber itself The walls of these tombs are covered with paintings relating to the life of the ruler, and the sarcophagus stands in the last chamber. There are many distinct groups of tombs in the plain of the Nile, of which the most remarkable are the Tombs of the Queens, the Tombs of the Kings, and the Cemeteries of the Sacred Apis. Other important Egyptian monuments are met with elsewhere, especially in Nubia — such aa the temple on the amall island of Elephantins, and the two rock-out caves at Ip- sambul (Fig. 9), the larger of which has an external fagade 100 feet in height, adomed with a statue, 65 feet high, of Rhamses the Great (the Sesostris of the Greeks).

Egyptian architecture entered its final stage in the Piolemaie age (ic. 300). ‘The picturesque temple oa the island of Phil is a monument of that epoch,

18 Assyeiax Arcnirsctune,

the right bank of the Tigris. The palaces and buildings brought to light have been named after the villages of Nimrud, Khorsabad, and Koyunjik, near which they were found, and are most probably the ruins of ancient Nineveh. They are intricate buildings, erected on terraces of brick, and consist of a number of narrow apartments and long galleries, grouped about a central court. No very distinct- ive architectural forms have as yet been discovered—such as colurnns of a characteristic style; but this is in a great mengurefatoned for by the richness of the decorative

Fig. 10.—Wingod Tinlls of the gateway at Khorsaled, details. The bas-relief, sculptured on tablets or alabaster slabs and covering the lower part of the walls, are very beau- tifully carved. They commemorated the chiof events in the lives of the Assyrian rulers. Many of them have been removed tothe British Museum ; of these the “Lion Hunt,” from the palace of Nimrud, the “ Siege of a Town,” and the “Erection of a Colossal Bull,” are among the moxt remarkable. The ornaments of the variegated glazed slabs of the pavements and the upper parts of the walls are in many cases excellent, The beauty of the drawing and the

TV.—Ansenrrecrone or tae Mzpes anv Persians,

Uvoer the rule of Cyrus the Great (559—529 nc.) the Persians obtained ascendancy over the Medes, and extended their dominions on all sides For upwards of two centuries they were a great nation, and many important remains of their architecture may be seen to this day.

The art of these nations is a late offshoot of that of Assyria. The Modes and Persians adopted the terraced platforms and the brick walls faced with costly materials charnetoristic of the ruins of Babylon and Nineveh. This style of ornamenting walls, which was common throughout the whole of Central Asia und in ancient Egypt, may perhaps have sprung from the designs of the exquisite textile fabrics, in the manufacture of which the people of the Kast excelled in very early times.

The royal palace of Ecbatana, the capital of ‘Modia, was seven stories high, built in the terraced style, with coloured walls in some parts glowing with gold and silver. These walls boar a striking affinity to those faced with coloured glazed bricks, which were used in the palaces of Nineveh. The columns and ceiling-beams of the halls were made of cedar and cypress wood, and covered with gold and silver plates

Intercourse with the Greeks of Asia Minor greatly influenced Persian architecture, and led to the extensive employment of marble, and the adoption of many Grock ermamonts, On the site of the ancient Pasargadm, near the modorn Murghab, the ruins of n lange structural tomb have been discovered, supposed to be that of Cyrus, It

Mavo-Psssias Ancurrecrone.

neighbourhood. Here also occur the tombs of the Persian monarchs, excavated from the rock and adored with high sculptured fagades cut from the same material. The tomb of Darius at Naksh-i-Rustam (Fig. 12) is remarkable for having on the fagade beneath the sarcophagus a representation of the Palace of Persepolis as it was in the days of the Great King, by means of which the parts missing in the ruins can be supplied. In all these fagades we recognise an imitation of the Persian columns, which are remark- able for the carved bully’ and unicorns’ heads which form the capitals, and for the spiral orna- ment which reappeared at a Later date as the characteristic feature of Greek Tonic architecture.

‘The ruins of the Hall of Xerxes, the Chehil Minar, show that it must have been one of tho largest build- ings in this part of the world. ‘The bases of no less than seventy-two columns still remain to mark the enormous size of this grand temple, which must have occupied more ground than most of the cathedrals of the present day.

V.—Axcurecrore or Asta Morvor.

‘Tue most important of the native races who inhabited that part of Asia which lies betwoon the Black Sea and the were the Lydians, the Phrygians, and

Vig. -Reck-eut frvat of thess-called Grave of Midas at Dogentn

the Lycians. Of these the Lydians were probably, in the reign of their King Gyges (about 700 n.c,), the most valiant, But about 550 n.c. Cyrus took thoir splendid city Sandia ‘and joined their country to the great Persian Empire,

24 Axcurrecrorr or Asta Mrxor,

‘These various races are famous for the strange tombs they erected, — each people having adopted a different form of sepulchral monument, The most ancient appear to be those of Lydia, which are of the primitive tumulus form, and often of colossal proportions, The largest of all is the tumulus of Tantalus, 200 feet in diameter, situ- ated on the northern shore of the Gulf of Smyrna. Similar tumuli are to be seen in the neighbourhood of the old royal city of Sandis, and are supposed to be the tombs of the ancient rulers of the land.

The sepulchral monuments of Phrygia are of a different character. Th was customary with some ancient, peoples to raise mounds over the resting-places of their leaders, but with others to use the natural rock for the structure of a tomb. The Phryginns followed the latter custom ; they excavated their tombs in the living rock, and adorned them with skilfully-eculptured fagades. These fagades were entirely covered with linear patterns painted in various colours, and preserving the peculiar style probably suggested by the Eastern textile fabrics, to which we have already alluded, The so-called grave of Midas, at Doganla (Fig. 14), is a remarkable speciten of this clas. Tt is 40 feet high, cut from the living rock, and terminates in a pediment with two scrolls.

‘The Lycian monuments are of a form totally distinct from those of Lydia and Phrygia. The inhabitants of the romantic mountain districts of Asia Minor adopted two different doseriptions of sepulchre,—one boing etructural or detached, the other cut in the rock; but both were imitations of the wooden houses everywhere common amongst mountaineers, with sometimes the addition of some features which recall the construction of aship. The

Axcurrecture or Asta Mirror. Pod

detached tombs are perfectly constructed monolithic tombs, enmsisting of a double pedestal supporting a sarcophagus, which is surmounted by a curvilinear roof, evidently bor- rowed from a wooden form, apparently that of a boat turned upside down. The second class—those cut in the rock— have either sculptured facades, or a kind of framing stand- ing ont from the rock (Fig. 15), closely resembling the fronts of primitive log huts. At s later dato, imitations of portiooes on columns, betraying the influence of the Grecks, supplanted these carpentry formes.

Pig. 15 —Rook-cut Tomb at Myre iz Lycie.

VI.—Eanty Asenicay Axcurrectors.

Buxrore commencing our review of architecture in the different countries of Europe, we must turn for a moment to the New World, and inquire what monuments have come down to us of the civilisation of the early inhabi ants of the two great American continents.

1. North America,—The architectural remains of North America scarcely come within the scope of our subjest, as they are all of the rudeat description: more mounds, varying from five to thirty fect in height, enclosed within colossal walls of earth and stone, Their origin, and the purpose for which they were erected, are alike involved in obseurity.

2, South Amorica.—The principal architectural remains, sculptures, ete., in South America, are in Peru, and the most remarkable of them appear to date from pre-Incarial times, and to have formed part of buildings erected by the predecessors of the anciont Peruvians—a race whose very name is unknown.

The ruins of Tita-Huanea, on the shores of Lako Ti enc, are of this class, and consist of monolithic doorways, one of which is 10 feet high by 13 wide; of pillars 21 feet high, and of immense cyclopean masses of masonry.

The monuments of the times of the Incas are inferior in every respect to those of the earlier inhabitants of Peru, The ancient Peruvians appear to have constructed their earliest buildings of mud, which was supplanted by

Esser Auesican Ancarrecrons. 7 a kind of concrete, and that again by oyclopean blocks.

3. Central America.—The principal architectural re- mains of Central America are in Mexico, Yucatan, and

Guatemala. They are all supposed to have been the creations of the Toltecs, a race who probably dwelt in these provinces at the most remote ages, and attained to» higher dogroe of civilisation than their successors, the Aztecs of Mexico, and the mixed races of the neighbouring districts. The buildings most deserving of notico in Con- tral America are the Teocallis, or Houses of God, and the palaces of the kings The former consist of four-sided

23 Eanty Amentoas Ancurecrunr.

pyramids—generally divided into two, three, or more ter- racee—and the temple itself, which rises from a platform on the summit. The pyramid of Cholula, near Mexico, is alike the largest and most celebrated of the Teocallis of Mexico; but it has been mach defaced, and the original temple has been replaced by a modern church dedicated to the Virgin. This pyramid originally measured 1400

Wig. 17-—Casa do las Monjas at Uxrnal,

feet each way, and was 177 feet high. The Toocallis of Yueatan are in much better preservation, They are not built on terraces, but are approached by an unbroken flight of steps. ‘The pyramid of Palenque is 60 foot high, and the temple on the summit is adorned with bas-relief and hieroglyphical tablets. The roof is formed by courses

ViL—Greex Ancrirecrore.

Greek architecture reached its fullest development in the building of temples. A Greek temple rises from a platform of many steps within the walls of a snered enclo- sure. Every part of the building is accurately propor tioned, and every detail is as carefully finished as a work of sculpture. The Egyptians strove to give expression to their dim yearning for the sublime in the overwhelming extent and massiveness of their buildings, but the Greeks

Pig. 174.—Ground-plan of the Templo of Neptune at Pantum,

produced an impression of beauty and solemn grandeur by perfection of proportion and purity of outline. The Egyptian temple, moreover, was always designed for inter- nal effect; the Greek temple, on the contrary, appealed far more strongly to the admiration of the bystander than to that of the worshipper who prayed within its portals, The ground-plan of a Greek temple is a parallelogram (Fig. 17e), either with columns at cach end only, supporting the sloping pediments (@. ¢. gables), or continued all round. ‘The naos or cella—the temple itself—is always small, even

82 Geerk Ancurrecrunn.

them; and to the system of decoration which was employed inthe whole building, ‘The capital of the column was, if the phrase may be permitted, the badge by which the whole can be recognised.

Tn all carly Grock temple architecture we meet with substantially the same ground-plan treated in two widely different styles. This is accounted for by the fact that Greece was inhabited by two separate races, distinguished us the Doric and the Tonic, who have given their names to the two chief Greek orders of architecture, The thint order is called the Corinthian,—why, has not yet beem determined, as no examples of it have been found at Corinth.

‘To avoid confusion, it will be well to make ourselves acquainted with the different parts of the column and its superstructure or ontablature in every order before describing the different treatment of those parts in the Doric, Tonic and Corinthian styles.

A column consists of the base, th The entablature, that: part, of the building which surmounts the columns and rests upon their capitals, consists also of three parts, —the architrave, the frieze, and the cornices (Kig. 20), The architrave is the horizontal portion reat- ing on the abacus (a flat tablet placed upon the capital), and is sometimes ornamented by mouldings with fiat spaces between them. The upper moulding projects beyond the other, to throw off the rain. The frieze, the middle portion of the entablature, between the architrave and cornice, is generally ornamented with sculptures. The cornice forms the upper portion of the entablature, and is divided into three parts; namely, the supporting part, the projecting part, and the crowning part. The lower

hajt, aud the capital.

Grexx ARCHITECTURE. 33

mouldings form the supporting part; they are called bed- mouldings ; the projecting part is the corona (crown), but the true crowning point is the moulding surmounting the socalled corona, and forming the highest member of the comice, The triangular space over the portico, enclosed Within the horizontal cornice and two raking (i.e. sloping) comices, which fullow the slope of the roof, is called the tympanwn, and is generally filled with sculptures, as in the Parthenon at Athens. The whole of the triangular tad, which answers to the gable in Gothic buildings, is the pelinent. ‘The roof was most frequently covered with tiles of marble.

The Dorie Order.

The Doric order is remarkable for solidity and sim- icity, combined with elegance and beauty of proportion (Fig. 18). The Dorians had no base to their columns ; orrather they made the upper step of the platform serve %a common base for the whole row of columns. Doric clumns are massive, and have an entasis or convex Profile. They are generally fluted—that is, cut into a ‘eties of channels touching each other, of which the normal umber is twenty. Several rings, called annulets, deeply ‘ut on the shaft, connect it with the capital, and throw itto relief the echinus, a convex moulding forming the liner and principal part of a Doric capital. The Doric tatablature is distinguished by the ornamentation of the fieze or central portion with triglyphs, i.e. three slight Mojections, divided by channels or flutes. The spaces between the triglyphs are called metopes. They are Sur, and were, it has been conjectured, originally left open to serve as windows, but they are in all known

FRA D

u Geeex Ancurrecrure.

examples filled in with stone tablets, adorned with sculptures in relief,

Above the triglyphs and metopes forming the frieze rises the thind and Tast division of the entab- ke lature, — the cornice.

il e—— ‘Thin plates, called Tricws, with triglyphs und i meloper, dil Arehitrave,

Capital

Mis] mutules, placed over each triglyph and each metope, connect them with the cornice. The sofite (under gurfaces) of the mutules aro worked into three rows of gutter (i. ¢. drops)

The Greek Dorie order in many of the foatures of its entabla~ ture boars a resem- blance to the forms natural to timber structures; not perhaps so close as that exhi- bited by the Lycian tombs (see Fig. 15), but:

pL el gad still too marked to be

‘Tewploof Theseus at Athens, really accounted 1H

on any other supposition than that timber buildings must

have been the originals. This is especially the case with the triglyphs, the guttw, and the matules,

The pediment, although not forming part of the order

Shaft.

36 Greek Ancmirgcrone,

or other sculptures, This frieze is called the soaphorve (figure-bearer).

Prien.

Vig, 19 Tonic Orde, Prom the Temople of Athena (Minerva), at Priene,

In Attica, Dorie influence produced a modification of the Tonic style, which has appropriately been entitled Attic.

Pig. 20, —Creinthian Onder, From tho Monument of Lysicratos, at Athena,

400 Greek Arcnirxcrune

reinained almost intact for many centuries, until they were destroyed by the Venetians in 1687: two mutilated mins are all that now remain of this magnificent structure. Ictinus and Callicrates were the architects, and Pheidias and his pupils aré supposed to have executed’ the sculptures, many of which have been removed to thé British Museum, Although they are so broken as to be little better thin

ees me am Lr em |p

Pig. 21.—The Temple of Theseus at Athens

relics, they arc universally acknowledged to be among the most beautiful works of seulpture ever produced.

Not less famous than the Parthenon itself is that magnificent Porch, the Propylma, built of white marble, which formed the entrance to the temple on the western side of the Acropolis. Tt belongs to thie same age as the

Greek Arctirectons. at

Parthenon, having been erected by the architect Mnesicles, under Pericles (about 430 nc.). This ling is remark- able for perfection of proportion and grace of datail, and is a fine specimen of the harmonious combigation of the - Dorie and Tonio eyles ‘The temples named above belong to the Doric order;

At Epherus the remains of the famous marble temple of, Artemis (Diana), which was ope of the Seven Wondors of the World, have been oxplored within our own day; and portions of the geulptared shafts have been brought to the British Museum by Mi. Wool.

42 Grek Ancarrscrors,

We can likewise see the result of an Attic modification of the Ionic style in two works of extremely modest proportions, of about the same date as the Temple of Theseus: the ruined temple on the Tlisss, and the ‘Temple of Niké Apteros (Wingless Victory) at the entrance to the Acropolis of Athens.

Bat it is in the third building of the Acropolis—the Erechtheurn—that we see the fullest development of the graceful Attic-Ionic style, The original Erechtheum was named after Erechthous, an Attic hero, and contained hig tomb, bat it was destroyed by the Persians; and the second building bearing the same name, which roso on its ruins, was a splendid compound structure, with several chambers and three porticoes, containing not only the sacred image of Athena and the tombs of some of the old heroes of the land, bat also many highly-venerated religious relics. It was not until after the death of Pericles that the Erechthoum was rebuilt. The outside of the noble structure of this eccond building, although nmeh mutilated, is still in a fair state of preservation. On the southern side a small vestibule remains, the entablatury of whieh is supported by six beautiful female statues, or earyatides, instend of columns (Fig. 23).

Buildings similar in the development. of their architec- ture to those described above were erected in other places, —such as the temple of the goddess Demeter (Ceres) at Elousis; the temple of Zeus at Olympia; and the temple of Apollo Epicurius at Phigalia, in Arcadia.

The third poriod commenced when the power of the republics began to wane, and Jasted until the final over throw of Greek freedom. The buildings erected in this age were fine and numerous, but wanting in the simple,

At Gxeex Ancarrectore.

of Lysicrates, in which we see the Egyptian and Asiatic features combined with the Ionic. This monument was erected in 334 w.c. (Fig. 20.)

Fragments have lately been found of the colossal mauso- Joum at Halicarnassus, erected to Mavsolus, king of Caria, by his widow Artemisia, in

nc. It was one of t even Wonders of the World, and we must consider it to haw

been the finest structure of the kind ever discovered.

Some marble pilasters with richly inlaid panels, a statue of the king in several pieces (now joined together, and at the British Museum), and part of the quadriga (i.e. four hi tho

Asia Minor also contains & good many remains of fine buildings of the Corinthian style belonging to this age. Such are the temple of Athena at Priene, dedicated to the patroness of the arts by Alexander the Groat, and the famous temple of Apollo at Miletus—a huge dipteral building, 308 fi. long by 164 wide

¢ chariot) which crowned the monument, were amongst naments excavated.

46 Erruscaw Ancuirectore.

and the condition of the soul in the other world, ete. The facades of the tombs have every appearance of great antiquity, and slightly resemble in outline the fronts of Egyptian temples (Fig. 23a). The finest of these tombs are at Corneto, Vulei, Chiusi, Castellaccio, and Norchia, a group of cities to be found in Central Italy, Objects of ornament or use of a great variety were found in the tombs,—many of them carved and polished. The most

interesting are the painted vases, a number of which are to be seen at the British Museum; but many of them formerly called Etruscan are now proved to be of Greek origin. ‘That the Etruscans had a distinctive style of architecture we only know from written records; no mee mains of religious buildings have been discovered, The Etruscan langunge has never yet been fully deciphered, and until this is achieved we must remain ignorant of much that existing inscriptions might reveal.

48 Romax Arcurrscturs.

While making the fullest uze of a constructional expedient which the Greeks had never employed, the Romans, whe were always better engineers than architects, were content to borrow an artistic element from another souree. This was the columniation of the Greeks, which they copied in a compnratively coarse and tasteless way, and employed not only in the entrances to their temples, basilicas, theatres, amphitheatres, palaces, and baths, but also in the richly-decorated courts of their private houses. ‘The three Greek orders wore often introduced into a single building, but the favourite arder was the rich!y-derorated Corinthian, the beauty of which the Romana strove to increase by adding to it the fulness and strength which the Greeks had never succeeded in giving it (Fig. 24). ‘The Com= posite or Roman Onder was the outcome of the attempt to improve the Corinthian, of which it was in fact a somewhat free version (Fig. 25), while what is known as the Tuscan order was, on the other hand, an impoverished version af the Doric. The distinctive feature of Roman architecture is the combination of the Etruscan circular arch with the Grecian system of columniation. The Romans seldom invented a new form, they never worked out a style dis- tinct from that of their predecessors or complete in itself; and the interest of Roman architecture, apart from thie wonderful extent of the structures and the skill with which they were erected, consists entirely in the fact that it is & transition style, a combination of all ancient styles, ani the starting-point of early Christian architecture, AM examination of Roman buildings, as we shall presently see, enables us to understand much that must otherwise have remained inexplicable in the arts of the Gothic age

Roman architecture of the earliest period was of an

—

60 Roman Arcurrscrons.

was railed off from the other portion of the building, in which markets were held and business was transacted, and consisted of a semicircular apse with a raised platform, projecting from the back of the ball,

Towards the termination of the republic, when Rome was convuleed with civil war, and the revolts of the slaves threatened to overturn the whole system of government,

Vig. 28,—Sootion of the Pantheon,

the republican simplicity of earlier buildings was changed for a princely magnificence of style. The theatre, built by Marcus Seaurus, in 58 ».c., which was capable of hold- ing 80,000 spectators, contained handsome marble columns and fine statues, and was richly decorated with such costly materials as gold, silver, and ivory. Treo years later, Pompey erected the first stone theatre in Rome; it held

52 Roma Arcurrrerure.

Tn the foremost rank ix the Flavinn amphitheatre, known a5 the Colosseum, which was begun by Vespasian and finished by Titus It was the largest structure of its kind, and is fairly well preserved. It covers about five acres of ground, ‘and could contain $7,000 persons. It is 620 feet long by 513 broad. The exterior is about 160 feet in height, and consists of three ordera of columns—Doric, Tonic, and

Pig. 27 —The Arch

Corinthian—with a story of Corinthian pilaeters above them all. There are arches betwoen the columns, forming open galleries throughout the building. Four tiers of soats inside correspond with the four outside stories, The ‘building waa covered in by a temporary roof or awning, called the rvlarium, The Triumphal Arch of Titus, at Rome (a.v. 70), is well preserved, and is remarkable for

68 Eanty Onxistiax Ancaitecronn.

from the state. Heathen temples were little suited for Christian worship, and we find that they were seldom employed for that purpose ; but it was imposible to create a new form of building for the emergency, and the Roman basilicns of various kinda, which had been in use under the heathen empire, wore found to be admirably adapted to the requirements of the Christian worship. The long quadrangular building, divided into three or five aisles by rows of pillars, accommodated the congregation, aud the semi- circular apse—generallyelevated, and railed off from the rest of the building—was exactly the right place for the altar. The bishep naturally took the scat formerly ceeupicd by the prmtor oF quiestor, and the priests or pres byters those of the assessors This, then, was the origin of the early Christian basiliens, ‘This semicircle was sometimes separ ated from the remaining building Fig. 30-—Ground:plan ot sho ofa by & transverse passage running

Sitio of St Pete's, Kom across the entrance to the apee, thus converting the form of the building into that of « lange cross. ‘These passayes, which run at right-angles te the church, directly oppesite to each othor, cut it across, alled transepte, At the point where

and were therefor the arms or transepts intersect the body of the eross formed by the central aisle, the altar was placed, and above it rave @ triumphal arch, often supported on two extremely massive pillars. ‘The portion of che contral aisle which runs west

60 Eanty Camerian Ancrrectvrs,

nave eighty feet across, but with a very small apsis or choir, Tho two small basilicas of Santa Agnese and San Lorenzo, at the gates of Rome, were erected in the end of the sixth and the beginning of the seventh centuries, and remain, comparatively speaking, little altered. ‘They have their side-nisles in two stories.

Fig. 31-—Loterior of the Basilica of St, Paul, Rome,

The church of St. Apollinare in Classe, at the old port Dh Bardi. wbovt shies iiflea from the city, i Sue Insilica of the first class, erected between 538 and 549. The internal details are extremely beautiful, but the outside is painfully plain and unembellished, as is the

XI—Byzantive Arcnirecrere.

‘Ti: Byzantine style of architecture is that adopted by the Slavonic races of Europe, as distinct from the Teutenie, and was generally employed in all those countries where the Greok form of Christianity was professed. Simul- taneously with the transformation in the West of the Roman basilicas into places of Christian worship, a new style began to develop itself in the East, likwise founded on Roman models. Constantinople or Byzantium was to Eastern Europe what Rome was to Western. Tt was in Byzantium that ancient art was saved from total oblivion, in the dark period of the middle ages ‘There was pme- served the remembrance of the ideal forms of antique beauty, together with the technical knowledge necessary for their embodiment anew. Byzantine architecture was nol, like the Roman, % mere combination of antique styles without individuality or originality: by its artistic recog- nition of all that distinguished Christianity from paganism, and by its bold and original development of those principles of plan, construction and decoration which it adopted, it gained for itsolf o position as an original school of art.

‘The chief peculiarity, or rather the fundamental principle, of the construction of Byzantine churches is the emplay- ment of the cupola or dome covering in the central part of the church, and the substitution of an almost square plas for the long aisles of the Roman churches Instead of the rows of columns of the basilicns, strong and lofty piers connected by arches supported the cupola. To the central space, covered by the cupola, were joined half-domes of lew magnitude. Small columns were only used for supporting galleries and, so to spoak, railing off the central portion of

64 Byzaxnxe Anemrrecrone,

of Byzantine architecture, But the best example of any is

the church of St. Sophia, which is now the greab mosque’ |]

of Constantinople (Fig. 32). It was commenced by Justinian in 682, and completed in 537, but was much injured by an earthquake twenty years later, It is of ne great beauty externally, but its internal arrangements aré—

of a surpassing grindeur, The narthex consists of two fine halls, one over the other, and the church itself is almost a square, being 229 ft. north and south by 243 fi from enst to west, surmounted in the contre by a vast dome 107 ft. in diameter, and rising to a height of 182 ft. the floor of the church, Hast and west of this m

semi-domes of the same diameter, which are cut three smaller halfdomes, supported on two tiers of

On the lower range of these columns stands a | running all round the church except at the apse.

of the semi-domes, and these walls are pierced with amall windows, ‘Tho double narthex, galleries, an are lighted by two rows of windows, which extend all the church. The central nave is lighted by 0 western window and a number of smaller openings: in all the domes just above the springing. Another church at Constantinople, in whicl Byzantine architecture can be studied in its eomp is that called Theotocos (Mother of God), Te was erected bout the end of the tenth or be, eleventh century. ‘ In other parts of the ancient Greek empire amples of Byzantine architecture still exist, AtS there are the remains of many churches. In Athons is a small cathedral decorated internally with mural pat

66 Brzanrive ARCHITECTCEE.

ings, and externally with sculpture; and at Misitra (the ancient Sparta) the church of the Virgin is still pre:

How widely Byzantine influence felt in Western Enrope is proved by the existence of such buildings as the magnificent cathedral of St. Mark at Venice (Fig. begun a.p. 977, which still exists in much of its original grandeur, and the cathedral of Aix-la-Chapelle, both of which are of a purely Byzantine type. Saint Mark's has five equal-sized ved in the f

orved.

lomes arrang and at the great front five lai sup ported by hundreds of marble columns. Over the middle poreh stand the four celebrated horses which once adorned the arch of Trajan at Rome. The Emperor Constantine took them to Constantinople, wher Venice by De

n of a cross;

» porches, which

0 .they were brought to Dandolo in 1204. The interior of Sk od with a profusion of glittering mosaics which rendor it one of the most remarkable buildings in the world.

The cathedral of Aix-la-Chapelle, supposed to have boon built by Charlemagne between A.p. 796 and 804, te one of the oldest and finest of the circular buildin Northern Europe.

Mark's is co

68 Rowanzsqoe Arcurrecrore.

dedicated in the basilica itself, in a crypt or vaulted sanc~ tuary constructed to receive it beneath the choir,

To make room for the whole congregation, the nave and xide-aisles were lengthened, and the atrium or court-yard in front of the principal entrance was converted into a simple porch (Fig. 34). The principal western entrance: ‘was generally flanked by two towers, which subsequently became an almost invariable feature of northern buildings. ‘The flat roof wos replaced by the vault—generally the groined vault, more rarely, as in France, by tho tunnel-

Fig. 34.—Ground-plan of « Romunoeque Busilion, St. Godeburd at Hildesbeim,

vault or a serics of cupolas. The plainneas of the walls, above the pillars of the nave, was relieved by the intro- duction of a cornice, above which were rows of windows usually of a smaller size than those of the early Christian bazilicas, Windows of a similar description, but even smaller, were introduced in the walls ranning round the side-nisles and in the apses. The semicircular arch, usually without mouldings, was always employed, Circular or wheel windows were widely adopted, being introduced

70 Romawesque Axcuirecrure.

symbolie meaning, others the mere creations of the archi- tect’s fancy,

‘The period included between 1175 and 1220 is known as the Transition Period. In it Romanesque architecture reached ita fullest development; many churches of great beauty wore erected, retaining all tho peculiarities of the true Romanesque style,—imbued, however, with a slight Gothic feeling, premonitory of the coming change, The restless spirit of the age, ever longing for and reaching after change, was reflected in its architecture, in the constant adoption of new forms and new combinations of

Fig. 36.—Komaneaqae Aroaded Cornice, From » Chureh wt Vierma.

familiar details The transitional style was the result of the ever-increasing demand for finer aud more costly places of worship. The Crusates unlocked to the people of the West the treasures of Eastern art; and Eastern forms were widely adopted by the Western nations, alike in architec- ture, sculpture, and painting. Something of the grand severity and purity of form of carlier works was lost, never to be regained. Pointed and foiled arches replaced the circular Roman arch; the shafts of the columns were more richly clustered, the capitals more elegantly carved. But in nothing was the change so marked as in the door

Rouaxreque Axcurrscrure. 7

ways, which were more richly carved and more profusely with sculptures than ever (Fig. $7). The large

‘Vip 37.—Gatoway of the Churod of St. Jk, Huagary. (Transition Poriod,)

‘This cireular window was a very great ornament as long @ it retained its simple form, like that in the west front of the cathedral of Chartros.

Saxony is especially rich im Romanesque basilicas of the

72 Romanesque Arcarrecture.

earlier period, with flat ceilings, such as the Schlosskirche (Church of the Castle) at Quedlinburg. But we meet with them alto in other provinces of Germany; such was the convent church at Paulinzelle, now a fine ruin in the Thuringian forest.

‘The cathedral of Hildesheim, built at the beginning of the eleventh contury, is of a later date, when the style was moro fully developed. It has bronze gates, 16 ft. high, adorned with very fine bas-reliefs, The convent churvh at Limburg on the Haardt (1035) is one of the largest of the German basilicas. It is now in ruins, but it is easy to see what it was before its decay. Tt has a square choir instead of the usual semicircular apse. The cathedral of Tréves. (Trier) may be considered a typical medieval church, The original building was erected by the empress Helens, and consisted of a circular baptistery and a rec- tangular basilica, but the former was taken down in the thirteenth century to make way for the present church of St. Mary. The basilica was strengthened and completed as a place of Christian worship by Archbishop Poppo in the boginning of the eloventh century. He converted the original Roman columns into piers,* by casing them in masonry, covered in the atrium, and added an apso at the western entrance. In the twelfth century Bishop Hillin took up Archbishop Poppo’s unfinished task, and commenced rebuilding the choir, or eastern apse, which was completed by Bishop Jobn at the beginning of the thirteenth century. These two opses—one built when the Romanesque style was in ite infancy, the other when

‘The diffrence betweon a column and a pier fs that the former

is ulways round, and the latter may be of almost any shape, |

4 Romanesque ARCHITECTURE.

Gelnhausen is supposed to have been commenced some- what later, They are fine specimens of the transition style ; as are also the cathedrals of Naumbery and Bamberg, the latter of which is very handsome, St. Stephen's at Vienna, with its beautiful spite, marking the transition from the sxyuare tower to the tapering pinnacle, is one of the largest of German churches of the painted style.

Tn North Germany, where it was dificult to obtain stone, buildings similar to those mentioned above were constructed of brick, The Romanesque style was adopted in the early part of the twelfth century—the flat roofs and columns of the basilicas being quickly superseded by piere and vaults,

‘The Romanosque buildings of Italy of the eleventh and twelfth centuries differ greatly from those of Germany. Tn many of them we see a combination of the Christian basilica with a simple system of vaulting One of the best specimens is the basilica of San Miniate, neat Florence, begun in 1013. Tt bas three aisles, but no tram septs, and is divided into three longitudinal portions clustered piers.* supporting two large arches, which spat the nave and aisles, These arches may be looked acrade effort at vaulting the central portion of the and the clustered piers show the working of the to which later on the Gothic system of arches behind one another was due.

Tho cathedral of Pisa, commenced fifty years church of San Miniato, is considered as typical of the | transitional Romanesque style, Tt has more —

A clustored pier ia one in which severs} anal columns joined together, oaoh with a base, shaft, and capital,

76 Romanesque Anourrectune.

peculiarities than the earlier building ; the form of the cross is fully developed by the extension of the transepts on either side of the choir, but it has the flat wooden roof of fin early basilica, ‘The church of San Michele at Lucea is of the same style as the cathedral of Pisa; it is remark- able for the profusion of columns and arches characteristic of the later Romanesque style.

Lombard architecture carly freed itself from Roman influence, and in the buildings of the eleventh century we can trace the growth of ite peculiar style. The church of San’ Antonio at Piacenza was built in the early part of the eleventh century ; the plan is Romanesque, but even that differs considerably from the ordinary typo, the transopts being at the west end, and the tower, which rises from the point where the nave and transepts meet, is supported on cight pillars and four pier, The whole building is roofed with intersecting vaults, and outside we see the buttresses which afterwards became so important a feature of Gothic architecture,

In the cathedral of Novara a further development of the Lombard style is noticeable, It too belongs to the early part of the eleventh century, and retains the atrium, the baptistery und the basilica One chief characteristic of this and other buildings of the age was the introduction ‘of open arcades immediately under the eaves af the roofs, through which light and air were admitted. The ehurch of San Michele of Pavia is one of the most perfect of Italian buildings of this age, In it we seo the style almost developed into the true Gothic—the only subsequent inventions being the pointed arch and window-tracery. ‘The cathedral of Modena is another example of this style. In the Cappella Palatina in the palace at Palermo we have

“Pig: 30.—Et, Siepna's, Caan (AVbayS aux Homrnes)

78 Romanesque Axcarrecryre.

& specimen of the mixed Romanesque and Moorish styles, remarkable for exuberance of colour anderichness of detail. .

It would be impossible even to hame the numerous « churches of France belonging to this period (eleventh and twelfth centuries). One of the most interesting is that of Maguellonne, which has a remarkable doorway, in which the Classical, Moorish and Gothic styles are combined. A typical example of French Rotnanesque architecture is the church of St, Saturnin or St. Sernin at Toulouse. Tt bas a nave and side-aisles, with wn areade above the latter, ‘The choir, however, is of a form essen- tially French: instead of the simple semicircular apse of the Roman basilica, which was universally adopted in Germany and Lombardy, the French invented a cheeet, _ which is an apse round which are clustered a group of chapels in place of a simple aisle, Canterbury and Westminster may be cited as English specimens of the chevet.

Normandy is rich in churches of this age. One of the finest is St. Stophen’s at Caen (Fig. 39), erocted ‘by William the Conqueror, in 1066, to celebrate his conquest of England. It is now 364 feet long, the original apse having been converted into a cheeet a century later. The western entrance is flanked by two towers, which subse- quently became a distinctive and almost invariable feature of French churches.

Little is known of the history of medisval architecture in Spain, A peculiarity of the Spanish churches consists: in the fact that the building is often entored from the transepts instead of from the western end opposite to the choir, and the apse is not lange enough to contain more

82 Moons Arcurecrure.

sucred niche (Mtkrab), towards which the faithfal are bound to look when in prayer. Opposite the pulpit there is generally a desk for the Koran, on a platform surrounded by a parapet. ‘The simplicity of the original mosques wax gradually replaced by an infinite variety of areaded courts, gateways, domes, and minarets, und froquently by the

Fig. 4i.—Arabian Gatoway at Loonium,

addition of a tomb sacred to some person of renown, the dome being in most cases the lending feature, although occasionally the wooden ceiling of the early Christian basilions was adopted in its place. The Moors, however, introduced a ceiling, known as the stalactite, which is almost as distinctive n feature of their architecture as the

84 Moonrise Arcurrecrern,

interesting as containing specimens of the different styles adopted in Spain from the first arrival of the Moors until Moorish architecture reached its fallest development in the Alhambra.

After he was driven from Seville (1248), Mahomed ben Alhamar commenced building the citadel of the Alhambra,

Fig. (10.—Moorich Pavilion neer Granada.

upon a rocky height overlooking the city of Granada. ‘Tho other buildings connected with this cituel appear to have been added gradually, and not to have been completed until the end of the fourteenth century. ‘The portions of the original Alhambra, which are still standing,

XIV.—Gornie Agcuirecture.

Gornte architecture is sometimes termed Pointed archi- tecture — from the almost invariable oecurrence of the pointed arch in buildings—and sometimes, but less ancu- rately, Christian architecture. Gothic was the style adopted in Europe from the middle of the twelfth century to the classical revival of the fifteenth and sixteenth centuries The round-arched Gothic style is a term applied by many writers to the transitional atyle between Romanesque and Pointed.

‘The word Gothic was first used in derision by the artists of the Renaissance, to charnctorise this art as quaint and antiquated. But this, the original meaning of the word, is now quite lost, and the term has come to be generally accepted, in the way we have described.

The chief peculiarities of a Gothie building are the disuse of horizontal cornices and of such gables as have a very moderate slope; and the introduction of vertical or very sharply-pointed features, such as gables, spires, buttresses, high-pitched roofs (often open and made ornamental), pointed arches, and pointed instead of waggon-headed vaulta; the substitution of mouldings cut into the stone for nore mouldings; and the use of window tracery. In late we ineet with piers formed of clustered pillars in the nave arcades, and with flying buttresses. It is, of course, not te be oxpected that all these peculiarities will occur in every building, or that they are all equally to be met with in every development of the style; but they are all characteristic of it, They were all the result of structural necessities, and have a meaning and purpose of their own.

88 Gorme Axonmncrure,

The early semicircular or barrel vaults were found to require extremely massive walls to resist their thrust; and the first modification was the introduction of transverse arches, thrown across hore and there beneath the barrel vaults, to concentrate the chief thrust on certain points, opposite to which buttresses were placed. In the eide- aisles, the spaces to be covered being small, the Roman intersecting vaults were used; but as barrel vaults were ne- cossarily dark and gloomy, it became desirable to introduce lofty windows to light the vaulting, especially of the nave, This could only be pro- vided for by the introduction of cross-vaults, piercing the principal one. It was in struggling with the difficnl: ties which attended the use of such crogs-vaults ona lange scale that the pointed arh wag first introduced, Pointed arches are capable of being: applied to vaulting bays o& any size or shape, as they eure de made of equal height whte— ever their span. ‘The groies \—Plan of s Go (ie intersecting lines of thee Miient Asien vaults) were strengthenesel with ribs, and these ribs and their mouldings became more and more numerous, as the Gothic style developed itself, | until the whole vault was covered with them, finally pre=

0 Gorme Apcrrreetons.

The clustered piers were a device for carrying the leading ribs of « groined roof, or the leading lines of « moulded

arch, down to the ground. They are piers subdivided inte

| | Hig. 1 —Weat Front of Kthoiins Cathedral different: shafts, pach with a cap (i. ¢. capital) of its own, |

2 Gornio Ancntrecrons. *

pointed pinnacles, the slender spires tapering heavenwards, produce an indescribable effect of lightness and complexity. They are, 80 to speak, the staceato notes of that “ frozen music to which a groat German writer (Schlegel) has likened architecture.

In mediaval times symbolism onterod langely into all the arts; and Gothie cathedrals owe much of their strange unearthly beanty to the weinl, fantastic sculptures with which every part—even the erypt, but especially the west fronts, the portals, and the sacrarium, or sanctuary con- taining the high altar—was decorated.

The full development of this love of mystic ornament led to the church becoming, so to speak, a universe in miniature. Everywhere we sce hovering angels or mystic emblems of Christian virtues; trailing vines and lions, symbols of faith; roses and pelicans, of Divine love and mercy; ivy and dogs, of truth; lambs, of submission, ete, ete.; whilst tho walls and altars glow with sacred pictures, and the holy shrines, containing the relics of the saints, sparklo with jowols.

The round-arched, or transitional Gothic style, origin- ated in Italy and the south of France, where it lingered Jong, and developed itself naturally from the Romanesque, introduced by the Lombards and other Italians. The pointed Gothic, with which we have principally to deal, was worked out first in Northern France; and the earliest example of its full development was the cathedral of St Denis, near Paris, founded in 1144, The cathedral of Notre Dame, in Paris, is a somewhat later building; and almost simultaneously with it began the fine cathedrals of Chartres, Beauvais (Fig. 42), Rheims (Fig. 44), Bourges, ete. Tt wat not until a century later (1220) that the Germans adopted

O4 Gomme Agcuirecrons.

in spite of the fineness of some of the internal details, is a specimen of the debased Gothic, when the true character- istics of the style wore forgotten.

Wig. 40. —Thn Church of St, Catherine at Oppealisinn,

| The following cathedrals of Germany are of the pointed

Gothie style, and are monuments of the time when the German nation was united in “one faith, one hope, one

96 Gormic Ancurrecre ne.

roofs are common, Spires are comparatively rarely met with; the elaborate groined vaulting of Northern Europes, with its attendant external buttresses, are almost unknown, and window tracery is of a very inferior character. The church of St. Fmncis at Assisi (1233—1253), famous for its beautiful fresco paintings rather than for its architeetural design; the cathedral of Florence (Fig. 47), one of the largest churches of the middle ages, commenced 1294 or 1298, and completed early in the fourteenth century, remark~ able alike for the grandour of its plan—larger, and better conceived, than that of the great cathedral of Cologae— and for the inappropriateness of its details; the cathedral of Milan (1385—1418), one of the largest of the mediwval cathedrals, built of white marble and sumptuously decor ated, spoilt by an attempt to combine Renaissance with (Gothic features; and the cathedrals of Siena and Oryiets (the former commenced 1243, the latter 1290),—are among the best known specimens of Italian pointed Gothic. The civic buildings of Venice are many of them fine

of the same style; of these, one of the richest is the palace called the CA d'Oro (Fig. 46); but the noblest and mast renowned, as well as largest, is the Doge's Palace.

Tn Spain the pointed Gothic buildings are fine and numerous, The best are the cathedrals of Burges, Toledo, Seville, Tarragona, Barcelona, and Leon. Little is agcu- rately known of their dates.

We reserve our notice of the English pointed Gothic buildings for the chapter on English architecture, in which will be found a continuous description of the development of the style in this country.

We must not quit the architecture of the middle ages without culling attention to the institution of freemasonry,

Gore Avcurrectcer. =

which in the middle of the twelfth and the beginnine of the thirteenth centuries exercised a crmiderable indecace

‘The houses of meeting were cabled lode, and the proripa! were at Strasburg, Vienna, and Zor The tact ache drals of Germany are beliewed te ow= mach of tiez branes to the harmanious co-operation of the froemawme of he differeot states

ria =z

XV.—Resareasce Ancarrecteer,

First Period : Early Renaissance, 1420—1500.

Tue Renaiseance (i.e. revieal) is the name given to that style which succeeded the Gothic, Tt took its rise im Ttaly, and wax in fact a revival of ancient Roman architecture. Gothic although introduced into Italy, and adopted, as we lave seen above, to a certain extent, never really flourished there, nor supplanted entirely the classical style; and whea Petrarch revived the study of classic literature, that revival was the signal for a retum to the ancient models in all the arts; first in Italy, and later on in the rest of Europe,

The fifteenth century was the tninsition time, when am attempt was made to combine existing styles with those of ancient Greece and Rome. In churches and cathedmls belonging to this period, the groiued ceiling of the Gothie styles alternates with the Roman intersecting vault, and the civic buildings are a transition from the feudal fortresies of the middle ages to the palaces of a later date. We can tree in them a change somewhat similar to that which came over the lives of the old feudal barons—warlike sim plicity giving place to princely elegance and luxury, ‘The palaces wore still distinguished for their ormamented fronts, as in the provious centuries, but pilasters and areades were largely introduced. A principal and distinctive feature af Italian public buildings and palaces of this time is the eortile (i, court-yard), surrounded by open arcades, aver which the upper apartments were carried in the manner seen in our illustration (Fig. 49). Although it is impossille to deny that from ao strictly architectural point of view

100 ’ Renatsaance Ancarrecturr,

there is much in the buildings of this era that is open to the criticism of those who insist on architectural correct= ness, there is nevertheless a grace and delicacy in the orna- mentation, and a» freshness and simplicity in the details, which render them superior to the buildings which were at the same time being carried out in the later Gothic styles, The Italians, especially in Lombardy, were very successful in moulding bricks for ornamental purposes, anit employed them largely in their civic buildings, and some- times also in their churches: they executed the details of the cornices and the moulded arcades and window-openings, either by moulding the bricks, or by the use of bricks of different designs arranged in patterns The Ospedale at Milan is a well-known example of Italian ornamental brickwork.

Italian Renaissance architecture may be divided into three schools: the Florentine, Roman, and Venetian,

Florence, long the cradle of art, was also the cradle of the Renaissance ; and itis to her great master, Branelleschi (1377—1446), that sho owes her pre-eminence in the revival of classic architecture. He comploted the dome of the cathodral, and built the Pitti palace, In the latter work he first managed to give artistio importance to # “rusticated"” structure, The Strozzi, Gondi, Riccanli,and Rucellai palaces are other fine Florentine buildings of the early Renaissance age-

Tn Roman buildings of the same period we find a closer imitation of classic models, and a freer use of pilasters and arcades, than in the Florentine palaces Sometimes two or more storys are included in one order of columns with their entablature surmounted by an attic (i.e. low story), The two so-called Venetian palaces in Rome are good

Resarssaxce Ancurrecronn. 104

pecimens of Roman Renaissance domestic architecture,

and the lange unfinished covtile of the former is the first example of a building constructed on the model of the Colomwam, with its tiers of columns and series of arches. ‘The Venetian is the most ornate of the three schools. Each story of the chief buildings of Venice possesses a

Pig. (8 —Malexso Veadramin Calergl, Venior.

separate tier of columns and an entablature. The arched windows are ornamented with columns, and the spandrels are frequently filled with figures. The fronts are many of them of marble. Of the palaces of the early Renaissance, the Palazzo Vendramin Calergi (Fig. 48) and the Palazzo Giovanelli deserve mention,

102 Rewarssaxce Arcurtecturn.

Second Period : Advanced Renaiasaner, 1500—1580_ As long os Florence was the home of the new styl rotained its transitional character, the result of the 6 bination of medival and antique forms; but in 1500

Fig. #7,—Coart of the Cancellaria Palaco wt Rome,

scene and destiny of the Renaissance alike under change. ; Julius TT, an enthusiastic lover of art, attracted greatest masters of the day to his court, and Rome b the centre of the art world, as it had long been of religious, Fora period of twenty venrs the classic: of the age of Pericles and the best monuments of

104 Renaissance Ancurrectune.

art were diligently studied; and once more painters, sculptors and architects worked together in harmonious combination, producing masterpieces of undying beauty. In this aze the Romans delighted more than ever in vast and noble masses of well-ordered forms, and their finest wor'ts were now, a8 before, their civic buildings.

Bramunte of Urbino * (ab. 1444—1514) was the founder of the Roman school of architecture. In the palaces he erected he adhered strictly to antique details, treating them, however, with a grace of his own, The Cancellaria (Fig. 49) and Giraud (now Torlonia) palaces are amongst his chief works. One of the masters who approached most nearly to him was Baldassare Peruzzi (1481—1537), who bailt the Farnesina palace, so famous for Raphael's frescoes, To Raphael himeelf we owe a noble work of architecture— the Palazzo Pandolfini at Florence. A fragment of a palace in Rome itself (Palazzo Vidoni) is alo said to have been built from his designs.

Michelangelo Buonarroti (1474— 1564), the mighty genius who exeelled alike in the three sister arts of archi- tecture, scplpture and painting, loft the impress of his vigour and power on architecture. To him we owe the design of the present Capitol, with its picturesque group of buildings, the Porta Pis, and the completion of the cupola of St. Peter's (Fig. 50), the great cathedral of Christendom built on the site of the old basilica of Con- stantine, The foundation-stone of the new building had been laid in 1406 and the work was proceeded with after designs by Bramante, until his death and that of the Pope. Raphael and Peruzzi took up his unfinished task, and were in their turn succeeded by Micholangolo in 1546, when he

+ Hig real rainy way Donato Lazeuri,

106 Rewarssayce Agcurrrerure.

nor Gothic. Giovanni Lorenzo Bernini (1598—1680) was the chief master of this style, and the extent to which: unmenning and copricious decoration was indulged im is seen in his bronze baldrechino (i.e. canopy) covering the high altar of St, Peter's. His greatest architectural work is the colossal colonnade in front of St. Peter's (Fig. 50). Bernini was also famous as a sculptor. One of his best works is the group of Apollo and Daphne, finished in his eighteenth year. His rival, Francesco Borromini (1599— 1667), endeavoured to outdo him by even greater exaggeration of ornament. From his buildings rectilinear forms disappear almost entirely,—even the gables of the windows, the cornices, and the entablatures are broken and cane torted, so that all regularity of design is last, and an effect produced of painful confusion and instability.

Tn the eighteenth century architecture recovered, espe- cially in France, from the exaggeration of the previous period, and a simpler and more dignified style prevailed, in which an attempt was made to return to classical forme; but the many important buildings erected were, though correct, deficient in interest as works of art; forthe ereative power which had givon character to the productions of the great Roman sch founded by Michelangelo, was wanting; and, in spite of their vast size and the richness and luxuriance of their decorations, they remained eold, untneaning structures.

Whilst the style of the Renaissance rapidly made its way in Italy, to the almost total exclusion of any other, the other countries of Europe still remained true to Gothic traditions, and it was not until the sixteenth century was considerably advanced that the classic revival spread to France, England, ote.

108 Rewatssance Ancurrecrixe.

At first many of the old Gothic forms were retained, combined with Italian features. This is the case in the palaces of Chambord and Chenonceaux (Fig. 51) on the Loire, in the palace of Fontainebleau, and many other fine buildings. ‘The two first-named palaces, part of the Chiiteau of Blois, and many other ehiteaux in the valley of the Loire, belong to the period of Francis L—a time when the architecture of France, in its passage from Gothic to Renaissance, displayed a grace, a piquancy, and a refine ment rarely equalled, coupled with the most exuberant use of delicate surface ornament. It was in the seventeenth century that the Italian style was universally adopted; but it was unfortunately the debasod and exaggerated style of the late Renaissance, not that of the golden age. Ttalian architects were largely employed, and their directions were considered binding in every country.

The west front of the Louv: tod by Pierre Lescot, 1541, is one of the finest buildings of early Renaissance in Francs. The old portion of the Tuileries, built by Phili- bert de Lorme, 1564, shows more of the defects of the style, In the next century, when the classic clement again began to prevail in Italy, the effect was felt in France, and the result was the erection of the handsome buildings of the Invalides and the Pantheon, ete.

To the Jast form assumed by this period of the Re- naigzance style the term Hococoo is often applied. Ex- travagant and meaningless ornaments profusely applied charucterize it,

Tn Spoin we may instance the monastery of the Escurial (1563—1584) as the chief work of this style. In the Netherlands the church of St. James at Antwerp, built by

Resxarssaxck Axcarrecrure. 109

Rabons, and containing the monument of his family, is in

the style of the late Renaissance.

Tho Gothic style prevailed in Germany until the com- meneement of the sixteenth century. The noble hall known a3 tho’ Belvedoro; in ‘the Hradschin Square at Prague, and the Castle of Heidelberg, now in ruins, are examples of early Renaissance in Germany.

XVI.—Ancnerecrene iw tee Nixerrexta Centery.

Tar researches made in Greece in the eighteenth cen- tury, and the accurate representations produced of the monuments discovered in that country, were of vital im- portance to architecture, and constituted an event in ite history. Hitherto the Roman form of the antique style had wone been known and imitated; but at the beginning of the present century an attempt was made in England, Germany, Italy, and France to revive Grek architecture Nowhere was this movement more strongly developed than

in Great Britain ; but, as a separate chapter ix devoted tow contplete view of our own architecture, in which the Greek phase will receive notice, we pass at once to France and Germany, the two continental countries where Greek art Was most studied and followed by architects.

In Germany, Schinkel (1781—1841), a man of powerful and original genius, was ono of the first urchitocts to grasp the new ideas and embody them in forma of beauty berrowed from the Greeks but with a vital character of their owt. His principal works are the Royal Guard- house, the new theatre, the artillery and engineers’ eeheal, and the building school at Berlin, the casino at Potsdam, ute. He also designed many churches, castles, and country houses. All his productions are remarkable for unity of design and vigour and harm

ny of detail.

Axcurreertae is tue Nixereexru Cexrony, 111

August Stiler (1800—1865), another German architect, built the Friedens-kirche at Potsdam, and the new Museum at Berlin, which is of no special external beauty, but praiseworthy for the harmony and appropriateness of its internal arrangements; and for its great stairense, one of this finest in Europe.

Munich is especially rich in buildings erected in the present century, Leo von Klenze and Girtner are the architects of the greater number, The glyptotick (ie seulptaro gallory) and the pinccollrk (i. picture-gallery) by Von Klenze, are in the classic style; the former is not altogethor a copy of a Greek work, but has something of original feeling: the cornice above the portico is fincly decorated, and the pediment is enriched with sculptures ‘by Wagner, Schwanthaler, and others The picture-gallery is by some considered a finer work than the glyptothek. Tt fally expresses the purpose for which it was crected ; the galleries for large pictures, and cabinets for smaller Ones, are extremely effective. The materials are brick, with stone dressings.

‘These buiklings, and many others in different parts of Bavaria, —the Walhalla of Regensburg, by Vou Klenze, the Ladwigs-kirche and Triumphal Arch in the same town by Girtner, for instance—were all built at the expense of Ludwig I. of Bayaria, an enthusiastic lover of art. Giirtner adupted a revived Romanesque, whilst Von Klenzo adhered to the Grok.

Other German architects, who have aided in the classic revival of the present century, are Gottfried Semper, builder of the theatre, Intely destroyed by fire, and of the museum of Dresden, aad Theophil Hansen, to whom Vienna owes

112) Ancmrecrone my He Nixereexrit Centrny,

France, a8 well a8 England and Germany, has had « classic revival ; and the most powerful architectural school in the present century was that body of French architects whose style is called the néo-Gree (i. ¢. revived Groek), and to whom we owe the fine buildin the reign of Napoleon TIT.; these are all strongly marked by features derived from the study of Greek art engrafted upon the framework which the gradual development of the Renaissance had supplied. The Church of St Vincent de Paal, erected by Hittorf, and the Reole des Beaux Arts, by Duban, both in Paris, aro early epocimens of this stylo; tho Opera-houso, by Garnier, is the most important, but by no means the most artistic, example of its latest form. We must not omit to notice the great group of palaces formed by the Louvre and the Tuile * the difference in the styles and want of conformity in alignment of the two palaces long formed an insuperable difficulty to giving unity to the appearance of the whole; and it was reserved for the late M. Visconti to arrange the new portions in such a manner as to tone down the disparities, and produce a pleasing harmony in the various parts. Some large central ure is still considered necessary by Fergusson and other authorities; but even without it, the Louvre, as it now stands, is one of the finest palaces of the day.

The Hétel de Ville, originally built in the Renaissance style in 1628, and afterwards much enlarged until it became one of the most mngnificent structures in Paris, was burned by the Communists in 1871. Tt has sinee been restored in the same style.

The new Custom-houses, Prefectures, Hétels de Ville,

Part of tho Tuiloriow was burnt by the Communists in 1871,

U4 Axcurrecroxs ix tax Noversentra Osxrony.

Michael, after the design of Rossian Stalian, is the finest structure of the class The new museum of St. Peters- burg, by Leo von Klenze, is a building of considerable merit. The church of St. Isaac, after a design by « French architect, De Montferrand, is the best ecclesiastical odifice of St. Petersburg.

Within the last forty or fifty years a reaction against the rigid copying of classic forms has sprung up, and a revival of medimval architecture has supplanted the Greek, if not the Renaissance, style, especially in ecclesiastical buildings: Two great English architects, Sir Charles Barry and Augustus Pugin, were among-the first to depart from the fashion which had so long prevailed, of introducing Greek and Roman forms into every building of importance ; the most conspicuous of the early examples of the revived Gothic style in Europe is the new Westminster Palace, or Houses of Parliament, after the design by Barry, and with details largely furnished by Pugin. A great many churehes and other public buildings have of late years been erected in various parts of England and some-on the Continent in the Gothic style — buttresses and pinnacles once more taking the place of the columns and entablatures of Greek temples. The new Courts of Justice in the Strand, designed by Mr. Street, are certainly the finest examples of this style to be met with in England. The South front is remarkable for its grandeur and fine effect.

The Germans adhered longer than the English to the classic stylo, which they had been originally elow to take ‘up; and in France the reaction against all antique forms has not boon so strong as in England, though very dis- tinctly noticeable. The recent works of Gothic character

Anoeurreoroxs ry THe Nixercesra Cestury. 115

done in France have, indeed, been chiefly restorations of the decaying cathedrals and chateaux; and for new struc- tures, even for churches, the néo-Gree bas beca largely preferred.

All this cannot be called living art; something more is ‘wanted for the creation of a new school of architecture than even a successful revival of a beautiful style like the Gothic, or & resurrection of antique forms, which must ever retain about them somothing of the savour uf the tomb. Within the last few years, however, there have been indications of as pessible fusion of certain forms of Gothic and classic architecture, Efforts have been made to combine Gothic details with tho regular armngement of masses und the bold semicirenlar arches of the Renaissance, and to engraft on old forms novel features suitable to the requirements of the day.

Of the Iste revival in England of the style of architec- tare prevalent in the reign of Quecn Anne we shull speak more fully in a succeeding chapter.

XViL—Ascarrecruss m Gaear Berracr.

Ais that we have sid im proceding chapters om the architecture of the Continent will, we trust, be found useful in enabling the reader to understand our own, and to recognise the chief characteristics which distinguish English from contemporary art on the continent of Europe. Architecture, like language, is the expression of national ideas and national peculiarities; and the study of English history might be to no inconsiderable extent illustrated by an examination of the buildings belonging to each period under consideration. Each race which became dominant in Britain left its impress on the architecture of the time, and the gradual sdvance in civilisation was marked by « corresponding advance in the science of building.

When Julius Cwear invaded Britain, in 55 n¢, the dwellings of the inhabitants were of the simplest descnip- tion : caves, mud huts, or cireular houses of stone or wood with tapering roofs, through an aperture in the summit of which light was admitted and amoke emitted. Tt is there fore at least, possible that the remarkable collection of monolithic masses on Salisbury Plain, called Stonehenge (i.e. hanging or uplifted stones), with the appearance of which every child ia familiar, may not have been erected by the same race of men as those who inhabited these dwellings. Stonchenge shows great oxperionce in the handling of enormous masses of stone, and practice in the art of the mason. Many other “ rude stone monuments,” though none so advanced as works of art, exist in various parts of Britain; but the date when they were raised amd the history of their builders still remain obscure.

118 Ancurrgcrom: mw Gerar Barrary,

1066 to nearly 1200; Gothte, from 1190 to 1546; Trans- itional, from 1546 to 1619; Renaissance, introduced about 1619 to the present day,

Gothic architecture is commonly divided into three periods, to which different names are assigned by different suthorities ; those introduced by Rickman, and still usually accepted, are: Barly Bngliah, 1189-1272; Decorated, 1272- 1377; Perpendicular, 1377-1546—the later Perpendicular being also called Tudor. The transitional period is com- monly divided into Hlizabethan and Jacobean ; and a third phase of it, to some extent contemporaneous with complete Renaissance, ix now known as the Queea Anne style

1.—Anglo-Sazon Architecture,

On the arrival of the Saxons (an. 449), the Tittle that remained of true artistic feeling in the natives of Britain was quickly crushed. Like the rest of the Germans at this date, the Saxons knew nothing of art, and did not employ stone in any of their buildings: even their cathedrals were of wood. The original church of York was of timber, covered with reeds. It was not until the seventh century that architecture revived, thanks to the carnest efforts of Wilfrid, bishop of York, and Benedict, founder of the Abbey of Wearmouth (Sunderland). ‘Their exertions bogan in the stylo callod Anglo-Saxon, which prevailed in England until the Norman Conquest in 1066. This and the Norman style which succeeded it, were, how- ever, in reality, nothing more than the most western form of the Romanesque or Byzantine style, to which two chapters have already been devoted. Bishop Wilfrid erected handsome buildings at York, Ripon, and Hexham; and to Benedict we owe the first introduction of glass in

Axou-Saxox Srrue,

churches He invited glass manufacturers from Franco, tho tanght their art to the natives of Britain.

The total destruction of all the wooden cathedrals, etc. fected before and during the reign of Alfred, renders it itipusible to describe their style or appearance. Of the stone churches of Inter date bat very fow remain; and

119

‘Wig, GE —Tower of Earl's Barton Church, Northamptonshire,

in part. The following are the principal: the of Earl's Barton in Northamptonshire (Fig. 52), ‘in Buckinghamshire, the doorway of Barfrestan Kent (Fig, 53), Avington in Berkshire, and Worth in

120 Axcurrecrure mm Great Baran.

The original stone edifice of Westminster Abbey was built by Edward the Confessor, between 1055 and 1065. All that now remains of it is the Pyx* Houso—a low, narrow room, with a vaulted roof, divided down the centre by a row of sevon plain pillars with simple capitals,

Fig, 68,—Doorway of Barfrexton Chursb, Kent,

The principal characteristics of Saxon work are plain semicircular arches, short columns, with rude capitals decorated with indentions of various lengths, or « rough

The Pyar is the sacred vessel used in Roman Catholic churches

te contain the Kucharistic elements.

espitals of columns, is sparingly used. The plan of Saxon churches ix generally a rectangle, divided into a body and chancel, and separated by an ornamented arch, the chancel terminating in a semicircular apse, Transepts did not appear until towards the end of the Saxon period, About the same time bells were first used in churches, and towers were erected at the west front,

2—Norman Style.

‘The Norman stylo is that which prevailed from 1066 to about 1200, including the reigns of William I., William IL, Henry L, Stephon, Henry IL, and Richard I. The

| ERE I ¢ re a pirg &

cece tes piskinely decoratod—as, for example, at Ely —with mouldings, wreaths, masks, buman figures in relief, ete Towards the close of the period pointed arches were

122 Ancurecrone my Gear Barra.

occasionally introduced in the upper storeys of a building, whilst those in the lower remained circular, We even sec them alternating here and there with the old form, Norman columns, though higher than the Saxon, are of immense diameter as compared with their height and the distances between them. They have circular, hexagonal, or octagonal shafts, with fluted, reticulated (j.¢, like the meshes of a net), or lozenged mouldings (Fig. 54). Their

t =: -- Fig. 61.—Late Norman ahafte, oapitals, and archos,

capitals are of a well-marked type, and cither plain or decorated with » kind of volute (i. o. spiral enrichment), or with plants, shells, animals, ote., etc. Norman windows are narrow and semicireular-headed like the Saxon, but they are larger, and are often grouped together in twos or threes. The ceilings are generally flat and of timber, except, in erypts, which are vaulted with stone, the groins being plain, or if decorated, only on the edge. Norman

124 Anrcmrecrome ix Great Brrrary.

closely resemble the continental Norman. The cathe- dral of Canterbury, founded by Sk Augustine about the middle of the sixth century, and rebuilt by degrees by Archbishops Odo (940), Lanfranc (1070), and Anselm (1093), supplies us, in the portions still remaining of the Norman building, with illustrations of the characteristics of this style; and side by side with them can be seen specimens of the most refined English work previous to tho Conquest.

The cathedral of Rochester is another building in which the Norman style may be studied. It was commenced about 1077, and the nave is but little altered from its original appearance. Its internal details are plainer than those in contemporary French churches; but its western doorway, which is uninjured, is a good specimen of the rich external ornamentation of the age. The choir and crypt were rebuilt early in the thirteenth century.

‘The ground-plan of Winchester Cathedral is Norman, but tho building was overlaid with Perpendicular work by William of Wykeham.

Chichester Cathedral was commenced in 1082, and the nave, Which has remained unaltered, was completed thirty- six years Inter. The building was extended eastward, like most English churches, in the early part of the thirteenth contury; and this portion is.a good specimen of the completed transition from the short to the elon- gated choir, which came into general use in the thirteenth century.

The cathedral of Norwich retains its original Norman form with less alteration than any other in England. It was founded in 1094, by Bishop Losinga; it is 411 ft long by 191 ft, broad at the transepts, with a spire 315 ft,

Norman Srvze. 125

high. Tt has the French chevet* termination instead of the English syare choir, but in nothing elso does it tesomble the continental cathedrals of the age. Its vast

pres Fig, Ho—Navo of Peterborough

‘ss compared with its breadth, and the bold pro- jection of the trimseptx, are distinctively English fex- tures,

Doncribod in the shaptor on Remaneayue Architecture,

126 Axcutrectore tx Great Berrain,

The ground-plan and nave of Peterborough Cathedral (Figs. 56 and 57) are Norman. ‘he nave retains its original appearance, except for the substitution of white- wash for the colours with which it was painted. The side-aisles are vaulted, whilst the nave retains the flat roof of the earliest basilicas, A great part of St. Alban's Abbey, as it now exists, is Norman. The nave, one of the longest in England, consisting of no less than thir- teen bays, was extended by Paul, the first Norman abbot, during the latter years of the eleventh and the beginning ‘of the twelfth century. ‘This Abbey has been recontly restored.

By the beginning of the twelfth century the Norman style had become generally adopted in England, and bad assumed an entirely national charactor. Durham Cathedral isa fine example of this, as it differs entirely from any- thing on the Continent. Tt is, moreover, one of the finest ecclesiastical buildings in England. The galilee, or chapel, is an extremely elegant and characteristic example of Anglo-Norman work. Durham Cathedral was commenced by Bishop Williarn de Curilepho, about 1098, in the form of a Latin cross, and additions were gradually made till about 1500 ; 2o that the changes of style which took place between these dates can be well studied in it. Amongst other ancient monuments, it contains the tomb of the “Venerable Bede,” who died a.o. 735.

It is impossible, in a work like the present, to enumerate all the cathedrals of England containing Norman features; but enough has, we trust, been said to enable students to recognise them for themselves; and we would urge them to take every opportunity of visiting and studying the abbeys, cathedrals, and parochial churches scattered over

Nowwaw Srruz. 127

the length and breadth of England, especially in tho southern counties.

Our review of Norman architecture will not be complete Without a brief notica of tho castlos with which every eminence of any importance was crowned in the time of William the Conqueror and his successors. The keep, or main tower, was the part first built; in some instances it stood alono; in not a few, thanks to its great, solidity, it still stands, though all subsequent additions have disap- peared. One of these castles, when fully completed by the additions of subsequent generations, was often of vast extent, and usually of irregular form, as the shape of the ground indicated. The exterior line of defonce (or onter hailey) was surrounded by a deep ditch called a foase or moat, protected by an outwork called a barbican, consisting of a strong wall, with turrets, for the defence of the great gate and drawbridge. Tho external wall enclosing this outer bailey wus placed within the ditch, and was 8 to IO ft. thick by 20 to 30ft. high, with « parapet (i. e. « wall breast-high) and embrasures (i. ¢. openings in a wall or parapet). Square towers were raised here and there above the walls, and contained: lodgings for the officers engaged defence of the castle, etc. The tops of the the wall were fiat, and the defenders of the

on them to hurl down missiles upon their assailants. The groat gato was flanked by a tower on each side, with rooms over the entrance, which was closed with a massive folding door of oak, and provided with a portoullia (¢. ¢. a falling gate, consisting of a strong grating of timber, with pointed spikes, for striking in the ground on which it was thrown, made to slide up and down in a groove of stone-work, inside the entrance arch). Within

———

128 Ancurrecrurs m Great Burtars.

the outer walls of the castle was an open space; and another ditch, with a wall, gatc, and towers complete, enclosed an inner court (inner bailey), from which rose the Keep (i.¢, the large central tower already referred to), also called the donjon (i.e, dungeon). In tho keep was often the great hall for the entertainment of guests and retainers,

Fig. 67. —Norwich Castle—Tho Koop. with the raised dais (i. ¢. platform) at one end, where stood the table for persons of high rank.

‘The principal castles of England occupied at the present day are those of Dover, Windsor, Warwick, Alnwick, Norwich (Fig. 57), and the Tower of London; those of Kenilworth, Arundel, and others may have equalled them boforo thay fell into the decay in which we see them at the present day.

Fant Exousa Srvr. 129

Tower of London contains a fine specimen of a Norman keep, known as the White Tower. The walls of the keep, or donjon, are in parts 16 ft thick, and of

Tower is one of the best preserved and most interesting works of its age extant, ‘The whole enclosure oceupies a space of

ut T.—to 1307—the date of the death of ‘erusudes of the eleventh century, com- pees, led to a revolution in Buropean fact, in all the arts. The styles which 7m ed the comprehensive name of Gothic. gl almost a century bohind some of the countries tinent in adopting the Pointed style, and our

earliest ex of it retain much of the massivencss and strongth of the Norman, The chief pointe which distin- pu ty architecture from the buildings of the proceding age may be briefly enumerated as follows. In

ean (ie. the arched portion 23 dis- tinguished from the, or sides from which it springs) in heavily 1 a chititing ® succession of round

with deep hollows; and the plain fora w ‘conspicuous in the archivolts of the aoe ‘The ‘ar arches

—__

130 Ancurrectunn iw Great Brrvarx.

are slight, lofty, and acutely pointed ; the piers generally consist of a central shaft surrounded by several smaller ones, with a clustered base and foliaged capital (Rig. 58). The triforium, or gallery over the aisles, the elerestary, or row of nave windows above the triforium, the high pointed roofs and vaulted ceilings, exhibit a degree of lightness combined with solidity which removes all appearance of ponderous weight. The line along the apes (¢. ¢, summit) of the vault is genorally decorated with raised mouldings There are not any existing specimens of roofs of this era,

Fig, 69.—Clostarad pillar in the nave of Walle Cathedral with the open carved timber-work described by various writers; but in the church of Warmington, in Northamp- tonshiro, there is a groined roof in which the ribs (. e bands running along the groins or intersecting lines) are of wood, and the celle (i. ¢. surfaces) of the vaulting are covorod with boards The general roofing of this period is groined vaulting, of which the roofs of Salisbury Cathe- dral, and of the choir and transepts of Wostminster Abboy, are fine specimens. In Wells Cathedral and the Temple

132 Ancurrectors is Gaear Barrary.

The west front of Salisbury Cathedral is considered the richest fapade we havo in this style.

Karly English doorways are often very beautiful; the mouldings forming the head are bold, deeply recessed, and often elaborately carved. The west doors of Wells and Salisbury Cathedrals, the door of Salisbury Chapter House, the west doorways of Ely and Chichester Cathe- drals, etc, are fine examples. The porches of English cathedrals are sometimes more than mere doorways. Some- times they are compartments of considerable size, called gatilees, answering to those rooms which were usod in the early days of the Christian Church for the reception of penitents, ete, and known by the name of narthexes.

The stocple was greatly developed during this age. In Anglo-Norman churches a low square tower was used sometimes with no visible roof, sometimes terminated by a low pyramid, very occasionally gabled. ‘This, in the style under consideration, was heightened and developed into aspire, Yowards the end of the period turrets and pin- nacles began to be largely employed, the buttresses became more slonder and tapering, and “ flying buttresses” were introduced (see Glossary). The ornaments of the Early English style are more numerous than the Norman. The most distinctive enrichment is a small perforated pyramid, called dog-tooth, or tooth ornament

In the time of the Crusades the building of churches and monasteries was considered the best way of propitiating Heaven; and the greater number of our cathedrals and abbey churches were founded at this time,

The first great cathedral built entirely in the new style was that of Salisbury (Fig. 5), commenced in 1220 and finiched in 1258, It is built in the form of a double cross,

Eantr Byauisa Seven

‘ing two transopts, one betwoon the nave'and choir, and nearer the east end. It is 480 ft. long by 232 ft. wide. west front is flanked by two massive square towers mounted by spires and pinnacles ; and over the central

133

ft ne es ee ey Catt. the wert transept und nave.) ‘runs an arcade, above which is the great western . ‘The gabiee or porch is aa wide and lofty as one ision of the north aisle. The steeple, which is of rather ter date than the rest of the church, rises from the

134 Axcerrecruns in Greay Burrars,

intersection of the nave and larger transept, and is 400 ft high. The interior has been injured by injudicious re- storation; the stained glass with which the rows of clores- tory windows were once filled, and the colouring which formerly adorned the walls, are wanting; but, in spite of all those drawbacks, Salisbury Cathedral romains a master: Pisce of art.

The choir and transepts of Westminster Abbey, erected by Henry IIl,, belong to this style. ‘The four eastern bays of the nave belong to the transition between this and the Decorated style; they are the work of Edward IIT., who also built a chapel dedicated to the Virgin, which was re- moved to make way for Henry VIL's chapel.

The nave and the very elaborate west front of Wells Cathedral, in the Early English style, were commenced in 1214 by Bishop Joceline. The most remarkable feature of this celebrated structure is the variety of sculptured figures in the niches of the gallery. ‘They have been noticed by our great English sculptor Flaxman as marking the state of art at the period of their execution. They consist. of figuros “in the round” (i. ¢. fully detached), and others in high relief. Those on the southern portion of the front represent the Creation, the Deluge, and other Old Testament incidents; those on the northern, events in the life of our Saviour.* Above these are two rows of statues larger than life; and near the gable is a high relief of “Christ come to Judgment,” attended by His angels and the twelve apostles, —the upper arches on either side being filled with figures starting from their graves, their faces and attitudes admirably expressing hope, fear, grief, and

Soo ‘oonogmphy of the West Front of Wells Cathedral," by

©. B. Cockorell, R.A.

e by 0 ‘a most striking effect of ligh P eee

Fig: b-—Choie of Worvester

give a bay of an almost contempora hoir of Worcester Cathedral, a.p, 1203—

pts of Lincoln Cathedral, with the

136 Axcurtecture my Great Barra.

exception of the presbytery added at a somewhat later date, are in the Early English style; and most. of the eck ical buildings of England received additions ab this period.

Some of the finest buildings of Scotland belong to this age —the choir of Glasgow Cathedral, for instance; but their architecture is of a more massive character than any of the English edifices noticed above,

The croszes of Queen Eleanor belong to the end of this period. Those at Waltham and Northampton are the finest, and in the best preservation. A good reproduction hy the late Edwand M. Barry, R.A., of the ancient Charing Cross may be seen in front of the Railway Station in the Strand.

Second Period of Mnglish Gothic Architecture : the Deco- rated Style.—The style which succeeded the Early English, and which was the second stage in the development of Gothic architecture in England, is known as the Decorated, ‘or gometimes as Middle Pointed,

It is generally dated from 1307—the date of the accession of Edward L1.—to 1377—the date of the death of Edward III. The Decorated style, howover, grew so gradually from its predecessor that the dates given above can only be looked upon as approximate. The following are the differ- ences which distinguish Decorated from Early English architecture. The arches are generally not quite so acute, and jthe mouldings are sometimes carried down to the base of the pier or jamb without being interrupted by a capital. The mouldings are less boldly undercut, and of more regular section than in the preceding style, and are rarely used so as to produce the same striking effects of

138 Ancurrecrurs ix Gaear Barra.

Cireular windows wero sometimes used: us in Exeter, Chichester, and Lincoln Cathedrals, for instance.

Fronts of buildings in the Decorated style differ little from those of the Early English; more complicated forms were resorted to for effect, and some of the beautiful and effective simplicity of carlior buildings was lost. One of the finest west fronts in this style is thatof York Minster (Fig, 62), the nave of which also belongs to the Edwardian age. Spires were so much admired at this time that they were added to towers complete without them. The buttresses were now carried higher than before, and surmounted by pinnacles. They were more richly decorated than ever, and were not now invariably planted at right-angles with the walls they supported; ond, as the name of the style implies, a corresponding exuberance of ormamentation pre- vailed in every detail of construction. The ball-flower (@. & ‘small round bud of three or four leaves) is the character istic enrichment of the Decorative style, as the deg-touth is of the Karly English and tho ehevron or zigzag of the Norman.

One of the most beautiful specimens of Decorated arehi- tecture in England is the octagonal tower of Ely Cathedral, built by Alan de Walsingham, to supply the place of the old Norman tower which had fallen down. The Lady Chapel of Ely Cathedral also belongs to this age.

The royal chapel of St. Stephen's at Westminster, al- though small, must have been an extremely fine edifien. It was built during the reigns of the three first Edwards, and therefore belonged to the ripe ege of English archi- tecture. The greater part has been removed, but the erypt, carefully rostorod, is still to be seen, and serves os the chapel of the Houses of Parliament. Among other

M0 Ancurmerone ox Great Barras.

examples we may name Lichfield Cathedral, the Abbey Church of Bristol, the nave of York Cathedral, the nave of Exeter Cathedral, Battle Abbey, and ‘Tintorn Abbey. Many churches were enlarged and enriched by the addition of such chapels during the provalence of this style, Excel- lent examples of its mouldings and ornamentations are to be found in the many fourteenth contury tombs and monuments in our cathedrals and churches.

A great improvement took place in domestic architec- ture in England in the reign of Edward IIL, especially in the halls of castles and palaces, The Round Tower of Windsor was built by him for the table of the Knights of the Order of the Garter, founded in his reign. As examples still remaining, we have the hall of the Bishop's Palace, Wells, and the gatehouse there; one of the gatehouses at Bury St. Edmunds, the hall at Penshurst, the carlior parts of Haddon Hall, and the noted Edwardian castles of Wales —such as Conway, Carnarvon, and Chepstow.

Third Period of Gothie Architecture in England: the Pevpendicular Stylo, sometimes called “ Third Pointed” —The style which succeeded the Decorated in England is known as the Perpendicular. It is generally considered to have prevailed from 1377—the date of the accession of Richard Il—to 1546—the date of the death of Henry VILL,—and in the phase called Tudor until 1630-40. It was contemporary with the Flamboyant style in France, Its chief charactoristics are the rectilinear lines which replaced the flowing tracery of the windows of the Decorated period. Tho sme feeling, however, porvaded the other foatures of Perpendicular buildings, —the buttrosses, towers, and piers being all slight, and continuous vertical

peculiarly English featuro, fan-tracery—a development of vaulting admitting the highest ingenuity and skill. The four-eentred arch, sometimes called the Tudor arch, belongs to tho latter part of this ago.

‘The fronts of buildings of the Perpendicular period are often very fine. These of Beverley Minster and King’e College Chnpel, Cambridge, are considered the best examples; and these of the Cathedrals of Winchester,

‘The three typical specimens of English edifices in this style are Henry VII's Chapel, at the east ond of West- minster Abbey, St George's Chapel, Windsor, in the

inets of the Castle, and King’s College, Cambridge. Henry VIL's “s Chapel (Fig. 63) is a prolongation of the ‘eastern limb of the Abbey, and is in fact the Lady Chapel, as well -sepalehral chapel of the king whose name i consists of a nave, two aislos, and five small chapels, and can only be entered from the Abbey itzelf. ‘The exterior is richly decorated; the buttress turrets are is yntiful, rising to a considerable height above

and ending in finials (7. ¢, the tops of buttresses

and cei in Gothic buildings), richly ornamented. ‘Tha flying buttresses are also extremely ornate, covered

e TH

me Axcurrecrone om Gueat Brrrans.

with lions, dragons, and other symbolic creatures. The chief beauty of the whole is, however, universally admitted to be the groined ceiling of the interior, which is the moet exquisite specimen of fan-tmeery in existence, the whole surface being spread with a network of laco-like ribbing.

‘Tho Chapel of King’s College, Cambridge, is not 50 richly ornamented as Henry VIL's, but is remarkable for being one of the very few large Gothic churches without side-aisles, the absenca of which gives an almost over whelming scnse of space, Its vault of fan-tracery yields t none except that of Henry VII's Chapel, and for vigorous mastery of the style it is absolutely unequalled by any othor building:

St. George's Chapel, Windsor, has a fine groined fan- tracery roof, which entitles it to rank with the other two.

The Cloisters and Lady Chapel of Gloucester Cathedral, the central tower, Lady Chapel, nave, and western transepes of York Cathedral, and an immense namber of parochial churches—especially in Somersetshire, Gloucestershire, Norfolk, and Suffolk—may be instanced as further examples of the style.

‘Tho Scsteh chapels of Roslyn and Holyrood belong to thia ago, and combine the eloganco characteristic of it with northern massiveness and simplicity.

The Tudor, or Florid English style, is the term some- times applied to the Late Perpendicular, when the Pointed style was boginning to decline in England,—which it did not do until some years liter Uhan in the rest of Rurope.

The Tudor style was remarkable for redundancy of ornament, in which a constant repetition of the same forms took the place of the exquisitely-carved foliage and

144 Axcarrectors iv Great Brrrary,

sculpture of the earlier part of the period. The more extensive use of panelling was another characteristic, the walls of Tudor chapels being almost entirely covered with it. Fan-tracery vaulting was extensively employed, and in many cases clusters of pendent opnaments resembling stalactites mark the intersections of the ribbing. The doorways are extremely elaborate, and often form the finest portion of the work. That of King's College Chapel, Cambridge, is an excellent example,

The ecclesiastical edifices of this age are not numerous, and it is in the domestic buildings, such ag palaces and castles, that the style can hd best studied, Large sums were expended by the nobility on their private residences: Henry VIL. built a handsome palace at Shene, in Surrey, to which he gave the name of Richmond, retained by the town which grew up round it, although not a tmee of the building itself remains Tt was in this pulace that the bey window (i.e a projecting window rising from the ground) was first extensively used. In the time of Henry VIL, Before the close of the style and the commencement of the Renaissance, the greater number of Tudor palaces were erected. One of the finest existing oxamples is Hampton Court Palaco, built by Cardinal Woleey. It consists of three quadrangles, and has a square tower at the entrance, fanked by an octagonal turret at each angle. The gateway is pierced through this tower, and is formed by an obtuse arch with oriel windows (é e. win- dows projecting beyond the front of a building and supported by a corbel from the masonry of the wall), A battlement of open tracery crowns the wall. The buildings on the right and left of the tower have been modernized, but at cach ond is ono of the original gables,

Parrexvicuran Steve. 145

with its sloping sides adorned with griffins, Tha timber toof of the Great Hall (Fig. 64), built in the early part of

Vig. Gi. —Welmy's Grost Hall —Ianrpton Court,

the sixteenth century, is one of the best existing specimens

of carved roofs of this age, The finest in England, or rita L

146 Axcerrecrurs ox Great Burrain.

indeed in Europe, is the roof over Westminster Hall. Both these are technically called hammer-beam roofs. The roof over Crosby Hall, London, is another good example. The fire-places and chimneys of Tudor buildings were often en- riched with beautiful carving and sculpture, The chimneys towered to a considerable height above the roofs, and were grouped in such a manner as to form an important and picturesque feature of Tudor mansions,

Foreign artists were constantly employed during the reign of Henry VILL, and to their influence is due the introduction of many Italian decorative details in domestic architecture. Girolamo da Treviso and Holbein were the most celebrated. They largely employed the moulded brickwork and terra cotta, at that time in vogue on the Continent.

4—The Transitional Style.

The period of the trinsition from Gothic to Renaissance is commonly divided into the Elizabethan and Jacobean styles. It began in the latter part of the reign of Honry VIM. and lasted under various phases until the reign of Queen Anne, in the early part of the eighteenth century.

A few years before the death of Henry VEIL, John of Padua, an Italian architect of note, arrived in England. His appointment to the office of “ Deviser of His Majesty's buildings,” in 1544, waa the immediate occasion of the introduction of the Italian Renaissance style into England.

With the name of John of Padun must be nssociated that of Theodore Kave or Kavenius of Cleves. The chief work of John of Padua was the Palace of Longleat in Wiltshire, buile between 1567 and 1579; and that of Theodore Kave, Caius College, Cambridge, erected between

148 Ancurrectone ix Great Barrany,

principles of architecture in Italy at the expense of the Earl of Pembroke. His fame rests chietly on his design for Whitehall Palace, planned by command of Jamee I.; the present Banqueting House in Whitehall (Fig, 65) was a single feature of that great project, and the only part of it actually carried into execution. Many other buildings in London and different parts of England were designed by

Fig. 65.—Tho Hanquoting Hall, Whitehall (by Loigo Jemes),

Tnigo Jones. Of thease, St. Paul’s, Covent Garden, was perhaps the most successful. It has a recessed portico in antis, with very simple pillars, which gives an extremely dignified appearance to the outside of the building. The inside is somewhat spoiled by the building up of the central door in order to allow the altar to be placed at the east end, which takes away the meaning of the portico.

We now come to Sir Christopher Wren, who was born

150 Ancurreeroee my Great Barram.

about 1632, when Jones's roputation was at its height. Wren was early distinguished for his mathematical and scientific acquirements. The Great Fire of 1666 opened for him a splendid field as an architect, and to this circum- stance we are indebted for the finest buildings of the metropolis, Within three days of this disastrous confla- gration Wren presented a plan to the king for the rebuild- ing of the whole city, This it was not found practicable to carry out; but the restoration of St. Paul's Cathedral and of some fifty other churches was entrusted to ‘The present cathedral was commenced nine years after the Fire, It is the largest and finest Protestant Cathedral of the world, and thirty-five years wero spent in its con- struction. The grownd-plan is a Latin cross, with nave, choir, and transopts. It is 500 ft, long from east to wost, by abow 0 ft. wide at the transepte, The outside of St. Paul's consists of two superposed ordors—i. e. one over the other. The western entrance has a portico of twelve Corinthian columns supporting an entablature, from which rise eight Composite columns supporting a second entab- lature, surmounted by a pediment enriched with seulptare. The western towers are about 250 ft. high, decorated with Corinthian columns. The dome is a triple structure. The part scon from the outside springs from a base 250 ft. from the pavement, and the summit is 404 ft, high. Though open to criticism in many of its minor details and arrangements, St, Paul's (Fig. 66) is allowed to stand foremost among buildings of its class in Europe, St. Peter's at Rome alone excepted. Its interior lacks decoration, but its exterior is undoubtedly the most harmonious and imposing composition which Renaissance architecture has

yet produced.

152 Avomrzcrone mx Great Burra,

of the day, adhering in them to the Italian style; but shortly after his death, the publication of the various plates and descriptions of the ruins discovered in Gre led to a rage for Greek in preference to Roman forms The brothers Adam endeavoured, with but small success, to imitate Greek forms in the Adelphi Terrace, the screen of the Admiralty, and other buildings in London; much of the detail of their work, however, especially of its internal finishing, was very graceful and well-designed. Thoy were more successful in producing an effective exterior in the college at Edinbungh, with its fine monolithic pillars. It is difficult to understand to. what Sir Robert Taylor owes his reputation. His buildings connected with the Bank of England are cortainly inferior to the prison of Newgate, designed by Dance, which is, in its way, a masterpiece of appropriate and original architectural expressions of character.

6.—Architecture in Euglond in the Nineteenth Century.

The Classical Revival of the present century, inaugurated by Sir William Chambers in the latter part of tho eigh- teenth century, was at first marked by Italian features. The publication of Dawkin's and Wood's “ Tustrations of Palmyra and Baslbec,” in 1750, first directed English attention to the beauties of Roman buildings, and this interest was sustained by Adam's "Spalatro,” brought out ten years later, It was the series of works on Greece and Greek antiquities, commenced by Stuart in 1762 and completed by Cockerell in 1861, which led to the pre- ference of Greek to Roman forms The Greek Doric became the favourite order, and soon not a building, how-

Tt Asomerms s Ger Berm.

amall ~ Temple af the Winds” im imitecom of that at Athens, forme the wmeeple Te make & mare complete, mecth amd south sides Tike these attached to the Athenian Temple. The University Cicb Home im Pall Mall East, the portico af the Post-COtfice, amd the front of the British Maseam, sre other examples in which the same order is empleted

‘Sir John Soane was perhaps the most seccemfal of the architects of the early claeseal revival He rebuilt the Bank of England, the order of which, as it now stands, is an exact copy of that of the cirealar temple of the Sibyl at Treoli.

Holland, Barten, and Nash were three architecta who erected many important classic baildings In the portico of Carlton Hones, built by Holland, the most ornate form of the Corinthisn column was employed. ‘The eslumns were subsequently med for the portico of the National Gallery, where they may still be seen.

Wilkins, another celebrated architect of the early part of this century, worked both in the clastic and Gothic styles, His masterpiece is the portico of University College, Gower Street. He also designed the National Gallery, which failed mainly from want of adaptation to a nite which required a much more lofty building of bolder character,

Sir Robert Smirke, architect of the British Museum, and Hardwick, architect of Goldsmiths’ Hall, should also be mentioned,

‘The chief and most original of all the buildings of the classic revival was St. George’s Hall, Liverpool, by Elmes, completed after his death by Cockerell. It is 250 ft. long

Ts toe Noversexra Cesteny. 155,

‘by 140 ft. wide, and the order by which it is ornamented & 55 f& igh. One grand hall occupies the centre, with wide recesses on either side. This fine building is adapted, not copied, from the great balls of the Therina (teths) of Rome. The chief front has a portico with sixteen Cor- inthian columns, each 46 ft high; and although its general ‘des is Roman, it is carried out with Grock details,

Ts Edinburgh and Glasgow thoro are many successful

‘Tig. 67 —Bridgewatee House. im the classic stylex ‘The High School of Edin- burgh, by Hamilton, is perhaps the best.

Sir Charles Barry wns the first to realise how ill-adapted all this copying was to the requirements of our climate and our time ; amd he reverted, with much success, to the types furnished by the best palatial buildings of the Italian Renaimance. He designed tho Travellers’ Club, the Reform Chub, and Bridgewater House (Fig, 67), introducing in the two latter buildings the Ttalian cortile in a slightly altered

_— &

166 Agcurrecrore iy Grear Barrary.

form with great success. The Halifax Town Hall, his latest work, deserves special notice as a fro adaptation of Renaissance architecture. The detail of this building is excellent, and its composition spirited; it is crowned by high-pitched roofs, and porsossos a species of spire as original as it is happily conceived.

‘As distinguished oxamples of modern Renaissance we may name the Leeds Town Hall, by Broderick; the Carlton Club, by Smirke; Holford House, Park Lane, by Vulliamy ; the Liverpool Exchange, by T. H. Wyatt; and the interior of the India House, hy Sir Digby Wyatt. As a specimen of a still more recent date we may take the Royal Albert Hall; no building of the day has more successfully combined the skilful arrangement of plan and the bold treatment characteristic of early Roman buildings with the constructive dexterity of our day; though it is inferior in refinement of detail and in architectural merit to many of the buildings just onumorated. Tho Albert Hall is in the form of a Roman amphitheatre, with a velarium (i. ¢. awning) overhead ; the corridors, stairenses, and sloping rows of seats are all borrowed from the Roman type, but the huge roof of iron and glass, the external terra-cotta decoration, and the mosaic frieze are moder features. ‘The original design was by Captain Fowke, but the actual construction and the working designs are due to General Scott, CB.

Horace Walpole (1753—1770) was one of the earliest to attempt to revive mediwval architecture; but the first great impalse was given hy the erection of Fonthill Abbey, a vast, private residence in which Mr, Beckford attempted to reproduce an old Gothic Abbey. It was completed in, 1822, and caused a great sensation.

158 Ascurrsorune ty Great Barram.

as representing fairly well the point which the art has reached.

Other examples of note, which our space only permits us to name, are the—

Martyrs! Memorial, Oxford, Soott (1848),

Lincoln's Inn Hall, London, Hordveick (1843).

St, George's Church, Southwark, Pugin (1845).

8t Giles’ Chureb, Cheadle, Pugin (1849).

Holy Trinity Churob, Westroinster, Pearson (1849)

al Butterfield (1849).

Irvingite Church, Gordon Square, London, Brandow (1851). Exeter College Chapel, Oxford, Scott (1858).

Manchester Asaize Courts, Woterfosuve (1859)

St. Jaimen’s Church, Garilon St., Westminster, Street (1880). Northampton ‘Town Hall, Godwin (1861).

Proston ‘Town Hall, Scott (1862)

Aberystwyth College, Seldon (1864),

Cork Cathedral, Buryes (1885).

St. Pancras (Midland Railway) Torminus, London, Stott (1878). Keble College, Oxford, Butterfeeld (1867),

Balliol College, Oxford, Waterhouse (1867).

Cardiff Castle restorations, Burges (1808) Manchester Town Hall, Waterhouse (1 New Law Courte, London, Séreet (1881). Natural History Musoumn, London, Waterhouse (1881).

It is difficult to define the present position of archites- tural art in England. Our architects can no longer be divided into classes, one practising revived Gothic, the other revived Classic. The truth appears to be that revived Greek is falling into disuse, whilst Renaissance is regaining favour, and the transitional architecture bearing Queen Anne's name is, strange to say, being brought for-

ERA

SCULPTURE.

Inrropveriow.

N its true sense, Sculpture is the art of cutting or graving hard materials; but it has come to mean all representation of organic life in relief, whether in

The round, iv. fally detached

Alto~ surfire

Meszzo-relieva or semi-relief, ic. fully rounded, but still attached to the surface.

Baaso-relievo or low relief, ie. slightly raised from the surface.

Intaglio or eavo-reliavo, i.e. hollowed ont.

The Egyptians used a kind of relief peculiar to them- selves, a very low relief sunk below the surface, and therefore combining hasso-relievo and intaglio. It is called by the Fronch bas-reliof en evens.

We propose to interpret sculpture in its widest eonse, which includes: the chiselling of perfect figures and groups in any hard substance; the carving of high or low reliefs, whether in marble, ivory, wood, or any other material; the moulding of statues or groups of a plain material

ieve or high relief, ie. nearly detached from the

Marestats. 168

enelosed within a coating of more noble material—such as the chryselephantine (ie. gold and ivory) statues of the Greeks, in which the nude portions were of ivory and the clothing and weapons of gold; bronze and metal statues, whother ext in & mould or beaten into shape; terra-cotta statues and architectural omaments; plaster statues and ‘bas-relief; wax or clay models; engraved gems, whether intaglios or cameos; and medals or coins, whether stamped or cast.

Mareriava sep iy Scourrure,

Marble.—For statues and groups marble is the favourite substance, on account of its crystalline texture and of its gleaming surface, which admits of a high polish and absorbs ‘the light equally. The most famous marbles used by the ancients were the Parian, from the island of Paros, and the Pentolic, from the mountain of Pentelicus, near Athons, beth of which were white. Black and coloured marblos wore also used. The Egyptians employed substances even hander than marble, such as porphyry, basalt, and granite. Modern sculptors genorally prefer the white fine-grained Carrara marble.

Bronze ix tho principal metal used in sculpture. It consists of a mixture of copper and tin, the quality varying according 10 the proportions of the ingredients. Gold, silver, copper, lead, and even pewter, which is a mixture of lead and tin, have occasionally been employed.

Terra-colta, baked elay, was much used by the ancients

‘and ornaments, In Italy in the fifteenth

centuries it was revived, and used for busts

‘and architectural docorstion. Tn the Iatter century it was iatroduced into France and England. Excellent examples

164 Scutrrunr.

may be seen in*the old gateways of Hampton Court At the present day it is very frequently employed in the ornamentation af important buildings.

Plaster of Paris, gypsum, when burned and reduced to powder, forms a paste which immediately sels, or becomes firm, on being mixed with its own bulk of water; for this reason it is much used in making casts and architectural decorations,

Alabaster, a kind of gypsum found in Tuscany and also in Derbyshire, was at one time much used for vases and statuettes.

Limestone and Sandstone, softer apd less durable ma- terials than marble, are largely employed for architectural ornaments.

Wood—The principal woods employed for carving are, that of the lime, which though soft is tough and durable, the oak, and the cedar,

Teory.—The carving of ivory was practised by the Romans. It was carried to great perfection in the carly days of the Christian Church, when it was used for statuottes, tablets, and other ornaments, many of which may be seen in the South Kensington Museum. The ivory chair of St. Maximian, made in the sixth century, is atill preserved in the Cathedral at Ravenna. In the year $03 two beautifully-carved ivory chairs were presented to Charlemagne.

Gome.—The principal goms used by ancient engravers were : carnelians, chalcedony, onyx, eardonyx, agates, Jaspers, garnets, beryls, amethysts, sapphires, rubies, topazes, tur- quoises, ete. For cameos, the onyx was preferred above any other ston

160 ‘Scurrrurr.

workmen rough-out the figure or group, the artist himself adding the finishing touches. It is said that Michelangelo worked out some of his statues from the marble without ny previous model or design.

Tn making Broyze Srarves similar preliminary steps are taken. Instead of plaster of Paris, lonm or sand is used for making the mould, and molten metal is poured into it, To prevent a too great weight of metal, the interior of the mould is usually partly filled with cores of sand, which leave room for only a thin coating of the metal. When the cast is cold, the surface ia perfected by means of a graving tool. Sometimes a bas-relief is beaten out without previous casting : in that case the form is obtained simply by beating or hammering until the proper form is required: iron and bronze are sometimes beaten when hot; silver and gold when cold. The art of carving figures in relief on metal is called chasing: the term toreutic (from a Greck word signifying to carve) bas been applied to all kinds of metal work,

In modern times zine, iron, and even tin, have been used for statues ; but they require a coating of some other substance to protect them from the action of the weather. For this purpose a thin layer of bronze has a good effect, and can easily be applied by tho process af electro-plating.

Woop, Stovg, and Ivory Carvexo are performed by hand without the aid of any previous process.

For Gr-ExoRAvING, splintered diamonds, fixed into iron instraments, are used; the work is executed by the band. A drill is employed for cutting out. the larger and deeper portions of the work, which, when finished, is polished with emery powder. Gems cut in relief am

168 Scurrruns.

infinity of form. Freely drawn curves, and the oval, are the materials for all fine outline, and one of the most beautiful forms in which such outline is to be found is the human body, The nude figure is the most suitable for geulpture ; where drapery is employed, it should follow the lines of the body, and indicate, not conceal, its contour.

Next to man, the most highly organized animale, such as the horse and the dog, are the finest subjects for the sculptor.

Groups, in which the figures do not stand out separately, but partly hide each other, afford scope for the highest artistic genius, and should form a rhythmic whole, with all the parts well balanced—producing a pleasing effect of variety in unity.

As sculpture deals with plastic form alone, it has generally been supposed to disdain the aid of colour; yet the Egyptians, and probably also the Aseyriang, invariably coloured their sculpture, except perhaps those statues which were of hard basalt or highly-polished granite. Tt is known that the Greeks also coloured their sculpture, bat it is difficult to ascertain how far they carried it in imitation of nature,

Tn our own day, the celebrated sculptor John Gibson tinted parts of several of his statues,

Ww Esrrriaxs Sovurrvne.

temple of Boro-Buddor, in Java, there are no less than 400 small images of Buddha in the external nichea All are alike remarkable for repose of attitude, and dreamy pasiveness of expression. Representations of life in action, such as the bas-reliefs mentioned above, are rare. va, the Destroyer, whose work forbids repose, is, how generally depicted with his six arms in violent agitation.

In many of the sculptured female figures of India we see evidence of the want of energy and character which is the result of the systematic oppression of the women of the East, Symmetry of form is roplacod by o soft voluptuous- ness, and the only exprestion is a graceful simper, or a vague, dreamy smile. The goddess of Beauty, in the Pagoda of Bangalore, and the female divinity seated on an elephant in the cavo-temple of Ellora aro instances of this.

Eovrr.

Egyptian sealpture may be divided into three periods : The Old Empire, or Memphian Egypt, 3645-2668 n.c., the New Empire, to 524 nc., and the Ptolemean Empire, to 30 Be,

Sculpture in Egypt, ax in Tadia, is principally of a religious character, and the mythology of the country should be studied in connection with it, The chief char- acteristics of Egyptian art of every kind are massive grandcur and solidity; the constant struggles with the power of nature in which the inhabitants of the banks of the Nile were engaged precluded dreamy contemplation, and engendered an onergy and self-reliance which were rofiocted in the monuments erected.

12 Eoyrriax Scotrrons,

The earliest works of Egyptian sculpture (Fig. 70) are remarkable for a freedom from restmaint and a power of idealizing nature which is wanting in later productions ; for they were executed before the hierarchy gnined the upper hand in Egypt, and arrested all progress in art by condemning it to unchangeable Inws, and by imposing models which artists were condemned to reproduce in monotonous repetition, The result of this was a same- ness in the works produced which would have rendered it extremely difficult to fix their dates, if it were not that the name of the reigning sovereign is constantly introduced,

A striking proof of the superiority of early Egyptian sculpture was afforded in the Paris Exhibition of 1867. A wooden statue was there exhibited—lent by the late M. Mariette and now in the Museum at Boulae, near Cairo— of a certain Ra-em-Ké. Although much injured, this statue is even now a fine work of art: the body is well modelled, and the head lifelike and natural; the lips are parted by a slight smilo, and exprossion ix given to the eyes by the insertion of rounded bits of rock-crystal to represent pupils, in eyo-balls of quartz shaded by bronze lids. A bright nail beneath each crystal marks the visual point.

‘The bas-reliefs of the tombs of Memphis, some of which are in the Berlin Museum, are among the earliest of Egyptian works of sculpture (Fig. 71). The figures are but slightly mised from the surfaco; they still retain the vivid colours with which they were painted. The ignorance of the laws of perspective, which were unknown till the fifteenth century, betrayed in these groups, somewhat mars their beauty ; but they are finely carved, and have a great

7 Eoyeruay Scurrrene.

Considerable portions of the avenues of colossal sphinxes leading up to the temples are still to. be: Karak and elsewhere; the grim seated. figures Pharaohs guarding the entrances at Karak, etc., are in good preservation, The pair of colossal figures (70 feet high) erected by Amunothph — Medinet-Abou, one of which is the world-famed Memnon; the still larger statue of Ramses wos broken by Cambyses—the fragments of which in the court of the temple at Medinet-Abou; and gigantie figures (65 feet high) of the same king of the rock at Tpsambul (Fig. 9) are the most gigantic mens of seulpture that were ever execnted.*

Tt would be impossible in = work like the pres merely to enumerate the various Egyptian ante contained in the British Museum, the Louvre, and Berlin Museum. ‘he principal are colossal which the arms are generally fixed to the ebest logs connected together ; smaller statues of kings, di and priests; bas-reliefs either from tombs or stele or tablets engraved with historical inscriptions: in relief ot in intaglio; sarcophagi, boxes of granite, or stone, constructed to contain mummies, and with bieroglyphies; pottery + of different kinds,

Reproductions on a small scale of many of these works:

studied at the Crystal Palace.

r the porcelain, made of a very fine sand, fused, and covered with a thick silicious glaze of various colsame ‘tiful bne tint was sometimes given to this ware by the use of

176 Assrmtan Scurrrure.

French consuls, MM. Botta and Place, and the English traveller, Sir H., Layard, are inseparably connected, These bus-reliefs resemble those of Egypt in many respects; but they have an even greater historical value, for they are

Pig. 72.—Assyrian bas-roliof om « wall,

more varied and lifelike, and less loaded with figures of the deities. The same ignorance of perspective is betrayed in them ag in the reliofs of Memphis: fishes and boats are sen piled one above the other, and human figures in

Assyniax Souurrune. 17

profile, with both eyes and shoulders visible. But for this flow, the Assyrian bas-reliefs would be fine works of art. | They are in very low relief, and are well carved und

finely polished. The subjects are very varied. Battles, ‘sieges, and hunting incidents abound. Our illustration (Pig. 73) is port of a lion-hunt—now in the British Museum—from the north-west palace of Nimrud. In

Part of « Lin huut fom Nia ‘every scone the ing is the principal figure. He is always followed by an umbrella-bearer and a fly-ilapper, or ‘by musicians, and above his head hovers the Ferouher,

Single statues aro mr; there is a statue of a priest larger than life (Fig. 74) in the British Musaum; but the nude human figure does not appear to have been studied ‘im the Past toany extent ; although many different animals ‘are rendered with surprising fidelity.

Tn addition to numerous sculptured Assyrian slabs and tablets, the British Museum possesses a small four-sided

BA x

—

178

Assrarax Sconrrone.

obelisk of marble about six feet high—engraved with ten lines of the cuneiform character, and sculptured with

twenty bas-relicfs,

Paap THe=Statue af a Pri.

In the Britioh Musovon,

representing the offering of tribute to the king by conquered races —which was discovered near Kalah-Shergat. It is hoped that this obolisk may aid in the thorough deciphering of the cuneiform* character, as the Rosetta stonv, also prosorved in the British Museum, did of the hieroglyphic.

The Louvre contains many extremely fine specimens of Assyrian sculpture, the principal being the four colossal winged bulls at the entrance of the palace of Khorsabad, already described (Fig. 10). The Assyrian man-bull, like the Egyptian sphinx, was tho symbol of wisdom and strength combined.

Assyrian gems, many of which may be seen at the British Museum, are of great value. The earliest are of sorpentine, and are of a cylindrical shape; those of later date are of agate, jasper, quartz, or syenite, either cylin- drical in form or oval; they are engraved with figures of the gods and the

names of the owner in the cuneiform character.

There are three kinds of cuneifonn writing: the Persian, the Median,

and the Assyrian, The letters are shapad ke arom, wedges, or nails. The mesning of many of tho sigus has beon discovered by Niebuhr, Grotefond, Rask, Laswen. Barnouf, Rawlinson, Hincks, Oppert, Ménaut, aad others ; but such still remains to be done before the numerous in- scriptions in the emelform character can be fully deciphered.

Penstas Scurrrone, 179

Pensta.

‘There are but few remains of Persian sculpture extant, and these fow consist almost entirely of bus-reliefs on the walls of the palaces and the fronts of the rock-cut tombs. ‘Tho principal, from the royal paluce of Persepolis (Fig. 75), date from about 521-467 2.0, the golden age of the Persian monarchy. In these bas-relicfs the working of

Assyrian and Egyptian influence can be distinctly traced, combined with a character peculiarly their own, In Persian works, historical events are frequently represented ; hut scones of the chase or of war, s0 common amongst the Assyrians and Egyptians, are almost entirely unknown. Everywhere we see the king in on attitude of dignified

—

180 Peesiax Scurrront,

repose, attended by his court and receiving the homage of ambassadors, bringing tribute in the form of horses, camels, or costly raiment and vessels, ‘These groups are: probably faithful representations of actual scenes in the time of Darius or Xerxes. They are romarkable for the lifelike rendering of the animals and the graceful flowing drapery with which the human figures are clothed, suggesting Greek influence, and contrasting favourably with the close and heavy Egyptian and Assyrian garments.

A noteworthy exception to what we have said of the repose of Persian bas-reliefs, is a lange group, hewn out of steep and lofty rock at Behistan in Kunlistan, which represents a Persian king placing his foot on a prostrate enemy, with one hand holding a bow and the other raised as if about to strike. Nine prisoners bound together await their doom at 9 little distance from the victorious monarch, who iz supposed to be Darius Hystazpes, after he had quelled the Babylonian rebellion in 516 Bc.

Human-headed and winged bulls and unicorns are of frequent occurrence in Persian sculptures. The king is sometimes seen contending with some huge symbolic cteature; but even in the thick of the struggle he retains his calm self-passession and dignified expression of unrufiled serenity.

On the fagades of the rock-cut tombs, the king is generally represented worshipping Ormuzd, the god of light, the Ferouher or protecting spirit hovering above his head in the form of a man with the wings and tail of a bird.

Tho Porsinns groatly improved the art of gom-cutting, They adopted the cylindrical form of the Assyrians, but quickly abandoned it for the conical, employing chnlcedony,

Syrux Seurrrure. 181

Which thoy engraved with figures of their gods, ete. The evlindor signot of Darius I. has boon preserved. Tt repre= sents two warriors in « chariot, one directing the steed, the other standing behind the driver drawing a bow, A lion reared on its hind-legs appears calmly to await the dis- wharge of the arrow, aud above the group hovers the Ferouher,

Asta Mixon ann Synva.

The sculptures of Asin Minor and Syria betmy tho influence of all the neighbouring nations, and cannot be said to bave any distinctive character of their own.

The most ancient monuments of Asia Minor are the tock-cnt bas-relief at the town of Bogas Kosi, They consist of two processions; and the gencral style of the grouping and costumes is a combination of the Babylonian and Persian. We see the working of Assyrian inflience in a marble chair, discovered in the same place, which has lions chiseled in relief upon it much resembling those of the portals of Nimrud. At the village of Nymphi, near Smyrna, there is a colossal bas-rolief figure of a king, cut in a wall of rock, wearing the Egyptian pechent (a conical cap or crown with a spiral ornament in front).

Th Syria there are alko many relics of Egyptian and Assyrian art = ona wall of rock, north of Beyrout, there are Tns-reliefs in honour of the victory of Rameses the Great, sidehy side with others commemorating Assyrian triumphs.

The Hebrews no doubt employed some sculpture—for we read of Jacob crectinga pillar over the grave of Rachel

182 Cansese ann Jarayese Scourrene.

—but it was principally in engraving and cutting gems and precious metals that the chesen people excelled. The golden Calf, the brazen serpent, the plate of gold for the high-priest’s mitro, the ongraved stones of tho brenstplate, etc,, the cherubim and ornaments for the tabernacle, were works of this class.

The Phamicians appear to have excelled in all the mechanical arta Homer alludes to chased silver goblet of exquisite workmanship, made by a native of Sidon; and Solomon invited workmen from Tyre when engaged upon the temple of Jerusalem. We read that the king of ‘Tyre sent him a workiman “skilful to work in gold, silver, brass, ote, . . also to grave any manner of graving” (2 Chron. ii, 14), “who made an altar of brass, and a molten gea supported by twelve cast oxen,” ote. (2 Chron. iv. 1-22.)

Tn the ruins of Carthage, which was a colony of Phoenicia, Pheenician coins and medals have been frequently found,

Cuma anp Japan,

We cannot leave the East without a few words on the art of the Chinese and Japanese, although they never produced either statues or groups in stone or marble of any important size, There are many colossal bronzes of Buddha in Japan. There is one now at the South Kensing- ton Muscum, where may also be seen a fine Engle with outspread wings, of Japanese workmanship, in hammered iron. Both nations have always been proficient in carv- ing wood, ivory, tortoiseshell, etc.: they are wanting in imagination, but their power of imitation and proficiency in colouring are alike marvellous,

Prnoviax asp Mexican Scuerunn, 183

Peno ann Mexico.

Of the sculptured figures and groups of the early races of the New World there is little to be said; they are remarkable rather for size than beauty, and consist of rade idols or coarse bas-reliefs on the temples and palaces. The Pottery is of a different character; some of the Mexican and Peruvian ware which has boon preserved is well modelled and coloured, and ornamented with peculiar taste. ‘The oldest Poruvian terra-cotta objects are indeod equal to anything of the same age produced in Europe; but glazing was novor attempted.

Mr. Stephens, the celebrated American traveller, dis- covered a number af vases of various shapes, carved or indented with curious patterns, in the “Tombs of the

Tncas” in Pera.

name of archais has been given,

} wars; the second, from the 490 nc, to 400 n.c., during which leading power in Greece; the third,

Rov, W, Cox—' Tales of the Gods and and Argos’—will be found useful as an ‘more advanced works of Max Millor,

186 Gexex Scourrune.

from 400 n.c. to the death of Alexander the Groat, in 323 B.C., in which period Sparta became the ruling city; and the fourth, from the death of Alexander to the conquest of Greece by the Romans, 146 Bc.

1. First Period.

The earliest sculptures of Greeco known to us date from the eighth century B.c. ‘They are a colossal statue of Niobe on Mount Sipylus, mentioned in the Mind, and

.—Seulpture on the Lion gate at Meer,

the famous Lion gate of Mycenm (Fig. 76), supposed to be still older: in the reliefs of this gate Aseyrian influence can be distinctly traced. ‘The carved chest of Cypschus—a work dating from 650 B.c. made at Corinth—had reliefs partly cut: in cedar-wood, and partly laid on in gold and ivory, representing heroic myths. It was noticeable as being probably the earliest attempt to give visible form to the word-pictures of Homer and Hesiod. Pausanias (about A.p. 176) saw this chest and describes it,

The earliest names of artists which have come down to

Gaeex Scuurrvae. 187

‘weare those of a Samian family: Rhocus, his son Telecles, avd his grandson Theodorus, to whom the invention of the arte of modelling clay, engraving on metals, and gem- has been attributed. Glaucus of Chios, who is

| said to have invented the art of smelting iron, was a | famous bronze caster of the beginning of the seventh

confury KC,

Dipenus and Scyllis (about 580 nc.) of Crete were more famous than ony of their prodecessora, They worked at ees and their achool spread throughout Vode to Italy (Magna Grecia). Many statues

found in the Peloponnesus and elsewhere have

been attributed to it. A group discovered in the temple of the Dioscuri (Castorand Pollux) at Argos is remarkable as showing the transition from wood to more costly materiais It represented the Dicseuri on horseback, and was carved in ebony, inlaid with ivory.

‘Spartan artists took up the work begun by these ‘Cretans, and developed the wood and ivory work into the chrysolephantine (i. ¢. gold and ivory) statuary which sub- sequently became so famous, A group in cedar wood by ‘the Spartan artists Hecyles and Theocles, representing the adventure of Hercules with the Hesperides (the guardians ‘of the golden apples), was found in the treasure-house of ‘the Epidamnians at Olympia.

‘To Canachus of Sicyon, who flourished about 500 n.c., is attributed the colebrated colossal statue of Apollo, made for the sanctuary of Didyma near Miletus, which was eurried away by the fugitive Xerxes

Ageladas of Angos was famous for his statues of nthletes; ‘ond of Qleesthenes of Epidamnus, on a chariot with four horses, was the admiration of all Greece.

—

188 Grerx Sccrrrone.

Calamis, Pythagoras, and Myron, the immediate fore- runners of Pheidias, may be looked upon as artists of a transition period. Culamis represented a groator diversity of subjects than any previous sculptor; his horses were especially lifelike, but his human figures were not so good. A marble copy of one of his works—Morcury carrying a Ram —is in the collection of Lord Pembroke, at Wilton House.

Pythagoras was truer to nature than Culamis; his works were remarkable for delicacy of execution ; his statue of the lame Philoctetes at Syracuse, a statue of an athlete at Delphi, and his group of Europa on o Bull at ‘Tarentum, were especially admired,

Myron, the third and greatest of this group of artists, was (with Phoidias and Polycletus) a pupil of Ageladas. He generally employed bronze for his works, which com- prised a vast variety of subjects, although he especially delighted in representing athletes in vigorous action. His Marsyas in the Lateran at Rome, and his Discobolus (dise thrower) in the Vatican (Fig, 78), are among his most successful statues. They are full of life and animation, and give proof of consurnmate knowledge of anatomy. The famous Cow of Myron, which formerly stood an the Acropolis of Athens, must also be mentioned.

Of the now-existing monuments belonging to the first period of Greek sculpture, we must name the sculptures from the temple at Assos, now in the Louvre; the metopes from the temples of Selinus in Sicily, now in the muscum at Palermo; the Harpy, Chimera, and Lion tomba, from Xanthus in Asia Minor, lange portions of which are in the British Museum; and above all, the sculptures from the Temple of Agina.

190 Gaexe Scurvrore.

of the British Museum, discovered with many other relics by Sir Charles Fellowes a few years agu. It is supposed to date from the sixth or seventh century B.c., and alike in arrangement and execution it is purely Greek, ropre- senting in an artistic form the myth of the carrying off of children by Harpies, who appear as winged female figures.

‘The sculptures of the Temple of Aigina were discovered in the year 1811, ‘They are at least a century lator than those of Solinus or Xanthus, above mentioned. Amongst heaps of broken fragments seventeen nearly perfect statues were dug out, which belonged to the eastern and western pediments of the Temple of Aigina, dedicated to Athena. The original statues, which wore carefully restored by ‘Thorwalisen, are now in the Glyptothek at Munich. Com- plete casts of them, properly arranged, are to be seen in the Phigaleian saloon of the British Museum. . The meaning of the sculptures has been very differently inter- preted; they aro, however, evidently memorials of vietorics. They ate of Parian marble, and are go carefully executed, that even the wrinkles of the nudo portions aro rendered. ‘The limbs are delicately moulded, and full of energy; the attitudes graceful and oxprossive; but the hoads are of the

ent af the draperies and hair is eminently conventional and artificial; the pose of the figures is often stiff and constrained, and a foolish smile is not unfrequently to be found on the faces. As art mule progress, its gradual emancipation from the trammels of eonventionalism may be traced; and the best works executed towards the close of the period we have been reviewing, retain no more of the artificial in pose and the

Garex Scourrone. 191

conventional in treatment, than serves to give increased value to the sense of beauty which breathes through the whole—=struggling, s0 to speak, to find a means of

expression,

Bofore closing our review of the first period of Greok

Fig. 7H—The Diseobolus, after Myra,

Sulpture, we must name two fine statues of Apollo, found gue at Tenea (between Corinth and Argos), the other in the island of Thera. ‘The former is in the Glyptothek of

192 Greek Scuurrvre.

Munich; the latter in the Temple of Theseus at Athens. Both are supposed to date from # very early age.

2, Second Period, 490-400 n.c.

We now come to the age of the final development of Greek art, with which the name of Pheidins is inseparably connected. The Persian wars destroyed the last remnants of Oriental despotism, and ushered in, alike in politics, literature and art, the golden age of Greece. The great statesmen Cimon and Pericles encouraged genins of every the tragic poets A’schylus and Sophocles refined the taste, and inspired sculptors and architects with

and for a time Greece, with Athens

for its capital, became the leading country of the world.

Pheidias, the master-artist of this golden age, was born about 500 pc. He learnt the rudiments of bis favourite art of Hegesins of Athens, and completed his studies under Ageladas When Pericles assumed the roins of governmont Phoidias was about thirty-seven yours old, in the prime of his genius, and he became the chief co-operator of that great statesman in his restora- tion of Athens, Under Cimon, the predecessor of Pericles, Pheidias sculptured the colossal bronze statue of Athena Promachus (the defender), which stood on the most prominent part of the Acropolis (Fig. 22). As superi tendent of public works in Athens, Pheidias had under him a whole army of architects, sculptors, workers in bronze, stone-cutters, gold and ivory beaters, and other artiste, and although be may not have had any per sonal share in sculpturing the famous marbles of tho Parthenon, he probably designed many of them, and it

Greex Scunerens, 193

eannot be doubted that he exercised control over them. ‘The ehryselophantine statue of Athena, within the temple, which must have been magnificent work of art, was certainly from his own hand. This, and the cologeal ehrysclophantine statue of Zeus for the Temple of Olympia, wore his most famous works: the former was an ideal im- Ppersonation of calmness and wisdom—of which the colossal marble figure of the Pallas of Velletri, in the Louvre, is supposed to be a late Roman eopy,—and the latter, now only known to us from copies on coins, was a realization of Homer's description of Zeus, “shaking his ambrosial locks, and making Olympus tremble at his nod ”—and an embodiment of the national idea of the supreme God, instinct with power tempered by merey,—a human form divine of such surpassing beauty, that it became henceforth the type of masculine perfection.

‘The principal pupils of Phoidias wore Alcamenes, Agora- critus, anid Colotes. They first executed a group of statues for the western pediment of the Temple of Zeus at Olympia, and many statues of gods That of Hephmwstus at Athons yens especially admired, bocanso the lameness characteristic ‘of the god was indicated without loss of dignity to the

The famous Venus of Melos, in the Louvre, found in 1820 in the island of Melos, is thought to be 1 copy afer Alcamenes. In this exquisite female figure, human maturity and beauty are combined with divine majesty and self sufficiency. The most famous work of Agoracritus was his marble statue of Nemesis at Rhamnus; and that of Colotes, a statue of Athena at Elis.

At Argos, in the Peloponnesus, a school arose, second only in importatice to that of Athens, the ruling spirit of which was Polycletus of Sicyon, a fellow-pupil of Pheidias

Rate o

—_—

194 Guxex Scccprore.

in the workshop of Agoladas His principal works wore statues of athletes; his celebrated Doryphoros (standard- bearer), of which the museum of Naples contains 2 sup- posed copy, was called the canon of Polycletus, and served as a model of the beautiful proportions of the human body

The colossal chrysélephantine image of Juno, for lwr temple at Anos, by Polycletus—a marble copy of the head of which isin the Villa Ludoviai at Rome (Fig. 79)}—was considered his finest work.

Greex Scvurrvns. 105

‘Our limits will admit of only a few words on the numerous monuments of Greece belonging to this age.

The sculptures of friezes and metopes of the Thescium, or Temple of Theseus at Athens, represent incidents in the life of Theseus, treated with the greatest: boldness and freedom. Closely resembling them are the friezes of the Tonic temple of Niké Apteros (Victory, wingless), on the Acropolis, the first reliofs executed in the white marble of Pentelicus. Portions of them are in the British Museum,

Pig. 80. —Group frets the Restern trieoe of tho Parthenon,

and casts of them, and of an exquisite figure of Winged Victory, which adorned a parapet between the little temple of Niké Apteros and the ascent to the Propylera, are in the Crystal Palace collection.

‘The sculptures of the Parthenon, which were brought to England by Lord Elgin in the year 1816, are preserved in the room bearing his nae in the British Musoum, whero may also be seen two small models of the temple, one in its present condition, and one as it was in the time of Perieles. The bas-reliefs sculptured on the frieze of the Parthenon are among the very grandest works of ancient

196 Gnesk Scuuprure.

art; they represent the procession at the Panathenaic festival which was held at Athens in honour of Athena every fifth year; and more especially that portion of it which consisted in the presentation of a veil, or peplos, to the goddess, and the sacrifice of animals at her shrine. The frieze occupies the four sides of the entablature of the outer walls of the cella, and is viewed from below by the light which comes between the fifty columns which

Fig. 1—Bae-roliof from the Parthenon Friese,

form the peristyle or outer colonnade. On the enstern frieze is represented the delivery of tho peplor in the presence of twelve deities (Fig, 80). Towarde this point two processions converge. Both start from the western end—one goes along the northern sido, the other along the southern, and they mest at the eastern end over the entrance. ‘The procession includes chariots, horses and

Guexx Scuirrons. 197

riders, epee grave citizens bearing olive-branches, flute-players, and and lovely maidens carrying graceful jars with infinite beauty of action.

‘The groups on the northern are disposed with greater freedom than the corresponding groups on the southern side, and in the wonderful grace and power with which they move onward with rythmic motion there is the very ‘epitome of “order in disorder." Among all the hundred and twenty-five mounted figures (Fig. $1) who are con~ trolling their steeds in every variety of action, although there is an intentional sense of crowding —hurrying

there is no confusion, and each detail is distinet and clear.

‘The groups on the southern side represent the more formal and regular part of the procession which was charged with the office of conveying the sacrificial victims, attended and preceded by horsemen who, from their ordered progress, are supposed to represent. the trained cavalry of Athens.

On the eastern pediment of the temple was a magnificent group representing the Birth of Athena, and on the western

the contest between Poseidon and Athena for the city of Athens. These are both in ruins.

‘The bas-reliefs of the Metopes, on the exterior of the temple, represent conflicts of the Contanrs and the Lapithm (Fig. $2). Of the ninety-two original sculptures, sixteen ‘are in the British Musoum, and casts of many others.

Aleamenes is said to have been the author of many of the finest of these groups, which should be carefully studied in the original sculptures and the casts in the British Musoum, for they belong to the culminating time of the greatest age of Greece, when the purity of the earlier period was combined with the science, grace, and

198 Greek Scutrrune.

vigour of a maturer epoch, without any admixture of the fanlts of the rapidly approaching decadence.

The beautiful statues of antiquity now remaining, which are generally supposed to date from the golden age of Grecee, cannot be ascribed with certainty to any of the masters above-mentioned. Foremost of all, ranks the Vonus found in the Island of Melos, now in the Louvre.*

—}

Fig. 82.—One of the Metopex of the Parthenon,

The Venus of Dione in the British Musoum, the Venus of Falerone in the Louvre, and the Mars or Achilles of the Uffiai Gallery, Florence, are also believed to be of this date.

It is not casy in a few words to sum up the peculiaritics of this the best age of Greck Sculpture ; to do so would be to epitomize all excellences of sculpture. We may, however, point out the high degree of vitality and energy thrown into such sculptures as those of the Parthenon

There is an excellent cast in the Oryutal Palace,

Gurex Scoveruns, 199

without in the smallest degree sacrificing dignity or Anatomical correctness or beauty of arrangement.

‘The artistic perfection in balance and grouping evinced,

in the highest degree, the union of genius and skill. The

which are most carefully studied, fall in « mule titude of crisp folds, The faces are idealised, and share but slightly the passion often expressed by the actions of the figures. The execution of the work is extremely bold, combining a disregard of the most formidable technical difficulties with perfect mastery over effects of light and shade, modelling and composition.

Next to the sculptures of the Parthenon we must name those of the Propylwa; the reliefs of the parapet of the Temple of Nikd; the frieze of the Erechtheium ; and the frieze of the ‘Tomple of Apollo at Bassw, near Phigalia in Arcadia; this was discovered in 1812 by a party of English and German trevellers, and is now in the British Museum; it represents the battles of the Greeks, aided by Apollo and Artemis, with the Centaurs and Amazons; these figures are remarkable for their lifo and energy, but are wanting in the technical finish and correctness charnc- teristic of the marbles of tho Parthenon.

8. Third Period, 400—328 nc.

The first important artist who appenred after the time of Pheidias was Cophisodotus (the son of Praxiteles, and the pupil of Alcamenes), who represents the transition , betwoen the grand and simple style of Pheidias and the passionate vigour of Scopas and Praxiteles. His group of Irene with the boy Pluius—a marble copy of which is in the Glyptothek of Munich—is a typical work, in which we see a touch of human weakness modifying the stern

200 Greek Scuterore

grandeur of the goddess, The Wrestlers,* in the Uffizi Gallery at Florence, has been ascribed to Cephisodotus.

One of the principal masters of the later Attic school was Scopas of Paros, who built the Temple of Athena in Teges, and sculptured for the pediments the marble groups representing the combat of Achilles with Telephus, and tho pursuit of the Calydonian boar, Scopas also designed, if he did not execute, the reliefs for the eastern side of the Mausoleum of Halicarnaseus: the group of Niobe and her Children,* in the Uffizi Gallery at Florence, has been ascribed both to him and to Praxiteles. It has been said that the central figure of this group—the bereaved mother gazing up to Heaven with eyes full of repronchful appeal—expresses mental agony better than any other work of art ever produced. Timotheus, Bryaxis, and Leochares, were the chief colleagues of Scopas.

The second great master of sculpture of this period was Praxiteles, who flourished at Athens about the year 364 8c. His most famous works were the nude Venus of Cnidus, which was visited by his admirers from all parts of Grooco (it is said that the C ians valued it more highly than the discharge of their public debt, which Nicomedes offered in exchange for this statue); the Apollo Saurocteinus or Lizard Slayer; the Faun of the Museum of the Uffizi; the Venus of Capua, and the Venus Callipyge, both at Naples.

In the Peloponnesus, Lysippus was the founder of a school, He was especially successful with iconic (i 6 portrait) statucs; and, adopting the canon of Polyclotus, he introduced a new mode of treating the human figure, representing mon rather as they ought to appear than as

‘The Crystal Palace contains fine casts of nearly all these.

Greex Scorrrens, 201

they were. His most: famous works were a statue of the Apoxyomenus, an athlete scraping his arm with a strigil, a

Fig. $3. Stato of Sophoclor, In the Lateran, Rowe,

copy of which is in the Vatican, and his Sophocles (Fig.

83), of which the Lateran possesses a fine marble copy. Chares was the most famous master of the school of

Lysippus; and Aristodemus and Boethus must be named

202 Gaeex Scurrore.

as late artists of the sme epoch. The famous Drunken Faun at Munich, and the Thorn Extractor of the Capitol at Romp, evidently date from this time.*

Tn the works of this third period, art is seen running its usual course. The self-restraint of the best time is visibly thrown off, and « corresponding loss af dignity and ideal beauty follows, More that is individual, Jess that is divine, appears in the statues; the faces are less con- vontional, the draperios les beautiful, and the whole art, while retaining an astonishing degree of technical excel- Tenee, has left behind it the lofty aime and the porfect attainment of such aims which it possessed in the time of Pheidias.

+ Fourth Period, 323—146 uc.

The school of Rhodes occupies the first position in this epoch. Agesander, Athenodorus, and Polydorus, a group of Rhodian masters, produced the Laocoon (Fig. 84) of the Vatican, which is said to express physical pain and passion better than any other existing group of statuary. The Laocoont was said by Pliny to be one block of marble; if 90, we have not the original, as the Laocoon of the Vatican is hewn out of three pieces, The Far- nese Bull, or Toro Farnese, in the Museum at Naples, is another famons work of this period, by Apollonius and Tauriseus, of Tralles in Caria, foreign artists who worked at Rhodes. The subject is the punishment of Dires, wife of Lycus king of Thebes, by the sons of Antiope for her

Casts of them are in the Crystal Palace.

+ Laccoon, & priest ina temple of Apollo, while ecerificing = bullock, saw two enormous serpents coiling themselves round hin two eons, He roshed to their assiatance, became entangled in the folds of the serpents, and ull there died,

Gerex Scuurrone. 203

cruelty to their mother. Like the Laocoon, it is full of dramatic life and pathos.

‘The famous head of the dying Alexander in the Uffizi at Florence is supposed to be the work of Rhodian artists, and The Wrestlers mentioned nbove in connection with Cephisodotas is often attributed to a similar source.*

Pig. 84,—The Laoooon, In the Vatioun.

The school of Porzamus produced many great artists, of whom Isigonus, Pyromachus, Stratonicus, and Anti- gonus wore the chicf.

The great General Attalus celebrated his victory over the Gauls (239 2.0.) by presenting groupe of sculpture to

+ Casts of these works are in the Crystal Palace,

204 Guexk Scourrens.

Athens, Pergamus, and other cities, many of which have been preserved. The most famous is that called the Dying Gladiator (Fig. 85), in the Capitol at Rome, which is evi- dently an original work by on artist of Pergamus It ropresonts a Gaul at the paint of death; his head: sinke forward, his eye is dim with pain, his lips are half parted by a sigh, and the shadow of death clouds his brow.

Tn this period the art of sculpture is still pursuing a downward course; difficulties are courted for the sake of showing with what ease they can be overcome, and un- rivalled technical skill is the highest and most self-evident merit, in place of being one of the last qualities to force itself on our attention. Many of the works of this age, like the Dired already quoted, manifestly overstep the proper bounds of the art of sculpture, and represent scenes of a complexity and extent which can only be properly rendered by the art of the painter,

Fig. 85.—The Dying Gladiator. In the Capitol, at Rome,

TH. Erevscaw Scurervre

As we have seen in speaking of their architecture, the Etruseans were an Asintic race who settled in Italy at a very early date, but never became assimilated with their neighbours. They excelled in all the mechanical aris— such as the chasing of gold and silver, the casting of bronze statues, the manufacture of armour, altars, tripods, ‘ote, for which great industry and power of imitation alone were required ; but they were wanting in the imagination and force of character indispensable to the working out of fa national style.

‘The earliest Etruscan works of sculpture which have come down to us are the stone reliefs of tombstones (Fig. 86), in which the figures sre treated in the realistic manner characteristic of Asyrian art. In many cases the upper part of the body is seen in full, whilat the head and logs are represented in profile. The low reeeding foro- heads, flat ekulls, and projecting chins, are of an essentially Eastern type. In somewhat later works we see the same archaic style combined with greater animation and more lifelike expression. This is the case with a figure of a bearded warrior in low relief, from a tombstone, now in the Volterra Museum.

‘The strange black vases of unburnt clay, found in the tombs 2t Chiusi (the Clusium of the Romans), must also be reckoned amongst the carliest Etruscan sculptures, ‘The lids of many of them represent human heads of an Egyptian typo, and some have grotesque figures on the ides and handles, The Campana collection, in the

206 Eravseaw Sounrruns.

Louvre, and that of the Uffizi Gallery, Florence, contain many curious specimens.

Terra-cotta objects are also very numerous. Perhaps the most interesting is that called the Lydian Tomb, found at Carre (the modern Cervetri, a corruption of Cwre Vetere), and now in the Louvre. It represents a married couple in a semi-recumbent position upon an Assyrian couch. The attitudes are stiff, the treatment of the figures betrays

Pig. 8C-—Ielief from an Bermnecen tomb,

ignorance of anatomy, and the drapery is wanting in gro; but with all these faults the group is pleasing and characteristic. The pediments of Etruscan temples appear to have been aderned with term-cotta reliefs, and the images of the gods were often of the saime material. Tn Rome, before Greck influence became predominant, Etruscan terra-cotta was largely employed. ‘The pediment of the temple of Jupiter on the Capitol was adored with

Eravacan Sovtrrure, 207

& group in terra-cotta, and surmounted by a quadriga (a chariot with four horses) of the same material.

Many of the Etruscan bronze works still existing are very ancient. Amongst them, the famous Chima at Florence, and the She-Wolf in the Capitoline Maseum, Rome,* are probably the earliest. The finest examples of large bronze statues are the Orator in the Uffizi Gallery, Floronce, the Boy with the Goose in the Museum of Leyden, and the statue of the Young Warrior, erroneously called Mars, found at Todi, and now in tho Museum of the Vatican. The Museum of Florence also contains geveral small bronze Etruscan works of great value; of these the Tdolino, probably a Mercury, and a group of two warriors carrying a wounded comrade, are the chief,

Many sercophagi and ums, in alabaster, term-cotta, or stone, belonging to a later period when Greek influence was sensibly felt in every part of Italy, are preserved in different muscums. Figures of the deceased repose upon the lids, and the sides are adorned with high relichs, representing the fate of the soul in the othor world, or the festive scenes in which the departed figured in life. Some of these groupe are of real artistic beauty, and may almost be called ideal conceptions,

The exquisite symmetry of the shape of the Etruscan vetri antichi (antique glass objects) entitles them to notice, They consist of vases of every description—amphorw, flagons, goblets, chased and enamelled glasses, ete.t

A coat is in tho South Kensington Musoum,

+ Most of these glowes, having been bared for centuries, are stained with « thin film, the result of partial mineral decomposition of the surface, which produces tho most beautiful variegated colours. ‘The Italians call this coating patina,

TV, Roman Scunprone.

Fig. 87-=The Apollo Bolvoders, In the Vatiown.

beanty of the works of others, and to their liberal patron age we owe many fine works by Grock artists produced after the subjugation of Greece by the Romans, and second only in beauty to those which came from the hand of

Rowax Scurrrenr. 209

Pheidins, Scopas, or Praxiteles, The most important of these works are reproductions of the great masterpieces of the golden age of Grose; of which we must name the

Fig. 8\—Dians with the Suag x (he Lowere.

famous Apollo of the Belvedere in the Vatican (Fig. 88)—

found early in the sixteenth century at Porto d'Anzo, and

supposed to be a copy after Aleamenes; a model of manly,

as the Venus de’ Medici is of womanly, beauty; Diana the mi. r

— |

Pig. £0. —VYenus de” Medici. Jw the Upics Gatlery, Sturence,

Rowas Sovtercer, 211

Huntress, or Diana with the Stag (Fig. $8), in the Louvre, the best existing ropresentation of the fair-limbed goddess ; aml above all, the Torso of the Belvedore in the Vatican, the remains of a white! marble statue of Hercules in rupose, so romarkable for its combination of energy, grace, strength, and plinbility, that it is said to have been studied from by Michelangelo,

The Venux de’ Medici (Fig. 88) in the Uffizi Gallery, Florence,—found in the sixteenth century in the villa of Hadrian, near Tivoli, and bearing on its base the name of Cleomenes son of Apollodorus of Athens,—is supposed to be an original work of the late Attic school,

Rotsan sculpture, properly so called, may be divided into three periods: from the conquest of Greece to the time of Augustus (146 nc. to 14 4..); from Augustus to Hevirian (14—138 A».); from Hadrian to the decline of the Roman Empire,

Firat Period, 146 2.c. to 14 a.n.

Following the brilliant Attic school mentioned above, a Roman school rope into importance, the productions of which were chiefly iconic or portrait statues, and reliefs rwpresenting historical ovents. These iconic statues are many of them spirited and masterly likenesses, in which the personal appearance and dress of the person depicted are most faithfully rendered. A second class of statues, called Achillesn statues, aimed at combining in one form the chamectoristics of an emperor and a god. Of these statues, one of Pompey in the Spada Palace, Rome ; one of Cwsar, wearing the toga, in the Berlin Museum; and

212 Romax Scuurrune,

one of Augustus in the Vatican (Fig. 90), are considered the finest. The Lateran also contains a series of fine

o. OAL AeA Fig. 00.—Marble statuo of Augustus. Jn the Fatioen, colossal statues found at Cervetri—portraits of Germanicus,

Rowas Souurrese. 213 Agrippina, Drusus, Tiberius, Culigula, Claudius, Livia, and Augustus,

‘To the same period belong two marble reliefs found in §. Vitale, Ravenna, one of which represented a bull being lod to sacrifice by six men wearing garlands; and the other figures of Augustus, Livia, and Tiberius,

To the custom which prevailed in Rome of erecting monuments in memory of victories we owe many very beautiful statues and bas-relicix Of this class were the fourteen statues of subject tribes, by the Roman sculptor Coponius, in the portico of Pompcy’s theatre, which were life-like portraits of barbarians, accurately rendering their strongly-marked features, and the tragic sadness of their exprossions. Tho altar erected in honour of Augustus at Lyons was adorned with sixty figures of Gauls.

Second Poriod, 4p. 14 to a.v. 138.

‘The emperors who succeeded Augustus did much to encourage the new Roman school of sculpture, Under their rule sculpture was largely employed as an accessory to architecture in the magnificent buildings everywhere erected, and the art of portraiture was carried to the greatest perfection. The most finished technical skill was displayed in the cutting of marble and precious stones, and the working of all kinds of metal, but this mechanical Proficiency very inadequately atoned for the simultaneous decline of the Greek school—the school of ideal concep- tions and unfettered freedom of imagination.

After s long period, during which nothing of any great ‘artistic value was produced, a partially successful attempt was made by Hadrian to revive Greek art; but the cold

24 Roman Scunrrons.

imitations produced of the masterpieces of antiquity served but to prove the futility of any attempt to revive a school after the spirit which animated it ia extinct,

Among the number of works belonging to this age are the monuments found at Herculaneum and Pompeii. Of these the fine bronze statues of Hermes, the Sleeping Faun, and the Dancing Girls, all in the Museum of Naples, are considered the best. The famous Centaurs in black marble found in the villa of Hadrian, and now in the Capitoline Museum, are evidlently copies of Greck originals. Some of the iconic statues excavated are also very fine and of grent historic value.

The Vatican contains an extremely fine statue, worthy of being called an ideal work, of Antinous (the favourite of Hadrian), who was drowned in the Nile, and enrolled by his regretful master amongst the gods.

The museums of Europe contain many fine groups supposed to date from this time of exceptional artistic activity. OF these we must name the colossal marble Tiber and Nile—the former in the Louvre, the latver in the Vatican (Fig. 91)-—in which the rivers are represented by two old men with flowing beards resting on the urns from which their waters flow, and surrounded by emblems and small symbolic figures: and the marble group of Cupid and Psyche in the Vatican.

It was, however, in the monuments erected in honour of the emperors during the period under discussion that Roman sculpture attained to its highest excellence. We have spoken of the triumphal arches as works of architec- ture, and must now say a few words on the distinctive cha- racter of the reliefx with which theywere covored. There wero partly historical and partly symbolical, representing

Fig. 91.—The Nile, From the cofensel averlde fa the Faticera,

216 Rowan Scvirrene,

actual victories side by side with allegorical groups, and combined the realism of Oriental pictorial annals with something of the ideal beauty of Greek works of a similar class—differing, however, in one essential particular from anything previously produced. The plan hitherto adopted of giving each figure 9 clear outline on a flat surface was abandoned, and an attempt was made to introduce a greater variety by means of a graduated background, the

Fig. 02—Roeliet from the Trajan Coluinn,

figures in the foreground being almost or entirely detached, with figures in lower relief behind them. The result was a crowded effect never met with in Greek works,

The Arch of Titus, erected in memory of the conquest of Jerusalem, is especially interesting. On one side is a representation of a procession carrying away the spoils of the Temple, amongst which figure the Ark and the seven=

Roman Scvtrronn. 27

branched candlestick; and on the other the Emperor is seen in his triumphal car, drawn by four horses, and surrounded by Roman warriors. The Trajan column—a cust of which is now in the South Kensington Museum— erected before the time of Hadrian, stands on a pedestal covered with busreliefs of weapons, otc., and the pillar itself is enclosed in a spiral of bas-reliefs forming a con- tinuous representation of the triumphs of the Emperor, beginning with the passage of the Danube, and going through all the events of the Dacian war. The column was originally surmounted by a coloseal statue of Trajan (replaced in the seventh century by one of St. Peter), and contains no Jess than 2500 human figures and a groat number of horses (Fig. 28 and 92).

Third Period. From the time of Hadrian (A.v. 138) to the Decline of the Roman Empire.

‘After the time of Hadrian, very fow fine sculptures of any kind were produced. With the decline of the empire @ corresponding decline in all the arts was inevitable. Strange to say, there was for a time an inclination to go back to Eastern types in statuary. Once more the Egyptian Serapis appeared in monuments, whilst the worship of Isis led to the production of numerous statues of that goddess. ‘The liberal patronage of Marcus Aurelius was the cause of a brief revival, when the fine equestrian statue of that emperor on the Capitol was executed, but it was only a late effort of an art doomed to speedy destruction. Before its final decay, however, Roman sculpture produced some fine bas-reliefs on carcophagi, remarkable for artistic

218 Rowan Scenerene.

conception and fine execution, These bas-reliefs represent scenes in the actual life of the deceased, allegories re- lating to the future state, or mythological groups. The Vativan and the Doge's Palace at Venice contain many fine specimens.

Our limits forbid us to attempt even a passing allusion to the countless minor antique art objects in the numerous public and private collections of Europe; but we must not close our notice of the sculpture of the heathen world without a word on tho famous Portland Vase in the British Museum, and the great cameos of antiquity.

The Portland, or Barberini Vase was found in a sarco- phagus, in the sixteenth century, in the monument called the Monte del Grano, about two miles from Rome. It wns placed in the British Museum by the Duke of Port- land, and we mention it here on account of the beautiful white bas-relief figures with which it is adorned.*

The art of cameo-cutting was carried to the greatest perfection by the Greeks and Romans. The finest existing specimen is thought to be the Gonzaga cameo, now at § Petersburg, which represents the heads of some royal per- sonage and his wife, and is six inches long by four broad. ‘The Cabinet of Antiquitics at Vienna contains a cameo of almost equal merit, and we must also mention one in the Louvre, which ix thirteen inches long by eleven broad, and that ealled Cupid and Psyche in the Marlborough col-

Tho Portland Vase was wantonly broken by a visitor to the

British Museum, in 1845, but hes been wo ingoniously joined together, that the fractures are scarcely visible, A small number of copies were made by Mr. Wedgwood, and are now very valuable,

Rowan Scovrrure, 219

lection, by Tryphon, a camco-cutter of celebrity who lived somewhat later than Alexander. There is now in the British Museum a fine collection of engraved gems, which is as yot comparatively little known. The stones on which these cameos are cut are of very great beauty; they wore probably obtained from the East.

Y. Barty Cmetsriax Scucerore. (First to Tenth Century.)

Curisttaniry in its earliest form was antagonistic to imitative art. The horror of image-worship, and the detestation of the superstitious observances interwoven with the domestic life of every class in the heathen world, led to the discouragement of all attempts at visible repre- sentations of Christ, or of His apostles. Moreover, it must be remembered that the first Christians were brought into immediate contact with the unholy rites of Isis and of Pan, and the graceful worship of Venus and Apollo; and with heathen temples on every side peopled with idesl forms of beauty representing gods and goddesses, it would have been impossible for Christian artists to clothe Christ in any human form not already appropriated to some ancient idol, Whilst the Greeks and Romans cultivated physical beauty, looking upon a perfect body as the only fitting garment of a perfect soul, the stern believers in a spiritual God to be worshipped in spirit and in trath endeavoured in every way to mortify the flesh, regarding it a8 an encumbrance to be laid aside without a murmur—a prison-house checking the growth of the immortal soul. This was, however, but the natural reaction from the sensuality into which the antique world had fallen; and with the decline of paganism the abhorrence of pictures or images of Christ. becarne less intense, the natural yearning of believers for some visible representations of the Object of their love and reverence gradually asserted itself more and more, and Christian art, which reached its highest

Easty Cantsrian Scuurrure. 221

development in the time of Raphacl and Michelangelo, mode its first feeble efforts to give a suitable form to the ideal which had eo long beon latent in the minds of men.

The date of the origin of Christian sculpture cannot be fixed with any certainty. The first traces of it are to be found in tho catacombs. ‘The sarcophagi of martyrs, ‘confessors, bi , ete, were carved or painted with the symbols of Christianity—such ns the cross, the monogram of Christ, the lamb, the peacock (emblem of immortality), the dove (emblem of the Spirit), ete. Sometimes Christ Himself figures on these tombs, but as yet only in the symbolic form of the Good Shepherd surrounded by his flock, or secking the lost sheep, or aa the heathen Orpheus taming the wild beasts by the music of his lyre.

Tn the time of Constantine (third century) we first meet with historical representations of Christ, and find Him on the sarcophagi in the midst of His disciples, teaching or working miracles. Even at so late a date, however, the antique type of youthful manhood is retained, and only in the fourth century was that peculiar form of countenance adopted which has been retained with certain modifications until the present day.

Single statues were extremely mare in the first four centuries of our era. The Emperor Alexander Severus (230 20.) is said to have bad an image of Christ in his possession, and occasional mention is made of statues erected to Christ by those whom He had cured, but nothing definite is known of any of them. The only really important existing Christian statue of this period is a large seated bronze figure of St. Peter in St. Peter's, Rome, which represents the apostle in antique drapery, clasping huge key in one hand, and raising the other as

att Eastr Camerus Secayreee

if in solemn admonition The Museen of Christian Antiquities in the Lateran contains a marble statue of St Hippolytas, the lower half of which belongs to the earliest period of Christian mrt.

The Museam of the Lateran also pussxses a umber of carly Christian sarcophagi ; others exist in the crypt of St. Peter's, Howe, at Ravenna, and clewhere. That of Junius Bassus (Fig. 94), in the vaults of St Peter's at Rome, dating from 339 4.D., is one of the best and purest of these works. The reliefs on this sarcophagus represent the gathering in of the grape-harvest by eymbolical figures, and a nomber of historical scenes from the Old and New Testaments The porpbyry sarcophagus of Constantia, the daughter of Constantine, and that of Helena, mother of the same emperor, may be seen in the Vatican: the latter is a work of powerful conception and brilliant

execution.

Sarcophagi belonging to a much later date (sixth to eighth century) are to be found in the churches of S. Appollinare in Classe, and San Vitale at Ravenna; in the Franciscan church at Spalato in Dalmatia, in the crypt of the cathedral of Ancona, and other towns. At the time of their production, the influence of Byzantine art, which discouraged the use of sculpture for mered suljects, was widely folt, and an inclination was manifested ‘orice more to prefer symbolic to historical representations. ‘The result of this tendency was a decline in the art of statuary ; and these later works are inferior in style and execution to these of the fourth century.

After what we have said in speaking of Byzantine architecture of the great services rendered to the cause of ort by Byzantine artists, it will be necessary to explain

Eagny Cunisriax Scturrune. 223 why their influence was the reverse of beneficial at the

Pig. DA. Sarcophngus of Junius Homus, Jn St, Foler's, Bune,

~~ - | (oT ee PEE Sale

period under review. Constant intercourse with the East imibued Byzantine Christianity with a spirit of theological

24 Eaety Cameriay Scourecme,

subtlety, combined with an aversion to change im all rnattors connected with religion, and consequently in religious sculpture, which was necessarily fatal to pro- gross; and although, under the earliest Eastern emperors, an attompt was made to adorn the new capital with the soulptares carried away from Rome by Constantine, and statues of Constantine himself and, tater, of Justinian were erected, it was not until long afterwards, when the froedom-loving Teutonic rees had gained an ascendancy in Buropo, that sculpture, once more breaking loose from the trammels of Kastern convontionalism, became again ‘wn ideal art capable of producing works which might justly bo styled high art.

In minor works of sculpture, however, such as the carving of ivory, the casting of bronze vessels, ete., Byzan- tine urtints always excelled. The principal ivory work Velonging to this period which has beon proserved is the wplscopal chair of Maximianus (A.D. 546—552), now in the Cathedral of Ravenna, It consists entirely of plates of ivory covered with exquisitely-carved arabesques and figures of men and animals in low relief

The carly Christians adopted the use of the ivory consular diptyehs (i. « double folding tablets), the outsides of which wore covered with low-reliofs Many fine speci- mens of Christian and Roman works of the kind may be seen in the South Kensington Museum and elsewhere.

As a charnctoristic work of the ninth century we mast name the high altar of St. Ambrgioin Milan, which i covered with plates of gold or silver gilt, adomed with embossed reliefs representing scenes from the Ee of Christ.

VI Scetrronn or te Ronaxesoun Penton.

1. Tonth and Eleventh Centurice.

Ix the dark ages which succeeded the fall of the Roman Empire, the greater number of the beautiful art works of antiquity, which had hitherto been preserved as things sacrud, wore wantonly destroyed or injured.

Upon the removal of the empim to Byzantium, the production of statuary of any excellence entirely ceased ; the few bas-reliefs executed were altogether wanting in original power or true artistic beauty, and it was not until the beginning of the tenth century that the first faint glimmering of that light which subsequently ilhmin- ated all Europe appeared on the horizon. The art. of painting, which was more suitable than that of sculpture for the decoration of the flat surfaces of the walls of the hasilicas and early Romanesque churches, was the first to revive: the works of sculpture produced daring the tenth and eleventh centuries were entirely of a secondary class much as altars, diptychs, reliquaries, and drinking-horna Of these we nevd only namo the most remarkable, In the so-called reliquary of Henry I. in the Castle Church of Quedlinburg, on which tho three Marys aro represented at the foot of Christ, we see the exarse style of the early part of the tenth centory unredeem ny technical 1- lence ; in an ivory diptych, dating fr in the Hotel de Cluny, Paris (Fig, 95), represent ist bloss- ing Otto IL and his Greek wife the Princess Theophane, we trace Byzantine influence in the careful finish of the

mia q

226 Sevtrrvee or Tue Romaxesgue Penson.

execution and a cortain grandour in the face and figure of the Saviour. Many really fine works of this deseription, however, date

yi | lA 4 | iy f A 4 iy y 4 YH

Poss

Fig. 9—Dipiych of Otto 1h, dptel de Cluny, Paris,

from the eleventh century. Amongst them we must men- tion a book cover, belonging to an ovangolarium, now in ‘the Library of Munich, and an ivory tablet in the Bodleian

Scuuerunr or rez Rowaxesgoe Perwop. 227

Library, Oxford, in which Christ appears as Ruler of the earth and sea, with the antique figures of Gaea (the carth) and Oceanus (the sea) serving Him as a footstool, In these and other productions of the kind we discover indi- cations of the future excellence to be attained by Teutonic artists : the attitudes of the figures are life-like, and the faces well express passion, energy, and other emotions. Tn the two centuries under notice some advance was also made in the art of metal casting. The efforts of the enlightened Bishop Bernward of Hildesheim were greatly instrumental in this advance, and to him we are indebted for the lange bronze doors of Hildesheim Cathe- dml, completed in a.p. 1015,* representing sixteen scenes of sserod history, from the Creation to the Passion of our Lort—in which the figures, though still rade, aro full of life and character, and for the bronze column in the cathedral square of the same town, executed in ap. 1022, adorned with « series of spiral bas-reliefs.

2. From ap. 1100: to the beginning of tho Thirteonth Century.

Tn the twelfth century, at which period the Romanesque style reached its 4 development, sculpture began once more to take a high position as an accessory to architecture, ‘The Christian sculptors of this period rapidly freed them- selves from Greek and Latin traditions, and working under the direction of the clergy, they illustrated the precepts of religion by the noble productions of their chisel, onriching both the outside and inside of the cathedrals and churches ‘with symbolic or historical sculptures. It is not, of course,

Caste are in the South Keosington Museum,

228 Scuterure ov Tae Romaxesyor Prep.

to be supposed that the art of statuary sprang at once into the important position it occupied in the completed Romanesque and Gothic styles; the artists of the early middle ages had much both to learn and to unlearn, but the renewal of its natural connection with architecture was a step in the right direction, and in every branch of plastic art a great improvement was noticeable alike in the treatment of figures, drapery, or foliage. At frst thore was a certain want of harmony between the buildings and their decorative sculptures, but as time went on, and the sister arts bocame moro fully assimilated, thoir com- bination produced an impression of rhythmical beauty such as neither could have acquired without the other.

We find Germany taking the lead in this onward move- ment. To the early part of the twelfth century belongs the famous relief on the Extern Stone, at Horn, in West- phalia, which is a remarkable work representing the Desvent from the Cross. The composition is full of energy : the attitude of the Virgin supporting the droop- ing head of her dead Son well expresses mental agony, and the figure of St. John, though stiff, harmonizes well with the reat of the group.

Saxony is rich in architectural sculptures of this period ; the bost are perhaps the figures on the northern portal of the church of St, Godehard at Hildesheim, belonging to the middle of the twelfth contury, and the figures of Christ and the Virgin in the choir of the church of St, Michael's, also at Hildesheim,

In Bavaria the huge columns in the crypt of Freiaing Cathedral must be noticed os a epecimen of the fancy which prevailed in that district for wotrd combinations of men and animals. It is covered with reliefs by a

| __

Scutrrure or Tae Romaxesqur Penton. 229

certain Master Luitfrecht, which have been variously interpreted.

To the middle of the thirteenth century belong many of the finest portals of the cathedrals of Germany. The golien gate of the Cathedral of Freiburg in the Brage- binge deserves special mention, as it is an instance of

Pig. 960.—Absl offering bie Lamb, Fram the pulpit of Weckselburg Church,

tho faithfulness with which German artists clung to Romanesque forms after they had been laid aside for Gothic in France and other countries. Scenes from the Old and New Testament, set in frameworks of symbolic figures, such as lions and sirens, are depicted in a life-like manner; and the treatment of the nude portions of the human body show great knowledge alike of anatomy and of antique models,

230 Sccrrrone ov tae Romanesque Perron.

The stone reliefs on the palpit and high altar of the church of Wechselburg are equally trathful and vigorous ; our illustration (Fig. 96) is from one of the compartments of the pulpit, and represents Abel offering his Lamb,

Bronze casting also greatly improved in Germany at this period. The school of Dinant acquired considerable fame in the early part of the thirteenth century, and many important works were executed by its masters for the various cathedrals of the Rhine provinces, The font of St. Barthélemy, at Lidge, is one of the most remarkable. The basin, like the molten sea in Solomon's temple, rests ‘on twelve brazen oxen.

From Germany we turn to France, and find # corre sponding advance in architectural sculpture. To the early part of the twelfth century belongs the west front of St Gilles, near Arles in Provence, in which antique marble columns are introduced, supporting an entablature the frieze of which is adorned with reliefs representing scones from the life of Chriet.

Tho ecclesiastical buildings of Burgundy aro especially rich in architectural sculpture. The podiment of the principal entrance of the cathedral of Autun is filled with n representation of the Last Judgment, which has a weird and striking effect. Devils are seen tearing the com- demned, and St. Michael is introduced protecting a ne deemed soul from their fury. The name of the artist of this remarkable group was Gislebertus.

‘The west front of the cathedral of Chartres ia one of the most important works of the late Romanesque school of Central Fi In its three portals the architecture and sculpture harmoniso with and supploment each other; the

232 Scutrrone or run Romawesque Prrrop,

figures, it is true, retain the formal pose of the Byzantine styl, but we rocognise a now spirit in the heads, which are of the Teutonic type, and full of life and energy. The southern entrance of the cathedral of Le Mans marks yet another step in advance in the same direction; the orna- inents are copied from antique models, but the heads of the figures are life-like and natural, and that of Christ ix fall of more than human beauty. The southern entrance of the cathedral of Bourges, which belongs to the close of the twelfth century, is an equally characteristic work; and the west front of Notre Dame at Paris, executed about A.D, 1215, is a specimen of the transition from the late Romanesque to the early Gothie style.

Tho sculptures which go profusely adom the cathedral of Amiens are of a rather later date. Among them the statues of the angel Gabriel and the Holy Virgin (Fig. 97) are of the most interest.

The architectural seulptures of Italy, belonging to the early Romanesque period, ars inferior to those of France and Germany. The sculptures of the west front of St Zeno at Verona (about 1139), representing the creation of the world, give promise of futuro excellence, and are in- toresting a8 specimens of the love of symbols characteristic of tho age. They have beon ascribed to two German masters, Nicolaus and Wilhelm by name, Towards the close of the twelfth century Benedetto Antelami, of Parma, produced @ number of works of considerable excellence, af which the decorations of the baptistery of Parma were the principal. ‘The sculptures on the pulpit of St. Ambrogio, in Milan, are good specimens of the rude but life-like symbolic creations of the period.

Scutrrone or raz Rowanrsque Penwo. 233

Towands the close of the twelfth century: c artistic activity was displayed in Pisa. The earliest of the famous series of gates of the Baptistery, begun in 1153, contain a series of sculptures representing scenes from the life of Christ, ete, in which the perfected Romanesque style, freed from Byzantine influence, may be studied; and the first indications may be recognised of the grace and elegauce combined with technical skill, for which the Pisani, who were the first to direct attention to the remains of ancient art in Italy, became so famous in the thirteenth century.

A great advance was made in the art of bronze casting in Italy in the early part of the twelfth century, The bronze gate of the southern transept of Pisa Cathedral belongs to this period, and that of the Abbey of Bene- ventum, by Barieanus, the chief master of bronze casting in Italy, to a somewhat later date.

The medimval sculpture of England will be noticed in the chapter on English sculpture.

VIL. Scuneroee oy tax Gorme Preiop.

From about av. 1225 to ap, 1400.

Ar the end of the twelfth century a marked change was already noticeable in the art of the whole of Western Europe. The Crusades were drawing to a closo; the working of the new ideas and modes of thought intro- duced by them was seen on every side; and with the begin of the thirteenth century a new style sprang up, which was a kind of reflection of the new spirit of freedom with which European society was imbued. In this movernent France took the lead. The sculptures of the west front of the eathedral of Amiens (Fig, 98), executed about 1240, retain something of the early severe Gothic style, which, as we have seen, prevailed from about 1225-75; the transept pediment of Chartres Cathedral is ‘a specimen of the transition to greater freedom, and the statues of La Sainte Chapelle at Paris (1245—1248) are the first instances of the completed Gothic, in which all trace of the rude earlier style has disappeared, and gmce and dignity are admirably blended. It is in the west front of Rheims Cathedral, however, that the full development of Gothic sculpture in France may best be studied. The grandour of the arrangement and the beauty of the details of the various groups are alike unrivalled, the attitudes of the figures are dignified and graceful, the drapery is simple and natural, and mony of the heads are full of individual character. The cathedrals of Bourges, Boauvais, and Blois, also contain fine specimens of Gothic sculpture, and the

Scvrrrvre my raz Gotme Pzrtop, 235

choir screen * of Notre Dame at Paris is an important work of the Into Gothic period.

The efforts of Philip the Bold did much to promote the cause of art at Dijon, the home of the dukes of Burgundy. He invited theablest artists of the day to aid in the decoration of the Carthusian mo- nastery. Amongat those who re- sponded to his call was a Dutch- man named Claes Sluter, a great master, who founded an important school. His principal works were the monument to Philip the Bold, now in the Museum at Dijon, the seulptures of the portal of the cbupel, and the Moses fountain in the courtyard of the Carthusian monastery (1590—1404); they are all well executed, and full of character,

‘The monumental sculpture of France of the Gothic period is worthy of deep study; tho most important works of the period are perhaps the series of reliefs on the monuments in the Church of St. Denis.

In Germany the Gothic style

Pig. 9 —Pigare af Christ, - 2 fem Auions Cathal. was not adopted until considerably

A cost of part of thik interesting screen can bo seen at the

Crystal Palace.

236 Scorrroee ww me Gormie Person.

Inter than in France, The Liebfrauen Kirche at Treves (1237—1243) is one of the earliest, Gothic buildings in Germany, and its sculptures are good specimens of the transitional style, ‘The Cathedral of Bamberg, of some- what later date, is enriched with « series of fine sculptures in the later Gothic style, In the south-west provinces, owing probably to their near neighbourhood to France, the true home of the Gothic style, there are many extensive works of great beauty; of these we must name the sculp- tures of Strasburg Cathedral (Fig. 99), the fine tomb of Count Ulrich and his wife (about 1265), in the abbey church at Stuttgart, and the sculptures of Freiburg Cathedral The cathedrals of Bamberg and Nuremberg must also be mentioned ; the former, in addition to much architectural sculpture, contains several fine monuments, remarkable for the almost ideal beauty of tho heads of some of the figures. The polychrome statues of Christ, Mary, and the Apostles, in the choir of Cologne Cathedral, must take high rank amongst the isolated works of the perfected Gothic style.

Tn the middle of the fourteenth century flourished the sculptor Sebald Schonhofer of Nuremberg, to whom is ascribed the so-called Beautifal Fountain of Nuremberg, the sculptures of the Frauen Kirche, and other works, Tho sculptures of the southern portal of the Cathedral of Mayence belong to the fourteenth century, when the decadence had already commenced.

Of the bronze works of Germany belonging to the Gothic period we must name the equestrian statue of St. George in the Hradschin Square at Prague, and the tomb of Archbishop Conrad of Hochstaden, in the cathedral of Cologne.

Scunerons ix tae Gormic Pssion. 237

Many fine reliques and shrines in precious metals, adorned with embossed reliefs, were produced in Germany in the period under discussion, and the arts of wood and

Fig. 40.—Figgures cf Virtoes exdl Vires, from the Cathedral of Strastarg.

ivory carving were carried to great perfection. Specimens of both may be eeen in the South Kensington Museum.

238 Sovtrrore m tux Gorure Penson,

The names of Hans Braggemann and Veit Stoss must be mentioned as master carvers of Germany. To the formor is attributed a carved altar in the cathedral of Schleswig, 1 many similar works of the kind. In mediaval times it was customary both to paint and gild the wood carvings in ecelesiasticul buildings.

In the Netherlands considerable advance was made in the arts of sculpture and painting in the thirteenth and fourteenth centuries. The school of Dinant was succeeded by that of Tournay. The various sculptures in the porch of Tournay Cathedral are good specimens of Gothic sculp- ture in Belgium; and many funeral monuments in differ- ent towns bear witness to the skill and art-feeling of Belgian sculptors and workers in bronze of this period.

At the beginning of the thirteenth century a revival of ull the arts commenced in Ttaly, and a school of sculpture arose, the artists of which pursued methods very different from those of their contemporaries in other countries, and worked out » purely individual national style, ‘The leader of this movement was Niccold of Pisa, or Niccold Pisano, who onrly oxcelled all his contemporaries. Like most of the artists of his time, Niccol combined the professions of the architect, the sculptor, and the painter. But ho was the first to give to sculpture the prominent position to which it was entitled; and, aided by his son Giovanni, he enriched the cathedrals of Pisa, Orvieto, Pistoja, Siena, and Bologna with statuary, in which grace and true art feeling were combined with truth to nature and simplicity of arrangement. These two artists, zealous converts of the ascetic Franciscan and Dominican form of the Roman Catholic religion, may be said to have translated into stone

Scotrrean ix rae Goritic Penton, 239

and marble the spiritual conceptions of Giotto, the great master of sacred painting. Inspired by religious fervour, and with a vivid sense of the realities of the spiritual workl, they produced figures of good and evil spirits, and idealised bunsan forms full of terrible beauty or suffering. The Descent from the Cross, in the cathedral of Lucea, is

Pig. 100,—The Adomntion of the Kings, From she prlpsit in the Beptistery at Pisa. By Niseol Pisano.

‘one of Niccoli's enrlicst works, andl gives promise of the

great original power subsequently displayed in bis famous

marble pulpit® in the Baptistery of Pisa. It was executed

in 1260, amd is covered with reliofs (Fig. 100), ropeesenting © A flee cast may be stodied in the South Kersingtos Masoum

240 Scunercre my rae Goraic Penton,

Biblical scenes, in which the figures are treated with the freedom, tho ¢ase, the vitality, so to speak, which we noticed as a special characteristic of the works of the best age of Grock art. The cathedral of Siena possostos a marble pulpit from the same masterly hand, commenced six years later than that of Pisa The reliefs are instinct with passionate religious fervour.

The immediate successors of Niccoli of Pisa were his son Giovanni, his pupil Arnolfo, the brothers Agostino and Agnolo of Siena, Andrea of Pisa, and Andrea Orcagna.

Giovanni Pisano introduced a new style in sculpture which may bo characterised as realistic; the first employ- ment of it was in the sculptures of the west front of Orvieto Cathedral, on which all the chief artists of Tuscany were employed. One of Giovanni’s most famous isolated works is the Madonna del Fiore of Florence Cathedral: the figure of the holy mother is grand and dignified, and her face full of earnest thought rather than passionate feeling. Giovanni especially excelled in the allegorical sculpture which the writings of Dante did so much to encourage. A symbolical statue of Pisa, in the Campo Santo at Pisa, is a fine work of the kind, The high altar of the cathedral of Arezzo ig an extremely spirited composition by the same master. ‘The chief’ work of Andrea Pisano is the southern bronze gate of the Bap- tistery of Florence (Fig. 100); that of Oreagua the magnifi- cent baldacchino of the high altar of Or San Michele at Florence, which is, perhaps, the finest. piece of decorative sculpture in the world. Venice, Naples, and Rome are rich in monumental sculpture by the various artists men- tioned above; and the tombs of the Sealigers at Verona wre remarkable works, in which we see the first introduc

Scorrroxe m me Gormie Panton, 241

tion of secular subjects in occlesiastical art. Nothing positive is known of the artists employed on them.

At the close of the fourteenth century many of the greatest artists of the Renaissance were rising into

Fig, 10t-—The Salutation. Ay Andee Pimso. From the Swvih Gate of the Raptistery at Florence

notice; and the new interest in art, awakened by the works of their predecessors, was spreading from end to end of Europe.

242 Scurrroge m tar Gornic Prion.

We must say one word, before we close our review of medieval sculpture, on the enamels of which every museum and private collection of Europe contains speci- mens. Enamelling, or the art of producing vitrified or smelted glass ornaments of various colours on a metal ground, occupied a kind of intermediate position between sculpture and painting. It was largely employed through- out the whole of the middle ages for the manufacture of shrines, reliquaries, diptychs, and other church utensils.

The South Kensington Museum contains many speci- mens of different dates, of which a large Byzantine Shrine or Reliquary of the twelfth century, in the form of a Byzantine church with a dome, is the most valuable.

The English sculptures of the Gothic period will be noticed in the chapter on sculpture in Great Britain,

VIIL—Sevurrene i tae Rexasssaxce Peeron.

1. Sculpture in Tialy in the Fiftoonth and Sixteenth Centuries.

‘Tue fifteenth century—the transition time from Gothic to Renaissance architecture, when an attempt was made to combine existing styles with those of ancient Greeve and Rome—aleo witnessed corresponding advances in Italy in the art of sculpture. The movement begun by Andrea Oreagna, in the fourteenth century, was carried on by Ghiberti, Della Robbia, and Donatello, who were the fore- runners of Michelangelo and his school The fifteenth contury was the golden age of sculpture, as the sixteenth was of painting. The chief characteristics which distin- guished the statues of this age from those which preceded it were a truer knowledge of the human frame—alike of its anatomy, its motions, and its expressions —a more thorough grasp of the Inws of composition and porspec- tive, and a greater powor of accurately imitating antique models.

Tn the enrly part of the fifteenth century, a preference was manifested for nature, in the latter part for antique models Tn this new movement Tuscany took the lead; and the first artist to combine something of the easy grace of the best age of Roman sculpture with close imitation of natare, was Jacopo della Quercia of Siena (1371—1438). His earliest works are marked by a struggle to combine the medimval style with a more life-like representation of nature, The tomb of Ilaria del Carretto* in the cathedral

Cants may be eeon in the Crystal Palace.

oH Scunrrune m tax Rexaissaxce Pxeton.

of Lucea, isan example of this struggle; his fountain in the great square of Sicna, which is considered his finest work, is a typical specimen of the result of his earnest study of nature. Jacopo was, however, surpassed by his contemporary.

Lorenzo Ghiberti (1378—1455), who was successful in the competition, in which the greatest artists of the day took part, for the designs of the bronze gates for the northern side of the Baptistery at Florence. These gates were subsequently followed by the great western or central gates, which are considered Ghiberti’s finest work,* The reliefs represent scenes in Old ‘Testament history; and, although the subjecta are too complicated for sculpture, the fertility of imagination displayed, the sense of beauty, the oasy execution, and the life of the whole, entitle them to the high praise bestowed on them by Vasari, the great art-critic of the sixteenth century, and justify the enthusi- astic exclamation of Michelangelo, that they were worthy to be called the Gates of Paradise. Our illustration (Pig. 102) gives one of the compartments of this remarkable composition, in which ix epitomised the story of Isaac, Jacob, and Esau

Of Ghiberti's isolated works, we must name the bronze statues of St, John the Baptist, St, Matthew, and St, Stephen, in the church of Or San Michele at Florence, St. Matthew is considered the finest; the face and pose of the figure admirably express the character of the great Christian preacher.

Brunellesehi (1377—1446), the great Florentine Renats- sance architect, also produced several fine works of seulp~

A cust of the gates and doorway is in the Crystal Palaco ool-

lection.

In Tracy. 245

ture. Of these the best is the bronze relief of the Sacrifice of Irae, in the Bargello Museum, at Florence. Donatello, or Donato (1386—1466), was famous for his success in low-relief; he strongly cultivated naturalism, in contrast alike to the antique and to the traditions of the

‘Fig. 1gc—Metiet from the Westerm Gato of the Baptistery of Forunce, By Lareaco (sity,

age. Amongst his best works are his Head of St. John the Baptist, a wonderful ropresentation of the great forerunner of Christ, emaciated by fasting, but in- spired with holy zeal; the statue of St. George from the chureh of Or San Michele, Florence, a fine embodiment of

246 Scurerone iv tHe Rexaiseaxce Penson.

the ideal Christian warrior, roady calmly to face suffering and death. Better known than any of theao, howover, is his statue of Gattamelata at Padua, and the so-called Zuccono (buld-head), a portrait of ra Barduceio Cheri- chini, in one of the niches of the Campanile, Florence, Three beautiful original carvings in marble, in very low relief, by Donatello, of Christ in the Sepulchre, supported by Angels, the Delivering of the Keys to St Peter, and the Shrine of a female Saint, as well as a cast of the St George, are in the South Kensington Museum,

Luca della Robbis, another great Florentine sculptor (1400—1482), who is supposed to have invented the process of enamelling terra-cotta, flourished at this period, He is principally known for his works in terra-cotta, in high or low relief—many specimens of which are to be studied in the South Kensington Museum,—and for the groupsof Singers in marble, exeeuted for the cathedral of Florence, and now in the Royal Gallery of that city. Part of the frieze of the interior of the Renaissance Court at the Crystal Palace is a cast of this famous work. Both Della Robbia and Ghiberti adhered to some extent to the medimval style; but they combined it with a simplicity of fecling, a dignity ‘af exeention, and a trath of conception peculiarly their own. The illustration (Fig. 103) is from « medallion by Luca della Robbia, representing the Virgin worshipping her Divine Son.

Of Donatello's numerous followers, Andrea Verrocchio (1432—1488) was the chief. His most famous work is the bronze equestrian statue of Bartolommeo Coleoni (Fig. 104), in the piazza of the church of SS, Giovanni e Paolo at Venice.

At the close of the fifteenth century ornamental sculp-

———

Iy Traty. 247

ture was carried to great perfection in Tuscany ; and many benutiful monuments were erected in the churches of Florence and other towns, by Mino da Fiesole, Benedetto da Maiano, and Bernardo Rosellino. The first-named introduced the Florentine Renaissance style into Rome, His principal works are the monuments of Bernardo Giugni

Fig. MG. —Tho Madonna worshipping the Infant Saviour. Zas-reticf. By Leca della Rsbhie.

(1466), in the church of the Badin, Florence, and the monument of Pope Paul Il. (1471), in the crypt of St. Peter's; the second, who excelled alike in wood, stone, and marble carving, executed the pulpit and the reliefs of the sweristy of Santa Croce, Florence; and the third, equally

Fig. 104.~Statue of Bartoloramen Coleomi. Ry Andean Ferrecehie. At Venice

Ix Traut. 9

skilful in every branch of sculpture, produced the splendid monument of the Cardinal of Portugal, in San Miniato, Florence,

The only Italian school of the fifteenth century which approached at all in importance to that of Florence, was the Venetian. Bartolommeo Buono paved the way for the family of the Lombardi * and Alessandro Leopardo, to whom Venice owes her finest monuments. The principal works of all these artists are the monuments of the Doges of Venice, in the church of San Giovanni e Paolo. That of Doge Pietro Mocenigo, by the Lombardi, is a splendid composition—completed in 1488—surpassed, however, in grandeur of conception and delicacy of execution, by that of the Doge Andrea Vendramin in the samo church, by Leoparto (1450—1540), in which sculptures in the round and reliefs are admirably combined. ~ The sebool of Milan attained to a distinctive position in Taly, in consequence of the activity promoted by the works of the Duomo, and the Certosa or Carthusian monastery, near Pavia, The most celebrated sculptors émployed were Fusina, Solari, Amadeo, Sacchi, and great- est of all, Agostino Busti, better known as Bambaja (1480—1550).

‘The decoration of the marble facade of the Certosa + was commenced about 1473. The architectural sculptures of tho principal portal have boon ascribed to Busti. They ‘are remarkable for the great technical skill displayed, and for the absence of the realism characteristic of most of the works of this period. The decorative sculpture of the

Pietro Lombarde and his sons Tullio and Antonio,

‘+ A reproduction of one of the large windows of the Cortoes ix in the South Kensington Mayoum,

260 Scunervee mm THs Rewatssaxce Pxeion.

interior of the monastery is even more worthy of study than that of the exterior, The pieta* of the high altar, ascribed to Solari, is especially beautiful: the agony of the Virgin is expressed in every line of hor face and figure, contrasting admirably with the peaceful repose in death of her Divine Son, and the confident hope in the uplifted eyes of tho angels,

Rome can searcely be said to have possessed a Renais- since school of sculpture, although the liberal patronage: of the popes and princes frequently attracted the greatest tasters to their capital.

‘The only Neapolitan sculptor of eminence in the fifteenth century was Angelo Aniello Fiore, who executed several fine monuments in the church of San Domenico Maggiora at Naples,

In the sixteenth century we find Florence still taking the lead in all the arts, and it was to her sons, Leonardo da Vinci and Michelangelo Buonarroti, that she owe this great pre-eminence. Unfortunately the colossal bronze equestrian statue of Fruncesco Sforza which Da Vinci undertook to execute for Milan was never cast, and even the clay model was destroyed by the Gascon archers, who used it as a target when Milan was occupied by the French in 1499.

Andrea Sansovino (1460-—1529) attained great eminence in tho early part of tho sixtoonth century. His marble group of the Baptism of Christ (Fig. 105) for the eastern gate of the Baptistery of Florence is considered his finest work, and his group of the Holy Family in S. Agostino at Rome is but little inferior to it.

A Pistd is the namo given to representations of the Virgin

embracing her doad Son,

Ts Tray. 251

Michelangelo Buonarroti was born at Caprese near Florence in the year 1475, died at Rome in 1564, and was buried in the church of Santa Croce in Florence, after a long and active life, during which be produced the finest masterpieces of modern sculpture and greatly influenced

Hig. Meh —The Haptiom of Crist, Relief from the hapeiscery of Flervace. By Andrea Sensorine. all the arts. His paintings, which will be spoken of in the next division of our work, are no less remarkable than the productions of his chisel, The chief characteristics of Michelangelo were his intimate knowledge of the anatomy

252 = Scunprure ix THe Rexarswance Penton.

of the human form, and the power and fire which he was able to throw into his works. The great sculptor was one of the first to be admitted into the Academy of Art founded at Florence by Lorenzo de’ Medici. The mask of @ Faun’s head hewn in marble when Buonarroti was quite achild is still preserved in the Uffizi Gallery, Florence. The work which first made his name known beyond his native town was a statue of Cupid; his fame goon spread to Rome, to which city he was invited by ono of the cardi- nale His Piet, in St. Peter's, was produced goon after his arrival, and is by many crities considered his finest work. A kneeling figure of Cupid, now at South Kensing- ton, and a group of the Madonna and the Holy Child, now in the church of Notre Dame at Bruges, were among his next works, In 1504 he undertook his celebrated statue of David, which formerly stood in the Piazza del Gran’ Duca at Florence, but is now removed to one of the courts of the Accademia, Yet more famous is the colossal figure of Moses (Fig. 106) in the old basilica of San Pietro in Vincoli, outside the gates of Rome. Sir Richard Wost- macott bas characterised this figure as one of the grandest offorts of genius, as original in conception as it, is masterly in execution. This colossal Moses iz seated, holding in one hand the tables of the law, and with the other playing with his long beard. From his clustering curls spring the horns ascribed to him by tradition, typical of power and light; his brow and eyes are full of power and majesty, his whole pose expresses the strength of will and severity of the stern lawgiver of Isracl. This marvellous figure was to have formed part of a huge monument to Julius IL, the design for which, by Michelangelo, is still preserved, It was to have consisted of a vast quadrangle, with niches

254 Scvurroge m tue Rexatesaxce Prnion.

in the sides, adorned with figures of Victory supporting a massive block surrounded by colossal statues of prophets and sibyls, from which a pyramid covered with bronze figures should have spring. All that was executed was the Victory, now at Florence, the two Captives, now in the Louvre, and the Moses.*

The Medici chapel, in the church of San Lorenzo at Florence, built by order of Clement VIL, was decorated almost entirely by Buonarroti. In front of the altar is a group of the Virgin and the Holy Child; on one side of it is the tomb of Giuliano de’ Medici, in which the statue of the Duke is placed over allegorical figures of Day and Night; on the other the tomb of Lorenzo de’ Medici, with whose statue aro figures of the Dawn and Evening. The statue of Lorenzo, known as I? Pensieroso, ix remarkable for the expression of intense melancholy which pervades it Of the allegorical figures—all alike full of gloomy grandeur —that of Night has been the most admired,

In the National Museum, Florence, is an Iyvy-crowned Bacchus, full of tender grace and beauty, and admirably expressive of the lassitude peculiar to the self-indulgent god. Among his important works we must not forget to mention a bronze figure of Popo Julius I1., which was executed for the Cuthedral of Bologna, but destroyed in a revolt and converted into cannon,

Whilst Michelangelo was working at Rome, Jacopo Tatti (1479—1570), surnamed Sansovino, after the great master with whom he studied, was founding a school in Venice, in which the influence of Buonarroti was clearly perceptible ; but much of the stern realism of the master was laid aside

Caste of the Moxos, the two Slaves, the David, and the Madonna

of Bruges are in the South Kensington Museum.

———

Tw Traty, 255 and replaced by a striving after the picturesque which sometimes produced pleasing effects, as in the bas-relief of the Entombment of Christ (Fig. 107), considered one

Pig 161-—Ths Matoinmens of Cott, Dy Jaye Teak From he of Tatti’s best works, on the bronze gate of the sacristy of St, Mark at Venice.* To Raphael of Urbino (1483—1520) one or two works of sculpture have been attributed, A marble statue of

A cast of this gate i in tho Crystal Palace,

256 © Scurrrore mm tHe Rewarssance Penton.

Jonah in the Cappella Chigi,in S. Maria del Popolo, Rome; is certainly from the great painter's own hand; and the Elijah in the same place is said to be after his design by the Florentine Lorenzetto,

Benvenuto Cellini (1500—171), a native of Florence, was one of the most celebrated workers in metal the world has ever known, Among his patrons were the Pope Clement VIL, Cardinal de’ Medici, the Grand Duke Cosma of Florence, and Francis L., King of France. He lived at various times at Florence, Siena, Rome, Milan, Naples, Padua, Ferrara, and Paris’ He enriched the Louvre with many fine works, of which the most remarkable is the high-relief figure of Diana, called the Nymph of Fontaine- bleau.* It represents a colossal nude female figure ina semi-recumbent attitude of careless grace, with one arin flung round the neck of a stag, and is a goed specimen of the long-drawn proportions of the human form, in which Cellini delighted. But his most celebrated work is hie statue of Perseus with the hoad of Medusa, in the Piazzo del Granduca, Florence (Fig. 108). Cellini prineipally dxcellod, however, in minor works, such as chased vases, ete. A celebrated salt-cellar now in the Schatzkamner at Vienna, in embossed gold enriched with onamels and adorned with high-relief figures of Neptune and Cybele, and a friexe of symbolic figures of the Hours and the Winds, is really a masterpiece in its way: there is also a magnificent shield in Windsor Castle, said to be by the same artistet

Cants are in the South Kensington Museum and the Oryatal

Palace,

+ A tmnslation of Benvenuto's celebrated autobiogruphy ia puh- Highed in Bohn’ Library,

Pig. 104. —Terseus with tbe Beal cf Modena. Aly Henvrande Ceftins. At Fleresee,

258 Scunprorr m raz Rewatssance Pegtop.

After Michelangelo's death, in 1564, not a single sculp- tor arose in Italy who attained to an individual style. His immediate successors were little more than imitators of his manner; and among his later followers, Giovanni da Bologna, known as John of Bologna, (1524—1608), and Stefano Maderno (1571—1636), are the only sculptors whose works entitle them to special notice.

John of Bologna’s masterpiece is the bronze Mercury floating on the Wind, in the Uffizi Gallery, a miracle of airy lightness, The messenger of the gods rests one foot on the breath of a bronze zephyr, and is about to launch himself into the air. A fine bronze group of the Rape of the Sabines, in the Palazzo Vecchio, Venice, is scarcely less celebrated : his fountain at Bologna is con- sidered one of his happiest compositions.

Stefano Maderno’s chief work is the statue of St. Cecilia in the convent of that saint in Rome, which is remarkable for a simplicity and dignity wanting to his other productions. Both these artists, and still more their followers and imitators, lost sight of the true aims of sculpture and of the distinction which exists between the provinces of painting and statuary. It will be remembered that we had to notice this error in speaking of the decline of Greek art; and the history of Italian sculpture, from the time of Michelangelo to that of Canova, is a history of a similar decadence of the Renaissance style.

2. Sculpture of the Renaissance Period in France and the rest of Europe.

The development of the French Renaissance style of

sculpture may be well studied in the Louvre, which con-

tains a series of monuments belonging to the fifteenth and

Tx France, 239

sixteenth centuries The fine marble statues of Peter WEvreux Navarra and his wife Catherine d'Alengon, frou. the Carthusian chureh in Paris, date from the close of the fifteenth century. It was not until the beginning of the sixteenth, however, that any great artist arose capable of giving an essentially French character to the Renaissance sculpture of the country. The chief French sculptors of the early part of the sixteenth century were Michael Colombe (1431—1514), Jean Juste, and Jean Texier, The Loavre contains an extremely fine bas-relief of the Struggle between St, George and the Dragon, attributed to Co- lombe, remarkable for delicacy of execution and boldness of conception, produced about the time that Jean Juste was af work on his celebrated tomb of Louis XIT. and his wife, Anne of Brotagno, in the church of St. Denis, and Jean Texier was engaged on the forty-one groups and bas-reliefs of the cathedral of Chartres, by which ho is principally known,

Woe now come to a trio of great artists who have been justly called the restorers of French sculpture. These were Jean Goujon, Jenn Cousin, and Germain Pilon.

Jean Goujon (1580—1572) was engaged from 1555 to 1562 in the decoration of the Louvre, portions of which

much fayoured by Cellini in sculpture and Primaticcio in painting. The Louvre contains a few choice works of Jean Goujon. The langostand most famous is the marble group Diana, in which the goddos of hunting reelines on a pedestal adorned with bas-roliefs representing marine ani- mals, with one arm round the neck of a stag Another

260 Scunrrvge in rae Rewarssance Peniop,

work in fall relief is a bust-portrait of Henri TI. + and of the bas-reliefs we must name the Descent from the Crass, two recutnbent Nymphs of the Seine, with annaturally long, supple figures, and a fine group of Tritons and Nereids — ‘The Fontaine des Innocents, in the Vegetable Market, is considered Goujon’s masterpiece.* The doorways from St. Maclou, at Rouen, are good epecimens of hia bold treat ment of projections and delicate execution in low relief Goujon was killed in the massnere of St. Bartholomew 1572. Jean Cousin, the exact date of whose birth is unkno is supposed to have died about 1589. The handsome t of Pierre de Brézé, at Rouen, is attributed to him, also the mausoleum of Philippe de Chabot, now in’ Louvre (Fig. 109), wifich has been praised as the m piece of French sculpture of the sixteenth century. Germain Pilon (about 1550—1590) was an indus and able sculptor, many of whose finest works were ments of kings and dignitaries in the cathedml of Deniz, Of these we must namo the tomb of Henri Tf, They bear witness to great vigour and know! anatomy, and the fernale figures are full of grace ar gance. The Louvre contains the double tomb by René Birague and his wife, justly celebrated for the of the bayrlicfs—a group of three female Sgures ing a gilt vase, bust-portraits of several monarchs, stone bas-relief of the Sermon of St. Paul at Athens

Hix manner may be studied in the casts of various pieces

decorative roulpture in the Renaissance Court of the Crystal + Casts of the upper range of the sculptures are in the | Palaoo.

262 Scouprore is Taz Rewatsaance Peetop.

In the Netherlands but few works of importance were produced in the fifteenth and sixteenth centuries. The famous chimneypiece of carved wood, in the Palais de Justice at Bruges,* designed by Lancelot Blondel and Guy de Beougrant, dating from the year 1529, is an extremely fine specimen of the completed Renaissance style of decorative sculpture; but there are no isolated statues or bas-reliefs in marble to be enumerated.

Tn Spain, Alonzo Berruguete (1480—1561) and Jaspar Becerra (1520—1570) were the only sculptors of eminence in the Renaissance period. To the former is attributed the marble group of the Transfiguration in the cathedral of Toledo, and to the latter a very beautiful statue of Our Lady of Solitude, in the chapel of a Franciscan convent at Madrid.

Tn Germany the principal works produced in the fifteenth and sixteenth centuries were wood-carvings in cathedrals and other ecclesiastical buildings. The stern realism which distinguished Italian work of the fifteenth century is equally noticeable in the productions of German artists. The Swabian school was the first to adopt the new style, and in the work of its masters accurate imitation of nature was combined with a genuine feeling for beauty. Jorg Syrlin of Ulm (1469—1474) was the greatest wood-carver of Swabia, He disdained the aid of painting, and raised his art to an independent position. Ulm Cathedral con- tains many fine specimens of his skill; of these the choir-stalls, superior to everything of the kind previously produced, deserve special mention. The carved figures representing heroes of the heathen world, of Judzea, and of

A cast is in the South Kersington Museum.

Ts Guewanr. 263

Christendom, are graceful, dignified, and lifelike; the lower ones are finished with the greatest care, and display thorough knowledge of anatomy. The stone fountain in the market-place at Ulm, which was enriched with colour, is the only work by this great master in any other material than wood, Jorg Syrlin the younger, trincd in his father’s school, appears to have been a worthy successor.

Tt would require a volume merely to enumerate the fine carvings in the various churches and cathedrals of Germany belonging to the fifteenth and sixteenth centuries We must only pause to notice a few works of the kind by the great Albrecht Direr (1471—1528), such as the carved altar-shrine (1511) i in the Landauer Monastery, which is in the Renaissance style, and represents Christ as the Judge of the world, with Mary and St. John in earnest supplication at His feet. The Gotha collection of art- objects contains sevoral statuettes in wood by Albrecht Dérer; in the museum at Carlaruhe there is an exquisite little group in ivory, in high relief, of three nude femalo

from the same great hand; and in the print-room of the British Museum there is a remarkable carving, in hone-stone, of the Naming of St. John the Baptist.

The greatest German sculptor in stone of the Renaissance period was Adam Krafft of Nuromberg (about 1430— 1507). His works, although somewhat overloaded, are remarkable for thrilling power of expression. The Seven Stations, on the the road to the cemetery of St. John at Nuremberg, are among his most famous compositions. The tradition of our Saviour baving fallen several times on his way to death will be remembered. In the first station we see Him sinking beneath the cross, as He is met by his mother; in the second, He is dragged up by the rude

264 Scctprune rx cme Rexatssayce Penton.

soldiers; in the third, He turns to pronounce his warning wonds to the weeping wornen ; in the fourth, his meeting with St. Veronica is depicted ; in the fifth, He is anged on by his porsecutors; in the sixth, He has sunk beneath his burden; in the seventh, He has fallen for the last time, His body rests upon his mother's knees, and she presses a last kiss upon his unconscious face, whilst Mary, the mother of James, passionately clasps his lifeless hand.

Although the artist has not adhered strictly to the tradi

tion, he has given us a powerful and jnost touching realign tion of the great closing drama of onr Saviour's life. His Golgotha is scarcely loss benutiful. There is no attempt to produce effect by artificial moans; the head of the Saviour droops with human exhaustion; the thieves are natural and lifelike, The reliefs of the Schreyer monu- ment * and the “ Passion Scene” above the altar in St Sobald’s Church, Nuremberg, well merit study; and the streets and houses of Nursmbeng are enriched with many beautiful reliefs by this great master, in some of which there is an amusing touch of humour. Our illustration (Eig. 110) is one of the latter class, and is taken from above the doorway of the Pablic Scales of Nuremborg.

At Nuromborg alone was the art of bronze casting prac tised to any extent in Germany in the Renaissance period ; and the only great master in this branch of statuary was Peter Vischor (died 1529). His principal work is the tomb of St. Sebald at Nuremberg (Fig. 111)—enriched with a great number of figures of saints, apostles, and angels, amongst which the artist has introduced his own portrait. Some of the scenes ars representations of marvellous miracles,—a fow bold touches suffice to tell the tale;

Casts are in the South Kensington Mupeurn,

a al

265

i i F a

iH iH

ii eit Hi i i . i , i!

266 © Scurrrone 1 rum Rexatscaxce Perron.

The only marble work of importance of the German

inmate UOT writin

Pig. 111.—Lronne Shrine of St. Sebald. Nuremberg, By Peter Viseher,

Renaissance period is the monument of Frederick IIL, in the cathedral of St. Stephen at Vienna.

IX. Scunrrere m tae Srvewteexra avo Exgurzesrm Cexruntra.

As we have seen, Italian sculpture rapidly declined from the time of Michelangelo. At the beginning of the seven~ teenth century a new school arose, founded by Bernini (1598—1680), who has been proudly called the second Michelangelo. The faults to which we alluded in speaking of the Italian artists of the decadence were shared by this master, whose works have been too much vaunted. In the works of Bernini, and in those of his followers, every- thing is sacrificed to effect; and, asin the graceful produc- tions of the successors of Pheidins, difficultics wero courted for the eke of displaying skill in overcoming them. Bernini's famous group of Apollo and Daphne, in the Villa

executed when he waa only eighteen years old, ig a marvel of dextorous execution,—but that is all In lis Rape of Proserpine, a mach later work in the same gallery, we see all the faalts of his style exaggerated : truth is sscrificed to theatrical passion ; whilst the great- est ignorance of anatomy ond of the true limits of xculp- ture is munifested. His Pict), in the basilica of San Giovanni Laterano, at Rome,* is one of the best examples of his style,

Talian sculpture did not again attain to the position of a great art until the timo of Antonio Canova (1757— 1822), the contemporary of the great Englishman Flax- tman,—whose works stand out in striking contrast to those of his predecessors.

A cast is in the Cryxtal Palece,

268 Scunerore ms THE SEVENTERNTH

Canova was born of peasant parents at Possagno, near Venice, and is said to have revealed his vocation by a model of a cow in butter which he made for the table of Count Faliero, who sent him to the Academy of Venice. In a few years he gained the first prize for sculpture, and in 177+ was sent to Rome with a pension of 300 ducats. In 1802 he visited Paris, and in 1815 he travelled through France on a mission from the Pope, and came to England, where he executed several fine works, and confirmed the opinion of Flaxman and others as to the great value of the Elgin marbles. On his return to Italy he became a convert to the advanced religious views of the day, and spent much time and money on the erec- tion and decoration of a church in his native village; and was made Marquis of Ischia by the Pope. He after- wards executed a colossal statue of Religion for St. Peter's at Rome, but the cardinals objected to its being placed there, and the sculptor in high wrath left the Papal States for Venice, where he died in 1822.

Canova's works are remarkable for the purity and beauty of the figures, the simplicity of the composition, and the finished execution of every detail. To him and to Flaxman—full details of whose life and works will be given in a future chapter—is due the honour of raising the public taste, and teaching it what to admire. No other sculptors of the day so fully entered into the spirit of antique art, or realised the beauty of the simplicity and truth to nature of the best artists of the Renaissance.

It is impossible to enumerate Canova’s numerous works. Casts of many of them may be studied at the Crystal Palace : amongst others, of the Three Graces, in the pos- session of the Duke of Bedford; the Endymion, in the

ap Esonreesta Cenrvnizs. 269

possession of the Duke of Devonshire, at Chatsworth ; the statue of Paris, at Munich; Venus leaving the Bath, in the Pitti Palace ; Hebe, one of Canova's most beautifal works, in the possession of the Albrizzi family of Venice;

, another very favourite work, in the possession of Mr. Blundell; Mars and Venus, in Buckingham Palace ; the Magdalene, one of Canova’s most admired works, full of pathetic beauty, the property of Count Somariva; the famous Perseus, conqueror of the Gorgon, in the Vatican ; the head of the colossal statue of Pope Clement XIII. in St. Peter's, Rome, an extremely good portrait, finely executed; and lastly, the Sleeping Lion from the tomb of the same pope, considered the grandest work ever produced by Canova,

Of the groups, ete,, of which we have no casts, we must name the Dedalus and Tearus at Venice, one of Canova's earliest works; the tomb of Maria Christina of Austria, at ‘Viesua, very beantifil composition, in which the figures are admirably grouped: the Theseus, conqueror ef the Centaur (Fig. 112), in the Volks-garten at Vienna, in which tho most thorough knowledge of anatomy is displayed, and strength in action admirably rendered ; and the Zephyrus carrying away Psycho, in the Louvro. Soveral of his best works, including a colossal bust of Napoloou, are at

To France, in the middle of the seventeenth century, we find « remarkable artist rising into notice. Pierre Puget (1622—1694), who was a proficient alike in architecture, Painting, and sculpture, has been called the Rubens of sculpture, and the French Michelangelo. Unfortunately, howover, his education was deficient, and his works, though

270 Scenerure ix tue Sevexteesra

full of power and promise, are wanting in refinement and finish. As instances of this we may name the groups of Milo of Crotona and the Lion,* Perseus delivering Andro- mesla, and the Hereules in Repose,—all in the Louvre. Tn the first-named, the agony of the victim in the claws of the

Fig. 112.—Theeeus and the Centaur, Tly Gmyore. the Volkeyarten, Few.

lion is almost too vividly exprossed; and although the action of the muscles is admirably rendered the effect of the whole is too painfully real,

Other celebrated French sculptors of the seventeenth and eighteenth centuries were Antoine Coysevox (1640— 1720), suthor of the Mausoleum of Cardinal Mazarinin the Louvre :—Frngois Girardon (1630—17145), author of the colossal groups of Pluto carrying away Proserpine anil

A cast is in the Crystal Palace.

axp Etoeteesta Crxrvnms. 271

Apollo coming down to Thetis, in the gardens of Versailles : —Nicolas Coustou (1658—1733), author of the group of the Junction of the Seine and Marne, in the Garden of the Tuileries :—Guillaume Coustou (1678—1746), author of the famous Ecuyers, or Chevaux de Marly in the Champs Elysées, Paris.

Edmé Bouehardon (1698—1762), author of the charming group of Psyche and Cupid in the Louvre, and fine statues of Christ, Mary, and the Apostles, in the chureh of St. Sulpice, Paris: —Jean-Antoine Houdon (1740 — 1828), author of the Flayed Man, in the Lonvre (well known in Schools of Art), the,statue of St. Bruno in the Certosa at Rome, and the portrait statues of Rousseau in the Louvre, of Moligre in the Théitre Frangais, Paris; and of Washington at Philadelphia, in which tho ideal and real are well combined.

Tn Germany, in tho seventeenth contury, a marked decline took place in seulpture, The Thirty Year’ War, which Insted trom 1618 to 1648, chockex! all artistic effort ; and it was not until the close of the century that any great German master arose, although several fine monu- mente—such as those of the Exporor Maximilian at Tans- pruck, ani the Elector Moritz at Freiburg—were erected by Dutch artists.

Andreas Schliiter (1064—1714) wes the first to give to Berlin the artistic position it still occupies. His principal ‘work is the bronze oquestrian statuo of the groat Elector of Saxony at Berlin (Fig. 113), justly considored a master- piece of art.

At the beginning of the eighteenth century came Georg Raphasl Donner (1695—1741), n master famous for his trie sense of the beautiful, and power of conception. His

272 = Sounrrune ix tae Sevexreenta Ceyrver. principal works are the figures of Providence, ani Four Chief Rivers of Austria, on the fountain marketplace of Vienna,

Tu Spmin, in the seventeenth century, the o

Vig, 113.—Equestrion Statue of the lector of Saxony, Bly Hl

paintor Alonzo Cano of Granada (1601—1667) considerable celebrity by his beautiful altar for the 0 of Lebrija which he designed and carved h considered one of the finest existing works of the Virgin holding the Infant Jesus, in the cent rerodos, is especially well executed.

X Scerrrome ex rue Nixersexra Cxwruay.*

‘Tuk influence of Canova was felt throughout the length and beeadth of Europe. He and Flaxman revived the art of seulpture at the time of its deepest humiliation; and their lessons, combined with the liberal encouragement they wor ever ready to give to true genius, had most important results Foremost amongst the immediate followers of Canova wo must name the celebrated Dane,

Bertel Thorwaldsen (1770—1844), who produced many beautiful statues and bas-reliefa, His talent received early recognition from Canova, who was at the zenith of his repatation when Thorwaldsen came to Rome an unknown man. Thorwaldsen’s first work of importance was a statue of Jason, which excited universal admiration. He appears to bave hnd a special predilection for mythological subjects, xs is proved by his groups of Achilles and Briseis, Ganymede carried away by the Eagle, ete.; but that he was also able to do justice to the ideals of Christianity, is seen in his great works in the cathedral of Copeuhagen,—Christ and the Twelve Apostles, St. John preaching in the Wilderness, The Procession to Golgotha, ete, The series of bas-relicfs representing the Triumpbal entrance of Alexander into Babylon, in the villa of Count Somariva on the lake of Como (repeated for the Christianburg Palace at Copen- hhagon), i considered one of his finest works, in which he combined the sovere simplicity and strict beauty of form of the Greek style with an easy grace of execution peculiarly his own, Of his monuments, we must mention

Casts of niarly 900 moder stature, wrid an cacellent Handbook

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274 © Scutproze ww rae Nimereenra Century.

that at Lucerne (1821), with the famous Dying Lion, the symbol of fidelity in death ; the bronze equestrian statue of Maximilian I. at Munich, and the Schiller monument at Stuttgart.

Johann Heinrich von Dannecker (1758—18#1), of Stutt- gart, another great sculptor, excelled in portrait-statues, and was also very successful in his treatment of female figures. His busts of Schiller, Lavater, Gluck, and Kings Frederick and William of Wurtemberg, are very valuable likenesses. His group, Ariadne on the Panther, in a private collection at Frankfort—copies of which abound everywhere—is his most famous work. Towards the close of his life he produced many fine ideal statues, of which his Christ, John the Baptist, and Faith, are the best.

Gottfried Schadow (1764—1850), of Berlin, was one of the first to return to the realistic style which prevailed in the best period of the Renaissance. His monuments of Count von der Mark, in the Dorotheakirche, at Berlin, and his statue of Frederick the Great, at Stettin, are among his best works. His sons Rudolph (1786—1822) and Wilhelm (1789—1862) were also sculptors of note.

Christian Rauch, also of Berlin (1777—1857), who founded an important school, was one of Schadow’s greatest followers. He adopted the realistic style com- bined with the antique, in the manner of the best masters of the Renaissance. In his portrait-statues the happy working of this double influence is especially noticeable ; we have a faithful but idealised likeness, in which all the best characteristics of the subject are brought out. His statues of Biilow and Scharnhorst, of Luther, Albrecht Diirer, Schiller, Goethe, Schleiermacher, Queen Louisa, etc., erected in various towns of Germany, are instances of

Ts Grnuany. 275

his faithful portraiture; and numerous monuments attest his skill in more complicated works, The greatest of these is without doubt that of Frederick the Great in Berlin, a small model of which is in the Crystal Palace.

Friedrich Drake, born in 1805, is another famous master of the Berlin sghool. His principal works are a Madonna with hor Infant Son, belonging to the Empress of Russia ; the cight colossal allegorical figures of the provinces of Prussia, in the Royal Palace of Berlin; the marble group on the Palace bridge at Berlin, of » Warrior crowned by Vietory, considered one of the masterpicces of Prissian seulpture; the monument to Frederick William TIL, in the Thiorgarten at Berlin, the reliefs of which are power- fully conceived; and above all, the statues of Schinkel, tho Humboldts, Rauch, Maser, and other celebrities, all alike full of nervous life and energy.

Ernst Ristechel, of Dresden (1804—1861), was a seulptor of great power, who closely followed the ex- ample of Rauch. He studied sculpture under him at Munich, and was remarkable for his vivid imagination and refined feeling for beauty, His bost works are his doable monument to Schiller and Goethe at Weimar; bis statue of Leasing at Brunswick, in which the influence of his great master may be distinctly traced; his Pieth at ‘Sans Souci, in which ideal beanty and pathetic feeling are combined ; his sculptures for the pediments of the Opera- houses at Berlin, and the Theatre and Museum of Munich.

Ludwig Schwanthaler (1802—1848) was a sculptor of grest original power, who treated the worn-cut subjects of Greek mythology and of Christian legend in a fresh and truly poetical spirit. He imbued everything he undertook with something of his own energy, but he was

276 = Scotervre is rae Nivereenra Century.

unfortunately careless about finished execution, and his works have all a certain appearance of incompleteness. His principal productions are the sculptures of the pedi- ments of the Walhalla, Munich ; a colossal ideal figure of Bavaria; and the statues of Tilly and Wrede in the Generals’ Hall, Munich.

August Kiss (1802—1865) made a world-wide reputation by his Amazon on Horseback attacked by a Lion, exhibited at the Great Exhibition of 1851, in Hyde Park, and now in front of the Museum of Berlin.

Ernst von Bandel (1800—1876) is famous for his gigantic hammered copper figure, 45ft. high, of Arminius, which stands on a pedestal of sandstone 90ft. in height, on the top of the Grotenberg, near Detmold, where it was erected in 1875.

Foremost among living German sculptors are Johann Schilling, Albert Wolff, Emil Wolff, Hugo Schaper, Karl Steinhiuser, and Reinhold Begas.

In France towards the close of the 18th century a new impulse was given to sculpture by Antoine Chaudet (1763 —1810), who followed the classical style, and produced several fine works, such as, his group of the Shepherd Phorbas carrying away the young (Edipus. His principal followers were Francois Bosio (1769—1845), who executed the reliefs for the famous Vendéme Column, and designed the quadriga of the Triumphal Arch of the Place Carrousel : —Pierre Cortot (1787—1843), author of the group of Marie Antoinette supported by Religion, in the “Chapelle Expiatoire,” Paris, of the group in the pediment of the Palais de Justice, and the reliefs on the Are de l’Etoile, representing Napoleon crowned by Victory.

In France. 277,

Pradier, of Genova (1792—1852), was especially success- ful in the treatment of the female figure, particularly in his Phryne (exhibited in the Great Exhibition of 1851), and his Psyche, Atalanta, and Niobo group in tho Louvre. His power of representing force as well as beauty is well iustrated by his Prometheus Chained, Among the few who have been able, whilst retaining the correctness of the classical style, to combine it with boldness and freedom, .

Francois Rude, of Dijon (1784—1856), is one of the fore- most. His bronze Mercury, in the Louvre, is full of energy and spirit, as are also his Young Fisherman playing with & Tortoise, in the samo gallery, and the group in high relief of the Are de Triomphe de I'Etoile, known as the Marsoillaise, or the Departure (Fig, 114), Another great master of the same school is F, Duret (1804—1865), author of tho Young Neapolitan Dancer, and the Neapolitan Tmprovisatore, both in the Louvre,

As an upholder of the realistic style when most. of his

ies had abandoned it, we must name

Pierre Jean David, of Angers (1789—1856), author of the fine groups on the pediment of the Pantheon of Paris, whieh offer a remarkable contrast to the French sculp- ture of bis day. General Buonaparte and the stern heroes of the Republic are represented in a natural and life- like manner on either side of « solemn ideal figure of their native land, David was especially successful with

portmnit-siatues; the most famous are perhaps those of Philopamen in the Tuileries, of Condé at Versailles, of Corneille at Rowen, and of La Fayette at Washington.

Our limits forbid us to do more than name Jouffroy,

Charles Simart, Foyatier (author of the celebrated Spartacus

Fig. 14 —The Marsiilaise. Group by Francis Rude. Om the Ave de 0 Evoile, Paris.

Tx Faaxon. 279

of the Tuileries), Ottin, and Cavelicr, who have all pro- duced fine ideal works of sculpture in the last few yoars.

Antoine Barye (1795—1875), who revived the art of bronze casting froma single mould in the early part of this contury, was especially skilful in rendering animals, The gardens and museums of Paris contain many fine groups by him,

In the year I873 two great sculptors passed away : Amédée Durand, author of the figure of Religion on the tomb of the Duke d'Rnghien, at Vincennes, ete., and Johann Peter Molin, a native of Sweden, well known for his powerful group of The Grapplers, exhibited at the International Exhibition of 1862.

At the recent Paris Exhibitions MM. Eugéne Guilloamo, Porraud, Carpeaux, Crauk, Etex, Falguiére, Gumery, Aimé Millet, Thomas, Paul Dubois, Allar, Chapa, Barrias, Cain, and J. L. Gérome, the painter, exhibited fine works, the ee eh eee freedom Svea} the cl traditions , often verging on extrava- gance. MM. Fiatactal Gone have been amongst the few French contributors to the London Exhibitions.

ptt ra sculptors of the present day rank those of 's Dying Napoleon, and Pictro Magni’s Reading Girls, are still fresh in the memory of all who were fortunate enough to see them at the Paris and Flowntine Exhibitions The schools foundod by Tovorani Oy ae and Bartolini (1777—1850), have produced

Amongst the Italians who have con- ‘etiael tet Vandi et tions we must name Monti, Finelli, Caroni, Salvini, Barzaghi, Fantacchiotti, Fontana, Lozzarini, and Torelli, whose statuary is all notable for

280 Scouprore in rae Niwerzenra Century.

the thorough knowledge displayed of form, or, as it is technically called, “ drawing,” and for skilful execution, though it rarely rises to the highest rank in conception.

The chief living Belgian sculptors are Geefs, Fraikin, and Simonis.

The Roman school founded by Canova and Thorwaldsen produced many sculptors of different nationalities, of whom our own countryman Gibson, the Germans Wagner and Steinhauser, and the Dutchman Kessel, are amongst the chief. We must also mention a female sculptor who died a short time ago: Maria, Duchess of Wurtemberg, née Princess of Orleans, who executed the statue of Joan of Arc at Versailles, and the group of a Peri bringing the Tears of a True Penitent to the Throne of Grace, which now adorns her grave: and Karl Voss and Jerichau, who contributed to the Exhibition of 1871.

Of the future of Continental sculpture it is difficult to predict anything with certainty. Modern sculptors have to contend with difficulties unknown to the ancients. Greek sculpture appealed at every turn to religious associ- ations; it spoke in a language intelligible to all; whereas in our own day the subjects traditionally considered the most suitable for representation in sculpture are incompre- hensible to any but the educated few, and even those few can only enter into the spirit of symbolic or mythologic art with something of an effort. A wide field lies open for a true artist who will throw aside convention and treat the subjects of the present day nobly and honestly ; but modern costume presents great obstacles to success in such an effort. Still the podium round the Albert Memorial may be pointed to as a triumphant answer to those who plead that such obstacles are insuperable.

XI. Brrrise Scuurrvne.

‘Two heads of bronze statues—a Minerva and a Diana— found at Bath, are among the very fow known examples of British sculpture in the round, in the Roman period, A cast of the head of Dinna is in the Soane Museum in Lincoln's Inn Fields. The few Roman altars and sepulehral tablets found in Britain, carved in native stone, are very rough, and only of value for their great antiquity.

Amongst the earliest sculptures of Great Britain must be mentioned the strangely carved stones which abound in the Isle of Man, Wales, Ireland, and Scotland. They date from the first centuries of Christianity, and on some of them pagan and Christian symbols are combined. The most interesting specimens are in Strathmore ; on some of these of a comparatively Inte date, centaurs, lions, leopards, deer, and other animals, with proceesiona of men and oxen, ete, are carved in a spirited style, and afford valuable information on the manners and costumes of the period of their erection,

But few specimens of Anglo-Saxon sculpture have been preserved. The shrine of St. Amphibalus, lately found at St. Alban's Abbey, is among the most remarkable. It is finely conceived, and very beautifully carved.

No sepulchral statue has been found in England older than the time of William the Conqueror; two nearly effigies, in the cloiaters of Westminster Abbey— one of Vitalis (died 1087), the other of Crispinus (died TL17)—and those of St. Oswald (cf uncertain date) and Bishop Wolstan (about the end of the eleventh century),

a ey,

282 Bartish Scutprurr.

in Worcester Cathedral, are among the earliest existing relics of monumental art.

English sculpture, properly so-called, may be divided into two distinct periods: the medieval, dating from the early part of the thirteenth century to the Reformation; and the modern, dating from the close of the eighteenth century.

It was at the end of the Crusades, when acquaintance had been made with the masterpieces of Continental art, that English architects were first fired with the ambition of adorning their buildings with sculptured foliage and figures. In the thirteenth century, when Gothic archi- tecture was at the zenith of its beauty in England, many of our finest cathedrals were built or improved, and our best medixval architectural and monumental sculpture was produced. From this period dates Wells Cathedral, the noble sculptures of the west front of which have already been described. In judging of the execution we must consider that they were produced at a time when no school of sculpture existed, and before the laws of optics, perspective, or anatomy had been discovered,—so that the artist had nothing to trust to but his own powers of observation. Wells Cathedral was finished at the time when Niccold Pisano was reviving the art of sculpture in Italy, before the completion of the cathedrals of Chartres, Amiens, Beauvais, and has, therefore, the merit of being the very earliest specimen of religious sculpture with 3 consecutive design.

The earliest specimens of English bronze statues are the recumbent effigies of Henry III. and of Eleanor, wife of Edward I., on their respective tombs in Westminster Abbey. The figure of Eleanor, which is very beautiful,

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Forcesr Cexrony. 283

and fall of simple dignity, was the work of William Torel (or Torelli) a goldsmith, who died about the year 1300.

The sealptures of Lincoln Cathedral, of a somewhat later date than those of Wells, are thought to mark a considerable advance in the art of sculpture. They are, unfortunately, much injured.

When the Decorated style of architecture prevailed in England, statues were introduced in buildings wherever it was possible. In a window in Dorchester Church near Oxford, for instance, there are twenty-eight small figures of our Saviour’s ancestors; and the keystones of the Lady Chapel in Norwich Cathedral are all beautifully carved in high-relief with scenes from the life of the Virgin. Some of the finest sepalchral monuments of England date from this period; that of Aymer de Valence in Westminster Abbey, and that of the Black Prince in Canterbury Cathedral,* are amongst the best.

No works of Englivh mediwval sculpture excel those

in the Chapter House of Westminster Abbey. ‘The small figures carved in the jambs of the entrance door- way, and the statues above the same door, are remarkable, —the former for spirit and the latter for beauty and grace; whilst each is perfectly well suited to its position in the architecture.

Three works have been selected by Flaxman as illus- trative of the state of the art of English sculpture in the reign of Edward IV.: the sculptares of the door of All Souls’ College, Oxford: those of the arch in Westminster Abbey which passes from the back of Honry ¥.’s tomb over the steps of Henry VII's Chapel; and the monument

Casts arm in the Crystal Palace.

_ iis,

284 Brisa Scourrorg.

to the Earl of Warwick (1464), in St. Mary’s Church, Warwick. William Austen is the name of the sculptor of the last-named work, which Flaxman considers in no respect inferior to the productions of his Italian con- temporaries.

The greatest works of English sculpture produced during the reign of Henry VII. were the statues in the Lady Chapel of Westminster, the original number of which is said to have been 3000: very few now remain, but those few suffice to give an idea of the great talent and fertility of invention of the artists employed.

In the reign of Henry VIII. when the iconoclastic spirit of the Reformation prevailed, many of the finest works of English sculpture were destroyed; but before his death, the arrival of the Italian Pietro Torriggiano (1470— 1522) the contemporary of Michelangelo, gave a new and a different impulse to the art; and to him we owe the sculptures of the tomb of Henry VIL, which, though superior in execution and accuracy of proportion to those of the chapel itself, are certainly inferior to them in vigour and truth to life. No English sculptor of eminence arose, after the storm of the Reformation, before the Restoration, although a few isolated works were produced which prove that the artist spirit of England was not dead but sleeping, and with a little encouragement would have revived. The tomb of Sir Francis de Vere, in Westminster Abbey, and the figures on the monument of Sir George Hollis, also in the Abbey, by Nicholas Stone (1586—1647), a sculptor who would have become famous under more favourable circum- stances, are proofs of the latent power which might have been trained to excellence. The bronze equestrian statue of Charles I., now at Charing Cross, is by a foreigner

Skvenrxuxra Cexrory. 285

named Hubert le Swur, a pupil of Giovanni da Bologna. The effigy of Cecil Lord Burghley, on his tomb at Stamford, may by taken as a good specimen of the monu- mental sculpture of the Elizabethan period—stiff and quaint to a degree, but often, as in this instance, showing great mastery in portraiture.

We now come to the men who Inid the foundations of our prosont school of sculpture. The earliest was Grinling Gibbons (1648—1721), a sculptor of considerable merit of

other residences of the nobility, and in the Choir, Library, and other parts of St. Paul's Cathedral. Cajus Gabriel Cibber (1630—1700), a Dane, was the

Fow England during the rvigus of James I, William and Mary, Anno, and George I, John Bushnoll executed the statues at Temple Bar, now removed, and Franeis Bird the monuments of Dr. Busby and others in Westminster Abbey, and the figures in the pediment of St. Paul's; bat they are none of them worthy of special notice.

Th the reign of George IL, however, great activity was displayed by three foreigners who had settled in London : Roubiliac, a Frencliman, and Scheemakers and Ruysbrack, natives of Holland.

Roubiliae (1695—1762) was by far the greatest artist

286 Barrisa Scouprore.

of the three. He studied under Bernini, and appears in many respects to have excelled his master. His master- piece is the statue of Sir Isaac Newton with the prism in his hand, in the library of Cambridge, which is remarkable for life and vigour, but more so for a nobility of pose and dignity of bearing rarely equalled by the best works of a better age. Another famous work of his is Eloquence, one of the figures in the monument of John, Duke of Argyle, at Westminster Abbey. The Nightingale monu- ment in the same place has been much criticised ; its idea is in keeping with the conceits of the time. The design is Denth kept away by a human arm; and the execution of the skeleton and of the drapery in which it is wrapped are very fine. Roubiliac’s title to one of the highest positions among the sculptors of Britain is gained, in spite of such works as this tour de force just alluded to. His modelling of head and hands, his perfect mastery over his material, and his power of throwing life into all that he touched, are his great characteristics. In no works can these qualities be better traced than in his statue of Shakespeare, now in the vestibule of the British Museum.

Ruysbrack’s and Scheemakers’ principal works include busts, statues, and monumental figures, but hardly call for detailed description.

Somewhat later than this famous trio, an Englishman, Joseph Wilton, acquired celebrity by his monument of General Wolfe in Westminster Abbey, and many similar works, in which he displayed much skill and talent, but ignorance of the true limits of his art. The monument to Wolfe, for instance, is crowded with figures and symbols mixed together in hopeless confusion. In 1790 he was made Keeper of the Royal Academy.

Etouraesra Cexrony. 287

‘Thomas Banks (1785—1805), was the first Englishman who succeeded with ideal or poetic sculpture. He was far in advance of his age, and had he lived later, would perhaps have taken mnk amongst the master spirits of Europe, His models exhibited on the foundation of the Reyal Aealemy, attmeted the notice of Sir Joshua Reynolds One of his first groups, a bas-relief of Carac- tacos and bis Family in the Presence of Claudius, is very grand. In this, and in his Psyche seizing the Golden Flame, and Love catching a Butterfly, all alike remark-

fined to sepulchral monuments, in which he did not escape the prevailing error of his time—striving to combine allegory and portraiture, and to introduce a greater variety of subject than is admissible in statuary.

Joseph Nollekens (1737—1823), a contemporary of Banks, although inferior to him in every other rospect, excelled him in portrait-statues and busts, for which there was an extraordinary demand,

John Bacon (1740—1799), was an industrious and successful sculptor of the same time, who supplied the Court with the porcelain marae and shophenlesws so much admired in his day, and executed several fine

288 Barras Scunprore.

portrait-statues, of which those of John Howard and Dr. Johnson, in St. Paul’s Cathedral, and the monument to Chatham, in Westminster Abbey, are considered the best. The original model for Dr. Johnson is in the Crystal Palace. None of these men—except, perhaps, Banks— are, however, worthy to rank with Flaxman, the restorer of English classical sculpture, who excelled even Canova in the boldness of his conceptions and the beauty of his execution.

John Flaxman was the son of a modeller and dealer in plaster figures. He was born at York, July 6th, 1755. He commenced studying at the Royal Academy when only fifteen, but never received regular lessons from any master. In 1782 he married Miss Denham, a lady whose genuine love of art was of the greatest service to him. In 1787 Flaxman went to Italy, and soon after his return to Eng- land, in 1797, he was elected an associate of the Royal , Academy. In 1800 he became an Academician, in 1810 was appointed Professor of Sculpture to the Academy, and from that time till his death in 1826 his labours in every branch of his art were unceasing. Flaxman has justly been called the author of modern bas-relief: even Ghiberti’s and Canova’s reliefs were too much like raised paintings ; but the English master fully recognised the true limits of his art. The study of the relics of antiquity discovered in Italy at the beginning of the present century brought the contrast between the severe simplicity of Greek reliefs and the affected mannerism of those of his predecessors vividly before him. He was also one of the first to appreciate at their true value the sculptures of Wells, Lincoln, and other cathedrals; and his Lectures on Sculpture are still the best in the English language. Of his sculptures, the

Neverkestn Oexrony. 239

bas-relief monument to Collins at Chichester, the monn- ment to Lord Mansfield, and that of the Barings, in Micheldever Chureh, Hampshire, a group of the Archangel Michael ranquishing Satan, a figure of Psyche, one of Apollo, statues of Raphael, Michelangelo, Sir Joshua Reynolds, William Pitt, ete, ete, and his model of the shield of Achilles, are among the most original and valu- able. The last-named, taken from the description of the shield of Achilles in the 18th book of the Iliad (by some supposed to have been a real shield, by others an ideal founded on yarious pieces of antique work combined into one united whole by the genius of the poct), is universally allowed to be a magnificent work of art, full of poetic foel- ing and imagination, Flaxman was ecarcely lees famous for his designs of various kinds than for his sculptures ; a fine collection of both are preserved in the Hall of the University College, London. He supplied Wedgwood, the restorer of English pottery to the rank of an art, with many groups, medallions, and bas-relief

‘Sir Francis Chantrey (1788—1841) was eminently suc- cessful in historical and portrait statuary. His works pre- sont a striking contrast to thee of Flaxman, and resomble in many respects those of Nollokens, to whom Sir Francis is eaid to have been indebted for assistance and encournge- mont at the beginning of his carer. The group of the Sleeping Chiliren, in Lichfield Cathedral (1818), is eon- sidered Chantroy’s finest composition. Marble and bronze Pee and Bishop

his well-known works.

Beare Bailey (1788—1867) studied under Flaxman, and soquired much of his yrest master's manner. He is best known by his group of Eve at the Fountain, in the

ona v

290 Britian Scoupruue.

Philosophic Institute at Bristol, in which he showed considerable poetic feeling. In his public monuments and architectural sculptures Bailey was not so success- ful. We may instance his Nelson on the column in Trafalgar Square and the pediments of Buckingham Palace as proofs.

John Gibson (1791—1866), an English sculptor of great genius, who spent the greater part of his life at Rome, is famous for his introduction of colour in statuary — his tinted Venus, which was shown in London at the Exhibi- tion of 1862, having excited a warm controversy on the subject of the introduction of colour into sculpture. Gibson studied for three years with Canova, but in many respects he surpassed his master, rising to an ideal purity and grace unexcelled by any other modern master. His first work of importance was a Nymph unfastening ‘her sandal, followed by a group of Psyche burne by the Zephyr, Aurora rising m the Waves, the Wounded Amazon, the Hunter and his Dog, all full of severe and dignified beauty. Of his portrait-statues, those of Huskisson, Peel, George Stephen- son, and Queen Victoria are the best. On his death, Gibson bequeathed a fine collection of his sculptures and models to the British nation: they are now in a suite of galleries in Burlington House,

Richard James Wyatt (1795—1850) was an industrious sculptor who worked principally at Rome, where he died. His Penelope, at Windsor Castle, executed for the Queen when he was on a visit to England, and his Nymph taking a Thorn from the Foot of her Hound, also in the possession of Her Majesty, are among his finest works.

Sir Richard Westmacott (1799—1856) was a sculptor of great eminence who studied under Canova at about the

Nosereenta Cesrory, 201

eame time as Gibson. He succeeded Flaxman ax Professor of Soulpture at the Royal Acadomy in 1827, The works by which he is best known are his monumental statues, such as those of Pitt, Perceval, Fox, ete, in Westminster Abbey, and of Sir Ralph Abercrombie and Lord Colling- wood in St. Paul's Cathedral The sculptures of the pediment of the British Museum, the equestrian statue of George ILL at Windsor, that of Fox in Bloomsbury Square, of Canning in Palace Yard, and the Duke of York on the York column, are by the same artist. The fame of Sir Richard Westmacott rests principally on his having broken through the fatal babit so long prevalent in England of combining allegory with portraiture in monumental art. Tu the monument to Sir Ralph Abererombie, for example, the dying hero is supported by a Highlander instead of a symbolic figure, All Sir Richard's works display good taste and finished execution.

Patrick Macdowell (1799—1870) was an Irishman of considerable talent, whose Reading Girl, exhibited at the Groat Exhibition of 1862, was universally admired. Ho was the sculptor of “Europe” for the Albert Memorial.

Samuel Joseph (1800—1850) was the author of the fine statue of Wilberforce in Westminster Abbey, and that of Wilkie in the National Gallery. He found his chief employment as a modeller of busts.

Musgrave Watson (about 1802—1847), a sculptor of great promise, was the author of the seated statue of Flax- man in the Loudon University; of a fine group of Lords Eldon and Stowoll, at the University College, Oxford; and of a bas-relief to Dr, Cameron which was destroyed in the fire at tho Chapol Royal, Savoy, in 1864.

Baron Marvcehetti (1805—1867) was an Italian sculptor

292 Baines Scourrors.

of merit who settled in England early in his career. His colossal figure of Richard Cour de Lion, in Old Palace Yard, Westminster, is one of his best works in England. His equestrian statue of Emmanuel Philibert, at Turin, the tomb of Bellini in the cemetery of Ptre Lachaise, the grand altar of the Madeleine, Paris, and statues of the Emperor and the Duke of Orleans, are also very fine.

John Thomas (1813—1862), who is chiefly known as superintendent of the masons and carvers employed on the ornamentation of the New Houses of Parliament, produced some few independent works, of which the marble group of the Queen of the Britons rousing her Subjects to revenge is the principal.

John Thomas will always be remembered as the head of that large school of carvers in stone and wood which he helped to form, and in the ranks of which many men of talent and some of genius have appeared. Hardly a church ora mansion has been built since the “Gothic Revival,” without more or less architectural carving being introduced ; and in important works—such, for example, as the Palace of Westminster—the decorations have included statues, many of them of no small merit. He deserves special recognition both for the work that he did and the influ- ence which he exercised over this branch of art.

William Behnes, who died in 1864, was very successful with portrait-statues : that of Sir Robert Peel in the City, and of George IV. in Dublin, are from his hand.

Alfred G. Stevens (1817—1875) was the sculptor of the monument to the Duke of Wellington in St. Paul's Cathedral; one of the grandest efforts of genius of modern times. Some of his studies for this work are in the South Kensington Museum,

Noverzesre Cexrony. 293

John Henry Foloy (1818 —1874), a native of Dublin, was one of the most successful of modern seulptors of poetic feeling. His Ino and Bacchus, and Youth at the Stream are among his best works. He also executed the equestrian statues of Lord Handinge and Sir James Outram for India; and the group of * Asia” for the Albert Momorial.

Benjamin Spence (1822—1866) was an artist of consider- able imaginative power. His Highland Mary, Lady of the Lake, Lavinia, Pharach’s Daughter, and Angel's Whisper, are among his best works

Munro Macdonald, Lough, Noble, Theed and Philip, all attained to fame in recent years, but our limits will not allow as to do more than mention their names.

OF living English sculptor, whose worke we do not pro- pose here to criticise, we must name H. H. Armstend, R.A. ; Caller Marshall, R.A.; Thomas Woolner, RA; C. B. Birch, ARA.; J. E. Boohm, ARA.; E. B. Stephens, A.RA; Hamo Thornyeroft, A-R.A.; Adams Acton; and John Bell.

In the Albert Memorial we have specimens of the best works of several of our greatest living sculptors, and we may fairly point to the high general standard of excellence obtained there as establishing a good position for English sculpture at the present day.

‘Of the future of sculpture in England it is not easy to speak. Its best chance appears to be in its combination with arhitecture, the growing recognition of its true limits, and the increasing refinement of the public taste.

XII. American Scouerone.

Our limits forbid us to devote more than a short space to the rising school of American sculptors, whose works have been exhibited from time to time at Paris, South Kensington, and elsewhere. American art sustained a severe loss in the early death of

Thomas Crawford (1813—1857), a sculptor of high aspirations and great promise, who had for many years resided at Rome. His chief work was a monument to Washington, in course of erection at Richmond, much resembling in design Rauch's well-known monument to Frederick the Great. Of this important composition the central equestrian figure, with the statues of Jefferson, Lee, and Patrick Kerry, had been completed and cast in bronze at Munich at the time of the artist’s death. The completion of the work was entrusted to Randolph Rogers, an American sculptor of considerable eminence.

Hiram Powers (1805—1873), who lived many years in Florence, was well-known in England; his Greek Slave was much admired in the Great Exhibition of 1851. His Eve after the Fall, and his portrait-statues of Benjamin Franklin, Webster, Washington, and others are amongst his best works.

Horatio Greenough (1805—1852) is best known by the monument on Bunker's Hill, the elaborate group on the portico of the Capitol, and the colussal statue of Washing- ton. He lived for many years in Florence, and executed a number of ideal works.

Axentcas Sovtrruns. 205

Edward Shoffield Bartholomew (1822—1858) bognn life as a painter, but finding that he was colour-blind, turned his attention to sculpture. He went to Rome, where his model of Blind Homer made him celebrated, Hix Eve Repentant is his best work. He lived most of his life in Italy, where he died young.

Benjamin Akers (1825—1861) lived chiefly in Rome, whore he executed many ideal works of much beauty. The Lest Pearl Diver and Saint Elizabeth of Hungary are among his most celebrated works.

Of living American sculptors, whom we shall ubstain from criticising, we may first name W. W. Story, the sculptor of Cloopatra, the Sibyl, the statue of Peabody, near the Royal Exchange, London, and many other cele- brated works—and Randolph Rogers, the author of the bronze doors of the Capitol at Washington, Rinehart, Meade, Gould, Thompson, and Harriet Hosmer, all of whom generally reside in Rome or Florence; and O'Donovan, Hartley, St. Gaudens, Ward, and Palmer,

PAINTING.

PAINTING,

Intronvcriox : Means axp Meraope or Parstrxo.

l Borate is the art of representing on a fint surface, by means of lines and colour, objects ax they appear in nature—that is to say, in such a manner that the picture produced shall, within certain limits, affect the eye in the same way as do the objects themselves. To be able to do this, thorough education of the mind, the eye and the hand is required. The mind must learn the nature of the objects depicted, the eye how they appear, and the hand how to imitate them,

I. Form.

In the first place, the painter must study the laws of form, and lear nocurately to represent the bulk and figure of objects of every variety, whether organic or inorganic, at rest or in motion; secondly, he must acquire a knowledge of that portion of the science of optics which embraces the laws of colour, light, and vision, inclading—

Linear pertpective—i, ¢. the effect produced upon the apparent form and grouping of objects by the position and

300 Parerixo.

distance of the observer: and aérial perapective—i. e. the effect produced on the brightness and colour of objects by the various differences in the temperature, atmosphere, light, ete. Thirdly, the painter must master the laws of light and shade, the right treatment of which is a most important element in painting.

The term chiaroscwro—from two Ttalinn words, signify- ing light and shadow—has been given to the art of repre- senting light and shadow, together with the effect of light and shadow on colour, and it is, in fact, the expression in painting, drawing, or engraving of the infinite variety of effects of brightness and shade in nature,—the faithful rendering of the zharp contrasts, the subtle combinations and rapid changes which nature exhibita in hor ever-vary- ing moods. The greatest masters of chiaroseuro wer Titian, Corregyio, Rubens, and Rembrandt; and, in our own day, Turner.

TL. Colour.

Lastly, and perhaps chiefly, the painter must know the Jaws of colour; he must train his eye to recognise the most subtle gradations of tint, ax well as the most vividly contrasted colours in nature, and learn not only what will be the result of the use of separate colours, but also the infinitely varied effects of harmony or contrast which may be obtained by their combinations.

The three primary coloura are red, yellow, and blue, which are the constituents of white light. Every variety of tint produced is a combination of two or more of these three. The secondary colours are mixtures of any two of

the primary: thus red and yellow produce orange; yellow |

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and blue, green; red and blue, violet or indigo, according to tho quantities of each ingredient. The tertiary colours are those fine shades obtained by mingling two or more of the secondary ones Tho complementary colour of any given shade or tint is that which will have to be added to it to produce white,

‘The ancients added black, or total absence of light, white, or falness of light, and half-tints to the three primary colours.

Contrast of colour is of great importance in heightening in 4 picture the force of the colours contrasted ; any two of the primary colours are good contrasts to each other,

Harmony of colour ig the preservation of the same charnetor of colouring in the whole of a picture: to retain it, without producing monotony, requires the greatest skill. ‘The greatest colourists wery Titian, Tintorotto, Giorgion», Correggio, Paolo Veronese, Rubens, and Van Dyck.

The fous of a picture is thy general quality of shadow, of light, or of colour prevailing throughout an entire pic- tare. The phrase a “high” ora “low” tone aro used to expeess either a forcible-or a subdued rendering of these qualition.

TIT. Composition.

Composition ix thy mwwmnbling togethor of the different objects to be represented in the picture in such a manner that thoy shall combine to produce a harmonious impression on the eye as a whole, and shall each engage a suituble share of attention.

The terms foreyrowad, middle distance, and background kaye been given, the first to the portion of a picture nearest to the spectator, the second to that somewhat removed from him, and the third to that farthost off.

502 Parerixo.

IV. Materials,

Having thus given a slight outline of the leading prin- ciples of the theory of painting, we will briefly enumerate the materials and processes employed in its practice.

Tn speaking of the materials we must distinguish between those painted on, and those painted with,

For drawing, crayons of different kinds are used; for painting, a brush to hold the colour.

1. For drawing on paper, parchment, ivory, or other similar substances—pencils, chalks, charcoal, and water colours are used.

2. For painting on wood and canvas—tempera or dis temper, and oil colours.

3, For painting on wall surfuces, dry colours, temper, wax colours, and fresco colours.

‘The sv-ealled load-pencile employed in drawing do not contain any lead; but are made of graphite or pluinbago, an opaque greyish-black mineral with a metallic lustre, somewhat greasy to the touch, which produces a clear stroke of any thickness required, and peculiarly suitable for rapid skotching on account of the ease with which it may be effaced.

Black chalk is a bluish or groyish-black material, weed both for drawing and as a colour in painting; but it neither easy to work with nor pleasant to handle, amd charcoal is preferred to it for all but small sketches

The scarcity of coloured chalks has led to the use of pastel, or chalk mixed with various colours and made into crayons, but it is not very durable, and if pictures im it | are washed with gum to preserve them, they lose the seft, warm appearance which is their chief charm. |

Marentats. 303

Charcoal is well suited for aketching the outlines of large works It produces a broad stroke adhering so slightly to the ground that it may be blown away without leaving a trace. If, however, the ground be washed with lime-water and allowed to dry before the sketch is made, the charcoal will set. Nearly all largo cartoons (i. « designs on strong paper or paste-board of the full size of the work to bo executed) of modorn times are drawn in charcoal, although Kaulbach, the great German fresco painter, sometimes used chalk. Cartoons drawn in charcoal have played an important part in the history of art ever since Michelangelo's cartoons for his frescoes were exhibited at Florence in 1506; and some of considernble value have heen produced in our own day. In working both with chalks anid charcoal, the «twp, a bluntly-painted implement made of leather, is largely used in working the shadows

Tn figure painting, the artist uses a living model for the study of the formation of the body and the surface of the flesh, and a lay-figure on which to arrange the drapery. ‘The lay-figure was, it is said, invented by Fra Bartolommes.

Ta water-colour painting, prepared colours, consisting of colouring matter mixed with honey or gum-armbic, are used, ‘Two courses are open to the artist. He may either merely wash-in a drawing in sepia or Indian ink, or he may fully colour it. In both processes, however, the shading would be done with a brash. Painting in water- colours is carried to greater perfection in England than im any other country. But the works contributed by modern Dutch water-colour artists to the exhibition at Grosvenor Gallery in the winter of 1879-80 proved that they are by no means backward in the art.

B04 Pacerixo.

Tn drawings of the quality known by the French as gouache, opaque colours are thickly spread over the draw- ing. They look heavy and massive, but present a favour able opportunity for the development of pure effects of colouring. By this method, which is extensively practised at Naples and elsowhere on tho Continent, though little known in England, glowing effects of colour can be represented with trath and farce.

‘The modern water-colour artists have, many of them, now adopted a slightly altered mode of painting, depending largely upon the employment of opaque colours for its effects. This borders closely on oil painting, and seems wanting in the peculiar softness and transparent depth of colour which are the distinctive property of true water colours.

In the middle ages, wood was principally employed as the ground far movable pictures; but, as it was Hable to rot and to destruction by worms, it was supplanted in the fifteenth century by canvas, which was first used, it is said, by Rogier van der Weyden, and which is now alniest universally preferred. Copper has been not unfrequently used as a ground by painters, and a fow pictures have been executed on marble, and even on silver.

Bofore oil painting was adopted, other materials were in use, to which the name of tempera or distemper colours has been given. In tempera-painting the colour is mixed with white of ogg, gluo or size.

A painter's colours are called pigments ; those employed by the ancients appear to have been earths or oxides, | mixed with gum or glue instead of oils Unfortunately, | however, colours so obtained are wanting in freshness and soon peel off. They are now only used for scene-painting

Maresiats. 305

and staining wall-papors, although the old masters often executed portions of their pictures in distemper, and oiled them afterwards. ‘Towards the clove of the middle ages, tho Italians diseovorod that by using albumen, or white of ogy, instead of size, asa means of union between the particles of colouring matter, thoy obtained a better substance for tempera painting and one less liable to be affected by damp than materials dissolved in wntor. Paintings in this medium, however, dry too quickly far any elaborate working-up, and require some kind of varnish to protect them,

Painting in Oile—As early as ap. 1000, linseed-vil was used in pointing in Ttaly, and there are records which prove that oil was used as @ medium in painting in Germany, in France, and even in England before the time of the Van Eycks; bat it was not until the fifteenth century that the best method of mixing colours with oil was disoorered by the brothers Van Eyck, who quickly attainod to a skill in colouring perhaps never surpassed. The old method practised by the Italians did not allow of one colour being laid on until the previous coat had dried ; and it was this inconvenience that caused Jan van Eyck to make experiments which resulted in the discovery of o better kind of oil painting, a kind which has practi- cally prevailed until the present day. This new process was first adopted in Italy by Antonello da Messina and the painters of Naples How or by whom it was intro- duced to North Italy is not certain.

‘The implomente required by « painter in oils are charcoal, chalk, or pencils for drawing bis sketch ; hair- pencils or brushes; a knife to mix, and a palette to

mua x

—

kind of al and subsequently diluted in using with what is technically called a medium, consisting generally of a compound of mastic-varnish and boiled linseed-oll, called magilp. Large oil paintings are generally executed on canvas stretched on a frame and coated with paint ‘The colour of the ground-coating varies according to the taste of the artist,—in England light grounds are preferred, —and every artist has his own peculiar methods alike of working and mixing his colours.

The ordinary modo of procedure is to sketch the outline on the canvas with charcoal or pencil, and thon either the colour which each portion is to exhibit is at once em ployed and gradually worked-up to a eufficient finish; or, as is more frequently the caso, the entire effect of light and shadow is painted in first in monochrome (one coloar), and then the colours are added in a series of transparent coats, technically called glazes, the highest lights being indicated last of all in opaque colour.

Oil painting, from the great range and scope which it affonls the painter, and the infinite variety of effvets be is able to produce by the means at his command, has fer long been the fayourite mannor of almost all artists, and by far the largest number of important paintings whieh have been executed since the discovery of this mothed haye been carried out in it; yet there are certain qualities in which water-colours, on tho one hand, aud fresco, on the other, surpass it.

Marenuis. 307

Easol picturos, as thoy are called (i. ¢. movable oil paintings), oceupy a kind of intermediate position between perishable paper drawings and mural paintings.

Fresco-painting.—The ancients were acquainted with several modes of painting on wall surfaces, and discovered at a very remote ago that any colouring substance mixed with plaster when wet would remain in it when dry.

‘The term fresco—an Italian word, signifying fresh—has been given to paintings made upon plaster still wot or

rapidly, and the greatest ekill and decision are necessary, as no subsoquent alteration can bo mado, Any portions

plaster unpainted on when the day's work is done are it away. The process just described is called freeco budno, to distinguish it from an inferior kind of mural painting paradoxically known as freseo seeco, in which the

Sus Parstiso.

to fresco-secco painting. Colours mixed with water-glass are called stereo-chromatic (¥.¢. strong coloured): many important works were execnted in them, ¢ g. Maclise’s Waterloo, and Trafalgar, in the Houses of Parliament, and Kaulbach’s mural paintings of the new Berlin Museum, but the two former already show signs of decay.

The true fresco is distinguished by a singularly luminous quality of colour; and the best Italian fresooes exhibit « breadth of effect and simplicity of execution which impam to them s dignity unapproached (perhaps unapproachable) in oil, Hardly any specimens oxist in this country; but the same qualities of dignity, simplicity, and breadth, though not the same brilliancy, may be seen in Raphaal!s cartoons in the South Kensington Museum, which » closely resemble fresco painting that they will serve better than any other accessible examples to give the English art-student a fair iden of this mode of painting ax by the great Italian masters. Examples, by Pinturiechio and Signorelli, of fresco-painting transferred to canvas, and by Domenico Veneziano of fresco in its original state, may be seen in the National Gallery, where is also a specimen ‘of seco fresco, by Giotto—Two Apoatles, part of a work originally in S. Maria del Carmine, Florenco: other par- tions aro in the Liverpool Institution,

Another process employed by the ancients for mural painting was that called encauelie, in which wax. molted by heat appears to have been the chief ingredient fer fixing and melting the colours, Paul Delaroche's lange work of the Hemicycle in the Palais des Beaux Arts, Paris, isan important example of modern times. And lastly there is spirit-fresco, invented by Mr. Gambier Parry, who used it in paintings in Highnam Church, and in St. Androw's

Maremiacs, 309

Chupel in Gloucester Cathedral; it was also employed by Sir Froderick Leighton in his mural painting of the Arts of War in tho South Kensington Museum, which was completed early in 1850, and by Mr. Madox Brown in his decoration of the Town-hall of Manchester with scenes from the history of that city, The frescoes which he has already oxeented are: Tho Romans Inilding a fort at Mancenion; ‘he Baptism ia York of Edwin, King of Northumbria und Deira ; The Brpulsion of the Danes, from Manchester,

As this spirit-freeco proces is comparatively a modem invention, it may not be uninterosting to give it a few tmonwente’ considerstion. The following ehort description is taken from an nccount of it written by the inventor himeolf. ‘The advantages claimed for it are five-fold— durability, power to rosist external damp and changes of temperature, luminous effvet, a dead surface, and freedom from all chemical action on colours. It will also stand being washed with soap and water, as Mr. Madox Brown, it is said, proved by so cleaning a trial picture which he painted before beginning his work in the Manchester Town-hall, The surface to be painted on should be perfectly dry and porous, & g. a good comman stucco. The medium is composed of Elomi resin, pure white wiex, ofl of spike lavender, and the finest preparation of artist's copal; and with these, when incorporated by heat, tmust be mixed the eoloursin dry powder. If mixed on a shal, as for oil colours, and placed in tubes, they will last for years The surface to be painted on is pre pared with

composed of equal quantities of pure wh:

of a wolution

lead and of

$10 Parsrixa.

gilder’s whitening in the medium slightly diluted with turpentine. This, when dry, produces a perfect surface— “so white that colours upon it have all the internal light

with a wash of pure spike-oil, but a too frequent tee of this is to be avoided. The rationals of the painting” says Mr, Parry, ‘is this, that the colours in powder being incorporated with material identical with that which has already sunk deep into the pores of the wall surface, and has hardened by the evaporation of the turpentine vehicle, may be regarded as belonging to the mass of the wall itself, and not as mere superficial applications” ‘The medium is formed slightly differently when, as in the works in Ely Cathedral, it is for use om panel, instead of stucco and similar surfaces,

Moxaic painting ix the art of producing designs: with small square pieces of stone or glass of various colours it such a manner as to give the effect of painting. Tt was largely employed by the ancient Romans for pavements, and by the early Christians for the ornamentation of churches. The mosics in the Cathedral of Ravenna are world-famous, At the present day it is chiefly an Italian art; but Russian and British artists have of late year produced some successful specimens of mosaic work. Tae pieces of glass which go to make up tho design aro techni cally called smalte and tesserae, and are set in cement im the same way as tiles in pavement. The Italians practie two kinds of mosaic work—the Florentine, in which small pieces of stone or shell of their natural colours are used;

Marenars. 311

and the Roman, in which smalts of every variety of shade are employed. Many of the greatest paintings of the old masters have been admirably reproduced in the latter kind of mosaic.

Another kind of mosaic work has been lately introduced in the decoration of the South Kensington Museum, in which Keramic tessere aro used. And tho’ figures in the south court of eminent men connected with the Arts are executed in mosaic, both Vitreous and Keramic, from dosigns by Sir F. Leighton, P.R.A., KE. J. Poynter, R.A., and other well-known artists.

Painting on porcelain holds a high position as a fino art, and has been carried to great perfoction in France and England of Inte years. Tho processes employed in painting on porcelain, enamelling, and glass-staining, are very similar. The colours used are principally oxides or salts of metals ground down to impalpable dust, and mixed with borax or some fusing substance; the mediums used for making them liquid are turpentine, oil of turpentine, or spike oil: formerly each artist mixed his own colours, but now they are most frequently obtained ready prepared im tubes and in fine powder: they are Inid on with hair- brushes like oil colours, either on the glazed clay or pre- pared metal, ax the case may be, and fixed by oxposuro 1 heat in an enamel kiln, In another method of painting on china, called * andor glaze,” the colours are laid on to the tunglazed surface of the china: in firing they become embodied in the ground on which they are laid, and the glace is poured over them A third kind, known as “Majolica painting,” is “done with coloured glazes all unde to fuse together ata special heat.” Tn appearance

312 Parris.

V. Subjects,

The subjects which a painter may represent are only limited by his powers of vision. painter has a vast field of selve either degrade his art by recording trivial events or actions better forgotten, or ennoble it by immortalising scemes which will bring the thoughts and feelings of other times and other classes vividly before the mind of the spectator A painter may be a landscape, a historic, a portrait, or what is called a genre painter. The term genre compre hends all pictures with figures which are not historic, especially those in which the figures are smaller than life; and also architectural, flower, and frait pieces, and repre- sentations of what is called still life (i. «. dead game, fruit, flowers, ote). And in any or all of thes branebiss of his art two courses are open to the artist. He may adopt what is known as the grand or ideal stylo and ablermpt to express the highest idea eonceivable of natural perfection, or he may choose the realistic or naturalistic style and exhibit things exactly as they are, without alteration or improvement.

Jn landscape painting, the two phases open to the artist are the epic, when nature is seen in her highest moods whother of action or ropose, such as in the works of Turner and Claude Lorrain; and the idyllic, when she appears im her simple every-day beauty, as depicted by Constable and Gainsborough.

In historic and portrait painting we may perhaps recog tise an ideal and a realistic school, For historic painting the suitalile subjects are sacred, historic events, or dramatic scenes of stirring interest, in which the noblest huni

Surecrs. 315

passions are brought into play, and the sight of which will awake noble emotions in the spectator, Greek and Roman Mythology have afforded countless subjects for the painter.

The chief masters of the Dutch school, such as Gorard Dou, Cuyp, Metsu, Hobbema, ote., may be taken as repre- suntative men who adopted the realistic style; and the three great Italian masters of the golden age of painting— Michelangelo, Raphael, and Leonardo da i—and Murillo, in Spain, were the chief apostles of the ideal style. The name of Kelectics has been given to those artists who sfrore to combine the excellences of both idealism and realism: of these the Carmeci family were the most eminent.

We must say one word, before turning to the history of painting, on the symbolic art, to which Ruskin has given the name of Grotesque (see ‘Modern Painters,’ vol. IIT. chap. viii,), and which, rightly used, exercises a wide influence for good, Trae grotesque art is the represent~ ation, by symbols easily intelligible to all, of truths which could not readily be otherwise expressed. All allegorie pictures are in this sense grotesque. Holbein's Dance of Death, and Albrecht Diiror's Melencolia and bis Knight, Death and the Deeil, are fine instances of the power with which symbolic roprecentations may bring groat truths and their inevitable consequences vividly before the minds of the multitude. Coarse caricature of every varie be charneterived as false grotesque, totally unworthy cultivation by any true artist.

I. Parsrrso ny roe Chasstc Penton.

1. Egyptian Painting.

AvrHoven it was in Greece that painting as an inde- pendent fine art must really be said to have bad its rise, yet wo must not pass over without mention the work of the Egyptian painter.

Though intimately connected with sculptare, and also entirely subservient to architecture, painting was largely employed by the Egyptians. The commonest form is the colouring of those sculptures which are carved in sand- stone in relief, but sunk beneath the surface, The fee of these sculptures was covered with a fine stueco to receiv the colours, which are wsually flat tints on a white or yellowish ground. The subject is almost always the glorification of the reigning monarch, who is invariably represented much larger than his followers. He ts either represented hunting, or driving in war-chariots, or cutting off the Leads of his enemies, each head being symbolic of somo Tace which he has conquored (see Fig. 5). Fig. 15 represents the sons of King Rameses II. following their father, who ia storming a mountain fortress.

Egyptian painting displays an entire absenee of par- spective, but the treatment of the subject is systematic. Tt is, in fact, a combination of ground plan and elevation The background, whether land or water, is shown as i would appear on a map, but the buildings and figures an

Parstixe mx Rover. 315

in elevation. Though the face is always in profile, yet the aye is represented in full,

Tn the tombs, the paintings, which were executed on dry plaster, represent what might be called genre subjects— subjects relating to the life of the deceased, which thus give us @ full insight into the habits and customs of the

wie wait

Wig: 115. =The Some of Katwesen LL. Ln the temple of dporanhont. Time of the mineteenth century.

Egyptians Tt ix thought by these who have most studied the subject that it was not alack of power which prevented the Egyptians from making greater improvement in paint- ing, bat that they were held back by “ the determination of the sacentotal class to restrain their artists within the limits of strictly recording art, from which it might easily

316 Parsrrsa ps Korn.

wander if they became too enaoured of it sake.” Fixed rulos wore laid down for thea of the reigaing monarch had wo be p

done in the same way genoration after g the Egyptian artist had to do be did well, bat admire the ingenuity with which he posible in one picture, and, although sund conventional rules, made a really

Fig. 116-—Thunters bringing home Game. Ayyption

veviting, and the pictures are nothing more # hieroglyphics, 2 Greek Painting,

Tt was in Greece that painting first pendent art: although practised in Assyria early date, it was there purely accessory to Are and occupied only a subordinate position. aro unfortunately unable to refer to any existing

318 Parser it is evident from the accounts of various ancient writers that paintings of great excellence were executed in Greece at a very remote age. In the carly Greek vases we are able to recognise the individual character af the painter, as distinct from the sculptor and architect. The most ancient specimens which hare come down to aa, and which are preserved in the various museums of Europe, display considerable knowledge of the true proportions of the human figure, and of right balance in action and ia repose, combined with a genuine feoling for beauty and grace; but we find no attempt at subtle combinations or gradations of colour, far the practice of the painter mus limited to the use of white, red, yellow, and black; nor are there any such indications ‘of knowledge of chiaroscury as is displayed in contemporary bas-reliefs,—and, above all, wo find no trace of appreciation of linear or aénal perspective, Nothing, on the other band, can be more beautiful than the eyetem of ornamentation of early Grek vases, in which different surfaces are admirably contrasted with each other; or more spirited or graceful than the figures represented, in spite of their strictly conventional treatment, Different vases in the British Museum furniahi | us with illustrations of these remarks: the Meidins raw with the subject of the Rape of the Leucippidew, amd the Apuleian araphora with the Frenzy of Lycurgua, may be cited as characteristic examples (See Figs, 93 and 117) Authentic descriptions of the works of the Greek masters prove that oasel or movable pictures of great size, repr senting complicated eubjects, were painted for the temples ‘and public buildings of Grooco, and were very highly prizes The mural paintings appear to have been executed it fresco, and the movable pictues in tempera on wood, the

Is Gerece, 319

process known as encaustic not having been in use until the golden age of Greek art.

The earliest artist of whom we are able to give any detailed account ix Polygnotus (living at Athens about 450 Bc), whoee principal paintings were in the celebrated portico at Athens called the Pacile, and the Lesche, or couneil chamber, of the temple of Apollo at Delphi. In the former ho represented the Grook princes assembled in council after the taking of Troy, and in the latter a series of scenes from the wars of Troy, and the visit of Ulysses to Hades, Ancient writers agree in ascribing to Polygnotus great command:of colouring, and power of depicting mul~ titudes in a spirited and lifelike manner; but he does not seem to have attempted any but profile figures, or to have painted shadows in anything but a purely rudimentary tasnner; and in the paintings at Delphi the figures were apparently arranged in zones and groups one above wnother, with no assistance from either linear or sérial perspective,

‘The next great name connected with Greek painting is that of Apolledorus of Athens, who flourished towards the close of the fifth century #c., and was the first to combine correctness of drawing with a right distribution of Hight and shade. Certain of his predecessors—Dionyxius of Colophon, for example—attained to some excellence in this respect, but Apollodorus was the first who thoroughly mastered the gradations alike of tints and shadows He was, however, eclipmed by his pupil Zeuxis of Heracleia,*

Ut hae never been definitely decided which of the several towns

raring this naive wan hie birthplace, although i was most probalily the Poutic Herscleia on the Black Sea.

320 Parwtixa

who lived in the latter part of the fourth century me (about 450—400), and who was one of the first artists to paint movable pictures, His distinctive characteristics were grandeur of form and finish of execution = that he also attained to marvellous power of imitation is proved by the various tales which have been preserved of the rivalry _ between him and his cotemporary Parrhasius, a native ef Ephesus, who flourished about 400 ac. It is related, amongst other anecdotes, that at a trial of skill betwoes Zouxis and Parrhasius, when the former painted « bunch af grapes go exactly like the original that om ite exhibi- tion the birds came to peck at it, and the latter « picture covered with a fine curtain, Zouxis exclaimed, “Remore your curtain, and let us see this masterpiece,” ‘The eurtain was the picture !

Among Zeuxis's most celebrated paintings were hit Helen, in the temple of Hera, at Croton, painted from the five most beautiful maidens he could find; his Dafiat Hercules strangling Serpents, and his Zeus and Marsyer bound.

Tn the time of Alexander, some such transition teok place in Greek painting as we shall have occasion to notice in speaking of the Italian painters of the seventeonth century, when imitative dexterity and high finish wa mal more highly thought of than inventive power. ‘The ehiel painters of this period—known as the * period) of efi:

devoted seven years to the produneaa Nicomachus and his pupil and brother pr Thebes, for one of whose pictures no Jes than £25,000i

Tx Gurece, 321

said to have been given by Attalus of Pergamus; Nicias of Athens, who generally painted in encaustic, and who was celebrated for his female figures; Euphranor the Isthmian ; and lastly, Theon of Samos, who waa one of the first to give impotus to the decline of Groek art.

Tt was, however, in the person of Apelles, who flourizhed betwoon 350 and 300 n.¢., that Grock painting reached its fullest development. He was, it is supposed, a native of Colophon: be studied first at Ephesus, and afterwards at Amphipolis ander Pamphilus. His chief characteristics

Vig, 1K —Poleting of stil lif. Rhepography, Onn wait of « hease at Pompeii.

were his feeling for grace and beauty of form, his skill in Portraiture, and the chaste simplicity of his colouring. His masterpieces were his Venus Anadyomene—in which the yaldess was seen rising from the waves wringing the water from her hair, the falling drops forming a shimmer- ing veil about ber figure—Calumay, and his portrait of Alerander the Great grasping the thunderbolt of Zeue.

After the death of Aloxander, painting in Greece scn- sibly declined. The grand atyle was still cultivated for several centurivs; but a marked preference was shown for @ realistic mannor, and for paintings of a secondary class, . known ax rhopography, such as would now be called

RHA ¥

322 Pawrina

genre pictures, The most celebrated Greek genre painter was Pyreicus, who painted shops and still life of every description. Caricature was also in great favour in this degenerate age.

(a) Greek Mosaics and Wall Decorations

Although there are no existing remains of Greek mosaics, the art appears to have been known amongst the Greeks, and to have been employed for pavements snd the linings of walls.

From the slight traces which remain of purely decara- tive Greck painting—on the ceiling of the Propylea, for instance—it is evident that the Greeks were thoroughly skilled in the true principles of ornamental art, Much | discussion has arisen as to the original appearance of this ] famous ceiling, which is, however, generally believed te have beon painted in such a manner as to imitate oma- ments in relief. At the Crystal Palace, Owen Jones endeavoured to carry out the principles supposed by bin to have been in favour amongst the Greeks, and certainly obtained a very beutiful result, although its value as reproduction has been much questioned. Tn the same collection an opportunity is afforded of studying coloanst and uncoloured Greek architectural sculpture side by side.

3. Btrusean Painting.

The enthusiasm with which the Etruscans cultivate! the art of painting is manifested in the numerous tol paintings which have been discovered im the cemetenet of Tarquinii, Clusium, ete., in which the gradual

ment from the conventional Egyptian style to the perfected Greek may be traced. In the earlier epecimens we a@

Is Rowe. 323

the straight lines, oblong faces, stiff limbs, and parallel folds of drapery, with which wo have become familiar in our study of Eastern sculpture; and in the later, the easy grace of Greek art. The Etruscan language not having yet boon fully deciphered, these paintings have a great historical value, representing, as they do, incidents from the daily life of the deceased fram the cradle to the grave, including dancing, feasting, racing, wrestling, and, in one instance —in a tomb at Corneto—a death-bed scene. They are mostly sketches vividly coloured, and their generally festive character, especially noticeable in the more modern oxamples, betrays the conversion of the Etruseans from the gloomy Egyptian creed to the Greek belief in a joyful fature for the soul.

‘The vases and urns found in Etruscan tombs are now generally admitted to be of Greek design and workman- ship, and do not therefore call for separate notice here.

4, Roman Painting. great national echool of painting ever flourished in

the works produced were principally by

artists, or reproductions of Grock masterpieces, periods are to be distinguished in the history of painting in Rome: the Greco-Roman, dating from the conquest of Greece to the time of Augustus; the second, to to

No classic Greok Three

from A) Diocletian; the third, from the birth of the end of the third century. The pictures found at Pompeii and Herculaneum, and those in the baths of Titus and in the numerous subterranean tombs near Home, are pointed in distemper (or in water colours mixed with egg, gum,.or glue), —no true fresco picture having yet been discovered, although some of the plain 12

324 Parris

walls are coloured in fresco. The best and most important of the mural paintings of Pompeii (supposed to date from the first period of Roman painting) are collected in the museum of Naples, and have many of them bees admirably reproduced in the Crystal Palace.

Tho house known as that of the Tragic Poet (degeribet in Bulwer’s ‘Last Days of Pompeii’), discovered is 1824-6, was expecially remarkable for the grace and digs nified style of ite paintings, most of which represented Homeric subjects : amongst others, the Marriage of Palewe and Thetis, the Purting of Achilles and. Briseia (Fig. 119), the Departure of Chryseis, the Fall of Tearns, ete. The frieze of the atrinm (é. «. court) of the Pompeian Court at the Crystal Palace is copied from a cubiculum (i. ¢. « small room opening from the atrium) of this house: it a Battle of the Amazons, The Sacrifies of Iphigenia, the Deserted Ariadne, Leda presenting her first-born child to her husband Tyndareus, and other paintings, adorned the loss important rooms of this colebrated residence. The mural decorations of the “house of the Dioscuri ” are even more remarkable than those enumerated above > the figure of the twin sons of Leda reining-in their horses, on ane ef the walls, are expecially and the groups of Persess and Andromeda, and Medea and her Childves, found ew the piers of the great central peristyle, are scarcely Tee beautiful. The “ house of the Female Dancer” nyust als) be mentioned, on account of the elegance and grandeur & its decorative paintings, several of which are copied im the Pompeian Court of the Crystal Palace. And recent et cavations haye brought to light a lange house with wall decorations of singular beanty—foliage, flowers, bint, animals, fishes; many of which arc reprezented in yidhett

Ix Powerit. 325

action. One duck flies into the water with a splash: an octopus has caught a lamprey; a lion is attacking a bull :

and a horse is straggling with a leopard. The lewding

peculiarity of all these paintings is the intensity of their colouring, accounted for by the well-known custom in Italy

bm fe,

326 Pamrixa

of darkening rooms in the day-time; the lower portions of the walls are always painted in the colours, and the upper in white or very faint tints, thus affording a sense of repose to the eye which can be better described. Attempts have lately been made to carry this principle in the wall-papont of snodern The paintings discovered in the Baths of Titus: ever, considered to surpass even those of Po represent scenes from the life of Adonis, and are: ised by severe simplicity and grandeur of oom These Baths also contain the Raphael took many of his ideas for the d Vatican; thoy are remarkable for in and harmony of colouring. Roman painting, properly so-called, w: uaiture, in which considerable excellence been obtained. Mareus Ludius was a and landscape painter and decorator in Augustus, and appears to have combined b position with trath of character; but 0 got beyond the simplest effects of light and sh moet rudimentary knowledge of perspective, (b) Roman Mosaice, Very numerous specimens of Roman mosaic ¥ come down to us Almost every house in Herculaneam contains mosaic pavements or Of these the mosaic of the so-called “Casa del Bi (House of the Faun), found in 1831, and supposed sent one of Alexander's batiles (Fig. 120), and the e mosaic of the Lion crowned with Garlands Oupids, found in 1828-29, in the “house of the

Is Rouse. 327

are among the mest interesting. The former displays thorough command of foreshortening and perspective, and is thought to be a copy of some famous ancient work,

Fine specimens of Roman mosaics have also been exca- vated in Africa, France, Spain and England. ‘Those found

HCENTETINVOSTETOTEFTETY

Pig. 198—Ths Battle of Imma, A mosais disrovered at Pompeii in the House of the Fans (Beppared te he 2 copy of an old Greek Painting)

in London and elsewhere in Great Britain, though inferior in execution, are equal in beauty of composition and power of design to those of any other country. They were pro- bably executed by native Britons under Roman suporintend- ence. The remains of a Roman villa with fine mosaic work were discovered in 1880 near Braiding, in the Isle of Wight,

TE. Pamrixa ox tie Bancy Caxtriax, Byzawrixe, axp Mippne Ades.

1. Barly Christian Painting, or the Late Raman School.

‘Tue first examples of carly Christian painting are to te found in the Catacombs, the walls, recesses, and ceilings of which were decorated with simple frescoes, In the first two centuries, owing to the hatred of everything which could recall the old idolatry (see p. 920), aymbols alone were employed, and even these were limited to forms not appropriated to heathen deities As the power &Z Roman Empire declined, and with it its pt forms, the love of art—innate in every native of and Italy—once more asserted its away; and im the and fourth centuries, although still to a certain extent hampered by the dread of reviving idolatey, the early Christians were permitted to adorn the catacombs with: something more than formal signs. We now find Christ represented as the “Good Shepherd,” or as taming the Beasts with his Lyre,” ete, ‘The illustration (Pig. 121) affords an example of this second class of fresco; it is taken fromm the catacombs of 8, Calixtus, on the Via Appia, Rome, beneath the church of S, Sebastiano. This church also contains one of the first portraits of Christ supposed to have been executed at a somewhat later date than the mural frescoes, exhibiting as it does a froedom from restraint and a boldness in exact imitation nit indulged in until the establishment of Christianity, In the paintings of the Pontian Catacombs on the Via Portuensis, dating from the fifth century, we note a further advance=

Ts tae Caracoxns, 329

the portrait of Christ especially differs essentially from the old Greok ides, and is of a purely Christian typo. The chief characteristics of early Christian painting as exhibited

Pig. 121. ~Prowe from the Catacombs of 8. Calixtna,

in the Catacombs are a simple earnestness and majesty, and a grandeur of composition, but little inferior to the frescoes of the best age of the old Empire, combined with

Pat pu

330 Panerid

what we may call a “spirituality” peculiarly their The Christian artists had to express their belief in th immortal soul animating even the poorest and most torted human forms, and it is their spiritual eer which gives importance to these early paintings, in spite of their technical inferiority both to antique and Renais- sance works. Copies in water-colours and photographs of many of the Catacomb paintings may be seen in the South Kensington Museum.

On the recognition of Christianity as the religion of the State in the time of Constantine, Christian painting, no longer condemned to a subterranean life, was called upon to decorate the vast basilicas and churches appro priated to the new worship. At first tempera and en- caustic colours were exclusively employed by the artists but they were soon supplanted by momiex The only existing Christian mosaics attributed to the fourth century are those on the ceiling of S. Constanza, near Rome, which aro of a purely decortive chaructor, In the fifth and su> ceeding esnturies attempts were made to produce importaat historical pictures in mosaics; but the intractability of the material led to a general preference for the simplest sul jects. As we advance further and further from the time of persecution, we note an ever-widening difference betwees the paintings of the catacombs and the church mosaict ‘This difference is well illustrated by the mosaics on the Triumphal Arch of the church of 8. Paolo fuori le Mura at Rome, dating from the second half of the fifth een tury, for in them the antique spirit which had anconseiouay influenced the artist of the sopulchres is almost extinat> the old Christian symbolism is gone ; and, instead of seomet of suffering and death above which Faith rises triumphank

eel

Is Rone. 381

we have representations of the Saviour enthroned in glory, surrounded by the redeemed. The Virgin does not appear to have been represented until the latter part of the fifth century.

Ta the sixth century wore produced tho mosics of SS. Cosmo e Damiano, considered the beet in Rome, and deserving special mention as being amongst the last in which the figure of Christ retains the quiet majesty charac- teristic of the catacomb portraits, and in which the saints appear in natural groups and attitudes, instead of the stiff parallel rows subsequently adopted.

An unbroken series of illuminated manuscripts have come down to us from early Christian times, many of which give proof of considerable imaginative power and true feeling for all that is best in antique art. To this class belong the Book of Joshua in the Vatican, a parch- ment-rall moro than thirty foot long, dating from the seventh or eighth century, but supposed to be a copy of an early Christian work of the poriod we have been reviewing ; and the celebrated Virgil of the Vatican, an original work cof the fourth ur fifth eoutury.

‘The time of Charlemagne was the great period for manu- script illuminations, and many fine specimens are preserved in the Library of Treves.

‘Tho mosaics of the tribune of S. Agneso in Rome (625 —838) are good specimens of the transition period, the heads of the Saviour, the Virgin, ctc., being purely conven- tional, whilst some of the figures are dignified, graceful, and free from Byzantine stiffness. Thoso in tho basilicas of S Apollinare Nuovo, and S. Vitale, at Ravenna, are of special importance now that the church of 8. Paolo at

332 Pauwrixa

Rome is destroyed, as they are the only existing spexi- mens which give a just idea of the way im which every available space was covered with these brilliant. decorations, in the centuries under notice. To the ninth century beloeg the mosaics of S, Prassode, on the Esquiline Hill, and these above the tribune of the church of S, Maria della Navicella, on the Ciehian Hall.

2 The Byzantine School.

Soon after the conquest of Italy by the Longobards, Christian art branched off into two schools, to which the names of the Late Roman and the Byzantine have bem given, The foundations of the latter are supposed to have been laid early at Byzantium (Constantinople), the seat of the Eastern Empire; but it did not attain to importance until the sixth century. Its predominance’ marks the period of the decpest decline of Italian art— which, however, still retained, though latent, the vital spark which was to be again fanned into dame in tht thirteenth century. ‘The leading charactoristics of Byzam tino painting, which, with Oriental tenacity, it has retained unchanged to the prosont day, aro the use of flat gold grounds instead of the blue hitherto preferred, a stiffness in the treatment of the human figure,—rigid conventional forms utterly devoid of beauty replacing the majestic types of the Late Roman school—artificially-armanged draperies in long straight folds, and a great neatness and carefulness of execution.

‘The hot controversy as to the personal appearance sf Christ,—the Romans maintaining Him to have been the "fairest of the children of men,” and the Byzantine Greeks

Tx tae Byzaxrixe Scrroon 333

that He had no beanty of porson,—cxercisod a most important influence on the art both of the East and the West, and accounts in a great measure for the difference im the treatment of sucred subjects by the artists of the two schools.

Gur limits forbid us to do more than name the most important mosaics of the Byzantine school. Those of S Sophia at Constantinople, although many have been

Vig, 122.—Caint edowd by Justinian,

Aossie from the Peek af 8. Sephin, Constentineple. destroyed, still retain much of their original splendour : our illustration (Fig. 122) is from the porch, and roprosents the Eniperor Justinian doing homage, with traly Oriental servility, to the enthroned Redeemer.

Uatil the thirteenth century Venice was little more . than a Byzantine colony, and in the mosics of Saint Mark's we have an epportunity of studying the Byzan- tine style in all its purity, Other Western Byzantine taosaies, dating from the time of the Normans, may be

334 Panera

studied im the cathedral of Monreale, near Palermo ; in the Capella Reale in that city; and in various takae of Southern Italy and Sicily. The Monreale mosaics have been admirably illustrated, and deserve study os showing how great a mastery of dramatic power could be attained by artists who yot were fettered by many conventional rules, and whose power of representing the human figun was very rude. As specimens of colouring they are magnificent.

The manuscript illuminations of the Byzantine school are principally copies of Roman works, and do not call for any special notice.

Tn their purely decorative painting Byzantine artists at- tained to considerable proficiency; their geometrical mosaics are very ingenious in pattern and always good in colour,

From the thirteenth century Byzantine art gradually declined in technical and inventive power. The monastery of Mount Athos, in which the old conventional types ar reproduced in wearisome monotony, is now the leading school of Greek art.

3. Painting in the Middle Ages. (a) In Italy.

Tn the tenth and cloventh centuries Italian soctoty was still utterly disorganised, and the practice of decorative art was almost entirely discontinued. The fiw produced were either in the worst form of the Byzantine style, or the rudest reproductions of antique types As early as the beginning of the twelfth century, howeren the Republics of Upper and Lower Italy gained strength and stability, whilst a new snd indepandent style of art gradually developed itself, displacing alike the Byzantime

Iy tae Mipptr Aces 335

amd the Late Roman, —a style which may be called purely Christian, and which owes its rapid growth mainly to the patronage of the Church. In the mosaics of 8. Maria in ‘Trastevere at Rome (1139—1153), and of the basilica of 8. Clemente, also at Rome, a marked improvement is noticeable; but the art apparently did pot advance further until the commencement of the thirteenth century, when the fusion of the two conquering races of Sicily—the Nortnans, and their predecessors the Arabs—had become complete, and the conquest of Constantinople by the Latins in 1204 had Jed to the immigration into Italy of artists woll acquainted with all the technical processes of painting, although unable to tum them to truly artistic account.

Henceforth the history of painting is the history of individual men,—a fact significant alike of the new position to which art was promoted and of the new political freedom enjoyed in the Republics, We have already alluded to the important part takem in the revival of sculptare by Niccold Pisano (see p. 238), and there can be no doubt that he greatly influenced his cotemporaries in every branch of art. The distinctive fonture of this revival, in which Tuscany took the lead, was—as remarked by Mra. Jomoson in her ‘Lives of tho Karly Italian Painters ’—" that art became imitative as well as repro- sentative, although in the first two centuries the imitation was as much imaginary as real; the art of looking at nature had to be learnt before the imitating her could be acquired.”

‘The first Ttalian painters to take part in the new move- ruont wore Giunta of Piss, Guido of Siena, Buonaventura Berlingieri of Lucca, Margaritone of Arezzo (a work by

336 Pamrxa

whom is in the National Gallory), Maestro Bartolommes of Florence, and Andrea Tafi (the greatest moraic-worker of the thirteenth century), all of whom followed the Byzantine style, with certain modifications significant of the stirring of the new life in art.

In the works of Giovanni Cimabue (1240—1312) of Florence, who has been called—not altogether with justice— the founder of modern Ttalian painting, we recognise a very decided advance in representing form and in the expression of action, although his figures are still of the long-drawn Byzantine type. Of his existing paintings the principal are a colossal Madonna in the Rucellai chapel of S. Maris Novells, Florence, of which fine water-colour copy may be studied in the Crystal Palace; a Madonna and Child | in the Academy of the same town; and the frescoes om the vaulted ceiling and above the walls of the nave of the upper church of S. Francesco at Assisi, of which the best are the Kise of Judas, the Marriage at Cana, the Dep sition from the Cross, and Joseph and his Brothers A Holy Family by Cimabue is in the National Gallery.

As cotemporaries of Cimabue who were influenced by his work, we mast name Jacobus Toriti (flour. ab. 1290), author of some fine mosaics in the tribunes of 8, Giovanni in Laterano and S. Marin Maggiore at Rome; Giovanni Cosmato (fl. ab. 1300), author of mosaics im the latter eburch and in that of S. Maria sopra Minerva, Rome; Gaddo Gaddi (12391312), the painter of an Ascension of the Virgin in the cathedral of Pisa, a Coronation of the Virgin in the cathedral at Florence, ete.; and, above all, Duccio di Buoninsegna of Siena (ab. 1260—after 1380), the chief painter of the Sienese school of this period, whe executed a famous series of paintings, representing scenes

Ty Fronexce. 337

from the Paseion of Christ, the Entry info Jerusalem, ete., in the eathedral of Siena, and other minor works, in which be perhaps displayed greater feeling for beauty and knowledge of form than Cimabue himself, The National Gallery contains a Madonna and Child by Duccio,

We have now reached the second stage of the dovelop- tment of the Italian school of painting, and shall have to distinguish betwoon two styles into which it branched off in the time of Giotto. We still find Tuscany taking the lead, bat Tuscan artists are no longer of one mind. The head-quarters of one school was Florence—of the other, Siena: the Florentines and their followers, who derived their practice wo a cert:

extent. from the early Sienese for vigour of conception amt , for warmth of feeling and grace in the treatment of single figures. At the head of the now Florentine school stands

Ambrogiotto Bondono, known as Giotto (1266—1337), who was the first Italian painter to free himself entirely from Byzantine traditions, and who exercised a lasting influence on art in every part of Italy. According to an oli tradition, now exploded, Giotto began life as a shepherd-boy on the mountains near Vespignano, his native place, and his artistic genius was first discovered by Cimabue, who surprised him, when a child of some ten or twelve years old, drawing one of his sheep on a piece of sinooth slate with a sharply-pointed stone. Cimabue at once took bim to his own home in Florence, and taught him tho rudiments of bis art. It was not long before Giotto surpassed his master; and his earnest stud nature, and stoadfast resistance to all that was false or

bia %

338 Pamrixo

unnatural in art, effected a reformation in painting the value of which it is impossible to over-estimate, In know ledge of form, of chiaroscuro and of perspective, he is gonornlly allowed to have boon doficiont ; but his force of conception, his power of preserving right balance in com- plicated groups, of expressing natural ebaracter, and his

ff ALN oH A AOU TZ TTA

/ if ak

Fig. 121—Obediones, By Giotto. Tn the Church of 8. Pronovice ut diaials

feeling for grace of action and harmony of colour, justly entitle him to the high position nssigned to him ne the founder of the true ideal style of Christian art, and restorer of portraiture, The cotermporary and

Dante, he stands at the head of the school of allegone painting, as the latter of that of poetry.

Ix Frogexce. 839

The following may be taken as typical works by this great master :—the historical paintings representing thirty- eight scenes from the Lives of the Virgin and Christ in the chapel of the Madonna dell’ Arena at Padua; the frescoes in the lower church of S. Francesco at Assisi, over the tomb of the saint, representing scenes from the life of that saint, of which one of the best ia the Marriage of S. Francia to Poverty; the celebrated mosaic, known as the Navicelle, in tho old basilica of 8, Peter, Rome, repre- senting a ship on a stormy sea containing the disciples, with Christ walking on the waves (still preserved, much restored, in the vestibule of the present S. Peter's); the Seom Sucraments, in the church of the Tnooronata at Naples, in which Giotto departed from his usual symbolic style and painted actual scenes of human life; and a series of smull paintings om wood in the Florence Academy, A fine Portrwit of Dante, by Giotto, was discovered in 1840 om # wall in the palace of the Podesta at Florence. Several of the works of Giotto, and many of those by Italian artists who Hourished at or near the time to which we are refer- ring, have been reproduced in chromo-lithography by the Arundel Society. The general characteristics of the early Tealian painters may be well studied at the National Gallery, which is tolerably rich in specimens of the various early schools of Italy and Germany. ‘xo Apostles, by Giotto, and & Coronation of the Virgin, by « disciple of his school, are of the class to which we allude. Two works by Giotto aro in tho Liverpool Institution: they ure the Presentation of S. John tho Baptist to Zacharias, and Salome with the head of the Baptist, both from Santa Maria del Curtaine at Florence; they were exhibited at the OM Masters Exhibition in 1881. In Giotto’s paintings

30 Pastixo

the colours are lighter and of a more roseate hue than those of his predecessors; they were mixed with a thinner medium, and are very well preserved, Not only in paint ing, but also in sculpture and architecture, was Giotto famous ‘The Campanile at Florence was built from his designs, and some of the sculptures which adorn the base are said to be by his hand.

Taddeo Gaddi (ab, 1300 — 1367) was the chief of Giotto’s scholars, and his works are considered the most important pmduced in the fourteenth century. He was especially successful in historic subjects, in which be displayed great fecling for truth and beauty, and a more thorough knowledge of colouring and chiaroscuro than Giotto. The fresco in the Cappella de’ Spagwuoli in the cloister of S, Maria Novella at Florence, known at the Art and Sciences, was formerly ascribed to kim; but several anthors consider that it is by some painter ‘Three pictures of luis echool are in the National

Andres di Cione—ealled Orcagna (1308 2—1368 7), the shortenod form of his sobriquet ‘ L’Areagnuole’—although he did not study under Giotto, was greatly influenced by his paintings: his works aro remarkable for their grey energy, and imaginative power. His principal painting | is the Heaven aad Hell, in the Cappella Strogzi, in 3 Maria Novella at Florence, The works in the Campo Santo at Pisa, which for many years rendered name famous, are now given to other painters, The National Gallery contains a large altar-piece in twelve pieces by Orcagna, ropresenting in the centre, in thie divisions, the Coronation of the Virgin, with nine olber scenes connected with the life of Christ, which wen

ascribed to him. Other painters influenced by Giotto are Giovanni da Milano, a fellow-worker with Taddeo Gaddi; Jacopo di Casentino (1310—ab. 1990); and his pupil Spinetlo Aretino of Arezzo, the author uf several in the Campo Santo at Pisa; and lastly, Giovanni and Bigs Gaddt, sons of Tuddeo,

OF the Sienese school, the members of which aimed rather at spiritual expression than an exact imitation of ee form, Simone di Martino, known as Simone

Mommi (ab, 12834—1344), a cotemporary of Giotto and the friend of Petrarch, was the chief. Very few of hia works now remain : 9 fresco in the Cappella de! 5 i in S. Maria Novella, representing the Church Mili containing portraits of Cimabue and Petrarch, formerly thought to be Simone's chief work, is now ascribed to Andrea di Firenze, who is thought to have belonged to the

school.

‘Arabrogio Lorenzetti (the dates of whoso birth and death ane unknown) was the most famous of a family of artiste. His principal works is a series of allogorical fressous, | the Results of Good Govorament and the Rorulte of Bad Gocecament, painted in 1337-39, in the Palazzo at Siena; and to him and his ‘brother are now given the frescoes in the Campo Santo

wannoyg ‘epee e0E wy MT

Panes Ne ee a

Panstexa ov Eraty, 348

at Pisa, formerly, on the testimony of Vasari, ascribed to Orcagna.

Whilst the art of painting was making rapid strides towands perfection in Tuscnny, a simultaneous advance was taking place in Urubria, Rome, Venico, and other parts of Italy, ‘The early Florentine and Umbrian Schools were not sufficiently distinct for it to be necessary to particularise the peculiarities of the latwer; and the early mastors of the Roman school were greatly influenced by Giotto. Of these, Pietro Cavallini (1259—1344) was the most remarkable; the Crueifieion in the church of Assisi, formerly considered his best existing work, is now thought to be by Pietro Lorenzetti.

‘Towards the close of the fourteenth century great progress was made in Rome, and many artists rose into fame. Of these, Gentile da Fabriano (ab. 1370—nb. 1450) was the chief, His pieture of the Adoration of the Kings, in tho academy of Florence, is one of the finest existing speci- mons of the early schools, He was a good colonrist, and excelled Giotto in knowledge of form.

In Venice, the straggle between the Byzantine style and the new tendencies in gainting Iusted long, and it was not until the latter half of the fourteenth century that the yoke of tradition was finally broken. Lorenzo Veneziano, and Paolo and Niccols Semiteoolo, al! of the fourteenth century, were the first Venetians to attempt the now method.

() Tn France and Germany. Before we enter on the history of Italian painting in the fifteenth century, we must cross the Alps, and trace the of the new movement in the rest of Europe,

Maral painting was practised with great success in

344 Partine

Germany and France in the Romanesque period (tenth, eleventh, and twelfth centuries), and even the most insig- nificant village churches were adorned with frescoes. The principal works of this description in Germany dating from these centuries are those on the ceiling of S. Michael's at Hildesheim ; and those in the choir and left aisle of the cathedral at Brunswick, supposed to have been executed before 1250; in the Nicolas Chapel at Soest; and in the church of Schwarz Rheindorf.

There are the remains of a mosaic in the cupola of the cathedral of Aix-la-Chapelle: it represents Christ with twenty-four elders. We know too, from miniatures of them, that the castle of Upper Ingelheim on the Rhine was adorned with frescoes of historical subjects, which bore strong traces of Byzantine influence.

In France, the frescoes in the churches at S. Savin and Tournus are among the most remarkable. All these works follow the antique rather than the Byzantine style, and are distinguished by a simple earnestness and dignity in the figures, by their powerful colouring, and appropriate: ness as architectural decoratiuns.

The industry of the monks,—especially of those of the monastery of St. Gall in Switzerland, of which Tutilo (or Tuotilo) and Notker were the most celebrated,— carried the art of manuscript painting to the greatest perfection in the middle ages. In the same period it became the fashion to paint movable or easel pictures.

The rise of the pure Gothic style—which, it will be re membered, underwent large modifications when practised in Italy—was unfavourable to the progress of painting im the north of Europe. Frescoes were no longer required to decorate the flat walls, for the walls were reduced w

————

Is Fraxcr avy Genwaxy. 345

narrow piers; bat the decline of mural painting was in ® great measure atoned for by the growth of the art of ghue-staining, which was carried to perfection in the Gothic peried : the finest painted windows of France and Germany—such, for example, as those of the cathedrals of Bourges, Chartres, Rlicims, and the Sainte Chapelle of Paris, in France, and those of the cathedrals of Strasburg, Cologne, and Ratisbon, in Germany—are all the work of the best Gothic period, and casentially integral parts of the buildings to which they belong,

The miniature painting of the Gothic period in the north of Europe consisted principally of illustrations of the ballads of the troubadours; and the first evidence of whut can be strictly called a school of German painting is in the “Pareival” of Wolfram von Eschenbach, a poet of the thirteenth century, who speaks of the painters of Cologne and Macstricht in highly commendatory terms.

‘The earliest school of art in Germany is that of Bohemia, which, under the patronage of the Emperor Charles 1V., flourished for a short time only at Karlatein, near Prague, in the fourteenth century. Its principal artists were Theo- dorich of Prague, Nicolaus Wurmser, and Kunz, who wero employed to decorate the walls of the castle and church of Karistein. Tho Italian Tommaso da Modena also worked at Karlstein for Charles IV.

‘The school of Nuremberg also attained to a high position in the fourteenth and fifteenth centuries. Our illustration (Fig. 125) is the coutre-piece of an altar-piece by one of its unknown tasters. It was probably executed about 1420, although it is usually assigned to the close of the four teenth contury. In the Berlin Museum are four wings of an altar-piece of the Virgin aad Saiuts, which are said to

fey

—————

is Geewaxy. oT

him are ascribed—several fine pictures in the Pinakothek of Munich; a large altar-picce, his principal work, néprosent~ ing the Life of Christ, in the Jobannis Kapelle in Cologne cathedral; and several easel pictures, the single figures in which are full of life and character, in the various galleries of Germany. Tho National Gallery contains a S. Veronica by Wilhelm of Cologne. Stephan Lochner (died 1451), or Meister Stephan, ax he ix called, said, but perhaps errane- ously, to have been the pupil of Wilhelm, was another and greater master of the same school: by him is the famous altarpiece in the cathedral of Cologne, formerly ascribed to Meister Wilhelm; it represents the Adoration of the Afayi, with 5. Gereon and his Knights and 8, Ursula and her Virgina on the wings, and the Annunciation on the exterior. Israol yon Mockenon, who flourished at the end of the century—if all that is eaid of him be true —tust have excelled all his predecessors, some of the best, pictures of this time in the Munich Gallery being attributed to him. The Master of the Tyversburg Parsion (fl. ab, 1463—1480), so-called from a series of eight subjects from the Life of Christ formerly in the possession of Herr Lyvers- berg in Cologne, is represented in our National Gallery by a Presentation in the Templa: this painter has been con- fused with Israel vou Meckenen. The Master of Leisborn is also represented in the National Gallery, whore are two pieces, figures of Suiuts, from the high altar-piece which was executed in the Abbey of Liesborn about the middle

‘The works of the early German schools are mostly painted on panel, with gold grounds, and are distinguished for depth of colouring and careful execution of details. ‘Their chief fault is want of accuracy in design; but this

348 Parntina in Geemany.

is to some extent atoned for by the nobility of the ex- pression of many of the heads. We may add that in technical dexterity in the use of tempera or water colours they excelled all their cotemporaries and predecessors, their works having as fine an effect as vil-paintings.

The decorative painting of the middle ages would repay separate study; but our limits only permit us to point out that, at first purely geometrical, the designs were gradu- ally complicated by the introduction of animals’ or birds’ heads, finally leading to the profuse use of the grotesque element, which formed so distinctive a feature of Gothic art. The pointed or Gothic style of ornament was a re- production in decorative painting of the peculiarities of Gothic architecture and architectural sculpture. Flowers and foliage, human or animals’ heads, the wings of insects or of butterflies, with an endless variety of zigzags, frets, and other ornaments, were grouped together in such » manner as to harmonise alike with the lines of the building and its decorative sculpture.

TIL Rewarssaxce Parxtixe ox Trany.

A REMARKANLE difference exists between the history af painting and that of seulpture and architecture at the Renaissance period. Of the two latter arts the Romans hind left 20 many remains that, whon the revival of letters altered the current of men's thoughts, it was natural to revert to the actual models existing abundantly in Italy; and, as we have seen, this was donc. In painting the case was different; the art was in a constant state of development, which was influenced but not interrupted by the classic revival, We may, if we please, consider the fifteenth century a a transition period, and the sixteenth as the Renaissance period; but the terms must not be understood to charscterise a revival of classical modes at all so complete ax that which occurred in the sister arts, By many writers it is considered that the Renaissance of painting in Italy began early in the fifteenth century, or even with Giotto at the commencement of the fourteenth centary.

1, Painting in Italy in the Fifteenth Century.

The fiftoonth century was a time of exceptional intellee- tunl netivity, and the progress made in scientific discovery was of great importance to the arts of painting and sculp- ture. As we have seen, a considerable advance bad been made in expression and imitation in the thirtecnth and fourteenth centuries; but oil-painting was still unpractised, portraiture was little cultivated, linear perspective was very imperfeetly understood, and kandacape painting, as an independont branch of art, was not even attempted, At the beginning of the fifteenth century, however, tho

350 Parstrsa

introduction of oil colours, the scientific study of perspective, forin, and colour, and the constant demand for frescoes on an extensive scale led to a progressive movement in Italy which culminated in the sixteenth century; and during this (evelopment schools arose on every side, characterised by excellence in one or another element of art. Until about 1450 we find Florence still taking the lead; but from that date the Neapolitan, Umbrian, Bolognese, Venetian, and Paduan Schools rose into almost equal importance.

(a) The Florentine School.

The artist who contributed most to the pre-eminence of Florence in the early part of the fifteenth century was, without doubt, the sculptor Lorenzo Ghiberti (see p. 244), in whose school the leading painters of the day were formed, He perfected the imitation of nature which Giotto had introduced, applying the sciences of anatomy, mathematics, and geometry to the art of design. Of his pupils we can only name the principal: Paolo Uceelli (1397—1475), who directed his attention almost. exclu- sively to the study of perspective. the great value of which he illustrated in his frescoes in the monastery of S. Maris Florence—of which the Drunkenness of Noah jally remarkable — and in several easel pictures, one of which, the Battle of S. Egidio, is in the National Gallery; two others are in the Uffizi and the Louvre. Piero de? Franceschi, commonly called Piero della Fran- cesca (ab, 1415—1492), did much to systematise the study of perspective; Masolino da Panicale (1882—1447), who excelled in colouring, but who rather sacrificed compo | sition to detail of form, executed several fine works in the

‘ Ts Fronencr. 851

church and baptistery of Castiglione di Olona, and in the Brancacci Chapel in the church of the Carmine at Florence. Chief among these painters was Tommaso Guidi, com- monly called Masaceio; he wns the pupil of Masolino, and might, with better just- ice than Cimabue, be styled the father of modern Italian painting; he excelled all his predecessors in knowledge of form, perspective and chiaroseuro,

Masaocio (1401 — 1428) wns born at Castel S. Gio- vanni, in the Val d'Armo, and when quite a boy worked under Masolino at the fres- coex in the Brancacei Chapel, in the church of the Car- mine, Florence.* In his frescoes Masaccio gave proof of remarkable powers, and

ees the influence of Ghiberti is te Beene ear very distinctly traceable.

Thoir chiof excelloncos are

the admirable treatmerit of the nude human figure—the jodicious foreshortening of the oxtrumities, the happy

® Lt ten commonly been wabl that Masnccio finished these freveoos after Masolino's denth; but imusmuch ae the latter qurvived the former by ninotean years, this x iinpowible. It may be serviceable

352 Pama

rendering of the flesh-tints, the animation and varied character of the heads, and the skilful grouping and com- position of the whole. The National Gallery possesses so-called portrait of this great master from his own hand, but some writers doubt its authenticity.

Two of Masaccio's greatest cotemporaries (both monks)

to give here n list of the frescoes as they have been ansigned to their various authors by the latest authorities.

By Masaccio,

The Expulsion from Paradise.

The Tribute-Money.

The Resuscitation of the King's Son. (Finished by Filipino Lippi.)

(iv) 8. Peter in Cathedrd.

(v.) The Ingirm heated by the shadow of SS. Peter and John.

(vi) 8. Peter Buptizing.

(vii.) 8. Peter distributing alms to the Poor.

By Masorayo,

(vili.) The Preaching of 8, Peter.

(ix.) The Healing of the Lame Man at the Beautiful Gate.

(x.) The Resuscitation of Petromilla. (Also called The Raising of Jairus's Danghter.)

(xi.) Adam and Eve beneath the Tree of Knowledge.

By Fiuivptyo Lives. S. Peter in Prison visited by S. Paul. S. Peter freed from Privon, ») SS. Peter and Paul before the Proconsul. Crucifizion of S. Peter. Resuscitation of the King's Son. (Begun by Masaccic.)

Ins Frorencr. 353

were Guido di Pietro, of Fiesole, commonly called Fra Angelico (1387 — 1455) and Filippo Lippi (ab. 1412— 1469), who may be taken as the representatives of the two great classes into which the painters of the Rennissance became divided, and to which the name of the Mystics or Idealists, and Naturalists, have been given—names still retained by their followers and imitators: the former being those who cultivated beauty asa means to an end, and studied nature only for the sake of furthering that end— the exprosdon of all that is highost and best in the material and spiritual world; and the latter, those who aimed at the exact imitation of beauty for its own sake, aud earnestly studied everything connected with the theory and practice of their art.

Fra Angelico da Ficsele, called from the holiness of his life 1? Beato (the Blessed), entered the order of the Prodi- cants at Fiesole at the age of twenty, taking the name of Giovanni, and devoted a long and peaceful life to the cultivation of religious art, never painting any but sacred subjects and never accepting payment for anything be did. His principal works are freseves in the convent of S. Marco, and the charch of S Maria Novella at Florence, and in the chapel of Nicholas V.in the Vatican (Fig. 127); an easel picture, the Coronation of the Virgin, now in the Louvre; the Adoration of the Magi, and Christ in Glory surrounded by Angele (which once formed the predella of an altar-pieoe in S. Domenico at Fiesole), both in the National Gallery. Many good works by him are in the Florentine Academy of Fine Arts, They are all alike remarkable for their elevated religious sentiment, the grandeur and ideal beauty ‘of tho figures, and the loving finish of every detail. Fra Angelico’s works were the outpourings of his own devout

pry Aa

kee” j

Is Frorencr. 355

Fra Filippo Lippi presents both in his life and works a striking contrast to Fra Angelico. Hoe was received into the convent of the Carmelites as a boy when Mamecio was at work on his freseoes, and, if he did not actually receive lessons from that moister, he certainly followed his style. According to a popular tradition, which recently discovered documents have shown to be erroneous, Lippi’s life was one long romance, Becoming weary of convent life, it is said, ho ran away to Ancona, was taken captive by African pirates, and sold as a slave in Barbary. After eighteen months’ eaptivity he won his master's favour by drawing his portrait with a piece of charesal, and, as a reward, received his liberty. His life was divided between the pursuit of pleasure and of art. He was one of the first Italian masters to paint in ails, and to cultivate the sensuous side of art. His principal merits were his mastery of chiaroscuro, the breadth and grandeur of his figures, and his easy grace in grouping. He was also amongst the first to introduce genuine landscape backgrounds, and he often displayed considerable knowledge of natare; but many of his works were spoiled by a certain want of calwnes: and dignity in his secred personages, The academy of Florence contains many of his finest easel pictures, painted for the churches and convents of that city; and in the Nati Gallery there are five sacred subjects ascribed to hi Vision of 8. Bernard; Madonna and Child ; the Virg seated, with an Angel presenting to her the Holy Child ; an Annunciation; and a» group of 8. John the Baptist and vie Sainte. Crowe and Cavalcaselle doubt the authenticity the second and third of these; but, on the other hand,

to Filippo Lippi the Adoration of the Magi, which is in the catalogue ascribed to Filippino Lippi. Of Lippi’s

Tx Frorence, S57

im art, or rather a degenerator, for it was he who, by giving an undue prominence to drapery which it had never before received, and similar alterations, started the decline in sacred historic painting.

Antonello da Mossina (ab. 1414—ab. 1496)—althongh he belongs, strictly speaking, to the Venotian school—must be mentioned here on account of his introduction of the improved miethod of mixing oil colours, which he learnt in Flanders. The National Gallory possesses a work by him, & Salvator Muli; and three important pictures are preserved in the Berlin Museum, of these the Head of S Sebastian and a Madonua and Child are considered the best.

As great Florentine painters of the fifteenth century, we must also name—

Lippi’s adopted son, Filippino Lippi (1460—1504), who copied his style and excelled him in his peculiar merits; he was the author of SS. Peter and Paul before the Prom conaul, and other fine frescoes in the Brancacci Chapel, so often referred to (see p. 351). He also painted important works in the Strozai chapel in S, Maria Novella, Florence, aod in Rome and Prato, There are three works by him in the National Gallery,

Benozzo Goxsoli (1420—1498), the pupil of Fra Angel- ico, but inferior to him, whose best works are twenty-four frescoes in the Campo Santo at Piss, and whose style may be studied in two easel pictures in tho National Gallory, He. was very lavish with elaborate accessories.

Andrea del Castagno (1390—1457), who until quite recently has been considered tho murderer of Domenico Veneziano (ab. 1420—1461), who survived him four years, and from whom he is «aid to hare obtained the secret of the

Is Frorence. 309

School of painting of the sixteenth century, by his carnest stuly of the human form, of which he acquired thorough anatomical knowledge, combined with absolute command of expressing that knowledge in painting: he has been justly called the forerunner of Michelangelo. He was a papil of Piero della Francesca. His most fumous works

Vig. 129-— Zacharias writing the exme of John. By Odielandaje. In & Marka Nowelte, Floresce,

are the frescoes in the Chapel of the Virgin in the cathedral of Orvieto, representing the Last Judgment—of which the best part fs the Wieked cas? out of Heaven, in which the foreshortening is moet daring and hitherto unapproached : they were completed in 1503, shortly before the exhibition at Florence of Michelangelo's celebrated Cartoon of Pisa, to which we shall presently refer. He was one of the artiste called to Rome by Sixtus IV. to decorate the Sistine

Tw Frosenct. 361

to decorate it for him. Those that answered the call were Botticelli, Ghirlandajo, Rossolli, and Signorelli; and, under the direction of the first-named, they executed frescoes which to this day testify to the oxcellence of Florentine art at the close of tho fiftoonth century. Our space will only permit us to give a list of these works. Beginning at the altar are—

Ox gar Laer Wart,

©) Journey of Moss and Zipporah. (Porugino.)

Gi) Moses's Miractes in Egypt. (Botticelli)

Gi) Drowning of Pharaoh. (Roxselli.)

Gv.) Mons Rewding the Lue: Adoration, and Destruction of the Calf. (Rosselli)

(*) Fall of Koroh and his Followers. (Botticelli.

(vi) Publication of the Ten Commandments, and Death of Moves, (Signorelli)

Os rie Riowr Watt ©) _Baptirn of Clri. (Perngino.) GL) Temptation of Chrie, (Botticelli. iL) Calling of Peter and Andrew. (Ghiriandajo,) Ci.) Sermon on the Mount, (Rosselli.) () Investiture of S. Peter. (Poragino.) (si) Last Supper, (Roselli)

(b) The Paduan School.

‘Tho founder of the Padaan school was Francesco Squar- cione (1394—1474), to whom is duc the merit of reviving the stady of the masterpieces of antique sculpture. The peeoliarity of the Paduan school was a sculpturesque rather than pictorial treatment of form, the compositions of its masters resembling bas-reliefs rather than paintings.

302 Parsrino

Squarcione was more a teacher than a painter; and only one picture by him, a group of a 8. Jerome and other Svinte, at Padua, has been preserved. His fame rests principally on his having beon tho master of Mantegna. Marco Zoppo

— aa

Pig. 190.—Judith with the head of Holofermes, From the drawieg by Mantegna in the Ufii.

(1445—1405), a native of Bologna, also aided in the development of Paduan art.

Andrea Mantegna (1431—1506) was the greatest painter of the north of Italy in the fifteenth century, and the first

ds Papoa. 363

to engrave his own designs, The most remarkable of his works aro a sories of nine cartoons executed in tempera in nine divisions, of the Zriumpha of Julius Ovsar after the Conquest of Gaul, painted for tho Duke of Mantua— now at Hampton Court; and the frescoes in the Chapel of S. Christopher in the church of the Eremitani, at Padua, reprusenting scenes in the lives of S. Christopher and S. Jumex. Of his altar-pieces, we may name that of the high altar of S. Zeno at Verona ; and the Madouna of Victory, in the Louvre, The National Gallery contains by Mantegna a Holy Family, and the Triumph of Seipio. The latter, executed in tempera on canvas, is especially valuable, as being one of the latest, if not the last, picture he ever painted. In all these works Mantegna displayed a com- plete acquaintance with anciont Roman art, a richness of imagination, a power of design, and a knowledge of form, chiarsseuro, and perspective, which entitle him to the high ravk universally assigned to him, and account for the wide influence be exercised over his cotemporaries.

None of Mantegna's numerous pupils attained to remark- able eminence; but we must mention Bono di Ferrara (8. ab. 1461) and Francesco Bonsignori (1455—1519), the former of whom was a pupil, and the latter an imitator, of Mantegna. By Bono, the National Gallery pessesses a S Jerome in the Desert, and by Bonsignori a Portrait of a Venetian Senator,

Various Venetian, Veronese, Ferrrose, Milancso, and other masters copied Mantegna’s peculiarities with more or less success. He wns the son-in-law of Jacopo. and the brother-in-law of Giovanni and Gentile Bellini, and through them had great influence on the school of Venice.

In Vesice. 365

Martyr in 1867. Another extremely fine work is a picture in S Salvatore, Christ at Kmmaus. The National Gallery contains several fine specimens of Bellini’s style: a bust portrait of the Doge Leonardo Loredano, a Madonna and Child, a 8. Peter Martyr, and Christe Agony in the Garden.

Gentile Bellini's (ab, 1427—1507) works are of inferior importance to his younger brother Giovanni's; they are charwctorised by greater softness and loss individuality of style. The best aro S. Mork preaching at Aleeandria, now in the Brera at Milan; and a Miracle of the Cross, in the Academy of Venice. The brothers warked together for some time in the Council Hall of the Ducal Palace of Venice, at a series of pictures illustrative of the Venetian wars in 1177, which were unfortunately destroyed by fire in 1577. They were replaced by works by the great painters of Venice of a later period.

Giovanni bad many celebrated scholars, of whom Gior- gione aml Titian, to be presently noticed, were the chief. We must also name Cima da Conegliano, Girolamo Mocetto, Martino da Udine, Vittore Carpaccio, Lazzaro Bastiani, Giovanni Mansueti, Marco Marziale, Catena, Previtali, Bissolo, and Mareo Basaiti,—all Venetian artista who were influenced by the Paduan school, and combined something of ita severity of form, with Venctian softness of colouring. Many of these artists may be studied in the National Gallery.

(@) Other Schools of Upper Italy. Before touching on the Umbrian school we must notice several towns which, beside Venice, played a part in the history of painting at this time Burtolommeo Montagna

Ix Uxena. 307

its distinguishing characteristic of spiritual expression—a characteristic more fally displayed in the works of his reputed pupil, Pietro Vannucci (commonly called, from his

[ =

Fig. 131,—Pisth. By Peragino. In the Acadewy ot Bloroser,

long residence in Perugia, Perugino), the famous master of Raphael.

Perugino (ab. 1446—1524) was principally famous for his purity of colouring and knowledge of perspective. He several times changed his style, the result probably of a constant wandering from one studio to another. He at

‘Vig. 192 —Madcana and Child witha Bink. By Francia.

374 Paintixe ix Florence.

colouring were carried out in Venice by the Bellini, Vivarini, and others. In a word, the way had been paved for the advent of the great Cinque-cento masters, in whose works were to be combined all the excellences divided amongst their predecessors.

The names Pre-Raphaelites and Quattrocento Masters have been given to the painters of the fifteenth century.

Is Iraty. 370

modern art, was a cartoon, composed in competition with

Cartoon of Pisa, known as the Battle of the Stondard, and representing the Victory of the Floren- tines over the Duke of Milan in 1440. Both these great works are unfortunately lost; but copy by Rubens of a group of four horsemen from Leonardo's is preserved in the Louvre; and an engraving by Edelinck is also in existence. In 1514 he paid a short visit to Rome; but the Inst years of his life were spent in France, whither Nie accompaniad Francis I, in 1516, and where he died. ‘Of the various works now in the Louvre attributed to him, many were in reality from the hands of his pupils; be himeolf worked very slowly, and often left pictures un- finished, bat he was so full of grand conceptions, and sup- plied those studying with him with so many great designs,

that a whole school of workers would not have sufficed to

earry them out.

Although the name of Leonardo not unfrequently occurs in the catalogues of public galleries, the undoubted works of his band are few indecd. Dr. Richter, who bas given taimy years to the close study of his doubted and un- Lopate to the numerous drawings, sketehes,

which he has left, admits only the follow- = works to be undoubtedly by the hand of the great master:

Adoration of the Kings. J the Ufitei, Plarewee.

‘S Jerome, - In the Vatieus, Rome (in mono chrome)

‘Lat Supper Tn 8. Maria delle Gracie, Mil (Gwall-painting) gatas

‘Mona Liss, Iu the Lowere, Parris.

Matlonna senid the Rocks fe the National Gutlery.

Ix Tracy, 381

also notice Andrea Solari, Marco d’Oggione, Andrua Salaino, Francisco Melzi, Giovanni Antonio Beltraffio, a nobleman why painted for pleasure, and Cesnre da Sesto.

Gaudenzio Ferrari (1484—1549), although not a pupil

Leoumdo, was. greatly influenced by him. He belongs

rather to the old than the new Milanese school. His Last Supper in the refectory of 8. Paolo at Vercelli, and his frescoes in the churches of Saronno and Varallo are among his best works.

The celebrated Giovanni Antonio Bazzi, surnamed It Sodoma (1473!—1549), must be named as one of Leonardo's cotemporaries who caught much of his peculiar manner. He worked chiefly at Siena, where are still to be seen his Drpoxition from the Crose in the Academy ; several scenes from the Life of S. Catharine in the chapel of S Catharine of Siena, in S. Domenico; and other works in the galleries and churches. In the Villa Farnesina, Rome, two fine frescoes from his hand are preserved —the Marriage of Alecander with Roona, and The Wife of Davina pleading for mercy with the victorious Alezander. His S. Selostion, probably the finest of all Sebastians that oxist, painted on canvas in 1515, and now in the Uffizi, Florence, ranke amongst the beat productions of bis day, on mccount of its touching beauty and the expression of intonse mental agony given to the bead of the youthful martyr.

(0) Michelangelo and hia Schook.

We have already spoken of the great Florentine, Michel- axniolo Buonarroti (1475—156$), both as an architect and seulptar: we have now to consider him as painter, and we

Tw Tracy, 383 The fat central portion of the veiling is divided into four large awl five smal] compartments, the former containing representations of the Creation of the Sun and Moon, the Creation of Adum, the Fall and ite immediate con-

Fig 135 —The Prophet fusiad. Dy Mickctaagels. In the Sistine Chapel,

sequencer, and the Deluge; the latter, scones from Genesis of minor importance. The triangular divisions at the springing of the vaults are oceupied by grand seated figures of the prophets and sibyls who foretokl the advent of Christ, of which we give a single specimen (Fig, 135). In the

Parsrixa my Tracy, 385

sinall recesses betwoon these compartments and above the windows are groups of the <tncestors of Christ, awaiting in calm expectation the Coming of the Lord; and in the four corners of the ceiling are scenes from the various doliverances of the people of Tamael,—viz., Holofernos mad Sudith, David and Goliath, the Brazen Serpent, and Heaman's Dexth. The various portions of the work are united by architectaral designs enclosing numerous figures of a grey, bronze, or bright colour, according to the position eceupy, whieh admirably serve to throw the groups the necessary relicf without in the least obtruding themselves upon the attention, The combined genius of an architect, sculptor and painter was required to produce result 40 admirable. The figures of the prophets and are allowed to be the finest forms ever produced by “Easels grand, dignified, individual character; whilst those in the minor play « fooling for beauty and a tenderness of rarely met with in the works of the stern and

of Moses and tho Last Judgment.

and convulsivoly struggling with evil demons. ‘The whole

yoone is porvadled by horror: there is no joy in the coun-

tonnneos even of the blessed; and the Virgin, standing

Iai Fa Fae ve7 he beed with an expression of oo

In Tray. 387

Descent from the Cross, ia in the church of the Trinitd de’ Monti, at Rome.

(¢) The Florontin School of the 16th Century.

We may conveniently here mention a few painters who upheld Florentine art during part of the sixteenth century, Andrea d'Agnolo, commonly called del Sarto (1487—153}), a cotemporary of Michelangelo, attained to considerable excellence as a colourist, and enriched Florence with many fine original frescoes and altar-pieces, of which the History of S. John in the Scalzo, and the Life of 8. Filippo Benizzi in the church of the Servi (which contains his famous Madonna def Sacco) are among the best. The National Gallery contains a portrait of himself and a Holy Family. He was first apprenticed to’a goldsmith ; and then studied painting under Piero di Cosimo. His style, however, wna formed more from a study of the great works of Ghirlandaio and Masnccio, of Michelangelo and Leonardo, than from any instruction received from Piero.

Francesco Bigi, commonly known as Franciabigio (1482 1525), first studied in the Brancacci Chapel, and then under Albertinelli. He was a friend of Andrea de! Sarto, aol was influenced by him. A Portrait of a Youth, by him, is in the National Gallery.

Jacopo Caricei, called da Puntormo (1494—1556), was a pupil of Leonardo, of Pioro di Cosimo, and of Andrea del Sarto: ho is famous for his portraits; an example is in the National Gallery, where his pupil, Angiolo Allori, called Bronzino (1502—1572), may also be studied. He was greatly influenced in his painting by Michelangelo, and was moreover the friend of the famous Florentine painter

cod

388 Pane

and chronicler, Giorgio Vasari (bof, 1512—1574), whos ‘Lives of the most excellent Painters, Sculptors, ané Architects" has gone through many editions, and is work! known.

(d) Raphoel and his School.

Raffaello Sanzio, usually called Raphael (1485—1520), is geperally considered to be the greatest of all painters He was born at Urbino: his father, Giovanni Santi (sb 1440—1494), was an Umbrian painter of some noto, whee title to fame has been eelipeed by that of his famous st; and the young painter's earliest works wore exponents the peculiar style of the Umbrian School in its highest development. ‘The pupil of Pertigino, he was at fink greatly influenced by that master; and in speaking of lee works we shall have to distinguish between three distivt styles—known as the Perngino manner, the Florentim and tho Roman—adopted at the threo different periods his life. Raphael, like the other mastor-spirits of his agé ‘was a universal gonius; he excelled alike in arolritectute, sculpture and painting, and was endowed with ervey quality which could endear him to hia aasocintes No man inspired such universal confidence and affaction, aml no artist has exercised so wide and lasting an influenot ‘upon art as Raphael, by whose spirit we are even at every turn in every branch of art, What strikes uf principally in our study of his character is the eombisaties of the highest qualities of the mind and heart—a eombéa tion rarely met with even in the greatest men, and pechayt never to so full an extent as in him and in the graf musician Mozart, who may well be called a kindred spit

though working in o difforent sphere. In the works #

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Tw Traty. 389

others, even of the most gifted masters, we find the influence of the intellect or of the affections predominating, whilst in those of Raphael they are inseparably blended ; and it is this union of the highest faculties which produces that beautiful and unrivalled harmony which pervades everything from bis hand. He exhibited in the highest Mogroe the combination of the powers of invention with those of repreeentation, sometimes known as the formative and imitative qualities. In invontion, composition, moral force, fidelity of portraiture, and feeling for spiritual beauty, he is surpassed by none; in grandeur of design by Michel- angelo alone ; whilst in falness of chiaroscuro and richness of colouring he is only excelled by the best masters of the Venetian School

Te will be impossible, having regard to our limited space, to do more than allude in the most cursory manner to the chief of Raphac!'s numerous works. Although he died at the early age of thirty-seven, he executed no less than 287 pictures and 576 drawings and studies, m addition to the series of frescoes in the Vatican and elzewhere.

Of the paintings executed under Porugino, the principal are a Coromation of the Virgin, in the Vatican, two stadies for which are in the Oxford Collection; and tho Virion of « Knight, in the National Gallery. The earliest inde- pendent works are said to have been a Church-banner in S Triniti at Citta da Castello; and a Orueifizion, in the

of Lord Dudley, which was exhibited at the “Old Mastera” Exhibition at the Royal Academy in 1872.

On leaving Perugino’s school in 1504, at the age of twenty-one, Raphacl, eager to improve himself by the study of greater works than his master’s, repaired to

Pig. 157.—The Marvingo of the Virgin. By Raphect. ~ Tathe Sirens, Aiton.

392 Parise

Panshanger Raphael, the Ifrdonna della Casa Niccoliromsi, which bears the date 1508, Both Panshanger pictur—ves were exhibited at the “Old Masters" in 1881; as themey were hung in close proximity, their differences comamld readily be noticed.

Tn the middle of the year 1508 Raphael wasecalled to Rome by Pope Julius U1. to aid in the adornment of he magnificent suite of apartments in the Vatican, which were to commemorate the temporal and spiritual powex— of the Papacy. The walls of three stanze (i.# rooms), amend of the gallery or corridor leading to them from the stemir- ease, and consisting of thirteen compartments, or lagg7iy with small cupolas, were covered with frescoes by thy great master himself, and by his pupils after bis desigas

Tn the first room, the Stanea della Segnatara, Raphael tepresented in symbolic scenes on the walls the four great intellectual pursuits—Theology (1509), Poetry, Philosophy, and Jurisprudence,—and adored the ceiling with far allegorical figures of the same, with appropriate eyrabilt The fresco of Theology (also called the Dispute of the Hly Sacrament) is divided into two portions; the upper cia taining the Holy Trinity with the heavenly host, and the

School of Athens), in which Plata and Aristotle ocoupy the contre, with Zeno, Diogenes, Aristippus, Epicurina, and other well-known Greeks, with their pupils, among whom many portraits are introduced ; and that of Junie prudence, Gregory IX. giving out the Decretals; Justinian giving the famous Pandects (i. ¢ the Roman Laws, made

_ill

Is Traty. 393

by onder of Justinian from the writings of Roman jurists) ; and three allegorical figures of Prudence, Fortitude and Temperance. This chamber was completed in 1511.

Tn the next, the Stanza dell’ Eliodoro, the frescoes are more strictly historic. We sce the Expulsion of Helio dorux from the Temple (1512), in which Pope Julius IT. is introduced as a spectator; the Miracle of Boleena (1512),

ting tho Mass at which the miracle of the bleeding of the Host is said to have taken place; the Discomfture of the hordes of Aitila (1513), and the Deliverance of S. Peter (1514)—im all of which the power of tho Papacy is directly or indirectly shadowed forth.

Tn tho third chamber, the Stanza dell’ Incendio, we have the Fire in the Borgo Veechio—a marvellous work, full of the highest dramatic power, in which Raphael dis- Played consummate knowledge of anatomy in the groups Of torrified naked figures; the Coronation of Charlemagne, the Oath of Leo IIL, aud the Victory over the Saracens in the time of Leo IV.

‘The frescoes in a fourth room, known as the Sala di (Costantino, aro from designs by Raphaol, executed after his death by his pupils.

Tn the cupolas of the loggie there aro no less than fifty-two subjects, which are called “Raphael's Bible,” remarkable alike for dramatic interest, beauty of design, and majesty of execntion. Viowed as the production of a single mind, they stand alone ax a proof of Raphael's unrivalled versatility and creative genius. The decorative paintings and ornamental plaster-work in which these pictures are framed remain unequalled of their kind.

Other famous works of tho Roman period of the great master’s life ore the Cartoons (seven still exist of an

304 Pata

original ten), which were designed by Raphael and exo- cuted by himself, assisted by pupils, and which are 20 well a

for the Sistine Chapel, by order (Fig. 138), ‘The tapestries were woven, undee the 7 intendence of Michiel van Coxcien, at Arras, in Flanders,

Ins Tratr. 395

and are now in the Vatican; reproductions of them are also preserved in the Berlin and Dresden Galleries.

Seven of the original designs, and copies after them, are wo accessible that we need only add that they represent the following scenes from the Lives of the Apostles, treated with groat dramatic power:

‘The Mirseuloes Draught of Fishes (greater part by Raphael).

Chcint's Charge to Peter (the figure of Christ only by Raphad).

§& Peter and S Johm healing the Lame Man (greater part by Gintis Rowan),

‘The Death of Ananian (moet of the heels by Raphael).

Biyrass the Sorcerer atruck with blindoova (part by Rapa).

Paul and Barnabas at Lystra (executed fy Penni).

Paul prosehing at Atherm (mow by Ruphuel).

‘These seven cartoons were bought by Charles T., at the ‘Suggestion of Rubens, and have remained in England ever Since. The thine missing cartoons had for subjects—

The Martyrdom of 8. Stephen. The Conversion af 8. Paul. & Panl fn Prison,

A second series, with subjects from the Life of Christ, was commenced shortly before Raphacl’s death. Daring his residence in Rome, Raphael also painted ‘the famous frescoes of the Farnesina Palace, in which he gave proof of the lore of antique subjects which character- ized his later years, by choosing for representation the Triumph of Galatea {in which be was greatly assisted by Giulio Romano), and the History of Cupiil and Psyche, by many critics supposed to have been executed entirely by his pupil, after his designs

Pig. 190.—La Dethe Jartinitre, By Raphesl.

Ta the Lowere,

Tw Traty. 399

many of his master's greatest works, and inherited his feeling for classic beauty and his powerful drawing, but not his grace of design or purity of colouring. A re- markable series of paintings by Romano decorate tho Palazzo del Té, ab Mantua, which was also built from his designs

Fig. 162. —Madowma dite Setia, Ry Raphael, fu the Pitt Pafece, Florey

Giulio Romano had for pupils Francesco Primaticcio (1490-1570), who first worked under jim at Mantua, but afterwnnis became famous for his scenes from the Oilysary {now destroyed), which he executed in the Palace of Fontainebleau, whither he was invited by Francis I in 1531; and Giulio Clovio (1498-1578), who is more celebrated for his illumimations than his paintings,

400 Parise

‘We must alao name, as followers of Raphael, Gianfrancesro Penni (1448-1528), called T] Fattory, in whes: works we recognise excollences similar to those of Romano; Timoteo Viti (or della Vite), (1487-1523), who shared ‘Raphael's power of expressing religious fervour; Pierino Buomaccors, called del Vaga (1500-1547), who painted much at Genoa; Giovanni Nanni, da Udine (1487-1564), who carried out his decorative designs and caught much of his spirit; Innocenzio Francuoci da Imola (1494-1549), and Barto: lommoo Ramenghi, callod da Bagnacavallo (1494-1542), who adopted his soft and beautiful style of modelling.

Wo may here notice a fow artists who, amongst others formed

(0) The Fervarese School.

Benvenuto Tisio, usually called Garofalo (1481—1559), painted at Ferrara, Cremona, Rome and Mantua, under various masters, but ultimately became an assistant of Raphuel, in the Vatican, in 1515. ‘The latter part of his life was spent in Ferrara, and for the Inst nine years he suffered total blindness. His best work is the Appari- tion of the Virgin to 8. Bruno, in the Dresden Gallery. The National Gallery contains four of his pictures: the principal is a Madonna and Child enthroned, originally on altar-pigce in S. Gugliclmo at Ferrara.

Giovanni, commonly callod Doseo, Dossi (1479 21542), and his younger brother Battista Dossi (ab. 1480—1548), were first pupils of Lorenzo Coata; and thon studied at Rome and Venice. Retuming to Ferrara, they executed, amongst other works, frescoes in the Ducal Palace—Doaso doing the figures and Battista the backgrounds. An Adoration of the Magi, by Desso, is in the National Gallery, where

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Tx Lownaxpy, 401

also tho style of Lodovico Mazzolini (1478—1628 ?}—a fellow-pupil under Costa, and a subsequent rival of Garofalo, and second only to him in Ferrara—may bo studied.

The National Gallery, wo, contains the masterpiece of Giovanni Battista Benvenuti, called dell’ Ortolano (ab. 1400—aft. 1524), whose manner was formed on u study of Raphael and Bagnacavallo,

UY) The Lombardie School.

Antonio Allegri, called from his birth-place Correggio (1494 11534), introduced n totally new manner in the art of yainting, and excelled all his predecessors and cotemporaries in his chiaroscuro, and in the grace and softness of effect of his pictures. He was the founder of what is known as the School of Lombardy or Parma. In the early part of his career he was greatly influenced by

but he soon displayed all these

distinctive poculiaritios which raised him at once to the highest rank. Whilst the masters of Rome and Florence almost exclusively caltivated form and expression, Correggio directed his attention to the harmonious play of light and shade, and to subtle combinations of colour. Tn the wards of Sir Joshua Reynolds, “His manner, design, and execu- tion are all very great, without correctness. He had a most free and delightful pencil, and it is to be acknowledged that he painted with o strength, relief, sweetness, and viracity of colouring which nothing ever oxccoded. He understood how to distribute his lights in such a manner as was wholly peculiar to himself, which gave great force and great roundness to his figures.” He filled up all that

EBA DD

Ix Loxpanvy. 403

the Biblioteca; it is ropresented in S. Giovanni by a copy. ‘Theee works were finished in 1524. Later in his career the great master displayed coneider-

Pig (41.—Amorinl. Dy Cormega, From the frercces ti S. Posls, Para:

able love of the gutique, and in 1525 he painted for the

Duke of Mantua the Education of Cupid (now in the

Nationa! Gallery), considered one of his masterpicces. DD?

404 Parsrixa.

Other works of a similar character are his Toda with the Swan and Jo anc Frepiter, both in the Berlin Museum ; and his Danae in the Borghese Palace, Rome. To this period of his life belong many fine altar-pidees, Holy Families, and sacred pictures, Tho Drosden Gallery is especially rich in works by Correggio—containing, amongst others, the famous Nativity, called the La Nolte (or © Night"), bocause it is lighted entinsly by the nimbos round the head of the Holy Child; and the yot bettor-known Reading Afagdalen. The Parma Gallery contains the famous Madonna della Seodella (Fig. 142), and the Madonna and S. Jerome, representing the Saint offering his translation of the Bible te the Madonna and Ohild,—nlso called Tl Giorne, or “Day,” on account of the fulness and miianey of the light diffased over the whole scone. In the Louvre are thr Marriage of 8. Catharine, and the Autiope; in the Naples Gallery the Madonna known as “ La Zingarelia,” from the peculiar bead-dross of the Virgins aud in the National Gallory tho famous Kees Homo, representing Christ pre- sented by Pilate to the people, a Holy Family (known as La Vierge au Panier), remarkable for the knowledge displayed in it of aérin! perspective, and Christ's Agony ix the Garden, in which the master’s peculiar command of Tight and shade is well illustrated —the Saviour being illuminated from Heaven, and the attendant angel by light = reflected from the person of the Lord.

Daring the years 1526 to 1530, Correggio was engaged on a mest important work—the Assumption of the Virgin on the dome of the cathedral at Parma. Tt is a mnsterly piece of vigorous dosign and foreshortening, but is wanting in correctness of drawing, and exhibits a confusion of limbs which gained for it the title of a “ hash of frogs.”

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Tx Lounanpy. 405

‘The School of Parma may almost be said to begin and end with Correggio. He had no pupils who attained to any eminence; but he had many imitators, of whom Francesco Mazzuoli (1504—1540), known by the name of

‘Pig. 142,—Maderns defli Scoleila. By Correggio. In the Perma Gallery.

Parmigiano, was the chiof, and imdeod the only one of importance. His style resembles that of Correggio in many particulars; but he also combines comething of

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406 Parrrino

the peculiarities of Michelangelo and Raphael. Had he lived at any other period he would probably have risen to the highest rank asa painter; for, although inferior to the five great men we havo named as tho master spirits of the age, he greatly surpassed most of his other cotemporaries, He excelled in invention and de- sign; and his later works are characterized by a correct- ness of drawing and grandcur of conception sometimes wanting in those of Correggio. His Vision of S. Jerome, in the National Gallery, is one of his earlier productions. Tn 1531 he commenced the frescves of the choir of S. Maris della Steccata at Parma, in which occurs the world-famous figure of Moses broaking the Tables of tho Law, which Sit Joshua Reynolds chose as typical specimen of the cor- rectneas of drawing and grandeur of conception acquired by Mazzuoli through his study of the works of Michel- angelo, contrasting it with his earliest work, S. Hustachius, in the church of 8. Petronio at Bologna, in which the future master aimed “nt grace and grandear before he had learnt to draw correctly." Of his easel pictures, Ouptd making his Bow, in the Belvedero at Vienna, ix oon sidered the most remarkable; and of his altar-pieces, S. Margaret, in the Bologna ‘Acedesiy, ,

(9) The Venetian School,

Comparatively free from the constant action of those external influences which were brought to bear on the artists of Uppor Italy, the Venotians steadily parsued the course commenced by the Bellini, and finally evinoad a consummate mastery of colouring, which, as we have seen, was tho predominant characteristic of the Early Venetian

Ix Vester. 407

School Seeking beauty for its own sake, they found it,

0 to speak, by transfiguring common nature,—by treating

the events and objects of familiar life in a grand and lofty manner, which was tho fitting expression of the love of splendour characteristic of the proud citizens of the Mistress of the Sea. The masterpieces of Giorgione, Titian, and others are a reflexion of the magnificence of Venice at this time; bet a reflexion idealized and stamped with the impress of eternal beauty. The Venetian painters culti- vated the sensuous rather than the intellectual side of human nature; and in their works faithfulness of pictorial representation is ever of greater moment that the moral lesson to be conveyed; with wonderful mastery over all the technical processes of their art, they rendered ac- curatoly the warm colouring of flesh—one of the painter's most difficult taska—and the effects of light on different matorials, in a manner never surpassed.

Giorgio Barbarelli, called Giorgione (ab. 1476—1511), was the first to break free from the trammuls of the Early Venetian School. The fellow-pupil of Titian, in the school of the Bellini, he soon proved his superiority to his masters, his paintings being distinguished for a luminous glow, a depth of colouring, and a purity of outline never before attained. He waz one of the first of the Venetians to give prominence to landscape, and he was also famous for his portraita, Many celebrated personages sat to him. He worked much in fresco—but there is but little left to show us what we have lost by the destruction of his works, Fow of his easel-pictures now remain; and many works commonly ascribed to him are said by competent critics to be by Sebastiano del Piombo, Palma, Pellegrino Lotto, Romanino, Moretto, and others.

408 Pamrixo ‘The casol-pictures univerzally agreed to be by him are—

‘The Virgin und Child with he at besa In the Chrerch of Crestelfraacs.

A Concert. In the Pitti Palace, Florence.

‘The Judgment of Solomon. In the Uféri, Florence,

‘Tho Miracle of tho little Moses, Zn the Uftsi, Florence.

‘Tho Judgment of Soloman. At Kinguton-Lacy, near Wim borne,

Adoration of the Kings. At Leigh Court, wear Bristol. A Knight ia Armour. In the National Galtery. Christ bearing bis Cross. In the Casa Losehi, Vicenza. Three Astrologers. In the Baoedere, Vienna,

A Death of Peter Martyr, in the National Gallery, and the famous Concert in the Louvre, are among & numerous class of works commonly ascribed to him, but doubted by ‘various critics.

Sebastiano Luciani, called del Piombo (1486—1547), if not actually the pupil of Giorgione, was much influenced by his style, and attained to considerable fame as a colourist and portrait painter. His Raising of Lavares, in the National Gallery, is generally considered his masters piece: the group of Lazarus and the figures near hin was designed by Michelangelo, under whom he worked for some time,

‘Tho greatest Vonetian painter of the sixteenth eantury was, however, Tiziano Vecellio, commonly known as Titian (1477—1576), who first studied with a painter named Zuccato, then with Gontile Bellini, and subsoquently with Giovanni, in whose studio he laboured side by side with Giorgione. Titian's first patron was Alfonso L, Duke of Ferrara, for whom he executed several of his masterpieces:

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Tn Venter, 409

He was employed by the Senate to complete the work, left unfinished by Giovanni Bellini, in the Sala del gran Consiglio, Venice: this he did to the great approval of the authorities, and was rewarded with the office of La Sanseria—i. e. that of painter-in-chief to the Doges of Venice, In 1532 he went to Bologna at the invitation of Charloa V., bat did not (as bas been commonly asserted) accompany that monarch to Spain. He was much patron- ized by the Duke Federigo Gonzaga, by Paul IIL. at Rome, and by other persons of note.

The great Venetian coloarist lived to the age of ninety- nine, and was in the full possession of all his faculties, when he was carried off by the plague, in 1876. He was buried in the church of 8. Maria de’ Frari, Venice.

Titian's works combine the distinctive excellences of Giorgione and Corrogzio, with a lofty original character of their own, In colouring Titian stands pro-cmincnt; his rendering of flesh-tints has never been surpassed, and in his landscapes and groups his treatment of local colouring and chiaroscuro has soldom boon equalled. He is con- sidered the finest portrait painter of any age; his figures live on canvas; they are real beings, whom we seem to know ay we look into their calm and dignified faces, and they are as perfoctly finished as the best works of the Dateh School Aiming only at truth, Titian excelled all the other Italian painters in realistic imitation of nature; And, although this very faithfulness precluded the develop- ment of ideal beauty, his worke are all characterizod by a calm nobility of figure and expression; his creations are as fall of serene and conscious enjoyment of existence ‘as those of Giorgione are of stern and active energy; and in his long life of ninety-nine years he produced a series of

410 Pamrina mx Vewzee.

masterpicces which raised him to the head of tho new Venetian School.

Tt would be impossible in a work like the present to give anything like a full account of the namerous works of Titian, which enrich all the great cities of Europe. In his early paintings be followed the style of Bellini, im- pressing it, however, with a power of his own. Of these the Reeurrection, above tho high altar of S. Nazzaro, in Brescia, is among the most. important, More famous is his Christ and the Tribute Money, in the Dresden Gallery, of a somewhat Inter date, in which the Head of Christ is especially beautiful. Of the large sacred works in the master's completed manner, thy Bntombment (wh, 1523), im the Louvre, in which the most exquisite truth and beanty of form are combined with dignity of expression and depth of feeling; the Presentation (ab, 1539), and the desamption of the Virgin (1516), both in the Academy at Venice; and the Supper at Emmaus, in the Studj Gallery at Naples; the Christ at Hmmaws (ab, 1546), in the Louvre,—are among the principal. Equally famous is the picture of Christ appearing to Mary Magdalen after His Resurrection (known as Noli Me tangere), in the National Gallery, which also possesses two fine Holy Families Titian’s most celebrated historical works are his Death of S. Peler Martyr (1528) (Fig. 143), which was formerly the altar- piece in 8S. Giovanni ¢ Paolo at Venice, and was destroyed by fire in 1867; and the Martyrdom of 8, Gowrenee, now much injured, in the Jesuits’ Church, Venice. ‘The formor was especially noted for the beauty of the Tamisoape, which the most delicate aérial effects of bright twilight wero faithfully rendered; and tho latter, for the peculiar rosults obtained by the meeting of the light from boaven

Vig. 169-8. Peter Mastyr. By Titian. Barnet. Formerly in the Cherch of SS. Gisorai ¢ Peete, Veate.

winged old man in the distanee on the « Profane Love, symbolized by two b on the rim of a fountain, now in

414 Patina

‘The Madrid Museum containg forty fine cael pictures hy Titian, the Vienna Gallery thirty-four authentic works, and the Louvre eighteen, but he is best studied in the churches and galleries of Venice.

Of his cotemporaries, and we may also say his rivals in the early part of his career, we must name

Jacopo Palma, surnamed il Feechio (old) (1480—1528), whose masterpiece is S. Barbara, in the church of S. Maria Formosa, Venice ;

Paris Bordone (1500—-1571),—as much « followor of Giorgione as of Titian,—whose most celebrated work is his Fisherman presenting the ring of 8. Mark to tha Dogo, in the Academy of Venice. The National Gallery pos gesses a beautiful Portrait of a Lady by him. A very important work by him was the decoration, with seenes from the Life of Christ, of the dome of S Vicunzo at Treviso.

Giovanni Antonio Licinio (1483—1539), commonly called Pordenone, one of the most distinguished masters of the Venctinn School, who rivalled even Titian in his flesi- tints, and whose works are rarely met with out of Italy; he is repreeented in the National Gallery by an Apostle ;

Alessandro Bonvicino (1498—ab. 1555), commonly called I] Moretto da Brescia, who left many fine ultarpioces to his native city, and several good easel pictures, three of which, two Portraits of Noblemen and a group of S. Bernardino of Siena and other Saints, are in the National Gallery.

Giovanni Battista Moroni (ab, 1510—1578), who was a pupil of Bonvicino, painted a few historic subjects, but his chief title to fame lies in his portraits, which yieki

Is Veter. 418

little if anything to those of Titian, In life-like repre- sentation and masterly treatment they have been equalled by few portraits ever excouted. A splendid example may be seen in the National Gallery in the Portrait of a Tailor : the Lawyer in the same colloction, which contains three other works by him, is but little inferior; and that of Breele Tasso, at Stafford House, disputes with the Tailor the claim of being his masterpiece.

Here, too, we must mention Girolamo Romani (1484 87—1566), called Tl Ri ino of Brescia, who was a mitator of Titian and Giorgione, and a rival of

The Nativity in the National Gallery is one of his best works,

Bonifazio Veronese (died 1540), the most important of the three artists of this name, was a follower, if not a pupil, of Palma Veochio: his style was also based on that of Titian and Giorgione, and several of his works havo passed under the names of those masters. The second, Bonifazio Venuziano (died 1553), was a pupil of the first. All three are best studied in Venice.

Greater than any of these, were two masters who flourshed towards the end of the sixteenth century, and kept alive the vitality of the Venetian School by the pro- duction of works of original genius and individuality long alter the art of painting in the rest of Italy had fallen into the hands of more mannerists and imitators, We allude to

Jacopo Robusti (1518—1594), known as Tintoretto, and Paolo Caliari (15283 — 1588), called Paolo Veronese, The former studied for a very short time under Titian, and aspired to combine his excellence of colouring with Michelangelo's correctness and grandeur of form. In some few of his works he gave proof of considerable power : his

Pig, 145.—Doge Pascale Cicenia. From wn etching by Tintoretto,

Parxtise m Vexior. 47

Miracle of S. Mark, in tho Academy of Venice, for instance, is finely conceived and forcibly executed; but he painted too rapidly to achiove the highest results, and his works are remarkable for their gigantic size rather than for their artistic qualities, His chief works were those he executed for the Scuola di S. Mareo, of which the Miracle is one, and those for the Scuola di 8. Rocco, Venice. The S. George destroying the Dragon is the only work by Tintoretto in the National Gallery; but two may be seen in Hampton Court Palace—his Esther before Ahasuerws, and the Nine Muses,

In the works of Paolo Veronese, the distinctive principles of the Venetian School are far more successfully fulfilled than in those of Tintoretto. They rival in magnificence these of Titian himself, whilst his delicacy of chiaroscuro, the sincerity with which he brought out the true relations of objects to each other in air and light, his genuine feoling for physical beauty, the softness and freedom of his peticilling, his mastery ef true symbolism, and his power of catching the essential characteristics both of men and animals, give him a high position as an independent master. The Marriage at Cana, now in the Louvre, is considered his finest work. It contains 120 figurea or heads, including portraits of many of the greatest celebrities of his day, and is full of life and action. Scarcely less famous are his Frest of Levi, in the Acadetny of Venice; his Feast in the house of Simon the Pharixeo, in the Louvre; and another of the same subject in the Turin Gallery (these four feasts wore painted for the refectories of four Venetian convents); the Family of Darius, in the National Gallory, which also contains one of his Adora- tions ; his Conaveration of 8. Nicholas, Bishop of Myra,

ema BE

+s Pamrixa w Vester.

and a finished study for the Rape of Belvedere, Vienna,

We have still to name Jacopo da Ponte, Bassano (1510—1592), the chief member of artists, and the founder of the Ttalian

painting, whose works are remarkable for V of colouring and chiaroscurn He excelled landscapes, animals, and objects of still life. represented in the National Gallery, which Portrait of « Gentleman; Chriat and the : and the Good Samaritan. The Nati and the Baptiem of S&. Lucella, in 8. both in Bassano, are considered his n

‘The great Ttalian masters of the R inconsiderable portion of their energies ‘ing—that is to sty, to paintings so part of the ornament of rooms and hands this art attained to a per realized, except perhaps ia the basa designs with which the Vatican and- buildings wore adorned comprised hi flowers, and endless geometrical comb part of the fifteenth century was marked: transition from Gothic oramentation, in grotesque element predominated, to that of Rennissance, which was in effect a revival, style of decorative painting, discovered in ‘as the Baths of Titus and the mural decorations: stamped with the impress of the original ; who did more than any other master Himits and the trae capabilities of purely:

420 Pacstiso x Vawior.

Tn tho sixteenth century a want was felt of some greater variety of design than had hitherto been deemed admissible. As the century advanced the love of variety increased, and ideas were borrowed from every side, especially from the East, as is proved by the term “ arabesque" having been applied to the decorative designs of Raphael.

We have now completed our account—necessurily in- complote—of the great Italian Cinque-conto masters; and, looking back upon the results obtained, before tracing: the progress of the new movement in the rest of Europe, we find a simultaneous fulfilment of all the great principles of painting: form, design, and expression had been perfected in the Roman and Florentine Schools by Michelangelo, Leonanlo da Vinci and Raphnel; and colouring and chiaroscuro in the Schools of Venice and Parma by Correggio, Titian and Paolo Veronese; spiritual beauty had found its noblest exponent in Raphael, and corporeal in Titian; the art of portraiture had attained to its highest development; landscape painting, properly so-called, though not much practised, had been greatly improved, and genre painting had boen introduced ; the religious subjects almost exclusively favoured in the fifteenth century hnd given place to some extent to those of antique mythology and history; and a general love of art pervaded all classes. Unfortunately, the bigh position painting had thus gloriously won was not maintained, and even at the close of the sixteenth century there were signs of its approaching decadence.

TV.—Rexateaxce Partrso ix tae Neraeeianns, ann GERMANY,

Ix the North of Europe, as in Italy, we find painting attaining to position of the first importance in the fifteenth and sixteenth centuries; but, as we have seen in our sceount of architecture and sculpture, the art of the North of Europe differed in many essential particulars from that of the South. The Teutonic masters were uninfluenced by the models of antiquity which so strongly Diassed Italian taste ; and, unfettered by the trammels of old and sacred traditions, they went straight to nature for their models, and endeavoured to express their spiritual conceptions in familiar forms and homely scenes of every- day life, attaining thereby a truth to nature never sur- passed. Tt cannot, of course, be denied that the men we have now to consider never attained to the exceptional excellence of Da Vinci, Michelangelo, or Raphael; but their inferiority was, in a great measure, due to accidental and peculiar circumstances. The development of the Gothic style of architecture, and the preference in the Renaissance period for wood-carvings rather than paintings as altar-picces, limited the northern painters in the exer- cise of their art to the narrow field of manuscript ilumin- ations and easel pictures, Moreover, in the countrios under notice, there were no enthusiastic patrons of art ready to recognise and encourage genius: artists were compelled to work their way up to eminence through dif- ficulties of every kind—dlifficulties in which they often wasted their strength and the best years of their life; and, above all, the Reformation was occupying the thoughts

422 Parerxe

of all earnest men, and throwing every other interest into the background, We maintain, however, that, with all these disadvantages, the simples truthfulness of Teutonic painting, its faithful rendering of individual character, its purity and distinctness of expression, and, abave all, its thorough originality, gave it « charm and value of its own. To sum up, in one word, the vital difference between the painting of the South and that of the North of Europe, wo may say that the former is aristocratic and the latter democratic,

1. The Barly Flemish and Dutch Schools.

Even less is known of the Early Flemish than of the German School. The total destruction by iconoclasta in the sixteenth century of the works of the predecessors of the Van Eycks rondors it impossible to trace the develop- ment of the great realistic Flemish School, of which Huibrecht van Eyck was so distinguished a member; yet many of the miniatures of the fourteenth century give a high idea of the capabilities of their artists. One by a certain John of Bruges, for instance, bearing date 1371, now at the Hague, displays great feeling for truth of form and expression, and we think we may fairly conclude this artist to be one of many who paved the way for the great masters of the fifteenth century. We read too of several men who held the post of “ painter and varlet” to the Dukes of Burgundy and the Counts of Flanders, of these the chief were Jean van der Assolt (A. ab. 1364— 1380) of Ghent, and Melchior Broederlam (fi. ab, 1382— 1400) of Ypres. Fragments of paintings by Broederlam are preserved in the Museum at Dijon.

fam _aal

Tx Buvors. 423

(a) The School of Bruges,

Huibrecht van Eyck (ab. 1366—1426) is generally stylod the father of modern painting in the North of Europe, and thereoccupies a position somewhat similar to that of Masaccio and Mantegna in Italy. His chief claim to distinction rests not, as was long believed, on the invention of oil colours, but on the removal of the obstacles to their employment for important works, and on the wonderful power, transparency, depth and harmony of colouring he acquired by their use. Until the time of Huibrecht van Eyck, oil colours were practically useless for any but minor purposes, as, in order to quicken the drying of the colours, a varnish of oil and resin was employed, which fatally injured their brightness. Huibrecht, by using a colourless yarnish, obviated this difficulty, and, by judicious undes- painting, attained an admirable balance in bis tones and shadows. His manner combined the most profound and genuine realism with something of the idealism and symbolism of the Middle Ages, and he painted his sacred figures in portrait-like manner, giving to all his works a dramatic and picturesque cheerfulness certainly never sur- passed in freshness and simplicity by any Italian master. He did not, however, escape the stiffnos: of design and hardness of outline gonorally characteristic of the Teutonic work of the Middle Ages and Early Renaissance.

‘The master-pieco of the Van Eycks is the polyptych, begun by Huibrecht, as an altar-piece for the chapel of one Judocus Vydt in the cathedral of 8. Bavon at Ghent. It ix formed of two rows of panels—seven at the top anil five at the bottum. The top row—consisting of God the Father, with the Virgin, a choir of Angels and

424 Panera

Adam on his right hand, and S, John the Baptist, S. Cecilia and Eve on his left—is all probably by the hand of Huibrecht. The bottom row reprosenta in the centre The Adoration of the Lamb (which gives its name to the entire altar-piece), and on the wings groups of Hermits, Crusaders, Judges, journeying towards the centre; it was completed by Jan after Huibrecht’s death, but was not finished, how- ever, till 1432. Fig. 147 represents the Pilgrims (the right-hand wing nearest the centre-piece). The exterior wings are, as was the custom, in monochrome, A predella, representing Hell, has been lest. The centre portion of this grand work is still in S, Bavon at Ghent: The Adam and Kve are in the Brussels Gallory, and the reat of the wings are in the Berlin Musoum,

Until quite recently the fame of Jan van Eyck (sb. 13901440) ontirely octipsed that of Huibrecht, and the latter's important services to the art of painting in oils were attributed to him. It is now known, however, that Jan was indebted to his brother for instruction for many years, and that he formed his style from his works. In colouring, expecially in his flesh-tints, he was pre-eminently successful, and his landscapes and portraits are remarkably true to life; but he was wanting in feeling for spiritual beauty, and many of his saints are positively ugly. After the Agnus Dei, the Trivmph of the Catholic Church, in the S Trinith Museum at Madrid, and the Pala Madonna at Bruges, aro his best works The National Gallery contains three extremely fine portraits from bis hand, one of which, Portraits of Jean Arnolfini and his wife, worthy of the highest praise, is a wonderful piece of execution, every detail being exquisitely finished, and the colouring and chiaroscuro equal, if not superior, to anything produced

Ix Brvors. 425

at this early poriod of the fifteenth century. The Louvre, the Belvedero, Vionna, the Berlin Museum, the Academy

Fig 47 —Pilgrins My Jan van Kyek. From the Altar-picce of the Aderathicref the Latab, in S. Bawow at Ghent.

$26 Parting

of Bruges, and the Dresden Gallery contaim masterly portraite from the same hand.

Tho Van Eycks appoar to have bocn an artist family. We hear of a sister Margareta, and a brother Lambert, who were skilful painters; but no work can, with any certainty, be assigned to either of them.

The original and realistic mode of treatment introduced by the Van Rycks, and the new method of using oils, were eagerly adopted throughout Europe, anid many great artists arose in the Netherlands, of whom

Rogier van dor Weydon (1399 1—1464), known as Roger of Bruges, was the most celebrated. He was the rival and not, as formerly thought, tho pupil of Jan van Eyck; he, however, imbibed much of his manner, whilst in his re- ligious enthusiasm ho rather resombled Huibrecht. His colouring is powerful, but not equal to that of the founders of the school; and, unfortunately, his love of trath some- times led him to cultivate ugliness Of hix numerous works we can only name the principal: the Last Judg- ment (bis master-piece), 1443, in the Hospital at Beaune; an altar-picce representing the Adoration of the Kings: S Luke painting the Virgin (long attributed to Jan van kk), both in the Pinakothek, Munich; scenes from the ifo of S. John the Baptiat, in the Berlin Museam; and an Katombinent of Chriat, in the National Gallery.

To Rogier van dor Weyden is aaid to be due the inven- tion of painting on fixed canvas instead of on panel He, to, was one of the first of the Early Flomings to visit Ttaly in search of art. On him it had no deteriorative effect ; but to his successors the course proved fatal in the interests of true art.

In Brvows. 427

Rogier van der Weyden exercised an even greater influ- ence over his cotemporaries than the Van Eycks had done, In his school were formed both Hans Memling, the greatest Flemish painter of his time, and Martin Schonganer, the bost German master of the fifteenth century.

Before coming to Memling, we must notice afew men who followed in the footsteps of the Van Eycks, and helped to make the School of Bruges famous. Petrus Christus (fl. ab. 1444—1471), who is best studied in the galleries of Frankfort and Berlin; Hugo van der Goes (died 1482), whose sole remaining work is the Nativity in S. Marin Nuova, in Florence; and Justus van Ghent (fi. nb, 1470), who painted for many years in Italy.

Hans Memling (1450—1495) was one of the most gifted and favourite masters of his day. In him the school of the Von Eycks reached its fullest development; his works excelled in delicacy of execution, softness of out- line, and feeling for grace and beauty, those of any of his predecessors. He also effected considerable improvements in colouring, chiaroscuro and nérial perspective; but was not so successful as Van der Weyden im the finishing of details, The National Gallery contains a Madonna and Child enthroned, from his hand, Of his numerous works scattered throughout Europe, the principal aro the Last Judgment, painted about 1470, in the church of S, Mary at Dantzic; the Marriage of S, Catharine in the Hospital of 8. John at Bruges, and the exquisite Religuary of S. Urania (in the same hospital, which contains several other fine works by his hand), a shrine in the Gothic style, on which the history of the martyred princess is represented

428 Pane in a series of paintings in miniature (Fig. 148), fall of the

Pig. Ld —Grenpy from the Relbyuary of & Urea, Dy Memiling. Si the Heayitat of & John at Brages.

tonierest feelings for beanty; and the Seven Joys of the Virgin, in the Pinakothok at Munich,

Ix Hontaxo. 420

Dicric Bouts (1301 7—1475), though a Dutchman by birth, belongs to the echool of the Van Eycks, He worked chiefly at Louvain, which still proserves in its town ball his masterpieee, the Triumph of Justice. Rogier van der Weyden, the younger (ab. 1450—1520), wax the pupil of his father:

Gheerantt David (died 1523), a native of Oudewater, spent the best years of his life at Brages, A Canon of S. Dmation with his patron Saints, by him, in the Nutional Gallery, is a fine work.

Tn the same collection are a fow works ascribed to the masters mentioned above, and to painters of the same sohool,

(0) Tho Early Dutch School.

Tn the fifteenth century, the Datch School was little more than an offshoot of that of Brages. Its chief repre- sentatives were Albert van Onuwator, of Haarlem, who may be considered its founder, the cotemporiry of Rogier van dor Woyden, and ono of the carlicst painters of Holland to represent landscape ; Geertgen van Sint Jans (or Gerard of Haarlem), pupil of Van Ouwater; Hieronymus van Aeken, commonly called Jerom Bosch; Cornelis Engelbrechtsen (1468—1533), probably the first artist in Leyden who painted in ofl, and by whom there is a Mother and Child in the National Gallery—all preceded the more famous Lucas Inookaz van Leyden (1494+—1533), who adopted and ex- aggerated the realistic style, and excelled rather as an engravor than a painter; ono of his most important works is a Lael Judgment, in the Town Hall at Leyden; an Adoration of the Magi by him is at Buckingham Palace.

430 Paisano

(2) The Antwerp School.

Towants the close of the fifteenth century, Antwerp became the commercial capital of Belgium, and at the same time the head-quarters of the school of painting. Here arose Quinten Matsys (ab. 1466 —1531 9), the grentest Flemish painter of bis day, whose works ane remarkable for beauty of form, delicacy of finish, solemn- ity of feeling, and softness and trnsparency of colouring. His draperies have an easy grace, rare in the pictures of his school, and his sacred figures are grand and dignified. On the other hand, the minor personages in his groupe are often not only coarse but vulgar.

His greatost. work is an altar-picco in the Antwerp Museum, consisting of a centre-piece and two wings, on which is represented the Deposition from the Cross, with Herodias’s Daughter presenting the-Head of John the Bap- fist to Hered on one side, and the Martyrdom of 8 Joka the Evangelist on the other. It is a noble composition, fall of character and energy.

A very celebrated picture by Matays of Treo Misers is in the Royal collection at Windsor: the Pawker awd his wife in the Louvre is also well known. The Misery in the National Gallery, formerly ascribed to him, is now given to Marinus do Seouw (fl, ab. 1521—1541): but that collection posicases, in a diptych of the heads of Chetet and the Virgin, a genuine work of Matsys.

As masters of the Early Flemish School we must aleo name Joachim de Patinir (fl. ab, 1520), of Dinant, a pointer both of historic subjects and landscape, four of whose works are in the National Gallery, whieh also possesses

Ix Ayrwesr. 431

Crucifizion and Mary Magdaten, by his discipls Herri Bles (1480-—aft, 1521).

All these mon were more or less intimately connected with the school of the Van Eyeks, whilst certain peculi- arities in their treatment of the nude and of life in action give them a resemblance to the masters of the sixtecnth century, whom we have now to consider. We may, in fact look upon the latter part of the fifwenth and the whole of the sixteenth century as a transition time—Flemish and Dutch art not having renched their highest development until the seventeenth century.

(@) The Itulianized Plemings.

The sixteenth century wos marked by an unfortunate attempt to combine the peculiar oxcellonces of the school of the Van Eycks with thoee of the Italian Cinque-cento masters. Tn his later works Mabuse was guilty of this mistake.

Jan Gossart (ab. 1470—1532), commonly called Mabuse, a native of Mauheugo, went to Antwerp, entered the Guild, and bid fair to rival the works of ys; but unfortun- ately for the trath of his art, be went to Italy, and there lost his best qualities in attempting to emulate the works of the great Italian masters. He is well represented in England: for we have two of his masterpivces, an Ader- ation of the Magi ot Castle Howard; and the Children of Chr IZ, at Hampton Court, He was followed by

Barond van Orley (1488-90. ), a Magdalen by whom is in the National Gallery.

Jan van Schorvel (1495—151 the Ttalian style into Holland, and is represented in the

who first introduced

432 Pamtixo

National Gallery by a Repose in Bgypt: his works bear evidence of the influence of Darer,

Michiel van Coxeien (1499—1592), who, as we have seen, superintended at Arras the manufacture of the tapestries from Raphael's designs

Lambert Lombard (1506—1566), a native of Liege, who introduced this Ttalian-Flemish style into his native city, and thus materially aided in the decline of art in the Low Countries.

Frans Floris (died 1570), a pupil of Lombard, who from a sculptor became a painter, and is famous for having formed in Antwerp a school which was numerously attended,

Picter Brueghel (ab. 1520—1569), commonly called from the subjects of his paintings “Peasant Brueghel,”” and his son Pieter, or "Hell," Brueghel (1564—1637), were amongst the best painters of their time in Antwerp.

At this period, a foremost place amongst portrait-painters was held by Sir Antonis Mor (1512—1576-78), a Dutch- man by birth, but a Fleming in art. He visited Italy, but on his retura was influenced by the works of Holbein. He was court painter to Queen Mary of England, and was also patronized by Philip LI. of Spain; and many good works by him are still preserved in the Museu at Madrid.

‘Of the portrait painters who imitated Mateys’s pecu- lintly pronounced realistic manner, wo must name Mare Garrard (1561—1635), a native of Antwerp, who was one of the principal portrait painters at the court of Queen Elizabeth; Paul van Somer (1576—1621), whose best years were spent in this country. His finest works are in Fngland, e. y..a portrait of Lord Verulam at Panshanger,

Is Awrweer. 433

and those of the Karl and Counteas of Arundel at Arundel Castle,

Cornelis de Vos (1585 2—1651), the elder, shows, in his portraits, the influence of Rubens. His portrait of Abrabam

Fig, 49.—Portrait of Abraham Grapbron By Cormlix de Vow In the Autwery Gallery.

Grapheus, a servant of the Guild of 5. Lake in Antwerp, with the Guild plate, is in the Antwerp Gullery (Fig. 149),

A great impulse was given to the art of landscape Painting, at the close of the sixteenth century, by the EEA rr

434 Paistixg

brothers Bril of Antworp, Matthys Bril (1550—ab. 1580), and the more celebrated Pauwel Bril (1556—1626). The latter was one of the first to obtain harmony of light in landscape, and he greatly influenced for good the future masters, Rubens and Claude Lorrain, His Tomer ef Babel, in the Berlin Museum, is considered one of his best works. As carly landscape painters, we must also name Jan

Fig, 150.—River Scena, “By Jan Bimegtel

Breghel (ab. 1589—ab. 1642), who painted landscape backgrounds in paintings by Rubens and other celebrated masters. He was son of the elder and brother of the younger Brueghel already mentioned.

(0) The Dutch School of the late Sixtocath Contwry.

Towards the clese of the sixteenth century, numerous Dutch historical painters arose, who paved the way for a

Ix Awtwerr. 435,

higher and more independent style of art. Of thes we must name

Otto van Veen (1558—1629), whose numerous works— of which the principal are in the Antwerp Museum— display great truth to nature and force of character;

Cormelis Corelisz, van Haarlem (1562—1638), whose masterpiece is Bashsheba bathing, in the Berlin Museum, distinguished by careful drawing and falness of colouring ;

Abraham Bloemart (ab. 1564—ab. 1658), whose best work, Joveph’s second Dream, is in the Berlin Museum, was influenced by Floris, and who is chiefly famed for the harmony of tone, good taste, and right balance of his paintings ; and

Adriaan van der Verne (1589—1662), of Delft, who ex- celled in portraits, landscapes, and genre paintings, and combined the realistic manner of his countrymen with something of classic foeling. One of his most remarkable compositions is that representing the Festival in honour of the Truce between the Archduke Albert and the Dutch Provinces in 1609, now in the Louvre; it is dated 1616.

Of Dutch portrait painters of this time we may note

Michiel Jansz Mierevelt (1567—1641), who especially excelled in transparency of colouring, and whose Portrait af Hugo Grotive in the town hall at Delft is considered his best work ;

Jan van Ravestyn (bora 15724), who executed several Corporation pieces; and

Cornelis Janssens, van Keulen (died 1665), said to have been born in England, whose best works, which display great fooling for truth and refinement of taste, are dispersed in various private English collections

vee

436 Pawns

A‘nong the first Dutch marine painters, Hendrik Cornelis Vroom (1566—1640), and who executed a sketch of the Defeat of the Spanish Armada for the Lord High Admiral of England; Adam Willaarts (1577—aft. 1666) ; snd Jan Pooters (1624—1677), whose pictare of a Storm in the Pinakothek, Munich, is valuable, as an carly specimen of tho art in which the Dutch subsequently attained to such exceptionable excellence,

2. The German School.

In a previous chapter we have spoken of the early masters of the School of Cologne, who were, if we may 50 oxpross it, strictly orthodox painters, expressing in their works unwavering devotion to the Church of Rome, and unfaltering allegiance to the traditional mode of treating sacred subjects,

We have now to examine the productions of men im- bued with the spirit of the Reformation. These men, whilst stretching forward to that freedom of conscience in art which, as in religion, was finally attained at #0 terrible a cost, clung with traly Teutonic steadfastness to the weird symbolism inherited from the eld Norse sea-kings; they pressed it, so to speak, into the service of the new doctrine, and hinted in their sacred pictures at a real and personal conflict between spiritual and material agencies, by the constant introduction of some weird fantastic monster, treated with « force and life which speak volumes for that deeply-rooted faith in the supernatural so start- ling in men of the strength of character of Diirer, Luther, and the great reformers of the day. This faith, more than any other peculiarity, separates the art of Germany from both that of Italy, with its beautiful idealization even of

Tw Swanta. 437

the powers of evil, and that of Flanders, with its stern repudiation of all not actually manifest to the senses.

(a) The Swabian School.

‘The first great German master in whom we see t working of this double spirit—alike conservative and reformative Colmar, commonly called Martin Schén, who began life as an ongra’ and did not devote himeelf to painting until after a visit to Flanders, where he is supposed to have studied under Rogior van der Weyden, He adopted something of his master’s realistic manner, whilst retaining the feeling for spiritual beauty characteristic of his Gi predecessors, Meister Wilhelm, Meister Stephan, Master of the Lyversberg Passion—combined, however, with a weird delight in physical distortion which is always painful and sometimes positively revolting. As an instance of this, we may cite his print of S. Anthony tormented by Demons, in the British Museum. Anything more grotesque and fantastic than the horrible forms wreaking their spite upon the unhappy mint it would be difficult to conccive ; yet the whole ig redeemed from caricature by the nobility of the martyr’'s head, which admirably expresses calm superiority to bodily torture, and almost absolute mastery of mind over matter, The British Museum contains many other fine engravings from the same hand, of which we mast name Christ bearing His Orosa, and the Foolish Virgins. Schonganer’s paintings are extremely rare; an altar-pioce of a Madonna and the Infant Saviour, in the church of S. Martin at Colmar, is the chief, and is remark- ablo for purity of colouring and delicacy of finish. A small work, the Death of the Virgin, in the National Gallery, is

438 Pamrixo

attributed to him, but doubts have been lately thrown upon its authenticity. In our illustration (Fig. 151) we give an example of this master’s style of engraving. Bartholomaus Zeithlom (ff. ab. 1484—1516), of Ulm, was, like Schongauer, a Swabian master of the early

Fig. 161.—Tho Crucifixion. Engraving by Schungauer.

Reformation period, and appears to have exealled him in sublimity of design and delicacy of colouring, but to have been inferior in power of drawing. His works are essentially German, and are amongst the most important examples of Teutonic painting in the fifteenth century.

In Avassuea. 439

His Veronica, in the British Museum, and the wings of an altar-piece, with figures of the Virgin, Mary Magdalen and other saints, in the Stuttgart Gallery, are among the principal. Martin Schaffner (4. ab, 1499—1535) was also one of the painters of Ulm of this period.

() The Augsburg School,

We have now to turn to Augsburg, where we find a school arising, characterized by a more decidedly realistic tendency than thatof Ulm. At the head of this school stands Hans Holbein the elder (ab. 1460—1524), father of the Holbein who did so much for English art in the reign of Honry VIII. In the works of the founder of the great Augsburg School the influence of the Van Eycks and of Rogier van der Weyden is far more notice- ble than in those of the masters of Ulm. The elder Holbein's S, Sebavtian with the Annunciation, and SS, Blizabeth and Barbera, on the wings in the Pinakothek, Munich, is considered his principal work.

Hans Holbein the younger (1497—1543), son of the painter named above, was not only the greatest German exponent of the realistic school, but one of the first por- trait painters of any age; and, moreover, one to whom the British School of painting owes more than to any other master. Inferior in grandeur of style and fertility of imagination to his great cotemporary Diirer, be excelled him in truth to nature, in feeling for physical beauty, and in command over all the technical processes of bia art. Born of an artist family, and surrounded from babyhood by artistic associations, Hans Holbein early acquired a mastery ever all the elomonts of dosiga, as is proved by the remains of a series of frescoes executed for the Town Hall of Basle

Tx Avosnves. 441

torical painting had he dovoted his attention to that branch of art, He was the one German master, not excepting ‘even Ditrer, who frocd himself entirely from the insipid con- ventionalism in the treatment of the human form which had s long prevailed, and his portmite have an individuality of character and clearness of colouring superior to anything of the kind ever produced in Germuny. His Last Supper, in the Basle Gallery, the so-called Meyer Madonna, in the Darnstadt Gallery, of which a replica exists in the Dresden Gallery (Fig. 154), aml the sorics of wood-euts known as the Danewof Death (Fig-153), | —sleilful reproductions of which may be seen in al- most every public library, —are among his best known and most spirited compositions. ‘The last- gamed is a noble work full of humour and po-

etry,and has been chosen

‘by Mr. Ruskin as a apeci- = =.

men of the tewe ase of Pit-163—The Paitar. By Mlothein, itd iprateague in art. From the « ihaeee of Doth

As ig well known, Holbein spent a great portion of his life im England, and our royal and private eolloctions contain many authentic works from his hand. Of chess we must name, as among the most remarkable, a portrait of Brasmus, and the so-called Ambassadors, both in the gallery of Longford Castle; a series of eighteen portraits

442 Patina ms Avesuura.

of Members of the Barber-Suryeons’ Guild, in the Barber- Surgeons’ Hall, London; a portrait of Lady Vawe at Hampton Court; that of a Young Man wearing a black dress and cap, at Windsor Castle; and last, but not least, the portrait of the Duchess of Milan, painted by command of Henry VILL, and now the property of the Duke of Norfolk. It ig at present (1881) on loan in the National Gallery. The master’s style may also be studied in the fine collection of drawings and engravings in the British Museum and the magnificent collection of portrait studies in red chalk at. Windsor Castle,

Holbein’s symbolic scenes are especially remarkable for their keen irony, and their bitter satire on the follies of his age; they express a sad and mournful realization of the power of evil, with a steadfast faith in the final triumph of good which redeems them from coarseness, and stampe them with the religious significance wanting to the works of the inferior men who copied his manner without catching his spirit.

‘We must hore name as artists of the Swabian school in the sixteenth century, Sigismund Holbein (ab, 1465—1540), unele of the master noticed above, to whom is ascribed « Porteait of a Lady, in our National Gallery; Christoph Amberger (ab, 1490—1563); Nicolaus Manuel, called Deutsch (ab, 1454—1530); Martin Schaffner (H. ab. 1499—1535); and, above all, Hans Burckmair (1473— 1531), a master of considerable genius and yaried power, whose best works are in the Augsburg Gallery, but whore peculiar characteristics may be studied in an Adoration of the Shepherds in the Royal colloction, Windsor.

att Parseora

(e) The Franconian School.

In the School of Franconia, with Nuremberg for its head-quarters, the realistic style of the Netherlands was adopted and perhaps sometimes exaggerated. We find the same tolerance of ugliness, the same sharpness of outline, as in the worke of the early Dutch and Flemish masters, combined with an intensity of expression and a delight in the weird and fantastic even greater than in the productions of Swabian painters.

The master in whom all theso peculiarities were most strikingly ,manifosted was Michael Wolgemut (1434— 1519), who did much to aid the development of German painting, and was the immediate predecessor of Albrecht Direr. His best works are at Nuremberg; bat the Liverpool Institution contains two fine compositions from his hand—Pilate washing his Hands, and the Descent from the Cross. His pictures have all considerable force and transparency of colouring, but are wanting in harmony of composition and general equality of tone.

Albrecht Diirer (1471—1528) was the father of German painting, and has been proudly called by his country= men the ince of artiste” A native of Nuremberg, of Hungarian descent, he was intended by his father, a goldsmith, to follow his profession, But his love of drawing prevailed, and in 1486 he was apprenticed to Wolgemut, ‘The years 1490—149% were spent in tmvel; how and whers, we have no record. In 1494 ho returned to Nurembong, and married Agnes Frey. Tn 1505 ho visited Italy: at Vonice he became acquainted with Giovanni Bellini and enjoyed much popularity.

Ix Fraxcowts. 445

Refusing, however, a liberal offer from the Venetian government, who wished him to remain in their city, he retumed to his native Nuremberg, and in the following years produced many of his masterpieces in painting and engraving. In 1520 he started on » tour through the Netherlands, and visited amongst other cities, Antwerp, Brussels, Cologne, Bruges and Ghent ; refusing in Antwerp, ‘as he had previously done in Venice, an offer to stay in that city, he returned home in the following year; he died in Nuremberg in 1528,

Diirer was, without doubt, a master-spirit, and had he met with the same recognition in hia native land whieh he would have received had he been born in Italy, he would probably have taken rank with the men we have named as the greatestepainters of any age; but, whilst gaining yet another finished master, we might perhaps have lost a teacher of spiritual truth whose works ure, in their way, unique. Albrecht Darer was among the first to bring the laws of science to bear upon art, and to demonstrate the practical yalue of perspective. He ‘was & man of rare enengy, versatility, and power of work ; he excelled alike in painting, engraving, sculpture and wood-carving; and in the latter part of his life published works on perspective, fortification, and other abstruse subjects, Tho chief charactoristics of his painting are forcible drawing, breadth of colouring, individuality of character, vitality of expression and highness of finish — combined, unfortunately, with a certain harshness of out- line, an occasional stiffness in the treatment of drapery, and a want of feeling for physical grace and beauty. His works bear the impress of his own carnest yet mystic

spirit, and are moreover a fitting expression of the complex

46 Parsrrsa i Frawoonta. German character, with its practical steadfastness of

purpose, its restless intellectual cravings, never-eatisfiod aspirations nfter spiritual truth, and vivid force of tion. Ever hannted by solemn questions relating to T and the Life to come, Direr feared not to look the most awful possibilities full in the face; and in his works we may—if we will throw ourselves into the experience of their author—trace the gradual winning of certainty out of doubt—the gmdual solving of the problem of the meaning of existence. Unable to free himself entirely from the fantastic element, tly inherent in the very nature of German art, Diirer towehed it with his own refinement ; his quaint, unearthly figures are never vulgar—his most terrible forms are never coarse. —

Albrecht Diirer’s earliest knowsf portrait is that o father, bearing date 1497, in the possossion of of Northumberland at Sion House, Similar pic in the Uffizi, Florence, the Pinakothek, Munich, Stadel, Frankfort. Passavant consilers the be the original: Mri. Heaton is in favour of that House. To the first part of his career, belong masterly series of woodcuts illustrative of the 4 (the first edition of which appeared in 1498), great power of conception and force of design ar played, the fantastic element being kept in due the Portrait of Himself (1498); and an A the Kings (160%), both im the Uffizi, Florence: extremely fine portmit of an unknown man in of Rutland’s collection at Belvoir Castle,

Although Diirer visited Italy and spent some Venice, he apparently lost nothing of his own in of style. His famous Virgin with the Ro

roy aia

Pig, 155-—Clurint taking toave ut Hie Mather, By Dover From the wood mgreving in ' The Lifeaf the Virgin!

448 Pamtixa

in the abbey of Strahow near Prague, was painted at this time. for the Fondaco de’ Tedeschi, at Venice, and is dis- tinguished for all the master’s peculiar oxcellences. Tt is unfortunately much injured; the museum of Lyons pos- sesses a fine copy. To the year 1507 belong a very excel- lent Portrait of « Young Man in the Belvedere Vienna, and the single figures of Adam and Eve, now in the Madrid Gallery.

From the few years succeeding his visit to Venice date many of Direr's finest: works, such as the two series of woodcuts known aa the Liftle Passion (1511), and the Great Passion (published first in book shape in 1511),—the former consisting of scenes from the ministry of our Lord, and the latver of scenes from the uctual Passion, Death, and Burial af the Redeemer,—in all of which the central figure is majestic and dignified, and the solemn subjects are treated with genuine reverence and poetic feeling. Even more famous are the Adoration of the Trinity 1511), —now in the Belvedere, Vienna, considered Diirer’s finest painting—and the well-known engravings of the Aivight, Death, aval the Devil (1513), and Melencolia (1514): the former of which (Fig. 156),, remarkable as it is for masterly drawing and powerful conception, is yet more valuable as an earnest of victory won, and a great problem solved, It is an expression of the artist's conviction of the final triamph of humanity over Death, the Devil and all evil suggestions. Equally expressive of the eubtle conflict in this world between joy und sorrow, good and evil, is the awful print of Moloucolia, in which we see the great Genius of the toil and knowledge of the world, wearing a Iaurel wreath upon her brow and with the instruments of science strewn around her, gazing with

Ts Feaxconia. 449

intense and melancholy foreboding into the dim future; but, above the comet of evil omen and the winged bat

Vig, 166,—The Right, Death, at the Devil. By Thirer, Ragroving on sopper. RHA oo

450 Parsrixa

benring a scroll inscribed “ Melencolin,” rises the rainbow of Hope, and the light of future joy is beginning to gleam in the tearful eyes of the winged spirit; whilst the little child beside her, with his tablet and pencil, ready to carry on the work she may not finish, is a symbol of the ever- new yitality of the human race. In S. Jerome in his Stidy, produced nbout the same time as the Melencofia, the answer to the great question is more assured and definite ; the gaint has acquired so thorough a mustery over the spirit-world that nothing can ruffle his holy serenity.

Of Diirer’s large oil paintings we must name the apas- tles Philip and James (1516), in the Uffizi, Florence; the portrait of the Hmperor Maimitian T. (1519), in the Belve- dere, Vienna; the haif-length figures of SS. Joseph and Joachim and 88, Simeon and Lazarus, in the Pinakothek, Munich, the interior wings of an altar-piece produced in 1523, after a visit to the Netherlands, which sensibly affected the great master's style; and two companion picturee—one of the Apostles Joka and Peter, the other of Mark and Paul—also in the Munich Gallory, romatk= able works, full of dignity and individuality of character, supposed to represent the four temperaments ; the melan- choly being embodied in the face and figure of &. John, the phlegmatic in that of S. Peter, the sanguine im that of 8. Mark, and the choleric in that of S. Paul,

England, we believe, contains but two paintings by Albrecht Diirer—the Portrait of Himself already noticed; and a bust portrait of a Senator, in the National Gallery.

Of Diirer’s Inter portraits the most remarkable are those engraved om copper of Curdinal Albert of Branden burg, the Hector Fredorich, Pirkheimor, Melanehthes, Erasmus, and other celebrated men of his day; and tw

Is Feaxcowta. 451

portraits Johawn Kleberger; one in the Germanic Museum at Nuremberg, of Hivrovgmus Holzechuher. Other important

l—one in the Belvedere, Vienna, of a certain

Wig. 157 —Tooeph whl by his Brethren, By Georg Pence

epgravings by him are the Copper the Great Horee (1505); tho Little Horse (1505); %. Buslachine, frequently called S. Hubert; and S. Anthony

aa2

452 Parsrin ix Saxonr, (1519); and of his wood-cuts the series of the

Virgin (1511) ; of the Triumphat Arch of Maxineil 1515), and the Trinmphal Cur of Maximilian

Amongst the most important of the a were Hans Burckmair (1473—1531), who

toric subjects and portraits, and is famous

zeries of wood-cuts called tho Tritemph of Mur Hans Fuss, commonly called Hans von i ab. 1522); ond Hans Leonhardt Schiiufolin Direr’s favourite pupil. Diirer exercised a powerful inflaence whole of Burope, and had many followers to whom the general name of the “Tittle Bf been given, on account of the smallness of ‘They were, however, rather engravers than on that account we shall content ourselves wi ooumerating the principal: Heinrich A 1558); Barthel Behar (1502, ab. 1540); Bebam (1500—1550); Albrecht. Altdorfer 1538), one of the greatest of Direr’s pupils, snccogeful colourist, his masterpiece ia the Vi muter owy Darius, in the Munich Gallery; G (ab. 1500—1550), 2 man of considerable fouling for beauty; and Jakob Bink (ab, Atnongst those followers of Diirer who gravers were Hans Brosamer, Virgilius Solis, and Theodor de Bry.

(@ The School of Sazony. Cotemporary with Dérer, we find a gn arising in Saxony, imbued with the same

| =

454 Parstixo

and the same love of the fantastic and grotesque. We allude to Lucas Cranach (1472—1553), = native of Kronach in Franconia, whose style in its genoral characteristics resembles that of Matthius Grinewald, mentioned above, with whom he studied for some time. He was court-painter to three Electors successively, and spent a moet prosperous life, Cranach was inferior te Direr indrowing, in imaginative force, and feeling for trath of exprossion ; but his lange sxcrod pictures are remarkable for dignity and grace, whilst some of his minor works are full of pleasant humour, Of the former, the Woman token in Adultery, in the Pinakothek at Munich, and the altar-pieee at Weimar, representing the Crucifixion —in which fine portraits of Luther and of the artist himself are introduced—may be cited as good examples; and the Fountain of Youth, in the Berlin Museum, as an instance of the latter. Cranach’s chief strength was, however, in portraiture, and in subjects suitable for purely realistic treatment, The National Gallery contains a vory fine Portrait of Young Girl, from his hand, and portraits of the celebrities of bis day wre plentiful in the various Continental collections (Fig. 158),

Lucas Cranach, the younger (1515—1586), followed successfully in his father’s footsteps, and painted many pictures which bave doubtless passed as the work of his father, The Cranachs left. no disciples: the Sehool of Saxony began with the father and ended with the son,

(©) Decline of Art in Germany. After Cranach, Diirer and Holbein had passed away,

painting rapidly declined in Germany, as in Italy; bat, before we speak of the artists of the next two centuries,

Ty Gramanr. 455

we may add that the art of glass-painting was carried to tho greatest perfection in the fifteenth and sixteenth centuries by tho Germans and Flemings, and that thoy maintained their superiority in this respect over the other Continental states until the close of the seventeenth century.

‘The seventeenth eentury was marked by a few feeble tinsuecessful attempts to imitate the great Italian masters of the Renaissance ; and it was not until the beginning of the eighteenth century, when Germany was to some extent meovering from the effects of the Thirty Year’ War, that any artists arose of sufficient individuality to morit special notice, and to aid in the transition to bet- ter things. Of these we may name as among the more remarkable; Johann Rottenhammer (1564—1623), who strove to emulate Tintoretto: a Pan and Syring by him is in the National Gallery; Adam Elshaimer (1574—1620), famous for his landscapes, many of which are in private galleries in England: Joachim van Sandrart (1606—1688), who painted allegoric and historic pieces, but is more famous as the author of the *Tentsche Academie,’ a history of German art : Balthasar Denner (1685—1747), a success- fal portrait painter, famed for the minute finish of his works; of which examples may be seen at Hampton Court ; Anton Raphael Mengs (1728—1779), one of the first to attempt to revive the rigid correctness of classical painting, who failed, however, to catch the spirit of antique art: Christian Wilhelm Ernst Dietrich (1712—1774), who worked chiefly at Dresden, and was, perhaps, the most successful copyist that vor lived. Italian, French, German, Flemish, Dutch—all styles came equally familiar

456 Parsrixa ty Genwaxy.

to his facile pencil, Angelien Kanffman (1742—1807), whose romantic life ia well-known, already alluded to as a sculptor, many of whos: guintings are in Englund,—a portrait of the Duchess ef Brunswick is at Hampton Court; and Daniel Nicolaus Chodowiecky (1726—1801), famous for his miniature painting and his etchings.

On the borderland between these masters and the revival of German art by Overbeck, stands Asmas Jacob Carstens (17541798), who first practised portrait-painting as a means of gaining a livelihood, but afterwards became suc~ cessful in historic painting. He worked at various times at Copenhagen, Mantna, where he studied Ginlio Romano, Liibeck, Berlin and Rome, where he formed his style om the works of Michelangelo and Raphacl, His principal paintings are scenes from the history of the Argonautic expedition.

Carstens’s works display a profound study of the pro- ductions of Raphael and Michelangelo, and are remarkable more for their depth of thought and careful execution, than for originality, cithor of design or treatment,

V. Parstina ts [racy in THE Sev asp Eicurrentit €

TRENT

TURIES.

Ix a previous ch painting in Italy on the death of the great masters of the Renaissance—a decline marked by the =

pter wo alluded to the decline of

» pecu-

Vinrities as that which succeeded the golden age of sculpture; technical dexterity ranked higher than artistic genius, and the minor peculiarities of celebrated men were servilely imitated, without any endeavour to catch their spirit or grasp the meat of their ceptions,

As carly ns the close of the sixteenth century an at- tempt was mnde to revive the art of painting in Italy, and two distinct classes of artists arose to whom the goneral names of Belectice und Naturaliets have been given: the former endeavoured to combine the best qualities of all the great Cingue-cento masters with the imitation of nature; the Jatter professed to study nature exclusively and to imitate faithfully and boldly every detail of ordinary life. These two schools exercised great influence, alike on each other and on their cotemporaries in other countries.

grand con-

1. The Eclectic School of Bologna.

The leading Eclectic School of Italy—that of Bologna— was founded by Lodovico Carracei (1555—1619) junction with his two cousins, Agostino Carracci (1557— 1602) and Annibale Carmcci (1560—1600), Lodovieo appears to have been rather a teacher than an original pointer. His principal works are at Bologna; the Nn- throned Madonna with SS. Francis and Jerome, a

in con:

408 Parnixo

Transfiguration, and a Nativity of S. John the Baptist, axe considered the finest. He is represented in our National Gallery by a group of Susannah and the Elders. His principal characteristics are casy grace of execution, power of expressing sorrow, and skilful imitation of the chiar- escuro of Correggio.

Agostino Carracci is better known as an engraver than

Yup. 164—Che ‘Lhres Marion, Hy Annibale Carmecel, In the Castle Howard (altery.

a painter; but he produced several fine easel pictures noticeable for delicacy of execution, of which two Oephalns and Anvora, and the Trinmph of Galatea—are in the National Gallery,

Annibale Carracci greatly excelled both Lodovico and Agostino, and, had he not been fettered by his mistaken desire to combine naturalists with imitation of the great

Ix Bowoxa. 459

masters, he would probatfy have worked out an original and superior style, As it is, his works have about them something of Corroggio, Paolo Veronese, Michelangelo and Raphael, without any distinctive character of their own; the artist's feeling for trath to nature and his vigour of conception only now and then shine through the mannerism with which they are overladen.

Many of Annibale's works are in England—the Three Maries, at Castle Howard, for instance (Fig, 159); and the subjects at the ‘National Gallery—Christ appearing mon Poter after His Resurrection; 8. Sohn in the Wilderwees, two Leudecapee with figures, Erivinia taking refuge with the Shephords ; Silenus guihering Grapes; Pan and Apollo, and the Temptation of S, Anthony. His most celebrated work was the decoration of the Farncee Palace, Rome,.in which he was at first assisted by his older brother Agostino.

Of the numerous pupils of the Carracci, Domenico Zampieri (1581—1641), commonly called Domenichino, , were the cl The former was a successful imitator of Raphael's manner, and also caught much of the style of Agostino Carracei; giving proof, however, of considerable individual power in the heads, and indeed in the general treatment of many of his groups. His Last Communion of S. Jerome, now in the Vatican ; his Four Evangelists, im the cupola of the church of 5, Anilrea delle Valle at Rome ; and his frescoes of incidents in the Life nnd Martyrdom of S. Cecilia, in S. Luigi, Romo, are among his most famous compositions; the National Gallery contains two Inndseapes with figures ; aS. Jerome with the Augel ; and a powerfal group of the Stoning of S. Stephen.

460 Parsrisc

Guido Reni (1575—1642) waz an artist with consider- able feeling for benuty of form, and great skill in execution, ially in colouring ; but be was wanting in force of

ion, und his conceptions seldom rise to the rank of His Madonna delle Pict and the Masenen of the Innocents at Bologna, his 8. 7 dS. Authony in

Fig. 160.—Tho Magilaton, By Gabdo Renl, In the Colonna Patece, Rowe,

the Berlin Museum, the unfinished Nativity in the church of S. Martino at Naples, and above all the fresco of Aurora and Phobus on the ceiling of a pavilion in the garden of the Rospigtiosi Palace at Rome, are among his most famous works; he is roprosented in our National

Is Bowoxa, 461

lery by his well-known Keee Homo; a Coronation of the Virgin ; © Magdaten; The Youthful Christ enbracing S. Sohn; 8. Jerome; Lot and his Daughtera; and Susannah mut the Riders. Our illustration (Pig. 160) will serve to zive some idea of his peculiar style.

Francesco Albani (1578—1660), a friend and fellow- pupil of Guido im the school of the Carracci, is remem- bered chiefly for his frescoes of classic scenes in the Veruspi Palnee, Rome.

Wo rust also name as distinguished members of the Eeloctic Schools of Italy,

Giovanni Francesco Barbieri (1591—1666), called Guer- cino, who excelled in brilliancy of colouring, depth of chiaroscuro, and power of expression, as instanced in Dido's Last Moments, in the Spada Gallery, Rome, and the group of Angels weeping over the Dead Christ, in the National Gallery ;

Giovanni Battista Salvi (1605—1685), sumamed Sasso- ferrato, a tolerably successful imitator of Raphael, and somewhat brilliant colourist, represented in the National Gallery by two Madynnas ; and

Carlo Dolci (1616—1686), who painted Madonnas and Sainte with considerable grace and spirit, and is best known by his S. Cecilia in the Dresden Gallery, and 8. Andrew tmmediately before his Krecution, in the Pitti Palnce, Florence.

2 The}

The Naturalists did not found so important a school as the Eclectica, Their determination to imitate natare exactly as she appeared to them led them into many extravaganoes, and altogether dofeated their own object.

uralistic School.

462 Parsriso

Anxious not to shrink from the representation of anything real, however terrible, they lost sight of that hidden meaning which 89 often removes the horror of the most awful scones, giving to them a spiritual beauty which physical distortion cannot destroy; and their works are pervaied by a tragic pathos, a passionate misery, inex- prosiibly painful.

At the head of the Naturalistic School stands Michel- angiolo Amerigi, da Carwaggio (1560—1609); his works have some affinity with those of the great artist whose name he bore, and in spite of many shortcomings, give proof of much original power and poetry of feeling. His Cutombment of Christ, in the Vatican, is his mest famous work: the figure of the Virgin admirably expresses aban- doned sorrow, and that of Christ is full of grandeur and dignity, though wanting in divinity. The Brkcading of 8. John, in the Cathedral of Malta, and a portrait in the Louvre of the Grand Master of Malta, are also very fine; and we may name the Card-players—several times r= peated, tho best example being in tho Sciarra Palace, Rome—as & spirited composition of the genre elass.

José de Ribera, called from the countey of his birth Lo Spagnoletto (1588—1656), spent most of his time im Naples. He was first influenced by the Carracci, bat afterwards took Caravaggio for his model. Many of his works are in the galleries of Naples and Madrid. We shall shortly come across him again when we read of Spanish art,

Salvator Rosa (1615-1673) was a naturalistic master of secondary importance to Caravaggio, who painted lani- scapes, historic subjects and gonre pictures, oxcelling principally in portraits,—a likeness of a man, in the Pitti

Is Vexice, 463

Palace, Florence, being said by Kugler to be “almost com- parable to Rembrandt.” In landscapes, Rosa workod out something of an original style, and many of bis wild mountain-soenies are full of pathotic beauty. A Sea-piece in the Berlin Gallery, of a vessel being driven on rocks in a storm, is a wonderfully forcible rendering of a torriblé convulsion of nature.

At the close of the seventeenth century Pietro Berrottini, da Cortona (1596—1669), in spite of the great original talent which he possessed, exercised a most pernicious influence on Italian art by the introduction in his works of startling effects of colour and chiarvscuro, which were eagerly studied and imitated by many scholars ; thus finally sealing the fate of Italian painting, which has never again rallied from the insipid mannerism into which it sank at the beginning of the eighteenth century.

3. Tho Later Venetian School.

Before closing the history of painting in Italy, we must montion one who has made Venetian painting of the eighteenth century famous. Antonio Canal, commonly called Canaletto (1697—1768), devoted many years of his life to depicting architectural seenes in Venice. His paintings, executed h great truth to nature and a freedom of touch, are especially to be admired for their correctness of perspective; they are a lasting memorial of what Venice was in his day, Canaletto epent the yeara 1746—1748 in England, and has left us several valuable records of his visit, This country also possesses in the National Gallery (which haz no less than ten works by him) and in private collections many of his Ttalian views.

His nephew Bernardo Bellotto (1720—1780), who is also

464 Parntine in Tracy,

sometimes called Canaletto, successfully imitated his style. So also did Francesco Guardi (1712—1798), and Giovanni Battista Tiepolo (1693—1770), who frequently painted the figures in Canaletto's views.

The influence of Winckelmann, the great German writer on antique art, who spent some time in Italy, led to a partial attempt to revive the classical style, but without producing any permanent result; and at the present day, although taking part to some extent in the artistic activity which has marked the whole course of the nineteenth century, Italy remains far behind the other countries of Europe: the works exhibited from time to time by Italian artists betray French influence, and altogether lack the originality and deep religious feeling which so long charac- terized Italian art.

Vi. Panrrovc oy Span.

Nort until the sixteenth century do we meet with what may be called a school of painting in Spain. The prevalence of Mahometanism was antagonistic to the development of pictorial art; and when the Moors were finally overthrown the Roman Catholic religion brought with it the para- lysing influence of the Inquisition, beneath which it was imposible for art to progres The first formation of the Spanish School appears to have beep due to the settle ment in Spain of Flemish artiste; but in its perfected character it showed considerable affinity with Italian art, expecially with that of Naples and Venice—atamped, how- ever, with a gloomy asceticism peculiarly its own, from which even the best works of its grestest masters are not free. Faithfal representations of Spanish life in the cloister, the palace, or the streets are plentiful ; and in this peculiarity we notice « resemblance to the English School, of which the Spanish bas been designated as an anticiymtion.

Juan Sancbes de Castrn, alerat the middle of the fifteenth century founded the early school of Seville, which was sferwards to become so famous His pictures have nearly all dixappeared

The first dictinguished Spanish painter wae Antonio del Rincon (sb. 1546—1500), Of has few remsining works, the principal ix his Life of the Virgin, in the cherch of Robleds, near Madrid : be sppears to have had mmsilerable power of design Recorile exist of other early artints

“Bat thee atteapte only became wn art when coemtnerne and war bed eyeoe] cvostest ceumenictios betes

m= ae

466 Parwrina

Italy and Spain, When Charles V. united the two penin- sulas under the same government, and founded the vast empire which extended from Naples to Antwerp, Italy had just attained the zenith of her glory and splendour. Leonardo da Vinci, Michelangelo, Raphael, Titian, and Correggio had produced their incomparable masterpieces. On the other hand, the capture of Granada, the di:

of America, and the enterprises of Charles V. bad just aroused in Spain that intellectual movemont which follows great cormmotions, and impels a nation into a career of conquests of every kind. At the first news of the treasures to be found in Italy—in the churches, in the studios of the artists, and in the palaces of the nobles—all the Spanianls interested in art, either as their profession or from love of it for its own sake, flocked to the country of so many marvels, richer in their eyes than Peru or Mexico, where numbers of adventures were then hastening, eager to acquire more material riches,

“Only choosing the most illustrious, and those moroly who distinguished themselves in painting, wo find among those who left Castile for Italy, Alonso Berruguete, Gaspar Becerm, Navarrete (ol Mudo); from Valencia, Juan de Joanes and Franciseo de Ribalta; from Seville, Luis de Vargas; from Cordova, the learned Pablo de Céspedes. All these eminent men brought back to their own country the taste for art and the knowledge which they had studied under Italian masters. At the same time, foreign artists, attracted to Spain by the bounty of its kings, prelates, and nobles, came to complete the work begun by the Spaniards who had studied abron.

" Four principal echools were formed in Spain, not suc cessively, as those in aly, but almost sini

Tx Varencta. M7

These were the schools of Valencia, Toledo, Seville and Madrid, But the two first were soon merged into the others. The school of Valencia, which bad been founded by Juan de Joanes, and rendered famous by Ribera and the Ribaltas, was united like the emaller schools of Cordova, Gmnada and Murcia, to the parent school of Seville (or Anilalucian); whilst that of Tolodo, as well as the local schools of Badajoz, Saragossa and Valladolid were merged in the school of Madrid (or Castile), when that countey- town had become the capital of the monarchy through the will of Philip IL, and had carried off all supremacy from the ancient capital of the Goth.”

1. The Valencian School.

It is only right that this echool should be mentioned before those of Andalucia and Castile, for it was espocially through it that the lessons of Italy came to Spain.

Of this generation of Spanish artists, formed by contact with the Italians, the first is Vicente Juan Macip (1505-7 —1579), called Juan de Joanes. of Fuente la Higuera. Notwithstanding his importance as the leader of this school, and his merit as an artist, he is still almost unknown out of Spain, and is not very popular oven there. His works are everywhere rare, except in Madrid, ‘

Francisco do Ribalta (1550-60—162S) learned his art first at Valencia, but subsequently perfected his style by stadying the great masterpieces in Italy, especially Raphael and the Carracci. On his return to Spain, Ribalta was touch honoured and patroaized, and his works have since been highly praised, His pictures are chiefly to be seen in Valencia, and rarely to be met with out of Spain. His son, Juan de Ribalta (1597—1623), if he had lived to

uHa

Tw Axpatocta. 47

introduce and teach in his country the true method of oil and freseo painting. It was he who substituted the Renaissance art for the Gothic.

Vargas passed twenty-eight years in Italy, but event- ually died at his native Seville. Amongst other celebrated pictures by him, there was La Oalle de Ja Amargura (Way of Bitteracss), of the year 1563, which has sinee disap- peared, owing to the injuries it received from timo and unskilful restorations. The Temporal Generation of Christ, in the chapol of the Conception in the cathedral of Seville. His works are remarkable for brilliant colouring, charneter and expression, but are wanting in harmony of tone,

Pablo de Céspedes (1536—1608) achieved success alike in science, literature, and the fine arts. After » visit to Rome, where he was much impressed by the works of Michelangelo, be received a canonry in the chapter of Cordova, and gave up his time peacefully to the different stadies to which his taste and knowledge led him. ‘The best literary work of Céspedes is the one he wrote in 1604, the tite of which is, ‘Parallel between Ancient and Modern Painting and Sculpture.’ His most farnous pio- ture is an enormous Last Supper placed over the altar in ‘one of the chapels of the cathedral of Cordova, Almost all his other works, the names of which are preserved, have entirely disappeared, without our even knowing where to look for them.

Alonso Vazquez (died 1649), & pupil of Arfian, at Seville, and was chiefly famous for his historic subjects.

Juan de las Roelas (1558-60—1625) was brought up for the profession of a doctor, and graduated at the College of Seville, whence he is often called “el licenciado Juan. He is supposed to have studied art at Venice, He lived,

472 Paisrexa

latterly, chiefly nt Madrid and Seville. One of the best painters of the Andalucian school, he brought, te his follow-countrymen from Italy, the gift of Venetian colour- ing, which he had studied under the pupils of ‘Titian and Tintorotto, Among his best works are in the cathedral, Santiago Mata-Moros assisting the Spaniards at the Buttle of Clavijo; atthe church of the Cardinal's hospice, the Death of 8. Hermenrgildo; in the church 8, Lucia, the Martyrdom of the patron saint; and, lastly, in S. Isidor, the Death of the Archbishop of Sevitle, in a vory imperfect state. Roelas was the instructor of Zurbaran.

Francisco Pacheco (1571—1654) is famous for the academy which he opened for imparting instruction to young artists, and in which, if report be true, he improved his own style. Among his pupils in this school were his son-in-law, Velazquez, and Alonso Cano, In 1618 tho Inquisition appointed him one of the guardians of the public morals, in which capacity he was responsible for the sule of any picture in which the human figure was repre sonted naked, As an artist, he succeeded best in por- trait painting; and Cean Bermudez tells us that be was the first man in Seville who properly gilded and painted statues. He was also the first to paint the backgrounds and figures of baareliefs, Pacheco was rather a man of lotters than a painter; he wrote a treatise on the * Arte de la Pintura;" as a painter, he cannot take high mink, and, as & writer on art, he exercised a detrimental influ- onco upon its development in Spain.

Francisen de Herrers (1576—1056), commonly called “el Viejo” (the Elder) to distinguish him from his sou, who bore the same Christian name. He studied painting under Luis Fernandez, and soon became one of the most

= |

Is Anpawweia. 408

original artists of bis time in Spain. He lived most of his life in Seville, but in 1650 he removed to Madrid, in which city he died, He was so gloomy and violent that be passed nearly his whole life in solitude, and was abandoned by all his pupils—amongst whom was the celebrated Velazquez,—and even by his own children. He painted his pictures, as he did everything else, in a sort of frenzy. He used reeds to draw with, and large brushes to paint with Armed in this manner, he exeeuted im- portant works with incredible dexterity and promptitude. The enormous Last Judgment which he painted for the church of & Bernardo, at Seville, where it still hangs, proves that Herrera was a painter of no mean abilities. His frescoes, too, on the cupola of S, Buena Ventura at Seville are worthy of great praise : of these pictures Herrera mado various etchings,

Juan del Castillo (1684—1640), the younger brother of Augustin del Castillo, was a painter of no great note, He studied art under Luis Fernandez, and soon became famous as a historie painter. He is more renowned as a teacher of painters than as an artist. He can boost of having imparted instruction to Pedro de Moya, to Alonso Cano, and even to the great Murillo.

Francisco de Zurbaran (1598—1662 2) belongs to the Andalucian school, because he studied under Roolas at Seville, and passed the groater part of his life there.

In 1630, he was invited to Madrid, and was soon after- warda appointed painter to Philip IV, In 1650, the monarch employed him to paint the Labours of Hercules in the palace of Buen Retiro,

Tris universally acknowledged that the best of Zarbaran’s compesitions, that in which all his good points are united

474 Parstixo

and where there is greatest display of talent, is the S. Thomas Aquinas, painted about 1625 for the church of the College of that Saint, now in the Museum of Seville, which possesses the finest collection of his works. In the Pardo at Madrid there ore fourteen pictures attributed to Zurboran, In England, the National Gallery, im which tho artists of Spain aro very poorly reprosented,® has but one picture by this artist. It is a vividly natural

of a Franciscan Monk. In the Duke of Sutherland's collection at Stafford House, there is a fine specimen

If wo clase Ribera with the Neapolitan School, there are bat

three Spanish artists represented in the National Gallery—Zarbaran by one work, Murillo by three, and Velezqnex by four: the Dulwich Collage Gallery ia slightly richer; it has in all 16 Spanish worke— 4 by Marillo, 6 by hin school, 1 by Veluzquea, 1 after him, and 4 by unknown mnstors, Taking the exhibitions of “Old Masters" st Burlington House as an index to the contexts of the private lections of England, we find that in 1881, of a gross total of paintings exhibited, there were 78 English, 66 Italian, 56 Datoh, ‘23 Flomish, 6 German, 4 French, 4 Spanish, and 2 unkoown. Tn 1840, of » tolal of 254 paintings, there wore 68 English, 62 Italien, 45 Germon, 87 Datch, 22 Flemish, 12 French, 11 Spanish, and T unknown,

In making comparisons, it must be borne in mind that different exhibitions have been expecially rich in n particalar school or artiste ‘thus that of 1881 will bo romembored for its many examples af Dutch art from Deeplene and other galleries; and that of 1880 for ite 36 worke by Holbein, and 4 of “his school,” which went very far to make up the 45 total of the German works. Of the ne tuo, in that year, no less than 8 were recent importations from by Mr. J.C. Robinson, ‘Tho figures given shove, i aerate tend to show how very poorly Spanish art is represented in Hagan And it would be, perhwps, within the mark to say that fully two- thirds of the Spanish pictures in this country are attribated either to Murillo or Veluzquex. These figures also show that after Italian, Datel art ie r088 popular in England; that Prench ix, perhaps, after Spanish, the lenst appreciated,

Tx Axpatver. 475

of Zurbaran, a Madonna and Child with the Infant 8. John.

Zurbaran was one of the first Spanish painters in whom we recognise an independent and national style. In his worka the strength and weakness of his school are alike strongly brought out; the heads are powerful and lifelike, admirably expressing religious fervour, mental agony, or triumphant faith. The colouring and chiaroscuro are remarkable for depth and breadth; but-the design of lange groups is wanting in harmony, and there is no attempt to idealise or tone down the expression of suffering.

Alonso Cano (1601—1667) bas been termed the “Spanish Michelangelo,” merely because he was a painter, sculptor, and architect, Like Michelangelo, he wasa better sculptor than painter, but his only works in architecture were those heavy church decorations called “ retablos” (church screens), which he not only designed, but for which he himself made all the ornaments, either statues or pictures. Alonso Cano lived for some time at Seville, afterwards at Madrid, and towards the close of his life at Granada, his birthplace; and, provided with a rich bene- fice, tranquilly passed the last years of a life which had been agitated by travels, passions and adventures. He left seven of his works to the Museum of Madrid. Amongst these are a S John writing the Apocalypse; the Dead Christ mourned by an Angel, and a fine Portrait,

Antonio del Castillo y Saavedra (1603—1667), the son of Augustin del Castillo, and the nephew of Juan del Castillo, studied first under his father, and, after his father’s death, with Francisco Zurbaran. He painted chiefly at Cordova, which city possesses many of his works,

Francisco Varela (died 1656) was one of the best of

476 Panera

Roclas’s pupils, Ho exccuted chiefly historic subjects Bermudez praises the correctness of his drawing and his Venotian-like colouring.

Podro de Moya (1610—1666), who was at Airst a pupil of Juan del Castillo, enlisted in the Flemish army, but. still continued to practise art. Having seen and admired the works of Van Dyck in the Low Countries, Moya, in 1641, wont to London in order to study under the great artist, who unfortunately died a few months after his arrival. He then returned to Granada, where he executed several works of merit, The Louvre possesses an Adoration of the Shophorda by bir.

Bartolomé Estéban Murillo, the most renowned painter of the Spanish school, was born at Seville, and baptized on the Ist of January, 1618. He passed a melancholy youth in ignorance and neglect. Juan del Castillo, distant relation, gave him, out of charity, his first lessons in an art, in which he was to find fortune and renown But Murillo soon lost his teacher, who went to live im Cadiz, and for a long time he had no master but himself Doprived of an intelligent guide and of all regular study, obliged to live by his pencil before he had lewrned to use it, ho was compelled to paint hastily-exeonted works, either for sale in the weekly fair, or for exportation to America,

Murillo was alroady twenty-four years old when the painter Pedro de Moya passed through Seville on his return from London to Granada, bringing copies of Van Dyck, of whom he had received a few lessons, At the sight of the works of Moya, Murillo was in eostasies, and felt his true vocation. With a few reales in his pocket, acquired by much labour, and without asking advice or

Is Awpanveta. AT

taking loave of any qne, he set out on foot for Madrid. On his arrival at the capital, he went at once to present himself to his fellow-countryman Velazquez, who was twenty years older than himself, and then in the height of his glory. The king's paintor received the young traveller with kindness; he encouraged him, brought him forward, procured him useful work, an entrance to the royal palaces and the Escorial, besides admitting him to his own studio, and giving bim advice and lessons.

After two years of study in Madrid, Murillo returned to Seville, where his first works wore for the convent of S, Francisco. Tn 1660 he established the Academy of Seville, but he held the presidentship for one year only, He had returned to Seville in 1645, and, until his death, which occurred at that city on the 3rd of April in 1682,—in consequence of a fall from a scaffold while engaged on painting an altar-piece of S. Catherine for the church of the Capuchins at Cadiz—he scarcely left his native town; and it was during these thirty-seven years that his numerous paintings were executed,

Murillo had three styles, which are termed by the Spanianis, jrio, eilido and vaporvao (cold, warm, and aerial),

Seville at first wns filled to overflowing with Murillo’s works; and it his retained a lange number of the best. In ono of the chapels of its cathedral may be seon the langest painting by Murillo, the Kestaey of S. Antony of Padua. Yn the gallery of pictures formed in an old convent are the Miracle ef the Loaves and Fishes, Moses striking the Rock; ond other works in the Provincial Museum are S. Feliz of Cantalisi; the Madenaa de lo Bervilleta; 8. Thomas of Villanueva distributing alms to

478 Parsrmc

the poor—tho painting which Murillo himself preferred of all his works—lastly, the one of his numerous Conceptions which is called the Perla de las Concepeioncs. This is a symbolical representation of the favourite doctrine of the ‘Spaniards, which has become the dogma of the Immaculate Conception. It is, in reality, an apotheosis of the Virgin.

Forty-seven pictures by Murillo are collected in the National Museum at Madrid. From this number we rust

choose a fow for special mention. Of the cold style we

prefer a Holy Family, usually termed ‘with the little dog ; the Martyrdom of 8. Andrew; and the smallest of his Annunciations.

‘The warm style was that which Murillo himself seems to have preferred. All his Ecstasies of Saints, and the number of these is great, were treated in this manner, The Museum at Madrid possesses a fine example, S. Hdefouso. The Virgin appears to the Saint and presents him with a chasuble for his now dignity of archbishop,

It is in these scenes of supernatural poetry that the peneil of Murillo, like the wand of an enchanter, produces marvels, It might be said of the two great masters that Velazquez is the painter of the earth, = Murillo of ‘heaven.

Although the Academy of & Fernando at Madrid ean only show four pictures by Murillo, yet these are master= pieces, the Resurrection, the 8, Blizabeth of Hungary, sometimes called ef Tinosv, and the two vast pendents, usually called los Medios puntos, relating the legend of 8. Maria in Nove.

Murillo, having been far more fertile than Velazquez, ix much better known out of Spain. The Hermitage of 5 Petersburg bas twenty pictures by him in its catalogue,

Ix Axpauveta. 479

Without accepting all of these, we may, at least, mention & Conception, beautiful even among 20 many others; a Nativity which, in its arrangement, reminds us of Corroggio’s Notte, At Berlin there is an Festasy of 8. Antony of Padua, which, without equalling the brilliant masterpiece that Murillo left as a last gift to the cathedral of his native city, yet, at all events, recalls the highest qualities of the painter of Seville. It is in his tender passionate style, Munich is still richer in posesss- ing excellent works in different etyles: S. Francis de Pawla curing a Paralytia at the dour of a church, and five of the best of his beggar subjects.

A large picture, formerly an heirloom of the Marquises of Pedroso, at Cadiz, wax in 1837 bought by the National Gallery in London for about four thousand guinens. It is a Holy Family. In this picture, between His mother and Joseph, who are worshipping on their knees, the Child Josus stands on the broken shaft of a column, gazing towards heaven as if wishing to leave carth, and united in thought to the two other persons of the Trinity—the Holy Spirit, who in the form of a dove, is hovering over his head, and the Father, who is above, amidst a choir of seraphim. The National Gallery also posseaus two other pictures by Murillo, a Spanish peasast Boy, doubted by some critics, and a S. John and the Lamb. In the Duko of Sutherland’s gallery the places of honour are justly occupied by two large pictures by Murillo, brought from Seville to London through the collection of Marshal Soult —Aliraham receiving the three Angels, and the Return of the Prodigal Son, They bave been provided with magni- ficent frames, in which are the verses of Scripture which explain the subject, and surmounted by giklod busts of the

480 Pamrixo

painter whose life was 20 simple and devoid of pomp, The Prodigal Son is, however, far superior to the Abraham, The group of the wretched and repentant son kneeling at the feet of his noble and affectionate father; the group of

Pig. 162.8, John the Baptist, By Murillo, In the Prade Museo, Modrid,

the servants hastening to bring food and clothes; even to the little dog of the family, who has come to recognize and caress the fugitive, and the fat calf which is to be killed

aN =

—=* Ty Axpatvers. 481

- for the rejoicings;—all is great and wonderful in com- position, éxpreasion and incomparable colouring. This Prodigal Sm desarves, perhaps, to be called the greatest work of Murillo out of Spain. The private galleries of England are tolerably rich in works by and attributed to Murillo,

‘Of his ten works in the Louvre the most famous are the Tinmacnlate Conception, for which the enormous sum of 615,300 franes was paid, and the Beggar Boy, who is crouching on the stone floor of a prison or a garret, with a pitcher by his side.

Ignacio Iriarte (1620—1685) was famous as a landacape painter. Murillo frequently painted figures in bis land- scapes, but this rship—which was beneficial to both —vwns unfortunately dissolved by a quarrel ns to who should paint first and who last on the Life of David which had been onlered by the Marquis of Villamanriqne. Murillo finally changed the subject to the Life of Jacob, and executed the whole work himself It is now in the Grosvenor Hotse Gallery. Madrid possesses several of Iriarte’s best pictures. The Louvre has a Jacol’s Dream.

Francisoo de Herrera (1622—1685) is called “el Mozo” (the younger) to distinguish him from his father "cl Vigjo,” After studying for some time with bie father, he left him on account of his violonce, and wont to Rome and then improved his style by close attention to the works of the great Italian painters. Besides historic pictures, he excelled in painting flowers and still life, and especially fish, whence he was called by the Ttalians “lo Spagnuolo degli Pesci.”

Sebastian Gomez (1646—1690 1), commonly called the “Mulatto of Murillo,” was in a great measure self-taught.

BHA 1

’

482 Paintixo

As Paroja loarnod his art by secrotly studying the works of Velazquez, 80 did Gomes, by attention to the productions of Murillo. After years of careful study, Gomex ventured to complete an unfinished sketch of the Viryin’s Hoad by his master. Murillo was pleased with the attempt, and encouraged Gomez to go on with his adopted profession, His paintings are defective in drawing and composition, but in colour they imitate successfully the great Murillo.

Juan de Valdés Leal (1630—1691), the sculptor, archi tect and painter, studied in the school of Antonio del Castillo, and was subsequently one of the most famous painters in Seville: indeed, after the death of Murillo in 1682, ho was second to none. He was one of the founders of the Academy of Seville. His works are to be seen in churches of Seville and Cordova,

Pedro Nufex de Villavicencio (1685—1700), of a noble family, studied art for amusement under Munilo as Bel- traffio did under Leonardo da Vinci. Burmudez tells us that he painted children, especially of the poorer class, in a manner little inferior to that of Murillo He was one of his master’s executors,

Acisclo Antenio Palomino y Velasco (1653—1725), the Vasari of Spain, was first destined for the Church, but soon gave proofs of his love of art. Palomino subsequently painted at Madrid, where ho became quite « famous artist, in the Alcazar, the Escorial, at Salamanca and at Granada, Though a very fair artist, he is much more famous as the historian of the artists of Spain. Seareely resembling Vasari in his pleasing style of narrative, he is unfortunately like him in being, as regurds dates, open Lo eriticism—not to say untrustworthy,

Alonso Miguel de Tobar (1678—1758), though scarcely

Iy Castine. 433

worthy of much praise as an artist, is noticeable for the exactitude with which he succeeded in imitating the works of the great Murillo. A copy by him of Murillo’s portrait of himself, now st Althorp, is in the Madrid Gallery. Of his original works, we may notice an Ynthroned Madonna in the cathedral of Seville, Of his copies of Murillo's works, we may mention a Holy Family, painted for the church of Maria la Blanca de Seville, which was at the time thought to be the original; and a S. John and the Lam) after the picture now in the National Gallery. It is probable that many pictures, commonly called replicas by Murillo, are copies by Tobar.

Francisco Meneses Osorio (fl. ab, 1700) is also chiefly famous for his exact copies of Murillo's works; he excelled especially in reprosenting beggar boys. and similar subject He is said to have partly finished the S Citheriae which Marillo’s death caused him to leave uncompleted. Seville possesses the greater part of Osorio's works.

3. The Castilian School.

This can not be called the school of Madrid, for, during the lifetime of the painters who founded it, Madrkl did hot as yet exist, at least, not as the capital of the Spanish monarchy. Bat after the eaprice of Philip 1, had raised Madrid to the mk of 2 metropolis, all the dispersed elements of the Castilian schoo) soon assembled im that city. Tt was at Valladolid that Alonso Berruguete lived; at Badajoz, Luis de Morales; at Logrofe, in the Rioja, Juan Fernandes Navarrete; at Toledo, Domenico Theotocopuli. But we must not pass by these earlier masters without a short mention of

Alonso Berruguete, painter, sculptor, and architect

48h Painrixa

(1480—1561), who took lessons at first from his father Pedro, and in the year 1503 went to Florence and studied under Michelangelo, whose famous cartoon of the Piean war he copied. He then went to Rome, where he assisted his master in the great works at the Vatican, ordered by Julius IL On his return to Spain in 1520—though he found himself famous and was appointed sculptor and painter to Charlee V., as he had been to Philip L, before he quitted his native country—he seareely painted any- thing but altar-screens for churches, which required a union of the three arts which he eultivated—painting, sculpture, and architecture,

Luis de Morales, called e! Divino (1509 7—1586), is a painter of whose life very little is known. About 1564 he was summoned to Madrid by Philip IL, but he soon returned to Badajoz. When Philip IL. visited that city in 1581, and found the artist in poverty, he gave him a yearly pension of three hundred dueats.

His picturos, frequently painted on copper or wood, are as a rule very small and simple; the most complicated are thoso reprosonting the Madonna supporting a Doad Christ, ‘There are some works, however, of Morales in which there are whole-length figures, such os the aix large paintings of the Passion, which decorate the church of a small town in Estremadura, Higuera de la Serena. Madrid has only succeeded in collecting in its museum five works by his hand, which proves that they are rare, whéa authentic. The Cirewmetsion is the largest, and seems to be the best of the five, Genuine works by Morales are rarely to be scen out of Spain, His cforts were cramped by the narrowing thraldom of the rules with which Spanish painters in his time were compelled to comply,

In Castine. 485

and most of his heads express agonised despair or hopo- less resignation.

Alonso Sanchez Coello (ab, 1515—1590) was not only the pintor de edmara to the son of Charles V., but also one of his intimate courtiers (et privado del rey). He painted several pictures on sncred history for different altars in the Escorial; and also the portrait of the celebrated founder of the Order of the Jesuits, Jgmatite Layolin,

Juan Fernandez Navarrete (1526—1579) — called on account of his being deaf and dumb, el Mudo—after having received instruction in the elements of painting from a monk, Fray Viconte, of the convent of La Estrella, was taken by his family to Italy, where he stayed for about twenty years.

He visited Rome, Naples, Florence and Venice, and settled down near Titian, whose disciple he became, Tt was at the Escorial that’¢l Mudo completed his prin- cipal work,—a series of eight large pictures, some of which have since perished in a fire. Amongst those which were preserved may be mentioned, a Nuticity, in which el Mado undertook to vanquish a considerable difficulty: he in- troduced three differont lights into picture; one which preceods from the Holy Child, another which descends from the Glory and extends over the whole picture, and a thind from a torch held by S Joseph. He has been called the “Spanish Titian.”

Domenico Theotocopuli (ab. 1548—1625), known in Spain as “el Greco,” « Greek by yerentage and perhaps by birth, was o painter, sculptor and architect, and the founder of the school of Toledo. He studied under Titian at Venice, and then settled at Toledo about 1577. He

486 Pamtixe

became known there by a large picture of the Parting of Christ's vraiment, quite Venetian in its character. Seon after, changing his style, he adopted a pale greyish colour- ing, which makes all the figures appear like so many ghosts and shadows, He was a better instructor than painter, :

Juan Pantoja de ln Craz (1551—1609), the pupil of Sanchez Coello, has left a gallery of portraits, oven in hix historic pictures. There are twelve historic portraits by him in the Madrid Gallery,

Pedro de las Cuevas (1568—1635) is scarcely worthy of mention as an artist, but he sent forth from his academy some of the best artists of that time. Amongst these were

Antonio Arias Fernandez (died 1684), who was at the early age of twenty-four considered one of the best painters in Spain. In the convent of San Felipe are eleven scenes from the Passion of our Lord.

Juan Carroio de Miranda (1614—1685), who also studied under Bartolomé Roman, a pupil of Velazquez. At Madrid, Carreflo painted for the convents and churches many pictures which gained him great fame. Besides his works at Madrid, he painted at Toledo, Aleali de Henares, Segovia, and at Pamplona.

Felipe de Liafio (died 1625), who studied art under Alonso Sanchez Coello, excelled in portraiture—ospecially in his small pictures, which are noticoable for the beauty of their colour, whence he has been called “el pequea Tiziano.”

Luis Tristan (1586 7—1640) studiod under Theotocopali, whom ho surpassed in design if not in execution, bat who nevertheless was always ready to recognise his pupil's merit. ‘Tristan's masterwork was a series of pictures in

Ts Caster. 487

the church of Yopes, a small town near Toledo, which with Madrid, can boast of possessing the greater part of his works.

4 The Italian-Sponish Paintere of Madrid.

Tt was at this poriod that three families of artists, all natives of Tuscany, came to settle at Madrid, These were the Carducci, the Cajesi and the Ricci, which names were, by the Spaniards, turned into Carducho, Caxés and Riz. We mnst grant a separate mention to the most famous of each family.

Bartolommeo Carducci (1560—1608) studied art under Federigo Zucearo, whom he accompanied to Spain towards the end of the sixteenth century. He painted, in con- junction with Pellegrino Tibaldi, tho ceiling of the library in the Escorial, where he also executed various freseoes. The Descent from the Orore, which he painted in the church of 5. Felipe el Real at Madrid, increased his fame—already considerable.

Vinecnzio Carducci (1585—1638) was a pupil of bis elder brother Bartolommeo, and was by him taken to Spain, whore he afterwards resided—im fact he was wont to consider himself » Spaniard rather than an Italian. He died while painting a S. Jerome, which boars the inscrip- tion, “ Vincensius Cartucho hie vitam non opus finiit 1638." Ho has left ‘ Didilogues on Painting’ (' Dialogos de las Excelencias de la Pintura’), published at Madrid in 1635, which has been much esteemed.

The Museo Nacional, Madrid, still retains the greater number of the works which Carducho executed for one of the largest orders reconied in the history of art. ‘The Car thusian convent of of Paular intrusted him with the entire decoration of its great cloistor. Hoe was to represent the

483 Paiwrosa

Tiife of &. Bruno, the founder of the order, and the Mer tyrdoms and Miracles of the Carthnsians, By a contract of August 26th, 1626, between the prior and the painter, it was agreed that the latter should deliver fifty-five pictures in the space of four years, all of them to be painted entirely by himself, and the price to be fixed by compatent judges. This eingular contract was punctually executed,

Patricio Cajesi (died 1612) was invited to Madrid by Philip U1, who employed him in the palaces of that city. He was also commissioned to decorate the Queen's Gallery in the Prado. The paintings which he executed there perished in the great fire in that palace.

His son and pupil, Eugenio Caxés (1577—1642), a native of Madrid, was also a painter. He nasisted his father in the works which he executed for Philip LLL, whe appointed him his painter, on the death of old Patricio in 1612. Eugenio painted many works in the churches and convents of Madrid, but many of them have perished by fire, as have also the frescoes which he executed in conjunction with Vincenzio Carducci in the Prado. In the Gallery at Madrid there is the Landing of the English at Cadiz under Lord Wimbledon in 1625, by this artist,

Fray Juan Rizi (1595—1675) and his brother Francisco Rizi (1608—1685), sons of Antonio Ricci of Bologna, were both born at Madrid. The former studied under Magno, took the cowl and painted chiefly for religious houses, and the latter received instruction from Vineenzio Carducci, was appointed painter to the cathedral of Toledo and to Philip [V., and subsequently to Charles IL

Many of Francisco Rizi’s works are in the churches and convents of Madrid, but the Gallery can boast of only one work, a Portrait of an unknown Ienight.

Tx Castiue. 439

Returning to real Spanish artists, we now come to Spain's greatest painter.

5. Velazquet and his Followers.

Diego Rodriguez de Silva y Velazquez, who, according to the custom of his country, retained his mother's name, was born at Seville, and baptized there June 6, 1599. His two masters were Herrera el Viejo and Francisco Pacheco.

Velazquez must have seen, even at Seville, several paintings from Italy and Flanders; he also saw there the works of Luis Tristan, of Toledo, whose taste he admired. It was thon that he felt the necessity of going to Madrid to study the works of the masters of hie art. Pacheco had then just given him the hand of his daughter, Dota Juana. He started for Madrid in the spring of 1622, when twenty- throe years of ago, and there studied hard in the rich eol- lections of the palaces of Madrid and the Escorial. The next year he returned to that city. Pacheco accompanied his son-in-law in this second joumey, feeling sure that glory and fortune awaited him at court. And, indeed, his first pictures showed what he could do. Philip IV. ordered portrait of himself, with which he was so delighted, that he immediately collected and caused to be destroyed all the portraits that had yet beon taken of him, and he named Velazquez his private painter (pintor de eimara). To this title was added later these of usher of the chamber (wjier de edmara) and of oporentador mayor. Besides this, Velazquez was admitted to intimacy with king, and was counted all the remainder of his life among those courtiers who were called privadog del rey.

The following year Velazquez set out for Venice, where

490 Parrixa

he studied Titian, Tintoretto and Paolo Veronese; then le went to Rome, where he copied a lange part of the Last Judgment by Michelangelo, the School of Athens by Rephacl, and other works of these two great rivals in fame. After more than a year oecupied with these labours done in rotiroment, and after having visited Naples and his fellow-countryman Ribera, Velazquez returned to Madrid in 1631, with his talent ripened and matured. The artist received a splendid welcome at the court, and Velazquez from that time occupied without dispute the first rank among the painters of his country, A commission given him by this prince for the purchase of some works of art caused him to return to Ttaly in 1648, He could then visit Florence, Bologna and Parma, whither he was at- trneted by the works of Correggio On his retum to Madrid, Velazquez continued his labours peacefully until his death.

We now pass to the consideration of his works, Sixty- nine paintings by him are now collected in the Musoum at Madrid, and im this number are included all his principal pictures; that is to sny, except a very few carried out of Stuin citheras royal gifts or as the spoils of war, the whole works of Velazquez ars in this museum.

He tried every style, and succeeded in all; he painted with equal success history (profane, at least), portraits, both on foot and on horseback, men and women, children and old mon, historic landscapes, animals, interiors, flowers and fruits, We will neither notice his small dining-room pictures (lafegonee) nor his little domestic scenes in the Flemish style. The most celebrated of his landseapes, at all events at Madrid, are a View of Aranjuer and a View of the Prado.

Is Castinn,. 491

Amongst his historic landscapes we must especially mention the Visit of 8. Antony to S. Paul the Hermit,

In portrait-painting Velazquez shares the glory of Titian, Van Dyek and Rembrandt. He has surpassed all his fellow-countrymen, and is scarcely equalled by his great rivals in other schools Nothing can surpass his skill in depicting the huroan form, or his boldness in seizing it under its most difficult aspocts: for example, the eques- trian portrait of his royal friend, Philip J¥., the queen Blizabeth of France, and Marian of Auatria, the young Lufaita Margaret, and the Infante Don Balthazar, some- times proudly handling an arquebus of his own height, or else galloping on a spirited Andalusian pony. The Cown!- duke of Olivares, another protector of the artist, is repre- sented on horseback and clothed in armour; and in this picture, besides an equal amount of resemblance and life, there is also an energy and commanding grandeur which the painter could not give to the indolent monarch.

Unlike the Italians and all his fellow-countrymen, Velazquez did not like to treat sacred subjects. He has consequently left scarcely any picturo of that subject.

As for the profane pictures, genre paintings in their subjects, but historic by their dimensions and style, they are sufficiently numerous to satisfy the eager curiosity of the admirers of Velazquez. ‘There are five principal ‘ones in the museum at Madrid. That which is called Das Hilanderas (the tapestry weavers) shows the interior of a manufactory. In an immense room, only dimly lighted in the hottest time of the day, workwomen are occupied with the different employments of their trade, whilst some lailies are being shown some of the completed work. Velazquez, who usually placed his model in the open air

492 Paistixa ix Casrive,

and sunshine, has here braved the contrary difficulty. His whole picture is in a half-light, and, playing with such « difficulty, he has succeeded in producing the most wonder ful effects of light and perspective. The exclusive lovers of colour place Lae Hilanderas as the first of bis works.

Le Fraga de Vuleano (the Forge of Vulean) is also reckoned among his masterpieces,

The Surrender of Breda, which ia usually called in Spain Jar Lanzas (the Lances), is still a betwer work (Fig. 163). The subject of it is very simple. The Dutch governor is presenting Spinola, the general of the Spanish forees, with the keys of the sumendered town. But of this Velazquez has made a great com- position, On the loft there is a part of the escort of the governor; his soldiers still retain their arms, arquebuses, and halberts. On the right, before a troop, whose raised lances have given the picture the name it bears, is the staff of the Spanish general. Velazquez lias concealed his own noble and earnest fice under the plumed hat of the officer who occupies the farthest corner of the picture. Every point in this immense picture is worthy of praise. Asa whole it is grand, and the dotails ure thoroughly artistic and full of truth.

To pus from the Surrender of Breda to the Drinkers (Los Borrachos), is to pass from an epic poem toadrinking song, and yet, instead of being inferior to the other, it im perhaps even greater. It is merely a comic scene, and yet it is one of those pictures of the beauty of which no description can give an idea. It is said that Sir David Wilkie went to Madrid expressly to study Velazquez, and that, still furthor simplifying the object of his journoy, he only studied this one picture,

Tx Castine. 495

night, he practised the lesson with pencil and brush, Not till he was forty-five years old, did be think himself sufficiently skilful to reveal the secret #0 long kept. He then placed a picture which he had done amongst these of Velazquez, which he know Philip IV. would look out,and thereby gained his freedom.

Juan Bautista Martinez del Mazo (1620 7—1687), the son-in-law of Velazques, was ane of his most skilful pupils. Jebrated for bis power of imitation : Palomino relates that copies of Titian, Tintoretto and Paolo Veronese, which Mazo made im his youth, were sont into Italy, where they were, doubtless, admitted for originals. Mazo succeeded especially in copying the works of his master.

Claudio Coello (ab. 1635—1693) was in the Castilian school what Carlo Maratti had been in the Roman, “the last of the old masters.” His father, a sculptor in bronze, intended his son for the same profession, but Coollo developed a decided talent for painting; he improved his style by studying the works of Titian, ‘Rubens and other great mastors in the royal galleries. His masterpiece, which cecupied him more than two years, is still in the Esvorial: it represents the Collocation of the Hoat (et Cuadro de la Forma), and contains the portraits of Charles IL. and many of his courtiers,

Juan de Alfaro y Gamoz (1640—1680) studied first under Antonio del Castillo, but subsequently with Velaz~ quez, in whose school he greatly improved his colouring. Alfaro is said to bave been absurdly wai Tt is related of him by Palomino, that being employed to paint scenes from the Life of S. Prancia for the cloister of the con- vent to that saint, he copied his subjects from prints and

He was especially

496 Pareina

then signed each picture, “ Alfaro pinxit;” the historian further tells us, that Alfaro’s old master Castillo, in order to rebuke him, obtained leave to execute one, and then signed it, “Non pinxit Alfaro,” which henceforth became a proverb. Tho muasterpicce of Alfaro is his Guardian Angel, in the charch of the Imperial Colloge at Madrid,

After the death of Coello, the kings of Spain had, for many years, none but foreign painters. Charles TI, sent for Luca Giordano (1632—1705), by whom there are no Jess than sixty-five works in the Madrid Gallery ; Philip V. to France for Jean Rane (1674—1735) and Michel Ange Houasse (1675—1730) ; and Charles ILL to Italy for the German, Raphael Mengs.

To come down nearer to the prosent time, we have but to mention a few names,

Francisco Goya y Lucientes (1746—1825) was his own instructor, and took lessons only of the old masters. From this singular education his talent took a peculiar bent— inaccurate, wild and without method or style, but full of nerve, bolduess and originality. Gayn is the las a very distant degree, of the great Velazquez. His is the same manner, but looser and more fiery. In this genre he is full of wit, and his execution is always superior to the subjects, But, like Velazquez, Goya founds his best title to celebrity on his portraits. His equestrian portraits of Charles I¥, and Maria Louisa are in the Madrid Gallery. He is best known for his etchings, which aro

very good. Eighty of these have been collected into a volume, phish, is called the *Works of Goya” These are witty allegories on the persons and things of his own time, and remind us of Rembrandt in their vigour and

Tx Castine. 497

pointodness, of Callot in thoir invention, and of Hogarth in their humour.

After Goya there was a complete gap in Spanish art, but at the time of the Universal Exhibition at Paris in 1867 it was found to be reviving, Spain maintained her position honourably amongst the assembled nations. She was also again well represented at Paris in 1878. Within the Inst few years several painters have risen up, and become celebrated; and of two of these we must give a brief record.

Mariano Fortuny y Carbé (ab. 1838-1874) received his first instruction in art from a pupil of the great German master, Overbeck.» He afterwards went to Madrid to study the works of Velazquez and Goya; but although he care- fully examined the paintings of these masters, Fortuny never servilely copiod them. In fact, his chief claim to renown as a painter is based on his originality. He painted im Madrid, Paris and Romo,

Eduardo Zamacois (1842—1871) studied painting under M. Moissonior. Many of his best picturos have been exhibited in the Paris Salon; two are especially worthy of mention, Buffon au 16° Sidele, exhibited in 1867, in which year be gained the medal of the society, and Lédueation d'un Prince in 1870.

Modor Spanish art is characterised by force and warmth of colouring.

Baa EE

VU. Parmrnso mx mire Nernextayns ns Toe SEVENTEENTH AND EIOHTEENTH CENTURIES.

IN a previous chapter we spoke of the decline of Flemish and Dutch art in the sixteenth century, in consequence of 8 mistaken attempt to imitate the great masters of Italy. It is now necessary to notice a revival of painting in the soventeenth century, both in Flanders and Holland, cha- racterized by a return to the realiam of the Van Eycks, combined with something of Venetian breadth, great har- mony of colouring, and general balance of tone.

1. The Antwerp School. (a) Bubens and his Cotemporaries,

In Flanders, the leader of the new movement was Peter Paul Rubens (1577—1640), a native of Siegen in West- phalia, who brought about a complete reform in Flemish painting. Gifted with a powerful original genius, Rubens threw into his works something of the fire and enengy we have noticed in those of Michelangelo: his mastery of colouring, his brilliant execution, fertility of imagination, and vitality of expression, are acknowledged by all— although it is impossible to deny that his figures are some- times coarse, and that he betrayed a want of feeling for spiritual beauty, especially noticeable in his sacred subjects.

He first studied under one Tobins Verhaeght and Adam von Noort; he then, in 1596, entered the atelier of Othon yan Veon, with whom be romained four years.

« In 1597 he entered the Guild of Painters of Antwerp;

Parsyixa ox Awrwerr. 499

and on leaving Van Veon, in 1600, he paid a visit to Italy. He resided at Venice, where he studied the works of ‘Titian and Paolo Veronese, and was much patronized by the Duke of Milan. Tn 1605 he went on a diplomatic visit to Philip TH. of Spain. There he executed portraits of eminent personages of the Court. On his return to Italy, Rubens went again to Rome, then through Milan to Genoa, where he painted many pictures for the palaces of the Genoese nobles. In 1608, on hearing that his mother wns dangerously ill, Rubens quitted Genoa in haste, but unfortunately arrived at Antwerp too late to see his parent alive. He hod intended to return to Mantua, but the Archduke Albert persuaded him, much against his inclina- tion, to remain in the Netherlands, and in 1609 appointed him court-painter to himself and his Duchess Isabella. He consented, on the understanding that he might reside in Antwerp. There he married his first wife, Taabella Brandt; and in the following year he erected a magnificent mansion for himself, and became the head of an illustrious school of painters.

Tn 1621—25 Rubens was at work, in Paris and in Antwerp, on the series of paintings to illustrate the Life of Marie de Médicis, for the decoration of the Luxemboung: tho series is now in the Louvre.

Soon after his return to Antwerp from Paris, Rubens started in 1626 on a tour through Holland, and during his journey visited many Dutch painters of importance. In this year his wife Isnbella died, leaving him two sons, whose well-known portraits are in the Liechtenstein Gallery in Vienna. In 1627 he was employed in diplomatic service at the Hague, and in the following year he was sent by the widow of the Archduke Albert, the Infanta

Kea

500 Parsnixo

Teabella, as ambassador to Philip TV. of Spain. In the following year the Tnfanta sent him, in the same capacity, to Charles T. of England, Rubens was kindly and graciously received by Charles 1., who conferred on him the honour of knighthood, at the same time presenting him with his own sword, and throwing round bis neck a costly chain, which the painter ever aflerwards wore in romembrance of the monarch. He was in the same year knighted by Philip TY, of Spain.

Rubens, whilo in England, made the designs for the great ceiling-piece for Whitehall; the work was completed afterwards on his return to Antwerp. He is said to have received as much as £3000 for it, He returned to Antwerp in 1680, and in the following year married his seeond wife, Helena Fournent, when she was but sixteen years of age. By this marriage he had five children, all of whom survived him.

On the 30th of May, 1640, this great painter, the pro- tector of artiste, and friend of kings and nobles, died, posed of grent wealth, celebrated, and much honoured, at Antwerp, where he was-buried with great pomp in the church of S. Jacques.

Tt would be utterly impossible here even to namea tenth part of Rubens's works, for his love of work was s0 constant, and his fertility so wonderful, that there are nearly fifteen hundred of his pictures which have been engraved, and this enormous number is scarcely half his productions At thesnme time it must, be remembered that many works attributed to him were executed from his designs by his pupils,

The celebrated Descent from the Cross, which is wnani- mously considered the finest of all his works, is in the

Ix Anrwenr. 50L

Cathedral of Antworp. It is needless to doseribe tho subject. It is a large scene of high character, in which we find a nobler conception and more finished execution than usual, besides calmness in the midst of energetic move= ment, and also, in this instance, no less grandeur than fire and energy. The merits of the work are much increased by its perfect unity. On the wings are the Visitation and 8. Simon,

Of the other pictures by Rubens at Antwerp we must mention the Raising of the Cross, the pondent of the Dewent; a vast Assumption of the Virgiv, placed over the high altar in the same cathedral, the colouring of which is magnifi- cent; besides the eighteen pictures in the Museum, amongst which may be found a Last Communion of 8 Francis, unsurpassed, perhaps, by any other work of Rubens In the Pinakothek at Munich are nearly a hundred pictures by him: of these the principal are a Last Judgment ; the Battle of the Amazons; Castor and Polluz carrying of the daughters of Leucippwa ; Children carrying flowers ; and several portraits of himself and his two wives.

The Bolyodoro, Vienna, possesses a Portrait of Helena Fowrment ; « Festival of Venus; an Assemption ; Ignatius Loyola ewring « demoniac; and its companion, Francisco Xavier preaching ta the Indians; the Four Quarters of the Globe; 8. Ambrose refusing to allow the Emperor Theodosius 0 enter the Cathedral of Milan (of which a copy by Van Dyek is in the National Gallery) (Fig. 164); and one of his best pictures, the Appearauce of the Virgin to & Ildefonso. In the Liechtenstein Gallery at Vienna are the well-known pictures of his Teo Sons, and @ sories illustrating the History of Decivs,

‘There are forty-three of Rubens’s paintings in the Louvre:

Panerixg ix Asrwenr, OS

the highest number by any single master to be found in the whole catalogue. ‘The greater part of this number, and certainly the most important, forms a series, and may be considered as a single work. This ix called the Zfistory of Marie de Medicis It was intended merely as the decoration of « palace; it is now in the Louvre, and will be henceforth the chief ornament of that museum, as it is one of the finest works of the master, There are two Landscapes, ono of which is lighted up by a rainbow; a large Kermeste or Fir, which is no less gay and animated than if it wore by Jan Steen.

Tn the Hermitage at S. Petersburg is tho Feast in the House of Simon the Pharisee, and many other works.

At Blenheim, the seat of the Duke of Marlborough, are, among other of his works, tho Rape of Proserpine; 0 portrait of his second wife, Helena Fourment ; und portraits of Himself, his wifo Helena, and @ Chita, in one picture. In the National Gallery there are fourteen works by Rubens. Of these wo must aotice the Pace and War; the Aldwetion of the Sabine Women; the Horrors of Weer ; the fimous Chapers de Poil (Het Spmansch Hoedje); the Trimmph of Julius Comar (after a part of that of Man- tegna in the gallery at Hampton Court); and two fine Lawdeaper, At Grosvenor House, the Duke of Wext- minster possesses a fine work, the History of Erion ond the Clond, wud at Hampton Court ix a fino work of Diana and her Nynphs Good examples of Rubens are also to be found at Buckingham Palace, Leigh Court, Longford and Warwick Castle.

We have now to mention of a fow Flemish painters who were cotemporary with Rubens,

504 Panvrise

Abraham Janssens, van Nuyssen (1507—1632) visited Ttaly, but his pictures, frequently showing the effect of torchlight, are more after tho style of Rubens than of the transalpine masters. Though sometimes a better draughts- man than Rubens, Janssens is far inferior to him in colour.

Martin Pepyn (1575—1643) is a painter who maintains a half-way position between the first decline of Flemieh art and its revival under Rubens. He went when young to Italy, where he resided for some time and executed several important works,

Frans Snyders (1579—1657)—who, among the Flemish animal painters of the time, was second only to Rubers— studied art under “Hell” Brueghel, and also, it is said, under Hendrik yan Balen, from whom he acquired the art of flower and fruit painting. Snyders subsequently changed his subject to wild animals, in the representation of which, in their untamed and savage natures, ho specially excels, He is said to have studied for some time in Italy —chiofly at Rome. He was invited to Brussela by the Archduke Albert, Governor of the Netherlands, for whom he executed numerous works. He was also employed by Philip IIL. of Spain. He often worked in conjunction with Rubens und Jordaens. His works are common on the Continent, but are only seen in private collections in England. The National Gallery does not possess a specimen of this master. A Beor-hent by him is in the posession of the Duke of Westminster at Grosvenor House.

Kasper de Crayer (1582—1669) atudied at Brussols under Raphael van Coxcien (the son of Michiel yan Coxcien). His most famous pictures were those he exe~ cuted for the Abbey of Affleghem ; of these, the Cenlurton

Is Axrwear, 505

tefore Christ is the principal. The Ghent Museum pos- nessa the Coronation of S. Rosalia and the Martyrdom of S. Blaize.

Jon Wiklous (1580—1653) and Lucas van Uden (1595 —1672) were celebruted for their landscapes. They fre- queatly painted backgrounds to the pictures of Rubens and other figure painters. Van Uden may be well studied in the Dresden Gallery.

Gerard Zegers (1591—1651), a pupil of Van Balen and Abraham Janssens, painted in Italy and Spain. The Antwerp Museum possesses his masterpiece, the Marriage of the Virgin,

Joost, Suttermans (1597—1681), though a Fleming by birth, really belongs to the Florentine School. He went to Ttaly in early life, and was chiefly employed by the Grand Dukes of Tuscany.

Theodoor Rombouts (1597—1697) painted in early life in Italy, but returned to Antwerp, and became famous for his sacred pictures His masterpiece is the Depasition Jrom the Cross, in the Cathedral at Ghent.

(6) The Pupils of Rubens,

Of Rubons's numerous pupils the chief was Antoon van Dyck, whose works are as well known in England as those of any other master. Inferior to Rubens in imagination and energy of character, he excelled him in feeling for spiritual beauty, in elevation of sentiment, and refinement of execution, Wan Dyck was pro-eminently a portrait painter, and as such is admitted to rnk with Titian; but he also attained to high excellence in the treatment of sacred subjects.

Antoon van Dyck (1599—1641), of Antwerp, originally

508 Pamsrmso .

studied under Van Balen, and was, then, first pupil and subsequently assistant of Rubens. In 1621 he paid o short visit to England, and two yoars later set out for Ttaly, and chietly resided at Genoa He returned to Antwerp in 1626, and in 1630 went by way of the Hague

Fig. 163.—The Chiliewn of Charles t, By Van Dyek, Ta the Dresden Galery,

to London; he did not stay here long, as he did not receive the patronage he had been led to expect. However, shortly after his return to Flanders, Charles T. sent for him (in 1632), and gave him apartments at Blackfriars, granted him © pension, appointed him court painter, and

Ix Axtwenr. 507

conferred on him the honour of knighthood ; and for several years ho enjoyed great popularity.

Although bis life was far shorter than that of Rubens, Van Dyck executed a very large number of paintings. Of his sacred subjects we may name the Crucifixion; in the cathedral of Mechlin, a fine example of this class; a Pietd amd a Cracifinios, both in the Pinakothek, Munich ; a small Entomlment, in the Antwerp Cathedral; and the Virgiis and Child enthroned with SS Peter and Paul, and the Vision of Heruiann Joseph, both in the Belvedere, Vienna ; the Betreryal of Cherist, in the Madrid Gallery; the Martyr- dom of S. Peer, in the Brussols Gallery; the Madonna with the Portridges, in the Hermitage, & Petersburg ; and a Pieti, in the Louvre.

Tn portraiture Van Dyck rises to the greatest height, and fears no rival but

jan, Holbein, Velazquez and

Rembrandt. We have merely time to take a rapid survey

of the most celebrated of his portraits, which have been

dispersed over Europe. Italy—where Van Dyck remained

for five years in order to complete before the works of

Titian the lessons of Rubene—has retained several of his ts,

In England, tho National Gallery shows with pride one of the groatest works of Van Dyck. This is tho bust of an old man of a grave and noble countenance, who is said to be the learned Geeartius (Govaerts, historiographer of Antwerp), but who is rather, scoording to the engraving by P. Pontius, Cornelis arn der Geest, artis prictorion mator. The National Gallery also contains a Portrait of Retens ; a Study of Horus; His omn Portrait; and copies of two of Rubens's pictures—The Emperor Theodosius refuseed admis- sion inte the church by St. Ambrose (soe Fig. 164), and the

508 Parsmxo

Mirnenlous Draught of Fishes.. At Windsor, among many other of his works, there is the portrait of a Mfrs. Mar- garet Temon, which is beautiful, both from nature and art, and Charles I. on horseback, of which a replica is at Hamp- ton Court. It would be useless to attempt to mention the works by Van Dyck in private collections in England. They abound in all the great houses of the nobility. Tn the National Portrait Exhibition of 1866 no Jess than seventy-two of his pletures were shown, and they fre- quently appear in the yearly exhibitions of works by the “Old Masters” at Burlington House, e.g. in 1881 of « total of twenty-three Flemish pictures, eight were by his hand.

In the Pinakothek, Munich, the finest portraits are pendents, representing a Burgomaster of Antwerp and His Wife, both clothed in rich black robes, The pride of the Liechtenstein Gallery at Vienna are a Princess of Thura- and-Taxis, and a Head of a Warrior, full of energy and power, said to be the famous Wallenstein, Duke of Friedland, the adversary of Gustavus Adolphus, and one of the most prominent chieftains in the Thirty Years’ War.

The Hermitage also possesses a fine collection of por traits by Van Dyck: one of Charles J. of England, at twenty-five years of age, and Henrietta Maria of France, at twenty-six; the former in armour and the latter in court dress; and others,

The Louvre ia not less rich. It possesses a Portrait of Charles I, life-size, in the elogant costume of the cavalions, and the Three children of Charles and Henrietta Maria, all celebrated, all crowned after their exile—Charles ID, James IL., and Mary, wife of William ef Orange, whose son became William HT. of England. There are, besides,

Is Antwerp. 509

the portraita of two other brothers; these are Jwiwig I, Duke of Bavaria, und his younger brother, known as Prince Rupert; Don Francisco de Moncada, on horseback and in armour, perhaps the finest of the mre equestrian portraits by Van Dyck.

Jacob Jordaens (1593-1678), a papil of Van Noort, was Rubens’s most intimate friend and collaborateur, but, though he is not inferior to the great master in colour, ob he frequently degenerates into coarseness and vulgarity.

His pictures abound in the Netherlands, in churches, public buildings, and private galleries. His Triumphal Entry of the Prince of Nasu, execated in fresco, in the House in the Wood, near the Hague, is usually considered his masterpiece, Another fine work by Jordaens is a

Young Satyr in the Amsterdam Gallery, An Adoration of the Shepherds, and a Last Supper iv the Antwerp Gallery, also a Crucifixion in the church of S. Paul in the same city, only show how ill-adapted his style is for sacred subjects. His favourite subject was the old Flemish proverb, “Zo de Ouden zongen, 20 pypen de Jongen.” Examples are in soveral galleries.

The Miracle of S. Martin, who is healing a demoniac before the pro-consul, and an allegory of the occupations and gifls of the Antums, of much more sober colouring, though it loses nothing of its brilliancy, both in the Brussels Gallery, are two of his best works.

Abraham van Diepenbeeck (1607 — 1675) first studied art asa painter on glass, but afterwards gave himself up to acquiring, as far as possible, the style of his great master, Rubens. He painted in Italy and in Antwerp. He stayed in England for several years during the reign of Charles 1, and was much patronized by the Duke of Newcastle,

510 Paring

His so-called chef-c’arnwery, an altar-piece in the church of Deurne, near Antwerp, wae long ascribed to Rubens. Sandrart and Houbmken consider him the best painter on glass of bis time. He is alzo famous for his designs for book illustrations.

Theodoor van Tulden (1607 ?—1676 t), painter and en- graver, was one of Rubens's favourite pupils; he helped him in his design for the triampbal arches erected on the occasion of the entry of Ferdinand into Antwerp, and also assisted in his Apotheosis of Marie de Médicts.

Erasmus Quellinus (1607—1678), under Rubens’s able tuition, became a tolerably good painter. He aimed higher than his master’s style, but did reach his mark. ‘The musoum and churches of Antwerp possess good =peci- mens of this master.

His son, Jan Erasmus Quellinus (1634—1715), also a painter, visited Ttaly in 1660, and there studied the works of Paolo Veronese. His works are usually large and by no means good, and in them, more especially as regards colour, one sees signs of the decline of Flemish art. His chief claim to fame is based on his composition, which is generally very fair, Tho museum and churches of Antwerp contain several of his works,

Other disciples of Rubens, who are not worthy of separate notice, were Deodaat del Mont, Cornelis Schnt, Frans Wonters, Willem van Herp, and Pieter van Mol.

(0) The later Antwerp School.

We niust now return to the painters of Flanders, who

were not pupils of Rubens, though a few of them were imitators of his style.

David Teniers, called “the elder” (1582-1640) t

Is Axrwonr, 511

uttinguish him from his more illustrious son, learned first from his fathor Julian Teniers, and is also aid to have studied under Rubens. After a lengthened rosidence at Rome, where he received instruction from Elshaimer, Teniers returned to Antwerp, where he painted until his death. The Dresden Gallery contains seven works by him, all landscapes, ar genre pictures, his favourite sub- jects. The National Gallery possesses three of these Laniscapes with figures.

Daniel Zogors (1590—1661), the “Jesuit of Antwerp,” studied under Jan Brueghel at the time when that artist was a flower-painter. Of his pictures the Dresden Gallery contains six, and numerous specimens are in most of the public galleries of the Continent. He was, without ex- ception, the best flower-painter of his time,

Jan Fyt (1609—1661) is without exception, next to Snyders, the finest of the Flemish animal painters. He especially excelled in painting the fur of animals and the plumage of birds,

Of the numerous gonre painters of Belgium of the period under review,

David Teniers (1610—1690) holds the very highest rank, He was the son of the artist of the same name, of consider- able power, and is indeed said to have been the founder of the great Flemish School of genre painting; he enjoyed the instruction buth of his father and of Rubens, without however, being sufficiently influenced by either of them to lose anything of his own distinctive character. He was not only the best delineator of his day of the manner and customs of his cotemporaries in every rank, but the greatest genre painter of any period. The leading characteristics of his style are force, combined with lightness

513 Panera

of touch—every dash of his brush being full of meaning and character, harmonious balance of grouping, delicacy of execution of details, and spirited arrangement of figures ; and a keen and irropressible spirit of humour breaking out at every turn. No rank, however elevated, was safe from his satire: the guard-house and castle, the philoso- phor's study, the coll of the saint, were ull vividly por- trayed; and it cannot be denied that the master’s intense love of truth at all costs led him sometimes into coarseness and vulgarity, and that he evidently revelled in the repre- sentation of physical misery and discomfort,

‘Teniers is well represented in the National Gallery, which contains, amongst fifteen works, the well-known Players at Trictrac or Backgammon, Boors regaling, an Old Woman Peeling a Pear, his own Chiteru at Porck, and the Fite aux Chaudrons, with several other genre pictures and landscapes. Of his works on the Continent, the following are among the most remarkuble>—a Guard Room, with Peter denying Christ in the background, in the Louvre; a Provant Wedding, in the Belvedere, Vienna; the Tempta- tion of S. Anthony, in the Berlin Museum; the great atian Pair, measuring threo yards by four, a Drinkiag Party, and a Monkey-cnd-Cat Concert, all in the Pina kothek, Munich ; the Sacrijice of Intec, in the Belvedere, Vienna; the magnificont Fite de Sebloms, in the gallery of the Archduke Leopold; and in the Buda-Pesth Gallery the Seven Works of Mercy, three Temptations, and the King drinking, » charming table scene; and several Festivals, amongst which there is one dated 1697, of exteaordinary size and wonderful colouring; and the twelve pictures of the same sive illustrating the story of Rinalda and Armida, all in the Madrid Gallery.

Is Avtwerr. 518

At the Hermitage, S. Petersburg, there is a Kiichen, fall of game, fish, vegetables and fruit, in which Teniers has painted his father as an old blind fisherman, and him- self as a folooner ; and a beautiful and curious View of the Chiteaw of de Driy Toren; and lastly, the great picture, four feet high by seven or eight wide, which was painted

Fig 101—the Kuife-grindee, By Teniers,

in 1648 for the Guild of Archers, and which is called the Archers of Antwerp.

Teniers had numerous pupils, who, though they suc- ceeded to some extent in imitating his work, are far inferior to him in real life.

ama Lu

516 Panerixa

treatment. In the National Gallery, be is only represented dy a Portrait of a Girt.

Pieter van Bloemen (1649?—1719) went when still young to Rome, where he remained some considerable time—sufficient to become imbued with an entirely Italian style of painting. His pictures frequently ropresent skir- mishes of cavalry—whence his name of Standaart—and Jandscapes ornamented with figures and architecture.

(d) Pranco-Flemish Piinters.

Wo may horo montion a fow artists who all copied the French style of painting of the period—more especially in regard to landscape. Several of them became disciples of Gaspard Poussin, at Rome. ‘They stand in a half-way position between the painters of the Flemish revival under Rubens and the new school which has lately arisen in Belgium.

Philippe de Champagne (1602—1674) spent the greater part of his life in Paris In the Louvre there are the Legend of 8, Gereasive and 8. Protasiva; a Last Supper, a cold imitation of the celebrated one by Leonardo da Vinci; a Dead Chris, lying on a winding-sheet; and also the Education ef Ackilles, shooting with a bow and in chariot moes.

De Champagne, as a portrait painter, is greater than as a historic pointer. His faults are les sensible, his good qualities more prominent, In the National Gallery are his Three Portruits of Cardinal de Richeliou—a full face and two profiles, in one frame—painted for the Roman sculptor, Moechi, to make a bust from.

Jacobus van Artois, frequently called Jacques d'Arthois

Is Fraxpens. 517

(1613—1684), was a popular landscape painter of this period. He frequently worked in conjunction with well- known figure-paintere.

Bortholot Flemalle (1614—1675), of Liege, first turned his attention towards music, which he soon abandoned in favour af painting; ho was accordingly appronticed to Gérard Douffet, an artist of second-rate ability. He painted at Italy and at Paris, but principally in hix native Liege, Flemalle's pictures present a mixture of the Roman and the Fronch classic school ; his historic pices are especially in the style of the latter. His native city possesses several of his best works,

Anton Frans van der Meulen (1634—1690) was ap- printed by Louis XIV. court-painter, with a salary and apartments at tho Gobelins; and be became one of the greatest historiographers of that monarch, His pictures are veritable annals, as interesting as those of S. Simon. It will suffice to mention among the twenty-three pictures in the Louvre, the Taking of Dinan, on the Meuse, und the magnifboent Hatrance of Louis XIV. and Marie Thérése ilo Arras, in August, 1667.

Gérard de Lairesse (1641—1711), the “Poussin of Bel- gium,” painted for some time at Utrecht, and then re- moved to Amsterdam, where he became very famous, In 1690 he unfortunately lost his sight, which he never re- covercd. Lairesso’s works are executed in a classic style, with much ability.

Comolis Huysmans (1648—1727) was a good landscape painter. The forest of Soignes, near Brussels, was his favourite rosort for study. He occasionally introduced cattle in his works, which are noticeable for their powerful drawing and good colour,

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Jean Frangois Millet (1642—1680), and his pupil Pieter Rysbraek (1637—1729 t), were both imitators of the style of Gaspard Poussin, whom we shall come across when we read of the French School

Jan Frans van Bloemen (1662—1740), brother of Pieter van Bloemen, was called, from the beauty of the distances in his landscapes, Orizonte. After be had received an elementary education in art in his native city, he went to Rome, where he studied the works of Gaspard Poussin.

(0) The Modern Belgian School.

After the close of the seventeenth century, Flemish art was for a time forgotten; nor did it revive until the time of the French painter David, and his school, who, to some extent, reanimated it. For many years there were no artists of great original power, until, in the present century, Anew master arose, who returned to the traditions of the early Flemish masters, and created a new school which seems destined to be lasting and of much importance.

Jean Auguste Henri Leys (1815—1869) was intended for the church, and received an education befitting that profession, But his early-pronounced love of art prevailed, and in 1830 ho entered the studio of his brother-in-law, Ferdinandus de Braekeloor (1792—1839). Three yoars later, Leys produced a picture of a Combat tetwern a Grenadier and « Comuck, which waa exhibited at Antwerp; and, at Brussels, Za Furie Espagnole, a work which excited much criticism. Henceforth a brilliant career was open to him. Commission followed commission, and honour fale lowed upon honour. To the Paris Exhibition of 1855, he sent Len trentaines de Bertel de Haze, La Promenade hore

Iw Bavorom. 519

des murs, and Le nouvel An on Flandro—for which works he received a medal of honour. In the London Exhibition of 1862, appeared, among others of his works, parts of the series of pictures executed for the town hall of Antworp, illustrating the Freedom of Belgium—n work which is well known in England, as the greater part has been exhibited in the French Gallery, Pall Mall. ‘The swanners and customs and life of his own city in the Middle Ages live again on his canvas, treated with « hard distinctness that recalls mediaval paintings. Learning, power, and skill, aro so combined by him with genius, that his quaint original work took a high place during his life, and ecems destined to exorcise a lasting influence.

Gustavus Wappers (1803—1874) was influenced, first by the works of Rubens and Van Dyck, and subsequently by the Romantic School of Paris. His picture of The Self-decotion of the Burgomaster of Leyden, exhibited in 1530, made for him a reputation which bis subsequent works amply justified.

Eugtne Joseph Verboeckhoven (1799—1881), the animal painter, is as popular in Belgium as Sir Edwin Landseer is in England. His works, executed with great tmith to natare, frequently represent sheep: examples have been exhibited in England from time to time.

2 The Duteh School.

Turning now to Holland, we find the Dutch School— no longer an offshoot of that of Flanders—oceupying in the middle of the seventeenth century an important independent position, its masters painting chiefly familiar subjects of every-day life, landscapes, sea-pieces and battle- scenes —large historic and allogoric compositions being seldom attempted.

Befors wo come to the great Dutch Revival undor Rembrandt, we must notice one master who, when regarded historically, stands almost alone.

Frans Hals (1584—1666), the celebrated portrait- painter, is supposed to have studied under Carel van Mander, the painter and historian. In 1611, he was in Haarlem; and in that town he passed a not too reputable life, and there his best works are still to be found.

Whatever Hals’s private life may bave been, few painters have equalled him in his branch of art. He stands pre- eminent among the Dutch portrait-painters. Among the bost of his paintings we may mention the Portrait af him- self nd iis wife Lysbeth, in the Amsterdam Museum; a Young man with a flat cap, and Two Boys singing, both in the Cassel Gallery ; the Banguet of the Offers of the Civic Guard, and the Regents und Regentes of the hospital, in which he died, painted when he was eighty years of age, all in the Haarlem Museum ; a Portrait of Hille Bobbe, of Haarlem, in the Berlin Musoum; and lastly, three por- traits in the Dresden Gallery, Numerous good pictares by

ay =

Parstise 1 Howtaxp, 521

Hals are in private galleries in England. Sir Richard Wallace has, among others, a fine Portrait of a Cavalier : a Portrait of a Woman by him is in the National Gallery.

Frans Hals had five sons, all of whom were painters, but none of them rank above mediocrity. We must, how- ever, mention his brother Dirk Hals (1589—1§57), who studied under Bloomart, and painted in early life animals and hunting scenes; subsequently he changed bis style for genre subjects. A Convivial Party by him is in the National Gallery.

(a) Rembrandt and his Pupils,

The tendency of the Dutch School had always been realistic, and in the period under review this tendency found its highest development, and was carried up to quite a noble range of art by Rembrandt van Ryn, a master who changed the school, and raised it to the high position it so long held.

Rembrandt Harmenszoon van Ryn was born at Leyden, in 1607. Hoe was first a pupil of an unimportant artist, Jacob van Swanenburch, with whom he remained three years; he then studied ander Lastman at Amsterdam, and Jacob Pynas at Haarlem. In 1630, the year in which he painted his carliest-known oil-picture—the Portrait of an at Mon, now in the Cassel Gallery—be was so far advanced in art that he left Leyden, where he had been living since the completion of his education, and established himself ag g paintor at Amsterdam, in which city he thenceforth resided. He gave himself up, like Teniers, to the instruction of bis pupils, rather than become « friend of princes and nobles, like Rubens or Van Dyck. In 1632 he produced the celebrated Leson ta

522 Pauerixa

Anatomy ; and two years later he married Saskia, the daughter of Rombertus Ulenbureh, burgomaster of Leeu- warden. Saskia was the wife whose portrait he loved to

. paint, though not to the same extent as he did his oll mother, The Dresden Gallery bas the beautiful and justly- famous picture of Renbranadt with his Wife on his knee ; and in the Cassel Gallery is one of Saatie alone. Saskia died in 1642, and Rembrandt married again, about 1653, to Hen- dricktio Stoffels. Catharina van Wyck is usually said to have been his third wife. This has recently been shown to be an error, arising from a mis-reading of the marriage register, and Rembrandt, therefore, so far as we know, was married but twice. Ho continued to paint at Amsterdam till his death in 1669.

Rembrandt excelled alike in every style, and treated, with equal felicity, the noblest subjects—such ax Christ healing the Sick—and the most homely scenes, such as a cook tessing her cakes in a pan, His works are principally remarkable for perfect command of chiaroscuro, picturesque effect, and truth to nature. He combined the greatest freedom and grace of execution with thorough knowledge of all the technical processes alike of painting, engraving, and etching, ‘The effects of light and shade in his otehings have never been surpassed; and he has been justly called the Dutch Correggio. His landscapes and sea-pieoes are vividly faithful representations of the inhospitable North, with its dull level stretch of ocean and dreary shores; whilst his interiors give us lifelike glimpses of the domestic life of the homo-loving Dutch people. ‘The want of fouling for refined physical beauty with which he, in common with all his countrymen, bas been charged, is perhaps to seme extent to be accounted for by his intense

Ts Hottaxn. 623

tho people with whom he was brought in contact—a sym- pathy which enabled him to catch and fx a likeness on cunvas or on copper with the fidelity of photography with- out its coldness That he was not without the power of appreciating spiritual elevation of sentiment is proved by the pathas of some of the heads in his Descent from the Cross, in the Pinakothek, Munich, and in a similar subject in our National Gallery.

Of his numerous works we can only name a few of the most celebrated. The Lesson in Anatomy, in the gallery of the Hague—representing the dissection of a corpse by a celebrated surgeon of the time, the professor Tulp, before seven other doctors—is anivorsally considered the most excellent work of the master’s earlier period.

Ts the Museum of Amsterdam is the celebrated Sortie of the Frans Banning Cock Company. This famous pic- ture, which contains twenty-three persons of life-size, represents a platoon of the civic guard—officers, soldiers, standard-bearer and drammer—starting to patrol the streets of Amsterdam. It is usually called, in error, the Night Wateh; the scene is in daylight. But the popular misnomer arisos from the luminous and trans- parent tints, the great effects of light and shnde, which seem produced by an artificial light rather than by the sun

Another picture by Rembrandt in the Amsterdam Gal- lery, the Syndics of the Staathof (the Clothweavers’ Hall), although only a simple collection of portraits, shares the renown of the Night Watch.

In Italy there are only o few portraits dispersed in Florence, Naples and Turin. In the rich muscum of Madrid there is only one Portrait of a Lady, the date of which shows it to be one of his carliest works, Of the

Ix Hottaxp, 525

worn. At Cassel, are the Blessing of Jacob, which contains five or six figures; his first wife, Saskia Ulenburch, wliose portrait he painted with as much love as did Rubens that of his beautiful Helena Fourment. Near her are different friends of the painter, the poet Croll; the burgomastor Siz; the writing master Koppenol ; and Rembrandt himself, in a black cap and brown cloak.

At Dresden may be seen the Rape of Ganymede; his old Mother weighing goldon pieces; Rembrandt and his young wife, who is seated on his knees; and still more a Young Girl (perhaps Saskia horself) holding a pink in her hand ; and two old Grey-beanded Mon, with black caps on, clothed in rich dark stuffs,

The Hermitage, S. Petorsburg, contains forty-one of his works. In landscape we find a View of Judea. In marine pictures—still more rare—we find a Coast of Holland, of a warm, golden tint, in which the sky and water seem to melt into each other in the distant horizon.

Rembrandt's etchings are as celebrated as his paint- ings: there are nearly four hundred of them—ecriptural subjects, portraits and landscapes, dated from 1628 to 1661 —to be found in various collections. The Print-room in the British Museum has a magnificent series. An early proof-impression of Christ healing tha sick (known as the Hundred Guiller Print) was sold by auction in 1867 for £1180.

Tt is, of course, beyond the scope of the present work to enumerate even the principal of the. etchings by which Rembranit is so well known; but the example which we give (Fig. 168) may serve to afford some very faint notion of the marvellous effects of light and shade he obtained with the simple means at his disposal

526 Parsrixa

‘The pupils of Rembrandt—thoee, at least, who remained faithful to hira—only attained an exeellence which makes

Fig. 16 —The Relsing of Tasaren. Fro an wichiag tg Membramt

ther approach in some degree to their master im portrait painting.

Ix Hoxtaxp. 527

Ferdinand Bol (1611—1681) painted several historic works without much success, but excelled in portmiture. Of his works, his mnsterpiece is the Four Regents of the Hospital in the town-hall at Amsterdam. In England we find, in the National Gallery, a Purtrait of an Astronomer. Several good pictures by him are in private collections He was also an engraver,

Jacob Backer (1608—1651) adhered in early life to the style of his great master, Rembrandt. He is chiefly famous for his portraits, but occasionally executed historic pieces.

Philips de Koninck (1619—1689) made for himself a distinct branch in landscape painting. The endlesa depths of w smooth plain, intersected by alternate shadow and light, was his usual and favourite subject. He appears to hnve endeavoured to give an idea of infinite distance, The National Gallery has a Landscape, and Grosvenor House has fine examples of this master. Lingelhach frequently painted figures in his landscapes.

Govaert Flinck (1615—1660), one of Rembrandt's best papils, painted historic and genre subjects, and portraits. His best works are au Isaue blessing Jucob, in the Six Gallery at Amsterdam ; a replica is in the Musoum.

Gerbrandt van der Eeckhout (1621—1674) 90 fxr suc- counted in imitating Rembrandt's style, that his works have often been mistaken for those of his master.

Jan Vietors (ii ab, 1635—1662), of whose life little is known, painted sucred history and genre subjects Most of the Dutch galleries contain examples of his art An Twae ilesting Jaco, in the Dulwich College Gallery, formerly ascribed to Rembrandt, is now catalogued as a work by Victors.

Karel Fabritius (ab. 1624—1654) would doubtless have

528 Parma

become more famous had he lived longer. He left very few pictures, and his name is consequently little known. His fine Head of a Man, in the Rotterdam Musoum, was long ascribed to Rembrandt.

Samucl yan Hoogstracton (1627 ?—1673) painted por- traits, landscapes and still life. Houbraken tell us that he visited England and Italy.

Nicolaas Maes (1632—1693) first painted genre sub- jocts, but on settling at Amsterdam in 1678 gave himself up to portraiture, in which branch of art he was very successful. The Amsterdam Gallery has an Old Woman Spinning, and a Girl at a Window, noteworthy for the boauty of their colonring. In England, the National Gal- lery has three good examples— The Cradle; the Dutch Housewife, and the Idle Servant, one of Mava’s master picces, Many private galleries in England possess ex- amples of this master.

From the immediate pupils of Rembrandt we now turn to those artists who were only his followers or tmi- tators. We may conveniently divide these masters inte four classes —those who painted (i) conversation-pieors, domestic life, interiors and portraits; (ii) landscapes and battle-scenes; (iii) marine subjects; and (iv) still-life, game and architecture,

(0) The later Dutch Painters af domestic life.

Jan Lievens (1607—1663), who studied at the same time as Rembrandt, under Eastman, went to England in 1630, and painted the portraits of Charles 1, his funnily, and his court. On quitting England he settled at Antwerp,

Is Hortaxn. 520

and gave himself up to painting biblical subjects, which he executed in a very realistic manner.

Adriaen Brouwer (ab. 1605—1638), as an artist, was much admired by Rubens, who, it is said, rescued him from © prison, into which his own imprudence had caused him to be thrown. Of his works the most noteworthy are, Players disputing ever their cards and a Surgeon removing a plaster, both in the Pinakothek, Munich. Brouwer’s works are rarely seen in England, and, in fact, they are scarce every- where, even in his own country.

Gerard Terborch (1608S—1681), the painter par exrel- tence of white satin, learned the ridiments of his art from his fathor, an othorwim: unknown painter. Some time after the completion of his studies, Terborch paid a visit toltaly, which had not, however, the slightest effect on his style. From Italy he went to France, and thence returned to Holland, where he became much honoured and patron- ized. In 1648, he went to Munster, while the plonipe- tentiaries of Philip TV. of Spain nnd the delegates of the Dutch United Provinces wore assembled in the Rathhaus for the purpose of ratifying the treaty between the two countries. He then painted his justly celebrated Panes of Minster, now in the National Gallery, which contains portraits of the personages present at that occasion. The National Gallery also possesses one other work by this master, the Guitar Lesson, Terborch may be well studied and appreciated at the Louvre; his Concert, bis Music Leason, and, especially, his Offeier Galant, are very fine works, showing the ingenious arrangement, and soft, but firn touch, which distinguish him amonget the erowd of lesser Dutch painters. Othor good works by him aro The Letter of the Hermitage, S, Petersbung; the

eH ux

Panvrexa ax Houtann. 531

Young Lady with the ewer, and the Lady in the satin gown, both in the Dresden Gallery; Paternal Advice (Con- seil Paternel) of the Amsterdam Museum, of which replicas are in the Berlin Musours and at Bridgwater House. Adriaan Jansz, van Ostade (1610—1685), studied under Frans Hals, and formed a friendship with Adriaen Brouwer. Like the latter, he chase his subjects from low life, but. he was more laborious and less dissipated, and has accordingly left us more works, Although Van’ Ostade’s usual subjects are similar to those treated by Teniers, he yet differs from Teniers as Rembrandt differs from Rubens, Teniers treats light in the same manner as Rubens, lavishing it everywhere; ‘Ostade concentrates it, in the stylo of Rembrandt. His works are chiofly homely scenes from his native country, ‘of life, spirit, and individuality of charncter. At id there is a Rural Concert. At S Petersburg there twenty of his pictures, amongst which are three able series of the Five Senses; ut Dresden

others, two excellent works, a Smoking Scene and a ‘a Stodioin a garret, his own, probably; at Munich, ‘Superior work, a Dutch Alehouse, with peasants , and their wives endeavouring to separate and Rotterdam, an Olt Man in hia Study ; at Fillage Assembly ; and lastly, at the Hague, the Interior and Eztevior of a ‘The Louvre has also a good share of the ‘Adriaan van Ostade. The National Gallery picture by him—an Alchymist. The Dulwich possesses four of his works.

yan der Helst (1613 !—1670) lived chiefly

His chef-d'ceemvre, the Banguet of the Civic

Ts Howtayp, 533

enormous prices. The Poulterer's Shop, in the National Gallory, is well worthy of mention, both for composition and execution. The same Gallery also has a Portrait of Denis Wife,

Gabriel Metsu (1630—aft. 1667), although imitating both Gerard Dou and Terboreh, yet succeeded in marking out a new route for himself, and in making himself original by the frankness of his touch, as well as the power, richness, and harmony of his colouring. The Chemist, the Officer and the Young Lady, and still moro the Vegetable Market of Amsterdam, represent him worthily in the Louvre; the two Poulterers, and the celebrated Zace-Maker, are in the Musoum of Dresdon; and anothor Poulterer is in the Museum of Cassol. The National Gallery has threo works by Metsu, a Duset,a Music Lewson, and Tike Drovesy Landlniy.

Isack Jansz, van Ostade, (1621—1649 ?) the younger brother and pupil of the more celebrated Adriaan, is equal to his brother in a different line; and it is only in his genre that he remains his inferior. Adriaan doubtless is superior in the painting of little domestic or popular dramas, where the human being holds the first place; but Isack makes up for this by the representation of the natural scenes of these dramas; be is more of a landscape pamter. He made for himself a speciality of those winter landscapes, as Van der Neer did of moonligtit. He was, and still is, the first mastor in this peculiar walk of art. Two good Frost aenes by Issck van Ostade are in the National Gallery, where is also a Village Scene by him; his works are son in various private galleries in this country, but they are rare on the Continent.

Hendrik Martenz Rokes (1621—1682), is called Sorgh,

53k Panstixg

after his father, who is supposed to have obtained that sobriquet from the care with which he conveyed the

on the passage-boat between Rotterdam and Dordrecht. Young Sorgh is said to have studied under Teniers the younger at Antwerp, but his style is more akin to that of Adriaen Brouwer. His pictures represent’ the usual Dutch interiors and exteriors of this period. He may be studied in the National Gallery.

Jan Stoon (1626—1679), of Leyden, first studied under Nicolas Knupfer at Utrecht, and subsequently mndor Van Goyen, whose daughter he married, At the Belvedery, Vienna, is a Village Wadding, and at Berlin a Garden of en Ale-howse, which are excellent scenes of burlesyne comedy; at the Hermitage, the Game of Backgammon, where Steen has painted himself in conversstion with his wife, and an Ahasuerus touching Bsther with his golden seeptre, In England, in the National Gallery, is the Mume Master, and at Buckingham Palace, Th Toilet, and a large number in private collections; at Rotterdam the Malade Inoginaive, ond Tobit curing his Father; at the Hague, the colebrated Picture of Human Life, a lange collection of about twenty persone executed in the finest manner of this irregular master, and the Family of Jan Steen, another collection of a dozen life-like figures, lighted wp as Pigter do Hooch would have done; in it we notice particularly the charming group of a very aged grandfather and a little urchin—the two childhoods of life; lastly, at Amster- dam, a very celebrated scene, called the Frast of 5S. Nickolas ‘There is also the excellent portrait that the painter has left. of Himelf. Steen delighted in scenes of mirth and revelry; his works are characterized by broad humour and great technical abilities,

Is Howaxp. 535

Jan ver Meer, a native of Delft (1632—1696 2), is usually called “ Ver Meer of Delft,” to distinguish him from Van der Meer of Haarlem, and Von ier Meer of Utrecht, both somewhat unimportant artists of whom little is known with certainty. Birger has done much to restore a place

+in the history of art for this distinguished painter, whoee principal works have probably received the name of De Hooch since that paiiter has been restored to honour. Although the Virw af Dolft—purchased for 5000 florins— now inthe Museum of the Hague, isa landscape treated in the manner of Philips de Koninck, Ver Meer adhered rather to Pieter de Hooch in the usual choice of his sub- Jects and his use of effects. Two good works by Ver Meer are in the Six Collection at Amsterdam ; the one isa View of @ Street, probably in Delf, and the other a Milk-eoman. Pictures by this artist are highly prized. Her Majesty the Queen possesses a fine work, by him, entitled the Music Lesson,

Frans van Mieris (1635—1681) entered the studio of Gerard Dou at Leyden, who was so pleased with his paint- ing that he named hit “the prince of his pupils.”

As his masterpieces we should mention the Ne at her counter, in the Belvedere at Vienna; and a Lady Jfeiating in presence of her doctor, in the Pinakothek, Munich. The National Gallery has but ono work of Mieris —a Jaidy in a crimson jacket ; repetitions of it are in the Munich Gallery and in the collection of Her Majesty the Queen. Tho Amsterdam Gallery has a Lady playing on a Alte by Van Micris, of groat merit; and we must not forget to mention his works in the Uffizi at Florence, among others, the portraits of Mieris and his family.

We may here notico his son and pupil, Willem van

536 Panera

Mieris (1662—1747), who imitated his father with great sucow A Fish and Poultry Shop by him is in the National Gallery.

Kaspar Netscher (1639—1684), though a German by birth, belongs to the Dutch school of art, He was a pupil of Torborch, and painted chiefly at the Hagucr His pictures are frequently met with in Continental Gallerics. Tho National Gallory has three pictures this artiet; Blowing Bwhbles, Maternal Inetruction,

Lady sented at a spinning wheel,

He had two sons—Theodorus Netscher (1661—1732), who painted for some years in England, and was cole brated for his portraits and also for his flower-pieees; and Konstantin Netscher (1670—1722), who painted portraits and interiors at the Hague.

Pieter van Slingeland (1640—1691) was a pupil of Gerard Dou, but was far inferior to Van Mioris. His pictures are most minutely finished. He took, it is aud, three years to covor a pioce of canvas one foot square, and a whole month to paint a lace band. Ono of the most important is in the Louvre, the Dutch Family (the Moore man family).

Godfried Schalken (1643—1706) is celebrated for his candle-light effects. He visited England during the miga of William ILI, The National Gallery in London has ent picture by this painter—Leshia weighing fowls against her sparrow. OF his portraita, we may notice one of King William IL, by candlo-light, in the Amsterdam Gallery.

Eglon van dor Neer (1643—1703), the son of Aart van der Neer, painted conversation pieces, after the manner of Terborch and Mieris. His works are very scaree, both in England and on the Continent.

me!

Ix Hottaxp. 587

Pieter de Hooch (ab, 1632—aft. 1681), the groat colourist, was so long and go completely unknown, that his name bas been frequently effaced from pictures in onder to sub- stitute that of some other painter better known. In the science of light and shadow, Rembrandt himself has not surpassed him, and no one else has produced equally well the effoct of a ray of sunlight crossing shadow in a room. Among his best works are the Return from Morket, at the Hermitago, the Dateh Cabin, at Munich; and the Interior, in the Amsterdam Gallery.

De Hooch is better represented in the Dutch private collections than in public galleries. The Steongracht Collection has a Musical party; the Van der Hoop Col- lection, besides a Musical couple, hus three Interiors. A Garden seene is in the Van Loon Collection. Tn England, he is well represented in private collections, The National Gallery bas two Cowrtyards of Dutch houses, and one Interior, all good examples of the master. A Card party, in Buckingham Palace, has grout merit.

Adriaan van der Werlf (1659—1722) painted historic and mythologic subjects. The Pinakothok, Munich, con- tains all the bost pictures which Van der Werff’ painted for the Elector Palatine. The artist is seen in almost every continental gallery, but his works are not popular in England.

Comelis Dusart (1660—1704) imitated with much suc~ cess the style of Adriaan van Ostade. Though the National Gallery has no work by him, his pictures are seen in many private collections in England. The Amsterdam Gallery has the best of Dusart’s works; a Kerswax, a Fish market, and especially the Village Inn, all works ot great merit,

538 Paretixo

(0) Dutch Painters of Tandseapes and Battle Scenes,

Jan van Goyen (1596—1656), a disciple of Esais van der Velde, was one of the best landscape painters of his time in Holland. Among other works by him, the Amsterdam Gallery contains a View on the Meuse, and the old Castle of Falkenhof.

Jan Wynants (painting till 1679) commences the eyele of real Dutch landacape painters. He is both popular and well reprosonted in England, in the National Gallery— which has five works by him—and in private collictions He excelled in the treatment of delicate atrial offects and details of foliage. Figures and animals were frequently painted in Wynants's landscapes by other artists,

Aclbert Cayp (1605—1691), who is principally known for his pictures of animals, painted portraits with success, and also fruit, flowers, still-life, landscapes and sen pioces His best works are in England. In the National Gallery there are no less than eight pictures by him ; of these the Lawscape with Cattle and figures (No, 53] is the principal English private galleries are rich in his productions: amongst others, the Duke of Westminster, Lord Elleemen, and Mrs. Hope of Deepdene, possess good works Cnypis pictures frequently represent the banks of a river with a herdsman tending cattle, and they are bathed in the wann golden light of the setting sun. It is chiefly for ther Bae realization of light that his works are eo highly

Ped Deckor (1643—1678) is a master whose works long passed as the production of Ruysdacl Adriaan vat Ostade rendered him the same service that Adriaan van

Ix Howtaxp. 539

de Vekle gave to Wynants, that of painting the figures of men and animals in his pictures.

Jon Both (ab. 1610—aft. 1662), who first studied in Holland under Blocmart, and subsequently visited Ltaly, and was impressed by the works of Claude Lorrain; and his brother, Andries Both (wb. 1609—bef, 1644), produced conjointly many landscapes with figures—the former doing the landsexpe and the latter adding the figures—in which Tralinn influence is visible.

Pieter van Laar (1613—1674), called Bamboccio, also painted Italian scenes.

Salomon yan Ruysdael (ab, 1606—1670) was a pupil of Van Goyen, and the instructor of his famous nephew Jacob van Ruysdael. Ho painted views on the banks of the rivers and canals of his native country.

Ant van der Neer (1619?—16831), more even than Gerard van Honthorst, was the pot of the night. Of his works we may especially notico, in the National Gallery, a Lamdacope, with figures and cattle by Cuyp, who hae signed his name on a pail; also n River Scene and a Conal Scene; and in the Berlin Musoum ono of his many pictures repro- senting a Moonlight Scene. He ix well represented in the private galleries of England and on the Continent.

Philips Wouwerman (1619—1668) painted an almost incredible number of works; but it is probable, however, that he did not execute all the pictures attributed to him. ‘There is ascribed to him, sixty-six in the Dresden Museum, fifty in the Hermitaye, seventoen at Munich, thirteen at the Louvre, ten in Buckinghom Palace, eight in the National Gallery, nino in tho Dulwich Gallery; and thore are, besides, innumerable works dispersed through the gal- Teries and cabinets of the whole world. Wouwerman is the

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elegant painter of the life of gentlemen, of war, of hunting, of all the sports in whieh man has his dog and horse foe compinions He is celebrated for the beauty of the Lani scapes in his pictures, and yet, unlike most other landsoaps artists, he was independent of the figure painter, for he painted both mon and horses for himaclf.

Jan Baptist Weenix, the elder (1621—ab. 1665), painted historic pictures, landscapes and sca pieces.

Aldert van Everdingen (1621—1675) is celebrated for his views in Norway. He was alao an engraver.

Nicolaas (or Claas, the shortened form) Piotersz, com- monly called Berchem (1624—1 683), studied ander various Dutch masters, but, it is presumed from his works, formed his style in Italy, He can be studied in the National Gallery, and in the Dulwich College Gallery. Berebem is inferior to Potter in his treatsnent of animals, but is, per haps, superior to him in mastery of aérial perspective; his rendering of the play of light and shade upon foliage, whether at rest or stirred by the breezo, has seldom bron excolled,

Paulus Potter (1625—1654) is gonorally considered the best animal painter of all time. In the Gallery of the Haguo is a work by him which may be said to be unique in ite kind; it is a landscape in which are assembled a young brown buil, a cow, three sheep, and their shephent, all of life-size. ‘This picture, which he painted at the sge of twenty-two, is known by the name of the Youag Bull of Paul Potter. Tn England, the National Gallery tas one Landsenpe by Potter; and the Duke of Westminstet has a fine picture of Coe and Sheep of the year 1647. But he is better represented in the Hermitage, $, Peter burg, than cither in England or in his own country. ‘The

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principal work them is the Trial <f Mas by the fnisusin asingulr campustes «f farts compartants the teu largest of whieh are sermamded by the teelve emaller Potter did mot paimt all these chapcers himewlf: the bis- tary fl Actos is by Pockenberrh; that of S Hubert perlaps, by Tesiers; bet the central pose! belearx te Potter himself; it repements the Qend~unation of Max by the Tribamal of Animals. A larse Leadscupe, dated 1650, and another dated 1649, are more Important poctures, and are: entirely by Potter.

Karel du Janim (ab 1623—1678), Eke Berchem, went to Italy for the completion of his studies, and, like him, he was imboed with something of the Italian spirit. The Amsterdan Museum bss, amuog other works by bim, a good Minntel Trampeter and a Farmyard In the Lourre is 2 Calonry, and the Italian Charlatans, The National Gallery bas four works by this artist.

Jacob van Reysdsel (ab 1623—1682), the prince of Dutch landecape painters, was originally intended for the study of medicine, and received an education fitting the profession, which be is supposed te have practised for a short time. But bis love of art prevailed, and be abandoned the pharmacopria in favour of the brash. His first instructor in art was bis uncle, Salomon van Raysisel. He is sup- pered to have afterwanis studied under Berchem, with whom he was vn intimate terms of friendship. If we seok in Ruysisel merely the imitation, the portraiture of nature, he is equalled, and, perbaps, even surpassed, in some tech~ nical points, by Hobbema, Decker and a few others; but it is the inner sentiment, the poetry of solitude, of silence, of mystery, whieh place him in the front rank alone. Tn the Museum of Amsterdam, are a Waterfall and « Fiew

542 Parstixa

of Bentheim Castle, Rotterdam possesses another Fiae of Bentheim Castle, which he painted so many times and under such different aspects; yet always with the greatest care und finish. In England, Ruysdael is especially to be found in private collections; and the National Gallery has as many as twelve Landscapes by him In the Hermitage, S. Petersbung, there are no less than fifteen pictures by him. In tho Pinakothok, Munich, there ar nine Landscapes, all a8 beautiful ax ean be desired. Tn the largest there is a Cascade foaming down over masses of rocks. This picture is valuable as well for its great per- fection as from its unusual size, At Dresden there are thirteen of his paintings. Among these, several are justly celebrated. One of them is known by the name of Ruye duels Chase, It is « forest of beech-trees, broken only by some sheets of water reflecting the clouds im the sky. ‘Under these great trees, Adriaan van do Velde has painted astag hunt, from which the name of the picture has bees taken. This is ono of the largest as well as most neag- nificent to be found among all his works, and, perhaps, only to be equalled by the Forest in the Belvedere, Vienna.

Frédéric de Moucheron (1633—ab. 17137?) painted far several years in Paris, but eventually settled at Amster- dam, where most of his best landscapes were produced. ‘The figures in ther are usnally by Adriann yan de Velde or Lingelbach, A Garden Scone by him, with Ggures by Adriaan van do Velde, is in the National Gallery.

Jan van der Hagen (1635—ab, 1662) was a successful imitator of the style of Ruysdael and Hobbema.

Meindert Hobbema (1638—1709) is supposed to have studied under Ruysdael, but, unlike his master, he only painted smiling and serene nature, His name was long

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In Houtaxp. 543

forgotten ; and his signature was effaced from his works, in onder to substitute the name or monogram of Ruysdael : his works are, however, now estimated at their just value. Two Landscapes in the possession of the Duke of West- minster, in Grosvenor House, the Dutch Cabin in the Pinakothek at Munich, and the Oak Forest in the Borlin Museum, are among his best works. The National Gallory has six Landscapes by Hobbema.

Adriaan van de Velde (1629—1672), the illustrious dis. ciple of Wynants, may claim one important title to supe- riority. In his calm, smiling, peaceful views of nature, he was able himself to paint the human figures and the animals, almost as well as painters of those branches of art could hare done for him; and, in fact, he often painted figures in the landscapes of other artists. His pictures are somewhat common, both abroad and in England, in public galleries and private collections. Six works by him are in the National Gallery.

Jan van Huchtenburg (1646 ?—1733) painted battle- sownes, much in the same style as Wouwerman. Works by him are in many of the Continental Collections. The National Gallery has one, a Batile-scene, Ho was also an engraver.

Jan van der Meer (1658—1705), of Haarlem, called “de Jonge” {the younger), to distinguish him from an old painter of the same name, studied under Berchem, in whose style he painted pastoral pictures with much ‘SUCCES.

(@) Dutch Movine Painters,

Simon de Vileger (ab. 1600—aft, 1656) sought to intro- dace the manner of Cuyp into the mbjects of Van de Velde.

In Houtanp. BAS

amongst others, may be found the great Viow of Amster- daw, taken at the Y, and tho two celebrated pendents in commemoration of the naval Battle of Four Daye, the suc- cess of which was at first doubtful, but in which the Englieh finally gained an advantage over De Ruyter in 1666. To enable him to render the combat with greater fidelity, the painter was present on one of the vessels of the Dutch squadron, making his plins and sketches in the midst of the firing. The National Gallery contains no less than fourteen pictures by this artist—all good examples of his style. Of the private collections in England, which are rich in Van de Volde's works, Bridgwater House contains the best—two Naval Battles; a View on the Texel; a Calm; the Evtrance to the Bril; and lastly, the well- known Rising of the Gale.

Jan van de Capelle (f. ab. 1675) in etyle much resembles De Vlieger. Ho is well represented in England both in private galleries and in the National Gallery, which contains five works by him.

Dirk van Delen (1607 ?—1673), seized with tho desire for painting architecture, then so prevalent in Holland, turned his attention to that branch of art, in which he afterwards became very successful. He frequently painted in conjunction with other artists, aa in the Meeting of the United Provinces at the Hague—in the gallery of that city —in which the figures are by Palamodes. In the National Gallery is a Renaiesence Palace, noteworthy for correct perspective and clearness of colour, The Entrance of «

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Job Berck-Heyde (1630—1693) was a painter of archi- tectural subjects, in which he executed the figures, of landscapes, and even of portraits. Works by him are in most continental galleries.

His younger brother, Gerrit Berck-Heyde (1638—1698), was, after Emanuel de Witte and Van der Heyden, one of the best architectural painters of Holland, He sometimes painted the figures in his own pictures, but he was fre- quently indebted for them to his brother Jul, who excelled him in figure painting.

Melchior d'Hondecoeter (1636—1695), of Utrecht, was one of the best of the painters of poultry-yands. There are Stores and Peacocks by him, in the Louvre; the Might ieteeren a Cock and a Turkey, ab the Hennitage; the Menagerie of Birds, at the Hague; the Floating Feuher at Amsterdam ; and Domestic Poultry, and Geese and Ducks, in the National Gallery.

Jan Weenix (1640—1719), called “the younger,” to dis- tinguish him from his father, whose style he greatly acquired. For his subjects Weenix choso small gamo— hares, pheasants, snipe, ducke, birds of all sorts—of the finest forms and colours, which he grouped with hunting ‘weapons, or under the charge of a dog. Many of his best pictures are in England; the National Gallery has but one, Dead Game and « Dog; his masterpiece, The Pheasant, is in the Hague Gallery.

Willom Kalf (1686—1693) is celebrated for his pictures of inanimate nature, vegetables, pots and pans, which he arranges, and lights up at his pleasure.

Jan Davidsz de Heem (1600—1647), a painter of fruit BM?

54s Pawrixa

and flowers, lived chiefly at Antwerp, where his works were highly prized, and even in bis own time fetched very high surns, 50 true to nature was his representation of fruit and flowers. Good works by him are in the galleries of Vienna, Berlin, Amsterdam and the Hague. His son Cornelis de Heem followed in his father’s footsteps with success,

Jan van Haysumn (1682—1749) among the painters of flowers stands pre-eminent. The smiling Vases of Moicers, far preferable to the dark Bowguets of Baptiste Monnoyer —who was brought forward as a rival to Van Huysum in the time of Madame de Pompadour—are varied and im- proved by agrecable accessories, such as the vases therm selves elaborately carved, the marble stands, and brilliant insects, the flowers of animal life. Two flowenepicoes by Van Huysum are in the National Gallery. He is als well represented in the Dulwich Gallery, and in many private collections in England. His works abound on the Continent.

Rachel Ruysch (1664—1750) ix still considered the rival of Van Huysum Of her works the Rotterdam Muscum possesses a Flower-picee; the gallery at the Hague, two more; and the Six Collection, another pair of Flower-picces,

The end of the seventeenth and the whole of the eighteenth century were marked by a rapid deeline in the art of painting, both in Holland and Belgium; and not until the present century was considerably advanced was there any definite or important revival. Until about 1830, the classic style of David was copied in Belgium; and in Holland the traditions of the old Dutch School were faith- fully followed; scenes of everyday life, landscapes, cattle,

In Hottanp. 549

and inanimate nature being reproduced in somewhat wearisome monotony. At the present day, however, we note a change in the works exhibited by Dutch artists— the general treatment betraying French influence, and some of the delicate finish of execution so long character- istic of the Dutch School being lost.

Panerixg ox Grewaxy, ool

1, Overbeck and his School,

Friedrich Overbock (1789—1869) stands at the head of the new movement, and may justly be said to have restored the ideal style in sacrod subjects, und to have revived the carly Italian style as exemplified in the works of Fra Angelico. He first studied art in Vienna, but subsequently, followed by a small band of fellow-thinkens in art, he went to Rome and founded the School which led to the renaissance of art in German. His chief frescoes are the Miracle of the Roses of S. Francis in 8, Maria degli Anyioli, at Assisi; and five soenes from ‘Tasso's ‘Jerusalem Delivered,’ in the Villa Massimo, Rome. OF his oil-paintingy the principal are the Jnjluence of Riudigion on Art, in tho Stadel Institute at Frankfort; the Batrance of Christ into Jerusalem, painted in 1816 for the Marien Kirche at Liibeck ; and Christ on the Mount of Oliees, at Hamburg.

OF the immediate disciples of Overbeck the mast famous were

Philipp Veit (1793—1877), who studied for some time urder Mathai at Dresden, then under his step-father, a painter named Friedrich Schlegel, and subsequently joined the school of Overbeck at Rome, and became one of the most severe in style. He painted there, in fresco, in the Villa Bartholdy the Seven years of Plenty. He afterwards esided at Frankfort-on-Main, where he painted a Good Samaritan for the Cathedral, and at Sachsenhausen.

Joseph Fibrich (1800—1876) first studied at Pmgue, then in Vienna, and in 1829 went to Rome, where hy painted in the Villa Massimo, three scenes from Tasso's ‘Jerusalem Delivered.’ He afterwards gave himself up to

Paro in Gerwaxy. 553

sacrod historic subjects for the decoration of His works bear an evident trace of the influence beck. He has himself engraved several, some of ae scenes from the history of his native country

2, The School of Munich. von Cormelius (1784+—1867) was the restorer of d art of fresco-painting on a lange scale, and of the Munich School, At the early age of n he gave proof of considerable genius in the he painted for the cupola of the old church of , and four years later he produced a marvellous series tions of Goothe's ‘Faust and of the ‘ Nibolungens-

, full of bold invention, but perhaps inferior in colour- expression. In 1811 he went to Rome, where he nained for eight years diligently studying the works of 2 old masters; and on his return to Germany, at the ion of Ludwig I. of Bavaria, he embodied the results new experience in the great frescoes, by which he known, which adorn the Glyptothek and the Kirche at Munich—those in the former represent- cones from heathen mythology, in the latter a series ta from the New Testament.

nd the wall-painting in Berlin of Homer in

are his principal works, He is well-known,

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the Crossing of the Beresina: he also painted genre subjects.

His brother, Heinrich von Hess (1798—1863), first brought himself into notice by his Sepulchre of Christ, and & Holy Family. After some years spent in Italy, he was made Professor of the Academy at Munich, and later Director of the Royal Collection. His picture of Christmas, painted for Queen Caroline, who was a liberal patron to him, is considered one of his best works.

Johann Schrandolph (1808—1879), who studied under Comolius in the Munich Academy, assisted in the pro- duction of the fremoes in the Glyptothek, and the History of Mows, from tho dosigns of Hess, in the Allerheiligen- Kirche. After a visit to Rome, he was employed by King Ludwig to decorate the cathedral of Spires; the paintings which he there executed gained him great fame,

Johann Bonaventura Genelli (1800—1868) studied first im Berlin, and then under Cornelius and Overbeck in Rome. After painting in Leipsic, he settled in 1886 ab Munich, and became noted for his numerous compositions of mythologic and sacrod history.

Christian Ruben (1805—1875) studied originally under Cornelius at Diisseldorf. He then painted at Munich, Prague, and at Vienna, where he was made Director of the Academy of Arts. He painted sucred subjects and scenes from the history of Bohemia.

8. Genre Painters in Germany,

Tn addition to the two great schools founded by Over beck and Cornelius, many good German painters of scenes of common life have arisen of late years. The principal of these were :—

Ts Guamaxr. 587

Jagdrecht) created a great sensation at the time of its pro- duction; but, perhaps, more from the nature of its subject than its intrinsic merits.

Adolf Schrédter (1805—1875), and Johann Peter Hasen- clover (1810 — 1853), pupils of the Disseldorf School, painted geure subjects with much success.

Joseph Anton Koch (1768—1839), who has been called the restorer of landscape painting in Germany, is well repre- sented in the galleries of his native country. Lessing, too, whom we have already noticed, was. good landscape painter,

Every large town in Germany became a centre of painting,

Karl Wilhelm Kolbe, the younger (1781—1858), August Karl Friedrich von Klober (1798—186+), whose style was influenced by a study of Rubens and Correggio; Karl Begas (1794—1854) ; Franz Kriiger (1797—1857), cele- brated for his paintings of horses—all of whom devoted themselves to romantic and historic compositions; and Eduard Magnus (1799—1872), known for his gonre subjects and portraits:—theee are a few prominent names among those artists who have mado Berlin famous in art during the greater part of the nineteenth century.

In Vienna, Johann Peter Kratft (1780—1856), Georg Ferdinand Waldmiller (1793—1865), and Joseph Dan- luuser (1805—1845), practised genre and portrait painting with great success,

Alfred Rethel (1816—1859), a native of Aix-la-Chapelle, student in the Dasseklorf Acadomy, painted much at Frankfort and at Aix. His works are taken from sacred and national history, and also include portraits.

558 Pancrrose

Karl Rahl (1812—1865), of Vienna, studied in the Academy of his native city, and there opened a studio, which was most numerously attended, and sent forth many excollent artiste,

Feodor Dietz (1813—1870) studied in Carlaruhe, and painted in Munich and at Paris; his works, which chietly depict seenes on the battle-field, are unfortunately some- times almost theatrical in effect,

On the whole the present position of painting in Germany is eminently satisfactory, and there is every reason to hope for continued success in the future.

There are but few works by the great German masters in the National Gallery, and the Revival under Overbeck and hig followers is totally unrepresented in our National Collection.

Of those living artists who have made and aro still making German art famous, not only in their own country, but also in England, we do not propose to speak; but before closing this brief notice of nineteenth century art, we taust mention two painters whose works are somewhat in sympathy with it.

Adolph Tidemand (1914—1876), a native of Mandal in Norway, studied first at Copenhagen, and then at Diissel- dorf under Hildebrandt and Schadow. His pictures are chiefly landscapes and genre subjects ‘They became familiar to tho English public at the Exhibition held in London in 1862, to which he sent no less than ten. The Assembly of the Hangions in the Diisseldorf Academy, and the Catehising are among the principal. Tidemand was a member of most foreign academies,

Anva Maria Blisabeth Jerichaa-Baumann (1819—1881)

In Gremany. 559

was born, near Warsaw, of German parents: after a course of study in the Diisseldorf School, she then went to Rome, where she met and married Adolf Jerichau the sculptor, with whom she returned to Copenhagen; and thenceforth became famous as a painter of portraits and historic and genre pieces,

Painting on giass for cattesi invented or perfected : and n abbots ornamented their char paintings of all kinds.

But the real history of Fre: can only be said to bave © and laborious development of all the knowledge possessed by : time, and produced the revival Renaissance. In Italy, this t of the fifteenth century, but years later befure the French 5

1. In the Fifteenth, Sicteenth René of Anjou, Count of was successively despoiled of 2 and who consoled hitnself fo cultivating poetry, music, and

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Paiwmixo ix France. 561

beautiful and elegant romances, such as La Conqueste de ta Doulee Merei, and the Mortifierment de Vaine Plaismiee, but ho loved painting in particular with a passionate love, and was gifted by nature with such an uncommon aptitude for this noble profession that he was famous among the meat excellent painters and illuminators of bis time, which may be perceived by several masterpieces necom- plished by his divine and royal hand.” In the Cluny Museum there is a picture by René which, although not worthy of being called a “divine masterpiece” of the period that had produced Fra Angelico and Masaecio, is yot valuable and remarkable, The subject is the Preaching of the Magdalen at Marseilles, where tradition asserts that she was tho first to proclaim the gospel, He died in 1480,

Jeban Fouquet (1415—1488), born at Tours, painted the portrait of Pape Kugeniue ZV. at Rome, and studied the Ttalian artista of the time of Masneeio. His works, or at least those of them which remain, aro to be found at Munich, Frankfort, and in the large library at Paris; they consist only of manuscript ornamentation.

Jean Clouet, the younger, sometimes called Janet (in cotemporary records he is called Jehan, Jebsnnot and Jehannet), was a Fleming who settled in France and was made painter and warlet-dechambre to Francis L, in or before 1518, Ho died in 1541.

Frangois Clouct (ab. 1500-—~1571-74), usually called Janet, —a cotemporary of thoss who studied art in Italy, but himself a distant disciple of Van Eyck, through the lessons of bis fathor,——was born at Tours. He wns court painter to Francis L, Honri I1., Francis IT. and Charles TX. His pictures in the Louvre are portraits of Charles IX. ond his wife Elizabeth of Austria, which are truthful and of

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wonderful delicacy. Besides the portraits of Henri IT., of Henri IV. a8 a child, of the Duke of Guise, le Balafré, of the wise chancellor Michel de l'Hépital, all of his school, there are two email compositions formed by several por- traits ina group; one is of the Marriage of Margaret of Lorraine, sister of the Guises, with Duke Anne of Joyeuse ; the other is a Cowrt Ball, at which Henri TIL, then king, his mother, Catherine de Médicis, young Henry of Navarre, and other personages of the time, are present. These pictures, which are as valuable to the history of France as the chronicles of Monstrelet or the journals of L'Estoile, are no less precious to the history of painting as the memorials of an art of which they were the earliest expres- sion. In Hampton Court there aro portraits by Clouet of Mary Queen of Scots and Francis IL of France, aa Dauphin; and at Castle Howard, there is a fine painting by him, of the Family of Henri IL, giving life-size portraité of Catherine de Médicis and her children, and a collection of nearly three hundred portralts—drawings in black and white with flesh tints—of kings and queens arid important personages of the French Court. A Men's por- twit by him is in the National Gallery, and examples of his art are in the galleries of Hertford House, and Althorp,

Jean Cousin (1501—1589) was born at Soucy, near Sens. Unfortunately, he was more occupied with painting church windows than with his easel; and, as he devoted a part of his time to engraying, sculpture and literature, he has left but = small number of pictures, His principal work is a Last Judgment, and it is dondtlees the similarity of subject rather than of style which has given its author the name of the “ French Michelangelo.” Although it was the first picture by a French artist which had the honour

Ix France. 563

of being engraved, this masterpiece of Joan Cousin lay for a long time forgotten in the Sacristy of Minimes at Vincennes. Tt has now found a place in the Louvre.

Martin Fréminet (1567—1619), the son of a paintor, was horn at Paris, After a long sojourn im Italy, he brought with him the taste which provailed there at the close of the great age, a little before the foundation of the Carracci school. Leaving the calm and simple beauty which Leonanio da Vinci, Raphael and Correggio had taught, he adopted, like the mistaken imitators of Michelangelo, an ostentatious display of the science of anatomy, and a mania for foreshortening. At the same time bis great pictures in the Louvre—both the Fenue waiting for Mare, and Eneas abandoning Dido—are remarkable becanse he painted his figures the size of life. After a long series of sacred subjects, he produced mythologic scenes. Henri TV. appointed Fréiminet painter to the court, and com- missioned him to decorate the ceiling of the chapel at Fontainebleau.

Simon Vouet (1590—16+9), also the son of a painter, had been from his earlicet youth remarkable for his precocious talents; and after fourtecn years residence at Rome car- ried the lessons of the Carmcci sehool back with him to Paris. In his great composition, the Presentation in the Templo—in the Entombment, the Madonna, the Roman Charity (a young woman feeding an old man), we tmoe clearly the influence of the Bolognese school, although Vouet possesses neither the profound expression of Domenichino, the elegance of Guido, nor the powerful chiaroscuro of Guercino. We must do him the justice to add that it was his lessons which taught Eustache Je Sueur, Charles le Brun, and Pierre Mignard; and that

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thus, like the Curracci, he was greater through his pupils than through his own works.

Ineques Callot (1594—1633) was of a noble family of Nancy in Lorraine. He was an enemy to all discipline, and, in order to give free course to his fancy, fled from his father's house in the train of a troop of mountebanks. Occupied with etching by a process of his own invention, his Beggare, Gipsice, Nobles, Devile and scenes descriptive of the Misorice of War, for which he is most celebrated, — he left us but « small number of paintings.

Nicolas Poussin (1594—1665), the prince of the Fronch school, was born at Andelys. He was descended from a noble family of Soissons who bad lost their property in the civil wars: his father served under Henri [V. Brav- ing poverty, Poussin set out for Rome, on foot and almost destitute, There his talent was first developed before the masterpieces of past ages; and although at a subsequent period the king called him to Paris, in order to add the lustre of a great artist to his own fame, Poussin soon tired of the annoyances causod by tho court painters, and went back to Rome, which he did not again leave. Ther, in solitary study, and always avoiding, with a force of judgment in which he is scarcely equalled, the bad taste of his country and his time, he progressed step by step towards perfection.

Two of Poussin’s best pictures are in the National Gale lery, which contains seven works by him. One is a forcible painting simply called a Bucchanatian Danes, but varied and full of pleasant incident, The other, a Bacchanalion Festival, although less finished in execution, is one of his most important works.

In tho Louvre thore are some immonse pictures by

Tx Fraxcz, 565

Poussin, with full-length figures: the Last Supper, Francis Aavier in India, aud tho Virgin appearing to S. Jokn. His only painting of this size out of France is the Martyr dom of S. Erasmus, the pendent, in S. Peter's at Rome, to the Martyrdom of 8, Processo, by his friend Valentin, Among his religious compositions are the charming group of Rebecca at the Well, when Eliezer recognizes her among hor companions, and offers her the ring; Jfoses exposed om the Nile by hia mother and sister; Mosed aaved from the Water by the daughter of Pharoh; the Manna in the Desert, © scene admirable in the grandeur of the whole, and the interest of the dotails; and the Judgment of Solomon,

We must also class amongst the Old Testament subjects the four celebrated pondents named Spring, Summer, Autumn, and Winter, far better known by the names of their subjects, Spring ix typified by Adium and Eee in Paradise, before their fall; Summer, by Ruth gleantag in the field of Boaz; Autumn, by the Return of the Spies from the Promised Land, bringing back the wonderful bunch of grapes, which two men can scarcely carry; Winter, by the Deluge. There is no need of any word of explanation or praise for this picture; it was Poussin'’s last work; he was seventy-one years of age when he painted it, and he died soon afterwards at Rome. Amongst the subjects taken from the Gospels and from the Acts of the Apostles, we must call attention to the Adoration of the Magi, tha Reopens in Egypt, the Blind Men of Jericho, the Woman taken in Adultery, the Death of Saphira, and S. Paul caught up into the Seventh Heaven,

Bat Poussin did not confine himself to biblical subjects; he also, like all the great masters, treated subjects from

Passos

ws profane history, ae the Will of Budemider fin England), and the Rope of the Sabines: and entered the regions of

Vig. 1TL—The Shephente of Aremdia, By Nicolas Paria. Js the Lowers. whatever be undertook, or from whatever source his subjects were taken, he was always an historic painter, Gaspard Dughet (1613—1675), called Gaspard Poussin, was bom of Fronch paronts in Rome. Nicolas Poussin marriod bis sister, and under the instructions of his brother-

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in-law Dughot. became an excellent landscape painter, His subjects were usually taken from picturesque scenes in the neighbourhood of Rome. His works abound in private galleries in England. Six of his paintings are in the National Gallery.

Claude Gellée, of Lorraine (1600—1682), called Claude Lorrain, or more generally merely Claude, was born of very poor parents at Chamagne, a little village in the Vosges, When quite a lad he was apprenticed toa baker and pastry: cook, and before he was twenty years of age accompanied some fellow-workmen to Rome and became the servant of Agostino Tassi, » landscape painter of eminence. It is said that young Claude prepared his master’s dinner and ground his colours; at all events, from Tassi he acquired that Tove of art which has rendered bis name so famous He rectivel lessons also from Sandrart, who was at Rome At tho same time, His pictures and etchings boar dates varying from 1630 to 1670.

Although he did not approach Poussin in learning, as He soarcely know how to read or sign his name, Claude rosambled him in his power of application, and his eorrect- ness of observation.

Tn the Louvre, there are two small pictures, 4 calm Landsenpe and n Marine pice, glittering with the mys of the noonday sun, which Claude alone, like the eagle, them dared to face; an interesting view of the Campo Vaccino at Rome (the ancient foram), now used os a cattle market; two pendents, alao a Marine piece and a Landaape ; then two other largor pendents—Aarine jpiceee—warm and golden in the setting sun. The figuree they contain, by the pencil of some of his usual assistants, are intended to show, in one, the Landing of Cleopatra at Torsws, where

8 Parsrixe

she had been summoned by Mark Antony; in the other, Ulysa restoring Chryseis to her Father, These two marine pieces are in the xtylo of which Claude was especially fond ; the sea in the distance, eoclosed in the foreground by two rows of palaces and gardens, which form a purt in per~

Fig. 172. —Croming the Forl. By Clande Lorrain. Dn the Lrwwrt.

spective, and the sun beyond, low on the horizon, illumin- ating the surface of the waves which art agitated by the breeze.

Tn the National Gallery, besides the Embarkation of the Queen of Sheba (known as the “ Bouillon Claude"), there is

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the Embarkation of S. Ursula, and another marine pioce, & Seaport at Sunset, with palaces in the foreground, a wonder- ful masterpiece ; and eight landscapes with figures, repre- senting Hagar in the Desert ; David in the Cave of Adullam ; the Death of Procris ; Narcissus falting in love with his own Pnage—an exquisite work—nnd four others.

Many of Claude's pictures are in private cabinets, especially in England, where the groat landscape painter was at one time muck admired. The Duke of Westminster possesses as many as the muscums of France or Madrid. ‘Two pendents in this collection are the largest pictures Known by Claude. ‘Tho subject of ono is the Worahip of the Golde Calf, that of the other, the Sermon on the Mount. Both have all the luxury and splendour of Italian sconery ; —no language can describe the brilliancy of the sky, the beauty of the earth, tho scientific aérial porspoctive, the happy contrast. of light and shadow, the majesty of the whole, in short, everything that can delight the eye. “Claude Lorrain,” wrote Goethe, “knew the material world thoroughly, even to the slightest detail, and he used it as a means of expressing the world in his own soul.”

A eries of sketches which Claude made for his pictures are preserved in a book which he called Litro di Verita ; these are now in the possession of the Duke of Devonshire. They were engraved by Earlom.

Valentin [miscalled Moise Valentin, a misreading of Mosu, 4. ¢. Monsieur] (1600—1634) was born at Coulommiers en Brie. He attended the school of Simon Vouet for some years, and then went to Italy, where he was a friend of Poussinand Claude. A rival of Ribera in the imita- tion of the turbulent Caravaggio, Valentin deserted entirely the traditions of French art, and only belongs to the French

570 Pansrmsa

sebool from the circumstance of his birth To judge him justly, and to appreciate the loss art sustained in his early death, occasioned by the excesses of a fiery temperament, we must be acquainted with his better and nobler works, which show thought and reflection; the Martyrdom of S. Lawrence in the Museum of Madrid, and the Martyrdom of S. Process, in the Vatican.

Sébastien Bourdon (1616— 16711), another of the French disciples of Italy, was born at Montpellier, ani received his first education from his father, who was a painter on glass; and when still a boy was taken by his uncle to Paris, where he studied art for some years. At eighteen years of age he wont to Italy, and worked both at Rome and Venice. He afterwards returned to Paris, and painted his colobrated picture of tho Crucifizion of S. - Peer. Tn 1652 he was prevailed upon w visit Sweden, and there he executed several important works for Queen Christina. He again retumed to Paris, where he died.

Eustache Je Sueur (16171655), the son of an artisan, studied under Vonet, and became famous; but driven fram the court. by Le Brun, he entered the convent of the Cur- thusians, and there produced his best works, which are all in Paris. Though he lived but few years, he displayed brilliant qualities, grandeur, power of expression, depth of thought, and a touching sensibility and tenderness which sometimes raise him to the sublime, The Louvre has fifty of his finest paintings. There he may be seen from his austere and studious youth to his early death; from tho dark and fantastic History af S. Bruno to the gay and laughing History of Low, which was his last work.

But between the two extremes required by the subjects of a series of pictures for a Carthusian convent, and for the

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sumptuous mansion of the president Lambert de Tho- rigny, Le Sueur painted many compositions of varied style, although they were all on religious subjects. Of these are—the Descent from the Cross, the Mass of S. Martin, the brother martyrs 8. Gerrasius and S. Protasius refusing to worship false gods. The last picture, which was painted asa pendent, to the two works of Philippe de Chatmpague on the same legend, is as large as the largest works of Le Brun or Jouvenet, The Preaching of S. Prul at Bpheeus, painted in 1649, and offered to Notre Dame of Paris by the guild of goldemiths, has been rightly placed in the sulle des chefe-d auvre, for it is the masterpioce of Le Suour,

Charlee le Brun (1619—1690) was the son of a sculptor of Paris. As he showed a decided talent for drawing, he was placed under Simon Vouet, with whom he remained for some years, He then went to Italy, and under the tuition of Poussin studied the works of the great masters. Shortly after his return to Paris, Le Brun received the patronage of Louis XIV:, who made him painter to the court, and director of the Gobelins manufactory, and decorated him with the order of S. Michael.

In the Louvre there are twenty-two of his pictures, at the head of which stands the History of Alexander, This famous series, which was ordered by Louis XIV. in 1660, and which was completed in 1668, is no leas important among his works than the History of S. Bruno among those of Le Sueur—to make known and to popularize this great poem in five cantos—the Passage of the Granicus, the Battle of Arbela, the Family of Darivs tade captive, the Defeat of Porus, and the Triumph of Alexander at Babylom—an evident allegorical flattery of the early triumphs of the great Louis The painter had

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the good fortune to have it engraved by Edelinck and Audran, The other great paintings of Le Brun are the Day of Pentecost (where he has introduced himself in the figure of the disciple standing on the left); the Christ with Angels painted to immortalize a dream of the queon mother; and the Repentant Magdalen, which every one calls Mademois- elle de Ja Valliére. He is more natural and true in the Stoning of S. Stephen, as well as in the small pictures on profane history, Cato and Mutiue Scoot, works of his youth, which were once attributed to the great Poussin.

Bon Boulogne, the elder (1649—1717), the son of am historic painter, Louis de Boulogne, was much patronized by Louis XIV., who sent him to Rome to study the old masters. He painted many of the decorations of Versailles.

Jean Jouvenet (1644—1717), the son of a painter, was born at Rouen. At seventeen years of age he went to Paris, whore he quickly rose to fame. He was a pupal and assistant of Le Bran, and followed his style. In old age he lost the use of his right hand by palsy, and, to the astonishment of his brother artists, painted with his left band the Magnificat, now in Notre Dame. Nearly all his pictures were of sacred subjects. Jouvenet’s art is theatrical, carried almost to the style of scene-painting. By what other name could we call the enormous sheets of canvas on which the Miraculous Draught of Fishes, the Christ driving the Money-Changers out of the Tewvple, and even the famous Raising of Lazarua, are painted t His loss ambitious compositions, such as the Descent from the Cros, which he painted for the convent of the Capueines, and an Ascension for the church of 8. Poul, are calmer in style, besides being better in every other respect.

Jean Baptiste Santerre (1650—1717), who was born at

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Magny, near Pontoise, went early in life to Paris, where ho studied under Boulogne. His pictures aro carefully composed and harmoniously coloured. At the time that, in order to flatter the pompous taste of Louis XTV,, Jouvenet was exaggerating the exaggerations of Le Bran, there was one artist who religiously observed the worship of the beautiful This was Jean Baptiste Santerre. Like Le Sueur before him, and Prud’hon after him, he escaped from academic tyranny, as well as from the slavery of the court. He sought for real greatness more than for fame or fortune, and found it, far from theatrical effect, in delicacy and grace, Santerre, in a tolerably long life, completed but few works, and the Louvre has only suc- ceeded in obtaining two, Susannah at the Bath, and a Female portrait, which seem to make the link in the chain uniting Correggio to Prud’hon.

To bring into one group the best portrait painters of the age to which Louis XIV. has given his name, we must go back a few years, and commence with

Pierre Mignard (1610—1695), who, although born at Troyes in Champagno, was called the * Roman,” because after having etudied under Simon Vouet, he passed twenty- two years at Rome. Mignard was not morely a portrait painter; he also painted historic pictures, and in the dome of Val-de-Grice frescoes langer in size than that of Correggio in the duomo of Parma. He succeeded Le Brun in the office of king's painter; and was made a Chevalier de Saint-Michel, and chancellor of the Academy. He entered into direct rivalry with Le Bran in a Family of Darius at the feet of Alerender, now in the Hermitage; and the Louvre we may see the charming Madonna swith the Grapes, brought from Italy, in which he imitated

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the style of Annibale Carrscei, whilst exaggerating the xtudiod gruce of Albani; and a number of historic por- traits, the Grand Dauphin, the Duke of Burgundy, the Duke of Anjou, Madame de Maintenon, and Migaard him- self. In all his works—sncred and historic paintings as well as portraits—he displays the same cold correctness, the same skilfulness in the art of flattery, the same care in minute details carried to the extreme which has made his name & proverb in France; but they also show a lightness of touch and vivacity of colouring which oasily rondered him the first colourist among the court painters of France.

Claude Lefebvre (1633—1675), who was born at Fon- tainebleau, was a pupil of Le Sueur and Le Brun, and painted portraits which remind us of Philippe de Cham- pagne. He visited England in the reign of Charles IL, and it is believed that he died in London.

Nicolas Largilli¢re (1656—1746), thoagh born at Paris, received his early education in art at Antwerp, where his father settled as a merchant, Ho visited England, and painted portraits of Charles IL, James TL, and many noblemen, Louis XTV, i Le Bron by Langillidre is i

Hyacintho Rigaud (1659—1743), the son of an artist, of Perpignan, has been called the French Van Dyck. Amongst his pictures in the Louvre, Louis ATV. figures in the front rank ; and Bosrwet, who seems to be holding a court in his bishop's robes as the chief of the church and the king of eloquence. Thanks to engravings, these pictures are known everywhere.

Antoine Coypel (1661—1723), the son of Noél Coypel, an artist of some celebrity, accompanied his father to Rome, and studied the style of Bernini, On his return to

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Paris, he became a very popular artist, and was much employed in painting royal palaces. He treated history in a theatrical manner, and clothed the ancient Greeks in silk breeches.

2. In the Kighteenth Contury.

Antoine Watteau (1684—1721), the son of a poor thatcher of Valenciennes, was placed with an obscure artist, in his native city, and for a long time painted pictures of S. Nicholas for three francs a week and his aoup. In 1702, he went to Paris—where the seene- painter, Claude Gillot, introduced him to the green-room of the opera—and there he founded a school of painting. In the hands of his plaginrists, Van Loo, Pater, Lancrot, Boucher, and a long train of their followers, art waa more and more degraded and dishonoured in ridiculous and licentious paintings of sheepfolds decorated with satin ribbons; and pictures were merely used as ornaments for boudoirs.

Watteau attempted only very small genre subjects ; but he has imparted such elevation and grandeur to them that he will always be considered far above a mere decorator. In the works of this painter of Féles Galantes, besides tho exquisite colouring taken from Rubons, we shall always have to admire his invention, fun, wit and even propriety ; for we feel that ho was, as his biographer Gersaint says, a “libertine in mind, though of good morality.”

Nicolas Lancret (1690—1743), a painter of Fites Galantes, who was born in Paris, took Watteau as his molel, and became an ignoble disciple of that master, though in his own time his works were very popular.

In the National Gallery is a eeries of four of his beat

Parsrisc ox Feaxce. 577

paintings Thoy are tho four ages of man—TJnfaney, Youth, Manhood (Fig. 173), and Age.

Jean Baptiste Joseph Pater (1698—1736), who was born at Valenciennes, went, when still young, to Paris, and entered the studio of Watteau, whom he copied both in subject and, a5 far as possible, in style. His works are somewhat scarce,

Frangois Boucher (1704—1770) was one of the most popular artists of his time, was appointed painter to the king, and acquired a great reputation, which did not long survive him. Boucher was called tho “Painter of the Gruces,” because, in the yaidsf-of landecapes as weak and false as tho scenes at Ghe-dpera, he introduced, as the shepherdesses of his be-ribboned sheep, veritable dolls, without modesty, and only fresh-looking from the vermilion of their toilette, and because they are reposing in the style of goddesses on clouds of cottont A Pan and Syrinz by him is in the National Gallery.

Francois Desportes (1661—1743) was the first in France to make a special domain for himself by imitating Snyders, and he became the historiographer of the hunts of Louis XIV. It is said that he visited England, and painted sporting scenes there.

Jean Baptiste van Loo (1684—1745), the grandson of an artist, was born at Aix in Provence. He painted in public buildings at Toulon, Turin and Rome, and was made a member of the Academy at Paris, In 1737 ho paid a visit to England, and was patronized by Sir Robert Walpole, and painted many portmits of the nobility. In 1742, he returned to his native land, and there he died,

Joan Baptiste Oudry (1686—1755), whose genre was

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the same as that of Desportes, became in his tarn the hix- torian of the bunts of Louis XV. His works, which are very numerous in the Louvre—Hwnls of stags, wolves, boars, pheasants and partridges—show that he had neither — the invention nor the movement of Snyders, nor the exquisite akill and touch of Fyt or Weenix.

Jean Baptiste Siméon Chardin (1699—1779), the rival of Willom Kalf, tho painter of kitchens, was a powarfal eolourist, who emulated the Dutch school in the vigour of his tints, until then unknown in the French school “: Chardin |" said Diderot, "it is not colours alone that you — mix on your palette; it is the very substance of objects, it is the air and the light with which you can

Charles André, called Carlo, van Loo (1705—1765), the younger brother of Jean Baptiste, although the best of the four painters in his family, showod to what a depth of decay ‘an artist, endowed by nature with good qualities, maj lod by the bad taste of his age. He attempted and sacred subjects, and failed utterly.

Claude Joseph Vernct (1714—1789), the marine painter, was born at Avignon. A whole the Louvre is devoted to his works, which are

the walls round his bust in marble. These are, first place, Views of the principal French Seiports, in 1754 to 1765, by order of Louis XV.; an dask; which would have required = mi : in its resources. Then, a large number of Marine. properly & called, in which he has represented th all its aspects, in the south and the north, in the | and in the evening, with the sun and the moon, i ‘nd in fine weather, in calm and tempest, but they

Tx Faaxce. 579

studied in the National Gallery in a view of the Castle of 8. Angelo, Rome, and » Landscape. He had a son, Antoine Charles Horace, called Carle, Vernet (1758—1885), who painted battle-pieces; and who was the father of the cele~ brated Horace Vernet, of whom, we shall speak hereafter, Jean Baptiste Greuzes (1725—1805) was born at Tournus, near Micon, and received his early education in art at Lyons. He was one of the first French painters to go to Nature for his subjects by taking his figures from rural life, and representing simple and touching village scenes, Some of these contain merely x comic incident, such as - the Broken Pitcher ; others rise to pathetic drama, like tho Puther’s Curse. The Village Bride is of intermediate style, more simple and graceful, and may be considered as the masterpiece of his transition atylo. These choice works, with five others, are in the Louyre. Tho gallory of Sir Richard Wallace contains twenty-two paintings’ by Greuze, several of which have been engraved ; and there are three heads of girls in the National Gallery. His paintings, which at the present day command fabulous prices, were uot appreciated in his own timo, and the unhappy pointer passed his old age in extreme poverty, Joseph Marie Vien (1716—1809) was born at Mont- pellicr. He studied first in Paris, and from 1775 to 1781 directed tho French school at Rome. In studying the works of tbe earlier ages, he learned to understand the greatness of the art which had almost perished, and endeavoured to return to the style of the great masters, To Vien belongs the honour of having been the first to attempt the part of the reformation in art which was accomplished by bis pupil Louis David. This may be seen, in his fine composition, S. Germain of Auxerre and pre

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S. Vincent of Saragosen receiving martyrs’ crowns from an angel; and for chastened and powerfal execution, in the Hermit asteep. Vien ssid, “I have only half opened the door; it is M. David who will throw it wide."

Jacques Louis David (1748—1825), a relative of Franpois Boucher, was born at Paris, accompanied Vien to Rome, and with him studied the works of the great masters. In onder to paint Roman subjects and Roman manners, he sought his models in the mins of ancient Rome; he stwlied the statues and tho bas-relief, and read Tacitus and Plutarels,

By the severity of his taste, by the admiration of noble thoughts and fine actions, he brought back art to dignity and trac grandeur. He lived in Paris, and took part in the great Revolution, and passed many months in prison. But when the Empire had overthrown the Republic, David bocame painter to the emperor, and prefect of the department of the Fine Atta, After the fall of Napoleon, David took refuge in Brussels, whero ho continued to

int for man eis best sed i to be found in the Louvre. The Outh of the Horatii was painted at Rome in 1784 Its appearance caused such sensation in the Parisian salona, that from this time we may date the commencement of the fashion for Roman forms in garments, hangings and furniture, The second Republican picture was Marcus Brutus, to whom the lictors sre bringing the corpses of his two sons, whom he had condemned to death It is dated 1789. He painted in 1799 the Sakine Women Fig. 175) throwing themsolves into the midst of the eon- flict between the Romans and the Sabines; and the Death of Marat, strack by Charlotte Corday: then, the Leonidas

wamop eT MAN Ag "wR AK oeNRHS oR L— "PLT

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at Thermepyle, Although between this picture and the Sabines the whole interval of the Empire intervenes, we may yet call them twin pictures

Thexo works of David show all his good qualities and defects in the clearest light. On one hand, the fine subjects, noble sentiments, correct drawing, and chastened painting; on the other, an academic stiffness, making the living beings look as if cut out in marble; and in the execution a sad and monotonous colouring.

Guillaume Guillon Lethiére (1760—1892), one of David's pupils, is represented in the Louvre by those enormous pictures, the Death ef Virginia and Death of the Sons of Brutws, These paintings were exhibited in London in 1816 and received with much applause,

Anne Louis Girodet de Roucy Trioson (1767—1924) gained the grand prix, and went to Rome, His most important works may be found in the Louyre—tho Shep of Endymion; the Interment of Atala, describing a scene from Chateaubriand ; a Scene from the Deluge. *

Frangols Gérard (1770—1837) was bom at Rome. His celebrated group of Cupid and Payche, and his Entrance of Henri IV. into Poris are in the Louvre. Baron Gérard, to whom many of the most illustrious characters of Europe eat for their likeness, was rather a portrait than an his- toric painter, and an intellectual man more than an artist of gonius,

Antoine Jean Gros (1771—1835) suddenly quitted the usual track, to open a fresh career for himself. He formed his style on his own country and time, and paint the men and the things before his eyes; snd introduced two fresh elements, too much neglected by the old school— colour and movement, The style of Baron Gros was an

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undoubted progress. The proof of this is to be found in some fine works in the Louvre, such as the Jaffa plague etricken, and especially the Battlefield of Bylau, a great work os well a8 an instructive lesson, ® most heart-rending image of the desolation caused by war.

Pierre Narcisse Guérin (1774—1853), the pupil of Jean Baptiste Regnauld, followed the track thrown open by David. His Mares Sertus returning femme exile, in the Louvre, is his principal work. His later pictures are too theatrical. Many of his works haye been engraved.

Pierre Prad’hon (1758—1823) was the son of a mason of Burgundy. In early life he went to Rome, and formed acquaintance with Canova, In 1799 he returned to France, and ho was alwady forty-nine when the profoct of the Seine ordered a picture of him—his first composition in high art—the celebrated allegory of Divine Justice and Vengeance yrurswing Crime: this pievure attracted great notice. The Louvre has scquired this work, and it has also his Christ on Calvary. In both these juintings there is the same melancholy and solemn majesty,

We must seek in private collections for other works— such a3 Zephyr rocked on the Waters, the Kape of Peyche by the Zephyrs, or the Desolate Family, to show how he treated the antique, and how he could import as much pootry to cotemporary sufferings as to the fictions of mythology,

Francois Marius Granet (1775—1849), another mason’ gon, born at Aix-en-Provenco, is celebrated for his Interiors, two of which may be seen in the Louvre, the Cloister of the Church of Assisi, and the Fathers of Mercy rdeeming captives. He animated his views of buildings by scenes

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from human life, and like Pieter de Hooch raised his less familiar subjects to the rank of historic pictures.

Jean Louis André Théodore Géricault (1701—1824) was a pupil of Carle Vernet and Pierre Guétin, As he died very young, it is difficalt to understand how it hap-

Fig. 170—Divine Justico and Vengrance pursuing Crime, By Prat'bom. In the Louvre.

ponod that he played so important a part in French art, and exerted such influence on the whole school.

His works in the Louvre, the Chameur de la Garde im~ périale and the Cuirassier blessé, belong to the period when,

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following Carle Vernet, he was simply 4 painter of horses, It was not till towards the close of his life that Géricault executed the only great work of his life, the Rajt of the Meduse (Fig. 177). This picture was at first received with @ storm of reproaches, but when exhibited in London it won much praise, and is now one of the treasures of the Louvre,

Jean Auguste Dominique Ingres (1780—1867), at the age of sixtecn, chose art as his profession, and entered the studio of the stern classio master David, where he re- mained four yoars, In 1800 he won the second, and in 1801 the first Academic prize, and received a pension of one thousand francs. In 1802 he painted his first important work, Bonaparte passing the Bridge of Kehl, and in 1806 went to Rome, where be remained until 1820, when he removed to Florence, where he resided four years, painting the Bniry of Charles V. into Paris, and the Vow of Louis ATH. now ina church at Montauban. In 1824 he returned to Paris, to find the school of David supplanted by that of Delacroix. He then painted his Apotheosis of Homer, on aceiling in the Louvre; in 1829 was elected Professor of Painting in the Reole des Beaux-Arts; and in 1834 Di- reetor of the Fronch Academy in Rome. This appointment enabled him to return to the city of his affections, whore, however, he painted but few pictures, He retarned to France in 1841; in 1845 was nominated Commander, and in 1855 Grand Officer of the Legion of Honour.

Ingres left behind him, in addition to the masterpieces we have mentioned, several great works, including the Odaleeque, which appeared in 1819; the Martyrdom of S Symphorien, in the cathedral of Autun; Roger rescuing Angélique ; Stratonice (Fig. 178); Christ delivering the

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keys to S. Peter; GEdipus explaining the riddle of the Sphina; La Source, the picture which attracted such universal admiration in the London Exhibition of 1862 ; and La Baignewse, The four last are all in the Louvre.

Emile Jean Horace Vernet (1789—1863), the son of Carle Vernet, was born in the Louvre, where his father had apartments. In 1806 and the following years he exhibited his famous Barriére de Olichy ; the Capture of the Redoubt ; the Enirance of the Preach army into Brestaw ; the Defence of Paris, and the Maseacre of te Mamedukes Tn 1826 he was made a member of the Institute, and two years later he was elected Director of the French Academy in Rome. At Versailles, one whole gallery—the Constan- tine—was devoted to his works illustrative of the victories achieved by the French armies in Algerin. Of this series the most noteworthy for its merit, as well as for its size, is the Capture of the Smala of Abd-el-Kader.

Claude Marie Dubufe (1789—1864) was born in Paris, and took his first lessons in art in the studio of the great classic master David. His carliest works were historic, and included the well-known Roman fanily dying of famine, and Achilles taking Iphigenia wnder his protection. They were succeeded by Christ tilling the Tempest ; Apollo and Cyparissus ; tho Birth of the Duke of Bordcauz ; Christ walking on the Sea of Galilee; and the Deliverance of S. Peter, 1n 1827 he changed his style and class of subjects; his Remembrances, Regrets, the Slave Merchant, taking high rank as genre pictures Of this class is his Swrprise in the National Gallery. His portmits, expecially those of the Queen of the Belgians and the Duchess of Istria, are also greatly admired.

Louis Léopold Robert (1794—1835) was at first an

590 Parrin,

engraver, then a pupil of David at Paris, He went very late to Italy, where he painted subjects of history mixed with the scenes of nature, Three of his most important works are in the Louvre—the Jtalian Improvisatore, the Feast of the Madouna di Pie-di-grdtta, and the Harvest Feast in the Roman Campagna. In 1835 he painted the Departure of Fishing Boats in the Adriatic, in which he seoms to foretell a departure without a return, and which he completed at Venice just before he ended his own life.

Ary Scheffer (1795—1858), who was born at Dordrecht of French parents, had the misfortune when quite young to lose his father. His mother took him in 1811 to Paris, and apprenticed him to Pierre Guérin, from whom he learned his art, though he acquired but little of that master’s stylc, His best works are the Fraacesa di Rimini ; his Gaston de Foi found dead—now in the Gallery at Versailles—and the four subjects taken from Gootho’s Foust ; and his religions subjects—Christ the Comforter: S. Monica, and the Temptation of Christ.

Jean Baptiste Camille Corot (1796—1875), ono of the ‘best of modern French Landseape painters, was to a draper, but determined to be a painter, and entered in 1822 the studio of Michallon. He afterwards went to Italy, where he applied himself diligently to study Jand- seapo painting from nature, In 1827 appeared his first works, a View of Narni, and the Campagna of Rome; in the Paris Exhibition of 1855 he oxhibited Morwing Effect and Feeniug, and in the samo year received a first-class: medal, These were followed by a succession of pictures which won him immense fame, “Corot was a poet, and his canvases are the expression of ideas, refined almost to sontimentality, full of fancy and imagination.”

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Paul Delaroche (1797—1858), the celebrated painter of historic scenes, was born in Paris. He studied art under Gros, and exhibited his first picture in 1819; but it was not till 1824 that he produced three paintings which earned him his celebrity—these were Vincent de Powl preaching ; Joan of Arc examined in Prison; and a 8, Sebastian. In succeeding years he painted his well-known Death of Queen Elisabeth, and tho Children of Edward ZV., both in the Louvre; the Death of the Due de Crise, and many other equally celebrated pictures. His chief work, however, was the decoration, in encaustic, of the Amphitheatre of the Palais des Beaux-Arts—to which he devoted four years. In this stupendous work, known as the Hemicycle, Delaroche introduced seventy-five full-length portraits of the most eminent painters, sculptors, architects and engravers.

Ferdinand Victor Eugéne Delacroix (1799—1563) was born at Charenton Saint-Maurice, near Paris, When eighteen years of age he entered the studio of Guérin; but, dissatisfied with that master’s art, struck out a new path for himself and became the leader of the so-called “Romantic School.” In 1880 he visited Spain, Algiers, and Morocco, and on his return was much patronized by M. Thiers, who procured for him the commission to paint numerous works in the Palais Bourbon, the Hitel de Ville, the Luxembourg, the Louvre, and other public buildings as well as churches in Paris.

Eugine Delacroix is well represented by four works in the Louvre: Dante and Virgil painted in 1822, the Massacre of Scio in 1823, the Algerian Women in 1834, and the Jewish marriage in Morocco, These works were succooded by thé Bridge of Taillebourg, a Medea, the

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Shipwrecked Moriners, the Entrance of Baldwin into Con- xantinople, and many others.

Joseph Louis Hippolyte Bellangé (1800—1866) was born in Paris and took his earliest lessons in art from Groa In 1824 he won a second-class medal for an historic picture; in 1834 he was made a member of the

"Legion of Honour; in 1855 he obtained one of the prizes

of the French International Exhibition; and in 1861 was ereated an officer of the Legion of Honour. He is chiefly known in England by two pictures sent to the Exhibition of 1862: the Two Friends, a small but highly finished work, and A Square of Republican Infantry repulsing Austrian Dragoons. His most important pictures, however, are to be seen at Versailles and the Luxembourg, and include his Battle of the Alma, Painful Adieux, the Departure from the Cantonment, the Cusrassiers at Waterloo, the Battle of Flowrus, tho Reture from Elba, tho Morning after the Battle of Jemappes, the Defile after the Vietory.

Alexandre Gabriel Decamps (1803—1860), a pupil of Abol de Pujol, is chiefly celebrated for the pictures of Kasten subjects which he introduced to the Parisian public. The gallery of Sir Richard Wallace contains more than thirty paintings by this artist—rmany of which are Scriptural subjects, His Durkish School, the History of Samson, and the Defeat of the Cimbri, are among his most cclebrated works,

Narcisse Virgilo Diaz de la Pefia (1809—1876), the son of Spanish parents, was born at Bordeaux, where, at ten years of age, ho was left an orphan. During many years of poverty he learned to paint, and in 1844 gained his first medal at the Salon, After that time he was immensel successful. Dinz ridiculed the realistic school, and made

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colour his principal charm, but he painted only a few figure pieces. His landscapes, full of the brightest autumnal tints, and lighted by golden sunshine, are his best works. His Forest of Fontainebleaw sold in 1873 for £1028.

Charles Gabriel Gleyre (1807—1874) was born in Swit- zerland. After studying in Paris, he went, in 1828, to Ttaly, and copied the works of the old masters Tn 1840 he exhibited his first picture in the Salen, and for many years continued to paint sacred and classic subjects, His Hercules at the fect of Omphale; Penthews yurewed by the Manades; and The Charmer, are among his best works.

Joan Hippolyte Flandrin (1809—186+), born at Lyons, went to Paris to enter the school of the Beaux-Arts in 1829, where he carried off the grand prize for his picture of Theseus recognizing his Father at a Banguet. In 1832 he went to Rome and became a student in the French school, then presided over by Horace Vernet, The chief works produced by the young artist at this time were scene from the “Inferno” ; Buripides writing his Tragedies in a Cavern near Salamis; and S Clair first Bishop of Noates healing the Blind. About 1839 he returned to Paris, and the next few years of his life were devoted to the decoration of churches.

Constant. Troyon (1810—1865) began lify as 9 painter ‘on porcelain, He soon, however, sought a wider field, and in 1833 began to exhibit in the Salon, Hix Fete at Steves, and A Corner of the Purk at S, Cloud, revealed his peculiar exoellenoes ag « landscape painter, but they were surpassed in 1841 by his View in Brittany, and somewhat later by his Going to Market, « small work of the very highest quality. Illustrating his careful atudy of natare, we may

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also name a Sedgy River with cattle grazing, Evening in the Meadows, and a Ferry Boat.

Jean Francois Millet (1815—1875) was born at Gréville, near Cherbourg, the son of peasants who were quite unable to afford to give their son an art education. In early life he displayed so much talent that the authorities of Cherbourg furnished him with the means of going to Paris and entering the studio of Paul Delaroche. But he showed no taste for historic painting, and after a short sojourn with Delaroche, he left that master and sought instruction from nature alone. He married, and settled at Barbizon near the Forest of Fontainebleau, and there, from the fields and woods, and from the peasants, he took the subjects of his works. His first exhibited picture, the Milkwoman, ap- peared at the Salon in 1844; this was followed by the Reapers, Sheep-shearers, Peasant grafting a Tree, and many other similar subjects. His Angelus du Soir and Death and the Wood-cutter are well known from engravings and etchings. His pictures now fetch fabulous prices.

Gustave Courbet (1819—1877) sent his first picture to the Salon in 1844, He affected realism, and chose his models from the coarsest types. His landscapes with deer are among his best pictures. He joined the Communists in 1871, was imprisoned for his share in the destruction of the Column Vendéme, and when liberated went to live in Switzerland, where he died.

Thomas Couture (1815—1879), a native of Senlis, was a pupil of Gros and Delaroche. His most famous painting, The Romans in the Decadence of the Empire, appeared in 1847; it is at present in the Luxembourg. His works are mostly of an historic character.

Jean Louis Hamon (1821—1874) was educated for the

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priesthood, but his love of art led him to renounce the sacred profession; and haying obtained a grant of five hundred francs from his native place, he went to Paris, and began to study under Dolaroche and Gleyre, In 1848 appeared his first pictures, one a genre subject called Le Dewwus de Parle, and the other a sacred work, Christ's Tomb, succeeded a little later by a Roman Placard, and the Seragtia. Hamon now fora time gave up easel painting, and accepted employment in the Sivres manufactory. In 1852 he pro- duced his Comédie Humuine, which made his reputation. The most noteworthy af his later works are Ma sour n'y est pas; Ce n'est pas moi; Les Orphelins; L'amowr de son Trowpeav, In 1856 he went to the East, and most of the pictures subsequontly painted are on Oriental subjects.

Alexandre Georges Henri Régnault (1843—1871) was the pupil of Lamothe and Cabanel. In 1866 he won the grand prize of Rome, and in 1869 gold medal. In the succeeding years he attracted much notice by bis Still Life, bis portrait of General Prim, An Execution at the Alhambra, und Salomé la dansewse, exhibited in the Paris Salon of 1870, and took high rank amongst cotemporary painters; but the terrible war of 1870-1, which cut short so many careers, broke out just as Regnault was attaining to celebrity. He took service as a national guard, and was killed in the sortie from Paria.

The French echool of painters never stood higher than at the present day. To write of them and their works would occupy a volume: we must therefore refrain from mentioning the names of living men as being beyond our province.

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X. Pamrme m Encranp.

In England, as in the other countries of Europe, the Middle Ages naturally produced artists of every kind, from architects to goldsmiths, as well as painters; painters of the walls of churches, or of altar-panels, painters for glass and tapestry, painters of portraits for cabinets for public buildings and castles, painters who illustrated missals and manuscripts. Few remains of these curiosities have been preserved; wars and conflagrations, the Reformation and Puritanism having in their turn destroyed the relics of former times, There scarcely exist more than a few traces of wall-painting in the churches and other public buildings; and a few books ornamented with miniatures.

Up to the end of the fifteenth century, the history of art in England is shrouded in obscurity. It is only from about the time of Henry VIII. that an historic sketch of painting can be commenced. But even then it is not of a native school—the English school did not have its origin until the eighteenth century with Hogarth and Reynolds —but of a succession of foreign painters, who worked during more than two centuries for the court and the aristocracy.

1. Foreign Artists in England.

Early in the sixteenth century, in the reign of Henry VIII. Hans Holbein, of Augsburg (1497-1543), came over to England on a visit to Sir Thomas More. The king made him painter to the court, and gave him a small salary. Holbein, who stayed twenty-eight years in

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England—with the exception of a few short journeys on the Continent—bhas left many portraits in the Royal palaces and private galleries of this country. The Man- chester Exhibition included about twenty of these master- pieces; quite as many were shown in the National Portrait Exhibition of 1866; and thirty-six in the Exhibition of works by the Old Masters in 1880.

During the same reign there also came to England a Fleming, Gernert Lucas Horebout, or Horneband (1475— 1558) of Ghent, who painted portraits for the king, His daughter Susanna also pointed miniatures in England : and about the time of Holbein’s death, another great artist came to London:

Sir Anthony More (called in his own country Antonis Mor) was, like his master Jan van Schoorl, a citizon of the world; born at Utrecht, in Holland, he worked in Ttaly, Spain, Portugal and England, and subsequently died at Antwerp. He had a rival at the court of Queen Mary, a Fleming, Joost van Cleef, or Cleve (born ab. 1500) of Antwerp, a portrait painter of considerable talent. An- other Fleming, Lucas de Heere (153+ 7—1584), of Ghent, also painted for Queen Mary, and continued to be employed during the next reign.

Queen Elizabeth was not in want of artists—foreigners for the most part; a native of Gouda, Cornelis Ketel, arrived in 1573, and lived in London for eight years; an Italian, Federigo Zuccaro (1543—1609), arrived in 15745 and a Fleming, Mare Garrard, stayed many years in England, where he died in 1635. Nevertheless the influence of Holbein produced a few followers among Englishmen, especially in miniature painting.

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2. The first English Artists. Other Foreigners.

Nicholas Hilliard (1547—1619) has left some good ininiatures, as well ax life-sized portraits, without taking into account that he was a goldsmith and jeweller. Trane Oliver (1556—1617), the pupil of Hilliard and Zue- caro, painted miniatures equally well; his son Peter Oliver {1601—1660) and himself often signed “Oliver.” Perhaps Hilliard and these Olivers were of French descent.

In the reign of James I., there was a new generation of foreign painters: Paul van Somer of Antwerp (1576— 1621) came to London about 1606 and painted portraits of the Court and the nobility.

Cornelis Janssens, van Keulen, born at Amsterdam, arrived in 1618, painted many excellent portraits, and re- turned to die at Amsterdam. Daniel Mytens (1590—aft. 1658) came a little after, without doubt, for the first date which we find on the portraits painted by him in England is 1623, Both Mytons and Janseens became court painters to Charles I, of whom thoy havo loft excellent portraits, ‘ag well as of the royal family and the English aristocracy.

The reign of Charles I, is a bright period in the of art in England—thanks to foreigners In 1629, Rubans came and sojourned a year; and in 1632 Van Dyck took. up his abode in London. The designs painted by Rubens: for the ceiling at Whitehall, illustrating the History of Achilles, intended for reproduction in tapestry at the manufactory at Mortlake, are preserved in English gal- leries, as well as the portraits, many times repeated, of the Barl of Arundel and of the Duke of Buckingham. It does not appear that Rubens produced any other great works in England beyond the S. George now at Buckingham

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Palace, the Assumption of the Virgin, painted for the Earl of Arundel, and perhaps the allegory, Peace and War, now in the National Gallery. ‘This painter has always been a favourite in England; there were more than forty of his works at the Exhibitions at Manchester and at South Kensington. English painters have good grounds for considering Van Dyck as one of theirown school. Van Dyck, a native of Antworp, is as truly English ax Claude Lorrain ig Italian. Naturally endowed with elegance, of that type at once hanghty and frank, ho exeelled as a portrayer of the English nobility; and his genius well suited the times of Charles I, who made him painter to the Court, and knighted him. All the foreigners before him had passed away without leaving a mark in the ort of the country. Van Dyck succeeded almost during his lifetime, and it may be said, that he was the progenitor ‘of Reynolds and of Gainsborough, of Lawrence and of all the English portrait painters up to the present day.

Sir Balthazar Gerbier (1591—1667) practised success- fully a3 a portrait painter, chiefly in miniature, in the reigns of Charles I, and Charles TI. He was also an architect, and succeeded Inigo Jones as surveyor of the Royal Palaces.

Around Van Dyck were grouped a band of Flemings and natives of Holland, his assistants, his pupils, or his imitators, but we have not room to mention them.

George Jamesone (1586—1644), of Aberdeen, was a good painter ; wo have excellent portraits by him in the style of both Van Dyck and Rubens; for Jameson bad worked in the studio of Rubens at Antwerp, and he there met the young Van Dyck. Many of his works may still be soon at Aberdeen and in various residences of the nobility. He

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Thomas Fairfax, Ireton, Fleetwood, and many of the men connected with the Commonwealth. He died about 1660.

Robert Streater (1624—1680) painted many portraits, altar-pieces, and ceilings, John Riley (1646—1601) was also a portrait painter of repute, There are three of his works in the National Portrait Gallery,

‘To name all the foreign artists who worked in England during the first half of the shventeonth century is nearly impossible. The most celebrated were Gerard Honthorst, the two Netschers, Dirk Stoop (ab. 1612—1686 ?), and the two Vande Veldes Many of the works of these Dutchmen are preserved in English galleries.

Peter Lely (1617—1680) appeared soon after the death of Van Dyck. He had the same success; he painted Charles I. and his Court; then Cromwell and his soldiers ; then Charles L. and all the beauties of his Court. His genius suited ndmirably the witty and elegant ladies, and the thoughtless cayaliers, who drowned in luxury and pleasure the still recent reeollection of Cromwell and the Commonwealth, Lely painted them by bundreds, Many of his portraits were at the Exhibitions at Manchester and South Kensington. At Hampton Court there is a Gallery fall of them. Charles IL made him a baronet. As soon as Lely was dead, another famous painter succeeded him at the Court, and s00n monopolised the public taste:

Godfrey Knellor (1648—1723), who wns born at Liibock, arrived at London in 1674, painted during the reigns of Charles IL, James IL, William IIL, Quoen Anne, and of George I, by whom ho was ereated a baronet,

Kneller painted the greater part of the sovereigns and princes of his time, including Louis XIV. and the Car Peter of Russia. He painted the great Duke of

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Marlborough ; Newton and Locke; Sir Christopher Wren 5 Pope, Addison, Steele, Congreve, and other members of the celebrated Kit Cat Club. About thirty of his portraits were included in the Exhibitions at Manchester and at South Kensington. At Hampton Court may be seen eight (there were originally twelve) of the Series of “Hampton Court Beauties,” painted by Kneller for Queon Mary, in rivalry with the more celebrated “ Windsor Beauties” of Lely, which now hang in a neighbouring room, By the side of the German Kneller, were other foreigners:

Michaol Dahl (1656—1743), a native of Stockholm, was patronized by Queen Anne, and was popular as a portrait painter.

Antonio Verrio (1634—1707), born in the Neapolitan States, charmed England by his architectural pai From 1676, he was in the pay of Charles IL, and in a

«few years cost the king nearly 10,000 guiness for the

decoration of Windsor Castle. In 1683, ho waa joined by o Frenchman, Louis Laguerre, His father was a Catalan, and held the post of keoper to the menagoria nt Versailles. When Verrio died at Hampton Court, Laguerra continued the work until he himself died in 1721. The number of decorative works these two men painted in England is traly wonderful, not only in public buildings, at Windsor Castle, at Hampton Court, at the Hospitals of Christ Church and St. Bartholomew, but ulso in the town and country residences of the nobility, Towards the close of his carcer, Laguerre had os an assistant an Englishman ;

James Thornhill (1676—1734), who was born at Mel- combe Regis. In his youth ho visited Franco, and appears to have there formed his style, especially on that of Le

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Bron. His principal works are in the cupola of St. Paul's, London, the great hall of Greenwich Hospital, an apart- ment at Hampton Court, a saloon of Blenheim Palace, ceilings, and altar-pieces in the churches at Oxford. George I. knighted him; nevertheless, Sir James Thornhill, the first English painter who received the honour of Inight- hood, would now parhaps have boon forgotton, if be had not been—in spite of himself—the father-in-law of Hogarth.

In the first half of the eighteenth century, Art, throagh= out Europe, was in a state of entire decadence. The brilliant schools which had flourished in the seventeenth century in Flanders, Holland and Spain, had no successors in their own countrics Italian art had sunk into the graye with the last of the Bolognese school. Only France at that time possessed a few original artists, who never- theless held but an inforior position.

The painters, who appeared at the end of the seven- teenth century, and at the beginning of the eighteenth, and who were destined to be eclipsed by the true English school, ure, amongst others; Jonathan Richardson (1665— 1745), pupil and nephew, by marriage, of John Riley, and author, in conjunction with his son, of several works on art; Charles Jervas (1675—1739), an Irishman whose style was formed under Kneller, and whom his friend Popo did not hesitate to compare with Zeuxis; Thomas Hudson {1701—1779), the pupil of Richardson, whose daughter he married, and the master of Reynolds; Francia Hayman (1708—1776), the master of Gainsborough; and some others.

The National Portrait Gallery includes portraits by many of these painters

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3. English Painters of the Highteenth Century. William Hogarth, the foundor of the English school of painting, was born in London in 1697. Tn early life he was, by his own wish, apprenticed to a silver-plate en- gmver, He had naturally a good eye and a fondness for drawing, and soon found engraving shields and crests to be too limited an employment, His dislike of academic instruction, and his nataral and proper notion of seeing: art through stirring life are very visible in all he says or writes. His first attempt at eatiro, of any merit, was the Taste of the Town, engraved in 1724, which sharply lashed the reigning follies of the day ; this was followed by his Huditvas, published in the year 1726, the illustrations of which were the first that marked him as a man above the common mnk. r

Tn 1730, Hogarth married Jane, the only daughter of Sir James Thornhill, the sergeant-painter and bi painter to the king, without the consent of her father, He then commenced portrait painting; “the most ill+ suited employment,” says Walpole, “to a man whose tar was certainly not flattery.” Yet his facility in catching a likeness drew him a prodigious business for some time, Amongst his best portraits are Captain Coram, the piro= jector of the Foundling Hospital, David Garrick aa Richard TT, starting from a couch in terror, and the demagogue John Wilkes, and several portraits of Himself, all of which are very like.

He next turned his thoughts to painting and engraving subjects of a modern;kind and moral nature; a fold, he: says, not broken up in any country or any age. The first of these compositions of which he speaks, and which have

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rondored his name immortal, was the Harlot’s Progress. It appeared in a series of six plates in 1734, and was received with general approbation, The next to follow was the Rake's Progress, in a series of eight scenes, each complete in itself, and all uniting in relating a domestic history in a way at once natural, comic, satiric and serious, ‘The folly of man, however, was not so warmly welcomed by the public as that of the woman had been,

The farne of Hogarth was now so well established, that the popularity of his works excited printscllers to pirate his works, so much so that Hogarth appliod to Parliament, and in 1735 obtained an Act for recognizing a legal copyright in engravings.

Tn 1736 several more satires on the follies of London appeared. The Sleeping Congregation, in which a heavy parson is promoting, with all the alacrity of dulness, the slumber of his flock, was followed by the Distreseat Poet, and Modern Midnight Conversation ; this last-named, in which most of the figures are portraits, carried the name of Hogarth into foreign lands, and is considered in France and Germany to be the best of his single works, The next print published was the Mnraged Musician. Tt seems imposible to increase the annoyance of this sensitive mortal, who by the frogs on his coat appears to be a Frenchman, by tho addition of any other din. “This strange scene,” said a wit of the day, “ deafens one to lool at it.”

The next production, the Strolling Actresses, wns, says Allan Cunningham, “one of the most imaginative and aumusing of ull the works of Hogarth.” Tt is now lost.

Tt is only possible to mention the next composition pieces, the six scenes of Marri lage-d-la-Mode—representing profligacy in high life—which are in the National Gallery ;

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and the four different stages of the Election of a Member of Partioment ; 08 the dramatic story in the one, and the varied scenes of an electioneering contest in the other, would each require a volume to describe. In 1750 appeared the celebrated March of the Guards to Finchley, which is full of humour, and strewn over with absurd~ ities, The original painting, on publication of the print, was disposed of by a lottery. Hogarth presented some tickets to the Foundling Hospital, and the winning card was drawn by that fortunate institution.

The last work of Hogarth, worthy of his genius, and known by the title of Credulity, Superstition, and Fana- ficivm, was issued early in 1764, Shortly afterwards, his health began to decline. He was aware of this, and porchasod a small house at Chiswick, to which he retired during the summer, amusing himself by making slight sketches, and retouching his plates. He left Chiswick in October of the same year, and returned to his residence in Leicester Square. On the very next day he wax seized with a sudden illness, and, after two hours of suffering, expired. Hogarth was buried without any ostentation in the churchyard at Chiswick; where a monument was rected to his memory.

Richard Wilson (1714—1782) was the third son of a clergymnn at Pinegas in Montgomeryshire. Owing to the influence of his unclo, Sir George Wynn, who took him to London when quite young, he received a certain amount of tuition in art from a painter of little note, named Wright. In 1749 the young artist was considered worthy to paint portraits of the Prince of Wales und the Duke of York. At the age of thirty-six, he had managed to save sufficient money to enable him to go to Italy, and it was

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there that, by a happy accident, be became acquainted with the Italian artist Zuccarelli, who advised him to study landgcape painting. In this he was very succesafal, as far as art was concerned, but as the taste for nature was at that time but slowly growing, he did not find it a Jucrative employment for a man of his limited means His chief works are full of classic feeling; among them may be named the Death of Niobe’s childrew (in the National Gallery); Morning; View of Rome; Phaeton: Celadon and Amelia; the Tiber, near Rome; Adrian's Villa; the Temple of Venus at Baio; and Nynephe Bathing ; from which it is easy to eee that he did not care to paint a scene simply for its own loyeliness, but only when it was invested with historic or mythologio interest. Many of these works wore engraved by the celebrated William Woollett.

A pupil of Wilson, Sir George Howland Beaumont (1753—1827), an amateur landscape painter, is better Known for his patronage of the fine arts than for hix work. He was one of the principal promoters of the National Gallery.

Allan Ramsay (1713—1784), one of the best portrait- painters. of the period, was born at Edinburgh After receiving education in art in London, he wont to Italy, and on his return to London, established himself as a painter. Ramsay subsequently paid throe more visits to Italy, and in 1767 was appointed painter to George IIL, whose portrait he frequently took. He died at Dover, where he had landed on his return from his last journey, His portraits are noteworthy for truth to nature. Besides being a painter, he was a man of great attainments.

George Smith (1714—1776), who was bora at Chichester,

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is called “Smith of Chichester,” to distinguish him from the painter of the same name, of Derby, George Smith, together with his two brothers, William and John, opened 8 private academy, wherein they worked without instruc tion, except from nature and the old mastera George Smith bocame famous as a landscape paintor, and was so far successful as to gain a premium from the Society of Arts.

Joshua Reynolds, the son of a clergyman, was born at Plympton, in Devonshire, in 1723, three months before the death of Sir Godfrey Kneller, The boy's inclination to drawing began to appear at an early date, and he eagerly copied auch prints as he found amongst his father’s books. He was sent to London in 1741, and was placed under the care of Hudson, the most distinguished portrait-painter at that time. After continuing for two yeara in his employment, a disagreement took place between thom, and Reynolds returned to Devonshire, where he remained for three years. When twenty-two years of age he took a house at Plymouth Dock, whore he resided about a year, and then returned to London.

Rome, which is in reality to painters what Parnassus is in imagination to poets, was frequently present to the fancy of Reynolds; and he longed to see with his own eyes the glories in art, of which he heard so much. In the year 1749 his desire was realised. Captain Keppel, with whom he had formed a friendship, was appointed Commodore in the Mediterranean station, for the purpose of protecting the British merchants from the insults of the Algerines, and ho invited Reynolds to accompany him. After paying short visits to Gibraltar and Algiers, and a rather prolonged stay at Minorca, Reynolds at length reached Rome. There

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he seems to have employed his time chiefly in studying all the varieties of excellence, and in acquiring that

of effect which he wna go soon to display. The dignity of Michelangelo or the beauty of Raphaol ho had no chance of attaining, for he wanted loftiness of imagination, without which no grand work can ever be achieved; but he had a deep sense of chameter, great skill in light and shade, and an alluring sweetness, such ax none has surpassed. From the works of Leonardo da Vinci, Bra Bartolommeo, Titian, and Velazquez, he acquired know- ledge, which placed fortune and fame within his reach ; yet of these artists he says little, though he acknowledged the Portrait af Innocent X. by Velazquez to be the finest in the world. From Rome, Reynolds travelled to Florence, whore he remained two months; and thonce to Venice. He returned to London in October, 1752; and, after visiting Devonshire for a few wooks, established Limself as a professional man in St. Martin's Lane, London, whore he rapidly rose to fame; he soon changed his residence for a handsome house in Great Newport Street, and shortly afterwards commenced a friendship with Samuel Johnson, which was continued to old age without interruption.

Tn the year 1761, accumulating wealth began to have a visible effect on Reynolds's establishment. He quitted Great Newport Strect, purchased a fine house in Leicester Square, furnished it with much taste, and added a splendid gallery for the exhibition of his works,

‘The Royal Academy was planned anid proposed in 1763 by Chambers, West, Cotes and Moser; the caution or timidity of Reynolds kept him for some timo from assisting. A list of thirty members was made out; and West, a

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prudent and amiable man, called on Reynolds, and, in a conference of two hours’ continuance, succeeded in per suading him to join them, He ordered his coach, and, accompanied by West, entered the room where his brother artists were assembled, They rose up to a man, and saluted him “President.” He was affected by the com- Pliment, but declined the honour till he had talked with Johnson and Burke; he went, consulted his friends, and having considered the consequences carefully, then con- sented. The King, to give dignity to the Royal Academy of Great Britain, bestowed the honour of knighthood on the first President; and seldom has any such distinction been bestowed amidst more universal approbation. John- son was so elated with the honour conferred on his friend, that he drank wine in its celebration, though he had abstained from it for several years,

About the close of the summer of 1773 Sir Joshua visited his native place, and was elected Mayor of Plympton, a distinction so much to his liking that he assured the King—whom on his return he accidentally encountered, in one of the walks at Hampton Court—that it gave him more pleasure than any other be had ever received, “excepting (he added, recollecting himself), excepting that which your Majesty so graciously conferred on me—the honour of knighthood,”

In this year ho oxhibited the Strawberry Girt at the Academy. ‘This work Sir Joshua always maintained was one of “ tho half-dozen original things " which he declared no man ever exceoded in work, He repeated the picture several times ; the origi is now in the possession of Sir Richard Wallace. Sir Joshan distinguished bimsel above all his brother artists by his Dortune-Zeller, his

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portraits of Miss Komble, and of Mrs. Siddons as the Tragic Muse, in the Grosvenor Gallery—replicas of which are at Langley Park, Stowe, and in the Dulwich College Gallery—all vory noble compositions.

Sir Joshua had now reached his sixty-sixth year; the boldness and happy freedom of his productions were undiminished; and the celerity of his execution, and the glowing richness of his colouring, were rather on the increase than the wane. His life had been uniformly virtuous and temperate; and his looks, notwithstanding the paralytic stroke he had lately received, promised health and long life, He was happy in his fame and fortune, and in the society of numerous and eminent friends; and he saw himself in his old age without a rival. But the hour of sorrow was at hand. One day, while finishing a portrait, he felt a sudden deeny of sight in his left eye. He laid down the pencil; sat a little while in mute consideration, and never lifted it more. His sight gradually darkened, and within ten weeks of the first attack his left eye was wholly blind.

The last time that Reynolds made his appearance fn the Academy was in the year 1790; he addressed a speech to the students on the delivery of the medals, and eon~ cluded by expatiating upon the genius of his favourite master, adding—“I should desire that the last words which I should pronounce im this Acadetny, and from this place, might be the name of Michelangelo.”

On the 23rd of February, 1792, Sir Joshua expired, without any visible symptoms of pain, in the sixty-ninth year of his age. He was buried in ano of the erypts of St. Paul's cathedral, accompanied to the grave by many of the most illustrious men of the land, He lies by the side

to omploy artista to paint the draperies and bac No loss than fourteen are in the National Gall

the men who still oocupy their station “in h mentioned Samuel Johnson, Oliver Goldsmith, Walpole, Laurence Sterne, Edmund Barke, Lo field, Admiral Keppel, and Warren Hastings ladies it is sufficient to say that there was sc: that time celebrated for her rank, accompl beauty, who did not sit to Reynolds. There aro than 700 engraved portraits now existing, : ‘Thomas Gainsborough, who was born in 1727, at Sudbury, in Saffolk, whoro his clothier, showed signs of talent at a yor made a number of sketohes of the scenory native placo, and local tradition still loves to point favourite views, It is believed, on very anthontic gi that he went to London, for the education

616 Pansixa

cultivate his gonius, when only fourtoon years of age. Ho there studied under Hayman, one of the founders of the Royal Academy. Gainsborough remained in London four years, during which time he very rapidly mastered the secrets of his art. He then returned to Sudbury, where he married, and then removed to Ipswich. Soon after- wards be made the acquaintance of Philip Thicknesse, the governor of Landguard Fort. near Harwich, who for many years was his chief patron. In 1760 Gainsborough left Ipswich and settled at Bath, where he made a great reput- ation ag a portrait painter. Sir Joshua Reynolds, when delivering one of his lectures to the students of the Royal Academy on the ‘Character of Gainsborough,” said of that artist “whether he most excelled in portraits, land- scapes, or fancy pictures, it is difficult to determine.” When ths Royal Academy wns founded in 1768, he was elected one of the original members. In 1774 he went to London and rented part of Schomberg House, Pall Mall, He died in 1788, and was buried in Kew churehyand.

Gainsborough was passionately fond of music; was ex tremely kind and thoughtful in all his dealings with bis friends, and generous to his relations, His pictures are very numerous; among thom we may dmw attention to the Blue Boy, belonging to the Duke of Westminster, the Cottage Door, a Cottage Girl with a dog and piteher, the Young Lavinia, the Duchess of Devonshire, the Portrait of Mra, Siddona in tho National Gallery, and the Boy af tha Stile, prosanted to Colonel Hamilton in exchange for a violin. His portrait of the celebrated Duchess of Devon= shire was recently sold for upwards of £10,000, There are twelve pictures by him in the National Gallery, and three in the National Portrait Gallery.

In Exouanp. ~ 617

As cotemporaries of Reynolds and Gainsborough, we may name George Stubbs (1724—1806), one of the best animal painters in England, and Sawrey Gilpin (1783— 1807), both painters of horses; George Barret (1728— 1784), and Julius Cwsar Ibbetson (1759—1817), both landscapo painters; .and as foreign artists who worked in England in the eighteenth century, and to some extent influenced the English style—Giovanni B, Cipriani (1727 —1785), Angelica Kauffman (1740—1807), already men- tioned in speaking of the foreign schools; Francesco Zacearelli (1702—1788), to whose advice the adoption of landscape painting by Wilson was mainly due; and Philip James de Loutherbourg (1740—1812), a celebrated scene painter.

Benjamin West (1738—1820) was born in America, and is said to have obtained his first colours, made of the juice of loaves and berries, from the Red Indians. He was self- taught, and brought with him to bis adopted countey all the Amorican independence of spirit in which he had been bred. His determination to avoid imitation, and to work out an original mannor for himself, are perhaps to be deprecated, as he had scarcely snflicient genius for the task; but his works were a great advance on the conven tional mode of treatment: of historic subjects, and the intro- duction in his important compositions of cotemporaneous costumes, although much blamed at the time, was instru- mental in breaking down some of the trammels by which historic painters and sculptors were bound. His colouring is feeble, and his figure’ are wanting in life and character ; but in some of his best works—auch as Chriat healing the Sick in the Templo, in the National Gallery; Christ Re- jected ; Death on the Pale Horse; and the Death of General

618 Paria Wolfe. in the possession of the Duke of Westminstir, a

who was much patronized by the King (George IIL), was one of the first members of the Koyal Academy, and excceaded Sir Joshua Reynolds as president of that institution in 1792.

James Barry (1741—1806), a mative of Cork, en- deavoured, Hike West, to paint historic subjects in the grand style, His works are characterized by force of con- ception rather than power of execution ; he was deficient in knowledge of form and in feeling for trath of colouring ; but the energetic perseverance with which he worked on: agninst every disslvantage is worthy of high respect. His best. designs are the series of allegoric pictures painted gratuitously for the Society of Arts, on the walls of their room in the Adolphi, at a time when he had to work at night for the booksellers to gain a scanty subsistenoe,

John Singleton Copley (1737—1815) was bora in America, of Irish parents. He was less ambitious than West or Barry, and succeeded more fully in reaching his aims. Some of his historic compositions show great dramatic power and truth to nature—as, for example, the Death uf Chatham and the Death of Major Peireon, both in the National Gallery. ‘The former is grandly conceived, well executed, and valuable as containing a group of faithful portraits of great men of the time; and the latter is full of the deepest pathos, and is moreover sot in the actual scene in which the tragic incident took place—viz, the market-place of S. Holiors, Jersey, taken by the Fronch in 1781. Other great historic pictures by Coplay aro Charles I. orderiag the arrest of jive Members of the

Tx Exataxp, 619

House of Commons; the Assaseination of Buckingham, and King Charlee signing Straffurd's death warrant.

Of the numerous artists who endeavoured with greater or logs success to follow the leaders whom we have just named, the principal were :—

George Romney (1734—1802), who executed several portraits and simple groups characterized by dignified refinement, truth of form, and individuality of character. Of his portraits thase of Lady Hamilton ani The Parson's Daughter in the National Gallery, and of his groups Newton showing the effects of the Prism; Milton dictating to his Daughters; and the Infant Shakespeare surrounded by the Passione, aro among tho most esteemed, In his best paintings, Romney was considered equal to Reynolds and Gainsborough.

Joseph Wright (1734—1797), of Derby, a historic painter whose finest work, an Experiment with the Air-punp, is in the National Gallery, was celebrated for his fire-light subjects.

Heinrich Fuessly, known in England as Henry Puseli (1741—1825), a native of Zurich, was an artist of great power, often, however, tending to extravagance; he is well known by his illustrations of the English poets, As pro- fessor of painting at the Royal Academy, he fostered the genius of many of the rising mon of his day, He attained in his own works as near to the grandeur of Michelangelo as any British painter.

James Northcote (1748—1831) painted several import- ant historic pictures in a bold and forcible manner, one of which—the Presentation of British Oficere to Dope Pina VI—is in the South Kensington Museam, Ho made many designs for Boydell’s ‘Shakespeare’

620 Parena

John Hoppner (1758—1810) was at one time a fashion- able portrait painter and a rival of Sir Thomas Lawrence. Three of his portraits are in the National Gallory.

Sir William Beechy (1755—1839) was very celebrated im his time as a portrait-painter. His picture of George IIL. at @ Review, now at Hampton Court, gained him the honour of knighthood and the Royal Acndemicianship.

Willian Blake (1757—1827), o painter, poetyand en- raver, became a visionary enthusiast, and charmed many of his admirers with his wild imagination.

John Opie (1761—1807), successful both with por traits and historic subjects, is chiefly known by his Aseas- sination of David Rissio—a powerful conception, full of drumatic energy, but somewhat carelessly executed—and by his William Siddone in the National Gallery.

George Morland (1763— 1804) was a landscape and animal painter of great merit, whose works are faithful and happy renderings of simple English country scones, such as the well-known Reckoning in the South Kensington Museum. Morland deserves special recognition ns one of tho first English painters to do for English peasants what was 80 ably done by the great Dutch masters for the lower classes of Holland; but his hasty and often careless execution does not bear comparison with the careful finish of the masters of the Dutch school. His masterpiece, Inside of « Stable, is in the National Gallery, He was a dissipated man, and died in misery.

Abraham Cooper (1787—1868) was one of the most successful animal painters of his day.

In Evouann. 621

4, Barly English Water-colour Painters.

At tho close of the eighteenth century the art of Water- colour Painting, properly so called (now carried to sach great perfection by British artists), was first practised in England. . Water colours had long been eimployed by miniature painters and illuminators; but their use for large and important works was mainly due to the efforts of the book illustrators, who worked for the enthusiastic antiquaries of the close of the eighteenth and beginning of the nineteenth centuries, and strove to give, with such means as they had at their disposal, faithful deline- ations of the scenes decribed in their patrons’ works.

To John Robert. Cozens (1752—1709) is due the honour of first raising landscape painting in water coloura to the position of an independent art. Redgrave says in his “Century of Painters,” “his works go little beyond light and shade and suggestion of colour, but they are full of poetry. There is a solemn grandeur in his Alpine views; a sénse of vastness and a tender tranquillity in his pictures that stamp him as true artist; a master of atmospheric effects, he seems fully to have appreciated the value of mystery.” The fine collection of English water-colour drawings at the South Kensington Museum contains three works by Cozens.

A.great cotemporary of him, Paul Sandby (1725—1809), who painted in solid opaque tempera colours as well as in water colours, is well represented there by four cbaractor- istio works, which very distinctly betray the influence of Cozens,

Others who contributed to lay the foundations of our great school of water-colour painting were William Payne

623 Pawrrexe

(the exact date of whose birth and death is unknown, but who was cotemporary with Cozens); Johan Smith (17#9—1831) of Warwick; and, above all, Thomas Girtin (1773—1802), and the great Joseph Mallord William ‘Turner, all of whom are well represented in the South Kensington Mugeum.

‘Thomas Girtin, the cotemporary and rival of Turner, was, like him, Lonidon bred, and a faithful interpreter of the atmospheric effects peculiar to the smoke-laden city and its environs, To the delicate execution and poetic feeling of Cozens, he added a foree and clearness of colouring, with a general balance and harmony of tone such as had nover before been attained in water-colour painting; whilst Turner, by his perfect combination of all the great qualities of his cotowporaries, combined with that peculiar delicacy of execution and mastery of aérini effects of every variety in which he has never been surpaseed, may be said to have completed the develop- ment of the art.

George Barrot (diod 1842), John Varley (1778 —1842), William Henry Pyne (1769—1843), John Glover (1767— 1849), William Delamotte (1775—1863), William Havell (1782—1857), and J. Cristall (1707—1847), who with several others were the trae founders of the Water-colour Society, were members of the same school, and am all represented by their works at the South Kensington Museum,

5. Kngliah Painters of the Nineteenth Centiery,

‘Tho first great name which meets the student of paint- ing in England in the nineteenth century is that of Sir Thornas Lawrence: (1769—1830), a portrait painter, whose

Tw Ewanann. 625

works, chiefly in oils, are characterized by great delicacy of feeling, but are slight in execution, wanting in. force and individuality of character. His numerous likenesses of the celebrities of his day have great historic value, although they ecarcely take rank a3 portraits of the highest oxcellence. The Waterloo Gallery at Windsor Castle contains a fine collection of Lawrence’s works: the portraits of the Emperor Francis, of Pius VII, and Cordinal Gonsulvi, are especially famous. The National Gallery possesses nine examples of his best works.

Sir Henry Racburn (1756—1823) was one of the chief cotemporaries of Lawrence, and carried the-art of por- trait painting in oils to great perfection. He began life a5 4 miniature painter, and was extremely successful in catching likenesses. He is said to have modelled his style on that of Reynolds, and to bave acquired much of his mannor of treating chiaroscuro and masses of eslour. Four portraits by him are in the National Portrait Gallery; the greater number ix in the Edinburgh Aca detny, of which he was presidont—but we may add that Mis portraits include those of Walter Scott, Sir David Baird, Dugald Stewart, Francis Jeffrey, and many other great men who have passed away.

William Owen (1769—1825), Sir Martin Archer Shee (1769—1850), Thomas Phillips (1770—1845), Georgo Henry Harlow (1787—1819), and Sir John Watson Gordon (1790—1864), must be named as portrait painters in oils, eotemporary with Lawrence and Raeburn.

Thomas Stothard (1755—1834), one of the finst and best of English book illustrators, painted several important paintings remarkable for richness of colouring and fore of invention. The allegoric composition of Zntemperance

624 Parsrisa

on a staircase at Burleigh House, and the Canterbury Pilgrims, aro among the best known and most popular of Stothard's independent pictures. His illustrations to “Rogors’s Poems’ are exquisite little gems,

Joseph Mallord Willian Turner (1775 — 1851) was not only the greatest English landscape painter, but the greatest interpreter of nature of any time or country. No landscapes convey so natoral and complete a sense of light and shadow and atmosphere, or so entire a mastery of colour as his, His great success was only obtained by laborious study, which be pursued with unwearied assiduity, winning sectet after secrot in years of patient toil, until at last he attained to the zenith of a landscape painter's ambition—the power of rendering sunlight in something of its truth and fulness, a task which had baffled all his predecessors, and stil! baffles his followers and imitators,

Turner's special characteristics have been rendered familiar to uxall by the adrirable engravings of John Pye, Robert Wallis, and others Every one has felt the subtle charm of his atmospheric effects, and iarvelled at the vivid truth of his rendering of water in every form. The tempest-tossed ocean, the desolate wastes of the sea in repose, the jagged rain-cloud, the drifting éhower, the lowering fog, the distant river—all live again on his canvas, But porhaps not every one has fully realized the moral meaning of his works—the pathetic contrasts they so often present between the self-sufficiency of nature, even when most deeply troubled or wildly agitated, and the dependence of man upon human sympathy for solace and support. In such works as Ulysses Polyphemus, the Fire at Sea, and the Shipwreck (all in the National Gallery), the solemn irresponsiveness of the

Is Exoraxn. 625

elements whilst the children of the earth are fighting out their terrible battle strikes us with a feeling akin to pain, whilst suggestions of human suffering and failure ald a pathetic sadness to many a scene of lonely beauty.

Turner painted both in oils and water colours, and there is no doubt that much of the transparent brightness of bis Pictures in cils is the result of his application to them of the principles generally confined to water colours, In the words of Redgrave (‘Century of Painters’), “It is this water-colour tendency of art, and this constant re- currence to nature, that gives the interpreting key to all his after practice.”

Tk would delay us too long to attempt to trace the gradual development of Turner’s peculiar style as illus- trated in the fine collections of his works in the national galleries ; we can only name a few typical examples from the long lists given in Ruskin’s ‘Modern Painters’ and Redgrave’s ‘Contury of Painters’: —'The- Beach at Hastings, the property of Sir A. A. Hood; Line Fishing off Hastings, in the South Kensington Museum; and Aincas with the Sibyl, in the National Gallery, are among his earlier works, produced at a time when his practice was largely based upon the manner of the best Dutch Tandecape painters and that of Claude Lorrain; and when he wasfar from having attained that mastery of light which distinguished his best time. The Cilais Pier and Uiysses deriding Polyphenus belong to the middle of his career. Childe Harold's Pilgrimage; the Téméraire; Venioe, from the canal of the Guidecca ; and the Approach to Venice (well known from the engraving after it by Robert Wallis), are amongst his finest pictures, and wore produced late in life, but before any diminution of his powers was noticeable,

RHA 88

Paxrixo 1 Exoraxp. 627

rks daring composition and brilliant effect are ir utmast pitch. Tn the pictures of his last either through « failure of his eyesight or other cause, devoted himself to attempts to ets of extreme light, such as the means at a nand are quite unable to imitate; and hia ‘are from this cause by no moans his finest. o two hundred and eeventy-five large pictures, numerous and important series of landscapes rns a illustrations of books, which were repro- ‘the best engravers of the day. His Liber 1, o book of landseape studies, produced in rivalry Veritatis of Claude, would alone have mado on of any other artist: it was followed by the Southern Coast Sconory, the Rivors of Bngland, of France, ete, ‘4 influence is very distinctly noticeable in the Calleott, Collins, Creswick, Roberts, and other d landscape painters, whilst many of his te successors may be said to have formed their his At the head of these stands | Crome (1768—1821), an oil painter who founded school at Norwich, and was chiefly remark= effects produced by simple means—a clump ra bit of heath becoming full of poetry im his typical examples of his manner we may name Heath, aud Chapel Field, Norwich, in the i Gallery. A fine collection of his works was tthe Exhibition of “Old Mosters” im 1878. His Bernay Cromo (1793—1842) was also a paintor. prominent mombers of the Norwich School of pe painters were—

a82

In Enotann. 629

and the Valley Farm, in the National Gallery. He is one of the few English artists represented in the Louvre, which ‘has five Inandacapes by him.

Sir Augustus Wall Calleott (1779—1844), the brother of the celebrated Dr. Callcott, the musical composer, bogan lifo as a portrait paintor in oils, but onrly dirocted his attention to landscapes, and quickly attained to high rank as a renderer of Italian, Dutch and English scenery. His smaller works, many of which are in the national col- leetions, are considered his best, and are chiefly remarkable for broadth and purity of colouring. Towards the close of his career Calleott produced several sacred and historic pictures, of which the Raphael and Fornarima and Milion and his Daughters are the principal, Although showing good taste and feeling for beauty, they are generally speaking inferior to his landscapes. The National Gallery has nine of his works,

William Collins (1788—1847) was an excellent painter of English rural and seaside scencry, in which the figures and incidents introduced were treated im an extremely lifelike and effective manner. He studiod under Mor- land, and spent some time in Italy, producing several fine Italian Iandseapes, such as the Gaver of Ulyseee at Sorrento, und the Buy of Naples in the South Kensington Museum; but his true sphere was English out-door life, and his Happy ax a King, the Prawn Catehers, Rustic Cieility—all in the national collections—and Sunday Morning, the Sale of the Pet Lamb, Fishermen on the Took-oul, and many similar works in private possession, are simple and lifelike renderings of incidents with which every Englishman is familiar.

Clarkson Stanfield (L704—1867), who began his artist

630 Parnso

life as a sceno-paintor, stands at the head of the English realistic school of landscape painting. His works aro chietly characterised by the entire absence of any attempt to produce effect by artificial means; they are simple, faithful renderings of actual scenes, and if sometimes wanting in vitality, they ure, many of thom, valuable as exact copies of foreign localities and buildings of note, Of this class are the Ceatello d'Inchia jrom the Mole; the Isola Bella, Lago Maggiore; Mount 8. Michact, Cormwall, in the South Kensington Museum, and many other similar works. Stanfield took especial pleasure in painting the open sea when unraffled by storms, and has admirably rendered it in all its moods of calm. His sea-pieces with shipping are too namerous to be mentioned bore, but we may add that the Entrance to the Zuyder Zo—Texel Taland, and the Lake of Como, the Canal of the Giwdecoa with the Chureh of the Seewits, all in the National Gallery, are fino examples of his manner; and that works such as The Day after the Wreek, and A Dutch Bust Indiaman on Shore in the Scheldt prove that he was not unable to do justice to scenes of a less peaceful eharacter.

John Martin (1789—1854) was in every respect a contrast to Stanfield; he adopted the grand style, both in landscape and architecture, and idealised all he touched. His works exhibit great drunatic power, and in the words of Wilkie, ' his great element seems to be the geometrical properties of space, magnitude, and number—in the use of which he may be said to be boundless,” The Helshassar’s Feast and the Fall of Nineveh are considered bis best works, but some idea of his peculiarities may be gathored from his Destruction of Pompeii and Hereulanewm in the National Gallery. Martin's large subjects are painted in oils,

In Exotaxn. 631

but be also produced many beautiful and poctic sketches of English scenery in water-colours, one of which—a view from Richmond Park—is in the South Kensington Museum.

Francis Danby (1793—1861), a man gifted with » vivid sonee of the pathos of human life and the touching sadness of natural sconory in its lonely beauty, painted alike in oilé and water-colours. Amongst his most striking pictures ‘we may name the [pas or Poison tree of Java (now in the South Kensington Museum), which exercises a peculiar fascination on the spectator: Disappointed Lowe, also in the xime musoum, is remarknble for the manner in which the gloom of the stagnant waters harmonises with the dejection of the young girl beside them. The Sunehi after a Shower, the Sunset at Sow after a Storm, and the Overthrow of Pharaoh aud his Host in the Red Sea, aro all in private possession. Effects of gloom, and the glow of sunset or sunrise, were the peculiar province of this artist. + David Roberts (1796—1864), like Stanfield, began life as a scene-painter in a theatre, and in his oil paint- ings and water-colour drawings rotainod much of the rapidity of execution and mechanical dexterity which ho had acquired in tho early portion of his careor. His works are characterised by picturesque grouping of figures and truthful rendering of architecture, He is most popularly Known by a series of studies in Egypt and the Holy Land, published in lithography from his sketches, These show his power and accuracy as a draughtsman. His oil-paint~ ings, which include ropresentations of most of the famous buildings of the world, evince, in addition to a masterly though ofton careless power of drawing, a profound know- ledge of affect, and a keen eye for the pacturesyae—with, however, but indifferent feeling for colour. Among his

682 Parris

host works may bo named his picturos of the oxterior and interior of S. Stephen's, Vienna. The national collections at South Konsington and Trafalgar Square are rich in characteristic oil-paintings by Roberts; and the former alo contains two water-colours from his hand.

Richard Parkes Bonington (1801—1828), an English- man by birth, was educated in Frence, and had acquired considerable reputation in that country before he became known in England. He painted both in oils and water- colours; and in the words of Redgrave (‘Century of Painters’), hia works were marked by their originality. He was a mastor of the figure, which he painted with much grace, Ho aucceeded equally well in his marind and coast scones and in his picturesque architecture of the Ttalian cities. His works differed from those of his countrymen mostly in the simple breadth of the masses both of light and of shadow, and in his appreciation of the change whieh shadow induced on the local colour. Like Constable, Bonington exurcised a great influence both on English and French painting, especially on those artists who employed water-colours, Owing to his long residence abroad, he is very inadequately represented in our national collections, but an execedingly valuable soriee of his works is in the possession of Sir Richard Wallace: the most famous of these is his Heart IV. and the Spanish Ambaseutor, In tho Louvre is his ieee and the Duchesse of Ltampes.

Patrick Nasmyth (1787—1831) hos been Tikened to the Dutch Hobbema, on account of the simple homely beauty of his landscapes and his vividly truthful ren- dering of rustic life. He was essentially a realistic painter, and asx such is held in high esteem at the

Tx Exotaxp, 633

present day. Three small Jandscapes are the only works by Nasmyth in the national galleries of London, but they ure good examples of his peculiar excellences, which may be summed up as truthful detail, forcible effet, and modest but harmonious colouring, rather inclined to be heavy and dark, He rarely ventured on a large or com plicated composition,

At the head of the genre painters of England stands Sir David Wilkie (1785—1841), a Scotchman, with whose vivid renderings of homely Scotch lif we are all familiar; but Edward Bird (1772—1819)—well represented in the National Gallery by his Rayle for the Watch—deverves recognition as having been to some extent the fore- ronner of Wilkie, and the first to introduce the humorous element which is so important a feature of British genre painting.

Wilkie in some respects resembled his great prede- cessor Hogarth, but in the works of the latter the moral to be conveyed is always the first thing to strike the observer, whilst in those of the former kindly humour rather than gatire is the predominant feature. Until 1825 Wilkio painted genre pictures exclusively, & reputation never surpassed, by his Village Jolit (Fig. 183), Blind Fiddler, the Rent Day, the Village Peati- wal, the Letter of Ditroduction, Dunean (ray, Diatratning Jor Rent (many of them in the national collections at South Kensington and Trafalgar Square), the Penny Wedding, and the Chelsea Pensioners, in the possession of the Duke of Wellington, and many other similar works, These early compositions are mostly of cabinet.size, and are all alike characterized by simple and effective treatment of familiar incident. Many of them are crowded with figures; they

Parerixe wx Exaraxp,

635

n a pure and transparent colour which cannot, nich or brilliant, but which admirably requirements of the subjectchosen. In the filkie went to Italy, and on his return to Eng-

changed his style and mode of execution.

—auch as the Maid of Saragoesa, and his

ig, in the Nations! Gallery—although

charm of their own, and display considerable

ve and power of picturesque grouping, are the vitality of those enumerated above. Than imitate the broad, rich colouring of Titian and Wilkie lost the quiet harmony and balance which he had been distinguished. But for death, however, he would probably have con-

e deficiencies, and have risen to a high position

painter in the grand style. Wilkie painted in oils, but the South Kensington Museum containg resting water-colour sketches by him. Mulready (1786—1863), born at Ennis in tanks second only to Wilkie in his masterly mt of familiar incident, and is by some critics to mpproach Turner in the finish and brilliant of his landscapes, His genre pictures exhibit antic power und less humour than these of Wilkie, truth of drawing and sweetness and depth of ing they are inferior to none. Mulready’s easel

are in oils; but the South Kensington Museum ‘® fine collection of life-studies in chalk which valuable specimens of careful drawing. Of his oil- gs the following (all of which are in the National or the South Kensington Musonm) are among tho st romarkablo: The Last In, Crossing the Ford, the

638 Partixo

Fight Interrupted, Giving a Bite, First Love, the Toy Seiler, Choosing the Wedding Gown (bis most popular work), and the Seven Ayes of Man.

Charles Robert Lostio (1794—1859), a distinguished artist of American birth, practised genre painting of the highost clase. Tho loading characteristics of his works aro force of expression, refinement, and feeling for fomale beauty. His subjects are principally illustrations of popular authors, of which the Merry Wives of Wrudaor, in the South Kensington Museum; Sancho Pama, and Unele Toby and the Widow Wadman, both in the National Gallery, are among the most noteworthy. Tn all these works the figures are wonderfully lifelike and nataral— the heroines especially being admirable renderings of ideal creations.

But two other men who adopted similar subjects to the throw painters noticed above, remain to be mentioned. We allude to Gilbert Stuart Newton (1795—1835) and Augustus Leopold Egg (1816—1863). Newton, a native of Nova Scotia, displayed considerable feeling for colour and expression, but was wanting in knowledge of drawing. His Portia and Bassano in the South Kensington Museum, considered one of his best works, is a fine example of his manner, Egg, whose untimely death was severely felt, excelled Newton in drawing, but was inferior to him in colouring. His works are characterized by pathetic beauty, and are mostly pervaded by a aubtle sadness, A scene from Le Diable Boitewz, in the National Gallory, is con- sidered one of his finest compositions, but we may aleo mention the Life and Death of Buckingham, Past and Present, the Night before Nasoby, and Catherine and Petruchio.

Ix Exonann. 637

Whilst landscape and genre painting were thus earnestly practised by so many men of genius, and patronised by the picture-buying public, a group of artists arose who eniewyoured, with more or less success, to perfect the grand style in English historic painting. Of these, Henry Howard, Benjamin Robert Haydon, William Hilton, William Etty, and more recently, Sir Charles Eastlake and Danie! Maclise were the chief,

Henry Howard (1769—1847), on oil-painter of great industry and perseverance, cannot take high rank amongst the artists of the present contury; his works are protty and pleasing, but never grand. A Flowor-girl by him is in the National Gallery.

William Hilton (1786—1839), a man of grenter power than Howard, produced many fine works; some of them such as Christ crowned with thorns; the Angel releasing & Peter; Tadith and the Monks discovering the body of Tfavold and Serena rescued by the Red Cross Knight, both %m the National Gallery—are characterized by ideal beauty of design; but unfortunately, owing to the undue use of asphaltum, it is now difficult to fully realize their original condition, and there appears to be no hope of their

Benjamin Robert Haydon (1786—1846), whose life was one long struggle with pecuniary difficulties, painted many nd sacred works—of which Xenophon’s Firat Bight of the Sca, Chria's Entry into Jerusalem, and the Reaixing yf Laserus (in the National Gallery), were among the best. His power was unfortunately not equal to bis will; and although the general effect of some of his corm- positions is good, a close examination betrays gross errors of drawing and carclessness of execution, He was a vain

638 Parsrixa

and very ambitious man, and his want of success led to his melancholy end.

Amongst painters of fruit and flowers in England, George Lance 1892—1864; ranks with Van Huysum in Holland, He was a pupil of Haydon.

William Etty (1787—1849), a man of great industry, stands alone as the English artist who has gone nearest to a mastery of the difficulties of the nude human figure, and has approached to the brilliant transparency of the old Venctians in his flesh-tints. The early part of his career was beset with difficulties of every kind : his merits were unappreciated, his faults exaggerated, the technical 8 of his work were not understood; and as a ¢ subjects he chose did not appeal with any force w popular sympathies. Yet, in spite of all these discouragements, he worked out for himself an original style, and won a place amongst the very first British artists. To quote his own words, Etty's aim in all his important pictures was “to paint some great moral on the heart.” The Combat, or Woman Pleading for Mercy ; Benaiah, David's Chief Captain; Ulysses and the Syrena, three pictures of Joun of Are, and three of Judith, now in the Royal Scottish Academy, are named by the artist himself as his best works; but we must also mention Youth on the Prow and Pleasure at the Helm, the Bather, and the Wife of Cundaules, king of Lydia, in the National Gallery; and Venus Descending ; and Cupid sheltering Payche, in the South Kensington Museum, as extremely fine examples of the beauty of form and truth of flesh- tints characteristic of everything produced by Etty.

Sir Charles Eastlake (1793—1865), a man of high scholarship and varied accomplishments, exercised an

Ty Eworann. 639

influence on English painting of the present day, both by his pictures and writings on art. His oil- paintings, which are not numerous, are characterized by delicate gmee of execution, fecling for spiritual beauty, ‘and eflective simplicity of grouping. Christ Lamenting over Jerusalam, in tho National Gallery, is considered his masterpiece ; other examples are—Greek Fugitives in the haude of Banditti ; Hagar und Ishmael, and several inci- dents from Ttalian life. He was for many years President of the Royal Academy, and also Director of the National Gallery, of which for a few years he had been keeper. Daniel Mnclise (18111870), an Irishman by birth, was a man of considerable original genius, with great power of design and feeling for colour. He produced Bumerous important works in oil-colours, of which the Play reene in Hamlet, in the National Gallery; Sabrina releasing the Lady from tho Enchanted Chair, the Banquet Scone in Macheth, the Ordeal by Touch, and Robin Hood and Richard Cuur do Lion, wore among the principal, ‘The latter years of Maclise’s life were occupied in execut~ ing mural pictures (they cannot be called fresco pictures im the strict sense of the word) for the decoration of the Houses of Parliament,—of which the Meeting of Wellington and Blucher and the Death of Nelson were the chief. The cartoon for the former is in the possession Of the Royal Academy. Maclise’s manner underwent © great change after the commencement of the pre-Raphadlite movement, and an almest painful attention to detail encumbered his later works. The Bue of & Agnes, ono of his latest exhibited oasel pictures, may be referred to as a typical example of his powor and his high finish. Edward Matthow Ward (1816—1879), one of the few

610 Pareto

painters of historic subjects in Engiand, formed his style from a three years’ study in the galleries of Rome The throe pictures in the National Gallery, the Dixgrace of Lord Clarendon. ; the South Sea Bubble; and James 11. receteing the news of the landing of the Prince of Orange, are sufficient to show the character of his work. He was @ most indus trious artist, and has left many paintings, several of which have been engraved,

As portrait painters of the British school who attained to eminence in the present century, we may name John Jackson (1778—1831), John Watson Gordon (1790—1864), Sir William Allan (1782—1850), all of whom are ropre- sented in the National Gallery, and the late President of the Royal Academy, Sir Francis Grant (1808—1878), who painted many excellent portraits of the nobility.

James Ward (1769—1859) was a very successful animal painter, well known by his Council of Horses and Gordale Seer, both in the National Gallery, and numerous fine groups of animals, in the South Kensington Museum and elsewhere. The fame of Ward, however, has been entirely eclipsed by that of

Sir Edwin Landsoor (1802—1873), who was so long at the head of the animal painters of this country. He stands alone as an interproter of the thoughts and feelings of the dumb creatures, and his compositions are chiefly characterized by masterly drawing, delicacy of execution, poetic feeling, and dramatic force. He had a rare power of rendering textures; his subtle and rapid execution seemed equal to depicting with perfect ease and perfect fidelity, fur, feathers, hair, hom—in short, perhaps every texture, except human flesh, In the expression of animal life he was absolutely unrivalled, though he did not

Is Enonanp, 641

attempt any of those furious hunting combats, for which Snyders obtained such renown. His colouring is cold, and the human figures in his groups are often wanting in character and inferior in handling to the animals; but, in spite of these drawbacks, his paintings will always appeal powerfully to the sympathies of educated and uneducated alike.

Of Sir E. Landseer’s oil-paintings, the following are among the most colebrated:—Bolton Abbey; Hawking 5 There's Life in the Old Dog yet; The Otter Speared ; the Sanctuary ; Coming Bvents cast their Shadows before; the Stag at Bay,—all in private posession: and High Life und Low Life; Shoving the Bay Maye; Dignity and TImpudence ; Peace; War ; a Dialogue at Waterlo Alex andey and Diogenes ; and the Maid and the Magpie,—all in the National Gallery; and A Jack in Office, and the Shepherd's Chief Mourner, in the South Kensington Museum. His drawings and sketches in pon and ink and in water-colours are many of them scarcely less effective than his completed pictures,

His elder brother Charles Landseer (1799—1879) waa ‘& good painter of subject pieces. His most popular works were the Sieking of Basing House and Nell Gwynne,

Thomas Creswick (1811—1869) made for himself an undying fume as a pointer of landscapes His workx are thoroughly English in sentiment and execution. Several well-known artists have collaborated with Creswick,

Joha Phillip (1817—1867) deserves notice on account of the rare merit of his pictures, especially in point of colour, Ho visited Seville twice and painted Spanish scones with success; and a few of his latest pictures, such as Za Gloria (a Spanish wake) and the Prison Window,

ita 7

642 Parnxa

are of the highest value as compositions, and have a touching interest of genuine power.

John Frederick Lewis (1805—1876) succeeded equally in water-colours and in oil; in 1857 he was elected Preai- dent of the Society of Painters in Water-Colours, and Inter bocume a Royal Academician. His pictures are views, with figures, in Spain, Italy and the Kast. His Jaterior of @ Hares guined him great reputation.

William Edward Frost (1810—1877) painted pictures very similar in subject to those of Etty: his female figuros are graceful, but be lacks the powerful colouring of his rival.

Edward William Cooke (1811—1880) was one of the best English marine painters of the present century, His works may be seen both in the National Gallery and at the South Kensington Muscum.

Alfred Elmore (1815—1881) earned much renown asa subject painter.

George Hemming Mason (1818—1872), who produced ndseape and figure, painted both im

they are noteworthy for their fine

many fine works of Italy and Englan colouring.

6. Later English Water-colowr interes.

Before we close our notice of the British schools of painting, it is our pleasant task to speak of a group of men who are allowed, even by foreign critics, to be un- rivalled in their peculiar line by any of their European eotemporaries. We to the distinguished painters in water-colours, who carrind on tho work inaugurated by Cozens, Girtin and Turner.

John J. Chalon (1778—1854) and Thomas Heaphy

Ty Evotanv. O43

(2775—1853) attained to considerable eminence as water- colour artists in the early part of the present century; but were both far curpassod by

David Cox (1783—1859), who may be said, indeed, to rank second only to Turner in fertility of imagination, feeling for the poetry of nature, and power of rendering the characteristic beauties of English landscapes. His works are truly ideal productions, in which the leading features are breadth and transparency of colour, truth of foliage, whether at rest or in motion, and life-like play of light and shado. Of Cox, Redgrave says, “No painter has given us more truely the moist brilliancy of early summer time, ere the sun has dried the spring bloom from the Iately-opened leaf. The sparkle and shimmer of foliage and weodago in the fitful breeze that rolls away the clouds from the watery sun, when the shower and sunshine chase each other over the land, have never bean given with greater truth than by David Cox." A Welsh Foneral is cited by the same author as a typical example of his peculiar excellences; the series of landscapes in the South Kensington Museum are eminently charaec- teristic.

Peter de Wint (1784—1849) worked out an original style of his own, giving faithful and effective renderings of the general aspects of nature and of vast expanses of country, without any attempt at the finishing of details, cultivating tone and colour rather than form.

Anthony Vandyke Copley Fielding (1787—1855), one of the first English painters of the Sussex Downs, and of marine effects, did much as President of the Water-Colour Society to improve the position of the professors of his own branch of art.

rT?

OM Paistixa

» George Fennel Robson (1790—1833) waa an admirable interpreter of the lake and mountain scenery of England.

Samuel Prout (1783—1852) excelled in drawing archi- tecture, and has never been surpassed in rendering the features of buildings. He was very chary of his work—a little drawing was made by him to go a long way; but then every line represented firmly and accurately as much as it was intended to show. He had a keen sense of the picturesque, his points of sight were well chosen, and his grouping was always happy. As a colourist he was not vory successful. Tho South Kensington Musoum contains several valuable water-colour drawings by Prout.

Our limits forbid us to attempt any detailed account of the many men who contributed to the development of the present. British School of water-colour painting,—such as William Hunt (1790—1864), who is amongst the best English colourists of the present century. Hunt's subjects were usually cither rustic scones or fruit and flowers, and his textures were marvelously rendered. His colouring was that of Nature herself, and his finish has never been excelled, if equalled. Goorge Cattermolo (1800—1868) is chiefly distinguished for hia lifelike figure painting,

Samuel Palmer (1805—1881), who owed much to the teaching of his father-in-law, Mr. John Linnell, and to Blake, whose works produced much impression on his mind, was a landscape painter of no common order. His works, expecially bis sun-sets, are characterized by an almost too great brilliancy of colouring. He worked both in oil and water-colour; and is also celebrated for his etchings,

Francis William Topham (1808—1877) was a very suc- cessful water-colour artist. His subjects aro froquently drawn from Italy, Spain, and from Scotland and Ireland.

Iw Exaranp. O45

Frederick Walker (1840—1875), im his all too short enreer, made himself justly famous for his pictures of landscapes with figures: he was the only Englishman who received a medal for water-colour painting at the International Exhibition in Paris in 1867.

Looking round upon the general position of painting im England at the present time, we find carefal reference to nature and independence of style the leading characteristics of the professors of every branch of art. The movement commenced in 1850 by « body of young artists, headed by men still living, exercised a remarkable influence at the time. Under the title of pre-Raphaelites, the members of this school professed to repudiate all imitation of the works of other men, and to ignore entirely all that was done by Raphael and his school, taking the direct study of nature as their chief inspiration, The leaders of this sehool have, some of them, forsaken its principles; and the movement may perhaps be said to be dying out, having, however, no doubt served to stimulate wn atten- tion to detail and the study of nature.

Side by side with the pre-Raphuelites we find a few

646 Pantina im Enauanp.

able artists, endeavouring by their advocacy and example to revive the true ideal style; whilst others are per- petuating the excellences of Wilkie in their treatment of familiar incident.

In portraiture, in landscape painting, with or without figures, and also in marine pictures, many artists maintain the high reputation of the British school.

XL Parra mr Amanica.

Tae Inst School of Painting which claims our atten- tion, both from its merit. and its promise of future ex- eellence ix that which, during the last hundred years, has sprung up in America, Beginning, as in England, With portraiture, this school has progressed until it now numbers in its ranks many very excellent figure and Igndscape painters. Indeed, if American Art ean be said to have a bias in favour of one branch of subjects rather than the others, it must be said to be of landacape painting. American works are constantly brought to Europe to be exhibited, and are received with the greatest admiration.

Tn an article on Amorican Art, Mr. S G. W. Benjamin (to whose writings we are indebted for much information contained in the following short notice) say»—" There is one fact connected with the early growth of our art which is entirely contrary to the laws which have elso~ where governed the progress of art, and is undoubtedly due to the new and anomalous features of our social economy. Elsewhere the art feeling has undeviatingly eought expression first with carthenware or plastic art, thon with architecture and sculpture, and finally with painting. We have ontirely reversed this order. The ‘unzettled character of the population, especially at the time when emigration from the Eastern to the Western States caused a general movement from State to State, together with the abundance of lumber at that time, evidently offered no opportunity or demand for any but the rudest and most rapidly constructed buildings, and

4s Parstixo

anything like architecture and decorative work was natur- ally rélegated to a later period; and fox the same mason, apparently, the art of sculpture showed no sign of derand- ing expression here until after the art of painting had already formulated itself into societies and clubs, and been represented by numerous artists of reapectable abilities.”

We here give a short account of those painters who have, hitherto, been most distinguished; regretting that the plan of our book does not permit us to include the names of living artists,

Tn spite of the storn Puritan feeling of the early settlers in America which was most unfavourable to the culture of the Fine Arts—there existed, ax works still remaining testify, portrait painters in America at a very early period: but they were principally foreigners, and those of them who were natives were influenced ina great measure by euch works of Van Dyck, Lely or Knoller, as the settlers in the New World had taken out with them. John Watson (1685—1765), « native of Scotland, who emigrated to America in 1715, and painted portraits in Philadelphia; and John Smybert (died 1751), who left England and settled in Boston about ten years later, aro but two of tho most prominont’of a crowd of foreigners of more or less merit, who eared a living by painting portraits in Americn in the early years of the eighteenth century. Smybert took with him to America a copy, done by himself, of a work by Van Dyck, and this picture is said to have produced great impression on the minds of Trumball, Allston and other famous painters, Robert Feke, of Newport—ta town which produced several early American

Jpainters of note—who acquired a little knowledge of art in

Tx Aserica. 649

Spain, and Matthew Pratt of Philadelphia, who went to England in 1764, and studied under West, are two of the first American artists worthy of record.

But the true foundation of American Art was laid by Copley and West, who were almost cotemporaneous.

Jokn Singleton Copley (1737—1815), the historic painter, was born of Irish parents at Boston, United States—then n British colony. After painting for several years in his native city, he—forced, like many another American artist after him, by lack of material for study in his native country, to seek instruction in art in foreign countries—started in 1774 for England, where, after a tour on the Continent, he finally settled and died.

Benjamin West (1738—1820), who was born at Spring- field, Pennsylvania, went to England in 1763, and rapidly rose in public favour, until he reached the height of his ambition in 1792, by becoming President of the Royal Academy. Of these two artists, we have already given a fuller notice among the Britich School.

Charles Wilson Peale (1741—1826), who was born at Chesterton, Maryland, was not only a painter, but a worker in wood, metal and leather. Besides his oil- paintings, he executed numerous miniatures, for which he “sawed his own ivory, moulded the glasses, and mode the shagreen cases” Ho also served in the American army, where he rose to the rank of Colonel. He studied under various masters—in Philadelphia under @ German, in Boston with Copley, and in London with West.

Poalo, though lacking the highest qualities of an artist, was one of the most popular portrait~painters of his time, and was especially remarkable from the faet that he

650 Paring

paintod the earliest authentic likencsses of Washington, who subsequently appears to have obligingly sat to number of artists,

His son, Rembrandt Peale (1787—1860), after a short career asa portnit painter in Charlestown, South Carolina, went to London and studied under West. He also resided for soma time in Paris, where he painted, among other pictures, portraits for his father's museum His Por- trait of Washington was purchased by Congress for 2000 dollars,

Gilbert Charles Stuart (1756—1828), one of the best portrait painters of America, was born at Narragansett, in Rhode island, of Scotch and Welsh descent. He received his instruction in art at Newport from Cosmo Aloxander, who took him to Scotland with him, but Stuart returned to America soon afterwards. In 1781 he went again to Great Britain, studied under West, and established himself as a portmit painter in London, where he enjoyed the friendship and society of some of the famous men of the day. It was daring this visit that he painted the fine por trait of Mr. Grant skating, exhibited at the Exhibition of Works by the Old Masters in 1875, Tn 1793 he returned to America, and after residing in New York, Washington and Philadelphia, hoe re-cstablished himsclf finally, in 1806, at Boston, where he continued to paint with uninterrupted success until his death His works are commonly seen both in tho public and private galleries in America His chaj=d'euure is his Portrait of Wash inglon. His pupil, James Frothingham, also acquired farne as a portrait painter,

John Trumbull (1756—1843), the historic painter, born at Lebanon, Connecticut, was onc of the best of the early

Is Amenica. 651

American artista. He combined the professions of a soldicr and a painter, and thus had the means of being an eye-witness of scenes—such as the storming of the works of Burgoyno at Saratoga—which suggested the subjects of many of the works which have made his namo famous. He graduated at Harvard, entered the army, and ‘was made aide-de-camp to Washington. In 1780 he went to London, where he studied under his fellow-countryman, West. Arrested as a spy, he was obliged to return to America, but on the cessation of hostilities, he went again to England, and resumed his studies under West. After @ visit of nineteen years (1796—1815), seven of which ‘were spent in diplomatic sorvice, he lived constantly in America. Hoe died in Now York, at the advanced age of eighty-rovon, and was buriod in Yalo Collogo. His four great works executed in the rotunda of the Capitol at Washington—the Declaration of Independence; the Sur- vender of Burgoyne; the Surrender of Cornwallis; and the Resignation of Washington at Annapotis—have since bean moved to the Art Gallery in Yale College.

Of other works we may notice—in the City Hall, Now York, portraits of Governors Lewis and Olivton; at New Haven the Death of General Montgomery, “one of the most spirited battle-picces ever painted,” the Battle of Bunker's Hill, and a full-length Portrait of Washington. ‘His works were unequal in merit; his male portraits were far more succossful than his female. He was one of the founders, and the first President, of the American Acadomy of Fine Arts.

John Wesley Jarvis and Thomas Sully (1783—1872), natives of England, were also successful as portrait-painters. Sully’s female portraits possess great sweetness, but his

652 Panera

likenesses of mon are lacking in power. His pupil, Jobn Neagle (1799—1865), of Philadelphia, also produced por- traits which were not without merit,

Edward G, Malbone (1777—1807), « native of Newport, in his short eareer of thirty years executed some charming works in miniature painting. The Hours by him, now in the Athonnum at Providence, is full of grace and poetry.

John Vanderlyn (1776—1852), who was born at. King- ston, New York, went in 1803 to Europe, and was in Paris and at Rome (where he lived in the house formerly owned by Salvator Rosa), the friend and companion of Allston. In Remo he painted, in 1807, his famous Marive sitting on the ruins of Carthage, to which Napoleon personally awarded the prizo medal in the Salon of 1808, His next best picture was a Sleeping Ariadne, in the Philadelphia Acaiemy of Fine Arts; and he also executed numerous portraita.

Washington Allston. (1779—1843), who is generally considered the chief painter of the American School, was a native af Waccamaw in South Carolina, After the completion of his university career at Harvard, he went to London in 1801, and at once entered the Royal Academy schools, whore he became acquainted with his fellow- countryman West, who was then president. In 1804, Allston went with Vanderlyn to Paris, and thence to Rome, where in the following year he painted his Josopi'a Dream. At Rome, Allston commenced with Washington Irving a friendship which lasted for life. He also became arquainted with Coleridge, and the Danish sculptor, Thor waldsen. Tn 1809, he returned to America, married sister of Dr. Channing, and then went again to London, where he produced his Dead Man revived by the bones of

Ts Aaerrca. 653

Elisha, which gained a prize of two hundred guineas from the British Tnstitution, It is now in the Pennsylvania Academy of Fine Arts, Philadelphia. Then followed the Liberation of 8. Poter by tho Angel, now in the Worcester Lunatic Hospital; Uricl in the Sun, in possession of the Duke of Sutherland ; and Jacob's Dream, in the Petworth Gallery. In 1818, Allston returned to Amorica, and settled at Boston, with his health weakened by sorrow for his wife, lately deceased, and by over-work. Tn the same year he was elected an Associate of the Royal Academy. ‘OF the works which he executed in the following years, We may notice, the Prophet Jeremiah, now in Yale College; Saul and the Witch of Endor; Miriam's Song and Dante's Beatrice. Tn 1830, he married again, and settled at Cambridge, Mass., where he spont the rest of his life. His Spalatro's vision of the bloody hand, from the ‘Ttalian’ by Mrs. Radcliffe, was formerly in the Taylor Johnson Collection in New York.

The works of Allston, the “American Titian,” aro especially remarkable for the beauty and power of eolour. In his subjects, he was fond of tho terrible, expecially noticeable in Spalatro’s Vision, Sunland the Witch of Endor, and in his unfinished Belshazzar's Foast. He painted many excellent portraits. That of Coleridge, by him, is in the National Portrait Gallery,

Satouel F. B, Morse (1791—1872), of telegraphic fame, practised for some years as a painter, He was a pupil of Allston, and one of the founders m 1826, and second president of the National Academy of Design. He aban- donod art as a profession in 1839,

John James Audubon (1782—1851) was born in Louis- jana, and studied in Paris under David, On his retarn

Oo Parsrixo

to Amorica in 1826 he devoted himself to portraying birds, Just in the same manner as Catlin gave himself up to the Painting of American Indians. He published, in Rdinbargh, a book containing more than one thousand binds’ portraits, the originals of which are now in the possession of the New York Historical Society. Having exhausted the foathered tribe, Audubon was engaged on a work on the quadrupeds of America, when he died.

Chester Harding (1792—1866) began his caroor in painting as a sign-painter, at Pittsburgh, but subsequently turned his attention to portraiture, in which he afterwards became successful. From Pittsburgh he went to Phila- delphia, thenee to 8. Louis, and then to Boston, where he became the fashionable portrait-painter of the day. Tn 1828, Handing paid a visit to England, where he received much patronage from the nobility. He afterwards revisited England, but died at Boston, U.S. Of his portraits, that of Daniel Webster, in the possession of the Bar Assogiation, New York, is the most famous.

George Cutlin (1796—1872), the painter of the abo- riginal Indians, was originally intended for the law, but abandoned that profession in favour of painting, and establishes) himself in Philadelphia, In 1882 he started on a journey among the tribes of American Indians, and made the acquaintance of no less than forty-eight of them. On his return to civilization in 1839, be pub- lished the result of his journey in the form of a book with illastrations by his own band. He resided for eight years in Europe, Many of hie Indian sketches were exhibited at Philadelphia in 1876.

Robert Charles Leslie (1794—1859), who was born of American parents in Clerkenwell, was taken when quite a

In America. 655

child to the United States: in 1811 he went to England, and, with the exception of a short visit to America in 1833, resided there for the rest of his life,

Henry Poters Gray (1819—1877), a pupil of Huntington, was President of the National Academy from 1869 to 1871, when he went to Florence. He painted chiefly genre subjects until his later years. Amongst his best paint ings are Wages of War, sold for 5000 dollars, and now in the Metropolitan Museum, New York, and The Apple af Discord, which was highly commended by the judges at Philadelphia in 1876. He was also famous for his fernale portrits.

Gilbert Stuart Newton (1795—1835), who was born at Halifax, Nova Scotia, in Amorica, studied under his anelo, Gilbert Stuart, went to Europe in 1817, and paid but one short visit to America in 1832, and died in London; he Belongs to the English School.

On the other hand, Thomas Cole (1801—1848)—who was born at Bolton-le-Moor, Lancashire, of American an~ cestry, and went when eighteen years of age to Stubenville, Ohio—belongs to America, After travelling about the country for some time, he visited Now York, where he waa patronized by Trumbull and other artista. Cole made two journeys to Europe, and stayed chiefly im Ttaly and England, the scenery of which countries furnished him with subjects for many of his best works, He died among his “own dear Catskills,” as he ealls them; for with all the magnificent scenery of the Alps and elwwhere in Europe, and the works of Claude Lorrain, Salvator Rosa, and Turner and Constable, which he saw in England, be remained true to his first love. Of Cole's works we may notice, in the possession of the New York Historical

656 Pawtixa

the Course of Empire—five landscape scenes, his master-piece ; his famous series of Voyage of Life, formerly in the Taylor Johnston Collection of New York; and the Mowntain Ford, and Kenilworth Castle, both of which were shown at Philadelphia in 1876. Many of his works, frequently views of the Catskills, are in the private and public galleries of America. He may be considered the futher of American Landseape Art.

Side by side with Cole, must be mentioned Thomas Doughty (1793—1856), who did much for the furtherance of landscape art. He did not commence painting until he was twenty-eight years old, and he was entirely self- taught. Of the noxt goneration of landacapists, a foremost man was—

John F. Konsett (1818—1873), who bogan life as an engraver, studied painting for seven yeara in Europe— visiting Italy, Switzerland and the Rhjne; he then set- tled in America and rose to fame as a landscape painter. “ Kensett’s best pictures,” says Tuckerman, “ exhibit a rare purity of fecling, an accuracy and delicacy, and especially a harmonious treatment, perfectly adapted to the subject.”

Sandford RB. Gifford (died 1880), a good painter of landscapes and von pieces, excelled in the representation of the effect of sunlight.

Henry Inman (1802—1846) studied for somo time in New York under Jarvis, a good artist of the period, After several years spent in New York, he settled at Philadelphia, where he became famous as a painter of portraits, and occasionally of landscapes and genre pictures. In 1843, he went to England, where he remained for two years; and painted among other portraits those of Wondsworth and Macaulay.

Ix Amznica. 657

‘Tho works of this artist are commonly seen in the public and private galleries of America. ‘The City Hall, Now York, has some good portraits by him; noteworthy among these is that of Governor Van Buren: othors are in the Boston Athenwum. His landseapes and genre pictures ‘are best seen in private galleries,

William Sidney Mount (1806—1868), who bas been called “the American Wilkie,” was one of the first in that country to practise genre painting successfully. His works, such as The Long Story and Bargaining for « horse, display great sense of humour.

Emmanuel Leutze (1816—1868), a native of Emingen in Wirtemberg, wont, when still young, with his father to America. He at first maintained himself by portrait paint- ing, but his favourite subjects were of an historic nature, His earliest work of note is an Indian gaving om the setting sun, In 1841 he determined to visit Europe, He arrived at Amsterdam early in the year, and thence went to Diisseldorf, where he studied under Lessing. His Cohemdus Iufore the Council of Salamanca was purchased by the Art Union of that city. From Diisseldorf, Leutze went to Munich, and became the disciple of Cornelius and Kaul- bach, After his Wanderjakre through Italy and Switzer- land, he returned to America in 1859 and became justly famed aso painter of historic subjects. A pictare of Western Emigration by him is in the Capitol at Washing- ton. Other good works by him are Washington erasing the Delaware aud the Lconoelast. Shortly aftor Loutze had died ter came announcing his election to the presidant- ship of the Disseldorf Academy, rendered vacant by the death of Lessing.

Charles Loring Elliott (1512—1868) wus a pupil of

ema ou

658 Pairoa

Trumbull, in New York. On the completion of his studies, he established himsclf as a painter in that city, where, with the exception of several years spent in the Western part of tho State, he chiefly resided. Ho is said to have executed nearly seven bundred portraits, many of which aro highly prised for their reprosentation of individual character. Of these the acknowledged masterpiece is that of Fletcher Harper, which was selected to represent American portraiture in the Paris Exhibition.

George A. Baker (1821—1880) is known for the beauty of his female portraits,

Louis Rémy Mignot (1851—1871), the landscape painter, lived some part of his life in New York; he then removed to South Carolina, and subsequently, at the outbreak of the Civil War, took up his residence in England, though he paid visits to his native land. He exhibited in the Royal Academy from time to time, and many of his works are in England. One of his best pictures is Snow in Hyde. Park.

Two foreigners, who settled in America, executed many landscapes and sea-pieces of considerable merit—

M. F. HL. de Haas (1832—1880), a native of Rotterdam, where he had been appointed painter to the Dutch Navy; and Johann Erik Christian Petersen (1839—1874), a native of Copenhagen, where he first studied art, who settled in America in 1865—worked, the former in New York, the latter in Boston.

J.B. Irving (186—1877), a pupil of Leutze, painted genro subjects ina French manner. One of his best works is The End of the Game.

William Henry Furness (1827—1867), of Philadel- Phia, was one of the most successful portrait painters

Ix Ammntca. 659

of his time. He was especially noted for his crayon drawings.

William Morris Hunt (1824—1879), » man of versatile talents, but a better draughtsman than colourist, was a native of Brattleborongh, Vermont. He first studied seulp- ture at Diisseldorf, and then entered the studio of Couture in Puris, but soon became much impressed by the work of Jean Francois Millet, whose pictures he bought and whese subjects and style he appreciated. In 1855 Hunt returned to America, and after a stay at Newport, settled at Boston, whore he afterwards resided and became celebrated for his genre subjects, but more especially for his landscapes and his portraits, and where he had great influence on the rising artists of the day. In 1878 he began and completed the decoration of two great walls in the Senate-Chamber of the new Capitol at Albany. Among his best works are the Prodigal Son, the Fortune-Teller, the Violet Girl, and the Flight of Night, his master-piees. He occasionally lithographed from bis own designs,

In 1865 a collection of English water-colour paintings, which was taken to New York and there exhibited, aroused a strong feeling in favour of that medium in America. A Water-Colour Socicty was soon etarted, and that branch of art now holds 6 permanent ond important position among the painters of the New World, While the exhibition of the recently-formed Society of Painter- Etchers in London proved that the American artists are likely to become formidable rivals of their European brethren in the use of the etching needle,

In conclusion, we may briefly point out that Art in pus

660 Pawrma pr Aarertca.

America, beginning with portraiture, which has, perhaps, failed to realize its carly promise—is now most strongly represented in landscape and marine subjects; that trae historic painting is at a somewhat low ebb ; that, with a few noteworthy exceptions, the natural history painters are of no high order of merit; but that painters of genre subjects and still-life are asserting themselves with a vigour and a display of talent that argue well for the future.

A notice of American Art which does not deal with living men must necessarily be very incomplete, and to a certain extent misleading ; for several men who are yet working, made for themselves a name as early as many who now rank in the history of the past: and it is to the present and the future rather than to the past, that the history of American Art belongs

THE PRINCIPAL GODS AND GODDESSES

OF GREECE AND ROME.

Labo, Zeus; the Latin Jupiter. Moosdav, Poswidon ; with Neptiema. ‘Aré\huy, Apollo; a ae Apollo, “Hoavroc, Hephaestus ; ath a Vuledinus. “Apne, Ari the Mara. "Konic, Hermite; ae Mercurfus. “Hpa, Hira; ae Juno, “Adijen, — Athana; i: Minorra, “Apreuc, Artanis ; Pan Diana.

Agpodirm, Aphrodite ; min Venus,

‘Barta, Hestin; sural Vesta, Anwirnp, Diméter; non Coren, Auivuooc, Dionysus; » os Bacchus. Tipoegorn, Pernophons ; et i Proserplia, Alene, Hailes 5 Piast Plata, Cronus; » # Saturmes. Rhea ; Pa Cybele. Léto ; oon Latina, Nik; te Victorfa.

Eros ; » » — Cupldo,

INDEX

OF NAMES OF ARTISTS.*

Acton, Adams ‘Adam, The Brothers Agelaes of Argos « nder ‘Agnolo of Siena ‘Agoracritus Agostino of ‘Akers, Benjamin ‘Alan de Walsingham ‘Albani, Francesco . ‘Albertinelli, Mariotto Aleamenes ‘Aldegrever ‘Alexander ‘Alfaro y Gamez, Allan ‘Aller Allston . ‘Altdorfer | ‘Amato d’ Antonio | Amberger ‘Amman, Jost . ‘Angelico, Fra. ‘Ansel, Archbishop Antigonus ‘Antonello da Measina ‘Apelles . ‘Apollodorus ‘Aretino, Spinello ‘Aristeides Aristodemus . ‘Armstead. Amolfo .

Page + 293 + 152 + 187 + 202 2 240 +193 + 240 + 295 + 138 + 461 +371

+ 198, 209

+ 452 + 650 + 495 + 640 + 279 2 652 + 452 +371 2 442 + 452 + 353 2124 + 203

1 967, 364

58, 319 + 341 + 820 + 201 + 293, + 240.

Artois, Jacobus van Asoka. ‘Assolt, Jean van der Athenodoms . Audubon Austen, William

Backer. Bacon, John | vallo .

Bailey, Edward

cer, George A. Bakhuisen =. . Bandel, Ernst von | Banks, Thomas Barret, George Barret, George

Barring : Barry, Sir Charles Barry, Edward Barry, James . Bartholomew | Bartolini . Bartolommeo of Florence Bartolomineo, Fra . Barye, Antoine

Barzaghi Basaiti, Marco Bassano. =. Bastiani, Lazzaro | Bazi |. Beaugrant, Guy do » Beaumont

Page + 516 Poe 2 2 492 + 202 + 653 + 284

+ 527 + 287 + 400 + 289 + 658 + Bad + 276 + 287 + 617 + 622 + 879

2114, 155

+ 136 + 618 + 295 + 279 + 336 + 371 +279 + 219 + 865 + 418 + 865 + 381 + 262 + 608

The artista aro indexed under their popular names ; no notioa haa bean taken’of

prefixes,

Reinhold Beham, Bartel :

Brockslewr, Pode - Beha, Hans Sebalt 5

Rramanto

Beltraffio

Bernini . ye Bernwand, Bishop. Berragueto, Alonso

Bink, Jakob . Bireh Branelteschs, F- Bind, Raward Bry, ‘Thealor de Bind, Francis... Bryaxis * Bimolo. . 1s Boonareatera I Blake. Buani, Sibvestro de". Blox, Horr Buono, Bartolemmes Bloomart | Burkinsie Bloeinen, Jen Frans van’ Burton. Bloemen, Pieter van Bustmell, Jobe =. Busti, Agestino .

Blondeel, Lancelot. fl Bochm - . .

Bonifazio, Veneziano Bonifazio, Veronese Bonington

Bono di Fermra Bonsiguori, Brancesco Bonrinine

Bordone, Paris Borgognoue E Borromnini, Francesco

Both; Jan Botticelli

664

Carpacrin, Garjeaux Carracci, Agostino

Carrarci, Lalovien | Garreho de Miranils Caniens. Casentino, Iacopi di Cantagnn, Andrea del Coatillo, ‘Angnstin del Caatillo, Suan del Costillo'y Saavedra, A. Cate

Cavelior « * Caxén, Kg Henvenuto

Coy hina G ie

ppe de.

y, Nir Francis. Chapn ee Chandine

Cleef, Jooxt van Cleomenens es

Cale, "rhea Collinn Colombo, Michael

Kasper de» Creswiek, Thomas

Crivelli, Carlo Crome, John. |

George + Danhanser 3 Dannecker ' heeranit

Taeques Louia Decampa Decker . . .

Delacroix 5.

4 Delamotte Deluroche Thelen, Dirk van Denner, Balshessr Depores . DeWint Ding Ge In fon Dieponbeck Dietrich .

Dietz - Diouysive of Coteption Diyonus Dolson Dole, Carlo Domenichino , Donatello Dovner. Dow, Battista Dow, Domo. Dou, Gerard onghity Dake, Friedrich

Dates, Dabute .

Duceio di Booniuerre -

Diiver, Albrecht Durued, Amédéo Daret

Doeart

Dyck, Antoon van | §05—809,

Kasriakn Hechhout, G, van der

Efe

Kimes, James Kimore, Alfred Elahainier Bevin of 8 Espinosa Keux

Eaty Euphranor Everdingen Eyck, Huibrecht yan Ryck, Jan van Kyck, Lambert von Fyek) Margareta wan

Fanntax0, Gentile da

uibach -

Txpex.

Pago ae . 601 O45 455 87 643. = B02 - boo + 456 + 568 + M9 + 187 = 600 | + 40

665 Fatritian . or alguiére > ban Fantaochiotti: ¢ ¢ 30. Feke $043 Peruundes, Antonio Arisa | 488 Spee elding, AL V. My oi . + . 27 o‘Anjello 2 2 350 dread... BAL dt 7 + = Flaxman, John] | Laas oa Floriy Frames.) Foley, John Henrys 5

Fontana. . Yortany ¥ Carbs

| Fouguet

Fosli yy 2s

Gann, Acute Guddi,’ Gado Guldi, Giowanni Gaddi, Takeo eben jaisaal h Gandy, Janaee

Genre Géricanlt Gere. 6

ESZESIESTESSELS,

ee ee

666

Ghiberti, Lorenzo .

Ghirlandajo Ghent, Justus van. * Giacomo della Porta: Gibbons, Grinling . - Gibbs, James. st Gibson, John. St Giford St Gilpin 2 sft

Giordano, Luca . Giorgos. | Giottinn. 2. Giotto

Giovanni da Bologna Giovanni di Pietro . Girardon, Francois. Girodet de Roucy Trioeon Girolamo da Treviso. Girtin % Giunta of Pisa

Glancus of Chios

Gleyre

Glover |

Goes, Hugo van der Gomes.

Goodall Gordon Goujon, Gould Goya y Lucientes Goyen, Jan van Gozzoli, Benozzo Grande, Ercole Granet .

Grant

Ory pletrde * ber, Pieter de - Greenough, Horatio Greuze Gros Gruyire - Grandi | Guercino Guérin Guido of Siena Guillaume, Eugene. Gumery . 4

Haas de. Hagen, Jan van der

1 623,

Hals, Dirk .

Hamon .

Hansen, Theophil | * Harding, Chester - Harlow.) Hartley: | Hasenclever . Havel.

Hawksmoor, Nichoias A percen . . 8 : j Hocyles .

Heem, Jan de.

Heere, Lucas de Helat, B. van der - Herp ji

Herrara, el Viejo Herrera, el Mozo Hess, Heinrich von Hess, Peter von Heyden, Jan van der

Hildebrandt Hilliard. Hillin, Bishop Hilton . Hittorff . Hobbema rth . Holbein, Holbein, 146, 439—442, 596 Holbein, Sigismund 2442 Holland, Henry 2154 Holt, Thomas. . 7 Hondecoeter, Melchior a 2 S47 Honthorst '. 2 601 Hooch, Pieter de + 537 Hoogstraeten . + 528 Hoppner. + 620 Horebout + 597 Hoskins. + 600 Hosmer, Harriet: 2 295 Houasse, Michel Ange . . 496 Houdon, Jean Antoine». 271 Howard. + 637 Huchtenburg . + 548 Hadson . + 603 Hiibuer « + 556

Torx. 607

Vago Hunt, Wollam 4 | Kem, Johann Peter. ES Huot, Willinua Morris 669 | Kriiger Meet Huyrinans, Cornoli¢ > 517 | Kulmbach, Hans von cere} Tivyum... | S48 | Kane ~ + MS Iuerreon 617 | Laan, Pieter van - = Ietinas. . > 40 | Laguerre 2 908 Tool nonin Fruncucei da 400 | Lairease, Gerard de 2 ar - + 887 | Lamothe a BOE Toman, Heory 2686 | Lane. , S36 Inwood, H.W. 183 | Lancret SU Iriarte". 481 | Landseer, pes Irving ‘658 | Landsese, Sir Elwin 280 Isigonus “25 | Vanteane, Archbishop S138 Lasgillitne ere Jaoxeos 640 | Lawrence, 22 fae Jamosone 600 | Kamarint 2 Tamewns, Cornelis. 438, 593 | Tafabvre, Claude; ia Tanseens yan Nuyseon ~ 604 | Leighton, Sir Frederick >. S00 Yavdin, Karel du 1 Sa parC 1

Jorvie . . OSL Serica : 250 | Lemme da Vinel > 260, 376-340 Jeriehau-Baunann | 558 | Lescot, Pierre Ages Servas, Charles gia | Lelin, Robert Charley 694 854 Teanes, Juan de 407 art Joceline, Bishop 2 pega f . 533 John, Bishop oy ASE ot. Ber Jebn of Tudea 168 . ~ 62 Sones, Inigo . 147 | Lagden, Evens wan © or) Tones, Owen 322 | Leys - o68 Toniseus lass Joseph, Samuel 2306 Jeuhroy . tas Touvonet 1 ee Tuts, Jean IT a 358, 355, MT Konsett, John F. Lom Cornelis oT ‘ps . + ee " ron me i. mr eae K . 4 Kolbe | “am Koninck ar a"

Kraft, Adam /

Twpex.

sal

“Andres | Messick) |: ‘Orrenite

‘Ortolano, G. H. Henvennti dell’ oS aimee Ortaile, Adriaan van

+ 240, 40 4a

» Ick vam

Oitin |

Ouiry = 5

Oawater, Albert van

Overeok =.

Owen «

Paounos 472

Palladio, Andrea + 105

Palma Vecehio 407, 414

| Ott + 482

320 488 4m

Parmigisno 1 0s

Parry, Gambier . 308

Pater). ° : SIT

Patinis, Jeachimde = >, 480

Pan}, Abbot of St, Albans | 126

Pansias . 2 320

vA on 21

Peal, Charles Wilson

Peale, Rembrandt . Peete

Pilon, Germain Binturicehio . Pisinello Pisano, Andrea Piano, Giovanni

669 . ons | Pismo, Nocotd 28,38 + + 620 | Pollaiuols, Anteniodel ©. 300 Pollainolo, Piero del 5. 308 Polycletus of Sieyou + 108 Polytoms . + 208 Polygnotus ne oppo, Archbishop Ponlenouo <

SZEGSESESESESE

Powers, Hiren

Pradier Wits Pratt, Matthew 202 Proaiteles 2

Previn’ fo 2 fy Primatiedo ) 2) Protons : ; Prout, Samuel = Prud’h 7

Puget, Pierro) )

Fagin, Anguiiun |S 2

Puntormo, ae Pre) lee Pyricus. =. >, S88. Pyromachus » > 2 gus Pythyone Lo.) D188 Queciixus, Erwmms . | B10. Gueltinns, Jan Eran 2 > SIO crvia, tae 3 1 8 1 8 ae8 ‘2S$ 398, eer | er 4 3, Se ls René of Anjou 2 ae

nb of A 2

Roni, Guide + re.) Weta 7 Reynolds 00214 Rhaws. 3S: SD wise, Prate de 21 aap

juande Kies > aah dee

Inpex.

670

Ricci, Antonio. + 488 Richardson, Jonathan + 608 Rickman, Thomas . . 157 Rietschel, Ernst +275 Rigaud + B74 Riley, John 2 601 Rincon, Antonio del +465 Rinehart . + 295 Rizi, Francisco 2488 Rizi, Fray Juan + 488 Robert - + 589 Roberta | + 631 Robson : 2 644 Roelas, Jusn de las 24am Rogers 5 + 295 Roman, Bartolomé: | | 486 Romanino + 407, 414 Romano, Giulio ~ 398 Rombouts . « 505 Romney. 2 619 Rosa, Salvator + 462 Rosselli, Cosimo 2 860 Rottenhammer + 455 Roubiliac + 285 Ruben, Christian . . . 555 Rubens... 498-603, 598 Rude, Frangois +277 Rupert, Prince +514 Ruysbrack + 286 Ruysch + 548 Ruyadael, Jncsh van + BAL Rayadeel, Salomon van. . 589 Rysbrack + 518 Sr. GacDENs . + 295 Balaino, Andrea, . 381 Salvini . . 279 Sanchez Coello, Alonso | | 485 Sanchez de Castro. 2465 Sandby . + 621 Bandrart, Joachim van. . 455 Sansovino, Saco: 108, 250 Santerre - . 572 Sarto, Andrea del: > 387 Sassoferrato . » 461 Schadow, Gottfried 274, 554 Schaffner + 439, 442 Schalken + 536 Schaper, Hugo - 276 Schiufelin 2 452

Scheemakers . Scheffer. Schilling, Johann Schinkel, C.F. Schliiter, Andreas» Schnorr von Carolafeld - Schon; 5 Schonhofer, Sebald. Schoreel, Jan van . Schraudelph Schrédter Schat 2 Schwanthaler, Ludwig Scopas

Scott, General Scott, Sir Gilbert

Scyllis. . 1. Sebastiano del Piombo | 386, 407 Sceuw, Marinusde =. «430

Semitecolo, Niccold : | 343 Semitecolo, Paolo f. . » 343 Semper, Gottfried . 5 = 111 Sesto, Cesareda | | 381 Shee Ls a . + 623 ‘egen, Ludwig von | | 514 Signorelli wis in wa geese Simart, Charles 2 0). 277

joni. +. 280

Sint Jans, Geertgen van. | 429 Slingeland . |. 586 Sluter, Claes . . . + 235 Smirke, Sir Robert. | | 154 Smith, George... 608 Smith, John. =... 622 Smithon =... LT, Smybert, John + 648 Snyders. . |}. BOL Soane, Sir John. . . 154 Sceur, Herbert le > | | 285 Sohn . « 556 Solari, Andres + 881 Solario, Antonio . 370 is, Virgilius «452 ‘aul van » 482

» 633

Spagno, Lo | + 6 868 Spence, Benjamin. | | 293 Squarcione . . |, 861 Stanfold =. 2. 629 Stark...) 628

Bteinhaiiser, Karl. Stephan, Moister Stephens, EB. ‘Stevens, Alfrod G. Stilke 5 Stone, Henry . Stone, Nialoins Stork, Ww. Ww. Stone Stothurd Stratonicus Btroater « Street, George Edmund | Stuart, GC.

Buobhe . 5

Stiller, August E Sueur, Enstache le

Bally ; Suttermans

Syrlin, Jorg

Tari, Andrea Tassi, Agostino

Taylor, Sir Robert Teleclos .

Tonorant . . Taniors, the elder + Teniers, the younger Terborch

Poxior, Joan

Theed

Theoclox

Theodorich of Prague Theodorus,

Theon ‘Theotoeopall |

Thomas .

Thomas, John Thompsna : Thoruhill 7 ‘Thorycroft, Hamo

‘Tibaldi, Pellegrino ‘Tidemand

Tepolo. 2s Timothous <4 lie

ath

ra Agnes Mie jae

| Ber do Sia:

SZSSZER ETS:

Uden, Lucas van. Tdine, Giowann! da ‘Uidine, Martino de , Vaoa, Pierino del .

Valdise Leal, Juan de

Sees s8Ee £

beet: 255

Sesseg

‘Velazquez, D. B. de Silva

Besee 8 =

bh .

672

Vert, Horace. BSD

‘Veronese, Paolo +1547 Verio. +. BOR Verrocchio, Andres 246, 360 Vietors 9... B27 + 580

+ 105

+ 482

+ 628

2 284

i .m2 Viti, Timoteo’ 2 >! 400 Vivarini, Antonio. =|. 864 Vivarini, Bartolommeo . 864

Viioger, Simon de... 643.

Volterra, Danieleda =. =. 386 Vos, Comelisde . . 433 Vos, Karl + 280

Waupmiuuzr 5 |. 557

Walker, Frederick * 2 645, Walker, Robert 600 Walpole, Horaco 2} 156 wa re . 519 Edward Matthew. | 639 Want James’ 2 640 Watson, John + 648

Watson, Musgrave - : 2291 Watteau. . . 675

Weenix, the elder ° 2 540 Weenix, the younger 1 Ba7 Worff, Adriaan van der 537 Wost, Benja + 617, 649 Westmacott, 290

Weyden, R. van der, the elder. 426 ‘Weyden, R. van der,the younger 429

‘Page + 505 +18 +. 846 ++ 638

+ 154

+ 436 ++ 126 William of Wyke! : 2 12d Wilson, Richard +, 9. 607 Wilton, Jove +5 286

Wint, Peter de. + 643, Witte, Emanuel de. «546. Wolff, Albert and Emil... 276

Wolgomut . . |. 4d Wolly Cardinal 111 aah Woodward =. 2}. 157 Woolner, Thomas | 298 Wouters . . . . . $10 Wouwerman ; 2. 539

‘Wren, Sir Christopher 2148 Wright, Joseph + 619 Wright, Michael + 600 Wurmeer, Nicolaus. + B45

Wyatt, Sir Digby | | 156

‘Wyatt, Richard James + 290 Wyatt, T.H.. 5. 156 Wyatville, Sir Jeffrey. 157 Wynants) . . 588. Zamacois . . . . 497 Yegers, Daniel => | SIL Gerard 5 | 505 Zeitblom 438 Yeasis gs + 319 1» Mareo + 362 Zaceatell Sobeg. petlt Zucearo, Federigo . . ~—.- 597 Zurbaran, . ~ 473

BUNGAY: CLAY AND TAYLOR, PRINTERS.

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+"[[Giovanni Lorenzo Bernini]] (1598—1680) was the chief master of this style, and the extent to which: unmenning and copricious decoration was indulged im is seen in his bronze baldrechino (i.e. canopy) covering the high altar of St, Peter's. His greatest architectural work is the colossal colonnade in front of St. Peter's (Fig. 50). Bernini was also famous as a sculptor. One of his best works is the group of Apollo and Daphne, finished in his eighteenth year. His rival, [[Francesco Borromini]] (1599— 1667), endeavoured to outdo him by even greater exaggeration of ornament. From his buildings rectilinear forms disappear almost entirely,—even the gables of the windows, the cornices, and the entablatures are broken and cane torted, so that all regularity of design is last, and an effect produced of painful confusion and instability."--''[[An Elementary History of Art]]'' (1874) by Nancy Bell
+|}
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 ''[[An Elementary History of Art]]'' (1874) is a book by [[Nancy Bell]].
-==Full text[https://archive.org/details/elementaryhistor00danvuoft/page/n8 1889 edition]==
+==Full text[https://archive.org/details/elementaryhistor00danvuoft/page/n8]==

An Elementary History of Art

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