Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art - Shearjashub Spooner (best fiction books to read .TXT) 📗

distinct in merit as in rank, from the more vulgar shades around them." THE GOLDEN AGE OF PAINTING.

"We have now arrived," says Lanzi, "at the most brilliant period of the Roman school, and of modern painting itself. We have seen the art carried to a high degree of perfection by Da Vinci and Buonarotti, at the beginning of the sixteenth century, and it is remarkable that the same period embraces not only Rafaelle, but also Correggio, Giorgione, Titian, and the most celebrated Venetian painters; so that a man enjoying the common term of life might have seen the works of all these illustrious masters. The art in a few years thus reached a height to which it had never before attained, and which has never been rivalled, except in the attempt to imitate these early masters, or to unite in one style their various and divided excellencies. It seems an ordinary law of providence that individuals of consummate genius should be born and flourish at the same period, or at least at short intervals from each other, a circumstance of which Velleius Paterculus protested he could never discover the real cause. 'I observe,' he says, 'men of the same commanding genius making their appearance together, in the smallest possible space of time; as it happens in the case of animals of different kinds, which, confined in a close place, nevertheless, each selects its own class, and those of a kindred race separate themselves from the rest. A single age sufficed to illustrate Tragedy, in the persons of Æschylus, Sophocles, and Euripides: ancient comedy under Cratinus, Aristophanes, and Eumolpides, and in like manner the new comedy under Menander, Diphilus, and Philemon. There appeared few philosophers of note after the days of Plato and Aristotle, and whoever has made himself acquainted with Isocrates and his school, is acquainted with the summit of Grecian eloquence.' The same remark applies to other countries. The great Roman writers are included under the single age of Octavius: Leo X. was the Augustus of modern Italy; the reign of Louis XIV. was the brilliant period of French letters; that of Charles II. of the English."

This rule applies equally to the fine arts. Hoc idem, proceeds Velleius, evenisse plastis, pictoribus, sculptoribus, quisquis temporum institerit notis reperiet, et eminentiam cujusque operis artissimis temporum claustris circumdatum. Of this union of men of genius in the same age, Causus, he says, quum sempre requiro, numquam invenio quas veras confidam. It seems to him probable that when a man finds the first station in art occupied by another, he considers it as a post that has been rightfully seized on, and no longer aspires to the possession of it, but is humiliated, and contented to follow at a distance. But this solution does not satisfy my mind. It may indeed account to us why no other Michael Angelo, or Raffaelle, has ever appeared; but it does not satisfy me why these two, and the others before mentioned, should all have appeared in the same age. I am of opinion that the age is always influenced by certain principles, universally adopted both by professors of the art, and by amateurs; which principles happening at a particular period to be the most just and accurate of their kind, produce in that age some preëminent professors, and a number of good ones. These principles change through the instability of all human affairs, and the age partakes in the change. I may add that these happy periods never occur without the circumstance of a number of princes and influential individuals rivalling each other in the encouragement of works of taste; and amidst these there always arise persons of commanding genius, who give a bias and tone to art. The history of sculpture in Athens, where munificence and taste went hand in hand, favors my opinion, and it is confirmed by this golden period of Italian art. Nevertheless, I do not pretend to give a verdict on this important question, but leave the decision of it to a more competent tribunal.

GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.

"The reign of Augustus was the golden age of science and the fine arts. Grecian architecture at that period was so encouraged at Rome, that Augustus could with reason boast of having left a city of marble where he had found one of brick. In the time of the Cæsars, fourteen magnificent aqueducts, supported by immense arches, conducted whole rivers to Rome, from a distance of many miles, and supplied 150 public fountains, 118 large public baths, besides the water necessary for those artificial seas in which naval combats were represented: 100,000 statues ornamented the public squares, the temples, the streets, and the houses; 90 colossal statues raised on pedestals; 48 obelisks of Egyptian granite, besides, adorned various parts of the city; nor was this stupendous magnificence confined to Rome, or even to Italy. All the provinces of the vast empire were embellished by Augustus and his successors, by the opulent nobles, by the tributary kings and the allies, with temples, circuses, theatres, palaces, aqueducts, amphitheatres, bridges, baths, and new cities. We have, unfortunately, but scanty memorials of the architects of those times; and, amidst the abundance of magnificent edifices, we search in vain for the names of those who erected them. However much the age of Augustus may be exalted, we cannot think it superior, or even equal to that of Alexander: the Romans were late in becoming acquainted with the arts; they cultivated them more from pride and ostentation than from feeling. Expensive collections were frequently made, without the possessors understanding their value; they knew only that such things were in reputation, and, to render themselves of consequence, purchased on the opinion of others. Of this, the Roman history gives frequent proofs. Domitian squandered seven millions in gilding the temple of Jupiter Capitolinus only, bringing from Athens a number of columns of Pentelic marble, extremely beautiful, and of good proportion, but which were recut and repolished, and thus deprived of their symmetry and grace. If the Romans did possess any taste for the fine arts, they left the exercise of it to the conquered—to Greece, who had no longer her Solon, Lycurgus, Themistocles, and Epaminondas, but was unarmed, depressed, and had become the slave of Rome. 'Græcia capta ferum victorem cepit.' How poor are such triumphs to those gained by the fine arts! The means by which Greece acquired and maintained such excellence, is worthy of an inquiry. It is generally allowed that climate and government have a powerful influence on the intellect. Greece was peculiarly favored in these two points; her atmosphere was serene and temperate, and being divided into a number of small, but independent states, a spirit of emulation was excited, which continually called forth some improvement in the liberal arts. The study of these formed a principal branch of education in the academies and schools, to which none but the free youth were admitted. To learning alone was the tribute of applause offered. At those solemn festivals to which all Greece resorted, whoever had the plurality of votes was crowned in the presence of the whole assembly, and his efforts afterwards rewarded with an immense sum of money; sometimes a million of crowns. Statues, with inscriptions, were also raised to those who had thus distinguished themselves, and their works, or whatever resembled them, for ever after bore their names; distinctions far more flattering than any pecuniary reward. Meticus gave his to a square which he built at Athens, and the appellation of Agaptos was applied to the porticos of the stadium. Zeuxis, when he painted Helen, collected a number of beautiful women, as studies for his subject: when completed, the Agrigentines, who had ordered it, were so delighted with this performance, that they requested him to accept of five of the ladies. Thebes, and other cities, fined those that presented a bad work, and looked on them ever afterwards with derision. The applause bestowed on the best efforts, was repeated by the orators, the poets, the philosophers, and historians; the Cow of Miron, the Venus of Apelles, and the Cupid of Praxiteles, have exercised every pen. By these means Greece brought the fine arts to perfection; by neglecting them, Rome failed to equal her; and, by pursuing the same course, every country may become as refined as Greece."—Milizia.

NERO'S GOLDEN PALACE.

According to Tacitus, Nero's famous golden palace was one of the most magnificent edifices ever built, and far surpassed all that was stupendous and beautiful in Italy. It was erected on the site of the great conflagration at Rome, which was attributed by many to the wickedness of the tyrant. His statue, 120 feet high, stood in the midst of a court, ornamented with porticos of three files of lofty columns, each full a mile long; the gardens were of vast extent, with vineyards, meadows, and woods, filled with every sort of domestic and wild animals; a pond was converted into a sea, surrounded by a sufficient number of edifices to form a city; pearls, gems, and the most precious materials were used everywhere, and especially gold, the profusion of which, within and without, and ever on the roofs, caused it to be called the Golden House; the essences and costly perfumes continually shed around, showed the extreme extravagance of the inhuman monster who seized on the wealth of the people to gratify his own desires. Among other curiosities was a dining-room, in which was represented the firmament, constantly revolving, imitative of the motion of the heavenly bodies; from it was showered down every sort of odoriferous waters. This great palace was completed by Otho, but did not long remain entire, as Vespasian restored to the people the lands of which Nero had unjustly deprived them, and erected in its place the mighty Colosseum, and the magnificent Temple of Peace.

NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.

According to Pliny, Saurus and Batrarchus, two Lacedemonian architects, erected conjointly at their own expense, certain temples at Rome, which were afterwards enclosed by Octavius. Not being allowed to inscribe their names, they carved on the pedestals of the columns a lizard and a frog, which indicated them—Saurus signifying a lizard, and Batrarchus a frog. Milizia says that in the church of S. Lorenzo there are two antique Ionic capitals with a lizard and a frog carved in the eyes of the volutes, which are probably those alluded to by Pliny, although the latter says pedestal. Modern painters and engravers have frequently adopted similar devices as a rebus, or enigmatical representation of their names. See Spooner's Dictionary of Painters, Engravers, Sculptors, and Architects; Key to Monograms and Ciphers, and the twenty-four plates.

TRIUMPHAL ARCHES.

Triumphal arches are monuments consisting of a grand portico or archway, erected at the entrance of a town, upon a bridge, or upon a public road, to the glory of some celebrated general, or in memory of some important event. The invention of these structures is attributed to the Romans. The earliest specimens are destitute of any magnificence. For a long time, they consisted merely of a plain arch, at the top of which was placed the trophies and statue of the triumpher. Subsequently the span was enlarged, the style enriched, and a profusion of all kinds of sculptures and ornaments heaped upon them. The triumphal arches varied greatly in point of construction, form, and decoration. The arch of Constantine at Rome is the best preserved of all the great antique arches; the Arch of Septimus Severus at the foot of the Capitoline hill, greatly resembles that of Constantine. The Arch of Titus is the most considerable at Rome. The Arch of Benvenuto, erected in honor of Trajan, is one of the most remarkable relics of