Sculpture

When the Cardinal Barberini, who had been the warm friend, patron, and protector of Bernini, was elevated to the pontificate, the latter went to offer his congratulations to his benefactor. The Pope received him in the most gracious manner, uttering these memorable words, "E gran fortuna la vostra, Bernini, di vedere Papa, il Card. Maffeo Barberini; ma assai maggiore è la nostra, che il Cav. Bernini viva nel nostro pontificato;" (It is a great piece of fortune for you, Bernini, to behold the Cardinal Maffeo Barberini Pope; but how much greater is ours, that the Cav.

"What will posterity think of the madness of the French government and the exasperation of public feeling in a nation like the French, so uniformly proud of military glory, when very shortly after the first arrival of their new monarch, Louis XVIII., an order was issued for leveling with the dust that proud monument of their victories, the famous column and statue of Napoleon in the Place Vendôme cast from those cannon which their frequent victories over the Austrians had placed at their disposal?

Douw designed everything from nature, and with such exactness that each object appears as perfect as nature herself. He was incontestibly the most wonderful in his finishing of all the Flemish masters, although the number of artists of that school who have excelled in this particular style are quite large. The pictures he first painted were portraits, and he wrought by the aid of a concave mirror, and sometimes by looking at the object through a frame of many squares of small silk thread.

This eminent painter was born at Utrecht, in 1519.

Philip II. was accustomed to honor More by frequent visits to his studio, on which occasions he treated him with extraordinary familiarity. One day, in a moment of condescension and admiration, the monarch jocosely slapped More on the shoulder which compliment the painter, in an unguarded moment, playfully returned by smearing his hand with a little carmine from his brush.

Emulation carries with it neither envy nor unfair rivalry, but inspires a man to surpass all others by superiority alone. Such was the emulation and rivalry between Zeuxis and Parrhasius, which contributed to the improvement of both; and similar thereto was that which inspired the master-minds of Michael Angelo and Raffaelle; of Titian and Pordenone; of Albert Durer and Lucas van Leyden; of Agostino and Annibale Caracci; and we may add, in our own country, of Thomas Cole and Durand.

When the Allies entered Paris in 1815, they found in the gallery of the Louvre about two thousand works of art—the gems of the world in painting and antique sculpture—mostly the spoils of war, deposited there by the Emperor Napoleon. The selection of these works was entrusted to a commission, at the head of whom was the Baron Denon, who accompanied the Emperor in all his expeditions for this purpose. The Louvre, at this time, was the acknowledged emporium of the fine arts. The grand determination of Napoleon to place France highest in art among the nations, did not rest here.

His mind was naturally turned to precision and exactness, and it is evident that he would have shown this quality in any other profession, had he practiced another. Methodical and regular in all his habits, he prepared and ground his own colors, and made his own brushes of a peculiar shape, and he kept them locked up in a case made for the purpose, that they might be free from soil.

More was employed by most of the princes of Europe, who liberally rewarded him, and at every court his paintings were beheld with admiration and applause, but at none more than at those of Spain and England. He acquired an ample fortune. When he was in Portugal, the nobility of that country, in token of their esteem, presented him, in the name of their order, a gold chain valued at a thousand ducats. He closely imitated nature.

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