S. Spooner

The Bishop of Malaga, being engaged in improving his Cathedral church, invited Cano to that city, for the purpose of designing a new tabernacle for the high altar, and new stalls for the choir. He had finished his plans, very much to the prelate's satisfaction, when he was privately informed that the Intendant of the works proposed to allow him but a very trifling remuneration. "These drawings," said Cano, "are either to be given away, or to fetch 2,000 ducats;" and packing them up, he mounted his mule, and took the road to Granada.

"Among other works," says Vasari, "Donato received an order for a crucifix in wood, for the church of Santa Croce at Florence, on which he bestowed extraordinary labor. When the work was completed, believing himself to have produced an admirable thing, he showed it to Filippo di Ser Brunellesco, his most intimate friend, desiring to have his opinion of it. Filippo, who had expected from the words of Donato, to see a much finer production, smiled somewhat as he regarded it, and Donato seeing this, entreated him by the friendship existing between them, to say what he thought of it.

This eminent Flemish painter was born at Antwerp in 1599. His father early gave him instruction in drawing; he was also instructed by his mother, who painted landscapes, and was very skillful in embroidery. He studied afterwards under Henry van Balen, and made rapid progress in the art; but attracted by the fame of Rubens, he entered the school of that master, and showed so much ability as to be soon entrusted with the execution of some of his instructor's designs.

Poussin, in his directions to artists who came to study at Rome, used to say that "the remains of antiquity afforded him instruction that he could not expect from masters;" and in one of his letters to M.

This eminent French engraver was born at Nancy, in Lorraine, in 1593. He was the son of Jean Callot, a gentleman of noble family, who intended him for a very different profession, and endeavored to restrain his natural passion for art; but when he was twelve years old, he left his home without money or resources, joined a company of wandering Bohemians, and found his way to Florence, where some officer of the court, discovering his inclination for drawing, placed him under Cantagallina.

by S. Spooner

After attaining a high reputation in Italy, Cambiaso was invited to Madrid by Philip II. of Spain.

In 1833, the French removed the smallest of the two obelisks which stood before the propylon of the temple of Luxor to Paris, and elevated it in the Place de la Concorde. The shaft is 76 feet high, and eight feet wide on the broadest side of the base; the pedestal is 10 feet square by 16 feet high. Permission for the removal of both the obelisks having been granted to the French government by the Viceroy of Egypt, a vessel constructed for the purpose was sent out in March, 1831, under M.

Skillful as Cano was with the pencil, he loved the chisel above all his other artistic implements. He was so fond of sculpture that, when wearied with painting, he would take his tools, and block out a piece of carving. A disciple one day remarking that to lay down a pencil and take up a mallet, was a strange method of repose, he replied, "Blockhead! don't you see that to create form and relief on a flat surface, is a greater labor than to fashion one shape into another?"

This old Florentine sculptor was born in 1383. He was the first of the moderns who forsook the stiff and gothic manner, and endeavored to restore to sculpture the grace and beauty of the antique. He executed a multitude of works in wood, marble and bronze, consisting of images, statues, busts, basso-relievos, monuments, equestrian statues, etc. which gained him great reputation, and some of which are much esteemed at the present day. He was much patronized by Cosmo de' Medici, and his son Pietro.