Architecture

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.

At the age of twenty, Vandyck set out for Italy, but delayed some time at Brussels, fascinated by the charms of a peasant girl of Saveltheim, named Anna van Ophem, who persuaded him to paint two pictures for the church of her native place—a St. Martin on horseback, painted from himself and the horse given him by Rubens; and a Holy Family, for which the girl and her parents were the models.

In Smith's Catalogue raisonné may be found a descriptive account of upwards of three hundred and fifty of the works of this great artist, in many instances tracing the history from the time they were painted, the names of the present possessors, and the principal artists by whom they have been engraved, together with many interesting particulars of the life of the painter. There are eight of his pictures in the English National Gallery, fourteen in the Dulwich Gallery, and many in the possession of the nobility of England.

Marino was born at Naples. Some political disturbances, in which he and his family had taken part, obliged him to quit that kingdom, and he took refuge successively in several of the petty courts of Italy. His talent for satire involved him in various literary disputes, as well as some political quarrels, and he never resided long in one place, until Mary of Medicis invited him to the court of France, where he passed much of his life, and where he wrote most of his poems, which, though licentious both in matter and style, contain numerous beauties, and are full of classical imagery.