Architecture

Of the numerous means employed to commemorate the achievements of Napoleon, the public buildings and monuments of France bear ample witness. Indeed, Bonaparte's name and fame are so engrafted with the arts and literature of France, that it would be impossible for the government to erase the estimation in which he is held by the French people.

The eminent American sculptor Greenough, who has recently (1853) departed this life, wrote several years ago a very interesting account of a wonderful picture at Florence, from which the following is extracted:

Houbraken relates several instances of his remarkable facility of hand. He frequently painted a large landscape and inserted all the figures in a single day—feats so much admired in Salvator Rosa, and Gaspar Ponssin. On one occasion he commenced and finished three portraits, on canvass, of three-quarters size, with heads as large as life, from sun-rise to sun-set, on a summer's day. Lanzi warns all artists, especially the youthful aspirant, not to imitate such expedition, as they value their reputation.

Federigo Zuccaro was invited to Madrid by Philip II. to execute some frescos in the lower cloister of the Escurial, which, failing to give satisfaction to his royal patron, were subsequently effaced, and their place supplied by Pellegrino Tibaldi; the king nevertheless munificently rewarded him.

When Napoleon had decided that a stupendous fountain should occupy the centre of the area where the celebrated state prison of the Bastille stood, the several artists, employed by the government, were ordered to prepare designs for the undertaking, and numerous drawings were in consequence sent in for the emperor's inspection.

"La Festra di Cattreda, or commemoration of the placing of the chair of St. Peter, on the 18th of January, is one of the most striking ceremonies, at Rome, which follow Christmas and precede the holy week. At the extremity of the great nave of St. Peter's, behind the high altar, and mounted upon a tribune designed or ornamented by Michael Angelo, stands a sort of throne, composed of precious materials, and supported by four gigantic figures. A glory of seraphim, with groups of angels, shed a brilliant light upon its splendors.

Was the son of the preceding, and born at Amsterdam in 1644. Possessing less varied talent than his father; he was unrivaled in painting all sorts of animals, huntings, dead games, birds, flowers, and fruit. He was appointed Court painter to the Elector Palatine, with a liberal pension, and decorated his palace at Bernsberg with many of his choicest works. He painted in one gallery a series of pictures representing the Hunting of the Stag; and in another the Chase of the Wild Boar, which gained him the greatest applause. There are many of his best works in the Dusseldorf Gallery.

The long and honorable race of Poussin was now nearly run. Early in the following year, 1665, he was slightly affected by palsy, and the only picture of figures that he painted afterwards was the Samaritan Woman at the Well, which he sent to M. de Chantelou, with a note, in which he says, "This is my last work; I have already one foot in the grave." Shortly afterwards he wrote the following letter to M. Felibien: "I could not answer the letter which your brother, M. le Prieur de St.

"The oldest oil painting now in existence, is believed to be one of the Madonna and infant Jesus in her arms, with an Eastern style of countenance. It is marked DCCCLXXXVI. (886). This singular and valuable painting formed part of the treasures of art in the old palace of the Florentine Republic, and was purchased by the Director Bencivenni from a broker in the street, for a few livres."

There were many colossal statues of Memnon in Egypt, but the most remarkable were the two in the Memnonium or palace of Memnon, at Thebes. The largest is of rose-colored granite, and stood in the centre of the principal court; its height was sixty-four feet, and its remains are scattered forty feet around it.