Engraving

This eminent Dutch painter was born at Amsterdam in 1621. He possessed extraordinary and varied talents. He painted history, portraits, landscapes, sea-ports, animals, and dead game, in all which branches he showed uncommon ability; but his greatest excellence lay in painting Italian sea-ports, of a large size, enriched with noble edifices, and decorated with figures representing embarkations and all the activity of commercial industry. In these subjects he has scarcely been surpassed except by his pupil, Nicholas Berghem.

This eminent painter was born at San Angiolo, in the Duchy of Urbino, in 1529. At a very early age he evinced a passion for art and a precocious genius. After having received instruction from his father, a painter of little note, his extraordinary enthusiasm induced him, at fourteen years of age, to go to Rome, without a penny in his pocket, where he passed the day in designing, from the works of Raffaelle.

"The emperor was, most indisputably, the monarch who contributed in the greatest degree to the embellishment of Paris. How many establishments originated under his reign! nevertheless, on beholding them, the observer has but a faint idea of all he achieved; since every principal city of the empire witnessed alike the effects of his munificence and grandeur of mind; the streets were widened, roads constructed and canals cut; even the smallest towns experienced improvements, the result of that expanded genius which was daily manifested.

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, the brother of Taddeo, was employed by Pope Gregory XIII. in the Pauline chapel. While proceeding with his work, however, he fell out with some of the Pope's officers; and conceiving himself treated with indignity, he painted an allegorical picture of Calumny, introducing the portraits of all those individuals who had offended him, decorated with asses' ears. This he caused to be exhibited publicly over the gate of St. Luke's church, on the festival day of that Saint.

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 small picture which once adorned the tabernacle of the Capuchin high altar at Seville, is interesting on account of its legend, as well as its extraordinary artistic merits. Murillo, whilst employed at the convent, had formed a friendship with a lay brother, the cook of the fraternity, who attended to his wants and waited on him with peculiar assiduity. At the conclusion of his labors, this Capuchin of the kitchen begged for some trifling memorial of his pencil. The painter was quite willing to comply, but said that he had exhausted his stock of canvas.

The tubes forming the viaducts, rest upon two abutments and three piers, called respectively the Anglesea abutment and pier, the Carnarvon abutment and pier, and the Britannia or central pier, built upon the Britannia rock in the middle of the straits, which gives name to the bridge. The Anglesea abutment is 143 feet 6 inches high, 55 feet wide, and 175 feet long to the end of the wings, which terminate in pedestals, supporting colossal lions on either side, 25 feet 6 inches in length, 12 feet 6 inches high, and 8 feet broad, carved out of a single block of Anglesea marble.

Pacheco relates a remarkable effect produced by a picture from the pencil of Methodius, who resided at Constantinople about 854. He was invited to Nicopolis by Bogoris, king of the Bulgarians, to decorate a banqueting-hall in his palace. That prince left the choice of his subject to the artist, limiting him to those of a tragic or terrible character.