Painting

Palomino relates that a superb eagle, of the bearded kind, having been captured in the royal chase, near the Prado, the king (Philip III.) gave orders to Pantoja to paint its likeness, which he did with such truthfulness that the royal bird, on seeing it, mistook it for a real eagle, and attacked the picture with such impetuosity that he tore it in pieces with his beak and talons before they could secure him. The indignant bird was then tied more carefully, and the portrait painted over again.

Champollion, the famous explorer of Egyptian antiquities, holds the following language at the end of his fifteenth letter, dated at Thebes. "It is evident to me, as it must be to all who have thoroughly examined Egypt or have an accurate knowledge of the Egyptian monuments existing in Europe, that the arts commenced in Greece by a servile imitation of the arts in Egypt, much more advanced than is vulgarly believed, at the period when the Egyptian colonies came in contact with the savage inhabitants of Attica or the Peloponnesus.

Many persons suppose, and maintain, that the grandeur of the monuments of the ancients, and the great size of the stones they employed for building purposes, prove that they understood mechanics better than the moderns. The least knowledge in mechanics, however, will show this opinion to be erroneous. The moderns possess powers which were unknown to the ancients, as the screw, and the hydraulic press, the power of which last is only limited by the strength of the machinery.

The genius of Poussin seems to have gained vigor with age. Nearly his last works, which were begun in 1660, and sent to Paris 1664, were the four pictures, allegorical of the seasons, which he painted for the Duc de Richelieu. He chose the terrestrial paradise, in all the freshness of creation, to designate spring. The beautiful story of Boaz and Ruth formed the subject of summer. Autumn was aptly pictured, in the two Israelites bearing the bunch of grapes from the Promised Land. But the masterpiece was Winter, represented in the Deluge.

When Donatello was very sick, certain of his kinsfolk, who were well to do in the world, but had not visited him in many years, went to condole with him in his last illness. Before they left, they told him it was his duty to leave to them a small farm which he had in the territories of Prato, and this they begged very earnestly, though it was small and produced a very small income.

In the Cathedral at Worms, over the altar, is a very old painting, in which the Virgin is represented throwing the infant Jesus into the hopper of a mill; while from the other side he issues, changed into wafers or little morsels of bread, which the priests are administering to the people.

Hearing of the great encouragement extended to the arts by Charles I., he determined to visit England in 1629. While there, he lodged with his friend and countryman, George Geldorp the painter, and expected to be presented to the king; but his hopes not being realized, he visited Paris; and meeting no better success there, be returned to his own country, with the intention of remaining there during the rest of his life. Charles, however, having seen a portrait by Vandyck, of the musician, Fic.

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.

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.

Thebes, an ancient city and capital of Egypt, and the oldest city in the world, was situated in Upper Egypt, on both sides of the Nile, about two hundred and sixty miles south of Cairo. Thebes is "the city of a hundred gates," the theme and admiration of ancient poets and historians, and the wonder of travelers—"that venerable city," in the language of Dr.

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