Sculpture

While Poussin was thus pursuing his studies at Rome, he was left by the death of his friend Marino, in a state of extreme distress, and was obliged to dispose of his paintings at the most paltry prices, to procure the necessaries of life. Filibien says that he sold the two fine battle-pieces which were afterwards in the collection of the Duke de Noailles for seven crowns each, and a picture of a Prophet for eight livres.

Among the strolling parties of monks and friars, cardinals and prelates, Roman princesses and English peers, Spanish grandees and French cavaliers which crowded the Pincio, towards the latter end of the seventeenth century, there appeared two groups, which may have recalled those of the Portico or the Academy, and which never failed to interest and fix the attention of the beholders. The leader of one of these singular parties was the venerable Niccolo Poussin!

The subjects of Brower were of the lowest order, representing the frolics of his pot companions; but his expression is so lively and characteristic, his coloring so transparent and brilliant, and the passions and movements of his figures are so admirably expressed, that his works have justly elicited the applause of the world. They are highly valued, and in consequence of his irregular life, are exceedingly scarce. Brower also etched a few plates in a very spirited style.

A labyrinth, with the ancients, was a building containing a great number of chambers and galleries, running into one another in such a manner as to make it very difficult to find the way through the edifice. The most famous was the Egyptian labyrinth, situated in Central Egypt, above Lake Moeris, not far from Crocodilopolis, in the country now called Fejoom. Herodotus, who visited and examined this edifice with great attention, affirms that it far surpassed everything he had conceived of it.

José Antonilez, a Spanish painter, studied under Francisco Rizi at Madrid. When the latter was occupied in preparing some new scenery for the theatre at Buon Retiro, Antonilez spoke of him as a painter of foot-cloths—an expression which was soon communicated to his master. Rizi immediately administered a wholesome practical rebuke, by commanding the attendance of Antinolez on his Majesty's service, and ordering him to execute a piece of painting in distemper.

Modern Rome is about thirteen miles in circuit, and is divided by the Tiber into two parts. In 1830, Rome contained 144,542 inhabitants, 35,900 houses, 346 churches, 30 monasteries, and upwards of 120 palaces. The view of the majestic ruins; the solemn grandeur of the churches and palaces; the recollections of the past; the religious customs; the magic and almost melancholy tranquillity which pervades the city; the enjoyment of the endless treasures of art—all conspire to raise the mind of the traveler to a high state of excitement.

Rosalba used to say, "I have so long been accustomed to study features, and the expression of the mind by them, that I know people's tempers by their faces." She frequently surprised her friends by the accuracy of character which she read in the faces of persons who were entire strangers to her.

A brighter day now dawned upon Poussin. What had happened to him, which would have been regarded by most young artists as the greatest misfortune and sunk them in despondency and ruin, proved of the greatest advantage to him. The Cardinal Barberini having returned to Rome, gave him some commissions, which he executed in such an admirable manner as at once established his reputation among those of the greatest artists of the age. The first work he executed for his patron was his celebrated picture of the Death of Germanicus, which Lanzi pronounces one of his finest productions.

Poussin is, in the strict sense of the word, an historical painter.

Michael Angelo is too intent on the sublime, too much occupied with the effect of the whole, to tell a common history. His conceptions are epic, and his persons, and his colors, have as little to do with ordinary life, as the violent action of his actors have resemblance to the usually indolent state of ordinary men.

The name of this artist was Philip Roos, and he was born at Frankfort in 1655. He early showed a passion for painting, and exhibited such extraordinary talents that the Landgrave of Hesse took him under his protection, and sent him to Italy with a pension sufficient for his support. To facilitate his studies, he established himself at Tivoli (whence his name), where he kept a kind of menagerie, and on account of the number and variety of the animals, his house was called Noah's Ark.