Sculpture

This eminent painter was born at Utrecht, in 1519.

When the Cardinal Barberini, who had been the warm friend, patron, and protector of Bernini, was elevated to the pontificate, the latter went to offer his congratulations to his benefactor. The Pope received him in the most gracious manner, uttering these memorable words, "E gran fortuna la vostra, Bernini, di vedere Papa, il Card. Maffeo Barberini; ma assai maggiore è la nostra, che il Cav. Bernini viva nel nostro pontificato;" (It is a great piece of fortune for you, Bernini, to behold the Cardinal Maffeo Barberini Pope; but how much greater is ours, that the Cav.

When the Allies entered Paris in 1815, they found in the gallery of the Louvre about two thousand works of art—the gems of the world in painting and antique sculpture—mostly the spoils of war, deposited there by the Emperor Napoleon. The selection of these works was entrusted to a commission, at the head of whom was the Baron Denon, who accompanied the Emperor in all his expeditions for this purpose. The Louvre, at this time, was the acknowledged emporium of the fine arts. The grand determination of Napoleon to place France highest in art among the nations, did not rest here.

by S. Spooner

His mind was naturally turned to precision and exactness, and it is evident that he would have shown this quality in any other profession, had he practiced another. Methodical and regular in all his habits, he prepared and ground his own colors, and made his own brushes of a peculiar shape, and he kept them locked up in a case made for the purpose, that they might be free from soil.

Philip II. was accustomed to honor More by frequent visits to his studio, on which occasions he treated him with extraordinary familiarity. One day, in a moment of condescension and admiration, the monarch jocosely slapped More on the shoulder which compliment the painter, in an unguarded moment, playfully returned by smearing his hand with a little carmine from his brush.

Emulation carries with it neither envy nor unfair rivalry, but inspires a man to surpass all others by superiority alone. Such was the emulation and rivalry between Zeuxis and Parrhasius, which contributed to the improvement of both; and similar thereto was that which inspired the master-minds of Michael Angelo and Raffaelle; of Titian and Pordenone; of Albert Durer and Lucas van Leyden; of Agostino and Annibale Caracci; and we may add, in our own country, of Thomas Cole and Durand.

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.

There are numerous catacombs in Egypt, the principal of which are at Alexandria; at Sakkara, near Cairo; at Siut, near the ancient Lycopolis or City of the Wolf; at Gebel Silsilis, on the banks of the Nile between Etfu and Ombos, the site of one of the principal quarries of ancient Egypt; and at Thebes. Many of these are of vast extent, and were doubtless formed by quarrying the rocks and mountains for building materials.

Jean Ranc, an eminent French portrait painter, was sometimes annoyed by impertinent and vexatious criticism. Having exhausted all his talent upon a particular portrait, the friends of the sitter refused to be pleased, although the sitter himself appears to have been well satisfied. In concert with the latter, Ranc concerted a plan for a practical retort. After privately painting a copy of the picture, he cut the head out of the canvas, and placed it in such a position that the original could supply the opening with his own veritable face, undetected.