HAND-BOOK

STUDENTS'

THE

AN

ART

ELEMENTARY

I STORY

OF

ART

OF
SCULPTURE

ARCHITECTURE,
PAINTING

Mrs.

By
n'THOR

OF-

"LIFE

ARTHUR
OF

RAPUAFI.

"THE

D'lRBISOr

FOURTH
NEWLY

(N. D'Anvers)

lBELL

ART

GUIDE

TO

EUROPE."

EDITION

REVISED

BY

THE

AUTHOR

NIVERSITT;

OF
^

NEW

LONDON

YORK:
:

CHARLES

SAMPSON

SCRIBNER'S

LOW,

MARSTON

SONS
AND

Llmited
ST.

DUNSTAN'S

HOUSE,

1895

FETTER

LANE

COMPANY

S-c.

This

work

is

Text-Book

AH.

of

Art

the

for
It

is

ly

also

the

adopted

placed
Science

Examination

the

upon

arid

Art

Glat

Buks,

List

Commissioners

Service

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[All

RiaiARD

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tlie

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AVTH0R8

NOTE

continued

The

to

date

and

America
the

the

first edition

Fine

the

in

Arts

general public

to

as

history of Architecture, Sculpture, and

however,

great and

of Art

is

beautifier

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exponent

and

artists

fully recognized, not

now

reflex

of the

additions

Museum,

London,

National

Gallery nearly

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every

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representativeexamples

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EDITION.

carefully revised

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author, who

FOURTH

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with

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histories,

bewildering

difficulty

time

magazines
and

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the

art

art

development

art

in

of

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galleries

from

illustrated

pamphlets,

in

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increase

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held

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every

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EDITION.

FOURTH

countless

in

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AUTHOR

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":r^-;,j^
TT

CONTENTS.

Book

ARCHITEOTIJRE.

I."

PAOR

iNTRODrcTiOK
Egtptiak

Materialfl and

"

Pyramids"

"

Temples

Assyriak,

Nineveh

PcraepoUs

"

Luxor, Rhamesion,

Earnak,

at

Kom

Ombo,
4

Pebsian"

and

^Tomb

"

Nimrud"

Khorsabad"

Koyunjik

"

of Darius

andLydian"

Phrygian,

Lyciax,

building

of

Phil"

Ipsambul, Dinderah,
Babtloniak,

methods

12

Rock-cut

Tombs"

of Midas"

Grave

Tumulus

of Tantalus
Indian"

17

Topes

at

Sanchi, "c.

Rock-cut

"

Caves

"

Temples

Mosques

"

"

Pagodas

"Tombs
Chinese

20

Early

Peruvian,

American,
Monoliths

Teocallis"

"

Palace

of Architecture:

Orders

Greek"

Buddhistic

Japanese"

and

"c."
Mexican,
Casa
de
Zayi"

of

Temples

Mausoleum

Amphitheatres"

Temples" Pagodas"

at

Ruins
las

of

23

Tita-Huanca"
at Uxmal

Athens"

The

Tower
.

Monjas

Acropolisat

"

Halicamassus-

Porcelain

Seven

25
.

Parthenon
Wonders

"

of the

27

World

Orders

Roman"

Coliseum"
Canicalla

"

^Amphitheatre"

"

Vases

42
....

T^e
The
Pantheon
Temples" Basilicas
Baths
of
Amphitheatres" Triumphal Arches"
Trajan Column"
Palaces
Pompeian Villas
"

Catacombs

"

"

"

Basilicas"

Mosaics

Saint

Sophia

"

Saint

Mark's, Venice

"

Cathedral

at Aix
.59

laChapelle
Rolf ANESQUE
Mahomedan
"

Mosque
IndU

Cathedrals

"

or

44

.65
.

Churches

"

Tombs

Architecture

of

Christian

Byzantine

"

"

"

"^^

"arly

of Volterra

Gate

ExRUscAN"

and

Saracenic
of Cordova

"

"

Churches

in

Germany, Italy,France, Spain

64

Minarets
Pavilions
Gateways" Mosque of Omar
Mosques at Constantinople and in
"

^The Alhambra

"

"

7"

CONTENTS.

PAOE

Gothic"

Walls
Grouiid-plans"

Cathedrals"

Introduction"

Buttresses-

and

Sculpturesin France
Cathedrals and Civic Buildingsin
Halls in the Netherlands"
Town
in
Palaces
and
Cathedrals
Italy"Cathedrals in Spain and
Germany
Portugal
Windows"

Gables

Triforium"

and
Clerestory

Piers"

"

"

"

The

Renaissance

Period,

Farnose
Third

1500

a.d.

Period, A.D.
:

Louvre"

Museum

in

Invalides.

in Berlin"

tothek and

In

Walhalla

Pinacothek

Madeleine

"

New

.101

at Verona

In

In

Germany

at

Opera

Castle of

Century

Hotel

"

Germany

In

and
.105

Theatre

in Dresden"

Ecole des Beaux

Ville.

de

The Townhall

Heidelberg

Museum

In France

Munich.
House

In

"

Ratisbon"

near

of

Spain : The Escurial" Cathedral

In the Netherlands

at Seville.

Nineteenth

the

Michelangelo"

Rome"

at

97

....

Chambord, Chenonceaux, Fontainebleau,and Blois

at

Jacquesat Antwerp.

Architecture

Peter's

Cathedral

1500"

to

Italy: Bernini and Borromini.

In

1800"

to

The

Townhall

Granada"
St.

1600

Chateaux

France

St.

1580"

1420

a.d.

and in Venice

Sansovino-Palladio-Palaces

Palace"

"The

to

Period,
in Rome

Palaces

and Palaces in Florence"

Second

First

Italy"

in

80

and

GlypS^.

Arts"

Italy:

Aero

della

'

PaceatMikn

108

Architecture

Great

in

Britain"

Roman

Remains"

Uriconium

and

Silchester

113
of Earl's Barton

AnglO'Saxon"ToweT

Church

Church

Bamack

"

The

"

Pyx-

house

114

J\ror9iMi""Cathedrals

Chichester,and

of

Canterbury,Peterborough,Rochester, Winchester,

Norwich"

Castles

116

Gothic"

Early English,a.d. 1189 to 1807" Westminster Abbey" Salisbury,

Lichfield,
121
Wells, Worcester, and Lincoln" Queen Eleanor's Crosses
.

Decorated, a.d.
Minster

"

1807

Round

to

York

1877"

Ely Cathedral"

Minster"

Beverley

Tower, Windsor

Perpendicular, a.d.

127

1877 to 1547"

Henry VII. 's Cliapel"King'sCollege,

Cambridge"
George'sChapel,Windsor" Churches in Somersetshire,
Gloucestershire,
Norfolk,and Suffolk Ro8l}m and Holyrood Chapels
180
Hampton Court Palace
St.

"

A.D.
Transitioned,

Holland

Mansions:

1546 to 1619"

House, Burleigh,"c.

"

"

Caius

Longleat,Wollaton,Hatfield,
College,
Cambridge ^The Schools,
"

Oxford

135

Eenaissance,
Oxford"

1620

A.D.

in

Churches

to

London"
House"

Mansion

presentday

"

Castle

"

AiicniTECTURB

OF

THE

"

"

British Museum

Gallery BridgewaterHouse"
Albert Memorial

Whitehall

Howard

^New Courts

NINETEENTH

St. Paul's Cathedral-

"

Blenheim
"

Bank

Traveller's Club

"

"

Radcliffe

of England

Houses

"

Library,
National

of Parliament

"

of Justice

CsNTUBY"

186

In Great Britain"

In America

140

CONTENTS.

SCULPTURE.

II."

Book

XI

PAUB

IXTRODUCTION

Egyptian"

Empire, 3645
Meinnon"
Memphis
Nineveh

Gem

521

154

156

Winged Bulls,"c.

Statues"

"

Statues
Peraepolis"

Bas-reliefs in

RC"

Bas-reliefs" The

Statues"

B.C."

Statues

Bas-reliefs at Nimrad

"

467

to

2668

to

Bronze

"

and

Persian,

"

Old

The

Sphinx of
Babylon

"Processes "Subjects Proportions 1 49

Sculpture

Materials used in

"

Behistan"

at

161

Engraving

I-vAsia

Minor

Indian,250
Chinkse

Syria

and

b.c.

Japanese

and

of Buddha

Colossal statues

"

at Sanchi

Tope

Statues

"

in bronze

"

King

"

and Goddesses"

Gods

"

bas-reliefs Colossal bas-reliefof

Rock-cut

"

of Buddha
Bronze

163
164

Eagle
165

"Statuettes
Perit
Greek

First

"

165

Mexico

and

Cypselus" Group
^The Discobolus

"

650

"

of

"

"

Second Feriod,ab, 490 to 400

of Zeus

to

in

of the

Pediment

"

Lion Gate at Mycenpe" Chest of

490 B.C.
Statues of Athletes
Statues"
Chryselephantine
ebony"
of
from
Tombs
from Xanthus
Selinus"
Temple
Metopes
.166
Temple at iEgina Statues at Tenea and Cyprus

Feriod, ab.

Statues

"

Theseus

The

"

b. c.

Statue of Athena"

"

Olympia

at

Parthenon

Frieze of the Erechtheium"

Third

Feriod, ah,

400

to 323

at Halicamaasus"

infant
Fuwiih

Dionysus

Feriod,

Children"
Etruscan

ab.

323

to

Bronze

of Cnidus

146

"

171

"

^The

"

B.c.

Bull"

Apoxyomenos

Chimaera

Florence

"

and

She-wolf

his

Gladiator

Dying

Lydian

.178

Laocoon

The

Pergamos"

Tombs^The
at

of Rhodes"

School

"

School of

Sculptureson

Statues"

"

"

"

Temple of Athena at Tegea" Mausoleum

Hermes
with
Apollo Sauroctonos"

B.C."

Wrestlers

Famese

The

Bas-reliefs and

"

"

The

Friezes

The

"

Caryatides

Venus
"

Statue
Chryselephantine
Doryphoros Temple
^Western Pediment
Metopes

of Melos

Venus

"

Tomb

181

in terracotta
Rome

at

"

Sarcophagi
Roman

(of Greek

Hercules

"

184

origin) The

Venus

First Feriod, 146

"

Feriod,A.D.

Marble
Titus
Third
"

"

Diana

"

and

Stag

"

Famese
187

14

A.D.

Statues

"

of

Pompey, Ca"sar,Augustus,

Eniperore
14 to

A. D.

of the

groups

Column

Feriod,A.D.

to

B.C.

and other Roman

Seeofnd

Apollo Belvedere

dei Medici

138"

Tiber

189

Pompeii and Herculaneum"

Arch
the Nile
Trajan Column"

Statues
and

at

"

of

191

of Antoninus
138

Portland Vase

"

to.Decline of the
Cameo

Empire" Eq.
cutting Engraved Gems
"

Statue

of M.

Aurelins
.198

CONTENTS.

Xll

PAOE

)( Early

Christian"
of SainU

Statnes

Carved

Ftr.*/ to
Marble

"

Tenth

tli" Catacombs"

Sarcophagi"EpiscopalChair

Bronze

of Maximianus

"

ivoryDiptychs

Romanesque

Tenth

"

195

and

Eleventh

Bronze

Ivorytablets"

covers"

Centuries

churches

Sculptureon

Cathedral

Cathedral

"

In

"

Germany

Hildesheim

at

of St. Bartholomew

Font

"

of St. Gilles

Beliquaries^Diptychs Book

"

doors of Hildesheim

Twejfth and Thirteenth Centuries"

"

In

Centuries"

Pediment

at Autun"

Le Mans

and

191*

The

Extern

Columns

"

Stone

Freising
front

West

front at Chartres"

West

at Horn

of

Crypt

In France

Liege.

at

West

in

Doorway

front of Ndtre

of

Dame,
Bourges
Cathedral.
In Italy: Sculptureson San Zeno,
at Amiens
Sculptures
Verona"
Bronze Gates of the Baptistery
and the
Baptistery,Parma
at

"

Paris

"

"

Cathedral
^tVa^

Gothic"

at Pisa

201

"
.

Period,

1226

a.d.

Chapelle,on

to

In

1400"

a.p.

front of Rheims, and

France:

La

in

Statues

in Cathedrals

of

Bouiges,
Philipthe Bold, and Moses Fountain
in St. Denis.
In Germany : Sculpturesat Treves
at Dijon Monuments
Cathedrals
and Strasburg
^iuBambergandNuremberg Beautiful Fountain
of Archbishop
at Nuremberg" Eq. Statue of St. George at Prague" Tomb
in
Cathedrals
In
at
Pisa, Orvieto,
Conrad, Cologne.
Italy:Sculptures
Siena,and Bologna" Campo Santo, Pisa Gates of the Baptistery
Pistoja,
Tombs
of the Scaligers
Statues in Cathedral and
at Verona
at Florence
Sainte

west

Beauvais, and Blois

Monument

"

to

"

"

"

"

"

"

in Florence

Churches
Renaissance

"

205

St.

In

In the FifteenthCentury
"

and Fonta Gaia at Lucca

George,

Florence

Bronze

"

Enamelled

"

Sforza,Malatesta,and

the

Gonzagas
"

of Ilaria del Carretto,

Tomb

Florence
Baptistery,

bas-reliefs

terra-cotta

of Cardinal

Tomb

Coleoni at Venice"

Italy:

Gates of

Jacopo

in San

Statue

"

Eq.

"

Miniato"

of

Statue

of

"Medals

of

Pa via

Decorations of the Certosa,near

21-3

Statues of Dayid and Moses, by Michelangelo

In the Sixteenth CteTi^wryPerseus at
Hercules and Cacus"
in the Medici Chapel,Florence
Tombs
"

"

Florence, and Diana

da

Bologna"

Renaissance

The

"

and at Chartres
"
"

Bruges.

at

"

Statuettes

Bernini

"

"

Groups

in the Louvre

Statues in St. Denis

des Innocents

Fontaine

"

In the Netherlands

Chimney-piece

The Alhambra
Marble groups at Toledo
Convents
Choir-stalls
Fountain
and
Ulm
Altar-shrinea
at
:
Germany

in wood

Statues and

groups

Houdon,

In France

Century

in the Louvre.

"

"

"

and

Bas-relief and Bronze Shrine at

ivory
"

Monument

"

/w the Seventeenth

Sculpture-

Giovanni
222

Spain :

of St. Sebald

Tomb

and

In
In

at Madrid.
"

Cathedral"
and

Mercury,by

"

Mademo

In the Sixteenth

at Rouen

Tombs

Fontainebleau,by Cellini

at

Cecilia,
by

St.

and

of Frederick

III. at Vienna

EighteenthCenturies

groups and Tombs

by

Canova.

"

In

Nuremberg
.

Italy: Groups by

In France

Statues

by Puget, Coysevox, Girardon, Couston, Bonchardon, .and

in the Gardens

of the Tuileriesand

and
Versailles,

in the louvre.

230

CONTENTS.

XIU

PAGE

In

Germany

"q.

In

Vienna.

of

Statue

Spain

the

and

Altar-piece

Elector

Great

Statues

of
Alouzo

by

Fountain

Saxony"

at

Cano

286
.

In

the

NineUerUh

waldsen

by

and

Bauch

France

Louvre,

British

Barye"

Sculpture"

"

Tombs

of

and

Henry

III.

of

Tomb

and

and

Norwich

Earl

of

modern

Eleanor

Cathedrals,

Warwick,

of

Arc,
240

on

in

Wells

Cathedral

Eleanor's
the

and

Wal-wick-

at

of

CeTUuries"Tomha

Queen

"

the

sculptors

Statues

"

in

Groups

"

Joan

"

\.

Bahdel.

Yon
groups

Houses

Sixteenth

Cathedral

Queen

others

Opera
by

groups

Thirteenth

and

Lincoln

Westminster"

and

Gloucester

Abbey

in

Sculptures

the

/m

on

and

and

the

Schwan-

and

by

Statues

David,
New

the

Statues

"

Frederick

Bietschel,

Armiuinus,

Column

Duret,

Groups
:

by Drake,

Thor-

by

Monuments

"

of

Statue

Eq.

Kiss"

by

ba8-relie"s

Dannecker

by

and

Groups

Rude,

Italy

Ariadne,

Yenddme

the

on

Pradier,

In

Westminster

and

and

Statues

Louise,

Horseback,

Groups

by

Versailles.

Queen

Statues
on

by

Denmark

Germany

of

"

Amazon

animals

In

Tomb

by

thaler"
In

Wolff.

Schadow"

Great,

In

Century"

Crosses

"

Chapter-House,
VII.

Henry

249
.

In

the

Scots,
at

and

Francis

de

Cross

Chazing

Vcre,

Elizabeth

Queen

Westminster

and

the

on

of
in

Coins

"

Bas-reliefs

Gibbons"

Tomhs

Century"

Seventeenth

and

Abbey

Medals
"

Queen

of

of

Charles

I.

Wood-carvings

"

Monument

"

Mary

Statue

Statues

on

Grinling

by
Bar

Temple

252
.

/"

the

Eighteenth
in

foreigners
Wilton,
In

the

Banks,

Fountain,

to

Duke

of

by Spence,

Ame"icax

Biographical

"

^Tinted

Statues

on

by

Macdonald,

and

Index

Children,
by

Venus,

and
of

Houses
Stevens
other

groups,

"

and

Bas-reliefs

"

Macdowell,

Wellington,

Sculpture

Bacon

Sleeping

"

Westmacott,

Marochetti

and

artists

by

Gibson

and

and

statues

Chantrey"
"

Statues

other

by

monuments

by

Flaxman

Eve

at

and

254

the

bas-reliefs
,

others

Parliament
Ino

Roubiliac

by

statues

Statues,

Abbey"

C7(Wi/ury"

by Bailey

and

Groups

"

Nollekeus,

Nineteenth

by Wyatt,
by

Century
Westminster

and

"

Richard

by
Bacchus,

Thomas

de

Cceur
"

by Foley

Lion,

Monument
"

Statues
256

260

263

LIST

ILLUSTRATIONS.

OF

ARCHITECTURE.
EXG.

PAOR

1.
2.

Pylon of the Temple of Rameses at Kamak

Sketch-map of cities of the Ancient World
Pyramid of Cheops,and Great Sphinx

Fa9ade of Tomh

3. Rock-cnt

Frontispiece

3
5

at Beni-hassan

4w

Pylon of

5.

Forecourt

6.

Ground-plan of south part

EgyptianTemple

an

of

at Eamak

Temple

of

Temple

at Kamak

9
....

EgyptianColimins

10

Pillar and Beam

10

10.

Capitalof

10

11.

Rock-cut

7, 8.
9.

Column

13.

Temple at Ip{(ambul,on the Nile

Egyptian Sphinx
Winged Eagle-headedFigure from Nimrud

14.

Winged

12.

15. An

Bulls

of

gateway

17. Column

14
15

slab from

Palace of

with

Koyunjik
from Persepolis
of Darius

19.
20.

Rock-cut

at

front of the Grave

of Midas

16
16

.17

18

Doganlu, in

Phrygia

19
.

..

Dagoba from Ceylon

22. Cave
23.

13

at Khorsabad

spiralornament
Part of Rock-cut Facade of the Tomb
Rock-cut
Tomb
at Myra in Lycia

21.

12

Assyrian Palace

16. Pavement

18.

11

Gate

of

20

21

Elephanta

Pyramid

to

Hindu

Temple

22

24. Pillar in Hindu

22

25.

24

Temple
JapanesePagoda

26. Palace of

26

27. Casa de las

27

29.

Zayi
Monjas at Uxmal
Sketch-map of Ancient Greece and Italy
Ground-planof Temple of Neptune at Paestum

30.

Doric Order.

From

31. Ionic Order.

From

28.

32. Corinthian

Order.

Temple

at Selinus

Temple

of Athene

From

Monument

31

(Minerva), Priene
of

28
.29

Athens
Lysicrates,

33
.

35

ILLUSTRATIONS.

OF

LIST

XVI

PAOE

ENO.

33.
34.

Temple of Neptune at Paestum

Temple of Theseus at Athens

36
...

...

.37
38

at Athens

35. Parthenon
36.

at Athens
Acropolis

37.

CaryatidPorch

39

of Erechtheium

40

38. Cloaca

43

39.

44

Maxima, Rome
Facade of Tomb at Castellaccio

40. Roman-Corinthian
40a.

45

Capital
Composite Capital

41. Section of
42. Ruins

Pantheon, Rome

Coliseum,Rome

of

4"
4*
4t

.........

of Constantine,Rome

43.

Arch

44.

Forum,
Trajan's

45.

Baths of Caracalla

with

Trajan'sColumn,

50

Rome

51

House

46. Interior of Roman

47. Interior of

49

52

Pompeian Basilica

48.

Ground-plan of old Basilica

49.

Justinian and his Suite

53

of San

Pietro,Rome

.56

57

50. Interior of Basilica of San

Paolo,Rome
in Classe,
at Ravenna
Apollinare

51.

Sant'

52.

Ground-planof Saint

53.

Saint

54.

Saint Mark's, Venice

54a.
55.

"

Pala

61

of Church

59.

Cathedral

of

65

of Gurk

Co

Cornice
of St,

66

Jak, Hungary

67

Spires

Church

63
...

at Hildesheim

CUhedral

Capital. From

Romanesque Arcaded

60. Double

'

68
.

of Schwartz

un
Rheindorf,

Rhine
.

.70

Basilica of San Miniato

62. St

Satumin

71

at Toulouse

72

63. St.

65.

60
....

62

Ground-planof St. Godehard

Doorway

64.

Constantinople

of San Marco, Venice

Golden Altar-piece
D'Oro,'*

58.

61.

59

Sophiaat Constantinople

56. Basket
57.

Sophia,at

58

Etienne,Caen (Abbaye aux

Romanesque Arches
Arabian Gateway at Iconium

66. Moorish
67. A

Pavilion

Doorway

68. The

73

74
76

Granada

near

77

in the Alhambra

Jumma

69. Ground-

Hommes)

Musjid,at

planof

78

Delhi

79

CologneCathedral

70. Interior of Beauvais

81

Cathedral

82

71.

Two-lightlancet

83

72.

Tracery of

83

73. Circular

or

later date
Rose

74. 75, 76. Three

Window

Gothic

CapiUil"

84

.85

XVII

ILLUSTRATIONS.

OF

LIST

PAGE

ESQ.

77. Rheims

Cathedral"

West

Seat from

Wells

78. Miaeiere
79. aoth-hall
80. Charch

at

of St

Cathedral

87
88

Ypres

Catherineat Oppenheim

89
90
90

Norway
Hitterdal,

at

Florence,with Giotto's Campanile

Cathedral of Siena,
(Fa^e by Giovanni Pvsaiw)

83. Duomo
84.

86

at Lubeck

81. Rathhans
82. Churct

Front

91

of

93
....

94

85. Clfcd'Oro,Venice
86.

87. Conrt
88.
89.

96

Burgos Cathedral

97

of Cancellaria Palace at Rome

98

Ospedale Maggiore,Milan. FUarete

Venice.
Palazzo Ycndramin
Calergi,

.99

Fietro Lombardo

100

Saint Peter's,
at Rome, with Bernini's Colonnade
91. Biblioteca of San Marco, Venice.
Jacopo Saiisaviiio

90.

....

102

....

Valmarano, Vicenza.

92. Palazzo
93.

Loggiaof

94. Ch"tean

Palazzo del

of

FaUadio

Verona.
Consiglio,

Fra

CHocattdo

.104
.

106

Chenonceauz, on Loire

95.

Facade of Invalides,Paris.

96.

Royal Theatre,Berlin. Schinkd

New
Opera House, Paris. Gamier

97.

.103
.

107

Maimard

109
Ill

.116

Charch, Northamptonshire
99. Doorway of Barfreston Church, Kent
and partsof arches at St Peter's,
Northampton
100. Shafts,capitals,
98.

101.

Tower

Cathedral
Peterborough
of

102. Nave
103.

of Earl's Barton

Keep

116
.

118

Ground-plan

"

119

PeterboroughCathedral

of Norwich

120

Castle

pillarfrom
ia5. Early English Window
104. Clustered

nave

122

of Wells Cathedral

123
124

106. Lichfield Cathedral

107.

110. York

Minster"

Fan-traceryin

West

Wolsey'sGreat Hall

115.

116. St. Paul's

119.

.131
.

133

at Norwich
Stephen's

Hampton Court Palace

Wollaton Hall, Nottinghamshire.
Smithson "nd Thorpe
Inigo Janes
BanquetingHouse, Whitehall

117. St
118.

Henry VII.'s Chapel,Westminster

roof of St

113.

129

Front

roof of

Open

114.

126

Cathedral

112.

timber

126

Cathedral

of Wells

109. Choir of Worcester

111.

126

SalisburyCathedral
Chapter-Honse,

108. Nave

117

134

in

Cathedral,London.

Martin's-in-the-Fields.

.136
.

137
138

Wreii

139

Gibbs

Bajvy
BridgewaterHouse, London.
Houses of Parliament,
with Westminster

141

Abbey in distance

.143

LIST

XVIU

OF

ILLUSTRATIONS.

SCULPTURE.
PAGE

BMO.

20.

of
Proportions

Human

21. MENEPHTAH.
.

Supposedto

EgyptianStatue

153

Figure. VUrmhis
be Pharaoh

of the Exodus

155
.

156

in black basalt

167

23. Ra-em-Ke
24. Rameses
25.
26.

Thoth

III. between

161
161

Priest

29. Wounded

Lioness.

162

Assyrian

30. Persian baa-relieffrom

32.

160

wall

Lion-bunt,from Nimrud

28. Statue of

31.

158

Horus

159

at Work
Sculptors
bas-relief
on
Assyrian

27. Part of

and

163

Persepolis

167

Sculptureon tbe top of Lion gate at Mycenaj

CalamU
Mercury carryinga Ram.

33. The

168

169

after Myron
Discobolus,

34. Bas-relief from

the

Harpy

170

tomb

171

35. Western
36.

pediment of Temple of iEgina

Interior of Temple of Zeus at Olympia. Statue of Zeus by Pheidiaa

37. The

Venus

38. Head
39.

of

Western

42.

One

the Parthenon

Frieze

Parthenon.

From

47.

Carrey. 177
drawing by Jacqtfss
178
179

and her Children

Faun.

179

Praxiteles

the Infant Dionysus.

carrying
The Apoxyomenos. Lysippus
Statue of Sophocles.Lysippus

48. The

Laocoon.

Dying Gladiator

50. Relief from

an

52. The

She-Wolf

53. The

Famese

Etruscan

of the

.180
180
181
.182
183
184

tomb

Etruscan

185

Capitol.Etruscan

186

Tomb.

Lydian

Praxiteles

Agesander,Atheiwdoms, sxi^ Polydonis

49. The

51. The

.176

Metopes of Parthenon

45. Hermes
46.

175

Eastern frieze of the Parthenon

pedimentof

of the

43. Niobe
44. The

174

Juno, after Polycleitus

40. Bas-relief from

41.

173

of Melos

from

Group

172
.

Hercules

187

(Colossal)

54. The

188

55.

188

Apollo Belvedere
Diana with the Stag

57. Marble
58. The
59.

189

de' Medici

56. Venus

Statue of

190

Augustus

192

Nile

Relief from

Tngan Column

193
.

LIST

OF

xix

ILLUSTRATIONS.

E^G.

PAGE

161.

Gonzaga Cameo.
Sarcophagusof

162.

Leaf of

163.

166.

Ivory Diptych of Otto II

i^bel offering
his Lamb
Angel Gabriel and Virgin
Moses Fountain at Dijon. Claes ^uter

167.

Figuresof

Virtues and

168.

Adoration

of the

169.
170.

Campo Santo
Capitalof one

171.

Saint

160.

164.
165.

Ptolemy I. and Eurydice

Junius

carved

197

Ivoiy Diptych

198

Kings.

203
206
of

Strasburg

207
.

209

Designed by Giovanni Pisano

of Doge'sPalace,Venice

210
.

of the columns

.211

George. DonateUo

216

at Florence.
Baptistery

175.

Statue of Bartolommeo

218
219
220

Coleoni,Venice

177.

Medal of SigismondiMalatesta.
Sanamdno
Baptism of Christ. Andrea

178.

Statue of Moses.

179.

Statue

223
224

Michelangelo

of Lorenzo

Medici,Dawn and Evening. MicJielangelo

of Christ. Jacopo Tatti

Entombment

181.

Diana

182.

Perseus with

182a.

Mercury.

de

of Fontainebleau.

Monument

.221

Vittore Fiaano

Bronze

180.

the head

Giovanni
to Admiral

door

of Medusa.
da

Benvenuto

228

Cellini

229

Bologna

Chabot.

Jean

232

Coiidn

of Public Scales,Nuremberg.

Adam

Kraft

185.

Shrine

186.

Apollo and Daphne.

187.

Mars

188.
189.

EquestrianStatue of Elector. SMuter

Triumphal Entrance of Alexander into Babylon. ThorwaliUen

190.

Ariadne.

191.

Tomb

193.
194.

of St. Sebald, Nurembei^g. Peter Vischer

and

of

.235
.

237
238

Canova

Venus.

240
241
.

242

Dannecker

Queen Louise,Charlottenburg.

243

Eancfb
....

Cupid. Chaitdei
Riule
Paris. Fratigois
The Marseillaise^
his son.
Monteverdi
Jenner inoculating

197.

Tomb

196.

Simon
High Admiral.
The SleepingChildren.
ChaiUrey

of Queen

Medal

200. The

of Westminster

Elizabeth

for Lord

Libyan Sibyl. Story

244

246
247
249

196.

199.

234
.

Bernini

Effigyof Robert of Normandy

Carvings in the Chapter House

195.

226
227

Relief.

Above

225
.

Cellini

Benvenuto

184.

192.

216, 217

Ghiberti

The

174.

183.

202

Pisaiw

Niccda

Singers. Luca DeUa Robbia

The Nativity. Luca DeUa Eobbia

176.

200

Vices, from Cathedral

of Pisa.

172. Central Gates of

173.

194

Bassus

250

Abbey

.252
.

254

257
.261

Abacus.
Am

BO.

"

"

Columns

Arabesque.

Decorative

"

both

at

the

of

Greek

capital.

ends.

circumference

built

design

other

by

probably

in the

of

conventionally

of

used

Tuiine

in

pilasters

or

composed
was

feature

of

column

Doric

immediately

echinus.

the

"

columns

cuttings

Deep

"

SCULPTURE.

tribune.

or

Having

"

below
ANTifB.

pulpit,

rostrum,

Annulets.

AND

tlie topmost

forming

slab

square

Amphipbostyle.

TERMS

ARCHITECTURE

IN

USED

TECHNICAL

OF

GLOSSARY

masonry.

more

treated

floral

nations

Eastern

less

or

and

interlaced

and

geometrical

patterns.

the

Moors

besides

intricate

Arabs,

or

character,
The

from

style

whom

the

is derived.
.

Architbave.

The

"

Astylar.

stone

roof

the

support

front.

Without

"

Baldacchino.
throne

of

round

columns
door

of

classic

or

window

carved

wood

carried

over

building

opening,

to

arch.

or

shafts.

or

fixed,

either

honour,

the

of

top

moulding

The

canopy,

seat

or

the

on

columns,

"

laid

portable

or

those

as

of

those

as

above

stone

or

the

heads

of

the

principal

An

Barbican.
Bay.

"

in

next

is

nave

iii rows,

arranged

^The

"

the

of

nave

Caryatide-s.

Cella,
Chevet.

"

or

"

Nave.
An

decorative

generally

railings
church

Head

Capital."

the

remainder

between

space

castle.

by

one

arch,

an

column

and

the

in

work,

separated

the

form

of

the

other

from

each

rounded

by

oblong
a

space

of

blocks
about

Bell-tower.

"

Cancslli.

the

length.

own

Campanile.

from

separated

church,

to

bay.

Normau

BiLLET-HoULDiNG.

their

In

attached

fortification

structure

vaulting,

or

the

advanced

or

compartment

buttresses,
in

procession.

outwork

"

in

persons

or

The
"

apse

Jience
of

crown

Female

low

or

figures
enclosed

suiTouuded

separating

screen

the

choir

and

chancel.

column.
used

as

inner

supports

portion

instead
of

by chajK^ls arranged

of

columns.

templu.
in

semi-circle.

clei*gy

stalls

from

GLOSSARY

Chevron.

Zigzagmoulding

"

Ci^EBESTORT.

of the most

one

^The raised

"

and

tho roof of

TERMS.

fonns of Nonnan

common

church

decoration.

at the intersection of the

^Upper story of a church with windows

and risingabove the aisles.

"

XXI

on

navp

sides,immediately

both

the nave,

oyer

Cloaca.

^A

"

CoRTiLE.

of

^The horizontal

"

graveland mortar,

off the rain water

room.

cornice,the under side of which is grooved

the edifice.

from

)
{Italian,

^A small inner court.

"

of great strength.

top of a buildingor

the

mouldings at

moulding formingpart of

to throw

as

sewer.

mixture

"

Cornice.
Corona.

tunnelled

"

Concrete.

so

portionof
transepts. {Spanish.)

CmBORio.

TECHNICAL

OF

arched passage surroundinga garden or

Originally
ranean
recent
modem
used only to denote a subterarchitecture,
courtyard; in more
chamber
(usually
vaulted)beneath a church.

Crypt."

that is,an
cloister,

^Appliedto masonry
derived
the term originally
work of giants,
or Cyclops.

Cyclopean.

DrpTERAL.

Having

"

DoMUs."

wings or

two

constructed

that
supposition

the

from

aisles {pteron^Or,

house, generallyused of

kind

of any

"

detached

of vast

such

unhewn

stones

erections

were

the

wing).

residence to

distinguishit

from

Insula^a block of houses.

EcHDTcrs.

The

"

carved

the abacus.
Entasis.
Fillet.

^The

"

rounded

moulding

beneatli

{Greek,)
swellingor enlargementof

^A small

"

of the ovolo, or

ornamentation

column, making

curved outline.

angular moulding separatingtwo other largerones,

of a column.
bands between the flutings
iipright

round

lued to denote the

or

styleof architectural ornament peculiarto France in the fifteentli

from the character of its mouldings,which, with their
century, derivingits name

Flameotant.

^A

"

curved and twisted outlines,resemble flames.

Frieze.
on

"

the

Galilee.

"

long band, usuallyhighlydecorated,immediatelyabove

of a building,
or at the top of a room.
"^e
Room

HAiiMER-beam.

over

"

roof-bracket.
Hypaethral.

"

the

porch of

church.

long square beam with enlargedend

Peculiar to Englisharchitecture of the

Literally,
open

the architrave

to the

sky

"

appliedto

or

head, used

to

support a

fifteenth century.

open courts.

"under
columns," but usuallyappliedto an arrangement
Literally,
of pillars
of which the two central rows
are
higher than those at the sides ; the
of
into the interior.
in
the
the
Gothic
to throw light
case
clerestory,
objectbeing,as

Hypobttle."

tablet of stone,

usuallysquare, sometimes oblong,placed at

and divided by triglyphs,
regularintervals along the frieze,
generallymuch
decorated with designsor groups of figures,
but occasionally
plain.

Metope.

MoBquE."

"

panelor

A Mahomedan

templeor placeof worship,or palace.

xxii

GLOSSARY

Mouldings."

Torus."

a.

b. Cavetto.

Ball-flower.

c.

"

angular moulding placed in

resemblinga tooth in form.

An

somewhat

the

from
Primarily,any projection

MuTULE."

describe the square block like the end of

above the frieze of a Doric building.
Narthex.

NiLOXBTER.

The

"

Alexandrinum.

white

VOLO.

"

Pagoda

"

Also

temple.

the

receptionand

the vaulted

roof

oppositeCairo,

Taas.

or

low

"

Pediment.

chamber

small

at

the back

to

access.

designin black and red

pavement of geometrical

window, restingon
projecting

of many

TOW

had

Mosaic

of the small round

Parapet.

with

the island of Rhoda

on

on

corbel,or bracket.

Primarily,
any egg-shapedmoulding.

sense

speciallyto
regulardistances

ground.

Oriel."

part of

rear

alone
priests

the

which

appearingat

the annual

Opisthodomus.

octagonalbuildingerected
risingof the Nile.

An

"

to mark

course,

wall ; used

portionof a church ; so called because

it resembles the shape of a ship (ftavis).

inverted

Opus

central

The

"

beam,

of

hollow

of the Catechumens.

examination

Nave.

surface

portionset apart for

the

churches

earlyChristian

In

"

with leaves.

boss encased

round

Dog-tooth.

d.

band.

concave

"

TERMS.

band.

convex

"

TETHNICAL

OF

The

"

"

features of

More

commonly

used in the restricted

column.

sisting
Japanese temple of peculiarconstruction,conhaving its own up-curvedroof.

Chinese

or

each
stories,

triangularcrown

edge of

the

wall,breast-high
only,on

finish of

or

tower

or

gallery.

portico,usuallysupported on

columns, enclosingthe tympanum.

of

Peripteral.

Surrounded

"

all sides

on

by

columns.

There

several varieties

are

of

be divided into the followingclasses

columnar
arrangements, which may
those
monopUralf i.e. having a singlerow of columns at one side ; dipteral
^
with two rows
of
columns
buildingshaving one row
standing
; paeitdo-dipteral,
in the main wall ; and pseudo-peripteral,
applyingto a
apart, and one embedded
"

structure

Peribtylium.
Pharos."

with columns
"

^The interior of

PosTiouM."

Prostyle.

Pylon."
Quadriga.

in its walls

same

Space behind
The

name

from

Greek

Porch

supportedby
by the pediment.

"

The
"

Reticulated."

gateway of

an

all sides.

that which

at the entrance

the Cella in

vestibule of

on

buildingsurrounded

lighthouse
; derived

the island of the

Pronaos.-

sunk

by

columns.

erected
Ptolemy Philadelphins

to the harbour

Greek

on

of Alexandria.

temple.

temple.
row

of

columns, open

Egyptian temple.

^A four-horse chariot.

Latticed like the meshes

of

net.

on

three sides,and

mounted
sur-

GLOSSARY

Properly,

RooD-scBREN.
"

of

screen

also

but

flat

chancel

surface

or

"

triangular

^The

SftwKiiKiL.

"

artificial

^An

sepulchral

monument

transYerse

Trahbept.
"

TBiFORn7M.

An

the

and

elezestoiy,

or

nnder

or

the

displayed

was

by

side

of

chancel
to

view

Cross.

arch

an

the

between

cornice.

or

of

spring

"

together

and

with

"

Volute.

^The

pillars

arch

an

coiled

finials

cover

Band

ZooPHORUS.
"

simple

^A
"

of

in

space

of

"

VAULT.

the

forming

an

Ionic

form

and

its

running

raised

as

north

from

top,

to

south.
the

beneath

immediately

nave.

frieze

gable
capital

rounded

of

the

at

{Indian.

nave

arches

channelled

grooves

triangular

The

Tympanum.

these

of
the

of

rounded

distinction.

central

the

gallery

the

upright

of

crossing

arcaded

and

cone-shaped

personage

nave

above

Triple

TitiOLTPHS.

tilted

lower

generally
to

open

"

Wagook-

Cross

sarmoonted

when

screen

surface-space

mound,

"

above

immediately

Rood

Holy

the

frame.

square
Tops.

placed

gallery

open
which

XXlll

of

used

^The

SoF7iT.

an

in

charch,

TERMS.

TECHNICAL

OF

the

in

(gluplwy
end,
;

or

also

vaulting

between

spaces
Or.

at

to

the

hollow

head

spiral

any

deriving

the

of

metopes,

out).
arch.

an

ornament
its

from

name

waggon.

of

decoration

on

frieze,

composed

of

representations

of

animals.

the

*^*

Tlie

of

date

death,

given
are

the

volume.

place

and

birth

of

in

the

of

Biographical

Deceased

Artists,

Index

and

at

the

the

date

end

of

HANDBOOK
TO

THE

HISTOKY

AET,

OF

ARCHITECTURE.

INTRODUCTION.

takes
ARCHITECTURE
combines
beauty and
has

rank

fine

when

only

arts

it

it is not until
utility. Hence
of
out
the
mechanical
carrying
be called a work
of art.
a building can
and
other
temples, monuments,
public

grace
done than

been

the

among
with
the

something more
of construction, that
principles
Although it is principallyin
buildingsthat we see both the artistic and scientific principlesof
archit-ecture applied,a privateresidence, even
be raised
a cottage, may
of materials, and
careful
this
to
a
dignity by judicioustreatment
attention
A

laws

the

to

of

beauty.

be said to have

bmlding

may
the purpose

express

character

for which

improved by well-designedornamentation.
in

and

gieat

the

measure

and

windows,

the nature

affected

much

mode

upon
the formation

when

it is intended

of

Its

its form

and proportions
the
effect
be
;
may
form and styledepend

spanning openings,such

of roofs ; and the buildingis of

which
material
is chosen.

define its
either

an

of

The

spaces
in the walls
the

the

are

then

plan adopted by

sometimes

of

succession
between

employed
*

See

stones

similar

size,

doorways, and

horizontal

Egyptians

instead

and

stones

Greeks.

first

or

terms

used

course

is to

last may
consist
of a
monolith.*

the

other

openings
This was
{lintels).

Wooden

of stone.

before Glossaryof
"

of

the
pillars,

spanned by
the

course

of the

by
important building is to be erected, the
which
form
by walls,or sometimes
by pillars,

When

doors

as

in architecture.

lintels

were

ARCHITECTURE.

The

of the material

nature

within certain limits

restricts,
necessarily
which
to be covered with
are
openingsor spaces
lintels. Wider
openingscan be covered if the stone lintel is replaced
by the arch, which is formed of stones cut wedge-shaped(voussoirs)
and

the

of the

dimensions

cemented

The
arch, of whatever kind
circular,
semitogether with mortar.
stone
and
the
vault
pointed,or horseshoe
supplanted
lintels,
took the place of the flat roof.
These
the methods
of roofing
were
adoptedby the Romans, and by different nations in the earlyChristian
"

"

and

middle

ages, and
the artistic

From

the different

tion,
working out of these various systems of construcof
architecture
have
been
styles
developed.

MATERIALS

The

materials

determining

employed:

1. N^cUurcU

were

Stone

greatest importance in
The

structure.

followingare

very
of

it is

generallyhewn

and

early times, for buildingmassive

plan
"

used

were

limestone

granite,sandstone, or

as

building,which

such

in the

were

all the

still remain

as

forms
irregular

in

out
pileswith-

in India

in which

^is the

"

dressed

large,

"

they came

chieflyprevalentin the earliest ages

is known
the Cyclopeanstyle,
as
Italy,

originatedin Greece, from

of the Cyclopes,
the work
a

ancient

temples,mostly

buildingsconstructed

built of

the appearance of
rough, as is the

white

the
solidity,
case

given to the
marked
by grooves
name

2. Brick

was

Greece, and

Minor,
which

structures

are

of the

whole

be used

can

In

stones

of

term

the

such

"

that

elaboration

in Asia

Of

BUILDING.

the quarry.
The interstices between
these largepolygonal
masses
filled up with rubble,or stone
broken
into small pieces.This

mode

OF

buildingare

of the

nature

regularblocks.

from

METHODS

"

best substance

any
undressed

AND

for

used

the

of the Eenaissance.

at the time

kind

tradition

of

hewn
the

were

varieties

of work

of

in which

that

tribe of

Thracian

such

giants.

stone, the Greek

finest. To increase

surface of the stone

in certain

was

left
sometimes
called rustic,

masonry
of the stones
the joints

channels.

or

mark

structures

marble,

the

decided

step in the developmentof

the

it is necessary in the first placeto form the material

of the soft earth or clayprovidedby nature
other
; moreover,

buildingart, as
for them

artificial substances
"

such

of

as

simple,massive

and

are

often

terra-cotta and
In

requiredin
plaster.Bricks

structures

addition
were

to

the actual

bricks,

employed in the erection

in the earliest times, in Persia,Babylon,

day plainbrick building,without stucco,

Assyria.
brought to great perfection.Concrete^a mixture of mortar
with gravel,is also used where great strengthis required.
Timber
3. Wood.
was
employed in the erection of log-hutsin the
earliest times, strong beams
and
being usuallypiledup horizontally,
has

been

our

own

OyfuS

EUXINUS

BLACK

Fu"t^*fc^

a^'tte

1.

For

"

ao

'A*

Sketch-map

SEA

"flJ*"**
of

some

of the

principalcities

of refer^neeit is suggested that

facilitjf
and

in that

on

aod

the student
p. 28 tpith

great temples of the

should

colour

the

seas

lightteash of blue.

riaUit iSen.

Ancient
and

S:

t left

Street

World.

gulfs in

this map

LonJott.

ARCHITECTURE.

In the middle ages a half-timbered

ingeniously
joinedat the corners.
architecture
having a framing'of timbers, and the spaces
prevailed,
them

between

filled in with

bricks.

stone, clay,or

The

and

beams

often

posts

were

liave been

carved, as we see in many

buildingswhich
elaborately
This stylehas been often imitated
from that time.
preserved

recently.

more

wooden

The

of

of Russia

architecture

piled up
and window
barge-boards

trunks

is

merely
rough, consisting
often

but
horizontally,

trees

ornamented

of

witli

piercedpanels. The
and pleasing.An
of
artistic
wooden
architecture
style
extremely
prevailedin Norway
churches
of that styleare
in the early part of the middle ages.
Many
still extant ; the largest
is that of Hitterdal (seeEng, 82),the appearance
carved

dressingsand

chaJst of Switzerland

well-known

is characteristic

of which
4. Iron
for the

is very remarkable.
is a material employedchiefly
as

and

of ties and

making
of

construction

heaniSy
or,

either
importantauxiliary,

an

in combination

glass,for

with

the

as
we
see
railway stations,markets,
and notablyin the Crystal
Palace. In America,
buildings,
of iron,
constructed
are
entirely
frequently
present day,buildings

largeroofs,such

in

exhibition

at the

of stone.

in imitation

Egypt
It is

on

of
perfection
of which

of the

architecture
their
no

historyof

The
the

banks

the

examples of

Nile

that

have

that

that of the Old

first,

to

meet

the most

with

down

point to

to

us,

ancient

though

the

ings
still earlier build-

remains.

now

Ancient

come

tends

workmanship

record

we

Egypt may

be divided into four

great periods;

Empirk, from the first to the end

of the sixth

Empire,
b.c.].The Middle
which
time
dynasty,during
(about
the fourteenth
dynasty) the country was invaded by the Shepherd-^
Kings [2000B.C. to 1600 B.C.].The New Empire, from the eighteenth
to the twentieth
dynasty,when the great temples were built [1600b.c.
1110
to
to the
Empire, from the twenty-first
B.C.].The Za^er New
of
the
last
Rameses
death
that
from
the
to
is,
thirty-first
dynasty,
the conquest of Egypt by Alexander
[1100 b.c. to 332 b.c.].It then

dynastyof kings [about3000

from

the seventh

became

B.C.

Greek

kingdom

30 ; and

invasion, a.d.

to 2000

b.c.

to the seventeenth

640.

under

afterwards

the
a

Ptolemies

Boman

till the

death

provincetill the

of Cleopatra,

Mahomedan

EGYPTIAN.

The

Pyramids

erected
upon

as

of the world.

oldest monuments

burial-placesof the

lengthof

the

the

are

the

size often

kings,and their
reign. They consist of masses

of stone

They were
depended
and

bricks

raised up around
the chamber
which contained
the sarcophagusof the
this
increased
and
was
mass
monarch,
year by year until the king died.
The Great Pyramid
Cairo (Eny. 2) was
built by King
at Ghizeh
near

The

2."

Khufu
million

480 feet

by

the

(calledby
in

men

on

Pyramid

forced

of

the Great

Cheops, and

Greeks, Cheops),who
labour

base of 764

"

an

area

of

of any other buildingin the world.

Shafra (Kephren) was
454 feet high on

third erected

by

base of 354

feet.

Menkaura
These

employed,it

its erection.

in
{corvee)

feet

all

kings

than

more

The
a

(Mycerinus)was
were

Sphinx.

height was

twice

sions
the dimen-

second

but

218

fourth

said,seven

The

base of 707

of the

is

Pyramid

built

feet ; and the

feet high on
a

dynasty.

The

AUCtilTECTURli.
in the Great

of the masonry
and
the chambers

workmanship
with which
excited

have

but

in

are

adorned

timber

paintiogsof

with

less

or

of the

some

of

imitation

consti-ucted,

were

The

construction.

scenes

from

walls

life of the

the

in the

stone,
often

are

whose

person

is entombed.

body
The

erected by Osortasen,the great king

Heliopolis^
of the Middle
Empire,which
dynasty,is a monument

fine Obelisk

of the

twelfth

commenced
a

with

it contains

deeplyexcavated
Pyramids. These are in

more
privatesepulchres,

connected

rock, are

that
galleries

great skill

the

of all skilled observers.

the admiration

Extensive

Pyramid,and

about

at

years before the Christian era.

from
cut with geometrical
precision

simplememorial

stone, with

column,
taperingsides,and
square base, gradually

To

pointedtop.
rock-cut

I'omha

which
pillars,

the
at

It is

thousand

two

periodis also

same

Greek

resemble

Doric

which

{Eng,3),of
the

doubtless

are

of the

for theii*

Egypt,remarkable

colxmins

the formation

ascribed

Beni-hassan^in Middle

single
pyramidalor

they are the

examples of

prototype:

earliest kno\vTi

column, and

the

to the

1400 years anterior

are
earliest Greek.
the

"When
invaded

called the

country
Asiatic

the

by

they

was

tribes

herd-King
Hyk-shos,or Shepdrove

they

the

rulers of the land into Lower

.

Egypt,and
to

"

Rock-cut

Fa9adeof

Tomb

1600

at Beui-hassan.

New

Empire,with

included
the

between

zenith

of

development.
of the

her
It

Thebes

1600

b.c.

for its
and

greatness, and

1110

Egyptian

different parts

the

small

enclosinga

sacred

with
pyramidal facadescalled lyylons,
gave
the
were
can

Here

and

centre

or

of

era

of

period,
reached

its fullest

of the

tion
construc-

cluster

shrine.

of

Towering
{Eng, 4),

cornices

their

truders
in-

mighty
imposingappearance to the entrance ; but with this exception
designedalmost entirelyfor internal effect. They
temples were
and heavy architecture
shut in by enclosing
walls,and the severe
an

have
no

been

seen

only by

those admitted

no
window-openings,

fanciful

monotony of the desolate courts, which

with

Egypt

architecture

golden age of art, the age

great temples. These usuallyconsisted
was

the
in this

was

that

b.c.,

not

was

expelled,and

commenced

capital. It

people

that these

B.C.

were

then
the

the

subjection. It

until
3.

reduced

mystic
rulers.

within

groupingof
are

double

row

of

or
sphinxes,

sacred precmct.
columns, break the

covered,as

and
many-colouredhieroglyphics
A

the

with

tapestry,

of gods
representations

of ram-headed

often
colossi,

lUTT,
EGYPTIAN.

leads up to the entraDce, in front of which usuallystood two obelisks.*

doorway leads into a square vestibule open to the sky, with
on
on
two, sometimes
three,sides. The vestibule givesaccess
porticoes

The

large inner court, with a massive roof supportedon columns.

Beyond this are several smaller apartments of varying size,enclosing
within them
the kernel of the whole
the low, narrow,
mysterious,
is enthroned
in mysticgloom
cella the shrine in which
dimly-lighted
the image of the god. In several instances it is clear that these great
and an
temples have been extended by the addition of a court-yard
in front of the original
this seems
entrance
to
cases
one, and in some
to

"

"

4."

have

been

done

of
Pylon (Entrauce-gate)

more

than

In almost

once.

well
the pillars,
as
walls,the ceilings,
all

are

decorated
profubely

with

EgyptianTemple.

an

as

coloured

every instance the internal

the outside of the building,

which
symboliccarvings,

add

only
or
astragal
buildings
sculptured
added
the
was
and the cornice,while over
bead at the angles,
doorways
ornament
a circular boss with
a
an
wing at each side of it.
ruins of Thebes, the "City of a Hundred
The
Gates," grand and
extensive in Egypt, and are
in its decay,are the most
imposingeven

greatlyto

the

majestic
appearance

ornaments

on

of the structure.

the exterior of

were

Almost

the

the

"

"

monoliths.
Invariably

Rome,

one

There are twelve in

Several liave been carried away.
and one (the Obelisk ofLtixor)in Paris.

{Cleopatra's
Needle)in London,

ARCHITECTURE.

through the ancient

town.
largestand most
Templeof Karnak {Eng. 5) are
remarkable
: Mr.
Fergusson says
they are perhaps the noblest effort
The
of architectural magnificence
ever
producedby the hand of man."
built by Osortasen
was
I.,and the rest of the
Sanctuaryof Karnak
fe6t in length,
added
It
is
1200
monarchs.
later
building was
by
than
more
by about 360 in width : its great hyposiylehall covers
scattered

sides of the

both

on

Those

Nile,which

thus

runs

the

of the

"

88,000 squai'e feet,and

60 feet

high and

12 feet in

5.

The
of the
of

Luxor

Nile, was

connected

there

The

were

ruins

In

two

by

with

called
B.C.),

Naville

has

been

explored for
utterlydestroyed. The

by

Eameses

the other

on

remains

Plerodotus

it in

as

vain, and

remains

an

avenue

of Kameses
the
bank

Greeks),between

recentlydiscovered

all.

by

side

same

in Paris.

now

built

Ehamessio^i,

of them
have

is

are

described by
Egyptianedifices,

the

Great, on

of Karnak

colossal statues

of which

finest of

Mariette

the

Temple

river ; the pylonsare still standing.

At
Tel-Bdsta
of the
(the Bubastis

Ismaila, M.

at Kariiak.

Temple

temple,likewise
The

of lesser dimensions.

122

two

columns,

of twelve

avenue

Rameses
the

of it stand

obelisks,one

of another

(about 1500

central

of the

built
^

front

diameter,and

Forecourt

"

Te)ni)le
of

sphinxes.

once

contains

of

Cairo
one

the most
it

was

Great
of the
and

-^be
xj""
beautiful

thoughtto

comprise blocks

of stone

EGYPTIAN.

carved

with

of the

nineteenth
of his

one

(Jsortasen's hall
the

headed

Columns

form

OD

of various

are

base,somewhat

the bottom

of the

leaves,and

its

blinded

shaft

Denderah) we
colimins

heightto

supposing that

paintingswere
this notice of

columns,

which

Although not

used

diameter
the
ever

very

the

as

in

pierswith

square
stnctlyarchitectural
are

greatlyadd

heads

to

word

and
the

capitals

temples (as

at

goddessIsis

proportionof

We

is

no

must

reason

placedin front
do not

their
for

the

wall

not

close

the so-called

as
objects,
they

the

bud,

have

representedin
on

of

capitals. Egyptian

the

in stone.
colossi

lotus

of the

of

at

and

shaft

capital is laid
later

in

columns

of the

columns

Many

which

actuallyexecuted

Eng, 7, and
shaft,supported

the

considerably. There

fanciful

Egyptian

at Kamak.

resemble

to

above

character,but

varies

The

necking

ornaments

without
Egyptianpillars

entablature,they

temples.

are

the

entablature.

pillarsin

with

seen

part of the Temple

flower;

usuallymassive

their

an

supposed

of
in

of i*eed-stems,and
imitation of the sheath

{Eiiy, 10),and

leaves

meet

deities
are

it, is

supportedthe

representingpalm
other

the south

cat-

bundle

seen

the

It is believed

architecture
oldest is

given in Eny. 8.

is often

oj"enedlotus

the

the
The

springingfrom
capital^

together with

which
(ibitcuSf

and

in

resembles

Qround-plaa of

0."

II.

feet in width.

150

about

forms.
is

dedicated.

temple was

length,and

usuallyemployed

more

round

in others

this

largely employed

temples. They

monarchs

perhaps a coronation,with
great festival,

whom

feet in

are

sixth

of Eameses

King frequentlyrepeated,
accompanied by

450

been

the

djmasty; fragmentsof colossal statues of Rameses

sons.
Carvingson the blocks of red granite in

goddessBast, to

to have

twelfth

King Pepi-Meriraof
dynasty and other

capitals,
bearingthe cartouche

represent

figureof the

titles of

I f. of the

lotus bud

with

II. and

and

Dames

Osortasen

dynasty;
columns

the

caryatid

of them.

support the

architectural effect of

Egyptian

10

ARCHITECTURE.

the

of

remains

The

the

Temple of
remarkable

first cataract, are

Ombo,

Kom
for

the

on

beauty

sandy

of the

hill

neai-

columns, of

"""""""""""""""""""imu

Egyptian Columns.

which

thirteen

In addition

are

9.

still standing. The

to the

great

are

several

Typhonia or
plans
Greek

smaller

Mammisi,

of which
to

Beam.

of excellent

are
capitals

there
temples,

Pillar aud

"

bear

those

of

desfgn.
called

ones

the

ground

semblance
strikingresome

of the

temples.

The

of the
tombs
royal Theban
and
eighteenth
following
dynasties,
excavated
from
in
the living rock
the western
of
the
Nile, are
plain
less worthy of study than
the
no
of
A
winding
temples.
labyrinth
with
the
halls,
passages, alternating
roofs of which
are
supported by
10."

Capitalof

Column.

Palm-leaf.

left
pillars
from

chamber

itself.

The

walls

relatingto

the

life of

of these

the

in the

vestibule

tombs

ruler, aud

are

it

livingrock, leads

to the

covered
is

sarcophagus
with
ings
paint-

from
chiefly

these

11

EGYt^TIAN.

pAintingsthat

the

distinct

of

groups
i-emarkabie
are
the

Cemeteries
met

are
on

the

"^IuaI]

Historyof
tonabs

Tor/ibs

the

of

the

"with

with

second

many

the

Apis,

Other

most

of the Kings and

ments
important Egyptian monu-

tJieQueens, the Tmiibs

Elephantine,and

the

such

"

the

as

two

temple

Caves

Rock-cut

at

largerof which, consistingof two extensive

beyond,has an external facade100 feet

Rock-cut

"

with

the Great

Temple
four

at

Ipsambul,on

statues, each

(theSesostris

of the

the Nile

65

about

Greeks).

feet

These

are

high,of
near

the

the third

decay, which

are

which

cataract.

About

came

the

There

chambers

height, adorned

Kameses

Sacred
of

smaller

11.

in

of

kings is written.
plainsof the Nile, of

in Nubia
elsewhere, especially

island

Ipsambul {"tig, 11),

courts

the

in the

century

lasted till the

to its relief.

"

Under

B.c.
more

Egypt

had

sunk

into

enlightenedpolicyof

longperiodof
the

Ptolomies

them," says Mr. Fergusson, she enjoyedas

"

her arts
under
the Pharaohs
as
; her architecture and
great prosperity
revived, not, it is true, with the greatness or the purityof the great

national
was

era,

but still with

daring this

much

periodthat the

perfectof all the

richness

and

TempleofEdfou

that
buildings

remain

to

us

material
was

splendour." It

built,one

of the most

The
(seeFrontispiece).

12

ARCHITECTURE.

the

of

colonnades

there

are

about

the size of

inner

vast

cornices,and

lost their

huge pylonsstill exist,though they have

two

Tliis

court.

temple was

Cologne Cathedral.
far from

Not

celebrated
with

its

which

is

in the
than

"dfou,

but

different

are

those

to

smaller

the

temple

its situation

situated
picturesquely
,

,5,3^^

belongsto this

ihat givesthe

building out of Thebes

opinion of Egyptian architecture

no

^^

traveller

The

of

inhabitants

the

Tigris,extending

Gulf, attained
The

at

architectural

very

3200

that it will be

down

b.c.

Chaldean,

or

watered

Armenian

period. There
favourable

so

little

temple.

the

by

mountains

to

Euphrates
the

Persian

high degree of civilisation.

this
peoples who ruled over
to 330 b.c., are, as well as their history,
so
several
convenient
the
to
treat
more
style.*?,
Assyrian, Persian, as developments of one
age to
various

remote

interwoven
IUbylonian

the

stylesof the

region from

region

great

from

an

Persian.

Bahylonian,Assyrian,and
and

on

Nile, Hke wise

^^^

beautiful

this

as

is

Temple of Philoiy

small

The

is

at

imposing.

more

12.-Egjptian Sphinx.

the

of any
country. It is

in character
other

this

TempleofDenderaJty
facadeof Isis-headed

cohimns,

an

of

type.

Temple of Bddl,

The

terraces, each
must

have

less than

rivalled

the

Belus,

or

the

one

pyramids

of

it,as

the mounds

Babylon,and
*

The

less than

near

the

beneath

distinction of

town

of

which

Not

less famous

different

for identification.

masses

with

on

Tower

the

palaces
but

the ruins of the ancient

temple of Belus,* and

ruins of the

are

the

remains

nothing now

Nimruds

the

is claimed

of Babel

Tmcer
at Akkerkuf
of the Euphrates and
Hillah ; and the Bits
five miles from
Euphrates and six miles north-west of Hillah ; )mt there is
three

eight stories,or
by Greek writers,

connected

works

Hillah, built
the old

being the

were

of

described

Egypt.

of Semiramis, which
Hanging
of the Assyrian rulers.
Of all these
Gardens

Babylon,

at

below

the

for

no

east
AfujcllibCy

Nimrxui^
no

palace

west

of the

sufficient evidence

BABYLONIAN,

AND

ASSYRIAN,

13

PERSIAN.

are
supposed to have been
(600 b.c.),
by some
recognised.Many of these buildingswere evidentlydestroyedby fire,
of vitrified masses
the ruins
consistingin a great measure
; but in
their rapiddecay was
the result of their having been built
cases
some
of sun-burnt
which
bricks,
graduallycrumbled away by exposure to

Kebuchadnezzar

of

the

atmosphere.

No

sufficient remains
idea

certain

any

probably

of the

erection

of

gathered of

be

to

unlike

not

the

their

Nimrud,

by

midal
pyratower

of ruins, extendingover
made
the
at Mosul, on

been

miles,have

ten

some

Birs

six stories crowned

the shrine.
enclosing
Important discoveries

exist to enable
buildings
character; but they were

earlyChaldean

of the

right bank

ings
Tigris. The palacesand buildafter
have
named
the
been
brought
light
villagesof Nimrud, Khorsabad, and Koyunjik,
which
near
found, and are most probthey were
ably
to

ruins of ancient

the

erected

was

faced
of

on

walls

by

of

number

grouped
They

were

of

purpose

Palace

mound

of

with

these

consisted

great
apartments and

leries,
long gal-

narrow

series

of

it

brick,

of

terraces

thickness,and

about

the

Khorsahad:

courts.

open

raised,it is supposed,partlyfor the

defence,and partlyfor the sake of the

purer

air to

very
columns

distinctive
of

of

Of

Nineveh.

is the

important

most

obtained

be

at

higher level.

architectural

forms,

have
style,

characteristic

No

such

as

yet been

as

discovered
for

atoned
; but this is in a great measure
the richness of the decorative details.
In

by

the

sculptureswe

which

see

foreshadows

the

design of a
Ionic style. The

the

tablets
on
sculptui^ed
the lower

cover

part of the

carved.
beautifully

They

in the lives of the

events

removed

to

the

British

palace of Nimrud,

the

the

Bull, are

us

in many
cases
of the
use

The

flanked

slabs,which
sometimes

commemorated

; of these
Tcym, and

remarkable.

13."
headed

Winged EagleFigure from

Nimrud.

the chief

Assyrian rulers. Many

Siegeof

most

liefs,
bas-re-

The

of them

the Lion

Hunt,

the Erection
ornaments

have

been

from

the

of a Colossal
of the

gated
varie-

the upper partsof the walls

quent
beauty of the drawing and the fre-

pavements and

excellent.

The

honeysuckleand allied types of decoration remind

were
workmanship. The interiors of the rooms
always
or
colour, either in plaster
mosaic.^
entrance
gateways of these singularpalaces were
generally
faces and elaborby pairsof colossal winged bulls, with human

of Greek

rich in

walls, are

Museum

among
glazed slabs of the

are

alabaster

or

column

14

ARCHITECTURE.

ately curled hair and

{Eng, 14).

feathers
various
drains
with

have

colours
of the

the

beards, wearing a high tiara surmounted

by
gateways faced with glazed bricks of
also been dug out ; and these,with the vaulted
Arched

that

palace,
prove

Assyrian

Galleries,raised

arch.

architects

acquainted

were

kind

of upper
probablyadmitted air and lightfreely; but there
story to the building,
of opinionas to the means
is great divergence
employedthroughoutthe
for
buildings
erected

probable that they were

palaceat Khorsabad
One of the pavement

columns,

forming

were
light. All the Assyrian buildings
of
it
and
flights st^ps gave access,

which

to

of the

liave been

of

the admission

terraces,

on

on

several

stories

The

high {Eng,15).

comers

face the four

quarters of the compass.

slabs of the ruins at Esarhaddon, supposed to

palaceof Sennacherib,at Koyunjik,is representedin

the

16.

Eng,

^kzt.y
Winged

14."

the

Under
obtained

of

rule

Cyrus

For

and

many

important remains

this

day.

The

architecture

Medes

and

walls faced with

and

throughout
perhaps have
in the

the

of

adopted

their
is

their dominions

extended

centuries

of these nations

Persians

they

were

architecture

may

be

platformsand

to

seen

late offshoot of that of

the terraced

on

great nation,

Assyria.
the brick

costlymaterials,characteristic of the ruins of Babylon

styleof ornamenting walls,

This

Nineveh.

Medes, and

upwards of two

Persians

(559"529 B.C.)the

Great

the

the

ascendancy over

'i

Bulls of the gateway at Khorsabad.

all sides.

The

is

whole

sprung
manufacture

of
from

Central
the

of which

Asia

and

designsof the
the

in

which

ancient

was

textile
exquisite

peopleof the

East

common

Egypt,

excelled

may

fabrics,
in very

early times.
The
stories

royal Palace of Echatana^ the capitalof Media, was

with coloured walls
high,built in the terraced style,

seven

in

some

ASSYRIAN,

BABYLONIAN,

part" glowing with

to those
affinity

the
were

and

cedar

The

These

walls

15
bear

and

striking

were

used

covered

silver

gold and

with

in

halls

of the
ceiling-beams

and

columns

wood,

cypress

PERSIAN.

glazedbricks,which

coloured

with

palacesof Nineveh.
of

silver.

and

gold

faced

AND

plates.
led

and
architecture,

adoptionof

of Asia

the Greeks

with

Intercourse

to the extensive

Greek

many

near
Pas.sargadsB,

ornaments.

modern

the

greatlyinfluenced

Minor

Persian

employment of marble, and the

On
the site of the ancient

Murghab,

the ruins of

largestructure

^^y^grrd^^l'^y^

Rertoration.
.S"/"s?wterf

15.

have been

Cyrus.

An

discovered,which

It consists of

it" form

constructed

was

surrounded

by

distance from
The famous

this fine
a

supposed

are

to

have

been

the

Tomb

chamber
temple-like

of cloister of

with

of

marble

columns

erected

under

at

little

some

it.
Palace

Xerxes,celebrated
on
standing

kind

ARsyrian Palace.

gable roof,
erected
on
a
influence,
pyramid of seven
of white marble, and was
formerly
entirely

small

betrayingGreek

steps. It

ruins of

"

was
of Peraepolis

for their fruitless

buildingare

flatsurface cut

to

from

be

struggleswith
seen

on

the solid

the

Kings

Darius

the Greeks.

and
The

plainof Nardusht,

rock, about

1582

Teet by

16

ARCHITECTURE.

938

feet.

Massive

of steps lead
flights

double

this

to

platform,now

^(^(iaji:""^|e")("i"0(5))("j

16."

slab from

Pavement

with

strewn

the

palaceof Koyunjik.

ruins, from

fortycolossal marble
introduction,are
The

of

ruins

this
the

been

one

the world.

neighbourhood.
hexastyleHall

The

bases of

grand temple,which
ground than most of
:

it

Here

no

the

the

occur

from

occupiedmore
of modern

cathedrals

height.

tombs

of

the

the

rock

and

monarchs,

excavated

with

sculptured facades also cut

high

rock.*

The

{Eng, 18)

Tomb

of

is remarkable

size of

enormous

have

must

the

of considerable

was

also

have

part of
less than seventy-two

to mark

this

times

that it must

of

largestbuildingsin this

stillremain

columns

to their

of all the

immense

Xerxes, the Chehil Minor, show

of the

some

steps,together

favourable

so

principalfeature

of
palaces

ancient

still tower

These
pillars.

artificial terraces

the

with

which

Da/rins

at

Persian
adorned
from

the

Naksh-i-Rustam

having on the facade

beneath
the sarcophagusa representation
of the
Palace of Persepolis
it
in
the
was
as
days of the
Great King, by means
of which
the parts missing
in the ruins can
be supplied. In all these fa9ades
we
recognisean imitation of the Persian columns,
which
17." Column

with
from

ornameDt
ftpiral
Persepolis.

are

Casts
are

now

remarkable

from

these

for

for the

carved

taken
rock-sculptures,

at the British Museum.

bulls' and

by

new

cess,
pro-

unicorns' heads

which

which

reappeared

Greek

Ionic

form

at

AND

PHRYGIAN,

LYCIAN,

the

later

architecture

and
capitals,
date

as

if

LYDIAN.

the

for the

spiralornament

characteristic

feature

of

{Eng, 17).

-\

^\-- ^-^\'L-"\.\

.:"i^'

UJlJUJOjyjJUUlJ^^

18.

{StudetUs who

Part

"

desire

of the Kock-cut

facadeof

the Tomb

of Darius.

furUier informationon the Architecture of Assyria and

of Sir H. Layard and the accounts of the recent

should consult the several works

of Mr. George Curzon. )

Persia
Travels

Lycian,Phrygian,and Lydian.
The most
Asia which

important

of the native

lies between

the

Black

races

Sea

who
and

inhabited
the

that

part o{

Mediterranean

were

the

Lycians, the Phrygians,and the Lydians. Of these the Lydians

the
were
probably,in the reign of their king Gyges (about700 B.C.),
But
550
valiant.
about
most
B.C. Cyrus conquered their king Croesus,
took their splendid
city Sardis,and joinedtheir country to the great
Persian Empire.
of a form
are
totallydistinct from those of
Lycian monuments
districts
mountain
The
inhabitants
of the romantic
Lydia and Phrygia.
of sepulchre, one
Minor
of Asia
adopted two different descriptions
rock
structural
the
in
the
both were
other
cut
detached,
or
being
; but
houses everywhere common
imitations of the wooden
taineers,
amongst mounThe

"

with

the construction

sometimes
of

the

ship.

features
of some
tombs
detached
are

addition
The

wliich

recall

perfectlycon-

18

ARCHITECTURE.

stnicted

of
monoliths, consisting

double

cophagus,
pedestalsupportinga sarwhich is surmounted
borrowed
by a curvilinear roof,evidently
from a wooden
of
that
boat
turned
a
object,apparently
upside down.
The
second
class
those
have
either sculptured
in the rock
cut
fa9ades,or a kind of framingstandingout from the rock (Eng, 19),
closelyresemblingthe fronts of primitivelog huts, especiallyto be
in the Necropolisat Myra.
later date, imitations
of
At
seen
a
on
columns, betrayingthe influence of the Greeks, supplanted
porticoes
a

"

these

"

Near

stood monuments,
monoliths
of Lycia,containinga small
projectingslates,typical

carpentry forms.

with

cornice of

burial chamber.

The

of these is the so-called Ibmb

famous

most

in the British

now
Harjfles^

these tombs

of

the

Museum.

,w'^.

19.

The
It

"

menu
sepulchral

customary

was

Rock-cut

men

with

Tomb

to of

some

the

custom

them

tbey

with

covered
the

structure

of

excavated

Myra iu Lycia.

Phrygia are of
peoplesto

ancient

of their leaders,but
resting-places
for

at

tomb.

with

The

their tombs

others

to

Phrygians
in the

different chai*acter.

raise mounds
use

over

the natural

followed

the

livingrock, and
facades were

These
sculpturedfac^-ades.
skilfully

with

tents, the

linear

patterns painted in various

in
dwelling-place

life of

the

rock
latter

adorned

entirely

colours,imitating

nomadic

preservingthe peculiarstyleprobably suggestedby

the

Phrygian,and

the Eastern

textile

LYCIAN,

fabrics,
Midas*

AND

19

LYDIAN.

have

already alluded. The so-called Grave of

Doganlu (AViy.20) is a remarkable
specimen of this class.
feet high, cut from the livingrock, and terminates
in a pediment

to

we

at

It is 40
with
These
"

which

PHRYGIAN,

two

various

scrolls.
races

are

famous

people havin^jadopted a

each

for the

strange tombs

different form

of

they erected,
sepulchralmonument.

1- V

*. "*

".

"j s

fe (* "

.:""*w ,r
f, f*,

20."

Rock-cut

front of the Grave

of colossal

of

Lydia,often
form, stones heaped

Those

The

largest of

situated
hundred

on

in the

up
all is the

the northern

similar

tumuli

royal city of Sardis,

and
"

are

So

supposedto
culled

iutfcriptiou.

because

now

at

of

"-

Doganlu, in Phrygia.

are
proportions,

form

cone

of the
upon

tumulus
primitive
base.
a
cylindrical

TwrnUus

of Tantalus,200 feet in diameter,

shore of the Gulf of Smyrna.
More
than one
in the neighbourhood of the old
to be seen
are
occupied by the squalid villageof Sarabat,

be the tombs
the

of Midas

one

word

of the ancient
MI DAI

is

rulers of the land.

legibleiu

an

otherwise

illegil"le

Indian.
It

is to

to

find the

if

we

Asia, the

cradle

earliest

expect
India, China,

to
or

germs
find the
any

with

the

rise

of

into

Indian

earlier

adopted
a

of

t\u*n
uatui*ally
development. But
we

architectural

East,

remote

Indian

art

appears

236], who

"

Buddhism.

The

traditioDal

relics

we

to

art

in

shall

be

commence

forsook
now

style handed

the

existing
down

frora

times.

21.

In

to

the

[b.c.272

Asoka

belong

architecture

of

country

their

remains

history of

The

that

race,

trace

to

ancient

most

power
and
of
his
fathers
religion
of

art, and

other

greatly disappointed.

human

of the

of

an

first

very

various

period

districts

extraordinary number

chamcter, erected

by

the

of

the
of

of

from

CVyloii.

architecture
development Indian
attained
distinctive
to
a
was
style, which
employed in religious
This
monuments.
or
style was
subsequently adopted by the Hindu
Brahmiuical
of profuse
it by the use
sects, "vho completely transformed
ornamentation.
The
Hindu
people retained their national religionand
in the political
peculiar style of architecture, even
apathy into which
sank
exist
and
there
they subsequently
comparatively modern
j
many
buildingsin which the originalforms can still be recognised.
The

the

Dagoba

"

its

vast

territoryof
of

monmnents

professorsof

one

or

an

the

India

are

strewn

with

exclusivelyreligious
other

of the

two

great

21

INDIAN.

i-eligious
systems of India ; and resemblingeach other in generalstyle,
of form.
The earliest works of which we
in spiteof a vast diversity
have

any

knowledgeare
the

Topes (from

proper,*erected

"

Sanscrit

a
mound),
stup/ia,

of two

kinds

"

the tope

event, and the dagoba,a

special
of relics of Buddha
for the preservation
and

to commemorate

some

simplefuneral monimient
of his chief disciples.
^These erections are often of considerable size,
of which, erected by
the two Topes at Sanchi,tfor instance,
the largest
"

"

Asoka, is 121

feet in diameter

larger:the
feet in height: the RuanweUe
270 feet high.
was
the
ancient
capitalof
Thuparamaya dagoha,near Anuradhapoora,

Ceylon

are

even

and

The

55

feet in

height. The topes of

1100 feet in circumferen
88) was
Ahayagiri (b.c.
and

244

22." Cave

Ceylon,is smaller,but

Elephanta.

platformnine feet high,and is

pillars
by
{Eny.21).
for the followers
Residences or monasteries (rnharas)
Rock-cut Caves,
of Buddha, and templesor halls of assembly (chaityas)
the
: such
as
of
cave-temples Karli,Ajunta,EUora, Kannari, etc. The earliest known
These
Behar, datingfrom about 200 B.C.
chaityais at Nigope near
think were
followed by the early Christian
buildings,which some
of pillars
churches in their internal arrangements, have rows
separating
from the aisles ; and in Buddhist
the nave
templesa small dagoba,or
siuTOunded

rows

it stands

of

on

of

"

Pillars called lAts^ crowned with a capitalin the form of an animal,which

probablymarked the entrances to temples.
t In Central India. A cast of the gateway to one of these topesis in the India
MoBenm, South Kensington.
7
r;^
"

"

'

^-^'\

22

ARCHITECTURK.

shrine, containinga seated

in much

cave,

Buddhist

the

caves

with

are

Buddha, rises

the

Brahminical,

often intricate structures,with

every

at

the

end

of the

in Christian churches.

simple construction, with

of

ornamentation

hand,

of

the altar stands

placeas

same

are

image

plain piersand
the

pretending
un-

other

or
Hindu, on
decorated
part profusely

sculptures.

There

are

less than

no

through
Elephanta in
the

-six
thirty

Ghauts

Western

the harbour

caves

of this

scattered
description

ranges)and

(mountain
Bombay {Eiig,22).

of

The

in the

island of

Cave

of Karii\

4f

K-m
23."

O'opwm,

the road

on

and
On

most

or

Gate

Pyramid
Temple.

between

beautiful.

It

was

Hiudu

24." Pillar in Hindu

Temple.
and

Bombay

the Coromandel
of

to

most
Poonah, is the largest,
perfect,
in the first century after Christ.
the village
of Sadras, are
the cave-

excavated

coast,

near

which
Mahavellipore,

are
temples
probably the remains of a once
important royalcity. They are hewn from rocks above ground.
of detached
Pagodas, Hindu
placesof worship,consisting
buildings
above
sacred to
ground. A pagoda comprises a group of structures
the god, surrounded
by several series of walls forming an enclosure.
The central building
is of pyramidal form, and is covered all over
with
sometimes
overlaid with stripsof copper.
profuse ornamentation
even
"

"

CHINA

AND

23

JAPAN.

generallyof hewn stones of colossal size,and the gateways

{Eng. 23) are elaborate pyramidalstructures of several stories.
The
pagodas of Mahavelliporeand Jaggernaut are fine specimensof
this styleof building.
that of the
A system of civilisation so vigorousand advanced
as
could not fail to exercise a lastinginfluence on
Hindus
surrounding
find their religion
and their style
of art widelyadopted
nations ; and we
in the largeisland groups, and on the neighbouringcontinents.
wall;3

The

are

Mosques, But the most

by the Mahomedan

of all Indian

remarkable

buildingsare those
brought their own
style
conquerors,
it with the system of ornament
prevalent
Hindu
architecture
of tho
representations

"

who

erected

them, and combined

In
amongst the natives.
form
it is never
human
The
are
seen.
freelyused; in Mahomedan
Moslem
of
of
the
is
rich
Guzerat,
Ahmedabad,
capital
city
especially in
with

of surprising
yard,
beauty. In front of them is usuallya courtmosques
three sides by open colonnades,the mosque
sun'ounded
itself
on
fourth
side.
Three
doors
the
to
the
give access
filling
large
mosque,
up
is surmounted

which
the

minarets

either

on

three

or

richlyornamented, as are
side of the principal
entrance.

Temples, Mosques, and Tombs

Architecture,
chapteron Mahomedan
The

China
the Chinese

Although

largedomes.

more

also

are

mosques

by

as

of later date

and
nation

of

boast

can

decorative

are
work,
buildingsof great antiquity. Chinese
bear the impress of those of India ; and

noted

for

architecture

in China

there

are

are

interiors of

bold

external

described in the

Japan,

greater age than that of Western

of much

The
the

of

state of civilisation

nations,and have long been

in China

no

Buddhistic

remains

of historic

temples manifestly

the most

trulytypical
examples
undoubtedlythe pagodas. The largest

templeis that at Honan, the southern suburb of Canton ; it is two stories

in height,
consistingof a series of courts surrounded
by colonnades and
cells for the priests,
and having attached to it kitchens,refectories,
and
In
the centre
of the forecourt
the pavilions
are
hospitalwards.
devoted to the worshipof the idols. The templeitself is of stone, but
the colonnade is of wood.
Temples of similar form exist throughout
China
The

their roofs

Taas,

or

always curved.
Pagodas,are usuallynine
are

stories in

height,diminishing

ARCHITECTURE.

24

constructed of
they reach the top, and octagonalin plan. They are
and faced both inside and out with glazedporcelain
wood, richlypainted,

as

tiles of brilliant colours.

at Nankin
Porcelain Tower
is the well-known
small roof
is
There
a
of
London).
(aboutthe heightof the Monument
when
and at each angle is a bell" 144 in aU" which

The

at

most

each

celebrated

story,

breeze tinkle in

by the
agitated
pleasingmanner.

This

very

tower

was

built about 1430, but is doubtless a

traditional copy of earlier buildings.
in imitation of the
Gardens.
in Kew
be seen

Pagoda,built

Chinese, may

of China,

great Wall

The

example

an

more

though

than
engineering

of

yet be

architectural skill,
may

tioned.
men-

B.C., it is
1 400 miles in length,25 feet thick at
the base, and 20 feet at the top, and
Built

15 to 30 feet

from

of it

Japanese, though they

The

bridges and

walls, always

themselves

from

time

25." Japanese

Pagoda.

templesare

details

and

covered

are

down.

Buddhistic

carved
fancifully

Temples

burnt

Shinto

other

of animals
roofs

the

ples
tem-

curved, as in those of
posts, brackets, and

The
and

time

in the

they are
China.
and

to

roofs of the

but
straight,

beams

in

fined
con-

until influenced
buildings,
And
by foreign countries.
result, all their buildingshave

been
The

wood

to

of

of their

erection

as

ployed
em-

construction

in the

stone

their

high. Many parts

in ruins.

now

are

200

about

are

kind

in

are

richly

tion
representa-

and
plants,
with

tiles.

the
The

usually approached
of archway, Torit,
China,and even more

through
similar
to those of
are
25)
Japanese Pagodas{Eng.
carved.
elaborately
of Japanesehouses, that the walls are constructed
It is a peculiarity
in
of privacy. As
all possibility
thus precluding
of movable
screens,
this
and
is
in Japanesebuildings,
China, colour is everywhereabundant
of lacquereand varnishes,in the production
mainly produced by means
of which the Japanese have always been very proficient.
a

EARLY

Unforttmateljfor
influence is every

the

25

AMERICAN.

of

student

Japanese art, European

pure

apparent in the country.

day becomingmore

Early AmeHcan,
Before

commencing
of

countries
and
of

Europe, we

have
the

architecture
moment

to

down

come

to

America

in

the

different

the

New

World,

of the civilisation

us

great American

two

of North

remains

of
for

turn

must

inquirewhat monuments
of
the early inhabitants

architectural
of

review

our

continents.
within

come
scarcely

The

the scope

: mere
subject,as they are all of the rudest description
mounds,
from
five
feet
in
to
enclosed
within
colossal walls
varying
thirty
height,
of earth and stone.
Their origin,
and the purpose for which they were

our

alike involved

erected,are
America,

are

erected

by

the

remains, sculptures,
etc., in

the most

of the

of them

remarkable

Incas, and

of the
predecessors

to

have

ancient

appear

to date

part

of buildings

formed

Peruvians

South

"

race

whose

is unknown.

name

of TitorHuancay on

Ruins

class,and

of

of the

those

of

the

Peruvians

appear

which

supplantedby

was

blocks.
the finest

Ruins

specimensof

of

of the

times
earlier

to have

The

doorways,
high,and of

immense

Incas

inhabitants

constructed

are
Titicaca,

of which

one

feet

21
pillars

of masonry.
The
monuments

reftpectto

the shores of Lake

consist of monolithic

wide;

13

and

Peru,

in

before the time

from

by

obscurity.

principalarchitectural

The

very
The

in

are

of

high
cyclopeanmasses

inferior in every

Peru.

their earliest

of this

is 1 0 feet

The

ancient

of mud,
buildings

kind

of

of concrete, and that again by cyclopean

of the kingdom,are
Cuzco, the old capital

Peruvian

still extant.
They are
masonry
limestone
blocks, fitted together with
polygonal

posed
com-

the
huge
and
three
in
terraces.
greatestprecision, piledup
The principal
architectural ruins of Central America
in Mexico,
are
J
all
have
been the
Yucatan, and Guatemala.
to
are
They
supposed
creations of the Toltecs,a race
who
probablydwelt in these provinces
in the most
and
remote
attained
to a higherdegree of civilisation
ages,
than

their successors,

the Aztecs

neighbouringdistricts. The
Central
of the

America

kings.

are

The

divided into two,

the

Mexico, and the mixed

buildingsmost

or
Teocallis,

former

three,or

of

consist
more

Houses

of

God, and

of four-sided

terraces

"

and

races

deservingof

the

of the

notice

the

in

palaces

pyramids generally
which
temple itself,
"

26

ARCHITECTURE.

rises from

the summit.

The

Pyramid of Cholula,near
Mexico, is the largestand most celebrated of the Teocallis;it has
been much
defaced,and the originaltemple has been replacedby a
modern
dedicated
church
to the
Virgin. This pyramid originally
measured
Yucatan

platformon

feet each

1400
are

terraces, but

in

much

approached by

are

is
Pyramid of Palenqtie
adorned
formed

60 feet

bas-reliefs

with

by

177 feet high. The Teocallis of

way, and was
better preservation.They are
built on
not

of

courses

the

summit, with

The

palacesdiffer but

them

are

the

ical
hieroglyph

tablets.

The

roof

The
is
is

other, and

meeting at
approachingeach
windows.
dormer
projectionsresembling
little from the Teocallis. The pyramidssupportstone

iiiiiiifiiLiiiiiiiiiiinmiiinjiiiUHqiiinr'

26."

ing

high,and

flightof steps.
temple on the summit

external

iMMMf

and

unbroken

an

generallylower

Palace

of

of

and

Zayi.

an

oblong form, and

the

upper

of apartments. The residence itself

contain a largernumber
buildings
consists almost universally
of a stone basement, with square doorways,
but

no

windows,

surmounted

borrowed
carved, and evidently

by

from

superstructure often
a

wooden

structure.

elaborately
The

Palace

qf Zayiyand the Casa de las Moiijas(theHouse of the Nuns) at XJxmal,

of this descriptionin
in Yucatan, are, perhaps,the finest buildings
Central

America.

them
to be temples and
palaces
suppose
to
of
w
hich
different
belonged
palaces,
groups

Many

standing together,or
temporal officers of high rank.
The Palace of Zayi {Eng, 26) rises on
with architectural
fa9ades,and consists
with grotesque carvings.

pyramid

of tiers of

of three

terraces,

buildingsadorned

27

GREEK.

The Casa

de

terraces, each

las

Monjas
20

about

at

feet

27." Casa

is

"

pierced

with

by buildingsone

Uxmal

{Eng, 27) is

high, one

of

which

raised
"

that

on

low

three

facingsouth

de las Monjas at Uxmal.

leadinginto

gateway

story high,remarkable

for

courtyard,surrounded
the profusionof their

decorations.

Greek.
The

of Greece

attention,not only
deservingof special
of its great beauty,but because
on
it has influenced all the
account
of
Western
of the Egyptians,the
The
architecture
styles
Europe.
from
an
Assyrians,and the Persians, though intenselyinteresting
of
has
the
exercised
scarcelyany effect on
archaeological
point view,
architecture

architecture of western

nations, while

everywhereapparent. Every
or

other been

is

adoptedby

the

the

influence

of the

has at
detail of their buildings

peopleof

one

or

other

of the

Greeks
some

is

time

European

'29

GREEK.

countries

and

althoughthe

it is supposedthat
buildings,
for the arches
to ignorance,
have

Assyriansmust

and

reached

of

towers

its fullest

Temples, Greek architecture

of temples. A
Gi'eek temple rises
building
stepswithin the walls of

from

developmentin the
of many
a platform

Every part of

enclosure.

sacred

Egyptians and

the

architects.

to Greek

known

been

are

their absence

Greek
not

wanting from the

and
is due to rejection

the tower

arch and

the building

finished
and every detail is as carefully
proportioned,
accurately
work of sculpture.The
as
a
Egyptians strove to give expressionto
and
in the overwhelming extent
their dim yearning for the sublime
Greeks
but the
masdveness of their buildings,
producedan impression
of
and purity
of beautyand solemn
grandeurby perfection proportion
of outline. The Egyptian temple,moreover,
was
always designedfor
internal effect ; the Greek temple,on the contrary,appealedfai* more
is

29."

Ground-plan of

the

Temple

of

Neptune

at Paestum.

of the bystander than

to that of the
to the
admiration
sti-ongly
its
who
within
worshipper
portals.
prayed
The ground-planof a Greek
temple is a parallelogram(Eng, 29),
either with columns at each end only,supportingthe sloping
pediments
continued
e, gables),
or
(i.
itself is always small,even
"

The

earliest

only,and
where a
columns
anta

Greek

The

all round.
when

the

ceUa

or

naos

the

"

surroundingenclosure
haVe

consisted

temple
is

of

large.

naos
temples
in
without
front,
e.
were
(istyUvr
columns) except
(t.
buildings
and
the
side
walls
was
placing
produced by continuing
porch

between

are

them

in

supposedto

ant is as

it

was

or
called,

{%.e. pilasters)
formingthe ends of the walls.

between
The

next

the

two

step was

to advance

the porch before the building,

it into a proatyle
converting
of the building
line
When
of
end
the
other
{i.e.
projecting
columns).
it became
treated in a similar manner,
was
amphip-ostyle{i,e. prostyle
at both ends),
the sides beingstill astylar
e. without
columns). The
{{.
next

stage was

the continuation

ceUa with colonnades

^v

(i,e.
peripteral

of the columns

all

the
round, enclosing

every side. This treatment

havingcolumns all round). There
on

is called
are

two

peristylar
kinds

of

30

ARCHITECTURE.

those
temples,
peristylai*
which

those

wings

aisles

or

with

on

of columns

singlerow

two, which latter

each side).

have

called

are

side,and

each

on

e. having two
dipteral(i,

arrangement of all the Greek

internal

templeswas very simple.

is the
the pronaos
(i,e. porch)the cella is entered,beyond which
back
in
to
the
cases
j)08ticum{i.e,
space),
opisthodcynius
leading some
The

From

(back temple).

largebuildingsthe interior has a double row of

other, the lighthaving,it is supposed,been

In

the

columns,

one

admitted

through the

over

Greek
There

and

Corinthian.

the

: the
capital

its
and

Orders

beams

speak, the

is the column

roof

supported by them
adopted. The capitalof

and

and

the

the

column

can
recognised.
is
Order
particular
any
does
and
it
but
the
the
column
not
mean
mentioned,
capital
merely,
whole styleof architecture throughoutthe building.
In all early Greek
templearchitecture we meet with substantially
the same
ground-plantreated in two widelydifferent styles.This is

is, so

to

it must

But

races,

borne

be

for

accounted

the

by

as
distinguished

to the two

names

badge by

with

arrangement of the columns,

and

number

system of decoration

the

Architecture,the Doric, the Ionic,

important feature

most

is the

next

Arc?dtecture.

of

in Greek

The

horizontal

the

third

Orders

three

are

row.

upper

is called

in

which

mind

that

fact that

Orders

inhabited

was

by

the Ionian, who

of Architecture.

"

been found

be

and

Corinthian, why, has

the

examplesof it have

whole

when

Greece

the Dorian

chief Greek

the

yet been

not

separate
given their

two

have

third Order

The

determined,

as

no

at Corinth.

with
confusion,it will be well to make ourselves acquainted
and its superstructureor entablature
the different parts of the column
of those parts
in every Order before describing
the different treatment
To

avoid

in their various
A

column

styles.

consists

of the

base, the

and
sliqftf

entaMature,that part of the buildingwhich

rests upon

the

their

frieze,and

the

portionresting
and

consists
capitals,
on

is sometimes

cornice
the

abacus

ornamented

The

parts,

architrave

capital.The

the columns

surmounts

also of three

{Emj, 30).

the

"

the

and

architravef

is the horizontal

placedupon the capital),

by mouldings with flat spaces between
(a

flat tablet

moulding projectsbeyond the other,to throw off the

the
The frieze,
the middle portion of the entablature, between
rain.
architrave and cornice,is generallyornamented
with sculptures.Tho
cornice forms the upper portionof the entablature,and is divided into
three parts ; namely, the suppoi-ting
part,and the
part, the projecting
lower
form
The
the
crowning part.
supportingpart ; they
mouldings
but
called bed-nxouldimje
are
(crown),
part is the corona
; the projecting

them.

The

upper

^Cornice.

Pediment.

Corooa.

1^
Mutules.
with

Frieze
and

triglyphs

metopes.

Guttae.

I Architrave.

f^

',

{Abacus.
,

Annulets.

Fluted

abaft.

Stylobaie.

30."

Doric

Order.

From

the

Temple

at Seliuus.

32

ARCHITECTURE.

crowning point is the moulding surmounting the so-called

formingthe highestmember of the cornice. The triangular
corona,
enclosed Tvithin the horizontal cornice and two
the portico,
space over
cornices,which follow the slopeof the roof, is
rdkiTig {i.e, sloping)
and is generally
called the tympanum^
filled with sculptures,
as in the
Parthenon
The whole of the triangular
at Athens.
which
end,
answers
is the pediment. The
roof was
to the gablein Gothic
most
buildings,
covered
with
tiles
marble.
or
frequently
ordei' is remarkable
for solidity
The
Doric
and
bined
comsimplicity,
with elegance
and beauty of proportion{Eng.30). The Dorians

the

true

and

had

base

no

their columns

to

platformserve

the

columns

Doric

and
profile,

as

into

number

base

the

towards

taper

normal

rather

or

massive, and

are

is, cut

conmion

series of

have

the

they made

for the

whole

entasis

an

top. They

row

upper step of
of columns.

slightlyconvex
fluted that
g"n"rdX[j

are

or

"

channels

touching each other, of which the

twenty.
ringscalled anntUets,deeplycut
the shaft, connect
it with the capital,
and throw
into relief the
on
lower
and
the
a
convex
echinug,
moulding forming
principal
part of a
is distinguishedby the ornaDoric capital.The Doric entablature
mentation
of the frieze or central portionwith trvglypha,
t. e. three
divided by channels or flutes which, it is conjectured,
slightprojections,
of timber
the
Beneath
the triglyphs
the
beams.
ends
are
represent
the triglyp/is
The spaces between
called imtopes. They are
(juttcB.
are
and
has
been
left open to serve
it
were,
conjectured,
originally
square,
in
all known
as
windows, but they are
examples filled in with stone
a

with

tablets,adorned
the

and

Thin

cornice.

each

metope,

of
surfaces)
drops).

the

Greek

The
bears

last division of the

bands, called mvivlea,placedover

mutules

Doric

close

to be

them

connect

with

that

shown

readilyaccounted

cornice.
three

into
of the

in many
forms

to the

as

the

worked

are

order

resemblance

perhaps so
marked

sculpturesin relief.

the frieze rises the third and

Above
"

Several

is

natural

by
for

timber

on

The
rows

features

entablature,

each

triglyph
(under
soffits
of gvitoe (".
e.

of its entablature

to timber

structures;

not

Lycian tombs, but still too

than that
any other suppostition
the
originals.This is especially

the

buildingsmust have been the

have
with
the mutules.
But
the triglyphs,
the gutta^,and
case
we
the
that
already seen
Egyptians employed, as at Beni-hassan, a
column
which
fairlybe considered the prototype of the Doric
may
column.
The

pediment, although

completewithout

it

be left unmentioned.
Doric
and

temples are

"

is too
We
now

not

forming part

constant

have
known

feature

of the

to have

been
have

of Greek

"

which

is

buildingsto
position.
painted both externally
greatlyincreased the

alreadydescribed

and
the colouringmust
internally,
of
the general effect.
beauty

order

its

33

GREEK.

The
We
at

and

Ionic order

have

{Erig.
31) is of quitea

alreadyalluded

different character

to its resemblance

to the

to the Doric.

styleoi the columns

(seeEng, 17). Instead

Persepolis

of stern simplicity,
have graceful
we
forms.
of
The
strictly
conventional,
capital the column

but
pleasing,

Cornice.

-m3mmm3mmmm

Frieze.

'^^mm^um^jj^^mm^m^M

Architrave.

miUmmmmL

Abacus

Capital.

*5haft.

Shaft.

Base.

31.

Ionic Order.

"

is the distinctive mark

from

the

of the shaft.
or

flutes

are

the

of the

Temple

of Athene

at
(Miuerva),

Priene.

itself varies

greatly
risingabruptlyfrom the platformof the
of a series of mouldingsat the bottom
consisting
order,but

the column

Instead of

Doric.

it has
building,

From

The
more

base

shaft itself is taller and

numerous,

more

more

deeply cut,

the
slender,
and

have

channels

spaces
D

left

^4j

AUCHITECTURE.

columns

A neckingis generally
introduced in Ionic
fillets.
the capital. The latter,
the distinguishing
order,has an ecfiinus like the Doric,but instead of a

celled

them

between

the shaft and

between
of the

mark

simpleflat abaciis two

moulded

side.

In the other
of richness
the

projectconsiderably
beyond the eckiniiif
is a thin,square,
part of the Ionic capital

The upper
adorned
with
abacus,

either

on

voltUes

leaf

of Ionic
portions

metopes, consists
adorned

as

increase

same

called
/rteze,

The

and
beingdivided into triglyphs
series of perpendicular
quently
slabs,frebas-relief or other sculptures,
but in

unbroken

one

the

in the columns.

instead
zoophoToa(figure-bearer),
of

notice

we
buildings

varietyof form

and

patterns.

figuresin
some
templesit was left plain.
In Attica,Doric influence produceda modification of the Ionic style,
which has appropriately
been entitled Attic.
We
have next to notice the CorinUiian order {Eng,32),which is in
fact but a late varietyof the alreadydescribed Ionic,from which it is
than by its pro^
more
by its deep and foliaged
distinguished
capital
portions. The
from

the

with

of

base and

flower calices and

like natural
indented

shaft of the Corinthian

Ionic,but the capitalis a

column

distinctive

borrowed

are

form, representing

pointingupwards,and cuiTiDg gracefully

of its beautiful shape, the deeply^
account
most
frequently
adopted.

leaves

plants.

On

leaf

acanthus

and

new

was

DevclopnerU.
The

historyof
we

be

never

developmentof
gi*adual

the

first crude

from

architecture
in which

the

see

reveals certain
which

be taken

may

; but

which

have

careful examination

differences in the treatment

indications

as

firstperiod (b.c.740

The

rudimentary forms

it in the monuments

fullyknown

in

the

Sculpture) form

such
PelasgaB,

eai'liestknown
not

are

of

as

as

it

stagesof development.

be said to be included

the wall of

Greek

very numerous,

wrought

un

architecture.
and

all of

are

link

were

so-called
at

between
stone

at

massive

between

Treasury qf

MycensB(seeJBf^f.

the oldest

work

Samothrace,

and

of this

Existingmonuments
a

perfection
to us, will

down

of all existing
ings
buildof their several parts,

the age of Solon and

the Persian War.
The
Atreus and the Gate qf Liofis of Eastern character
131

system of

to the

come

of the various

470) may

"

Greek

the

type,with

an

of
the

period

appearance

great antiquity.
There

are

Seliiius has

in Sicily
:
magnificentDoric buildings
temples,Agrigentmn three,Syracuse one, and ."gesta

extensive
six

perfectstate. At Paestum^ in
Southern
is an extremelyfine group
Italy(theancient Magna Gro^cia),
of temples,of which
that
Poseidon
of
one
(Neptune) is among the
most
relics of antiquity
perfectand best preservedof all existing
{Eng.
The
of
ruins
Doric
the
33).
Temjjleqf Corin^i,
datingfrom the seventh

one;

the

last-named

ruins of

is in

"

very

"

Cornice.

Frieze.

Architrave.

Abacus.

Capital.

Shaft.

Shaft.

Base.

S.
"

Corinthiaa

Order.

From

the Monumeat

of

at
Lysicrates,

Athens.

36

ARCfllTECTDHE.

century

B.C.,

are

the soil of Greece

on

of architecture
The
War

second
and

the

transition

from

are

wrinkles of the

.xttoralion.

we

one

the stern

see

pleasingand
more

It is of

more

of the most

columns

333) is

(Minerva),

can

Greek
massive

somewhat

were

included

In the
we

the

one

of earliest

between

the

tecture
archi-

mens
specishort.
Persian

Temple of jEyina,erected
see

of

the commencement

archaic

style to the gracefulornate

temples. Its sculpturesare of Parian
executed
with the greatestcare
the
and delicacy,
even
nude
rendered.
The
Theseus,
Temiileof
figuresbeing

marble, and

Athens, is

"

supremacy.

of Athene
of the

at

itself. It is

existing. The

now

the Macedonian

architecture

Suggaltd

only remains

period (b.c.470

the honour

to

the

perhaps

severe

later Greek

33.__The

Temple

of the noblest
Doric

of

Neptune

works

at Paestum

(about550 B.C.).

of the school of Attica, in which

softened and rendered

styleof the earlier times

mentation
slender,its ornaproportionsare more
refined
qualitymore
{Eng.34).
than that of -^gina, beingbuilt of white

Its

harmonious.

and
delicate,

costlymaterials

its whole

marble.
It

was

when

Pericles

held

the reins of

government

in Athens

that

his age the dignity of the

finest monuments
were
archaic stylewas
combined
with the science and grace of the mature
The
and
there
epoch,
was
as
yet no hint of approachingdecadence.
the

or
Part/ienon,
Temple

erected.

of the

In

VirgingoddessAthene

of

Athens, erected

37

GREEK.

Acropolis(thehighestpoint of

the

on

the

had
city),

been

destroyed,

other fine buildings,

When
by the Persians under Xerxes.
many
the states
Athens
to the first positionamongst
of
more
rose
once

with

Greece, Pericles rebuilt the Parthenon

the

site of the old

original

different.

It

considerable

broad, and

of the

was

feet

high.

buildings remained

almost

34. "The

the

destroyedby
remain

now
were

the

of

the

British

Museum.

than

The

works

restoration

intact

in 1687

Pheidias and
of

which

ruins

IctinuB

long by

101

all that

are

and

Callicrates

pupilsare supposed to
have

Although they are so

acknowledged
universally
sculptureever
produced.

been

broken

of

of

was

(465 B.C.).

mutilated

two

his

feet

years, and the

centuries,until they were

at Athens

228

occupied six

for many

of Theseus

sculptures,
many

relics,they are

beautiful

and
in style,
order,peripteral

magnificentstructure.

and
architects,

executed

(about 440 B.C.).He retained

of the new
was
building

the form

templesof that time

Temple

Venetians
this

Doric

for

dimensions
64

temple,but

as

to

removed

have
the

to

to be little better

be

among
continuous

the

most

band

of

of which
shall speak further in the book
bas-reliefs,
devoted
we
to
the exterior of the cell near
Sculpture, ran round
the top of the
wall.
We

give two

illustrations of this noble

building{Eng, 35

and

36)

"

38

ARCHITECTURE.

it

as

one

was

before

time

the Venetians

and

loftyrock

known

Erechtheium, the

statue

how. it stood

the

ruined

ing
it,the other show-

the

which site it
Acropolis,
templeof Nik5
The
at each
end, was
portico,
eight
Apteros, and the Propylaea.
columns
in width,and two
in depth,crowned
a
by
pediment. The
shared

with

mode

on

the

with regard to
roof,especially
of light,
is the subject of conjecture,
the admission
owing to the fact
that the timber-work, which was
doubtless employed in it,has entirely
freelyused, has also
perished. The coloured decoration,which was
exact

of the

construction

as

of Athene, the

of the

vanished.
totally

Ri"toro.tion.
,

35."

design

and

in

at Athens

Parthenon

affords

Parthenon

The
took

The

about
(built

of

studied

the

rectify,
by
from
perpendicularand
inseparable

entasis

and

the

inclination

of

the

which

care

variations,the

minute

the most

B.C.).

horizontal

columns,

and

alike

exactitude

example of

wondrous

execution,and

to

4U)

the

in

Greeks

opticalillusions

lines ; such
the curve

as

of

the
the

Architrave.
Not
the

tess famous

than

itself is that

the Parthenon

Propylaeaybuilt of white

marble, which

side of the

formed

Acropolis.It

Porch,
magnificent
the entrance

to the

to the
belong.s

the western
same
age
the Parthenon, having been erected by the architect Mnesicles under
Pericles (about 430 B.C.).This building
of
for perfection
is remarkable

temple on
as

proportion and grace of detail,and is

combination

of the

Doric

and

Ionic

fine

specimen of

as
styles,

was

the harmonious

also the

Templeqf

40

ARCHITECTURE.

ApolloEpicwriusat Bassse in Arcadia, designedby Ictinus, which was,

Ictinus also
Doric
the exterior and Ionic within.
it is supposed,
on
built another
temple to Apollo in Arcadia, at Phigaleia.Amongst
of Doric

remains

other

qf Zeus

TempUa

architecture

in Greece
of Demeter

Olympia, and

at

may

be mentioned

(Ceres)at

the

Eleusis

in

Attica.

earlyexamples of
Ephesus the remains of
For

which

was

within

one

our

the Ionic

stylewe

the fanious marble

of the
of the Seven Wonders
Portions

day.

own

37."

World, have

been

sculpturedcolumns

of the

CaryatidPorch

At
go to Asia Minor.
Artemis
(Diana),
Temple of

must

explored

have

been

of the Erechtheium.

brought to the British Museum, and show that the shaft justabove the
base was
in relief
richlyencircled by a group of life-sizefigures
sculptured
method
of treatment
which
bad never
before been attempted,
a
and
"

has

not,

We

to any

can

stylein two
date

as

the

likewise
works

see

of

imitated.

the result of

an

Attic

extremelymodest

Temple of Theseus

Temple qf Xike
to the

extent, been

of the Ionic

proportionsof about

the

same

and the
temple the Ilissxis,
Apteros (WinglessVictory)at the right of the entrance

Acropolisof

Athens

the ruined

modification

on

{Eng. 36),

It is,however, in the third building

of the Acropolis,
the Erecktlieitim,
that we see the fullest developmentof the gracefulAttic-Ionic style.The

Erechtheium
original

was

named

after Erechtheius,an

Attic hero, and

41

GREEK.

contained

tomb, which

his

same

death

of

and

three

containingnot
porticoes,

and

the tombs

of

venerated
highly-

although
is

small

on

several

chambers

image
land,but

of Athene
also many

outside of this second

The

vestibule

the

after

its ruins

sacred

of the

heroes

mutilated,is still in
side

the southern

rose

the

only

old

relics.
religious

much

Persians; and

splendidstructure, with

of the

some

which

name,

the

Pericles,was

the

destroyedby

was

buildingbearing the

second

building,
preservation.On

fair state of

remains, the entablature

of which

instead of
supportedby six beautiful female statues, or caryatideSt*
It
affords
almost
ation
an
{Eng. 37).
unique example of devifrom
of the ground-planof the Greek
the simpleregularity

columns

temples.
Fragments

have

of the

finest structures

a
richlyinlaid panels,

t^ether, and

at

the

chariot)which

raised.

crowned

colossal Mausoleum

Caria,by
have

to

Some

the

was

been

height

were

grandeur of earlier
sensuality
graduallyacquiredan

of the

Greek

freedom.

Oriental

influence

over

building.

began
republics
but

numerous,

works.

amongst the

were

for

the power of the

lasted until the final overthrow
of Greek
fine and

one

at

misia,
Arte-

with
pilasters
pieces(now joined
the quadriga (i,
e.

when

in this age

his widow

marble

monument,

of unusual

simple,massive
and

the

king in several
Museum), and part of

periodcommenced

buildingserected
the

It

king of

of the

statue

excavated.

and

ever

of

consider

must

we

British

ornaments

to wane,

Mausolus,

kind

four-horse

27ie third

found

latelybeen

ffalicamassus, erected to
in 353 B.C., which

the

The

wanting

in

ness
voluptuousmanly

and

Hellenes, and the effect on their architecture was

highly-cultivated
of profuseornamentation
for severity
the substitution
and purityof
Handsome
structure.
privateresidences,palacesand theatres were
and the ornate
Corinthian
built instead of temples,
stylemay be looked
of the age.
Of the palacesand dwelling-houses
the offspring
as
upon
it
is
but
no
thought that those of Pompeii and Hercuvestigeremains,
based upon
The
them.
laneum
to us
were
Agora is known
only by
and
the
its
Boman
Forum.
And
written
the
offshoot,
description by
of which
know
we
only erections besides temples and monuments
of
for
the
such
that
certain
are
as
Theatres,
Dionysos at
anything
which were
in plan and open to
Athens, and that at Segesta,
elliptical
the

sky.

The
the

transition

Tenipieof

from

AtJiena

the Ionic to the Corinthian

Alea, at

Tegea,erected

stylecan

in 394

B.C.

be

seen

in

by Scopas,

in
monuments
celebrated architect and sculptor.The Corinthian
characteristic is the Choragic nionuAthens
it.selfare small ; the most
in which
the Egyptian and Asiatic features
tnent of Lysicratea,
we
see
the

combined

with

the

Ionic.

This

monument

was

erected

(seeEng. 32).
*

Copiedat

St. Pancras

Church,

London.

in 334

b.c.

42

ARCHITECTUBE,

Minor

of fine buildingsof thr^

remains
many
Corinthian
stylebelongingto this age. Such are the Temple qf Athene
to the patroness of the arts by Alexander
the
at Priene, dedicated
Asia

also contaiDS

Great, and the famous

303
building,
dipteral

the

beauty and

in

increased

of the
colouring

buildings
by increased

much-talked-of

Rhodes

with
f

6.

of

each

The

Mausoleum

which

of the

World,

of the

World, of

the

necessity

of which

most

at this time.

2. The

Gardens

Ilalicamassus

at

classed

the

7. The

Colossus

Labyrinthin

of

the

Lybian
Memphis. Accordingto Herodotus
than 3000 chambers,
more
buildingof two stories,containing
had
flat
monolithic
slab
which
for its ceiling.It is now
a
once

was

70 miles south-west

Desert, about
was

The

orders.

They were
of Babylon ;
Hanging
at Alexandria
(Lighthouse)
; 4. The Temple of Arternisy
Statue qf Zetis,in the temple at Olympia,by
5. The

Ephesus ;

Pheidias

it

Wonders

Pyrainids qf Egypt ;

Pharos

3. The
at

growth of the
as
decreased,

hand

decoration.

Seven Wonders
Seven

the

all existed
alreadygiven descriptions,

have
1. The

"

the other

on

The

we

varietywith

lessened

for it became

The

huge

"

adopted by the Greeks had a lasting

Western
Art.
on
Mouldings of frets,honeysuckle(adapted
Assyrians)and acanthus were
everywhere to be seen, and

influence
from

Miletus

of ornamentation

scheme

The

Temple of Apollo Didymceus at

long by 164 wide.

ft.

nearly buried

of

in sand.

Etruscan.
Of

they are
the

origin of

the

supposedto

north

They

of

Etruria

with
was

state, and
which
the

Etruscans

have

Italyabout
became

never

blend

the

been

an

thirteen

assimilated

nothing definite is yet known, but

Asiatic peoplewho
took refuge in
centuries

with

the

before

the

Italians,nor

Christian
did

their

surroundingdistricts.

era.

art

When

peoplein the
extinct as an
became
independent
subjugated,it soon
the
of
all that remain
to
to testify
higherdegree civilisation

it had

land, are

that

of

attained

the

had been heard in

of Rome
the very name
of masonry
and ceramic art which have come

before

the works

48

ETRUSCAN.

down to

sufficient to prove that the EtruscaDs were

skilwalls of immense
fortifications of their cities were

They

us.

are

fal architects. The

strength,
frequentlyof polygonalstones,
masonry,and
of the

in the

gates of

of these

some

but
we

arch,built of wedge-shapedblocks of

which

see

stone

subsequently so widelyadopted by

was

gate is that called L* Arco,

squared

the first introduction

fixed without
the

famous

The

at Vol terra.

of

sometimes

cement,

Romans.

Such
Maxima

Cloaca

at

Rome {Eng, 38), one

of the finest and most
solid,as well as one of the
oldeststructures of the kind,made
during the reign of the Tarquins,
has been attributed
builders
tunnel
to Etruscan
; it is a subterranean
of vast

extent, covered
by.three largearches
Several portions of it stillexist.
Tamba are
the most
interestingof
amongst

one

Theyare

chambers, the

hewn

38.

which

representingincidents
of the

tombs

resemble
slightly
and

example of

carved

at

are

tumuli

Etruscans

the latter is

Objectsof

circle.

were

walls,

the

the
people,

worship

world, etc. The

of great antiquity,and

Norcia, a

The

round

of the soul in the other

of cities to be found

Minor.

roofs of

Rome.

every-day life of the

tombs

of Asia

antiquities.

every appearance
the fronts of Egyptian temples {Evg. 39).

in outline

group
there
tombs

other.

the

Etruscan

Paintingsrun

finest of these

rock-cut

an

have

of several

Maxima,

columns.

in the

the condition

dead, and

fariades of the
The

Cloaca

"

supported on

are

consist

in rocks, and

within

in Central

similar in form

also erected

to

Italy. Besides the

tombs
the Pelasgic

theatres and

in the ruins at Sutri"

seen

ornament

Corneto, Vulci, Chiusi,Castellaccio,

or

use

of

great variety,many

and

Museum

polished,have been found in the tombs.

the paintedvases, a number
of which are
are
of those formerly called Etruscan
; but many

to be of

Greek

origin. That

amphitheatres;
almost

the Etruscans

had

The

most

in the
are

perfect

of

now

distinctive

them

terestin
in-

British

proved
styleof

44

ARCHITECTURE.

architecture

we

buildingshave

only know
been

from written

discovered.

39."

of
Fa";ade

The

records ; no remains of religious

Etruscan
languagehas never
yet

Tomb

until it
and
fullydeciphered,
much
that existinginscriptions
might
Etrusccm
Sculpture),
been

at Castellnccio.

is

we

reveal.

must

remain

aho
(^S^e^

ignorant of
the chapter mi

Roman.
situation of Italymuch
resembles
that of Greece ;
geographical
East
her
to
the
the
to
owing
greater proximity
originalhome of
^itwas
the arts
through Greece that the diffusion of culture amongst
of the continent
find
the various
races
was
chieflyeffected. We
in
the
south of Italyat a very earlydate.
Greek colonies
flourishing
deficient in imaginativegenius,and
find in
^The
Bomans
were
we
few original
their architecture
forms of their owrilireation. Their early
works
were
copied from .Etruscan buildings,and in their later style
from the Greeks.
borrowed
Two
of Etruscan
they
largely
peculiarities
architecture,
however, were
always retained by the Bomnns, and carried
by them to great perfection,
namely,the arch and the vaulted roof.
The

but

"

"

45

ROMAN.

At

first these

only employed
aqueducts,but graduallythey were
and
kincP^nbasilicas,
amphitheatres,
used

the

by

were

Komans

semicircular arch
end

elaborate form
two

thrown

The

plain waggon
from

across

one

or

as

vault,which is a
another, or from one

barrel

wall to

A
second and more
apartment.
longitudinal
is the groined(t.
vault,in which
e. intersecting)
of equalheightcross
each other at rightanglesover
a
third form is the dome
vault,which was subsequently
a

A
space.
with
the

square

introduced

baths.

bridgesand
of every
into buildings
kmd
of vault
simplest

stractures

of vault

vaults

tunnel

was

of

another

to

the

such

in

semi-dome,

combined

the

over

semicircular

recesses

called

to cover
These three systems of vaultingenabled the Homaus
spaces
and
of every size ; and the arch was
adorn
the
used
to
outer
freely
of
fullest
the
inner walls of their buildings.While
a
use
making

4U.

"

Eoman-Corinthian

constructional

Romans,
content

who
to

Capital.

expedient

always

were

borrow

which

an

the

better

Greeks

40a."

Composite Capital.

had

never

than
enfjineers

artistic element from another

a:-

employed,the
architects,were

source.

This

was

theycopiedin a comparatively
and
to
and
tasteless
coarse
employed not only in the entrances
way,
and
their temples,basilicas,
baths,
theatres,amphitheatres,palaces,
The
of their privatehouses.
but also in the richly-decorated
courts
but
often introduced
orders were
into a singlebuilding,
three Greek
the
the nchly-deporated
the favourite order was
Cprinthian,
beauty of
and
fulness
it
which
the Komans
to increase by adding to
strove
a
in attaining
succeeded
{Eng,40).
strengthsuch as the Greeks had never
of the attempt to
Order
the outcome
The CompcHute or Roman
was
free version
in fact a somewhat
of which it was
improve the Corinthian,
the
order was, on
the Tuscan
as
[Kng. 40a.),while what is known
other hand, an
impoverishedversion of the "Doric. The distinctive
the columniation

of the

Greeks, which

46

ARCHITECTURE.

feature

of

circular
seldom

with

invented

and

the

fact that

and
styles,

to understand

out

which

the

the

interest
'

extent

erected,consists

they were

of

the

entirely

of all ancient

transitional,a combination

was

styledistinct

wonderful

Komans

of early Christian
architecture^.An
starting-point
of Roman
shall presently
as
we
us
buildings,
see, enables
much
otherwise
have remained inexplicable
that must
in

the architecture

of the Gothic

kinds

many

age.

attention
architectui^e,
our

Greek
considering

to the study of the

that

worked

never

Etruscan

The

the

examination

In

it

the

complete in itself; and

or
predecessors

the skill with

of

of columniation.

system

form, they

new

combination

is the

architecture,apart from

Koman

structures

in

Greek

the

that of their

from
of

architecture

Roman

arch

temples;

of

but

now

have
buildings

we

toRome,

come

shall find

we

notice3T^temples7
basilicas,

be

to

mainly confined

was

theatresTamphixheatresT
circuses,baths, bridges,aqueducts,
triumphal
and

arches
Roman

and dwelling-houses.
columns, tombs, palaces,
of

architecture

Etruscan

earliest

the

type. To TarquiniusPriscus

period

Qf

was

entirely

an

of those

monarchs
of
eaj-ly
ascribed
have
round
whose
is
so
Rome,
name
gathered
many- legends
the building of the Temjile
qf Jupiter on the CapitolineHill. Some
of these earlytempleswere
circular in plan : of these the best known
one

"

"

those

are

erected

and

Vesta at Rome

to

Tivoli.

of
portionof the republicwere
utilitarian class.
The
Via Appia (Appian Way), from
an
exclusively
Rome
the
to Capua, the first paved road in Rome
; the bridgesover
of the CamTiber and in the provinces; and the long line of aqtveducts
^

The

buildingserected

pagna
of the

republicGreek

subjugationof
templesof the
Metellus (who
Macedonian
The

of this age

memorials

are

in the earlier

(about312 ^.c).

influence

In the latter

began
by the Romans
(about150 B.C.).The
eartresi'Vasiircas
and
the
were
style

Greece
Greek

115

died

of

B.C.)out

days^

felt,especiallyafter the

be

to

the

first fine
built

booty acquired in

by
the

wars.

basilicas

not

were

and

only

of

courts

consisted of

but
justice,

market-places

also

quadrangularhall ; and the earliest

to the air. Later, an external wall took the

exchanges.They
specimenswere quiteopen
placeof the colonnade which surrounded
space requiredby the prsetorfor his court
in which markets
portionof the building,
transacted, and

consisted

from
projecting
basilicas erected
which
l/lpia.
what

the back

under

have

been

the basilicas of the

as

havingbeen

for Christian
Christian

of

the

in the

having

and

with

apse
No
remains
the

Forum

like.

as

held

were

Republic; but

Empire were
of
buildings

railed off from

was

of the hall.

the first

originalbasilica.

the

semicircular

excavated

worship,and

churches.

The

raised
exist
the

are

was

form,
plat-

of the

Basilica

Trajan,show

basilicas

architectural

formed

of

ruins
of

business
a

The

the other

us

ing
interest-

importanceused
of many
early

the model

47

ROMAN.

Towards

the

of the

termination

when
republic,

Borne

convulsed

was

with

civil war,
and
the revolts of the slaves threatened
to overturn
the whole system of government, the republjcansimplicity
of earlier

changed for

was
buildings

built

of style.The theatre,
princely
magnificence
which
was
capableof holding
B.C.,

Scaurus, in 58

Marcus

by

80,000 spectators,contained
and

richlydecorated

was

ivory.

Three

to

us

such

marble

from

beautified the

the

as

fine statues,
gold,silver,and

first stone

Koman

at

theatre in

theatres

Pompeii. Julius
built
MaximitSf
by Tarquin

remains

Circus

found

and

columns

costlymaterials

later,Pompey erected
years
held 40,000 spectators. But

Home, which
known

handsome

with

Caesar
the

are

best

enlargedand

elder,of which

fliggggiEEEraFiP

41." Section of the Pantheon, Eome,

but

few ruins remain.

It

was

27.

b.c.

Restored
^

circular at

end and

one

202

a.d.

at
rectangular

the other.

These, and

other buildings,
were,
many
towards
that golden age of Home,

advance

entirelyfreed themselves
created
time

national

is the

from their old

styleof architecture.

Pantlieon

however, only steps in the

when

Eoman

trammels

as

The

architects
almost

finest monument

to

so

have

of this

of Home

{Eng, 41), first built about b.c. 27,

of the ancient
world.
Whether
grandestbuildings
it was
erected as a Temple or as a Hall attached
to the Thermae
of
is
It
is
in
moot
a
of
state
even
now
a
Agrippa
point.
good
sufficiently
for
able
of
be
what
it was.
Its plan and
to judge
preservation us to
which

is

one

of the

the section of its dome

ancient

Italywere

so

exhibit the circular form

enamoui*ed.

of which

Externallythe

the

peopleof
elEect is rather spoilt

48

ARCHITECTURE.

of the

the combination

by

interior is

extremely beautiful,althoughit
alterations

costlycolumns
marble, and

of

must

also mention

with

much

the

as

"

Orsini

of the

have

to

; and

walls

of this age and

brick

uf the

Ruins

cityinto

cooled,and

not

one

the

still

alone

have

been

served
pre-

immediatelysucceedingit.

that

boast

whose

"

of which

ruins of the handsome

of which

Emperor Augustus

42."

converted

Palace

the enclosure

monuments

the death

of Marcellv^, much

the Theatre

present
"

seems

has been

rotunda, but the

appropria
spoiltby inThe
originalbuilding.
capitalsand bases of white
to
walls,however, still serve

date later than

yellow marble,

l^OTfibof Augustus,

had

the mairble slabs of the lower

in the

remains

After

of

the

idea of its pristine

splendour.

give some
We

rectangulartemple and

it

that

was

he

Coliseum, Rome.
of marble

to have

been

"

the

zeal for

again revived

building

for

siderable
con-

time.

architecture
second goldenage of Roman
known
Flavian
i*ank
is
the
commenced.
In the foremost
amphitheatre,
the Coliseum {Eng.42),which
was
as
begun by Vespasianand finished
With

by

his

well

the Flavii

son

Titus.

preserved.It

(a^. 69) a

It

was

covers

the

largeststructure

about

five

of

acres

it is estimated, about
87,000 persons.
160 feet in
broad.
The exterior is about
orders

of

Corinthian

columns

"

Doric,

above
pilastei-s

Ionic, and

them

all.

It

of its

ground,and

height,and
are

could

feet

is 620

Corinthian
There

kind, and is fairly

"

contain,

long by 513

consists of three
with

arches

story of

between

the

49

ROMAN.

colamns, forming open galleries

throughout the building. Four tiers
of seats inside correspondwith the four outside stories. The building
in by a temporary roof or awning called a
covered
was
velariurrif

supported on poleswhich passed through

were
encounters, mimic sea-fights
gladiatorial
which

elaborate

most

system

of

the

cornice.

held

supply

water

Besides

in the

Coliseum,for

for the

Triumphal Arch of Titus,at Rome

(a.d.70),which
servedyis remarkable for beauty of detail,and for the fact
The

the

{Eng. 43)

rowed

from

much

of which

the

Casde

of

which

rose

height,the whole

which
two

MeUHa, erected
The
latest

Bcuilica

periodof

60, is

Arch

been

the

name

all the

square
235

crowned

by

was

faced with

one

above

of
typical

ancient art.

bor-

Tomb

of Hadrian,

Mole

of Hadrian
of

sepulchralmonuments

of about

tower

The

of the
340

feet,and

feet in diameter

dome,
Parian

the other.

the central

75

feet

140

feet

ornament

of

and

marble, and contained

The

Tomb

of Caecilia

these

sepulchralmonuments.
of Constantine, begun by Maxentius, belongs to

B.C.

memorates
com-

of Constantine

sculptureshaving

of earlier date.

round

being

vast

is well prethat it

of Constantine, Borne.

under

was
a

quadriga.It
chambers,
sepulchral
was

Arch

Angelo,surpasses

Its basement

high,above
in

The

"

still exists
St.

The

of its interest to its

Trajan monument

time.

of Jerusalem.

conquest
much

owes

43.

the

has

arena

discovered.

been

or

the

Fragments of

the broken

roof

are

the

strewn

44."

Trajaa*8 Forum

with

Tr.ijaa*8Column/,

Rome.

51

ROMAN.

like
have

masses

of

remained

rock

the

upon

standing,still rise from

4o.

apse

subsequentlybuilt

they overlook
form

ground, but

on

the desolate

strikingfeature

"

to
scene

of the

The

Baths

the
so

the

three

barrel

vaults,which

ruins, together with

the

of Caracalla.

and, with
side-aisle;

suggestiveof fallen

landscapefor

miles round.

Coliseum,
greatness,and
the

52

ARCHITECTURE.

Of the

various/ora (openspaces

held)the

were

and
largest

most

where

markets

celebrated

was

and

of

courts

the Forum

justice

Romanum,

the foot of the

from

Hill to the temple of the

Capitoline
and
The boundary
houses.
was
by temples
the other
the Via Sacra (SacredWay) ; on
the east and north was
on
coriidors and halls (forthe bankers,money-changers,
sides were
etc.),
of
of
erected
them
The
the
Forum
beauty.
Trajanum,
great
by
many
for its great circumference,
architect ApoUodoms, is remarkable
and
for its simple dignityand
beauty. In the centre was a colossal statue
of the Emperor Trajan,about 20 feet in height,
on
a
triumphalcolumn
It stretched

Dioscuri,and

surrounded

ISuggtiUd Kestoration.
46.

117

feet

high,*covered

7 inches

erected
capital,
{Fng.44).

the

Of

Interior of

"

to

all the monuments

Roman

with

commemorate

House.

from
sculpture
his

victory over

of

the

pedestalto

the

Dacians

departedgreatness to be found in Home,

for
(publicbaths)are the most remarkable
not
extent.
They were
only fitted for bathing,but for gymnastic
exercises,and as placesof publicresort,and were
open to the public
fee.
The
built in a.d. 10 by Agrippa. The
at a nominal
first were
Baths of Caraccdla (a.d.217) were
gigantichalls {F7ig,
45) in which
the remains

of the

therm(B

cast is in the South

KensingtonMuseum.

53

ROMAN.

there
and
amid
were

were

marble

seats for sixteen

adorned
magniGcent sculpture
its ruins
found

that

the

Sugff"st"dJiestoralion.
47.

"

The

Interior of

splendidcolumns
and it was
building,

bathers

this immense
'

Bull

Farnese

in later years.

hundred

and

Baths

the

of

Fompeian

Farnese

Diocletian

Hercules

(a.d.303)

'

were

Basilica.

largerstill,and bad seats for two thousand four hundred bathers. The
the size of these
and prove how
wt\s
walls are stillstanding,
prodigious
Grand
The
now
Hall, restored by Michelangelo,
grand publicworks.
forms the church of Santa Maria
degliAngeli.
*

See

Chapterson Greek

and

Roman

Sculpture.

54

ARCHITECTURE.
In

each

which
is the
establishments,the central building,
all the greatestpublichalls that have been erected since,

of these

type of almost

halls of various

shapesand magnificentsize.
The FcUaces,built hy the Koman
Emperors,are known to us only by
for
of
the
Palace
the
ruins
of the Ccesars are but fragmentdescriptions,
ary,
and
the Pcdace
of Diocletian at Spalatroin Dalmatia, on the
the beginningof
eastern
coast of the Adriatic,dates not earlier than
was

the

fourth

what

the

when

we

of vast

group

century

certainlygivesus a most exalted idea of

have
been
must
imperialpalace at Home
certainlyneither the richest nor the most

It

'*

a.d.

splendourof the
find

one

emperor
buildingfor his retirement

powerful
exactlythe
"

"

dimensions

surpassing in

the

of

it did

size, as

country of almost

villa in the

Escurial

Spain, and consequently

magnificence,most of the modern

in

in

The
palacesof Europe.
gallery,515 feet in
great southern
face of the
seaward
whole
24
in
extended
the
width,
length by
along
*
of
were
building." The private dwelling-housesof ancient Rome
kinds"
two
the insula or
block of buildingsfor the poorer
classes,
.

and

the

the

to
open
muniment

of

residence, for the more

vestibule,the atrium (roofedin

in

sky

peristyliumor

rooms

were

on

richlydecorated

wei*e

The

of

monuments

specialnotice,as

surrounded

receptionroom,

by

and

Herculanseum

Pompeii and

in them

forms.

Eoman

The

at the

(Etu/.
picture-galleries
46). Most
from
a
nd
the door : they
the ground floor,
lighted
and coloured designs.
with marbles

saloons, libraries
dining-rooms,
of the

wealthy.

sides,but
by sleepingapartments, the

centre)flanked

the

the

rooms,

detached

dajutts,or

latter consisted

trace

can

we

the

deserve

transition

of

word

from

Greek
and

to

the

baths, city walls

triumphalai-ches,

temples {Emj, 47)

private residences

and

we
palaces,

far

Pompeii may be taken as a guide to the buildings

enjoyed all the appliancesof comfort and

In

the

"

of

the ruins of

as

have

of Sailust, for

House

gates,

in miniature.

Kome

instance

"

show

The
us,

as

Home, that the Romans

luxury known
It is not

of the

to the

only in

period under

evidences

of

ancients.
Rome
notice.

itself that

we

Wherever

find relics of the architecture

Rome

held

sway

there she left

greatness in temples, amphitheatres,arches, and

aqueducts; notably in other parts of Italy,in France, in Britain,in

Spain,and

her

theatre
examples we may mention the AmphiMaison
the
Nhiies
(called
Carrie),
Tevipleof
which probablydates from the time of Hadrian
; the Temple of Baalbec,
and the Treasury of Pharaoh, at Petra, in Syria ; the Porta
Nigra
at

and
Pont

the
du

in North

Africa.

As

Vero7ia,the

Basilica
Gard

at

Treves

; the

near
(aqueduct),
*

great Theatre
Nimes.

FLTgusson.

at

Orange ;

and

the

Christian.

Early
To

the

find

Catacombs

the

These

of

out

called

cryptsy

with

turn

the

to

hollowed

stones,

the

of

which

on

the

first

Maximo), or XP,
{XpitTToc), For a saint, or

The

often

are

to

inscribed
of

hollowed

Greek

is built

grave
D.

M.
of

name

look

to

as

letters

the

the

the

of

consist

are
graves
and
small

low

entrance

letters

two

The
so

are

and

cemeteries,

or

mines.

resembling
and
galleries,
holding a body.

of

sides

the

scarcely capable
up

also

are

much
galleries,

low

must

we

of passages,

network

and

Catacomhs

long,

architecture

narrow,

soft

the

which

of Christian

winding, gloomy
easily-worked rock in the vicinityof Rome, in
for worship and
huried
their
dead.
met
early Christians

"

of

out

first traces
the

(Deo
Christ

would
be hollowed
larger tomb
with
the
walls
of
which
adorned
were
out,
unpretending frescoes.
there
the
and
Here
galleriesexpand into spacious and lofty vaulted
and
walls
chambers,
niches, the
ceilings being
containing seveml
for
chambers
with
adorned
were
evidently intended
painting. These

of the

service

the

Christian
the

display

than

first

and
of

century

of

examples

crude

These

which
any
for
the

of

rather

as

the

of

power
from

the

recognition
Christian
worship,

and

that

it

aisles

found

by

to

The

"

was
building
took
naturally
"

priestsor
originof the

the

until

the

Christians

have
been

create

under

the

generally elevated,
exactly

the

and

seldom
form

new

the

right place

for

off from
the

Roman

basilicas

empire,

of

Christian

three
and

the

altar.

for

employed for
of building

heathen

congregation,

railed

Con-

suited

little

were

(ptige46), the
use

erect

admirably adapted to the requirements

into
long quadrangular building,divided
pillars,accommodated

abandoned

Christianity received

and

temples
they were

seen

in

in

the

Constantino

position to
they professed. Under

waned,

that

of

time

scattered

impossible to
had

they

from

date

architecture

at

creed

Heathen
find

we

they

which

wall-painting

themselves

Paganism

as

but

be

of

rows

apse

the

of

not

was

of

we

discovered

yet been

traces

found

state.

was
; but
purpose
for the emergency,
and,
of various
kinds, which

worship.

have

persecuted and

"

were

sacred
respects still resemble
of the Via
Rome, are
Appia, near

attempts

It

era.

337) that the

(a.d. 312
these
gloomy refuges, and
places of worship worthy
stantine

some

architecture.

inartistic

our

in

Catacombs

The

buildings.

interesting

are

and

Church,

celebrated

most

martyr,

the
rest

The

five

or

circular
semiof

the

bishop

formerly occupied by
prtetor or quaestor,and
the
This, then, was
presbyters the places of the assessors.
This
semicircular
Christian
basilicas.
someearly
apse was
the

seat

the

56

ARCHITECTURE.

times

separated from the rest of the buildiogbj a transverse passage

the enti*ance to the apse, thus convertingthe form of
running across
the

These
buildinginto that of a cross.
to the church,directly
right-angles
oppositeto
and

'13^

"

"

L"

therefore called

were

the

the

the central
it

above
The
chief

is the choir.

walls

of

through
walls

windows

apsisor

choir

of the
of

means

higher and

was

the side-aisles.

the

flood of

let into the

columns,

the

introduced

also sometimes
in
unlighted,

In

side-aislep,

the

round

mitted
ad-

lightwas

of the church.

body
running

were

windows

of
the

above

nave

which

left
generally

was

runs

architrave,and

nave

or

to the

"

the

(from

columns

cases, numbers
many
arches were
semicircular

with

low

The

horizontal

aisle

than

In

but

by

central

wider

Ground-plan of the old

Basilica of San Pictro,Rdme.

runs

point to the

joinedtogether by

were

arches,or

48.

this central

is called the nave

which
the portion
and
ship);

by

and
placed,

was

triumphalarch, often supported

massive
pillars.
extremely

from

eastward
aisles

T-

formed

cross

entrance

naviSf

the

the

the central aisle which

portionof

westward

transepts

or

aisle,the altar
two

transepts. At

arms

body of

rose

on

the

where

point

intersect

which
at
run
passages,
each other,cut it through,

kind

of

mystic

ing
twilight
producedby the reflection of the lightin the rest of the buildadorned.
the glimmeringgoldmosaics {Eng,49) with which it was
on
with
These
rich
crowded
sacred
decorations
in
were
design,
very
The floors were
and blight in colour.
figures,
usuallydecorated with
a

form

of mosaic

entrance

to

each
An

entrances.
entrance

to

OptisAlexandrinum,
aisle,and in large churches

known
atrium

as

or

enclosed

There

was

separate

had

three

existed
court-yard
generally

at the

the

basilica ; it was
usuallysurrounded
essential feature of most
early Christian
the

nave

by columns, and

The
the costlymaterials of
earliest basilicas are also the most
as
beautiful,
the ruins of fine antiquebuildings
were
employed in their construction.
formed

an

Clemente

San

in Home

is

one

of them

the

churches.

loftynave,

part of

side-aisles

choir, is separatedfrom the

by
choir
is
side
of
the
On
either
a
crypt.
chiu-ch of Sam Paolo fuoH le Mttra at Kome
{Eng. 50),partlydestroyedby fire in 1823, was one of the finest and

which

is

occupiedby

the

it is
arcades ; underneath
pulpittermed an amho. The
most

of
interesting

dosius
restored

and

the

Honorius,

in modern

basilicas of that
about

style,and

city.

It

was

built- by Theo-

Unfortunatelyit has been

little remains
of its original
beauty.

a.d.

386.

EARLY

The
the

old basilica of San

CHRISTIAN.

Pietro,replacedin

great temple bearing the

and
Constantine,

was

entrance-court,and

apsis or choir.
Lorenzo, at the
sixth

and

the

The

same

name,

small

two

gates of

of

Ravenna,

49. "The

about

Rome,

Emperor

Justiuiao

and Suite.

between

first class,erected

a.d.

from

They

have

reignof

atrium
very
and

in

the

end

San

of

remain,

or

small

Agnese

centuries,and

the
paratively
com-

their side-aislesin two

{Eng. 51) at the old port

city,is a fine basilica of the

Claase
the

Mosaic, about

538

noble

with

Sant

erected

were

seventh

Apollinarein

three miles

of

basilicas

speaking,little altered.
of Sant'

century by

in the

erected

eightyfeet across, but

beginningof the

stories.
The church

the fifteenth

was

magnificentstructure, with

nave

Oi

and

a.d.

549.

554.

The

In San

Vitale,Ravenna.

internal

details

are

plainand unembellished,
extremelybeautiful,but the outside is painfully
as

is the

It is

case

with

all

erected by
buildings

a
as possessing
interesting

feature of church
the

almost

architecture

these
Baptisteries;

were

circular

of Rome

According

to

are

the

did also
as
basilicas,

buildings,examples of which
later examples at Florence and Pisa.
and San
Stefano Rotondo at Rome
plan,recallingthe circular temples

detached

and

others

earlyChristians.

Campanile^or bell-tower,which

with
originated

Ravenna, and
such as San
few
Some
basilicas,
Vitale at Ravenna, are circular in

exist in Rome,

the

polygonal.

Grerman

chronicles,most

of the

buildingserected by

58

ARCHITECTtJRF.

the

Germanic

the Koman
The
at

but

period(sixthcentury)followed

at this

races

plan of

the

basilica.

complete plan of

St. Gall
he is

has

been

church

monastery intended

or

supposed to

have

been

der

an

name

architect

at the court

be, the

Fromme).
(Ludwig
belongs to the earlypart of the ninth century, and
he was
Gospertus when
rebuildingthe monastery
Pious

to be

of the author

preserved. The
However

that may

is

unknown,

of Louis

the

planevidently
sent

was

erected

to Abbot

of St. Gall.

It is

y^^l^lllHl

50.

"

proving that

and valuable,as
interesting
be the invention
ninth

century.

included
The

Paolo, Rome.

Interior of the Basilica of Sau

in the

Church

of later ages
Two
apses,

principal
group
qf

the

crypt,
of

Of

remainingin

having

the various

additions

basilicas

we

supposed to

as

and
sacristy,

earlyas the
library are

buildings.

three apses, which

of
of
inside
the building.
the
dignity

consists in its

380.

a.d.

to architects

is
Natimty^ at Bethlehem,

basilicas

early Christian

many

known

were

Built about

have

the

East.

add

much

of the

one

Its chief
to

described above,

the

some

few

very

peculiarity
beauty

of the

and

more

59

feYZANTlKE.

modem

have

vaulted

roofs,but

earHer

the

have

all flat

over
ceilings

the central enclosure.

51."

Sant'

Apollinarein Classe,at Raveona,

549

a.d.

Byzantine.
The

Byzantinestyleof
of

races

Europe,

architecture

distinct

as

in all those

from

countries

began

to

models.
Rome

was

basilicas into

to

It

Western.

was

There

preservedthe

beauty, together with

a

from

by

generally
Christianity
in the

transformation

in

Byzantium

darkest

worship,a

remembrance

the

technical

of

its artistic

of the

West

style

new

paganism, and
of plan,construction
principles
gained for itselfa positionas

an

ancient
Middle

ideal forms

of

art

was

Ages.
antique

for their
necessary
not, like the Roman,

knowledge

antique styleswithout

of
recognition
bold
its
by

that

periodof the

Byzantine architecture

anew.

combination

mere

of

the Slavonic

Roman
on
develop itself in the East, likewise founded
Eastern
to
was
Byzantium (Constantinople)
Europe what
total oblivion, in the

embodiment

the

was

form

the Greek

placesof Christian

saved from
was

adoptedby

the Teutonic, and

where

employed
was
professed.Simultaneouslywith
of the Roman

that

was

all that

was

or
individuality
ality
origindistinguishedChristianity

originaldevelopmentof the
which
and
decoration
adopted,it
school.
oiiginal
and

'^

60

ARCHITECTURE.

The

chief

rather the fundamental

of the
or
principle,
peculiarity,
construction of Byzantinechurches is the employment of the cupolaor
dome
coveringin the central part of the church, and the substitution
churches.
of an almost
square plan for the long aisles of the Roman
Instead of the rows
and
of columns
of the basilicas,
loftypiers
strong
connected
by arches supported the cupola. To the central space,

covered

by

the

Small

columns

rail off the

central

parts. The
feature

of

or

apse,

to
building,
portionof

marbles

of

the

churches

Ground-plan

which

of Saint

catechumens

buildingwas

various

tude.
magni-

for

and, in
basilicas,
they displayedthe narthex,divided

"

less

and to
supportinggalleries
from
the
of
the
surrounding
portion
building
invariable
an
choir, containingthe altar, was

only used

were

Byzantine

52.

of

joined half-domes

great cupola,were

the

off from

the

early-

the rest of the

Sophia,at Constantinople.

admitted.
Every
penitentswere
of
were
richly decorated : the pillars
and

colours,which

parts of the walls,and

with

common

domes

were

and

also used

line the

to

domes
subsidiary

and

lower

penden-

and
great beauty.
of
and the railings
capitalsof the columns, the cornices,the friezes,
with great profusion.
all of marble, and ornamented
the galleries
were
of San
The
church
VitcUe at Ravenna, octagonalin plan,built at
of the Eastern
the time of the supremacy
Goths, is a fine specimen of
tives

were

covered

with

mosaics

of

The

bases

But the best example of any is the church of

Byzantine architecture.
of Conthe great mosque
Saint Sophia (Holy Wisdom), which
iffnow
commenced
52, 53). It was
stantinople^^72^".
by Justinian in 532,
and completed in 537, but was
much
an
earthquaketwenty
injuredby

61

BYZANTINE.

years later.
of Miletus.

Its architects
is of

It

of

arrangements
fine halls,one
two
are

being

square,
surmounted

in

risingto

of this

into

by
the

round

the

182

and

by

centre

smaller

south

its internal

53." Saint

same

stands
North

"two
a

and

to

west,

diameter, and

diameter, which

supported on

of these columns
range
the church
except at the apse.

ft. in

east

floor of the church.

the

lower

itself is almost

ft. from

243

consists of

narthex

dome, 107

of the

half -domes,

The

the church

by

vast

ft. from

semi-domes

two

are

three

the

over

heightof

west

On

surpassing grandeur.
other, and

Igodoros

of Thralles,and

but
great beauty externally,

no

ft. north

229

Anthemios

were

East

and

are

cut

tiers of columns.

running
gallery,
south

the

all

galleries

Sophia at Consiautiiiople.

-domes, and these walls

The double narthex, galleries,
are
piercedwith twelve small windows.
of
and apse are lightedby two rows
windows, which extend all round
window
is lightedby one
The central nave
the church.
great western

are

surmounted

and

the

springing.

number

by

wall

of smaller

instead of

by

semi

openingspiercedin

all the

domes

justabove

tecture
later Byzantine archiin which
Constantinople,
is that called TlieotocoB
be studied in its completeness,
can
the tenth
the en^f
about
erected
(Mother of God). It was probably
or beginningof the eleventh
century.
Another

church

at

62

ARCHITECTURE.

In

churches.

many

Greek

still exist.

Byzantine architecture,
of

ancient

parts of the

other

In

Athens

Salonica

At

there

empire

is

many
there are

examples

the remains

cathedral

small

of

decorated

and
externallywith sculpture;at
paintings,
the
is
Church
of the Virgin; and at TurSparta)
manin, in Syria,another ancient church is still preserved.
felt in Western
How
Europe is
widely Byzantine influence was
the magnificentCathedral
as
proved by the existence of such buildings
in spiteof
of Sl Mark at Venice {Eng.54),begun a.d. 977, which still,

internallywith
Misitra

mural

(theancient

!5et%-

54."

Saint MarWa, Venice.

a
{Shoioing

certain

Gothic

of

cross

supportedby
Rome.

whence
interior

The

they were
of Jhe

mosaics, which

977.

It has five

of its

much

original
grandeur of a
domes
arranged in the
equal-sized

lar^e porches,which are

; and at the great front seven
of marble columns.
hundreds
Over the middle porch stand

the four celebrated bronze

at

a.d.

of the Doge'sPalace.)

alterations,retains

purely Byzantine type.

foim

corner

Begun

horses which

once

adorned

the arch

of

Trajan

took
them
to Constantinople,
Emperor Constantine
Dandolo
in 1204.
Venice
The
to
brought
by Doge
with
cathedral
is covered
a
profusion of glittering
render

it

one

of the most

remarkable

buildingsin

the

2SS

rT-TTTT-r

54".

"

'.fr"

^"

^Part of fche *Tala D*Oro,'*the Golden

"

m """"

K"

of
Altar-piece

" V

"""l:.l-"W

San

V*

Marco, Venice.

*.*. ""'

64

ARCHITECTURE.

world.

Its

beauty has

fullybrought home

been

to

writingsof Mr. Buskin.

which
^he Pah, d^OrOy or goldenaltar-piece,
by six feet nine inches high,is made of coloured
work
filagree
window.

of

It

made

was

Cathedral

The

; it is

Northern

is about

of Aix-hrChapeUeysupposed to
796

a.d.

of the oldest

one

and
and

804,

have

long

inlaid in fine
a

978

a.d.

eloquent
feet

ten

enamels

the effect is like that of

about
Constantinople

at

between

Charlemagne

that

gold,so

the

by

us

coloured-glass
{Eng,6ia),
built

been

also shows

by

fluence
Byzantine in-

finest of the circular

buildingsof

Europe.

Eussia, too, the impressof the Byzantinestyleis evident to this

in France, at P^rigueux in Auvergne, and
elsewhere,
day. And
In

examples of Byzantine architecture

still to be

are

found.

Romanesque.
Although

The
after

upon
form

as

by

Christian

itself from

pagan
Boman.

Bomanesque, or debased
quite,every country
transition
style leading up

if not

Christian

architecture.

In

time

render

the basilica

earlyrepublicanform

of
this

priestsand

laity into

to
appropriated

the

This
the

to

was

and

raised

front

part

in

of

may

the

the

apse,

on

then

which

the

almost,

to

our

worship,when
the

classes,the

clergy,and

in

differed

forms almost

replacedby

the

as

as

development of
art

suitable for Christian

Empire,

known
considered

be

respect Western

totallydistinct

use

Byzantine

with

be met

great Gothic

religionwas
of

that

influence, was

Europe,

to

more

of

the

in the Western

architecture

Byzantine,which has perpetuatedthe same

phase.
day without passinginto any new
To

to notice

in the East, the present chaptermust

be
of that on Early Christian Architecture.

continuation

assumed

it freed

for

aside

developeditself

style,which
looked

turned

have

we

the

from
own

the

division of the
apse
whole

altar

was

first

dais, or
stood, was

called cancelli, hence the modern

term
by railings
the introduction
of a choir or enclosed
A further change was
chancel.
the congregato the presbytery or apse, outside which
tion
space, attached
hear the gospel and epistle
assembled
read
of
to
from a kind
called
the
avibo. Another
feature early introduced
an
was
pulpit
dedicated
the buildingwas
burying of the body of the saint to whom

separatedfor

them

"

ROMAN

in the basilica iteelf,

in
receive it beneath
To

make

room

entrance

the

the atrium

vault

into

sanctuary constructed

to

almost

an

nave

and

side-aisles

at Hildesheira.

St. Godehard

in front of the principal

court-yard
simpleporch {"ng, 55). The principal
or

generallyflanked

was

became
flat roof

The

vaulted

tho
congregation,

Ground-plan of

converted

was

western

or

the choir.

and
lengthened,

entrance

crypt

for the whole

55."

were

65

BSQUfi.

invariable

by

two

feature

of

towers, which
northern

quently
subse-

buildings.

replaced

was

generallythe
groined vault, more
rarely,
by

as

in

vault

France, by the tunnel-

cupolas.

plainness of the
relieved

was

of

by

of

Windows

usually

size than

earlyChristian
a

but
were

which

of windows

smaller

the nave,
the introduction

cornice,above

rows

were

walls,

of
pillars

the

above

the

series of

or

The

of

"

basilicas.

similar

even

introduced

those of

in the walls

running

round

aisles and

in the apses.

semicircular
without

sideThe

50."

Basket

Capital.

Circular

above

the

columns

were

From

the Catbedral

of Gurk.

ways
al-

mouldings, was

introduced
and

the

arch, usually

employed.
Piers

scription,
de-

smaller,

or

wheel

windows

principal
porch,as
used

for

were

well

as

widelyadopted,being
buildingitself.

in the

gi*eatvarietyof purposes, and

were

of

forms.
The antiqueorders were
replacedby columns with
very varied
flowers of different
basket
representing
capitals{Eng. 56),or capitals

66

ARCHITECTUKE.

introduced
into capitals",
Later, every varietyof form was
human
flowers,leaves,
heads, and those of animals beingtreated with
the greatest boldness and freedom.

kinds.

The

arcaded

cornice

feature of

the

to

walls

of the

{Eng.57) was

nave

acteristic
char-

profuseornamentation

Komanesque buildings; but perhaps the

many
of the w^est fronts is what
marks
principally

the cathedrals

earlyage.

of this

sumptuously decorated
carved

wdth
with

animal

devices

; but every
of marvellous

scroll-work

forms

some

"

and

period

Transition

the

was

portionof the front

variety. Flowers

part

often

was

and

most

richly

leaves alternate

tracery; human

fancy.

included

Period.

chief entrance

figureswith grotesque
tions
deep symbolicmeaning,others the mere crea-

of

of the architect's
The

The

between

In

it

1175

Komanesque

development; many
of the
peculiarities

is known

1220

architecture

reached

as

the

its fullest

of great

churches

all the

and

true

erected, retaining
beauty were
Romanesque style, imbued, however,
"

:i.i"^ i'I d" i? iFiifiFii,

I57."

Bomanesque

'

V.
Arcaded

Cornice.

'M^T"

-^^

From

Church

at Vienna.

slightGothic feeling,
premonitory of the coming change. The
after change,
of the age, ever
restless spirit
longingfor and i-eaching
forms
of
reflected
in
in
its
the
constant
new
was
architecture,
adoption
The transitional stylewas
and now
combinations
of familiar details.
demand
for finer and more
the result of the ever-increasing
costlyplaces
the
of worship. The
unlocked
Crusades
to the people of the West
forms
of
Eastern
and
Eastern
treasures
art ;
were
widelyadoptedby the
thing
Western
nations,alike in architecture,sculptureand painting. Someof form
of earlier works
of the grand severityand piu'ity
was
with

lost,never
circular

to

Koman

be

regained. Pointed
arch ; the

shafts of

and
the

foiled arches
columns

were

replacedthe
more

richly

nothingwas the
which
marked
in
the
more
as
were
richlycarved
doorways,
change so
and more
adorned
than ever
with sculptures
{Eiig,58). The
profusely
circular
wheel
window
also
introduced,
more
or
was
rose
large
generally
in
in France, where
lancet windows, so genei-al
the narrow
especially
more
clustered,the capitals

carved.
elegantly

But

in

67

ROMANESQUE.
were
"iigland"

ornament

as

never

adopted.

long as

it retained

front of the cathedral

circular wiudow

This
its

was

simple form, like

that

very great
in the west

of Chartres.

rich in Romanesque basilicas of the

especially
such as the Schlosskirche (Church of
ceilings,
period,with
the Castle)at Quedlinburg. But
also in other
with them
meet
we
of
provinces Germany ; such was the convent church at Paulinzelle,
now
a fine ruin, in the Thuringianforest.

Gemtant/. Saxony
"

earlier

58."

The

Doorway

of the Church

of the
it

was

Church
German
before

semicircular
a

of St. Jak, Hungary.

CatliedrcU of Hildeslmmy built at

century, is of a later
has bronze gates,16
Convent

is

flat

at

date,when
ft.

the

on

It is

its

It has

decay.

typicalmediaeval

The

Cathedral

church.

in

now

The

beginningof
more

with

the Haardt

basilicas.

apse.

stylewas

high,adorned

Limhurg

the

Period.)
(Transition

very

fullydeveloped.
fine bas-reliefs.

(1035)is

one

of the

ruins,but it is easy

square

choir

the eleventh

instead

to

see

of the

It

The

largest
what
usual

be considered
of Treves (Trier)
may
erected
was
by the
originalbuilding

68

ARCHITECTURE.

Empress Helena, and

basilica,but

the

to make

for the

way

strengthenedand

the

Roman
original

present

into

and
baptistery

down

in the

of St.

Mary.

placeof Christian

Cathedral

beginningof
columns

circular

church

completedas

in the

taken

was

59."

bishopPoppo

of

consisted

former

of

thirteenth
The

century

basilica

worahip by

was

Arch-

Spires.

the eleventh

by
piers,*

*
The difference between a column
and a
4uid the latter may
be of almost any shape.

rectangular

pierin

century.

casingthem

that the former

He

converted

in masonry,
is

always round

69

HOMANESQUE.
covered

in the atrium, and

added

twelfth

the

century Bishop
task, and commenced

In
entrance.
apse at the western
took up Archhishop Poppo'sunfinished
rebuildingthe choir" or eastern apse,
an

Hillin

beginningof the thirteenth

the Romanesque stylewas
century. These two apses" one built when
in its infancy,
it had reached
its culminating
the other when
point
admirable
illustrations of its development.
are
of this epoch,in which we see
Three great German
the flat
buildings
roof supersededby the vault,are the Catliedrals of MainZf Worms
and
The
first
in
the
and
the
finished
in
eleventh
was
tenth,
begun
Spires.
of
Little
the
remains
the
eastern
b
uilding
original
century.
except
which

completedby Bishop John

was

at the

"

apse, with
begun in
and

round

its two

second

to have

been

reconsecrated
subsequently

supposed that it was entirelyrebuilt. The

of the building
consecrated in 1110.

is

eastern

that the apse is circular inside and

of Spires{Eng, 69) is the
It is

rivals.

Is has

The
Rhine"

rising as
form

erected

The

Church

thirteenth

transition

great

its massive

for its

windows, and
square

an

and

towers

Schwartz

Rlmndorf,

one

the

over

the

other,on

Archbishop of Cologne in 1158 {Eng.60) are

styleof church buildingof this tiiae.
of Limburg, on the Iiahn,belongsto the earlypart of
is supposed to have
century, and that at Gelnhausen

style;

North

"

so

are

also the
the
of

where

mentioned

the flat roofs and

They

cathedrals

handsome.

is very

Romanesque stylewas
by piersand

later.

somewhat

Germany,
those

to

it

of

from

largestof

the

square tower
churches
German

The

to the

of the

were

the

of the

the

difficult to obtain stone, buildings

The
of brick.
constructed

was

above

adoptedin

columns

St,

transition

specimens of the
Naxvmberg and Bamberg^
its
s at Viemiay with
Stephen^
fine

are

earlypart of

basilicas

the twelfth

century

being quicklysuperseded

vaults.

Romanesque buildingsof Italy of the

twelfth centuries differ greatlyfrom those of Germany.
Italy,
"

"

and present an imposing

admirablytogether,
far
the
of insignificant
do
above
they
groups

spire,
marking
is one
taperingpinnacle,
pointedstyle.

"

is remarkable

small

the

but

roofs ; but

the

outside

an

beautiful

In

The

ornament

no

of

by

the latter of which

similar

cathedral

the town.

commenced

been

third

examplesof the

excellent
the

is
peculiarity

harmonise

Churches

two

is all that

finest of the three

largestand

dome.

the

under

running

appearance,
houses which

(1110),it

"

Germany; the nave

high to the centre of
simplebeauty; it has
dome

1018,

of a simplegrandeur unknown
building,
a na/rthex,
or
porch a feature seldom met with
is 45 feet wide between
the piers,
and
105 feet

in

rounded

was

"

in

massive
solid,

to later times.

arcade

The

out.

square

"

end

Its chief

remains
that

of Worms

that

"

part of it fell down

996, and finished in 1015, but

it is known

as

The

towers.

"

eleventh
In many

and
of

70
them

ARCHITECTURE.
we

see

60."

combination

Double

Church

of the

of Schwartz

earlyChristian

Rheindorf, on

basilica with

the Rhine,

ad.

simple

1158.

system of vaulting.One of the best specimensis the basilica of San

MiniatOf near Florence,begun in 1013 {Etig.
61). It has three aisles,

71

ROMANESQUE.
but

transepts,and is divided into three longitudinal

by
portions

no

large
looked

arches

supported
as

upon

church, and
which

led

church

is

The

has

of Pisa, commenced

Prtnnt

after the church

fifty
years
the

Italian

transitional

of San

Komanesque

Ls

than the earlier building

peculiarities
; the
the
of
extension
the
fullydevelopedby
transepts

Stntf.

61." Basilica of San Miniato.

either side of the

on

be
may
of
the
portion

Gothic

more

cross

central

vaulting the

two

arches

piers show the working of the influence

This
period to the Gothic system of arches.

typicalexample of

of the

efFoi-t at

piers.* These

modernised.

much

now

clustered

clustered
later

Cathedral

style. It
form

the

at

Miniato, is

crude

on

basilica.

The

choir,but

church

(Begun

in

1013.)

it has the flat wooden

of Sa7i Micheh

at

Lucca,

roof of

of the

Fame

early
styleas

an

for the profusion

of columns and
cathedral of Pisa, is remarkable
characteristic of the later Romanesque style.
architecture earlyfreed itself from Roman
influence,and
Lombardic

the

arches

buildingsof the eleventh century we can trace the growth of its

peculiarstyle. The church of Sunt' Antonio at Piacenza was built in
the early part of the eleventh century ; the plan is Romanesque, but
the ordinarytype, the transepts
that differs considerablyfrom
even
in the

"

with

A
a

clustered

pieris one

base, shaft,and

in which

ca^iital.

several spuaU columns

are

each
together,
joined

72

ARCHITECTURE.

end, and the tower, which rises from the point where
the nave
and four
and transepts meet, is supportedon
eight pillars
roofed
with
side
The
whole
is
vaults,and outintersecting
piers.
building

being at

we

the west

see

the

which

buttresses

feature of Gothic

afterwai*ds

became

In the Cathedral

of Novara

styleis noticeable.

It too

further

belongsto

St. Saturain

62."

developmentof the Lombardic

the earlypart of the eleventh

at Toulouse.

century, and retains the atrium, the baptisteryand

chief characteristic of this and
arcades

of

open
throughwhich lightand

qf

Pama

In it

we

is
see

one

the

importanta

so

architecture.

of the

air
most

were

the

buildingsof the age

immediately under

stylealmost

subsequent inventions

other

admitted.

perfectof

the
The

Italian

eaves

church

and

was

of

the

of San

Gothic

One

duction
the intro-

buildingsof

developedinto the true

being the pointedarch

basilica.

"

roofs,
Michele

this age.
the only

The
window-tracery.

73

ROMANESQUE.

CcUhedral
PalfUiiia

of
in

Romanesque

Modena

is another

the

palaceat

and

Moorish

6.3." St.

France.

"

of France

One

of the

It would

be

Palermo

we

of this

have

remarkable
styles,

Etienue, Caen

(Abbaye

even
impossible

to

style. In the CapeUa

specimenof the mixed

for richness

aux

name

of detail.

Honimesi.

the

numerous

churches

period (eleventhand twelfth centuries).

is that of Mac/uelone,
which has a remark
interesting

belonging to
most

example

this

i-

74

ARCHITECTURE.

able

doorway,in

which

combined.

the

church

of St

has

typicalexample of

and

nave

however, is of

Satumin

(orSt.

with
side-aisles,

Romanesque

Semin),at Toulouse
arcade

an

round
At

which

is clustered

is

{Eng.62).

It

of the

; instead

basilica,which was
apse of the Roman
invented
and
French
the
Germany
Lombardy,

stylesare

architecture
The

the latter.

above

French
essentially

form

French

Gothic

and

Claesical,Moorish

the

choir,

circular
simplesemi-

universally
adopted
which
chevet,

is

an

in

apse

chapelsin placeof a simpleaisle.

there are Englishexamples
Norwich

of

group
and

Westminster,
Canterbury,

of the chevet.
is

Normandy

in
One

of
age.
finest is St. Etieiine

churches
the

of

rich

this

at
Hommes)
erected
63),
by
(Frig.
the
William
Conqueror, in

(Abbaye

aux

Caen

1066,
364

celebnite

to

of

his

England.
long and

feet

quest
con-

It is
is

now

loftyin

: the
original
proportion
apse

into

converted

was

in the twelfth

by

two

and

towers,
became

feature

churches.

very
chui'ches of

smaller

built with

apse,
and

of the

Most

"

the

but

circular
semi-

drals
cathe-

largerchurches

usually
arranged

Arches.

quently
subse-

distinctive

invariable

almost

Spain.
earlyand
Spain were

Romanesque

is flanked
which

of French

64."

century. The

entrance

western

chevet

on

are

the Qhevt

plan ; that is,having a series

of apsidalchapels
radiatingfrom the chancel,according to the French
method.
All the largerecclesiastical buildings
usually
possess transepts,
seldom
fact
in
of the
the
walls
m
uch
short,
projecting
beyond
very
side-aisles.
almost
and

At

the intersection

invariablya rising of

well-marked

of the

roof

the

This
externally.

nave

was

with
either

called

by

the
dome
the

transeptsthere is
or

tower-shaped

Spanisharchitects

the cimhorio.
The

is sometimes

nave

side-aisles.
architecture
the

choir

So
vary

far

the

furnished

with

characteristics

little from

those of most

a
at
occupies
position

the

west

side

chapels,and always with

of the Spanish ecclesiastical
other European nations, but
instead

of the

east

of the

75

SARACENIC.

This arrangement occurs

transept.

in the cathedrals of other

occasionally
countries,and will be familiar' to many Englishreaders,as it is in
in Westminster
use
Abbey. It has the unfortunate effectof more or
less catting the church in two, so that usually
the choir fittings
and

prevent a free sightof the eastern limb from the west end of
the cathedral,but this defect is to a great extent compensated
for by
spreen

the increased space available for a sumptuous choir. The same

liarity
pecuof plan exists in several of the earlyEoman
basilica churches
at Home.
as, ". ^., in San" Clemente
The Englishbuildings
Great Britain.
to this age will be
belonging
noticed in the chapteron Englisharchitecture.
"

Saracenic.
will here insert a brief notice of
To avoid confusion of dates,we
Saracenic architecture,
ing
otherwise called Mahomedan, before continuwhich subsequently
review of the Christian styles
our
developed
themselves.
Almost
styleof architecture is the result of the requirements
every new
of

and
religion,

the

Mahomedan

are
a striking
mosques
instance of this fact. At first the followers of the Prophet found
Christian churches well suited to their own
rites,and the earliest
a

new

built by Christian architects from Constantinople,

and
mosques were
the
resembled Byzantinebuildings.
much
new
h
owever,
Gradually,

styleof decoration known

of animals
representation

as
was

was
introduced,in which all
Arctbeaque
but profuse
and brilliant decorative
forbidden,

obtained ; vegetable
effectswere
and
forms, geometrical
figures
of patterns{Eng.65).
in an endless diversity
letters beinginterwoven
Some
forms

the pointedarch
of foiled arches which have been
have

attributed

to Moorish
buildings,

well
as
itself,

as

the

various

widelyadoptedin Christian
shoe
They certainly
onginatedthe horsedistinctive and original
most
feature of
has very rarely
been imitated.
so

architects.

arch,which remains the

and
architecture,

Mahomedan

not unlike those of a

The internal arrangementsof a mosque
are
almost invariably
consists of porticos
The mosque
Christian church.
tain
surroundingan open square, in the centre of which is a tank or founis
central
the
ablutions
for
portion circular,
; sometimes,however,
is a pulpit,
In the south-east of the mosque
as in Byzantine
buildings.
* liesis
towards
Mecca
sacred
in
which
niche
which
direction
the
a
and in
"

The

of Mahomet.
birth-place

76

ARCHITECTURE.

the faithful

are

directed
desk

to

a
generally
of
The
simplicity
parapet.

there is

by

the

infinite varietyof arcaded

an

frequentlyby

and
'

Opposite the pulpit

Koran, on a platformsurrounded
by a
was
gradually
replaced
original
mosques

addition

the

in prayer.

look when

for the

courts, gateways, domes, and minarets,

of

adoptedin

its

Ibecame almost
which
the stalactite,
arch.
the
horse-shoe
architecture
as

65." Arabian

which

divided

several

some

of

person

leadingfeature,although
early Christian basilicas was
introduced

as

distinctive

The

minarets

Gateway

each
stories,

a
a

known
ceiling,

feature of their

alluded

to

are

tall

at Iconium.

marked

by

balcony,fi-om

(Muezzin)calls the faithful to prayer, and nothing

of designdisplayed
the elegance
by many of them {Eng, 68).

the Mueddin

exceed

can

into

to

the

afterwards

place. The Moors

as

turrets

sacred

tomb

renown
being in most cases
; the dome
ceilingof the
occasionallythe wooden

outsides of many
are
entirelywithout ornamentation,
mosques
this peculiarity
renders the richness of the internal decoration the

The
and

striking.The

more
as

with

both

of

flat surfaces

of the walls

are

everywhere covered,

richness
carpet with many-colouredpatterns,of the utmost
of
East.
and
the
textile
fabrics
the
colour,
design
recalling
a

In the

earlymonuments

preservedin

of Saracenic

Arabia, Palestine,and

architecture which

Syria

we

see

the crude

have

been

beginnings

77

SARACENIC.

of

into
stylestruggling

that of

and
It

was

character

and

the

Egypt
a

island

an

Moors

soon

"

a.d.

acquireda distintptive
with the mighty monuments

Saracenic

Pavilion

obtained

footingin

great influence

with
on

Rahman

the

Mosque qf AmrSuy

art

attained

its

greatest

that

country in

knightsof Western

a.d.

711, and

Christendom

tecture
all their ai'ts,
that of archion
especially
ness
of colour and richthe exuberance

althoughit always retained

celebrated
in

important
It

the

Such

mosques.

Granada.

near

of decoration characteristic of Saracenic

The

at

Mecca, the
Jerusalem,

643.

68." Moorish

subsequentintercourse

exercised

at

first

Cairo,and

near

after

however, in Spain that

The

art

style. Side by side

Egyptiansrise many handsome

Nilomeier,on

beauty.
their

Kaabah

Moaqv^eof El AkaaJiyboth

settled

at Old Cairo, founded

It was,

the

are

Arabian

that

ancient

of the

the

Such

at Damascus.

Caliph Walid

in

are

and

Mosque of OmcMr

famous

life.

Mosque qf

786, and

completed by

buildingerected

by

in
buildings

Cordova, commenced
his

the Moors

son,

was

after their

every

country.

by Caliph
the

Abd

first and

conquest

of

el

most

Spain.

enlargedand omam^ted
by successive rulers,and is therefore
as*
interesting containingspecimensof the different stylesadopted in
was

78

ARCHITECTURE.

Spain from
reached

the

first arrival of the

its fullest

developmentin

Mahammed

After
commenced

ben

buildingthe

carried

portionsof

between
Yousof

in

on

the

by

was

citadel of the

driven

The

immediate

buildingas

it

the accession

1354, after which

now

(Begun
work

architecture

date

Walid
no

he
(1248),

Seville

upon

rocky height

1248.)

a.d.

to have

seems

successors,

stands

of Abou

time

Moorish

from

AUiambra

in the Alhambra.

Granada.

his

until

the Alhambra.

Alhamar

67." A Doorway

overlookingthe cityof

Moors

but

from

in 1309

been

fully
faith-

all the
the
and

principal
vening
periodinterthe death

important additions

appear

of
to

79

SARACENIC.

have

been

iitiW

standing

**

Court

The

made.

of

portionsof
ranged round

are

two

Fishpond,"the other

the

porticos,pillaredhalls
paved with mosiacs, etc.
exquisitely
studied

be

They

may
Palace, where

they

form

the

one

"

"

Court

of the

of the

{"iig.67),

Alhambra

in faithful imitation

carried out
Jones.

in

"

the

of

consist

originalAlhambra
one
long courts

the

*'

beautiful

most

of the

are

called

the

Lions."

arcaded

Court

which

at

They

chambers,
the

Crystal

tions,
series of decora-

designssuppliedby

No

buildingof any importance was erected by the Moors

the Alhambra, before their final expulsionfrom Spain in 1492.

The

G8."

At

the

Jumna

very

Musjid,at

time

when

Delhi.

the

(Builtby

power

Shah

Jehan, about

of the

kings of

a.d.

Owen

after

1630.)

Granada

was

a
new
being added to those already
province was
rapidlydeclining,
nople
of
followers
the
the
Prophet,by the conquest of Constantioccupiedby
rulers of the Eastern
Empire
by the Turks (1453). The new

effected

great change in the architecture

of the

subjugated country,

differed not only from the

which
mosque
but
sacred buildingsof the East, of the time of which
we
are
treating,
Mahomedans.
the
also from
They
anything previouslyproduced by
and

took

introduced

Santa
more

styleof

Sophia for
or

less

their

model, and

perfectof

that

all their

great

work

buildingsare
of Justinian.

reproductions
The

80

ARCHITECTURE.

is an exact copy of Santa Sophia

Mosque of Solivian II. at Adrianople,
It was
in plan and form, but differs from it in detail.
completedin
built by the Turks
The Enest mosque
1556.
is that
at Constantinople
of Soliman the Magnificent(1530 1555).
y

"

Little
in

With

from

Sophia.

Santa

Great

Mosque
by Shah

erected

at

Delhi

architect

was

workmen

from

beautiful

{JSng.68),and
in

the

Shah

Jehan

By many
buildingin the world.
Austin

de

Genoa

and

closely
copied
Musjidj

are

Agra, both
nounced
century. The Taj (pro-

and

marble, ornamented

colours.

his

wife

with

at

lie

It is believed that
the

that

buried,is
of inlaid

mosaics

critics it is considered

Bordeaux, and

of

the Jumna

are

Taj Mehal,

seventeenth

the

which

purest white

beautiful

most

of the most

Jehan

of various

stones

by the Mahomedans
testifyto the power

many

Two

under
Tcige),
built of the

buildingserected

still
mosques
these
slightexceptions,
mosques

India

in

Persia,but

Mahomet.

or

of the

remains

now

be the

to

the

principal

decorators

were

Venice.

Gothic.

almost

and

"

invariable

styleadoptedin

Round-arched
transitional
The

word

Gothic

of the
is

Gothic

was

fifteenth and

in its

in

of the twelfth

century

centuries.

sixteenth

as

derision

buildings
Gothic

applied by many
Komanesque and Pointed.
this art

from

"

architecture.

term

first used

characterise

architecture

pointed arch

Christian
accurately.
from
middle
the
Europe

stylebetween

Renaissance, to

Pointed

less

the classical revival

to

termed
of the

occurrence

sometimes, but

the

was

is often

architecture

Gothic
the

by

writers

the

to

The
the

artists of the

antiquated.But
quaint
quitelost,and the term has
and

meaning of the word is now

original
be
to
come
generally
acceptedin the way we have described.
zontal
The chief peculiarities
of a Gothic
buildingare the disuse of horicornices and of such gablesas have a very moderate
slope; and
the introduction
of vertical or very sharply-pointed
features,such as
roofs
gables,spires,buttresses,high-pitched
(oftenopen and made
ornamental),pointed arches, and pointedinstead of waggon-headed
vaults ; the substitution of mouldingscut into the stone for projecting
mouldings; and the use of window
tracery. In late work we meet
with
in the nave
arcades,and with
piersformed of clustered pillars
It
buttresses.
of
not to be expectedthat all these
flying
is,
course,
will occur
all equally
in every building,
that they are
peculiarities
or
to be met
with in every
the
but
of
development
they are all
style;

the

81

GOTHIC.

charncterisrtic of it.
and

have

They
meaning and

described

the Roman

all the result of structural necessities,

We
have
purpose of their own.
already

were

basilicas and

the early Christian churches built

if
and
the
ground-plan of a cathedral {Eny,69) be
;
with
of
that
a
compared
basilica-church,
alreadygiven,they will be
found very similar.
Cathedrals
were
always built east and west, the
altar
at
the
eastern
high
end, and the main entrance
(a)being
at
on

their

models

(b)

the

end, while there is geneially

second
a
side of the nave
or
transept. In plan they are

almost

invariably

cruciform.

(c),and

is flanked

by

western

aisles

The

(d).

stem

The

of the

and

height as

the

two

aisles

more.

the choir.
of

or

"

nave,

The

have
east
or

the

nave

transepts (e),
usuallythe

the north

width

same

Grouud-plaa of Cologne Cathedral.

presbytery,

The

cathedral

called

arms,

69.

is called

cross

door at

sometimes
end

the

"

chancel

its floor is raised

but

and
aisle,

one

head

of

the

(f),is the most

higher than

that

cross"

sometimes

is called

important part
of the

nave,

and

clergyand choir and the bishop'sthrone.

an
apsidal {i,e.
Its end
is sometimes
rectangular,and sometimes
chancel
is often
there
form.
the
semiciri ular or polygonal)
Beyond
of the
the
aisle
of
chapelsfrequently
a Lady Chapel. Other
open out
from
walls of the transept,and occasionally,
eastern
apse or from the

it contains

the stalls for the

cathedrals there is a crypt. (SeeGlossary,)

many
of the nave
is usually erected at the crossing
tower
The
principal
front
sometimes
is
The
intersection.
the
often
west
called
and transept,

the

nave.

Beneath

82

ARCHITECTURE.

flanked
drals

by

there

transept.
as

the

group
or

towers, and

two

styleadvanced.
of monastic

called
priests,

Attached

and
buildings,

have

Gothic

by

only;

one

in

some

to

the

cathedral

CatlieJraL

(Begui

a.d.

1225 ;

explainthe originof the

which
all developedout
were
buildings,
now

"

tapering

frequentlya

was

usuallyan ambulatory

cathe
of each

for the monks

the cloisters.

70." Interior of Teauvais

We

sometimes

there are two, at the end

is one, and occasionally
The
spiressurmounting the towers became more

to

completed a.d..1272.)

distinctive
of

features of

previously
existing

styles.
Walla aiid BtUtresaes.
"

of stone.

The

external

The

walls

buttresses

of Gothic
are

props

buildingsare
or

piersadded

generally
outside the

83

GOTHIC.

the

oppositeto
baildingy

point of

the walls ; and sometimes

shape of an arch thrown

of the

further external

buttress,so

as

to strengthen
groins,

in the

support is added

the upper part of

the roof of the nave.
This is called
the wall and

between

aci*oss

helpsupport
(seeEng. 105).
Vaults and Eoo/s, ^The early
semicircular
massive
walls
to resist
requireextremely

the
a

pressure

to

flyingbuttress

"

to

modification
thrown
the

was

across

chief

thrust

buttresses

were

being small,the

71."

on

there beneath
certain

the barrel

vaults,to

points,oppositeto
the
side-aisles,

In

found

were

their thrust ; and the first

of transverse
arches (seeEng, 70),

introduction

the

here and

barrel vaults

or

placed.
Koman
vaults
intersecting
the

were

which

concentrate

the
to

spaces
used ; but

external

be

covered

as

barrel

72." Tracery of later date.

Two-lightlancet.
"Windows.

Gothic

desirable
to
vaults were
necessarilydark and gloomy, it became
of
the
the
windows
nave.
to
introduce lofty
vaulting,especially
light
of cross
vaults,
This could only be providedfor by the introduction
one.
piercingthe principal

It

was

in

strugglingwith

the

difficulties

large scale that the

are
was
capableof being
appliedto vaultingbays of any size or shape,as they can be made of
lines of
e, intersecting
equalheight whatever their span. The groins(t.
the vaults)
were
strengthenedwith ribs (seeEng, 70),and these ribs
which

attended

pointedarch

and

their

the

use

of such

first introduced.

mouldingsbecame

until
style developed itself,

producingin
finally

more

the

England

cross-vaults
Pointed

and
whole

on

nxmierous,

more

vault

the beautiful

arches

was

as

covered

the
with

Gothic

them,

(seeEng. Ill)
fan-tracery

84

ARCHITECTURE.

with

which

we

the Seventh's

fanuliar

in

King'sCollegeChapel,Cambridge,Henry
Westminster, etc. ; whilst in France and Germany
Chapel,
are

carried out.
other forms of elaboration
were
many
The general vertical tendencyof Gothic work
of any
e, projections
buttresses,vertical breaks (t.

generalface

the

of the

work),etc.

effects of shadow

to obtain

from

Classic architecture lose much

the

for

sun

diffused and

low

vertical

desire
of

cornices

effect in countries

of their natural

Italy)this

beyond

or

to the

horizontal

The

sun.

great part of the year is low in the

faint. In the Gothic
comparatively

Europe (Spainand

of

part within

largelytraceable

are

"

steep roofs,the

the

"

heavens, and

where

lightis

of the south
buildings
less

tendencywas

completely

developed.
Gables

teristic
characparticularly

are

of Gothic

and
architecture,

usuallymuch

are

decorated.

greatestattention
forming

and

nave

the west

Windows.

always paid

was

of the

those

to

tracery

has

style

western

other

developed

was

"

graduallyfrom

desire to group
togetherunder

windows

several

architecture

in any
parallel

no

"

of Gothic
peculiarity
which

aisles,

front.

Window

"

The

arch ; and a completeseries of

forms can
be made out, beginning
readily-

one

with

two

{Eng, 71) and

leadingup to

the

of which

Circular

73.

"

or

Rose

transepts of largeFrench

the
in

to such

is

elaborate

the great windows

as
compositions
the flamboyant buildingsof
in

Window.

77) often

tracery

engiuving No. 72

our

The

France.

{Eng. 73 and

lights*
arch,
enclosing

the beautiful

example,and

an

lancet

seen

in the

cathedrals

great
surpass

circular

western

Rose

fronts

anythingof

dows
win-

and

the

in

kind

England.
Piers.

"

In

little used

Gothic

nrchitecture, columns

; but

and

of the

piers were
externally
greatest importance. If

internallythey
only,the shaft was usuallyslender,but if for sup[tort,
often very
The
massive.
it was
more
carvings on the capitalswere
rich,as may be seen in the examplesgiven(Eng. 74, 76). The clustered
piers{Eng.75) were a device for carryingthe leadingribs of a groined
lines of a moulded
arch,down to the ground. They
roof,or the lesiding
used

were

for ornament

Long

narrow

windows,

with

the head

shaped like the pointof

lancet.

85

GOTHIC.

e,
capital)
pierssubdivided into different shafts,each with a cap (t.
of its own,
bearing a separate portionof the vaultingor arcading.
of less value structurally
than optically.
They were
Mouldings and Traoery. Gothic traceries were
developedin a series
Gothic
with
the bold and simple
as
as
regular
buildingscommencing
at the utmost
examples of the transitional Ilomanesque,and arriving

are

"

"

to
beyond the limits of a hand-book
upon an analysisof mouldingsand tracery; but those who wish to
themselves thoroughly
architecture scientifically
make
Gothic
must
study
the subject.
with
be
said
have
mastered
both ere tliey
to
can
acquainted
The
character
of the decorative
sculptureis also thoroughlytypical
varied with
of the style,and
changing phase which it went
every

complexity. It

would

us

carry

ent^

through : it should consequentlyreceive the student's earnest attention.

and
Trifortum, In Gothic, as in Romanesque buildings,
Clerestory
carried high enough above the side-aisles to
the vaults of the nave
were
"

admit

the roof to

under

windows

lightthe

these windows

; and

nave

in

mmm

74, 75, 76." Three

Grothic churches
The

form

or
gallery,

what

or

central avenue,

The

e,
clerestory
(i.

in

occurs

clear

largechurches

storey).

below

the

great arches that separate the nave,

side avenues,
is called the triforium
or
aisles,

the

dral,
beauty of the generalview of a Gothic catheof
of
lines
arches,meeting
variety
intersecting
of
grouped shafts and delicate ribs,its long perspective

its endless

overhead, its
aisles,and its
flood of

the

the

Capitals.

the

above

from

(seeEng. 108).
Nothing can exceed
with

is called

arcade, which

open
windows
and
clerestory

Gothic

of

rows

windows,
stained-glass

the
light,
tinting
outside

for boldness

of
of

buttresses,often

stone-work

with

Gotliic cathedral

design and

easy

is

grace

every
as

from

which

varietyof

remarkable

of ornament.

as

The

is

poured a

hue.
the interior

projecting

slender
by acutelypointed
spires
taperingheavenwards,producean indescribable effect of lightness^
and complexity.
They are, so to speak,the staccato notes of that frozen
the
pinnacles,

crowned

"

music

"

to

which

has
Schlegel

likened

architecture.

86

ARCHITECTURE.

Decorative

Scvlptures.In
"

into all the arts ;

and

mediaeval

Gothic

times

cathedrals

symbolism

owe

much

entered

of their

largely
strange,

with which every part" even

beautyto the fantastic sculptures
unearthly
and the sacrarium,
the west front, the portals,
the crypt,but especially
full
The
decorated.
the
high altar) was
(or sanctuary containing
"

77." Rheiras

developmentof

Cathedral,AVest Front.

this love

of

(Completed in

mystic ornament

a.d.

1241.)

led to the church

ing,
becom-

Everywhere we see hovering

speak,a universe in miniature.
vines and lions,
of
Christian
virtues
emblems
angels mystic
; trailing
of Divine love and mercy ; ivyand
symbols of faith ; roses and pelicans,
so

to

or

87

GOTHIC.

dogSyof

truth

Iambs, of submissions,etc.,whilst the walls and altars

and the holy shrines,containingthe relics
glow with sacred pictures,
of the saints,sparklewith jewels
and mellow
; whilst the harmonious
;

placed in the windows

stained-glass
and thus greatlyenhance
sun

lends

of the

Seat

78 "Miserere

Gothic

The

earlier

"

the

from

beauty

of the
style,

to

the rays

of the interior.

"Wells Catheoral

be said to have

stylemay

glorioustone

passedthrough three periods:

century ; the middle or perfected

Gothic,
century ; and the decadence, in the
fifteenth century ; these dates are, however, only approximate,
the
as
The
of
different
varied
in
countries.
rate
round-arched, or
progress
transitional
Gothic style,
in Italyand the south of France,
originated

the

severe

in the

it

where

France,

"

the Lombards

by

The

worked

was

fourteenth

lingei*ed
long,and developeditself naturallyfrom

introduced

its full

thirteenth

and

pointedGothic,with
first in Northern

out

have

we

to deal,
principally

; and the earliest example of

qf St. Denis,near Paris,founded

France

the Cathedral

developmentwas

Italians.

other

which

the Romanesque,

Dame, in Paris, is a later building;

later still,
and marks
that of CJiartrea is somewhat
a
step in advance ;
that of RJieims (see Eiig, 77),completed in 1241, greatlysurpasses
1140.

in

The

either of its
model

in

that of

Cathedral

Eng. 70)

rivalrywith
much

which

five years

other

of Amiens,
Cologne cathedral
that

excel it.

not

The

completedin 1272 (the

is equal to
was
built),
qf Beauvais

Cathedral

(see

of Amiens, but is incomplete. It was

In the second
in 1272.
later,and consecrated

resembles

periodof French
and

Notre

predecessors
; and

Kheims, if it does

commenced

of

that

additions

Gothic, many

buildingscommenced

in the

made

were

as
first,

an

to the cathedrals

example of

which

the

and spireof St, Pierre,at Caen, may

be noticed.
The Church qf
of
the
third style,
St. Machu,
is
at Kouen
(1432 1500), a specimen
drals
csMe^ flamboyant; t but to enumerate
and describe all the Gothic cathe-

tower

"

and
centuries
In

great churches
would

alone

of France

requirea

speakingof the domestic

of the first period,

we
*

+ From

may

from

the thirteenth

to the sixteenth

volume.

and

mention

architecture
St. Michel and

militarydepartmentof
the Fortress

of Mont

Carving beneath a seat in the Chancel.

the flame-like shapesof the window
ti-acery

88

ARCHITECTURE.

a,nd
of Couci/t

the

CMteau

and

the Hdtel de

in the

the Chateau'o/Bloi^,
flaiihoyantstyle,

Ville at Caen.

"

-"^

'-=^

79." Cloth-hall at Ypres.

Belgium

"

In

Belgium, a

Thirteenth

country which

Century.
is

rich
pai-ticularly

in

89

GOTHIC.

examples of

this

several
dormer

chief Gothic

the
styleof architecture^

great halls of the towns.

form, and occupyingone

These

the
are
buildings
in
buildings usuallya longrectangle
"

side of the

chief

in the town
are
square
with
small
windows
stories in height;
are
pierced
;
studded
the
windows
too are
over
r
oof,
frequently
high-pitched
"

the fronts

80."

Church

of St. Catherine

at

Oppcnheim.

always an important feature. The Clothhall of Yj/res

century)(Eng. 79) is one of the earliest and
(thirteenth
Town-hall
handsomest; the
of Bruges (commenced 1377) is a small and
elegantbuilding;that of Brussels (1401 1435) is famous for its openwork
decorated ;
spire; that of Louvain
(1448 1463) is elaborately
of the decadence, when
that of Ghent (1481)marks
the commencement
above

which

rises the tower,

"

"

90

ARCHITECTURE.

beauty of designwas
must

and

of the fine Cathedrals

also be made

of ornament.

replacedby extravagance

Mention

of Antwerp^ Brussels,MecJdin

Glient,
tecture
Germany. The Gothic archiof Germany, like that
of France,can
be divided into
"

three

The

:
peiiods
"

first,or

round-arched

Gothic, may be
in the Church of livelloly
seen
Apostlesat Cologne,and the
Churches
of Arnstein and' AnIt

demach.
that

1220

until

not

was

the

arch

pointed

was

adopted,and

had

to

then

even

strugglelong with
before

semicircular

it

it
the

finally

triumphed.
The following
of
cathedrals
of
the
are
Germany
pointed
Gothic

style,and
of

81."

1208-

Magdeburg,
the Church

Bathhaus

of

St.

faith,

**one

Kirche
the

in
one

in

Erwin

of Stein-

proceeded

his

his death

on

sons

Cathedral

now

the

with

by

(1318).

of Cologne,

the finest of all German

in

but it is

teenth
thir-

in

bach, and
The

of the

century. The west front

gi*eatcathedral,which

the celebrated

in 1248

present

commenced

importanceto that
Colognealone,was begun by

of

be

the

of the

century, is one

is second

lately,
supposed to

longs
be-

of

Basilica

the
interesting,

of this

Hitterdal,Norway.

of Strasburg,

having been
the early part

nave

de Hochsteden

hope,

part of which

eastern

most

until

was

Treves, 1227"1244.

at

to

style,was,

the

united

one

Cathedral

eleventh

at

ments
monu-

when

baptism":" The Catfiedral of

-1363 ; the Minster of Freiburg,thirteenth century ;
the LiebfrauenElizabeth at Marburg, 1235"1283;
Tlie

82.-Church

are

time

nation

German
at Lubeck.

the

ings
buildGothic

pointed
buildingbegun by Conrad
ascertained that he only rebuilt
the

3)

O
JO

3
"*-"

3
I

92

ARCHITECTURE.

the

old

cathedral

of the

ninth

century. Nothing is known

which
of the present edifice,
The
consecrated in 1322.
and
nave

architect

commenced

was

about

of the

1275, and

spireshave, after many years of

and this magbeen finished according
to the original
work, now
design,
nificent
of
almost
cathedral
is
an
a
uniqueexample
begun and
building
finished without any radical alterations in its original
plan(seeEng, 69).
the
St. Stephen's
Vienna,
fourteenth
to
qf
belongs
century, as does
also the

Kirchs

Maria

of

The

Lubeck,

belongsto the

Church

third

of

St. Catherine

at

to the
period,
corresponding

Oppenlieim
{Eng.80)
It is marked
by intricacyof the
Flamhoyant styleof the French.
which
much
the
of
original
moulding,
destroys
grace of the ornament.
also
Many fine civic buildingsin the pointed Gothic stylewere
erected in different parts of Germany : such are the Rathhaus
(Townhall)of Ltiheck {Eng. 81),and those of Brunswick and Munster ; the
Junker's Hof (Merchants'
Court) at Dantzig^etc. In Eastern Prussia
and elsewhere,where stone was
scarce, a styleof brick buildingcame
into

about

use

this time.

of the Gothic periodin Switzerland,Norway, Sweden

buildings
Gothic.
and
Denmark
partake many of the characteristics of German
churches
almost
of
In Norway and Sweden
constructed
were
always
wood {En^.82).
The

Italy. In Italythe chai*acteribtics of Gothic architecture were, as

has alreadybeen seen, largely
The use
of
influenced by the climate.
infusion
marble
the
of
what
chief building
as
material,and a strong
called
be
classical
also
contributed to mould the peculiarities
taste,
may
"

of Italian

Gothic.

pitchedroofs

Here

the

horizontal

cornice is often

retained,low-

comparativelyrarelymet with ;
groinedvaultingof Northern
Europe, with its attendant
external buttresses,is almost
and
window
unknown,
tracery is of a
inferior
of
character.
The
double
church
St. Francis
qf Assist
very
are

common,

spires

are

the elaborate

rather than for

(1238 1253),famous for its beautiful fresco paintings
its architectural design; the Duomo
qf Florence {Eng.83),one of the
churches
of
Middle
1294 or 1298, and
the
largest
Ages commenced
completedearlyin the fourteenth century remarkable alike for the
of its details ;
grandeur of its plan and for the inappropriateness
beautiful Campanileadjoins
it ;)the Cathedral qf Milan
(Oiotto'8
(1385
of
white
of
built
of
the
the
mediaeval
one
cathedrals,
1418),
largest
marble and sumptuously decorated,but spoilt
by an attempt to combine
Renaissance
with Gothic
features ; and the CatJiedrdls of Siena {Eng.
1243, the latter 1290), are
84) and Orvieto (the former commenced
the
known
best
of
Italian
specimens
pointedGothic, examplesof
among
which are, however, to be met with in many
scattered
other fine buildings
throughout the country, at Treviso,Cremona, Como, Bergamo,Bologna;
became
The civic buildings
of
acclimatised in Rome.
though it never
"

"

"

"

"

93

GOTHIC.

of them
fine specimensof the same
style; of these,
many
of the richest is the palacecalled the Cd, d'Oro {Eng,85); but the

Venice
one

noblest

are

and

most

84." Cathedral

Palace.

At

renowned,

of Siena.

Cremona

well

as

Began

a.d.

is the Palace

with
the Broletto (townhall),

its

as

is the
largest,

1243.

by
(Fa";ade

well-known

Giovauni

of the Jurisconaulta

marbles.
party-coloured

Doge's

Piaano.)

; and

at

Como,

94

ARCHITECTURE.

little trustworthy
data

Spain, There are but

Spanish architecture
"

of

combined

form

to

the

in

eighth century introduced

the

florid character

blended

the

but

in the

northern

more

of the

towns,

85."

Gothic

more

ancient

named, almost
are

by
There
earliest
*

Ca

the taste of the

of Seville,
Toledo,and
sites of

The

retained,even

manner

hold upon

upon

Spaniardsthemselves

Granada

Gothic,and known
as

three

belong

the

country.

Cordova

and

decoration,
as

Moresco

Granada, the

d*Oro,Venice.

puted
undisduring the Moorish occupation,
Cathedrals
The
people.
present grand
are

only upon the exact

of the firstthe
in
but,
case
ever,
lines : in the last only,how-

all built not

Moorish

mosques,

the very

foundation

work

periods of

Gothic

architecture

Cathedrals

of

lago

A cast of the grand Puerta delta

is in the South KensingtonMuseum.

also

conquest in the

styleinto the

prevalentarchitectural
such

are

influence is still visible in

there any remaining traces of Arabic

the superseding
Christian structure.
were

Moorish

The

Saracenic

outlines of the

severer

ages.

altogethernew

an

predominanceof

the rich and

with

middle

of their architecture.

traceable in that
In the south

the

character of the

for any exact history

The
influences which

St,

di

not

ated
whollyobliter-

Spain. To the
ComposteUa,*Zamora,
in

Gloria,built by Master Matteo about

A.D.

1180,

86."

Burgos Cathedral.

(Commeuced

1221.)

96

ARCHITECTURE.

taken

were

Toledo

of

Europe.
character.

later

The

Portugal.

1385,

times

spoken,

of

the

at

and

Cathedral
cathedral

became

florid

very

for

call

not

more

John

King

by

buildings,
the

86)

Gothic

erected

Gothic

especially

famous

does

BataUia

important

decoration,

the

Spain

country

cathedrals

{Eng.

largest

of

this

church

most

florid

with

the

French

Burgos

belongs

period

of

The

of

architecture

the

architecture

notice.

one

covered

third

the

period

"

passing

second
CcUhedrcUs

before

have

we

the

the

the

To

which
In

in

In
and

erected.

were

in

in

models

as

of Seville,

than

Scdaiiianca.

and

TarragoTia

is

freely

very

tomb-house

of

Emanuel

Fortunate.

the

We

Britain.

Great

reserve

"

for'

buildings
found

chapter

the

continuous

notice

our

of

of

English

architecture,

English

on

description

the

which

in
of

development

the

Gothic

pointed

the

will
in

style

be
that

country.

We
without
the

close

cannot

calling
of

middle

exercised

skilled

they

in

system

were

Germany
co-operation

and

houses

Strasburg,
believed

are

of

the

The

of

Vienna,
to

Freemasons

owe

the

to

the

by

meeting

Zurich.

much

of
the

of

their

different

vast

beauty

guilds

and

and

principal

cathedrals
the

to

their

recognise

the

men

work

of

laity,

could

lodges

The

of

any

time
the

masons

called

were

and

out

the

majority

which

in

centuries

body

carry

At

manner.

to

Ages
whicli

thirteenth
were

competent

scieutiiic

of

of

Middle

the

freemasonry,

Freemasons

and

invented,

was

of

boi^inning

the

unknown

was

signs

The

best

in

Architecture

institution

art.

kind,

every

the

writing

the

upon

.of
in

secret

other.
at

twelfth

masonry

organisation

each

to

influence

undertook

of

attention

the

much

of

account

our

harmonious
states.

of

Renaissance
First
The

Period:

Renaissance

succeeded

the

revival
into

of

Italy,
really

style ;

and

flounshed

arts

The
made
Rome.

the

first in

combine
In

as

Court

century

later
was

and

the

return
on

in

to

the

Palace

the

with

cathedrals

of

rest

to

classic

literature, that

models

in

all

the

Europe.

time, when
those

extent,
classical

the

Rome.

ancient
of

certain

entirely

at

study

transition

styles

above,

seen

Cancellaria

the

given to that style which

fact
in
a
Italy, and was
Gothic, although introduced

in

supplanted

nor

revived
for

existing

churches

name

rise

have

of tbe

Petrarch

signal

the

its

we

there,

Italy, and

fifteenth
to

"

took

architecture.

adopted,

when

was

It

Eoman

87.

revival

Renaissance, 1420"1500.

{i.e, revival) is

ancient
and

never

Early

Gothic.

Italy.

in

of

belonging

an

ancient
to

this

attempt
Greece

period,

was

and
the

ARCHITECTURE.

98

groined ceilingof

the

Gothic

stylesalternate

with

the

the

feudal

the

Middle

fortresses

Ages

palaces of
We

which

that

the
date.

in them

somewhat

change
to

of

to

later

trace

can

from

transition

are

intersecting

the civic buildings

vault, and

similar

came

over

lives of the old feudal

the

barons

warl ike

"

simplicity

giving place to princely

eleganceand luxury. The
still distinguished
palaces were
for

their

fronts,as

mented
orna-

in

previous

and
pilasters

arcades

were

introduced.

largely
principaland
of

feature

the
but

centuries,

distinctive

Italian

public

buildings and

palaces of
this time is the cortih (i,
e,
surrounded
court-yard),
by
which
open arcades, over
the upper apartments were
carried in the
in

manner

seen

illustration

our

(see

Evvg,87). Although it is
tural
strictlyarchitecof
view
there
point
much
in the buildings

from
is

that

deny

impossibleto
a

of this

is open to
of
the criticism
those who
insist

that

era

on

architectural

rectness,
cor-

there is nevertheless
a

grace and

in the
a

ornamentation, and

freshness and

in the

Part

terra-c0tta

of the

OspedaloMaggiore,Milan.

decoration.

By Antonio

Wiih

A.D.
Filarete,

1457. the

stylos.

The

Italians

especiallyin

er
rend-

superior to

buildingswhich

were

time

same

carried
Gothic

simplicity

which
details,

them
88."

delicacy

out

in

Lombardy,

the
were

the
at

being
later
very

RENAISSANCE

successful in

moulding bricks

IN

99

ITALY.

for ornamental

their

purposes,
sometimes

and

employed

civic buildingsand
also in their
largely in
the details of the cornices and the moulded
churches
: they executed
arcades and window-openings,either by moulding the bricks,or by the
of bricks of differenj;/designs
use
arranged in patterns. The OspedcUe
Milan
is a well-known
Maggtore of
example of Italian ornamental
them

and

brick

terra-cotta

80." Palazzo

{Fng,88).

Venice.
Calergi,

Vendramin

Italian Renaissance
the

work

architecture

may
Venetian.

Florentine,Eoman, and

By Pietro Lombardo,

1491.

be divided into three

schools

"

be said to have
been the cradle of the Renaissance ;
may
it is to her great master, Brunellesclli,
that she owes
hi^r preeminence
in the revival of classic architecture.
He completed the dome

Florence
and

of the
the
what

Cathedral,and

last-named
is called

work
"

built the
he

rusticated

Santo

In
Spiritoand the Pitti Palace,
artistic
to
managed
give
importance to
The Strozzi (builtby Cronaca,
structure.

first
"

1498),Gondiy Riccardi,and Rucellai Palaces

Florentine
of the earlyRenaissance
buildings
Borne,
In Roman
buildingsof the same
"

imitation

of classic

models, and

freer

use

may

be cited

as

other

fine

age.

period we find
and
of pilasters

closer
arcades

ftfiNAISSANCE
than

in the

included

by

Rome

the

"

one

low

with

storey).The

two

largepalacewith

Giuliano

101

ITALY.

palaces. Sometimes
of columns

order

(t.e,

attic

an

Florentine

in

IN

two

or

stories

more

their entahlature

are

surmounted

so-called Venetian

the Church

palacesin
it built
adjoining

of St. Mark

Majano about 1468, and the smaller by Baccio Pintelli

in 1475
Renaissance
domestic architect
are
good specimensof Boman
tnre : the largeunfinished court- yard of the former^is the first example
of a building
constructed
the model of the Colosseum, with its tiers
on
by

de

"

of columns

During
centuries

and

series of arches.

the

whole

Rome

was

so

populationof the
This

of

the

much

fourteenth
disturbed

reduced

city was

parts of the

and

contests,that the
20,000 inhabitants.

intestine

by

less than

to

fifteenth

will

explaiqwhy, as Mr. Fergusson says, "Rome

possesses no
of
this
that
the
with
stern grandeurof
can
buildings
period
compare
the Florentine palaces,
the playful
luxuriousness
of those that adorn
or
the canals
Venice.

storey

The

^The Venetian

"

of

coltunns
with

of Venice."
the

and

entablature.

an

columns, and
fronts

possesses
windows

tier of

separate

ornamented

are

frequentlyfilled with

spandrelsare

figiures.

mention.
special

Period:

Second

Florence

long as

Advanced
was

the

Benaissance, 1500

home

of the

new

antique forms

; but

underwent

in

1500

the

change.

of

destinyof

and

scene

Julius

1580.

"

it retained
style,

character,the result of the combination

transitional

attracted

arched

of the early
of them of marble.
Of the palaces
many
the Palazzo
and
the Palazzo
Vendramin
Calergi(Eng.89)

Giovanelli deserve

alike

the

The

Each

of the three schools.

ornate

are

Renaissance,

As

is the most

buildingsof Venice

chief

and

the Renaissance
lover of art,
became

enthusiastic

II., an

its

mediaeval

Rome

the

greatestmasters of the day to his court, and

For a
world, as it had long been of the religious.
of
Pericles
of
and
of
period twenty years the classic sculpture the age

the centre
the
more

of the art

of Roman

best monuments

and
painters,
sculptors,

art

studied
diligently

were

architects

worked

; and

once

togetherin harmonious

of undying beauty. In this age

combination, producingmasterpieces
the Romans

more
delighted

ordered

forms,and
buildings.
Donato

which
palaces

he

of

also

as

the

grace of his own.

Palaces are
Torlonia)
a

(now
designedthe Sacrietyof

Gtraud

now,

noble
as

masses

of well-

before,their civic

Urbino, the founder of the Roman

be famous

ever

were

and

Peter* 8.
designerof aS'^.

school

of

In the

to antiquedatails,
erected,he adhered strictly
treating

them, however, with

and

in vast

ever

their finest works

Bramante

architecture,will

than

Santa

The

Cancellaria

(seeEng. 87)

He
amongst his chief works.
and the eastern
Maria
part of

91"

Biblioteca of San Marco, Venice.

By Jacopo Sansoviuo.

After

a.d.

1o36

RENAISSANCE

delle Orazie, both

Maria

Santa

approachedmost
built

in power
for

owe

we

noble

103

ITALY.

Milan.

at

of the

One

its frescoes

by Raphael.

of architecture

work

who

masters

Peruzzi,who

Baldassare

was

Palace, famous

himself

Baphael

him

nearlyto

Famesina

the

IN

Palazzo

the

"

To

Florence

a fragment of a
palacein Rome
; and
is
said
also
have
built
from
been
his designs.
to
Vidoni)

Fandolfini(1520) at
itself (Palazzo

Buonarroti,the mighty geniuswho excelled~alikein the

Miciielangelo
sister
and painting,
left the impress
three
arts of architecture,sculpture,
of his vigourand power on architecture.
To him we owe
the designof
with its picturesque
of
the present Capitol,
the Porta
buildings,
group
Pia, and the completionof the cupola of St. Peter's, This, the largest
Christendom, is built

in

church

foundation-stone

The

tine.

work

the

and

Bra

by

Raphael

buildinghad

new

been

laid in

1406,

ceeded
pro-

that of the
and

of the

designs

te, until

man

and

death

was

after

with

the site of the old basilica of Constan-

on

his

Pope.

Peruzzi

took

up his unfinished task,and

in their turn
ceeded
sucwere

by Michelangeloin
he had

already
seventy-second

1546, when
his

reached
year.

He

dome,

and

the

designed
the

at

the greater

ninetysaw

of

age

part

of his task fulfilled. When

he

for

died, he left models

completion

the

in the

Greek

cross, with

the

his

which

front

west

of

have

churches
The

harmonised

became
and

Famese

coloured

the

colonnade

of the

style. Its

{Eng, 90).

interior is very

The

of

ambitious

most

the

erected

Mademo

dome.

church

the

later

richlydecorated

marbles.

Palace, begun by San

della Poi-ta,also bore the

worked on it after San Gallo.

Giacomo
who

the

model

beyond the length

westward

nave

della Porta,

Oiacomo

Yignola and

with

added

the

of the Renaissance

mosaics

By Palladio.

Palazzo Valmarano, Vicenza.

92."

his successors,
prolongingthe

Bernini

and

St. Peter

with

but

plan by

would

the dome

crossing;

altered

the

of

form

church

at

of

Gallo

impressof the
It is one

1530, and

in

geniusof

of the

finished

by
Michelangelo,

grandestin

all Rome.

Italy,the school of Venice attained to much importance

indebted
For this she was
art.
during this the golden age of Roman
built the
to the great master, Jacopo Tatti, called Sansovino, who
his
considered
masterpiece,
Library of St, Marie a* (1536) {Eng. 91),
In

North

The

designhas

been

copiedin

the Carlton Club

in London.

104

ABCHITECTURE.

and

sculpturedthe magnificentGate of

the

same

In

Vicenza, in the

erected

93."

because
of the
manner

sixteenth

century,

by Palladio,remarkable

Loggia of

the Palazzo

they became

del

the

only on

not

Verona.
Consiglio,

models

upon

By

which

Eenaissance
work
in this country was
of Palladio
in the fa9ade of whose
"

covered
while

Sacristyof

the

the

church

of

name.

that

of

Cajyra/rolaj
was

two

stories

"

Vignola,whose
more

having become
chief

work

followed in France.

was

of

group
their

Fra

buildingswas

own

account, but

Giocoudo,before

very
based

1500.

largeproportion

(Eng, 92) ; the

quently
buildingspilastersfrethe fashion in England,
the

Famese

PaUice

at

RENAISSANCE

In Yerona
for

that

The

Decline
which

simple beauty

fifteenth century, and

in the

defects

merits

of the

the extent
in is

His

of St, Peters

by

His

forms
the

windows,

that all

so

confusion
In

baldacchino

is

was

of

group

of

they displayed
stylein which
all its

almost

unbridled

Classic
of the

the

license
Gothic.

nor

and
style,

new

decoration was
capricious
indulged
(canopy)coveringthe high altar of
is the colossal Colonnade

work

also famous

was

as

Borromini,endeavoured
From

exaggerationof ornament.

disappearalmost

entirely,

regularityof designis lost,and

sculptor.

broken

are

to outdo

his

buildings

gablesof

the

even

"

the entablatures

and

the

contorted,

effect producedof

an

in

Daphne, finished in his

Apollo and

rival,Francesco

cornices,and

and

the

neither

(seeEmj, 90). Bernini

greater

even

rectilinear

and

great architectural

eighteenthyear.
him

It

the chief master

was

unmeaning

of his best works

One

unhappily reflected

Bernini

in his bronze

St. Peter's.
front

which

by

and
exaggerated,

were

luxuryof the age.

to which

seen

in the seventeenth

1800.

"

of art

the works
distinguished
which
and dignity

richness

Kenaissance

Lorenzo

Giovanni

the

attained

who

1600
of the Renaissance,

succeeded

left out ; and

effeminate

and

the

sixteenth,were

elegant is

most

Dominican

city.

Third Fet^od:

the

the

del

in
celebrity

periodremarkable

same

beauty of their decoration. One of

built by Fra Oiocondo,a
Consiglio,

the

Palazzo
much

the

buildingsof

there still exist

105

ITALY.

IN

painful

instability.

the

in
eighteenth century architecture recovered, especially
and a simpler
France, from the exaggerationof the previousperiod,
and more
which
made
i
n
to
an
dignified
styleprevailed,
attempt was
return

classical forms

to

had

given character
by Bramante

their

size and

vast

they remained
France.
in
of

"

the

the

Italyto

the almost

Europe

still remained

richness and

first many

and

styleof

many

luxuriance

of their

decorations,

its way
of the countries

rapidlymade

of any

other,many
and it
traditions,

advanced
considerably

was

not

until

that the Classic revival

England.

of the old Gothic

other fine

Renaissance

true to Gothic

Italian features. This is the

Chenonceaux
{Eng. 94) on the
and

the

total exclusion

centurywas

spread to France
At

wanting ; and, in spiteof

was
Michelangelo,

cold,unmeaning structui'es.

Whilst

the sixteenth

the

and

the

works

as

to

founded

importantbuildiugserected
many
of art ; for the creative power which
school,
productionsof the great Eoman

; but

deficient in interest

were

forms

case

were

in the

retained,combined

ch"teaux

of Chavihord

with
and

Loire, in the palace of Fontainehleau,

buildings.The

two

first-named

palaces,a part

of

106

ARCHITECTURE

to the

Loire, belong
of
a

France,in its
piquancy,and

the most

in the valleyof the

other mansions
many
the architecture
of
I.
when
Francis
time
a
period

of Blois,and

Chdleau

the

Grothic to Renaissance,

of delicate

use

surface

the

Italian

unfortunatelythe

debased

century that

but

it

late

Renaissance, not

was

a
displayed
coupledas it was
rarelyequalled,

passage from
refinement
a

exuberant

seventeenth

"

94."

that

their

directions

in the

Italian architects

the Loire.

on

west

a.d.

were

1530.

in every country.
Lescot, 1544, is one

obeyed

were

front of the Louvrey erected

of the finest examples of earlyRenaissance
The

was

stylewas universallyadopted;
and exaggeratedphase of the

golden age.

of Cheuonceaux,

ChAteau

largelyemployed,and

of the

It

ornament.

grace,
with

Pierre

by

in France.

The

old

portion

of the
of the TuHertes, built by Philibert De Lorme, 1564, shows more
classic
element
the
defects of the style. In the next
when
century,

again began
result

was

to

the

{Eng,95) and

prevailin Italy,the
erection

of

the Pantheon

the
"

two

felt in France, and the

buildingsof the Invalidea

effect was

handsome

of the finest structures

of the

jieriod.

the earlier part of the century belong the Palais Royaljbuilt for
raised the
Richelieu,and Palace of the Luxembourg, Later, Mansard
To

RENAISSANCE

107

ITALY.

IN

which, though vast, lacks both varietyand

huge buildingat Versailles,
dignity; and Perranlt added the eastern block to the Louvre.
To the last form assumed
stylethe
by this periodof the Eenaissance
is
often
Rococo
term
given. It is characterised by extravagant and
meaninglessornaments
profuselyapplied.

95.

Fa9adeof

"

the lavalides,Paris.

Spain, In Spain we may

built by Juan
de Herrera,
"

instance
one

remarkable
Europe,and especially
as

the chief work

Granada

and

of this

Malaga,

and

By Mansard.

style.

of

the

the

Completed

Monastery of

Other

the

1706.

Escurial,

palacesin
(1563 1584),

finest Benaissance

for its central church

the TawnhaMs

a.d.

examples are

"

the Cat/iedrals of

of Zaragoza and

Seville,

108

ARCHITECTURE.

In the Netherlands,which
affords but few
Netherlands,
architecture,the TownhcUl, and
examples of Renaissance

The

Jacques at Antw"rp, designedby Bubens,

of St.

church

of his family,
only need

the monument

^The Gothic

Gemuiny,

"

in

Bdvedere^

in

now
Heidelbergy

researches

and

which

made

the

producedat that

were

and

constituted

of the

in its

event

an

antique stylehad

alone

been

of
is

what

Century.
the

discovered in that coimtry

monuments

period,were

the

CasUe

the

eighteenthcentury, and

in the

in Greece

mencement
com-

as

Prague^
Square
of earlyRenaissance, or
eiuunples
Transition
in Germany.
style,
at

of
representations

accurate

until the

hall known

noble

Architecture in the Nineteenth

The

containing

ruins,are

called the

sometimes

The

century.

Hradschin

the

and

the

be mentioned.

styleprevailedin Germany

of the seventeenth

form

portant
im-

"

of vital

importance to

history. Hitherto
known

tecture,
archi-

the Roman

imitated ; but

and

at

beginningof the present century an attempt was made in England,

and France to revive the Greek
Germany, Italy,
styleof architecture.
Nowhere
this movement
was
more
stronglydevelopedthan in Great
Britain ; but, as a separate chapteris devoted
view
to a comprehensive
of English architecture,
the Greek
in which
phase will receive notice,
continental countries
and
the
at
two
to
we
once
France,
Germany
pass
the

where

Greek

art

Ge^'many, Schinkel,a
"

of the

first architects

forms of
of their

to

beauty borrowed
His

own.

studied

most

was

and

of

man

by

architects.

was
genius,
powerfuland original
them
ideas and
new
embody

the

grasp
from the

works
principal

T/ieatre {JSng,
96),the

followed

and
Artillery

Greeks, but with

one

in

vital character

the new
Royal Gua/rd-hotise,
the
and
Buildvig
Engineers'School

are

the

ScJiool at Berliuyand the Casino and St, Nicholas's Church at Potsdam,

He also designedmany
All his
and country houses.
churches,castles,
are
productions

remarkable

for

unityof designand vigourand harmony

of detail.
Another

German

and
Potsda/nij
external

the

beauty,but praiseworthyfor

of its internal
the finest in
Munich

architect,Sttiler,built the
Museum
at Berlin, which
new

is

arrangements

Europe.
rich
especially

in

; and

the

Friedenskirc/ie at
is of no
special

harmony and

for its noble

erected
buildings

in the

ness
appropriate-

staircase,
one

of

presentcentury.

IN

THE

NINETEENTH

Leo

yon

The

and
Glyptothek(sculpture
gallery)

Klenze

and

O"rtner

109

CENTURY.

the architects

were

of the greater number.

the PinaJcothek

(picture
gallery),
style; the former is not altogether
of a Greek
a
work, but has something of originalfeeling
: the
copy
cornice
above
the portico is finelydecorated, and
the pediment is
enriched
with
decorations
other
by Wagner, Schwanthaler, and
considered a finer work than
sculptors.The Picture Galleryis by some
the
for which
It
the
it was
Glyptothek.
fullyexpresses
purpose
by

Von

Klenze, are

in the classic

96." The

erected ; the

Eoyal Theatre, Berlin.

and
for largepictures
galleries

By

Schinkel.

cabinets

for smaller

ones

brick,with stone dressings.

and
These
others
in
different
buildings, many
parts of Bavaria, the
and
WalficUla near
Katisbon, by Von
Klenze, the Ltuiwigs-kirche

are

extremely effective.

The

materials

are

"

Triumphal Arch
built

at

of art.
adhered

Other

in the

same

town

by Gartner,

for instance

"

were

all

enthusiastic
lover
the expense
of Ludwig I. of Bavaria, an
Von
Gartner
whilst
Klenze
revived
adopted a
Romanesque,
more

to
closely

German

the Greek

who
architects,

style.
have

aided

in the Classic revival of the

presentcentury,are Gottfried Semper,builder of the T/ieatre (destroyed

and of the Mitseum of Dresden, and TheophilHansen, to whom
by fire),
Vienna

owes

many

handsome

buildings.

110

ARCHITECTURE.

England and Germany, has had a Classic revival ;

the most
powerfularchitectural school in the present century was
architects whose styleis called the neo-Grec (t.
that body of French
e.
the
fine
of
whom
the
Second
and
to
we
owe
revived Greek),
buildings
marked
features
derived from the
all
which
are
strongly
by
Empire,
the
framework
which
the gradual
Greek
of
art
engraftedupon
study
had
supplied. The Church
qf St,
development of the Renaissance
France^ as well

as

and

des Beaux
de Paul, erected by Hittorf,and the EcoU
Arts, by
both in Paris, are
earlyspecimens of this style. The Church
in
Madeline, in imitation of a Greek
temple,was commenced

Vincent

Dnban,
of

SL

1764, but

That of
completedtill 1842 by HuY^.
forms
form of an
irregulartriangle,

not

was

in the
(1860-68),

unusual

an

example

and
granite,

porphyry

interior

mosaics

have

and

its

struction
con-

of iron ; the Opera-house^

use
by
the most
important,but by no meaus

{Eng,97).

world, coveringan

in the

Augustine

in

of the

is the most
(hmiier (1861-74),
of
its latest form
artistic,example
theatre

SL

of

area

been

It is the

nearlythree

freelyused

largest
existing
Marbles,

acres.

in its decoration

; in the

and
paintingsof great magnificence,

the
on
We
of
not
omit
to
notice
must
the
statuary.
facadeare groups
great
formed
Louvre
the
of
the
and
of
which
Tuileries,
by
p
art
palaces
group
are

in 1871.
The difference in the styles
by the Communists
of conformity in alignment of the two
want
palaceslong formed
the
of the
to
to
insuperabledifilculty giving unity
appearance
burnt

was

and
an

; and

whole

it

manner

harmony
producea pleasing
feature
but

is stillconsidered
without

even

palacesof the
The

new

for the

reserved

was

portionsin such

new

architect

in the

various
it

as

now

day.

Hotel de

such cities as

The

Second
for the
endless
Our
to

the

de

Yille,and

Bordeaux,Lyons,Eouen,

and

similar
Marseilles

stylewhen

employed for

built in the Renaissance

ViUe,originally

stylein 1628,

much
in

structures

has since been

large central

other authorities ;
stands,is one of the finest

be cited as good examples of the Classic

may
edifices of a secondaryclass.

and afterwards

the

and
disparities,

parts. Some

Custom-houses, Prefectures,H6tels

publicbuildingsin

The

to arrange

the

Fergusson and

by

necessary

it,the Louvre,

Visconti

down

tone

to

as

Paris,was

restored

domestic

it became

until
enlarged,
in the

architecture
The

burned
same

of the most magnificent

the Communists
in 1871.
It

by

one

style.

of Paris

modern

largelyimprovedunder the
Paris are especially
remarkable

was

houses of
the windows, and for the general
of
happy arrangement
priateness
approof all the details,
though wearisome in the monotony of their

Empire.

repetition.
limits will not

Trophiesof

for their

historical and

built after the

permit us

to do

more

than

make

brief allusion

Paris,which, however, deserve separatestudy,alike

artistic value.

designof Chalgrin,and

The

Arc

de

decorated

Triomphede VJ^ile^
with

grand

groups

of

of Modern

Fontaine

St,

first

Napoleon

is

one

artists,"commemorating the
of the

of

call

Palais

was

carried

detail,but

nothing
specialremark, with

for

97.

"

The

New

Opera Houso,

out

has

Paris.

(Arch of Peace)at Milan,

by the Emperor of Austria.

exceptionperhaps of

the

By Gamier.

by Napoleon J.,

commenced

architectural
considerable
of late years shown
activity.
marble palaceshave been erected in St. Petersburg
handsome
"

all of them, however, from

of the class.

structures

The

New

Museum

of St.

one

The

Palace

of the

of

finest

by
Petersburg,

Von

buildingof considerable merit. The Church of St. Isaac,

design by a French architect, De Montferrand, is the best

Klenze, is
a

designsby

foreignartists.

after the design of Stalian,is

Micliael,

the Archdvke

after

taste

producedof sufiicient

has

Russia

Many

purityof

much

with

been

the

Areo della Pace

finished

triumphalarches

CoUmne

the

Classic revival

'

and

finest

the
VendSme, the Colonne de Juillet,
the fine
du Trocadero,are among
of the present century.

refinement

noveltyto

other

many
"

Europe. The
Michel,and

publicworks
In Italy the
and

and

Rude

sculptureby
triumphsof the

Ill

CENTURY.

NINETEENTH

THE

IN

ecclesiastical edifice of this northern

city.

112

ARCHITECTURE.

Since

the

of

close

the

one

by France, of being
architecture

and

Germany,

a
liberty

free version

which

have

the

on

been

erected

far

continent, as

buildingsclaiming to

been

has

private buildings.

of Benaissance
often

but
spirit,

Germany, and as
positionformerlyheld

the

in

rank

as

portant
im-

as

important cities

fort,
cases, as, for example,in Cologneand Frankof the old fortifications,
become
now
obsolete,has

space

publicand

new

nation

Many

work,

and

in several

demolition

the
set at

foremost

the

France

steppedinto the

has

is concerned.

architectural
of

between

war

of its results, Germany

treated

turned
These

be

to

accuracy.

by

in a
universally
vigour,and
originality,

much

The

flanked

almost

are

with

leaving something

refinement, elegance,and

into boulevards

desired

architects

the

in

of

matter

of these

structures

of modern
great readiness to avail themselves
building
of iron and
of the use
steel.
An
contrivances,especially
example of
architecture
Renaissance
of somewhat
the same
type, too remarkable
have

shown

to be

passedover,

of

Justice

which

is furnished

Brussels

at

the outline

familiar

freedom

suggests

European
with

covered

is

form.

very
that of

The

the

by

loftyand

very
Indian

some

whole

features

Renaissance

capitalof Belgium.

treated

termed

Many recent
those
especially

publicbuildingserected

in

Renaissance
Brussels

Berlin

and

character, but

are

Vienna,
less

Palace

structure, of

than any
of
vast
is
mass
masonry
boldness
with
and
startling

might appropriatelybe
in

The

temple

rather

of the

which

elaborate

are

licence.

other
also

European capitals,
almost

irregularin

uniformly of
than

treatment

the

example.

Exhibition
of
Paris, in the buildingserected for the International
much
be made
of iron, in combination
how
use
can
1889, has shown
with
other materials, especially
effects.
tiles,to produce architectural
The various galleries
and halls erected at that time, and still standing,
works, thoroughly modern, and of a type
are
genuine architectural
which
with great advantage be followed elsewhere.
may
nent
tendency of modern architectural art as practisedon the contiof Europe was
in a pretty uniform
the
direction, namely, towards
almost
the
exclusive employment of the Renaissance
but
nental
contistyle;
The

architects

stylemore

have

and
elastic,

striven,and
to

adapt

without

not

it better

to

success,

the

to render

that

varying requirements

forms, and new

ornaments,
new
life,
by introducingnew
of composiand
of
the
combinations,
by abandoning many
tion
principles
by which till recently architects have invariably been guided,
the
fettered, in designing their buildings; and
possiblysometimes
results seem
connection
intimate
to show
not
only that there is some
of

modern

between

the

but

that

the

and

can

feelingof

Renaissance

styleitself is

be made

to lend

capable of

itself to many

architecture
a

very

and

largeamount

purposes.

modern
of

taste,

variety,

Architecture

in

Britain.

Great

of
preceding chapters oil the Architecture
found
reader
in
the
be
useful
to
will,we trust,
enabling
that
of England, and
chief
characteristics
understand
to recognise the
of Europe.
from
in
the
which
rest
art
distinguishEnglish
contemporary
ideas
and
Architecture, like language, is the expression of national
national
of
and
the
be
to
study
English history might
peculiarities
;
inconsiderable
examination
illustrated by an
of the buildings
extent
no
Each
which
each
under
became
consideration.
race
period
belonging to
of the
left its impress on
dominant
in Britain
the architecture
time,
marked
and
the gradual advance
in civilisation
was
by a corresponding
in the science
of building.
advance
When
invaded
Julius Caesar
Britain, in 55 B.C., the dwellings of the
inhabitants
mud
of the simplest description caves,
were
huts, or
of stone
circular
houses
wood
with
or
tapering roofs, through an
of which
emitted.
and smoke
admitted
light was
aperture in the summit
collection
of monoIt is therefore
the remarkable
at least probable that
lithic
on
masses
Salisbury Plain, called StoneJvenge (t.e. hanging or
of which
is familiar,
one
uplifted stones), with the appearance
every
inhabited
erected
those
of men
who
not
were
race
as
by the same
those
shows
simple dwellings. Stonehenge
great experience in the
of stone,
and
masses
handling of enormous
practice in the art of the
other
advanced
rude
stone
monuments,
mason.
so
Many
though none
that

All

have

we

said

in

Continent

the

"

as

works

they

of

were

arrival

The

British
into

art, exist

raised

and
of

the

architecture.
and

city,

parts of Britain

in various
the

history of their

Homans

was

They
taught the

converted
natives

an

event

still remain

when

date

obscure.

great importance for

of

from

London
the

the

; but

builders

fort

enclosed

an

principals of

construction.

the
Britons
wean
Agricola (a.d.80)
power
them
their wandering life,and
arts
from
to encourage
to practise the
surrounded
He
rule
cities
of peace.
and
under
his
was
successful,
rose
walls, and adorned
by temples, basilicas,and palaces. The
by massive
cited
Vriconium
of
Silcliesfer
be
remains
as
(Wroxeter) and
may
third
civilisation.
In
the
century, British
examples of this advanced
all

in his

to

for

their

when

the

city

skill ; and
in
of AtUun

especiallydid

the

Constantino
many
At

end

the
as

Great

workmen

of the

Britain,
measure

famous

became

architects

of

by

the

employed
the

elsewhere

built

third

in Western

drawing

were

century
off

sent

best

This

father

of

(a.d.290),

Burgundy

Britain.

architecture

Europe.
of the

from

the

began
caused

was

artists

to

to

decline
in

Byzantium

in

great

(now

114

ARCHITECTURE.

to aid
Constantinople),

great works

in the

ander taken

Emperor

the

by

Constantine.
When

the Romans

to fall into

but

left

Britain,the natives allowed

to be seized and

decay,or

few relics of Roman

destroyedby invaders

Brading in the Isle of

and

are
following
Englisharchitecture

The

the

since the Roman

Anglo-Saxon, from

the

fore
there-

Of

England.

their

cestershire
Woodcliester in Glou-

Wight,

the most

we

are

important.

convenientlydivide

may

occupation
"

of seventh

end

buildings

; and

of Villas at

which

stylesinto

in

remain

structures

architecture,the foundations

domestic

their

Norman

the

centui*y to

Conquest,1066.
Normwn,

from

Gothicyfrom

1066
1190

nearly1200.

to

to 1546.

Transitional,from 1546
Henaissance,about 1619

to 1619.
to the

The Grothic is
different names
are

present day.

divided

three
into
commonly
periods,to which
authorities
assignedby different
; those introduced
JSarlyEnglish,1190 to
by Rickman, and still usuallyaccepted,are
1272 ; Decorated,1272 to 1377 ; Perpmdicidar, 1377 to 1547 (thelater
Perpendicular
beingalso called Tvdor),
The Transitional periodis commonly divided into the Elizahetfum
and
of
extent
to
Jacobean, 1546 to 1619 ; and a third modern
some
it,
phase
"

the

contemporaneous with

Renaissance,is now

known

that of

as

Queen

Anne.

Anglo-Saxon Style,
On

the arrival of the

artistic

true

Like

did

cathedrals
covered

not

with

architecture
and

Their

erections

England
stylewhich
the most
two

reeds.

The
It

began

in the

until the Norman

succeeded

western

form

in

not

it were,
of the

was

date, the Saxons

any

of their

originalchiuxih

was

revived, thanks
Benedict, founder

York,
in

employ
of wood.

were

at this

stone

little that

of Britain

natives

the rest of the Germans

art, and

(a.d.449),the

Saxons

feelingin the

until

to the

earnest

of the

Abbey

the

remained

knew

nothing

buildings
;

of York

of timber,

was

century that
efforts of Wilfrid, bishopof
of Wearmouth

(Sunderland).

stylecalled Anglo-Saxon,which

Conquestin 1066.

This

and

prevailed

the Norman

however, in realitynothing more

to
Romanesque or Byzantine style,

Bishop Wilfrid
chaptershave abeady been devoted.
Hexham
and
at
York,
Ripon,
buildings
; and to

owe

the

first introduction

tnanufacturers
Britain.

from

of

France, who

of

their

even

seventh

handsome
we

of

quicklycrushed.

glass in churches.
taught their art

He
to

erected
Benedict

invited
the

than
which

glass

natives

of

ORiEAJ?
The

total

before

and

their

all the
of
reign Alfred

during the

Of

style or

appearance.
relics remain.*

few

Barton

churches

stone

the

describe

built

are

of later date

but

principal the tower

"

at Bradford-on-Avon.

fice
edi-

stone
original

was

to
impossible

in

of Westminster
the

renders it

The

Sussex, and St. Lawrence

The

the

cathedrals,etc. erected

wooden

following
hamshire,
Northamptonshire{Eng. 98),Stvkelyin BuckingKent
in
Worth
in
Berkshire,
{Eng,99),
Avinyton
Barfresion

very
of EarVs

in

of

destraction

Ho

BRITAIN.

bey
Ab-

by Edward

Confessor, between

1055

and

1065.

now

remains

Pyx

ffouse

All

low,

"

with

room,

that

of it is the

roof, divided

row
nar-

vaulted
the

down

by a row of seven
plain pillarswith simple
centre

capitals.
The
teristics
principalcharacof

Saxon

plain

are

semicircular

short

arches,

columns,
ated
capitalsdecor-

rude

with

with
various

indentions

of

copy

order

; windows

with

head, often

compared to

narrow

length, and
divided

short

98." Tower

Church, Northamptonshire.

of Earl's Barton

like small

; very
as

times
some-

by

balusters,used
columns

Greek

some

semicircular

known

of

lengths, or

rough

very
their

work

thick

''long

walls

and

without

short"

and
buttresses,'

external
the

quoins, at

plan
and

body

of

Saxon

churches

chancel, and

terminating

in

towards

end

the

erected at the west

were

was

generallya
separatedby an ornamented

semicircular
of the

is

Saxon

apse.

Transepts

period.

front,and

About

bells were

are

building.
sparinglyused.
divided into a
rectangle,

of columns,
Ornamentation, except in the capitals
The

what

angles of the

did

the

arch, the chancel

not
same

first used

until
appear
time towers

in churches.

in Lincolnshire is believed to be the

The lower part of the tower of Barnadc
earliest exampleof stone
and JDeerhuret in Gloucestershirei
built in
architecture,
1056, the earhest dated church in England.
"

116

ARCHITECTURE.

The

Norman

Norman

Style.

which

prevailedfrom

styleis that

including the reigns of

William

I., William

to about

1066

1200,

II.,Henry I., Stephen,

did not introduce many

new
Henry II.,and Richard I. The Normans
features,but theyimprovedthe existing
styleby bringingto this country
to

had

who

men

far

than

carried it

higher pitch

it

had

reached

here,and who possessed

a
greater experiencein
the

erection

of

and
buildings,

were

to

The

customed
ac-

richer

of

treatment

large

details.

followingare

the

chief characteristics
Norman

the

of

style.

Semicircular

arches, as

those

the

of

of

nave

Cathedral
Peterhoroxigh

("ng. 102), with

larger openings than
in the Saxon

and
style,
with
invariably

almost

mouldings and
The

ments.
enrich-

entrance-

arches of churches

were

decorated,as,
profusely
for

example,atEly,with
mouldings, wreaths,

masks, human
in relief,
etc.
the
99.

"

Dgorway

of Barfreston Church, Kent.

(Norman.)

close of the

pointedarches

whilst
building,

them

those

in the

alternatinghere and

lower

there with

period

were

casionally
oc-

introduced
in the

remained

figures
Towards

upper
We
circular.

the old form.

stories of
even

Norman

see

columns,

diameter
as
compared
though higher than the Saxon, are of immense
have
them.
with their height and the distances between
circular,
They
like the
reticulated
{i.e.
hexagonal,or octagonal shafts, with fluted,
of a net),
meshes
are
or
lozengedmouldings{Fny.100). Their capitals
of

well-marked

type, and

either

plainor

decorated

with

kind

of

windows

Norman

etc.

Saxon, but they are

The

threes.
whicb

with

and

narrow

and
larger,

are
ceilings

vaulted

are

are

of plants,
animals,
representations

with

or
enrichment),
spiral

volute (".
e.

117

BRITAIN.

GREAT

are

like the

semicircular-headed

often

grouped togetherin twos

flat and
generally

or

of

timber,except in crypts,
if decorated,only
or
groinsbeingplain,
extremelymassive, with no buttresses,

stone, the

walls are
edge. Norman
For decoration,rows
shallow piersare used.
but in their placeplain,
with
of arcades
nothing to support are of frequentoccun*ence
; the
the
chevron
the
chief mouldings are
e. zigzag moulding),
e.
/ret {{,
{i,
with one
fillets" narrow
bands or rings meeting in
ornament
or
more
vertical or horizontal directions),
nail-head,billet(i.
e. cylindrical
pieces
etc.
two or three inches long in hollow mouldings),
cablCflozenge,
wave,
semicircular
and
the
hollow
The
{cavetto)
{torus)
large
mouldings
the

on

"

100." Late NormaQ

in

occur

and parts of arches at St. Peter's,Northampton.

ehafts,capitals,

bases,and elsewhere.

In

Norman

our

far

executed
more
usuallybeautifully
in some
subsequentperiods.

is

"

the masonry
buildings
indeed,than was
perfectly,

the custom

Norman

In

churches

tower, rising from

being

nave,

between

the

lengthof the
gives
*

an

The

point of
in

two

stylesis

nave

in Norman

appearance

largefigureof

are

of

increase

size and

and

them

between

buildings.The
of

the

frequentoccurrence;

intersection

Saxon

chief

richness.

the

distinction
The

great

by any rood-screen,*
building.

churches, unbroken

of vastness

at the entrance

screen

by

the

loftier than

transepts

to the

of the

Christ

whole

chancel,so called
on

the

siniifies a cross, and the word rood^derived

which our Lord was put to death.

cross.

from

from

The

it,was

its

having

Anglo-Saxon

appliedto

been
word

the

cross

mounted
sur-

rod
on

118

ARCHITECTURE.

specimensof

earliest

The

Norman.

the continental

resemble
Anglo-Norman styleclosely
f
ounded
Cathedral of Canterbury,
by St.

the

The

of the sixth century, and

rebuilt by
the middle
Augustine
a
nd
L
anfranc
Odo
(1070 1089), Anselm
(940),
degreesby Archbishops
(1093),suppliesus, in the portionsstill remaining of the Norman
about

"

with
building,

illustrations of the

characteristics
prinpipal

of this

style.

Cc^hedral of Rochester is another buildingin which the Norman

about
1077, and the nave
style may be studied. It was commenced
Its
internal details
is but little altered from its original
appearance.
The

plainerthan those
western
doorway,which

are

ornamentation

early in

the thirteenth

The

ground-planof

"

is
is uninjured,

work

by

churches; but
good specimen of the

choir and

The

its
rich

rebuilt

crypt were

century.
Cathedral

WincJieater

Peterborough Cathedral

unaltered, but

transepts remain

French

contemporary

of the age.

external

101

in

William

Chichester Cathedral

was

of

the

"

is

Norman,

and

the

Ground"plan*
.

nave

was

overlaid

with

pendicular
Per-

Wykeham.

commenced

in

1082, and

the

nave,

which

unaltered, was
completed thirty-six yeare later. The
buildingwas extended eastward, as were most English churches in the
is a good
earlypart of the thirteenth century ; and this peculiarity
has

remained

completedtransition from the short to the elongated

into generaluse in the thirteenth century. We
choir,which came
may
here remark, that the eastern limbs of English churches
were
generally
ended, whilst those of continental buildingsbelongingto the
square
that is to say, semicircular,
or
more
same
rarely
apsidal,
age were
indication of the

polygonal.
Nortoich
than
*

Cathedral
any

A, Nave

other

Norman
original
England. It was founded

retains
in

its

B, Transepts; C, Choir

form with
in

less alteration

1094,by Bishop

D, Side-aisles ; E, Doorway.

GREAT
; it is 411

Losinga
spireof

later

of

instead

with a
by 191 ft. broad at the transepts,
It
has
the
French
chevet
tion
terminahigh.
English square choir, but in nothing else does
ft.

315

the

the

continental

with

compared

as

ft. long

date

it resemble

119

BRITAIN.

its

cathedrals

breadth, and

of

the bold

the

age.

Its vast

of
projection

the

length

transepts,

distinctively
Englishfeatures.

are

ground-plan{Eng, 101)*and

The

CaiJtedral

except for

the
for

whitewash
it

which
aisles

Norman.

are

colours

the

{Eng.102) of Peterborough
its originalappearance,

nave

retains

nave

of
with

The

vaulted, whilst the

^n^mi

MLJ

side-

JU^

\m"^:^^^^,

nave

the flat roof of the earliest

great part of St.

basilicas.

Alban's

Abbey

Norman

recently,
of the

one

nave,

England, consistingof

less than

extended

till

was,

the

longest in

of

substitution

painted.

was

are

retains

no

The

thirteen

bays, was

the

by Paul,

first Norman

abbot, duringthe latter years

and
the beginthe eleventh
ning
of the twelfth

century. This
Cathedral,has been

Abbey, now a
latelyrestored.
By the beginning of

the twelfth

style had
become
land,
adopted in Enggenerally
and had assumed
an
entirely
Norman

century

the

national

character.

ihedral is

fine

the Continent.
the

of

one

It

finest

is,moreover,
ecclesiastical

buildingsin England ;
or

Ca-

exampleof this,as
entirelyfrom anything

it differs
on

Durham

is
chapel,

western

elegantand

its

galilee,
extremely 102."

an

characteristic

Nave

of

PeterboroughCathedral.

example

Cathedral was
commenced
by Bishop
Anglo-Norman work. Durham
in
form
the
of a Latin
about
de Carilepho,
William
1093,
cross, and
additions were
graduallymade till about 1500 ; so that the changes
which
took
of style
placebetween these dates can be well studied in
of

of the
it contains
the tomb
monuments,
first buried at Jarrow.
died in 735, and was
There are four churches in England circular in plan viz.,those of
the Holy Sepulchreat Cambridge and Northampton; the
Temple

it.

Amongst

other

ancient

Bede, who

Venerable

"

Church
It

in

is

London, and the church

in
impossible,

work

at Little

like the

Maplestead,in

present,to

Essex.

enumerate

all the

120

ARCHITECTURE.

and

cathedrals

other

important churches
enough has, we trust, been

features ;
these for themselves
to recognise
of visiting
and
every opportunity

; and

churches
parochial

the

Norman

scattered

of

England containing
to enable

said

would

we

urge

successors.

keep,

or

103. -The

instances

it stood

main

tower,

Keep cf Norwich

"alone ; in not

students
take

to

studying the abbeys,cathedrals,and

lengthand breadth of England.

over

architecture will not be

review of Norman
Our
brief notice of the castles with which every eminence
importancewas crowned in the time of William the
The

them

the

was

Castle.

of any

strategical

and
Ck)nqueror
first built ; in

his

some

{Beforeiticas restm-ed.)

few, thanks

part

completewithout

to

its

it
great solidity,

stillstands, though all subsequentadditions have disappeared.

when
These castles,
fullycompleted by the additions of subsequent
were
generations,

the

shape

of the

bailey)
protectedby an

outer

was

often of vast

ground

extent, and
The
indicated.

surrounded

by

outwork

called

10 ft. thick

by

deep

form,as
usuallyof irregular
exterior
ditch

line of defence

called

fosse or

(or

moat,

of a strong wall,
barbican,consisting
with turrets, for the defence of the great gate and diawbridge. The
external wall enclosingthis outer baileywas
placedwithin the ditch,
and
wall

was

to

breast-high)and
Square towers were

20

embrasures
raised

here

to

30

ft.

high,with

e. openings on
{i,

and

there

a,

a
jxirapet{i.e.

top of the parapet).

above the walls,and

con^

tained

great gate

them

on

of the wall

and

turrets

the castle stood

The

the officers engaged in the defence of the

lodgingsfor

tops of the

The

121

BRITAIN.

GREAT

flanked

was

down

hurl

to

by

tower

were

flat,and

missiles

defenders

of

their assailants.

upon

side,with

each

on

the

castle,etc.

rooms

closed with a massive

foldingdoor of
entrance, which was
of
gate, consisting
provided with a fortcyHis(i.c. a falling
the

over

oak, and
a
strong

grating made of timber and iron with points spikesfor striking

down
in a groove of stonework,
to slide up and
in the ground,made
the outer
walls of the castle was
inside the entrance
arch). Within
and
space;
enclosed
an
complete,
an

another

open

inner

e. the
large central
keep (i.
e
.
donjon (t. dungeon). In

ditch, with

wall, gate, and

from
(innerbailey),

court

which

towers
rose

alreadyreferred to),also called

keep was often the great haJl for

the

tower

the

the

the

guests and retainers,with the raised dais (^.e.

end, where stood the table for persons of high rank.
The
principalcastles of England occupiedat the present day are
those of Dover, Windsor, Warwick, Almoick, Norwich
{Eng, 103),and
the Tower
of London; those of HedingJuim,Kenilworth,and others may
of

entertainment

platform)at

one

have

equalledthese

them

at the

The

as

of London

White

the
works

fell into

the

White

decay in

the

which

we

see

Tower

of its age

one

extant, but

flne

The

Tower.

is

specimen of

Norman

keep,
keep,or donjon,are
of extremely solid masonry;
the chapelin
of the best preservedand
most
interesting

contains

parts 16 ft. thick,and

in

they

present day.

Tower

known

before

walls

of the

The

modernised.

of it is very much
12 or 13 acres.

most

of

RocJieeter

Cattle,
occupiesa space
thoiA
much
of
Norman
is
a
a
cathedral,
near
keep,
good specimen
s
in
ruiuSihows
dilapidated.The Keep of Colchester Cattle, though
enclosure

whole

the

that it must

have

been

largerthan

even

the White

Tower.

Gothic ArchitecUire.
First Period.
The
as

of

"

periodgenerallyknown

Early

Richard

Pointed," lasted

"

as

from

Early English,
**

or
EarlyEnglish,**

about

I., to 1272, the date

1189,

of the

less

commonly

the date of the accession

death

of

Henry

III.

The

with other influences,

crusades of the eleventh century, combined
led to
revolution in European architecture,and, in fact, in all the arts.
a

styleswhich then
Gothic, England was

The

sprang

up received

almost

the

centurybehind

comprehensivename
some

of

of the countries

122

ARCHITECTURE.

of the Continent

in

Pointed

adoptingthe

and onr earliest examples

style,
and strengthof the Norman.
of it retain much of the massiveness
The chief pointswhich
distinguish
Early English architecture from
of the precedingage may
be briefly
the buildings
enumerated
follows.
as
Walls of Early English buildingsare often less massive
than the
'Norman, and are frequentlystrengthened with external buttresses,
at this

which

"

always set

periodwere

In

Arclies.

large arches

from
distinguished

the

square
archivoU

the

jambs

to the line of the walls.

e.
(i.

sides from

or

succession of round
a
moulded, exhibiting

deep hollows

; and

the

plainfaces

which

the

which

arched

it

portion as
springs)is heavily

with
mouldingsalternating

conspicuousin the archistylehave wholly disappeared.The small arches

and acutelypointed; the piersgenerallyconsist of a
are
lofty,
slight,
central shaft surrounded
by several smaller ones, with a clustered base
and foliaged
capital
{Eng.104).
The
or
trtforiuniy
galleryover
were

volts of the Norman

the

the clerestory
aisles,
or row
,

of

windows

nave

forium, the
and

above

the tri-

high pointedroofs

vaulted

exhibit
ceilings,

degree of lightnesscombined
with
soliditywhich
removes
all appearance
of ponderous
weight. The line along the
e, summit) of the vault
apex (?*.

is

generally decorated
mouldings.

with

raised

Roofs, There are

existingspecimens of
"

104,

"

Clustered

from
pillar

the
Cathedral.

nave

of Wells

this era, with

timber-work

writers ; but in the church

there is a groinedroof in which

of

{i.e.

bands

of wood, and
are
lines)
intersecting
The
vaultingare covered with boards.
which
roofs
is
of
the
period groinedvaulting,

the

groinsor

of the choir and

In
of
Windows

Gothic

Wells

and

the

Temple

EarlyEnglishvaultingmay
are

stylemay

the
most

of

transepts of Westminster

Cathedral
features

in

carved
ous
vari-

by

Northamptonshire,
running along the
cells (^.
e.
surfaces)

general roofingof

of the
and

any
roofs of

open

described

in

Warmington,

the ribs

the

not

also be

this

SalisburyCathedral,

Abbey,
Church

are

of

fine

mens.
speci-

London,

amples
ex-

seen.

gradual progre^ss of the

(consult
p. 84). In the Early
lancet-headed
acute
an
e, with
(i,

which

the

readilybe studied

and
English they are long,narrow,
like this is seen
window
alone,
one
angle at the head). Sometimes
but more
are
usually three, five,or seven
grouped together. The
the heads of the
between
necessityfor filling
up the vacant
spaces
several windows
led
their
with ornamental
so
to
grouped
perforation

123

BRITAIN,

GREAT

origin of the tracery and foliationso largely

employed in later styles. The smaller windows, when thus combined,
called lights. The great window
at Lincoln
Cathedral, consisting
are
of eight windows
is a good example. The
or
lightscombined
together,
cathedrals
of Salisbury,
Chichester,Lincoln and York, BeverleyMinster,
and Westminster
Abbey, contain specimensof Early Englishwindows.
York Minster possesses an Early Englishwindow, called the Five Sisters,
which, althoughit consists merelyof long,simple,undecorated
openings,
forms.

This

is almost
The
a

for effect and

unrivalled
each

on

of

rows

dignity.
with
include a pointedcentral gable,
generally
risingabove the gable; and enriched by one to

fronts

largerwest

tower

four

the

was

side

niches,windows, and arches

front of Lincoln

Cathedral

contains

the

over

doorways.

The

west

deal of

good
way
doorgroupedround a Norman
of
of
consists
that
three
Peterborough
large
;
with
clustered piers,
arches, adorned
architraves,
of mouldings. The west front
and a largenumber
of SalisburyCathedral
the richest
is considered
facade in this stylein Eogland. The sculpture,
a

Early Englishwork

however, is modem.

/"ooru7ay*."
-Early English doorways are often
beautiful
; the mouldings forming the head
very
are
bold, deeply recessed,and often elaborately
carved.

The

and

Salisbury

of

Cathedrals, the door

the

of Wells

doors

west

Salisbury Chapter House,

of
drals,
Cathewest
Ely and Chichester
doorways
etc., are fine examples. The porchesof English
cathedrals

than

frequentlymore

are

mere

they are compartments of

considerable
called
size,
galUeeSyansweringto those
105." Early English.
which
used in the early days of the
were
rooms
for the receptionof penitents,
Christian Church
etc.,and known
by

doorways :

the

sometimes

of 9iartheoces.

name

greatly developedduring this

were
Steeples

churches

low

tower

square

terminated

by

age.
often with

used

was

In
a

Anglo-Norman
flat

roof,sometimes

pyramid, and

low

occasionallygabled.
very
heightenedand developedinto a
periodturrets and pinnacles
began to

was
This, in the Early Englishstyle,

Spire.

Towards

of the

the end

largelyemployed,the
and flyingbuttresses

be

buttresses
were

became

introduced.

of Lichfield Cathedral
buttresses
{Eng.
kind.
The
distinctive enrichment
most
is

small

The

The

106)are
of

commenced
Salisbury,
of

double

in

built

a.d.

cross,

1220

entirelyin
and

the

ing,
taperthe

examples of the

best

the

finished

and

spiresand

three

or
perforated
pyramid, called dog-tooth,

first great cathedral

the form

slender

more

Early English style

tooth ornament.

stylewas

new

in

a.d.

having two transepts,one

1258.
between

that

of

It is in
the

nave

124

ARCHITECTURE.

and choir,and
wide.

The

nearer

one

front

west

by spiresand

the east
is flanked

pinnacles
; and

106."

an

which

arcade, above

porchis
which

as

wide

and

is of rather

is the

loftyas
nave

and

massive

two

square

towers

the central entrance

over

mounted
surruns

Lichfield Cathedral.

great

one

window.

The

of the north

aisle.

western

division

later date than

of the
ii^tersection

by

ft.

ft. long by 232

It is 480

end.

the rest

of the

or
galilee
spire,

The

church, rises from the

400
ft.,and is the

larger transept,to

GREAT

in England.
liighest

The

BRITAIN.

interior has

been

126

injuredby injudicious

restoration ; the stained glasswith which the clerestory

windows
were
and
the
adorned
the
which
once
filled,
walls,are
colouring
formerly

wanting; but, in spiteof all

of art.
a
masterpiece

remains

these
The

drawbacks, SalisburyCathedral

Chapter-Himse{Eng.107) an

the
with a central clustered pillar
room
supporting
of the vaulted roof,is
beautiful.
very

107.

"

The

choir

and

The

gonal
octa-

ribs
palm-like

Cathedral.
Chapter-House,Salifebury

transepts of

Westminster

Abbey erected by Henry

III.,belong to this style. The four eastern bays of the nave
belong
this and
the Decorated
to the transition between
style; they are
the work of Edward
who also built a chapeldedicated to the Virgin,
III.,
removed
which was
to make
way for Henry VII.*s chapel.
and

the very elaborate west front of WeUs CatMdralf in the

commenced
in 1214 by Bishop Joceline. One
were
EarlyEnglishstyle,
of the most
remarkable
features of this celebrated
is the
structure
The

nave

126

ARCHITECTURE.

in the niches of the Upper part. They have

figures
varietyof sculptured
Flaxman
as marking the state
been noticed by our great Englishsculptor
in
some
of art at the periodof their execution.
They consist of figures,
the round
southern
Old

other

life of

our

108." Nave

and others in high relief. Those on the

fullydetached),
portionof the front represent the Creation,the Deluge, and

(i,e.

Testament

incidents

Saviour.*

Above

of WeUs
A

; those

these

are

on

two

Cathedral.

rows

in the

northern, events
of statues

109." Choir
B

Arcade,

the

Triforium,

largerthan

of Worcester
C

Cathedral.

CUrestory,

to Judgment,
gableis a high relief of Christ come
by His angelsand the twelve apostles, the upper arches on
either side being filled with figures
startingfi*om their graves, their
and other
faces and attitudes admirably expressinghope, fear,grief,
and
characteristic
effective
feature
is
the
of light
Another
emotions.
use
which produceby their bold projection
most
a
buttresses,
projecting

life; and
attended

"

See

near

the

of
Iconography

"

the West

Frout of Wells

Cathedral,'
by

C. R.

R.A,
Cockerell,

strikingeffect of lightand shade.

The

he inferred

one

In

the illustration of

109

Eng,

givea bay of

we

choir of Worcester
choir and

The

generalaspectof the
hay (Eng. 108). This

nave

may
cathedral

finished till A.i". 1465.

not

was

from

127

BRITAIK.

GREAT

almost

an

contemporaneous work

"

the

1203"1218.

Cathedral,a.d.

transepts of Lincoln

Cathedral^with

exceptionof

the

later date,are in the "arlyEnglish

added at a somewhat
presbytery
of England received additions
style; most of the ecclesiastical buildings
the

at this

period(a.d.1189
of

Some

Glasgow

the

finest

CcUhsdral,also

massive

more

a.d.
1307).
buildingsof Scotland,includingthe

to

of

choir

this age : their architecture

is of a
that of any of the Englishedifices noticed

belong to

character than

above.
The

Those

Crosses of Queen

Eleanor

belong to

the

Walthani,Geddington,and

end

Northampton are
the best preservation.A good reproduction
by the
of
the
ancient
Cross
be seen
Barry, R.A.,
Charing
may
Railway Station in the Strand,London.
at

Second
The

style which

second

stage

known

as

the

Period,

the

succeeded

in the

The

"

Decorated

sometimes

Decorated,or

dated
It is generally

from

1272

"

as

architecture
Middle

this

period.

finest,and

late Edward

in

M.

in front of the

Style.

Early English,and

developmentof Gothic

of

the

which
in

was

the

England,is

Pointed.

^the date of the accession of Edward

III.
The
Decorated
1377, the date of the death of Edward
the dates
from
its
that
predecessor
style,however, grew so gradually

I.

to

"

approximate. The following

Early Englisharchitecture.
The arcftes are generally
not quite so
acute, and the mouldings are
carried down to the base of the pieror jamb without
sometimes
being
interrupted
by a capital. The motUdingsare less boldlyundercut, and
and are rarelyused
of more
regularsection than in the precedingstyle,
to produce the same
as
so
strikingeffects of intricacyand richness.
different manner
in a slightly
The piersor clustered pillars
are
gi-ouped
from those in the Early Englishstyle,
the shafts beingjoinedtogether
which
has a coninstead
of detached ; the carving of the capitals,
spicuous
and is carried round
of character,
is more
delicate,
peculiarity
in a wreath, instead of springing
the bell or body of the capital
stiffly
from the neck-moulding.

given

above

differences

The
them

can

only be looked

Decorated
distinguish

being divided

into

as

style differ

from

greater niunber

of

vaidts of the Decorated

in

upon
from

those

which

preceded
compartments, and in

of the
of the ribs.
At the point of intersection
multiplication
of carving)
introduced.
e. small
were
masses
constantly
groins,bosses (t.
roofs
wooden
this
but
at
were
as
common
they were very
period;
Open
the

128

AECHITECTURE.

The roofs of
subjectto decayor to destruction by fire,few remain.
of Higham Ferrars
the nave
Church, in Northamptonshire,of the
chancel
of
St.
of Ely
Mary'fs Leicester,and of the nave
corporation

Cathedral,are of the class referred

also a good though late example.
The

wtndowa

They

largerthan the

are

beautiful

the most

are

The

to.

Early

roof

Eltham

of

Palace

feature of the Decorated

English,and

divided

are

into

is

style.
greater

lights the heads beingfilled with the tracery, which is

of a flowingoutline,
sometimes
of strictly
forms, sometimes
geometrical
with the French
of
to some
extent
flamboyant. Some
corresponding
the most
constructed
with these
beautiful windows
of England are

number

of

"

gracefulflowinglines. York Minster, the Minster and St. Mary's at

Beverley,and many other churches contain examples. The great west
window

York

at

is

extremelyfine specimen,but

an

the east window

by

be the finest Decorated

of this

of Carlisle

window

in the

mouldingsof the

style,the

mullion
section,the principal
Circular

windows

were

Chichester,and Lincoln
Fronts
the

of

the Decorated

some

lost.

Minster

of the finest west

One

capitaland

instance,in

base.

Exeter,

{Eng,110),the

stylodiffer

little from

those of

complicatedforms were resorted to for effect,

and effective simplicityof earlier buildings

more

of the beautiful

was

as, for

Cathedrals.

in
buildings

Early English;

and

used

to

simple in

tracery are

sometimes

having

sometimes

and

passed
sur-

is considered

In the best windows

kingdom.

muUions

this is

even

Cathedral,which

fronts in this

of which

nave

also

styleis that of York

belongsto the Edwardian

age.
so much
Spireswere
completewithout

admired

than

before, and

surmounted

of construction.
is of
dog-tooth

the

e,
{i.

the

were

name

of the

small

round

bud

chevron, or

higher
right-

implies,
style
every detail
of three or

of the Decorated
the

to

richly

more

prevailedin

enrichment

EarlyEnglish,and

carried

now

invariably
plantedat

of ornamentation

is the characteristic
leaves)

added

they were

were

by pinnacles.They

ballflower

The

that

buttresses

than

angleswith
exuberance
a corresponding

the

this time

not
were
now
ever, and
the walls theysupported. As

decorated

four

at

The

them.

towers

as
style,

zigzagof

the

Norman.
One

of the

England
and

most

is the

beautiful

specimensof

largeoctagonal tower

at

Decorated

architecture in

the intersection

transepts of Ely Cathedral,built by Alan

de

of the

which had fallen down.

tower
placeof the old Norman
lady-chapelof Ely Cathedral also belongsto this age.

supply the
beautiful

The
must

royal chapel of
have

been

reignsof the

an

three

nave

Walsingham,

to

The

St.

at Westminster,althoughsmall,
Stephen's
built during the
extremely fine edifice. It was
first Edwards, and therefore belongedto the ripe

The greater part has been

age of English architecture.
the crypt,carefully
is
restored, still to be seen, and serves

removed, but
as

the

chapel

vSSSS^

110."

York

Minster"

West

front.

(FourteenthCentury.)

130

ARCHITECTURE.

of Parliament.
of the Houses
Cathedral
Lichfield
(seeEng,

Among

other

examples we
Church

name

may

of

Bristol,the
Abbey
of Exeter Cathedral, Battle Abbey, and Tiatern
nave
Abbey. Many
of
and
addition
churches
the
enriched
were
chapelsduring
by
enlarged
of this style. Excellent examples of its mouldingsand
the pi*evalence
ornamentations
and

to

are

in

monuments

our

106),the

be found

fourteenth
in the many
cathedrals and churches.

century tombs

great improvement took placein domestic architecture in England

in the halls of castles and
in the reign of Edward
III., especially
A

palaces. The Bound Tower of Windsor was built by him for the table
of the Knights of the Order of the Garter,founded
in his reign. As
of
still
have
hall
the
the
Bishop'sPalaco,
examples
remaining,we
Wells, and the gatehousethere; one of the gatehousesat Bury St.
the hall at

Edmunds,

Edwardian

the

noted

and

Chepstow^

Third

Peinod,

"

Penshurst,the earlier parts of BEaddon Hall, and

castles of Wales, such as Conway, Caernarvon,

calleid

Style,sometimes
Perpendicular

The

'

"

Third

Pointed:*

The
the

stylewhich succeeded the Decorated

Perpendicular.It is generallyconsidered

1377

the date of the accession

"

VII

Henry

f.

It

was

of Richard

contemporary

Its chief characteristics

France.

the

of

the

are

in

II.

with
the

England is known as
prevailedfrom

to have

to 1547

"

the

Flamboyant

rectilinear

of the

windows

the death

"

of

stylein

lines,which

placed
re-

Decorated

period.
flowingtracery
however, pervadedthe other features of Perpendicular
feeling,
tinuous
buildings,the buttresses,towers, and piersbeingall slender,and convertical lines being used whenever
offers
All
this
a
possible.
strong contrast to the dark shadows and raised mouldingsof the preceding

The

same

"

elaborate
than
period. The stone roofs of this styleare more
of any other,and display^
that peculiarly
English feature,fan-

those

tracery

"

and

skill.

developmentof vaultingadmittingthe highestingenuity

The

four-centred

arch, sometimes

Tudor

called the

arch,

belongsto the latter

The
fine.

fronts
Those
are

part of this age.

of buildings
of the Perpendicular
periodare

of

perhaps the

of Winchester,
St.

Beverley Minster
best

and

often very

bridge,
King's College Chapel,Cam-

examples;

Gloucester,Chester, of the

and

those

of the Cathedrals

Church

Abbey
good. The

of

Bath, and

George'sChapel,Windsor, are also

mouldings of this
and
which
shallow
than
in
the
two
are
more
style
more
regular
ceded
preit. Sculptured
animals
introduced
as
are
ornaments,
frequently
often producinga grotesque effect.
The three typicalspecimens of English edifices in the later development
of this styleare Henry YWs
in
Westminster
Chapel,
Abbey, St,

GREAT

131

BRITAIN.

George'sChapel^Windsor, near the Castle,and King's CollegeChapel,

of the eastern limb
Cambridge. Henry VII /s Chapelis a prolongation

..111. Fan-traceryin the roof

"

of the

Abbey,

chapel of the

and

is in fact the

king whose

name

of

Henry

VII.'s

Chapel,Westminster.

Lady Chapel,as
it bears.

well

as

It consists

the
of

sepulchral
nave,

two

1 32

ARCHITECTURE.

aisles,and

and can
only be entered from the Abbey
chapels,
itself.
The
exterior is richlydecorated; the buttress
turrets
are
considerable
above
the
to
a
beautiful,
height
rising
especially
parapet,
and endingin fi^iiala
in Gothic
{%.e, the tops of buttresses and pinnacles
The flying
buttresses are also extremely
richlyornamented.
buildings),
ornate, covered with lions,dragons,and other symbolic creatures.*
The chief beauty of the whole
admitted
to be
is,however, universally
is
of the interior,
which
the groinedceiling
the most
exquisite
specimen
of fan-tracery
in existence,the whole surface beingspreadwith a network
of lace-like ribbing {Eng.111).
The
mented
Chapel of King's College,Cambridge, is not so richlyornafor
as
Henry VII.'s,but is remarkable
beingone of the very
without
of which
few
Gothic
churches
the
absence
side-aisles,
large
of
of
Its
vault
fan-tracery
givesan almost overwhelmingsense
space.
of
that
's
and
for
VII.
to
none
yields
Henry
Chapel,
except
vigorous
unequalledby any other building.
mastery of the styleit is absolutely
St. George'sChapel,Windsor, has a fine groinedfan-tracery
roof,
which

entitles it to rank

The

by

five small

Cloisters

and

with

the other

to be the earliest example of

some

tower.

Lady-chapel,nave,

and

immense

an

two.

Lady-chapelof Gloucester

of

number

and

western

Cathedral,considered
work, the central
Perpendicular
Cathedral,
transepts of York

churches
parochial

Suffolk

Gloucestershire,Norfolk, and
further

examplesof the

{Eng, 112) and

examplesof one
The
and

St. Peter's

open

Mancroft

The

the

the

nave

at

are

in Scotland

best

period.
to

northern

remarkable

are

the

among

belong

of it with

Boslyn

shire,
Somerset-

be instanced
as
may
roofs of St. Stephen*
s

Norwich

at

elegancecharacteristic

of
pillars

"

timber

features of this
distinguishing

of the

chapelsof Koslyn and Holyrood

combine

ness.

style. The

in
especially

"

this age,

massivefor their

beauty.
The

is the term
sometimes
appliedto
Englishstyle,
the
when
Pointed
style was beginning to
Perpendicular,

Tudor,

Late
decline in
the

or

Florid

England,
"

which

in the rest of

it did not

It

do until

remarkable

years later than

for redundancy of ornament,
some

was
Europe.
of the same
forms took the placeof the
repetition
and
of
carved
exquisitely
foliage
sculpture the earlier part of the
extensive use of panelling
another characteristic,
was
period.The more
almost
the walls of Tudor
covered
with it. Fanchapelsbeing
entirely
employed,and in many cases clusters
tracery vaultingwas extensively

in which

constant

of

resembling stalactites mark the intersections of

pendant ornaments
the ribbing. The
doorways are extremelyelaborate,and often form
That
of King's CollegeChapel,
the finest portion of the work.
Cambridge, is an excellent example.
*

The
between

exterior

1807 and

of

Henry

1822.

VII. 'a

Chapel

was

restored

by Parliamentarygract,

CkEAT
The

ecclesiastical

133

BRITAIN.

edifices of

this age

not

are

numerous,

"

few

of

and it is in the domestic

erected after 1530,
importance were
s
uch
and
as
castles,that the style'can be best
buildings,
palaces
studied.
were
Large sums
expended by the nobilityon their private
YII.
residences.
built
handsome
a
Henry
palaceat Shene, in Surrey,
which
to which
he gave the name
of Richmond, retained by the town
round
of
the
it, althoughscarcelya trace
buildingitself
grew
up
any

"

112."

It

remains.
of

of the
erected.
built
square

in this

risingfrom
Henry VIIL,

window
time

was

Opeu timber roof of St. Stephen'sat Norwich.

by

One

angle.

The

{i.e. a projecting
palacethat the hay window
first
extensivelyused. In the
ground) was

before

the close of the

Renaissance, the
of the finest

Cardinal

tower

the

at

Wolsey.
the

gateway

greater

existingexamples

of Tudor
is

It consists of three

the

ment
commence-

palaceswere

Hampton Court Palace,

and
quadrangles,

by an octagonal turret at
piercedthrough this tower, and is formed

entrance, flanked
is

styleand

number

has

each

by

134
an

the
the

AKCHIT"cT0RE"
obtuse

arch

front of

wall).
on

the

battlement

rightand

113.

each
with

end

is

one

"

of open

Wolsey'sGreat

of the

Hall

tower

in

projecting
beyond

corbel from

have

Hampton

of
the masonry
The buildings

the wall.

tracery crowns

left of the

been

Court

modernised, but

at

Palace.

slopingsides adorned
of the Great HcUl {Eng, 113),built in
century, is one of the best existing
this age.
The
finest in England, or

with
originalgables,

griffins.The timber roof

early part of the sixteenth
specimens of carved roofs of

the

(t.e. windows

oriel windows

buildingand supportedby

with

its

GREAT

135

BRITAIN.

Hall.
Both
these are
Europe,is the roof of Westminster
of
called
hammer-heam
The
roof
roofs.
Crosby Hall,
technically
and
London, is another good example. The "u'e-places
chimneys of
beautiful
Tudor
enriched
^with
often
carving and
buildingswere
sculpture. The chimneys towered to a considerable heightabove the
to form an important and
as
roofs,and were
grouped in such a manner
featui*e of Tudor
mansions.
picturesque
artists
were
Foreign
constantlyemployed duringthe reignof Hemy

indeed

in

VIII., and

their

to

influence

of many

the introduction

is due

Italian

Oirolamo
da
architecture.
decorative details in domestic
the most celebrated.
Treyiso and Holbein were
They largelyemployed
and

German

the

moulded

brickwork

Continent.
beautiful

There

and

the old

on

Fourth

time

examples of this
gateway at Hampton

excellent

are

medallions

terrarcotta,at that

Period.

Trajisitional

The

"

the
in vogue on
in the large and
Palace.

Court

Style.

is
periodof the transition from Gothic to pure Benaissance
Jacobean*
and
styles. It
commonly divided into the Elizabethan
and
the
latter
of
lasted
in
of
the
began
Henry VIIL,
reign
part
under various phasesuntil the reign of Queen Anne, in the earlypart
of the eighteenth
century.
A few years before the death of Henry VIIL, Oiovanni da Fadova
(John of Padua), an Italian architect of note, arrived in England,and
his appointmentto the office of
Deviser of His Majesty'sbuildings,"
The

**

in

1544,

the immediate

was

Benaissance
With

Kave,

styleinto England.

the
or

of Giovanni

name

mansion

1567

and

1579

Cambridge,erected
of the finest

one

each with
stories,

Englishfeature
the

of

the
; and

between

The

an

that

chief uvork of John

of Theodore

of Padua

was

of

Bath, in Wiltshire, built

Maiquis
of
Theodore
that
Kave, Caius College,

1565

and

order of its own,

Longleat is considered
period. It consists of three

1574.

Englishpalacesof this

of the

associated

be

must

Kavenius, of Cleves.

Longleatjthe
between

of the Italian

of the introduction

occasion

it possesses the essentially

being directed outwards,and

and

windows
principal

only internal quadranglebeinga back-court instead of the Italian

(i.e. central court-yard).Caius College,
Cambridge, is one of
most completespecimensof this EarlyBenaissance
stylein England.
and
half
the
Gothic,
buildingsare
gateways are richlyadorned

cortiie
the
The

(1574)is the finest.

of
reign Elizabeth were Thomas
Holt, Bobert Smithson, and John Thorpe. The first built the Public
Schools of Oxford, the gateway of which (1612)is a good example of the
with

The

Italian

chief

details.

The

"

Gate

Englisharchitects

of Honour"

of the

Mr. J. H. Parker says, "This

is

reallyno styk at

all."

136

ARCHITECTURE.
are, however, of the debased
; the rest of the buildings
the
first Englisharchitect to
Holt
it
is
(jk)thic.
said,
was,

earlyBenaissance
Elizabethan
introduce

all the orders into

singlefront. Smithson,

aided

by Thorpe,

Nottinghamshire(1580-90),the
generaldesignof which resembles that of Longleat,but is pervaded by
Gothic
rather than Italian feeling. The
followingbuildings also
belongto the Transition period: Hatfidd House, 1611 ; Holland House,
HaU

WoUaUm

erected

{Eng, 114)

Burleigh,1577 ; Westwood, 1590 ; Bolsover,

and elegance,
characterised
by a lack of simplicity

1607 ; Cftarlton in Wiltshire

1613.
and

in

are

They are all

wanting alike

in

114."

the distinctive

Wollaton

styles
; yet they possess a
superiorto anythingof which more

Renaissance

"

The

first and

in

fame

rests

command

of James

(Eng, 115) was

of it

charm

I.

of their

regularworks

and

own
can

which

is almost

boast.

accomplishedarchitect of the pure

Inigo Jones,who studied the principles
most

England was
Italyat the expense
chieflyon his design for

of architecture in

Gothic

Hall, NottiDghamshire.

Italian

Renaissance.

of the

beauties

of the Earl

of Pembroke.

Whitehall

Palace,planned by

His

the

present Ba/nquetingHouse in Whitehall

and the only
singlefeature of that great project,
:

actually carried into execution.

Many other buildings
and different parts of England were
in London
designed by Inigo
Jones.
Of these, Si. PauCs, Covent
Garden, was
perhaps the most
successful. It has a recessed porticoin ant is,with very simplepillars,
which
of the
to the outside
gives an extremely dignifiedappearance
part

GREAT

central

door

"We

have

"Wren

the

away

the

meaning

arrived

now

about

bom

is somewhat

in order to allow

takes

which

inside

The

building.

of

Inigo

the

buildingup of the
altar to be placed at the east end,
the portico.

at the time

1632, when

137

BRITAIN.

spoiledby

of Sir

ChristopherWren, who was

its height.
at
reputationwas

Jones's

for his mathematical

early distinguished
Great
Fire
of
The
1666 opened for iiim
acquirements.

as

to this circumstance

architect,and

an

buildingsof the

metropolis.Within

Wren
whole

presenteda plan to

This

city.

115."

restoration
was

and

was

the

The

not

was

found

Banquetiug House,

of aS'^ Pauls

entrusted

after

it

to him.

Cathedral

we

days
king for

the

practicable

Whitehall.

and

of

were

scientific

splendidfield
for the finest

of this disastrous

to

flagration.
con-

rebuildingof

carry

out ; but

the
the

By InigoJoues.
some

The present cathedral

Fire, and thirty-five

years

indebted

are

three
the

was

spent

fiftyother

churches

commenced

nine years
in its construction.
It

of the world {Ervg,

and finest Protestant
Cathedral
116).
largest
The ground-plan
is a Latin cross, with nave, choir,and transepts. It
is 600 ft. long from east to west, by about 250 ft.wide at the transepts.
The outside of St. Paul's consists of two
ordera
t. e. one
super-posed
the
of
other.
The
has
twelve
thian
Corinwestern
entrance
over
a
portico
columns
rise eight
supporting an entablature, from which
columns
second
surmounted
entablature,
Composite
supporting a
by a
is the

"

pediment
ft.

high

structure.

enriched

with

decorated

with

The

part

seen

sculpture. The
Corinthian
from

western

columns.

the outside

towers

The

are

dome

springsfrom

about
is

250

triple

base 250

ft.

dllEAt
tbe

from

to criticism

is allowed
St.

pavement,

and

the

139

feRITAlK.

summit

is 404

ft.

high. Though

open

of its minor details and arrangements, St. PauVs

foremost among
buildingsof its class in Europe,
Home
alone
excepted. Its interior at present lacks

in many
to stand

Peter's at

decoration,but

its exterior is

imposingcompositionwhich

undoubtedly the

Eenaissance

most

architecture

1 17." St. Martin Vin-the-Fielde.

harmonious
has

and

yet produced.

By Gibbs.

of Bow
the steeple
Church, and the interior of
HoapitcU,
other works.
of Wren's
the
best
considered
are
Walln'ook,
Stephen*8,
his design.
after
added
of Westminster
towers
western
Abbey were

Greenwich
St.
The

On
and

ChristopherWren's death, in 1723, his pupilsHawksmoor

the most
Vanbrugh were
promisingarchitects of the day; V"ut
Sir

140

ARCHITECTURE.

neither

of

them

producedanything denoting high originalgenius.

works
of Hawksmoor
SL
St. Gem^ge's,
were
Bloomsburt/j
principal
and
in
Lombard
and
in
St.
tlieEast
8
Woolnoih,
Street,
George's
Mary*
;
Palace,
of Sir John Yanbrugh, Castle Hoiva/rd and Blenheim
The

Oibbs, an

James

of the

middle
and
His

architect

last

who

into

rose

the

century, built St. Martin* s-in-tke-Fields {Eng, 117)

of
of the handsomest
churches
two
Mary-le-Strand,
octastyle
(eight-columned)
porticoof Corinthian columns

St"

fine if considered

merely as an
copy
RadcliffeLibrary at Oxford, also by Gibbs,
classical buildingsin that city.
accurate

The

Chambers

Sir William

in

eminence

some

and

of
is

is

classic

specially
design.

of

best

one

the

the most

Taylor were

Sir Bobert

time.

the

brated
cele-

tion
architects of the reign of George III.
They carried the imitaItalian buildings
of classic and modern
to the greatest extreme,
ings
with the builddisplayingmuch erudition and intimate acquaintance
alone
of antiquity,
but less of that imaginativegenius which
S
ir
William
Chambers
t
o
can
give originality a building..
designed
Somerset Hotise and a great many
other buildings
of the day,adhering
in them
to the Italian style
a
; but shortlyafter his death there was
The
and Greece.
gradual change to the earlier classic forms of Home

Adam

brothers

endeavoured, with but small success, to imitate Greek

forms
in the AdelphiTe)race, the Screen qf the Admiralty,and other
buildingsin London; much of the detail of their work, however,
of its internal finishing,
and well-designed.
was
especially
very graceful
effective
exterior in the
in
successful
more
They were
producingan
Collegeat Edinburgh, with its fine monolithic pillars.It is difficult
his
Sir Robert
to understand
his reputation
to what
:
Taylor owes
chief works
were
Gorhambury, Hertfordshire, and Hevingham HaU,
Essex : he was
a
sculptoras well as an architect. NeiogatePrison,
of appropiiate
designedby George Danoe, is,in its way, a masterpiece
and original
father built
His
architectural
character.
of
expression
the Mansion

House.

Architecture
The

Wood's

Revival

Chambers

at first marked
*

Illustrations

sustained

Diocletian

at

series of works
in

of the

Italian

by

Englishattention
was

of

features.

Palmyra

to the beauties

by

Adam's

'Ruins

Greece

and

Greek

to Roman

forms.

The

Dawkin's

Baalbec,'in 1760,

and

Spalatro,'
brought
on

of
publication

The

of
out

the
ten

Palace
years

of

It

was

by

the
Stuart

led to the preference

the favourite
Doric became

1861, which

Greek

Emperor

the

later.

commenced
antiquities,
in

and

first directed
this interest

and
buildings,

of Roman

1762, and completedby Cockerell

of Greek

Century.

present century, inauguratedby Sir

in the latter part of the eighteenth
century, was

Classical

William

Nineteenth

of the

GREAT

order, and

141

BRITAIN.

a
considered
building,however
humble, was
this
classic
a
portico:
rage lasted for many
years.
The imitation of classic forms was, however, destined to give way
before a passionfor the revival of our
national styleof architecture,

not

soon

complete without

which

with

whose

with
mediaeval
sympathieswere
the
antique thought,to reproduce
exquisiteGothic

middle
of the
a

led many,

had
ages, which
Eoman
Catholic

reaction

been

Protestant

and
sculpture,

introduced

in

coldness
churches.

the varied

118.

admirably suited

religion
; and

against the

of

so

of

accessories

Protestant

of

more,
a

than

work

of the

ornate

ritual

was

associated

worship and

the

plicity
sim-

symbolicpaintingand
of worship,were

ritual form

London.

churches, and

the

this desire

Protestant

Once

BridgewaterHouse,

"

with

to

rather

By Barry,

felt to

be

in their

place;
the
the
from
of
congregation
separated
body
more,
enriched
whilst the choir containingthe altar was
the clergy,
with
sculpturesof mystic meaning,and glowed with many-colouredsacred
Greek
common
as
as
pictures. Gothic spiresand pinnaclesbecame
Boman
and
pediments had been before : but both the resuscitated
and appropriate
beautiful
as
they had been as the spontaneous
styles,
too often
cold, and
expression of national thought, were
spiritless,
order.
in
when
they were
wanting
vitality,
copiedto
the

once

To

avoid

then

St. Fancras

1822, soon

to notice the chief,first of the

propose
of the Gothic buildings
of the nineteenth
century.

confusion, we

Classic,and

Museum

screen

Church, London, built by Inwood

after

the

(1816),is

of the

between

marbles

purchase
Elgin
typicalexample of revived

1819

for the

Greek.

The

and

British
Ionic

142

ARCHITECTURE.

at Athens, and a
employed in it is a copy of the Erechtheum
of
in
imitation
the
that
at Athens, forms
small
Winds/'
Temple of
with
the steeple.To make it more
caryatidcolumns
complete,
porches

order

'"

been

have
the

added

Temple

the north

on

south

Acropolis.The

the

on

and

like those attached

sideis,

UniversityGlvib House

to

Mall

in Pall

and
the front of the British
porticoof the Post Office^
order is employed.
the same
other examples in which
are
Museum^
Soane was
Sir John
perhapsthe most successfal of the architects of

East, the

the

earlyclassical

revival.

He

rebuilt the Bank

of which, as it now
stands, is an
the
of
at
Sibyl Tivoli.
temple
Holland, Burton, and ITash were

exact

important
by Holland, the

copy

of the

three architects who

buildings.In the

classical

of England^ the order

of that

circular

erected

porticoof Carlton

many

House, built

column
form of the Corinthian
ornate
most
was
House
columns
the
When
Carlton
was
were
pulleddown,
employed.
where they may
still be
of the National Gallery,
used for the portico
seen.

Wilkins,

another

century, worked

celebrated
in the

both

of the

architect
classic and

Gothic

early part
styles.

His

of

this

piece
master-

Street.
also
He
porticoof UniversityCollege^Gower
National
the
which
failed
from
of
want
designed
GaUery,
mainly
adaptationto a site which requireda much more
loftybuildingof
is the

bolder character.

He

erected

Nelson

the

Monuments

Dublin

at

and

Yarmouth.

Great

Sir Eobert

Smirke, architect

of the British

Museum, and

Hardwick,

architect of GoldsmitJis' HaU^ should also be mentioned.

The chief and most original
of all the buildings
of the classic revival
St,

was

HaUt Liverpool,
Ge.orge^s
by Elmes, completedafter his death
It is 250 ft. long by 140 ft. wide, and the order by
it is ornamented
is 58 ft. high. One
grand hall occupiesthe

by Cookerell.
which

centre, with

wide

recesses

either

on

side.

This

fine

buildingis

from the great halls of the ThermsB

The
of Rome.
adapted,not copied,
chief front has a portico
with sixteen Corinthian
columns, each 46 ft.
high ; and althoughits generalidea is Eoman, it is carried out with

Greek

details.

In

successful buildings
Edinburgh and Glasgow there are many
classic styles.The High School of Edinburgh, by Hamilton, is
perhapsthe best.
Sir Charles Barry was
all this
the first to realise how
ill-adapted
time ; and he
of our
climate and our
to the requirements
copyingwas
in the

reverted, with

much

success,

palatialbuildingsof
Traveller's Club, the
in
introducing

the

Reform

the two

latter

to

the

types

Renaissance.

Italian

Glvh,and

form, with great success.

deserves
work,
specialnotice

The
as

He

BridgeuxUerHouse

buildingsthe

altered

furnished

the

by

best

designed the
{Bng, 118),

Italian cortile in

slightly

Halifax Toum-HcUl, his latest

free

adaptationof

Renaissance

143

BRITAIN.

GREAT

sition
buildingis excellent,and its comporoofs,and possesses a
by high-pitched
spirited
; it is crowned
conceived.
of spireas original
as it is happily
species
modern
Renaissance
of
name
we
As
may
examples
distinguished
The

architecture.

detail of this

by Broderick ; the first Ca/rlUytiClubyLondon, by

Park
Hotise,
Lane, by Vulliamy; the Liverpool
Smirke; Holford
and
the interior of the Iindia House, by
Exchange^ by T. H. Wyatt ;
TovmrHaU,

the Leeds

Sir

Digby Wyatt.

119."

take

the

The

Houses

day

our

Albert

Hall

Hall

though
merit

are

of iron and

frieze

are

no

recent date

stillmore

buildingof

it is inferior

to

Abbey

the

in the

day has

may

we

distance.

more

fully
success-

all borrowed

glass,the
modern

in

of the

refinement

in
of detail and
The
enumerated.

buildingsjust
amphitheatre,with a velarium
and
the corridors,staircases,
slopingrows
but
the
from
the Roman
huge roof
type,

many
is in the form of

(i,e, awning) overhead

of seats

specimenof

the skilful arrangement of plan and the bold treatment

of earlyBoman
with the constructive dexterity
buildings

characteristic
architectural

of Parliament, with Westminster

Royal Albert

combined
of

As

external

features.

Roman

terra-cotta

The

decoration,and

originaldesign was

the

mosaic

by Captain

144

ARCHITECTURE.

Fowke,

an

working designsare

due

was

of the

one

earliest to

attempt

architecture,by his buildingat StrawberryHUl

mediaBval

given by the erection of ForUhiU Abbey

greatest impulse was
Mr. Beckf ord attemptedto reproduce
vast privateresidence,in which
It
old Gothic
was
completedin 1822, and caused a great
Abbey.
the

but
a

Walpole

celebrated Horace

revive

to

the

Scott

to General

The

and

coDstruction

the actual

but

It was
sensation.
pulleddown
did most
One
of those who

Britton,who

brought out

Pugin

these two

than

however,

study

the

nomenclature

this movement

promote
were

by the publications
Btckman

geniusand rare energy.

for men
of
systematise
as

art, and

an

he

taste and

it

did more,

intelligence
introduced

who

was

all

generallyemployed by

John
architectural
was

the

on

followed

to

of architecture

the

later.

years

series of fine works

of real

man

"

to

Britain,which

of Great
antiquities
of

few

writers

Gothic

on

architecture.
in
Typicalbuildings

of ParlioffMntfthe
The

New

Oxford,and

of

Museum

Windsor

are

rebuilt under
entirely

almost

first was

Gothic

revived

the

specimen

on

lamentably inappropriate.
The Houses
of Parliament,by
of

the

age, and

Tudor

Sir Charles

beauty

of Sir

old castle

an

generalview,

their

owe

Albert Memorial,

it may

designed before

was

as

effectiveness

without

is not

Gothic

the

direction

Wyatville(1826),who gave it the appearance of

monarch
to the requirements of a modern
; and
of such

Ccutk, the Houses

be

Jeffrey
adapted

taken

as

It

Pugin's day.

but

its details

are

Barry,are

in the Gothic

detail

Pugin's own

of

to

other
superintendence(^??^.119). Though fashion has now
preferred
t
his
a
nd
time
it
to
at
was
one
depreciate
styles,
customary
building,
it is probablythe finest efPort of the Gothic
revival,not in England
only, but in all Europe. In its plan,its detail,and the beauty of
successful.
it is especially
its sky-line,

Oxford, from the designsof Woodyard, may

said to represent the results of Mr. Ruskin's
be fairly
teaching. It
of
all
in
and
that
is
then
a
was
1855,
was
good example
begun
The

considered
The
most

to

AlheH
ornate

architectural

pointwhich
The

new

of

Museum

New

be

most

Memorial,

in

critics,must

Other
are

the

Courts

by many
England.

be

of Justice in the Strand, designedby Street,are

to be the purest example of this style to be met
The

details

of effect in much

examples
"

Park, by Sir Gilbert Scott, the

Gothic, though far from popularamong
taken
as
representingfairlywell the

Hyde

the art has reached.

the want

redeem

in

efPort of revived

considered
with

advanced.

of note, which

throughout

are

full of

beauty, and

of the
our

design.
space only permitsus

to name,

GREAT

Bcvived

Martyr'sMemorial
Lincoln's Inn Hall
St George'sChurch
St. Giles's Church
Holy TrinityChurch
All Saints' Church
Church
Irvingite

145

BRITAIN.

Gothic,

Oxford

Scott,

1848.

London

Hardwick.

1843.

Southwark

Pugin,
Pugin.

1849.

1845.

Assize Courts
St. James's Church

Cheadle
Westminster
London
London
Oxford
Manchester
Westminster

Town

Northampton

Oodioin,

1861.

Preston

ScoU.

1862.

"xeter

CollegeChapel
...

Hall
...

Hall

Town

Pearson.

1849.

ButUrfieU.

1849.

Brandon.

1851.

Scott,

1858.

JFaterhousc.

1859.

Street,

1860.

...

College

Aberystwyth

Seddon,

1864.

Cathedral

Cork
Glaseoir

Surges,

1865.

ScoU,

1866.

London

ScoU.

1873.

Oxford

BuUerfield,

1867.

Uuiversity
Midland
Railway Terminus
Keble College
Balliol College
...

Castle restorations
Town
Hall
Roval Courts of Justice
Cathedral
Natural HistoryMuseum

Oxford

...

It

is difficult to
Our

has

1867.

Surges.

1868.

Manchester
London

IVaUrhouse.

1869.

Street.

1881.

Truro

Pearson.

1887.

London

Walerhousc.

...

1881.

present positionof architectural art in

can
no
longer be divided into classes,one
Gothic,the other revived Classic ] and though great
define

the

architects

England.
revived
practising
attention

JFaterhousc,

Cardiff

been

drawn

to

more

once

Greek

architecture

as

an

archseological
study by the brilliant discoveries of Wood, Schliemann,
and
others,the result has not yet been to revive the use of
Dorpfeld
has Pure EenaisGreek as the stylefor modern
nor
Englishbuildings,
such
been
as
sance
Burltngtoii
employed; though
buildings
fi*equently
Club (Edis),
Whitehall Court
JETotue (CharlesBarry),the ConsHiutiimal

(Oreen),and
as

successful

by

architects

transitional

best

has

no

in

doubt

been

London

Architecture

mixed, or

at

work

j
is to

any

be

rate

in

Piccadillyand

recent

works

has been obtained

very brilliant success
of Benaissance, or in
either free adaptations
as

of

Fran9ois I.,Jacobean, or Queen

quarter of a century in England
erection of privatehouses in the country

that

in the

last

great deal of

a
seen

in

the

recent

and

the
Metropolis,

successful
usual

rendered. Renaissance, and

freely-

usuaUy red brick and

South Audley Street and

cited

be

but

of the

done
and

(Waterhonse),
may

Club

Liberal

National

examples;
working in
such
styles,

The

Anne.

and

the

terracotta.

of Arundel

The

reconstruction

Street,and

many

Broad Street,may be referred to as

of Mr. IToiman
Shaw, Mr. Bodley,and

Street

stylebeing
the

materials

of much

of

buildings
examples. The
Messrs. Oeorge

recent

146

ARCHITECTURE.

which

tecture

is
to

by

furnish

Peto

and

stately

the

and

and

and

new

really
country

where

great

deal

the

rising

models,
exercised

of

designs

adopted

of

handling
means

influence

of

the

the

was

masses

producing

his

of

more

or

his

architectural

with

the

of

older

Institute

buildings
effect

and
are

for

won

of

Renaissance,
a

late

of

true

Eomanesque
art,

and

has
the

for
him

the

cipal
prin-

the

Architects.
and

shown

politan,
cosmo-

the

Recently

Hunt,

M.

have

the

less

K.

of

stamp

contemporaries.
Mr.

training

very

and

the

appearance*
the

and

Byzantine

Exhibition,

Medal

on

be

to

is

buildings

applications

upon

of

The

on

novel

Chicago

him

very

architect,

Gold

Royal
by

mainly

of

American

of

the

style

its

to

complete

is

America

of

carried

be

marked

them

that

States

traditions.

of

full

is

another

of

the

all

his

work

buildings

the

no

are

profound

of

grouping

Architecture

will
is

ancient

were

his

and

been

Architects

formed

but

distinguished

good

favourable

most

are

has

American

He

genius.

expected,

building

there

CoUcutt,

Mr.

all

with

United

the

conditions

Eichardson

Mr.

style

to

the
of

and

be

of

development

original
is

designs

Aixshi'

important

most

of

buildings,

combined

detail,

the

but

the

English

of

phase

outline.

telling

Modern

of

grace

from

successful

other

owes

this

describe

to

built

InstittUe,

also

refinement

If

attempted

Imperial

London

whom

features

of

have

we

of

instances

prominent

in

The

great

thorough

skill

mastery
these

tinction
dis-

works.

in
of

SCULPTUEE.

NOTE.

Students

who

British

Egyptian,

resident

are

and

Hellenic

Etruscan

Statues
of

Room

the

Archaic

Sculpture

Grseco-Roman,

the

Room,

recommended
strongly
^-reliefs
and

are

the

examine

Galleries

the

London

near

or

there

Lycian

Rooms

in

and

Museum,

Assyrian,

and

"lgin

Art

of

the

visit

to

and

the

in

the

the

Romau

Galleries.

In

the

fine

South

Court

of

and

of

In
of

the

all

ages

of

Sir

Digby

Egypt,

References

Kensington

best

sculpture

the

Crystal

Palace

which

are

casts

Greece,

Sculjtture

Museuin,

S,

the

at

K.

hundred

great

and

and

of

casts

veiy

secui-ed

North

examples

many

and

of
of

number

great

Spanish,

Court,
the

in

manship
work-

French

centuries.

advantage
at

Sculpture

Court

Flemish,

seventeenth

collected

and

Architectural

German^

and

for

the

the
statues

including

Jtaly,

from

in

find,
classical

principal
in

of

to

were

Italy,

and

many

seen

searched

who

Wyatt,

will

they
the

casts

sixteenth,

be

may

These

to

and
ware

fifteenth,

Assyria,

many

Robbia

the

architecture.

of

sculptures

Delia

reproductions

of

casts

original

are

Majolica

Museum,

Kensington

collection

sculpture

among

large
the

of

all

shrubs
Mr.

Owen

examples

of

by

cost
best

and

countries

and

appropriate
and

Jones

sculpture

France.

British
at

the

Mtiseum

Crystal

arc

Palace,

^narked
C.

P,

B.

M.

al

the

South

in

SCULPTUEE.

INTRODUCTION.

Sculpture(from the Latin sculpoyI carve)is the arfc

to mean
all
or
gravinghard materials ; but it has come
of organiclife in relief,
whether
in
representation
i.e. fullydetached
round
The
or
statuari/ (from stare, to stand).
true
IN ofitscutting

sense,

Statues

size, and

into five sizes

divided

are

; and

statuettes

"

either

are

small life"
colossal,heroic,life-size,
standing,seated,recumbent, or

equestrian.
AUo-relievo

from
i. e. nearlydetached
high relief,
i. e, fullyrounded, but
or
semi-relief,

or

Mezzo-rdievo

i, e,
BoAisihrelievoor low relief,

Intaglio
Sunk-reliefor
therefore

cavo-relievo.

combining

en
bas-relief

French
We

to

propose
includes : the

to

or

the

bas-reliefs ;
; and

metal

accoimt

adnuts of

widest

For

"

or

medals

statues

of its
a

relief

of

ivoryand

claymodels

USED

groups

texture
crystalline

high polishand

in

IN

absorbs

mould

groups
material
the

or

"

such

Greeks, in
of
weapons
beaten into

plasterstatues
whether
intaglios
;

gems,

stamped or

cast.

SCULPTURE.

marble
and

of

or

clothingand

ornaments

engraved

coins,whether

and

cast

architectural

and

or

the

which

sense,

stance
subin any hard
in marble, ivory,

moulding of statues
noble
a
coatingof more
gold and ivory)statues of

MATERIALS

Marble.

its

; the

statues, whether

statues

wax

of

the surface,and
is called by the

within

(r.e.
chryselephantine
portionswere

cameos

kind

below

intaglio.This

interpret Sculpture in

enclosed

gold ; bronze and

shape; terra-cotta
and

sunk

creux.

the nude

which

used

Egyptians
reGef

basso^elievo and

other material

any

plainmaterial
as

low

from the surface.

out.

and
of perfect
chiselling
figures
groups
of
low
whether
reliefs,
carving
high or

; the

wood,

The

themselves, a very

peculiarto

raised
slightly

eavoreUevo, i. e, hollowed

or

on

still attached

surface.

the

or

the surface.

is the

of its
the

favourite

substance,
which
surface,
gleaming

light equally. The

most

150

SCULPTURE.

marbles

famous
of

used

and

Paros,

of which

Athens, both
also used.

the ancients

by

Pentelic,from

the

Parian, from the island

of Pentelicus, near

mountain

Black

white.

were

the

were

the

The

and

coloured marbles

were

substances

harder than
even
Egyptians employed
and
Modem
basalt,
granite.
porphyry,
sculptors
Carrara
marble, from the
generallyprefer the white fine-grained

marble, such

as

of Florence.

neighbourhood
is the

metal
used in sculpture.It consists of a
principal
mixture of copper and tin,the quality
varyingaccordingto the proportions
of the ingredients.
Bronze
sometimes giltby the
statues
were
bronze works
There are unfortunately
of
ancients.
not many
original
there
times
b
ut
few
in
the
ancient
British
are
a
existing,
examples
Bronze

Gold,silver,
copper, lead,and

Museum.

of lead and

tin,have

been
occasionally

even

pewter, which

is

mixture

employed.

used by the ancients

much
for small
Terra-cotta,baked clay,was
it
and
and
affords
freedom
truth
statuettes
exact
a
to the
ornaments, as

fifteenth and

sixteenth centuries

architectural

decoration.

and

France

It was
covered
with
materials.
a
durable.
the
In Italy in
more
its use was
revived for busts and for

in other
unprocurable
which
it
rendered
glaze

artist's work
vitreous

England.

In the latter
Excellent

century it
be

examplesmay

was

introduced

seen

in the old

into

ways
gate-

the

quently
Hampton
present day it is very freemployed in the ornamentation of important buildings.
burned and reduced to powder,forms
Plaster of Parie (gypsum),
when
a paste which
immediatelyeett, or becomes firm,on beingmixed with
it is much
bulk of water ; for this reason
used in making casts
its own
of

Palace.

Court

At

and architectural

decorations.
kind of gypsum

a
Alabaster,

at

was

and

time

one

much

found

used

Tuscany and also in Derbyshire,

tombs
and for vases
for sculptures
on
in

statuettes.

Limestone

marble,

and

Sandstone, softer and

less durable

largelyemployed for architectural

are

mateiials

than

ornaments.

woods
principal
employed for carving are, that of the
soft
is
tough and durable,the oak, and the cedar.
though
It was
Ivory, The carvingof ivory was practised
by the Komans.
in the earlydays of the Christian Church,
carried to great perfection

Wood,

The

"

lime, which
"

when

it

and
used for statuettes,tablets,

was

which

may
chair of St.
the

be

Cathedral
made

Gems.

"

Eavenna.

South

Kensington

in the sixth
In

other

the

ornaments, many
Museum.

The

of

ivory

century, is still preservedin

803

beautifully-carved
presentedto Charlemagne. Reference has already
the chryselephantine
of the Greeks, which were
statues
and
of marble
covered
with
out
layersof ivory and
at

year

two

were

to

hewn

roughly
gold.

the

Maximian, made

ivory chairs
been

seen

in

^The

principal
gems

used

by

ancient

engravers

were:

car-

151

PROCESSES.

nelians, chalcedony,onyx,

sardonyx,agates, jaspers,
garnets,beryls,
rubies,topazes,and turquoises.For cameos, the
amethysts,sapphires,
above any other stone.
preferred
onyx was
Coins

and

other metals

Medals,

Gold, silver,copper, bronze, and

"

combinations of metals

or

occasionally

used.

are

PROCESSES.

We

describe
briefly

now

may

of

different kinds

the various

his

first makes

employed in

the

sculpture.
low

StcUnes,Groups,and high or

For

processes

small

Relics in Marble,the sculptor

clay or wax, which process

scale in

design
precededby a sketch on paper. He next makes a
model
of the requiredsize,having the objectto be represented
before
is
The
moist
whilst
it
is being worked, and when
him.
the
clay kept
model is completedit is allowed to harden. A cast is then taken of the
it a mixture
model
of liquefied
by throwing over
plasterof Paris.
the plaster-mould
When
obtained is hardened, the clay inside is
so
pickedout, and an exact impressionof the model remains. The interior
on

is sometimes

is then

of this mould
and
plaster,
a

as

soon

brushed

as

of
completeybc-^mt/e

the model

beginsto work

the artist

with

over

is

and

varnish

this is set the mould

filled with

is removed

produced.

in the marble.

The

with

With

cast

fresh

and
chisels,

this before

him

the marble

are

and

exactlyalike ; a vertical rod

placedon two blocks,called scale-stools,
needle attached
with a sliding
so
adapted by a movable jointas to be
set at any
angle and then fastened is then fixed to the block on
which the cast stands,and the needle is adjusteduntil it touches
a
The
rod is then removed
to the block on
certain point of the cast.
the rough marble stands,and the marble is cut away
until the
which
"

"

needle

touches

it

it did

as

the

model.

corresponding
pointsof the model

is made

mark

the

on

two

which
is
This operation,
future
until all the different surfaces of the
is repeated
called pointing,

work

the

from

outside

of the

marble

group,

the

rough-outthe figureor
It is said that

touches.

the marble

from
the

from
In

block.

are

ascertained,when

artist himself

Michelangeloworked

any
later the

previousmodel

or

Indians,carved

workmen

givingthe finishing

out

sopie

of his st9.tue8

design.The

Egyptians,

figuresijitheir temples

livingrock.
making Bronze

the

instead of
and

without

and
Assyrians,

and

molten

Statues similar preliminary

steps are taken ; but
for
loam
used
is
sand
or
Paris,
making the mould,
is poured into it. To prevent a too great weightof

plasterof
metal

of
usuallypartlyfilled with cores
When
for only a thin coating of the metal.
sand, which leave room
of
the cast is cold,the surface is perfected
means
a
graving tool.
by

metal, the

Another

interior

method

of the

mould

is

(more frequently
adoptedin

later

times, but

not

u^^-

152

SCULPTURE.

is that called hy the French

cire perdue; which
ancients)
model in clayor plaster
the wax
of Paris,and then
consists in enclosing
in
the
molten
which
melts
and
the
takes its place.
wax
metal,
letting
out without
Sometimes
a bas-relief is batten
previouscasting: in that
the form is obtained
case
simplyby beating or hammering until the
beaten when
proper shapeis produced: iron and bronze are sometimes
cold.
hot ; silver and goldwhen
In modern
times zinc,iron,and even
tin,have been used for statues ;
other substance to protect them
but they requirea coating of some
For this purpose
from the action of the weather.
thin layer of
a
and can
be
bronze
has a good effect,
the
easily appliedby
process of
electro-plating.
in relief on metal is called cJiaeing
The art of carvingfigures
: the
toreviic (from a Greek word signifying
term
to carve)has been applied
known

to the

to all kinds

of metal work.

Carving in Woody Stone,and Ivoryis performedby

previous process. Usuallya drawing of

aid of any
made.

hand
the

without

the

objectis first

diamonds, fixed into iron instruments,

splintered
Gemrengraving,
used ; the work is executed
A drill is employed for
are
by the hand.
and
the
of
out
cutting
larger
deeper portions the work, wluch, when
with emery
is polished
finished,
powder. Gems cut in relief are called
those
The
which
hollowed
out intaglios.
term
are
oameos
is,
cameo
;
used to denote the very small piecesof sculptui'e
in
however, especially
of
different
colours
the
colour
stones having two
being
layers
;
upper
used for the objectto be represented,
the under servingas background.
is the art of engraving the die or stamp used for coining,
Die-sinking
and for stamping thin plates
of metal with designsof various kinds.
The blank
die is engraved in intaglio
with the device required,
by the
aid of small steel tools. The face of the die is then hardened by heat,
after which it is ready for use.
of depositingby means
is a modern
method
of
Electro-plating
of
thin
metal
valuable
works
a
a model.
electricity
layer
Many
upon
of art are by this means
successfully
reproduced.
For

in sculpture
are
subjectssuitable for representation
necessarily
Except as an accessory, vegetablelife is almost excluded from
infinite variety
and richness of the details of foliage,
its sphere. The
and
and
the way in which, when
flowers,
fruit,
grouped together,they
intertwine and hide one
that they should
another, render it impossible
be accurately
bidden.
representedin an art to which exact imitation is forIt is only plants with
that
characteristics
can
prominent
architectural
be used
accessories.
Such
the deeply-indented
as
was
leaf so largely
acanthus
the
and
Eomans.
Greeks
employed by
The noblest study of the sculptoris man,
form divine,"
"the
human
and to produce a perfectstatue is his highesttask.
The human
figure
The

limited.

153

SUBJECTS.

is made

up

of

sculptor
humanity, in
can

120.

The

"

infinite

an

find
the

and sinuous
lines,and the
varietyof curves
imitate
than
to
fine types of
nothing more
perfect
be
not
prime of youth and vigour; but he must

Proportionsof

the Human

Figura.

and described

with

content

ideal
be

mere

copying,
"

conceptions. Beauty

representedby

ciurves,

and

the

of

oval,are

the

by Joseph

he

down

to us

by

Yitnivius

Bonomi.

of
aspire to the embodiment
is plastic"that is to say, it may
Freely drawn
infinityof form.

must

form

modellingin

As handed

an

essentials of all fine

outline,and

one

of

154?

SCULPTURE.

beautiful forms in which

the most

The

body.

human

nude

draperyis employed,it should

where

follow

found, is the

to be

are

suitable

most

for

the lines of the

;
sculpture

body, and

conceal,its contour.

not
indicate,

of these with

combinations

also

and
frequentlyrepresentedmythologicalfigures,

ancients

The

outlines

such

figureis the

the

brute

such

form,

as

centaurs, satyrs,

highlyorganisedanimals, such
the
finest
for the sculptor.
horse
the
and
the
as
dog,are
subjects
but partlj'
Groups, in which the figuresdo not stand out separately,
and should
hide each other,afford scope for the highestartistic genius,
form a rhythmicwhole, with all the parts well balanced
producinga
of
in
effect
variety unity.
pleasing
As
sculpturedeals with plasticform alone, it has generallybeen
supposedto disdain the aid of colour ; yet the Egyptians,and probably
coloured
their sculpture,
also the Assyrians,
except perhaps
invariably
of hard basalt or highly-polished
those statues which were
granite. It
Next

minotaurs,etc.

to man,

the most

"

is known

the

that

also tinted their statues, but

far theyearned
it in imitation of natur"

how

to ascertain

day, the celebrated

John

essential

that

It

was

Gibson

up
Greeks

of

canon

and

proportionswhich

to

us

da
and

of the

the head

from

was,

hand

be

The

from

of the

Egyptians

few

version,

such
exceptions

since.

hair should

the

therefore drew

believed,adopted by the

the face from

body that

the roots

own

our

fullyacquaintedwith

it is

by Vitruvius,has, with
human

In

parts of several of his statutes.

by Polycleitus. His

on

Vinci, been adoptedever

composed the

the forehead

palm

frame.

insisted
especially

transmitted
of Leonardo
so

tinted

sculptorsshould

of the human
justproportions
a

it is difficult

Greeks

be

as

as

those

"
Nature has
says,
the chin to the top of

He

tenth

part ;

also the

to the tipof the middle

finger;
wrist-joint
the
from
highestpoint an eighth;
top of
the hair,a sixth
{Eng, 120).

the

the chin to the

the chest to the roots

of

*'

Egypt
sculpturemay be divided into three periods: The Old
Empire,to
Empire, or Memphian Egypt, 3645 to 2668 b.c., the new
of a
332 B.C., and the Ptolemean
Empire, to 30 b.c. It is principally
should
and
the
be
the
of
studied
c
haracter,
country
mythology
religious
with it. The chief characteristics of Egyptian art of
in connection
gitindeurand solidity
struggles
; the constant
every kind are massive
Egyptian

with

the powers

Nile

were

of nature

in which

the inhabitants

of the banks

and
engaged precludeddreamy contemplation,

of tlie

engendered

; L.

155

EGYPTIAN.

and

an

energy
erected.
The

self-reliance which

earliest works

of

reflected in

were

the

Egyptiansculpture
(Eng, 1 22) are

monuments

remarkable

.iwtv^i^^yvr.-.iit

Rutoration.

121." MENEPHTAH.

Supposed to
About

Bas-relief.

for

freedom

wanting in

from restraint and

later

productions;

gainedthe upper

hand

for

in

be Pharaoh

they

1490.

B.C.

power

of the Exodus.

of

were

Egypt, and

nature
idealising

executed
arrested

before

which
the

all progress

is

archy
hierin art

SCULPTURE.

156

unchangeablelaws, and by imposingmodels which

repetition.The
compelledto reproducein monotonous

by condemning
artists

were

it to

result

of this

in the

works

would

have

sameness

was

produced which
rendered

name

is

that

not

were

tremely
ex-

their

^x

difficult to

dates, if it

it

the

reigningsovereign
introduced.
constantly
cellence
A fltriking
proof of the exof
early Egyptian
of the

afforded in the
of 1867.
A
Exhibition

sculpturewas
Paris
waoden

statue

lent

"

at

of

certain

statue
aH

; the

natural

by

now

Cairo

near

(some-

fine work

well

given to

expression
by the

the eyes

bits

rounded

of

insertion

and

parted

lips are

slightsmile, and
is

of

modelled,

lifelike

head

the

the

injured,this

body is

the

and

M.

in

Schoolmaster),

much

is even

hibited
ex-

late

Ra-em-K^

tiniea called the

Although

the

now

Ghizeh,

MiLseum
"

by

and

Marietta

there

was

of

to representpupils,
i^oek'crystal
in eyeballsof quartz shaded
by bronze lids. A bright nail

beneath
visual

^-^^"--^

^"^

R*fi!lH^w"^
,^

-^^^^^MT^^

^^L

tW

marks
crystal

the

point{Eng, 123).

Tlie
tfi

each

tombs

bas-reliefsof the
^^

TV

^^^^teV^^^

Memphis,

which

are

some

in

of
the

are
Berlin Museum,
the earliest
among

Egyptian works
of sculpture{Eng,
are
124).The figures

of

but
122."

Egyptian Statue

ia black basalt.

Heroic

size.

from

vivid

unknown

they

were

till the

the

surface ;

they stillretain the

In the Bntish Museum.

which

slightlyraised

ignoranceof the laws

painted. The
in
fifteenth century,betrayed

these

colours
of

with

perspective,

groups,

some-

157

EOTPTIAN.

carved, and have a gi*eat

beauty; but they are finely
ceased,
historical value, as they are
annals of the lives of the depictorial
A
introduced.
in which
of
figures the presidingdeities are
what

their

mars

be
bas-reliefs may
of these
of the appearance
at
court
in
the
obtained
the admirable reproductions
Egyptian
the
the CrystalPalace, executed by a band of trained mechanics under
direction of Bonomi^ who studied in the
notion

accuiate

very

from

best schools of
and

the

Egyptianart"

the tombs.

These

an

intermediate

art

of the

temples

bas-reliefsoccupy

the
positionbetween
and
that
of
the
Empire
Ptolemaic
period.
The
great Sphinx qf Memphis (see
Eiig,2) is a remarkable
work, dating
from
the earliest timesiprobablyearlier
than
the earliest pyramid; it is hewn
from

of

spur

feet

172

old

56

long by

sphinxes

of

were

feet

the

body

of

lion

portions of

The

higL
kinds

various

"

man-

ram-headed,

headed, woman-headed, and

with

It is

livingrock.

the

dog.

or

the

siderable
Con-

of

avenues

colossal

granitesphinxesleading up to
templesare still to be seen at Karnak
and elsewhere ; the grand seated figures
of the Pharaohs
guarding the entrances
in good
at Kc^ykUc, IpacmUml, etc., are
colossal
The
{Eng, 125).
preservation
seated figures
(70 feet high)erected by
Amenhotep III., at Medinet-Abou, one

the

of

is the

which

Memnon

by

"

"

the

still

which

II.

Barneses
ses

the

of

statue

of

larger statue
broken

was

by

Camin

remain

fragmentsof which

templeat Medinet-Abou

of the

the court

world-famed

(65 feet
figures
huge
the
of
same
high)
king carved out of the
the four

and

seated

Ipsambul,are the most gigantic

ever
specimens of sculpturethat were
rock

at

executed.*
in black
of this

statue

in
granite,

of

this

the Turin

the Museum

at Ghizeh.

monarch

Museum,

is

one

of the best

works

of ai't

period.

It would
*

123." Ra-em-K6.
In

be

in
impossible

Reproductionson
CrystalPalace.

work

small scale of many

like the

present merely to

of these works

may

be

enumer-

studied at the

158

SCULPTURE.

the various

ate

contained
Egyptian antiquities
The

Museum.

Louvre, and the Berlin

are
statues,in which the arms

the

in the British

Museum,
colossal

principalare

generallyfixed to the chest and the legs

and
priests
;
connected
together; small statues of kings,divinities,
tablets
stelce
tombs
or
or
engraved
either
from
bas-reliefs
temples;
either in relief or in intaglio
historical inscriptions
with
; sarcophagi,
contain
constructed
to
mummies,
of
boxes
granite,basalt, or stone,
of
different kinds, such as
with
and
covered
hieroglyphics
; pottery
and other art objects.
vases),
amphora (wine-vessels),
cano]n (funereal

124."

Egyptian bas-relief.

lound

Baked

remote

most

red

earthenware
ages.

in use
were
vases
(terra-cotta)
The Egyptians manufactured
a
and a shiningor polishedred

however,

sand, loosely
fused, and

covered

colours.
the
of

use

beautiful blue tint

of oxide of copper.
We

Egyptian colossal

MemnoHy
Museum.

taken

from

Tlioth and

the

with
was

may

known
sculpture
the

Temple

Horus.

at Luxor.

yellow ware,
Egyptian pottery was,
or

III. between

Rauieses

of

in

Egypt

red

ware,

The

ware.

porcelain,made

in

the

pale
finest

of

fine
a
very
thick silicious glazeof various
sometimes
given to this ware
by
a

add
to

that

the most

exist is the head

Memnon,

and

now

valuable

relic

of the young
in the British

159

EGYPTIAK.

tn the Berlin

necropolisof
which
most

In

in addition

Egyptianobjectis

Thebes, and

removed

to

the

bas-i^liefs

tioned,
alreadymen-

tomb, discovered in 1823

exactlyas

it

found.

in the

rangular
quadround
hieroglyphics,
are
grouped boats,containingfigures
representingthe mummy's
Owen
to Hades, amphorae,
etc.
Jones
characterised it as the
of
Art
he
had
ever
perfectspecimen
seen.
Egyptian
the temple of
1881, Herr Emil Brugsch discovered a awe
near
tomb

escort

Museum,

chief

the

rises in the

about
Deir-el-Bahari,

125."

four

Sculptorsat

of several of the most

was

centre, covei'ed with

miles

work.

from

From

Thebes, in which

an

the

mummies

EgyptianWall-painting.

celebrated of the Theban

were
sovereigns

found

includingEing Amenhotepy 1666 B.C. ; I'hottnes /.,//.,and III, ; and

//. (the Great). There
also found in the same
were
several illuminated papyri,
and numerous
cave
mortuary statues, and
since then many
have
been
other importanttombs
discovered.
Bronze
Statues, with a leaden or other core, are supposedto have
first cast in Egypt ; and it was
been
from the Egyptians that the
be
in the British Museum
Greeks learnt the art.
seen
Specimensmay
and other collections of Egyptian
antiquities.
"

RoffiiesesI. and

Babylonaiid

Nineveh,

In the chapteron Assyrian ai*chitecture we have

the important discoveries of ruins at Mosul, on the
with
Tigris,

Place, and

which
the

the

respects; but

they are

more

deities. The

French

English traveller.Sir Henry

connected.
many

of the

names

varied
same

These

they
and

have

an

even

ignoranceof

rightbank

consuls,MM.
Austin

bas-reliefs resemble

and
lifelike,

alreadyalluded

greater

Botta

and

Layard,
of Egypt
are

those

separably
inin

historical value, for

less loaded with

is
perspective

to

of the

figuresof
betrayed in them as

the
in

160

SCULPTURE.

Memphis : fishes and boats are seen piledone above the

with many
of priestsand
rows
other, and human
figuresin profile,
soldiers {Eng. 126). But for this flaw,the Assyrian bas-reliefs would
and are well carved
be fine works of art.
They are in very low relief,
varied.
The
and finely
Battles, sieges,
are
polished.
subjects
very
illustration (Eny, 1 27) is part of
Our
and hunting incidents abound.
from the north-west
in the British Museum
now
palace
a lion-hunt
the reliefs at

"

"

of Nimrud.

^jTECT'WII

the

*h

In every scene
is the principal

king

lowed

by

umbrella-

an

and

bearer

or
fly-flapper,

by musicians,and
head

his

above

the

hovers

Ferouher,

ity.
winged symbol of divinmonarchs
the
Among

the

figurein

who

bas-reliefs

are

the
and

Sennacherib,

Single statues
there is

in

the

but

ai*e

life

rare

Priest

{Eng. 128)
Museum

British

the nude

chadnezzar.
Nebu-

of

statue

largerthan

various

Shalmaneser,

human

figure

have
does not appear
to
been studied in the East to
any extent ; although many
different animals
are
dered
renwith

ity.
surprisingfidelexample
this early sculptureis
A

of

the

marvellous

Wounded

Lioness

{Eng.

129).
In addition to
126."

Assyrianbas-relief on

and

Museum

possesses

small four-sided

numerous

sculpturedAssyrian

wall.

obelisk of

British

tablets, the
black

marble

lines of the cuneiform

ten
six feet high engraved with
and sculpturedwith twenty bas-reliefs,
representingthe
"

slabs
about

character,

offeringof

discovered
which
near
was
king by conquered races
the
It
this
aid
is
that
in
obelisk
thorough
hoped
Kalah-Shergat.
may
of the cuneiform*
character, as the Kosetta stone, also
deciphering
preservedin the British Museum, did of the hieroglyphic.

tribute

There

to

the

are

Assyrian. The

"

three kinds

letters

are

of cuneiform
writing: the Persian,the
shaped like arrows, wedges, or nails.

Median, and tlie

The

meaning

of

161

PERSIAN.

127.

"

The

Louvre
of

Assyrianbas-relief.
contains

the

of

palaceof

winged

Lion-hunt, from Nimnid.

mens
extremely fine speci-

many

the
Assyrian sculpture,

four colossal

the

Part of

bulls

Khorsabad,

principal
being
at

the

entrance

already described.

The

Assyrianman-bull, like the Egyptiansphinx,

the
was
symbol of wisdom and strengthcombined.
Assyrian gems, many of which may be seen at
the British Museum, are
The
of great value.
earliest are of serpentina,
and are of a cylindrical
those
of
later
of agate, jasper,
date
are
shape;
either cylindrical
in form or
quartz, or syenite,
oval ; they are
with
of the gods
engraved
figures
and

the

of

names

the

owner

in

the

cuneiform

character.

Persia,
but few remains of Persian sculpture
these few consist almost entirelyof
bas-reliefs on
the walls of the palacesand the
fronts of the rock-cut tombs.
from
The principal,
the
royal palaceof Fersepolis
{Eng, 130),date
521
from
467 B.C., the goldenage of the
about
There

are

extant, and

"

Persian

of

monarchy.
Assyrian

In these bas-reliefs the working

and

Egyptian influence

can

be

of the signs has been discovered by Niebuhr, Grotefend,Rask, Lassen, Buraouf, Rawlinson, Hincks, Oppert,
many

Mdnaat,

and

others

; but

still remains
to be done
in the cuneiform
character
inscriptions

before the numerous

be fullydeciphered.

can

much

128." Statue of an
AssyrianPriest
In the British Museum
M

162

SCULPTURE.

traced,combined
distinctly

with

character

their owd.
In
peculiarly
but
Persian works,
are
scenes
frequently
represented
;
and
the
of the chase or of war, so common
Egyptians,
Assyrians
amongst
the
unknown.
almost
see
are
entirely
Everywhere we
king
and
attended
his
in an
attitude of dignified
court
by
receiving
repose,
of horses,
the homage of ambassadors, bringingtribute in the form
ful
camels, or costlyraiment and vessels. These groups are probablyfaithof
Xerxes.
actual
Darius
of
in
the
time
scenes
or
representations
They are remarkable for the lifelike renderingof the animals and the
figuresare clothed,
gracefulflowingdrapery with which the human
favourablywith the close
suggestingGreek influence,and contrasting
and heavy Egyptian and Assyrian garments.
a

historical events

1-J9." "Wounded

Lioness.

Ansyrian.

noteworthy exception to what

is a largegroup,
bas-reliefs,

Persian

at BehUtan

foot

on

raised
their

a
as

doom

in

Kurdistan, which
prostrateenemy, with
if about
at

to

little distance

supposedto be Darius
rebellion

in 516

Human-headed
in Persian
with

some

have
out

said
of

Nine
from

hand

holding
prisonersbound
the

Hystaspes,after he

victorious
had

the

steep and

represents a Persian
one

of

of
repose
rock
lofty

king placinghis
bow

and

the other

together await
monarch, who

is

quelledthe Babylonian

b.c.

and

winged bulls and unicorns are

sculptures.The king is sometimes

of

rence
frequentoccurseen
contending

in the thick of the

huge symbolic creature; but even
his calm self-possession
and
of
dignified
expression

struggle he retains
unruffled

strike.

we

hewn

In the British Musexlm.

serenity.

163

PERSIAN.

facades of the rock-cut tombs, the king is generally

represented
worshipping Ormuzd, the god of Ught,the Ferouher or protecting
spirithovering above his head in the form of a man with the wings

On

and

the

tail of

The

bird.

greatlyimprovedthe art of gem-cutting.They adopted

of the Assyrians,
but afterwards abandoned
it for

Persians

form
cylindrical

the

130." Pepsiau

from
bas-relief,

Persepolis.

which
conical,employingchalcedony,

of
they engraved with figures
The cylinder
their gods,etc.
signetof Darius I. has been preserved.
in a chariot,one
warriors
It represents two
directingthe steed,the
the

A lion reared on
standingbehind the driver drawing a bow.
to
await
the
dischargeof the arrow,
hind-legs appears calmly

other
above

the group

hovers

the Ferouher.

Asia

Minor

and

Syria.

of Asia Minor and Syria betray the

sculptures
neighbouringnations,and cannot be said to have

The
the

character
The

of their

most

its
and

influence of all
any distinctive

own.

ancient

monuments

of Asia

Minor

are

the rock-cut

bas-

of Bogas Koei, in Galatia.

reliefs at the town
They consist of two
of
the
the
and
is a
grouping and costumes
generalstyle
processions
;
We
the working of
of the Babylonian and Persian.
combination
see

164

SCULPTURE,

marble chair, discovered in the same

place,
has lions chiselled in relief upon it much
resemblingthose of the

Assyrian iDfluence
which

of
portals

in

Nimrud.

figureof

in

king, cut

conical

Egyptianpachent(a
front).
In Syria there are

or

cap

victoryof Barneses

the Great, side

Smyrna,

near

wall of

with

crown

also many
relics of
wall of rock, north of Beyrout,there

the

of Nymphi^
village

the

At

colossal bas-relief

on

in

spiralornament
Assyrian

art

bas-reliefs in honour

are

rock, wearing the

Egyptian and

by

is

there

side with others

of

ating
commemor-

Assyrian triumphs.
Hebrews

The

doubt

no

employed

sculpture for

some

"

read

we

of

but it was
the grave of Bachel
over
a pillar
principally
erecting
the
and
metals
that
and
chosen
in engraving
precious
cuttinggems
peopleexcelled. The goldenCalf,the brazen serpent,the plateof gold
etc.
for the high-piiest's
mitre, the engraved stones of the breastplate,

Jacob

the

"

cherubim

and

for the

ornaments

tabernacle,were

of this

works

class.
arts.
have excelled in all the mechanical
alludes to a chased silver goblet of exquisiteworkmanship,
Homer
from Tyre
made
by a native of Sidon ; and Solomon invited workmen
"We read that the king
when
engaged upon the temple of Jerusalem.

Phoenicians

The

of

Tyre

etc.,
made

an

oxen,"

sent

him

to

appear

'^

workman

skilful to work

in

gold,silver,brass,
graving" (2 Chron, ii.14),"who
molten
sea
supportedby twelve cast
of

also to grave any manner

altar of brass,and a

(2 Chron. iv. 1" -22).

which was
Phoenician
of Carthage,
a colonyof Phcenicia,
found.
medals
have been frequently

etc.

In the ruins

coins and

Iv/lia

and

India

Sculpture in

is

subjectsrepresentedare

the

Countries,
nciglibcntring

chieflyaccessory
almost

to

architecture,and

the

exclusivelyreligious.

of sculpture,
of architecture,in India,
The earliest monuments
as
date from the rise into power of Asoka, about 250 b.c.
They consist
the outsides of pagodas, rock temples, and
of reliefs on
principally
i
n
topes ; groups or figures the round being almost unknown.
In the ruined

Hindoo
Goddesses carved

ancient

cityof Mahabalipooram,near Madras, there

templeson which are fine groups of Indian
out

of the

livingrock

in

still stand

Gods

and

high and low relief.

there are some

remarkable
pagoda
bas-reliefs representinga tiger-hunt,
horsemen
in which
mounted
are
the
full
reliefs
The
at
the
of
entrance
on
charging
gallop.
great
On

the walls

of

at

Perwuttum

165

CHINA.

Tope of

Dctgobaor
seen

are

men

on

Sanchi

foot,or ridingon elephantsor horses.*

Huge images of Buddha, and of

is

statue

ft. high,and

in

in every
in the west,

abound
divinities,

Hindoo

In

islands.
part of India and the neighbouring
120

armed

in which
battle-scenes,

animated

are

Ceylon there

Bamijan,

are

90

several

ft. high.

temple of Boro-Buddor, in Java, there are no less than 400

All are
able
alike remarkin the external niches.
small images of Buddha
of expression.
for repose of attitude,and
dreamy passiveness
In

the

life in action, such as the bas-reliefs mentioned

Siva, the Destroyer,whose work forbids repose, is,
above, are rare.
however, generally
depictedwith his six arms in violent agitation.
of the sculpturedfemale figuresof India we see evidence of
In many
of
want
the
energy and character which is the result of the systematic
of the East.
Symmetry of form is replaced
oppressionof the women

Kepresentationsof

and the only expressionis a graceful

simper,
voluptuousness,
of
the
in
of
soule.
The
Pagoda
or
a
Beauty,
goddess
dreamy
vague,
in
the
the
female
seated
caveand
on
an
divinity
elephant
Bangalore,

bj

soft

temple of

EUora

are

of this.

instances

China
We

cannot

Chinese

and

groups

in

leave the

East

and

Japan.

without

few words

on

the

art

of the

Japanese,althoughthey never
producedeither statues or
stone or marble
of important size. There are, however, many

colossal bronzes

of Buddha

in

Japan.

is

There

one

at

now

the

South

spread
Kensington Museum, where may also be seen a fine Eagle with outBoth
iron.
wings, of Japanese workmanship, in hammered
tortoisehave
in
nations
always been proficient carving wood, ivory,
tion
but their power of imitashell,etc. : they are wanting in imagination,
in
and proficiency colouring
alike marvellous.
are

Peru
Of
World

the

sculpturedfiguresand

there is little to be

beauty, and

than

consist

and

Mexico.

groups

said ;
of rude

of the

remarkable

they are
idols

earlyraces

or

coarse

of the New

rather

bas-reliefs

for size
on

the

of
pottery is of a different character ; some
well
is
and Peruvian
which
has
been
Mexican
ware
preserved
The
and
with
modelled
coloured,and ornamented
peculiartaste.
the
of
to
oldest Peruvian
terra-cotta
indeed
are
objects
equal anything

templesand palaces.The
the

same

"

attempted.
producedin Europe ; but glazingwas never
American
d
iscovered
t
he
celebrated
a number
traveller,
Stephens,

age

Mr.
A

cast of this gateway is in the India section of the South

of the Dagoba itself.
a small model

togetherwith

KensingtonMuseum,

166
of

SCULPTURE.

of various

vases

the Tombs

of the

shapes,carved
Incas

indented

or

in Peru.

And

resemblance

Central

America, and that of the Chinese.

the

curious patterns^in

later M.

fancied

between

with

Oharnay has traced

designof the Toltecs

decorative

of

Greek.

and

first became
ideal art.
Oriental
an
sculpture
rules.
The
of
fettered by dogmatic
chief aim
were
sculpture
the
monarch
in
of
the
was
reigning
painting Assyria
glorification
;
in Egypt, sculpture,
though religiousas well as monumental, did

not

advance

the

Greeks,

It
arts

and

was

in Greeca

beyond conventional
earlythrew off

who

loose from

broke
much

to

the

technical
from

stylewhich
In
of the

narrow

was

yoke

far otherwise

was

old

of the

It is true

Assyrians,but

they

with

monarchies, and
that

borrowed

they owed
the
chiefly

of art, and, emancipating themselves

traditions,
rapidlyworked out an independent

mechanical

old

types. It
the

of routine.

the trammels

Egyptians and

and

the

that

rules

purelytheir

own.

with the religion

connected
Greece,as elsewhere,Sculpturewas
of
the
the
Greeks, rightlyunderstood, is an
mythology
country ;

exquisite
poem,
forms

and

Greek

art

is

translation

into visible
of that poem
Greek
free-born
was
fettered
un-

beauty. The imaginationof the

by priestlydogma, and he peopled his land with deities,
forms instinct with life and
embodying the elements in ideal human
intellect. The Greek realised with exceptional
intensitythe beauty of
his gods in the earth,the sea and sky, and, ascribing
nature
; he saw
to

of

them

with

all that

which

he

was

was

conceptionsin ideal
the

lord

of

Athena, the

highestin the noblest human

typ^
to his ide^
he strove to giveexpression
familiar,
and

best

impersonationsof

heaven, became

the

attributes.

human

of

embodiment

protectivegoddess of wisdom

and

Thus

strength of

Zeus,

will;

strength combined

of the waves, the goddess of female love and beauty.

In studying the sculptureof Greece,this double
impersonationof
be lost
the powers
of human
of nature
and
attributes must
never

Aphrodite,born

sight of,and
with
the
has

Greek

we

would

urge

mythology,to

those

of

our

readers

acquaint themselves

principallegendsof gods and heroes,upon

been poured by the researches
of modern

who

are

unfamiliar

meaning of
which a flood of light
who have
philologists,
with

the

167

GREEK.

read

inward

in the
thoughts of untaught races
and
forms
their art.*
by
language
The relics of Greek
sculpturewhich have been preservedare fai'
for detailed description.A summary
of the principal
too numerous
and
with a brief notice of the greatest masters
schools of sculpture,

taught

to

us

famous

their most

Greek
which

their

works, is all

the

general
; the

wars

B.C.,

attempt.

can

we

divided

be

sculpturemay

Persian
400

the

assumed

outward

of arc/iaic has

name

second, from

during which

the

Athens

time

the

to
first,

given,lasted until the

been

Persian
was

periods. The

four

into

wars,

490

about

leadingpower

B.C., to
in Greece ;

Great, in 323
B.C., in which
periodSparta became the rulingcity; and the fourth,
from the death of Alexander
to the conquest of Greece by the Eomans,

the

third,from

146

400

b.c.

the

to

of Alexander

death

the

B.C.

First Period,
The
date

earliest
from

the

Mount

on

Iliad,and

"

be

B.C.

any

knowledge

colossal statue

of Niobe

the
be

to

in the reliefs of

gate Assyrianinfluence

can

The

are

have

gate of Mycenm

{Eng. 131),supposed
this

They

B.C.

we

tioned
Sipylus, men-

Lion

still older

of which

Greece

eighth century

in the
famous

of
sculptures

carved

distinctlytraced.
Chest

of Cypselus

work

dating from

made

at

reliefs

Corinth

partly cut

wood, and

660
had

"

in cedar-

partlylaid

in

on

gold and

ivory,representing
able
myths. It was noticeas
being probablythe
Earliestattempt to give visible
form to the word pictures
heroic

of Homer

and

Hesiod.

131."

Paufcanins

the top of the Lion

Sculptureon
at

(abouta.d.

described it.
The earliest names
of artists which
of a Samian
family: Bhoecus, his

have

come

gate

Mycenw.

176)saw
down

this chest and

to

us

are

those

son
Telecles,and his grandson
the invention of the arts of modelling in clay,
Theodorns, to whom
engraving on metals,and gem-cuttinghas been attributed. Olaucas

and
Two
small volumes, by the Rev. W. Cox"
'Tales of the Gods and Heroes,'
'Talas of Thebes and Argos,' will be found useful as an introduction to the study
of the moi*o
advanced works of Max
M iiller,
Grote, and others.
*

"

168
of

SCULPTURE.

Chios, who

famous

is said

bronze

caster

the art of smelting iron,was

to have invented
of the beginning of the seventh century B.C.

famous
more
Scyllisof Crete (about 580 b.c.)were
worked
their
school
at
Sicyon;
predecessors.They
and
to Italy (Magna Graecia),
spread throughout Greece, and even

Dipoeniuand

than any

of their

of

statues

many

gods

elsewhere

and

found
have

in the
been

nesus
Peloponattributed

discovered
in the Temple
group
Dioscuri (Castorand Pollux)at Argos
qftJie
it.

to

remarkable

showing the transition

from wood
to more
costly materials. It
representedthe Dioscuri on horseback,and
carved in ebony, iolaid with ivory.
was
Spartan artists took up the work begun
by these Cretans, and developedthe wood
is

as

and

ivory work into the chryaelepliantine

quently
(*.6. gold and ivory)statuary which subsebecame

cedar
and

wood

so

the

famous.

A
in
group
artists
Heoyles
Spartan

by
the
Theocles,representing

Hercules
of the

with

the

Canachns

To

500

about

found

of
of

in the treasure-house

Epidamnians at

Olympia.
flourished

Sicyon,who

B.C., is attributed

colo"sal statue

celebrated

the

for the

ApoUo, made

tuary
sanc-

of

Miletus, which
Didyma near
carried away
the
by
fugitiveXerxes.
famous
for
Ageladas of Argos was
of athletes ; one
Epidamnus, on a chariot

of

statuesk

was,

we

told,

are

of

Hesperides(theguardians

was
golden apples),

of the

adventure

Cleosthenes

with

the

four

was

his
of

horses,
of

admiration

all

Greece.
mediate
Calamis, Pythagoras,and Myron, the imfore-runners of Pheidias, may
be

looked upon

artists of

transition

period.
representeda greater diversityof
subjectsthan any previous sculptor;his
horses
his
were
especiallylifelike,but
human
not so good. A marble
figureswere
Mercury carryinga Ram {Eng. 132) is in
as

Calamis

132. Mercury carryinga Kam.

By Calamis. At Wilton House,
"

of his works
copy of one
the collection of Lord Pembroke, at Wilton
"

Pythagoras was truer

for delicacy
of
at

Syracuse,a

071

BvU

at

statue

of

Tarentum,

to

nature

than

"

House.
Calamis

execution

an
were

; his works

; his statue of the lame

Athlete at Delphi,and his
group

admired.
especially

were

markable
re-

Philoctetes
of

Europa

169

GREEK.

and

third

Myron, the

greatest of this group

of

(with
employed
generally
hronze
for his works, which
compriseda vast variety of subjects,
he
athletes in vigorous
although
delightedin representing
especially
action.
His Marsyaa in the Lateran
his DUcoholus
at Rome, and
(disc
his
successful
statues*
most
thrower){Eng.133),are among
They are
full of life and animation, and give proof of consummate
knowledge
Pheidias and

a pupil of
Poljcleitus)

of

The

anatomy.

famous

Cow

was
artists,

Ageladas. 'He

of

Myron, which formerlystood on

Acropolisof Athens, must

the

also be

mentioned, but

work

have

we

Of

the

of

authentic

no

this

trace.

ments
now-existingmonu-

the firstperiod

belongingto
of Greek
the

must
we
name
sculpture,
from
the templeat
sculptures

in the Louvre; the

AasoSj now
from
the
temples of
metopes

Selinvs

in

museum

at Palermo

Chimceray and

Lion

portions of

the

Harpy

tombs, from

Lycia,large

which

British Museum
the

; the

in ancient

Xanthu8

in

now
Sicily,

in

are

; and

sculpturesfrom

above
the

the

all,

Temple

of JSgina.
of

remains

The
1823.

metopes
with

consist

They
*

of

temples

Selinus

in

of
principally

limestone, adorned

sculpturesin
one

six

in

discovered

were

of which

very

lief,
high re-

representeda

or
struggle between an Amazon
after Myron.
133." The Discobolus,
a
goddess, and a warrior, and
with
another
warrior
a
In the Palazzo Jfassimi,
at Borne.
a
dying
female figureplacingher foot on
all lifelike,
his prostrate body. They are
and
full of promise,and

their

chief

in which

art, and
add

was

in their

made

being among

to shake

oS the

the

earliest works

influence

of Eastern

We
producefreely-arranged
groups and ideal forms.
and
much
colour
have
are
they
supposedto
remaining,

to

that

consists

attempt

an

from about

"

interest

650

metope,

b.c.

it will be

the entablature of

Doric

Casts

may

be

remembered, is

temple.

seen

in the British

the square

space

may

date

Museum.

between

two

in
trigylphs

170

SCULPTURE.

The

remarkable

most

Ha/rpy tomb {Eng, 134),in

the

Archaic

room

is the famous

Xanthus

from

of the monuments

of the British

Museum,

in 1838.
other relics by
many
It is supposedto date from the sixth or seventh century B.C., and alike
evidence
in arrangement and execution is purelyGreek (thoughbearing
the myth of
artistic form
in an
of
influence),
representing
with

discovered

Fellowes

Sir Charles

Assyrian

the

of children

carryingoff

by Harpies,who

appear

as

winged female

figures.
discovered in the year
of the Temj)le
of Mjina were
sculptures
They are at least a century later than those of Selinus or

The
1811.

mentioned.

above

seventeen

nearlyperfectstatues were
western
pediments of

eastern

and

134." Bas-relief from

The
are

the Harpy

the

tomb.

Temple

dedicated

to Athena.

In the British Museum,

carefullyrestored by Thorwaldsen,
originalstatues, which were
in the Glyptothekat Munich.
now
Complete casts of them, properly
arranged

The

fragments
heaps of broken
which
belongedto the
dug out,

Amongst

Xanthus,

meaning

as

of the

pediment,are to be
sculptureshas been

in the British

seen

very

Museum.

interpreted
differently
;

the
of victories.
Those
on
however, evidentlymemorials
western
of
which
are
we
supposed to
give an illustration,
pediment,
fightingaround the body of Achilles,
represent the Greeks and Romans
who lies at the feet of Athena
{Eng, 136). They are of Parian marble,
and are so carefully
the wrinkles of the nude porexecuted, that even
tions
full
and
of
limbs
rendered.
The
are
moulded,
are
delicately
of
heads
the
attitudes
the
are
gracefuland expressive; but
energy ;

they

are,

the Eastern

rather

depicted

them

on

than
all ; the

the Greek

type, and

obliqueeyes and

there

sharp

is the
chins

same

smile

reminding

us

GRlBEK.

of

Assyrian bas-reliefs. Quintilian tells us

Gallon and Hegesiaswere
that
the sculptors
of these fine works.
In archaic

sculpturethe arrangement of the

draperiesand hair is eminentlyconventional
and artificial; the pose of the figureis often
stif^ and constrained,
and a foolish smile is

unfrequentlyto

not

As

found

be

the faces.

on

made

art

from

tion
progress, its gradualemancipathe trammels
of conventionalism

executed
be traced ; and the best works
may
towards
the close of the periodwe have been
retain no more
of the artificial in
reviewing,
and

in treatment, than
of
to give increased value to the sense
serves
beauty which breathes through the whole

pose

the conventional

"

struggling,
expression.

to

so

Before
of

our
closing

Greek

Corinth

must

one
Apollo,
Argos),the

and

of Thera.

The

is in the

former

(between
island

in the

other

fine

two

name

at Tenea

found

of

means

of the first period

review

we
sculpture,

of

statues

find

speak,to

Glyptothek

of Munich

; the latter in the Temple of Theseus

Both are
Athens.
supposedto date from

at
a

very

earlyage.

Mention
of

sculpturefound

Cyprus,
and

which

which

of the

also be made

must

are

bear

by

of Greco-Phcenician

some

resemblance

found at

Mycense,Xanthus,
alreadyspokenof.

Second
We

now

come

of Greek
Pheidias
wars

Oriental

is

the

in

origin,
the

to

and

Period,490"400

mains
re-

Miletus,

^^^

B.C.

to the age of the final development

which

art, with

the

destroyedthe
despotism,and

of

name

The

sian
Per-

last remnants

of

connected.
insepai^ably

and
literature,
politics,
The
Greece.
great
Pericles

fragments

Cesnola

General

ushered

art, the

goldenage
Cimon

statesmen

encouragedgenius of

tragicpoets ^schylus

in, alike in
of

and
kind ;

every
and
Sophocles

172

SCULPTURE.

refined the

and
publictaste,and inspired
sculptors

glowing fancies ; and for a time Greece, with

ihe leadingcountry of the world.
became
Pheidias,the
He

B.C.

136.

"

learnt

master-artist
the

Icterior of the

Athens, and
assumed

the

rudiments

Temple

of Zeus

completed his
reins

of this
of

at

studies

of government,

goldenage,

his favourite

Olympia.
under

architects with

Statue

was

art

was

of

capital,
500

Hegesias of

by

When

about

their

about

born

of Zeus

Ageladas.

Pheidias

for its

Athens

Pheidias.

Pericles

thirty-seveu

the chief coold, in the prime of his genius,and he became

Under
in his restoration of Athens.
operator of that great statesman
Cimon, the predecessorof Pericles,Pheidias sculpturedthe colossal
years

bronze
as

395

statue
A.D.

on

of Athena
the most

Promackus
which stood as late
(the defender),
prominent part of the Acropolis(seeEng. 36).

173

GREEK.

It

upwards

was

the

copied on

of 50

feet

high, and was

probablygilt. It is seen
of publicworks in
As superintendent
him a whole army
of architects,
sculptors,

coins of Athens.

Athens, Pheidias had under

workers
in bronze, stone-cutters,gold-beaters,
and

although

he

famous

the

them, and
The

may
marbles

of the

it cannot

exercised

control

have

not

had

their

been

the

from
the

his

that
of

which

temple,
magnificentwork

and
artists,

sculpturing
of

he

Athena,
have

must

of art,

hand.

own

any

in

production.

statue
chryselephantine

within

personalshare

Parthenon, he probablydesignedmany

be doubted

over

other

was

tainly
cer-

This, and

colossal

chryselephantineseated
for
the
Temple of
bis
ous
fammost
Olympia (Bng. 136),were
of

statue

Zeits

works

the former

of
of

which

the

Pallas

the

supposed

was

colossal

of

and

wisdom

"

marble

figureof

in the
Velletri,

Louvre, is

be

to

ideal impersonation

an

calmness

late Roman

copy,

"

the

to us
latter,now
only known
from
copieson coins, was a realisation
of Zeus,
of Homer's
ing
shakdescription
his ambrosial
and
locks,
making

and

"

tremble

Olympus
embodiment
supreme

by
of

such

of the

"

his nod

at

and

"

idea of the

God, instinct with

pered
tempower
form
divine

mercy,

human

"

surpassingbeauty, that

henceforth

the

perfection.As

late

it

was

to

of

type
as

it became

masculine

fourth

the

tury
cen-

objectof veneration

an

Olympia, but
taken

an

national

it is believed

to have

Constantinopleand

to

at

been
have

perishedthere.
The

principal
pupilsof Pheidias were
Alcamenes, Agoracritns,and Colotes.
They
and
of

executed

Lapithsfor

the
the

many

the Battle

Temple
statues

the western

of Zeus
of

Melos
is

without

human
figtire,

to

be

pediment
Olympia,and

That

because

of

Hephctstua(Vulcan) at
characteristic

the lameness

dignityto the figure. The

{Eng. 137),found in 1820 in the

copy

after

Alcamenes.

maturity and beauty are

of MeloR.

Venus

In the Louvre.

loss of

in the Louvre

thought

at

gods.

admired,
especially
indicated

137 "The

of the Centaurs

In

combined

this
with

Athens

of the
famous

was

god was
Venus

island of

of

Melos,

exquisitefemale
divine majesty

174

SCULPTURE.

self-reliance. The

and

marble

statue

of Athena

of the
and

of Nemesis
Elis.

at

Temple

famous

most
at

Agoracritas

; and that of
at this time
sculptured

Rhamnus

PaeonilU
of Zeus

of

work

Olympia with

at

his

was

Colotes, a

statue

the eastern

ment
pediPelaps

the Contest between

Oinomaus.

second onlyin importa school arose,

ance
Peloponnesus,
of
of which was
to that of Athens, the rulingspirit
Polycleitiu
of
His
the
Pheidias
in
of
workshop
Ageladas.
Sicyon,a fellow-pupil
were
principal works
At

Argos, in

the

of athletes ; his
celebrated
Doryphoros
statues

(standard-bearer),of
which

the

Naples

to

posed
supcalled

Polycleitus,

canon

which

was

copy,
of

the

of

museum

contains

reference

has

made, and

alreadybeen

of
model
served as
a
the
beautiful
tions
proporof the human

colossal

The

body.

phantine
chrysele-

image of Juno,
temple at Argos,

for her

by Polycleitusa
"

copy
which
is in
Ludovisi
was

ble
mar-

head

of the

Borne

at

{Eng, 138).

the British Museum

two

statues

and

Head

of Juno,

Marble.
after^Polycleitus.

are

copiesof

to be

athlete

an

ing
bind-

fillet round

head, which

In the Villa Ludovisi^Rome.

of

dumenos

of

In
are

youth,each

138."

"

his finest

considered

work

of

Villa

the

his

thought
the Dta-

Polycleitus.

metopes of the Theseium, or Temple of

Theseus
in the life of Theseus, treated
at Athens, represent incidents
for the
with
led the way
the greatest boldness
and
freedom, which
The

of
sculptures

of
sculptures
of the Ionic

friezes and

Closelyresembling them are the friezes

the Acropolis,
on
Temple of Niklapt"ros(Victory,wingless),
the Parthenon.

the first reliefs executed

of them

are

in the

in

British

the white

Museum,

marble
and

exquisitefigureof Winged Victory,which

Portions

of Pentelicus.
casts

adorned

of
a

them,

and

parapet

of

an

between

175

GREEK.

temple of Nik^pteros
CrystalPalace collection.

and

little

the

in the
Lord

sculpturesof
Elgin in the

name

in the British

The

the

of

Parthenon

are

represent
Athens

at

in honour

frieze

of

peplos in
point two
one

goes

they

meet

On
the

one

may

very
the

works
gi-andest

Group

from

the

fiftycolumns

the

eastern

presence

the

The

groups

on

they
held

was

especially

more

veil,or

her shrine.

at

the entablature

which

by

form

the

end

eastern

over

start

from

other

along

the

of the

the

outer

light which

or
peristyle

outer

infinite

beauty

the northern

correspondinggroups

on

the western
the

"

southern, and

The

entrance.

end

procession

riders,foot-soldiers,
grave citizens bearing

and young
olive-branches,flute-players,

the

the

the deliveryof the

frieze is represented
of twelve
deities {Eng, 139). Towards
this

includes chariots,horses and

gracefuljars,with

art ;

of
presentation

below

in the

was

frieze of

frieze of the Parthenon.

Both
processionsconverge.
side,the
along the northern
at

the

from

the Eastern

it

as

fifth year ; and

four sides of

small models

two

of ancient

the sacrificeof animals

is viewed

England by
bearinghis

to

festival which

Panathenaic

every
consisted in

are
Propylaea,

the

sculpturedon

of Athena

and
cella^

between

colonnade.

present condition,and

occupies the

the

130."

comes

seen

processionat

portionof it which
and
peplos,to the goddess,
The

also be

the

that

walls

where

bas-reliefs

The

among

the

the

to

Parthenon, which were

brought
1816, are preserved in the room
year
Museum,

Pericles.

ascent

the

in its

temple,one
of

time

the

are

and

lovelymaidens

carrying

of action.

disposedwith greater freedom

the southern

side,and

in

than

the wonderful

onward with rhythmic motion

they move
power
in disorder."
is the very epitome of "order
Among all the
and twenty-five
mounted
hundred
figures{Eng, 140) who are controlling

grace

and

with which

there

their steeds in every varietyof action,althoughthere is an

intentional
of crowding, hurrying onward, there is no confusion,
and each
sense

detail is distinct and

clear.

176

SCULPTURE.

The

groups

southern

the

on

side

represent the

which was
regularpart of the procession
conveying the sacrificialvictims,attended
their ordered progress,
cavalryof Athens.

whoy from
On

the

padiment of

eastern

representingthe

of

Birth

the

Athena,

and

supposed
temple was

and

the

precededhy
to

are

formal

more

charged with

and

office of
horsemen

represent the trained

a

magnificentgix"up
pediment {Eng,

the western

on

141),the contest between Poseidon and Athena for the cityof Athens.
in the British Museum.
They are both in ruins,and parts are now
the
Three
These
t
he
Fates and
Ceres and
portions,
especially ThesiLs,
from the eastern
and the Ilisstis from the western
pediment,
Proserpine
and to be the grandest
admitted
to be the finest of the entire series,
are

140."

of

works

sculptureever

than

more

of the

Bas-relief

another, it was
the

Metopes,on

from' the Parthenon

If Pheidias

executed.

probablyon
exterior

of

the

the

Frieze.

worked

pediments.

on

The

one

part

bas-reliefs

temple,represent conflicts

of

the Centaurs
and

Giants
in the

are

and the Lapiths,

the Greeks
and Amazons, and the Gods
fifteen
{Eng,142). Of the ninety-two originalsculptures,
British Museum, where there are also plaster
casts of many

of the others.
Alcamenes
of

these

which

groups,
the

sculpturesand
the

is said to
casts

culminatingtime

of the earlier

have

should

be

of many
of the finest
studied
in
the original
carefully

the

author

Museum, for they belong to

the purity
greatest age of Greece, when
combined
with the scieuce,grace, and vigour
in the

of the

periodwas

been

British

177

GREEK.

of

maturer

of

faults

the

epoch,without any admixture

of the
rapidly approaching

decadence.
The eastern
when

the

times

turned

pedimentwas

Parthenon

hole

beingworked

but

the

in

was

into

mutilated

much

early Byzantine
Church, by a

Christian

throughto lightthe apse ;

done
at the
greatest damage was

a
siegeof 1687, by the Venetians, when
bomb-shell exploded
a powder magazineplaced
iu the temple.

The

beautiful

date from
be

the

ascribed

are

golden age

with

of

antiquitynow
generallysupposedto

statues

remaining,which

of Greece, cannot
of

certaintyto

above-mentioned.

The

any
VeniLs

of

in

British

the

Venus

Genetrix

in

the

of the

Museum,

Louvre, and
Uffizi

the

Ma/rs

Biaiie

^'"M

to

.B

Achilles

or

Gallery,Florence, are

cr

the

masters

the

believed

to be of this date.

It is not

to sum
up
easy in a few words
the peculiarities
of this,the best age of Greek
all
would
be to epitomise
: to do so
Sculpture

the excellences of
the

point out
which

energy
as

the

was

those

least

ever,
Sculpture. We may, howand
of
highdegree vitality
thrown
into such
tures
sculp-

of the

anatomical

beauty of arrangement, and

or

in

Parthenon, without

dignity or
sacrificing

correctness

the

artistic

perfectionin balance and grouping

which evinced,in the highest
the union
degree,
of genius and skill. The draperies,
which are
most
studied,fall in a multitude of
carefully
folds.
and share
The
faces are idealised,
crisp
often expressed
but slightly
the passion
by the
of the
actions of the figures.The execution
gard
work
is extremely bold, combining a disrethe

of

Next
we

perfectmastery

over

effects of

shade, modellingand composition.

the

to

must

apt^ros; the
Frieze

of
sculptures
those

name

reliefs of the
the

culties
diffi-

technical

formidable

most

with

lightand

Frieze
Frieze

of

of the
of the

of

the

Parthenon

Propyloea; the
Temple of Nik^-

the Erechtheium

and

tJie Teinj^le
of Apollo at Bassse,

Vdi^.^^^

178

SCULPTURE.

Phigaliain Arvsadia; the last was discovered in 1812 by a

is now
in the British
and
travellers,
party of Eaglish and Germaa
aided
the
it
of
Museum
battles
the
Greeks,
by Apolloand
represents
;
near

142.

Que

"

of the

Metopes

of the Parthenon.

Artemis, with the Amazons, and of the Centaurs

with

the

Lapiths; the
are
wanting in

for their life and energy, but

remarkable
the technical finish and correctness
characteristic of the marbles
Parthenon.

figuresare

Third

Period,400"323

of
One of the principal
masters
built the Temple of
of Paros, who
for the pedimentsthe marble groups
with TeUphus,and the Pwrsuit of
if he did not execute, the
designed,
Mausoleum
at Halicarnassus : the

of the

B.C.

school

Scopas
sculptured
the Combat qf Ac^iillea
representing
the Calydonian boar.
Scopas also
the

later Attic

Athena

in

was

Tegea, and

reliefs for the eastern side of the

of Niobe and Iter Children
group
{Eng.143),in the Uffizi Galleryat Florence,has been ascribed both
to him and to Praxiteles.
of
It has been said that the central figure
this group
the bereaved mother gazingup to Heaven
with eyes full
of reproachful
than
better
mental
appeal expresses
any other
agony
work
of art ever
produced. Timotheus, Bryaxis,and Leochares were
"

"

the chief

in
of Scopas,
colleagues
especially
second great master
of sculpture
of

The
flourished

who

works

were

admirers

from

at

the
all

Athens

nude

about
Venus

the

year

the Mausoleum.
this
364

periodwas
B.C.

qf Cnidus, which
of
Greece
parts
(itis said that

Praxiteles,

famous
His most
visited by his
was
the Cnidians valued

179

GREEK.

highlythan the dischargeof their publicdebt,which Nicomedes

exchange for this statue); the ApolloSauroctonos or Lizard
Slayer; the Faun of the Capitol{Eng,144); the Venus qf Capua, the
VentLS CcMipyge, both
at
Naples; and Hernies earring the in/ant
discovered
at
Dionysus, recently
Olympia {Eng. 145). The frieze
the Choragicmonument
around
of Lysicrates
(seeEng, 32) was also
it

more

offered in

by Praxiteles.

*%:-".* ^^T^

143."

Niobe

and her Children.

In

The

work

the

144." The

(Centralgroup.)

Florence.
Uffizif

In

Faun.

the

By

Praxiteles.

Rome.
Capitol
J

of

and pupilof Alcamenes)

Cephisodotas(sonof Praxiteles,
the grand and
represents the transition between
simple style of
Pheidias and the vigourof Scopasand Praxiteles.
His group of Irene
with thi hoy Flutus
marble copy of which
is in the Glyptothekof
a
"

Munich

"

is a

typicalwork,

in which

we

see

touch of human

weakness

180

SCULPTURE.

in the
modifyingthe stern grandeur of the goddess. The Wrestlers,
UflSzi Galleryat Florence,has been ascribed to Cephisodotus.
In the Peloponnesus,
the founder
of a school
He
Lysippos was
iconic
successful with
was
statues ; and, adopte. portrait)
especially
(t.
ing
of Polycleitus,
the canon
he introduce a new
mode of treatingthe
human
rather as they ought to appear than
men
figure,
representing

145.

By

"

Hermes

carryingtlieinfant Dionysus.

Praxiteles.

Casts

are

in B. M.

and

S, K.

146.

"

The

Apoxyomenos.

Lysippus.

In

After

the Vatican,

of the Apoocyome^ios
famous works were
a statue
with a strigil,
of which
a copy
athlete scrapinghis arm
is in the Vatican, and his Sop/tocles
147),of which the Lateran
{En"j.
with Apellesthe painter
shared
fine
marble
Lysippus
copy.
possesses a
the Great.
the privilege
of representingAlexander
of the school of Lysippus; and
famous
Chares was
the most
master

theywere.
{Eng.146),an

as

His most

181

GREEK.

epoch.
of

be named

must

Drunken

Faun

at

Munich,

and

the Thorn

same

Extractor

this time.
of this third

works

the

is

running

seen

its usual

period,
course.

self-restraint of the best time

The

late artists of the

as

Capitolat Home, evidently

from

In
art

famous

The

the

date

Boethus

and

Aristodemns

ofE,and

thrown
visibly

dignityand

loss of
follows.

that is

More

is

ing
correspond-

ideal

beauty

individual,less

divine,appears in the statues ;

less conventional, the
are
and the whole
less beautiful,
draperies
that

is

faces

the

art, while
behind

the

it

has left
excellence,

Fourth

first

which

loftyaims

possessedin the

The

astonishing

retainingan

degree of technical

it

of Pheidias.

time

Period,323"146

B.C.

school of Rhodes
this

positionin

occupiesthe
epoch. Agesan-

der, Athenodoms, and

of Khodian

Polydorus,a
produced

masters,

group
the Laocoon

{Eng,148)of the Vatican,

which
is said to express physical
pain
and
better
than
other
passion
any
existing

was

block

one

group

Laocoon
the

the

Vatican

by Pliny
; if so,

the

original,
as

is carved

The

Farnese

Farnese),in the
is another

statuary.

of marble

not

pieces.

of
said

famous

The
to

have

we

Laocoon

out

of

be
of

three

Bull

Museum
work

of

(or Toro
at Naples,
this period,

147.

"

Statue

Lysippus.

of

Sophocles.

After

In the Laterany Rome,

Tauriscus, of
Apollonius and
Tralles in Caria, foreign
artists who
The subject
worked
at Bhodes.
of
w
ife
the
of
of
is
Thebes, by the sons
punishment Dircfe,
Lycus king
of Antiope for her cruelty
Like
the Laocoon, it is
to their mother.
full of dramatic
life and pathos.
by

The
*

famous

Laocoon,

head
a

of the

priestin

Dying Alexander

temple

of

in the TJffizi at

Florence

bull, saw
a
Apollo, while sacrificing

rushed
He
his two
sons.
serpents coiline themselves round
and all three died.
assistance,became entangledin the folds of the serpents,
enormous

to

two
their

182
is

SCULPTURE.

above
a

be the

supposedto
similar

work

in connection

of Hhodian
with

artists,and

Cephisodotnsis

The

Wrestlers

tioned
men-

often attributed

to

source.

great artists,of whom

Pergamus produced many
a
nd
Isigonus,Fyromaclins,Stratonicns,
Antigonus were the chief.
The

school

The

great general Attains

of

celebrated

(239 D.c.) by presentinggroups

148.

and

"

The

other

Laocoon.

of

victory over

sculptureto

the

Gauls

Athens, Pergamus,

By Agesaoder, Athenodorus, aud Po1ydora.".In the Vatican,

cities,
many

of which

have

been

famous
is that called the Dying
is evidentlyan
Capitolat Rome, which
of Pergamus.
It representsa Gaul
at

most

his

found

Gladiator

preserved. The
149),in the
{JiJng,

and

originalwork
by an artist
the point of death ; his head

183

GREEK.

forward,

sinks

sigh, and

In

this

course

the

period, the
difficulties

be

they

can

being

one

of

most

noticeable

ease

the

Dircd

the

art

which

his eyes
shadow

of
can

art

of

last

with

paiD, his h'psare

is

his brow.

on

for

and

qualities to

force

parted by

still

pursuing a downward
sake
of showing
with
what
technical
skill,instead of

itself

on

attention, is the

our

of this age, like

Many of the works
of
bounds
already quoted, manifestly overstep the proper
of a complexity and
extent
Sculpture, and represent scenes
only be properly rendered
by the art of the painter.

Sidon

there

The

has

Dyiug

Gladiator.

been

recent

of

which
sarcophagi, three
of
Two
the
latter
are
design.
show
all richly sculptured and
traces
of
the
has
reliefs
illustrative
long,
of
Battle
mosaic
at
Pompeii of the

Greek

''

on

the

unrivalled

half

characteristic.

marble

of the

is

Sculpture

courted

overcome,

the

149."

At

are

dim

are

of death

friezes of the

for these

Parthenon.

antique Sculptures.

No

In

the

Capitol, at

discovery of
of

are

of

Borne.

series of

Phoenician

and

very
seven

form.

the

fine
of

Lydian
They
feet
colouring. One, eleven
chase
and
battle, recalling the
are

of

Darius

and

Alexander,''

certain

date

has

yet

been

and

also

decided

Etruscan

As

have

we

Asiatic

an

were

all

mechanical

the

casting of

arts

character
The
to

indispensableto

us

the

are

In

the

head

many
and

flat

type.

In

combined
is

the

in

case

legs are

skulls, and
somewhat

with
now

the

of

power
the

in

out

imitation

of

animation
of

Volterra

and
bearded

Museum,

alone

imagination
of

national

which

are
see

more

of
the

seen

low

of

down

come

in

which

of
in

the

Assyrian

full,whilst

receding

heads,
fore-

essentially!^steiii

an

archaic

same

lifelike

warrior

were

force

style.

have

body is
profile. The

we

silver,the

and

characteristic

represented in
projecting chins,

in

altars, tripods,

armour,

{Eng, 150),

manner

but

excelled

tomb.

sculpture

tombstones

works

early date,

very

part of the

upper

figure

in the

of

Etruscan

an

working

realistic

later

greater
a

the
works

the

cases

with

tombstone,

from

reliefs of

stone

treated

figures are
art.

Etruscan

at

Etruscans

neighbours. They
chasing of gold and

the

industry and
wanting
they were

earliest

architecture, the

Italy

great

but

required;

in
their

as

Belief

"

their

manufacture

statues, the

bronze

which

such

"

150.

etc., for

with

assimilated

became

never

settled

who

race

of

speaking

in

seen

Sculpture.

in

expression.
low

style
This

relief,from

185

ETRUSCAN.

The

strange black

(the Clusium

Cbiusi
the

earliest Etruscan

human
the

on

and

heads

of

sides

and

that

of

of unburnt

clay,found

Romans),
sculptures. The

also be

vases

of the

handles.

the

tombs

amongst

in the
collection,
contain
Gallery,Florence,
many
The

Uffizi

at

lids of many
of them represent
and
have
some
type,
grotesque figures

Egyptian

an

must

the

in

reckoned

Louvre,

Campana

curious

specimens.
Terra-cotta

is that
interesting

Cervetri, a

called the

{Eng. 161).

It

positionupon

an

The

"

Perhaps

numerous.

very

Lydian Tonib,found
Vetere),and

of

C(ere

Lydian

Tomb.

corruption

151.

of the

also

objectsare

represents

murried

couple

The

in

now

most

(themodern
the

Louvre

In the Louvre,

EtruscaD.

couch.

Caere

at

the

in

attitudes

Assyrian
figuresbetraysignoranceof anatomy,

are

and

semi-recumbent
the treatment
stiff,
the drapery is

wanting in grace ; but with all these faults the group is pleasingand
The
characteristic.
pediments of Etruscan
temples appear to have
with terra-cotta reliefs,
been adorned
and the images of the gods were
often of the
In

before

Home,

terra-cotta

was

Jupiter on

the

surmounted

material.

same

by

Greek

influence

largelyemployed.
Capitolwas
a

adorned

quadriga(a

predominant,Etruscan
pediment of the temple of

became
The
with

chariot

with

group
four

in terra-cotta,and
horses)of the same

material.

Many

of the Etruscan

bronze

works

still

existingare

very

ancient.

186

SCULPTURE.

Amongst them, the famous Ckinuxra at Florence, and the She-Wolf^ in

Home
the CapitolineMuseum,
{Eng. 152),are probablythe earliest.
The

finest

examples of largebronze

Florence, the Boy

Gallery,
and
at

the

Todi, and

Florence

in

now

the

of

Museum
small

several

contains

also

the Goose

with

in the

Uffizi

in the

Orator

the

are

of

Museum

Leyden,

Young Warrior, erroneouslycalled Mars, found

of the

statue

statues

bronze

Mercury, and

value ; of these the Idolino,probablya

warriors carrying a wounded
comrade, are

works

Etruscan

of

Museum

The

Vatican.

the

group

of

great

of two

the chief.

Many sarcophagi and urns, in alabaster, terra-cotta, or stone,

belongingto a later periodwhen Greek influence was sensiblyfelt in
Figures of
are
preservedin different museums.
every part of Italy,
with high
the lids,and the sides are adorned
the deceased repose upon

152."

The

She-Wolf

of the

Capitol.

Etruscan.

reliefs,representingthe fate of the soul in the

other

departedfiguredin

life.

festive
groups

in which

scenes
are

of

the

artistic

real

beauty,

and

may

almost

world, or
Some
be

of

called

the
these
ideal

conceptions.
vetri anti^hi
exquisitesymmetry of the shape of the Etruscan
(antiqueglassobjects)entitles them to notice. They consist of vases
of every description amphorae,flagons,
goblets,chased and enamelled
etc.t
glasses,
The

"

*
A cast la in the South Kensington Museum.
having been buried for centuries,are
t Most of these glasses,

film, the
beautiful

result

of

partialmineral

variegatedcolours.

The

decompositionof
Italians call this

the

stained with

surface,which

coatingpatina.

thin

produces

Roman

The

Bomans

strictlyspeaking, an

not,

were

created

ideal

no
say, they
well able to appreciate the

to

of the

works

liberal

many

fine works

by

after

the

of

Greece

second

patronage

in

which

people" that
but
they were

is

to
owe

artists

Homans^

beauty

and
those

to

the

Pheidia.s, Scopas,

in art

subjugation

from

came

original forms

or

we

Greek

the

by

only

artistic

beauty

others, and

of

their

produced

Sculpture.

hand

of

Praxiteles.

or

important of these
works
are
reproductions of the
great masterpieces of the golden

The

most

; of which

of Greece

age

famous

the

name

in the Vatican

early
Porto
be

Apollo Belvedere

{Eng, 154)
sixteenth

in the

and

d'Anzo,
copy
of

model

after

at

supposed

to

Alcamenes

best

existing representation

of the
and

marble

above

of

Herctdes

studied

from

The

of

156)
"

the

in the

in

pliability,
have

to

Medici

{Eng.

ence,
Gallery, Florsixteenth

the
of

Hadrian,
bearing on its

villa

century
Tivoli, and
near
name

energy,

is said

de^
Uffizi

found

the

and

it.

Venue
in

in

remarkable

combination

strength,
Michelangelo

dess;
godwhite

all, the

{Eng, 153), so

its

grace,
that

fair-limbed

statue

repose

of

century

manly

the

Louvre,

base

found

"

beauty: Diana
the Stag {Eng, 155), in the

with

for

must

we

of CleomeneB

Apollodorus
supposed to be an

of

Athens,

153."

Found

son
"

originalwork

The

Farnese

in 1540
In

the

in the Baths

Naples

is

of the

late Attic

(Colossal).

Hercules

school

of

Mvseum.

Cmxualla.

"

189

ROMAN.

Roman

sculpture,
properlyso
from

periods:

the conquest of Greece

A.D.);from Augustus

to 14

B.C.

Hadrian

to

A.D.); from

to

the

be
time

divided
of

into

three

Augustus (146

(14"138

Hadrian

Empire.

Period,146
14

A.D.

Following

the

the

to

decline of the Koman

First

called, may

to

B.C.

brilliant

Attic school mentioned above,

portance,
school rose into ima Koman
the

which

productionsof

chieflyiconic

were

portrait statues, and

or

reliefs

historical events.
representing
These

iconic statues

of them

are

and
spirited

masterly

likenesses,in* which
the

the
and

appearance
of

many
sonal
perdress

depictedare

person

A
rendered.
faithfully
Achillean
second class,called
statues, aimed at combining
in one
form the characteristics
most

of

emperor

an

god.y^Of those
of

Pompey
Palace,Rome

wearing
Berlin

the

Museum

statues,

in
;

the

a
one

Spada

of Ccesar,
toga, in the
of
; and one
one

Augustus in the Vatican

157),are

and

{Eng,

considered the finest.

156." Venus

de' Medici.

In the Uffizi
Gallery^Florence.
Lateran also contains a
series of fine colossal statues
of Germanicus, AgrippinayDrusus, Tiberius ,
found at Cervetri
portraits

The

"

Ccdigula,Claudius, Livia, and Augustus,

To the same
periodbelong two marble
Ravenna,
men

one

wearing

reliefs found

in S. Yitale,
sacrifice
led
to
a
represented
being
by six
of Augustus,Livia and
garlands; and the other,figures

of which

BiUl

Tiberius.
which
in
of erectingmonuments
To the custom
prevailedin Rome
and
basof
victories
beautiful
statues
we
owe
very
memory
many
of subjecttribes,
the fourteen statues
reliefs. Of this class were
by

190
the
which

SCULPTURE.

Roman
were

lifelike

157."

portraitsof

Marble

statue

strongly-markedfeatures,and
The

porticoof Pompey's theatre,

barbarians, accuratelyrendering their

sculptorCoponilU, in

cUtar erected

in honour

sixtyfiguresof Gauls.

of

the

of Augustus.

the

In

the Vatican.

tragicsadness of their expressions.

adorned
with
Augustus at Lyons was

191

ROMAN.

SecmiA Period,A.D. 14 to
The
new

who
emperors
school
Roman

succeeded
of

A.D.

did

Augustus

138.

much

their

sculpture. Under

to

encourage

the

rule, sculpturewas

in the magnificent
largelyemployed as an accessory
carried
was
buildingseverywhere erected,and the art of portraiture
dis*
The most
finished technical skill was
to the greatest perfection.
and
the
of
and
working
preciousstones,
played in the cutting marble
of all kinds of metal, but this mechanical proficiency
inadequately
very
architecture

to

atoned

decline of the Greek

for the simultaneous

conceptionsand

freedom

unfettered

of

school

with

its ideal

imagination.
nothing of any

great artistic
long period,during
made by Hadrian
value was
successful attempt was
a partially
produced,
to revive
Greek art ; but the cold imitations
producedof the master^
of any attempt to
of
the
served but to prove
pieces antiquity
futility
it is extinct.
revive a school after the spirit
which animated
this
works
the monuthe
number
of
to
ments
belooging
Among
age are
and Pompeii. Of these the fine bronze
found at Herculaneum
of Hermes, the SleepingFaun, and the Dancing Oirls,all in
statues
The famous
Centaurs
the Museum
of Naples,are considered the best.
After

in

which

black

marble

found

CapitolineMuseum,

are

of the iconic statues

in

villa of

the

Hadrian, and

evidentlycopiesof Greek

excavated

also very

are

in

now

the

originals,Some
if

fine and

of

great historic

value.

The
called

Vatican

drowned
the

contains

an

extremely fine statue, worthy

of

being

work, of Antinotis (thefavourite of Hadrian),who was

in the Nile, and
master
enrolled by his regretful
amongst

ideal

an

gods.

The

from

of

museums

this

famous

of

time

are

the

colossal marble

Louvre, the latter

representedby
which

Europe contain many fine groups supposedto

artistic activity. Of these the
exceptional

figures

with

men

flow,and

and

the

{Bng. 158),in which

fiowingbeards,restingon
surrounded

marble

group

by
of

emblems

small

and

Cupid

amd

erected

in

most

former in the
the rivers are
the urns
from

iVt^, the

and

in the Vatican

old

theii' waters
:

Tiber

date

Psyche

in

symbolic
the

of

the

Vatican.
It

was,

however, in the

during the

emperors
att-ained to its
arches

as

works

highest excellence.
of

and
architecture,

distinctive character

^ These

monuments

period under

of

the

that
discussion,

We
must

reliefs with

have
now

honour
Koman

spoken of

say
which

few

they

the

sculpture
triumphal

words
were

on

the

covered.

actual
partlyhistorical and partlysymbolical,
representing
victories side by side with allegorical
combined
realism
and
the
groups,
of Oriental pictorial
annals with something of the ideal beauty of Greek
were

192
works
from

SCULPTURE.

of

similar class

essential

however, in one
differing,
anything previouslyproduced. The plan
a

"

particular
adopted of

hitherto

giving each

figurea

clear outline
surface

on

flat

doned,
aban-

was

and

tempt
at-

an

made

was

introduce

to

greater

of
variety by means
ground,
a
graduated backthe
figures
in

foreground

the

being

almost

or

tirely
en-

detached, with
in
figures
behind
result
effect

lower relief

them.
was

met

never

The

crowded

in Greek

The
with

works.

Arch

of Titus,

in memory
of
of
salem
Jeruconquest

erected
the

is

especially
interesting.On one
side is

tion
representa-

of

procession

the
carrying away
spoilsof the Temple,
amongst which figure
Ark

the

and

seven-branched

the
dlestick
can-

; and on the
other the Emperor is
seen

in his

car,

drawn

horses,

triumphal
by

and

by
warriors.

Column

44)
"

cast

four
rounded
sur-

Boman

The

jan
Tra-

(seeEny.
of which

in the Souths
Kensington Museum
is

now

erected before the

bas-reliefs
of weapons,
with
c
overed
pedestal
"

time of

Hadrian, stands

etc., and
continuous

the

on

pillaritself

is inclosed in

spiralof

bas-reliefs

forming a

representation of the triumphsof the Emperor, beginning

193

ROMAN.

with the passage

the

Dacian

of the
The

war.

Danube, and

going through all

scale increases from

2 feet to

sculpturesgo upwards,so
those below.

as

that those at the top may

be
column
surmounted
was
originally

The

the events

feet

4
seen

as

readily

as

by

of
the

colossal

;^-

159." Relief from

of

statue

in
Trajan(replaced

contains

and

less than

The

of

Column

of

Ma/rcu8

Trajan,but

Third

After

the

Period,

the

2500

time

arts

of

are
sculptures

to

Isis led to the

when

St.

Peter),

number

of

fine

similar

to

some

back

of Hadrian

Roman

(a.d.138) to

Empire.

for a
say, there was
types in statuary. Once

monuments,
statues

numerous

Aurelius

was

Statue of that
Eqv^estrian
was
only a late effort

its final

fine bas-reliefs

on

time

Strange to
Eastern

to

of Marcus

Before

good.

very few fine sculpturesof any kind

decline
the decline of the empirea corresponding

executed, but it
destruction.

so

is somewhat

Hadrian,

productionof

patronage
the

of the

Serapisappearedin

Egyptian

liberal

go

not

the time

inevitable.

was

inclination

the

human

AureliiLS Antoninus

From

produced.With

in all the
an

century by one of
figuresand a great

the seventh

the Decline

were

Trajau Colamn.

{Eny.159).

horses
that

no

the

the

whilst

emperor
of an
art

decay,however,

worship of
goddess. The

of that
of

cause
on

brief

revival,

the

Capitolwas
to speedy
sculptureproduced

doomed

Roman

remarkable
sarcophagi^

more

the

for artistic
o

con-

194

SCULFTTRE.

and

cepdon
acioal
or

fine exeeation.

life of the

Our

contain

man

limits forbid

countless

minor

The
j fine

ns

to

Vatican

Rome

at

and

the future
the

in the

state,

Doge'sPalace

specimens.
attempt

antiqueart objectsin

160." The

Gouzaga Cameo.
In the St.

collections of

bas-reliefs representscenes

all^oriesrelatingto

deceased,and

mythological
groups.

at Yenice

These

the

Ptolemy

passing allusion 'to the

numerous
publicand private
a

even

Land

Eurydice.

Roman.

PetersburgMuseum.

Europe ; but we must nob close our notice of the sculpture

of the heathen world without a word on the famous
Portland
Vase in
the British Museum, and the
of antiquity.
great Cameos
The Portland,or BarberiniyVom was
found in a sarcophagus,in the

-sixteenth
two

century, in the
from

miles

Buke

Rome.

called the Monte

monument

It

the

placedin

was

of Portland, and we mention

bas-relief figui*es
with which

white

195

CHRlSTUi^.

EARLY

it here

on

British
account

Museum

by

the

beautiful

of the

it is adorned.*

carried to

The art of cameo-cutting

was
the Greeks and
Romans.
The

del Grano, about

the

by
greatest perfection

existingspecimenis thought to
be the Gonzaga cameo
which
{Eng.160),now at St. Petersburg,
sents
repreof some
heads
and
his
the
wife,
probably
royal personage
The
Ptolemy I. and Eurydice,and is six inches long by four broad.
of almost
Cabinet
of Antiquities
contains
at Vienna
cameo
a
equal

merit, and
inches
the

also mention

must

we

long by

finest

eleven

broad

in the

one

; and

that

called

Marlborough collection,
by Tryphon, a

who

lived

British

somewhat

Museum

later

than

fine collection

Alexander.
of

is thirteen

Louvre, which
and

Cupid

of

cameo-cutter

is

There

eograved gems,

Psyche in
celebrity

now

which

is

in

the

as

yet

these cameos
from
obtained
probably

The stones
comparatively little known.
out are
of very great beauty; they were

on

which

are

the

"ast.

Early

Christian

First to Tenth

Sculpture.
Century.

to imitative art.
Chbistianity in its earliest form was
antagonistic
of
the
and the detestation
The horror of image-worship,
superstitious

observances

heathen

interwoven

world, led

to

with
the

remembered

that

domestic

life of every

class in the

attempts at visible
apostles.Moreover, it must be

discouragementof all

of Christ,or
representations
the

the

of His

first Christians

were

brought

into

immediate

unholy rites of Isis and of Pan, and the graceful

heathen
with
and Apollo; and
temples on every
worship
desses,
gods and godside,peopledwith ideal forms of beauty representing
artists to clothe
for Christian
been impossible
have
it would
ancient
to some
form
not alreadyappropriated
in any human
Christ
ing
cultivated physical
the Greeks and Romans
Whilst
beauty,lookidoL
of
a perfect
soul,
garment
a
perfectbody as the only fitting
upon

contact

with
of

the

Venus

"
The
Portland Vase
in 1845, but has been so
visible. A small number
wre now
very valuable.

wantonly broken by a visitor to the British Museum,

that the fractures are scarcely
joinedtogether,
ingeniously
made
of facsimile copieswere
by Josiah Wedgwood, and

waa

196

SCULPTURE.

believers in a spiritual
and
God to be worshippedin spirit
in every way to mortifythe flesh,
in truth, endeavoured
regardingit
be
laid
to
aside
without
encumbrance
murmur
a
a
as
an
prison-house
checking the growth of the immortal soul. This was, however, but
the stern

"

into which the antiqueworld

the natural reaction from the sensuality
had fallen ; and with the decline of paganism the abhorrence of pictures
less intense,the natural yearningof believers
or images of Christ became
visible representations
of the Objectof their love and reverence
for some
asserted itselfmore
and more, and Christian art,which reached
gradually
made
its highestdevelopmentin the time of Raphael and Michelangelo,
had
its first feeble efforts to give a suitable form to the ideal which
latent in the minds of men.
so long been
be fixed with
The date of the originof Christian sculpture
cannot
any certainty. The firsttraces of it ai-e to be found in the catacombs.
carved or
The sarcophagiof martyrs, confessors,bishops,
etc., were
paintedwith the symbols of Christianitysuch as the cross, the
of Christ,the lamb, the peacock(emblem of immortality),
monogram
Himself
Christ
the dove
etc.
Sometimes
(embliBm of the Spirit),
but
in
form
these
of the
the
tombs,
as
symbolic
yet only
figureson
Good Shepherd surrounded
or
by His fiock,
seeking the lost sheep,or
wild
the
heathen
beasts
the
as
Orpheus taming
by the music of his
lyre.
In the time of Constantino
(fourth century)we first meet with
historical representations
of Christ, and find Him
the sarcophagi
on
in the midst of His disciples,
teachingor working miracles. Even at
late a date, however, the antique type of youthful manhood
is
so
in
the
latter
the
that
a
nd
end
of
retained,
only
peculiar
century was
form
of countenance
adopted,which has been retained with certain
modifications until the present day.
extremelyrare in the firstfour centuries of our
Singlestatues were
is said to have had
The Emperor Alexander
Severus (230 a.d.)
era.
is made
and occasional mention
an
image of Christ in his possession,
Christ
He had cured, but nothing
of statues erected to
by those whom
of any of them.
definite is known
The only really
importantexisting
if indeed it be not as some
Christian statue of this period,
late
aver
seated
is
of
bronze
Peter
in
St.
St.
a
Peter's,
Eoman,
large
figure
Home, which represents the apostle in antique drapery,claspinga
the other as if in solemn admonition.
huge key in one hand, and raising
of Christian Antiquities
in the Lateran contains a marble
The Museum
of St. Hippolytus,
statue
the lower half of which belongs to the
earliest periodof Christian art.
The
Museum
of the Lateran
of early
also possesses a number
Christian sarcophagi
Bomej
; others exist in the crypt of St. Peter's,
elsewhere.
That
at Eavenna, and
of Junius Basaus {Eng. 161), in
the vaults of St. Peter's at Rome, dating from S69 A.D., is one
of the
best and purest of these works.
The
reliefs on
this sarcophagus
"

'

EARLY

107

CHiaSTIAN.

side,the gatheringin of the grape-harvestby symbolical

the other,a number
of historical scenes
from
on
the Old and New
The porphyrySarcop/iagus
Testaments.
of Constantia,
the daughter of Constantine,and that of Helena, mother
of the same
represent

one

on

and
figures,

emperor,

be

may

conceptionand

in the Vatican

seen

Sarcophagibelongingto
be found

to

are

at

in the

crypt of

Ravenna

time

"

the

inclination

an

latter is

later date

much

of S.

work

of

powerful

Junius

was

of

influence

sculpturefor

manifested

representations.The

once

of

statuary ; and the^e later works

to

those

of the fourth

sacred

result of this

at

San

Spalatroin Dalmatia,

in other

towns.

At

the

Rome.
In the cryi^tof St. Peter's,

Bassus.

the
production,
use

church

of Ancona, and

the cathedral

(sixthto eighthcentury)

Appollinare in Classe,and

; in the Franciscan

Sarcophagusof

of their

couragW

in the churches

Vitale

161.

the

brilliant execution.

more

disByzantine art, which

was
widely felt,and
subjects,

of

to

prefersymbolicto

tendency was
are

inferior

historic

decline in the art

in styleand execution
a

century.

speakingof Byzantine architecture of

of art by Byzantine artists,
great services rendered to the cause
the reverse,
their
influence was
it will be necessary
to explainwhy
with
of beneficial at the periodunder
Constant
intercourse
review.
of
with
the East imbued
a
theological
spirit
Byzantine Christianity
After

the

what

we

have

said

in

19R

SCULPTURE.

combined
gubtlety,
and
with
religion,
fatal
necessarily

to

with

an

aversion

to

change in all matters connected

religioussculpture,which was

consequentlyin
under
progress ; and although,

the earliest Eastern

attempt

an

emperors,
to adorn

the

made

was

capitalwith

new

sculpturescarried

the

away
Constantine
;
of Constantine
self
him-

Rome

from
and

by

statues

and, later, of
erected, it was
were
long afterwards, when

Justinian
the

Teutonic

gained
that

once
Sculpture,

from

loose

had

Europe,
ing
break-

more

the

dom-loving
free-

races

ascendancy in

an

until

not

trammels

of

conventionalism,became

Easteim

ideal art capableof

again
which
might
producing works
be
art.
justly styledhigh
works
In minor
of sculpture,
an

however, such

ivory, the

the

as

casting

carving of
of

bronze

vessels,etc., Byzantine artists

always excelled. The principal

belongingto this
ivory work
which

period

is the

been

served
pre-

EpiscopalChair of
(a.d.546
552),

Maximianus

"

Cathedral

in the

now

has

of Baven-

It consists

of plates
entirely
of ivory covered
with
finelycarved arabesques
and figures
of

na.

and

men

The
the

animals
of

use

the

the
tablets),
fine

Many
"

Leaf

of

carved

Ivory Diptych.

Century. In the South Kensington

Second

kind

and
As

characteristic

High Altar of SanV

gold

or

silver

work

of the

Ambrogio

adorned
gilt,

in

with

ninth

low

reliefs.

tian
specimens of ChrisBoman

works

may

be

in the

seen

Museum

of the
South

{Eng,162)

elsewhere.

century

Milan, which
embossed

with

folding
of which

and

Kensington

Museum.

outsides

covered

were

adopted

ivory consular
double

diptychs (t.6.

102.

in low relief.

earlyChristians

we

with

name

the

platesof
scenes
representing

is covered

reliefs

must

the life of Christ.

from

made

"We hare

Altar-pieceof St. Mark's

Golden

in the
Constantinople

at

199

PERIOD.

ROMANESQUE

before roentioDed

the Pala

Venice

(VOro^ or

(seeEng, 54a),which
century.

at

tenth

wa?

Sculptureof the Romanesque Period.

Tenth
ages which

In the dark

greater

number

hitherto

of the

and

Eleventh Centuries,

succeeded

beautiful

the fall of the Eoman

Empire,ih^
of antiquity,
art works
which had

preservedas thingssacred,were

been

wantonly destroyed
ov

injured.
Upon the removal of the empireto Byzantium in the fourth century,
the productionof statuaryof any excellence entirely
ceased ; the few
in
bas-reliefsexecuted were
wanting
or
altogether
true
original
power
artistic beauty,and it was
not until the beginning
of the tenth century
that

first faint

the

all

illuminated
which

glimmering
Europe appearedon
suitable than

more

was

the flat surfaces of the

walls

that

of

that

lightwhich

the horizon.

of

of the

The

for
sculpture

subsequently
painting,

art of

the decoration of

basilicas and

earlyBomanesque
sculptureproduced
of a secondary
during the tenth and eleventh centuries were entirely
and
such
as
altars,
class,
diptychs,reliquaries, drinking-horns.Of
need only name
these we
the most
remarkable.
In the so-called
of
in
the
Castle
Church
L
which
on
Rdiquary of U"nry
Quedlinburg,
the three Marys are represented
at the feet of Christ,we
the coarse
see
the
the
of
of
tenth
unredeemed
early part
style
century
by any
technical excellence ; in an ivorydiptych,
datingfrom a.i". 972, in the
1 63),representing
Christ blessing
Hotel de Cluny, Paris {Etig,
Otto IJ.
his Greek
wife the Princess Theophane, we
trace
and
Byzantine
influence in the careful finish of the execution and a certain grandeur
of the Saviour.
in the face and figure
of this description,
fine
works
however, date from the
Many really
churches,

eleventh

century

belonging
Ivory Tablet

to

Ruler

the

was

an

first to

amongst them
Evangelarium, now
:

in the Bodleian

of earth

revive:

and

the

works

of

mention

Book Cover,
a
of
Munich
Library
; an
Library,Oxford,in which Christ appears

sea, with

the

we

must

in the

of Gaea
antique figures

(theearth)
(the sea)serving Him as a footstool ; and the covers
and a MS. in the monastery of St. Gall. In these
of an Evfingelarium
of the kind we
discover indications of the
apd other productions
as

and

Oceanus

200

SCULPTURE.

future

excellence

be

obtained by Teutonic artists : the attitudes

and the faces well express passion,energy,
are
life-like,
figures
In the two
and other emotions.
advance
centuries under notice some
also
made
in
the
art of metal casting. The efforts of the enlightwas
ened
Bernward
of
instrumental
in this
Hildeshiem
wore
greatly
Bishop
to

of the

163.

-Ivory Diptych of
In

adyance, and
Hildesheim
"in
and

for the

executed

in

we

are

a.d.

972.

for the

a.d.

large bronze doors of

sixteen
1015,* representing

from the Creation to the Passion of our Lord

history,
figures,
though still rude, are full of life and character,

bronze column
a.d.

in

II.

Cluny, Paris.

indebted

Cathedral,completed

of sacred
which the

scenes

him

to

the Hotel de

Otto

in the cathedral

1022, adorned
"

Casta

ere

with

in the South

town,
square of the same
series of spiralbas-reliefs.

KensingtonMuseum.

From
In

the

reached

to the heginningof the Thirteenth

1100

A.D.

twelfth

201

PERIOD.

ROMANKSQUE

century,

period the

which

at

development,sculpturebegan

its fullest

Century.

Romanesque style

once

take

to

more

The

Christian sculptors
high positionas an accessory
of this period rapidly
from Greek and Latin traditions,
freed themselves
and
working under the direction of the clergy,they illustrated the
of their chisel,
by the noble productions
enriching
precepts of religion
to architecture.

both

and

outside

the

symbolic

or

that

art

the

of

inside

sculptures.It

historic

of statuary sprang

cathedrals

the

at

and

churches

is not, of course,

to

be

with

supposed

into the importantpositionit

and Gothic styles
: the artists

once

occupiedin

the

of the

both to learn and to unlearn,but

ages bad much
of its natural connection with architecture was
a
step in

completed Eomanesque

early middle

the renewal
the rightdirection,and
noticeable

was

foliage.At

first there

and
buildings

was

certain

of

want

harmony

between

the

but as time went

sculptures,
on, and the
their
combination
fullyassimilated,
produced
of rhythmicalbeauty such as neither could have acquired
impression

sister arts
an

of plastic^art
in every branch
a great improvement
alike in the treatment
of figures,
drapery,or

without

their decorative

became

more

the other.

Germany,
"

To
relief on

We

the

find

Germany takingthe lead

in this onward

ment.
move-

of the twelfth century belongsthe famous

able
SUrne,at Horn, in Westphalia,which is a remark-

earlypart

the Extern

The composition
is full of energy : the attitude of the Virgin supportingthe drooping
head of her dead Son well expresses mental
agony, and the figureof
harmonises
St. John, though stiff,
well with the rest of the group.
is
rich
in
architectural
of this period; the best
sculptures
Saxony
work

representingthe

perhaps the figureson

are

Godehard

century,
In
must

and

of St.

church

Hildesheim,

at

the

the

from

the Cross.

portalof

northern

belonging to

of
figures

the

Christ and the

at Hildesheim.
also
Michael's,
the

Bavaria
be

Descent

noticed

middle

the
of

church
the

of St.
twelfth

Virgin in the choir of the

in the crypt of Freising Cathedral

huge columns
of
in that
the fancy which
as
a
prevailed
specimen

and animals.
district for weird combinations of men
They are covered
which have been variously
with reliefs by a certain Master Luitfrecht,

interpreted.
the

middle

of the finest
of the thirteenth century belong many
of the cathedrals of Germany. The Golden Gate of the Cathedral
portals
of Freiburg in the Erzgebirgedeserves special
mention, as it is an
To

instance

of

the

faithfulness with

Komanesque forms after

theyhad

artists clung to
German
laid aside for Gothic in Franco

which
been

202
and

SCULPTURE.

other countries.

frameworks
in

of

Hfe-like

the Old and

such
symbolic figures,
the

; and

manner

body shows

human

from

Scenes

New

Testament, set in
sirens,are depicted

lions and

as

portionsof the
anatomy and of antique

of the

treatment

great knowledge alike of

nude

models.
The

reliefs

stone

Wechselburg
is from

164)

are

the

on

equallytruthful
of the

one

of

High Altar
vigorous; our

pulpitand
and

illustration

and
pulpit,

of the

compartments

his Lamb.
offering
Bronze
casting also greatlyimproved

church

the

of

{Eng.

represents

Ahel

in

Germany

this

at

period.

school of Dinant

The

acquiredconsiderable
fame

in the

earlypart

of the thirteenth

tury,
cen-

and

many
works

executed

its

by

for

the

were
ters
mas-

various
of

cathedrals
Khine

portant
im-

the

The
provinces.

Font ol St. BartheJemyy

of the most

one

remark-

basin, like the

io Solomon's

SQA

twelve brazen
France,
to

the

From

From

Germany we turn
a corresponding

find

in architectural

Tii tlio

early part

century

belongsthe

of

sculpture.

the

pulpitof Wechselburg Church.

frieze of which

the
The

front

west

which

is adorned

reliefs

with

of Burgundy
ecclesiasticalbuildings
The
of the
Pediment
sculpture.
is filled with

of Autun

has

ture
entabla-

scenes
representing

their

fury.

rich
especially
entrance
principal

are

in architectural
of

the

of the Last Judgment,

representation
Devils
effect.
are
seen
striking
tearingthe
Michael
is introduced
soul
protectinga redeemed
a

and

weird

condemned, and St.

from

of

Aries in Provence, in
antiquemarble columns are

the life of Christ.

Cathedral
which

twelfth

St. GiUes,near

offeringhis Lamb.

introduced,supportingan
from

on

oxen.

France, and

athaneo

164." Abel

"

molten

Temple, rests

The

name

of the artist of this remarkable

group

was

Oislebertns.
The

west

important

front
works

of
of

the
the

Cathedral
late

of

Chartres

Romanesque

the architecture and

Jn its three portals

school

is

one

of the

of Central

harmonise
sculpture

most

France.
with

an

204

SCULPTURE.

it is true, retain the formal pose of

supplementeach other ; the figures,
in the heads,which
b
ut
the Byzantine style,
we
recognisea new spirit
of the Teutonic

are

of the

entrance

aflvance in the

Cathedral

is full of

century, is

of

southern

another

yet

step in

than

more

at

from

The

beauty.

human

of
equally characteristic

work

Paris, executed

a.d.

about

southern

entrance

the close of the twelfth

belongsto

; and

1215,

is

the

front

west

specimen

of

of the

Romanesque to the earlyGothic style.

which
so
sculptures
profuselyadorn the CathedrcU of Amiens
of the angel
rather later date.
them
the statues
a
Among
and the Holy Virgin{Eng, 1 65) are of great interest.

transition

are

The

energy.

marks

Mana

Bourges,which

an

N^otre Dame

Gabriel

of

Le

same

of the Cathedral

The

full of life and

direction ; the ornaments

are
copiedfrom antique
the heads of the figuresare life-likeand natural,and that

models, but
of Christ

type, and

the late

of Italy,belongingto the early

Italy, ^The architectural sculptures
and
Romanesque period,are inferior to those of France
Germany.
The sculptures
of the west front of San Zsno, at Veroiia (about 1139),
representingthe Creation of the World, givepromiseof future excellence,
and are
as
specimensof the love of symbols characteristic
interesting
of the age.
have
been ascribed to two German
masters, Kicolaus
They
and
the close of the twelfth century
Wilhelm
Towards
by name.
of
of works
Benedetto
of
Antelami,
Parma, produced a number
"

considerable

Parma,
the

on

rude

excellence,of which the decorations of the Baptistery

of
The sculptures
in marble and bronze, were
the principal.
pulpit of S. Amhrogio, in Milan, are good specimens of the

both

life-like symbolic creations

but

Towards

the close of the twelfth

The*

displayedin Pisa.

was

the

Romanesque
the

combined

with

technical

artistic
series of

the grace and elegance,

the first to
Fisano, who was

of
recognised

skill,for which

of ancient art in

was

made

Italy,became

in the art of bronze

of the twelfth

transept of Pisa

England,
"

century. The
Cathedral,cast by Bonanno

celebrated
The

famous

casting in Italyin

in

1180, and

Abbey of Beneventum, by
in Italy,belong to a somewhat
later date.
The Cathedral
Gates
both
Bonnanno
and
The
Barisanus.
by
possesses

on

so

bronze Ga4e of the southern

Barisanus,the chief master

designedthe

activity
Gates

century.

advance

great
earlypart

be

may

to the remains

in the thirteenth
the

earliest of the famous

in

first indications

direct attention
A

period.

century considerable

of
1153, contain a series of sculpturesrepresenting
from
the life of Christ, etc., in which
the perfected
style,freed from Byzantine influence,may be studied ;

Baptistery,
begun
scenes

and

of the

Toioer

mediaeval

Englishsculpture,

that of the

of bronze

casting

at Monreale

former

also

of Pisa,

sculpturewill

be

noticed

in the

chapter

Sculpture
From

At

the

of

end

noticeable

in the

in

about

twelfth

the
of

the

1225

A.D.

century

whole

Pernod.

Gothic

the

to

1400.

a.d.

marked

change

already

was

The

Western

of

Crusades

Europe.
modes
ideas and
drawing to a close ; the working of the new
with
them
and
introduced
was
side;
by
seen
on
thought
every
beginning of the thirteenth
century a new
style sprang
tip, which
with
which
reflection of the spiritof freedom
a
European society
becoming imbued.
art

of

were

France,

La

In

"

this

movement

Sainte

CkapelU at
completed Gothic, in
disappeared,and grace

Pa/ria
which

France

(1245
all

"

took

1248)

are

of

traces

the

lead.

the
the

The

statues

first instances

rude

earlier

the
was
was

of

of the

style

has

It is in the
dignity are admirably blended.
full
the
that
Cathedral
west
(Eng, 77), however,
The
be studied.
best
development of Gothic
sculpture in France
may
various
of
the
of
and
the
the
of
details
grandeur
arrangement
beauty
of the figures are
alike
the
attitudes
dignified
unrivalled,
are
groups
heads
the
of
and
is
and
and
the
natural,
graceful,
drapery
simple
many
character.
The
full of individual
Cathedrals
are
of Bourges, Beauvais,
and Blois, also contain
fine specimens of Gothic
sculpture,and the Choir
of the late
of Notre
iScreen*
Paris
is an
Dame
at
important work
Gothic
period.
of art
efforts of Philip the Bold
the cause
did much
The
to promote
invited the ablest
of the dukes
of Burgundy.
He
at Dijon, the home
of the Carthusian
artists of the day to aid in the decoration
monastery.
named
Dutchman
those
his
call
who
to
a
was
Amongst
responded
His
school.
Claes Sluter, a great master, who
founded
an
important
in the
the
Monument
to
were
principal works
Philip the Bold, now
and
the
of
Museum
of
the
the
the
at
Chapel,
portal
Dijon,
sculptures
Moses Fountain
monastery
(1399) in the courtyard of the Carthusian
full
all
well
and
character.
of
(Eng. 166) ; they are
executed,
Gothic
The monumental
of the
period is worthy
sculpture of France
of careful
the
works
most
are
perhaps the series
important
study;
of reliefs on
in the Church
the monuments
of St. Denis,
of

front

In

Germany
*

cast

and

Rheims

the

Gothic

style was

of part of this Screen

can

not
be

seen

adopted
at the

until

Crystal

considerably
Palace.

206

SCULPTURE.

Treves

(1237 1243)
buildingsin Germany, and its sculptures
are
good specimens of the transitional style. In the south-west
neighbourhoodto France, the true
provinces,owing to their near
home
there are
of great
of the Gothic style,
extensive
works
many
the sculptures
of StraahurgCathedrcU
beauty ; of these we must name

later than
is

one

The

in France.

Lieh/rauen Kirclie

at

"

of the earliest Gothic

166."

Moses

Fountain

at

Dijon. By

Claes Sinter.

{Eng, 167),the fine Tomb of Count Ulrich and his wife (about1265),
the sculpturesof Freiburg
in the Abbey Church
at Stuttgart,and
and
The
Cathedrals of Bamberg
Cathedral,
Nuremberg must also be
mentioned
contains

the

several

former, in addition
fine

beauty of the heads

monuments,
of some
of the

to

much

remarkable

architectural

for the

figures. The

sculpture,

almost

ideal

polychrome statues

GOTHIC

of

ChristyMa/ry, and
rank

take

must

Grothic

high
style.

Apostlesin the choir of Cologne Cathedral,

,

amongst

the

of the

perfected

middle of the fourteenth

century flourished the sculptor
Schonliofer of Nuremberg, to whom
is ascribed the so-called

167.

of
Figiires

"

BeatUiffd Fountain
Kirche, and

of

and Vices, from

Nuremberg,

name

the Oathedral

the

of

Strasburg.

sculpturesof

the

Frauen

sculpturesof the southern Portal of

of Mayence belong to the fourteenth century, when the

other

Cathedral

Virtues

works.

The

decadence had alreadycommenced.

Of the bronze works of Germany
must

isolated works

the

In

Sebald

the

the

207

PERIOD.

the

Statue
Equestrian

belongingto

of St,

George in

the Gothic

periodwe

the Hradschin

Square

208

SCULPTURE.

Pnjgue,and the tomb of ArchbishopConrad of Hochsladeii,in the

of Cologne.
and Shrines
in preciousmetals,adorned
with
Many fine Reliquaries
embossed
reliefs,were
produced in Germany in the period under
carried
discussion,and the arts of wood and ivory carvingwere
to
of
both
sington
Kenbe seen
in the South
great perfection.Specimens
may
The
of Hans
Museum.
names
Brttggemann and Veit Stoss
at

Cathedral

mentioned

be

must

is attributed
similar
both

works

Netherlands.
arts of

The

carved

Altar

in the

kind.

In

gildthe

In

"

ItaJy,
"

workers
the

At

in other
The

style.
Pisano,who

it

in

and

many

customary

was

buildiDgs.

made

was

in the

centuries.

fourteenth

the

funeral

many

in

monuments

of Netherlandish
art-feeling

period.

thirteenth

century

revival of

all

of

sculpture
arose,

the artists

very different from

those of their

aries
contempor-

and
Italy,

school

worked

countries,and

out

earlyexcelled
time, Niccola

purelyindividual

national

was
Pisa,called Niccola
Like most
of the
all his contemporaries.

leader of this movement

artists of his
the

of this

in bronze

pursuedmethods

; and

to the skill and

beginningof

the arts commenced

of which

Netherlands

bear witness

and
sculptors

and
Schleswig,

ecclesiastical

carvings in

former

by that of Tournay. The various

Tournay Cathedral are good specimens of

of

the

the

succeeded

was

Porch

in
sculpture

different towns

of

times

in the thirteenth
painting

school of Dinant

Gothic

Cathedral

mediaeval

wood

To

Germany.

this country considerable advance

and
sculpture

in the
sculptures

of

carvers

of the

paintand

to

master

as

Niccola

combined

and the painter. But

sculptor,
prominent positionto which

he

of

the

of
professions

was

the first to

the

architect,

give to sculptme

entitled;and, aided by his

son
Siena,
Giovanni, he enriched the Cathedrals of Fisa, Orvieto,Pistoja,
and Bologna with statuary,in which
and
art
true
were
feeling
grace
the

combined

truth

zealous
artists,

two

form
into

stone

of

vivid

sense

converts

and

of arrangement.
simplicity

Roman

of the ascetic Franciscan

be said to

Catholic

evil

idealised
and
spirits,
suffering.The Descent from

and

good

to nature

was

and

These

Dominican

translated
religion,
may
and marble
the spiritual
conceptionsof Giotto, the great
fervour and with
sacred painting.Inspiredby religious
a
of the realities of the spiritual
world,they producedfigures

of the

master

of

with

it

human

forms

have

full of terrible

the Cross,in the Cathedral

of
of
the
of Niccola's earliest works, and
Lucca, is one
gives promise
marble
subsequentlydisplayedin his famous
great originalpower

beauty or

Pulpit*in. the Baptisteryof Pisa. It was executed in 1260, and is

with high reliefs {Eng. 168),representing
the Nativity,the
the
and Last Judgment,in which
Epiphany, Presentation,Crucifixion,

covered

fine cast may

be studied

in the South

KensingtonMuseum.

GOTHIC

figuresare

treated

speak,which

with

noticed

we

209

PERIOD.

the

freedom, the

as

characteristic
special

ease, and

the

so to
vitality,

of the works

of the

The cathedral of Siena possesses a marble PulpU

best age of Greek art.
six years later than that of
from
the same
masterlyhand, commenced
The

Pisa.

di San

Area

reliefs

of his best works

In it he

was

Niccolo

di Bari

168." The

instinct with

are

assisted

at

by Fra Ouglielmo. Later,Lombardi

contributed

Adoration

of the

the canopy,

Kings.

From

By Niccola

for it.

sculpturedstatues
Perugia.

His

fervour.
religious
passionate

Bologna,of the years 1265-67, is counted one

six reliefs relate events
in the life of St. Domenic.

Domenico

and

the

Tribolo

pulpitin

immediate
successors
Amolfo
di
Cambric
pupil

added

base,

Michelangelo

at
BapU'itery

Pisa.

Pisano.

Niccola's last work

The

the

and

of Niccola

were

(famous for his

brothers
the
Agostinoand Agnolo
Florence),
shall
and
Andrea
we
Orcagna,whom
lastly

the

was

his

son

Fountain

at

Oiovaimi, his

of
the Duomo
of Pisa,
of Siena, Andrea
later on
find mentioned
work

on

amongst the painters.

Qiovanni

Pisano

characterised

as

of
sculptures

the

introduced

realistic;the
west

front

new

first

which
stylein sculpture
of
it
was
employment

be
may
in the

which

all the

of Orvieto Cathedral, on

210

SCULPTURE.

chief artists of Tuscany were

employed. One of Giovanni's most
del Fiore of Florence Cathedral :
famous isolated works is the Mculonna
and her face full
is grand and dignified,
of the holy mother
the

figure

169." The

of earnest
excelled
so

much

Campo

thoa^'htrather
in the
to

Designed by

Santo of Pisa:

than

Giovanni

encourage.

About

passionatefeeling.Giovanni

which
allegorical
sculpture
A

PLsano.

the

symbolicalStatue

writingsof

a.d.

1820.

especially
Dante

of Pisa, in the

did

Campo

GOTHIC

211

PERIOD.

The Campo Santo

Pisa, is a fine work of the kind.
the first of its kind, was
designedby Giovanni {Eng,169).

Santo

at

170.

The

"

Capitalof

one

of the columns

of the

Doge's Palace, Venice.

High AUa/r qf the Cathedral of Arezzo

compositionby

the

same

master.

Giovanni

itself,

is

an

executed

extremelyspirited
a

Pidpitfor

Sant'

212

SCULPTURE.

Andrea

he

Andrea

of

work

took

Pisan

pulpit

southern

hronze

father's

his

Pisano

is

the

for

he worked
Baptistery of Florence^ of which
of Orcagna, the magnificent BalJcbcchino
of

the
that

Michele

and

Naples,
artists

Verona

Rome

subjects in
artists
employed

Venice

In

mod^

GcUe

twenty-two

High

finest

the

Sa

decorativl

of

piece

year

of Or

Altar

ecclesiastical

we

Nothing

art.

ScaHgers

first

the

see

the

th^
a^

introduction

positive

known^

is

them.

on

is I
erected, which
building was
in
character,
chiefly Byzantine
of pillars,with
on
a
long arcade

civic

remarkable

very

of

Tombs

which

in

sculpture by

in monumental
The

above.

works,

secular

of the

rich

are

mentioned

remarkable

are

is, perhaps,

the

as

world.

the

in

Venice,
various

which

Florence,

at

sculpture

of

in which

Pistoja,

at

chief

The

'

called

Venetian

Gothic,

Doge's Palace.
capitals which
we
peculiar treatment
the

of

art, awakened
to

Enamels,

must

sculpture, on
of
Europe

collection

vitrified

producing

of

diptycbs,
The

of

many
;

and

the

greatest

the

predecessors,

or

the

middle

and

other

church

of

which

It
for

glass
kind
was

the

close

we

every

of

ornaments

of

and
or

various

intermediate

largely

review

our

museum

of

private

the

position

of

art

colours

on

between

employed
of

manufacture

the
throughout
shrines, reliquaries,

ornaments.

contains
Kensington
specimens
many
which
Shrine
a
large Byzantine
or
Reliquary of
of a
in the
with
form
dome,
a
Byzantine church

century,

in

from

spreading

was

Museum

South

dates, of

artists

interest

new

Enamelling,

specimens.

smelted

ages

before

word,

enamels

contain

metal

whole

their

(No. 170).

notice

into

their

one

say

the

ground, occupied
painting.
sculpture and

of

of

illustration

an

Europe.
We

"

medieeval

works

As

century

rising

were

the

by
of

end

fourteenth

the

Renaissance

the

end

of

close

the

is

though
The
facade rests
are
justly famous.
give an engraving

carved

At

it

of different
the

is

twelfth
the

most

remarkable.

England,
noticed

in

"

the

English sculptures
chapter on Sculpture in

The

of
Great

the

Gothic
Britain.

period

will

be

in

Sculpture
In

fifteenth century
architecture, when

The

the

in

Italy

of

styles with those

sponding advances

age

the

and

Robbia,
the

fourteenth

of

was

century

of

distinguish
knowledge of the human
a truer
its
and
its expressions,
motions,
a
more
anat("my,
laws
and
of composition
the
perspective, and
accurately imitating antique models.
tlie statues

for nature,

something

of

the

works

earliest
a

Carretto*

his Fountain,

latter
the

the

century,

of

and

the

of

known

which

is considered

his

study

of

Jacopo

nature.

Lucca,

ForUa

the

as

was,

of

is

is

the

of

great

fested
mani-

was

this

new

combine

to

His

Siena.

of

this

square
of his

by

del

struggle;
of

typical
surpassed

style

Ilaria

result

however,

of

power

mediaeval

tomb'

example

an

in

of

grasp

In

cf

the

The

its

sculpture with

Roman

combine

to

acteristics
char-

which

^alike of

"

artist

ftuercia

nature.

Gala,

work,

finest

age

deUa

struggle

representation of

cathedral

those

greater

first

golden

chief

The

preference

the

best

Jacopo

was

by

the

thorough
a

on

forerunners

part, for antique models.

lead

grace

marked

are

in

the

nature,

life-like

more

fifteenth

the

took

easy

of

imitation

with

in

Tuscany

movement

close

of

early part

carried

frame

"

the

was

from

this age

preceded it, were

In

movement

was

painting.

corre-

The

the

were

fifteenth

The

sixteenth

which

century,
who

existing

witnessed

also

"

sance
Renais-

to

combine

sculpture.

Donatello,

school.

his

Gothic
to

Rome
of

art

the

in

Orcagna,

Michelangelo and
of sculpture, as

of

Italy in

made

was

and

Greece

from

time

attempt

an

Centuries,

Sixteenth

and

^the transition

"

PeHod.

Renaissance

Fifteenth

ancient
in

begun by Andrea
by Ghiberti, Delia

the

Siena,
earnest

his

great

contemporary,
Lorenzo
the

and

Ohiberti,

for tlienorthern
were

erected

of

Old

successful

was

in

the

competition,

in which

the

side

of

the

1424,

in

seqtiently followed
considered

for

who

da
great
day, including Brunellesco, Simone
of
the Bronze
Jacopo del la Qiiercia, took part, for the designs
artists

by

Ghiberti's

and

the

These
Baptistery at Florence.
gates,
and
burnished, were
are
richly gilt

great

Western

finest work.t

The

or

ten

Gates
which

Gates, which

Central
reliefs

Colle,

represent

scenes

subare

in

history ; and, although the subjects are too complicated

of
sculpture, the fertilityof imagination displayed, the sense

Testament

+ A

cast

cast

of these

may

be

gates

seen

in the

is in the

South

CrystalPalace.
Kensington

Museum.

2U

SCULPTURE.

the lifeof the whole, entitle them

beauty, the easy execution, and

the high praisebestowed
them
on

to

by Vasari, the great art-critic of the

of Michelangelo,
the enthusi-istic exclamation
justify
of
Paradise.
Our
called
the
Gates
to
be
tiiey
worthy
illustration (Eng, 172) given six of the compartments
able
of tliis remarki
n
which
is
of
the
Isaac,Jacob, and
composition,
epitomised
btory

century, and

sixteenth

that

were

EsMU.
Of Ghiberti's
John

the

Michele

isolated

works, we

Baptist,St. Matthew,
Florence.

at

and

must

Statues

of SL

of Or

aS'^.
Stephen,in the church

and

St. Matthew

San

finest ; the face

the character of the great

is considered

of the

figureadmirablyexpress
preacher.

po^e
Christian

the bronze

name

the

the celebrated Florentine Renaissance architect,

also proBrunellesco,
duced
several fine works of sculpture. Of these the best is the bronze
relief of the Sacrifice
in the BargelloMuseum, at Floi*ence,
of Isa/ic,
which was
done for the competitionfor the doors of the Baptistery,
in
which, as we have seen, he was beaten by Ghiberti.

Donatello
cultivated

famous

was

for

naturalism, in

traditions

his

coutrHst

of the

great fondness
his

Amongst

low-relief ; he

in

success

alike

the

to

precedingage, and
for pictorial
treatment

endeavoured

best

Head

works

his

are

evident

of

antique

and

to counteract

to

the

the

too

of Ghiberti.

itithe works
St, John

strongly

tJve Baptist,a

wonderful

tion of the great forerunner of Christ,emaciated

represent**
but
by fasting,
iuspiredwith holy zeal ; the Statne of St. George from
the church of Or San Michele, Florence,a fine embodiment
of the ideal
Christian warrior,ready calmly to face suffering
and death {Etig.
171).
than any of these,however, is his statue of GcUtanielata at
Better known
of Fra Barduccio
Padua, and the so-called Zuccone (baldhead),
a portrait
Two
Cheiichini,in one of the niches of the Campanile, Florence.
beautiful original
in
in
low
marble,
relief,
carvings
by Donatello,
\Qrj
of Christ in

the

Sepulchre,
supportedby Angels, and the Deliveringof
well as casts of the St. George,are in the South

tlieKeys to St. Peter,as

KensingtonMuseum.

Luca

della

who is supposed
Bobbia,another great Florentine sculptor,
to have invented
the process of enamellingterra-cotta,flourished at this
He
is
known
for his works
in terra-cotta, in
period.
principally
high or low relief many specimens of which may be studied in the
South Kensington Museum,"
and for the groups of Singers{Eng. 173)
"

in

for

marble, executed

National

Museum

adhered
with

"

to

some

the

of that
extent

of
simplicity

to

cathedral

city.*
the

a
feeling,

Both

mediaeval

Florence, and

of

Delia

Hobbia

style;

but

dignityof

now

they combined

execution, and

Part of the frieze of the interior of the Renaissance

in

the

Ghiberti

and

truth

it
of

Court at the Crystal

Palace \"
this famous
work.
Signors Cavallucci and ^olinier have compiled a
Catalogue of 350 examplesof Delia Robbia ware stillremainingin Italy.

cast

of

llEXAISSA^X'E

their own^
conceptionpeculiarly
della
Luca
an
by
altar-piece

illustration

The

215

ITALY.

{Eng,174) fs

from

the Virgin
jRobbia,representing

his

family followed
chief

His

themselves

of Andrea's

to France

da

lifeas

One

of his

of

Hajano

worker

is

sculpture,

Bartolo

San

of

Sant*

designand

also

He

the

sacristyof Santa
elder

His

Croce, Florence.
brother

is also

pulpit and

the

reliefs of the

in

Agostino

finished.

highly

the

in

which

; it is rich in

executed

tarsia,

in

was

Gemignano,

tomb

menced
com-

very successful.
is the
best works

he

AUar

in

it for

but abandoned

church

assign

FrancoisI.

for

Benedetto

in which

art,

migrated
glazed

sons

worked

and

cotta

San

the

to

their several authors.

familyto

terra

also

Delia Robbia

of the

the works
Two

nephew

sons

it is difficult to

that

so

five

whose

devoted

profession.
his

pupilwas

Andrea,

Luca's

of

members

Several

Son.

Divine

her

worshipping

Oiovanni

likewise

was

sculptor.
Of Donatello's

Andrea
whom

hereafter

the

amongst
chief.

the

del Verroochio,

shall

we

His

work, which

the

piazza

of

SS.

Giovanni

of

{EngA75),
the

of

church

Paolo

at

figureof Coleoni
by Leopardo after

The

added

Verrocchio's
At

Statue

bronze

in

was

of

antique,is the

Coleoni

Bartolommeo

Venice.

famous

bears evidence

the

of

tice
no-

was
painters,

most

clo'^estudy of the
Horse

lowers,
fol-

numerous

the

171.

death.
close

"

Saiut George.

By Donatello.

In Or S. Michele,Florence,

of

the

century ornamental

teenth
fif-

sculpture was

carried

to

great perfection

172." The

Central Gates of the

at
Baptistery

Florence.

BjrL

Ohiberti,
a.d.

1480.

The

upper six of the teu compartments.

218
in

SCULPTURE.

Tuscany;

churches

and

of Florence

173.

"

The

many
and

Mino

da
His

Fiesole

monuments

marble.

in the National

introduced

works
principal

were

t^rected iu'^tbe

towns.

Siugers. B:is-reliefin
yow

Rome.

beautiful
other

are

the
the

By

Museum,

Luca

della Robbia.

Fiorence.

Florentine
Monuments

Renaissance

styleinto
Giutjni

of Bernardo

174." The

Nativity.

Bas-relief in marble.
In Florence,

By

Luca

della Kobbia.

220

SCULITURE.

Ugo (U69), in the church of the Badia, Florence, and

in the crypt of St. Peter's,Rome.
Po}^ Paul II. (1471),
all
of five brothers who were
famous
Antonio
the most
Eossellino,
of
the
Cardinal
Monument
the
Jacopo of
splendid
sculptors,
produced
Portugal,in San Miniato, Florence,which was so much admired by the

(1466),and

Count

the Monument

of

175." Statue
Horse

by

Andrea

of Bartolommeo

del Verrocchio.

Coleoni.

Figureby

At

Venice.

Alessandro

Leopardo.

Rossellino to execute
he commissioned
a similar
of
the
relief
Madonna
in memory
A circular
one
adoring
tJie Holy Infant in the Florence
Gallery of Sculpture,is considered
Duke

of Amalfi, that

of his wife.

one

of his finest works.

The only Italian school of the fifteenth

century which approachedat

RENAISSANCE

221

ITALY.

IN

Bartolommeo
Alessandro

importance to that of Florence,was the Venetian.

Buono
paved the way for the familyof the Lombardi *

all in

Leopardo, to

Venice

whom

her

owes

of all these

principalworks

artists

are

finest works

and

of

sculpture.The
of the

Doges of
Doge Pietro

the Monuments

That of
Paolo.
e
Venice, in the church of SS. Giovanni
the
is
in
Lombardi, completed 1488,
a splendid
MocenigOfby
composition,
tion,
grandeur of conceptionand delicacyof execuin
the
Andrea
Vendraniin
same
church,
Doge
by

in

surpassed,however,
by

of the

that

which

Leopardo,in

in
sculptures

the

reliefs

and

round

combined.
Hatteo

Civitali,of Lucca, is supposed to have

Florence.

His best works

Cathedral

are

are

Tomb

the

learned

in his native

stillto be found

are

admirably
his art

place.In

in
the

of

Noceto, the Sculpfor the choir, now

Pietro da
tftres

sacristy,and his
masterpiece,an octagonal
marble
temple containing
in

the

the

Volto

"

Santo," with

of St. Sebastian,

statue

The

Vittore

of

fame

Pisano,
as
painter,rests chieflyon

his

which

the

known

well

medals,
fiuest

were

executed

best

days

He

made
of

since

of the

the

Romans.

medallion

traits
por-

ary
contempor-

most

princes of Italy,such
Lionello
d*Este, Mala-

as

{Eng. 176),Alfonso

testa

V.

Aragon, Francesco
Sforza,andthree of the GonAfter
zagas.
artists devoted

Medal

176." Bronze

of

By

of

SigismondiMalatesta.

Vittore

Pisano.

Pisano, many

designingmedals.
in
attained to a distinctive positionin Italy,
The
school of Milan
and
the
works
of
Duomo,
promotedby the
consequence of the activity
themselves

to the art of

The most celebrated

Pa via.
monastery, near
Fusina, Solari,Amadeo, Sacchi, and
employed there were
sculptors

the Certosa

or

Carthusian

greatest of all,AgostinoBusti,better known

The decoration of the marble
about 1473.
The architectural

as

Bambaja.

facadeof the Certosa

sculpturesof

the

and his sons Tullio and Antonio.

of
reproduction one of the large windows of the
Museum.
Kensington
*

was

commenced

portalhave
principal

Pietro Lombardo

t A

Certosa

is in

the

South

222

SriTLPTURE.

ascribed

been

Busti.

to

of the works

of this

period.

for the

remarkable

are

The

of
sculpture

decorative

of study than

of the monastery is even

more
worthy
ascribed
PiMn * of the high altar,

The

to

great technical

characteristic of most

of the realism

for the absence

and
displayed,

skill

They

the

interior

that of the exterior.

beautiful
Solari,is especially

the agony
Virgin is expressedin every line of her face and
admirably with the peacefulrepose in death of her
figure,
contrasting

of the

Son, and the confident hope in the uplifted

eyes of the angels.

Divine

be said to have possessed

Eenaissance
school
a
scarcely
the
liberal
of
the
and
of sculpture,
although
princes
patronage
popes
frequentlyattracted the greatest masters to their capital.
in the fifteenth century
of eminence
The only Neapolitansculptor
in the
was
Angelo Aniello Flore,who executed several fine monuments
church of San Domenico
at
Naples.
Maggiore

Bome

can

In the sixteenth
it

the arts, and

century
her

to

was

own

that she

sons

bronze

Unfortunatelythe colossal
Leonardo

Sforza,which

cast, and

never

was

archers, who

it

used

as

owed

claymodel

nence.
great pre-emi-

cesco
EquestrianStatue of Franto

for

execute

destroyed by

was

Milan

target when

this

lead in all

Milan,

the Gascon

occupied by

was

the

in 1499.

French

Sansovino

Andrea
sixteenth

attained
His

century.

177) for

the

Danti),and

Vinconzo

Agostino

at

Rome

group

of the

Gate

eastern

(itwas
his

of the

group

earlypart of the
Christ {Eng,

in the

great eminence

marble

of his finest works

one

takingthe

da Vinci undertook

the

even

still

find Florence

we

Baptism qf

Baptisteryof Florence is considered

finished nearly a century later by
of the Virgin and
in Sant'
St, Anna

inferior to it.

is not

MichelangeloBuonarroti,during a long and active life,producedthe

finest masterpieces
of modern
sculptureand greatlyinfluenced all the
division of
which
will
be spoken of in the next
His
arts.
paintings,
the productionsof his chisel.
than
work, are no less remarkable
our
his intimate knowledge
The chief characteristics of Michelangelowere
of the human

of the anatomy
was

able

to

into

throw

first to be admitted
Lorenzo

into the

de' Medici.

The

of

Buonarroti

was

quitea child,is

Florence.

The

work

native town
which

was
Peter's,

considered

"

dead

was

cityhe

Piffd
Son.

a
was

statue

invited

of

Cupid
by

his finest work.

name

still

given

one

founded

Art

fire which

at

preservedin
his

fame soon
: his
of the cardinals.

representationsof

the

the
known

name

one

he

of the

Florence

in marble

head, hewn

after his arrival,and

A kneelingfigureof
to

and

power

great sculptorwas

Farm's

first made

produced soon

is the

The

Academy of

mask

which

the

form, and

his works.

by

when

XJflSziGallery,

beyond

his

spread to Rome,

to

His
is

Piet^y in St.

by many
at
Cupid, now

critics
South

Virgin embracing

her

RENAISSANOE

Kensington,
the church

in the Piazza

Dame

at

del Gran'

Duca

Bruges, were
at

{Eng,178)in

and

Madomia

his celebi'ated statue

gates of Rome.

the

of the

of the Accademia.

courts

oi Moses

group

of Notre

he undertook

1504
the

and

223

ITALY.

IN

the

his later works.

among

more

celebrated

In

formerlystood
removed
of
to one

is the colossal

famous

figure

in

Vincolo, outside
Westmacott, characterised
sculptor,

the old basilica of b'an Pietro

The

in
y

of David, which

Florence,but is now
Yet

Holy Child

this
the

of

figureas one of
grandest efforts
genius,as original

conceptionas it
tion.
masterly in execuin

This
is

Moses
in

colossal

ing
seated,holdhand

one

tables of the
with

the

horns

playing
long

his

From
curls

the

law, and

other

with

beard.

is

his clustering

springthe

ascribed

to him

by tradition,typical
of

and
light;
power
his brow and eyes are
full

of

majesty,

and
power
his
whole

the
expresses
of
will
and
strength

pose

severityof the stern

law-giver of Israel.
This marvellous figure
have

to

was

part of

formed

huge

ment
monu-

Julius

II.,
design for which,
by Michelangelo, is 177."
still preserved. It
to

the

to have

was

The

BaptiF-mof
Florence.

Christ.

By

Belief
from

Andrea

the

Baptifieryof

Sansovitio.

consisted

of

of
with niches in the sides,adorned
with figures
a vast
quadrangle,
of
colossal
statues
Victory supportinga massive block surrounded
by
from which a pyramid covered with bronze figures
prophetsand sibyls,
should
have sprung.
at
All that was
the Victory,
executed
now
was
the
Moses,*
in the Louvre, and the
two Slaves,
Florence,
now
The Medici
chapel,in the church of San Lorenzo at Florence,built
*

Casts of the Moses, the two Slaves,the

in the South KensingtonMuseum.

David, and

the Madonna

of

Bruges are

178."

statue

of Moses.
San

By

Pietro

Michelangelo.
in Vincolo,Rome,

In the Church

of

179." Tomb

of Lorenzo

de Medici

of Dawn
the figures

{IlPensieroso),
grandsonof

and Evening.

By Michelangelo. In

the Magnificent,
with
Lorenzo,Florence,

Lorenzo
S(tn

226

SCULPTURE.

order

by

of Clement

Buonarroti.

Holy
which
and

front

In

Child

; on

of the

of the Duke
the other

on

was

with

adorned
altar

is

side of it is the tomb

one

the statue

litght;

VII.,

is

sculpturenearly all by

of the
group
of GitUiano

placedover

de'

the

Medici, in

allegorical
figuresof Dat/

of Lorenzo

the tomb

and
Virgiti

de^ Medici

(grandsonof

of the Dawn
with whose
and
statue are figures
Magnifico),
Lorenzo^il
of
The
known
II
statue
as
Lorenzo,
Pensieroso,
Evening {Eng, 179).
is remarkable
for the expression
of intense melancholywhich pervades

180." The

it.
of

Entombment

Of the

By Jacopo Tatti.

allegorical
figures all
"

Night

has been

In the

National

of tender

of Christ.

grace
the

peculiarto

works

we

the most

From

alike full of

the

Sacristyof St. Mark.

gloomy grandeur
"

that

admired.

Museum, Florence,is an Ivy-crowned Bacchus,full

beauty,and admirablyexpressiveof the lassitude
other important
self-indulgent
god. Among Michelangelo's
mention a bronze figureof Pope Julius IL
must
which

and

RENAISSiNCE
for the Cathedral

was

executed

and

converted

Whilst

into

school

the

perceptible
; but
aside and

working at Borne, Jacopo Tatti,sumamed

with whom
he studied,was
founding

replacedby

the influence

of the

much
a

bas-relief of the
best

Entombment

works,

on

of Buonarroti
of the

realism

stern

clearly

was

master

laid

was

which, though not

picturesque
in the
as
producedpleasingeffects,
of Christ {Eng, 180),considered one of

strivingafter

altogethersuccessful,sometimes
Tatti's

revolt

master

great
Venice, in which

in

Bologna,but destroyedin

cannon.

Michelangelowas

Sansoyino,after

of

227

ITALY.

IN

the bronze

the

Gate

of the

Sacristyof

St. Mark

at

Venice.

181.

To

Saphael

attributed.
del

Maria

by

without

means

one

the

Elijahin

Florence.
without

is

the

two

of Jonah

By Benvenuto
works
in the

Cellini.

of

sculpturehave
CappellaChigi,in

been

Santa

certainlyfrom the great painter'sown

same
place is said to be after his design

Lorenzetto.
of

who
endeavoured
Michelangelo,
that
Baccio
inspiredit, were
genius

imitators
the

or

Statue

Popolo,Borne,

Bartolommeo
of

of Fontainebleaii.

of Urbino

the Florentine

Two

Diana

marble

; and

hand

The

"

who
AwiTnanati,
Bandinelli's
are
faults,

both
most

the

to copy

his

style
Bandmelli, and

worked

Cosimo
chieflyfor Duke
important works, though by no

Hercvles

and

Cacus, the Monument

to

228

SCULPTURE.

Giovanni

d^Ue

N'ere,alid the reliefs round

Bande

the

at

the

there

the

In

muscles

prominent,and
of

of

Florence.

Cathedral
his

work,

Choir

all
too

are

is

want

and expression. The

vitality
of The

marble
the

copy
corridor

also

by

of

in

Uffizi

is

him.

Ammanati's

best
series

the

were

Laocoon

the

the

figureson

productions
allegoric

of

of Marco

tomb

Benavides,in the church of the

Eremitani
at
Padua, and
a
Monument

in

Chiara

Santa

the

to

Maria

Duke

the

Urbino.

at

the

Neptune

on

Florence

is

cesco
Fran-

church

of
His

Fountain

at

wanting in grace
dignity, and has all the

and

faults of Baccio's

Hercules

and

Cacus,
Another

imitator

was

named

Niccol6

known
One

of

works

his

Strozzi,who
villa

which

he

he

tribulation.

first

independent
for Matteo
him

employed

Marble

his

Pericoli,

in

executed

was

make

d6

Tribolo,because

as

always

was

of Michelangelo

pupilof Sansovino

San

at

to

Conduit

for

Casciano^
boys

wit^

adorned

and

dolphins. He afterwards
sculptured two
figures of
and
bas-reliefs
for
some
Sibyls
of

one

the

doors

of

San

Fe-

After

the

ironio,at Bologna.
siegeof Kome, Tribolo

sculptorto
finished the

and
of

the

which

182."

rerseus

By.Benvenuto

with

the head

Cellini.

In

Lanzij Florence.

ot Medusa.

the

dH
Loijgia

the

the

shrine

^}

Loreto.

of which

IS

had

of the
He

signerof several

pointed
ap-

Pope,

fine bas-reliefs

Marriage of
Sansovino

was

the

Virgin,

was

in
Casa

begun

Santa
the

de-

Fountains, one

at Fontainebleau.

RENAISsiNOE

tS

229

ITALY.

Benvenuto

native
a
Cellini,
of
the
one
Florence,was

of

workers

celebrated

most

metal

the

known.

world

his

Among
the

were

Cardinal

ever

patrons
VIT.,

Clement

Pope

in

has

Medici,the Grand
Cosimo of Florence,and

Duke

de'

Francois

of

I.

France.

lived at various

He

ence,
at Flor-

times

Siena, Rome,
Milan,
Naples, Padua, Ferrara, and
Paris.
are

In

of

many

there

Louvre

the

works, of

his

remarkable

which

the

is

figure of
high-relief
called
the
{Eng, 181),

the

Diana

Fontainebleau.*

of

Nymph
It

most

represents

female

colossal

figurein

attitude
with

one

neck

of

arm

of

the

specimen
proportions of
form,

bent
semi-recum-

of careless grace,
flung round the

stag,and

nude

is

a
good
long-drawn

human

the

lighted.
Cellini decelebrated
most

which

in

His

however, is his Statue

the head of
of Perseus
with

work,

in

Medusa,

Loggia dei

the

(castin 1549)
{Eng, 182). Cellini principally

Lanzi, Florence
excelled

in
chased

such

as

etc.

now

in the

salvers,

Salt-ceUa/r

at
Schatzkamner
in
embossed
gold
and
with
enamels

Vienna,

figures
high-relief
and
Cybele,and
Neptune
frieze of symbolicfiguresof

adorned

vases,

celebrated

enriched
of

.works,

minor

the

with

and

Hours

Oasts
Museam

Winds, is

masterpiecein

reallya
*

the

are

in the South

and the

its

Kensington
CrystalPalace.

182tf." Mercury.

Bologna.

Bronze.

In the National

By Giovanni

da

Jluseinn,Florence.

2d0
way

by

SCtLPTURfi.

magnificentSIhieldin

After

Italy who

death, in 1564, not a singlesculptor

arose
Michelangelo's
attained
individual style. His immediate
to an
successors

in

Douai

in France

whose

works

da

masterpieceis

Rape of

the

less celebrated

foot

the

Palazzo

Fountain

air.

the

of

bronze

fine bronze

Wind,

The
airyfightness.

is considered

zephyr,
group

is

Vecchio, Venice,

Bologna

at

of

the breath

on

into

the

SahineSy in
his

Bologna (born at
onlysculptors

the

Florence, a miracle

of the gods rests one

messenger
and is about to launch
himself

the

his later

among

Mademo, are
specialnotica
the bronze
on
Mercury fiocUing

to

Museum,

of

John

as

Stefano

in 1524),and

National

; and

manner

Bologna,known

entitle them

Giovanni's

of his

imitators

than

more

followers,GioYanni

in the

Castle,said

be

little

were

Windsor

to

there is also a
the same
artist.*
:

of

scarcely
of

one

his

happiestcompositions.
Maderno's

of that

convent

and

work

chief

saint

dignitywanting

still more

their

sculptureand

is

to his other

followers

of the

Italian
a

historyof

which

decline

the
the

studied in the

belongingto

time

from

the

the

fifteenth

Louvre,

fifteenth

Carthusian

of

was

character

to

the

not

that

we

simplicity
and
artists,
aims

true

the

the

of

provincesof

had

to notice

of
art ; and the history
Michelangeloto that of Canova^

styleof

the Renaissance.

Period

in France

and

of Europe.
Benaissance

which

contains

sixteenth
in

and

arose

Benaissance

styleof Sculpturemay
a

series of monuments

centuries.

The

fine marble

GctXherine (TAlen^onf
from
the close of the

his wife

Paris, date

until

translation of Cellini's celebrated

Library.

these

of Greek

of the

Navarre

church
It

century.

and

however, that any great artist

French

of

the French

of Peter d'"vretix

Statues

for

exists between

the Renaissance

developmentof

The

Cecilia in

St,

is remarkable

It will be remembered

the rest

be well

of

imitators,lost sightof the

and

similar decadence

Sculptureof

statue

productions.Both

distinction

from
sculpture,

fine

Bome, which

in

paintingand statuary.
this error
in speakingof
is

the

beginningof the sixteenth,

capableof givingan essentially
sculptureof the country. The
the

Autobiography is publishedin Bohn's

RENAISSANCE

IN

231

FRANCE.

chief French sculptors

of the earlypart of the sixteenth century were
Michel
Colombe, Jean Juste,and Jean Texier. The Louvre contains
an
extremely line bas-relief of the Strugglebetween St, Georgeand the

Dragfm^ attoibuted
and

boldness of

was

at work

for delicacyof execution

the time that Jean Juste

Colombe, remarkable

to

conception,
producedabout
his celebrated Tofwh

Anne
qf Louis XII. and his toife,
of St. Denis, and Jean Texier was
engaged
and bas-reliefs of the Cathedral of Chartres,
he is principally
known.
on

of Bretagne,in the church

the forty-onegroups
on
which

by

trio of great artists who have been justly

called
of French
Jean
the
restorers
sculpture.These were
Goujon, Jean
Cousin, and Germain Filon.
Jean
Oonjon was engaged from 1555 to 1562 in the decoration of
still remain
the Louvre; portionsof his work
as
specimensof his
We

now

to

come

He

gracefulstyle.

easy,
human

favoured

frame, so much

painting. The
largestand most

in

CelUni

by

Louvre

contains

famous

is the

of the'
proportions
and Frimaticcio
sculpture

tall slim

adopted the

in

few of his choicest works.

marble group
of Diana^ in

The

which^

of Hunting, with
round the neck of a stag,
the Goddess
one
arm
bas-reliefs representing
marine
reclines on a pedestaladorned with
full
in
is
animals.
of Henri IL : and
relief a bust-portrait
Another work
the Descent from the Cross,two recumbent
of the bas-reliefswe must name

Nymjjhs of

tlieSeine,with

and
unnaturallylong,supplefigures,

of Tritons and Nereids,

Vegetable Market, is considered

The

group
from

St,

Madou,

and
projections

of

while

at

Breze^at Rouen,
in

Louvre

the

the

was
as

in low
the

{Bng.183),which

has

been

of St. Denis.
bear witness

Monuments

were

Of these
to

we

of

kingsand

must

great vigour

de

of whose

sculptor,
many

in the Cathedral
dignitaries

the Tomb

name

and

killed,

Goujon was

of Philippede Chabot, now

called the masterpieceof

French sculpture
of the sixteenth century.
Germain
Pilon was an industrious and able
finest works

his bold treatment

in 1572.
Tomb
of Pierre

handsome

the Mausoleum

as

relief.

of St. Bartholomew

sculptorof

well

des Innocents, in the

good specimensof

are

massacre

fine

Goujon'smasterpiece. The Doorways

delicate execution

work, in the
Cousin

Jean

Rouen,

at

Fontaine

knowledge

of Henri
of

IL*

anatomy,

They
and

the

contains
figuresare full of grace and elegance.The Louvre
double tomb, by Filon, of Bene Birague and his unfe,justly
brated
celefor the beautyof the bas-reliefs; a group of three female figures

female
the

of several
bust-portraits

supportinga giltvase

bas-relief of St. Paul

preachingat At/tens.

In

t/ieNetherlands
*

but

few works

Casts of the uppor range of the

of

monarchs

importance were

; and

stone

produced in

in the CrystalPalace.
are
sculptures

183.

"

Monument

or Admiral

Chabot,

In the Louvre.

By^Jean

Cousin.

RENAISSANCE

the

fifteenth and

sixteenth

IN

Chimneyyiece of

famous

The

centuries.

wood, in the Palais de Justice

carved

233

GERMANY.

of which

Drvges,a cast
designed by Lancelot
at

Kensington Museum,
Gnyot de Beaugrant, dating from the year 1529,
fine specimenof the completed Renaissance
styleof
South

the

; but

there

are

Until

Torrigianoand

isolated statues

no

is in

Blondeel

is

extremely

an

decorative

ture
sculp-

bas-reliefs in marble

or

and

be

to

enumerated.

Spain,
Spain
"

of

confined

mainly

was

arrived

Stamina
to

the

both
in

in the EenaiBsance

Spain

period. To

work

decorative

fine

artists. Alonzo Berruguete and

influenced by the art of Italy,were
the

Moorish

Italy,the

from

of

Jaspar Becerra, who

art

the
were

only sculptorsof eminence

the former

assignedthe

are

marble group of the Tra/nsfiguration

the archbishop's
throne, in the
on
cathedral of Toledo, and the Triumphs of Charles V. in the Alhambra
;
and

latter

the

to

has

of Our

Statue

Franciscan

convent

at

Lady of Solitude^
Madrid, but which

disappeared.

now

In

the

Germany

centuries

sixteenth

realism

stem

fifteenth century is

the

German

The

artists.

style,and

astical
other ecclesi-

which

distinguishedItalian work
in the productionsof

equally noticeable

Swabian

school

of its masters

in the work

with

combined

fifteenth and

principalworks produced in the

in cathedrals and
wood-carvings

were

buildings.The
of

beautiful

very
chapelof

formerlyin the

the

was

accurate

first to
imitation

adopt the

new

of nature

was

for beauty. Jdrg Syrlinof

genuine feeling

the

greatest wood-carver

and

raised his art to

of Swabia.

He

disdained the aid of

independentposition. TJlm

an

Cathedral

Ulm

was

painting,
contains

specimensof his skill ; of these the Choir-staUs,

superiorto
many
of
kind
the
everything
previouslyproduced,deserve specialmention.
fine

The

carved

and

of

ones

are

representingheroes of the heathen world,of Judsea,

figures
and
the lower
Christendom, are graceful,dignified,
lifelike;
finished with the greatest care, and displaythorough knowledge

of anatomy.
The stone Fountain
enriched with colour,is the
was

which

in any other material

than wood.
in his father's school,
appears to have

It would
in

requirea

the various

fifteenth and
few

works

volume

churches
sixteenth

of

the

and

by

only work

to

cathedrals
the

We

must

Altar-shrine (1511) in the Landauer

Benaissance
style,and represents Christ as

Mary

and

St. John

fine

carvings
Germany belonging to the

enumerate

of

trained

the

only pause

to

notice

great Albrecht

carved
with

market-placeat Ulm,
by this great master

Jdrg Syrlinthe younger,

been his worthy successor.

merely

centuries.

kind

in the

in earnest

Dttrer,such as the
Monastery, which is in
the Judge of the world,

at
supplication

His

feet.

The

"k"tha collection of art-objects

several Statuettes in wood
contains
by
Diirer ; in the Museum
is
Albrecht
there
at Carlsruhe
an
exquisite

234

SCULPTURE.

little
from

the

remarkable

Adam

Over

Kraft

sculptorin

the door of

of

Nuremberg,
our

are

Saviour

remembered.

among

having

"

for
the

is

the

of

the

Kenaissance

seven

to

famous
times

period

By Adam

Kraft.

works, although somewhat

His

great power
road

his most
fallen

stone

The Public ^Va/fs,"Nuremberg.

Nuremberg.

overloaded,are remarkable
Stations of the Cross, on
of

figures

is attributed to him.

greatest German

184." Relief

was

female

nude

three

there
same
great artist ; and in the British Museum
carving, in hone-stone, of the Naming of St. John

Baptist,which
The

ivory, in high relief,of

in

Group

the

of

expression.The

cemetery

of

St.

compositions. The
on

His

way

to

death

Seven

John

at

tradition
will be

RENAISSANCE

of

There

is

our
no

235

GERMANY.

to tradition,he has
strictly
most
touching realisation of the great closing
Saviour's life. His Golgotha is scarcelyless beautiful.
the head
attempt to produce effect by artificial means;

Although the artist

given us a powerfuland
drama

IN

has

not

adhered

eaiiWHBiiHiiJiiiiiiitiiiiiiiihiiiiib-iiiiiiiiiiiiiiiiiiiiiiii
185." Bronze

Shrine

of St. Sebald, Nuremberg.

By

Peter

Vischer.

exhaustion ; the thieves are natural

of the Saviour droopswith human
*
lifelike. The reliefs of the Schreyermonument
and
and the Fasaion
the altar in St. Sebald's Church, Nuremberg, well merit
Scene above
and
the streets and
houses of Nuremberg are
enriched with
beautiful reliefs by this great master, in some
of which
there is

study ;
many
an

amusing

latter

touch

of humour.

class,is taken

Scales of

from

Our
a

illustration

relief above

the

{Eng, 184),one
doorway of the

Nuremberg.
*

Casts

are

in tlieSouth

KensingtonMuseum.

of the

Public

236

SCULPTURE.

At

Nuremberg alone
in Germany in

the art of bronze

castingpractisedto any
extent
period; and the onlj great
His principal
Peter Vischer.
in this branch of statuarywas
master
work is the Tomb of SL SebcM at Nuremberg {Eng.186) enriched with
and
number
of figuresof saints, apostles,
a
angels,amongst which
the artist has introduced
of the scenes
his own
Some
ajre
portrait.
was

the

Renaissance

"

of marvellous miracles, a few bold touches suffice to

representations
tell the tale; for example,we
St. Sebald
see
warming himself at a
fire of icicles,
and almost
fancy we can feel the chillingbreath of
"

the white flames.

decoration of the

The

of the

canopy

Romanesque

with

combines

monument

the

pointedarches of the

the

rich

Crothic

style.
The

only marble

of importance of the German

Renaissance
in
Cathedral
of
St. Stephen
Frederick
the
III.^
of

work

periodis the Monument

at Vienna.

Sculpturein
As

have

the Seventeenth and

Italian

EighteenthCenturies*

from the time

the
o
f
seventeenth
beginiling
century a new
school arose, founded by Lorenzo Bernini,who has been proudlycalled
the second
Michelangelo.The faults to which we alluded in speaking
Italian
of the
shared
artists of the decadence
were
by this master,
of

we

seen,

Michelangelo.At

whose
and
as

works

have

in those

sculpturerapidlydeclined

the

been

much

too

vaunted.

In

the works

of

Bernini,

followers,
everythingis sacrificed to effect ; and,
in the graceful
of the successors
of Fheidias,difficulties
productions
of his

for the sake of displaying

skill in overcoming them.
Bernini's famous group of Apollo and Daphne {Eng. 186),in the Villa
courted

were

Borghese,executed

only eighteenyears old, is a marvel

of dexterous execution, but that is all. In his Bape of Proserpine^
all the faults of his
in the same
much
later work
a
we
see
gallery,
when

he

was

"

styleexaggerated: truth is sacrificed to theatrical passion; whilst the

greatest ignorance of anatomy and of the true limits of sculptureis
The
in Laterano,
manifested.
Fietdt,in the basilica of San Giovanni
Rome, is

at

Italian
until
*

the

Casts

one

of the best

sculpturedid
of

time

of

great

KensingtonMuseum

not

Antonio

many
and the

examplesof
attain

again
Canova,

statues

"

of

this

CrystalPalace.

Bernini's
to

the

the

style.
positionof

contemporary

period may

be

great

of the

studied

art

great

in the South

AND

SEVENTEENTH

Englishman Flaxman,
of his

those

Canova

with

visited

first

on

In

and

Pope,

1774

"Venice. He
was

sent

to

in 1815

from

several

opinion of

and

great

and

works,

the

Flazman

land,
Eng-

executed

he

fine

confirmed

the

to

came

where

the

in

to

through France

mission

contrast
striking

he

1802

Paris,and

travelled

stand out in

and
prizefor sculpture,
of
pension

ducats.

300

works

237

CENTURY.

predecessors.
born of peasant parentsat Possagno,near

was

early gained the

Rome

whose

"

EIGHTEENTH

others

Elgin

marbles.

return

to

as

of

value

On

to

the

his

Italyhe became

to the advanced
of the day,
views
reUgious

convert

and

spent
on

money

much
of

decoration
in his native
the

by

village;

and

colossal

Religionfor

of

Peter's

church

executed
statue

and

Marquisof Ischia
wards
Pope. He after-

made

was

time

the erection and

at

cardinals

Home,

but

objectedto

St.
the
its

being placed there, and

sculptorin high wrath

the

left the

Papal

for
died in

States
he

Venice, where
1822.

Canova's

works

are

the

for

markable
re-

purity

beauty of the figures,

of the comthe simplicity
position,
and the finished
and

186.

"

Apolloand Daphne.

By Bernini.

In the Villa Borghese.

execution of every detail.
life and works
will be noticed in a
whose
and to Flaxman
To him
of raisingthe publictaste, and
future chapter is due the honour
No
other
what
of the day so fully
admire.
it
to
sculptors
teaching
"

"

entered

into the

of antique art, or
spirit

and truth
simplicity
to
It is impossible

to nature
enumerate

realised

the

beauty

of the

of the best artists of the Renaissance.

all Canova's

numerous

works.

We

may

238

SCULPTURE.

the

name

followingas

amongst

Graces^ in the possessionof the

in

the

statue

the
Duke

of
possessionof the Duke
of Paris, at Munich; Venus

important*

most

the

Tkrt^

of

Bedford; the Endymi"m,

Devonshire, at Chatsworth; the
in

leavingthe Bath,
Palace ;
Canova's

Hebe,

Pitti
of

one

beautiful

most

which

works,

the

he

repeated

four times,in the possession

of
Albrizzi
the
familyof Venice ; Psyche ,
another
favourite
very
of
work, in the possession
Mr.

Blundell; Mars

Buckingham
{Eng. 187); the

Venus,
Palace

Magdalene,

of

his
admired

one

latest and most

works, full of

pathetic
famous

the

beauty ;

of the

Perseus,conqueror

Gorgon, in

the

head of the
of Pope
statue
the

in

XIII.

Home,

and

in

Vatican ;
colossal
Clement

St.

Peter's,

extremelygood
executed
finely
portrait,
;
ifie
and
lastly,
Sleeping
an

from

Li(m

the

tomb

of

same
pope, considered
to be this master's greatest
work.
Of
etc., of
groups,

the

which
in

there

are

England,

no
we

casts
must

Dasdalus and Icarus

of his
at
Venice, one
earliest works ; the Ton^
name

187." Mars
In

and

Venus.

Buckinyham

Christina

of Maria

By Canova.

Austria,

Palace.

at

Vienna,

beautiful

qf
a

tion,
composivery
figures are
admirably grouped; the TJieseus,
of the Centaur,in the Volks-gartenat Vienna, in which
conqueror
and strengthin
the most
thoroughknowledge of anatomy is displayed,
action is admirablyrendered ; and the Zephyrus carryingaway
Psyclie,
in

which

the

in the Louvre.
*

Casts of many

of these statues

are

in the

CrystalPalace.

Oanova

In

of the seventeenth
century, we find a
a
risinginto notice, Pierre Puget, who was
ficient
proand
and
has
been
called
architecture,
painting, sculpture,
and the French Michelangelo.
sculpture,
Unfortunately,

artist

alike iu
of

Rubens

however,

of the

middle

France^ in the

remarkable
the

claymodels

use

in marble.

to be executed

size of the work

239

CENTURY.

said,the first sculptorto

it is

was,

EIGHTEENTH

AND

SEVENTEENTH

education

his

was

and
deficient,

his

works, though full of

and finish. As instances

of
MUo
of Crotona "md the Lion,
name
groups
may
Perseus
Andromeda, and the Hercules in Repose, all in the
delivering
In the first-named,the agony
of the victim in the claws
Loavre.
too vividlyexpressed
of the lion is almost
although the action
; and
of the muscles is admirablyrendered, the effect of the whole is too
real.
painfully
of the seventeenth and eighteenth
Other celebrated French sculptors
Antoine
author
of the Mausoleum
centuries were
Coyseyoz,
of Cardinal
of
in the Louvre:
the
colossal
Mazarin
Oirardon,
Franfoifl
groups

promise,are wanting

and
power
this
of
we

in refinement

the

"

"

Pluto

of

Proserpineand

carryingaway

Apollocoming down to Thetis,

Nicolas Coustou,of the group of the

the gardens of Versailles :

Junction
of the Seine amd Mame,
Ouilianine Coustou,of the famous

in

"

Elysees,Paris

"

Cupid in
in the
Apostles,
and

in

Garden

the

de

Chevaux

of the

Tuileries

Ma/rli in the

:
"

Champs

Edm6

Bouchardon, of the charming group of Psyche

fine statues
the Louvre, and
Christ, Mwry, and the
Paris : Jean-Antoine
church
of St. Sulpice,
Houdon,
"

(well known in Schools of Art),the

the portraitstatues
in the Certosa
at Home, and
of St. Bruno
statue
of
the
Thdatre
Paris ;
in
the
Molihre
in
of Rousseau
Louvre,
Fran9ais,
the

of

in the Louvre

Flayed Man,

in
Philadelphia,

of Washington at
well combined.

and

which

the

ideal and

real

are

decline took
Germany, in the seventeenth century, a marked
place in sculpture. The Thirty Years' War, which lasted from 1618
In

not until the close of

1648, checked all artistic effort ; and it was
master
the century that any great German
arose, although several fine
to

monuments

"

such

those

as

of the

Emperor Maocimilian

and the Elector Moriiz at Freiburg

the first to
Schltlter was
Andreas
"

it still occupies. His

of the Great
a

Elector

work
principal

of Saxony

of art.
masterpiece
At the beginningof the

Donner,

master

famous

at

were

erected

give to

Berlin

Vienna.

Dutch

Innspruck,
artists.

the artistic

position
EquestrianStatue
{Eng. 188),justlyconsidered

is the bronze

Berlin

Oeorg Saphael

eighteenthcentury

arose

for his true

of the

sense

beautiful,and
the figures
of Providence,

works are
of conception.His principal
power
Rivera
and
of the Four
qf Austria, on
Chiif

of
market-place

by

at

the

Fountain

in the

240

SCULPTURE.

In

Spain,in the seventeenth century, the celebrated painterAI01120

Cano
gained considerable celebrityby his beautiful Altar for the
church

of

188."

which

Lebrija,Granada,

EquestrianStatue

It is considered

one

of the

of the

he

designedand

Elector

of

finest

existing works

Virfjin
holdingtlieInfant Jeaua,in the

Saxony. By

centre

carved

Schliiter.

At

himself.

Berlin.

of the

kind : the
of the reredos,is especially

well executed.

Sculpturein
The
of

influence

Europe.

time
the
*

of

its

liberal

He

of Canova
and

the Nineteenth
felt

was

Flaxman

deepest humiliation
encouragement

Casts of many
and the
Museum

statues

of this

CrystalPalace.

they

throughout the lengthand breadth

revived
;

Century *

their

and
were

periodmay

the

ever

be

art

of

sculptureat

lessons,combined

ready

studied

to

give

in the South

to

the

with
true

Kensington

IN

had
genius,

must

we

the celebrated

name

241

GERMANY.

amongst the immediate

Foremost

importantresults.

most

folJoinersof Canova

IN

CENTURY

NINETEENTH

THE

Dane,

beautiful
Bertel Thorwaldsen, who
produced many
bas-reliefs.His talent received early recognitionfrom
the

at

was

unknown

an

statue

of

have

had

for
specialpredilection

his

justiceto

in the

and

of

groups

Ganymede earned

John

first work

by

Cupid
Ea^Uf

the

away
the ideals of

Cathedral

of

Psyche,

"

of the

Part

is

he

Briseis,
also able

was

great works

in his

St,
Apostles,
The
etc.
Golgotha,
Triumphal Entrance of Alexander

in it he

works, and

of Alexander

Entrance

to

appears

to

Somariva
combined

into

on

the lake of

Copenhagen), is

Christianburg Palace at

Triumphal

the Twelve

the

sidered
con-

sim-

severe

1'.

im
189.

He

Achilles and

seen

Christ and

"

of his finest

one

importance was

that

etc. ; but

Wihlerness,The Procession

(repeatedfor the

to Eome

mythologicalsubjects,

series of bas-reliefs representingthe

into Babylon {Eng, 189),in the villa of Count

Como

Canova,

as

is
Christianity

Copenhagen,

in the
preacJiing

of

and
who

came

admiration.

universal

excited

which
Jasotij

Thorwaldsen

when
reputation

Thorwaldsen*s

man.

proved by
to do

of his

zenith

statues

^^

Babylon. By

^i

Thorwaldsen.

stylewith an easy grace of

execution
medallions.Night and Morning,
Of the Monuments
world-famous.
are
by him, we must mention that at
Lucerne (1821),with the famous
Dying Lion, the symbol of fidelity
I. at Munich, and
in death ; the bronze EquestrianStatue of Maximilian
at Stuttgart.
the Schiller Monument
The best of Thorwaldsen's
pupilswere Pietro Tenerani,who worked
Amazon
and
Emile Wolff, author of the Wounded
his assistant,
as
beauty of form of
His
his own.
peculiarly

and
plicity

Hall, and

Eaton

at

strict

Johann

Heinrioh

sculptor,excelled
of

Kings

likenesses.

collection at
most

famous

in

Statue

group,

Frankfort
work.

Albert

of Prince

at

Osborne.

Banneoker, of Stuttgart,another great

also very successful in
and was
portrait-statues,

figures.His

Frederick and

His

two

von

of female

his treatment
and

the Greek

William

Ariadne
"

on

copiesof

Towards

fine ideal statues, of which

the best.
are

the
his

busts

of

and
Schiller,

of Wurtemherg,are
the Panther
which

(Eng.190),in

a private
everywhere is his
life he produced many
the Baptist,and
Faith,

abound

close of his

Christ, John

very

Lavater,
valuable

"

242

SCULPTURE.

Johann

to return
of the fii*st
to
prevailedin the best periodof the Eenaissance.

Oottfiied Sohadow, of Berlin,was

stylewhich

the realistic
His Monument

to

Count

one

der Mark, in the Dorotheakirche,at Berlin,

von

his best
and his Statue of Frederick tJie (ireat,at Stettin,are
among
of
also
Wilhelm
and
His
were
works.
sculptors note.
sons
Bndolph
founded an important school,
Christian Banoh, also of Berlin,who
He
followers.
Schadow's
of
adopted the realistic
one
was
greatest
of the best masters
the
manner
style combined with the antique,in

of the

190.

this double

idealised

Germany,

and

the happy working

portrait-statues

15y Danntcker.

all the

other

the Tomb

celebrated

of Queen

{Eng, 191),are
Charlottenburg
Numerous
the

other monuments

greatest of these

Berlin,a small model

Friedrich

Drake

best

Statues of JBiUow

His

of which

erected

famous

faithful but

of the

that

more

subject
DUrer,

in various

towns

royal Mausoleum

of his faithful

his skill in

doubt

have

LuUier, AWrecht

Louise,in the

is in the South

another

we

of

men,

of

Frajikjoi-t.

characteristics
and

instances

attest

is without

was

At

noticeable
especially

which

in
likeness,

Schillerf Goethe, and

of

Ariatlne.

"

influence is

broughtout.

are

his

In

Renaissance.

portraiture.

complicatedworks

of Frederick

at

the Great

in

KensingtonMuseum.

master

of the

Berlin

school.

IN

His

principalworks
Empress of Kussia ;

are

IN

CENTURY

NINETEENTH

THE

Child, beJoDging to

and

Madonna

243

GEEMANY.

the

figuresof the Frothe eight colossal allegorical

innces
of Prussia, in the Royal Palace of Berlin ; the marble group on
considered
the Palace bridgeat Berlin,of a Warrior crovmed by Victory,
to
of Prussian
of the
sculpture; the Monument
one
masterpieces

Frederick William
IIL, in the Thiergartenat Berlin,the reliefs of
which are powerfully conceived ; and above all,the statues of Schinkel,
life
all alike full of nervous
Humboldt,Ranch, and other celebrities,
and energy.

Ernst

followed
closely
him

at

sculptorof great power, who

He Studied sculptureunder
example of Ranch.
for his vivid imaginationand
remarkable
was

of Dresden,
iLietsohel,
the

Munich, and

191.

"

Tomb

was

of Queen Louise.

By Kiiucb.

refinedfeelingfor beauty. His

best works

and
Schiller
1^0

; his Statue

GoetJie at Weimar

are

of

his double

Lessingat

Monument

Brunswick,

traced ;
be distinctly
which the influence of his great master
may
ideal
which
in
"^s Pteed in the Friedenskirche
Sans
beauty
at
Souci,

in

for the pediments

pathetic feelingare combined ; his sculptures
at Munich.
Museum
and
at Berlin,and the Theatre
Opera-house
l^dwigSchwanthaler was a sculptorof great originalpower, who
treatedthe worn-out
subjectsof Greek mythology and of Christian

and

of the

legendin a fresh and trulypoetical

spirit. He imbued
of
his
nndertookwith something
own
energy, but he was
^reless about finished execution, and
appearance of incompleteness.His

his works

have

everything he

unfortunately
all

certain

principalproductions

are

the

244

SCULt"TURE.

of the
sculptures
Figureof Bavaria

Pediments
; and

of the

the Statues

Munich
Wal/ialla,
of

Tillyand

colossal

ideal

in the Generals*

Wr^de

Hall, Munich.
Kiss

August
Horseback

made

attacked

by

1851, in Hyde Park, and

world-wide

Lion,

von

high,of

the

top of the

the

his

Great

Atnazon
Exhibition

towards

of

of Berlin.

for his

45 ft.
hammered-copperfigure,
of
sandstone
90 ft. in
on
a
pedestal
it was
Detmold, where
Grotenberg,near

stands

in 1875.

In France

on

Cupid. ByChaudet.

is famous

Armiiiiusywhich

height,on
erected

Bandel

at

in front of the Museum

now

192.-

Ernst

reputationby

exhibited

the close of the

18th

century a

new

impulsewas

IN

IN

CENTURY

NINETEENTH

THE

245

FRANCE.

given to sculptureby Antoine Chaudet, who followed the classical

style,and producedseveral fine works, such as his charming statue of
Phorhas carryingaway the
Cupid (Eng, 192),and a group of the Sheplierd
followers
His
were
(Edipus,
principal
FrancoisBosio, who
young
Yendome
the reliefs for the famous
executed
Column, and designed
Arch
of
Place
the
CaiTOUsel : Jean
the
of
the' Qtuidriga
Triumphal
Pierre
Cortot, author of the group of Marie Antoinette supportedby
Paris, of the group in the
Religion, in the 'ChapelleExpiatoire,'
"

of the Palais de Justice,and

Pediment

representingNapoleon crowned

the reliefson

the Arc

de

FEtoile,

by Victory.

ment
successful in the treatespecially
Jacques Fradier,of Geneva, was
in the
in the Phryne (exhibited
of the female figure,
particularly
in the
and
Niobe
of
and
the
Exhibition
Great
PaycheyAtalanta,
1851),
trated
His power of representing
Ix"avre.
strengthand beauty is well illus-

by his Prometheus chained.

the
the few who have been able,whilst retaining
Among
of the

classical style,
to combine

Francis Bude,
and
spirit,

and

of

the

it with

Dijon,whose

Young

Fishemum

boldness and

correctness

freedom, were

Mercury is full of energy

both in
playing tvit/ia Tortoise,

bronze

of the Arc de Triomphe de

in high-relief
Louvre,
group
the Departure (Eng. 193).
the Marseillaise,
or
as
rEtoile, known
is
of
school
the
Another
master
same
FrancisqneBuret, author
great
of the Young Neapolitan Dancer, and the NeapolitanImprovisatoref
the

and

the

in the

Louvre.
As an upholderof the realistic stylewhen most of his contemporaries
had abandoned
it,we must name
the
of the fine groups
Pierre Jean David, of Angers, author
on
contrast
of the Pantheon
Pediment
of Paris,which offer a remarkable
both

General
French sculpture
of his day.
Buonaparte and the
in
heroes of the Eepublicare represented a natural and life-like
stern
ideal figureof their native land.
either side of a solemn
manner
on
famous
with
David was
successful
especially
portrait-statues
; the most
in the Tuileries,
of Condi at Yersailles,
are
perhapsthose of Philopoenien
of Comeille at Rouen, and of La Fayetteat Washington.
Charles Simart,Foyatier(authorof the celebrated SparJouffiroy,
of the Tuileries),
tacus
Ottin, and Cavelier,all produced fine ideal

to

the

works

of

sculpture.
Barye,who revived the art of bronze castingfrom a single
skilful in
in the early part of this century, was
mould
especially
of Paris contain many
The gardens and museums
renderinganimals.
Antoine

fine groups

by him.

Of these

the best

are

the

Theseus

and

Jaguar

devouringa hare.
Other

of the latter part of this century were

great sculptors

Durand, author

of the

figure of Religion on

d'Enghien,at Yincennes, and Johann

well known

for his

powerfulgroup

the tomb

Peter Molin,
of TJie

AmMfie

of the

native

of

Duke

Sweden,

exhibited at the
Grapplers,

240

SCULPTURE.

International

193."

The

Exhibition

Marseillaise.

of 1862.

Jean

Carpeanx is celebrated
Baptiste

Group by Fran9oi8 Rude.

for his group of Dancing, and

Opera House in Paris.

the Statues

On

on

the Arc

the

de

VEtoile^Paris.

Facade of

the

New

IN

NINETEENTH

THE

IN

CENTURY

247

ITALY.

Perraud, Crank, Etex, Falgniere,

Gumery, Aiiae,Millet,Thomas, Paul Dubois, Allar,Chapu, Barrias,
exhibited
Cain, Clesingerand Gmyere, and J. L. Gerome, the painter,
In

recent

Exhibitions

E.

G.

fine

works, the chief characteristics of which

old

traditions

Other

modern

and

"

freedom

from all the

often vergingon extravagance.

daringoriginality,

French

194.

were

sculptorsof

Jenner

note

his
inoculating

sou.

are

By

A. E. Belleuse

Carrier,

Monteverde.

E. Tremiet,and greater
Fremieuz, M. Heroic,K. de Saint-Margeaux,
than any of these,Dalou, Guillamue, and Bodin, who, breakingloose
for sculpfrom all the trammels of convention, inaugurated a new
era
ture,

E.

in
treatingtheir subjects
In
many

powerfuland

realistic

manner.

Italythe School founded by Canova and Thorwaldsen produced

of different nationalities,
besides those already
noticecl
sculptors

248

of

SCULPTURE.

whom

the

Steinhauser,

and

also

must

the

who

Grace^^

which

of

chan,
After
him

and

style

Museum

at

Palace.

They

produced

As

in

Victory

Galli,

Son,

in

the
Lucca

feeling.
who

Versailles,

at

True

Penitent

Karl

Voss,

the

to

Xeri-

and

followed
clever
the

Cain

his

by

Fanelli,

works

Reading

Monteverd6

Genii^

Three

in

Dnpr6

led

Costoli,

Girly

they

the

the

on

who
side

of

Jenner

above

and

Pitti

others,

Magni,

Pietro

by

194),

("ng.

err

Elsterhazy
in

and

tbe

School.

the

in

Abel

and

but

with

Naturalistic

Florentine

by

compliance

Giovanni

and

his

in

instituted

Revival
lifeless

mere

modern

as

by

of
and

all,

7%^

Forcadi.

contrast

Tv^cany
modern

by

such

his

Arc

Classic

into

Diipr^'s

ably

w*e

grave:

Bartolini

undoubtedly

realism

Boy,
a

and

were

her

the

illustrated

Vienna,

inoculating
Dirty

well

is

many

great

of

of

We

Princess

Thorwaldsen.

Lorenzo

until

of

Joan
tears

Thorwaldsen,

formation

the

to

too

of

degenerated

rules,

Bartolini's

the

adorns

now

of

Canova

academic
way

death

the

of

Statue

bringing

fellow-countryman

Wnrtemberg,

a.nd

chief.

the

among

were

of

Wagner

Germans

the

Kessel,
Duchess

the
Peri

^*

Gibson,

Dutchman

Maria,

executed
of

group

Throne

the

mention

Orleans,

John

Englishman

resides

artists

these

to

Pitti

Palace,

Cathedral,
Good
at

we

work

Milaxu

may

and
are

has

of

characterised
also

Vincenzo

name

Tomb

been

the

by
recently

Consani,

Countess
Classic

done

whose

Matilda
rather

by

of
than

Bizzardo

Bntish

the

Amongst
the
in

strangely
the

Isle

from

of

sculptures of

Wales,

Man,

symbols

Strathmore

of

lions, leopards, deer, and

in

Cornwall,

Ireland,
Christianity, and on

of

some

Britain

Great

abound

combined.

are

on

which

stones

first centuries

the

Christian
in

earliest

carved

Sculfpture.

The

which,
other

of

mentioned

be

must

parts
many
and
Scotland.

of

England,

They

of them

some

date
and

pagan

interesting specimens

most

comparatively

are

late date, centaurs,

animals, with

and
processions of men
afford
and
valuable
information
spirited
style,
oxen,
and
of the period of their erection.
the
costumes
on
manners
But
few specimens of Anglo-Saxon
been
sculpture have
preserved.
The
Shrine
St.
St.
found
Alban's
at
of
Amphihalusy lately
Abbey, is
the
remarkable.
It
is
and
well
most
carved.
conceived,
finely
among
No
has
been
in
older
statue
than
the
sepulchral
preserved
England

etc.,

carved

are

195.

of

cloisters

the

Robert

Effigy of

"

William

of

time

in

of

Conqueror

Westminster

In

Normandy.
; two

in the
nearly destroyed eflSigies,
the
other
(died 1087),

of Vitcdia

one
Abbey
Crispirms (died 1117) and those of St. Oswald
and
Bishop Wolstan
(about the end of the eleventh
"

of

(of uncertain
century),in

"

Cathedral,

Conqueror. His eflSgy in coloured

examples of sculpture in wood in Great
British
Sculpture, properly so called, may
distinct
periods: the Mediaeval, dating from
of

son

the

oldest

thirteenth

century

of

Elizabeth

Queen

from

the middle

date)
ter
Worces-

the earliest existing relics of monumental

among
Cathedral
to Robert
is a Monument
Curthose,

are

Gloucester

In

Cathedral,

Gloucester

to

the
to

of the

Reformation

that

of

Queen

; the

Anne

eighteenthcentury

Irish
Britain
be
the

oak

is

art.

eldest
of

one

the

{Eng. 195).
divided

early part

Renaissance,

three

into

from

the Modern,
; and
the
to
present day.

of
the

the
time

dating

250
It

SCULPTURE.
was

at

the

end

of the Crusades, when

acquaintancehad
made

with

been

the masterpieces

of

Continental

tects
art, that Englisharchifirst fired

were

with

with

sculptured
figures.In

and
foliage

the thirteenth

century,

Gothic

ture
architecthe zenith

at

was

of its

ings
build-

their

adorning

when

of

ambition

the

beauty

in

land,
Eng-

of

the

many
finest cathedrals
built

or

the

were

improved,and
mediaeval

best

architectural and

umental
mon-

sculpture of
Britain

Great

produced.
perioddates

was

this

From
Wells

the noble
of the west
of which

have

thedral,
Ca-

tures
sculpfront

already

described in the
section
ture.
Architecon
been

judging of

In

the execution

must

we

consider that

theywere

at a time when

produced
no

of

school

existed,and
laws

of
or

been

optics,
perspective,
anatomy had
discovered, so
"

the

that

nothingto
his

sculpture
before the

own

artist bad
trust

powers

to but

servatio
of ob-

Wells
was

the time when

Pisano
196.

"

In the

Chapter House

of Westminster

Abbey,

was

the art of

Italy,and
completion of

the

cathedrals

of

Chartres, Amiens,

and

thedral
Ca-

finished at

Niccolb

reviving
sculpturein
before

the

Beauvais;

251

BRITISH.

its decorative

work has, therefore,

the merit of being the very
of
w
ith
earliest example
a consecutive
religious
sculpture
design.
I. erected monumental
Edward
Stone Crosses,adorned with statues
of his late wife Eleanor,wherever
her body rested on
its way
from
and

Grantham
crosses,
now

is at

to

of

Westminster

which

those

only remain.
Charing Cross

thirteen
Abbey. There were
Geddington,KorthamptoD, and

at

copy of

modern

earliest specimensof
of Henry III. and
effigies

Torel

them, by Charles Barry,

Statues

EnglishBronze
of

in Westminster

sculpturesof

the recumbent

I., on their
Abbey. The figureof Eleanor, which
died about

who
a goldsmith,
(orTorelli),

The

are

Eleanor, wife of Edward

was
beautiful,and full of simpledignity,

is very

these

in London.

The

tombs
respective

of

one

of

Waltham

of William

the work

the year

1300.

later date than

Cathedral,of a somewhat
those of Wells, are
mark
considerable
in the
to
advance
a
thought
but they are, unfortunately,
much
art of sculpture,
injured.
the Decorated
of
architecture
When
prevailedin England,
style
statues

Lincoln

introduced

were

in Dorchester

window

in

buildingswherever

Church

twenty-eightsmall figuresof
of the Lady Chapel in
with scenes
carved in high-relief
Monuments
the finest sepulchral
that

of

Aymer

Oxford,

near

Saviour's

our

Norwich

from
of

possible.In
for

ancestors; and

Cathedral
the

are

all

date

Abbey,

from

fine
are

the

keystones
beautifully

Lifeof the Virgin, Some

England

de Valence in Westminster

instance,there

this

of

period;

that of the BUtck

and

Prince in CanterburyCathedral,*are. amongst the best.

of English mediaeval sculpture
No works
excel those remainingin
of Westminster
the ChapterHouse
Abbey {JSng.
196). The small figures
and
the statues above the
carved in the jambs of the entrance
doorway,
and the latter for
door, are remarkable, the former for spirit
same
"

beauty

and

grace ; whilst each

is

well
perfectly

suited to its

positionin

the architecture.
Three

works

illustrative of the
as
by Flaxman
of Englishsculpturein the reign of Edward
IV. : the

have

been

selected

of the art
Sculpturesof the door of All Souls'

state

the

"arl of
Austen

; those

of the aich

of Henry V.'stomb
Abbey
passes
and
's
the
of
Monument
VII.
to the
Henry
Chapel;
steps
in
St.
Warwick
Warwick.
William
(1464),
Mary's Church,
the sculptorof the last-named
was
work, which Flaxman

in Westminster
over

Oxford
College,

which

considered

in

no

from

respect inferior

to

the back

the

productionsof

his Italian

contemporaries.
The

greatestworks of Englishsculptureproducedduring the reign

Henry VII. were the Statues in the Lady Chapelof Westminster, the
of which
is said to have been 3000 : very few now
originalnumber

of

those few suffice to give an

idea of the
the
artists
of
of
invention
fertility
employed.

remain, but

Casts

are

in the

CrystalPalace.

great talent

and

252

SCULPTURE.

During the reignof Henry VIIT., when

Reformation

prevailed,
many

the iconoclastic

of the finest works

of

spiritof

the

English sculpture

destroyed
; but before his death, the arrival of the Italian Pietro
and
the contemporary of Michelangelo,
a
TorriggpiailO,
gave a new
were

different

impulseto

the art ; and

197." Tomb

Tomb

of

The

in

him

of Queen Elizabeth.'

we

In

the

owe

Westminster

Henry YII., which, though superiorin

of Jproportion
to
them

to

those

vigour and

fine

tomb

Abbey

of the

truth

Sculpturesof

Abbey.

execution

are
chapel itself,

the

and

accuracy

inferior
certainly

to

to life.

erected to the memory

(Eng. 197) is said to

of Queen
have

been

Elizabeth
the

work

in Westminster

of twq

253

feRlTtSH.

John
foreignersy

de

Critz

Maximilian

and

Pontrain; but recent

eminent
atures,
painterof mini-

the
researches prove that Hicholas Hilliard,
work and the
executed part of it,besides doing all the enamel
of Mary Queen of Scots,
of the Tomb
gilding. The master-mason
which
copy of Queen Elizabeth's,
Cornelius
Core.
Abbey, was

almost
the

produced which
and
sleeping,
Tonib of Francis
but

The
on

I.

placedin

eminence
of the
arose, after the storm
before the Kestoration, although a few isolated works

Keformation,
dead

James

son

English sculptorof

No

were

her

the

prove
with

that
a

the

artist

spiritof England

little encouragement would

Vere,in Westminster
Abbey, and the figures
of Sir GeorgeffoUis,also in the Abbey, by Hicnolas

Monument

de

famous
have become
under
who would
Stone, a sculptor
of
the
latent
which
are
circumstances,
proofs
power
been

trained

now

at

not

was

revived.

have

The

to excellence.

Charing Cross,

is

by

bronze

might

have

EquestrianStatue of Charles
Hubert

foreignernamed

able
favour-

more

/.,
SoBur,a
Burghhy, on
le

Bologna. The effigyof Cecil Lord

in the Carew Chapel
the tomb
his tomb
at Stamford, and the figures
on
in BeddingtonChurch, are good examples of the monumental
sculpture
of them
stiff and quaint,but often
of the Elizabethan
period some

pupilof

da

Giovanni

"

showing great mastery

The
at this

of art.

of

in England was
die-sinking
Great
of
Seals
the
period. Many

art

Museum
prove that
which
Pisano
Vittore
(of
sculptor
the

in

British
in

Italy)was

we
illustration,

James

Duke

by Thomas

then

was

Simon, who

to

Coins

great perfection

that

this branch

of the

and

were

Cellini

successfully
practisedin

are

succeeded the Frenchman,

preserved

work
the

of the

great

England.

engraving(No. 198) of a Medal

It
made Lord High Admiral.

give an

of York

carried
and

struck
was

Briot,as

As

ponents
exan

when

modelled
Director

of

the Mint.
We

have

present

to

now

school

of

notice the

sculpturein

men

laid the foundations of the

The earliest was
Grinling
mei-it of the reign of Charles

who

England.

Gibbons, a sculptorof considerable

excelled in wood-carving. Fine
II., who especially
work

are

preserved

in

Windsor

specimensof his
Castle,at Burleigh,Chatsworth,
of the nobility,
in the Choir,
and

and
other
residences
other p^rts of St. Paul's Cathedral.
Cajns Gabriel Cibber,a Dane^ was the author of the bas-reliefs on
London
the Monument
near
Bridge,and two fine allegorical
figuresof
IFrenzy and Melancholy
designedfor the entrance-hall of the Bethlehem
which
for
of a
Lunatics,
are
Hospital
truly terrible embodiments
poeticalconceptionof madness.
^Few works of sculpture
of any importance
were
producedin England
William
the
of
and
James
II.,
during
reigns
Mary, Anne, or George I.
executed the Statues at Temple Bar, now
John BnflhneU
removed,
of Dr, Bushy and others in Westand Francis Bird the Monuments

Petworth,

and

254

SCULPTURE.

minster

Abbey,

they are
three

reignof

Roubiliac

Bernini,

master.

prism

in

the

in

work
of the

Niyhtingale Monument
but its idea
is Death

was

in

of Holland.

the Statue of Sir

Isaac

with

by

of James

of York.

of
nobility

Roubiliac

I)itke

Duke

is

with

his
the

is remarkable

By Thomas

Simou.

pose and

dignityof bearing.
of the figures
on
one
Uloqueiice,

of Argyll,in Westminster
same
place has been

in the

keeping with

studied

He

excelled

Newton

Library at Cambridge,which

struck iu honour

vigour,and

Monument

displayedby
Eonbiliac,a Frenchman,

greatest artist of the three.

in many
respects to have
appears

masterpieceis

famous

Paul's ; but

St.

far the

and

hand,

Buysbraok, natives

and

his

for life and

of

Pediment

settled in London

His

19t?." Medal

Another

had

by

was

the

of any

who
foreigners,

under

figuresin

great merit.
was
George II.,however, great activity

Scheemakers

and

the

of them

none

In the

and

the conceits

Abbey.
much

of the time.

The

criticised;
The

design

of the skeleton
arm
; the execution
it is wrapped is very fine. Roubiliac's

human

by a
away
drapery in which
title to
of the
the
one
highest positions among
sculptorsof
Britain
is gained, in spite of such
works
this tour
d^ foT"^'
as
His modelling of heads
and
his
bis
hands,
perfect mastery over

and

kept

of the

\^

BRITISH.

^y

'

255

^-?^-'

^'^

material, and his power of throwing life into all that he touched,
these qualities
his great characteristics. In no works
be better
are
can
traced

of

in his statue

than

in the vestibule

of the

include
principalworks
for
call
but
figures,
hardly

detailed

now
Slidkeapearei

Museum.

British

and

Kujsbrack's
and

statues,

Scheemakers'

monumental

busts,

description.
trio, an Englishman, Joseph
to General
Wilton, acquired celebrityby his Monument
Wolfe in
Westminster
and
similar
in
which
he
works,
Abbey,
displayed
many
skill and
much
talent,but ignoranceof the true limits of his art.
The
monument
with
to Wolfe, for instance,is crowded
figuresand
later than

Somewhat

symbols

mixed

this

famous

togetherin hopelessconfusion.

In

Keeper of the Royal Academy.

Thomas
Banks was
the first Englishman who

1790 Wilton

was

made

or

poeticsculpture.He

lived

later,would

of

His

taken

perhapshave

Europe.
Academy attracted
first groups,

was

models

exhibited

the

succeeded

of his age, and

amongst the master

rank

foundation

the

on

of Sir Joshua

notice

bas-relief of CcM^actactcs and

of

of the
j
an

and

outline.Banks

of
antique,and appreciation
but

he

invitation
home

return

loss

of

correctness

of

met
to

he

with

no

produced his

Briseis,considered

times,which

established

the true

he

of the

one

his fame

and

spirits
Royal

Reynolds. One of his

Favvilyin the jjresence
Psyche seizingthe Golden

excellence

for

symmetry

of Greek

England,and

in

remained

celebrated

the

he

intimate knowledge
displayed

encouragement

Russia, where

ideal

had

his

of Claudius, is very grand. In this,and in his

all alike remarkable
FUvniSyand Love catchinga Butterfly,
of form

with

far in advance

for two

ary
statu-

accepted
On

years.

his

group of Achilles bewailingthe

finest heroic statues
of modern
him

full

employment.
were
sepulchralmonuments,
in which
he did not escape the prevailingerror
of his time
striving
to combine
and
and
introduce
to
a greater variety
allegory
portraiture,
of subject
than is admissible in statuary.
Joseph Hollekens,a contemporary of Banks, although inferior to
him in every other respect,excelled him in portrait-statues
and busts,
for which there was
demand.
an
extraordinary
John Bacon was
industrious and successful sculptorof the same
an
the porcelainshepherds and
time, who supplied the Court with
shepherdessesso much admired in his day,and executed several fine
of which
those of Joh7i Howard
and Br. Johnson, in
portrait-statues,
his commissions
Unfortunately,

brought

confined

to

"

St. Paul's

Abbey,
is in the
"

are,

classic

Cathedral,and

are

considered

the

the

Monument

best.

The

CrystalPalace.

None

however, worthy

to rank

with

excelled

even

sculpture,who

and
conceptions

the

to

in Westminster
CJiathavi,

originalmodel

of these

men

"

Flaxman,
Canova

beauty of his execution.

for Dr.

Johnson

except,perhaps,Banks
the restorer
in the

of

boldness

English
of

his

256

SCULPTURE.

John

Flaxman, the son of a modeller and dealer in plasterfigures,

born at York, in 1755.
He
commenced
was
studyiug at the Royal
received
when
but
fifteen,
never
regularlessons from
only
Academy
Miss Denham, a lady whose genuine
In 1772 he married
any master.
love of art was
of the greatestservice to him.
In 1787 Flaxman
went
elected
and soon
after his return
to Italy,
to England,in 1797, he was
Associate

an

and

from

till his death

bas-relief

like raised

has

paintings
;

the

but

justlybeen

and

Ghiberti's

even

his labours

in 1826

Flaxman

unceasing.

were

of modern

much

was

that time

of his art

mician,
Royal Academy. In 1800 he became an Acadeappointed Professor of Sculptureto the Academy,

of the

in 1810

in every branch
called the author
reliefs

Canova's

too

were

fullyrecognised

English master

covered
the tru^ limits of his art.
The
study of the relics of antiquitydisin Italyat the beginningof the present century brought the
mannerism
also

the

betwe^

contrast

of those

of the first to

one

Wells, Lincoln, and

still the

are

in the

best

Group

of the

of

one

piecesof

his

Chichester, the

work, the

own

to Lord

Monument

Church, Hampshire,
Barings^in Micheldever
vanquishingSatan, a Figure of Psyche,
Sir Joshua
Reynolds^
Michelangelo,
l^apfiaeJ,
the most
of the Shield of Achilles,
are
among

of

bis model

The

valuable.

of the shield of Achilles

to have

Of

was

sculpturesof
on
Sculpture

the

his Lectures

; and

He

him.

Michael
Arclia7igel

Pitt,and

originaland

Collins at

to

Statues
Aix"llo,

WiUiam

value

English language.

that of the

and
Mansfield,

sculptorsvividlybefore

cathedrals

the affected

reliefs and

Greek

at their true
appreciate

other

bas-relief Monument

of
simplicity

severe

of modern

been

real

antique work

book

18th

of the

shield,by.others

combined

into

description
(by some supposed

Iliad

ideal founded

an

united

one

the

from

last-named, taken

in the

whole

various

on

by

the

genius

of art, full
is universally
allowed to be a magnificentwork
poet),
and imagination.Flaxman
was
scarcelyless famous for
poeticfeeling

of the
of

his

designsof various kinds

are
preserved in the

of both

for his

than
Hall

of the

He

sculptures
; a fine collection
UniversityCollege,London.
English pottery to the rank

suppliedWedgwood, the restorer of

art, with designsfor many
groups, medallions,and bas-reliefs.
Sir Francis
eminently successful in historical and
Chantrey was
to those of
contrast
portraitstatuary. His works present a striking
of

an

Flaxman, and

in many
is said to have been

Sir Francis
at

the

respectsthose

resemble

of

beginning

Children,in Lichfield Cathedral

group
considered
is
(1818),

bronze
composition. Marble
Washington,and Bishop Ileber,are

portraitsof

Bailey studied

great master's

manner.

Fountaiti, in the
considerable

He

under

Flaxman,

is best

known

PhilosophicInstitute

poeticfeeling. In

his

at

and

ment
encouragethe Sleeping

Chantrey's finest
Pitty George

William

his well-known

among

and
of

The

career.

and

Edward

Nollekens, to whom

for assistance

indebted

his

of

works.

acquiredmuch

of his

his group of JSve at the

Bristol,in which he showed

by

public monuments

and

architec-

257

BtiiTtsa.

sculpturesBaileywas not so successful. We may instance his

ingham
Nelsott on the column in Trafalgar
Square and the Pediments of BuckPalace as proofs.
John
Gibson, an Englishsculptorof great genius,who spent the
tural

greater part of his life at Rome, is famous for his introduction of

shown
in London
which
at
was
colour in statuary his tinted Vetius^
this
of 1862, having excited a warm
the Exhibition
controversy on
with
but in some
three
studied
for
Canova,
Gibson
years
subject.
"

fame

respects he surpassedhis master, whose

was

on

the

Nyinpft
by Zephyr,

Gibson's first work of importance was

unfasteningIter Sandal, followed by groups of Psyche borne
Gibson

left his studio.

risingfrom tlie Waves,

his Dog, all full of severe

Aurora
and

the

Amazon, and

Wounded

and

digni6edbeauty.

Of

when

wane
a

the Hunter
his

portrait-

and Queen Victoria

statues, those of Huskisson, Peel,GeorgeStep/ienson,
fine
collection of his
On his death, Gibson
the best.
bequeatheda
are

199." The

models

and
sculptures

SleepingChildren.
By Chantrey.
In LichfiddCathedral.

to the British

of ffalleries in BurlingtonHouse.
Siehard James
Wyatt was
at Rome,
principally

executed

for the

he

Queen when
thorn from

Xyinph taking
of her Majesty,are
a

where

among

they are

now

in

suite

industrious

an

died.
he

nation

was

His
on

sculptorwho worked
at Windsor
Castle,
Penelope,
visit
to England,and his
a

tlt^foot
of Iter Hound, also

in the

possession

his finest works.

of some
fame who
studied
Sir Siehard Westmaoott
was
a
sculptor
the
about
He
time as Gibson.
succeeded Flaxat
same
under Canova
The
Professor of Sculptureat the Royal Academy in 1827.
as
man

works

by

which

he is best

known

are

his monumental

statues,such

as

Cliarles James Fox, in "Westminster Abbey,

dral.
and of ^StVlialphAbercrombie and Lord CoUingwoodin St. PauFs Catheof the Pediment
of the British Museum, the Statue
The sculptures
of
of Fox in BloomsburySquare, Canning in Palace Yard, and the Duke
those of WiUiofln Pitt and

258

SCULPTUftE.

of York

the York

on

Windsor,

by

are

column, the Equestrian Statue of George lit,

the

ai*tist. The

same

fame

of Sir Eicbard

at

Westmacott

his havingbroken
on
principally
through the habit so long prevalent
with portraiture
in monumental
in England of combining allegory
for eicample,
In the Monument
the
to Sir RcdpfiAbercrovibie,
art.
hero
is
of
instead
a
a
supportedby Highlander
symbolicfigure.
dying
rests

Haodowell

Patrick

Readhig

Europe

at

Samuel

Joseph was

the
and

Abbey,

of considerable
talent,whose
of 1862, was
versally
uni-

Irishman

an

the

foot of the

the

Westminster

found

was

Girl,exhibited at
admired.
He was

Great

Exhibition

the

sculptorof

Albert

Memorial.
of the

author

the

of Wilberforcein

fine Statue

of Wilkie in the National

that

his chief

representing

group

Gallery. He

modeller of busts.

employment as
HnBgrave Watson, a sculptorof great promise,was the author of
of Flaxman
in the London
the seated Statue
University;of a fine
Oxford
;
group of Lords Eldon and StoweU,at the UniversityCollege,
in
the
fire
and of a bas-belief to 2"r. Comieronj which was
at
destroyed
the ChapelRoyal,Savoy,in 1864.
Baron
Haroclietti was
Italian sculptorof merit who
settled in
an
in
his
His
colossal
of
Bic^iard
Coeur de
career.
England early
figure
Lion, in Old

England.

Palace

His

Yard, Westminster, is

of his best works

one

of Emmanuel

EquestrianStatue

in

Turin, the

at
Philibert,

of EeUini in the cemetery of P^re Lachaise,the Grand AUar ofthe

Madeleiiie,Paris,and Statues of the Emperor NapoleonIII, and the
Dtike of Orleans,are also very fine.

tomb

John

known
of the
as superintendent
Thomas, who is chiefiy
the
New
the
ornamentation
Houses
of
carvers
employed on
few independentworks, of which
the
producedsome

and

of the

group

Queeiiof the Britons

Thomas
pi'incipal.

largeschool of
in the

will

of which

ranks

appeared. Hardly
Gothic

many
church

Revival, without
j and

in

and

more

mansion

did

and

the

he

and
has

"

have

the

been

built since

carvingbeing

which

he

the

the

troduced
in-

Palace

of them
for the work

statues, many

both
specialrecognition

influence

marble

revenge is the
of that
head

such, for example,as

included

liament,
of Par-

helpedto form, and

of geniushave
some

less architectural

or

importantworks

"

he

as

which

of talent
a

the decorations
of Westminster
He deserves
of no small merit.
that

wood

men
or

Subjectsto

remembered

be

always

in stone

carvers

rousing/*""

masons

exercised

over

this branch

of art.

William
statues

of

Behnea,

of which

GeorgeIV*

in

who

that

died
of Sir

1864,

RobeH

successful with

was

Peel

in

portrait

London, and
Cheapside,

the best.
among
of the latter half of the

Dublin, are

of note
sculptors
of
whose
Dublin,
Foley

Other

in

presentcentury are
Bacchus, and Youtli at the Stream,
the group of Asia on the Albert Memorial, with his equestrian
portraits
of Lord Harditigeand Sir JamAs
his best works.
Ouiram, are among
J. H.

Ino

and

259

BRITISH.

Alfred
the

Q,

best

in

bronze,

of

mastery
finest

Cathedral,

pieces
E.

G.

Sir

whose

and
A.

works

of

works,

such

the

Among

for

R.A.,

was

of

important

most

who

Park

the

Statue

B.

J.

Philip,

all noted

were

the

most

London,

Corner,

Hoble,

qf

the

Equestrian

the

sculptors,
Spence, whose
and

Lavinia,

Lakey

imaginative power.
and
delicacy
grace

of

his

successful.

living Sculptors

modelled

one

Paul's

Britain.

the

H.

their

for

noted

is

Benjamin

Lcidy

Mary^

remarkable

are

P.R.A.,

Leighton,

of

limits

Great

and

portraits being especially

bust

death,

Woolner,
his

St.

Birch

busts

Highland

Daughter

Thomas

B.

C.

and
and

statues

the

as

sculpture.

in

Hyde

at

thorough

of

of

artist

of WeUingt"n,

Stephens,

portrait

rharaoKa

work

B.

the

century,

present

true

in

sculpture

was

who

qf Wellington,

chiefly portrait statues.

Longli, L. Haodonald,

were

J. G.
E.

chiefly

E.A.,

his

of

one

was

combined

of the

Duke

after

architectural

DiiJce

the

Monro,

Theed,

W.

of

Boehm,

of

honour

in

until

completed

not

successful

the

to

the

silver, and

recognition

Monument

the

of

designs

iron, and

with

technique
work,

decorative

marble,

Michelangelo,

of

student

earnest

an

of

originators

worked

His

Steveni,

bronze

Athlete

An

of

group

Frederick

Sir

are

of
which
Python
was
purchased by the Trustees
Museum
Chant
the
South
in
the
Kensington
Bequest, and is now
;
rey
Alfred
of Queen
seated
Statue
Victoria,
Gilbert, B.A., designer of the
and
the
in Piccadilly, London,
at
Winchester,
Memorial,
Shaftesbury

Btrvjggliny

and

whose

pieces
A.B.

of

A.,
TJie

of

"

of

Statuettes

Poetry;

of

of

The

of

Greelt

of

for

the

Tinworth,

Bates,

Marshall,
well

The

A.B.

praise

; T.

G.

in

whose
G.

; Hamo

and

B.

Hownds

Frampton,

at

and

Oxford,

B.A.,

Thomycroft,
show

his

A., author

of

Medea

Brock,

; Onslow

times

modern

the

amongst

are

Shelley

to
etc.

Reaper,

A.,
;

Peraeua

England

Dancing,

sculpture

much

also

in

and

Monument

fine

Mower,

beautiful

must

Calder

Icarus

sculpture produced
author

H.

worthy
We

Singer, Music,

Statues

taste

u"Uh

in

and

Leash

A.B.A.,

earnest

The

Ford,
statues

whose
ciation
appre-

Genius

Pandora
has

who

finest

qf
are

revived

bas-reliefs.
mention
B.A.

known

sculptors

as

for

and

his

T.

of

Nelson

terra-cotta

note"

H.

H.

Armstead,

MacLean

reliefs

of sacred

as

well

as

B.A.;
George

subjects.

American

In

successful
many
have
exhibited
been

America

works

whose

Most

elsewhere.

and

Thomas

Kome,

at
was

design
this important
of

and

late

years,

Paris, London,

to

of

many

the

many
His

young.
much

Frederick

years
chief

resembling

the

Great.

Of

Equestrian Figure, with the

been
Kerry, had
completed

Patrick
at

for

Richmond,

at

central

the

work

the

in

Italy, where

in

promise, who
still quite

when

Monument

Munich

at

of

of

arisen
time

to

studied

Washington,

to

Jefferson, Lee, and

in bronze

cast

died

composition

The

time

artists

well-known

Ranch's

Statues

who

Monument

in

from

sculptor of

and

have

sculptors

name

may

Crawford,

resided
work

of these

We

still reside.

them

Sc^ilj^ture.

of the

time

entrusted

death

artist's

Bandolph

was
completion
sculptor of eminence.
in Florence, was
Hiram
lived many
Powers, who
years
admired
Slave
much
in the Great
in England ; his Greek
was
Statues
His Eve
of 185L
after the Fall, and his Portrait
his
best
FramJdin, Webster, and
Waahingtmi, are amongst

to

in

1857.

Bogers,

an

American

Greenongh

Horatio
the

Hill;
and

where

Rome,
Eve
Rejjentant is
he

Paul

died

Benjamin

works.

He

many
the Lion, and

works.

died

He

Wwivan

his

in

the dead

Abel;

Cleopatra

MotiumeiU

portico of

the

for

lived

He

Bunker's

mi

the

many

Capitol

in

years

began

life

as

his attention

Blind

to

made

Honier
He

work.

lived

painter, but finding

sculptura He went
him

of his

most

His

celebrated.
life in

Italy,

he executed
chiefly in Rome, where
Pearl
IMa
and
The
Lost
Diver,
beauty.
celebrated
his most
are
ofUungan^
among

lived

1861.

Gould,
Adams

of

of

Elizabeth

Saint

Henry
of Sa/inaria

Doors

the

1852.

much

of

John

Bronze

best

Binehart

R.

Thomas

Wind;

by

1858.

(Benjamin)
works

His

model

his

in

Akers
ideal

William

in

Bartholomew

colour-blind,turned

was

to

where

died

he

Sheffield

Edward
he

known

best

27ie Rescue, on
group,
of Washington,
Statue

Florence, where
that

is

elaborate
colossal

the

whose

Exhibition
of

in 1873.

died

aivd

known

well

is

who

spent nearly all his professionallife in Rome.

one

studied

Jackson,
Randolph

the
and

of his best

who

in

works.

He

died

in

1874.

for his West

Florence, celebrated
of Eve
in Florence, author

lived

Rogers,

of

Rome,

W.
Capitol at Washington.
Libyan Sibyl (Eng. 200)

the
W.
are

author

of

the

fine

Story, of Rome,
very

successful;

2G1

AMERICAN.

Thomas
Statue

Brown,
W.

Bell, who
of

Washington and

whose

CouPER

resides in Florence,and is well known

best

of
(pupil

work
Thomas

200. -The

of

Kibke
sculpture
; Henry
of
Statue
General
Scott;
Equestrian
well known
for his charming Statues
Ball),

his monumental

is

an

labyaa Sibjl. By

and
Coming of Spring ;
Psyche,
in

mount

Powers

for his colossal

Moses

W.

W.

Story.

Jacob
dent
Ezekiel, who is resiRome, the author of the group of ReligiousLibertyin FairFlorence
Park, Philadelphia;
Freeman, a pupil of Hiram
in Floi-ence,
whose
Putii and friezes for chimneysculptured

262

SCULPTURE.

have

pieces

The

in

W.

A.

J.

of

resident
of

Larkin

sculptor

in

the
at

groups
of

The

Freed

for
the

of
of

author

well-known

of

Man,

Chicago
on

the

steps

and

Capitol

who

Augustus
and

at

Boston

Rogers,

Guard;

Q.

Lincoln

John

J.

statues

at

Hiawatha,
;

the

and

Monument

of

works

best

President

also

Admonia

her

busts

Picket

Exposition
of

one

of

cameos

The
Statue

of

of

Borne,

in

IvBs,

B.

C.

Bctcehus

portrait
Statue

of

as

is

Soldiers'

carver

sculptor
the

his
fine

Tim

such

subjects,

war

Saint-Gaudens,
successful

the

Infant

for

sculptor

Gibson

admired

of HiawatJia

known

best
the

of

pupil

Tfie

sculptured

French,
Hartley,

S,

much

been

celebrated

Milmore,

delights

has

Marriage

the

Palmer,

author

who

whose

I.

Hoshbr,

Cenci

Macdonald,

Erastus

War

Harriet

C.

Daniel

and

Beatrice

Rome,

Rome,

Meade,

Martin

Pecbce

Samaritan

Statue

Lewis,

admired

much

group,

Young

whose
a

been

colossal

his

A.

of

Ward,

Washington.

many
the

BIOGRAPHICAL
CELEBRATED

ARCHITECTS

British.

Br,

Danish.

Dan.

born

died

; d,

Fl,

Flemish.

Or,

Fr.

French.

lU

Cfer.

ab.

about

Group

Gp.

Greek,
Italian.

Sp. Spanisli.

German.

Architect

; Ar.

{DECEASED),

SCULPTORS

AND

American.

Am.

h.

INDEX.

Statue

; SL

Sculpture

Sc.

Eq. Equestrian.
PAGE

Br.

Adam,

James,

Adam,

Robert,

AoELADAS

Br.

Or,

Agesander,
AoNOLO

It.

Or.

Agobtino

Siena,

of

Or,

Alcamenes,

//.

It.

It

Thralbs,

of

Or.

sc,

b.

sc.

444

in

worked

sc.

Apollonius

181

d.

1825,
St.,

b.c.

The

1522.

ab.

Parma

at

173
...

Arezzo

of Bishop,
Diana

1861.

Venus

209

Rhamnus

at

T"mb

1344.

...

Cathedral

Orvieto

Facade,

on

Mel

of

...

Endymlon

dt
os

209
260

(?)

173
...

Certosa

221
...

Tomb

d. 1592.

Florence, 1511,

G^.

Aristodemus,

"c.

Or.

Athrnodorus,

William,

E.

lived

Sc.

1190.

...

Urbino

at

229

Baptistery

on

204

Br,

H.

sc,

von,

Bandinelli,

Baccio,

Banks,

R.A.,

Th.,
us,

It,

Barry,

Ed.

M.,

Barry,

Sir

C,

Bartholomew,

se,

Br.

It.

sc.

se,

worked

R.A.,
R.A.,

Br.
Br,

Edwards.,

Val
ab.

sc.

80
1420

1470.

"

lAmbeth,

ar.
ar.

Monreale
b.

in

b. in
Am.

sc.

1735,

ab.

London,

b.

in Connecticut,

to

War\^ick

the Fountain,

255
256

-"4nnirti""onGrotenberg

244

Flor.

227

Gale,

d.

251

Pitt, Guildhall
Bristol

at

d. 1880.

1795,

181

Achilles

Bronze

209

...

Bas-reliefs, Duomo,

1559.

1830,

Westminster,

...

Flor.

Duomo,

of Warwick,

Eve

d. 1805.

1180.

181
181

...

Sc,

Man.

d. 1876.

Florence, 1488, d.

b. in

at

1800,

Bull

...

Earl

1740, d. 1799.

b. at Ausbach,

52
...

Famese

Laocoon

Gp.,

B.C.

1310.

182

Rome

Forurn,

Gp.,

B.c.

61

Attnlus

of

of Lysipptis

d'Elsa, 1232, d.

Southwark,

b. in

and

80

Pupil

B.C.

Warriors

B.C.

Column
ab.

b. at Bristol, 1788, d. 1867.

sc,

Oer.

320

between

b. in

sc.

de

240

Trajan
Rhodes

at

ab.

Rhodes

at

worked

R. A., Br.

Ernst

Bandel,

Sieyon

ab.

Sophia, Constantinople

St,

532.

a.d.

114.

a.d.

b. Colle

sc.

ab.

Pergamus

"

worked

sc,

at

lived

sc.

R. A., Br.

John,

ab.

Or,

It,

Cambrio,

di

lived

ar,

lived

ar.

Athens

at

Tralles,

of

Arnolfo

Or.

lived

Rom,

Apollodorus,

MAN

ab.

Sc.

Maine,

...

...

...

St., Neinesis,
"

168

...

Antigonur,

Bar

1300

Paira, 1447, d.

near

Benedetto,

Anthrmios

Bailey,

at

b.c.

140

Olympia

Group,

140

London

Terrace,

Laocoon

Gp.,

1340.

in

Adclphi

Place

Portland

...

Antelami,

Bacon,

Athens

Baktolommeo,

ATI,

Austen,

se,

b.

se.

1792.

n.".

440

ab.

Designe*!

Chariot

ab.

between

Am.

d.

b.c.

80

Siena

at

lived

se.

lived

se.

Giov.,

Ahadeo,
Amman

//.

(?), d. 1794.

520

ab.

Pares

at

(Paul),

Benjamin

AKER8,

Uved

SC,

ab.

Rhodes

at

lived

se.

lived

se.

lived

1780

Kirkaldy, 1728,

at

Or,

se,

SiEKA,

OF

Agoracritus,

b.

ar.

Arooa,

OF

Kirkaldy,

b. at

ar.

"C*Briseis, London

204
...

House

Burlington
1860.

1822,

d.

255

Monreale

H,
1858.

145
...

of

Parliatncnt

142

Homer

260

Blind

264

BIOGRAPHICAL

INDEX.

Baetolini, h.,It.8c. b. nr. Sarignano,1777,d. 1850.

Barte, Antoine, Fr. sc. b. in Paris,1795,d. 1875.
db, Fl,

Guyot

Beaugrant,

Bernini,

Br.

Naples,1599, d.

b. at

sc.

Bacchants,Chatsworth

figuresof Animals

...

Chimtvey-pi^iee^
Bruges

Bruges,1529.

Lord

Mansfield'sChUdrtn
Peter's

2oS

105, 23e

...

BoETHUS,

Gr.

Bologna,

Giovanni

Bon

7i5."c. worked

NANO,

da, It. sc.

Edm^,

Vienna, 1834,

320

b. at

Douai,

It.

b.

SC.

St. of

Toicer

d. 1762.

Bruogemann, Hans,
It.

Ger.

sc.

Filippo, It.

Brunellesco,

sc.

Br.

b. in

ar.

b. in

ar.

Brtaxis, Gr. sc. lived at Rhodes

BuoNAROTTi, M., It. nr. k sc. b.
Buono, Bartolommeo, It. sc. b.
Burton, Decimqs,

Husum,

ab. 380

at

Sc.

b.c.

at Castel

Venice, 1410, d. 1470.

d. 1881.

...

del Fiore, Florence

Beliefs,
Bargello

1446.

Caprese,1475, d. 1564.

London, 1800,

...

Psyche,Louvre

of Mausolus

Tomb

on

d^

St.

...

Rome
Peter's,

Churches,Venice

...

Club, London

Athenaeum

Calamis,

Gr.

sc.

Callicrates,
Gallon,

(yr.

Canachus

of

Gr.

"c.

lived in

Sicyon,

Gr.

J.

B., Fr,
Gr.

sc.

Chalgrin,

Jean

F.

Chambers,

Sir

Wm.,

Chantret,

SirF.,

Chapu,

sc.

Chares,

Fr.
Gr.

sc,

b. at

St., Temple of ^gina

B.c.

St. of Apollo,colossal

b.c

b. at

Possagnonear

ar.

A., Br.

sc.

b.

nr.

b. in
ar.

Fr.

ab. 260
b. in

B.C.

239
101

99
214
178
103
221

..

...

...

...

...

...

...

...

253
221
168

87
171
168

246
229

Wrestlers, Florence

The

b.c.

St. of

d. 1811.

Arcde

Stockholm, 1729, d. 1796.

d. 1891.

245

Perseus,Florence

Paris,1739,

b. at

105

Opera House

Sheffield,
1781, d. 1842.

Paris,1833,

lived in Rhodes

ab. 380

204

236

Florence,1500, d. 1571.

lived at Athens

230

Virgin and Child, Granada

Hebe, Venice
Venice, 1757, d. 1822.

b. at Valenciennes,1827, d. 1875. Dancing, N.

sc.

R.

Parthenon, Athens

Granada, 1601, d. 1667.

at

T., Fr.

Br.

The

lived ab. 500

It, sc. b. in

Cellini, Benvenuto,
Cephisodotus,

sc.

Bacc-horses for Chariots

B.c.

B.C.

iEginaab.480

Cano, Alonzo, Sp. sc. b.

Canoya, Antonio, It. sc.
Carpeaux,

ab. 480

lived ab. 440

ar.

181

142

Bushnell, J.,Br. sc. h. ab. 1640 (?),d. in London, 1701. St., Kitigson Temple Bar
BusTi, Agostino
(Bambaja), It. sc. b. near Pavia, 1480, d. 1550. Sc, Certosa,Pa via
lived at Athens

233
259

Antiq.,*kc. 144
Altar,SclileswigC. 208

S. Maria

Florence,1877, d.

Churches, Rome

253

Cathedral

ab. 1480.
Schleswig,

h. in Florence,1377, d. 1446.

ar.

...

Rome
Peter's,

St.
*

...

Column, Paris

Cupid

Bramante, Donato, It. ar. b. near Urbino, 1444, d. 1514.

Britton, J.,Br. ar. b. at Kingston,Wilte, 1771, d. 1857.
Brunellbschi,

Mercury, Florence

of Pisa

Vend6ine

...

...

d. 1667.

Bissone,1599,

at'Chauraont,1698,

b. at

Statue
...

1524, d. 1608.

Leaning

b. at

sc.

Portrait

233
259

...

Chimney-piece,Bruges

d. 1890.

Monaco, 1759, d. 1845.

b. at

Fr.

ar.

1560.

Pupil of Lysippus

B.C.

at Pisa ab. 1180.

BoRROMiNi, Francesco,
Bosio, Francois, Fr. sc.
BoucHARDON,

b. at

Sicyonab.

lived at

sc.

Bruges,1495, d.

at

233
233

Transfig.,Toledo
Bebruquete, a., Sp. sc. b. at Paredes deNava, 1480, d. 1561.
PortraU
Statue
b.
d,
Br,
1893.
sc.
1832,
Birch, C. B., A.KA.,
Bird, Francis, Br. sc. b. in London, 1667, d. 1731. Conversion of St. Paul, St. Paul's
Blondeel, Lancelot, Fl. sc. b.
BoEHM, Sir G. E., R.A., Br. sc.

248
a45

...

Colonnade,St.

1680.

...

Madrid

Madonna,

London, 1795, d. 1870.

b. in

sc,

L., It. ar. "

Gio.

tk

Bronze

b. at Bacza, 1520, d. 1570.

Becbrra, Jaspar, Sp. sc,

Behnes, William,

lived at

sc.

Cupid

St. of

Opera

Colossus

...

Triomphe, Paris
Somerset

House

240

179
110
140

SleepingChildren,Lichfield

256

House

247

of Modes

Paris,1763, d. 1810.

...

...

...

...

...

St. of Peace, Tuileries

sc.
Chaudet, Antoine-Denis,
CiBBER, C. 0.,Dan. sc. b. at Flensburg,1630, d. in London, 1700. Madness, 8. K. Mus.
Tamb
Civitale, Matteo, It, sc, b, at Lucca, 1435, d. 1501.
of Pietro da Noceto
...

180
245
263

221

IND^ML

BIOGRAPHICAL

,265

a
.

PAOR

Ci^iEOiCENES,
CooKEBBLL,

Or,

Uved

ac

CoLOMBE,

R., Br.
Michel, Ft.

CoiXTTEs,

Gr,

C.

CoFONiirs,

h. in

ar.

London, 1788, d.
Tours, 1430, d.

b. at

ac.

lived at Rome

ae.

St., Venxis de' Medici

ab. 160 B.C.

lived at Paros ab. 440 B.O.

ae.

Som,

at Athens

TaylorBuildings,Oxford

1863.

St.,George A Dragon,

1514.

St., Athena, at Elis

ab. 80 B.o.

...

...

Louvre

...

St.,Barbariana

...

...

...

Paris
d'Etoile,

CoRTOT,

Jean"Pierrk, Fr.

Cousin,

to Philippede Chahot
Monument
Jbam, Fr. ae. b. near Sens,1501, d. 1589.
Paris
GuiLLAiTMR, Fr. ac. b. in Paris,1716, d. 1777. Marli fforaea,

CousTou,

b. in

ae.

Paris,1787, d.

Sc.

1843.

Are

on

187
142
231

173
190
245
231
239

...

CousTou,

Nicolas,

C'OYSEVox,

Tuileries

239

Tomb of Mazarin, Louvre

York, 1814, d. 1857. Washington Monument
/itrozziPalace,Florence
Florence,1463, d. 1508.
between
Tomb of Mary,'Q. of Scots
worked
1480 " 1520.
ae.

239

Fr.

Antoine, Fr.
Toomas, Am.

Crawford,

It. ar. h. in
Cronaca,
Cure, Cornelius, Br.

Lyons, 1658, d. 1783.

at Lyons, 1640, d. 1720.

"Seine and

b. at

ae.

b.

ae.

Mame,

b. in New

ae.

...

260
99
253

Dance, George, R.A., Br. ar.b. in London, 1740, d. 1825.

NetogalePrison
Danneckbr, Johann
1758,d. 1841. Ariadne, Frankfort
von, Ger. sc. b. at Stuttgart,

241

David,

245

De

Pierre-Jean, Fr.

Lorme, Philibert, Fr.

DiPiENUS

OF

DoNATELLO

Crete,

Gr.

(DoNATO

b. at

ae.

lived ab. 580

ac.

Sc.

1856.

b.c.

on

Th^

h. at Lyons, 1500, d. 1577.

ar.

Betti

Di

Angers, 1789, d.

Pantheon, Paris
Paris
Tuileriea,

Dioscuri, Argos

106
...

...

Bardo), It. ac. b. in Flor.,1386, d. 1466.

St.,^.George

d. 1741. Perseus "t-Andromeda, Vienna

ac. b. at Essling,1695,
KiLFii.,Ger.
Warrior
Drake, Friedrich, Ger. sc. b. at Pyrmont, 1805, d. 1882.
crowned, Berlin
Dl^ban, Felix, Fr. ar. b. in Paris,1798, d. 1871. J""/" dea Beaux Arts, Paris

DoNNER,

140

G.

168
214
239
242
110

...

Ddpr",

Giovanni.

It.

b. at

sc.

DURAND,

AnfeoiE, Fr.

DuHER,

A., (hr. sc. " pa.

Francisque, Fr.

DuRBT,

Elmes, James,
F1E8OLE,

MiNO

Br.

ar,

DA,

It.

Siena,1817, d.

Cain

1882.

se.

b. at
se.

b. in

Niimberg, 1471, d.

b. in

Paris,1804, d.

London, 1782, d.

1528.

...

...

Altar-shrine, Landauer

233

in La Madeleine
Christ.,
St. George'sHall, Liverpool

1862.

0/ Pope Paul II.

OspedaleMaggiore, Milan

Tomb

...

Filarbte, An., It. ar. b. in Florence ab. 1410, d. 1470.

FiORE, Anoelo, It. se. b. at Naplesab. 1430, d. ab. 1600. Tomb, S.Domenico, Naples
West. Abbey
Flaxman, J.,R.A.,5r. se. b. at York, 1755,d. 1826. Lord Mansfield,
Foley,

J.

H., Br.

ac.

b. in

FowKE, F., ILE., Br. ar.

FoYATiKR, Denis, Fr. sc.
Garni

EB, Jean

Gartner,

b. at

1828, d.
Balysinnin,

b. at

Bussiire,1793, d.

Louis, Fr.

Friedrich

Dublin, 1818, d. 1874.

von,

ar.

Ger.

Ghibrrti, Lorenzo, It. ac.

Gibbons, Grinlino, Br.
Gibbs, James, Br. ar. b.

b. in

sc.
near

b. in

ar.

Paris,1825.

Eq., Lord

ffardinge,Calcutta

1865.

Kensington Museum

1863.
New

b. at Coblenz, 1792.

Florence,1378, d.

b. at Rotterdam, 1648

S.

in Tuileries
Spartaeus,
Opera House, Paris

1455.

245
142
218
98
222
256
259
144

...

245
110

Triumphal Arch, Ratisbon

109

oftha Baptistery

213

Wood

258

Galea

(?),d. 1721.

Aberdeen, 1674, d. 1754.

248
245

1865.

b. in Florence,1400, d. 1486.

se.

Abel, Pitti Palace

id

Religion,Vinccnnes

b. 1789, d. in Paris,1873.

carvings

...

St. Martin* s-in-the-Fields

140

Gibson, John, Br. ae. b. near Conway, 1790, d. at Rome, 1866.

Venus, Rome
Palazzo del Conaiglio,
Verona
GiocoNDO, Fra, //. ar. b. at Verona, 1430, d. 1529.
Florence
Giotto, It. ar. kpa. b. at Vespignano,1266, d. 1336.
Campanile,

257

GiRARDON,

239

...

...

F., Fr.

Versailles
Proaerpine,

ae. b. at Troyes,1630, d. 1715.

Gislebertus,Ger. ae. worked at Autun (Burgundy)ab. 1180. Pediment of Calh.
Qlaucus
OF
Chios, Gr, ae. lived ab. 680 b.c. (?). Invented brons" coating

Pluto and

105
92

202
...

167

266

BIOGRAPHICAL

INDEX.

Jp.AN,Fr. se. b. 1535 (?),d. 1572. So. on front of the louvre

St of Washinfff^n
Orebnouoh, Horatio, Am, sr. b. in Boston, 1805, d. 1852.
GouJON,

231

...

...

260

...

It.

Fba,

GUOLIBLMO,

Hamilton,

b. at Pisa ab. 1238, d. 1312.

se.

Thomab,

Br,

b. in

ar,

HAK8EK, Theo., Dan. ar.

Habdwior, p., R. a., Br.
Hawksmoob,
Nicholas,

Br.

Heotlrs

sc

Heo

RSI

Sparta,

or

Scotland,1785, d,
Copenhagen,1818.

b. at

Juan

Hittorf, Jakob,
Holland,

Henry,

Holt, Thomas,

Br.

Br,

Jean-

Fr.

Br.

Iaioonus, Gr.'sc. lived

IsoDOBUA

b.

Or.

b. in London

Joseph, S.,R.S.A., Br.

Juste, Jean, Fr,

sc.

1883.

ab. 1572,d. 1651.

1477, d. after 1548.

Klenze, Leo
Kbaft, Adam,
Le

Oct.

von,
Oer.

b. at

sc.

Sobur,Hubert, Fr.
Or.

Leochares,

b.

ar.

Vinci, It, sc. kpa.

Leopabdo, a., It. sc. b. at Venice

Leonabdoda

PiETBO,

LoMBABDO,

It.

LoBENZETTO,
Lough,

G. , Br.

John

Oer.

Luitfrecht,

Lysippus,

Or.

se,

lived at

Maodowell,

p., R. a., Br.

Majano,

Ben.

Majano,

Giuliano

Mansabd,

It.

Stefano,

da. It.
di

se.

...

231

...

College,Cambridge
...

1864.

se.

se.

sc.

...

109
2.34

...

Cross
...

Eq. St.,^orsa

Tomb, Doge Vendramin

West

Front, Louvre

b. at

340

106
...

...

B.C.

Marquis of Hastings,Malta
1150. Carvings,Crypt of Cath.

d. 1876.

St., Alexander

Perth,1799, d. 1878.

Bissone,1556, d.

1629.

b.

ar.

221

227
259
201
180

...

...

Ulyssesand

Virginius"fchis
West

Front

...

his

Dog

...

Daughter

of St. Peter's

Palace

Versailles

259
258
103

Lombardy, 1571, d. 1636. St. oi St. CeeUia,Rome

at Majano, 1444, d. 1497.
Annunciation, M. Oliveto
b.
It.
at
ar.
Majano, 1432, d. 1491. Palaces,Home
di,
b. in Pariji,
1598, d. 1666.

222
221

ofDoge Mocenigo
Tombs, Florence and Pistoja

1541.

253
178

...

b. in

Nabdo

Francois, Fr.

...

135
244

Pinahothek, Munich

Vinci,1452, d. at Cloux, 1519.

242
136
258

Berlin

Amazon,

b. at Belfast,1799, d. 1870.

b. at

ar.

It.

Caitu

ab. 1480, d. ab. 1540.

Sicyonab.

Lawbence,

Madebno,

61
...

Wilkie,Nat. GaL

Denis

of Mausolus

ab.
Freisung(Bavaria)

Br.

Macdonau),

Madebno, Cablo,

Tomb

Hexham, 1806,

nr.

lived at

sc.

on

Florence,1494, d.

b.

se.

of Attains

b. at Venice, 1440 (?),d. 1512 (?). Tomb

SC,

b. in

SC.

182

SirD.

1560.

Paris,1510, d. 1578.

b. in

ar.

It.

141

Warriors

b. at

Lescot, Piebre, Fr.

St. Pancras, London

Panther Hunter, Copenhagen

Banqueting Hovm, WHiitehall

Hildesheim, 1784, d.

Sc.

110

...

Niimberg, 1450, d. 1507. AUar, S. Lorenxo

France,d. in England,1652 (?).Charles I. Char.

b.c.

239

87
...

b. in

sc.

ab. 884

sc.

near

1-^5
...

Sophia, Constantinople

Tombs, St

Kavr, Theodore, Ocr. ar. b. at Cleves,lived ab.

1802, d. 1866.
Kiss, August, Gcr. sc. b. in Silesia,

110
142

...

Schools,Oxford

...

b. ab. 1800, d. in London, 1850.

sc.

b. ab.

25.')

de Paul, Paris

...

St.

a.d.

Denmark, 1810, d.

sc.

Jones, Inioo, Br.

b. in

d. 1852.

PartAeiwm, Athens

lived ab. 532

ar.

107
...

Q. Elisabeth

VoUairc,Th. Fran5ais
Madeleine, Paris

and

Jerichau, J. A., Dan.

ar.

Public

Highgate,1771, d. 1843.
Pergamns ab. 240 B.c.

near

...

House, Esher

Claremont

1783,
Versailles,
The

B.C.

at Athens

Miletus,

OF

b. at

ar.

ar.

Vincent

8.

b. at Versailles,
1740,d. 1828.

se.

lived ab. 440

Inwood, William,

1867.

b. at York, d. at Oxford, 1624.

ar,

Jacques,

Iotinus, (?r. ar.

Assisted,Tombof

139
168
171

...

1619.

142
...

...

142

109

...

St, Temple of jEgiva

Santillana ab. 1530, d. (?). Eseurial,Madrid

b. ab. 1740, d. 1806.

ar.

Buildings, Vienna
Goldsmiths' Hall, London

B.C.

Cologne,1792, d.

b. at

ar.

J.-Antoine, Fr.

Houdon,
Huv4,

Ger.

Public

Churches, London
St.,Hercules,in wood

b.c.

Exeter,1547, d.

" pa. b. at

sc.

ab. 480

b. at

Sp. ar.

dr,

Hilliard, N., Br.

...

b. in Notts, 1661, d. 1736.

ar.

lived ab. 550

A8, (?r. "j. lived at Athens

Herrbra,

209
...

High School,Ediubni-gh

1858.

h. in London, 1792, d. 1870.

ar.

Or.

Beliefs,Bologne

...

230
21.5
101
106

BIOGRAPHICAL

267

INDEX.

Xnt

Ch.,R.A. , //."c. b. at Turin,1806,d.l867. Richard Cmir deZum

Baron

r AEOcrHETO,

It

JiCHBi^NOELO,
G^r.

ab. 430

ar.

VtuK^RO,

Alexander,

Mykok,

G^r.

Br,

ar.

Prqpy/aea,Athens

B.a

b. at

se,

Br.

b. in

ar.

ab. 470

8t., The

B.C.

agna,

Maria, Phin. op, Fr.

Giovanni

Paihdva,

...

...

Discobolus

...

...

Sc.

1140.

San

on

Zeno
...

Franklin, Waterloo

Sir J,

Pkce

J.,R.A., Br. se, b. in'London,1737, d. 1823.

Monuments, West Abbey
Andrea
(Cionb), It. sc. b. in Florence,1323, d. 1876 (?). Baldaeekino

X01.1.EXENS,
Orleans,

...

FounlaiUf BerkleySq.

DesignedRegent Street,London

London, 1752, d. 1835.

Or.

Paluu)I0,

Andrea,

se.

Joan

ofAre, Versailles

Wiltshire
of
Padua), ar, lived ab. 1560. Zangleat,
St., Temple of Olympia
Sicyonab. 430 b.c.

(John

da

lived at

Pakonius,

se.

Palermo, 1813, d. 1840.

b.

...

Claude,
Perrault,
Pbritzzi, Bald ass are,
Phbidias, Gr. sc. lived

Fr.

b. in

ar,

It,

ar,

Paris,1613, d. 1688.

b. at Siena, 1481, d. 1537.

at Athens

ab. 460

B.c.

Friezes

Front,Louvre

Eastern

Famesiiui, Rome

of the ParthcTioii

...

...

...

Philip, J. Birnie, Br.

St. on Houses of Parliament

se. b. 1827,d. at Chelsea,1875.
Tomb
Piix"N, Germain, Fr. se. b. near Mans, d. 1690.
of Henri II.,St Denis
It.
lived
1491.
at
to
1
471
ar.
Pintbllt, Baccio,
Palaces,Rome
Florence,

168
142
204
259
265
209
248
135
174
104

107
103

172
259

...

...

It. se. b. at Pisa ab. 1280, d. 1359 (?).Sc, Facade, Florence Cath.
Madonna
del Fiore,Florence
Giovanni, It. se. b. at Pisa,1240, d. 1320.
Pisa
NiccoLA, It.sc. b. at Pisa ab. 1206, d. 1278. Pulpit,Baptistery,
Vittore
at
1455.
Malatesta
d.
I
t.
b.
se.
Verona, 1380,
Medal,
(Pisanello),

281
101

PisAWO, Andrea,

209

PisANO,

209

PiSANO,

...

PiSANO,

Or.

PoLYDOROS,

SC.

...

Giacomo

Porta,

lived at

St., The Doryphoros

Ai^os and Sicyonab. 460 B.C.
ab. 80 b.o.
se. lived at Rhodes
Gp., Laocoon
1539 (?),
d. 1604.
Villa Aldobrandini
della, It. ar. b. at Porlezza,

Or.

PoLTCLEiTUs,

Hiram, Am.

P0WRR8,

Jac, Fr.

PRADIER,

Or.

Praxiteles,

38
259

...

Palaces at Vicenza k Venice

b. at Vicenza,1518, d. 1580.

It, ar,

222

Isaac,St. Petersburg 111

...

Inverness,1825, d. 1871.

NTicoT-AFS, Meistrr, Qer. se. worked at Verona ab.

XoBi.", Mat., Br. sc. b. atHarknesa, 1818, d. 1876.
Orc

II Pemieroso,Florenoe

1564.

b. at ChaOlot,1786, d. 1854. S.

lived at Athens

*?.

John,

Nabh,

DE, Fr.

AuG.

vIoiJTREKBAND,
tf MKSICLB8,

Caprese,1475, d.

k pa, b. at C.

se.

258

se.

Pierre, Fr.

PuoiN,

Aug., W.N.,

Geneva, 1792, d. 1852.

b. in

lived at Athens

sc.

PuGBT,

b. in Vermont, 1805, d. 1873.

se,

b.

se.

Br.

Ptbomachus,

Or,

se.

Pythagoras,

Or.

se.

ab. 364

Slave
...

St., Venus of Cnidus

b.c.

...

...

Place de Concorde
Strasbtirg,

1622, d.
Marseilles,

near

Oreek

...

1694.

Milo

and

...

208
221

174
181
103
260
245

...

Lion.,Lonvre

178
239

b. in London, 1813, d. 1862.

ar,

lived at Athens
lived at

"

Pergamus ab.

Rheginm ab.

480

b.c.

144
Cath.,S. George's-in-Fields
St., Dying Oladia(or{1) 182
168
St.,PMloctetes

240

b. c.

...

...

Fonta Oaia, Siena

213
QvERCiA, Jacopo della, It, se, b. near Siena, 1371, d. 1438.
St. of Jonah
Ratoael,
Sanzio, It. se. k pa. b. at Urbino, 1483, d. 1620.
103, 227
Rauch, Christian, Oer. sc. b. at Arolsen,1777, d. 1857. Frederick the Great,Berlin 242
167
RBiBcns, Or. sc lived at Samos ab. 600 b.c. (?). St., Temple of Artemis
John's
1841.
St,
Coll.,
T., Br, or. b. at Maidenhead, 1776, d.
Cambridge 144
Rickman,
...

RiETSCHEL,
Rinehart,

Ernst,
W.

Robbia, Luca
Robbia, Andrea

H.,

Oer.
Am.

della.

Rogers, Randolph,

b. at Pulsnitz,1804, d. 1861.
b. in

It.

della.

Am,

St. of Lessing,
Brunswick
of Samaria
Maryland,1825, d. 1874. St.,Woman

sc.
sc.
se.

It.
sc

b. in Florence,1400, d. 1482.
sc.

b. in

terra-cotta
Bas-reliefs,

Florence,1435, d. 1525.

b. in 1825.

Bronze

doors

of the

Bas-reliefs

...

Capitol,Washington

243
260
214
214
260

208

BIOGRAPHICAL

RossELLiNO,

(Gam.), It.

An.

b. in

Florence,1427, d. 1479.

b. at

Lyons, 1703, d. 1762.

sc.

Francois,Fr,

L.

BoUBlUAC,

m.

INDEX.

Tomh, San Miniato

Shakespeare,Brit Mus.

Ars de I'Etoile
Marseillaise,
Rude, Fbancois, Fr. ac. b. at Dijon, 1785, d. 1866.
RuYSBRACK, John, M. Fl. sc, b. at Antwerp, 1693, d. 1770. Af(mumeTUs,yiefit
Abbey
San Gallo,
Sansovino,

Antonio
a.

da, JL

b. at

ar.

b. at

(Con.),It. sc.

Mugello,1482, d. 1646.

Sansoviuo,1460 d.

Famese Palace,Rome
Virgin dsS. ^nna,Rome

1529.

Sanbovino, J. (Tatti),lU ar. b. Florence,1479,d. 1670. Lih. St. Mark's, Venice 103,
ScHADOW, Johann
G., Ger. sc., b. at Berlin,1764, d. 1850. Frederick the Ot.,StetWn
ScHEEMAKEBs, Peteb, Fl. SC. b. at Antwerp, 1691, d. 1769. Statues in West. Abbey
SCHINKBL, K. Fbiedeich, Oer. ar, b. at Neusuppen, 1781, d. 1841. Theatre,Berlin
ScHLtJTER, Andbeas, Ger. sc. b. at Hamburg, 1644, d. 1714. Great Elector,Berlin
ScHONHOFER, Sebald, Ger. sc lived at Nuremberg ab. 1350. Fountain,Nuremberg
Schwanthaleb,
SooPAB, Oer. sc.
ScYLLis

Lud.,

Oer.

b, at Munich, 1802, d. 1848.

sc,

lived at Paros

ab. 380

Cbete, flfr."c. lived ab.

OP

b.c.

560

Gp., Niobe

Sc. at

GhUdren

and

%t, oi Artemis

B.O.

lAwnich
TFalhal/a,
...

...

...

...

Sir

British

Robert, R.A., Br, ar, b. in London, 1780, d. 1867.

Smirke, Sydney, R.A., Br, ar. b. in London, 1798, d. 1877. Conservative
Smithson, R., Br.
SoANE,

Sir

b. ab.

ar.

John, R.A.,

Spence, Benjamin
E.

Stephens,

E., Br.
G., Br.

Br.

b.

b.

ar.

ac,

109

Street,

G.

sc.

ar,

Club

143
...

d' Andromache

(?)ab. 1438, d.

lived at Athens

Edm., R.A., Br,

142

Exeter,1817,d. 1882. Angel of the Besurrection

Blandford,1817, d. 1875. JFel. Mon., St. Paul's
Tomb

near

b. at Cracow

b. at

"

St.
1588.

Pergamus

of Ed. Spenser,West Abbey

ofCleopatra
Gp.,SahUatimi, Nuremberg
...

...

ab. 240

b.c.

Woodford, 1824, d. 1881.

of Attains

Warriors
C,

of Justice,liondon

Fribdr.
A}3G.,0er,ar. b.at Miihlhausen,1800, d. 1865. N. Museum, Berlin
Ulm
Choir-stalls,
Syrlin, Joro, Ger. sc, lived in Ulm between 1469 " 1482.
Bull
Famese
ab.
80
Tauriscus
Rhodes
Or,
worked
at
of
b.c.
sc,
Tralles,
Gp.,
Hertfordshire
Sir
b.
in
Taylor,
RoBT.,j5r.ar,
London, 1714, d. 1788. Gorhambury,
Telecles, Or, sc. lived at Samos ab. 560 b.o. (?). *S7.in Temple of Artemis
Tenerani, p., It. sc. b. near Carrara,1789, d. 1869. TonibofPius F7//.,St Peter's

Stuler,

...

...

Tezier, Jean, Fr.

Theed, Willlam,
Theocles

of

Theodobus,

lived in firsthalf of 16th century. N, Spire,Chartres Cath.

St oiHallam, St Paul's
Br, sc, b. at Trentham, 1804, d. 1880.
sc.

Sparta, Or.
Or.

Thomas, John,

sc.

Br.

Thorpe, John, Br.

sc,

Or,

sc,

lived ab. 550

b. at

ab. 660

ar.

sc.

b. at

sc.

St, Hercules,in wood

worked

b.c.

to 1617. Holland

House

Copenhagen,1770, d.

lived at Athens

Torel, William, Br,

b.c.

(?). Engraved Gems

Chalfred,1813, d. 1862.
Lady Oodiva

lived ab. 1550

Thorwaldsen, B., Dan.

Timotheus,

sc.

lived at Samos

205

142

sc.

Or,

...

Museum

259

Stoss, Veit,
Stratonicus,

...

Reading,1752, d. 1837.
1822, d. 1866. Rector
Liverpool,

Story, William
Ger.

253

135

Exeter,1586, d. 1647.
W., A^n. sc. b. at Salem, 1819.

sc,

243
178

...

b. at

b. at

207

Hall, Notts
Bank
of England

near

b. at

sc.

239

JFollaton

1560, d. at Wollaton, 1614.

sc.

B., R.A., Br.

Alfred

Stevens,
Stone, Nic,

Br,

254
108

163
...

Semper, Gottfried, Oer. ar. b. in Altona, 1803, d. 1879.

Museum, Dresden
Simon, Thomas, Br. med, b. in Guernsey,d. ab. 1674. Coins and MedaJs
Tomb
Sluter, Claeb, Fl. sc, worked in France ab. 1400.
of Philip,Dijon
Smirke,

227
242

ab. 380

between

B.C.

Sc.

1272 k 1290.

1844.

on

Tomb

and

...

and

Seals

...

259
2.59
2.'"3
260
208

182
144
108
233
181
140

167
241
231

259
168
167
25S

...

...

House
Hatfield

135
..

of Alexander

Triumph
ofMausolus

Queen Eleanor,West

241
17S
...

Abbey

251

BIOGRAPHICAL

269

INDEX.

PAGE

ToRRIOGlANO,

P.,

Tribolo

DE

(Nic.

Vanbrugh,

Vij*cHBR,

Peter,

ViscoNTi,

Louis

b. in

sc.

b. in

ar.

It.

T.

Oer.

b.

sc.

J.,

It.

at

sc.

Florence,

1500,

London,

1666,

b.

sc,

It.

Barozzio),
Oer.

d. 1522.

Florence, 1470,

del.

(GiACOMO

Karl,

It.

Br.

John,

Andrea

Verbocchio,

Voss,

b. in

sc.

Per.),

Sir

ViGNOLA

It,

in

b. at

ar.

Cologne,

d.

1456,

Rome,

1791,

1820.

Hebe

Blenlteim

Tmnb

1629.

d.
db

1488.

Eq. St.,

Colwni

Villcu

Churches

St.

qf

Watson,

Br.

Meister,

J., R.A.,

Wilton,

Emil,

Wolff,

Sir

Br.

ar.

Br.

Ger.

...

Louvre

qfthe

R.

Wyatt,

Sir

Wyatt,

Thomas

J.,

sc.

b.

sc.

Br.

JSagle, Cologne

1871.

1775, d.

Verona

at

ab.

Zwrf

1847.

Sc.

S.

148
258

Paul's

Zeiw

San

on

Lane

Oxford

Eldm,

Monuments,

1856.

1140.

...

Park

Mansion,

Holford

d.

1804,

b. in London,

sc

worked
b.

at

Nor\iich,

London,

Berlin,

at

sc.

H.,
J.,

b.

sc.

Br.

{Marie

OF

Br.

Digby,

Sir

Hawksdale,

110
248

257
204

1722,

d.

St.

1802.

d. 1839.

1778,

NaL

General

1808.

Gallery,
West,

Wolfe,

London

b. in

Br.

ar.

Br.
Br.

ar.

b. at

d* Orleans),

London,
b.

near

b. in

ar.

ar.

Hadleigh,

at

b.

at

E.

1825,

Abbey

241

sc.

1795, d.
Devizes,
Ireland,

Burton,

d. 1728.

1632,

b. Palermo,

Rome,

at

1820,

1807,
1766,

d.

d.

END.

1813,

1850.

1877.
1880.

d. 1840.

...

Busts

259

d. 1839.

Flora,
India

137

Prtwr",London

St.

248

JoantfArc

Windsor

Castle

Office,Whitehall

ExcJiange,
Additions,

THE

Portrait

1892.

255

...

Knoyle,

Fr.

d.

142

Berlin

oiJtidUh,

...

D.

Wyatt,

Br.

b. in

Christopher,

WuRTBMBERO,

b. at

(?),d.

108

...

T., R.A.,

WooLNEK,

sc

R.A,

Wm.,

\ViLKiN8,

Ger.

1796

London,

sc.

R., R. A.,

Sir

WiL.H"LM,

Wyatville,

b. in

ar.

Musgrave,

Westmacott,

Wren,

Br.

215

236

...

L.,

VCLLIAMY,

139

Sebald

Bestoratwn

1853.

"

252
228

Oxford

PaZacCy

d. 1578.

1607,

Abbey

Fontainebleau

Fountain^

d.

1482,

Vignola,

atNiiraberg,

1550.

d.l726.

Florence,

b. at

ar.

d.

W.

VIL,

of Henry

Ttyiah

Liverpool
Windsor

257
143
143

...

Castle

144

RtCHAKii

Clay

hOXDOU

Boks, Liuited,

ft BUKGAT.

OPINIONS

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is written

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far

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paintingsand

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gi'aceful
English,well befitting

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he

that

in

phase

search

of

the

and

mentioned,

this

cannot

history
the

information

possibly

volume."

do

Oheerver.
"

the

have

must

better

of
of

nature

upon

of

Art

Mr.

field

prominent

every

described

mastering

wide

the

gift-book

We
.

An

in

the

of

Quarterly.

pleasantly

occupies

detail.

passes
connected

Lmidon

suitable

further

in

appeared

yet

is that

"

place

a.

time

same

will

find

outline

for

Hiaiory

arrangement

intimately

beauty."

to

divisions,
sub-

his

seek

to

ElemetUart/

that

material,

most

more

spiritual

that

the

is
and

enough

is

greHat

what

more

Useful

"

with

in

first

interests

and

its

of

attention

D'

Mr.

the

of

favour

in

and

art

Netos.

similar

any

each

by

inciting

arrangement

point

great

of

given

Daily

"

{continued).

PRESS

idea
is

styles

elsewhere."

information

THE

general
and

schools,
has

OF

than

the

credit

of

Art

is

his

work

history

begin

by

PAINTING

CONTENTS.

PAINTING.
PAGE

iNTRODTJcrrioN

Composition

III.

IV.

"

of

Materials"

Period

ClaMlo

in the

Painting

Methods

and

Means

"

I.

Painting

"

V.

Form

"

II.

Colour

"

Subjects

Egyptian*

10
Arabian

Assyrian,
Greek
Etruscan

Mural

Roman"

in the

Painting

Persian

Christian,

^_"

Painting

The

Middle

in the

Florence,

In

France

AND

School,

JVeneiUin

--"""^ Other

Schools

Umbrian

Neapolitan

Painting

in

Leonardo

in

da

in the

Vinci

Michelangelo and
lor^tine School

Ages,

60"

a.d.

d.

1800

28
31

Venice,

and

1260

Italy

1440

a.d.

84

1470

a.d.

"

1100"

a.d.

41

:
-^

1520

a. d.

"

\^

'

,46

1520

a.d.

57

1520

a.d.

1460"

1480"

59
a. d.

1530

62
.

1510

a.d.

63

Century
1490"

A.D.

XTIth

and

a.

about

1480"

School,

Italy

28

a.d.

21

900

Rome

1420"

School, XVth

LaterFlorentine

Tiles, Portraits

Birds, "c

25

Upper Italy,a.d.

School,

of

Byiantine

A. D.

1420"

a.d.

of

1800

Siena,

a.d.

a.d.

School,

Painting

School,

Books, Decorated

a. d.

Germany,

of

Benaissanoe

Paduan

and

a. d.

Ages

Italy"

.17

Secular

60"

a.d.

In

Florentine

and

50"

a.d.

16

Pompeii, Mosaics

Pictures, Drawings

Early Chriitian

Byzantine,

at

Illuminated

Buddhistic

in the

12

....

Indian"

"

Early

East

Far

Buddhistic

"

Japanese

Painting

Pictures, Decoration

and

Chinese

Paintings, Mosaics

Paintings,Toilet Casket

Tomb

"

11

Vases, Wall

and

Amphorse

"

Moorish

and

Centnry

66
A. D.

1510

67

his- School

69

his School
in the

XVIth

73

Centnry

*
In the National
10 portraits of young
Gallery there an
Men
now
nrck-topped panels (A'o".1200 to 1270), taken from
qf Mummies
eases
Probably e^ the second centttry a.d.

^ '(

78
and

Ifmnen^ painleil in
at
Haicara
in
found

irax

on

Egypt.

CONTENTS.

IV

PACE

his School

Raphael and
Ferrarese

Lombardic
Venetian

79

School, XVIth
Century
School, A.D. 1510" A.D. 1540
School, a.d. 1512" a.d. 1600

89
93
104

Painting

Decorative

:
Fainting in the Netherlands
Early Flemish and Dutch Schools, XII
1520
1390"
Schoolof Bruges, A.D.
A.D.
XVth
Dutch
School,
Centuiy
Early

Early Schoolof

Antwerp,

1490"

A.D.

of the late XVIth

School

Dutch

S9

Ith and

XlVth

Centuries

.107
107
114

1530

A. D.

.114

Century

119

Painting in Germany:
School, A.D. 1470" A.D. 1540
Augsburg School, A.D. 1490" A. D. 1545
1580
a.d.
Franconian School, a.d. 1450"

120

School of

133

Swabian

122
124

Saxony

Decline of Art in Germany

Painting

in

Italy in the

EclecticSchoolof

Venetian

Bologna,

1590"

School, a.d.

a.d.

"

1525"

136
139

1770

141

1660

a.d.

1500"

A.D.

143

1700

.145

Madrid, A.D.
Italian-SpanishPaintersof
and
his pupils,A.D; 1620"
A.
Velazquez

1690

1690

a.d.

1715

Centuries

A.D.

in

Valencian
'

1570"

A.D.

Spain:
School, a.d.
Castilian School, A. D.

Painting

XVIIIth

and

XVnth

Naturalistic School, a.d.

Later

133

1600"
D.

a.d.

1700

.147
149

1690

'

Andalucian

School, a.d.

Murillo and

his

in

Fainting

Portugal

Vasco

Gran

pupils,A.D.

and

154

1750

159

Schoolof

Antwerp,

of
Pui)ils

Rubens

A.D.

1590"

in Holland

Frans

Hals and

Ilembrandt

his

,,

"

,,

,,

Dutch

XVIIIth

Centuries

162

1720

A.D.

1600"
1830"

Ai-t

173

1894

a.d.

Century

170

1680

A.D.

176

sons

177

pnpils

Painters of Domestic

,,

,,

D.

in the XYIIth
his

and

Later Dutch

and

168

Antwerp, A.
BelgianSchool, A.D.

Painting

161

in the XTIIth

Schoolof

Modern

Modern

A.D.

his School

in the Netherlands

Later

1638"

152

1750

a.d.

SpanishPainters

Modern

Fainting

1520"

181

Life

Landscapesand Battle
Marine Subjects

.187

Scenes

Architecture, Still-lifeand Flowers

191
.

.194
196

CONTENTS.

PACK

B"TiTal

Pftintiiigin Germany,

of

and

Overbeck

1810"

a.d.

a. d.

1880

197

School

his

198

of Munich

School

200

Painters

Genre
Modern

German
in

Painting

France

Early

Painters

Ponssin

and

202

Painting
:

XVth

the

of

and

203

Centuries

XVIth

'

207

School

his

^lie

209

le Lorrain

Claude
Sueur

other

and
in

Painters

of the

Painters

218

Painting

French

School

of the

early

XlXtli

School

of the

later

XlXtli

in

School,

Barbizon

.211

Century

Miniature

Fi-ench

French

XVIIth

XVIIItli

the

1830

a.d.

Century

220

Century

230
233

1886

a.d.

"

218

Century

236

^Impressioniat School
in

Painting

Britain

Oreat

Illuminated

MSS.,

Miniature
Miniature

a.d.

Painting,

a.d.

Painting
Rise

National

The

Art

in

a.d.

1700"

a.

242

1680

248

1860

d.

XVIth

and

XVIIth

.248

Centurits

.252

Century

XVIIIth

England,

269

Century

Painters,

1775"

a.d.

a.d.

275

1880

279

and

Landscape

280

Subject Painters

293

Pre-Raphaelites
Art

at

the

293

day

present

295

Illustrators

Hook

America

in

Painting

Colonial

Period,

1715

A.D.

Revolutionary Period,
Perio"l

of

Inner

Present

Biographical
With

1526"

School

Norwich

English

The

239

1500

a.d.

the

XlXth

Water-Colour

Modem
The

in

England
of the

F^rly part
Early

600"

a.d.

Painting,

in

of

place

and

a.d.

A.

D.

1870"

297

1770

d.

1770"

Development,

Period,

Index

a.

"

a.d.

A.D.
A.D.

297

1780

1780"

A.D.

.301

1870
.

305

1894

date

of

Birth"

and

date

of

Death

307

LIST

OF

ILLUSTRATIONS.

PAINTING.
EXO.

PA";K

of

Portrait
1.

Example

2.

Sons

Loredano.

Doge

Bellini

G-iovanni

of Chiaroscuro.

of Rameses

II.

Frontispiece

Bembraiidt

going

to

Egyptian

battle.

.10
.

3.

Hunters

4.

Last

bringing home

Amphora.

6.

Rhopograph
Part

9.

Parting

of Issus.

10.

Battle
Feast

at

12.

Wild

Goose.

13.

Christ

as

14.

Christ

adored

15.

Sketch

Map

16.

Madonna

17.

Obedience.

18.

Preaching

19.

Wall

20.

Adoration

21.

Battle

Cista.

Orpheus.

23
-21

Early

the

Italy in

of

Child.

Christian

29

Bt/zantine

sixteenth

32

33

century

Cimabne

36
38

of S. Domenic.

Expulsion
S.

24.

Coronation

Andrea

Florentia

da

.39
.

Magi.

Egidio.

from

Paradise.

giving alms.

Lawrence

of the
of

of the

42

German

of the

23.

27.

21

Giotto

22.

Birth

19

Indian

Justinian.

by

of Sant'

Coronation

Pompeiian

Pompeiian

Mosaic.

Painting.

Portrait

17
18

Japanese

and

26.

16

Etruscan

Briseis.

and

Hastinapur.

25.

Pompeiian

Pompeiian

of Achilles

11.

still life.

of

Ficoronian

Decoration.

Wall

13
15

painting

of the

8.

11

Vase

Ch-eek

Troy.

Egyptian

Greek

5.

7.

of

Night

Game.

Virgin,
Man.

Young
of the

St^phan

Lochner

44

Uccelli

Paolo

47

48

Masaccio
Fro

Angelico

FUippo
A

ntaneUo

.49
.

Virgin.

Lippi
da

51

Messina

.52
.

Virgin.

Botticelli

54

Ghirlaiulajo

55

ILLUSTRATIONS.

OF

LIST

Vll

PAOR

GXG.

of Holofernes.

the head

with

28. Judith

Mantegna

Mantegna

29. Crucifixion.

58

CriveUi

30. Annimciation.
31.

Preachingof S. Mark.

32.

Depositionfrom

60

Gentile and

the Cross.

Giovanni

Bellini

34. Salvator

64
.

Mundi.

35.

Last

36.

S. Sebastian.

Supper.

Fra

.61

Penigino

Francia

33. Pieta.

.57

.65

BaHolommeo

Leonardo

da

68

Vinci

71

Bazzi

37. Part of the Cartoon

74

of Pisa.

Michelangelo
MicheUiiujelo
Holy Family. Michelaiigelo
del Sarto
S. Agnes. Andrea
Vision of a Knight
Raphael
Marriageof the Virgin. Raphael
La Belle Jardiniere.
Rajjhael
Elymas struck with blindness. Raphael
Annunciation
to the Virgin. Garofalo
Madonna
della Cesta.
Correggio
della Scodella.
Madonna
Correggio
The Three Philosophers.''
Giorgiane
S. Peter Martyr. Titian

75

38. ProphetIsaiah.

76

39.

77

40.
41.
42.

43.
44.
45.
46.

47.
48.

49.
50.

"

Bella diTiziano."

of the Famesina

Madonna

55.

Jean

56.

Entombment.

86
90

91
92

and

Holy Child.

Amolfini

and

99

Vero)ie3"

Pado

Palace.
Jan

his wife.

Jan

ran

60.
61.

Abraham

62.

River

an

Scene.

Hubert

65. The

Pedlar.

105

110
Ill
112
113
116

Jan

Hchoreel

119

Bnieghel
8cho}iganer

121
123

Holbein

124

Holbein

Holbein
Meyer Madonna.
Diirer
67. Christ takingleave of His Mother.
of
the
68. Adoration
Trinity. l"iirer
The Knight,Death, and the Devil.' I"iiver
69.
70. Josephsold by his Brethren.
Georg Pencz

.117
118

Jan

Morett.

108

Eyck
van
Eyck

at Ober-vellach.
Altar-piece
de Vos
Gjrnelis
Grapheus.

63. Crucifixion.

103

After RaphaeVs design

59.

Part of

95

97

101

VanderWeyden
Virgin and the Holy Infant. Memlinc
Sibyl of the Tibur. Lucas van Leyden
and his wife. Massy s
The Banker

64.

84

Tintoretto

of Simon.

in the house

Feast

54.

57.

83

TUian

borne to the Tomb.

53. Decoration

58.

82

"

51. Christ
52.

80

125

66.

127
128
.130

'

131

71. Porlrait of
72.
73.

Young Man.
Aldegnrer
Princess Sibyllaof Saxony. Cnmach
The Fates. Nemesis, Night,and Destiny. Cartftens

74. The

Three

Maries.

78.

79.
80.
81.

13T

Reni

13S

Roaa

140

C(nudefto

141

Depositionfrom the Cross. Biheru

Isabella,
daughterof PhilipII. Sanchez-Coelh
PhilipIV. of Spain. Vdazqnez
del Mazo
View of Saragossa. Martinez

144

83. S. John

Monk.

the

85. The
86. An

Melon

Eaters.

Calvary.

153

Cnuo

155
1 56

Mnvillo

15S

FortHuij

ICO
161

Map of the
Archbishop Ambrose

88. Sketch

91. Cardinal

151

Velasco
Low

Countries

and

his second

and

the

in the seventeenth

century

Emperor Theodosius.

wife,Helena

Fourment.

93.
94.
95.

96.

Rul^emt
.

Fhilippede Ch"impaupie
Wife of a Burgomaster of Antwerp.
Van iJyck
Tlie Archery Meeting. Teniers
The Knife-grinder.Teniers
Tlie Artist,with his master
Ryckaert and his Family. Cocx
Luther as a Choir-boyin the Streets of Eisenach.
Leys
.

Cavalier.

Frans

.163
165

de Richelieu.

97. Portrait of

Riflmis

92.

14l"
150

Conception. Mttrilh

Italian Peasant.

90. Rubens

Zurharan

Evangelist. Almxso

84. Immaculate

89.

134
.135

Carracci
GnUlo

with thorns.

in Venice.

82. Franciscan

87.

Annibale

Landscape. Salcator

77. View

132

75. Christ crowned

76.

ILLUSTRATIONS.

I.IST OF

Vlll

.166
.167

.169

171

172
.174
.

175

Hah

177

Rembrandt

179

98.

Sortie of the Civic Guard.

99.

Rembrandt
Raisingof Lazarus.
Lute Player. TerUnrh

180

100.
101.

Gerard

184

102.

The

103.
104.
105.
106.
107.

Dou.

182

Don
Steen

Dancing Dog.
Morning Toilet. De Hooch
Landscape with Cattle and Figures: Evening. Cnyp
Landscape with Cattle. Rerchrm
A Waterfall.
Rnysdael
Hohhema
Landscape.

108.

109.

Christ

110.
111.

Duck-shooting.
Cleopatra. Hans

112.

Section

Gale.

Bahhnisen

186
.188
,

the Cross.

Feter

von

Overtteck

Hess

Malart

"Bayeux

190

192
193
-.

under
falling

of the

185

194
.

197
199
201

Tapestry." Freuch

203

ILLUSTRATIONS.

OF

LIST

IX

VJiOK

CNO.

113.

Illumination.

Modonmi.

114.

Tullia

115.

Mary, Queen

King

the dead

drivingover

of Scots.

Retid II

body

:^04

of Serviua TuUiiw.

Nicolas Poussin

116.

The

Shepherds of Arcadia.

The

Ford

118.

122.

preachingat Ephesus. Le Sueur.

Triumphal Entry of Alexander into Babylon. Le
Portrait of Samuel Bernard.
BUjmtd
Flower Piece. Momwyer
Napoleon in his State Robes. Isabey

123.

La

124.

Manhood.

125.

The

126.

Girl with

127.

The

119.
120.
121.

209
...

130.

216

Chardin

222

David

223

Vengeance pursuingCrime.

224
.

225

134.

Don

135.

An

136.

Forest

137.

(JoingtoWork.

Quixote'sattack

Evening

PiwVhon

Gdricaidt

133.

in

221

Greuze

Ingres
Partofthe"Hemicycle." DdauKhe
Veitiet
Battle of Fontenoy. Hm-ace
General Prim.
Eegnault
on

Normandy.
Jean

S. ^thelwald's

226
227
229
231

the Windmills.

Scene, Fontainebleau.

"

214

215

217

Women.

Justice and

Stratonice.

138. From

219

Spaniel.

Sabine

Raft of the Medusa.

132.

.213

Watteau

129.

131.

.211

Bnnt

Lancret

Industrious Mother.

128. Divine

208

Lorrain

S. Paul

Finette.

205
.

20(5

117.

aande

Fouquet

Claxiet

Gnstace

DorS

.232

Corot

234

Diaz

235

FrancoisMUlet
BenedictionaL"

237

Oodemau

.239
.

147.

King David.
Ettglish.Eleventh Century
S. John.
English, Fourteenth Centunj
From the "Shrewsbury Book.'* English, Fifteenth
century
Edward
VI. and his Council.
Sixteenth
English.
century
Sir PhilipSydney at Penshurst.
Isuac Olivier
Philippe,Due d'Orieans. Jean Petitot
James
I. Hoskins^afterVan Somer
Sanmel
George Monck, Duke of Albemarie.
Cooper
Duke of Devonshire (fifth).
Cosicay

148.

Procession of Queen Elizabeth to Blackfriars in 1600.

149.

Sir Isaac Newton.

150.

MarriageContract.

139.

140.
141.
142.
143.

240
241
.242
.

243
244

....

144.
145.
146.

151.
152.
153.
154.
155.

KiieUer

Hogarth
Age
Beyiwlds
The Ladies Waldegrave. Reynolds
The Brook.
Gainsborough
Gainsborough's
daughter. Gainsborough
The Victors at Olympia. Barry
of Innocence.

Geerarts

245
245
246
.

247
249
.

251
253

257
259

261
262
264

ILLUSTRATIONS.

OF

LIST

PAOE

ENO.

156.

Maria.

157.

Death's

Wi-ight
Door.
Old

158.

The

159.

Nature

160.

Christian

161.

Lake

162.

London

163.

The

164.

Cottages

165.

The

166.

Village

.266

of Derby

268

BUxke

270

M"ydaiui

Horse.

of

(children

271

Lawrence

Calmady).

Mr.

....

Crossing
Uncle

169.

Shoeing.

Regina

Norwich.

172.

Death

173.

Elizabeth

279

Crome

281

Wilkie

Ford.
and

277

Wint

278

Old

Politicians.
a

De

(h^idable

Farm,

285

Mtdready
Widow

286

Wadman.

287

Ledie

291

Land9eer
Cordium.

General

Park.
Walker

Fred.

near

Toby

171.

273

Greenwich

Gate.

Valley

168.

272

Stothard

Turner

from
Old

Beautiful.

Palace

Avemus.

167.

-170.

the

at

of

294

Rossetii

Knox.

G'dhe^ii

Montgomery

299

Stuart
in

the

of

Attack

Quebec.

TruinbuU

300
.

The

dale

Southgate

and
in

place
the

Bowne.

of

birth

Biographical

Mnllyone

of

Deceased
Index

302

Artists^
at

the

end

and

of

the
the

date

volutne.

of

deaths

are

given

Dogt; Leonardo
In

Loredauo.
the Xutionat

Hy Uiovanm
(itdlery.

Belliui.

[Seepage

PAINTING.

INTRODUCTION:

manner

affect the
able to

eye

that
in the

"

same

as

way

is

The

mind

required.
the eye how
depicted,
they appear,
I.

In the

PAINTING.

OF

of

accomplishthis,a thorough

the hand

METHODS

flat surface,by means

of
a
on
representing
that
is
in
nature
to
objectsas they appear
say,
the pictureproduced shall,within certain limits,

is the art
PAINTING
lines and colour,
in such

AND

MEANS

first place,
the

do

the

objects themselves.

learn

the

the hand

and

be

mind, the eye, and

of the

education

must

To

nature

how

to

of the

objects
representthem.

FORM.

painter must

study the laws of form, and learn

figureof objectsof every variety,

accuratelyto represent the bulk and

whether
organic or inorganic,at rest or in motion ; secondly,he must
acquire a knowledge of that portion of the science of opticswhich
the laws of colour, light,and
embraces
vision, including
Linear
perspective *. e. the effect produced upon the apparent form
and grouping of objectsby the positionand distance of the observer ;
and
aerial perspective L e. the effect produced on
the brightnessand
colour of objectsby the various differences in the temperature, atmosphere,
laws
of
the
master
light,etc. Thirdly,the painter must
light
and ahadcy the right treatment
of which
is a most
element
important
"

"

"

in

painting.
The

dark)

term

has

chiaroscuro
been

(from two
the

Italian
of

words, signifying
lightand
and
shadow,
representinglight
in fact,the expression,
in
It 'is,

art
given to
together with their effect on colour.
painting,drawing or engraving, of the infinite variety of effects of
^the faithful rendering of the sharp
brightness and shade in nature
"

contrasts, the
exhibits in her
chiaroscuro
de

subtle

combinations

ever-varyingmoods.

and

rapid changes which

Amongst

Titian,Correggio,Rubens,
were
Hooch, Velazquez,and Turner.

the

nature

greatest masters

Kembrandt

of

{Eng, 1),Peter

PAINTING.

COLOUR.

II.

the paintermust
chiefly,

Lastly and

train his eye to recognizethe

the most
as
vividlycontrasted

must

well

use
only
varied effects of harmony or
infinitely

by

of colour ; he
gradationsof tint, as

the

subtle

laws

colours

will be the result of the

what

know

most

of

in nature, and learn not

separate colours,but also the
which

contrast

be obtained

may

their combinations.

primary colours are red, yellow,and blue, which are the

ation
light.Every varietyof tint produced is a combinof these three.
The secondary colours are
of two or more
tures
mixof any two of the primary : thus red and yellowproduce orange
;
accordingto the
yellow and blue,green ; red and blue, violet or indigo,
of each ingredient.
The tertiary
colours are those fine shades
quantities
of the secondaryones.
The compfeobtained by minglingtwo or more
nientary colour of any given shade or tint is that which will have to be
of the light which
added
to it to produce white; for if the whole
is
absorbed
by a coloured body were re-united with the whole of the light
white lightwould
result.
it reflects,
Bed is complementary to
which
to hlvSyviolet to yellow.
greeriy orange
Contrast of colour is of great importance in heighteningin a picture
The

three

of white

constituents

the

of the

force

colours

contrasted

to each

; any

of the

two

primary colours

other.

good
character
of
Ha/rmony of colour is the preservationof the same
of
in
the
whole
to
retain
without
a
:
it,
colouring
picture
producing
monotony, requiresthe greatest skill. Titian,Tintoretto,Giorgione,
Correggio,Paolo Veronese, Rubens, and Velazquezwere
amongst the
contrasts

are

greatestcolourists.
t"iie of

generalqualityof shadow, of light,or of

prevailing
throughoutan entire picture. The phrase a "high

The
colour
or

pictureis

the

"

"

"

low

tone

renderingof these

are

used

to

express

either

engage
The

picturein such

harmonious

to

foreground,middle
portionof

that

subdued

manner

the eye

the different

objectsto

that

they shall

as

whole, and shall each

combine

bo
to

of attention.

given,the first to the

second

impressionon

suitable share

terms

COMPOSITION.

is the assemblingtogetherof
Covi]x"sitimi

produce a

or

qualities.
III.

in the
represented

forcible

somewhat

distance,and
a

removed

Ixickgroundhave been

picturenearest
from

him, and

to the

the

spectator,the
third

to

that

farthest off.
IV.

Having

thus

given

we
theory of painting,

MATERIALS.

of the
slightoutline of the leadingprinciples
will briefly
the materials and proenumerate

'J.
He

Jiurffomatter Jan

1.

"

^Bzample of

Hix.

Chiaroscuro

(lightand shade) in

one

of Bembraudt's

etchings.

PAINTING.

employedin
between
distinguish

cesses

For

its

practice. In speakingof

those

drawing,

brush

to hold

crayons
the colour.

the materials

paintedon, and those

of different kinds are

must

we

paintedwith.
used;

for

a
p^iintingy

stances
drawing on paper, parchment,ivory,or other similar suband
colours
water
used.
chalks,charcoal,
are
^pencils,
and oil
tempera or distemper,
paintingon wood and canvas

1. For
"

2. For

"

colours.

wall surfaces,dry colours,tempera, wax

paintingon

3. For
and

lead-pencils
employed in drawing

so-called

The

lead ; but

made

are

with

mineral

of

graphite

metallic

suitable for
be effaced.

rapid sketching on

chalk

is

of

bluish

with

various

contain

not

opaque
to the

and

any

grayish-black

of the

account

ease

with

which

it may

for

drawing

material,used
grayish-black

chalks

colours

do

touch, which
greasy
thickness
and
required,
peculiarly

any

or

paper.
of coloured
The scarcity

mixed

an

lustre,somewhat

stroke

produces

Black

plumbago,

or

clear

on

colours^

fresco colours.

led to the

has
made

use

into crayons,

of

or chalk
paaiely
but though pastel

fade,they are

easilydestroyed.
It
sketchingthe outlines of largeworks.
broad
stroke
t
o
the
that
it
so
a
adhering
slightly
produces
ground
may
without
be blown
If,however, the ground be
leaving a trace.
away
washed
with lime-water and allowed to dry before the sketch is made,
the charcoal will set.
e. designs
on
Nearly all large cartoons (i.
strong
never
pictures

Charcoal is well suited for

of
paste-board

or

paper
modern

drawn

times

the

full size of the

work

to

be

executed)of

in

are
charcoal, although Kaulbach, the great
coal
painter,sometimes used chalk. Cartoons drawn in charin
the
of
have playedan
important part
history art ever since
exhibited at Florence
in
Michelangelo'scartoons for his frescoes were

Grerman

1504

fresco

; and

some

of considerable

day. In working both

pointedimplement made

with

have

value

chalks

of leather

and
or

been

producedin

charcoal,the stumpy

paper, is

largelyused

in

our

own

bluntly-

working

the shadows.
In

Water-colour

of colouring
Paiiithig,
preparedcolours,consisting
mixed
with honey or
gum-arabic,are used. The artist may
wash-in
a
merely
drawing in sepiaor Indian ink, or he may

matter

either

fullycolour
In

it.

drawings of

colours

the

qualityknown

by

the

spreadover the drawing. By

practisedat Naples and elsewhere
are

effects of colour

French

this
on

as

gouacJuey
opaque

sively
method, which is extenthe Continent, glowing

be representedwith truth and force. This borders

can
closelyon oil painting,and seems
wanting in the peculiarsoftness and
of
colour
which
the distinctive property of true
are
transparentdepth

MATERIALS.

colour.

water

In

England, it

at the

others,but

practisedby Walker, Pinwell, and

generally
transparentcolours are more

was

present time

used.
In the middle
movable

by
has

easel

or

which

first

been

pictureshave
Before

requentlyused

been

oil

the

fifteenth

executed

as

marble, and

on

some

adopted,other

paintingwas

tion
to destruc-

century by

der

ground by

and

ground for
canvas,

Weyden.

Copper

and
painters,
even

silver.

on

materials

few

in

were

use, to

of tempera or distempercolours has been

given. In
paintingthe colour is mixed with white of egg, glue or size.

tempera

name

painter'scolours

liable to rot

was

used, it is said,by Rogier van

unf

not

it

supplantedin the

was

the

principally
employed as

was

pictures; but, as

it

worms,

was

which

ages, wood

ancients

called

are

pigmente; those employed by the

or
oxides,mixed with gum or glue

instead

appear to have been earths

of oils.
Unfortunately,however,

wanting

in freshness

and

colours

peel off.

They
and staining
wall-papers,
although the
scene-painting
executed
and
portionsof their picturesin distemper,
soon

are

obtained

so

are

only used for

now

old masters
oiled them

often
wards.
after-

the close of the middle ages, the Italians discovered

of
using albumen, or white of egg, instead of size,as a means
Towards

that

by

union

between
for

substance
than

damp
some

Fainting

tempera paintingand

materials

however, dry
kind

of colouring
matter, they obtained
particles

the

too

dissolved

quickly for

of varmsh
in

to

Oils.

As

"

in water.

Paintings in

elaborate

any

better

less liable to be affected

one

this

by

medium,

working-on,and

require

protect them.

early as

1000, linseed-oil

a.d.

used

was

in

and there are records which prove

paintingin Italy,
medium
in
as
a
paintingin Germany, in France, and
before the time of the Van
Eycks ; but it was not

until the fifteenth

century that the best method

oil

the brothers

of

mixing

colours

with

that oil

was

in

even

was

used

England

discovered

Eyck, who quicklyattained to a skill in colouring

perhapsnever
surpassed.
The implements
requiredby a painterin oils are charcoal,for drawing
his sketch ; hair-pencils
brushes ; a knife to mix, and a palette
to
or
by

hold

Van

his

colours

colours ; and
an
mineral
are
mostly

substances, such
oil
and

paintingsare
coated

sketch

the

with

own

which

on

and

cochineal,mixed

generallyexecuted
white-lesid.

outline

artist has his

colours.

as

easel
earths

on

the

The

canvas

peculiarmethods

to

rest

his

His

canvas.

oxides,such
with
on

ochres ; or organic
as
white-lead
and oil. Large
stretched

canvas

ordinary mode
with

charcoal

alike

of

of
or

on

procedureis

pencil,and

working

frame

and

to

every

mixing his

t"AmTlN(J.

it affords the
from the great range and scope which
painting,
and the infinite variety
of effects he is able to produce by the
painter,

Oil

of
command, has for long been the favourite manner
of important paintings
almost all artists,
and by far the largestnumber
his

at

means

which

have

since the

executed

been

carried out in it ; yet there are

the one
on
hand, and fresco,on
Fresco

The

painting.
"

discoveryof

certain
the

ancients

this method

in
qualities

been

which water-colours,

it.

other,surpass

several modes

acquaintedwith

were

have

of

paintingon wall surfaces,and discovered at a

with plasterwhen
mixed
substance
any colouring
it when
dry.

remote

very

would

wet

age that
in
remain

fresco an Italian word, signifyingfresh has been given

In fresco painting
to paintingsmade
a
upon plasterstill wet or fresh.
is
fii*st
full
of
the
be
sketched
the
size
to
design
subject
represented,
and a careful study in colour is made
scale. The pigments
on
a small
are
generallyearths or minerals, as other substances would be injured
by the action of lime. The ground painted on is the last coatingof
He
which
is laid on
plaster,
just before the artist begins his work.
The

ienxi

first transfers
surface

"

"

the exact

outlines

pricking them

by

instrument.

The

be

made.

huonoy

The
away.
distinguishit from

to

known
paradoxically
laid

as

water

are

every

respectinferior

on

to

the
to

attached

importance was

the

wet

transfer-paperwith
to be done

very

sharp
and the
rapidly,

process justdescribed is called /re"co

inferior kind of mural
an
painting

frescosecco, in which

dry plaster.Pictures
those in frescobuono.
to the discoveryby Dr.

in
A

mixed

colours

the

fresco secco
few

Fuchs

which
alkaline silicate),
appearedto
(soluble
water-glass
and durability
to fresco-secco
property of giving brightness
Colours

mixed

with

water-glass

are

called

stereo

The

fresco is

true

colour ; and the best Italian frescoes exhibit

of execution which impart to them
simplicity

are

in

possess

painting.
{t.e.

chromatic

importantworks were executed

luminous
distinguished
by a singularly

and many
strong coloured),

with

years ago great

of a substance

called
the

smooth

some

are

cut

are

to
composition

necessary, as no subsequent alterations

portionsof plasterunpaintedon when the day's

Any

is done

work

through

paintinghas

actual

greatestskill and decision

can

of his

in them.

qualityof

of effect and

breadth

dignityunapproached

any specimens exist in this

ation
country,where the humid atmosphere is so detrimentiil to their preservand
of dignity,
the same
breadth,
simplicity,
qualities
; but
in oil. Hardly
(perhapsunapproacliable)

though

not

the South

the

same

brilliancy,
may

Kensington Museum,

which

be
so

Raphaers cartoons in
resemble fresco painting
closely

seen

in

they
any other Jiccessible examples to
of painting as
idea
fair
of this mode
English art-student a
practisedby the great Italian masters.
Examples, by Pinturicchio
and
o
f
and
transfeiTcd
fresco
to
Signorelli,
painting
by
canvas,
that

give the

will

serve

better

than

MATERIALS.

X"oinemco
^National

Veneziano

of fresco in its original

state,may be seen in the
is also a specimenol frescoaecco, by Giotto

where
Gallery,

"

in S. Maria
del Carmine,
AfostleSf
part of a work originally
Florence
in the Liverpool
Institution.
: other portions
are
Another
paintingwas
process employedby the ancients for mural
that
called encaustic,
in which
melted by heat appears
wax
to have
the chief ingredient
been
for fixingand melting the colours. Paul
Delaroche's
in the Palais des Beaux
Arts,
largework, the Ilemicycle
modern
of
times.
And lastly,
there is
Paris, is an important
example
spiritfresco,invented by Mr. Gambier Parry,who used it in paintings
in
Highnam Church, and in St. Andrew's
Chapel in Gloucester
Cathedral
it
also
Frederick
Sir
was
Leighton in his
employedby
;
mural
of
the
Arts
and
Arts
Fea^e
in the South
War
of
of
paintings
in
and
the
atid
Foolish
Wise
Kensington Museum,
Virgiris Lyndhurst
Two

Church.

Madox

Town-hall

Brown
of Manchester

likewise used
with

scenes

it in

from

his decoration

of the
of
the earlyhistory that

city.
Mosaic

piecesof

paintingis
stone

or

the art of producing

designswith small square
It was
various colours.
largely
employedby
for pavements, and by the early
Christians for the

glassof

the ancient Romans

ornamentation
of churches.
The mosaics in the Cathedral of Ravenna
world-famous.
At the presentday it is chiefly
Italian art ; but
an
are
and British artists have of late years produced
Russian
successful
some

specimensof

work.

The piecesof glasswhich go to make

up
called
smalts and tesserce,and are
set in
technically
in the same
cement
way as tiles in pavement. The Italians practise
kinds of mosaic work
small piecesof
two
the Florentine,
in which

the

mosaic

designare

"

stone

or

which

shell of their natural

colours

are

used, and the Roman, in

smalts

of every varietyof shade are employed. Many of the

of the old masters
have been admirably
greatest paintings
reproduced
in the latter kind of mosaic.
Another
kind of mosaic work has been introduced in the decoration

of the South
The
are

by

KensingtonMuseum, in which keramic tesserae are- used.

i
n
figures the south court of eminent men connected with the Arts
also executed in mosaic, both vitreous and keramic,from designs

Sir F.

Leighton,P.R. A., E.

J.

Poynter,R. A., and

other well-known

artists.
holds positionas a fine art, and has been
Paintingon jjorcelain
in paintcarried to gi*eat
in France.
The processes employeil
perfection
ing
and glass-staining
on
are
porcelain,
enamelling,
very similar. The
oxides or salts of metfils ground down to
colours used are principally
dust,and mixed with borax or some
fusingsubstance ; the
impalpable
oil of turpentine,
used for making them liquid
mediums
are
turpentine,
each artist mixed his own
or
colours,but now they
spikeoil : formerly

^_j

PAIKTING.

obtained readypreparedin
frequently

most

are

with

hair-brushes

they are laid on

clay or preparedmetal,
heat in

enamel

an

laid

and

in fine

powder :
the glazed

colours,either on
be, and fixed by exposure
of

to

china, called

paintingon

unglazed surface of the china :

in the groimd on
which
they are laid,
them.
A
third
known
over
as
kind,
poured
Majolica
coloured
all
with
made
to fuse togetherat a
glazes

firingthey
the glaze is
painting,is done
and

specialheat.

may
method

tubes

In

are

on

to the

embodied

become

in

ease

kiln. In another

the colours
glaze^

under

the

as

like oil

it somewhat

appearance

resembles

lustre

Italian

ware.

V.

The

which
suhjectB

the

smaller

SUBJECTS.

paintermay represent are only limited by his

of vision and imagination. He may
be a historic,
a
a
portrait,
powers
called
what
is
The
term
a
or
landscape,
genre painter.
genre comprehends
with figures
all pictures
which are not historic,
those in
especially
which

game,

two

the

as

than

life ; also

architectural,
flower,and
is called eiill life(t e, dead

of what
and representations
pieces,
in
And
fruit,flowers,etc.).
any or

fruit

art

figuresare

all of these

of his

branches

adoptwhat is known
open to the artist. He
may
ideal style,
and attempt to express the highest idea

courses

are

grand

or

conceivable

of natural

naturalistic

style,and

he may
choose the realistic or
or
perfection,
exhibit
things exactly as they are, without
alteration or improvement. Even
the so-called genre painter has a
either degrade his art by
vast field of selection open to him, and may
ennoble
it by
or
recordingtrivial events or actions better forgotten,
which
will
and
the
of
immortalizing scenes
bring
thoughts
feelings
other times and other classes vividlybefore the mind of the spectator.

chief masters

The

Metsu, Maas, and

adoptedthe

Dutch

school,such
be

Hobbema,

taken

may
realistic style; and the three

of

as

as

Gerard

Dou, Cuyp,

men
representative

great Italian masters

who
of the

Baphael,and Leonardo da Vinci

painting ^Michelangelo,
chief
in
the
Murillo,
Spain, were
apostlesof the ideal style.
of Eclectics has been given to those artists who strove to comname
bine

goldenage
"

of the

"

and

The

the excellences

familywere

of both

the most

idealism

and

realism

eminent.

landscapewhich have
classified
arisen the most
important are generally
and the Naturalists ; to the former belongsuch men
Of

and

the various

Corot, and

schools

to the

of these the Carracci

of

latter Hobbema

and

from

time

to

time

the Romanticists

as

as

Gaspard Poussin

Constable.

has been appliedto artists,

Impressimitsts
years the term
from
who
nature
exactlyas they appear
chieflyFrench,
depictscenes
reference to any preconceivednotions of the canons
to them, without
In

recent

of art.

In their works

there

is little selection of

or
subject,
attempt

SUBJECTS.

and

composition,

at

from

We
the

(see

must

wide

symbols

by

readily

the

power
their

multitude.
false

symbolic

inevitable
Coarse

grotesque,

of

Bwivct
Death

mid

caricature

totally

unworthy

Devil,

vividly
of

every
of

variety
cultivation

fine

may

by

the
be
any

could
in

this

Diirer's
of

instances

bring

may

used,
sentation,
repre-

are

Albrecht
are

before

the

which

subjects

and

Deathy

representations

consequences

truths

allegoric

the

is

on

Grotesque

rightly

art

of

all,

painting,
of

which,

grotesque
to

All

expressed.

KnigJu,

which

good.

True

of

name

and

shrink

not

aspects.

history
the

given

viii.),

chap,

intelligible

Holbein's
his

and
with

easily

otherwise

grotesque.

sense

Melencolia

and

be

III.

the

to

has

do

they

unpleasant

most

turning

for

influence

its

in

Kuskin
vol.

Painters,'

original

be

to

even

before

which

to

art,

Modern

life

word,

one

say

symbolic

exercises

not

modem

representing

e"Port8

their

in

great
minds

characterized
true

truths
of

artist.

the
as

Painting

in

Classic

the

Period.

Egyptian,
Although

it

said

really be

must

without

mention

to

the

had

have

work

that

The

with

relief,but
a

sunk

fine stucco

to

was

is the

form

commonest

in

independent

an

rise, yet

must

we

not

fine art
over

pass

Egyptian painters.
with

architecture, punting

to

sandstone

painting as
its

of the

intimately connected

Though

covered

in Greece

was

beneath
receive

servient
sculpture,and also entirely subtians.
largelyemployed by the Egypcolouring of sculpturescarved in

surface, the face of which

the
the

colours

white

or

usuallyflat tints
yellowish ground.

subject is

almost

reigning monarch,

invariably made

is

size

than

The

fication
glori-

the

always

on

of the
who

was

his

of

greater
is

He

followers.

either

represented hunting, or
driving in a war-chariot, or cutting
off the

each

of his enemies,

heads

head

quered
conbeing symbolic of some
The
presents
race.
engraving reof King Bameses
the sons
II. following their father, who
is
mountain
fortress
storming a
{Eng, 2).
Egyptian painting displaysan
entire absence
of perspective,but
the
of the
treatment
subject is
systematic. It forms, in fact,
of
combination
a
ground plan

and

the
"

The

Sons

of BamcRes

In the
Time

of

II. going to battle.

or

elevation.

background,

water, is shown
on

appear
buildings and

always

temple of Ipsamlnxtl.
the nineteenth

land

it would

as

2.

The

elevation.

whether

Though

which

give

an

who

Those
not

genre
us

lack

were

Egyptian tombs,
dry plaster, represent w^hat

on

the

subjects relating
insight into the habits
to

have
of

most

power

life of
and

carefullystudied
which

in

face

is

eye

is

the

ings,
paint-

presented
re-

in full.

dynasty.

executed

the

the
profile,

in

but

map,

figuresare

In

called

prevented

the

the

of

the

be

thus

Egyptians.
subject think that it was
Egyptians from making

customs

the

might

deceased, which

11

teGYl"TIAN

greater improvements in painting,but

"the
within

wander
rules

determination

of

the limits of
if
were

the

laid down
it

sacerdotal

class

too enamoured
:

was

the

to

done

in the

which
own

it

had

generationafter

way

by

artists

might easily

sake."

reigningmonarch

same

back

their

restrain

of it for its

gloryof the

held

they were

recordingart, from
strictly

they became

perpetuated,and

that

Fixed
to

be

ation.
gener-

he did well, and we

Egyptian
much
not
he showed
but admire
the ingenuity with which
can
as
absurd
in
trammelled
as
ventional
conpossible one picture,and, although
by
rules,achieved a reallypicturesqueeffect. Egyptian paintings
and the pictures
must, in fact,be looked upon as picture-writing,
than enlargedhieroglyphics.
as
nothingmore
The British Museum
contains a very valuable collection of Egyptian
What

the

3." Hunters

artist had

bringinghome

Game.

to

do

Egyptian

Wall-

Painting.

which
are
paintings,
unfortunately
rapidlydecaying,but they have
Of
those
been carefully
these,
copied.
representingan artist seated at
of provisions
work ; a picture
with fruit and flowers ; a group of men
and
several
in which
birds of various kinds are
scenes
cattle,
driving

introduced,are

among

the most

remarkable.

Assyrian.
Painting in Assyria appears to have been purely accessory to
In the companion volume
Architecture
and Sculpture,
on
reference is made
with coloured designs
to the glazedtiles decorated
lined the walls or formed the pavement, and to the painted baswhich
reliefs which adorned the palaces. The colouringappears to have been
characterized by delicacy,
richness,and generalharmony of tone, but
there is nothingleft to us in the shapeof pictures.

architecture.

12

PAINTING.

Arabian
The

Arabs

and

human

copy
out

of

Art

never

or

Mo"rish,

and

Moors, forbidden as they were

by their religionsto
animal
forms, devoted their energiesto the working

system of geometricand

floral

for

which
designs,

beauty and
been surpassed.
harmony of colouringand sense of repose has never
The decorations
of the Mosque of St. Sophia at Constantinople
(a.d.
of which have been
590),and the Alhambra * (a.d.1250 to 1350),some
reproducedat the CrystalPalace, afford an opportunityfor studying
the principles
of Moorish
decoration in their fullest development.
limitations
the
have referred,
to
to which
we
Owing, however,
pictorial
a

flourished.

Greek.
It

paintingfirst
unfortunatelyunable

in Greece

was

Although

we

that

are

specimens,it

from

is evident

paintingsof great excellence were

In the early Greek vases
age.
individual character of the painter,
as
The

which

and
and

preserved in

are

considerable

rightbalance
feelingfor beauty
combinations
such

any

in action and
and

to the

use

indications

be

of

vases,

in which

other;or
of their

more

chiaroscuro

all,we

find

perspective.Nothing,on
the

down

to us,

Europe,display
human
figure,

is

as

genuine
subtle

at

no

displayedin
of

trace

the other
of

of ornamentation

system

ation
appreci-

hand,

can

early Greek

admirablycontrasted with each

in spit'e
or
represented,
spirited
gracefulthan the figures
different surfaces

conventional
strictly

Museum

sculptorand

with
in repose, combined
find no
we
attempt

knowledge of

than

beautiful

more

very

the
come

of

museums

of the painter
colour,for the practice
white, red,yellow,and black ; nor are there

of

aerial

have

at

recognize the

but

"

or

are

writers

to

of the
proportions

^and,above
contemporary bas-reliefs,
of linear

in Greece

distinct from

various

grace;
gradationsof

or

limited

was

the

knowledge of the true

of

we

ancient

able

specimens which

ancient

most

of various
executed

remote

independent art.
to any
existing

an

refer

to

the accounts

that

architect.

became

furnish

us

with

are

treatment.

Different

illustrations of these

subjectof the

vases

remarks

and
ifieLeudppideSy

in the British
:

the

Meidias

the

vase
Apuleian
Bajjeof
cited
characteristic
be
as
amphora with the Frenzy of LycurgtLSj
may
examples. A fine amphora (iTny.5) in the Royal Collection at
Beneath
Munich
is richly
a canopy
subjects.
paintedwith mythological
in the middle are Fluto and Persephone; on the left is Orpheuswith liis

the

with

lyre,and

beneath

Authentic
*

is Hercules

restrainingCerberus,

of the works
descriptions
See

companion volnme

on

of the Greek

Abchitectube

masters

and Sculpture.

prove

that

13

GREEK.

of great size,representingcomplicated
were
subjects,
pictures
and
of
and
were
publicbuildings Greece,
temples
highly
have
been
executed
in
to
fresco,
prized. The mural paintings
appear
and
the movable
picturesin tempera on wood, the process known as
encaustic not having been in use until the goldenage of Greek art.
movable

paintedfor the

The
is

earliest artist of whom

in the. celebrated

were

the

Lesche

the former

he

Greek

4." The
From

wars

agree

in

power of
does not

Poecile,and in

Apolloat

Delphi.

in council

In

after

Night of Troy.

Last

the

latter

of

account

ings
paintprincipal

called the

princesassembled

Fase in the Museum

Greek

taking of Troy, and in

of Troy, and
the visit

the

Athens

templeof

of the

the
represented

give any
whose
b.c.),

450

about

porticoat

council chamber

or

detailed

able to

are

we

at Athens
Folyg^otUB(living

Naples.

series of

Ulysses

ascribingto Polygnotus great

at

to

scenes

Hades.

command

from

Ancient
of

the

--writers

colouring,and

and life-likemanner;
but he
spirited
but profile
to have attemptedany
to have
seem
or
figures,
and in
paintedshadows in anything but a purelyrudimentarymanner;
the paintings
at Delphi the figures
were
apparentlyarranged like those
and
of the Egyptians in zones
above
one
another, with no
groups

depictingmultitudes

assistance from
The

either linear

in

or

aerial

connected

perspective.
Greek
painting is

with

that of
great
Athens, who flourished towards the close of the fifth
ApoUodornB
and
the first to combine
of drawing with
correctness
was
century B.C.,
next

name

of

rightdistribution

of

lightand

shade.

Certain

of his

predecessors
"

14

PAINTING.

Dionysinsof Colophon,for example attained

the first who
this respect,but Apollodoruswas
the gradationsalike of tints and shadows.
He
of
lived
in
Heracleia,*who
by his pupilZenxis

to

"

fourth

century b.c., and who was

movable
pictures.His distinctive

form

and

finish of

execution

imitation

of

of

excellence in

some

thoroughlymastered
was, however, eclipsed
the

latter

part of the

the

first artists to paint

characteristics
were
grandeur of

one

that

he

also

attained

marvellous

to

tales which

have been
proved by the various
him
and
his
between
Parrhasius,
rivalry
cotemporary
of Ephesus. It is related,amongst other anecdotes,that at a
ja native
trial of skill between
and
Zeuxis
Parrhasius, the former painted a
like
the
bunch
of grapes so exactly
originalthat on its exhibition the
birds came
to peck at it ; and the latter a picturecovered with a fine
power

is

preservedof the

curtain
us

when

"

the curtain
masterpiece,"

this

see

exclaimed,

Zeuxis

Now

remove

found

was

your

curtain,and

to be the

let

picture!

his Hden^ in
paintingsof Zeuxis were
the temple of Hera, at Croton, paintedfrom the five most
beautiful
maidens
he could find ; his Infant Hercules strangling
and his
Serpents,
Zeus and Marsya^ houtid.
such transition took place in Greek
In the time of Alexander, some
paintingas we shall have occasion to notice in speakingof the Italian
and great
paintersof the seventeenth century, when imitative dexterity
The chief
finish were
more
highlythought of than inventive power.
of
of
known
this
the
refinement
as
^were
period
painters
period
PampMlns of Amphipolis,and his pupils,
Apelles,Pausias of Sicyon,
Protogenesof Camirus, who, however, paintedat Rhodes, and who is
devoted
said to have
seven
years to the productionof his lalysus;
the

Among

most

celebrated

"

"

"

Nicomachus

and

his

brother

"

AristeideB of Thebes, for

one

of whose

less than "25,000 is said to have been given by Attains

of
no
pictures
of
and
Nicias
who
in
Athens,
Pergamus ;
generally
painted encaustic,
celebrated for his female
who was
the Isthmian
Euphranor
figures
;
;
of
first
the decline
and lastly,
Theon of Bamos, who was
the
to
one
cause
of Greek

art.

paintingto its fullest

native of Colophon: he studied
a
development.He was, it is supposed,
first at Ephesus,and afterwards
at Amphipolisunder
Pamphilus. His
his feeling
for grace and beauty of form, his
chief chiaracteristicswere
of his colouring. His
skill in portraiture,
and the chaste simplicity
his Venus Anadt/OTnene in which
the goddesswas
were
masterpieces
from
the
from
her hair, the
the
water
seen
waves
rising
wringing
fallingdrops forming a shimmering veil about her figure, Calumny,
of Alexander
and his portrait
the Great graspingtJiethunderbolt of Zeus,
After the death of Alexander, paintingin Greece
declined.
sensibly
The
still
cultivated
for
several
was
grand style
centuries;but a
It was,

however, Apelleswho

raised

Greek

"

"

name

It has
was

been definitely
decided which of the several towns bearingthis
birthplace,
althoughit was most probablyHeracleia on the BUck Sea.

never

his

GREEK.

marked
of

shown
was
preference
secondaryclass,known

"

Greek

Amphora.

for
as

15
^-"v^"^LIFbr"N'^,.
'

realistic manner,
such
rhojx)graphicy
a

Painted

and
as

for
would

paintings
now

be

with mythological subjects.

In the Royal Collection at Munich.

called

pictures.The most
paintedshops and
also in greatfavour in

genre
Pyreicns,who
was

celebrated

Greek

was
genre painter
still life of every description.
Caricature
this degenerate
age.

16

PAINTING.

In the National
from

the second
in

cases

century

Mosaics

remains

Wall Decoratioiis,

and

of Greek

the

a.d., found

dating
portraits
by Greek artists,
in 1888 by Mr. Petrie in mummy

Egypt.

Greek

to

eleven

Galleryare

Greeks, and

have

to

there

Although

"

mosaics,* the mosaic

art appears

of

for
Propylsea,

instance

that the Greeks

in

skilled

principles

Much
the

to

as

the

ly
thorough-

true

art.

arisen

has

main
re-

Greek

it is evident

"

were

the

of ornamental

which

ceiling of

the

on

"

walls.

and

decorative

purely

painting

known

been

employed for pavements

From
the slighttraces

been

existing

no

are

to have

sion
discus-

original

of this famous
ceiling,
appearance
which
lieved
is, however, generally behave

to

such

6." Painting of stilllife.

On

wall

of a

BhopoyrapK
at Pompeii.

house

manner

supposed by him
principles
obtained
and
Greeks,
certainly

the

out

the

amongst

although its

value

as

collection

the

same

and

uncoloured

reproductionhas

been

very
much

architectural

of

side by
sculpture

the

in

ments
orna-

Crystal

endeavoured

have

opportunityis afforded

an

Greek

imitate

At

Jones

to

painted

to

as

in relief.

Palace,Owen
carry

been

to

in favour

been

beautiful

result,

questioned.In
studyingcoloured
side.

Etruscan.
enthusiasm

The

paintingis
been

manifested

discovered

the

which

with

in

the

cultivated

Etruscans

the

of

art

have
which
tomb-paintings
and
which
in
at
Clusium,
Tarquinii
conventional
Egyptian styleto the

numerous

of

in the cemeteries

gradualdevelopmentfrom the
be traced.
In the earlier specimens we
the
Greek may
see
perfected
straightlines,oblong faces,stiff limbs, and parallelfolds of drapery,
familiar in our
with which we have become
studyof Eastern sculpture
;
The Etruscan
and in the later,the easy grace of Greek art.
language
these paintingshave
not
having yet been fullydeciphered,
great
the

historic

value, representingas

of the deceased

from

the

and, in
racing,wrestling,
death-bed

scene.

generallyfestive

They

daily life
ing,
includingdancing,feast-

are

one

grave,
instance
in
"

mostlysketclies

conversion

creed to the Greek

"

of the

belief in

Properlymusaic, from

from

incidents

tomb

the

at

Corneto

vividlycoloured,and

noticeable
character,especially

examples,betrays the
Egyptian

they do,

cradle to the

in the

Etruscans

joyfulfuture
opus musicwni.

from

more

the

"

their

modern

gloomy

for the soul.

17

ETRUSCAN.

The

We

and

vases

admitted
call for

found

tombs
in Etruscan
are
now
and
do
and
not
workmanship,
design

urns

to be of Greek

separatenotice here.
may, however, mention

the

Ficoronian

Cisla,named

generally
therefore
after its

It is a bronze toiletcasket of cylindrical

fii-stowner.
form, decorated
incised designsof great merit representing
the arrival of the
with

7.
"

Found

near

Part of the Ficoronian Cista.

in 1774

PaUstruia

Now

Third century b.c.

in the Museo

Rome.
Kircherianoj

and
the victoryof Polydeuces over
Argonauts in Bithynia,
King
Amycus. It was
executed,we are told,by Novius Plautius in the
third centuryB.C., and undoubtedly
7).
betraysGreek influence {"n(j,

Smian,
No

greatnational school of paintingever

the works

produced

by
principally

were

of Greek

flourished in classic Rome

Greek

or
artists,
reproductions

masterpieces.Three periodsare

in the
to be distinguished
in
Rome
the
from
the
:
Grseco-Roman, dating
painting
of
Greece
to
the time of Augustus; the second, from
conquest
Augustus to Diocletian ; the third,from the birth of Christ to the end
of the third century. The pictures
found at Pompeiiand Herculaneum,

historyof

and
tombs
with

those
near

in the

Rome,

eggj gum

or

baths
are

of Titus

glue), no
"

althoughtome

and

in the

numerous

subterranean

paintedin
of the

distemper(orin water-colours mixed

fresco picturehaving yet been discovered,
coloured
in
walls
The
fresco.
are
plain

true

(J

/^'

i"

1"AINTING.

best and
to

date

most

from

importantof
the first

periodof

8.

"

museum

in the

of

Naples,and

the mural

Wall

many

Roman

Decoration

of them

paintingsof Pompeii (supposed

collected in the
are
painting)

at

Pompeii.

liave been

admirablyreproduced

CrystalPalace.

The house

known

as

that

of the

in Bulwer*8
Tragic Poet (described

19

ROMAN.
*

Last

Days

of

discovered
Pompeii '),

for the

and

in

1824-6, was

able
remarkespecially

dignified
styleof its

of which
most
paintings,
subjects: amongst others,the Ma/rriageof Pekua
the
parture
Thetis,
Parting of Achillea a/nd Briseis (Eng. 9), the Dethe Fall of Icarus, etc.
The frieze of the atrium
of Chryseisj

grace
representedHomeric
arid

9." The

Fartingof

Achilles and

From

Briseis.

the House

of

the

{Supposedto heft-oma Greek Painting.)

TragicPoet at Pompeii.

(t. e, court) of the Pompeian Court

from
house:

cubiculum
it

(i,e,

small

room

Battle

of

CrystalPalace is copied
opening from the atrium)of this
at

the

tJis Amazons,

The

Sacrificeof
cJiild to
Ariadne, Leda presentingher first-horn
a
dorned
other
less
a
nd
the
paintings,
Tynda/reuSy
important

represents

the
Ip/iigenia,

her husband
of this
rooms

Deserted

celebrated

residence.

The

mural

decorations

of

the

20
''

PAINTING.

of

House

the

enumerated
their
of

above

horses,on

House

"

of

account
ace

the

several
sev

of which

Palace.

Recent

wall

with

the

Female

twin

of

sons

Medea

her

and

peristyle,
"

reining-in

and

the

groups

Children, found

on

scarcelyless beautiful.

are

Dancer

those

than

Leda

fine ;
especially

of the walls, are

and

remarkable

more

even

figuresof the

great central

of

/Th"
le

are

Andromeda,

piers of the

the

the

one

and

Perseus

''

Dioscuri

also

must

mentioned,

be

on

elegance and grandeur of its decorative paintings,

are
copied in the Pompeian CJourt of the Crystal
excavations
have brought to light a large house

decorations

of

flowers, birds,
singular beauty foliage,
A
in
violent
action.
are
represented
; many
duck
flies into the water
with
has
a
caught a
splash: an octopus
with
a
lamprey : a lion is attackinga bull : and a horse is struggling
The
the
o
f
all
is
these paintings
leading peculiarity
intensity
leopard.
of their colouring,
in Italy of
accounted
for by the well-known
custom
in the day-time; the lower portionsof the walls are
darkening rooms
always painted in the strongest colours, and the upper in white or
of repose to the eye which
can
a
sense
very faint tints,thus affording
be better felt than
made
described.
been
have
to
Attempts
lately
this
of
in
residences.
the
modern
principle
wall-papers
carry out
The
paintingsdiscovered in the Baths of Titus are considered to
those of Pompeii ; they represent scenes
from the life of
surpass even
and grandeur of
Adonis, and are characterized
simplicity
by severe
animals, fishes

These

composition.
Baphael took
Koman
in

Baths

also

of his

ideas

for

Marcus

Ludius

combined

excellence
in the

time

Numerous

specimensof

Almost

pavements

of

portraitand landscape
Augustus, and appears to have
character
of

; but

light and

Roman

shade,

or

represent

house

(House

one

of

1828, in the house

and

is

mosaic

in

of the

Faun),

Alexander's

of the Lxo7i crowned

Tlie former

Roman

Mosaics,

Pompeii
wall-linings.Of these

every
or
"

Fauno

Fine

obtained.

been

rudimentaryknowledge of perspective.
Roman

mosaic

of portraiture,
chiefly

told,a celebrated

are

we

was,

decorator

colouring.

have

to

seems

beauty of compositionwith truth of

never
got beyond the simplesteffects

the most

del

harmony

of

the Vatican

of

decoration

imaginationand

considerable

painter and

us.

for the

which

arabesques from

the

contain

painting,
properlyso called,consisted

which

artists

many

remarkable

they are

"

of which

of the

with

or

the mosaic
found

specimens of

be

in

down

come

contains

of the so-called

1831,

and

to

mosaic
"

Casa

supposed to

{E^ig,10), and the circular

Garlands
hy young Cupid4,found in

are
Diosciu'i,

copy of some
Roman
mosaics
a

have

battles

displaysthoroughcommand
thoughtto

work

Herculaneum

the most
interesting.
among
and perspecof foreshortening
tive,
famous
have

ancient

also

been

work.

excavated

in

Africa, France, Spain,and

elsewhere

beauty

in Great
of

country.

The

remains

and

discovered

at

volume

Arciiitecture.
as

Brading
a

mosaic

be

copy

one

Britons

villas with

Mosaic

of an

elsewhere

London

and

equalin

of

other
any
under Roman

fine mosaic

work

discovered at

old Greek

are

Pompeii.
Painting.)

noticed

in

the

companion

of the Battle

Salisbury,a copy
pavement, has been latelydiscovered.

Persian

of Issus,

Painting.
and

thought it best to treat

chapter,as the latter almost owes
have

design
by native

At

Oriental

We

in

those

to

of Roman

Battle of Issns,

{Supposedto

on

found

Britain,though inferior in execution,are

superintendence.The

laid down

Those

England.

composition"and power of
They were probablyexecuted

10."

21

MOSAICS.

ROMAN

Indian.
of

Persian

and

its existence

Indian
to the

Art

in

former.

Persians
Unlike the followers of the Prophet, the fire-worshipping
works
of
their
animal
into
forms
allowed to introduce
art, and
were

22

PAINTING,

many
which

tiles and other materials,

on
in
specimensexist of paintings
and
and
real
human
even
symbolic birds, animals,
figures

fine

the elaborate

with

alternate

floral

designs in

which

the

Persians

still

artists combine

refined feeling
for colour and delicate
delight. Persian
form
of
with
wonderful
manual
dexterity.At the present
beauty
metal
is
carried
to great perfection
day enamellingon
by natives of

Persia,who

in Cashmere.
principally
of
have
the
Louvre
Two
latelybeen filled with
galleries
M.
of
art,
brought by
Dieulafoyfrom the ruins of
interesting
objects
of
Persia
Darius
in
the palace King
at Susa
(b.c.
550). These include,
of

work

the

frieze of the -Archers

beside the famous

examples

Lions, many
which

alternate

brilliant

bands

the

nation, while

their
India

is

the

constant

Star

careful

of

appliedto panelsof brick, in

lotus-flowers are
depictedin
purpleand gray in a vitreous

artists excel.

paintingon

They displayin
that

of

these works

other

to architecture

though
caves

not

feature of Indian

in

sculpture,

and

of

temples,as

and
brilliantly

Solomon

and

exuberance
colouring,
repose
servile imitati9n
of nature.
The

and

richness

by

private houses, are

Like

of the

books, and other small but rich specimens

chiefly
accessory

of the rock-cut
sculptures
of

that

Oriental
surpasses
any
those
of
their
least
rivals.
designsat
equal

is characterized

detail,and

and

ornamental
wall-linings,

colouringwhich

Paintingin
and
of

illuminated

Guard

of brilliant tints.

mosaic

of tiles for

Persian
colour-decoration,

delicacyof

art

palmettosand

forming a

decoration

lacquered
ware,
of

of

of the

colours,orange, green, manganese,

enamel, the whole

In

of decorative

often

Moorish

ornamental

important symbolic

With
significance.

worked-out

are

well

as

the outsides

coloured.
tastefully
the
decorations,
palm is a
most

art, and

appears

to

have

some

this

exception,elaborately
treated
in an easy, supple
foliage
b
eing
rare,
without
adherence
strict
rules.
the productions
to
In
manner,
any
of modern
Indian
ai*tists the effect obtained
of
use
by the judicious
marvellous.
is
whilst
contrasts
are
neutralized,
gold
Glaring
glowing
colours are toned down by meanderinglines of goldso subtlyinterwoven
with the design,
that,in the words of Racinet, the great French writer
decorative painting, we
the whole as through a transparent
on
see
web of gold."
Among the best existingexamples of Persian paintingare the
*
illustrations to the copy of the Hazm
Ndvwh
(thePersian abridgment
from the original
Sanskrit
of the Ma/idbMrcUa, one
of the two great
of
Ancient
the
rival
between
contest
two
India,relating
epic poems
both descendants of a King Bharata),
which
is the greatest
families,
of the Royal Libraryat Jaipur. The Razm
treasure
Ndmah
its
owes
origin to the great Akbar, who, being convinced that the fanatical
hatred prevailingbetween
the Hindus
and
the Mussulmans
mainly
patterns

"

in Englishwith photographic
of
description
reproductions
W.
by
published
Griggs of Peckham.

the

has
plates

been

11.

"

The

Feast

From

at

HastiDupur. By Daswauth

the copy

of the

Bazm

Ndmah

and Bhora.

in the

Sixteenth

century.

Royal Libratyat Jaipur.

24

PAINTING

from

arose

mutual

ignorance,endeavoured

make

to

the works

of

the

accessible to the latter ; and in 1582 selected the Mafidhknrata

The Jaipur book, which
is thought to have
been

former

for ti*anslation.
Akbar's

169 full-page
miniatures,well-draw"
copy, contains
in the highest styleof Persian Art.
It is said that

own

illuminated
of

lakhs
with

than
paid
(then more
equivalentto "40,000) were
rupees
who were
Oriental magnificence
the greatest
to the artists,

true

of their

and
four

time, and

Daswanth

included
Akbar's

paintersat

Basawan,

and

Bhora,

To

court.

the

brated
cele-

most

famous

another

artist,

and

Daswanth, is ascribed the miniature {Etiq.

11),in which Yudhishwith
Krishna
and
of
the Pandavas
are
thira, Maharajah
Bharata,
seen
holding a great feast at Hastinapur before lettingloose the
White

Horse

his

on

of
representation
of

of

year

Royal banquet would

It will be noted

present customs.

This

wandering.
serve

as

the

that

sixteenth-century
transcript

truthful

apart from

sit

men

the

women.

In the libraries of other

Indian

Rajahs of

illuminated.
beautifully

works

GtUistdn,which

is said to have

cost

over

palacesat Jaipur,at Amber,

indeed throughoutIndia,are

and

The
and

various

historic

Ulwar

is a copy of the
of rupees.
elsewhere in the Rajput States,
At

lakh

decorated

^ath

hunting-and

battle-

of domestic
life,executed in a kind of
representations
all
the
influence
of
Persian
with
art, combined
They
betray

strict adherence

Specimens
but the few
with

to old traditions.

of

which

have

exhibited

been

little encouragement and

instance

the

of Delhi

and

which

were
as

the

natives

independentpaintingsby

with
compete successfully

well

copiesof

are

and

scenes

fresco.

to

India

small

amongst

and

enamels

States to the Colonial

Art

miniature
a

series

Treasures

paintingssent

and

Indian

to time

are

rare,

prove

that

artists

might hope
proofsof this,we may
of the Emperor
portraits
of architectural drawings

As

Europeans.

different chiefs ; and

time
Indian

instruction

paintings
; the
the

from

India

of

at

from

Exhibition

Manchester

Jaipur

in

and

1857,

other

as

Indian

of 1886.

Chinese,
The
the

first

century of the Christian

importation of
first artist whose

Buddhistic
name

are

is recorded

His

later artists.

copied by
famous
especially

told,was

too, are
landscapes,

era,

is lost in

it received

paintings and

the third century. Buddhistic

Chang Sang-Yin, who lived
much

in China

art
earlyhistoryof pictorial

statues

is Tsao

an

obscurity.In

impetus by

from

India.

the
The

in
Fuh-hing,who painted,
The
styleof
temples.

picturesfor the
in the

Wu

middle

for Buddhistic

said to have

of the

Tao-tsz,of the
been

of

sixth

century, was
eighthcentury, we

picturesand

for

portraits.

vigour,ancl
extraordinary

fall of
from

the tenth

In

the

to the sixteenth

British

Museum

oldest

The

beauty.
picturesque

25

JAPAN.

IN

date
picturesexisting

Chinese

century.

there

and

instructive

interesting
Japanese drawings, from the earliest years to
modern
times, purchased from Mr. W. Anderson, formerlyattache to
the British Legationin Japan.
Of the
best Chinese
mention
White
a
EagU^
pictures we
may
attributed
lived in the twelfth
to the Emperor Hwei-Tsung, who
century, and was celebrated for his drawings of falcons : Three Rishis *
series of Chinese

the

types and

and
All
are

Disciplesby

of the

thirteenth

century; and

Si-kin Kit-t8Z6 of the fifteenth century ;

of which

costumes

of the heads

drawing

there

very

and

and
Philosopher
the

Wilderness,by Ng^an Hwui

the

in

is

is full of

Korean
in character :
distinctly
addition
In
to these,
individuality.
are

executed drawings of geese, eagles,

cranes
beautifully
from
sixteenth
the
the
to
twelfth
birds, dating
century.
the picturesmentioned
are
Kakf'inono8,\
mostlyin colours,and all
which is on paper.
on
silk,except the Philosopher,
several

are

other

In the sixteenth
then

Japan

took

set in in the art of

century, a decadence

the

she has maintained

which
precedence,

China, and

until

to-day.

Japanese,
Though

raenUiry and
much

that
is the

of intention.

the

in

might

at

country,

the

eyes

undeveloped,
yet
which

result

formed

European

to most

on

rudimay appear
study,it will be seen

Japan

careful

more

first

sight

put down

be

schools

Though

many
evidence

decided

no

art of

of

of

to
art

of their

the

School

Yamato

through
predecessors

centuries.

been
be

progressioncan
continued

school have
of each particular
found, for the disciples
traditions

ignorance
have

the

the works

Thus

of

to the prostrong resemblance

ductions
truth
More
to nature
century.
of flowers,animals,
in all Japanese representations

of

to-day bear

of that school in the eleventh

is to

be

birds and

observed

fish,than

in their

picturesof

human

figures.

Japanese picturesmay be divided into two classes : the Buddhistic,

which
displaygreat richness of effect produced mainly by the free use
of gold; and the Secular,which
noted for calligraphic
are
dexterity.
and in the latter the draughtsmanship,is
In the former the colouring,
remarkable.

most
*

The

Rishis

were

Of

creations of

of China

in the

Buddhistic

and

paintings,which

are

somewhat

akin

who play a great part

philosophyand superstition,

Japan.

mythology
which are pulled
and Japanesedrawingsconsist of Makimonos
pictures
than fifteen
out
sideways from roils often many yards in length,and seldom more
inches deep : KaJcdnwnos, or hanging pictures,
which, when complete,are fittedwith
borders of coloured silks liarmonizingwith the tone of the pictures
; and Gakus, or
in
wooden
metal
and
fraines.
Kak^rnonoi
and
Both
framed
stretched
or
pictures
t Chinese

Makimoivos

"

are

rolled up when

not

in

use.

26

PAINTING

similar works

to

in

India,

the

British

we

note

may

the

tale

of Eaiho

unknown

in
Museum, by an
Shiuten-Dojiy
the destruction
in twenty-four dramatic
narrates
scenes
of
dates
from
RaikO
and
the
a
by
man-eating ogre,

and

the

artist,which
in

a.d.

947

seventeenth

century.
first painterrecorded

The

of

immigrant

royal descent,

flourished in the
celebrated

as

greatest artists,Kob6
successful

very
and

which
pictures,
known

Kost^

the

as

founded

bear

line.

of

witness

arose

is said

works

century

Japan's
the

are

told,

figuresof
few

men

Buddhistic

followers

His

also

taken
we

was,

to his merit.

of

one

He

are

was

have

to

landscapesand

of the

One

eleventh

in the

century

who

only remaining

however

descendants

for his model.

delineation

his

animals; but

of whose

one

ninth

the

Tao-tsz

Wu

in the

Japanese art is a Chinese

Nan-ritl (or Shin-ki),who

as

Kanaoka,

no

of the Chinese

works

known

fifth century, and

painter. In

of

in the annals

were

disciples,
Kasu-ga Moto-mitsu,

the

school, still in

Yamato-Tosa
for his

belongedMitsu-oki,famed
delicately-painted
of
adhered
Another
artists
to the Chinese
drawings
quails.
group
and to
themselves
first
Buddha
of
at
to the glorification
style,
devoting
imitatingChinese landscapes
they have paintedbirds,
; whilst latterly
and
flowers.
The
of
school,founded
disciples the Takuma
quadrupeds
in the tenth century by Taknma
of
Tam^nji, producedchiefly
pictures
alid of his apostles.
Buddha
In the fifteenth century, a revival took placein the art of Japan, in
the form of a return to the styleof the Chinese of the Sung, Yiien and
it is the art of this revival which is illustrated in
: and
Ming dynasties
existence,to which
of

the

British

Museum

says Professor

collection.

"A

vast

SidneyColvin, speakingof

number

of their

the Chinese

pictures,"

school of

Japan,
miniscence
more
no
composed
slightreof vegetablelife,
such as a limb of bamboo
a peony
or pine,
or
orchid, or a floweringbranch of plum or peach. Spiritedand
life-like sketches
and
of birds * * * were
in most
equallycommon,
emblematic
the
Chinese
and
to
cases
a
o
r
conveyed
Japanese poetical
The
a
meaning, that ensured
lastingpopularityfor the motive."
illustration which we give{Eng,12) shows that this love of birds has
continued
and fish were
also
to the present day. Mammalia, reptiles,
from

''are

represented.
continues

Side

"

by

Professor

mythicalzoology
"

and
significance
this school."

ambitious

side with

these creatures

Colvin, "others
animals

monstrous

invention

"

have

material

than

of the natural

world,"

belonging to supernaturalor
and

monstrous

abounded

in the

of various

men

of
representations

landscapes. Cascades,
and
silicic
and
streams
rugged headlands ;
peaks
pools,
; towering
side by side with the graceful
gnarledfantastic pines and plum-trees,
and
stem
of
the
or
featheryfoliage
pavilions
bamboo; mansions
crowning the heightsor bordering the expanse of an inland lake,and
straw-thatched

They

were

also famous

for their

cottages nestlingin the valleys;these

"

were

elements

IN

tlie Chinese

that

27

JAPAN.

landscape
painterassorted

and

reconstructed

into

thousand

pictures."
Shiu-bnn, of the
were
paintersof this Kevival, the principal
fifteenth century, who is represented
by a Chinese Landscape : Sesshin,
versatile artist of the sixteenth century, by whom
a
Hotel* a7id
are
Of the

Children

(paintedwhen

12:

two
to

wad

"

the artist

eighty-three
years

was

JapaneseDrawiJig,

Goose.

Nineteenth

of

age),and

century.

in which he chiefly
excelled. Sesshiu went
to China
Landscapes,
to paint in the Royal Palace,
study,was honoured with a command

and,

on

his

artist of this group

of the Kano

founder
We

the

are

told that

Emperor

pupilof

and

Shiu-bun

carried

to

return

on

Japan,

founded

Sesshiu

school

another

Oi-no-suk^,afterwards called
Motonobu," the
died
who
in
the
at
school,
1559,
age of eighty-two.
"

was

his

paintedfans

Shogun.

were

Motonobu's

; whose brother and

the old traditions.
*

the

One

of the

seven

chosen
father

as
was

ceremonial

Kano

his descendants
The

giftsto

Masanobu,

for several tions

generaof the Kano
earlier works

gods of good fortune.

28

PAINTING.

in monochrome,
and
occasionaHy
frequentlyexecuted
of
with
washes
colour
the
:
heightened with the greatest dexterity
elaborate workmanship and a freer use
later paintingsdisplaymore
of gold.
Of the TJkiyo-ye-riu,
or
Popular school of Japan,the works of which
distributed
of book-illustrations,
have
been
engraved on
by means
was
Hoku-sai,"the
wood, playing-cards,
etc., the most famous disciple
closes
most
powerfulartistic genius of the Japanese race," whose name
the first was
a
long line of those talented book illustrators of whom

school

are

died

Moronobn, who
works

executed

were

between
for

and

originalsketches

the

British

is

Demons
Before

mention

part

of

the Ko-rin

seventeenth

the

kakemono

beneficial revolution

are

rare.

on

silk

As

century, who

in the

art

been

died

He

by

of Hoku-sai's

most

in

Hoku-sai

destroyed,
1849.

In

representing

of the

school,founded

; the

was

So- sen, the

1716.

historyof art in Japan, we

by Ogata Ko-rin,of the latter
famous
for his
was
specially
school of Japan,of which
the

Shij5or naturalistic
Mam-yama-Okio, who, born

lacquerwork

monkeys

his hand

tryingthe bow of TamPtomo,

closingthe brief sketch

must

founder

and

engraving*on wood, theyhave

from

Museum

1711

of

in

1733, brought about

painting,and

to

which

belonged

of
Japanese Landseer, celebrated for his representations
Kishi
established
Ganku
and lastly,
the
Do-ko,
school,
by

better known

as

Oan-ku, who

of which

one
tigers,
somethingof

Painting

styleof the

in

the

Early

Christian,

for his

famous
especially

is in the British

the

Harly

is

Museum.

His

drawings

followers

of

adopted

Shijoschool.

Christian
About

Byzantine

and

A.D.

50

"

Ages.

1300,

A.D.

first examplesof

earlyChristian paintingare to be found in the

of which
decorated
were
Catacombs, the walls, recesses, and ceilings
In the first two centuries,owing to the hatred
with simple frescoes.
could recall the old idolatry,
which
of everything
symbols alone were
forms
and
limited
these
to
not
to
were
even
employed,
appropriated
of the Eoman
deities. As
the power
heathen
"mpire declined,and
innate in every
with it its monopoly of art-forms,the love of art
The

"

native

of Greece

to
now

"

Italy
"

once

more

asserted

fourth centuries,althoughstill to

third and

by

and

the dread

its sway ; and in the

certain extent
hampered

of

the earlyChristians were

revivingidolatry,
permitted
with somethingmore
than formal
adorn the Catacombs
signs. We
find Christ
representedas T/ts Good Shepherd,or as Orphetts
The

Wood-cuts

art

of

were

wood-engravingwas practisedin Japan in

first printedin colour about the beginningof

the thirteenth ccntuiy.

the eighteenth
century.

taming
affords
the

tJie Beasts
an

of

his

of this

example

catacombs

church

with
S.

portraitsof

Lyre,
second

Calisto,on

of S. Sebastiano.

This

Christ, which

29

CHRISTIAN.

EARLY

is

Our

etc.

class

the

of

Via

illustration

Appia, Home,

also contains

church

supposed

to

have

Christ as Orpheus. Fresco from the Catacombs

of
13.
are
scenes
pictures
from
CeilingTainting. The surrounding
"

later date.

somewhat

In

the

of
paintings

the

one

been

{Eng. 13)
from

is taken

fresco;it

beneath
of

the

executed

the
first
at

S. Calisto,Rome.
the Old Testament.

Pontian

Catacombs

on

further

Portuensis,dating from the fifth century, we note a

from the
differs essentially
of Christ,especially,
the portrait
chief
istics
characterold Greek idea,and is of a purelyChristian type. The
in the Catacombs, are a
of earlyChristian paintingas exhibited

the Via
advance

simple earnestness

and

majesty,and

grandeur

of

littleinferior to the frescoes of the best age of the old

compositionbut
Empire,combined

30

PAINTING.

their
what
we
peculiarly
may call a spirituality
artists strove to express their belief in the immortal

with

the

even

poorest

and

distorted

most

soul

these

animating

earlypaintings.*

of the State
became
the religion
Christianity
no
Constantino, Christian painting,
longer condemned

Mosaics.
of

"

When

subterranean

called

life,was

decorate

to

upon

tian
Chris-

it is their

forms, and

human

which givesimportanceto
spiritual
significance

time

The

own.

the vast

in the
to

basilicas and

worship. At first tempera and

appropriatedto the new
encaustic
colours were
exclusively
employed by the artists,but these
The only existingChristian mosaics
soon
were
supplantedby mosaics.
attributed with any degreeof certaintyto the fourth century are those
the ceilingof S. Costanza, near
on
Rome, which are of a purely
churches

decorative

character.

The

mosaic

it is

thought,perhaps from

with

S, Praxedia

and

S.

the

fourth

of S. Pudenziana

dates,
century. It representsChrist

in the tribune

them

above

and
ApostleSy

the

Pvdenziana^and

damaged that
succeeding
centuries attempts were
made
to produceimportanthistoric pictiures
in mosaics; but the intractability
led to a general
of the material
preferencefor the simplest subjects. As we advance further and
further from
the times
of persecution,we
note
an
ever-widening
difference between
and the church
the paintingsof the Catacombs

the emblems
its true

of the

date cannot

mosaics.

be

so

now

much

In the fifth and

readilydetermined.

difference is well

This

it is

evangelists
; but

illustrated

by

the

mosaics

on

the

Triumphal Arch of the church of S. Paolo fuori le Mura, at Rome,

dating from the second half of the fifth century, for in them the
antique spiritwhich had unconsciouslyinfluenced the artist of the
sepulchresis almost extinct ; the old Christian symbolism is gone ;
Faith rises
and death, above which
of suffering
and, instead of scenes
in
have
of
the
Saviour
enthroned
we
triumphant,
representations
The
glory,surrounded
by the redeemed.
Virgin does not appear to
have

been

representeduntil

part of the fifth century.

the latter

In

the sixth century were

produced the mosaics of SS. Cosmo e
Damiano, considered the best in Rome, and deservingspecialmention
as
being amongst the last in which the figureof Christ retains the

quiet majestycharacteristic
the saints appear
rows
parallel

The

in natural

of the

Catacomb

groups

and

in which

and
portraits,

instead
a'ttitudes,

of the stiff

subsequently
adopted.

mosaics

of the

tribTine of

S.

Agnese

in Rome

(625 638) are

"

the heads of the Saviour,and

good specimens of the transition period,
the Virgin,being purely conventional,whilst some
of the figures
are
dignified,
graceful,and free from Byzantine stiffness. Those in the
basilicas

of S.

ApollinareNuovo,

specialimportance
*

be

Copiesin
seen

now

water-colours and

in the South

that

the

and

S.

church

photographyof
KensingtonMuseum.

many

Vitale,at Ravenna,
of

S.

Paolo

of the Catacomb

at

are

Rome

of
is

paintings
may

31

BYZANTINE.

the

as
they are
destroyed,

only existingspecimenswhich

idea of the way in which

every available
brilliant decorations,in the centuries

century
those

of S.

belong the mosaics

the

above

notice.
the

Prassede, on

just

with

these

the

ninth

To

EsquilineHill,and

of S. Maria

of the church

tribune

was

space
under

give

covered

della

Navicella,on

Caelian Hill.

the

Of Illuminated

an
Manuscripts,

series have

unbroken

down

come

to

earlyChristian times, many of which giveproofof considerable

imaginativepower and true feelingfor all that is best in antiqueart.
in the Vatican, a parchmentTo this class belong the Book qf Joshua
the seventh
roll more
than thirtyfeet long, dating from
or
eighth
century, but supposedto be a copy of an earlyChristian work of the
period we have been reviewing;and the celebrated Virgilof the
work of the fourth or fifth century.
Vatican, an original
of Charlemagne was
the great period for manuscript
The
time
illuminations
fine specimens are
preserved in the National
; many
from

us

library

in

and

Paris,the British Museum,

the Libraries

of Treves

and

Tours.

Byzantine.
Christian art
conquest of Italy by the Longobai-ds,
of the Late Roman
off into two schools,to which
the names

after

Soon
branched

the

Byzantinehave been given. The foundations of the latter are

the
supposed to have been laid early at Byzantium (Constantinople),
attain
but
it
did
until
of
the
Eastern
to importance
not
seat
Empire ;
the periodof the deepest
the sixth century. Its predominancemarks
the

and

decline of Italian art

which, however, still retained,though latent,the

"

spark which was to be again fanned into flame in the thirteenth

century. The leading characteristics of Byzantine painting,which,
it has retained unchanged to the present day,
with Oriental tenacity,
of
the
flat
are
use
gold grounds instead of the blue hitherto preferred,
of the human
a stiffness in the treatment
figure,rigidconventional
devoid of beauty replacing
forms utterly
the majestictypes of the Late
Roman
school, artificially-arranged
draperiesin long straightfolds,

vital

"

"

and

great

The

hot

neatness

and

to the

controversy as

maintaining Him

Romans

the

most

West, and

treatment

Our
mosaics

important
accounts

of sacred
limits
of the

althoughmany

forbid

in

to

do

Byzantineschool.
have

been

that

great

subjectsby
us

been

influence
a

of

personalappearance

to have

men," and the Byzantine Greeks

exercised

of execution.

carefulness

the

had

He
on

no

the art

than

of

person,
of the East and
"

for the difference in the

measure

Those

"

beauty of
both

the artists of the two

more

Christ, the

fairest of the children

'*

name

of S.

schools.

the

Sophia at

still retain
destroyed,

much

most

important

Constantinople,
of their

original

32

PAINTING.

splendour :
the

Emperor

the

enthroned
Until

illustration

our

{Eng. 14)

mosaics, dating from

of Monreale,

cathedral
and

in

Christ

Momic

as

mosaics

showing

represents

Oriental

servility,to

adored

been
a

its
of

of

by

we

Normans,
; in

Southern

Justiniao.

of

S,

Western
be

may

the

of

in

in that

Sicily.

The

Century.

SopfiiOfConstantinople.

admirably illustrated, and

mastery

of

tine
Byzanstudied

Keale

Capella
Italy and

Sixth

Byzantine

opportunity

an

Other

purity.

the

Palermo

near

in the Porch

liave

great

all

time

than

more

have

dramatic

power

deserve

could

be

study

attained

conventional
rules, and whose
by many
of representing the human
rude.
As
specimens
figure was
power
very
of colouring they are
magnificent.
The
of the Byzantine school
are
principally
manuscript illuminations
of
Boman
do
for
notice.
and
call
not
works,
copies
special
any
to
In
their
painting, Byzantine artists attained
purely decorative
considerable
mosaics
their
are
ingenious
proficiency;
geometrical
very
in pattern and
centiu-y
always good in colour, but from the thirteenth

by

artists

how

the

little

was

Mark's

Saint

buildings

various

14."

Monreale

truly

century, Venice

colony, and in the mosaics

studying the Byzantine style in

city ;

with

Redeemer.

thirteenth

the

of

the

the

doing homage,

Justinian

porch, and

is from

Byzantine

who

art

yet

were

fettered

gradually declined

in both

technical

and

inventive

power.

'jy^/

ji^^.iMiJf,

H,

W^r-^
^ZMAJ

1^-L

m
u^

liS^
M

(?\;to4*^'

^jSii
i'mldVc
r

t r

15.

"

Sketch

Map

of

Italy in

tbe

sixteenth

century.

34

PAINTING

Painting
In

in

Middle

the

1100"

Italy. A.D.

Ages.
1440.

A.D.

of Sir Austen
publication
Henry Layard'srevised edition of
has done much
of Paintingof tbe Italian Schools
Kugler's Handbook
to familiarise
English readers with recent continental criticism on
in no
Italian Art.
SignorMorelli has of late years called in question,
of some
of the well-known
measured terms, the ascriptions
masterpieces
that
his
remarks
of Italian Art ; and so much
have
been
the
to
point
if not all,of his
several of our
best critics have agreed with many,
at least a novel
re-baptisms.Signor Morelli's is,if not a new
style,
of criticism in art. He judgespaintings
by the peculiarities
application
well-authenticated
of draughtsmanship,
and
visible in original
drawings
such as the formation of the ear, the head, and the eye, and
paintings,
throwing
examination
he has succeeded in overby this system of analytical
been
pointed
previously
expressedopinions
; but,as has
many
Could
The Edinburgh Review,' for October 1892,
out by a writer in
lateral
Morelli |":ove the infallibility
unaided
method
of his scientific
by colhe
evidence,he would necessarily
destroythe claim of Uie men
wishes to serve
all."
to beingartists at
Reference
to abstruse
arising between
questionsof authenticity
critics would, however, be out of place in an
Elementary History of
istics
do more
touch on the leadingcharacterArt which cannot
than lightly

The

'

"

of each

school

but

it is

should learn to discriminate

of

great

study

and

masters

of

the- various

Renaissance

judgment

on

between

works
art

the less essential that the student

none

by

undoubtedlyauthentic pictures

the

followers and
in

movements

will repay
the student
by
the many
schools which

led

Italywhich

assistinghim
succeeded

to

up

to

form

the

just

Italy

in

it

careful

imitators.

and

elsewhere.
In the tenth

and

and
disorganized,

discontinued.

eleventh
the
few

The

centuries,Italian societywas

practiceof decorative

art

pictures produced were

still utterly

entirely

almost

was

either

in

the

worst

antique
or
.the Byzantine style,
types. As earlyas the beginningof the twelfth century, however, the
of

fonn

the

rudest

of
reproductions

Republicsof Upper and Lower Italygained strengthand stability,

whilst a new
and independentstyleof art graduallydevelopeditself,
alike
the Byzantine and
the Late Roman,
a
stylewhich
displacing
be called purelyChristian,
its rapidgrowth mainly
and which owes
may
"

to the
vere

patronage of the Church.

Rome,

In the

mosaics

of S. Maria

in Traste-

(1139 1153),and of the basilica of S. Clemente, also at

marked
improvement is noticeable ; but the aH apparentlydid

at Rome

"

IN

not advance
the

when
and

35

FLORENCE.

further until the commencement

of the two conqueringraces

of the thirteenth

fusion

their

century,

Sicily the Normans,

and the conquest
complete,
had led to the immigration

of

"

the Arabs
had become
predecessors
the
Latins
in 1204
Constantinople
by
into Italyof artists well acquaintedwith all the technical processes
of painting,
althoughunable to turn them to the best account.
Henceforth
the history
of paintingis the historyof individual men,
alike of the new
art was
to which
a fact significant
promoted
position
and of the new
freedom enjoyedin the Kepublics. Allusion
political
has been alreadymade
to the importantpart taken in the revival of
sculptureby the famous Niccola Pisano,* and there can be no doubt
that he greatlyinfluenced his cotemporaries
of art.
in every branch
"

of

The

distinctive feature of this

was

remarked

^as

"

'

Painters

by

that

"
"

Mrs.

revival,in which

Jameson

imitative

became

art

in her

Tuscany

Lives

The

could

first Italian

Oixinta of

lead,

representative,
imaginary

as

although in the first two centuries the imitation was as much

as
real; the art of lookingat Natui-e had to be learnt

imitatingher

the

Early Italian

of the

well

as

took

before the

be

acquired.''
paintersto take part

in the

new

movement

were

Pisa, Goido

of Siena, Buenaventura
of Lucca,
Berlingieri
of Florence,and Andrea
Arezzo, Maestro Bartolommeo
Tafi (thegreatestmosaic- worker of the thirteenth century),
all of whom

Margaritoneof

followed

the

with
Byzantinestyle,

of the
stirring

the

Among

the few

is in the

National

from

the Lives
and

In

form
of

of
significant

remain, there
paintingsby Margaritonewhich now
The
and
Child,with Scenes
Gallery(No.564)
Virgin

qf the Saints,which

is,on

showing

of Qiovaimi

the works

Italian

modifications

the

istic
every account, most characterstate of art at the end of the

century.

been

has

new

important,as

thirteenth

certain

life in art.

called

painting,
we

of Florence

altogetherwith

not

"

Cimabue

recognize
a

justice the
"

(1240 1302),who
"

very

of modern

founder

decided adyance

in

representing

expressionof action, althoughhis figuresare still

the long-drawnByzantine type. Of his existing paintingsthe
and

in

principalare

the

colossal Madonna

the

in

Bucellai

chapelof

S. Maria

fine water-colour
a
copy is in the Crystal
in
the
of
the same
Child
town
Palace);
Academy
; and
of
the frescoes on the vaulted ceiling
and above
the walls of the nave
the
of S. Francesco
the upper church
at Assisi,of which the best are
Kiss qf Judas,the Ma/rriageat Cana, the Deposition
from tlieCross,and
and
Child, in the National
Joseph a/nd his Brothers, His Madonna

Novella, Florence
a

Madonna

(ofwhich
and

Gallery{Eng,16),may
the hew
As
must

be studied

birth of art in Florence.

as

who
cotemporariesof Cimabue
Jaoobns Toriti,
author of
name
*

In the

companion volume,

an

indication

of the

earlydawn

of

'

were
some

influenced
fine mosaics

oi) Abchxtkcture

by

his

work,

we

in the tribunes

and ScVLrruBs.

36

PAINTING

of S. Giovanni

in Laterano

author

Cosmato,
sopra Minerva, Borne

Virginin the
cathedral

and

of mosaics

S. Maria

Maggiore at

in the latter church

and

Borne

OioYanni

in that of S. Maria

; Oaddo

cathedral

at Florence

Oaddi, the painterof an Ascension of the

Pisa, and a Coronation qf the Virginin the
and, above all,Dnccio di Buoninsegna of Siena,
of

the chief

who
painterof the Sienese school of this period,
from
the
series of paintings,
representingscenes

executed

famous

Paseion

of

Christ J the

Id.

Entry

"

Madonua

into

JeruscUein,etc.,in the cathedral

and Child.
In

other minor

works, in which

beautyand

knowledge of

Gallerycontains

Ugolinoda
We
Italian

have

four

By Cimabue.
the yational

he

form

Late thkbeeuth

of

Siena, and

century.

Gallery.

perhapsdisplayedgreater feelingfor
than

picturesby

Cimabue

Duccio, and

himself.
two

by

The
his

National

cotemporary

Siena.
reached

now

school

of

the

painting,and

second

stage of the developmentof the

shall have

to

distinguishbetween

two

IN

37

FLORENCE.

stylesinto which it branched off in the time of Giotto. We stillfind

Tuscany takingthe lead,but Tuscan artists are no longerof one mind.
school was
of one
of the other, Siena.
The
Florence
h"ul-quarters
"

The
I

Florentines

certain

from

extent

their

and

the

followers,who

derived

earlySienese masters,

their

practiceto a
for
distinguished

were

; the Bienese, for

I vigour of conceptionand richness of composition
\ warmth
and grace in the treatment
of feeling
of single
figures.At the

Ihead

of the

new

Florentine

school stands
known

Giotto

(1276 1336),who was the

first Italian painter
from Byzantinetraditions,
to free himself entirely
and
who
exercised a lasting
influence on
art in every part of Italy.
on
Accordingto an old tradition,Giotto began life as a shepherd-boy
and his artistic genius
the mountains
near
Yespignano,his native place,
Ambrogiotto Bondone,

first discovered

was

ten

some

to his

It

home

own

of

in

of his

taughthim

his
surpassed

Giotto

sheep on

Oimabue

stone.
sharply-pointed

Florence,and

when

surprisedhim,

old,drawing one

years
a

who

"

at

pieceof
took

once

the rudiments
; and

master

child of
him

of his art.
his earnest

of nature, and steadfast resistance to all that was

false or
in art, effected a reformation
in painting
the value of which

to
impossible

and

by ^mabue,

long before

not

was

study
is

twelve

or

slate with

smooth

as

over-estimate.

he
perspective,

is

In

it

form, of chiaroscuro,

knowledgeof

allowed
generally

natural
un-

to have

been

deficient ; but

his force of

his power
of preservingrightbalance in complicated
conception,
of
natural
his
and
character,
expressing
feelingfor
groups,

grace

of action

and

art, and

of

harmony

position
assignedto him

as

colour,justlyentitle him

the founder

of the true ideal

to the

high

tian
styleof Chris-

The cotemporary and friend

of portraiture.
the h^id of the school of allegoric
as
painting,
the latter does of that of poetry.
The following
works by this great master :
may be taken as typical
the historic paintings
from the lives of
scenes
representingthirty-eight
the Virgin and Christ in the chapel of the Madonna
delF Arena
at
Padua
the
in
of
the
lower
church
frescoes
S.
Francesco
at
over
Assisi,
;
the tomb
of the saint {Eng. 17),representingscenes
from the life of
of

the restorer

Dante, he stands

at

"

that

saint,of which two of the best are the Marriage of S, Francis to

Poverty,and the Death of S, Francis ; the celebrated mosaic, known as
the Navicella,
in the old basilica of S. Peter,Home, representing
a ship
with
the
Christ
the
on
a
sea
on
walking
stormy
containing
disciples,
waves
preserved,though much restored,in the vestibule of the
(still
present S. Peter's)
; the Seven
ronata

at

in which
!N'aples,

styleand painted actual

paintingson wood in the

in the church
Sacrame7its,

Giotto

scenes

Florence

life;and
Academy. A fine

by Giotto,was

discovered in 1840 on
Several of the works
at Florence.*
^

departedfrom

of human

Becent writers have thrown

wall in the
of

on

symbolic

series of small

Portrait

palaceof

Giotto,and many

doqbts

of the Inco-

his usual

qf Dante,
Podesti

the

of those

itsauthenticity.

by

38

PAINTING

Italian artists who

flourished at

or

the

near

time

which

to

have been reproducedin chromo-lithography

referring,
by

we

are

the Arundel

Society.
The

generalcharacteristics

studied
the

at the National

various

Giotto,and

which
Gallery,

earlyschools

of

Coronation

of the

17.

"

ObedieQce.

of the class to which

Institution

they

Zacharias, and Salome

del

Maria

Carmine

lighterand

are

they

was

his

Giotto

and
designs,
his
hand.
by

Taddeo

of

Oaddi

at
a

Early fourteenth century.

o/S. Francesco at Assisi.

Church

are

Two

the

with

by Giotto

Presentation

roseate

with

works

tJiehead

Florence.

more

mixed

were

preserved. Not

be

Italy and Germany. Tioo Apostles,by

of his school,are
Virgin^
by a disciple

allude.

we

earlyItalian paintersmay be well

is tolerably
rich in specimens of

By Giotto.

In the Lower

to

of the

In

was

of the
the

than

hue

the

Baptist

in

those

of

his

cessors
prede-

very well
also in sculptureand architecture,

thinner

medium,

sculptureswhich

chief

of S. John

both from Santa

of the Baptist^
Giotto's paintingsthe colours

but
only in painting,
famous.
The Campanile at
some

in the Liverpool

are

of Giotto's

and

Florence
adorn

are

was

the base

scholars,and

built from
are

said to

his works

are

IN

considered

"

the

39

FLORENCE.

importantproducedin the earlyhalf of the fourin

successful in historic subjects,
was
century.
especially
which
he cTisplayed
and
for
and
truth
a
more
great feeling
beauty,
Four
thorough knowledge of colouringand chiaroscuro than Giotto.
pictures of his school are in the National Gallery. The frescoes in the
Cappellade' Spagnuoliin the cloister of S. Maria Novella at Florence,
which
illustrate the newly-instituted
festival of the Corpus CJvristiand
from the life of S, Domenicy were
scenes
formerlyascribed to him, and
also to Simone di Martino, but they are
da
attributed to Andrea
now
m"^

toonth-

18.

"

He

IVeacbingof S.
formerlyattributed

The

of San

Eanieri

to Simone

Ill's.Maria

Florentia.

Florentia,who

Domenic

is known
in the

to

Campo

againstthe Heretics.*
Fragment of the fresoo
di Martino, now
ascribed to Ain"RBA
da

Novella^Florence,

have

executed

Santo

at

About

the

a.d.

1340.

frescoes in the

chapel

Pisa, and who probablybelonged

to the Sienese school.

"Andrea di Clone
called Orcaglia,t
althoughhe did not study under
works
markable
reare
: his
Giotto, was
greatlyinfluenced by his paintings
"

for their grace, energy, and

and
paintingsare the Last Jvdgrtvent
*

His principal
imaginative
power.
in
the
Paradiae,
CappellaStrozzi,

The dogs in this pictureare black and white,in allusion

{Domini Canes),
t The shortened form of his sobriquet L'Arcagnuolo.'
*

to the dress of the order

40

PAINTING

National

Novella

The
at Florence.
twelve
in
piecesby
large altar-piece

in S. Maria

Gallerycontains a
Orcagna, representingin the

centre, in three divisions,the Coronation

of the
life
of
the
with
connected
Christ, which
scenes
The

It

other

was

for many
to other

Pisa, which

at

nine

were
formerlyplaced
for
Pietro
S.
originally
painted
Maggiore,!^orenca
Death
and
the
Last
in
the Campo Banto
Triumph of
Judgment

them.

over

with
Virgin,

attributed
now
others to Vardo

rendered

years

famous,

name
(h*cagna's

to the
painters; by some
Daddi, whose work in Santa Groce

are

and
Lorenzetti,

the
santi,however, hardlyjustifies

of
ascription

and

these

the

by

Ognos-

fine frescoes

him.

to

famous

Another
in

success

follower of Giotto

his
imitating

of the church

He

master.

of S. Francesco

Oiottino,so

was

took

share in the

some

Stefano Plorentino

Assisi.

at

called from

his

paintings
also

must

mentioned, on account of the great improvement he effected in the

of form, although no
work
be ascribed to him.
can
existing
Other painters
influenced by Giotto were
Giovanni da Milano, a fellowbe

imitation
worker

Taddeo

with

Gaddi

Jacopo

di

Casentino

his pupil
; and
of several of the frescoes in the

SpinelloAretino of Arezzo, the author

Oiovanni
Campo Santo at Pisa ; and lastly,

and

Agnolo Oaddi, sons

of

Taddeo.

importanceof the
of late years.
recognized

art of Siena

The

periodhas only been fully

Yasari's partiality
for his fellow-countrymen
with brevity,
with the result that
led him to treat the Sienese painters
until quiterecentlytheir work
has not
been properlyappreciated.
of which
Of the Sienese school,the members
aimed rather at spiritual
expressionthan an exact imitation of corporealform, Simone di
Hartino, known

the

friend

remain

Simone

as

of Petrarch,

Memmi,

Cappellade'

formerlythoughtto

be Simone's

ascribed

da

is

an

the

to

Andrea

important fresco by
1315

year

him

he

but

chief

Florentia.
be

and

Very few of his works now

Spagnuoliin S. Maria Novella,

work,

In the

are

as

now,

Palazzo

we

studied

best

have

seen,

Pubblico, at

Virgin a/nd Child

of the

can

cotemporary of Giotto

chief.

the

was

the frescoes in the

of this

in

with

Siena,
SaintSfof

the

church

and

death

of

S.

Francesco, at Assisi.
Lorenzetti

Ambrogio

the most

was

works
Good

are

series
and

Government

39, in the Palazzo

Pietro Lorenzetti
Santo

at

Taddeo

(thedates
famous

birth

are

known)
un-

family of artists. His principal

of allegoric
the RemUs
frescoes,representing
of
the Results of Bad
Government, paintedin 1337-

Pubblico
are

of

of whose

at Siena

; and

to him

and

his elder brother

ascribed,by some, the frescoes

to Orcagna by Vasari.

now

in the

Campo

Pisa, formerlyascribed
di

Bartolo, who

Volterra, Arezzo

reputationof
noticed for the

and

painted at Pisa, Siena, S. Gemignano,

upheld, if he did not advance the

Padua,

this school.

The

work

of Matteo

sentiment which
religious

da

it possesses.

Siena
The

is to

be

Madonna

IN

FRANCE

Nievey of the

deUa

year
tfie Innocents

of

Massacre

which
Gallery,

National

of

school

of the Sienese

"

AND

1477,

41

GERMANY.

Siena

of the
representations
the Assumption of the Virgin in the
all the most
characteristic qualities
displays
fifteenth
the
century,"may be reckoned his
at

; his

and

best works.

Pacchiarotto
and

works

two

were

have

alike

paintersof

Sienese

the

confused

by
at
Gallery,

historians

former, is now
givento the latter. The fame
far
outshone
however,
by that of Bazzi, whom

of these

critics.

ascribed

Pacchia

Del

and

lives and

school,whose

in the National

Virginand Child

been

to the

artists was,
notice further

on

amongst

we

time
shall

Vinci.

making rapid strides towards perfection

advance
in Tuscany, a simultaneous
was
taking placein TJmbria,
Eome, Venice, and other parts of Italy. The early Florentine and
schools were
distinct for it to be necessary to
not sufficiently
Umbrian
of
the
latter
of
the first masters
the
: and
particularize peculiarities
school were
the Boman
greatlyinfluenced by Giotto. Of these,Pietro
remarkable
of
the most
Cavallini was
; the Crucijbdon in the church
his
best existing
work, is now
Assisi,formerlyconsidered
thought to
be by Pietro Lorenzetti.
the close of the fourteenth
Towards
century great progress was
Whilst

the

of

the followers of Da

one

art

paintingwas

Of these,Gentile da
school,was the chief.
the Kings,in the academy of Florence,

Eome, and many artists rose into fame.

Fabriano,who, however, belongsto the Umbrian
made

in

pictureof

His

the Adoraium

cf

existingspecimensof the earlyschools,and like

loaded with gold. He was
all his work
is somewhat
a
good colourist,
of
form.
His pictures
and excelled Giotto in knowledge
are
poeticin
of
their
in
the
those of
a
nd
than
freer
treatment
feeling,
subjects
of his cotemporaries.
many
the Byzantine styleand the new
In Venice, the strugglebetween
and
it was
not until the latter half
tendencies in paintinglasted long,
broken.
of the fourteenth century that the yoke of tradition was
finally
of the fourteenth century,
and Viccolo Semitecolo,
Lorenzo Veneziano
method.
the first Venetians to attempt the new
were
is

of the

one

finest

In

France
A.D.

Before

we

century,
of the

new

Mural

France

enter

it would
movement

on

the

be well to

Germany.

and

1250"

A.D.

historyof
cross

the

in the rest of

1470.

Italian

paintingin

Alps,and

trace

the

the fifteenth

development

Europe.

paintingwas practisedwith great success

in the Romanesque period*
(tenth,eleventh

in

Germany

and

twelfth

and
cen-

42

PAINTING

and
turies),

even

Hildcsheim

; and

the

adorned
churches were
insignificant
village
with frescoes.
The
works
in C^ermany
of this description
principal
from
these
of
Michael's at
centuries
those
the
S.
on
are
dating
ceiling
most

those

in the

Brunswick,

supposed
Chapelat Soest

Nicolas

chapelat
There

Ramersdorf,

: it
Aix-la-Chapelle

19."

been

; in the church

left aisle of the cathedral

executed

before

of Schwarz

1250;

at

in

the

Bheindorf, and

the

Bonn

{Eng,19).
in the cupolaof the cathedral of
toith tioenty-fov/r
We
Elders,
Christ
represents
near

the remains

are

and

choir

have

to

of

mosaic

Early fourteenth
Wall-painting. German.
In the Chapelat Ramersdorf^near Bonn,

century.

miniatures, that the castle of Upper Ingelheim on the

which bore strong
adorned
with frescoes of historic subjects,

too, from

know
Hhine

was

of Byzantine influence.
at S. Savin and Tournus
are
In France, the frescoes of the churches
rather
the
follow
works
All
these
remarkable.
the most
antique
among

traces

the

than
and

by a simple earnestness
distinguished
their
by
powerfulcolouringand appropriateness

and
Byzantine style,

are

and
dignityin the figures,
as

architectural

decorations.

of those of the
the monks,
especially
and
Tntilo (orTuotilo)
St. Gall in Switzerland,of which
The

the

industryof

most

"

celebrated,
"

caiTied

the

art

of

monastery of
ITotker

manuscript painting

to

were

the

the middle

in
greatestperfection
the fashion to
The

paintmovable

rise of the

remembered,

pure
underwent

unfavourable

was

Frescoes

reduced

were

in

was

were

no

to

to

or

Grothic

43

GERMANY.

IN

In the same
ages.
easel pictures.

styleof

architecture

largemodifications

the

progress

of

when

paintingin

longerrequiredto decorate

fiat

periodit
"

became

^which,it will be

in Italypractised
the north of Europe.

surfaces,for the walls

proportions
painting
; but the decline of mural
for by the growth of the art of glass-

narrow

atoned

great measure

in the Gothic period. The

perfection
and Germany
such, for example,as
those of the Cathedrals
of Bourges,Chartres,Rheims, and the Sainte
in
of
Chapelle Paris, France, with those of the cathedrals of Strasburg,
_Cologne,and Eatisbon, in Germany are all the work of the best
and are
Gothic period,
integralparts of the buildingsto
essentially
which they belong.
The miniature
paintingof the Gothic periodin the north of Europe
of illustrations of the ballads of the troubadours
consisted principally
;
and the first evidence of what can
be strictly
called a school of German
of Wolfram
Parcival
von
Eschenbach,
paintingis met with in the
who
the
of
of Cologne
a poet of the thirteenth
painters
century,
speaks
and Maestricht
in highlycommendatory terms.
The earliest school of art in Germany was
that of Bohemia, which,
under the patronage of the Emperor Charles lY., flourished for a short
time only at Karlstein,near
Prague,in the fourteenth century. Its
Theodorich
artists
of Prague, ITieolaQS Wormser
and
were
principal
Kanz, who were employed to decorate the walls of the castle and church
which
was
staining,
finest paintedwindows

carried to

of France

"

"

"

"

Italian
of Elarlstein. The
Karlstein for Charles IV.
The
and

school of

Nuremberg

fifteenth centuries.

masters,
^re four
which are

was

An

Tonmuuio

Hodena

also

worked

at

in the fourteenth
high position
at Imhof
by one of its unknown
altar-piece

attained to

probablyexecuted
of

da

about

1420.

In

the

Berlin

Museum

the Virgin a/nd Saints^

representing
altar-piece
at
painted Nuremberg in 1400.
Wilhelm
of Herle, commonly called Meister Wilhelm
of Cologne,is,
has
whose
down
to us.
however,the earliest German
name
come
painter
him
To
fine pictures
in the Pinakothek
of Munich
are
ascribed,some
;
his principal
the L\fe qf Christy
a large altar-piece,
work, representing
in the Johannis
Kapelle in Cologne cathedral ; and several easel
in which
full of life and character,in
the
are
pictures, singlefigures
the various galleries
The National
of Germany.
Gallerycontains a
S. Veronica by Wilhelm
of Cologne. Stephan Loohner, or Meister
to have been the
Stephan,as he is called,said,but perhapserroneously,
pupilof Wilhelm, was another and greater master of the same school :
the famous
in the cathedral of Cologne,
altar-piece
formerlyascribed to
Meister Wilhelm, is by him ; it represents the Adoration
of the Magi
and
Jier Virgins
with
and
S,
amd
S,
his
Gereon
Ursula
{Eng,20),
KniglUs

wings

an

said to have

been

44

PAINTING

Israel
the exterior.
on
wings, and the Annunciation
Meckenen^ who flourished at the end of the century, if all that is

on

the

VOn

said

of the
be true, must
have excelled all his predecessors,
some
as
him.
attributed
to
best picturesof this time in the Munich
Galleryare

of him

The

Master of the

subjectsfrom

LyversbergPassion,so called from a series of eight

of Herr
formerlyin the possession
is
in
National
our
Cologne, represented
Galleryby a
tlie lemple: this painterhas been confused with Israel

the

Lyversberg

in

Presentation

in

Life of Christ

IN

Meckenen.

von

Master

The

45

ITALY.

of Liesbom

is also

representedin

the

National

where are two pieces,

Gallery,
figuresof Saints,from the high
which
executed
the
in
was
altar-piece
Abbey of Liesborn about the

middle
^

of the fifteenth

The

works

century.

of the

schools are
earlyGerman
mostlypaintedon panel,
with gold grounds,and are
distinguishedfor depth of colouringand
careful execution
of details. Their chief fault is want
of beauty of
atoned
for by the nobility
extent
of the
design: but this is to some
o
f
of
the
heads.
In
technical
of
i
n
the
expression many
use
dexterity
and
tempera or water-colours
they excelled all their cotemporaries
their
works
often
fine
effect
as
predecessors,
an
as
having
oil-paintings.

Decorative

Pairvting,

The

decorative paintingof the middle

separate
ages would
repay
study; but our limits only permit us to pointout that,at first purely
the designswere
geometrical,
of heads

gradually
complicated
by the introduction
beasts,finally
leadingto the profuseuse of the

of birds and

formed

grotesque element, which

art.

The

pointed or

decorative

Gothic

painting of

distinctive

so

styleof ornament
of
peculiarities

the

of Gothic

feature

a
was

in
reproduction

Gothic

architecture

and

architectural

heads of
heads, flowers,and foliage,
sculpture.Human
of
of
with
endless
an
animals, wings
butterflies,
variety zigzags,frets,
and other ornaments, were
monize
as to hargrouped togetherin such a manner
alike with the lines of the building
and its decorative sculpture:

Renaissance
A

sculptureand

the two
the

latter arts the Eomans

of letters altered

had

to revert

to

the

the

left

so

current

actual models

Italy.

historyof paintingand
period. Of

the

Benaissance

during the

architecture

revival

natural

in

difference exists between

REMARKABLE

that of

Painting

of

remains
that,when
many
of men's
thoughts,it was

existingabundantlyin Italy;

done.
In paintingthe case
ent
differwas
and, as we
seen, this was
in a constant
fluenced
instate of development,which
art was
was
: the
if
but not interruptedby the classic revival.
We
wei
may,
and the
consider the fifteenth century as a transition period,
please,
have

sixteenth

as

the Benaissance

characterize

to

iiiat which
that
fifteenth
fourteenth

occurred
the

the

even

but the terms

of classic modes

revival

in

Benaissance

century, or
century.

period;

sister arts.
of
with

By

at

many

not

must

all

so

writers

stood
be under-

complete as
it is

paintingin Italybegan early in

Giotto

at

the

commencement

sidered
con-

the

of the

PAINTING.

Painting in Italyin

the

FifteenthCentury.

The fifteenth century was

intellectual activity^
a time of exceptional
and the progress made
in scientific discovery
of great importaiioe
was
to the arts of painting
and sculpture.As we have seen, a considerajble
advance had been made
and imitation in the thirteeath
in expression
and

still unpractised,
centuries ; but
was
oil-painting
linear perspective
little cultivated,
was
portraiturewas
fectly
very imperand
branch
an
as
understood,
independent
landscapepainting,
of art, was
not even
attempted. At the beginningof the fiifteentkcentury,however, the introduction of oil colours,the scientific study
of perspective,
for frescoes
form and colour,and the constant demand
on

fourteenth

an

extensive

culminated
schools

in

arose

scale,led
the

on

to

sixteenth
every

movement
progressive

century;

and

side,characterized

in

Italywhich

during this development

by

another

excellence in one
or
find Florence
still
we

element
of art.
1450
Until about
Venetian
lead ; but from that date the Umbrian, Bolognese,
and Paduan
schools rose into almost equalimportance.

takingthe

The Florentine School.

The

artist who

contributed

most

a.d.
to

1420"
the

a.d.

1520.

pre-eminenceof Florence

in the

earlypart of the fifteenth century was, without doubt, the

of the
Lorenzo Ghiberti,in whose school the leadingpainters
sculptor
which
Giotto
of
nature
the imitation
He perfected
day were formed.
had introduced,applyingthe sciences of anatomy, mathematics
and
the
to
his
name
the
art
of
Of
can
we
only
geometry
design.
pupils
almost
who directed his attention
: Paolo
principal
exclusively
TTcoelli,*
to the studyof perspective,
the great value of which he illustrated in
his

frescoes in the monastery of S. Maria Novella at Florence

of
remarkable
which
ifoali
and
in
the Drunkenness
is especially
qf
several easel pictures,
of which, the Battle of S, "gid{o,is in the
one
National Gallery{Eng,21); others are in the Uffizi and the Louvre.
"

"

Piero de' Franceschi,commonly called Piero della Francesca, of the

Umbrian
the study of perspective
to systematize
school,did much
; a
Baptism of Christ and two Portraits by him are in the National

Gallery. Hasolino

excelled in colouring,but who

da Panicale, who
sacrificed composition to detail,executed several fine works in the
church and baptistery
of Castiglione
d'Olona,and in the Brancacci
in
Chief among
theseChapel the church of the Carmine at Florence.
the
painterswas Tommaso
Guidi,commonly called Masaccio;he was
'
of
than
and
be
with
better
Cimabue,
pupil
Masolino,
justice
might,
styledthe father of modern Italian painting; he excelled all his predecessors
in

exercised

and chiaroscuro,
and
knowledge of form, perspective,
of
his
influence
the
art
on
important
country.

most
*

Paolo

di Dono, called Uccelli from his lore of birds.

48

PAINTING

Masaccio
when

born

was

at

Castel

Giovanni, in the Val

S.

under

quite a boy worked

Masolino

Brancacci

frescoes

in

Chapel,

the

Masaccio
powers,
berti is very
chief

influence

the

the

are

nude

"

National

The

of this

his

own

its

authenticity.It

hand, but

the

whole.

is

to

ever

died

natural

from
doubt
be

at the

and

first Italian

the

were

treatment

so-

writers

twenty-six^Masolino

gave

varied
skilful

great master

some

Mtisaccio

that

tremities,
ex-

the

the

Gallery possesses

called Portrait

of

the

and

heads, and

of
grouping and composition

who

figure

rendering of

animation

of the

Their

admirable

human

happy

the
flesh-tints,

age

of Ghi-

foreshorteningof
judicious

character

coes,
fres-

able
remark-

traceable.
distinctly

of the

the
of

his

In

proof of

gave
and the

excellences

treatment

in

church

Carmine, Florence.*

the

the

the

at

d'Amo, and

gretted
re-

early
saccio
Ma-

painters
to

their

landscapebackgrounds.
of Masaccio' s greatestcotempoTwo
raries

(both monks)

Pietro,of

Guido

were

Angelico,and FilippoLippi,who
be
22." The

Expulsionfrom

By Masaccio.

two

Paradise.

Ab.

a.d.

to

1425.

which

the

Idealists,and

given
"

stillretained

names

*
It has commonly
death ; but inasmuch

by

may

the

of the
representatives
into which the painters
great cl^isses
as

of the Renaissance

In tht Brancacci

Florence.
Chaj)elf

taken

di

called Fra
Fiesole,cojnmonly

name

became

divided,and

of the

Mystics

Naturalists,have

their followers and

imitators

or

been

the former

said that Masaccio finished these frescoes after Masolino^s

the latter survived the foimer by nineteen years, this is
impossible.As these frescoes ** may be considered to be the most importantworks
in paintingexecuted during the fifteenth century,"
it will be serviceable to give
been assigned
a listof them
as they have
by the latest authorities.
By

been
as

By

Masaccio.
The

Masolino.
S. Peter.

Preaching of
Expulsionfrom Paradise,
Healing of the Cripple at the Beautiful
The Tribute-Moihcy.
Oate, and Besuscitation of Petronilla.
The BcstiscOation of the King^sSon. ished
(Fin- Fall of Adam
and Eve.
)
by Filippiuo
Lippi.
By
Filippino Lippi.
The

Th4i Infirm healed

Peter and John,
S, Peter

by

the Shadow

of SS,

baptizing.

SS. Peter and

John

alms.
dislrilnUing

Peter in Prison visited by S. Paul.

^S*.
S. Peter freedfrom Prison.
Crucifixion
of S. Peter ^ and SS. Peter ajid
Paul brforcNero.

IN

cultivated
onlyfor the sake of

being those
nature

that

is

who

highestand

latter,those who

23.

"

best in

aimed

at

S. Lawrence
In the

sake, and

49

FLORENCE.

to an
end,and studied
beautyas a means
of all
the expression
furtheringthat end
the material and spiritual
world ; and the
the exact imitation of beauty for its own
"

givingalms. By Fra Angelico. a.d.

Chapelof Nicolas V. in the Vatican.

studied everything
connected
earnestly

with

1447.

the

theoryand

of their art.
practice
Fra

Angelicoda Fiesole,called

entered
(theBlessed),
of

from the holiness of his life II Beato

the order of the Predicants at Fiesole at the age

twenty, taking the

name

of

Giovanni, and

devoted

long

and

life to the cultivation of religious

peaceful
art, never
paintingany but
and never
sacred subjects,
acceptingpayment for anything he did.
His principal
works
frescoes in the convent
of S. Marco, and the
are
church of S. Maria Novella at Florence,
and in the chapelof Nicolas V.
E

50

PAINTING.

(Eng. 23)\

the Vatican

in

in the Louvre

Virgin^now
Glory suiTounded

picture,the

the Adoration

S. Domenico

at

Coronation

qf the

of the Magi, and

Christ
the predella
of an
in the National
Gallery.

formed

by Angels (which once

in

in
altar-piece

easel

an

; and

both
Fiesole),

Many good works by him are in the Florentine Academy of Fine Arts.
for their elevated religious
sentiment,
They are all alike remarkable
the grandeur and ideal beauty of the figures,
and the loving finish of
Fra Angelico'sworks
the outpouringsof his own
were
every detail.
of his passionate
the expression
devout
love of spiritual
beauty ;
spirit,
and
characterized
not
the
exact
and, although
powerfuldrawing
by
of

of nature

imitation

cotemporary masters, they have

charm

pathosof their own, and combine in the highestdegreethe two

of ideal art
and pictorial
expression
requisites
power.

and

great

"

FilippoLippi presents both in his life and works a striking

of the
received into the convent
contrast
to Fra Angelico. He
was
his frescoes,
Masaccio
Carmelites as a boy when
at work
on
was
and,
if he did not actually
lessons
that
from
receive
master, he certainly
followed his style. According to a popular tradition,
which recently
have shown
discovered documents
to be erroneous,
lippi'slife was one
it is said,he ran
long romance.
Becoming weary of convent life,
away
Fra

taken

and sold as a slave in

captiveby African pirates,
his master's favour
he won
Barbary. After eighteenmonths' captivity
his
of
with
a
charcoal,and, as a reward,
portrait
piece
by drawing
divided
between
received his liberty.His life was
the pursuit of

Ancona,

to

was

of art.

and
pleasure

oils,and

to

his

He

cultivate the
of

was

of the firstItalian masters

to paintin
His principal
side of art.
merits

one

sensuous

and grandeur of his

in grouping. He was
also amongst the first
he often displayed
and
to introduce
backgrounds,
genuine landscape
considerable
of
his
works were
but
nature
of
knowledge
spoOed
;
many
by a certain want of calmness and dignityin his sacred personages.
The Academy of Florence contains many
of his finest pictures,
painted
were

mastery

and
figures,

for the

and

tJie

the

Ambrosio

National

the

Vision

Lippi
presentingto
:

her

of that

convents

Virgin,which

in the
portrait

own

In

of

of Saint

church
his

his easy grace

churches

Coronation

chiaroscuro, the breadth

in

Florence,in which

of

S, Bernard

are

four
the

Holy Child;

among

them

is the

in the
altar-piece

the artist has

painted

(Eng, 24).

right-handcomer

Gallerythere
the

was

city; and
formerlyan

sacred

ascribed
subjects

Virgin seated,with

beautiful

an

to

Angel

Annunciation; and S.

Baptist and six Saints. Crowe and Cavalcaselle doubt the

authenticityof the second and third of these ; but, on the other hand,
logue
give to FilippoLippithe Adoration of the Magi, which is in the cataascribed to FilippinoLippi. Of Lippi'
those
frescoes,
s numerous
from the lives of S. John
in the cathedral of Prato, representingscenes
the Baptist and S. Stephen, are considered the best ; the Lamentation
the death of S, Step/ten
is especially
fine : those in the cathedral of
over
John

the

62

PAINTING

also much

Spoletoare
of his age

for it

he

on

was

admired.

FilippoLippiwas

the

great colourist

also a greatreformer or rather a degeneratorin art,

was
who, by givingan undue prominence to drapery,
brought

he

the decline in sacred historic painting.

Antonello da Messina, although belonging,
strictlyspeaking,to the

25." Portrait of

Young

Man.

By Antonello

da

Messina.

About

aj).

1470.

In the Louvre,

Venetian

school, must

be

mentioned

here

on

account

of the

of

his

duction
intro-

of mixing oil-colours. The

method
improved Flemish
National Gallery possesses by him a Salvator ifwwSt,
a Portrait of a
another
Portrait
Young Man, and a small Crucifixion
of a Yout/t,by
;
him is in the Louvre
and
three importantpictures
Gallery{"ng.25) ;
of these the Head
are
preservedin the Berlin Museum
qfS. JSebaatian
"

and

Mado7ina

and

Child

are

considered the best.

IN

As

great Florentine

53

FLORENCE.

paintersof

the

fifteenth

must

century,we

also

tiie following

name

"

Lippi's
adoptedson, FilippinoLippi,who copiedhis styleand excelled
in his peculiar
merits ] he was
the author
of the Crucifixion
qf
S, Peter^and other fine frescoes in the Brancacci
often
so
Chapel,
He
also painted importantworks
in the Strozzi chapel
referred to.
him

S. Maria

in

Novella, Florence, and

hy him in the National

works

several

del Oarbo

executed many

Benozzo

the
Gh)ZZOli,

twenty-fourfrescoes
in two

studied

be

in

Gallery.

of
paintings

Santo

Campo

picturesin the
as
interesting
being

meant

decorate

to

art had
pictorial

small

for

chest

and
hest

grace.
works

are

whose

of the

one

classical

are

stylemay
Gallery. One, tlie

National
"

There

pupil Baffitellino

Pisa, and

at

easel

Hape qf Helen, is
of a Christian painterto represent a

Prato.

His

singularsweetness
Angelico,whose

pupilof Fra

in the

and

Home

earliest

subject;

it

was

shows

and

private use,

attempts
probably
that

its way from the church to the privatehome."

del Castagno,who has been said to have learnt the secret of

Andrea

made

mixing

oil-colours from

Antonello

carried

it to Florence.

None

National

of the

Galleryaffords any

cotemporaries. In
of Niccolo

da

paintedby

have

to

ascribed
pictures

in the
to Andrea
the processes of their

on

of Florence

him

Venice, and

in

signsof advance

the cathedral

TolefUino

Messina

is

in imitation

equestrianportrait

an

of

statuary: it forms

pictureof Hawkwood
by XJccelli.
Alessandro
from
the name
of the goldsmith
Filipepi,
commonly called,
with whom
he studied,Botticelli,
the pupilof FilippoLippi; he is
was

companion to

for the

famed
and
of

was

introduction

size of

life,as

painted several

executed

by

his

circular

carried

famous

his most
the

church
the

Life of
the

churches, the

bust

Madonna

National

in the

subjects,

nude

figure

Grallery.

and
pictures,

his studio.

One

more
were
many
famous
of his most
works
is

in the XJffizi
{Eng,26).

Eight works

men

technical processes
o
colouringf his frescoes. He

advanced
are

the movement

the

Florence

at
"

and

of

"

Museum,
he

Novella.
and

which

the

The

the

of a Girl,and

Portrait

The

Chapel in

Funeral

of

representing
Life of S, John

the

the

scenes

Florence

Louvre

paintedthe portraitsof
in Florence.

painting,

be said
may
Masaccio
: and

the frescoes

Virgin {Eng, 27) and

choir of S. Maria
which

begun by

of

series of frescoes in the Sassetti

the finest

of his time

Portrait

of all the
the

S. Trinity

Berlin

in
pictures,

eminent

works

is considered

Baptistin
his

and

on

of the

S, Francis
from

Venus

depict the

in the National

his command
portraiture,
and for the brilliancy
of
to have

to

sacred

Gallery.
the fact that his first
from
Bigordi,called Ohirlandajo,
made
for his skill in
is
remarkable
garlands,
goldsmith,

Domenico

master,

in the Ma/rs cmd

pupilsin

assignedto him

mythology into

Florentines

of tfie
Virgin,now

his Coronation
are

of ancient

first of the

of the

one

the

He

similar

National

of a Youth,

contain
many

and
galleries

several of
of the most

Gallerypossesses

54

PAINTING.

Lnca

Signorelliwas one of those who did most to promote the

developmentof the great Florentine school of paintingof the sixteenth
form, of which he acquired
century,by his earnest studyof the human
of
with absolute command
thorough anatomical knowledge, combined
that
the
has
been
called
in
expressing
justly
knowledge painting: he
forerunner
of Michelangelo.He was
a pupilof Piero della Francesca.

26.

"

The

Coronation of the Virgin. By Sandro

In the

Botticelli. About

A.D.

1500.

Florence.
Uffizif

His most famous works are the frescoes in the Chapelof the Virgin in
the cathedral of Orvieto,representingthe LfOst Judgment of which the
best part,is the Wicked coat out of Heaven, in which the foreshortening
"

is most

daring: they

exhibition at Florence
which

we

shall

completed in 1503, shortlybefore the

celebrated Cartoon of Fisay to
Michelangelo's

were

of

presentlyrefer.

He

was

one

of the artists called to

56

1"AINTING

by Sixtus lY. to decorate the Sistine Chapel. His work there is

the
second only to that of Ghirlandajo. Other paintingsby him
are
of Monte
Oliveto,near Siena ; and
24/e of S. Benedict, in the convent
Home

in

frescoes

of

church

the

and

Loreto

the

of

Duomo

Gallery possesses three works by him,

The
Triumph of CJuiatity.

National

Gortons.

The

Circumcision^

Nativity,and
Antonio

del

one
Pollainolo,

of Ghiberti's assistants in the ornamentation

gate of the Baptistery at Florence, produced

several fine paintings. The Martyrdom of Sebastian,in the National
of the second

bronze

Gallery,is acknowledged
Piero

brother

his

be

del PoUainolo

masterpiece.

said

are

to

have

Antonio

and

his

the first to study

also celebrated as

been

for artistic purposes.

dead

the

to

body
They were
and
their knowledge of this branch of art had considerable
sculptors,
their painting. They were
influence on
the first Italian artists to

abandon
tempera in favour of.oil mediums.
Andrea
del Yerrocchio, sculptor,wood-";arver
celebrated
di

Lorenzo

the

as

of Leonardo.

with

that

took

from
plaster-casts

Christ,in which

of
Academy,
Cosimo

gold

in

Cosimo,
the

da

Yinci, of

artist whose
is said
an

to

style has

have

aid to the

paintedone

been

in

much

the

first artist who

The

studyof form.

of the

conunon

Baptism

angels,in the Florentine

only undoubted work from Andrea's brush.

Bosselli,a follower of Masaccio, noted for the profuseuse
his pictures. His
after him, Piero
pupil,who was named
is the

and

of

When

He

life as

Leonardo

assisted him

who

landscapesin

Death

of Leonardo

master

Credi, a talented

painter,was
Perugino,and of

and

di

Chapel,is to be noticed for

such as that in his

background of his pictures,
Gallery.
Sixtus lY. had completed the erection of the chapel

the

in the National

Procris

1474

in

in the Sistine

of

for artists to decorate

called after him, he sent to Florence
it. Those
who
the call were
answered
Botticelli,Ghirlandajo,Kosselli and

Signorelli
; and,
frescoes which

under

to

this

the

direction

of the

day testifyto the

century.*

first-named,they executed

excellence of Florentine

art

at the close of the fifteenth

*

The

followingis a list of these workA

On

Left

the

Wall.

Michael

Journey ofMoses and Zipporak. (Signorelli

or

Pinturicchio ?)

hearingaway

the

body of Moaes.

(SalviatL)
On

the

Right

Wall.

chio
Bajitis^n
of Christ. (Peniginoor PinturicEgyi)t. (Botticelli.
)
?)
Drowning
)
(Rosselli.
Tanjttationof Clinst. (BotticellL
)
Moaes
reading the Law : Adorafion, ami
Peter "{;Andreto. (Ghirlandajo.
Callingof
)
Destruction oftlieCalf, (llosselli.)
Sennon on the Mlmnt.
(RossellL)
Fall of Korah and followers.(Botticelli.) Investiture
)
of ^\ Peter. (Perugino.
Publication
ofthe Ten Comnia7idments,and Last Supper, (Rosselli.
)
Death of Moses,
(Signorelli.)
lUsurrection:
(Ghirlandajo.)
Moses's Miracles

in

of Pharaoh,

57

V"

PADUA.

CalifoknI'^Paduan

The

School

A.D.

1420

to

about

A.D.

1520.

Although Giotto paintedhis frescoes in the Arena Chapel at Padua

beginningof the fourteenth century, and Giusto di Giovanni, a
Florentine
Justus of Padua, painted his
as
by birth, but known
little
in the
the
Coronation
qf the Virgin^now
charming
triptych
in a.d. 1367, yet it was
National Qallery,
not till the middle of the

in the

fifteenth century that the true Paduan

school was
formed. The foimder
Francesco Squarcione,
is due the merit of revivingthe
to whom
was
pieces
study of the masterof

antique

sculpture.The

liarity
pecu-

of the Paduan
school

was

turesque
sculp-

rather

than

of
treatment
pictorial
form, the compositions
its

of

masters

sembling
re-

bas-reliefs
rather than

paintings.
Squarcionewas more
teacher

painter
"

than

he is said to
less than
no

have

had

137

pupils or
and

ants;
assist-

only

one

him,

picture by

of 8" Jerome
group
and
other SainU^ at

Padua,

has

been

rests

his

served.
pre-

fame

His

principallyon
having been the
of

master

Mantegna.

Marco

Zoppo, a Boalso aided in

lognese,
the

development

Paduan

of
28." Judith

art.

Drawing

Andrea
was
er

the

Mantegna
greatestjmint-

of the north

of his works

of
are

Italyin
a

vith the head

the fifteenth

of Holofernes.

in the

century. The

series of nine cartoons

By Mantegna.

Flai'ence,
UJjizi,

executed

most

in

remai-kable

tempera,of

Triumphs qf Julius C"zsar afterthe conquestqf Ga/td,paintedin

Court
Palace ;
in Hampton
Duke of Mantua
now

for the

frescoes in the

"

Chapel of

S. Cristoforo in the church

the

1485-92
and

the

of the Eremitani,

IN

PAINTING

69

VENICE.

in the lives of S.

scenes
Padua, representing

and S. James,
Christopher
that on the high altar of S. Zeno at
we
name
altar-pieces,
may
of this altar-piece,
Verona, the Grucifixion
{Eng.29),from the predella
The National Grallery
and the Madonna
of Victory in the Louvre.
contains an earlyHoly FamUy^and the Trivmvphof Scipio,
abnost in
and
and
two
S
amson
a
monochrome,
DelHah,
sculpturesque
allegoric
and AiUiimn,
of Summer
The Triumph,executed in tempera on
figures
is especially
valuable,as beingone of the latest,if not the last,
canvas,
a complete
picturepaintedby Mantegna. In all these works he diisplayed
acquaintancewith ancient Eoman art, a richness of imagination,
of design,and a knowledge of form, chiaroscuro,and pera
power
spective,
which entitle him to the high rank universally
assignedto
at

Of his

him, and

poraries.The
most

for the wide influence he exercised over

his cotemeffect which sculpture
had upon his styleis evident in

account

of his works
of

None

he

was

Mantegna's

the first painterwho

engraved his

pupils attained

numerous

own

remarkable

to

eminence,but many Venetian,Veronese,Ferrarese,Milanese,and other

with more
masters copiedhis peculiarities
or less success.
We must here mention
The National
Verona.

Bono

pupilof
by Bonsignori.

Bono, who
Senator

was

The
We

must

now

Venetian
turn

di Perrara

to

Vittore

Francesco

and

of
Bonsignori,

S, Jerome in the Desert,by

Pisano,and a Portrait qf a Venetian

Gallerypossesses

School

1480"

A.D.

Venice, where

we

1520.

a.d.

brothers Bellini,

find the

of

of much
a painter
merit, foundingan important
Jacopo Bellini,
reached their fullest
and harmony of colouring
brilliancy
development.
tonello da Messina, alreadymentioned, who introduced into Italy
the mode
of oil-painting
m
practised
by the Van Eycks and Memlinc,*
influenced the styleof Giovanni Bellini,who, in his turn, had considerable
Vivarini
influence on
of whom
The
the principal
Antonello.
exhibited in
was
Bartolommeo, who executed the first oil-painting
sons

school in wluch

"

Venice
must

school. Carlo Crivelli

of
to the old method
Child
and
Gallerypossesses a Virgin

laid the firstfoundations of the Venetian

also be noticed here, though he adhered
"

tempera painting. The National

Vivarini, figuresof SS.
by Bartolommeo
brother

Antonio

Crivelli,
among
*

Vivarini, and
which

no

less

the Annunciation

Peter

than

and

Jerome

eight works

{Eng,30) is

one

by his
by Carlo

of the finest.

Modem
writers doubt whether Antonello really
visited the Netherlands at all.
da Brugia,"mentioned
"Giovanni
thought to have been
by Yasani is now
Memlinc and not Yan Eyck.
The

60
His
and

PAINTING.

works may be
the introduction

30."

The

/"Oiovanni
pictureswere

easilyrecognizedby
of

Annunciation.

Bellini

fruits,flowers and

By Crivelli.

a.d.

their elaboration

148(J.

In the National

greater of the two brothers.

painted in oils,and are characterized by
was

of ornament

birds.

Gallery.

the

His
a

best

spiritual'

31.

"

The

S. Mark.
after his death

Preaching of

Oil-painting.Begun by
by his brother Giovanni.
In the Brera, Milan,

Gentile Bellini,
and
1507.
a.d.

completed

62

PAINTING

with

combined
beauty of expression,

truth to nature

transparency of coloming hitherto unattained.

and

and
galleries

in the

of Venice

churches

and Madonnas, of which

theyconsist

and
Most

brilliancy

of them

are

of porprincipally
traits

in the sacnsty
altar-piece
in the Academy, and a Madonna
of S. Maria
de' Frari, a Madonna
in SS. Giovanni
and
Saints in S. Zaccaria ; his largealtar-piece
e
fire that destroyed
Paolo perishedin 1867, in the same
Titian's PeUr
Ma/rtyr. Another extremelyfine work is a picture in S. Salvatore,
The National Gallery
contains several fine specimens
Christ at Emmaus,
of the Doge Leonardo
of Bellini's style: a bust portrait
Loredaiio (see
Madorma
with
and
the
death
a
ChUd, a Landscape
frontispiece),
of S. Peter
must

we

name

an

and Christ*s Agony in the Garden^

MaHyr, TJie Blood of the [Redeemer,
of his brother-in-law,
which reminds us of the work
Mantegna.
Bellini's works

Oentile

of inferior

are

Giovanni

brother

; they are
of style.The best
individuality

younger
and less

in the

now

Brera

Milan

at

Cross,in the Academy of Venice.

that of Girolamo

said to be
for

S. Mark

Alexpreachingat andria,
qf the
portrait
brothers worked
together

are

and a Miracle
In the National Galleryis a

{Eng. 31);

McbUuini.

The

Hall of the Ducal Palace of Venice, at

of
in 1177, which were
i
llustrative
the Venetian wars
pictures
time

some

series of

importanceto those of his

by greater softness

characterized

in the Council

unfortunatelydestroyedby
the great paintersof Venice
had

Giovanni

fire in

of

1577, and

later

celebrated

many

replacedby works

by

period.

scholars, of whom
the chief.

Titian, to be presentlynoticed, were

Conegliano,Oirolamo

da

were

Giorgione and

We

must

also

name

Martino

da TJdine,Vittore
Mocetto,
Oiovazmi
Lazzaro
Bastiani,
Mansueti, Marco
Marziale,
Carpaccio,
and Marco Basaiti, all Venetian
artists who
Catena,Previtali,
Bissolo,
Cima

"

influenced

were

by

of form
severity
artists may

Paduan

the

with

Venetian

Italian,who

is best

somethingof its
colouring.Many of these
Grallery.Jacopo de' Barbaij,a
for his engravings,
wdrked
at

softness of

in the National

be studied

Germanized

combined

school,and

known

Venice, and there paintedseveral fine pictures.

Other Schools
Before

turningto

of Upper Italy. A.D.

the Umbrian

school

which, besides Venice, playeda part

Bartolommeo

time.
in

Vicenza, where

style

was

y-

formed

Montagna,
his best
on

works

which

are

to be

A.D.

1530.

notice several towns

historyof paintingat this

by birth, though resident
found, was a painterwhose

judiciousblendingof

certain cotemporary Venetians.

Vittore Pisano
(frequentlycalled
Veronese

must

we

in the

Brescian
are

1480"

that

of

the
Pi"anello),

Mantegna
founder

and
of

of

the

is better known
school,,
by his medals than his paintings,
however
of great merit.
His
Anthony and S. George in

the National

Galleryis

one

of his best known

works

; Lord Ashburnham

63

UMBRIA.

IN

also possesses a S. Eustace wUh a Stag ; and frescoes from his hand are
in S. Anastasia and S. Fermo
Oirolamo
Liberale,
Maggiore at Verona.

dai

works

still

are

are

native

of

are

Foppa

The

To

the

him

school

is

school

of

Milan

ascribed

now

and

him

Bologna.

Hamilton

(from the
died

He

Dukes

of

In the National

de' Orandi.

in

is a Madonna

with

S, William and

ofSaint

;
"

Cosimo

the

Umbrian

same

district of

members,

collaborated

the National

with

Gallery; and

1460"

A.D.

home

of

S.

of

di Cesare

A.D.

him.

known
of

IVancis
school

external

of

influences

coloured

by
earlyUmbrian

Giotto, Uccelli,Masaccio
the

merit

characteristic

and

Luca

of

giving

various

masters,

we

are

the

as

Assisi

to

the

Umbrian

Duchy
other

painterswho

cared

form.

of

reminded
school

The

thoughtof

external

Signorelli.To Niccolo

of

and

perfectionof

from

27ie Conversion

died in 1531

1510.

this school is the reflection of the mode

of the

is due

be

must

Upper Italy,now

spiritualbeauty than

the works

at

influenced by
was
have often been ascribed to
his pupilErcole di Oinlio

Gallery.Ercole

resort

the

was
religiousdevotees),

peculiarstyleof

painted both

who

Francia, and

School

Spoleto(the favourite

atore

of

Baptist,in

in the

mountainous

for

gether
to-

are
a Last Supper
Israelites gathering

The

Tura,

best works

friend

Paul

The

In

Kings

and Child enthroned by him in the National Grallery.

of the Virginand Child
of Grandi is a largealtar-piece

chief work

its

of

the

full of

was

The

rather

of

the

sought in Bologna,was
poeticimagination. Though successful with
chieflynoted for the landscapesintroduced into his

he is
portraits,
paintings. He

The

middle

Gallerythere

and
collection)

1496

Costa, whose

fine colouriut and

of

National

de' Soberti de' Orandi,

Ferrara, and

Squarcione; Francesco Cossa,whose works

other painters
by Lorenzo Oosta and
; and

There

in the

the Adoration

upheld by Ercole

was

service of the

in the

was

Manna.

in the

Gallery,formerlyattributed to Bramantino, who,

Borgognone and others,followed Foppa'sstyle.

Ferrarese

Ferrara

by

studied

their

National
with

who

all be

may

Verona, where

at

di

founded

fifteenth century.
in the

flourished

Stefano, called
pictures by Ambrogio
at Pavia.
His paintPiedmont, who worked
ings,
either in tempera or fresco,are best seen
at Milan.

Borgognone, a
Vioenza

also

preserved: they
also

Gallery,where
which

Morando

Paolo

Libri,and

sources.

alike of
di Liberits distinguishing

spiritual
expression
more
of his reputed pupil,Pietro
Vannucci,
commonly called Perugino from his long residence in Perugia,the
and close friend of the greater Baphael.
master
for his purityof colouring
famous
and his
Pemgino was principally
He
several
times
of
his
knowledge
perspective.
changed
style,the
result probably of a constant
wandering from one studio to another :
fullydisplayedin

at

one

time

the

"

^a

characteristic

works

he studied under Yerrocchio

at

Florence,with

Leonardo

da

64

PAINTING

Vinci and Lorenzo

di Credi.

the frescoes in the Sistine

and

Madonna
Pietd
a

four

with

{Eng,

Academy,

32.

"

Peter,

Saints,in the

32),in the

Florence

; the

we

must

notice

the Baptism of Chrut^

Chapel,representing

of S.

Investiture

the

his earlier works

Among

Pitti

To

manner

the

belong

the Cross.

In the IHtti

best

Vatican ; a Descent from the Cross

Palace ; and the Assumptian, in the

Manriuye of

Depositionfrom

his

the

Virgin (the design of

By Perugino. a.d.

which

1495.

Palace,Florence.

afterwards

adopted by Raphael) at Caen; an Ascension in the

at
Lyons, and, above all,the frescoes in the Cambio
Perugia. The National Gallerypossesses three of his paintings a
was

Museum

of

"

Madonna

tlie Infant

adoring
Hapltaeland Tohit, worthy

Christ,vnth

tfie ArchangelsMicliad

and

it has often been

Eaphael, to whom
and
Child urith S. John, and a Mad"mna
and
Francis
Jerome.
Perugino'sbest works are
enthusiastic
of expression
and a grace
earnestness

attributed, a Madontia

of

and

Child witlh SS.

remarkable
for an
and
softness of colouring
seldom

wanting

in

energy

of

what
surpassed; they are, however, someThe
and
composition
variety.
Apollo

66

PAINTING

Marayas in the Louvre, till recentlyascribed to Raphael,is now

thought, by Morelli and others,to be the work of Perugino.
also here mention
We
di Biagio,
must
Bernardino
called Pintoricollio,

and

who

and
s pupil,
Perugino'
Chapel, and executed

was

Sistine

the

Libreria

who

probablyassisted
fine frescoes

some

his master
the

in

in the

cathedral

of

from
Spello; and,
Siena, scenes
Life of Enea Silvio Piccohniini, considered his masterpieces; and
of which
the best, the Virgin between SS, Jeronve
several easel pictures,
and
Augustirie,is in the Academy at Perugia. The specimens in the
National
Gallery do not do justiceto this master, whose talents have
only recently been fullyrecognized. Many drawings by him are still
in

of

the

Catliedral

of

the

ascribed

Perugino and Baphael.

to

The

di Pietro, called Lo
Spaniard, Giovanni
Spagno, was, after
famous
his
best
work
most
is an EvUhroned
Eaphael, Perugino's
pupil ;
MaAlmiim

with

Agony

the Garden

Greater

Perugino,

than
was

chief

whose

Saints

His

earliest

style is

bardy,

are

did not

his

was

His

Pieta, in which

the

fervent

The

he

as

painting until

also

of

superior,to

not

executed

"

late in life.

frescoes

many

colouring and
The

Saint8, and

despairof

the

of

earnestness

of Lom-

National

Gallery

altar-piece
representing
its lunette,containinga
mourners
are
admirably

frescoes in S. Cecilia,at

Bologna, are,

ever,
how-

the best of this master.

pupil,Timoteo

favourite

to have

to

beautiful

and

fSrancia
piety. Originallya goldsmith,

throughout Europe.

griefand

expressed {Eiig.33).
considered

Homo

works, principally
painted for the churches
scattered

now

Perugino, over

Ecce

Gallery.

his attention

turn

three, two of which

are
possesses
the Virgin and
with other
S. Anne

Morelli

His

these,however, and equal,if

Fi-ancesco
known
Eaibolini, of Bologna

pictures are in oils,but

distinguishedfor richness

Francia's

Assisi.

at

either of

characteristic

expression.
are

S. Francesco

in the National

"

Francia

his

in

exercised
the

work

considerable
of

IK)rtancein tlie historyof

Raphael,

art.

Viti, has now

second
influence,
and

works

school

of

well

proved by
that

only to

therefore

he has

His

been

express

risen

their

of
im-

to

religious

fervour.

In the fifteenth

importance.
and

Umbrian

century the

Its distinctive

into

Naples rose

peculiaritywas

the

considerable

blending

of Flemish

featiu-es, the details,accessories,and

"

of the

grounds
landscapebackand
the figures
Eycks,

reminding us
The
chief artists of tliis school
masters.
to
by Umbrian
which
Eclectic
the
term
Antonio
wo
perhaps apply
were
may
Lo Zi7igaro (tlie
Solario,surnamed
Gipsy),whose principalwork is a
series of frescoes illustrating
tlie Life of S, Benedict, in S. Severino
at
Naples ; Silvestro de' Buoni, and his pupil,Oiovanni Amato.

of

works

of the Van

those

"

"

"

"

IN

67

FLORENCE.

The later Florentine School.

great Italian

other

One

remains

century

painting. Bartolommeo
lonuneo

also

"

school, and
with

and

revival

the

enthusiasm

of

which

classic

and

art

Fra

as

the

"

of

age

Barto-

pupil

literature.

of his

some

monk

not
; and
vocation,aroused

to his true

by

one-and-twenty.To

master-minds, we

of the

man

young

Raphael

owe
many
value of
the
friar
the
taught

in

his

day

friend

and

Influenced,

1498, Baccio

took

four

the mutual

influence of these

greatest excellences

and
perspective,

Raphael

are

distinctive

the beautiful
and

"

of both.

Fra Bartolommeo

colouring.The

those of the Madonnas

faces, especially

the

in

did
years afterwards
the exhortations
of Raphael,

of
into many
secrets
characteristics of Fra Bartolommeo'
s works
initiated

The

earlyworks.

until

in 1500
of

oppositionto

associated

were

da

Florentine

Early

his earnest

of

"

of

return

of

the

believed,by the violent death of Savonarola

vows

two

known
II Frate

feelingto

irreverence

to sacrifice to the flames

lead him

then

and

golden

Savonarola, the great Florentine Eeformer, he shared his

for a pure and holy life, an enthusiasm
sincere enough to

of

admirer

he

Porta

the

enter

specialrecognitionfor

deserves

licentiousness

the

della

part of the fifteenth

latter

we

Pagholo,commonly

Baccio

Michelangelo,belongsin

and

it is

befoi-e

1510.

A.D.

"

Rosselli,although the cotempoi*ary of Raphael, Leonai'do

Cosimo
Vinci
the

di

called

of the

master

noticed

be

to

1490

a.d.

expression

the
child-angels,
"

and the beauty of the architectural

grace of the drapery,*
the Madonna
delta
backgrounds. As typicalworks, we may name
in the
Misericordia at Lucca ; the S, Mark, and the SaJ/vator Mv/ndi

grandeur and

Pitti

Palace, Florence
Belvedere

the

at

small but very

Vienna.

The

and

the Presentation

Grosvenor

interesting
Holy Family

that Fra
regretted

is to be

Bartolommeo

House

from
is

as

the

in the

Temple,in

Gallerycontains
same

great

hand.

It

yet unrepresentedin

our

Collection.

National

Intimately connected

with

the

life of Fra

his fellow-student
Albertinelli,

Mariotto

they

{Eng,34);

entered

Albertinelli

into
was

under

Bartolommeo
Cosimo

and conjointlyexecuted
partnership,
very

similar

in his

styleto his

more

is that

Rosselli.
many
famous

of

In 1509
works.
friend.

in the Uffizi at Florence, painted dui'ingFra BartoVisitation,

from the world, is considered to be his
lommeo's
temporaiy withdrawal
His

masterpiece.
To

sum

century
the

account
*

been

"

laws

Fra

up
we

of

by

since
the progress made
imitation of nature

find

had
perspective
Paolo

invented the
promotingthe better

Bartolommeo

useful in

been

Uccelli,Piero

the

beginning of the fifteenth

no
longer imaginarybut real :
fathomed
and
turned
to practical
de' Francesci, Luca
Signorelliand

which
jointedwooden figures(lay-figures)
study of the fall of drapery.

have

"4.--Salvator

Mundi.

By

In tfiePitti

Fra

Bartolommeo.

Palace, Florence.

a. D.

1516.

PAINTING

followers

their

IN

great improyements had

69

ITALY.

effected in types of

heen

form, anatomical
physicalbeauty, by Masaccio and
his followers at Florence,by Squarcione
at Padua, and by Mantegna at
correctness, and

of
in the works
beauty had been embodied
; love for spiritual
Angelicoat Florence,of Perugino at Rome, of Francia at Bologna,

Mantua
Fra
and

Bartolommeo

of Fra

had
a word, the way
Cinque-centomasters, in whose

to the

Painting
Thb
age
been

works

to

were

done

Italy

in

had

in

for Sculpture.

been

the way

to prepare

is liable
predecessors
would

by

of

group

the

same

many

form,

power

to

some

one

embodying

have

traced

slow

great

all the

design,and we
painting,
forming

school ; but
blended

have

we

into

appear
five greatest masters

of

so
original,

so

them

and

their

great aim

beauty,and

; each

endowed

masterpiecesof
of the

with

undying
trammels

of
working-outof individuality
of science,and their application

have

"

to examine

with

these elements

whole

Leonardo

^and their

art-element

the various elements

distinctive characteristic

of

seen

the

harmonious

Italy
"

every

in the fifteenth

we
singlemaster-spirit,

some

ideal in

each

now

one

Kaphael,Titian,Correggio
over

the
had

of any one
appearance
of
the
painting
periodto

pursuing some

laborious

what
much

seen,

between

The

been

of the secrets

of

in

of

have

Century.

gradual castingoff

the

and

when

command

instead

that

Masters

we

to raise the

divine love of ideal

painful
winning
arts

excellence

sightof.

enough

; but

same

of

perfection.We
_o|.tradition,the
the

combined

have
workers
earnest
to consider were

each
originalgeniuses,

{Be

inspiredwitn

lost

to be

have been

highestrank

very

have

of the

for Painting

was

As

have now
we
century ; but the men
in
their
that
the connection
individual,
genius,

the

be

Sixteenth

the

sixteenth century

the

early part

of Pericles

of them

and

Bellini,Vivarini

paved for the advent

predecessors.
and
Quattrocento
Pre-Eaphaelites
the
fifteenth
of
painters
century.

names

given

of
principles

true

divided amongst their

excellences
The

the

the

by

been

In

others.

whilst

in Venice

carried out

colouringwere

Florence

at

as

of

they
of the

in the works

da

Vinci, Michelangelo,
united
followers,each of whom

specialexcellence

in

one

some

particular.
Leonardo

Leonardo

da

to

have

been

and
versatility

Vinci

Vinci,the pupilof

the later Milanese

and

da

school.

He

endowed

and

Andrea

his School.

Verrocchio, was

to have

been

alike

unparalleled;he

the head

universal

appears
with exceptionalbeauty of
a

of

genius,

person.

His

sculptor,
thorough practical
knowledge of
architecture,
mechanics, anatomy, botany and kindred sciences.
energy

painter,musician, poet,

were

and

had

was

70

PAINTING.

The

of

son

notary, he

first paintingseems

to have

his father's estate

on

been

Florence, in
indefatigable
study. His
near

for

Chimoera,executed

While

wood.

that master

had

begun

with

peasant

on

he

Baptism qf Christ,

"

Verrocchio

Florence.
the age of thirtythe future
At
invited to the court of Lodovico
Sforza, then Begent,
Duke of Milan, and was
intrusted by him with the foundation
of
Art
Milan.
at
Academy

was

afterwards
of

Vinci,

at

of his life in

pieceof

completeda picturewhich
in the Academy at
now
master

bom

was

1452, and spent the earlypart

an

His

Last Supjyer
{Eng, 35),paintedin oils on a wall in the refectory
of the Cbnvent
of S. Miiria delle Grazie at Milan, now
nearlyperished
executed
in 1498.
This
was
by decay,and almost entirely
repainted,
world-famous picture
combined all the best characteristics of Da Vinci's

style,and

have been

must

of the

one

grandestworks

that Christian

art

of the
of many
produced. Fortunatelythe originalcartoons
heads, and several fine copies (one of the best of which, by Marco
a
d*Oggiono,
pupilof Leonardo's,in 1570, is in the Boyal Academy,
idea of the
London),have been preserved,
enablingus to form some
impressivesolemnityand beauty of the original. The painter has
ever

chosen to represent the moment

betray Me,"
The

thrill of horror

head of the

pain ; whilst

of character

The

surpassed.

never

and

the

work

we

how

subjectsand

face,has given to the whole

A sentiment

hitherto unattained
While
the elements of art.

L^U

of Lodovico

statue

soldiers

few

Leonardo's

dure,
en-

are
never

the

In this great
gloomy Judas.
adopting the traditional styleof

the

traditional

the

type of the Saviour's

and an elevation
expression
of his completemastery

result

of
of

famous equesat Milan, he executed

a
trian
was
Sforza, which
destroyed by French

after its

years

to

and shrinking
rendered with a force

and

dignityof
"

disciples.

courage

affects each

accusation

Leonardo, whilst

of sacred

shall

equalled,certainly
in a different
disciple
of
the
gentleJohn,
recognition

perhaps

pdwer

of you

weakness

human

either sides

on

see

treatment

One

through
majestyand

with

glanceis enough for

impetuous Peter, or the dark

manner,

"

assembled

the

ran

sorrow,

the groups

dramatic

and

at the words

full of Divine

Redeemer,

yet expresses human

from

when,

and
completion,

is

now

only known

by

sketches for it.

and executed many important

Holy Family,called the Cartoon qf
of the most
celebrated.
St. Anna, now
in the Royal Academy, is one
of
mediaeval
of the masterpieces
A second, supposedto have been one
In

works

art,

1499

Leonardo

; of these

was

Cartoon

returned

cartoon

cartoon

of Pisa)known

to Florence

of the

(composed in comj^etitionwith
as

the Battle

of the

Michelangelo's
representing

Standard, and

Both
these great works
are
unfortunatelylost,but we still possess Leonardo's
of a group
preparatorystudies for the picture. A copy by Rubens
of four horsemen
from Leonardo's cartoon
is preservedin the Louvre ;
the

Victory of

the Florentines

over

the Duke

of Milan

in 1440.

^^/L

(t,

72

I"AINTINGI
there is also

and

whither

he

Chiiteau

Cloux,

lieonardo

paid a

; but

Of the various works

in
now
Ambroise, in 1519.
in reality
from
the hand^s
to him, many
were

near

attributed

Louvre

himself

pupils; he

of his

In 1514

the last years of his lifewere

spent in France,
and
where
he died, at
Francis
I.
in
1516,
accompanied

short visit to Borne

the

engraving by Edelinck.

an

unfinished,but he

so

was

worked
full of

and often left pictures

slowly,
and suppliedthose
grand conceptions,
very

with so many
great designs,that a whole school of
workers
would not have sufficed to carry them out.
in the
of Leonardo
not unfrequently
occurs
Although the name
from
works
his hand
the undoubted
are
cataloguesof publicgalleries,
has
few.
Dr. Richter, who
given many years to the close study of the
him

studyingwith

picturesattributed to him and to his numerous

drawings,sketches,and
the
followingworks to be unquestionably
manuscripts,admits only
of the great master

the hand

from

The Annunciation.
Adoration of the Kings.
S. Jerome.

In ike

Last

In

In

Supper.

the doubtful

Among

In
In
In

are
pictures,
generally
accepted,

La Monaca.
Head of Medusa.
Portrait of himself.

Falace,Florence.
Florence.
Uffizi,
Florence.
In tlie Uffixi,
the
in
of Lord Mon9on.\
Fortnerly
possession
In the Louvre, Paris.
In the

La belle F^ronniere.

Holy Family with

S. John

the

In the

attributed

to

painterof Milan, by
was

author

an

whom

the Ambras

of

expression;

whilst those of his

their

Last

collection at Venice.

elevation of

Supper
"

reflection of his

lightsand shadows, and

faces of their

by Leonardo,

treatises ; his book

aid to the student.

the

Libraryat
is

by

little-known but excellent

signed portraitof the Emperor

works

chiaroscuro,grandeur of design,and

Ambrosian

work

of several learned

speakingof
termed

the

a valuable
characteristics of Leonardo's

chief

mastery

is

there

Paintingstillremains
The

Sforza in
undoubted

Ambrogio Freda,

Maximilianjdated 1502, in
the

Ma/ria

considered

Milan, by many
Morelli

In the Louvre, Paris.

Louvre, Paris.

S. Anne.

Baptist.

Portrait of Bianca

The

"

In the Fitti

bas-relief.

Viergeau

Louvre,ParisjNo. 158* (hisearliest work).

Florence (inmonochrome).
Uffizi,
the Vatican,Bonne (inmonochrome).
S. Maria
delle Orazie,Milan
(wall-painting).
the Louvre, Paris.
the National
Gallery,London.
the Louvre (similarto Nat. Galleiypicture).

In the

Mona Lisa.
Madonna
amid the Rocks.
Viergeaux Rochers.

be

on

as

sentiment

have

we

and

Art

of

truth

are
"

Leonardo
the

of

tone,

said in

dignity of

for what may

pupilsare distinguished
in
the
spirit,
especially
transparency of

the sweetness

of the

expressionof the

figures.

"Wrongly ascribed

t Sold to

to Loreuza
di Credi.
dealer in 1888 for "2620.
are
Replicas

in the Breraand

the

Hermitage.

Bernardino

Luini,who

reallylearned

commonly called
Borgognone. When

is

his art under

works

however, Leonardo's

had

Leonardo,is

his

Milan,

settled at

he

style.

Christ

The

formerlyascribed
Gallery,

National
works.

best

of Luini's

one

pupilof Leonardo,

the

great effect on

diaputhiguoith tlieDoctors,in the

to

73

tTALV.

IN

frescoes in the Brera

His

fine;
very
that
easel
few
so
pictures
speaking,
painted,comparatively
be properlyappreciated.
it is by his frescoes alone he can
notice Andrea
Solari, Marco
must
Of the pupilsof Leonardo, we
da Sesto, and
Cesare
Andrea
FranceBco
MeM,
Salaino,
d'Oggiono,
and
who paintedfor pleasure,
nobleman
Giovanni
a
Beltraffio,
lastly,
the fresco of the Virgin and
be reckoned
whose works
among
may
Child at S. Onofrio in Rome, formerlyascribed to his master, Leonardo.
Oaudenzio Ferrari,although not a pupilof Leonardo, was
greatly
School.
influenced by him, and takes a high place in the Lombard
and his frescoes
of S. Paolo at Vercelli,
His L"zst Supper in the refectory
in the
the altar-piece
and Varallo,especially
in the churches of Saronno
Milan,

at

collected

likewise

churches, are

various

from

he

but

his best works.

latter,are

among
celebrated

The

be named

as

one

of that

fifteenth

worked

He

peculiarmanner.
fame

II Sodonia,must
Bazzi,sumamed
who
caught much of his
cotemporaries,
chieflyat Siena, and again raised the

Giovanni Antonio
of Leonardo's

School,which

Siena

century. At

still to

are

t/ie Cross in the

Academy ; several
chapelof S. Catharine of

the

in

works

in the
fine

two

Alexander
with

with

the

from

banner

and

the

from
Deposition

Li/e of

S, Catharine

S.

His

36), and

"

Sebastian,paintedon a processional
Uffizi,Florence, ranks

in the

now

of his day,on
amongst the best productions
the

his

seen

are

The

Alexander,

{Eng,

be
from

close of the

preserved the Marriage of

Wife of Darius pleadingfor mercy

hand

his

Roxana,

victorious

scenes

the

at

other
Siena, in S. Domenico
; and
In the Yilla Farnesina, Eome,
churches.

and
galleries

frescoes

declined

somewhat

had

touching expressiongiven

to

the

of its

account

of

countenance

beauty and

the

youthful

martyr.
aTid
Michelangelo

his School.

A.D.

1490

A.D.

"

1565.

(usuallycalled
architect and sculptor.*
has been spoken of both as an
Michelangelo),
find him taking
and
We
have now
we
to consider him
a
as
painter,
rank
and, in
amongst the first and greatest of his cotemporaries,
the force and grandeur of his conceptions,
his anatomical
knowledge
and all his predecessors.
and
both them
of drawing,excelling
power
chief attention to light
his
who
unlike
Leonardo,
Michelangelo
gave
Th6

Buonarroti
great Florentine,Michelagniolo

"

and

shade

and

expressionof
"

colour
energy

Id the

"

devoted
in

his life to the

action.

companion volume

on

His

study of form

are
figures

Architecture

stamped

and Sculfiurb.

and

the

with

the

36." S. Sebastian.
In the

By Bazzi.

UJizi,Fiorence,

a.d.

1515.

PAINTING

impressof

his

and

best

bold, profound,and

awful

"

Part

of the Cartoou
the

From

the

great man
kind

kind,

are

ever

ITALY.

75

originalgenius,and have a mysterious

His mighty spirit
own.
found its
as
despisedeasel pictui-es
unworthy

all their

grandeur
expressionin sculpture.He

37.

of

IN

of

Pisa.

By Michelangelo.

en(/ravin(/
by Marc

..D.

1504.

Antonio.

largefresco paintings,the greatestworks of

produced, which he executed without assistance of any
; and

his

instinct with

characterize his statues

"

"

the
and

same

energy

bas-reliefs.

as

that which

we

have

seen

to

76

t"AlNTlJJG

Michelangelo'sfirst
under
is

consideration

was

lost
unfortunately

"

Bandinelli,one

work

of

of the great

rivals
painter's

has

engraved.

very

well

bathing in

remarkable

for the

form

in every
completionof

decoration

of

now

Cartoon

at

been

of art

It
of Pisa, alreadyalluded to.
been
Baccio
it
is
said,
destroyed by
having,
the

possesses, at his seat

soldiers

branch

the

importance in

Holkham,

the

Arno

It

the Earl of Leicester

; but

which
portions,
principal

copy of the

of Florentine

representeda

group
unexpectedlycalled to

battle,and

extraordinaryknowledge displayedof

varietyof attitude

the

few

is

human

after

the
(Entj.
37).
years
this cartoon, Michelangelocommenced, in 1507, the
the vaulted
ceilingof the Sistine Chapel,Bome, by
of Pope Julius II.,
command
A

in

finishingit

1512.

This

which
stupendousundertaking,

considered

is

Buonarroti's

masterpiece and

the

most

powerfulpieceof paintingin
eidstence,contains
hundred

two

figures
nearlyall
life.

larger

than

central

portionof

is divided

into

five small
former

than

more

The

flat

the

ceiling
largeand

four

compartments, the

containing representations
the Creation qf the
Moon, the Creation qf

of
Sun

and

Adam, the Fall and

its imfne-

diate

and

the

consequetices,
scenes
Dtltufe
; the latter,
the

Book

small

of Genesis.

recesses

are

and

of the

The

38."

A.D.

from

Prophet Isaiah.
1507-12.

By Michelangelo.

In the Sistine

Chapel.

of

the

the

are
ceiling

various

Goliath,the Brazen Serpeni,and

portionsof the work are united by

figuresof
positionthey occupy,
numerous

the
the

gray, bronze, or

which

llamans

.the
the

scenes

deliverances

peopleof Israel,
"

Jlolqfemesand
and

of

qf
awaiting
t
he
expectation Coming
Lord; and in the four
of the

corners

the

these

above

groups
Christ ,

Ancestors
in calm

In

between

compartments
windows

from

Death,

architectural

viz.

David
Judiili,
The

various

designsenclosing

brightcolour,accordingto

the

the groups
into
admirably serve
in the least obtrudingthemselves
necessary relief without
upon
attention.
The
combined
genius of an architect,sculptorand
to

throw

IN

77

ITALY.

painterwas
the

requiredto producea result so

prophets(Eivg.38) and sibylsare all

39." The

Holy Family. By MichelaDgelo.

full of individual
a

character

feelingfor beauty and

; whilst

tenderness

those

a.d.

admirable.
alike

1504.

in the

of sentiment

The figures
of
and
grand, dignified,

In the

minor

Florence.
Uffizi,

groups

rarelymet

display
with

in

78

PAINTING

the

works

of

the

and

stem

and

of Moses

author

rugged

the

I^ast

Jtulgvvtiit,
Between

the

Jiuhjment as
command

of

1541, Michelangeloexecuted

and

for
altar-piece

an

Paul

Pope

the

1534

years

III.

tlie

In

obedience

comjwsitionthe

to

the

Judge is sented
repreye cursed, into

from
Me,
saying, I)opai*t
f
ire
of
the
!
In
the
deemed
everlasting
picturewe see the repart
upper
in every varietyof attitude anxiously
the
sentence
awaiting
of mercy ; and in the lower the condemned, writhing in anguish and
is pervaded
Tlie whole scene
convulsively
strugglingwith evil demons.
of the blessed ;
even
by horror : there is no joy in the countenances
and the Virgin,standingbeside her Son, turns away
her head with an
of sorrowful
allowed
lous
to be a marvelexpression
dismay. Universally
effort of human
inferior
in
Last
is
t
lie
skill,
Judgment
beauty, if
at

of

in
chaj"el,

same

this

his Last

moment

**

"

in power, to the paintings

of the vault.
In it,the great master
broken
the
traditions
of Christian art,
loose
from
all
completely

not

has

his chief

and

muscular

aim

to

appears

been

have

all
expressing

the most

to

every stage
terrible of human

terror, doubt, and

the

admirablyrendered

in this awful

his

prove

his power
of
Powerless
rage,

emotions.

struggle between

of

knowledge

and
life,

of human

developmentat

fear

and

hope, are

alike

scene.*

of importancewere
two frescoes
s only other
Michelangelo*
paintings
in the Pauline
and the
of
the
S.
Peter
Crucifixion
of
Chapel, Rome,
C diversion of S, PauL
They are now
nearlydestroyed
; but the British
Museum

contains

The

National

some

old

engravingsafter

them.

pictureof the EtUombnieni

by Michelangelo,though various critics do not
admit its authenticity.
Ilia most
easel pictureis the /A"/f/
importiint
of
the
Florence
the
in
Uffizi,
Family
39). He assistetl
{Eniy,
year 1504,
his pupil,Sebastiano
del Piombo, in his great work, the Raising of
of Christ,said

Galleryhas

to

an

unfinished

be

Lazarus, execute"l for Ciulio de' Medici

drawings and
Of

The

best

RicciareUi,called da Volterra.

of

from

studies.

other pupilsthe
Michelangelo's

Daniele

an

1517-19, by making various

in

independentstyloof

ilve Cross, is in the

church

former

his

own

of the

be studied in liis Christ

may
in
the
National
Temple,
Gallery.

were

The

HarcellO

Venusti

latter worked

out

and
thing
some-

Descent
; his finest work, the
Trinitii dc' Monti, at Ronae.

drivingthe

TJic Florentine School in the Siaieenth

Trailers

from

the

Ccntuin/.

few painterswho
a
upheld
convenientlyhero mention
sixteenth
the
of
Florentine
of
art during parf
the reputation
century.
del
Sarto
a
Andrea
e. tailor),
called
Andrea
(i.
commonly
d'Agnolo,
excellence
considerable
as
attained
to
of
a
Michelangelo,
cotemporary
We

may

"

Sovoral

engravingsof

the Last

J^tdgmenl arc

in the British Museum.

IN

colourist,and enriched Florence

of which
altar-pieces,

the

many
S, John

Historyof

Cathedral

fine

Family,

He

first

was

apprenticedto
di

from

His

S.

The

and

afterwards

style,however,

was

of

and

works

Ghirlandaio

from

than

his

Gallery
a
Uoly

himself,and

His

Life

Agnes,in the

National

goldsmith;

and

the

instruction

any

Piero.

Francesco

known

Bigi, commonly

the Brancacci
of

(which contains

Cosimo.

more

received

Servi

to be of

paintingunder Piero
from
a
study of the great
of
Masaccio,
Michelangeloand Leonardo,

formed

Scalzo,and

tine work.

Portrait,erroneouslysaid

studied

frescoes
original

in the

the best.

Sacco)are among
(Eny, 40),is also a

of Pisa

contains

of the

del

Madonna

fine

with

of S, FilippoBenizzi in the church

famous

79

ITALY.

Chapel,and

del Sarto, and

first studied
Franciabigio,

as

Albertinelli.

under

then

He

was

in

friend

influenced

A Portrait of a
by him.
is
in
the
National
Youth, by him,
Gallery.
a pupilof
was
Jacopo Camcci, called da Fnntormo
(hisbirthplace),
Andrea

was

Leonardo, of Piero di Cosimo, and of Andrea

for

his

is in the

of which

one
portraits,

del Sarto

National

he

is famous

pupil,AngioloAllori,called Bronzino,may also be studied.

was
greatlyinfluenced in his painting by Michelangelo,and
the friend of the famous

Vasari, whose
'

Architects

Lives

is

of

Florentine

the

so

Baffaello Sanzio

his father, Oiovaimi

whose

Painters, Sculptorsand

his School.

called Raphael),
is considered by many
(usually

greatestof all

be the

painters.

Santi,

title to fame

has been

an

was

He

born

was

Umbrian

by
eclipsed

Urbino

at

is

by

known

have

of his earlier

other

usually been
Peruginesquemanner,

the

adopted at

three

the

alike
every

qualitywhich

exercised

so

whose

we
spirit

What

strikes

and

are
us

of the

rarelymet

could

universal
wide

with

endear

confidence

lastingan

even

now

met

in
principally

peculiarstyle
Santi,he

was

Florentine

our

in the

universal

and

the

"

Roman

he

"

excelled

endowed

was

him

to

and

and
affection,

associates.
no

with

No

man

artist

has

influence

the mind

greatestmen,

and

and

styles

Raphael,like the

genius;

painting,and
his

distinct

art as
Raphael, by
upon
of art.
at every turn in every branch
his
character
is
the
of
bination
comstudy

of
highestqualities
even

into three

different periodsof his life.

of his age, was

master-spirits
in architecture,
sculptureand

inspiredsuch

; and

son

by Perugino,whose manner
works, then again by Viti. His

divided

hitherto

the

as

note,

some

that of his famous

then
(alreadynoticed),

Viti

apparent in many

works

critics

in 1483

painter of

earliest works
the young
were
painter's
exponents of the
school in its highestdevelopment. After
of the Umbrian
influenced

over
more-

well known.

Bw^hacland
to

Bronzino
was

painterand chronicler,
Oiorgio

excellent

most

his

Gallery,where

heart

"

perhaps never

combination
to

so

full

PMNTJHQ

"

IN
extent

an

as

be called

works

the

him

in

kindred
of

in the

and

of

great musician

Mozart, who

well

may

though working in a different sphere. In

spirit,
of the most
gifted masters, we find the

others, even

influence of the intellect

those

81

ITALY.

of the

or

affections

whilst
predominating,

in

it is this union
; and
beautiful and unrivalled

Kaphael they are

blended
inseparably

highest faculties which produces the

harmony pervadingeverything from his hand.

of the

He

in the

exhibited

/
,

of the powers of invention with those \ ^'

)
called the /ormativeand imitative qualities.

highestdegreethe combination
of

sometimes
representation,

In

of portraitiu'e,
and
force, fidelity

moral
invention, composition,

feelingfor

spiritual
beauty, he

is

surpassedby

designby Michelangeloalone, whilst in fulness

he is only excelled by the
riclmess of colouring
Venetian

; in

none

of

grandeur of
and

chiaroscui'o

best

of the

masters

school.

It will be

than allude in the most

impossibleto do more
cursory
works.
to the chief of EaphaeFs numerous
manner
Although he die"l
he executed
less than 287 pictures
at the earlyage of thirty-seven,
no
and 576 drawings and studies,in addition to the series of frescoes in
the Vatican
Of the
lion

is

the

The

under

is a
Perugino,the principal

Vatican,

beautiful

two

Vision

studies

of

for which

the

influence

of his earliest

{Ertg,
41).

in the
Cnicijixion,

One

National

of Lord
possession

Caronain the

are

Knighty under

originaldrawing for it,in

Viti's
a

Virgin,in the

collection.

Oxford
of

elsewhere.

executed
paintings

the

of

hung

and

which

bears
Gallery,

is

trace

independentworks

Dudley.

1504, at the age of twenty-one,Kaphael, eager to improve himsolf

the
by
studyof greater works than those of Perugino or Viti, repairetl
of Leonardo
in the cartoons
to Florence,and found all that he required
In

da Vinci

and

which
excited
Michelangelo,
the
influences
to
Peculiarlysusceptible

Florentine

schools,Raphaers transcendent

his enthusiastic
alike

of

the

genius

admiration,

old

and

manifested

new

itself

/
perhapsin nothingso much as in his marvellous power of assimilating
and
best
fusing,so to speak,with his own
peculiargiftsall that was
and highestin the works of others,building up therefrom
a
loftyand
his own.
independentstyleessentially
of the first period of Raphaers life,
Madonifui with
Of the works
a
arid Francis, in the Berlin Museum, and the Marriage of
in the Brera, Milan, are
Virgin (known as the Sposalizio),
among

SS, Jerome
th"

{Eng. 42) we see the Virgin

Joseph by five youths,Mary's former
whose
is
suitors,
disappointment symbolizedby the flowerless reeds
which
they hold. In the year 1505 he paintedthe famous Ansidei
the gloryof the National
Madwmay
now
Gallery. This picturewas
from
the
Duke
of
purchased
Marlborough for "72,000 the highest
for
a
singlepicture.
priceever paid
Of the ^mntingsexecuted at Florence,in the master's second manner,

the

most

attended

esteemed.

by

In

five maidens

the

and

last-named
S.

"

82
we

1?A1NTING
must

(ofthe

name,

in the
Goldfinch),

Family,

in

the

41."

del Card"iUM
Madarma
MadoTma
of the Tempi
in the
Madonna
famous

celebrated,the
especially

as

Uffizi,Florence

Pinakothek, Munich;

The

Vision
In

of

; the

the

Knight. By Raphael.
Galleiy.

uD.

15C0.

the N^attonal

{Eng, 43); Lord Cowper's

PaiishangerRaphael(ofabout the year
famous
from
the
it
to
more
1505),
distinguish
paintingby that artist
ill the same
collection ; aS'.Catherine, in the National
Gallery; the
in
the
an
JSiitombnientf
now
altar-piece,
Borghese Palace, Home ; and
Louvre, known

Madmitia

"

known

La

as

as

Belle Jardini^e

the

Little

In

the Mculonna

del BcUdacchino

83

ITALY.

(of the Canopy), in

the

Pitti

Palace,

J^^^^^.,

42."

The Marriage of the Virgin. By Raphael.

Florence,which
famous
1508.

belongsto

Panshanger

a.d.

1504.

the close of the second

Raphael, the

Madoiiiia

In the Brera, Milan,

and
period,

delki Casa

the

more

Nlccolinifdated

43. -La

Belle

Jardiniere.
In

By Raphael,

the Louvre.

a. D.

1507.

PAINTING

In

middle

the

of

the

85

ITALY.

IN

called

1508, Baphael was

Rome

by
magnificentsuite of
the temporal
apartments in the Vatican, whicli wei*e to commemorate
of
of
three
walls
and
the Papacy. The
stnnze
(i.e.
spiritual
power
of
and
them
from
the
the
corridor
case,
stairto
or
leading
gallery
rooms),
of thirteen compartments, or loggie,
with small
and
consisting
covered
with frescoes by the great master
were
himself,and
cupolas,
his
his
after
designs.
by
pupils
the Stanza
della Segnatura,Raphael represented
In the first room,
the four great intellectual pursuits
in symbolicscenes
the'
walls
on
the
Theology,Poetry,Philosophyand Jurisprudence, and adorned
with
four
of
with
the
ceiling
figures
allegoric
same,
appropriate
The
of
called
the Holy
the
fresco
Theology
(also
DisptUeo/
symbols.
divided
into
is
the
two
Sacrament)
portions;
containingthe
upper
Pope

Julius

II. to

aid

year
in the

to

of the

adornment

"

"

Holy Trinitywith

heavenlyhost,and the lower the Eucharist on

of them
an
:
by forty-three
figures,
portraits
many
the fresco of Poetry representsParnassus, with Apolloattended
the
by
and the chief of the poets : that of Philosophy(or the School of
Muses
Plato and
in which
Aristotle occupy
the centre, with Zeno,
Atfiens),
well-known
and
other
Greeks, with
Epicurius,
Diogenes,Aristippus,
their pupils,
portraitsare introduced : and that
amongst whom
many
of Jurisprudence,
IX.
giving out the Decretals ; Justinian
Gregory
Roman
Laws, made by order of
e, the
givingthe famous Pandects (i.
Justinian
three allegoric
from the writingsof Roman
jurists)
; and
altar

the

surrounded

figuresof Prudence, Fortitude

completed in 1511.
the

In

historic.

Pope

deir

next, the Stanza

We

Julius

the

see

the Mass
representing
the Beliterance

taken

of

the

Borgo

as

in all of which

"

Temple,in which
of Bolaena,

bleedingof the Host

liordes

the power

of Attila,smd

of the

Papacy is

forth.
deir

have

Incendio, we

the Fire in

work, full of the highest dramatic

consummate
knowledge of anatomy
Raphaeldisplayed
a

"

marvellous

figures
; the

Coronation

of Charlemagne,
in the

the Saracens

Victoryover

frescoes in

fourth

room,

known

as

designsby Raphael,executed after

cupolasof the loggiethere are

In the
which

of the

strictly

more

are

was

time

of

IV.

The
from

chamber

spectator; the Miracle

place;the Discomfitureof the

S, Peter

power,
in the groups of terrified naked
the Oath of Leo III,,and the
Leo

the miracle

chamber, the Stanza

Vecchio

in which

Eliodoro,the frescoes

at which

shadowed
directlyor indirectly
In the third

This

Temperance.

Expulsionof Heliodorusfrom the

II. is introduced

is said to have

and

are

called

"Raphael's Bible,"

his death
no

di

the Sala

by

less than

remarkable

Costantino,are

his

pupils.

fifty-two
subjects,
alike

for dramatic

Viewed
as the
interest,beauty of design,and majesty of execution.
of
of
production a singlemind, they stand alone as a proof Raphael's

unrivalled

and
versatility

creative

genius.

The

decorative

paintings

86

rjknmsG

in whirk
pli."t^"r-work

ftnd omam^ntAl

im^jnAli^
(n\if^
the

are
wfrTfT

rif th^ir

Umon^

work^

r;irt"v"Tw

'k^i"rneii

;^ri4 whuh

41"

are

hy

of the Roottn

/"r-ven

*till exi^t

pmoti
oat

ai^i exemt^
Haf"h:\el

in t^ie .S'"nth

Elymn"

tiiese ptctnrK

frmned

jltp

iraiiii

kinrL*
of the
br

great "U54a''s life

of tbe

origiinleleren).

hmk^elf. as:?ted

Ken-^ingtonMiL^eiim

In

the South

for the
for tapostiip^
ih'Hifrnci]
wore
(AW/. 44). The tsiix'stries

Cartoon
by Raphael.
KensingtonMuseum.

Sistiiie

Chapel, by

woven,

under

the

(/oxcion,at Arras, in Flanders, and are

van
also preserved in the
of them
are
M^prodiictionH
Michiel

piqiiis,
origindlT

they were

fftnick with blindncRs.

a.d.

order

wkidi

br

1515-10.

of

Leo

X.

of
superintendence
now

in the Vatican

Berlin

and

Dresden

(hiHcrifH.
Seven
accoHHiblo

designs,and copiesafter them, are so readily

orifjinal
need only add that they represent the following
that we

of the

"
Tho wricB of drawiiigHknown
as RaphaeVs Sketch-hook
liaH recently
been ascribed to Pintiu-icchio.

in the

Academy

at

Venicti

IN

from

scenes

Lives

the

of the

87

ITALY.

Apostles,treated with great dramatip

power
The

Draught of

Miraculous

Fishes {greater
pari by Raphael.

The

birds

believed to be the worjc of Giova^mi da Tiding),

Christ's Charge to Peter {thefigureof Christ only by Haphael).
Man
S. Peter and S. John healingthe Lamo
{greater
part by Giulia
the
heads
The Death of Ananias
{mostof
by Raphael),

in th^

foreground are

Bmmiu)),

Elymas the Sorcerer struck Tvith blindness {partby Raphael)^

Paul and Barnabas at L(ystra
{executedby Penni).
at Athens (most by Haphael).
Paul preaching
These

cartoons

seven

have

Kubens, and
cartoons

had for

in

subjects
"

The

Mai-tyrdomof

The

Conversion

S.

Stephen.

of S. Paul.

S. Paul in Prison.
of the
Coronation

The

Virgin. (The originaldesignis in

subjectsfrom the
menced
shortlybefore KaphaeFs death.
During his residence in Bome, Baphael
A

second

bought by Charles I.,at the suggestionof

England ever since^ The fouy missing

were

remained

frescoes

series,with

of the Farnesina

Palace, in which

the

Oxford Museum, )

Life of Christ, was

also

famous

painted the

he gave

com*

proof of the love of

antique subjectswhich characterized his latter years, by choosingfor

the Triumph of Galatea (inwhich he was
assisted
representation
greatly
by many critics
by Giulio Romano), and the Historyof Cupid cmd Fsyclie,
have
his
his designs.
been
executed
a
fter
to
entirelyby
supposed
pupils,
Besides these vast mural paintings,
his architectural works
already
and the diligent
alluded to *
share he took in the researches then going
"

"

on
a

amongst the ruins of ancient Rome, Raphael found

series of easel
magnificent
several of

of
himself),

and of which
Families and
into

which

Madonnas,

he

threw
find

we
tinguished,

The

have

some

time

produce
portraits
(including
the most important,
Taking first the Holy
to

and
pictures,
altar-pieces,

which

we

of which

all the

only name

can

alreadybeen

noticed.

there

no

are

fervour
religious

and
fifty,

less than

for which

he

was

dip'

:"

Holy Family with

the Palm-tree.

In the

Bridgwater Gallery,

ab. 1505.
In
The Virginwith the Diadem.
(Early
Roman. )
The Ansidei Madonna.
1505.
In
In
The Virginand Child.
(La Silence.)
The Garvagh Madonna.
In
The Madonna
di Foligno. 1511.
In
ab. 1518.
The Virgin with the Fish.
In
The Hohr Family of Naples, ab. 1513.
In
The Madonna
of the Bndgwater Gallery. In
della Sedia.
In
The Madonna
1516.
di San Sisto. 1519.
In
The Madonna
*

In the volume

on

Architecture

the

in
Bridgwater Gallery {replica
Louvre).
National Gallery.

the
the

Uie Lourre.
the National

Gallery.

the Vatican.
t?ieMadrid

Musctim.

the

Naples Gallery.
the Bridgwater Gallery.

the Pilti Palace, Florence.

the Dresden
Gallery.

and ScrLnuRF.

88

PAINTING

last

The

named,

the greatest treasure

now

famous

the most

is

of the

Dresden

world.

the

paintingin

GJallery,
Virgin,"

The

"

perhaps
Kugler, is one of the most wonderful creations of RapfaaelV
famous
the most
ChriM
are
pencil."Of Raphael's other altar-pieces
bearing His Cross
(known as Lo Spasimo di Cecilia)
liavingonce
Church
of
Maria
del
the
S.
at
to
at
Palermo,
now
Spasimo,
belonged
"

says

"

"

Madrid, which

is in

and

valued

must

oil

carried at his funeral

his death

the most
we

name

S.
A

of his

In the

In the Lmivre

of

Roman

beautiful

death

of

Never

did

Raphael

of his excellences
Giulio
scholar was

of

age

death

of Jnjnter,who

took

create

which

T^, at Mantua,

Amongst

Giulio

first worked

under

his

scenes

of

Palace
and
his

from

if God

had

never

"

His

"

prophets.^'

Mary Magdalen, and

of

design

or

Romano

also built from

at

Odyssey(now
is

more

many
celebrated

the

sented
repre-

Ififattci/

of his master's

beauty and

purityof

his

colouring.

decorates the Palazzo del

designs.
Frimatiocio,who

Francesco

pupilswere
Mantua,

his

was

works

revealed Himself

of many
his feelingfor cLoSsic

Fontainebleau, whither

Oinlio Clovio,who

Kugler,

in the execution

paintingsby

was

him

his

his grace

Romano's

the

of

void

well

not

series of

remarkable

vast

Giannuzzi, called Oinlio Romano,

share

powerfuldrawing, but

tvco

all Europe
thirty-seven
so

and

inherited

greatest works, and

X, wiih

were

Galleryby
a

of Leo

extremelynumerous,
imitated.
His
most
successfully

were

National

our

Fomarinay
AUoviti,in the
of Julius II. (a

of Bindo

days,through the

followers

de'

; the

Maiden, and

In the words

RaphaeFs pupilsand

Louvre

and
Gallery),

the

at

man's

one

throughRaphael as, in former

in

the

those

fondly cherished.
veneration,as
regardedwith religious

were

Behxdcre, Vienna),

Palace,Florence.

more

memory

the

in
{replica

in
hiniself,

is in the National

which

the

of

and

Cardinals, all in the Pitti

On

paintings

Bologna Oallery.

Gallery,Rome,

Gallery;

mourned.

now

In the Lmivrc.

that
portraits,

Barberini

of
replica

it is

his smaller

In the Pilti Palace^ Florence.

In the Madrid
Oallery,

Visitation.

in the
Munich

Of

Vatican.

"

Margaret, ab. 1516.

1517.
rchnngelMichael.

And

with the colours still wet

of the
possession

S. Cecilia. 1516.
The Vision of Ezekiel.
The

masterpiece;and the Tra^uleft unfinished at

which
was
painting,

respect

every
best

his last and

figuration,

but afterwards

became

which
destroyed),

he

he

Francis

invited

was

celebrated

by

famous

executed

for

in the

L in 1531

for his illuminations than for

paintings.

\Ve

must

also

name,

as

followers

of

Raphael,Oianfrancesco Penni,

II Fattore," in whose works

we
recognizeexcellences similar to
calle"l Del Va^a,who painted
Pierino
those of Romano
Buontvccorsi,
;

called

"

IN

much

; Giovanni

at Genoa

N anni, of Udine, who

designs of his master

and

caught

Francucci

da

vallo,who

axioptetl
Raphael'ssoft and

Imola, and

The
Giovanni

Home

an

the

DosbI,

His

was

works

one

of

the

of their

Returning

for their

are
subjects

Dossi,both
then

born

studied

at

Ferrara, they executed, amongst

to

Palace

Dosso'

portant
im-

most

celebrated

are

their

works, frescoes in the Ducal

Battista
is

Venice.

and

other

Eamonghi, called da Bag^iacastyleof modelling.

beautiful

poeticfeeling
; many
his younger
brother,Battista
at first pupils of Lorenzo
Costa, and

Ferrara, were

the decorative

spirit
; Innocenzio

and

mythological.He
at

this school.

colouringand

carried out

of his

School,Sixteenth Century,

Fcrrarese

paintersof
brilliant

much

Bartolommeo

Lutero, called DOB8O

di

89

FERRARA.

Dosso

"

and
doing the figures

and Saints
a
masterpiece,
in the publicgallery
of his native city. The National
Galleryowns
Lodovico
Adoration
the
and
works
Mazzolini,
of
by
Magi by Dosso,

backgrounds.

Madonna

under Costa, and later the rival of Grarofalo.

fellow-pupil
Benvenuto
Tisi,usuallycalled Oarofialo,
paintedat Ferrara,Cremona,
Home
and Mantua, under
various masters, but ultimately
became
an

assistant
life

was

blind.

of

Raphael, in

the

Vatican, in 1615.
for the

spent in Ferrara, and

The

last nine

latter

part of his

he

years

quite

was

Apparitionof the Virgin to S, Bruno, in

the
Dresden
In
the
gallery of the Capitol,Rome, is an
Gallery.
Annunciation
{Eng,45),and in the Borghese Palace an Entombment by
National
the same
artist. The
Gallery contains four of his pictures,
His

best work

chief of which

piece in S.

is

is the

Madorma

Guglielmoat

altaran
originally
technical
display
inspiration.He is best

Child Enthroned,

and

Garofalo's

Ferrara.

works

somewhat
excellence,but are
wanting in
studied in Ferrara, where are his finest portraits.

Gallerycontains

masterpieceof Giovanni
Benvenuti, ^lledDell' Ortolano,who caught something of
of Raphael ftid Bagnacavailo. Another
fine work
by him
of Lord Wimborne
at Canford.
Family in the possession
The

National

The
Antonio
new
totally

and

Lombardic

AUegri,called
in the

manner

as

he

School
from

Lombardy or
greatlyinfluenced by

that of Leonardo

da Vinci

which
peculiarities

the Dttasters of Rome

chiaroscuro,and

raised
and

him

he
at

the founder

was

Parma.

; but

A,D.

"

Battista
the
is

style
Holy

1540.

Corregg^O,introduced a
birthplace
excelled all his predeand
cessors
painting,

his

the

1510

A.D.

pictures.He

the school of
was

his
of

art

in
cotemporaries

softness of effect of his

the

In

the

once

and

displayedall
to

the

grace and
is known

of what

earlypart

styleof Costa
soon

in the

of his

career

Francia, and
those

by

distinctive^

highest rank.

Whilst

cultivated form
Florence almost exclusively

90

PAINTING.

:and

expression,
Correggiodirected

"of lightand

shade, and

"of Sir Joshua

his attention to the harmonious

of colour.

to subtle combinations

Reynolds, "His

design,and

manner,

In

play

the

execution

ar"3j
delie~
*

very

great, without

correctness.

He

had

most

free and

paintedwith a str
relief,sweetness, and vivacity of colouringwhich nothing ever^
ceeded.
He understood how to distribute his lightsin such a

pencil,and

it is to be

45. "The

acknowledgedthat

Annunciation
In the

as

was

to the Virgin. By
Rome.
Galleryof the Capitol,

wholly peculiarto himself,which

roundness

he

gave
filled up all that

to his

Garofalo.

great force and great

was
yet wanting in the

figures."He
which
pared
appeared hard and dry comcoteraporaries,
with the soft melting lines,the glidingoutlines and transparent
shadows
of his gracefulconceptions. He
in depictingthe
delightetl
emotions ; and all his figuresexpress heavenly raptiu'eor
pleasurable
earthlybliss : they are bathed, so to speak,in the joy of existence,and
in suffering
have an expressionof gentlemelancholy rather than
even
of woe.
be owned
All is life,movement,
and variety;but it must
in
his
love
of
the
h
e
that,
passions, sometimes degenerated
expressing

masterpiecesof

his

ipto affectatioji.

46."

La

Madorna

della Cesta.
In the National

By Gorreggio.
Gallery

Jk

a.d.

1520.

92

PAINTING

Of

Correggio's
earlylife littleis known.

His firstteachers

men

were

influenced bj
much
note, but in 1511 he visitetlMantua, and was
a
nd
his return
His
tlie works of Mantegna.
on
genius ripenedearly,
for the
in 1514, at alxnit the age of twenty, he executed
to Correggio

of

no

Franciscan

Convent

at

known
Carpia largealtar-piece
di S,

the

as

Maifonua
in

Fra7icesco,now

and
Gallery,

the Dresden
few

later a
years
series of frescoes in the
of S. Paolo, at
convent
the
Parma, in which

influence
is very
1520

Vinci
Da
In
noticeable.
of

Correggio was
to paint

commissioned
the

cupolaand

choir of

S. Giovanni, at Parma,
which town he had previously

visited in 1515.

cupola he chose
sion
subjectthe Ascentures,
of Christ, The picare
though some

For the
a

as

removed
much

damaged, exhibit

grandeur

considerable
of

design,and

are

for

the
of

use
:

tion

markable
retensive
ex-

shortening
fore-

in the choir

paintedthe

he

others

and

Cormm-

of (he Virgin,now

the
Biblioteca;a
of
which
is in S.
copy
in

47." Madonna

della Scodella.

In the rmina

By Ccrrrggio.
Gailciy.A. P. 1528.

Giovanni.
were

These works

finished in 1524.

considerable love of
this gi*eatmaster
displayed
and in 1525 paintedfor the Duke
of Mantua
the Educathe antique,
tion
considered one
of his
of Cupid (now in the National Gallery),
of
works
similar
character
his
Leda
the
a
Other
with
are
masterpieces.
Later in his

SivaUf and Jo

career

l)oth in
Jiqjiter,

the Berlin Museum

; and his Danae
To tliisperiodof his lifebelongmany
fine altar-pieces.
Holy Families and other sacred pictures.The Dresden
rich in works by Correggio containing,
Galleryis especially
amongst
in the

and

BorghesePalace, Rome.

"

others, the famous

is

called La Notte (or Night"),because it

Nativity,
nimbus
the
round the head of the Holy Child ;
by
lighted
entirely
"

and

the

yet better known

the famous

contains
S.

atvci

Reading Magdalen,

Madomia

della Scodella

"

In the Louvre

scene.

radiancyof the lightdiffused over the whole

Afarriageof S. Catlieri7ieand the Antiope;

the

are

the

Naples Gallerythe Madonna

peculiar head-dress of the Virgin;
Ecce

famous

remarkable

ChrisCg

for the

Agony

light and

the

liord.

the

dome

knowledge
is well

of Parma

He

had

the

to

almost

be

peculiarcommand
being lightedfrom

master's
Saviour

is the

pupils who

no

the

from

the

of
Asaujnptian

Parma, executed

may

Pilate

della Cesta

(Eiig.
46),
aiirial perspective
i
n
displayed it,and

importantwork
at

the

Gallery the

presented by

Madonna

the

Zimjarellayfrom

National

angel by lightreflected

of the cathedral

Correggio.

of

La

as

in the

the
illustrated,

the attendant
Another

school

The

as

in tJieGarden, in which

shade

and

heaven,

known
and

HixinOyrepresentingChrist

people, a Holy Family, known

of

Gallery

the Mado7ina

{Eng.47),and

"

of the fulness and

jxccount

in

Parma

The

the Saint offeringhis translation of the

Jeron\e,representing
and Child, also called II Giomoy or
Day," on

to the Madonna

3ible

93

LOMBARDY.

IN

said to

attained

1520

between

to

begin

Person
and

and

eminence

any

of

tfie Virginon
1530.

end

with

; but he
the name

had

many

His

styleresembles that of Correggioin many particulars

; but he also
of Michelangeloand Raphael.
something of the peculiarities

Francesco
imitators,of whom
Mazzuoli, known
by
of Parmigiano, was
the chief,and indeed the only one
of importance.
combines
Had

he lived at any other periodhe would

probablyhave risen to the
highest rank as a painter
; for,although inferior to the five great men
liave named

we

of his other

most

and

the

as

cotemporaries. He

his later works

grandeiur of

characterized

are

conception.

Gallery,is one
frescoes of the

age, ho greatly surpassed

excelled in invention and design;

of the
master-spirits

His

of his earlier
choir

Vision

della

figureof

of

correctness

S,

drawing

and

Jerome, in the National

productions.In

of S. Maria

the world-famous

by
of

he commenced

1531

Steccata

at

Parma,

the

in which

breakingtlie Tables of t/ieLaw,

chosen
Sir
Joshua
as
a
by
Reynolds
typicalspecimenof the correctness
of drawing and grandeur of conceptionacquired by Mazzuoli
through
liis study of the works
of Michelangelo,
earliest
it
his
with
contrasting
S,
work,
Eustachius, in the church of S. Petronio at Bologna. Of his
easel pictures,
Cupid maldng his Bow, in the Belvedere at Vienna, is
considered the most
remarkable
S, Ma/rga/ret,
; and of his altar-pieces,

occurs

in the

Moaee

Bologna Academy.
The

Venetian

Comparativelyfree
which

Venetians

were

from

School.
the

brought to

steadily
pursued the

1512

A.D.

constant

bear

on

"

action

A.D.

of those

the artists of
commenced

1600.
external

fluence
in-

the
Upper Italy,

by the Bellini,and
evinced a consummate
which, as we have
finally
mastery of colouring,
the
of
characteristic
Venetian
school.
the
was
predominant
Early
seen,
coui'so

94

PAINTING

figuring
sake, they found it,so to speak,by transSeekingbeauty for its own
and
of
the
events
nature,
objects familiar lifein
by treating
a grand and
expressionof the lo^e
loftymanner, which was the fitting
of splendour
characteristic of the proud citizens of the Mistress of the
of Giorgione,
Titian and others are a reflexion
Sea.
The masterpieces
"

of the

and

magnificenceof

stamped

Venice

impress of

the

with

painterscultivated

this time; but a reflexion idealized

eternal beauty. The
Venetian
rather than the intellectual side o!

at

the

sensuous

nature ; and in their works, faithfulness of pictorial

representa*
tion is ever
than the moral lesson to be conveyed;
of greater moment
all the technical processes of their art,
with wonderful
mastery over
the warm
of the
colouringof flesh one
they rendered acciu*ately
painter'smost difficult tasks and the effects of lighton different

human

"

"

never
materials,in a manner
surpassed.
Giorgio Barbarelli,called Qiorgione,was

from the trammels

of the

Bellini,he

the school of the

his masters, his paintingsbeing

Titian,in

depth of
was

one

and

to

famous

and
colouring,

for his

left to show

us

of his easel

have

to

break

free

fellow-pupDof
to
superiority

luminous

glow, a'N

before attained.*

never

give prominence

He

landscape,

to

called gerire pictiures.

He was
also
in fresco,
but there is little
worked much

since been

have lost

we

proved his

soon

purityof outline

portraits.He
what

The

for
distinguished

of the first of the Venetians

paint what

first to

the

Early Venetian school.

by

the destruction of his works.

works
once
j and many
critics to be by Sebastiano

remain

picturesnow
said by competent

Few

ascribed

to

him are now

del Piombo,
Palma, Pellegrino,
Lotto, Romanino, Moretto and others.
The followingeasel picturesare generally
agreedto be by Giorgione,
but critics on
other

Italian

subject.

art

Writers

differ
have

of the Castelfrauco
authenticity
as genuine :
following

about

perhaps more

even

ventured

to

this than

throw

doubt

on
on

altar -piece. Siguor Morelli admits

any
the
the

"

Virginand Child
S. Liberale,
db.

with S. Francis and )

1512

In the Church

of Castelfranco,

{hisbent work). \

A Concert.
The Judgment of Solomon (early
work),
The Ordeal of Moses {earlywork).
Christ bearingHis Cross.
"Three
Philosophers.*'
Family of Giorgione.
SleepingVenus.
Madonna
with SS. Roch and Anthony.
Daphne and Apollo.
Three Stagesof Life.
Two young men
in a landscape.

Jn the Louvre,

UJizi,Florence.
Florence.
Uffizi,
the Casa Lo8cki, Vicejiza,

Jn the
In the
In

In tha Belvedere, Vienna.

Prince Gioranelli,
Venice.
In the Dresden
Gallery.
In the Madrid
Gallery.
In the Manfredini Collection^
Venice.
hi the Pitti Palace,Florence.
In the

EsterhasyGallery^Pestk.

*
"The difference in the technical execution of Giorgioneand Titian appears to
have been that the former paintedin tempera and then glazedin oil,and the latter
colours have retained their
only used oil-colours. The consequence is that Giorgione*8
brilliancyand transparency,whilst those of Titian have too frequentlybecome
and black. ""Lay ard's KugUr.
opaque

YS

95

VENICE.

of the Knight in Armour

in the National Gallery,
authenticity
originalstudy for the Castelfraneo
usuallyacceptedas Giorgione's
is
the ground
doubted
Morelli
and others,chiefly
on
picture,
by Signor
of its being too highlyfinished for a study.
The Three PhUosophersy^
of which we givean illustration (Eng,48),
was
but, owing to Cromweirs
formerly in Charles L's collection,
it
is
in
To
vandalism,
no
Signor Morelli, who has
longer England.
given specialstudy to this master, is due the honour of having recogThe

"

48.

*'
"

The

Three
In the

Philosophers." By Giorgioue.
Belvedere,Venice.

Gallery(whereit was cataloguedas a copy after

finest works, a SleejdngVenus of great beauty,
Giorgione's

nized in the Dresden

Titian)one

of

said to have

been

the model

other masters
Sebastiano

took

their

Luoiani,del Piombo

was
pupilof Giorgione,

considerable fame

as

from

which

Titian,Palma

the group of
under
Michelangelo,

and

in similar pictures.
inspiration
the
if not actually
e. of the
seal),
(t.
and attained to
much
influenced by his style,

colourist and

portraitpainter.

Lazarus, in the National

:

Vecchio

His

Raisingof

is generally
piece
considered his masterGallery,
Lazarus
him was
and the figures
near
designedby
whom

he worked

for

some

time.

96

PAINTINa
The

greatestVenetian

painterof the sixteenth century was, however,

known
asTitiail,who first studied with a
Vecelli^-ComniDnly
Zuccato, then with Gentile,and subsequentlywith
painter named

Tiziano

Bellini,in whose studio he laboured side by side with Giorgione. Titian's first patron was Alfonso I.,Duke of Ferrara, for whom
Giovanni
he

several of his

executed

Senate

to

completethe

Sala del gran

the

left unfinished

work

Venice
Consiglio,

and
authorities,

that of

masterpieces.He
:

rewarded

was

to the
painter-in-chief

with

ofiice of La

the

of Venice.

Doges

Bellini,in the
great approvalof

Giovanni

by

did to the

this he

the

employed by

was

In

Sa7i6eria

1532

t.

"

he went

c.

to

Bologna at the invitation of Charles V., but did not (as has been
much
that monarch
to Spain, lie was
commonly asserted)
accompany
Duke
Paul
III.
the
at
Bome, and
patronizedby
FederigoGonzaga, by
by other persons of note.
Titian lived to the great age of ninety-nine,
and
in the full
was
of all his faculties,
when
he was
carried off by the plague,
possession
in

He

1576.
Venice.

combine

Titian's works
with
Correggio,
stands

^e

and
colouring
one

in

in

of

church

the

distinctive

the

S.

his

has seldom

of
painters
finest^rtrait

own.

live on canvas
;
age ; his figures
look into their calm
to know
we
as

any

ai'e

as

those of

Giorgioneare
life of ninety-nineyears

as

raised him
It would

like
the
of
the

to the head

be

by a

full of

full account

and, although

beauty,his

and conscious

serene

active energy ; and in liis long

produced a series of masterpieceswhich

he

of the

of the

and

Venetian

new
a

work

school.

present to give anything

enrich all
of Titian,which

like the
works

numerous

he followed
earlypaintings
Europe.
his own.
with
of
a power
Bellini,impressingit,however,

great cities of

Resurrection,above

of the most

In his

the

important.

all the

of figureand expression
nobility
;
enjoymentof existence

calm

of stern

in
impossible

the best w^orks

excelled

developmentof ideal

precludedthe

all characterized

his creations

been

of

local
tr^tment
been_equalled.He is considered
groups

they are real beings^whom "we' seem

finished as
faces,and they are as perfectly
dignified
Dutch
school.
of the
Aiming only at truth, Titian
other Italian paintersin realistic imitation of nature
faithfulness

Frari,

Giorgioneand
In colouring

of

his

and

this very
works are

de'

has never
rendwing^of^flesbitints

his

and
landscapes^

chiaroscuro

Maria

excellences

loftyoriginalchai'acter of their

pre-eminent;

and
surpassed,
of the

buried

was

high altar

More

famous

of S.

the

style

Of

these

Nazzaro, in Brescia,is

is the

Christ and

one

the Tribute

the
later date,in which
of a somewhat
Gallery,
works
the
sacred
in
beautiful.
Of
the
especially
large
master's completedmanner,
the Entombment
(ab.1523),in the Louvre,
with dignity
in which exquisite
truth and beauty of form are combined
of expressionand depth of feeling
(ab.1539),and the
; the Presentation
Assumptiwi of the Viri/in(1516),both in the Academy at Venice; the

Money,

in the Dresden

head of Christ is

IN

Supper at Emmaua,

Ci^^

49." a. Peter

in the

Emmaua

Studj Galleryat Naples;

Martyr. By

Formerlyin

(ab.1646),in

the Church

the

97

VENICE.

TifeiaD.

a.d.

1628.

ofSS. Giovanni

Louvre, and

Burned

the

Chrisi

at

in 1867.

Faoloy Venice.

the Pesaro

in
altar-piece*

*
which is said to have been "restored" no less than seven
This picture,
affords a startling
example of the incalculable injurydone to paintingin
**
restoration."

the

times,

Italyby

08

PAINTING

of

church

principal. Squally
pictureof Christ appearing to Mary Magdalen aft^vrHis

is the

famous

Frari, Venice

the

Resurrection

are

"

National

in the
tangere),

Noli Me

(known as

the

among

which
Gallery,

Titian's most
celebrated
fine Holy Families,
toric
hisalso possesses two
S.
his
Peter
works
Death
which
are
Martyr (1528){Eng,49),
of
Paolo at Venice, and
in SS. Giovanni
e
formerlythe altar-piece
and
the
fire
in
1867
was
Martyrdom of S. Lawrencty
destroyedby
;
The former
in the Jesuits' Church, Venice.
much
was
now
injured,
which
in
the
noted
the
of
for
the
most;
beauty
landscape,
especially
rendered ; and
delicate aerial effects of brighttwilight
were
faithfully
results obtained by the meeting of the l%ht
for the peculiar
the latter,
from heaven and the flames of the burningpitch. In both we see faiih
and mental fortitude triumpliant
over
physical
agony.
of
The
was
not, however, at all congenial
representation suffering
was

peculiarexcellences found

great lover of sensual beauty,whose

to the

of heathen mythocheerful subjects

1 more
fuller scope in the lighter
an
logy,
which
he
bear
of allegory
tliD
and
to
or
brought
original
genius
;

antiquityis well illustrated

repeated,and in the celebrated Venus

Florence ; the Bacchus

National
the

Louvre,

the most

at

Naples,the

of the Uflizi,
Adonis, both in the

Venus del Prado

famous
Of

in

his

pictures,
allegoric
a young
shepherd and
Ayes, representing

the Three

are

aiul

Venus

and

similar works.

other

many

famous

Ariadne

ami

the Dande

Gallery;
and

in his Diana

fables of

ujK)n the worn-out

often
ami Callisto,

the grass, with three winged children

on
on
Sacred
the
other
and
distance
in
and
the
on
one
side,and an old man
;
seated
the
rim
beautiful
of
two
on
women
Love,
symbolizedby
Prqfafie

maiden

beautiful

seated

fountain,now in the Borghese Palace, Home.

Titian's portraitsare
Many of the finest are in
very numerous.
the
in
for
instance,
Hampton Court Palace, of a dark
England : one,
with a face full of eloquenceand feeling
; another in the National
man,
a

Gallery;

and

chesini and

however,

of Titian

one

are

the

Museum

; and

list of Titian's

Andrea

Fran-

of

than any
these,
Palace,Florence,known

famous

More

ladyin the Pitti

certain

{Eng,50); that of his daughter,in the

IIL
Paul
(1545),in the Naples Museum.

of

that

of

one

"

himself.

portraitof

the Bella di Tiziano

as

Castle

at Windsor

two

include

would
portraits

the

names

Berlin
A

of all the celebrities

of his time.
Madrid

The

Museum

but he is best studied

his

part

of his career,

S,
The

we

must

sumamed

we

and

may

picturesby Titian,the
the

Louvre

eighteen,

of Venice.
galleries

also say

his rivals in the

early

name

Barbara, in the church

with
picture

easel

works, and

in the churches

and
cotemporaries,

Jacopo Palma,
the

fortyfine

authentic
Gallerythirty-four

Vienna

Of

contains

Vecchio
of

whose
(theold),

S. Maria

masterpieceis

Formosa, Venice, which

similar titlein the Sciarra Palace,Rome, U

hj

Palma

Yocchio.

99

VENICE.

.iT5jefir"]iiir/iic%iriiauinta"ir^Euimisf^ir^
60.""

Bella di Tiziano

"

(Duchess

of Urbino

In Hie I'ittiPalacCfFlorence.

?). By

Titian.

'

100

PAINTING.

bears distinct traces

successful in female

of the influence of
of which
portraits,

Giorgione.

He

especially

was

good example is his

Vtolanit

in the Belvedere at Vienna.

Portrait of a Poet, called a Titian,
been ascribed to Palma.
has recently
in the National Gallery,
Paris Bordone, as much a follower of Giorgioneas of Titian, ^whose
the ringof S, Mark to
celebrated work is his Fislierman presenting
most
The

"

"

National
The
the Doge, in the Academy of Venice.
Gallerypossess^
and
Chloe,the latter an
a Dapfme and
a beautiful Portrait
qf a Lady,
of mythology.
of subjects
excellent example of his successful treatment
work
the
Another
Bordone
decoration,with scenes
was
by
important
from the Lifeqf Christyof the dome of S. Vicenzo
at Treviso.
Giovanni
Antonio
Sacchi,* commonly called from his birthplace
of the Venetian
masters
Pordenone, one of the most distinguished
works
and whose
Titian in his flesh-tints,
school,who rivalled even

with

rarelymet

are

there

are

of

out

Italy.

In

frescoes by
finely-executed

some

cathedral

the

of

him

at

Scenes

Cremona

from

the

Passion.
da Brescia,
Alessandro
Bonvicino, commonly called II Moretto
and several good easel
fine altar-pieces
left many
to his native city,
three
pictures,

of

which,

two

Portraits

and

of NoUemen

an

altar-piece

of Siena and other Saints are in the National Gallery.

He
In the last picturehis so-called silverystyle
be well studied.
may
Venetian
influenced
than
of
the
Titian
most
less
was
were
painters.
by
in S.
One of his finest pictures
is the Feast of tfiePharisees (1544),
now
of S, Bernardhw

della Pieti,Venice.
Oiovanni Battista Moroni, who

Maria
few

historic

which

are

but
subjects,

almost

was

pupilof Bonvicino, painted a,

lies in his

his chief title to fame

those

equal to

of

Fine

Titian.

portraits,
examples are the

Portraits of a Tailor and a Lawyer, both in the National

Ercole Tasso,at Stafford House, ranks with the Tailor

Gallery. The
as

one

of his

masterpieces.
We

also mention

must

successful imitator
The

Oirolami

of Titian

Bomanino

Nativityof

finest works

the year 1525 in the National

he is best studied in Brescia.
but
;

Bonifazio

Veronese

artists of this name,

t (died1540),the
whose

of Brescia,who

and
Giorgione,

and

works

was

rival of Bonvicino.

Galleryis

one

of

his

importantof the three

years given to one
many

most

for
pupil,of Palma
were

Vecchio : his style

also based on
several of his
that of Titian and Giorgione,and
was
works have passedunder the names
His Dives a/nd
of those masters.
of the
Lazarus
in the Venice Academy is a very fine work, " a picture

man

only,was

if not
follower,

sentiment, still retainingmuch of its original

exquisite
gorgeous
ChUd
I
n
and
toith
colouring.'' the National Gallery a Madonna
Saints, formerlyascribed to Palma, is now
given to Bonifazio. The
most

Licinio" which was

the name
of an inferior artist,
a?
Long known
Bernardo
who chiefly
t His surname
is unknown.
Xiioinio,
paintedportraits.

61." Christ borne to the Tomb.

In S. France

fca

By Tintoretto.
deUa

Viyna,Venice,

Ab.

a.d.

15"0.

102

PAINTING.

brother who

second Bonifazio Veronese,a younger

died in

and a Bonifazio Veneziano was

pupilof the first;
All three are best studied in Venice.
1579.
who
two masters
Greater than any of these were

1553,was

still painting
in
flourished towartU

of the sixteenth century, and kept alive the vitality

of the
of works
of original
school by the production
Venetian
genius and
long after the art of paintingin the rest of Italy
individuality
the end

hands

fallen into the

had

of

mannerists

mere

and

imitates.

We

allude to
^

Paolo Caliaci,
called Paolo ^
The former studied for a very short time xaAec Titian,
Veroneae.
his excellence of colouring
and aspired
to combine
with Michelangelo's
few of his works he gave
In some
correctness and grandeurof form.
evidence of considerable power : his Miracle of S. Marky in the Academy
conceived and forcibly
of Venice, for instance,is finely
executed;he

JacopoRobusti,known

(^
"

as

and
Tintoretto,

and
achievingfine results,
paintedvery rapidly,
"

\
/

his pictures
are
refor their giganticsize as well as for their artistic qualities.
chief works were
those executed for the Scuola di S. Marco (fiftyof which are stillin position),
the famous Mirade^ and
including

markable
His
seven

He paintedalso many
those for the Scuola di S. Rocco,Venice.
for the churches of Venice,amongst others Chrisi home to the
fine

in S.
altar-piece

Francesco

della

Vigna {Eng,51).

The

pictures
Tomby

earlyS.
DiseipleSy

ike Dragon, Christ washing the feetof His

Georgedestroying
The Milky Way,* are in the National
and The Originof
Gallery:
Esther h^ore Ahaeuerus,and the Nine Muses, may be seen in Hampton
Court Palace.
a Sacrifice
At Castle Howard
are
of Isaac and a Temptation of Christ ; and at Stafford House a celebrated Partyof Musida^is.
"

famed for his porti*aits

is justly
of
; in the representation
flesh he is unrivalled.
In the works of Paolo Veronese, the distinctive principles
of the
Venetian school are far more
carried
than
out
in
those
of
successfully
Tintoretto.
He
rivals in magnificenceTitian himself,whilst his
of chiaroscuro,
the sincerity
with which
he brings out the
delicacy

Tintoretto

human

relations of objectsto each other in air and light,

his genuine
for
the
freedom
softness
and
of
his
feeling physical
beauty,
pencilling,
his mastery of true symbolism,
and his power of catching
the essential
and animals,give him a highposition
characteristics both of men
as
true

an

The

master.
independent

considered his finestwork.

of
portraits
life and

many
action.

of the

greatestcelebrities of his day,and is full of

famous
his Feast of Levi, in the
are
his Feast in tliehouse of Siinon the Phariseey
in

Scarcelyless

of Venice

Academy
the Louvre

Marriage at Cana, now in the Louvre, is

It contains 120 figures
or heads,including

{Fng,52) ;

and

another

Gallery.* The Family of Darius, and

National
*

Gallery
; and

These four Feasts

were

of the
one

the Consecration

paintedfor

same

of his

subjectin

the Turin

Adorations,are

in the

of S. Nicholas,
Bishopof Myra,

the refectoriesof four Venetian convents.

104
and

PAINTING.

finished

study for

the

are
Rape of Eturapa,

in the Belvedere^

Vienna.

Jacopo da Ponte, called II Bassano," the

chief member
of a family of artists,
and the founder
of the Italian
whose
school of genre painting,
for Venetian
works are remarkable
He excelled in painting
force of colouringand chiaroscuro.
landscapes,
in the National
animals,and objectsof stilllife. He is well represented
Gallery,which contains a Portrait of a Gentleman; Christ and ike
The
S, Martin, in the
Money-changers;and the Good Samaritan,
and the Baptism of S, LuceUay in S. Valentino,both
MunicipalGallery,
in the town
of Bassano, are
considered his masterpieces.
Jacopo had
We

liave still to

"

name

four sons, all of whom

were

painters.

Decorative

Painting.

The great Italian masters

of the Benaissance devoted no inconsiderable

^that
of
their
is
decorative
to
to say, to
portion
energies
painting"
of
the
form
of
to
ornament
and
a
so arrangedas
rooms
paintings
part
churches : in their hands, this art attained to a perfection
before
never
The designswith
realized,except perhapsin the best days of Home.
which
and other importantbuildings
adorned
the Vatican
were
prised
comhuman
and
endless,
animals, flowers,
binations.
geometricalcomfigures,
marked
The earlypart of the fifteenth century was
by a
kind of transition from Gothic ornamentation, in which the grotesque
element predominated, to that of the completed Benaissance, which
in enect
revival of the antiquestyleof decorative painting,
was
a
of Titus and
the mural
the Baths
discovered in such buildings
as
decorations of Pompeii,stamped with the impressof the original
genius
of Baphael,who
than any other master
did more
to define the true
of decorative art.
In the sixteenth
limits and the true capabilities
felt of some
was
greater varietyof designthan had
century a want
hitherto been deemed admissible.
As the century advanced
the love
and ideas were
from every side,
of variety
borrowed
increased,
especially
from

the

appliedto
We

East,

as

is

proved by

the decorative

have

now

the term

"

"

arabesque having been

designsof Baphael.

completed our
*

account

"

incomplete of
necessarily
"

the
cinque-cento
great
; and, looking back upon
in
results obtained,before tracingthe progress of the new
movement
fulfilment of all the great
the rest of Europe, we find a simultaneous
and expression
of painting
have been perfected
: form, design,
principles
and Florentine schools by Michelangelo,Leonardo
da
in the Boman
in the schools of
Vinci and Baphael ; and colouringand chiaroscuro
and Venice by Correggio,
Titian and Paolo Veronese
Parma
; spiritual
the

Italian

found

beauty had
*

The

masters

its noblest exponent in

Baphael,and corporeal
beauty

flixteenthcentury is by Italians called cinque-cento.

53.

"

Decoration

of the FamesiDa

Palace.

dtsiyn.
AfterBaphaeVi

106

PAINTING

in Titian.

The

portraiture had attained to its highest development

much
not
called,
landscapepainting,properlyso
though
practised,

of

art

had

been

the

religious subjects

greatlyimproved, and
had

painting had
genre
exclusivelyfavoured

almost

in

fifteenth

the

some
given
antique mythology
history; and a general love of art pervaded all classes. UnforUmtained,
mainnot
was
ately,the high positionpainting had thus gloriouslywon

century

placeto

introduced;

been

of

to those

extent

and

and
of its

at the

even

Painting

North

the

of

positionof the
but,

as

in

in

sigo^

were

with

architecture

differed in many
Teutonic
masters

countries

the South.

The

antiquitywhich
trammels

sacred

paintingattaining to
sixteenth

and

Italian

taste

traditions,they

the
of
of

and, unfettered

centuries;

sculpture,the art of
from
essential particulars
those
the
uninfluenced
models
were
by

stronglybiassed

so

of old and

find

Italy,we

Gerbcant.

and

in the fifteenth and

importance

case

Netherlands

the

Europe, as

first

the

was

Northern

the

century there

approaching decadence.

Renaissance
In

of the sixteenth

close

by

straightto nature

went

their spiritual
for their models, and endeavoured
to express
conceptions
and homely scenes
in familiar forms
of everydaylife,
attainingthereby
^

truth

to

the

that

men

in

great

in

the
the

of

patrons

kind

every
the
best

the

art

compelled

to
"

interest

into

simple

attained

to the

never

denieil

be

exceptional

Raphael ; but their inferiority

accidental and peculiarcircumstances.

to

Gothic

the

northern

painters in

under

of

thoughts

the

to

encourage
eminence

they

background.

"With

of Teutonic

of their

easel
no

art

pictures.

enthusiastic

genius: artists were

through difiiculties

often wasted

life ; and, above

of all earnest
men,

their

truthfulness

and

and
were

preference

paintings as

exercise

the

notice, there

ready to recognize

than

rather

illuminations

manuscript

countries

the

styleof architecture,and

work
their way
up
difficulties in which

years
occupying the

the

the

field of

narrow

in

course,

period for wood-carvings

Kenaissance

Moreover,

due

measure,

limited
altar-pieces,
to

to consider

now

cannot, of

Vinci, Michelangelo, or

development of

The

It

surpassed.

never

have

we

of Da

excellence
was,

natiure

their

all, the

of

strength and

Beformation

was

throwing every other

all these disadvantages,however,
painting,its faithful rendering of
and

individual
above
own.

character, its purity and distinctness of expression,and,

and
value
of its
it a charm
all,its thorough originality,
gave
To sum
vital
difference
in
between
the paintword, the
one
ing
up,

of the South
I

former

and

that

is aristocratic and

of the North

of

Europe,

the latter democratic.

we

may

say

that

the

IN

Early Flemish

and

Schools. Thirteenth
Centuries.

JhUch

Fourteenth
Even
The

less is known

of the

total destruction

works

of the
the

trace

Huibrecht
of their

Early Flemish

Eyck

van

was

than

the

Eycks

Van

great

it

realistic Flemish
;

school,of which
yet many of the

artists.

century give a high idea of the capabilities

by a certain Jehan de Bruges, for instance,
at the Hague, displays
great feelingfor truth

One

bearing date 1371, now

and expression,
and

we

think

that

we

this
assume
fairly
may
for the great masters
of

artist to be one
of many
who paved the way
the fifteenth century. We
who
read too of several men
of " painterand varlet " to the Dukes
of Burgundy and
:

Melchior

of whom

the chief

Broederlam

foui*teenth

of

at

School

Huibrecht

paintingin

van

on

not, as

the removal

works, and

on

of
and
was

post
of

Counts

van

flourished

Dijon.

Eyck, who

the North

held the
the

der ABselt of Ghent, and

at the end
of the
of paintingsby Broederlam
are
served,
pre-

Ypres, who

of Bruges.

that of Masaccio
rests

but

Jean

were

century. Fragments

in the Museum

to

to
impossible

of the fourteenth

of form

Flanders

school.

century of the

renders

a member
distinguished

so

and

of the German

sixteenth

iconoclasts in the

by

predecessorsof

developmentof the

miniatures

107

BRUGES.

A.D.

1390

"

A.D.

1520.

generallystyledthe father of
somewhat
Europe, occupiesa position
Mantegna in Italy. His chief claim
is

long believed,on

of the obstacles

the wonderful

the invention

of oil

modem
similar
tinction
to dis-

colours,

employment for important

transparency,depth and harmony

to their

power,

of

he acquired__
Until the time of Huibrecht,
colouring
by their use.
oil colours were
useless for any but minor
practically
purposes, as, in
order to quicken the dryingof the colours,a varnish
of oil and resin
was
injuredtheir brightness.Huibrecht, by
employed,which fatally
colourless
this difficulty,
obviated
a
and, by judicious
varnish,
using
admirable
balance
in
his
attained
tones and shadows.
an
under-painting,
His manner
combined
the most
profound and genuine Idealism with^

something of

paintedhis

the idealism

sacred

and

figuresin

symbolism

of the

Middle

Ages, and
giving to all

he
his

portrait-like
manner,
cheerfulness
never
certainly
surpassed
pictiuresque
He
did not, however,
in freshness
and simplicity
Italian
master.
by any
escape the stiffness of design and hardness of outline generally
of the Middle
characteristic of the Teutonic
work
Ages and Early
works

dramatic

and

Renaissance.

masterpieceof Huibrecht
for
painted as an altar-piece
The

cathedral of S. Bavon

at Ghent.

and
the

Jan

van

chapel of

It is formed

Eyck

is the

Judocus

of two

rows

polyptych,
Vydt in the
of

panels
"

"a

WO

5. S)

t^AINTlNG
at the

seven

of God

top and five

the Father

righthand, and
probablyby the
the centre

with

Virgin,a

lOd

BRUGES.

at the bottom.

the

The

designs consisting
Angels and Ada/in on the

upper

choir of

"

tlieBaptist,
S. Cecilia and

S. John
hand

IN

of Huibrecht.

The

Eve

on

the left
"

are

in
designsrepresenting

lower

the Adoration

to the entire
of tlvtLamb (whichgivesits name
the wings, groups of Hermits, Crusaders, Judges,
the centre,were
completedby Jan after Huibrecht's

and on
altar-piece),
towards
journeying

death,but

finished until 1432.

not

were

exterior

The

wings are, as was

HeU, has been
representing
predella,
grand work is still in S. Bavon's at
and the rest
in the Brussels Gallery,

the

A
custom, in monochrome.
lost. The centre
portionof this
Ghent

of the

wings in the Berlin

Until
of

The

Jan

Eve

are

Museum.
of Jan

the fame
quiterecently

Huibrecht,

in oils

and

Adam

and

the latter's

attributed

were

indebted

was

importantservices to

to his brother.

It is

known, however, that^

now

for instruction

Huibrecht

to

that
Eyck entirely
eclipsed
of
thejtrt painting

van

for many

years.

In

in his flesh-tints,
he was
successful,
colouring,
especially
pre-eminently
and his landscapes
life
and portraits are
to
true
remarkably
; but he
for spiritual
was
wantingin feeling
beauty,and many of his saints are
The
the
Dei,
positively
Triumph of tlie CatJiolic Churchy
ugly.
Agrnis
-

in the S. Triniti Museum

considered

are

Madrid, and the Pala Madonna

at

his best works.

extremely fine

from
portraits

hand,

one

Bruges,

Gallery contains three

which. Portraits of Jean

National

The

his

at

of

Amolfini and his to\fe{Eng.55),is worthy of the highestpraise,

every
detail being exquisitely
finished,whilst the colouringand chiaroscuro
to anythingproducedat this periodof the
are
equal,if not superior,
fifteenth century.
the

Museum,

Louvre, the Belvedere

The

of

Academy

masterlyportraitsfrom
The
of

Van

sister

Eycks

the

Bruges, and

Margareto, and

painters
; but
of them.

no

have

been

brother

can, with

work

Vienna, the Berlin

the

Dresden

an

artist

Gallerycontain

hand.

same

to

appear

at

any

family. We

Lambert, who

be
certainty,

were

hear
skilful

assignedto either

introduced
and realistic mode of treatment
by the Van
original
out
were
Eycks,and the new method of usingoils,
eagerlyadoptedthroughof
whom
and
artists
in
the
Netherlands,
arose
Europe,
great
many
the
der
most
of
Bogier van
Weyden, known as Eoger
Bruges, was
of Jan
celebrated.
He was
the rival,not as has been said the pupil,
in his
whilst
he
imbibed
of
his
much
van
Eyck ; though
manner,
The

enthusiasm
religious
but

not

he resembled

equalto that of the

his love of truth

his

works

His colouringis powerful,

nately,
of the school ; and, unfortuled him to cultivate ugliness. Of
the principal
: the Last JudgmevU

Huibrecht.
founders

sometimes

onlyname
(his masterpiece,
1443),in the Hospital at
numerous

representingthe

(longattributed

we

can

Adoration
to Jan

van

Beaune

an

altar-piece

Kings ; tS.Luke paintingthe Virgin

Eyck),both in the Pinakothek,Munich ;

qf

the

110

PAINTING

from

scenes
an

the

EntonibmerU
To

fixed

"Van

der

in the Berlin Museum

Life of S, John tlieBaptist,
National
in
Christ
the
of
Gallery.
{Eng,'
56),

Weyden

canvas

55.

"

Jean

panel.

on

Arnolfini and

He

his wife.

early Flemings to
greater influence
his school
of his

were

time, and
century.

too

By Jan

In the National

was

formed

one

Memlinc,

Schongauer,the

best

a.d.

paintingon
first of the

1434.

Gallery.

Italy to study art.

his cotemporariesthan
both

of the

Eyck.

van

visit
over

of

the introduction

is said to be due

instead of

; and

the

German

He

exercised

the

Van

even

Eycks.

greatest Flemish
master

an

of the

In

painter
fifteenth,

IN

Other

artists who

helpedto. make

followed

the school of

BRUGES.

in the

^.O^LU,

of
footsteps

Bruges famous,were

the
:

in the

Goes, whose

remainingwork is the Nativityin S.

Justus van
Ghent,who paintedfor many

Florence ; and
The
Portrait of
Ma/rco
Barbae
in

rigo

of Frankfort
galleries

and

111

Van

Eycks,and
who
Cristas,
der
van
Hugo

Petrus

is best studied

sole

i'Ml"

Berlin ;
Maria
^

Nuova, in

years
^

in Italy
j

the

National

lery,
Gal-

there

cribed
as-

to Gerard

der

van

Meire

of

Ghent, who

is

best

by
S.

known

in
triptych

Bavon

at

Ghent,

is

by

critics attributed

some

tas.
to Cris-

Hans

line
Hemone

was

the
and

best -loved

of

masters

day.
the

of

gifted

most

school

the "Van
reached

his
him

In

of

Eycks
est
its full-

ment
develop; his works

cacy
excelled in deli-

of execution,
softness
of

56." The

By Van der Weydeo.

linen.)In the NtUvmal Gallery.

Entombment.

(Id tempera

on

outline,aiiid

grace and beauty, those of any of his predecessors.He

also effected considerable improvements in colouring,
chiaroscuro,and
Van
der Weyden
aerial' perspective
not
successful
but
as
was
so
;
in the finishing
noticeable for
of details. Many of his pictures
are

feelingfor

the

paintedlandscapebackgrounds,with
exquisitely

minute

contains

Madonna

amd

figures,

Child
a
animals,"c. The
Gallery
scattered throughworks
Of his numerous
out
enthroned^from his hand.
Last
the
the
Judgment (paintedabout
principalare
Europe,
in the
1470),in the church of S. Mary at Dantzic ; an altar-piece
at
Paris
the
Duchatel
of
the
Comte
Marriage
possession
{Eng.67) ;
National

58,

"

The

Sibyl of

the

Tibor.'^Intempera. By
Academy, Vienna,

In the

Lucas

van

Leyden.

114

PAINTING

of S. Catherine in the Hospitalof S. John at Bruges,and the Eeliyuary

which
contains several other fine
qf S, Ursula (in the same
hospital,
which the history
works by his hand),a shrine in the Gothic style,
on

martyred princessis representedin a series of paintingsin

miniature, full of the tenderest feelingfor beauty ; the Virgin "md
John and Lady Donne),at Chiswick
Child with the donore (Sir
House ;
of

the

at Munich.
and the Seven Joys qf the Virgin^in the Pinakothek
Dieric Bouts, though a Dutchman
birth,
by
belongs to the school of
still preserves
the "Van Eycks. He worked
at Louvain, which
chiefly

in its Town-hall

his

the Triumph of Justice, The Portrait

masterpiece,
there ascribed to
of a Many of the year 1462, in the National Gallery,
der
is
Bouts.
to
van
some
Memlinc,
given by
Bogier
Weyden, the
his
the
father,was celebrated for
pathosof his pictures
younger, pupilof
of the Virgin.
Oheerardt
David,

of

Oudewater, spent the best years of

his life at Bruges. His Canon qf S, Donatian with his patron, Saints, a
where may also be studied a
very fine work, is in the National Gallery,
mentioned
few works ascribed to the masters
above,and to paintersof
the

native

school.

same

JEarlyDutch
In

School.

fifteenth century, the Dutch

the

offshoot of that of

Its chief

Bruges.

Ouwater, of Haarlem, who

porary
Holland
of

FifteenthCentury.

may

school

be considered

its

than

Albert

were
representatives

founder, the

an

van

cotem-

Rogier van der Weyden, and one of the earliest paintersof

who representedlandscape
Sint JanB (orGerard
; Geertgenvan

of

Haarlem), a

pupil of

called from

commonly

his

Van

Ouwater

and by
paintedin oils,

first artist

there is a Motlter and

whom

of

than

them

Gallery. More famous

any
and
the
who
adopted
exaggerated
Leyden,
as

an

engraver

than

Hieronymus

van

Jerom
birthplace(Hertogenbosch),

Engelbrechtsen,probably the

Comelis

rather

littlemore

was

in

Aeken,
Boscli

Leyden

who

Child in the National

Lucas
Jacobsz
van

was

realistic

style,and

painter; he was also a wood

is a Last Jtulgmentyin the

excelled

carver.

One

Town-hall
at
important works
tits
and
Adoration
at
a Chess
qf
Magi
Buckingham Palace,
Leyden ; an
Of his engravings,of which one hundred and
Party at Wilton House.

of his most

are
known, the
seventy-four
are
playingon the bag-pipes,

Ecce

Homo

Towards
of the

the

close of the

capitalof

Flemish

school

A.D.

1490

fifteenth century

Belgium, and
of

the

a
man
Uylerispeigel,

the best known.

JEarlySchool of Antwerp.
commercial

and

at the

painting. Here

same
arose

"

A.D.

Antwerp
time the

Quinten

1530.
became

the

head-quarters
Massys, the

IN

115

ANTWERP

greatest Flemish painterof his day,whose works are remarkable for

of feeling,
elaborate detail,solemnity
and ness
softgrotesqueness of design,
and

59.

"

have
transparencyof colouring.His draperies

The

Banker

and

his wife.

By Massys.

a.d.

1518.

an

In the Louvre

easy grace,

Paris,

and his sacred figures

of his school,
are
grand and
pictures
in his groups
are
On the other hand, the minor personages
dignified.
but vulgar. His greatestwork is an altar-piece
often not only coarse
rare

in the

116

PAINTING.

in the

of
consisting

Antwerp Museum,

and
centre-piece

two

wings,

Herodtas's
from
Deposition
Daughterpresentingthe Head qf John the Baptistto Herod on one side*
the other.
and the Martyrdom qf S, John the Evangeliston
It is a
is

which

on

noble
A

the

the
represented

full of character and energy.

composition,
celebrated
pictureby Massys of Two
very
; the Banker

collection at Windsor

and

his

Cross,with

Misers

Wife in

is in the

Royal
(Enff.59)
Gallery,formerly

the Louvre

Misers, in the National

ascribed to him, is now
given to his follower,Mariniu van
and Madrid.
who may also be studied at Dresden, Munich
known.

is also well

of the heads
of

work
As

of Christ and

the

Virginin

the

same

Bomerswael,
The

collection is

diptych
genuine

Massys.
Early Flemish
both
Dinant, a painter
of the

masters

Patinir,of

de

The

School

must

we

of historic

also

Joaehim

name

and
subjects

landscapes,
which
also possesses a
Gallery,
and Mary Magdalen, by his disciple,
Henri de Bles.
Crucifixion
less intimatelyconnected
All these men
the
with
were
more
or
wlilst
certain
their
school of the Van
in
treatment
peculiarities
Eycks,
of life in action give them
and
of the nude
resemblance
a
to the
works

six of whose

masters

in the National

are

of the sixteenth

may, in fact,look upon

of the sixteenth century
not

having reached

have now
to consider.
We
we
century, whom
the latter part of the fifteenth and the whole
as

their

transition

time

"

Flemish

highestdevelopmentuntil

and
the

Dutch

art

seventeenth

century.
The

sixteeenth
the

combine

century

marked

was

excellences
peculiar

by

an

of the school

unfortunate

of the Van

attempt

Eycks

to

with

those of the Italian

to

cinque-centomasters.
Jan Gossart,commonly called Mabuse, a native of Maubeuge, went
Antwerp, entered the Guild, and appearedlikelyto rival Massys
for
unfortunately

the

to Italy,and
progress of his art, he went
in attemptingto imitate the works
there lost his best qualities
of the

but

He is well representedin England : for we

have
great Italian masters.
of his masterpieces,
Adoration
Hie
Castle
two
at
Howard
an
of
Magi
;
and Children of Christian II. at Hampton Court.
He was
followed by
Barend
van
Orley,representedby a Magdalen in the National
and
Grallery,

Jan
and

was

church

Schoreel,who

van

visited
in

for three years in Borne,

In the
styleinto Holland.

the Italian

the first to introduce

of Ober-vellach

Italy,resided

Carinthia

is

of his works

perishedin the troubles

genuine picturesby his hand are rara
National
Galleryby a Repose in Egypt.

{Eng, 60). Many

Countries, and
in the

Michiel
the

van

manufacture

Lombard,

signedaltar-piece
by
in the
He

him
Low

is represented

Coxcien,who, as we have seen, superintendedat Arras

of the tapestries
from EaphaeFs designs:Lambert

native

of

Liege,who

introduced

the Italian-Flemish

style

118

PAINTING

into his native

the

Low

and
city,

Countries

became
sculptor

Antwerp

aided in the decline of art

materially
Floris,a pupil of Lombard, who from

FranB

painter,and is famous

Fieter

in

thus

Bmeghel, commonly

for

having formed

called from

school in

subjectsof bis
paintings"Peasant

the

Brueghel,"and

his

Pieter, or
"Hell," Brueghel,

son

also

were

guished
distin-

Flemish

painters.
At
a

period,
place

this

foremost

portraitheld
painterswas
is
Anton
Mor,
by
amongst

called in England
Sir Antonio Moro,
a

Dutchman

birth,but

by
ing
Flem-

in

of

style

work.

He

visited

Italy,but

on

fell

return

his

under

influence

the
Holbein.

He

of
was

painter

court

to

Queen

61.

"

Portrait of Abraham

Grapheus. By
Gallery, a.d.

In the Antwerp

Gornelis

de Vof.

1620.

of
Mary
and
to
England,
PhilipXL of Spain;
and
gcK"d
many
works by him are

preserved in

the

and in the Museum

The National Gallery
at Madrid
Gallery,
him.
one
portraitby
who imitated Massy s*s peculiarly
Of the portrait
pronounced
painters

Brussels
has

realisticmanner,
who

was

one

we

of the

must

name

Marc

Oarrard, a native

portraitpaintersat
principal

the

of

court

Antwerp,
of

Queen

Elizabeth ; and Paul van Somer, whose best years were

spent in England,
at
where are two of his finest works, viz. portraitsof Lord Verulam
Castle.
and
of
Arundel
Arundel
the
and
at
Earl
Countess
Panshanger,
of
Cornells de Vos, the elder,betrays,in his work, the influence of
Kubens.
S. Luke

His
in

portraitof AbraJiam Grapheus,a servant of the Guild of

lery
Antwerp, with the Guild plate,is in the Antwerp Gal-

(En^.61).

great impulsewas

close of the sixteenth

119

HOLLAND.

IN

at the
given to the art of landscapepainting,
century,by the brothers Matthys,and the more

celebrated Pauwel
Bril of Antwerp.
The

latter

was

one

of the first to obtain

harmony of light
in
landscape,and
he
enced
greatly influfor good the
future
Kubens

masters,
Claude

and

Lorrain.

BlIS Tower

the
Berlin Museum, is
of
considered
one
best
his
works.
in

of Bahd^

the

early
landscapepainters,

Among

also

must

we

name

Brueghel,who
painted landscape
tain
backgroundsin cerworks by Rubens
Jan

of the elder and

62." Rirer

Scene.

By

Jan

Brueghel.

and other celebrated masters.

the son
He was
brother of the younger
Brueghelalreadymentioned.

Bidch

School

of

the late Sixteenth

Century.

the close of the sixteenth century,arose

Towards
Dutch
numerous
historic painters
who paved the way for a higherand more
independent
Otto van
Veen, whose numerous
styleof art. Of these we must name
character
of which the principal
in the
works, many of an allegoric
are
"

Antwerp Museum
displaygreat force and truth to nature ; Cornells
is BatJisJiehahathingy
in the
Comelizs,van Haarlem, whose masterpiece
Berlin Museum, distinguished
ing
by careful drawingand fullness of colourAbraham
whose
best
second
Bloemart,
a
work, Joseph'
Dreamy is in
;
the Berlin Museum
famed for the harmony of tone, good taste,
; chiefly
and
balance
of
his
der Venne, of
van
right
paintings
; and Adriaan
and genre paintings,
and
Delft,who excelledin portraits,
landscapes,
combined
the realistic manner
of his countrymen with something of
classic feeling. One
of his most
remarkable
compositionsrepresents
"

the Festival in honour

the

Dutch

Provinces

of the Truce
in

1609;

between

it is

now

the

Archduke

in the

Albert

and

Louvre, and

bears

Michiel

Jansz

date 1616.
Good

Dutch

portraitpaintersof

this

period were

120

PAINTING

Kiereyelt,who

excelled
especially

in

and
transparency of colouring,

whose PoHrait of Hugo Grottus in the Town-hall at Delft is considered

his best work ;
Jan van
such as
Sayestyn,who executed several Corporation
pieces,
the

Banquet of the Town-Council,which is stillin the Town-hall at the

Hague, his native place; and
Comelil Janssens^
van
Keulen, said to have been bom in England,
whose best works, which display
great feelingfor truth and refinement
of taste,are dispersed
in various privateEnglishcollections.
Among

the

Vroom, who

Hendzik Comelui
marine
painterswere
sketch of the D^ecU of the SfxmiehArmada
Admiral
of England; and Jan Peeten, whose

first Dutch

executed

for the

Lord High
pictureof a Storm, in
example of the art in

the

Pinakothek,Munich,

which

the Dutch

is valuable

as

attained
subsequently

an

early

to such

excellence.
exceptional

Painting

Germany.

in

In a previouschapterwe have spoken of the earlymasters

of the
school of Cologne,who were, if we may so express it,strictly
orthodox
in their works
painters,
expressing
unwavering devotion to the Church
of Rome, and unfaltering
to the traditional mode of treating
allegiance
sacred subjects.
with the
We have now
imbued
of men
to examine
the productions

spiritof

to that
the Keformation, who, whilst stretching forward
freedom of conscience in art which, as in religion,
attained
was
finally
at so terrible a cost, clung with^trulyTeutonic
steadfastness to the
weird symbolism inherited from the old Norse
pressingit,
sea-Kings';
BO

to

Into
speaE,

the

service of the

new

doctrine,and

hinted

in their

sacred

picturesat a real and personalconflict between spirituaL

weird
material agencies,
introduction of some
by the constant
fantiasticmonster, treated with a force and life which speak volumes
for that deeply-rooted
in men
of
faithsin j^e supernaturalso startling
and

the
the
art
even

strengthof character of Diirer,Luther, and the great reformers of

than any other peculiarity,
day. This faith,more
separatesthe
of Germany both from that of Italy,with its beautiful idealization
of the powers

of

of all not
repudiation

Swahian

evil,and

from

manifest
actually

School

A.D.

that

of Flanders, with

to the

1470

"

^A.D.

1540.

in whom
the
The first great German
master
see
we
double spirit alike conservative and reformative
^was
of
called
who
Martin
Colmar, cbmmonly
Schbn,
gauer,
"

its stem

senses.

"

working of

this
Martin Schonbegan life as an

IN

and

engraver,

did not

devote

121

SWABIA.

himself to

paintinguntil

after

visit to

Flanders,where he is supposed to have studied under Eogier van der

He
Weyden.
adopted something of his master's realistic manner,
whilst retaining
for spiritual
the feeling
beauty characteristic of his
German
Meister
Wilhelm, Meister Stephan, and the
predecessors,
of the

LyversbergPassion combined, however,

tortion
delight in physicaldisis always f'
which
^U-B-ft.^
r"B\
sometimes
painful and
positively
revolting.As
Master

"

with

weird

'

instance

an

of

this, we

cite his

print of
may
S. Anthony tormented by
DenumSf

British

in the

Museum.

Anything

grotesqueand

more

tastic
fan-

the horrible

than

forms

wreaking their
spiteupon the unhappy
saint it would

be difficult

conceive; yet

to

whole

the
from

is redeemed

caricature by the nobility

of the martyr's head,
which

presses
admirably exsuperiority
bodily torture, and

calm

to

almost
of

absolute mastery

mind

The

matter.

over

British

contains

Museum
other

many

fine

from
engravings

the

same

band, of which

we

must

name

Christ

Cross, and

hearingBis
the

63." The

Crucifixion. EDgraving by Schongauer.

Foolish

of a
are
Virgins.Schongauer's
extremelyrare ; an altar-piece
paintings
Mculonna and the InfantSaviovr, in the church of S. Martin at Colmar,
for purity of colouring
and delicacy
of
is the chief,and is remarkable
in the National Gallery,
finish.
A small work, the Death of tlie Virgin,
is attributed

to

him, but

doubts

have

been

authenticity.In our illustration {Eng. 63) we give an

master's style
of engravingfrom his own
design.
BartholomHas

Zeitblom,of Ulm,

was,

like

its
upon
example of this

latelythrown

Schongauer, a Swabian

and appears to have excelled him

earlyKeformation period,
been
but to have
in sublimityof designand
delicacyof colouring,
inferior in power of drawing. His works ai'e essentially
Grerman, and
master

of the

122

PAINTING

His

fifteenth century.

wings of

importantexamplesof

the most

amongst

are

with figures
of
altar-piece,

an

the

School

We

have

characterized
the

At

to

now

hy

of

1545.

find

we

school

arising,

that of Ulm.

the close of the fifteenth

school,towards

Holbein the elder,in whose works

stands Hani

this time.

ahout

A.D.

where

and

principal.Martili

the

realistic tendencythan
decidedly

more

of this

head

Augshurg,

to

turn

1490"

A.D.

Museum,

the
the

and

Virgin^Mary Magdalen

other saints,in the StuttgartGallery,

are
among
SohaAier also producedsome
good work at Ulm

Augsburg

painting in

Teutonic

British

the

Veronica, in

century,

the influence of the Van

noticeable than in
Weyden is far more
The
S
.
triptych, Sebastian^with the
the wings,in the
Amwrnciaiiion^and SS. Elizabeth and Barbara
on
work.
Pinakothek, Munich, is considered his principal
and

Eycks

of the

those

der

Bogier van

of Ulm.

masters

Holbein

Ham

of the painterabove-named, was

the younger,
not
son
of
German
of
the
but
realistic
school,
one
greatest
exponent

only the

to whom
one
portraitpaintersof any age ; and, moreover,
the British school of paintinglong owed more
than to any other master.
Inferior in grandeur of styleand fertility
of imagination
to his great
cotemporary Diirer,Holbein excelled him in truth to nature, in feeling
for physical
all the technical processes of
over
beauty,and in command
from childhood
of an artist family,and surrounded
^his art. Bom
by
artistic associations,Hans
Holbein
a
over
earlyacquired mastery
of design,as is proved by the remains
of a series of
the elements

the

first

frescoes executed

for the Town-hall

by eight scenes

from

Iliere

can

be

no

doubt

historic

paintinghad

He

the

was

himself

one

German

from
entirely

the human

form

the

which

he

that

devoted

he

of Basle

might have

had

rivalled

his attention

master, not
the

Museum.

Kaphael

even

branch

freed

in the treatment
his

in

of art.

Diirer,who

exceptingeven

and
longprevailed,

sixteen,and

Basle

to that

insipidconventionalism
so

of

at the age

preservedin the

Passion

of

have
portraits

an

of character and clearness of colouring

to anything
individuality
superior
of the kind ever
in
His
in
Last
produced Germany.
Supper, the Basle
Gallery,the so-called Meyer Madonna, in the Darmstadt
Gallery,of
which there is a replicain the Dresden
and
the series
Gallery{Eng,64)
of wood-cuts
known
the Dafice of Death
as
{Eng. 65), skilful reproductions
of which
in
almost
be
seen
may
every public library,are
his best known
and most spirited
compositions.The last-named
among
is a noble work, full of humour
and poetry,and has been chosen by Mr.
Ruskin
of the grotesque in art.
use
as a specimenof the true
is well known, Holbein
As
spent a great portionof his life in
and
and
our
England,
royal
privatecollections contain many authentic
"

"

works

from

his hand.

Of

these

we

must

remarkable, a portraitof Erasmus, and

the

name,

as

so-called

among

the

most

Ambassadors, the

123

AUGSBURG.

IN

in the
galleryof Longford Castle,and the latter now
National
Gallery; a series of eighteenportraitsof Members of tite
Guild, in the Barber-Surgeons'
I^arher-Surgeons*
Hall, London
; a
portraitof Lady Vaux at Hampton Court ; that of a Towng Man,
former

in the

'

"i

64"Hubert

Morett.

Holbein.

By

In the Dresden

wearing a
of

black

dress

and

least,the portraitof

not

Henry VIIL,

is at

and

present (1894)

style may

also

be

loan

studied

1537.

Gallery.
Windsor

at

Duchess

the

now
on

cap,

the

a.d.

Castle; and last,but

of MUan, paintedby command

propei-tyof the Duke

in the
in the

of Norfolk : it
Gallery. The master's
fine collection of drawings and
National

124

PAINTING

engravings in

the

British Museum,

and

the

studies in red chalk at Windsor

portrait
Holbein's

irony,and
sad

and

symbolic scenes

their bitter satire

moiu*nful

faith in the final

on

realization

Castle.*
for

remarkable
especially

are

ci

magnificentcollection

their keen

the

folliesof his age ; they expre^ a

of the power of evil,with a steadfast

triumph of good

which

redeems

them

from

and stamps them

with

significance
wanting

who

copied

catching his

without

manner

religious

to the works

inferior men,

of the
his

coarseness,

spirit.
"^

We

here

must

of the Swabian

name

artists

as

in the sixteenth

school

bein,
century, SigismiuidHol-

above,

is ascribed

whom

to

of

Portrait

noticed

of the master

uncle

in

Lady,

our

National

Gallery; ChnfltophAm-

berger;

Nioolans

Manuel, called
all,Hans

above

Deutsch; and,
able
Borokmair, a master of considervaried
and
genius
power,
whose

works

best

in

are

Augsburg Gallery,
peculiar characteristics
studied

in

in
SJtepJierda
The
From

of which

Pedlar.

In

the

school

of

collects."
wonderful

called

the

l^riumph of Maximilian, copies

Kensington Museum.

Franconian

the realistic

wood-cuts

of

Ui4i

Library,South

in the Art

are

series

be

qf

Royal

the

tion,Windsor, and

By Holbein.
of Death,

the Dance

the

may

AdorcUian

an

whose

but

School,

1450

A.D.

A.D.

"

1580.

for its head-quarters,

times
adopted and perhapssome-

Franconia, with Nuremberg

styleof the

exaggerated.We
sharpnessof outline,as
with
masters, combined
weird and fantastic even

Netherlands
find the
in the

an

was

the
tolerance of ugliness,

same

works

intensityof expressionand
greater than

and

earlyDutch

of the
in the

same

Flemish

delightin

of
productions

the

Swabian

painters.
The

master

manifested
of

was

Albrecht
*

in

whom

all these

Michael

Wolgemut,

Diirer, and

did much

Published

in

autotype at the

were
peculiarities

who

was

to aid the
South

most

the immediate

development

KensingtonMuseum.

strikingly
predecessor
of German

IN

painting.

His

best works

at

Nviremberg;

but the

LiverpoolInsti-

Meyer Madonna.
By Hans Holbein.
Dresden Gallery. (LaterReplicaof the Darmstadt pictureof the year 1526.)
66."

In the

are

125

FRANCONIA.

The

from his hand

Pilate washing his
tution contains two fine compositions
His
have all considerHamdsy and the Descent from the Cross.
pictures
"

126

PAINTING.

able force and

but
transparencyof colouring,

of
and generalequality
composition

of

Albrecht Dilrer

proudlycalled

by

are

in

wanting

harmony

tone.

father of German
painting,and
"
his countrymen the
prince of artists."
the

was

of

in

descent, he

has

been

Bom

at

intended

was
1471,
Hungarian
Nuremberg
by his
father, a goldsmith,to follow his profession.But his love of drawing

and
prevailed,
1494

"

in 1486

liberal offer from

how

Giovanni

with
beingacquainted
a

and

Nuremberg, and

to

The

to Wolgemut.
apprenticed

was

spent in travel

were

he returned

1494

he

where,

married.

we

have

In 1505

years 1490
record.
In

no

he visited

Italy:

at Venice.
Bellini,
however,
Refusing,
who
wished
him
remain
to
government,

the Venetian

he returned to his native Nuremberg, stud in the following

city,
of his masterpieces
in paintingand engraving. In
years producedmany
1520 he started on a tour throughthe Netherlands,and visited,
amongst
other cities,
Antwerp, Brussels,Cologne,Bruges,and Ghent : refusingin
done in Venice, a request that he would
Antwerp, as he had previously
returned
in the following
home
he
in
that
city,
stay
year, and died in
Nuremberg in 1528.
and had he met with the
Diirer was, without doubt, a master-spirit,
have received
in his native land which he would
had
same
recognition
he would probablyhave taken rank with the men
he been born in Italy,
of any age ; but, whilst gaining
have named
as the greatestpainters
we
we
might have lost a teacher of
yet another great master of painting,
works
their
truth whose
spiritual
are, in
way, unique. Diirer was
in their

the first to bring the laws of science to bear

among
He
value of perspective.
the practical
demonstrate

art, and

upon
was

man

to

of

rare

of work

; he excelled alike in painting,

power
energy,
and
wood-carving; and in the latter part of his
engraving,sculpture,

and
versatility,

publishedworks
subjects.The chief
life

with

expression combined
"

stiffness in

the

certain
His

works

physicalgrace
beauty.
and are
yet mysticspirit,
German
character,with
complex
earnest

its restless intellectual

truth, and

vivid

look the most

if

"

we

the

solvingof
himself
very

bear

drawing,
vitalityof

and

of

outline,an

want

the

abstruse

of

occasional

feelingfor

impress of his

own

of

Death

moreover

imagination.
and

the Life to

Ever

haunted

come,

Diirer

by

solemn

feared not

to

full in the face ; and in his works

possibilities
of their author
will throw ourselves into the experience
awful

of

gradual winning
the problem of the meaning

entirelyfrom

nature

other

forcible

fitting
expressionof the
steadfastness of purpose,
its practical
satisfied aspirations
after spiritual
never
cravings,

force

relatingto
questions

trace

are

harshness

drapery, and

of

treatment

and

may

of his work

of character
colouring,great individuality

of

breadth

and
fortification,
perspective,

on

characteristics

of German

certaintyout

the fantastic

of

doubt

of existence.

"

the

Unable

element, apparentlyinherent

art, Diirer touched

it with

his

own

we
"

gradual
to

in

free
the

refinement

67." Christ
From

a.d.
1511.
taking leave orHis Mother.
By Durer.
the wood engravingin * The Life of the Virgin.*

128

PAINTING

his

are
quaint,unearthlyfigures

are

never

Albrecht

vulgar

his most

Adoration

of the

is that
portrait

terrible forms

of

hisfcUherybearing

-^

Triaity. By

Diirer.

of the Duke
date 1497, in the possession
To the first part of his career
House.*
*

"

Diirer's earliest known

'^^m^.
68." The

never

coarse.

a.d.

1511.

Ia the Belvedere,Vienna,

of Northumberland

belong

also

at

Sion

masterlyseries

Similar picturesare in the Uffizi,

Florence,the Pinakothek, Munich, and
Passaraut considers the last-named to be the original
Stadcl,Frankfort.

the

IN

129

FRANCONTA.

of woodcuts illustrativeof the

Apocalypse(thefirst edition of which

appeared in 1498),in which great power of conceptionand force of
the fantastic element
jection
heing kept in due subdesign are displayed,
qfthe Kings
; and an AdorcUion
; the Portrait of Himself (14:98)
with
Florence
fine
both
in
the
an
Uffizi,
portrait
extremely
(1504),
;
of

an

unknown

man

in the

of Kutland's

Duke

collection

at

Bel voir

Castle.
time in Venice, he
Although Durer visited Italy,and spent some
his
of
lost
of
own
individuality style. His famous
nothing
apparently
in the abbey of Strahow
near
now
Prague,
Virginwith the Rose-garlands,
the
for
Fondacho
de'
Tedeschi, at Venice,
was
painted at this time
all
excellences.
and
master's
It is
the
is distinguished
peculiar
by
Museum
of
the
much
unfortunately
Lyons possesses a fine
injured;
To the year 1507 belong a very excellent Portrait qf a Young
copy.
of Adani and Eve,
in
the Belvedere,Vienna, and the singlefigures
Man,
in the Madrid
now
Gallery.
date many
of
From
the few years succeeding his visit to Venice
.

Durer's

finest

Little Passion
in

the

shape
ministryof

works, such

as

(1511)and
year),

same

"

series of woodcuts

the two

the
the

Great

Passion

former

as

the

first in book
(published

of
consisting

from
our
Lord, and the latter of scenes
in all of which
Death, and Burial of the Kedeemer,
"

known

scenes

the actual

from

the

Passion,

the central

figure

with
majesticand
subjectsare
the
famous
and
are
genuine reverence
poetic feeling.Even more
Adoration
in
the
Belvedere, Vienna,
qf the Trinity{Eng, 68) now
considered
Diirer's finest painting and the well-known
engravingsof
the K7iighty
DevU
and
Melencolia
Death, and t/ie
(1513),
(1514): the
former of which
it is for masterly drawing
as
{Eng.69),remarkable
and powerfulconception,
valuable
of victory
is yet more
earnest
as
an
and a great problem solved.
It is an
expressionof the artist's
won,
conviction of the final triumph of humanity over
Death, the Devil, and
all evil suggestions. Equally expressive
of the subtle conflict in this
world between
joy and sorrow, good and evil,is the awful printof
Melencolia,in which we see the great Genius of the toil and knowledge
of the world, wearing a laurel wreath
upon her brow, and with the
instruments
of science strewn
around
her, gazing with intense and
melancholyforebodinginto the dim future ; but, above the comet of
evil omen
and the winged bat bearinga scroll inscribed
Melencolia,"
rises the rainbow
and
the
of Hope,
lightof future joy is beginning to
gleam in the tearful eyes of the winged spirit
; whilst the little child
beside her,with his tablet and pencil,
ready to carry on the work she
of the human
is
the
not
of
a
finish,
ever-new
race.
symbol
vitality
may
In S, Jerome
his
in
time as
the
Sttidy,produced about the same
assured
and
to the great questionis more
Melencolia, the answer
definite ; the saint has acquiredso thorough a mastery over
the spiritworld that nothingcan
ruffle his holyserenity.
is

and
dignified,

the

solemn

treated

"

"

"

130

PAINTING

the Apostles
must
name
we
PhiUpcuad
largeoil paintings
the
o
f
the
portrait
Emperor
(1516),in the Uffizi,Florence;

Of Durer\s

Janus

69."* The

Maximilian

figuresof SS,

I,

Knight,Death, and the Devil.' By

Engravinyon copi'tr,

(1519),in

Josephand

the

DiJrer.

a.d.

1513.

Belvedere,Vienna; the half-length

Joachim

Pinakothek, Munich, the interior

and SS, Simeon

wings of

an

and

Lazants, in the

altar-piece
producedin

IN

1523, after

visit to the

131

FRANCONIA.

sensiblyaffected the
companion pictures one of the Apostles

Netherlands, which

great master's style

; and two
also in the Munich
Paul
John
ami
and
Peter^ the other of Mark
of character^
remarkable works, full of dignityand individuality
Gallery,
supposed to represent the four temperaments ; the melancholy being
embodied
in the face and figureof S. John, the phlegmaticin that of S.
Peter,the sanguine
in that of S. Mark,
"

"

and

the choleric in
that of S. Paul.
Of

Diirer's later

portraitsthe

most

remarkable

are

those

engraved

copper
Albert

of

burgf

the

on

of Cardinal
BrandenElector

Frederick, PirkJieiMelancluhon,
Tner,
Erasmus, and other
celebrated
his

day ;

and

portraitsin
in the

one

of

men

two

oil

"

dere,
Belveof

Vienna,
certain

Johann

KUherger ;
the

Germanic

seum
Mu-

berg,
Nurem-

at

of

in

one

Uierony-

Uolzschulier,

inus

Other

important
engravingsby him
the Passion, in

are

plateson copper

16

(1509"1513) ; the
Great Horse {\bOb))
the

lAtUe

(1505);S,

Horse

70."

Joseph

sold

by

his Brethren.

By George

Peucz.

Eustor

Hubert; and
chius, frequentlycalled [/S'.

Anthony (1^19):and of
his woodcuts
the series of the Life of the Virgin (1511); of the
Arch
of Maximilian
(1512 1515),and the I'riumphalCwr
Triv/mplial
of Maximilian
(1523): all of which may be consulted in the British
S.

"

Museum.

Amongst

the most

importantof

the

of
disciples

Durer

were

Hans

132
Burckmair

Kulmbach
Diirer
had

and

PAINTING

(already
Fuss,commonly calledHa"s VOn
mentioned)
; Hans
Leonhardt
and
Ham
Diirer's favourite pupil.
Schaiifelin,
;
influence
exercised a powerful
throughoutthe whole of Europe,
and
followers
the generalname
of
to whom
imitators,
many

71.

"

Portrait of

Toung Man.

By Aldegrever. A.D. 1514

In the Liechtenstein Gallery.

"
of the smallness of
has been given,
account
the " Little Masters
on
and
rather
their works.
however,
They were,
engravers than painters,
shall
with
that
ourselves
account
content
on
we
merelyenumerating

IN

133

SAXONY.

: Heimioh
Aldegrever,whose best
principal
of a Young Man
{Eng, 71) of the year 1544,
and
in the Museum
at
a Resurrection
(Jallery Venice,

the

Beham

Hans

Sebald

and
pupils,

of Diirer's

Beham
a

very

works

Portrait
in the Liechtenstein
at Prague : Barthel
are

Albreoht Altdorfer,one

of the

successful

masterpieceis

his
colourist,

greatest

the

Victoryof Alexander over Da/riuSyin the Munich

Gallery: Oeorg
and
Jakob Bink.
of
considerable
Pencz, a man
genius(Eng,70):
original
Amongst those followers of Durer who were
only engravers were

Hans

School

Cotemporary with Diirer,we

imbued
and

with

the

same

find

earnestness

great

and

the

stylein

its

Cranaoh, a native
general characteristics

Griinewald,'mentioned
He

before,with

to three
covurt-painter

was

life. Cranach

prosperous

force,and

Bry.

of Saxony.
master

of

Kronach

resembles

he

whom

arisingin Saxony,

love of

same

grotesque, Luoas

whose

de

and Theodor

Solis,Jost Amman,
Brosamer, Virgilius

the
in

fantastic

Franconia,

that of Matthius

studied for

some

time.

and
had a most
successively,
drawing,in imaginative
expression
; but his largesacred

Electors

inferior to Diirer in

was

in

feelingfor truth of
of his minor
remarkable
for dignityand grace, whilst some
are
pictures
works are full of pleasanthumour.
taJcen
Of the former, the Woman
and
the altar-piece
in Adultery^ in the Pinakothek
at
at Munich,
o
f
the
which
fine
Weimar, representing
portraits Luther
Crucifixion in
and of the artist himself are introduced
cited
be
as
good examples;
may
and the Fountain
Youth
Berlin
in
the
Museum, as an instance of the
of
latter.
Cranach's
chief strengthwas, how^ever,in portraiture,
and in
National
suitable
The
for
realistic
tr'^tment.
subjects
purely
Gallery
from
and
contains
his
fine
Portrait
hand,
a
a
of
Girl,
Young
very
in
the
of
various
celebrities
of
his
the
portraits
day are plentiful
"

"

collections

continental

Lucas

(Eng.72).

in his parent's
followed successfully
Cranach,
younger,
and painted many
footsteps,
pictureswhich have doubtless passedas

the work

Saxony
the

the

of his father.
may

be

Cranachs

The

said to have

begun

Decline

Art

left
with

no

the

disciples
; the
father and

school

ended

of

with

son.

of

in

Germany,

had passedaway, painting

After Cranach, Diirer and Holbein
rapidly
artists
declined in Germany, as in Italy; but, before we
of
the
speak
of the next
two
centuries,we may add that the art of glass-painting
was

carried

to

the

greatest

in
perfection

centuries
their

the

and
Flemings, and
by the Germans
in
this
the other
superiority
respectover

the close of the seventeenth

century.

fifteenthand
that

they

sixteenth
maintained

Ck)ntinental states until

PAINTING

The

IN

marked
by
centuiy was
Italian
the
imitate
masters
great

seventeenth
to

Attempts

135

GERMANY.

few feeble,unsuccessful
Eenaissance ; and

of the

eighteenth century, when

the effects of the Thirty
Germany was to some
to merit
Years' War, that any artists arose
of sufl"cient individuality
Of
these
aid
in
the
transition
better
and
to
to
things.
specialnotice,
remarkable : Johann
the more
Bottenhammer,
Tve
name
as among
may
is in
and Syrinx by him
who
Tintoretto : a Pan
strove
to emulate
his
Adam
famous
the
for
National Gallery;
Elshaimer,
landscapes,
it

was

not

beginning of

until the

extent

73. -The

Fates.

recoveringfrom

Nemesis,Night,and Destiny. By
In the Weimar

of

the

Carstens.

Museum,

in England : Joaohim
van
private galleries
and
is
famous
historic
but
more
pieces,
paintedallegoric
of the Teutsche
the author
art
as
Academie,' a historyof German
Balthasar Denner, a successful portraitpainter,
famed
for the minute
finish of his works, of which examples may
be seen
at Hampton Court

many

which

are

in

Sandrart,who

Anton

Baphael Mengs,

one

of the first to

attempt

to revive

the

rigid

of classic painting,who failed,

however, to catch the spirit
of antiqueart : Christian Dietrich,
who worked
at Dresden, and
chiefly
the
lived (Italian,
successful
most
that
ever
perhaps,
was,
copyist

correctness

French, German, Flemish, Dutch

"

all

stylescame

equallyfamiliar

136

PAINTING

to his facile pencil):

AngelicaKanffman

well-known, alreadyalluded

life is

Brunawtck

Hampton

famous

Ciourt:

also

may

Aflmns

name

historic

portraitand
practised

Mantua, Lubeck, Berlin, and

His

are
principal
paintings
expedition.

Painting

In

in

from

Italy

by

the

of the

He

he

studied

the

historyof

the

alluded

to the

and

decline of

of the Renaissance
which

"

succeeded

of

works

spirit
73).
{Etig.
the Argonatitic

the

that
as
peculiarities

same

(1754"1798),who
worked
at Copenhagen,

Seventeenth
Centuries.

in

great masters

Chodowieeky,

Carstens

painting.

scenes

previouschapterwe

the death

Nicolaus

etchings.

Rome, where

Eighteenth

on

Daniel

Baphael,catchingsomethingof their

Michelangeloand

his

Jacob

romantic

of who^e
sculptor,
many
of
the
Dudtess
portrait
"^

as

and

and
painting

for his miniature

We

to

England,includinga

paintingsare

in

at

whose
(1741^1807),

paintingin Italy
decline marked

the

golden age of
artistic genius,and

sculpture
rankinghigher than
; technical dexterity
of celebrated men
out
imitated,withpeculiarities
beingservilely

the minor

endeavour

any

to catch

grand conceptions.
As earlyas the close
to revive

the art of

to whom

arose

the

the fowner

given :

their

spiritor

of the sixteenth

paintingin Italy,and

grasp

century an

attempt

of their

was

made

distinct classes of artists

two

with

imitation

of nature; the latter

to imitate faithfully
and

the

and
to study nature
exclusively,
professing
boldlyevery detail of ordinarylife. These two
on

meaning

of Eclectics and Naturalists have been

generalnames
of all the
to
endeavouring combine the best qualities

masters
great Cinque-cento

influence,alike

the

each

other

and

on

their

schools exercised

great

cotemporariesin other

countries.

The

Eckdic

School

of Bologna.

1570"

1690.

A.D.

school of Italy that of Bologna was

founded
Carraooi
in
with
his
two
cousins,AgtHitino
conjunction
by
Carraoci and Annibale
Carraooi.
Lodovico
been
to have
appears
works
rather a teacher than an originalpainter. His principal
are
Madmina
mth
SS, Fraiids and Jerome^ a
at Bologna: The Enthroned
considered
and a Nativityof S, John the Baptist,
are
Transfiguration
The

leadingEclectic

A.D.

"

"

Lodovioo

the finest.
Susannah

He

and

is

expressingsorrow,
chiaroscuro of

in
represented

the Elders,

His

easy grace of

Correggio.

our

National

Galleryby

principalcharacteristics
execution,and

are

group

of

power

of

skilful imitation of the

137

BOLOGNA.

IN

than a painter;
as
an
Agostino Carracci is better known
engraver
but he produced several fine easel picturesnoticeable for delicacy
of
which
of
and
the
two
and
Aurora
execution,
Cep1udu8
Triumph of
in the National
GakUea
are
Gallery.
Annibale
CaiTacci greatlyexcelled both Lodovico
and Agostino,and,
had he not been fettered by his mistaken
desire to combine
naturalism
with imitation of the great masters, he would
have
worked
probably
out
an
originaland superiorstyle. As it is, his works have about
"

"

them

thing
some-

of

CorPaolo

reggio,

chelangelo
Veronese, Miand
out
Kaphael,withtinctive
dis-

any

racter
chaof their
own

the

tist's
ar-

feeling
for

truth

to

and

his

nature

vigour of

ception
con-

only
and

now

then

shining
through, so to
nerism
speak,the manwith
which

they are

74." The

Three

overladen.

Many

By Annibale

Maries.
At

Carracci.

Castle Howard,

of An-

England includingthe Three AfarteSyat Castle

Howard
(Ung. 74); and the eightsubjectsat the National Gallery
Christ appearingto Simon
Feter afterI/is Resurrection ; S. John in the
Wilderness ; two
taking refuge with
Landscapes with figures; Erminia
the
and
the Shepherds; Silenus gathering Grapes ; Pan
A polio and
the decoration
Temptation of S, Anthony, His most celebrated work was
nibale's works

in

are

"

"

of the

by

Of

the

commonly
former
much

was

of

numerous

called
a

the

Palace,Rome, in which

Farnese

his elder brother

Agostino.
pupils of

successful imitator

styleof

of many
in the Vatican

now

of

Agostino

was

at

Cari'acci, Domenico

Guido

Eeni,

RaphaeVs

Carracci

were

manner,

first assisted

Zampieri,

the

chief.

and

also

The

caught

giving proof,however,
indeed

of

in the general
in the heads, and
power
of his groups.
His Last Communion
of S. Jerome^
in the cupolaof the church
; his Four Evangelists^

considerable individual
treatment

the

Domenichino, and

he

138
of S. Andrea
Life and

Martyrdom

of S.

In

Cecilia,in S. Luigi,Rome,

of the

vith

figures
; a

/S. Jerome

By Guido
Galltiy.

thorns.

the l"resden

compositions
; the

famous
with

; and his frescoes of incidents in the

delle Yalle at Rome

75." Christ crowned

most

PAINTING.

are

among

his

Reni.

scapes
Gallerycontains two landthe Afigel
; and a powerful
group

National
with

Stcnihufof S. Stephen.

Guido

Reni

was

an

artist with

considerable

feelingfor beauty of

139

NATURALISTS.

in colouring; but he
form, and great skill in execution,especially

wanting

in force

of the ideal.

rank

Madorma

His

unfinished

Nativityin the

above

all the frescoes of Aurora

in the

garden of the

famous

works

; he

known

Ecce

Homo;

his

cmd

S.

Anthony
of

church
and

is

in
represented

Coronation

YouthfulChrist embracingS, John

at

on

Mctaaacre

in the Berlin

S. Martino

Pluzhua

Palace
Bospigliosi

the

qf the

Museum,

Naples,and
a pavilion

at

ceilingof

the

Home,

was

rise to the

conceptionsseldom

della PietdL and

at Bologna,his S, Paul

Innocents
the

and
of expression,

are

his most

among

GJallery
by his wellqf .tlie Virgin; a Magdalen; The
8, Jeronie ; Lot and his Daughters;
National

our

and t/ieElders,
Our illustration {Eng,75) will serve
to
Susannah
his
idea
of
peculiarstyle.
give some
of Guide in the school of
Eancesco Albani, a friend and fellow-pupil

and

noted
Carracci,is chiefly
Verospi Palace, Bome.
We

of

also

must

name

as

of classic

for his frescoes

the

members
distinguished

in

scenes

the

of the Eclectic schools

Italy,

liancy
Barbieri,called Onercino,who excelled in brilof colouring,
as
depth of chiaroscuro,and power of expression,
instanced in Didoes Last Moments, in the Spada Gallery,Rome, and the
weepingover tlieDead Christ,in the National Gallery;
group of Aiigels
successful
Battista Salvi,surnamed
Giovanni
a
Sassoferrato,
tolerably
of Raphael, and somewhat
brilliant colourist,
imitator
representedin
and
the National
who painted
Carlo
two
Madonnas
Dolci,
Galleryby
;
Giovanni

Francesco

and

Madonnas

Saints

with

by
beforehis Execution,in
Naturalistic

The
Their

considerable

his S, Cecilia in the

known

Naturalists

did not

determination

the Pitti

School,
found

to imitate

led them

grace

and

and
spirit,

and
Gallery,

Di esden

is best

S, Andrew

diately
imme-

Palace,Florence.
1590

A.D.

"

importanta
nature
exactlyas
so

into many
extravagances,and
object. Anxious not to shrink from the

A.D.

1690.

school
she

as

the Eclectics.

appearedto

altogetherdefeated their

them
own

of anythingreal
representation

terrible,they lost sight of that

hidden

meaning which so
horror of the most
often removes
scenes,
giving to them a
which
distortion
cannot
physical
spiritual
beauty
destroy; their works
are
pervaded by a tragicpathos,a passionatemisery,inexpressibly
painful.
At the head of the Naturalistic
school stands Michelangelo
Amerigi,
known
works
have some
from his birthplaceas Caravaggio; whose
with those of the great artist whose
he bore,
Christian name
affinity
and who gave proofof much
originalpower and poetry of feeling.His
however

the

Entombment

figureof

the

awful

of Christ,in the Vatican, is his most

Virgin admirablyexpresses abandoned

Christ is full of

grandeurand

famous
sorrow,

thoughwanting in
dignity,

work
and

the

that of

The
divinity.

140

PAINTING

of S.
Be/teculing
Louvre
name

Jb/m, in the Cathedral

of the Grand
the Card

in the Sciarra

3os" de

Master

of

Palace,Rome

"

from

as

Malta, and

portrait in the

Malta, are also very fine

plat/eraseveral times
"

Kibera,called

of

the best
repeated,

of
spirited
composition

the

country of his birth

; and

maj

we

example being
the

Lo

genre

chs^

Spagnoletto,

spent most of his time in Naples. He was at first influenced

for his model.
Carracci,but afterwai'ds took Caravaggio
Many

by

the

of his

76."Landscape. By Salvator Rosa.

In the Abntzzi.

He will be alluded
of Naplesand Madrid.
galleries
on
Spanishart.
of secondary
naturalistic master
Salvator Bosa of Naples was
a
historic
w
ho
to
and
subjects
importance Caravaggio,
paintedlandscapes,
o
f
in portraits,a portrait a man
excelling
principally
genre pictures,
by him in the Pitti Palace, Florence, being said by Kugler to be
Kosa worked
almost comparableto Rembrandt."
In landscapes,
out
and many
of his wild mountain-scenes
somethingof an originalstyle,
in the Berlin Gallery,
full of patheticbeauty. A Sea-piece
of a
are
are
pictures
to again in

in the

the section

"

"

vessel

rocks in
on
terrible convulsion

iKjingdriven

renderingof

storm, is
of nature.

wonderfullyforcible

In

Ul

veKice.

At the close of the seventeenth

called from
century,Pietro Berrettini,
d
a
in
birthplace Cortona, spiteof great originaltalent,exercised

his
a

perniciousinfluence

most

works

on

Italian
which

Before
Antonio

introduction

Venetian

depictingarchitectural

with

Venice

many

A.D.

1715

"

Canal, commonly called Canaletto, who

great truth

for their correctness

1748

School.

in his

in

was

scenes

to nature

of

and

in

devoted

Venice.

freedom

of

into

1770.

A.D.

closingthe history of painting in Italy,we

life to

executed

are

the

which has never

reallyrallied from the mannerism
painting,
it sank at the beginningof the eighteenthcentury.

Later

"

by

By Caualetto.

in Venice.

77. "View

what

art

effects of colour and chiaroscuro,which were

startling
eagerly
and imitated by
scholars
thus
fate of
the
sealing
many
;
finally

studied

his

Italian

of

mention

must

many
His

years

of

paintings,

touch, are

able
notice-

and are
lastingmemorials of
perspective,
Canaletto
day.
spent the years 1746

in their artist's

England. In
works
by him.

the

National

Galleryand privatecollections,

142

PAINTINO

imitated his
nephew of Canaletto,Bernardo Bellotto,successfully
did Eranoesco
who
as
Ouardi, and Oiovanni Battista Tiepolo,
style,
the
master's
the
in
painted
landscapes.
frequently
greater
figures
A

The

influence of Winckelmann,

the

writer on antique
great German
led to a partial
time in Italy,
art,who spent some
attempt to revive the
but without producingany permanent result ; and at the
classic style,
which
has
present day, although taking part in the artistic activity
the whole course
of the nineteenth century, Italyremains
far
marked
behind
old schools of Florence,
the other countries of Europe. The
and
famous
have
cities
other
ceased to exist,
Siena, Venice, Verona,
and
in their place have
arisen new
centres
at Turin, Genoa, Milan,
Florence and
character.

Naples;

the work

but

Painting

producedis wanting in

individual

Spain.

in

may be called
school of painting'
of Mohammedanism
in Spain. The prevalence
was
a
the
the
and
when
of
art
Moors
to
antagonistic
development pictorial ;
until the i^ixteenth
century do

Not

were

overthrown,
finally

the

paralyzinginfluence

the
of

Roman
the

impossiblefor

we

meet

with what

brought with it
religion
it was
which
beneath
J[nquisition,
first formation
of the Spanish
The
Catholic

art to progress.
school appears to have been due to the settlement
artists;but in its perfectedcharacter it showed

in

Spain of f^"ffi"h

considerable

affinity

with that of Naples and Venice

Italian art, especially
stamped,
from which even
its own,
however, with a gloomy asceticism peculiarly
the best works
of its greatest masters
not free. Faithful repreare
sentations
with

"

of

Spanish

plentiful
; and

life in the

in

this

Englishschool,of

which

the palace,
or
cloister,

notice

we
peculiarity

the

Spanish has

the streets

resemblance

sometimes

been

to

are

the

as
designated

anticipation.

an

the artists of Spain into five groups,

of Madrid,
schools ; the painters
Cctsiilian
namely
also known
school ; the school of VdasqutZyand
as the
ItalianrSpanish
of any of these
schools.
Previous
the Andaluaicm
to the formation
groups, the only Spanish artists of note were,
authorities to have been
Juan
Sanchez Castro,who is said by some
whose works are unfortunately
the founder of the earlyschool of Seville,
It is

now
:

the

customary

to divide

Valencian and

1446
1500,
who
of design. His chief
had considerable power
to have
appears
is
the
work
in
t/is
church of Bobledo de
the
L\feqf
remaining
Virgin,
Chavela, near Madrid.
all

lost,and

Antonio

del

Bincon, who

flourished

between

"

IN

Of

this school,the

1525"

A.D.

of which

members

1660.

A.D.

greatlyinfluenced by-

were

Juan
masters, Vicente
Macip, also called Juan de Joanes, of
la Higuera, is considered the leader, but he is still almost

Italian
Fuente
unknown

of

out

but

rare,

School.

Vakncian

The

143

VALENCIA.

Spain.
few

some

are

His

works, which
be

to

fine.
are
especially
portraits
Pedro Nicolas Factor and

and

Valencia

at

seen

in

austere

are

character,are

pupilNicolas Borras, few

his

His

Madrid.

of whose

The
extant, were
fame
of all of these was
eclipsedby that of Francis de Eibalta, a
of the great masters
of the seventeenth
forerunner
century. He
first at Valencia
and
then
in Italy,where
he studied the
worked
works

also

are

of this school.

distinguishedmasters

masterpiecesof Eaphael, Correggio,and others. On his return to

have since
and his works
Spain, he was much honoured and patronized,
The
fine
chief
Valencia.
been
His
in
highly praised.
picturesare
of Christ hecuringHis
Cross, in the chapelof Magdalen
altar-piece
and
Ford
Oxford, is, by
others,attributed to Ribalta. His
C!ollege,
Juan

son,

de

Bibalta,if

he had

lived

to

maturity,would

have

been

an

excellent artist. His styleis similar to that of his father.

Jacinto Oeronimo
de Espinosa,
a pupil of the elder
Bibalta, painted

importantworks for the

styleapproachednearlyto that

some

Jo86 de

Bibera, when

Kibalta, and
the

works

of

was

at

at

His

Valencia.

with

was

Juan.

the

pupil of

He

afterwards

Francisco

studied in
he studied

where

Spagnoletto)at

de

Rome,
influenced
he was
Parma, where
by
a
nd
where
he
the
best
of
his
life,
Naples,
spent
years

Caravaggio ;

Correggio; and
he achieved

called Lo

Convent

of his master.

quite young,

fellow student

Italy (wherehe

Cai'melite

considerable

"

at

success.

he

painted all his pictures in Italy,Eibera remained

Although
so
thoroughlySpanish; he never
forgothis birth, and, indeed, was
of
in
word
that
his
best
the
h
e
added
it,
proud
signing
pictures always
Espafiol."
The
paintingsof Eibera, like those of the Italian artists,are
of Europe : but Naples has retained
scattered throughoutthe whole
of his principal
works.
It was
for the Carthusian
of S.
convent
some
"

Martino

that he

Prophets

on

the

painted the
windows

from the Cross,which

of

fine Communion

the

different

of the A]X)stle8
; twelve
and
the
Descent
chapels;

unanimouslysaid

is almost

to be his

masterpiece

78).
{JSng.
Tie Louvre

Shepherdsand
many

two

owns

examples of

he

returned

of

paintingsfrom

to

of Ribera's finest works,

Entombment;

an

his

the

various

natiural
his

hand

and

the

Museum

an

Adoration

at

Madrid

of tJie

contains

subjects. To his later period,when

of his genius, belong a number
illustrative of his different styles; the
bent

78." The
In

Depositionfrom
the Carthusian

the Cros8.

Convent

By

Jos^

of St. Martino,

de Kibera.

Naples.

PAINTING

Twelve

ApostUe;

IN

tlie Egyptian;

Mary

145

CASTILE.

S, James

Escorial ; and

from

the

most

celebrated

and

S.

S,

Rock, both
Bartholomew, the

a
Martyrdom of
lastly,
paintingsof this terrible subject,in which
skill in composition and
combined
of expression. The
are
power
National
Gallerjpossesses two works by Bibera, a Fietd and a Shepherd
in the Dulwich
tvith a lamb; whilst the Locksmith
CollegeGallery
is now
cataloguedas a Kibera.
(formerlygiven to Oaravaggio)
Pedro O^ente is said to have visited Italyand studied under Jacopo
he was
It is doubtful whether
the pupilof that artist,
!Bassano.
but
imitated his style. Orrente
he certainly
much
was
patronizedby the

Duke

of

Olivarez,for whom

Cddilian
the

Alonso
at

and

executed

in the Palace

works

some

of

himself
March, distinguished

his battle-scenes.

principally
by

To

he

pupil,Est^ban

His

Retiro.

Buen

the

of his

School.

a.d.

1500

A.D.

"

1700.

Early Castilian school belonged

who
sculptorand architect,
Bermgnete, painter,
"

his father

first from
studied
He

under
then

Pedro, and in the year 1503

famous

whose
Michelangelo,

took

lessons

to Florence

went

Cartoon

qf

Pisa

he

Rome, where he assisted his master in the

copied.
works
the
at
Vatican, ordered by Julius II, On his return to
great
though he found himself famous, and was appointed
Spain in 1520
and
painterto Charles Y., as he had been to PhilipI.,before
sculptor
he scarcelydid anything but altarhe quittedhis native country
for
in
which
he
a mastery alike of painting,
screens
churches,
displayed
went

to

"

"

and architecture.
sculpture
LaiB de Horales,called

littleis known.
11., but he soon

city in 1581,

and

About
returned
found

pensionof three hundred

''

el

1564
to

the

Divino," is
he

was

painterof

summoned

Badajoz.
artist in

When

whose

to Madrid

life very

by Philip

PhilipII. visited that

poverty, he gave

him

yearly

ducats.

frequently
pictures,
paintedon copper or wood, are as a rule
and
of
simple subjects;the most important are those
very
Dead
the
Madonna
Christ, Exceptions to
a
representing
supporting
of the Passion,which decorate
this,however, are the six largepaintings
of Higuera de la Serena, a small town
in Estremadura.
the church
five works by his hand, of which the
Madrid
in its Museum
only owns
works by Morales
and the best.
Genuine
Circumcision is the largest
seldom to be seen out of Spain. His efforts were
are
cramped by the
of
the
with
which
thraldom
rules
Spanish paintersin his
narrowing
time were
compelledto comply,and most of his heads express agonized
or
despair hopelessresignation.A Virgincmd Child by him is in the
National Gallery.
Alonso Sanchex-Coello was
not only the pirUor de cdma/ra to Philip
II.,but also one of his intimate courtiers {elprivado del rey). He
His

small

146

PAINTING

paintedseveral picturesof
Escorial ; and
of the

also the

sacred

portraitof

historyfor different altars

79." Isabella,
daughter of

of his

female

style. A

by
portrait

founder

the celebrated

Jesuits,IgncUiuaLoyola. Our

illustration

PhilipII.

By

is in the

him

in

the

of the Order

{Eng,79) is typical

CJoello.

of
possession

the Earl

of Northbrook.

Juan

Fernandez

dumb, el Mudo

"

N avarrete
after

"

called

having received

on

account

instruction

of his

being deaf

in the

elements

and
of

monk, Fray Vicente, of the Monastery at Estrella,was

taken by his family to Italy,where
he stayed for about twenty years.
He visited Home, Naples,Florence and Venice, and settled down
near

paintingfrom

IN

147

CASTILE.

It was
at the Escorial that el Mudo
he hecame.
disciple
of
work
some
^a series of eightlargepictures,
completedhis principal
which
those
fire.
which
have since perishedin a
were
Amongst
served
pre-

Titian,whose

"

be mentioned

may

Kativity,in

undertook

el Mudo

which

to

three different

lights
vanquisha considerable
ing
descendanother
the
into the picture
from
Child,
: one
Holy
proceeding
and a third
the whole picture,
from
the Glory and extending over
has been called the "Spanish
from
torch held by S. Joseph. He
a
for the Monasteryat Estrella.
of
works
his
done
Titian."
Some
best
were
el Greco," a Greek
in Spain as
known
Domenico
by
Theotocopnli,
and
and
architect,
sculptor
perhaps by birth,was a painter,
parentage
: he introduced
difficulty

"

Venice,
there

and

by

settled at

then

Toledo

shadows.

twelve

makes

of the

at

known

raimentf quite
after,he adopted
like

ghosts

painter.

in which
figures

Coello,has left many

portraits.There

are

are

in the Madrid
is

Gallery.
scarcelyworthy of mention

formed

were

Titian

became

figures
appear

than

pupilof Sanchez

la Cruz, the

de las Cuevas

academy

all the

better teacher

was

most
pictures,
by
portraits him

Pedro
in his

"

Fantojade

Juan
historic

He

under

He
1577.
of ChrUt^s

large picture of the Parting

Changing his stylesoon

which
pale grayishcolouring,

and

studi^

He

about

in its character.

Venetian
a

of Toledo.

of the school

the founder

and

artist,but
of the best paintersof the time,

some

as

an

including
"

Arias Fernandez, who

Antonio
considered

one

Felipeare
Carreno

of the

de

eleven

the

at

by

scenes

Miranda,

who

him

from

also studied

of

earlyage
Spain. In

greatestartists in

of San

Bartolome

pupil of Velazquez,who

Koman,

and

painted for the convents

Madrid
which
pictures
gained him great fame.
many
at Toledo, AlcalA de Heares, Segovia,and Pamplona.

Juan

Lord,

of our

the Passion
under

twenty-fourwas

the convent

He

was

churches

at

also worked

Felipe de Liano, who studied art under Alonso Sanchez-Coello,

excelled in portraiture"
noticeable for the
in his small pictures,
especially
of
the
which
called
bis
el
led
to
colouring
beauty
being
pequen Tiziano."
Luis Tristan studied
under
whom
he surpassed in
Theotocopnli,
if
in
and
who
nevertheless
not
execution,
was
design
alwaysready to
series of
was
a
recognizehis pupil'smerit. Tristan's master-work
in
church
of
the
small
town
near
Toledo, which, with
Yepes, a
pictures
"

Madrid,

most

owns

of his works.

Painters of Madrid.
Italian-Spanish
Towards
all natives

the
of

Carducci, the

Tuscany,
Cajesiand

Spaniardsinto
most

famous

close of the sixteenth

CWducho,

of each

to

came

the

family.

and

1600

century,three

settle at

Ricci,which

Caxes

A.D.

Rizi.

Madrid.

names

were

We

must

"

1700.

A.D.

families of
These

artists,

were

converted

by

the
the

notice the
briefly

148

PAINTING

Carducci

Bartolommeo
he

accompanied

studied
He

Spain.

to

under

art

painted, in

Federigo Zuccaro, whom

conjunction with Pellegrino

Tibaldi, the ceilingof the libraryin the Escorial,where he also executed

The Descent from tlie Cross, painted in the church
frescoes.
of
various
Heal

Felipeel

S.

and

hie vitam

ducho
of

'

Dialogues

The

non

opus

executed

by

with

S,

The

He

Bruno,

of

Life qf
Miracles
of

the Carthusians,

between

prior and

the

the

left

the

CSarvolume

He

of

the

recorded

in

intrusted
to

was

him

represent

the

Martyrdoms ami
August 26th, 1626,

dated

that

agreed

was

largest orders

contract

painter,it

while

Vincensius

valuable

greater number

great cloister.
order, and

in fact

"

died

in 1633.

of the

By

He

of el Paular

convent

its

founder

the

has

Madrid

of the

one

Carthusian

decoration

entire

the

the

for

Carducci

an

Italian.

inscription,

finiit 1638."

Bartolommeo,
resided

"

Painting,'publishedat

on

history of art.

the

than

the

bears

brother

afterwards

he

Nacional, Madrid, still retains

Museo

works

which

aS'.Jerome^

painting a

pupil
Spain, where

S[)aniardrather

his fame.

his elder

of

to

himself

considered

he

greatlyincreased

was

taken

him

by

was

Madrid

at

Carducci

Yincenzio

latter

the

should

to be
pictures in the space of four years, all of them
fifty-live
fixed
and
the
be
to
price
by competent
painted entirely by himself,
was
punctually executed.
judges. This singular contract
Madrid
invited
Patricio Cajesiwas
to
by Philip II., who employed
also commissioned
him
in the palacesof that city. He
to decorate
was
the
Prado.
in
The
executed
the
there
Queen's Gallery
paintings

deliver

perishedin
His

liis father

assisted

He

death

the

on

pupil,Eugenio Caxes,

and

painter.
who

great fire.

the

son

of

old Patricio
works

Eugenie painted many

but

of

most

executed

Gallery
Wimbledon

Fray
Ricci

of

them

in the

have

in the

native

works

in 1612

perished by

Madrid

of

Madrid,

executed

appointed

churches

conjunction with Vincenzio

is his Landing of

in
at

and

Carducci

him

also

in the

painter.

at

Madrid,

the

frescoes

Prado.

tlie English at Cadiz

In

under

the

Lord

in 1625.

Juan

Rizi

Bologna,

and
were

his

brother

both

bom

Francisco
at

Eizi,

Madrid.

sons

The

of

former

Antonio
studied

painted chieflyfor religioushouses

Mayno,
instruction
from
Vincenzio
and the latter,aftei* receiving
Carducci, was
cathedral
of
Toledo
and
the
to
to
IV., and
Philip
appointed painter
took

under

subsequentlyto
Many
of

the

Charles

of Francisco

Madrid, but

knight.

III.,
Pliilip

court

convents

have

fire, as

for

also

was

the

cowl, and

II.

Bizi's

paintingsare

Galleryhas only

one

in the

work,

churches
Portrait

and

of an

convents

unknown

his

Velazquezand
have

We

to notice

now

Diego Eodrignezde
there

Viejo

and

Francisco

his

first rank

and
natii"aiig.^ic,
strictly
he

yet retained

He

name.

6, 1599.

in his treatment

Whilst

mother's

His

was

masters

two

the custom

born

at

were

Herrera

as

portraitpainter,and

of historic and

el

gen/re

scenes.

is almost

His

his power
of imitation has never
the works of all the groat masters

own

styleis

been

he studied
his

Seville,

Bacheco.

Velazqueztakes
unrivalled

Spain'sgreatestpainter:
yelazquez,who, accordingto

June

baptizedon

follotvers.

Silva y

of his country, retained

and

149

CASTILE.

IN

individuality,
stamping everythinghe

of

passed.
sur-

Italy,

touched

guished.
distindignityof purpose and force of will for which he was
His picturesgive us a vivid insightinto the dailylife of the
of
people
Spain ; his figuresare all studied from livingmodels, and the
humble
most
scenes
rendered,though they are never
vulgar
faithfully
with

the

his treatment.

under

sympathy
to

human

with

With
nature

his rustic groups a life and

works
The most remarkable
to the

keen

under

whatever

character
of

in which
galleries

of

sense

humour,

and

wide

he
rough disguise,

all their

Velazquez,which

gave

own.
we

will class according

the Sui'^-ender

of Breda,
they
are,
the Meninas
topers,the Ililaivderas or tapestry women,
maids
of honour, Philip IV. aii liorseback,
or
Philip II, at 55, Prince
BaWiasar
Prince at six years old,all in the Madrid
a 2)on]/,the same
on
the
Portrait
of Philip IV, in the Uffizi,Florence; the
Gallery;
the BorracJioa

now

are

or

"

"

of Philip IV, (No. 1722),series of Portraits (No. 1734),and

of a Chwrch Dignitary (No. 1693),all in the Louvre; the
Portrait
of an old Man, in the Dresden
Gallery; several Portraits
in the Hermitage, St. Petersburg; the Adoration
of the Shepherds,the
Portrait
Portrait

"

"

"

Dead

Warrior, Christ in the

trait
of Marthxi,the Boar Hunt, the PorPortrait of PhilipIV,, all in the
National
Gallery,London ; Innocent IX, ami Quevedo and the Waterseller in Apsley House
in Mr. Holford's
PhilipIV. and Olivarez_
; and

of

Admiral

house

and
Ptdido-Pareja,
"

Gallery;

"

of

other

works

Westipinster, Lord

by Velazquez are
Ellesmere,and Lord

in the

of the Duke
galleries

Lansdowne.

Juan de Fareja,
noteworthy followers of Velazquez were
valet of Velazquez,whose
business it was
to pound the
the
clean
the
colours
the palette,
who
on
colours,
brushes, and put
his master
watched
paint,and listened to the lessons he gave to his
till
Not
pupils; and practisedduring the night what he had heard.
he was
skilful to
forty-five
years old did he think himself sufficiently
reveal the secret so long kept. He then placeda picturewhich he had
done amongst those of Velazquez,
he knew
which
Philip IV. would
His
and
he
freedom was
see.
given to him,
produced some
fairlygood
The

most

the slave and

work.

80.

-Philip IV.

of

Spain. By Velazqutis.
Gallery.

In the National

PAINTING

Juan

Bautista Martinez

celebrated
especially
that

copies of

Mazo

made

originals. He

Velazquez
Claudio
Castile."

youth, were

also

himself

(Eng. 81) in

the

del Maze, the

son-in-law

of

Velazquez, was

for his power

of imitation,and
Palomino
relates
by Titian,Tintoretto and Paolo Veronese, which

works

in his

161

CASTILE.

IN

sent

into

Italy,and sometimes
landscapes.It

paintedportraitsand
painted the

View

figuresin

numerous

in
of Sa/ragossa,

the Madrid

the

taken

for

is said that

foreground

Gallery.

the last of the old masters

of
Coello,who has been called
His father,a sculptorin bronze, intended
his son
for the
'*

81." View

of

Sarag038a. By

Maitiiez

del Mazo.

In the Madrid

Gallery.

Coello developeda decided talent for painting

but
profession,
;
works
of
in the
Titian,Bubens, and other great masters
studyingthe
than two
royal galleries.His masterpiece,which occupied him more
same

years, is still in the Escorial

(elCuadro de la Forma), and
of many

Juan

it

represents the Collocation of the Host

contains

portraitsof

Charles

II. and

of his courtiers.

de Alfaro y Oamez

subsequentlywith

studied

first under

Velazquez,under

colouring. Alfaro's masterpieceis

Imperial Collegeat Madrid.

of the

the

whom

Antonio
he

the Guardian

de

but
Castillo,

greatly improved

in

Angel, in the church

152

PAINTING.

School

The Andalucian
The

most

Vargas, who
del

of Perino

1520"

1720.

A.D.

of this great school was

de
Lou
noteworthy master
first a pupilof Diego de la Barrera, and afterwards
was
and had the distinguished
honour of being
Vaga, in Italy,
into his

the first to introduce

painting. It

fresco

A.D.

he

was

country the

own

substituted

who

true

methods

of oil and
for the

the Benaissance

Gothic

style.
Vargas passedtwenty-eight
years

died
Italy,but eyentualljr
celebrated picturesw^e
La CaUe
in

Amongst his
of the year 1563, now
lost,and
Amargura {Way of Bittenieas),
Temporal Generation qf Christ,in the chapelof the Conceptionin
Seville.

his native

at

de
the

la

the

cathedral of Seville. His works are remarkable for brilliant colouring,

and force of expression,
but they are wanting in harmony of tone.
Pablo de C^spedesachieved
alike in science,literature and
success
the fine arts.
much
After a visit to Rome, where he was
impressed
of

by the works

Cordova, and
work
is, Parallel
and
altar in

his most

chapelsof

Alonso Vasquez, a
for his fruit subjects.
Juan
de las Eoelas was
the

graduatedat

licenciado

He

Juan.''

the cathedral of Cordova.

Arfian, of Seville,was

the

pupilsof

SantiagoAfata-Moros

up

for the

"

paintersof the
fellow-countrymenthe

learnt under

chieflyfamous

of a doctor,
profession
Collegeof Seville,whence he is often called el
is supposedto have studied art at Yenic"
One

brought

of the best
his

Modem

picturea largeLast

pupil of

and

and

Ancient

famous

of the

one

received a canonry
literature
and art.
himself to

between

'

in the

chapterof
His best literary
Paintingand Sculpture,'
Supper,placedover the

he
Michelangelo,

devoted

Andalucian
secret

Titian

to have

school,he is said

and

taught

which
colouring,

of Venetian

he
best works

His

Tintoretto.

the BcUtle

tlie Spaniardsat
assisting

had
are,

in
qf Clavijoj

the cathedral of Seville ; the LeoAh of S. Hermenegild,in the church of

hospice; the Martyrdom of the patron saint,in the church

the Cardinal's
of S. Lucia

; and

the Death

last-named

much

injured.

Francisco
in which
succeeded
he

was

Pacheco

is famous

several

worked

his

were

Facheco

in S. Isidor,the
qf the Archbishop
of Seville,

academy founded by him,

Among them

for the art

paintersgreater than himself.

Alonso

son-in-law,Velazquez,and

As

Cano.

portraitpainting; and Cean Bermudez

the first man
in Seville to gildand paint statues
best in

was,

however,

writingsrather
Francisco

de

hindered

more

than

man

of letters than

advanced

the

Herrera, commonly called

cause
"

el

an

artist,he

tells us

that

successfully.
painter; and his

of art.
"

Viejo

to
(theelder)

Christian name,
distinguishhim from his son, who bore the same
Luis
of the most
under
and
Fernandez,
was
one
painting
originalartists of his time in Spain. He spent most of his life in
studied

82.

"

FraDciiscau Moak.
Jn

the Nationd

By Zurbaran.

Gallery.

154

PAINTING

Seville,but in 1650
works

were

series of
Herrera

cupolaof

father,
His

Francisco

as

a very
Francesco

Swn

de Znrbaian

skilful

S. Buena
of his

chief

a
Bernardo,
Ventura, all at Seville,

and

pictures.

own

him
younger, to distinguish
of
still
of
life
and
subjects
painter
the

of the best

one

His

of S.

is his finest worL

in the Seville cathedral

was

trulyindependentstyle.

church

etcher

an

he died.

Madrid, where

to

Francesco, surnamed

son,

was

frescoes.

out

the

also successful

was

his

removed

Jvdyrtient,in the

frescoes,on

Herrera's
from

he

the Last

Spanishpaintersto

is claimed

He

member

as

work

of

the

school,as he studied under Eoelas at Seville,and spent the

greaterpart of his life there. In his works the strengthand weakness
Andalucian

of his

school

drawn

and

agony,

or

alike

are

stronglyillustrated

life-like in

expression,full of

triumphant faith.
for

are

powerfully

religiousfervour, mental

The

coloui4ngand chiaroscuro are

the design of large groups
breadth,

markable
re-

is
depth
to tone
or
wanting in harmony, and there is no attempt to idealize,
known
the St.
the expressionof suffering.The altar-piece
down
as
ThwncLS
Aquinas in the Seville Museum, and the Crudfixian in St.
Paul's church, Seville,
considered Zurbaran's masterpieces,
but the
are
Kneelimj Franciscan M(ynk in the National Gallery is also a very fine
example of his style{Eng,82).
Alohso Cano, noticed as a sculptorin the companion volume,^.produced
and
fine
several fine works
of
characterized
design
by vigour
of which aS'.
John writingtlieApocaZypse{Eng. 83); the Decul
colouring,
C/iristnwumed
an
by
Angelaand a Portrait,all in the iladrid Museum,
considered

are

the

the best.

nephew

Saavedra, the

death, with Francisco

Cordova, where

are

of

son

studied
de Castillo,

of Juan

after his father's

at

but

de Castillo y

i^ntonio
and

and

the heads

Augustin

first under
He

Zurbaran.

de

Castillo,

his father, and,

paintedchiefly

of his works.

many

and
of Boelas's best pupils,
one
produced
several fine historic pictures.
Bartolome
Esteban
Hurillo, the only Spanish artist to take rank

Francisco

Varela

with

was
Velazquez,

as

painterof

born

of the lower
that
known
the

and

many
far

Academy

character.

He

excelled

classes of

to eminence

in representations
principally
accounted for by the fact

Spain,which is
one
long strugglewith

poverty, and his

beggars making the best of their hard lot,are better

earlyyears

picturesof

earlyrose

sacred

delineation of national
his

Seville in 1618, and

at

for
remarkable
subjects. His works are chiefly
of colouring,devotional
feeling,and skilful
brilliancy

and

softness

was

more

of

were

popularthan

Seville,which

his sacred

hjis had

subjects.Murillo founded
of such

career

wide-spread

influence.

Murillo is said to have

cdlidOfand
*

vapoi'oso

had

three

(cold,
warm,

Elementary Historyof

called
styles,

in

aerial).Seville

Architecture

and

Spanish the yWo,

retains

Sculptcre,

many

of

IN

Miu'illo's best

works.

In

155

ANDALUCIA.

its cathedral

chapelsof

of the

one

and

the
Ecstasy of S, Antony of Padua,
Conception
of his best picturesof the Immacidate
the
convent
are
galleryof picturesformed in an old

largest painting, the

Chapter-house,one
{Eiiy,84). In the
Miracle
the

of the Loaves

Provincial

is his

and
FisJves,

and

Museum

are

83." S. John

S. Felix

the

strikingthe Rock

Moses

of

in

; and

Cantalisi ; the Madanna

Evangelist.By Alonso
Galleiy.

in

de la

Cano.

In the Madrid

ServiJleta ; S, Thomas

paintingwhich

Murillo

alms
of Villamieva distributing
himself

of
preferred

to the poor

all his works

"

"

the

and, lastly,

another
of his many
Perla d^ las Concepciones,
picturesof the
Immaculate
Conception.
by Murillo are collected in the National Museum
Forty-sevenpictures
of
which are a IlolyFamily, usuallytermed
vnih
at Madrid, the chief

the

tlielittledog ; the

Martyrdom of S. Andrew

; and

small

Annunciation.

84.

"

In

The
the

Immaculate
Conception. By Murillo.
Chapter-houseof the Cathedral, Seville.

PAINTING

at Madrid
The Museum
possesses in the S,
Murillo's second or cdlido style.
The
Academy of S. Fernando at Madrid

Murillo

the

"

157

ANDALUCIA.

IN

a fine example of
Ildeftyiiso

four

owns

masterpieces
by

the S. Elizabeth of ffunga/rt/,

sometimes
Resv/rrection,

called

el Tino80, and the two largependents,

usuallycalled les Medios pantos^
relatingthe legendof S. Maria in Neve.
is much

Murillo

Hermitage of

S.

better

known

Petersburgown

in the

arrangement

Berlin

there is

of the

of

Spain than Velazquez. The

and a Nativity,
which,
Conception

out
a

light,reminds

us

of

Correggio'sNotte.

At

a S,
Ecstasyof S, Anthony of Padua, and at Mimich
the
door
and
of
at
five
a
of a church,
Paralytic
cv/ring
the best of the great master's fine beggar subjects.
The National Gallerypossesses a fine Holy Famiily,
and the
a S, John
Lamb, a Peasant Boy, the Nativityof the Virgin,and A Boy Drinking.
In the Duke
of Sutherland's
gallerytwo large picturesby Murillo
the chief places AbraJumi
receivingthe three Angels, and
occupy
latter is,perhaps,
the greatest
the Return
Son.
the
The
of
Prodigal
an

de Pavla

Francis

"

work

of Murillo

out

of

the Dulwich

Spain. In

Galleryare

Madonna

dsl Rosario, a Flotoer Girl,and two fine picturesof Peasant Boys.,

the most
famous
in the Louvre
Of Murillo's ten works
are
Immaculate
of

Conception,and

prisonwith

the Melon

Eaters

Ignacio de
was

to

who

as

Iriarte

had

himself

his

paintfirst and

our

the
floor

stone

illustration

Munich.

landscapepainter. Murillo
but this partnership
landscapes,
unfortunatelydissolved by a quarrel
as

was

"

Pinakothek,

the

"

who

last

Life of David, which

the

on

by the Marquis of Villamanrique.Murillo finally

subjectto the Lifeof Jacob, and executed the whole work
is now
in the Grosvenor
House
Gallery. Madrid
possesses

ordered

been

the

changed

figuresin

originalof

The

side.

famous

was

beneficial to both
should

Beggar Boy, crouching on

pitcherby his
(Eng. 85),is in

frequentlypainted
which

the

it

several of Iriarte' s best

and
pictures,

the Louvre

owns

Jacobus Dream

by him.
Mulatto
of Murillo,"worked
Sebastian Oomez, commonly called the
under that great master, and in a few of his picturescaughtsomething
"

of his

style.
architect and painter,studied in
Leal, the sculptor,
de Castillo,
and subsequently v"ecame
of the
one
paintersin Seville : indeed, after the death of Murillo in

de Valdes

Juan

the school of Antonio

most

famous

1682, he

was

Academy

considered

of Seville.

second
The

to

He

none.

aided

of Seville and

churches

Murillo

Cordova

to found
own

the

many

of his works.

Pedro

NnHez

de Viliavicencio studied

children,of the poorer

classes,in

art

manner

under Murillo,and painted

little inferior to that of

Murillo.

Alonso
which

he

Miguel de
copiedthe

Tobar
works

for the exa^stitude with

of the great Murillo.
It is supposedthat

was

famous
chiefly

158
many

PAINTING

called replicas
by Murillo, are
pictures,

85." The

originalworks,

cathedral of Seville.

one

Tobar.

Eaters.
By Murillo.
PinakothekfMunich,

Melon

In the

Of his

reallycopiesby

of the best is

an

Unthroned

Madonna

in the

Seville

death.

death

the

After

of

in

sixty-fiveworks
Ranc

Jean

lived

has

He

been

notably

of the

Charles

; and

III.

Italy for

to

called alike

etchings, eighty
of Goya,'
Works
*

are

allegorieson

the last

Maria

have

day,

collected

into

in their

very
remind

called

They
of

invention, and

the

witty

are

of Eembrandt

us

His

Gallery.

volume,

fine.

them
and

Madrid

in the

Louisa

been

of

many
of the

persons
vigour, of Callot

and

Ooya y Lucientes, who

beginning"6f the present century. [^
heir of Velazquez and the father of the
his portraits,
are
Goya's best works
the

school.

and

of Cha/rles IF,

Francisco

name

last and

of which

point

Lnca

Houasse

conveniently

Impressionist

modem

at

works.

Baphael Hengs.

here
may
at the close

We

uncompleted

Spain patronized foreign

there
Oiordano, by whom
for
Gallery ; Philip V. to France

Madrid

Ange

works.

Murillo's

of

kings
for

sending

the

Michel

and

German

the

II.

left

Catherviie

S,

of Osorio's

most

owns

good copyistof

the

Coello, the

painters only, Charles

are

also

was

partly finished

is said to have

Murillo's

Osorio

Heneses

Francisco
He

159

SPAIN.

IN

in

their

in their

Hogarth

humour.

After

Spain by
for
of humble

exercised

parents. His

of

and

works
The

Ednardo

most

Model;

are

King's

of

on

artists

the

given
life

were

whether

of note

; all remarkable
Director
who, as

influence

Eduardo
The

to

the

was

child

Charmers

Fortuny has
painting in
has

been

Zamacois,

Education

in

art

able
remark-

are

S7iake

Marriage,

that

were

Proposal of Marriage

The

he

of water-colour

art

of

for

whose
Prince

for humour.

Favourite

Eosales,

colouring;

important works
the Spanish

it is doubtful

Spanish
A

richness

and

influence

considerable

modern

and

execution

skill of

present day, but

good {Eng. 86).

chief

Century.

Mariano

the

Other

Nineteenth

impulse was
long period of stagnation a new
pictures of Eastern
Fortnny, whose

Selection

The

the

in

Painting

of

the

work

of

in
Academy
modem
the
on
Madrid, had a great
Spanish
many
His
artists.
pictures are chiefly historic subjects and portraits,the
best being Isabella dictatingher WiU; King Amddeo's Entry into Madrid;
the Death
and
of Lucreiia.
the most
successful
de Madrazo, well-known
Of living men
: R.
are
his portraits; Pradilla, the skilful renderer
for his figurepictures and
of historic scenes;
Yalles; Alvarez; Villegas;Palmaroli, and L. Jimenez.
influence

Spanish

86."

An

Italian Peamnt.
From

an

etchiny

ByFortuny.

There
are

tokens

of the

of
painters
the

IN

PORTUGAL.

Painting

in

Portugal.

yet be said

cannot

to be

school of art in

formation
possible

Portugal were

fifteenth

161

PAINTING

Garcia

of

in the

one

future.

de Bezende, who, about

"Chronicler"

century, was

but
Portugal,

John

to

The

there
chief

the close of

II., and

achieved

^":y---:v3bfc
87.

fame

as

an

About a.d.
Calvary. Altar-pieceby Yelasco.
In the Capellade Jesus, Vizm Cathedral,

illuminator.

Holanda, whose
Velasoo,who
a

He

was

succeeded

of Emmanuel

ated the Books

attributed

"

qf Reform
works betray Dutch

paintedfrom about
Calva/ry{Eng. 87),in

15"K).

by Alvarns, who illuminby Antonio de

; and

the Great
influence.
1520

the

to

1540, and

Gapella de

to

Jesus

whom
in

are

Yizeu

162

PAINTING

Cathedral,which

formerlyascribed

was

clad in Pontifical Eobes

; and

(seebelow);

to Vasco

S. Pel"ty

Pe^itecost at Coinibra.

Oran Vasco, who painted in the

Fernandez, commonly
first quarter of the sixteenth
century, and whose only authenticated
Vasco

works
the

called

three

are

Cross,and

Lisbon
the

on

panels,representingin the centre the

the wings S, Fraiids in Ecstasy and

Academy

writers

been

of Fine

in the

at

Lisbon.

with

another

Arts

confounded

painter to Alphonso
in
(living

S.

now
preachingto the fishes,

1455, and

in

son,

by

who

both

various

miniature-

was

Femandei

Franciflco

with

his

who

of

Director

has

Vasco

Vasco,*

also

Fernandez

1552),and Vasco

of the

collection
Gran

Jrom
Antiiony of

Descent

to
belcHig

the

school of Vizeu.

Painting

in

Netherlands

the
AND

In

in

Eighteenth

previouschapterwe

spoke

the

Seventeenth

Centuries.

of the decline of Flemish

and

Dutch

of a mistaken
sixteenthcentury, in consequence
attempt to
of
It
is
masters
to
notice a
now
great
Italy.
necessary
revival of paintingin the seventeenth
century, both in Flanders and
Holland, characterized by a return to the realism of the Van
Eyeks,
combined
with
breadth, great harmony of
something of Venetian
aiii in the

imitate

the

colouring,and

generalbalance

of tone.

School
Antioei*p
Rubens
In

and

Aubens,

native

completereform
genius,Rubens

of

of

the

new

1720.

movement

Siegen in Westphalia, who

painting. Gifted with
into his works something of

in Flemish
threw

A.D.

of his Cotemporaries,

same

leader

Flanders, the

1590"

a.d.

was

Peter

Paul

brought about
a

powerfuloriginal

the

fire and

energy

his mastery of
:
Michelangelo
and vitality
of imagination,
his brilliant execution,fertility
colouring,
of expression,
it
is
all"
are
although
impossibleto
acknowledged by
and that he betrayeda
deny that his figuresare sometimes
coarse,
of feeling
want
noticeable in his sacred
for spiritualbeauty, especially
subjects.
which

we

have

noticed

The

in

name

those

is

of

conimon

in

Foi-tugal.

IN

tt would be
for
aud

these

here
impossible

less than

no

to

name

fifteen hundred

"

Sketch

Map of the

Low

tenth part of Rubens'

of his

represent not half the works

S8.

163

ANTWEHl*.

Couutries

have
pictures

been

ings,
paint-

engraved,

attributed to him.

in the aeveLteenth

century.

from the Cross, unanimously considered hia

the wings
On
is in the Cathedral
of Antwerp.
grandestmasterpiece,
The

are

celebrated

Descent

Visitation and

^S'.
JSimon.

164

PAINTING.

by Bubens
pictures
the
Descent
of
pendant
; an
Other

at

Antwerp

are

the liaising
of ike Cross,the
tlie Virgin,
placed over the

Assumptionof
of which is magnifioenl
high altar in the same cathedral,the colouring
;
in the Museum, amongst which are a Lctst Commumm
eighteenpictures
of S. Francis ; The Adoration of tlie Magi ; the Christ ct la pmik;
and
the two Thieves,and Doubting Thoinas.
Li 4i6
Christ crucified

Finakothek at Munich
are
by him
nearlya hundred pictures
the principal
a Last Judgment ; the Battle of the Amazans
are
and FoUux
carryingoffthe daughtersof Leucippus; Children
of Himself and his Two Wives.
flowers
; and several portraits
The

an

ofliioc
;
cai

C^KUfft

I'fiwy

Portraitof Uehna
Fburments "
Assumption; IgnatiusLoyolacuringa d^numite;

Belvedere,Vienna, possesses

Festival qf Venues ;
and

Francisco
companionpictures,

to the Indians
preaching
; tiie
refusingto allow t/ie JSmperw
a copy
qf Milan {Eng,^9) (ofwhich

Xavier

Quarters of the Globe ; S. Ambrose

Four

the Cathedral
the National
Dyck
Gallery);and above all, the
by
Appearance of the Virgin to S. Ildqfonso. In the Liechtenstein
Galleryat Vienna are the well-known pictureof Rubens's Two Sons,
the Historyof Decius,
and a series of works illustrating
of Rubens's paintings
In the Louvre there are forty-three
: the most
importantof which are the series known as the Historyof Marie de
Medicis ; two Landscapes,
with a rainbow ; and a lai'ge
Kemvesse
one
Theodosiiis to

enter

is in

Van

(orFair),
In the

Simon

the

Hermitage at

S.

Petersburgare

Pharisee,and many

In the National

Hoedje)
; the

Triumph

Feast in tlieHouse

qf

other fine works.

there
Gallery

of which
are
the
Horrors
Women;

notable

the

are

Peace and

of War;

fourteen works by Rubens, the most

War; the Abduction qf the Sabine

the

of Julius Caesar

Cliapeaude Poil {Het Spaansck

a part of that of Mantegna,
(after

and many
fine La/ndscapes,
at Hampton Court)
in the gallery
; two
studies and sketches. At Grosvenor House is the Historyqf Ixion and
the Cloud, and at Hampton CJourt the Diana and her Nymphs ; whilst
other importantworks from the same
great hand are at Buckingham
and Warvrick Castle,
and in the possession
Palace,Leigh Court,Longford,
of the Rothschild family.
here
We
must
the chief Flemish
mention
painterswho were
with
Rubens.
cotemporary
Philippede Champaignewas a native of Brussels,but spent the
a
greaterpart of -liislife in Paris. He was
very successful landscape
his
of
and portrait
the
former
works
class being characterized
painter,
force
of
and
of chiaroscuro,
tenderness
by poeticfeeling,
colouring
of
those
the
for
latter
truth to nature, individu*
whilst
remarkable
are
alityof character,and generalharmony of tone. His best works are
the Last Sujyper,
Dead
and Portrait qf
Christ,Education of Achilles,
all in the Louvre ; and the three Portraits in one
Eiclielieu {Eng.91),
frame of Cardinal Kichelieu in the National Gallery.

tf

I
S
.9

"

^"5

5
CO

^
"

166

PAINTING

Artois,a fairlysuccessful landscapepainter;Anton

der Henlen, an historic painter,whose
Taking of Dtnan,

Jacobus
Frans

van

van

90.

"

Rubeos

and his second

wife, Helena

In the possession
of Mr.

Entrance

works,
Frans

are

of Louis XIV, and Marie

Fourment.

About

a.d.

1633.

Leopoldde Rothschild.

Theresa

into Arras, with many

other

in the Louvre.

Snyders,a great painterof

stilllife and

animal

as
subjects,

IN

in his

seen

and

Stag Hunt

in the

Louvre, Bear

Fruit-Piece in the National

91."

Cardinal

167

ANTWERP.

de Kichelieu.

Hunt

at

Grosvenor

House,

Gallery.

By Philippede Champaigne.

In the Louvre.

Easper
Abbey

of

executed
Crayer, whose most famous pictureswere
the Centurion before
Christ. The
Affleghem,including

de

for the
Ghent

168

PAINTING

'

Museum
possesses the Coro7uUt(m of S, EoaaHa, BXid the Martyrdom of
S. Blaize.
Jan Wildens and Lncas van Uden, who frequently
added backgrounds
and other figure
of Kubens
to the pictures
but also produced
painters,
in the Dresden
works. Van XJden's best pictures
are
good independent

Gallery.
is in
the Marriage of the Virgin^
Gerard Zegen, whose masterpiece,
the Antwerp Museum.
Theodoor Rombouts,best known
from the Cross,in
by the Deposition
the Cathedral at Ghent.

Pupilsof Ruhevs.
the chief was
Antoon Van Dyok,whose
pupils
in imaginin England. Inferior to Rubens
are
so well known
portraits
ative
and
he
excelled
him
in
of
for
character,
feeling
power
energy
in
and
of
of
execution.
elevation
refinement
sentiment,
spiritual
beauty,
Van Dyck was
and as such is admitted
a portrait
pre-eminently
painter,
to rank with Titian;but he also attained to high excellence in the
of sacred subjects.
He lived for many
treatment
years in England,
where he was
and
died.
knighted,
Although his lifewas far shorter than that of Rubens, Van Dyck
executed a very largenumber
of paintings.
Of his sacred subjects
we
of
in
Cathedral
the
fine
the
a
name
Mechlin,
Crucifixion^
example
may
of this class ; a Pieta and a Crucifioeion,
both in the Pinakothek,
Munich
in Antwerp Cathedral ; the Virginami
; a small Entmnhrtienty
Child enthroned with SS. Peter and Paul, and the Vision of Hermann
both in the Belvedere,Vienna ; the Betrayalof Christ,in the
Joseph,
Madrid Gallery
of JS.Peter,in the Brussels Gallery;
; the Mcvrtyrdom
the Mado7ina
with the Partridges,
in the Hermitage,S. Petersburg
;

Of Rubens'

and

The

numerous

Pietd,in the Louvre.

National

of the greatest
works of Van Dyck,
and
noble countenance, said to be the
of a grave
an
man
learned Gevartius (Gevaerts,
of Antwerp),
but in the
historiographer
P.
called
artis
der
Comelis
van
Pontius,
Geest,
pictoritB
engravingby
the bust of

owns
Gallery

one

old

Portrait of Charles I.
contains the equestrian
Gallery
from Blenheim Palace ; a Portrait of Pubens ; a Stv/dyof Horses ; The
Artist's ovm
Portrait;and copiesof two of Rubens' s picturesThe
admission into the church by S, Ambrose (see
Tlieodosins
Emperor
refused
and
the
Miraculous
En"g,
Drcmghtof FisJies, At Windsor are the
89),
of a Mrs, MargaretLemon, and Charles L on horseback,
of which
portrait
is at Hampton Court.
sketches
for a
Van
a
replica
prepared
Dyck
series of paintings
of the Order of the Garter
illustrativeof the history
for the decoration of the Banqueting-hall
at Whitehall,London, but
in
executed. He is well represented
never
they were unfortunately
most of the great Englishgalleries.
In the Pinakothek,
are
Munich^ the finest portraits
pendants
repre"

amator.

The

same

"

IN

senting a Burgomaster of Antwerp and

in

rich

black

92.

robes.

"

The

In

wife of

the

169

FLANDERS.

Ilia

Wife {Eng.92),both clothed

Liechtenstein

Galleryat

Burgomaster of Antwerp.

By

Van

Vienna

are

Dyck.

In the Pinakothekf Munich,

Princess

of Thum-and-Taxis,

Duke
of Wailenstein,

and

of Friedland.

Head

of a Warrim-y said

In the Dresden

to

be that

Galleryis a charming

170

PAINTING.

The
of TJiree of the Children of Charles L
Hermitage owns
group
of
Charles L of England, at
fine collection of portraits,
a
includingone
Henrietta
Maria, at twenty-six
; the
age, and
the latter in court
dress : the Louvre
possesses a

of

twenty-fiveyears

and

former

in

Portrait

the Three
of Charles /.,life-size,
and
IL,
Mary, vcife of William

James

armour

Ludwiij /., Duke

and

Don

Bavaria, and

of

de

Francisco

Mon^la

by
equestrianportraits
Jordaeni, a

Jacob

the

Children

of Charles,Charles II.,

of Orange ;

the

portraitsof
brother, Prince Rupert ;

his younger

horseback, perhapsthe finest of the

on

great master.
Noort,

pupilof Van

was

painterof considerable
Many of his works

of humour.
originalgenius,with a keen sense
of
life
the
of
his class.
His
admirable
Triumphal Entry
pictures
give
of the Prince of Nassau, executed in fresco,in the House in the Wood,
his masterpiece; but the Miracle
the Hague, is usuallyconsidered
near
are
nearly as
of S. Martin and Autumn, both in the Brussels Gallery,
Another

fine.

fine work

is

Young Saiyrin the Amsterdam

Gallery.

and
Last
a
Sup^yerin the Antwerp
of the S/tepherds,
Church
of
Paul
i
n
the
in the same
S.
a
city,are
Gallery, Crucifixion
the old Flemish
His favourite subjectwas
not so satisfactory.
proverb,
de
and
of
it are
illustrations
Zo de Ouden
zo
Jongen,"
pypen
zongen,
Adoration

An

**

numerous.

Tulden, painterand

of Rubens' s
one
engraver, was
his
he
in
for
the
favourite pupils
helped him
design
triumphalarches
;
into Antwerp, and
erected on
the occasion of the entry of Ferdinand

Theodoor

van

also assisted

the

on

de Medicis.

of Marie
Ajx"theo8is

Erasmos
duellinus,Jan Erasmus
del
Deodaat
Mont, Cornells Schnt,
ttnellinns,
son
last-named,
Frans Wouters, Willem van
Herp, and Plater van Mol.
of
disciples

Other

Rubens

were

of the

Later

Flemish

Of the Flemish
seventeenth

David

Painters.

flourished

painterswho

century, the chief

Teniers, called 'Hhe

a.D.

were

illustrious son, said to have studied

works
by him,
Gallery contains seven

Daniel
Jan
who

Zegers,the

Fyt, second

younger

son

as
recognized

He

worked

He

was

to

best

Hnyders alone

first half of the

to

distinguishhim

under
some

Rubens.

from

The

his

Dresden

others
landscapes,

genre

under

in his

renderingfur and
these
name

paintingsof animals, and

plumage.
Tenlers, the
justmentioned, and who is
was

David

great Flemish school of genre painting.

his father and Rubens, without, however, being sufficiently

the founder

influenced
not

the

Galleryare three Landscapeswith figures,

flower painterof his time.

celebrated
than
of
any
of the artist of the same

more

during

1680.

in the National

excelled in
especially

Far

A.D.

elder''

more

; and
pictures

1600"

by

onlythe

of the

either of them
best

to

lose his

delineator of his dav

own

distinctive

of the

manners

style.
an4

rrw.,"f

:^'.

'I

,-J'MFi

?"'"" ;:,-!t
',("",. .,au

"fev''

^"^

r"

"f7^

..""""
r"fiiii;"

"v.:

";;""'

Tf'^l

k^^^ftKktr

2ii2it:;i2i5'^

172

PAINTING

of

cotemporariesin every rank, but tlie greatest genre

painterof any period. The leadingcharacteristics of his styleare truth
of colour,combined
with lightnessof touch
every dash of his brush
of grouping, delicacyof
balance
being full of meaning harmonious
customs

his

"

"

and
execution of details,

spiritedarrangement of
with
figures
; combined
keen and irrepressible
a
which
spiritof humour
breaks

at every

out

tmm.

rank, however

No

safe from

was

satire
and

the

vated,
elehis

guard-house
sopher's
philo-

castle, the

study, the
the

of

all

saint, were

vividly portrayed;
be denied

it cannot

the master's

of truth

and
he

that

revelled

vulgarity,
evidently
the

in

misery and

discomfort.

which
Gallery,

amongst
works, the

Pl"iyer8at
Chdteau

at

Continental
a

Guard

Louvre

Boors

Perck, and

the

Old

F*^te

aux

Woman

with

Peasant

Peter

denying

Christ

in

the most
the

93),in

the

Belvedere,
; the
Museum
; the large Italian
Vienna

his

remarkable

and

or

own

works

background, in

Wedding, the Sacrificeof Isaac,

bis

well-known

his

Of

Chaudrons,

of

THc-ircte

a
Pear,
jyeeling

the followingare among

galleries,

Room,
;

an
regaling,

contains,

sixteen

In the Louvre.

Backgammon^

sented
repreNational

the

in
Teniers.

sentation
repre-

physical

is well

Teniers

Knife-grinder.By

led
into

of

94." The

love

at all costs

coarseness

and

and
that

intense

sometimes

him

cell

in
:
"

the

the

Ardtery
Temptation of iS\
Fair, a Drinking

Meeting (Eng,
Anthony, in the Berlin
Party,and a Monkey-and-Cat Concert, all in the Pinakothek, Munich
;
the magnificent FHe
de Sahlons, in the galleryof the Archduke
and the King
Leopold ; the Seven Works of Mercy, three Temptations,
drinking,in the Buda-Pesth
Gallery; and several Festivals,and the
twelve picturesillustrating
the story of RinaMo
and Arjnida,all in the
Madrid
Gallery.
At
the Hermitage, S. Petersburg,is a KitcJien full of game,
fish,

and fruit,in
vegetables

of

which

fisherman,and himself

blind

of de

the CMteau

paintedhis

Teniers has

as

father

as

an

old

falconer ; a beautiful and curious View

the largepicture,
and lastly,
painted

Toren

Drij

for the Guild

173

FLANDEKH.

IN

Archers, called the Archers of ArUwerp,

liad numerous
Teniers
pupils,who, though they succeeded to some
all very inferior to him.
in imitating
his work, were
extent
Gonzales
Cocx, the pupil of Pieter Brueghel and Byckaert the

in 1643

called

been

has

younger,

of

the

"

appreciationof that master,

the Dresden
In
Gallery is
of the

illustration

works

of

Galleryare

Maria.
Wallerant

Pieter

der

van

de

Pieter

and

works.

own

by Charles

II.

His

Sir Peter

as

Haarlem,

worked

best works

Henrietta

studied

Lely,who

of the

one

was

best

in England,and
chiefly

portrait

knighted

was

the Beauties of the Court of Charles

National Galloi*y
a Portrait
owns
of a Girl

The

Court.

Hampton

at

He

C/iarles I. and

at

Faes-Lely,known
Grebber

his time.

at

his

Quellinus,
Antwerp under Erasmus
He
also
portraitpaintersof the time.
historic pictures.

best

genre

paintersof
XL,

of his

account

on

of

Byckaert Family {Eng, 95),a good

in imitatingVan
Dyck : his best

success

studied

of the

one

producednumerous
under

the

Dyck,"

smallness

the

portraitsof
full-length

two

Vaillant

became

and

and

trait
however, in England,the National Galleryowning a PorLady, and a fine Family Portrait,whilst in the Bridgwater

are,

House

artist's

little Van

are

his hand.

from

Comelis

And

who
Hnysmans, a landscape
painter,

very successful

was

renderingcattle.

in

Gerard

de

Browning

Lairesse,the

in his

Modem
The

^'Poussin

of

Belgium," celebrated by

Parleyings,*
paintedfor

Belgian School

time

some

1830

a.d.

at Utrecht.

1886.

A.D.

"

Mr.

end of the seventeenth and the whole of the eighteenthcentury

marked
by a decline in the art of paintingin Holland and

alike

were

Belgium,and

not

until the

present century

was

advanced
considerably

Until about
there any definite or considerable revival.
French
the
Classic styleof
copied in
painterDavid was

1830

was

the traditions of the old Dutch

whilst in Holland
followed.
indeed
be faithfully,
slavishly,
In 1830

revolt

againstthis

who

pictureof
now

in

an

him

Episodeof

in the Brussels

Belgium.
Wierta,whose

lifeless classicism

influenced,first

was
Wappers,
by
Dyck, and subsequently

the

by

works

those of the Romantic

was

Museum,

marked

artists who

work

may

new

era

Belgium,

continued

led

School

and

of Paris.

were

Van
His

1833, and

in the ai*t of

aided in the revival

be fullystudied in the museum

to

by Gustavns

of Bubens

tlieBelgianBevolution,exhibited in

Other

in Brussels ;

school

the

painting
Antoine

called after

"^

.^

PAINTING

Lonis

Gallait,whose

175

FLANDERS.

best

Man, is in the Cathedral

in the Brussels

IN

Gallery;

work, Christ restmntigSit/hi

to tlie Blind
of Antwerp.
The Abdication
of Charles F.,

the

Last

Honours

rendered

to Counts

Eymont
Tournay 3 and the Last Moments
of Count
also very fine ;
are
Egmonty in the Berlin Grallery,
Henri Leys,a successful historic painter,
in whose works the manners
and customs
of his own
in
the
Middle
city
Ages live again. His chief
and

Horn, in the Museum

picturesare

Cmnhat

at

between

Grenadier

and

Cossack, La

Furie

5?"w*^^-..

96.

"

Luther

Les
Usjxignole,
Murs,

Le Nouvel

as

Choir-boyin

trentaines
An

en

de

the Streets of EiseDach.

Bertall de Haze, La

Flandre,and

By Leys.

Promenade

the series known

as

the

hors

des

Freedom

of Belgium ;
Engine Joseph Verboeokhoven, a
works

are

best works

are

poetictreatment
Speakingof
resumed

whose
very skilful animal painter,
whose
for truth to nature ; and Lnis Arban, among
the Domes
of Nieuport and the Ouragan, in which his

remarkable

among

great Flemish

landscapesubjectsis well illustrated.

modern
Belgian art, M. Wauters*
says that it
the schools of paintingin Europe a rank worthy of
If her paintershave no
school.
longer so much
of

"

*La Peinture

Flamande/ Paris,1883.

has
the
the

176

PAINTING

of
style,the clear colouringand the particular
way
of the fifteenth
a
understanding
subjectof their illustrious predecessors

characteristic
and

seventeenth

the
centui'ies,

centuries,which
then

both

causes

is due

cause

and

men

to

the

of

movement

thingsto change.

Apart

fully
faithlife and explainmore
best,who keep more
the national character,the Belgian school has a tendencyto lose

from

few

itself in the
diminished

of the

European school generally. But the culture of art has

remains, in Belgium, the poeticlanguage of
; painting

not

the

country. "a!ch time that Europe has invited the Belgianartists to her
have
accepted,and have shown
great international contests, many
works
which
have carried off the
have received commendation, and
the most
distinctions."
Of
modern
highest
Belgian artists,among
successful

Alfred

are

Stevens,Jan

Terlays,and

Beer, Jan

van

Emile

Wanters.

Dutch
Turning
offshoot

now

of that

to

School.

Holland,

of Flanders

1600

a.d.

find the

we

"

a.d.

1750.

Dutch

school

in the

middle

"

longer an

^no

of the

teenth
sevenoccupying
its
masters
painting
century an importantindependentposition,
and
familiar subjects
of every-daylife,landscapes,
sea-pieces
chiefly
seldom
battle-scenes
historic
and
large
allegoriccompositionsbeing
attempted.
born in Antwerp
Frans Hals, the celebrated portraitpainter,
was
Mander.
In 1611
in 1580, and is supposed to have studied under van
"

"

he

was

found.

in Haarlem
Few

and

in that

his best works

town

in his branch

him
paintershave equalled

are

still to be

of art.

Among

hhnselfand
we
paintings
may
with a Jlat
his wife Lyaheih,
in the Amsterdam
Museum
; a Young man
both in the Cassel Gallery
] the Banquet of
cap, and Two Boys aingiiifj,
and
the Officers
RegerUesof the
of the Cimc Guards and the Regents
in which
he was
he died,paintedwhen
eightyyears of age,
hospital,
all in the Haarlem
HilU
Museum
Bobbcy of Haarlem, in
; a Portrait of
in the Dresden
the Berlin Museum
thi^ee portraits
Gallery.
; and lastly,
in
Numerous
Hals
in
are
good picturesby
privategalleries England.
others, a splendidPortrait of a Cavaliery
Lady Wallace has, among
of the best works
one
by the artist in this country {Eng,97) : and a
said to be Himself
of a man
Portrait of a Woniany and a tine one
paintedin 1633,by him, are in the National Gallery.
the best of his

the

mention

Portrait of

Rcmlramit
The
the

tendencyof

period under

the Dutch
review

this

mid
school

his
had

Pupils.

always

tendency found

been

its

and
realistic,

in

highestdevelopment

the

in

of

works

traditions

the

of the Dutch

177

HOLLAND.

IN

who
changed the
great Rembrandt, a master
and
it
the
raised
it held
to
school,
high position

long.

so

Bembrandt
He

first

at

was

Harmenszoon

burch,

pupilof

born at Leyden, in 1606.

Ryn was
Swanenunimportant artist,Jacob van

van
an

with
he

whom

mained
re-

three
years ; he then
studied
under
Lastman

at Amsterdam,

and
Jacob

Pynas

Haarlem.

1630, the
in

at

In
year
he

which

painted his

liest-known
ear-

oil-

picture

of

Portrait
oUl

Man,
the

in

the

"

an

now

Cassel

Gralleryhe left
Leyden, where
"

had

he

been

living since
completion
his

the
of

education,
established

and

himself

as

sterdam,
Am-

painter at

where
and

lived

he

worked
death
1632

In

until his
in

97." Portrait o(

1669.

he

CaTalier.

By

Frank

In the possession
oj Utdy

Hals.

About

a.d.

1(324.

Wallace,

ried
mar-

Uilenburch, burgomaster of
Saskia, the daughter of Rombertus
he
often
whose
so
painted.
portrait
Leeuwarden,
Rembrandt
the
felicity,

excelled alike
noblest

in every style,and treated, with

equal
such
Christ
the
Sick
and
the
as
subjects
healimj
"

"

homely scenes, such as a cook tossingher cakes in a pan. His

for perfectcommand
remarkable
of chiaroscuro,
are
principally
He
combined
the greatest
picturesqueeffect,and truth to nature.
with thorough knowledge of all the
and grace of execution
freedom
alike of painting,
technical
engraving and etching. The
processes
been surpassed;
and shade in his etchingshave never
effects of fight

most

works

178

PAINTING.

justlybeen called the Dutch Correggio. His landscapes

of the inhospitable
are
vividlyfaithful representations
sea-pieces

and

he

and

has

his interiors

people.
he, in

perhapsto some
the peoplewith
enabled

him

The

of

want

whom

he

fix

without

by his

intense

That

or

he

of the heads

some

in

on

which
with

copper

not, however,

was

of sentiment

in his Descent

from
subjectin the

similar

sympathy with

sympathy

"

canvas

on

character.

Pinakothek, Munich, and

home-

physicalbeauty

spiritualelevation
appreciating

power
the pathosof

proved by
in the

of

the

domestic

in contact

likeness

extraordinaryinsightinto

an

for

brought

was

and

; whilst

life of the

is
countrymen, has been charged,

to be accounted

catch

dreary shores

feelingfor refined

all his

with

common

extent

to

and

ocean

lifelike glimpsesof the

give

lovingDutch
with which

level stretch of

its dull

North, with

is

t?ieCro$8^
National

Gallery.
Of

his

works

numerous

The

celebrated.

Lesson

we

in

dissection

representingthe

only

can

Anatomy^
of

corpse
the time, Professor
Tulp, before seven
considered the best work of the master's
of Amsterdam

In the Museum

celebrated

other

doctors

earlier

the

Hague

"

of

surgeon

is

"

most

universally

period.

celebrated

is the

of

galleryof the

by

few

name

in the

Sortie

of the Frans

which contains
Banning Cock Company {Eng,98). This famous picture,
of
life-size,
twenty-threepersons
represents a platoonof the civic
starting to
guard oflicers,soldiers,standard-b^er and drummer
"

"

patrolthe
Night
from

streets

Watch

the

the

by

and

appear

that of the

is in

scene

luminous

shade, which

It is

of Amsterdam.

daylight,the popular misnomer

transparent

to be

usuallycalled,in

tints,the fine effects of

produced by

artificial

an

error,

the

arising

lightand

lightleather

than

sun.

Syndics of the Staalhof(the Clothweavers'

Hall),in the
of
collection
shares
the renown
a
although only
portraits,
gallery,
The

same

of

the Sortie.

Italyowns
and

Turin.

only a
In

the

a
Lady ; the Louvre
the family of ToMt

SamaritaHj and
In

the

few

Nativity,illumined

of Madrid

Museum

there

has three
; the

several

Pinakothek

by Rembrandt,
portraits
masterpieces
Disciplesgoing to

smaller
at

Munich
the

"

is

the

in
one

Florence,Naples,

earlyPortrait of

Angel Raphael leaving

Emmaus

; and

the

Good

works.
are

"

an
Crucifixion,

of

Entombment^

pale rays
lamp;
by
lightsup the whole scene with the brilliancy
emanating
Descent from the Cross,well known
from
from Himself ; and lastly,
a
himself.
the etchingafter it,by Rembrandt
several portraitsby Rembrandt,
In the Belvedere, Vienna, are
of Himself at
includingone of his Motlier when
very old, and two
different ages.
several
At Cassel,are the Blessingqf Jacoh,containing
and
UUenburch
o
f
his
first
Saskia
with
those
wife,
portraits
figures;
;
of his friend the poet Ja7i Ilarmensz
Krvl ; the burgomaster Six; the

which

Christ

an

Ascension, in

180

PAINTING

writing
brown
At

Koppenol;

master

and

of

one

himself, in

black

and

cap

cloak.
Dresden

are

the

Rape of Ganym/ede;
Rembraiidt

Rembrandt^

old

Mother

hie young
wi/e,who is seated
weighinggoldenpieces;
his knees ; a Young Girl (perhapsSaskia herself)
on
holding a pink in
and

her hand
old

; and

two

Grey bearded
-

Men.

The
S.

age,
Hermit-

Petersburg,
forty-one
by this great

contains
works

including

master,
View

and

the

Coasi

Holland,

of

'

National

the

In

Judea,

in

teen
four-

Gallery are
works

by
cluding
in-

Bembrandt,

the Wonian
taken
the

in

Adultery,

Adoration

of

tlieSheplterdsyChrist
dren,
blessinglittle chil-

Portraits

two

of the
the

self,
painterhim-

one

taken

age

of about

at

thirty-two signed
"

Rembrandt,
1640," and

"

other when

quite an

he

old
of

Some

the
was

man.

brandt's
Rem-

best portraits
are

in

private

collections in

Raisingof Lazarus.
A.D.
etchingby Rembrandt,

land,
Engnotably at
ace
Buckingham Pal-

99.~The
From

an

1632.

and

Grosvenor

House.
It
even

known
some

which

beyond the scope of the present work to enumerate

is so well
principalof the etchings by which Rembrandt
we
give {Eng,99) may serve to afford
; but the example which
faint
the
notion
marvellous
effects of lightand shade
of
very
he obtained
with the simplemeans
at his disposal.(See also

is,of
the

course,

The

3.)

page

Print-Room

I8l

HOLLAND.

IN

contains

in the British Museum

series of

etchingsfrom

excellent

style,and publishedin

his

hand.

have

They

very

fine

copiedin

latelybeen

form.

book

Of the pupilsof Kembrandt

we
may name
Ferdinand
artist
of
Bol, an
great original
power, whose masterpiece,
F(ywr BegenU of the hospital,
is in the Town-hall at Amsterdam, whilst
in the National Galleryis a Portrait of an Astronomer.
Jacob Backer, chiefly
famous for his portraits,
though he occasionally
"

producedhistoric pieces.
Philipsde Eoninck, a fairly
good landscapepainter;
him are in the National Gallery.

two

works

Flinok,whose best work, Isaac blessing

Jacohy is in

Oovaert

by

the Six

Galleryat Amsterdam.
Oerbrandt

den

van

Eeckhont, whose

for those of his master.

Jan
whose
Victorfl,

Isaac

works

often been mistaken

have

blessingJacohy

in

the

Dulwich

College

Gallery,was formerlyascribed to Bembrandt.

Karel Fabritins,
of which
who died young, leavingvery few pictures,
the Head
qf a Man, in the Rotterdam
Museum, long ascribed to
Rembrandt, is one of the best.
Samuel
life

and
who painted
Hoogstraeten,
landscapes,
portraits,

van

subjects.
Maes,

Nicolas
and
i

was

who

very

high rank amongst Dutch painters,

portraitpainter,is representedin the
very

Amsterdam

Galleryby an Old Woman Spinning,and a Girl at a tvindow,

noteworthy for the beauty of their colouring;and in the National
Galleryby The Cradle,the DtUch Housevnfe,the Idle Servant,the Cardand a ^MavUs Portrait,
players,

The Later Dutch

'

takes

successful

still-

Painters

of Genre

As importantgenre painters
who
in the seventeenth century,we
must

Adriaen Bronwer, whose

Pictures,

a.d.

occupiedan
name

A.D.

1700.

independentposition

"

noteworthy works

most

1600"

are.

ing
Playersdisput-

both in the
their cards, and a Swrgeon removing a plaster,
over
Pinakothek, Munich.
Oerard Terborch, who excelled in the renderingof costume, every
detail beingmost delicately
finished. His chief works are : the Pea^ce of

MUnster, which
occasion

; and

Concert, the

contains
the Guitar

ewer,

the Lute

the

Lesson

Mttsic Lesson, and

The Letter in the

and

of
portraits

Hermitage,S.

Lady

"

both

personages
in the National

present at the
Gallery. The

OfficiiGalant in the
Petersburg; the Young Lady
the

in the satin gown,

Player {Eng, 100) in

the

both

the Cassel

in the Dresden

Gallery,and

the

Louvre.

urith t^ie

Gallery;
Paternal

IW"

The
Jn

Lute

Player. By Terborch.
Galleiy.

the Cassel

Advice

in the Amsterdam

Berlin

Museum

Adriaan

and

of which

Museum,

there

in
replicas

are

the

BridgwaterHouse.

at

Ostade, who

van

183

HOLLAND.

IN

PAINTING

studied

Frans

under

Hals,

was

of

one

the

greatestof the paintersof this class ; his works are chiefly

homely
from his native country, full of life,
and
of
spirit, individuality
character.
Rural
are
:
Concert, at Madrid.
Among his hest pictures
Three of the valuable series of the Five Senses,at S. Petersburg
; among
others, two excellent works, a Smoking Scene, at Dresden, and a
Painter^ s Studio in a garret,probablyhis own
in his Study,
; an Old Man
at Munich
superiorwork, a Dutch Alelumse,with peasants
; another
and
their
wives
fighting,
endeavouringto separate and pacifythem, at
scenes

Eotterdam

the

FamftUyof Ostade

National

Amsterdam

VillageAssembly,at

pendants,the Interior and

and

of

Exterior

T/ie

; and

rustic

fine

two
lastly,

house, at the Hague

in the Louvre
IIcUl,

; the

in
Alchymist,

the

Gallery.

Bartholomens

der Heist, whose finest work is the Batiqu/st

van
of the
of Amsterdam, which
in the Museum
(de Schutters maaltijd),

Civic Guard
takes

rank

almost

Gallerypossesses
best

works

are

Gerard

Bon

with

in his native
of

Leyden,

portraitpainter,but
great Dutch
Gerard
Louvre
on

his

Of

his

\ the

country.

pupil of Rembrandt,

afterwards

became

in genre.
best works are

Empiric,in

Stage,in the
at

National
The
Night Watch.
all his
this
but
master,
by

onet)f

who

the

first

at

was

of the

best

many

masters

Don's

Museum

Rembrandt's

portraitsof Ladies

two

the

the

Hermitage at

Pinakothek,

Amsterdam

Wom"in

Munich

Shop, in

the National

of himself

those

name

may

Evening School, in the

; the

; the Poulterer's

we
portraits,

S.

of the Dropsy, in the

Petersburg; the CJuirlatan
sick

Gallery.

Paris, Brussels,

at

Dresden

(Eng,101),Amsterdam, and in the National Gallery.

OabrieiMetsn, whose works are remarkable for refinement of execution,
effect and transparency of colour.
The
Cfiemist,the
pictorial
and ifis Young Lady, and the Vegetable
Market of Amsterdami, all
Officer

in the

Louvre

the Museum
in the Museum

Landlady
Isaok

; the

of

and
Poulterers,

two

Dresden, are among

of Cassel,and a Duet,

in the National

celebrated Adriaan,

was

Hartenz

supposedto have
conveyed

the

Poulterer is

; another

Lesson

Music

brother

younger

successful
especially

^3"^P^s" good examples of

Gallery.

Hendrik

celebrated Lace-Maker, in
and

The

Drowsy

Gallery.

Ostade, the

van

the

his best works

which

Eokes, also

obtained

are

Frost

and
in

pupil of

scenes,

called

Antwerp, but his styleis more

good genre pictures
by him ai-e

studied
akin

under

Teniers

to that of Adriaen

in the National

the

in

Sorgh,after his
sobriquetfrom the care
the passage-boat
between

that

on
passengers
is
have
said
to
Dordrecht),

the

painting winter

father
with

National

(who
which

Rotterdam

the

more

land-

is
he

and

at
younger
Brouwer.
Some

Gallery.

184

PAIKTING

101."

Jan

Portrait of Gerard

Dou.

By Himself.

In the Dresden

Gallery,

a.d.

1665.

Steen, of Leyden,who first studied under Nicolas Knupfer at

under Van
Utrecht, and subsequently
Goyen, producedmany admirable
characterized
broad
humour, the best of which are
by
genre pictures

IN

185

HOLLAND.

Belvedere, Vienna ; a Garden of

an
Ale-house,at Berlin ; the Gaim
of Backgammon, where Steen has
ing
touchin
his wife,and an Aha^uerua
himself
conversation
with
painted

perhapsthe Village
Wedding, in

Esther
in

the

with his

the

goldensceptre,at

the

Hermitage

; the Music

Master,

National

Gallery;

The

ingham
Toilet,at BuckPalace
the

Malade

Im-

aginaire, and
Tohit curing his
dam
father,at Rotterthe

brated
cele-

Picture
Hwnian

of

Life, a

collection

of

about

twenty
the

portraits,
Family of
Steen,
Feast

Jan

and

the

of S.

at the

las,
Nico-

Hague

a porand, lastly,
trait

of

Himself,

Amsterdam.

at

Our

engraving

{Eng. 102) is a
good illustration
of

Steen's

liar
pecu-

manner.

Jan
a

ver

native of

Meer,
Delft,
called

usually
"

Ver

of

Meer

102." The

guish
Delft," to distin-

Vieto

of

Meer

numerous
a

By Jan Steen.

from

him
der

Van

Dancing Dog.

of

Amsterdam,

Haarlem,

and

Van

der

the Music

of

Utrecht, produced
life,of which
and a MiUc-woman, both at
Lesson, the property of the Queen, are good

interestingpicturesof
Street,probably in Delft,
and

Meer

Dutch

home

examples.
Frans

van

princeof
woman

his

Mieris, the pupil of Gerard

pupils,"producedmany

at her counter,

in the

Belvedere

the
Dou, who called him
fine works, includingthe Shopat Vienna

"

Lady faintingin

the presence of her doctor,in the Pinakothek, Munich

; a Lady playing
in the Amsterdam
of
the
on
afluie,
Gallery;
portraits Himself and his

186

PAINTING

fainily,in

the

Uffizi at

Florence

; and

Lfuly in

crimson

jacketyin

the National

Gallery.
Kaspar Netsoher,though

by birth,belongsto the Dut-ch

at the
was
a
Terborch, and paintedchiefly
tion,
Hague. His works, of which three,Blowing Bubbles,Maternal Instrucand a La^hjseated at a sinnnituj-wheel,
in
the
National
are
Gallery,
remarkable
effect and feelingfor beauty.
for force of pictorial
are
school of art.

He

German

pupilof

103."
In

More

the Van

ing Toilet." By Pieter de Hooch.

Amsterdam.
der Hoop Collectiony

Netscher, who paintedfor some

and also for his
celebrated for his portraits
years in England,and was
Konstantin
Netscher, who painted portraitsand
flower-pieces
; and
interiors at the Hague.
Netscher

Pieter

van

had

two

sons

"

a
Slingeland,
pupil of

important works, the Dutch

Louvre,

was

GodMed

Theodoras

remarkable

Gerard

family (the

for the

care

Schalken, celebrated

with
for

Dou,

Meerman

which

his

one

of whose

is
family),

he finished his

most

in the

pictures.
candle-lighteffects. His

in the National
and
weighingjewelsagainsther sparrow
Gallery,
in
the
Amsterdam
Gallery,
portraitof WUliam III, by candle-light,

Leshia
his

187

HOLLAND.

IN

examplesof his style.

versation
Eglon yan der Heer, the son of Aart van der Neer, paintedconafter the manner
of Terborch
and Mieris.
His works
pieces,
are
very scarce, both in England and on the Continent.
for long so completely
Pieter de Hooch, the great colourist,was
and
his
has
effaced
from pictures,
that
been
name
forgotten,
frequently
fine

are

that of
is due

other

some

English connoisseurs,whose

to

his

own
by
countrymen.
himself
equal to Bembrandt

his

for it.

artist substituted

best

rescue

from

oblivion

example has since been followed

is now
thought to be almost

in his treatment

of chiaroscuro.

Among

Hermitage ] the
Dutch
Cabin, at Munich
Gallery.
; and an Interior,in the Amsterdam
collections
than in
De Hooch
is better represented
in Dutch
private
Collection
The
has a Mttsical jxirti/
publicgalleries.
Steengracht
; the
Van
der Hoop Collection,
Musical
a
couple,and three Interiors {"ng,
the
Van
Loon
The National
Garden
scene.
Collection,a
Gallery
103);
has two
of
of

works

are

the

Hooch

De

His

Courtyardsof

the

master.

Return

Dutch

from Market,

all good examples

Interior,
is also worthy
Palace,
Buckingham

houses,and

party, in

Card

the

at

one

mention.
special

Adriaan
his best

der Werflf

van

works,

executed

paintedhistoric
for the

Elector

and

and
mythologicsubjects,

Palatine,are

in the

Pinako-

thek, Munich.
Cornells Bnsart
van

Ostade.

His

imitated
best

Inn,
Village

the

Dutch

works

are

much
a

Painters

A.D.

style of

Adriaan

and
Fish-niarket,

cially
espe-

Museum.

of Lmidscapes and
1600"

the

success

Kemiesse,

all in the Amsterdam

A.D.

Jan

with

Battle

Scenes,

1700.

of Esais van
of the
der Velde, was
one
Ooyen, a disciple
works
of
other
Holland.
earlylandscapepainters
Among
the
Amsterdam
and
by him,
Gallerycontains a View on the ifeuse, the
van

best of the
old Castle

of VaUcenfiof

Jan

of delicate aerial effects and

Wynantfl excelled in the treatment
details of foliage,
illustrated by five of his works
in the National
as
added
to Wynants's
Gallery. Figures and animals were
frequently
Adriaan
de Velde and other artists.
van
landscapes
by
Aelbert Cnyp, noted for the fine effects of sunlightin his works,
painted portraits,
animals, and also landscapesand sea pieces,
fruit,
in
flowers,and still-life
Hjs best works
are
subjectswith equalsuccess.
the Landscapewith Cattle and figures{Eng, 104),in
England, including
the National
rich in his producare
Gallery. Englishprivategalleries
tions
: amongst others,Grosvenor
and
House
House, Bridgwater
Deep-

dene, possess good works.

PAINTING

188

Cornells Becker,
of

van

Ruysdael,was

Ostade

sometimes

tion
long passedas the producAdriaan
successful
painter.
landscape
fairly

artist whose

an
a

added

works

figuresof

men

and

animals

to

his

pictures.
Jan

Both, who
visited

first studied

Italy; and

in Holland

his

under

Bloemart, and

sequently
sub-

brother,Andries Both, producedcon-

with figures the former paintingthe landscape

landscapes
adding the figures.
Salomon
van
Enysdael was a pupilof Van Goyen, and the instructor
his famous
nephew, Jacob van Ruysdael. He paintedviews on the

jointly
many
and
of

189

HOLLAND.

IN

"

the latter

banks

of the rivers and

Aart

van

Of

scenes.

Ganctl
Museum

of his native

we

may
Landscape, with

name

on

notice
especially

figuresand

in the
pail,

Moonlight Scene,

country.
in

particularlysuccessful

was

his works

Scene, a

signed his

canals

der Neer

National

He

is well

renderingnight
Scene

River

cattle

and

who

has

by Cuyp,
Gallery,and in the Berlin
representedin the private

of England and on the Continent.

galleries
PhilipsWonwerman, celebrated as a painterof horses,and for the
of many
in his pictures. Author
fine works,
beauty of the landscapes
of which
Jan

BaptistWeeniz,

pieces;

sea

in the National

eightare
and

Aldert

who

Gallery.
painted historic pictures,
landscapesand

van

Everdingen,celebrated

for his

views

in

Norway.
Nicolaas

Berchem,

ing

(or Claas, the

is celebrated

of the

play

of

shortened

for his

his i-endermastery of aerial perspective;

shade

lightand

upon
been

stirred

by the breeze,having seldom

representedin the National Galleryand
illustration affords

Panlns

an

excellent

in

example of

for the
Potter, distinguished

and for
pictures,
Hague is a

the

with

This

his fine
work

and
colouring

by

him

brown

young

picture,which

called

form) Pietersz,commonly

cow,

he

the
his

Dulwich

rest

or

is well

Gallery.

Our

style{Eng.105).
of

unique

the

in

cattle
the

In

chiaroscuro.
three

at

Berchem

excelled.

beauty

considered

bull, a

whether
foliage,

in its

sheep,and

his

Galleryof

kind,

their

scape
land-

herd.
shep-

of

the

twenty-two, is
painted
age
the Young Bidl.
The
National
Gallery has one Landscape by
Potter ; and the Duke
of Westminster
has a fine pictureof Cows
ami
Sheep of the year 1647. He is, however, better representedin the
works
the Trial of
are
Hermitage, S. Petersburg,where the principal
of
fourteen
Man
hy the Animals, a singlecomposition
compartments,
at

called

of them

some

from

the hands

Teniers ; large
artists,
including
dated 1649, entirely
by Potter.

of other
another

Landscape,dated 1650, and

of which
Karel du Jardin,a good painterof landscapeswith figures,
and
and
Mounted
a
a
a
Calvary,
Farmyard at Amsterdam,
Trumpeter
four
has
in the Louvre, are
The
National
Gallery
good examples.
works

by

Jacob

this artist.
van

for the
the

brated
celeBnysdael,the princeof Dutch landscapepainters,
of
distribution
and
clever
of
the
the foliage,
light,
beauty

generalclearness

and

distinctness

of his work.

His

was

his

He

is

first instructor

uncle, Salomon van

supposedto have
Kuysdael.
intimate
he was
afterwards
studied under
on
Berchem, with whom
of
the
of
Museum
In
terms
Amsterdam, are a Waterfall
friendship.
another
View
and
of
Botterdam
owns
View of Bentlieim Castle,
a
in art

PAINTING

Casth, which

Bentheim

aspects,and

he

191

HOLLAND.

IN

times

painted many

the

with

always
greatest care
In
seven
Landscapes by him.

Galleryhas

finish.

the

different

under

and

and

The

National
burg,
Peters-

Hermitage,S.

fifteen ; in the Pinakothek, Munich, nine Landscapes

are
;
of which
at Dresden, thirteen of his paintings,
one
we
{Eng,
engrave
106). In that called The Chase^ Adriaan van de Velde painted a stagthere

hunt, only equalledby Tlie Forest in the Belvedere, Vienna.

Frederic

Monclieron

de

several

years in
of his best

paintedfor

Paris, but

eventuallysettled at Amsterdam, where most

landscapes
added
The
in
them
were
were
figures
produced.
by Adriaan
generally
de Velde or Lingelbach. A Ga/rden Scene by De Moucheron, with
van
the figures
by Adriaan van de Velde, is in the National Gallery.
Hobbema
is supposedto have studied under Kuysdael,
Heindert
but,
His name
unlike his master, he only painted calm and sunny
scenes.
his works,
effaced from
was
long forgotten;and his signaturewas
of Ruysdael only being substituted
for it ; his
the name
or
monogram
their
works
estimated
and
at
sidered
conare
just value,
are, however, now
second

by
scapes
House.

The

Buckingham
possessionof the Duke

Galleryowns

Middelharnis,
Jan
der
van

Ruysdael and
Adriaan
very

Hagen

of

(Eng,

are

Munich

at

his best

among

successful

scape
LandJjand-

Westminster, in Grosvenor

imitator

; and

the

works.

The

fine Avenue

Landscajyes,
includingthe

was

and

107); two

of

the

of

styleof

Hobbema.

van

successful

figuresin

Museum,

seven

fine Water-mill

Palace

Pinakothek

in the

CaUnj

Butch

Forestyin the Berlin

Oak

National

Kuysdael.

is in

in the

are

those of

only to

Hobbema

the

de Velde, the

illustrious

animal

and

landscapesof

other

as

an

discipleof Wynants,
often

was

added

landscape painter,and
He
is well representedin

artists.

Galleryand on the Continent.

Jan van
something in the same
Huchtenbnrg painted battle-scenes,
National
Wouwerman.
in
the
A
Battle-sceney
Gallery,is a
styleas
good example of his style. He was also an engraver.
der Meer, of Haarlem, called
de Jonge
Jan van
(theyounger),to

the National

"

"

him
distinguish

Berchem,

in

from
whose

an

earlier

painterof

style he

the

same

name,

studied

under

with

much

painted pastoralscenes

success.

Dutch
In

land

with

extensive

so

that

many

with

great truth and power

Simon

painters

arose

de

subjectswere

Vlieger,whose
often

Marine

similar

who

Painters.

sea-board

as

depicted the

; of these the chief

manner

resembled

to those

of Van

Holland, it
sea
were

under

every

aspect

that of
de

natural

was

Cuyp,

Velde.

He

whilst his

painted

106"

Waterfall.

By

Jacob

van

Rujsdael.

In the Dresden

Gallery,

IN

103

HOLLAND.

His drawing
landscapesand eea-pieces.
is often unpleasing.

Ludolf
earnest
on

some

WiUiam

Witty in

BakhuiseiL,who
student

worked

of nature, and

is

under

but
masterly,
Van

his

colouring

Everdingen,was

an

in the

roughestweather
of his pictures,
of
the
these
best
Betwn
: The
are
of
amongst
in
Jan
De
the
of Orangey
of
Hague Gallery; the Embarkation
the Amsterdam
Gallery; a View of the Port of Amsterdam, in

107.

"

paintedat

Uobbema.

Landscape. By

In

sea

BuchinyliamPalace.

in the Louvre.
The
Dutch Sqibodron,
also
well
who
is
works
Gallery
by Bakhuisen,
in privatecollections in England.
represented
Willem
do Velde, the younger,
received instruction from his
vatt
de
Willem
the
father,
Velde,
elder,a marine painterof lesser note,
van
and also from De Vlieger. The Van
de Veldes lived in England, where
the
de
finest works
Van
of
Velde'
to be found.
s
are
younger
many
contained
the Texel;
House
View
Naval
Battles ; a
two
on
Bridgwater
the JSntrance to the BrU; and the Eisingof the Gale: whilst
a Calm;

the

Belvedere, Vienna

National

in the National

has

; and

six

there
Crallery

are

no

less than

fourteen

examplesof
o

his

194
best

PAINTING

style. Other noteworthy works

the Battle
made

Jan

Bays, both in Amsterdam,

during the actual conflict.

of Four

sketches

de

van

Capellein stylemuch

106."

representedin England
which
Gallery,

Dutch

contains

Painters

Gale.

By

Ludolf

Chief of this group

painted in

five works

fine
shadow.

of artists

conjunction with

in the

Ylieger.

by

Dulwich

were

other
"

He

is well

Bakhuiaeu.

National

in the

him.

and
of Architecture,StilUlife,

United Provinces at tJteHague

the figiu*es
are
by Palamedes.

Palace,and

De

and
privategalleries

in

both

View of Amsterdam, and

for the latter of which he

resembles

Seventeenth

both

the

are

FUncers.

Century.
:

Dirk

Van

artists,as

in the

Delen, who frequently

Meeting qf tJie

in the

galleryof that city in which

Galleryis a Reivaissance
"

In the National

CollegeGalleryan

well
illustrating
pictures,

his

Entrance

treatment

of

of

Palace^

sunlightand

IN

Emanuel

195

HOLLAND.

Be

Witte, one of the best Dutch

paintersof architecture,
little
but met with
His favourite
success.
attempted portraiture,
the interiors of churches, one
of which
is in the National
subjectswere
first

at

Grallery.
Johann
Lingelbach,though a German
Dutch
a
painter,for after a visit to
Italy, he
best

settled

works.

His

and

Amsterdam,

at

by birth, must be considered

and a lengthenedstay in

Paris

there

usuallyviews

subjectsare

executed

of Sea

of

most

Ports

with

his

numerous

small

figures. A Ilay Harvest by him is in the National Gallery. He

frequentlypaintedfiguresfor the picturesof other artists.
Jan
Gerard
of architectural
der Heyden, called the
Dou
van
w
hose
for
remarkable
works
their
broad
combined
effects
are
painters,"
'"

with

minute

in the

finish.

Pinakothek,

The

; the View of a
View of the Town
HaU

the

figuresare

de

van

in the

Velde, are

Louvre,

and
younger
and Van

He

portraits.

is well

Berck-Heyde,

of the best architectural

Melchoir

Heyden, one
his

and

Hague
Geese

and

Swans

after

was,

sometimes

pictureswere,

d'Hondeooeter, of

His
poultry-yards.
the

; and

in which

the

added

Utrecht,

was

Emanuel

de

by

Witte

his brother

Job.

successful

; the

painter of
Fiffhtbetween

Turkey,
Hermitage ; the Menagerie of
at Amsterdam
; the FloatingFeatlier,
; and Domestic
and
Ducks, in the National
Gallery,are among
the

at

His

paintersof Holland.

in the Louvre

Peacocks

scapes,
figures,land-

the continent.

represented on

brother, Gerrit

and

House,

his best works.

among

der

figuresin

Cock

by trees,

Cologne is in the National

Gallery.
Berck-Heyde painted architectural subjectswith

Job

The

Square, surrounded

of Arnsterdam,

Adriaan

paintedby

Street in

Public

of a

Ga/rdeUyat Grosvenor
; the Convent
Dutch
Museum
Town, in the Amsterdam

London

View

Munich

Birds,

at

Poultry
his

best

works.
Jan
whose
and

Weeniz, called the younger,

stylehe caught, painted game
which

ducks,

"

of his best
but

Kalf

which

very

a/nd

he

Dog

is celebrated

arranged

true

to

natiu*e.

Vienna, Berlin, Amsterdam

followed

his father's

Jan

Hnysom

flowers

such

"

his

from

father,

hares, pheasants,snipe,

as

dogs, "c.
Many
weapons,
in England, though the National
Galleryhas

BavidflZ de Heem,

Jan
are

Gamne

distinguishhim

hunting

masterpiece, Tlie PJieasant,is

his

Hague Gallery.

Willem
pans,

grouped with

picturesare

Dead

one.

in the

he

to

van

with

with
a

painter
He

and

pots
picturesof vegetables,

and

the

Eachel

some

; the former

galleries.

and

flowers,whose

representedin

Hague.

EnyBch

and

skill.

of fruit

is well

with
footsteps

accessories

latter in Continental

for his

considerable

His

works

galleriesof

the

son, Cornells

de Heem,

successful

paintersof

success.
were

is well

very

representedin

English, the

196

PAINTIKG

Modem

,(,^"

Dutch

Artists.

have seen, the close of the seventeenth and the whole of the
marked
by a decline in the art of painting,
eighteenthcentury were
.rf^4^
and not until the nineteenth century was
advanced
was
considerably
there any real revival. During the last fortyyears, however, there
has been in Holland
which
to the close study of nature
a
return
was
As

we

^^-^'

the secret

of the

with
France.

of the

success

mastery
the
Among
a

of

great Dutch

masters

of the

unrivalled
technique altogether

bined
past,comexcept in

Dutch
artists who
have risen to distinction
latter part of this century we
A. C. Artz,
name
: David
may
J. Bosboom
and Anton
well
J.
Mauve
C.
as
Bisschop, Bloomers,
; as
Josef Israels,
Jacob, Matthys and Wilhem
Maris, Hendrik W. Mesdag,
in the

and Albert

Newhuys.
/

Revival

Painting

of

/^o

/
Germany,

in

a.d.

1810"1880.

We

have seen that, soon

after the death of Albrecht
DUrer, painting
Germany rapidlydeclined ; the artists who immediately succeeded
him endeavouring
iarities,
national with ItalitUjupeQul
without
to combine
result. The eighteenth
attainingany definite or satisfactory
century
marked
Was
by a tendencyto copy French rather than Italian work ;
artist alone,Asmus
less
one
Carstens,attemptedto check the rage for lifeimitation,and to inauguratea nobler styleby the study of nature
and of antiquemodels.
It was
not until within quiterecent
days that
made to revive the greatji^ess
a practical
of^the Ggrpiaiu
attempt was
school, although complete theories of art were
thought out and
In

of the
enunciated by some
of the intellectual and enthusiastic members
School of literature.)Q"ssing,
Bomantic
Gos^e, SeUller and l^chter
of
all contributed
less to
define the abstract
or
more
principles

painting; and'sJitorevival

of

the

present century, instead of being

as
characterized,

of

is marked
style,

we

should have

by

expected,
by freedom

patientsubmission

to abstract

and
laws.

independence
Everywhere

paintingis met by proofsof high and noble

and complete
endeavour and steadfast faithfulness to a precQnpeived
in check ;
is
old
The
and
of
art.
wild
kept
mysticism
^theory
symbolism
and the grand scheme of a completenational school,which
originated
and Cornelius at the be^ning
in the enthusiasm
of Overbeck, Schadow
of the presentcentury, is rapidlyfindingits fulfilment.
the

student

of German

Unfortunatelythis phase of

German

art

is almost

entirely
unrepresented

English Galleries : and the works of the German

in England by book illustrations,
known
such
are
chiefly
"
and
Bible,"
by engravings.

revivalists

in

as

Schnorr's

'

r:

Overbeck and
Friedrich Overbeck
may
and

stands

justlybe said to have

to have

of Fra

revived

Angelico. He
by a small

the head

restored

band

From

Rome.

founded

the

School which
and

in oil.

in S. Maria

Tasso's Jerusalem

went

to

Rome,

Of his

the principal
are
oil-paintings
at

His

renaissance
chief

of art

frescoes

degliAngioli,at

are

in
the

Assisi ;

Delivered,in the Villa Massimo,

from

Art, in the

in art, he

led to the

scenes

Stadel Institute
in 1816
into Jerusalem, painted
on

and

movement,

new

uuder the Cross.

By Overbeck.
falling
Dresden.
Bramng in the Print-'room^

Germany. He worked in fresco

of the Roses of S. Francis
five

of the

ideal

of fellow-thinkers

Miracle
and

the

stylein sacred subjects,

earlyItalian styleas exemplifiedin the works
first studied paintingin Vienna, but subsequently,

109." Christ

there

at

his School.

the

followed

and

197

GERMANY.

IN

Frankfort

for the Marien

the Induence
; the

Entrance

Kirche

at

of Religion
qf Christ

Lubeck

an4

198

PAINTING

Christ

His later work, including

of Olives^at Hamburg.
TJie
illustrating
Gospels(1813 to 1849),have had

the Mount

on

largecartoons
great influence on

some

modern

studied

FhilippTeit,who
then

for

of the

group

Joseph Fnhrich, who

studied

painted,in the Villa

Delivered,

Fi^ie Arts

to

The

Germany,

in

Peter

ComeliilB

von

fresco-painting

was

and

from

scenes

Home,

Tasso's

where

Jerusalem

of his works, the chief of

many
of
his
native country.
history

engraved

from

represent scenes

Prague,Vienna,

at

Massimo, three

has himself

He

the

The

of

of the
earnest

Institute,Frankfort-on-Main, is considered his best work.

the Art

which

one

combined

skill of execution.

with great technical

subjects
Christicmity
bringingthe
representing

fresco

and,
Schlegel,

became

have

their

study of

he

Home, and

at

Dresden,

at

Friedrich

of artists who

were

Matthai

under

successful

famous

the most

time

some

later,joinedthe school of Overbeck

most

(JFn^.109).

Art

step-father, painternamed

his

under

Christian

of Overbeck
disciples

Of the immediate

School
one

of Munich.

of the restorers

of the

the

founder

scale,and

art
long-disused

of the

Munich
school.
At the early age of nineteen he gave proofof considerable
in
the frescoes he paintedfor the cupola of the old church
of
genius
tions
Neuss, and four years later he produced a marvellous series of illustrafull of bold invenof Goethe's Faust and of the Nihelungerdied,
tion,
on

but
went

to

large

colouringand expression.In 1811 he

remained
for eight years diligently
studying

perhaps inferior
Home, where

the works

of the

invitation of

he

in

old masters

; and

his return

on

to

Germany,

at

the

the results of his new

Bavaria, he embodied
the
in
is
which
he
known, which
experience
chiefly
great frescoes,by
adorn

the

I. of

Ludwig

Glyptothekand

the

former
a

representingscenes
series of subjectsfrom
Of Cornelius's

Wilhelm

von

the New

Kanlbach, the only one

at
are

Munich, and
his

the Berlin

Museum

those in the
in the

latter

died in 1867.

"

attained to

Apolloand

in Berlin
wall-painting

the

was

"

anythingof an
largecompositions.The Battle
who

of

Munich

He

Testament.

the best
pupils,

numerous

at

mythology,and

heathen

stylein the treatment

independent
of the Huns, in

Kirche

Ludwig

from

the

Muses, in the Odeon

in Griechenland^

of Homer

principalworks.

He
is also well known
for his book illustrations,
of
those
and
of
Goethe's
Fatist
ike
Fox.
especially
Reynard
Other prominent members
of the Munich
school were
Julins Schnorr von
who first studied in the Academy at
Carolsfeld,

Vienna,
school

and

then

at

of Overbeck.

Cana, and
to

Munich

of

scenes

scenes

from

Eome,
His

where

he

principalworks

Orlando

joined the newly-established

the Marriage at
there were

Fwrioso, in the Villa Massimo.

O^lled

by King Ludwig, he executed for him the celebrated frescoes

from the Nibelungenlied
the histories of Charlemagne^
; and

IN

and
Frederic Barharossa,
he is chiefly
known

199

GERMANY.

in ei^ustic. In England
Rudolfof Hapshurg,

for his Bihh

illustrations. ^^
time Director of the
Schadow, was for some
famous as a teacher than as
Academy at Diisseldorf , and became more
He
numbers
his
a
painter.
amongst
pupilsHildebrandt,Sohn and
fort,
The Wise and Foolish Virgins,
in the Stadel Institute,Frank-

Friedrick
Wilhelm

lining.
is

one

of his best works.

110."

His

Duck-sbooting.By

Earl
pupil,

Peter

von

Friedricli

Lessing,

Hess.

where he soon
became known
accompaniedhim in 1827 to Diisseldorf,
for his historic pictures
and his landscapes.
of which the
famous for his battle-pieces,
Peter von
Hess is chiefly
best are the Entrance of King Otho into Nauplia; the Battle of Arcissur-Aube ; and the Crossing
of the Beresina : he also painted
genre and

(Eng.110).
sporting
subjects
His brother,Heinrich von
his Sepulchre
of Christ,and a
he
Italy,

of the Academy at
of
the
Collection.
His pictureof
Pirector
Royal
was

made

Hess, firstbroughthimself
Holy Family. After some

Professor

I vi

into notice

by

years spent in
Munich, and later

Christmas^painted

200

PAINTING

Queen Caroline,who

for

was

liberal

patron

him, is considered

to

one

of his best works.

studied under

who
Schrandolpli,

Johann

Academy,
and

Historyof Moses, from

of the

genkirche. After
decorate

to
are

visit to

cathedral

the

and

of

Christian Euben

designsof Hess, in

Munich

Gljptothek,

the Allerheili-

employed by King Ludwig

was

Spires; and

of his

some

paintingsthere

studied first in Berlin,and then under

After paintingfor some
time in

1836

Munich, and

at

and
mythologic pictures

numerous

in the

in Borne.

Overbeck

settled in

Leipsic,he

the

Eome, he

considered very fine.

GenelH
Johann
Bonaventnra

Cornelius

Cornelius

productionof the frescoes in the

assisted in the

became

from

scenes

sacred

noted

for his

history.

studied under

Cornelius at Dusseldorf,and painted

made
at Munich, Prague, and
Director of the
Vienna, where he was
either sacred,or scenes
from the
were
Academy of Arts. His subjects

historyof

Bohemia.

Edward

of Overbeck, paintedfrescoes in churches

a pupil
Steinle,
Munster
and
He
also
was
Cologne, Strasburg,
Aix-la-Cliapelle.

at

known

von

as

illustrator of the Bible.

an

Genre
In

Painters

addition

Overbeck

in

the members

to

in

Germany

th^ Nineteenth

of the

and

Century.

great schools founded

two

by

of every
Cornelius,many good
paintersof scenes
day life have arisen in this century, notably
Hermann
who first studied at Berlin,and then with Coi*nelius
Stilke,
at Munich

German

and

Hofgarienat
Dusseldorf.
and

Dusseldorf.
and

Munich;
His

works

are

chieflyfrom fiction

taken

from

or

tlie
at

sacreil

mythologichistory.

Ferdinand
whom

Theodor

Hildebrandt

he

in

1826

accompanied
and
sometimes paintedportraits

illustrate historic

poets. He
Karl

noted
chiefly

in the

celebrated
at

Jakob

Sohn

visited

Professor
Diana

is

Karl

studied

at

for the fine

colouringof

Schadow

Academy,
most

the Bath,
Becker studied at DUsseldorf

Schadow,

he settled.

to

he

and

under

in

Holland.
his

1826, and

Appointed

instruction

gave
famous
of

other

his works.

Diisseldorf
and

He

works
principal

Shakespeare,Goethe

Italy,France, Belgium

painters. One

under

his

but
subjects,

genre
from

of the

Berlin

where
Diisseldorf,

to

followed

Dusseldorf

then romantic
1840

drawn

scenes,

Ferdinand

afterwards

In

paintedfrescoes in the arcades of

visit to Italy joined Schadow
a

He

after

own

to

many
works
is

scapes,
Schirmer, and paintedland-

and genre subjects,

in which last he excelled.
pieces,
Professor
the
Stadel
Institute at Frankfort.
was
at
appointed
Wilhebn
Htlbner went
to Dusseldorf
in 1837, and studied

he

IN

under

Elarl Sohn

modem

social

His

Saved

and

201

GERMANY.

Schadow.

His

drawn
chiefly

subjectsare

life,and frequently
displayconsiderable

and
from th^fire,

his best works.

Adolf Schrodter

Poctcher's Death

Johann

and

Diisseldorf school,paintedgenre

Peter

dramatic

from
power.

(Das Jagdrecht)are

among

Hasenclever, pupils of

with
subjects

much

the

success.

Joseph Anton Kock, who has been called the restorer of landscape
of his native
paintingin Germany, is well representedin the galleries
With
him
class
we
country.
Leasing,whose best works are scenes
may
from

the life of Huss.

Karl

Wilhebn

Kl5ber,whose

Eolbe, the

stylewas

111."

Karl

Begas, Franz

horses

devoted

; and Eduard
these are
:
portraits
"

famous

become

themselves

Magnus,
a

in Berlin

Vienna, Johann

In

Hans

Cleopatra. By

few

of

the

most

duringthe latter

for his

to romantic

best known

and

Correggio;

and

paintingsof
historic

positions
com-

for his genre subjectsand

prominent artists who have

part of the nineteenth

Peter Krafft,Oeorg Ferdinand

Joseph Danliauser,practisedgenre

and

von

Makart.

KrtLger,chieflycelebrated

all of whom

"

Friedrich

August Karl
studyof Rubens

younger,
influenced by a

century.

Waldmtlller,and

portraitpaintingwith

great

success.

Karl
and
which

Vienna, studied in the Academy of his native city,

opened a studio, which was numerously attended, and in

Eahl,

there

worked

of

many

good artists.

in the
a student
Bethel,a native of Aix-la-Chapelle,
His
Academy, painted much at Frankfort and at Aix.
include portraits
from sacred and national history.
and scenes

Alfred

Feodor

Dietz

Paris ; his works

studied

in

Carlsruhe,and

depictscenes
chiefly

on

paintedin

Munich

the battle-field.

dorf
Diisselworks
and

at

202

PAINTING

Carl Theodor
many

years
the

belong to

was
Filoty,a Bavarian painter,
of the Munich
professor
Academy.

von

class

now

called historicalgenre^

signhig the CatfiolicLeague,the Death

and

of Alexaivier

Death

Amongst
during the

and

and

member

His

best

include

for

pictures

Elector Max

Galileo
of WaUeiisteiriy

in

Frisoti,

the Greoit.

the many
German
second
half of the

artists who

have

risen to distinction

: Albert
present century we may name
Kuehl, Max
Keller, Gotthard
Lieberman, Hans
Olde, Fredrick von
Fritz von Kiiulbach,Albert
TJhde, Ludwig Knaus, Franz von Defregger,
Baur, Glaus Meyer, J. Leek, Anton von Werner, Adolf Menzel, Ernest

Zimmerman
Of

Gabriel Max.

and

the

European

artists of other

nationalities who

distinction of late years, the chief are Adolf Gudemand

of Norway; Peters S. Kroyer of Denmark;
Anna

achieved

have
and
M.

Hans
E.

Gude

Jerichau-

Baumann

and Josef Chelmonski

of Poland ; A. Edelfelt of Finland
;
Bachkirtzeff and P. Verestchagin
of Eussia ; and above all Hans
and Michel von Muncacksy, the
Makart, the brilliant historical painter,
skilful renderer of scenes
from sacred history,
both of Hungarian birth.
Marie

Painting
A
that

of French

HISTOKY

itself.

of France

custom

to

glassof

windows.

must

Norman

Tapestry,
is,by the

of

as

far back

Charlemagne

it

as

the

was

with

of the very

important pieceof

work
needle-

commemorative
linen,130 ft. in length,

on

Conquest,which

Much

time

and to stain the

paintings,
strictlybelongingto the historyof

not

be made

in coloured worsteds

of the

in the

of churches

Though

Painting,mention

be traced almost

paintingcan
Even

the walls

cover

France.

in

is

commonly

controversy has taken

known

placewith

as

the

Bayeux
origin.

regardto its

admitted
of the eleventh
to be a work
authorities,
value ; but the tradition
century, and as such is of great archaeological
is very
done by Queen Matilda
and her maids
that it was
of honour
It was
doubtful.
probablyexecuted by order of Odo, some
say by
It

best

English work-people
; others by
it

hung

round

the walls of the

is full of life and

A^
V\

and
spirit

artificers of

nave

truth

Bayeux.

In olden

times

Bayeux cathedral. The design

to nature; but the drawing and
of

are
perspective
very defective.
The historyof French painting
beginsat the close
properlyso-called,
of the Middle
under
the name
of the
Ages ; when the revival known
took place. In Italy,as we
Renaissance
have
this
began as
seen,
middle
the
of
the
but
it
as
was
early
fifteenthcentury,
nearly a
hundred
felt in France,
was
years later before its Influence'

Sixteenth
Fifteenth,

the

In

In the British
of

Museum

known

de

la

Hose, with

century, with

112.

Small

"

section

Eleventh

Seni

Frois8(vrt's

Miniature

Painting

Chronicle,both of the fifteenth

qfthe Virgin,

the earliest members

Amongst

French

and

Hours

numerous

Seventeenth Centuries.

fifteenth centuries, including the

miniatures, initials and borderg in what is

and
canuiisvrgrisy

as

and

examples of

are

the thirteenth,fourteenth

Roman

203

FRANCE.

IN

of the French

school of

paintingwas

(Commencemeiit) of the Bayeuz Tapestry."

In the Bibliotheque,
Bayeux.
Century Work.
"

French.

of

Anjou, Count of Provence, who consoled himself for

troubles
by cultivating
political
poetry, music and painting. He
bom

at

1409, and

about

Naples,

or

says

the

learnt

Bartolommeo

chronicler

romances,

such

de

Vaine

as

La

paintingin Italy,either

della Gatta

at

Florence.

under
'*

He

II

Zingaro

composed,''

"several

beautiful

and

Conquestede la Doulce

Merci, and

the

Nostradamus,

his
was

elegant
Mortifie-

with
Flaisance,but he loved paintingin particular
and
such
with
nature
an
was
uncommon
love,
passionate
giftedby

ntent

aptitudefor this noble professionthat he was famous

excellent painters
and illuminators of his time, which
by

several

masterpiecesaccomplished by
there
(Eng, 113). In the Cluny Museum

his divine
is

among
be
may
and

pictureby

the most

perceived

royalhand"
Rene

which,

113."

Ma^loDua,in

au

illuminated

'*

Hours

Fifteenth

of the

Virgin." By King
Century.

Ben^

II.

tAlNtlNG

although
worthy of beingcalled
scarcely
the

periodthat

and

remarkable.

producedFra
The

Angelicoand

subjectis

205

FRANCE.

IN

the

"divine

of
mastel'piece'*

Masaccio,is yet valuable

Preachingof

the

Magdalen

at

the dead

body of her father,Servius Tullius.

By Fouquet. Fifteenth Century. FroQi the MS. Titus Livius.
In the BiUiotheque
Farts.
Rationale,

114.

"

XulHa driviDgover

where
Marseilles,

gospel.At

Aix

tradition asserts
is

an

she

altar-piece
by

the

was
same

the first to proclaimthe

of Moses and the
artist,

burninghvsh.
of Pope
Jehan Fouquet,born at Tours in 1415,paintedthe portrait
studied
the
the
and
Italian
artists
of
time of
at
Rome,
EugeniusIV.

/"//6

206

PAINTING

at Munich, Frankfort, and in the National

represented
illustrations of MSS., includingthose in
Library,Paris,by numerous
"Titus
Livius"
and
{Eng.114).
Josephus'*
In the reignof FrancoisI. several Italian artists of renown
painted
in France, and had a marked
influence on the styleof native artists.

Masaccio.

He

is

"

service : Primaticcio,
Leonardo, as we have seen, died in that monarch's
also worked
at Fontainebleau,
Bosso, Dell'Abbate and Pacchiarotto

formed what has been called the school of Fontainebleau.

of the Clouets and of
Of a more
national character were
the works
Cousin. JeaiL CloiLet,
the younger,

and

sometimes

records

Fleming

and

France

varlet-de-cJiambre
in

before

or

Jehannet),

who

settled in

painterand
Fran9ois L,

made

was

temporary
(incon-

is called

he
and

Jehan, Jehannot
was

"

called "Janet

to

died

He

1518.

in

1541.

Francoig
Janet

of
disciple

"

bom

was

Clonet, usuallycalled
Van
He

at Tours.

Eyck

painterto FrancoisI.,Henri
and

FranfoisII.
his

Charles

portraitsin

of
may

also

are

name

in the

IL,

IX., and
of^

Louvre

his wife Elizabeth

Charles IX. and

Aitstria

the

"

coirt

was

We
very fine.
the groups of portraits

Marriageof Margaret

of Lorraine, sister of the Guises,

with

Duke

A7me

in the Court

and

qfjbyeuse;

BcUly in which

Henri

rine
III.,then king,his mother, Cathe115."

Mary, Queen of Soots.

At

Clouet.

By

de

Medici s, young
Henry of
Navarre, and other personages of

Castle.

Windsor

the

Hampton
Scots

and

Family qf
and

her

Court

are"

there

Francois II,
Henri

as

II,, with

children,and

white

important personages

of the

in the

represented. In

are

of

Clouet

; and

Castle

at

with

flesh tints

French

styleof the

nearlythree
"

of

Court.

Howard

Clouets,exist

hundred

kings and

Chalk
in

Queen

Mary

of Catherine
life-sizeportraits

collection of

drawings in black and

and
period,

portraitsby

Dauphin

time,

de

of

qf
the

Medici^

portraits
"

queens

drawings of
large numbers.

and
this
A

and other
portraitby Clouet himself is in the National Gallery,
and
House
the
of
Hertford
in
Althorp. In the
galleries
examples are
Jones Collection of the South
Kensington Museum, is a fine miniature
of the Duhe
d' AUngon, holding the portrait
of Elizabeth. Our illusMan's

IN

now

of

out

time

Charles's

in the

been

never

copy of
Miniature

{Eng,115) is

tration
interest:

the

by

work

Cousin

as

born

was

church

paintedmore

of the latter.

few

its artist

to
was

call"i the

Minimes

His

VeniLS

Louvre,

bom

was

waitingfor Mara,
considered

are

Simon

Vouet

studied

much

Last

has

left but

led

Jvdgment, which

Michelangelo."Although it
was
doubted
engraved,this unin
forgotten the Sacristyof

in the Louvre.

now

in Paris
jEneaa

his best works.

in

1567, and

studied

abandoning Dido,
Henri

painterto the court, and commissioned

the chapelat Fontainebleau.
y'"^

so

artist which

long time

and

been

he
Unfortunately,

and
pictures,

is

French

It is

at Vincennes.

Freminet

Martin

"

has

Sens.

near

easel

French

masterpiecelayfor
Les

than

work
principal

the first picture

by

there

appearance

Soucy,

at

windows
His

being

great historic and artistic

at Windsor
Castle,it has

Royal possessionsince it was

cataloguedin
of
the
and
the
Doort,
keeper
King'scabinet,*
of the unhappy Mary,
the true representation

Queen of Scots,concerningwhose
controversy.
Jean

of

Collection

der

Van

be looked upon

it may

207

FRANCE.

him

IV.
to

in

both

Italy.
in the

appointedFreminet
of
the ceiling

decorate

for fourteen

the
years at Home, and introduced
his
the
France.
In
great composition,

^
^

"\t^^

I
paintingto
^
Presentation in the Temple in the Entombment, the Holy Family, the
/fr'
Roman
Charity,all in the Louvre, the influence of the Bolognese
school can
be clearly
traced.
He was
the master
of Eustache
le Sueur,
Charles le Brun
and Pierre Mignard ; and was
like
the Carracci,
thus,
better known
works.
through his pupilsthan from his own
of Beggars,
etcher of groups
an
as
Jacqnes Callot,better known
the Miseries of War, also
Nobles,Devils,and scenes
Gipsies,
illustrating
left a few easel picturesof merit.
Jacqnes Blanehard, who has been called the French Titian,"was
the first French artist to adopt the Venetian
styleof colouring. The
brothers
Antoine, Matthieu and Louis Le Nain, also became famous
this time
Matthieu
about
paintinghistoric subjectsand portraits;
whilst the populargenre subjects
of a Dutch-like
bear
character which
of
work
of
Le
the name
Nain, are supposed to have been the joint
and Louis.
of
Antoine
Good
in the Louvre,
their work
are
examples
Italian

of

manner

"

"

"

"

and in several of the churches of Paris.

Nicolas FoUBsin,the princeof the earlyFrench

Andelys.
lost their
IV.
*

The

He

was

descended

property in the civil

founder

of what

from
wars,

has been

noble
and

Soissons

his father served

called the Heroic

born

school,was

familyof

who

under

at

had

Henri

styleof landscape

Done upon the rightlight,

the second pictureof Queen Mary of
blue-groundedsquare card,dressed in her hair,in a carnation habit
laced with small gold lace,and a stringof pearlsabout her neck, in a little plain
fallingband, she puttingon her second fingerher wedding-ring. Supposed to be
"No.

23. Item.

Scotland,upon

done

Dy Jennet, a French limner."

)^

208

PAINTING

painting,Poussin

excelled

classical
and

subjects.He
there producedhis

Bacchanalian

Gallery;

to S,

116.

"

are

daughterof
the
Men
and

his most

; the

of Jericho,the Woman
cawjhtup into
and

landscapeand

them

may

be named

the

both in the National

Festival,
Xavier in India, and the Virgin
pearing
apthe Martyrdom of S. Erasmus, in S.

By

Nicolas Pous"iu.

In the Louvre.

of
noteworthypictures

Well, Moses

jects
sacred sub-

exposedan

from
by the
in tlieDesert,
the Judgment qfSohman,
Manna
the
the
of
Ma^i,
Repose in Egypt, the Blind
taken in Adultery,the Death of Sapphira,

S. Paul

Poussin's

Among

of

greater part of his life,

group of Rebecca at the

saved
and sister ; Moses

Deluge,the Adoration

Autumn
fine

Pharaoh

Arcadia.

Among

charming

treatment

for the

works.

Francis
Supjyer,

his mother

the

the Bacc/iatialian

Shepherds of

The

the

by

best

John, in the Louvre

Peter's at Rome.
tlieNile

lived in Rome

Dance,and

the Last

chieflyin

tlteSeventh

the Water

Heaven.

works, the four pendants know^n as Spring,Summer,

also very
are
Winter, paintedwhen he was
seventy-five,

last

examples of

his power.

follower
distinguished

of Poussin

was

Jacques Stella,of

Flemish

IN

209

FRANCE.

paintedat Florence and Eome, and

made
Paris was
painterto the King. His works
through engravings.
born
Fonssin,was
Oaspard Dughet,called Graspard
extraction,who

in Borne.
of

Nicolas

Poussin

married

usuallytaken

subjectswere

117." The

Ford.

Jn the Louvre."

in

neighbourhoodof Eome.

England.
Claude

Seven

of his

a.d.

{No. 117

By

are

paintingsare

apprenticedto a baker and

years of age accompaniedsome
of

poor

of French

parents

the instructions

excellent

landscape
in
scenes
picturesque

Claude

Lorrain.

an

Veritatis.)

in

numerous

privategalleries

Gallery.
more
generally
Chamagne, a little

le Lorrain,or

parents
lad he

quite
and
pastry-cook,
a

known

in the National

Gell^e,of Lorraine,called Claude

very

well

from

in the Liber

His works

born of
merely Claude, was
villagein the Vosges. When

the servant

164S.

are

under

and
sister,

brother-in-law,Dughet became

his

painter. His

the

his

his arrival in

on

fellow-workmen

at

was,

Sandrart

before he
to

Kome

tells us,

was

twenty

and

became

Agostino Tassi,a landscape

painterof eminence.
p

It is

210

PAINTING

said that young

Claude preparedhis master's dinner and ground his
all
colours ; at
events, from Tassi he acquiredthat love of art which
his name
also received lessons from
famous.
He
has rendered
so

Sandrart, who

Rome

at

was

the

at

time.

same

His

and
pictures

varying from

1630 to 1670.
for the skill with which
remarkable
are
his work
effects of sunlight,
aerial perspective,
especially
dates

bear

Claude's works

comparedwith

been

of S, Ursula

the Embarkation
with

that of Turner.

of the Qvsen of SIteha

Embarkation

ings
etch-

he rendered

having often
: the
are
Among
pictures
(known as the "Bouillon Claude");
at Sunset ; eightlandscapes
Seaport
his best

includingHagar in the Desert; David at the Cave ofAduliam;

figures,
of Procris ; Narcisifus fallingin love with his own image,in the

the Death

of

Many
The

several marine

and
Gallery,

National
Duke

Claude's

Worship of the
made

Claude

owns

series of two
in

preservedthem

the

signed
pictureswere

published

as

rich in sketches
hundred

two

to

Valentin

by

and

Claude

; in the British

and
paintings,
They are

Verith,

bistre

or

Indian

ink

the

for whom
persons
in the possessionof

the
the

by Earlom, and
England is particularly

mezzotinted

Libe^- Veritatis in 1779.

Claude's

of his

in with

painted,"tc. They are now

The drawings were
Devonshire.

of

Duke

the Mount,

on

sketches

he called Lihro di

and washed
in pen or pencil,
and
dated, and bear notes as

executed

private collections in England.

fine pendants known
the
as

hundred

which

book

the Louvre.

two

Calf and the Serrfiwi

Golden
a

in

picturesare

of Westminster

piecesin

Museum

alone there

are

over

seventy.
born

was

Coulommiers

at

Brie, and

en

having worked

entirelyin Italy,only belongs to the French school from the

circumstance
of his birth. Among his best picturesare the Martyrdom
of Madrid, and the Martyrdom qf S.
of S, Lawrence, in the Museum
There
also some
the
Vatican.
in
are
FrocessOy
very fine examples of his
almost

work

in the Louvre.

SIbastien
education

boy

he

Bourdon

from

his

w^as

father,who

taken

At
years.
and Venice.
Rome
1652

he

of
picture

at
was

his uncle to

by
eighteenyears

was

celebrated

born

glass.

painteron

he studied

Paris,where

to Italy,and

He

of age he went
afterwards
returned

the

of S.
Crucifixion

prevailedupon

received his first

and
Montpellier,

Peter

for

worked

Paris,and

to

still a

When
art

some

both

in the Louvre.

now

visit Sweden, and

at

painted his
In

there he

executed
for Queen Christina.
He again returned to
several importantworks
Paris,where he died. Some of his works recall the styleof Poussin.
His Eetum
His landscapes
are
qf the Ark
especially
worthy of note.
was

to

in the National
now
from Captivity,
of Sir Joshua
Reynolds,who much
poeticstyleof landscape.

was
Gallery,

admired

it

in the

once
as'

an

possession

example of

the

of an artisan,studied under Youet, and

EiLStache le Sneur, the son
of
left France, imitated Raphael in the generalstyle
though he never

IN

his works.
and

but

The
for his

118." S. Paul

heads

and

earlydeath

in
draperies
he

211

FRANCR

would

preachingat Ephesus. By

his

picturesare- especially
fine,

probablyhave

Le

Sueor.

a. D.

1649.

exercised

very

In the Louvre.

His best works were

beneficial influence upon French art.
the series
of Scenes/ram the Life of S. Bruno
and
and *S'.
S, Prolcmue
Oervasiua,
reusing to worship/alse
^(h/""all in the Louvre.

212

PAINTING.

Charles le Brun
under

and
Italy,

to

the

great

Louis

XIV.
Academy of

To

He then
years.
studied the works of

some

his return

to

Paris,Le

Brun

was

court, and

Louis

Painting by

of the French
The Louvre
series known

for

worked

director of the Gobelins manufactoryby

his initiation was
mainly due the foundation of the

painterto the

made

he remained

Shortlyafter

masters.

sculptorof Paris, and

tuition of Poussin

the

under

of

son

Vouet, with whom

Simon

went

the

was

XIV.

in 1648

; and

the establishment

school in Bome.

includinga famous
twenty-two of his pictures,
as
pleted
Historyof Alexander, begun in 1660, and comIt comprisesthe Passage of the Granicus, the Battle of
in 1668.
the D^eat of Fonts, and
Arbela,the FamUy qf Daritis made captive,
owns

the

Triumph qf Alexander at Ballon {Eng.119) an evident allegory

representingthe earlytriumphs of the great Louis. The painterhad
the good fortune to have it engraved by Edelinck and Audran.
Other
Le
Brun
he
the
Pentecost
has
are
qf
Day
(where
great paintingsby
the
the
the
himself
in
of
introduced
standingon
left);
figure
disciple
dream
the Christ with Angels,paintedto immortalize
of the queena
selle
Mademoimother ; and the RepentantMagdalen,which is called by some
the

"

de la Valli^re.
Bon Boulogne,the

elder,was

sent

by

under
painted,

Le

younger

son

Louis

of

historic

an

XIV.

to Home

Brun, many

Louis worked

brother

influenced by Mignard.
Jean Jonvenet, the son

of

Louis de Boulogne the

painter,
to studythe old masters.
He

of the decorations

of Versailles.

in much

but
style,

the

born

was
painter,

same

at Bouen.

His

was

more

At

teen
seven-

Paris, where he quicklyrose to fame.

years
of
Le Brun, and followed his styla In
assistant
a
was
pupiland
of age

He

he

went

to

old age he lost the use of his righthand

of his brother artists,
paintedwith

and
by palsy,

to the astonishment

his left hand

the

Magnificat^
of sacred subjects,
pictureswere
the Miraculous
which
name
we
Draught qf Fishes,the
may
among
Christ driving the Money-Changers out qf the Temple,the JRaisingof
vent
Lazarus, the Descent from tlie Cross, which he paintedfor the conin Notre

now

of

the

Dame.

Nearly

Capucines,and

all his

the Ascension

paintedfor

the church

of

S. Paul.

Charles

de la

Fosse,a pupilof Le Brun,

His most

master.

importantwork

was

much

influenced

is the decoration of the dome

that
of the

by

Invalides at Paris,where the principal

scene
representsS. Louis laying
La Fosse worked
and sword in the hands of Christ.
in
crown
and
decorated
Montague House,
England,
amongst other mansions,

his

London.
Jean

Santerre went earlyin life to Paris,where he studied

Baptiste
under Bon Boulogne. Of his pictures,
which are carefully
composedand
the
most
Susannah
aU the Bath,
harmoniouslycoloured,
noteworthyare
and

Female

both in the Louvre.

portrait,

"

a
.3

"a

\^^'-^*l^'

,1S"^^^

-/

ISO." l"ort"uto# Samuel

Betmird.

hit agt.) FJyBi8"i"l(JJ, Lacuilu) i"f

About

aji,

ipJt.

PAINTING

Jean
He

Baoux

was

adoptedthe

styleof

Among

the best

Mignard,
under

Mignard
Le
the

Vouet, he

Grand

the
ofBurgutidy,

of

as

Anjou,

XIV.

were

"

succeeded

his best works

Painting. Among
feet of Alexander^ now
Grapes, in the
the portraitsof
Dauphin^ the

the

Louvre

of Louis

portraitpainter,and
painterto the king,and as

well

as

office of chief

the time

Roman," because, after having

passed twenty-two years at Rome.
"

at the

toith

Duke

the

of

Academy

the

sumamed

historic

an

in the

Darius

portraitpaintersof

Simon

was

Brun

under
Bon
with Santerre
Boulogne.
fellow-pupil
and
Lancret,
paintedmythological
scenes, "c.

Pierre
studied

215

FRANCE.

IN

in the

of

Director

were,

the

Hermitage

; the

Family of
MadauTia

Duke

Madame

de

and of himself,
Maintenoifi,
and

the

dome

of the Val

frescoes

le Febvre, who

Claude

born at

was

Fontainebleau,

pupil of

was

and

Le

Le

somewhat

de

Philippe
visited

Charles

of

of

Champaigne.
in the

England

II., and
he died

that

it is believed
London.

in

sembling
re-

work

the

reign

Sueur

Brun, and painted

portraits

He

the

in

de Grace.

His

pupil
excelled

Fran9pi8de

Troy
painter of portraits,
of ladies.
especially

as

Nicolas
his
in art

at

his father
merchant.
James

LargiUiere,

de

born

though

ceived
Paris, re-

at

early education
settled

was

He

as

visited

II.,and

Piece.

By Monnoyer.

of
paintedportraits

England, and

noblemen.

many

Flower

121."

Antwerp, where

of
ix"rtrait

Le Brun

Charles

II.,

by LargiUiere

is in the Louvre.

Hyacinthe Rigaud,
called the French
of Louis

XIV,

Van

and

the

of

son

Dyck.

an

Amongst

both
Bo'ssuet,

artist of
his best

Perpignan, has been

picturesare portraits

in the Louvre.

successful in paintingin miniature

Fetitot,who was especially
of
native
on
enamel, though a
Geneva, spent thirty-six
years in France.
successful miniaturists
Lonis de Chastillon,who executed
Other
were
for
the
which
in
enamel
set in snuff-boxes,
etc., as
were
king,
portraits

Jean

122.

"

Napoleon in

his State Robes.

By Isabey.

123.

"

La

Finette.

By NVatteau.

In the Lacaze

in
Collection^

the Louvre.

218

PAINTING.

and

presents for ambtissadors

Miniature

others.

Louis

and

enamel

paintingon

Louis

XY.,
patronizedby
portraits
frequently
paintedin that style.Henri 'Diaiti van Blarenberg^lie
executed
minute
of villagelife,militaryprocessions
representations
which
fans and snuff-boxes,
and landscapes,
on
were
very popular.
In the reignof Louis XVI., the chief miniature
Pierre
were
painters
Hall
and
Jean
who
Swede
Hall,
a
was
Adolphe
BaptisteIsabey.
by
His works
and on enamel.
remarkable
are
birth,paintedin oil,pastel,
for vigour and luminosityof tone
and colour.
Isabey excelled as a
much

was

XIV.

whose

were

his miniatures

portraitpainter,and
his

among

sitters,Napoleon in

Antoinette, Louis
Antoine
who

lias been
minor

the

/\T
the

became

the favourites

of the

the

by

genius

of

of France.

artist of

Coypel,an

and

some

celebrity,

BaptisteiMonnoyer, who

Jean

Huysum of France,
period.

may

also be

named

as

EighteenthCenttiri/.

the

Antoine

Valenciennes, who

numbered

{Eiig,122),Marie

Kobes

State

He

eighteenthcentury paintingin France had

little more
than a means
for the glorification
of
it was
hour.
this degradedposition
rescued
From

beginningof

declined,and

known.

of this

l7i (he
At

^^-v/s-^

of Ifoel

Van

artists of note

well

X., and Louis Philippe.

son

designs for tapestry;

called

his

Charles

XVIII.

Coypel,the

made

are

Wattean,

to the

rose

the

of
a
poor thatcher
school
of the national

of

son

of head
position

produced sm^ll "ygnrg pictures only; but their fine

character,and grace of design,
justifyus in calling
them
Two
in
him
are
masterpieces.
Buckingham Palace.
picturesby
The Louvre
several
fine
of
owns
examples his style.
Nicolas Lanoret,a disciple
of Watteau, though very inferior to him,
produced numerous
picturesof what are called Ff't^ GalanteSyfour of
which, known
as
Youthy MarUiood {Etuj,
Jryfwicy,
124),and Age, are in
Watteau

execution,truth

of

the National

Gallery.
BaptisteJoseph

Jean
imitated

with

Pater

worked

some

Fran9oisLemoine, a pupilof Boulogne

is called the Academic
is

good example

Pierre

of which

an
Fran9oisDesportes,

who
of

in his turn
Hunts

of

Watteau,

and

whom

he

Santerre,adoptedwhat

of Hercules
ApotJveosis
arranginglargegroups.

style. His

of his skill in

Subleyras became

eleven
pictures,

under

little success.

imitated

are

famous

for his

historic

at Versailles

and

his

genre

in the Louvre.

Snyders,and
Desportes,
producedsome
imitator

of

stags, wolves, boars, etc., of

BaptisteOndry,
good pictures
fairly

Jean

which

the

Louvre

owns

several.

Jean

Baptistevan

Loo

at Toulon,
painted in publicbuildings

Turin

1^^

^
s
s
I

220

pAiNTma

and

and

Rome,

1737

he

paid

Avignon
are

of them

many

Castle

The

to his native

land, where

In
the

he died-

French Seaports,
of the principal
paintedin 1754

Vi^wa

order of Louis XV.

by

England,and

Joseph Temet,

has been

are

Academy at Parin.
of
paintedmany portraits

of the

member

fame
whose
the celebrated marine painter,
eclipsed
by that of his grandson,noticed below, was bom at
in 1714.
is devoted to his works,
In the Louvre one
room
ranged on the walls round his bust in marble. Of these the

Clande

best

made

1742 he returned

nobility.In

which

was

visit to

of

; and

very fine
S.

several Marine

of the
renderings

Angela Eome, and

,

in the National

Pieces

ocean

to

1765,

properlyso called,

in her varied

moods.

Landscape,by Joseph Vemet,

are

Gallery.

Boucher, one of the most popularartists of his time, wa"

Francois
which
appointedpainterto the king,and acquireda great reputation,
however

sustained after his death.

of the
BaptisteSim6on Chardin resembled certain members
In the
Dutch
school in his force of colouringand truth to nature.
the Dulwich
of Still Life by him, and
National Galleryis a picture
not

was

Jean

his Girls at work,

Galleryowns

of
Fragonard,the pupil of Boucher and the disciple
Chardin, paintedlandscapesand interiors with considerable success.
in art at Lyons,
Jean BaptisteOrenze received his earlyeducation
for
to Nature
of the first French
and was
one
paintersto go straight
and representing
his subjects,
from rural life,
simple
choosinghis figures
Fathers
the
and touching village
Pitcher,
scenes, such as the Broken
collection of Lady
The
and
in
the
the
Louvre.
Curse,
Bride,
Village
Jean

Honors

paintings by Greuze, several of which

the National
Gallery are three heads of

Wallace
contains numerous
have been
engraved; in
Girls.

Joseph Marie

Tien

painted first

in

Paris,and

from

1776

to

1781

have
by some
inauguratedthe reformation in art brought about by his pupil,Louis
David.
His
and
S. Vincent of Saragossa
S, Germain
of Auxerre
from
an
angel, and the Hermit asleep,
receivingmartyrs' crowns
head of the French

was

are

among

school

at Rome.

He

is said

to

his best works.

David
Towards

the

close of

the

and

his

foUowers.

eighteenthand

the

beginning of

the

nineteenth century an
attempt was made to revive in France the socalled classic styleof painting,
by JaoqnesLouis Bavid, bom at Paris,
time.
studied for some
with whom
the great sculptorof the same
name
As is well known, Frenchmen
were, at the time of the Revolution,affected
with

for

everything antique,and the

appealed stronglyto their sympathies. David
a

rage

art

therefore

of David

studied for

long time

IN

in Borne, and

his return

on

to Paris

enthusiastic

students.
His
young
of
of
correctness
beauty form,

ideal

125.

low

tone

"

of

and
expression,
rate

The

221

FRANCE.

lDdu6trioii8 Mother.

colouring.They

are

in their coldness and

gatheredaround him a number of

characterized
works
are
chiefly
by
of
and
technique,
drawing,mastery

By

Chardin.

In the Louvre,

of
wanting in force and vitality
resemble
much
secondtoo
rigidity

sculpture.

David's

HorcUii ;

best
a

works

are

in the

largeMan'cua Brutus,to

Louvre, and
whom

include

the Lictors

the
are

Oath

of

the

bringingthe

PAINTING

222
corpses
SL

of

his

Warnm

two

sons,

{E^rg. 127) throwing

126.-Girl

HiM

3'

between

the

he

whom

the

K"mans

If

Marat,

with

and

had

^f'^'l^^^*.^
J^*Hof J^^
the
the midst
mto

themselves

Spaniel. By

the

assa^inated

Greuie.

Sabines, the

Leoni^at

by Charlotte

Corday.

Thermo-

IN

Anne
the

Louis Qirodet de

Roucy TriOBon,whose

SleepofEndyjnimi, the Interment

BaptistRegnanlt was

classicism

of David

127." The

which

of

most

Atala,and

important works,
Scene from the

in the Louvra

Delugef are
Jean

223

FRANCE.

took

and

Sabine

his

one

of the first to

school,and

By David,

Women

placeunder Ingres and

to pave

a.d.

Delacroix.

protestagainstthe cold
the way

1799.

for the revival

In the Louvre.

His

77iree Graces is

one

of his best works.

Pierre Ifarcisse On^rin, the

pupilof Regnault,whose

work,
principal

is in the Louvre.
Sextus returning
from exile,
from
Antoine
Jean
Oros, who
painted scenes
cotemporary life,
such as the
noticeable for their fine colouringand life-likemovement,

Marcus

soldiers at Jaffa,
and the Battlefield
Napoleon visitingtlieplague-stricken
Louvre.
both
in
the
of Eylau,
of Burgundy, went
in
Pierre Prnd'hon, the son of a mason
to Kome
earlylife,and studied the works of Baphael and Correggio. In 1799

he returned

to

Paris,where

he

paintedthe

celebrated

of
allegory

Divine

224

PAINTING

in the Louvre,
Vengeancej^^^^'^^ Crime {Eivg.
128),now
hand.
which also owns
a fine Christ on
Calvary from the same
Prud'hon
rocked
Other fine works
live Waiers^ the
on
are
Zephyr
by
all in private
by the Zepkyre^and the Desolate Fa/tnilyy
Rape of Payclie
JtMtice and

galleries.

Fran9oi8MariuB
is celebrated

128.

"

Oranet, a pupilof David, bom at Aix-en -Provence,

for his Interiors,
of which, the Cloister of tJie Church
two

Divine

JuRtice and

Vengeance

A.D.

of Assisiyand

the

Fathers

1808.

punning Crime.

By

Prud'hou.

In the Louvre.

of Mercy redeeming captives,are

in

the

Ix)uvre.
and Pierre Gu^rin,
O^ricanlt, a pupil of Carle Vernet
he
died
exercised
influence
the French
on
who, though
great
young,
school,for whilst retainingin his works David's classic beautyof form,

Theodore

he

may

be

said to

have

antique by patientstudy
Medttsa
that

finallyreplacedthe
of nature.

{Eng.129),is in the

gallery.

His

Louvre, and

cold

imitation

of

the

best work, the Raft of the

is one
of the treasures of

X
IN

225

FRANCE.

of age, entered the studio of

he
shook
influence
of
that
but
off
the
out
master, and striking
^Gii^rin
;
of
of
the
line
his
of
became
the
so-called
an
founders
one
original
own,
"
Romantic School."
_^_
in the Louvre by his Dante and
Eugene Delacroix is well represented

Eugene Delacroix,when eighteenyears

which first broughthim into public

notice
Virgil,
Algerian Women, and the Jewish marriage in

129." The

Raft

of the Medusa.

By

; the Massacre

Morocco,

G^ricault.

A.D.

of Scio

Other

fin6

1819.

In the Louvi'e.

works

are

Entrance

the Shipwrecked
the Bridgeof Taillehourg,
Mariners,and the
of Baldwin into Constantinople.

at
DominiqaeIngres,

the age of

sixteen,chose

art

as

his

profession,

entered the studio of David, where he remained four years. In

the Bridge
1802 he paintedhis first importantwork, Bonaparteparsing
in
remained
1806
he
until
and
went
to
where
Rome,
1820,
Kehl,
of
the
when he removed to Florence,where he resided four years, painting
the
into
and
Louis
in
now
Charles
F.
Vow
a
Paris,
XIII.,
of
Entry of
find
he
the
school
to
returned
In
1824
at
to
Montauban.
Paris,
church

and

PAINTING.

226
David

of

supplantedby

of

that

Delacroix.

then

He

painted

he was
Apotheosisof Homer on a ceilingin the Louvre ; in 1829
Arts
ficole
Beauxdes
the
in
; and
of Painting
Professor
to
returned
He
Rome.
in
Director of the French
Academy

own

until his death.

Ingreswas
a feeble colourist,
mention as celebrated works his

elected
in

1834

Paris

in

he remained

1841, where
A

his

overrated in his

good draughtsman, but

day,but

we

may

130." Stratonice.

Symphorien, in

the

cathedral

By Ingres,

of

Autun

a.d.

Martyrdom of S.

1841.

Roger rescuitig
Angeli^ue;

{Eng, 130); Christ deliveringthe keys to

the riddle of the Sphinx ; La Source, and
explaining

Stratonice

S,
La

Peter; (Edipus

Baigneuse,the

four last in the Louvre.

who
Ary Scheffer,

taken

to Paris in

was

bom

at

littleinfluenced by that master, and

of execution and softness of
delicacy
Fra/ncesca

di Rimini

at Versailles

Dordrecht

of French

1811, and apprenticedto Gu^rin.

Gaston

his works

noticeable for their

are

colouring.His

de Foix

found dead

parents, was
was, however,

He

"

best
now

the
are
pictures
in the Gallery

the four subjectstaken from Goethe's Faust

tJ^eConforter; S, Monica, and the Temptationqf Christ,
"

; and

Christ

228

PAINTING.

Paul

Delaroohe,the celebrated painterof

in Paris in 1797.

picturein 1819

historic scenes,
Gros, and exhibited

studied art under

He

; but it

till 1824

that

was

born

his first

he

produced the three

him
these
his celebrity
etirned
Vincent de Pcnd
were
of Arc examined in Prison ; and a S. Sebastian.
In

which
paintings
preaching
; Joan

not

was

"

Death of Queen Elizabeth,

painted his well-known
and the Children of Edward
IV,, both in the Louvre ; the DeaiJi oj
de Guise, and many
the Due
other equallyfine pictures. His chief
work, however, was the decoration,in encaustic,of the Amphitheatre
he

succeedingyears

of the Palais des Beaux-Arts

to which

"

stupendousproduction,known

four years.
In this
the Hemicycle,Delaroche
introduced

as

of
full-length
sixty-seven
portraits
architects and

engravers,
Apelles and

sit

Ictinus,

and

and
Sculpture,

of the

exhibited

Institute,and

Academy

the

was

132),illustrative of
which

time.

In

of the best of French

in 1780, where
his

the

the

the school of the

elected Director

are

many
achieved

victories

most

1806

was

noteworthy is

Ahd-d-Kader,
Jean HippolyteFlandrin,bom
enter

one

in the Louvre

de

Barru^re

years later he
At Versailles

two

in Rome.

Algeria,of

Vernet, and

born

and the following

years he
the
the
Redoubt ;
of
Clichy;
Captv/re
of tJieFrench a)*my into Breslau ; the Defenceof Paris^ and
made
In 1826 he was
of the
a member
of the Mamelukes.

his famous

the Entrarice

kneels

Genius
laurel-bearing
the
{Eng. 131)represents
rightwing of

of Carle

son

livingat

the Massacre

painters,
sculptors,

throne, on which
Pheidias, typifyingArchitecture, Painting

militaryscenes,

parents were

eminent

either side of

groupedon

illustration

this largepainting.
Horace Vemet, the
of
painters

the most

at the foot of which

Our

Arts.

he devoted

in

Beaux- Arts

battle-pieces
by

French

him

(Eng,
armies
in
by the French
the Captureof the SnuUa
of

Lyons

at

of the

in

1829,

1809,

where

went

he

to

carried

Paris to
off the

grand prize by his picture of llvesevs recognizinghis Father at a

Banquet. In 1832 he went to Rome, and became a student in the
The chief works
French School,then presided
over
by Horace Vernet.
from
this
time
the
artist
at
scene
the
were
a
produced by
young
Inferno ; Euripides writing his Tragedies; and S, Clair firstBishojf
1839
he returned to Paris, and
About
of Nantes healingthe Blind.
the

next

few

years

His

churches.

Thomas

Claude

Marie

his

life

Dubufe

of the
was

in the studio of the

by

that of

to

the

decoration

of

Ingres.

a
pupil of Gros and
good historic pictures,
includingThe
Empire.

of

native

devoted

were

influenced

paintedseveral

in th^ Decadence

Romans
in art

style

Couture,

Delaroche, who

of
was

born

great

Senlis, was

in

Paris,and

classic master

took

his fii*stlessons

David.

His

earliest

and included the well-kno"m

Roman
historic,
familydying
his
under
Achilles
of famine,
talcingIphigenia
protection.They
succeeded
t/ie tempest; Apolloand Cyparissus
were
by Christ stilling
;

pictureswere

and

,."aufo"m^-.

^
^

4?

230

PAINTING

and

the

Christ walking on the Sea ofGalilee ;

In 1827 he changed his styleand class

of Bordeaux
Deliverance of S. Peter,

the Birth

of the Duke

and other
subjects
; his Bemembrances, Begrets,the Slave Mercliant,
Eastern
subjects,
taking high rank as genre pictures. His portraits,
of
the Queen of the Belgiansand the Duchess
those
of Istria,
especially
admired.
also greatly
are
Louis Leopold Eobert, a Swiss by birth,was
at first an
engraver,
He studied in Italy,
then a pupilof David at Paris.
where he painted
with
historic scenes
landscapes.Three of his most important works
of

in the Louvre

are

di

Fiedi-Grotta,and

1835

he

which

he

painted

the Ha/rvest

Fea"st

in tJie Soman

Feast

of die Madonna
In
Campagna,

Departwre of Fishing Boats in the AdricUic, in

he
foretell a departurewithout a return, and which

the

to

seems

the
Improvisatore,

the Italian

"

he ended

justbefore
HippolyteBellang^took his

completed at Venice

his

life.

own

earlie.stlessons in art
Yersailles

from

His

Gros.

and

Luxembourg,
important picturesare
his Battle of the Alma, the Momitig afterthe Battle qf Jemappes,
and the Defile
aftertite Victory,
Pierre Henri Valenciennes,Jean Victor Bertin,and Etna Michallon
endeavoured
historic treatment
of landscape rendered
to revive the
for his
Michallon
famous by the works of Poussin.
sought inspiration
most

at

and

the

include

from
subjects

the

is considered

his

who

in his turn

of
exploits

masterpiece.

impartedinstruction

Modern

Among the
of paintingwe
Alexandre
been

middle
ages, and his Deaih
Valenciennes
the master
was

the

most
must

name

of

Bertin,

to Michallon.

French

important members

(Gabriel

of Roland

Painters,
of the modern

French

schools

"

Decamps,

pupil of

Abel

de

Pujol,who

has

brated
called a foi-e-runner of the Barbizon
masters, and is chieflycelewhich
for his pictures
of Eastern
are
remarkably true
subjects,
His

to nature.

of tlieCimbri

are

Turkish
among

School,the History of Samson, and

the

Defeat

the best.

studied in Paris,produced
for
noticeable
classic
and
sacred,
mythological,
pictures
many
Pentheus
their poeticfeeling.His
Hercules
tlie
aA
feet of Omphale;
pursued by the Mcenades ; Eventide {Les Illusions perdues)
; and The

Charles (Gabriel

Charmer,

are

among

Gleyre,a

Swiss

by birth,who

his best works.

painter on porcelain.He soon,

however, sought a wider field,and in 1833 began to exhibit in the
Salon.
His FfHe at Sevres, and A Corner
of the Park cU S, Cloud,
revealed his peculiarexcellences as a landscapepainter,
but they were
in
his
later by his
View in Brittany,and somewhat
surpassed 1841 by
Going to Market, a small work of the very highestquality.Illustrating
Constant

Troyon

began

life

as

IN

liis careful

studyof nature, we

gazing, Evenhig
irtfluenced

going

to

by

in the

and

133."

for

Arab
cliarm

the

and

Dutch

name

Ferry

Boat,

He

cattle

with

Sedgy River

was

at

landscapepainters.His

first
Oxen

work, of the year 1855, is in the Louvre.

EngfineFromentin, who

as

also

may

Meadowsy

Constable

231

FRANCE.

is
paintings,

his

life.

Oustave
and fine

His

the

to

General

Prim.

best

influence

famous

for his

known

are

for his

a.d.

writingson

art

1869.

picturesof Algerianand

excellent,owe

some

of

their

of Corot.
works

are

remarkable

for

vigour of style

drawing is often defective,are realistic

the
Communists
in 1871, was
joined
imprisoned

though
coloui'ing,
Coui-bet

as

By Kegnault.

landscapes,which

Courbet, whose

and forcible.

is almost

their

232

PAINTING

for his share

in the

liberated went

Omans
his

destruction

(1850),and

of the

Vend6me, and

Column

Switzerland,where

to live in

he

died.

His

characteristic

are
Stormy Sea (1870),

when

Burial

at

examples

of

manner.

Henri

for the fine

Begnault,noted
his

by

colouringof

Prim

portraitof General

his

{Eng.133),An

works,

as

Execution

trated
illuscU the

AUiamibra,B.nd Salome la danseuse,exhibited in the Paris Salon of 1870.

but the terrible war
of
Begnaultwould have achieved great distinction,

134.

"

Don

1870-1, which

risinginto
a

fame.

sortie from

influence
in

on

cut

Quixote's attack
short

his

so

many
joined the

He

Paris.

the Wiudmills.

on

He

style.

His

was

General

broke

cai*eers,

National

friend
Prim

of

By

Gustave

out

he

justas

Guard, and

Fortuny,who

and

Dor6.

other works

was

was

killed in

had

were

certain

painted

3pain.
Oustave

for power

Bore, a very prolific

artist,whose works, though remarkable
of invention and ease
of execution,are
of them
of first
none

233

FRANCE.

IN

such as Christ leavingthe

known
rank, is chiefly
by his sacred pictures,
of which
book illustrations,
we
one
Prastorivm,and for his numerous
engrave

Jules
a

134).
(^71^.
AafltieiL-Lepage,
duringhis

painterof what

the

call

French

achieved
shorfc life,

great success

he gave
One of his

naturalistic renderingsof every-dayscenes.

very forcible,
is the Haymdkers; his Joan qf Arc ia also very
best works
also successful

was

as

of scenes
in
representations
children,into whose joysand
which

harmonious

are

Alphonse Marie
battle

scenes

is

of the best.

one

from

de Pome

in

Algeriaand

the life of the

fullyentered.
usuallypaintedin a

colour,are

Neuville,bom

at St.

the

Franco-German

war,

Omer,

sympathetic

of
classes,especially

lower

he

sorrows

studied

1849, and

for

historic

his

His
low

pictures,
tone.

for his

celebrated

was

of which

Tlie Last

Ca^trictge

years

in

Italy,and

subsequentlyvisited

He

cmd

Sparrow,and

her

and

Hercules

and sacred pictures,

paintedgenre, historic,
also be
and
portraitpainter,
may

who

Adolphe Yvon,

seven

of his
; but returningto subjects
classic
from
fine pictures
history,

paintedpastoral

John LoTiisHamon,

for

pictures.

scenes

originalchoice, he produced some

such as Lucretia
spinning,Leshia
Omphale.
and

for his

is noted

de

in

known

became

Lepage

Eodolphe Clarence Bonlanger,a pupilof Delaroche, gained

Oustave
the Prix

fine.

painter.
portrait

FrSre, a pupil of Delaroche,

Edonard

as

in which
pictures,

plein air

the

historic

mentioned.

The
Between
to which

1830
the

has

were

that

went

the

Salon

However

masters

that

may
for their

for their

nature

Eoiusean, of whose

painting,

of

that

little

to which

its

first visited
for

school

of this

and

their
soon

for themselves

great school,all of

the most
subjects,
important
AUey qfChestnv^ Trees and
typicalexamples. Rousseau

Morning may be quotedas

and the constant
appreciated,

embittered

was

owed
originally
be, they very

skill the

longnot

his life.

Sheffer,and in 1838 achieved

He

school of

new

Fontainebleau, near

the members

Among

to
straight

Summer

for

of

given,from

been

the Barbizon

Constable.

individuals.

was

has

independentpositionalike

Theodore

Early

of France.

in France

arose

of the Forest

said

been

an

as

School

worked.

to
inspiration

whom

there

of Barbizon

name

first members

achieved

1840

the borders

villageon
It

"

Barhizon

Barbizon

in

his favourite

and

Diaz

and

to the fact that

pupil.

He

he

was

was

He

was,

decided

1833, and

of his works
at
rejection
however, encouragedby Ary

success

thenceforth

paintingground,with
somewhat

overlooked

his Cotes de GrenviUe.

with

Forest

of Fontainebleau

neighbour
highlysensitive,
was
given to
recognition

reserved
when

the

Millet for

and

234
the

PAINTING

five artists who

1867, his death

Camille
to

Corot

be

may
was,

but
draper,

of Michallon
to

received

where
Italy,

in

the

ribbon

like

Eousseau,

determined

to

1822, and afterwards

he

appliedhimself

135." An

paintingfrom nature.
of
effect and delicacy

of the

Legion

of

Honour

in

traced.
directly
a

be

native of Paris.
a

and
painter,

studied

Evening in Normandy.

Corot*

under

to the
diligently

are
pictures

By

He

was

ticed
apprenthe studio

entered
Bertin.

He

studyof

wait

landscape

Corot.

remarkable

for

harmony

of

execution.
His favourite subjectswere
sunrises,
his masterpieces
and among
the
were
moonlight effects,
de Nym})he8,the Idyll,Macbeth, and Homere
et
Joueur de Flute,Danse
les Beryers.In the Paris Exhibition of 1885, he exhibited the Cainpoff^ia
followed
by a
of limne, Morning Effect,and Evening. These were
fame.
Corot was
which
him
immense
succession of pictui'es
a
won
his
to
almost
refined
the
of
and
are
canvases
ideas,
expression
poet,
full of fancy and imagination." His free and apparent
sentimentality,

sunset, and

"

facile

235

FRANCE.

IN

of hard study.
only acquiredafter a long course
of
his
and
Dance
an
a
works,
bequeathed
of Nymphs, to
Idyll
the Louvre, and two to the Luxembourg.
Charles Francois
Saubigny, who was a pupilof Granet and Delain painting river scenes, such as The Seine at
roche, excelled chiefly
manner

was

He

two

138. -Forest

Scene.

By Diaz.

of the Oise (1861),in which he displayed

the most
acquaintancewith nature.
of Spanish parents,was
Narciflse VirgileDiaz de la Pena, the son

(1840),and

Bezons

the

Banks

He

studied

intimate

born
as

at

Bordeaux.

colourist.

Woodland

under

scenes,

Rousseau, and achieved

full of the

some

brightestautumnal

fame

tints,

subjectsof his best works.

in 1814, at Gruchy, near
Jean FrancoisMillet,bom
Cherbourg,was
of peasants,who were
the son
quiteunable to afford to give their son
education.
He
art
an
displayedso much talent in earlylife that in
of
him with the means
1837 the authorities of Cherbourg furnished
But although
going to Paris and entering the studio of Delaroche.

and

he

lightedby golden sunshine, form

studied

very

closelythe

old

the

Masters

in

the

Louvre, especially

236

PAINTING.

Poussin, and was for a time

the nude, he showed
taste
no

Michelangelo and
of
representation
after

and

his true
his

sojournwith
as

career

for historic

and

painting,
beg"n

Delaroche,he left that master, and

figureand landscape
painter,rapidlyexcellingin
from
the everyday life of peasant
simplescenes

women,

all other

Giorgionehad

the

opened

masters

of his school.

country

to

me."

In

1848

his

Winnoioery exhibited

but

success,

the

artist with

greatest privationsfrom
from

franc

one

who

in

and

poverty, and
After

five."

to

settled at Barbizon

wife

his

1849,

where

charming

"

great

pot-boilers."

acknowledged
sufferingthe

sketches

sold

were

years spent in Paris, Millet

some

found

he

an

family were

tells ns,

he had

Rousseau

alreadyliving,

there, for twenty-seven

he
of
life
the
the
under
its every aspect. His
rendered
peasantry
years,
of landscapealone,
picturesare not dependenton the poetictreatment

always

was

is the

kind

case

with

insightinto

human

friend

"

other

Salon, was

in the

himself

He

this time

At

in earninga living,
and paintedsignsand
difficulty

at

in the

poeticrenderingsof

men
"

short

successful

most

him

to

of the Barbizon

; and

artists,but evince
his finest pictureswe

very deep
name
Among
may
the Milk'tvoman, the Reapers,SIteep-shea/rera
Peasant
graftinga
(1861),
Tree, and The Gleaners (1857),the AngeliLSdu Soir, rejectedby the
for an enormous
Death and
the
Salon, and latelysold to America
sum,
the
the
Man
and Flock,
with tlie Hoe, Sheplierdess
Wood-cutter,
Sower,
and Going to Work {Ervg,
into
Millet's
Much
character
insight
137).
may
be gatheredfrom the memoir
which his friend Alfred Sensier left of him.
In one
I have never
letter,Millet says,
seen
anything but fields since
as

most

nature.

"

was

try to say as best I can what I saw and felt when I

In another, Which
is the handsomer, a straighttree,

born

; I

at work."

crooked

"

tree ?

the beautiful

The

one

that is in its

that

is the suitable."

Many other French artists

during the last thirtyyears ;
notice

place.

I therefore conclude

was
or

in

our

pages.

of various
but their

Among

schools have
is too
celebrity

them

are

"

become
recent

Mile. Bosa

famous
for prolonged

Bonheiir,

L^on

Bonnat, Paul J. Baudry,Jules Breton, UlysseButin, Alexandre

Paul
Guillaumet, Jean
Cabanel, Paul Dubois, Jules Dupre, Gustav
Theodule
Laurens, Jean Baffaelli,
Bibot, Pa vis de Chavannes, Antoine
Carolus
A.
Vollon,
Duran, J. Charles Cazin, Paseul
Bouguereau,
Dagnan, Bouveret, Henri Gervex, Antoine Guillemet,Henri Harpignies,
Jean
Jacques Henner, Jules Lefebvre, Leon L'hermitte, J. L. E.
Meissonier,Aime
Morot, L. G. Pelouse, and Alfred Boll.

Tlie
the second

During
France

new

given,the

Sclwol of Fraiice.
Imprcfisionist
half of the

school,to which

members

of which

present century,there

the
claim

name

of the

with
affinity

has

arisen in

has
Impressionists
some

of the

been

greatest

of\{.
i^j/
jii.rmts.-iii)ie

Jntfjtii iiw'

/'nyi
(.if,

laj." Going to Work.

Millet
By T, nn I-1 uj.^ois
In the fiosse^m^nnf JUr. .A/,.^-/" itfrf^Glff.K^Qw,

238

PAINTING.

tlie

of

artists
with

of

many

such

past,
the

It

and

is

who

Manet

called

first

was

of

Chief

with

Whether

its

divided

broad

choose
of

of

beauty

resulted

is its

evil

or

of

works
"

attention

public

and

and

still

the
is

past.

greatly
all

influences,
claim

admirers

and

exponents

of

opinion

it

spirit,

progressive

traditions

"

distance

for

it

to

in

its

even

positive
of

startling
broad

pieces
side

so

the
the

the

that

and

Their

by

effects,

touches.

on

only

the
us

of

as

daring
is

brush-work

is able

of

remind

telling

is

pigment,

side

it is

to

in

have,

jockey,
ignoring

at

be

sition,
compo-

truthful

to

instances,

some

vulgarity.

Impressionists

pure

the

or

att-empt

no

determination

revolting aspects,

most

of

or

They
pathetic

whilst

gesture,

is little
and

original,

of

or

association,

least

singer,

the

school

glance.

the

as

public

costume,
There

be

spectator
works

the

dancer,
of

subjects.

placed

word,

the

all

at

such

the

of

memory,

received

subjects,

for

colouring

members

all

impression

ugliness

of

minds

ignore

Impressionists

local

advanced

more

their

sentiment.

effort

nature,
tlmt

the

of

occasionally
are

from

lives

choice

in

effects

the

and

the

subjects, sacrificing

transient

the

Technique

palette,

theb

the

Impressionism

that

the

all

Pre-Baphaelites,

commonplace

the

in

their

its

the

to

their

eccentricities

life,

modern

In

whilst

most

form

and

effect

as

development.

with

good

of

1876,

others,

influenced,

the

perpetuating

and

as

such

present,

inaugurated
and

art

break

has

it

in

Impressionism

"

eliminate

to

give only

to

incidents

as

of

general

endeavouring

The

of

for

be

point

details

of

often

to

to

eagerness

opposition

direct

and

the

well

as

future.

minor

sake

of

Paris,

have

Cisley,
of

tendencies

pictorial art,

European
In

an

Turner,

even

masters

at

plmse

new

characteristics

this

on

brilliant

the

this

to

the

combined

said

Pissaro,

Benoir,

Monet,

held

generally

"

Degas,

or

Sargent.

Exhibition

the

at

was

Goya,

distinguished

most

Eaffaelli, Whistler,

Velazquez,

as

the
when
to

to

canvas

standing

Impressionists,
the

writings

of

being

portray
at

the

understand

unconventional

slight, loose,
of

instead

and

with

their

Rudyard

rapid,

mixed

the

on

brilliant

some

considerable

very
aim

and

of

the

picture.

forcible

Kipling,

and
with

Painting

in

Illuminators.

of

art

first

by

British

in the

Painting
impulse was

Britain.

600"

A.D.

of

records

earliest

the

Foe

Great

1500.

A.D.

anything

approaching

Isles, we

must

turn

the

practice of
Ireland, where

to

the
the

given

missionaries.

Koman

the

first

tures
only picproduced
were
brilliantly-coloured
geometric
bined
designs, comAt

with

ations
representbirds

of

the

missals,

best

so-called

Kelts, in

of

are

of

Trinity

lege,
Col-

and

Book

the

(a

copy

CSithbert's

S.

executed
artists

by

720, and

A.D.

in the

pels)
GosIrish

Lindisfarne,

at

about

The

amples
ex-

Book

Dublin,
Durha/m

in

which

of
the

and

executed

animals

British

now

Museum.

latter

contains

most
al-

the

earliest

presentations
re-

of

in

figure
crude
England

tenth

tion

of

the

To

the

belongs

century
Ch4"rter
J'

of
'

S.

%-r

966.

Edgar,

a.d.

mauve

ground,
the

at

by

An

Benedictional.

tllumt'nated

MS.

of

the Duke

of

By

(
Godeman.

thef possession
posses

in

Devonshire.

King
It

with

British

^thelwald;^

970.

qf JSewmtnater,

in

^^S.-From

Founda-

A.D.

Winchester,

now

presentations
re-

"

Evangelists.
the

the

executed

human

contains
an

elaborate

Museum.

full-page miniature
border
in gold
About

the

seventh

with
and

figures

colours

century

on

; and
a

is

style of

240
work

PAINTING

was

by

introduced
massive

known

the

as

goldborders

Opus Anglicvm^which

interlaced

with

ized
character-

was

foliage ^the best

existing

"

of which

example

is

the Benedictional

of
writjEthduxUd, ten

S.

between
and

936

a.d.

970 (inthe session

posof the Duke

Devonshire),in

of

which

illtunina-

the

tions

by Gk"de-

are

man,

monk

Hyde

Abbey.

the British
the

are

of
In

Museum

Gospels

in

ated
Latin, with illumininitials
borders

and

by English

artists,and

Liher

Psaltnarum

139),
from

{Eng,

both

dating

the

century.

eleventh
The

same

styleprevailedwith
certain modifications
the

to

beginning of

thefifteenth

century,
Lection-

Scdishv/ry

(called the
Book "),executed

arum
"

the

proved by

as

Lovel

by Sifer Was,
and

in

now

British

in

containing
to

to Lord

In the
"

David.

Liber Psalmorum

Illuminated
"

to
title-page

of the Eleventh

In the British Museum

of

Lovel.

latter

MS.

of

Century.

the

part

thirteenth

century, the

(Tib.c. vi.).

the

offeringthe

artist

139.~Kiug

borders,

miniature

book

dition
ad-

illuminated

initials and
a

the

Museum,

art

of

reached
illuminating
its

highest development

comparisonwith

that

in England,the work

of the

best

men

on

the

of

Englishmen bearing
continent

good

IN

example datingfrom
the

In

this time

the

is

Psalter,in the British

Museum.

made

drawing of

great

Holbein

Hilliard

and

was

of miniature

school

may

241

BRITAIN.

followingcentury great progress

heads, and
under

GREAT

in the

painterswhich

be said to

have

been

was

of Si

miniature

from

140." S. John.

in

Miniature

Royal MS.

Owing
artists
much

to the

wars

of the

work

best

done

in the

as

celebrated

the

of

an

in the British

in

1374.

French

great encouragement, and

England duringthis period was

the Prayer-Book

Museum.

ShrevjshuryBook,

Englishman.

a,d.

Bedford Missal and

of the best works

and
interest,
one
based on
Museum, though evidently

the work

About

reign of Henry V., many

received

executed

for instance

by them,
of Henry VI,,both
The

in France

Wyoliffe'sBible.

what
some-

viii.in the British Museum,

England. They

to

came

I. C.

arise

foreshadowed.

Bible,however, is of
John,
WyclifEe's
elementarycharacter,and recalls the earlier types.

The

to

It is a

manuscript of great

of the
a

period,also

French

model,

largevolume

is

of many

in the

historic
British

thought

to

pages ; it

be
was

242

PAINTING

to

Talbot, Earl of Shrewsbury^and

for John

made

Margaret

illustration

141.

"

French

to

Anjou,

after

her

marriage

was

with

by
presented

Henry

is
{Hmq, 141),Shrewsbury,kneeling,

Queen

**

ShrewsburyBook

Margaret.

"

The

in the

Royal LibraryBritish

him
our

presentinghis

seen

of Shrewsbury,presenting a Book of Komances

About a.d. 1450.
Margaret and Henry VI.

the

In

VI.

Talbot,Earl

From

book

of

to

Queen

Museum.

architectural decoration

is

distinctly

in character.

Miniature
A.D.

1526"

Painting.
A.D.

1680.

which are
Amongst the countless miniature paintings
collections
of
found
Britain
be
Great
private
many
may

stored in the
of the finest

IN

Works

of art executed

GREAT

24^

BRITAIN.

duringthe

sixteenth

seventeenth

and

centuries,

*
Painting,or*** paintingin little,"
it was
flourished.
as
called,especially
By the word miniature is now
a
commonly understood a very small picture,generally
portrait.
The school of British miniaturists was
founded
Holbein,
who, as
by
is well known, lived for many
years in Elngland. Amongst his minia-

for it

in

was

Elnglandthat

Miniature

142.

Edward

"

VI. and his Council.

of* Acts

tures

From

wood-cut

of Parliament;a.d.

on

the tiile-paye

1551.

the Sons oj the Duke of Suffolk^

1535 and
dated
all
Castle.
Windsor
Catherine
at
Qtieen
Howard,
Nicolas Hilliard,
first good English painterof miniatures was

we

may

name

1541, and
The
who
best

combined
works

the
are

and

his
of goldsmith and painter. Amongst
professions
of Henry VII., Henry VIII., Edward
the portraits
VI,
Castle.
Portraits
Seymour, at Windsor
by him of

Queen Jane
Queen Elizabeth,Jozies /.,of his

sons

Prince

Jaiivea and

Charles,and

in general use
in the seventeenth
century todescrihe
small
The
word
**miniatura"
in its original
picture.
any
had no reference to the size of the work, beins derived from the Latin word
sense
material all the headings,capital
red lead,'
in which
letters,
''minium," si^iifying
A UUtory of Miniature
drawn."
ancient
J. L. Propert,
of
the
MSS.
most
were
"c.,
AH, London, 1887.
*

This

term**

in Kttle"

portraitminiature

or

was

244

t"AlNtING

Mary, Queen of Scots,form part of the celebrated Stuart Miniaturee,"

in the possession
of the Edwards
now
family.
Isaac Olivier,*
who excelled even
Hilliard in many of his portraits.
"

143." Sir

PhilipSidney at
In

was

the

Among

Windsor

Penshurst.
Castle.

By

Painted

Isaac Olivier.

Miniature.

before 1586.

off the influence of the old missal

first to throw
of Ifenry,
the best of his works are the portraits
Prince
*

Usuallycalled Oliver

but he

Olivier,
alwayssigned,

painters.
"ifWakSf

Windsor

at

now

Castle,and

245

BRITAIN.

GREAT

IN

PhilipSklmy {Eng, 143),both

Sir

with

landscapebackgrounds.
Peter, the

though
Jean

none

enamel.

of

Many

the

name

may

144.

equal to those

by

Petitot,the famous
1635, and introduced

about

we

Olivier,also produced several good portraits,

of Isaac

son

his father.
miniature

French

visited England
painter,

England
practiceof painting on
in
his best works are
English collections. Of these
portraitsof Frederick V., King of Boliemia, and his
the

to

Pbilippe,Ducd'Orleans.

"

By Jean Petitot.
Miniature.
At

About

A.D.

1660.
145.

Castle Howard.

James

"

After

Van

I.

By Hoskins.

3finiature.

Somer.

At

Windsor

Castle.

wife

of the Queen, and the portraitof the

Elizabeth,in the possession
of Louis XIII., at Castle Howard.
Due
d' Orleans {Eng. 144),son
In
the Jones
Collection,in the South Kensington Museum, and in the
undoubted
works
Apollo Gallery in the Louvre, are many
by him.

John

Hoskins

also executed

of which

time,

Somerset, and

Royal

several
Lv^cius

Collection

/ typicalexamples

we

{Eng,146),with
Collection,and
considered
Later

1860

his

that

some

James

Cary,

; but
Cooper, whose

Samnel

"

he

at this
portraits
very good miniature
I. {Eng, 145),Cliarles /.,the Uarl of

Viscount

miniature

name
may
the young
of Cromwell

Falkland, and

excelled

was

others

those

of

of Monmouth,

in the

in the

are

pupil,
nephew
extremely fine ; as
marle
George Monck, Duke of Albe-

by
portraitsare

DvJce

"

and

his

Buccleuch

both

in the

Royal

Gallery,the

last

masterpiece.

miniature

painterswho

flourished between

a.d.

1680

and

a.p.

were

Thomas

Flatman, who achieved great success

as

painterof poi*traits

246

PAINTING

He
century, though few of his works are extant.
also attempted poetry,but
of his heads,'*
i?^
one
Granger tells us,
in the

seventeenth

"

146.-~Georgc Monck, Duke

Miniature.

worth

ream

Brown, who
one

of

the

of his Pindarics."
worked
best

for Charles

miniatiu^ists

"

of Albemarle.
At

Windsor

By Samuel

Cotemporary
II. and

with

his Court.

during the

Cooper.

Castle

reign of

him

was

lewis

Alexander
Crosse was

Queen Anpe, and

IN

^)aintedfor

the

Duke

247

BRITAIN.

GREAT

of Hamilton

an

ideal

of Mwry Qiieenof
portrait

Scots,which

for many
considered an authentic work.
years was
Charles Bolt, a Swede
by birth,was famous for his miniatures

enamel

copper, the

on

Petitot,and

by

water-colour
tedious

is

method

which

laborious

more

introduced

was

tlian the

old

into

in

England

styleof paintingin

card,as practisedby Hilliard,Olivier and Cooper. So

on

is the work

of

enamel

an

painter,that

ture
miniahighly-finished

sometimes
a
requiresas many as twenty firings
; and to rectify
mistake the faultypiecehas to be ground out, the working of a square
inch sometimes
takinga whole day. To make up for this,miniatures
well executed in enamel are as
brilliant
of their

now

as

on

the

day

completion,whilst

examples of the older method,

carefullykept, are

however

apt

to suffer from

exposure

to

light.
Eohert

Sir

Strange, the
engraver, painted

well-known
miniatures
of
also

; and

various

familynamed

practisedthe
Another

success.

Oiristian

Frederick

art

bers
mem-

Lens
with

foreigner,
Zincke,

pupilof Boit, whom he

surpassedin his styleof art.
He was
patronizedby George

i"as

II.,and

tures
several of his minia-

tion.
Royal collecGeorge Michael Moser,
the first keeper of the Royal
Academy, paintedin enamel
for George III.,and was
very
popular in his time; he was
also a modeller,a sculptorand
are

in the

teacher. Two
members

Meyer, were

147." William, fifth Duke

Miniature,
At

of Devonshire.

By Cosway.

StaffordHome,

London,

other foundation

Academy, Nathaniel
popularminiature painters; the
of

the

Howe
former

and

Jeremiah

worked

both

in

enamel
water-colour and enamel, the latter was
painterto George III.
Bichard
Collins,a pupil of
and miniature painterto the Queen.
Meyer, was miniature painterto George III. ; but his works are little
Ozias Humphrey, a native of Devonshire, commenced
known
now.
miniature paintingat Bath, and at the invitation of Reynolds,went to
in oil,with
paintingand portraits
from
Many of the Royal Family sat to him, and portraits
at Windsor
Castle,amongst others,GeoryeIII,
preserved

London, where
littlesuccess.
bis hand are

he

tried historic

248
and
to

PAINTING.

In 1 786 he
Qiteen Charlotte and the Dtbchess of Gloucester,
of the Eajahs. Andrew
Plimer
India, and paintedportraits

John

Stuart

went

and

also successful miniaturists.

were

of all these is,however, totally

by that of Bichard
eclipsed
Cosway, who takes the highest rank in the later school of miniature
paintingin England. All the beauties of the day sat to him, and

fame

The

is

there

wonderful,almost

ideal charm

an

of his portraits,
many
is that of the beautiful

about

of the best

Of these one
of women.
especially
but our illustration {"ng.
the Royal collection,
in
Devonshire
of
of
his
style. Cosway usuallypainted
147) will give a very good idea
of
seventeenth
end
the
the
about
which
on
century superseded
ivory,

Duchess

as

paper

also

was
"

the

ground
"

"

life at
porcelain,achieved

commenced
on

painterin London.
and

He

phenomenal

Edridge and

success

in oils.

Prince

Consort, and

William

of

be named.

Ross, who
all up

who
Koss

Charles

miniaturist

wrote

miniature
practised

latter also

painterto the

was

treatise

enamel

on

worked

Queen

the

said

have

miniature

on

painting;

Sir

himself

his deathbed
a

the

painting;

Andrew

"

with

and

Eobertson,
(a pupil
who
on
ivory only,must
painted
ability),
Windsor
collection
at
are
fiftyworks
Royal
of

reported to

with

miniature

mean

no

In
is

both

painting. The

Essex, who

William

as

masters.

Chalon

Alfred Edward

water-colour

to

success

painterto George III.,George IV.,

famous
for his copies of the masterpieces

enamel

was

also
IV., and was
of Titian,Eaphael, Reynolds and other

in addition

was

almost

an

William

Henry

Cosway,

both
on
painter,and worked
Boydell's
Poets'
Macklin*s
Gallery."* Henry Bone, who
Plymouth as a painter of flowers and landscapes

and

Shakespeare

wife, Maria

miniature

good

His

for miniatures.

work

in

prophecywhich

1860

that

also

by
"

it

unfortunately

has been fulfilled.

Painting in England

in

the Sixteenth and

Seventeenth

Centiti^s,

eighteenthcentury,Paintingin England was mainly in the

and the earlyartists of the British schools properly
hands of foreigners,
had
win
called
to
prejudices,
so
against most deeply-rooted
recognition
Until the

before

even

their

good thingcould
who
foreigners

own

countrymen could be broughtto believe that any

of their

produced by men
in England
worked
be

we

must

nationality.Among the
Hans
name
Holbein, Sir

Somer, Cornelius Jansens, Daniel

Mytens, Rubens, Vandyck, Honthorst, the two Vandeveldes, Sir Peter

Antony More,

Jan

Mabuse,

Lely, Sir Godfrey Kneller

Paul

and

van

Marc

in 1788

(an example

Geerarts

in emulation

of whose

**

Boydell's Shakespeare"
hundred
one
paintingsfrom the best English
artists,includingReynolds, Gainsborough,Opie, Fuscli, Stothiwtl,"e., and had
*

Macklin
Started by Thomas
commissioned
Scheme.
Macklin
them

engraved by Bartolozzi

and

his school.

This

was

of

followed in 1792 by Macklin's

s
o

II
.2

"

250

PAINTING

work

Although

imitators.
in

our

of these artists have

most

of the schools of their

accounts

his

had

submit, Eng, 148),each of whom

we

and

followers

own

been

fully noticed

may add that

of imitative art,
principles

countries,we

own

taught English artists the true

of portraitiu*e,
and that Itubens
especially
Holbein

and

Yan

Dyck paintedsome

of their best picturesin

England, notablythe Designsfor the ceilingai

the Portraits qf the Ea/rl of Arundel
and
by
the
latter.
the Duhe of BuckingJuvmby
is generally
Sir Peter Lely,though born in Westphalia,
claimed as an
the former, and

WhitehaU

English artist.

He

of the

paintedmany

beauties

of the courts
of
Charles I. and Charles II.,but his pictures,
executed, are
thoughskilfully
too wanting in individual character to take high rank as portraits.
Sir Oodfirey
Kneller,though bom at LUbeck, also worked so long in
that
he
be noticed amongst British rather than
too may
fairly
England
foreignartists. He exercised an imfortunate influence on British art,
his work

being anythingbut
of the

of the greater number

also of Louis

time, and

the

Locke

; Sir

ChristopherWren

other

members

Court
Windsor

*'

Kneller
Beauties

the

Qreat, and

Charles

of

VI.

his
His

Marlborough; Newton
{Eng.149) and
Addison,
Steele,
Congreve, and
; Pope,
Kit

eight of the

are

Beauties,"paintedby
celebrated

of

of the celebrated

Hampton

At

great Duke

paintedthe portraits

of England
and princes
sovereigns

XIV., Peter

of
portraits

He

to nature.

true

for
"

Cat

Queen
of

Club,* are

Series of twelve

Mary, in

which
lioly,

also well

known.

Hampton Court
rivalrywith the more
now
hang in a neigh"

bouring room.
Dahl,

Michael

native of Stockholm, was

popularas a portrait
Portrait Crallery
In the National
of Queen Anne.
of Sir Cloudesley
him
in the
Shovel,with a sea-fight
a

painterin the time

portraitby
background.

is

Verrio, an

Antonio

paintingsin

Italian

by birth,produced some
1676 he was
England. From

Charles II.,for whom

he decorated

Windsor

tural
good architecat

Castle.

In

the
1683

of

court

he

was

Verrio
died at
Frenchman, LoiliB Lagnerre,who, when
joinedby
death in 1721.
Hampton Court, continued the work until his own
these
i
nfluenced
masters
were
by
great foreign
EarlyEnglishpainters
who
left some
in the
Oeorge Jamesone, of Aberdeen,
good portraits
a

styleof

Van

attained

some

One

Henry

Dyck and Rubens ; and whose pupil,Michael

as a portrait
painter.
celebrity

of the

three

sons

Stone

called

^*

"

Old

of Nicholas

Wright,

Stone, the celebrated sculptor,

him
Stone,"to distinguish

from

his brothers

paintedin the styleof Van Dyck. In the National Portrait

Gallerythere is a portraitby him of Inigo Jones,copiedfrom Van

"

also

Cyck.
More
*

The

celebrated
term

inches,which

Kit Cat
was

than

any

of

these

was

William

is still iised for portraits

or
portrait
the size generaUy
adoptedby Kneller.

canvases

Dobson, whose
about 86

by

26

IN
are
portraits

some

studied under

of them

Franz

GREAT

nearly equal to

Cleyn,and

251

BRITAIN.

those

it is related

that

of Van
Van

Dyck.

He

Djck, having

i!'-ii';iriiii!Nn^''!'i!i:-^'ri-

149." Sir Isaac Newton.

seen

in

8hop window

and introduced

By

pictureby him,

him to Charles I. After

Kneller.

received

him

the death of Van

into his studio

Dyck, Dobson

252

PAINTING.

of the privychajnber, and

and groom
posts of sergeant-painter
he painted the
the
court
to Oxford, where
in this office he accompanied
In the National
Portrait of the Kimj,
Galleryis a portraitby him of

held the

EuiJlymionPorter.
Walker,

Bobert

Cromwell, Sir

Thomhill

James

equally skilful,painted portraits of

was

Fairfax, Ireton, Fleetwood, and

under

first worked

at

Laguerre.

been
to have
he visited France, and appears
of
the
works
in
His principal
are
cupola S.
hall of Greenwich
He

he

but
knighthood,
of

law

influenced

In

bis

by

the

youth

I^e Brun.

Paul's,London, the great

Hampton Court, a saloon

Hospital,an apartment at
in the chorcbes
Palace, and ceilingsand altar-pieces
the first English painter to receive the honour
was

of Blenheim
Oxford.

of

many

the Commonwealth.

with

connected

men

who

Thomas

his fame

owes

Hogarth than

to his

more

to

at

of

the father-in-

having been

merits.

own

Jonatium
Richardson,an excellent art critic ; Bobert Streater and
Irishman
John Kiley both portraitpainters
who
; Charles Jervas,an
of
the
worked
under Kneller ; Thomas
Hndson,
pupil Hichardson, and
the

of

master

J and
also be named

of Gainsborough
Reynolds; Francis Hayman, the master
Pond, a portraitpainter and engraver,
may
forerunners of the greaterartists of the
distinguished

Arthur
as

eighteenthcentury.

Painting
William
of

England

the

in

divides with

who
Hogarth (1697-1764),

having founded

positionw^ith
reformer, and

the British

regard

to

school

English

the first to break

was

Italian

paintingwhich

EighteenthCenUtiry,

of

art.

Reynoldsthe

painting,holds
He

in
prevailed

exceptional

in

every respect a
the insipid
imitation
of

was

loose from

an

honour

his

day.

He

originated
purely national style,rescuing painting from its tame and lifeless
the
attempts at high art, and employing it as a language to reform
of a rough and sturdynature,
of his time.
manners
Hogarth was a man
of
satirist
he
of
the
all
a
:
possesseda keen sense
qualities
having
of
human
life,a fine
humour, an intense sympathy with the pathos
second-rate

scorn

of all its

petty

and

meannesses

of

faith in the ultimate

vices,and
shortsighted
Viewed
good.
merelyas works

noble
.

of art,

triumph
tive
paintings,though characterized by marvellous dramatic and invenwith
in
sense
charged
being wanting
power, may perhaps be justly
of beauty and refinement; in drawing and colour they are distinctly
the
engines for bringing vividly before man
great ; but as moral
and
results of crime
inevitable
wrong-doing, they are absolutely
unrivalled.
Hogarth was himself an engraver, and reproduceda large
and the force
of his own
number
compositions
; his brilliant originality
with which
he expressedhis bitter satii*ehave made for him a place that

his

is

unrivalled
absolutely

in the

historyof

Ai't.

1^

"

254

PAINTING

in

Apprenticedto
wider

an
engraver
action.
His

field of

wish

to

of

dislike

through stirringlife are

art

see

eai-lylife,Hogarth

sought a

soon

academic
instruction, and
very visible in all his works.

the Taste of the Tottny

attempt at satire,of any merit, was
engraved in 1724, which sharplylashed the reigningfollies of the day ;
in the year
this was
followed by the Hudihras, engravedand published
him
of
of
first
mark
illustrations
the
which were
to
as
man
a
1726, the
His

first

genius.
Jane, the only daughter of Sir

1730, Hogarth married

In

James

and history-painter
to the king,without
Thomhill, the sergeant-painter
of her father.
the consent
He
then commenced
portraitpainting;
**

ill-suited

the most

employment,"says Walpole,
"

to

whose

man

turn

facilityin catchinga likeness

him
much
for
time.
some
Amongst his best
brought
employment
of the Foundling
portraitsare those of Captain Coram, the projector
Damd
III,
Garrick
Richard
as
startingup in terror from a
Hospital,
and
of Hinuey,
the demagogue John Wilkes,with several portraits
couch,
certainlynot flattery."Yet

was

all of which
He

are
very life-like.
turned
his thoughts to

next

subjects;

his

he says,
field,

The

first of these

in

series of six

"

not

paintingand

engraving modem

up in any country or any age."

the UarloVs
Progress. It appeared

broken

compositions
platesin 1734, and was received with generalapplause.
each
The
the Rake's Progress,in a series of eight scenes,
next
was
full
domestic
alike
in
whole
a
a
itself,
history
complete
yet relatingas
of tragedy and comedy.
In 1736, several more
satires on the folliesof London
appeared. The
all
i
n
which
is
a parson
SleepingCongregation,
unconsciouslypromoting
the slumber
followed by the Distressed Poet,and the
of his flock,was
Modem
Midnight Conversation ; this last-named, in which most of the
figuresare portraits,
spread the fame of Hogarth into foreign lands,
and is considered in France
and Germany to be the best of his works.
The next printpublishedwas
the Enraged Musician, of which a wit of
a

the

day said,

"

remarkable

was

This

strange

scene

deafens
the six

one

to

look

at

it."

Other

d la Mode

of

Marriage
by Hogarth are
representingprofligacyin high life in the National Gallery;and
the foiu: picturesknown
the Election of a Member
as
of Parliament, in
series

"

scenes

"

the Soane

Museum,

in both

of which

the

story is admirablytold.

In

appeared the celebrated March of tJieGuards to FinchUy, which is

of the
the publication
of humour.
The originalpainting,
on
tickets
of by lottery. Hogarth presentedsome
to
print,was disposed
drawn
the Foundling Hospital,
the winning card was
and
by that
1750

brimful

institution.
Imlvstrious

Other

tine works

Aj^prentice.In

are

Sovihwarh

Fair, and

Tlie Idle and

1748, Hogarth publisheda

book, the Analysisof Beauty,which

aroused

remarkable

considerable ridiiculeamong

artists.
The

last work

of

Hogarth,well worthy

of his

genius,is

known

as

IN

GREAT

255

BRITAIN.

and Fanaticism, and

Credulity,
Superstition,

earlyin

issued

was

1764.

he
to decline,and
the
which
he
retired
to
Chiswick,
during
purchased
amusing himself hy making slightsketches,and retouching
summer,

Shortlyafterwards,the great satirists' health hegan

plates.He

to

his residence

Hogarth

Chiswick, where
the

work,

two

of

still

was

hours

of

he

day

next

was

expired.
suffering,
the churchyard at

in
erected to his memory.

was

great satirist

two

the very

ostentation

any

monument

men

his noble

earnestlyengaged in

different stamp of character were

risinginto
totally
his
and
rival
Gainsborough,
original
Reynolds,

intellectual

their first

beauty of maidenhood, and

English gentlemen and gentlewomen found

of childhood,the tender

innocence

the sweet
the

without

On

year, and returned

same

the refined and

In

fame.

Square.

illness,
and, after

buried

was

of the

in October

in Leicester

sudden

Whilst

at

left Chiswick

his

seized with

house

small

grace

of

English exponents ;

mention
Siehard
Wilson, the first

but

before

describe their work

we

we

must

called,who

the

was

third

Owing
who

1749

it

London

to

the young

of Wales

Prince

had

to the

of tuition in art

amount

In

him

took

managed

to

son

English landscapepainterproperlyso'^^
gomeryshire.
of a clergyman at Pinegas in Mont-

influence of his uncle, Sir George Wynn,

when
quite young, he received a certain

from

painterof

Wright.

little note, named

of the
artist was
considered worthyto paint portraits
and the Duke
he
of
of York.
At the age
thirty-six

sufficientmoney

save

there

to enable

him

to go to

Italy,and

that,by a happy
acquaintedwith the
Italian artist Zuccarelli,
who advised
him
to study landscape
painting;
In this he was
his
work
little
successful,
was
though
appreciated,
very
was

the
the

landscapeart being still quite uncultivated. His chief

grandlyconceived,both in colour and composition
; he caught
of
lineaments
features and
nature, reproducingher main

are

broad

effects with

massive

paintershave
be

named

Morning

the
;

Tiber, near
and

became

for

taste

works

he
accident,

Death

of

View
Rome

boldness

equalledhim.
of

Niohe's

Eoms

of

them

were

scape
skill;in aerial truth few landAmong his best picturesmay

Children

Phaeton

Ad/rianlB Villa ;

Nymphs Bathing, They

defects;many

and

the

(in the
Celadon

National
and

Temple of

all illustrate

engraved by

well
the

his

Gallery)
;

Amelia

Venus
merits

celebrated

at

the

Baioe ;
his

and

William

WooUett.
Allan

of the period,
was
Bamsay, one of the best portraitpainters
After
in
in
education
art
Edinburgh.
London, he
receiving
and on
went
to Italy,
his return
established himself as a
to London
and in
visits to Italy,
painter. Bamsay subsequentlypaid three more
1767 was
he frequently
appointedpainterto George III.,whose portrait

bom

at

took.

He died at Dover, where he had landed on

his
his return
from
last journey. His portraits
their
truth to
are
chiefly
noteworthyfor
nature.

256

PAINTINO

George Smith
distinguishhim

togetherwith

his

called from

"

from

birthplace Smith

painter of the

the

brothers William

his two

of

"

of

Derby
John, opened a private

same

and

Chichester," to

name,

"

without
instruction. George Smith
they worked
and
to
a
as
was
so far successful as
landscapepainter,
premium from the Societyof Arts.

where

Academy,
became

famous

gain a
We

have

to notice the

now

Englishschool of
of a clergyman,

of the

greatest master

eighteenthcentury : Joshua Reynolds,the son

before the
at Plympton, in Devonshire, in 1723, three months
was
death of Sir Godfrey Kneller.
The
boy'slove of drawing was shown
at an earlydate,and he eagerly
copiedsuch printsas he found amongst

the

born

his father's books.

under the
that time.

of

care

He

Devonshire, where

he

of age, he took
then
a year, and
of the

for

house

old masters.

1741, and

three

was

When

years.

twenty-two
he

where

Plymouth Dock,

at

resided

to London.

returned

1749, Reynolds went

works
he

between

remained

in

placed
distinguished
portraitpainterat
his
in
two
employment, a
years
and
to
them,
Beynolds returned

most

continuingfor
place

In

the

Hudson,

After

disagreementtook
years
about

to London

sent

was

eagerlystudied

he

Rome, where
From
Rome, he
to

went

the

Florence, where

to

returned
He
thence
two
to Venice.
; and
in October, 1752, and settled in St. Martin's Lane, w^here

remained

London

months

rapidly rose

Newport Street,and
large house,

He

fame.

to

thence

wliich

to

he

removed

later to

to Leicester

went

added

good house
Square,where
a

galleryfor the

in

to

he

Great

he had

exhibition

of

bis

works.
this

About

(1768),the

time

Chambers, West, Cotes and Moser

keepinghim
made

was

them.

for

West

out; and

No

time

some

sooner

the

by

succeeded

did he enter

the

in

persuadingReynolds to join
where

room

artists

his brother

President."
up and saluted him
till he had
the compliment,he declined the honour

assembled,than they all

touched

from

founded
Academy was
by
of
the
caution
or
timidity
Reynolds
;
assisting.A list of thirtymembers

Royal

matter

with

over

"

rose

Johnson

and

Burke,

were

Though
talked

persuadedhim

who

to

Royal Academy of Great

Britain,bestowed the honour of knighthood on the first President " ;
universal
and seldom has any such distinction been given amidst more
The

consent.

King, to give dignity to the

approbation. Johnson,
conferred
he had

by

on

his

abstained

Sir Joshua

as

it is

said, was

friend, that

he

drank

elated

so

wine

it for several years.

President stillremain
among

Discourses

The

from

the

with

celebrate

to

the best

honour

it, though
delivered

to the art
guides,

student,in the Englishlanguage.

*

The

custom

excepted.
are

the Presidents

1792

has been continued ever

since,West, who refused the honoiir,alone
had been knightedfive years before his election. The following

Lawrence

Uwrence,

with their dates of election to the office,Keynolds, 1768

"

1820

Shee, 1880

Eastlake,1860

Grant, 1866

West,

Leighton,1878.

151.

"

The

Age

of Innocerce.
In the National

By Sir Joshua

Gallery.

Reyuolds.

258

PAINTING.

the close of the

About
and
place,

was

of

summer

Mayor

elected

of

Pljmpton,

the

his natiTe

1773,Sir Joshua visited

whom

mach

distinction

so

his return

he aoctdentr

to

on
King
likingthat he assured
Court
that it gave
of
the
at
walks
in
encountered
one
Hampton
allj
he
had
than
other
ever
received,
him
''excepting
more
pleasure
any
which
that
excepting
himself),
your Majesty so
(he added, recollecting

his

"

"

the honour of knighthood."

Sir
Joshua lost the sightof his left eye, and
sixty-ninth
year
he
after this misfortune
though he oontinued
producedno more pictures,
his appearance
made
time
that
he
to lecture at the Academy. The last
the
he addressed a speech to the students on
in 1790, when
there was

graciouslyconferred

me

on

of the
delivery

medals, and

of his favourite master,

which I should pronounce
be the
On

of

name

the

23rd

He

his

to

statue

in this

the gei

desire tliat the last

I should

Academy, and

from

this

wn

place,
wif^

was

to

the
lies

memory

by

"

I
'M

rtniil
died,in the liiitji
of the crypts of St. ]!"'"'

Sir Joshua

buried

in

grave
by the

of the most
many
side of Sir Christopher
Wrea.

one

illaslp^^gplp

by

Flaxman

was

afterwards

J^
placed in |hi

English pcnftnii
by simplicity,
feelingfor
of colour,easy grace of execution,and a singularoriginality
In generalforce of effect he resembled Remhnuidt"
invention.

painters,and
beauty,truth
of

"

"

He

land.

cathedral.
Sir Joshua

adding

February, 1792,

Cathedral, followed
of the

by expatiating
upon

concluded

Michelangelo."
of

of his age.

year
men

"

his

In

he

of whom

was

Reynolds was
his works

are

one

of

the greatest of

characterized

great admirer, and in the breadth

o^ chiaroscuro and

with Titian
he showed
works
some
affinity
of
his
love
that
refinement
be
it
cannot
denied,however,
Velazquez ;
and
but
his
him
into
led
example
writings
by
unreality
occasionally
;
of colouringand ezeenmethods
he encouraged free inquiryinto new
in the

colour of his best

and

{H^actioe.
tion,aidingthe advance of art by his very failures in his own
Few
of his
alone
stands
he
a
In one
as
portraitpainter.
respect
of
incident
or
are
arrangement, or drefls"
wanting in some
portraits
as pictures
surrounding,calculated to make them almost as interesting
the
friends
of his
valuable
have
to
been
must
to a stranger,as they
of
M
t8$
those
which
of
sitters. His portraits,
Nelly O'Brien,
BooM^^
and
her
the
Duchess
Devonshire
CkUdt
Mrs,
of
Stddans,
Hamilton,
Lady

In merit they
thoroughlyhis own in manner.
His
of
Van
those
fancypictures,
Dyck.
approach,if they do not equal,
and
such as the Age of Innocence {Eng.151),in the National Qallery,
full
Sir
Eichard
of
the
in
are
Wallace,
the Strawberry
Girl,
possession
are

among

the

best,are

deepesttenderness of feeling.
Other important works by Sir Joshua
are, Garrick between Tragedy
Mrs. Siddons as tfieTragic Muse, Macbeth and the Witches,
and Co7iiedy,
tfieSerpents
and Hercules strangling
; the last painted for the Empress
and
Catherine of Russia,who paid the artist fifteen hundred
guineas,

of the

260

PAINTING.

added

giftof

gold box, bearingher

portraitset

own

in diamonds.

that he
he executed
of which
so many
portraits,
and
other
hands
the
grounds,
backto
draperies
paint
employ

Of his less celebrated

obliged to

was

we

National

the

mention

may

of

that

the

in

of Albemarle^

Countess

those of Samusl

and
Gallery,

Johnson, Oliver Gold^miih,

Burke, TJue Ladies Waldegrave

Laurence
Sterne,Edmund
Walpole,
Admiral
{Eng,152),
Keppeland Warren

Horace

Hastings. With

regard to

his

it is sufficient to say that there was

female portraits,
that time celebrated for her rank, accomplishmentsor

a ladyat
scarcely
beauty,who did
the National
National
has
him.
The
not sit to
Gallery
twenty-three,
Portrait
exist
master.
There
by this prolific
Galleryten portraits
him
and
of
than
after
two
700 engravings
more
upwards
portraits
by
;

exhibited in the Grosvenor

hundred of his works were
Galleryin 1884.
who
in
the
Thomas
born
was
Oainsborongh,
spring of 1727, at

Sudbury,in Suffolk,where his father was

at a very
earlyage: he made a
and local
his native place,
scenery around

talent

favourite

his

out

It is

views.

showed
clothier,

number

of

tradition still loves

believed,on

very

signsof

sketches

authentic

of

the

point
grounds,
to

study art, when only fourteen years of age.

under
Francis
He
there worked
Hayman, one of the founders of the
Roynl Academy. Gainsborough remained in London four years, during

that he went

to

London,

to

returned to Sudbury,
where
he
afterwards
to Ipswich. Soon
of Landof PhilipThicknesse, the governor
he made
the acquaintance
chief
his
Harwich, who for many years was
guard Fort, near
patron.
which

time

He

he made

very rapidprogress.
married, and thence removed

then

Gainsborough left Ipswich and settled at Bath, where he made

a great reputation
as
a
portraitpainter. Sir Joshua Reynolds,when
of
lectures
his
to the students of the Royal Academy
one
delivering
of Gainsborough,'said of that artist, whether
he
the Character
on
is
difficult
i
t
excelled in portraits,
most
to
or
pictures,
fancy
landscapes,
in
the
he
When
founded
determine."
1768,
was
Royal Academy was
In

1760

"

elected
rented
years

one

of the

part

of

members.
original

Schomberg House,

he contributed

Academy, with

which

In 1774
Pall

he went

Mall,

and

to London

for

the

next

and
ten

and landscapes
to the Royal
portraits
many
he
i
n
1784.
He died
body,however,
quarrelled
fine

1788, and was buried in Kew churchyard.

Gainsborough'slandscapespossess great artistic qualities
; they are
and harmonious, if somewhat
conventional in colour,
largein conception
in

for grace and delicacy,

combined with
which
has been much
criticized. Among

whilst his

remarkable

touch

are
portraits
of
peculiarlightness

his best works

we

Westminster, said
dictum
warm

the
the

of

may

name

to have

Reynolds,that

the Blv/e

Boy, belongingto

been executed

for the purpose

the

lightin

masses

of

the

of

Duke

of

refutinga

pictureshould

be

yellow,yellowishwhite,or red j the CottageDoor, a CottageGirl,

Brook (Eng. 153),the Young Lavinia, the Ducliess of Devonshire,
Portrait of Mrs. Siddons, and the Portrait of Chjnn,a parish
clerk

262

(thetwo

PAINTING

last in the National

Gallery)
; the Boy at the Stile,
presentedto
the Harvest IFa^^wi,
exchangefor a violin;
presented
to a carrier,
who, from admiration of the painter's
used
to
work,
carry his
f
rom
Bath to London
free of charge; and the Ilofiourable Mr^.
paintings

Colonel

Hamilton

in

154."

Gainsborough'sdaughter. By Gaiusborough.

GraJiam, at Edinburgh. There

are

tliree

and five
Gallery,
Reynolds and

picturesby Gainsboroughin

in the Dulwich

Gallery.
Gainsborough,we may name
Oeorge Stubbs, one of the best animal ^mintersin England, and
both excellingin horses ; Oeorge Barret, and Julius
Sawrey Oilpin,
Csesar Ibbetson, both landscaj"e
painters; and, as foreignartists who
in England in the eighteenthcentuiy, and
worked
to ^me
extent
the National
As

Portrait

cotemporariesof

GREAT

IN

influenced

the

263

BRITAIN.

English style Oioyaiini Cipriani;Angelica Kauff"

school ; Francesco
speakingof the German
the adoptionof landscape painting by
Wilson
have
as
we
PhilipJames de
was,
seen, mainly due; and
celebrated
a
scene
Lontherbonrg,
painter.
BeigaininWest was bom in America, and is said to have obtained
his first colours,made
of the juiceof leaves and
berries,from the
Ked
He
and
Indians.
was
self-taught,
brought with him to his
all
the
American
adopted country
independenceof spiritin which he

alreadymentioned

man,

Zucoarelliyto

had

been

out

an

he

had

whose

bred.

in

advice

His

determination

great advance
and
subjects,

the

on

for himself,are

conventional

the introduction

in his

figuresare
such

as

Christ

t/iePale

on

the

Duke

in life and

; and

the DeaJth

Westminster,

be

to

work

as
deprecated,

the task ; but his works were

a
of historic
mode
of treatment
blamed

the

at

time,

was

contem"

mental
instru-

by which historic
colouringis feeble,and his

trammels

the
His

character

healingtJis Sick in the

Horse
of

bound.

were
sculptors

wanting

perhaps

to

of
importantcompositions

costumes, although much

poraneous
in breaking down
of
some

paintersand

imitation,and

avoid

to

original
scarcelysufficient genius for
manner

; but

Temple;

in

of his works

some

Christ

Rejected
;

"

Death

of
of General Wolfe,in the possession

replicaof

which

is at

Hampton

Court

"

he

displayedconsiderable technical skill and refinement of feeling.

much
was
one
was
patronizedby the King (GeorgeIII.),
of the firstmembers
of the Royal Academy, and succeeded Sir Joshua
of that institution in 1792.
President
as
Beynolds
James
Barry,a native of Cork, endeavoured, like West, to paint
historic subjects
characterized by
in the grand style. His works
are
force of conceptionrather than
deficient in
power of execution ; he was
of
the enerform
and
in
but
f
or
truth
of
getic
knowledge
colouring;
feeling
with which he worked
on
againstevery disadvantage
perseverance
is worthy of high respect. Unfortunatelyhe was
irritable by nature,
and quarrelled
with his best friends,so that he was
expelled
eventually
from the Boyal Academy. His best designsare the series of allegoric
picturespainted,for the Societyof Arts, on the walls of their meetingin the Adelphi,at a time when
he had to work at night for the
room
booksellers to gain a scanty subsistence.
It had been intended that
historic
and
should
be executed, each by a
two
eight
allegoric
pictures
dilFerent
artist. Ko payment was
were
to be given,but the painters
to receive the proceedsof the exhibition of the work when
finished. The
offer made
to Angelica Kauffman, Reynolds,West, Cipriani,
Dance,
Mortimer, Wright and Barry for the historic,and to Romney and
Edward
Penny " for the allegoric,
pictures was however declined by
all except Barry,who, filledwith zeal for the revolutionizing
of British
much
Art, offered to do the whole series. On its completionhe was
West, who

"

"

littleknown.
He was one of the original
members, and the first Professor
succeeded by Barry.
the
a
t
in
he
which
was
Painting
RoyalAcademy,
post

of

Now

PAINTING

disappointed
what

at

he

considered the
lack of public

appreciation.
An

of

account

the

pictures
published

was

self
by Barry himin

they

1783:
tended
in-

were

lustrat
il-

to

this

great
or
"

maxim,

moral truth,
That

the obtaining

ness,
happiw^ell

as

individual

public,

as

pends
detivating
cul-

on

the

human

ties."
faculOur

lustrat
ilis

from

Ttie Victors

Ofym-

at

which

is

ft. 10

in.

pia^
II

high by 42 ft.
long. At the
right of the
picture, the
in

conquerors

the games

are

receiving|'the
prizesat the
hands

of

judges.

the
Two

of the athletes

carrying

are

father

their

Diagoras,
former
In
near

the

victor.

group
this the

IN

GREAT

265

BRITAIN.

chief person
is Pericles,whose
those of the Earl
features are
Chatham.
the
chariot
In
is Hiero, of Syracuse; whilst the leader
the Chorus

is

and

pictureMinerva,

paintingsby Barry
works

Pindar, the

that at the other end

the base of the statue

at

be

supposedto

of Hercules

form

one

at the

statue

Hercules.

The

few

series of decorative

These
historic

of any

importance in England, and, however much they may

in
criticism,they are
worthy
depreciated the light of modern
attention

account

on

of the evident

desire

of the

of

of the

figureseated

himself.*

representsBarry

of the

rightend

of

artist to advance

be
of
the

of
principles

high art {Eng,155).

SingletonCopley was bom

Jolm
ambitious
his

than

aims.

Some

and

truth

West
of

or

Barry, he

his

in

America, of Irish parents. Less

succeeded

more

fullyin attaining

compositions show great dramatic

example, the Death of Chatham and
power
the DeatJt of Major
former
is grandly conceived, well
and
valuable
executed,
as
containinga group of faithful poHraitsof
of the time ; whilst the latter is full of the deepest
pathos,and
great men
is moreover
in which
incident took
set in the actual scene
the ti-agic
of S. Heliers,Jersey,taken by the French
place viz. the market-place
in 1781.
Other great historic picturesby Copley are
Charles I. orderation
hvg the arrest of fiveMembers of tlie House of Commoiis ; the AssassinCharles
death
and
s
of Buckiiigham,
King
signiny Strafford!
historic

as, for
Peirson.
The

to nature

"

"

warrant,

Reynolds, executed
several portraits
and simple groups
ment,
characterized
by dignifiedrefineof
of
and
character.
truth
form,
individuality
grace, beauty,
HamiUoii
Among his best works are the portraitsof LoaIij
(who sat to
him
of
and
the
TJie
Parson's
and
Laughter,
times)
many
groups
Neucton
Milton
dictating to his
sJiowingthe effects
of tJie Prism;
and
the Passions.
the
surrouivded
ht
Daughters,
Infant Shakespeare
works
much
esteemed
at the present day. He
are
never
Romney's
exhibitedat the Royal Academy.
Joseph Wright, of Derby, a very versatile genius,is chieflyknown
'of firelight
as a painter
subjects.He succeeded equallywell in historic
His
and
in treatinggroups
of children.
portraits,
subjects
especially
finest work, an
Experiment with the Air-pump^ is in the National
He
Gallery.
paintedduring the latter part of his life in his native
of Derby. His fame has been overshadowed
town
by that of Reynolds,
and
but
his
resembled
in stylethat of the
work
Gainsborough
Romney,
last-named,as may be seen by our illustration (Eng, 156),which is a
good example of Wright'sforcible drawing.
Heinrich
in England as Henry Fnseli,a native of
Fuessly,known
of
vagance
artist
Zurich, was an
great power, often,however, tending to extraby his illustrations of the English poets.
; he is well known

George Roniney, who

note

Arte,'by

H.

the
Tnieman
on

has

been

by Jamea
pictures
Wood, 1880.

compared

Barry in

the

to

Great

Room

of the

Societyof

150." Maria.

Dy Wrte^Hof Bathy. In tlu Mmr^

C^U^tiM.

PAINTING

He

executed

GREAT

IN

series of

267

BRITAIN.
"

Milton Gallery (in emulation

paintingsas a
of Boy dell's
not very
was
Shakespeare Gallery"),but the venture
of painting
successful. As professor
at the Royal Academy, he fostered
of the risingmen
of his day.
the geniusof many
James
Horthcote paintedseveral important historic picturesin a
a

"

"

bold

and

forcible

manner,

Pius

Officers Pope
to

VI.

of which

one

is in the

"

"

the

South

Pre8entatio7i

of British
He

Kensington Museum.

designs for the '^ShakespeareGallery/'originatedby

many
Alderman
did much
both
to encourage
a lover of the arts, who
Boydell,
in England. It was
in 1786 that Boydell
painters and engravers
made

resolved

the
falsify

to

exist in

not

Pall

Mall,

England

and

many

assertion

; and

that

genius for

historic

painting did

three years later a gallery

was
completedin
executed.
artists
All the best known

fine works

includingReynolds,West, Barry,Opie,Northcote,Romney, Stothard,

"

Fuseli, Smirke, Hamilton

and

Westall

"

received

commissions.

gravings
En-

after the

circulated,and, poor as
pictureswere
extensively
doubtless
aided
in
they
stimulatinga love of
were,
many
art in England. It seems
a
pictorial
pity that Alderman
Boydell's
scheme
ended in disappointment,
and that he was
to
compelled sell by
lottery his galleries,
pictures,drawings,"kc.,to pay oft his debts.
Some
few paintings,''
not
says Redgrave, had great merit, and were
wanting in vigorous originalconceptionand design; others were
theatrical and
extravagant, exaggerated by faultycomposition and
bad drawing ; but the most
of
defect was
the total absence
common
and
historic feeling,
decked
the display
of mere
life
common
prettily
an
draped; while some, indeed, whose only character was
attempted
humour, closelyapproached caricature."
John Eoppner was
time a fashionable
at one
portraitpainterand a
of

them

"

"

rival

of

Sir Thomas

well executed.

are
pictures

WiUiam

him

Among

his

Beechey was

celebrated

Blake,

the

visionaryenthusiastic
charming his admirers

engraver,
of which the best known
productions,

of Experience,and

his

His

the Giant

Emanation

eccentric

that

have
scenes

of

been
are

as

|"ainter.
portrait

and

to think

by

his

by

his wild

Blair's
that

Grave'

appeared in
the

mind

as

imaginative

Sojigsof Innocence

AUnorij which

and

Songs

{Eng. 157).
1804, is

so

of its author

the Booh

Opie,successful
known
chiefly
by his Assassination
full of dramatic

of

poet, also worked

qf Job (1825),though many of

full
of tenderness and feeling.
unnatural, is
is
alike with portraits
and historic subjects,

deranged,but

weird

are

illustrations

it is difficult not

John

and

in his time

at Hampton
Court, gained
George III. at a Beview, now
the honour
of knighthoodand election to the Royal Academy.

painterand

the

of Oxford.

pictureof

William

must

landscapebackgrounds of his
of
best works are the portraits

The

Pitt,Smithy the actor, and the Countess

Sir William
His

Lawrence.

of David
but

energy,
of William Siddons
portrait

somewhat

ception,
a
powerfulconexecuted
carelessly

Bizzio

"

in the National

"

Gallery.

157." Death's
One

About
Door.
a.d.
By William BUke.
of the illustrationsof Blair's Grave.*
*

1804.

PAINTINQ

Morland

Oeorge

works

whose

was

GREAT

IN

269

BRITAIN.

landscapeand animal painterof great merit

happy renderings of simple "nglish

faithful and

are

such

the

sington
Beckoning in the South Kenof
the
recognitionas one
special
first Englishpaintersto do for English peasants what was
so
ably done
of
the
Dutch
for
classes
Holland
the
lower
masters
by
great
; though
his hasty and often careless execution
does not bear comparison with

country

scenes,

as

well-known

Morland

Museum.

deserves

of the Dutch

the careful elaboration of the masters

Inside

of

several different
As

skilful

Stable,is in the

renderingsof the

school.

piece,
master-

National

Gallery. He
subject{Eng,158).

same

painterof

well

His

battle scenes, in which the horses

Abraliam
mention
Cooper.

painted

especially

are

rendered, we
whose
in
Lawrence, a portraitpainter,
works, chiefly
of
b
ut
in
oils,are characterized
are
slight
by great delicacy feeling,
of character.
He was
execution,wanting in force and in individuality
must

Sir Thomas

elected

Associate

an

of the

before

Koyal Academy

he had

age (24)requiredby the statutes,and he succeeded

full member,
to the king. In 1794
he became
a
success

and

elected
His

1820.
historic

President

of the

numerous

The

Academy

The

of Pitu

Waterloo

VIL,

and

the death

works
Cardinal

the

children, good examples of which

Master

carried

began

life

Baebtim

was

the art of
as

Reynolds,and

to

treatingchiaroscuro

He
have
and

painter,and
is said to

which

he

was

His

President.

several

was

and

and

^'ature

extremelysuccessful

modelled

his

as

Many
him

in

that of
of

manner

is,

name

portraitsby
in the

styleon

master's

of colour ; but his

the consideration
it deserves.
Four

He
ladies

great perfection.He

masses

hardlytreated with
of a high order of merit.
are
Portrait Gallery
National
; and

works.

Lambton

of that

acquiredmuch

the

of Lawrence,
contemporaries
was

have

in

Castle contains

portraitsof

portraitpaintingin oils to

miniature

catchinglikenesses.

are

of the chief

one

his best

the

1815,

Emperor
famous.
especially

are

of

in

West

have

portraitsof

Gonsalvi

Gallery possesses several

of
happy in his treatment
especially

and

of

his

day
great
portraitsof the

as

Windsor

at
Grallery

National

{Eng. 159).
Sir Henry

thenceforth

knighted

was

on

take rank
value, although they scarcely

fine collection of Lawrence's

Francis,

He

the

Beynolds as painter
and

of the celebrities of his

likenesses

highestexcellence.
a

assured.

portraitpainterwas

as
was

reached

rule,

of his works
are

in

the

Edinburgh Academy, of

portraitsinclude

those

of Sir Walter

and
Scott,Sir David Baird, Dugald Stewart, Francis Jeffrey,
many
other great men.
Archer Shee, President
of the Eoyal
WHliam
Owen, Sir Martin
Philips,Oeorge Henry Harlow, and Sir John
Academy, Thomas
be named
Gordon
Watson
must
as portrait
paintersin oils,
cotemporary
with

Lawrence

Thomas

and

Kaeburn.

Stothard,one

of

the

first and

best of

English book

illus"

PAINTINr,

trators, also
richness

produced
and
colouring

of

of

Intemperance,on
Pilgrims,are among

150.

His

Nature

"

illustrations

vignettesto

of
(children

William

painter,but
landscape
country.

Mr.

Burleigh House, and the Canterbury

and most
popularof the paintings.

Calmady).

By

Lawrence,

a.d.

1824.

Bunyan's Pilgrmis Progress {Eng^ 160),and

Uogers^sPoems,

Joseph Mallord
No

force of invention.

the best known

to

271

BRITAIN.

for
important paintingsremarkable
The allegoric
composition

several

staircase at

GREAT

IN

the

are

fine gems

Turner

was

not

only the greatest English

of
greatestinterpreter

landscapesconvey

so

his

of art.

natural

or

nature

of any

complete

time
sense

or

of

272

light,.shadow
his.

as

PAINTING.

This

he

and

atmosphere,or displayso

great
with

success

was

unwearied

pursued
years of patienttoil,until
ambition
scajie painter's
something of its fulness,a
"

entire

only obtained

by
winning
assiduity,

at last he attained

to

mastery of colour

laborious
secret

study, which

after

the zenith

secret

of

in

land-

the power of truthfully

renderingsunlightin
tjisk which had baffled all his predecessors.

160." Christian at the Palace Beautiful.

llluHration

of *

The

Piij/rim*s
Progress,*

By Stothard.

specialcharacteristics have been rendered familiar by the

admirable
engravingsof John Pye, Robert Wallis, and others. Every
and marvelled
has felt the subtle charm
of his atmosphericeffects,
one
in every
The
at the vivid truth
form.
of liis rendering of water
the
in
desolate
of
the
wastes
sea
tempest-tossedocean,
repose, the
the
distant
the
the
shower,
jagged rain-cloud,
drifting
loweringfog,
all live again on
river
his canvas.
But perhaps not every one
has
Turner's

"

r/-^

4xmL

^-f t _^Jtf":^g^
7"'l

274

PAINTING

fullyrealized

the moral

his works

meaning of

often presentbetween

theyso
most
deeplytroubled

"

the

patheticcont"."t^

of nature,
self-sufficiency

the

wbet

even

and the dependence of masi

or
wildlyagitated,
for
solace
and
In such
iirork":a"
sympathy
support.
upon
the
Fire
the
and
at
Sea,
Ulysses
deridingPolyphemus,
Shiptcreck(allin
the National Gallery),
the solemn
of the elements
irresponsiveness
human

whilst

strikes

the children of the earth

with

us

add
suffering

was

Boyal Academy
full member

akin
feeling

in

born

out their terrible bait It*

fighting
pain,whilst suggestionsof human
of lonely
a scene
beauty.
many

are

to

sadness
pathetic

Turner, who
-

to

in London

1789, and

was

1775,became

in

elected

three years later. After

under an assumed name

most

died unmarried

leavinghis

wealth

and

his unsold

at

student

Associate

an

in

of

tht*

1799, and

successful career. Turner

mean
lodgingin Chelseti,

picturesto

bis

country. lie

was

Beynoldsin St. Paul's Cathedral.

It would delayus too longto attempt to trace the gradual development
of Turner's peculiar
styleas illustrated in the fine collections of
his works in the National Galleries ; we can
few typical
a
onlyname
examples. The JSeach at Hastings,the property of Sir A. A. Hood :
buried

nesu*

Sir Joshua

ZAne

in the South
Fishingoff Hastitigs,
Kensington Museum
; and
tinth tlteSibyl,
in the National
his
earlier
are
Gallery,
among
based upon
was
works, producedat a time when his practice
largely
the manner
and that of Claude
of the best Dutch landscapepainters
Lorrain ; and when
far from having attained that mastery of
he was
his best time.
The Calais Pier and Ulysses
lightwhich distinguished
Childe
deridingPolypluemus
belong to the middle of his career.
Harold's Pilgrimage; the Temeraire ; Venice from the canal of the
Giudecca ; and the Approac/ito Venice are amongst his finest pictures,
jEneas

and
was
are

but before any diminution of his powers

life,
and brillianteffect
noticeable. In these works, daringcomposition

were

producedlate

in

carried to their utmost

either
artist,

througha

pitch. In

failure of his

the

of
pictures

or
eyesight

from

his last years, the

other cause,
some

such as
devoted himself to attempts to depicteffectsof extreme
light,
the means
command
at a painter's
are
quiteunable to imitate ; and his
his finest. In addition to
latestworks are from this cause
by no means
he published
two
hundred and seventy-five
numerous
largepictures,
and

and designsas illustrations of books,

importantseries of landscapes
the
best
were
b
y
reproduced
engravers of the day. His Liber
of
book
Studiorum,or
landscapestudies,producedin rivalryof tlic
of any
Liber Veritatisof Claude,would alone have made the reputation
other artist ; it was
followed by the series of Sovifiem Coast Scenery,
which

the Rivers ofEngland,the Rivers qf France and others.

noticeable in the works
Tiurner's infiuence is very distinctly

Creswick,Koberts,and
Callcott,
Collins,
whilst many
of his immediate
painters,
formed their styleon his.

other
successors

of

landscape
distinguished
may

be said to have

275

BRITAIN.

GREAT

IN

Painters,
JSnglidb'^ater-colour

1775

A.D.

1880.

A.D.

"

eighteeDthcentury the art of Water-colour

had
first practisedin England.
Water-colours
Painting was
long
their
but
been
and
illuminators ;
use
employed by miniature painters
for
largeand important works was mainly due to the efforts of the
of the
book
who
for the enthusiastic antiquaries
worked
illustrators,
the

At

close

close of

eighteenthand beginning of the nineteenth centuries,and

faithful
as
give,with such means
they had at their disposal,

of the
to

strove

delineations
first

the

of

the

employed
became

give them

in that

used

were

in

opaque

transparent form

their chief charm.

When
patrons'works.
and
wards
only afterquality,

in their

described

scenes

water-colours

which

spiteof what

In

is

has

contrary, paintingsin water-colours,if executed with

and

preservedwith

durable as
To John

of

ordinary amount

an

works in oil.
Bobert Cozens

paintingin water-colours

is due
to the

of
position

; there

vastness

and

to

the

colours

proper

as
practically

are

care,

independentart.

an

says in his Century of Fainters, "his works

and
shade and the suggestionof colour, but
light

poetry

urged to

of firstraisinglandscape

honour

the

thought

now

been

grave
Red-

little beyond

go

they

are

full of

of
Alpine views ; a sense
him
that
as
a
pictures
stamp
have
he seems
true
of atmospheric effects,
artist } a master
to
fully
appreciatedthe value of mystery." The fine collection of English
water-colour
contains three
drawingsat the South Kensington Museum
works by Cozens ; they show that true water-colour art was
as
yet in
its

infancyin

Others

who

water-colour

tempera as
whose

is

solemn

tender

his time.

contributed

well

as

Paul

and

death

is

are

Bandby,

well

but

Thomas

our

great school of

who

painted in
Payne (theexact

; William

unknown,

Warwick

of

foundations

lay the

in water-colours

great Tlimer, all of whom

Museum.
Thomas

to

painting were

birth

in his

in his
tranquillity

of
Cozens)
; John Bmitil,

London

grandeur

opaque
date of

cotemporary with
Oirtin,and, above all,the

who

was

in
represented

the South

Kensington

Girtin,the cotemporary and rival of Turner, was, like him,

bred, and a faithful interpreterof the atmosphericeffects

peculiar

to

the

smoke-laden

cityand

its environs.

To

the

delicate

execution and poeticfeeling

of Cozens
he added a force and clearness
of colouring,
with a generalbalance and harmony of tone such as had

before been attained in water-colour painting; whilst Turner, by

his perfectcombination
of all the great qualities
of his cotemporaries,

never

combined
with that peculiardelicacyof execution and mastery of
aerial effects of every varietyin which he has never
been surpassedf
Girtin and
may be said to have completedthe developmentof the art.
^I^umerabandoned,towards the close of the last century,the old method

276

PAINTING

executingthe work first in monochrome, and adoptedin its place

The transition
the plan of layingin each objectin its true colour.
of

"

"

truth

as

short

and
one.
Power, brilliancy,
result of the new
that it soon
manner,
seded
superthe old one, and such works could no longer
be classed,
as heretofore,
dramingSfbut began to take rank as water-colour paintings."

period,"
says Redgrave, was
were

the
evidently

so

George Barret,John Varley,William

Henry Fyne, John Oloyer,

who with
Delamotte,William Havell, and Joshua Cristall,
several others were
the founders of the Water-Colour
were
Society,
and
all
their
members
works
of the same
at
are
school,
represented
by
the South KensingtonMuseum.
Of these,all except Delamotte were
of the Societyof Painters iu
members
the
sixteen
original
amongst
founded
in
1804
w
hich
was
Water-Colour,
by those artists who jiustly
the
considered that their work could not be fairlyappreciated
at
and
Girtin
of
as
member
now
was
a
dead,
Turner,
RoyalAcademy.

William

the

Academy, could

that in 1832

"

not

jointhe

We
may
in Water-Colours

movement.

of Painters
Society

new

here
"

was

mention

formed,

of Painters in Watername
Colours."
These institutions have since received Royal Cliarters.
John J. Chalon and Thomas
Heaphy, who attained to considerable
artists in the earlypart of the present
eminence
water-colour
as

which

in 1863

century ; but

both

were

David Cox, who

remarkable for his

of the "Institute

the

took

far

by
surpassed

painted in both oil and

feelingfor the poetry of

and
water-colours,

was

nature, and

of
power
of
characteristic
beauties
His
t
he
works
Englishlandscapes.
rendering
in which the leadingfeatures are breadth
are
trulyideal productions,
and
in

whether
at rest
or
transparency of colour, beauty of foliage,
and
Of
of
shade.
life-like
and
Cox, Redgrave
motion,
play light

says,

"

No

painterhas givenus

summer-time,

ere

opened leiif

more

trulythe

been

givenwith greatertruth

is citeilby the
The
Museum

are

stime

author

as

worked

the watery
over

when the
have
land,
never

the

by David Cox."
exampleof
typical

than
a

series of landscapesby
eminentlycharacteristic.

Peter de Wint
faithful and broad

of early
brilliancy

sun

The
fitfulbreeze tliat rolls away the clouds from
shower and the sunshine chase each other
.

moist

has dried the springbloom from the latelyof foliage

and weedage in the
and shimmer
sparkle

the

out

an

him

in the

his

sun,

IVelsh Funeral
lences.
peculiarexcel-

South

original
styleof

Kensington

his own,

giving

of vast expanses of country,without any

renderings
of
the
tone and
at
rendering details,cultivating
especially
attempt
colour.
National
values of
The
fine water-colour
Galleryowns
many
and
in
the
South
there are two
Museum
him,
by
Kensington
drawings
him
merit
of
{Eng,162).
by
great
largeoil-pictures
of the best English
one
Anthony Vandyke Copley Fielding,
painters
of the scenery of the Sussex Downs, and of marine effects,
did much as

President of the Water-Colour

of
Societyto improvethe position

the

IN

professorsof
of

branch
admirable

and

of

Samuel

mountain

Front

had

He

excelled

architecture.

keen

of view

his

and

well

were

happy.

colourist he

Museum

several

valuable

colour

drawings

his hand.

from

William

Hunt

ranks

the best
among
colourists of the

century

English
present

his

subjects

either rustic

were
or

fruit and

he

was

scenes

flowers,and
skilful

very

in

in his

rendering texture

Catter-

George
guished
chiefly distin-

works.
is

mole

for

figureswhich
Samuel

lifelike

are

matic
all dra-

Palmer,

much

owed

his

forcible.

and

Linnell,
successful

painter.

who

ing
the teach-

to

his father-in

of
John
very

very
South

The

Kensington
contains

was

As
not

was

successful.

points

chosen,

grouping

always

water

of

sense

his
picturesque,

the

an

England.

drawing

in

was

interpreterof

lake

scenery

own

Oeorge

art.

Eobson

Peimel
the

his

His

law,

was

landscape
water-

those
especially
are
sunsets,
representing
most
alcharacterized by an
too great brilliancy
of colouring.He worked

colours,

in oil
colour

as

well

; and

as

in water-

brated
is also cele-

for his

etchings.

GREAT

BRITAIN.

."J|l|liffl'I

277

278

PAINTING

Topham was
taken
frequently

William

Francis
His

subjectswere

and

Ireland.

Frederick

Walker,

chieflyfamous

for his

he

treated

works

ordinary

rustic

water-colours.
did not

He

163.-

his works

National
which

are

are

the

The

Vagrants

Gate.

his artist-lifeas

contributed
a

member.

Jlarnelin

(1869),and

best

the

^lllvir

known

the

wood

and

oil

known

Best

Old

Gate

among

in

cut

off in his

the
He

His
fame
rests
Ingelow's Poems, and other works.
and
of
his
than
rather
imagination,
pictures,
poetry
technical ability,
though his modelling and chiaroscuro
high order.

he

Pied

on

the

was

Jeaii

pathos,
marked

any
were

He

Piper of

illustrated
on

of

prime,

illustrations.

of which
Society,

(1870).

the

{Eng, 163),all

for book

pictures are

of Love

Royal Academy,

the

promisingartist
on

in both

of Refuge^ both

Harbour

and

an

his

of

as

Fred. Walker.

engraver
frequentlyto the Water-Colour

Among

painted

his

famous

first became

honours.

By

the

Gallery,and the Bat/iers

oil-paintings.

Oeorge John Pinwell, another

began

He

Associate

an

and

early

afterwards

and

Old

Scotland

classic style,and
dignified,

full academic

receive

from

artist

was
age of thirty-five,
with
Like
Mason,
figures.
landscapes

the

at

in

elected

successful water-colour

Spain,and
Italy,

from

scenes

white;

was

live to

very

highly valued.

very
in black and

worker

but

picturesof

now

are

died

who

of

very

GREAT

IN

The

Noi'vnch

Of the few local schools of art

of Norwich

is the

only one

164.

John

"

called

is still reverenced

which

School.
have

arisen

in

England, that

importance.

Norwich.

Cottages near

Crome, commonly

his memory

of any

279

BRITAIN.

"

Old

By

Old

Crome,"

in his native

Crome.

was

town.

founder, and
His works, which
the

280

PAINTING

of
that
masters, especially
betray the influence of the great Dutch
Hobbema, are chieflyremarkable for grand effects producedby simple
bit of heath becoming full of poetry in
means
a clump of trees
or
a
his hands.
MougeAs typical
name
we
examples of his manner
may
hoM
Heathy and ChapelField,Norwich, in the National Gallery. He
exhibited
at
but fourteen picturesat the Royal Academy, whilst
"

Norwich
was

he showed

power,

Cooke

two

hundred.

His

son, John

Bemay

Crome,

painterof merit.
Stark,an able follower of Crome, though inferior to hiin in
of the London
exhibitions.
His views
sent picturesto many
Scenery of the Yare and Waveney were
engraved by GroodalU
him
A
and others.
is in the National
tlteYare
Valleyof
by

also
James

of the

some

Galleiy.
Oeorge Vincent

effects. His best known

sunlight
work is a View of Greenwich
Hospital,John Sell Cotman is celebrated
and his engravingsof architectural
and sea-pieces,
for his landscapes
He was
views.
a
artist,and in 1808 contributed sixty-seven
prolific
fortunate enough to make
works to the exhibition at Norwich.
He was
friends with Dr. Monro, at whose house he met Turner, Girtin,Varley
and other famous
not very successful during his
artists ; but he was
his family by teaching. On
a
nd
he
had
and
himself
to support
life,
Cotman' 8 death the school of Norwich
and no great
declined rapidly,
was

famous

for his

local artist has risen since his time.

Modem
John

Landscape and

Constable,who

stands

other Painters
at

the head

oj England,

of modern

realistic landscape

was
an
ponent
English painter;a faithful expainters,
pre-eminently
of English scenery.
of
works
Constable's
are
specialinterest
as
teachingthe student the importance of giving the true values of
colour,and he may be said to have been the first landscapepainter to
the difl^culty
of renderingthem.
master
It is to their skill in following
what
best artists of the present
that
the
was
begun by Constable,
up
in treating
day owe their success
landscape.As with Crome, Constable's
of
the
His
subjectsare
simplest.
Hamjystead Heath, in the South
scapes),
Kensington Museum
(which contains a good collection of his landis merelya country view, with two donkeys in the foreground,
but it is instinct with thought and feeling,
and betraysthe most earnest
of
His
is
also
fine work.
Constable
nature.
a
study
Salisbury
and
his works
are
delightedin renderingpassing effects,
mostly
luminous
and
of
remarkable
a
light,
pervaded by
are, moreover,
glow
for truth of colouring,
harmony of tone, and thorough mastery of the
infinite varietyof misty atmosphericeffects peculiarto the showerj'
of his stylewere
English climate. In later life the peculiarities
and his pictureslost soflaething
of their trut)ito patur^.
exaggerated,

IN

and

overladen

were

with

into
the

the

281

BRITAIN.

pigment. The influence of Constable

of his English cotemporaries
; and

in the works
marked
very
exhibition
of his Hay-wain
on

GREAT

at

Paris

in

1824

had

much

is
the

influence

landscape painting,which has since risen

including
great importance. Several of his best pictures,
the famous
Cornfield,
VaMey Farm {Eng.165),and the Hay-ioainy
French

school

of

such

165." The

ValleyFarm.

are

in the National

the

Salt-Box, and

By Constable,

Gallery;
other

and

a. d.

1835.

to these

In the Na'ioml

have

pictures,presentedby

who also gave

Constable,the painters daughter,

Gallery.

recentlybeen
the

late Miss

to the South

added
Isabel

Kensington

Constable
Museum
several hundred
of her father's sketches.
of the few English artists represented
in the Louvre, which
severalof his landscapes.

is

one

owns

282

PAINTING

the
AngBstUB Wall Callcott,

Sir

the musical
directed
as

renderer

of

Towards

in the

are

English

National

His

scenery.

purityof colouring.
produced several sacred and

close of his career, Callcott

and
of which the Rap!iael
pictures,

and

and

FrntuvnTia

MiUon

his

Daughters are the principal.Although showing good

feelingfor beauty, they are generallyspeaking inferior to
The

William

was

in which

scenery,
in

Galleryhas

National

CoUinfl

and
figures

the

land, and spent some

in

time

and

taste

scapes.
land-

his

painterof English rural

incidents introduced
He

effective manner.

extremelylifelike and

an

and

several of his works.

excellent

an

smaller

con^dered

Collections,
are

for breadth

the

historic

Callcott,

portraitpainterin oils,but early

quicklyattained to high rank

Italian,Dutch, and
remarkable
chiefly

are

Dr.

and
landscape,

to

of which

works, many
his best,and

life as

began

composer,
his attention

of the celebrated

brother

side
sea-

treated

were

studied

Italy,producingseveral

and

under

Mor-

fine Italian landscapes,

as
qf Ulyssesat Sorrento,and the Bay of NapleSy
in the South KensingtonMuseum
door
Englishout; but his true spherewas

the Caves

such

and
life,
"

his

all in the National

Pet

King, the Fravm-Catchers, Rustic Civility

and Sunday MorrUng, the Sale qf t/ie
Collections
tJie
oii
Look-out,and many similar works in private

Happy

LanihfFishermen

as

"

simpleand lifelike renderingsof incidents with

every Englishman is familiar.
but
Clarkson Btanfield began his artist life as a scene-painter,

are
possession,

produced many

fine marine

extremely

characterized by
chiefly
effect by artificial means

entire

the

absence

attempt

wards
after-

works

pictures. His
of any

which

are

produce

to

renderingsof actual

simple,faithful

they
they are, many of them,
wanting in vitality,
of note.
Of
valuable as exact copiesof foreignlocalities and buildings
this class are the CasieUo d^Ischia from tlteMole ; the Isola BeUa, Logo
Mount, Cornwall, in the South Kensington
Afaggiore
; S. MicliaeVs
and
similar works.
Stanfield took
other
Museum,
especial
many
pleasurein painting the open sea when unruflled by storms, and has
of calm.
His sea-pieces
with shipping
rendered it admirablyin moods
to the Zuyder Zee, Texel Island, and
are
: the E'ntrance
very numerous
the Lake of Como, the Canal
t/te
Gitulecca with the Church
of the
of
the best. The Day after
Jesuits,all in the National Gallery,are among
scenes,

the

and

are

if sometimes

Wreck, and

that Sttinfield

Dutch

not

was

Fast
unable

Jiuliaman
to

do

mi

Shore

justiceto

in

the Scheldt
of

scenes

less

prove

peaceful

character.

Jolin Martin

adopted

landscape and
exhibit
element

to

seems

and

number

The

Behfiazzar's

works,

but

the

alike
grand style,"

and
architecture,

great dramatic
"

'^

in

some

be
the
Feast

idealized

in his treatment

touched.

all he

His

of

works

of Wilkie, " his great

power, and in the words
the geometrical
propertiesof space, magnitude,
of
which
he
be said to be boundless."
use
may
and

the

ideji of his

Fall

qf Nineveh
peculiarities
may

arc

be

considered

his best

gatheredfrom

his

GREAT

IN

of Pompeii and

Destruction

painted in oils,but

he also

of

in

English scenery

283

BRITAIN.

Herculanewm,

Martin's
beautiful

producedmany

of which

water-colours,one

"

largesubjectsare
and

poeticsketches
mond
from Rich-

View

is in the South

Kensington Museum.
of the pathos of
Prancis Danby, a man
giftedwith a vivid sense
human
life and the touching sadness of natural scenery in its lonely
Amongst his most
beauty, paintedalike in oils and water-colours.
the
Poison
tree of Java
pictureswe may name
(now in
striking
Upas or
the South Kensington Museum), which
fascination
exercises a peculiar
the
also
in
the
is
on
same
spectator; DieappointedLove,
museum,
for the manner
remarkable
in which
the gloom of the stagnant waters
of the young
harmonizes
with the dejection
The
girl beside them.
Sunshine after
the Sunset at Sea after
a SJiower,
a Storm, and the Overthrow
in privatecollections.
Phcifraoh
and
his
Host
t/ieBed
all
in
of
Sea, are
Dayid
in a
Boberts, like Stanfield,began life as a scene-painter
Park

"

water-colour
and
oil-paintings
of the rapidity
of execution
and mechanical
of
in
the
acquired
earlyportion his career.

theatre,and
much
had

in

his

by picturesquegrouping of figuresand
He
is most
by
popularlyknown

architecture.

"gypt
These

and

the

show

His

works

truthful
a

racterize
cha-

are

renderingof

series of studies

from
Holy Land, publishedin lithography

in

his sketches.

his power
and accuracy
a
as
ings,
draughtsman. His oil-paintof most
of the famous
include representations
of
buildings

which
the

drawings retained
which
ho
dexterity

ledge
world, evince,in addition to masterlydrawing,a profound knowof effect,and a keen eye for the picturesque with, however,
"

indifferent

but
named
The

by

his

feelingfor

picturesof the

exterior

collections of

national

colour.

his

Among
and

best

interior of S.

works

bo
may
Vi"tina.
Step/ien*s,

rich in characteristic

England are

paintings

Boberts.

Eichard

Farkes

Bonington,an

Englishman by birth,was educated

the artists
France,
reputationamong
in that country before he became
known
in England. He
painted
both
in oils and water-colours ; and in the words
of Redgrave, his
works
marked
of the
master
a
were
by their originality.He was
much
w
hich
he
with
He
succeeded
figure,
painted
equallyin
grace.
and coast scenes, and his picturesquearchitecture
of the
his marine
in

had

and

acquiredconsiderable

"

Italian cities.

mostly in
and

from

"

His

"

works

differed from

those of his

countrymen

of the masses, both of lightand of shadow,

of the change which
shadow
induced on the
his appreciation
the

local colour."
on

"

English

water-colour.

simplebreadth
Like

Constable, Bonington exercised a great influence

those who
worked
in
on
artists,especially
quately
Owing to his long residence abroad, he is very inade-

and

French

in England, but
represented
fine water-colours

from

his hand.

the
In

National

the

Louvre

Galleryowns

three

is his Fram'ois

/.

'toiththe Duc/iesse d^ Utamj^es,

Patrick

Ifasmyth
"

the

son

of Alexander

Scotch painter
a
Ifasinjrth,

284

PAINTING.

of considerable

merit

has

"

likened

been

the

to

Dutch

Hobbema,

on

and his vividly

simple homely beauty of his landscapes
rustic
He
realistic
of
life.
was
a
rendering
essentially
painter,
and as such is held in high esteem
at the present day. There
are
in the National
of
hiK
several of his works
Gallery,good examples
of the

account

truthful

which
peculiarexcellences,

detail,forcible

century, stands

this

of

Painters

Sir David

colouring.

England,in

Wilkie, and the first to introduce

the

important feature of British genre

in some
Wilkie
respects resembled
a

but

first thing to strike the

humour
Wilkie

whose

vivid
Edward

element

which

is

so

painting.
his

Hogarth,
great predecessor

to

be

conveyed

observer,whilst in those of the

satire is the

than

rather

earlypart of

with

all familiar ; and

extent the forerunner
some

humorous

of the latter the moral

in the works

the

Wilkie, a Scotchman,

renderings of homely Scotch life we are

Bird deserves recognition
as
having been to
of

truthful
possessing

as

up

quietharmonious

of the Genre

the head

At

summed

be

may

and
effect,

is

always the
former
kindly

predominantfeature.

Until

1825,

exclusively,
winning
paintedgenre pictures

a
great reputation
the
Politicians
Blind
the Rent
Village
Fiddler,
by
{Eng. 166),
the Letter of Introduction,Duncan
Day, the VillageFestival-,
Gray,
the
National
Rent
and
the
at
South
for
Distraining
(in
Gallery
Kensington Museum), the Penny Wedding, and the Chelsea Pensioners,

his

of the Duke
possession
early compositions are

in the
These

characterized

are

crowded

Wellington,and
of

mostly

other

cabinet

and
figures,

with

colour

similar works.

size, and

they

are

called

incident.

painted in

pure

and

return

England completelychanged his styleand mcnie

such as the Maid
His later works
of Saragossa,and
in
the
National
Gallery althoughthey have
preaching,

which

be

cannot

all

are

of familiar

effective treatment

simple and

by

of them

Many

of

either

rich

transparent
brilliant,but which
admirably fulfils all the requirements of the
In the year 1825, Wilkie
and on
to Italy,
went
his
subject chosen.
to

"

Knox

"

of their

own,

and

displayconsiderable

picturesquegrouping,are
above.
and

In

an

attempt

he

htul been

in the
the

imitate

lost the

Velazquez,Wilkie

which

wanting

to

force

dramatic

of

or

tion.
execu-

his John
a

charm

and

of
power
those
o
f
enumerated
vitality

broad, rich colouringof Titian

quiet harmony

But
distinguished.

and

for his

balance

of tone

by
earlydeath, he would,

and have
risen
conqueredthese deficiencies,
historic piinterin the grand style. Wilkie
to a high position
an
as
contains
painted chieflyin oils,but the South KensingtonMuseum

however,

some

water-colour
interesting

William
to

probably have

Wilkie

pictures exhibit

less dramatic

great rival, but

excel

depth

of

sketches

by

Ennis

in

at
Mulready,
in his masterlytreatment

bom

colouring.

them
Of

jwwer
in truth

his oil

him.

Ireland, ranks

of familiar
and

humour

incident.
than

second
His
those

only
genre
of his

and
drawing and sweetness
the
paintings
followingare perhaps
of

C\

286

PAINTING

Crossinga Ford {Eng. 167) ; the

ing
FiglU Interrupted
; Giving a Bite ; First Love ; the Toi/Seller ; Choosand
the
Whistonian
Uie Wedding Gown
Controversy^
;
; IlaynwJdrvg
the most

remarkable

'-r^^^-^'^^r-

167."

the

Seven

Crossinga

7%e

Last

In

^^rai-^r-SI:

Ford.

By Mulready.

Ages of Man,

In

the

collection of life-studiesin red chalk

1842.

A. d.

South

In the National

Ualltry,

Kensington Museum

is

this artist.

by
birtb,
Leslie,a distinguishedartist of American
which
the
of
characteristics
paintednumerous
leading
genre pictures,
force of expressionand refinement
of feeling. His subjects
are
are
Charles

Bobert

illustrations
principally

of

of
Shakespeare,

which

the

Merry

Wives of

IN

GREAT

Windsor, in the South KensingtonMuseum

168." Uncle

Toby

and

Widow

may

and

be

Widow

quoted

as

Wadman

; Sancho

Wadman.

In the National

Toby

287

BRITAIN.

By LeBlie.
Gallerg,

{Eng.168),both
typical
examples.

in the

Panza, and

a.d.

Unde

1831.

National

Gallery,

288

PAINTING

Oilbert

Newton

Stuart

paintersof

AuguBtus Leopold Egg

and

also

were

subjects.Newton, a native of Nova Scotia,

but was
ing
-wantfeelingfor colour and expression,
in the South
in knowledge of drawing. His Portia and Bassanio
considered
of
his
is
fine example
best
Museum,
one
works,
a
Kensington
of his manner.
The works of Egg, whose
untimelydeath was severely
successful

genre

displayedconsiderable

felt,excelled those of Newton

His

colouring.
from

scene

Le

of his best

works

Viable

in

drawing,but

characterized

are

are

inferior to them

in

their

patheticbeauty.
Gallery,is considered

by

Boiteux,in the National

A
one

compositions.

Whilst

practisedby
landscapeand genre paintingwere thus earnestly
of
of
artists
who
so
men
endeavoured, with
arose
genius,a group
many
less success, to perfectthe grand style in English historic
more
or
all
|)ainting. Of these, Haydon, Hilton, Etty, Dyce, and above
Ejistlake

the chief.
Maclise were
Hilton produced many
fine works

and

William

of them

some

such

"

as

Christ crowned

with thorns ; the An^el releasing

S. Peter ; Edith and tins
t
lie
and
rescued by Uie JRed
Serena
discovering hoihjof Harold,
fortunately,
Knight, are characterized
by ideal beauty of design; but un-

Monks
Cross

owing

fullyrealize

to

the

to

undue

of

use

asphaltum,it

their

originalcondition,and
preservation.

of their

Benjamin

Robert

Haydon,

life

whose

pecuniarydifficulties,
paintedmany

is

to be

there appears
was

difficult

now

hope

no

long strugglewith

one

largehistoric and

works

sacred

"

of

which

Xenophon'sFirst Sightof the Sea, Christ's Entry into Jermalefu,

His power
the best.
was
were
Raising of Lazarus
among
of
the
effect
not equal to his will ; and although
unfortunately
general
of his compositionsis good, a close examination
some
betrays gross
of
and
of
carelessness
execution.
errors
drawing
and

the

William

Dyce, a

Academy,

and

of

native

after

Aberdeen, studied

visit to

Italysettled in

the

at

Boyal Scottish

Edinburgh.

He

soon,

however, migrated to London, and when in 1844 he exhibited his Joash

of the
Associate
chosen an
shooting the Arrow
of Deliverance, he was
of
in the Houses
Academy. He decorated the Queen's Robing Room
Biblical
and
of
historical
Parliament,
produced many
works, chiefly
of great
sul)jects,

William
his works
the

Etty,

to

masters

old

merit.
a

treat

he

man

of

the nude

approached

Venetians.

great industry,was

one

of the

figurewith

any real success,

in his flesh-tints the brilliant

The

difficulties of every kind :

exaggerated,the technical

etirlypart

of

his merits

were

excellences of

his

career

first

and

in

Elnglish
some

transparency of
was

beset

his
unappreciated,
his work

of

were

not

with

faults
stood
under-

rule,the subjectshe chose did not appeal with any

;
force to popular sympathy. Yet, in spiteof all these discouragements,
he worked
for himself an originalstyle,
out
and
won
a placeamongst
the very first British artists.
To quote his own
words, Etty'saim in
and, as

IN

all his

289

BRITAIN.

GREAT

to paint some
important pictureswas
great moral on the
The
heart."
Combat, or Woman pleading
/or Mercy ; Benaiahy Dam(VB
of Joan of Arc,
and the Syrems; three pictures
Chief Captain; Ulyeees
his best
three of Jvdith, are
named
the
artist
and
himself
as
by

works
tliA

"

\ but

Helm,

also mention

must

we

The

and
Bathe:)',

Youth

the Prow

on

and

Pleasure

at

the

Wife of Candatdes, king of Lydin,

Descending,and Cupid alieltering
Psyche,the two last in
the South Kensington Museum, as examplesof his peculiar
excellencies.
similar
in
William
Edward
Frost paintedpicturesvery
subjectto
those of Etty : his female subjects
but lack the powerful
are
graceful,
colouringof his rival.
and varied accomSir Charles Eastlake,a man
of high scholarship
plishments,
exercised an important influence on paintingin England,
which
and his writingson art.
both by his pictures
His oil paintings,
ing
not numerous,
characterized by delicate grace of execution,feelare
are
and
of
for spiritual
effective simplicity groujnng.
Christ
beauty,
lamenting over Jerusalem, in the National Gallery,is considered his
masterpiece; other examples are Greek Fugitivesin the hands of
for many
He
Banditti ; and Hagar and Is?imasL
was
years President
of the Royal Academy, and also Director of the National Gallery.
William James Mliller was
and subjectpainterof great
a landscape
His
countries
valued
are
now
pictures
highly
; those of Eastern
power.

and

Ventia

amongst his best works.

were

The

of the

occasion

looked

upon

by

encouragement
into the

matter

to

rebuildingof
as

many

In

to art.

Houses

the

of

Parliament

and, in oppositionto the advice of many

judge,it

was

opportunityfor granting State aid and

was
1841, a Commission
appointedto inquire

an

recommended

the

most

adoptionof fresco instead

petent
com-

of oil

painting. Sir Charles Eastlake said that the peculiarmerits of the

Englishschool are of a nature which are perhaps the least flt to be
displayedin fresco,"but his opinionwas disregarded.A competition
"

of cartoons
was
announced, followed by another of works in fresco,to
which
selected for a
were
fifty-six
painterscontributed ; six of whom
further
recommended
competition. Four years later the Committee

that six fresco

situations which

subjectsshould
were

displayof high art

in

any

in the House

be executed

justlysaid to
medium

be
"

"

of

Lords, in

quite unsuited

; of these the
executed
in

to the
first was

proper

Dyce's

were
water-fresco,as
Baptism of S. JSthelbert. Some
practisedin Germany, amongst others,Maclise's Death of Nelson and

Tlie

Meeting of Wellingtonand Blucher,

unsuccessful competitions
affords a
of placingsuch a matter
in the hands

historyof

The

striking
proofof the

wasted,artists
Daniel

were

put

Xaclise,an

unsuitability

of the uninitiated.

to greatexpense, and

Irishman

this series of

no

by birth,was

Time

was

goodresulted.
practical
a

man

of considerable
u

290

PAINTING

of

with great power

ability,

works
in
design. He producednumerous
in Hamlet, in the National
the Play-scene
Gallery;
Enclianted
tlie
the
the
front
Chair,
releasing
Lady
Banqtietand
Ri^ihard
Macbeth, the Ordeal by Touch, and Robin Hood

of which
oil-colours,
Sahrina
Scene

in

the principal.The latter years of Maclise's

among
occupiedin executingthe mural picturesfor the decoration of

Cosur de Lion, were

life were

Wellingtonarul
Edward
for

referred

of Parliament

the Houses

and

Blucher

Matthew

Ward

the
formed

"

of
portraitpainters

As

in the earlier
and

part

Sir William

were
of
stylein Home,

Lord

Disgrace of
years.
Bubble ; and James
IL
receivingthe
National
the
are
of Orange, in
Gallery,
three

of the

the

where

Francis

Ward

James

w^as

South

Sea

of the landing qf the Prince

good specimens of his work.

news

British
former

successful

he studied

the

school who

attained
name

may

of whom

is

animal

to eminence

John

Jackson

representedin

Gallery; and the late President of the Royal

of celebrated
Orant, who paintedmany portraits

National

Meethig of

the chief.

Clarendon;

present century, we

Allan, the

the

Kehon

his

His

of which

above,

to

Death

painter,well

the

Academy, Sir
men.

known

by

his

Scar, in the National

Gallery,and the Council qf Horses and
and elsewhere.
the South. Kensington Museum
of
in
numerous
animals,
groups
The fame of Ward, however, has been entirely
eclipsed
by that of
the
who
head
of
the
animal
Sir Edwin
Landseer,
was
long at
Gordcde

paintersof England, and

thoughtsand

who

of dumb
feelings

stands

alone

creatures

interpreterof the
compositionsare chiefly

as

his

an

characterized

by masterlydrawing,delicacyof execution,poeticfeeling
had a rare
and dramatic
force.
He
; his
pow^er of rendering textures
subtle and rapid execution
seemed
ease
equal to depictingwith perfect
and

fur, feathers,hair,and
fidelity,

horn

"

but

he

was

not

successful

life he was
figure. In the expression of animal
of
he
those fierce
did
not
absolutelyunrivalled,though
attempt any
ing
His colourhunting-combatsby which Snyders obtained such renown.
often
his
in
is cold,and the human
are
figures
wanting in.
groups
character ; but, in spiteof these drawbacks, his paintingswill always
appealpowerfullyto the sympathies of educated and uneducated alike.
the followingare
the most
Of Landseer' s oil-paintings,
brated
celeamong
tfie
There's
Bolton
in
Old
:
Life
Dog yet;
Abbey; Hawking ;
The Otter Speared; the Sanctuary ; Coining Events
cast their S/iadcwa
before; the Stag at Bay, in privatepossession:and Higli Z{/e and
Low
Life; Shoeing tlieBay Mare {Eng, 168) ; Dignityand Impudence ;
and
Peace; War ; Alexander
Diogenes; DistinguishedMember
of tJie
and the Magpie, in the National
Humane
Society; and the Makl
and
and
the
A
Jack
in
s ChiefMourner, in the
Office,
Shepherd*
Gallery;
His drawings and sketches in pen and
South
Kensington Museum.
with

the

nude

"

"

"

ink
his

and

in water-colours

are,

completedpictures. His

His

elder

many
works

of
are

less effective than

them, scarcely
well known

brother,Charles Landseer, was

from

engravings.
good painterof subject

IN

His

pieces.
and

NeU

popularworks

most

291

BRITAIN.

the

were

Scickingof Basing II(m8ey

Gwyiine,

Richard

Ansdell

but
subjects,

Thomas

GREAT

showed

his works

Creswick

168."

was

Shoeing. By

the rural districts of

in drawing animals
ability

much
are

and

ing
sport-

inferior to those of Landseer.

very successful

Landseer.

England,in

a.d.

painterof simplescenes

1844.

which

In the National

from

Gallery.

displayedgreat mastery of
landscapeswere often painted

he

perspective.The figuresin these

by Ansdell, Cooper,and other artists. Creswick was also well known
Charles W. Cope was
book
illustrator.
a
a
as
painterof domestic
favourablyreceived.
subjectsof much merit, which were
whose works are chiefly
successful
John Phillip
colourist,
was
a very

aerial

292

PAINTING

Rucb as La Gloria (a
much
Al"red Elmore earned

Spanish scenes,
Window,

Spanish Wake)
renown

as

and

the

Prison

subjectpaints.

has been frequentlyengraved.

His Invention qf the Stocking-lown
in water-colom"
with equal success
Frederick
Lewis
John
worked
in oil : in 1867 he

and

Water-colours,and

elected President of the

was

a
Royal
chieflylandscapeswith figures,painted

are

His

East.

Interior

of

William

Edward

Harem

Cooke

good

Galleryof

Painters

in

His

pictures
Spain, Italy and the

in

his best works.

is among

was

in the National
represented

of
Society

Academician.

later became

marine

painter,who

is

well

England.

Webster, the well-known

was, in his boyhood,
genre painter,
in
the
James's.
St.
chorister
a
Chapel Royal,
Among his best works are :
TJte
The Smile, The Frown, Going to School,the Darnels School, and
last-named
in
South
Museum.
the
the
Choir,
Village
Kensington
John Linnell,the son of a London
attended the school s^
picture-dealer,
Thomas

of the

Royal Academy

fine

landscapesknown

The

Eve

and

of

the

at Somerset
as

National

1840

Prophet,The

other celebrated works.

Deluge,and

Windmill, in the

House, and about

Tlie Disobeclient

produced the

Timber
His

Waggon,

Woodcutters

good examples

are
Gallery,

of

bis

and we may also name

Harvest Showers, A Coming Stormy and
Linnell also paintedthe portraits
of many
T/ie HecUh,
great men.
Frank
HoU, one of the best portraitpaintersof the nineteenth
of style
for their dignity
remarkable
century,left admirable likenesses,

manner,

truth

and

to nature, of Mr.

Spencer,and other wellas

subjectpainter,and bis
the Resurrection and
the Life,'*
/ am
Want, Her first-bom,N'eicgaie,
committed /or Trial,and other works of a similar kind,are full of pathos.
Oeorge Hemming Xason, who produced many fine landscape and
in Italy; but
figuresubjects,
passedthe earlier part of his art career
his finest works
he
his
to England, when
return
were
produced on

known

Holl

men.

was

Gladstone,Lord

also

successful

"

paintedthe landscapesof
county),introducingmany

Staffordshire and
scenes
idyllic

Worcestershire
life. His

of rural

native
(liis
works

are

often full of poetry and tenderness,and at the same

time have true
for
nature.
The
A
Pastoral
Harvest
Moo7i
and
feeling
Symphony are
two of his finest pictures.The Cast Slioe is in the National
Gallery.
Walker and Oeorge J. Pinwell, whose art was much in
Frederick

sympathy with that of Mason, are noticed

water-colour
painters{page278).
Cecil Lawson, who

died

young,

under

the section devoted

to

would, if he had lived,have occupied

high placeamongst British artists. Many of his landscapes

are
masterly renderingsof wide expanses of country over which sweep
wind-driven
clouds rendered with
peculiarskill. His best known
the
Gardens
Hop
picturesare
of England,the Minister's Garden, and
the August Moon
in the National Gallery.
; the last is now
a

very

*^*

The

daU"

of the lirih and

dmlh

of

deceased artists

are

given in the Index,

IN

THE

The
whom

PRE-BAPHAELITES.

in 1848

commenced

movement

the

of

name

by

has
Pre-Eaphaelites

influence for many

293

BRITAIN,

GREAT

The

years.

body

of young

artists,to

given,exercised

been

able
remark-

of this school

members

professed
of other men, to ignoreentirely
and to go direct
contemporaries,

repudiateall imitation of the works

all that was
done by Kaphael and his

to

for

inspiration.At the head of this group of artists was

bom
in London
Dante Bossetti,
in 1828,
who
was
who
and
received his art education at Gary's school and the Royal
in conjunctionwith Ford
It was
Madox
Brown, Holman
Academy.
nature

to

Gabriel

Charles

and

Hunt

John

Millais that he commenced

in

Raphaelite Revolt,"

which

what

brotherhood

the

termed

was

the

"

Pre-

greatlyassisted

was

the

Rossetti's painting,
When
THa Girlhood
writingsof Mr. Ruskin.
with a storm
of
met
of iJie VirginMary, was exhibited,it was

by

but
criticism,
angry
brotherhood
had done

few

it

afterwards

years

much

to improve the tone

that the

was

admitted

of

English art

the study of nature.

Rossetti's most
celebrated
encourage
the Lady Lilith,
Mo7tna
are
Vamuiy Beata Beatrix,The Blessed

AnciUa Domini^ the last-named in the National

leaders of this school,who later received into what

the Ecce

and

The
the

Brotherhood, William
and Thomas
critic,

M.

principles
; and

Rossetti,James

Woolner

the art

the movement

is

the

Collinson,F.

and

to

pictures
Daviozel,

Gallery.
they called
G. Stephens

forsook
sculptor,
eventually

its

dying out.

E.

of the PreBnme-Jones, though not actuallya member

his
tendencies
in
be
mentioned
here,
as
brotherhood,
Raphaelite
may
Sir

of the

The originpaintersabove-named.
ality
of designand the beautiful colour in his pictures combined
with
his decorative treatment
have during the last few years tended
to
of
the
front
rank
him
in
artists.
TJie
livingEnglish
place
Days of

art

are

very

similar to those

"

"

Oreatio7i,Yeriius^sMirror, The

Briar

(a series

Rose

of four

pictures),

atid tlieBeggar Maiden, The Golden Stairs,and

The
King Cophettui
A special
exhibition
Beguilingof Merlin,are among his finest pictures.
of his works was
held at the New
Galleryin 1892.

Painting
It has
the

been

in

well said

Royal Academy,

that

artists in the

England
by

at

the Present

Sir Frederic

the

Day,

Leighton,the

characteristics

of the

work

President
of

of

English

"

and versatility,"
healthiness,
sincerity,
present day are
and the words
be supplementedby those
of this great authoritymay
of Mr. J. E. Hodgson, R.A., who, in his Fifty Years of British Art,
speaksof the artists of England as belongingto the "DaylightSchool,"
and concludes his admirable

of the latter half

of
a new
:
present century
type have risen
who
in
last
enthusiasts
the
brave,
hardy
pitch their
twenty
up
years ;

of the

with

dissertation

the words

on

"

the work

Men

*^f!^

"rtr

fmr

PAINTING

easels in the

pursuitof

in

wrested

from

Natare

who
painters,
Of

open, and
truth

the

all

utterlyunknown

whom

to

men

remarkable

295

BRITAIN.

weather, wind, rain,and

The
result is, that secrets

brave

satisfied to

were

GREAT

IN

to

words

earlier

sketches

paint from

these

an

been

landscape
pencil notes."

must

members

snow,

have

of

race

and

apply, we

(nearlyall of whom

even

name

of

as

the

the

were
Royal
Edwin
and
Ford
deceased,
Long
recently
among
who
of
Xadox
of
historic
interest
Brown,
were
subjects great
piinters
;
John
Pettie, who produced many
good figure subjects,historical or
domestic
; Albert Moore, who painted figuresubjectsin a decorative
manner
; and Vicat Cole,celebrated for his landscapes.
Sir Frederic
Leighton, Alma
Among livingmen, we may mention
J. Poynter,whose
works
are
Tadema, and Edward
chieflyclassical in
from
taken
Ancient
John
Sir
or
Millais,who in his
subject,
History ;
earlier years belonged to the Pre-Raphaelite
brotherhood,but abandoned
their tenets to paint both subjectand landscapepicturesin a broader
facile manner
and more
splendidseries of portraits
; G. F. Watts, whose
of well-known
of modern
men
times,and picturesof allegorical
subjects,
his name
and
will hand
down
Thomas
to far posterity
Faed, Luke
;
Fildes, W. Q. Orchardson, Hubert
Herkomer, G. D. Leslie,Seymour
R.
W.
G.
H.
Lucas,
Macbeth,
Boughton, P. H. Calderon, A. C. Gow,
and E. J. Gregory, who rejoice
mostly in subjectpictures.
B.
W.
W.
Ouless, W.
we
name
portraitpainters,
Among
may
and J. S. Sargeant,as well as Hubei-t
Richmond,
Herkomer, in the
J. C. Hook, H. Moore, and W.
front rank.
L. Wyllie are
famed
for
Peter
their marine
Graham, B. W.
picturesand coast scenes
; and
for their landscapesubjects.
Leader, David Murray, and E. A. Waterlow
Briton Riviere, J. M. Swan, and H.
Among paintersof animal-life,

most

those

Academy)

W.

B. Davis

his

for his humoi-ous

Egyptian scenes
subjects,gener; H. S. Marks
ally
for his picturesof Venetian
includingbirds ; H. Woods
subjects;

and

be mentioned

North

; whilst

F. Goodall

is best

known

for

landscapepainting,both in oil and wateris analogous to that of

colour,whose style,whilst perfectlyoriginal,
A.
the
the late Fred. Walker.
Forbes
and
F. Bramley are
Stanhope
artists who
chief exponents of the New^lyn School, a body of young
have

J. W.

may

made

Engluh

much

so

and

years.

White

reallygreat

many

in the Nineteenth

artists have

worked

would
no
historyof art, however
elementfiry,
mention
of them.
Among the best we may name

George Cmikshank,
He
Ainsworth

and

who

afterwards

Dickens,

popularworks.

in

Century,

in black
be

that

without

other

in recent

headway

W(yrhers in Black

Of late years
white

for his

and

complete

"

caricatures.
political
Fairy Tales,novels by

earlylife designeilmany

illustrated

Grimm's

Tlie

Loving Ballad

Hablot

Browne, who

qf Lord
under

Bateman, and many

the

name

of

"

Phiz

"

296

PAINTING

humorous

designed many
known

and

plates

Bichard

works.

Boyle, son of
H. B., was
as
previousgeneration
of

His

England.

his
especially

and
etched
subjects,
and
others
of
Nicklebt/,

the

Dickens's

known
caricaturist,

famous

to

of the wittiest satirical

one

contributions

well-

the

satirical

Pickwick, NicJiolaa

to

Punch

to

designers
exceedinglyclever,

were

of ye English. He illustrated some

of Thackeray's novels, and made
charming water-colour designs for
of
which
exhibited
in the Grosvenor
were
TcUeSy
Gallery in
Fairy
many
The
1885.
of the friend of Thackeray,John
Leech, will long
name
fresh in the minds of Englishand American
remain
people,on account
Manners

ami

of his contributions
Beckett's

Customa

Punch, from

to

1841

; his illustrations

1864

to

to

Coviic

Bisttryof England, Comic Historyof Pome, "fec.

Bandolph Caldecott,a brilliant and originaldraughtsman, who
and
successfullyillustrated Washington Irving's Old Christmas
t
he
Mad
J
ohn
and
other
a
BracehridgeI/all,
Dog,
Gilpin,
Elegyon
many
well-known
and stories which are
still the delightof young
and
poems

old,and Charles Keene, who

of much

humour

and

contributed

to Punch

for many

years

ings
draw-

originality.

Sir John

Crane, W. Small, Linley

Tenniel, G. Du Maurier, Walter
Bernard
Sambourne, Harry Fumiss,
Partridge,and Beginald Cleaver
also successful

are

workers

in the

Painting
We

have

now

notice

to

America.

in

of

school

direction.

same

hundred
with

its ranks
if American

minting.

excellent

many
very
Art can

subjectsrather
The

in the

be said to have

than

the

works

Paris

figureand

others,it

In

article

an

known
our

on

critic,
says
art which

"

is

bias in favour
said

be

artists

many
American

"There

have

Art, Mr.
is

one

entirelycontrary

of

been

S. G. W.

fact connected
to the

laws

of

to

now

are

Salon, the Royal Academy

of them

numbers

in

landscapepainters. Indeed,

must

of American

and
European galleries,

of

painting which, during the laht

in England,

Beginning,as
years, has sprung up in America.
this school has progresseduntil it now
portraiture,

one

branch

of

of

l^g^gcapfi
bited
frequentlyexhibe

London, and

other

greatlyadmired.
Benjamin,
with
which

the

the

well-

earlygrowth

have

elsewhere

and
governed
progress of art, and is undoubtedly due to the new
features of our
social economy.
the art feeling
anomalous
Elsewhere
has undeviatinglysought expression
first with earthenware
or
plastic
the

art, then
We

have

with

architecture

entirelyreversed

and

and
sculpture,

this order.

The

with
finally

unsettled

painting.

character

of the

IN
at
population,
especially

the Western

States

togetherwith

the time

caused

the abundance

297

AMtlRICA.

emigrationfrom

when

from

generalmovement
of lumber

the Eastern
State

to

to

State,

offered
time, evidently

at that

for any but the rudest and most

opportunityor demand
rapidly
decorative
and
like
architecture
and
anything
buildings,
work was
relegatedto a later period; and for the same
naturally
reason,
the
of
showed
of
art
no
apparently,
sign
demanding expressculpture
sion
here until after the art of paintinghad alreadyformulated
itself
no

constructed

into societies and

clubs, and

been

representedby

artists of

numerous

abilities."
respectable
mistake
in the
a
are
Although hard-and-fast lines of demarcation
historyof art, it is desirable,for the sake of convenience, to divide
the history
of paintingin America
into chronological
and we
periods,
propose to follow the plan adopted by Mr. S. R. Koehler, who divides
Colonial
it into (1) The
Period; (2) The RevolutionaryPeriod; (3)
The Period of Inner Development ; (4) The Period of the Present.

"TAe
In

spite of

Colonial Pcriodr^

a.d.

the

feeling of

America, which

Puritan

stern

unfavourable

most

was

1715"

Arts, several

foreignportraitpainterssettled

early period;

and

great

few

by

measure

native
works

the

the

the

to

1770.

a.d.

fii-st colonists

culture

of

the

in

Fine

in America

artists arose, who

of Van
Dyck,

were

at a very
influenced in

Kneller.

Lely, or

the earliest of these, John

Watson, a native of Scotland,
Among
in
America
the
in
emigrated to
year 1715, and paintedportraits
Philadelphia;and John Symbert, who left England and settled in
Boston about ten years later,were
two of the most
prominent of a crowd
less merit, who
earned a livingby portrait
of foreignersof more
or
of
in
the
the eighteenth century.
America
in
painting
early years
a
Symbert took with him to America
by himself,of the
copy, done
this
and
head of Cardinal Bentivoglio,
Van
Dyck,
by
pictureis said to
have
produced a great impressionon the minds of Trumbull, Allston,
who

and other

and exercised considerable

artists,

painting. Symbert's
Yale

College.

knowledge
went

to

of art

best

Bobert
in

England in

work

Feke,

Spain,and

1764, and

American
eai^ly
in
Family of Bishop Berkeley,

is the
of

influence

Newport,

Matthew

studied

who

Pratt

under

acquired

of

West,

on

little

who
Philadelphia,

were

two

of the first

artists to rise to distinction.

American

"

"The
the most
artistic

The

RevolutionaryPeriodr

Period is,"says
Revolutionary

Mr.

interestingdivision,not only in

historyof the

United

States.

1770"

A.D.

A.D.

1780.

Koehler, "in many

the

It is

respects,

but also in
political,
not
merely because
so,

the
it

298

PAINTING

records of the men

and the events of a most
pictorial
of
in
the
mankind, but also because it
development
importantepoch
Stuart and Trumbull, who, while they were
broughtforth two painters,
left

has

the

us

thoroughlyAmerican
endowed
The

with

artistic

in the

England
John

however, laid by Copley

were,

in the

section

Painting

on

in

Boston,

United

historic

States, then

in

his native

of
bom
After
colony.

city,he

forced,as

was

lack of material

since

Irish

painter,was
British

for

ing
paint-

so

many
in
his
study

been, by
country, to seek instruction in foreigncountries, and after a
settled in England, where
he died.
the Continent, he finally

native
on

His

time

same

eighteenthcentury.

for several years

American
artists have

tour

the

at

high order."

very
Art

noticed

are

SingletonCopley,the

parents at

of American

West, both of whom

and

were
aspirations,

of
qualities

foundations

true

their

in

Cluirlea /.

t/ieJive Members

demanding

is in the

Parliament

from

Public

Libraryat Boston.
went
to
Benjamin west, who was bom at Springfield,
Pennsylvania,
England in 1763, and rapidlyrose in publicfavour, until he reached
the height of his ambition
by becoming President of the RoyalAcademy.
Oilbert Charles
born

was

He

descent.

took

him

under

West, and

London,

where

he

famous

and

and

Island, of Scotch

of Mr.
portrait

by

established

enjoyed the

of the

men

of Works

Ehode

Welsh

in art at Newport from Cosmo

Scotland with him, but Stuai-t returned
In 1781 he went again to Great Britain,

to

afterwards.

soon

studied

fine

in

received his fii'stinstruction

Alexander, who
to America

portraitpaintersof America,

of the best

Stuart,one
Narragansett

at

It

day.

himself

and
friendship

was

during

which
skating,

Grant

the Old Masters

first ascribed

in

as

portraitpainter in

of
society

this visit that

exhibited

was

1878, when

of the most

some

he

painted the

at the Exhibition

it attracted much

attention,

returned
1793,
after
to America, and
York, Washington, and
residingin New
he
established
himself
in
finally, 1806, at Boston, where
Philadelphia,
at

was

continued

he
His
His

works

are

to

Collection

Washington,whose
John
was

one

such

his
at

until his death.

uninterrupted success
and
of America.
privategalleries
public
in the
Jonzs
portraitof Judge Stepfien

Boston, and

his

so-called Athenoeum

as

Head

qf

he painted several times.

portrait

of the best of
soldier and

the

Stuart

in the

Trnmbnll, the historic painter,born

of

"

In

paint with

numerous

masterpiecesare

Richards

Gainsborough.

to

and
painter,

storming of the works

Lebanon,

at

He

artists.

earlyAmericiin

was

of

thus

an

Burgoyue

Connecticut,

combined

the fessions
proof scenes
eye-witness
at

Saratoga
"

which

his
of the works
which have made
suggested the subjectsof many
He graduated at Harvard, entered the army, and was
famous.
made
In 1780 he went
to Washington.
to London, where
aide-de-camp
name

he

studied

under

traceable
distinctly

his

whose

West,
fellow-countryman,

in his

pictures.

Arrested

as

spy, he

influence
was

is

obliged

IN
to
to

to

retui'n

England,

nineteen

America, but
and

years

service, he

resumed

on

the

his

cessation of hostilitieshe went

studies

(1796 1816),seven
"

returned

to

Ainerica.

170." General

299

AMEKICA.

Knox.

under

of which
He

West.

After

again
visit of

spent in diplomatic
died in New
York, at the
were

By Gilbert Stuart.

College. His
Washington
the
Surrender
^the Declaration of Indejyendence
qf Burgoyne ; the
;
Surrender
of Comwdllie ; and the ResvjmUiou of Waahimjton at
Annapolis have since been moved to the Art Galleryin Yale College.

advanced
four

age

of

great works

"

"

and
eighty-seven,

executed

was

in the rotunda

biu'ied in Yale
of the

Capitolat

300

PAINTING

other

Of

works

we

notice

may
Lewis

of Governors

and

in the

"

Clinton

City Hall, New

New

at

Haven

York, portraits
tlie DeaXJi of

General

of
Montgomery {Eng,171),which has been described as "one
Bunker
the
Batth
s
ever
of
spiritedbattle-pieces
painted,"
Portrait of Washington, His works
equal
unHill, and a full-length
were
in merit ; his portraits
successful than those
of men
being more

the

of

most

He

women.

American

171.

"

was

Academy

of

Death

of the

one

of Fine

Moutgomery

iu the

1879, bi/Harper
Copyi'iyht

Charles

Wilson

only a painter,but

and

Peale, a
a

worker

he executed
oil-paintings,
his

own

ivory,moulded

also served
He

studied

the

in the American

of

attack

By Trumbull.

Quebec.

At

Vale

ColUyf.

Brothers.

native

of

in wood,

Chesterton, Maryland, was

metal, and leather. Besides

miniatures, for which

numerous

and
glasses,
where

army,

made
he

the
rose

he

"

his

sawed

cases."
shagi*een
to the rank

not

He

of Colonel.

various masters
in Philadelphia
under a German, in
Copley,and in London with West.
of an
Peale,though lacking the highest qualities
artist,was one^^f
the most popularportrait
paintersof his time, and paintedthe earliest
authentic
likenesses of Washington,
Boston

with

under

founders,and the first President,of the

Arts.

"

IN

E.

Savage

was

versatile

as

picturein the Boston

Signersof the BeclarcUian of Independence,
historic than an artistic pointof view.
an

The
representing

Museum,

interestingrather from

is

of his

Some

Washington

of

AUston

of the American

merit.

more

he did not
Stuart

as

1780"

A.D.

reallydo

after the

Carolina,and

much

so

Trumbull.

or

1870.

A.D.

the chief

considered
recently

until

was

Art

in South

have

Development"

school,but

National

American
Waccamaw

Inner

His

Peale.

as

however,
portraits,

Period

The

"

301

AMERICA.

He

to

painter
promote
born

was

of his
completion

at

university

the
entered
in 1801, and at once
Harvard, went to London
who
with
where
he
became
West,
Royal Academy schools,
acquainted
then president.In 1804
AUston
with Vanderlyn to Paris,
went
was
and thence
in the followingyear he painted Josephs
to Rome, where
with Washington
At Rome, Allston commenced
Dream.
a
friendship
at

career

Irving,which
and

lasted for life. He

the Danish

with Coleridge,
acquainted

also became

Thorwaldsen.
sculptor,

he returned

America,
London,
Channing,
again
where
he painted his Dead
Maii revived by the hones of Elisha,which
gained a prizeof two hundred guineas from the British Institution,
married

and

is

sister of Dr.

in the

now

followed

Then

Worcester

the

Lunatic

Duke

of Sutherland

1818

Allston

In the

by

year he

same

his later

Of

then

to

to

went

Pennsylvania Academy of Fine Arts, Philadelphia.

Liberation
in the
of S, Peter by the Angel, now
Hospital;Uriel in the Sun, in possessionof the
Gallery. In
; and Jacob's Dream, in the Petworth

returned

health weakened

In 1809

and

America, and

to

for the death

sorrow
was

elected

settled

an

his

wife,and by over-work.

of his

Associate

Boston, with

at

of the

Royal Academy.

in Yale
Prophet Jeremiah, now
may
Satd
and
the
and
Witch
Endor
MirianibS
Dante^s
Collegej
of
Song,
;
Beatrice.
In 1830 he married again,and settled at Cambridge, Mass.,
where he spent the rest of his life. His Sjxilatro^s
vision of the bloody
time in the
at one
?iand,from the Italian by Mrs. Radcliffe,
was
Johnson
York.
in
New
Collection
Taylor

works,

we

'

'

The

works

of

the

name

Allston,who

remarkable
especially

has

been

for their

called the

"

American

Titian,"

In his

forcible

subjects
colouring.
choosingterrible incidents,as in S]xUatros Vision,Said
and the Witch of Endor, and the unfinished
He
Belshazzar's Feast,
in
excellent portraits,
now
painted many
includingone of Coleridge,
the National Portrait Gallery.
G. Malbone, a native of Newport, in his short career
of
Edward
Tlie
thirtyyears, executed some
charming paintingsin miniature.

are

he

was

Hours,
Our

fond

now

of

in the Athenaeum

illustration

John

Wesley

at

Providence,is full of grace and poetry.

(E7ig.172) givesan indication

Jarvis and

Thomas

Sully,of

of his

style.
Englishbirth,were

also

302

PAINTING

successful

portrait painters. Sully'spupil,John

as

was
Philadelphia,

John
1803

also

to Paris

Allston.

In

the ruins

was

bom

at

in the

of

line.

same

York,

Kingston,New

in

went

and

Rome, where he became the friend and companion of

in 1807, the famous
Marina
Eome, he painted,
sittingon

to which
of Carthage,

the Salon, of 1808.

the

successful
fairly

Vanderlyn,who

Heagle,

His

Napoleon
best

next

Philadelphia
Academy

of Fine

picturewas

Arts

prize medal
Ariadne,
Sleepiiig
the

awarded
a

he also executed

; and

in
in

numerous

portraits.
Samuel

F. B.

for some
Morse, of telegraphic
fame, practised
a
as
painter. He
pupilof Allston, and
the

in

founders

years
was

one

of

1826, and

president,of

second

National

of

Academy
abandoned

He

the
sign.
De-

art

as

in 1839.
profession

Rembrandt
son

Feale, the
Peale, after a

of C. W.

short

as

career

painter
South

portrait

Charlestown,
to
Carolina, went
in

studied under
He also resided for
time in Paris, where

London, and
West.
some

other
painted, among
pictures,portraitsfor his

he

father's

His

museum.

trait of Washington

Par-

was

chased
pur-

Congressfor 2000

by
dollars.

John
..*",.
T,
of
l,2.-Portra,t
,."

_x

t^

..

"

1^

Ehza^th
ByMalbone.

James'

Audubon,

Southgate Bowne.

^^

^^^

Miniature.

^^

j.

Louisiana,and
-r"

"

j
under

studied

in

Pans

David.

On

his return

to

He
good picturesof birds.
produced many
than
thousand
one
published,in Edinburgh, a book containingmore
fine representations
of birds,the originaldesigns for which
are
now
Audubon
in the possessionof the New
York Historical Society.
was
engaged on a work on the quadrupedsof America when he died.
Chester Harding began his career
artist,as a sign-painter,
as
an
in
but subsequentlyturned his attention to portraiture,
at Pittsburgh,
in

America

which
thence
but

he
to

1826

he

very successful.
S. Louis, and then

was

From
to

Pittsburghhe

Boston, where

he

went

to

became

Philadelphia,
the

portraitpainterof the day. Harding paidseveral visitsto

he died at Boston, U. S.
that of Daniel
Of his portraits,

able
fashion-

England,
Wehstery

IN

in the

possessionof

the

303.

AMERICA.

Bar

Association,New

York, is perhaps the

best.

Oeorge Catlin,the painterof

Indians, was originally

aboriginal
intended
for the law, but abandoned
in favour
that profession
of art,
and established himself in Philadelphia.In 1832 he travelled amongst
the Indians of America, and studied the customs
of some
forty-eight
tribes.
In 1839 he published
the results of his journeyin the form of a
hand.
He resided for eightyears
book, with illustrations from his own
in Europe. Many of his Indian sketches were
eidiibited at Philadelphia
the

in 1876.

Sobert

Charles

taken

Clerkenwell,was
he

1811

when

was

quite a

bom

of

American

child

to the

parents in
States ; in

United

England,and, with the exceptionof a short visit to

in 1833, resided there for the rest of his life. His work
is

went

America
noticed

Leslie, who

to

England (p.286).
Oray, a pupil of Huntington, was President of

in the section

Henry

Peters

National

Modern

on

from

in

the

He
1871, when he went to Florence.
Academy
which
the
the best were
painted chiefly
subjects,
Wages
amongst
genre
in the Metropolitan
of War, sold for 6000 dollars,and now
Museum,
New
York, and T/is Apple of Discord,which was highlycommended
by
the

1869

Painters

to

Exhibition
jury at the Philadelphia
of
portraits men.

with

Gilbert

America,
1817, and

Cole,

who

in the account
bom

was

when

ancestry, went

country for

encouraged by

Europe, and

spent

landscapeshaving

some

been

an

time, he
and

visited

other

time

in

of

Europe, and

Turner, and
works

scenes

in the

artists.

of the works
was

notice

ever

the

He

called the

; he has been

After

New

travellingabout

York, where

Cole made
died

faithful

he called

magnificent

Lorrain, Salvator
to

his native

Course

was

of his best

what

among
all his admiration
of the
of Claude

he

journeysto

two

Italyand England, many

paintedthere.

Constable, he

Cole's

American

the States.

dear Catskills,"for with

own

scenery

some

Trumbull

English School.

Bolton4e-Moor, Lancashire, of
eighteenyears of age to Steubenville,

be claimed as
fairly
in
landscape-painting

of

of the

at

Ohio, and may

his

also successful

under

; he is noticed

American

"

was

bom
at Halifax, Nova
Kewton, who was
Scotia,in
his uncle, Gilbert Stuart, went
to Europe, in
in 1832, died
having paid but one short visit to America

Thomas

the

He

Stuart
studied

in liondon

father

of 1876.

Kosa,

land.

Of

five

landscape
of Umpire;
may
York
Historical
possessionof the New
Society; the
ston
series known
the Voi/age
as
of Life, formerlyin the Taylor JohnCollection
of New
Ford, and Kenilworth
York; the Mountain
b
oth
exhibited
i
n
1876.
Other works, chiefly
at
Cattle,
Philadelphia
of
of the Catskills,
views
in the private and
are
public galleries
we

America.
Other

successful

paintersof landscapeswere

artist,who
self-taught

rose

Thomas

to considerable eminence.

Doughtoy,a

304

PAINTING

John

Kensett,who began life as an engraver, studied paintingfor

in Europe
visitingItaly,Switzerland, and the Khine.
years
F.

seven

"

settled in

then

He

exhibit

**

Tuckerman,

America, and producedmany

purityof

rare

fine

works, which, says

an
feeling,
accuracy
perfectly
adaptedto

and

delicacy,

the subject."
treatment
a harmonious
especially
of
Sandford R. Oifford,
and
who
a good painter
landscapes
sea-pieces,
of sunlighteffects.
excelled in the representation
which
have referred to in the
The
we
Pre-Raphaelitemovement,

and

of the British

account

Hill,who

W.

studied

slightinfluence

some

New

in the
disciples

in
paintedchiefly

Inman

Henry

schools,had

of its foremost

One

America.

for

the art

on

World

of

John

w^

water-colours.
time

some

New

in

York

under

Jarvis,

later settled at

and

where he became
famous
as a painter
Philadelphia,
of
a
nd
occasionally landscapes
genre pictures. In 1843

and
portraits,
to England, where
he went
other
those
portraits
among

of

York, has

Hall, New
which

Athenaeum.
his

of

is that

he

of Wordsworth

and

Van

Bureti ;
in
America
galleries

years ; and

others

rich in

are

the best

; among

of

Boston

the

in

are

painted
City

The

Macaulay.

him

good portraitsby

some

Governor

Private

for two

remained

good examplesof

style.

Of
we

paintersof

American

may

also

William

name

and

genre

historic

subjectsand

called

the American

portraits,

"

Sidney Mount,

who

of the first Americans

has been

^*

Wilkie,"

His
practise
genre paintingsuccessfully.
T/ie
such
in
the
Corcoran
as
works,
Long Story
Gallery,Washington,
York
Gamblers, in the New
Bargaining for a horse, and Trtmnt
of
Historical Society,
humour
their
but
colouring
displaygreat sense
;
one

to

is poor.

Leutze,a

Emmanuel
still young,

native
with

to America

but
painting,
portrait

by

earliest work
he visited
His

of note

Amsterdam,

was

of

Emingen

his father.

his favourite
Indian

an

and

in

He

Wurtemberg, went,
first maintained

at

subjects

were

gazbig

Diisseldorf
,

himself
His

scenes.

tJieSettingSun,

In 1841

he studied

Lessing.

on

where

historic

when

under

Columbus

Art

Union

and

became

was
be/orethe Council of Salamanca
purchasedby the
of the latter city. From
Leutze went
to Munich,
Diisseldorf,
of Cornelius and Kaulbach.
After wandering
the disciple

in 1859, and
through Italyand Switzerland,he returned to America
o
famed
of
historic
became
as
a
justly
subjects,f which the
painter
Western Emigration is in the Capitol
at Washington. Washingtoncrossing
the
Leutze

the best.
are
Delawa/re,and the Iconoclast,
Shortlyafter
among
died,a letter arrived for him, announcing his election to the

of
presidentship
of

the Diisseldorf

Academy, rendered

vacant

by

the death

Lessing.
Richard

return

Gaton

to America

in Mexico

and

Woodyille
became

elsewhere.

also

known

studied

by

his

at

Diisseldorf,and

on

his

scenes
representin"r.
landscapes

305

AMERICA.

IN

On
Loring Elliot was a pupilof Trumbull, in New York.
completionof his studies,he established himself as a painterin
city, where, with the exceptionof several years spent in the

CliarleB
the
that

Western

part of the State, he chieflyresided.

executed

nearly

hundred

seven

of Fletcher

Harper,which
Baker

A.

have

to

full

are

representAmerican

portraitui*e

of 1878.

in the Paris Exhibition

George

which

is that
acknowledgedmasterpiece

selected to

was

is said

of

portraits,
many

Of these the

of individual character.

He

good portraitsof

painted many

and

ladies

children.

Louis

York,

War,

took

native
and
in

in South

and

Carolina,but

up his residence
land.
He exhibited
of his works

many

Hyde

are

Rimmer, who

sculptorthan

in

for

Royal Academy

in

time

of the Civil

few

visits to his
time

from

of his best

England. One

some

outbreak

England,paying only a

in the

began

artist ; but he

an

fanciful

the latter of somewhat

J. B.

in

the

on

to

time,

is Snow
pictui'es

Park.

William
a

lived
Mignot,the landscapepainter,

Eemy

New

life as

is better known
as
physician,
and drawings,
produceda few paintings
a

subjects.

in
Irving,a pupilof Leutze, paintedgenre subjects
of his best works

One

manner.

is The End

the French

of the Game,

successful

of the most
was
one
Henry Fnmess, of Philadelphia,
his
of
time.
He
noted for
was
painters
portrait
especially

his crayon

drawings.

William

Several

belong to

who
foreigners,
that

settled in

America, and may

and
landscapes

country,producedmany

merit.

They

were

said to

be
fairly

of
sea-pieces

siderable
con-

"

Frederick de Haas, a native of Eotterdam, celebrated for

famous
his coast scenes
Beest, a Dutchman, who was
a
as
; A. van
of art ; Johann
Erik Christian Petersen,a native of Copenteacher
hagen
Christian
and
of
native
Director
a
as
Schlissele,
Alsace,
who,
;
William

of the schools of the

on

American

PennsylvaniaAcademy, exercised

Present Period.

1870"

A.D.

late years it has become

and
more
artists to go to Paris to work
American
Of

members

masters, with the result that

of which

this school Mr.

"

What

are

it has
skill,

de- Americanization
and
its inception,

had

has
to

we

have

1894.

for young
in the studios of the great

more

in their

the custom

America, the

of work.

manner

alreadyquoted

so

gained in outward
purchaseat

before. The
its final results cannot
than

A.D.

school has arisen in

French
distinctly

Koehler, whom

the art of America

increase of

influence

Art.

The

French

some

attractiveness

the expense

movement

be

of

Of

often,says
and

in

still greater

is,however,only in

predicted."'
X

306

PAINTING.

American
Chief of modem
William Morris Hunt, a man

lirtists belongingto the French

of versatile

talents,but

school

better

was

man
draughts-

than colourist ; he was

Vermont.
He first
a native of Brettleborough,
studied sculptureat Diisseldorf,
and then entered the studio of Couture

Paris, but becoming much

in

to have

he had

stay

endeavoured

his

to catch

stylerather

of

than

Millet,he

seems

of the master

that

returned
to America, and after a
1885, Hunt
Newport, settled at Boston, where he afterwards resided,and
for

celebrated

considerable
exercising

his genre
influence

1878

largewalls

became

the work

In

first chosen.

at

impressedby

he decorated

two

landscapes,and
subjects,
the

on

risingartists

in the Senate

portraits,

of the

Chamber

day.

of the

lu
new

Capitolat Albany. Among his best works are the Prodigal Son, the
the VioletGirl,and the FlightofNight,the last considered
Fortune-Teller,
his masterpiece. Hunt
was
a
very able teacher,and his little book.
valuable precepts.
Talks about Art, is full of most
native
of
in 1831, and
William Hart, a
went
to America
Paisley,
subsequently
paintedexcellent landscapes.He
Americans

As
the

Salon, we

who

is

who

name

may

now

have
:

Whistler, the last-named

J. M'Neill
in
We

in
constantly
portraitpainter,

exhibit

Sargent,the eminent
Eoyal Academy
W.

F. Dumat,

W.

Bridgeman, Hitchcock,

'*

J. S.

died in 1894.

and

of the

Associate

an

in France

worked

Gay,

of

A.

chief of the small

London, F. A.
H.

Mayer, and
sionists
group of Impres-

England.
also name,

may

as

sincere

students

of character

and

reality,

Collins,Vinton, and Chase ; draughtsmen of such strengthand virility

Cox, and of such refinement and eleganceas Dewing, and with such
as
Winslow
home
Homer
such men
at
as
as
; with
strong personality
and
Blashfield
Brush, Tarbell,Mowbray, Henry Walker, Simmons,
; and
school
Harrison, M'"wen, Melchers, and others,abroad, ^the American
"

is in

no

of weakness."
the reproach
danger of deserving

in ScrHyiver^sMagazine for
To
we

sum

up the
add that

April 1894, by William

prospect of paintingin America

men

are

New

York

in

1865,

of

artists led to the foundation

of which

the members

Workers

American

During
America
themselves
Frederic

the last

quarter of

in the art of book

to

artists.

and

At

present day,
who

work

Exliibition

the

societyof workers

European water-colour
in

Black

and

held

in that

on

in

Fnglish
medium,

artists.

White,

century greatprogress

has been

made

in

who devote
of the men
and some
illustrating,
Abbey, Kenyon Case, Joseph Pennell,
C. S. Beinhart, take
high rank amongst

it,notablyE. A.

Remington,

cotemporary

rival

now

in the

of water-";oloiu'drawings by

number

ai*ticle

an

Co"Sn.)

risinginto fame

young
many
alike in oils and water-colours.
carefully,
may

(From

A.

BIOGRAPHICAL
EMINENT

OF

INDEX
PAINTERS

Arner.

American.

Dut.

Dutch.

Bely.

Belgian.

FUm.

Flemish.

"rU.

British.

Fren.

French.

Chin,

Chinese.

6'er;n. German.

references

The

countries

to

necessarily

the

to

Sobriquets

names.

artist's

apply

Ital.

Jap,
Schools

their

was

Port.

Portuguese.

Rom.

Bomau.

Italian.

Span. Spanish.

Japanese.
which

Artists

and

the

artists

indexed

are

brackets.

member,

Greek.
Indian.

to

birth.

between

placed

are

signifiesthat he

name

Grk.
Ind.

the

to

of

countries

(DECEASED).

their

(*) placed

asterisk

An

(**) that he

two

belong, and

under

was

not

popular
after

President

an

of the

Royal Academy.

/'oiY.

fl. ill 16th

Amato,

Giovanni

Antonio

Guido

Angelico),

Apelles,

Grk.

B.C.

(?rA-. fl.ab.

AsiSELT,

Jban

van

John

Backer,

Jacob,

i"M^

A.,

b. at

cent.

124

B.C.

1455

48

"

292

1885
...

14
...

at Athens

13
40
...

at Thebes

330

14

Vut.

Walch

George,

George,
James,*
Taddbo

Bartolommeo),
Bartolommeo,

Basaiti, Marco,

b. at Brussels, 1613, d. aft.

of Ghent,

Bamenghi

York,

b. at Emden,

1821, d. 1880

1484, d. 1542...

193
ab. 1450, d. bef. 1516

62

1728, d. 1784

1741, d.

262

276
263

1806
...

Ital. b. ab. 1363, d. 1422

40
...

(Fra, Itai. b.

Pagholo

Ital. fl. ab. 1236

89

305
...

1631, d. 1708

b. ab. 1774, d. 1842

di

i81

d. 1651

Ital. b. at Venice

Brit.

j5rrt. b. at Cork,

302

{DA^Ital.h.At Bagnacavallo,

b. in Dublin,

Maestro,

107
...

Harliugen, 1608,

(Jacopo de',

Bartolommeo

166

fl. ab. 1364"1386

Brit.

di,

l6sA

b. in Louisiana, 1782, d. 1851

b. in New

Amer.

Ludolp,
Jacob

Barbarj),

^;/t"r.

Bartolommeo

George

Bakuuisen,

Bartolo,

330"

Fltm.

DEB,

James,

Bagnacavallo),

Barry,

...

Vicchio, 1387, d.

at

Colophon

at

Franco-Flem.

van,

Audubon,

Barret,

336"332

B.C.

66

1555

...

Jacobus

Barret,

1475, d.

Ital. of Arezzo, b. ab. 1333, d. 1410

Spinello,

Aktois,

Barer,

ab.

Liverpool, 1815, d.

G;-^. fl. ab. close of 5th

ARI^TE^DES,

Naples

(Fra, Ital. b.

lirit. b. at

Aretino,

at

b. ab. 1490, d. 1563

Richard,*
fl. ab.

..7'

1779, d. 1843

161

Ansdell,

Apollodobus,

it

16^

1850

b. bef. 1480, d. 1538

d', Ital. b.

Pietbo

di

1640, d.

cent

Germ.

C*hristoph,

Ajmbeboer,

1502, d. 1558

1J82, d.

b. in Waccamaw,

Germ.

Albrecht,

Altdobfkb,
Alvakus,

Cordova,

at

b. in Edinburgh,

Amer.

Washington,

Allston,

Span. b.

de.

Bnt.

Sir William,

b. in Westphalia,

Germ.

Joan

Gamkz,

ti7

1474, d. 1615
^

Heinrich,

Aldbgreyej,
Alfaro

d. 1660

Bologna, 1578,

Ital. b. at Florence,

Mariotto,

Albertinelli,

Allan,

Ital. b. at

Fbakcesco,

Albani,

at

Ital. fl.ab. 1503-21, of Friuli

Florence

at

Florence, 1475,

d. 1517

67
...

35

'^

-^

---

...j"

.'"ir

-""-

15IS

309

PAINTERS.

OF

PAQK

(BB02"znro), Anoiolo

Allori, Ital. b.

Monticclli,1502, d. 1572

at

...

Adbiabn, 2)tf^ b. ab. 1605, d. 1638

Brouwkb,
Alexaitokb, ^n7. fl. ab. 1675
Broww,
FoHD
Madox, i9nV. b. at Calais,1821, d. 1893
Beoww,
Kniqht, Brit. b. 1815, d. 1882...
BBOW2VB, Hablot
Brubqhkl
(Peasant Beubohel), FiETER, JVem. d. 1569
Brubohel
(Hkll Brueghel), PiETER, i'Vtfm.b. 1564, d. 1638
Bbubohel
(Velykt Brt7eohel), Jan, Flem. b. at Brussels,1568, d. 1625
Bruges, Jeham
DB, fl.ab. 1371
BuoNT, SiLVBSTBO
DB*, Itid. h. at Naples ab. 1420, d. ab. 1480
BuBCKMAiB,
Hans, Germ. b. at Augsburg, 1473, d. 1531
...

...

...

...

...

...

...

...

...

...

...

...

d. 1612
Cajesi, Patricio, i")an.-/f"i/.

Caldbcott, Randolph,
Callcott, Sir Auoostus
C ALLOT,

JACdUM,

...

i?ri*".b. 1846, d. 1886

Wall,*

Fren. b. at

...

...

...

...

...

...

1635

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Antonio

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

148
296
282
207
141

194
139
148
148
62
136
130
136
136
40
53

142
62
303
277
41

...

...

...

...

152

...

...

248

...

...

...

...

...

...

...

...

...

...

...

...

...

."

Battista, 5nV. b. at Florence, 1728, d. 1785

Cipriani, Giovanni
Clbtn, Franz; JJn*. b. at Rostock ab. 1590" 1600, d. 1658
Fren. b. at Tours?
ab. 1516"1520, d. aft, 1572
Clouft
(Janet),Fran";'ots,
Clouet
(Jakct),Jean, -Fr^n. b. ab. 1485, d. 1541
Gu'LIO Glovicic,Ital. b. at Griziine in Dalmatia, 1498, d. 1578
(Clovio),

QQ

148

...

...

119

107

164

...

...

...

...

...

...

...

...

...

...

118

154

...

...

295
295

118

...

...

248

124

Canal, /to^. b. at Venice, 1697, d. 1768

b.
Cano, Alonso, ^/)an. at Grenada, 1601, d. 1667...
Capsixe, Jan van db, Dut. b. at Amsterdam, fl.ab. 1653
(Carat AOGio), Michelanoiolo
Amerigi, JtaL b. at Caravaggio,1569, d. 1609
Carducci, Bartolommeo, Span.'Ital. b. ab Florence,1560, d. 1608
b. at Florence,1568, d. 1638
Carditcci, ViNCENZio, S/xx".-/"a/.
1450"
//";.
1522
fl.ab.
Cabpaccto, VrrroBE,
at
/^rtZ.b.
Cabracci, Agostino,
Bologna, 1557, d. 1602
Ital.
b.
at
Bologna, 1560, d. 1609
Carbacct, Annibale,
ItaL
b.
at
Bologna, 1555, d. 1619
CABitACCi,LoDOVico,
b. in Schleswig,1754, d. 1798
Ajsmus
Germ.
Cabsttens,
Jacob,
Landini
Jacopo
Casentino,
di, Ital. b. ab. 1310, d. ab. 1390
/^ff/.
b. near
Castaono, Andrea
Florence, 1390, d. 1457
DEL,
Castillo, Juan DB, .^ii. b. at Seville,1584, d. 1640
Castro, Jc AN Sanchez, A^an. fl.ab. 1454
DI BiAoio, //a/, b. at Treviso,d. 1531
(Catena), ViNCENZO
Catlin, George, -^WCT*. b. in Pennsylvania, 1794, d. 1872
Cattermole, George, Brit, b. at Dickleburgh,in Norfolk, 1800, d. 1868
Cavallini, PiBTRO, /to/, d. 1364
b. at Madrid, 1577, d. 1642
Caxks, Eugenio, Span.'Ital.
b.
at Cordova, 1538, d 1608
C ESPEDBS,
Pablo
Span.
de,
Edward,* i9W*. b. at Geneva, 1781, d. 1860
Chalon, Alfred
Chalon, John J.,*^ri*. b. at Geneva, 1778, d. 1854
Chakpaigne, Philippe de. Franco- Flem. b. at Brussels,1602, d. 1674
Chang
Sang-Yiu, Chin. fl.ab. middle 6th cent.
Chardin, Jean Baptists Simeon, Fren. b. in Paris,1699, d. 1779
ab. 1639, d. 1734
Chastillon, Louis de, Fren. b. at Ste. M^nehould
Nicolaus, Germ. b. at Dantsic, 1726, d. 1801
Chodowieckt, Daniel
Cenni, Ital. b. 1240, d. aft. 1300
(Cimabub),Giotanni
CiMA DA CoNEGLiANO, GiovANNi
Battista, Ital. of Frluli,fl.ab. 14897-1508

(Cakaletto),

...

...

Brit. b. at Kensington, 1779^ d. 1831

Nancy, 1592, d.

...

79
181

...

...

...

...

...

...

...

...

...

276
164
23
220

...

215
136
35
62

...

...

263

...

251

...

...

206

...

.,.

200

88

310

BIOGRAPHICAL

INDEX
p\"-.r

/T^M. b. At Antwerp, 1614, d. 1684

Cocx, Go^vZAUS,

...

Coiixo,eLAn"io,.^/Miji.b.atlfadndab. 1621, d. 1693

CoLB, Thoma-s Awter. b. at Boboo-le-moon, 18t)l,d. 1849
1833, d. 1883
CoiJ, ViCAT.* i?rt/. b. at Portmioath,
Coixnri, RiCHABD, Brit. b. in Hampahiie, 1755, d. 1831
CoLLixs, William,* Brit. b. io London, 1788,d. 1 817
at East Bergfaolt,
C("f9TABLB,JoHjr,*J^n".b.
1776, d. 1837
CooKB, Edwabo
Willtam, Brit. b. in London, 1811, d. 1880
Brit. b. in London, 1787, d. 1868
Coopss, Abbaham,*
SAacrxL, Brit. b. in I^ondon,1600, d. 1672
Coom,
Cora, Chablbs
Wbst,* Brit. b. at Leeds, 1811, d. 1800
Brit. b. at Beaton, Mass., 1737, d.
CoKLBT, JoHH 8ijfOLETO.x,"

...

...

...

...

...

...

:5""S.'
^92
...

...

...

...

...

1534

89
...

..

141
...

56

...

34"
...

...

...

63
...

...

...

...

...

63
248

1821
...

...

24S
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

..

...

...

...

...

...

...

...

...

...

167
56

276

...

...

...

59
28f)

279
...

...

...

...

...

...

...

...

...

...

...

246
295
147
188

...

...

...

...

...

.-.

...

...

...

40

250
283

1861
...

133

HI

...

...

275

292
...

Dahl, Michael, ^r//. b. at Stockholm, 1656, d. 1743

Danbt, Francis,* Brit. b. near Wexford, Ireland,1793, d.
pANHAUSSR, Joseph, Germ. h. at Vienna, X805, d. 1845

218

13.S

...

...

276

...

...

"

...

228

116

...

...

207

218
...

...

...

(di,/to/, b. at Florence, 1459, d. 1537

1811, d. 1869
Creswick, Thomas,* i?n/. b. at Sheffield,
5rrt.
b.
at
Cbistall, Joshua,
Camboume, 1767, d. 1847
i'Ttfm.
b.
at
Cristus, Petrus,
Baerle,d. aft. 1471
Crivblli, Carlo, /to/, fl.at Venice, 1468" 1493
Cromb, John Bernat, Brit. b. at Norwich, 1793, d. 1842 .r:
Croxb, John (Old Cromb), Brit. b. at Norwich, 1768, d. 1821
Crossb, Lewis, Brit. d. 1724
Cruikshank, Gborob, /^;7^.b. in London, 1792, d. 1878
CuETAS, Pedro i"e LAS, iS^n. b. at Madrid, 1568, d. 1635
CuTP, Ablbebt, /)m/. b. at Dordrecht, 1605, d. 1691
Daddi, Nabdo, Ital. b. end of 13th cent., d. 1350...
Babducci

2?^"
231"

...

...

...

...

...

19'"
5:i4

...

...

...

"

...

...

...

297

...

...

...

...

Flem. b. at Antwerp, 1582, d. 1669

...

265.

d. 1669

...

db,

..

...

11^

...

Credi),Jx)renzo

"4ry
292

...

1815...

...

Crayeb, Kasper

...

...

Coftona, 150a,

TOTTiroER),LccAS, G"rm. b. 1515, d. 1586

...

:fc]!9

...

Cthb

...

...

CosiMu, PiKBO Di, /to/, b. at Florence,1462,d. 1521

CO01CATO,GiOTANNi, /to/, fl.end of 13th eent. at Rome
/to/, b. ab. 1430, d. 1480-85
CosAA, FBAJfCEsiCO,
/to/, b. at Ferrara,1460, d. 1536
COOTA, LoBE!f3Eo,
CoswAY, BIabia Cecilia Louisa, Brit. h. at Leghorn, 1745, d. aft.
CoswAT, RicBABD,* ^rtl. b. at Tiverton,1740, d. 1821
CoTMAN, JoHW Sell, Brit. b. at Norwich, 1782, d. 1842
DT7BBET,
GusTAiTE, /""K. b. at Omans, 1819, d. 1877
Corscc, Jeax, /'ren. b. at Soacy, 1500^1, d. ab. 1589
CocTTBE, TuoMAS, /""ff. b. at Senlis,1815, d. 1879
Cox, Datid, ."rt".b. at Birmingham, 1783, d. 1859
CoxciEN, Michiel tan, Hem. b. at Mechlin, 1499,d. 1592
CoTraL, Aktoine, /V^. b. in Paris,1661, d. 1722
Coypel, Noel, Frtn. b. in Paris,1628, d. 1707
Cozens, JoHX Robert, ^r/l. b. in London, 1752, d. 1799
Cranach, Lucas, Germ. b. at Kronach in Francooia, 1472, d. 1553
Cranach

17-

f 4T
...

Cobn'elia, I"ut. b. 1562, d. 1638

bA, Ital. h. at

...

...

CoBJCELirs, Pbtsb tox, Genu. h. at Diisaeldorf, 1783, d. 1867

-CoBOT, Camillb, Fren. b. in Paris,1796, d. 1875
Allw"ki
.XoBBBOoio), AnToxio
(DA, Itol. b. at Com"ggio, 1494, d.
BBBBrTTiNi,

...

...

...

CoBToiTA, PiBTBO

...

ST*?

...

...

...

...

Haaklbm,

...

...

'JiXi,

...

TAX

...

151

...

CoBKBUS

...

...

...

...

201

311

PAINTERS.

OF

PAGE

Daswanth, P"r5. fl.ab. end of 16th cent.

Francois, Fren. b. in Paris,1817, d. 1878
Daubignt, Charles
Flem" b. at Oudewater, fl.at Bruges,1483, d. 1523
David, Ghberarst,
David^Jacques Louis, Fien. b. in Paris,1748, d. 1825
DBCAHPsrAi^XAXDSE Gabribl, Fi'tn. b. in Paris,1803, d. 1860
...

...

23

...

...

...

...

...

...

Alexandre

b. in

Francois, Fren.

Champagne, 1661,

...

d. 1743

...

...

...

Diaz

'

...

[
I

...

DoLCT, Carlo, /""?/.b. at Florence,1616, d. 1686

Zamfieri, lUd, b. at Bologna,1581, d.
(DoMKincHiNo), DoMENico
boRE,GuOTAVE, Fren. b. at Strassburg,1833, d. 1883
...

...

...

...

...

...

...

...

...

...

...

..

...

...

...

189
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

1641
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

295

209
189

126
168

288

292
135
114
143

...

248
288
14

...

...

...

...

...

...

...

183
303

...

...

...

89

304

...

...

232

...

...

...

...

...

...

...

Ecphbanor, GrA:. b. in Corinth ab. 375 B.C., d. ab. 335 B.C.

Evebdlmgbn, Aldkrt
van, Dut. b. at Alkmaar, 1612, d. 1675
Eyck, IIuibrecut
van, Flem. b. at Maaseyck ab. 1366, d. 1426
Eyck, Jan van, Flem. b. at Bruges aft. 1380, d. 1440
Eyck, Lambert
VAN, F/";i. d. ab. 1400
before 1440
Eyck, BfARGARBTA
VAN, F/";m. lived at Ghent
.between
Fabriano, Gentile da, Ital. b.probablyat Fabriano between 1360-70,d

139
137

181

...

...

250

248

...

...

20L

289

...

...

...

...

...

...

...

235

36
...

...

...

276

228

...

...

135

...

...

...

228

89

...

...

276

...

"

...

225

14

...

...

...

305

135
...

Dossi, Battista, /M/. d. ab. 1549

Di Lutero, Ital. b. at Ferrara ab. 1479,d. ab. 1541
(Dosso Dossi),Giovanni
Z)M^
b.
at
Dou,
Gerard,
Leyden, 1613, d. 1675
^
Doughty, Thomas, ^"i"'. b. at Philadelphia,
1793, d. 1856...
Doyle, Richard, Brtt. b. in London, 1826, d. 1883
I DuBUFB, Claude Marie, Fren. b. in Paris,1790, d. 1864
Duccio D1.BUONINSEONA, Ital. b. at Siena ab. 1260, d. 1320
--^".U)cGHBT (Gaspard Poussin), Gaspard, Fren. b. at Rome, 1613, d. 1675
-r..
Dc Jardin, Karel, Dut. b. at Amsterdam, 1625, d. 1678
Albrbcht, Germ. b. at Nuremberg, 1471, d. 1528...
Di'-RBR,
Antoon
Dyck,
van, Flem. b. at Antwerp, 1599, d. 1641
Eastijike, Sir Charles,** Bi^t. b. at Plymouth, 1793, d. 1865
Edriikjk, Henry,* i?//^ b. at Paddington,1769, d. 182L
Epx^khout, Grrbrandt
van
den, I)ut. b. at Amsterdam, 1621, d. 1674
EfKi,Augustus
Leopold,* //n^ b. in London, 1816, d. 1863
Elliott, Charlbs
Ix)ring,Amer. b. at Scipio,New
York, 1812,d. 1868
Elmore, Alfred, Brit. b. at Clonakiety,(^rk, 1815, d. 1881
Ei^hbimer, Adam, Grt^m. b. at Frankfort,1578, d. 1620
Exgelbrechtsen, Cornklis, Dut. b. at Leyden, 1468, d. 1533
EspiNOSA,Jacinto Geronimo
db, Span. b. at Valencia,1600, d. 1680
Essex, William, -ffrrt.b. 1784, d. 1869
Etty, William,* Brit. b. at York, 1787, d. 1849
...

235

218

WiNT, Pefer, "fiW/.b. at Stone, 1784, d. 1849

la
db
Pena, Narcisse Viroile, Fren. b. at Bordeaux, 1809,d. 1876
Wilhelm
Dietrich, Christian
Ernst, Gei^m. b. at Weimar, 1712, d. 1774
DiKTiE,Feodor, Gfr/n. b. at Neunstetten,Baden, 1813, d. 1870
DioxTSius, Grk. of Colophon,fl.ab. middle of 5th cent. B.C.
DoBsoir, William, ^n/. b. in London, 1610, d. 1646
De

...

230

Decker, Gornelis, Dut. fl.ab. middle of 17th cent

De
Frederick, Amer. b. at Rotterdam, 1830, d. 1880
Haas, William
Victor
EaoENB, Fren. b. near Paris,1798, d. 1863
"i^-^DELACROix, Ferdinand
Delamotte, tTiLLiAM,Brit. b. at "Weymouth in 1775, d. 1863
(Paul),Fr"n. b. in Paris,1797, d. 1856
Delaroche, HiPPOLYTE
Denner, Balthasar, Germ. b. at Hamburg, 1685, d. 1749
Desportbs,

...

114

...

...

...

220

...

...

...

...

189

...

...

...

...

...

...

...

...

1440-50

107
109
109
109
41

312

INDEX

BIOGRAPHICAL

PAOK

Fabritius, Karel, 7"frt.b. at Delft ab. 1624, d. 1654

Factor, Pkdro
Nicolas, Span. b. at Valencia,1520, d. 1583
See IXLY
FaES, PlETER VAN DER.
Fbbvre, Ci'AUDELE,i'V";i.b. at Fontainebleau, 1632, d. 1673
...

...

Fees, Robert,
Fernandez,

^m"r.

Antonio

fl. ab. middle

...

...

of 18th cent.

Arias, Span. b.

at Madrid

...

...

...

14.3
...

...

...

...

...

...

...

...

215

...

...

...

...

...

22S
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

245
181
39
40
118
63

...

Bigi, Ital. b. at Florence,1482, d. 1525

in Paris,1567, d. 1619
b.
Frksiinet, Martin, Fren.
in
FRfeRB,EDouARD,Fmi.b.
Paris,1819, d. 1855...
b.
Fromentin, Eugene, iJ'rtf;?. at La Rochelle,1820, d. 1876
Edward,* Brit. b. at Wandsworth, 1810,d. 1877
Frost, William
Frothingham, Jambs, ^m^r. fl.at end of 18th cent.
Fi'HRicH,Joseph, Germ. b. at Kratzau in Bohemia, 1800, d. 1876
FuRNEss, William
Henry, Amer. b. 1827, d. 1867
Brit.
h. at Zurich, 1741, d. 1825
Fuseli, Henry,*
i^/m.
b.
at
Fyt, Jan,
Antwerp, 1609, d. 1661
Gaddi, Agnolo, Ital. b. at Florence aft. 1^32, d. 1396
Gaddt,Gaddo,///i/.b. at Florence ab. 1260, d. ab. 1333
Gaddi, Giovanni, /""/. d. 1383...
Gaddi, Taddko, /fa/, b. at Florence,1300, d. 1.3C6
Gaillait, Louis, ^"/^.b. at Toumay, 1810,d. 1887
Gainsborough,
Thomas,* Bn't. b. at Sudbury, 1727, d. 1788
Garbo,

KisHi

fl.in 18th cent.

Do-KO, c7ri/".

Raffaellino

DEL,

...

Claude.

See I/)rrain...

4a
66

...

...

...

...

79

'

...

...

...

...

...

...

...

207
233
231
..

2S9
...

...

...

298

...

...

...

198
...

...

...

305

...

...

...

...

...

...

...

265

...

...

170

...

...

40

...

...

...

...

...

...

...

...

36
40
...

...

...

...

...

...

...

...

38

175

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

260
2S

...

/fa/, b. ab. 1466, d. ab. 1524

Tisi,/frt/.b. 1481, d. 1539

(Garofalo), Benvenuto
Garrard, Marc, Flem. b. at Bruges, 16th cent.
Geeraets
(orGarrard), Marc, Brit. b. at Bruges,
Gelleb,

...

1492...

...

...

Gan-ku,

220

...

...

...

203

...

...

...

...

212
...

...

Bologna,1450, d. 1517

159

...

'

...

...

...

276

...

...

...

73

...

...

...

(Feancia),Francesco
Francesco
(Fhanclabioio),

147

...

...

...

Raibolini, Ital. b. at

2i"7

*
...

Ferrari, Gaudenzio, Ital. b. at Valduggia ia Piedmont, 1484, d. 1549 or 1550

Vandyck
Copley, i/riV. b. 1787, d. 1855
Fielding, Anthony
Flaxdrin, Jean Hippolyte, Frcn. b. at Lyons, 1809, d. 1864
Flatman, Thomas, -5n". b. in London, 1633, d. 1688
Flinck, Govaert, Dut. b. at Clevcs,1615, d. 1660
Florextia, Andrea
da, Jtal. fl. middle of 14tb cent.
Florentino, Stefano, Ital. fl.in 14th cent.
Floris),Frans db Vrient
(Frans, Flem. b. at Antwerp ab. 1517, d. 1570
FoppA, VicENZA, Ital. b. at Brescia earlypart of 15th cent., d. 1492
b. at Reus near
liarcelona,1841, d. 1874
Fortunt, Mariano, iS;)an.
de
Fosse, Charles
la, Fren. b. in Paris,1636, d. 1716
-Fouquet, Jehan, /"""". b. at Tours ab. 1415, d. 1483
Fragonard, Jean Honor k, Freu. b. at Grasse, 1732, d. 1823
Francesca, Piero della, Ifal. b. at Borgo San Sepolcroin Umbria, 1415-20,d.
...

173

...

...

ab. 1620, d. 1684

181

...

...

...

53
89
...

118
...

...

...

...

fl.earlypart of 17th cent.

248
...

BoNAVENTURA, Oerm. b, in Berlin,1798, d. 1868

GKitARD, Fran(;oisPascal Simon, Baron, Fren. b. in Rome, 1770, d. 1837
Fren. h. at Rouen, 1791, d. 1824
Theodore,
Gkricault, Jean Louis Andrk
(Ghirl%ndajo), Domenico
BiGORDi, Ital. h. at Florence, 1449, d. 1494
GiFFORD, Sandford
Robinson, AmcT. b. at Greenfield in Saratoga, 1823, d.
...

2l)9

""

...

...

Genelli, JoHANN

Gilpin, Sawrey,* Brit. h. at Carlisle,

1733,d. 1807
Giordano, LucA, i^^an.
b. at Naples,1632, d. 1706

..

200
...

...

222
...

...

224
...

J,,
...

1880

53
.

:U"4
...

262
...

...

...

...

...

...

150

313

PAINTERS.

OF

PAQR

(GiOBGiONis),GiOROio
Giotto
(GiOTTiKo),
(Giotto),Ambbogio

Barbarelli, Ital. b. at Yedelago near Castelfrauco,1478,d. 151 1

dt Stefano, Ital. fl.in 14th cent.
Bondonb, Ital. b. at Colle,1266, d. 1336
...

...

...

...

...

...

...

GiBODET, DB Rocct-Triosox, Anne

Louis, Freit. b. a"tMontargis,1767,d. 1824
GiBTiir,Thomas, Brit. b. at Southwark, 1775, d. 1802
GnjiiTA DA Pisa, f fa/, fl.ab. 1202-58
Charles
GI.BTRE, Marc
Gabriel, Fren. b. at Chevilly,Ct. de Vaud., 1806, d. 1874
Glover, John, ^nV. b. at Houghton-on-the-Hill,
1768, d. 1849
GODBMAK, iif"". fl.latter half of 10th cent.
GoE8,Hcroo VAN DER, /Tew. b. at Ghent, 1405 (?),d.1482...
Gomez, Sebastlan, iS^"".b. 1646,d. 1682
Gordon, Sir John Watson, Brit. h. in Edinburgh, 1790, d. 1864
jGoya y Lugibntes, Francisco
Jos^ de, -%?". b. at Fuendetodofl,1746, d. 1828
"...
;..
Goyek, Jan van, Dut. b. at Leyden, 1596, d. 1666
...

...

...

...

...

...

...

...

...

...

...

...

...

Sandro, Ital. b. at Florence,1420, d. 1498

Grandi
de* Giulio
Cesarb, Ercole, Ital. d. young, 1531
Grandi
Robe bti, Ital. h. at Ferrara, d. 1496
de
Granet, Francois Marius, Fren. b. at Aix, 1775, d. 1849
Grant, Sir Francis,** Bnt. b. at Kilgraston,1810, d. 1878
Gray, Henry
Peters, Amer. b. in Neve York, 1819, d. 1877
Greozb, Jean Baptiste, Fren. b. at Toumus, 1725, d. 1805
Gros, Antoine
Jean, Baron, Fren. b. in Paris,1771, d. 1835
GuARDi, Francesco, /^a/. b. at Venice, 1712, d. 1793
Francesco
Barbieri, Ital. b. at Cento, 1591, d. 1666
(GuBRCiNo),Giovanni
GuBRiN, Pierre Narcisse, Fren. b. in Paris,1774, d. 1833
GuiDo
(GuiDO Reni), Ital. b. at Calvenzano, 1575, d. 1642...
GuiDD
OF
Siena, /^rt/.fl.ab. 1281
Hall, Pierre Adolphe, Fi^en. b. at Boras in Sweden, 1739, d. 1793
bef. 1600, d. 1656
Hals, Dirk, Thit. b. at Haariem
Hals, Frans, But. h. at Antwerp ? ab. 1580, d. 1666
Hamon, Jean Louis, Fren. b. at St. Loup, 1821, d. 1874
b. at Conway, Mass., 1792, d. 1866
Harding, Chester, ^m^.
Henry, Biit. b. in London, 1787, d. 1819
Harlow, George
Hart, William, Amer. h. at Paisley,
1823, d. 1894
Hasbnclever, Johann
Peter, Germ. b. at "Remscheid,
1810, d. 1853
Havell, William, -ffn*.b. at Reading, 1782, d. 1857
Robert, Brit. b. at Plymouth, 1786, d. 1846
Haydok, Benjamin
Hayman, Fbanci?,* Brit. b. at Exeter,1708, d. 1776
Heaphy, Thomas, Brit. b. in London, 1775, d. 1835
Heem, J.an Davidsz de, Dut. b. at Utrecht aft. 1600, d. 1674
Hbem, Cornelis
db, Dvt. b. at Utrecht, 1630,d. aft. 1692
ab. 1613, d. 1670
van
Helst, Bartholomeus
der, But, b. at Haarlem
Hbrp,Willem
VAN, .FYew. b. at Antwerp, 1614, d. 1677
Herrera
(elYiejo),Francisco db, /S^n. b. at Saville ab. 1576, d. 1656
Herrera
(el Mozo), Francisco
1622, d. 1685
de, Span. b. at Seville,
d. 1863...
Maria
h.
at
Germ.
Diisaeldorf,
1798,
Hess, Heinrich
von.
Germ.
b.
d.
1871
at
Diisseldorf,
Hess, Peter
1
792,
von.
Heyden, Jan VAN
der, Duf. b. at Gorcum, 1637, d. 1712
Ferdinand
Hildebrandt,
Thkodor, Germ. h. at Stettin,1804, d. 1874
Hill, John W.,^"jer.d. 1879
di

...

...

...

...

...

Ill

...

...

...

159
...

187

...

63

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

142
139
223
137

218
176
176

302
269

...

...

...

...

...

...

...

...

306
201
276
288

...

...

...

...

223

...

...

...

303
220

233

...

...

290

35

...

...

...

...

...

...

...

...

...

...

...

...

...

...

63

...

...

...

...

63

224

...

...

157
269

...

...

...

...

276
240

Lesb

...

275

...

...

...

37
223

35

...

...

40

230

...

...

(GozzoLi),Benozzo

...

...

...

...

...

94

252
276
195

...

...

...

...

...

...

195
183
170

...

...

...

...

...

...

...

...

152
154
199

199

...

...

...

...

195

...

...

200

...

...

304

314

BIOGRAPHICAL

INDEX
PACE

HiLLiARD, Nicholas, Brit. b. at Bxeter, 1547, d. 1619

Hilton, William,* i?ri^ b. at Lincoln,1780, d. 1839
HoBBRicA, Hkindebt, But. b. at Amsterdam?, 1638, d. 1709
HoGABTH,
William, Brit. b. in London, 1697, d. 1764
...

...

HoKU-SAi, ^ap. b. 1760, d. 1849...

Antonio

HoLANDA,

Pcwt.

DB,

...

d. aft. 1549

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

(the eu)Br), Hans, Gtrm. b. ab. 1460, d. ab. 1524

Holbein
(the younger), Hans, Germ, h Brit. b. at Augsburg, 1497, d.
Holbein, SioisMCND, 6'"-"i. b. 1465-70,d. aft. 1540
* Brit. b. in
London, 1845, d. 1888
HoLL, Frank
d\ Dut. b. at Utrecht, 1636, d. 1695
Hondecobteb, Melchior
Hooch, Pixter db, Ihit. b. at Rotterdam, 1632? d. 1681 ?
Hoppner, John,* Brit. b. in London, 1758, d. 1810
Hoskins, John, Zfrt7.d. 1604
b. in Paris,1675, d. 1730
Houasse, Michel
Anqe, Fr"?ftro-AS^".
...

...

...

...

...

...

...

...

...

Hunt,

Morris, ^wer. b. at Brettlebrough,

1824, d. 1879
CoRNELis, iVanco-F/wrt. b. at Antwerp, 1648, d. 1724
Jan
van, Dut. b. at Amsterdam, 1682, d. 1749

Huysum,

HwEi-TsuNO,

Chin. fl.ab. 12th cent.

Ibbetson, Julius

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

159

247
200

...

191

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

252

247
277
306
173
195

...

...

...

...

...

...

...

25
2G2
89
225
304

...

...

...

...

...

...

..

...

157
305

'

...

...

...

...

...

...

...

...

...

186

267

...

...

...

...

See Clouet

...

...

...

...

Janet.

195

245

...

...

...

124

...

...

...

...

...

292

1759, d. 1817
Ital.
b.
Innocenzio
at
Francucci, da,
Imola,
Imola, 1494, d. 1550
b.
Jean
Fren.
at
Auousfb
Dominique,
Montauban, 1780, d. 1867
-Jn'gres,
Amer.
b.
at
N.
d.
1846
Utica,
INMAN, Henry,
Y., 1802,
b.
at
d.
Ignacio
1685
Iriate,
DE, i^/)a;2. Ascoita, 1620,
Irving, J. B., Amer. b. 1826, d. 1877
IsABEY, Je.\n Baptiste, Fren. b. at Nancy, 1767, d. 1855
Jackson, John,* Brit. b. at Lastingham,1778, d. 1831
Jamesone, George, Brit. b. at Aberdeen, 1586, d. 1644
...

...

...

Cesar, Brit. b. at Masham,

161

122, 243

...

William

Huysmans,

...

1543

...

Howe, Nathaniel, Brit. fl.latter half of 18th cent.

Hi-BNER, Karl Wilhelm, Germ. b. at Konigsberg,1814, d. 1879
HccHTENBURO, Jan VAN, Dut. b. at Haarlem, 1646? d. 1733
Hudson, Thomas, Brit. b. in Devonshire, 1701, d. 1779
Humphrey,
OziAs, J9r/Y.b. at Honiton, 1742, d. 1810
Hunt, William
Henry, ^n". b. in London, 1790, d. 1864...

28

...

...

...

191
252

122

...

...

243
2j^S

...

...

HoLBBiN

...

...

218
290
250

...

...

...

...

...

...

206

? 1690, d. 1662-04
120
Kkulen, Cornelis, Dut. k Brit. b. at Amsterdam
/^u/.
d.
Karel
b.
1678
189
Jardin,
1622,
DU,
b.
at
South
John
Amer.
d.
1834
3i.)l
Shields,1780,
Wesley,
Jarvis,
Maria
Anna
202
Elizabeth, Gei-m. b. at Warsaw, 1819, d. 1881
Jerichau-Baumann,
Jervas
352
Charles, Zfn". b. in Ireland ab. 1675, d. 1739
170
JoRD-AENS, Jacob, Flein. b. at Antwerp, 1593, d. 1678
212
JouvBNET, Jean, J'/tfw.b. at Rouen, 1644, d. 1717
HI
Justus van
Ghent, Flem. b. at Ghent, 1410, d. aft. 1475
ab. 1630, d. 1693
195
Kalf, Willem, Dut. b. at Amsterdam
fl.in 9th cent.
26
Kanaoka, KosK NO, "7a;}.
Kasu-ga
26
MoTO-MiTSU, Jap. fl.in 11th cent.
Anna
Angelica
Kauffman, Maria
Catharina,* Brit. b. at Coire, 1741, d. 1807
136, 263
b. at Arolsen, 1805, d. 1874
Wilhelm
Kaulbach,
19S
von. Germ.
Kensett, John Frederick, ^ww*. b. at Cheshire,Conn., 1818, d. 1872
304
Kken-k, Charles
b. at Homsey, 1823, d. 1890
Edward, iifrrt.
29""
Janssens

van

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

"

...

...

...

...

...

OF

315

PAINTERS.

PAGE

Kakl
Friedrich
Klober, August
vox, Gei'm. b. at Breslan,1793, d. 1804
Knellbb, Sir Godfrey, Bart.,Brit. b. at Liibeck,1646, d. 1723
Anton, Genn. b. at Obergiebeln,1768, d. 1839
Koch, Joseph
b. 1760, d. 1849
KoKU-SAi, ./"//".
KoLBE
(the younger), Karl WiLHELM, Germ. b. at Berlin,1741, d. 1853
KoNiNCK, Philips
de, Ihit. b. at Amsterdam, 1619, d. 1689

201
,.

...

...

201
..

28

...

XoRiN,

Ogata,

Jap. fl.at

..

201
...

..

181
..

end of 1 7th cent.

28

Peter, Germ. b. at Hanaa, 1780, d. 1856

Kruoer,
Franz, Germ. b. at Radegast, 1797, d. 1857
Han3
Fuss VON, Germ. b. at Kulmbach, d. ab. 1522
KuLMBACH,
Louis, ^Wf. b. in Paris,1663, d. 1721
Laouerre,
b. at Liege, 1641, d. 1711
Laibesse, Gerard
de, Franco-Flem.
Krafft,

201

Johann

..

201
..

132
,.

250

...

..

288
..

...

218
..

291
..

290
..

...

215

...

..

269
..

292
..

212
..

212
...

Francois, JJ'rgn.b. in Paris,1688, d. 1737

Nain, Antoinb, Fren. b. at Laon, 1588, d. 1648
Nain, Louis, i^rew. b. at Jjaon,1693, d. 1648
Nain, Matthieu, Fren. b. at Laon, 1607, d. 1677

..

..

..

218

207
207
207

69
Vinci, Ital. b. at Vinci, 1452, d. at Cloiix near
Araboine, 15j9
Charles,* Brit, k Amer. b. in London, 1794, d. 1859
286, 303
199
Lbssing, Karl
Friedrich, Germ. b. at Breslau,1809, d. 1880
222
LETHiiiRE, GuiLLAUME
GuiLLON, Fren. b. at Sainte-Anne, Guadeloupe,1760, d. 1832
304
Leutze, Emm.\nuel, Amer. b. at Emingen, 1816, d. 1868
Lewis, John
292
Frederick,* Brit. b. in London, 1805, d. 1876
114
Leyden), Lucas Jacobsz (van, Ihtt. b. at Leyden, 1494, d. 1533
Auouste
175
LfcYS,Jean
Henri, Baron, Bely.b. at Antwerp, 1814, d. 1869
Ll\no, Felipe
147
de, Span. b. at Madrid, 1556, d. 1625
63
L1BBRAI.E, /^a/ b. at Verona, 1451, d. 1536
LiBERATORE
63
(da FoLiGNO), Niccol6
dt, Ital. b. at Foligno ab. 1430, d. aft. 1499
63
LiBRi, GiROLAMO
DAI, Ital. b. 1474, d. ? 1556
Leonardo

295

73,250
..

...

Le

..

1680

Lemoine,
T^

173

..

b. at Little Easton, 1802, d. 1864

Lance, George, ^W^
L.1NCRET, Nicolas, Fren. b, in Paris,1690, d. 1743
Landseer,
Charles,* Brit. b. in London, 1799, d. 1879
Henry,* Brit. b. in London, 1802, d, 1873
Lavdseer, Sir Edwin
Fren. b. in Paris,1656, d. 1746
L.%.ROiLLiKRB, Nicolas
de,
Sir Thomas,** Brit. b. at Bristol,1769, d. 1830
Lawrence,
Lawson, Cecil Gordon, Brit. b. at Wellington, 1851, d. 1882
Le
Bbun, Charles, Fren. h. in Paris,1619, d. 1690
Louise
Lb
Elizabeth
Brun, Marie
Vigke, Fren. b. in Paris,1755, d. 1842
Leech, John, JJriV.b. in London, 1817, d. 1861
Faes (SirPeter, Flein. k Brit. b. at Soest, 1617, d.
van
der
Lely), Pieteb
Lb

250

da

..

Leslie, Robert

...

LiESBORN,

Master

of, Germ.

45

fl.in 15th cent.

b. at Frank fort-on-Maiiie,
1625, d. 1687

LiNOELBACH, JoHANNES,
LiNNELL, John, Brit. b. in London, 1792, d. 1882
LiPPi, FiLiPPiNO, Ital. b. at Prato, 1457, d. 1504
LiPPi, FiLiPPO, Ital. b. at Florence ab. 1406, d. at Spoleto,1469
LocHNER
Stephan), Stephan, Germ. b. at Constance, d.
(or Meistbr
FUm.
b. at Li^ge,1506, d. 1566
Lombard,
Lambert,
Brit.
at
b.
Bdwin,*
Long,
Bath, 1820, ? d. 1891
Dut.

195
292

...

53

...

...

Loo, Jean
LoRENZETTi,
Lorenzetti,

Baptiste

van,

Fren. b. at Aix in Provence, 1684, d. 1745

Ambrogio, Ital. fl.ab. 1323-45 at Siena

Pietro, Ital. fl.ab. 1305-48 at Sieiia

48
1451
...

43
116
295
218
40
40

316

INDEX

BIOGRAPHICAL

PACK

Lorraim), Claudk

GellivR

(Claudr, Fren. k Ital. b.

Chamagne, 1600, d.
1740, d. 1312
Strassburg,
at

1682

LouTHKRBOURO, Philip Jaxrs pe,* Bn't. b. at

fl.in time of Augustus
LuDnjs, Marcus, i?o.)f.
Lutero, Ital. b. at Luino? or Milan, ab. 1475-80,d. aft. 1543
(LuiNi),Bkrnardino
Lyyersbrrg
op
Passiok, Master
the, Ger. fl,ab. 1463"1480
(Mabusr), Jan Gossart, Flem. b. at Maubeuge ab. 1470, d. 1532
Maclisb, Daniel,* Brit, b. at Cork, 1811,d, 1870
Mass, NicoLAAS, 2"u/. b. at Dordrecht, 1632, d. 1693
Maokus, Eduard, Germ. b. at Berlin,1790, d. 1872
Makart, Hans, Gc}'m. b. at Salzburg, 1840, d. 1884
G., Amer. b. at Newport, 1777, d. 1807
BfALBONE, Edward
...

...

...

...

...

...

...

...

...

"

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Mansubti, G iovanni, Ital. b. ? 1 450, fl.at Venice

Mantegna,
Andrea, Ital. h. at Vicenza, 1431, d. 1506
Manuel
(Deutsch),Nicolaus, Germ. b. at Berne ab. 1484, d. 1530-31
March, Eotkban, "^n. b. ? at Valencia,d. 1660
Maroaritone
OF
Arezzo, /^a/. b. at Arezzo, 1216, d. 1293
Brit.
b. at Haydon, 1789, d. 1864
Martin, John,
Martinez
del
Mazo, Juan Bautiota, Span. b. at Madrid ab. 1610, d. 1687
Martino
(Simone Mexmi), Sjhone
di, Ital. b. at Siena?, 1283, d. 1344
Ital.
fl.
at
1499"1507
Marco,
Venice,
Marziale,
Ital.b.
at
Castel San Giovanni di Valdamo, 1401,d. ab.
Tommaso
GuiDi,
(Masaccio),
Kano, Jap. b. at Odawara, in Sagami, ab. 1424, d. ab. 1520
Masakobu,
Cristoforo
di
(Masolino), Tomuaso
Fini, Ital. h. at Panicale,1383, d. ab. 1440
Bn't.
b.
at
George
Weriey Abbey, 1818, d. 1872
Hemmino,*
Mason,
M ass Y.S, QuENTix, Ktfm. b. at Louvain, 1466, d. 1531
Mauve, Anton, Dut. b. at Zaandam, 1838, d. 1888
Mazzolini, Lodovico, Ital. b. 1481, d. 1530
Meceenen, Israel ton, Germ. fl.at Bocholt in latter part of 15th cent.
Mebr
(de Yonge), Jan van
der, Dut. b. at Haarlem, 1658, d. 1705
Jan
h.
at
Dut.
Delft, 1632, d. 1696
Meer,
ver,
...

...

DER,

ab. 1450

289

...

181

...

201

...

..

...

...

...

...

...

...

...

...

...

...

...

...

...

...

35
...

...

...

...

...

...

282
151

...

1428-^
/...

...

...

40
62
46

27
46
292
114

...

...

...

...

...

...

...

57

145

...

...

62

124

...

...

202

301

...

196
89

...

...

...

...

...

F^etn. fl.at Ghent

...

115, 248

...

...

VAN

44

...

...

Gerard

73

...

...

...

Meire,

20

...

...

203

...

...

...

209
...

44
...

191
185

...

...

...

...

...

...

...

...

Ill

236
Meissonier, Jean Louis ERNF.sr,Fi'en. b. at Lyons, 1815,d. 1891
73
b.
d.
aft.
Ital.
at
1565
Milan, 1493,
Melzi, Francesco,
Ill
ab.
iJ7"".
b.
d.
ab.
1493
Hans,
Memlinc,
1435,
135,159
Raphael, Germ, k Span. b. at Aussig,1728, d. 1779
Mengs, Anton
d.
ab.
Messina
?
1493
Antonbllo
d'Antonio
ab.
Ital.
b.
at
1447.
52, 59
Messina),
(da,
1"3
Metsu, G.\briel,Dut. b. at Leyden, 1630, d. 1667
1690
d.
Franco-Flem.
166
b.
at
Anton
Frans
Brussels,1634,
van
Meulen,
der,
247
Meter, Jeremlah, Brit. b. at Tubingen in WUrtemberg, 1735, d. 1789
230
Michallon, Achille
'Etna, Fren. b. in Paris^1795, d. 1822
d.
b.
Castel
Ital.
at
1^64
Michelagntotx)
73
Buonarroti,
1475,
(Michelangelo)
Caprese,
d.
b.
120
Michtbl
Dut.
at
1641
Jansz,
Delft,1567,
Mierevelt,
186
Mibris, Frans van, Dut. b. at Delft,1635, d. 1681
d.
Fren.
b.
at
215
1695
MiGNARD, Pierre,
Troyes, 1610,
305
MiONor, Louis Remy, Amer. b. in South Carolina,1831, d. 1871
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

MiLANO, Giovanni

DA, /to/, fl.at Florence

ab. 1366

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Miranda, Juan Carreno

db. Span. b. at Aviles,1614, d. 1685
MiTsuoKi,Jiip. fl.in 17th cent.
Mocetto, GiROLAMO, //ar fl.nt Venice ab. 1490" 1514
...

...

...

...

Millet, JeJCn Francois, Fren. b. at Grouchy, 1814,d. 1875

...

...

...

".

40

235
147
26
62

OF

31'"

PAINTERS.

PAUK

MoDKKA, ToMM

Aso

RaBisixO

DA, /fctZ.fl.ia 14th cent, at Modena

MOL, PiKTEB
VAN, Flem. b. at Antwerp, 1599, d. 1660
MoNNOYBtt, Jean Baptiote, Fren. b. at Lisle,1636, d. 1699
Mont, Deodaat
del, Flem. b. at St. Trond, 1581, d. 1644

^^

"""

"""

...

...

...

...

...

...

...

...

...

...

170
...

218
...

170

62
MoNTAONA, Babtolommeo, Itol, b. at Orzonovi near Brescia,ab. 1450-60,d. 1523
295
MooBB, Albebt, ^nY. b. at York, 1841, d. 1893
119, 248
b. at Utrecht, 1512,d. bef. 1582
Mob, Antonis (SirAnthony), Flem. " JBri't.
145
d.
1586
Luis
b.
at
in
of
16th
cent.,
MoBALBS,
Badajoz beginning
de, Spatu
63
MoBANiX)
b.
Ital.
d.
1522
at
Verona, 1486,
(Cavazzola),Paolo,
100
(MoBEiTo),Alessandbo
Bqnvicino, Ital. b. at Rovato ab. 1498, d. ? 1555
269
MoBLAND, Gbobob, Brit. b. in London, 1763, d. 1804
100
MoBONi, Giovanni
Battiota, Jtal. h. at Bondio in the Bergaroeseab. 1520, d. 1578
28
MoBONOBU, Jop. d. 1711-16
302
J. B., ^wer.
b. 1791, d. 1872
MoBSB, Samuel
247
MosBR, Geobge
Michael, Brit. b. at Schaflfhauseu,
1704 or 1707, d. 1783
27
d.
b.
MOTONOBU, /fl;". 1477, 1559
1^1
Mouchebon, Fbedebic de. But. b. at Embden, 1663, d. aft. 1713
3M
Mount, William
Sidney, Amer. b. at Setanket,1806, d. 1868
289
d.
MlxLEB, William
Jambs, Brit. b. at Bristol,
1845
1812,
284
MuLBEADY, William,* ^rt7. b. at Bnnis,1786, d. 1863
154b. at Seville 1617, d. 1682
"^Mcbillo,Babtolome
EariBAN,A^jpan.
248
Mytens, Daniel, But. k Brit. b. at The Hague, d. ab. 1656
26
Nan-bi^ (or Shin-ki),"/"/".
fl,ab. 5th cent.
283
Nasmyth,Alexandeb, ^r/V. b. at Edinburgh, 1758, d. IWO
283
Nasmyth,Pbteb (Patbick),^nf. b. at Edinburgh, 1787, d. 1831
146
Navabbete
d.
Juan
ab.
1579
at
b.
(el Mudo),
J1526,
Febnandez, Span.
Logroiio
302
Neaolb, John, ^wer. b. 1799, d. 1865
ISi'
Nkeb, Aabt van deb, But. b. at Amsterdam, 1619 d. 1683
186
Hendbik
Neeb, Eglon
van
deb. But. b. at Amsterdam, 1^3, d. 1703
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

."

"

...

...

...

...

...

...

...

...

...

...

."

...

...

...

."

...

...

...

...

...

...

...

...

...

...

...

...

...

Nefscheb,Kaspeb, 2""rt.b. at Heidelberg,1639, d. 1684

Nbtschee,Konstantin, 2"wt b. at The Hague, 1669, d. 1722
Nbtscheb,Thsodobus, But. b. at Bordeaux, 1661, d. 1732
Mabie
Neuvillb,Alphonsb
de, Fren. b. at Saint Omer, 1836,^ 1885
Newton,Gilbebt Stuabt,* Amer. " Brit. b. at HaUfax, Nova Scotia,1795, d.

186
186
...

...

...

...

...

...

...

Noan

Hwui, CAi". fl.ab. 13th

...

...

...

...

Olivbb,Pbteb, ^r/t.
Olivibb,
Isaac, -"n^
OpiE,John,*
1

...

...

...

14
...

...

....

...

...

...

...

...

...

...

...

b. in London,

Agnes

Battiota

267
42

73
28

1601,d.1647

b. 1556,d. 1617
near

245
...

...

..'

244
267

Truro, 1761, d. 1807

Bbnvbnuti

VAN, But. b. at HaarlciQ, 1610, d. 1685

3"
...

...

...

...

1 15
145
...

...

89'

ab. 1525

(dell',Ital. d.

young
Mbnesbs, Span. b. at Seville,1630, d. 1705

Janszoon

...

...

...

ADBLiEX
OtfTADE,

...

...

...

Cione, Ital.b. at Florence ab. 1308,d. ab. 1368

Obley,Babend
van, Flem. b. ab. 1493, d. aft. 1527
Obbbntb,
Pedbo, Span. b. at Montealegreab. 1560, d. 1644
Fbancisco
OsoBio,

...

...

14
...

di

Giovanni
Obtolano),

...

1733

Brit. b. at St.

Andbba
(Orcaona),

303, 288
25

cent.

GrA:. of Athens, fl.ab. 348" 308 B.C.

NiciAS,
NicoMACHUS,CrrA*.of Thebes, fl.ab. 400 B.c
NoBFHcoTB,James,* Brit. b. at Plymouth, 1746,d. 1831
Monk
of St. Gall,10th cent
Notkeb,-STiciM,
OooiONo,Mabco
d*,Ital. b. at Oggiono ab. 1470, d. 1540

Okio,Mabu-yama, Jap. b.

1835

186
233

...

159
...

...

...

...

...

183r

318

BIOGRAPHICAL

INDEX
PACK

OsTADK, IsACK
OuDBY,

Dut. b. at Haaplem, 1621, d. 1649

VAN,

b. in Paris,1686, d. 1755
Baptistk, /'rtfrt.

Jkan

Albert

OuwATKR,

Fbiedrich,

Johann

Oyebbeck,

...

b. at Haarlem, 15th cent.

Dut.

vax,

...

Germ.

...

b. at Liibeek,1789, d. 1869

...

...

...

.-^r*"

...

...

...

...

...

...

...

...

b. at Ludlow, 1769, d. 1825

William,* .ffr/".
GiROLAMO
Pacchia,
DEL, /fff/.b. at Siena, 1477
Giacomo
di
Bartolommeo, Ital. h. at Siena,1474, d. 1540
Pacchiarotto,
Pacheco, Francisco, Span. b. at Seville,1571, d. 1654
(Jlstus of, Ital. b. at Florence,fl.ab. 1367, d. 144X)
Padua), Giusro db' Menabuoi
Palha
(il Vbcchio), Jacopo, ItaL b. at Serinalta ab. 1480,d. 1528
Palmer, Samuel, 2?ri^ b. at Newington, 1805, d. 1881
Owen,

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Pamphilus,

CrA:. of

Amphipolis,fl.ab.

390"

350

B.C.

de

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Patinir, Jo.\chim

de,

F/em. b. at Dinant

Pausl\s, 6VA-. of Sicyon, fl.ab. 350

Payne, William,
Peale, Charles

B.C.

i?r"".b. ab. 1760, d. aft. 1813

Wilson,

Amer.

...

ab. 1490, d. bef. 1524

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

b. at Cbestertou, 1741, d. 1827

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Pinwell,

Joh.v,Brit

Seba.sti.vno

...

...

...

...

...

...

...

6^i-A:.
fl.ab.

B.C.

450

at Athens

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

"""?Duohet

PorssiN, Gaspard.

"PoussiN,

...

...

Andelys,1594, d. 1665
Philadelphia,
1734, d. 1805

...

...

...

...

Nicolas, /V^/i. b. at Les

Pratt, Matthew,

Jme*'.

pR"DA,AMBRO(iio,

Previtali, Anduea,

b. at

/^a/. of Milan, fl.ab. 1500

Ital. b. at Bergamo

...

...

...

ab. 1480, d. ? 1525

...

149
93
14

14

275
300
302

120
133
88

263
63
305

269
202
QQ

278
95
62
248

...

Pond, Arthur, ^r//.b. ab. 1705, d. 1758

PoNTE
(Il Bassano), Jacopo da, Ital. b. at Bassano, 1510,d. 1592
Antonio
Sacchi, Itil. b. at Pordenone, 1483,d.
(Pordenone), Giovanni
Potter, Paulus, 2"Kf. b. at Enkhuizen, 1625, d, 1654

14

147

292

...

...

98

277

295

...

at

152

215, 245

...

...

...

Polyonotus,

...

...

b. in London, 1842, d. 1875

Cdel, Ital. b.

Luciani

...

...

...

Venice, 1485,d, 1547

Pis.\No (Pisankllo),Vittore, Ital. K at^Vigilio, 1380, d. ? 1150
nKTiMER,Andrew, Brit. b. at Bridge^'ater,1763, d. 1837
PoLLAiuoLO, Andrea
del, Ital. b. at Florence,1429, d. 1498
PoLLAiuoLO, PiERO
DEL, //a/, b. at Florence,1441, d. bef. 1496
Piombo),

...

...

...

...

Geouoe

...

...

41
41

115

...

...

Rhmbilv.\dt, Ainer. b. in

197
209

218

...

Pennsylvania,1778,d. 1860
/"M^
b.
at
Jan,
Antwerp,
Peeters,
1624, d. ab. 1677
b.
6'cn/i.
at
d. 1550
Georg,
Nuremberg,
Pencz,
Ital. of Florence,b, ab. 1488, d. 1528
Penni, Gianfrancesco,
Bn't. b. at Knutsford, 1714, d. 1791
Penny, Edward,
(Peruoino), Pietro Vannucci, Ital. b. at Castella della Pieve, 1446-17, d. 1524
Erik
Christian, Amer. b. at Copenhagen, 1839,d. 1874
Petersen, Johann
Petitot, Jean, Fren. k Brit. b. at Geneva, 1607, d. 1691
Pethe, John,* 2?W". b. at Edinburgh, 1839, d. 1893
Phillip, John,* J"n". b. at Aberdeen, 1817, d. 1867
Philips, Thomas, jS/vY.b. at Dudley, 1770,d. 1845
Thr"idor
at Munich, 1826, d. 1886
Piix)TT, Carl
VON, Cfn"rb.
Bkrnardino
di
Biagio, Ital. b. at Perugia, 1454, d. 1513
(PiNTURiccHio),
Pbale,

...

...

la

114

57

...

Crcz, Juan, Sjan. b. at Madrid, 1551,d. 1609

b. at SevMle, 1606, d. 1670
Pareja, Juan de, iS"Ki;i.
(Parmiqiano), Francesco
Mazzuoli, Ital. b. at Parma, 1505,d. 1540
Parhhasius, 6VA-. fl.at Ephesus ab. 400 B.C.
Baptiste
Pateu, Jean
Joseph, Fren. b. at Valenciennes, 1695,d. 1736
Pantoja

1S3
218

...

1538
...

56
56

...

...

...

...

13
252
104
100

189
209

...

...

...

...

...

207

...

...

...

297

...

...

...

72

...

...

...

62

319

PAINTERS.

OF

PAGE

PitiMATiccio, FuANCESCO, //a/, b. at Bologna,1504, d. 1570

pA0TO3EirB9, Gi'Ar.of Camirus, fl.ab. 330" 300 B.C.
i?rtV.b. at Plymouth

PaoDT, Samuel,
PacD'HON, PiXRBB, Freu. b.

PujcTORMo),
Ptvb,

Cluny, 1758, d.

...

...

...

...

...

...

...

...

...

...

...

...

1823

(da, Itol. b. at Puntormo, 1494, d. 1557

JBrit.b. in London, 1769, d. 1843

Cakucci

Jacopo

"William

at

...

...

ab. 1784, d. 1852

Henbt,

...

...

...

...

...

...

...

...

...

...

...

....

...

...

...

...

...

...

...

...

...

...

14

277
223

...

P\REicns,(?rJt. fl.ab. 320 B.C.

QrELLiMUS, Erasmus, i-Y^w. b. at Antwerp, 1607, d. 1678
Qu"Lx.ixus, Jan Erasmus, F/eitt.d. at Antwerp, 1634
B.UEBxrBN, Sir Hbnry,* Brit. b. at Stockbridge,1756, d. 1823
K.%HL, Karl, Germ. b. at Vienna, 1812,d. 1865
Ramssay, Allan, 2?W/. b. at Edinburgh, 1713,d. 1784
..

88

...

79
276
16

170
170
269
201

...

...

RjkNC, Jkan,
Raoux,

1674, d.
Span.b. at Montpellier,
d.
b. at Montpellier,
1677, 1734

Fren. k,

Jkan, Fiw.

1735

Rapfaello

Sanzio, Ital. b.

..

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

1656

...

215
...

...

...

...

...

252

305
...

...

...

...

...

...

...

(Romano), Giulio Pippi dei

Rombouts, Theodoor, Flem.

Giannuzzi, Ital. b.

148

230
...

...

283
248

...

...

...

...

...

1492, d. 1546

at Rome,

1^2
148

...

...

143

252
...

...

at Brescia ab. 1485, d. ab. 1566

256

140, 143

...

RoMANiNO, GiROLAMO, Ital. b.

137

...

...

...

177"

143
...

...

...

232

223

161
...

...

...

79
120

201
...

...

...

...

...

...

Richardson, Jonathan, i/rt/.b. 1666, d. 1745

RmAUD
V Ros, HYACiNTHE,J^Ve?i.b. at Perpignau,1659,d. 1743
Riley, John, i^n/. b. in London, 1646, d. 1691
RiMMER, William, ^mer. b. 1816,d. 1879
b. at Guadalaxara, 1446, d. 1500
Rincon, Antonio
DEL, /^/Min.
b. at Madrid, 1608, d. 1685
Rizi,Francisco, i^")"".-/te/.
b. at Madrid, 1595, d. 1675
Rizi,Fray Juan, Span.-Jtal.
HoDERT, Louis Leopold, Fren. b. at La Chaux-de-Fonds, 1794, d. 1835
KoBERTS, David,* ^rrt. b. at Stockbridge,
1796, d. 1864
Kobertson, Andrew, i?/7/.b. at Aberdeen, 1777,d. 1845
RoBSON, George
Fennel, Brit. b. at Durham, 1790, d. 1833
Juan
de
RoELAS,
1558-60,d. 1625
las, Span. b. at Seville,
RoKBS (Soroh), Hendrik
b. at Rotterdam, 1611,d. 1670
I)ut.
Martenz,

277
152

...

...

184
...

...

...

...

...

...

...

"".

100
88
168

...

...

RoMEHSWAEL, Marinus
VAN, F/ct". fl. 1521-67
RoMNEY, Gborgb, Brit. b. at Dalton-le-Furness,Lancashire,1734, d. 1802
Rosa,Salvator, /te/. b. at Renella,near Naples, 1615, d. 1673
RojiALES,
Eduardo, Span.b. at Madrid, 1837, d. 1873
Ross,Sir William
Charles,* Brit. b. in London, 1794, d. 1860
Itol.
b. at Florence, 1439, d. 1507
RossELLi,GosiMO,
Gabriel
Charles
Rossbtti,
Dante, Brit. b. in London, 1828, d. 1882
...

159

203

...

...

b. at Antwerp, 1597, d. 1637

...

...

...

RiBALTA, Juan DB, A^an. b. at Valencia,1597,d. 1628

HiBERA
(Lo Spaonoletto), Jose de, Span, k Ital. b. at Xativa, 1588, d.
...

...

...

...

..

...

...

...

at

...

...

215

Urbino, 1483, d. at Rome, 1520

lUvBSTYN, Jan van, Dut. b. at The Hague ab. 1572, d. 1657
Gboroes
Reonault, Alexandre
Henri, Frm. b. in Paris,1843, d. 1871
Regnault, Jean Baftiste, Fren. b. in Paris,1754, d. 1829
Rki(brandt
Harmenszoon
van
Ryn, Dift b. at lieydeo,1607, d. 1669
^Rex^
Anjou, Frni. b. 1409,d. 1480
of
Reni, GuiDo, /to/, b. at Calveuzano, 1575, d. 1642
Rethel, Alfred, Germ. b. at Aix-la-Chapelle,
1816, d. 1859
Rey.volds, Sir Joshua,** Brii. b. at Plympton, 1723, d. 1792
Bezeni"e, Garcia
de. Port. b. ab. 1470
b. at Oastellon de la Plana, 1550-60,d. 1628
Rlbalta, Francisco
de, ^".

^Raphael),

...

...

...

255

...

...

...

.""

...

...

...

...

...

...

...

...

...

...

...

...

H^
...

...

265
140
159
248
56

"""

"".

...

...

293

320

BIOGRAPHICAL

INDEX

JoHAXK, Germ. b. at Munich, 1561, d. 1623

Etiennb
Tueodobb, Fren. b. ia Paris,1812, d. 1867
RuBBN, Christian, "7eim. b. at Treves,1805, d. 1875
P.\ul,FUm, b. at Siegon in Westphalia,1577.,
BuBENS, Pbter
d^l640
T!?
KuYSCH, Rachel, 2"tf/.b. at Amsterdam, 1664, d. 1750
RoTTBNUAMUBB,
BoussBAU,

...

PiKBBE

...

...

...

135
...

...

...

...

233
2i"3
...

...

...

...

162
...

1630,d. 1682
b.
Dut.
at
Haarlem, d. 1670
yan,
Fren.
at Antwerp, 1655, d. 1729
b.
Akdbies,
Castillo
db
y. Span. b. at Cordova, 1603,d. 1667
Jtal.
at Milan ah. 1480
b.
Andrea
Salai,
(Salaino),
b.
at Benyfayro,1513-15,d. 1590
Span.
Sanchbz-Coello, Alonzo,
Sandby, Paul,* ^rrt. b. at Nottingham, 1725,d. 1809
Sandrabt, Joachim
van, Genn. b. at Frankfort,1609, d. 1688
Santebbe, Jean Baftiste, Fren. b. at Magny, near Pontoise,1658,d. 1717
Santi, Giovanni, Ital. b. at Castello di Colbordolo ab. 1435,d. 1494
d'Agnolo
Sabto), Andrea
(del, Ital. b. at Florence,1487, d. 1531
Battista
Salvi, Ital. b. near Urbino, 1605,d. 1685
(Sassofebrato),Giovanni
SAVAGB,B.,."oj"?r.b.1761, d. 1817
Wilhelm
Schadow, Fbiedbich
von. Germ. b. at Berlin,1789, d. 1862
ScHAFFNEB, Mabtin, Germ. fl.at Ulm ab. 1499,d. 1535
Schalken, Godfbied, Dut. b. at Dordrecht, 1643,d. 1706
Germ.
b. at Nuremberg bef. 1490, d. 1540
Leonhabdt,
Schaufelin, Hans
SCHEFFEB, Ary, -fV"n. b. at Dordrecht, 1792, d. 1858
Schleoel, Fbiedbich, Germ. fl.early19th cent.
ScHNOBB
VON
1789, d. 1853
Cabolsfeld, Julivs, Germ. b. at Leipsic,
488
b.
d.
1
Germ
1450,
SCHONOAUEB, Mabtim
ScHOBBRL, Jan van, Flem. b. at Schorcel,1495,d. 1562
in Algaii,
1808,d. 1879
ScHBAUDOLPH, JoHANN
VON, Germ. h. at Obertsdorf
Germ.
in
d.
b.
1875
Schwedt, 1805,
Schbodtbb, Adolf,
ScHussELE, Chbigti AN, ^"i"r. b.'in Alsace, 1824, d. 1879
Scuut, CoRNELis, J7tf"".b. at Antwerp, 1597, d. 1655

Ruysdabl, Jacob
RuYSDABL, Salomon
Rysbback, Pin-EB
Saayedha, Antonio

Dut.

van,

b. at Haarlem,

...

...

...

...

...

...

...

...

...

...

...

...

...

Signobelli),Luca

d'Eoidio

Jans),Gerbit

van

...

...

...

...

...

...

...

...

...

...

...

...

...

...

135

...

...

7S
139
300
199

...

...

122
1"6
132

...

...

...

...

...

...

...

...

...

...

79

...

...

...

275

212

...

...

145

226
198

198
120

...

...

...

...

...

115
200
201

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

305

170

...

...

...

...

27
73
269

27
...

di

...

Babtolo,

di

Haablem

...

...

da, Ital. h. ab.

...

1435,d. 1495

...

...

...

...

...

...

40
240

cent.

Si-kin,Ku-TSZE, C/iin.fl.ab. 15th

Sint

73

...

...

15th cent.

...

...

Sesto, Cesarr
da, Ital. b. ab. 1460, d. ab. 1524
Sheb, Sir Martin
Archeb,*" Brit. b. at Dublin, 1769,d. 1850
fl.in
t/af).

154

41

SEMiTECOL6,NiccoLO,/"a/.d.aft. 1400
Sbsshiu, Jap. b. at Akabama, 1421,d. 1507

Giovanni
di
Siena, Matteo
SiFEB Was, Brit. fl.in 15th

...

...

...

Shi u-BUN,

22

...

...

...

189
...

...

...

191

...

...

...

...

...

...

"

...

cent.

...

...

(da,Ital. b.

Ventura
...

(Geebtgen

...

van,

...

1441,d. 1523

at Cortona?
...

...

Dut. fl.1460-88

Slinoeland, Pibter CoBNELisz

VAN, Dut. h. at Leyden, 1640, d. 1691
Smith, George, Brit. b. at Chichester,1714, d. 1776
Smith, John, Bnt. b. at Irthington,
Cumberland, 1749, d. 1831
Snydebs, Frans, Kew. b. at Antwerp, 1679, d. 1657
SoHN, Karl
Ferdinand, G"-m.b. at Berlin,1805, d. 1867...
SoLARio, Andrea, Ital. b. at Milan, 1460, d. ab. 1520
SoLARio
(Lo Zingaro), Antonio, Ital. b. 1382, d. at Venice (?),1455
Paul
Somer,
van, Flem. k Brit. b. at Antwerp, 1576, d. 1621
"OROH, Hbndeick
(RoKEs),/""". b. at Rotterdam, 1611, d. 1670
...

...

...

...

...

...

...

...

114
186
256

...

275

...

...

...

...

...

...

...

...

...

...

...

...

...

54
25

...

...

...

195

160
200

73
05
118

...

...

...

1^

"

321

PAINTERS.

OF

PAGE

So-SKN,Jap. fl,in 19th

cent.

...

...

...

Pibtro
di
(Lo,Span. d. ab. 1528-30
Spagno),Giotanni
Squabcionb,Fbancesco, Ital, b. at Padua, 1394, d. 1474

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Clabkson,* Brit. b. in London, 1828, d. 1878

b.
at Norwich, 1794, d. 1859
Stark,Jasies,Bvii.
Stanfield, George

...

...

Steen, Jan Hayicksz, Dut. b. at Leyden, 1626, d. 1679

b. at Vienna, 1810
Edward
Steinlb, Johann
von, Germ.
Stella, Jacques, jpi-en.b. at Lyons, 1596, d. 1657
Gfi-jn.b. at Beriin,1803, d. 1860
Stilkb,Hermann,

...

...

...

-"nV. b. at

Liverpool,1724, d.

1806

...

ToRiTi, Jacobus, //a/, fl.ab. 1287-92

Tristan, Luis, %in. b. near Toledo, 1586, d. 1640
...

Chin. fl.ab. 3rd cent.

Fuh-hing,
Theodoor

Tuldbn,

van,

Dut. b. at

...

...

...

...

...

/to/, b. at Ferrara

TuR.\, CosiMO,

208
200
250

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

269
247
252
298
262
218
210

...

301
35
26

170

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

..,

...

...

...

...

...

185
200

...

...

Troy, Francois de, Fren. b. at Toulouse, 1645, d. 1730

Troyon, Constant, ii7-"".b. at Sevres, 1810, d. 1865
Trumbull, John, "4m^\ b. at Lebanon, ab. 1756, d. 1843
Tsao

280

...

...

...

...

...

...

...

...

...

...

...

Scbleyras, Pierre, J5V"n. b. at Uz^B, 1699, d. 1749

Sueur, Eustachb
lb, Fren. b. in Paris,1616, d. 1655
Avier.
b. at Homcastle, 1783, d. 1872
Sully, Thomas,
/^a^. fl.ab. 1320
Andrea
RiccHi,
(Tafi),
Takuma
Tame-uji, Jap. fl.in 10th cent.
Teniers
(the elder), David, Fleni. b. at Antwerp, 1582, d. 1649
Tbmers, David, JYe"". b. at Antwerp, 1610, d. 1694
Terborch, Gerard, Dut. b. at ZwoUe, 1617, d. 1681
Theodorich
of
Prague, Ger. fl.in 14th cent.
Theon, (rrA:.of Samos, fl.ab. 330 B.C.
Theotocopuli
(el Greco), DoMENico, i%Mtw.b. ab. 1548, d. 1625
Sir
James, Brit. b. at Melcombe
Thorxhill,
Regis,1676, d. 1734
b. at Mandal, 1814, d. 1876
Tiedmand, Adolph, iVbrtw^nfln,
TiEPOLO, Giovanni
Battista, Ital. b. at Venice, 1696, d. 1770
Jacopo
^Tintoretto),
Robusti, Ital. b. at Venice, 1519, d. 1594
(Titl\n),TiziANo Vecelli, /fa;, b. at Cadore, 1477, d. 1576
Miguel
Tobar, Alonzo
de, Span. b. at Higuera, 1678, d. 1758
William, Brit. b. at Leeds, 1808, d. 1877
TopHAM, Francis
...

57
282

...

...

Stubbs,George,*

66

...

Stone, Henrt
(old ^tone), BHU d. 1653
Stothard, Thomas,* BHt. b. in London, 1755, d. 1835
Strange, Sir Robert, Brit. b. at Pomona, Orkney, 1721, d. 1792
Streater, Robert, Brit. b. in London, 1624, d. 1680
Charles, -4m"". b. at Narraganaett,R. L, 1755, d. 1828
Stuart, GII3ERT
...

28

...

Herzogenbusch

43

...

14

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

,..

...

...

...

...

...

...

202

...

...

...

1851

...

157
278
35
147
215

...

...

96

...

...

...

...

Mallord
"William,* Brit. b. in London, 1775, d.
Turner, Joseph
of St. Gall,d. ab. 908
Monk
Tttilo
(or TuoTiLo), *St(7Ws,
di
Dono, Ital. b. 1397, d. 1475
(UccELLi), Paolo

252

102

...

...

147

142

ab. 1607, d. ab. 1676

ab. 1420, d. 1494-98

181

...

...

170

230
298
23

...

170

...

63
...

271,275

Udek, Lucas

van,

Flem. b. at
Nanni

Udine,

Giovanni

Udine

(Pelleorino

ToOLiNO,

Va"a),

DA

da

da,

Antwerp, 1595, d.

Buonaccorsi

Vaillant, Wallerant,

...

...

...

...

...

...

...

...

Ital. b. at Udine, 1487, d. 1564

S. Daniele), Martino

Siena, /to/, fl.beginning 14th

Pierino

1672

(del,Ital. b.

...

...

...

...

da, Ital. b. ab. 1465, d. 1547

cent.
...

at

Florence,1500,

Flem. b. at Lille,1623, d. 1677

42

...

...

...

d. 1547
...

...

46
168

...

89

...

62

...

36

...

...

...

...

...

173
.

322

INDEX

BIOGRAPHICAL

PAGE

Leal, Juan

Valdes

de,

Pierre

Valenciennes,

Fren, b. at

Valentin,

Span. b. at Seville,1630, d.

1691
...

...

Henri, Fren. b. at Toalouse, 1750, d. 1819

Ck"uloinmiers en Brie,1600, d. 1634

...

...

...

...

...

...

805

Van

Van

Dyce,

Varela,

Francisco,

Vargas,

Luis

Varlby,

John, "nt

Span. d.

^n.

DE,

1656

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Veen

i^n.

(Vabnius)Otto

Veit, Philipp, Germ.

Velasco,
r"

Velde,
Velde
Velde

(Gran,

van

Fletn. b. 1558, d. 1629

van,

b. at Berlin,1793, d. 1877

de, Dut.

(the elder), Willem

(the younger), Willem
Lorenzo, /to/,

Veneziano,

Venne, Adriaan
Venusti,

VAN

Marcbllo,

...

...

DBR,

...

db

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

Silta

y.

...

...

...

...

Span. b.

...

at

van

...

1599, d.
Seville,

...

/"u^ b. at Delft, 1589, d. 1662

/to/, b. at Gomo, d. 1679

Joseph, Del^.b.

...

BoNiFAZio, /to/, b. at Verona

...

...

...

...

...

...

...

...

...

...

Calulri, /to/, b. at Verona, 1528, d. 1588

Verrio, Antonio, Brit. b. at Leoce, 1639, d. 1707
Andrea
del, Ital. b. at Florence,1435, d. 1488
Verrocchio,
1716, d. 1809
Marie, Fren. b. at Montpellier,
ViEN, Joseph
NuffEZ
at
b.
Iedro
Seville,
1636, d. 1700
DE, Span.
ViLiAVicHKcio,
Vincent, George, Drit. b. at Norwich, 1796, d. after 1831
ViTi, TiMOTEO, Itaf. b. at Ferrara or Urbino, ? 1469, d. 1523
...

Bartolommeo.

/to/, fl.ab. 1479

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

66
59
...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

...

207
120

...

...

...

78
118

...

...

157
280

...

...

""

250

220

...

...

22ii
220

56

...

...

...

78
175

102

Daniele

...

41

100^^^

...

...

193

228

...

...

191

119

...

Bicciarelli, (da,/to/, b. at Volterra ab. 1509, d. 1566

J7effi.
b. 1585, d. 1651
CoRNELis
DE,
Vos,
*^ouet, Simon, Fren. b. in Paris,1590, d. 1649 *-^^.
CoRNELisz, Z"tct.b. 1556, d. 164U
Vrooh, Hbndroc
Georgb
FERDINAND, Germ. b. at Vienna, 1793, d. 1865
WALDMrLLER,
Dnt.
b. in London, 1840, d. 1875
Frederick,*
"Walker,
Robert, ^ri^ d. 1658
Walker,
b. at Antwerp, 1803, d. 1874
Gustavus, Baron, "elff.
Wappers,
Matthew,* Brit. b. in London, 1816,d. 1879
Ward, Edward
James,* Brit. b. in London, 1769, d. 1859
Ward,
Watson,
John, Amer. b. in Scotland, 1685, d. 1768
Watteau,
Antoine, J'r^n.b. at Valenciennes, 1684, d. 1721
Webster,
Thomas,* Brit. b. 1800, d. 1886
Wkenix, Jan, Dut. b. at Amsterdam, 1640, d. 1719

Volterra),

...

...

...

149

193

at

ab. 1490, d. 1540

161

...

...

Paolo
^^.^^Veronese),

ViVARiNi,

...

...

...

Veronese,

198

...

Warueton, 1798, d. 1881

Charles
Horace. Fren. b. at Bordeaux, 1758, d. 1835
Vernet, Antoine
Joseph, Fren. b. at Avignon, 1714, d. 1789
Vernet, Claude
Jean
Horace, Fren. b. in Paris,1789, d. 1863
Vernet, Emile
Verboeckhoven,

Eugene

162

119

..._

...

...

fl.in 14th cent.

79

152

1660

.^.
1639, d. 1672
Dut.
at
b.
d.
1693
Leyden, 1610,
de,
van
de, Dut. h. at Amsterdam, 1633,d 1707

b. at Amsterdam,

276

162

...

...

...

152

...

Port. fl.in Ist quarter of 16th cent.

d. 1649

Rodriquez

Diego

Adriaan

...

...

...

Port. fl.ab. 1520-40

Velazquez,

154

b. in London, 1778, d. 1842

Fernandez

Alonso,

302

...

...

b. at Seville,1502, d. 1568

Vasco, Port. fl.ab. 1466

Vasco), Vasco

...

...

Vasari, Giorgio, /to/, b. at Atbezo, 1512, d. 1574

Vasquez,

...

...

168

SeeDYCK

Antoon.

157
230

...

210

...

d. 1860
Beest, A., -4"ier.,
b. at Kingston,1776, d. 1852
i"m"r.
John,
Vanderlyn,

...

201
278
252
173
290
290
297
218
292
IP-'i

...

323

PAINTERS.

OF

PAGE

Jan

Webnix,
Werff,

Adkiaan

West,

van

Rooier

"VVetdkn

(the

"WiERTZ,

younger),

JY"n.

Jan,

WiLHELM,

b. at

Sir

WiLKiE,
Wilson,

Richard,*

Witte,

Michael,

WooDViLLE,

G^^'w.

Richard

Caton,

Wright

(op

Joseph

Wright,
1

WuRMSER,

Joseph,*

Derby),

NicoiAus,

Tao-tsz,

Wynants,
YvoN,

C%4".

fl. ab.

Jan,

i"M^

8th

b. at

Zeoers,
Zeqers,

Gerard,

Zeitblom,
Zeuxis,
ZiNCKE,

1825,

Zoppo,

Zurbaran,

...

...

...

...

...

14th

124

...

...

...

170
189
...

1734, d. 1797

d. ab.

...

265
...

...

"

...

...

...

...

...

"""

...

""

250

1700

^3
...

23
...

...

d. after

...

187

1679
...

...

...

...

...

"""

...

...

...

...

...

...

...

...

...

b. at

Francesco,*

4th

Brit. b. at

Bologna,
^ri7.

fl. ab.

b.c.

at

Dresden

...

...

...

...

...

1683, d. 1767

...

de

Fuente

THE

Cantos,

END.

...

247
...

...

...

...

...

...

...

...

...

...

57

1471-98

Pitigliano, 1702,

.-

14

Heracleia
ab.

""

121

...

b. at

*%?"in.b.at

...

d. afjier 1518

century

...

1^8

1591, d. 1651
Ulm,

....

170

1590, d. 1661

b. at

of

159

1842, d. 1871

Bilbao,

Germ.

part

...

...

Antwerp,

Frederick,

Francisco,

".

304

cent.

Antwerp,

b. at

latter

//a/,

...

"

cent.

b. at

b. at

Flem.

fl. ab.

Marco,

...

194

...

Derby,

b. in Scotland,

Haarlem,

Span.

Flem.

Christian

Zcccarelli,

...

...

233

Barthoix)Maus,
Grk.

...

...

Fren.

Eduardo,
Daniel,

...

255

...

1619, d. 1668

b. at

...

Zamacois,

...

43

d. 1855

...

Adolphe,

...

1714, d. 1782

...

Wu

...

284

1607, d. 1692

Haarlem,

fl. in

6'enn.

...

d. 1878

Herle,

1434, d. 1519

Bnt.

^Wf.

Michael,

...

1614, d. 1659

i"ttf. b. at

Philips,

...

173

b. ab.

WorTERs,FRANs,JFYe"i.b.atIierab.
WouwEHMAN,

...

168

Niiremberg,

Jmer.

...

114

...

Alkmaar,

b. at

263, 298

1785, d. 1841

Cults.

b. at

...

...

...

d. 1537-43

1806, d. 1865

Pinegas, Wales,

b. at

i"M^

DB,

187
...

d. 1653

b. at

Cologne,

b. at

Bnt.

Emanuel

WoLOEMUT,

of

Bnt.

David,*

der,

Dinant,

1580,

Antwerp,

Get^m.

Meistsr,

van

Flem,

...

...

109

1400, d. 1464

Toumai,

180
...

1738, d. 1820

Springfield, Penn.,

b. at

Belif.b. at

Joseph,

Antoine

WiLDENS,

Flem.
Rooier

1659, d. 1722

Rotterdam,

near

b. at

Amer.

der,

van

b.

Dut.
k

1621, d. aft. 1665

Amsterdam,

b. at

der,
Bnt.

Benjamin,**

Weyden,

Dut.

Baptist,

263

d. 1788

1598, d. 1662?

154

Richard

Clat
LOKDOK

Soks, Limited,

BUNOAT.

.4^