PRESENT

ies which differs from ours. Thus we call 1800 the first year of the nineteenth century, but they call it the first of the eighteenth; so the painters of what was to us the fifteenth century are called by Italians the

g in my writing; but this fact should

circumstances that the young Guido could have led a life of ease; but he early determined to become a preaching friar. Meantime, even as a boy, he showed his taste for art, and there are six years in his life, from the age o

as called Fra Angelico, and again Il Beato Angelico, and then, according to Italian custom, the name of the town from which he came was added, so that he was at last called Il Beato Giovanni, detto Angelico, da Fies

popes claimed the authority over the Church of Rome, and the city of Florence declared itself in favor of Alexander V.; but the monks of Fiesole adhered to Gregory XII., and for this reason were driven from their

sought for far and wide, and most of his easel-pictures were painted during this time. Fra Angelico would never accept the money which was paid for his work; it was given into the treasury of his convent; neither did he accept any commission without the consent of

of him in the fresco of the "Last Judgment," by

ote: "This Father painted so many pictures, which are dispersed through the houses of the Florentines, that sometimes I am lost in wonder

that the pictures in the cells could be seen only by the monks, he put all his skill into them, and labored as devotedly as if the whole world could see and praise them, as indeed has since been done. His pictures in this convent are so numerous that we must not describe them, but will say that the Crucifixion in the chapter-room is usually called his masterpiece. It is nearly twenty-five feet square, and, besides the usual figures in this subject, the Saviour and the thieves, wit

ed to honor Angelico by giving him the archbishopric of Florence; but when this high position was offered him, Fra Angelico would not accept of it: he declared himself unequal to its duties, and begged the Pope to appoint F

re striving for-but if he realized this he did not regret his decision, neit

as continued by Luca Signorelli. The remainder of his life was passed so quietly that little can be told of it. It is not even known with certainty whether he ever returned to Florence, and by some strange fate the key to the

2.-An

ffizi, F

a Ang

na. He died on the 18th of February, 1455, when sixty-seven years old. His tombstone is in the church of Santa Maria Sopra Minerva, in Rome; on

praise that I was

all my gains to

the earth, ano

lower of Tuscan

till others in the Vatican gallery. The Church of Santa Maria Novella, Florence, the Cathedral of Orvieto, the Church of St. Domenico in Perugia, and that of Cortona, are all rich in his wo

eings who are holy and good; he never succeeded in painting evil and sin in such a way as to terrify one; his gentle nature did no

of Masaccio are a series of frescoes in the Brancacci Chapel in Florence. They represent "The Expulsion from Paradise," "The Tribute Money," "Peter Baptizing," "Peter Curing the Blind and Lame," "The Death of Ananias," "Simon Magus," and the "Resuscitation of the King's Son." There is a fresco by Masolino in the same cha

called the best Florentine painter of his time. Fillipino Lippi (1460-1505) was a pupil of Botticelli and a very important artist. Andrea Ve

Florence into pictures which he painted in the Church of Santa Maria Novella and other public places in the city. He did not usually make them actors in the scene he represented, but placed them in detached groups as if they were looking at the picture themselves. While his scenes were laid in th

entury were Francisco Granacci (1477-1543), Luca Signorelli (1441-1

o speak of the Venetian school with some account of the Bellini. The father of this family was Jacopo

igures, stories of the Scriptures, of mythology, and of the lives of the saints are all illustrated in its sketches, as well as hawking parties, village scenes, apes, eagles, dogs, and cats. In this book the excellence of his drawing

At length it happened that when he had finished a picture of the head of John the Baptist in a charger, and showed it to the Sultan, that ruler said that the neck was not well painted, and when he saw that Gentile did not agree with him he called a slave and had his head instantly struck off, to prove to the artist what would be the true action of the muscles under such circumstances. This act made Gentile unwilling to remain near the Sultan, and after a year in hi

33.-C

o. Be

n Venice, and are also seen in the principal galleries of Europe. He did not paint a great variety of subjects, neither was his imagination very poetical, but there was a moral beauty in his figures; he seems to have made humanity as elevated as it can be, and to have stopped just on the line which separates earthly excellence from the heavenly. He often painted the single figure of Christ, of which Lübke

s in Padua, Ferrara, and Ver

brought him into relations with many artists. His services were sought by various sovereigns, whose offers he refused until Pope Innocent VIII. summoned him to Rome to paint a chapel in the Vatican. After two years there he returned

r of the great Raphael. His pictures were simple and devout in their spirit, and brilliant in color; in fact, he is considered as the founder of t

aint; but his earliest known work is dated 1490 or 1494, and is in the Gallery of Bologna. His pictures resemble those of Perugino and Raphael, and it is said that he died of sorrow because he felt himself so inferior to the great painter of Urbino. Raphael sent his St. Cecilia to Francia, and asked him to

adonna. By

ti Gallery

of the Lombard or Milanese school. He was not the equal of the great masters, Michael Angelo, Raphae

olar in mathematics and mechanics; he wrote poetry and composed music, and was with all this so attractive personally, and so brilliant in his manner, that he

e showed them to his friend Andrea Verrocchio, an artist of Florence, who advised that the boy should become a painter. Accordingly, in 1470, when eighteen years old, Leonardo was placed under the care of Verrocchio, who was like a kind father to his pupils:

inci. From a drawing i

yal Libra

It once happened that a countryman brought to his father a circular piece of wood cut from a fig-tree, and desired to have it painted for a shield; it was handed over to Leonardo, who collected in his room a number of lizards, snakes, bats, hedgehogs, and other frightful creatures, and from these painted an unknown monster having certain characteristics of the horrid things he had about him. The hideous creature was surrounded by fire, and was breathing out flames. When his father saw it he ran away in a frigh

lived extravagantly. He had the power to remember faces that he had seen accidentally, and could make fine portraits from memory; he was also accustomed to invite to his house people from the lower classes; he would amuse them wh

r and as a gentleman. The Duke governed as the regent for his young nephew, and gathered about him talented men for the benefit of the young prince. He also led a gay life, and his court was the scene of constant festivities. Leonardo's varied talents were very useful to the Duke; he could assist him in eve

ll the fêtes and entertainments given by the court, and in this department he did some marvellous things. He also superintended a great work in engineering which he brought to perfection, to the wonder of all Italy: it was no less an undertaking than bringing the waters of the Adda from Mortisana to Milan, a distance of n

st Supper. By L

injured as to give no satisfaction to one who sees it. Some good copies were made before it was thus ruined, and numerous engravings make it familiar to all the world. A copy in the Royal Academy, London, was made by one of Leonardo's pupils, and is the size of the original. It is said that the prior of the convent complained to the Duke of t

artist. He had been absent nineteen years, and great changes had taken place; Michael Angelo and Raphael were just becoming famous, and they with other artists welcomed Leonardo, for his fame had reached them from Milan. However, he painted some fine pic

o Leonardo. He worked upon it for four years, and still thought it unfinished: the face has a deep, thoughtful expression-the eyelids are a little weary, perhaps, and through it all there is a suggestion of something not quite understood-a mystery: the hands are grac

ice upon it. In 1860 the Emperor of Russia paid twelve thousand dollars for a St. Sebastian by Leonardo, and in 1865 a madonna by him was

so to improve the water-works of Milan. For seven years he dwelt at Milan, making frequent journeys to Florence. But the political troubles of the time made Lombardy an uncongenial home for any artist, and Leonardo, with a few pupils, went to Florence and then on to Rome. Pope Leo X. received him cordially enough, and told him to "work for the glory of God, Italy, Le

7.-Mon

lle Jo

his favorite pupils and friends and his devoted servant. In France, Leonardo was treated with consideration. He resided near Amboise, where he could mingle with the court. It is said that, old though he was, he was so much admired that the courtiers imitated his dress and the cut of his beard and hair. He was given the charge of all artistic matters in France, and doubtless Francis hoped tha

: sitting, he conversed of his sufferings, and lamented that he had done so little for God and man. Just then he was seized with an attack of pain-the king rose to support him, and thus,

eonardo, and it is believed that his remains were found. In 1873 a noble monument was erected in Milan to the memory of Da Vinci. It is near the entrance to the Arcade of Victor Emmanuel: the statue of the master stands o

e may be called the "Poet of Painters," and, if those who followed him surpassed him, it should be remembered that it is easier to advance in a path once opened than to discover a new path. Personally he was much beloved, and, though he lived w

530), who was the best pupil of Leonardo, Giovanni Antonio Beltraffio (1467-1516), Gaudenzio Farrari

es of the Madonna, and at the time when the great Savonarola went to Florence Bartolommeo was employed in the Convent of San Marco, where the preacher lived. The artist became the devoted friend of the preacher, and, when the latter was seized, tortured, and burned, Bartolommeo became a friar, and left his pictures to be finished by his pupil Albertinelli. For four years he lived the most austere li

ed four years more, and the amount of his work was so small that his pictures are now rare. His madonnas, saints, and angels are holy in their eff

Angelo was left with his nurse on one of his father's estates at Settignano. The father and husband of his nurse were stone-masons, and thus in infancy the future artist was in the midst of blocks of stone and marble and the im

8.-Por

Angelo B

lently opposed by his father and his uncles, for they desired him to be a silk and woollen merchant, and sustain the commercial reputation of the family. But so determined was he that finally his father yielded, and in 1488 placed him in the studio of Ghirlandajo. Here the boy of thirteen worked with great diligence; he learned how to prepa

upils, and it was a relief to Michael Angelo when, in answer to a request from Lorenzo de Medici, he and Francesco Granacci were named by Ghirlandajo as his two most promising scholars, and were then sent to the Academy which the duke had established. The art treasures which Lorenzo gave for the use of the students were arranged in the gardens of San Marco, and here, under the instruction of the old Bertoldo, Angelo forgot painting in his enthusiasm for sculpture. H

he was properly clothed, and had an allowance of five ducats a month for pocket-money. It was the custom with Lorenzo to give an entertainment every day; he took the head of the table, and whoever came first had a seat next him. It often happened that Michael Angelo had this place. Lorenzo was the head of Florence, and Flo

to Florence to preach against the customs and the crimes of the city. Michael Angelo was much affected by this, and throughout his long life remembered Savon

f anatomy, and he was known throughout the city for his talents, and for his pride and bad temper. He held himself aloof from his fellow-pupils, and one day, in a quarrel with Piètro Torrigiano

two years there came a great snow-storm, and Piero de Medici sent for the artist to make a snow statue in his court-yard. He also invited Michael Angelo to live again in the palace, and the invitation was accepted; but all was so changed there that he embraced the first oppor

o, and gave the sculptor thirty ducats. In some way the truth of the matter reached the ears of the Cardinal, who sent his agent to Florence to find the artist. When Michael Angelo heard that two hundred ducats had been paid for his Cupid, he knew that he had been deceived. The Cardina

ough he was but twenty-four years old. The Pietà was placed in St. Peter's Church, where it still remains. The next year he returned to Florence. He was occupied with both painting and sculpture, and was soon employed on his "David," one of his greatest works. This statue weighed eighteen thousand pounds, and its removal from the studio in which it

I have always lived like a poor man;" Leonardo enjoyed luxury, and kept a fine house, with horses and servants. They had entered into a competition which was likely to result in serious trouble, when Pope Julius II. summoned Michael Angelo to Rome. The Pope gave him an order to build him a splendid tomb; but the en

6, the Pope was in Bologna, and again sent for Michael Angelo. He went, and was forgiven for his offence, and received an order for a colossal statue of the Pope in bronze. When this was finished in 1508, and put before the Church of St. Petronio, Michael Angelo return

threatened to throw the artist from the scaffolding. The Pope complained also that the pictures looked poor; to this the artist replied: "They are only poor people whom I have painted there, and did not wear gold on their garments." His subjects were from the Bible. When the artist would have a leave of absence to go to F

rophet Jeremia

Sistine

g the other great things which he did are the tomb of Julius II. in the Church of S. P

-Statue

. An

but as it now is Michael Angelo may be counted as its real architect. His works are numerous and only a small part of them is here mentioned; but I have spoken of those by which he is most remembered. His life, too, was a stormy one for many reasons that we have not space to tell. While he lived there were wars and great changes in Italy; he served also under nine popes, and during his life thirteen men

d his removal. He was therefore buried in the Church of the Holy Apostles; but his nephew, Leonardo Buonarroti, conveyed his remains to Florence secretly, disguised as a bale of merchandise. At Florence, on a Sunday night, his body was borne to Santa Croce, in a torchlight procession, and followed by many thousands of citizens. There his friends once more gazed upon the face which had

y other great men, the Duke and Leonardo Buonarroti erected a monument. It has statues

red mementoes of his life and works; it is open to all who wish to visit it. In 1875 a grand festival was held in Florence to celebrate the four hundredth anniversary of his birth. The cere

sorrow in them, his name and memory are still cherished, and must continue to be, while from his life many lessons may be drawn to benefit and encourage others-lessons which we cannot here w

pictures are the "Descent from the Cross," in the Church of Trinità di Monti, in Rome,

ut, when he was able to study painting under Pietro di Cosimo, he became devoted to it, and soon developed his own style, which was very soft and pleasing. His pictures cannot be called great works of art, but they are favorites with a large number of people. He succeeded in fresco

sert his parents, to whom he had ever been a dutiful son. About 1518 Francis I., king of France, invited Andrea to Paris to execute some works for him. The painter went, and was well established there and very popular, when his wife insisted that he should return to Florence. Francis I. was very unwilling to

e the king never forgave him, and to this day this wretched story must be told, and continues the remembrance of his dishonesty. After all he had sacrificed for his wife, when he became very

nna del Sacco. By

s is in the convent where he is buried. His best work is called the "Madonna di San Francesco" and hangs in the tribune of the Uffizi Gallery. This is a most honorable place, for near it are pictures by Michael Angelo, Raphael, Titian, and other great painters, as well

Friday. His father was a painter, and Raphael showed his taste for art very early in life. Both his parents died while he was still a child, and though he must have learned something f

n the life of the painter, because it shows the highest point he reached under Perugino, or during what is called his first manner in painting. Before this he had executed a large number of beautiful pictures, among which was the so-called "Staffa Ma

weary of the narrowness of his life, and went to Florence, where, amid the treasures of art with which that city was crowded, he felt as if he was in an enchanted land. It is worth while to recount the wonderful things he saw; they were the cathedral with the dome of Brunelleschi

because the Grand Duke of Tuscany, Ferdinand III., carried it with him on all his journeys, and said his prayers before it at morning and evening. He made a visit to Urbin

Portrait

d by H

s powerfully as Christian love and resignation. Still he did not attempt any new thing immediately. In Florence he moved in the best circles. He received orders for some portraits of nobles and wealthy men, as well as for madonnas and Holy Families. Before long he visited Bologna, and went again to Urbi

ry landscape, and it has been said that a beautiful flower-girl to whom Raphael was attached was his model for the picture. This picture is also a landmark in the history of Raphael, for it shows the perfection of his second manner, and the change that had come over him from his Florentine experience and associations. His earlier pictures had been full of a sweet, unearthly feeling, and a color which could be called spiritual was spread over them; now his madonnas

ell as in his office of the Protector of the Holy Church. He had vast designs for the adornment of Rome, and immediately employed Raphael in the decoration of the first of the Stanze, or halls o

did as an architect, sculptor, and painter was marvellous, and would require the space of a volume to follow it, and name all h

s assisted by them in his great frescoes, not only in the Vatican, but also in the Farnesina Villa or Chigi Palace. Raphael had the power to attach men to him with devoted affection, and his pupils gave him personal service gladly; he was often seen in the street with num

destroyed for the sake of the gold thread which was in it. Again, in 1798, the French carried them away and sold them to a Jew in Leghorn, who burned one of the pieces; but his gain in gold was so little that he preserved the others, and Pius VII. bought them and restored them to the Vatican. The cartoons, however, are far more important than the tapestries, because they are the work of Raphael himself. The weavers at Arras tossed them aside after using them, and some were torn; but a century later the artist Rubens learned that they existed, and advised King Charles I. of England to buy them. This he did, and thus the cartoons met with as many ups and downs as the tapestries had had. When they r

The Sisti

to the Palace of Fontainebleau. Francis was so charmed with these works that he presented Raphael so large a sum that he was unwilling to accept it without sending the king still other pictures; so he sent the sovereign another painting, and to the king's sister, Queen Margaret of Navarre,

this saint, too, is in the lower part of the picture, with that of St. Barbara. No sketch or drawing of this work was ever found, and it is believed that the great artist, working as if

architectural drawings for that church; he was also much interested in the excavations of ancient Rome, and made immense numbers of drawings of various sorts. As a sculptor he made models a

different countries, and sent men to make drawings of places and objects which he could not go to see. He was

ibiena, a niece of Cardinal Bibiena; but sh

Michael Angelo and Raphael. At last, when this feeling of rivalry was at its height, the Cardinal Giulio de Medici, afterward Pope Clement VII., gave orders to Raphael and Sebastian del Piombo

died on Good Friday, 1620, which was the thirty-seventh anniversary of his birth. All Rome mourned for him; his body was laid in sta

tence these words: "This is that Raphael by whom Nature feared to be conquered while he lived, and to die when he died." Raphael had also requested Lorenzo Lorenzetti to make a statue of the Virgin to be placed above his resting-place. He left a large estate, and gave his works of art to his pupils Giulio Rom

and removing the pavement in several places, the skeleton of the great master was found, and with it such proofs of its being his as left no room for doubt. Then a second great funeral service was held; the Pope, Gregory XVI., gave a marble sarcophagus in which the bones were placed, and reverently rest

Listening to the Singin

that it was not any one trait or talent that made his greatness; but it was the rare union of gifts of genius with a personal charm that won all hearts to him. His famous picture of "St. Cecili

phael, and the heir of a part of his estate; but his r

e was modified by him. His effect was very noticeable upon a Sienese painter, Bazzi, or Razzi, called Il Sodoma (1477-1549), who went to

ess Bazzi was lost in the shadow of the great Raphael, and had he existed at a time a

between it and the school of Florence was, that the latter made beauty of form the one object of its a

Venice who cast off the rigid manner of the Bellini school, and used his brush

e. He was fond of music, played the lute well, and composed many of the songs he sang; he had also an intense love of beauty-in short, his whole nature was full of sentiment

This last proved a traitor to Giorgione, for he too admired the same girl, and induced her to forsake Giorgione, and go away with him. The double treachery of his beloved and

not numerous, and there is much dispute as to the genuineness of those that are called by his name. He painted very few historical subjects; his works are principally portraits, sibyls, and

deeds. His fancy was very fruitful, and in some of his works he pictured demons, sea-monsters, dogs, apes, and such creatures with great effect. In clearness and war

k, making it a broad chiaro-scuro, or clear-obscure, as it really means. This is an art term which is frequently used, and denotes a sort of mistiness which has some light in it, and is gradually shaded off, either into a full light or a deep

n of her day in Italy. In 1553, Ippolito de Medici, who was madly in love with her, sent Sebastian with an armed force to Fondi to paint her portrait; it was fin

would not compete with Raphael himself, but he was very jealous of the fame of the younger man, and it is said that he aided Sebastian, and even made his designs for him, in the hopes that thus he might eclipse Raphael. We have spoken of one large picture of the "Raisi

ame, and became a friar. He wrote to Michael Angelo: "If you were to see me as an honorable lord, you would laugh at me. I am the finest ecclesiastic in all Rome. Such a thing had never come into my mind. But God

rgamo, but as an artist he was a Venetian. We do not know with whom he studied, and he was not a very great man, nor was he employed by the

esent his daughters. The work which is usually called his masterpiece is an altar-piece in the Church of Santa Maria Formo

Portrait

hing by Agos

to this, because of his having been born in that village (1477-1576). His family was noble and their castle was called Lodore, and

ertain flowers, and used them as paints. When but nine years old he was taken to Venice to study, and from

r a time, when Titian was about thirty years old, the two were employed on the "Fondaco dei Tedeschi," or the exchange for German merchants in Venice. Here the frescoes of Titian were more admired than those of Giorgione, and the latter became so jealous t

s in Venice, where the picture still remains. It represents the Virgin Mary when three years old entering the temple and the high priest receiving her at the entrance. All around below the steps is a company of friends who have bee

itti, is "La Bella," or the beautiful lady of Titian. He also made many portraits of his daughter Lavinia, who was very beautiful; sometimes he represented her as a fruit or flower-girl, a

pictures, besides portraits and other works. One of these important subjects was "Bacchus and Ariadne," and it is now in the National Gallery, London; the second was a Venus, surr

. In 1530 Titian's wife died, leaving him with two sons, Pomponio and Orazio, and his daughter, Lavinia. In this same sad year the Emperor Charles V. and Pope Clement VII. met at Bologna. All the

rait of Lavin

uld always see the Friuli Alps in the distance with their snow-capped peaks rising to the clouds; nearer him was the Murano, like another city with its towers and domes, and then the canals, which at night were gay with lighted gondolas bearing fair ladies hither and thither. Here Titian

l Europe, both men and women, desired their portraits at his hand. One only, Cosmo I., Grand Duke of Florence, refused to si

dog by his side. After this, in 1545, at an invitation from Pope Paul III., the great master went to Rome; while there he painted many wonderful picture

etiquette of courts forbade any one to receive such a service from the sovereign, and Titian was much embarrassed, when Charles said, "Titian is worthy to be served by C?sar," this being one of the great ruler's titles. Charles continued his favors to Titian through life, and when he resigned his crown, and retired t

y and received many honors, he had not escaped sorrow. After the death of his wife, his sister Orsa, who was very dear to him, had kept his house; she too sickened and died; his son Pomponio was a worthless fellow, and caused him

it"-meaning to say by this, "Truly, Titian did this!" When he was ninety-six years old he was visited by Henry III. of France, attended by a train of princes and nobles. The aged painter appeared with such gr

cover, and, though Orazio was borne off to the hospital and cared for as well as possible, he also died. After Titian was left alone robber

ta Maria Gloriosa de Frari; or as it is usually called, "the Frari." He had painted a great picture of the Assumption for this church, which has since been removed to the Academy of Venice; but another wo

the Emperor of Austria, Ferdinand I., placed a costly monument near his grave; it consists of a Corinthian canopy beneath which is a sitting statue of the painter, while several other allegorical figures are added to increase its

At all events, it is the best existing representation of this subject, and is a picture which has had a

atural scenery, and that not as if it was merely for the sake of a background, but in a manner

had been for a long time in the Museum of Florence, and this was presented to the Venetians in order to repair their loss as far as possible. Victor Amadeus of Sardinia presented nine pictures by Titian to the Duke of Marlborough, and these were all destroyed in 1861 when the chateau of Blenheim was burned. Kugler says: "In the multifariousness of his powers Titian takes precedence of all other painters of

was flourishing, and some great masters still existed there. Among these was Jacopo Robusti (1512-1594), who was called, and is best known as Tintoretto, which name was given him because his father was a dyer. He studied under Titian for a time, and then he attempted to follow Michael Ange

movements are infinitely varied. The immense painting mentioned above is in the Doge's Palace, and is called "Paradise." His daughter, Marietta Robusti (1560-1590), was a pupil of her father's, and became so good a portrait-painter that she was invited to the Court of Spain by Philip II., but her father could not consent to a separation from her. Some excellent pictures of hers still exist, and her portraits of Marco dei Vescovi and the antiquarian Strada were celebrated pictures. When the

ere are several works by her father. Both he and her husband mourned for her all their remaining days. Man

did not equal; still he was a fine painter. His excellences were in his harmonious color, his good arrangement of his figures in the foreground, and his fine architectural backgrounds. He tried

of Darius," in the National Gallery, London, cost that institution the enormous sum of thirteen thousand six hundred and fifty pounds; it was formerly in the Pisani Palace, Venice, and was said to have been lef

utterly imaginary subjects; that is to say, the representation of something that seems real to us because it is so familiar to our imagination, or because it is something that we know might have happened, that it has all the natura

most important of the family. He studied in Venice, but returned to his native town. His portraits are fine; among them are those of the Doge of Venice, Ariosto, an

tury. His name of Correggio is that of his birth-place, and as he was not born at any of the great art centres, and did not adopt the precise manner of any sc

rs he learned to be very skilful in drawing, especially in foreshortening, or in representing objects seen aslant. But though he learned much of the

ortrait of

farther off than another. To produce this effect it is often necessary to make an object-let us say, for example, an arm or a leg, look as if it was stretched forward, out of the canvas, directly toward the person who is looking at it. Now, the truth is that in order to produce this effect the object is often thrown backward in the drawing; sometimes also it is doubled up in an unnatural manner, and occupies a small space on the canvas, while it appears to be of life size

de was another quality in the works of Correggio. It is even seen in his early works, as, for instance, in

is marriage he was occupied with works in Mantua, and with his great frescoes at Parma. In 1530 he returned to Correggio, and there passed the remainder of his life. That he held

ake his name known to all the world through future centuries. When Titian saw Correggio's frescoes at Parma, he said: "Were I not Titian, I should wish to be Correggio." Annibale Caracci, also a great artist, said of

ily tomb in the Franciscan Convent of his native city. His g

" or night, because the only light on the picture comes from the halo of glory around the head of the Holy Child. Correggio'

Part of a Fresc

on account of its size, was cut in two. By some accident the two parts were separated; but both were sold, and the purchaser of each was promised that the other portion should be given him. From this much trouble arose, because both p

ng is arched and high, and painted to represent an arbor of vines with sixteen oval openings, out of which frolicsome children are peeping, as if, in passing around behind the vines, they had stopped to look down into the room. The pictures here will make you understand the effect (Figs.

ade him a member of the Congregation Cassinensi; the poet Tasso also was a member of this fraternity. This membership gave him the right to share in the ma

Part of a Fresc

invasion of Spain, Mr. Wallace, an English artist, obtained it. It is painted on a panel, and is 13? inches high by 10 inches wide. In 1813 it was offered for sale in London at twelve h

d to Earl Dudley for sixteen hundred pou

Jerome," in the National Gallery, London, is one of his best works. It is said that during the sack of Rome, in 1527, he was painting the figures of the Virgin and Child in this picture, and was so engrossed

rominent in the history of art, and were imitated by so many followers that they had an unusual effect upon the world. Titian may

d them-and this was done in so cold and spiritless a way that it may be said that true artistic inspiration was dead in Italy. No one lived who, out of his own imagination, c

ness of feeling, and even deadly hatred. On one side there were those who wished to continue the study and imitation of the works of the old masters, but with this they united a

nd that everything should be represented in the most realistic way, and made to appear in the pictu

Caracci (1560-1609), the latter being the greatest artist of the three. The lives of the Caracci are not of such interest as to require an account of them here, neither are their works so interesting that we may not leave these artists by saying that they have great consideration

mmand, and was so severely treated by Calvert that he persuaded his father to take him from that master, and place him in the school of the Caracci. When he entered the Academy he was so dull that his fellow-pupils nicknamed him "The O

s. He also tried to feel in himself the emotions of the person he was painting. For instance, it is said that when he was painting the "Scourging of St. Andrew," he threw himself into a passion, and used threatening gestures

icture in Rome, the "Transfiguration," by Raphael, being the only one that is placed before it. The scene it represents is just bef

.-Commu

Je

the Chapel of St. Januarius. There was in Naples at that time an association of artists who had determined that no strange artist should be allowed to do work of any account in their city. As soon as Domenichino began his work,

enable him to work in peace. But just as all seemed to be going well he sickened and died, and it has always been said that he was poisoned. Be this

ies as are those of some Italian painters; but there are a considerable numbe

sor of music. His father intended that Guido also should be a musician, and the poor boy was much persecuted on account of

govern a true painter. Guido resolved to follow these rules closely, and soon he painted so well that he was accused of t

urora. By

ime has elapsed, we know that Guido was not a very great master, and had he painted in the days of Michael Angelo he would not have been thought so. But art

re weaker, because he seemed only to strive to represent grace and sweetness; his latest pictures are careless and unequal in execution

d and white horses, while Cupid, with his lighted torch, floats just above them. Around the chariot dance seven graceful female figures which represent the Hours, or Hor?. I have been asked why seven was the number; the ancients had no fixed number for the Hours; s

-Beatric

sons on their return from a journey to Spain. The story also relates that his cruelty to Beatrice was such that, with the aid of her step-mother and her brother, she killed him. At all events, these three were accused of this crime and were executed for it in 1599. Other accounts say that he was murdered by robbers, and his wife and children were made to appear as if guilty. Clement VII. was the pope at that time, and in spite of h

to have ascended into Paradise, and there to have beholden the forms of those beautified spirits from which I might have copied my archangel; but not being able to mount so high, it was in

he had seen. He would pose his color-grinder, and draw his outlines from him, and then fill in with his own c

y pictures which are not worthy of his name. He had always received generous prices for his pictures, but he left many debts as a

f his in Rome. His pictures of landscapes with figures were his best works, and beauty was his characteristic. His own home had all the adva

some, and they had twelve lovely children, so lovely that it is sa

an account of Elisabetta Sirani (1640-1665), who also was born at Bologna, and is worthy of attention on acc

e made one hundred and fifty pictures and etchings in a period of about ten years. Much has been said of the rapidity with which she worked, and one story relates that on a certain day the Duchess of Brunswick, the Duchess o

the Pinacoteca of Bologna. There are pictures by her in the Belvedere and Lichtenstein G

! She was skilful in domestic affairs, and was in the habit of rising early to perform her share in the household duties, never allowing her art to displace any occupation which properly made a part of her life. Her name has come down t

at the request of the father of Elisabetta, for he saw no proof of the girl's guilt. Thus the mystery was never solved, but the whole city of Bologna was saddened by her death. The day of her burial was one of public mourning; her funeral was attended with great pomp, and she was buried beside Guido Reni in the splendid church of the Dominicans. Poems and orations in her praise were numerous, and a book was published, called "Il Penello Lagrimate," which c

and his manner of representing them combined in producing what has been called "the poetry of the repulsive." He was wild in his nature and lived a wild life. His religious subjects, even, were coarse, though his co

higher order his works are positively offensive. Some of his sacred pictures were removed from the altars for which they were painted on account of their coarseness.

striously copying such frescoes as he could gain access to, he attracted the attention of a cardinal, who took him to his home, and made him comfortable. But the young painter soon ran away, and returned to his street life. The cardinal sought him out, and called him an "ungrateful little Spaniard;" but Ribera

If Ribera did not actually commit many of the crimes which were done there, he was responsible for them through his influence. His works are

of Christ. Few Italian artists were better known in their own country, and many of his pictures were sent to Spain. His greatest excellence was in his knowledge of anatomy, and he painted subjects that enabl

musician as well as an artist. His father was an educated man, and with his other relatives encouraged his son in his tast

e figures in their midst, it is not difficult to believe that this may have been true. It is certain that he painted the portrait of the famou

t published until after his death, but it was known that he had written them. He married a Florentine woman, who was the mother

e of desolation, almost of fear, in them which is very impressive. Sometimes he painted serene landscapes and poetic figures; but his best works are not of this sort. His pictures are in the principal public and in some private galleries. He also left about ninety etchings which are masterly

Bernardo Bellotti (1720-1780), who was his nephew, and Francesco Guardi (1712-1793), and these three painters executed a large number of these pictures, which are found in many Europ

in fact, the painting of the seventeenth century came to be mere mechanical realism. For this reason the por

in Florence, and Leopold II., Grand Duke of Tuscany, erected a tomb to this painter in the same church where he had spent so much time and talent. His portrait, painted by himself, is in the gallery of the Uffizi, at Florence. Vincenzio Cammuccini (1775-1844), too, was a celebrated master of his time. He was a Roman by birth, and became President of the Academy of St. Luke; he was also a member of the Inst

rather than an outcome from artistic genius or impulse, and the few works which are exceptions to this rule are not sufficient to