Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, (Vol. 2 of 3)

Shearjashub Spooner

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• Publié par: nazur
• Publié le: 08 décembre 2010
• Nombre de lectures: 69
• Langue: English

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The Project Gutenberg EBook of Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art, (Vol. 2 of 3), by Shearjashub Spooner This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Anecdotes of Painters, Engravers, Sculptors Author: Shearjashub Spooner Release Date: April 21, 2007 [EBook #21198] Language: English Character set encoding: ISO-8859-1 and Architects, and Curiosities of Art, (Vol. 2 of 3) *** START OF THIS PROJECT GUTENBERG EBOOK ANECDOTES OF PAINTERS *** Produced by Barbara Tozier, Bill Tozier, Janet Blenkinship and the Online Distributed Proofreading Team at http://www.pgdp.net ANECDOTES OF PAINTERS, ENGRAVERS Sculptors and Architects, AND CURIOSITIES OF ART. BY S. SPOONER, M. D., AUTHOR OF "A BIOGRAPHICAL HISTORY OF THE FINE ARTS." IN THREE VOLUMES. VOL. II. NEW YORK: R. WORTHINGTON, PUBLISHER, 770 Broadway. COPYRIGHT, S. SPOONER, 1853. Reëntered, G. B., 1880. CONTENTS. Titian—Sketch of his Life, Titian's Manners, Titian's Works, Titian's Imitators, Titian's Venus and Adonis, Titian and the Emperor Charles V., Titian and Philip II., Titian's Last Supper and El Mudo, Titian's Old Age, Monument to Titian, Horace Vernet, The Colosseum, Nineveh and its Remains, Description of a Palace Exhumed at Nimroud, Origin and Antiquity of the Arch, Antiquities of Herculaneum, Pompeii, and Stabiæ, Ancient Fresco and Mosaic Painting, Mosaic of the Battle of Platæa, The Aldobrandini Wedding, The Portland Vase, Ancient Pictures on Glass, Henry Fuseli; his Birth, Fuseli's early Love of Art, Fuseli's Literary and Poetical Taste, Fuseli, Lavater, and the Unjust Magistrate, Fuseli's Travels and his Literary Distinction, Fuseli's Arrival in London, Fuseli's change from Literature to Painting, Fuseli's Sojourn in Italy, Fuseli's Nightmare, Fuseli's Œdipus and his Daughters, Fuseli and the Shakspeare Gallery, Fuseli's "Hamlet's Ghost," Fuseli's Titania, Fuseli's Election as a Royal Academician, Fuseli and Horace Walpole, Fuseli and the Banker Coutts, Fuseli and Professor Porson, Fuseli's method of giving vent to his Passion, Fuseli's Love for Terrific Subjects, Fuseli's and Lawrence's Pictures from the "Tempest," Fuseli's estimate of Reynolds' Abilities in Historical Painting, Fuseli and Lawrence, Fuseli as Keeper of the Royal Academy, Fuseli's Jests and Oddities with the Students of the Academy, Fuseli's Sarcasms on Northcote, Fuseli's Sarcasms on various rival Artists, Fuseli's Retorts, Fuseli's Suggestion of an Emblem of Eternity, Fuseli's Retort in Mr. Coutts' Banking House, 1 5 6 7 8 10 13 14 15 15 16 29 34 37 41 43 55 55 56 56 58 59 59 60 61 62 63 63 65 66 66 67 68 69 70 71 72 73 73 73 74 75 75 76 77 78 79 80 82 82 Fuseli's Sarcasms on Landscape and Portrait Painters, Fuseli's Opinion of his own Attainment of Happiness, Fuseli's Private Habits, Fuseli's Wife's method of Curing his fits of Despondency, Fuseli's Personal Appearance, his Sarcastic Disposition, and Quick Temper, Fuseli's near Sight, Fuseli's Popularity, Fuseli's Artistic Merits, Fuseli's Milton Gallery, the Character of his Works, and the Permanency of his Fame, Salvator Rosa, Salvator Rosa and Cav. Lanfranco, Salvator Rosa at Rome and Florence, Salvator Rosa's Return to Rome, Salvator Rosa's Subjects, Flagellation of Salvator Rosa, Salvator Rosa and the Higgling Prince, Salvator Rosa's Opinion of his own Works, Salvator Rosa's Banditti, Salvator Rosa and Massaniello, Salvator Rosa and Cardinal Sforza, Salvator Rosa's Manifesto Concerning his Satirical Picture, La Fortuna, Salvator Rosa's Banishment from Rome, Salvator Rosa's Wit, Salvator Rosa's Reception at Florence, Histrionic Powers of Salvator Rosa, Satires of Salvator Rosa, Salvator Rosa's Harpsichord, Rare Portrait by Salvator Rosa, Salvator Rosa's Return to Rome, Salvator Rosa's Love of Magnificence, Salvator Rosa's Last Works, 83 84 84 85 86 87 88 88 89 91 91 92 93 93 95 96 98 98 100 100 101 102 103 103 104 105 106 106 109 109 111 Salvator Rosa's Reception at the Palazzo Pitti, 105 Salvator Rosa's Desire to be Considered an 112 Historical Painter, Don Mario Ghigi, his Physician, and Salvator 113 Rosa, Death of Salvator Rosa, 115 Domenichino, The Dulness of Domenichino in Youth, Domenichino's Scourging of St. Andrew, The Communion of St. Jerome, Domenichino's Enemies at Rome, Decision of Posterity on the Merits of Domenichino, Proof of the Merits of Domenichino, Domenichino's Caricatures, Intrigues of the Neapolitan Triumvirate of Painters, Giuseppe Ribera, called Il Spagnoletto—his early Poverty and Industry, 121 121 123 124 125 126 127 127 128 133 early Poverty and Industry, Ribera's Marriage, Ribera's Rise to Eminence, Ribera's Subjects, Ribera's Disposition, Singular Pictorial Illusions, Raffaelle's Skill in Portraits, Jacopo da Ponte, Giovanni Rosa, Cav. Giovanni Centarini, Guercino's Power of Relief, Bernazzano, Invention of Oil Painting, Foreshortening, Method of Transferring Paintings from Walls and Panels to Canvass, Works in Scagliola, The Golden Age of Painting, Nero's Golden Palace, Names of Ancient Architects Designated by Reptiles, Triumphal Arches, Statue of Pompey the Great, Antique Sculptures in Rome, Ancient Map of Rome, Julian the Apostate, The Tomb of Mausolus, Mandrocles' Bridge Across the Bosphorus, The Colossus of the Sun at Rhodes, Statues and Paintings at Rhodes, Sostratus' Light-House on the Isle of Pharos, Dinocrates' Plan for Cutting Mount Athos into a Statue of Alexander the Great, 134 135 136 137 137 138 139 139 139 140 140 141 145 146 147 149 155 156 157 159 159 160 160 161 162 162 164 164 Ribera's Discovery of the Philosopher's Stone, 135 Golden Age of the Fine Arts in Ancient Rome, 152 165 Pope's idea of Forming Mount Athos into a 166 Statue of Alexander the Great, Temple with an Iron Statue Suspended in the 168 Air by Loadstone, The Temple of Jupiter Olympius at Athens, 168 The Parthenon at Athens, The Elgin Marbles, The first Odeon at Athens, Perpetual Lamps, The Skull of Raffaelle, The Four Finest Pictures in Rome, The Four Carlos of the 17th Century, Pietro Galletti and the Bolognese Students, Ætion's Picture of the Nuptials of Alexander and Roxana, Ageladas, The Porticos of Agaptos, The Group of Niobe and her Children, Statue of the Fighting Gladiator, 170 171 182 182 183 183 184 184 184 185 185 185 187 The Group of Laocoön in the Vatican, Michael Angelo's Opinion of the Laocoön, Discovery of the Laocoön, Sir John Soane, Soane's Liberality and Public Munificence, The Belzoni Sarcophagus, Tasso's "Gerusalemme Liberata," George Morland, Morland's Early Talent Morland's Early Fame, 187 190 190 191 192 194 195 197 198 199 Morland's Mental and Moral Education under 200 an Unnatural Parent, Morland's Escape from the Thraldom of his 201 Father, Morland's Marriage and Temporary Reform, Morland's Social Position, An Unpleasant Dilemma, Morland at the Isle of Wight, A Novel Mode of Fulfilling Commissions, Hassel's First Interview with Morland, Morland's Drawings in the Isle of Wight, Morland's Freaks, A Joke on Morland, Morland's Apprehension as a Spy, Morland's "Sign of the Black Bull," Morland and the Pawnbroker, Morland's idea of a Baronetcy, Morland's Artistic Merits,. Charles Jervas, Jervas the Instructor of Pope, Jervas and Dr. Arbuthnot, Jervas' Vanity, Holbein and the Fly, Holbein's Visit to England, Henry VIII.'s Opinion of Holbein, 202 203 204 205 206 206 207 208 208 209 210 211 212 212 213 214 215 215 216 216 217 Holbein's Portrait of the Duchess Dowager of 218 Milan, Holbein's Flattery in Portraits—a Warning to 219 Painters, Holbein's Portrait of Cratzer, 219 Holbein's Portrait of Sir Thomas More and Family, Sir John Vanbrugh and his Critics, Anecdote of the English Painter, James Seymour, Precocity of Luca Giordano, Giordano's Enthusiasm, Luca Fa Presto, Giordano's Skill in Copying, Giordano's Success at Naples, Giordano Invited to Florence, Giordano and Carlo Dolci, Giordano's Visit to Spain, 220 221 223 224 225 226 226 227 229 229 230 Giordano, the Viceroy, and the Duke of Diano, 228 Giordano's Works in Spain, Giordano at the Escurial, Giordano's Habits in Spain, Giordano's First Picture Painted in Spain, Giordano a Favorite at Court, Giordano's Return to Naples, Giordano's Personal Appearance and Character, Giordano's Riches, Giordano's Wonderful Facility of Hand, Giordano's Powers of Imitation, Giordano's Fame and Reputation, 231 232 233 233 234 236 237 238 239 240 240 Remarkable Instance of Giordano's Rapidity of 242 Execution, Revival of Painting in Italy, 244 Giovanni Cimabue, Cimabue's Passion for Art, Cimabue's Famous Picture of the Virgin, The Works of Cimabue, Death of Cimabue, Giotto, Giotto's St. Francis Stigmata, Giotto's Invitation to Rome, Giotto's Living Model, Giotto and the King of Naples, Giotto and Dante, Death of Giotto, Buonamico Buffalmacco, Buffalmacco and his Master, Buffalmacco and the Nuns of the Convent of Faenza, Buffalmacco and the Nun's Wine, Buffalmacco, Bishop Guido and his Monkey, Buffalmacco's Trick on the Bishop of Arezzo, Origin of Label Painting, Utility of Ancient Works, Buffalmacco and the Countryman, Buffalmacco and the People of Perugia, Buffalmacco's Novel Method of Enforcing Payment, Stefano Fiorentino, Giottino, Paolo Uccello, Ucello's Enthusiasm, Uccello and the Monks of San Miniato, Uccello's Five Portraits, Uccello's Incredulity of St. Thomas, The Italian Schools of Painting, Claude Joseph Vernet, Vernet's Precocity, Vernet's Enthusiasm, Vernet at Rome Vernet's "Alphabet of Tones," Vernet and the Connoisseur, 251 252 253 255 256 257 259 260 262 264 266 266 267 267 270 272 273 277 278 280 282 283 285 286 286 287 288 289 290 291 292 295 295 296 298 299 301 Vernet's Works, Vernet's