Great Men and Famous Women, Vol. 8 - A series of pen and pencil sketches of the lives of more - than 200 of the most prominent personages in History

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• Publié par: zawyeng
• Publié le: 08 décembre 2010
• Nombre de lectures: 42
• Langue: English

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Project Gutenberg's Great Men and Famous Women, Vol. 8 (of 8), by Various 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: Great Men and Famous Women, Vol. 8 (of 8) A series of pen and pencil sketches of the lives of more than 200 of the most prominent personages in History Author: Various Editor: Charles F. Horne Release Date: July 8, 2009 [EBook #29352] Language: English *** START OF THIS PROJECT GUTENBERG EBOOK GREAT MEN AND FAMOUS WOMEN *** Produced by Sigal Alon, Christine P. Travers and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries) Transcriber's note: Obvious printer's errors have been corrected, all other inconsistencies are as in the original. The author's spelling has been maintained. SARAH BERNHARDT AS CLEOPATRA. GREAT MEN AND FAMOUS WOMEN A Series of Pen and Pencil Sketches of THE LIVES OF MORE THAN 200 OF THE MOST PROMINENT PERSONAGES IN HISTORY. VOL. VIII. Copyright, 1894, by SELMAR HESS EDITED BY CHARLES F. HORNE New-York: Selmar Hess Publisher Copyright, 1894, by Selmar Hess.CONTENTS OF VOLUME VIII. SUBJECT AUTHOR PAGE MICHAEL ANGELO, 214Anna Jameson, BEETHOVEN, C. E. Bourne, 319 SARAH BERNHARDT, 382H. S. Edwards, ROSA BONHEUR, 276Clarence Cook, EDWIN BOOTH, Clarence Cook, 370 CHARLOTTE CUSHMAN, 355Dutton Cook, Letter from Miss Cushman to a young friend on the subject of "Self-conquest," 362 LEONARDO DA VINCI, Anna Jameson, 209 GUSTAVE DORÉ, 298Kenyon Cox, ALBERT DÜRER, 231W. J. Holland, EDWIN FORREST, Lawrence Barrett, 349 DAVID GARRICK, 343Samuel Archer, GÉRÔME, Clarence Cook, 281 HANDEL, 302C. E. Bourne, HAYDN, 315C. E. Bourne, WILLIAM HOGARTH, 247 JOSEPH JEFFERSON, 374Clarence Cook, FRANZ LISZT, Rev. Hugh R. Haweis, M.A., 332 MEISSONIER, 272Clarence Cook, MENDELSSOHN, 326C. F. Bourne, JEAN FRANÇOIS MILLET, Clarence Cook, 265 MOZART, 308C. E. Bourne, PAGANINI, 325 ADELINA PATTI, 378Frederick F. Buffen, PHIDIAS, 203Clarence Cook, RACHEL, Dutton Cook, 363 RAPHAEL, 221Mrs. Lee, REMBRANDT, Elizabeth Robins Pennell, 240 SIR JOSHUA REYNOLDS, 250Samuel Archer, DANTE GABRIEL ROSSETTI, 287Edmund Gosse, RUBENS, Mrs. Lee, 236 THORWALDSEN, 258Hans Christian Andersen, TITIAN, Giorgio Vasari, 226 GIUSEPPE VERDI, 342 RICHARD WAGNER, 338Franklin Peterson, Mus. Bac., BENJAMIN WEST, Martha J. Lamb, 254LIST OF ILLUSTRATIONS VOLUME VIII. PHOTOGRAVURES To face ILLUSTRATION ARTIST page SARAH BERNHARDT AS CLEOPATRA, Georges ClairinFrontispiece MICHAEL ANGELO AND VITTORIA COLONNA, 220Hermann Schneider ALBERT DÜRER VISITS HANS SACHS, 234Richard Gross MARIE DE MEDICI AT THE HOUSE OF RUBENS, 240Florent Willems CONNOISSEURS AT REMBRANDT'S STUDIO, Adolphe-Alexandre Lesrel 244 MEISSONIER'S ATELIER, Georges Bretegnier 272 MOZART SINGING HIS REQUIEM, 314Thomas W. Shields AN ANECDOTE ABOUT BEETHOVEN, 322Paul Leyendecker Fortuné-Joseph-Seraphin FRANZ LISZT, 334 Layraud WAGNER AND HIS FRIENDS, Wilhelm Beckmann 340 RACHEL AS THE MUSE OF GREEK TRAGEDY, Jean Léon Gérôme 368 JOE JEFFERSON AS BOB ACRES, 376From life WOOD-ENGRAVINGS AND TYPOGRAVURES RAPHAEL INTRODUCED TO DA VINCI, 212Brune Pagès LEO X. AT RAPHAEL'S BIER, Pietro Michis 224 A FÊTE AT THE HOUSE OF TITIAN, F. Kraus 228 ALBERT DÜRER'S WEDDING, 232A. Bodenmüller HOGARTH SKETCHING THE HIGHWAY OF QUEENBOROUGH, 248 BENJAMIN WEST, PRESIDENT OF THE ROYAL ACADEMY, Sir Thomas Lawrence 258 ROSA BONHEUR, 278E. Dubufe HANDEL'S RIVER-CONCERT FOR GEORGE I., 304A. Hamman HAYDN COMPOSING HIS "CREATION," 318A. Hamman PAGANINI IN PRISON, Louis Boulanger 326 GARRICK AS RICHARD III., William Hogarth 346 FORREST AS METAMORA, 352From Photograph CHARLOTTE CUSHMAN AS MRS. HALLER, 360WatkinsPAINTERS AND SCULPTORS PHIDIAS[1] By Clarence Cook (ABOUT 500-432 B.C.) PHIDIAS, ONE OF THE GREATEST SCULPTORS THE WORLD HAS SEEN, AND WHOSE NAME HAS BECOME, AS IT WERE, THE SYNONYM OF his art, was born at Athens about 500 B.C. HE BELONGED TO A FAMILY OF ARTISTS, NONE OF WHOM INDEED WERE DISTINGUISHED IN THEIR PROFESSION, BUT THEIR VARIED OCCUPATIONS FURNISHED THE ATMOSPHERE IN WHICH SUCH A TALENT AS THAT OF PHIDIAS COULD BEST BE FOSTERED AND BROUGHT TO MATURITY. HIS FATHER WAS CHARMIDES, WHO IS BELIEVED TO HAVE BEEN AN ARTIST, BECAUSE THE GREEKS, IN THEIR INSCRIPTIONS, DID NOT ASSOCIATE THE NAME OF THE FATHER WITH THAT OF THE SON UNLESS BOTH WERE OF THE SAME CALLING. A BROTHER OF PHIDIAS, PANŒNOS, WAS A PAINTER, AND IS MENTIONED AMONG THOSE ARTISTS, TWENTY OR MORE IN NUMBER, WHO IN CONJUNCTION WITH POLYGNOTUS, ONE OF THE CHIEF PAINTERS OF HIS DAY, WERE EMPLOYED IN THE DECORATION OF THE PŒCILE OR PAINTED PORTICO, ONE OF THE MANY BEAUTIFUL BUILDINGS ERECTED BY CIMON. THE PŒCILE WAS SIMPLY A LONG PLATFORM, WITH A ROOF SUPPORTED BY A ROW OF COLUMNS ON ONE SIDE AND BY A WALL ON THE OTHER. IT WAS CALLED "THE PAINTED," BECAUSE THE WALL AT THE BACK WAS COVERED WITH A SERIES OF LARGE HISTORICAL PICTURES CONTAINING MANY FIGURES, AND RECORDING SOME OF THE CHIEF EVENTS OF THE TIME, TOGETHER WITH OTHERS RELATING TO AN EARLIER AND MORE SHADOWY EPOCH. THE SUBJECT OF THE PAINTING, EXECUTED, AT LEAST IN PART, BY THE BROTHER OF PHIDIAS, WAS THE BATTLE OF MARATHON, IN WHICH GREAT EVENT IT IS THOUGHT HE MAY himself have taken part. THE BOYHOOD OF PHIDIAS FELL IN A TIME OF NATIONAL REVIVAL, WHEN UNDER THE INFLUENCE OF AN ENNOBLING POLITICAL EXCITEMENT, ALL THE ARTS WERE QUICKENED TO A FRESH, ORIGINAL, AND SPLENDID GROWTH. THE CONTEST BETWEEN THE GREEKS AND PERSIANS, WHICH HAD BEGUN WITH THE IONIAN REVOLT, WAS IN FULL ACTIVITY AT THE TIME OF HIS BIRTH. HE WAS TEN YEARS OLD WHEN THE BATTLE OF Marathon was fought, and when he was twenty, four of the most striking events in the history of Greece were crowded into a single year; the battle of Thermopylæ, the victory at Salamis, and the twin glories of Platæa and Mycale. His early youth, THEREFORE, WAS NOURISHED BY THE INSPIRING INFLUENCES THAT COME FROM THE VICTORIOUS STRUGGLE OF A PEOPLE TO MAINTAIN THEIR NATIONAL LIFE. HE WAS BY NO MEANS THE ONLY SCULPTOR OF HIS TIME WHOM FAME REMEMBERS, BUT HE ALONE, REJECTING TRIVIAL THEMES, CONSECRATED HIS TALENT TO THE NOBLER SUBJECTS OF HIS COUNTRY'S RELIGIOUS LIFE AND THE IDEAL CONCEPTION OF HER PROTECTING GODS. NO DOUBT, PHIDIAS, LIKE ALL WHO ARE BORN WITH THE ARTISTIC TEMPERAMENT, WOULD BE INTERESTED FROM CHILDHOOD IN THE PROGRESS OF THE SPLENDID WORKS WITH WHICH ATHENS WAS ENRICHING HERSELF UNDER THE RULE OF CIMON. BUT HIS interest must have been greatly increased by the fact that his brother Panœnos was actively engaged in the decoration of ONE OF THOSE BUILDINGS. IT WOULD BE NATURAL THAT HE SHOULD BE OFTEN DRAWN TO THE PLACE WHERE HIS BROTHER WAS AT WORK, AND THAT THE SIGHT OF SO MANY ARTISTS, MOST OF THEM YOUNG MEN, FILLED WITH THE GENEROUS ARDOR OF YOUTH, AND INSPIRED BY THE NATURE OF THEIR TASK, SHOULD HAVE STIRRED IN HIM AN ANSWERING ENTHUSIASM. IT GIVES US A THRILL OF PLEASURE TO READ IN THE LIST OF THESE YOUTHS THE NAME OF THE GREAT TRAGIC POET, EURIPIDES, WHO BEGAN LIFE AS A PAINTER, AND IN WHOSE PLAYS WE FIND MORE THAN ONE REFERENCE TO THE ART. IT CANNOT BE THOUGHT UNREASONABLE TO SUPPOSE THAT TWO SUCH INTELLIGENCES AS THESE MUST HAVE HAD AN ATTRACTION FOR ONE ANOTHER, AND THAT, AS IN THE CASE OF DANTE AND GIOTTO, THE GREAT POET AND THE GREAT ARTIST would be drawn together by a likeness in their taste and aims. PHIDIAS STUDIED