ILLU STRATED B IO G RA PHIES O F
THE G REAT A RTISTS.
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D E D r . R B . . P U RICIITER L ONA O A VINCI . y D J A L
M C EL EL . B C HA L S C EM N T I H ANG O y R E L E . ’
R P EL From . PASSA AN B D N V S. . D V . . A HA . J T y N A ER
T B R R M fo . T . RIC HA FO A H A . I IAN y D D HE T , . , Ox rd T NT E’I‘ T B W RO CO m R I R O . . S S Fro h . O y E O LER. esearc es at Venice
BE Fro m D WO MAN N B OS H N A L . r . . P U L HO IN . A LT y J E C D L. H TTLE M TERS O F G ERMA NYZ ' B w B T E L S . can I A y . S . HA S V SMAER B W RE BR DT From C O . . MO M AN . RLE y J . LLETT.
W K M . A . xf BE B C . . . RU NS. y ETT, , O ord
DYCK and LS. B P CY R. A L n ln O C L fo . VAN HA y ER HE D , i co I , Ox rd
URE P TERS f LLA D . B LO R RONA OW o F S. FIG AIN HO N y D LD G ER, . A . ’ T and DEL R E B C . . VERNE A O H y J v n REES. T U S I N OB O D S N . HOGAR H . By A T W osm M T ER B . C o O Nx IIO USE. URN . y
B F . U I N G M f LDS . S . A. o REY . . NO y P LL , , Ox rd L E B ICK PH N E F . S S. ANDS R. y REDER G TE E EL A H I N M PHILLIM RE C . O . FRA ANG ICO. By T ER E B RT L MM E L A CO FRA A O O O . By E DER S TT. B W I OW M A ELAZ U EZ . E N S . . fo . V Q y D T E, , Ox rd
B M . B E . . OC NO M fo . SB R U . A . GAIN O O GH y G R AR LD, , Ox rd
' A n Edrlion de luxe o nta n n I extra law ro m n v , c i i g 4 s f rare e gra ings in M n in Ro x ur st ma Br t s ou e had ric lOJ. 6d. the i i h useum, b d b gh y , y be , p e ” Tm; M ICYC o r II PA AI S DES B EA U x TS Pars HE LE T E L AR , i , by
Pa l e aro e r nte o n a er 6 in . o n w t a an oo u D l ch , p i d p p 3 l g, i h H db k o f B ra a No t es o f the art sts re d nt ma d . o rese e ha r e Is. 6 i g phic l ic i p d , y be , p ic
HORACE VERNET. TIze w/zole world wit/tout A rt would be one g‘r
HO R A C E V ER
“ mafi a ? BY R — . UTZ REE J U S,
A U T H O R O F V A RI O U S ESSA Y S O N A
L O N D O N
MA R TO N SEA RLE SA MPSO N LOW , S , ,
CROWN BU ILDIN GS FLEET STREE
PREFA E C .
ITH the exceptio n of brief no tices in contem
o rar re e s no En lish o r of the two p y vi w , g bi g aphy m o u ar r n r s o f m ern mes orac ost p p l F e ch a ti ts od ti , H e
erne an d De r e et a are V t Paul la och , has y ppe d .
rm and n m f r en s o e nn mar Wa i ti ate i d , cl s ly co ected by ria e e ere o s e in r as e w ere g , th y w as Opp it characte th y
u n e in e r f rt ns o f e r it d th i love o a . The pro ductio th i genius are as much appreciated by ourselves as by their
o wn e. ern in his m ar e es o r peopl Whilst V et, ilit y pi c , gl i
fied the su o f his o n r and e to the ccesses c u t y, appeal d
r ns n is n n in er ren m n pat iotic i ti ct which i here t ev y F ch a , a e ar e his ens e a re a on o f the mo P ul D l och , by s itiv pp ci ti
tives s a man o n and ea rea men which w y hu acti , his id l t t t
o f s or su e s re e a o w o u es the hi t ic bj ct , ach d path s hich t ch
ar o f all u his o r s he ts who st dy w k . ’ M any o f Delaroche s histo rical pictures are as well
n o n in En n as in r n e and at o ne me ere k w gla d F a c , ti w
er o ar. i o e er as the a n er of the v y p pul It w ll , h w v , be p i t “ ” H emicycle that he will b e best kno wn to f ame . The mate rials of these slight bio graphies have been co llected f ro m the critical no tices o f bo th artists which
re at the me o f e r ea and the a e o r s of appea d ti th i d th, bl w k vi PREFACE.
m ra r com conte po ry F ench and G erman biographers. A parison o f the estimate in which they were held by su ch high authorities u pon art as Lu dwig Pietsch on the on e
an an d enr Delab r e and ar es an on the h d , H i o d Ch l B l c
t er has en e the au or to e it is o e o h , abl d th giv what h p d ma ro e a fa r e n ea on o f e r ra ers as men y p v i d li ti th i cha ct , and of t e r en u s ar s h i g i as ti ts.
J. R . R . C TE ON NTS.
C PTER . 1789 To 1 28 HA I 8 . — Jo seph and Carla Vernet Intlnence of the Revo l ution upon V — — Curie ornetn Bi rth of Ho race Vernet Family tro ubles — — Eurly evidence o f geni us Co urt favo ur Change of ci rcum stances at the Resto ration in lam- Refusal to admit Horace ’ — — Vernet s pictures to the Louvre Pri vate exhibition Re — sto ratio n to Co urt favour Horace elected member o f the Institute
C TER 2 T 183 6 HAP II . 18 8 o . — Vernet oflhred the Directorship in Ro me Pictures pai nted in — ’ — Italy Mendelsso hn s visit to Ho race Vernet Accessio n o f — — the D uke o f —Orleans Disturbances in Rome Return to Paris in l ess Continued patronage of Louis Philippe — Fall o f Bonn —Journey to Africa- Scenes o f Arab lith Bapld painting Journey to Russia
TER 1 To 1 63 . CHAP III . 887 8 — — Return to Paris Jo urney to North frica Paintings fo r the — A Constantine Hall Incomplete painting o f Battle o f Nexib — — — Jo urney to Egypt The Sla ve M arket Ano ther Jo ur — — ney to Russia Receptio n by the Cu r Return to Paris — — Journey to Algiers La Smile Scenes f rom Desert Lif e — ’ — Death o f Vernet s o nly child Decoratio n o f the Hall o f — — Deputies Last portrait o f Louis Philippe Character o f his — — genius Second marriage Death
ER CHAPT IV. A necdo tes of Horace Vernet
’ [ an o r V ERNET s PR INCI PA L W O R KS INDEX T A TI ILLUS R ONS.
— Horace Vernet from the painting by himself
’ The Trumpeter s Horse
Death of Poniatowski
Battle of Fonteno y
The Post in the Desert
Hold on !
Petits Petite Petits
A G renadier HO RA E V ERN ET C .
HAPTER C I . — 1789 1 828 . — Joseph and Carlo Verna Influence o f the Revol ution upon Carle — — — Vernet Birth of Horace Vernet Family tro ubles Early evidence o f — — geni us Co urt favour Change o f circumstances at the Restoration in — ’ I BI S Ref usal to admi t Horace Vernet s pictures to the Louvre — — Pri vate exhibi tio n Res toratio n to Co urt favour Horace elected mem er o f n t u b the I s i t te .
E R ET was a n er n r GRAC VE N pai t by i he itance . Fo r three generatio ns the name of Vernet had occu
i a rom n n a e in the is r of art n p ed p i e t pl c h to y . To go o f r er in n o a hr n es reat- r u th back ge eal gic l c o icl , his g g and fa er An o ne erne who n er l f his ir th , t i V t, ev e t b thplace ,
no n e ame no n an r s far e on the m Avig , b c k w as a ti t b y d li its
v M re ambiti f of his nati e pro vin ce. o o ns or his children n mself he en his so n C au e Jo se to m tha hi , s t l d ph co plete u on in Ro me en ears er n C his ed cati . Tw ty y lat , whe laude
Jos urn from his n e n his r eph ret ed Italy to ativ la d, eputa tion as a marine and lan dscape painter was so great that s 2 R E VE ’ ‘ HO AC BNE I .
was n e Lo s XV to the L r an d omm s he i vit d by ui . ouv e, c i sio ned by him to u ndertake a series of pai ntings repro
the r n a sea orts o f ran T ese a n in s senting p i cip l p F ce. h p i t g
ere f en in n m er and man mo re from his w fi te u b , , with y
as are reser e in the Lo u re . e el, p v d v
n is o f s rne A mo st characteristic a ecdote t ld o Jo eph Ve t.
is re a u o n his re u rn to r n e fro m Le orn It lated th t, p t F a c gh , the vessel in which he was crossing enco untered a sto rm
so severe and threatening that the worst was an ticipated .
The ain er a sor e in his o n em a on o f the elements p t , b b d c t pl ti , ref se t ea e the e and n n mse f in imm nen u d o l v d ck, , fi di g hi l i t
an er o f e n as o er o r n u e a s o r to as d g b i g w hed v b a d, i d c d ail l h
himto the mas n e e and r s in n he t, whe ce , pal tt b u h ha d, ‘ n rm- s a o calmly gazed upo the sto to ssed wave round . N wonder his successf ul paintings proclaimed the fire and
r o f his own n re ene gy atu . Wh en in the o urse of me Jose rne e ame sen , c ti , ph Ve t b c
i e of the minu on of his o wer his am io n en re s bl di ti p s , bit c t d
in f u re of n so n A n o ne C ar es u sual the ut his you gest , t i h l , ly
e rl was ne to f o o w his ro f s Ca o es on . call d , who desti d ll p i ’ g A t the very o utset of the you ng man s career it appeared as if all the ambitio us views of his father w ere lik ely to
m f r Carlo erne o n e ve a roman at eet with ailu e . V t c c i d tic
r o n r sian In the a n o tachmen t f o a y u g Pa i . v i h pe that travel in a foreign land might accomplish that which parents] counsel and appeals to nascent ambitio n had been n m r eff ern e his son Ro e. powe less to ect, Joseph V t se t to
His e e rate ran son O R A C who resem e him in ara ter c l b d g d , H E , bl d ch c well as en us has mmorta e t s act u on anvas z Jose h Var-net as g i , i liz d hi p c p
ked to the Most. Sa on 1822 . lac l , A LR V ERNB T WhO WM b0m ln 1758 o ned the r ne fo r C R , , first [u i h Tke P int n in l ?82 with is ture rodi c l So». pa i g , pic g ms mars 3 .
’ O n in o e er Carla s r ef oo re tion ce Italy, h w v , g i t k a di c
e an i a e his an o u s aren He rn f littl t cip t d by xi p t. tu ed or
o nso o n to the ur and was u o n the e e c lati Ch ch, p v o f taking
the rre a e o of a mo n en his f a er e r i voc bl v ws k , wh th , h a
in of his n en o n as ene to his s g i t ti , h t d ide. Fo rcing him
to re urn him to ar s Jose s are n o t with P i , ph p d pains to ' ro se his son s r s m on an d th a u a ti tic a biti ; , by e help o f his
f r en s so or e on his m n a the o n man i d , w k d up i d th t y u g , with the same impetuosity whic h had marked his earlier ms l t m n oo now e o ed h e f to ar . A t the a e a h d , d v t i g o f
en -n ne he was m to the A dem af er tw ty i , ad itted ca y t the
e i on o f The Tr um h o PM Emilias ex xh biti i p f , which cited
a a m ra on He was s a su s f univers l d i ti . e peci lly cce s u l as a
n e r of orses and e- e es an dhis reer on n u pai t h battl pi c , ca c ti ed ’ as r n and su essf u as his f a er s ee b illia t cc l th had b n. — ’ The tro ubled times o f the Revo lutio n when men s minds ’ quailed bef ore the impetu ou s o utbu rst o f a peo ple s wrath
e e o e his en s and ass s e him in ro n d v l p d g iu , i t d th wi g of the trammels which at this time were so detrimental to the l m ro ress o f ru art. a l the e uos o f en us p g t e With i p t ity g i , he rebelled against the pedan tic and frigid cl assicality of
f Lo u s Da and in his er ures m r the school o i vid ; , lat pict o e
ar s o e a e an e of es a s ru e particul ly, h w d d fi c t bli hed l which
s f ur er his e e ra ed s n was to be carried till th by c l b t o .
erne m rrie in 1787 au er o f th Carle V t a d, , a d ght e well
w s ner o f ne s Je n Mi Mo re u kn o n de ig vig tte , a chel a : their ’ so n EM LE-JEAN-HORAOE was orn in his r n fa , I , b g a d ther s a r men s in the L re o n J n e 3 0 1789 en th pa t t ouv u , , wh e dis h e was re n its e con tent o f t e peopl achi g h ight. The child was little more than three years o f age when the impatient
o u on the rr e 10th of A u u s r s p p lace, up te ibl g t, u hed to the ' 4 HORA CE vsns s r.
r s the o r ar of the r s e o r e had ac o s c u ty d Tuile ie , littl H ac his
rs e er en e of war in the l s f el aro un him fi t xp i c bu let that l d . - e at the m esses of u n r men Car Vexn et e Shock d his co t y , le , lik man o ers s e e ve ar s bu t in his o wn f m y th , wi h d to l a P i ; a ily
r was to be en e the er orror o f a t agedy act d, v y h which His f an d om kept him in the city. beauti ul acc plished sister
m rr the r e o f the D u e of r en e and her had a ied a chit ct k P ov c ,
an h ad f o o e the e r n e to ss s husb d ll w d xiled p i c Bru el . The public min d at this perio d was impassioned to the highest ’ The n f e r s r f or her s n pitc h . u happy wi was p o c ibed hu ba d s
o ar a s o f ro he was arra fidelity to the unp pul c u e yalty . S igned before the revolu tion ary tribunal as the wif e of an aris ” mne to r and on e the ine. Car e erne toc at, c d d guillot l V t,
his es r to D ose n uen e the in d pai , appealed avid, wh i fl c with popular leaders was so great that a wo rd f ro m him might
e s ve her. or he refu se to s ea and the hav a d That w d d p k,
unf o rtunate victim of popular f ury was execu ted . This terrible even t overshado wed the childhoo d of Ho and eft n his m n an n e l re f o r the race, l upo i d i d lib e hat d
r of the ssi s of a n n i ro leade cla c chool p i ti g, wh ch p bably had so me influ ence in the f ormatio n of his o wn styl e in
later years . Bef ore h e was eight years old the boy sho wed all the
His r and precocity of genius. b ight happy dispositio n wo n
an fri en s s his u ness and o wer o f him m y d , whil t q ick p witty ’ him the r n of his fa er s ass repartee made da li g th ociates .
n o of are rr n o n e o f h Many a ecd tes his boyhood cu e t, whic
is well authentic ated . rominsntl forward his ar n s he fre en B rought p y by p e t , qu tly n e f r Caf e Fe en n r accompa i d his athe to the y , th a ge e al
s f or r and r fr en s. n o n n rendezvou a tists thei i d Upo e occasio , ' 5 EA RLY mmcs n ons o r GENIUS.
’ when a n umber of his father s acquaintances had been
ss n m rr n n m n - or s r n pa i g a e y eve i g, a cha pag e c k ha tily d aw
ru a n ne - r e e n The ro r o r st ck ag i st the wly deco at d c ili g . p p iet
o f the cafewas sa emo n n the ma e w en r dly b a i g da g , h Ho ace, se n a e e and r s la on a e ne r izi g pal tt b u h which y up tabl a , and mo un in r of s e s ef the wor men ex t g a pai t p l t by k , clah ed he ou o on r m In a r s r that w ld s e edy it. ve y ho t tim he had s e e an n e in n s l 9 k tch d d pai t d a flyi g wallow,
n n which e tirely co cealed the stain . Horace co mpleted his educatio n at the College des ” re a ons an d on ef ore he f an Quat N ti , , l g b le t it, was
no e e ar st A t the a e o f h r e en he o ack wl dg d ti . g t i t c uld
omman o r ers eno to sufice f o r his own su r c d d ugh ppo t . ' His r n s so for six f r n s e e an d his sma d awi g ld a c api c , ll
n in s r e en pai t g ealiz d tw ty .
n s to the e c n of his f a r o se o e of Tha k t a hi g the , wh l v the natural had rescued him f ro m the dominion of establish ed
’ art ru es or e ar r oflthe res r n of the l , H ac e ly th ew t ai ts ’ n u classic school . The i fl en ce o f David s style is only per ce tible in his rs e e re The Takin o Glat p fi t xhibit d pictu , g f z,
f an u m s and in a f ew cif l f e ale head .
r e mo re er in s rr n mes and was e r Ho ace liv d, ov , ti i g ti , a ly er e brought in to contact with the st n realities of lif e. Th heroes o f the glorio us victories o f the Consu l ate and Em pire were his familiar f riends ; and his acqu ain tance with the prosaic side o f their lives made him keen ly alive to the blo odshed and misery which u nderlie the gl ories of a vic torio u s am n The o r n of m o f the rea of his c paig . igi uch lity later pictures is to be found in his early f amiliarity with ’ the i f u n en of so r s f the sc en s o f rr p ti l i cid ts a ldie li e, e so ow
t o u the afé is no w u e own om e erne?! in Al h gh c p ll d d . H V fly g 6 no as c s W i nner. and the er uffer n s re the re e r in co n bitt s i g , which we g at
r s t a t to the brilliant results o f victorio us ac hievement . His kno wledge of the details of camp lif e gave rise th f to e belie that he himself had been in the army. With ’ the e e o n o e er a f e s ser e in the de xc pti , h w v , of w day vic ’ f n of ar s in 18 14 an d o f e era mo n s in in e ce P i , s v l th fight g the e u i n of 1848 his o n n o e e was of R vol t o , ly k wl dg that o bservation . His tastes were martial ; b e ado pted the style and mo e o f e r ss n u l r t fli f his da d xp e io pec ia to he o cers o y .
He a u a e mse f o m r re of s an d h bit t d hi l t ilita y b vity peech, certain ly w as n ever more at ho me than when representin g o n ’ s th u r r r canva e vicissit des and adven tu es o f a so ldie s caree . Horace was only twen ty years o f age when he married
Lo se the au er o f A e de P o andf ro m his rm ui , d ght b l uj l , cha ‘ ing letters to her we gai n o u r best idea o f his character as a man i in . of s ness an d ro e res as his Full bu i , c wd d w th te t
f e so o n ec me o me es ere a a s the s ro n es li b a , h ti w lw y t g t ; and ere er his res ess s r of a arr e him he wh v tl pi it ctivity c i d , co u a a s find me to n o f o e ef t e n and ld lw y ti thi k th s l b hi d, to write th em letters full of descriptio ns and o f longin gs f or the me of his re rn ti tu . Ho race Vernet was at the height o f yo uthf ul f ame in the
th Em re n Jero me and M r a L u se last year of e pi . Ki g a i o i o er e m him a ro n and v e him or er v wh l ed with p t age, ga d s
n 81 he r f aster than he could execute them. I 1 4 eceived the Cr of the Le o n o f on r and e er r u e of oss gi H ou , v y t ib t
m r n se h s was s o ere u o n hi . a o t e Co ur succes h w d p P t i d by t,
t His r u s m his pictures were he f ashio n . ca icat re were uch s u f er and so mew a s r n e n ot rea e o ght a t , , h t t a g ly, did c t
“ ” ee ora e ernet : His L fe and Wor s in the Fi ne rts uar S H c V i k , A Q ” Rev ew 1864 . terly i ,
8 H A C E E E OR V RN T.
The ill-advised refusal to admit The Barrier of Click!) and The Battle of Jem ap cs to the walls of the exhibition was r of er r u m f or th e r s p oductive a high t i ph a ti t. No better idea o f the sight which met the gaz e of the admiring Parisians can be conveyed than that given in a i r t To uo te from p ctu e of his studio by he artist himself . q “ a G rm n ho r l w as n o ass no ro man e a aut ity, it cl ic, tic , but ” in r r mi r r r eve y espect a lita y stu dio . The walls w e e cove ed with recollections o f the gl orio us achievemen ts of the ren h as to be se n F ch arms. T e soldier of the Empire w e
in e er oss e a u e in ever on e s o n . v y p ibl ttit d , y c ceivabl ituati
He was re in the arr so n o n the in the pictu d g i , field,
o ac or re i ef ore o r af er the f ra E er r n biv u , v ew, b t y . v y a k
its r re en t ve inf n r a r r i er in rn had ep s ta i a t y , cav l y, a t ll y, tu
a m en o n or asse in r e f o re the s r cl i ed att ti , p d evi w be ha p ” e o f the L e Cor o ral as in re a e o o r r n gaz ittl p , , g y p l t t g ee
n f rm n e e e e n his o r . u i o , he be t his agl y upo bel ved t oops A t interval s upo n the walls hun g trophies o f the great
or s rms and n f orms o f e er re men andn o n vict ie , a , u i v y gi t ati ;
s n orses i n o r mo e e ure the ex whil t upo h , l vi g d ll d, fig d
m o r r us n r or ero te p ized facsimile o f some glo io ge e al h .
r st am urs and e n it e r f as ona e A ti s, ate , dil tta ti, w h th i hi bl
m en s m t as at n n es ro n e the ro . r e acquai ta c , th g d o F i d a r n s s art r c s o n e o ut f au and m r s e dezvou , whil t c iti p i t d lts e it , or s o e to a m r or n emn a ss o r s Ofiicers t pp d d i e co d pa tudy. o f the o ld army an d subaltern s beginn ing life gathered r n to r enes of a s r um hs or o in ou d ecall the sc p t t i p , to gl at
A e r u fancy over coming hono urs. liv lie scen e co ld n ot be
m n —mor su es ve r a s o f the arr an i agi ed e gg ti , pe h p , b ack th the studio ; of an armoury rather than the retreat of a great
” L w - m a un xe : ora e e u . 1 64 s rsc , H c V rna Alb 8 .
' 9 PRIVA TE sx mmn os .
r me artist ; but teeming with life an d in te est. Whilst so were deeply engaged in contemplation of the scenes
on an o r l s ne in r a en n to depicted c vas , i te d apt tt tio the
an tes of vo or m o ers san and f ro e wdo bi uac ca p, th g lick d ;
n r o n m n a e the e no er whil e o e en e getic y u g a pl y d flut , a th
h sf a o n a r m e In perfo rmed to is own sati ction up t u p t.
the en re of s r ms r e s ac e a o n ma c t thi ci cu c ib d p , b xi g tch
u be rr n o s en an d a n in r wo ld ca ied o , with bl w giv t ke ight good earnes t ; while in the midst of all the tumu lt and
nr s the r s who a r e e emen s so r e u e t, a ti t had tt act d l t va i d around him pain ted assiduo usly and worked with enth u siastic a ure the rea u res w in the f o ple s at g t pict hich, llow
in ear ere to e the ar s an u . g y , w d light P i i p blic
r e i in the e emen and o e e the Ho ace d l ghted xcit t, p ss ss d e nviable f aculty of shutting his ears to all that did no t
o n ern his mme u a o n ro m s f the e c c i diate occ p ti . F thi act id a
r h ff r f o r im no o . a se that his pictu es cost e o t thought This,
e er was a m s e as he ms f rem r e : e how v , i tak ; hi el a k d Peopl praise my fac ility ; but they are n o t aware that I spend t welve o r f o urteen nights witho ut sleep in thin king out ” tu am in the pic re I going to pa t. The pain fings which in this exte mpo rized exhibitio n were mo st true to the higher principles o f art were u ndo ubtedly
o e m h s th s which ight be aptly cl assified as i torical genre . ’ Of ese The e Horse La. Vallette s Oath The th W , ,
old o ate loo an e D t Ponic tmvaki S ier W r d Th ea h o are n r f , f u ive
The atten tion besto wed upo n The Battle of Jemmapes was due quite as much to the f act that it had been pro r as i n s r r on e sc ibed to ts i trin ic me it. Eve y pressed ro und
r e to u b u t in e er r s i to c iticiz , appla d ; v y a ti t c essential it ’ was far nf r or C r rne s B c tfls o M a a i e i to a le Ve t f n ge. The 10 n oaacs vas s sr. ordinary accompanimen ts of a b attleo scene were in troduced
' ro of stafiemeers r ll an in n f rm and m res a g up , b i i t u i o i p s e in a earan e an e o e s l rear n an d iv pp c ; xpl d d he l , i g fri ene o rses a o se on fire and un an e o f smo e ght d h , h u , ab d c k ,
' made u p a mice en scene which was efiective witho u t being in reality mo re tru e o f the battle to which it ow ed its n ame
an o f an o er th y th . No i cka s r cism es The ern e? o Chi uch c iti appli to B f y,
re a a s th r f er The pictu which ppe l to e hea t o every beho ld . realities of war are clearly bro ught ho me to us in this de f en e th rr er a n fu a men The c of e ba i by ha d l of gall nt . n mes of mos of em ere f mil ar to the ar ans fro m a t th w a i P isi ,
r a Mon e w ho is in or er to o o n e dio t Ma sh l c y, giv g d s C l l O , do wn to many o f the so ldiers who were kno wn to the
th f o re r u n th la n f a f am painter. In e g o d e deso tio o ily is f or s o e in the roo in re of the oman e had w d d p g figu w , n n r n f r m her me r who, havi g bee d ive o ho , has escued
her o and n ow se e u o n remna n o f her o u e g at, , at d p a t h s
ol o o s so o es an d warms the n es n in her h d g d , th child tli g
rms her ear es f o r the o n e lad w o se a , whilst h t ach w u d d h
- n n of s life bloo d is fast ebbi g away . The engravi g thi pathetic picture is perhaps more strikin g even than the
r na f or a s the ars ness of o o r n i in o igi l , it l ck h h c l u i g wh ch ’ r a s u u f n all Horace Vernet s ea lier wo rks is co n pic o s aili g.
e o r th 1 2 L a Barriers d Cli hy bea s e date 8 0. The year of his private exhibition was a busy one in
f the er e c n r e r in ra the lif e o en g ti pai te . H p o d uced pid s ess o n The attle o Hem u The attle o Montmimil ucc i , B f , B f ,
The D ence o Sara ossa The attle o Valm and Na o ef f g , B f y, p th o n f th leon on the Bridge of A rcola. With e excepti o e
s o n en ra es the n r s of the a n n on la t, which c c t t i te e t p i ti g up
n ero a on ese r s re r en the mo emen s o e h ic cti , th pictu e pes t v t 11 Parao s ac s o r caaat ss x .
o f rm es of en ire e-fields l n the er vast a i ; t battl , fi li g p
s ective far as the e n s o f r p ey ca reach with bo die t oops . the pain ter has in every case so arran ged his plan that M e is at o nce arrested and in terested in life-lik e groups which carry o n th e actio n of the piece in the f ore
Fo ur of the paintings o f this year narro wly escaped the - ’ destruction which overtook so many of Vexnet s pro duc
ons in the urn n of the l s a u on the 24 th of ti b i g Pa ai Roy l , p
e ru ar 1848 . T e er er n e r s F b y, h y w e pi ced with bayo t th ust ,
bu t ere f o n a e o f re ra on an d are no w in the w u d cap bl pa ti ,
ar f H t ord Collection .
A a s o r the O o s on ern e e his lw y p pula with pp iti , V t ow d
res or o n to ro a fa r to a er u r re t ati y l vou th t v y pop la ity . Fo
m s amo n his a rons was D u e o f r eans who o t g p t Philip, k O l , never tired o f having his po rtrait pain ted by his f avo urite
r andwho r in r m a tist, figu ed eve y i aginable scen e ; he was in tro d u ced ne w in the Battles o f Jemmapes an d of Valmy ; no w amid the Swiss mo un tains o r in th e act of savin g a ’ r es s f e at en dbme p i t li V .
The o s o n of the res o re f am was s il ns ur p iti t d ily t l i ec e,
and C o s n ness the harles X. b erved with gro wing u easi
en o ns is n u t u r s att ti lavished by h co usi po n he po p lar a ti t .
m n more er l e to the f a is fo ll to Beco i g, ov , a iv ct that it y
rs in the rs n o f en us n e ere m e pe ist pe ecutio g i , adva c s w ad to Horace Vern et in the shape of a request that he would ’ n s r s r a a n n paint the Ki g portrait. The g and hi to ic l p i ti g
ersa les in the in is re re en re no w at V il , which K g p s ted n the roo s in the C am s E se s re u viewi g t p h p ly e , was the s lt
f s o mman and was so i f or his M es o thi c d, sat s act y to aj ty and the Co urt that the artist was at once co mmissio ned f to un dertake another liken ess o his royal master. This 12 H E vs ‘ ORA C a s m.
me th m m os m e o n en ere C r es X . eco ti e t was ch wh ha l , a ’ ani d ukd n l e A ou m r n s p by the D e g é e andthe Duke of O lea , — is reviewing the troops at Vin cenn es one o f Horace ’ erne s mo s u ssf a n n I ur the V t t s cce ul p i ti gs . n this pict e
ro u n of the orses is e e en and the r s suc g pi g h xc ll t, a ti t has ceeded in co mbining the dign ified attitudes befitting the royal personages with the perf ect ease of accomplished
These signs o f a return to Co urt favour were sumcient
o en the oors of the L r e to rne to p d ouv Hom e Ve t. He w as as e to un er e a s m ral a n n n f or k d d tak va t u p i ti g, havi g
su e o . r n th r a its bj ct Le X di ecti g e wo ks t the Vatican.
In 1826 he was e mem r o f the ns u e and lected be I tit t ,
o o the seat —n e his f a er— re in 1795 f or t k xt th which, c ated
Lo s D een ef an Le ar er. In the ui avid , had b l t vac t by B bi same year he receiv ed the Cross of an o fiicer of the Legio n of ono r in re n i n o f his r e a n in The Fame H u , cog it o la g p i t g,
' w ll t Fontmznebleazu e o .
The Salon o f 1827 w as rich in varied works f ro m his
r s . T ere a e re The attle o B owvines now b u h h pp a d B f , which is to be seen in the Palace o f Versailles ; Julius with B ramcmte R a hael and Mic helan elo , p , g ,
Lou r a d a r e a n n as s r e of the v e n la g p i ti g which , illu t ativ ’ r i u ar h se o f the ar s s e e men e er s a a pa t c l p a ti t d v lop t, d s ve H ld n n o e . Edith seek t e aro e e n h b d o l gthen d tic , viz , i g o y f t n after the Battle of Has i gs.
A t s ime the n e een th f l r of D d thi t co test b tw e o lo we s avi ,
the re r sen of the s oo f art on the one as p e tative classic ch l o ,
n and of ro man s oo r o us re re ha d, those the tic ch l, va i ly p
' n De r G r c an d Ar Sc hefier on se ted by lac oix, e i ault, y , the
r was at i . r on a n r for othe , its he ght The eacti gai st the igid mality of the classic style had resulted in an equal exagge
4 H A E E E 1 OR C V RN T.
C ro s ro is i n e man re o f hia cu exceed gly w ll aged . The ality death is sternly sho wn in the kingly corpse. The half naked f orm which occu pies a pro minent po sition is mar vellou s in the accuracy o f its drawing and in an ato mical
o o r ns The n n w to o rea s f or the pr p tio . pai ti g, hich was li tic mo era and no t sufiicientl e a er for d te school , y x gg ated the mor e tr me rea s s e i e rea n er s an d e x e li t , xc t d g t i t e t, ev oked
mu s ss n amon r i s n t a ch di cu io g c it c , but was o f vourably the u T ere was an em n ceived by p blic . h el e t in it which ’ f or n to ora e erne s m re o u r s e and was eig H c V t o p p la tyl ,
rs -re s n n so was so as it was his fi t highly ali tic pai ti g, it al his as l t. CHA PTER II .
1828 TO 1 83 6. — Vernet O ffered the Di recto rship in Ro me Pictures pai nted in Italy ’ — Mendelssoh n s visit to Horac e Vernet Accession O f the Dulce o f — — — Orleans Disturbances in Ro me Return to Paris in 183 5 Co utiuued — — patro nage Of Lo uis Philippe Fall o f Boas Journey to Africa S enes o f A ra lifc a id a nt n —Jo urne to Russ c b p p i i g y ia.
HE o r an o s to ma e amen s f or f rm r C u t , xi u k d o e depre
' sti a of the mo s o l r en u s o f r n e Ofl ci c t p pu a g i F a c , ered
rn the re o r h of the m in m and in Ve et Di ct s ip Acade y Ro e ; ,
1828 he en ere u o n his ies in a ta as th , t d p dut that c pi l e su c
rr The m n w - n o cessor o f Pie e Gu erin . a y ell k wn pictures pain ted durin g his stay in Italy attest the infl uence of that ’ n r n erne n s For the m r s m o . hi c c u t y upo V t s ge iu ost pa t, o po sitions at this time spran g directly o u t Of the scenes by
which he was su rro unded . He quickly sent f or ex hibition The Bandits of Tm acina ’ w r and The Coqm ion of the Bandit. No he e was Vernet s gen iu s more at h ome than in such scenes as those which h no w e u e He en ere w een es and d e xec t d . t d ith k z t e light into the spirit O f the brigand lif e ; whilst he throw all the en ergy of his geniu s into the fightin g scen e at
err c n he rea e r a er of o s and r e T a i a, ch d a g e t height path t u
s i nf ssi n of the n r pas ion n the co e o dyi g b igand chief . 16 HORA C E manner.
The same Exhibition of 183 1 co n tained The Procession of ’ Leo XII carr ied b his Swiss G uard: to St eter s. In t s . y . P hi 8 triumph ed over o ne of the greatest succeeded in raising the picture of a
eremon in its a ean r o s r e an c y which, p g t y, c uld ca c ly to a r mono o no s to the e of an l or e r i ppea t u , h ight e ab at a tist c
ro o n r no t on in s r and th p ducti , ich , ly hi to t uth e
ession bu t a so in the e a or on of an the s s , l l b ati detail which
n a to su a s ene le d vit lity ch c . His Raphael and Michelangelo crossing the Court of the Vatican an dhis Judith andHolof emes were attempts in a dif f r a dirmtion and the er n a re of his enius less su e e t , , by v y tu g , c
' ul ere was n o on r a uesti n f efiect mer cessf . H l ge q o o ely ; both the su bjects were surro unded by a halo of roman tic legend
a r n Cr m as o which called for ide l t eatme t. iticis w l ud in con
ar In the first -na demnation when th ey appe ed . med pain tin g
rn em e the r n o f c rren n Ve et att pt d illust atio a u t lege d, which
s a Mi e an e o en o un er n R e in relate th t ch l g l , c t i g apha l the
en of the Vatimn a en e his man s sn r c t , tt d d by y pupil , ee " in l r e Yo u wa the r inue of a r n e g y a k d, lk with et P i c . Toc h is su pposed to have given the somewhat re A n d o u on e an e e u n ply, y al e, lik x c tio er.
Toadd an interest to the scen e erne has n ro e , V t i t duc d an ’ i a i wh ch 18 somewh t theatrical n efiect. He repre — sents Raphael as pausing struck by the grace and attitu de of u n m n mo er who se m n the w a yo g Ro a th , , ated a o g aitin g
o e nu mes her h —to tranfier c n p pulac , c ild to a vas by rapid to uches th e o u tlin es of some f u ture picture of the ‘ n M of the eflect of the n in is s r Madon a . uch pai t g ac ificed
17 IN s ons .
f r him his n n - r s e fr m r m be o e pai ti g gea , i su s o a oo above, at the head o f the stairway ; while the younger artist stands in n a n f hi m r se e he co templ tio o s i p o vi d mo d l below. T
re of the a e a n r is s on f n an d figu g d p i te thu ly hal give , the artist has sho wn a personal depreciation of his great fore runner which is no t co mmendabl e. He has so portrayed Buonarroti that he appears as the malign and spitef ul
r f the s ess o f a n r r a His a i u spectato o uc c you ge iv l . tt t de l s n an d the w n o f rm n en ack dig ity, a t ha o y betwe the two natures seems to fin d reflection in the somewhat strained
o f the r n i ors in the s ne attitudes p i c pal act ce . It was an artistic mistake to attempt to perpetuate the f n s o f a r and f e na re o r m aili g g eat gi t d tu , to deduce so uch
r ill- u ranco ur f o m an a thenticated legend . In Judi th and Holof m ses we notice the great effort made by the artist to liberate himself from the con ventional
f a s treatmen t o Biblic l ubjects . The sleeping Assyrian an d
u it are o e m n The w inf uriated J d h b th alik oder . hole ren r o f the i t re in o o r n r a s de ing p c u , its vivid c l u i g, e li tic ' r n f er efiect an d l r ion of m se st ivi g a t , e abo at costu e, is the r es] and its u ar su s wa r n t i , pop l cces s la gely owi g to that clever rendering o f essen tial detail which was one o f Ver ’ net s great characteristics . ’ The first years o f Vernet s stay in Rome must have n r e i f u — ere f u of e s r n ex bee ve y d l ght l, they w ll pl a u e a d
f m in the a Me citement. Settled with his a ily Vill dici, he
e er es o f r n fétes and his ome was en r gav a s i b illia t , h the c t e
t a i r » of the best society of he c pital . H s fathe had accom h m and us the r was s rr un e who paniad i , th a tist u o d d by all
to him on a er the e ful and were dearest . His ly d ught , b auti
l s e Lo u se s s her mo er in oin the accomp i h d i , a si ted th d g
o f the o se an d an e r c f r m e r r en honours h u , xt a t o a l tte w itt 0 H v E' 18 ORA CE ssN r.
r a fr en u n his rs n n by Paul Dela oche to i d, po fi t acquai ta ce
was held. “ o o r es be m re u m e and N d ubt, he w it , it would o h bl ’ proper if I were to tell y ou that Mademoiselle Lo uise s
‘ ’ in r I find her o irituelle beam at obie. but, t uth, p , , j In 183 5 Vernet had the great happin ess o f seeing his beloved daughter un ited to the man who had sho wn so just an appreciatio n of her. An interesting reference to Homes Vern et during his ' ‘ stay at Rome is fou nd in o ne of Mendelsso hn s letters .
Y u me o ern and is n o ask ab ut V et ; this , i deed , a
e i v ma sa e rn m pleasant theme. I b l e e I y y I hav lea ed so e
' m lum and r o ne m t me He r n fro a do he sa . o thi g , eve y y p re fr h n ss an n a f rm duces with inc dible es e d f acility . Whe o
m s his e e c e his f eel n s he n s n eet y which tou h s i g , i ta tly adopts it ; and while others are deliberating whether it can e e f and r s n and ens r n he has be call d b auti ul, p ai i g c u i g,
n corn leted his r en r eran n our eth tical lo g p wo k, ti ely d gi g m e
stan r u s f nn u r its da d. Tho gh thi aculty ca ot be acq i ed ,
r n m r e an dth ser n r n p i ciple is ad i abl , e e ity which sp i gs from it and the energy it calls forth in working no thing can re c pla e . In the midst of the gardens of Villa Medici stands a
m in i as o u r a ou s all house, wh ch y app o ch y hear a tumult,
’ or r n of . is Vernet s atelier The the ba ki g a dog This .
m i ur e s r r r e er ere— ns ost p ct esqu di o de p evails v ywh gu , a
’ ” Mendelssohu s Le tters from ta and Sw t er an trans ate b I ly i z l d, l d y
' 20 B oss es vsss s r.
' Me n ime afiairs in ran e u n er o ne a n a t . F c had d g cha ge .
The R u io n of J 1830 r r w the o r evol t uly, , which ove th e B u ’ n c e to the r ne erne s o ld ro e or and ron bo s, all d th o V t p t ct pat ,
the Du e of r ean s. A re o u o n w in ar s was k O l v l ti hich , P i ,
f a o ra e f or the ar s was ess a s o s f o r him in so v u bl ti t, l u pici u
me He was o n o ma re r s n a ve Ro . app i ted dipl tic p e e t ti of ran in a the mem ers o f the Le on n ad F ce th t city ; b gati , bei g
n f m heren ts of the o ur o re r to a es . The B b a ily, all ti ed N pl
Ro man o u a ion re os e to him and he was co n p p l t we h til , stantl nn o an n mo u s and re en n et rs y a yed by o y th at i g l te .
n le s n as his o wn os o n w as was en mo r U p a a t p iti , it ev e f orced to remain secluded in the Villa Medici ; and a f eel n o f o n and re osses e the ho i g expectati d ad p s d w l e city .
or e erne at s ffiu un re ma n a n H ac V t, thi di c lt j ctu , i t i ed an
e o f u e i n w com lled the r s attitud q i t d g ity, hich m e pect of ff e and n f r him t the disa ected populac , obtai ed o he approval of his o me G overnmen . Re e M n re o n h t plac d by . I g s,
n ar 1 183 5 he f Rome and no o u re l t hi Ja u y , , le t , , d bt g at y o s
wn sa sfa i n return to ar w ere Lo s- e o ti ct o , ed P is , h ui Philipp received him with a cordiality which enhanced his f o rmer ’ The n s m f u popularity . ki g in d was lly occupied with a
o r f his scheme w thy o el evated position . He desired to perpetuate within the walls o f Versailles the great achieve
f th r n rm in m rn m ments o e F e ch a ies ode ti es . No fitter artist co uld be f o und than the author o f Clichy and Jem m es ern e mme a e u o n his r urn f ro m a . p V t, i di t ly p et Italy,
r sen e his ro ro n wi a ma n en i ure had p e t d yal pat th g ific t p ct , representing The Arrival of ths Duke of Orlea ns at the Palais
al n the 3 0th o Jul 183 0. Roy o f y, N0 one co uldbetter appreciate the talents and resources
r r ist n the r n n in En r of the papula a t tha eig i g k g . t usted J R E armca 21 OU N Y TO .
n n The F all o ond a en with a pai ti g, f B , which had t k place in 1832 ern n r u n the rst of his Af r n o r , V et e te ed po fi ica j u
ne s and r e f ar and n r in n o y , t av lled wide, pe et at g i t the
o u rne e fo o it r of r est j y, lik all that ll wed , was p olific the g eat o h n m r n s reo results. N t i g o e u like the te typed historical paintin g than the l arge picture o f The Fall of Bond can
be conceived. The French fleet lies at anchor before the
e a ere s the s are ne the r b le gu d city, whil t wall li d with A ab
r who n re d the c of ren r t oops, , havi g siste atta k F ch a til
er an d for es ro a a n s em m l y, the c b ught g i t th , have succu bed
the avidity with which the Mahommedan s seize the bread
u t to em the o r o s ren men s u n held o th by vict i u F ch ; whil t, po
the ac the rme sa ors m en an n be h, a d il i pati tly await e try
n o the a e . The s nn a m r o f the o the i t cit d l u y t osphe e S uth, r r of r c sun the r z b ight ays the t opi al , b ee e which seems
an from the e are fitl re re en e and th l guid h at, y p s t d, lull e
er enses of the o er su es n a u e in v y s beh ld , gg ti g quiet d nature in sharp con trast to the restless human hearts so
full of bitterness an d strif e. The many new impressio ns which Vernet gathered up in his African jo urney f o un d expression in the lif e-like pic tu res of the in habitants which lined the Exhibitio n walls: ’ Their Eastern characte ristics completed the artist s eman ' rul ere is f r om cipation from dogmatic e . Th a eed and breadth in all his later pain tings which are wantin g in his
e r er o r rs in or er we ma name A Wild oar a li w ks . Fi t d , y B
the a c Da er a scene f o f lif e he hmat in S hwr t ull . T fiery exultatio n of the suc cessf ul dogs as they run down
e r re and the s r r en o m n o f the n smen th i p y , upe io j y e t hu t ,
w smilin in the face of dan er wait the resul ar ho , g g , t, e 22 n osacs vsss sr.
r r e to na re The M o mme an f m ve y t u tu . ah d chie , who cal ly
n s o the ra n o r no ot er an the re poi ts a pi t l at gi g b a , is h th
no wned Y u s f m e f The o e arran men o f s u hi s l . wh l ge t thi
re is more f e- a r an its o m n o n A pictu li like nd eal th c pa i ,
Li Hun a e r a on t. er o r er s to e Sup i , p h p , ith is th t which
r n for The Listenin A rabs as w e in f r n o f b i gs be e us g , , t d o t
r n s e a n ar to e is o thei te t , th y l en d willi g e a tal which t ld them; whilst exceedin g all three in true pathos an d appeal ’ to the universal human heart is The A rab M other s Lament
over th Dea th o her l e f Chi d. ’ Vernet s acquaintan ce with A rab lif e had a somewhat sin gular eff ect in directin g his choice of su bjects to tho se scenes from the Bibl e with which the world had so long
en r e th o f resen n be familia . H conceived e idea p ti g the subjects of Scripture tales in their natio nal costumes an d
na n h r r s s He mse f in a er with tio al c a acte i tic . hi l , pap which
he rea at the ns i u e re a es ho w s e rs o rr d I t t t , l t thi id a fi t ccu ed
to him s . He say “ One da u o n an ex rs on in the ne o ur o y , p cu i ighb h od
of o na was n in m en rea n the S r r B , I lyi g y t t di g c iptu al
n o f Re a her c er u o n her ef s o er accou t becc with pit h p l t h uld , and ho w she mo ved it to the right to all o w Eleazar to drink
fr m a me d ult o it. This descriptio n ppeared to a little ific of
m r ens o n en ra s n m e s a e o ? co p eh i , wh , i i g y ye , wh t did I b h ld
A n om n n r n to a so ier in the re s you g w a , givi g d i k ld p ci e
wa seeme to me so dificu lt to o n e . . y which it had d c c ive From that mo ment the lo nging seized me to trace the con
n t on e een the s o ms of e w sur ec i b tw cu t the peopl , hich had ” vived nn o a o ns and o e es r e in o r all i v ti , th s d c ib d H ly W it. ’ erne s no e e o f the S r res was r ee V t k wl dg c iptu ve y d p. It
f rme n e a r f ro m a n n his r n i a s u o d, i d ed, pa t p i ti g, p i c p l t dy it was his constant habit to work with an Open Bible on mans PICTURES. 23 his t e an d he ne r r el o u on e u him abl , ve t av led with t abo t .
He r f u e r the the r of so ca e lly labo ated idea, bi th which he
ra h a s r es and in a on rf ainfin f g p ic lly de c ib ; , w de ul p g, aith f th l m e e in . In R ebeoca at the ell ully copied iv g od ls his W , b e attained a height of artistic success which exceeded all
' his r n efi ts en s n p ecedi g or . The thusia tic receptio accorded it by the public o utweighed the animosity of the f ew critics who sneered at the attempt to give an Arabic interpreta
n to m en s nor n en i deed, ad it it wh it was ju t, but ig i g it wh b e n e e i r - co c iv d it d ctated by pe sonal an imosity or ill will .
‘ f e sufiered m re in s r ts n and in His wi o uch espec tha he, , re to on e of her e er he s s ply l tt s, ay “ In the o n no e r from ou o u are ly te I hav eceived y , y
r remar s f or me if e are ron An d if e are thei k , th y w g th y in r er o u rse is o n to me n to the ight, what bett c pe tha bow m e d ? do m e an d en e m s i y h a I y b st, wh I l ave y tud o to
r s do so the re on n . Do no t e t, I with pu st c scie ce . vex yo urself about the cries o f those who like to lower a repu " tatio n let em and o n let o r m n s r e ; th talk, d t y u i d be di tu b d ” n an a te n n by payi g y t tio to them. “ “ n J s r i i m he r s m Agai : u t c it c s , w ite , has taught e " ha n r me much : unjust criticism s i vigo ated .
The in r o ene n ew s r of ur pa te had p d up a phe e labo ,
and e man n r he ne er e his r , lik y a othe , v xcelled fi st
' fi t en in du u his H a e el e o r . e o rse a r m le Wh , c , g p d by
Samaritan and Jos h and his rethren u s v a , ep B s cce si ely p
er and ea in e his r not pe ed, ch its way justifi d popula ity, 24 VEB HORACE NET.
r n r o f s n and eren e to the s m n g a deu de ig , adh c Old Te ta e t
Three large designs un dertaken by Vernet f or V er s s o n his re rn from Afr a ere ea n en aille , up tu ic , w ch i t ded to represent some glo rio us even t in the lif e o f the great
a n s r the t e-s enes o f Jena r N poleo . The e we e bat l c , F ied
n an d ram in a of some e s e nn e la d, Wag , e ch which pi od co ect d
o r s ner m the a en ion T e far with the vict iou ge al clai s tt t . h y e e in ram in eres th e ear er a t e- e es and in xc ed d atic t t li b t l pi c , m r ex the work anship there is a marked advance. Fo
m in The attle o Friedland the timc is o en en a ple, B f , ch s wh the setting su n throws its beams o ver the figure o f the em er r and i n his fa e a es in its ra s the p o , , l ghti g up c , b th y
nera s near him h s the s de w i envelo e ge l . w il t ha h ch p the standing masses before him i s lighte ned by the reflection into the warmest Chiaroscuro .
The attle o F onteno ess eff e e and a ea s ess B f y is l ctiv , pp l l
her to the m n a o n o r t e ear The me- orn eit i agi ti o th h t . ti w
rr n men is f o o e —th n s rro u n e his a a ge t ll w d e ki g, u d d by su e o u n the en ra s on s the riso ners it , cc pyi g c t l po iti , whil t p and o n e are o n e er s e The n r u ion o f w u d d ith id . i t od ct the ’ inciden t o f the young o fficer s exultatio n at the deco ration he has received is o ut o f keeping with the tragica l sur
o n n the ie e. T s om o on a o was r u di gs of p c hi c p siti , lth ugh it not e il the ear 183 6 was in rea ommen e exhibit d t l y , lity c c d
at the ns on o f L I an d fa i tigati ouis XV II. ; to this ct the
‘ difierence in the treatment an d style o f the subject may be i attr buted . is r e o n e e ese r s the It sca c ly c c ivabl that all th wo k , with
e e n of the ast ere e n an d om e e n xc ptio l , w b gu c pl t d withi ’ ma r and the f two e rs. erne s r e o s er i y a V t v ll u cele ity, til ty
of ima na on a o m s fe s a ear in his gi ti , cc pli hed at which pp
26 noaacn vsassr.
“ r atl s r the r mi for he rem r s a to g e y t uck by Py a ds, a k th t admire them it is necessary to recall the dificulties which must have been o verco me in the co nstructio n of these enormo us monuments but behind them is as grand ” o uin de desert is m n f r n r f s n . c q , which i po si g a te a othe a hio r e and f of f e he r se t e o n Ti el ss ull li , had sca cely t l d d w to work after his African jo urney when he was off to Russia. In 6 h e e ers 183 he paid is first visit to th Court of St. P t
r in rsu n of an r r r e fro m bu g, pu a ce o de he eceiv d the Russian emperor f or f o ur scenes f romthe Tu rkish-Russian
1 2 F e c of em an on or r u m of war of 8 6. or a h th h a i s him f rancs was promi ed . He pro ceeded to a rapid study o f the localities which
r to be re r n e and in e an e mon s the we e p ese t d, l ss th tw lve th
first of the s r s The Stownin o was exhibite d in e ie , g f c
ss a. nf o na e f o r his E r ean re u a i n his Ru i U rtu t ly u op p t t o ,
r i in works du in g his stay n Ru ssia remain St. an not n re r u en ra n s d have bee p od ced by g vi g . C E HAPT R III .
1837 re 1 863 . — — Return to Paris Journey to North Af rica Paintings for the C on — — stantine Hall Inco mplete Painting of Battle o f Nezib Journey to — — Egypt The Sla ve Market Ano ther Jo urney to Russia Recep — — tion by the Czar Return to Paris Jo urney to Algiers La Smala — — — Scenes from Desert Life Death o f his only child Deca ntio u of — - — Hall o f Deputies Last portrait o f Io nic Philippe Character o f his
’ LMOST immediatelyupon Vernet s return f ro mRussia a n ew undertaking resulted in a f resh journey to In er 1837 the ren arm a en Africa . Octob , , F ch s had t k
n n in or Af r . The n now Con sta ti e, N th ica Ki g placed at ’ r s o s r in ers i e e r n the a tist disp al a g eat hall V a ll s , d si i g him to cover the walls with a series of large pain fin gs h s am a n E r i illustrative o f t e glories of this la t c p ig . a ly n
ra r M d u n his o rn e and in 183 8 Ho ce Ve net po j u y, the spac e o f little more than twelv e mon ths he ha d acco m plished the almost incredible pro ductio n of the three
These three paintings represen ted the operations of the
m the l 0th 13 of o r 183 7 . The siege fro to the th Oct be , first gave the dispersal of the Arab forces fi'om the heights
t- li mm n mwn the s on of Co u dia A , which co a d the ; ec d, the n the r n s n s in the n ner r l of the attac k o t e che , i ve t g i ci c e 28 Houses vsas sr. c and the ast the assau n the r n r ity ; l , lt upo pi cipal pa t o f the f T e e oss res ea o m l e city itsel . h s col al pictu , ch c p et
in se f are er s the m n s it l , p hap ost wo derf u l pro d uctio n o f ’
rn t en s. The no e e o f n io n r er Ve e s g iu k wl dg at al cha act , the keen perception of the spirit which an imated the
ors in the f earf u s en s e the r and f e act l c e d picted , t uth li
e re of the so ers o r n and A r and lik ality ldi , b th F e ch ab, the intro duction of en dless episodes and inciden ts which
f m ar e the m n w the c on o f the ie com a ili iz i d ith a ti p ce, all bin e to plac ethe Co nstantin e pictures f oremo st amon g the ’ s o s s f n - tupend u effo rt of Horace Vernet s li e . I life like
r a o f e an d in the f ness of ose m n e lity d tail, ul th i ute to uches which brin g the who le scene befo re the beholder ar u ne e eir n er t they e quall d . Th i t es is heighten ed by the ’ speaking likenesses which the artist s f acile bru sh has
er he war s i p petuated. T like pirit which an mated alik e the highest gen eral an d the mean est drummer-boy or priv ate appeals forcibly to the nation f or whose glo ry they were
‘ nt T s r r s r on rf u in n pm ed. he e th ee pictu e a e w de l still a o er es e an d in ar u ar u n e the s ee n th r p ct, that p tic l lik ucc di g
n n s o f a e r ears. Cro ea is e so e pai ti g l t y wded as ch with pi d , every in ciden t is subservient to the main interest of the
s e and e e o f the r is in se f erf e wor ieg , whil ach th ee it l a p ct k,
s a e e on e rmon o us w all are o allied th t th y mak up ha i hole.
In es n e tion an d o ou r n e s ra e a d ig , xecu , vivid c l i g th y illu t t h eight o f attainmen t u po n the part o f the artist which
er or s w ere n d to e u a bu t w was ne er lat w k , i dee , q l , hich v r a s him su p s ed by .
r ossa r un er n rne the in Anothe col l wo k, d take by Ve t at
st n of Mehemet Ali The attle o Nez ib was n a ce , B f , desti ed
ne er to o m e e u in re ara on f or v be c pl t d, altho gh p p ti it the painter undertoo k a jo urney through Assyria andEgypt f or " res S A E MA KE 29 L V R T .
the o e o n of ma ri The f a lu re of the r c ll cti te als . i p oject is th e
ss to r r as f rom n ro or ions r le be eg etted , the giga tic p p t p o
e for the ure o a e ar e pos d pict , it c uld h v sc cely be n more than a piece of decorative pain ting .
T omm ss o n re n erne at his c i i sci ded, V t was leisure to thro w himself with renewed ardour into the work sugges
ted his me- ono ure a ro n Lou s- Sm er by ti h d p t , i Philippe . all
re f or the C ons n ne a and ar er re pictu s ta ti H ll , l g presenta tio ns of vario us scenes o f French triumphs were en trusted
m s m ma er e to him. A ong t the we y ref to Th Crossing of
the Toniah Pass The assa e o the Iron Gate The u , P g f , Occ pa
tion o A ncena Enh ance o the F rench Fleet into the Tc uo f , f g ,
The Surrender o Antwer &c . n o re th a f p , I t each pictu e rtist has n ro u e some e n n en so me r n i t d c d t lli g i cid t , th illi g episo de which reflects glo ry u pon the Fren ch arms and appeals to
m r i s r of the n on the a t al pi it ati . To the yea r 1838 belon gs a paintin g of a different class
is r s rv in the W ner Ga r in er n which p e e ed ag lle y B li , The k r r r Slave M ar et. In this ano th e spi it b eathes. The kind heart o f the artist had been deeply touched by his visit to
C ro to a o ou s mar e ere oo r e ne ro s ai , th t di k t, wh p littl g e ,
m e and f ema e are u t u er o n a r al l , p p togeth agged square ” —fiv nn ie e o f o e a es e e . The p c cl th , lik ppl a p y harro win g
e a ls of the nho trafic the sa en n and e r d t i u ly , dd i g d g ading ’ results of the slaves co ndition are brought pro minen tly f orward ; w hilst the genius o f the artist finds expression
in r e e of f rm and f a e o f the Circassiaus the va i d b auty o c , or in the sto lid and submissive appearance o f the lower
has so l e a e its e er e s r wi led it, but b c us v y d tail is o t ue to
in alon e can participate such a traffic . 3 0 s c ams m m .
Th eatri cal in co nception and vergin g upo n the exag
on the ttle- e d n in of gerated realism of Edith Ba fil , a pai t g H m es ms n o e. In Judith and olo this perio d clai tic f , the
u is sli nost r u s ve and its m r s horro r o f the pict re ep l i , e it
n the f r e and en er of o n e i n and rest sol ely u po o c gy c c pt o ,
In 1843 fres or ers re ei e f rom the C r resu e in , h d c v d za lt d
h r o rn to R s a on s e n s the anot e j u ey us i . Up thi s co d vi it rw e me ono rs and f ts Th artist was o ve h l d with h u gi . e
r r e an d rea e him as erson f rimd an d Empe o rec ived t t d a p al , the sums which awaited the execution of his pictures were m n t er re f abulo us in a o u t. A ev y view or parade the Em
eror a me his o m n and en the m r a s to p cl i d c pa y, wh i pe i l vi it h au su s w as arran erne m anied th o t e C ca ged, V t w co p e c r ’ e in the ara er o f the Em er r s m n o n D r n tég ch ct p o co pa i . u i g this excu rsion what stores of inciden t and an ecdo te were
the r s our n o r gathered by a ti t, k wledge of his memo y
The s - no res ts ar t can suggest. be t k wn ul e he gigantic
n in o f The tormin o Vole re resen n s pai t g S g f , p ti g the po i tion o f the attackin g army in the village o f Vo ls ; and
a m o s n no n e e e i The a sm ll co p itio k w as Th Sl dg Dr ve.
r in s ite of its ma siz e is one f the mo st r e t latte , p s ll , o pe f c ' f rne s ro io n and is e no n r u n o Ve t p duct s, w ll k w th o gh o
r n s The s ne re r n e m s a r g avi g . ce p ese t d u t h ve been ve y
f amiliar to him ur n his ssi n s r d i g Ru a travel . The fie y horses bearing the noiseless sleigh thro u gh the sn ow-laden
air the r e er mmer in f rs n n ef o re the ; t av ll i sed u , be di g b
m n orm the mm v le r er er in his a co i g st ; i o ab d iv , ect pl ce, guiding his willing steeda are each as true and life-like as s o rm- r n f re the n the t bi ds swoopi g be o wi d, and the utter ” LA sum 3 1
r s i re is in se f o ne of sphe e . Thi little p ctu , it l , the highest
' rn n s efio rts of mode ge iu .
fr n of r and the o of the ern the ie d oyalty id l people, V et had scarcely time f or repose bef ore he started upon a new journ ey in search of incidents for the pain ting of yet nu r n other scene in the drama of F e c h conquest. This time he en tra e to the of the s and mm r p e t d valley Atla , i o talized ’ the a n t on o f D e d A umale who his v lia t ac i the uk , , with
600f o o er n me t! »of A bd-cl- er in ll w s, had take the S l Kad the es re of Lo s- desert near Algiers. By d i ui Philippe this
n n was to e in the f re n res a d pai ti g xceed size all o goi g pictu , n l me s re 66 f in en and 16 f in was to a u eet l gth, eet height“ The scene to be represented was on e which o ff ered almost
rmo un e dificu lties o er the insu tabl , v which genius of a
r e a on mi e r m The Ve n t l e ght hop to t iu ph. plac e chosen by
Abd-el- r f or ur of his l Kade thesec ity wives, his s aves , flocks, and treasures o f every kind was an en trenched camp in the
o f th e Deser r ere e a u heart t . He e w collect d po p lation of
o er so s of i ere fihtin -men In v ul , wh ch w g g .
the f es se r an d un r r f or an an ull t cu ity, p epa ed y d ger, the surprised camp was at the mercy of the weaker force of
th ern e r n s f or u s on his e foe. V t b i g be e gigantic canvas — the scene of conf usion and o f horror which ensued the n mo n men the horror of o men t pa ic a g the , the w , he terror
the a en r n n erm e the o nf s of wak ed child e , i t ix d with c u ion of ' l rm an ma s all re e the the a a ed i l , duc d by artist s genius to
n e ora e ser es of n en s on a lab t i i cid t , which e afte r another
f r e n awaken the in terest o the beho lde . W ca believe with truth that Vernet stood bewildered before the vast stretch
‘ A t ersai es V ll . 82 HQRA CE vsas sr . o f canvas which was prepared f or him as he co mmenced his n Y et f r m his m m r h re s u dertakin g . o e o y e d w uch
or s of r o e n su re l n th a st e ec ll ctio , ch vivid a izatio of e loc lity and the e en the or re e a n r v t, that w k g w lik m gic u de his
r an d in e an n ne mo n s the on erf re re b ush , l ss th i th w d ul p
no n e r n e r s rr n e e to it, si gl po tio b t ay a hu ied ha d ; ach s pa r e n i en is o m e in mint ta and e s at i c d t c pl te the de il , l ad
o n na r to th e n e t f orm n an rm n o s o e. tu ally x , i g ha o i u wh l ’ rn t s 8 5 11 as a o o ur s his nn e m re ens o n Ve e c l i t, i at co p h i o f the ass ons he was es ne to o r ra his p i which d ti d p t y,
n nse s m the m r demils o f the s ene i te y pathy with ilita y c s , were all -powerf ul in his attempt to bring vividly f orward the r n n en s of ren r um st iki g i cid t a late F ch t i ph . It was unavoidable that so large a picture sh o u ld be in meas re o en to r sm as e o r e n n a u p c itici a d c ativ pai ti g , bu t the appreciation which Vernet met with from the pu blic was as warm as ever. The master was at o nce o er e m s m ar ommi ss o ns and amon s v wh l ed with i il c i , g t o thers he u ndertoo k the represen tation o f the triu mph of
e en rms at s un er M r u o o th Fr ch a I ly, d a shal Bugea d . F ll w ing his usu al c usto m Vernet commen ced by a jo urney to the
of a on and set o u t in 1845 f or the e of s . scene cti , fi ld I ly
the f l o e r the i u r was read f or e i on In o l wing y a p ct e y xhib ti , an in om r o n La Smalc sm an d n d c pa is with was all, wa t
n ere its mer r is in he ing in lively i t st. But it lies p ec ely t absence of that which a mo re ordinary min d wo u ld have se c n en s the in terest lm n s in a le ted as i cid t, whil t cu i ate
o f the ren h o umn the r a r charge F c c l at ight, which ppea s as if rushing fro m the backgro und of the picture f orward
- u on the e o er. andsmo r me so ers p b h ld The dust ke beg i d ldi , who n n the s c r to the ren , adva ci g with all da h pe ulia F ch ,
in so m and n f orm m s m r n are yet co pact u i a as , i p ess o e with
DEA H o r ms nauc nrs a SE 33 T LOUI . their breathless eagern ess ; an d the clash andwhi rr of their
a n as e us f r s we po s th y p h o ward are almo t f elt. The work bestowed u po n this one regiment is equal to the elabora o n of the onstanfin ti C e pieces . ’ Scenes f rom desert lif e occupied the pain ter s leisure momen s The er n t . v satility o f his ge ius f o un d relief in mos r e e re o ns and wh s his m n at on t va i d xp ssi , il t i d was e mo ment filled with the ex ultant delight in French success
o s in his e- ie es at n r his which gl w battl p c , a o the brush less W e than his Versailles paintings : o f such are The
’ The year 1845 brou ght a shado w u pon Horace Vernet s
' f i f or me dm in ishe his r s a li e wh ch a ti d a ti tic ctivity .
His n Lo se who ten e rs r m rr o ly child ui , y a earlie had a ied his r f r n and r s - om n n a D l ro i g eat ie d a ti t c pa io , P ul e a che, d ed, f r n r n n s m r a te a li ge i g ill ess . The y pathy felt fo him was
ni ers n r es er n n a en f r m u v al . I qui i w e co ti u lly s t o the ’ Tuileries during the last days o f Madame Delaroche s
n s and s o r f ter her e n Lo s- h e ill es , h tly a d ath Ki g ui P ilipp sen f or the ar is to the a e and ersona ass r t t t pal c , p lly u ed
s him of his deep orro w . ’ Vernet s gl oom and depressio n were no t eas ily dis “ ersed he f an e r e er him and his p ; ci d his sta had d s ted , grief f or a time so o verwhelmed him as to give him a dis
fer rof ess on and the mor ve r taste his p i , closed e acti pe iod
It was only af ter a lengthened seclusion that Horace Vernet was induced to underta ke ano ther work of magn i
r the L re f or i in ear er ar tude f o ouv , wh ch he had li ye s
e as to ra th prepared the design . H w deco te e ceiling o f
In r s o r and in e the Hall o f Depu ties. pa t hi t ical part all D ' 34 names vs s s s r.
orical the en r es n om r se a r e n m r o f g , c t al d ig c p i d la g u be the
ri n n er of f n and e n en r s p cipal pai t s the fi tee th sixt e th c tu ie , as
Br m n e R M e an o (he s in the s a a t , aphael, ich l gel , ; whil t ide pieces scenes o f i ndustry were to be symbo lically repre ’ n e as se ted. Littl in acco rdance with Vernet s gif ts such m e i an n er n a a rs . re n o its o n u d taki g pp , he th w i t co pl t
u h r r m ch o f t e zeal and ene gy o f his earlie years.
In 1847 h e n a u re for his f fu ro n , pai ted last pict aith l pat - — r Lo u is Philippe a po rtrait o f the king o n h o seback. The Re vo lutio n of 1848 had disas tro us results f or the n n iu the de artist . Thro ugh it he l ost a si cere patro
ron and e i mon r and m n of his ain b th ed x led a ch, a y best p rn ings were burnt by the rcvolutionists. Ve et was so keenly troubled by the political events o f the year that he relin quished the h ome which had been on e o f the greatest n r s of his f e and in which he e o r i te e ts li , had coll cted t gethe
r res o f e er n and the ur e of e r o n r t easu v y ki d , lux i s ve y c u t y.
He on mne his m s l osse ions o c de d all o t va ued p ss to be s ld, and re r sma a ar m in the ns t e ti ed to a ll p t ent I ti ut , which was in striking con trast to the refinemen ts and appo int
n is former me ts o f h habitation .
He was no t o ever to remain n n e. In 1849 , h w , lo g i activ , the Presiden t of the new Republic gave him a commis s n r not er r o s r r f Fra ch s es He io f o a h glo i u eco d o ucc s .
n Th Sie e o e In sear of he was to pai t e g f Rom . ch t accu rate details n eeded f or such an undertaking he went to and in 1852 re e e . The Italy, the pictu was xhibit d
n was not r on and the n in pla a tistically c ceived , pai t g was o pen to graver objectio ns than those urged again st L a
mala e- s r n n s s S . Through a wid p eadi g la d cape the wall and s ns of the m in the r n ba tio city loo backg ou d , whilst a series o f episodes i ncidental to the siege of a fo rtified res. EXHI I IO o r 1855 3 5 B T N .
are n r in the f ore ro un co u city i t oduced g d, with but little n ec tiou e n m r m t n the o r betw e the . F o a dis a ce wh le appea s n m nf usion m rem r ma an incoh ere t ass o f co . The sa e a ks y m o b e applied in a easure to The Storming f Vela, a gigantic painting undertaken at the instance o f the Emperor of ur in m ss o f roo s n Russia : the s g g a es t p , the cou tless dying ea the e o er an m e s r r a d and d d , fill b h ld with a az d u p ise, n admiratio n f or the brain which could imagine and co nvey such a scene to canvas but there is little in the picture n f r ar to satisfy the requireme ts o t ue t. It is a relief to turn fro m these to some smaller works ’ which attest the unimp aired po wer o f the master s gen ius ’ s h s rethren re resen a n o f the S r r su Jo ep B , a p t tio c iptu al b
e The Wild ta Emi t in M orocco The Cam in Kab lie jo t, S g , p y , and the re o f rother Phili h e an a . pictu B p , w ich exact d p lause en si s as an r er or o er p as thu a tic y ea li w k, alth ugh, p s r haps , less de e ved. The Universal Exhibition of 1855 co ntained twenty-o ne ’ ern s r in mse of V et pictu es, which the lves would serve to
a the r r of man Th mm nse f r illustr te cha acte the . e i e e tility o f en s his n o m ar e mem r n n his g iu , i c p abl o y, his i ve tive f l his o er of r o s r ion an d of acu ty, p w apid b e vat seizing the strildn n o f an s ene or rs n the r g poi t y c pe o , with va iety of o in turu were o r r his r all r bjects which p t ayed by b ush , eflect his n r er s the er n r of si gula pow s, whil t v y atu e his versatile gifts precluded that finished workmanship which makes en r n rm of rea er ma er the du i g cha g t st s . The productions of r i r s r too r too r n his p ol fic b u h we e apid, b illia t, toonnodern in n on and e ec n to r coni ariso co cepti x utio , bea p n with the l re and a n kn ro u io ns o f r m abou d p i sta i g p d ct those g eat en
B ut it is essen tial to a fair estimatio n of Horace Vernet 3 6 B os ses vsam .
a his o r s o be u o f or th t w k sh uld j dged as a wh le, it is un questionable that whil st o ther contemporary artists may have exceeded him in every separate branch of pain t
no n him in e r ran His in o e e e o f art. g, has xc lled ve y b ch stu dies o f the nu de were inf erior to those o f Ingres ; his Scriptural su bjects less successful than tho se by Flandrin ; in s o r n in he was s r ss Gerard and h e hi t ical pai t g u pa ed by , could not compete with eith er his father or Gericault in the pain ting of horses : b u t he co uld say of himself with
r n f er or to all m o m e o rs in eac r ar t uth , I i y c p tit h pa ticul ” r s r as em o n the o m s u e pa t, I u p s th wh le . He u t be j dg d
the ff of his or s r er n e r n r ns by e ect w k , ath tha by th i i t i ic
mer . was an n in e t of n ion e it He w ti g d p h co cept , becaus
n r was in a e r e su er He n s his o wn atu e d g e p ficial . i sen ibly refle e the o r f ee n an d free from an s r n s ct d p pula li g, y t o g bia ,
r n s e s e ro s s and re u ans was pat o ized ucc s iv ly by yali t p blic . r u r m to him an Political a cou was i possible , d his paintings perpetuate the triumphs o f all parties . In a work like the present the mo st remarkable o nly o f
r u on s o se f o r n e f a r ea his p od cti c uld be lected otic , but a i id of his peculiarities both as an artist and a man may be
m Dur n t m n s he gathered fro m the . i g the en o th which “ ” the r a n in o f The Ca ture o La mala devoted to g e t pai t g p f S , b e occupied his evenings in dra win g designs f or 500 ” n n for s o r o f a o eo n illustra tions i te ded a Hi t y N p l , which
f ar er r s are as spirited in co nceptio n as any o his l g wo k . He drew numberless iro nical sketches f or the litho graphic a and was nown and a re pu blicatio ns o f his d y , well k pp t his cis ted as a caricaturist. It was no habit to study An e o n con the subjects of his paintin gs deeply . id a ce
he eem m e le his en s to as off the ceived, s ed i p l d by g iu d h
re the u mos s ee an d in a manner h en tire pictu at t t p d , whic A S vases 3 7 L T .
-ih - n and the res s re s haud ha d, ult we o harmonious that ‘ he seldom or never sfiaoed a scene o r perso n after the
rs r t n e his m n n fi t ough ske ch had co v yed ea i g. His own hnagination was so vivid that h e left nothin g to be filled in by that o f o thers ; he was so imbued with the spirit of his subject that he impressed by the mere f orce o f his own en i o n ion E en l r n in chad thus astic c cept . ss tial y F e ch ractsr and n s his m r r s e to the ge iu , ilita y pictu e appeal d mar a s r o f his o un r men an d em in lar ti l pi it c t y , to th a ge me s re his r um an s ess m s be r a u t i ph t ucc u t att ibuted. Whatev er the verdict of pro sperity upon his miscellaneo us
o r s ma be his ba e- s o the e a w k y , ttl piece will h ld high st pl ce so lo ng as military glory is dear to the natio n who se
r um s his re s su re r e t i ph it was g ate t plea to pe petuat . “ ’ ” “ erne s c ures s ir E n L n s r su r V t pi t , aid S dwi a d ee ,
of his r s in n r pass those all ivals , becau e, additio to thei o wn mer e ro e n f ro m ims f an d f r m is it, th y p c ed o ly h el o h ” r obse vation o f nature.
' The last years of Vernet s lif e were saddened by do mestic ’ is 56 a se e loss. H wif e s death in 18 w s a v re blo w f rom
m rr he s ff ere ee . In 1858 e in which u d d ply he a i d aga , a
M me de o r eu the r of G n r widow, ada B is ich x, daughte e e al
r n he n rs him a E m n . S ee e Fulle , nglish a u ed with d p d vo
n r the mo n s r a tio th ough sad th which p eceded his de th .
Durin g his las t ill ness the Emperor somewhat tardily “ sent him the cross of G rand Oficisr de la Légion ’ dHonn eur et r e r n s m , with a l te xp essi g y pathy with his
s B t e ate. uff erin gs. u it was th n to o l Vernet possessed at “ " H éres f e e Les B en zetf es an y a beauti ul state call d , d it 8 H v ' 3 ORACE sas s r.
" wasM rh e wishsd Sun ! sun 1 he r e in to go . c i d his ” e r m n di t n d li iu , I will ot die hers ; I will e in he sunshi e ! in n ire in r men in the But all was vai . He exp d his apa t t Institu te on the 17 J n r 1863 He h d n the th a ua y, . a attai ed
' last and most successf ul of th e artist family of Vmnet. The m as a mar of res e e Acade y, k pect, d creed that th y would no t appoin t his successor until af ter six months of
CHAPTER IV.
w eap n or H ACE ssssr ‘ o s OR v .
’ ANY ne e s ro e rne s n ness of e r a cdot p v Ve t ki d h a t, and the little an imo sity which even the malice of in him He m ns nd r o e . re a his c itics aw k was ext ely se itive,
' ufi in A could not see s er g witho ut an eff ort to relieve it. t
s am near Sm rn h n rr n e to a h fight y a, w ich had bee a a g d
him an e a for o ne o f his a n n s of the give x ct idea p i ti g , two
r r m n r n rn r fe a tille y e we e wou ded . Ve et w ote to his wi “ s ite o f m r en s sm m r e . In p y wa like thu ia , y hea t is h avy Imagine tha t two of the artillerymen have had their arms carried away ! They say such a thin g happens at every manoeuvre o f the kind ! All that I would f ain have written to y o u has escaped me ; I can think of nothing bu t these poo r wretches
From Co nstantine he writes of the little orphan girl m he has res e fr m the r s and f r who cu d o A ab , whose utu e
o f ese ane o tes are ak e b M n t fr man a . in Ma y th cd en o rticl y C. H ” Fine rts uarter Rev ew the A Q ly i . 4 0 B os ses VERNET . he is so anxious to make happy that he at fi rst thought of bringing her ho me to his wif e ; but afterwards decided to
her un er the ro e n of M me A el e place d p t ctio ada d aid .
=li=
His kindn ess to the young men who thro nged his stu dio mem r m n f th m is still most gratefully re be ed by a y o e . He declin ed to receive any payment f or the instruction he
man f m in e r r e em and s s o e o f s on. gav th , as i ted y th th i p es i He obtained many f avours f o r others which he would
i f r mse f W en o ne of his n ever have so lic ted o hi l . h pupils
r n f or the o ns r on ern e ainmd u r was d aw c c ipti , V t p a pict e
m r er to ena e him to r re a s s t e hi in o u . f or , o d bl p c ub itut
=X=
W s n to o a n f o r an old r r f Gen rm i hi g bt i , b igadie o da erie,
n n had m in A r whose acquai ta ce he ade lge ia , the cross of
L n of n ur he re r en him in his the egio Ho o , p es ted painting o f Smala the r n on his re s the with deco atio b a t. When the n c m see th r erne Ki g a e to e pictu e, V t said : I have put the ro s on o d er of Em ir bu t a a c s that old s l i the p e, it ppe rs ” he not o t m s r f or a e ff that has g it ; I u t, the e e, t k it o . ” Do no n of the n r e s i the n thi g ki d, Ho ac , a d Ki g ; I give ” it to him.
n on a to ar s f r m me he Whe visit P i o Ro , while was ir or of m er ern l d ect the Acade y th e, V et ca led on his f rien d
La renée an r s of m r e e g , who was a ti t but ode at abiliti s, chiefly empl oyed in drawin g patterns f or the silk-weavers n r - n n he a d ca pet makers . Fi di g that was away f rom home — he had gone to be presen t at a fete given by the man u w eap on s. 41 — f acturera of Lyons in his ho nour he wen t to the Home
Lo n of H no r for La ren ée and n L n gio o u g , we t with it to yo s, vrt m just in time to decorate him at the end of the an b quet .
ren t s ! ran t s ! n rxrs !
’ o m ance IN ax as r r su s co usrs r .
’ Fromthe Drawin b Hora e l ermt g y c .
at:
en he in rs met t n O nce, wh was Algie , he wi h a you g r s m s c n e English a ti t with who he was but lightly a quai t d, n r w n who had been studyi g at Pa is, and ho was just goi g r f n r e —a f to return thithe , as his u ds we e exhaust d act which Vernet had amertained on advisin g him to visit
s r and n ness of a r u . I ly With his u ual libe ality ki d h t, he 42 HORACE vsas sr. exclaimed : I amdirector of the A cademy at Ro me ; y ou ' ” must o r m u r n r The o n g the e with e: I will be yo ba ke . y u g ’ r n and t n to ern e s n ro o n to art a tist we t, , ha ks V t i t ducti
r n o n rne ufi t to en him to and pat o s, s o ea d s cien able stay ’ here to his ear s n en . study t , h t co t t
the m o f n n n o f the L re a o r of At ti e the i u datio oi , l tte y o of art o t f r the n of uff erers bjects was g up o be efit the s .
erne c n r re A Z ouave skinnin R ts. V t o t ibuted a pictu , g a
nn & was a fr m B s r s osed The wi a l dy o loi , cha itably di p ,
no sh e am ne but quite ig rant of art. When e had x i d the
ture wi no r e e erne s If ou re pic th c itical y , V t aid : y we off ered 500 f r n for m Z ouave ou o u e em a cs y , y w ld acc pt th , " “ m o nn s u f n s am s r . a no t o s r o n she I u e I a c i e pai ti g , “ replied ; but with 500f rancs many misf ortun es may be re ” " “ e e . A re d erne for art li v d g e , said V t, I see you will p with it ! Then I was right in selling it yesterday to m h . T ere is a e er for him m e and e Goupil h l tt , ada , will ” u f r n s T is am n was s n in f oun give y o a c . h ou t pe t d in an o r n o i g pha h sp tal.
The f o n al so es es to his n ness o f ear llowi g t e al t tifi ki d h t, — an d his great f acility of execu tio n z A cui rassier in ’ f n m n e a n r n t ull u ifor o d y e te ed Ver et s a elier. What is ” “ m f n o u an r en ? s a er. W it y w t, y i d aid the p i t ell , I
n m r r one to sen mo er n in wa t y po t ait d , d to the old th dow ” “ r n and an n o r r e is Eh Auve g e ; I w t to k ow what y u p ic . “ bio» and ho w m m n ou r so s , uch o ey have y Thi ty u , s the so er n his n n o his o a aid ldi , divi g ha d i t p cket nd m cno rss. 43
n the mon . erne f ew s ro e o f holdi g out ey V t, with a t k s
his r s m an e e en s of m t r frien b u h , ade xc ll t ketch his ili a y d ,
and in f ew m n es n to him. The r i r , a i ut , ha ded it cui ass e r s n and r m n s the exp es ed his best tha ks, t iu pha tly howed r r to mr e in s e f or him po t ait a co ad who was wait g out id , “ s n : o to r n him o ayi g I ught have ba gai ed with , th ugh ; ” r f er all he l e en n s s. pe haps , a t , wou d hav tak twe ty ou
G ra u e t w n m n e of his ir u e o o as ot . tit d , , a o g the l ast v t s Jer6me in of W es was the rs to a him e , K g tphalia, fi t p y w ll — — for a painting a portrait o f himself which was much
m r in the n f 2 ern m m r ad i ed Salo o 181 . V et always re e be ed s 55 thi kindness . In 18 he ref used to sell to Prince Napo on The attle o the A lma and n the le B f , gave it i stead to ’ Em r r n r the Em r r pe o s u cle . He w ote thus to pe o : It is to the n of W es m rs His Ki g tphalia that I owe y fi t success . M ajesty in 1812 showed me a kin dn ess which I have never f or o en and r f remem er g tt ; , as a p oo that I b it, I beg the Prin ce Jer0me to accept the homage of a paintin g in which I have had the pleasure o f representing his au gust son ” n n rs r gai i g his fi t victo y .
f th res The Battle of the Alma. was o ne o e pictu which r E n 1855 He were sho wn by Vernet in the Pa is xhibitio of . was much hurt on hearing that th e Director-General of the
E i ion ns r n n n r s os s xhib t co ide ed the pai ti g by I g e , wh e tyle
u er or in m r his own and the he disliked, s p i e it to , that artist ought to be rec ommended f o r the highest distinc 44 s n vs s r eas o ss .
s m su i n. r n o erne r r t o Supp essi g his jeal u y, V t wa ly ppo ted
n r f or ono r. In the end ern n r I g es this h u , V et, I g es,
D a r and m r r e e . el c oix, Deca ps we e b ack t d equal
A G as s anl sa.
Frma a Drawin b Horace Vern t g y e .
LIST OF HORACE VERNET’S PRINCIPAL
P s 18 2. Sea e e. Saw , 1 i c
Taking o f Glatz. '
s ta l Lo ve s Fo . Interior of a Cos ack S b e. lly
eat of Poniatowdt i. Interio r of a Po lish Stable. D h an Oflicer Rev ew of the 2nd rena er Portrai t of . i G di of an ld as e servin e men n ior O C t R t. I ter l , g gi r as Stable for Polish Caval y . Mol ere onsu t n his Servant i c l i g ,
SAL K 18 14. O , Etc. &c ,
le Saw s , 18 22. Interio r o f a Polish Stab . Jose ernet as e to the Mas ph V l h d t.
Saw s , 18 17. ’ I m am r a Sr o 22 n unx 18 . tt e of To os A , Ba l l a. Th e e f mm att o Je a es. a B l p A H lt. efen e o f the arr er o f C D c B i lichy . The oun ru ess f P a w Y g D id . Death o oni to ski. The Mad Wo man o f Be am Portra o f ol dl . it C . 0 re an M ew att e G ci Vi . A B l .
t P Sn or 1 19 . 8 ortra t enera Mor o . , i , G l ill re o f the Mamelu es Portra M Massa . t u c k i , . D pin. Po rtra t M v au e n. i , . Ch li MM a e . M di r de Mont au fat j , her ’ a t the A dv n P Comb t o a wd ost. t t o f the u e of ns Por rai D k Orlea .
os i e of Moun t St. ot ar . iew of Vesuvi H p c G h d V m.
nter f a wo d I ior o Co she . S o r P C PA wo rms 4? LI T RIN I L .
eat o f Pon atows . Saw s 1824 . D h i ki , e o f o t E u r Hospic Saint G hard. q est i an portrai t o f Duke o f A n O a s ue o n an our A n oulé tne d li q h ldi g H g . glass Full-length portrait o f Marshal
The Penitent Ma a en . Sa nt r gd l i Cy . t Sm t Po Vignette portrai o f Mrs. i h. rtrait o f Madame la Comtesse The So ier o f Water oo ld l . de C e l a W Th So er t or . Po rtra o f S M t Ma ame . di k i d . The 2nd Regiment Royal Grena
Saw s , 1827
C amoens sav n his MS. fromSh i g ip h at unt n - art o f Lo u s H i g p y i XVI . wre ck. at Fonta ne lea i b u. ’ f Mo re s or Scenes rom lie W ks. The Ro ute runu of Kab . Sano x, 183 1. P e e A See. i c . att e of a m l l . Po rtra t o f A nisaon o Du erron B V y i p , att e o f Jemma es un o r B l p . j i . rrest o f the Pr n es o f Con é and u n ue A i c d Defence of H ni g . Cont and u e de Lon uev e o f u e o f Or i D k g ill Portrait D k leans. estro e in the Revo utio n (d y d l , A G uerilla Ambuscade. Feb 24 Po lish Lancers attacked by G ue . , Po e Leo arr e p XII. c i d to Saint ’ Peter s. 1829 Portrait of the young Dulce o f . u t and o f ne J di h H lo er s. artres orn 18 10. Ch , b ’ Por r t ait of ittoria d A lhano . View o f Boulogne during Public V Peasant f o Ariois.
S an s F n sm Scene o f p i h a atici . Com at etween r an s andthe n o f owm b b B ig d I terior a C an.
Pa a uar . Massacre o f the Mamel ukes by p l G d Start n for a unt in the Po ntiac hem l i g H order of Me et A l.
M ars es. n me tat n h A Capuchi n M o k di i g. ' t of M I. Portra . Duke ot Orleans reviewing the l at i m n H ussar Regi e t. a S w s , 1833 . near en . A Mill G oa.
Sunset at Sea Ra ae in the at an . A . ph l V ic The oats of the P lo s u e o f O r eans arr vin at the B i t . D k l i g
ote de e in 183 0. Sunset o n the Sho re. H l Vill f n Portrait o the Ki g.
Portra t o f Mars a Mo tor. E an ortrait o f M Machado . questri p . i h l li
The e ernet Portra t o f a La w t her C . Studio of Horac V . i dy i h hild
- P r ra o f Ma ame Fould. Portrait o f a enera ull len th. o t t G l , f g i d 48 m s x w x ar o r Pm c ru . o a s.
‘ Portrait o f Marquis o f Lato ur Taking o f the Smala o t Abd-el
a er. 1845 K d . The Th F i d ree r en s. Portra t o f u nt Mo e. 1 45 i Co l 8 .
Por o f F . trai t rere Philippe 184 5 .
Saw s 183 4 . att e o f s . 1 46 . , B l I ly 8 ' rr v f he u e o f Or eans at Po a o t rt a a 184 6. A i l D k l r i t ot Child .
the Pa a s Ro a o n Jul 3 0 Ju t . 1 47 l i y l y , di h 8 .
183 0. Po r ra t o f h 1 4 t i t e King. 8 7 . in r Tent i ten n to a ra s t e s The oo Samar tan. 1 4 A b h i l i g g d i 8 8 .
Ta e. Po rtra t o f enera Cava na l i G l ig c. 1849 a . S w s , 1835 . Portra t o f Pr n e Lo u s Na o eon n n i i c i p l Taki g o f Bo a. 0- o na arte. 185 5 1. the e B p Re becca at W ll . f R m 1 S e e and o 852. i g Fall o e .
Sa ws 1 , 83 6 . S w 1 a s 855 . f Fon no , Battle o te y . Ta n o f the Sma a o f A bd-el att e f ena ki g l B l o J .
att e o f Jemma es W a ram B l p . Battle of g . att e o f a m l l y . H unting in the Desert o f Sahara B V tt e of Hanan Ba l . in 183 3 . M n m ra o t i il . SALo s 1 3 E so e in the Fren Cam a n , 8 9 . pi d ch p ig
e e o f onstant ne l oth o f Oc o f 18 14 . Si g C i ,
to er e ts o f o The arr er o f Cl . b , H igh C n B i ichy - at A ti tta o n the ate of Co nstant ne. di . A ck G i
e of Constant ne 13 th att e of sl . Sieg i , Oc B l I y
r umns re r Cam a n of a e in 185 3 . to be . Co l p pa ing for p ig K byli , “ ” o board M l ome Ch lera on the e ne. the Assault. p u t and o l Attack upon Constantine by the J di h H ofiernea. Masa Mar et ate 1sth Octo er. a. k G , b pp
a a sent awa ra am Mm a w t Wo ves. H g r y by Ab h . pp i h l
L un Return from a L on unt. io n H t. i H
W ild Boar Hunt in Africa.
Saw s 184 8 1852. Portra f r e , TO it o Free Philipp .
Ju a and T amar. 1843 . r a t d h h Po trai t of M rshal Vaillan .
Portra t ot a e Pas u er. 18 44. Ren e vous of the unt i q i d z H .
Russ an S e e . 184 4 . n t A i l dg I terior of S udio.
Journe in the esert. 1844. Batt e o f the ma y D l Al . S LI T o r PRINC I PA L W ORKS. 49
LITHOG RAPHS
’ Fro m M de la Comhe s atalo u . C g e.
Ma ux S ame Perre a . inna a nat v f d g , i e o Sah ara . Po rtra t of C rus so n o f Mars a Perlet in the ar f R naudin i y , h l p t o eg ” G erard. in La Maison en Lo terie.
B o H. er Pres ent of a t . V: y , id H y i T ma i h C ar e ernet. te. a n t e art o f S a l V t l p yll .
Car e ernet. Full len th si ned enera Fe l V g , g G l y .
H. Vernet 18 18 The same . , .
The tt e r at er. 158 Ma M . de Verdié re on o rse a li l Bi dc ch y , H b ck.
18 18 . Po rtra t o f enera Se as an i G l b ti . v l m r L u s P erre Lou e . Co te Mu aire o i i . Madam Maurocortlato Headof the overn e Ma ona . 1 z ncttc , G cd ld y .
men n . M B 8. ree e ruz z ard. 182 t i G c .
C haurelin. 1823 . P erre G ué rin. 183 0 i .
llu a o r. P VI I 0 sen ine I 8 . pi , i . 18
ha. 11 m t w Mehemet A li Pas . For a Pr n e E ar G u nrine. 1 2 , i c d d g 83 .
18 18 . ro F rst aut o at the A m B d, i H b y
El enera uiro a. 18 20 em o f Musi G l Q g . d y c. Death o f Prince Joseph Penis
towltsi. 18 17 .
i Sul ects Var ous li .
' in a v r an er o i e ld r 18 16 . Cross R e . L c th O G ua d . g i he uar S ene in uver ne in 18 12 rena er of . 1 1 . G di t G d 8 7 . c A g
o Fren ivoua 18 1 . Nap leon standing o n a Co ps in ch B c . 8
E a 18 1 Sta e Co a . 18 18 . lb . 7. A g ch Do n u o te Q ix .
the m st o f a att e Peasant r ten n Catt e . id B l . Gi l di g l Pr n t e A rtiller Ofiiceraddressiu So er each Wou ded a tack d by y g ldi . nfan r A m us a e I t y b c d . ” M de T ree en in a Boat. 18 18 A la Grace Dieu l h . Mat e dMa e -A dhe 1 1 Two T s Sol ers embra in hild an l k l. 8 ip y di c g
eac o er 18 1 . h th . 8 Mil t rena er Sen t ne in the Snow The tar en. 18 1 . i y Ki ch 7 G di i l .
The tc e in B voua 18 18 . Ki h n i c. T m Pro ess on returnin to v o of enera Mo n e 1 18 . a Co n ent. b G l c y . 8 c i g ' eat of Tan re 1 1 Si ned IL l mzet 1 D h c di. 8 8. g , 8 18 . 50 LI ST or PRINCIPA L W ORKS.
h u 1 20. Turk and his Mistress surprised Manfred and t e H nter. 8
ssass ns Russ an Es o rt. by A i . i c oun r vet eavin for the Sol ier I mo urn Him1 Y g G i l g d ,
D sem ar atio n o f A rme Sa ors. A rmy . i b k d il
M t r u t v t The S ster o f C ar t . ili a y O tfi o f Yo un g G ri e . i h i y
Ro u t N es enera Mauriee G érardat o wno . te o apl . G l K
Fam o f the ussar in voua 18 18 . ily H Bi c .
Conrad saving G ainers from the Historical Scene at Barcelona.
F m s 1 unter on o rse a . a e . 1 l 8 9 . H H b ck Woun e er P t I Petite! Perils ! d d So ldi . eti e o un So ier a n F a eo et Y g ld pl yi g l g l .
ree seate near his M stress nd A m Ro sart. G k d i . Leicester a y b
S ore o f Do n uan. A h . Shipwreck J F t of nfantr A igh I y .
Mo n in Me tat o n l v Mer ant. k di i . S a e ch La arone stan n Mer ant u s . z di g. D tch Fi h ch
L m one eanin e os c . Ste a o n a St . The r o f & . l g ick B id Abyd ,
f a unter 1 A ric n H . 8 18 .
P ant s ea n to a unter unters at Best 810. Ste. eas p ki g H . H ,
18 18 .
L O R P BIB I G A HY .
r Pa i s.
- en s as s ar ns on B Lu w P ets er n. 18 64 . H on V A . y d ig i ch . B li “ m r Hts Li a m Wo ns B M In F ne o n es Va : r n . . H . y C H . i ” s r er w Lon on. Art Qua t ly Revie . d I N D E X TO H O R A C E V ER NEF
(The names of paintings areprinted in italics. )
h m A necdotes o f Horace Vernet as ’ h Arab Mother s La ment, T e 22 A rrival of the Duke of Orleans at tics Palais Roy al Entran ce of the FranckFleet into the M n a its he B nd of Ilrraoina, T k he Barrier Cli T of c y , Fall o Bone The f , e 7 Battle of th Alma, 7m Battle B ouvincs The of , Fren Ex n 1 55 The ch hibitio , 8 , Battle o Fontato The f y , Fren Revo ut on The ch l i , Battle o W in TIM f d, Battle o Hanan The f , uer n P erre G i , i
B attle f Man a e The o g , Hagar expelled by Abraham Bat tle o Montsnra il 17m 10 f , al o f e u t es The H l D p i , Battle o alar 17w 10 f V y , . B oar-hunt in the Salaam Da ert 21 Joseph and his B rethren Bo isrieheux Ma ame de 3 7 , d
CafeFe The y ,
” La M ala The Ca ture o 3 1 , p f 9 22
av L u s 22 D id, o i
’ Mendelssohn s Letters 52 DEX I N .
Page m The Na oleon on the B rid e o Arcola. 10 Sie e Ro e p g f g of , lav a kt The S e Al r e , Occ u ation o Ancona The Sled e Drive The p f , g ,
ldier aterloo The. So of W , Passa e o the Iron Gate The Stormin o Varna The g f , g f , P ukf r ean Stormin o Vola The e o s hilip, D O l g f , Procession o Leo XII The Surrender o Antwer The f , f p ,
l Taki o latz The Ra ha e and Michela lo c oss n G . p nge r g f , ing the Court of the Vatican Tamar and Juda h Rcbecca at the Well Trium h o Paulus Emilias p f , ’ Trum eter s Horse The p , a Samarit n, The .
Sc oo The C assi andRoman ernet nto ne h l , l c V , A i tic ernet A nto ne Char es V , i l 8 5e o o Constantine ernet C au e Jo se g f V , l d ph
CONTENTS.
E CHAPT R I .
1797 To 183 7 . — — B irth o f Hipyo ly te Delaroche Enrly taste for art First te ture Joan o A rc— n ent do Pau —Salon o f 183 1 bi d pic , f Vi c l - — — Admitted member o f the Insti tute Stay at Rome Mar — riage Pic tures fromEnglish History
A P CH TER II .
183 7 To 1845. — The Hemicycle Seco nd Visit to Rome
PTER CHA III.
m 185 6. — — Death o f his wife The Infant Moses exp osed by his Mother The
— - Concia y crie Portraits Death
’ Li st o n Dam ocnn s Fan w es
Ix o xx
Pu ma s Scuw 'ro ns All! ) nom Batu No n cz s o r m , , A n ors mcw mm 11: ms Hm cr cw 56 C E S ONT NT .
L T LL IS OF I USTRATIONS.
Paul Delaroche (f romthe p ainting by hi mszlf Fronf isp iece
Richelieu to wing CinqMars and De Tho u
A ssassinato n of the Due de G uise
' r e nsu ted b romwel Soldiers C ha l s I . i l y C l s
Deposition f rom the Cross
’ M ot er and The a nter s wife and their son Pli ili h Child . p i pp (f roman etching)
The em c e o f the Pa a s des B eaux r ts Par s H icy l l i A , i PA U L DELA RO C HE .
T C H A P E R I .
1797 r0 1837.
— — Birth o f Hippolyt e Delaro che Early taste for art First exhibited ture Joan o Arc— in ent de Pau —Sa on o f IBM — m tte pic , f V c l l Ad i d — — — member o f the Institute Stay at Rome Marriage Pictures from En s sto gli h Hi ry .
IPPO LYTE or he s e mse f a , , as u ually call d hi l , P ul ,
De aro e was born in r s u o n the l 6th o f Ju l ch , Pa i p ly,
1797 en the or of the ren rm was its en , wh gl y F ch a y at z ith, and the nation had been stirred to the h eart by the great
n He re u in the m s o f s n Revolutio . g w p id t ce es which m su s i n s an d n s r n Hi tea ed with gge t o i pi atio s. s f ather was ’ a well-kn own valuer o f art treasures ; and Paul s reco gni tion of the tru ly beautif ul amon gst the n umero us objects bro u ght under his n otice gave early proof of his genu in e
fe n none of se e to en art eli g. He had tho obstacl s counter in the s of er and s o r men l hape pov ty di c u age t which, whi st ar r in r s m they appe to thwa t, eality ti ulate youthf ul am The n the mme a e bitiou . o ly check to i di t realization of his wish to f ollow historical painting as a professio n arose from r 58 PA UL nsnsaocns. the fact that his elder broth er Jul es had already selected ’ the same field o f action ; and at the time that Paul s career
rm ne his f r l r n him was to be dete i d, athe , whi st acco di g rm ssion to be an r s s l v i pe i a ti t, tipulated that he shou d a o d se n m ran o f the a his r r lecti g the sa e b ch prof ession s b othe .
For e r f r he was f r to n n ms a whil , the e o e, o ced co te t hi elf
s of n s e n n n er W at with the tudy la d cap pai ti g, u d elet. ’ ls in m er s stu o he o n s ns Whi t that ast di , c te ted , u uccess
f f or the G r n r of 1817 . his re o ully, a d P ix To g at j y , ' his r er f er s r e er en of an r is s f e b oth , a t a ho t xp i ce a t t li , relinquished his profession ; an d Paul was at liberty to f n n n i ollow his o w i cli at ons. Af ter a short course o f stu dy under a master n o w n o
on er remembemd n me es ordes n er l g , a d D b , he e t ed the ’ s dio of ro n Gro Gro o ne of D s u s who tu Ba s. s was avid p pil , had broken loose f rom the trammels of the antique and
and was e in ns r n Fremh ar classic school , activ i pi i g t with
l For f r e r ro e n ew vita ity . ou happy y a s Dela ch painted on in n n a m r r in no or f n this co ge ial t osphe e, p oduc g w k o a y remar a o er f r m tin e m em n k ble p w , but o to ti e ployi g his tal en ts upon Scriptural subjects which gave pro mise o f
He was twenty-fo ur years of age bef ore his Jehosheba saving Joash was exhibited in the Salon of 1822: attentio n
at o n e r to m as m a was c att acted it, al ost uch on ccount of
f a s as o f its mer s f or r me a its ult it , both p oclai d revolt r o f against the igidity the classic school . The principal figure was so en veloped in shadow that no critical exami f si and nation o detail was pos ble, the attitude and expres n i f r l ere sio were al ke o ced . Sti l th was an en ergy in the con ception and vigour in the execution which proclaimed r s of r an ambitio us han d . A ti ts c itical acumen spoke of it
rmss nsair wrm o smoamxr. 59
r mi n and l r e f rt n e n one as p o si g, De a och was o u at e ough
r - n n n r of The R a t o the it by Ge icault, the well k ow pai te f f
M edusa.
Delighted at this recognition o f his talen ts by so quali . t e G r u D r e not re n il ied a judg as e ica lt, ela och could st u t he ne er n n ro on to r m s r and obtai d a p so al i t ducti the g eat a te , the next day f o und him drinkin g in with eager haste the ’ suggestions an d instruction s which Gréricault was equally The f r s a ready to give . ien d hip thus h ppily begun no ’ u n r r to De r s f r s do bt co t ibuted la gely la oche utu e uccess, and probably he owed to it his escape from the exaggera
e e his Dante and Vir il in Hodes om had xhibit d g , a c position
e n r mm n and se ere r sm se which xcited u ive sal co e t v c itici , t ’ in as it r les of Da i s t g, did, all the established u v d school at
n n e f o o e The Massacre o Sofa ope defia c . It was ll w d by f ainfin so n n i re o n e e r e a p g a tago ist c to all c g iz d th o i s , so r m in n e n and a r in il d a atic co c ptio , so ex gge ated deta , that the tumult of praise and blame it evoked probably did even more to convince Paul of the f olly of ex tremes than ’ r s nse s of s o m all Ge icault cou l wi d . In 1824 Delaroche exhibited Joan of A re and Vincent de ’ Fund in m r n D r r u ions , which , co pa iso with elac oix s p od ct ,
re mo r e but f all f ar s r of an appea d de at , which ho t y high r r h h stan da d . P obably t ey owed t eir popularity quite as ' much to the contrast they afiorded to the exaggerations o f greater proo f could be aff orded o f the fact that Paul Dela r was n o en ius in the r e me n n of the r oche g t u a i g wo d. He
n ot n r . In his r e t as in his r was i spi ed ea li s , latest wo ks, 60 A C E P UL DELARO H . we find no trace of that creative power which in true
n s f or s f r r mme s in s e o f all ge iu ce itsel th ough all t a l , pit
s m mos s e ad n in en obstacle . We ight al t ay that h h o v
n he s esse in an em n en r the f c of tio , but po s d i t deg ee a ulty
n ion. In oos n his su e s he ne er os of i tuit ch i g bj ct , v l t sight
He a he o u do the m of his o wn o ers . ne li it p w k w wh t c ld , and estimated his own pro duction s at their tru e value. He had an uncompro misin g sense o f the duty he o wed to himself ; and no appl ause or appro batio n con ten ted him unless he himself en do rsed the commendation which o thers n him bestowed upo .
s n o e e o f mse f sa e him f rom me r Thi k wl dg hi l v d dioc ity.
en in 1827 his Dea th Eliz abeth oo the u Wh , , of t k p blic by s o rm and e se and n u s s i m ra on t , licited applau e th ia t c ad i ti fro m the m e he m e f r f or the rs me ultitud , hi s l , pe haps fi t ti ,
t f r e r r h r recognized how lit le o t u a t the e was in t e pictu e.
the so e e e on o f th e n ueen her With l xc pti dyi g q , with
a e r s n o£ es r an d n s o f dis p thetic xp es io d pai , the a gui h a
o n e f e in the ee - ne f a e and on e e e app i t d li , d ply li d c ag iz d y s ,
' n n was merel a e - ssor e o e t o n o f stufls the pai ti g y w ll a t d c ll c i ,
e e s and e e s The rema n n ure in the s ne v lv t , j w l . i i g fig s ce answered simply as pegs f or the exhibitio n of elaborate
o r m ns and the o e on on w as an in i w k a hip, wh l c cepti w t g n
’ Delaro che s convictio n o f his o wn shortcomin gs is suffi cientl r n n of the s me e r n er en y p oved by a pai ti g a y a , u d tak ’ o nse d Etat The Death o P e i t Dmaati f or the C il . f r s den is on rf or : the rr n emen o f the r the r a w de ul w k a a g t g oup, va ied expressions o f the several actors in the scen e are so true to
The r 18 en e o n nv as ma e ha lif e. t agedy act d ca as it y hav p
in f e r in 18 n r an the more r pened li : eve yth g atu al, d t agic an eff r to f romthe absence of y o t make it a ppear so . In it saw s o r 183 1. 61
e r e f o n o n of re su m e f D la och laid the u dati futu ccess . Hi s l the se ere r of o wn r n he r an d v st c itic his p oductio s, st ove, ro e s es f ul to er e m r e e n st v ucc s ly, obs v a iddle cou s b twee the rigid and lif eless pro priety of the classic school and the ar n r i sm of its o o nen s He or n gl i g ad cali pp t . igi ated a
e of his o wn and e me the r o n e e er o f the styl , b ca ec g iz d l ad e o of r n n t n In the Re o i n of clectic scho l F e ch pai i g. v lut o 183 0 the last remnan ts of respect f or the formality o f ’ s s e ere s a and e r his David tyl w wept way, D la oche, with n e a re io n of o ar f ee n e me th e o insti ctiv pp ciat p pul li g, b ca id l
the r n e Sin u ar a in his oi o f of F e ch peopl . g l ly h ppy ch ce
e s b e e o e s n f r m s or re subj ct , sel cted th s ce es o hi t y which we n n in m n is r n in f amiliarly k ow ro a ce. H d amatic i st ct en
e him se z e the r mom n f or dénouemmt abl d to i ight e t the , whil st the accuracy o f every detail of costume an d appoint men t attracted and satisfied those who so ught in a paint r r n ing the real athe tha the ideal . The Salon of 183 1 was enriched by f o ur remarkable
on s f rom De ro e - The rin es in the Tower con tributi la ch P c ,
e h-B ed o M az arin R ichelieu towin Cin M arc Th Deat f , g q
i the wake o his ar e and ro well en De Thou n C m o in and f B g , p g
- m t m or r the Cofin of the ar yred King. Con te p a y critics sought so me political mean in g in these productio ns of ’ u s ru b ut er nf r . De r was too r e Pa l b sh, v y u ai ly la oche t u to himself andto his art to allo w party spirit to influence
f u His s m s ff er n his choice o s bjects. y pathy with all u i g was
r rs o f e er oun r e r f r m e r o ma ty v y c t y, quit apa t o th i p litical
s His aim w as to r r en r e the bia . ep es t with accu ate fid lity passio ns of the actors in the scenes b e selected . f or m Richelie The m n s r r ne Take, exa ple, his u. i i te ecli s , r n to r ni e of n n acco di g a ch o cl the day, upo a bed hu g with 62 PAUL nnm ocn s. taffeta velvet upon the deck o f the barge which he had e r xpressly ordered f or the o ccasion . At poop an d p ow numbers of his guard are co ngregated in their scarlet
c o em r i r in and s r and . M n ass cks, b o de ed gold ilve , silk a y n e of Co r ac m an him and r ns obl s the u t co p y , cou tesa with
r fii ant er are no t n n . e i n the r thei pp laught wa ti g B h d ba ge, in m h s n ar e of se er o mcers of R a s all o t, i ch g v al iche ’ u s sele n are his two r n r . Co n ras the com lie ctio , p iso e s t t posed expression of his victims with the malignan t scowl and loo k o f vin dictive hate which characterize the great
- n in the en of M amam a death-bed the e n Agai , sc e , xpiri g
n f n m n s is all- erv n he ago y o the dyi g i i ter p adi g. T tragedy is enacted in the midst of all the revelry an d f rivo lity o f rr n e the men who f Court li e. Su ou d d by wo have been — his toys by the laughing beau ties who care no thing f or — Death until he claims them as his prey irritated in his last momen ts by the disconn ected sentences which reac h his dyin g ear as the po litical intriguers await the momen t of his sso u n he seems to f ee as h ame di l tio , l e g that the
a to sn a n r silver cord is bo ut ap . Im gi ation pictu es the succeeding mo ment whe n M azarin dead will n o lo nger r comman d even the semblance of espect. Still more suggestive is the attitude of Cromwell gazing n the of m r r n r the sub ect was upo body his a ty ed ki g . He e j f rau ht i h difli ult o ss e to or ra g w t c y . How was it p ibl p t y the covert action o f the Protector in such a way as to redeem it
r ' r h s r um n f om un woathiness ? Dela o c e ucceeded t i pha tly. ’ Thee r of r m l sf e n r s the m xp ession C o we l ac , as, havi g ai ed co u lid s n s s o r n t his n m , he ta d upp ti g it wi h gloved ha d, is ad i r l o n s n s rr for n of s c ab e. It c vey at o ce o ow the eed u h a
r r om an d u sf n o m ma ty d , disg ised sati actio at its acc plish
64 A DE HE P UL LAROC .
The familiarity o f the scenes he depicted came home to r o ne and no sm s re o f his o eve y , all ha p pularity was due to
s l in the r m n o f s r es e a re his ki l t eat e t acce so i . P ople pp a e ar e an to e r n no e and ci t l g ly y appeal th i late t k wl dge, Delaroche rendered the actors in his dramas life-like by
e r r s and n i i e e c u r o th i d es , i tell g bl by the detail d a c acy f the
mice an amino.
In 1832 he m e mem r o f n u e and was ad itt d be the I stit t ,
in 1833 he was m e rofess r of S o f Fin s A r s ad P o the chool t . C f o o w n o n e e e en s me n r losely ll i g up th s v t ca a othe , which
m n in r r f in the r s ust have bee a high deg ee g ati y g to a ti t.
ues i n of the e r n of M e eine aro e A q t o d co atio the ad l s , and
'
h n erta in was o fiered e r . t e u d k g to D la oche. When we re
mem r e ssen ia mo ern n r an be that b was e t lly a d pai te , dthat h a er s re r to re o s art th e had p id v y light ga d ligi u , e selectio n
rs n r He ms f ro en t appea si gula . hi el p bably ter ainw grave to own f ci n f er m i doubts as his e fi e cy, but, a t so e hesitat on,
omm i n . n ne he at n he accepted the c iss o Havi g do so, o ce
ms f r m s men of the as devoted hi el to the p om acco pli h t t k . His acquain tance with the works of the great masters was
n n to the m n ff or r s co fi ed speci e s a ded by the Pa i galleries . His sympathies had never led him to the study of the
an n er . The r s of the m s m s ers Itali pai t s wo k Fle i h a t , or o f
n andDiirer rea er r o n f r h Holbei , had g t att acti o im than the
r e of R e an d Da maste pi ces apha l Vinci.
n r f e r o f ner n n o He had a si gula a dege ati g i t a copyist, and sought in every way to f oster such o riginality as nature o n n u had besto wed up him. But i d lgen ce in such theories was no longer possible when once he had accepted the re s n i of c r n of the M e ne He po sibil ty the de o atio ad lei . decided u n si in and d erm n e a ea po vi t g Italy, et i ed to devot y r to the f r n n s o n r . as s f tudy the g a d eligious pai ti gs But, a a e s ns 65 JOURNEY TO o .
guard against the possibility of all o wing himself to borrow ideas whil st studying the technicalities and earlier style of the ne m s ers he arran e his lans ande en s e divi a t , g d p , v k tched many of the subjects he pro po sed to amplify before he
u his e He ef ar s in the m n o en tered po n jo urn y. l t P i o th f
J ne 1834 m an e two f r en s M E o r B er u , , acco p i d by i d , . d ua d
i M e Delabo rde and o ne o f his u ls t n and nr . . H i , by p pi Af ter remain ing a short time at Floren ce an do ther Tuscan
i the ra e ers r cee the u e n en o f cit es, t v ll p o ded to q i t co v t
C m o is n the es n of the a ald li, which situated upo high t poi t A enn ne m n s s n ere r o to s u p i s . The o th pe t h we e dev ted t dy, and Delaroche sketc hed an d re-sketc hed with keen pleas ure and en s sm He and his f rien s m e rou thu ia . d ust hav b ght new lif e into the mo noto no us ro un d of con ven t existen ce
ro ers of the r er eat him for r or ra s the b th o d to thei p t it , and ma ny o f these remain to testify to the f rien dlin ess and skill of the artist.
In 1835 the f r n s n n e r rne to Ro me ie d co ti ued th i jou y , ere De aro e his s ar r rs the wh l ch , with u ual dou , pu ued co urse o f s u he had a o n f or ms lf m r r t dy l id d w hi e , o e pa ticularly
of the n e that ud . Du ring his stay in Ho me the painter met an d married
L s the on a r o f r ern . The ou n oui e, ly d ughte Ho ace V et y g coupl e returned to Paris in all the joyf ul anticipatio n o f a
r un o f re. b ight, cl uded utu
A a o n m n em. n his rr dis pp i t e t awaited th Upo a ival , Delaroche f o un d that the A dministration had confided a portion of the decorations he had undertaken to another a r s een nno a re f rom the n ti t. K ly a yed, P ul withd w u der
n and ns s e u o n re rn n su m of m n taki g, i i t d p tu i g the o ey he ns had received f or preliminary expe es . He contended that the o r o ma e o f r o r n o w k, alth ugh d up va i us po tio s, ught to n s cns 66 PA UL au o . b e n r e to ne n n and if an o er o rs i t ust d o ha d o ly, that y th c u e
W e er e i n s e or not his con h th his obj ct o was ju tifiabl , duct was clearly disinteres ted ; f or he relin quished a sum of mone hi the se of m rri fe m y w ch, at out t his a ed li , ust
e n f e to him as he no r a n hav bee o valu , had p iv te i come . Little trac e of his Italian jo urney is to be f oun d in the harles i n ext pro ductio ns of his brush : C I . m dted by ’ Cromwell s oldiers and h a ord on his wa to the ea old S , S f y S f r in t m s mo rn en s r a o he r . e b th, o t de s se, hi to ical pictu es In rs th e rr n men of the ro u not the fi t, a a ge t g p is happy ; the figure of Lord Falklan d al one redeems it from medio
crit the of the n 18 un e an an n i n y : attitude Ki g asy, d w ti g er f il that dignity which Charl es I . nev a ed to call to his
aid m m m n s of r al an d nsu . The ure as o e t t i i lt pict , a
o e n e to e er Cromwel he Death o the wh l , is u qual ith l or T f
Due de Guise.
tra ord on his wa to the cc oldis f am ar to e er one S fi y S f ili v y , ’ ro Hen ri u el-D o n s a tif u en The th ugh q up t be u l graving .
momen en f o r the re resen o n—as the e s o t chos p tati ag d bi h p,
e n n his rem o s n s ro u r so n r xte di g t ul u ha d th gh the p i ba s,
' r the ro m se ess n an d trafio rd s n o n his utte s p i d bl i g, S , pau i g to the c ff o nee s to r e it—is r m in way s a ld , k l eceiv d a atic
the e r me In in The Ececution o Lad Jane Gre xt e . it, as f y y, has n th in the er Delaro che co veyed e deepest tragedy : latt , the momen t o f martyrdom has ac tually arrived ; the Lady
Jan has ere her e es i r i f and as n the e cov d y w th the ke ch e , , i
r of the r n e f ee n o s r e h n s wo ds ch o icl , is li g, with ut t etch d a d ,
the r we r the o ur f or block . In he expressive f ace ead c age of her nn en and s e f t n r of her r s in i oc ce, the t ad as atu e t u t
im to om h mmen s her s r H wh s e co d pi it .
B u t Delaroche was now to be called to a yet more pro .
MM I FOR THE HEM 67 CO SSION ICYCLE.
' min n s n was Oflered a mmiss n e t po itio . He co io to deco rate the semicircu lar apse or hem/ioyele of the Palais des ” a Art . ft r a hes t ion he underto Be ux s A e slight i at ok it, and f or f ur rs e ed m e f to the as o yea d vot hi s l t k, with the
ns n u ns n w was n r him co cie tio s pai taki g hich atu al to . C H A P T E R II .
183 7 TO 1845 .
The em e—Se on s t to R me H icycl c d Vi i o .
ROM the cuwet o f his w eer Delaroche had spared no n in e a ra on o f his conce i ns pai s the l bo ti pt o . His con viction of his own powers impelled himto construct andre
'u sa fisfi his e co nsh ct until he had ed id al . It was no unusual thing f or him to make twen ty dif
es f or on e s n e ur and en mo e i f m nt studi i gl fig e, th to d l t m n o n e en M n n n in . wax M tha c , wh , i fi ite pai stakin g e and mo the s e was with the sk tch del, ubj ct at length
f rre to n s and e r essen a a trans e d ca va , ve y ti l det il with ’ r r to s an d efiect rr n e he ou n ega d light, hade, a a g d, w ld co
m his n r an d r n o ut recom de u it by fi al ve dict, , sc api g it , r e mm e the ea liest sketc h . The work of th Hemicycle
' ha m hm n n r en s man as v g o ce u de tak by uch a , it w equally ’ certain that every power o f the artist s min d would be bent s to its uccess . ’ h Delaroche s powers were taxed to t e utmost. First of
er emti n as to s e all arose the s ious co nsid o ubj ct . It was not easy to select one alike suitable to the room f or which it ine and s fa r to cfitics c s o me was dest d, sati cto y a cu t d to
70 PA DE A CHE UL L RO .
in ren n of Vema A nad mene an i the ow his yo , d Ph dias, the n r as m r of Gr e s ul r — u su p sable aste e k c ptu e judges , as it
or r of the en r or n to o alleg ical figu e ti e w k)is waiti g best w.
r f ema e fiures—two on r n of the s Fou l g the ight ha d judge , r r n n Gr and G o h art and two on ep ese ti g eek t ic , the lef t, — typifying Roman art and the Renaissance appear to assist
n our r n s n ore the r o Upo ight ha d, as though pau i g bef po tic
o f f m r i and r r a ar to con a e, a ch tects illust ative a tists ppe ’ er e. ns n o r o f the r r of t M r in v s Sa ovi , a chitect lib a y S . a k s
n e en s n ear de ner r r Ve ic , l d a willi g to the dg of St asbou g C r the r n D rm r in con athed al ; F e ch elo e, apt thought, structs in f an es r n er n on the , cy, castl g a d tha that which w his on m r r admiration of c te po a ies. The f amous Inigo J n nf r r n l the rc of r n o es co e s with B u e leschi, a hitect Flo e ce,
L o ren s ner of Lo r and with esc t, the F ch de ig the uv e, with ’ r m n es ner of . r R me. The r B a a te , the d ig St Pete s at o g eat
m ers of the an and G rm n e n ast Itali e a schools, ach atte ded
os who e f o o e and o m m n o by th e hav ll w d c pied the , ad it i t
r e in c n men of s r their ci cl , happy a k owledg t the pi it which
his or r n m n L e r er vitalized w ks, the F e ch a esu u . The lead s of sculpture listen with respectf ul atten tio n to the teac hing ld a n m st rs Nicole Pisauo and L of the two o It lia a e , uca
' bbie the n en r of enamellm In n er r della Ro , i v to g. a oth g oup
the ll r o s a n r r en the we recognize i ust i u p i te s, who hea k to — teac hing of Leonardo da Vinci true monarch of art. On the o ne hand Diirer bows bef ore the greater master ; o n the f R s ens n n the the other, youth ul aphael li t e cha ted to
f rer nner on in the m e counsel s of his o u ; whilst al e ultitud , and rn or M e an o bowed with age wo with w k, ich l gel
f o f in en n m a on o f o holds himsel al o sil t co te pl ti th se who, ra n n mcvcw 71 s . s n his e e o e e r n ira on to his n s i ce d ath, hav w d th i i sp ti ge iu .
o ss n r s o n in f n r m erri e P u i , pe hap gl ati g a cy ove so e t bl
ene m n n an a e of e n . on erf sc , ai tai s ttitud xpecta cy A w d ul
r r s harmo ny pe vades the diversified g oup . Although each
of the or n m s er f orm as ere the n re of igi al a t s , it w , ce t a
r u om os of his m a or and s es De aro e g o p c p ed i it t s di cipl , l ch ,
has so harmo nised their natures as to presen t the idea o f
r ll ar in s me e re e in n . A e et div sity u ity o d g e alike, y each has an individuality 8 0 marked that the least acquain ted with the lead ers of art cannot f ail to recognize
them. To our left of this vast Hemicycle stand the sculptors
and r . The e e ree s C e G e é of Lor colou ists y g t laud l e,
r n th e R s and o er s r o s ai e, Dutch ui dael, Paul P tt , illu t i u
n er o f animul f r n n—who s n s pai t li e ; whilst a ou d Titia ta d , and with dignified mien imparts the secret o f colouring listen with rapt atten tion Velazquez an dRuben s ; and even
m ran in his o in e e f - n on es Re b dt, all bst at s l opi i , giv h eed
to the r . n of all the f we e o o discou se I st , to le t, hav Pa l
ero nese o rre o an d M r o i A n n da M V , C ggi , u ill , w th to ello es
s n re r sen o f n r and e i a, p e tatives Fa cy, Poet y, D light ; as
o s n s e rem s s the i n and P us i , at the oppo ite xt e, uggest d g ity
severity o f Wisdom. e ome e f oem the nt n o f th Lik s b auti ul p , pai i g e Hemi
e f orm an rm n s o e ro en as ere cycl s ha o iou wh l , b k , it w , into n s m in self et no s a ne e s sta za , each co plete it , y each les c s ary
f h n r r The or of ne part o t e e ti e wo k . gl y divi art in human
u f orm has n ever beeu more f lly illustrated . In 1855 this won derful work narrowly escaped destruo
io n at the n of an n n r f or un the r r t ha ds i ce dia y t ately, p og ess the a e s an d the m re r o f fl m s was tayed, da age pai ed under 72 ra m. nau seous . the s r n en en of the r s m e f upe i t d ce a ti t hi s l . Henriqu el Dupont spent eight years upon his engravin g of this master
e It m oss b e f or the as piec . was i p i l t k to be carried o n ’ in the a des A r s and De ro e s u m P lais Beaux t , la ch p pils ade a sm l of the or n a the m s er re a l copy igi l , which a t touched .
In or r to so emcientl au or e f or f o r de do y , P l w k d u weeks in e o f a se ere n er efore or n the d pth v wi t b the igi al . When at last the Hemicycle was thrown open to the
m as n o t ‘ a erse r is w n n . o this h public, dv c itic wa ti g T , o w e er De ro e was e a us ome v , la ch w ll cc t d . The same year that witn essed th e commencement o f the
en er to h n Hemicycl e had be bitt im in many thi gs.
n th e n of e r aints mu e o I Salo that y a , his S e had v ked
orm of a u se from art r cs the r st r such a st b c iti , that a ti , hu t
an d nno e o never a n to e . s re o a y d , v wed gai xhibit Thi s lve e e and ro l the u e rs s n in the a h k pt, p bab y q i t yea pe t P lais des Beaux Arts confirmed his dislike of the no to riety
m n n r i sm o n f r which alig a t c it ci btai ed o him. He was
e f as we s n no en en u e of his o hims l , have how , l i t j dg wn
rm n his own or s are ffi en r o perfo a ce, but w d su ci t p o f that he believed in the posses sion o f still greater capabilities than he had as y et sho wn . “ ” ' If er rm e ed m o r an , said he, I w e pe itt d to ace y w k d f res o nsen m begin it a h, I would c t with all y heart to s u f or n er f o r rs in s a being h t up a oth u yea thi h ll , which I
e e to-da e e e o ne but l av y , littl lated with what I hav d , r n an d r r e taught by expe ie ce, at least p epa ed f or b tter
A s m r s an s n is resen a e things . y wo k t d , I thi k it p t bl ;
i n m n ion th but as I see it i agi at , with all e higher qualities
ow f ee a e of v n it m as which I n l c pabl gi i g , I take it si ply n of ro r ss in n men and f n r an evide ce p g e se ti t, o i c eased ” power f or the f uture .
4 PA U DE A CHE 7 L L RO .
A perceptible progress is discernible in the paintings of
a s e n e r—an m r emen due n ot n to e ch ucc edi g y a i p ov t , o ly tr r an d r r ns r n a s to n n ue b oade i pi atio , but l o that deepe i g of character which comes with a great sorrow . CHAPTER III . — 1845 1856. — — Death o f his wife The Want M oses exposed by his M other The Young — — M arty r Re ligious pictures Marie Antoinette in the Conc ieryerk ra —Dea Port its th.
1845 af er ten e r of m s a m rr e f e N , t y a s o t h ppy a i d li ,
De aro e os his o e f e The a r Paul l ch l t id liz d wi . d ughte ’ of r erne n er her f a h r o e o f art Ho ace V t had i h ited t e s l v , s r a m n and was posse sed o f are beauty and c co plishme ts . Her influence o ver th e so mewhat reserved andmel ancholy
rac er o f her s n m c ha t hu ba d was ost happy.
in his f Head o an A n el immor Paul , beauti ul f g , has taliz ed her f ea res an d her t rs e n re tu , let e which hav bee p e u a o n f her r r s rved give s high concepti o cha acte . Fond o f o ie she was the n r of e fu er e f s c ty , ce t e the d light l cot i s o talented an d distinguished guests who frequented Dela ’ r s m in the Ru e de T r mes and her oss oche ho e la ou des Da , l s e n f e nd the m f her wn f wa k e ly lt beyo li its o o amily . en in 1843 ar s en Itd he m Wh , , the ti t w t to y , was acco f r t M panied by his wi e and thei wo children . adame Dela ’ r oo ee s n r in her s n s a n n s oche t k the d pe t i te est hu ba d p i ti g , and r n n ref r In on of in he letters co sta tly e s to them. e these
r to fr n and A s 16 1844 add essed a ie d , dated Naples, ugu t , ,
e Portrait o Gre or XVI. she allud s to the f g y , which was 76 PA nsns aoc mz UL .
’ n in r r ss and her s an s n en n the p o g e , which it was hu b d i t tio aris T to present to the Queen upon their return to P . his
as n ackno wled f was her M es and a gi t accepted by aj ty, g m n M me De r e s e to e ma n ent e t , ada la och was a k d acc pt a g ific set o f em r e alds. In an o ther l etter Madame Delaroche playf ully all udes ’ the his r and sa s a to artist s devotion to wo k, y P ul, I
e e or to th e er mom n o f o ur e n . b liev , will w k up v y e t l avi g ’ In J ne 1845 Mad me De ar s e had a re u , , a l oche h alth l ady become so bad that her f riends tried to persuade her to try the efli rs walbach b ut s she s cacy o f the wate at S , thi teadily ref se t d in the o n r some f r en s u d o o . A stay c u t y with i d , so f ar resto red her strength that she writes “ re I am really much better since my stay he . Could my mo ther see the impro vement she wou ld certainly en a The h ren are dorse my wish not to go f arther aw y . c ild
m m am u f er s ffer n f or e ro e as . as uch i p v d I Pa l , a t u i g ight ” or ten s his e set e o n to his Cami. day with ey s , has tl d d w Return ing to Paris with the delusive ho pe o f re-estab lished e old s er m arri e Ma ame De a h alth , habit w e d by d l r e an d e an e en n r e o ns re o mmen och , the pl as t v i g ec pti c ced . But it w as soo n eviden t that the improvement was on ly
em or r and u n 1 5th of De em er was er t p a y, po the c b all ov . A l etter written so me f ew mo nths bef ore her death is
r s r e of the ne of her ar er and ex ve y illu t ativ high to ch act , plains the influeu ce which her memory exercised over the
ar s in the o ne r f A f r ti t l ly yea s that ollowed . te deplorin g the
n e f in the e uc n of o i evitabl act, that d atio b ys the time comes when the authority and teaching of the mo ther are no n r suflieieu t : E r n m lo ge , she adds ve ythi g ust no w depend
u n the e m e a f r. r are o f n o u s po xa pl set by athe Wo ds e, n and sen m r opinio s ti ents a e valueless . Prof essions must
78 PA nsu aoca s UL .
None bu t e h r e so n e so a po t at ea t could hav co c ived ,
n e and the su e pai t d, so idealized bj ct. The religio us pain tings which now largely occupied ’ Delaroche s bru sh are marked by the same inspiration. Had he given nothing to posterity but f our little scenes f r m the ss on s e f o n a f or mo o Pa i , he would till hav u d e st mon mo ern a n ers In em he re h true place a g d p i t . th ac ed
en er n n n o the nner fe of rs. pathos , t i g, i deed, i t i li the acto TheEntombmwnt of Christ in which we have the outstretched
r se o f the u r en er s r e an d s in co p Savio , t d ly uppo t d wathed
n n e who Him et no t n li e by thos loved , y had bee able to S r Him o ne e of n n s is so nn pa e d tail his dyi g a gui h , i ately
r he r r r t ue as to appeal to t hea t of eve y beholde . In the Virgin with the Holy Women Paul Delaroche sou ght to m h um penetrate behin d the scenes . He i agined t e h ble house where the mother andloved disciples of the Lord await the f the r e s on In sma roo m passin g o p oc s i . a ll lighted by but
n in o r r i n M er es o e w d w, th ough which the Vi g oth watc h f the m n of the n emn e So n and f rom or co i g co d d , which, as ’ o n m se o f the s er s rs an d the r yet, ly a gli p oldi s pea w iting
es ne f or the Cro s f o re the min r d ar d ti d s shadow co g t age y, e ’ o f o r s fr en s assembledthe best loved the Savi u i d . How n the s ff er n of the n in mo er the so rr f kee u i g k eel g th , ow o the holy women who desire in vain to co mf ort her ! ho w r the on r st e een the s on e se f -co ndemnin g eat c t a b tw pas i at , l g
e e r and en ern ess and self -f o r e f grief o f St. P t the t d g t uln ess ’ of the beloved disciple s despair ! The artist has succeeded ’ in conveying to the Virgin s face at o nce an expres sion of matron ly dignity an d of unqualified adoration of the is her Go d The r s n e s So n who . thi d ce hows us The
Vir in Mother as s ac of on n r m g , , the la t t the ag izi g d a a
ver she n m e n s e r the r e , co te plat s with a gui hed h a t c own
8 P nst aocma 0 A UL a . — During his lifetime two o nly had bee n ex hibited o ne ’ in 1827 o f the Due dAn ouléme an d o ne of Mdlle. onta in g , S g
1831 A f er re urn fr m R m he was in re re . t his t o o e g at
as a or r n er andmo t of the em nen men of quest p t ait pai t , s i t his h m day sat to i . A mo ng the most successf ul o f his likenesses are tho se
f M r f e e N oailles Prince A dam o . de Rérmsat, o the Du d ,
Cz a tor shi M de Sal/vamd and M . Thiers. r y , . y, Em Pereire i was his as he In the ortr o f M . ile p ait , wh ch l t, has sho wn a fidelity to truth almost equal to that o f Holbein .
He r n ef o r the man not as he m a e e b i gs b e us , ight h v wish d ’
ar bu t he as. is ou n er s o wn to appe , as w It as th gh the pai t in tense individuality of character imbu ed him with a concep
n of h f hi s r n his o r r s seiz es n tio t at o s itte . I all p t ait he upo the c ra ter o f the s and ss s the rea on of ha c ubject, a i ts lizati
a m n e n i on to e and at m it by i ut atte t d tail , by what ti es amoun ts to an almo st exaggerated realism in the ac ces sories s is n o the in his or ra of M Pour : thi tably case p t it . talés Gor ier who s an s ef ore u s s rro n e art re g , t d b u u d d by lics, which are bro u ght as prominen tly into no tice in his picture
u as they f req ently were in his con versatio n . Delaroche was forced in to somewhat more active lif e by the Re o u on o f 1848 on ere his m es v l ti . Not ly w sy pathi en s e in e a f of his m n fr en s ose osse r li t d b h l a y i d , wh l s we e
r er n his o wn he was f r e to ons er his g eat tha , but o c d c id o wn o s on . He at on e ms ou of e n r n e p iti ti th ght l avi g F a c , bu t as he was now as ft rs of a e was a ser o s p t fi y yea g , it i u
s e to . r in u o n the 18th of Ju t p take W it g p ly to M .
L o u re he s ab che , ays “ f re e en more r to me than the r s n The utu is v da k p e e t.
D s r n are f ar fro m ein er and am unf or i tu ba ces b g ov , I tu nately o ne o f those wh o can produce nothing goo d but in 81 DEA TH.
and u e w be m f or me to a peace q i t. It ould i possible be
n er m s s n s m and rin m pai t a id uch ce e , yet I ust live b g up y ” r child en. In creased apprehension andmelancholy appear in another letter o f a later date “ an do n o n bu t n of the f u r The f o I c thi g thi k ut e . lly o f men has reached such a pitch that it would be absurd to attempt to understan d it o r to presage what may come
o f a n of men all this ch os. I thi k too little to hope
rmer e o n o ns e o ers now no n er Fo ly I h ld pi i lik th , but I lo g
o m e f to do en s are f or m intelli all w ys l so , ev t too rapid y ”
f m r r. gen ce. I am conten t to live ro hou to ho u His f riends o pposed his ideas o f leaving France to settle
in mer o R ss and he rema ne in ar s n i the A ica r u ia, i d P i u t l
of his e s e him to r e He was health ldest on oblig d t av l . much pl eased an d tou ched by the reception accorded him in G rm n and in r n f r n n r n e a y, w iti g to his ie d e la ges upo the “ ” e ome en to him if sa s ere r n w lc giv , as , he y , I w a p i ce n before the time of republics. I did ot know I was su ch a ” r g eat person .
The r s se e f or a e i re new a ti t ttl d whil at N ce, but the
rr him in the e o r F r so o w awaited d ath f his bro th e . o a time it seemed as if this new grief had re-awakened all the ’ o n his ife s e bu t e r es he e me more ag y o f w d ath, by d g e b ca r i ned an din e er of s m i he r e so m es g , a l tt y pathy wh ch w ot e
a er to his f r en who was in e r ef he s wh t lat i d, lik g i , ays If o r e rs are i er no w er o u earn y u t a b tt , lat y will l that they will be sw eetened by the reflectio n that y o u mo urn the lo ss of on e whose life upon earth was an example ” e o o n o f d v ti .
De aro e was not est ne o n fe. His ea Paul l ch d i d to l g li d th ,
o o e u n the 4th of o em er 1856 w as which t k plac po N v b , , 82 PA nst a aocn s UL .
h s fri n s n t mse f u ne i e o . xpected by d , but by hi l He had
' s ff er f or n me from an aflection of the r u ed a lo g ti live . Two
a r his fr en M L o re d ys bef o e his death i d . ab uche was with him an d De r e rem r e W e all n a w e , la och a k d, thi k th t have
a o n an d e u f fe fore us the da l g b a ti ul li be , but y will come ' w n Go d sa You can o no f r er he will y to each , g u th . O ne of his pupils sat u p with him the night before his
e . au e for n and e e him to re d ath P l ask d his ha d, b gg d
ma n near him He s e e s and in the morn n was i . l pt a ily, i g
mo e n o the room er even e r ef o re his f e v d i t wh e, el y a s b , wi ’ t o in f had breathed her last. A three clock the a ternoo n e s ru e at the a e of fif t -n ne f r he di d without a t ggl , g y i , a te a
in i n o u s ha e life which ts u if rm s cces has d f w equals.
Few e am es can be f o n of men who x pl u d , with ability
no t in the e s a r n to en s e n r e l a t pp oachi g g iu , hav bee so t u to em e es so r to art to h e de th s lv , t ue the w ich th y have
o e e r e and e the m n o f v t d th i liv s , so littl biased by judg e t
o t ers D r e h , as Paul ela och . Pion eer though he was of the eclectic school of paint
in in r n can r be s to e f n g F a ce, he ha dly aid hav ou ded it. A lthough many distinguished names are to be f ound
m n s no ne o f em ar to e er e a o g his pupil , th appe hav d iv d
an m r u i r fro m e r m s r if we e e y a ked pec l a ity th i a te , xc pt the graceful arrangements and adheren ce to historical
is f s so truth which charac terize their compositio ns . H li e wa f ully devo ted to the cultivation of such po wers as he po s
sse and he was e on en to re s se d, so littl c t t st sati fied with the re s he a n no o rt n of lau l had g i ed, that he had ppo u ity laying do wn strin gent laws for the guidance of others ; an d his sense of his own shortco min gs obviated all desire to
r o n his s f orce his o wn p inciples u p pupil .
cs xrxcxsn s. 83
We canno t better conclude our sketc h o f this most po pular of mo dern artists than with a quotation from his
e o r r M . nr Delaborde abl bi g aphe , He i Paul Delaroche had the good f ortune to pl ease alike e n h the critical f w and the ma y . From is first en trance
n o if to os t n him. f ar i t public l e its cl e, success a te ded But f rom m n mse f u on e and m n n him plu i g hi l p applaus , i agi i g
se f at the o s was et on the roa r l g al whil t he y up d thithe , he exacted more of himself in proportion as he was more r r Far f r m s n u n his favou ably eceived . o peculati g po ac
re re u a on he n r a e as qui d p t ti , i va i bly act d though he had ” still a name to make. LIST OF PAUL DELAROCHE’S PRINCIPAL R WO KS .
e a k Chi fl t en rom the Catalo ue f the Exhibitio n his Pa intin s y f g Q of g ,
des m A r Bea ts in 18 57 .
SA N 1822. SAL 1 N 83 1. LO , O , sav b Jouc e Jehosheba. C ren o f E war now in he h d y hild d d V. ( t nt r m esce f o the Cross. Lo uvre D ). Cardi nal Richelieu towing Cinq Mars and De T ou in the os SAL N 1824. h ( O , p s f o L se s o n o Sir R ar Wa a e . Filipp ippi. i ich d ll c ) Car na Ma ar n on his eat Jcan o f Arc. di l z i D h
Bed. Saint Vincent de Paul preachi ng Portra t o f Ma m e o se e Sonta . before Louis XIII . i d i ll g Rea L Sa n Se ast an n esson. i t b i . A di g ' Cromwell o pening Charles L s Co ffin (now in the M useum at arme nt Lee ann 1826. G , N smes eat of A ost r i D h g ino Car acci.
SA L N 183 4. Sn o rt 1 2 O , , 8 7. a Jau e re a Exe ut o n . F M na L dy G f c i lora acdo ld . Sa nte ma e ueen of un ar . Th Resu f a i A li , Q H g y e lt o Duel.
al eo . t f e ent urant G il Dea h o Pr sid D i . Head o f Camaldo line Mon k . Death o f Eliza beth (no w in tto Di . Two Heads. Young Caumo nt de la Force saved
Du er elet (in the Museum Saw s 183 5 by d . V , ' o f Kimigsberg). ssass nat on o f the Due de A i i G uise. f Ta ng o the Trou dero . ea o f an A n e not exh te ki H d g l ( ibi d).
6 S o r PA T G S 8 LI T I N IN .
1852. The rt r Young Ma y . In st Pra er of the Two L tt e hr st in the arden y i l C i G .
P r ra o f Eml Pe eiro. P nces. o t e r ri t i M. i Ma er o orosa in the Museum of The r in w t the o Women t D l ( Vi g i h H ly .
e e . rist rotects the fflcte Li g ) Ch p A i d .
1853 .
Moses ex ose his M t er p d by o h . Th r ndins Fli t nt E t e o . gh i o gyp . Gi En m ment f r s to b o Ch i t. 1 M ot r f Moses 857 . he o . Ma ame E i a et con ucte to Portrait of Prince Adam Cz ar d l z b h d d ' he Scafil t k t o d. ory s i. Mar e ntoinette at the Concier ! rr n his ross i Christ ca yi g C . A r e ge i . 1854 r n ontem at n Crown o f . Vi gi c pl i g
r T orns. Italian Mothe and Child. h M Portra t . T ers. Madame Eliz abeth separated from i , hi
ami Return from o ot a. her F ly . G lg h ’ L mmun r n and C i d Desi n . Mary Stuart s ast Co ion. Vi gi h l ( g ) A Mother with her Child
1 55 . 8 ra in g v g). l d Ex ut n The Cenci e to ec io . C HR ONOLOG Y . 87
CHRONOLOGY OF THE LIFE OF DELAROCHE
Page orn in Par s Ju 16th B i , ly 5 7 First exhibited in the Salon 5 8 Friendship with Gericault 59 Admitted member of the Institute 64 ' M ade Professor of the Schoo l o f Fi ne A rts 6 4 Visited Italy 65 Marrie Lo u se Vernet at Ro me 65 d i , Began to paint the Hemicycle 68 Second visit to Ro me 73 Death of his wife 75 Visited Germany 8 1 e Novem er 4th 3 1 Di d, b
A BIBLIOGR PHY .
A Pau e aro e. C ar es Blane the isto re des BL NC . l D l ch By h l H i ” s l Eco es Par s Peintres de toute es l . i .
n (Euvre de Pau e aro e re ro u t en hoto ra hic ar Dansnonn . l D l ch p d i p g p p ’ n am ac om a né une not e sur la vie et les ouvra es de Pau Bi gh , c p g d ic g l ’ e aro e ar enr Delaborde et du cata o ue ra sonné de l muvre D l ch , p H i ; l g i ,
a u es d e Par s. 1858 . p r J l Go d . i
“ ” In the F ne M . . . Pau elaroc e. A rts uarter Rev ew C H l D h i Q ly i .
L n n 4 . o do . 186
m ra ns : Pa M i soo nnr. Les Conte o u e aroc e Par Eu a p i l D l h . gene do
urt Par s. 185 Mireco . i 6. 88 D IN EX TO nsrs aoc as .
I N DEX .
The Names o Paint n e rinted i I ( f i gs ar p n talic. )
An oul c Due de Portrait o I ant M osesex ose b his 2110 g ém , , f nf p d y l m llie 80 iter, A rm a e E war 69 Jehoslwba savin Joas it g , d d g M inolta” of the Due de
L w h re M abo c e , . ert n E o uar B i , d d Ma e e ne e orat on o f he d l i , D c i t ’ ' Marie A ntoinette in the C i Charles L insultedby Cromwcll s onc er ’ gme
Noo les Due de Portr t o th d , , ai f e M ea l . E P Pereire, M mile, ortrait of Pourtalés of
Deal]: of Preaida tt Dzmmti n t de Portrait o Rem an , M , f Repose of tits Holy Family Delaborde enr , Ret G ol otka The H i am om fi g , Eu ene Delacro ix , g u nt H i uel D po , enr q De flou
E’dombmeut o Christ The ' f , Saiate Céeile Exe ution o Lad Jam Gre c f y y Sonta Mdlle. Portra it f g, , o i k is way to tke c / G éricault fold .
ernet Lou se V , i
Gros, Baron . ? m m m Hal ximm W y ’ Head qf ws Angel
Heuriquel Dupont
I N D E X .
o la esi a t s (The names of the artists are placed under tkeir p pu r d gn ion . )
d l Sart xx v i o r one vu P om o Se as A ndrea e o i i Gi gi i b , b o tto xx x t ano del Gi . i i ntone o da u o Romano xx v Pisano G io vanni A ll Gi li . , Gotkic Aa't xiv
u o n x ii Pouss n as ar Apelles Go j i , G p d ' r am x iv Po uss n N o as A nollo di C i , ic l
0 XVIII xxi
x v
arto ommeo Fra xx v xiv B l , i
vii Jones ni o . x v , I g iii Benedetto da Leonardo daVinc i xx iii Lescot xix Le Sueur
Lo rra n C au e vui Romano u o i , l d , Gi li Luca della Robbia x Rubens Luz arcbcs xvii Ruisdael Sanso vino
Sarto n rea , A d
a del . x xviii Sebastiano del Piombo w Steinbach, Er in von
r Terbo ch .
Van der Heist
Palissy Van Eyck Palladio Velazquez Pao o eronese eronese Pao o l V V , l Vigno la a n e onar o b ch Vi ci, I d Gmias tbedrts “ qf d O Ghiberti B R I EF B I O G RA PH I ES O F T HE E IN T RS . S C U LPT O RS . A A RC HIT EC T S
RE RESE TED IN THE P N H EMIC YC LE.
Com iled rom the most re ent authorities b F p f c y . C.
A TER P I N S.
C o rre I . ggi o .
A x ro xxo EG RI o mmo n no wn as Co a aao o m was orn in 1494 ALL , c ly k , b , in v He v the a e o f Corre o near Mantua. re ei e it is sa ill g ggi , c d , id , his first nstru t on in a t fro m his un e o ren o an art st o f tt e note v i c i r cl I z , i li l ; se eral other pain ters are also mentioned as his teachers : but he owes much o f his st e to a stu o f the wor s o f Mante na. He a nte at Co rre o and yl dy k g p i d ggi , at Parma nota the ome o f t e hedral where he e te h , bly d h Cat , d pic d T e M ump tios the ir in He ie in his nat ve v a e in 153 4 at the ear of V g . d d i ill g , , ly age o f fort and was urie in the Fran is an ur . His r n a y . b d c c ch ch p i cip l easel i tures are La Notte The N t a n te in 1522-153 0 e e rate f p c igh p i d , c l b d o r ' f l nd M Readis Ma dalen in th s its wo nder u eflect o f light; a g g , both e Dre den “ a er II G iomo The 1527 o r 1528 in the Parma a er G ll y ; ( , G ll y ; the Ju ter and Antio e in the Lou vre and The Education o Cu id in the pi p , ; f p ,
Pao o ero nese II . l V .
PA O A O LJAB I ommon a e PA e no m-28 s was orn at ero na OL C , c ly c ll d OLO V , b V in 1 He stu e w t his fat er a r e e a s u tor and un er his 528 . di d i h h G b i l , c lp , d B He n e at erona Mantua andRo me but h efl res uncle sdile. pai t d V , , , c i y ided at en e w ere he was se on on to Tit an and Tintoretto . His wor s V ic , h c d ly i k t of Ph were in such request that he refused the invita io n i 11 . to go to n of he Es ur a Ca iar e Spain and take part in the decoratio t c i l . gl i di d in en e in 158 and was ur e in San Se ast ano a ur wh o nta ne V ic 8 , b i d b i , ch ch ich c i d ue a ii r n morem. man o h s a nt n s H u e ts re fl m t f i . is s a e stor and t os y p i i g bj c chi y hi ical , fo r he art rawn f rom B a sour es t o u t e are e in u te a se u ar p d iblic l c , h gh h y tr ated q i c l manner He a n fo r fo ur onvents in w . te en e four mmense or s p i d c V ic i k , all re esent n fe ts Of t ese The M arria at mm r as e 0 3 2 ft. 2 ft p i g . h , g ( x 2 ), s e in 1563 is t ar est m va e mntin in ex ta fini h d , he l g o bl p g istence ; it con ins ortra ts o f man em nent ontem o rar erso na es and w t the Feast p i y i c p y p g , , i h - u e t Phat e 5 0 5 is v in the Ho s q imon he ic s, 1 7 7 , no w in the Lou re. The Fa st in the House q oui (1578)is in the Academy at Venice ; and another ’ n he House on the Phariseesis in the Tur n M useum Of Ca l ri s Feast i t Qf Sim i . g ia i h P tt Pa a e F he mil ortra ts the best o le t o n is n t e oren e. T Fh p i , c l c i i i l c . l c y o Dar at t eet Alarander in the Nat o na a er is o ne o f the f ius he f of , i l G ll y , w principal o f his historical o rks.
n to nel a da M ess n a III. A l i .
A xro xst t o D E I m o s: was o rn at Mess na a o ut the ear 1421 OL A b i b y , - m eas and stu e art in S l . Mu i e a a nt n in o il di d ici y ch m d by p i i g , by V E w he saw in a es he went to F an ers w ere f r an yck , hich N pl , l d , h , om the f t at master he learued the se ret o f aintin in o il and disciples o h , c p g , was th us nt u n the met o nto ta He u se the means o f i rod ci g h d i I ly. s b quently pai nted a d n the owns o f Lo m ar He essina en e n i t . e at in M , V ic , b dy di d Venice xe n merous sa re a out 1493 . nto ne o e ute u a nt n s fo r ur es b A ll c d c d p i i g ch ch , a nd was ver f amo us fo r his ortra ts. Salvator M andi him is n y p i A , by , i the r National G alle y . M ur o IV . ill .
o m e Esrent x M oa tt t o the ef a nter f t B aar u , chi p i o he Spanish school , a v e in 16 18 and earne the ru ments f was bo rn t Se ill , l d di o his art from a re
at on Juan delCast o. In 1641 he went to Ma r w ere he r l i , ill d id, h eceived much ass stan e in his stu es from e as ue . In 164 5 he returne to Sev i c di V l q z d ille, w ere he a nte man wor s in the at e ra the os ta o f St h p i d y k c h d l , h pi l . George no wn as La Caridad and the ur es 3 he foun e the A (k ), ch ch d d cadem in 1660 y , am he hea o f a numero us s oo o f ainters W andbec e t d ch l p . hile engaged on a - h Marr a e o St Catharine large altar piece of T e i g f . fo r the Capuchin church o f Ca he fe from the o n and e from the effe ts at v diz, ll M ldi g, di d c , Se ille in , ’ M ur o s ear ier wor s re resent s enes from easan f 168 2. ill l k p c p t li e, but later v mse f a most ex us to sa re su e ts Fort -fiv he de oted hi l l cl im c d bj c . y e pictures
he Ma r Museum. Sev e and St Pe rs by him are in t d id ill . te burg are also w Lou vre onta ns mon n his or s. The a st ot ers The rich i k c i , g h , Immaculate ti n the Vir in w was ur ase at the Concep o of g , hich p ch d sale o f Marshal So ult 852 for The Return the Prodi al Son n in 1 of g , i the Staff o rd House a er is o ns ere one of his est wor s out of S a n G ll y , c id d b k p i .
THE n umer u s iv o .
w e h e n H m re e res u t his eat in 168 1. is as er e i the Peace h id d il d h , t pi ce s of M inister in the Nationa a er ainte in 164 8 His ictures as a ru e co n~ , l G ll y, p d . p , l , ta n one o r two ures o nl mon the est are th i fig y . A g b e three representations of Paterna l Advice in the Ber n a er the mster amM useum and the li G ll y, A d , r water a er Lo n on The Trum eter in the a u a ler An B idg G ll y, d ; p , H g e G l y ; - O cer t rin m ne to a Lad in the Lo uvre the two tures o f the Lad fi of g y y , ; pic y
in the Satin G own at res en and St. Peters ur and the Lad la i D d b g, y p y ng Emthe ate in he a e a er L t C ss . , l G ll y
R em ran t VIII . b d .
Rnn eas nnr u ans: van Ru n the ef a nter o f the ut oo H m , chi p i D ch sch l and o ne o f the est o our sts o f all t me was orn at Le en in 160 He b c l i i , b yd 7 . stu e un er Ja o ran Swanenhnrch t en w t P eter Lastman at A m di d d k b , h i h i , m and so i is sa w t a Pi as He rst w r e ster a a t J n n . o at Le en d , l , id , i h j fi k d yd , but in 163 0 he sett e at mster am and t ere ainte unt his eat in l d A d , h p d il d h t wen sse b w et 1669 . A s a a n er he has sur a fe as an cber o n p i p d y , by n e. His pri ncipal works are The Lecture 0» A natomy by Prqfeesor Tidp in the e l B t ann n o k a u a er The ertie he B C Com an 1 642 H g G l y ; cf i g c p y , ommon but erroneo us a e The Ni ht Watch and The S ndics the (c ly ly c ll d g ), y Qf h a a a Clot H ll both in the Museum at Amsterd m. A s portraih i ran mo n his est wor s in t s painter Rembrandt ho lds a h gh k . A g b k hi branch f are th f his w fe Sash a in the sden and a ie o art e ortra ts o re C sse a ler s. p i i , D l G l e rme a numero us s oo of a n ters Il fo d ch l p i . H V an der eist. IX.
B an m ne s v r n at er was orn it is t o u t in 16 13 at ot o c a na H b , h gh , , H u t v un er Pi nas and Frans a s Haarlem. e is s pposed o ha e studied d j ; H l has a so een su es as his nstru to r in a In 163 6 he sett e at A m» l b gg ted i c rt. l d s dam an r unt hi at in 16 0 He was the most o u ter d there labou ed il s de h 7 . p p lar ortra t- nte o f t me and r es he w e re for his wo r f r p i pai r his i , the p ic i d k a
x e e t a Rem ran t. master e e is the Sch dteremaalti d e ce d d hose p id to b d His pi c j , - m n n nte in 1648 . It onta ns the ortr ts o f twent fo ur e a d re es nm pai d c i p ai y , m e the banquet given by the arquebusiers of Amsterdam to celebrate the Peace w n h ms r M u eum The same a er con o f Westphalia ; it is no i t e A te dam s . g ll y he t Sebastian Com o f the ear 1657 a oo s et n s ndics t S . an tai s hi Sy of p y , y , g d k ch uv A Portra it a Lad 1647 b him is in the for which is in the Lo re. Qf y ( ) y Nat ona a er i l G ll y .
R u en s. X. b
Pa na Pant ns Rom s the ea of the F ems s oo was orn at ra , h d l i h ch l , b
S e en in W est a a in 15 . Man s ussions ave ta en a e con i g , ph li , 77 y di c h k pl c ern n his rt a e w h is var o us state to be Sie eu Co o ne or c i g bi hpl c , hic i ly d g , l g , PA INTERS.
ntwer and man u n v f n w He A p ; y a thori ties still co tinue in fa our o A t erp. s tu e un er To as Verhae ht am van Hoort and Ot on van enn. di d d bi g , Ad , h V He trave e and a nte in Ital 8 ain Fran e and En land and was ll d p i d y , p , c , g , mu atroni e the monar s at the various Courts where a was sa ch p z d by ch , h mu a omat st as a a nter His r n a rons were the u e o f ch dipl i p i . p i cip l pat D k Man a tu P . and P o f S a n the r h u e ert , hilip III hilip IV. p i , A c d k Alb ,
o verno r o f the Nether an s Mar e de Médicis and C ar es I. b w o m G l d , i , h l , y h he was n te in 163 0 He ve muc at ntwer w ere he e in k igh d . li d h A p, h di d 1 6 0 4 . li q paintings are almost inn umerable ; as many as are ’ ” men t one in Smt s ata o ue Raisonué . In the P na ot e at Mun c i d i h C l g i k h k i h ,
a o ne t ere are no ess ninet o five ntwer onta ns man of his l , h l than y . A p c i y
bes wo r His m i o ks. t aster e TIte Descent rom the roa s in the piec , f 0 , cathe ’ The Louvre o ss s w dral. p m e the series o t hnmense o rks painted by him to ’ ‘ ustrate the Li ves Herm I a Fraace aan rie de Médici The ill Qf V. f s. e ve ere a er at enna has his A r hbisho Ambrose r n in to admit B l d G ll y , Vi , c p efi g the m r h o d o E e or T eodooiue int Milan Cathe ral and h sion o St. Ild aso p , is Vi f ef . ” The Nat ona a er ossesses Het S amsch Hoed e The S anis Hat i l G ll y p p j p h , common but n orre t a le The a eau de Pa e Ru ens ex ly , i c c ly , c l d Ch p ill b
cel e ia he t ran es of a nt n s or Portra ture andh udsca e. l d t hree b ch p i i g, Hi t y , i , p e f ter uc V an Di ckor aens and He sta s e a s oo o a n s s h as J bli h d ch l p i , j , d ,
Sn ers who for man ears u e the o r of A rt in F an ers. ijd , y y ph ld gl y l d
V elaz u eZ XI. q . DIEGO Ro nn mus z Du Su va r V nu z ousz is commonly kno wn as V s naz oz z for in accordance with the n a usian ra t e he a o te his o , , A d l p c ic , d p d ’ H was orn at Sev e m n ef ren e t v t at o f his fat er. e mo thers na e i pr e c o Sil a, h h b ill 5 d rst stu e un er ran s o errera the e er and afterwar s in 1 99 , an fi di d d F ci c H ld , d te marr e He went to Ma r for the w ose au r he . with Pacheco , h d gh i d d id, ma e him his e n t me in 163 0 and was ntro uce to P . who s co d i , , i d d hilip IV , d a nter He trave e to ta in 1629 and a a n in 1648 but pri vate p i . ll d I ly , g i , resided in Madrid where he was the most o ular of all artists aud chiefly , p p , “ ” f n o f the n who a o nte him osenta or Ma or a ost the rie d Ki g, pp i d Ap d y , p which necessitated his constant attendance on Philip whenever he led the r in 1 60 He nte numerous ortra ts e as ue e at Ma 6 . a capital. V l q z di d d id p i d p i a and Mar anna his son Don Baltasar Car os f Phili . his w ves Is bella o p IV , i i , l , ri d of the Duke he M r h m of A ust a an and his daughter t Intanta a ia T e , ’ - v and o t er m ortant et so of the Court. He is after dOli ares, h i p p w , ' ' i al ainter o t S i His ohiet works are at Ma r . Mnrillmthe pr ncip p pa n. d id ' fl s O e sub ess t an sixt e o rtra t . i t In the Museum tha n are no l h y , chi y p i h jeut pieces the best are Lao W anderer The The Surrender of vi THE HEM ICYCI E.
“ B u dd as Las Lamas Los Bom cbos The and Lao (known ), ( “ M aniacs ( The Maids of the last represents Velasquez paint» in he rtr it P o I X t o a Infants Mar aret ortrait Po nn ent . g p of the g . His Qf p oc ’ is in Palaz s D a T Pa er s Famil is in B l o Ro . he int the ori , me y the e vedere, ” Vienna ; the Aguador the W ater-carrier )is in the Apsley House Collee i L n Ph i I o S h Wild B a in and il V. ain untin the t on , o don ; p f p g o r, the a i al alle N t on G ry.
V an D XII . yck .
A xro o v Dr x was r at 599 s u x m ac bo n Antwerp in 1 . He fir t st died with
Van Ba but a t rw a n f u a in the u i Ru . In len , f e rds spe t o r ye rs st d o of bens 1621 and 1623 to al and a he visited England , in he went It y, there st yed
a u a a l u i i al iti . bo t five ye rs, spent in tr vel ing thro gh most of the pr nc p c es f e his u Fla a a a i i Soon a t r ret rn to nders, he p id Engl nd short v s t from the a u in 163 0-3 1 but as find i l u a had H g e , he did not h mse f so pop l r as he antici awd r u a i u . 163 2 was i e p , he et rned to his n t ve co ntry In he inv t d a to i u and a i al t a n by Ch rles I . come to th s co ntry ; on his rr v h t mo arch him r i him i i at B a a treated ight royally , prov ded w th lodg ngs l ckfri rs, em i k l ta and him S a Van D c p oyed him cons ntly, knighted . ettled in Engl nd, j f u l al u a al and was a z all i o nd himse f most witho t riv . p troni ed by the nobil ty u Lo n 164 1 x ut u u of the co ntry. He died in don in . He e ec ed n mero s paint r l u u t but a ortrait- t r t lm t ings of e igio s s bjec s, it is as p pain e tha he stands a os u i all and his t are in rin ts i a nr v ed ; bes works the p collect ons of Engl nd. The chief picture in the National Gallery isthe Portra it of Om elina van dcr ‘ m G eest l w as a ai G evartius. hi in , ong kno n portr t of Good works by are Mu P P and i a St. t u B r . Vienn , nich , e ersb rg, aris, e l n
a v XIII . C ra aggio .
su s as w rmame t was r Ca a a i a a c n A n bo n at r v gg o, vill ge in the M a in 1569 For al a was a a x - au il nese, . sever ye rs he to gre t e tent self t ght ;
m M la u i i . then he re oved from i n to Venice, and st died the works of G org one ' T w R w a a ant a dA r ino hence he ent to ome, here he bec me the ssist of Ces re p , but afterwards won his way up to fame amongst artistsofme rits greater than ’ his own F r fact o t his a i i l a friend in a of an er to . o ced by the h v ng k l ed fit g , lea Pa al a t a and t to Malta in ve the p c pi al , he went to N ples, hence ; again u l t u M s a a ko a e ai i i t t o to tro b e, he wen hro gh e sin b c N pl s, s l ng fr m this c ty
Rome but was k S a r . L u r , ta en prisoner by p nia ds eft destit te on the sho e, he
wanderedas f aras Porto diedin 1609 . T ra t i i Ercole, where he hechiefcha c er st c w Ca a a n n a and a but ofthe orksof ravaggio is d ri g co tr st oflight sh de , theyare u il ul a at His i i l a sually spo ed by the v g rity of the tre ment. pr nc pa p intings
v iii ru e w crcw .
a re a n ert Pi t Pala The Jud ment o S lomo in Co c , in the t i ce , and g f o n , the - Ufliz i Fl The Three Asa clo s" in B Viw na and The , orence ; g , the elvedere , ,
A do ation o the Kin s at L i C u a B . r f g , e gh o rt, ne r ristol
R u s . XVI. i dael
Jas van Rmsm sc a Dut la a art was at on , the he d of ch ndsc pe , born llaarlem a u 1625 u i fr his bo t , and received instr ct on om elder brother,
Sa . A ld rt has t as a te and lomon e van Everdingen been men ioned his m s r,
u to a u i u B at m t am. ointed he is s pposed h ve st d ed nder erchem , A s erd He p at His a e fo r a and at l r 1682. r Amsterd m Haar em , whe e he died in works t he a a e i o u u iana van most part l ndsc p s, nt which fig res were introd ced by Adr W uw rman Li el a h i e ai o e b c t . de Velde, , g , and o hers He somet m s p nted u His i tu are u l a u marine s bjects. p c res seen in p b ic g lleries of E rope ; the ati a all has t The iva i an are a N on l G ery welve. pr te collect ons of Engl d lso
in his kOne his t The F rest in B l at i n a. rich wor s. of bes is o , the e vedere V e n
P e XVII. ott r.
P s P kz au w orrs a the i a ai was at En hni en , ch ef of anim l p nters , born in 1 625 f a W t . u u a P P r and i J e He st died nder his ther, ieter otte , w th cob de , at 1 6 i t Lake a D aa 64 u l S . t H rlem. In he entered the g d of , elft ; three r l te w t to the u and in 1652 tu to t yea s a r he en Hag e ; , , he re rned Ams er d m i in 654 his - i a The Youn B ull a 1 . , where he d ed , in twenty n nth ye r g ,
i and at 164 7 u ua a . the s gned d ed , is s lly considered his m sterpiece It is in al a u a a his Cow a 1648 The g lery of the H g e , which lso cont ins , of the ye r . — s i a St. P t u um t his o ne the L e Herm t ge , e ersb rg, pos eigh of best works , if o the Huntsman in f u m a t re re o n the f , o rteen co p rtmen s, p sents two centre “ ” “ ” mals The Cow a trial n a i f m ani . p nels the and co demn t on o an by the , i n and a 1649 a in i a u i The Y un s g ed d ted ( lso the Herm t ge), disp tes w th o g Ball the a u ou ma i of H g e the hon r of being his sterp ece .
au XVIII . Cl de .
Cu una au ss l ll Cu uns n s Le m ma CLAU DE G , common y ca ed , or
140m m was r Chfiteau Chama ne ear Charmea Dé a des , bo n at de g m , p rtement 1600 a to a and u i at a l u an Vosges, in . He tr velled It ly, st d ed N p es nder i ll t R became a u il art st named Wa s ; he then wen to ome, where he p p of F l in R me Ta i c a r. A fter a i to t o ss , the lands ape p inte vis t rance, he set ed 1627 and r la u e for re a e a an u ou in , the e he bo r d the g t r p rt of ind stri s and
u u a i x r ix . e s ccessf l c reer, wh ch e tended over mo e than s ty years He di d , in 16 2 at Ro me a ei ht dwo . C au a collection a his 8 , , ged g y l de made ofm ny of SCULPTO RS. ix
’ d s fo r n a Libra dt 7mm o f T h stu ie painti gs , c lling it a (Book rut ); it is n kf i ew he osse s o i A s n n i t p s ion f the Du e o Devonsh re . a la dscape pa nter he e l but is xce led by none ; he never succeeded , though he frequently m in the hu n fi u he ft ade attempts, drawing ma g re , and in this was o en A His L u J. o . h and r . assisted by F. a ri , Court is, Bot , othe artists pictures, acrial v z o f which are world famous for perspecti e and reali ation air, have Tu e S him in only been rivalled by rn r. everal good works by are the N l The L v n Par He i is on . ational Gal ery . ou re , , c tains sixteen is also well w for h kno n his etc ings.
‘ XL K u n . . Gaspard Po ssi
m n D e i 1 a a o c us r o f n arents Rom n 613 . The G s was born Fre ch p in , ’ N m e and Du het great icolas Poussin arried Gaspard s sist r, g became , under the n o f -ih - l l n he instructio his brother law, an exce lent a dscape painter ; is f m n Po ussm He u a a . s req ently called after him G s al o worked, it is said, un u o f u His u u u der Paul Bril ; but he was a st dent nat re. s bjects are s ally taken from the picturesque country in the neighbourhood of Rome and in He for other cities Italy. had a partiality representingstorms and h urri He 6 . in in 1 75 T Du het in canes died Rome . here are six good works by g he N t and h t n in t a ional Gallery, t ey are cons a tly to be seen the private col E n He e in lections of ngla d . is also well repr sented the galleries of Rome , M M he in Florence , Dresden , unich , and adrid , but has not a single work th L e ouvre .
SC U LPTO R S.
h e XX . Visc r.
' aras V isc n s a and o i Hermsnn o Nurem P , son pupil Vischer, was b rn at 1 455 and c one o f u t in o f berg in , be ame the most celebrated sc lp ors metal wa r His n n He s ti e . his time . assisted in his labours by sons earliest k ow o n e o f E 1495 in h work is the m um nt Archbishop rnst , cast in , the cat edral a t M d . In 1496 o the J IV ag eburg he pr duced monument of Bishop ohann .
' in i mast iece Shrine o St eb o . m Hs . S ald exe Breslau cathedral p is the f , o t 1507 - 15 19 n o f v h u ed in in a combi ation the Decorati e and Got ic styles .
ureh f e ald . he rk in the ch o Su S b N u t is ot r wo s we ma It is , at remberg y ' ' n o a relief ot Tbc o t o hc Viv in in the chu otice a cast l C rona i n t y , rch at W enb f o f The Eulo bmeat in the E ienkirche Nur m id em itt erg ; a relie , g at u b h rm: n n u in the u h berg ; a mon ment to Cardinal Al rec t Bra de b rg, ch rc at ' A sc hafienb ur E the W in the g, and one to the lector Frederick ise, castle c u W He t . Nu 1529 h rch of i tenberg died at remberg in . 1: THE HEM ICYC IJZ .
n m XXI. Bo te s . PIER RE Bo s raats (sometimes written Boxrsu rs)was a French sculptor fl t His f who ourished in the middle of the six eenth century . chie work in h o f is the urn , executed the Renaissance style , which contains the eart
. A H u e Francis I It was originally intended for the bbey des autes Br y res,
n b uil mthed l o f St . ear Ram o let, but is now in the ra Denis.
L u el R a XXII. ca d la obbi . Lu a DELLA s ana bo rn in n u 1400 m c Ro , who was Flore ce abo t , co menced his t f career as a goldsmi h , and a terwards became celebrated as a sculptor,
nz and H s f sin in o both i b o e a ble. i iese o B ys i the Duo o of n r m r ~ r f g g n m n n h o m ia Flore ce is well k own casts and engravings. But it is as the ventor o f the enamelled pottery that bears his name that Della Robbia will v be n L 14 82 f the e er most re owned. uca died in . A ter his death manu f l e A a acture of the De la Robbi ware was carried on by his nephew ndre , and ’ Andrea s three sons and their successors for nearly two centuries : many
x e are f in and S . In S u e ampl s still to be ound Italy, France , pain the o th Kensin tcn Mu u h fif — g se m t ere are nearly ty specimens one ofthem , a medal f e aflixed to f o il n lion , eleven e t in diameter, was the r nt of a v la in Flore ce 1453 h h about , and remained t ere uninjured for more than four undred years.
X n M a n . X III. Be edetto da ja o Bas s ns rro na M u n ro was born at Majano in 1444 ; he studied under i l and f h s e der brother Giuliano, became amous as a sculptor and architect n n his sf r in the in Flore ce . Amo g most succes ul wo ks are the marble altar Madonna o f Prnto the e u church of Mo nte Oliveto ; 9. in the cathedral ; m n to S in h of u in San n n ment t. Bartolo the churc the A gustines Gimig a o ;
t the L e o St. Fran is the in S the marble pulpit , wi h if f c on reliefs, anta Croce, Best o G iotto the i S z z Florence a f in cathedral ; and the tombofFil ppo tro i , N e M . A s in Santa aria ovella an architect , his gr atest work was the
4 He in 14 98 . l z Stro z ai h c n in 1 89 . Pa a m , w i h he comme ced died
v n n P n XXIV . Gio a i isa o .
’ ea b 12-10 his G 10VA NB I Pl s e , who was o at Pisa i , was a pupil o cele ‘ rn n f brat d Nicco ld nh — e father he i erited , however, but little ofhis style inclining
e and u u to . in his archit cture to Gothic art , in his sc lpt re realism From 1274 to 1280he worked with Nicco lo on the famc us fountain in the cathe and fr h n In dral of Perugia , om t at time ra ked as an artist of great merit. 12 he e b Saute a in he x u 78 was elect d to uild the Campo , at Pis , which e ec ted - merous ie o f . In 1218 S s h v d nu p ces sculpture he went to ien , w ere he recei e Il a commission to erect the facade of the cathedral . e afterwards laboured
xii THE HEMICYCLE.
an Ba B t Batti ter S Giovanni ttista, Florence, known as the aptis ery ( s o), which ' re o the stes oi P The Michelangelo said we worthy t be g aradise . oldest doorof A ndrea P a — bron z edecoratio ns on the the three isby i no the sides, only, being 1403 -27 e m by Ghiberti. For the second door ( ) sev ral of the ost famous t —m m J u sculptors of I aly a ong who were Ghiberti , acopo della Q ercia, B l S c— to m t runel eschi , and imone da Coli were invited co pe e the subject of ' to o t Am m and lsuac the model was be the story . A jury of eminent a i artists aw rded the prize to Ghiberti , and he then received the commiss on , H . e o A s andexecuted the door It repr sents the ist ry of Christ, and the postle c The 1425-52 a — and Fathers of the Chur h. door ( )facing the c thedral the ’ o f G hiberti s — ten principal one the three, and masterpiece contains scenes 1455 from Scripture history . Ghiberti died at Florence in .
VI P l XX II. a issy.
B ERN A RD vs PAU SSY A o G amnue , who was born at gen , a t wn on the , - 15 10 turns . and n fi in France , in , was by a potter, glass painter, scie ti c dis ' v M or t v co erer . any st ies are told o his po erty and resolute courage in early m o c life , until he produced examples of his ena elled p ttery, which attra ted M m the attention of the Constable de ont orenci , who allowed him to have
m fur T r . and roo s his workshops in the uile ies He was a Huguenot , in the m s t B m II. o . A on ti e of Henri was i prisoned rdeaux fterwards, the eve of
B m was v Me . E St. artholo ew , he sa ed by Catherine de dicis ventually he
B in 158 9 . P was thrown into the astille, where, , he died Genuine alissy mm ' o . T s tew ware is now very rare , and c ands high prices here are ex Ste the S K M amples of his dishes , ewers , in outh ensington use
XXIX. G oujon . “ ” o r Go uao x t Jes s , the father of French sculp ure , was a native of e du m m n 11 Goujon , D partement Gers ; he was uch e ployed by He ri , both c P e as a sculptor and archite t ; and , with ierre Lescot, superint nded the
i v . l u bu lding of the Lou re Goujon , as he is commonly cal ed, was a Hug enot ,
was in St. B 1572 and murdered the massacre of artholomew , in , while ~ A working on the bas reliefs of the Louvre. mong his best works are the “ ” iade Fontsine t n haso reliefs of the Na s of the ies Innoce ts ; the four “ ” Se lle dcs and B itma Caryatides in the Cariatides , the celebrated (a
o f Valentinois . portrait of the Duchess ), all in the Louvre
XXX . Cellini.
B exm vro Cet u s ! is known to us almost entirely from his autobio s m graphy . From it we learn that he was of ha ty tempera ent , quick to take ' e r o tien e, of a roving disposition , travelling f om place to place , but of iii sco u ro as. x
manners and talents calculated to please, if we are to judge from the many i all m elf s uflic ienc patrons he ga ned ; above , there is a large a ount of s y
e . B r 1500 be and conceit und rlying the whole book o n in , at Florence , “ e i —in to of r adopt d the art ofdes gn opposition the wishes his fathe , who had e fo r — f and int nded him a musician and began li e as a chaser worker in gold. He v S R M N P li ed at various times at Florence, iena, ome, ilan , aples, adua , andParis e m Ferrara , ; at all of which citi s he was war ly received and well tt i patronized , until , as was o en the case, he was obl ged to leave on account
i . i 157 1 of some quarrel end ng in bloodshed He d ed at Florence in , and A A m was buried in the church of the nnunziata . ong his patrons were P VIL o M ope Clement , who app inted him engraver to the int , the Duke ’ I oli x M i Ferraro t i P P . the of , Cardinals pp de ed ci and Cornaro , ope aul III , G n n e l rand Duke Cosmo of Flore ce , Fra cis L, and many oth r ce ebrated The e his fo personages. charact r of work is two ld one class comprises such - m &c . u metal objects as embossed shields, dagger hilts, edals , coins, , exec ted a a a i ac e with tr m care and del c y, and frequently in most pr cious materials ; and the other includes works which establish his claim to a high rank as a : o f these f is his Pcrm with tbe hmd aiw s sculptor the most amous q , bronz e in P l . e for him group the iazza del Granduca, F orence C llini claims t B Ro me a selfthat he killed the Cons able de ourbon, at thesiege of , and th t be pointed the cannon which caused the death of the Prince of Orange at the m S ’ A stor ing of the castle of ant ngelo.
P XXXI. ilon .
B lN Ptt o s was n d f G w a French artist, co cerning the etails of whose li e
bu . The ac 1559 his t little is known dateof his birth is pl ed about , and death occurred at Paris in 1599 (or He was the favourite sculptor o f Médicis m m . The Henri II and Catherine de , by who he was much e ployed. and Louvre still contains many of his works, amongst others the celebrated Three Graces supporting o n their heads a gilded bronze urn destined to
n . Of his n f contain the hearts of Henri and Catheri e productio s , the chie ‘ fiu o n La T mbeau dts alots o t V S . are the g res o , the t mb of Henri , at Denis. P d m te ilon worke in clay, arble , bronze, stone, and alabas r .
Pu XXXII. get . ” Pu s n o ar Poser The M was a (or ), ichelangelo of France, born at M r 16 2 v fi a seilles i 2 , a d ecei ed his st i st uctio in a t o his fathe n n r r n r n r fr m r, who B r was an architect and scul ptor. ewas then app enticed to a shipwright, b m m fo r but i i y who he was employed to carve orna ents ships ; , not l k ng the o n r fo r m occupati n, he we t to Italy and p actised so e time as a sculptor at xiv m a n sm w crc .
. then P R i Florence He studied under ietro da Cortona, at ome, and ass sted him i P P W -o ne in the decorat on of the itti alace of Florence. hen twenty n M R m years of age he retur ed to arseilles, but again went to o e, whither he had ee m m for A nne b n sent, to ake drawings of the ancient monu ents of A ustria . Soon ailer his return from Italy he gave up painting and devoted himself e t he e n irely to sculpture and architecture, in which was mployed both at
T M . S for m oulon and arseilles ent to Genoa the purpose of selecting arble , r m he stayed there , and the e executed any of his best works, the statues of t b t A mb osia ~ Tito t S . Se astian S . An nua ioa and r , and the bas relief of p in the h A ’ P chapel of t e lbergo de overi. Subsequently he was recalled to France him i ro . by Colbert , who obtained for a pens on of c wns He then e t e Milo o Grotoaa V is xecu ed his mast rpiece , the f , at ersailles, where also A d meda A e Pe eus and n e l x de and Dio ene . his rs ro , and a r lief of an r g s He M 694 retired to arseilles , where he resided until his death in 1 .
v n n B l XXXIII . Gio a i da o ogna.
m in 1524 . J was born at Douai , then a town of Flanders He studied sculpture under his father and Jacques de Breuck; but went to Italy when a e M e R m and about twenty years of g , and studied with ichelang lo in o e. fl became known for his models of celebrated works . He lived chie y at 0 his F 16 8 . S t lorence, where he died in everal of best works are s ill to be — seen in that city Ilia Rape of the Sabine Wo men and the Hercules slay ing ' Nessie the Lo ia Lanai P M omm , in gg de in the iazza Granduca ; the y in the m in o n z i osi P Uflisi. e U fii and the statue of C o I. the ortico degli He was f m m A o the original forty e bers of the cademy of Florence , and was much e b 1 He v patroniz d y the Grand Duke Francesco . also worked in Gene a t The M ercu and Ps he V s and o her towns of Italy. ry yc at ersaille is one s i vanni m B ot o o s a o of his be t works. He gained the name of G o fr m
e r fi Ne tune . his celebrat d fountain, with the b onze gure of p , in that city The B o n s' a French call him Je an D B o o .
A RTISTS OF ANTIQU ITY A ND A LLEGORIC F GURE I S.
A rt . 0. Gothic
Tms fi a o V gure is s id to be a portrait of L uise, daughter of Horace ernet, if P and w e of aul Delaroche.
b e A rt . . Gr ek
THE usmcrcw xvi .
A R C H I T EC T S.
e o rme XXXIV . D l .
Pnu xunar aw n s the so n o f a u er was o rn at ons a o ut D , b ild , b Ly b ’ 1500 and was at rst m l e in his fat er s us n . In 153 3 he was , fi e p oy d h b i ess sent to Rome w ere he was atro n e ar n Santa Cro e t ere he , h p iz d by C di al c ; h is overe the mo e rac t se the an ients for tra n the o ni volute d c d d p i d by c ci g I c , as n v In 153 6 he returne described on a capital in Sa ta Maria Traste ere, d to his nat ve t and t ere execu a few wor s but was soon summo ne i ci y, h wd k ; d ” to Par s at er ne dc Me is was a in te A umonier do Ro i andhe i by C h i dic , ppo d , re e ve ot er on He ass ste Pr ma in the ere t o n o f the m nu c i d h h ours. i d i ticcio c i a m n n e t to Fran s and the r n es o f a o s in St. e s. He u t the ci p i c V l i , D i b il Chfiteau de Men o n for the Car ina de Lorraine and om ete the Chhteau d , d l , c pl d de Ma ri n t e de ou o ne He a e the orse-shoe r o s . so er te Cou t d d, i h B i B l g l c d h d Ger at Fontainebleau ; the Royal residences De la Muette an St. ’ ma n-en-La e and ast th e e rate C ateau dA net exe i y ; , l ly , e c l b d h cu ted b omman of enr IL fo r the u ess dc Valentinois the orta , y c d H i , D ch , p l o f w has een re-ere te as the entran e to the Pa a s des eaux rts hich b c d c l i B A , P r B l w in e n f h i H s W t u lant he as em o th u o t e Tu er es. e . e a i i h , pl y d b ildi g l i
e in Par s in 16 The reater ort o n o f his wo r has een estro e . di d i 77 . g p i k b d y d He has been creditodw t u n s in the ere t on of w i if we are i h b ildi g c i h ch , to
e eve his o ra er Callct he onl a e a. m r art . b li bi g ph , , y pl y d ino p I
Peru z XXXV . z i .
Bu nae a Pnnuz z x a oo a nter but etter ar te was orn at m , g d p i , b chi ct, b A cca He t w r e ano near S ena in 148 1 . rs o e at o t rra andt en wen t to j , i , fi k d V l , h ’ ’ Rome w ere he a nte so me fre s oes in the ur o f Saut Ono trio h , h p i d c ch ch ; e H w u exe ute o thers at Ost a. e as m atroniz ed o st no C i for c d i ch p by Ag i hig , w f -f me i In 1 0h w hom be erected the ar a d Farnes na pal ace. 52 e as appointed ’ P ma n ar te t to St. eter s as su essor to Ra ae and e a es n o the l u chi c , cc ph l , d d ig p a of the ree Crws w i was su se uent an e San a o nto the G k , h ch b q ly ch g d by g ll i On n o me in 15 v l Ro man. the sa f Ro 2 Peru a ost all cki g 7 , zzi , h ing his om seioua fled to Siena w ere he was we re e ve ma e it ar e t p , , h ll c i d , d c y chit c , and em o e in the forti ations and var ous ui in s Retu n n pl y d fic i b ld g . r i g to Rome he ommen e the ere t o n of the Palam Massim but diedin 15 , c c d c i i , 8 7 , i m et n He w s wd P t efore ts o o . a bur in the an eon near Ra ae The b c pl i h , ph l. Natio nal Gallery contains two pai ntings ascribed to M fl u Adoration of Mo Kin r and an Animat ion o the M a i bu i is se en r g , f g ; t t a chitect that he efl nown is chi y k . A RC HIT ECTS. xvii
Erwin vo n Ste n a XXXVI . i b ch .
o ‘ e was o rn in 1244 t in Ba en or a m v s Sr mnacu b at Ste in d , r e e h in He i wn r te t o f art at St as ur w r e e 13 18 . s no as the a b g, h di d k chi c p r fi 2 the vau t o f t e cat e ra o f Stras ur . fte the re in 1 9 8 he re a re h h d l b g A , p i d l w I 1 t f n o n of e we and added several ne features. n 277 he laid he ou dati th e: tern fa a e and su er nten e its ere t o n unt his eat w en he was c d , p i d d c i il d h , h i erman wr ters as r e to Erw n the es n o f the succeeded by h s so ns. G i c ib i d ig v i no w s t Mr mes F r usso n o ns ers n e t e s re as t stan bu . Ja e a and of h pi , d ; g c id t e di t an the wor a o ve ment one tha h dno thing more h k b i d .
V II San so vin o XXX .
Jaco ro Tarn who was orn at F oren e m 1479 was a u o f A ndrea , b l c , p pil C ontueci da Monte Sansov no and assume the atter name out o f o m , i , d l c pli o f v me ment to his master. Jac0 be an e as a s u tor b ut a n e o p g li c lp , h i g b c a u n e wit San aflo ar ite t P m an e him a t to o e Ju us . be a o cq i d h g , ch c p li II , cc p i d d s a u i is2 Sansov no to Ro me an tu e r te re. A the kRo n t t sac o f me 7 di d chi c , , i went to en e w ere he was atron e the o e n rea r tt who V ic , h p iz d by D g A d G i i , ' im w e re a r n r He af rwar s entrus e h t th o f the ome o f Ma s. te t d i h p i i g d St. k d es ne the Pa a o o mm 6 San Maur o Pa a o Delfino La Z on e d ig d l zz C izi , l zz , ’ man the M nt the L rar o f St. Mar s San Fran es o e la na and ( i ), ib y k , c c d l Vig , y s He a so f Mars and o ther public building . l execu ted the co lo ssal figures o ’ tu w a n the an S n P a e He Nep ne hich st nd o Gi t s taircase i the Duc al al c . - e at en e in 1570 at the reat a e of n net one. di d V ic , g g i y
L u ar es XXXVIII . z c h .
R ‘ : Lun ac ns s ommen e in 1220 the at e ra of Amiens one o naa r m c c d , , c h d l , ic u n s in Eu I ue d com o f the noblest G o th b ildi g rope. t was contin d an and Re nau t de Cormo n plated by Thomas g l t.
. Pa a o XXXIX ll di .
’ A N DREA l ant amo one o f he most e e rate of the ta an ar tects . t c l b d I li chi , t n a i f r sev v s ts me where e w rn a i e n 15 18 . te era to Ro h as bo V c z A l i i , tu e ar te ture he se in his nat ve t and u t man o f the s di d chi c , ttled i ci y , b il y
’ s and n ll Sanso v n m n m P nest a a e as. When o was e o n r a fi p l c i b c i g i fi , lladio w s n v te to eni e and t ere he u t the e e rate ur es of a i i d V c , h b il c l b d ch ch San “ or o Ma o re and It Redmlore the and man e Gi gi ggi ( y W . t en e in 15 0 Pa a o wrote severa m r He died a V ic 8 . ll di l i po tant books on
ture w i ave een fre uent re rinwd. architec , h ch h b q ly p
XL B run el es . . l chi
I IPP B auxsu asc m who was orn in F o ren e in 13 7 w l v F L O , b l c 7 , il e er be celebrated as the arch i tect of the well -known dome of Santa Maria delFiore xviii THE R emo vers .
the at e ral F oren e The o n exam es to w he ou at t at ( c h d ), at l c . ly p l hich c ld h - me 1420 143 4 ref er were the omes of St. So a at Co nstant no e St. ti ( ) , d phi i pl , ’ Mar s at en e and the at e ral at P sa all of which were o f ess ameter k V ic , c h d i , l di t an Santa Mar a w a so ex ee s in e t the omes of the Pant eo n h i , hich l c d h igh d h ’ P e R me He was a so the ar te t San l o ren o a and St et rs at o . of t . l chi c z ,
F oren e and the e e rate P tt Pa a e. runel es e in 144 6 and l c , c l b d i i l c B l chi di d , w me n Sant F oren e mar e ust was ur e un er h s o n o i a Mar a . b i d d i d i , l c A bl b of him his u u ano is in the r t a sle by p pil B ggi igh i .
XLI n o o n es . I ig J .
mco Jo nes the so n o f a ot wo r er o f the t of Lon o n was orn I , cl h k ci y d , b ’ S Pau s a o ut e 15 2 W h near t. th ear 7 . t t e ass stan e it is sa of the l b y i h i c , id , Ear o f Pem ro e he v s te ta and stu e the eaut fu l b k , i i d I ly di d b i l archi te cture o f man o f the an t B some y Itali ci ies. y chance b e attracted the notice o f
C r st an . n o f enmar who too him to Co en a en and a h i i IV , Ki g D k , k p h g , p n h m o te i his ar te t. In 1606 he returne hi v p i d chi c d to s nati e co untry, and was atron e Pr n e enr so n o f James A the eat o o n p iz d by i c H y, I . t d h f th at y u g r n e n o Jo nes went a ain to ta w ere he rema ne severa ears p i c , I ig g I ly , h i d l y , andthen came back to England In 1619 he began a magnificent palace which he es ne fo r in James of w the an uet - o use in W d ig d K g , hich B q ing h hi tehall s ve m ll a e r u Ja es . e is a th t wa b ilt. I di d ; political tro ubles commenced early in the re n o f C ar es L and w t the ex e t on of the an uet n - o use ig h l ; , i h c p i B q i g h , “ ” the ran a a e ex sts onl on a er in The en ue o f n o Jones g d p l c i y p p D g I ig , b W am Kent in published y illi 1727 . The most e e rate o f his u n s in reat B r ta n are W ton ouse c l b d b ildi g G i i il H , ’ H u n e 00t a the a ra o f St . Jo n s Co e e O xfor and the f ll , q d gl h ll g , d , acades ’ f o ro o Pa a e and er o t s os ta n o o n ff o H ly d l c H i H pi l . I ig J es su ered much ur n the C v Wars but was resto re to his fo rmer os o d i g i il , d p ts n the acces He m s Lo s on o f C ar es . e at So erset ou e n o n in 1 5 1 i h l II di d H , d , 6 .
L rn o lf o C am o X II . A di bi .
A o aro m Cu elo miscelled o r LAN who was orn in ax ( ), b 1232 at ’ in the Val dRlsa studied a nt n un er C ma ue and s u ture Cells, , p i i g d i b , c lp with In 1226 be ass ste P sano in the s u t ure in the Niccolh Pisano . i d i c lp chancel of the cathedral o f Siena ; in 1280 b e enacted the mo numen t to the e Bra e in San omen o at Orv eto w ere he also e ora e Cardinal d y , D ic , i , h d c t d the facade of the cathedral : he has left o ther monuments o f his art as a B ut he is efl famo us as the or na es ner o f the at e ra sculptor. chi y igi l d ig c h d l Mar a del F ore o f F oren e ere te in 1294- 1474 o n the s te o f the (Santa i i ) l c , c d i
Re arata. He a so es ne the Pa P earlier church o f St. p l d ig d lazzo di odestd
THE HEM lC YCL E xx .
wo r n w re t n of otel To u ouse k to bri g him into notice as his stora io the H l , r l f f c nts Then fo l andsoon af ter he executedthe po ta o the ch urch o the Fmill . o we the ateu x o f Bern Balera o s and s the ast-name l d Ch i , y , Ch i y, Maiso n ; l d is n ere o ne o f his est wor s o f a se u ar ara ter as the ur of co sid d b k c l ch c , ch ch d e f a He sa be the nvento r of the the Val e Grac is o his ecclesiastic l . is id to i ur roo f a e after him a M ansart w o ns sts o f two anes on ea h c b , c ll d , hich c i pl c
stee r o ne l an a fla er e a v He e at Par s in 1666 . s e a e e o w d tt on o e. id , p b b di d i
a . XL VI. Vign o l
IAC MO B ano z z r ommo n a e i ns o n from his rt a e G O , c ly c ll d V , bi hpl c , near Mo ena was o rn in 150 Sent to o na to stu a nt n he d , b 7. B log dy p i i g, a an o ne t at art a most ent re in favo ur o f ar ite ture and wen t to b d d h l i ly, ch c , Ro me to earn o se vat o n the a n u ut 154 1 l by b r i charac tero f ncie t b ildings. Abo he fo o we Pr mat o to Fran e w ere he sta e two ears and ma e ll d i icci c , h y d y d
es ns fo r F ran s . On his retu n t ta he w r e aw e at Bo o na d ig ci I r o I ly o k d hil l g , at P n a w re h ne He ere te the ur t en a e e e es the Dncal Pa a e. h i c z , h d ig d l c c d ch ch o f the Mado nna e n e at ss s and the a e o f San ran es o d gli A g li , A i i , ch p l F c c ,
at Peru a. ntro u e asar to Julius III. he w as a o intedhis archi gi I d c d by V i , pp ta t and for him he u t the a u a one of his est ro u t o ns and c , b il Vill Gi li , b p d c i , ’ Sant n rea 5 Po nte Mo e fter the eat o f Ju us Barosz io was mu A d ll . A d h li , ch atron e the Car na exan er Farnese fo r whom he exe ute his p iz d by di l Al d , c d master e e the e e rate a a e at Ca o w was e orate b pi c , c l b d p l c prar la, hich d c d y w frescoes by Taddeo Z uccaro and other artists. He as invited by Philip to o to S a n and ta e art in the ere t o n of the Es ur a bu t be ex II. g p i k p c i c i l , c used himself o u the plea of o ld age and o f his appo intment as successor to ’ M e an o as ar te t P at Rome in 1 H e to St e r s. He e 573 . e is ich l g l chi c . te di d the aut or o f a e e rate treat se o n the five or ers o f r te ture w h c l b d i d A chi c , hich rs a ar in 1 M n av s e n t e e 563 . a e ons e n bee u s fi pp d y diti h i c p bli hed .
A ERS AND E RA P INT NG VERS.
L . F ra n el a X VII A g ic .
v o m PIE R ui o the so n o f P etro was orn th T O (G d , i ) b at Vicchio in e r v n o f Mu e o in 188 7 W e h o ne p o i ce g ll , . h n e j i d the Order o f Dominicans at F eso e in 14 07 he too the name o f o vann b w he was erw i l , , k Gi i . y hich afi ards ’ ” m hi et ne nown. Fro s he a the t t e o f L A n li and he k pi y g i d i l ge co, henoe “ ” is usua no wn as Fra n e o da F eso e Hi s lly k A g lic i l . s life i inseparably onne te w t the ibrtunes o f the re ous so et to w i he e o n c c d i h ligi ci y h ch b l ged. He ainte at P emie Fo i no Cartons oren e R e and rv p d i , l g , , Fl c , om , O ieto . He e at Ro me in 1455 and was ur e in Santa Mar a su ra v di d , b i d i p Miner a . i‘ R PA IN E s . xxi
o en e o s man f his est wo r s in the A ca em b ut mo re es a l Fl r c p s esses y o b k d y , peci l y in v of M the e orat o n o f w o u e n ne va ua e the Con ent St . ark , d c i hich cc pi d i l bl ’ ears o f the a nter s fe. Coronation (he Vir in in the Lo uvre is one y p i li A of g , , e e o f his mast rpi ces.
L M ercan t onio X VIII. .
Mi acaxvrosxo Rn n o xnl the most e e rate o f ta an en ravers was , c l b d I li g , 14 n Bo He s e born a ou t 75 i lo na. tu nicllo wor un er Francis and b , g di d k d , probably learned engraving froma go ldsmith he then commenced to practise e art o f en rav n w he was est ne to rr u th g i g, hich d i d ca y to a m c h higher state
erfe t o n t an it ever had rea e ef One f his . of p c i h ch d b ore. o earliest en r v n s o n o er was a ate o f P ra mus and Tlnlvbc after a n g a i g c pp pl y , pai ti ng by
Francis. In 1508 he went to en e and en rave The L e the Vi r in V ic , g d if of g , afte r Diirer in 16 10he remo ve to Rome w ere be en rave after Diirer ; d , h g d, , mano an ne and o t er art st w m Ra ae u o Ro s t u su ess. ph l , Gi li , B di lli , h i , i h ch cc A t he sa o f Ro me in 1527 he ost all his ossess o ns and w s t ck , , l p i , a He r turned t forc e to eave the t . e o o o na and ont nue to wor d l ci y B l g , c i d k t ere t his eat in 153 4 A rt owes mu to Mar anto nio for h ill d h , ch c , his graver has do ne more to diffuse a k now ledge of the masterpieces o f Raphael and ot er ta an a nters t an all the wr t n s of the r t s h I li p i h i i g c i ic .
L Edclinck X IX. .
ERA RD B us h man who was orn at ntwer in 1640 rst stu e he G , b A p , fi di d t art o f en rav n un er Co rne a Ga llo b ut went in 1665 to Par s and g i g d li , i , re e ve f urt er nstru t on from ran o s de Po w om o wever e c i d h i c i F c i illy, h , h , h s e He was mu em o e o u w soo n su r a s . s . ho ave him a p d ch pl y d by L i XIV , g ens o n a o tte him a artments in the o el ns and esto we o n him the p i , ll d p G b i , b d H e i Par s n 1 0 n . n i Edel hono ur of k ighthood e di d i 7 7. inckwas o ne o f the r v f oo w pri ncipal eng a ers o the Flemish sch l . His orks are executed with the
raver in a o et n s e st e. T e are ef fro g b ld , y fi i h d yl h y chi ly m the wo rks o f a Le run h r illiere M nar Pou ss n and Ra e R u a . ig d, B , g , ig d, i , ph l
L. o e n H lb i .
as o m iny — so met mes a e the o un er to Ha H i c ll d y g , distinguish him — fro m his fat er who was his nstru to r in art was orn in 149 a . h , i c b 7 t Augs remo ve to as e w en a ou t twent ears f burg ; he d B l h b y y o age . In 1526 he went t ro u u s ur to En an w ere he was re e ve b h gh A g b g gl d , h c i d y Sir Tho mas w ose are he had een re ommen e b Erasmus Mo re to . , h c b c d d y With the ex o v s s to Basic and F an ers o e n res e f e captio n f i i t l d , H lb i id d o r th rest of his life in En lan w ere he was most warm atro n e as a ortra t- ainter g d, h ly p iz d p i p by r his m n the no t enera H en . co a d . e e in H y VIII , , bili y g lly di d London o f THE namc vcw xxii . the a ue i 5 His master e e is The Madonna o the M a a Famil pl g n 1 48 . pi c f y y , in the armsta t a ler the re i a o f w i is in the res en al er D d G l y, pl c h ch D d G l y , w is P ' Tkomas o r t - ere a so omait o M r et A a n ter ol e n h l his f . s po rtrait pai H b i has few e ua s The r vate o e t o ns of En an sess numerous q l . p i c ll c i gl d pos exam es of his art In W n s r Cast e t ere is a f ne e t of chalk o on pl . i d l h i co ll c i
raw n s him. Of his oo ustrat o ns The Da o Death is the d i g by b k ill i , nce f
LL L e Su eur.
Ecsraoxm Ls 8 011 the so n o f a sim e n m Sueur never 08 , pl artisan a ed , P w w He u tte ar s ere he was orn in 16 17 and ere he e in 1655 . q i d i , h b , h di d was a u i Vo uet but his st e was nfl the wor s of Ra ae p p l of , yl i uenced by k ph l o f P For the o nvent o f the Car usiaus he ro u e his r a and oussin . c th p d c d p incip l
- r s nota He Histor o 86. Emma in twent two tures o m ete wo k , bly y f , y pic (c pl d i 1648 now in the Lo uvre He o inted numero us w r s f Hotels and n ) . p o k or the s Pa at E me n 1 N t ur hes o f Par . The St. ul ito a te in 4 9 for re ch c i p , p i d 6 o ame is now in the Lo uvre w h a er o ntains man o t ers o f his D , , hic g ll y c y h l s me o f his su e ts are ta en f rom en m r n a wor . So eat t o p i cip k bj c k h h y ho l gy , su as the six a nt n s of The Hi st or o Lo ve ain te r na for the ch p i i g y f , p d o igi lly ’ Cabinet dc IAmour in the ote Lam ert a H l b , P ris.
II a t el m L . Se s an o d P o o b i i b .
Sm sru xo m Faw cssco Lo c u m was born at en e in 148 5 and ( ) V ic , stu e un er ovann Bel ni and or one to w ose nfluen e he owes di d d Gi i li Gi gi , h i c
his owerf u o our n . o ut 15 12 he went to Rome and was em o p l c l i g Ab , pl yed ’ in the Farucsina w ere he a nte s enes fro m O v s Metam r , h p i d c id o phoses he also ren ere ass stan e to M e an e o in the S st ne C a e and d d i c ich l g l i i h p l , his st e a ne mu from the nfluen e o f t at master In 158 1 he w yl g i d ch i c h . as up o nte ee er o f the Seals w e n o f ea ause him t be w p i d K p , hich , b i g l d , c d o kno n ” as del P om o He e the o f e un er Pau III unt his eat w i b . h ld fic d l . il d h , hich ’ t Ro m 1 4 Luciani s ma er e e The R occurred a e in 5 7 . st pi c is aising of ' Laz arus in the at o na a er a nt in 15 17-19 for u o de Me , N i l G ll y, p i ed Gi li dici. He is a so famous fo r his o rtra ts o f w the est is t at of l p i , hich b h Andrea r in h Pa aw o or a Ro me w ere man o f his r n a w Do ia, t e l D i , , h y p i cip l orks are
st to be seen . The Nat o na a er Lon o n has Portraits o Sebastiano ill i l G ll y , d , f ’ Piombo and the Cardinal I o lito dc M edici a wor w del pp , k hich was o nce P tmit a Lod t A atha as r e to Ra ae and a or na S . re ent c ib d ph l ; of y g , said to rep s
L . O t en u a III g .
NDRE A o r C ros s is ommo n nown as ORO A G NA a orru t on o f A c ly k , c p i “ ’ ” the wbri ud L A rca uuo lo the r an e ven him b his otem q , g ( A ch g l), gi y c
e n xxiv ru smcr cw .
master e e The Last Su er in the refe tor o f the on se nt o f Santa Mar a pi c pp , c y c i dellc G raz ia.
In the ear 1500Ludovico Sf or a was attw ked Lo u s o f ran e y z by i XII . F c , ’ ta en r soner and sent to the ast e o f o es—and Leo nar o s u k p i , c l L ch d p blic at m to an nd h n w e areer M an a e e . In 1503 e r ur to F oren e re c il c et ed l c , h he a nte t e e e t Portrait o Mona Lisa andt s aux Ro kers h ra e he Wa p i d c l b d f y c , ot no w in the Lo u vre The Madonna In mt Christ St John and an b h ; , fi , .
An el no w at C ar to n Par andman o e wo r v s g , h l k ; y th r ks which ha e been lo t.
- In 15 16 w en six t fo ur ears o f a e at the n v tat on o f Fran s I. eonar o , h y y g , i i i ci , L d went to res e at a u o ux 1 He C tea C near Am o se w ere e in 15 . id h l , b i , h h died 9 was ur e in the Ro a a e in the ast e o f m o e b i d y l ch p l c l A b is .
LVI D o men in o . ich .
Do n smco Z u r mm ommo n no wn as Do u amcms o the son o f a , c ly k , s oema er was orn at o o na in 1 1 He rst stu ie art un er onis h k , b B l g 58 . fi d d d Di — — Calvaert a Fleming who had settled at Bologna b ut so on entered the schoo ls o f the Carracci (where G uido Re al andAlbano were his fello w-work men t u most and u t ma e oom s most s. His ), l i ly b one o f their eminent p pil e e rate a nt n s are The Communi on o Saint Jaronu now in the at an c l b d p i i g f , V ic at me Saint Cecilia n e Lou vre The Mart nlo m o St n at Ro i th . A es ; , ; y f g , ol n and The a t rdo to mt a fres o in Santa Mar a i o a M r m o St. S / e B g , y f p , c i d gl li at m n e Ro e. fter an un a fe omen ino e at a es in A g , A h ppy li , D ich di d N pl 64 1 3 some wa o 1 say he s p iso ned by rival artists.
F mmeo L ra B art o o . VII . l
Bs aroao n x so m Pa uo n ee Farro amo ommo n nown as Fra o w , c ly k ” " Barto ommeo or a o the s orten e fo rm o f arto o mmeo was l B cci ( h d B l ), “ ” a so a e e a Po rts e ause he res e in his out near the ate l c ll d d ll , b c id d y h g f He o San P er attolini w th P rts Ro mans oren e. was orn i G (no e o ), Fl c b in fli ' no nea r Pra In 14 1469 ro a in the v a e o f So ua tc . 4 , p b bly ill g g , 8 he entere th o f s l and t e re ma e the a uaintan e o f d e studi o Ros el i , h d cq c A lbertinelli w r ene nto a fr en s on ro en b the eat of , hich ip d i i d hip ly b k y d h the a ter in 1 15 In 49 6 -9 Barto ommeo w ose st e was nf uen e l t 5 . 1 9 l , h yl i l c d b stu of the wo r s o f Leona o and M e an e o ainte the ele rate y dy k rd ich l g l , p d c b d f res o of The Last ud ment in Santa Maria No ve a the ower rt o f w c J g ll , l pa hich was ex ute b l inell i is now in he os ta o o s te Santa Mar ec d y A bert i ; t t h pi l pp i ia. warm s i e of Savonaro a Barto ommeo ente re the o nvent o f the A di c pl l , l d c “ om n ans o f San Mar o at oren e in 1500: en e his nams D i ic c Fl c h c , Il ” F e w R me w ere be resume the mt . out 15 14 he ent to o w uaintanw Ab , h d q f R hael w hc h wn when art st v s te Florence 0 o ap , hom ad ltno that i i i d in 15 6. The friendship could not but have had a good efiect o n the manner o f Barto m PA lNTERS .
mmeo e n r i 5 oss lo R turn to Flo rence he e t e e n 1 17 . oren e esses . i g , di d h Fl c p man f h - no u o f St o is est wor In the P tt Pa ace is his we wn re . y b ks. i i l ll k fig Mark e w m t e z i In and h is e re resente in the a e and in h Ufi . the , ll p d Ac d y ,
Louvre Par s ar M adonna. and Saints o f the ear 15 11 and an Annun , i , e a y ,
ciation o f 15 15 .
L M ante na. VIII . g - s p ens Manrac ers who was orn at Padua in 143 1 was the l A , b , chi d of oor ts and a e r -bo The a nter ran es o S uarcione p paren ; sh phe d y . p i F c c q too him un er his re and u eve o e the en us o f the ou t k d ca , q ickly d l p d g i y h , who so rapidly improved that he soo n too k his place among the leading a nt N s ovann and ent e ers o f the da . He marr e icolosia a ster of p i y i d , i Gi i G il Be n mo n his master e es are and o ne the ear enet an s oo . lli i , j i d ly V i ch l A g pi c TimMado nna and Ei ht Saints in the c ur o f San Z eno at ero na the g , h ch , V ; n ne tem era a nt n on o t a le The Trium h Julius Ce sar in i p p i i gs cl h , c l d p of , Hampto n Co urt Palace ; The Madonna delta Vittoria (painted for his patron Lo o v o o n a a M ar u s o f Mantua in the Lou vre and a Vir in and d ic G z g , q i ), ; g Hol Child enliv ened in the Nationa a er es es e n a a nter y , l G ll y . B id b i g p i , Mante n w a u to en r v He e at Mantua in a as s r a er and ar tect . g c lp , g , chi di d
1506 . u o Ro mano LIX. Gi li . ’ u ius the q o m Pi erno i n P ure (Filippo) ne Gm nz z r (i s. J l son of Peter the so n o f P i annu is ommon no wn as u o . hil p Gi zzi) c ly k Gi li ” ” Ro mano and met m He was o rn in Rome in 14 98 so es as u o P . , i Gi li ippi b , and e ame the mos em n f u s o f Ra ae w o m he ass ste in b c t ine t o the p pil ph l , h i d man o f his wo r s He inte fres oes in the a Madame and in Santa y k . pa d c Vill ’ ' Tr n tade Mo nte A fte r Ra ae s eat in 1520 u o and his fe o w i i . ph l d h , Gi li ll u G iantrancesco Peuni e f i the Sula ostant no in p pil fi nished th resc oes n di C i ,
the Vat an . u o in 1524 entered the serv e o f Fe er o G onna a ic Gi li , , ic d ig g , u e Mantu f r e o f a o w be ate e Palaz ao del T6. w the e D k , hom decor d th ith c l ‘ brated frescoes ot me De eat o the Giants aod scenes fr m TimHistor f f , o y qf Cu i a s dPs c He a man d Ioe. est l s e a s oo o f art at Mantus and had p y b i h d ch l , y u s amo n w omwas Primnticc io ul o P e at Mantua in 1546 p pil , g h . Gi i ippi di d , ' on the eve o f his departure for Ro me : he had accepted the post ot architect ’ ‘ - o St. Peter s as su essor to n O t his ease c tures we ma t , cc Sa so vinc . l pi y no The Mart m t te rdo SI. St ken in San efano e oa The Hol St n y of p , , G ; y ” ’ Famil a n B assin in the res en a er and The I am u tsr y , , D d G ll y ; nf y q ps , in the ationa a ler N l G l y . LX a . Raph el .
‘ B a ri u m Saaz ro the Pr n e o f Pa nters was born in f , i c i , the town o Ur ino no t far from F o ren e in 4 His fat v 1 83 . er io ann Sant was a b , l c , h , G i i , ainter o f sinus fame e on n to the U m r an s o o u t n n n p b l gi g b i ch l , b ot ra ki g xxvi s H s m umorou .
a o n a . e n R a l was l n a old m g its best m sters He di d whe aph e e eve ye rs , and the bo was n la n l i h l nt Pern in y the p ced, by his u c es , w t the ce ebrated pai er g o . In 1504 Ra a l fi Fl n n o ph e rst visited ore ce, where he e j yed the friendship of Francis and Fm Ba o lo and a a n an rt mmeo , made cqu i t ce with the works of — Leonardo and Michelangelo new influences which considerably aff ected his
t l . W e t o n of r v to P a Bolo na and U n s y e ith the exc p i sho t isits erugi , g , rbi o, in Flore n n l 8 In a a n t he resided ce u ti 150 . th t ye r he we t o Home at the n a on o f Po J l IL and was the of his lf o n n ll i vit ti pe u ius , for rest i e c ti ua y in ' the lo n of a en ti and of his o Leo X Ra l emp yme t th t p ti success r . phae died at Ro me o n a the 6th of l 1520 t t - n ar his birthd y, Apri , , aged hir y seve ye s, and was in Pan n buried the theo . o l a are The Mm ia e (Ice Vi in in h His m st ce ebr ted pictures g of rg , t e B a M lan and The Madonna de l ran B a on in Pi P la rer , i , g c the tti a ce , ’ Flo rence ; La B elle Jardin/ien in the Louvre ; M adonna di Fuligno in at an Ro me M adonna olls Sofia in Pi the V ic , ; d the tti
Pala M adonna di San Sisto in the D n all and The T a » ce ; , resde G ery ; h ne uration la o in a an f o ai tin in fig , his st w rk the V tic . His resc p n gs the o oo all the Sto w e o f Va an n in 1508 and fin f ur r ms, c ed , the tic , begu ished by l af a are amon o no n a nt his pupi s ter his de th , g his m st re w ed chieveme s . His k a n for a no n as The C toons o Ra hael to desig s t pestries , w r f p , brought En lan o f a l I and now in K n C . So g d by order i g h r es , the uth Remingto n M u are n al a l a l o f the an l of h a use m , i v u b e ex mp es gr d sty e t is gre t master.
LXI Per n . . ugi o
s rno Vaxs uoox call Ps ausmo was n at Citth lla in , ed , bor de Pieve 1446 ; his popular name arose from his residence in the neighbo uring city
f P ac o f iz n . H n o erugia, where he quired the rights cit e ship e studied u der t Fl n e and a l t a n in a A ndrea Verrocchio, a ore c , his e r ier pic ureswere p i ted th t H also o at S na Vallo mbmsa a l B San S l and city. e w rked ie , , N p es , orgo epo cro,
f a n o n S . to a o n B ologna. He was one o the p i ters summ ed by ixtus IV d r l - l S n l his e fr n in 1480 the new y bui t isti e Chape ; thr e escoes there were begu , en a ft n v n and he was employed in Ro me fo r abo ut t ye rs. A er agai isiti g
Florence be returned to Perugia ; many memo rable scho lars so ught his in . and in 14 5 a on o n Ra l t en s truct ion , 9 he received m g them the y u g phae , h a old F P he m v to Ca t llo Font nano t welve ye rs . rom erugia re o ed s e di ig , in 1524 One o f o l r te a n n an al where he died . his m st ce eb a d p i ti gs is tar n t— 2 in the n l piece o f The Virgin adori g the Inf ant Chris No . 88 Natio a G ellery L h l n el X M e . II. ic a g o
IN OLO B 'ri m onl all a w sam was MICHELAO uo s aaao , co m y c ed ,
t ] in 14 5 . In 1488 ent r the b orn at Cas e Caprese , near Af oam, 7 he e ed
THE HEM ICYCLE .
n e acu sa Lomwo the n on o t L nz il Ma nific o you g r , d , gra ds f the grea ore o g n in 13 3 2 in the new s San Lo nz l n ll al a fi ished , acristy of re o, F ore ce, wi w ys ’ d r h l o a nd n nl to be considered the gran est t iump s o f the scu pt r s rt. a ext o y
t he wo rks of Phidias . LX M ac c III . as io .
T ma o m G i ovltmn m m ars to r f he fa l of the o s ( S e ) Ga , o t mi y ll s was orn at l San v nn 14 01 . a Sca nne r , b Caste Gio a i , in He was c ed ” o of his n u l o f Ma l no M because u tidy habits . He was the p pi so i , nd n o fi t n r in a n t n to on n the a u dert ok , as his rst impor a t wo k p i i g, c ti ue series of fresco es which his maste r had begun in the Brancacci chapel o f ’ o f a n in Flo n Masaccio s o in ha lwas the church the C rmi e, re ce. w rk the c pe c o l in a o o 1423 to 142 and the nt n he mp eted bout f ur years , fr m 7 ; pai i gs m
du ed v llo fo r so n 9. man mo l all c , mar e us you g , were studied as de s by the
eat a n o n Ra el. B f the gr est p i ters, d kw to the time of pha esides these rescoes, o nl un o o o f a Italian W il in San a M a a y d ubted w r the m ster is the y , t ri
o lla at Flo n . In 1427 l ft Fl n for Ro in N ve , re ce he e ore ce me , where he died
LX . n re del S rt IV A d a a o .
' D A o noao o o nl kno n l fr N DREA n a de Sa o o m the A is c mm y w as A dre rt , f n fa who was a ailo T ll la l has n a ll pro essio of his ther, t r. i te y , he bee misc ed V i was n at Flo fi to annucch . n in 14 7 and a r t He bor re ce 8 , was pp enticed rs a l mth but e n l t e n er B r le an er go ds i , subs que t y s udi d u d a i d Pi o di Cosimo . B u the r o f Ma a o lan a Leon o and Mi lan lo t wo ks s cci , Ghir d jo , ard , che ge had nfl n o n t l an t of o n more i ue ce his s y e th the precep s his instructo rs . Am g his
orks are Tits Histor t. Jo hn the Ba tist in S aleo t c bes w y q p , the c (the on v n o f r o o n in Flo n The Li e o St Fili o Bas in s e t ba ef oted m ks), re ce ; f f . pp } in o f e o f Sant a nn nz a Flo n and the court th church the issim A u i ta. re ce ; the M l Sa o he lo In 15 w a o adonna de in t C . 1 n a as n f m us cc , isters 8 A dre i duced
to to r was atroniz ed b F an i 1. u n go Pa is, where he much p y r c s He ret r ed , l in 5 19 to Flo n and of t in 158 1. are 1 , re ce, died there he p ague His works n at Flo n E all to no t M adonna di s best see re ce . speci y be iced is the Sa s m L s F an ccaco o f a 15 17 in U a . The v ha Charit o f the r the ye r , the i ou re a y ’ 15 1 In a o nal all r are Hol Famil and n a y ear 8 . the N ti G ery the e a y y A dre s
m LXV . C i abue .
G io vu tm Outsu m who was of n l fa l was o n at lo n in , a ob e mi y, b r F re ce 1240 and l v to been the l o f ants of l l , is be ie ed have pupi Gi Pisa. His co ossa M adonna a nte for the of Santa M r v ll at l en and , p i d church a ia No e a, F or ce, t ll e r ex nth m m n the i z n s i preserv d the e, cited such e usias a o g c ti e s to whom it xh te i in l was e ibi d, that t was carried solemn pub ic procession from the studio Ps mrs as. n ix
t o its a e in the ur He ex e ute ot er m ortant w r pl c ch ch. c d h i p o ks at Flo rence ami Pismand wss the painter of some o f the fi'escoes in the upper church o f San ran es o at A ss s —amo n st ot ers a me a on o n the e n F c c , i i g h d lli c ili g,
e resent n St John the Evan elist. In 13 02 C ma ue was en r p i g . g i b gaged on a He a ars to t mosaic in the Duomo o f Pisa . ppe have re urned to Florence
rt after t me and to ave e t ere. sho ly this i , h di d h
L o tto XVI . Gi .
' — A xo xo w rro Bo xno nn kno wn es o rro (the shortened form o f Angio - lotto —the son of a b ut ees of o ren e was orn in the str t of es nano ) g Fl c , b di ic V pig , m near F oren e in 1266 . It is saidt at he was e o e as a bo in wa l c , h pl y d y tching s ee and t at he was o ne da is overe C ma ue as b e was h p , h y d c d by i b , sketching
o ne o f his s ee u o n a stone. The a nte r sur r se at h p p p i , p i d the promise sho wn the lad who was no t more t an ten ears o ld too him t by , h y , k o Florence, and ’ ma e him his u . otto s ear est wor s were exe ute at F oren e and d p pil Gi li k c d l c , at the age o f twenty -two he hadalready attai ned such fame that he was invited to Ho me Po e Bo n fa e I . to ta e art in the e orat o n f by p i c V II , k p d c i o the ancient P e The a i l m as a of Sa nt et r. N v cd a osa w be t ere exe ute B ilic i ic hich h c d, ' ‘ re res n the s es in the Storm is reserve m the p e ting Di cipl , p d vestibu le o t the ’ T v Ro m k resent St Peter s. s s t to e to o lace i n 1298 soo n afterwar s p . hi i i p ; d we find o tto en a e on his M oses in the ur o f San ran es o t Gi g g d ch ch F c c , a 0 he ainted the tine se of fi'escoes in ss s . In 18 6 ries the Areua Cha el A i i p p , at Pa ua. A fier n s n t ese wor s he is sa to ave o ne to v non d fi i hi g h k id h g A ig , and to have returned to Florence in 13 16 ; but so me writers doubt if this r w rea u n r en m rtan w s b jo u ney as lly de tak . I po t ork y Giotto are found in man ot er a es es es t ose ment o ne a o ve n lu n h pl c b id h i d b , i c di especially Naples y g , L He was the f Ravenna M an P sa and u ca. rst o the , il , i , c fi mo dems who attempted portrai t painting with any success ; and some most interesting ’ f his skill in t at branch o t art ave been v m es o reser exa w h h p ed. In 184 0 ' ’ discover was ma e n the cha el of the Po esta s ulses at Fl y d , i p d p , orence, ot a series of portraits painted by Gio tto ; and amo ng them was o ne o f his fr en the oet Dante. o tto was no t o n a ainter. As a i d, p Gi ly p sculptor e reat The Cam an e of r and architect he was qually g . p il Flo ence was built his s o ar Ta eo a from the es ns which e eft e in him by ch l , dd G ddi , d ig h l b h d . otto e at F o ren e in Januar 13 3 7 and was ur e Gi di d l c y , , b i d with public solemnities in the cathedral .
L Po s in XVII. u s .
NtGOLAS Po ussin was orn in n e s in No rman w ere h b A d ly , dy, h e
e A fter stu e f and almost without mon y . dying ther or some time THE HEMJCYCLE xxx .
U Allemaud and ot er masters and from wor s of the ta an a nters he h , k I li p i , was at en t ena le to o in 1624 to a ne w ere he was nfluen e b l g h b d g , , B , h i c d y e o in ae and u o Ro mano were a so favo t the styl of D menich o. Raph l Gi li l uri e f v a n models with him. A ter se er l years of hard labour he was patro i ze d by a a er n and short after a su essfu areer O ne o ut to m C r n ar e hi . di l B b i i , ly cc l c p d 1640-42 he s ent in Par s but he had tt e s m at wit u The years p i , li l y p hy h Co rt fe and return n to Rome he ve a d wor e t ere t l his eat in li ; , i g , li d n k d h i l d h - mos u . A s a stor ca an s a e ainter Poussin is a t w t o t a 1665 hi i l l d c p p l i h rival. ” He has een a e w t ust e the Pr n e o f the ren s oo Ther b c ll d , i h j ic , i c F ch ch l. e no ess t an t rt -ei t wor s b him in the Lo uvre and a mos are l h hi y gh k y , l t all f hi re ous co m odtio ns he est are Elm er and ob master e es. O s t R son pi c ligi p b , saved rm the Water The Jud ment o Solo mon St Paul au h Alan a . t fi , g f , c g up e nd l atkcrin am a in the l a M sm lites M derness t into Heav n, g g Wi to his class a so e on his Fo ur Seaso ns—S rim o r The Terrestria l Paradise Sumner l b l g p g( ), or Ruth and B oar A utumn or Tbs Return the S ies 'om the Pr ( ), ( of p fi omised
Or heu sand ise and The M }: o Flora o f his astora s e ts p W , W f ; p l ubj c , T e She herds Arcadia and ast his owa 'tra t ainted at M e h p Qf ; , l ly, i , p
in 1650. The Nat o na a er has severa oo wo r s b Po uss n A i l G ll y l g d k y i , ’ B acchunal ta/n Festival A B acclamalic n Dance and r , , othe s.