Anecdotes of Painters, Engravers, Sculptors and Architects, and Curiosities of Art (Vol. 2 of 3)
AUTHOR OF A BIOGRAPHICAL HISTORY OF THE FINE ARTS.
NEW YORK: R. WORTHINGTON, Publisher, 770 Broadway.
COPYRIGHT, S. SPOONER, 1853. Reëntered, G. B., 1880.
The name of this illustrious painter was Tiziano Vecellio or Vecelli, and he is called by the Italians, Tiziano Vecellio da Cadore. He was descended of a noble family; born at the castle of Cadore in the Friuli in 1477, and died in 1576, according to Ridolfi; though Vasari and Sandrart place his birth in 1480. Lanzi says he died in 1576, aged 99 years. He early showed a passion for the art, which was carefully cultivated by his parents.—Lanzi says in a note, that it is pretty clearly ascertained that he received his first instruction from Antonio Rossi, a painter of Cadore; if so, it was at a very tender age, for when he was ten years old he was sent to Trevigi, and placed under Sebastiano Zuccati. He subsequently went to Venice, and studied successively under Gentile and Giovanni Bellini. Giorgione was his fellow-student under the last named master, with whom Titian made extraordinary progress, and attained such an exact imitation of his style that their works could scarcely be distinguished, which greatly excited the jealousy of Bellini.
On the death of Giorgione, Titian rose rapidly into favor. He was soon afterwards invited to the court of Alphonso, Duke of Ferrara, for whom he painted his celebrated picture of Bacchus and Ariadne, and two other fabulous subjects, which still retain somewhat of the style of Giorgione. It was there that he became acquainted with Ariosto, whose portrait he painted, and in return the poet spread abroad his fame in the Orlando Furioso. In 1523, the Senate of Venice employed him to decorate the Hall of the Council Chamber, where he represented the famous Battle of Cadore, between the Venetians and the Imperialists—a grand performance, that greatly increased his reputation. This work was afterwards destroyed by fire, but the composition has been preserved by the burin of Fontana. His next performance was his celebrated picture of St. Pietro Martire, in the church of SS. Giovanni e Paolo, at Venice, which is generally regarded as his master-piece in historical paint ing. This picture was carried to Paris by the French, and subsequently restored by the Allies. Notwithstanding the importance of these and other commissions, and the great reputation he had acquired, it is said, though with little probability of truth, that he received such a small remuneration for his works, that he was in actual indigence in 1530, when the praises bestowed upon him in the writings of his friend Pietro Aretino, recommended him to the notice of the Emperor Charles V., who had come to Bologna to be crowned by Pope Clement VII. Titian was invited thither, and painted the portrait of that monarch, and his principal attendants, for which he was liberally rewarded.—About this time, he was invited to the court of the Duke of Mantua, whose portrait he painted, and decorated a saloon in the palace with a series of the Twelve Cæsars, beneath which Giulio Romano afterwards painted a subject from the history of each. In 1543, Paul III. visited Ferrara, where Titian was then engaged, sat for his portrait and invited him to Rome, but previous engagements with the Duke of Urbino, obliged him to decline or defer the invitation. Having completed his undertakings for that prince, he went to Rome at the invitation of the Cardinal Farnese in 1548, where he was received with marks of great distinction. He was accommodated with apartments in the palace of the Belvidere, and painted the Pope, Paul III., a second time, whom he represented seated between the Cardinal Farnese and Prince Ottavio. He also painted his famous picture of Danaë, which caused Michael Angelo to lament that Titian had not studied the antique as accurately as he had nature, in which case his works would have been inimitable, by uniting the perfection of coloring with correctness of design. It is said that the Pope was so captivated with his works that he endeavored to retain him at Rome, and offered him as an inducement the lucrative office of the Leaden Seal, then vacant by the death of Frà Sebastiano del Piombo, but he declined on account of conscientious scruples. Titian had no sooner returned from Rome to Venice, than he received so pressing an invitation from his first protector, Charles V., to visit the court of Spain, that he could no longer refuse; and he accordingly set out for Madrid, where he arrived at the beginning of 1550, and was received with extraordinary honors. After a residence of three years at Madrid, he returned to Venice, whence he was shortly afterwards invited to Inspruck, where he painted the portrait of Ferdinand, king of the Romans, his queen and children, in one picture.—Though now advanced in years, his powers continued unabated, and this group was accounted one of his best productions. He afterwards returned to Venice, where he continued to exercise his pencil to the last year of his long life.
Shearjashub Spooner
ANECDOTES
OF
PAINTERS, ENGRAVERS
Sculptors and Architects,
CURIOSITIES OF ART.
S. SPOONER, M. D.,
TITIAN,—SKETCH OF HIS LIFE.
TITIAN'S MANNERS.
TITIAN'S WORKS.
TITIAN'S IMITATORS.
TITIAN'S VENUS AND ADONIS.
TITIAN AND THE EMPEROR CHARLES V.
TITIAN AND PHILIP II.
TITIAN'S LAST SUPPER AND EL MUDO.
TITIAN'S OLD AGE.
MONUMENT TO TITIAN.
HORACE VERNET.
THE COLOSSEUM.
NINEVEH AND ITS REMAINS.
DESCRIPTION OF A PALACE EXHUMED AT NIMROUD.
ORIGIN AND ANTIQUITY OF THE ARCH.
ANTIQUITIES OF HERCULANEUM, POMPEII, AND STABIÆ.
ANCIENT FRESCO AND MOSAIC PAINTING.
MOSAIC OF THE BATTLE OF PLATÆA.
THE ALDOBRANDINI WEDDING.
THE PORTLAND VASE.
ANCIENT PICTURES OF GLASS.
HENRY FUSELI—HIS BIRTH.
FUSELI'S EARLY LOVE OF ART.
FUSELI'S LITERARY AND POETICAL TASTE.
FUSELI, LAVATER, AND THE UNJUST MAGISTRATE.
FUSELI'S TRAVELS, AND HIS LITERARY DISTINCTION.
FUSELI'S ARRIVAL IN LONDON.
FUSELI'S CHANGE FROM LITERATURE TO PAINTING.
FUSELI'S SOJOURN IN ITALY.
FUSELI'S "NIGHTMARE."
FUSELI'S "ŒDIPUS AND HIS DAUGHTERS."
FUSELI AND THE SHAKSPEARE GALLERY.
FUSELI'S "HAMLET'S GHOST."
FUSELI'S "TITANIA."
FUSELI'S ELECTION AS A ROYAL ACADEMICIAN.
FUSELI AND HORACE WALPOLE.
FUSELI AND THE BANKER COUTTS.
FUSELI AND PROF. PORSON.
FUSELI'S METHOD OF GIVING VENT TO HIS PASSION.
FUSELI'S LOVE FOR TERRIFIC SUBJECTS.
FUSELI'S AND LAWRENCE'S PICTURES FROM THE "TEMPEST."
FUSELI'S ESTIMATE OF REYNOLDS' ABILITIES IN HISTORICAL PAINTING.
FUSELI AND LAWRENCE.
FUSELI AS KEEPER OF THE ROYAL ACADEMY.
FUSELI'S JESTS AND ODDITIES WITH THE STUDENTS OF THE ACADEMY.
FUSELI'S SARCASMS ON NORTHCOTE.
FUSELI'S' SARCASMS ON VARIOUS RIVAL ARTISTS.
FUSELI'S RETORTS.
FUSELI'S SUGGESTION OF AN EMBLEM OF ETERNITY
FUSELI'S REPORT IN MR. COUTTS' BANKING HOUSE.
FUSELI'S GENERAL SARCASMS ON LANDSCAPE AND PORTRAIT PAINTERS.
FUSELI'S OPINION OF HIS OWN ATTAINMENT OF HAPPINESS.
FUSELI'S PRIVATE HABITS.
FUSELI'S WIFE'S METHOD OF CURING HIS FITS OF DESPONDENCY.
FUSELI'S PERSONAL APPEARANCE, HIS SARCASTIC DISPOSITION, AND QUICK TEMPER.
FUSELI'S NEAR SIGHT.
FUSELI'S POPULARITY.
FUSELI'S ARTISTIC MERITS.
FUSELI'S MILTON GALLERY, THE CHARACTER OF HIS WORKS, AND THE PERMANENCY OF HIS FAME.
SALVATOR ROSA.
SALVATOR ROSA AND CAV. LANFRANCO.
SALVATOR ROSA AT ROME AND FLORENCE.
SALVATOR ROSA'S RETURN TO ROME.
SALVATOR ROSA'S SUBJECTS.
FLAGELLATION OF SALVATOR ROSA.
SALVATOR ROSA AND THE HIGGLING PRINCE.
SALVATOR ROSA'S OPINION OF HIS OWN WORKS.
SALVATOR ROSA'S BANDITTI.
SALVATOR ROSA AND MASSANIELLO.
SALVATOR ROSA AND CARDINAL SFORZA.
SALVATOR ROSA'S MANIFESTO CONCERNING HIS SATIRICAL PICTURE LA FORTUNA.
SALVATOR ROSA'S BANISHMENT FROM ROME.
SALVATOR ROSA'S WIT.
SALVATOR ROSA'S RECEPTION AT FLORENCE.
HISTRIONIC POWERS OF SALVATOR ROSA.
SALVATOR ROSA'S RECEPTION AT THE PALAZZO PITTI.
SATIRES OF SALVATOR ROSA.
SALVATOR ROSA'S HARPSICHORD.
RARE PORTRAIT BY SALVATOR ROSA.
SALVATOR ROSA'S RETURN TO ROME.
SALVATOR ROSA'S LOVE OF MAGNIFICENCE.
SALVATOR ROSA'S LAST WORKS.
SALVATOR ROSA'S DESIRE TO BE CONSIDERED AN HISTORICAL PAINTER.
DON MARIO GHIGI, HIS PHYSICIAN, AND SALVATOR ROSA.
DEATH OF SALVATOR ROSA.
DOMENICHINO.
THE DULLNESS OF DOMENICHINO IN YOUTH.
DOMENICHINO'S SCOURGING OF ST. ANDREW.
THE COMMUNION OF ST. JEROME.
DOMENICHINO'S ENEMIES AT ROME.
DECISION OF POSTERITY ON THE MERITS OF DOMENICHINO.
PROOF OF THE MERITS OF DOMENICHINO.
DOMENICHINO'S CARICATURES.
INTRIGUES OF THE NEAPOLITAN TRIUMVIRATE OF PAINTERS.
GIUSEPPE RIBERA, CALLED IL SPAGNOLETTO—HIS EARLY POVERTY AND INDUSTRY.
RIBERA'S MARRIAGE.
RIBERA'S RISE TO EMINENCE.
RIBERA'S DISCOVERY OF THE PHILOSOPHER'S STONE.
RIBERA'S SUBJECTS.
RIBERA'S DISPOSITION.
SINGULAR PICTORIAL ILLUSIONS.
RAFFAELLE'S SKILL IN PORTRAITS.
JACOPO DA PONTE.
GIOVANNI ROSA.
CAV. GIOVANNI CONTARINI.
GUERCINO'S POWER OF RELIEF.
BERNAZZANO.
INVENTION OF OIL PAINTING.
FORESHORTENING.
METHOD OF TRANSFERRING PAINTINGS FROM WALLS AND PANELS TO CANVASS.
WORKS IN SCAGLIOLA.
THE GOLDEN AGE OF PAINTING.
GOLDEN AGE OF THE FINE ARTS IN ANCIENT ROME.
NERO'S GOLDEN PALACE.
NAMES OF ANCIENT ARCHITECTS DESIGNATED BY REPTILES.
TRIUMPHAL ARCHES.
STATUE OF POMPEY THE GREAT.
OF ANTIQUE SCULPTURES IN ROME.
ANCIENT MAP OF ROME.
JULIAN THE APOSTATE.
THE TOMB OF MAUSOLUS.
MANDROCLES' BRIDGE ACROSS THE BOSPHORUS.
THE COLOSSUS OF THE SUN AT RHODES.
STATUES AND PAINTINGS AT RHODES.
SOSTRATUS' LIGHT-HOUSE ON THE ISLE OF PHAROS.
DINOCRATES' PLAN FOR CUTTING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.
POPE'S IDEA OF FORMING MOUNT ATHOS INTO A STATUE OF ALEXANDER THE GREAT.
TEMPLE WITH AN IRON STATUE SUSPENDED IN THE AIR BY LOADSTONE.
THE TEMPLE OF JUPITER OLYMPIUS AT ATHENS.
THE PARTHENON AT ATHENS.
THE ELGIN MARBLES.
ODEON, OR ODEUM.
PERPETUAL LAMPS.
THE SKULL OF RAFFAELLE.
THE FOUR FINEST PICTURES IN ROME.
THE FOUR CARLOS OF THE 17TH CENTURY.
PIETRO GALLETTI AND THE BOLOGNESE STUDENTS.
ÆTION'S PICTURE OF THE NUPTIALS OF ALEXANDER AND ROXANA.
AGELADAS.
THE PORTICOS OF AGAPTOS.
THE GROUP OF NIOBE AND HER CHILDREN.
STATUE OF THE FIGHTING GLADIATOR.
THE GROUP OF LAOCOÖN IN THE VATICAN.
MICHAEL ANGELO'S OPINION OF THE LAOCOÖN.
DISCOVERY OF THE LAOCOÖN.
SIR JOHN SOANE.
SOANE'S LIBERALITY AND PUBLIC MUNIFICENCE.
THE BELZONI SARCOPHAGUS.
TASSO'S "GERUSALEMME LIBERATA."
GEORGE MORLAND.
MORLAND'S EARLY TALENT.
MORLAND'S EARLY FAME.
MORLAND'S MENTAL AND MORAL EDUCATION, UNDER AN UNNATURAL PARENT.
MORLAND'S ESCAPE FROM THE THRALDOM OF HIS FATHER.
MORLAND'S MARRIAGE, AND TEMPORARY REFORM.
MORLAND'S SOCIAL POSITION.
AN UNPLEASANT DILEMMA.
MORLAND AT THE ISLE OF WIGHT.
A NOVEL MODE OF FULFILLING COMMISSIONS.
HASSELL'S FIRST INTERVIEW WITH MORLAND.
MORLAND'S DRAWINGS IN THE ISLE OF WIGHT.
MORLAND'S FREAKS.
A JOKE ON MORLAND.
MORLAND'S APPREHENSION AS A SPY.
MORLAND'S "SIGN OF THE BLACK BULL."
MORLAND AND THE PAWNBROKER.
MORLAND'S IDEA OF A BARONETCY.
MORLAND'S ARTISTIC MERIT.
CHARLES JERVAS.
JERVAS THE INSTRUCTOR OF POPE.
JERVAS AND DR. ARBUTHNOT.
JERVAS' VANITY.
HOLBEIN AND THE FLY.
HOLBEIN'S VISIT TO ENGLAND.
HENRY VIII.'S OPINION OF HOLBEIN.
HOLBEIN'S PORTRAIT OF THE DUCHESS DOWAGER OF MILAN.
HOLBEIN'S FLATTERY IN PORTRAITS—A WARNING TO PAINTERS.
HOLBEIN'S PORTRAIT OF CRATZER.
HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.
SIR JOHN VANBRUGH AND HIS CRITICS.
ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.
PRECOCITY OF LUCA GIORDANO.
GIORDANO'S ENTHUSIASM.
LUCA FA PRESTO.
GIORDANO'S SKILL IN COPYING.
GIORDANO'S SUCCESS AT NAPLES.
GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.
GIORDANO INVITED TO FLORENCE.
GIORDANO AND CARLO DOLCI.
GIORDANO'S VISIT TO SPAIN.
GIORDANO'S WORKS IN SPAIN.
GIORDANO AT THE ESCURIAL.
GIORDANO'S HABITS IN SPAIN.
GIORDANO'S FIRST PICTURES PAINTED AT MADRID.
GIORDANO A FAVORITE AT COURT.
GIORDANO'S RETURN TO NAPLES.
GIORDANO'S PERSONAL APPEARANCE AND CHARACTER.
GIORDANO'S RICHES.
GIORDANO'S WONDERFUL FACILITY OF HAND.
GIORDANO'S POWERS OF IMITATION.
GIORDANO'S FAME AND REPUTATION.
REMARKABLE INSTANCE OF GIORDANO'S RAPIDITY OF EXECUTION.
REVIVAL OF PAINTING IN ITALY.
GIOVANNI CIMABUE.
CIMABUE'S PASSION FOR ART.
CIMABUE'S FAMOUS PICTURE OF THE VIRGIN.
THE WORKS OF CIMABUE.
DEATH OF CIMABUE.
GIOTTO.
GIOTTO'S ST. FRANCIS STIGMATA
GIOTTO'S INVITATION TO ROME.
GIOTTO'S LIVING MODEL.
GIOTTO AND THE KING OF NAPLES.
GIOTTO AND DANTE.
DEATH OF GIOTTO.
BUONAMICO BUFFALMACCO.
BUFFALMACCO AND HIS MASTER.
BUFFALMACCO AND THE NUNS OF THE CONVENT OF FAENZA.
BUFFALMACCO AND THE NUNS' WINE.
BUFFALMACCO, BISHOP GUIDO, AND HIS MONKEY.
BUFFALMACCO'S TRICK ON THE BISHOP OF AREZZO.
ORIGIN OF LABEL PAINTING.
UTILITY OF ANCIENT WORKS.
BUFFALMACCO AND THE COUNTRYMAN.
BUFFALMACCO AND THE PEOPLE OF PERUGIA.
BUFFALMACCO'S NOVEL METHOD OF ENFORCING PAYMENT.
STEFANO FIORENTINO.
GIOTTINO.
PAOLO UCCELLO.
UCCELLO'S ENTHUSIASM.
UCCELLO AND THE MONKS OF SAN MINIATO.
UCCELLO'S FIVE PORTRAITS.
UCCELLO'S INCREDULITY OF ST. THOMAS.
THE ITALIAN SCHOOLS OF PAINTING.
CLAUDE JOSEPH VERNET.
VERNET'S PRECOCITY.
VERNET'S ENTHUSIASM.
VERNET AT ROME.
VERNET'S "ALPHABET OF TONES."
VERNET AND THE CONNOISSEUR.
VERNET'S WORKS.
VERNET'S PASSION FOR MUSIC
VERNET'S OPINION OF HIS OWN MERITS.
CURIOUS LETTER OF VERNET.
CHARLES VERNET.
ANECDOTE OF CHARLES VERNET.
M. DE LASSON'S CARICATURE.
FRANK HALS AND VANDYKE.