A History of Art for Beginners and Students: Painting, Sculpture, Architecture

by Clara Erskine Clement Waters

Bernini executed a colossal equestrian statue of Constantine for the portico of St. Peter's; he made another of Louis XIV., which was changed into a Marcus Curtius, and sent to Versailles. He also executed the fountain in the Piazza Navona, at Rome, which is one of his exaggerated works.

François Duquesnoy (1594-1646) was born at Brussels, and was known in Rome as Il Fiammingo. The Archduke Albert sent him to Rome to study, and he was a contemporary of Bernini. When his patron died Duquesnoy was left without means, and was forced to carve small figures in ivory for his support. His figures of children, which were full of life and child-like expression, became quite famous. An important work of his in this way is the fountain of the Manneken-Pis, at Brussels.

His masterpiece is a colossal statue of St. Andrew in the Church of St. Peter's; it occupied him five years, and is one of the best works of modern art. His statue of St. Susanna in the Church of Santa Maria di Loreto, in Rome, is simple and noble, and is much admired. Little is known of this artist's life, and it is said that he was poisoned by his brother when on his way to France.

There was a goodly company of sculptors following Bernini, but none whose works or life was of sufficient importance or interest to demand our attention here, and we will pass to the sculpture of France, where the arts were less devoted to the service of the Church and more to the uses of kings, princes, and noblemen. The court of France was devoted to pomp and pleasure, and sculpture was used for the glorification of the leaders in all its follies. In one sense this is more agreeable than the art in Italy which we have been considering, for nothing can be more disagreeable than a false religious sentiment in art; it is only when the artist is filled with true devotion and feels deeply in his own soul all that he tries to express in his work that religious representations can appeal to us agreeably or benefit us by their influence.

Simon Guillain (1581-1658) is especially interesting as the sculptor of the statue of Louis XIV. as a boy, which is in the Louvre; those of his parents are also there; formerly they decorated the Pont au Change. Other works by this master are in the same museum.

Jacques Sarrazin (1588-1660) is only known by his works, which are now in the Louvre, of which a bronze bust of the Chancellor Pierre Séguier is worthy of notice.

François Anguier (1604-1669) was born at Eu, in Normandy, and was the son of a carpenter, who taught his son to carve in wood at an early age. When still quite young François went to Paris to study, and later to Rome. He became one of the first artists of his time in France, and was a favorite of the king, Louis XIII., who made him keeper of the gallery of antiquities, and gave him apartments in the Louvre. Most of his important works were monuments to illustrious men. His copies of antique sculptures were very fine.

Michel Anguier (1612-1686) was a brother of the preceding, with whom he studied until they both went to Rome. Michel remained there ten years, and was employed with other artists in St. Peter's and in some palaces. In 1651 he returned to Paris, and assisted François in the great work of the tomb of the Duke de Montmorenci at Moulins.

Michel executed a statue of Louis XIII., which was cast in bronze. He adorned the apartments of Queen Anne of Austria in the Louvre, and for her executed the principal sculptures in the Church of Val de Grace; a Nativity in this church is his best work. His sculptures are seen in various churches, and he also executed statues of ancient gods and vases for garden ornaments. He was a professor in the Academy of Arts in Paris, and wrote lectures on sculpture.

François Girardon (1630-1715), born at Troyes, was a protégé of the Chancellor Séguier. Louis XIV. gave him a pension, by which he was enabled to study in Rome, and after his return to France the king gave him many commissions. The monument to Cardinal Richelieu in the Church of the Sorbonne is from the hand of this sculptor. Perhaps his best-known work is the Rape of Proserpine at Versailles. He made an equestrian statue of Louis XIV., which was destroyed in the Revolution; a model of it in bronze is in the Louvre. His bust of Boileau is a strong, fine work. Many of his sculptures were destroyed by the revolutionists.