A Horse. Apellês painted Alexander’s horse Bucephalos so true to life that some mares came up to the canvas neighing, under the supposition that it was a real animal (about B.C. 334).
A Man. Velasquez painted a Spanish admiral so true to life that when King Felipe IV. entered the studio he mistook the painting for the man, and began reproving the supposed officer for neglecting his duty in wasting his time in the studio, when he ought to have been with his fleet (1590-1660).
Accidental effects in painting.
Apellês, being at a loss to paint the foam of Alexander’s horse, dashed his brush at the picture in a fit of annoyance, and did by accident what his skill had failed to do (about B.C. 334).
The same tale is told of Protog´enês, who dashed his brush at a picture, and thus produced “the foam of a dog’s mouth,” which he had long been trying in vain to represent (about B.C. 332).
Painters (Prince of). Parrhasios and Apellês are both so called (fourth century B.C.).
Painters’ Characteristics.
Angelo (Michael): an iron frame, strongly developed muscles, and an anatomical display of the human figure. The Æschylos of painters (1474-1564).
Carracci: eclectic artists, who picked out and pieced together parts taken from Correggio, Raphael, Titian and other great artists. If Michael Angelo is the Æschylos of artists, and Raphael the Sophoclês, the Carracci may be called the Euripidês of painters. I know not why in England the name is spelt with only one r.
Correggio: known by his wonderful foreshortenings, his magnificent light and shade. He is, however, very monotonous (1494-1534).