BORN 1594, DIED 1646.
By Nicholas Poussin.
A NATIVE of Brussels, his father was his first master, and while quite young he found a generous patron in the Archduke Albert of Austria. This Prince gave the youth a pension to enable him to go to Rome, and study the art of sculpture, for which he evinced a considerable talent. But the Duke dying when Fiammingo (as he was called at Rome) was only twenty-five, the young artist found himself in great poverty, and obliged to work very hard to keep the wolf from the door. In the same straits was at that moment the afterwards celebrated painter Nicholas Poussin, and the two students became friends and companions, sharing a scanty but common purse. The painter and the sculptor sympathised in their love of art, but differed in their taste of subjects. Poussin’s tendency was for the severe, Fiammingo’s for the tender; his admiration for the works of Albano led him to the execution of childish forms in every imaginable attitude of grace and beauty; these were seldom of large dimension, but he modelled the ‘Putti’ for the high altar in St. Peter’s, the Santa Susanna in the Church of Our Lady of Loretto, near the Trajan Column, and a colossal St. Andrew, also in St. Peter’s. Bernini, who was evidently jealous of Fiammingo’s talent and popularity, said he was incapable of executing anything more than a gigantic boy, but the admirers of pure art gave the palm to Fiammingo far and away before the mannerist Bernini. Added to his ability, the Flemish sculptor was a conscientious and indefatigable workman. He not only produced statues, but made careful studies in detail of the human figure, the hands and feet in particular; but in spite of his industry he never extricated himself from poverty. In 1646 he meditated going to France, where doubtless his faithful friend, Nicholas Poussin, would have befriended him, but a cruel death awaited him in Rome. He was poisoned by his own brother, Jerome Duquesnoy, himself a sculptor, who was jealous of Fiammingo’s increasing fame. But the murderer did not escape vengeance; found guilty of many crimes, he was (according to the barbarous practice of the age) burned alive at Ghent. Of a gentle, amiable disposition and winning manners, Fiammingo was much esteemed and respected. Poussin and Albano were among his closest friends.
No. 11.
THE WIFE OF CARLO DOLCE.
Red dress. Brown cap. Holds a scroll and an olive branch.
By Carlo Dolce.
