These self-imposed labors have not been assumed through any mercenary or selfish motives. His experience has taught him the precarious results of literary and publishing enterprises of the nature undertaken by him, in the present state of the Fine Arts in our country. The amount of capital and labor he has invested has been enormous, and the risks proportionate; his books admonish him that he has already embarked many thousands of dollars which he can never hope to regain. Still, what he has accomplished is to him a theme of pride and exultation; it has also been a labor of love. His reward is the consciousness of having done something toward awakening a love for, and an interest in art and artists, and that he will leave to his countrymen, for their delight and instruction, so many world-renowned and world-approved specimens of the highest art. Posterity must be his judge; but he cannot forbear to add, that can he now succeed in restoring the great works before mentioned, and leave them as a rich legacy to his country, for the promotion of the Fine Arts in coming time, he will have accomplished his every earthly aspiration.

CONTENTS.

[Infelicities of Artists—an Extract from the American Edition of Boydell’s Illustrations of Shakspeare, containing anecdotes of Torregiano, Banks, Barry, Blake, Proctor, &c.,][1]
[Advantages of the Cultivation of the Fine Arts to a Country,][6]
[Antiquity of the Fine Arts,][12]
[The Pœcile at Athens,][13]
[Mosaics,][15]
[The Olympian Jupiter,][17]
[Painting from Nature,][18]
[Apelles,][18]
[Apelles and the Cobbler,][23]
[Apelles’ Foaming Charger,][24]
[Apelles and Alexander,][25]
[Apelles and Protogenes,][25]
[Benjamin West’s Ancestry,][28]
[West’s Birth,][29]
[West’s first remarkable Feat,][30]
[Little Benjamin and the Indians,][30]
[West’s Cat’s Tail Pencils,][30]
[West’s First Picture,][31]
[West’s first Visit to Philadelphia,][32]
[West’s Ambition,][33]
[West’s first Patron,][34]
[West’s Education,][35]
[West’s Dedication to Art,][36]
[West’s Early Prices,][38]
[West’s Arrival at Rome,][39]
[West’s Early Friends,][41]
[West’s Course of Study,][43]
[A Remarkable Prophecy,][43]
[West’s Fondness for Skating,][44]
[Michael Angelo,][47]
[Michael Angelo and Julius II.,][50]
[St Peter’s Church,][50]
[Michael Angelo and Lorenzo the Magnificent,][52]
[The Cartoon of Pisa,][53]
[Michael Angelo’s Last Judgment,][54]
[Michael Angelo’s Coloring,][56]
[Michael Angelo’s Grace,][57]
[Michael Angelo’s Oil Paintings,][58]
[Michael Angelo, his “Prophets,” and Julius II.,][58]
[Bon-Mots of Michael Angelo,][59]
[Washington Allston,][60]
[Allston and Vanderlyn,][62]
[American Patronage at Home and Abroad,][66]
[Raffaelle Sanzio di Urbino,][70]
[Raffaelle’s Ambition,][70]
[Raffaelle and Michael Angelo,][71]
[Raffaelle’s Transfiguration,][72]
[Death of Raffaelle,][74]
[Character of Raffaelle,][74]
[La Bella Fornarina,][75]
[The Genius of Raffaelle,][76]
[Raffaelle’s Model for his Female Saints,][76]
[Raffaelle’s Oil Paintings,][77]
[Portraits of Pope Julius II.,][78]
[Manners of Raffaelle,][78]
[Peter Paul Rubens,][79]
[Rubens’ Visit to Italy,][80]
[Rubens’ Enthusiasm,][80]
[Rubens’ Return to Antwerp,][81]
[Rubens’ Habits,][82]
[Rubens’ Detractors,][82]
[The Gallery of the Luxembourg,][83]
[Rubens sent as Ambassador to the Courts of Spain and England,][83]
[Death of Rubens,][85]
[Rubens’ Numerous Works,][86]
[The first Picture brought to Rome,][88]
[Etruscan Sculpture,][90]
[Campus Martius,][91]
[Electioneering Pictures at Rome,][91]
[Dramatic Scenery at Rome,][93]
[Apelles of Ephesus and Ptolemy Philopator,][93]
[Apelles’ famous Picture of Calumny,][94]
[Sir Godfrey Kneller,][96]
[Kneller and James II.,][97]
[Kneller’s Compliment to Louis XIV.,][97]
[Kneller’s Wit,][98]
[Kneller’s Knowledge of Physiognomy,][99]
[Kneller as Justice of the Peace,][99]
[Kneller and Clostermans,][100]
[The Cavaliere Bernini,][101]
[Bernini’s Precocity,][101]
[Bernini’s Striking Prediction,][101]
[Bernini and Louis XIV.,][102]
[Bernini’s Works,][103]
[Bernini and the Verospi Hercules,][104]
[Fanaticism destructive to Art,][104]
[Paintings Evanescent,][106]
[The English National Gallery,][107]
[The Nude Figure,][109]
[Different Schools of Painting Compared,][110]
[The Old Masters,][111]
[Prices of Galleries,][112]
[Love makes a Painter,][112]
[John Wesley Jarvis,][113]
[The Biggest Lie,][118]
[Jarvis and Bishop Moore,][119]
[Jarvis and Commodore Perry,][119]
[Jarvis and the Philosopher,][120]
[Jarvis and Dr. Mitchell,][120]
[Jarvis’ Habits,][121]
[Robert Fulton,][122]
[An Exalted Mind and True Patriot,][123]
[Gilbert Charles Stuart,][124]
[Stuart goes to London,][125]
[Stuart as Organist,][126]
[Stuart’s Introduction to West,][126]
[Stuart and West,][128]
[Stuart’s Scholarship,][131]
[Stuart’s Rule of the Payment of Half-Price at the First Sitting,][131]
[Stuart’s Powers of Perception,][132]
[Stuart’s Conversational Powers,][133]
[Stuart in Ireland,][136]
[Stuart’s Return to America,][137]
[Stuart and Washington,][137]
[Stuart’s Last Picture,][138]
[Stuart’s Reputation,][139]
[Stuart’s Drawing,][139]
[Stuart a Punster,][140]
[Stuart born in a Snuff-Mill,][140]
[Stuart’s Nose,][140]
[Stuart’s Sitters,][141]
[Stuart’s Mark,][142]
[Stuart and his Dog,][142]
[The Temple of Diana at Ephesus,][144]
[The Dying Gladiator,][144]
[Fabius Maximus,][145]
[Love of the Arts among the Romans,][146]
[Comparative Merits of the Venus de Medici and the Venus Victrix,][147]
[The Effect of Painting on the Mind,][147]
[Pausias,][148]
[The Garland Twiner,][148]
[Protogenes, the great Rhodian Painter,][149]
[Parrhasius,][150]
[The Demos, and other Works of Parrhasius,][150]
[Parrhasius and the Olynthian Captive,][151]
[The Vanity of Parrhasius,][152]
[The Invention of the Corinthian Capital,][152]
[The Invention of Sculpture,][153]
[Praxiteles,][154]
[Praxiteles and Phidias compared,][154]
[The Works of Praxiteles,][155]
[The Venus of Cnidus,][155]
[Praxiteles and Phryne,][156]
[The King of Bithynia and the Venus of Cnidus,][157]
[Phidias,][157]
[Phidias and Alcamenes,][159]
[Ingratitude of the Athenians,][159]
[The Jupiter of Phidias,][160]
[Phidias’ Model for the Olympian Jupiter,][161]
[Apollodorus, the Athenian,][162]
[Apollodorus, the Architect,][163]
[Trajan’s Column,][164]
[The Death of Apollodorus,][165]
[Hogarth,][166]
[Hogarth’s Apprenticeship,][167]
[Hogarth’s Revenge,][168]
[Hogarth’s Method of Sketching,][168]
[Hogarth’s Marriage,][168]
[Successful Expedient of Hogarth,][169]
[Hogarth’s Picture of the Red Sea,][170]
[Hogarth’s Courtesy,][171]
[Hogarth’s Absence of Mind,][171]
[Hogarth’s March to Finchley,][172]
[Hogarth’s unfortunate Dedication of a Picture,][172]
[Hogarth’s manner of selling his Pictures,][172]
[Hogarth’s Last Work,][175]
[Jacques Louis David,][176]
[David’s Picture of the Coronation of Napoleon,][178]
[David and the Duke of Wellington,][184]
[David and the Cardinal Caprara,][185]
[David at Brussels,][185]
[Pierre Mignard,][186]
[Sir Joshua Reynolds,][188]
[Reynolds’ New Style,][189]
[Reynolds’ Prices,][191]
[Reynolds’ in Leicester Square,][192]
[The Founding of the Royal Academy,][194]
[Reynolds and Dr. Johnson,][195]
[Dr. Johnson’s Friendship for Reynolds,][196]
[Johnson’s Apology for Portrait Painting,][197]
[The Literary Club,][198]
[Johnson’s Portrait,][198]
[Johnson’s Death,][199]
[Reynolds and Goldsmith,][199]
[The Deserted Village,][200]
[Pope a Painter,][201]
[Reynolds’ First Attempts in Art,][202]
[The Force of Habit,][202]
[Paying the Piper,][203]
[Reynolds’ Modesty,][203]
[Reynolds’ Generosity,][203]
[Reynolds’ Love of his Art,][204]
[Reynolds’ Criticism on Rubens,][205]
[Reynolds and Haydn’s Portrait,][206]
[Rubens’ Last Supper,][206]
[Reynolds’ Skill in Compliments,][207]
[Excellent Advice,][208]
[Sir Joshua Reynolds and his Portraits,][208]
[Reynolds’ Flag,][209]
[Burke’s Eulogy,][209]
[Reynolds’ Estimate and Use of Old Paintings,][210]
[Influence of the Inquisition upon Spanish Painting,][211]
[A Melancholy Picture of the State of the Fine Arts in Spain,][217]
[Don Diego Velasquez,][226]
[Velasquez honored by the King of Spain,][227]
[Velasquez’s Slave,][228]
[Luis Tristan,][229]
[Tristan and El Greco,][230]
[Alonso Cano,][230]
[Cano’s Liberality,][231]
[Cano’s Eccentricities,][231]
[Cano’s Hatred of the Jews,][232]
[Cano’s Ruling Passion strong in Death,][234]
[Ribalta’s Marriage,][235]
[Aparicio, Canova, and Thorwaldsen,][236]
[Bartolomé Estéban Murillo,][236]
[Murillo and Velasquez,][236]
[Murillo’s Return to Seville,][237]
[Murillo and Iriarte,][238]
[Murillo’s Death,][238]
[Murillo’s Style,][239]
[Murillo’s Works,][240]
[Murillo’s Assumption of the Virgin,][241]
[Castillo’s Tribute to Murillo,][242]
[Correggio,][243]
[Correggio’s Grand Cupola of the Church of St. John at Parma,][244]
[Correggio’s Grand Cupola of the Cathedral at Parma,][246]
[Correggio’s Fate,][249]
[Annibale Caracci’s Opinion of Correggio’s Grand Cupola at Parma,][253]
[Correggio’s Enthusiasm,][255]
[Correggio’s Grace,][255]
[Correggio and the Monks,][256]
[Correggio’s Muleteer,][256]
[Duke of Wellington’s Correggio captured at Vittoria,][257]
[Correggio’s Ancona,][257]
[Portraits of Correggio,][258]
[Singular Fate of Correggio’s Adoration of the Shepherds,][261]
[Magdalen by Correggio,][264]
[Discovery of a Correggio,][265]
[Lionardo da Vinci,][266]
[Precocity of Da Vinci’s Genius,][266]
[Extraordinary Talents of Da Vinci,][268]
[Da Vinci’s Works at Milan,][268]
[Lionardo da Vinci and Leo X.,][271]
[Lionardo da Vinci and Francis I.,][271]
[Death of Da Vinci,][272]
[Da Vinci’s Learning,][272]
[Da Vinci’s Writings,][273]
[Da Vinci’s Sketch Books,][275]
[The Last Supper of Lionardo da Vinci,][276]
[Copies of the Last Supper of Da Vinci,][278]
[Da Vinci’s Discrimination,][279]
[Da Vinci’s Idea of Perfection in Art,][280]
[Da Vinci and the Prior,][282]
[Da Vinci’s Drawings of the Heads in his celebrated Last Supper,][284]
[Francis I. and the Last Supper of Da Vinci,][284]
[Authenticated Works of Da Vinci,][285]
[Works in Niello,][286]
[Sir Christopher Wren,][290]
[Wren’s Self-Command,][290]
[Wren’s Restraints in designing his Edifices,][292]
[The Great Fire in London,][293]
[St. Paul’s Cathedral,][294]
[Wren’s Death,][295]
[Wren and Charles II.,][295]
[Thomas Banks, the English Sculptor,][295]
[The Genius of Banks,][297]
[Banks’ Kindness to Young Sculptors,][298]
[The Personal Appearance and Character of Banks,][299]
[Flaxman’s Tribute to Banks,][300]
[Joseph Nollekens, the English Sculptor,][301]
[Nollekens’ Visit to Rome,][301]
[Nollekens and Garrick,][302]
[Nollekens’ Talent in Bust Sculpture,][303]
[Nollekens’ Bust of Dr. Johnson,][304]
[Nollekens’ Liberality to Chantrey,][304]
[Nollekens and the Widow,][305]
[Nollekens’ Compliments,][306]
[An Overplus of Modesty,][307]
[The Artist Footman,][308]
[An Architect’s Stratagem,][309]
[The Freedom of the Times in the Reign of Charles II.,][309]
[Weesop,][310]

ANECDOTES
OF
PAINTERS, ENGRAVERS, SCULPTORS, AND ARCHITECTS.

EXTRACT FROM TEXT TO PLATE LIII OF THE AMERICAN EDITION OF BOYDELL’S ILLUSTRATIONS OF SHAKSPEARE.

It is deemed appropriate to devote this page to the infelicities which often fall to the lot of men of genius, in hopes to strike a sympathetic chord; since to them the world owes all that is beautiful as well as useful in art. It is well known that men of fine imaginations and delicate taste, are generally distinguished for acute sensibilities, and for being deficient in more practical qualities; they are frequently eccentric, and illy adapted to contend with the coldness and indifference of the world, much less its sarcasm and enmity. The history of Art is full of melancholy examples.

When Torregiano, the cotemporary of Michael Angelo, had finished his exquisite group of the Madonna and Child for the Duke d’Arcos, with the assurance of a rich reward, the nobleman sent two servants, bearing two well-filled bags of money, with orders to bring the work to his palace. The sculptor, upon opening the bags, found nothing but brass maravedi! Filled with just indignation, he seized his mallet, in a moment of uncontrollable rage, and smashed the beautiful group into a thousand pieces, saying to the servants, “Go, take your base metal to your ignoble lord, and tell him he shall never possess a sculpture by my hand!” The infamous nobleman, burning with shame, resolved on a terrible revenge; he arraigned the unhappy artist before the Inquisition, on a charge of sacrilege for destroying the sacred images. Torregiano was imprisoned and condemned to death by torture; but to escape that awful fate, he destroyed himself in the dungeon.

It is not necessary to go back further than the history of this work, to find melancholy examples of the trials of genius. Thomas Banks vainly endeavored to introduce a lofty and heroic style of sculpture into his native country. He could obtain no commissions to execute in marble his most beautiful and sublime compositions, and was compelled to confine himself to monumental sculpture. James Barry, after struggling with poverty and neglect all his days, died in a garret, a raving maniac. A subscription had been started for his relief; but it was all expended in defraying his funeral expenses, and in erecting a monument to his memory in St. Paul’s Cathedral, with this inscription,—“The Great Historical Painter, James Barry. Died, Feb. 1806, aged 65”! His remains were laid out in state, in the Great Room of the Adelphi—the true and appropriate monument of his genius. The Society had requested the members of the Royal Academy to decorate their Room, and when all others declined, Barry nobly came forward, and offered his services gratuitously, which were gladly accepted. He spent seven long years in decorating this apartment with fresco paintings, which the Society publicly declared was “a national ornament, as well as a monument of the talents and ingenuity of the artist”; and Dr. Johnson said, “They shew a grasp of mind that you will find nowhere else.” Observe the contrast: Cunningham says, that when he began this great work, he had but a shilling in his pocket, and during its execution he lived on the coarsest fare, in a miserable garret, subsisting by the sale of an occasional drawing, when he could find a purchaser!