The third picture contains, among others, the portraits of some famous English, German and French architects of the later Middle Ages. Erwin von Steinbach (died 1318) is famous for his magnificent west front of Strasburg Cathedral, of which, unfortunately, one of the magnificent openwork steeples was never finished. The Abbé Suger was the patriotic adviser of the French kings Louis VI and VII, and was justly celebrated for his efforts for the welfare of the poorer classes at a time when their interests were generally disregarded (twelfth century).
Anthemius, to the right of the Abbé, was the great Grecian architect and mathematician who designed for Justinian (A. D. 532) the daring and original plans of St. Sophia at Constantinople. He is credited with knowing the ancient secret of making "burning-glasses" (magnifying glasses) which was not rediscovered for hundreds of years. He is also said to have understood the making of gunpowder, and the application of steam as a motive power.
The seated figure to the left in the fourth illustration is the great painter, sculptor and architect, Michelangelo. At his right are Torrigiano, his early rival, who is famous for the fine carvings on the tomb of Henry VII in Westminster Abbey; Gian di Bologna (1524-1608), a follower of Michelangelo, and Bandinelli, another rival whom he soon outdistanced. Next to Peter Vischer, (died 1524), one of the early bronze workers in Nürnberg, renowned for his tomb of St. Sebald in that city, is the erratic, bloodthirsty, gallant, and most eminent of all metal-workers, Benvenuto Cellini. His Diana of Fontainebleau, and Perseus of Florence, are his finest large works, but he principally devoted himself to smaller articles such as chased vases, etc. His autobiography is one of the most delightfully naïve "human documents" existing. In the background is a model of the Perseus.
The next seated figure is Jean Goujon, (1530-1572) one of the restorers of French sculpture as an independent art; he is well known for his decoration of the Louvre. Beside him is the martyr-artist Bernard Palissy (1499?-1589), who after sixteen years of incessant and unremunerated labor discovered a pure white enamel ground for pottery which was suitable for the application of decorative art. He was reduced to the extremity of poverty before he made his great discovery, even having to burn his furniture to feed his furnaces. But as soon as his animal sculpture in pottery became famous and prosperity began to shine upon him, he became the victim of religious persecution. Charged with being a Calvinistic preacher, it was only by the aid of powerful friends who admired his genius that he escaped for some years, and finally he was thrown into the Bastile, where he perished.
In our last illustration Michelangelo is at the extreme right. At his left stands Donatello (1386-1468) the forerunner of the greatest of the Florentines, and probably the next best known name in Italian sculpture. His most famous works are in low relief, but several of his full-sized statues, such as the St. George in Florence, are very fine. Luca della Robbia, (seated,) and Ghiberti were almost contemporary with Donatello, and, next to Michelangelo, these three are perhaps the greatest glory of Florence in sculpture. Luca della Robbia invented the process of enameling terra cotta; his groups of Singers at Florence are his most famous work. Ghiberti is chiefly known by his wonderful bronze gates to the Baptistery at Florence. Looking over Donatello's shoulder is Andrea Verrocchio (1432-1488), painter and sculptor, a follower of Donatello, and the teacher of the universal genius Leonardo da Vinci.
Niccolo Pisano, the third figure from the left is of earlier date than those hitherto mentioned. He was architect, sculptor and painter; under the inspiration of his genius sculpture was revived in Italy, and every branch of art was influenced. Imitation of nature in place of conventionalism was introduced. He is one of the few really great sculptors of the Gothic period; he may be considered really to be the forerunner of the Renascence. His most famous work, the marble pulpit in the baptistery at Pisa, was finished in 1260.
THE TWO FAIRYLANDS—A Study in the Literature of Wonder: by Kenneth Morris
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