Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 14

Though your caricatures for myself I despise, Make me handsomer now in the mult.i.tude's eyes, Or see if I threaten in vain."

Now the painter was bold and religious beside, And on faith he had certain reliance, So earnestly he all his countenance eyed, And thanked him for sitting with Catholic pride, And st.u.r.dily bid him defiance.

Betimes in the morning, the Painter arose, He is ready as soon as 'tis light; Every look, every line, every feature he knows, 'Twas fresh to his eye, to his labor he goes, And he has the wicked old one quite.

Happy man, he is sure the resemblance can't fail, The tip of his nose is red hot, There's his grin and his fangs, his skin cover'd with scales And that--the identical curl of the tail, Not a mark--not a claw is forgot.

He looks and retouches again with delight; 'Tis a portrait complete to his mind!

He touches again, and again feeds his sight, He looks around for applause, and he sees with affright, The original standing behind.

"Fool! idiot!" old Beelzebub grinned as he spoke, And stamp'd on the scaffold in ire; The painter grew pale, for he knew it no joke, 'Twas a terrible height, and the scaffolding broke; And the devil could wish it no higher.

"Help! help me, O Mary," he cried in alarm, As the scaffold sank under his feet, From the canvas the Virgin extended her arm, She caught the good painter, she saved him from harm, There were thousands who saw in the street.

The old dragon fled when the wonder he spied, And curs'd his own fruitless endeavor: While the Painter called after, his rage to deride, Shook his palette and brushes in triumph, and cried, "Now I'll paint thee more ugly than ever!"

LEGEND OF THE PAINTER-FRIAR, THE DEVIL AND THE VIRGIN.

Don Jose de Valdivielso, one of the chaplains of the gay Cardinal Infant Ferdinand of Austria, relates the following legend in his paper on the Tax on Pictures, appended to Carducho's Dialogos de la Pintura. A certain young friar was famous amongst his order, for his skill in painting; and he took peculiar delight in drawing the Virgin and the Devil. To heighten the divine beauty of the one, and to devise new and extravagant forms of ugliness for the other, were the chief recreations for his leisure hours. Vexed at last by the variety and vigor of his sketches, Beelzebub, to be revenged, a.s.sumed the form of a lovely maiden, and crossed under this guise the path of the friar, who being of an amorous disposition, fell at once into the trap. The seeming damsel smiled on her shaven wooer, but though nothing loth to be won, would not surrender her charms at a less price than certain reliquaries and jewels in the convent treasury--a price which the friar in an evil hour consented to pay. He admitted her at midnight within the convent walls, and leading her to the sacristy, took from its antique cabinet the things for which she had asked. Then came the moment of vengeance.

Pa.s.sing in their return through the moonlit cloister as the friar stole along, embracing the booty with one arm, and his false Duessa with the other, the demon-lady suddenly cried out "Thieves!" with diabolical energy, and instantly vanished. The snoring monks rushed disordered from their cells and detected their unlucky brother making off with their plate. Excuse being impossible, they tied the culprit to a column, and leaving him till matins, when his punishment was to be determined, went back to their slumbers. When all was quiet, the Devil reappeared, but this time in his most hideous shape. Half dead with cold and terror, the discomfited caricaturist stood s.h.i.+vering at his column, while his tormentor made unmercifully merry with him; twitting him with his amorous overtures, mocking his stammered prayers, and irreverently suggesting an appeal for aid to the beauty he so loved to delineate. The penitent wretch at last took the advice thus jeeringly given--when lo!

the Virgin descended, radiant in heavenly loveliness, loosened his cords, and bade him bind the Evil One to the column in his place--an order which he obeyed through her strength, with no less alacrity than astonishment. She further ordered him to appear among the other monks at table, and charged herself with the task of restoring the stolen plate to its place. Thus the tables were suddenly turned. The friar presented himself among his brethren in the morning, to their no small astonishment, and voted with much contrition for his own condemnation--a sentence which was reversed when they came to examine the contents of the sacristy, and found everything correct. As to the Devil, who remained fast bound to the pillar, he was soundly flogged, and so fell into the pit which he had digged for another. His dupe, on the other hand, gathered new strength from his fall, and became not only a wiser and a better man, but also an abler artist; for the experience of that terrible night had supplied all that was wanting to complete the ideal of his favorite subjects. Thenceforth, he followed no more after enticing damsels, but remained in his cloister, painting the Madonna more serenely beautiful, and the Arch Enemy more curiously appalling than ever.

GERARD DOUW.

This extraordinary artist was born at Leyden, in 1613. He was the son of a glazier, and early exhibited a pa.s.sion for the fine arts, which his father encouraged. He received his first instruction in drawing from Dolendo, the engraver. He was afterwards placed with Peter Kowenhoorn, to learn the trade of a gla.s.s-stainer or painter; but disliking this business, he became the pupil of Rembrandt when only fifteen years of age, in whose school be continued three years. From Rembrandt he learned the true principles of coloring, to which he added a delicacy of pencilling, and a patience in working up his pictures to the highest degree of neatness and finish, superior to any other master. He was more pleased with the earlier and more finished works of Rembrandt, than with his later productions, executed with more boldness and freedom of pencilling; he therefore conceived the project of combining the rich and glowing colors of that master with the polish and suavity of extreme finis.h.i.+ng, and he adopted the method of uniting the powerful tunes and the magical light and shadow of his instructor with a minuteness and precision of pencilling that so nearly approached nature as to become perfect illusion. But though his manner appears so totally different from that of Rembrandt, yet it was to him he owed that excellence of coloring which enabled him to triumph over all the artists of his time.

His pictures are usually of small size, with figures so exquisitely touched, and with a coloring so harmonious, transparent, and delicate, as to excite the astonishment and admiration of the beholder. Although his pictures are wrought up beyond the works of any other artist, there is still discoverable a spirited and characteristic touch that evinces the hand of a consummate master, and a breadth of light and shadow which is only to be found in the works of the greatest masters of the art of chiaro-scuro. The fame acquired by Douw is a crowning proof that excellence is not confined to any particular style or manner, and had he attempted to arrive at distinction by a bolder and less finished pencil, it is highly probable that his fame would not have been so great. It has been truly said that there are no positive rules by which genius must be bounded to arrive at excellence. Every intermediate style, from the grand and daring handling of Michael Angelo to the laborious and patient finis.h.i.+ng of Douw, may conduct the painter to distinction, provided he adapts his manner to the character of the subjects he treats.

DOUW'S STYLE.

Douw designed everything from nature, and with such exactness that each object appears as perfect as nature herself. He was incontestibly the most wonderful in his finis.h.i.+ng of all the Flemish masters, although the number of artists of that school who have excelled in this particular style are quite large. The pictures he first painted were portraits, and he wrought by the aid of a concave mirror, and sometimes by looking at the object through a frame of many squares of small silk thread. He spent so much time in these works that, notwithstanding they were extremely admired, his sitters became disgusted, and he was obliged to abandon portrait painting entirely, and devote his attention to fancy subjects, in the execution of which he could devote as much time as he pleased. This will not appear surprising, when Sandrart informs us that, on one occasion, in company with Peter de Laer, he visited Douw, and found him at work on a picture, which they could not forbear admiring for its extraordinary neatness, and on taking particular notice of a broom, and expressing their surprise that he could devote so much time in finis.h.i.+ng so minute an object, Douw informed them that he should work on it three days more before he should think it complete. The same author also says that in a family picture of Mrs. Spiering, that lady sat five days for the finis.h.i.+ng of one of her hands, supporting it on the arm of a chair.

DOUW'S METHOD OF PAINTING.

His mind was naturally turned to precision and exactness, and it is evident that he would have shown this quality in any other profession, had he practiced another. Methodical and regular in all his habits, he prepared and ground his own colors, and made his own brushes of a peculiar shape, and he kept them locked up in a case made for the purpose, that they might be free from soil. He permitted no one to enter his studio, save a very few friends, and when he entered himself, he went as softly as he could tread, so as not to raise the dust, and after taking his seat, waited some time till the air was settled before he opened his box and went to work; scarcely a breath of air was allowed to ventilate his painting-room.

DOUW'S WORKS.

Everything that came from his pencil was precious, even in his life-time. Houbraken says that his great patron, Mr. Spiering the banker, allowed him one thousand guilders a year, and paid besides whatever sum he pleased to ask for his pictures, some of which he purchased for their weight in silver; but Sandrart informs us, with more probability, that the thousand guilders were paid to Douw by Spiering on condition that the artist should give him the choice of all the pictures he painted. The following description of one of Gerhard's most capital pictures, for a long time in the possession of the family of Van Hoek, at Amsterdam, will serve to give a good idea of his method of treating his subjects. The picture is much larger than his usual size, being three feet long by two feet six inches wide, inside the frame. The room is divided into two apartments by a curtain of curiously wrought tapestry. In one apartment sits a woman giving suck to her child; at her side is a cradle, and a table covered with tapestry, on which is placed a gilt lamp which lights the room. In the second apartment is a surgeon performing an operation upon a countryman, and by his side stands a woman holding some utensils. The folding doors on one side shows a study, and a man making a pen by candle light; and on the other, a school, with boys writing, and sitting at different tables. The whole is lighted in an agreeable and surprising manner; every object is expressed with beauty and astonis.h.i.+ng force. Nor does the subject appear too crowded, for it was one of his peculiar talents to show, in a small compa.s.s, more than other painters could do in a much larger s.p.a.ce. His pictures are generally confined to a few figures, and sometimes to a single one, and when he attempted larger compositions, he was generally less successful. The works of this artist are not numerous, from the immense labor and time he bestowed upon a single one; and from this circ.u.mstance, and the estimation in which they are held by the curious collectors, they have ever commanded enormous prices. They were always particularly admired in France, in the days of Napoleon, there were no less than seventeen of his pictures gathered into the Louvre, most of which were, after his downfall, restored to their original proprietors, among which was the famous Dropsical Woman, from the collection of the King of Sardinia. At Turin, are several pictures by Douw, the most famous of which is the one just named--the Dropsical Woman, attended by her physician, who is examining an urinal. This picture is wonderfully true to nature, and each particular hair and pore of the skin is represented. In the gallery at Florence is one of his pictures, representing an interior by candle-light, with a mountebank, surrounded by a number of clowns, which is exquisitely finished. The great fame of Gerhard Douw, and the eager desire for his works, have given rise to numerous counterfeits. We may safely say that there is not an original picture by this artist in the United States. Douw died, very rich, in 1674.

ALBERT DURER.

This extraordinary artist was born at Nuremberg in 1471. His father was a skillful goldsmith, from Hungary, and taught his son the first rudiments of design, intending him for his own profession; but his early and decided inclination for the arts and sciences induced him to permit young Durer to follow the bent of his genius. He received his first instruction in painting and engraving from Martin Hapse. When he had reached the age of fourteen, it was his father's intention to have placed him under the instruction of Martin Schoen, of Colmar, the most distinguished artist of his time in Germany, but the death of the latter happening about that time, he became a pupil of Michael Wolgemut, in 1486, the first artist then in Nuremberg, with whom he studied diligently four years. He also cultivated the study of perspective, the mathematics, and architecture, in all of which he acquired a profound knowledge. Having finished his studies, he commenced his travels in 1490, and spent four years in traveling through Germany, the Netherlands, and the adjacent counties and provinces. On his return to Nuremberg, in 1494, he ventured to exhibit his works to the public, which immediately attracted great attention. His first work was a piece of the Three Graces, represented by as many female figures, with a globe over their heads. He soon after executed one of his masterpieces, a drawing of Orpheus. About this time, to please his father, as it is said, he married the daughter of Hans Fritz, a celebrated mechanic, who proved a fierce Xantippe, and embittered, and some say shortened his life. In 1506, he went to Venice to improve himself, where his abilities excited envy and admiration. Here he painted the Martyrdom of St.

Bartholomew for the church of S. Marco, which was afterwards purchased by the Emperor Rodolphus, and removed to Prague. He also went to Bologna, and returned home in 1507. This journey to Italy had no effect whatever upon his style, though doubtless he obtained much information that was valuable to him, for at this period commenced the proper era of his greatness.

DURER'S WORKS AS A PAINTER.

Though Durer was most famous as an engraver, yet he executed many large paintings, which occupy a distinguished place in the royal collections of Germany, and other European countries. In the imperial collection at Munich are some of the most celebrated, as Adam and Eve, the Adoration of the Magi, the Crucifixion--a grand composition--the Crowning of the Virgin, the Battle between Alexander and Darius, and many other great works. Durer painted the Wise Men's Offering, two pictures of the Pa.s.sion of Christ, and an a.s.sumption of the Virgin, for a monastery of Frankfort, which proved a source of income to the monks, from the presents they received for exhibiting them. The people of Nuremberg still preserve, in the Town Hall, his portraits of Charlemagne and some Emperors of the House of Austria, with the Twelve Apostles, whose drapery is remarkable for being modern German, instead of Oriental. He sent his own portrait to Raffaelle, painted on canvas, without any coloring or touch of the pencil, only heightened with shades and white, yet exhibiting such strength and elegance that the great artist to whom it was presented expressed the greatest surprise at the sight of it.

This piece, after the death of Raffaelle, fell into the possession of Giulio Romano, who placed it among the curiosities of the palace of Mantua. Besides the pictures already mentioned, there is by him an Ecce h.o.m.o at Venice, his own portrait, and two pictures representing St.

James and St. Philip, and an Adam and Eve in the Florentine Gallery.

There are also some of his works in the Louvre, and in the royal collections in England. As a painter, it has been observed of Durer that he studied nature only in her unadorned state, without attending to those graces which study and art might have afforded him; but his imagination was lively, his composition grand, and his pencil delicate.

He finished his works with exact neatness, and he was particularly excellent in his Madonnas, though he enc.u.mbered them with heavy draperies. He surpa.s.sed all the painters of his own country, yet he did not avoid their defects--such as dryness and formality of outline, the want of a just degradation of the tints, an expression without agreeableness, and draperies broad in the folds, but stiff in the forms.

He was no observer of the propriety of costume, and paid so little attention to it that he appears to have preferred to drape his saints and heroes of antiquity in the costume of his own time and country.

Fuseli observes that "the coloring of Durer went beyond his age, and in his easel pictures it as far excelled the oil color of Raffaelle in juice, and breadth, and handling, as Raffaelle excelled him in every other quality."

DURER'S WORKS AS AN ENGRAVER.

Durer derived most of his fame from his engravings, and he is allowed to have surpa.s.sed every artist of his time in this branch of art. Born in the infancy of the art, he carried engraving to a perfection that has hardly been surpa.s.sed. When we consider that, without any models worthy of imitation, he brought engraving to such great perfection, we are astonished at his genius, and his own resources. Although engraving has had the advantage and experience of more than three centuries, it would perhaps be difficult to select a specimen of executive excellence surpa.s.sing his print of St. Jerome, engraved in 1514. He had a perfect command of the graver, and his works are executed with remarkable neatness and clearness of stroke; if we do not find in his plates that boldness and freedom desirable in large historical works, we find in them everything that can be wished in works more minute and finished, as were his. To him is attributed the invention of etching; and if he was not the inventor, he was the first who excelled in the art. He also invented the method of printing wood-cuts in chiaro-scuro, or with two blocks. His great mathematical knowledge enabled him to form a regular system of rules for drawing and painting with geometrical precision. He had the power of catching the exact expression of the features, and of delineating all the pa.s.sions. Although he was well acquainted with the anatomy of the human figure, and occasionally designed it correctly, his contours are neither graceful nor pleasing, and his prints are never entirely divested of the stiff and formal taste that prevailed at the time, both in his figures and drapery. Such was his reputation, both at home and abroad, that Marc' Antonio Raimondi counterfeited his Pa.s.sion of Christ, and the Life of the Virgin at Venice, and sold them for the genuine works of Durer. The latter, hearing of the fraud, was so exasperated that he set out for Venice, where he complained to the government of the wrong that had been done him by the plagiarist, but he could obtain no other satisfaction than a decree prohibiting Raimondi from affixing Durer's monogram or signatures to these copies in future.

Vasari says that when the prints of Durer were first brought into Italy, they incited the painters there to elevate themselves in that branch of art, and to make his works their models.

DURER'S FAME AND DEATH.

The fame of Durer spread far and wide in his life-time. The Emperor Maximillian I. had a great esteem for him, and appointed him his court painter, with a liberal pension, and conferred on him letters of n.o.bility; Charles V., his successor, confirmed him in his office, bestowing upon him at the same time the painter's coat of arms, viz., three escutcheons, argent, in a deep azure field. Ferdinand, King of Hungary, also bestowed upon him marked favors and liberality. Durer was in favor with high and low. All the artists and learned men of his time honored and loved him, and his early death in 1528 was universally lamented.