Anecdotes of Painters, Engravers, Sculptors and Architects and Curiosities of Art Part 11

In the earlier part of his career, the impetuosity of his genius led him astray; he usually painted his pictures in oil or fresco without preparing either drawing or cartoon; and his first style was gigantic and unnatural. Subsequently, however, he checked this impetuosity, and it was in the middle of his life that he produced his best works. His fertility of invention was wonderful; his genius grappled with and conquered the most arduous difficulties of the art, and he shows his powers in foreshortening in the most daring variety. He was rapid and bold in design, yet was selected by Boschini as a model of correctness; hence his drawings, though numerous, are highly esteemed. His Rape of the Sabines, in the Palazzo Imperiali at Terralba, near Genoa, has been highly extolled. It is a large work full of life and motion, pa.s.sionate ravishers and reluctant damsels, fine horses and glimpses of n.o.ble architecture, with several episodes heightening the effect of the main story. Mengs declared he had seen nothing out of Rome that so vividly reminded him of the chambers of the Vatican.

RARITY OF FEMALE PORTRAITS IN SPAIN.

Very few female portraits are found in the Spanish collections. Their painters were seldom brought in professional contact with the beauty of high-born women--the finest touchstone of professional skill--and their great portrait painters lived in an age of jealous husbands, who cared not to set off to public admiration the charms of their spouses.

Velasquez came to reside at court about the same time that Madrid was visited by Sir Kenelm Digby, who had like to have been slain the first night of his arrival, for merely looking at a lady. Returning with two friends from supper at Lord Bristol's, the adventurous knight relates in his Private Memoirs, how they came beneath a balcony where a love-lorn fair one stood touching her lute, and how they loitered awhile to admire her beauty, and listen to her "soul-ravis.h.i.+ng harmony." Their delightful contemplations, however, were soon arrested by a sudden attack from several armed men, who precipitated themselves upon the three Britons.

Their swords were instantly drawn, and a fierce combat ensued; but the valiant Digby slew the leader of the band, and finally succeeded in escaping with his companions.

Of the sixty-two works by Velasquez in the Royal Gallery at Madrid, there are only four female portraits; and of these, two represent children, another an ancient matron, and a fourth his own wife! The Duke of Abuquerque, who at the door of his own palace waylaid and horsewhipped Philip IV., and his minister Olivarez, feigning ignorance of their persons, as the monarch came to pay a nocturnal visit to the d.u.c.h.ess, was not very likely to call in the court painter to take her Grace's portrait. Ladies lived for the most part in a sort of Oriental seclusion, amongst duennas, waiting-women, and dwarfs; and going abroad only to ma.s.s, or to take the air in curtained carriages on the Prado. In such a state of things, the rarity of female portraits in the Spanish collections was a natural consequence.

MURILLO'S PICTURES IN SPANISH AMERICA.

It is related that this great Spanish painter visited America in early life, and painted there many works; but the later Spanish historians have shown that he never quitted his native country; and the circ.u.mstance of his pictures being found in America, is best accounted for by the following narrative. After acquiring considerable knowledge of the art under Juan del Castillo at Seville, he determined to travel for improvement; but how to raise the necessary funds was a matter of difficulty, for his parents had died leaving little behind them, and his genius had not yet recommended him to the good offices of any wealthy or powerful patron. But Murillo was not to be balked of his cherished desires. Buying a large quant.i.ty of canvas, he divided it into squares of various sizes, which he primed and prepared with his own hands for the pencil, and then converted into pictures of the more popular saints, landscapes, and flower-pieces. These he sold to the American traders for exportation, and thus obtained a sum of money sufficient for his purpose.

MURILLO'S "VIRGIN OF THE NAPKIN."

The small picture which once adorned the tabernacle of the Capuchin high altar at Seville, is interesting on account of its legend, as well as its extraordinary artistic merits. Murillo, whilst employed at the convent, had formed a friends.h.i.+p with a lay brother, the cook of the fraternity, who attended to his wants and waited on him with peculiar a.s.siduity. At the conclusion of his labors, this Capuchin of the kitchen begged for some trifling memorial of his pencil. The painter was quite willing to comply, but said that he had exhausted his stock of canvas.

"Never mind," said the ready cook, "take this napkin," offering him that which he had used at dinner. The good-natured artist accordingly went to work, and before evening he had converted the piece of coa.r.s.e linen into a picture compared to which cloth of gold or the finest tissue of the East would be accounted worthless. The Virgin has a face in which thought is happily blended with maidenly innocence; and the divine infant, with his deep earnest eyes, leans forward in her arms, struggling as it were almost out of the frame, as if to welcome the carpenter Joseph home from his daily toil. The picture is colored with a brilliancy which Murillo never excelled, glowing with a golden light, as if the sun were always s.h.i.+ning on the canvas. This admirable work is now in the Museum of Seville.

ANECDOTE OF AN ALTAR-PIECE BY MURILLO.

One of Murillo's pictures, in the possession of a society of friars in Flanders, was bought by an Englishman for a considerable sum, and the purchaser affixed his signature and seal to the back of the canvas, at the desire of the venders. In due time it followed him to England, and became the pride of his collection. Several years afterwards, however, while pa.s.sing through Belgium, the purchaser turned aside to visit his friends the monks, when he was greatly surprised to find the beautiful work which he had supposed was in his own possession, smiling in all its original brightness on the very same wall where he had been first smitten by its charms! The truth was, that the monks always kept under the canvas an excellent copy, which they sold in the manner above related, as often as they could find a purchaser.

MURILLO AND HIS SLAVE GOMEZ.

Sebastian Gomez, the mulatto slave of Murillo, is said to have become enamored of art while performing the menial offices of his master's studio. Like Erigonus, the color grinder of Nealces, or like Pareja, the mulatto of Velasquez, he devoted his leisure to the secret study of the principles of drawing, and in time acquired a skill with the brush rivalled by few of the regular scholars of Murillo. There is a tradition at Seville, that he took the opportunity one day, when the painting room was empty, of giving the first proof of his abilities, by finis.h.i.+ng the head of a Virgin, that stood ready sketched on his master's easel.

Pleased with the beauty of this unexpected interpolation, Murillo, when he discovered the author of it, immediately promoted Gomez to the use of those colors which it had hitherto been his task to grind. "I am indeed fortunate, Sebastian," said the good-natured artist, "for I have not only created pictures, but a painter."

AN ARTIST'S LOVE ROMANCE.

Francisco Vieira, an eminent Portuguese painter, was still a child when he became enamored of Dona Ignez Elena de Lima, the daughter of n.o.ble parents, who lived on friendly terms with his own and permitted the intercourse of their children. The thread of their loves was broken for a while by the departure of the young wooer to Rome, in the suite of the Marquis of Abrantes. There he applied himself diligently to the study of painting, under Trevisani, and carried off the first prize in the Academy of St. Luke. On returning to Portugal, although only in his 16th year, he was immediately appointed by King John V. to paint a large picture of the Mystery of the Eucharist, to be used at the approaching feast of Corpus Christi; and he also painted the king's portrait.

An absence of seven years had not affected Vieira's constancy, and he took the first opportunity of flying once more to Ignez. He was kindly received by the Lima family, at their villa on the beautiful sh.o.r.es of the Tagus, and was permitted to reside there for a while, painting the scenery, and wooing his not unwilling mistress. When the maiden's heart was fairly won, the parents at length interfered, and the lovers found the old adage verified, that "the course of true love never did run smooth." Vieira was ignominiously turned out of doors, and the fair Ignez was shut up in the convent of St. Anna, and compelled to take the veil.

The afflicted lover immediately laid his cause before the king, but received an unfavorable answer. Nothing daunted, he then went to Rome, and succeeded in obtaining from the Pope a commission to the Patriarch of Lisbon, empowering him to inquire into the facts of the case; and that prelate's report being favorable, the lover was made happy with a bull annulling the religious vows of the nun, and authorizing their marriage. It is uncertain how long this affair remained undecided; but a Portuguese Jesuit having warned Vieira that at home he ran the risk of being punished by confiscation of his property, for obtaining a bull without the consent of the civil power, he prolonged his residence at Rome to six years, that the affair might have time to be forgotten at Lisbon. During this period he continued to exercise his pencil with so much success that he was elected a member of the Academy of St. Luke.

After such a probation, the energy and perseverance of the lover is almost unparalleled. He finally ventured to return to his native Tagus, and accomplished the object of his life. Disguising himself as a bricklayer, he skulked about the convent where Ignez lay immured, mingling with the workmen employed there, till he found means to open a communication with her and concert a plan of escape. He then furnished her with male attire, and at last successfully carried her off on horseback (though not without a severe wound from the brother of his bride), to another bishopric, where they were married in virtue of the Pope's bull. After residing for some time in Spain and Italy, however, Vieira was commanded to return to Portugal, and appointed painter to the king. Being the best artist in that kingdom, his talents soon obliterated the remembrance of his somewhat irregular marriage, and during forty years he painted with great reputation and success for the royal palaces at Nafra and elsewhere, for the convents, and the collections of the n.o.bility. It will doubtless be pleasing to the fair readers of these anecdotes, that all this long course of outward prosperity was sweetened by the affection of his constant wife.

ESTEBAN MARCH'S STRANGE METHOD OF STUDY.

Esteban March, a distinguished Spanish painter of the 17th century, was eccentric in character and violent in temperament. Battles being his favorite subjects, his studio was hung round with pikes, cutla.s.ses, javelins, and other implements of war, which he used in a very peculiar and boisterous manner. As the mild and saintly Joanes was wont to prepare himself for his daily task by prayer and fasting, so his riotous countryman used to excite his imagination to the proper creative pitch by beating a drum, or blowing a trumpet, and then valiantly a.s.saulting the walls of his chamber with sword and buckler, laying about him, like another Don Quixote, with a blind energy that told severely on the plaster and furniture, and drove his terrified scholars or a.s.sistants to seek safety in flight. Having thus lashed himself into sufficient frenzy, he performed miracles, according to Palomino, in the field of battle-pieces, throwing off many bold and spirited pictures of Pharaoh and his host struggling in the angry waters, or mailed Christians quelling the turbaned armies of the Crescent. Few will withhold from him the praise of Bermudez, for brilliancy of coloring, and for the skill with which the dust, smoke, and dense atmosphere of the combat are depicted.

MARCH'S ADVENTURE OF THE FISH FRIED IN LINSEED OIL.

Palomino says that March had gone out one day, leaving neither meat nor money in the house, and was absent till past midnight, when he returned with a few fish, which he insisted on having instantly dressed for supper. His wife said there was no oil; and Juan Conchillos, one of his pupils, being ordered to get some, objected that all the shops were shut up. "Then take linseed oil," cried the impetuous March, "for, _por Dios_, I will have these fish presently fried." The mess was therefore served with this unwonted sauce, but was no sooner tasted than it began to act as a vigorous emetic upon the whole party, "for indeed," gravely writes Palomino, "linseed oil, at all times of a villainous flavor, when hot is the very devil." Without more ado, the master of the feast threw fish and frying-pan out of the window; and Conchillos, knowing his humor, flung the earthen chafing-dish and charcoal after them. March was delighted with this sally, and embracing the youth, he lifted him from the floor, putting him in bodily fear, as he after wards told Palomino, that he was about to follow the coal and viands into the street. As for the poor weary wife, she thought of her crockery, and remarking in a matter of-fact way, "What shall we have for supper now?" went to bed; whither her husband, pleased with the frolic of spoiling his meal and breaking the dishes, seems to have followed her in a more complacent mood than common.

A PAINTER'S REBUKE.

Jose Antonilez, a Spanish painter, studied under Francisco Rizi at Madrid. When the latter was occupied in preparing some new scenery for the theatre at Buon Retiro, Antonilez spoke of him as a painter of foot-cloths--an expression which was soon communicated to his master.

Rizi immediately administered a wholesome practical rebuke, by commanding the attendance of Antinolez on his Majesty's service, and ordering him to execute a piece of painting in distemper. The unlucky wag, being quite ignorant of the mode of performing the work, and too proud to confess it, worked for a whole day, at the end of which he had merely spoiled a large piece of canvas. "So, sir," said Rizi, quietly, "you see painting foot-cloths is not so easy after all;" and turning to his servant, added, "here, boy, take this canvas and carry it to the cistern to be washed."

A PAINTER'S RETORT COURTEOUS.

Jean Ranc, an eminent French portrait painter, was sometimes annoyed by impertinent and vexatious criticism. Having exhausted all his talent upon a particular portrait, the friends of the sitter refused to be pleased, although the sitter himself appears to have been well satisfied. In concert with the latter, Ranc concerted a plan for a practical retort. After privately painting a copy of the picture, he cut the head out of the canvas, and placed it in such a position that the original could supply the opening with his own veritable face, undetected. After all was ready, the cavilers were invited to view the performance, but they were no better pleased. Falling completely into the snare, the would-be critics were going on to condemn the likeness, when the relaxing features and hearty laughter of the supposed portrait, speedily and sufficiently avenged the painter of their fastidiousness.

ARDEMANS AND BOCANEGRA--A TRIAL OF SKILL.