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-partment is fepresented painting the favorite Sultana of Mahomet II. „Seyeral of the succeeding cupolas still remain blank, so we pass them over and arrive-at teonardo da Vinci painting Queen Joanna of Arragon; then Michael Angelo meditating the design of Saint Peter's; then the history of Raffaelle; in the dome are various scenes from his life; the lunette represents his death; he is extended on a couch beside which sits his virago love, tbė' Fornarina, 'in disperato dolor;' Pope Leo X. and Cardinal Bembo are looking on overwhelmed with grief; in the background is 'the Transfiguration.
... The series of the Italian painters will end with the Caracci. Those of the German painters will begin with Van Eyck and end with Rubens. ...
“ Though the general decoration of this gallery was planned by Cornelius, the designs for particular parts, and the direction of the whole, have been confided to Zimmermann, who is assisted in the execution by five other painters.
... Sucb, then; is the general plan of the Pinakothek, the national gallery of Bavorja. I make no comment, except that I felt and recognized in every part the presence of a directing mind, and the absence of all narrow views, all truckling to the interests, or tastes, or prejudices, or convenience of any particular class of persons. . An bonest anxiety for the glory of art and the benefit of the public-not the caprices of the king, nor the individual vanity of the architect—has been the moving principle throughout."*
perceiving the fervour of bis piety and the greatness of bis mind, had determined to make him Archbishop of Florence, but he, when apprised of this intention, besought the Pope to change it, not deeming himself equal to the task, (“Perocche,” says Vasari, “ non si senitiva atto a governar popoli ;”) adding that in his own order there was a monk fearing God, able to govern men, and a lover of the poor (un frate amorevole de poveri, dottisimo di governo e timorate di Dio), better deserving to be invested with such a dignity. Angelico's request was complied with, and thus the humble paiņter had the glory of placing on the archiepiscopal throne of Florence, a prelate who filled it with the greatest honour, and whom the Roman church still venerates as Saint Antonine.
Giovanni Santi Tosini, afterwards Fra Angelico da Fiesole, and known in Italy as 1 Beato, was born at Mugello in 1387 and died at Rome in 1455. The greater part of his life was passed in the celebrated convent of Saint Mark, at Florence, (afterwards made illustrious by such men as Savonarola and Fra Bartolomeo) where he first began to be a painter. His character may be learnt from one line of his biography: “Non fece mai crocifisso,” says Vasari, “che non si bagnasse le gote di lagrime.” Such a man could not paint otherwise than well. Perhaps his best known work is the magnificent Crowning of the Virgin, now in the western wing of the Louvre, and long since engraved and published with a descriptive text by August von Schlegel. (Paris, 1816, fol.)
Visits and Sketches at Home and Abroad, vol. 2, pp. 42-7.
Honour be to Germany, and especial honour to Louis of Bavaria, forprovisions such as these for calling forth the highest powers of German, artists. The sowing has been liberal, and already the harvest is.abupdant.
Wbat a contrast does all this present to the National Gallery of England!
Note F. Catalogues of Museums and Galleries, p. 131.On the Catalogues of two Museums, in Paris and in Berlin, I confine this note to a very brief statement of the peculiar characteristics of two foreign catalogues :— the one, of the now dispersed* Musée des Monumens Français at Paris ; the other of the existing public collection of pictures at Berlin. A good catalogue reflects the collection itself. To describe the arrangement of one is to describe both:
M. Lenoir's catalogue of the French Musée des Monumens, comprises eight main divisions : 1. A general chronological arrangement of monuments of all ages and
countries, from the early Celtic and Gothic, to the advanded art of the periods of Louis XII., Francis I., and Henry II.; the decline under Louis XIV., and his successor; and the partial
revival in 1780-90. 2. Architectural and sculptural remains of the thirteenth century, ex
clusively 3. The same of the fourteenth century. 4, 5, 6, 7, 8. The same of the fifteenth, sixteenth, seventeenth,
eighteenth, and nineteenth centuries. Each room being itself
constructed and adorned in the prevalent style of its epoch. This catalogue further contains an alphabetical list of the artists whose works were found in the museum, with a tabular view of the dates and places of their births and deaths, &c.; also contains succinct historical and biograpbical notes on the persons and events to which the monuments relate; a review of the progress of the arts in France; a chronological notice of French costumes, and affords, in fact, a concise and grapbic view of the history of the French nation.
Dr. Waagen's Catalogue of the Berlin Museum of paintings is based on a chronological arrangement carried out into schools, by subdivision :
His first period is to the year of Christ, 600
600 to 1200
1200 1300 Fourth
1300 1420 Fifth
1420 1500 Sixtb
1500 1540 Seventh
1540 1590 Eighth
1590 1670 Ninth
* See anté, p. 116, note.
This catalogue, the details of which appear to me to be excellent, affords a clear idea of the succession of schools, and of the dates of birth and death, and the chief circumstances of the life, of each artist; it includes well-devised indexes, and a map of the arrangement of the galleries, which gives a synoptical view of the history of the arts at a glance.
of the conscientious and artist-like manner in which the plan is worked out, the following sketch of the first division (abtheilung) may give some idea.
Introduction. On the cbief epochs in the history of modern painting. Div. 1. ITALIAN Schools :--Class 1. Venetians : - Formation of school.
Masters_description of pictures-
Note G. Effect of Free Exhibitions, p. 215. EXTRACT FROM THE REPORT OF THE ROYAL INSTIUTION OF
“ The committee contemplate no part of the experience of the past year with so much satisfaction, as the success that has rewarded their attempt to bring the poorest classes of the community into connexion with the pure and exalting influences to which this building is devoted. Their faith in the good feeling of the public, and in the aptitude of all minds—even the lowest—to receive refined and elevating impressions, bas not disappointed them. Your museum has been crowded monthly, by thousands, whose eyes fell for the first time upon whole kingdoms of nature, and with whom no previous knowledge or familiarity broke the effect [?] of freshness and wonder. During the last year the first Monday in every month has been a public day. The numbers availing themselves of this privilege, and showing their appreciation of it, bave been as follow:
Jan. 120 Feb. 350 March, 1,500)
5,260 Jan. 5,500 Feb. 11,360* [March, t 5,380 1840
Total 28,524. | April, 6,284]
* On the second Monday in the month-the day of Her Majesty's marriage.
† The numbers within brackets are added to those in the report from subsequent information.
“ The uniform propriety and intelligent curiosity of these vast multitudes demonstrate that nothing is wanting but the opportunity of forming tastes, and a generous and respectful sympathy manifested towards them, to take away from the English people that character of rudeness and insensibility to the beauties of nature and art which has so long been a national opprobrium. In opening these opportunities to the labouring classes, this institution cannot but feel that it occupies the place of a public benefactor and instructor, awakening in uncultivated minds feelings and ideas calculated to soften the rudeness of manners, and to increase the bappiness and the virtue of life. With the sense of beauty and wonder dead in the mind, the poor man lives in a mean and ungraced world.”
Note H. Encouragement of Historical Art by Voluntary
Associations, p. 242.
UND WESTPHALEN. 1. In Halberstadt Cathedral: Christ and Peter on the sea, in oil, by
GÖTTING. 2. In the Town Museum of Cologne: The Israelites in exile, in oil,
by BENDEMANN. 3. In the Protestant Church at Arnsberg; The Resurrection of Christ,
an altar-piece, by DEGER. 4. In the Parish Church of Königsteele : The Adoration of the Shep
herds, in oil, by ZIMMERMANN. 5. In Saint Andrew's Church, at Dusseldorf: The Holy Virgin with the
Christ-child, etc., in fresco, by Möcke. 6. In the Town Museum of Cologne: A Lion Fight, in oil, by
MEISTER. 7. In the Church of Dülmen: Christ in Mary's Bosom, in oil, by
W. SCHADOW. 8. In the Parish Church of Dreis-on-the-Mosel : Saint Martin as
Bishop, an altar-piece, by GÖTTING. 9. In the Parish Church of Ebrenbreitstein: The Invention of the Cross,
an altar-piece, in fresco, by SETTEGAST. 10. In Saint Andrew's Church: Christ in the Temple, an altar-piece, by
HÜBNER. 11. In the same. Church: The Queen of Heaven with the Christ-child,
an altar-piece, by DEGER. Besides partial contributions towards 12. The Restoration of the Altar of the Church of the Sisters of Mercy,
at Coblentz, to which W. SCHADOW had presented bis altar-piece
The Queen of Heaven ; and 14. The Commission of a large Historical Picture of The last Syrian
Christians, by STIELCKE, for the Town Museum of Königsberg.
Academy, Royal. See Royal Academy.
objects, and bistory, 239; suggestions for their improvement, 253.
its plan and progress, 254.
ib.; Departmental organization, 134; Library, 139; Catalogues and
sity for its extension, ib.
minster Abbey, 209.
Select Committee on British Museum, recommendations con-
for the Nelson testimonial, 223; Report made to the Institute of British
See French Architects.
in books, existing statutes respecting, 49; necessity and means
in prints, existing statutes respecting, 50; necessity and means
in works of sculpture, existing statutes respecting, 51 ; neces-
in patterns, existing statutes respecting, 54; necessity and
tribunals, App. note C.
of the State in relation thereto, 266; insufficiency of merely voluntary
Act, ib.; Grammar-schools' Bill, 306, note.
on glass, 87.
of design, 24 ; its law of copyright in patterns, 68; its copyright tri-