the masterpieces of european art 1876

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    THE

    MASTERPIECESOF

    EUROPEAN ART BYP. T. Sandhurst and James Stothert,

    ILLUSTRATED WITH

    NUMEROUS ENGRAVINGS ON WOOD AND ONE HUNDREDAND ONE ENGRAVINGS ON STEEL

    FROM THE

    ORIGINAL PAINTINGS OR SCULPTURES.

    PHILADELPHIAGEBBIE & BARRIE Publishers

    COPYRIGHTED

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    PACK.

    List of Steel Engravings of Paintings viList of Steel Engravings of Sculpture viiiIntroduction : Egyptian and Asiatic Painting ixItalian School, First Part iItalian School, Second Part . . 17German School 85Netherland School 141Spanish School 177French School 205Belgic and other Schools 254Table of Engravings on Wood printed with the Text ... 265Index 267

    V

    _85014

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    vi CONTEXTS.

    STEEL ENGRAVINGS OF PAINTINGS.ARTIST. ENGRAVER. . .

    The Monastery Achenbach, E. Goodall. 94Judith and Holofcrncs Allori. J.Carter .;Pastime in Ancient Egypt AlmaTadema, L C.W. Sharpe 176The Sibyl Angeio, .'/. AJ. Didter 6Hie Reading Lesson Anker, A A. ami E. Winn 24KThe Captives in Babylon Btndemann J. C. Armxtage 104Oxen Ploughing Bonkeur, Rosa P. Moran 23aThe Ring of St. Mark Bordimi. C. Geyer 14The End of the Day Breton, Jules L. Flameng 228Reading the Bible Brian, Gustare Rajon 230The Critics Browne, A/me. //..... C.W. Sharpe 234The Spring of Life Campotosto, //. J. C. Armxtage 76St. Mark'sThe Bucentaur Canaletti, A J. B. Allen 58Silence Carracci, A G. Levy 30Sslv.in Calm Claude Lorraine .5. Bradshaw 206The Reproof Co

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    CONTENTS.ARTIST. ENGRAVER. PAGE.

    St. Francis d'Assisi Murillo L. Flameng. 196The Infant St. John Murillo Lumb Stocks 202The Foot-Bath Plassan, A. E P. Pelee 242Studio of Van der Velde Poitevin, E. C. C. IV. Sharpe 256Daughter of Zion Portaels, J. F. IV. Greatbach 258Milking Time Potter, P. /. Godfrey 168The Shepherds of Arcadia Poussin, N. F. F. Walker 205Morning Prud'/ion L. Flameng. 218Angels of the Madonna Raphael. F. Lutz 1Salome Regnault, Henri. Rajon 226The Beauty of Albano Reiilel, A Lumb Stocks 144Weary Travelers Rembrandt. Mauduit 15Soldiers Gambling Rosa, Salvator Lumb Stocks 52Mary Anointing the Feet of Jesus Rubens, P. P. IV. Greatbach 154The Wife of Rubens Rubens, P. P J. de Mare 85Marguerite at the Fountain Schaffer, Ary L. Flameng. 220The Sisters Sohn, Carl. P. Lightfoot 90Ariadne and Bacchus Tintoretto, J. G. Goldberg 28Titian's Model Titian .S. Smith 10The Cow Doctor Tschaggeny, C. J. Couscn 258Marriage of St. Catherine Van Dyck IV. Ridgivay 164Charity Van Eycken,J. P. Lightfoot 252Phillip IV Velasquez W. Haussoullier 188Passing the Brook Verboeckhoven, E J. Cousen 256The Martyrdom of St. Sebastian Veronese, P. C. Ceyer 16The Death of Columbus Wappers, Baron D. T. Desvachez 254Insanity of Van der Hooge IVauters, E L. Monzies 252Lady Constance Winterhalter, F. T. Vernon 136Hawking Party at Rest Wouvermans, P R. IVa/lis 172Russian Peasants' Home Yvon, A R. C. Bell. 244The King's Favorite Zamacois, D. E Durand. 184Venice Zeim, F. L. Gaucherel. 228The Waterfall Zuccharelli, F E. Radclyffe 64

    STEEL ENGRAVINGS OF SCULPTURE.Schiller . . Begas, R . W. Roffe 118Hebe Canova W. II. Mote 62Entre deux Amours Carrier- Belleuse IV. Roffc 246Cupid Captured by Venus Fontana, G G. Stodart 80The Lion in Love Gee/s, IV J. H. Baker 120Medicine Hahnel, E G. Stodart 148The Leopard Hunter Jerichau R. A. Artlett xiiiA Scene of the Deluge Lucardi, V. G. Stodart 68Europa McDowell, P. W. Roffe TitleThe Sleep of Sorrow and Dream of Joy .... Monti, R E. IV. Stodart 72Cornelia Moreau, M. G. Stodart. 250Love the Ruler Reilschel, E. F. A R. A. Artlett 10SProtecting Angels Reitschel, E. F. A E. Roffe noThe Filatrice Schadoiv E. Roffe 132The Bavaria Schwanthaler G. R. Hall. 100A Basket of Loves Tlwrwaldsen E. IV. Stodart. ixPsyche Von Hover, IV. J. H. Baker 140

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    EGYPTIAN AND ASIATIC PAINTING.

    'HE daughter of Dibutades, a potter of Corinth, whilst bidding farewell one eveningto her lover, was struck by the distinctness of his shadow cast by the light of a lamp onthe plaster wall of her dwelling. The idea occurred to her to preserve the image of her

    beloved by tracing with a pointed implement at hand the outline of his figure on thewall ; and when her father the potter came home, he, appreciating the importance of herwork, rude though it was, cut the plaster out within the drawing she had thus accomplished,took a cast in clay from it, and baked it with his other pottery. Such is the well-known

    Greek tradition, assigning a simultaneous origin to the graphic and plastic arts, and claiming both as ofGreek invention. But unfortunately for the truth of this pretty story, these arts were known and practisedlong before even the original Pelasgians had settled in Greece; indeed, it seems certain that they weremerely transmitted to Greece from Egypt, in which country they had been long cultivated before they wereacquired by any of the Indo-European nations.

    Amongst the remains that have been discovered in various countries of Europe belonging to those earlypre-historic periods, called by archaeologists respectively the Stone, Bronze, and Iron Ages, many vessels,utensils, metals, and ornaments have been found engraved with rich and delicate tracery, and remarkablefor their graceful shape and elegant proportion, proving that there must have been a distinct recognition ofartistic beauty and fitness even at that early period. These belong, certainly, more especially to the bronzeage ; for the rough earthenware vessels and flint arrow-heads of the stone age cannot strictly be reckonedas works of art; but even the poor stone man hewing his square coffin may have been moved to give agreater finish and merit to his work, in obedience to an impulse, unrecognized, no doubt, towards artisticperfection.

    lx

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    MASTERPIECES OF EUROPEAN ART.Looking onward from those dimly seen ageswhose existence is only revealed to us by means of such

    works as have been mentionedwe come next upon the gigantic monuments of EGYPT, whit h st.ind at thebeginning of history, as if to mark the boundaries of our knowledge. Before them everything is vagueand mythical, but after their erection we are enabled to proceed U|>on something like historical data, andto reckon the succession of centuries and dynasties. Hut we must not forget that the pyramids, whilst theythus form the starting point of history, point back also to long ages of endeavor, before the wonderfulknowledge and skill displayed in their construction could have been attained. It is strange, perhaps, thatno archaic remains of Egyptian art have ever been discovered} no traces of the rude and simple efforts ofan early people. Hut so it is. Everything in Egypt, at the moment we first catch sight of it, seems tohave been long established on the same basis that we find enduring until the end of its history.

    the origin of (Mintingthe youngest born of three sister artsdates back beyond our knowledge.It i> impossible to say when the Egyptians first practised it, but the paintings in the tombs, many of whicharc referred to the fourth and fifth dynasties, that is to say, to a period not less than two thousand fourhundred years before our era, or upwards of four thousand years ago, reveal an art already far advancedbeyond infancy. Pliny, indeed, tells us that the Egyptians boasted of having been masters of paintingfor more than six thousand years before it was acquired by the Greeks, and possibly this was not such avain boast, as he imagined.

    The earliest paintings that have been brought to light in Egypt are those in the tombs around thepyramids, supposed to be those of individuals living in the reigns of the founders of the pyramids and theirimmediate successors. Next come those of the sepulchral grottoes of Beni Hassan, of the twelfth dynastywhich afford a variety of representations of private life. From these and similar works in other places,much of our knowledge of the manners and habits of the ancient Egyptians is derived. Scenes of husbandry,such as ploughing, reaping, gathering and pressing the grape; l>eating hemp; the various trades of carjienter,boat-builder, potter, leather-cutter, glass-blower, and others; scenes of fashionable life, amongst which afavorite one is the reception of guests at a banquet; hunting parties, duck-catching, and fishing, everythingthat is killed being in each cane registered by a scribe; wrestling exercises, comprising games of variouskinds; darning; musical entertainments, the inst