Part 18

The King retained Holbein in his service many years, during which time he painted the portrait of his Majesty many times, and probably those of all his queens, though no portrait of Catharine Parr is certainly known to be from his hand. An amusing and characteristic anecdote is related, showing the opinion the King entertained of this artist. One day, as Holbein was privately drawing some lady's picture for Henry, a great lord forced himself into the chamber, when the artist flew into a terrible passion, and forgetting everything else in his rage, ran at the peer and threw him down stairs! Upon a sober second thought, however, seeing the rashness of this act, Holbein bolted the door, escaped over the top of the house, and running directly to the King, besought pardon, without telling his offence. His majesty promised he would forgive him if he would tell the truth; but on finding out the offence, began to repent of his promise, and said he should not easily overlook such insults, and bade him wait in the apartment till he learned more of the matter. Immediately after, the lord arrived with his complaint, but diminishing the provocation. At first the monarch heard the story with temper, but soon broke out, reproaching the nobleman with his want of truth, and adding, "You have not to do with Holbein, but with me; I tell you, of seven peasants I can make seven lords; but of seven lords I cannot make one Holbein! Begone, and remember that if you ever attempt to revenge yourself, I shall look on any injury offered to the painter as done to myself."

HOLBEIN'S PORTRAIT OF THE DUCHESS DOWAGER OF MILAN.

After the death of Jane Seymour, Holbein was sent to Flanders by the King, to paint the portrait of the Duchess Dowager of Milan, widow of Francesco Sforza, whom Charles V. had recommended to Henry for a fourth wife, although the German Emperor subsequently changed his mind, and prevented the marriage. There is a letter among the Holbein MSS. from Sir Thomas Wyatt, congratulating his Majesty on his escape, as the Duchess' chastity was somewhat equivocal, but says Walpole, "If it was, I am apt to think, considering Henry's temper, that the Duchess had the greater escape!"--About the same time it is said that the Duchess herself, sent the King word, "That she had but one head; if she had two, one of them should be at his Majesty's service."

HOLBEIN'S FLATTERY IN PORTRAITS--A WARNING TO PAINTERS.

Holbein was dispatched by Cromwell, Henry's Minister, to paint the Lady Anne of Cleves, and by practising the common flattery of his profession, "he was," says Walpole, "the immediate cause of the destruction of that great subject, and of the disgrace which fell upon the princess herself. He drew so favorable a likeness that Henry was content to wed her; but when he found her so inferior to the miniature, the storm which should have really been directed at the painter, burst on the minister; and Cromwell lost his head, because Anne was a Flanders mare, and not a Venus, as Holbein had represented her."

HOLBEIN'S PORTRAIT OF CRATZER.

He painted the portrait of Nicholas Cratzer, astronomer to Henry VIII., which Walpole mentions as being in the Royal collection in France. This astronomer erected the dial at Corpus Christi, Oxford College, in 1550. After thirty years' residence in England, he had scarce learned to speak the language, and his Majesty asking him how that happened, he replied, "I beseech your highness to pardon me; what can a man learn in only thirty years?" The latter half of this memorable sentence may remind the reader of Sir Isaac Newton; and perhaps the study of astronomy does naturally produce such a feeling in the reflective mind.

HOLBEIN'S PORTRAITS OF SIR THOMAS MORE AND FAMILY.

Holbein painted the portraits of the Chancellor and family; and no less than six different pictures of this subject are attributed to his hand; but of these Walpole thinks only two to possess good evidences of originality. One of these was in Deloo's collection, and after his death was purchased by Mr. Roper, More's grandson. Another was in the Palazzo Delfino at Venice, where it was long on sale, the price first set being L1500; but the King of Poland purchased it about 1750, for near L400. The coloring of this work is beautiful beyond description, and the carnations have that bloom so peculiar to Holbein, who touched his works until not a touch remained discernible. Walpole says, "It was evidently designed for a small altar-piece to a chapel; in the middle on a throne sits the Virgin and child; on one side kneels an elderly gentleman with two sons, one of them a naked infant opposite kneeling are his wife and daughters."

There is recorded a bon-mot of Sir Thomas on the birth of his son. He had three daughters, but his wife was impatient for a son: at last they had one, but not much above an idiot--"you have prayed so long for a boy," said the Chancellor, "that now we have got one who I believe will be a boy as long as he lives!"

SIR JOHN VANBRUGH AND HIS CRITICS.

This eminent English architect, who flourished about the commencement of the 18th century, had to contend with the wits of the age. They waged no war against him as a wit, for he was not inferior; but as an architect, he was the object of their keenest derision, particularly for his celebrated work of the stupendous palace of Blenheim, erected for the Duke of Marlborough in accordance with the vote of a grateful nation. Swift was a satirist, therefore no true critic; and his disparagement of Blenheim arose from party-feeling. Pope was more decisive, and by the harmony of his numbers contributed to lead and bias the public opinion, until a new light emanated from the criticism of Sir Joshua Reynolds; and this national palace is now to be considered, not on its architectural, but its picturesque merits. A criticism which caused so memorable a revolution in public taste, must be worthy of an extract. "I pretend to no skill in architecture--I judge now of the art merely as a painter. To speak then of Vanbrugh in the language of a painter, he had originality of invention, he understood light and shadow, and had great skill in composition. To support his principal object he produced his second and third groups of masses; he perfectly understood in his art what is most difficult in ours, the conduct of the background, by which the design and invention is set off to the greatest advantage. What the background is in painting, is the real ground upon which the building is erected; and no architect took greater care that his works should not appear crude and hard; that is, it did not start abruptly out of the ground, without speculation or preparation. This is the tribute which a painter owes to an architect who composed like a painter."

Besides this, the testimony of Knight, Price, and Gilpin, have contributed to remove the prejudices against Vanbrugh. Knight says in his "Principles of Taste," Sir John Vanbrugh is the only architect I know of, who has either planned or placed his houses according to the principles recommended; and in his two chief works, Blenheim and Castle Howard, it appears to have been strictly adhered to, at least in the placing of them, and both are certainly worthy of the best situations, which not only the respective places, but the island of Great Britain could afford.

Vanbrugh also evinced great talent as a dramatic writer, and his masterly powers in comedy are so well evinced in the Relapse, the Provoked Wife, and other plays, that were it not for their strong libertine tendency which have properly banished them from the stage, and almost from the closet, he would have been regarded as a standard classic author in English dramatic literature. His private character seems to have been amiable, and his conduct tolerably correct. He died at his own house in Whitehall, in 1726. In his character of architect, Dr. Evans bestowed on him the following witty epitaph:

"Lie heavy on him, earth, for he Laid many a heavy load on thee"!

ANECDOTE OF THE ENGLISH PAINTER JAMES SEYMOUR.

He was employed by the Duke of Somerset, commonly called "the Proud Duke," to paint the portraits of his horses at Petworth, who condescended to sit with Seymour (his namesake) at table. One day at dinner, the Duke filled his glass, and saying with a sneer, "Cousin Seymour, your health," drank it off. "My Lord," said the artist, "I believe I have the honor of being related to your grace." The proud peer rose from the table, and ordered his steward to dismiss the presumptuous painter, and employ an humbler brother of the brush. This was accordingly done; but when the new painter saw the spirited works of his predecessor, he shook his head, and retiring said, "No man in England can compete with James Seymour." The Duke now condescended to recall his discarded cousin. "My Lord," was the answer of Seymour, "I will now prove to the world that I am of your blood--I won't come." Upon receiving this laconic reply, the Duke sent his steward to demand a former loan of L100. Seymour briefly replied that "he would write to his Grace." He did so, but directed his letter, "Northumberland House, opposite the Trunkmaker's, Charing Cross." Enraged at this additional insult, the Duke threw the letter into the fire without opening it, and immediately ordered his steward to have him arrested. But Seymour, struck with an opportunity of evasion, carelessly observed that "it was hasty in his Grace to burn his letter, because it contained a bank note for L100, and that therefore, they were now quits."

PRECOCITY OF LUCA GIORDANO.

At the age of five years, the natural taste of Lucia Giordano for painting, led him to adopt the pencil as a plaything; at six he could draw the human figure with surprising correctness. The Cav. Stanzioni, passing by his father's shop, and seeing the child at work, stopped to see his performances, and is said to have predicted that "he would one day become the first painter of the age." Before he was eight years old he painted, unknown to his father, two cherubs in a fresco, entrusted to that artist, in an obscure part of the church of S. Maria Nuova--figures so graceful as to attract considerable attention. This fact coming to the knowledge of the Duke de Medina de las Torres, the Viceroy of Naples, he rewarded the precocious painter with some gold ducats, and recommended him to the instruction of Spagnoletto, then the most celebrated painter in Naples, who accordingly received him into his studio. There, says Palomino, he spent nine years in close application to study, and there, he probably enjoyed the advantage of seeing Velasquez, during that great artist's second visit to Naples.

GIORDANO'S ENTHUSIASM.

When Giordano was about seventeen years old, having learned from Ribera all he could teach him, he conceived a strong desire to prosecute his studies at Rome. To this step, his father, who was poor, and could perhaps ill afford to lose his earnings, refused to give his consent. Luca therefore embraced the earliest opportunity to abscond, and ran away on foot to the metropolis of art, where he applied himself with the greatest assiduity. He copied all the great frescos of Raffaelle in the Vatican several times; he next turned his rapid pencil against the works of Annibale Caracci in the Farnese palace. Meantime, his father divining the direction which the truant had taken, followed him to Rome, where, after a long search, he discovered him sketching in St. Peter's church.

LUCA FA PRESTO.

Giordano resided at Rome about three years with his father, who seems to have been a helpless creature, subsisting by the sale of his son's drawings; but Luca cared for nothing but his studies, satisfied with a piece of bread or a few maccaroni. When their purse was low, the old man would accompany him to the scene of his labors, and constantly urge him on, by repeating Luca, fa presto, (hurry Luca) which became a byword among the painters, and was fixed upon the young artist as a nickname, singularly appropriate to his wonderful celerity of execution. He afterwards traveled through Lombardy to Venice, still accompanied by his father, and having studied the works of Correggio, Titian, and other great masters, returned by way of Florence and Leghorn to Naples, where he soon after married the Donna Margarita Ardi, a woman of exquisite beauty, who served him as a model for his Virgins, Madonnas, Lucretias, and Venuses.

GIORDANO'S SKILL IN COPYING.

Luca Giordano could copy any master so accurately as to deceive the best judges. Among his patrons in his youth was one Gasparo Romero, who was in the habit of inflicting upon him a great deal of tedious and impertinent advice. For this he had his revenge by causing his father to send to that connoisseur as originals, some of his imitations of Titian, Tintoretto, and Bassano, and afterwards avowing the deception; but he managed the joke so pleasantly that Romero was rather pleased than offended at his skill and wit.

GIORDANO'S SUCCESS AT NAPLES.

In 1655, Giordano painted in competition with Giacomo Forelli, a large picture of St. Nicholas borne away by angels, for the church of S. Brigida, a work of such power and splendor, that it completely eclipsed his rival, and established his reputation at the early age of twenty-three. Two years after, he was employed by the Viceroy to paint several pictures for the church of S. Maria del Pianto, in competition with Andrea Vaccaro. The principal subjects which fell to Giordano, were the Crucifixion, and the Virgin and St. Januarius pleading with the Saviour for Naples, afflicted with pestilence; these he executed with great ability. He and Vaccaro having a dispute about placing the pictures, the matter was referred to the Viceroy, who gave the choice to Vaccaro as the senior artist; Giordano immediately yielded with so much grace and discretion, that he made a firm friend of his successful rival. His master, Ribera, being now dead, he soon stepped into the vacant place of that popular artist. The religious bodies of the kingdom, the dignitaries of the church, and princes and nobles, eagerly sought after his works.

GIORDANO, THE VICEROY, AND THE DUKE OF DIANO.