The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1877-03-08
Art and Artists.

Art anu ARTISTS.
1t is stated from Athens that DIR. Schliemann
has discovered the mouth of double eircular
metropolis at MyceDe, and has found in tomb
four golden vases eighteen centi.metres high.
richly ornamented; also two golden signet
rings, one representing palm tree and seven
hgures of women.
A numismatc discovery almost unparalleled
in extent has been made near Verona. Two
large amphorae have been found containing no
less than two qlintals, or about 600 English
pounds weight, of coins of the Emperor Gsllie-
nus and his successors within the hundred years
following his reign. The number OF coins is es-
timated at between $4,000 and $1,000. OF those
of the Emperor Probus there are more than
1000. The majority are of bronze, but there
are some of silver and others of bronze sIlvsred
tSub9rd0!. They are all in the finest state of
preservation, and, with the exception of those
OF Gallienus, which are a little worn, they are
SO fresh from the mint as to make it evident
they were never put into circulation. The dis
covery has been considered of sufficient impor-
tance for the minister of public instruction TO
despatch Signor Pigorni specially to Verona to
report upon it. All the finest examples are to
be placed in the museum of Verona and the
remainder either exchanged in sets with other
museums or sold, as may be decided upon.
A correspondent writes from Florence: at
is a gratifying symptom of the growth of a
higher sense of the real nature of the 6ne arts
among Anglo-Ssxon visitors to Italy, whether
English or American, that the practical study
of drawing is pursued by young people with an
earnestness and industry very different from
the slight and purposeless manner hitherto
common. These students have no intention of
becoming artists, but desire to cultivate taste
and real critical knowledge of works Of art, as
well as to acquire substantial power of draw
ing. Among young Eog'sh people the infiu-
ence of Mr. Ruskn's writings is paramount.
1t NAV be that they are somewhat narrow in
their views, not to say dogmatIc; but they are
in earnest, and have learned to love art. Among
young Americans, especially women, th-re is
an amount f knowledge of foreign galleries
and of their cootents acquitted by readiog In
America, which is surprising and very gratify-
ing. Glasses for the study of drawing aud
painting are carried on in the studios of artists
of the highest eminence. The old-fashioned
drawing master, feeble as an artist, still exists
but is comparatively little sought after, and
young people study 10 tue studios of Belluccio
and Cassioli, the historical painters, aud Of Van
Shaick, the American, pupil of Gerome, who
teaches with all the vgor and CON pie teoess of
the Fieuch masters OF the present time, who
are probably the best teachers n Europe.
In the field of animal painting, combined
with landscape, we find the French artists hold
ing position in advance of anything that has
been done since the days when Paul Potter
painted his famous bull, done at the age of
twenty three. If he had not died at twenty
seven he might have produced work beyond the
hope OF rivalry. In the Eoglish and German
schools we find individual cases of great ability
in the representation of animal life, but the
French in the last generation gave US the school
of Troyon, and the national genius for this
branch OF art has not yet passed away. Who is
there that paints sheep better than jacques?
He is a native of Paris. So was Corot; and SO
was Turner native of London. Those who
make study of human nature may find an in
| teresting field for thought in looking into the
causes that, in the heart of great city, far
away from green fields, produced three of the
| greatest delineators OF rural life in modern
times. Defaux, Chaigneaux, Schenck and sew
eral others are also distinguished in this line.
Schenck was wine merchant at Oporto. He
sold out his wine vaults, came to Paris, and be-
came an artist of merit. Van Marke and
Mauve represent cattle with much vigoG. but
the greatest animal painter now in France Is
probably Rosa Bonheur. There is the same in
tense observation and sympathy with nature,
the same vigor of treatment, we find in the
| works of Troyon and Landseer. More refine
ment than in Troyon, with rather less of power,
but more power than in Landseer, so tar as the
representation of cattle is concerned. In the
painting of deer and dogs the English artist
holds position entirely alone.-S. G. W. BEN
ja,nin, in Hdrper'S Magazine.
The following story concerning Delacroix'
great painting of Dante and Virgil, la Barqu
| du Dante is retold from Charles Blanc, in
Scribner's cold Cabinet" for March: He had
completed, in his sisters garret, this immense
painting which was destined, as he dreamed, to
bring him so much glory. The picture was fin-
ished, but how was it to make its appearance
before the judges? He had no money where
with to buy asframe of such dimensions; to or
der one was to contract q debt the very idea Of
which fillod him with horror. In the same
house was a carpenter who seemed to be inter-
ested in him. This good man made present
to his young friend of four long lsths of un-
painted wood. On these laths the delighted ar
tist fastened covering of isinglass, which he
''sanded" over with some sort OF yellow powder;
and thus framed the picture was sent to the
| judges. The day of the opening was awaited
with feverish anxiety. Delacroix rushed to the
Louvre, and hurried, breathlessy, through the
entire gallery searching yainly fer that extraor.
| dinary frame, AT last he sat down upon q
BENCH his heart full of despair. 1t was mis-
| cradle quarter of an hour. Then who should
approach but one of the guardians of the Lou
| vre, who knew the painter. II hope you are
satisfied now" said the man smiling "Satis,
| fed and with what? with being refused?'
"Then you have not seen your picture in the
Salon Carre in magnificent frame which the
administration has made for it, at the reqoest of
Baron Gros-your own frame having fallen all
| to pieces" "La Barque du Dante" writes
Charles Blanc, ''had in fact place of honor.
Delacroix could not believe his own eyes; and
he owed this distinction to man who had his
entire admiration-to the painter OF Jaffa' and
| OF 'Aboukir-to him who was regarded by
| Gericault as the greatest master of the Frehch
| school! Never did the soul OF an artist receive
such shock?'
If any ambitions young artist would like to
eclipse the fame of the late Sir Edwin Land.
seer he would do well to ponder an anecdote
related in some memoirs lately Published, or
about to be published, of which the celebrated
Martin. the ''dompteur" is the hero 1t is
said that Martin while he was staying at
Ghent in 1926 noticed among the most con-
stant attendants at his menagerie ayoung man
who, by reason of the drawing materials he
brought with him and freely employed, stood
| confessed an tist. Martin yearned toward
| him, and the two became thick as thieves One
| day the enthusiastic artist while taking the
l portrait of noble lion, called Nero, complained
1 bitterly that the bars of the cage were in the
4 way. "Don't let that be any obstacle" said
| the "dompteur' syDpathizingly; IF you VIII
| come with me TO Nero's apartment and
| allow me to introt ce you, can answer Tor 1t
/ that he will show how hattered he IS by visit
| from so excellent. an artist and will give you
eyery facility for handing down his features to
| uosterity" The artist, strange to say, jumped
| az the offer; and Martin, who was not the man
| to lose an opportunity of advertising himself,
| sent word to the duke of Saxe-W eimar, govern
| or of Ghent, and to other notabilites that he
would on a given day go into Nero's cage and
take "un amateur stranger" with him. The
| duke did not fal to put in an appearances; the
pair walked into the cage aud Nero was at first
inclined to be what is called nasty. But, re-
assured by his masters voice, the lion went
| and lay down in a corner, and the painter sit
ting down opposite coolly proceeded to-cut his
pencil Having performed this little prelimin-
ary to his satisfaction he executed sketch OF
Nero which was pronounced to be very ike.
The "dompteur' and the painter then took
| polite leave of the lion. and the duke, having
| compIimeutsd the artist on the pluck as well as
talent displayed, would fain have purchased
| tine sketch. But it was no more to be had for
| money than the water which Dayids mighty
| men drew from the well of Bethlehem was to
be treated like common drinking water; and
| the artist kept it himself as the converse of a
raemento nori. His name was Verboeck hoven,
afterwards famous as Belgian animal painter.
But 1t will be remembered that Verboeckhoven
confined himself to painting sheep thereafter