The Republican. [volume] (Oakland, Md.) 1877-current, 1886-07-31
MARVELS OF PREcOCITY.
Painters and Sculptors Who Achieved
RenOwE in Their Childhood.


Painters and Sculptors Who Achieved
RenOwH In Their Childhood.
The history of art is so rich in Illus
trations of precocity that it is difficult
to select the best examples. Mantegna
showed such marked ability as a child
that he was taken up by patron and
entered by his master in the guild of
painters before the completion of his
eleventh year. Again, Andrea del
Sarto is said to have shown fondness
for drawing as a child, and at the early
age of seven to have been introduced
80 the world of art in the shop of q
goldsmith Raphael seems to have
been a painter from the cradle. He
was sent to learn of Perugino when
twelve years old, and at seventeen was
painting on his own account. Tiziano
showed as child decided preference
for art over classics, and painted at the
age of twelve Madonna and Child in
in the tabernacle of house, and about
two years later studied under Gentle
Bellini. Tintoretto used as child to
draw on the walls of his father house,
and received the name by which he is
most widely known at this early date.
Hardly less striking in his precocity
is Michael Angelo, who, as lad,
kept running off to the studies, and
at fourteen was received by CHR
landajo as regular pupil. Turn
ing from Italy, we meet with no less
interesting illustrations of artistic pre-
cocity. Murillo displayed talent as u
child, covering the walls of his house
with his drawings. 1t is said that he
painted pictures as a boy and sold them
at the fair. Holbein, who was taught
at an early age by his father, painted
finished pictures at the age of thirteen.
Ruysdael is said to have painted nota-
BILE pictures at twelve. At the same
age Cornelius painted original compo-
sitions in the Cathedral at Neuss, which
show great talent. Vernet helped when
a boy to paint his fathers pictures.
AIRY Scheffer, the son of painter,
painted from early childhood, and ex-
hibited in the Amsterdam Salon at
twelve. Among sculptors Canova is
said to have carved lion at twelve.
Thorwaldsen entered on a regular
course of study at eleven. Coming to
our own country we find instances of
precoeity which equal, if indeed they
do not surpass, those furnished by other
countries. Perhaps the most remarka-
BILE instance is George Morland. He
is said to have taken to pencil and
crayon almost as soon as he left the
cradle Sketches of his made at four,
five and six were exhibited to the Soci-
ETY. of Artists, and won praise for the
child artist. Sir Thomas Lawrence
was another childish marvel. As a
small boy he could draw portraits, and
at nine not only copied historical paint
ings in Il masterl y style, but succeeded
in compositions of his own. At ten
his childish fame was such that he was
sent by his father to Oxford to paint
Bishops, Earls and other notabilities-
an experiment which brought great
gain to his impecunious parent. At
seventeen the period of his ripper and
more lasting fame commenced. With
these instances must be reckoned Land
seer, who, taught by his father, could
draw well at five, and excellently at
eight. When only thirteen he drew
majestic St. Bernard dog which was
etched by his brother, and in the same
year pictures of his appeared in the
Royal Academy under the name of
Master Z. Landseer. Gainsborough
was a confirmed painter at twelve
Turner, though hampered by poverty,
made such progress that he exhibited
at fifteen. Wilkie says he could draw
before he could read, and he exhibited
at fourteen. Flaxman amused himself
when a sickly child by drawing in
crayons, and exhibited busts at fifteen.
Nineteenth Century.