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I wouldn't have believed it if I hadn't seen it. She took no more notice of me and my guide than if we had been rocks. Poor brute!" Another chapter would have recorded the influence upon my life of great writers, great poets, great painters, great sculptors, and great musicians.
Fact is always more interesting than fiction; and, while I am upon the topic of his method, I will introduce what Cellini has left written on this subject. In his treatise on the Art of Sculpture, Cellini lays down the rule that sculptors in stone ought first to make a little model two palms high, and after this to form another as large as the statue will have to be.
Unfortunately, the book containing it is lost, but I remember the following lines, referring to the industrious sprites which I imagined as the sculptors of the wondrous shapes: "Priestly robes and a high altar the sprites created here, And in the rock-hewn cauldron poured the holy water clear, Within whose depths reflected, by the torches' flickering rays, Beneath the surface glimmering my own face met my gaze; And when I thus beheld it, so small it seemed to me, That yonder stone-carved giant looked on with mocking glee.
His brown hair was somewhat tumbled; for, while the ancient sculptors are said to have known eighteen methods of arranging Minerva's tresses, Passepartout was familiar with but one of dressing his own: three strokes of a large-tooth comb completed his toilet. It would be rash to predict how Passepartout's lively nature would agree with Mr. Fogg.
Unlike the crowd of ignoramuses, who fancy they draw correctly because they can paint one good vanishing line, I have not dryly outlined my figures, nor brought out superstitiously minute anatomical details; for, let me tell you, the human body does not end off with a line. In that respect sculptors get nearer to the truth of nature than we do.
Thus Stevens gives figures of two carvings in his "Flint Chips," p. 429, Figs. 65 and 66, calling them manatees, and says: "In one particular, however, the sculptors of the mound-period committed an error. Mr.
This is the first occurrence of it that I know in pure Italian painting; but the idea is Etruscan-Greek, and is used by the Etruscan sculptors of the door of the Baptistery of Pisa, of the evil angel, who "lays the heads together" of two very different persons from these Herodias and her daughter.
The lesson was conveyed in hard, dry, uncouth diagrams, ill-coloured and deficient in the quality of animation. At this period the painters, like the sculptors, were trained as goldsmiths, and Paolo had been a craftsman of that guild before he gave his whole mind to the study of linear perspective and the drawing of animals.
He has said enough in my hearing to put him at swords' points with sculptors of every epoch and every degree between the two inclusive extremes of Phidias and Clark Mills. He has a bust of the reigning Grand Duchess of Tuscany, who sat to him for it.
Indeed, very few statues of this sort were made by the sculptors of the Renaissance; for the most part they confined themselves to single figures and to groups in relief: even Michelangelo but rarely attempted the "freestanding group." It is, however, to such a work we come in the splendidly composed Rape of the Sabines by Giovanni da Bologna in the Loggia itself.
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