WOBO: Search for words and phrases in the texts here...

Enter either the ID of an entry, or one or more words to find. The first match in each paragraph is shown; click on the line of text to see the full paragraph.

Currently only Chalmers’ Biographical Dictionary is indexed, terms are not stemmed, and diacritical marks are retained.

one of the greatest painters of the last century, was born Feb.

, one of the greatest painters of the last century, was born Feb. 5, 1708, at Lucca. His father, a goldsmith, devoted him to that art, to which he had but little inclination. It afforded him, however, occasion to exercise himself in drawing, and to exhibit his excellent talent for painting, and the first specimen of his skill which attracted notice was a golden cup of exquisite workmanship, which he executed so satisfactorily, that his capacity was thought to be far superior to the trade of a goldsmith: and, at the instance of his godfather Alexander Q,uinigi, several patriotic noblemen agreed to send him to the Roman academy of painting, at their common expence. We are told that until he had reached his seventh year, he was and deformed, and had not the power to turn his. head on either side without moving his whole body, and that throughout life his appearance was such as bespoke no extraordinary genius. When his friends took charge of his education as an artist, father Diversi, of the order of Philippines, and the abbe Fatinelli, envoy at Rome from the republic of Lucca, to whom he was recommended, took him to Sebastian Concha and Augustine Masucci, who were at that time the most renowned masters of the Roman school, that he might make choice of one of them for his tutor and guide. But the antiques, and Raphael’s works, from the very first, made so strong an impression on his mind, that he chose rather to avoid the modern manner, and form himself entirely on the old. The sensibility with which nature had endowed him, made him feel that there could be but one true manner in the practice of the art, and that none of the modern, which depart so far from the antique, could be the right. Accordingly, rejecting the advice of his masters, he devoted himself to the study of the antiques and the works of Raphael d'Urbino. How diligent he was in this practice is seen in the heads still in being, which he copied from the Dispute on the Sacrament, a copy of the school of Athens, painted in oil and not quite finished, and the various commissions he received from foreigners for drawings of the best originals.