WOMEN ARTISTS
IN ALL AGES AND COUNTRIES.
BY MRS. ELLET,
AUTHOR OF “THE WOMEN OF THE AMERICAN REVOLUTION,” ETC.
NEW YORK:
HARPER & BROTHERS, PUBLISHERS,
FRANKLIN SQUARE.
1859.
Entered, according to Act of Congress, in the year one thousand
eight hundred and fifty-nine, by
HARPER & BROTHERS,
in the Clerk’s Office of the District Court of the Southern District
of New York.
TO
MRS. COVENTRY WADDELL,
WHOSE ELEGANT TASTE AND APPRECIATION OF ART, AND
WHOSE LIBERAL KINDNESS TO ARTISTS, HAVE
FOSTERED AMERICAN GENIUS,
This Volume is Inscribed
BY HER FRIEND
THE AUTHOR.
PREFACE.
I do not know that any work on Female Artists--either grouping them or
giving a general history of their productions--has ever been published,
except the little volume issued in Berlin by Ernst Guhl, entitled “Die
Frauen in die Kunstgeschichte.” In that work the survey is closed with
the eighteenth century, and female poets are included with painters,
sculptors, and engravers in the category of artists. Finding Professor
Guhl’s sketches of the condition of art in successive ages entirely
correct, I have made use of these and the facts he has collected,
adding details omitted by him, especially in the personal history of
prominent women devoted to the brush and the chisel. Authorities, too
numerous to mention, in French, Italian, German, and English, have been
carefully consulted. I am indebted particularly to the works of Vasari,
Descampes, and Fiorillo. The biographies of Mdlles. Bonheur, Fauveau,
and Hosmer are taken, with a little condensing and shaping, from late
numbers of that excellent periodical, “The Englishwoman’s Journal.” The
sketches of many living artists were prepared from materials furnished
by themselves or their friends.
It is manifestly impossible, in a work of this kind, to include even
the names of all the women artists who are worthy of remembrance. Among
those of the present day are many who have not yet had sufficient
experience to do justice to their own powers, and any criticism of
their productions would be premature and unfair.
No attempt has been made in the following pages to give elaborate
critiques or a connected history of art. The aim has been simply
to show what woman has done, with the general conditions favorable
or unfavorable to her efforts, and to give such impressions of the
character of each prominent artist as may be derived from a faithful
record of her personal experiences. More may be learned by a view
of the early struggles and trials, the persevering industry and the
well-earned triumphs of the gifted, than by the most erudite or
fine-spun disquisition. Should the perusal of my book inspire with
courage and resolution any woman who aspires to overcome difficulties
in the achievement of honorable independence, or should it lead to
a higher general respect for the powers of women and their destined
position in the realm of Art, my object will be accomplished.
E. F. E.
CONTENTS.
CHAPTER I.
THE EARLY AGES.
Women in Art.--Kind of Painting most practiced by them.--Feminine
Employments in early Ages.--The fair Egyptians.--Women of Assyria and
Babylon.--Grecian Women.--Sculpture and Painting in Greece.--The
Daughter of Dibutades.--The Lover’s Profile.--The first
Bas-relief.--Timarata.--Helena.--Anaxandra.--Kallo.--Cirene.--Calypso.
--Other Pupils of Grecian Art.--The Roman
Women.--The Paintress Laya.--Lala.--Influence of Christianity
on Art.--Adornment rejected by the early Christians.--Art degraded
for Centuries.--Female Influence among the Nations that
rose on the Ruins of Rome.--Wise and clever Princesses.--Anna
Comnena.--The first Poetess of Germany.--The first Editress of a
Cyclopædia.--The Art of Illuminating.--Nuns employed in copying
and painting Manuscripts.--Agnes, Abbess of Quedlinburg.--Princesses
at work.--Convent Sisters copying and embellishing religious
Works.--The Nuns’ Printing-press.--The first Sculptress, Sabina
von Steinbach.--Her Works in the Cathedral of Strasburg.--Elements
that pervade the Sculpture of the Middle Ages.--Painting
of the Archbishop crowning Sabina. Page 21
CHAPTER II.
THE FIFTEENTH CENTURY.
Commencement of the History of modern Art.--Causes of the Barrenness
of this Century in female Artists.--The Decline of Chivalry
unfavorable to their mental Development.--Passing away of the
Ideal and Supernatural Element in Art.--New Feeling for Nature.--New
Life and Action in Painting.--Portrayal of Feelings
of the Heart.--Release of Painting from her Trammels.--Severer Studies
necessary for Artists.--Woman excluded from the Pursuit.--Patronage
sought.--One female Artist representing each prominent
School.--Margaretta von Eyck.--Her Miniatures.--Extensive Fame.--Her
Decoration of Manuscripts.--Work in Aid of her Brothers.--“The
gifted Minerva.”--Single Blessedness.--Another Margaretta.--Copies
and illuminates MSS. in the Carthusian Convent.--Eight folio Volumes
filled.--Caterina Vigri.--Her Miniature Paintings.--Founds a
Convent.--“The Saint of Bologna.”--Miraculous Painting.--The warrior
Maiden Onorata.--Decorates the Palace at Cremona.--Insult offered
her.--She kills the Insulter.--Flight in male Attire.--Soldier
Life.--Delivers Castelleone.--The mortal Wound. 32
CHAPTER III.
THE SIXTEENTH CENTURY.
This Century rich in great Painters.--Not poor in female
Artists.--Memorable Period both in Poetry and Painting.--Fruits of the
Labor of preceding Century now discernible.--Female Disciples in all
the Schools of Italian Art.--Superiority of the Bolognese
School.--Properzia Rossi.--Her Beauty and finished Education.--Carving
on Peach-stones.--Her Sculptures.--The famous Bas-relief of Potiphar’s
Wife.--Properzia’s unhappy Love.--Slander and Persecution.--Her
Works and Fame.--Visit of the Pope.--Properzia’s
Death.--Traditional Story.--Isabella Mazzoni a Sculptor.--A female
Fresco Painter.--Sister Plautilla.--Her Works for her Convent
Church.--Other Works.--Women Painters of the Roman School.--Teodora
Danti.--Female Engravers.--Diana Ghisi.--Irene di Spilimberg.--Her
Education in Venice.--Titian’s Portrait of her.--Tasso’s
Sonnet in her Praise.--Poetical Tributes on her Death.--Her
Works and Merits.--Vincenza Armani.--Marietta Tintoretto.--Her
Beauty and musical Accomplishments.--Excursions in Boy’s Attire
with her Father.--Her Portraits.--They become “the Rage.”--Invitation
from the Emperor.--From Philip of Spain.--The Father’s
Refusal.--Her Marriage and Death.--Portrait of her.--Women
Artists of Northern Italy.--Barbara Longhi and others.--The
Nuns of Genoa. 38
CHAPTER IV.
THE SIXTEENTH CENTURY.
The six wonderful Sisters.--Sofonisba Anguisciola.--Her early
Sketches.--Painting of three Sisters.--Her Success in
Milan.--Invitation to the Court of Madrid.--Pomp of her Journey and
Reception.--The Diamond.--Paints the Royal Family and the
Flower of the Nobility.--Her Present to Pope Pius.--His Letter.--Her
Style.--Lucia’s Picture.--Sofonisba Governess to the Infanta.
Marriage to the Lord of Sicily.--His Death at Palermo.--The
Widow’s Voyage.--The gallant Captain.--Second Love and Marriage.--Her
Residence at Genoa.--Royal Visitors.--Loss of Sight.--Vandyck
her Guest.--Her Influence on Art in Genoa.--Her
Portrait and Works.--Sofonisba Gentilesca.--Her Miniatures of the
Spanish Royal Family.--Caterina Cantoni.--Ludovica Pellegrini.--Angela
Criscuolo.--Cecilia Brusasorci.--Caterina dei Pazzi.--Her
Style shows the Infusion of a new Element of religious
Enthusiasm into Art.--Tradition of her painting with eyes closed.--Her
Canonization.--Women in France at this period.--Isabella
Quatrepomme.--Women in Spain.--A female Doctor of Theology.--Change
wrought by Protestantism in the Condition of Woman.--Its
Influence on Art.--An English Paintress.--Lavinia Benic.--Catherine
Schwartz in Germany.--Eva von Iberg in Switzerland.--Women
Painters in the Netherlands.--Female Talent in Antwerp.--Albert
Durer’s Mention of Susannah Gerard.--Catherine Hämsen.--Anna
Seghers.--Clara de Keyzer.--Liewina Bennings’ and Susannah
Hurembout’s Visits to England.--The Engraver Barbara.--The Dutch
Engraver.--Constantia, the Flower Painter. 48
CHAPTER V.
THE SEVENTEENTH CENTURY.
New Ground presented for Progress.--Greater Diversity of
Style.--Naturalism.--The Caracci instrumental in giving to Painting
the Impetus of Reform.--Their Academy.--One opened by a Milanese
Lady.--The learned Poetess and her hundredth Birthday.--Female
Painters and Engravers.--Lavinia Fontana.--The hasty
Judgment.--Lavinia a Pupil of Caracci.--Character of her
Pictures.--Honors paid to her.--Courted by Royalty.--Her Beauty and
Suitors.--A romantic Lover.--Lavinia’s Paintings.--Close of the Period
of the Christian Ideal in Art.--Lavinia’s _Chef-d’Œuvre_.--Her
Children.--Professional Honors.--Her Death.--Female Disciples of
the Caracci School.--Pupils of Domenichino, Lanfranco, and Guido
Reni.--The churlish Guercino a Despiser of Women.--The Cardinal’s
Niece and Heiress.--Her great Paintings.--Founds a
Cloister.--Artemisia Gentileschi, a Pupil of Guido.--Her
Portraits.--Visit to England.--Favor with Charles I.--Luxurious Abode
in Naples.--Her Correspondence.--Judgment of her Pictures.--Elisabetta
Sirani.--Her artistic Character.--Her household Life.--Industry and
Modesty.--Her Virtues and Graces.--Envious Artists.--Defeat of
Calumny.--Her mysterious Fate.--Conjectures respecting it.--Funeral
Obsequies.--Her principal Works.--Her Influence on female
Artists.--Her Pupils.--Other Women Artists of Bologna. 59
CHAPTER VI.
THE SEVENTEENTH CENTURY.
School of the Academicians after Caravaggio.--Unidealized
Nature.--Rude and violent Passions delineated.--Dark and stormy Side
of Humanity.--Dark Coloring and Shadows.--The gloomy and passionate
expressed in Pictures appeared in the Lives of Artists.--The
Dagger and Poison-cup common.--Aniella di Rosa.--The Pupil of
Stanzioni.--Character of her Painting.--Romantic Love and
Marriage.--The happy Home destroyed.--The hearth-stone
Serpent.--Jealousy.--The pretended Proof.--Phrensy and Murder.--Other
fair Neapolitans.--The Paintress of Messina.--The Schools of Bologna
and Naples embrace the most prominent Italian Paintings.--Commencement
of Crayon-drawing.--Tuscan Ladies of Rank cultivating Art.--The
Rosalba of the Florentine School.--Art in the City of the Cæsars.--The
Roman Flower-painter.--Engravers.--Medallion-cutters.--A female
Architect.--A Roman Sculptress.--Women Artists of the Venetian
School.--At Pavia.--The Painter’s four Daughters.--Chiara
Varotari.--Shares her Brother’s Labors.--A skillful Nurse.--Her
Pupils.--Other female Artists of this time.--The Schools of Northern
Italy.--Their Paintresses.--Giovanna Fratellini. 74
CHAPTER VII.
THE SEVENTEENTH CENTURY.
Contrast between the Academicians and Naturalists, and between the
French and Spanish Schools of Painting.--Peculiarities of
each.--Ladies of Rank in Madrid Pupils of Velasquez.--Instruction of
the royal Children in Art.--The Engraver of Madrid.--Every City in
the South of Spain boasts a female Artist.--Isabella Coello.--Others
in Granada.--In Cordova.--The Sculptress of Seville.--Luisa
Roldan; her Carvings in Wood.--The Canons “sold.”--Invitation
to Madrid.--Sculptress to the King.--Other Women
Artists in Spain.--In France Woman’s Position more prominent
than in preceding Age.--Corruption of court Manners.--Unworthy Women
in Power.--Women in every Department of Literature.--Mademoiselle
de Scudery.--Madame de la Fayette.--Madame Dacier.--Women in
theological Pursuits.--Their Ascendency in Art not so
great.--Miniature and Flower Painters.--Engravers.--Elizabeth
Sophie Chéron.--A Leader in Enamel-painting.--Her
Portraits and History-pieces.--Her Merits and Success.--Her
Translations of the Psalms.--Musical and Poetical Talents.--Honors
lavished on her.--Love and Marriage at three-score.--Her Generosity
to the needy.--Verses in her Praise.--Historical Tableaux.--Madelaine
Masson.--The Marchioness de Pompadour. 85
CHAPTER VIII.
THE SEVENTEENTH CENTURY.
Two different Systems of Painting in the North.--The Flemish School
represented by Rubens.--The Dutch by Rembrandt.--Characteristics
of Rubens’ Style.--No female Disciples.--Unsuited to feminine
Study.--Some Women Artists of the first Part of the Century.--Features
of the Dutch School.--A wide Field for female
Energy and Industry.--Painting _de genre_.--Its Peculiarities.--State
of Things favorable to female Enterprise.--Early Efforts in
Genre-painting.--Few Women among Rembrandt’s immediate
Disciples.--Genre-painting becomes adapted to female Talent.--“The
Dutch Muses.”--Another Woman Architect.--Dutch Women
Painters and Engravers.--Maria Schalken and others.--“The
second Schurmann.”--Margaretta Godewyck.--The Painter-poet.--Anna
Maria Schurmann.--Wonderful Genius for Languages.--Early
Acquirements.--Her Scholarship and Position among the
learned.--A Painter, Sculptor, and Engraver.--Called “the Wonder of
Creation.”--Royal and princely Visitors.--Journey to
Germany.--Embraces the religious Tenets of Labadie.--His
Doctrines.--Joins his Band.--Collects his Followers, and leads them
into Friesland.--Poverty and Death.--Visit of William Penn to
her.--Her Portrait.--Her female Contemporaries in
Art.--Flower-painting in the Netherlands.--Its Pioneers.--Maria
Van Oosterwyck.--Her Birth and Education.--Early
Productions.--Celebrated at foreign Courts.--Presents from
imperial Friends.--Enormous Prices for her Pictures.--Royal
Purchasers.--The quiet Artist at work.--The Lover’s Visit.--The
Lover’s Trial and Failure.--Style of her Painting.--Rachel
Ruysch.--The greatest Flower-painter.--Early Instruction.--Spread
of her Fame.--Domestic Cares.--Professional Honors.--Invitations to
Courts.--Her Patron, the Elector.--Her Works in old Age.--Her
Character.--Rarity of her Paintings.--Personal Appearance. 94
CHAPTER IX.
THE SEVENTEENTH CENTURY.
Unfavorable Circumstances for Painting in Germany.--Effects of the
Thirty Years’ War.--The national Love of Art shown by the Signs
of Life manifested.--Influence of the Reformation.--Inferiority of
German Art in this Century.--Ladies of Rank in Literature.--A female
Astronomer.--The Fame of Schurmann awakens Emulation.--Distinguished
Women.--Commencement of poetic Orders.--Zesen, the Patron of the
Sex.--Women who cultivated Art.--Paintresses of Nuremberg.--Barbara
Helena Lange.--Flower-painters and Engravers.--Modeling in Wax.--Women
Artists in Augsburg.--In Munich.--In Hamburg.--The Princess
Hollandina.--Her Paintings.--Maria Sibylla Merian.--Early Fondness for
Insects.--Maternal Opposition.--Her Marriage.--Publication of her
first Work.--Joins the Labadists.--Returns to the
Butterflies.--Curiosity to see American Insects.--Voyage to
Surinam.--Story of the Lantern-flies.--Return to Holland.--Her Works
published.--Republication in Paris afterward.--Her Daughters.--Her
personal Appearance.--The Danish Women Artists.--Anna Crabbe.--King’s
Daughters.--The Taste in Art in Denmark and England governed by that
of foreign Nations.--Female Artists in England.--The Poetesses most
prominent.--Miniaturists.--Portrait-painters.--Etchers.--Lady
Connoisseurs.--The Dwarf’s Daughter.--Anna Carlisle.--Mary
Beale.--Pupil of Sir Peter Lely.--Character of her Works.--Rumor of
Lely’s Attachment to her.--Poems in her Praise.--Mr. Beale’s
Note-books.--Anne Killegrew.--Her Portraits of the Royal
Family.--History and still-life Pieces.--Her Portrait by Lely.--Her
Character.--Dryden’s Ode to her Memory.--Her Poems
published.--Mademoiselle Rosée.--The Artist in Silk.--Wonderful
Effects.--Her Works Curiosities.--The Artist of the Scissors.--Her
singular imitative Powers.--A Copyist of old Paintings.--Her
Cuttings.--Views of all kinds done with the Scissors.--Royal and
imperial Visitors.--Her Trophy for the Emperor Leopold.--Poems in
her Praise.--The Swiss Paintress Anna Wasser.--Her Education and
Works.--Commissions from Courts.--Her Father’s Avarice.--Sojourn at a
Court.--Return home.--Fatal Accident.--Her literary
Accomplishments. 110
CHAPTER X.
THE EIGHTEENTH CENTURY.
General Expansion and Extension of Art-culture.--More Scope given
to the Tendencies originated in preceding Age.--Reminiscences of
past Glories of Art active during the first half of the Century.--The
Flemish and Italian Schools in vogue.--Eclecticism.--Influences
of the French School mingled with those of the great Masters.--The
Rococo Style.--The Aggregate of Woman’s Labor greater
than ever before.--Not accompanied by greater Depth.--Less
Individuality discernible.--The greatest artistic Activity among
Women in Germany.--In France next.--In Italy next.--In other Countries
less.--Rapid Growth of Art in Berlin.--In Dresden.--Scholarship
and literary Position of Women during the first half
of the Century.--Poets and their Inspirations.--Princesses the Patrons
of Letters.--Nothing new or striking in Art.--A Revolution
in the latter half of the Century.--Instruction in Art a Branch of
Education.--Dilettanti of high Rank.--Female Pupils of Painters
of Note.--Mengs and Carstens.--Carstens the Founder of modern
German Art.--His Style not adapted to female Talent.--A lovely
Form standing between him and Mengs.--A female Stamp-cutter.--An
Artist in Wax-work.--In Stucco-work.--In cutting precious
Stones.--Barbara Preisler.--Other female Artists.--Fashionable
Taste in Painting.--Marianna Hayd.--Miniaturists.--Anna Maria
Mengs.--Her Works.--Miniature and Pastel-painting.--Flowers
and Landscapes a Passion.--Imitators of Rachel Ruysch and Madame
Merian.--Celebrities in Flower-painting.--Copper-engraving. Lady
Artists of high Rank.--Other Devotees to Art. 132
CHAPTER XI.
THE EIGHTEENTH CENTURY.
Angelica Kauffman.--Parentage and Birth.--Beautiful Scenery of
her native Land.--Early Impulse to Painting.--Adopts the Style
of Mengs.--Her Residence in Como.--Instruction.--Music or
Painting?--Beauty of Nature around her.--Angelica’s Letter about
Como.--Escape from Cupid.--Removal to Milan.--Introduction to great
Works of Art.--Studies of the Lombard Masters.--The Duke of Modena
her Patron.--Portrait of the Duchess of Carrara.--Success.--Return to
Schwarzenberg.--Painting in Fresco.--Homely Life of the Artist.--Milan
and Florence.--Rome.--Acquaintance with Winkelmann.--Angelica paints
his Portrait.--Goes to Naples.--Studies in Rome.--In
Venice.--Acquaintance with noble English Families.--In London.--A
brilliant Career.--Fuseli’s Attachment to her.--Appointed Professor in
the Academy of Arts.--Romantic Incident of her Travel in
Switzerland.--The weary Travelers.--The libertine Lord.--The Maiden’s
Indignation.--Unexpected Meeting in the aristocratic Circles of
London.--The Lord’s Suit renewed.--Rejected with Scorn.--His Rank
and Title spurned.--Revenge.--The Impostor in Society.--Angelica
deceived into Marriage.--She informs the Queen.--Her Father’s
Suspicions.--Discovery of the Cheat.--The Wife’s Despair.--The
false Marriage annulled.--The Queen’s Sympathy.--Stories
of Angelica’s Coquetry.--Marriage with Zucchi.--Return to
Italy.--Her Father’s Death.--Residence in Rome.--Circle of literary
Celebrities.--Angelica’s Works.--Criticisms.--Opinions of
Mengs and Fuseli.--The Portraits in the Pitti Gallery.--Death of
Zucchi.--Invasion of Italy.--Angelica’s Melancholy.--Journey
and Return.--Her Death and Funeral. 144
CHAPTER XII.
THE EIGHTEENTH CENTURY.
Female Artists in the Scandinavian Countries.--In Sweden.--Ulrica
Pasch.--Danish Women Artists.--A richer Harvest in the
Netherlands.--The Belgian Sculptress.--Maria Verelst.--Her Paintings
and Attainments in the Languages.--Residence in London.--Curious
Anecdote.--Walpole’s Remark.--Women Artists in
Holland.--Poetry.--Henrietta Wolters.--Her Portraits.--Invitation from
Peter the Great.--Dutch Paintresses.--The young Engraver.--Caroline
Scheffer.--Landscape and Flower Painters.--A Follower
of Rachel Ruysch.--An Engraver.--In England.--Painting
suited to Women.--Literary Ladies.--Effect of the Introduction
of a new Manner in Art.--Numerous Dilettanti.--Female Sculptors.--Mrs.
Samon.--Mrs. Siddons and others.--Mrs. Damer.--Aristocratic
Birth.--Early love of Study and Art.--Horace Walpole
her Adviser.--Conversation with Hume.--First Attempt at
Modeling.--The Marble Bust and Hume’s Criticism.--Surprise
of the gay World.--Miss Conway’s Lessons and Works.--Unfortunate
Marriage.--Widowhood.--Politics.--Walpole’s Opinion of Mrs. Damer’s
Sculptures.--Darwin’s Lines.--Sculptures.--Envy and Detraction.--Going
abroad.--Escape from Danger.--Noble Ambition.--Return to
England.--Politics and Kissing.--Private Theatricals.--The three
Heroes.--Friendship with the Empress.--Walpole’s Bequest.--Parlor
Theatricals, etc.--Removal.--Project for improving India.--Mrs.
Damer’s Works.--Opinions of her. 164
CHAPTER XIII.
THE EIGHTEENTH CENTURY.
Mary Moser.--Nollekens’ House.--Skill in Flower-painting.--The
Fashions.--Queen Charlotte.--Patience Wright.--Birth in New
Jersey.--Quaker Parents.--Childish Taste for
Modeling.--Marriage.--Widowhood.--Wax-modeling.--Rivals
Madame Tussaud.--Residence in England.--Sympathy with America in
Rebellion.--Correspondence with Franklin.--Intelligence
conveyed.--Freedom of Speech to Majesty.--Franklin’s Postscript.--“The
Promethean Modeler.”--Letter to Jefferson.--Patriotism.--Art
the Fashion.--Aristocratic lady Artists.--Princesses Painting.--Lady
Beauclerk.--Walpole’s “Beauclerk Closet.”--Designs and
Portrait.--Lady Lucan.--Her Illustrations of Shakspeare.--Walpole’s
Criticism.--Other Works.--Mary Benwell and others.--Anna
Smyters and others.--Madame Prestel.--Mrs. Grace.--Mrs.
Wright.--Flower-painters.--Catherine Read and others.--Maria
Cosway.--Peril in Infancy.--Lessons.--Resolution to take the
Veil.--Visit to London.--Marriage.--Cosway’s Painting.--Vanity
and Extravagance.--The beautiful Italian Paintress.--Cosway’s
Prudence and Management.--Brilliant evening Receptions.--Aristocratic
Friends.--The Epigram on the Gate.--Splendid new
House and Furniture.--Failing Health.--France and Italy.--Institution
at Lodi.--Singular Occurrence.--Death of Cosway.--Return
to Lodi.--Maria’s Style and Works. 181
CHAPTER XIV.
THE EIGHTEENTH CENTURY.
Close of the golden Age of Art in France.--Corruption of
Manners.--Influence of female Genius.--Reign of Louis XVI.--Female
Energy in the Revolution.--Charlotte Corday.--Greater Number
of female Artists in Germany.--Reasons why.--French Women
devoted to Engraving.--Stamp-cutters.--A Sculptress enamored.--A
few Paintresses.--The Number increasing.--Influence of the
great French Masters.--Sèvres-painting.--Genre-painting.--Disciples of
Greuze.--Portrait-painting in vogue.--Caroline
Sattler.--Flower-painters, etc.--Engravers.--Two eminent
Paintresses.--Adelaide Vincent.--Marriage.--Portraits and other
Works.--The Revolution.--Elizabeth Le Brun.--Talent for Painting.--Her
Father’s Delight.--Instruction.--Friendship with Vernet.--Poverty
and Labor.--Avaricious Step-father.--Her Earnings squandered.--Success
and Temptation.--Acquaintance with Le Brun.--Maternal
Counsels to Marriage.--Secret Marriage.--Warnings too
late.--The Mask falls.--Luxury for the Husband, Labor and Privation
for the Wife.--Success and Scandal.--French Society.--Friendship
with Marie Antoinette.--La Harpe’s Poem.--Evening
Receptions.--Splendid Entertainments.--Scarcity of Seats.--Petits
Soupers.--The Grecian Banquet.--Reports concerning it.--Departure
from France.--Triumphal Progress.--Reception in Bologna.--In
Rome.--In Naples.--In Florence.--Madame Le Brun’s Portrait.--Goethe’s
Remarks.--New Honors.--Reception at Vienna.--An
old Friend in Berlin.--Residence in Russia.--Return to
France.--Loyalty.--Her Pictures.--Death of her Husband and
Daughter.--Advanced Age.--Autobiography.--An emblematic Life. 199
CHAPTER XV.
THE EIGHTEENTH CENTURY.
Women Artists in Spain.--Their Participation a Test of general
Interest.--Female Representatives of the most important
Schools.--That of Seville.--Of Madrid.--The Paintress of Don
Quixote.--Ladies of Rank Members of the Academy.--Maria Tibaldi.--Two
female Artists besides two Poetesses in Portugal.--The Harvest
greater in Italy.--Few attained to Eminence.--Learned Ladies.--Female
Doctors and Professors.--Degrees in Jurisprudence
and Philosophy conferred on them.--Examples.--The Scholar nine Years
old.--A lady Professor of Mathematics.--Women Lecturers.--Comparison
with English Ladies.--Brilliant Devotees of the Lyre.--Female Talent
in the important Schools of Art.--Women Artists in
Florence.--Engravers and Paintresses.--In Naples.--Kitchen-pieces.--In
the Cities of northern Italy.--In Bologna.--Princesses.--In
Venice.--Rosalba Carriera.--Her childish Work.--Her Genius
perceived.--Instruction.--Takes to Pastel-painting.--Merits
of her Works.--Celebrity.--Invitations to
Paris and Vienna.--Visit from the King of Denmark.--Invited
by the Emperor and the King of France.--Portrait for the Grand
Duke of Tuscany.--The King of Poland her Patron.--Unspoiled
by Honors.--Her moral Worth.--Residence in Paris.--Her Pictures.--The
Lady disguised as a Maid-servant.--Want of Beauty.--Anecdote
of the Emperor.--Rosalba’s Journal.--Visit to Vienna.--Presentiment
of Calamity.--The Portrait wreathed with
gloomy Leaves.--Blindness.--Loss of Reason.--Death and Burial.--Her
Portrait.--Other Venetian Women. 221
CHAPTER XVI.
THE NINETEENTH CENTURY.
More vigorous Growth of the Branches selected for female
Enterprise.--Progress accelerated toward the Close of last
Century.--Still more remarkable within the last fifty Years.--Great
Number of Women active in Art.--Better intellectual Cultivation and
growing Taste.--Increased Freedom of Woman.--Present Prospect
fair.--Growing Sense of the Importance of Female Education.--Women
earning an Independence.--The Stream shallows as it widens.--Few
Instances of pre-eminent Ability.--Fuller Scope of the Influence
of the French Masters in the nineteenth Century.--David,
the Republican Painter.--His female Pupils.--Angélique Mongez.--Madame
Davin and others.--Disciples of Greuze.--Female
Scholars of Regnault.--Pupils of the Disciples of David.--Pupils
of Fleury and Cogniet.--Madame Chaudet.--Kinds of Painting in
Vogue.--The Princess Marie d’Orleans.--Her Statue of the Maid
of Orleans.--Her last Work.--Promise of Greatness.--Sculpture
by Madame de Lamartine.--“Paris is France.”--Painting on
Porcelain.--Madame Jacotot and others.--Condition of Art in
Germany.--Carstens.--Women Artists.--Maria Ellenrieder.--Louise
Seidler.--Baroness von Freiberg.--Madame von Schroeter.--Female
Artists of the Düsseldorf School.--The greatest Number in
Berlin.--Rich Bloom of Female Talent in Vienna and Dresden.--Changes
in Italy.--Prospect not fair in Spain and Scandinavia.--In
England, Sculpture and Painting successfully cultivated.--Fanny
Corbeaux.--Superior in Biblical Scholarship.--The Netherlands
in this Century.--Encouragement for Women to persevere.--Dr.
Guhl’s Opinion.--History the Teacher of the Present. 233
CHAPTER XVII.
THE NINETEENTH CENTURY.
Felicie de Fauveau.--Parentage.--Her Mother a Legitimist.--The
Daughter’s Inheritance of Loyalty.--Removals.--Felicie’s
Studies.--Learns to Model.--Resolves to be a Sculptor.--Labor becoming
to a Gentlewoman.--Her first Works.--Early Triumphs.--Social
Circle in Paris.--Evening Employments.--Revival of a peculiar
Taste.--Mediæval Fashions.--The bronze Lamp.--Equestrian
Sketch.--Effect of the Revolution of 1830.--The two Felicies leave
Paris.--A rural Conspiracy.--A domiciliary Visit.--Escape of the
Ladies.--Discovery and Capture.--The Stratagem at the Inn.--Escape
of Madame in Disguise.--Imprisonment of Mademoiselle.--Works
in Prison.--Return to Paris.--Politics again.--Felicie
banished.--Breaks up her Studio.--Poverty and Privation.--Residence
in Florence.--Brighter Days.--Character of Felicie.--Personal
Appearance.--Her Dwelling and Studio.--Her Works.--The
casting of a bronze Statue.--Industry and Retirement.--“A
good Woman and a great Artist.”--ROSA BONHEUR.--Her Birth in
Bordeaux.--Her Father.--Rosa a Dunce in Childhood.--Her
Parrot.--Rambles.--The Spanish Poet.--Removal to Paris.--Revolution
and Misfortune.--Death of Madame Bonheur.--The Children
at School.--Rosa detests Books and loves Roaming.--Remarriage of
Bonheur.--Rosa a Seamstress.--Hates the Occupation.--Prefers turning
the Lathe.--Her Unhappiness.--Placed at a Boarding-school.--Her
Pranks and Caricatures.--Abhorrence of Study.--Mortification
at her Want of fine Clothes.--Resolves to achieve a
Name and a Place in the World.--Discontent and Gloom.--Return
home.--Left to herself.--Works in the Studio.--Her Vocation
apparent.--Studies at the Louvre.--Her Ardor and Application.--The
Englishman’s Prophecy.--Rosa vowed to Art.--Devoted
to the Study of Animals.--Excursions in the Country in search of
Models.--Visits the _Abattoirs_.--Study of various Types.--Visits
the Museums and Stables.--Resorts to the horse and cattle Fairs in
male Attire.--Curious Adventures.--Anatomical Studies.--Advantages
of her Excursions.--Her Father her only Teacher.--The
Family of Artists.--Rosa’s pet Birds and Sheep.--Her first
Appearance.--Rising Reputation.--Takes the gold Medal.--Proclaimed
the new Laureat.--Death of her Father.--Rosa Directress
of the School of Design.--Her Sister a Professor.--“The
Horse-market.”--Rosa’s Paintings.--Bestows her Fortune on others.--Her
Farm.--Drawings presented to Charities.--Demand for her
Paintings.--Her Right to the Cross of the Legion of Honor.--The
Emperor’s Refusal to grant it to a Woman.--Description of her
Residence and her Studio.--Rosa found asleep.--Her personal
Appearance.--Dress.--Her Character.--Her Industry.--Mademoiselle
Micas.--Mountain Rambles.--Rosa’s Visit to Scotland.--Her
Life in the Mountains.--At the Spanish Posada.--Threatened
Starvation.--Cooking Frogs.--The Muleteers.--Rosa’s Scotch
Terrier.--Her Resolution never to marry. 246
CHAPTER XVIII.
THE NINETEENTH CENTURY.
The Practice of Art in America.--Number of women Artists
increasing.--Prospect flattering.--Imperfection of Sketches of living
Artists.--Rosalba Torrens.--Miss Murray.--Mrs. Lupton.--Miss
Denning.--Miss O’Hara.--Mrs. Darley.--Mrs. Goodrich.--Miss
Foley.--Miss Mackintosh and others.--Mrs. Ball Hughes.--Mrs.
Chapin.--Sketch of Mrs. Duncan.--The Peale Family.--Anecdote
of General Washington.--Mrs. Washington’s Punctuality.--Miss
Peale an Artist in Philadelphia.--Paints Miniatures.--Copies
Pictures from great Artists.--She and her Sister honorary Members
of the Academy.--Her prosperous Career.--Paints with her
Sister in Baltimore and Washington.--Marriage and Widowhood.--Return
to Philadelphia.--Second Marriage.--Happy Home.--Mrs.
Yeates.--Miss Sarah M. Peale.--Success.--Removal to St.
Louis.--Miss Rosalba Peale.--Miss Ann Leslie.--Early Taste in
Painting.--Visits to London.--Copies Pictures.--Miss Sarah Cole.--Mrs.
Wilson.--Intense Love of Art.--Her Sculptures.--Her
impromptu Modeling of Emerson’s Head.--Mrs. Cornelius Dubois.--Her
Taste for the Sculptor’s Art.--Groups by her.--Studies in
Italy.--Her Cameos.--Her Kindness to Artists.--Miss Anne Hall.--Early
Love of Painting.--Lessons.--Copies old Paintings in Miniature.--Her
original Pictures.--Her Merits of the highest Order.--Groups
in Miniature.--Dunlap’s Praise.--Her Productions
numerous.--Mary S. Legaré.--Her Ancestry.--Mrs. Legaré.--Early
Fondness for Art shown by the Daughter.--Her Studies.--Little
Beauty in the Scenery familiar to her.--Colonel Cogdell’s Sympathy
with her.--Success in Copying.--Visit to the Blue Ridge.--Grand
Views.--Paintings of mountain Scenery.--Removal to Iowa.--“Legaré
College.”--Her Erudition and Energy.--Her Marriage.--Herminie
Dassel.--Reverse of Fortune.--Painting for a
Living.--Visit to Vienna and Italy.--Removal to America.--Success and
Marriage.--Her social Virtues and Charity.--Miss Jane Stuart.--Mrs.
Hildreth.--Mrs. Davis.--Mrs. Badger’s Book of Flowers.--Mrs.
Hawthorne.--Mrs. Hill.--Mrs. Greatorex.--Mrs. Woodman.--Miss
Gove.--Miss May.--Miss Granbury.--Miss Oakley. 285
CHAPTER XIX.
THE NINETEENTH CENTURY.
MRS. LILY SPENCER.--Early Display of Talent.--Removal to New York.--To
Ohio.--Out-door Life.--Chase of a Deer.--Encounter with the
Hog.--Lifting a Log.--Sketch on her bedroom
Walls.--Encouragement.--Curiosity to see her Pictures.--Her
Studies.--Removal to Cincinnati.--Jealousy of Artists.--Lord
Morpeth.--Lily’s Marriage.--Return to New York.--Studies.--Her
Paintings.--Kitchen Scenes.--Success and Fame.--Her Home and
Studio.--Louisa Lander.--Inheritance of Talent.--Passion for
Art.--Development of Taste for Sculpture.--Abode in Rome.--Crawford’s
Pupil.--Her Productions.--“Virginia Dare.”--Other
Sculptures.--Late Works.--Mary Weston.--Childish Love of Beauty and
Art.--Devices to supply the Want of Facilities.--Studies.--Departure
from Home.--Is taken back.--Perseverance amid Difficulties.--Journey
to New York.--Sees an Artist work.--Finds Friends.--Visit to
Hartford.--Return to New York for Lessons.--Marriage.--Her
Paintings.--Miss Freeman.--Variously gifted.--Miss
Dupré.--The Misses Withers.--Mrs. Cheves.--Mrs. Hanna. 317
CHAPTER XX.
THE NINETEENTH CENTURY.
EMMA STEBBINS.--Favorable Circumstances of her early Life to the Study
of Art.--Specimens of her Skill shown in private Circles.--Receives
Instruction from Henry Inman.--Correctness of her Portraits.--“A
Book of Prayer.”--Revives Taste for Illuminations.--Her
crayon Portraits.--Copies of Paintings.--Cultivates many
Branches of Art.--Becomes a Sculptor.--Abode in Rome.--Instruction
received from Gibson and Akers.--Late Work from her Chisel.--“The
Miner.”--HARRIET HOSMER.--Dwelling of the Sculptor Gibson in
Rome.--His Studio and Work-room.--“La Signorina.”--The American
Sculptress.--Her Childhood.--Physical
Training.--School-life.--Anecdotes.--Studies at Home.--At St.
Louis.--Her Independence.--Trip on the
Mississippi.--“Hesper.”--Departure for Rome.--Mr. Gibson’s
Decision.--Extract from Miss Hosmer’s Letter.--Original
Designs.--Reverse of Fortune.--Alarm.--Resolution.--Industry,
Economy, and Success.--Late Works.--Visit of the Prince of Wales. 346
WOMEN ARTISTS.
CHAPTER I.
THE EARLY AGES.
Women in Art.--Kind of Painting most practiced by them.--Feminine
Employments in early Ages.--The fair Egyptians.--Women of Assyria and
Babylon.--Grecian Women.--Sculpture and Painting in Greece.--The
Daughter of Dibutades.--The Lover’s Profile.--The first Bas-relief.
--Timarata.--Helena.--Anaxandra.--Kallo.--Cirene.--Calypso.--Other
Pupils of Grecian Art.--The Roman Women.--The Paintress
Laya.--Lala.--Influence of Christianity on Art.--Adornment rejected by
the early Christians.--Art degraded for Centuries.--Female Influence
among the Nations that rose on the Ruins of Rome.--Wise and clever
Princesses.--Anna Comnena.--The first Poetess of Germany.--The
first Editress of a Cyclopædia.--The Art of Illuminating.--Nuns
employed in copying and painting Manuscripts.--Agnes, Abbess of
Quedlinburg.--Princesses at work.--Convent Sisters copying and
embellishing religious Works.--The Nuns’ Printing-press.--The first
Sculptress, Sabina von Steinbach.--Her Works in the Cathedral of
Strasburg.--Elements that pervade the Sculpture of the Middle
Ages.--Painting of the Archbishop crowning Sabina.
“Men have not grudged to women,” says a modern writer, “the wreaths
of literary fame. No history of literature shows a period when their
influence was not apparent, when honors were not rendered to them;” and
the social condition of woman has been generally allowed to measure
the degree of intellectual culture in a nation. Although in the realm
of art her success is more questionable, she may yet claim the credit
of having materially aided its progress. Woman is the type of the
ornamental part of our life, and lends to existence the charm which
inspires the artist, and furnishes him with an object for effort. Her
native unconscious grace and beauty present the models which it is his
highest merit to copy faithfully.
A New England divine says, “Woman, like man, wants to make her thought
a thing.” “All that belongs to the purely natural,” observes Hippel,
“lies within her sphere.” The kind of painting, thus, in which the
_object_ is prominent has been most practiced by female artists.
Portraits, landscapes, flowers, and pictures of animals are in favor
among them. Historical or allegorical subjects they have comparatively
neglected; and, perhaps, a sufficient reason for this has been that
they could not command the years of study necessary for the attainment
of eminence in these. More have been engaged in engraving on copper
than in any other branch of art, and many have been miniature painters.
Such occupations might be pursued in the strict seclusion of home,
to which custom and public sentiment consigned the fair student. Nor
were they inharmonious with the ties of friendship and love to which
her tender nature clung. In most instances women have been led to
the cultivation of art through the choice of parents or brothers.
While nothing has been more common than to see young men embracing
the profession against the wishes of their families and in the face
of difficulties, the example of a woman thus deciding for herself is
extremely rare.
We know little of the practice of the arts by women in ancient times.
The degraded condition of the sex in Eastern countries rendered woman
the mere slave and toy of her master; but this very circumstance gave
her artistic ideas capable of development into independent action.
These first showed themselves in the love of dress and the selection of
ornaments. From the early ages of the world, too, spinning and weaving
were feminine employments, in which undying germs of art were hidden;
for it belongs to human nature never to be satisfied with what merely
ministers to necessity. The ancient sepulchres and buried palaces
disclosed by modern discovery display the love of adornment prevailing
among the nations of antiquity. Women rendered assistance in works upon
wood and metal, as well as, more frequently, in the productions of the
loom. The fair Egyptians covered their webs with the most delicate
patterns; and the draperies of the dead and the ornamented hangings in
their dwellings attested the skill of the women of Assyria and Babylon.
The shawls and carpets of Eastern manufacture, and other articles of
luxury that furnished the palaces of European monarchs, were often the
work of delicate hands, though no tradition has preserved the names of
those who excelled in such labors.
Among the ancient Greeks the position of woman, though still secluded
and slavish, gave her a nobler life. The presiding deities of the
gentle arts were represented to popular apprehension in female form,
and, doubtless, the gracious influence the sex has in all ages
exercised was then in some measure recognized. Poetry had her fair
votaries, and names are still remembered that deserve to live with
Sappho. Schools of philosophy were presided over by the gifted and
cultivated among women.
Sculpture and architecture, the arts carried to greatest perfection,
were then far in advance of painting; at least, we know of no relics
that can support the pretensions of the Greeks to superiority in the
latter. “What is left,” says a writer in the “Westminster Review,”
“of Apelles and Zeuxis? The few relics of ancient painting which have
survived the lapse of ages and the hand of the spoiler all date from
the time of the Roman Empire; and neither the frescoes discovered
beneath the baths of Titus, the decorations of Pompeii and Herculaneum,
nor even the two or three cabinet pictures found beneath the buried
city, can be admitted as fair specimens of Grecian painting in its
zenith.”
THE DAUGHTER OF DIBUTADES.
But, though few Grecian women handled the pencil or the chisel, and
women were systematically held in a degree of ignorance, we find here,
on the threshold of the history of art, a woman’s name--that of Kora,
or, as she has been called, Callirhoe, the daughter of a potter named
Dibutades, a native of Corinth, said to have resided at Sicyonia about
the middle of the seventh century before Christ. Pliny tells us she
assisted her father in modeling clay. The results of his labor were
arranged on shelves before his house, which the purchasers usually
left vacant before evening. It was the office of his daughter, says
a fanciful chronicler, to fill the more elaborate vases with choice
flowers, which the young men came early to look at, hoping to catch a
glimpse of the graceful artist maiden.
As she went draped in her veil to the market-place, she often met a
youth, who afterward became an assistant to her father in his work.
He was skilled in much learning unknown to the secluded girl, and in
playing on the reed; and the daily life of father, daughter, and lover
presented an illustration of Grecian life and beauty. The youth was
constrained at length to depart, but ere he went the vows of betrothal
were exchanged between him and Kora.
Their eve of parting was a sad one. As they sat together by the
lamplight the maiden suddenly rose, and, taking up a piece of pointed
charcoal from the brasier, and bidding the young man remain still,
she traced on the wall the outline of his fine Grecian profile, as a
memorial when he should be far away. Dibutades saw the sketch she had
made, and recognized the likeness. Carefully he filled the outline with
clay, and a complete medallion was formed. It was the first portrait
in relief! Thus a new art was born into the world, the development of
which brought fortune and fame to the inventor! The story is, at least,
as probable as that of Saurias discovering the rules of sketching and
contour from the shadow of his horse. It was neither the first nor the
last time that Love became a teacher. Might not the fable of Memnon
thus find its realization?
It is related that Dibutades, who had followed up his medallions with
busts, became so celebrated, that many Grecian states claimed the
honor of his birth; and that his daughter’s lover, who came back to
espouse her, modeled whole figures in Corinth. A school for modeling
was instituted about this time in Sicyonia, of which Dibutades was the
founder.
At a later period we hear of Timarata, the daughter of a painter, and
herself possessed of considerable skill, as Pliny testifies, he having
seen one of her pictures at Ephesus, representing the goddess Diana.
Several names of female artists have come down from the time of
Alexander the Great and his luxurious successors. Art began to have
a richer and more various development, and women were more free to
follow their inclinations in its pursuit. One belonging to this age
was Helena, who is said to have painted, for one of the Ptolomies,
the scene of a battle in which Alexander vanquished Darius; a picture
thought, with some probability, to have been the original of a famous
mosaic found in Pompeii.
Anaxandra, the daughter and pupil of a Greek painter, appears to have
labored under the same royal patronage, as well as another female
artist named Kallo, one of whose pictures, presented in the Temple of
Venus, was celebrated by the praise of a classic poetess; the fair
painter being declared as beautiful as her own work. Among these pupils
of Grecian art we hear also of Cirene, the daughter of Kratinos, whose
painting of Proserpina was preserved; of Aristarite, the author of a
picture of Esculapius; of Calypso, known as a painter _de genre_. Her
portraits of Theodorus, the juggler, and a dancer named Acisthenes,
were celebrated, and she is said to have executed one that has been
transferred from the ruins of Pompeii to Naples, and is now called “A
Mother superintending her Daughter’s Toilet.” The name of Olympias is
remembered, though we have no mention of her works. Beyond these few
names, we know nothing of the female artists of Greece.
THE ROMAN PAINTRESS.
Among the Romans we find but one female painter, and she was of Greek
origin and education. The life of the Roman matrons was not confined to
a narrower sphere, and the influence conceded to them might have been
eminently favorable to their cultivation of art. But, with the nation
of soldiers who ruled the world, the elegant arts were not at home as
in their Hellenic birth-place. They flourished not so grandly in the
palmiest days of Rome, as in the decay of the Empire. The heroic women
celebrated in the history of the Republic, and in Roman literature,
had no rivals in the domain of sculpture and painting. The one whose
name has descended to modern times is Laya. She exercised her skill
in Rome about a hundred years before Christ. The little knowledge we
have of her paintings is very interesting, inasmuch as she was the
pioneer in a branch afterward cultivated by many of her sex--miniature
painting. Her portraits of women were much admired, and she excelled in
miniatures on ivory. A large picture in Naples is said to be one of her
productions. She surpassed all others in the rapidity of her execution,
and her works were so highly valued that her name was ranked with the
most renowned painters of the time, such as Sopolis, Dionysius, etc.
Pliny, who bears this testimony, adds that her life was devoted to her
art, and that she was never married. Some others mention a Greek girl,
_Lala_, as contemporary with Cleopatra, who was celebrated for her
busts in ivory. The Romans caused a statue to be erected to her honor.
INFLUENCE OF CHRISTIANITY.
Painting was destined to higher improvements under the mild sway
of the Christian religion than in the severer school of classical
antiquity. Woman gradually rose above the condition of slavery, and
began to preside over the elements that formed the poetry of life. But
changes involving the lapse of centuries were necessary, before Art
could be divested of her Athenian garment, and put on the pure bridal
attire suited to her nuptials with devotion. After the destruction of
the Roman Empire, there is a long interval during which we hear of
no achievement beyond the Byzantine relics, and the mosaics of the
convents and cemeteries.
Even the beauty of early art, associated as it was with the forms of
a pagan mythology, was detested by the votaries of a pure and holy
faith. The early Christians rejected adornment, which they regarded as
inconsistent with their simple tenets, and as an abomination in the
sight of God. Thus, for seven hundred years art was degraded, and only
by degrees did she lift herself from the dust.
In the mean while female influence grew apace among the nations that
rose upon the ruins of Rome. Amalasuntha, the daughter of Theodoric the
Great, was worthy of her sire in wisdom and knowledge of statesmanship,
while she is said to have surpassed him in general cultivation, and
to have rendered him essential service in his building enterprises.
Theudelinda, Queen of the Longobards, adorned her palace at Monza
with paintings celebrating the history of her people; and, from the
time of Charlemagne, each century boasted several women of political
and literary celebrity. There was the famous nun Hroswitha, who, in
her convent at Gandersheim, composed an ode in praise of Otho, and
a religious drama after the manner of Terence; there was the Greek
princess Anna Comnena, the ornament of the Byzantine court; there
was the first poetess of Germany, Ava; with Hildegardis, Abbess of
Bingen; Heloise, the beloved of Abelard; the Abbess of Hohenburg, who
undertook the bold enterprise of a cyclopædia of general knowledge;
and a host of others.[1]
[1] Later, Angela de Foligno was celebrated as a teacher of theology.
Christina Pisani wrote a work, “La Cité des Dames,” which was published
in Paris in 1498. It gives account of the learned and famous Novella,
the daughter of a professor of the law in the University of Bologna.
She devoted herself to the same studies, and was distinguished for her
scholarship. She conducted her father’s cases, and, having as much
beauty as learning, was wont to appear in court veiled.
ILLUMINATIONS.
Noble women became patrons of art, particularly that branch cultivated
with most success in the decline of the rest--miniature painting upon
parchment. From being merely ornamental this became a necessity in
manuscript books of devotion, and the brilliant coloring and delicate
finish of the illuminations were often owing to the touch of feminine
hands. The inmates of convents and monasteries employed much time in
painting and ornamenting books, in copying the best works of ancient
art, and in painting on glass; the nuns especially making a business
of copying and illuminating manuscripts. Agnes, Abbess of Quedlinberg,
was celebrated as a miniature painter in the twelfth century, and some
of her works have survived the desolation of ages. “The cultivators
of this charming art were divided into two classes--miniaturists,
properly so called; and miniature caligraphists. It was the province
of the first to color the histories and arabesques, and to lay on the
gold and silver ornaments. The second wrote the book, and the initial
letters so frequently traced in red, blue, and gold: these were called
‘Pulchri Scriptores,’ or fair writers. Painting of this description was
peculiarly a religious occupation. It was well suited for the peaceful
and secluded life of the convent or the monastery. It required none of
the intimate acquaintance with the passions of the human heart, with
the busy scenes of life, so essential to other and higher forms of art.”
The labors of nuns in ornamental work in the Middle Ages were not
confined to illuminating and miniature painting; but it is not our
province to enumerate the products of their industry, nor to chronicle
the benefits they conferred on the sick and poor. The fairest
princesses did not disdain to work altar-pieces, and to embroider
garments for their friends and lovers.
In the commencement of the fourteenth century a female painter, named
Laodicia, lived in Pavia, and Vasari mentions the Dominican nun,
Plautilla Nelli. “In 1476, Fra Domenico da Pistoya and Fra Pietro da
Pisa, the spiritual directors of a Dominican convent, established a
printing-press within its walls; the nuns served as compositors, and
many works of considerable value issued from this press between 1476
and 1484, when, Bartolomeo da Pistoya dying, the nuns ceased their
labors.”
THE FIRST SCULPTRESS.
Germany had the honor of producing the first female sculptor of whom
any thing is known--Sabina von Steinbach, the daughter of Erwin von
Steinbach, who in that wonderful work, the cathedral of Strasburg, has
reared so glorious a monument to his memory.
The task of ornamenting this noble building was in great part intrusted
to the young girl, whose genius had already exhibited itself in
modeling. Her sculptured groups, and especially those on the portal
of the southern aisle, are of remarkable beauty, and have been admired
by visitors during the lapse of ages. Here are allegorical figures
representing the Christian Church and Judaism; the first of lofty
bearing and winning grace, with crowned heads, bearing the cross in
their right hands, and in their left the consecrated host. The other
figures stand with eyes downcast and drooping head; in the right
hand a broken arrow, in the left the shattered tablets of the Mosaic
Law. Besides many other groups are four bas-reliefs representing the
glorification of the Virgin; her death and burial on one side, and on
the other her entrance into heaven and triumphant coronation.
It may well be said that in these works are embodied the ideal and
supernatural elements that pervade the sculpture of the Middle Ages;
and it seemed most appropriate that the taste and skill of woman should
develop in such elements the purity and depth of feeling which impart a
charm to these sculptures acknowledged by every beholder.
On one of the scrolls, held by the Apostle John, the following lines
are inscribed in Latin:
“The grace of God be with thee, O Sabina,
Whose hands from this hard stone have formed my image.”
An old painting at Strasburg represents this youthful sculptress
kneeling at the feet of the archbishop, to receive his blessing and
a wreath of laurel, which he is placing on her brow. This painting
attests the popular belief in a tradition that Sabina, after seeing her
statues deposited in their niches, was met by a procession of priests
who came, with the prelate at their head, for the purpose of conferring
this honor upon her.