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236 GALLEXIY OE ILLUSTRIOUS ITALIAN WOME...
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.
Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.
Ii.—Female Aetists. By An" Itaxi-Ajst.
The ineffable serenity of Amelia ' s disposition tended not a little to ensure the and happiness of their daily life , which lasted
peace for artistic sixteen fame ye : ars he , excelled during * in which frescoes time both sheas acquired we have considerable seenin oil
paintings ; the superb painting of S . ; Biag , io , in the church , of the Sanita in Naples , is the result of their mutual labors .
But a woman of evil fame entered their house as a servant ; she was all her young charms and and beautiful artifices , and failed she to love win d A a go thoug stino ht , from and finding the faithful that
husband , she set herself to work , first to dull his suspicions , and thendrop bdropwith the rascality and perfidy of lago _, to instil
, y , into his heart the bitter draught of jealousy . Gradually she undermined his faith in Aniella ' s virtue : he grew
morose and irritable , and at times manifested the change that had come over him , in sudden outbursts of ill humour . Vainly Aniella
strove by unremitting patience and redoubled affection to soothe his wayward moods . In vain ! Henceforward all her happiness must be
derived from her art , and from the approbation of her old master , who frequentlvisited her . In proof of her gratitude she painted in
her best manner y , a Holy Family , and on its completion presented it to him . "On seeing with what mastery of drawing and perfection
of color Aniella had completed the painting , " writes Dominici , " and because she had so toiled for himovercome by the double feeling
he told clasped her that her she in "was his his arms best in , il an and embrace that had of he sincere been affection asked to , ,
retouch the painting he should pup not know , where to begin , for fear of destroying the beautiful coloring which reigned throughout . The
infamous servant was playing the spy throughout this scene , and had called up a servant lad to support her in the tale she was about
to tell . On Stanzioni ' s departure Agostino returned . " Now , " she exclaimed" I have proofs to set all doubts at restproofs that I will
furnish you , with in the presence of your wife . " , Confronted with her mistress , the vile hireling charged her with guilty embraces , and
called the servant lad to confirm the charge . Aniella , astounded husband and indi mute gnant and , disdained motionless to while defend a herself flush of , but pain stood and indi before gnation her
, mantled to her brow . Her silence confirmed Agostino ' s susp Aniella icions : lay in dead his frenzy at his he feet drew . Thus his closed sword her , and art the career next in moment 1649 ,
the thirty sixth year of her age . Even for Venice , the fruitful mother of great artists , came the
days of sterility and decay . Towards the middle of the seventeenth century all traces of her grand aesthetic tradition disappeared .
Other artists from other provinces brought thither different methods and different tastes , which were not only void of the faintest
reminiscence of the great artistic epoch , but were , for the most part , unaccompanied by the conception of beauty in itself , or by the
simple study of the true . These painters were called Tenebrosi _,
236 Gallexiy Oe Illustrious Italian Wome...
236 GALLEXIY _OE ILLUSTRIOUS ITALIAN WOMEN .
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Citation
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English Woman’s Journal (1858-1864), Dec. 1, 1858, page 236, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/ewj/issues/ewj_01121858/page/20/
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