Thoughts on Art
AND
AUTOBIOGRAPHICAL MEMOIRS
OF
Giovanni Duprè

TRANSLATED FROM THE ITALIAN BY
E. M. PERUZZI

WITH AN INTRODUCTION BY W. W. STORY

BOSTON
ROBERTS BROTHERS
1886

Copyright, 1886

By Roberts Brothers

INTRODUCTION TO NEW EDITION.

This book contains the record of the life and thoughts upon Art of Giovanni Duprè, one of the most eminent sculptors of the present century in Italy. It was written by him from time to time, during the latter years of his life, in the intervals of work in his studio, and given to the public about three years before his death. Those three years, of which it contains no account, were assiduously devoted to his art. Every day had its work, and it was done faithfully and joyously even to the last. "Nulla dies sine linea." Within these years, among other works of less importance, he successively executed a basso-relievo of the Baptism of our Lord, a portrait statue of Pius IX. for the Cathedral of Piacenza, one of Victor Emmanuel for the public square at Trapani, one of Raimondo Lullo for a chapel in the island of Majorca, and one of St Francis of Assisi which now adorns the front of the Cathedral at Assisi. This was the last statue which he ever made. The model he had completed in clay and cast in plaster, and had somewhat advanced in executing it in marble, when death arrested his hand. It was finished by his daughter Amalia, who had for years been his loving and faithful pupil, and who had already won distinction for herself as a sculptor. In this his last work he found a peculiar attractiveness, and his heart and hand were earnestly given to it. "I am most happy," he says in his reply to the authorities of Assisi, who gave him this order, "that the Commission has thought of me,—not so much on account of what little talent I may possess, as for the love I bear to religious art." The statue itself is very simple, and informed by a deep religious sentiment. It is clothed in the dress of the order which St Francis founded, the hands crossed over the breast, the cowl falling behind, the head bent, and the eyes cast down in an attitude of submission and devotion.

The statue had not only deeply interested all his feelings and sympathies, but in its treatment and sentiment he seems to have been satisfied. A singular presentiment, however, came over him as he was showing it to a friend upon its completion. "It will be a triumph to you and a glory to Assisi," said his friend. "Ah," he answered, "who knows that it may not be the last!" So indeed it proved. But a few days after this conversation he was seized by an attack of peritonitis. From this, however, he recovered, as well as from a second attack, which shortly afterwards followed. As he was recovering from this second attack he wrote to Monsignore Andrea Ulli: "The doctor has no doubt that I shall get well, and in a few days I hope he will allow me to return to my studio. But how I have suffered!—doubly suffered from having been deprived of the occupation that most delights me. This is my joy and my life. What a happy day it will be when I am permitted to put my foot again into my studio, and to resume my work and my St Francis."

His hopes, however, were fated to be disappointed. Although he sufficiently recovered to go to his studio, he was able to do but little work; and shortly afterwards—on the 1st of January—he was again prostrated by a third attack of the same disease. His death, he felt, was now certain; but he met its approach with the courage, resignation, and piety that had always characterised him, looking forward with certainty to a reunion with the dear ones who had gone before him—Luisina, his daughter, whose loss he had so bitterly felt, and his wife Marina, his steadfast help and loving companion for so many years, who had died seven years previously. One regret constantly possessed him during these last days, that he should not be able, as he had projected, to model the statue of the Madonna for the Duomo at Florence, upon which he had set his heart. One day when he gave expression to this feeling, his daughter Amalia sought to console him by saying, "But you have already made her statue, and it is so beautiful—the addolorata for Santa Croce." "Ah!" he answered, "but I desired to model her as Queen of Florence." This apparently was the only desire that haunted him during his last attack. In regard to all other things he was resigned; and after lingering in almost constant pain for ten days, he expired on the 10th of January 1882, at the age of sixty-five.

The announcement of his death was received everywhere in Italy with the warmest expressions of sorrow. It was felt to be a national loss. His life had been so pure, so conscientious, and so animated by high purpose—his temper and character had been so blameless and free from envy and stain of any kind—he had been so generous and kindly in all the varied relations of life, as a son, as a husband, as a father, as a friend,—and he had so greatly distinguished himself as a sculptor, that over his grave the carping voice of criticism was hushed, and a universal voice of praise and sorrow went up everywhere. All classes united to do him reverence, from the highest to the lowest. Funeral ceremonies were celebrated in his honour, not only in Florence, where a great procession accompanied his remains to the church where the last rites were performed, but also in Siena, his birthplace, in Fiesole, where he was buried in the family chapel, and in Antella and Agnone. The press of his native country gave expression to high eulogiums on him as an artist and as a man. Public honours were decreed to him. In front of the house where he was born in Siena, the municipality placed this inscription: "This humble abode, in which was born Giovanni Duprè, honour of Art and Italy, may teach the sons of the people what height can be reached by the force of genius and will." In the Parrocchial Church dell'Onda (in Siena) was placed a bust of the artist executed by his daughter Amalia; and in Florence, over the house where he had passed a large portion of his life, a tablet is inserted, on which is inscribed these words: "The Municipality of Florence, in whose council sat Giovanni Duprè, has placed this memorial on the house where for twenty years lived the great sculptor, glory of Italy and of Art, and in which he died on the 10th day of 1882."

During his life, honours had been showered upon him at home and abroad—honours well deserved and meekly borne, without vanity or pretension. He had been made a knight and counsellor of the Civil Order of Savoy, a member of the Institute of France, a knight of the Tuscan Order of Merit and of the Legion of Honour in France, an officer of the Brazilian Order of the Rose, a commander of the Order of the Corona d'Italia, Mexico and Guadaloupe, an associate of the Academy of St Luke, and of various other academies in Italy and elsewhere. The Municipal Council of Siena also commissioned his friend and pupil, Tito Sarrocchi, to execute for it a bust of his master in marble during his lifetime, on which was this inscription: "To Giovanni Duprè of Siena, who to the glories of Italian Art has added, by the wonders of his chisel, new and immortal glories. The city of