Canova—Tenerani—Overbeck's theories—Minardi and his school—A woman from the Trastevere who looked like the Venus of Milo—Conventionalists and Realists—An ambitious question and bitter answer—Filippo Gualterio,

242

CHAPTER XIV.

The nude—The statue of David—Rauch—The base of the Tazza—The chapel of the Madonna del Soccorso—Sepulchral monuments for San Lorenzo—The 27th of April 1859—Count Scipione Borghesi—A group of the Deluge—Competition for Wellington's monument, and a great help,

259

CHAPTER XV.

Patience a most essential virtue—Trust was a good man, but Trust-no-one a better—A competition either attracts or drives away men of talent—A study from life of a lion by Marrocchetti—Assistant modellers—Sydenham and its wonders—One of "Abel's" fingers—New judgment of Solomon—An important question—An Indian who speaks about things as they are—Professor Papi and the failure of the first cast in bronze of the "Abel"—A medicine not sold by the chemist,

277

CHAPTER XVI.

On the study of expression from life—The care one must take in making studies from life—A genre picture and Raphael's cartoon of the "Massacre of the Innocents"—I lose myself in London—The housemaid at Hotel Granara—The inconvenience of being ignorant and absent-minded—Ristori and Piccolomini in London—The cartoons of Raphael at Hampton Court—Fantasy runs away with me—A curious but just law—The result of fasting—The villa of Quarto and a prince's "early hour"—Again of Prince Demidoff,

301

CHAPTER XVII.

My father's death—A turn in the omnibus—The Ferrari monument—I keep the "Sappho" for myself—The "Tired Bacchante" and the little model—Raphael and the Fornarina—The Madonna and bas-reliefs at Santa Croce and Cavaliere Sloane—My daughter Amalia and her works—My daughter Beppina—Description of the bas-relief on the façade of Santa Croce—I am taken for the wrong person by the Holy Father Pius IX.—Marshal Haynau—Professor Bezzuoli and Haynau's portrait,

322

CHAPTER XVIII.

One of my colleagues—A mysterious voice—The group of the "Pietà"—Very clear Latin—A professor who ignores the 'Divina Commedia'—Composition of the group of the "Pietà"—Digression—A good lesson and nervous attack—Mancinelli and Celentano,

345

CHAPTER XIX.

A prophetic dream—Giovanni Strazza—Signor Vonwiller and societies for promoting art—Return from Naples to Rome, and my daughter Luisina's illness—Our return to Florence—Death of Tria the model—The Mossotti monument at Pisa—How it was that I did not make the portrait of his Majesty the King—The competition for Cavour's monument—I go to Turin to pass judgment on it—The "Christ after the Resurrection," a commission of Signor Filippi di Buti—Religious art and Alessandro Manzoni and Gino Capponi—Thought is not free—Cavour's monument—The description of it,

365

CHAPTER XX.

Allegories in art—The Monga monument at Verona—Of my late daughter Luisina—Her death—How I was robbed—Monsignore Archbishop Limberti's charitable project—One of my colleagues—Nicolô Puccini and the statue of Cardinal Forteguerri—Cesare Sighinolfi—Cardinal Corsi, Archbishop of Pisa,

385

CHAPTER XXI.

The Universal Exhibition at Paris in 1867—The imitators of Vela—Inedited music by Rossini and Gustave Doré—Domenico Morelli—Group of Prince Trabia's children and the thieves—"Stick no bills"—The statue of Marshal Pallavicini—The Empress Maria Teresa and Marshal Pallavicini—A memorial monument to Fra Girolamo Savonarola—The Universal Exhibition at Vienna—A tiny room—Excellent and very dear—On harmony of sounds—On the harmony in the animal world—The harmony of the human form as manifested by the inner beauty of the soul—The campanile of St Stephen's and Canova's monument,

402

CHAPTER XXII.

The palace of the Exhibition at Vienna—Why, with my attributes of President, I was in such haste—Michael Angelo and Garibaldi—A Viennese cabman—The Camerini monument—Duke Camerini—An anecdote of his life—Statue of Michael Angelo in the future—The centenary festival of Michael Angelo—Signora Adelina Patti—A greedy young man of little judgment—The Favard monument,

418

CHAPTER XXIII.

Pius IX. objects to having me make his bust—I go to Rome to see the Pope—The Exhibition at Naples—Again on idealism and naturalism—The masters of Italian melody—Vincenzo Bellini and his monument—Conclusion,

438

Index,

453

AUTOBIOGRAPHICAL MEMOIRS
OF
GIOVANNI DUPRÈ.

CHAPTER I.

MY MOTIVE FOR WRITING THESE MEMOIRS—MY FATHER'S FAMILY—REMOVAL OF THE FAMILY TO FLORENCE—MY CHILDHOOD—MY FATHER TAKES ME TO PISTOIA, BUT I RUN AWAY FROM HIS HOUSE TO RETURN TO MY MOTHER—FROM PISTOIA I GO WITH MY FATHER TO PRATO—MY FIRST STUDY IN DRAWING—STRONG IMPRESSION MADE UPON ME BY AN OLD PRINT—MY FATHER'S OPPOSITION TO MY STUDIES—MY SORROW AT BEING SO FAR FROM MY MOTHER—I RUN THE RISK OF BEING BURNT—HAVING GROWN TALL, FEARS ARE ENTERTAINED FOR MY HEALTH—I RETURN TO MY MOTHER AT FLORENCE AND WORK WITH AMMANATI—I GO TO SIENA AND STUDY ORNATE DESIGN IN THE ACADEMY—CARLO PINI GIVES ME LESSONS IN DRAWING THE HUMAN FIGURE—SIGNOR ANGELO BARBETTI'S PROPHECY—I RUN AWAY FROM SIENA, AND ON FOOT GO TO MY MOTHER AT FLORENCE—SIGNOR PAOLO