"Ah, yes, the hashish is beginning its work. Well, unfurl your wings, and fly into superhuman regions; fear nothing, there is a watch over you; and if your wings, like those of Icarus, melt before the sun, we are here to ease your fall." He then said something in Arabic to Ali, who made a sign of obedience and withdrew, but not to any distance. As to Franz a strange transformation had taken place in him. All the bodily fatigue of the day, all the preoccupation of mind which the events of the evening had brought on, disappeared as they do at the first approach of sleep, when we are still sufficiently conscious to be aware of the coming of slumber. His body seemed to acquire an airy lightness, his perception brightened in a remarkable manner, his senses seemed to redouble their power, the horizon continued to expand; but it was not the gloomy horizon of vague alarms, and which he had seen before he slept, but a blue, transparent, unbounded horizon, with all the blue of the ocean, all the spangles of the sun, all the perfumes of the summer breeze; then, in the midst of the songs of his sailors,--songs so clear and sonorous, that they would have made a divine harmony had their notes been taken down,--he saw the Island of Monte Cristo, no longer as a threatening rock in the midst of the waves, but as an oasis in the desert; then, as his boat drew nearer, the songs became louder, for an enchanting and mysterious harmony rose to heaven, as if some Loreley had decreed to attract a soul thither, or Amphion, the enchanter, intended there to build a city.
LANDON, CHARLES PAUL (1760-1826), French painter and art-author, was born at Nonant in 1760. He entered the studio of Regnault, and won the first prize of the Academy in 1792. After his return from Italy, disturbed by the Revolution, he seems to have abandoned painting for letters, but he began to exhibit in 1795, and continued to do so at various intervals up to 1814. His "Leda" obtained an award of merit in 1801, and is now in the Louvre. His "Mother's Lesson," "Paul and Virginia Bathing," and "Daedalus and Icarus" have been engraved; but his works on painting and painters, which reach nearly one hundred volumes, form his chief title to be remembered. In spite of a complete want of critical accuracy, an extreme carelessness in the biographical details, and the feebleness of the line engravings by which they are illustrated, Landon's _Annales du Musée_, in 33 vols., form a vast repertory of compositions by masters of every age and school of permanent value. Landon also published _Lives of Celebrated Painters_, in 22 vols.; _An Historical Description of Paris_, 2 vols.; a _Description of London_, with 42 plates; and descriptions of the Luxembourg, of the Giustiniani collection, and of the gallery of the duchesse de Berry. He died at Paris in 1826. Entry: LANDON
Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of "Daedalus and Icarus," the most celebrated work of his noviciate. The simplicity of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year. Entry: CANOVA
Towards the end of 1524 his friend the celebrated writer Baldassar Castiglione seconded with success the urgent request of the duke of Mantua, Federigo Gonzaga, that Giulio should migrate to that city, and enter the duke's service for the purpose of carrying out his projects in architecture and pictorial decoration. These projects were already considerable, and under Giulio's management they became far more extensive still. The duke treated his painter munificently as to house, table, horses and whatever was in request; and soon a very cordial attachment sprang up between them. In Pippi's multifarious work in Mantua three principal undertakings should be noted. (1) In the Castello he painted the "History of Troy," along with other subjects. (2) In the suburban ducal residence named the Palazzo del Te (this designation being apparently derived from the form of the roads which led towards the edifice) he rapidly carried out a rebuilding on a vastly enlarged scale,--the materials being brick and terra-cotta, as there is no local stone,--and decorated the rooms with his most celebrated works in oil and fresco painting--the story of Psyche, Icarus, the fall of the Titans, and the portraits of the ducal horses and hounds. The foreground figures of Titans are from 12 to 14 ft. high; the room, even in its structural details, is made to subserve the general artistic purpose, and many of its architectural features are distorted accordingly. Greatly admired though these pre-eminent works have always been, and at most times even more than can now be fully ratified, they have suffered severely at the hands of restorers, and modern eyes see them only through a dull and deadening fog of renovation. The whole of the work on the Palazzo del Te, which is of the Doric order of architecture, occupied about five years. (3) Pippi recast and almost rebuilt the cathedral of Mantua; erected his own mansion, replete with numerous antiques and other articles of vertu; reconstructed the street architecture to a very large extent, and made the city, sapped as it is by the shallows of the Mincio, comparatively healthy; and at Marmiruolo, some 5 m. distant from Mantua, he worked out other important buildings and paintings. He was in fact, for nearly a quarter of a century, a sort of Demiurgus of the arts of design in the Mantuan territory. Entry: GIULIO
BOÖTES (Gr. [Greek: bootaes], a ploughman, from [Greek: bous], an ox), a constellation of the northern hemisphere, mentioned by Eudoxus (4th century B.C.) and Aratus (3rd century B.C.), and perhaps alluded to in the book of Job (see ARCTURUS), and by Homer and Hesiod. The ancient Greeks symbolized it as a man walking, with his right hand grasping a club, and his left extending upwards and holding the leash of two dogs, which are apparently barking at the Great Bear. Ptolemy catalogues twenty-three stars, Tycho Brahe twenty-eight, Hevelius fifty-two. In addition to Arcturus, the brightest in the group, the most interesting stars of this constellation are: _[epsilon] Boötis_, a beautiful double star composed of a yellow star of magnitude 3, and a blue star of magnitude 6½; _[xi] Boötis_, a double star composed of a yellow star, magnitude 4½, and a purple star, magnitude 6½; and _W. Boötis_, an irregularly variable star. This constellation has been known by many other names--Arcas, Arctophylax, Arcturus minor, Bubuleus, Bubulus, Canis latrans, Clamator, Icarus, Lycaon, Philometus, Plaustri custos, Plorans, Thegnis, Vociferator; the Arabs termed it Aramech or Archamech; Hesychius named it Orion; Jules Schiller, St Sylvester; Schickard, Nimrod; and Weigelius, the Three Swedish Crowns. Entry: BOÖTES
HOLROYD, SIR CHARLES (1861- ), British artist, was born in Leeds on the 9th of April 1861. He received his art education under Professor Legros at the Slade School, University College, London, where he had a distinguished career. After passing six months at Newlyn, where he painted his first picture exhibited in the Royal Academy, "Fishermen Mending a Sail" (1885), he obtained a travelling scholarship and studied for two years in Italy, a sojourn which greatly influenced his art. At his return, on the invitation of Legros, he became for two years assistant-master at the Slade School, and there devoted himself to painting and etching. Among his pictures may be mentioned "The Death of Torrigiano" (1886), "The Satyr King" (1889), "The Supper at Emmaus," and, perhaps his best picture, "Pan and Peasants" (1893). For the church of Aveley, Essex, he painted a triptych altarpiece, "The Adoration of the Shepherds," with wings representing "St Michael" and "St Gabriel," and designed as well the window, "The Resurrection." His portraits, such as that of "G. F. Watts, R.A.," in the Legros manner, show much dignity and distinction. Sir Charles Holroyd has made his chief reputation as an etcher of exceptional ability, combining strength with delicacy, and a profound technical knowledge of the art. Among the best known are the "Monte Oliveto" series, the "Icarus" series, the "Monte Subasio" series, and the "Eve" series, together with the plates, "The Flight into Egypt," "The Prodigal Son," "A Barn on Tadworth Common" (etched in the open air), and "The Storm." His etched heads of "Professor Legros," "Lord Courtney" and "Night," are admirable alike in knowledge and in likeness. His principal dry-point is "The Bather." In all his work Holroyd displays an impressive sincerity, with a fine sense of composition, and of style, allied to independent and modern feeling. He was appointed the first keeper of the National Gallery of British Art (Tate Gallery), and on the retirement of Sir Edward Poynter in 1906 he received the directorship of the National Gallery. He was knighted in 1903. His _Michael Angelo Buonarotti_ (London, Duckworth, 1903) is a scholarly work of real value. Entry: HOLROYD
GILBERT, ALFRED (1854- ), British sculptor and goldsmith, born in London, was the son of Alfred Gilbert, musician. He received his education mainly in Paris (École des Beaux-Arts, under Cavelier), and studied in Rome and Florence where the significance of the Renaissance made a lasting impression upon him and his art. He also worked in the studio of Sir J. Edgar Boehm, R.A. His first work of importance was the charming group of the "Mother and Child," then "The Kiss of Victory," followed by "Perseus Arming" (1883), produced directly under the influence of the Florentine masterpieces he had studied. Its success was great, and Lord Leighton forthwith commissioned "Icarus," which was exhibited at the Royal Academy in 1884, along with a remarkable "Study of a Head," and was received with general applause. Then followed "The Enchanted Chair," which, along with many other works deemed by the artist incomplete or unworthy of his powers, was ultimately broken by the sculptor's own hand. The next year Mr Gilbert was occupied with the Shaftesbury Memorial Fountain, in Piccadilly, London, a work of great originality and beauty, yet shorn of some of the intended effect through restrictions put upon the artist. In 1888 was produced the statue of H.M. Queen Victoria, set up at Winchester, in its main design and in the details of its ornamentation the most remarkable work of its kind produced in Great Britain, and perhaps, it may be added, in any other country in modern times. Other statues of great beauty, at once novel in treatment and fine in design, are those set up to Lord Reay in Bombay, and John Howard at Bedford (1898); the highly original pedestal of which did much to direct into a better channel what are apt to be the eccentricities of what is called the "New Art" School. The sculptor rose to the full height of his powers in his "Memorial to the Duke of Clarence," and his fast developing fancy and imagination, which are the main characteristics of all his work, are seen in his "Memorial Candelabrum to Lord Arthur Russell" and "Memorial Font to the son of the 4th Marquess of Bath." Gilbert's sense of decoration is paramount in all he does, and although in addition to the work already cited he produced busts of extraordinary excellence of Cyril Flower, John R. Clayton (since broken up by the artist--the fate of much of his admirable work), G. F. Watts, Sir Henry Tate, Sir George Birdwood, Sir Richard Owen, Sir George Grove and various others, it is on his goldsmithery that the artist would rest his reputation; on his mayoral chain for Preston, the epergne for Queen Victoria, the figurines of "Victory" (a statuette designed for the orb in the hand of the Winchester statue), "St Michael" and "St George," as well as smaller objects such as seals, keys and the like. Mr Gilbert was chosen associate of the Royal Academy in 1887, full member in 1892 (resigned 1909), and professor of sculpture (afterwards resigned) in 1900. In 1889 he won the _Grand Prix_ at the Paris International Exhibition. He was created a member of the Victorian Order in 1897. (See SCULPTURE.) Entry: GILBERT
DAEDALUS, a mythical Greek architect and sculptor, who figures largely in the early legends of Crete and of Athens. He was said to have built the labyrinth for Minos, to have made a wooden cow for Pasiphaë and to have fashioned a bronze man who repelled the Argonauts. Falling under the displeasure of Minos, he fashioned wings for himself and his son Icarus, and escaped to Sicily. These legends seem primarily to belong to Crete; and the Athenian element in them which connected Daedalus with the royal house of Erechtheus is a later fabrication. To Daedalus the Greeks of the historic age were in the habit of attributing buildings, and statues the origin of which was lost in the past, and which had no inscription belonging to them. In a later verse in the _Iliad_ (date, 7th or 6th century), Daedalus is mentioned as the maker of a dancing-place for Ariadne in Crete; and such a dancing-place has been discovered by A. J. Evans, in the Minoan palace of Cnossus. Diodorus Siculus says that he executed various works in Sicily for King Cocalus. In many cities of Greece there were rude wooden statues, said to be by him. Later critics, judging from their own notions of the natural course of development in art, ascribed to Daedalus such improvements as separating the legs of statues and opening their eyes. In fact the name Daedalus is a mere symbol, standing for a particular phase of early Greek art, when wood was the chief material, and other substances were let into it for variety. Entry: DAEDALUS