the world might then have a better chance of not being so soon deprived of so great a man ;" and in the beginning of his pontificate he told him, at a public audience, "that if he died before himself, he should be embalmed and kept in his own palace, that his body might be as permanent as his works." BAJAZET THE SECOND, the Republic of Venice, and the chivalrous FRANCIS THE FIRST, vied in their invitations and munificent offers to one, concerning whom Aretino justly remarked, "the world has many kings, but only one Michael Angelo.”

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A tradition survives, that when CHARLES ANJOU passed through Florence, he was conducted to the studio of CIMABUE to see a picture of the Virgin which that artist had painted for the chapel of the Rucellai family, on a grand scale, and that the whole city collected thither in such crowds to view it, that it became a scene of festivity, and that that quarter of the city thence obtained the name which it now bears of Borgo Allegri.

GIULIO ROMANO received at the hands of FEDERIGO GONZAGA, Marquis of Mantua, the right of citizenship, a patent of nobility, an appointment to an honourable office in the Ducal court, and a wife chosen from the noble house of Guazzo Landi, who brought him a dowry of 700 gold ducats. Vasari adds, that the Marquis gave the artist "a dwelling very honourably appointed, with a liberal stipend of 500 gold ducats and a table, not for himself only,

but for his disciple Benedetto Pagni, and for another youth who likewise served him; nay, what is more, the Marquis sent him several yards of silk, velvet, and other cloths for pieces of clothing; and being informed that Giulio possessed no horse, he caused a favourite horse of his own, called Ruggieri, to be brought, which he immediately presented to the painter."

Rosso, was presented by FRANCIS THE FIRST of France, with a canonicate in the Church of the Holy Cross of Jerusalem, endowed with an ample revenue, and received so many other marks of that monarch's favour, that he was enabled to live in the style of a nobleman, and to dispense a magnificent hospitality. FRANCESCO, second Marquis of Mantua, manifested a similar warmth of attachment to the painter FRANCESCO MONSIGNORI, whose society he cultivated, and of whom the Duke was once heard to declare, that he was as dear to him as his whole state.

VERHAGHEN enjoyed the favours of numerous crowned heads, and on returning from Vienna, where he had been appointed principal painter to the Empress, and had received numerous marks of the Imperial bounty, to Louvain, such was the cavalcade that went forth to welcome him, that neither a horse nor a carriage could be found disengaged in the whole city. The genius and deportment of this painter so won heart of POPE CLEMENT THE FOURTEENTH, that his Holiness granted him

plenary indulgence at the hour of death for himself, his relations, and connections, to the third degree, and for thirty other persons at his nomination! This will remind the reader of the curious honour conferred upon CORREGGIO by the Monks of St. John, who, in a general assembly of the Order, held at Pratalen, in 1521, decreed the painter a patent of confraternity—a rare and valuable privilege -conveying a participation in the spiritual benefits derivable from the prayers, masses, alms, and other good works of the community; and entitling the holder of it to such offices for the repose of his soul and the souls of his family, as were performed for the members themselves.

An interesting anecdote is told of DANIEL SYDER, à Viennese artist and a pupil of Carlo Maratta, who received the honours of knighthood, and the appointment of principal painter to the Court, from the DUKE OF SAVOY. "One day, the duke sat for his portrait, and the painter appeared in some confusion, having forgotten his mahlstick; the prince offered him his walking cane, enriched with diamonds, asking if that would answer his purpose ? The painter made use of it while the duke sat, and presented it to him when he rose; but the attendants, who were previously instructed, prevented him from returning it; observing, that their master never resumed a gift which he had voluntarily bestowed."

ALONSO BERRUGUETTE, the Spanish painter, was distinguished both by the Emperor CHARLES THE FIFTH, and his son PHILIP THE SECOND, and was buried with the utmost magnificence by the latter monarch. BARTHOLOMEW SPRANGER was a great favourite with POPE PIUS THE FIFTH, and when he quitted Rome for Vienna, he became equally a favourite with the Emperor MAXIMILIAN THE SECOND. Of the Emperor RODOLPH's patronage of this artist, we shall presently have occasion to speak. LIEVINE BENNINGS, daughter of a miniature painter of Bruges, was invited to the Court of England by HENRY THE EIGHTH, Who procured for her a wealthy and noble husband, and thus conferred upon her a greater kindness probably than he would have done had he made her a present of his own royal hand. Another artist of Bruges, JOSEPH BERNARD SUVÉE who flourished about the middle of the eighteenth century, experienced honours at the hands of his fellow-citizens, which may rank with those which Art has received from royalty. Before taking his departure from his native city for Rome, he received the congratulations of the magistracy at the Hôtel de Ville, was presented in the name of the city with a testimonial in plate, and invited to a splendid banquet; the whole of the city being at the same time spontaneously illuminated by the inhabitants in his honour.

RAFFAELLE, it is said, was offered the hand of the niece of the Cardinal Bibiena in marriage, but courteously declined the alliance with his Eminence. BARTHOLOMEW SPRANGER enjoyed the friendship of RODOLPH THE SECOND, who, at a banquet held in 1588, presented the painter, in the presence of the whole Court, with a gold chain and a patent of nobility. Nor did the generosity of that prince rest here, for he assigned to Spranger apartments in his own palace, and found a relaxation from the cares of state in watching the progress of the artist's labours. When, after an absence of thirty-seven years from his native country, our artist turned his face in the direction of the Netherlands, he received from the Emperor a purse of one thousand florins wherewith to defray the expenses of the journey. His progress appears to have been quite a triumphal one, and his phlegmatic compatriots everywhere received him with marks of the highest distinction. The municipality of Amsterdam presented him with "the wine of honour" the artists of Haarlem invited him to a banquet, and were in turn the guests of their gifted visitor; while the Chamber of Rhetoric (a literary academy thus designated) composed and represented out of compliment to Spranger, a little pièce de circonstance entitled the "Honours of Painting." In his native city (Antwerp) he was similarly fêted and caressed, and in the various places through which he passed on his return to Prague, the heart of the