Encyclopaedia Britannica > Volume 21, ROT-Siam

448
S C H —S C H
VEcole Allemande, Pans, 1856; Ormos, Peter von Cornelius, &c., Berlin, 1866;
Ranzoni, Malerei in Wien, Vienna, 1873; Riegel, Gesch. der deutschen Kumt,
Hanover, 1876; Wustmann, Gesch. der Malerei in Leipzig, Leipsic, 1879 ;
Schasler, Die Wandgemdlde von Kaulbachs, Berlin, 1854; Pecht, Deutsche
Kiinstler, Nordlingen, 1877-81 ; Leixner, Die moderne Kunst, Berlin, 1878;
Rosenberg, Gesch. der mod. Kunst, Leipsic, 1882. Spanish School.—Head’
Handbook of Painting (Spanish), London, 1847 ; Stirling, Annals of the Artists of
Spain, London, 1848, and Velasquez and his Works, 1855 ; O’Neil, Dictionary of
Spanish Painters, London, 1833 ; Montecuccoli, Storia della Pittura in Ispagna,
Modena, 1841; Cumberland, Eminent Painters in Spain, London, 1782 ; Laforge,
Des Arts en Espagne, Lyons, 1859; W. B. Scott, Murillo and the Spanish School,
London, 1872; Curtis, Murillo and Velasquez, London, 1883 ; Davies, Life of
Murillo, London, 1819; Viardot, Les Principaux Peintres de VEspagne, Paris,
1839; Eusebi, Las diferentes Escuelas de Pintura, Madrid, 1823; Malpica, El
Arte de la Pintura, Madrid, 1874 ; Bermudez, Dicionario de las Bellas Artes en
Espana, Madrid, 1800; Robinson, Early Portuguese Painting, Bungay, 1866;
Davillier, Mariano Fortuny, sa Vie, £c., Paris, 1875. French School. Mrs’
M. Pattison, Renaissance of Art in France, 1879 ; La Chavignerie, Dictionnaire
de VEcole Frangaise, Paris, 1883 ; Beraud, Annales de VEcole Frangaise, Paris,
1827 ; Berger, L’Ecole Frangaise, Paris, 1879 ; Dufour, Peintres Parisiens
aux XIV et XV Siecles, Paris, 1879; Parrocel, Annales de la Peinture, Paris,
1862; De Saint-Germain, Trois Siecles de la Peinture en France, Paris, 1808 •
Laborde, Renaissance des Arts a la Cour de France, Paris, 1850-55; Goncourt,’
VArt dans le XVIIIme Slide, Paris, 1880-84. Modern French School.—
Chesneau, La Peinture Frangaise au XlXme Slide, Paris, 1862; Claretie, L’Art
Frangais Contemporain, Paris, 1876; Pesquidoux, L’Art au XIXme Sikle,
Paris, 1881; Jourdan, Les Peintres Frangais, Paris, 1859 ; Laforge, La Peinture
en France, Paris, 1856; Laurent-Pichat, L’Art en France, 1859 ; Leclercq
VEcole Frangaise, Paris, 1881; Merson, La Peinture en France, 1861; Meyer
Gesch. der mod. franzdsischen Malerei, Leipsic, 1867 ; Rosenberg, Gesch. der
mod. Kunst, Leipsic, 1884; Wurzbach, Die franzdsischen Maler, Stuttgart,
1879. British School.—Graves, Dictionary of British Artists from 1760 to
1880, London, 1881; Redgrave, Painters of the English School, London, 1866
and Dictionary of Artists (English), 1878 ; W. B. Scott. Our British Tan/ts^
WafnniA* ^0n<!7 ®he.Pllerd> British School of Painting, London, 1880*
Walpole, Anecdotes of Painting m England, London, 1861; Wodderspoon /
Crvne and his IForfcs, Norwich, 1858 ; Chesneau, La'Peinture AngU%e?P^
1882 , Clayton, English Female Artists, London, 1876; Cunningham Lives of
British Painters, ed. Mrs Heaton, 1879; Dallaway, PaintinginE^Mnd
London, 1849 , Hannay and others, Works of Hogarth, London, I860' Hoare’
Acadennc Annals of Painting, London, 1805-9 ; Dumas, Modern Artists Paris’
1882 , Ruskin, Modern Painters, London, 1851-60; Our Livino Painters (moo
^?nd°n’18^,; Monkhouse, Masterpieces of English Art, London, 1868 ; Britton
^ rfthAEngm^ ScTh00!’ Loildon. 1812 ; Brock-Arnold, Gainsborough and
Reynolds London, 1881; Leslie and Taylor, Life and Times of Reynolds, London
1865, Conway, Reynolds and Gainsborough, London, 1886. Early Treatises
on Painting.—Theophilus, Diversarum Artium Schedula, trans., London 1847 •
Cenmno Cennirn, Trattato della Pittura, trans., together with other early docu-
FWlafc011 jpraiintl-nf ^>r-S Memfleld> Treatises on Painting, London^ 1848 •
.H}story ?f 0il Painting, 1847-69; the Commentary of
no^ ?-Gh^bertlt.NC01nta^ll;g.a short history of Florentine art, has been pub-
twm/1 h rer^ins> Ghiberti et son Ecole, Paris, 1836; Filarete
LiSa r ^P’Architettura, &c., written at Florence, 1464, Pretiosa Margarita
^®d1by Aldus, Venice, 1546 ; Da Vinci, Trattato della Pittura, Bologna, 1786’
T0m forty't^'° autograph MSS. at Milan, edited by Richter’
London, 1883; Lomazzo, Trattato d. Pittura, Milan, 1584; Vasari, Vite del
ence°ni878S82C-0Mo1r!lH Jn01'6110!’.1^8- best edition by Milanesi, Flor-
wArV8nfV8n2Q’ic+n 11 VAo<flctT^0i7er,e Bwgno ■ ■ ■ scritta da un Anonimo
1; Bassano^lSOO, best edition by Frizzoni, Bologna,
; S®1.1?.11’ 1 lt.e Pittori, Rome, 16i 2; Ridolfi, Maraviglie dell’ Arte, Venice
ld4|> .Bafdmucci, Pro/esson del Disegno, Florence, 1681-88; Du Fresnoy Art
?<^r’nLOnd°.n’ 1695 : Va? LaiTesse. Art of Painting, trans., London
1738,_ Piles, Divers Ouvrages sur la Peinture, Paris, 1755. For the bibliography
of painting see Weigel, Kunstcatalog, Leipsic, 1833 and following years; and
Reumont, Notme bibhografiche del Lavori publ. in Germania tratt. d. Belle Arti,
x1 iorence, io47-oo. ^ *
SCHOPENHAUER, Arthur (1788-1860), was born
in Dantzic (117 Heiligen-Geist Strasse) on 22d February
1788. Doomed for the first thirty years of his career to find
his works ignored with galling silence, he came, from the
year 1845 onwards, to be looked up to by a scanty but
devoted following as, what he himself claimed to be, the
founder of the first true philosophy. Historical criticism
has done much to dispel his pretensions to originality, and
logical examination has demonstrated the incongruities
lurking in his system. But the fact of his dominant influ¬
ence on contemporary thought remains undiminished after
every such disparaging analysis. He consoled himself for
the neglect of his own generation by the assurance that
his would be the philosophy of the future. His ideas,
recommended by the mastery of language and brilliance of
illustration which entitle him to a first class in literature,
have become the burden of much of our current speculation,
and have leavened to an unusual extent the view of life
and of the universe which animates the average educated
world and finds expression in literary art.
His father, Heinrich Floris Schopenhauer, the youngest
of a family to which the mother had brought the germs
of mental malady, was a man of strong will and originality,
vehement and resolute in the extreme, and so proud of
the independence of his native town that when Dantzic
in 1793 surrendered to the Prussians he and his whole
establishment withdrew to Hamburg. The mother of the
future philosopher was Johanna Henriette Trosiener.
Both parents belonged to the mercantile aristocracy, the
bankers and traders, of Dantzic. Johanna, who at the
age of twenty accepted a husband of forty, was as yet
undeveloped in character; and perhaps he hoped that her
want of love, which she did not conceal, might be com¬
pensated. by the community of tastes and interests which,
under his guidance, would grow up between them. But
the radical rift in the wedded heart could not be stopped
up by a merely intellectual cement. The two children of
the marriage, Arthur born in 1788 and Adele in 1796,
bore (according to the theory of the formerl) the penalty
of their parents incompatibilities. While they inherited
from their mother a high degree of intelligence and literary
style, they wei’e burdened by an abnormal urgency of
desire and capacity for suffering, which no doubt took
different phases in the man and the woman, but linked
them together in a common susceptibility to ideal pain.
In the summer of 1787, a year after the marriage, the
elder Schopenhauer, whom commercial experiences had
made a cosmopolitan in heart, took his young wife on a
tour to western Europe. It had been his plan that the
expected child should see the light in England, but the
intention was frustrated by the state of his wife’s health,
and they had to beat a hasty retreat homewards in early
winter. The name of Arthur, given to the child in St
Mary’s at Dantzic, was chosen because it remains the same
in English, French, and German. The first five years of
his life Arthur spent under the care of his mother, chiefly
in their country house at Oliva, about 4 miles west of
IJantzic. There, at the foot of the prettily wooded sand¬
hills which look out upon the dim Baltic, the young
mother enjoyed a life of leisure, dissipating the long solitary
hours with her horses, the gondola on the pond, the foun¬
tains, and the lambs, or with the French novels her husband
put amply at her disposal. It was only on Saturday and
Sunday that he would quit his office in town and come
down, generally in company with a friend or two, to get
a glimpse of his wife and son. The latter was often taken
on a visit for weeks to the manor-house, between Dantzic
and the sea-coast, where his maternal grandparents lived.
After 1793 the father never set foot in his old home; but
Johanna was allowed every four years to revisit the scenes
of her youth.
During the twelve years they had their home at Ham- Ham¬
burg (1793-1805) the Schopenhauers made frequent ex-burg
cursions. The year after his sister’s birth Arthur was Period-
taken by his father to France, and left for two years
(1797-99) as a boarder with M. Gregoire, a merchant of
Havre, and friend of the Hamburg house. The boy
formed a fast friendship with his host’s son, Anthime,
and grew so familiar with French that by the end of his
sojourn he had almost forgotten his mother-tongue. The
youthful friends lost sight of each other for long years;
and when the Frenchman sought to renew their corre¬
spondence in the evening of life they found that they had
drifted far asunder; and unworthy suspicions led Schopen¬
hauer to dismiss his old comrade in abrupt silence. Arthur
returned alone by sea to Hamburg, and for the next four
years had but indifferent training. When he reached the
age of fifteen the scholarly and literary instincts began to
awaken, and he became anxious to be initiated into the
fi’aternity of the liberal arts and sciences. But his father,
steeped in that old pride of caste which looks down upon
the artist and the winter of books as mere means or instru¬
ments to decorate and diversify the life of business, was
unwilling a son of his should worship knowledge and truth
1 Die Welt als Witte, ii. c. 43.