-all and end-all of acting. It is impossible not
to admire the ingenuity of modern face-painting upon the stage, and
the skill with which, in some cases, well-known personages have been
represented by actors of, in truth, totally different physical aspect;
but still there seems a likelihood of efforts of this kind being urged
beyond reasonable bounds. So, too, there appears to be an excessive
use of cosmetics and colouring by youthful performers, who really need
little aid of this kind, beyond that application of the hare's-foot
which can never be altogether dispensed with. Moreover, it has become
necessary for players, who have resolved that their faces shall be
pictures, to decide from what part of the theatre such works of art
are to be viewed. At present many of these over-painted countenances
may "fall into shape," as artists say, when seen from the back benches
of the gallery, for instance; but judged from a nearer standpoint they
are really but pictorial efforts of a crude, uncomfortable, and
mistaken kind.

CHAPTER XIV.

PAINT AND CANVAS.

Vasari, the historian of painters, has much to say in praise of the
"perspective views" or scenes executed by Baldassare Peruzzi, an
artist and architect of great fame in his day, who was born in 1480 at
Florence, or Volterra, or Siena, it is not known which, each of these
noble cities of Tuscany having claimed to be his birthplace. When the
Roman people held high festival in honour of Giuliano de Medici, they
obtained various works of art from Baldassare, including a scene
painted for a theatre, so admirably ingenious and beautiful, that very
great amazement is said to have been awakened in every beholder. At a
later period, when the "Calandra," written by the Cardinal di
Bibiena--"one of the first comedies seen or recited in the vulgar
tongue"--was performed before Pope Leo, the aid of Baldassare was
sought again, to prepare the scenic adornments of the representation.
His labours were successful beyond measure; two of his scenes, painted
upon this or upon some other occasion, Vasari pronounced to be
"surprisingly beautiful, opening the way to those of a similar kind
which have been made in our own day." The artist was a fine colourist,
well skilled in perspective, and in the management of light, insomuch
that his drawings did not look "like things feigned, but rather as the
living reality." Vasari relates that he conducted Titian to see
certain works of Peruzzi,