The early work of Raphael . engraver, seemed to have pleased the taste ofthe day. In 1635 Sandrart returned to Germany, and finally settleddown in Nuremberg, where he wrote several books on Art, amongst themthe Teutche Academie der Edlen Bau-Bild- und Malerei Kilnste, first inGerman in 1675, then in a Latin translation, Academia nobilissima ArtisPicture (1683). This volume contains many interesting details about painters ofnote whom the author had known, amongst others about Claude,whose intimate friend and companion Sandrart had been in other biographer is Filippo Baldinucci, a Flore
The early work of Raphael . engraver, seemed to have pleased the taste ofthe day. In 1635 Sandrart returned to Germany, and finally settleddown in Nuremberg, where he wrote several books on Art, amongst themthe Teutche Academie der Edlen Bau-Bild- und Malerei Kilnste, first inGerman in 1675, then in a Latin translation, Academia nobilissima ArtisPicture (1683). This volume contains many interesting details about painters ofnote whom the author had known, amongst others about Claude,whose intimate friend and companion Sandrart had been in other biographer is Filippo Baldinucci, a Florentine artist, who, CLAUDE LORRAIN n in his Notizie de Professori del Disegno, published from 1684 to 1728,has left us an account of Claudes life and works. Baldinucci appears to have known Claude in his old age—he tellsus that Claude showed him the Liber Veritatis—but his informationwas chiefly derived from Jean and Joseph Gellee, nephews of the these two accounts all subsequent biographies of Claude have been. Portrait of Sandrarts Academia Nobilissimce Artis Picture. Nuremberg, 1683. based. To them must be added such details about the artists cha-racter and financial position as may be gathered from his will, dated1663, and a codicil of 1670, documents discovered by Signor Bertolottiin the Roman archives, the result of a research instituted by Lady Dilkein 1881. According to Sandrart, Claude was a dull boy, a very dull boy—scientia valde mediocri—and learned little or nothing at school—parum, i4 CLAUDE LORRAIN imo nihil fere, proficeret. The statement is borne out by such scraps ofwriting as Claude in later years scrawled on the backs of his these short notes he jumbles up French, Italian and Latin ; he spellshis own name in half a dozen different ways, so much so that in his willhe has to record the correct spelling of it as Gellee, and in his attemptto spell other peoples names, even those of his best friends, he goeshopelessly as
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