COL'ORIST, a painter whose works are remarkable for beauty of color. Titian, Correggio, Paul Veronese, Rubens, Van dyke, are in the first rank of colorists. The Venetian and the Flemish schools have supplied the greatest number of colorists, as well as the best ; always ex cepting Correggio, the founder of the Lombard school, who is by many re garded equal to Titian. Color being, as well as design, an essential part of a pic ture, every colorist is, at the same time, more or less a draughtsman. But expe rience shows, and theory furnishes good reasons for believing, that these two qualities, which many artists possess to gether in a moderate degree, are rarely found in an eminent degree, united in the sante indiriduat, and still loss in the same picture.
Ce-lAS'SAL, in the Fine Arts, a term applied to any work of art remarkable for its extraordinary dimensions. It is, however, more applied to works in sculp ture than in the other arts. It seems probable that colossal statues had their origin front the attempt to astonish by size at a period when the science of pro portion and that of imitation were in their infancy. Colossal statues of the di vinities were common both in Asia and Egypt. By the description of the palace or temple attributed to Semiramis it abounded with colossal statues, among which was one of Jupiter forty feet in height. In Babylon we learn from Dan iel that the palaces were filled with statues of an enormous size, and in the present day the ruins of India present us with statues of extraordinary dimensions. The Egyptians surpassed the Asiatics in these gigantic monuments, considering the beautiful finish they gave to such a hard material as granite. Sesostris, ac cording to history, appears to have been the first who raised these colossal masses, the statues of himself and his wife, which he placed before the temple of Vulcan, having been thirty cubits in height. This example was imitated by his successors, as the ruins of Thebes sufficiently testify.
The t:•te for colossal statues prevailed also among, the Greeks. The great Phi dies contributed several works of this order. The statue of Apollo at Rhodes, was executed by Cnares, a disciple of Ly sippus, who devoted himself to this object during twelve years. It was placed at the entrance of the harbor, with the right foot standing on one side the land and the left on the other. It was of brass, and is said to have existed nearly four teen centuries, before the period in which it fell by the shock of an earthquake. When the Saracens became possessed of Rhodes, they found the statue in a pros trate state, and sold it to a Jew, by whom 900 camels were laden with the materials. The colossus at Tarentum by Lysippe was no less than forty cubits in height ; and the difficulty of removing it, rather than the moderation of the conqueror, prevented Fabius carrying it off NV ith the Hercules from the same city. But the proposition made to Alexander of cutting Athos into a statue, in one of whose hands a city was to he placed capable of holding ten thousand inhabitants, whilst in the other he was to told a vessel pouring out the torrents from the mountain, exceeds all others in history. Before the time of the Romans colossal statues were frequently executed in Italy. The first monument of this nature set up in Rome was one placed in the capitol by Sp. Carvillius after his victory over the Samnites. This was suc ceeded in after-times by many others, of which those now on Monte Cavallo, said to be of Castor and Pollux, are well known to most persons. In modern times the largest that has been erected is that of S. Carlo Boromeo at Arona near Milan. This gigantic statue is upwards of sixty feet in height.