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Tk ^ LARTE.L**^ os ANTIQUARJOS *K>Ot AlCANTAHA 2 POKTUGAL A DICTIONARY OF PAINTERS Digitized by the Internet Archive in 2016- https://archive.org/details/dictionaryofpainOOdary A DICTIONARY OF PAINTERS AND HANDBOOK FOR PICTURE AMATEURS INCLUDING AN EXPLANATION OF THE VARIOUS METHODS OF PAINTING INSTRUCTIONS FOR CLEANING, RE-LINING, AND RESTORING OIL PAINTINGS ; A GLOSSARY OF TERMS ; AN HISTORICAL SKETCH OF THE PRINCIPAL SCHOOLS OF PAINTING ; WITH NOTES ON THE COPYISTS AND IMITATORS OF EACH MASTER BY PHILIPPE DARYL, B.A. 6bitmn. LONDON CROSBY LOCKWOOD AND SON 7, STATIONERS’ HALL COURT, LUDGATE HILL 1891 PREFACE. Many special treatises have been written with the view of making it easy for the amateur to ascertain the authorship, quality, and value of a picture. But all these books of reference are, with- out a single exception, heavy and cumbrous, and as expensive as they are inconvenient. The present Handbook has been compiled from the best sources, with the endeavour to present, in a portable form, the requisite information dispersed through- out the above-mentioned works ; and to furnish, not only the fundamental knowledge which is absolutely necessary to the amateur, but also an exact classification of the masters of every school, with their special characteristics, and a more complete list of their copyists and imitators, than is to be found even in the most voluminous dictionaries. In the present day, most people consider themselves con- noisseurs, and pictures have become current and accepted wares throughout the civilised world, as easily exchanged and realised as a bank-note : yet there is, perhaps, no branch of human knowledge which has remained so much the exclusive possession of the few, and about which so many legends and false notions exist. On one hand, the idea prevails that genuine works of great vi Preface. masters are so rare that no ordinary individual can hope to come across a single obtainable specimen during his whole life. On the other hand, many enthusiastic novices are so simple as to believe that such works may be met with any day, or, indeed, that at least once a week they may be found in the rubbish of third-rate dealers' shops, and that for a few guineas genuine Teniers or Gerard Douws may be purchased. The former of these opinions is no less extreme than the latter. It is true that masterpieces are not commonly to be picked up in the streets ; but it is equally true that not a single year elapses without a certain number of the best pictures changing hands, and being olfered to any one who can pay for them. To account for this, we must remember that oil painting, however fleeting in appearance, is in reality one of the most durable productions which human genius has invented; that, consequently, a comparatively small proportion of masterpieces have disappeared in the course of the four or five centuries which separate us from the origin of the art ; that the works of each artist may be reckoned by hundreds ; and that, as the painters who have left reputable names behind them amount to eight or ten thousand, many of their works must still exist, change owners frequently, and consequently be to a certain extent accessible. Every well-educated man, then, should desire to be com- petent to judge, when opportunity may offer, of the artistic merit, and even the pecuniary value of a picture. Just as he would shrink from confessing his inability to pronounce upon the points of a horse, or the value of stocks, so, with greater reason, must he wish to be qualified to estimate the beautiful Preface. vii productions of art which past generations have bequeathed to us. The collecting of pictures has frequently been the chief recreation of eminent literary or political men ; and that this taste is developing more and more amongst the general public is proved by the high prices given for the works of both ancient and modern masters. It is with the view of promoting this noble taste still further, and of gratifying it more easily, that the present Handbook has been prepared. London ; September 1877 . CONTENTS INTRODUCTION : Definition of Painting Various Methods of Painting ; Fresco, Wax, Dis- temper, Oil, Pastel, Gouache and Water-Colour, Enamel, Miniature, Encaustic OIL PAINTING; I. Originals and Copies II. Signatures and Monograms. III. How an Oil Painting is made .... IV. Colours V. The Anatomy of an Old Picture . VI. Cleaning Pictures VII. Re-lining Pictures VIII. ‘Restoring’ Pictures IX, The Schools of Painting ; a. The Italian Schooi b. The Flemish School c. The Dutch School .... d. The German School ■e. The Spanish School .... /. The French School . .... g. The British School .... X. An Explanation of the Principal Terms used in Painting A DICTIONARY OF PAINTERS, with the Copyists and Imitators of e.-vch Master List of Authorities PAGE 1-5 5-1 1 12-15 15- 16 16- 18 18-20 20- 21 21- 26 26-28 28- 29 29- 34 34-36 36- 37 37- 38 38- 39 39- 40 40- 42 42-54 55-252 253 THE PICTURE AMATEUR’S HANDBOOK. INTRODUCTION. Definition of Painting. Painting is the art of applying colours without relief upon a plane surface, so as to imitate any object in the manner in which it is seen, or may be conceived visible, in nature. In other words, painting may be said to be the art of expressing the conceptions of the soul by rneans of the realities of nature, represented upon a smooth surface in their forms and colours.* Although the domain of the painter is co-extensive with nature, there exists in his art a hierarchy founded upon the significance relative or absolute, local or universal, of his works. For example, according to the subjects they represent, pictures are divided into — allegory, architectural and perspective views, animals of all kinds, Bambocciate or drolleries, battle- pieces, candlelight pieces, caricatures, conversations, dead game, domestic subjects, fairs and festivals, flowers and fruits, history (Scriptural, fabulous, ancient or modern), hunting pieces, landscapes, marine views, markets, moonlight pieces, portraits, river scenes, still-life, whimsicalities and winter scenes. * Most of the following remarks are translated or abridged from the Gram maire des Arts du Dessin of M. Charles Blanc. 2 The Picture AmateuPs Handbook. Now can all these representations be placed in the same rank ? Nobody would venture to say so. The chain that unites all beings is composed of rings, rude at first and simple, which by degrees grow complicated, refined, developed, and in proportion as the chain ascends, become more richly wrought, more precious. It is not, then, a matter of indifference to represent inorganic bodies in their inertia, or to paint animate beings in motion. Neither is it a matter of indifference to take as a model the plant that vegetates, a captive upon the soil, — or the animal that moves, guided by the fatality of a still blind, but certain spirit, instinct ; much more man, who, the resume of all anterior creations, crowns them by intelligence and dominates them, because himself free. Moreover, if the greatness of the painter be measured by the difficulty of his work, what a difference between the copy of a shapeless stone or a plant, of which no one can verify the likeness, and the imitation of a proportioned and symmetrical body, eternally submissive to the laws of a divine rhythm, and yet one in which symmetry is constantly broken by movement or restored by equilibrium ! . . . If painting can elevate itself by the mere substitution of human figures for inanimate objects, what will it become when it selects its heroes, no longer from common life, but from the world of history or poetry? — when, instead of representing local manners, it represents the manners of humanity and its heroic characteristics ? — when it replaces the changing costume of an epoch by that generalisation of clothing suitable to all times and all peoples, which is drapery ; — when, seeking beauty of form in its primitive essence, and approxi- mating to sculpture, it conceives and creates those immortal types that are gods ! It is plain that there is a wide interval between Netscher and Raffaelle,— -between Chardin and Michael Angelo, To go over this interval as an observer is to explore the entire domain of art, and the different styles that it is per- mitted to embrace, as landscape, sea-views, animals, battles, the conversations and familiar scenes that, properly speaking, are %enre pictures, and finally, history, fable, poetry, and allegory. Definition of Pahitmg. 3 The true distinction, the only one to establish, is the dif- ference between hnitatwi and style. Style, being typical truth, exists only for beings endowed with organic and animal life. The mind conceives the type of the horse or lion, because the organism of the horse and the lion follow a constant law ; but it is impossible to conceive the type of a rock or a cloud. Why? Because these bodies, not being living, are not or- ganised ; not being organised, they have no proportion. How then discover the normal form of that which is naturally with- out form ? How seize the fixed rule of that which is naturally irregular? How find a perfect proportion where there exist only variable dimensions ? When I see the head or leg of a horse, I can reconstruct the entire animal by virtue of the fixed relation of the parts to the whole ; but given the half of a stone, I cannot know the form of the other half, because no known principle has governed the aggregation of its molecules. It follows, therefore, that the value of a picture of still-life lies entirely in the perfect imitation. And the more the objects represented rise in importance, the more style will find a place in the representation. In a Imidscape., imitation plays a most important part, with- out being, however, so scrupulous, so literal, as it is in a picture of still-life. In a landscape the painter studies the reality of the model in each of the elements that compose it ; but he idealises the real by making it express some sentiment of the human soul. The proof that faithfulness of imitation would not alone suffice is, that if the instrument of the photographer could seize colours as it does forms, it would give us a certain view of a certain country, but it would not produce the work of art, which is a landscape painting. In order to achieve this, the painter, master of reality, enlightens it with his eyes, transfigures it according to his heart, and makes it utter, so to speak, what is not in it — sentiment and thought. Po7'U'aits are another example of the same law. Here, also, the truth of the imitation would seem to be a quality of the first order. But if it were sufficient, the best portrait painter would be 4 The Picture AmateuPs Handbook. the photographer ; and who does not know how deceitful is the truth, that pretends to be infallible, of the photographic image ? The painter endowed with mind can alone call forth the mind of his model, and that is the reason why portraiture is one of the highest branches of art. Only the greatest artists have ex- celled in it. Rembrandt throws over the commonest nature a mysterious glimmer that is in itself a poem, — a romance of light. Velasquez expresses so perfectly the shade of tempera- ment by the exquisite truth of local tone, that we discover with- out effort the unison between the visible form and the hidden spirit. Vandyck and Anthony More give to all their per- sonages the stamp of good breeding and the investiture of nobility. Rubens exalts life in the image of his model ; he seems to throw into it the circulation of the blood ; and when it is a child or a woman, he lavishes upon it freshness, youth, and sun. All Titian’s portraits are imposing. Their beauty attracts us ; at the same time their dignity keeps us at a distance. They are speaking, though silent. The old distinction between genre and history, or rather be- tween familiar anecdotic painting and style, is then necessary, profound, and must be maintained. Individual truth suits the one ; the other demands a more general, a higher truth. A mountebank at a fair, a public fete, a game of chess, a familiar conversation, the comedies of the household, the little dramas of private life, demand only justness of observation and talent for imitation. All pretensions to style would be there unpleasing, out of place. Very different, on the other hand, is the work of the painter, when the person whose biography he relates is the human race in general. The form, gesture, expression, — the external nature, and the landscape, all are under the control of his thought. ‘ It matters not,’ says Reynolds, ‘ if Alexander were short of stature, if Agesilaus were maimed, if St. Paul were mean in appearance : in the representation of these heroes the painter prefers the resemblance of the mind to that of the body. If by chance he has seen a boy hurling a sling, bite his lip, he Various Methods of Painting. 5 will not, like Bernini, give to the conqueror of Goliath that trivial and accidental expression, thus disobeying the higher laws of art/ In short, the greatest artist is not he who enters our house to put on our clothes, to conform to our habits, to speak to us an everyday idiom, and to give us a representation of ourselves ; — the greatest artist is he who guides us into the region of his own thought, into the fields of his own imagination, and who there, while showing us ideal forms and colours, makes us for a mo- ment believe, by force of the truth in his fictions, that these regions are those in which we have always lived, — that these forms and colours, created by his genius, are the forms and colours of nature herself. Various Methods of Painting. There are ten different methods of painting, viz. fresco, wax, distemper or tempera., oil, pastel or coloured crayons, gouache and water-colour, enamel, miniature, glass and encaustic. Fresco Painting is so called because it is executed with water-colours upon a fi'esh ground. This ground, made of slacked lime and fine sand, is applied upon a first coating rough enough to make it adhere to it. The fresco requires a wall free from materials tinctured with saltpetre, and the colours must be such as the lime does not change. When the artist has polished and thoroughly smoothed the surface to be painted, he transfers his composition to it from previously prepared designs. These designs, of the size of the picture, are called cartoons {eartoni), because they are drawn upon large sheets of paper glued together. They are applied to the damp wall, upon which the drawing is traced with a point of ivory or wood ; or the contour of the drawing is pricked with a pin, and a tampon dipped in charcoal or red powder is passed along the line of the holes, so as to fix the design on the plaster. Afterwards, the artist follows the tracing with a sharp-pointed pencil or stylus, and this indelible contour is called the nail of 6 The Pictn^re Amateur's Handbook, the fresco. We find it in several Pompeian paintings executed upon a mortar of lime and sand ; and, as it could only have been done upon lime still damp, it is evident that these paint- ings are frescoes. The tracing made, the artist must set to work with a sure and prompt hand. As long as the plaster is fresh, * the carbonate of lime,' says Gruyer, ‘ takes up the colouring matter, envelops it, and forms upon its surface a crystallisation like a varnish, which protects the fresco from all external cause of destruction.' When the plaster becomes dry it can no longer fix and protect the colour. Hence the impos- sibility of retouching, and the special difficulty of the work. Wax Painting consists in the use of oil colours diluted, at the moment of putting on, with liquid wax mixed with essential oil. The advantage of this manner is that it preserves the painting from the alternation of shadows and bright spots which in oil painting are scarcely corrected by the varnish which generalises the gloss. The use of wax not only gives to the whole a soft and uniform aspect which allows the spectator to see the picture well, wherever he may be placed, but it also approaches fresco, although with less lightness and limpidness of tone. The greater number of our wall painters at the present time use wax, because they can retouch their work indefinitely, and can use more brilliant colours than those used in frescoes. Painting in Distemper, or Tempera, is probably the oldest of all methods. The colours are mixed in glue or size, either made of shreds of the skin, snout, and feet of goats, as described by Cennini, or ‘ with the yolk of egg diluted with vinegar and mixed with the sap of the fig-tree,’ according to Vasari. Richer than fresco, distemper permits the use of mineral colours. It is applied to walls after covering them with smooth, fine plaster. The painter uses bright, strong tints in anticipation of the fading they will undergo in drying. Be- fore oil painting was perfected by Van Eyck, and taught in Italy by Antonello da Messina, the Italian painters used distemper upon walls, wood, and canvas. It enabled Mantegna, Giovanni Various Methods of Painting, 7 Bellini, and Perugino to produce master-pieces as durable as frescoes. Mantegna’s ‘Triumph of Julius Caesar’ (now in the National Gallery) was thus painted, as was the magnificent picture of Bellini, the ‘ Virgin surrounded by Saints,’ formerly in the Church of San Giovanni e Paolo, at Venice. Not so liable to grow brown as oil painting, distemper has almost as much consistency with less heaviness. Memling used distemper with egg when he painted the famous shrine of St. Ursula, in the hospital at Bruges. Oil Painting. — When we look at certain pictures of Peru- gino, of the Vivarini, Giovanni Bellini, Mantegna, and those of the Florentines of the fifteenth century, Masaccio, Filippino Lippi, Angelico da Fiesole, we ask if oil painting be really a progress, and if we should prefer a method that changes the colours, tarnishes them, blackens them, and that seems con- demned to an eternal dimness, to the distempers that still are so fresh, so transparent, so pure. It is certainly most remark- able that the older pictures are, the better they are preserved. Antique paintings, says Lanzi, insult modern paintings by their preservation ; almost all the master-pieces in oil are threatened with destruction. If the pictures of Van Eyck, the reputed inventor of oil painting, are still brilliant with youth, and appear unchangeable, it is not because he mixed his colours with linseed oil, but in spite of this mixture, and above all because of the excellence of the varnish he combined with his oil, which has given his works the look of enamel. The Baron de Taubenheim wrote in the last century : ‘ The oily particles with which the picture is loaded, as they dry .... endeavour to escape from their cells by evaporation. Reach- ing the surface they encounter a pellicle formed by the parts already dry, or an impenetrable varnish that prevents the evaporation, and all these oily particles arrested in their deser- tion on the frontiers of the colour, form a mass of grease that gradually condenses, and embrowns the picture.’ Independent of the continual alteration of modern works, and without reckoning the changes that metallic colours like cinnabar 8 The Picture Amateur's Handbook, undergo in their combination with oil, painters know how tedious is the presence of the embus, that is to say, of those dull parts that here and there make a spot in consequence of the unequal drying of the oils ; they know what a restraint upon their inspiration is the necessity of waiting weeks till the sketch is sufficiently dried to be resumed. They know they must pay dearly for the privilege inherent to the style of paint- ing they have learned, and which consists in allowing vigorous browns, profound shadows, more energy in the relief, and at the same time more mystery in the whole. ‘ Rub down the shadows, thicken the lights,’ is the precept taught in schools, which Rubens, Teniers, Vandyck have so well practised, but it is only a relative truth. To paint the shadows lightly with thin layers of colour diluted in oil is a good method if one works upon a canvas prepared with glue, very dry, and consequently very clear. If, on the contrary, it is prepared with oil, the shadows cannot be glazed, because the oil used in the prepara- tion will show through the glaze, and will make the shadows darker, since in glazing, oil will have been added to oil. In such a case, it is better to thicken the shadows in the sketch, which will hinder their blackening, by stifling the foundation which will disappear under the thickness of the paint. Veronese, who painted on canvas prepared in distemper, could glaze the shadows ; but any one who works upon canvas prepared with oil, will do well to cover over the shadows with colours thick enough to interrupt the communication of the foundation with the surface. It is always necessary to load the colours in the light portions more than in the shadows, because the clots, catching the sunbeams in their passage, add a natural to the artificial light. Pastel Painting. — This is a painting with pastes of differ- ent colours put on dry, and soft enough to be powdered under the finger. A colourist who wishes to catch fugitive tints, a painter who desires to get hold of a certain effect, uses pastel, because it demands no preparation, lends itself to im- provisation, and may be interrupted and resumed at pleasure. Various Methods of Pamting. 9 But pastel is not merely an auxiliary means ; some excellent painters have made it a thing apart, and have used it success- fully in portraiture. Applied to paper glued upon canvas, the pastel produces soft opaque shadows ; it has not the depth of oil painting, neither has it the shining spots that reflect the light like a mirror. The freshness of colours, the brilliancy and tenderness of flesh-tints, the down of the skin, the velvety appearance of fruit, the soft texture of stuffs, cannot be better rendered than by these crayons of a thousand shades, that can be placed together in vivid contrast, or blended with the little finger, and whose heaped-up layers grasp the light. The pastel is suitable only for portrait, landscape, or still-life. But its grace is the source of its defect — it is friable and falls to dust. Enamel Painting. — Enamel is avitreous substance, coloured by metallic oxides, and is composed of two substances, — the colourless vitreous body, and the oxides that give it colour. The enamel is opaque or transparent ; to make it opaque a certain quantity of oxide of tin is added to the vitreous mass. By the action of fire, the enamel is fixed to the object it covers. It may be metallic, — as copper, gold, silver ; or non-metallic, — as porcelain, faience, lava. When applied to non-metallic bodies, the enamel is called varnish. Its most brilliant and valuable use is to decorate vases. The palette of the enamel painter, although deprived of cinnabar and vermilion, which are replaced by reds less vivid and of different values, is richer than the palette of the oil painter. ‘The colours,’ says Jollivet, ‘ are mixed with porphyrised glass, which does not affect their brilliancy, when they are exposed to fire ; the powdered glass liquefies, envelops the molecules of the colours, and fixes them. Gouache and Water-Colour. — In gouache painting, the colours are ground In water and diluted with gum-water mixed with white. Gouache is useful to store up souvenirs of a land- scape, to note the local colours of the ground, of rocks, sky, &c. It is particularly useful for stage decorations and the sketches of large compositions, has much freshness and trans- 10 The Picture Amateur's Handbook. parency, and does not exclude force of tone, is an expeditious and convenient kind of painting, because it only requires brushes, a loaded palette, and a glass of water ; but the colours dry so quickly it is difficult to blend them : hence landscapes in gouache have a dry, flat look, in which the skies seem cut up, the green crude, the yellows and reds hard. To prevent the too rapid drying of the water, artists have mixed with the gum some glutinous substance like sap of the fig-tree, jujube paste, the yolk of the egg ; thus gouache becomes distemper, of which it is a variety. In the hands of a skilful painter it is not with- out sweetness and harmony. The difference between gouache and water-colour proper, is that in gouache painting the artist may have a coloured background upon which he puts on the lights in successive layers, while in aquarelle (or water-colour painting), working upon a white ground, he reserves this white for the lights of the picture, and instead of putting on the colours in successive layers, he washes them. If tints diluted with gum-water want body and consistency, they are nevertheless light, cheerful, and transparent. Literally the aquai'elle is only a coloured drawing, but in our days the English school has given it a solidity that makes it almost a new kind of painting : its colours have body at the same time that its distances are melting and luminous ; it is at once limpid and robust, has much relief and much atmosphere. Miniature. — This word was also written mignatui'e, be- cause it was supposed to come from the old word mignard, mignon. It is in truth a kind of painting that is always delicate, sometimes finicking. — Although one can paint in miniature in many ways, with egg, glue, oil, enamel, — yet it has been agreed to call a water-colour upon vellum or ivory a miniature. Nevertheless, the delicate paintings upon vellum or parchment, that so richly ornamented the Middle-age manuscripts, were rather gouaches, because soft colours were used, and the flesh- tints heightened with white ; while miniatures upon ivory are real water-colours, because the white of the background is preserved. Various Methods of Painting. 1 1 Painting upon Glass belongs rather to ornamentation than to the art of the painter. Encaustic Painting. — The word encaustic is applied to a kind of painting in which the colours, mixed with wax and resin, are softened, melted, and fixed by the aid of fire, and afterwards rendered lustrous by rubbing. Different passages from ancient authors, especially Vitruvius, Pliny, and Philo- stratus, prove that the most famous painters of Greece executed their works in encaustic. But their method of working is a secret half-lost. From the various methods employed, we select oil painting as the subject of the present treatise. It is the most widely known process, has been employed by the greatest artists, and has given us the many master-pieces which fill our Museums and Art Galleries. 12 The Picture A mateuPs Handbook. OIL PAINTING. I. Originals and Copies. The knowledge necessary for the amateur or connoisseur, of which we intend here to give the general principles, consists, first, in estimating the real value of the artistic merit possessed by the pictures submitted to him (and a natural taste will suffice for this, aided by the continued familiarity with traditional models which may be rapidly acquired) ; afterwards, and chiefly, in recognising to what epoch, to what country and to what master a picture belongs, whether it be genuine or not, — an original or a copy. Under the term original may be comprehended every work of imagination, or imitated directly from nature. To pronounce upon the originality of a picture, the con- noisseur requires all his clearness, all his experience, especially when the case in point is a doubtful one from the hand of an undoubtedly skilful artist. By copy, we understand the reproduction of an original picture. Naturally, there can be but one kind of origifial. But amongst copies, many distinctions may be made. There are ‘ original copies ’ or ‘ replicas ’ made by the painter himself of the original, who not unfrequently has reproduced it once, twice, or many times, when it has been favourably received by the public. Then come ‘ studies ’ made by the pupils under the direction of the master-hand. Then studies made for their instruction, or sometimes merely for pleasure, by rising masters of the first order. Such as, for example, Annibale Caracci, who has left studies after Correggio, and Domenichmo after Annibale Caracci \ Rubens after Titian \ Lorenzo di Credi after Originals and Copies. 13 Leonardo da Vinci ; Andrea del Sarto after Pietro da Cosimo, &c. Amongst these excellent copies of the old masters, we must learn to distinguish between ancient and modam copies. Then, lastly, come copies, which are absolutely worthless, — contraband works with which the art market is flooded. It would evidently be very difficult to lay down precise rules for marking these distinctions. Experience alone can give that accuracy of eye which is not deceived on these points. However, one may say generally that originals are invariably known by boldness of pencil, vigour of touch, and elegance of outline. In copies, on the contrary, the lines are less free, and the principal objects or figures stand out in relief from the background. The reason of this difference is that the originator, as soon as his sketch was prepared, had drawn in the whole design, painted the backgrounds, and on these fundamental parts worked up the subject from life. A copyist, on the contrary, almost always works differently : he begins with the principal figures, leaving the other parts blank, or covered with a light layer, only attempting to touch up these when he has nearly finished the important groups. As this method is apt to alter the first outlines, he retouches them, passes over the margin, and the result of this second touch naturally shows itself in a sort of relief being added to the figures or objects of the first design. This visible proof, which was pointed out by a distinguished professional connoisseur, M. Lejeune, is not always sufficient to detect a copy, and as an example of the difficulties which are involved in this distinction, the story of Giidio Rotnano is often cited, who took the portrait of Clement X., painted by Andrea del Sarto after Raffaelle.^ for the original, although he had hbns elf worked at the di'aperies of the real pictitre. But this must be looked upon as an exceptional instance, and the connoisseur could easily console himself for the purchase of a copy instead of an original, if that copy were the work of such masters as Andrea del Sarto or Giulio Romano. Unfortunately this is not I i ! 14 The Picture Amateur's Handbook. often the case, and copies are usually so badly executed as 0 y to deceive an unpractised eye. There is a distinction at all events, which can easily be m; e between old and modern pictures. The former have a shin g ivory-like appearance, a hardness of crust, and a number )f cracks more or less fine, according to the quality of the colo ’s that have been used, which distinguish them at first sight fr n the latter. As these marks are absolutely impossible to be i i- ; tated artificially, because a lapse of eighty years at least is 1- ; ^ dispensable for their production, so the most uninitiated m >t : 1 be singularly careless if he confounds a modern copy with n 1 old original. Yet this is not an unfrequent mistake, i It must be confessed that the tricks of the art-brokers e ] inexhaustible. The thirst for gain and the high prices realis d i by the great masterpieces have inspired these unscrupuL s ] manufacturers with the most ingenious methods of increas g i the number of alleged chef s-d^ oeuvres. One of the most comn n consists in having a copy carefully made of an original, by so e < skilful hand, on an old canvas or panel. Another more delic e trick, which requires a still more practised hand, and whicl s ] also more difficult to detect, and has imposed upon milli( s ^ of amateurs, is that which has received the French name )f 1 fatinage,' and the Italian name of ‘ making quadri di fabric ' This trade consists in using old indifferent pictures wh h ] have a certain resemblance to those of some rare and vah 1 artist, and in having them so delicately retouched as to incre e i the likeness still further. It is thus that Ruysdaels are m^ j ‘ from Isaac Koaies^ Rubenses from Van Oosts or Diepenbet . 1 A good example of the method is furnished by a Frer 1 1 author, M. Horsin Deon. ‘ Suppose a Claude Lorraine is to j 1 manufactured : then a picture of Patel will be selected. T 5 1 artist has painted a great number of pieces, more or less c< • i scientiously, but always reminding one of those by Clau . , The foliage of the trees and the skies especially are str ■ ’ iiigiy like. Although the execution is weak, the tints wate , although the colours run usually from orange to blue and fr< 1 Signatures and Monograms. 15 blue into green, yet these pictures possess a certain harmony. We may add that they can be bought for very little. . . Well ! a skilful landscape painter will make wonderful things of these pictures, and they will become in his hands wonderful imita- tions of Claude. He will give firmness to the skies by some brilliant touches, he will soften the hardness without removing either the dirt or the cracks ; he will tone down the horizon and give it a silvery tint, or else a golden one, as Claude was wont to do so successfully ; he will thus run over every part of the picture, giving here a touch and there a filling up, but always managing to make the clearest and most striking parts resemble the old painting. . . ’ The game is played, and it is only neces- sary to cover the picture with a solution of gum and bistre, in imitation of the old varnish, and to find a willing purchaser. How many collections are filled with such specimens ! II. Signatures and Monograms. As other given proofs of authenticity, which have, however, a very secondary value, we may notice signatures and mono- grams^ which are often affixed to pictures. The uninitiated may consider the signature to be exceedingly important. The truth is, that it is of the very least value. Firstly, a great number of artists, amongst the greatest, have never or rarely signed their works. We may include in this category It Baroccio, Fra Bartolotneo di San-Ma?ro, Baris Bordone.^ Caravaggio^ Correggio^ Domenichino.^ Luca Giordano^ Guido, Giulio Rosnano, Palma Vecchio, Paolo Veronese, Leonardo da Vinci, Rubens, Vandyck, &c. Raffaelle and Andrea del Sarto have rarely signed theirs. Titian sometimes signed and some- times omitted to do so. The Dutch, Flemish, and German painters alone have rather constantly signed their works. But can it be said that all pictures bearing their signature or monogram therefore belong to them ? Alas ! things would be so only if a master’s signature were a very difficult thing to imitate, which is not the case. Teniers, for example, has i6 The PictiLre AmateiLv's Handbook. painted hundreds of pictures which usually bear his name in full ; but if all those which bear his name written in full were done by him, they would be numbered by millions rather than by hundreds. The monogram or signatu7'e can have no real value unless it is old — which is easily ascertained — and is at the sa 7 ne time coupled with the other general 7na7'ks of 07'‘igmality , It may be asked — how can we know whether the signature is old or not ? In reply, it may be stated that in most instances a careful examination with a magnifying glass will suffice. If any doubt still exists, chemical tests may be employed. A signature of the same date as the painting will be inco 7 porated in the substance itself a7id tlu7'efo7^e ineffaceable; whilst a little spirits of wine or turpe7itme will soon wash out a modern one. III. How an Oil Painting is made. Every smooth substance capable of imbibing on its surface a layer of oily liquid is fit for the process of oil painting. Those most used are wood, cardboard, paper, and canvas, es- pecially the last. The canvas most generally chosen is made of hemp, be- cause it is extremely firm, and can be highly stretched without fear of rending it. Linen, which would be superior in fineness of texture, possesses the disadvantage of relaxing through the various effects of temperature. Whatever kind of canvas be used, it must be made impermeable by the help of some pre- paration which will, however, absorb the oil superficially. The preservation of the picture depends much on this preparation. Formerly, chalk or plaster was used, diluted with gelatine or paste. Over the first layer of this compound a coating of boiling oil was poured. Now, the usual size is composed of yellow ochre mixed with oil, which is laid all over the upper side of the canvas. When this is done, the canvas is nailed to a mount made of very dry wood, so that it shall not' shrink, and cramps are in- Hozv an Oil Painting is made. 1 7 serted at the inside corners of the same, so that it may be en- larged until the canvas is thoroughly stretched. The whole is then placed on an easel, before which the painter can either stand or sit to work. With his crayon or his chalk in hand, he throws out the first sketch of his work. When he has drawn in the general design, he marks in the principal lines more definitely with a lead pencil. He arranges the limits of the principal masses and the most important details. Sometimes he indicates the shaded parts by a broad touch or by some hatching. Then he effaces with breadcrumbs the crayon or chalk lines, only leaving the pencil sketch half visible ; this he improves and completes in going over the lines again, broadening and rectifying as he proceeds. Some artists sketch the outline with a brush instead of a lead pencil. A second period now commences. This design is to be transformed into a finished sketch. What the painter has only indicated by lines will now be heightened by lights and shades, but omitting the gradations, which will be put in afterwards. It is generally agreed that strong effects should be put in, not by deepening the shadows, but by leaving the lights white, and covering the shadows with a brown wash. Perugino and Raffaelle did so. Rubens employed bitumen, which gave him extreme effects, but was often sadly injurious to the preservation of his pictures. Another way is to sketch in the lights. This is not very effective at the beginning ; but the good side of the system is that it will admit of putting deep layers of colour on the lights, while the shadows will only be lightly brushed over. This was the process of the great colourists, Titian, Paolo Veronese, Rembrandt. Up till this moment the picture has only its outline and chiaro-oscuro. Now the colours must be laid on. The artist rubs upon his palette the colours he intends to use, mixes them to obtain the tints required, and works them B 2 i8 The Picture AmateitPs Handbook. upon the canvas with a brush. In his touch, i.e. in the manner with which he will lay on those tints, lies the very source of the various effects he will produce, the mystery of that life which he wishes to impress upon his work. Touch, of course, varies with each artist — according to his subject, or the feeling which inspires him — from the finest stippling to the broadest and grandest strokes. Then, when the painting is dry, all that remains to be done is to cover it with a protective varnish, as clear as the purest crystal, to surround it with a frame, which shall let it stand out alone, and light up its fainter tints with gilded reflections — and, finally, to submit it to public opinion. IV. Colours. The colours employed in art are dried mineral cr vegetable salts reduced to powder and mixed with a large or small quantity of liquid, sufficient to make a paste which may adhere to any surface to which it is applied. N.B, — The colours employed in manufactures differ from these in this particular : they are not colouring powders held in suspension in the liquids and covering the stuff dipped in them, — but soluble substances which colour the liquids them- selves. While the colours used in dyeing may combine, or react one on another, colours ground down are mixed in an entirely mechanical way. The primary colours are few, and the artist’s palette holds barely a dozen. But their tones and tints can be infinitely varied. A tint, properly so called, is produced by mixing two or more colours. A tone results from the mixture of a tint, with black or white. The greater the proportion of white in a tint, the lighter the shade ; and the greater amount of black, so the greater depth of shade. The chroiratic circle recently come into use amongst colour Colours, 19 manufacturers, includes 72 tints, each graduating into 20 tones or shades, — being in all 1440 different numbered colours. In reality there are only three original or primary colours : yellow., red, and blue; and three composite or binary colours : orange, green, and violet White light containing the three primary colours, each of these serves as the ‘ complement ’ of the two others, in order to form the ‘ equivalent ’ of white light. Each has therefore been called complementary in respect to the binary colour corresponding to it. Thus, blue is the complementary of orange, because orange is composed of yellow and red, and with blue would make white light. For the same reason, yellow is the complementary of violet, and red the com- plementary of green. In return, each of these mixed colours is the complementary of that primary colour which does not enter into its composition. Therefore oi'aitge is the comple- mentary of blue. A remarkable property of colours, which it is very important to know, and which should always be remembered in using them in furniture or dress, as well as in painting, is that which regulates the well-known law of the ‘ simultaneous contrast of colours.’ It may be expressed thus : Complemejitary colours are mutually heighte 7 ied when placed in juxtaposition. Red, for example, put by the side of green, appears still redder ; orange deepens blue ; violet brightens yellow, &c. Another law, not less curious, is this, — an especially impor- tant one in painting : Every colour lightly reflects its complemen- tary on the space su 7 Toundmg itself. For example, a red circle is surrounded with a light green aureola ; an orange circle with a blue, &c. This was observed by Veronese and Rubens long before the science of to-day had discovered the law, — when they carefully coloured with a violet tint the shadows of their yellows. As to the chemical composition of the colours used in painting, it varies much. Whites, for instance, are generally chalk or oxides of lead or zinc. Yellows are either clays, coloured naturally by the oxides of iron (ochres), as burnt 20 The Picture AmateuPs Handbook. sienna, &c., or metallic pigments, as massicot, made of lith- arge and ammonia. Turner’s yellow, made of litharge and chloride of sodium, &c. Reds are either clays strongly oxidised with iron, or oxides of lead, as minium, vermilion, cinnabar. Blues are either ferrocyanides of potassium, as Prussian blue, or vegetable dyes, as indigo. Nearly dSS. greens are extracts of copper. Blacks are produced by the calcination of vegetable and animal matter. Browns are oxidised clays or certain minerals submitted to the furnace. For oil painting, these colours must be first pulverised and then well mixed with an oil which will dry in the open air. Poppy oil is used for lighter shades, and linseed oil for dark tints. They are mixed by grinding them together with a hard^ hemispheric pebble upon a long table of very smooth, close- grained stone. When the requisite consistence is obtained^ that being a rather thick syrup, the colour is put into leaden tubes, which require only a slight pressure to make it dis- charge upon the palette. V. The Anatomy of an Old Picture. The preceding explanations of the method of oil painting render the different parts of an old oil picture easily compre- hensible. Let us imagine the frequent case of an old picture which has remained fastened to a drawing-room wall for half-a-century or more. Let us take down the mount which supports the canvas in its tarnished frame, and begin its ‘autopsy.’ First of all, then, on the face of this faded and discoloured picture, often almost black, we shall find layers of dirt, more or less thick, formed of the dust and smoke which damp has affixed to the varnish and almost incorporated with it. But this varnish will have saved the picture from injury, and if by any process we can remove at the same time the varnish and the dirt, the colours will reappear in their primitive freshness, as brilliant as the first day they were laid on. On Cleaning Pictitres. 21 The colours themselves, hardened by time, cracked by variations of temperature, form a connected substance, a real crust of mineral colouring matter ‘ locked up ’ by organic cells of dried oil Under this crust will be the preparation of plaster or ochre which causes it to adhere to the canvas. Again, under the size will be the canvas itself, ill or well preserved, sometimes mouldering and covered with minute fungi, almost always damp, and consequently detached in places from the crust, or, on the contrary, pathologically adher- ing to the level of the cracks. This simple analysis is sufficient to explain the three kinds of operations which we are about to describe, viz, cleanings re-linings and restoring a picture, VI. On Cleaning Pictures. ‘ Nothing,’ remarks M. de Burtin, ‘ can be more useful to an amateur than to know how to clean his pictures himself ; nor can anything give him more lively enjoyment, than to see reviving under his hands a beautiful production of the art to which his operations give a second life. But from the ignorance of the means, and the difficulty of procuring instruction in it, through the pains taken by those who make a business of it to conceal the process or what they call their secrets, the greater number of amateurs are reduced to the necessity of placing themselves in the hands of others in this matter. Even amongst those who have been fortunate enough to learn some good method, there are a great many to whom the knowledge of it becomes unproductive, from their timidity, or from the ill-suc- cess of their first attempts through want of practice ; others again having, through misplaced confidence, made trials of injurious or dangerous processes, have become disgusted for ever by having spoiled their pictures. It is true, I admit, that without some practice, and a little prudence, the best methods are not without danger. But that need not frighten the amateur. 22 The Picture Amateur's Ha7idhook. He will get practice by making his first attempts on some worthless picture. His interest, the delight of success, and the fear of injuring objects that he cherishes will do the rest so effectually, that his pictures will soon find, in his hands, a security not always to be found in those of mercenary operators, where they miss the superintending eye of the master, and where they are treated all the more cleverly, because if anything is rubbed out, it can be cunningly concealed by a plaster, which a veil of varnish masks to the proprietor, until time discovers it by the blackening of the colours ’ Amateurs who are novices will do well to bear in mind these sound counsels, written, some sixty years ago, by the above- named illustrious connoisseur. The following hints are borrowed from the valuable translation of his treatise by Mr. Robert White. 1 The reader must be warned against supposing, as is too generally done, that one and the same means will answer for cleaning all pictures. Experience has shown that simple fret- ting with the fingers, spirits, alkalies, as well as common caustic, oil of turpentine, mastic varnish, oils, cold water, hot water, saliva, even the scraper, sand and ashes, must all be em- ployed in their turn, either separately or several of them com- bined, according to the difference of the case and the nature of the dirt which is to be removed. In order to make this clear by a practical application, it should be said that, amongst pictures to be cleaned, some have been varnished with mastic or other gums; some are covered with oil ; some with bad varnish ; some are coated with white of egg, size or water varnish ; some have never been varnished or oiled, and are only obscured by smoke and other dirt arising from the atmosphere ; finally, some are attacked by mould ; — and accord- ing to the condition of the subject the treatment must be changed. I. When the picture is covered with mastic varnish. It is 1 Treatise on the Knowledge necessary for Amateurs of Pictures. By Fr. X. de Burtin. 1B45. On Cleaning Pictures. 23 always easy to reduce this varnish to a powder by simple fretting with the dry finger. By this means every one may very easily remove it from his pictures, however little experience he may have, provided he take the precaution of frequently wiping off with a dry linen rag the powder which he creates by rubbing the varnish. The farther the work proceeds, the more he must take care not to rub needlessly the places from which the varnish has been taken off. A little practice will indicate the proper moment to stop. This method of removing the varnish dry is generally preferable for pictures on copper or panel, the surface of which is smooth. It is especially suited to pictures of small size and precious finish. But in all other cases it is necessary, in order to remove the mastic varnish, to employ spirituous liquids. Especially is it necessary when a picture has a rough surface, or when it is upon canvas, the interstices of which form so many little sunken places between the warp and the woof, to which the fingers are unable to penetrate, that the dirt and soiled varnish remain in them. Dry fretting is also too laborious to be used for large pictures, on account of their extent. ... In such cases, a mixticre of good spirit of wine with oil of turpentine should be used, care being taken to allow the last to predominate in proportion as the picture is precious and delicate, or as the coat of varnish may be thin. The spirit of wine will on the contrar)^ be allowed to predominate according as the coat of varnish may be thicker and the pictures less delicate. Until practice teach the proper quantities, it will be more prudent to commence always with a mixture rather too weak in spirits than too strong. N.B . — Linseed oil may, without danger and often with advantage, be substituted for oil of turpentine, particularly when a picture is too dry, or it may be mixed with the same in equal proportion. In the mixture above mentioned of spirit of wine and oil of turpentine or linseed oil, dip either a piece of cotton wool, or fine old linen rag, rolled tip lightly, or a bit of fine sponge, B 3 24 The Picture Amateur' s Handbook. holding whichever is employed between the forefinger and the thumb, and pressing out a little of the mixture. A pencil, or even a small stiff brush, may be made use of, if the dirt, from being lodged in deep places, require it. Then the picture must be gently rubbed with small cir- cular movements, as if the operator were delineating so many small O’s, interlaced and retracing themselves ; and as soon as the varnish is dissolved on one small place, wipe it off quickly with a dry and soft linen rag, held in readiness in the left hand. Thus all the parts of the pictiure in succession are stripped of their varnish, and at the same time of their dirt, one after the other, care being always taken to allow the liquid to remain only the exact time necessary for doing this, and not to rub again the places from which the varnish has been already removed. N.B. — Raw cotton is liable to the objection of its sometimes leaving threads adhering to what little varnish may remain. So it is better to use it only for delicate pictures or when there are some sunken places. A strong brush ought never to be used but for rough pictures that have a thick layer of colour, and when used, it ought to be cleaned from time to time, to free it from the dirt and varnish with which it may become charged. When cotton, linen, or sponge are employed, they ought to be changed whenever they become saturated with varnish. If the sponges are cleaned with soda after the operation, they will serve for further occasions. Some persons use lavender-water and other compound spirits in place of the spirit of wine ; but there is no valuable reason for the practice. With regard to those who pretend to remove all kinds of varnish and dirt from pictures by rubbing them with blotting paper and oil of turpentine, the practice must decidedly be condemned, as much on account of its in- sufficiency as on account of the danger to the pictures. Should the mixture of spirit of wine and oil of turpentine fail to remove the dirt with the varnish, those who have suffi- cient experience to render it safe, mix with them, and success- fully, a quantity of potash proportioned to the requirements. On Cleaning Pictures. 25 But however useful, and even necessary it may be, such a practice is highly dangerous in unpractised hands. This leads to the remark that when a connoisseur cleans a picture, he stops with just discernment at the proper point, preferring to leave a little dirt upon it to rendering it cold and weak by too much cleaning. He knows that the golden tone produced by time gives to many pictures an enchanting elfect, and he takes every pains to prevent it from disappearing. 2. When the pictures are covered with oil. Everybody knows that oils are divided into those that dry, which harden with time, and those that are fat, which never dry, nor become fixed, but continue to spread over any porous surface on which they are put. The latter are too injurious to pictures to admit of their being put upon them under any circumstances. The drying oils, on the other hand, particularly those expressed from linseed, walnuts, and poppies, are the basis of painting in solid colours. Although these oils are used to give body and consistency to the colours, of which they form one of the constituent parts, and although they are also of acknowledged utility in reviving the colours and preventing cracks and crevices in pictures which are threatened with ruin through dryness and age (provided that no more of them is used than is necessary to nourish the colours, and that it be wiped off, after having attained that object, with a piece of dry linen, or with bran, or crumb of bread), it is not the less true that the application of them without necessity to pictures that are already finished is in every case injurious. For if the picture be too new to have yet acquired its perfect hardness, the oil put upon it will incor- porate itself with it, and cause it to grow yellow, — a misfortune which, when confirmed by time, is of course beyond remedy. If, on the contrary, the picture has acquired by age its due degree of hardness, then the new oil, without incorporating itself with it, will form on the surface a crust v.’hich in time will become as hard as the picture itself, and will dim its trans- parency and freshness, and corrupt the effect of the local and proper colours by a yellow and monotonous general hue. 26 The Picture Amateur's Handbook, However, this is the oil which is commonly employed as a varnish in Italy and in part of Germany, and sometimes har- dened by boiling with an admixture of white lead. In order to get rid of it, it will be sometimes found sufficient to cover the pictures, during the warmest days of summer, with a coat of linseed oil, frequently renewed during several days, in order to soften the underlying crust ; and then to remove both oils with spirit of wine. But when the oil so employed was fat, there is, perhaps, no remedy except trying to reduce it to the nature of soap by means of alkalies, and then cleaning away the soap with pure water. 3. When the pictures are covered with bad varnishes, viz. with varnishes made of spirit of wine. In these cases the use of spirit of wine rectified, and somewhat warm, will be neces- sary. 4. When pictures are covered with white of egg, isinglass, or water varnish. Water, especially warm water, is then the true solvent. 5. When pictures have never been varnished, and yet are soiled by smoke or dirt, saponaceous substances and alkalies take precedence of all remedies. They may all be employed with success. But as saponaceous matters are subject to the in- convenience of adhering too much to the picture, and the dry alkalies are so different in strength, the use of the caustic soap- maker’s ley is especially recommended. Pour the ley into a cup of rain water, drop by drop, until the matter becomes a little gummy. VII. On Re-lining Pictures. An operation which is often necessary for old pictures, and which is the subject of much public prejudice, is that of re- lining. One is apt to believe that it is a mysterious and difficult matter, which only few of the initiated understand. In point of fact, there is nothing simpler in its ways and means. A picture constitutes in itself a connected and solid crust, On Re-lim7ig Pictures. 27 which is not in the least (as commonly believed) incorporated with the canvas or panel on which it rests : it can, conse- quently, be easily detached in a single piece. Given an old picture, on a mouldering or torn canvas, or on a worm-eaten panel, one can separate the painting from this canvas or panel, and place it on a new and similar foundation, or it can be transferred from canvas to panel, or from panel to canvas. This is done daily. More frequently, however, the old canvas is only strength- ened by a new one. Here is the method of procedure. We will take a picture which only needs the canvas to be strengthened. Firstly, the painted side will be covered, for pro- tection, with a layer of strong and fluid paste, on which a sheet of paper is laid. Then, when the paste and paper are dry, the canvas is taken off the old mount to which it was nailed, and placed on a table, face downwards, the edges being held out by cramps or in some other way. All the roughnesses on the back are effaced with pumice-stone, then a new canvas (and in some cases a double canvas) is laid. Next a flat iron, lightly heated, is passed over the whole, to smooth it and dry the glue between the two canvases. The picture has now only to be turned over, the paper and paste taken from its face, and it can be nailed on its mount again, or, better, on a new mount. The operation is thus concluded. Now, let us take a picture of which the canvas is entirely de- stroyed and which must be taken off and transferred to a new one. After having coated the face with a thin glue made from hides, or from garlic and water, it is covered with a fine gauze. When this gauze is quite dry, it is also covered with several successive layers of paper carefully stretched and glued, so as to form a pasteboard. When this again is dry, the canvas is unnailed from its old mount and stretched face downwards on a very smooth table. These preliminaries being over, the more delicate operation begins of taking from the picture, which remains affixed to the cardboard, the old canvas at the back. This is begun by 28 The PictU7^e Amateur's Handbook. damping it with water by means of a wet napkin, in order to dis- solve the preparation which causes it to adhere to the under surface of the painting ; and when it is sufficiently soaked, pro- bably in 30 to 50 minutes, the canvas is removed ; beginning in one corner and taking it with much precaution on the cross, little by little it is separated from the subjacent crust. When the whole is entirely removed, a fine gauze is applied to the painting, then a single or double cloth, an iron is passed over it, finally, the painting is again nailed on a fresh mount, and the cardboard and glue which protected it in front are taken off. The transfer of pictures from a panel is not more difficult. After the surface is protected with cardboard, and the picture is laid on the table, face downwards, the panel is attacked with plane and chisel. The wood is gradually shaved away until near the painting. Then every precaution must be used to leave the under surface of the picture entire, and moisture is em- ployed to take off the last particles of wood. Lastly, a new panel or a canvas is applied to the picture detached in this guise. It will be seen, therefore, that all these operations are very simple, and that the pretensions of professional re-liners to some mysterious art are perfectly unjustifiable. Every amateur endowed with a little patience and manual dexterity may manage to re-line his pictures himself, as well as clean them, if he cares to take the trouble. He must begin, of course, with pictures of little value before venturing to touch those of greater worth. In many cases it is far better to toil a little than to confide a picture to the unskilful and untrustworthy re- liners, with whom the streets of our great cities are full, and who will make you pay for spoiling without resource a good work. VIII. On ‘Restoring’ Pictures. With reference to the touches added to an old picture, to connect the portions destroyed or to cover any defect, we will say but a word or two, and that shall be to dissuade from any re- course to such an expedient, except in the greatest necessity; and 7'he Schools of Painting. 29 then to counsel care in the selection of the operator, lest he should prove an executioner. How many pictures said to be ‘restored ’ are irretrievably injured ! Every serious amateur will do well to fix in his mind the following precepts : {a) Nothing is more difficult than to touch up a picture well. The most consummate knowledge of painting in general, and of the master in particular whose work is to be handled, will not be too much for the operation. {b) For this touching up to be well done, it must necessarily be well paid for. But it does not follow that, being highly paid for, it is of course well done. if) The best touching up is always apparent. A piece of fresh colour in the middle of an old coating is discovered at once by a practised eye. id) Touching up a picture lessens rather than increases its value. The inference therefore is : Never, under any pretext, have a really valuable picture touched up. Though cleajiing may be useful to restore the brilliancy of an old painting — though re- lining is sometimes needful to save it from imminent destruc- tion-— yet restoration so called, especially if practised by an indifferent hand, is almost always sacrilege. IX. The Schools of Painting. The word ‘ School ’ is used in painting in two different senses : — a restricted one, including the disciples or imitators of a master ; for example, ‘ the school of the Caracci,’ — ‘ the school of Rubens,’ — ‘ the school of Veronese ; ’ — the other, and wider, sense to include the succession of painters in any one country or one nation, as ‘ the English school,’ — ‘ the Flemish school.’ It is in the latter sense that we will use the word while throwing a rapid glance over the history of painting in the various countries. 30 The Picture Amateur's Handbook, Although the ancients, especially the Assyrians, the Egyp' tians, the Greeks, Etruscans, and Romans, certainly pushed the art of painting very far, and possessed great masters, whose names even have in many cases come down to us, yet nothing remains of their pictures except a very small number of frag- ments of frescoes or decorative illuminations ; and even these vestiges belong to artists of a third rate of excellence, in a period of decay. Yet, these imperfect relics (as, for example, the fres- coes of Pompeii and Herculaneum, which belong to a period of which the great ancient art critics, Pliny and Vitruvius, un- mercifully condemned the productions) seemed sufficient for Sir Joshua Reynolds to form a very high idea of ancient painting. ‘ From the various ancient paintings,’ he says, ‘ which have come down to us, we may form a judgment, with tolerable accuracy, of the excellences and the defects of the arts among the ancients. There can be no doubt but that the same cor- rectness of design was required from the painter as for the sculptor ; and if what has happened in the case of sculpture had likewise happened in regard to their paintings, and we had the good fortune to possess what the ancients themselves esteemed their master-pieces, I have no doubt but we should find their figures as correctly drawn as the Laocoon, and pro- bably coloured like Titian.’ The frescoes and mosaics which have come down to us show beyond doubt that the ancients were thoroughly ac- quainted with the rules of perspective and foreshortening. But though facts of this kind are of the greatest interest to the archaeologist, yet to the amateur proper the history of painting will only begin with the revival of art after the darkest periods of the middle ages. He does not care about the pos- sible merits of the Romans or Greeks in that respect, he wishes to judge of the positive merit of pictures actually before him. Now, on the one hand, the ancients have left us no pictures, and, on the other, their traditions had been indeed partially preserved at Constantinople, which was during nearly the whole The Italian School. of the middle ages a sort of metropolis and fountain-head for the art of the world, but gradually that degenerate type fell down to the rank of simple illumination for the walls of churches and the margins of prayer-books. It is under this Byzantine form, characterised by the gold ground upon which the painters worked, and by the unchangeable rules of type and attitude, that art is uniformly met with among the European nations from the 5 th to the 12 th century of the Christian era. Then, suddenly, towards the end of the 13th century, a Renaissance took place, and the art of painting entered on a period of rapid progress. One of the most direct causes of this Renaissa?iee was probably the Latin conquest of Constan- tinople in 1206, and the more frequent intercourse between the Greeks and the Italians which resulted from it. We cannot doubt, notwithstanding, but that the decisive influence of men of genius had much to do with it. However this may be, we date from that period alone the History of Painting, the former ages being apparently ‘ pre-historic.’ That history is divided into seven great schools, — the Italian^ Flemish^ Diitch^ Gei'inan^ Spanish^ F 7 'ench^ and British. Each school consists of several divisions : thus the Italian school, for an example, comprehends the Florentine, Umbrian, Roman, Venetian, Veronese, Paduan, Ferrarese, Bolognese, Parmesan, Cremonese, Milanese, Neapolitan, &c. But these distinctions are only important when these diverse artist groups, speaking the same tongue, have widely distinct charac- teristics. In other cases, it is better to keep to the general classification of painters by their nationalities, and simply to follow the descent of art through the successive generations of the same people. a. The Italian School. The Italian school originated at Florence. It was the most ancient of all, and the account of its origin is naturally very obscure. Indeed, nothing is known of its first masters but the names and a few isolated specimens of their workmanship. 3 ^ The Picture Amateur s Handbook. There was Andrea Rico di Candia (died in 1105) ; Sei'afini da Modena (about 1150) ; the Bizzamanos who lived in Tuscany about 1190; Guido da Siena (about 1220); Margaritone (T Arezzo (1236-1275). These painters adhered to the precepts of the Byzantine decorators who had been brought over at great expense by the Italian cities to ornament their churches. They painted on panels of oak or pine-tree, sometimes on a fine canvas glued to the panel ; they formed their grounds of a layer of gilt plaster upon which they afterwards painted their rude figures. Their colours were, as we mentioned before, mixed up with gluten or yolk of egg. The drawing of their figures was simple and incorrect, the flesh-colours were brown, the faces emaciated, the limbs lengthened out. With no idea of perspective or proportion, their works were like the first efforts of a child, more curious than beautiful. Still we may perceive in them a certain individual effort to free themselves from Byzantine routine. In 1260 appeai'ed the first picture of him whom one is ac- customed (since Vasari) to call the grandfather of modern painting, — Cimabue. Without considerable progress, we may yet notice better regulated proportions than in its predecessors. Then at last comes Giotto., his pupil (born 1276), who freed himself from the Byzantine style. V'et his drawing is still hard and Gothic ; he cares little for perspective and chiaro-oscuro ; but we may see in his works, for the first time, an effort at composition and expression, a harmony of proportion, a study of nature. His pupils were many, and spread the new style through Italy : Oreag?ia and Taddeo Gaddi being the most illustrious. While painting was thus making rapid strides in Tuscany, it began to develop also in Umbria, Romagna, Venice : the most eminent of the early masters of those parts being PieRo Cavallmi. Ge 7 itile da Fabriano, who came later (1370-1450), shows considerable improvement on his predecessors. He came, besides, just at the time when the most important im- provements were about to be made in the art. The Italian School. 33 Pietro della Francesca (1397-1479) and Paolo Uccello were already giving their attention to perspective, and reducing it to fixed rules. Masolino da Panicale (1383-1440), also a Floren- tine, was penetrating the mysteries of chiaro-oscuro. Masaccio (1402-1428?) was his pupil. He is the first truly modern painter, i.e. whose composi- tion is dramatic, whose forms and characters are personal, whose subjects are directly borrowed from nature. From his predecessors, he inherited perspective and chiaro-oscuro ; from the great sculptors, Ghiberti and Donatello, he learnt nobleness and elegance of outline ; from a conscientious study of nature, he gained that life which breathes in all his works. At 2 7 years old, he died, having merited the commendation which Sir Joshua Reynolds gives him : ‘He appears to be the first who discovered the path which leads to every excellence to which the art has arrived, and may therefore be considered as one of the great fathers of modern art/ Some contemporaries or immediate successors equally merited the eulogium, and contributed with him to establish the modern style ; they were especially : Fra Angelico (1387-1455), Benozzo Gozzoli (died 1485), and Fra Filippo Lippi (1412- 1469) : the first, conspicuous for the deep religious sentiment of his works j the second for his colouring ; the third for his chiaro-oscuro. The last was one of the first Italian masters who worked in oil. The secret of the Van Eycks had been brought from Flanders about 1444 by Antonello da Messina ^ and after him his pupil Domejiico Ve?iezia 7 to had employed it. Until now the subjects of pictures had been rep 7 'esentations rather than imitatmis. With the painters who have been styled QUATTRO-CENTiSTi, a period of the most perfect naturalism begins. Filippino Lippi (1460-1505) at Florence, Perugino (1/I46-1524) at Perugia and Rome, Francia (1450-1517) at Bologna, Maiitegna (1430-15 ii) at Padua, the Bellinis at Venice, are the most dazzling names of the century. With the two generations of painters who follow, s^iz. with Leonardo da Vmci, Michael Angelo BuonaiToii, Raffaelle^ 34 Picture Amateur's Handbook. Sebastiano del Piomho^ Andrea del Sarto, we reach the highest development of art, characterised by all the excellencies of the preceding masters, in addition to incomparable dramatic powers, to the selection of the purest ideal forms, to the complete mastery of chiaro-oscuro. While the Florentine school produces these shining names, the Venetian school gives birth to Gior- gione and Titian, both the princes of colouring, and hardly had a day elapsed before Parma brought forth Correggio, who seems to have borrowed from both schools their several perfections, to exhibit on his canvas or on his frescoes all the grace of Grecian sculpture combined with the nobleness of Roman out- line, the most exquisite tints with the most wonderful light and shade. From that era art seems to have arrived at perfection, and after a short maturity it begins to enter on a long period of decay, extending into our own day. ‘ Decay ’ seems a hard word to apply to the immediate successors of the cinque- CENTiSTi : Tintoretto and Paolo Veiwiese at Venice ; the Caracci, Giddo, Albano, Domenichino, Guercino at Bologna ; Bronzino at Florence \ Baroccio at Rome : and yet it is the only true word, for instead of surpassing their masters, they have only distantly followed them, while borrowing their methods. Mannerism easily arises from imitation : this decay, so barely apparent at first as hardly to be noticed, becomes more marked as we recede from the great masters, and as the pupils copy only copyists. From the great historical pictures we fall into subject painting ; from eternal truth, into anecdote. The heirs of so much glory are, in the seventeenth century, at Rome, Sassofei'rato, Caido Maratti, Pannini; at Naples, Salvator Rosa, Luca Gioi'dano, Solimena ; at Bologna, Fi'ancesco Mola ; at Venice, Canaletti, Tiepolo. In the eighteenth century, Battoni, Guardi, Foschi. In the nineteenth there are none. b. The Flemish School. The Flemish school was no more than the Italian school the spontaneous growth of the dark middle ages. It is no doubt The Fleinish School, 35 connected in its origin with the artistic methods brought down from antiquity by the Byzantine painters. But at the same time it is especially characterised by its realistic tendency, /.y. La 7 idscapes. About 1565. Bardin (Jean), French. LListory. 1732-1809. 68 The Picture A^nateuTs Handbook. Barentsen(Dirck), Dutch, Scholar of Titian. History. Portraits. 1534- 1592. Barker (Benjamin), British. Landscapes. 1776-1838. Barker (Robert), British. Pano- ramic views. 1 739-1806. Barker (Samuel), British. Fruit. Flowers. Imitator of Baptiste. D, 1727. BARKER (Thomas), British. History. Landscapes. The ‘ Wood- man ’ is his best picture, with a fresco painting on the wall of his own house, Bath. 1769-1847. Barlow (Francis), British. Fish. Birds. A nimals. 1 626- 1 702 . BAROCCIOor BAROCCI (Fe- derigo), an Italian painter of eminence, born at Urbino in 1528, studied under Battista Veneziano, and afterwards practised his art at Urbino, at Rome, and at Perugia. His works are exe- cuted with elegant taste, and there is sweetness and harmony in his colour- ing. He seems to have imitated Cor- reggio, and his figures are generally graceful, but his style is somewhat affected. He died in 1612. As he met with great success, his imitato 7 'S at id copyists were numerous, namely : Benedetto Bandiera, Filippo Bellini, Giuseppe Maria Crespi, Malpiedi, Lanconello, Mai'zi, Picchi, Lodovico and Antonio Viviani, Felice and Vmcemio Pellegrmi, 8lc. . . Genuine works by this master are scarce and esteemed. Baroni (Cav. Gaspare Antonio), Italian. Roveredo. Scriptural history . 1682-1759. Barra (John), Dutch. History. Convei'sations. Landscapes. I572(?)- 1634. Barraband (Fran9ois), French. Flowei's. Birds. B, 1810, Barraband (Pierre Paul), French. Fruit. Flowers. History. Still-life. 1767-1808. Barret (George), British. Land- scapes. 1728-1784. Barri (Giacomo), Italian. History. Imitator of Titian. About 1660. Barroso (Miguel), Spanish. Scrip- tural history. 1 538-1 590. BARRY (James, R. A.), an eminent British historical painter, born at Cork, 1741. He was a scholar of West, after- wards travelled in France and Italy, and was elected a Royal Academician in 1777- His best works are a series of great pictures in the Adelphi, then ‘Jupiter and Juno,’ ‘Venus Anadyo- mene,’ ‘Adam and Eve,’ &c. He died in 1806. Bartolomeo (Fra.). See Porta. Bassano. See Ponte. B a s s e n (Bartholomew van), Flemish. Lnteriors of churches. 1 7th century. Basseporte (Madeleine Francois), French paintress. Flowers. 1701- 1780. Bassetti (Marc’ Antonio\ Italian. Verona. History. 1588-1630. Bassi (Francesco), the elder. Italian. Cremona. Landscapes. 1642- 1700 (?). Bassi (Francesco), the younger. Italian. Bologna. History. A copyist of Guercino. 1664-1693. Bassi (Francesco), Italian. Bo- logna. 1652-1732. Battem (Gerhard van), Dutch Landscapes. About 1675. Battoni (Pompeo), Italian. Lucca. Histoiy. Portraits. Landscapes. 1708-1787. Baugin (Lubin), called the little Guido. French. History. 17th century. Baur (Wilhem), German. Vieavs of Rome with figures. 1600-1640. Baur (Nicolas), Dutch. Land- scapes. Marine views. Moonlight. Winter scenes. 1767-1822. Bausa (Gregorio), Spanish. Scidp- tural history. 1596-1656. Bayer (Augustus), German. Ln- teriors of churches. B. 1804. Bayeu y Subias (Don Francisco), Spanish. History. 1 734- 1 795. Dictionary of Painters. 69 Bayeul ( ), French. Poi'traits. Scholar of Rigaud. iSth century. Beale (Mary), English paintress. Portraits. 1632-1697. Beaubrun (Charles and Henry), two cousins, French. Eminent por- trait painters. 17th century. Beaumont (Cav. Claudio), Italian. Turin. Allegories. 1694-1766. Beaumont (Sir George Howland), an amateur British painter. Land- scapes. 1753-1827. Beccafumi (Domenico), called Micarino. Italian. Siena. History. 1484-1549. Beccaruzzi (Francesco), Italian. History. About 1530. Becerra (Caspar), Spanish. Frescoes. 1520-1570. Becker (Philip J.), German. Landscapes. Portraits. A nimals. 1763-1829. BEECHEY (Sir William, R.A.), an English painter of eminence, was born at Burford, 1753. Flis first ob- jects of study were the works of Reynolds, after which he practised and then studied from nature. Por- traits. Conversation pieces. History. Was elected a R.A. in 1797, and died 1839, aged 86 years. Beek (David), Dutch. Portraits. 1621-1656. Beeldemaker (Francis), Dutch. History. Portraits. 1 669-1 7 17. Beeldemaker (John), Dutch. Huntings of the boar and stag. B. 1 636. Beer (Joseph de), Dutch. History. 1550-1596. Beerings (Gregory), Flemish. landscapes. Architectural ruins. 1500-1570. BEGA (Cornelius), a distinguished Dutch painter, born at Haerlem in 1620, studied under Adrian Ostade, and became the ablest rainter of his school. His pictures, like those of his master, represent interiors of Dutch cottages or Dutch boors regaling, and have never ceased to be esteemed by connoisseurs. He died in 1664. Begni (Giulio Cesari), Italian, Pe- saro. History. D. about 1680. Begyn (Abraham), Dutch. Land- scapes in the style of Berghem. 1650- 1710. Beham (Bartel), German. His- tory. About 1525. Beisch (Joachim Francis), German. Landscapes. Battle pieces. 1665-1748. Belkamp (Jan van), Dutch. A copyist of portraits by Holbein. D, 1653- Bellange (Thierry), French. His- tory. Portraits, 1598-1650, Bellange (Jos. L. Hippolyte), French. Battles. Born 1800. Belle (Clement Louis Marie), French. History. 1 722-1806, Bellevois ( ) Flemish. Alarine views. D. 1684. Bellini (Jacopo), Italian. Venice. A scholar of Gentile da Fabriano. Portraits. Scriptural history. 1405- 1470. Bellini (Cav. Gentile), eldest son of the preceding. Venice. Portraits. Scriptural history. 1421-1501. Bellini ( ), another painter of the same family, flourished about 1500. BELLINI (Giovanni), an excellent Venetian painter, born in 1422, was the younger son of Jacopo Bellini. He was the first Venetian who painted in oil, and the first to leave the dry Gothic style which prevailed at that time, and to follow nature. He was the master of Giorgione and Titian. Albert Diirer is said to have pro- nounced him the best painter of the age. He died in 1512. Bellini (Filippo), Italian. Urbino. Imitator of Baroccio, Scriptural history. About 1600. Bellini (Cav. Giacinto), Italian. Bologna. Scholar of Albano. 1600- 1660. Belliniano (Vittore), Italian. Ve- nice. History. About 1530. Beilis (Antonio de), Italian. Naples. Scriptural history. D. 1656. 70 The Picture Amateur's Handbook. BELLOTTI (Bernardo), Italian. Venice. Scholar and imitator of Ca- naletti. Perspective. Architectural pieces. Landscapes. 1724-1780. Bellu (Alexis Simon), French. Por- traits. 1674-1734. Bellucci (Antonio), Italian. Venice. History. Portraits. Figures in land- scapes by 1654-1726. Beltraffo (Giov. Antonio), Italian. Milan. Scriptural history. 1467- 1516. Bembo (Giov. Franc.), Italian. Cremona. History. About 1525. Bemmell (Wilhem van), Dutch. La 7 tdscapes, 1630-1703. Benaschi (Cav. Giov. Bat), Italian. History. Frescoes. 1636- 1688. Benavides (Don Vincente de) Spanish. Frescoes. 1 637-1703. Bencovich (Federigo), Italian. History. Landscapes. About i 753 - Benedetti (Mattia), Italian. Reggio. Frescoes. About 1 700. Benedetto (da Majano), Italian. A rchitectural decorations. About 1450 . Benefiali (Cav. Marco), Italian. Rome. History. 1684-1764. Benfatto (Luigi), Italian. Verona. Scholar of Veronese. History. 1551- 1611. Benini (Sigismondo), Italian. Cre- mona. Landscapes. About 1675. Bennings (Lievene). Flemish paintress. Miniatures. About 1560. Benoist (Marie Guilhelmine). French paintress. Po)draits. Familiar subjects. B. 1770. Benouville (Leon), French. His- tory. 1821-1859. Benso (Giulio), Italian. Genoa. Scriptural history. 1 600- 1668. Bent (John vander), Dutch. Landscapes. Style of N. Berghem. 1650-1690. Bentum (Justus van), Dutch. Lmitator of Schalcke 7 t, 1 6 70- 1727* Benvenuto (Giov. Bat.), called V Ortola 7 to. Italian. Ferrara. Scrip- tural history. 1490-1525. Benwell (Mary), English paintress. Portraits. Landscapes. Anwials. About 1770. Berchem. See Berghem. Berchet (Pierre), French. Histo 7 y. 1659-1720. BERETTINI (Pietro), called da Corto 7 ia, an eminent Italian painter, born at Cortona in 1596, studied under Baccio Carpi, and devoted himself to great fresco paintings, which he exe- cuted with considerable force and bril- liancy. 1596-1669. Berg (Matthias van der), Flemish. Excellent copies after Rube 7 is. 1615- 1685. Berge (Auguste Charles de la), French. Laiidscapes. 1807-1842. BERGEN (Dirk van), Dutch. The ablest scholar of Adrian Vander- velde, whose style he imitated most successfully. 1645-1689. Bergen (Nic. van), Dutch. His- tory. Ititeriors and co 7 iversatio 7 is in the style of Rembrandt. 1670-1699. Bergeret (Pierre-Nolasque), French. History. Landscapes. About 1810. BERGHEM, or BERCHEM (Nicholas), a celebrated Dutch painter, born at Haarlem in 1624, first studied under his father, a painter of little note, and subsequently under John van Goyen and J. B. Weeninx. He soon adopted as subjects charming la 7 tdscapes, with groups of cattle, figures, and architectural ruins. The leafing of his trees is exquisitely and freely touched; his skies are clear; his clouds float lightly, as if supported by the air. The distinguishing cha- racters of his pictures are the breadth and just distribution of the lights, the grandeur of his masses of light and shadow, a natural ease and simplicity in the attitudes of his figures express- ing their several characters, the just gradations of his distances, the bril- liancy and harmony, as well as the transparence of his colouring, the cor- rectness and true perspective of his Dictionary design, and the general elegance of his composition. Where any of those marks are wanting, no authority ought to be sufficient to ascribe any picture to him. He painted every part of his subject so extremely well as to render it very difficult to determine in which he excelled : his trees, buildings, waters, rocks, hills, cattle, and figures being all equally admirable. He died in 1683. Though Berghem painted at least four or five hundred pictures, they are rarely in the market, and always fetch very high prices. In his early pro- ductions the style, colouring, and exe- cution of his master, J. B. Weeninx, are so evident that such pictures are said to be in his ‘Weeninx manner,’ and generally less esteemed. Among his numerous imitators and copyists^ Abraham Begyn, Blinkvleit, John vander Meer the younger, and John vander Bent, were the most suc- cessful. Many of the works of John Wils are also ascribed to Berghem. Jzxi Berna?'d, Ch. Codde, Adam Coloni, J. F. Solemacker, John Sybrecht, Au- gustine Tyssens,2ind Theodore Visscher, were scholars of this master, and fol- lowed most closely his style. Berkheyden (Gerard), Dutch. Views of towns. 1 645 -1693. Berkheyden (Job), Dutch. Land- scapes. 1643-1698. Berkmans (Henry), Dutch, His- tory. Portraits. 1629-1690, Berlinghieri (Camillo), called II Ferraresino, Italian. History. D. 1635- Bernabei (Pietro Antonio), called della Casa, Italian. Parma. Frescoes. About 1550. Bernaerts (Nicaise), Flemish. Landscapes. Animals. Imitator of Snyders. 1593-1663. Bernard (Jan), Dutch, Excellent copyist of P. Potter and Berghem. 1765-1833. Bernetz (Christian), German, Fruit. Flowers. D of Painters. 7 1 Bernieri (Antonio), Italian. Scholar of Correggio. 1516-1563, BERNINI (Giov. Lorenzo, 11 Cav.), Italian. Naples. History. Portraits. 1 598- 1 680. Berretoni (Nicolo), Italian. Scholar of Carlo Maratti, History. 162 7-1675. Berruguette (Alonzo), Spanish. Scholar of Andrea del Sarto. History. 1480-1561. Berlin (Jean Victor), French. Landscapes. Architectttral viezvs. 1775-1842. Berlin (Nicolas), French, History. Allegory. 1667-1736. Berlry (Nicolas Henri Jeavirat de), French. Still-life. i8th century. Bertusio (Giov, Bat.), Italian. Ferrara. History. B. 1644. Beschey (J. F,), Flemish. Excel- lent copies of Flemish masters. 1739- 1799. Beslard ( ), Spanish. History. 17th century. Belles (John and Thomas), two brothers, English. Miniature painters. 1 6th century. Beuckelaer (Joachim), Flemisn. Fairs. Interiors of kitchens. 1530- 1570. Beurs (Wilhem), Dutch. Por- traits. Fiowei's. Landscapes. 1656- 1690. Beuller (Clement), Swiss. Land- scapes. History. Beginning of i8th century. Bevilacqua (Ambrogio), Italian. Milan. History. End of 15th cen- tury. Beyer (Jean de), Swiss. Land- scapes. B. 1705. Bezzi (Giov. Franc.), called It Nosadella, Italian. Bologna. Fres- coes. D. 1571. Bianchi (Baldassare), Bologna. History. 1614-1679, Bianchi (Cav. Isidoro), Milan. History, in fresco and in oil. About 1626. Bianchi (Federigo), MilasTi, LJis tory. 1 6th centuiy 3 72 The Picture Amateur's Handbook. Bianchi (Giovanni), Milan. Cele- brated mosaic painter. D. i6l6. Bianchi (Orazio), Rome. Histoiy. 16th century. Bianchi (Pietro), Rome. History. 1694-1740. Bianchi (Bona vita Francesco), Flo- rence. History. D. 1658. Biancucci (Paolo), Italian. Lucca. History. 1 5 83- 165 3. Bibiena. See Galli. Bicci (Lorenzo di), Italian. Flo- rence. History. 1400-1460. Bidault (Jean Joseph Xavier and Jean Pierre Xavier), brothers, French. Landscapes. i8th and 19th centuries. Bie (Adrian de), Flemish. History. 1594-1640. Bieselinghen (Christian John van), Dutch. Portraits. 1558-1600. Bigio (Marco), Italian. Siena. S??iail historical pictures. About 1530* Bigio (Francia), Italian. Florence. Architecture. Landscapes. Animals. D. 1525. Bilia (della, Giov. Bat.), Rome. Frescoes. i6th century. Bilivert (Giovanni), Florence. Scholar of Veronese. 1576-1644. Billoni (Giambattista). History. Landscapes. Portraits. 1576-1636. Biltius (Francis), Dutch. Still- life. Living 1671. Bimbi (Bartolomeo), Florence. Fruit. Flowers. 1648-1725. BIRD (Edward, R.A.), an eminent English painter, was born at Wolver- hampton in 1772, and died at Bristol in 1819. He executed some historical ■pieces and familiar scenes of consider- able merit. The ‘ Field of Chevy Chace ’ is one of the most admired, Biscaino (Bartolomeo), Italian. Genoa. History. 1 632-165 7. Biset (Charles Emmanuel). Flem- ish. Gallant assemblies. Conversa- tions. B. 1633, BISI (Fra Bonaventura), Italian. Bologna. Copies after Correggio, Titian, Guido, &c., in miniature. Died 1662. Bisquert (Antonio), Spanish. Re- ligious subjects. 1 620- 1 646. Blain (Jean Baptiste), French. Fruit. Flowers. 1 654-1 715. Blake (B.), English, Still-life. Birds. Fish. Also copies after the Dutch masters. D. about 1830. Blake (William), English. History. 1757-1828. Blanchard (Jacques), French. History. 1 600-1638. Blanched (Vittorio), Italian. His- tory. 1735-1778. Blanchet (Thomas), French. Lyons. Scholar of Poussin and A. Sacchi. History. 1617-1689. Blankhof (John Tenniz), Dutch, Marine views. 1628-1670. Blanseri (Vittorio), Italian. Venice. History. 1735-1775* Blekers ( ), Dutch. History. 1635-1682. Bles (Henry de), Flemish. Imi- tator of Patenia. Landscapes with sacred figures. D, 1550. Block (Daniel), German. Portraits. 1580-1661. Block (Benjamin), German. His- tory. Portraits. B. 1631. Block (Jacob Roger), Dutch. Ar- chitectural views. 1580-1632, Blocklandt (Anthony de Mont- fort), Dutch. History. 1532- 1583* Bloemaert (Abraham), Dutch. History. Landscapes. 1564-1647. Bloemaert (Adrian), Dutch. His- tory. Portraits. 17th century. Bloemen (Johannes Francis), called Orizonti. Flemish. Land- scapes. Imitator of Poussin. 1656- 1740. Bloemen (Norbert van), Flemish, Landscapes. Conversations. Por- traits. B. 1672. BLOEMEN (Peter van), called Standart. Flemish. Battles. Marches of caravans, horsefairs, &c., well com- posed and correctly drawn. Land- scapes decorated with ruins. 1649- 1719. Dictionary of Pamters. 73 Blon (James Christoplier le), German. Scholar of C. Maratti. Miniatures. 1 6 70- 1741. Blondel (Lansloot), Flemish. Ar- chitectural ruins. Confiagrations. 1500-1559- Bloot (Peter), Dutch. Drunken frolics. Quarrels of Boors. 1650- 1667. Blyhooft (J.), Dutch. Portraits. Landscapes. Marine vieivs. About 1650. Bobadilla (Geronimo), Spanish. Genre. D. 1680. Bocanegra (Don Pedro Atanasio), Spanish. History. 1638-1688. Boccaccino (Boccaccio), Italian. Cremona. History. 1460-1518. Boccaccino (Camillo), Cremona. Llistory. 1 5 1 1 - 1 546. Boccaccino (Francesco), Cremona. History. 1680-1750. Bocchi(Faustino), Italian. Brescia. Battle-pieces. 1659-1742. Bocciardo (Clemente), called Cle- mentone. Genoa. History. Portraits. 1620-1658. Bocciardo (Domenico), Genoa. Llistory. About 1686. Bochmer (Charles Wilhem), Ger- man. Landscapes. Marine views. About 1750. Bockel (van), Flemish. Imitator of Snyders. Living and dead animals. D. 1767. Bockhorst (John van, called Lmu- gen van), Flemish. Imitator of Van- dyck. History. B. 1610. Bockhorst (John van), Dutch. History. Portraits. 1661-1724. Bo el (Peter), Flemish. Allegory. Fruit. Flozvers. 1625-1680. Boeyermans (Theodore), Flemish. History. Allegory. 17th century. Bogdane (James), Hungarian. Fowls. Fruit. Flowers. D. 1720. BOILLY (Louis Leopold), French. Lnteriors. Popular amuse- ments. Comic scenes. Tozvn views. Portraits. Di awing accurate, execu- tion neat and delicate. 1761-1845. Boisselier (Felix), French. His- tory. 1776-181 1. Boissieu (Jean Jacques de), French. Lnteriors. Pordraits, 1736- 1810. Bol (Cornelius), Dutch. Town views. Living in England, 1666. BOL (Ferdinand), an eminent Dutch painter, born at Dort in 1611, studied at Amsterdam under Rem- brandt, whose style he imitated most successfully. He painted historical pictures and excellent portraits. D. 1681. Flis works are highly esteemed. Bol (Hans), Flemish. Landscapes. 1534-1593- Bolanger ( J ean), a scholar of Guido. History. 1606- 1660. Bologna (Franco-), Italian. One of the founders of the Bolognese school. About 1313. Bolognini (Giov. Bat.), Italian. Scholar of Guido. History. t6i2- 1689. Bolonghino ( ), Italian. Siena. History. 15th century. Boltrafho, or Beltraffio (Giov. Antonio), Italian. LListory. About 1500. Bombelli (Sebastiano), Italian. Scholar of Guercino. Excellent copies after P. Veronese. About 1680. Bona (Tomaso), Italian. Venice. Architectural views. About 1580. Bondi (Andrea and Eilippo). Scholars of Cignani. LListory. 17th century. Bonelli (Aurelio), Italian, Bologna. Scholar of the Caracci. History. 17th century, BONIFAZIO (Veneziano), one of the best Venetian painters of the good era. Scholar of the elder Palma. History. 1491-1553. BONINGTON (Richard Parkes), an eminent English painter, born at Arnold in 1801. Landscapes. Died in the prime of life, 1828. Bonini (Girolamo), Italian. An- cona. Scholar of Albano. About 1660. '4 The Picture A mateur's Handbook. Bonisoli (Agostino), Cremona, Re- ligious subjects. 1633-1700. Bononi (Carlo), Ferrara. History. 1569-1631. BONVICINO (Alessandro), called II Moreito.^ a distinguished Italian painter, born at Brescia in 1514, studied under Titian, whose style he approached nearer than any of his countrymen ; indeed, his por- traits can be said to bear the compa- rison, He was also very successful in Religious history. He died in 1564. His works are highly esteemed. Bonzi (Paolo), called II Gobbo Cortona. Italian. Fruit pieces. His- tory. Lajtdscapes. D. 1640. Boon (Daniel), Dutch. Drtmken scenes and revellings. D. 1698, Boonen (Arnold), Dutch. Por- traits. Also some candlelight scenes in the style of Schalken. 1669-1729. Borcht (Peter vander), the elder. Flemish. Landscapes. B. 1540. Borcht (Henry vander), Flemish. Fruit. Flowers. 1 5 83- 1 660. BORDONE (Paris), a distin- guished painter of the Venetian school, born at Trevigi in 1500, studied under Titian, but seems to have imitated the noble simplicity of Giorgione rather than the style of his master. His portraits are excellent, and he painted also several historical pieces. He died in 1570. His works command high prices, Borekens. See Borrekens. Borgani (Francesco), Italian. Man- tua. Scholar of Parmiggiano. History. About 1650, Borghese (Girolamo), Italian. History. About 1500. Borghese (Pietro). See Pietro della Francesca. Borghese (Giov. Ventura), Italian. Scholar of P. da Cortona. History. Borgiani (Orazio), Italian. Rome. History. Port 7 'aits. 157 7- 1615. Borgognone. See Cortese. Borgognone (Ambrogio), Milan. History. About 1500. Borgona (Juan de), Spanish. His- tory. Portraits. 149 5- 1540, Borras (El Padre Francesco Nico- las), Spanish. History. 1530-1610. Borrekens (John Peter Francis), Flemish. Landscapes. 1747-1827. Borroni (Cav. Giov, Angelo), Cre- mona. History. 1684-1772. Borsum (Abraham van), Dutch. Landscapes. Anhnals. Birds. 17th century. Borsum (Adam van), Dutch, Land- scapes. Scholar of P. Potter. i8th century, Borzone (Luciano), Italian, Genoa. History. Portraits. 1590-1645. Bos (Gaspar vander), Dutch. Ma- rine views. 1634-1666. Bos (Lewis Jansen), Dutch. Fruit. Flowers. Plants. 1450-1507. Bosch (Jacob vander), Dutch. Fruit. 1 636-1676. BOSCH, or BOSSCHE (Baltha- sar vander), Flemish. Rooms or studiosy adorned with pictures and works of art. Small-sized portraits. 1675-1715. Boschaert (Nicholas), Flemish. Flowers. Fruit. 1 696-1 746. BOSCH E, or BOS (Jerome), Dutch. Grotesque represejttationsy in- cantations. devils, &c. 1470-1530, Boschi (Fabrizio), Italian. Flo- rence. History. 1570-1642. Boschi (Francesco), Italian. Flo- rence. History. Portraits. 1619- 1675. Boschini (Marco), Venice. Scholar of Palma. History. B. 1613. Boscoli (Andrea), Italian, Flo- rence. History. 1550-1606. Boselli (Antonio), Italian. Ber- gamo. History. About 1500. Boselli (Felice), Italian. Birds. Fish. Animals. 1650-1732. BOSSCHAERT (Thomas Wille- borts), an eminent Flemish painter, born at Berg op Zoom in 1613, died in 1656. He studied under G. Seghers and afterwards visited Italy. His style both in history and portraits ap- 75 Dictionary of Painters. proaches Vandych, the colouring is extremely tender and harmonious, the heads pleasing and graceful. Bossi (Cav. Giuseppe), Italian. Milan. Allegories. 1777-1815. Botelli (Felice), Italian. Piacenza. History. 1652-1732. BOTH (John and Andrew), two brothers, most eminent Dutch painters, born at Utrecht about 1610. Their life and their works are so intimately connected, that it would be difficult not to notice them in one article. They studied under Bloemaert, and subsequently visited Italy, where John, stimulated by the fame of Claude Lor- raine, soon produced landscapes with great success. These were ornamented by Andrew in a very tasteful and elegant style with figures and cattle, which harmonised charmingly with the scenery. Throughout their works everything is warm, tender, and har- monious. At the same time Andrew Both painted fiairs, merry- 7 nakings. and quack-docto 7 's, designed with infinite humour and full of character. Unfor- tunately when residing at Venice the younger brother fell into a canal and was drowned (1645). F rom that time the figures in the landscapes of John were painted by Poelemburg, and sometimes by Wouwerman, He died at the age of forty, in 1650. The works of John and Andrew Both are set down at the round num- ber of only 150, and eagerly sought after when they appear in the market. Bnitators and copyists : — William van Drilleitburg, William de Heusch, and Remain de la Rue have been the most successful. Charles Codde,lo\m Fran- cis Ertnels, John Lap, Nicholas Pie- mont, Peter Portenge^i can deceive only very unskilled observers. Botschild (Samuel), German. His- tory. Portraits. B. 1640. Botta (Marc’ Antonio), German. History. Portraits. 1572-1648. BOTTALA (Giov. Maria), Italian. Genoa. History. 1613-1644. Bottani (Giuseppe), Italian. Cre- mona. Historical lattdscapes. 1717- 1784. Botticelli (Sandro or Alessandro) an eminent Florentine painter, born in 1437, studied under Filippo Lippi, and was very successful in religious as well as profane history. He died in 1515- BOUCHER(Fran9ois), an eminent French painter, born in 1704, died in 1770. He was a scholar of Fran9ois le Moyne, and afterwards went to Rome. On his return, he employed himself in every branch of his art, but especially in the light and agree- able ; he was appointed court-painter, and favoured with the patronage of all that was great or beautiful in France. Few painters have enjoyed in their lifetime the flattering encouragement and great reputation of Boucher. A reaction ensued, and for more than fifty years his pictures have been con- sidered ridiculous. Now a more judi- cious sense of his qualities and im- perfections has taken place, and his works are again considered a very fair and interesting expression of the age the painter lived in, and bought for heavy prices. It must be said that numerous ugly imitations are daily sold as original works of Boucher. Charlier, Beaudouin, Soldini, Le- p 7 'ince, Huet, Paj'izeau, Deshayes, Lelie, Menageot have been his most successful copyists either in portraits or so-called pastoral scenes. Bouchot ( ), French. HLtory. 1800-1842. Boucquet (Victor), Flemish. Histojy. Porh'aits. 1619-1677. Bouhot (Etienne), French. Archi- tectural viezvs. 1 780- 1 840. Boujas, or Bouzas (Don Juan An- tonio), Spanish. Religious subjects. D. 1730. Boulanger (Jean), French. His- tory. 1606-1660. Boullogne (called Bozt), French. History. 1 649- 1717. 76 The Picture Amateur's Handbook. Boullongne (Louis de), the elder, French. History. 1609- 1674. Boullongne(Louis de), the younger, French. History. 1654-1733. Bouman (P.), Dutch. Landscapes. Wmter scenes. B. 1765. Bourdon (Sebastien), French. History. Portraits. 1616- 1671. Bourgeois (Constant), French. Landscapes. 1 780- 1 829. Bourgeois (Sir Francis), English. Landscapes. Battles. Marme views. 1756-1811. Bout, or Baut (Francis), Flemish. Landscapes. About 1 700. Bouys (Andre), French. Por- traits. About 1680. Bova (Antonio), Italian. Messina. History. B. 1641. Bovadilla (Geronimo de), Spanish. Perspective views. History. D. 1680. B 9 YERMANS (Theodore), Flemish. A distinguished scholar of Rubens, whose style he followed with great success. Scriptural history. Living 1660. Brakenburg (Renier), Dutch. Merrymaking and drunken assemblies. 1650-1702. Bramante. See Lazari. BRAMANTINO (Bartolomeo). Italian. Milan. The favourite pupil of Bramante. Portraits. History. 1 6th century. B R A M E R (Leonard), Dutch. Night pieces. Towns on fire. Caverns with light from above, in the manner of Rembrandt. History. B. 1596. Brand (Christian Heltgott), Ger- man. Landscapes. B. 1695. Brand (Frederic Augustus), Ger- man. History. B. 1730. B r a n d e 1 (Peter), German. History. 1668-1739. Brandenberg (John), Swiss. History. Pastoral subjects. 1660-1729. Brandi (Giacinto), Italian. Gaeta. Scriptural history. 1623- 169 1. Brandmuller (Gregory), Swiss. Scriptural history. 1661-1691. Brandt (Albert Jonas), Dutch. Still-life. 1788-1821. Brant (N.), Dutch. An imilatoi and copyist of G. Netscher. 17 th century. Bray (Solomon de), Dutch. Por- traits. About 1620. Brazze (Giovanni Battista), called II Bigio. Italian. Florence. Fruits or other materials arranged as human figures. 1 6th century. Brea (Lodovico), Italian. Genoa. History. About 1500. Brebiette (Pierre), French. His- tory. B. 1596. Breda (Alexander van), Flemish. Landscapes. Fairs. About 1700. Breda (John van), Flemish. A copyist of Wouwerman. 1683-1750. Bredael (Peter van), Flemish. Small landscapes with figures neatly touched, in the style of John Breughel. 1630-1689. Bree (Matthew Ignatius van), Fle- mish. History. 1 773-1839. Bree (Philippe Jacques van), Fle- mish. History. Fancy and Archi- tectural subjects. 1 786- 1 840. Breemberg (Bartholomew), Dutch. Historical landscapes in small size. 1620-1663. Brekelenkamp (Quirinus), Dutch. Cottages with figures. About 1650. Brescia (Fra Raffaelle da), Italian. Venice. History. 1479-1539. Bresdanino (delle Battaglie), See Gio. Monte. Bresciano (Vincenzio). SeeFoppa. Bresciano ( ), Italian. Brescia. History. About 1580. Breughel (Abraham), Flemish. Flowers. Fruit. 1 672-1710(7). BREUGHEL (John), called Vel- vet Breughel, an eminent Flemish painter, born at Brussels in 1565 ; died in 1642. He was the son of Peter Breughel, the elder, and studied under Peter Goekint. His subjects at first were fruit and flowers ; but on visiting Italy, he commenced painting landscapes with small figures, cor- Dictionary of Painters. 77 rectly drawn and touched in a very spirited and artistic manner. On re- turning to Flanders, he sometimes painted the landscapes in the easel pictures of Rubens, in those of Van Balen, or the figures in the landscapes of Momper and the churches of Steen- wick . — hnitators and copyists : — John van Kessel, the elder, and John van Oosten are the best ; next come Bar- tholomew van der Aast, Peter van Bredael, Peter Gysen, Adrian van Staiden t,] 3 .coh Sc hatch, Vinckenbooms, Lucas de Wad. BREUGHEL (Peter), the young- er. Flemish. Brother of the pre- ceding. Sometimes called Hellish Breughel, from the character of his subjects. 1569-1625. BREUGHEL (Peter), the elder, called the Droll, from his whimsical subjects, a Dutch painter, was born at Breughel, near Breda, in 1510, and died in 1570. His subjects were attacks of banditti, in wild landscapes, gipsies telling fortunes, &c. In his best productions he is only surpassed by D. Teniers. Breukelaar (Henry), Dutch. His- tory. 1809-1839. Breydel (Charles), Flemish. Land- scapes. 1 67 7- 1 744. Briard (Gabriel), French. History. D. 1777. BRIGGS (Henry Perronet, R.A.), an eminent English painter, born 1791, studied at the Royal Aca- demy Schools, and painted with suc- cess history, subjects, portraits. His colour is not over agreeable. D. i844._ Bril (Matthew), Flemish. Land- scapes. i547(?)-i584. BRIL (Paul), an eminent Flemish painter, brother of the preceding, was born at Antwerp in 1556, and died in 1626. After studying under an obscure master, he went to Italy, where he was engaged with his brother to execute considerable works in the churches of Rome. His subjects are grand landscapes with religious scenes ; his style is founded upon that of Titian. Easel pictures by this master are extremely scarce and highly valued. — P 77 iitators and copyists: Knip- bergen, Baldassare Lauri, W. van Nietdant, Cesare Piemontese, Agos- tino Tassi. Brize (Cornelius), Dutch. Still- life. 1635-1679. Brizio. See A^nb^'ogi. Brizzio (Filippo), son of Francesco B. Histoj'y. 17th century. BRIZZIO (Francesco), Italian. Bologna. Scholar of the Caracci. History. A^'chitectural views. Land- scapes. 1574-1623. BROCKEDON (William), Eng- lish. A distinguished painter of land- scapes, Alpme scenery and Scriptural subjects. 1787-1854. Broeck (Crispin van der), Flemish. Llistory. I 534 -I 575 (?)- Broeck (Elias van der), Flemish. Scholar of A. Mignon. Fruit. Flowers. D. 1711. Bronkhorst (John van), Dutch. History. 1603-1680. Bronkhorst (Peter), Dutch. Inte- riors of public edifices. History. 1588-1661. Bronzino, Alessandro, Cristofano, and Angiolo. See Allori. Brooking (Charles), English. Marine views. 1723-1759. BROWER, or BRAUWER (Adrian), a celebrated Dutch painter, born at Haerlem in 1608, studied under Franz Hals. Boors fighting, smoking, or 7 'egaling, painted with an extraordinary truth, and full of spirit. He died in 1640 at the age of 32, after a most dissipated life : the con- sequence being that his works are exceedingly scarce and highly valued. Imitators and copyists : — Craesbecke, Diepraam, Do 7 ’a, Bertram de Fouchier, Egbert van der Pod, Cornelius Saft- leven. Brown (Mather, or Matthew), Eng- lish. History. Port 7 'ai's. D. 1831. 78 The Picture A mateur's Handbook. BRUN (Charles le), an eminent French painter, born in 1619, studied under Simon Vouet, then in Italy under N. Poussin ; on returning to Paris he was appointed first painter to the king, Louis XIV., and employed at Fontainebleau and Versailles. His better works are ‘ The Battles of Alexander,’ ‘The Stoning of St. Stephen,’ and ‘The Martyrdom of St. Andrew.’ He died in 1690. Brussel (Paul Theodore van), Dutch. Fruit. Flowers. D. 1795. Bruyn (Cornelius de), Dutch. Por- traits. 1652-1728. Bruyn (T.). Swiss. Landscapes. Cattle. Bas-reliefs. In England in 1760. D. 1804. Bufoni(Pomponeo), Italian. Rome. History. 1634-1679. Bugiardini (Giuliano), Italian. Flo- rence. History. Portraits. 1481- 1556. Bullinger (John Balthasar), Swiss. Landscapes. I 7 I 3 ~I 793 - Bunel (Jacques), French. History. B. 1558. Buunick( John van), Dutch. Land- scapes. 1654-1727. Bunnick (Jacob van), Dutch. Bat- tle^pdeces. D. 1725. BUONARROTI (Michael An- gelo), an illustrious Italian painter, sculptor, and architect, was born in 1475 the Castle of Caprese, in Tuscany. He studied at Florence under Domenico Ghirlandajo, then visited Bologna, Venice, and Rome, where he executed a cartoon of ‘ St. Francis receiving the Stigmata,’ pro- bably his first work in painting. Soon after he was engaged to paint a fresco in the Ducal Palace at Florence, of which he could only execute the cartoon (known as ‘ The Cartoon of Pisa ’) ; and in 1508 commenced his celebrated cartoons for the Sistine Chapel. If Michael Angelo had left no other work, this alone would have immor- talised his name. It has received the universal applause of mankind, and .is the most sublime monument of daring and dignified genius that the art has produced in ancient or modern times. His next works were the ‘ Jupiter and Leda,’ ‘ The Conversion of St. Paul,’ and ‘The Crucifixion of St. Peter.’ He died in 1564, aged 89 years. It has long been disputed whether Michael Angelo ever painted in oil : but the question seems to have been settled in the negative. Fresco painting was better adapted to the elevated character of his compositions. For that obvious reason, his pictures are never seen in the market. Many of his designs, however, were executed in oil by his contemporaries, especially Sebastiano del Piombo, Jacopo da Pontormo., Marcello Venusti, Daniele da Volterra, Francesco Salviati, Giu- liano Bugiardini, Lorenzo Sabbatini. He also had several copyists, and a host of imitators, from Pellegrino Ti- baldi down to Henry Fuseli. Burg (Adrian van der), Dutch. Portraits. Conversations. 1693-1 733 - Burg (Thierry van der), Dutch. Landscapes. 1723-1773. Burgkmair (Hans), German. Pro- bably a scholar of Diirer. 1472- 1559. Burgo (Francesco da), Italian. Bologna. History. About 1446. Burnet (James), British. Land- scapes. Rural scenes. 1788-1816. Burrini (Giov. Antonio), Italian. Bologna. History. Portraits. 1655- 1727. Buytenweg (Wilhem), Dutch. Landscapes. Conversations, 1600- 1640. Bye, or Bie (Mark de), Dutch. Landscapes with animals. About 1612. Bylert (John), Dutch. History. Portraits. B. 1603. Byss (John Rodolf), Swiss. His- torical subjects in landscapes. 1660- 1738. Dictionary of Painters, 79 C CABEL, or KABEL (Adrian vander), Dutch. Landscapes. Sea- ports. In his animals and figures he followed Castiglione ; in landscapes, Salvator Rosa ; in colouring he com- bined the styles of the Caracci and P. F. Mola. 1631-1695. Cabezalero (Juan Martin de), Spanish. History. 1633-1673. Caccia (Guglielmo), called 11 Moncalvo. Italian. Milan. History. 1568-1625. CACCIA (Orsola and Francesca), davighters and scholars of the pre- ceding, are the only women known to have practised the art of painting in fresco. Their styles were so simi- lar that in order to distinguish them, Francesca adopted the symbol of a bird, and Orsola that of a flower. Scriptural histoiy. About 1650. CADES (Giuseppe), Italian. Rome. The ablest copyist ever known of the works of the great Italian masters, especially of Raffaelle. 1750-1800. Caffi (la), a Venetian paintress. Flowers. i8th century. CAGLIARI ( Paolo), called Vero 7 tese, an illustrious Italian painter, was born at Verona in 1528. He studied under Antonio Badile, his uncle, and was soon employed to paint in fresco the dome of the cathe- dral at Mantua. He next visited Venice, where he competed for the prize of a gold medal and chain against several eminent painters, and came off victorious. By his fasci- nating delineations of rich ornament and magnificent parade he achieved an immense reputation. Without equalling Titian in the perfection of his flesh tones, by splendour of colour, assisted by rich draperies and other materials, by a very clear and trans- parent treatment of the shadows, by comprehensive keeping and harmony, he infused a magic into his pictures, by which he surpasses almost every other master of the Venetian school. Never was the pomp of colour so exalted as in his works, which may be likened to concerts of enchanting music. His composition is always grand, his de- sign noble, his heads are graceful; but in the extremities of his figures; and the outline of his naked forms, he is often incorrect. He died in 1588. The most celebrated of his pictures are : ‘ The Marriage of Cana,’ in the Louvre, 30 feet wide by 20 feet high ; ‘ The Feast of the Levite,’ in the Academy at Venice ; the ‘ History of St. Sebastian ; ’ ‘ The Entombment,’ in the Hermitage Gal lery, Petersburg; and the ‘Family of Darius,’ in the National Gallery. He painted also a few portraits^ of great merit. His scholars, aitd hnitators of his manner, are very inferior. Among them are his brother Benedetto Cag- liai'i, and his sons Carletto and Gah'icle ; also Be 7 ifatto, called dal F 7 'iso, his nephew, and his relative, Matfeo Ve 7 ' 07 ta. Of higher merit is Gian Battista Zclotti. Cagliari (Benedetto), Italian, brother of the preceding, and his as- sistant. 1538-1598. Cagliari (Carletto and Gabriele), two sons and scholars of Paolo. Carletto lived 1570-1596. Cagnacci (Guido), Italian. Bo- logna. History. 1600-1680. Cairo (Cav. Francesco), Italian. Varese. Po 7 d 7 'aits. IIisto 7 y. 1598- 1674. Cairo (Ferdinando), Italian. Casalmonferrato. IListo 7 y. 1666- 1743 - Calabresi. See P 7 'eti and Cardisco. Calan (Benjamin), German. Por- t 7 ^aits. 1724-1785. Calandra (Giov. Battista), Italian, Pamter vi Mosaic. 1586-1644. 8o The Picture Amateur's Handbook. Calandrucd (Giacinto), Italian. Palermo. History. 1646-1707. Calcar, or Kalker (John van), Flemish. An excellent copyist after Titian and Raffaelle. 1499-1546. Caletti (Giuseppe), called Cremo- nese, Italian. Ferrara. Imitator of Titian. 1600-1660. Call (John van), Dutch. Land- scapes. 1655-1703. CALLCOTTt Sir Augustus Wall, R.A.). An eminent English painter, born at Kensington 1779, died 1844. Landscapes of small size, and marine views., extremely placid and fasci- nating by their tranquillity, though sometimes cold and monotonous in colouring. Calleja (Andres de), Spanish. History. 1705-1782. Callet (Antoine Fran9ois), French. History. 1 74 1 - 1 823 . CALLOT (Jacques), an eminent French engraver, born 1593, painted a few pictures in the same manner as his designs and plates. As they are extremely scar«e, they are highly valued. Died in 1635. CALVART (Denis), an eminent painter of the Bolognese School, born at Antwerp in 1555, died at Bologna in 1619. Albano, Domenichino, and Guido were his scholars. Landscapes. History. Calvi (Lazzaro and Pantaleo), brothers, Italian. Genoa. History. 1 6th century. Calvi (Giulio), called II Coronato, Italian. Cremona. History. i57o(?)- 1596. Calza (Antonio), Italian. Verona. Animals. Horses. Battle pieces. 1653-1725- Camassei (Andrea), Italian. History. 1601 -1648. Cambiaso (Luca), called Luc- chetto da Genova. History. 1527- 1585- Camillo (Francesco), Spanish. ticriptural history. 1635-1671. Campagnola (Domenico), Italian. A reputable scholar of Titian. About 1543 - Campen (Jacques van), Dutch. Architectural views. About 1640. Camphuysen (Theod. Raphael), Dutch. Small landscapes with ruins. 1586-1626. Campi (Giulio), Italian. Cremona. History. 1500-1572. Campi (Cav. Antonio), brother and scholar of Giulio. Milan. History. About 1586. Campi ( Vincenzio), another brother of Giulio. Portraits. Still-life. His- tory. D. 1591. Campi (Bernardino), a relative of Giulio. An eminent fresco painter. 1522-1592. CANAL (Antonio), called Cana- letto and Canaletti, a celebrated painter of perspective views, was born at Venice in 1697, and died in 1768. His father was a scene-pain- ter, and Antonio was bred to the same branch of the profession ; but he soon aspired to higher things, and chose as subjects the interior views of his native city, which he treated with an intelligence of perspective and a conduct of aerial tint quite unequalled. The number of his pictures are im- mense, but a far greater number, as- cribed to him, are the work of his scholars, vA\oimitated\im\ very closely, especially F. Guardi, Bernardo Bellotti, Gaspare Vanvitelli, Antonio Vicentini, and Giacomo Marieschi. CANAL (Bernardo), nephew and scholar of Antonio Canaletto, followed his style, and painted architectural views. V enice. 1 724- 1 780. Canal (Fabio), Italian. Venice. Scholar of Tiepolo. 1 703-1 767. Canaletti, or Canaletto. See Canal. CANO (Alonzo), an eminent Span- ish painter, as well as sculptor and architect, called the Michael Angelo of Spain, was born at Granada in 1601. He studied under F. Pacheco, afterwards under Juan del Castillo. Dictionary of Painters. 8i His works are to be found in all the principal churches of Cordova, Ma- drid, Granada, Seville, &c. Scrip- tural history. He died in 1667. Cantarini (Simone), called Shnone da Pesaro. Italian. Imitator of Guido. 1612-1648. Canuti (Domenico). Italian. Bo- logna. Imitator of Guido. 1620- 1684. CAPELLE (Jan van der), an emi- nent Dutch painter of marine subjects and river views, was born about 1635. He imitated W. Vandervelde with great success, and . painted also some winter landscapes and frozen scenes in the manner of Van der Neer and Ostade. His works are highly es- teemed. CARACCI (Lodovico), an emi- nent Italian painter, born at Bologna in 1555, died in 1619. He studied under P. Fontana, and afterwards went to Venice in order to see the works of Titian. At Florence he copied the pictures of Andrea del Sarto, and at Parma the grand produc- tions of Correggio. On returning to Bologna, he founded, with the assist- ance of his relatives, Agostino and Annibale Caracci, that celebrated academy which has produced such scholars as Albano, Domenichino, Guido and others. His principal works are at Bologna, the most im- portant being fresco paintings. Caracci (Paolo), was a brother of Lodovico ; he cultivated painting, but without great success. CARACCI (Agostino) was a cousin of Lodovico, and the elder brother of Annibale : his design was most admirable, and he was a con- stant assistant of his two great rela- tives. CARACCI (Annibale), an illus- trious Italian painter, the cousin of Lodovico, and the younger brother of Agostino, born in 1560, was one of the stars of the celebrated school of Bo- logna. Conspicuous for the daring variety of his foreshortening, the bold- ness of his design, the admirable choice in the turn of his figures, and the mag- nificent simplicity of the folding of his draperies. He died in 1609. CARACCI (Antonio), called II Gobbo, a natural son of Agostino C., studied with his uncle Annibale, and assisted him in the paintings of the Farnese Gallery, Rome. He died at the age of 35, in 1618. Caracci (Francesco), a younger brother of Agostino and Annibale C., painted also some frescoes. D. 1622. CARACCI [School of the]. The principal painters of the school, be- sides Domenichino, and Guido, were the following ; Cesare Baglioni, Pietro C^'evalcore, Ferrari Fanzone, Lorenzo Franchi, Giuseppino da Mace- rata, Pier Maria Porettano, Aureliano Milani, Matteo Rosselli, Orazio Tala- mi, and Gio. Battista Secchi. Close i 77 iitators of Lodovico Caracci : Francesco B 7 'izzio, Lorenzo Gai'bieri, Giacomo Lippi, and Florio Macchi. Close vnitators of Annibale Ca- racci : Giovanni Battista Caracciuolo, Giacomo Cavedo 7 ie, Michel Cor 7 ieille the younger, Giovanni Francesco Gri- 77 ialdi, Giovanni Andrea Donducci, Lucio Massari, Antonio Maria Pa 7 iico, Carlo Sellitto, Innocenzio Tacco 7 ii (who painted from the designs of the master), and Giovanni Battista Viola (in landscapes only). All the easel pictures of Lodovico as well as Annibale Caracci, are in the great national galleries or palaces, and consequently never come in the market. Caraccino, II. See Mulinari. Caracciuolo (Giov. Bat.), Italian. Naples. One of the ablest imitators of An. Caracci. D. 1641. CARAVAGGIO (PolidoroCaldara da), an eminent Italian painter, born in 149s, died in 1543. He studied under Raffaelle, and devoted himself to drawing after the antique with such assiduity, that he became almost in- sensible to the magic of colouring. 82 The Picture Amateur's Handbook. He was the first painter of the Ro- man School who attempted monochro- mous works in chiaro-oscuro. Owing to their excellence, Raffaelle selected him to paint the friezes which accom- panied his frescoes in the Vatican. Afterwards he painted considerable works at Naples. Caravaggio (Michael Angelo). See Angelo. Carbajal (Luis de), Spanish. Scriptural history. 1534-1591. Cardi (Lodovico), called Cigoli. A scholar of Allori. Scriptural history. 1559-1613. Cardier (Jean Guillaume), Flemish. History. 1645-1675. Cardisco (Marco), called II Cala- brese. A scholar of P. da Caravaggio. FI. 1508-1542. Carducci (Bartolomeo), Italian. Florence. History. Portraits. 1561- 1608. Carloni (Giov. Bat.), Italian. Genoa. Scriptural history. 1594-1680. Carloni (Andrea, Carlo, and Nic- colo) were Genoese painters of the same family. Carnevale (Fra), Italian. Urbino. Scriptural history. D. about 1478. Caro (Francisco Lopez), Spanish. History. Portraits. 1592-1662. Caroli (Pietro Francesco), Italian. Turin. Interiors of churches. 1638- 1716. Carpaccio (Vittore), Italian. Venice. Scriptural history. About 1500. Carpentero (Jean Carol), Flemish. History. Landscapes in the style of Ommeganck. B. 1 784. Carrd (Francis), Dutch. Land- scapes. Village festivals. 1636- 1669. Carrd (Henry), Dutch. Landscapes. 1656-1721. Carr6 (Michael), Dutch. Land- scapes with cattle. 1 666- 1 728. Carreno de Miranda (Don Juan), Spanish. History. Portraits. 1614- 1685. Carrey (Jacques), French. History. 1646-1726. Carriera. See Rosalba. CARRUCCI DA PONTOR- MO (Jacopo), an eminent Italian painter, scholar of Leonardo da Vinci, and afterwards of P. da Cosimo, Albertinelli, and Andrea del Sarto. The works of his first manner are good, but he soon adopted a servile imitation of A. Diirer, and in this second style was less successful. 1493-1558. CASANOVA (Francesco), Italian. Battle pieces. Landscapes with fig- ures and cattle. Marine views. Pas- toral subjects. Once highly esteemed. 1732-1805. Casembroodt (Abraham), Dutch. Historical landscapes. Sea storms. About 1650. Casini (Valore and Domenico), brothers. Italian portrait painters. 17th century. Castelli (Giov. Battista), called 11 Bergamasco. Italian. History. 1490- 1570. Castello (Felix), Spanish. History. Battle pieces. 1 602-1656. Castiglione (Giov. Benedetto), Italian. Genoa. History. Portraits. Caravans. 16 16- 1670. Castillo y Saavedra (Antonio del), Spanish. History. 1603-1667. Castrejon (Antonio), Spanish. Small historical subjects. 1625-1690. Catena (Vincenzio), Venice. A scholar of Giorgione. Portraits. His- tory. About 1 500. Cavedone (Giacomo), a scholar of the Caracci. History. Portraits. i577_i66o. Caxes (Patricio), Italian. Arezzo. Scriptural history. Died in Spain, in 1612. Caxes (Eugenio), Spanish. Son and scholar of Patricio. Scriptural history. 1577-1642. Cazes (Pierre Jacques), French. Scriptural history. 1 676- 1 754* Centino, II. See Nagli. Cerrini (Gio. Domenico), called Dictionary of Painters. 83 Jl Cav. Perugino. Scholar of Guido. D. 1681. Cesari (Cav. Giuseppe), called d'Arpino. Italian, Naples. History. D, 1640. Cespedes (Pablo de), Spanish. Scriptural history. 1538-1608. Chabry (Marc), French. Scrip- tural history. 1660-1727. Challe (Charles Michel Ange), French. Allegoi'ies. 1718-1778. CHALON (Alfred Edward, R. A.), a distinguished English painter. Por- traits in water-colours ; subjects in oil. A successful imitator of Veronese and Watteau. ‘Hunt the Slipper’ and ‘John Knox reproving the ladies of Queen Mary’s Court’ are his most popular achievements. 1781-1860. Chalon (John James, R. A.), brother of the preceding. Landscapes. Ma- rine views. Genre. 1 778-1854. Chambers (George), English. Marine views and shipping. 1803- 1840. CHAMPAIGNE (Philippe de), an excellent French painter, was born in 1602, and studied under Fouquieres and N. Poussin. He painted also several historical compo- sitions. D. 1674. CHARDIN (Jean Baptiste Simon), an eminent French painter, born at Paris in 1 701, represented fajniliar scenes of a domestic character, in which he exhibited great truth, simplicity, and beauty of finish. He painted also allegorical subjects. Fruit. Animals. I)ied in 1779. Imitators: — Roland de la Porte and Jeaurat de Bertry. Charlet (N. Toussaint), French. Scenes of military life. 1792 - 1845. Chasseriau (Theodore), French. Scholar of Ingres. History. 1819- 1856. Chavannes (Pierre Domachin de), French. Allegorical history. 1672- 1744. Cheron (Elisabeth Sophie), a French paintress. Portraits. History. 1648-1711. Cheron (Louis), brother of the pre- ceding. History. Portraits. 1660- 1723. Chesel (Jan van), Flemish. Por- traits. Landscapes. Fruit. Flowers. D. 1708. Chiari (Giuseppe), Italian. Scholar of C. Maratti. History. 1654-1727. Chiavistelli (Jacopo), Italian. Flo- rence. Architectural views. 1618- 1698. Christophen (Joseph), Dutch. Scholar of Antonio Moro. Portraits. History. B. 1498. Christophsen (Peter), German. Portraits. History. 15th century. Cignani (Cav. Carlo), Italian. Bo- logna. History. 1628- 1719. Cignani (Felice), son and scholar of the preceding. History. D. 1724. Cignani (Paolo), the nephew of Carlo C. History. D. 1764. Cignaroli (Gio. Bettino), Italian. Verona. Scriptural history. 1706- 1770. Cima (Gio. Battista), called LI Conegliano. Italian. Scholar of Bel- lini. History. D. 1541. Cimabue (Gio.), one of the early Italian masters. L. 1302. Cipriani (Giov. Battista, R.A.), Italian. History. 1 727-1785. Citt^ di Castello (Francesco da), Italian. Scholar of Perugino. 15th century. Claessens (Antony), Flemish. A scholar of Q. Matzys. History. About 1490. Claessoon (Arnold), Dutch. A scholar of Engelbrechtsen and imitator of Schoorel. 1498-1564. Claret (William), English. A scho- lar and copyist of Sir Peter Lely. D. 1706. Claude. See Lorraine. Cleef (Joost van), Flemish. His- tory. 1500-1536. CLEEF (Henry van), Flemish. Landscapes (especially as backgrounds 84 The Picture Amateur s Handbook. in the historical works of Franz Floris). 1510-1589. Cleef (Martin van), Flemish. Scholar of Franz Floris. History. D. 1570. Cleef (John van), Flemish. Scho- lar of G. de Grayer. History. 1646- 1716. Clennell (Luke), English. History. 1781-1840. Clerc, or Klerck (Henry de), Flemish. Imitator of Van Balen and Rottenhamer. History. B. 1570. Clerc ( Sebastien), F rench. History. 1677-1763. Cleyn, or Kle3m (Francis de), Ger- man. Historical and grotesque sub- jects. D. 1658. CLINT (George, A.R.A.) An English painter, born 1770, was first an engraver. He afterwards painted portraits and series of dramatic scenes with portaits of favourite actors, which were extremely popular, although his colour was tame and there was a cha- racter of feebleness in his art. D. 1854. Clostermans (John), German. History. 1656-1713. Clouet. See Janet. Cochran (William), British. Fa- bulous history. Portraits. 1738- 1 785. Cock, or Kock (Jerome), Flemish. Portraits. 1 5 1 o- 1 5 70. Cock, or Kock (Matthew), Flemish. Landsccipes. About I545- Coders (Louis Bernard), Dutch. Portraits. Interiors. 1 740- 1817. Coda, or Codi (Benedetto), Italian. Ferrara. Scholar of G. Bellini. His- tory. D. about 1520. Coda, or Codi(Bartolomeo), Italian. Rimini. Histoiy. About 1528. Codde (Charles), Dutch. Land- scapes. 1 640- 1 698. CODDE (Peter), supposed to have been a brother of the preceding. As- semblies. Soldiers. Conversations. There is one of his finest works in the Lormier Collection. This painter is only mentioned by Balkema. Coello (Alonzo Sanchez), Portu- guese. History. 1515-1590. COELLO (Claudio), an excellent Spanish painter, combined, says Ber- mudez, the design of Cano, the colour- ing of Murillo, and the brilliant effect of Velasquez. History. Portraits. D. 1693. COELN (Wilhemvon), or William of Cologne, called also Meister Wilhem, a celebrated early German painter, seems to have been born at Cologne, where he painted several excellent works. Scriptural history. From 1370 to 1410. Cogels (Joseph Charles), Flemish. Landscapes. Marine viezvs. 1786- 1831. Coignet (Giles), Flemish. History. Candlelight and moonlight pieces. 1530-1600. Cole (Thomas), British. Land- scapes. 1802-1848. Collantes (Francisco), Spanish. History. Landscapes. 1 599- 1656. Colleoni (Girolamo), Italian. Ber- gamo. History. Portraits. 1495-1565. Collet (John), English. Humo- rous subjects. 1725-1780. Collin de Vermont (Hyacinthe), French. History. Portraits. 1693- 1761. COLLINS (William, R.A.), an eminent English painter, born at Lon- don in 1787, painted historic subjects, landscapes, and more especially rural and coast scenes. His works are con- spicuous for the correctness of drawing, the excellence of the chiaro-oscuro and colour ; he always painted with the utmost conscientiousness and with a perpetual reference to nature. The sympathy which he evinced for chil- dren in all their variety of aspect marks the amiable and genial character of the man, whose life has been written by his son Mr. Wilkie Collins, the distin- guished novelist. His works are highly esteemed. D. 1847. Colombel (Nicolas), French. History. 1 646- 1 7 1 7« Dictionary Colson (Jean Fran9ois Gille), French, Portraits. 1680-1762. Colyns (David), Dutch. History, B, 1650. COMPE (Jan Ten), Dutch. Land- scapes. River scenes. Views of cities and villages. His best pictures ap- proach Van der Heyden. D. 1761, Conca (Cav. Sebastiano), Italian. Gaeta, History. Portraits. 1676- 1764. CONEGLIANO (Giov. Bat. Cima), one of the most successful fol- lowers of the style of G. Bellini. History. About 1510. Congola (Charles), German. Land- scapes. 1773-1831. Coninck (David), called Pomnie- laer. Flemish. Still-life, in the man- ner of Fyt, D. 1689. CONINCK, or KONINCK (Solomon), an eminent Dutch painter, born at Amsterdam in 1609, studied under David Colyns and afterwards under N. Moyaert, but subsequently followed the style of Rembrandt, Easel pictures on historical subjects, admirably coloured, with something of the richness of Rembrandt, in a clearer tone, D. 1668. His works are very scarce, and highly valued. Coningh, or Koning (Jacob), Dutch. Landscapes with figures and animals. B, 1650, Coningsloo (Giles), Flemish. Landscapes. 1544-1609. CONSTABLE (John, R.A.), an eminent English painter, was born in 1776, at East Bergholt, Suffolk. He studied under Farrington, and painted large landscapes in a bold and vigo- rous manner. He was elected a R. A. in 1829, and died in 1837, ‘There is a place,’ says Mr, Leslie, ‘among our painters which Turner left unoc- cupied, and which neither Wilson, Gainsborough, Cozens, nor Girtin so completely filled as John Constable. He was the most genuine painter of English cultivated scenery, leaving untouched its mountains and lakes.’ | of Painters. 85 Contarini (Cav. Giovanni), Italian, Venice. History. Portraits. 1549- 1605. Conte (Jacopino del), Italian, Florence. Scholar of A. del Sarto. History. Portraits. 1510-1598. CONTRI (Antonio), Italian. Fer- rara. Painted a few landscapes, but is more distinguished as inventor 01 the method of transferring paintings from walls to canvas. Cook (Henry), English. Por- traits. About 1 640. Cook (Plenry), English, History. D. 1700. Cooper (Samuel), English. ALinia- tures. 1609-1672. Coopse (Peter), Dutch. Marine views. 1 8th century. Coosemans (Alexis), Flemish. Still-life. 17th century. COPLEY (John Singleton, R.A.), an eminent British painter, was born in Boston in 1737 ; he was wholly a self-taught artist, and went only in his thirty-seventh year to Italy, where he studied with great assiduity the works of Titian and Correggio, He settled afterwards in London, and painted several historical compositions, when his great picture of the ‘ Death of Lord Chatham’ at once established his reputation. He pursued his pro- fession, as an historical and portrait painter, with great distinction and un- abated vigour to an advanced age, and died in London in 1815. His eldest son, the late John Singleton Copley, Lord Lyndhurst, made a collection of his father’s best works, which adorn the walls of the artist’s own house in St. George Street, Hanover Square. COQUES (Gonzales), an eminent Flemish painter, born at Antwerp in 1618, acquired the elements of the art from David Ryckaert the elder. His first subjects were conversations and gallant assemblies; but the immense reputation Vandyck had acquired by his admirable portraits soon induced 86 The Picture Amateur's Handbook. Coques to attempt the same branch of art, though on a different scale. His single heads and groups of family portraits in small are esteemed superior to those of every artist of his time, Vandyck alone excepted. He died in 1684. His pictures are few in number, and extremely valuable. Imitators and copyists : Daniel My- tens the elder, Emmanuel Bizet^ and Adrian van den Burg. Coriolano (Cav. Bartolomeo), a scholar of the Caracci. History. B. 1599-1676. Corneille (Michel), French. His- tory. 1603-1664. Cornelisz (Cornelius). See Haer- lem, Cornelisz (Lucas), called the Cook. Dutch. Scholar of Engelbrechtsen. History. 1 493- 1 5 5 2 (?) . Corona (Leonardo), Italian. Mu- rano. History. 1561-1605. COROT (Jean Baptiste), an emi- nent French painter, born at Paris, 1796, studied under Michalon, and afterwards under Bertin, travelled in Italy, and was one of the most suc- cessful landscape painters of the pre- sent century. Died 1875. CORRADI (Domenico), called Ghirlandajo, an eminent Italian painter, born in 1451, died in 1495. He was the first of the Florentine painters who, by a judicious attention to perspective, gave to their works an appearance of depth and verity. Scrip- tural history. CORRADI (Ridolfi), called Ghir- landajo^ son of the preceding, also an eminent Florentine painter, was born in 1485, studied under Fra Bartolomeo di S. Marco, and was pronounced by Raffaelle one of the best painters of his time. Scriptural history. Died in 1560. Correg’gio. See Allegri. Cort (Henri de), Flemish. Land- scapes. 1742-1810. CORTESE (Jacopo), called gognone, an eminent French painter. born in 1621, was for some time a soldier, and exercised his natural taste for design by drawing the marches, attacks, and skirmishes of which he was a witness. On leaving the army, he went to Bologna, received instruc- tion from Guido and Albano, and produced from that time battle pieces composed with a fire and painted with a vigour peculiar to himself. He died in 1676, Genuine works by that master are rather scarce, especially those in good condition, as generally they have blackened by age. But he had a host of followers and imitators., namely, Girolamo Bruni^ Antonio Calza, Angelo Everardi, Graziano, Giannizzero, Philip Lembke, Francesco Monti, Capadoro Paganini, Joseph Parrocel, Ignace Parrocel, Augustus Querfurt, Pandolfo Reschi, Philip Rugendas, Francesco Simonini, Ilario Spolverini, Peter Tillemans, &c. CORTESE (Guglielmo), called II Borgognone, was the brother of the preceding. He painted religious sub- jects in the style of Carlo Maratti. 1628-1679. Cortesi (Giovanna Marmocchini), a Florentine paintress. Miniatures. 1670-1736. Cortona (Pietro da). See Beret- tini. Corvi (Domenico), Italian. Vi- terbo. Historical night pieces. 1723- 1803. Cosimo (Pietro da), Italian. Florence. History. Portraits. 1441- 1521. Cosimo da Ferrara. See Tura. CossierSjOr Cosiers (Jan), Flemish. History. 1603-1652. Costanzi (Placido), Italian. Roma. History. 1 688-1 759. Coster (Adam de), Flemish. His- tory. Portraits. Gallant Assemblies. 1 7th century. Cosway (Richard, R.A.), English. Miniature portraits. 1 740- 1821. Cotes (Francis), English. Por- traits. 1725-1770. Dictionary of Painters. 87 Cotignola (Francesco da), called Zaganelli. Italian. Parma. About 1518. COUSIN (Jean), a distinguished French painter, born in 1 530, painted large historical compositions, much in the style of Parmiggiano. He is considered the founder of the French school. D. about 1589. Covyn, or Couveyn (Renier and Israel), brothers, Dutch. History. Portraits. Market-women, with dead game, fruit, vegetables, &c. 17th century. COX (David), an eminent English water-colour painter, born in Bir- mingham 1783, died there in 1859. He was a most truthful delineator of British landscape, in all its varying incidents of storm and sunshine, mist, rain, or tempest, and one of the early members of the Society for the pro- motion of water-colour painting. COXCIE, or COXIS (Michael), a reputable Flemish painter, born in 1497, was first a scholar of Van Orley, afterwards of Raffaelle, and painted several religious subjects, much in the manner of the latter. He died in 1592. COYPEL (Noel), an eminent French painter, bom in 1628, painted several historical compositions and was for some years Director of the F rench Academy at Rome. He died in 1707. COYPEL (Antoine), son and scholar of the preceding, was ap- pointed in 1715 painter to the king of France, and much employed in decorating the royal palaces. 1661- 1722. COYPEL (Noel Nicolas), another son and scholar of Noel Coypel, painted religious and fabulous history. 1692-1735. COYPEL (Charles Antoine), a son and scholar of Antoine Coypel, painted historical subjects, bambocci- ate and excellent portraits. 1694- 1752. Cozza (Francesco), Italian. Rome. History. 1605-1682. Crabbetjie. See Asselyn. Crabeth (Francis), Flemish. His- tory. 1500-1548. Cradock (Luke), English. Birds. Arthnals. Dead game. 1660-1717. Craesbecke (Josse), a scholar and imitator of Brower. 1608- 1688. CRAMER (Nicolas), an excel- lent Dutch painter, born at Leyden in 1670, was for some time a scholar of William Mieris, but afterwards studied under Karel de Moor. Small portraits and cotiversations, well de- signed, beautifully coloured and deli- cately finished. His works are scarce and highly esteemed. He died in 1710. CRANACH, or KRANACH (Lucas), an early German painter, born at Cranach in the province of Bamberg in 1470, attained consider- able eminence as a portrait painter. He died in 1586. Cransse (John), Flemish. Histo 7 'y. Born 1480. CRAYER (Caspar de), an eminent Flemish painter, born at Brussels in 1582, was a scholar of Coxcie and painted religious history. He died in 1669. Credi (Lorenzo di), called Sciar- pelloni. Italian. Florence. History. I4S2-i536(?). Creeten (Charles), German. His- tory. Portraits. 1625-1681. Cremona (Niccolo da), Italian. History. About 1518. Cremonese (Giuseppe), Italian. Ferrara. History. 1600-1660. Cremonini (Giovanni Battista), Italian. Perspective views. About 1600. • Crepin (Louis Philippe), French. Marine views. B. 1772. C r e p u (Nicolaus), Flemish. Flowers. 1 680- 1742. Crespi (Giovanni Battista), called II Cerano. Italian. Novara. His- lory. 1557-1633. 88 The Picture AmateuTs Handbook, Crespi (Daniele), Italian. Milan. History. 1 590- 1 630. Crespi (Giovanni), called II Spa- gnuolo. Italian. Bologna. History. 1665-1747. Crespi (Antonio and Canon Luigi), sons of the preceding. History. D. about 1780. Cresti (Cav. Domenico), called Passigna 7 io. Italian. Florence. His- tory. 1558-1638. CRESWICK (Thomas, R.A.), an eminent English landscape painter, born at Sheffield 18 ii, studied at Birmingham under Mr. J. V. Barber. He exhibited for the first time in 1828, was elected an associate to the Royal Academy in 1842 and a mem- ber in 1851. He painted the scenery of England and Wales, especially its streams, in all its native beauty and freshness, with a pure, simple, natural design and colour. D. 1869. Creti (Donato), Italian. Cremona. History. 1671-1749. Creutzfelder (Johann), German. Portraits. 1570-1636. Crevalcore (Pietro Maria da), Italian. Bologna. History. About 1600. Criscuolo (Giovanni Filippo), Italian. Gaeta. History. B. about 1495, d. 1584. Criscuolo (Giovanni Angelo), brother of the preceding. History. D. about 1580. Crisevolo (Maria Angela), a Nea- politan paintress. History. Portraits. 1548-1606. Crispi (Scipione), Italian. Tor- tona. Scriptural history. About 1595 - CRIVELLI (Carlo), an eminent early • Venetian painter, flourished about 1475. His pictures are coloured somewhat in the style of Perugino, and they are sometimes mistaken for the works of that master. Scriptural history. Crivelli (Angelo Maria), Italian. Milan. Hunting pieces. About 1710. Crivelli (Jacopo), a son of the pre- ceding. Birds. Fishes. D. 1760. Crivelli (Vittorio), Italian. Venice. Scriptiiral history. About 1490. Crivelli (Francesco), Italian, Milan. Portraits. About 1450. Croce (Baldassare), Italian. Bolo- gna. Scriptural histoiy. 1553-1628. Cromer, or Croma (Giulio), Ita- lian. Ferrara. Scriptural history. 1572-1632. Cromer, or Croma (Giovanni Bat- tista), Italian. Padua. History. D. 1756. C ROME (John), called old Crome^ an excellent English landscape painter, born at Norwich in 1769, was a self- taught artist ; he chose his subjects in the lanes, heaths, and river banks, surrounding his native place, and painted them with a sweet colour and tone, full of truth and equal to the best examples of the Dutch school. Little known and not duly esteemed in his lifetime, his works have now greatly increased, and will continue to increase, in repute and value. He died in 1821. Croos (A. van), Dutch. Land- scapes. Views of cities. About 1640. Cruz (Juan Pontojadela), Spanish. Portraits. History. 1560- 16 10. Cucchi (Giovanni Antonio), Ita- lian. Milan. About 1750. Cuevas (Pedro de la), Spanish. Portraits oi small size. 1558-1667. Cuit (George), English. Portraits. History. Landscapes. 1743-18 18. CUNGI, CONGI, or CUGNI (Giovanni, Leonardo, and Erancesco), three Italian painters, brothers. Borgo San Sepolcro. Scriptural history. 1 6th century. Cunningham (Edmund Francis), British. Portraits. About 1742- 1 794. Cuquet (Pedro), Spanish. Religious stibjects. 1596-1666. Curradi, or Currado (Francesco), Italian. Florence. History. Portraits. 1570-1661. Curti (Bernardino), Italian. Bolo- gna. History. About 1645. Dictionary of Pamters. 89 Curti (Girolamo), called It Dentone. Bologna. Architectural views. 1576- 1632. ^ Cusighe (Simon da), Italian. Cu- sighe. History. 1382-1409. Cuylenburg (Abraham van), Dutch. Fabulous and fancy subjects. B. 1639. Cuyp, or Kuyp (Jacob Gerritze), called the Elder. Country viexvs. Battle pieces. Encampments. Por- traits. B. about 1578. CUYP, or KUYP (Albert), an illustrious Dutch painter, the son of the preceding, was born at Dort in 1606. With no better instruction than the lessons of his father, he at- tained such an eminence in landscape painting as has not been surpassed by any of his countrymen. His pictures generally represent scenes on the banks of the Maes river, with herds- men attending their cattle ; but he painted also admirable zvinter and znoonlight scenes, charming znarine views., horse-fairs, and skirmishes of cavalry, treated with infinite spirit, interiors of churches or other perspec- tive views, and finally portraits. In fact, he excelled in everything that he attempted to represent, and painted every object in the same free and na- tural manner ; always lovely and true in his colouring, as well as clear and transparent. No master knew as well as he did how to express the various diffusions of light on the objects ac- cording to the particular times of the day : in his pictures, the morning attended with its mists and vapours, the clearer light of noon, the saffron- coloured tints of the evening may readily be distinguished. His studies were entirely after nature, and most of his landscapes were sketched from scenery in or about the city of Dort. He was living in 1672. His works bring immense prices. Among his imitators and copyists Jacob van Stry was the most successful ; next come Dyonysius van Dongen, Ary Lamme, Gautier van Dam, and Bernard van Kabraat. Cuyp,or Kuyp (Benjamin), nephew of J. Cuyp, studied under his uncle, but chose to imitate the style of Rem- brandt. Small historical pictures. B. 1608. D Dach (John), German. History. B. i566._ Daddi (Bernardo), Italian. Arezzo. Scriptural history. 14th century. Daddi (Cosimo), Italian. Flor- ence. Scriptw'al history. About 1625. Dael (Jan Franz van), Flemish. Fruit. Flowers. 1 7 64- 1 840. Daele (Jan van), Dutch. Land- scapes. Marmes. 1 5 30- 1 60 1 . Dagiu (Francesco), called II Capella. Italian. History. 1714- 1784. Dahl (Michael), Swedish. Por- traits. B. 1656. Died in London, i743- Dalens (Dirk), Dutch. Land- scapes. 1659-1688. E Dalens (Thierry van), Dutch. Latidscapes. Fruit. Flowers. Still- life. End of 17th century. DALENS (Thierry van), called the Younger, son of the preceding. Landscapes zuith pgures, cattle, mans, in the style of Pynacker. B. 1688. Dali (Nicholas Thomas), Danish. Landscapes. Died in London 1777. Dallamano (Giuseppe), Italian. Modena. Architectural views. 1679- 1758. Dalmasio (Lippo Scannabecchi), Italian. Bologna. Madonnas. D. 1410. Dam (Anthony van), German Marines. About 1 720. 2 90 The Picture Amateur s Handbook. Dam (Gautier van), Dutch. Land- scapes in the style of Cuyp. D. 1785- Damery (Jacob), Flemish. Fruit. Flowers. Still-life, D. about 1665. Damery (Simon), Flemish. His- tory. 1597-1640. Damery (Wautier), Flemish. History. Landscapes. 1614-1678. Damiani (Felice), Italian. Gubbio. Scriptural history. About 1600. Damini (Pietro), Italian. History. 1592-1631. Danby (Francis, A. R. A.), English. Landscapes. 1793-1861. Dance (Nathaniel, R.A.), English. Poi'traits. History. 1 734-18 1 1 . Danckert, or Danckers (Henry), Dutch. Landscapes. B. about 1630. Dandini (Cesare), Italian. Flor- ence. Scriptural history. 159S- 1658. Dandini (Vicenzio), brother of the preceding. Scriptural history. 1607- 1675. Dandini (Pietro), a nephew of the preceding. Scriptural history. 1646- 1712. Dandini (Ottaviano), the son of the preceding. Scriptural history. 1 8th century. Danedi (Giuseppe), Italian. Tre- vigio. Scriptural history. 1618- 1688. Daniele (di Volterra), Italian. Scholar of Buonarroti. 1 509-1556. Daniell (Thomas, R.A.), English. Flowers. Landscapes. 1 749 - 1 840. Daniell (William), nephew of the preceding. Landscapes. 1769-1837. Daniell (Samuel), brother of the preceding. Landscapes. D. 1811. Danks (Francis), Dutch. History. Portraits. 1 650- 1 703. Danleux (Pierre), French. History. Portraits. 1745-1809. Danti (Padre Ignazio), Italian. Perugia. Scriptural history. 1537- 1586. Danti (Vincenzio), Italian. Perugia. Scriptural history, 1530-1576. Danti (Theodora), an Italian pain- tress. Perugia. Small historical sub- jects. 1498-1573. DAVID (Jacques Louis), an emi- nent French painter; born at Paris in 1 748, was a scholar of Vien. He went afterwards to Italy, where he de- voted himself exclusively to the study of the antique. He used to say : ‘ I wish that my works may have so com- pletely an antique character, that, if it were possible for an Athenian to return to life, they might appear to him to be the productions of a Greek painter.’ It has been said of his works that they are ‘coloured statuary.’ The principal are, ‘ The Oath of the Ho- ratii,’ ‘Belisarius in Banishment,’ ‘ Paris and Helen,’ ‘The Rape of the Sabine Women,’ ‘Leonidas at Ther- mopylae,’ and various portraits of Na- poleon. As an ex-member of the French Convention in 1793, and having in that capacity approved the condemnation of Louis XVI., he was sent to exile in 1815, and died at Brussels, 1825. His works have been immensely copied. Dawe (George, R.A.), English. History. Portraits. 1 78 1 - 1 829. Day (Alexander), English. Minia- ture portraits. D . 1841. DECAMPS (Alexandre Gabriel), an eminent French painter, born in 1803, was the scholar of Abel de Pujol, and early in life travelled in the East, whence he returned with an immense number of picturesque sketches, which afforded him material for many of his best works. He also painted subjects from European life, scenes from Don Quixote, Gil Bias, &c., capricious or grotesque pictures, in which monkeys take the place of men, &c., and a few historical subjects. He died in i860. His works, though numerous, are highly esteemed. Decker (Francis), Dutch. L.and- scapes. Probably a scholar of Jacob Ruysdael. 17th century. Dictionary of Painters, 91 Decker (Paul), German. Scriptu- ral history. B. 1677. Decloche ( — — ), Flemish. His- tory. About 1750. Defrance (Leonard), Flemish. Landscapes. Still-life. History. 1735- 1805. DELACROIX (Ferd. Victor Eu- gene), an eminent French painter, born in 1 799, was a scholar of Guerin, and the star of the Romantic school of painting. His first picture, ‘ The Massacre of Scio,’ was received with acclamation in 1824. Afterwards he travelled in the East, the influence of which is visible in his paintings of Scriptural history. His compositions are most masterly, his drawing vigo- rous and true, his colouring splendid. He died in 1863. DELAROCHE (Paul), an emi- nent French painter, bom in 1797, was a scholar of Baron Gros. He early took a dislike to the classicism then prevalent in the French school, and determined to create a style for himself more in harmony with the age. Many of his most popular paintings were drawn from events re- corded in English history, as ‘The Children of Edward IV. in the Tower,’ ‘ Cromwell contemplating the body of Charles I.,’ ‘ Charles I. in the Guard Room.’ But his chef- d'oeuvre the ‘Hemicycle,’ in the School of Fine Arts, Paris. He died in 1856. Delcour (Jan Giles), Flemish. Copies after Raffaelle, History. 1630- 1694. DELEN (Dirk van), Dutch. A scholar of Franz Hals. Portraits. Con- versation pieces. Architectural views. His architecture is of a noble taste, his figures are well designed, judiciously grouped, and highly finished. In some of his works the figures were inserted by Van Harp or Wouwerman. Born about 1635. Delgado (Don Juan), Spanish. Scriptural history. About 1 700. Delmont, or Delmonti (Deodato), Flemish. Scholar of Rubens. History. 1581-1634. Demarne (Jean Louis), Flemish. Landscapes. Village festivals. 1744- 1829. Denner (Balthazar), German. Portraits. 1685-1747. Dentone. See Girolamo Curti. Denys (James), Flemish. Scrip- tural history. B. 1647. Derby (William), English. Mi- niatures. 1786-1847. Deryck (Peter Cornelius), Flemish. History. 1 5 68- 1 630. Deryke (Wilhem), Flemish. His- tory. Portraits. 1635- 169 7. Desani (Pietro), Italian. Bologna. Scriptural history. 1595-1657. Desbarres (Bonaventure), French. Histojy. Portraits. B. 1700. Descamps (Jean Baptiste), French. Conversations. Pastoral subjects. 1714-1791. Deshays (Jean Baptiste), French. History. 1729-1765. DESPORTES (Frangois), an eminent French painter, born in 1661; was a scholar of Nic. Bernaert, and painted with considerable merit hunts- nmt., game and animals, flowers and insects. He died in 1743. DESPORTES (Claude Fran9ois), son of the preceding, painted the same subjects with reputafion, though he never equalled his father. Devis (Arthur), English. Portraits. 1 71 !(?)-! 787. Devis (Arthur William), English. History. 1763-1822. De Witt. See Wit. Deyns (Jacques), Flemish. His- tory. 1 645- 1 704. Deynum (John Baptist van), Fle- mish. Miniature portraits. Landscapes in ivater-colours. 1620- 1669. Deyster (Louis), Flemish. History. 1656-1711. Deyster (Anne), daughter of the preceding. History. D. 1646. Diamante (Fra), Italian. Prato. 92 The Picture A mateur's Handbook. Scholar of Fil. Lippi. History. D. about 1440. Diamantini (Cav. Giuseppe), Ita- lian. Venice. Scriptural history. B. 1660. Dias (Pedro Morante), Spanish. Small historical subjects. About 1630. Diaz (Diego Valentin), Spanish. Perspective views. D. 1660. DIEPENBECK (Abraham van), an eminent Flemish painter, was born in 1 607. Studied under Rubens, whose style he adopted and imitated with great success. Allegory. History. Diepraam (Abraham), Flemish. Imitator of A. Brower. B. 1665. Diest (Adrian van), Dutch. Coast views. 1655-1704. DIETRICH, or DIETRICY (Christian W. Ernst), German. Scriptural subjects and landscapes. Imitations of Rembrandt, Ostade, and Poelemburg. B. 1712. DOBSON (William), an eminent English painter of portraits. King Charles I. used to compliment him with the title of the English Tinto- retto. 1 6 10 -1 646. DOES (Jacob van der), the elder, an eminent Dutch landscape painter. Studied under N. Moyaert, after- wards went to Italy and painted excel- lent works, conspicuous for the choice of the scenery, the correctness of the design of his figures and animals, but of a colouring somewhat too dark. 1623-1673. DOES (Simon van der), the eldest son of the preceding, adopted the sub- jects, style, and manner of painting of his father, but with a more cheerful and pleasing tone of colouring. He also painted small portraits and do- mestic subjects in the style of G. Netscher. 1653-1717. DOES (Jacob van der), the Y ounger, the second son of the Elder, studied under Karel du Jardin, after- wards under G. Netscher and Gerard de Lairesse, painted a few landscapes and historical subjects, but died in the prime of life. 1 654-1 691. Dolabella (Tommaso), Italian. Belluno. Portraits. About 1580, Dolce (Luzio), Italian. Urbino. Scriptural history. About 1560. DOLCI (Carlo), an eminent Flo- rentine painter, was born in 1616, and studied under Jacopo Vignali. He painted with great distinction heads of the Saviour, Madonnas, and Mag- dalens. Conspicuous for the appro- priate composition of his work, their expression, their pleasant colouring and chiaro-oscuro, their general har- mony and finishing. He has been cen- sured for bestowing immense labour on his pictures, and for giving his carna- tions more of the appearance of ivory than of flesh. Carlo Dolci died in 1686. — The works of few artists have been so much copied and imitated as his, and with a precision too in very many instances that bids defiance to discri- mination. There are more pictures in the public and private collections of Europe, esteemed genuine by him, than he cotild have executed had he painted one every day of his life; and it is a well-known fact that he spent often from six to twelve months on a single one. His best copyists and imitators were his daughter and scholar Agnes Dolci^ then Alessandro Lomi., Barto- lomeo Mancini and Onorio Marinari. Domenech (Antonio), Spanish. History. B. about 1550. DOMENICHINO \pomenico Zampieri, called], an eminent Italian painter, was born at Bologna in 1581, and received his first instructions from Denis Calvart, but soon fled to the rival school of the Caracci. He con- tracted there a friendship with Albano, and on leaving the school they visited together Parma, Modena, and Reggio. They settled afterwards in Rome, and Domenichino assisted Annibale Ca- racci in his great works at the Farnese Gallery. The Cardinals Borghese and Aldobrandini next employed him Dictionary of Painters. 93 to paint frescoes in churches or pri- vate residences. His most celebrated work of that period was the ‘ Commu- nion of St. Jerome ’ for the principal altar of St. Girolamo della Carita. He then came back to Bologna, where he resided several years in the quiet practice of his profession ; but after the accession of Pope Gregoiy XV. he was appointed principal painter and architect to the pontifical palace, and again settled at Rome. Dome- nichino is universally esteemed the most distinguished disciple of the school of the Caracci : his design is pure and grand ; his compositions studied and appropriate, his heads full of grace and beauty. The best of his works are at Fano, in a chapel of the Duomo : they represent scenes from the life of the Virgin, painted in fresco. He was also an excellent landscape painter. The character of his landscapes, like those by Annibale Caracci, is decorative ; but it is united in a happy manner with warmth of colour and a cheerful, lively feeling. An excellent work of the kind is in the National Gallery. Followers, itnita- tors and copyists : — Abel Barbalnnga, Francesco Cozza, Andrea Camassei, Agnolo Canini, Francesco di Maria, Vincenzio Manenti, Pietro del Po, Giovanni Battista Passeri. Domer, or Demer (Jan), Dutch. Imitator of Rembrandt. About 1680. Domingo (Don Luis), Spanish. Scriptural history. 1718-1767. Dominici (Bernardo), Italian. Naples. Conversations. Scenes from low life. About 1 740. Dominici (Francesco), Italian. Trevigi. History. Portraits. D. 1530. Donado (Hernando Adrien), Span- ish. Scriptural history. About 1615. Donaldson (John), British. Minia- tures. 1737-1801. Donato (Bertolo), Venetian. His- tory. 1540-1601. Donato (Luigi di), Italian. Como. Scriptural history . About 1510. Donato ( — —), Venetian. Scrip- tural history. About 1459. Donato (Zeno), Italian. Verona. Scriptural history. About 1550. Doncker (Peter), Flemish. HiS’- tory. 1662-1668. Doncker (Jan), Dutch. History. B. 1610. Donducci(Giovanni Andrea) , called II Mastelletto. Scholar of the Caracci. History. Landscapes. D. 1655. Dongen (Dyonysius van), Dutch. Landscapes and ccittle, in the styles of J. Xavery, P. Potter, Cuyp, Wynants. 1748-1819. Doni, or Adone. Italian. Assisi. Scholar of Perugino. History. Por- traits. B. 1472. Donnini (G rolamo), Italian. Cor- reggio. Scriptiu'al history. 1681- 1743 - DONNINI (Agnolo di), Italian. Florence. An assistant of Buonarroti in the Sistine Chapel. End of 15th century. Donoso (Joseph), Spanish. His- tojy. 1 628- 1 686. Donzelli (Pietro and Polito), bro- thers. Naples. History. Bas-reliefs in chiaro-oscuro. 15th centuiy. Donzelli (Pietro), Italian. Mantua. Scriptural history. i8th century. Doornik (Janvan), Dutch. History. Portraits. Imitations of Wouwerman. 1 8th century. Dorigny (Michel), French. His- tory. 1617-1665. Dorigny (Louis), French. History. B. 1654-1742. D O S S I (Dosso and Giovanni Battista), brothers, eminent Italian painters, born in the vicinity of Fer- rara about 1490, studied first under Lorenzo Costa, and afterwards at Rome and Venice. They appear to have wrought mostly in conjunction, though their fortes were very difierent. Dosso is said to have excelled in [ figures, in which Giovanni Battista 94 The PicttLve A mateur's Handbook. was less successful, but he distin- guished himself for his landscapes. They painted many Scriptural com- positions, portraits, cartoons for tapestry. Dosso died at Ferrara in 1560. The time of his brother’s death is not recorded. Doudyns (Wilhem), Dutch. His- tory. 1630-1697. Doufflest (Gerhardt), Flemish. Scholar of Rubens. History. 1594- 1660. Doughty (William), English. Portraits. About 1 760. Douven (Jean Francois), Flemish. History. Po 7 'traits. 1656-1724. DOUW, DOU, or DOW (Ger- hard), an excellent Dutch painter, was born at Leyden in 1613, studied under Rembrandt and learned from him the principles of colouring and a complete mastery of chiaro-oscuro : to which he added a delicacy of pencil and a patience in working up his colours to the highest degree of neat- ness superior to any other master. His pictures are usually of a small size with figures exquisitely touched, transparent and delicate. Douw was incontestably the most wonderful in his finishing of all the Flemish mas- ters, although the number of artists of that school who have excelled in this particular style is quite large. Everything that came from his pencil was precious even in his life-time, and his works being not numerous, from the immense labour he bestowed upon a single one, they have always commanded enormous prices. About 225 pictures in the various public and private galleries are acknowledged genuine works by the master ; they include : interiors of apartments — persoits engaged at arched windows — hermits, Magdalens, and saints — por- traits and heads, — candlelight pieces and a few exterior and fajtcy subjects. The ‘Dropsical Woman,’ in the Louvre, is unquestionably the chef- d' oeuvre of G. Douw ; next come ‘Le Menage’ at Turin, the ‘Poul- terer’s Shop ’ in the National Gallery, and the ‘ Violin Player ’ in the Bridge- water Galleiy. It may be safely asserted that a single original picture by this artist is not seen in the market once in ten years. Among his nu- merous imitators and copyists, Franz Miej'is the elder, Peter van Slinge- landt and Dominick van Tol, his scholars, were the most successful. Next come Bernard Coders, G. van Heckel, B. Maton, Louis de Moni, Adrian de Passe, Henry Potuil, Adrian van Staveren, Robert Tournier, Eliza- beth Gertrude Wassefnberg, Jakob Jan Lauwcrs, G. Vesbrugen, Renier Bj'aketnberg, &c. He died in 1675. Doyen (Gabriel Fran9ois), French. Sci'iptural history. 1726-1806. Draghi (Giovanni Battista), Italian. Genoa. Scriptural history. 1657- 1712. Dreux (Alfred de), French. Horses. 1808-1860. Drever (Adrian van), Dutch. Landscapes. Marines. About 1673. Drielst (Egbert van), Dutch. Landscapes. 1 746- 1818. Drillenburg (William van), Dutch. Landscapes. Imitator of John Both. B. 1625. Drolling (Martin), French. In- teriors. Fancy subjects. 1752-1817. Droogsloot (J. Cornelisz), Dutch. Landscapes. Village festivals. Por- traits. History. About 1630. Droogsloot (Nicholas), Dutch. Scenes of low life. 1650— 1702. Drossaert ( ), Dutch. Land- scapes with ruins, Stag-hunts. 17th century. Drost (N.), Dutch. Imitator of Rembrandt. History. 1636-1690. Drouais (Jean Germain), French. History. Portraits. 1763-1788. Druyvesteyn (Arnold Jansse), Dutch. Landscapes. 1564-1617. DUBBELS (Henry, Jan, Thierry, and Peter), four Dutch painters, of whom little is known except their Dictionary of Painters. 95 works. River and winter scenes. Alarines. iSth century. Dubois (Ambroise), French. History. 1 543- 1615. Dubois (Cornelius), Dutch. Land- scapes. Imitator of Jacob Ruysdael. About 1650. Dubois (Edward), Flemish, Land- scapes. Portraits. 1622-1699. Dubois (Simon), Flemish. Land- scapes. Battle pieces. D. 1708. Dubordieu (Peter), Dutch. Por- traits. 17th century. Dubourg (Louis Fabricius), Dutch. History. 1693-1775. Dubreuil (Toussaint), French. School of Fontainebleau. History. D. 1602. Dubufe (Claude Marie), French. Scholar of David. History. Por- traits. i789(?)-i864. DUC, or DUCQ (John le), a Dutch painter of eminence, born at the Hague in 1636, studied under Paul Potter, whose manner in paint- ing animals he at first imitated ; but he afterwards changed his style and painted interiors with card-players, assemblies of officers, guard-rooms, &c. D, 1695. Ducart (Isaac), Dutch. Flower pieces on velvet. 1 630- 1697. Duchemin (Catherine), a French paintress. Fruit. Flowers. 1630- 1698. Duchino (II), See Landriani. Duck (Jacob le), Dutch. Ln- teriors. Conversations. About 1626. Ducq (Joseph Fran9ois), Flemish. History. Portraits. 1762-1829. Ducreux (Joseph), French. Por- traits. 1737-1802. Dufau (Fortune), French. History. D. 1812. Dufresne (Charles Louis), French. History. Portraits. 1635-1711. Dughet. See Poussin. Duiven (Jan), Dutch. Portraits, I 600- I 640, Dulin (Pierre), French. History. 1670-1748. Dullaert (Heyman), Dutch. History. Portraits. 1636- 1684. Dumont (Jean), French. History. B. 1700. Dumontier (Daniel), French. Portraits. 1 500- 1631. Duncan (Thomas, A.R.A.), Bri- tish. History. Portraits. 1807- 1845. Dunker (Balthazar Anthony), Dutch. Landscapes. 1746-1807. Dunlap (William), American. History. Portraits. 1 766- 1835. Duplessis (Joseph Sifride), French, History. Portraits. Landscapes. 1725-1802. Dupont (Gainsborough), English, Landscapes. Portraits. 1767-1797. Duque Cornejo (Don Pedro), Spanish. History. 1677-1757. Durand (Jacques), French. History. 1699-1767. Durante (Count Giorgio), Italian. Brescia. Flowers. Birds. 1683- 1755... DURER (Albert), an illustrious German artist, was born at Nurem- berg in 1471. He received his first instruction from Martin Hapse, after- wards from Michael Wolgemuth, then travelled for four years through Ger- many and the Netherlands. On his return to Nuremberg, he exhibited some works with considerable success, married, and in 1505 went to Venice and Bologna to improve himself. Though Diirer was most famous as an engraver, yet he executed many large paintings. In the royal collection at Munich are some of the most cele- brated : ‘Adam and Eve,’ the ‘Ado- ration of the Magi,’ a ‘Crucifixion,’ the ‘Crowning of the Virgin,’ a ‘ Battle between Alexander and Darius,’ . . . &c. It has been ob- served of Diirer, as a painter, that he studied nature only in her unadorned state ; but his imagination was lively, his composition grand, and his pencil delicate. He finished his works with exact neatness, and he was particularly E 3 96 The Picture Amateur's Handbook. excellent in his Madonnas, though he encumbered them with heavy draperies. Fuseli says that ‘ the colouring of Diirer went beyond his age, and in his easel pictures it as far excelled the oil colour of Raffaelle in force, and breadth, and handling, as Raffaelle excelled him in every other quality.’ He died in 1528. — Principal followers and imitators : — Hans Baldung, Fernando Gallegos, Gherardo^ Paul yiLvenel, Albert Altdorfer. Dusart (Cornelius), Dutch. Imi- tator of A. van Ostade. Village festi- vals. Merry-making, &c. 1665-1714. Duval (Nicholas), Dutch. History. Portraits. 1 644- 1732. Duval (Philippe), French. History^ 1672-1709. Duvenede (Mark van), Flemish. Scholar of C. Maratti. History. 1674-1729. Duynen (Isaac van), Dutch. Fish. Still-life. About 1670. DYCE (William, R.A.), a British painter of eminence, born in 1806, painted with considerable merit his- torical compositions in oil and fresco, and portraits. He died in 1864. Dyk (Florus van), Dutch. History. Fruit. Flowers. 1 600- 1 649. Dyxhoorn (Peter Arnout), Dutch. River scenes. Marine views. 1810- 1839. E EASTLAKE (Sir Charles Lock, P.R.A.), an eminent English painter, was born at Plymouth in 1793. He received some early in- struction from Prout, then he became a student in the Academy Schools, and travelled for several years on the Continent, especially in Italy and Greece. Among his most important works are ‘Haydee, a Greek Girl,’ in the National Gallery, ‘Greek Fugi- tives,’ the ‘Escape of Francesco di Ferrara,’ the ‘Martyr,’ and several portraits. He was elected in 1850 the President of the Royal Academy, and received the honour of knight- hood. Died at Pisa, 1865. Echardt, or Eccardt (John Giles), German. Portraits. About 1740. Eckhard (George Ludwig), Ger- man. Portraits. B. 1769. EDEMA (Gerard), Dutch. Land- scapes with I'ocks and waterfalls in the style of Everdingen. The figures in his landscape were usually painted by John Wyck. 1652-1700. Edema (Nicolas), Dutch. Eastern landscapes. 1 666- 1 722. Edmonstone (Robert), British. Portraits. Fancy subjects, with chil- dren. 1795-1834. Edridge (Henry, A. R. A. ), English. Miniatures. 1 769- 1821. Eeckhout( Anthony van der), Flem- ish. Flowers. Fruit. 1666- 1695. Eeckhout (Gerbrant van der), Dutch. Scholar of Rembrandt. Por- traits. History. 1621-1674. EGG (Augustus Leopold, R.A.), a distinguished English painter, born in London, 1816, was a pupil of Sass, afterwards a student of the Royal Academy. He painted subjects, such as his ‘ Spanish Girl,’ his ‘ Buck- ingham rebuffed,’ his ‘Lucretio and Bianca,’ &c., with considerable merit, was elected a R.A. in i860, and died in Algiers in 1863. Egmont (Justus van), Dutch. Scholar of Rubens. History. 1602- 1674. Ekels (Jan), Dutch. Views of cities in the manner of Jan van Compe. 1722-1781. Ekels (Jan), the younger. Interiors. Conversations. Familiar scenes. Por- traits. 1759-1793. ELBRUCHT, ELBURCHT, Dictionary of Painters. 97 or ELBURGH (Jan van), called Kleinhansken., or Little John. Flemish. History. Excellent landscapes and sea-storms. 1 500- 1 546. Elliger, or Eiger (Ottomar), the elder, Dutch, Flowers, druit. 1633- 1686. Elliger, or Eiger (Ottomar), the younger. History. 1666-1732. Elsheimer, or Elzheimer. See Hilzheimer. Elst (Peter van der), Dutch. A scholar of G. Douw. Candlelight scenes. About 1655. Emelraet ( ) Flemish. Land- scapes. 1612-1668. ENGELBRECHTSEN (Cor- nelius), an old Dutch painter, born at Leyden in 1468, studied with great assiduity the works of John van Eyck, and was probably the first Dutch artist who painted in oil. Those works of his are preserved in the churches of Leyden, where he died in 1533. Engelraems (Cornelius), Flemish. History in distemper, 1527-1583. Ens, or Enzo (Cav. Giuseppe), called the younger. Italian. Venice. Plistory. About 1660. Ens (Giovanni), Italian. Milan. History. i6th century. Ercolanetti (Ercolano), Italian. Perugia. Landscapes. About 1683. Ermels (John Francis), German. History. Landscapes in the style of J. Both. 1641-1693. Errante (Giuseppe), Italian. Tra- pani. History. 1760- 1821. Escalante (Juan Antonio), Span- ish. History. 1630- 1670, Espagnoletto. See Ribera. Espana (Juan de), Spanish, Scholar of Perugino. In Italy from 1500 to 1520. Espinosa (Jacinto Jeronimo de), Spanish. History. 1600-1680. Esquarte (Pablo), Spanish. Scholar of Titian. Portraits. T 6th century. Esselins (Jacob), Dutch. Land- scapes. Stag-hunts. 17th century. ETTY (William, R.A.), an emi- nent English painter, born at York in 1787, was a student of the Royal Academy ; first he thought of paint- ing landscapes, then inclined to heroic subjects, and then devoted himself, as he said, to ‘ God’s most glorious work, Woman.’ His progress was slow, but his earnest study from the nude gave him an unequalled power of imitating flesh, both in colour and texture. He delighted in painting the beauty of the female form, and while it cannot be denied that his subjects were of a voluptuous character, pure- minded himself, he was hurt that they shovild be so deemed by others. He was elected a R.A. in 1828, and died in 1849. Evangelist! (Filippo), Italian. Rome. History. About 1745. Everardi (Angelo), Italian. Battle pieces. 1 647-1678. Everdingen (Ctesar van), Dutch. History. Portraits. 1606-1679. EVERDINGEN (Albert van), an eminent Dutch painter, born in 1621, studied successively under Roland Savery and Peter Molyn, both of whom he greatly surpassed. He excelled in painting rocky landscapes and marine views, representing the sea under the most tremendous agita tion. His colouring is simple and pure, his touch broad and free. The small figures with which he decorated his landscapes are correctly drawn and very neatly touched. Flis small pic- tures are superior to his larger ones, both in pencilling and finishing, and they are very highly valued. Fie died in 1675. N.B. — His works are very frequently sold under the name of Hobbema, Ruysdael, or Eackhuysen. EYCK (Hubert and John van), brothers, illustrious Flemish painters, bom at the town of Maeseyk on the river Maes. Their father was an ob- scure artist and instructed them in his rude Gothic style. They establi.shed themselves at Bruges, where they may 98 The Picture Amateur's Handbook. be said to have founded the Flemish school. It has long been asserted that these masters were the discoverers of oil colours. This is now disputed, and it seems to be satisfactorily proved that metal covering with oil colours was practised in Italy as early as the eleventh century. Undoubtedly, how- ever, the use of oil colours for painting practically originated with the Van Eycks, by them was introduced in Spain and Portugal and by their scho- lars into Italy. — The two brothers painted in concert until the death of the elder in 1426. Their most im- portant work was an altar-'piece with folding doors, representing ‘ The Adora- tion of the Lamb,’ ‘Adam and Eve,’ Fabio (di Gentile), Italian. Peru- gia. History. About 1442. Fabre (Fran5ois Xavier), French. History. 1766-1837. FABRIANO (Gentile da), Italian. Verona. Religious subjects. A con- temporary of Beato Angelico ; some of their works have a great resemblance to each other. Died about 1440. Fabricius (Charles), Dutch. Por- traits. 1624-1654. Fabrizzi (Antonio Maria), Italian. Perugia. Scholar of the Caracci. His- tory. B. 1594. Facini (Pietro), Italian. Bologna. Scholar of the CaraccL History. 1563- 1602. Factor (Fra Nicolo). See Fator. Faenza (Giovanni Battista da), Italian. Faenza. Scriptural history. End of 15th century. Faes ( ), Dutch. A scholar of Van Huysum. Fruit. Flowers. i8th century. Faes (Van der). See Lely. Faistenburger (Anthony), Ger- man. Architecture. Landscapes. 1678-1722. Falckenbourg (Frederick van), and ‘ St. Cecilia,’ part of which is now at Berlin, part at Ghent. John van Eyck painted several pictures after the death of his brother, and died in 1440. Eyck (Gaspar van), Flemish. Ma- rine inews. Naval combats. B. 1625. Eyck (Abraham van der), Dutch. Imitator of W. Mieris. About 1665. Eyckens (Peter), called the elder. Flemish. History. 1 599-1649. Eyckens (John and Franci?), bro- thers. Flemish. Fruit. Flowers. About 1675. Eyckens (Peter), called the younger. Flemish. History. B. 1650. Eynden (Franz van), Dutch. Ar- cadian scenes. 1694-1742. German. Landscapes. D. about 1623. Falco (Juan Conchillos), Spanish. History. 1651-1711. Falcone (Aniello), Italian. Naples. Battle pieces. 1600-1665. Falconet (Pierre), French. History. Portraits. About 1765. Falconetto (Giovanni Maria), Italian. Verona. History. Portraits. 1458-1534. Faldoni (Giovanni Antonio), Ita- lian. Asolo. Landscapes. About 1690. Falens (Charles van), Flemish. Hunting pieces. Imitator of Wouwer- man. 1684- 1733. Falgani (Gaspari), Italian. Flo- rence. ^Landscapes. About 1650. Fano (Bartolomeo and Pompeo da), Italian. Father and son. Scriptural history. About 1530. Fanone (Stefano), Italian. Naples. Religious subjects. B. 1318. Fanzone (Ferrari), Italian. Faenza. Scriptural history. 1562- 1645. He is sometimes called Ferrari da Faenza ; his two daughters, Teresa and Felice, painted also with reputa- tion at Faenza and at Bologna. Dictionary of Painters. 99 Farelli (Giacomo), Italian. Naples, Religious subjects. B. 1624, Fargue (Paul Constantin la), Dutch. Views of the Hague. About 1765 - fa R I N A T O (Paolo) degli Uberti. Italian. Verona. A good scholar of Titian, and perhaps also of Giulio Romano. From the elevated style of his design he surpassed most of the Venetian painters. Scriptural history. 1522- 1606. Farinato (Orazio), the son and scholar of the preceding, whoge manner he imitated. History. About 1615. Farington (George), English. His- tory. 1754-1788. Farington (Joseph, R. A.), English. Landscapes. 1747-1821. Farrer (Nicholas), English. Por- traits. 1754-1805. Fasano (Tommaso), Italian. Na- ples. Religious subjects. About 1700. Fasolo (Giovanni Antonio), Italian. Vicenza. Scholar of Veronese. His- tory. 1528-1572. Fassin (Nicolas Henri Joseph de), Flemish. Landscapes. 1728-1811. Fassolo (Bernardino), Italian. Pavia. Scholar of Leonardo da Vinci. About 1520. Fator (Fra Nicolas), Spanish. Re- ligious subjects. 1 522-1583. Fattore (II). See Pemii. Faulkner (Benjamin), English. Poi'traits. 1 787-1849. Fava (Conte l^ietro), Italian. Bo- logna. Scriptural history. 1669- 1744. Favray (Chevalier Antoine de), French, Conversations. History. B. 1706. Fehling (Henry Christopher), Ger- man. History. Portraits. 1653- 1725. F ei (Alessandro), called del Barbiere. Italian, Florence. History, Born 1538. Feltrini, or Feltrino (Andrea), Italian. Flowers. Grotesque oi'na- mental works. B. 1543. Feltro (Morto da), Italian. Flor- ence. Grotesque ornamental works. 1468-1513. Feminia (Gabriel), Spanish. Land- scapes. 1 8th century. Ferabosco (Pietro), Italian. Lucca. History. Portraits. About 1616. Ferdinand (Louis), French. Por- traits. About 1640. Ferg (Paul Franz), German. Ar- chitectural landscapes. D. 1740. Fergioni (Bernardino), Italian. Rome. Marines. About 1718. Ferguson (William), British. Dead game. Still-life. About 1690. Fernandez (Francisco), Spanish. History. 1 604- 1646. Fernandez de Laredo (Juan), Spanish. Histo 7 y. 1632-1692. Fernandez (Luis), Spanish. His- tory. 1596-1654. Fernandi (Francesco), called A// - periale. Italian. Rome. History. About 1730. Fernando d’ Arias (Antonio), Spanish. History. D. 1644. Ferracuti (Giovanni Domenico), Italian. Macerata, Landscapes. Wm- ter scenes. About 1650. Ferrada (Cristobal), Spanish. Re- ligious subjects. 162O-1678. Ferrajuoli degli Aflitti (Menzio), Italian. Naples. Landscapes. Born 1661. Ferramola (Fioravante), Italian. Brescia. Religious subjects. About 1512. F errand (Jacques Philippe), French. Scholar of Mignard, Por- traits. 1653-1732. Ferrante (Giovanni Francesco), Italian. Bologna. Religious subjects. D. 1652. Ferranti (Decio and Agostino), father and son. Milan. Miniatures. About 1500. Ferrantini (Gabriello), called degli Occhiali. Bologna. History. About 1588. Ferrantini (Ippolito), Bologna. Scholar of the Caracci. History. About 1600. lOO The Picture Amateur's Handbook. Ferrara (Ercole da). See Grandi. Ferrara (Antonio da), Italian. Urbino. Scholar of A. Gaddi. Re- ligious subjects. About 1450. Ferrara (Cristophoro), Italian. Ferrara. Scholar of Vitale. Reli- gious subjects. About 1380. Ferrara (Galano), Italian. Fer- rara. Religious subjects. 1404- 1462 Ferraresino (II). See Camillo Berlinghieri. Ferrari (Gaudenzio), called Mi- lanese. Italian. Milan. History. 1484-1550. Ferrari (Giovanni Andrea), Italian. Genoa. History. Landscapes. Animals. Fruit. Flowers, 1598-1669. Ferrari (Gregorio de’), Italian. Genoa. Imitator of Correggio. His- tory. 1644-1726. Ferrari (Abate Lorenzo), son of the preceding. Imitator of Correggio. History. 1 680- 1 744. Ferrari (Luca de’), Italian. Reggio. Scholar of Guido. History. 1605-1654. Ferrari (Orazio), Italian. Voltri. Scriptural history. 1 606- 165 7. Ferrari (Leonardo), called Leo- nardino. Italian. Bologna. Scrip- tural history. About 1620. Ferrato (Sasso). See Salvi. Ferretti (d’lmola), Italian. Flor- ence. History. B. 1692. Ferri (Giro), Italian. Rome. Scholar ot P. da Cortona. History. i 634(?)- i 689. Ferroni (Girolamo), Italian. Milan. History. B. 1687. Ferrucci(Nicodemo), Italian. Flor- ence. Scholar ot Passignano. His- tory. D. 1650. Fesele (Melchior), German. His- tory. About 1525. FETI (Domenico), an eminent Italian painter, born at Rome, 1589, was a scholar of Lodovico Cardi, called Cigoli, but afterwards studied at Mantua the works ot Giulio Ro- mano. He painted history and por- traits with considerable merit, and died young at Venice in 1624. Fevre (Claude le), French. Por- traits. Landscapes. Scholar of Lesueur and Le Brun. D. 1675. Fevre (Roland le), called de Venise, French. Portraits. Gallant subjects. Died in 1677. Fevre (Robert le), French. Por- traits. History. 1756-1831. Fiacco, or Flacco (Orlando), Ita- lian. Verona. History. About 1560. Fialetti (Odoardo), Italian. Bo- logna. History. 1573-1638. Fiammingo (Arrigo), Flemish. Religious histoiy. Died at Rome about 1602. FIAMMINGO. There are a large number of painters of this name, who painted in Italy, were called so by the Italians on account of their country, and whose family or even Christian names are lost, which occa- sions much confusion. Fiasella (Domenico), called II Sarzano. Italian. Genoa. History. Portraits. 1 589- 1 669. Ficatelli (Stefano), Italian. Cento. History. About 1 700. Ficherelli (Felice), called Felice Riposo. Italian. Florence. History. 1605-1660. Fidani (Orazio), Italian. Florence. Scholar of Bilivert. History. D. 1642. Fiddes (Peter), called van Har- lingen. Dutch. Portraits. Conversa- tions. 1588-1634. FIESOLE (Fra Giovanni da), called Angelico, an excellent old Flo- rentine master, born at Fiesole in 1387. According to Lanzi, his first essay in art was illuminating missals and other works in miniature, in Avhich he seems to have been instructed by a Dominican monk. At the age of twenty he became a member of that order, but did not leave painting. His works (exclusively religious sub- jects) possess great merit, both in de- sign or colouring and expression. He died in 1445. Figino (Ambrogio), Italian. Mi- lan. History. About 1590. Dictio7iary of Painters. loi Figino (Girolamo), Italian. Mi- lan. History. About 1595. Filgher (Corrado), German. Land- scapes. About 1 660. Filicus (John), Dutch. Scholar of Slingelandt. Conversations. Portraits. 1660-1719. Filippi (Camillo), Italian. Ferrara. Scholar of D. Dossi. Histoiy. 1550-1585. FILIPPI (Sebastiano), called tianino., the son of the preceding. Scholar of Buonarroti. History. 1532-1602. Filippi (Cesare), son of the preced- ing. Grotesque ornaments. History. 17th century. Fiore (Cola Antonio del), Italian. Naples. History. 1354-1436. Fiore (Jacobello del), Italian. Venice. History. About 1425. Fiorentino (Tommaso), Italian. Florence. Grotesque subjects. About 1511- Fiori (Cesare), Italian. Milan. History. 1636-1 702. Fischer (Anne Catherine), a Ger- man paintress. Flozuers. About 1664. Flamenco (Miguel el), Flemish. Scholar of Rubens. History. Por- traits. Died in Spain 1650. Flegel (George), German. Still- life. About 1563, d. 1638. Flemael (Bertholet), Flemish. History. 1614-1675. FLINK (Govaert), a distinguished Dutch painter, born atCleves in 1614, studied under Rembrandt, and painted in the manner of his illustrious master historical compositions and portraits of no little merit. He died in 1660. Floriano (Flaminio), Italian. Venice. Scholar of Tintoretto. His- tory. 1 6th century. Florigorio (Bastiano), Italian. Udine. Llistory. About 1533. FLORIS (Franz), an eminent Flemish painter, whose family name was De Vriendt ; born at Antwerp in 1520, entered the school of Lambert Lombard, then went to Rome, where j he studied the works of Buonarroti with great assiduity. On returning to his native country, he exhibited a more elevated style of composition, and a more noble and correct design than had been practised by any pre- vious Flemish painter, and he was honoured with the appellation of the Raffaelle of the Flanders. He painted historical and allegorical subjects, and died in 1570. Fogolino (Marcello), Italian. Flo- rence. History. 1 5th century. Foler (Antonio), Italian. Venice. Imitator of Veronese. History. 1530- 1626. Fontaine (Pierre la), French. In- teriors of churches, in the manner of Steenv^ck and Peter Neefs. 1758- 1835. Fontana (Alberto), Italian. Mo- dena. Imitator of Nic. dell’ Abati. About 1540. Fontana (Prospero), Italian. Bo- logna. History. Scholar of Vasari. 1512-1597. Fontana (Lavinia), daughter of the preceding. History. Portraits. 1552- 1614. Fontenay (Jean Baptiste Blain de), French. Flowers. Still-life. Scholar of Jean Baptiste Monnoyer. D. 1715. Fontyn (Pierre), Dutch. Por- traits. Interiors. 1773-1839. Foppa (Vincenzio), Italian. Bres- cia. History. About 1460. Forabosco, or Ferabosco (Giro- lamo), Italian. Venice. History. About 1655. Forbicini (Eliodoro), Italian. Ve- rona. Grotesque subjects. About 1586. Forbin (Count de), French. His- tory. 1779-1841. Forest (Jtan Baptiste), French. Landscapes. Scholar of Fr. Mola. 1636-1712. Formentini (II), Italian. Verona. Landscapes. About 1 700. Fornari (Simone), called Italian. Reggio. History. 16th century. 102 The Picture Amateur's Ha7tdhook. FORTUNY (- — ), a pre-eminent Spanish painter, born at Barcelona 1839, died prematurely, at the age of thirty-five, 1874. Some of his most successful pictures were those of battle scenes, in the style of Horace Vernet, and he accompanied for this purpose the campaign of General Prim in Morocco, He went afterwards to Paris, where Gerome and Meissonier had a fresh influence on his art. At Rome, where he proceeded subse- quently, he soon founded an immense reputation, and formed a school which numbers among its ranks some of the cleverest of the rising artists of Italy, History. Genre. He was, above all, a colourist. Fosse {Charles de la), French. History. Landscapes. Allegories. 1640-1716. Fouchier {Bertram de), Dutch. Scholar of Vandyck. Rustic festivals. 1609-1674. Foucquet {Jehan), an old French master. Excellent portraits. Reli- gious miniatures. 1415. About 1485. FOUQUIERES {Jacques), an eminent Flemish painter, born at Antwerp in 1580, studied under John Breughel, and v^as occasionally em- ployed by Rubens to paint the land- scapes of his works. He subsequently went to Italy, where he gained great improvement, especially from the ad- mirable landscapes of Titian. Died in 1659, FRAGONARD {Jean Honore), an eminent French painter, was born at Grasse in 1733, and died in i8o6. He studied under Chardin and Bou- cher, painted a few allegorical and historical subjects, but soon went to the conversations, musical and gallant parties which are more especially asso- ciated with his fame. As he met with great success, his imitators and copyists were numerous ; among the best, Etienne Aubry, Benazetch, Val- lin, and Marguerite Gerard are re- corded. FRANCESCA {Pietro della), called also Pietro Borghese and P. da Borgo San Sepolcro, an old Italian master, born in the province of Umbria in 1398, evinced in his works the be- ginning of that great style which was afterwards improved by his scholar Perugino, and perfected by Raffaelle. Religious subjects. He died in 1484. Franceschini {Baldassare), called II Volterrano. Italian. History. D. 1689. Franceschini (Cav.Marc’ Antonio), Italian. Bologna. History. 1648- 1729. Franceschitto, or Francisquito. Spanish. Religious subjects. 17th century. Franchi {Antonio), Italian. Lucca. History. 1634-1709. Franchi {Lorenzo), the younger. Italian. Bologna. Scholar of the Caracci. 1563-1630, FRANCIA (Francesco Raibolini, called), an illustrious Italian master, born at Bologna in 1450, was bred a goldsmith, and did not begin to exer- cise his pencil till he had arrived at maturity of manhood ; but he soon equalled, if he did not excel, in his new path, any of his predecessors. Malvasia says ‘ he was esteemed and celebrated as the first man of the age,’ and Vasari asserts that ‘he was held in the estimation of a god.’ But the coming of Raflaelle threw him, as well as all his contemporaries of the old school, far into the shade, though the master himself highly praised the Ma- donnas of F rancia, ‘ never having be- held any more beautiful, more devo- tional in their expression, and more finely composed by any artist. ’ F rancia painted exclusively religious subjects and a portraits. His manner is nearly between those of Perugino and Bellini : it boasts the choiceness and the tone of colour of the former, while in the fulness of its outlines, in the skill of the folding, and the ample flow of the draperies, it bears greater resem- Dictionary of Painters. 103 blance to the latter. He died in 1 51 7(?), Imitators and copyists very numerous. Malvasia had in his journals the names of no less than 220 of them. The most successful were Francesco Ca- prioli, Simone Fornari, Giacomo Francia, Girolamo Marchesi, and Lodovico da Parma. Francia (Giacomo), son and scholar of the preceding. Religious history. D. 1575- Francia (Domenico), Italian. Bo- logna. Court festivals. 1702-1758. Franck (Constantin), Flemish. Battle pieces. Sieges. About 1660. FRANCK, orFrancken (Jerome, Francis, and Ambrose), three brothers, scholars of Franz Floris, lived and painted religious history at Antwerp from 1542 to 1620. FRANCK, or Francken (Sebas- tian and Francis), of the same family, painted landscapes, battle pieces, and h istory. 1573-1642. FRANCK, or Francken (John Baptist), another painter of the same family, was celebrated for interiors of saloons and galleries, decorated with pictures of works of art, and for con- versation pieces. He also painted figures in the churches of Peter Neefs. B. 1600. Franco (Alfonso), Italian. Messina. 1466-1 524. Franco (Angiolo), Italian. Naples. Style of Giotto. Religious subjects. D. about 1445. Franco (Battista), called II Se?nelei. Italian. Venice. History. 1498-1561. Franco (Giuseppe), called Italian. Rome. History. 17th century. Franco (Lorenzo), Italian. Bolo- gna. History. B. 1563. Francois (Lucas), Flemish. His- tory. 1574-1643. Francois (Peter), son of the pre- ceding. History. Poj'traits. 1606- 1654. Fran9ois (Simon), French. Por- traits. 1 606- 1 67 1 . Francucci (Innocenzio), called da pjiola. Italian. Bologna. History. About 1540. Franquaert (James), Flemish. History. 1 577-1652. Frans (Nicholas), Flemish. His- tory. B. 1539. Fraser (Alexander), a British painter, born in Edinburgh, 1786, was for twenty years an assistant to Wilkie, on whose pictures he painted the details and still-life, and at the same time produced several pictures of his own, chiefly incidents of Scot- tish life, in the style of his illustrious friend. D. 1865. Fratacci, or Fratazzi (Antonio), an imitator of Carlo Cignani. Parma. About 1730. Fratellini (Giovanna), an Italian paintress. Florence. History. Por- traits. 1 666- 1 73 1 . Fratellini (Lorenzo Maria), son of the preceding. History. Portraits. 1690-1729. Frattini (Gaetano), Italian. Bolo- gna. History. 17th century. Freminet (Martin), French. His- tory. I 567- I 61 9. Freres (Dirk), Dutch. History. 1643-1693. Fresnoy (Charles Alphonse du), French. History. 1611 1665. Fries (Ernest), German. Land- scapes. 1801-1833. Friquet (Jacques Claude), called de Vaux-rose, French. History. 1648- 1716. Frits, or Fritz (Peter), Dutch. Incantations and other fancy subjects. 1635-1682. Fritsch (Daniel), German. Imi- tator of Lucas Cranach. Religious subjects. 1 590. Frontier (Jean Charles), French. History. 1701-1763. Frutet (Francisco), Flemish. His- tory. Seville about 1548. Fruy tiers (Philipp), Flemish. His- tory. Portraits. 1625-1677. Frye (Thomas), English. Portraits, 1710-1762. 104 The Picture A mateuPs Handbook. Fuente (Jean Leandro de la), Spa- nish. History. 1600-1654. Fuessli. See Fuseli. Fuessli (John Caspar), Swiss. Portraits. Landscapes. 1706-1781. Fuessli (John Rodolph), son of the preceding. Portraits. 1737-1806. Fiiger (Fred. Henry), German. History. Portraits. 1751-1818. Fuller (Isaac), English. History. Portraits. 1606-1672. Fumiani (Gio. Antonio), Italian. V enice. History. 1 643-1 710. Fumicelli (Lodovico), Italian. Trevigi. History. About 1536. Furini (Francesco), Italian. Flo- rence. Religious and fabulous his- tory. 1604-1649. FUSELI (Henry), or Fuessli, a celebrated Swiss painter, son of Caspar Fuessli, born at Zurich in 1741, settled in London in 1778, was appointed in 1804 professor of painting and keeper of the Royal Academy, and for thirty-seven years lived and painted in England, where he died in 1825. His subjects are generally from the greatest poets or writers of wild and wonderful fictions. Buonarroti Gaal (Barent), Dutch. Horse-fairs. Battles. Hunting pieces. In the man- ner of Ph. Wouwerman. 1650- *703- Gaal (Peter), Dutch. Portraits. Landscapes. Live and dead game. Familiar scenes. 1770-1819. Gaal (Thomas), Dutch. Portraits. Birds. Flowers. 1739-1817. Gaast (Michael de), Flemish. Landscapes with ruins. Animals. Figures. B. i 5 io> Gabassi (Margherita), a Modenese paintress. Humorous pieces. About 1810. Gabbiani (Antonio Domenico), Italian. Florence. History. Subjects Wiih children. 1652-1726. was his model. ‘ As a painter, ’ says Allan Cunningham, ‘ his merits are of no common order. He was no timid or creeping adventurer in the region of art, but a man peculiarly daring and bold, who rejoiced only in the vast, the wild, and the wonderful, and loved to measure himself with any subject, whether in the heaven above, the earth beneath, or the waters under the earth. His main wish was to startle and astonish — it was his ambition to be called Fuseli the daring and imaginative, the illus- trator of Milton and Shakspeare, the rival of Michael Angelo.’ FYT (John), an eminent Flemish painter, born at Antwerp in 1625, painted animals, especially birds and dogs, with almost unequalled success. He was often employed by Rubens, Janssens, Crayer and others to paint the animals in their pictures : a very high compliment, especially from Ru- bens, who excelled in representing every species of animals. His ablest imitator and copyist was David Co- ninck, called Pommelaer. He died in 1671. Gabron (William), Flemish. Fruit. Flowers. 1625-1679. GADDI (Gaddo), an old Floren- tine painter, contemporary and friend of Cimabue. Religious subjects. 1239- 1312. GADDI (Taddeo), son of the pre- ceding, born at Florence in 1300, studied under Giotto, and perhaps surpassed him in the expression of his heads and the delicacy of his colour- ing. He died about 1365. GADDI (Angiolo), son of Taddeo G., was born in Florence in 1324, followed the style of his father, i*?,- ligious subjects. D. 1387. Gaelen (Alexander van), Dutch. Battle pieces. Huntings. 1670 1723. Dictioiiary of Painters. 105 Gagliardi (Cav. Bernardino), Italian. Citta di Gastello. Histo 7 y. 1609-1660. GAINSBOROUGH (Thomas, R.A.), an illustrious English master, born at Sudbury, in Suffolk, 1727, went to London when about 1 5 years of age, and studied under Gravelot, an engraver, and Hayman, a reputable painter ; at the age of 19 he began practising as a landscape and port^'ait painter, first at Ipswich, and after- wards in Bath. In these days ‘ he was chiefly employed and esteemed as a portrait painter, while his land- scapes were disregarded. Later, — it may be eclipsed by the reputation of Reynolds, — his landscapes were deemed his chief works. It is said that Sir Joshua at an Academy dinner gave “The health of Mr. Gainsborough, the greatest landscape painter of the day,” to which Richard Wilson, R.A. , probably nettled, retorted, ‘ ‘ Ay, and the greatest portrait painter too,” an assertion which has now become the opinion of many. Gainsborough’s portraits, particularly females, possess some of the sweetest qualities, — fresh in colour, pure and silvery in tone, graceful without affectation, the back- grounds excellent. His rustic figures no less delight by their charms of simple nature ; and his landscapes, into which cattle and figures are intro- duced with great art, are filled with nature’s truths.’ He had been chosen one of the foundation members of the Royal Academy, and in 1774 settled in London, where he died in 1788. The works of Thomas Gainsborough now command almost fabulous prices. They have been largely i?nitated, es- pecially by Dupont (Gainsborough), a nephew and scholar of the master, and by George Frost, As regards copies, both old and new, they are innumerable. Galanino (Baldassare Alloisi), Italian. Bologna. History, 1578- 1638. Galantine (Ippolito), Italian. Genoa. Religious subjects. D. 1706. Galassi(Galasso), Italian. Ferrara. History. About 1400. Galeotti (Sebastiano), Italian. Florence. History. 1676-1746. Galestruzzi. Italian. Florence. History. B. 1618. Galizia (Fede), an Italian paintress. Milan. Histo)y. Landscapes. About 1616. Gallardo (Matteo), Spanish. His- tory. About 1657. Gallegos (Fernando), Spanish. History. 1461-1550. Galli (Giovanni Maria), called Bibiena. Italian. Bologna. Scholar of Albano. History. D. 1665. GALLI (Ferdinando), called Bi- biena, son of the preceding. Scholar of C. Cignani. Ornamental and de- corated pictures of considerable merit. 1657-1743. GALLI (Francesco), called Bibiena, brother of the preceding. Scholar of C. Cignani. Usually painted the figures in the compositions of Ferdi- nando G. 1659-1739. GALLI (Antonio), Bibiena, a son of Ferdinando G. Followed the style of his father. 1700-1756. His son Carlo was also a theatrical painter. Gallinari (Pietro), Italian. Bologna. Scholar of Guido Reni. History. D. 1664. Galloche (Louis), ^ French. His- tory. 1670-1761. Galvan (Don Juan), Spanish. His- tory. 1598-1658. Gambara (Lattanzio), Italian. Brescia. History. 1 541 - 1574. Gambarini (Giuseppe), Italian. Bologna. Familiar and domestic subjects. 1 680-1 725. Gamberati (Girolamo), Italian. Venice. History. 1560- 1628. Gamberucci (Cosimo), Italian. Florence. History. About 1610. Gamelin ( Jacques), French. His- tory. 1739-1803. io6 The Picture AmateuPs Handbook. Gandia (Juan de), Spanish. Archi- tectural and perspective views. About 1720. Gandini (Giorgio) del Grano. Italian. Parma. Scholar of Correggio. D. 1538. Gandini (Antonio), Italian. Brescia. Scholar of Veronese. His- tory. D. 1630. Gandolfi (Gaetano), Italian. Bo- logna. History. 1734-1802. Gandolfi (Ubaldo), elder brother of the preceding. History. 1728- 1781. Gandy (James), English. Portraits. Scholar of V andyck. 1619-1 689. Garbieri (Lorenzo), ca.\\QdIl Nipote. Italian, Bologna. Scholar- of the Caracci. History. D. 1654. Garbieri (Carlo), son and scholar of the preceding. History. Garbo (Raffaellino del), Italian. Florence. Scholar of Filippino Lippi. 1476-1534. Garcia (Francisco), Spanish. His- tory. 17th century. Garcia (Don Joseph Hidalgo), Spanish. History. 1656 to about 1710. Garcia (de Miranda), called El Manco. Spanish. History. Portraits. About 1730. Gardner (Daniel), English. Por- traits of small size. About 1780. Garemyn (John), Flemish. His- tory. 1 712- 1 799. Gargiuoli (Domenico), called Micco Spadaro. History. Landscapes. 1612-1679. Garnery (Jean Frangois), French, Portraits. Architectural viezos. Fancy subjects. 1755 — living in 1831. Garnery (Ambroise Louis), son of the preceding. Naval battles. About 1840. Gamier (Ft. Barthelemy), French. History. Portraits. B. I759- Garofolo. See Tisio. Garofolini (Giacinto), Italian. Bologna. History. 1666-1725. Garoli. Italian. Turin. Per- spective views. 1 638- 1 716. Garvey (Edmund), English. Land- scapes. Style of Richard Wilson. About 1790, Garzi (Lodovico), Italian. Pistoja. LListory. 1 640- 1721. Garzi (Mario), son and scholar of the preceding. History. Gasparini (Gaspare), Italian. Macerata. History. About 1585. Gaspars (John Baptist), Flemish. Poidraits. Died in London, 1691. Gassel (Lucas van), Flemish. Landscapes. i6th century. Gassies ( ), French. History. Allegory. Landscapes. Marines. Lnteriors of churches. About 1820. Gassull (Augustin), Spanish. His- tory. D. 1704. Gast (Michael de), Flemish. Ruins- with cattle. B. 1520. Gatta (Don Bartolomeo), Italian. Florence. Miniatures and small historical pieces. D . 1461. Gatti (Fortunate), Italian. Parma. History. About 1648. Gatti (Bernardo), called Sojaro. Italian. Cremona. Scholar of Cor- reggio. _ D. 1575. Gatti (Gervasio), the nephew of the preceding. Same style. History. About 1590. Gatti (Girolamo), Italian. Bolo- gna. Small historical subjects. 1662- 1726. Gatti (Oliviero), Italian. Parma. History. B. 1598. Gaudin (Luis Pascual), Spanish. History. D. 1621. Gauffier (Louis), French. History. 1761-1801. Gaulli (Giov. Battista), called Baciccio. Italian. Genoa. 1639- 1709. Gault (Pierre Marie de St. Ger- main), French. History. B. I754- Geddes (Andrew, A.R.A.), Bri- tish. Portraits. 1789-1844. Geel (John van), Dutch. Imitator of G. Metsu. Marine vieivs. 1631- 1698, Gelder (Arnold de), Dutch. His- Dictionary of Painters. 107 tory. Portraits. Imitator and scholar of Rembrandt. 1645-1727. Geldersman (Vincent), Flemish. History. B. 1539. Geldorp, Gelsdort, or Gualdorp (Gortzius), Flemish. Scholar of Fr. Pourbus. Portraits. History. D. 1611. Gelde (Claude). See Lorraine. Gellig’, or Gillig; (Jacob), Dutch. Fish. Still-life. Portraits. Land- scapes. D. 1688. Genga (Girolamo), Italian. Ur- bino. Scholar of Perugino. History. 1476-1551. Genga (Bartolomeo), son of the preceding. History. 1518-1558. Genillon (J. Baptiste Francois), French. Scholar of Vernet. Naval combats. Harbours. Conflagrations of ships. Eruptions of volcanoes by moonlight. D. 1829. Gennari (Giov. Battista), Italian. Cento. History. About 1600. Gennari (Benedetto), brother of the preceding. About 1 6 10. Gennari. Several painters of the same family followed in the 17th cen- tury. History. Genoels (Abraham), Flemish. Landscapes. 1 640- 1 703 . Gentile (Luigi Primo, called). Rome. History. Portraits. 1606- 1657. Gentileschi. See Lomi. Georget (Jean), French. Minia- tures. Copies after Gros, Gerard Douw, &c. 1760-1823. GERARD (Francois, Baron), an eminent French painter, born in 1770, studied under Louis David, and painted excellent portraits of the most eminent personages of his time, both French and foreign. LListorical sub- jects. D. in 1831. GERARDS (Mark), an eminent Flemish painter, went to England about 1580? was appointed painter to Queen Elizabeth, and painted nume- rous very interesting portraits and his- torical works. D. in 1598. GERICAULT (Jean Louis Theo- dore Andre), an eminent French painter, born at Rouen in 1 790, studied successively under Carle Ver- net and Guerin. He painted history and portraits with great vigour and effect. Among his best works the ‘ Wounded Cuirassier ’ and the ‘ Wreck of the Medusa ’ are most admired. D. in 1824. GERMAIN LLORENTE (Ber- nardo), Spanish. Religious history. He painted frequently the Virgin in the habits of shepherdesses. Many of his paintings pass current as the works of Murillo. 1685-1757. Germyn (Simon), German. Scholar of Schalken. • Fruit. Landscapes. 1650-1719. Gerrard of Haerlem. Dutch. Re- ligious history . 1460-1488. Gessi (Francesco), Italian. Bo- logna. Scholar and imitator of Guido. 1588-1649. Ghedini (Giuseppe), Italian. Fer- rara . History. 1710-1755. Gheest (Wybrand de), Dutch, History. 1591-1643. Ghent (Justus van), Flemish. A scholar of the Van Eycks. History. About 1470. Gherardi (Cristoforo), called Do- ceno. Italian. Borgo San Sepolcro. 1500-1552'. Gherardi (Antonio), Rome. Scho- lar of F. Mola. History. 1644- 1702. Gherardi (Filippo), Italian. Lucca. Scholar of P. da Cortona. History. 1643-1704. Gherardini (Alessandro), Italian. Florence, History. 1655-1723. Gherardini (Tommaso), Italian. Florence. LListory. 1 71 5-1 797. Gherardini (Stefano), Italian. Bo- logna, Domestic and familiar scenes. History. D. 1755. Gherings ( John), Flemish. Archi- tectural and perspective views. About 1665. Gheyn, or Ghein (J ), Flemish. io8 The Picture Amateur's Handbook. Scholar of Tempesta. Landscapes. Flowers. About 1630, Gheysels (Peter), Dutch. Still-life. Birds. About 1687. Ghezzi (Sebastiano), Italian. As- coli. Scholar of Guercino. History. About 1638. Ghezzi (Cav. Pietro Leone), son of the preceding. History. Caricature. 1674- 1755- Ghidone (Galeazzo), Italian. Cre- mona. History. About 1598. Ghiodarolo (Giov. Maria), Italian. Bologna. History. About 1600. Ghirlandaio. See Corradi. Ghisi (Giov. Battista Bertano), Italian. Mantua. Scholar of Giulio Romano. B. about 1500. Ghislandi (Domenico), Italian. Bergamo. Architectural and perspec- tive views. History. About 1662. Ghislandi (Giovanni), Italian. Milan. Perspective views of seaports. History. D. 1683. Giaquinto (Corrado), Italian. Naples. Scholar of Solimena. His- tory. D. 1765. Giarola (Antonio), called II Cav. Coppa. Scholar of Guido and Albano. History. 1595-1665. Gibelin (Esprit Antoine), French. History. 1739-1814. Gibson (Richard), called ‘ The Dwarf.’ English. Portraits. Imitator of Sir Peter Lely. 1615-1690. Gibson (William), nephew of the preceding. Miniatures after Lely. D. 1702. Gilarte (Mateo), Spanish. History. 1647-1700. Gilioli (Giacinto), Italian. Bologna. History. B. 1584. Gillardini, or Gherardini (Mel- chiore), Italian. Milan. History. D. 1675- Gillemans (John Peter), Flemish. Fricit. Flowers. B. 1672. Gillig (Jacob), Dutch. Landscapes. River fish. 1636-1688. Gillot (Claude), French. Satyrs. Grotesque subjects. 1673-1722. GILPIN (Sawrey, R.A.), English. Horses. A few histo 7 'ical subjects. He usually painted the horses in the com- positions of Barrett, who returned the compliment by painting the landscapes in Gilpin’s works. 1 733-1807. Gimignani (Giacinto), Italian. Pistoja. Scholar of Nic. Poussin and P. da Cortona. History. 1611- 1680. Gimignani (Lodovico), son and scholar of the preceding. History. 1644-1697. Ginassi (Caterina), a Roman paintress. History. 1590-1660. GIORDANO (Luca), called Fa Presto, an eminent Neapolitan painter, born in 1632, studied under Giuseppe Ribera, afterwards under P. da Cor- tona, and practised at Rome with great success, from the tender age of 15. Probably no artist ever produced as many pictures, not even Tintoretto. He imitated with equal facility and truth A. Dlirer, Bassano, Titian, Rubens, Guido, &c. ; and from imi- tating so many painters, he formed a manner combining the styles of nearly every master: so that he can have little claim to independence or origi- nality. D. in 1705. He had himself numerous imitators and copyists, namely: Ferra,nte A mendola, Don Juan Antonio Bonjas, Pedro de Calabria, Paolo de Matteis, Andrea Miglionico, Matteo Paccelli, Aniello Rossi, Niccolo Maria Rossi, Giuseppe Sifnonelles, Francesco Tramulles, &c. GIOTTO, a celebrated ancient Italian painter, born at Vespignano, near Florence, in 1276, studied under Cimabue and soon surpassed his mas- ter. He painted, with a grace and a correctness of design unknown up to his time, religious subjects, especially Madonnas, and portraits of admirable truth. He died in 1336. Giovanni di Paolo, Italian. Siena. History. About 1457- Giovanni di Matteo, Italian. History. About 1475 - Dictionary of Painters. 109 Girardet ( Jean), French. History. 1709-1778. Girodet-Trioson (Anne Louis), French. History. 1767-1824. Giunta. See Pisatio. GLAUBER (John), an eminent Dutch painter, born in 1646, studied under N. Berghem, afterwards tra- velled in Italy, then settled at Am- sterdam and painted landscapes of considerable merit. They are entirely in the Italian style and often decorated with classical figures by Gerard de Lairesse. He died in 1726. Glauber ( John Gottlieb), brother of the preceding. Landscapes. Sea- ports. Architectural views. D. 1703. Glauber (Diana), sister of the pre- ceding. History . Portraits . 1650- 1720. Gnocchi (Pietro), Italian. Milan. History. About 1595. Gobbo. See Giov. Battista Rossi. Gobbo (II). See Bonzi. Gobbo (Antonio). See Caracci. Gobbo (del). See Solari. Godewyck (Margaret), a Dutch paintress. Landscapes. Flowers. 1627-1677. GOEBOUW, or GOBAU (An- thony), Flemish. History. Rustic scenes. Battle-fields. Ltalian sea- ports and markets with figures in the style of Lingelbach, of considerable merit. 1625-1677. Goerce (John), Dutch. History. About 1700. GOES (Plugo van der), an old Flemish master, born at Bruges, about 1405. Studied under John van Eyck, and painted with great neatness, finish, and grace, religious szihjects. The expressive modesty of his women is quite characteristic. He died about 1480. Goetz (Gottfried Bernard), Ger- man. History. Portraits. B. 1708. Goltz, or Goltzius (Hubert), Flemish. History. 1520-1583. Gomez (Vicente Salvador), Spanish. History. Landscapes. Ani- mals. Architectural views. D. 1698. GOMEZ (Sebastiano), called El Midato de Murillo, a mulatto servant of the great Spanish master, who, having a natural taste for art, was in- duced to attempt during his leisure hours to acquire a knowledge of painting, and after the death of Murillo obtained considerable em- ployment at Seville. End of 17th century. Gomez (Felipe de Valencia), Spanish. Histo)y in the style of A. Cano. D. 1694. Gonzales. See Coques. Gonzales (Bartolome), Spanish. History. Poj'traits. 1564-1627. Gonzales (de Vega, Don Diego), Spanish. Histoiy. 1622- 1697. Gonzales (Don Pedro Ruiz), Spanish. History. 1 633- 1709. GONZALEZ (JuanGiacchinetti), called II Borgognone dalle Teste, from his admirable portraits. Spanish. 1630-1696. Good (Thomas Sword), English. Subjects in the style of Wilkie. 1789-1872. Gool (John van), Dutch, l^and- sca pes with cattle. 1 68 5 - 1 7 63 . GORDON (Sir John Watson, R.A.), President of the R.S.A., born at Edinburgh 1790, was the most successful portrait painter of his time in his native city. His portraits^ are vigorous and manly, and he seized very happily the character of his sitters, especially of male heads. His works were greatly admired at the Paris Exposition tjniverselle, 1855. D. 1864. Gori (Angiolo), Italian, Florence. Fruit. Flowers. About 1658. Gotti (Vincenzio), Italian. Bo- logna. History. D. 1636. Gouda (Cornelius van), Dutch. History. Portraits. 1 5 1 o- 1 5 50. Gourmont (Jean de), French. History. About 1557. Govaerts (John Baptist), Flemish. History. Fmiit. Flowers. D. 1746. Govert ( ), Dutch. Land- no The Picture A mateur's Handbook. scapes with humorous figures. About 1650. Govertz (Theodore), Dutch. Portraits. About 1650. GOYA (y Lucientes, Francisco), a pre-eminent Spanish painter, born at Fuendetodos, 1746, painted, with considerable merit and success, his- tory, portraits, fancy, familiar, and grotesque subjects. Died 1832, at Bordeaux. GOYEN (John van), an eminent Dutch painter, born at Leyden in 1596, studied successively under Schilperoot, Isaac Nicolai, and Esaias Vandevelde. His works are princi- pally landscapes, views on the rivers, with boats and figures, neatly drawn, and usually a village in the distance. He died in 1656. Gozzoli (Benozzo), Italian. Flor- ence. Style of Masaccio. History. 1400-1478. Graaf (John), German. Land- scapes. Fairs. Market pieces. Horses and other animals. D. 1 734. Graaf (Timothy de), Dutch. Landscapes. 17th century. Graat (Barent), Dutch. Scenes in the style of P. de Laer. Con- versations. Lnteriors. History. 1628- 1709. Graaw, orGrauw (Henry), Dutch. History. 162 7- 1 684. Grace (Mrs.), a reputable English paintress. Portraits. D. 1786. Graf (Anthony), Swiss. Portraits. 1736-1813. Graf (Charles Antony), German. Landscapes. 1774-1832. Grammatica (Antiveduto), Italian. History. 1571-1626. Granacci (Francesco), Italian. Florence. History. 1477-1544. Grandi (Ercole), called Ercole da Fej'rara . History. 1491-1531. Granet (Fran9ois), French. Ln- teriors, especially of chapels. 1774- 1833. Grasdorp (William), Dutch. Fruit. Flowers. About 1720. Grass (Charles), German. Land- scapes. 1781-1822. Graziani, or Graziano ( ), Rome. Battle pieces in the style of Borgognone. 1 7th century. Graziani (Ercole), Italian. Bo- logna. History. 1688-1765. Grazzini (Gio. Paolo), Italian. Ferrara. History. 1570-1632. Grabber (Francis Peter de), Dutch. Copies after Roland Savery and Vel- vet Breughel. D. 1636. Grabber (Peter), son of the pre- ceding. History. Portraits. . B. 1600. GRECCHE (Domenico), or LI Greco. This painter was a native of Greece and a scholar of Titian, who practised in Spain, especially at Toledo. History. D. 1625. Greenhill (John), English. Por- traits. Scholar of Peter Lely. 1649- 1676. GREUZE (Jean Baptiste), an eminent French painter, born at Tournus in 1726, studied at Lyons under Grandon, an obscure portrait painter, and soon displayed great ability in domestic, moral, and affecting subjects. He died in 1805. His works are highly valued for their exquisite colouring, particularly in his carnations, and for the fine models of his heads and countenances ; his faces of young girls possess a charming innocence and simplicity ; but his draperies are often in bad taste, and there is too often a similarity in his works. They bring large prices, although there is in almost every case great doubt about their genuineness, the mannerism of the painter making exact imitation so easy. It would be impossible to enumerate all the copy- ists of this painter ; an idea can be given of the difficulty by the simple fact that in almost every public or private gallery in Europe an average of five copyists a week have been en- gaged, during the last thirty years, in that kind of work. Among the old Dictionaiy of Painters. Ill copyists, whose exertions pass cur- rent for the pictures of the master, the following have been the most successful : — Mademoiselle Caroline Greiize and Madame de Valory, (daughters of Greuze), Mademoiselle Ledoux, Wille, Doiive, Joseph Albrier, d^Anloux, J. Touze, Bena~ zetch, Fran9ois Moiichet, Nicolas Lepicie, Vallin, Etienne Anbry, Mademoiselle Brossard de Bcatiliezi, Joseph d'Orey, &c. Griffier (John), Dutch, Land- scapes. Views of the Rhine and of the Thaznes. 1656-1718. Griffier (Robert), son of the prece- ding. River views. 1688-1750. Grimaldi (Gio. Francesco), called 11 Bologziese. Landscape. 1606- 1680. Grimaldi (Alessandro), son and scholar of the preceding. Lazidscapes. Grimmer, or Grimmaar (Jacob), Flemish. Landscapes. Views of cities. B. 1510, Grimou (Alexis), French. Por- traits. Fazniliar subjects. D. 1740- GROS (Antoine Jean), an eminent French painter, born at Paris in 1771, studied under David ; he painted large historical compositions and por- tz'aits of considerable merit, and died in 1835. GUARDI (Francesco), a Venetian painter of eminence, born in 1712, studied under Canaletti, and, like his instructor, excelled in architectuz-al views of Veziice. He died in 1793. GUBBIO (Oderigi da), an old Italian painter, and a native of Gub- bio, near Perugia. He was a disciple of Cimabue. Religious subjects. D. about 1298. Guercino. See Barbieri. Guerin (Pierre Narcisse, Baron), a French painter of eminence. Histozy. Pozdz'aits. 1774-1833. Guerin (J. B. Paulin), French. Histozy. Poz'tz'aits. B. 1783. Guerrieri (Gio, Francesco), Italian. Rome. Histozy. Style of Cara- vaggio. About 1650. Guevara (Don Juan Nino de), Spanish. Histozy. Portz-aits. 1632- 1698. Guido. See Rezti. Guidobone (Bartolomeo), Italian. Savona. Religious azid fabulous his- tozy. 1654-1709. Guyard (Adelaide), a French pain- tress. Miziiature portz'aits. 1749- 1803. Gysen, or Gheysels (Peter), Fle- mish. Lazidscapes in the style of V el vet Breughel. Gazne. Living in 1687. H Haack (Marcellus), Dutch. Por- traits. About 1 700. Haag (J. F. and Chretien), father and son. German. Portraits. i8th century. Haan (Abraham de), Dutch. Az’- chitectural views. Portraits. D. about 1750- Haan (David de), Dutch. His- tozy. Battle pieces. 1602- 1674. Haansbergen (John van), Dutch. Landscapes in the style of Poelem- burg. Portraits. 1 642-1 705 . Haastert (Isaac van). Landscapes. Views of cities. 1753-1834. Haccou (John Cornelius), Dutch. Wiziter scezies. L.akes. Moozilights . D. in London, 1839. Hackaert, or Hakkert (John). Lazidscapes. (Sometimes A, Vande- velde painted the figures or cattle in his works.) 1636-1699. HAERLEM (Cornelius van), an eminent Dutch painter, born in 1562. Studied under Peter Aersten the younger, then under Franz Pourbus and Giles Coignet, and painted with great success portraits, assemblies. and a few historical compositions. L. I in 1638. F 1 12 The Picture Amateur's Handbook. HAERLEM (Dirk van), an old Dutch painter. History. 1410- 1470. Haeskel ( ), Dutch. Portraits. About 1650. Haffner (Enrico and Antonio), two Bolognese painters. History. 17th century. Hagen (John van), Dutch. Vil- lage or rustic views. 1 635- 1679. Hal (Nicholas van), Flemish. His- tory. 1668-1738. Halen (Peter van), Flemish. Land- scapes with figures. About i66o. Halle (Claude Guy and Noel), father and son, French. Histojy. 1 8 th century. HALS (Franz), a celebrated Fle- mish portrait painter, born at Mechlin in 1854, was a disciple of Karel van Mander. He was a contemporary and friend of Vandyck, and much esteemed by the great master. His colouring is vigorous, his heads always full of life and character. D. 1666. Hals (Dirk), a brother of the pre- ceding. Hunting pieces. Village fes- tivals. 1589-1656. Hals (Nicholas), a son of Franz H. Landscapes. Village vieivs. Hamilton (William, R.A.), British. History. Portraits. 1751-1801. Hamilton (Ch. William van), Fle- mish. Birds. 1668-1754. Hamilton (John George van), Fle- mish. Horses. 1666-1740. Hanneman (Adrian), Dutch. Por- traits. History. D. 1680. Hansen (Charles Louis), Dutch. Landscapes. Interiors. Views op Cities. 1765-1840. Hardime (Peter), Flemish. An excellent fruit and flowers painter. Born in 1678, died in 1748. Hardime (Simon), elder brother and instructor of the preceding, painted the same subjects with less excellence. Died in London, 1737. Hargreaves (Thomas), English. Miniature portraits. 1 7 7 5 - ^ ^ 4 ^* Haring (Daniel), Dutch. Por- traits in the manner of Netscher. 1636-1706. Harings (Mathew), Dutch. Por- traits. B. 1636. HARLOW (George Henry), an English painter of eminence, born in London in 1787, studied successively under De Cort, Drummond, and Sir Thomas Lawrence. He painted seve- ral historical compositions but espe- cially most excellent portraits upon a small scale. He died in 1819., HARP (Gerard van), a Flemish painter, the disciple and most happy imitator of Rubens. He copied, on a reduced scale, some of his master’s works so closely that good judges have mistaken them for originals. His own compositions represent vil- lage festivals. 17th century. Hartzocker (Dirk), Dutch. His- tory. Portraits. 1696- 1740. H ass el (Jacob van), Flemish. Landscapes. About 1650. Haudebout-Lescot (Madame), a French paintress. Scenes of Italian life. 1790-1840. HAUGHTON (Moses), English. Some Scriptural and moral subjects in oil. Flis portraits on ivory and pre- pared paper, although in water-colours, have the appearance of oil paintings. About 1772-1848. Haverman (Margaret), a Dutch paintress. Scholar and imitator of Jan van Huy sum. HAYDON (Benjamin Robert), an English historical painter of eminence, born in 1786, was a student of the Royal Academy. He painted, with- out success during his lifetime, large historical compositions and portraits, and died broken-hearted in 1846. He is now confessed to have been an artist of not inconsiderable ability. Haye (Renier de la), Dutch. In- teriors in the style of Terburg and Metzu. About 1670. Hayes (John), English. Portraits. Copies after Vandyck. D. 1679. HAYMAN (Francis, R.A.), an Dictionary of PaUiters. English artist, born in 1708, was a scholar of Robert Brown, and ac- quired considerable reputation as an historical painter. He was one of the first members of the Royal Academy. D. 1776. Heck (John van), Flemish. Flowers^ fruit, landscapes, and vases. 1625- 1669. Heck (Nicholas van der), Dutch. History. Landscapes. 1580- 1638. Heckell (G. van), Dutch. A pupil and imitator of G. Douw. About 1660. Heda (Wilhem Klaasz), Dutch. Frtdt. Flowers. Still-life in the style of De Heem. i594-i679(?). Heede (Wilhem van), Flemish. History. 1 660- 1728. Heede (Vigor van), brother of the preceding. Still-life. 1661-1708. Heem (David de), the father of John David de Heem, was a distin- guished Dutch painter of fr^^it, flowers, and still-life. Many of his produc- tions are given as the works of his son. 1570-1632. Heem (John de), a son of the pre- ceding. Same subjects. Same ob- servation. HEEM (John David de), another son of David de Heem, and likewise his scholar, soon surpassed his father, and rose to the height of perfection in the particular line which he adopted. His pictures of fruit, flo 7 uers, and insects are enriched with vases of gold and silver, musical instruments, orna- ments of glass, crystal, and gems. He had a perfect knowledge of chiaro- oscuro, grouped his objects admirably, coloured them exquisitely, and gave them the highest and most delicate finish. He was born at Utrecht in 1600, and died at Antwerp in 1674. His pictures are eagerly sought after and purchased at very high prices. Tniitators and copyists : — Wilhem van der Aelst, Elijah van der Broeck, Cor- nelius de Heem, John de Heem, Wil- hem Klaasz Heda, Cornelius Kick, II3 John Mooj'tel, Maria von Oosterwyck, Peter deTi’zVz^, Rootsens, Stomme, and Jacob Walscapelle have been the most successful. Heem (Cornelius de), the son and scholar of the preceding. Same sub- jects. B. 1623. Heems (N. van), Dutch. An ex- cellent copyist of P. van der Werf. HEERE (Lucas de), an eminent Flemish painter, born at Ghent in 1534, studied under Franz Floris, and painted with great merit history and portraits. D. 1584. Heerschopp (Henry), Flemish, a pupil of Rembrandt. Card-playing. About 1649. Heil (Daniel van), Flemish. Land- scapes, Conflagrations. 1604-1662. Heil (John Baptist van), brother of the preceding. Fortraits. History. B. 1609, living in 1661. Heil (Leo van), another brother. Architecture. Flowers. Insects. B. 1603. _ Heins ( ), German. Portraits. Lived at Norwich about 1740. Heins (J.), son of the preceding. Portraits. D. at Chelsea in 1771. Helle (Isaac del), Spanish. History. About 1568. HELMBRECKER (Dirk), Dutch. History. Landscapes. Mar- kets. Views in Rome, with monks ad- ministering alms to the poor. He sometimes resembles Bamboccio. 1624-1694. Helmont (Lucas Gassel van), Flemish. Lattdscapes. 1480-1528. Helmont (Matthew van), Flemish. Scholar and imitator of David Teniers. 1650-1719. HELST (Bartholomew van der), a Dutch painter of eminence, born at Haerlem in 1613. His instructor is not recorded, but he painted subjects of history in an excellent style, and as a portrait painter he ranks among the ablest of his country. Died in 1670. HEMMELINCK, or Hemling F 2 114 The Picture AmateiLrs Handbook. (John), an old Flemish master, born near Bruges about 1440. According at Kligler, he studied under Roger of Bruges, and was one of the best artists of the school of the Van Eycks. Says the same author : ‘ Hemling adopted the mode of conception pe- culiar to the school, tinged, however, Muth greater severity. The features are less lovely, but more earnest, the figures less elegant, the movements less soft, the handling sharper, with greater finish of detail. His grouping is strictly symmetrical, and he con- fines himself in general to the cha- racters absolutely necessary. ’ Pictures by this master are never seen in the market. Hemmessen, or Hemmisten (John van), Flemish. History. About 1550. Hemskerk (Martin van Veen), called Martin. German. History. 1498-1573. Hemskerk (Egbert), called the Elder. Dutch. Boors drinking or quarrelling. Born about 1610. Hemskerk (Egbert), called the Younger. Drunken scenes. Died in London, 1704. HENDRICKS (Wybrand), Dutch. Portraits. Interiors. Land- scapes. Flozver pieces. Subjects of still- life in the style of Weenix. 1744“ 1830. Heng-el (H. F. van), Dutch. Landscapes. Conversations. D. 1785- Hennequin (Philippe Auguste), French. History. Portraits. Born 1763. Herlin (Frederic), Flemish. Imi- tator of the Van Eycks. End of the 15th century. Herregouts (Henry), Flemish. History. 1 666-1 724. Herregouts (John Baptist), son of the preceding. History. Born about 1700. Herregouts (Maxim.), Flemish. Lntcriors. About 1674. Herrera (Francisco de), the elder. Spanish. History. 1576-1656. HERRERA (Francisco de), the younger, the son and scholar of the preceding, was the first vice-president of the Spanish Academy of Painting, Murillo being the president. History. Still-life. Flowers and fish. 1622- 1685. HERRING (John Frederick), a distinguished British animal painter, born 1795, was first a coach-driver between York and London. He was accustomed to devote his leisure to painting, and his horses were his special models. Fie soon gained notice and became one of the best horse painters the English school can boast of. D. 1865. HERSENT (Louis), French. History. Portraits. 1777-1841. His wife, Madame Hersent, was also a reputable paintress of history and portraits. Hess (Louis), Swiss. Landscapes. 1760-1800. Hess (Carl Adolphus), German Horses. Born 1 769. Hetsch (Philip Fred, de), Ger- man. History. Portraits. 1758- 1838. HEUSCH (William de), a dis- tinguished Dutch painter, born at Utrecht in 1638, studied under John Both, adopted the admirable style of his instructor, and was so successful that his landscapes have often been mistaken for those of Both. He died in i7oo(?). Heusch (Jacob de), a nephew and scholar of the preceding, followed the style of Salvator Rosa. Roman views with figures and animals. 1657-1701. Heusch (Abraham de), Dutch. Plants., insects, and reptiles, copied from nature Math wonderful accuracy and finish. 1650-17 12. Heuvele (Anthony van der), Fle- mish. History. B. about 1605. Hewick (Gaspard), Flemish. His- tory. 1550-1611. HEYDEN, or HEYDE (John Dictionary of Painters. 15 van der), an eminent Dutch painter, born at Gorcum in 1637, obtained his knowledge of design from an ordinary glass painter. His pictures are finished with uncommon neatness and patience ; he painted his build- ings with such exactness that each brick or stone might be counted in the walls ; at the same time he was a perfect master of the principles of perspective and chiaro-oscuro. Churches, palaces, ruins, views of cities, enriched with landscapes and trees, are his ordinary subjects. Many of his works were decorated in ad- mirable style with figures by Adrian Vandervelde, after whose death they were usually painted by Lingelbach. D. in 1712. The works of this ex- quisite painter are set down at the round number of about 160, for the most part placed in public galleries, and consequently are very seldom seen in the market. Imitators and copyists have been neither very nu- merous nor very successful. Gerhard Berkheyden, J. Brins., John Hen- drick Verheyen, Jan Ten Compe, Isaac Onwater, John Peter Schoen- 77 iacker, were the most conspicuous. Highmore (Joseph), English, History. PorBaits. 1692-1780. Hillegaard (Paul van), Dutch. Battles. Drunken scenes. 1 7th cent, HILTON (William, R.A.), an eminent English historical painter, born at Lincoln in 1786, studied under his father, a portrait painter, and was afterwards a student of the Royal Academy. His compo- sitions are always elevated, skilfully composed, and harmoniously co- loured. He died in 1839 in the office of Keeper of the Royal Academy. Hire, or Hyre (Laurent de la), French. Histoiy. Landscapes. 1606- 1656. ' Hoare (William), English. Por- traits. 1707-1792, HOBBEMA (Minderhout), an illustrious Dutch lafidscape painter. Little is known of his life, and even the place or exact date of his birth has not been ascertained. Most proba- bly, however, he was born at Coever- den, about 1638, Pie was thirty years old in 1668, according to his act of marriage (recently discovered at Am- sterdam by M. R. Elsevier), when Ruysdael was one of the witnesses. He resided at Amsterdam, and lived on terms of intimacy with Nicholas Berghem, Adrian Vandevelde, John Lingelbach, and Ruysdael, who are said to have adorned his landscapes with figures and animals. His style is so similar to the latter that in a few cases it has been found difficult to ascribe a picture preferably to one or to the other, although it is un- doubtedly by one of the two. The distinctive difference consists usually in the colouring; that of Ruysdael has a tendency to a dark or inky tone, while that of Hobbema is delightfully fresh and verdant. Moreover, his subjects are of a vei*y humble character, often representing a cottage embosomed in a clump of trees, with a sandy road leading through a wood, and a brook or small pond. The pictures of Hob- bema are executed with charming simplicity, and he is not surpassed by any painter for pure and chaste tints, finish and freedom of touch, and in- telligence of chiaro-oscuro. He died at Amsterdam, and was buried in the Westerkerkhof, December 14, 1709. The works of Hobbema have been set down at the round number of about 180 pictures. They are extremely rare in the market, and command very high prices. Among his nume- rous imitators and copyists, Edwaid Dubois, Van Kessel, Nicholas Roni- boiit, and Francis Decker have been the most successful. Hodges (Charles Ploward), Eng- lish. Portraits. 1774-1837. Hodges (William, R. A.), English. Scholar of Wilson. Landscapes. 1744-1797. The Picture Amateur's Handbook. 1 16 Hoeck (John van), Flemish. Scholar of Rubens. History. 1600- 1650. Hoeck (Robert van), Flemish. History. Battles. Enca 7 npme 7 its . B. 1609. Hoefnagel (George), Flemish. History. 1546-1 600. Hoekgeest (G.), Dutch. Bi- teriors of churches, in the style of De Witt. 17th century. Hoet (Gerard), Dutch. Histo 7 y. 1648-1733. Holland (Thomas Christopher), English. La 77 ciscapes. 1777-1843. Hofman (Samuel), Swiss. Scholar of Rubens. Histo 7 y. Portraits. Fruits. Still-life. D. 1648. HOGARTH (William), an emi- nent English painter, born in London in 1697, studied first as an engraver, but soon began painting portraits and small characteristic groups, or so- called co 7 wersatio 7 i pieces. His ori- ginal genius revealed itself about 1 730 by an entirely new kind of art, mo 7 'al and sath'iccil painting. His desire was, as he tells us, ‘ to compose pic- tures on canvas, similar to the repre- sentations on the stage, and that they should be tried by the same test and criticised by the same criterion. ’ How far he succeeded, the ‘ Harlot’s Pro- gress,’ the ‘Rake’s Progress,.’ and the ‘Marriage a la mode,’ sufficiently tes- tify. In those truly original works, entirely unique in the range of the art, every incident tends to the climax, every accessory, even the smallest, contributes its share to the story ; the background itself studiously combines to fill its part in the drama. The im- perishable fame of the painter will rest upon that achievement. He was less successful when he tried his- torical subjects. Hogarth died in 1764. HOLBEIN (Hans), an illustrious German master, was born at Augsburg between 1495 and 1498. He was the son and scholar of John Holbein, and soon began painting portraits. Eras- mus is said to have persuaded him to visit England about the year 1526, and to have given him a letter for Sir Thomas More. The painter found large employment in the service of King Henry VI 1 1., and he died in London, about 1 543. Holbein painted in oil, distemper, and in water-colours. He had never practised the last till he went to England, where he acquired the art of Lucas Cornelisz, and carried it to a high degree of perfection. His poiHaits are distinguished for a pure and simple design; his carnations are tender and clear, with a peculiar ena- melled bloom ; and his heads, without much shadow, have a surprising relief. He generally painted his historical works on a green ground ; in his small pictures often on Mue. Holst (Theodore van), English. Histo 7 y. 1810-1844. Holstein (Cornelius), Dutch. His- tory. About 1670. Hondekoeter (Giles), Dutch. La 7 idscapes, in the style of Wicken- booms, with bh'ds a 7 id fowls. B. about 1583. Hondekoeter (Gysbrecht), son and scholar of the preceding. Same sub- jects. 1613-1653. HONDEKOETER (Melchior), an eminent Dutch painter, son of the preceding, was born at Utrecht in 1636; he was instructed by his father, afterwards by J. B. Weenix, and surpassed his masters, as well as his grandfather, in the same subjects, viz. live fowls, ga 77 ie, &c. His principal guide was nature, and he is said to have trained a cock to stand for hours in any particular attitude. He died in 1695. Among his numerous mii- tators a^^d copyists, John va 7 t Aleii, Franz Peter VerhegC 7 i, and C. Voftck were the most successful. Hondius (Abraham), Dutch. Hu 7 it- mgs. Aiiwials. 1638-1695. Hondt (H. van), a scholar and imitator of D. Teniers. Dictionary of Painters. 117 Hone (Nathaniel), British. Por- traits. 1718-1784. Honthorst (Gerard), Dutch. His- tory. Torchlight SC671CS. 1592-1660. Honthorst (William), brother of the preceding. History. Portraits. 1604-1683. Hooft (Nicholas), Dutch. Scholar ofMytens. History. Portraits. 1664- 1748. HOOGE (Peter de), an eminent Dutch painter, of whom little is known. He flourished about the middle of the 17th century. His subjects were the inta'iors or comiyards of Dutch houses, with figures. His neatness of finishing is inferior to that of Metzu or Mieris, but his touch is more free and spirited, his colouring most excellent, and his chiaro-oscuro managed with great in- telligence. The works of P. de Hooge are highly valued, and extremely scarce, their round number being only no. Imitator's and copyists : — Samuel van Hoogsh'atert, Justus van Geel, Vander Meer, of Delft, D. Koedyck^ and Fabricius. Hooghenburg’ (John), German. History. 1 500- 1 544. Hoogstadt (Gerard van), Flemish. Histoi'y. Born 1625. Hoogstraeten (Dirk), Flemish. Histor'y, Landscapes. 1596- 1640. HOOGSTRAETEN (Samuel i van), Dutch. Son of the preceding. Scholar of Rembrandt. Poi'traits. Landscapes. Fruits, flowers, and still- life. 1627-1678. Hoogstraeten (John van), brother of the preceding. History. Por'tr'aits. 1629-1654. Hoogzaat (John), Dutch. Histor'y. Allegory. 1654-1712. Hoppner (John, R.A.), British. Scholar of Reynolds. Por'tr'aits. 1758 1810. Horebout (Gerard Lucas), Flemish. Histor'y. Portraits in the style of Holbein. Died in London, 1558. Horfelin (Antonio 1’), Spanish. His- tory. 1587-1660. Horion (Alexander le), Flemish. History. Portraits, with excellent accessories. D. 1659. Horremans (John), the elder. Flemish. Rustic subjects. 1685- 1759- Horremans (John), the younger. Son of the preceding. Conver'sations. 1717-1759- Horst (Nicholas vander), Flemish. History. Por'traits. 1598-1646. Hoskins (John), English. Minia- tur'es. D. 1664. Houasse (Rene Antoine), French, Scholar of Le Brun. History. 1645- 1730- Houbraken (Arnold), Dutch. Por- traits. History. B. 1660. Houel ( ), French. Landscapes. 1735-1813. HOUSEMAN, or HUYSMAN (Cornelius), an eminent Flemish painter, born at Antwerp in 1648, studied under Gaspar de Witt and J. d’ Artois. He painted charming landscapes, decorated with figures and animals ; the latter being so well designed, (a rare excellence in a land- scape painter,) that he was frequently employed by Minderhout, Achtschel- ling, and others, to decorate their pictures in the same manner. He died in 1727. I HOUSEMAN, or HUYSMAN (James), Flemish. Portraits. He visited England under Charles II. , and was a successful rival of Sir Peter Lely. 1656-1696. Howard (Henry, R.A.), Eng- lish. Histor'y. Landscapes. 1769- 1847. HUBER (John Rodolph), Swiss. Histor'y. Por'traits. He is said to have painted no less than 3,065 portraits. 1668- 1748. Huchtenburg. See Hugtenbur'g. Hudson (Thomas), English. Por- tr'aits. The instructor of Sir Joshua Reynolds. 1701 -1779. Hue (Jean Fran9ois), French. History. Mar'ines. About 1820. ii8 The Picture Amateur's Handbook. Huerta (Gasparo de la), Spanish. History. 1645-1714. Hugford (Ignatius), British. His- tory. 1703-1778. Hugtenburg (James van), Dutch. Landscapes. Scholar of Berghem. B. 1639. HUGTENBURG (John van), an eminent Dutch painter, brother of the preceding, born at Haerlem in 1646, died in 1733. He painted battle pieces^ which have never ceased to be admired. His works have a clear and vigorous colouring, light and floating skies, and a neat, yet spirited touch, surpassing Van der Meulen, and approaching the excel- lence of Wouwerman. Hulle (Anselm van), Flemish. History. Portraits. 1605-1660. HULST (Peter vander), Dutch. He was called Tournesol because he usually painted a sun-flower in his pictures. History. Portraits. Fruit. Flowers. 1652-1708. Hulswit (John), Dutch. Land- scapesi. River views. Animals. 1766- 1822. Humphrey (Ozias, R.A.), English. Portraits. 1 742-1 8 lo. Hussey (Giles), English. History. Portraits. 1710-1788. Huysman. See Houseman. Huysum (Justus van), the elder. Dutch. History. Portraits. Battle pieces. Landscapes, and especially flowers. 1659-1716. HUYSUM (John van), a cele- brated Dutch painter, the son and- scholar of the preceding, born in 1682, died 1749, devoted himself to the close study of flowers. The most curious florists in Holland vied in supplying him with the choicest models for his pictures, and he suc- ceeded in painting the best flower- pieces ever produced. His works are highly valued, especially those on a clear or yellow ground. Imitators and copyists: — P. Faes, Jacob van Huysum, Margaret Haverman, Jan Evert Morel, John van Os, and Robaid. Huysum (Justus van), the younger, brother of the preceding. Battle pieces. 1 684- 1 706. Huysum (Jacob van), another brother, was distin^ished for his copies of the productions of John van Huysum. Many of his copies are in England. 1687-1740. Ibbetson (Julius Caesar), English. Landscapes. Cattle. History. D. 1817. Imbert (Joseph Gabriel), French. Portraits. History. 1 666-1 749 - Ingegno. See Assisi. Inghen (William van), Dutch. His- tory. 1651-1709. Ingoli (Matteo), Italian. Venice. History. 1587-1631. INGRES (Jean Auguste-Domini- que), a pre-eminent French painter, born 1 780, was first instructed by his father, an obscure but enthusiastic provincial artist, in the small town of Montauban. He then studied at Toulouse under Roques, a scholar of Vien, and in 1796, starting for Paris, entered the studio of Louis David. He soon proved his best scholar, went to Italy in 1806, and lived at Rome up to 1820. There he made the works of Raffaelle his exclusive models, and he is said to have spent in the stanze the greatest part of those fourteen years. From 1820 to 1824, he lived at Florence. Already celebrated in Italy, he was still almost unknown in his own country. The ‘ Voeu de Louis XIII,’ the first historical com- position which he sent to the Paris .Salon, was an immense success. He then went back to Paris and opened a school, which was for many years the Dictionary of Painters. 19 best nursery of artists in France. After a long and glorious life of un- ceasing labour, Ingres died in 1867, He is deservedly considered the greatest French master of the present century. ‘ Raffaelle and the Forna- rina,’ ‘Francesca da Rimini,’ ‘Roger and Angelica,’ ‘The Apotheosis of Homer,’ ‘The Odalisque,’ ‘The Source,’ ‘The Venus Anadyomene,’ ‘The St. Symphorien, ’ are amongst his most celebrated historical achieve* ments. He excelled also m. portraits. Iriarte (Ignacio de), Spanish. Landscapes. 1620- 1685. Isaacs (Peter), Dutch. History. Portraits. 1 569- 1 6 18. ISABEY (Jean Baptiste), an ex- cellent French 7 niniature painter. 1767-1855. Jackson (John, R.A.), English. Portraits. 1 7 78- 1 83 1 . Jacobs (Simon), Dutch. Portraits. 1520-1572. Jacobsz (Hubert), called Grimani. Dutch. Porb’aits. 1599-1629. Jacobsz (Julian), German. Scholar of Snyders. Htmting pieces. Animals. History. Portraits. 1610-1664. Jager (Gerhardt de), Dutch. Ma- rines. River scenes. About 1 646. James (William), English. iMnd- scapes. About 1768. James (George, A.R.A.), English. Portraits. D. 1794. Jamesone (George), British. Scholar of Rubens. History. Po 7 '- traits. Landscapes. 1586-1644. JANET (Jean Clouet, called), an eminent French painter, born at Tours about 1500, died at Paris about 1572. He painted portraits in oil of the eminent personages of the Court of France, which are greatly valued; unfortunately, they have been early so closely imitated, especially by Fran- gois Clouet, another painter of the same family, that it is almost impos- sible to select the originals among the copies. Even in the Louvre only two portraits ascribed to Janet, that of King Charles IX. and that of his wife, Elizabeth of Austria, are beyond doubt genuine. Janson (Jacob), Dutch. Land- scapes and cattle in the style of P. Potter. About 1785. Janson (John Christian), son of the preceding. Landscapes. Winter pieces. B. 1763. Janson (Peter), brother of the pre- ceding. Landscapes. B. 1768. Janssens (Abraham), an eminent Flemish painter. History. Porh'aits. 1569-1650. Janssens (Cornelius), an eminent Dutch portrait painter. 1590-1665. Janssens (Victor Honorius). I/is- tory. Porh'aits. Co 7 iversatio 7 is a/id galla 7 it subjects. 1 664- 1 739. JARDIN (Karel du), an eminent Dutch painter, born at Amsterdam in 1640, studied under N. Berghem, and was the best of his disciples. After travelling for several years in Italy, he settled at Amsterdam, where he practised for some time with great success ; notwithstanding which he returned to Italy, and died, soon after his arrival at Venice, in 1678. His works are mostly confined to land- scapes, always of the most pleasant scenery, decorated with charming figures and animals. They combine the exquisite finish of the F'lemish school with the warm glowing tints of the Italian. As he died at the age of 38, and wrought up his pictures to a high degree, they are not numerous (not above 160), and command enor- mous prices. His chief hnitators a)id copyists were Jan van iVikkele/i, William van Ro 77 iey 7 i, John Sybrecht, and Walter John T 7 -oostixyck. 3 120 The Picture Amateur^ s Handbook. Jarenus ( ), German. History. Close of the 15th century. Jarvis (John Wesley), American. Portraits. 1 780- 1840. Jeaurat (Etienne), French. History. Conversations. 1699-1789. Jelgerhuis (John Rienksz), Dutch. Landscapes. Marines. Interiors of chtirches. 1770-1836. Jelgersma (Tako Hajo), Dutch. Mannes. Portraits. 1 702- 1795. Jenkins (Thomas), English. Scho- lar of Wilson. D. 1798. Jervas (Charles), British, Scholar of Kneller. Portraits. D. 1739. Joanes, or Juanes (Vicente), Span- ish. History. 1523-1579. Johannet (Alfred and Tony), bro- thers. French. History. 1800-1837 and 1803-1852. Joli (Antonio), Italian. Modena. Landscapes. Sea views. 1700- 1777. JONES (George, R.A.), an emi- nent English painter, was the son of Thomas Jones, a reputable landscape painter. He was born in 1 786, studied at the Royal Academy Schools, and having from 1803 to 1815 held alieu- tenantcy in the army, resumed the practice of the art only on the termi- nation of the war. He painted foreign cities and battles with considerable merit, was elected a R.A. in 1824, and died 1869. Jong (Ludolph de), Dutch. Por- traits. Hunting and battle pieces. 1616-1697. Jordaens (Hans), Flemish. Land- scapes. Moonlights. Festivals, 1539- 1599- Jordaens (Jacob), an eminent Flemish painter, born at Antwerp in 1594, studied under Van Oort and Rubens. He painted religious and fabulous history with extraordinary freedom, ease, and facility. His works are very numerous and rather closely follow the style of Rubens. He died in 1678. Jordaens (Hans), Dutch. History. 1616-1669. Jordan (Esteban), Spanish. His- tory. 1543-1605. Joris (Augustine), Dutch. Religious history. 1525-1552. Jouvenet (Jean), an eminent French painter, scholar of N. Poussin. His- tory. 1644-1717. Julien (Simon), called of Parma. French. Allegory. History. 1736- 1800. Juncosa (called Fra Joachim), Spanish. History. D. 1708. JUSTUS (of Ghent), supposed to be the same as Giusto di Allemagna of the Italians, and a scholar of the Van Eycks, Religious subjects. Second half of the 1 5th century. Juweel (Nicolas), German. Imi- tator of Vander Werf. Living about 1690. K Kabbete (Jan), Dutch. Land- scapes with ruins. About 1640. Kabel. See Cabel. Kager (Matthew), German. His- tory. 1566-1634. Kalf (William), Dutch. Still-life, especially with metallic vases. 1630- 1693. Kahraat (Abraham van), Dutch. Frtiit and flower pieces. 1643-1699. KALRAAT (Bernard van), the brother of the preceding. Cabinet pictures of views on the Rhine, with boats and figures, in the style of Her- man Sachtleven. I^andscapes with cattle. 1650-1721. Kamper (G.), Flemish. Imitator of Van der Neer. About 1700. Kappelle (John van), Dutch, Ma- rines. Imitator of W. Vandervelde. i8th century. KAUFFMAN (Maria Angelica, Dictionary of Painters. 121 R.A.), a celebrated paintress, the daughter of a Swiss portrait painter, was born at Coire in 1 740. She travelled for several years with her father in Italy, when she was invited to England by the British Ambassa- dor. She resided seventeen years in this country, practising with immense success portrait and mythological sub- jects painting. In 1 769 she was elected a member of the Royal Academy. She died in Italy, 1807, at the age of 67. KAULBACH (Wilhelm von), an eminent German painter, born 1805, studied under Cornelius at Diisseldorf, was first a docile follower of his austere idealist instructor, and assisted him in his frescoes at Munich. But he soon indulged in the most auda- cious realism, his famous ‘ Narrenhaus, ’ or madhouse, being the celebrated masterpiece of that second manner. Although his French rival, Ingres, used to say that Kaulbach was but an ‘ indigestion of Michael Angelo Buonarroti,’ he was undoubtedly a painter of considerable power. His ‘ Hunnenschlacht ’ or Battle of the Huns, is one of the greatest achieve- ments of modern art. D. 1874. Keisar (William de), Flemish. History. Portraits. B. 1647. Kent (William), English. Histoiy. Portraits. 1 685-1 748. Kerkhoff (D.), Dutch. La^id- scapes with figures. Vieivs of cities. 1766-1821. Kerkhove (Joseph vander), Flem- ish . History. 1 669- 1724. KESSEL (John van), the elder, Flemish. Landscapes with fruit, flowers, plants, birds,- insects, and reptiles, in the highly finished style of yelvet Breughel. 1626-1708. Kessel (John van), the younger, the son of the preceding. Portraits in the style of Vandyck. Kessel (Ferd. van), another son. Style of his father. 1660-1696. Kessel (Nich. van), the nephew of Ferdinand van Kessel. Imitator of Teniers. 1684-1741. Kessel (Jan van). Landscapes winter scenes in the style of Ruysdael. 1648-1698. Ketel (Cornelius), Dutch. History. Portraits. 1 548- 1 602. Kettle (Tilly), English. Portraits. B. about 1740. Keulen, or Ceulen (Jansons van), born in London of Dutch parents. Portraits, His works are generally ascribed to Vandyck. D. 1665. Keune (Henry), Dutch. Vieivs oj cities and villages., in the style of Berkheyden, B, 1 738. Key, or Kay (William), Dutch. Hidory. Portraits in the style of Sir Anthony More. 1520-1568. KEYSER (Theodore de), an emi- nent Dutch painter, whose pictures date from 1620 to 1660. Little is known of his life, but his pictures, chiefly portraits and assemblies, are highly esteemed. Keyser (Henry de), Dutch. Same observation as for the preceding artist. Kick (Cornelius), Dutch. Por- traits. Fruit and fiowers in the style of D. de Heem. B. 1635. Kierings (James), Dutch, Land- scapes with figures by Poelemburg. 1590-1646, King- (Thomas), English. Scholar of Knapton. Portraits. D. 1769. Kinson (Francis), Flemish. Por- traits. 1774-1839. Kirby (Joshua), English. Land- scapes. 1716-1774. Klass (Charles Christian), German, Scholar of Casanova. History. D, 1794. Klass (Fred. Christian), the bro- ther of the preceding. Scholar of Casanova. Landscapes. D. 1827. Klassen van Wieringen (Corne- lius), Dutch. Landscapes and minia- tures. D. 1635. Klenghel (John Christian), Ger- man. Landscapes. 1751-1824. 122 The Picture Amateur's Handbook. KLERCK (Henry de), Flemish. History. 1570-1629. It is said that he painted the figures in some of the landscapes of John Breughel. KLINGSTADT (Claude Gusta- vus), a Swedish painter, called in his time the Raffaelle of the Smiff-boxes, practised chiefly in France. Gallant subjects. 1 65 7- 1 734. Klocker, or Klockner (David), German. History. Portraits. Land- scapes. 1629-1698. Klomp (Albert), Dutch. Animals. Painted from 1602 to 1622. Kluyt (Peter Thierry), Dutch. A scholar of Mireveldt. Portraits. Knapton (George), English. Scho- lar of Richardson. Portraits. 1698- 1778. KNELLER (Sir Godfrey), an emi- nent German painter, born at Llibeck in 1648, studied under Rembrandt and Ferd. Bol, then travelled in Italy, where he became successively the pupil of Carlo Maratti and Cav. Bernini. He next came to England and soon had a large practice as a por- trait painter. Knighted by King Wil- liam, he was made a baronet by George I., and died in 1723, aged 75. He painted no less than ten sovereigns, the celebrated beauties of Hampton Court, and innumerable persons of distinction. Kneller (John Zachary), the bro- ther of the preceding. Painted archi- tecture in oil and fresco. 1635- 1702. Kniep (Christopher Henry), Ger- man, Poi'traits. 1748-1825, Knip (Nicolaus Friedrich), Ger- man. Landscapes. Fruit and flowers of very small size. 1742-1809. Knipbergen (N.), Dutch. Land- scapes. Imitator of P. Brill. Knufer, or Knupfer (Nicholas), Ger- man. History. Battles. 1603- 1660. Kobe 11 (Ferdinand), German. Landscapes. 1740-1799. Kobell (William), the son of the preceding. Landscapes. Rural subjects and water pieces in the style of Wou- werman. B. in 1766. Kobell (Franz), a younger brother of Ferdinand K. Painted some landscapes, but is best known for his charming as well as numerous pen-drawings. 1749-1822. Kobell (Hendrick), Dutch. Land- scapes. Marines. 1751-1782. Kobell (Jan), the son of the prece- ding. Laiidscapes with cattle. 1 782- 1814. Kobell (Jan), junior, of the same family. Painted landscapes and cat- tle with great reputation. 1800-1838, Koeberger (Wenceslaus), Flemish, History. 1554-1634. Koeck, or Coeck (Peter), Dutch. History. Portraits. 1500-1550. Koeckoek (Jan Herman), Dutch, Marines. 1 7 7 8- 1 844, Koedyk (Nicholas), Dutch. Lnte- I'iors. B. 1681. Koella (John), Swiss. History. Portraits. 1740-1778. KOENE (Isaac), Dutch. Scholar and very successful imitator of Jac. Ruysdael. Landscapes. Waterfalls. The figures are frequently inserted by Barent Gaal. 1650-1713. Koenraat, Dutch. Flower pieces. 1678-1747. Koets (Roelof), German. Scholar of Terburg. Portraits. 1655-1725. Kok (Jan Matthew), Dutch, Sea pieces. Landscapes. Views of Cha- teaux. 1 720- 1 77 1. Koninck (David de), Flemish. Scholar of J. Fyt. Birds. Animals. 1636-1687. Koning (James), Dutch. Scho- lar of A. Vandevelde. Landscapes zvith cattle. Small historical sub- jects. B. in 1650. KONINGH (Philippe de), Dutch. Scholar of Rembrandt. History. Ex- cellent A. Landscapes. 1619- 1689. Koogen (Leonard vander), Dutch. History. Boors regaling, in the style of Bega. 1610-1681. Dictionary of Painters. 123 Kouwenberg (Christian van), Dutch. History. 1604-1667. Kouwenhoven (Jacob), Flemish. Scholar of Ommeganck. Landscapes. Cattle. D. 1825. Kraus (Melchior), German. Scho- lar of Greuze. Landscapes. B. 1727. Krause (Francis), German. LLis- tory. Forh'aits. 1 706- 1754. Kryns (Everard), Dutch. History. Portraits. 1568-1627. Laar. See Laer, Labrador (Juan), Spanish. Scholar of Morales. Flowers. Fruit. Still- life. D. 1600. Lacour (N. ), French. LListory. 1746-1814. Lacruz (Manuel cle), Spanish. History. 1750-1792. Laenen (Christopher Jan vander), Flemish. Scholar of Rubens. Con- versations. 1570-1628. LAER (Peter de), called Bam- boccio by the Italians, from his sub- jects, an eminent Dutch painter, born at Laaren in 1613, visited Rome early, lived on terms of intimacy with Claude and N. Poussin, and was accustomed to study the remains of anticpiity in company with those illustrious pain- ters. He painted fairs, rural festivals, farriers' shops, rural scenes, &c., usu- ally called bambocciate by the Italians. His works are well composed, cor- rectly designed, full of life, richly coloured. After sixteen years spent in Italy, he returned to Holland, and died in i674(?). His chief hnitators and copyists were Michael Angelo Cer- quozzi, Jacob Van der Does the elder, Bernard Graat, Th. Hehnbrecker, Ro- land van Laer, John Miel, Domenico Olivieri, John Ossenbeck, and Peter Stoop. Laer (Roland van), brother of the preceding, followed his style with suc- cess. 1610-1640. Kulgelgen (Gerhard and Carl von), German. Twin brothers. Gerhard painted history-, and Carl landscapes. 1772-1832. Kunst (Cornelius), Dutch. His- tory. 1493^1544. Kupetzki (John), Bohemian. Por- traits. 1667-1740. Kusell (Matthew), German. Por- traits. 1621-1682. Kuyp. See Cuyp. Lafond (Charles NicholasRaphael). French. History. Born 1774. LAGRENlfiE (Louis Jean Fran- 9ois), an eminent French painter, and a scholar of Ch. Vanloo, born in 1724. Painted history and portraits. He died in 1805. Lagrenee (Jean Jacques), brother and scholar of the preceding. Fol- lowed his style. D. 1821. Laguerre (Louis), French. His- tory. Allegory. 1663- 1721. Laguerre (John), French. Archi- tectural decoratio 7 is. D. 1 748. LAI RESSE (Gerard), an eminent Flemish painter, born in 1640, imi- tated N. Poussin in the device and composition of his subjects, but fell far short of his purity, elegance, and elevated conception. Fabulous and religious history. D. 1711. Lairesse (Ernest), the elder brother of the preceding. Anhnals. Hunting pieces. D. i675(?). Lairesse (James and John), younger brothers of the same. Fj'uit. Flowers. Bas- 7 'eliefs. Lambert (George), English. Land- scapes. 1710-1765. Lambert (Martin), French. Scholar of Beaubrun. Portraits. 1630-1699. Lamberti (Bonaventura), Italian. Carpi. Scholar of C. Cignani. His- toij. D. 1721. Lambertini (Michele), an old Bo- : lognese painter. IListo^y. About 1430. 124 The Picture Amateur^ s Handbook. Lame (Giulia), a Venetian pain- tress. Histoiy. About 1725. Lana (Lodovico), Italian. Mo- dena. Imitator of Guercino. His- toiy. 1597-1646. Lancaster (Hugh), English. Ma- rine views. D. 1850. LANCE (George), a distinguished English painter, born in 1802, was a pupil of Haydon, and a student of the Royal Academy. He painted, with considerable merit and success, sub- jects of still-life, principally fruit and flowers, with accessories of plate and rich textures. There is an excellent pic- ture by him in the National Gallery. D. 1864. Lanchares (Antonio de), Spanish. History. 1586-1658. Lancilotti (Francesco), Italian. Florence. Fire and candlelight scenes. About 1500. LAN C RET (Nicolas), a French painter of eminence, born in 1690, studied under A. Watteau, whose style he followed. Conversation pieces gallant subjects. D. 1743. Landi (Cav. Gasparo), Italian. Piacenza. History. 1 756-1830. Landon (Charles Paul), French. History. 1 760- 1828. Landriani (Paolo Camillo), Italian. Milan. History. About 1600. LANDSEER (Sir Edwin Henry, R.A.), an eminent English painter, born at London in 1802, belonged to a family of artists, and began as a boy sketching animals, and especially dogs. He entered at fourteen the school of the Royal Academy, and as early as 1817 exhibited ‘ The Heads of a Poin- ter Bitch and Puppy.’ His reputation was already established about 1821-22 by several pictures of animals in which a current moral was happily combined with humour. It never ceased growing, and his life was a constant success up to 1851-52, when some falling off in his powers was discernible. A member of the Royal Academy from 1831, he was knighted in 1850, and awarded the large gold medal at the Exposition Universelle in Paris, 1855. He died in 1873. The nation is fortunate in the number of his best paintings, which were be- queathed to it by the munificence of Mr. Sheepshanks, Mr. Vernon, and Mr. Jacob Bell. Lane (John Bryant), British. History. Painted from 1808 to 1834 - Lane (Samuel), English. Portraits. 1780-1859. Lane (Theodore), English. Do- mestic and humorous subjects. 1800- 1828. Landulfo (Pompeo), Italian. Na- ples. History. 1515-1590. Lanetti (Antonio), Italian. Milan. History. About 1550. LAN FRANCO (Cav. Giovanni), an eminent Italian painter, born at Parma, 1581. Studied under Agos- tino Caracci, afterwards under Anni- bale, and assisted the latter in the works of the Farnese Palace. He fol- lowed rather closely Correggio, and painted a large number of excellent religious subjects. D. 1647. Lange (Francesco), Italian. Turin. Imitator of Albano. D. 1756. Lange (Johannes Remigius), Flem- ish. Scholar of Vandyck. History. About 1555. Langendyck (Thierry), Dutch. Battle pieces. Landscapes with horses. 1748-1805. Langendyck (John Anthony), son of the preceding. Followed his style. 1780-1818. Langlois (Jerome Mathurin), French. Scholar of Vien. History. 1779-1838. Lanini (Bernard), Italian. Ver- celli. History. About 1552. Lankrinck (Prosper Henry), Ger- man. Landscapes in the style of S. Rosa. 1628-1692. Lantara (Simon), French. Land- scapes. 1729-1778. Laquy (Wilhem Joseph), Dutch. Dictionary of Painters. 25 Copies after G. Douw, P. Potter, Metzu, &c. 1738-1798. LARGILLI&RE (Nicolas de), an eminent French painter, born at Paris in 1656, painted history and portraits with success. He died in 1 746. Imitators and copyists : — Meus- 7 tier, JanSy Van Schnppai^ and Milot. Laroon (Marcellus), Dutch. Por- ti-aits. Conversatiotis. History. 1653- I705(?). Larraga (Apollinario), Spanish. History. D. 1728. Lastman (Peter), Dutch. History. 1581-1649. LATOUR (Maurice Quentin de), an eminent French painter, born at St. Quentin in 1 705, painted portraits in oil for some time, but soon relinquished oil painting for crayons or pastel, in which art he has been quite unequalled. He died in 1788. Lauretti (Tommaso), called 11 Siciliano. Histo 7 y. Scholar of S. del Piombo. About 1530. Lauri (Baldassare), Flemish. Land- scapes. Scholar of P. Brill. 1587- 1641. LAWRENCE (Sir Thomas, P.R.A.), an English painter of emi- nence, born at Bristol in 1 769, studied under Hoare, a painter in crayons, and afterwards entered the school of the Royal Academy, where he was much encouraged by Reynolds. He soon began painting portraits, and the grace of his works, mrited with a handsome person and great courtesy of manners, attracted to him many sitters of all ranks. Elected in 1794 a member of the Royal Academy, he was knighted in 1815, and died in 1830. Ilis design is graceful, his colouring clear and brilliant : he ex- celled in female portraits. Lazzari (Donato), called Bra- mante d''Urbino, an eminent Italian architect, painted history and por- traits in the style of Mantegna. 1450- 1514. Lazzari (Giov. Antonio), Italian. Venice. A copyist of Bassano. 1639- 1713- Lazzarini (Giov. Andrea), Italian. Bologna. Histo 7 y. 1730-1801. Lazzarini (Gregorio), Italian. Venice. Histoiy. i654-i740(?). Lazzaroni (Giovanni Battista), Italian. Cremona. Poidraits. 1626- 1698. Leal (Don Simon de), Spanish. History. 1610-1687. Lebarbier (Jean Jacques Frangois), French. Histoiy. Lajidscapes. 1738- 1826. Lebel (Charles Jacques), French. History. PorU'aits. About 1820. Leblanc (Horace), French. His- t 07 y. Portraits. 17th century. Lebrun (J. Baptiste, Topmo), French. Histo 7 y. D. 1801. LEBRUN (Maria-Louis-Elisabeth Vigee, R.A.), an eminent French paintress, born in 1755, studied under Joseph Vernet, copied much after Ru- bens, Rembrandt, and Greuze, and soon gained great reputation for portraits, semi-allegorical subjects and land- scapes. She travelled during twenty years in Italy, Russia, Germany, and England, everywhere meeting with immense success ; the result of her indefatigable exertions being no less than 662 p 07 d 7 -aits, 15 \ 2 a-gQ historical co 7 Hpositio 7 is, and 200 la 7 idscapes. She died in 1842, aged 87 years. Lecce, or Leccio (Matteo da), Italian. Rome. Histo 7 y. D. about 1600. Lecchi (Antonio), Italian. Venice. Flower pieces. About 1663. Leclerc (David), Swiss. Scholar of J. Vernet. Portraits. 1680 -1746. Ledesma (Josede), Spanish. His- tory. 1630-1670. Leepe (John Anthony vaiider) Flemish. Landscapes. Ma 7 -mes. 1664- 1720. Leeuw (Gabriel vander), Dutch La 7 idscapes ivith cattle. 1643-1688. Leeuw (Peter vander), Dutch. Imi- 126 The Picture Amateur's Handbook. tator of Vandevelde. A. 1644- 1705. Lefevre (Robert), French. Por- traits. History. 1 756- 1831, Legnani (Stefano), Italian. Milan. History. 1660-1715. Legote (Pablo), Spanish. History. Living at Cadiz in 1662. Leigh (James Mathews), English. History. 1808-1860. Lejeune (Louis Franjois), French. Battles. B. 1775. Lelie (Adrian le), Flemish. Por- traits. History. Interiors. 1755-1820. Lelli (Giovanni Antonio), Italian. Rome. History. B. 1591. Lelli (Ercole). Italian. Bologna. History. D. in 1766. LELY (Sir Peter), an eminent German painter, born in Westphalia in 1617, studied under Peter Grebber, and painted at first la 7 idscapes. In 1641 he visited England, where Van- dyck had died the year before, and from that time he devoted himself entirely to portrait painting in the style of Vandyck. He gained great reputation and encouragement, and for many years was the most eminent painter in England. During the civil wars he remained in favour with both Royalists and Republicans. His works are characterised by a beautiful colouring and graceful attitudes. In- ferior to his great model in simplicity and elevation of design, he endeavoured to supply his want of taste with affec- tation in the airs of his heads, and a loose, capricious arrangement of the draperies. He died in 1680. All the portrait painters of his time have more or less copied his manner. Lemaire (Jean), French. His- torical, architectural, and perspective subjects. 1597-1659. Lemaire (Fran9ois), French. Por- traits. 1627-1688. Lembke (Johann Philip), German. Battle pieces. 1631-1721. Lemens (Balthasar van), Flemish. History. 1 63 7- 1 704. Lendinara (Lorenzo Canozio da), Italian. Modena. History. D. 1477. Lens (Andrew Cornelius), Flemish. History. 1 739-1822. Lens (Bernard), Flemish. Minia- tures. Copies after Rubens and Van- dyck. About 1 730. Lenzen (J. Franfois), Flemish. Copies after Ommeganck. 1 790- 1 840. Leon (Don Simon de), Spanish. History. 1610-1687. Leon (Felipe de), Spanish. His- tory. D. 1728. Leon (Christopher de), Spanish. History. Portraits. 1650- 1 729. Leon, or Leoni (Carlo), Italian. Rimini. History. About 1700. Leon, or Leoni (Girolamo da), Italian. Piacenza. History. About 1580. Leonardo (Fra Augustin), Spanish. History. 1 5 80- 1 640. Leonardo (Jose), Spanish. Battles. 1616-1656. Leonardoni (Francesco), Italian. Portraits. History. 1 654- 1 7 1 1 . Leonbruno (Lorenzo), Italian. History. 1489-1537. Leone (Arto), called Coriario. Italian. History. 1498-1564. Leoni (Giovanni da), a scholar of Giulio Romano. i6th century. Leoni (Luigi), called II Padovano. Italian. History. 1531-1606. Leoni (Cav. Ottavio), called II Padovanino, the son of the preceding. History. 1574-1628. Lepicid (Nicholas Bernard), French. History. Portraits. 17 35-1784. LESLIE (Charles Robert, R.A.), an eminent English painter, born at Clerkenwell in 1794, was a student to the Royal Academy: in 1813 he ex hibited his first picture ‘ Murder,’ with a quotation from Macbeth. In 1817 he visited Paris, Brussels, and Ant- werp, and after enlarged study, he found the true bent of his genius in humorous comedy, and painted his ‘ Slender and Anne Page.’ From that time he took always his subjects from Dictionary of Painters. 127 bnaicspeare, Cervantes, Sterne, Gold- suiitti, with increasing success. In 1828 he was elected a memher of the Royal Academy, and died in 1859. Leslie drew correctly, and with an innate sense of grace. His colouring is pleasing, his costume simple and appropriate. Beauty, elegance, and refinement, varied and full of cha- racter, or sparkling with sweet hu- mour, were charmingly depicted by his pencil. Lethiere (Guillaume Guillon), F rench. History. 1 760- 1 832 . Leur (Nicholas vander), Dutch. History. Porti‘aits. 1667-1726. Levo (Domenico), Italian. Verona. Floiver pieces. About 1720. LEYDEN (Lucas van), an old Dutch painter, born in 1494, studied under Cornelius Engelbrechtsen, after- wards entered into close friendship with Albert Diirer. He is allowed to have surpassed the latter in composi- tion, though inferior to him in design. His colouring is fresh and clear, and his pencil is light, though his pictures are highly finished. History. Land- scapes. Portraits. Died in 1533, aged thirty-nine. His most famous picture is ‘The Last Judgment,’ an immense composition in the Tower House at Leyden. LEYSSENS (Nicholas), Fle- mish. History. He frequently in- serted the figures in the works of Boschaert, Verbruggen, and Hardime. 1661-1710. Leyto (Andres), Spanish. History. Perspective views. About 1 680. Leyva (Fray Jacob de), Spanish. History. Portraits. 1580-1637. Liano (Felipe), Spanish. Small portj'aits. 1575-1625. Lianori (Pietro), Italian. Bologna. History. About 1435. Liberal (Giorgio), Italian. Ve- nice. History. About 1548. Liberale (da Verona). History. Style of G. Bellini and A. Man- tegna. D..1536. Liberale (Gentio), Italian. Udine. Fish. About 1568. LIBERI (Cav. Pietro), an eminent Venetian painter, born in 1605, pro- duced numerous and very unequal works. History, capidcci, and alle- gorical subjects, naked figures, por- traits, &c. D. 1687. Liberi (Marco), the son and pupil of the preceding ; imitated most closely his style. B. about 1650. Libri (Girolamo da), Italian. Ve- rona. History. B. 1474. Licherie (Louis), French. History. 1642-1687. LICINIO (Giovanni Antonio), called II Pordenone, an eminent Italian painter, born in Friuli in 1484, was a fellow-student with Titian under Giovanni Bellini, according to some authors, and a pupil under Giorgione, according to other authorities. The latter opinion seems most probable, from the style of the artist. He was considered by his contemporaries almost equal in powers to Titian ; although posterity has not endorsed the verdict, Pordenone is admitted to have been one of the greatest painters in the Venetian school at a period so prolific in excellent artists. To a grand character of design he added the rich and glowing colouring of Giorgione, with an admirable chiaro- oscuro. He was more successful in the robust and muscular delineations of men than in the delicacy and soft- ness of female forms, on which ac- count his frescoes are preferable to his oil paintings. He died in 1540. Among his numerous imitators and copyists, Pomponeo A maltco, Francesco Beccaruzzi, Gio. Maria Calderari, Ber- nardino Licinio da Pordenone, Giulio Licifiio da Pordenone, and Gio. An- tonio Licinio da Pordenone were the most conspicuous. Licinio (Bernardino) da Porde- none, a relative of the preceding. History. Portraits. Licinio (Giulio) da Pordenone, 128 The Picture Amateur's Handbook. another relative. History. Portraits. 1520-1561. Licinio (Gio. Antonio) da Por- denone, the younger, a brother of the preceding artist. History. D. in 1576; Liemaeker (Nicholas), called the Rose. Flemish. History. Portraits. 1575-1647. Liender (Peter van), Flemish. Landscapes. Views of cities. 1727- 1797. Lierre (Joseph van), Flemish. History. 1530-1583. Lievens (John), Dutch. History. Portraits. 1607-1663. Ligario (Giov. Pietro), Italian. Sondrio. History. 1686-1748. Lightfoot (William), English. Landscapes. Perspective views. D. about 1671. Ligozzi (Jacopo), Italian. Verona. History. 1543-1627. Limborgh (Henry van), Dutch. Small histoHcal pictures and por- traits. 1675-1758. Lin (Hans van), Dutch. Battles. Hunting pieces. About 1650. LINGELBACH (John), an emi- nent painter of the Dutch school, was born at Frankfort -on -the Main in 1625. It is not recorded under whom he learned the art, but he travelled early in France and Italy, and in 1650 he returned to Amsterdam with his portfolio filled with studies. His works soon gained him great reputa- tion, and they have never ceased to be held in high estimation. They represent generally fairs, mounte- banks, markets, landscapes with ruins and animals, seaports and quarries, with spirited figures, naval engage- ments. He was often employed by Wynants and Ruysdael to decorate their landscapes with figures and ani- mals. D. 1687. Some of his land- scapes seem to be imitated and even copied from K. du Jardin. Linschooten (Adrian van), Dutch. History. 1590-1678. Linsen (John), Flemish. Marino', 17th century. Lint (Peter van), Flemish. His- tory. Portraits. B. in 1609. Lint (Henry van), called Studio, son of the preceding. Landscapes. Views. About 1675. Linthorst (J.), Dutch. Fruit and floxver pieces. 1755-1815. Linton (William), English. Land- scapes. Architectural views. About 1799-1876. Lione (Andrea di), Italian. Naples. Battle pieces. 1596-1675. Liotard (John Stephen), called the Turk. Swiss. Miniatures. 1702- i 79 o(?)._ Lippi (Giacomo), Italian. Bologna. History. School of the Caracci. LIPPI (Fra Filippo), an old Flo- rentine painter, born about 1400, was a Carmelite novice, when the works of Masaccio inspired him with such ardour that he set himself to copying them, threw off the habit, and devoted him- self entirely to the profession of paint- ing. He soon became an excellent artist, and must be accounted among the greatest masters, from the time of Masaccio to that of Raffaelle. His colouring was excellent, and pecu- liarly his own; his tints very clear, but delicate, and often subdued by a purplish hue ; his design noble and graceful ; his draperies charmingly diversified. Religiotts history. D. at Spoleto in 1469. LIPPI (Filippino) was the natural son of Fra Filippo Lippi, born at Florence in 1460. According to Vasari, he was a disciple of Sandro Botticelli, who had studied with his father. History, decorated with gro- tesques, trophies, &c., copied from the models of antiquity. D. 1505* Lippi (Lorenzo), Italian. Florence. History. 1606-1664. LIS, or LYS (Jan van der), an eminent German painter, born in I 570 j painted excellent historical works, con- spicuous for their correct design, fine Dictionary of Painters. 129 expression, lively and natural colour- ing. D. at Venice in 1629. Lis, or Lys (Jan vander), Dutch. Scholar of C. Poelemburg. History. Landscapes. Conversations. 1600- 1657. Litterini (Agostino), Italian. Venice. History. B. 1642. Liverseege (Henry), English. Fancy subjects. 1803-1832. Llorente (Don Bernardo), Spanish. Portraits. History. 1685- 1757. Lloyd (Mary), an English paintress of eminence. Flowers. D. 1819. Locatelli. See Lucatelli. Lodi (Carlo), Italian. Bologna. Landscapes. Scholar of Poussin. 1701-1765. Lodi (Ermenegildo), Italian. Cre- mona. History. About 1616. Lofvers (Peter), German. Marines. 1710-1788. Lofvers (Henry), the son of the preceding. Marines. Fruit. Flowers. 1739-1805. Loir (Nicolas), French. History in the style of Poussin. 1624- 1679. Loli (Lorenzo), Italian. Bologna. History. Scholar of Guido. 1612- 1691. Lolmo (Giovanni Paolo), Italian. Bergamo. History, i6th century. Lomazzo (Giovanni Paolo), Italian. Milan. History. 1538-1600. Lombardi (Giovanni Domenico), Italian. Lucca. History. 1682-1752. Lombardo (Biagio), Italian. Ve- nice. Landscapes. About 1648. Lombart (Lambert), Flemish. His- tory. Scholar of J. de Mabuse. About 1500-1570 (?). Lomi (Alessandro), Italian. Flo- rence. Scholar and imitator of C. Dolci. 1655-1702. Lomi (Aurelio), Italian. Pisa. IListory. Scholar of Bronzino and Cigoli. D. 1622. Lomi (Orazio), called Gentilescki. Italian. Pisa. History. B. 1563. Died in London 1647. LOMI (Artemisia), called Genti- leschi^ an Italian paintress, the daugh- ter and disciple of the preceding, born at Rome in 1590, followed her father to England. History. Portraits. D. 1642. Lomio (Baccio), Italian. Pisa. History. 1 6th century. Londonio (Francesco), Italian. Milan. Landscapes with herds of cattle. 1723-1783. Longe (Uberto la), Flemish. His- tory. D. 1709. Longhi (Giuseppe), Italian. Monza. Histoiy. 1 766- 1831. Longhi (Luca), Italian. Ravenna. History. About 1580. Longhi (Francesco), the son and scholar of the preceding. History. About 1575. Longhi (Barbara), a sister of the preceding. History. Portraits. Longhi (Pietro), Italian. Venice. Masks. Conversations. Landscapes. 1702-1762. Longhi (Alessandro), Italian. Ve- nice. History, Portraits. 1733-1813. Lonsdale (James), English. Por- traits. 1777-1839. Lonsing (Francis Joseph), Flemish. History. Allegory. 1743-1799. Loo (Peter van), Flemish. Land- scapes. Fruit. F^lowers. 173 1 -1 784. Loon (Peter van), Flemish. Archi- techiral pieces. About 1600. ^ Loon (Theodore van), Flemish. Scholar of C. Maratti. History. 1630- 1678. Loon (van), Dutch. Birds. Fruit. Flowers. 1727-1787. Lopez (Jose), Spanish. History. Scholar of Murillo. About 1670. Lopez (Pedro), Spanish. History. Scholar of El Greco. 1 7th century. Lopez (Gaspero), called Da Fio)i. Italian. Naples. Landscapes. Flowers. D. 1732. Lorenzetti (Ambrogio), Italian. Siena. Scriptural history. 125 7- 1340. Lorenzi (Francesco), Italian. Ve- nice. Scholar of Tiepolo. History. 1719-1783. The Picture A niateur's Handbook. 130 Lorenzini (Fra Giovanni Antonio), Italian. Bologna. History. 1665-1740. Lorenzino (da Venezia), a scholar of Titian. History. Portraits. Lorenzo (Don), called Camaldolese. Italian. Florence. Scholar of T. Gaddi. 14th century. Lorme (A. de), Dutch. Interiors of churches. {Figures by Terburg.) About 1660. LORRAINE(Claude)[the English name for Claude Gelee., le Lorrairi\., an illustrious French painter, born in the diocese of Toul, Lorraine, in 1600, was instructed by his brother, an obscure engraver, in the first elements of draw- ing. He afterwards went to Rome and studied with great assiduity the world of art before him. Accidentally seeing at one of the public fairs some of the splendid architectural views of Godfrey Waal, which had been sent from Naples for sale, these works so won his admiration that he set out for Naples in order to place himself under the tuition of that master. It is presumed that he remained in Waal’s studio about two years ; there he ac- quired that knowledge of architectural painting and that science of perspective which he subsequently used to such advantage in his landscape scenery. He afterwards returned to Rome, and placed himself under the instruction of Agostino Tassi, a reputable landscape painter. A pilgrimage to Loretto, a tour through Italy and the Tyrol, a visit to his native place and to the town of Nantes, are then recorded in his life. At last he settled definitively at Rome in 1627, and soon found abundant employment from Cardinal Bentivoglio and Pope Urban VHI. In a few years his fame extended to every part of Europe and he received from the most distinguished persons more commis- sions than his ability could supply. Claude did not attain the proud position of the first landscape painter of modern times by his genius alone, but he united with it wonderful energy and perseverance in the study of Nature as well as works of art. He searched for true principles by an incessant examination of effects of life, usually sketching in the open fields, where he frequently continued from sunrise till the dusk of evening. His skies are warm and full of lustre ; his distances admirable ; his colouring exquisite, and his tints have a sweetness and variety quite unequalled. Palaces, temples, and other noble edifices, generally en- rich his landscape ; and some event from sacred or profane history, poetry or romance, which accords with the style of the buildings, always enlivens the scenery. The figures painted by the master are rather indifferent ; he used jocosely to say that he ‘ sold his landscapes and gave his figures into the bargain.’ Sometimes, however, he employed Filippo Lauri, Courtois, or Jan Miel to execute them. Claude was accustomed to preserve in a book drawings of the different subjects he painted. He left at his death, in 1 682, six of these registers, which he called Libri di Verita. His genuine works are set down at the number of more than 400 ; they are nevertheless ex- ceedingly valuable and command enor- mous prices. England is said to be richer in Claudes than all the rest of Europe together. For that very reason there are probably in this country more copies and spurious imitations of the master than anywhere. Among his ablest imitators and copyists, Ange- luccio, John Asselyn, Francesco Maria Borzone, Pierre and Bernard Patel, Hermann Swanevelt, Walliut the elder and the younger, Domenico Rojnani, Zeeman, Mauperche, Buonamici, and Salvi (Sassoferrato) are recorded. Loschi (Jacopo), Italian. Parma. History. About 1470. Loten (John), Swiss. Landscapes. Died in London, 1681. Loth, or Loti (Cav. Giovanni Carlo), German. History. 1632- 1698. Dictionary of Painters, 131 Loth, or Loti (Onofrio), Italian. Naples. Fish and shells with flower's. D. 1717. Loto, or Loti (Bartolomeo), Italian. Bologna. History in the style of the Caracci. About 1622. Lotti (Cosmo), Italian. Florence. History. About 1625. LOTTO (Lorenzo), an eminent Italian painter, born at Bergamo, about 1490, studied under G. Bellini, but afterwards followed the style of Leonardo da Vinci. History. D. 1560. Lotyn (John), Flemish. Flo^oers. 15 th century. LOUTHERBOURG (Philip James de, R.A. ), an eminent land- scape painter, born at Strasburg, about 1730, studied under Carle Vanloo and probably also under Casa- nova. He soon became popular for battles, hunting and sea pieces, and for landscapes in the manner of Berghem. In 1771 he went to Eng- land, and was elected in 1 782 a mem- ber of the Royal Academy. Died at Chiswick in 1812. His works, which were in his time more praised than they deserved, are now considered of little value ; moreover, they have been so closely imitated that their genuineness is almost always doubtful. Luca (Santo), Italian. Florence. Religious subnets, nth century. Luca di Tomi, an old painter of Siena. Religious subjects. About 1367. Lucas (Tohn), English. Poidraits. 1807-1874. Lucass (Peter Francis), Flemish. Landscapes with jigures. Portraits, 1606-1654. Lucatelli, or Locatelli (Pietro), Italian. Rome. History. 1660- 1741- LUCATELLI (Andrea), a land- scape painter of eminence, horn at Rome in 1540, excelled in painting architechiral views with figures. D. 1602. Lucca (Deodato da), Italian. History. About 1 288. Lucena (Don Diego de), Spanish. Scholar of Velasquez. History. Portraits. D. 1650. LUINI (Bernardino), an eminent Italian painter, born in the Milanese, about 1480, was probably a pupil of Leonardo da Vinci ; at all events it is impossible for one artist to approach nearer to the style of another than Luini did to that of Vinci. Religious history in fresco and in oil. Living in 1530. Luini (Aurelio), the son of the preceding. History. 1530-1593. Luini (Evangelista), another son. History. Luini (Giulio Cesare), Italian. Milan. Llistory. About 1550. Luini (Tommaso), called 11 Cara- vaggino. Rome. History. About 1625. Lundens (Gerrit), Dutch. In- teriors. Boors. About 1660. ^ Lunghi (Antonio), Italian. Bo- logna. Histoiy. 1685-1737. Lusurier (Catherine), a French paintress. Scholar of Drouais. Por- traits. D. 1781. Luti (Cav. Benedetto), Italian. Florence. History. 1 666-1 724. Luzio (Romano), Italian. Rome. History. Scholar of P, del Vaga. Lys. See Ids. M Maan,or Mann (Cornelius), Dutch. Portraits. 1621-1706. Maas. See Maes. Maat. See Blankhof MABUSE (John Gossaert), called John de, an excellent Flemish painter, born at Maubeuge, Hainault, about 1490. Very little is known of this 132 The Picture Amateur's Handbook. extraordinary artist, whose design sur- passes so much his contemporaries of the Flemish school. It is certain, however, that he went to Italy when very young, gained there great im- provement, and was the first among the Flemish masters who treated his- torical and allegorical subjects accord- ing to strict rules of art, and intro- duced the nude into his compositions. His colouring is fresh and clear ; his works are as neatly finished as the productions of Mieris or Douw. It is believed that he died about 1 532. Macchi (Florio), Italian. Scholar of the Caracci. History. About 1620. Macchietti (Girolamo), Italian. Florence. History. B. 1535 - Macerata (Giuseppino da), Ita- lian. Scholar of the Caracci. History. About 1630. Machelli (Rolando), Italian. Genoa. History. Porti'aits. 1 664-17 28. Macheren (Philip van), Dutch. Marines. 17 th century. Machy (Pierre Antoine de), French. Architectural views. 1722-1807. MACLISE (Daniel, R.A.), a British painter of eminence, born at Cork, 1806, studied and practised first in his native town, w'ent in 1827 to London, where he entered the schools of the Royal Academy, and in 1829 exhibited his ‘ Malvolio affecting the Count.’ For some time he devoted his energies to portrait painting. In 1834, however, he exhibited his great work, ‘The Chivalric Vow of the Ladies and the Peacock,’ and after- wards his pictures were for the most part subjects taken from ‘ Gil Bias, ’ the ‘Vicar of Wakefield,’ and Shakspeare. At the competition for the great deco- rative works of the Palace of West- minster in 1846, he was selected by the Commissioners, and received com- missions for two historical frescoes. Died 1870. Macrino (d’Alba), Italian. Turin. History. About 1508. Maddersteg" (Michael), Dutch. Scholar of Backhaysen. Sea pieces. D. 1709. Maderno (da Como), Italian. In- teriors of kitchens. Flowers. About 1700. Madiona (Antonio), Italian. Syra- cuse. History. 1650-1719. Madonnina (Francesco), Italian. Modena. History. About 1550. Maes, or Maas (Arnold), Dutch. Scholar and imitator of D. Teniers. 1620-1664. Maes, or Maas (Dirk), Dutch. Imitator of Mommers and Huchten- burg. 1656-1715. MAES, or MAAS (Nicholas), an eminent Dutch painter, born at Dort in 1632, studied under Rembrandt, and attained great excellence in por- traits and interiors painting. Some of his works so closely approach his master, that it is extremely difficult to discover a difference. His cabinet pictures are very rare (probably no more than eighty), and obtain very high prices when they appear in the market. Fie died in 1693. Maes, or Maas (Godfrey), Flemish. An imitator of Rubens. History. 1660-1722. Maffei (Francesco), Italian. - Vi- cenza. Imitator of Veronese. His- tory. D. 1660. Maffei (Jacopo), Italian. Venice. Marines. About 1663. Magagnolo (Francesco), Italian. Modena. History. About 1500. Maganza (Giov. Bat.), the elder, Italian. Vicenza. School of Titian. Portraits. D. 1589. Maganza (Alessandro), the son of the preceding. Imitator of Zelotti and Veronese. D. 1630. Maganza (Giov. Bat. ), the younger, the son of the preceding. History. 1577-1617. Magatti (Pietro), Italian. Varese. History. About 1770. Maggi (Giovanni), Italian. Rome. Landscapes. Architeciural views. About 1600. Dictionary of Painters. 133 Mag-gi (Pietro), Italian. Milan. Imitator of F. Abbiati. About 1700. Maggieri (Cesar), Italian. Ur- b no. Imitator of Barocci. D. 1629. Maggieri (Basilio), Italian. Ur- bino. Portraits. About 1600. Maggiotto (Domenico), Italian. Venice. Imitator of Gr. B, Piazzetta. History. D. 1794. Magistris (Simone de), Italian. Caldarola. Histoiy. About 1585. Magnani (Cristoforo), Italian. Pizzighettone, History. D. 1580. Magnasco (Alessandro), Italian. Genoa. School of F. Abbiati. Fa- miliar and public scenes. D. 1 747. Mahne (Wilhem), Dutch. Por- traits. 1517-1569. Maia (Giovanni Stefano), Italian. N aples. Portraits. 1672-1747. Mainardi (Andrea), called Chia- veghino. Italian. Cremona. His- tory. About 1 600. Mainardi (Marc’ Antonio), the nephew of the preceding. History. About 1623. Mainero (Giov. Battista), Italian. Genoa. History. Portraits. 1610- 1657. . Mair ( ), German. Insects, butterflies, serpejits, &c. , in the manner of Otho Marcellis. i8th century. Maire-Poussin (Pierre le), French. A rchitectural mews. 1 597-1 659. Majoli, or Majola (Clemente), Italian. Ferrara. Scholar of P. da Cortona. B. about 1640. Major (Isaac), German. Scholar of R. Savery. B. about 1576. Malagavazzo (Coriolano), Italian. Cremona. An assistant of.B. Campi. About 1585. Malinconico (Andrea), Italian. Naples. History. B. about i6oo. Malo (Vincent), Flemish. A scholar of Rubens and Teniers the elder. Landscapes. Battles. Humo- rous subjects. History. 1625-1670. Malombra (Pietro), Italian. Venice. Imitator ol Palma. His- tory. Portraits. Architectural views. D. 1618. Malosso. See Trotti. Malpiedi (Domenico), Italian. Rome. Scholar of F. Barocci. His- tory. Living in 1 596. Malpiedi (Francesco), Italian. S. Ginesio. History. About 1580. Maltese (Francesco), Italian. Fruit, caskets, jewels, and ??msicai in- struments. About 1650. Manaigo (Silvestro), Italian. Venice. History. B. about 1680. Manchetti (Michele), Italian. Genoa. History. B. about 1550. Mancini (Annibale), Italian. Turin. History. About 1610. Mancini (Francesco), Italian. Bo- logna. Scholar of C. Cignani. His- tory. D. 1758. Mandyn (John), Dutch. Drolls, Incantations. Conflagrations. Rocky landscapes. B. about 1450. Manenti (Vincenzio), Italian. Rome. Scholar of Domenichino. History. 1600-1674. Manetti (Rutilio), Italian. Siena. Scholar of M. A. da Caravaggio. History. 1571-1637. Manetti (Domenico), Italian. Siena. History. About 1600. MANFREDI (Bartolomeo), Italian. Mantua. Scholar of M.A. da Caravaggio. Soldiers. Peasants. Banditti. Fortune-tellers. 1580- 1617. Manglard (Adrien), French. Landscapes. Sea pieces. 1696- 1761. Mann (Cornelius). See Maan. Mannini (Gaetano) , Italian. Milan. History. 1730-1790. Mannini (Giac. Antonio), Italian. Bologna. Perspective, Architectural vieivs. 1 646- 1732. Mannozzi (Giovanni), Italian, Florence. Scholar of M. Roselli. History. 1590-1636. Mannozzi (Giovanni Garzia), the son of the preceding. History. B. I about 1620. 134 The Picture A mateur's Handbook. Manrique (Miguel), Flemish. Scholar of Rubens, About 1650. Mans (F. H.), Dutch. Views of\ towns ; village, coast, and winter scenes. About 1677. Mansueti (Giovanni), Italian, Trevigi. History. About 1500. MANTEGNA (Cav. Andrea), an eminent Italian master, born near Padua in 1430 or 1431, studied under Squarcione, and after having painted his first work, the celebrated altar- piece in the church of St. Sofia at Padua, married the daughter of Jacopo Bellini. The latter relation- ship had no doubt an influence upon his style. Mantegna, after a short residence at Venice, settled at Mantua, where he soon acquired an immense reputation. There is in his works an union of colouring, a delicacy of pen- cilling, and a peculiar grace that mark the last stage of the art towards the perfection which it acquired from Leonardo da Vinci. He died in 1506. One of his masterpieces was the Triumph of Julius Caesar,’ now in e National Gallery. Lanzi says a multitude of pictures in the style of the quattro-centisti are falsely attri- buted to Mantegna. At all events, that may be said of the v'orks of his acknowledged scholars and imitators, Giovanni Francesco Carotto, Fran- cesco Mantegna, Carlo del Mantegna, F rancesco Monsignori, Angelo Padova, I^auro Padovano, 'B>en\zxdo Parentmo, and G\oy2om\Speranza. Mantegna (Francesco), son and imitator of the preceding, himself an excellent artist. Mantegna (Carlo del), a Lombard, was a favourite pupil of Andfea Man- tegna, and imitated his style most successfully. Mantouano (Rinaldo), Italian. Scholar of Giulio Romano. History. 1 6th century. Manuel (Nicolas), Swiss. Scholar of Titian. History. 1484-1530. Manzini (Raimondo), Italian. Bologna. Fruit. Flowers. Birds. 1668-1744. Manzoni (Ridolfo), Italian. Castelfranco. History. Flowers. Birds. 1675-1743*. Manzoni (Faenza). Altar-pieces at Faenza. Died about 1625. Manzuoli (Maso), called di San Piano. Italian. Florence. History. 1536-1575. Maracci (Giovanni), Italian. Lucca, Scholar and imitator of P. da Cortona. History. D. 1704. MARATTI (Cav, Carlo), an emi- nent Italian painter, born at Ancona in 1625, studied at Rome under Andrea Sacchi, and made of the works of Raffaelle his chief models. At the commencement of his career he confined himself to painting Holy Families and Madonnas ; afterwards he painted some large compositions, but he had always a predilection for cabinet and altar-pieces. During his lifetime he was considered one of the first artists in Europe ; he estab- lished the most popular school of his age, and made numerous excellent pupils. He died in 1713. Among his imitators and copyists the following were the most conspicuous : Calan- drucci (Giacinto and Domenico), Albertoni, Antonio Balestra, Chiari (Giuseppe and Tommaso), Fr. Conti, Placido Celi, Miguel Danus, Agost. Masucci, Paolo Melchiori, Odam, Oddi, Nardini, Passeri, Pietro de’ Pietri, Pozzi, Th. van Loon, Ricci (Natale and Ubaldo), Lodovico Trasi, and Girolamo Troppa. Marca (della), Italian. Monte- nuovo or Perugia. History. B. about 1532. Marca (Lattanzio), Italian. Perugia. History. About I 55 °* Marcel (N.), German. Fruit. Flowers. Still-life. 1628-1683. MARCELLIS (Otho), Dutch. Insects, serpents, &c., finished with extraordinary care. 1613-1673. His works are much sought after, and Dictionary of Painters. 135 command rather high prices. Imi- tators and copyists : — Alair, Verhulst, and Withoos. March (Esteban), Spanish. His- tory. Battle pieces. D. 1660. March (Miguel), the son and scholar of the preceding. History. 1633-1670. Marchelli (Rolando), Italian. Genoa. Scholar of C. Maratti. 1664- 1751. Marches! (Girolamo daCotignola), Italian. Scholar of Fr. Francia. Portraits. History. D. about 1540. Marches! (Giuseppe), called II Sansone, Italian. Bologna. History. 1699-1771. Marchesin! (Alessandro), Italian. Verona. Scholar of C. Cignani. History. 1 664- 1738. Marchett! (Marco) da Faenza. History in fresco and in oil. D. 1588. March! (Gius. Fil. Liberati), Italian. An assistant of Sir Joshua Reynolds. D. 1808. Marchion! (La), a paintress of Rovigo. Flo 7 vers. About 1700. Marchis (Alessio de), Italian. Na- ples. Landscapes. Seapoj'ts. Con- Jiagratio 7 is. 1 7 1 0 - 1 742 . Mardlla (Guglielmo da), painted at Arezzo. Religions subjects in fresco. 1537 - Marcola (Marco), Italian. Verona. History. 17 28- 1790. Marcon! (Marco), Italian. Como. History in the style of Giorgione. About 1500. Marcon! (Rocco), Italian. Tre- vigi. Scholar of G. Bellini. History. About 1505. Marcucci (Agostino), Italian. Siena. Scholar of the Caracci. His- tory. B. about 1570. Maren! (Giov. Antonio), Italian. Turin. Histojy. About 1680. Marescalco (Pietro), called lo Spada. Italian. Feltre. History. About 1551. Marescott! (Bartolomeo), Italian. Bologna. Scholar of Guido. His- tory. D. 1630. MARGARITONE, d’ Arezzo, an old Italian master, born in 1198, was a disciple and an imitator of the Greeks. He painted on a canvas ex- tended on panel, and covered with a ground of gypsum, and formed dia- dems or other ornaments of plaster, giving them relief by gilding and bur- nishing. Religious subjects. He died in 1289. Mar! (Alessandro), Italian. Turin. Histoiy. Capficci. Copies after the old masters. D. 1707. Maria (Cav. Ercole), Italian. Bo- logna. Scholar of Guido. Histoiy. D. 1640. Maria (Francesco di), Italian. Na- ples. Scholar of Domenichino. His- tory. Portraits. D. 1690. Marian! (Camillo), Italian. Vi- cenza. History. 1565-1611. Marian! (Domenico), Italian. Mi- lan. History. 17th century. Marian! (Gioseffo), the son and scholar of the preceding. History. Marian! (Gio. Maria), Italian. As- coli. History. About 1650. Marienhof (A ), Dutch. A copyist of the works of Rubens. D. about 1712. J Mariesch! (Michele), Italian. Venice. Aixhitectural vie^vs. D. 1743 - Mariesch! (Jacopo), son of the preceding. Imitator of Canaletti. 1711-1794. Marigny (Michel), French. Scholar of Gros. Histoiy. 1797 - 1829. Marilhat (Prosper), PTench. East- ern scenes. 1 8 1 1 - t 844. Marinar! (Onorio), Italian. Flo- rence. Scholar of C. Dolci. His tory. Portraits. 1 62 7- 1 7 1 5 . Marinas (Henrique de las), Spa- nish. Marines. 1620- 1680. Marinell! (Girolamo), Italian Assisi. Histoiy. About 1630. G 136 The Pictiii^e Amateur's Handbook, M arinetti (Antonio), called 11 Chiozzotto. Scholar of Piazetta. i8th century. Marini (Antonio), Italian. Pa- dua. Classical landscapes. About 1700. Marini (Benedetto), Italian. Ur- bino. History. About 1625. Mario da Fiori. See Nuzzi. Mariotti (Gio. Battista), Italian. Venice. Imitator of Balestra. D. about 1765. Mar let (Jean Henri), French, History. Fancy. Portraits. B. 1771. MARLOW (William), a distin- guished lands cape born in 1 740, studied under Samuel Scott, and painted British scenery, usually views on the banks of the Thames, sometimes approaching the style of Wilson in his English subjects. He died in 1813. Marmitta (Francesco), Italian. Parma. History. About 1500, Marmocchini (Giovanna Cortesi), a Florentine paintress. Miniatures. 1670-1736. Marmoleg^a (Pedro de Villegon), Spanish. History. 1520-1599, Marne (Jean Louis). See De- marne. Maroli (Domenico), Italian. Mes- sina. History. 1612-1674. Marone (Jacopo), Italian. Genoa. History. About 1480. Marot (Frangois), French. His- tory. 1667-1719. Marquez (Esteban), Spanish. Imitator of Murillo. D. 1720. Marquez (JoyaFernando), Spanish. History. Portraits in the style of Murillo. D. 1672. Martelli (Lorenzo), Italian. Flo- rence. An imitator of Salv. Rcsa. Landscapes. 17th century. Martin (David), British. Por- traits. 1736-1798, Martin (Jean Baptiste), French, Viexvs op sieges. 1659-1735. Martin (John), a distinguished English painter, was a self-taught artist, and painted history and land- scapes. The well-known ‘ Belshazzar’s Feast’ is considered his best work. 1789-1854. Martin (Pierre Denis), the younger. French, Huntings. i8th century. Martin (William), an English painter, was a pupil of Cipriani. He exhibited from 1775 to 1816 various classical works of history. Martin (Jean Baptiste), French. Scholar of Vandermeulen. Battles. 1659-1735- Martinelli (Giovanni), Italian. Florence. History. About 1650, Martinelli (Lucca and Giulio), brothers, scholars of J. Bassano, and his imitators. i6th century. Martinez (Ambrozio), Spanish. Scholar of A. Cano. History. 1630- 1674. Martinez (Sebastian), Spanish. History. Portraits. Landscapes. 1602-1667. Martinez (Domingo), Spanish. History. End of 1 7th century. Martinez (Gregorio), Spanish, Landscapes. History. End of 1 6th century. Martinez (Jose), Spanish. His- tory. 1612-1682. Martinez (Tommaso), Spanish. Imitator of Murillo. End of 17th century. Martinez (Don Jose Luzan), Spanish. History. Portraits. B. 1710. Martinez (D. Bernardo), del Bar- ranco. Spanish. History. Portraits. 1738-1791. Martini (Giovanni), Italian. Udine. Scholar of G. Bellini. History. About 1510. Martino (Marco San), Italian. Venice. History. Landscapes. About 1680. Martinotti (Evangelista), Italian. Turin. Landscapes in the style of S. Rosa. 1634-1694. Dictionaryf of Painters. 137 Martis, or Martini (Ottaviano), , Italian. Perugia. About 1425. Martorana (Giovacchino), Ita- lian. Palermo. History. About 1750- Martoriello (Gaetano), Italian, Naples. Landscapes in the style of S, Rosa. 1670-1723. Marucelli (Giovanni), Italian. Florence. History. 1586-1646. Marullo (Giuseppe), Italian. Naples. History. 1620-1685. Marzi (Ventura), Italian, Urbino. Scholar of F. Baroccio. History. About 1650. Marziale (Marco), Italian. Venice, Scholar of G. Bellini. History. About 1495 - MASACCIO (Tommaso Guidi, called Maso di San Giovanni or), an illustrious Florentine painter, born about 1401, studied under Masolino da Panicale, and improved himself by drawing after the works of the excel- lent sculptors Ghiberti and Donatello. He learned perspective from Filippo Brunelleschi, and afterwards went to Rome to study the antique. But he con- sidered painting the art of representing Nature truthfully, by the aid of design and colouring, and therefore made Nature his constant study. His earlier performances retain much of the dry- ness and stiffness that prevailed before his time. Soon, however, he showed the beauty which arises from a proper ind agreeable choice of attitudes and motions, and the grandeur which arises from a greater boldness and freedom of execution, and a better chiaro-oscuro than had before him been practised. He certainly deserves the highest place among the early masters of the Florentine school who explored the untrod paths of art. Buonarroti, Leonardo da Vinci, Peru- gino, even Raffaelle formed their tastes and improved their arts by studying the works of this great painter. Among his masterpieces, ‘The Expulsion of Adam and Eve,’ G the ‘Tribute Money,’ and ‘St. Peter Baptizing,’ in the Church of S. M. del Carmine, Florence, are the princi- pal. He died young, at the age of only twenty-six, according to some writers, though it is difficult to believe that he could have gone through the difficulties of the art, executed so much, and acquired such distinction, at that early age. Mascagni (Donato), called Fra Arsenio. Italian. Florence. Scholar of J. Ligozzi. History. D. 1636. Mascall (Edward), English. Por- traits. About 1 630. Mascherino (Ottaviano), Italian. Bologna. History. B. 1572. Masini (Giuseppe), Italian. Flor- ence. History. About 1638. Masolino. See Panicale. Massari (Lucio), Italian. Bologna. Scholar of the Caracci. History. 1569-1633. Massaro (Niccolo), Italian. Naples. Scholar of S. Rosa. Land- scapes. D. 1704. Massarotti (Angelo), Italian. Cre- mona. History. 1655-1723. Massei (Girolamo), Italian. Lucca. History. i6th century. Masseus (Otho). See Marcellis. Massi (Antonio), Italian. Bo- logna. History. About 1580. ' Massone (Giovanni), Italian. Alessandria. History. About 1490. Mastroleo (Giuseppe), Italian. Naples. Scholar of P. de Matteis. History. B. about 1744. Mastuzzo (Marzio), Italian. Naples. Scholar of S. Rosa. Land- scapes. Battle pieces. Masucci (Agostino), Italian. Rome. Scholar of C. Maratti. His- tory. Portraits. 1691-1758. Masucci (Lorenzo), the son and scholar of the preceding, followed his art. Mathias (Gabriel), English. Familiar subjects. About 1725- 1804. Mathyssens (Abraham), Flem- 2 138 The Picture Amateurs Handbook. ish. History, Landscapes, 1570- 1619. Maton (B ), Dutch, a copyist of G. Douw and W. Mieris. Candle- light pieces. MATSYS, or METSYS (Quin- tin), an eminent old Flemish master, born at Antwerp about 1450, is said to have been bred up to the trade of blacksmith, in which he was unusually clever, and to have only taken rather late to painting ; he was probably a self-taught artist, and possessed un- common talent and genius. Had he enjoyed the advantages of travel in Italy to study the antique and the works of the great masters, he would have become one of the most distin- guished painters of the Flemish School. His manner was peculiar, and unlike that of any other master ; his pictures strongly coloured and highly finished, though somewhat hard and dry. One of his most consider- able works is an altar-piece in the cathedral of Antwerp ; one of his favourite subjects, ‘ Two Misers^' or bankers weighing gold. Matsys (John), the son or brother of the preceding artist, was his ablest imitator and copyist. Matteis (Paolo de’), Italian. Naples. Was the most celebrated scholar of Giordano. History. Por- traits. 1662-1728. Mattioli (Girolamo), Italian. Bo- logna. Scholar of the Caracci. His- tory. About 1577. Maturino ( ), Italian. Florence. One of the favourite scholars of Raffaelle, and his assistant when he painted the loggia of the Vatican. History. Ornaments. 1490- 1538. Mayer (Constance), a French paintress. Scholar of Prud’hon. His- tory. Fancy portraits. She painted from 1800 to 1821. Mayno (Juan Baptista), Spanish. History. 1569-1649. Mazo (Don Juan Bapt.), Spanish. Scholar of Velasquez. History. Land- scapes. Portraits. 1620- 16 70. Mazza (Domiano), Italian. Padua. Scholar of Titian. History. i6th century. Mazzanti (Cav. Lodovico), Italian. Orvieto. History. 1674-1766. Mazzolini (Lodovico) di Ferrara. Scholar of L, Costa. History. 1481- 1530. Mazzoni (Cesare), Italian. Bo- logna. Scholar of Giuseppe dal Sole. History. 1678-1763. Mazzoni (Giulio), Italian. Pia- cenza. Scholar of Daniele da Vol- terra. History. About 1560. MAZZUOLI (Francesco), called II Parmiggiano, an eminent Italian painter, born at Parma in 1503, was instructed by his uncles, two obscure artists, and surrounded in his native city by the admirable works of Cor- reggio, made them his model at the age of nineteen. He set out for Rome, where he diligently studied the works of the best masters, especially of Raffaelle and Giulio Romano, and formed a style that was pronounced original. The prevalent character in which he shone was grace of manner, a grace which won for him at Rome the most flattering of eulogies, that ‘ the spirit of Raffaelle had passed into Parmig- giano.’ There is now great con- trariety of opinions as to his merits ; it is, however, generally admitted that he had a truly fine and admirable genius, that his invention was ready, his design learned, though at times somewhat mannered, and that he had a peculiar talent in giving beauty, elegance, sweetness, and grace to his figures; his colouring was excellent (some have called it enchanting), and he was a perfect master of chiaro- oscuro : in fact, an accomplished painter with a bent to mannerism. He died young in 1540. Imitators and copyists: — Pomponeo Amidano, Giac. Betloja., Franc. Borgani, Giro- lamo and Alessandro Mazzuoli. 139 Dictionary of Painters, Mazzuoli (Girolamo), the cousin, scholar, and imitator of the preceding. History. D. about 1590, Mazzuoli (Alessandro), the son and scholar of the preceding. Histoiy. Painted about 1580. Mazzuoli (Giuseppe), called II Bastaruolo. Ferrara. Scholar of Dosso Dossi. History. 1 525-1589. MECHELN, or MECKENEN (Israel von), father and son, two old German masters, about whom and whose works there has been a great deal of disquisition, nor is the matter yet settled. They are supposed to have lived at Cologne from 1424 to 1523, and to have painted several excellent pictures, especially the cele- brated ‘ Passion ’ of Cologne. Meda (Giuseppe), Italian. Milan. History. About 1 590. Medici (Pietro), a member of the illustrious house of the Medici. Scholar of Lod. Cardi. Florence. History. 1586-1648. Medina (Sir John Baptist), Flem- ish. History. Landscapes. Portraits. 1660-171 1. Meele (Matthew), Dutch. Scholar of Peter Lely. Portraits. 1664- 1724. Meer (Gerard vander), Dutch. Landscapes. Domestic scenes. 1450- 1512. Meer (John vander), the elder, Dutch. Landscapes. Sea pieces. 1627-1691, MEER (John vander), called de Jonge, or the younger, the son of the preceding. Landscapes zvith cattle in the style of N. Berghem. 1655- 1688. Meer (John vander), Dutch. His- tory. Portraits. 1 650-1 7 1 1 . MEER (John vander), of Delft, a pre-eminent Dutch master of the 1 7th century, about whom little cer- tain is known. His merit has been brought to light only some twenty years ago. Up to that time, he was commonly mentioned as a follower of Metzu and Pieter de Hooghe, his name having been erased from all his principal works, in order to ascribe them to those masters. In fact, he must be ranked among the greatest of the Dutch school. Most probably he studied under Rembrandt about 1654, at the same time as Nicholas Maas, Pieter de Hooghe and Metzu. His subjects were the same as theirs, usually conversations and domestic scenes, women woi'king at a window, &c. He painted also landscapes and viezvs of cities. His style presents a striking resemblance with the manner of his supposed fellow-scholars, but at the same time a peculiar, character- istic, and now unmistakeable cpiality of colouring. The w^orks cf Vander Meer of Delft have lately immensely increased in value. In April 1877 a small picture by him, representing a Dutch lady opening a window, was sold in London at a public sale for 390 guineas. Lmitators and copyists r — Aditervddt, Coedyck, Hendricks, Vinkeles. Meert (Peter), Flemish. Portraits in the style of Vandyck. About 1630. Mehus, or Mens (Livio), Flem- ish. Scholar of P. da Cortona. His- tory. Portraits. 1 630- 169 1 . ^ Mei (Bernardino), Italian. Siena. History. About 1 640. Meire (Gerard vander), Flemish. Scholar of the Van Eycks. History. About 1450. Meire’ (Jan vander), a brother of the preceding. History. About 1460. Meissonier (Justus Aurelius), Italian. Turin. Portraits. 1695- 1750. Melchiori (Giov. Paolo), Italian. Rome. Scholar of C. Maratti. His- tory. Portraits. 1 664-1 721. Melchiori (da Castelfranco), Italian. Venice. History. D. 1686. Melder (Gerard), Dutch. Imitator of Rosalba, Rottenhamer, and Van- der Werf. D. 1740. 140 The Picture Amateur's Handbook. Melissi (Agostino), Italian. Flo- rence. History. 1658-1738. Melone (Altobello), Italian. Cre- mona. History. About 1505. Meloni (Marco), Italian. Carpi. History in the style of the Caracci. About 1537. MELOZZO (da Forli), one of the fathers of Italian painting, living about 1475, was probably a scholar of Piero della Francesca. His style resembles, in point of taste, that of Andrea Mantegna and the Paduan school moVe than any other. Religious subjects. Melzi (Francesco, II Conte). A scholar and imitator of Leon, da Vinci. History. About 1550. Memmi (Simone), Italian. Siena. Religious subjects. B. about 1285. Memmi (Lippo), the relative and scholar of the preceding. Religious subjects. Living in 1361. Mena (Felipe Gil de), Spanish. Portraits. 1 600- 1674. Menageot (Fr. Guillaume), French. History. 1 744- 1816. Menarola (Cristoforo), Italian. Vicenza. History. About 1727. Menendez (Michael Hyacinth), Spanish. History. B. 1679. Menendez (F ranc. Antonio), Spanish. History. Mafiues. B. 1682. Mengozzi (Girolamo Colonna), Italian. Fei'rara. Ornaments. Archi- tecture. 1 688-1 766. MENGS (Cav. Antonio Raffaelle), an eminent German painter, born in 1728, studied chiefly the works of Raffaelle, lived at Rome and Madrid, where he painted excellent historical compositions, and was also distin- guished as a writer upon art. B. 1779. Mengucci (Domenico), Italian. Pesaro. Landscapes in the style of Donducci. About 1660. Mengucci (Giov. Francesco), Ita- lian. Pesaro. Scholar of Lanfranco. History. Menheere (Cornelius Laurens), Dutch. Marines. About 1730. Menini (Lorenzo), Italian. Bo- logna. Scholar of Fr. Gessi. His- tory. About 1625. Menjaud ( -), French. His- tory. Portraits. D. 1831. Menton (Francis), Dutch. Scholar of Fr. Floris. History. Portraits. 1550-1615. Menzani (Filippo), Italian. Bo- logna. Imitator of Albano. About 1660. Mera (Pietro), Flemish. History in the Venetian style. About 1600. Merano (Giov. Bat.), Italian. Genoa. History. PoHraits. 1632- 1698. Merano (Francesco), Italian. Genoa. History. 1619-1657. Mercati (Giovanni Bat.), Italian. Florence. Imitator of P. da Cortona. History. About 1625. Merian (Matthew), Swiss. His- tory. Portraits. B. 1621. Merian (Maria Sybilla), the sister of the preceding, born at Frankfort in 1647, studied under A. Mignon, and painted with great truth fruit, flo^vers, and insects, especially butter- flies. D. 1717. Merimde (J. J.), French. History. D. 1836. Merli (Gio. Ant.), Italian. No- vara. Portraits. About 1488. Merz (James), Swiss. History. Portraits. 1 783^1807. Mesa (Alonzo de), Spanish. Scholar of A. Cano. History. 1628- 1668. Mesa (Juan de), Spanish. History. About 1605. MESSINA (Antonello da), an old Italian master, born at Messina about I426(?), was the first to practise oil painting in Italy. It is believed that after having studied under Masaccio, he happened to see at Naples some oil painting by John van Eyck, and was inspired by the beauty of the colouring with so strong a desire to be- Dictionary of Painters. 141 come possessed of the secret, that he set out for Bruges and learned it from the master. Lanzi says that after Antonello returned to Venice from Flanders, he concealed the discovery from eveiy one except Domenico Vene- ziano, who is known to have availed himself of it for many years both at Venice and elsewhere. He painted history portj'aits. His works dis- play a correct taste, united to a most delicate command of the pencil. He died probably after 1490. Messina (Pino da), a scholar and imitator of the preceding. Messina (Salvo da), a nephew of Antonello, was a follower of Raffaelle. History. Portraits. About 1511- Messina (Padre Feliciano da), a Capuchin monk, and a scholar of Guido. History. B. 1610. METZU, or METSU (Gabriel), an eminent Dutch painter, born at Leyden in 1615, made the works of G. Terburg his model, equalled him in the silky softness of his pencil, and perhaps surpassed him in elegance and correctness of design. His pic- tures represent dofnestic scenes, con- versations, ladies at their toilet, or playing musical instruments ; sick per- sons attended by the doctor; chemists in their laboratories; painterd shops and drawing schools ; still-life and market scenes, with women selling fish, game, fowls, fruit, vegetables, &c. He evidently studied carefully the works of Douw and Mieris ; less minute in detail, and less laboured in his finishing than those excellent masters, he excels them in lightness and spirit of touch, and in chasteness and harmony of colouring. For the correct and noble drawing of his heads and hands he has, not improperly, been compared to Vandyck. Plis genuine works, numbering no more than 175 to 200, are exceedingly esteemed, and command the highest prices. He died probably in 1669. Among his numerous imitators and copyists, John van Geel, W. Odekerdtn, and Jacob Achtervelt were the most successful ; next come Renier de la Haye, Engel Sam, Ludolph Coders, Van Muscher, and Adrian vander Burg. Meucci (Vincenzio), Italian. Flo- rence. History. 1694-1766. MEULEN (Anthony Francis van- der), an eminent Flemish painter, born at Brussels in 1634, studied under Peter Snayers, and soon surpassed his master in battle pieces. Some of his works having attracted the attention of Ch. Lebrun, at that time arbiter of art in the PVench capital, he was ap- pointed painter in ordinary to Louis XIV., and attended him in most of his campaigns, designing on the spot the sieges, battles, encampments, and marching of the royal armies. His numerous and by no means indifferent works are for the most part at Ver- sailles. D. 1690. Meulen (Peter vander), the brother and scholar of the preceding. Painted battle and hunting pieces in the same style. Meusnier (Philippe), French, Perspective and architectural views. D. 1734. Meyer (Felix), Swiss. Landsci^ipes. Views in Switzerland. 165 3- 1713. Meyer, or Meyerle (Fr. Anthony), German. History. Domestic scenes. 1710-1782. Meyer (Hendrick), Dutch. Land- scapes. 1737-1793- Meyering (Albert), Dutch. Land- sea pes. 1 644- 1714. Meyers (Jeremiah), German. Mi- niatures. 1728-1789. Meynier (Charles), French. His- tory. 1768-1832. Meyssens (John), Flemish. His- tory. Portraits. 1612-1666. Michallon (Achille), French. His- tory. Landscapes. 1796-1822. Michau (Theobald), Dutch. Land- scapes. Merry-makings. 1676-1755. 142 The Picture Amateur's Handbook. Michele (Parrasio), Italian. Ve- nice. Scholar of Veronese. His- tory. About 1659. Michelini (Gio. Bat.), Italian. Florence. Scholar of Guido. His- tory. About 1650. Miel (Cav. John), called Gio- vanni delle Vite. Flemish. Scholar of Seghers, Vandyck, and A. Sacchi. History. Bambocciate. Hu 1 ^ti 7 lg pieres. Allegory. 1599-1664. Mierhop (Francis van Cuyck de), Flemish. Still-life in the style of F. Snyders. D. 1701. MIERIS (Franz), the elder, one of the most eminent of the Dutch painters, born at Leyden in 1635. Studied under Gerard Douw, M^ho called him ‘ the prince of his disciples. ’ He painted usually the same subjects as his master, though on a larger scale, viz. , portraits, co 7 iversatio 7 is, 7 nercers^ shops, persons playmg 07 t 77 iu- sical mstruments, che 77 iists in their labo 7 'atories, patie 7 its attended by the doctor, &c. His characteristic qualities are a conspicuous sweetness of colour- ing, a neat and delicate touch, a cor- rect drawing, united to the transpa- rency so admirable in the works of his master ; the latter perhaps ex- celled him only in the extraordinary finishing of his pictures. Mieris the elder died in 1681. His genuine works, which number no more than 175 to 200, are exceedingly scarce and command enormous prices. They have been immensely imitated and copied. See Miei'is (William). Mieris (John), the eldest son of the preceding, born in 1660, was instructed by his father. He painted history and portraits as large as life. D. 1690. MIERIS (William), called the younger, the second son of Franz Mieris, was born in 1662. He studied Tinder his father, whose style he adopted, being his only really success- ful imitator ; so much so that some of h;s best works are indiscernible from those of his father. After the death of the latter, he was induced by the fame of Gerard Lairesse to aim at a more elevated style, and to attempt painting historical and Tnythological subjects and also landscapes. But this attempt was not favourable to his reputation, and to-day, as well as in his lifetime, his domestic subjects alone are held in high estimation. They are said to number about 200. Other imitators a 7 td copyists of Franz Mieris the elder : — Abraham Vander Eyck, B. Maton, Franz Mieris the younger, Wilhem Muys, Jerome Vander My, and Philip Vandyck. Mieris (Franz), the younger, the son of the preceding, born in 1689. Was instructed by his father, and likewise followed the style of his grandfather, but with comparatively little success. Miers ( ), Dutch. Landscapes with figures and cottages. D. in Lon- don, 1763. Migliara (Giovanni), Italian. Mi- lan. Interiors of edifices. 1785-1837. Miglionico (Andrea), Italian. Naples. Scholar of L. Giordano. Histo 7 y. D. 1710. MIGNARD (Nicolas), an eminent French painter, born in 1608. Studied at Fontainebleau the works of Par- miggiano, travelled in Italy and set- tled at Avignon, He was called Mignard of Avignon to distinguish him from his brother, Pierre Mignard, called the Roman. Histoiy. Por- traits. D, 1668. MIGNARD (Pierre), the brother of the preceding, an eminent French painter, was born in 1610 ; he studied under Simon Vouet, then proceeded to Rome, where he resided twenty- two years diligently studying the works of Raffaelle and Annibale Ca- racci. On returning at last to France, he was appointed painter to Louis XIV., and painted numerous excellent portraits and historical works, namely the great cupola in the Val de Grace. 143 Dictionary of Painters^ D. 1695. Imitators and copyists his sons Pierre and Paul Mignard, Nico- las Fouche and Soiday. MIGNON, or Minjohn (Abra- ham), an eminent German painter, born at Frankfort, in 1639, studied under Jacob Murel, a floiver painter, and afterwards under David de Heem. He painted the same subjects with considerable merit, and his works have never ceased to be held in high estimation. Among his imitators and copyists John Jl/oortci, Ernest Stuven, and N. Verandael were the most con- spicuous. Mikker (John), Dutch. Landscapes 7 vith cottages. Parks with residences. About 1650, Milani (Giulio Cesare), Italian. Bologna. Scholar of II Torre. Llis- tory. 1621-1678. Milan! (Aureliano), the nephew of the preceding. Imitator of the Ca- racci. History. 1 675-1749. Milan! (Gioseffo Maria), Italian. Pisa. Style of P. de Cortona. His- tory. B. 1678. Milano (Andrea), Italian. Milan. History. About 1495. Milano (Francesco da), Italian. Venice. Style of Titian. History. About 1540. Milbert (Jacques Gerard), French. T.andscapes. 1 7 66- 1 840. Mil^ (Francis or Francisque), French. Heroic landscapes in the style of Poussin. 1644-1680. Milocco (Antonio), Italian. Turin, Style of Cav. C. Beaumont. History. Allegory. About 1730. Minderhout (Hendrick), Flemish. Marines. Seaports. 1637- 1696. Minga (Andrea del), Italian. Florence, History. About 1560. M ingot (Teodosio), Spanish. History. D. 1590. Mini (Antonio), Italian, Florence. Scholar of Buonarroti. i6th century. Miniati (Bartolomeo), Italian. Florence. Scholar of II Rosso, i6th century. G Minnebroer (Franz), Flemish. History. About 1 540. Minozzi (Bernardo), Italian, Bo- logna. Landscapes. 1699-1769. Minzocchi (Francesco), Italian. Forli. Scholar of Pordenone. His- tory. ^ 1 5 13-1574. Minzocchi (Paolo and Sebastiano), sons and scholars of the preceding. History. Mio (Giovanni di), Italian, Venice. History. About 1356, Miradoro (Luigi), called LI Geno- vesino. Italian. Cremona. History. About 1651. Mirandola (Domenico), Italian, Bologna. History. D. 1612. Mirbel (Lisinka Rue, afterwards Madame de), French. Miniature poi’traits. 1796-1849. Mireti (Girolamo), Italian. Padua, History. About 1430. MIREVELT (Michael Jansen), an eminent Dutch painter, born in 1568, studied under Blocklandt, and painted an incredible number of por- traits (Houbraken says 5,000, and others swell it to 10,000). His works are, nevertheless, finely drawn and full of expression. D, 1641. Lmitators a nd copyists : — Paul Moreelse, Th. Kluyt, J. van JVas, and Peter Mirevelt. MIREVELT (Peter), the' son and scholar of the preceding. Painted portraits exactly in the same style. 1596-1632. Mirou (Anthony), Flemish. Land- scapes. LListory. About 1640, Miruoli (Girolamo), Italian. Parma, Scholar of Pel. Tibaldi. History. About 1570, Misciroli (Tommaso), Italian. Faenza. LListory. 1636-1699. Mitelli (Agostino), Italian. Bo- logna. History in f resco. 1 609 - 1660. Mitelli (Giuseppe Maria), the son of the preceding. Scholar of FI. Torre. History. D. 1718. Mocetto (Girolamo), Italian. Ve- rona. Scholar of G. Bellini. History. D. about 1500. 3 The Picture Amateur's Handbook. M4 Modena (Barnaba da), an old Ita- lian master. Religious subjects. About 1357. MODENA (Pellegrino Munari, called da), one of the ablest scholars and assistants of Raffaelle. History. D. 1523. Modena (Niccoletto da), Italian. Modena, Perspective. A^'chitecture. About 1510. Modena, or Mutina (Tommaso), an old Modenese master. Religious subjects. About 1350. Modigliani (Francesco), Italian. Forii. Scholar of Pontormo. His- tory. About 1 600. Modonino (Gio. Battista), Italian, Modena. Perspective. Architecture. D. 1656. Moelart (Jacob), Dutch. Scholar of N. Maas. Portraits. History. D. 1727. Mohedano (Antonio), Spanish. History in fresco. 1561-1625. MOINE, or MOYNE (Fran9ois le), an eminent French painter, born in 1688. History. Allegory in fresco and in oil. Portraits. Died 1737. His ‘Apotheosis of Hercules’ at Ver- sailles is the largest fresco in the world. Moine, or Moyne (Jean le), French. Histo ry. Portraits. 1 63 5- 1 7 1 3 . Moine ^Pierre Antoine le), French. Flowers. Fruit. 1605-1665. Mol (Jan Baptist van), Dutch. Imi- tator of Rembrandt. 17th century. . Mol (Peter van), Flemish. Scholar of Rubens. History. D, 1650. MOL A (P. Francesco), an eminent Italian painter, born at Lugano in 1612, painted excellent historical works, but is still more esteemed for his landscapes. His scenery is gene- rally solemn and sublime, his touch firm and free, his colouring vigorous and glowing. It is said that the figures were sometimes painted by Albano. Died 1668, Mola (Giov. Bat.), probably a bro- ther of the preceding. Scholar of Al- bano. Landscapes. History. D. 1 661. Molenaer (Cornelius), Flemish. Landscapes. B. 1540, MOLENAER, MOLINAER, or MOL EN AAR (John, Nicholas Mense, and Jan Miense). Dutch painters of the 17th century. Were probably of the same family, and painted drolls and merrymakings^ in- geniously composed and well coloured, in the style of Adrian van Ostade, though greatly inferior to him in ex- pression. Nicholas Molinaer painted also landscapes in the manner of Ostade. Molinari (Gio. Bat.), Italian. Venice. History. B. 1636. Molinari (Antonio), son of the pre- ceding. History. About 1720. Molinari (Giovanni), Italian. Savigliano. Scholar of Beaumont, History. Portraits. 1721-1793, Molitor (Martin von), German. Landscapes. 1759-1812. Molyn (Peter), the elder, Flemish, Landscapes. B, about 1600. MOLYN (Peter), the younger, called by the Italians LI Tetnpesta., an eminent Flemish painter, the son of the preceding, was born in 1637. He studied under his father, then under Fr. Snyders, whom he imitated for some time. But he changed soon his subjects for sea pieces., especially sea- storms, which acquired for him, as he travelled in Italy, the name of Tem- pesta. His compositions of this class are executed with wonderful truth. He settled at Rome, where his com- missions became so numerous that he called in the assistance of a young Roman artist, who in consequence was nicknamed Tempestino, whose sister became the wife of Molyn, He painted also landscapes with battles and skirmishes, was sixteen years in prison at Genoa, under strong sus- picion of having murdered his wife, and died in 1699 or 1701. Among his imitators and copyists, Scipione Cignaroli, II Montagna, and II Tem^ pestino are the most conspicuous. Dictionary of Painters. 145 Mombasilio (Cavaliere), Italian. Turin. Portraits. About 1675. Mombelli (Luca), Italian. Brescia. Scholar of A. Bonvicino, History. About 1553. Mommers (Hendrick), Dutch. Italian markets. Hunting 'scenes. Landscapes (generally with an ass). Seaports., in the style of Weeninx. 1623-1697. MOMPER, or MOMPERT (Joos or Jodocus), un eminent Flemish painter, born in 1580, painted 7 >ioun- tainous landscapes, frequently deco- rated with figures by the elder Teniers, Francks, and John Breughel. D. 1638. Mona, or Monna (Domenico), Ita- lian. Ferrara. Scholar of G. Maz- zuoli. History. 1550-1602. Monaldi, Italian. Rome. Scholar of Lucatelli. Landscapes. About 1700. Monamy (Peter), British. Marines. 1670-1749.^ Monanni (Monanno), Florence. Scholar of C. Allori. History. About 1652. Mondini (Fulgenzio), Italian. Bo- logna. Scholar of Guercino. His- tory. D. 1664. Moneri (Giovanni), Italian. AcquL Scholar of Romanello. History. D. 1714. Moni (Louis de), Dutch. Imitator of G. Douw. 1698-177 1. Monnicks, or Monnix, Dutch. Public scenes, with classical edifices. D. 1686. MONNOYER (Jean Baptiste), called Baptiste, an eminent French painter, born at Lille in 1635, painted fruit and flowers with considerable merit, and was employed in the royal palaces at Versailles, Trianon, Marly, Meudon. He resided for twenty years in England, where he found also high patronage, especially at Hampton Court, Windsor, and Kensington. His pictures are not so exquisitely finished as those of Van Fluysum, Rachel Ruysch, and Mignon, but his composition and colouring are in bolder style. D. 1699. Among his imitators and copyists, J. B. Biain and Anthony Monnoyer are noticed. Monnoyer (Anthony), called Young Baptiste, the son and scholar of the preceding, followed his style with success. Monosilio (Salvatore), Italian. Messina. Scholar of S. Conca. His- tory. B. about 1700. Monsiau (Nicolas Andre), French. History. 1 7 54- 1 83 7. Monsignori (Francesco), Italian. Verona. Scholar of A, Mantegna. History. 1455-1519. Monsignori (Fra Girolamo), a bro- ther of the preceding. History. D. 1520. Montagna (Bartolomeo), Italian. Vicenza. Scholar of A. Mantegna. History. About 1475. Montagna (Benedetto), a brother of the preceding. History in the style of G. Bellini. About 1520. Montagna (Mario TulHo), Italian. Rome. Scholar of F. Zucearo. I7tli century. Montagna (II), probably Dutch. Sea views. D. 1660. Montagnana (Jacopo), Italian. Padua. History. About 1495. ^ Montanini (Pietro), Italian. Pe- rugia. Scholar of S. Rosa. 1619-1689, Monte (Giovanni da), Italian. Cremmia. Scholar of Titian. About 1580. Montelaticci (Francesco), Italian. Scholar of G. Bellini. D. 1661. Montemezzano (Francesco), Italian. Verona. Scholar of P. Ve- ronese. History. D. 1600. Monten (Dietrich), German. Battle pieces. B. 1799. Montero (de Roxas, Juan cle), Spanish. History in the style of Caravaggio. 1 61 3-1683. Montero (Don Lorenzo), Spanish. A rchitecture. Landscapes. Fruit. Flcnvers. (In distemper.) D. 1710. 146 The Picture Amateur's Handbook. Montevarchi ( ), Italian. Scho- lar of P. Perugino. Montfort. See Blocklandt, Monti (Francesco), called II Bre- sciano delle Battaglie. Scholar of Bor- gognone. Battles. D. 1712. Monti (Francesco), called Bolognese, Scholar of Giovanni dal Sole. History. A llegories. D . 1768. Monti (Eleonora), a daughter of the preceding. History. Portraits. B. 1727. Monti (Giovanni Battista), Italian. Genoa. History. Portraits. 1610- e6S7. Monti (Giacomo), Italian. Bologna. Perspective and architectii,re. 17 th century. Monticelli (Andrea), Italian. Bo- logna, Still-life. Landscapes. 1640- 1716. Monticelli (Michele Angelo), Italian. Bologna. Landscapes. Battle pieces. 1 67 8- 1 749. Montorfano (Giovanni Donato), Italian. Milan, History. 1440- 1510- Montpetit (Armand Vincent de), French. Portraits. B. 1713. Monverde (Luca), Italian. Udine, History. D. 1522, Monza (Nolfo da), Italian, Milan. Scholar of Bramante, About 1500. Monza (Troso da), Italian, Milan. History. About 1444. MOOR (Karel de), an eminent Dutch painter, born at Leyden, in 1656, studied successively under G. Douw, Abr. van Tempel, Franz Mie- ris and Schalcken. He painted por- traits, domestic subjects, and a few histoi ical subjects. One of his most capital performances is a large picture in the hall of magistrates at the Hague, representing the Burgomaster and Echevins in the year 1719. His works ai'e always ingeniously composed and highly finished, his figures well de- signed, his colouring clear and trans- parent. Although he wa.s mostly employed on large works, he often painted small pictures of history or conversations which are exceedingly valued. D. 1738. Moore (Jacob or James), British. Landscapes. Died at Rome, 1795. Moortel, or Mortel (John), Dutch. Fruit, Flowers. Still -life. Born 1650. MORALifeS (Luis), called FI Divino, an eminent Spanish painter, born in 1509, painted especially the head of the Saviour crowned with thorns. His works are of the most admirable and touching character, and are finished with exquisite care, with- out weakening the force or diminishing the expression. He painted generally on wood or copper. D. 1586. Moran (Santiago), Spanish. His- tory. Landscapes. B. 1640. Morandi (Giovanni Maria), Italian. Florence. History. Portraits. 1622- 1717. Morandini (Francesco), called II Poppo. Scholar of G. Vasari. History. B. 1544. Morazone (Giacomo), Italian. Venice. History. About 1 441. Morazzone (II), Italian. Milan. History. 1 5 7 1 - 1 62 7 . MORE, or Moro (Sir Anthony), an eminent Dutch painter, born at Utrecht in 1519, studied under Jan Schoorel, on leaving whom he went to Italy, and spent some time at Rome and Venice. On his return to Hol- land he painted history, but more especially portraits, and soon ac- quired the reputation of one of the ablest artists of his time. He was much employed at the courts of Spain and England, and acquired an ample fortune. His design is bold, his colouring rich, his chiaro-oscuro ex- cellent, but there is something dry and hard in his manner. D. I 575 (?)* Among his followers and imitators, Michael Onate only was successful. Moreelze (Paul), Dutch. Imi- tator of Mirevelt. Portraits. 157 *- 1638. Dictionary of Painters. 147 Morel (Jan Evert), Dutch. Fruit. Flowers. 1777-1808. Morell (Nicholas), Flemish, Frtut. Flowers. Vases. Bas-reliefs. 1664- 1732. Morelli (Bartolomeo), called II Pianoro. Scholar of Albano. History. 1629-1683. Morelli (Francesco), Italian. Flor- ence. History. About 1600. Moreno (Fra Lorenzo), Italian. Genoa. History. About 1544. Moretti (Cristoforo), Italian. Cre- mona. History. About 1460. Moretto (II). See Bonvicino. Moretto (Gioseffo), Italian. Friuli, Scholar of P. Amalteo. ' Morgenstern (Johann Ludwig Ernst), German, Interiors of churches. 1738-1819. Morin (Jean), French. Scholar of Ph. de Champagne, Portraits. 1612- 1666. Morina (Giulio), Italian. Bologna. History. About 1600. Morinello (Andrea), Italian. Genoa. History. About 1516. Morland (Henry Robert), English. Portraits. Do 7 nestic a 7 id candlelight scenes. D. 1797. MORLAND (George), an eminent English painter, the son of the pre- ceding, was born in 1763. He pos- sessed naturally extraordinary talents for painting, but unfortunately his mental and professional culture was neglected, and he sank early a victim to intemperance, as low as possible. He seldom or never produced a pic- ture perfect, in all its parts, although those parts adapted to his knowledge and taste are sometimes excellent. His subjects are usually from low life, such as pigsties, farmya^'ds, land- scapes, with cattle and sheep, fisher- me 7 i or stnugglers on the sea-coast. Painting from hand to mouth, sur- rounded by a class of unprincipled men, who made a traffic of his art, the victim of chicanery and fraud, hunted by a host of creditors, and always at hide and seek, his art was debased and degraded. So he wrought with extraordinary facility the most unequal pictures. It was a common practice of the fellows about him to get him in debt, shut him up in a room and thus compel him to paint for a guinea a picture which they could readily sell for thirty. Nevertheless, his works were in his lifetime so much admired and sought after that they were immensely imitated — sometimes with his consent and connivance. It is said that his brother Henry ‘ kept a regular manufacture of them.’ D. 1804. Moro (Giovanni Battista d’ Angelo), Italian. Verona. History. B. about 1512. Moro (Marco and Giulio), the sons of the preceding. Histojy. About 1560. Moro (Lorenzo del), Italian. Florence. Fisiit. Flawers. Animals. About 1710. Moroni (Domenico), Italian. Venice. History. 1430-1499. Moroni (Francesco), the son and scholar of the preceding. History. 1474-1529. MORONI (Giovanni Battista), Italian. Bergamo. The ablest and most successful pupil and follower of Bonvicino, called II Moj'etto. He was an excellent colourist, but inferior to his instructor in invention and design, and in the graceful airs of the heads, which distinguished the productions of II Moretto. Ilistoiy. Portraits. 1510-1578. MORONI (Pietro), called Bres- ciajio, the son of the preceding, studied under P. Veronese, and be- came one of the ablest artists of the Venetian school. History. D. about 1625. Morosini (Francesco), Italian. Montepulcio. Scholar of O. Fidani. History. 17th century. MORTIMER (John Hamilton), an eminent English painter, born in 148 The Picture A mateur's Handbook. 1741, studied under Hudson, and painted historical works of consider- able merit. He died in 1779, at the age of 38. Morvillo (Silvestro), called II Bruno, Italian. Naples. History. About 1580. Moscatiello (Carlo), Italian. Naples. Perspective. 165 5- 1 7 39. Moser (Mary), a Swiss paintress. Fruit. Flowers . D. in London 1803. Mosnier (Jean), French. History. 1600-1656. Mostaert (John), Dutch. His- tory. Portraits. 1 499 - 1 5 5 5 . Mostaert (Francis and Giles), twin brothers. Flemish. Painted jointly landscapes with figures. B. 1520. Motta (Raffaelle), Italian. Reggio. History. 1 5 50-1 578. MOUCHERON (Frederick), called the Old, an eminent Flemish painter, born in 1633, studied under J. Asselyn and painted landscapes with considerable merit. He designed everything after nature. His pictures exhibit generally pleasant scenery, with waterfalls and ruins or other architectures, and are rather esteemed by amateurs. D. 1686. MOUCHERON (Isaac), called the Young, the son and scholar of the preceding, was born in 1670. He travelled in Italy, and on returning to Amsterdam painted landscapes on a grand scale, in which the figures were usually inserted by N. Verkolie, de Witt and others. In the scenery as well as the style of his pictures he seems to have emulated the grand manner of Caspar Poussin. D. 1744. Mouchet (Frangois Nicolas), French. Scholar of Greuze. i 75 °- 1814. Moya (Pedro de), Spanish. Scholar of Vandyck. History. Portraits. 1610-1666. MOYAERT, or MOOJAERT (Nicholas), Dutch. An excellent copyist of iFlsheimer, Rembrandt and Lievens. B. about 1600. Muccioli (Bartolomeo), Italian. Ferrara. History. 15th century. Muccioli (Benedetto), the son of the preceding. Urbino. History. About 1492. MU DO (El), an eminent Spanish painter, born at Logrono in 1526, was deaf and dumb ; his real name was Juan Fernandez Navarette. He studied under an obscure painter, then visited Italy, and so thoroughly imbibed the manner and principles of colouring of Titian, that he was called, when he went back to his country, the Spanish Titian. History. Por- traits. El Mudo’s pictures are ex- tremely scarce and little known, as they are for the most part almost inaccessible in the royal solitude of the Escurial. D. 1579. Mugelio (Andrea del Castagno di), Italian. Venice. History. 1655-1726. Mulinari (Giovanni Antonio), called 11 Caro£cino. Italian. Turin. History. D. about 1640. Muller (William John), English. Landscapes with figures. Genre. His works are highly valued. 1812-1845. MULREADY (William, R.A.), an eminent British painter, born in 1 786, was a student at the Royal Academy. His early works were landscapes, but he soon found the true bent of his genius, and studying devotedly the Dutch masters he adopted, like his models, domestic and fa^niliar scenes, which he treated with exquisite finish. He was conspicuous for the brilliant harmony of his colour and the extreme completeness of every part of his work. His pictures, in- deed, exhibit the highest art applied to subjects that sometimes strike the beholder as scarcely worthy of the mental power and artistic resources lavished on them by the painter. Elected a member of the Royal Aca- demy in 1816, he died in 1863. The National Galleiy possesses, through the liberality of Mr. Sheepshanks and Mr. Vernon, sixteen of his finest pic- Dictionmy of Painters. 149 tures and numerous excellent studies or drawings by him. Munari (Giovanni), Italian. Mo- dena. Histo 7 y. 15th century. M unoz (Sebastian), Spanish. Scholar of C. Maratti. History. 1654- 1690. Munoz (Evarista), Spanish. His- tory. 1671-1737. Mura (Francesco di), Italian. Naples. Scholar of Fr. Solimena. History. 1 696- 1759. Murano (da), a name given to several old Venetian masters, from the place oi their birth. Murano (Natalino da), Italian. Venice. Scholar of Titian. History. About 1558. MURANT (Emanuel), Dutch. Scholar of P. Wouwerman. Viezvs of towns and villages. His works are exceedingly valuable and scarce, owing to their extraordinary finish, in which particular he was only ex- celled by John van der Pleyden. 1620-1700. Muratori (Domenico Maria), Italian. Bologna. Scholar of Pasi- nelli. History. 1662-1749. Muratori Scannabecchi (Teresa), a Bolognese paintress. History. 1662- 1708. MURILLO (Bartolome Esteban), an illustrious Spanish painter, born at Pilas, a small town near Seville, on the 1st of January, 1618, studied under Juan del Castillo. His first subjects were rzistic and beggar boys or girls, in which he exhibited a faith- ful and accurate attention to nature, and a simplicity of character quite peculiar. His pictures of this first manner are vigorously coloured, but with the dark and heavy shadows of his master, and lack the tenderness and suavity that distinguish his later productions. The fame of Don Diego Velasquez, then at its zenith, soon inspired the young master with a de- sire to visit Madrid, and in 1642, he set out for the capital. On his arrival he was admitted into the Velasquez Academy, and he spent three years under such favourable circumstances, continually studying the works of Titian, Rubens, and Vandyck. In 1645 he returned to Seville and re- sumed his practice with immense success. From that time his subjects were chiefly religious or scriphiral. Few painters have a juster claim to originality of style than Murillo ; all his works are distinguished by a close and lively imitation of nature. His pictures of the Virgin, saints, Magda lenes, &c., are stamped with a charac- teristic expression of the eye, damp and tender, and have a national pecu- liarity of countenance and costume which are very remarkable. There is little of the Academy or the ideal dis- cernible in his design or his compo- sition : it is a chaste and faithful representation of what he saw or conceived ; truth and simplicity are never lost sight of ; his colour is clear, sweet, and harmonious. Murillo died in Seville, 1682. His works com- mand enormous prices. The National Gallery paid 4,000 guineas for a picture of the Holy Family, and the Louvre 24,000/. for the Soult ‘As- sumption ’ — the largest price ever paid for a picture. — Among his almost innumerable imitators and copyists, Don Pedro Nunez, Francisco Ochoa, Fr. Osorio, Lorenzo Quiros, Jose Rubira, and most of all Don Alonso de Tobar, the professed imitator, weie the most successful. Next cone Miguel de A guila, Fr. Antolinez, Seb. Gomez, called A/ Mutato de MurUio, Juan Garzon, Y e\iY>^ de Leon, Llorente, Juan Gzittierez, Esteban Marquez, Tommaso Martinez, Pineda Perez,-- for the most part scholars oi the master. MURRAY (Thomas), an eminfrit British painter, bom in 1666. Studied under John Riley, and painted por- traits with considerable mciit. D. 1724. The Picture Amateur^ s Handbook. 150 MUSSCHER (Michael van), an eminent Dutch painter, born in 1645, studied successively under A. Vander Tempel, G. Metzu, and A. van Ostade, but followed the style of Fr. Mieris. Conversations and portraits on a small scale. D. 1705. Musso (Nicolo), Italian. Casal- monferrato. Scholar of M. A. da Caravaggio. History. About 1618. Mutii, or Mucci {Giovanni), Italian. Cento. Imitator of Guercino. His- tory. About 1650. Muys (William), Dutch. Portraits. Family scenes in the style of Mieris, 1712-1763. Muys (Nicholas), son of the pre- ceding. Interiors. 1740-1808. Muziano (Girolamo), Italian. Bres- cia. History with excellent Land- scapes. 1528-1592, Muzio (Antonio), Italian. Verona. Scholar of E. Fiammingo. History. 1600-1648. My (Jerome vander), Dutch. Scho- lar of W. Miei'is. Interiors. Por- traits. History. B. 1688. Myin (Henry Arnold), Flemish. Scholar of Ommeganck. Landscapes. B. 1760. Myn (George vander), Dutch. Imi- tator of Watteau. 1725-1763. Myn (Hermann vander), Dutch. History. Portraits. Died at London 1741. Myn (Agatha vander), a sister of the preceding. Fruits. Flowers. Myn (Robert vander), a son of Her- mann. Portraits. Fruit. Flowers. B. 1724. Mytens (John). See Meyssens. Mytens (Arnold), Flemish. His- tory. 1541-1602, M3rtens (A. ), Dutch. History. Portraits. About 1625. MYTENS (Daniel), the elder, an eminent Dutch portrait painter, born at the Hague about 1590. Studied probably under Rubens ; he went to England under King James, and was appointed Court painter by Charles I. in 1625. He continued in great repu- tation till the arrival of Vandyck, when he was completely eclipsed by the great master. Then (about 1630), he returned to the Hague. Some of his portraits are much in the style of Vandyck. MYTENS (Daniel), the younger, the son and scholar of the preceding, was born at the Hague in 1636. He travelled in Italy, and formed an inti- macy with C. Maratti, whose advice and instruction contributed much to his advancement. He acquired at Rome great reputation both as an historical and portrait painter. Re- turned to the Hague in 1664, where he continued practising his profession, and died in 1668. MYTENS (Martin), an eminent Swedish painter, born at Stockholm. Travelled in England, France, Italy, and Austria, painting excellent por- traits and a few historical works. D. 1755 - N Nagli (Francesco), called II Cen- tino. Italian. Cento. Scholar of Guercino. History. Born about 1615. Naigeon (Jean), French. History. Portraits. 1757, living in 1831. NAIN (Louis and Antoine le), brothers, two French painters, born about 1584. Wrought always in con- cert, and painted interiors of inns, 1 domestic conversations, assemblages of peasantry, with great simplicity, truth, and expression. They died only tw’o days apart in 1 648. Nain (Mathieu le), the brother of the preceding. Portraits. l 593 -* 677 - Naiwinck (Herman), Dutch. Land- scapes in the style of Waterloo. Born about 1620. Dictionary of Painters. Naldini (Battista), Italian. Flor- ence. Scholar of Pontormo and Bron- zino. History. 1537-1590. Nanni (Giacomo), Itafian. Naples. Scholar of A. Belviclere. Flowers. Still-life. Nanni (Girolamo), called 11 poco e buono. Italian. Rome. History. About 1643. Nannoccio (N. ), Italian. Scholar of Andrea del Sarto. About 1550. Napoli (Cesare di), Italian. Mes- sina. Scholar of Pol. da Caravaggio. History. Po 7 'traits. About 1583. Nappi (Francesco), Italian. Milan. History. 1573-1638. Nardi (Angelo), Italian, Scholar of P. Veronese. History. Died at Madrid, 1660. Nardini (D. Tommaso), Italian. Ascoli. Scholar of L. Trasi. History. 1658-1718. Naselli (Francesco), Italian. Fer- rara. History in the style of the Ca- racci and Guercino. About 1610. Naselli (Alessandro), the son and scholar of the preceding. History. Nasini (Cav. Giuseppe), Italian. Siena. Scholar of Cirro Ferri. His- tory. 1664-1736. Nasini (Cav. Apollonio), the son and scholar of the preceding. History. Died about 1754. NASMYTH (Alexander), an emi- nent British landscape painter, born in 1758, was a pupil of Allan Ram- say, painted a few portraits, but soon devoted himself entirely to landscape. His favourite subjects were wild and mountainous views, usually designed from nature. D. 1840. His works have been immensely copied and imitated. NASMYTH (Patrick), called the English Hobbema, the son of the pre- ceding, born 1787, studied under his father, and painted landscapes from nature. In his art he imitated the Dutch school, painting lane scenes, hedgerows, village suburbs and com- mons. His manner has a tendency I51 to meanness, his foliage being often over detailed. D. 1831. Nasocchio (Giuseppe), Italian. Bassano. Imitator of G. da Fabriano. History. About 1520. Nason (Peter), Dutch. Still-life. Porti'aits. About 1670. Natali (Carlo), called II Guardo- lino. Italian. Cremona. Scholar of Guido. History. B. about 1590. Natali (Giovanni Battista), the son of the preceding. Scholar of P. da Cortona. History. 1630- 1700. Natali (Giuseppe), Italian. Casal- Maggiore. Architectural views. 1652- 1722. Natali (Francesco), the brother and scholar of the preceding. Archi- tectural views. D. 1723. Natali (Lorenzo and Gio. Bat.) were painters of the same family, in the same style. NATO I RE (Charles), French. Scholar of Francois le Moine. His- tory. A llegories. 1 700- 1777. Nattier (Marc), French. Portraits. 1642-1705. NATTIER (Jean Marc), the son and scholar of the preceding, born in 1685, attained great eminence in por- trait painting, and died in 1766. His works are praised for tasteful composition, brilliant colouring, and freedom of pencil. Drouais was one of his followers and imitators. Naudet (Th. Charles), French, Landscapes. 1 774-18 10. Naudi (Angelo), Italian. Venice. Scholar and imitator of P. Veronese. 1 6th century. Navarro (Juan Simon), Spanish. Flozvers. History. About 1650. Nazzari (Bartolomeo), Italian. Bergamo. History. Porti'aits. 1699- 1758. Neale (John Preston), English. Landscapes with architecture. 1770- 1 848. Nebbia (Cesare), Italian. Orvieto. Scholar of Gir. Muziano. History. D. 1614. 152 The Picture Amateur's Handbook. Nebbia (Galeatto), Italian. Genoa. Religious subjects. About 1480. Neck (John van), Dutch. Scholar ofj. de Backer. History. Portraits. 1636-1714. Nedek (Peter), Dutch. Land- scapes. Portraits. History. 1616- 1678. NEEF, or NEEFS (Peter), the elder, an eminent Flemish painter, born at Antwerp in 1570, studied under Henry Steenwyck, and painted similar subjects to those of that master, viz. inte 7 'iors of churches^ finished wdth admirable neatness, pi*e- cision, knowledge of perspective, and chiaro-oscuro. Some of his churches are represented by torchlight. John Breughel, the elder Teniers, and other excellent artists usually in- serted the figures in his works, which gives to them additional value. Died 1651. His chief imitators were Theodore Babeur, Pierre La Fontaine, and Peter Neefs the younger. NEEF, or NEEFS (Peter), the younger, the son and scholar of the preceding, followed his style, and painted interiors of churches, greatly inferior to those of the master, al- though they are usually given as his works. Died about 1660. NEER (Arnold van der), an emi- nent Dutch painter, born in 1619, painted sunsets, winter and moonlight scenes, with considerable merit. His instructor is not recorded. Died 1683. His works have been ex- tensively copied and imitated, es- pecially by Pieter van Regemojier, and Kamper. NEER (Eglon Hendrick van der), an eminent Dutch painter, the son of the preceding, born in 1643, studied under his father, and afterwards under James Vanloo. Terburg, Metsu, and Netscher (particularly the for- mer) were evidently his models. Like them, he painted conversation pieces and gallant subjects, touched with great delicacy and highly finished, and, at the same time, numerous por- traits, some historical pieces, and a few landscapes. He also enriched the pictures of other artists with figures, and these he introduced with such spirit and delicacy of pencilling that they are frequently taken for the work of Adrian Vandevelde (his scholar). Every production of his pencil is distinguished for purity of colouring, lightness of handling, and attention to the detail. Eglon van der Neer died in 1703. His works are highly esteemed, and have been extensively copied and imitated, al- though no especially successful fol- lower is recorded. Negre (Matthias van), Dutch. History. Architectural subjects. About 1625. Negre (Nicolas van), Dutch. Por- traits. About 1650. Negri, or Neri (Pier Martire), Italian. Cremona. Scholar of J. B. Trotti. History, Portraits. About 1600. Negri (Pietro), Italian. Venice. Imitator of Zanchi. History. About 1680. Negri (Giov. Francesco), Italian. Bologna. Portraits. B. 1648. Negrone, or Nigrone (Pietro), called LI giovane Zingaro. Italian. Naples. Scholar of A. d’ Amato and Marco Calabrese. Histoiy. 1 505 - 1565- Negroponte (Fra Francesco), Italian. Venice. Imitator of Jac. del Fiore. 15th century. Nelli (Nello), Italian. Pisa. Madonnas. About 1299. Nelli (Suora Plantella), an Italian paintress, was a nun at Florence. Religious subjects. 1523- 1588, Nelli (Pietro), Italian, Rome, Scholar of Giov. M. Morandi. 18th century. Nello (Bernardo di Gio. Falconi), Italian. Pisa. Religious subjects. About 1390, Dictionary of Painters. 153 Neri (Giovanni), Italian. Bologna. Animals^ especially birds. About 1575 * , Nerito (Jacopo), Italian. Padua. Scholar of G. da Fabriano. History. About 1450. Nero (Durante del), Italian. Borgo San Sepolcro. History. About 1560. Neroni (Bartolomeo), called Maestro Riccio. Italian. Siena. Scholar of Rizzi. History. About 1573. Nerves a (Gaspare), Italian. Friuli. Scholar and imitator of Titian. i6th century. Nes, or Nees (John van), Dutch. | Scholar of Mirevelt. History. Por- t)'aits. 17th century. NETSCHER (Gaspar), an emi- nent painter of the Dutch school, was bom in Germany, at Prague, 1636, according to some authors, at Heidel- berg, 1639, according to others. He studied under G. Terburg, and, after travelling in France for several months, settled at the Hague. He sometimes painted historical and fabulous sub- jects, but was more successful in small portraits. His best works, how- ever,. represent domestic subjects and conversations, characterized by a deli- cacy of pencilling and a lustre of colouring similar to the exquisite pro- ductions of Terburg and Metzu. His touch is spirited, yet mellow, as is evident from his representation of silk, ermine, and white satin, so faith- fully painted as to produce illusion. Died 1684. Genuine works by Net- scher are scarce, and always command high prices. Among his successful imitators or copyists, Theodore and Constantine Netschex, his sons and scholars, were the must conspicuous ; next come Blyhooft, Brant, Daniel Haring, Matthew IVytman ; Achter- velt, Muscher, Arnold Boonen, Barent Graet, Ph. Vandyck, Maihys Neveu, Verkolie, are analogous painters. NETSCHER (Theodore and Constantine), the sons, scholars, and imitators of Gaspar Netscher, painted chiefly portraits, but also a few con- versations and domestic subjects, much in the style of the master. Neve (Franz de), Flemish. His- tory. Heroic landscapes. 1625-1681. Neveu (Mathys), Dutch. Scholar of G. Douw. Do 7 uestic subjects. Conversations. 1 647- 1721. Newton (Francis Milner), Eng- lish. Portraits. 1720-1794. NEWTON _ (Gilbert Stuart, R.A. ), a distinguished British painter, born in 1795 at Halifax, in Nova Scotia, studied first under his uncle, Gilbert Stuart, at Boston, then at London in the Royal Academy schools He adopted the manner of Watteau in some degree, and produced familiar and historical subjects of considerable merit. Died 1835. Neyn (Peter de), Dutch. Scholar of E. Vandevelde. Landscapes. 15977I639. Nicasius (Bernard), Flemish. Scholar and imitator of Snyders. 1618-1678. Niccolo (Maestro), Italian. Friuli. Religious subjects. About 1332. Nicolay (Isaac), Dutch. History. 1539-1597. Nicolay (Jan Hendrick), Dutch. Dead birds. 1766- 1 826. Nieulant (Adrian), Flemish. Land- scapes zvith figures. D. about 1600. Nieulant (John), Flemish. Scholar of Peter Fransz and Fr. Badens. LListory. Landscapes. 1569-1628. Nieulant (William van), Flemish. Scholar of R. Savery and P, Bril. Architectural viezus. 15 84- 1635. Nikkelen (J. van), Dutch. In- teriors of churches in the style of Van Vliet. About 1600. Nikkelen (John van), the son of the preceding. .Landscapes in the style of K. du Jardin. D. 1716. Nikkelen (Jacoba Maria), the daughter of the preceding. Fruit. Floivers. 154 The Picture Amateur's Handbook. Nimeguen (Elias van), Dutch. History. Allegory. Portraits, 1667- 1745; Nimeguen (Tobias van), brother and scholar of the preceding. Same style. Nimeguen (Dionysius van), the son and scholar of Elias. Same style, 1705-1798. Nimeguen (Gerard van), the son and scholar of Dionysius. Portraits. Landscapes. D. 1808. Ninfe (Cesare dalle), Italian. Venice. Imitator of Tintoretto. About T595. Noel ( ), French. Scholar of J. Vernet. Marines. About 1830. Noferi (Michele), Italian. Flo- rence. Scholar of V. Dandini. His- tory. About 1660. Nogari (Giuseppe), Italian. Venice. Scholar of A. Balestra. Portraits. History. D. 1763. Nogari (Paris), Italian. Rome. Imitator of Raffaellino da Reggio. History. 1 5 1 2- 1 5 7 7. Nollekens (Joseph Franz), Flemish. Landscapes. Conversations. A good copyist of the works of Watteau and Pannini. 1 706- 1 748. Nolpe (Peter), Dutch. Landscapes. 1601-1670. Nonotte (Donat), French. His- tory. Portraits. 1707-1785. Nooms (Renier), called Zeeman. Dutch. Sea views and shipping. B. 1612. Noordt (J. van), Dutch. Allegory. Nymphs bathing. Portraits. 17th century. Nop (Gerrit), Dutch. History. 1570-1622. NOATHCOTE(James,R.A.), an eminent English painter, born in 1746, studied under Sir Joshua Reynolds, and afterwards travelled in Italy, Plolland, and Flanders. On return- ing to England, he confined himself for some time to portraits, but soon developed his powers as an histori- cal, moral, and fancy subjects painter. D. 1831. Nothnagel (Johann Andreas), Ger- man. Landscapes, wdth peasants play- ing. 1729-1800. Notre (Peter Francis van), Flemish. Landscapes. Marines. Winter scenes. Lnteriors of cities. 1 779-1842. Notre (Augustus van), the son of the preceding. Same subjects. 1806- 1839. Novell! (Giov. Battista), Italian. Castelfranco. Scholar of the younger Palma. History. 1578-1652. Novell! (Cav. Pietro), Italian, Palermo. History, in the style of Spagnoletto. About 1660. Nucci (Allegretto), Italian. Fa- briano. Religious subjects. About 1336. Nucci (Avanzino), Italian. Citta di Gastello. Scholar of N. Circignano. History. 1552-1629. Nunez (Tuan), Spanish. History. About 1505. Nunez (Don Pedro Villavicencio), Spanish. Scholar of Murillo. Excel- lent portraits of children. 1635- 1700. Nunez (Pedro), Spanish. History. Portraits. Scholar of Guercino. 1614-1654. Nuvolone (Panfilio), Italian. Cre- mona. Scholar of Giov. Batt. Trotti. History. About 1608. Nuvolone (Carlo Francesco), son of the preceding. Imitator of Guido. Madonnas. History. 1 608- 1 66 1 . Nuyen (Wynand Jan Joseph), Dutch. Landscapes. 1813-1839, Nuzzi (Mario), called da Fiori. Italian. Penna, Scholar of T. Salini. Garlands of Jlozvers. 1603- 1673. Dictionary of Painters. 155 O Oberto (Francesco di), Italian. Genoa. Religious subjects. About 1368. Obregon (Pedro de), Spanish. History. B. 1597. Ochoa (Francesco), Spanish. Scholar and imitator of Murillo. History. Portraits. B. 1644. OCHTERVELDT (John), Dutch. Imitator of Terburg. Domes- tic subjects. Also Out-door subjects, in the style of Peter de Hooge. About 1670. Octavian (Francesco), Italian. Rome. History. 1690-1736. Odazzi (Giovanni), Italian. Rome. History. 1 663- 1731. Oddi (Giuseppe), Italian. Pesaro. Scholar of C. Maratti. History. Portraits. About 1675. Oddi (Mauro), Italian. Parma. Scholar of P. da Cortona. History. Landscapes. 1 639-1 703. Odekerken (Wilhem), Dutch. Still-life. Copies after Metzu. About 1650. Oderico (Giov. Paolo), Italian. Genoa. Scholar of Dom. Fiasella. History. Portraits. 1613-1657. Odevaere (Dionysius), Flemish. Scholar of Louis David. History. Portraits. 1778-1830. Oeri (Peter), Swiss. History. Allegory. B. 1637. Oeser (Friedrich), German. His- tory. 1 71 7-1 799. Oeser (John Louis), the son of the preceding. Landscapes. B. 1751. Oldoni (Bonaforte and Ercole), brothers, Italian. Vercelli. Reli- gious subjects. About 1466. Olen, or Olis (John van), Dutch. Conversations. Game. Fruit. Flowers. Interiors of kitchens. Landscapes, with sportsmen and dogs. About 1680. Oliva (Pietro), Italian. Messina. Religious subjects. About 1491. Oliver (Isaac), English. Afinia- tures. Scholar of Zucchero. 1556- 1617. Oliver (Peter), the son of the pre- ceding. History and portraits in miniature. 1601-1660. Olivier (M.), French. History. Portraits. About 1772. Olivieri (Domenico), Italian. Turin. Drolls. Fairs. Alerry- ma kings. History. 1 6 79- 1755. OMMEGANCK (Balthasar Paul), an eminent Flemish landscape and animal painter, born at Antwerp in 1755, studied under H. Antonissen, and taking Cuyp as his model, suc- ceeded in painting excellent land- scapes with cattle, much in the style of the master. D. 1826. His works are esteemed, and have been largely copied, especially by J. F. Leiizen, Jean Carol Carpentero, Kouwen- hoven, and Henry Arnold Myin. Onate (Miguel), Spanish. Scholar of Anthony More. Portraits. 1535- 1606. Onofrio (Crescenzio di), Italian. Rome. Scholar of Gaspar Poussin. Landscapes, Portraits. 1650- 1696. Oort (Lambrecht van), Flemish. LListory. About 1520. Oort (Adam van), the son of the preceding, and the father-in-law of Jordaens. History. Portraits. 1557- 1641. OOST (Jacob van), the elder, an eminent Flemish painter, born about 1600, travelled in Italy, and made the works of Annibale Caracci his chief models. LListoiy, decorated with noble architecture in a grand style. D. 1671. Oost (Jacob van), the younger, the son and scholar of the preceding. History. 1637-17 13. Oosten (John van), Dutch. Land- 156 The Picture Amat etna's Handbook. scapes with figures^ in the style of Velvet Breughel. Oosterdhoudt (Thierry van), Dutch. History. Portraits. Domestic scenes. 1 756-1830. Oosterwyck (Maria van), a Dutch paintress. Scholar of David de Heem. Flowers. 1 630- 1693. OPIE (John, R.A.), an eminent English painter, born in 1761, was a self-taught artist. He portraits, landscapes, and history. Although his works, from the lack of academic tuition, are deficient in grace of atti- tude and elevation of character, they invariably exhibit a remarkable ap- pearance of reality and truth, and an uncommon purity ot colour. He died in the prime of life, 1807. Opstal (Caspar James van), Flem- ish. History. Landscapes. Portraits. 1660-1714. ORCAGNA (Andrea), an old Italian painter, born about 1320 at Florence, studied under Andrea Pisano and under his elder brother Bernardo Orcagna. He executed several re- ligious works in the hard dry style of the time, inferior to Giotto both in design and colouring. He attained greater eminence as a sculptor and an architect. D. 1389. Orient (Joseph), German. Land- scapes. End of the 17th century. Orioli (Bartolomeo), Italian. Trevigi. Portraits. History. About 1616. Orizzonte. See Fr. van Bloemen. Orlandi (Odoardo), Italian. Bo- logna. Scholar of Pasinelli. 1660- 1736. Orlandi (Stefano), Italian. Bo- logna. Scholar of P. Aldovrandini. Architectural views. 1681-1760. Orlandini (Giulio), Italian. Parma. History. End of the 17 th century. Orlando (Bernardo), Italian. Tu- rin, History. Portraits. 17 th century. ORLEY (Bernard van), an emi- nent Flemish painter, born at Brus- sels about 1490. Went to Rome at an early age and became one of the best pupils of Raffaelle. On returning to his native country, he painted religious history, landscapes, and portraits in a grand, noble style, worthy of the school he belonged to. One of his most celebrated works is ‘The Last Judgment,’ formerly in the Cathedral at AntM>’erp. D. about 1560. Orley (Richard van), Flemish. History. Portraits. Landscapes. 1652-1732. Orley (John van), a younger brother of the preceding. History. 1656-1740. Orrente (Pedro), Spanish. Scholar of Giac. da Ponte (Bassano). His- tory. Portraits. 1560- 1644. Orsel (Victor), French. Lyons. A follower of Overbeck, or rather a preraphaelite. History. 1795- 1850. Orsi (Benedetto), Italian. Pescia. Scholar of Bald. Franceschini. His- tory. About 1660. Orsi (Bernardino), Italian. Reggio. Religious subjects. 15 th century. Orsi (Lelio) da Novellara. Italian. Imitator of Michael Angelo Buonar- roti and Correggio. History. I 5 H- 1587. Orsi (Prospero), Italian. Rome. Imitator of Cav. d’Arpino. History. 1560-1635. Orsoni (Gioseffo), Italian. Bo- logna. Histo 7 'y. 1691-1755. Os (John van), Dutch. Imitator of Van Huysum. Flowers. 1744- 1808. Os (Peter van), the son of the preceding. Landscapes in the style of Potter. 1776-1839. Osorio (Francisco Meneses), Span- ish. Scholar of Murillo. History. D. about 1700. Ossenbeck (Josse), Dutch. Land- scapes, fairs, a 7 id huntings in the style of Bamboccio. 1627-1678. OSTADE (Adrian van), an emi- nent painter of the Dutch school, born at Llibeck in 1 610, studied T57 Dictionary of Painters. under Franz Hals at the same time with Adrian Brouwer, with whom he contracted an ardent friendship. He painted interiors of kitchens or ale- houses, with Dutch peasants smoking, dancing, and regaling, drunken frolics and quarrels. His subjects are always treated with infinite humour, spirit, and expression, in a rich, clear colouring ; his touch is free, wonder- fully neat and finished, and he was a perfect master of chiaro-oscuro. He often inserted figures in the works of the most eminent contemporary artists. D. 1685. Although about 400 pic- tures by Adrian van Ostade are considered genuine, they are very scarce in the market, and command exceedingly high prices. Imitators and copyists : — Cornelius Bega, Jacques Boissieu, John Molmaer, Nicholas Molinaer, Bertrand de Foiuhier, An- thony Goebouw, Giles van Schagen. OSTADE (Isaac van), the brother of the preceding. Born about 1617, was his scholar, and at first imitated his manner and subjects ; but he after- wards adopted a style of his own, which led him to excellence and renown in painting out-door, lointer, and river scenes, traveliers halting at an inn, figures skating, &c. They are held in the highest estimation and found in the choicest collections. D. 1671. His works are set down at the round number of no more than 1 1 5 to 140, and eagerly sought after. They have been largely imitated, although no particularly successful copyist is recorded. Ottini (Felice), Italian. Rome. History. D. 1695. Ottini (Pasquale), called Pasqua- lotto. , Italian. Verona. History. 1570-1630. Oudeneyck (Evert), Dutch. Land- scapes. Stag-hints. About 1650. Oudeneyck (Adrian), son and scholar of the preceding. Views of towns, sometimes with figures by Dirk Maas. Copies after A. Vandevelde. 1648-1696. OUDRY (Jean Baptiste), French. Scholar of N. Largilliere. Hunting pieces. Portraits. Landscapes. Ar- chitectural vietus. Fruit. Flowers. 1686-1755. Ouwater, or Outwater (Albert van), an old Dutch painter. Reli- gious subjects. About 1420. Ouwater (Isaac), Dutch. Views of cities, \xs the style of Vander Heyden. 1747-1793- Ouwater (Jacob), Dutch. Fruit. Floivers. About 1750. Ovens (Jurian), Dutch. Scholar of Rembrandt. Night and torch-light pieces. Portraits. History. 1600-1678. Overbeck (Bonaventura van), Dutch. Scholar of Laii'esse. History. 1 660-1706. OVERBECK (Friedrich), an emi- nent German painter, born at Liibeck in 1789, travelled in Italy, where he remained for twelve years ; on return- ing first to Munich, next to his native place, he was one of the first to give impulse to the present aspiring state of painting in Germany, by reverting to the almost forgotten principles which guided the old masters. He afterwards returned to Rome, gained immense reputation by his fresco works, and was selected by Canova to ornament a part of the walls of the Vatican. Religious history. The school of which Friedrich Overbeck may be considered the founder is ably sup- ported by several living German ar- tists, namely, by Cornelius, Schadow, Bendeman, Weit, Schnorr, Hess, &c. Overbeck (Leendert), Dutch. Car- toons for tapestry. 1752-1815. Owen (William), English. Scholar of Catton and Sir J. Reynolds. Por- traits. Genre subjects. 1769-1825. The Picture Amateur's Handbook. 158 P Paccelli (Matteo), called della Ba- silicata. Italian. Naples. Scholar of L. Giordano. History. 1660-1731. Pacchiarotto (Jacopo), Italian. Siena. History in the style of Peru- gino. D. about 1540. Pacheco (Francisco), Spanish, was the master of A. Cano and Velasquez. History. 1571-1654. Pacheco (Cristoforo), Spanish. Portraits. About 1568. Paderna (Giovanni), Italian. Bologna. Scholar of Dentone. Imi- tator of A. Metelli. Architectural and perspective views. 1600-1 640(7). PADERNA (Paolo Antonio), Italian. Bologna. Scholar of Guer- cino and C. Cignani. History. Land- scapes. 1 649- 1 708. Padova (Girolamo da), Italian. Padua. History. Decorations with bassi-relievi. D. about 1550. Padova (Maestro Angelo), Italian. Padua. Religious subjects. About 1489. Padovanino. See Alessandro Varotari. Padovanino (Francesco), Italian. Padua. History. Portraits. 1552- 1617. Padovanino (Ottavio), the son of the preceding. History. Portraits. 1582-1634. Padovano (Giusto), an old Paduan master, a disciple of Giotto. Religious subjects. D. 1397. Padovano (Lauro), Italian. Padua. Scholar of Squarcione. Imitator of A. Mantegna. History. About 1460. Paelinck ( ), Flemish. Scholar of Verhaegen and Louis David. His- tory. 1781-1839. Paesi (da’), a name given to several painters of landscapes, namely to Fr. Bassi, Antonio ^-i6o5. Procaccini (Ercole), the younger, was the son of the preceding, but fol- lowed the style of his uncle, Giulio Cesare. History. 1 596-1676. Procaccini (Andrea), Italian. Rome. Scholar of C. Maratti. His- tory. 'Portraits. 1671 -1 734. Profondavalie (Valerio), Flemish. Lived in Milan. History. 1553- 1600. Pronck (Cornelius), Dutch. Scholar of A. Boonen. Portraits. 1691-1759. Pronti (Padre Cesare), Italian. Rimini. Scholar of Guercino. His- tory. 1626-1708. Prou (Jacques), French. Scholar of S. Bourdon. Landscapes. B. about 1639. Provenzale (Marcello), Italian. Cento. Scholar of P. Rossetti. His- tory. 1575-1639. Provenzali (Stefano), Italian. Cento. Scholar of Guercino. Battle pieces. D. 1715. PRUD’HON (Pierre Paul), an eminent French painter, born in I 75 ^^ studied under an obscure artist, and visited Italy, where he formed a friend- ship with the sculptor Canova; on returning to Paris, he painted for some time pastel and miniature por- traits, but soon produced his picture of ‘justice pursuing Crime,’ which placed him in the highest rank among modern artists. His subjects are taken from poetry and history ; his works conspicuous for elegance, of design, softness and harmony of colour- ing. Died 1 823. l 77 iitators and copy- ists : — Mademoiselle Constance Meyer, and Ed. Rioult. Prunato (Santo), Italian. Verona. History. 1656-1716. Prunato (Michele Angelo), the son of the preceding. History. B. 1690. Pucci (Giovanni Antonio), Italian. Rome. Scholar of Gabbiani. History. About 1716. Puccini (Biagio), Italian. Rome. History. i8th century. Puga (Antonio), Spanish. Fa 77 iiliar scenes. Imitator of Velasquez. 17th century. Puget (Pierre Paul), the celebrated French sculptor, painted in the style of P. da Cortona. 1622-1694. Puget (Francois), the son of the preceding. Portraits. D. 1707. Pugh (Herbert), British. Land- scapes. Subjects imitated from Ho- garth. B. 1758, living in 1788. Puglia (Giuseppe), called II Bas- tardo. Italian. Rome. History. D. 1640. Puglieschi (Antonio), Italian. Flo- rence. History. 17th century. Pujol (Abel de), French. His- tory. Decorative picUires. 1795 - 1861. Puligo (Domenico), Italian. Flo- rence. Imitator of A. del Sarto. History. D. 1527. Pulzone (Scipione), called Gaetano. Italian. Gaeta. History. Portraits. 1562-1600. Punt (John), Dutch. Decorative subjects. 1711-1779. 175 Dictionary of Painters. Pupiller (Anthony), Flemish. His- I great reputation for his landscapes, (ory. D. in Spain about 1556, | decorated wdth architecture, figures, and Pupini (Bagio), Italian. Bologna, cattle, correctly drawn, and grouped Imitator of Fr. Francia. About 1535. ; in an elegant and tasteful style. Died PYNAKER (Adam), an eminent 1673. His pictures are not numerous Dutchlandscapepainter, born in 1621, (about 90 or 100), and command resided several years at Rome, study- j good prices. Imitators arid copyists : — ing the works of the best masters ; on ' John Francis Beschey, and Thierry returning to Holland, he acquired van Dalens the younger. Quaglia (Giulio), Italian. Como. History. 17th century. Quagiiata (Giovanni), Italian. Messina. Scholar of P. da Cortona. History. D. 1673. Quagiiata (Andrea), the brother of the preceding. History. D. 1660. Quaglio (Domenico), Italian. B. in Germany. History. About 1780. Quaglio (Domenico), grandson of the preceding. Architechtral vieivs. Munich. 1786-1837. Quaini (Francesco), Italian. Bo- logna. Scholar of Mitelli. History. D. 1680. Quaini (Luigi), the son of the pre- ceding. Scholar of Guercino. History. D. 1717. Quast (Peter), Dutch. Beggars. Drolls. Boors. Merry-making. B. 1602. Quellinus (Erasmus), Flemish. Scholar of Rubens. History. Land- scapes. I 609-1678. QUELLINUS (John Erasmus), the son of the preceding, and an emi- nent Flemish painter, bom at Antwerp in 1629, travelled in Italy; he made the works of P. Veronese his models. History. D. 17 15. Querfurt (Augustus), German. Scholar of Rugendas. Battles. En- campments. Huntings. Skirmishes. Imitator of Borgognone, Van der Meulen, and Wouwerman. D. 1761. Quesnel (Francis), British. Bor- traits. 1 6th century. Quillart (Pierre Antoine), French. Scholar of Watteau. Allegories, B. 1711. Quinkhard (John Maurice), Dutch. Familiar, allegorical, and mythological subjects. Portraits. D. 1772. Quirico (Giovanni da Tortona), Italian. History. i6th century. Quiros (Lorenzo), Spanish. Scho- lar of Llorente. Imitator of Murillo. History. D. 1789. Quiter (Herman and Magnus), two brothers. German. Scholar of C. Maratti. Portraits. i8th century. R Rabbia(Raffaelle), Italian. Marino. | Rabon, or Rebon (Pierre), French. Portraits. About 1605. | Portraits. 1 6 16-1684. Rabel (Jean), French. Portraits. Rabon, or Rebon (Nicolas), the About 1590. son of the preceding. History. 1644- Rabel (Daniel), the son of the 1686. preceding. Landscapes. D. 1628. Racchetti (Bernardo), Italian. Rabiello (Parlo), Spanish. History. Milan. Scholar and imitator of 1 8th century. Ghisolfi. Seaports. D. 1702. 176 The Picture A mateur's Handbook. Raconigi (Valentin Lomelino da), Italian. Turin. Portraits. History. About 1560. Rademacker (Gerard), Dutch. Architectural vietvs. History. Alle- gories. Portraits. 1672-1711. Rademacker (Abraham), probably a brother of the preceding. Land- scapes. Views of towns . 1675-1735. RAEBURN (Sir Henry, R.A.), an eminent British painter, born at Edinburgh in 1756, was a self-taught artist. At the age of twenty-two he set out for Italy, where he spent two years, assiduously studying the great works of art, and on returning to Scotland, he settled at Edinburgh, and was for a long time the only portrait painter of eminence in that city. D. 1822. RAFFAELLE Santi, wrongly called Raphael Sanzio da Urbino, has been styled the prince of painters by the general approbation of mankind, and he is almost universally acknowledged to have possessed a greater combina- tion of the higher excellencies of art than has ever fallen to the lot of any other individual. He was the son of Giovanni Santi, a painter of little celebrity, and was bom at Urbino, in 1483. His father removed not long afterwards to Perugia, where, having instructed the boy in the ele- ments of design and discovering his extraordinary talents, he sought for him a more able master, and placed him in the school of Pietro Perugino. Under this illustrious teacher he made great progress, soon surpassed all his fellow-students, and even Perugino himself, if some historians may be credited, who cite in proof his first work of ‘ St. Niccolo da Tolentino crowned by the Virgin,’ the ‘Corona- tion of the Virgin,’ and her ‘ Marriage’ at Pemgia, and some other early pictures, painted about his 1 8th year, entirely in the style of Perugino, but with a finer expression in the heads. About this time, Bernardino Pintu- ricchio was commissioned to ext- ute great works in the Cathedral of Siena, and, according to Vasari, feel- ing himself incompetent to the vast undertaking, he engaged the assis- tance of Raffaelle, who made the designs and cartoons for all the works. The story is, to say the least, highly improbable. It is a fact that Raffaelle only went to Florence about 1504, saw there the cartoons of Buonarroti and Leonardo da Vinci, prepared in competition for the great prize offered by the city, and only then became acquainted with the new style of painting. At the same time he studied assiduously the works of the earlier masters, especially Giotto and Masaccio, as his subsequent pictures show evidently. The death of his parents obliged him to hasten home, and while in Perugia he painted several of his best easel works, among which two ‘Madonnas,’ ‘St. George,’ ‘St. Michael,’ ‘Christ praying in the Garden,’ and the ‘Marriage of the Virgin,’ called lo Sposalizio ; by these performances may be measured the progress he had made in his first visit to Florence. They partake of the style of Perugino, with little of the dignity, power, and grandeur of his later performances, but are distin- guished for the sensibility and feeling belonging to the earlier school. His desire for improvement drew him a second time to Florence, where he zealously pursued his studies of the old masters and derived great advan- tage from the acquaintance of Fra Bartolomeo. (See Baccio della Porta. ) He seems to have spent in study the whole time of his residence in that city; at least it is known that he executed nothing there but a few portraits, and the cartoon of the ‘ Entombment of Christ; ’ the picture itself he painted at Perugia, where he spent a few months, returning after- wards (the third time) to Florence. Again, his studies were his chief em- Dictionary of Painters. 177 ployment, and he executed at this time only two pictures, the ‘Ma- donna,’ called ’■La belle Jardiniere,^ now at Paris, and the ‘ Madonna with the Fathers of the Church,’ now at Brussels. Having previously acquired the excellencies of the gre;^ test masters of the Romagna, Raffaelle possessed himself of those of the Florentine school : he now considered himself competent to undertake great works, and accordingly his uncle Bramante, the architect of St. Peter’s, procured him employment at Rome, by recom- mending him to Julius II., to decorate the Vatican. At the beginning of 1508, aged only twenty-five, he began the pictures of the splendid suite of apartments, called La Segnatura : the first were an emblematical representa- tion of Theology. The Pope was so satisfied with the performance that he ordered all the works of Bramantino, Pietro della Francesca, and others to be effaced, on the walls of the cham- ber, in order that the whole might be decorated by Raffaelle. The mandate was instantly put in execution, and the works of the former masters dis- appeared with the exception of one painted by Perugino, and some orna- mental parts by Sodoma, preserved at the instant solicitation of Raffaelle himself. From this time (about 1509), no trace is to be found in the works of the young master of his first style ; he has abandoned every vestige of the antique gilding and manner. On the second wall of the chamber, he repre- sented Philosophy, in the famous pic- ture of fifty-two figures, now styled the ‘ The School of Athens ; ’ on the third wall. Jurisprudence ; on the fourth, Poetry. These achievements, finished in 1511, are the first exam- ples of his third and best style. To- wards the close of 1 5 1 2, he commenced the pictures of the second apartment of the Vatican. The first subject was ‘ Heliodorus driven from the Temple by the prayers of Onias ; ’ on the other side of the chamber the ‘ Miracle of the Mass at Bolsena,’ the ‘Deli- verance of St. Peter from prison,’ and ‘ Leo the Great stopping the pro- gress of Attila.’ During the comple- tion of these works (1513) Julius II. died, and was succeeded by Leo X., who continued Raffaelle in his employ- ment ; it is understood that the two last pictures are illustrative of the history of the pontiff himself, who had been imprisoned at Ravenna. In the third apartment, Raffaelle painted four pieces representing ‘ The Victory gained by St. Leo IV. over the Saracens,’ the ‘ Conflagration of the Borgo Vecchio, ’ the ‘ Coronation of Charlemagne,’ and ‘Leo III. vindicating himself before that monarch.’ The three chambers, called the Stanze, occupied Raffaelle nine years, and were com- pleted in 1517. He then turned his attention to the decoration of the loggie, or exterior galleries of the palace, connecting the rooms ; these works were chiefly executed from his cartoons by his disciples, Giulio Ro- mano, Giovanni Francesco Penni, Pierino del Vaga, Pellegrino da Mo- dena, Polidoro da Caravaggio, Gio- vanni da Udine, &c. This series of subjects is generally denominated Raffaelle’s Bible. At the same time he designed the famous cartoons for the tapestries of the Papal chapel, which were left in Flanders, were purchased by Charles L, at the re- commendation of Rubens, and are now in the South Kensington Mu- seum. The immense works in the Vatican did not prevent Raffaelle from en- gaging in numerous other undertak- ings ; he decorated the palace of An- tonio Chigi (now the Farnesina) with frescoes ; he painted in oil the ‘ St. Cecilia,’ now in the Louvre ; the ‘ Holy Family,’ called la Perla ; ‘ Christ bearing his Cross,’ called ‘ Lo Spasltno da Sicilia,’ and ‘ La Ma- The Picture Amateur's Handbook. i;8 donna al Pesce ’ — the three last now in the Escurial — the ‘ Portrait of Julius II,,’ now at Munich [there is a replica in the National Gallery], the ‘ Portrait of Leo X.,’ at Paris ; the ‘ Madonna della Seggiola, ’ in the Florentine Gallery ; the ‘ Madonna di San Sisto,’ at Dresden ; and many other Holy Families and devotional subjects for churches and individuals, as well as portraits. We come now to the last great work ^nd masterpiece of Raffaelle, ‘ The Transfiguration.’ ‘ This is a picture,’ says Mengs, ‘that combines more excellencies than any of the former works of the master. The expression is more elevated and more refined, the chiaro-oscuro more cor- rect, the perspective better under- stood, the pencilling finer, and there is greater variety in the drapery, more grace in the heads, and more grandeur in the style.’ With this incomparable master- piece, ceased the labours and the life of Raffaelle. He did not even live to entirely complete it, and the few re- maining parts were finished by his scholar Giulio Romano. While en- gaged upon it, he was seized with a fever, of which he died on April 7th, 1520, aged 37 years. Raffaelle is by common consent placed at the head of his art, not be- cause he excelled all others in every department of painting, but because no other artist has ever possessed the various parts of the art in so high a degree. Lazzarini even asserts that he was guilty of errors, and that he is only the first because he did not commit so many as others. He ought, however, to have allowed that his defects would have been excellencies in any other artist, being nothing more in him than the neglect of that high degree of perfection which he was capable of attaining. The art, indeed, compre- hends so many and such difficult parts that no individual artist has been alike distinguished in all. For ex- ample, it has been made a question whether Raffaelle did not yield to Buonarroti in drawing ; and Mengs himself confesses that he did, as far as regards the anatomy of the muscles, and in strong expression, in which he considers Raffaelle to have imitated Michael Angelo. Critics have also often expressed a wish that his female heads had possessed a more dignified character ; in this respect he was per- haps excelled by Guido Reni, and, however his children may be, those of Titian are still more beautiful. His true empire was in the heads of his men, which are portraits selected with judgment and depicted with a dignity proportioned to his subject. Vasari calls the air of these heads super- human, and calls on us to admire the expression of age in the Patriarchs, simplicity of life in the Apostles, con- stancy of faith in the martyrs, and in Christ in the ‘Transfiguration,’ he says there is a portion of the Divine essence itself transferred to his coun- tenance, and made visible to mortal eyes. This effect is the result of that quality that is called expression, which is undoubtedly the chief excellence of Raffaelle. Another quality which he possessed in an eminent degree was grace. His Madonnas enchant us, not because they exhibit the perfect lineaments of the Medicean Venus, or of the cele- brated daughter of Niobe, but because the painter in their portraits, and in their expressive smiles, has personified modesty, maternal love, purity of mind, and, in a word, grace itself. In regard to the province of colour, Raffaelle must yield the palm to Titian and Correggio, although he himself excelled Buonarroti and many others. That, however, he could excel in this respect is evinced by his portraits, when not being bent on invention, composition, and high style of design, he gives more attention to colouring. Dictionary of Painters. 79 In chiaro-oscuro he was also inferior to Correggio, though no doubt a per- fect master of it. To his perspective he was most attentive. In fact, his highest merit, added to excellency in every part of painting, seems to have been a wonderful felicity in the invention and disposition of his subjects, resulting in an unequalled superiority of composition. In every picture by RafTaelle, the principal figure is obvious to the spectator : we have no occasion to inquire for it ; the groups, divided by situation, are united in the principal action ; the contrast is not dictated by affectation, but by truth and propriety ; a figure absorbed in thought often serves as a relief to another that acts and speaks ; the masses of light and shade are not arbi- trarily poised, but are in the most select imitation of nature : all is art, but all is consummate skill and con- cealment of art. They who succeeded Raffaelle and followed other principles, have afforded more pleasure to the eye, but have not given such satisfac- tion to the mind. The compositions of Paolo Veronese contain a greater number of figures, and more decora- tion ; Lanfranco and the machinists introduce a powerful effect and a vigo- rous contrast of light and shade ; but who would exchange for such a manner the chaste and dignified style of Raf- faelle ? Poussin alone, in the opinion of Mengs, obtained a superior mode of composition in the groundwork or economy of his subject, that is to say, in the judicious selection of the scene of the event. The philosophy of the art of the great master is resumed in his own axiom, as handed down to us by Fedtrigo Zuccaro, — that things must be represented not as they are, but as they ought to be. Imitators and copyists : — The works of Raffaelle have been the most extensively copied in the world, and there is not pro- bably, from his time down to us, a scholar in drawing or painting who has not made studies after them. Per- sonally, he had many pupils, some of whom imitated him very closely. Very often his works were copied by his scholars, retouched by himself, and now pass for originals or duplicates. Among the ablest of those pupils, fol- lowers, and in some cases, assistants, were, Orazio A Ifani, Pedro Ca?npana, Polidoro da Caravaggio, Andrea Co- modi, Gaudenzio Ferrari, Vincenzio da San Gmiignano, Salvo da Mes- sina, Matiirino, Pellegrino da Modena, Francesco Penni, Baldassare Peruzzi, Raffaellino del Colle, Bartolomeo Ra- menghi, called Bagnacavallo, Giulio Romano, Andrea Sabbatini, Enea Salmeggia, Andrea Semini, Ottavio Semini, Girolamo Sicciolante, Pietro Stresi, Benvenuto Tizio, Giovanni da Udine, and Pierino del Vaga. Raffaellino (del Colle), Italian. Citta San Sepolcro. Scholar of Raf- faelle. History. About 1546. Raggi (Pietro Paolo), Italian. Genoa. Imitator of the Caracci. History, Landscapes. D. 1724. Rahart (Florent Delamere), F rench. Portraits. 1630-1718. Raibolini (Francesco), ^eeiyancia. Raimondo, Italian. Naples. History. Living at Turin about 1477. Rainaldi (Domenico), Italian. Rome. History. About 1663. Rainieri (Francesco), called La Schivenoglia. Italian. Mantua. His- tory. Battles. Landscapes. About 1680. Rama (Camillo), Italian. Brescia. Scholar of Palma the younger. History. About 1622. Ramazzani (Ercole), Italian. Rome. Scholar of Perugino and Raf- faelle. History. About 1558. Rambaldi (Carlo), Italian. Bo- logna. Scholar of D. Viani. History. 1680-1717. Ramberg (John Henry), German. Scholar of Sir J. Reynolds. History. Portraits. 17 63- 1840. Ramelli (Padre Felice), Italian. i8o The Picture A maieurs Handbook. Asti. History. Portraits. Miniatures. 1666-1740. RAMENGHI (Bartolomeo), called Bagnacavallo, a distinguished scholar of Francia and Raffaelle, introduced a better style at Bologna, and was the first model of the Caracci, of Guido, Albano, and others. History. D. 1542. Ramenghi (Giovanni Battista), the son of the preceding. History. D. 1601. Ramenghi (Bartolomeo), the cousin of the preceding. Perspective and orna 7 nental. i6th century. Ramirez (Geronimo), Spanish. History. 17th century. Ramirez (Felipe), Spanish. Htmt- mg pieces. Dead game. History. About 1650. Ramirez (Jose), Spanish. History. 1624-1692. Ramirez (Juan), Spanish. History. About 1550. RAMSAY (Allan), an eminent British painter, the son of Allan Ramsay the poet, was born at Edin- burgh in 1713; after studying in London under Hyssige, a painter of little note, he went to Italy and became the pupil of Solimena and Imperiali. On his return to England he settled at London, and was considered one of the best portrait painters of his time. D. 1784. Ranbert (Louis le), French. Scholar of Vouet and Le Brun. Por- traits. 1614-1670. Ranc (Jean), French. Scholar of Rigaud. Portraits. 1674-J735. Randa (Antonio), Italian. Bologna. Scholar of Guido and Massari. His- tory. D. 1650. Raoux (Jean), French. Scholar of Bon Boullogne. Historical and fancy subjects. Port 7 'aits. 1 677-1734. Raphael. See Raffaelle. Raphon (Johann), German. Pro- bably a scholar of A. Diirer. HistoTj. About 1500. Rathbone (John), British. La 7 id- scapes with figures by Ibbertson, An- derson, &c. D. 1807. Ratti (Gio. Agost.), Italian. Savona. Scholar of B. Luti. History. Quarrels. Dances. 1699- 1775. Ratti (Cav. Carlo Giuseppe), the son of the preceding, an excellent copyist. History. 1735-1795. RAVESTEYN (Hubert van), Dutch. Butcher's shops. Slaughter- houses. Interiors of kitche 7 is. Cor- rectly drawn, with a transparent colouring and an excellent chiaro- oscuro. B. i 64 o(?). RAVESTEYN (John van), an eminent Dutch portrait painter, born about 1580, evinced great merit in this branch of the art, though it is not known by whom he was instructed. D. 1657. Ravestejm (Arnold van), the son of the preceding, and his pupil. Portraits. 1615-1676. Ravesteyn (Nicholas van), Flemish. Scholar of J. de Baan. Po 7 'traits. History. 1661-1750. Raviglione (di Casale), Italian. History. 17th century. Razali (Sebastiano), Italian. Bo- logna. Scholar of the Caracci. History. 17th century. RAZZI (Cav. Giov. Antonio), called II Sodoma, an eminent Italian painter, born probably at Vercelli, in 1479, studied under Giacomo dalle Fonte, but formed his style on that of Leonardo da Vinci. He went to Rome, was employed by Pope Julius II. and Agostino Chigi, and after- wards settled at Siena, where his best works are to be seen. HistoTy. D. 1554. Read (Katherine), an English paintress. Portraits. Died 1778. Realfonso (Tommaso), Italian. Naples. Scholar of A. Belvidere. Still-life. Fruit. Flowers. 17th cen- tury. Recchi (Giov. Paolo and Giov. Battista), two brothers of Como, scholars of Morazone. History. 1 6th century. Recco (Cav. Giuseppe), Italian. Dictionary of Painters. i8i Naples. Scholar of A. Falcone. Hunting and fishing pieces. 1634- 1695. Rechberger (Franz), German. Scholar of F. Brandt. Landscapes in the style of Ruysdaei and Everdingen. B. 1771. Reclam (Frederick), Germaft. Landscapes. Portraits. 1734-1774. Reder (Christian), German. Battles. Landscapes. Humorous subjects. 1656-1729. REDI (Tommaso), Italian. Flo- rence. Scholar of Gabbiani and Maratti. History. Portraits. 1665- 1726. Redmond (Thomas), British. Mmiatures. D. 1785. Redoutd (Pierre Joseph), Flemish. Flowers. D. 1840. Redoute (Henry Joseph), brother of the preceding. Animals. Regnault (Jean Baptiste), French. History. Allegories. 17 54- 1831. REGNAULT (Henn), a rising French painter of extraordinary merit, killed in the Franco-German war of 1871, at the age of 28. History. Portraits. REI NAGLE (Philip, R.A.), English. Scholar of Allan Ramsay. Portraits. Hunting pieces. Copies after Potter, K. du Jardin, Berghem, Ruysdaei, Hobbema, Wouwerman, A. Vandevelde. Panoramic views. 1749-1834. Reinagle (Richard Ramsay), the son of the preceding. Portraits. Ariimals. 1775-1862. REINAGLE (George Philip), son of the preceding. Marine subjects. Copies after W. Vandevelde and Backhuysen. 1802-1835. Reiner (Wenceslaus Laurent), German. Scholar of P. Brandel. History. Landcapes. Battles. D. 1743.. Reinsperger (John Christopher), German. Portraits. 1 7 1 1 - 1 780. Reiter (Bartholomew), German. History. 17th century. REMBRANDT (Van Ryn, Paul), an illustrious master of the Dutch school, was the son of a bour- geois in easy circumstances, and was born at Leyden on July 15, 1607. tie studied successively under Jacob van Zwaanenberg, Peter Lastmann, and Jacob Pinas ; and it is said he acquired from the last named that taste for strong contrasts of light and shadow for which his works are so remarkable. In 1630, he settled at Amsterdam, where he married a lady named Uilenberg (frequently copied in his works), and soon his fame spread far aod wide. Though his historical works are exceedingly esteemed, he is certainly more de- serving of admiration as a painter of portraits. He was a perfect master of all that relates to colouring, dis- tribution of light and shade, and management of the pencil ; in the harmony of his tones no other painter, with perhaps the exception of Titian, has equalled him, and he was un- doubtedly the greatest magician of chiaro-oscuro that the world has ever produced ; the seductive simplicity of his arrangements, the expression and character of his heads are won- derful. But in the other parts of the art, especially in correctness of design, perspective, drapery, elevation of taste, he was sadly deficient, and the exquisite charm of his deep shadows hardly succeeds in concealing such gross imperfections. His portraits alone are completely satisfactory to the beholder of taste ; without dignity or embellishment, they exhibit so much nature and animation, such truth and force of colouring, that it must be allowed he has never been surpassed in this special branch. Rembrandt had, as a painter, two distinct manners : in the early part of his life, until some time after he settled at Amsterdam, he finished his pictures almost as highly as Gerard Douw did after him. Stich are his i 82 The Picture AmateiLv s Handbook. ‘ Esther before Ahasuerus,’ the ‘ Wo- man taken in Adultery ’ (now at the National Gallery), ‘ St. Peter in the Boat,’ ‘ St. John in the Wilderness.’ He afterwards adopted a greater breadth of light and shadow, and a more commanding facility of execu- tion ; in his lights, he sometimes laid on his colours so unsparingly, that they project far from the canvas, and thereby much increase the effect at a distance. D. 1669. In Smith’s Catalogue Raisonne is a description of 640 pictures by Rembrandt, and they are certainly not all included in the list. They have never ceased to command the most enormous, and it may be added the most excessive prices. Imitators and copyists : — Nicholas van Bergen^ Ferdinand Bol^ Ph. Jer. Brinckman^ Solomon Con- inck, Benj. Cuyp^ Jan Donier, N. Drost^ Heyman Didlaert^ *Govaert Flink, Bernard Fabritius, Arnold de Gelder, Peter de Gelder^ Samuel Hoog- straeten, Philip de Koningh, Nicholas Maes, J. B. van Mol, Horatius Paulyn, Adrian Verdoel, Jan Victor or Fictoor, Gerard de Wet, Francis Widfhagen and Gerbrant vander Eckhout, the latter especially successful in Biblical subjects. Remsiyke. Dutch. History. Por- traits. 1 8th century. REN I (Guido), an illustrious Italian painter, born at Bologna in 1575, studied under Denis Calvart, and afterwards in the academy of the Caracci. On leaving the school, he adopted for some time the style of Michael Angelo Caravaggio, then in the full success of novelty ; but he soon returned to the opposite style, viz. to the suavity of the most selected forms and the most harmonious shadows. The tender, the pathetic and the devout were the characters in which he peculiarly excelled, and are those which not only distinguish him from every other painter, but almost give him precedence of all. In expressing the different parts of the body, he had a remarkable peculi- arity, for he usually designed the eyes of his figures large, the nostrils some- what close, the mouths small, the toes rather too much joined and with- out any great variety. His heads are accounted little inferior to Raffaelle’s, either in correctness of design or engaging propriety of expression ; and it has been justly observed that the merit of Guido consisted in that moving and persuasive beauty, which does not so much proceed from a regularity of features as from the lovely air which he gave to the mouth and the modesty which he placed in the eye. Yet there is somewhat theatrical in his attitudes, whence it seems that he confined all his power to the expression of the countenance. His draperies are always disposed with large folds, in a grand style ; and with singular judgment they are contrived to fill up the void spaces, free from stiffness or affectation, yet noble and elegant. His colouring is generally clear and pure ; but latterly his pictures had a grayish cast, which changed into a livid colour, and his shadows partook of the green. His pencil was light, and his touch free, but delicate ; and though he laboured his pictures highly, he generally gave some bold stroke to his work, in order to conceal the toil and time he had bestowed upon it. Guido is generally regarded as the most dis- tinguished disciple of the school of the Caracci, with the exception of Domenichino, and some even give him the preference. His works are numerous and are to be found in all the principal collections throughout Europe. There are several in the National Gallery, but some of them are of doubtful authenticity, or, if genuine, are among his poorest works. D. 1642. Guido Beni es- tablished at Bologna one of the most popular schools in Italy. Crespi says Diciioiia7'y of Painters. it was frequented by more than 200 pupils. Among his numerous imita- tors and copyists the most suceessful were : Domenico de Benedetti, Paolo Biancucci., Giovanni Battista Bolog- fiini, Antonio Btionfanti^ Guido Cagnacci, Th. Campana, Simone Cantarini, Fr. Carboni, Cav. Giov. Dom. Cerrini, Lorenzo Cerrini, Michele Desuhleo, Luca de’ Ferrari, Lavinia Fontana, Pietro Gallinari, Franz Gessi, Antonia Giarola, Giorgio Gitdiani, Lorenzo Loli, Uberto La- longe, Cav, Ercole Maria (deceived Guido himself), Padre Feliciano da Messina, Giov. Bat. Michelini, Carl. Fr. Njivolone, Giov. V>^\..Pesari, Marc’ Antonio Riverditi, Rollo, Franc, di Rosa, Giov. Bat. Ruggieri, Luigi Scaramuccia, Giov. Giac. Lefnenti, Guido Signorini, Giov. Andrea Sirani, Giov. Maria Tamburini , Seb, Taricco, Flam. Torre, Andrea Vaccaro. Renou (Antoine), French. Scholar of Vien. History. 1731-1806. Renzi (Cesare), Italian. S. Ginesio. History. 1 7th century. Resani (Arcangelo), Italian. Rome. Afiimals. Huntings. 1670- 1740. Res chi (Pandolfo), German. Battles. Landscapes in the style of S. Rosa. B. 1643. Restout (Jean), French. Scholar of Jouvenet. History. 1692-1768. Retzsch (Moritz), German. His- tory. Portraits. 1 779-1859. Reuven (Peter), Dutch. Scholar of Jordaens. History. Allegory. 1650-1718. Revello (Giov. Battista), Italian. Genoa. Landscapes. Floxvers. 1672- 1732. Revoil (Pierre Henri), French. Scholar of David, Histoiy. Allegory. 1776-1842. Reyn (John de), Flemish. Scholar of Vandyck. History. Portraits. 1610-1678, Reyna (Francisco de), Spanish. 183 Scholar of F. de Herrera. History. 1635-1659. REYNOLDS (Sir Joshua, P.R.A.), an illustrious English painter, born at Plympton, in Devon- shire, 1723, studied under Hudson, and afterwards spent three years in Italy, visiting Rome, Florence, and Venice. In 1752 he settled in Lon- don, where his talents before long attracted considerable attention. The picture of his pupil, Giuseppe Marchi, in a Turkish dress, first attracted notice ; next came the picture of Miss Greville and her brother, as ‘ Cupid and Psyche,’ executed in a style which had not been seen in England since the days of Vandyck. From that time the celebrity of Reynolds wrs founded, especially as a portrait painter of ladies, whose images the fashionable world flocked to see. Soon after the accession of George HI. to the throne, the master, by the increase of his practice, found himself enabled to purchase a house in Leices- ter Fields, where he constructed a splendid gallery. In 1762, he pro- duced his celebrated picture of ‘ Gar- rick between Tragedy and Comedy.’ On the institution of the Royal Aca- demy (1768) the presidentship was unanimously conferred upon him, and at the same time he was knighted. The task of delivering public dis- courses was no part of the duty attached to this office, yet Sir Joshua voluntarily undertook it : the first was pronounced by him in 1 769, and the fifteenth, which was the last, in 1 790, with what applause and effect the world knows. On April 26, 1769, was the first exhibition of the Royal Academy, and from that time to the year 1790, Sir Joshua sent in no less than 244 pictures. In 1780 he com- pleted his design for the great window in the New College Chapel at Oxford ; in 1 784 he painted his ‘ F ortune-teller, ’ and his celebrated portrait of Mrs. Siddous as the ‘ Muse of Tragedy ' 84 The Picture Amateur's Handbook. now in the Grosvenor Gallery. About 1789 he was obliged to relinquish practising the art, on account of weakened eyesight, and he died in 1792, Sir Joshua Reynolds has been justly called the founder of the modern British school of painting ; his influence upon its origin and development has undoubtedly been unequalled. Burke says that ‘ in taste, in grace, in facility, in happy invention, and in the richness and harmony of colouring, he was equal to the greatest masters of the re^ nowned ages ; ’ at all events his fame is established on numerous superlative portraits, and on enchanting represen- tations of the innocence, simplicity, and natural habits of sweet children ; in these he stands alone, as well as in the expression of dignity, serene ele^ gance and high breeding of his English noblemen and noblewomen. There are several masterpieces by Sir Joshua Reynolds in the National Gallery, among which the portraits of Gen. Elliott, Edmund Burke, Admiral Keppel, Dr. Johnson, and the ‘Age of Innocence,’ purchased by Mr. Vernon for 1,520 guineas. His works are always increasing in value, and have been lately extensively copied or imitated, especially for exportation to America. Reynoso (Don Anton. Garcia), Spanish. History. Landscapes, 1623-1677. Rhodes (John), English. Land~ scapes. 1 809-1 842. Ribalta (Francisco), Spanish. History. 1551-1628. Ribalta (Juan), the son of the preceding. History. 1597-1628. RIBERA (Jose), called letto^ an eminent Spanish painter, born in 1588, studied first under Ribalta, then set out for Italy, and arriving at Naples in 1606, while Caravaggio was residing in that capital, was favoured with the advice and instructions of that master, whose style he adopted. He settled at Naples, where he practised his art with great success. History. Por- traits. D. 1656. Ricca, or Ricco (Bernardino), Italian. Cremona. History. About 1512. Ricchi (Pietro), called 11 Lucchese. Scholar of Passignano. History. 1606-1675. Ricchiedo (Marco), Italian. Brescia. History. i6th century. Ricchino (Francesco), Italian. Brescia. Scholar of Bonvicino (Moretto). History. About 1568. Ricci (Antonio). See Barbalunga. Ricci (Camillo), Italian. Ferrara. History. 1 5 80- 1618. Ricci (Giov. Battista), called da Novara. History. 1545-1620. RICCI (Sebastiano), a distin- guished Italian painter, born at Bel- luno in 1659, studied under Fed. Crivelli and Aless. Magnesco, tra- velled in Italy and Europe, and re- sided for ten years in England. Like Luke Giordano, he attained great skill in imitating the eminent Italian masters : one of his Madonnas at Dresden was for some time attributed to Correggio, and his imitations of Paolo Veronese would deceive the best judges. History. D. 1734. Ricci (Marco), the nephew and scholar of the preceding. History. Portraits. 1680-1730. Ricciardelli (Gabriele), Italian. Naples. Landscapes. Marines. About 1743. Ricciardelli di Volterra (Daniele), scholar of Razzi and B. Peruzzi. History. 1509-1566. Riccio (Domenico), called Brusa- sorci. Italian. Verona. History. 1494-1567. Riccio (Felice), the younger, the son and scholar of the preceding. History. 1 540-1 605 . Riccio (Gio. Batt.), the brother of the preceding. Scholar of Veronese. History. Dictionary of Painters. R I C C I O (Mariano), Italian. Messina. Scholar and imitator of Polidoro da Caravaggio. History. 1510-1576. Ricciollini (Niccolo and Michael Angelo), brothers. Italian. Rome. History. About 1660. Richardson (Jonathan), English. Portraits. 1665-1745. Ridolfi (Claudio), Italian. Verona. Scholar of Veronese. History. 1560- 1644. Ridolfi (Cav. Carlo), Italian. Vi- cenza. History. 1602-1658. RIDOLFO (Michele di), called Ghirlandajo, an eminent Florentine painter, born about 1510, studied under Lorenzo di Credi, Antonio Sogliani, and Ridolfo di Domenico Ghirlandajo, whose name and manner he adopted. History. Ridolfo (Pietro di), Italian. Flo- rence. History. About 1612. Riedinger (John Elias), German. Animals. 1695-1769. Riesener (Henri Francois), French. Portraits in oil and miniature. 1 767- 1828. Rieter (Henry), Swiss. Landscapes. 1751-1818. Rietschoof (John Klaaz), Dutch. Scholar and imitator of Backhuysen. Sea pieces. 1652-1719. RIGAUD (Hyacinthe), an emi- nent French portrait painter, born in 1659, studied under Ch. Le Brun, and attained such eminence in portraits that he was called the French Vandyck. He painted also history. D. 1743. Imitators and copyists : — Pane, Nicolas Desportes, David Leclerc. Rigaud (Jean), French. l.and- scapes. Views of towns. 1700-1754. Riley (John), English. Portraits. 1646-1691. Riley (Ch. Reuben), English. Portraits. 1752-1798. Riminaldi (Orazio), Italian. Pisa. Scholar of O. Fomi (Gentilleschi). History. 1 598-1 631, Riminaldi (Girolamo), brother of 1S5 the preceding. History. About 1630. Rincon (Antonio del), Spanish. History. Portraits. 1446- 1 500. Ring (Peter de), Dutch. Frui/. Fish. Still-life. About 1650. Ringgli (Gothard), Swiss. History. A llegories. 1 5 7 5- 1 63 5 . RIPPINGILLE (Edward Villiers), a British painter, born 1798, was a self-taught artist. He exhibited his first picture, ‘Enlisting,’ at the Royal Academy in 1813; and stimu- lated by his success, he devoted him- self to the representation of rural scenes illustrating English manners and customs. D. 1859. Ristoro (F. ), Italian. Florence. Religions subjects. About 1264. Risueno (Jose), Spanish. History. About 1640. Rivalz (Jean Pierre), French. Toulouse. Perspectives and architec- tural views. History. 1625-1706. Rivalz (Antoine), the son of the preceding. History. Good copies. 1667-1735. Rivalz (Jean Pierre), the son of the preceding. History. D. 1785. Rivarola (Alfonso), called Jl Chenda. Italian. Ferrara. History. 1607-1640. Rive (Pierre Louis), Swiss. Por- traits. B. 1753. Riverditi (Marc’ Antonio), Italian. Alessandria. History. Portraits. 1 8th century. Riviera (Francesco), French. Leg- horn. Conversations. Turkish ballets. 1 8th century. Rizi (Francisco), Italian. Born in Spain, where he lived. II i story. I ). 1685. _ Rizi (Fray Juan), the brother of tlie preceding. History. B. 1595. Robart ( ), Dutch. Scholar and imitator of Van Huysum. Fruit. Flozvers. Landscapes. i8th century. Robatto (Giovanni Stefano), Ita- lian. Savona. Scholar of C. Ma- ratti. History. 1649- 1733. 1 2 The Picture AmateuT s Handbook, 1 86 Robert (Nicolas), French. Minia- tures of animals. 1610-1684. Robert (Hubert), French. Archi- tectural and perspective views, com- bining the styles of Pannini and Joseph Vernet. 1733-1808. Robert (Paul P. Antoine), French. History. 1686-1733. ROBERT (Leopold), an eminent painter of the French school, born in Switzerland, 1794, studied under David, and travelled in Italy. He had already achieved several excellent pic- tures of popular life, when he com- mitted suicide in 1835. Roberts (David, R.A.), British. Landscapes. 1 796-1864. Robertson (George), English. scapes. 1747-1788. Robinson ( ), English. Imi- tator of V andyck. Portraits. 1 7 1 5- 1745 - Robson (George Fennel), English. iMnd scapes. 1790-1833. Robusti. See Tintoretto. Rocca (Giacomo), Italian. Rome. Scholar of Daniele di Volterra. His- tory. 1520-1600. Roccadirame (Angiolillo), Italian. Naples. Scholar of A. Solario. His- tory. 15th century. Rocchetti (Marc’ Antonio), Italian. Faenza. History. i6th century. Rode (Christian Bernard), German. History. Portraits. 1725-1797. Roderig-0, or Rodriguez (Luigi), Italian. Naples. History in the style of Arpino. 17th century. Roderigo (Alonzo), the brother of the preceding. History. 1578-1648. Rodriguez (Frate Adrian), Flem- ish. History. 1618-1669. Roelas (Juan de las), Spanish. Scholar of Titian. History. Portraits. 1560-1625. Roepel (Conrad), Dutch. Fruit. Flowers. 1 67 9- 1 748 . Roer (Jacob vander), Dutch. Land- scapes. 1648-1699. Roesel (Augustus John), German. Portraits. 1705-1759. ROESTRATEN (Peter), Dutch. The scholar and son-in-law of Fr. Hals. Portraits in the style of his master. Also pictures of gold and silver vases. Bas-reliefs. Musical in- stru 7 nents. 1627-1698. ROGER, of Bruges, an old Flem- ish master, born about 1390, studied under John van Eyck, and executed historical works on a larger scale than his master, well designed for that early period. ROKES (Henry Martin), called Zorg, or the Careful, Dutch. Scholar of David Teniers. Scenes of Dutch life in the style of his master. His works are esteemed. 1621-1682. Roli, or Rolli (Antonio), Italian. Bologna. Scholar of M. A. Colonna. Landscapes. 1 643-1696. Roli (Giuseppe), Italian. Bologna. Scholar of Canuti. History. 1654- 1727. Romain (de la Rue), French or Dutch. Imitator of Asselyn, Swane- velt, and Both. 1 8th century. Roman (Bartolome), Spanish. Scholar of Carducci and Velasquez. History. 1596-1659. Romanelli (Giovanni Francesco), Italian. Viterbo. Scholar of P. da Cortona. History. 1617-1662. Romanelli (Urbano), the son and scholar of the preceding. History. D. 1682. Romani (da Reggio), Italian. Modena. Imitator of Veronese. 17th century. Romanino (Girolamo), Italian, Brescia. Scholar of St. Rizzi. His- tory. 1504-1566. ROMANO (Giulio Pippi, called), an eminent Italian painter, born at Rome in 1492, was the most distin- guished disciple of Raffaelle, his heir, and with Giovanni Francesco Penni, the executor, under his will, of his unfinished works. He was particu- larly successful, as an original painter, in battle pieces, and other warlike subjects, and was, above all, an inim- Dictionary of Painters. 187 itable designer. D. 1546. Imitators and copyists : — Teodoro Gkigi, Ri- maldo Mantovano, Giulio Tondtczzi. Romborgh ( ), Dutch. Land- scapes^ in the style of Moucheron. i8th century. Rombouts (Theodore), Flemish. Scholar of Ab. Janssens. History. 1597-1637- Romegiallo (Giovanni Pietro), Italian. Morbegno. Scholar of A. Masucci. History. B, 1739. Romeo (Don Jose), Spanish. Scholar of A. Masucci. History. 1701-1772. Romeyn (William van), Dutch. Landscapes with cattle, in the style of K. du Jardin. 17th century. ROMNEY (George), an eminent English painter, born at Furness, near Dalton, Lancashire, in 1734, studied under a portrait painter of little note, named Steel. In 1762, he settled in London, first as a portrait painter, afterwards travelled on the continent, and resided two years at Rome, study- ing with enthusiastic assiduity the antique and the best works of the great masters. In 1775, when he re- turned to I.ondon, he soon became one of the most popular of portrait painters, and at the same time devoted his attention to historical painting. When Boydell projected the Shak- speare Gallery, Romney entered into the scheme with enthusiasm ; he also produced many fancy subjects, which are among the most esteemed pro- ductions of the British school. It is a little singular that Romney was never elected a Royal Academician. This has been attributed to the spirit of rivalry between him and Reynolds. D. 1802, Roncalli (Cav. Cristoforo), Italian. Volterra. Scholar of Circignani. History. 1 552-1626, Roncelli (Giuseppe), Italian. Ber- gamo, Landscapes. Conflagrations. 1677-1729. Rondani (Fr. Maria), Italian. Parma. Scholar of Correggio. His- tory. 1 505-1548(7). Rondinelli (Niccolo), Italian. Ra- venna. Scholar of Giovanni Bellini. History. 1 460- 1520. Rontbout (J. — — ), Dutch. Land- scapes in the style of Ruysdael. Ronzelli (Fabio), Italian, Ber- gamo. History. About 1629. Roodtseus (Albert), Dutch. Por- traits. I 590-1648. Roodtseus (John Albert), the son of the pi'eceding. Portraits. Some of his productions equal B. Vander Heist. 1615-1674. Roodtseus (Jacob), the brother of the preceding. Scholar of D, de Heem, Flowers. Still-life. D. 1669, Roore (Jacob de), Flemish. Copies after Rubens and Teniers. Allegories. 1686-1747. Roos (John Henry), Dutch. Land- scapes with figures and animals. 1631-1685. Roos (Theodore), the brother of the preceding. Scholar of A. de Bie. History. 1 638-1 671. ROOS (Philip) called Rosa da Ti- voli., the son of John Henry Roos, studied under his father, afterwards travelled in Italy, and having married the daughter of Giacinto Brandi, settled at Tivoli. His pictures usually represent pastoral subjects, with herds- men and cattle, always composed with great taste, while carefully designed from nature ; his colouring is full of force, his lights and shadows distri- buted with judgment ; his touch re- markably firm, free, and spirited. His later productions are exceedingly in- ferior to his earlier works, Lmitators and copyists: — John Melchior Roos, and Gabriel vander Leeuw. Roos (John Melchior), the brother of the preceding and his imitator. 1659-1731- Roos (Joseph), German. Land- scapes. Cattle. B. 1728. Roper ( ), English, Sporting i88 The Picture A7nateuTs Handbook. pieces. Race-horses. Dead game. D. about 1762. Roqueplan (Camille). French. Landscapes. Genre. 1803-1855. Rosa (Amilla di), a Neapolitan paintress. History. 1613-1649. ROSA (Cristoforo), Italian. Bres- cia. Perspective and architectural views (sometimes in the pictures of Titian). 1520-1576. Rosa (Pietro), the son of the pre- ceding, and a scholar of Titian. His- tory. Portraits. D. 1576. 'Rosa (Francesco), Italian. Genoa. Scholar of P. da Cortona. History. About 1670. Rosa (Francesco di), called Pacecco. Italian. Naples. Scholar of Stan- zioni. History. D. 1654. Rosa (Giovanni), Flemish. land- scapes with animals (especially hares). D. 1638. ROSA (Salvatore), a celebrated Italian painter, born at Renella near Naples, in 1615. Studied first under his brother-in-law, Fr. Fracanzani, afterwards under Amillo P'alcone and Ribera, called Spagnoletto ; he prac- tised for nine years at Florence with great success, and then settled at Rome. Although he affected to de- spise landscape painting, being ambi- tious of shining as an historical painter, posterity cares little for his historical exertions, and his landscapes are chiefly admired. Indeed, the brightest era of landscape painting may be said Avith truth to have been in the time of Pope Urban VIII., when flourished Claude Lorraine, Gaspar Poussin, and Salvator Rosa. The latter painted history, landscapes, battle pieces, and seaports : the scholar of Spagnoletto, he attached himself to the stiong na- tural style and dark colouring of that master, which is in harmony with his subjects. In his landscapes, instead of selecting the cultured amenity Avhich captivates in the views of Claude or Poussin, he made choice of lonely haunts of wolves and robbers ; instead of the delightful vistas of Tivoli and the Campagna, he adopted the savage scenery of the Alps, rocky precipices, caves, with wild thickets and desert plains ; his trees are shattered or torn up by the roots, and in the atmosphere itself he seldom introduces a cheerful hue, except occasionally a solitary sun- beam. These gloomy regions are peo- pled with congenial inhabitants, fero- cious banditti, assassins and outlaws. In his marine pictures he followed the same taste. Salvator Rosa wrought with wonderful facility, and could paint a well-fini.shed landscape and insert all the figures in one day. He was also an excellent portrait painter. D. 1673. His genuine works are eagerly sought after and heavily paid for. His imitators and copyists were numerous : the most successful being Giulio Avillino, Taddeo Baldini, Ja- cob de Heusch, Alessio de Marchis, Lorenzo Martelli, Evangelista Marti- notti, Francesco Martinotti, Gaetano Martoriello. Niccolo Massaro, Marzo Masturzo, Pietro Montanini, Pan- dolfo Reschi, N. Spiering, and Barto- lomeo Torregiani. Rosa (Sigismondo), Italian. Ro- man. Scholar of G. Chiari. History. 1 8th century. Rosa da Tivoli. See Poos (Philip). ROSALBA (Carriera), a cele- brated Italian paintress, born at Chiozza near Venice in 1675. Studied under Diamantini, and practised oil painting for some time, but is better known for her excellent portraits in crayons. D. 1757- Rosalba (Antonello), Italian. Mes- sina. History. i6th century. Rose (Susan Penelope), an Eng- lish paintress of miniatures. 1652- 1700. Rosel (John Augustus), German. Miniatures. Insects. 1 705-^7 59 - Roselli (Niccolo), Italian. Ferrara. Copies after the old masters. About 1568. Dictionary of Painters. Roser (M.), German. Copies after the Italian and Flemish masters. 1737-1804. Rosetti (Domenico), Italian. Ve- nice. Perspective. Architecture. 1690- 1760. Rosi (Alessandro), Italian. Flo- rence. Scholar of C. Dandini. His- tory. 1627-1697. Rosi (Zanobi), Italian. Florence. Scholar of C. Allori. History. 17th century. j Rosi (Giovanni), Italian. Florence. Scholar and imitator of G. Falgani. 17th century. Ross (Sir William Charles), R.A. i English. Miniature portraits. 1794- 1860. ROSSELLI (Cosimo), an eminent Florentine master, born about 1416, acquired considerable reputation in his native city, and was invited to Rome by Sixtus IV. to assist in ornamenting the Sistine Chapel, in conjunction with Domenico Ghirlandajo, Pietro Perugino, Sandro Botticelli, and other eminent artists. Religious history. Died about 1484. He was the in- structor of Baccio della Porta. Rosselli (Matteo), Italian. Flo- rence. Scholar of Passignano. His- tory. 1578-1650. Rossetti (Giov. Paolo), Italian. Volterra. Scholar of D. Ricciarelli. History. B. 1568. Rossi (Antonio), Italian. Bologna. Scholar of M. A. Franceschini. His- tory. 1700-1753. Rossi (Aniclo), Italian. Naples. Scholar of L. Giordano. History. 1660-1719. Rossi (Antonio), called de Rubeis. Italian. Cadore. Perhaps the in- structor of Titian. History. 15th century. Rossi, or Rossis (Angelo), Italian. Florence. History. B. 1742. Rossi (Carlo Antonio), Italian. Milan. Scholar of the Procaccini. History. 1580-1648. Rossi (Enea), Italian. Bologna. 189 Scholar of the Caracci. History. About 1600. Rossi (Francesco). See Salviati. Rossi (Gabriele), Italian. Bologna. Architecture. Perspective. About 1650. Rossi (Giov. Battista), called II Gobbino. Italian. Verona. Scholar of A. Turchi. History. About 1630. Rossi (Giov. Stefano), Italian. Genoa. Scholar of Strozzi. History. ! 1719-1769. Rossi (Girolamo), Italian. Brescia. Scholar of C. Rama. History. About 1640. i Rossi (Girolamo), Italian. Bologna. Scholar of F. Torre. About 1660. Rossi (Girolamo), called de Rubeis the elder. Italian. Bologna. Scholar of S. Cantarini. History. About 1670. Rossi (Girolamo), called de Rubeis the younger^ the son of the preceding. Portraits. About 1 700. Rossi (Lorenzo), Italian. Florence. Scholar of P. Dandini. History. D. 1702. Rossi (Muzio), Italian. Naples. Scholar of Cav. M. Stanzioni. His- tory. 1626-165 1. Rossi (Niccolo Maria), Italian. Naples. Scholar of L. Giordano. History. 1645-1700. Rossi (Pasquale), Italian. Vicenza History. Gaming parties. Conver- sa tions. Concerts. 1641-1725. ROSSO (II), called by the French Maitre Roux, an eminent painter, born at Florence in 1496, was the most eminent disciple of the school of An- drea del Sarto ; he afterwards gained improvement by studying the works of Buonarroti and Parmiggiano. Not meeting in Italy with the success he anticipated, he resolved to go to the court of Francis I. of France, who at that time was the great patron of art. He was appointed by that monarch superintendent of the works at the palace of Fontainebleau, built the great gallery in that palace, and deco- I go The Picture A mateur's Handbook. rated it with twenty-four pictures, emblematic of the principal actions in the life of Francis I., some of which were subsequently destroyed to make way for the works of Primaticcio. His style is characterised by grandeur, originality, dignity, animated expres- sion in his heads, a tasteful arrange- ment of his draperies and ornaments, lively colouring, free and firm pencil- ling, with a broad and effective distri- bution of lights and shadows. 11 Rosso poisoned himself in 1541. Rotari (Pietro, Conte), Italian. Ve- rona. Scholar of A. Balestra. His- tory. Portraits. 1707-1762. ROTTENHAMER (John), an eminent German painter, born at Munich in 1564, travelled in Italy, returned to his own country with an established reputation, and settled at Augsburg. His most celebrated work is an altarpiece in that city. He was fond of decorating his pictures with rich and splendid accessories, and of introducing the naked figure, which he piqued himself on designing with taste, and colouring with delicacy. History. 1 5 64- 1 606. Rousseau (Jacques), French. Scholar of Claude. Landscapes. 1630. D. in London 1693. Rovere (Ricardo), Flemish. Land- scapes. Settled at Milan about 1565. ROVERE (Giov. Mauro), called LI Fiammingo, the son of the pre- ceding. Scholar of the Procaccini. History. Pe^'spective. Battle pieces. B. at Milan 1570. ROVERE (Giov. Batt. and Marco), called Fiamminghetti, of the same family. Landscapes. Battle pieces. History. Frescoes. i6th century. Rovira (Hippolito), Spanish. His- tory. 1693-1735. Roy (Jean Baptiste), Flemish. Landscapes. Cattle. 17 59 - 1 ^ 39 - Roze (Mademoiselle), Dutch. Ex- cellent copies in threads of silk floss. 1632-1682. Rubbiani (Felice), Italian. Mo- dena. Scholar of D. Bettini. Fruit. Flowers. Birds. Fish. B. 1677. RUBENS (Peter Paul), an illus- trious Flemish painter, was born either at Siegen or at Cologne (where his fa- ther, one of the principal magistrates of Antwerp, was at the time) on the feast day of St. Peter and St. Paul, 1577. He received a very liberal education, and showing an evident inclination for painting, studied successively under Tobias Verhaecht, Adam van Oort, and Otho Venius. It was from the latter that he acquired that taste for allegory for which he was remarkable through life. In 1600 he set out for Italy, and after spending a short time at Venice in examining the works of the Venetian masters, he proceeded to Mantua, and having a good letter of introduction for the Duke, who possessed an admirable collection of paintings and antique statues, he was received with marked distinction. After having spent two years in the service of the Duke of Mantua, copy- ing and studying especially the great works of Giulio Romano, he requested and received permission to revisit Venice for the purpose of studying the works of Titian and Paolo Veronese, from which he acquired that splendid manner of colouring so much admired in his works. On his return to Mantua he painted three magnificent pictures for the church of the Jesuits, which evince the progress he made at Venice, and are considered among his finest works. The Duke commissioned Rubens to visit Rome, to execute copies of several celebrated works, which he performed in admirable style, at the same time availing him- self of the opportunity of studying all the best works of art in that metro- polis. In 1605, the Duke of Mantua having occasion to send an envoy to the Court of Spain, employed Rubens as a person eminently fitted for the delicate mission. He successfully ac- complished the negotiations confided Dictlojiary of Painters. 19 1 to him, painted the portrait of Philip III., and received from that monarch the most flattering marks of distinc- tion. Soon after his return he again proceeded to Rome, and next visited Genoa. Having now been absent eight years, he was suddenly recalled to Antwerp in 1608 by the severe ill- ness of his mother, who died before his arrival. He was about to return to Italy, when the Archduke Albert and the Infanta Isabella induced him to abandon his intention. He settled at Antwerp, where he married, built a magnificent house, with a saloon in the form of a rotunda, which he em- bellished with antique statues, busts, vases, and pictures by the most cele- brated masters. Amidst these select productions of art, he passed about twelve years in the tranquil exercise of his great abilities, producing an astonishing number of admirable pic- tures for the churches and public edifices of the Low Countries (espe- cially his immortal masterpiece ‘ The Descent from the Cross,’ now in the Cathedral at Antwerp). He also instructed numerous pupils. In 1620 Marie de Medicis commissioned Rubens to decorate the Gallery of the Luxembourg with a series of em- blematical paintings, in twenty-four compartments, illustrative of the prin- cipal events of her life. The series was painted at Antwerp, except two pictures, which he finished at Paris in 1623, when he arranged the whole in the gallery. It was at that time that he became acquainted with the Duke of Buckingham, as that nobleman was passing through France on his way to Madrid, who afterwards gave him 10,000/. for his collection of antiques and paintings. On his return to Antwerp his time was occupied in executing numerous commissions till 1628, when the Infanta Isabella de- spatched him on a delicate political mission to the Court of Spain. On his arrival at the Spanish capital, he was received in the most gracious manner by Philip IV., and completely captivated that monarch and his minis- ter, the Duke of Olivares, by his mag- nificent productions. The Duke had just founded the convent of the Car- melites at Loeches, near Madrid, for which the King, as a mark of favour to his minister, commissioned Rubens to paint four pictures of large dimen- sions, which are not surpassed by any of his other works for admirable com- position, grandeur of design, and rich- ness of colouring. He also painted eight grand pictures for the royal palace at Madrid. For these great works he was munificently rewarded, received the honour of knighthood, and the golden key of a gentleman of the royal bedchamber. In 1627 he returned to Flanders, and was imme- diately despatched to England on a secret mission by the Infanta, to ascer- tain the disposition of the Government on the subject of peace. The King, Charles I., an ardent lover of the fine arts, received the illustrious painter with every mark of distinction, and immediately employed him in painting the ceiling of the banqueting-house at Whitehall, where he represented the apotheosis of his father, James L In one of the frec^uent royal visits during the execution of the work, he alluded with infinite delicacy and ad- dress to the subject of a peace with Spain, and finding the monarch not averse to such a measure, he im- mediately produced his credentials. Charles at once appointed some mem- bers of his Council to negotiate with him, and a pacification was soon effected. The King was so highly pleased at the result that he presented Rubens with his own sword, enriched with diamonds, his hatband of jewels, valued at 10,000 crowns, a gold chain (which Rubens wore afterwards), and knighted him. Rubens returned to Antwerp, and continued to exercise his pencil with undiminished industry 1 1 3 192 The Picture AmateiLv's Handbook. and reputation till 1635, when he experienced some aggravated attacks of the gout; he died in 1640, aged 63 years. Rubens was undoubtedly one of the most original painters that ever lived. He painted allegory, history, portraits, landscapes, ani- mals, fruit, and flowers, with equal excellence. He possessed inexhaus- tible fertility of invention, carried the art of colouring to its highest excel- lence, and thoroughly understood the principles of chiaro-oscuro ; his dra- peries are simple, broad, and grand ; his carnations have the appearance of nature, and the warmth of life. His greater excellence appears in his grand compositions, for as these were to be seen at a distance, he laid on a proper body of colour with uncommon free- dom, and fixed all his tints in their proper places, never impairing their lustre by breaking them, but touching them only in such a manner as to give them lasting force, beauty, and har- mony. Rubens has been accused as defective in design, and it is generally allowed that he was frequently incor- rect in his drawing, and that his figures, particularly those of females and children, are devoid of elegance, grace, and beauty. The number of works executed by Rubens is truly astonishing. In Smith’s Catalogue are described about 1800 pictures, considered genuine, in the different public and private collections of Europe. It is well known that a great number of these were executed by his numerous scholars and assis- tants, under his direction, from his designs, and then finished by himself. Wildens, Van Uden, and Mompers, in particular, assisted him in his land- > capes, and Snyders in his animals. His principal scholars were : Anthony Vandyck, Justus van Egmont, Theo- dore van Thtilden, Abraham Diep- enbeck, Jacob Jordaens, Peter van Mol, Cornelius Sc hut, John van Hoeck, Simon de Vos, Peter Soutman, Deodato Delmont, Erasmus Quellinus, Francis Wouters, Francis Snyders, John Wilden, Lucas van Uden, and Jodocus Mompers. Several other dis- tinguished Flemish painters of the period, who were not his pupils, imi- tated his style ; the most eminent of whom were Gerard Seghers, Caspar de Grayer, and Ma.rtin Eepin. Besides the genuine paintings of Rubens, there are a multitude of doubtful authenti- city attributed to him. Rubenstein ( ), German. Still-life. Dead ga 7 Tie. Portraits. D. in London, 1763. Rubiales (Pedro de), Spanish. Scholar of Fr. Salviati. History. About 1550. Rubira (Andres de), Spanish. His- tory. D. 1760. Rubira (Jose de), the son of the preceding. Imitator of Murillo. Histojy. 1 747-1787. Rufo (Jose Martin), Spanish. His- tory. Portraits. i8th century. Rugendas (George Philip), Ger- man. Battle pieces. 1666-1742. Ruggieri (Antonio), Italian. Flo- rence. History. 17 th century. Ruggieri (Ant. Maria), Italian. Milan. History. i8th century. Ruggieri (Giov. Battista), Italian. Bologna. Scholar of Domenichino and Fr. Gessi. History. D. 1659. Ruggieri (Ercole), the brother of the preceding. Imitator of Fr. Gessi. History. 17 th century. Ruggieri (Girolamo), Italian. Vicenza. History. 'Landscapes. Bat- tles. 1662-1717. Ruggieri (Guido), Italian. Bo- logna. Scholar of Francia. History. About 1550. Ruiz de la Iglesla (Fr. Ignacio), Spanish. Portraits. History. 1640- 1704. Ruiz Gixon (Juan Carlos), Span- ish. History. Imitator of Herrera the younger. About 1650. Ruiz Gonzales (Don Pedro), Spanish. Histoiy. 1 633-1709. Dictionary of Painters. 93 Runciman (Alexander), British. Landscapes. History. 1736-1780. Ruoppoli (Giov. Battista), Italian. Naples. Fruit. Llowers. Fish. Shells. D. about 1685. Rupprecht (Fred. Charles), Ger- man. Landscapes. Portraits. I779~ 1831. Ruschi, or Rusca (Francesco), Italian. Rome. Scholar of M. A. da Caravaggio. History. 17th century. Russ (Charles), German. History. 1779-1843. Russell (Theodore), English. A nephew of C. Jansen, and copyist of the small pictures of Vandyck. Much employed as a portrait painter. B. 1614. Russell (John), English. Portraits in crayons. 1 744-1806. Russi (Giovanni de), Italian, Mantua. Miniatures. About 1450. Russo (Giov. Pietro), Italian. Capua. History. D. 1667. Rustici, called II Rustico. Italian. Siena. Grotesque subjects. 1 6th cen- tury. Rustici, called II Rustichino, the grandson of the preceding. History. D. 1625. Ruta (Clemente), Italian. Parma. History. Battles. Banditti. 1688- 1767. Ruviale (Francisco), called II Polidorino. Spanish. Scholar of P. da Caravaggio. History. About 1540. Ruviale (Spagnuolo), Spanish. History. i6th century. RUYSCH (Rachel), a celebrated Dutch paintress of fruit and flowers, born at Amsterdam, 1664, was the daughter of a well-known professor of anatomy ; she studied under Wil- hem van Aelst, whom she surpassed soon, being almost equal in merit to Jacob van Huysum. D. 1750. Her works are exceedingly scarce (no more than about 50 being recorded), and always command very high prices. Like Van Huysum, she had no suc- cessful imitator. RUYSDAEL, or RUISDAEL (Jacob), an eminent Dutch landscape painter, born at Haerlem about 1620, was probably a fellow scholar with N. Berghem, born 1624, but under what master it is uncertain. They set out together for Italy, at least it is sup- posed they did so. In fact, little is known of his life. But there can be no dispute about his works : Ruysdael is justly considered one of the most eminent landscape painters of the Dutch school. His pictures generally represent the most interesting views in the vicinity of Haerlem, or occa- sionally the rocky borders of the Rhine, with cascades and waterfalls. He rarely painted a picture without a river, brook, or pool of water. His grounds are agreeably broken, his trees of the most pleasing forms, his skies clear, with light floating clouds ; his distances have always a fine effect, and his masses of light and shadow are distributed with excellent judg- ment. His talents were not confined to landscapes : he painted sea pieces with equal success, and his pictures of fresh breezes and gales are ad- mirable. D. 1681. The pictures of Ruysdael are numerous (certainly more than 500), and nevertheless are held in the highest estimation. Ostade, Vandevelde, and Wouwerman fre- quently inserted the figures in his works. — Imitators and copyists: — Yxssxi&i, Decker, Cornelius Dubois, Jan van Kessel, Isaac Koene, J. Routbout, Henry vander Straeten, John Renier de Vries. Ruysdael (Solomon), the elder brother of the preceding. Painted landscapes and river views in the manner of John van Goyen ; he imi- tated variegated marbles with exact precision. 1616-1675. Ry (Peter Dankers van), Dutch. Portraits. 1 605-1659. Ryck (Peter Cornelius de), Dutch. Scholar of J. Bassano. History. 1566-1628. 94 The Picture Amateur's Handbook. RYCKAERT (Martin), Flemish. Landscapes with architecture and 7 uaterfalls, sometimes with figures by John Breughel. 1591-1636. RYCKAERT (David), the son of the preceding, born at Antwerp in 1615, studied under his father, but followed the style of Teniers, Ostade, and Brouwer. His pictures usually represent conversations, musical par- ties, assemblies of peasants. He was fond of representing subjects by candlelight, and gave a lively ex- pression to his heads, with a clear Sabbatini (Andrea), called A. da Salerno. Italian. History. 1480-1545. Sabbatini (Lorenzo), called L. da Bologna. Italian. Ilistory. About 1540-1577. Sacchi (Andrea), Italian. Rome. Scholar of Fn Albano. History. 1 600- 1 66 1. Sacchi (Antonio), Italian. Como. History. D. 1 694. Sacchi (Carlo), Italian, Pavia, History. 1 6 1 7-1 706, Sacchi (Gaspare), Italian. Imola. History. 1 6th century. Sacchi (M ), Italian. Casale, History. About 1625. Sacchi (Pietro Francesco), Italian. Pavia. History. About 1460- 1530. SacQO (Scipione), Italian. Cesena. Scholar of Raffaelle. History. About 1545- Saeuredam (Peter), Dutch. Ar- chitechire. Interiors of churches. 1597 “ 1666. SAFTLEVEN ^ (Cornelius), Dutch. Drolls. Interiors of famn- houses and kitchens, village sports and festivals, in the style of A. Brouwer and Teniers. Esteemed. 1606-1673. SAFTLEVEN (Hermann), the younger brother of the preceding, studied under John van Goyen, but did not follow his style. Picturesque and transparent colouring, a light and spirited pencil. D. 1677. Rysbrack (G.), Dutch. Flowers. Dead game. About 1650. RYSBRAECK ^eter), Flemish. Scholar of Frangois Mile. Heroic landscapes in the style of Poussin. 1657-1716, Rysen (Werner van), Dutch. Scholar of C. Poelemberg. Landscapes with figures in the style of his master. B. about 1600. Ry X, or Ryckx (Nicolas), Flem- ish. Landscapes. Seaports. 1 637- 1 695. views of the Rhine and Moselle, with figures and boats, correctly drawn and highly finished, 1609- 1685, Sagrestani (Giov. Camillo), Italian. Florence. History in the style of C, Cignani. 1660-1731. Sailmaker (Isaac), English, Ma- rines. 1633-1721. Saintones (Jean Pierre), Swiss, Scholar of Vien. History. Portraits. 1752-1809. Saiter, or Setter (Cav.. Daniello), German. Scholar of C. Loth. His- tory. 1 649-1642. Sala (Vitale), Italian. Cernusco. History. 1803-1835. Salaert (Anthony), Dutch. His- tory. Portraits. i57o(?)-i632. Salbarello (Luca), Italian. Genoa. Histojy. B. about 1610, Salimbeni (Arcangiolo), Italian. Siena. History. 1536-1583, Salimbeni (Cav. Ventura), called Bevilacqua, the son of the preceding. History. 1557-1613. Salincorno (Mirabello da), called Cavalori. Italian, Florence. Scholar of R. Ghirlandajo. History. i6th century. Salini (Cav. Tommaso), Italian. Rome. History. Flowers. Frtnf. D. 1625. Salis (Carlo), Italian. Verona. Dictionary of Painters. 195 Scholar of A. Balestra. History. D. 1763. Salm (A. van), Dutch. Marine views in black and white, in imitation of pen-drawings. The elder Vande- velde designed many marine subjects in a similar manner. They are esteemed by some as curiosities of art. About 1650. Salmeggia{Enea), called// Italian. Bergamo. Scholar of the Procaccini. History. D. about 1610. Salmeggia ( F rancesco and Chiara), the son and daughter of the preceding. History. 17th century. Salmeron (Cristobal), Spanish. History. Animals. 1603-1666. Salmeron (Francisco), the brother of the preceding. History. 1608-1632. Salvestrini (Bartolomeo). Italian. Florence. Scholar of G. Bilivert. History. D. 1630. Salvetti (Francesco), Italian. Flor- ence. Scholar of D. Gabbiani. His- tory. 1 8th century. SALVI (Giovanni Battista), called 11 Sassoferrato, from the place of his birth, an eminent Italian painter, whose life is little known ; he held the same rank in the Roman school as Carlo Dole! did in the Florentine, and delighted in painting heads and busts of Virgins, or female saints, with a sweet expression of devotedness and humility. 1605-1685. SAL VI ATI (Francesco Rossi, called II), an eminent Florentine painter, born in 1510, studied under Andrea del Sarto and Baccio Bandi- nelli. History, religious and fabidous. 1510-1563. Salvioni (Rosalba Maria), a Roman paintress. Scholar of S. Conca. Por- traits. 1658-1708. Salvucci (Mateo), Italian. Perugia. History. 1 570-1 628. Sam (Engel), Dutch. Portraits. Familiar subjects. 1 699-1 769. Samacchini (Orazio), Italian. Bo- logna. History in the style of Cor- reggio. 1532-1577* Sameling (Benjamin), Flemish. Scholar of Fr. Floris. History. Por- traits. 1520-1571. Samengo (Ambrogio), Italian, Genoa. Landscapes, 17th century. Sammartino (Marco), Italian. Rimini. Landscapes, with figures. His- tory. 17 th century. San-Antonio (Fray Bartolome de), Spanish monk. History. 1 708-1 782. Sanchez (Alonzo), Spanish. His- tory. About 1 508. Sanchez (Clemente), Spanish. His- tory. About 1620. Sanchez-Cotan (Fray Juan), Span- ish. Still-life. Madonnas with flowers. 1 561-1627. Sandrart (Joachim de), German. Scholar of G. Honthorst. History. Portraits. 1606-1688. Sandrino (Tommaso), Italian. Brescia. History. 1575-1630. Sandro (Jacopo de), Italian. Flor- ence. An assistant of M. A. Buonar- roti. 1 6th century. Sanfelice (Ferdinando), Italian. Naples. Scholar of Solimena. His- tory. Landscape. Perspective. Fruit. Flowers. 1 67 5- 17 59. Sangallo (Bastiano da), Italian. Florence. Scholar of Perugino and Buonarroti. History. Perspective. D. 1551- San Gimignano (Vincenzio di), Italian. Rome. History. Imitator of Raffaelle. D. about 1527. San Giorgio (Eusebio di), Italian. Perugia. Imitator of Perugino. His- tory. 1478-1550. San Giovanni (Oliviero da), Italian. Ferrara. Madonnas. About 1450. Santa-Croce (Francesco Rizzo da), Italian. Bergamo. Religious subjects. About 1520. Santa-Croce (Pietro Paolo), Ita- lian. Padua. Madonnas. Holy Families. About 1591. Santafede (Francesco), Italian. Naples. Scholar of A. Sabbatini. History. 1 6th century. 1 Santafede (Fabrizio), the son of 196 The Picture AmateuPs Handbook. the preceding. Scholar of Fr. Curia. History. 1 5 60- 1634. Santagostino (Giac. Antonio), Italian. Milan. Scholar of the Pro- caccini. History. 1588-1648. Santalli (Felice), Italian. Rome. History. 17 th century. Santarelli (Gaetano), Italian. Pes- cia. Scholar of O. Dandini. i8th cen- tury. SANTERRE (Jean Baptiste), an eminent French painter, born in 1651. Studied under Bon Boullogne ; he painted women and young girls with success in portraits and domestic sub- jects; also several historical works. D. 1717. Santi (Antonio), Italian. Rimini. Scholar of C. Cignani. History. D. 1700. Santi (Bartolomeo), Italian. Lucca. Scholar of P. da Cortona. Orna 7 nen- tal pej'spective. i8th century. Santi (Domenico), called II Meji- gazzino. Scholar of A. Metelli. Ar- chitecture. Perspective. 1621-1694. Santi (Giovanni), Italian. Urbino. The father of Raffaelle. Madojinas. Poi'traits. 15th century. Santiago- Polmares (Don Fran- cisco Xavier de), Spanish. Land- scapes. Portraits. 1728-1796. Santini (the elder and the younger), father and son. Italian. Arezzo. History. 17 th century. Santissimo - Sacramento (Fray Tuan del), a Spanish monk. History. 1611-1680. Santo-Domingo (Fray Vincente de), a Spanish monk. History. D. about 1550. Santos (Juan), Spanish. History. About 1662. Santvoort ( ), Dutch. Fami- liar subjects. 17th century. Sarabia (Josede), Spanish. Scho- lar of Zurbaran. History. 1608- 1669. Saracino (Carlo), Italian. Venice. History in the style of Caravaggio. 1585-1625. Sarti (Antonio), Italian. Rome. History. About 1600. Sarti (Ercole), called II Muto di Ficarolo. Italian. Ferrara. History. Portr'aits. 1593-1650. SARTO (Andrea Vannucci del) an illustrious Italian painter, born at Florence 1488, derived his surname from the occupation of his father, mLo was a tailor. He studied first under Giovanni Barile, an engraver and painter of little note, and afterwarc^s under Pietro di Cosimo. But he de- rived more advantage from studying the works of Masaccio, Ghirlandajo, and Leonardo da Vinci, particularly the latter, than from his instructors. He executed many works both in oil and fresco for the churches, convents and palaces of Florence, so that his reputation was daily advanced ; the noble picture which he executed for the Carmelites, ‘ The Preaching of St. John,’ raised it to the highest pitch. Notwithstanding his employ- ment in his native city, he could not resist the impulse to see the works of Raffaelle at Rome, whither he went. Soon after, he was invited by Francis I. to Paris, and received with the most flattering distinction. The first piece on which he was em- ployed was a portrait of the Dauphin, and afterwards he painted an admi- rable picture of ‘ Charity,’ both now in the Louvre. Amidst this flow of good fortune, he was employed by the queen-mother to paint a picture of St. Jerome, but before it was finished he received letters from his wife, soli- citing his return to Florence : upon which, to indulge his desire, he re- quested a few months’ absence, pro- mising to return with his family, and settle in France. The king confided in his integrity, and not only made him several presents, but intrusted him with a large sum to purchase statues, paintings, and other objects of art. Andrea, however, soon forgot his engagements, and violated every Dictionary of Painter's. 197 tie of honour after he arrived at Flor- ence, by squandering away the king’s money. At last he sank into poverty by his prodigality, and after suffering a variety of difficulties and distresses, died of the plague in 1530. The works of Andrea del Sarto abound in the public edifices of Florence, and are seen there in their proper light. Vasari says with justice that he was the most faultless painter of the Flor- entine school. He perfectly under- stood the principles of chiaro-oscuro, representing the indistinctness of ob- jects in shadow, and painting with a sweetness truly natural. His outline is always chaste and noble ; his co- louring full of harmony and force ; his carnations beautiful ; his draperies easy and graceful. That he attained the highest rank in painting has been denied by some critics. But as Lanzi remarks, ‘ conceptions of graceful countenances, whose smiles remind us of the simplicity and grace of Cor- reggio ; appropriate architecture, dra- peries adapted to every condition, and cast with ease ; popular expres- sions of curiosity, of astonishment, of confidence, of compassion, and of joy, never transgressing the bounds of decorum, understood at first sight and greatly affecting the mind without agitating it, are charms that are more readily felt than expressed.’ Genuine works by Andrea del Sarto are almost never in the market, where they al- ways command immense prices. He has been largely copied and imitated, especially by Giuseppe Badaracco, Simone Balli, Lodovico Buti, Jacopo Carucci, Domenico Conti, Felice Fi~ cherelli, yacone, Nannoccio, Pelle- grino Biota, Domenico Pidigo, and Andrea Sguazzella. Sartorius (Fran9ois), French. Horses. Dogs. Sporting pieces. D. in London about 1806. Sarzetti (Angiolo), Italian. Ri- mini. Scholar of C. Cignani. His- tory. 17th century. Sassi (Cav. Giov. Battista). Ita- lian. Milan. Scholar of Solimena. History. 17th century. Sassoferrato (II). See Sahn. Sauerveld (Alexander), German. Battle pieces. 1 782-1 844. Sauvage (J. P.), French, Bas- reliefs in chiaro-oscuro. 1 744-18 18. Savery (James), Flemish. Land- scapes 'itnth cattle. 1 545-1 602. SAVERY (Roland), the son of the preceding, and probably his scholar, travelled in France and Italy, where he improved his style. He painted landscapes with figures and animals. His easel pictures are the best, and in neatness of touch are accounted little inferior to those of Paul Bril or Breu- ghel. 1576-1639. Savery (John), the nephew of the preceding and his imitator. Land- scapes. 1597-1655. Savoldo (Girolamo), Italian. Bres- cia. Probably a scholar of Titian. Histo 7 'y. About 1540. Savolini (Cristoforo), Italian. Ce- sena. History, in the style of Guer- cino. About 1678. Savonanzi (Emilio), Italian. Bo- logna. Htstory, in the style of Guido. 1 580- 1 660. Savorelli (Sebastiano), Italian. Forli. Scholar of C. Cignani. His- tory. 17th century. Savoye (Charles van), Flemish. Fabulous history (chiefly subjects from Ovid). 1619-1669. Savoye (Daniel), French. Scholar of S. Bourdon. Portraits. 1644- 1716. Sbarbi (Antonio), Italian. Cre- mona. History. Anhnals. About 1725- Scacciani (Camillo), Italian. Pe- saro. Llistory in the style of the Caracci. 1 8th century. Scacciati (Andrea), Italian, Flor- ence. Fruit. Flowers. 1642- 1704. Scaglia (Girolamo), called LI Par- niiggianino. Italian. Lucca. Llis- torv. 17th centuiy. 198 The Picture Amateur's Handbook. Scaigrio (Antonio), Italian. Bas* sano. History. D. 1640. Scalabrini (Marc’ Antonio), Italian. Verona. History. About 1565. Scalabrino (Lo), Italian. Siena. Grotesque subjects. i6th century; Scalberge (Peter), Flemish. Land- scapes. 17 th century. Scaligero (Bartolomeo), Italian. Venice. Scholar of Padovanino. History. Amorini. 17th century. Scaligero (Lucia), Italian. Venice. Portraits. 1637-1700. Scalvati (Antonio), Italian. Bo- logna. Scholar of T. Lauretti. Por- traits. History. 1559-1622. Scaminossi (Raffaelle), Italian. Borgo San Sepolcro. History. About 1600. Scannavini, or Scannavesi (Mau- relio), Italian. Ferrara. Scholar of C. Cignani. History. D. 1698. Scaramuccia (Giovanni Antonio), Italian. Perugia. Scholar of Cav. Roncalli. History. 1580-1650. Scaramuccia (Luigi), called II Perugino^ the son of the preceding. Scholar of Guido and Guercino. His- tory. D. 1680. Scarpaccia (Vittore), Italian. Venice. History. Poitraits. 1410-1469. Scarsella (Sigismondo), called II Mondino. Italian. Ferrara. Scholar of Veronese. History. D. 1614. Scarsella (Ippolito), the son of the preceding. History in the Paolesque style. D. about 1621. Schadow (Fred. William von), German. Scholar of Overbeck. History. 1 789-1862. Schaffner (Martin), German. His- tory. Portraits. About 1510. Schagen (Giles van), Dutch. Scholar of Van Ravesteyn and P. Verbeck. Interiors in the style of Ostade. Portraits. Copies after the Italian and Flemish masters. 1616- 1668. Schalch (John Jacob), German. Landscapes with cattle and figures. 1723-1770. Schalcke ( ), Dutch. Land- scapes. River scenes. 17 th century. SCHALCKEN (Godfrey), an eminent Dutch painter, born at Dort in 1643, studied under Solomon van Hoogstraten and Gerard Douw. At first he confined himself to small cabinet pictures^ chiefly represented by candlelight ; but afterwards he was equally successful as a porU'ait painter in small size. His chief merits consist in the neatness and spirit of his touch, the delicacy of his finishing, and a perfect intelli- gence of the chiaro-oscuro as it relates to objects under the influence of a fixed and local light. His works, however, are often defective in de- sign and expression. D. 1706. Imitators and copyists : — ^Justus van Bentum, Arnold Boonen, R. Moris, Gerard Jan Palthe, Robert Tourttier, Anselm Weeling. SCHEFFER (Ary), an eminent painter of the French school, born in Holland, from a Flemish father, in 1795, studied at Paris under Baron Guerin. His first picture, ‘ Abel singing a Hymn of Praise,’ was ex- hibited in 1812, and raised high ex- pectations of his future career ; he continued the laborious and energetic study of art, and showed a steady progress until 1822, when his painting of ‘ Francesca da Rimini ’ gained him universal applause and was even said to mark an epoch in French art, when the painters of that country abandoned the classical teachings and traditions of David, and sought their inspiration more directly from nature. This w’as followed by his ‘ Suliot Women’ and ‘Gaston de Foix,’ which were equally successful. His- tory, sacred and pj'ofane, poetry, and genre subjects, portraiture, were alike practised by Scheffer, and in each class he left works amongst the most popu- lar produced in this century, that, through their general diffusion by the art of engraving, are perhaps the mobt Dictionary of Painters. 99 widely circulated examples of modern art. ‘Christus Consolator/ ‘Christ and the Two Maz-ys,’ ‘ Christ Blessing Little Children,’ ‘ Mignon ’ and ‘ Margaret,’ from Goethe, ‘ Beatrice,’ from Dante, the ‘ King of Thule,’ from Schiller, ‘ St. Augustine and his Mother,’ are the best known of his pictures. A head of Charles Dickens, exhibited at the Royal Academy in 1856, is a striking in- stance of his skill in portraiture. D. 1858. His works have been largely copied and imitated. S c h e i t z (Matthew), German. Scholar and imitator of P. Wouwer- man. About 1646. Schellinks (William), Dutch. Scholar of Lingelbach. Landscapes and seaports with figures and animals., correctly drawn and tastefully com- posed. 1632-1678. Schellinks (Daniel), brother of the preceding, and his imitator. Land- scapes. Seaports. D. 1701. Scheltema (Taco), Dutch. Por- tiaits in the style of Vandyck. B. 1760. Schendel (Bernard), Dutch. Scho- lar of H. Moinmers. Conversations. Merry-makmgs. Markets. 1634-1693. Schiantischi (Domenico), Italian. Borgo San Sepolcro. Scholar of Bibiena. Architecture. Perspective. 1 8th century. SCHIAVONE (Andrea), called ALedula, an eminent Venetian painter, born in 1522, studied under Titian, and painted history in competition with Tintoretto. His best works, with the single exception of correctness of design, possess almost every other excellence of the art. His compo- sitions are copious and agreeable, his attitudes graceful and elegant, re- sembling those of Parmiggiano, whose works he studied ; his draperies are cast with judgment and taste ; the heads of his females are beautiful, and those of his old men dignified and expressive ; his colouring had much of the glow of Titian, with the sweetness of Andrea del Sarto. D. 1582. SCHIAVONE (Gregorio), Italian. Padua. Scholar of Squarcione. LListory with fruit and floivers. About 1480. Schiavone (Luca), Italian. Milan. Pictorial embroidery . About 1450. Schiavoni (Natale), Italian. Chiozza. LListory. About 1790. Schick (Gottlieb), German. Scho- lar of Louis David. LListory. 1779- 1818. Schidone (Bartolomeo), Italian. Modena. Scholar of the Caracci. LListory. 1560-about 1615. Schinkel (Karl Friedrich), Ger- man. LListory. 1781-1841. Schmidt (Isaac), Dutch. Scholar of J. van Huysum. Landscapes 1740-1818. Schmutz (Johann Rudolf), Swiss Scholar of M. Fuessli. LListory. Portraits. 1 670- 1 7 1 5 . Schnebbelie (Jacob), Swiss. Landscapes. Died in England, 1792. Schnorr von Carolsfeld (Johann), called LLans Veit. German. Liis- tory. Portraits. 1 7 64- 1842. SCHOEN, orSCHONGAUER (Martin), an old German master, born probably at Colmar, aba'?' 1420, was one of the earliest, if noi I the vei-y first German artist, who en- I graved on copper plates, and carried I the mechanical part of the art to an I astonishing degree of perfection. ! With regard to his paintings there is ! much uncertainty. There are works ! attributed to him in various galleries, ! but connoisseurs are divided as to the I authenticity of several. There are two, doubtless genuine, in the Church of the Hospital at Colmar, represent- ing the ‘ Nativity ’ and the ‘ Adoration of the Magi,’ and another called the ‘ Virgin in the Rosebush,’ in the ca- thedral of the same city. In the lat- ter, his most celebrated work, the figures are on a gold ground, of life 200 The PictiLve Amateur's Handbook. size, and the colours so blended that the touch of the pencil is impercep- tible. Schoenfeld (John Henry), German. History. Portraits. Landscapes. 1609-1675. Schoenmacker (John Peter), Dutch. Views of cities, in the manner of Van der Heyden. 1755-1842. Schoevardts (M.), Dutch. Vil- lage festivals. B. about 1667. Schoonjans (Anthony), Flemish. Scholar of Er. Quellinus. History. Portraits. 1 650- 1726. SCHOOR (Nicholas van), Fle- mish. Nymphs, genii, and ehildren sporting, mostly in the landscapes of Rysbraeck, and the flower pieces of N. Morell. 1666-1726. Schooten (George vanl, Dutch. Scholar of C. vander Maas. History, Portraits. 1587-1658. Schorel, or Schoorel (John), Dutch. History. Portraits. 1495- 1562. Schorn (Charles), German. Scholar of Cornelius, Gros, and Ingres. His- tory. Portraits. 1803-1850. Schotel (John Christian), Dutch. Scholar of M. Schouman. Marines. 1787-1838. Schouman (Artus), Dutch. Scholar of A. vander Burg. Fabuloics history. Landscapes. 1 7 1 0- 1 7 9 2. Schouman (Martin), Dutch. Land- seapes. Marines. River views. 1 8th century. Schroeter (Fred. Charles Constan- tine), German. Familiar scenes. 1794-1835. Schuppen (Peter van), Flemish. Scholar of Largilliere. History. Por- traits. 1673-1751. Schurmans (Anna Maria), Dutch. History. Port r a its. 1 607 - 1 6 7 8 . Schut (Cornelius), Flemish. Scholar of Rubens. History. 1600-1660. Schut (Cornelius), the younger, the nephew of the preceding. Imitator of Murillo. D. in Spain 1675. Schutz (Christian George), Ger- man. Landscapes. Views on the Rhine. B. about 1730. Schuur (Theod. van der), Dutch. Scholar of S. Bourdon. History. 1628-1705. Schwartz (Christopher), German. Scholar of Titian. History. 1550- 1594 - Schwartz (Johann), Dutch. Land- scapes, with figures and animals. History. 1480- 1541. Schwegman (Hendrik), Dutch. Scholar of P. Vanloo. Flowers. 1761-1816. Schweickhardt (Henry William), German. Landscapes. Winter pieces. 1746-1797. Schyndal, or Schendal (Bernard), Dutch. Scholar of H. Mommers. Assemblies of peasants, merry-makings, interiors of kitehens, in the style of J. Molinaer. 1 659-17 16. Sciacca (Tommaso), Italian. Maz- zara. History. 17 34- 1795. Scilla, or Silla (Agostino), Italian. Messina. Scholar of A. Ricci. His- tory. Landscapes. 1629- 1700. Scilla (Giacinto), the brother of the preceding. Scholar of A. Ricci. Land- scapes with animals. D. 17 1 1. Scilla (Saverio), the son of Agos- tino S. Landscapes. Animals, Fruit, Flowers. i8th century. Sciorina (Lorenzo della), Italian. Florence. Scholar of Bronzino. His- tory. About 1 568. Scipione (Jacopo), Italian. Ber- gamo. History. About 1520. Sclavo (Luca), Italian. Cremona. History. About 1460. Scolari (Giuseppe), Italian. Vi- cenza. History. i6th century. Scor (Giovanni Paolo), German. Landscapes with animals. 17th cen- tury. Scorza (Sinibaldo), Italian. Vol- taggio. Scholar of Gio. Bat. Paggi. Landscapes, with figures. B. 1589. SCOTT (Samuel), an eminent English painter, born in London about 1710, was one of the boon companions Dictionary of Painters. 201 of Hogarth. He drew well, and hii works were well coloured. He gained a great reputation for his sea and river pieces, and for his topographical views, filled with groups of figures well drawn and painted ; but his works are not much esteemed at the present day. D. 1772. Screta (Charles), German. His- tory. Allegories. Portraits. He had a remarkable talent of imitating the style of the great masters, espe- cially Guido, Murillo, Rubens, and Veronese. In portraiture he delighted to represent his sitters in imaginary characters, such as priestly garb, &c. 1604-1674. Scutellari (Andrea), Italian. Cre- mona. History. About 1588. Sebastiano (Lazzaro), Italian. Venice. Scholar of V. Carpaccio. History. i6th century. Sebastiano (Fra). See Piombo. Sebille (Gysbert), Dutch. History. 17 th century. Secano (Geronimo), Spanish. His- tory. 1638-1710. Seccante (Sebastiano), Italian. Udine. Scholar of P. Amalteo. His- tory. About 1621. Secchi (Gio. Battista), called II Caravaggio. Italian. Milan. His- tory, About 1619. Secchiari (Giulio), Italian. Mo- dena. Scholar of the Caracci. His- tory. D. 1631. Seen, or Seeuw (Martin de), Ger- man. Scholar of Fr. Floris. History. 1520-1574. Seddon (Thomas), English. Land- scapes. 1821-1856. Sedelmeyer (Jeremiah James), German, Miniature portraits. B. 1704. Segala (Giovanni), Italian. Ve- nice. Scholar of A. Zanchi. History. 1663-1720. SEGERS, or SEGHERS (Ge- rard), an eminent Pdemish painter, born at Antwerp in 1 589, studied suc- cessively under H. van Balen and A. Janssens, and at Rome, under B. Man- fredi, a disciple of M. A. da Cara- vaggio. To the striking opposition of light and shadow, and the broad opposition of the latter, he added the rich colouring of the Flemish School. He resided for some time at Madrid, where he executed a number of his- torical works, musical canver sat ions, and other subjects. On returning to Antwerp, he found that the style of Caravaggio was not favourably re- ceived by the public, accustomed as it was to the clear and brilliant colour- ing of Rubens and Vandyck, and im- mediately, with a singular flexibility of powers, he changed his manner, and adopted the brightest Flemish hues. Amongst his most celebrated works are the famous ‘ Elevation of the Cross,’ in the Church of the Jesviits at Antwerp, and ‘ The Adoration of the Magi,’ in the cathedral. He painted also musical parties, soldiers playing at cards, &c. D. 1651. SEGERS, or SEGHERS (Da- niel), the brother of the preceding, was also an eminent painter, born at Antwerp in 1 590. Having a passion for depicting flowers, he was placed under the instruction of John Breu- ghel, at that time famous for his flower pieces, but afterwards more distin- guished for his landscapes. At the age of sixteen he u'as persuaded to join the Society of the Je.suits ; but his superiors, alive to their interest, permitted him to visit Rome, in order to improve his talents. He painted fiower pieces, elegantly and tastefully composed, and executed with admir- able brilliancy and variety. His usual manner of disposing his subjects was in garlands or festoons, round elegant vases of marble, on which M'ere often i-epresented historical subjects by the most distinguished masters. His masterpiece is in the Church of the Jesuits of Antwerp ; it represents a garland of flowers, in the centre of which is a picture of the Virgin and 202 The Picture Amateur's Handbook. Child by Rubens. D. 1660. His works are much esteemed, and have been extensively copied and imitated, especially and successfully by John Philip van Thielen and his three daughters. Segers, or Zegers ( ), Dutch. Landscapes and cattle, in the style of P. Potter. 1625-1679. Segovia (Juan de), Spanish. Ma- rines, About 1650. Segura (Antonio de), Spanish. History. Copies after Titian. D. 1605. Seibold (Christian), German. Por- traits. 1697-1768. Sellitto (Carlo), Italian. Naples. Scholar of the Caracci. History. 17 th century. Sementi (Giov. Giac.), Italian. Bologna. Scholar of G. Reni. His- tory. 1580-1638. Semini (Antonio), Italian. Genoa. History, in the style of Perugino, U85-1549. Semini (Andrea), the son of the preceding. Scholar of P. del Vaga. History. 1 5 1 o- 1 5 7 8. Semini (Ottavio), the brother of the preceding. Scholar of P. del Vaga. History. 1 5 1 5-1 604. Semini (Michele), Italian. Rome. Scholar of C. Maratti. History. 17th century. Semitecolo (Niccolo), Italian. Ve- nice. Religious subjects. About 1367. Senave (Jacob Albert), Flemish. Scholar of Suvee. Village festivals. 1758-1829. Sepulveda (Mateo Nunez), Spa- nish. History. 17 th century. Sequeira (Domingo Antonio de), Portuguese. Scholar of A. Caval- lucci. History. B. 1768. Serafin (Pedro), called II Griego. Spanish. History, 1 6th century. Serafini (Serafinode’), da Modena. Religious subjects. About 1385. Serano (II). See Gio. Bat. Crespi. Serenari (Abate Gaspero), Italian. Palermo. History. i8th century. Serin (N.), Dutch. Scholar of Fr. Quellinus. History. 17th century. Serin (John), tire son of the pre- ceding. Portraits. B. 1678. Sermei (Cav. Cesare), Italian. Or- vieto. History. 1 5 1 6-1 600. Serodine (Giovanni), Italian. As- cona. Scholar of M. A. da Caravaggio. History. 17 th century, Serra(Cristoforo), Italian. Cesena. Scholar of Guercino. History, About 1650, Serra (Miguel), Spanish. History. D. at Paris 1728. Serres (Dominique), French. Ma- rines. Landscapes. Naval engage- ments. D. in London 1793. Servandoni (Cav. Giov, Girolamo), Italian, Florence. Scholar of Pni- nini. Perspective. Architecture. D. at Paris 1766, Servi (Constantino de’), Italian. Florence. Scholar of Santo di Titi. Portraits. 1 5 54- 1 622 . Sesto (Cesare da), called Mila- nese, Italian. Milan. Scholar of Leon, da Vinci. History. About 1480-1524. Setti (Ercole), Italian. Modena. History. About 1580. Seve (Gilbert de), French. His- tory. Allegories. Portraits. 1615- 1698, Sevilla (Romero y Escalante, Juan de), Spanish. History, in the style of Rubens. 1627-1695. Sevin (Pierre), French. Portraits. About 1689, Seymour (James), English. Ani- mals, especially horses. 1702-1752, Sguazzella, Lo (Andrea), Italian. Citta di Gastello. Scholar of A. del Sarto. History. About 1550. Shaw (James), English, Scholar of Edward Penny. Portraits. D. 1784. Shaw (James, R.A.), English. Horses. D. 1772. Shaw (Joshua), English. Copies after Berghem, Both, and Cuyp. B. about 1776. Dictio7mry of Painters. 203 S H E E (Sir Martin Archer, P. R.A.), an eminent British portrait painter, born at Dublin in 1 769, studied under West, and afterwards at the Royal Academy. In 1799 he was elected an Associate, and in 1800 an Academician. He soon attained great distinction, and at the death of Law- rence, he was elected President of the Academy, on which occasion he re- ceived the customary honour of knight- hood. He painted the gentlemen of his age, while Lawrence painted the ladies. D. 1850. Siciolante (Girolamo), Italian. Sermoneta. Scholar of P. del Vaga. History. D. about 1580. Siena (Ansano, or Sano da), an early Italian master. Religious sub- jects. About 1445. Siena (Baldassare da). See Pe- ruzzi. Siena (Duccio da). See Duccio. Siena (Francesco), called also Sie- nese, an early Italian master. Reli- gious subjects. About 1370. Siena (Francesco Antonio da), Italian. Siena. History, in the style ofBaroccio. 17th century. Siena (Francesco di Giorgio da), Italian. Siena. Scholar of B. Pe- ruzzi. Grotesque subjects. 1 6th cen- tury. Siena (Giovanni di Paolo), Italian. Pienza. History. About 1450. Siena (Guido da), an early Italian master. Religiotcs subjects. About 1220. Siena (Marco da). See Pino. Siena (Matteo di Giovanni da), Italian. Siena. History. Painted from 1462 to 1491. Siena (Matteo da), called Matteino. Italian. Siena. Landscapes. Per- spectives. 1533-1588. Siena (Maestro Mino da), called Minuccio, an early Italian master. Religious subjects. About 1 289. Siena (Michael Angelo da). See Anselmi. Siena, Segna, or Buoninsegna, an early Italian master. Religious subjects. About 1305. Siena (Ugolino), an early Italian master. Religious subjects. 1 ). 1339. Siena (Simone da). See Simone Me mini. Sierra (Francisco Perez), Italian. Naples. Scholar of Falcone. Battles. Landscapes. History. 1627- 1709. SIGALON (Xavier), an eminent French painter, born in 1790, studied under Guerin, and painted several historical works and portraits of con- siderable merit. D. 1837. Sigismondi (Pietro), Italian. Lucca. Scholar of P. da Cortona. History. 17th century. SIGNORELLI (Luca), an emi- nent Italian painter, born at Cortona in 1439, studied under Pietro della Frane-esca, and was one of the first Tuscan masters who designed the human figure with a true knowledge of anatomy. Michael Angelo Buo- narroti did not disdain to imitate some of his naked figures in the ‘ Last Judgment.’ D. 1521. Signorelli (Francesco), the nephew of the preceding. History. About 1520. Signorini (Guido), Italian. Bo- logna. Scholar of Guido. History. D. about 1650. Signorini (Guido), Italian. Bo- logna. Scholar of C. Cignani. 17 th century. Silo (Adam), Dutch. Marines. 1670-1760. Silvestre (Louis), French. Scholar of Le Brun and Bon Boullogne. Landscapes. Portraits. D. 1728. Silvestre. There are several in- different French artists of that name in the 17 th and i8th century. Silvestro, an early Florentine mas- ter. Scholar of Taddeo Gaddi. Miniatures. D. about 1350. Silvio (Giovanni), Italian. Venice. Probably a scholar of Titian. His- tory. Portraits. i6th century. Simmons (John), English. Por- traits. 1715-1780. 204 The Picture Amaieurs Handbook. Simone (Maestro), an early Bolog- nese master. Probably a scholar of Giotto. Religious subjects. About 1325. Simone (Francesco di), the son and scholar of the preceding. Ma- donnas. About 1 340. Simonelli (Giuseppe), Italian. Naples. Scholar of L. Giordano. H istory. 1 649- 1 7 1 3 . Simonetti (Domenico), Italian. Ancona. History. i8th century. Simon ini (Francesco), Italian. Parma. Scholar of T. Spolverini. Battles. Banditti. 1 689-1 7 53. Simpson (John), English. Por- traits. 1782-1847. Simpson (William, R. S. A.), British. Portraits. History. 1800-1847. Singh er (John), German. Land- scapes with Jigu 7 'es. D. at Antwerp, 1558; Singleton (Henry), English. Miiiiatures. History., fabtdous and poetical. Faitcy subjects. 1766-1839. Sinjeur (Govert), Dutch. Imitator of P. Wouw'^erman. 17th century. Sirani (Giov. Andrea), Italian. Bologna. Scholar of Guido. History. 1610-1670. Sirani (Elizabetta), the daughter of the preceding. History, in the style of Guido, also small pictures on copper. D. 1664. Sirani (Anna and Barbara), the sisters of the preceding, her scholars and imitators. 17th century. Sides (Violante Beatrice), a Flo- rentine paintress. Scholar of Gio- vanna Fratellini. Po 7 p-aits. Flowe 7 's a 7 id fruit. History. 1710-1770. Slabbaert (Karl), Dutch. Inte 7 'iors and fa 7 }iiliar subjects. About 1 640. SLINGELANDT (Peter van), an eminent Dutch painter, born at Leyden in 1640, studied under Gerard Douw. His pictures are delicate and finished, though they are sometimes deficient in the characteristic expres- sion, correctness of design, and magical effects of chiaro-oscuro of the school he belonged to. Probably he is innocent of many ugly performances ascribed to him. lnte 7 'iors. Scenes of Dutch life. 1 640- 1 69 1 . SLUYS (Jacob vander), Dutch. Scholar of Ary de Voys and Slinge- landt. Conversatio 7 is a 7 td assemblies. D. 1736. Smees (John), Dutch. La 7 idscapes in the manner of J. Both. D. about 1729 - smirk E (Robert, R. A. ), an eminent English historical painter, born in 1752, was a student at the Royal Academy, but did not exhibit before 1786. His merits were soon acknowle'^ged, and he was elected a member of that institution in 1792. His favourite subjects are from Scrip- ture, English history and poets, ‘ Don Quixote’ and the ‘Arabian Nights.’ He was more successful in his cabinet pictures than in those of large size. His works are correctly designed, his figures arranged with judgment and skill, and he gave to his countenances an admirable and appropriate expres- sion. In comic subjects he is full of humour, and always of good taste. His colouring is pleasing, his chiaro- oscuro excellent. D. 1845. Smit (Andrew), Dutch. Marines. About 1650. Smit (Arnold), Dutch. Landscapes. Marines, in the manner of Backhuy- sen. 17th century. Smith (Francis), English. Land- scapes. About 1775. SMITH (William, George, and John), three English painters, born at Chichester, where they resided, and hence called the S 77 iiths of Chichester. William was born in 1 707, George in 1714, and John in 1717. William and John died in 1764, and George in 1776. It is not known that they had the advantage of any instructor in art, but they established a kind of domes- tic academy, and by a diligent study of nature, acquired a high reputa- tion in the age in which they lived. William devoted his attention chiefly Dictionary of Painters. 205 to p 07 'traits, though he occasionally painted landscapes, floivei's, and fruit. George excelled in landscape painting, and reached an eminent rank in that department ; John also painted land- scapes with nearly equal success. Smits (Ludolf or Ludewick), called Hartcamp, Dutch. P'rait. Plowers. 1635-1675. Smitz (Caspar), called Magda- len. Flemish. Portraits. Fruit and flowers. Magdalens (there is always a thistle in the foreground). D. at Dublin in 1707. Smybert (John), British. Por- traits. D. at Boston 1751. SNAYERS (Peter), an eminent Flemish painter, born 1593, studied under H. van Balen, and painted excellent works in history, portraits, battles, huntings, and landscapes, with a rich, harmonious colouring, nearly approaching Rubens. D. 1662. Sneilincks (John), Flemish. His- tory. Battles and skir?nishes. 1544 - 1638. SNYDERS (Francis), an eminent Flemish painter, born in 1579, studied under H. van Balen, and confined him- self for some time to painting subjects of fruit, flowers, and still-life, in which he excelled ; but his genius led him soon to paint animals and Imntings, which he designed in a grand style, with surprising fire and spirit. Rubens was a great admirer of his talents, and often employed him to paint the ani- mals and fruits in his pictures, though he himself represented those objects in so admirable a manner. D. 1657. His works are highly valued. Imita- tors and copyists: — Bernae^ds, Jurian facobsz. Van Cuyck, Bernard Nicasius, and Paul de Vos, were the most suc- cessful; next come Van Boekel, Adrian van Utrecht, Francis Peter Verheyden, and C. Vouch. Soderini (Mauro"', Italian. Flo- rence. Scholar of G. dal Sole. His- tory. About 1710. Sodoma, II. See Razzi. Soens(Tohn), Dutch. Landscapes. 1553-1611. Soest, or Zoest (Gerard), German. Porti'aits in the style of Terburg and of Sir P. Lely. Died in London, 1681. Soggi (Niccolo), Italian. Florence. .Scholar of P. Perugino. History, 1474-1554. SOGLIANI (Giov. Antonio), Italian. Florence. Scholar of Lorenzo di Credi. History, in the style of Fra. Bartolomeo. 1481-1533. SOLARI (Andrea), called del Gobbo and Milanese. Italian. Milan. History. About 1530. Solario (Antonio), called Lo Zin- garo. Italian. Naples. History. 1382-1455. Soldi (Andrea), Italian. Florence. Po)'traits. Died in London about 1 766. Sole (Antonio dal), Italian. Bo- logna. Scholar of Albano. Land- scapes zvith figures. 1 606- 1 684. SOLE (Giovanni Giuseppe dal), the son of the preceding, raised also to considerable eminence, chiefly by studying and closely following the Venetian masters. History, with a 7 'chitectu 7 'e and landscapes. 1654- 1719. Solemacker (J. F.) Probably a German. Landscapes in the style of Berghem. 17th century. Soleri (Giorgio), Italian. Alex- andria. Portraits. History. D. 1587- Solfarolo (H.), German. Night scenes, fires, azid conflagrations. 1 7th century. Soli men a (Angelo), Italian. Naples. Scholar of Stanzioni. History. 17th century. SOLI MENA (Cav. Francesco), called I’Abati Ciccio, an eminent Italian painter, the son of the pre- ceding, was born at Nocera de’ Pagani, in 1657. He studied suc- cessively under his father, Francesco di Maria, and Giacomo de Po, and 206 The Picture Amateur's Handbook. next proceeded to Rome, where the works of P. da Cortona were for some time the models of his imitation. He painted with great success history, portraits, landscapes, animals, fruit, architecture, and as he lived to the age of ninety, and was endowed with great celerity of pencil, his works, like those of Giordano, are spread over all Europe. Died at Naples, 1747. Solis (Juan de), Spanish. Scholar of Alonzo Herrera. History. 17th century. Solis (Francesco de), the son of the preceding. History. 1629-1684. Solvyus (F rancis B althasar ) , Flemish. Marines. 1760-1824. Somers (Bernard and Paul), two brothers, Flemish. History. About 1610. Sommerau (Ludwig), German. Portraits. B. 1750. Son, or Zpon(Joris van), Flemish. Fruit. Flcmters. 1622-1676. Son, or Zoon (John van), the son of the preceding, whom he greatly sur- passed in similar subjects. Died in London, 1700. Sophonisba. See Angosciola. Soprani (Raffaelle), Italian. Genoa. Landscapes. Perspective. Archi- tecture. D. 1672. Sordo (Giovanni del), Italian. Pisa. History. About 1650. Sorgh, Zorg, or Zorgh. See Pokes. Soriani (Carlo), Italian. Pavia. History. About 1650. Soriani (Niccolo), Italian, Cre- mona. History. 15th century. Sorri (Pietro), Italian. Siena. Scholar of Passignano. History. 1556-1622. Soto (Juan de), Spanish. Scholar of Carducci, History. 1592-1620. Soto (Don Lorenzo de), Spanish. Scholar of Benito Manuel de Aguero. Landscapes with hermits. 1634- 1688. Sotomayor (Luis de), Spanish. History, 1635-1673. Soubeyran (Pierre), Swiss. Por- traits. 1708-1775. Soutman (Peter), Dutch. Scholar of Rubens. History. Portrait i. 1590-1650. Sozzi (Olivio), Ttalian. Catania. History. 17th century. Spada (Lionello), Italian. Bo- logna. Scholar of the Caracci. tory in SLgra,nd, noblestyle. 1576-1622. Spada (Veronica), an Italian paintress. Bologna. Fruit. Flowers. Birds. About 1650. Spadarino (Gio. Antonio), Italian. Rome. History. 1600-1648. SPAENDONCK (Gerard van), an eminent Dutch painter of fruit and flowers, born in 1746, painted also exquisite miniatures. Died at Paris, 1822. Spaggiari (Giovanni), Italian. Reggio. Perspective. Architecture. D. 1730. Spaggiari (Pellegrino), the son of the preceding, scholar of Fr. Gain, called Bibiena. Decorative pictures. D. 1746. Spagnoletto. See Ribera. SPAGNUOLO (Giovanni), called Lo Spagno. Spanish. Scholar of Pietro Perugino. History. Portraits. About 1500. Spagnuolo (II), See Giuseppe Crespi. Spalthof (N.), Dutch. Ltalian fairs. Markets. Carnivals. 1636- 1691. Speckter (Erwin), German. History in oil and fresco. 1806- 1835- Speers (M.), German. Scholar of Solimena. History. Allegory. 1700- 1762. Spelt (Adrian van der), Dutch. Flowers. 1630- 1674. Spencer (Jarvis), English. Minia- tures. D. 1763. Spera (Clemente), Italian. Milan. Landscapes. Architectural ruins. 1 8th century. Speranza (Giovanni), Italian. Dictionary of Painters. Vicenza. Scholar of A. Mantegna. History. About 1 500. Speranza (Giov. Battista), Italian. Rome. Scholar of F. Albano. History. 1610-1640. Sperling (John Christian), Ger- man. Portraits. History. Allegories. 1691-1746. Spey (Martin), Flemish. Portraits. Fruit. Flowers. Game. 1777 - 1815. Spezzini (Francesco), Italian. Genoa. History. About 1575. Spicer (Henry), . English. Por- traits in miniature. About 1744- 1804. Spierings (N.), Dutch. Land- scapes in the style of S. Rosa. 1633- 1691. Spiers (Albert van), Dutch. Al- legory. History. 1666-17 18. Spilberg (John), German. Scholar of Govaert Flinck. Portraits. Al- legory. History. 1619-1690. Spilberg (Adriana), the daughter of the preceding, and the wife of Eglon van der Neer. Portraits in oil and crayons. B. 1646. Spilimbergo (Irene di), a Venetian paintress. Scholar of Titian. Plis- tory. About 1550. Spilman (Henry), Dutch. Por- traits. Landscapes. About 1755. S p i n e d a (Ascanio), Italian. Trevigi. Scholar of Palma the younger. History. 1 588-1 648. Spinello ( Aretino), Italian. Arezzo. Portraits. Religious subjects. 1308- 1400. Spinello (Parri), the son of the preceding. Religious subjects. About 1380.^ . Spirito ( ), French. Portraits. 17th century. Spisano (Vincenzo), called Pisa- nelli, Italian. Orta. Scholar of D. Calvart. History. 1595-1662. Spoletti (Pietro Lorenzo), Italian. Genoa. Scholar of Beaumont. Llis- tory. 1680-1726. Spolverini (Ilario), Italian. Parma. 20 / Scholar of Fr. Monti. History. Battles and skirmishes. 1657-1734. Spoor (W. J. L.), Flemish. Copies after P. Potter. End of i8th century. Sprangher (Bartholomew), Flem- ish. Llistory in small size with numerous figures. 1546-1623. Sprong (Gerard), Dutch. Por- traits. 1 600-165 1. Spruyt (Peter), Flemish. History. Landscapes. 1 740 — about 1800. SQUARCIONE (Francesco), an eminent Italian master, born at Padua in 1394, founded the most celebrated Academy of his time. He travelled throughout Italy and Greece in order to form in his native place a Museum, which soon proved the richest of the period in designs, statues, torsos, bassi-relievi and other antiques, and there he opened a school which at one time was frequented by upwards of 130 students. Of his productions as a painter little remains. D. 1474. Staben (Henry), Flemish. Scholar of Tintoretto. Lnteriors with figures. 1578-1658. Staevaerts (Anthony Palamedes), Dutch. Portraits. Conversations. Card and musical parties. 1604- 1680. STAEVAERTS (Palamedes), the younger brother of the preceding and an eminent Dutch painter, studied under Esaias Vandevelde, adopted his clear and transparent colouring, and excelled in painting battles ana skir 7 nishes, attacks of robbers, phmder- ing of villages, &c. D. 1638. His works are esteemed. Stalbent (Adrian van), Flemish. Landscapes with figures, in the style of Velvet Breughel. 1580- 1660. Stampart (Francis), Flemish. Por- traits. 1675-1750. STANFIELD (William Clark- son, R.A.), an eminent British painter, born at Sunderland, of Irish parentage, in 1 794, was a self-taught artist. As a boy, he chose the marine service, went to sea and used to sketch ships and The Picture Amateur's Handbook. 2oS marine subjects. He afterwards was employed as a scene painter, and at the same time produced some small 7 )iarine views. In 1831 he exhibited at the Academy, and with such suc- cess that he was in the following year elected an associate. In 1836 he was a full member. He was a perfect master of his art, and his marines are ranked among the best productions of the English school. They are highly valued and command the highest prices. D. 1867. STANZIONI (Cav. Massimo), an eminent Italian painter, born at Naples in 1585, studied under Battista Caraccioli, a follower of An. Caracci, and afterwards under Belisario Co- renzio and Lanfranco. Having formed an intimacy with Guido Reni he be- came ambitious of imitating his colour- ing, in which he was so successful, that he obtained the appellation of the Guido di Napoli. History in oil and fresco. D. 1656. STARK (James), an eminent English painter, born at Norwich in 1794, studied under John Crome, and afterwards at the Royal Academy. His first picture, ‘ Boys Bathing,’ was exhibited in 1817 and attracted atten- tion. He painted landscapes., taking his subjects first from the river scenery of Norfolk, and later from the Thames. His art owed much to his master Crome, but it was original and purely English. D. 1859. Stamina (Gherardo), Italian. Florence. Scholar of Antonio Vene- ziano. History. 1354-1415. Starrenberg (John), Dutch. History. Allegories. About 1660. Staveren (John Adrian van), Dutch. Probably a scholar of G. Dow. His close imitator. About 1670. Stearee (G. or W.), a nephew of C. Poelemburg, followed his style. I 600-1648. STEEN (Jan), an eminent Dutch painter, born at Leyden in 1636, studied under Nicholas Knufer, at Utrecht, and afterwards most probably under John van Goyen, whose daughter he married. He painted usually merry-makings, the frolics and festivities of an alehouse, and occasionally in- teriors, domestic assemblies, familiar scenes, mountebanks, &c. His com- positions are always ingenious and interesting, his design correct, his colouring clear and chaste, his pencil free and decided. Although his works are very numerous (more than 300 are recorded by Smith), they are always finished with care. Kiigler remarks that they imply a free and cheerful view of common life, which he treats with a careless humour, such as seems to deal with all its daily occurrences, high and low, as a laugh- able masquerade and a mere scene of perverse absurdity. D. 1689. His works are highly valued ; they have been successfully imitated by Jacob Torenvliet and Franz Victoors. STEENWYCK (Henry), the elder, an eminent Flemish painter, born in 1550, studied under John de Vries, and excelled in painting in- teriors of churches and Gothic edifices, sometimes by torchlight. The figures inserted in the same were not unfre- quently by the hand of Franck. D, 1604. STEENWYCK (Henry), the younger, the son of the preceding, painted similar subjects, though usually on a larger scale. He sometimes painted the backgrounds of Vandyck’s pictures with ornamental architecture. B. 1589. Steenwyck (Nicholas), a Dutch painter, born in 1640, excelled in painting vases, musical instruments and other objects of still-life. Stefaneschi (Giovanni Battista), Italian. Florence. Scholar of P. da Cortona. Portraits. Copies after Raffaelle, Titian, Correggio and Andrea del Sarto. 1582-1651. Stefani (Tommaso de), an early Dictionary of Painters. 209 N eapolitan master. Religious subjects. About 1230-1310. Stefano ( ), called II Fioren- tino, the grandson and disciple of Giotto. Florence. Religious subjects. D. 1350. Stefano (Tommaso), called II Giottino, the son and scholar of the preceding. Religious subjects. 1324- 1356. Stefano (Niccolo di), Italian. Bel- luno. Probably a scholar of Titian. History. About 1530. Stefano (da Verona), Italian. Verona. Scholar of A. Gaddi. His- tory. 15th century. Stefanone (Maestro), Italian. Naples. Religious subjects. 1325- about 1390. Stella (Fermo), Italian. Milan. Scholar of G. Ferrari. History. i6th century. Stella (Francis), Flemish. His- tory. D. at Lyons, 1605. STELLA (Jacques), an eminent French painter, the son of the pre- ceding, born at Lyons 1596, studied under his father and afterwards tra- velled in Italy and Spain. Through the influence of Cardinal Richelieu he was in 1634 appointed painter to the King of France, and executed many historical works for public edifices and churches ; he succeeded best, however, in easel pictures, particularly those of Pastoral subjects. D. 1657. Stella (Frangois), the younger brother of the preceding, painted history without obtaining any great distinction. D. 1647. Stella (Antoine Bousonnet), a nephew of the preceding artists. History. 1630-1682. Stem (Ignazio), German. Scholar ofC.Cignani. History. Conversations. Fairs. Masquerades. 1698- 1746. Stevens ( ), Flemish. History. Landscapes. About 1 540. Stevens (Peter), Flemish. Por- traits. About 1650. Stevens (John), English. Pro- bably a scholar of Van Diest. Land- scapes. D. 1722. Stimmer (Tobias), Swiss. Liistory. Portr'aits. B. 1 534. Stoccade (Nicholas de Kelt). Dutch. Scholar of Ryckaert. Land- scapes. History. 16 14- 1669. Stock (Ignatius vander), Dutch. Landscapes. About 1640. Stoffe (J. V. D.), Dutch. Battles. Skirmishes. About 1650. Stolker (John), Dutch. Portraits. Family grotips. Familiar scenes. 1724- 1786. Stom, or Stoom (Matthew), Flemish. Landscapes. Battles. D. 1702. Stomme ( ), Dutch. Probably a scholar of D. de Heem. Still-life. 17 th century. STONE (Frank, A.R.A.), an emi- nent English painter in water-colours, practised at intervals oil painting, and sent, in 1837, his first easel picture to the Royal Academy Exhibition, ‘ The Legend of Montrose.’ Its success was so great that he gradually aban- doned water-colours painting, and was elected an Associate in 1851. His paintings of a sentimental cast, as the ‘Heart’s Misgivings,’ the ‘Bashful Lover,’ &c., are most popular. He also left several excellent studies of French peasantry. 1800-1859. STONE (Henry), called Old Stone., an English painter of eminence, son of the celebrated architect of the same name, studied probably under Michael Cross. He made many excellent copies from the portraits ofVandyck, and many portraits now to be found in various collections, attributed to Vandyck, are supposed to have been painted by him. He also copied the Italian masters with great success. D. 1653. Stoop (Peter), Dutch. Hunters. Sportsmen. Halts. Farr'lers' shops. In the style of Peter de Laer. About 1640. Storaii (Giovanni), Italian, Bologna. K 2 210 The Picttire Amateur's Handbook. Scholar of C. Baglioni. Landscapes. Fruit. Flowers. About 1600, STORCK, or Stork (Abraham), an eminent Dutch painter, born in 1 650, was probably a self-taught artist. He studied nature with great assiduity, and represented usually views on the Y or the Amstel, near Amsterdam, with a variety of shipping and boats, decorated with small figures ; also sea- ports, calms at sea with fishing smacks or storms. 1 650-1 708. Storck ( J.), probably a brother of the preceding, painted similar subjects. 1 7 th cent. Storer (John Christopher), Swiss. Scholar of E. Procaccini. History. 1611-1671. STOTHARD (Thomas, R.A.), an eminent English painter, born in London, 1755, was a self-taught artist, and had already designed with success for book illustration, when he entered the schools of the Royal Aca- demy in 1777. Commencing in 1778, his exhibited works were chiefly drawings ; after his election as an Associate in 1791, they were chiefly in oil ; but the latter are not equal to his drawings. They are crude and defective in tone. Female beauty and purity are conspicuous in his works, but wanting individuality, they are too much of the conventional type. He was elected an Academician in 1 794. D. 1834. Straaten (John Joseph Ignatius van), Dutch. Fruit, flowers, and still-life. 1766-1808. Strada, or Stradanus (John), Flemish. History. 1536-1605. Strada (Vespasiano), born at Rome of Spanish parents. History. B. 1591. Straeten (Henry vander), Dutch. Landscapes. In the style of Ruysdael and Hobbema. Died in London, 1 722. Straten (George van der), Flem- ish. Portraits. About 1556. Strauch (Lorenz), German. Por- traits. Architectural views, I 554 ~ 1636. Streater (Robert), English. His- tory. Portraits. Landscapes. Still-life, 1624-1680. Streek (Jurian van), Dutch. Musi- cal instruments. Books. Vases. Dead game. 1 632-1678. Streek (Henry van), the son of the preceding. Imitator of Em. de Wit. Interiors of churches or palaces. 1619-1713. Stresi (Pietro Martire), Italian, Milan. Scholar of G. P. Lomazzo. History. D. 1620. Stringa (Francesco), Italian. Mo- dena. Imitator of Guercino. History. 1635-1709. Stroifi (Don Ermanno), Italian, Pa- dua. Scholar of Titian. History. 1616-1693. Strozzi (Zanobi), Italian. Florence. Scholar of Fra Giovanni da Fiesole. Religious subjects. 141 2-1466. Strozzi, or Strozza (Bernardo) called II Cappuccino or II prete Geno- vese, Italian. Genoa. Scholar of P. Sorri. History. 1 581-1644. Strudel (Peter von), Italian. Venice. History. Died at Vienna, 1 7 1 7. Stry (Abraham van), Dutch. In- teriors, chiefly of shopkeepers. Portraits. 1753-1826. Stry (Jacob van), the brother of the preceding. A very successful imitator and copyist of the works of A. Cuyp and Hobbema, particularly the former. 1756-1815. Stuart (Gilbert Charles), British (born in Rhode Island, 1756). Por- traits. D. 1828. STUBBS (George, R.A.), an emi- nent English painter of animals, born at Liverpool in 1724, excelled especially in painting the horse. He was elected a member of the Royal Academy in 1781. D. 1806. Stuerbout. See Dirk van Haerlem. Sturmio (Hernando), Spanish. History. i6th century. Stuven (Ernest), German. Scholar and imitator of A. Mignon. Flowers. 1657-1712. Dictionary of Painters, 211 Suarez (Lorenzo), Spanish. His- tory. About 1 600. SUBLEYRAS (Pierre), an emi- nent French painter, born at Uzes in 1699, studied under Antoine Rivalz, at Toulouse, afterwards travelled in Italy, and settled at Rome, where he practised his art with considerable merit. D. in 1 749. Religions history. Subjects from La Fontaine. SUEUR (Eustache le), an emi- nent French painter, born at Paris, 1617, studied under Simon Vouet. Though he never visited Italy, he was an enthusiastic admirer of the works of Raffaelle, and may be accounted one of his followers. The simplicity and grandeur of his compositions, and the purity of his design, procured for him among his countrymen the ap- pellation of the ‘French Raffaelle.’ It must be allowed that no painter of his countiy, Nicholas Poussin ex- cepted, approached so nearly to the dignity of the Roman school. His taste of design, and the airs of his heads, are justly to be admired ; his colour- ing is tender, his attitudes noble, simple, and natural ; his expression great, and well adapted to his subject. But he knew little either of the chiaro- oscuro or of local colours ; his naked figures are sometimes faulty in the disposition, as well as in the action of the muscles, and his disposition of lights and shadows is far from judi- cious. Upon the whole he had an uncommon mixture of the elegances and defects of painting; he excelled in the most difficult parts of the art, and erred in those which are least important. His masterpiece is the ‘Life of St. Bruno,’ in twenty-two parts, now in the Louvre. D. 1655. Sunman (William), Dutch. Por- traits. D. in London about i 707 - Suppa (Andrea), Italian. Messina. Portraits. History. 1628-1671. Surchi (Giov. Francesco), Italian. Ferrara. Scholar of Dossi. History, D. 1590. SUSTERMANS, or SUB- TERMANS (Justus), Flemish. Scholar of Simon de Vos and F. Pourbus. History and portraits, in which he was considered, in his life- time, little inferior to Vandyck. 1597-1681. Suterman (Lambert), called Sua- vius. Flemish. History. i6th cen- tury. Suvee (Joseph Benoit), French. History. 1743-1807. Swagers (Francis), Dutch. Land- scapes. Marines. 1756-1836. Swaine (Francis), English. Ma- rines, in the style of W. Vandevelde- 1700-1780. SWANEVELT (Hermann), an eminent Dutch painter, born in 1620, studied under G. Dow, and afterwards went to Italy, where be became the pupil of Claude Lorraine, whose works he made his models. He approached him nearer than any other master, and was one of the most celebrated land- scape painters of his time. His pictures are usually enriched with the choicest relics of antiquity, as edifices, ruins, and monuments, and decorated with groups of figures and cattle. D. 1690. Swebach (James), called Desfon- taines, Flemish. Battles. Marches. Encampments. Huntings. 1 768- 1824. Sweerts (Michael), Dutch. Por- traits. About 1655. Switzer (Joseph), Swiss. Scholar of John van Achen. Histoy. Por- traits. 1570-1629. SYBRECHT (John), Flemish. Landscapes in the style of Berghem and Karel du Jardin. 1625-1703. SYDER (Daniel), called II Cav. Daniello, German. Scholar of C. Loti and C. Maratti. History, Por- traits. 1642-1705. 212 The Picture A^nateuTs Handbook. T Tacconi (Innocenzio), Italian. Bologna. Scholar of the Caracci. History. i6th century. Taffi, or Tafi (Andrea), an old Florentine master. Religious subjects. 1213-1294. Tagliasacchi (Gio. Battista), Ita- lian. Piacenza. History. D. 1737. Taillasson (Jean Joseph), French. Scholar of Vien. History. 1746- 1809. Talami (Orazio), Italian. Reggio. History, in the style of the Caracci. 1625-1705. Talpino (II). See Sahneggia. Tamburini (Gio. Maria), Italian. Bologna. Scholar of Guido. His- tory. About 1 640. Tancredi (Filippo), Italian. Mes- sina. Scholar of C. Maratti. His- tory. 1655-1725. Tantari (Valerio), Italian. Flo- rence. Scholar of C. Allori. His- tory. Portraits. 17th century. Tanzi (Antonio), Italian. Novara. History. 1 574-1 644. Tapia (Don Isidoro de), Spanish. History. 1720-1755. Taraboti (Catarina), a Venetian paintress. Scholar of Chiara Varatori. History. Portraits. i6th century. Taraschi (Giulio), Italian. Mo- dena. Scholar of Pellegrino da Mo- dena. History. About 1530. Taraval (Hughes), French. His- tory. 1728-1785 Taraval (Thomas Raphael), Swe- dish. Portraits. D. 1750. Tardieu (Jean Charles), called Cochin. French. History. Land- scapes. B. 1765. Taricco(Sebastiano), Italian. Che- rasco. History, in the style of Guido. 1645-1710. Tarillio (Giov. Battista), Italian. Milan. History. About 1575. Taruffi (Emilio), Italian. Bologna. Scholar of F. Albano. History. Land- scapes. 1633-1696. Tasca (Cristoforo), Italian. Ber- gamo. Llistory, in the style of C. Loti. 1667-1737. Tassart (Peter Joseph), Flemish. Portraits. B. 1736. TASSI (Agostino), Italian. Pe- rugia. Scholar of P. Brill. Sea views, ships, storms, pishing parties, perspective views. He was one of the masters of Cl. Lorraine. 1566- 1642. Tassone (Carlo), Italian. Cre- mona. Scholar of C. Natali. Por- traits. About 1 690. Tassoni (Giuseppe), Italian. Rome. Anwials. D. at Naples 1737. Taunay (Nic. Ant.), French. Scholar of Casanova. History. Land- scapes. Seaports. Pastoral and poeti- cal subjects, sentimental and humorous pieces. D. 1830. Tavarone (Lazzaro), Italian. Genoa. Scholar of L. Cambiaso. History. 15 56- 1641. Tavella (Carlo Antonio), Italian. Milan. Scholar of Peter Molyn. Lajtdscapes. 1668-1738. Tavernier (Fran9ois), French. History. 1659-1725. Taylor (Simon), English. Flowet's and plants onyelhxva. D. about 1794. Taylor (William Sarsfield), British. History. 1780-1850. Teissier (John George), Dutch. Portraits. Landscapes. 1750-1821. Tellier (Jean le), French. Scholar of Poussin. History. Portraits. 1614-1676. TEMPEL (Abraham van der), Dutch. Scholar of George van Schooten. Conversations. Porh’aits. He was the instructor of Fr. Mieris the elder. 1618-1672. Tempesta (II). See Peter Molyn the younger. Dictionary of Painters. 213 TEMPESTA (Antonio), an emi- nent Florentine painter, born in 1555, studied under Santo di Titi and Giovanni Strada. Fie was among the first to acquire a celebrated name in Italy for laridscapes and battles. He practised engraving, prepared cartoons for tapestry, and gave scope to his genius in the most fanciful inventions, in grotesque and ornamental work. D. 1630. Tempesti, or Tempestino (Do- menico), Italian. Florence. Scholar of Volterrano. Landscapes. B. 1652. Tempestino (II). Italian. Rome. An assistant of Peter Molyn. His- tory. Landscapes. About 1680. TENIERS (David), the elder, an eminent Flemish painter, born at Antwerp in 1582, studied under Rubens. For sometime he applied himself to historical painting, and visited Italy ; but his genius leading him rather to lafidscape^ he placed himself, at Rome, under the instruc- tion of Adam Hilzheimer, with whom he continued six years. Among the Italian masters, his favourite model was Bassano. He painted cabinet pichcres of rural sports, nieny-making, fairs, festivals, fortune-tellers, moun- tebanks, conversations, chemists' labora- tories, &c., with a design correct and tasteful, a clear and harmonious colouring, a light and delicate touch, and an excellent chiaro-oscuro. D. 1649. His works are esteemed, not so much, however, as they deserve. TENIERS (David), the younger, a celebrated Flemish painter, the son of the preceding, was born at Antwerp in 1610. He was instructed by his father, and most probably frequented the school of Rubens ; he is said also to have been the pupil of A. Brouwer, but he was more probably his fellow- student, as the latter was only tw^o years his senior. As a student, his faculty of imitating and copying the old masters was so extraordinary, that he was called the Proteus of painting ; | the powers of his pencil in this respect were incredible ; he knew how to adapt it to the style of every emi- nent painter, no matter how varied the touch and colouring, and he gave to these copies a strong character of originality. His talents had already excited universal admiration, when the Archduke Leopold, Governor of the Netherlands, appointed him his painter, made him a gentleman of the Bedchamber, presented him with a gold medal and chain, and gave him the direction of his gallery, with commission of copying in small the principal pictures of the same. These copies were afterwards engraved and published in a folio volume, known at present as the Teniers Gallery. He did not limit his mimic powers to merely copying, but painted posticci or compositions of his own, so exactly in the style of Rubens, Titian, Tinto- retto, Bassano, and other illustrious masters, that they have frequently been mistaken for original works by those masters. It was not, however, by his imitative faculties that he obtained his greatest celebrity. He was a constant and faithful observer of nature, and as an original painter, his favourite subjects were landscapes with small figures, village festivals, merry-makings, fairs and kermesses, shooting at butts, playing at boivls, and other village sports. He chiefly resided at his chateau of Perk, be- tween Antwerp and Mechlin, and his landscapes are usually copied from the country around him, which gives them an appearance of sameness and monotony, amply compensated, how- ever, by the truth and simplicity of these homely views. In his land- scapes, the trees are touched with spirit and taste, the skies light and floating, and there is a silvery colour- ing peculiar to himself. He is no less attractive in his interiors of farms or of alehouses, with peasants dan- cing, smoking, or drinking, in his 214 The Picture AmatetiTs Handbook. corps-de-garde and chemistd laborato- ries^ in which he surpassed Ostade in perspective and equalled him in the chiaro-oscuro. In all his works he shows a lively and fertile invention and great facility of execution. It was not unusual for him to paint a landscape in a single day, and he used jocosely to observe that to con* tain all the pictures he had painted, it would require a gallery two leagues long. D. 1690. The genuine works by Teniers are exceedingly numerous; Smith, in his catalogue, gives the figure of 900 ; but this must be far short of the real number, which amounts at least to the double. Besides, there are a multitude of tolerably good, but spurious works attributed to him ; and millions of equally spurious and hideous pictures, signed Te 7 iiers, are considered genuine by their possessors. Imitators and coypists : — the most suc- cessful were Theod. van Abshovejt, Nicholas van Kessel, and Jacob de Roore, the latter especially ; next come Francis du Chatel^ Anthony Goebouw, Matthew van Hetmont, H. van Hont, Arnold Maes, Theodore Michau, John Andreas Nothnagel, Martin Henry Rokes, Cornelius Saft- leven, Matthieu Scheitz, M. Schoe- vaerts, Abraham Teniers, John Thielens, Giles Tilburg the younger, and Peter Tillemans. Teniers (Abraham), the younger brother of the preceding. Painted Fle 77 iish festivals and conversations in his style, though not with equal ex- cellence. 1618-1691. TERBURG (Gerard), an emi- nent Dutch painter, was born at Zwoll in 1608. He was the son of a painter, who had spent some years at Rome, and gave him excellent princi- ples. Some writers suppose that he perfected himself with another master at Haerlem, but there is no proof of the fact. At all events he had already acquired considerable reputation when he travelled through Germany, Italy, and France. On his return to Hol- land he became one of the most popular painters of his time. He attended the Congress assembled at Munster in 1648 for the negotiation of peace, on which occasion he painted his celebrated picture representing the portraits of the plenipotentiaries assembled there, regarded as his masterpiece, and now in the National Gallery. He afterwards visited Madrid, where he was much employed, knighted, and presented by the King with a gold chain and medal. Finally, he settled at Deventer, where he died in 1681. His pictures generally represent conversations, 7 nusical par- ties, ladies at their toilet, &c. He particularly excelled in portraits. He finished his pictures highly, with a light and agreeable touch ; his colouring is lively and transparent, and he shows a pleasing and skilful management of his chiaro-oscuro ; but he wanted a better taste of de- sign. As he painted white satin per- fectly well, he generally introduced it in his compositions, and took care to dispose it in such places as caused it to receive the principal light. The works of Terburg are not numerous (no more than 100 are recorded), and always command very high prices. Imitators or copyists : — Renier de la Haye, Gabriel Metzu, Eglon van der Neer, John Ochterveldt, and John Tilius. Terenzi (Terenzio), called II Ron- doli 7 io. Italian. Urbino. Scholar of Baroccio. History. D. 1620. Terley (N. van), Dutch. Scholar of Rembrandt. Interiors. Portraits. 1636-1687. Termisano (Dezic), Italian. Na- ples. History. About I 597 * Terwesten (Augustine), Dutch. History, fabulous and sacred. 1649- 1711. Terwesten (Elias), the brother of the preceding. Fruit. Flowers. Still- life. 1651-1724. Dictionary of Painters. 215 Terwesten (Matthew), the brother of the two preceding artists. History. Portraits. 1670- 1 73 5 . Terzi (Cristoforo), Italian. Bo- logna. Scholar of Gius. Maria Crespi. History. 1692-1743. Terzi (Francesco), Italian. Ber- gamo. Scholar of Morani. History. 1520-1600, Tesauro (Filippo or Pippo), an early Neapolitan master. Religiotcs subjects. 1 260- 1 3 20. Tesauro (Bernardo), Italian. Na- ples. Scholar of S. Buono. Religious subjects. B. about 1440. Tesauro (Raimo Epiphano), the son of the preceding. History. About 1490. Tesi (Mauro), Italian. Modena. Architectural views. ' B. 1730- Tesio ( — ■ — ), Italian. Turin. Scholar of Beaumont. D. about 1800. Testa (Pietro), called II Lucchesino. Italian. Scholar of P. da Cortona. History. D. at Rome 1650. Testa (Giov. Cesare), the nephew of the preceding. History. 1630- 1655. Testelin (Louis), French. Scholar of Simon Vouet. History. Portraits. 1615-1655. Testelin (Henri), the brother of the preceding. History. Portraits. B. 1616. Testorino (Brandolino), an old master of Brescia. Religious subjects. 14th century. Theolon (Etienne), French. Scholar of J. Vien. Interiors. Con- versations. 1739- 1781. THEOTOCOPULI(Domenico), called II Greco. Scholar of Titian. History. Portraits. Born about 1 548. He died in Spain, at Toledo, in 1631. Therbousch (Anne Dorothie Liscewska), a German paintress of the French school. Portraits. Candle- light scenes. 1 7 28- 1 782. Thiele (John Alexander), German. Landscapes. 1 685-1 752. K I THIELEN (John Philip van), Flemish. Excellent garlands of jlowers, in the style of Seghers. Landscapes. Hunting and architec- tural pieces. 1618- 1667, THIELEN (Maria Theresa, Anna Maria, and Frances Catherine van), the daughters of the preceding, painted Jlowers, in the same style of excellence. 17 th century. Thielens (John), Flemish. In- teriors of zvorkshops and studios. 1 7 th century. T h i e m o n, otherwise Dietmar. German. Religious subjects. 12th century. Thomann (Jacob Ernst), German. Scholar of Aiilzheimer. Landscapes with figures. D. 1653. Thomas (John), Elemish. Scholar of Rubens. History. 161O-1673. Thompson (Henry, R.A.), Eng- lish. Scholar of Opie. History. Por- traits. 1773-1843. Thomson (John, the Rev.), called Thofnson of Duddington. British. Landscapes. 1 7 7 8- 1 840. Thomson (William), British. Por- traits. D. in London 1800. THORNHILL (Sir James), an eminent English painter, was born at Weymouth in 1676, It is not known under whom he studied ; but he ha«i already acquired some celebrity as an historical painter, when he set out for the Continent, where he spent two years. On his return to London, his abilities soon attracted public atten- tion, and his reputation rose to the greatest height. Fle was commis- sioned by Queen Anne to decorate the cupola of St. Paul’s Cathedral ; afterwards he was employed to exe- cute several public works, particularly an apartment at Hampton Court, and the great saloon and refectory in Greenwich Hospital ; he painted some altar-pieces, and decorated several noble palaces and mansions. He was knighted by George IL, sat in Parlia- ment several years, and was elected a 3 2i6 The Picture AmateuTs Handbook. fellow of the Royal Society. He proposed to found a Royal Academy for art, and on failing to gain the assistance of the Government, he opened a private Academy in his own house. D. 1734. His daughter was clandestinely married to William Hogarth, who said ‘ he was the greatest history painter the country ever produced,’ an opinion which posterity has not endorsed. THtJLDEN (Dirk van), an emi- nent Flemish painter, born at Bois-le- Duc in 1607, was one of the most distinguished disciples of Rubens. He assisted his master in some of his works, and is said to have had a large share in forwarding the famous pic- tures for the Gallery of Luxembourg. He painted history, village festivals, pastimes of peasantry, and frequently inserted figures in the works of Peter Neefs, Wildens, Mompers, and Sny- ders. D. 1676. THYS (Gysbrecht), Flemish. Portraits in the style of Vandyck. Landscapes, with figures, in the style of Poelemburg. 1625-1684. Thys (Peter Joseph), Flemish. Flowers. 1749-1823. Tiarini (Alessandro), Italian. Bo- logna. Scholar of Passignano. His- tory. 1577-1668. Tibaldi (Pellegrino) da Bologna, Italian. Valdelsa. Scholar of Ra- menghi. History, 1527-1598. Tibaldi (Domenico), the brother of the preceding. History. 1540-1583. Tideman, or Tiedeman (Philip), German. Scholar of Lairesse. His- tory. 1657-1705. TIEPOLO (Giov. Battista), an eminent Venetian painter, born in 1697, studied under Gregorio Lazza- rini, and took the works of Paolo Veronese as his models. He acquired in his time an immense reputation, and executed many works for the churches and public edifices at Venice, Rome, Milan, Padua, and other cities. His colouring is peculiar. While other painters were accustomed to display the most vivid colours, he only availed himself of what are termed low and dusky tints, and by harmonising them with others of a common kind, but more clear and beautiful, he produced a species of effect, of sun-like radiance, unequalled perhaps by any other artist. D. at Madrid 1770. Tiepolo (Giov. Domenico), the son, scholar, and imitator of the preceding. About 1760. Tierendorf (Jeremiah van), Flemish. History. About 1626. Tilburg (Giles van), the elder, Flemish. Village festivals. Peasants regaling. 1570-1622. Tilburg (Giles van), the younger. Conversatiotis, corps-de-garde, ale- house feastings, and other subjects similar to Teniers, though more in the style of Brouwer. B. 1578. Tilius (John), Dutch. Portraits and conversations, in the style of Terburg. 17th century. Tillemans (Peter), Flemish. Copies after Borgognone and Teniers. Landscapes. Seaports. D. in Eng- land 1734. Tillemans (Simon Peter), German. Portraits. 1 602- 1 6 70. Tilson (Plenry), English. Scholar of Sir Peter Lely. Portraits. D. 1659-1695. Tinelli (Cav. Tiberio), Italian. Venice. Scholar of Contarini. His- tory. Portraits. 1586-1638. Tinti (Giov. Battista), Italian. Parma. Scholar of the Caracci. His- tory. B. about 1550. Tinti (Lorenzo), Italian. Bologna. Scholar of Giov. Andrea Sirani. His- tory, 1626-1672. Tintore (Cassiano, Francesco, and Simone del), three painters of Lucca, brothers, scholars of Pietro Paolini. History. Birds. Fruit. Flowers. 17th century. Tintorello (Jacopo), Italian. Vi- cenza. IListory. 15 th century. Dictionary of Painters . 217 TINTORETTO, II (Giacomo Kobusti, called), an eminent Venetian painter, derived his surname from the fact that he was the son of a dyer. He was born in 1512, and studied under Titian. It is generally stated that he made such rapid progress, and showed such extraordinary genius, that Titian soon became jealous of his talents, and banished him from his studio. Tintoretto, however, was at that time sufficiently qualified to pursue his studies without any direc- tor, and therefore applied himself to design after the works of Buonarroti, and to acquire elegance of taste by a more intimate knowledge of the antique. Over the door of his garret he wrote ‘ Michael Angelo’s design and the colouring of Titian.’ In fact, he formed the plan of establishing a new school of art, by uniting the beauties of the Venetian harmony of colours with the Florentine dignity of design. The idea was noble ; but though he partly succeeded, he failed in carrying his project to perfection by the want of patience in the exer- cise of his talent. No less fertile in conception than prompt in execution, his works rose with magical illusion under his rapid pencil. It is said that he frequently painted his pictures without any preparatory outline, as if he only sported with his brush ; so that he seems to have executed his ideas almost as quickly as he con- ceived them. In his days he was called the ‘Furious Tintoretto,’ and the ‘Lightning of the Pencil.’ His manner of painting was bold, with strong lights opposed by deep shadows ; his pencil wonderfully firm and free ; his disposition good; his execution easy ; his touch lively, and full of spirit ; his local colours are true, and the carnations of his best pictures ap- proach near to those of Titian. Equal in several respects to his master, or to Veronese, he certainly wanted that dignity of character observable in the works of the former, and the grace and richness of composition which distinguish those of the latter. Alga- rotti observes that Tintoretto is no way inferior to any of the Venetian artists in those pictures which he painted with an intention to display his talents, and this he exemplifies in the ‘ Martyrdom, ’ or Miracolo del Se'Tvo, now preserved in the School of St. Mark, at Venice, Unfortunately he often injured his fame by propor- tioning his work to the poorness of payment. Tintoretto is said to have modelled in wax and clay, to make himself proficient in anatomy, and he was truly excellent in portrait. D. 1594. Amongst his numerous imi- tators and copyists, Domenico Tinto- retto, his son, Flaminio Floriano, and Cesare dalle Ninfe, were the most suc- cessful ; next come Marietta Tintoretto, his daughter, Marc’ Antonio Bassetti, Melchiore Colonna, Juan Antonio Escalante, and Antonio Vassilacchi. Tintoretto (Domenico Robusti, called), the son of the preceding, and his imitator. He was eminent in portraits. 1562-1637. Tintoretto (Marietta Robusti, called), the daughter of Jacopo Tintoretto, his scholar and imitator, displayed great talents in portraiture. 1560-1590. Tischbein (John Henri), the elder, German. Scholar of Carle Vanloo. History. Mythology. 1722-1789. Tischbein (John Flenri), the younger, the son of the preceding. Portraits. Landscapes. History. B, 1751. TISIO, or TISI (Benvenuto), called II Garofolo, an eminent Italian master, born at Ferrara in 1481, studied under Niccolo Soriani, Boc- caccio Boccaccino, Gian Baldini, Lorenzo Costa, and, finally, under Raffaelle. On returning to his native place, he was engaged with the two Dossi in considerable undertakings, and painted numerous pictures for 2I8 The Picture AmateuTs Handbook. the churches and palaces, in oil and in fresco. Lanzi says, ‘he imitated Raffaelle in design, in the character of his faces and in expression, and also considerably in his colouring, although he added something of a warmer and stronger cast, derived from his own school. Tisio, though he devoted himself mostly to sacred history, was an universal painter. He was almost equal to Raffaelle in por- traits, and he occasionally painted landscapes in the highest excellence. His works are extremely valuable, and scarcely to be found out of Italy. There is a fine specimen of his easel pictures in the National Gallery, called ‘ The Visitation of St. Augus- tine.’ D. 1559. Titi (Santo di), Italian. Citta San Sepolcro. Scholar of Agnolo Bronzino, Cellini, and Baccio Bandi- nelli. History. Portraits. 1 538- 1603. Titi (Tiberio), the son of the pre- ceding. Portraits (especially of small size, in vermilion). 1578-1637. TITIAN {Tiziano Vecellio, called in England), an illustrious Italian painter of the Venetian school, was born at Cadore, in the Friuli, in 1477. He studied first under Antonio Rossi, a painter of Cadore, and Sebastiano Zuccati, a painter of Trevigi ; subse- quently he went to Venice, and studied successively under Gentile and Gio- vanni Bellini. Giorgione was his fellow-student under the last-named master, with whom Titian made ex- traordinary progress, and attained such an exact imitation of his style, that their works could scarcely be distinguished, which greatly excited the jealousy of Bellini. There is some discrepancy amongst authors as to this period of Titian’s history. It is universally stated, however, that Giorgione was the first of the Vene- tian painters who broke through the dry and Gothic style that prevailed at that time in the school, and intro- duced a freedom of outline, a bold- ness of handling, a force of colouring, and a vigorous effect of chiaro-oscuro before unknown ; that Titian followed the manner of Bellini till he saw the works of Giorgione, when he immedi- ately changed his style ; that when he was only eighteen years of age he painted the portrait of the head of the noble family Barbarigo in so admirable a style that it excited universal admi- ration ; that soon afterwards he was employed, in conjunction with Gior- gione, to paint the two fronts of the Fondaco dei Tedeschi.and that his por- tion of the undertaking was preferred to his competitor, and established his reputation. Another extraordinary performance of that period was his picture of ‘ Christ paying the Tribute Money,’ painted in competition with Albert Diirer, and finished in the minute style of that master. On the premature death of Giorgione (during the plague of 1511), Titian rose ra- pidly into favour. He was soon af- terwards invited to the court of Al- phonso, Duke of Ferrara, for whom he painted his celebrated picture of ‘ Bacchus and Ariadne,’ now in the National Gallery, and two other fabu- lous subjects which still retained somewhat of the style of Giorgione. It was there that he became acquainted with Ariosto, whose portrait he painted, and in return the poet spread abroad his fame in the Orlando Fu- rioso. In 1523, the Senate of Venice employed him to decorate the hall of the Coungil Chamber, where he re- presented the famous ‘ Battle of Ca- dore.’ (This work was afterwards destroyed by fire.) His next per- formance was his celebrated picture of ‘ St. Pietro Martire,’ in the Church of SS. Giovanni e Paolo at Venice, which is generally regarded as his masterpiece in historical painting. About 1530, the praises bestowed upon him in the writings of his friend Pietro Aretino recommended him to Dictionary of Painters. 219 the notice of the Emperor Charles V. , who had come to Bologna to be crowned by Pope Clement VII. Ti- tian was invited thither, and painted the portraits of that monarch and his principal attendants. Next he was invited to the court of the Duke of Mantua, whose portrait he painted, and decorated a saloon with a series of the twelve Caesars, beneath which Giulio Romano afterwards painted a subject from the history of each. From 1543 to 1548 he was engaged in undertakings for the Duke of Ur- | bino ; he then went to Rome, where he was accommodated with apart- ments in the palace of the Belvidere, and painted for the second time the portrait of Pope Paul III. He also painted his famous picture of ‘ Danae,’ which caused M. A. Buonarroti to lament that Titian had not studied the antique as accurately as he had nature, in which case his works would have been inimitable, by uniting the perfection of colouring with correct- ness of design. He was offered at that time the office of Keeper of the : Leaden Seal, vacant by the death of j Fra Sebastiano del Piom.bo, but he declined to accept it, and returned to * Venice. Soon after he set out for Spain, on a pressing invitation of Charles V., and was received with extraordinary honours (1550). Pie was appointed a gentleman of the Emperor’s bedchamber, with the order of St. lago, the title of Count Palatine of the Empire, and life-rents in Naples and Milan of two hundred ducats each annually, besides a muni- ficent compensation for every picture he painted. After a residence of three years at Madrid, he returned to Venice, whence he was shortly af- terwards invited to Innspruck, where he painted the portrait of Ferdinand, King of the Romans, his queen, and children, in one picture. He next returned to Venice, where he con- tinued to exercise his pencil to the last year of his long and glorious life, when he fell a victim to the plague (1576). He was within one year of completing a century. Such is the contradiction of opinion among the most eminent critics as to the real powers and merits of this il- lustrious master, that the learned Lanzi himself, accustomed to contem- plate his works all his days, modestly j declines entering the contest, and says: ‘From the works he painted in the zenith of his fame, his critics have gathered the general idea of his style, and the greatest contest they have among themselves relates to his design. In this contest of opinion between the true judges of art, I shall decline interfering with my own, ob- serving only in justice to so extra- ordinary a genius, that if happier combinations had led him to become familiar with more profound maxims of design, he would probably have ranked as the very first painter of the world. For he would have been al- lowed to be the first and most perfect in design, as he is by all allowed to have no equal in colouring. ’ ‘ Raffaelle and Titian,’ says Sir Joshua Reynolds, ‘ seem to have looked at nature for different purposes. They both had the power of extending their views to the whole ; but one looked for the general effect produced by form, the other as produced by colour. We cannot refuse to Titian the merit of attending to the general form of his object, as well as colour ; but his i deficiency lay (a deficiency at least ; when he is compared with Raffaelle), i in not possessing the power like him j of correcting the form of his model by I any general idea of beauty in his own mind.’ The excellence of Titian was not so conspicuous in the historical subjects which he painted as in his portraits and landscapes, in both of which he was unrivalled. His mascu- line forms are not equal to his females I and children, for his talent lay in 220 The Picture Amateur's Handbook. tender and delicate expression. His landscapes are universally allowed to be above all praise, whether we con- sider the forms of his trees, the grand ideas of nature which appear in his scenery, the truth of his distances, the mellowness of his pencil, or the har- mony of his colouring. It was his custom to repeat the same subject, sometimes with his own hand, but oftener by his scholars ; yet he always retouched their performances, and frequently added the background, so as to make the copies painted by them have the look of originals. His genuine works, though many of his best productions were destroyed by terrible conflagrations at Venice and Madrid, are numerous, but for the most part have found a resting- place in the public galleries. Titian was the great head of the Venetian school, and like Raffaelle, he had a host of scholars, Tintoretto and Veronese being the most illustrious; among his imitators and copyists, the principal were Giovanni Battista Averara, Bonvicino called II Moretto, John van Calcar, Giuseppe Caletti called 11 Cremonese, Domenico Campagnola, Giov. Contarini, Lio- nardo Corona, M. Cusin (in land- scape), Girolamo Danti, Alexis Domenique, Lodovico Fumicelli, Giov. Batt. Grassi, Francesco Im- parato, Giov. Batt. Maganza the elder, Damiano Mazza, El Mudo, Natalino da Murano, Gaspare Ner- vesa, Simone Peterzano, Callisto Piazza, Gregorio Porideo, Domenico Riccio called Brusasorci (especially in Venuses, nymphs, &c.), Pietro Rosa, Girolamo Salvado, Giovanni Silvio, Niccolo di Stefano, Louis de Valder (in landscape), Alessandro Varotari, Francesco Vecellio, Orazio Vecellio, Marco Vecellio called Marco di Tiziano, Polidoro Veneziano, and Santo Zago. Titian’s son, brother, and relatives. See Vecellio. Tivoli (Rosa da). ,See Roos. Tizianello. See Vecellio (Tiziano). Tiziano (II). See Girolamo Dante. Tiziano (Marco di). See Vecellio (Marco). Tobar (Don Alonso Miguel de), Spanish. Imitator of Murillo. His- tory. 1678-1758. Tocque (Jean Louis), French. Scholar of H. Rigaud. Portraits. 1696-1772. Toeput (Louis), Flemish. Land- scapes. Fairs. Markets. 1550- 1604. Tognone (Antonio), Italian. Vi- cenza. Scholar of Zelotti. History. 1 6th century, Tol (Dominick van), the nephew and disciple of G. Dow, and his imitator. About 1675. Toledo (Juan de), Spanish. Scholar of A. Falcone and A. Cer- quozzi. Battles. Sea-fights. History. 1611-1665. Tolmezzo (Domenico di), Italian. Udine. History. 15th century. Tom be (Nicholas la), Dutch. Landscapes. Architecticre. Conver- sations. Portraits. 1 61 6-1676. Tomkins (William), English. Landscapes. Views of gentlemen! s seats. 1730-1792. Tommazi (Tommaso), Italian. Pietra Santa. Scholar of the Melani. History. 1 8th century. Toms (Peter, R.A.) English. Portraits. He often painted the draperies for Sir Joshua Reynolds. D. 1776. Tonduzzi (Giulio), Italian. Faenza. Scholar of Giulio Romano. History. i6th century. Tonelli (Giuseppe), Italian. Flo- rence. Architedure. Perspective. 1668-1718. Toni (Michael Angelo), Italian. Bologna. Excellent copies. 1640-1708. Tonno ( — — ), Italian. Messina. Scholar of Polidoro da Caravaggio. History. D. 1 543. Dictionary of Painters. 22 I Toornvliet (James), Dutch. His- tory. Portraits. Family groups. 1641-1719. Topino-Lebrun (Francois Jean Baptiste), French. Scholar of David. History. 1769-1801. Torbido (Francesco), called II Moro. Italian. Verona. Scholar of Giorgione. History. About 1500- 1581. Torelli (Cesare), Italian. Rome. Scholar of Giovanni de’ Vecchi. History. D. 1615. Torelli (Felice), Italian. Verona. History. 1670- 1748. Torelli (Lucia), the wife of the preceding. History. Portraits. 1677- 1762. Torelli, or Tonelli (Maestro), Italian. Milan. Scholar of Correggio. History. i6th century. Torenburg (Gerard), Dutch. Scholar of J. Ten Compe. Land- scapes. Viezus of cities. 1 737 - 1785 - Tor esani (Andrea), Italian. Brescia. History. Animals. Sea- viezvs. Landscapes. 1727-1760. Tornioli (Niccolo), Italian. Siena. History. About 1 640. Torre (Bartolomeo), Italian. Arezzo. History. About 1600. Torre (Flaminio), called dalle Ancinelli. Italian. Bologna. Scholar of Guido. Copies. 1621-1661. Torre (Gio. Battista della), Italian. Rovigo. Scholar of C. Bononi. His- tory. D. 1631. Torre (Giov. Paolo della), Italian. Rome. Scholar of G. Muziano, History. i6th century. Torregiani (Bartolomeo), Italian. Rome. Scholar of S. Rosa. Land- scapes. D. about 1673. Torres (Clemente de), Spanish, History. 1665- 17 30. Torres (Matias de), Spanish. LListory. Landscapes. Battle pieces. 1631-1711. Torri, or Torre (Pietro Antonio), Italian. Bologna. Scholar of Albano. Architecture. Perspective. 17th cen- tury. Tortebat (Fran9ois), French. Scholar of S. Vouet. Portraits. 1626-1690. Tortebat (Jean), the son of the preceding. Portraits. 1652-17 18, Tortiroli (Gio. Battista), Italian, Cremona. Histozy. 17th century. Tossicani (Giovanni), Italian. Arezzo. Scholar of Giottino. Reli- gious subjects. 14th century. Tourni^res (Robert), P'rench. His- tory. Poz'traits in the style of G. Dow. 1678-1752. Tozzo (Giovanni del), Italian. Siena. History with small figures. About 1530. Traballesi (Francesco), Italian, Florence. History. i6th century. Traini (Francesco), Italian. Flo- rence. Scholar of A. Orcagna. LLis- tory. 14th century. Tramulles (Francisco), Spanish. History, in the style of L, Giordano, 1 8th century, Tramulles (Manuel), the brother of the preceding. History. D. 1791. Trasi (Lodovico), Italian. Ascoli. Scholar of A. Sacchi. History. 1634- 1 694 - Traverse (Charles Frangois de la), French, Scholar of Boucher. Land- scapes. Flozvers. D. 1778. Travi (Antonio), Italian. Sestri. Landscapes, ivith figures. 1613- 1668. Tremolliere (Pierre Charles), French. Scholar of J. B, Vanloo, History. 1 703- 1 739. Trento (Antonio da), Italian. Trent. Scholar of Parmiggiano, Copies. About 1530. Tresliam (Henry), British. Scholar of B. West. Portraits. History. About 1756-1814. Treu (Catherine), a German pain- tress. Fruit. Flozvers. About 1780. Trevigi (Antonio da), Italian. Re- ligious subjects. About 1410. Trevigi (Dario da), Italian. Scholar 222 The Picture Amateur's Handbook. and imitator of A. Mantegna. His- tory. About 1474. Trevigi (Giorgio da), Italian. His- tory. About 1437. Trevigi (Girolamo da), Italian. Scholar and imitator of Squarcione. History. About 1480. T r e V i g i (Girolamo Pennacchi called G. da), Italian. History. D 1544. Trevisani (Angelo), Italian. Tre- vigi or Venice. History. Portraits. About 1740. Trevisani (Cav. Francesco), Ita- lian. Trevigi. History, in the style of Guido and Cignani. 1656-1746. Tricomi (Bartolomeo), Italian. Messina. Scholar of Domenichino. History. About 1650. Tristan (Luis), Spanish. Scholar of Theotocopuli, called El Greco. History. 1586-1640. Triva (Antonio), Italian. Reggio. Scholar and imitator of Guercino. History. 1626-1699. Troger (Paul), German. History, Landscapes. 1695-1777. Trogli (Giulio), Italian. Bologna. Scholar of Metelli. Perspective. Ar- chitecture. 1613-1685. Troost (Cornelius), Dutch, called the Dutch Watteau. History, comedies, conversations, gallant subjects, por- traits. 1697-1750. Troost (Sarah), the daughter of the preceding. Portraits. D. I793* Troost (William), Dutch. Scholar of Glauber. Portraits. Landscapes, in oil and India ink. B. 1684. Troost (Jacoba Maria), the wife of the preceding, and the daughter of J. van Nikkelen. Flotvers. i8th century. T roostwyck ( W alter J ohn) , Dutch . Copies after the Dutch landscape and cattle painters. D. 1810. Troppa (Cav. Girolamo), Italian. Rome. Scholar of C. Maratti. His- tory. 17th century. Trost (Andrew’), German. Fa- jniliar subjects. About 1690. TROTTI (Cav. Gio. Battista), 1 called LI Malosso, an eminent Italian | painter, born at Cremona in 1555, was the most distinguished disciple of Ber- nardino Campi, whose niece he mar- ried. He took Correggio as his model, and afterwards emulated Sojaro, whose gay, open, and brilliant style, varied shortenings, and spirited attitudes he exhibited in the chief part of his works. History. D. 1612. Trotti (Euclide), called also LI Malosso, the nephew and scholar of the preceding. History. 17th cen- tury. Troy (Fran9ois de), French. Tou- louse. Excellent Portraits. 1645- 1730. Troy (Chevalier Jean Fran9ois de), the son of the preceding. History. Portraits. 1676-1752. Troya (Feliz), Spanish. History. 1660-1731. Troyen (Rombout van), Flemish. Ruins with jigures, in the style of Cuylenburg. D. 1650, Truchot ( ), French. Land- scapes. Architectural views. Lnteriors, sometimes with figures by X. Le- prince. D. 1823. Trumbull (John), British. Scholar of Copley and West. History. Por- traits. D. at New York 1843. Tuaire (Fran9ois), French. Scho- lar of Prud’hon. Fabulous history. 1794-1823. Tuccari (Giovanni), Italian. Mes- sina. Battles and skirmishes. 1667- 1743- Tulden. See Thulden. Tura (Cosimo), an old Italian mas- ter. Ferrara. Religious subjects. 1406- 1469. Turchi (Alessandro), called F Or- betto, Italian. Verona, Scholar of F. Riccio. History, 1580-1650. j Turco (Cesare), Italian. Naples. Scholar of A. d’ Amato and A. Sab- batini. History. 1 5 10-1560. TURNER (Joseph Mallord Wil- liam, R.A.), an illustrious English Dictionary of Painters. 223 painter of landscapes and marines, was born in Maiden Lane, Covent Garden, London, in 1775. His father, who carried on a respectable business as a hairdresser, perceiving in him a strong inclination for art, permitted him to follow the bent of his desires. With Girtin, Samuel Cozens, and others, he studied in the friendly house of Dr. Monro, coloured prints, put in archi- tects’ backgrounds, gave some lessons, and by these means managed to sup- port himself. In 1789 he was ad- mitted to the schools of the Royal Academy. In the following year he exhibited a view of the Archbishop’s palace at Lambeth, executed in water- colours. In 1793 he exhibited in oil the ‘ Rising Squall ; ’ in 1796, among others, a subject picture, ‘ Fishermen at Sea, ’ and the next year ‘ Moonlight, ’ followed by works in which all the changing phases of nature were at- tempted. ‘ These works gained him ad- mission into the Royal Academy. He was elected an Associate in 1799, and then eschewing altogether the topo- graphical imitation of landscape for a more noble art, he looked beyond the mere details to a larger treatment of nature, seizing all the poetry of sun- shine, and the mists of morn and eve, with the grandeur of storm and the glow of sunset, yet he does not ap- pear to have at once established a new art for himself. In some of his earlier works the influence of the great mas- ters of the Dutch school is apparent, (as in his noble picture of ‘ ‘ The Ship- wreck,” 1805, now in the National Gallery ; ) then Poussin, and later Claude, with whom he especially de- sired to be placed in rivalry, bequeath- ing two of his finest works to the Na- tional Gallery, on the condition that they should be hung between two of the most esteemed works of that mas- ter. In 1802, he was elected a mem- ber of the Academy, and about that time visited Scotland, and afterwards France, Switzerland, Italy, and the Rhine. In the succeeding years he produced some of his finest pictures, enlarging his range of subjects, — his “ J ason, ■’ the “ T enth Plague of Egypt, ” — the “ Blacksmith’s shop,” — the “ Un- paid Bill,” — “Apollo and Python.” In 1807 he was appointed the Professor of Perspective, and among his succeed- ing pictures were some of his most ex- pressive marine subjects: the “Wreck of the Minotaur,” — the “Shipwreck,” — the “Gale,” and some others. His ‘ ‘ Dido and Hiineas ” followed in 1814; “Crossing the Brook,” 1815; the “Decline of Carthage,” 1817 ; “Rich- mond Hill,” 1819. About 1820 a great change was manifest in his man- ner of painting. In his first manner dark predominated with a very limited portion of light, and he painted solidly throughout with a vigorous and full brush ; now he adopted a principle of light with a small proportion of dark, and a light ground, and by scumbling obtained infinitely delicate gradations, using the purest orange, blue, pur- ple and other powerful colours, and in this manner he produced his ‘ ‘ Bay of Baia,” and in 1829, one of his most beautiful and poetical works, “Ulysses deriding Polyphemus,” in which, while in no way gaudy, it seems impossible to surpass the power of colour which he has attained, or the terrible beauty in which he has clothed his poetic conception, a work almost without a parallel in art.’ — From that time he could only decline, and his subsequent works were much inferior to the former : in his last manner, indeed, he appears to have paid his entire attention to colour, neglecting form altogether ; but owing probably to some disease of the sight, his co- louring as well as his design became more and more imperfect. The pri- vate life of Turner was quite eccentric ; he died in 1851, in a small cottage on the banks of the Thames, where he was accustomed to lodge occasionally under the assumed name of Brooks. The Picture A niateur's Hmtdbook. 4 By his will, he gave the bulk of his property, sworn as under 140,000/., for the benefit of art and artists. Turpin (Pierre Jean Fran9ois), French. Flowers and plants onvellutn. B. 1775- Tuscher (Marcus), German. Con- versations, History. 1706, — about 1755- Tyn (Lambert de), Flemish. Inte- riors. Landscapes by moonlight. 1770- 1816. Tyssens (Peter), Flemish. His- tory and portraits in the style of Vandyck. 1625-1692. Tyssens (Augustine), the son of the preceding. Landscapes in the style of Berghem. About 1660 — about 1710. Tyssens (Nicholas), the brother of the preceding. Still-life. D. in London about 1719. u Uberti (Pietro), Italian. Venice. Portraits. About 1733. Ubertini (Francesco), called LI Bachiaco, Italian. Florence. History. Grotesques. About 1550. UCCELLO (Paolo Mazzocchi, called), an old Florentine master, born in 1349, was a disciple of Antonio Veneziano. He was one of the first who cultivated perspective, and ex- celled in the representation of birds, hence his surname {uccello, bird). He painted battles of lions, tigers, ser- pents, with peasants flying in terror ; also landscapes with cattle and figures. The ‘Battle of San Egidio,’ now in the National Gallery, is a fine ex- ample of his art. Died about 1440. Uden (Lucas van). See Van- uden. UDINE (Giovanni da), Italian. Udine. Scholar of Giorgione and Raffaelle. Ornaments and grotesqties. Fruit. Flowers. Birds, &c. 1494- 1561. Udine (Girolamo da), Italian. History. About 1540. Udine (Mardino da), called Pelle- grino di San Danielo. Italian. Scho- lar of G. Bellini. History. D. about 1545- UGGIONE,orOGGIONEor da OGGIONE (Marco), Italian. Milan. Scholar of Leon, da Vinci. History. 1 6th century. Ulft (Jacob van der), Dutch. His- tory. 1627-1679. Ulivelli (Cosimo), Italian. Flor- ence. Scholar of B. Franceschini. History. 1 625- 1 704. Umbach (Jonas), German. History. 1624-1680. Unterberger (Ignatius), German. History. 1744-1797. Urbanis (Giulio), Italian. San Da- niello. Scholar of P. Amalteo. His- tory. About 1570. Urbano (Pietro), Italian. Pistoja. Scholar of Buonarroti. History. i6th century. Urbinelli ( ), Italian. Urbino. History. 17th century. Urbini, or Urbino (Carlo), Italian. Cremona. History. Battles. 1 6th century. Urbino (Crocchia di), a scholar of Raffaelle. History. i6th century. Urbino (Giovanni and Francesco di) two brothers, probably scholars of F. Baraccio. History. 17th century.- Utrecht (Adrian van), Flemish. Fruit. Flowers. Shells. Dead game. 1599-1651. UWINS (Thomas, R.A.), an eminent English painter, born in Lon- don 1782, studied at the Royal Aca- demy, travelled in Italy, and from 1826 up to his death in 1855, exhi- bited pictures representing the manners and customs of peasantry. Dictionary of Painters, 225 chiefly Neapolitan. He was elected a R,A. in 1838, and was one of the artists selected to execute frescoes in the Queen’s palace. His works are characterised by graceful composition, pure colour, and delicate execution. Uytenwael (Joachim), Dutch. History. 1 5 66- 1 624. V Vaart (John van der), Dutch. Landscape. Still-life. D. in London 1721. Vaccarini (Bartolomeo), an old painter of Ferrara. Religions subjects. About 1440. Vaccaro (Andrea), Italian. Naples. Scholar of Stanzioni, and N. A. da Caravaggio. History. 1598-1670. Vadder (Louis), Flemish. Land- scapes. 1560-1623. Vafflard (Pierre Antoine Augus- tin), French. History. Portraits. B. 1777. VAGA(Pierinodel, Y\t\xo Buonac- corsi called), an eminent Italian painter, bom at a small village near Florence in 1 500, was one of the best disciples of Rafifaelle, and his assistant in decorating the loggie of the Vati- can. After the sacking of Rome by the Spaniards in 1527, he fled to Genoa, where he was employed for several years in the decorations of the Doria Palace. Towards the close of his life, he returned to Rome, and undertook the direction of the paint- ings in the Sala Regia. D. 1 547. Vagnucci (P'rancesco), Italian. Assisi. History. i6th century. Vaiani (Anna Maria), a Roman paintress. Blowers. About 1650. Vaiano (Orazio), Italian. Florence, History. About 1 600. Vaillant (Wallerant), Flemish. Portraits. 1623-1677. Vaillant (Bernard and James), the brothers of the preceding. History. Portraits in oil and crayons. 17th century. Valdes (Don Juan de Leal), Span- ish. History. 1630- 1 691. Valdes (Lucas de), the son of the preceding. History. Portraits. 1661- 1724. Valdes (Don Sebastian Llanos de), Spanish. Scholar of Herrera the elder. History. About 1660. Valencia (Fray Mathias de), a Spanish monk. History. 1 696-1 749. VALENCIENNES (Pierre Henri), an eminent Fiench landscape painter, born at Toulouse in 1750, studied under Doyen, travelled in Italy, where he studied the works of N. Poussin and Claude, and formed a school which has produced the best French artists in landscape of the present day. D. 1819. VALENTIN (Pierre), French. Scholar of Simon Vouet. LListory in the style of M. A. da Caravaggio. Concerts. Corps-de-garde. Fortune- tellers. Card-players. 1600-1632, Valeriani (Padre Giuseppe), a Roman Jesuit, and an imitator of Seb. del Piombo. History. i6th century. V aleriani (Domenico and Giuseppe ) , two brothers. Scholars of Marco Ricci, Rome. Landscapes. About 1730. Valesio (Francesco), Italian. Venice. History. Portraits. About 1612. Valesio (Giov. Luigi), Italian. Bologna. Scholar of the Caracci. History. 1 5 6 1 - 1 640. Valk (Peter), Dutch. History. Portraits. Landscapes. B. 1584. Valkaert (Waernaert vander), Dutch. Scholar of H. Goltzius. His- tory. Portraits. D. 1625. Valkenburg (Lucas van), Flemish. Landscapes. Portraits. About 1560. Valkenburg (Martin), the brother of the preceding. Landscapes, with figures. 1 6th century. 226 The Picture A inateur's Handbook. Valkenburg (Dirk), Dutch. Scholar of J. Weenix. Anhjials. Hunting. Dead game. 1675-1721. Valkenburg (Friedrich), German, Fairs. Markets. Dead game. His- tory. I 555-1 623. Valle (Giov. da), an old Milanese painter. History. About 1460. Valpuesta (Pedro), Spanish. His- tory. 1614- I 668. Vandael (John Francis), Flemish. Fniit. Flowers. 1 764-1840. Van der Burg. See Burg. VANDERLYN (John), British. Scholar of Stuart. History. Portraits. D. at Kingston, United States of America, 1852. Vandervelde, or Vandevelde. See Velde. Vandervert (Henry), Flemish. Scholar of Claude. Landscapes with figures. 17th century. Vanderwerf. See Werf. Vandi (Sante), Italian. Bologna. Portraits. 1653-1716. Van Diest. See Diest. VAN DYCK (Sir Anthony), an illustrious Flemish painter, was born at Antwerp 1 599. His first instruc- tor was his mother, who was the wife of a glass painter of Bois-le-Duc, and painted landscapes. He studied after- wards under Henry van Balen, and made rapid progress in the art, but attracted by the fame of Rubens, he entered the school of that master. On leaving it, at the age of twenty, he set out for Italy, and spent some time at Venice, studying with great attention the works of Titian, after which he visited Genoa, and painted many excellent portraits, as well as historical pictures, for the churches and private collections. From Genoa he went to Rome, where he painted among others his celebrated portrait of Cardinal Bentivoglio. He next visited Palermo, and again Genoa, and thence returned to Flanders. For several years he was employed in works for the principal public edifices of Antwerp, Brussels, Mechlin, and Ghent, but acquired greater fame by his portraits, particularly his well- known series of the eminent artists of his time. Hearing of the great en- couragement extended to the arts by Charles I., he determined to visit England in 1629. This first visit did not prove a successful attempt, and he [ soon returned to his country ; in 1631, however, Charles I. having seen a portrait by Vandyck, requested him to cross the channel again, and received him in the most flattering manner. He was knighted in the following year, and appointed painter to the King, with an annuity of 200/. Pros- perity now flowed upon the great artist, and although he operated with the greatest industry and facility, paint- ing single portraits in one day, he could hardly fulfil all his commissions. Na- turally fond of display, he kept a splendid establishment. It is said that he detained frequently his sitters to dinner, when he had an opportu- nity to observe more of their peculiar characteristics, and retouched their pictures in the afternoon. He resided almost constantly in England up to his death, on December 9, 1641, and was buried with extraordinary honours in St. Paul’s Cathedral. According to Fuseli, and before him to an excellent judge, Thomas Gainsborough, Van- dyck deserves the next place after Titian in portrait painting. Inferior to that master in richness and warmth of colouring, he surpassed him in almost every other respect. He is unrivalled for the delicate drawing and beauty of his hands ; he was a master of design and chiaro-oscuro ; his draperies are perfect; with sim- plicity of expression and graceful attitudes he combined both dignity and individuality. In his historical compositions he was inferior to Rubens in boldness of conception, but he sur- passed him in taste, correctness of design, the delicate expression of his Dictionary of Painters. 22 / heads, and even, perhaps, the truth, i purity, and harmony of his colouring. His best exertion of this kind, accord- ing to Sir Joshua Reynolds, is the ‘ Crucifixion,’ in the Church of the Recollets at Mechlin. ‘ This picture, ’ says he, ‘ may be considered one of the first pictures in the world, and gives the highest idea of Vandyck’s powers ; it shows that he had truly a genius for history painting, if he had not been taken off by portraits.’ The works of Vandyck are very numerous (probably more than 1500; Smith describes upwards of 950 in his catalogue), and highly valued. Imi- tators and copyists : — John de Baan, David Beek, John van Bockhorst, Joseph Bokshoorn., Bosschaert, Bernardo Carbone, Adrian Hanne^nan, John Hayls, John van Kessel, Remi- gius Lange, Jansens van Keiden, Peter Meert, John de Reyn, Taco Scheltema, Old Stone, Gysbrecht Thys, Peter Tyssens, Cornelius de Vos, Robert Walker, Weesop, and Peter van Zyl. Vandyck (Philip), Dutch. Scholar of A. Boonen. Small por- traits in the style of his master. Conversations, and ladies at tJuir toilet or playing instruments, in the style of Metzu. 1680-1752. Vandyck (Floris), Dutch. Flowers. History. B. 1577. Vanetti (Marco), Italian. Loreto. Scholar of C. Cignani. History. About 1720. Van Eyck. See Eyck. Van gh els (Nicholas), French. History. 1674-1737. Vanloo (James), Dutch. Por- traits. Fancy subjects. D. at Paris, 1670. Vanloo (Louis), the son of the pre- ceding. History. Portraits. Settled at Aix, in Provence. 1 7th century. Vanloo (Jean Baptiste), the son of the preceding, born at Aix in 1684, studied under his father, then travelled in Italy. History. Portraits. D. 1746. VANLOO (Charles Andre), the brother of the preceding, studied under him, travelled also in Italy, and was in 1752 appointed painter to the King Louis XV. History. Alle- go?y. Portraits. His imagination was lively and fertile ; his colouring, is natural and pleasant, his touch sometimes strong and vigorous, some- times tender and delicate. 1705- 1765. Vanloo (Louis Michel), the son of Jean Baptiste V. History. Portraits. 1707-1771. Vanloo (Charles Am^ee Philippe), the brother of the preceding. History. Portraits. B. 1718. VAN MANDER (Charles), Flemish. Scholar of Lucas de Heere. History. Landscapes. Being com- pelled during the Spanish wars in the Low Countries to seek refuge in Hol- land, he founded an Academy at Haerlem in conjunction with H. Goltzius. 1548-1606. VANNI (Cav. Francesco), Italian. Siena. History, in the style of Baroccio, but with more grandeur of design and a greater freedom of pen- cilling. 1565-1610. Vanni (Cav. Michael Angelo), the son of the preceding. History. About 1600. Vanni (Cav. Raffaelle), the brother of the preceding. Scholar of the Caracci. History, in the style of P. da Cortona. 17th century. Vanni (Giov. Battista), Italian. Florence. Scholar of C. Allori. His- tory. 1599-1660. Vanni (Andrea di), an old painter of Siena. Religious subjects. About 1380. Vanni. There were several artists of this name at Pisa, in the 14th century. Vannini (Ottavio), Italian. Flor- ence. Scholar of Passignano. His- tory. 1585-1643. Vannucci. See Sarto. Vannucci. See Perugino. 228 The Picture AmateiLv's Handbook. VANSOMER, orVANSOME- REN (Paul and Bernard), two brothers, Flemish. Portraits. Paul V. visited England and died in Lon- don, 1621. Vante, or Attavante (Fiorentino), an old painter of Florence. Minia- tures. About 1484. VANUDEN (Lucas), an eminent Flemish landscape painter, born at Antwerp in 1595, derived his chief excellence from an indefatigable study of nature. His manner is tender and delicate, his colouring pleasant, his skies clear, often with light floating clouds ; the form of his trees select. His pictures represent views in Flan- ders. Rubens often employed him to insert the backgrounds of his pictures, and in return sometimes enriched his landscapes with historical figures. Vanuden’s small compositions are esteemed his best works. Some of his later pictures are decorated with figures by D. Teniers. D. 1662. Vanuden (James), the brother, scholar, and imitator of the preceding. His works are usually sold as produc- tions of his brother. 1 7th century. Vanvitelli (Gaspare), called Dagli- occkiali. Dutch. Viezvs of Ro 7 ne, in the style of Canaletti. 1647-1736. ^ V a r c o (Alonzo de), Spanish. S*cholar of Antolinez. Landscapes. 1645-1680. Varela (Francisco), Spanish. His- tory. 1606-1656. Vargas (Andres de), Spanish. History. 1 6 1 3- 1 6 74. VARGAS (Luis de), an eminent Spanish painter, born at Seville, in 1528, studied in Italy, and on return- ing to Seville produced several excel- lent historical works, in a noble and grand style. D. 1590. Varin (Quintin), French. History. Was the instructor of Poussin. 1580- about 1645. Varotari (Dario), Italian. Verona. Scholar of P. Veronese. History. 1539-1596. VAROTARI (Alessandro), called II Padovanino, an eminent Italian painter, the son of the preceding, was born at Padua in 1590. He made the works of Titian his models, and painted history with considerable merit. Women, cavaliers^ arms, boys and a 77 torini were the favourite sub- jects of his pencil, which he exhibited to the most advantage and which he most frequently introduced into his compositions. D. 1650. Varotari (Chiara), the sister of the preceding. Portraits. Living in 1660. Varotari (Dario), called Giovane or the Younger, the son and scholar of Alessandro V. History. Allegory. Portraits. 17th century. Vasari (Lazzaro), Italian. Florence. Imitator of Pietro della Francesca. 15 th century. VASARI (Giorgio), an eminent writer on art, born at Arezzo, 1512, was instructed in design by Michael Angelo Buonarroti and Andrea del Sarto, in painting by Rosso and Guglielmo da Marcilla, a glass painter. He executed a number of historical pictures in the Vatican, in the Hall of Chancery, and afterwards in various convents at Naples, Rimini, Arezzo and Bologna. D. 1574. Vasco (Pereyra), Portuguese. His- tory. D. in Spain, about 1600. Vasconio (Giuseppe), Italian. Rome. History. 17th century. V a S e 1 1 i (Alessandro), Italian. Rome. Scholar of G. Brandi. 17th century. Vasquez (Alonso), Spanish. His- tory. Fruit. Flowers. Still-life. 17 th century. Vassallo (Antonio Maria), Italian. Genoa. Laiidscapes. Fruit. Flowers. History. About 1 670. Vassilacchi (Antonio), called PAliense, a painter born in the island of Milo, in the Archipelago, in 1556. Scholar of Veronese and afterwards imitator of Tintoretto. Histoiy, D. at Venice 1629. Dictionary of Painters. 229 Vaymer (Giovanni Enrico), Italian. Genoa. Scholar of G. B. Gaulli, History. Portraits. 1 665-1738. Vean (Francesco), Italian. Pavia. Perspectives. A rch itect ure. 1727- 1768. VECCHI (Giovanni de’), an emi- nent Italian painter, born at Borgo San Sepolcro 1536, went to Rome when young, and first studied under Raffaellino delle Colle, and after- wards with Taddeo Zuccaro. History. D. at Rome, 1614. Vecchia (Pietro), Italian. Venice. Scholar of Alessandro Varotari. Imi- tator of Giorgione and Titian. History. Armed soldiers. Banditti. Corps-de- garde. 1605-1678. Vecchietta (Lorenzo di Pietro), called da Siena, an old Sienese master. Religious subjects. 1424-1482. Vecellio (Tiziano). See Pitian. Vecellio (Francesco), the brother, scholar, and imitator of Titian. History in small size. Decorative pictures. B. 1483. Vecellio (Orazio), the son, scholar, and imitator of Titian. Histo 7 y. Portraits. 1 540 - 1576- Vecellio (Marco), called Marco di Tiziano, the nephev/, favourite dis- ciple, and imitator of Titian. History. Portraits. 1 545- 1 6 1 1 . Vecellio (Tiziano), called Tizianello, the son of the preceding. ‘ He flour- ished about the beginning of the 17th century,’ says Lanzi, ‘ when manner- ism began its innovation upon the Venetian school of painting.’ History. PorBaits. D. about 1660. Vecellio (Fabrizio), a relative of Titian. Cadore. History. D. 1580. Vecellio (Cesare), the brother of the preceding. History. i6th cen- tury. Vecellio (Tommaso), also a kinsman to Titian. Lozzo. History. D. 1620. Vecq (James la), Dutch. Scholar of Rembrandt. History. Portraits. 1625-1674. Veen (Martin van). See Hems- kerk. Veen (Otho and Gilbert van). See Venitts. Veglia (Marco and Piero), two painters of Venice (brothers). His- tory. 1 6th century. Vela (Cristobal), Spanish. History. 1598-1658. VELASCO (Don Aciscolo Antonio Palomino de Castro), called Palo- mino, an eminent Spanish painter, born 1653, studied under Juan de Valdes. History. He is better known out of his own country as a writer on art, and he has, not inaptly, been termed the Vasari of Spain. D. 1726. Velasco (Luis de), Spanish. His- tory. Portraits. D. 1606. Velasco (Cristobal de), the son of the preceding. Portraits. Viezvs of cities. About 1 590. Velasco (Matias de), the son of the preceding. History. 17th century. VELASQUEZ (Don Diego Rodri- guez de Silva y), an illustrious Spanish painter, born at Seville in 1599, was descended of a noble family, originally of Portugal. As he manifested early an extraordinary genius for art, he was placed under the tuition of Fr. Herrera the elder. The principles of that master, whose chief ambition was to obtain effects true to nature, are to be traced in all the works of his pupil. Herrera being of a very violent temper, he treated Velasquez so cruelly that the youth quitted him, and entered the school of Francisco Pacheco. The latter was learned in the theory of art, and an able de- signer ; but he exercised no influence over the style of his pupil ; and the reason why Velasquez remained five years in this school was perhaps explained at the end of that time, when he married Pacheco’s daughter. Meanwhile, he devoted himself faith- fully to studying the theory of the art, and to imitation of nature. Like 230 The Picture Amateur s Handbook. Caravaggio, the leader of the natu- ralist school in Italy, he determined to represent things as they are, and not as they ought to be. He accor- dingly procured a peasant lad as a model, and painted his common- place form, rags, and nakedness under every aspect and attitude. Like Murillo, Velasquez was taught to draw and colour at the same time, beginning with subjects of still-life^ and those, the most ordinary, such as meat, vegetables, and kitchen utensils : hence, the generic term of Bodegones, by which they are still known. Thus he obtained an early mastery over his materials, a habit of close imitation, and a marvellous power of representing nature and texture. One of the most celebrated of these early productions is his picture, now in the new palace at Madrid, of the ‘Old Water-carrier at Seville.’ In 1622 he visited Madrid for the purpose of seeing the treasures of art in the rich collections of that city. He was welcomed by Don Juan de Fonseca and other Sevillians, who procured him the patronage of the Conde Duque de Olivarez, the prime minister of the tastes and pleasures of Philip IV. Velasquez having painted the great man’s portrait, immediately rose to that fortune which never deserted him during a long career of prosperity. As soon as the king saw the portrait of his favourite, he sat for his own, and was so charmed by the picture, that he appointed V elasquez his principal pain- ter. In 1627, when he had achieved his greatest historical composition of the ‘ Expulsion of the Moors by Philip HI,’ he was appointed cham- berlain to the king. In the same year Rubens having visited Madrid, and formed an intimate friendship with him, the frequent dissertations of the Flemish master upon Italian art inspired the Spaniard with the greatest desire of studying it ; and he had no sooner expressed his wish to that effect, than the king directed Olivarez to supply him with a plentiful sum of money and the warmest letters of recommendation. Velasquez em- barked at Barcelona in i(:29 and landed at Venice. He comtemplated with admiration the works of Titian and Tintoretto, and after a few months went to Rome, where he stu- died especially the works of Rafifaelle and Buonarroti, During his stay there he painted his two celebrated pictures of ‘Jacob with the Garment of Joseph’ and ‘Apollo at the Forge of Vulcan,’ which he sent home to the king. From Rome he passed to N aples, where he felt at home amid the works of Caravaggio, Stanzioni, and Ribera. With the last he lived in the closest intimacy, but preferred the flowing style and cheerful composi- tion of Stanzioni, between whose manner and his own the resemblance cannot be mistaken. After an absence of one year and a half he returned to Spain. Philip IV. now gave him a studio in his palace, of which the king kept a private key for the purpose of visiting him daily unceremoniously, as Charles V. had done to Titian. In 1648 he made a second journey to Italy on a particular embassy to the Pope ; also to purchase modern pictures for the king, and to procure moulds for the best antique statues. The Inquisition had always persecuted nudity, and Spain was at that time most deficient in models from the antique. After three years’ absence, Velasquez re- turned to Spain with his special cargo and was received by the king with his usual favour. In 1656 he re- ceived the most coveted cross of Santiago, and he was raised to the lucrative post of Aposentador Mayor, the duties of which were to superin- tend the lodgment of the king in his frequent migrations. Much of his precious time was thus taken from art. In 1660, he erected, in this Dictionary of Painters. 231 quality, on the island of Pheasants, the temporary saloons for the confer- ences which terminated in the mar- riage of the Infanta Maria Teresa with Louis XIV. He returned to Madrid, worn out with fatigue by those preparations, and died on the 7 th of August 1660. Velasquez drew nothing from the antique, and his visit to Italy produced no change in his style. He held up the mirror to his own age alone ; all his art was his own — original, national, and idiosyn- cratic. His drawing was admirable, correct, and unconstrained ; his mas- tery over his materials unequalled ; his colouring clear and clean. He seldom used mixed tints ; he painted with long brushes, and often as coarsely as floor-cloth ; but the effects when seen from the intended distance were magical, everything coming out into its proper place, form, and tone. He pursued every branch of painting except the marine, and excelled al- most equally in all. His portraits, especially of men, baffle description and praise. In landscape, he sur- passed all other Spanish artists. The animals in his pictures are perfectly admirable, and his beggars, urchins, and drunkards are ranked with the performances of Murillo and Teniers. His masterpiece is, according to Mengs, the famous historical picture of ‘ General Pescara receiving the keys of a Flemish citadel.’ The genuine and finest works of Velas- quez remain at Madrid ; in other cities of Spain they are quite as rare as in other parts of the world. lyni- tators and copyists : — Don Juan y Ga- mon de Alfaro ; Salvador Jordan and Juan de Farega, in portraits ; Don Diego de Lncena, Don Juan Baptista Mazo, and Antonio Pugu. Velasquez (Alexandro Gonzales), Spanish. History. 1719-1772. Velasquez (Antonio Gonzales), the brother of the preceding. History. 1729-1793. Velasquez (Luis Gonzales), the brother of the two preceding artists. Decor at we picttires. 17 15-1764. VELDE (Adrian van de), an emi- nent Dutch painter, born at Amster- dam, in 1639, studied under Wynants, who was one of the ablest landscape painters of his time, and who accus- tomed his pupil to draw everything from nature. Young Van de Velde’s application was incessant, and he was accustomed to pass the greater part of his time in the fields, studying and sketching every object that could prove of advantage to his pursuit. The scenes and situations of his land- scapes, his trees, clouds, animals, skies, were all sketches from nature, a practice he continued as long as he lived . Nor did he neglect to study the human figure, which he designed with great accuracy. Wynants had previously employed Philip Wouwerman or John Lingelbaeh to insert the figures in his works ; he afterwards employed his pupil for the same purpose, and many of his contemporaries soon applied to Adrian van de Velde for similar as- sistance ; the pictures of Vander Heyden, Hackaert, Moucheron, Hob- bema, Ruysdael, Verboom are fre- quently decorated with his figures and animals. In the choice of his subjects and the agreeableness of his scenes, as M^ell as in the excellence of his colouring, he had scarcely a superior, and as he followed nature only, his compositions are remarkable for their truth. Plis touch is free and steady, his trees natural and well formed, and the leafing sharply and accurately marked. His skies have a peculiar brilliancy, and as he v/as exactly watchful to observe the effects of light on every particular object, he has most happily expressed it. Though the general subjects of Adrian were landscapes with cattle, such was the versatility of his talents that he painted historical subjects exceed- ingly well. In the Roman Catholic 232 The Picture Amateur s Handbook. Church at Amsterdam are several religious paintings by him in a style of excellence, with figures half as large as life. He died in 1672, when he was only thirty-three years of age. As he was, however, inde- fatigable in his labours, he left a rather considerable number of works (Smith describes about 180 of them which are considered authentic), be- sides the many pictures of other masters which he decorated with . figures and animals. His works always command very high prices. Imitators and copyists : — Dirk van Bergen^ James Koning^ Peter van Leeuw, Adrian Oudendyck^ and W. J. Troostwyck. VELDE (Esaias van de), a Dutch painter, born at Leyden in 1597, and who studied under Peter Denyn, painted landscapes with figures and cattle, but his principal subjects were battles^ skirmishes^ banditti^ &c. His contemporaries frequently employed him for inserting in their landscapes or perspective views small figures, gene- rally draped in the Spanish costume. D. 1648. His works were highly esteemed during his life, but they subsequently sunk considerably in value. Imitators : — Peter Deneyn, Palamedes Stoevaerts, J. V. D. Stoffe. Velde (James van de), the brother of the preceding. Landscapes. Merry- makings. B. 1 598. VELDE (William van de), the elder, an eminent Dutch marine pain- ter, was born at Leyden, in 1610. It is not known by whom he was in- structed ; but before he was twenty years of age, he had acquired a con- siderable reputation as a painter of marine subjects, which he usually re- presented in black and white, in imi- tation of drawings in India ink. He drew everything after nature, and be- came one of the most spirited, correct and admirable designers of marine subjects of his country. After having executed many capital pictures of sea- fights for the States of Holland, he was invited to England by Charles II., who had become acquainted with his talents during his residence in Hol- land. He arrived in London about 1675, with his son, and they both were appointed painters of sea-fights to the king. D. 1693. Many of the large pictures of sea-%hts in England, and doubtless in Holland, bearing the signature of W. van de Velde, and generally attributed to the son, were coloured by him on the designs of his father. Such are the series of twelve naval engagements and seaports at Hampton Court. VELDE (William van de), the younger, was the son and scholar of the preceding ; he was born at Am- sterdam in 1633. He also received instructions from Simon de Vlieger, an eminent painter of sea-pieces. He possessed extraordinary talents, and not only surpassed his father, and all his contemporaries, but he arrived in marines at a perfection universally allowed to be unequalled. Like his father, he designed every- thing from nature ; but his compo- sitions are distinguished by a more elegant and tasteful arrangement of his objects, and from the improve- ments which had been made in ship- building, his vessels are of a more graceful and pleasing form ; the cord- age and rigging are finished with a delicacy and at the same time with a freedom almost without example ; his small figures are drawn with re- markable correctness and touched with the greatest spirit. In his calms the sky is sunny and brilliant, and every object is reflected in the glassy smoothness of the water, with a luminous transparency peculiar to himself ; in his fresh breezes and squalls the swell and curl of the waves is delineated with a truth and fidelity which could only be derived from the most attentive and accurate I study of nature ; in his storms, the Dictionary of Painters. 233 tremendous conflict of elements and tne horrors of shipwreck are repre- sented with a truthfulness that strikes the beholder with terror. D. 1707. The works of W. Vandevelde the younger are very numerous (Smith describes 330 of them), and always command high prices. Imitators and copyists: — Bellevois, Jan vander Ca- pelle^ Peeters^ Blankhof^ Zeeman. Veli (Benedetto), Italian. Florence. History. About 1650. Vellani (Francesco), Italian. Mo- dena. Scholar of Fr. Stringa. His- tory. 1688-1768. V e 1 1 e t r i (Andrea da), an old painter of the Sienese school. Reli- gious subjects. About 1334. Veltroni (Stefano), Italian. Monte San Sovino. History. About 1568, Venanzi (Antonio), Italian. Pesaro. History. D. 1705. Venezia (Jacometto da), Italian. Venice. History. Portraits. Minia- tures. About 1472. Venezia (Maestro Giovanni da), an old Venetian master. Religious subjects. About 1227. Venezia (Lorenzo da), an old Venetian master. Religious subjects. About 1358. Venezia (Maestro Paolo da), an old Venetian master. Religious sub- jects. About 1340. Venezia (Fra Santo da), a Capu- chin monk. Venice. History. About 1640. Veneziano (Carlo). See Sara- cino. Veneziano (Sebastiano). See Piombo. Veneziano (Antonio), a painter born at Florence, who acquired his surname from his long residence at Venice. Religious siibjects. 1310- 1384. VENEZIANO (Domenico), an eminent Venetian painter, the fa- vourite pupil of Antonio da Messina, who had learned the art of oil painting from John van Eyck. He was mur- dered by Andrea del Castagno, a Tuscan painter, in order that the latter might be the sole possessor of the secret. History. 1420-1476. Venier (Pietro), Italian. Udine History. D. 1737. VENIUS, or VAN VEEN (Otho), an eminent Dutch painter, born at Leyden in 1556, studied under Isaac Nicholas and Jodocus van Winghen ; he afterwards went to Italy, and entered the school of F. Zuccaro. On returning to the Low Countries, he settled first at Brussels, then at Antwerp, where he opened an academy, and had the honour of instructing Rubens. He painted history and portr'aits. His compo- sitions are learned and judicious ; his design, founded on that of the Roman school, was more elegant and correct than that of any of his contemporaries of the Flemish school. D. 1634. VENIUS, or VAN VEEN (Gertrude), the daughter of the pre- ceding. Cabinet historical pictures. Portraits. B. about 1600. Venius, or Van Veen (Rochus), Flemish. Live and dead game. Birds. 1650-1706. Venne (Abraham vander), Dutch. Portraits. 1586-1650. Venne (Adrian vander), Dutch. History. Battles. Portraits. 1589- 1662. Venne (Hubert vander), a relative of the preceding. Children. Vases, &c. in bas-reliefs. 17th century. Venne (John vander), Flemish. Landscapes, sometimes with figures by Bout. 17th century. Venturini (Angelo), Italian. Venice. Scholar of A. Balestra. History. i8th century. Venturini (Gasparo), Italian. Ferrara. Scholar of D. Castelli. History. About 1594. Venusti (Marcello), Italian. Man- tua. Scholar of P. del Vaga. History. 1515-1576. Ver acini (Agcstino), Italian. L 2 234 The Picture Amateur's Handbook. Florence. Scholar of S. Ricci. History. D. 1762. Veralli (Filippo), Italian. Bo- logna. Scholar of F. Alhano. Land- scapes. About 1678. Verbeck (Peter), Dutch. Land- scapes. Hunting parties. Conversa- tions. Halts of travellers. He is said to have been one of the instructors of P. Wouwerman, whose early pictures bear some resemblance to his style. About 1640. Verbius (Arnold), called the Liber- tine. History. Portraits, Gallant subjects. 1646-1 704. Verboom ( ), Dutch. Land- scapes, in a style partaking of Water- loo and Both. 1 7th century. Verbrugge (Andriesz Gysbert), Dutch. Scholar of G. Dow. Por- traits. Interiors. D. 1730. Verbruggen, or Terbruggen (Henry), Dutch. Scholar of A. Bloemaert. History. 1588-1629. Verbruggen (Gaspar Peter), Fle- mish. Fiuit. Flowers. 1668-1720. Vercellesi (Sebastiano), Italian. Reggio. Scholar of L. Spada. His- tory. About 1650. Vercelli (Fra Pietro da), an old painter of the Milanese school. Reli- gious subjects. About 1466. Verdier (Fran5ois du), French. Scholar of Le Brun. History. 1651- 1730. Verdizzotti (Giov. Maria), Italian. Venice. Scholar of Titian. Land- scapes. 1525-1600. Verdoel (Adrian), Dutch. Scholar and imitator of Rembrandt. 1620- 1681, Verdot (Claude), French. Scholar of Bon Boullogne. History. 1667- 1733. Verdussen (John Peter), Dutch. Hunting pieces. Horse fairs. About 1750- Verelst (Simon), Flemish. Flowers. Fruit. History, Portraits. 1664- 1710. Verelst (Hermann), the brother of the preceding. Fruit. Flowers. D. in England 1700. Verelst (Cornelius), the son of the preceding, and his imitator. i8th century. Verelst (Maria), the sister of the preceding. Portraits, of small size. B. 1630. Verelst. See Verhelst. Verendael (N.), Flemish. Fruit. Flowers. 1659-17 17. Vereycke (Hans), Flemish. Land- scapes. Portraits. B. 1510. Vergara (Jose), Spanish. Por- traits. 1726-1799. Vergazon (Henry), Dutch. Land- scapes. Ruins. Backgrounds in the pictures of Kneller. 1 7th century. Verhaecht (Tobias), Flemish. Landscapes. 1 566- 1631. Verhagen (Peter Joseph), Flemish. History. 1 728-18 1 1 . VERHELST, or VERELST (Peter), Dutch. Familiar subjects, in the style of Mieris and Slingelandt. 17 th century. Verheyden (Francis Peter), Dutch. Huntings, in the style of Fr. Snyders. Poultry, in the style of Houdekoeter. 1659-17 ii. Verheyden (Matthew), the son of the preceding. Scholar of Karel de Moor. Portraits. B. 1700. Verheyen (Hendricks), Dutch. Views of towns, in the style of Van- der Heyden. B. 1768. Verhoek (Peter Cornelius), Dutch. Battles and skirmishes, in the style of Borgognone. B. 1642. Verhoek (Gysbert), the brother of the preceding. Battles. Marches. Encampments. 1 644- 1690. Verhulst (Peter), Dutch. Fruit, flowers, and insects, in the style of O. Marcellis. Verkolie (John), Dutch. History, in small. Conversations. Portraits. 1650-1693. Verkolie (Nicholas), the son of the preceding. Portraits. Domestic sub- jects. History. 1673-I746. Dictionary of Painters. 235 Vermeer (John). See Meer. Vermeulen (Cornelius), Dutch. A copyist after the old masters. 1732- 1813. VERMEULEN (Andrew), the son of the preceding. Landscapes, %vith figures and cattle. Winter scettes. 1763-1814. Vermeyen, or Mayo (John Cor- nelius), called Barbalunga. Dutch. History. 1 500-1 5 59. Vermiglio (Giuseppe), Italian. Turin. History. Living 1675. VERNET (Claude Joseph), an eminent French landscape and marine painter, born at Avignon in 1714, was instructed by his father, an obscure painter, and at the age of eighteen set out for Italy, where he received in- struction from Adrian Manglard and Bernardino Fergioni. He remained in Italy twenty years (including some time spent in Greece), and painted a great variety of landscapes and sea views, which gained him great repu- tation. In 1752 he was invited to Paris by Louis XV., and was com- missioned to execute pictures of the principal seaports of France. D. 1789. His pictures possess the beauty and freshness of nature, and are excel- lent in every respect, but mostly in the management of light and shade, and aerial perspective. He was deficient only in the rigging and construction of ships. His figures are well drawn and touched with spirit. Imitators and copyists: — Lacroix, Hubert Ro- bert, Hue, and Louis Philippe Ci'epin. VERNET (Carle), a distinguished French painter, the son of the pre- ceding, was born at Bordeaux in 1758. He painted battles with great success ; but his smaller scenes, referring to camp life, and small equestrian por- traits, pleasing. They show unusual skill in depicting the horse. D. 1835. VERNET (Horace), an eminent PTench painter, the son of the pre- ceding, was born at Paris, in the Louvre, in 1789. He painted with considerable merit battles, scenes of military life, domestic scenes, rural feasts, huntings, &c. His ‘ Taking of the Smalah,’ from the Algerian war, in the Versailles Gallery, is said to be the largest canvas in existence. He was undoubtedly one of the most powerful battle painters who ever lived. His knowledge of military tactics is unmistakeable, particularly in giving evidence in his compositions to the chief aim of the victorious army. D, 1863. Vernici (Giov. Battista), Italian, Bologna. Scholar of the CaraccL History. Portraits. D. 1617. Vemigo (Girolamo), Italian. Ve- rona, Landscapes. D. 1630. Verocchio (Andrea), a celebrated Florentine artist, born in 1432, painted very little, though he had Pietro Peru- gino and Leonardo da Vinci among his pupils, and totally relinquished the pencil w'^hen he found himself surpassed by the latter. He was a distinguished goldsmith and sculptor. D. 1488. Verona (Battista da). See Zelotti. Verona (Stefano da). See Stefano. Verona (Jacopo da), an old painter w'ho was living in 1397. Religious subjects. Verona (Maffeo da), Italian. His- tory, in the style of Veronese. 1576- 1618. Verona (Padre Massimo da), a Capuchin monk. Scholar of Bassetti, History. 1599-1679. Verona (Fra Simplice da), a Capuchin monk. History. About 1574 - Veronese (Alessandro). See Turchi. Veronese (Claudio). See Ridoifi. Veronese (Paolo). See Cagliari. Verrio (Antonio), Italian. Naples. Decorative pictures. He was invited to England by Charles IL, painted the ceilings at Windsor Castle and Hamp- ton Court, and died there, 1707. VERSCHURING (Henry), an 236 The Picture Amateut^s Handbook. eminent Dutch, painter, born in 1627, studied under Th. Govertz and John Both, travelled in Italy, and afterwards settled at Dort. He painted land- scapes, battle pieces, attacks of banditti, in excellent style. D. 1690. Verschuring (William), the son of the preceding, and the scholar of J. Verkoli. Portraits. Conversations. Domestic subjects. 1657-1715. Verschuur (Ideven), Dutch. Sea- pieces. River viezus. Moonlight scenes. 1630-1691. Verschuur (Albert), the brother of the preceding. Portraits. D. 1691. Versteeg (Michael), Dutch. Land- scapes. Interiors and conversations by candlelight. 1756-1840. Vertangen (Daniel), Dutch. Landscapes, with figures, in the style of Poelemburg. B. 1598. Verveer (Ary Hubert), Dutch. History, with figures naked. B. 1646. Verwilt (Francis), Dutch. Land- scapes in the style of Poelemburg. 1598-1655. Verzelli (Tiburzio), Italian. Reca- nati. Perspective and architecture. D. about 1700. Viani (Antonio Maria), called II Vianino, Italian. Cremona. Scholar of the Campi. History. 1 6th century. Viani (Giov. Maria), Italian. Bo- logna. Scholar of F. Torre. His- tory. D. 1700. Viani (Domenico Maria), the son of the preceding. History. 1668- 1711. Vicente (Bartolome), Spanish. History. Landscapes. 1640-1700. Vicentini (Antonio), Italian. Venice. Perspective views, in the style of Canaletti. 1688-1782. Vicentino (Andrea), Italian. Venice. Scholar of Palma the elder. History. 1 539- 1 6 1 4. Vicentino (Marco), the son and scholar of the preceding. History. 1 6th century. Vicentino (Francesco), Italian. Milan. History. Landscapes. About 1550- Vicentino (Francesco Maffei), Italian. Vicenza. History in the style of Veronese. D. 1660. Vicentino (Giov. Niccolo), called Rossigliani. Italian. Vicenza. His- tory. B. about 1510. Vicinelli(Odoardo), Italian. Rome. Scholar of Giov. Maria Morandi. History. 1684-1755. Vicolungo (di Vercelli), Italian. Imitator of B. Lanini. History. 17 th century. VICTOR, or FICTOOR (Jan), an eminent Dutch painter, born about 1600, was most probably a pupil of Rembrandt, whose style he followed successfully. Subjects of the Old Testa- ment. Portraits. D. about 1670. Victor, or Fictoor (F., Jacob, and Lodovic), probably the sons of the preceding. F. Victor painted familial' subjects; Jacob, animals; Lodovic, still-life. 17 th century. Victoria (Vicente), Spanish. Scholar of C. Maratti. Histozy. D. at Rome, 1712. Vidal (Diego), called the Elder, Spanish. History. 1583-1615. Vidal de Liendo (Diego), called the yoimger, the nephew of the pre- ceding. History. 1602-1648. Vidal (Dionisio), Spanish. His- tory. B. about 1670. Vidal (Jose), Spanish. Battles. Familiar subjects. 17 th century. Vidal (L.), Dutch. Frtdt, flowers, and still-life, in the style of Van Os the elder. Vieira (Francisco), Portuguese. Scholar of Trevisane. History, 1699- 1783- . Vieira (Francisco), the younger, the son of the preceding. History. D. 1805. VI EN (Joseph Marie), an eminent French painter, born at Montpelliei', 1716, studied under A. Rivalz, of Toulouse, and C. Natoire, at Paris, afterwards travelled in Italy. On re- Dictionary of Painters. 237 turning to Paris he painted a number of works, which indicated a decided revival in the French school, a re- action against the style of Vanloo and Boucher, and a preference for the antique, which was carried to the extreme by his pupils, Vincent and David. His works are much in the manner of the Caracci ; his subjects were taken from the Scriptures, from ancient and 7 nodern history, and from Greek fnythology. D. 1809, at the great age of 93. Vien (Marie Reboul), the wife of the preceding. Flowers. Still-life. D. 1805. Vien (Joseph Marie), the son of the preceding artists. Portraits. B, 1761. Vieux (Renaud le), French. His- tory. 17 th century. Vigee (Marie-Louise-Elisabeth). See Lebrun. Vignali (Jacopo), Italian. Flo- rence. Scholar of Mat. Bosselli. History. 1592-1664. Vignerio (Jacopo), Italian. Mes- sina. History, in the style of Poli- doro da Caravaggio. i6th century. Vignola (Girolamo da), Italian. Modena. History. i6th century. Vignon (Claude), French. His- tory, in the style of M. A. Caravaggio. 1590-1670. Vignon (Philippe), the son of the preceding. History. 1634-1701. Vignon (Claude Francois), the brother of the preceding. History. 1635-1703. Vigri (Caterina), Italian. Bo- logna. Mmiatures. 1413-I463. Vila (Senen), Spanish. History. D. 1708. Vila (Lorenzo), the son and scholar of the preceding. History. 1682-1713. Viladomat (Don Antonio), Spanish. History. Landscapes. Battles. Por- traits. 1678-1755. Viladomat (Don Jose), the son and scholar of the preceding. History. 1 8th century. Villacis (Don Nicolas de), Spanish. Scholar of Velasquez. History. D. 1690. Villafranca (Malagon, Pedro de), Spanish. Scholar of V. Carducci. Histoiy. About 1650. Villegas Marmolego (Pedro de), Spanish. History. D. 1597- Villequin (Etienne), French. His- tory. Portraits. 1619-1688. Villoldo (Juan de), Spanish. His- tory. 1 6th century. Vimercati (Carlo), Italian. Milan. Scholar of E. Procaccini. 1660- 1715- Vincent (Fran9ois Andre), French, History. 1 746-1816. Vinci (Gaudenzio), Italian. No- vara. Scholar of P. Perugino. About 1511. VINCI (Leonardo da), an illus- trious Italian master, was born at the Castle of Vinci, 1452. He studied under Andrea Verocchio, who soon perceived his astonishing progress, and feeling his own inferiority relinquished the pencil for ever. The talents of Leonardo eaidy attracted public atten- tion at Florence. He was endowed by nature with a genius uncommonly elevated and penetrating, eager after discovery and diligent in the pursuit, not only in what related to painting, but in mathematics, mechanics, hy- drostatics, music, poetry, botany, astronomy, sculpture, architecture, and also in the accomplishments of horsemanship, fencing, and dancing. Unlike most men of versatile talent, he was so perfect in all these, that when he performed any one, the be- holders were ready to imagine that it must have been his sole study. Lanzi divides Leonardo’s life into four periods, the first of which includes the time he remained at Florence, until 1494. To this period may be referred a head of the Medusa painted for his father, on a round board of fig-tree, and a few other pictures, but more works in sculpture. The second 238 The Picture Amateur's Handbook. period of Leonardo’s life commences with his residence at Milan, where he was appointed in 1494, by the Duke Lodovico Sforza, the director of an academy of painting and architecture, and ends in 1500, when Lodovico Sforza was overthrown and made a prisoner by the French. Being more employed in mechanics than painting, he produced only a few pictures, yet to this period belongs his immortal (though wholly decayed) wall paint- ing of the Last Supper in the refectory of the Dominicans. The third period commences at the time of the return of Leonardo to Florence, 1500 ; hav- ing now attained his highest skill and mostly unoccupied with other pursuits, he painted in his best manner. Such, says Lanzi, is the specimen that was preserved at Mantua, but which was stolen, and after many vicissitudes was sold for a high price to the Court of Russia, the subject being a Holy Family ; his own portrait in the Ducal gallery at Florence ; also another head, called a portrait of Raf- faelle ; the half-length figure of a young nun so much commended by Bottari ; the picture of ‘ Christ disputing in the Temple,’ and the supposed por- trait of Queen Giovanna, in the Doria Palace; the ‘Vanity and Modesty,’ in the Barberini Palace ; the Madonna of the Albani Palace, that appears to be requesting the lily which the infant Jesus holds in his hand, drawing back as if unwilling to part with it ; such also the cartoon of St. Anna, for the church of the Servi at Florence, and the celebrated portrait of ‘ Mona Lisa,’ the wife of Francesco Gio- condo, purchased by Frances I. and now in the Louvre. Leonardo visited Milan about 1512, and painted two portraits of the young duke Maximi- lian, the son of Lodovico ; in 1514 he returned to Florence. Soon after he visited Rome, and was about to begin some works for Leo X., when the want of courtesy which he found in the Pope offended him, and he left in disgust. This departure from Rome marks the relinquishment by Leo- nardo of the art of painting and the commencement of the fourth period of his life. He set out for Pavia at the invitation of Frances I. of France, accompanied him to Bologna, in 1516 to Florence, and finally to France. His health was at that time so much enfeebled that he could execute little or nothing more. During an indisposi- tion of five years, he continued to receive marks of the king’s esteem and favour, and he expired at Fon- tainebleau on May 2, 1519, aged sixty-seven. Vasari relates that he died in the arms of Francis I., who happened to be visiting him at his chamber. Mengs has noticed that no artist could surpass Vinci in the grand effort of his chiaro-oscuro : he instructed his pupils to make as cautious a use of light as of a gem, not lavishing it too freely, but reserving it always for the best place ; and hence we find in his and in the best of his disciples’ paintings, that fine relief, owing to which the pictures, and in particular the countenances, seem as if starting from the canvas. In subjects which he undertook fully to complete, he was not satisfied with only perfecting the heads, counterfeiting the shining of the eyes, the pores of the skin, the roots of the hair, and even the beating of the arteries ; he likewise portrayed each separate garment, and every accessory with minuteness. But while he bestowed his attention in this manner on the minutiae, he at the same time led the way to a more en- larged and dignified style, entered into the most abstruse inquiries as to the source and nature of expression, the most philosophical and elevated branch of the art, and smoothed the way, so to say, for the appearance of Raffaelle. The chief characteristic of Leonardo da Vinci consists of a re- finement of taste, of which no equal Dictionary of Pamtevs. example, either preceding or follow- ing him, is to be found. His works are exceedingly rare, and only to be found in a few noble galleries. His most celebrated scholars were Ber- nardino Luini, Francesco Melzi, and Marco Uggione ; Lorenzo di Credi and Giuliano Bugiardini painted success- fully in his style. Next among his numerous imitators and copyists come Cesare Arbasia, Antonio Beltraffo, John van Hem 7 uessen^ Andrea Salai, Cesare da Sesto, Antonio Sogliani. Vinck (J.), Dutch. Landscapes. Portraits. 1 7th century. Vinckenbooms (David), Flemish. Landscapes, in the style of Roland Savery and J. Breughel, decorated with subjects from the Bible. Fairs. Merry-makings. Conversations, &c. 1578-1629. Vini (Sebastiano), Italian. Verona. History. i6th century. Vinne (Vincent Laurensz vander), Dutch. Scholar of Fr. Hals. His- tory. Portraits. Landscapes. Drolls. 1629-1702. Vinne (Lawrence vander), the son of the preceding. Flowers. Plants. 1658-1729. Vinne (John), brother of the pre- ceding. Scholar of J. van Hugtenburg. Landscapes. Huntings. D. 1721. Viola (Giov. Battista), Italian. Bologna. Scholar of the Caracci. Landscapes, with figures by Albano. D. 1622. Viola (Domenico), Italian. Naples. Scholar and imitator of Mattia Preti, called Calabrese. History. D. about 1696. Visaed (Antonio), called also 11 Visaed. Italian. Urbino. Scholar ofF. Baroccio. History. About 1600. Visch (Matthias de), Flemish. History. 1 702- 1765. Visino (II), Italian. Florence. Scholar of Albertinelli. History. D. about 1512. Viso (Fray Cristobal del), a Spanish monk. History. D. about 1700. L 239 V i S S C h e r (Theodore), Du tek . Scholar of Berghem and his imitator. Landscapes. B. 1650. Vitali (Alessandro), Italian. Ur- bino. Scholar and imitator of Baroccio. History. 1 5 80- 1 630. Vitali (Candido), Italian. Bologna. Scholar of C. Cignani. Anhnals. Birds. Flowers. 1680-1753. Vitali (Giuseppe), Italian. Bologna. Scholar of G. dal Sole. History. About 1700. Vite (Timoteo della), Italian. Urbino. A scholar of Francia and an assistant of Raffaelle. Histojy. 1470-1524. Vite (Pietro della), probably the brother of the preceding. History. 1 6th century. Viterbo (Tarquinio da), Italian. Viterbo. Landscapes, with figures by Giovanni Zanna. 17th century. Vito (Niccola di). Italian. Naples. Scholar of Antonio Solario. History. About 1440. Vitringa (Wigerus, commonly called William), Dutch. Marines, in the style of Backhuysen. 17th century. Vitrulio ( ), Italian. Venice. History. i6th century. VIVARINI (da Murano), a family of Venetian painters, that flourished in the 15th century, and painted religious history for the Churches of Venice. Viviani (Antonio), called II Soj'do. Italian. Ancona. Scholar and imitator of F. Baroccio. 17th century. Viviani (Lodovico), the brother of the preceding. Urbino. History, in the style of Baroccio. 1 7th century. Viviani (Ottavio), Italian. Brescia. Scholar of Tommaso Sandrini in architecture and Agostino Tassi in landscape. Architecture. Landscapes with figm-es. 1599-1674. Vivien (Joseph), French. Scholar of Ch. le Brun. Portraits (especiaiiy of ladies). 1657-1735. 3 240 The Picture Amateurs Handbook. Vlerick (Peter), Flemish. Scholar rTTintoretto. History. 1539-1581. Vleug'hels (Philip), Flemish. His- tory. 1620-1694. Vlieger (Simon de), Dutch. Marine subjects. Landscapes. Was the instructor of the younger Vande- velde. D. about 1670. Vliet (William van), Dutch. His- tory. Portraits. 1 584-1 642. Vliet (Flenry van), the nephew of the preceding. Scholar of Mirevelt. Portraits. Interiors of churches, in the style of Em. de Wit, sometimes by torchlight. Moonlight scenes. About 1650. Voet (Charles Boschaert), Dutch. Flowers. Birds. Still-life. 1670-1745. Voglar (Carlo), Dutch. Flowers. Dead game. D. at Rome 1695. Volckaert (Nicholas), Dutch. Religious subjects. I450-1519. Vollerdt, or Vollaerdt(Christopher), German. Scholar of Al. Thiele. I.andscapes. 1708-1769. Vollevens (John), Dutch. Scholar of N. Maas and J. de Baan. Por- traits. 1649-1728. Volpati (Giov. Battista), Italian. Bassano. History, in the style of G. Carpioni. 1633-1706. Volpi (Stefano), Italian. Siena. History. 17th century. Volterra (Daniele di). See Ric- ciarelli. Volterrano (II). See Franceschini. Voltri (Niccolo), Italian. Genoa. A follower of Giotto. Religious sub- jects. About 1401. Vonck, or Vonk (C ), Dutch. Birds. Animals. Still-life, in the style of Fr. Snyders and Melchior Houdekoeter. 17th century. V o o g d (Hendrick), Dutch, Scholar of J. Andriessen. Land- scapes %vith figtires. He was called the Dittch Clattde. 1 766-1839. Voorhout( John), Dutch. History. Portraits. 1 64 7- 1 7 1 o. Voort (Cornelius vander), Dutch. Portraits. 1580 1632. Vorstermans (John), Dutch. Scholar of H. Zachtleven. Excellent landscapes. 1643-1699. Vos (Peter de), Flemish. History. Portraits. i6th century. VOS (Martin de), the son of the preceding, and an eminent Flemisli painter, born at Antwerp in 1520, studied under Fr. Floris, travelled in Italy, and improved his colouring under Tintoretto. After an absence of four years, he returned to his own country and settled at Antwerp. History. Portraits. Landscapes. His manner resembled that of Tintoretto, with less variety, fire and energy. In portraiture, he was the precursor of Rubens and Vandyck. D. 1604, Vos (William de), the nephew and scholar of the preceding. Portraits. History. About 1585. Vos (Paul de), Flemish. Probably a scholar of Fr. Snyders. Battles. Huntings. 1600-1654. Vos (Paul de), the son of the pre- ceding, followed his style. 17th century. Vos (Cornelius de), the son of the preceding. History. Portraits. 1690- 1751. Vos (Cornelius de), a contemporary of the preceding, also Flemish, was a scholar an imitator of Vandyck. Vos (Simon de), Flemish. Scholar of Rubens. History. Portraits. Excellent huntings. About 1662. Vos (de). Several Flemish painters of that name, of little note, down to the present day. Vosmeer (James Wouters), Dutch. Landscapes. Fruit. Flowers. 1584- 1641. Vostermans. See Vorstermans. VOUET (Simon), an eminent French painter, commonly considered the founder of the French school, was born at Paris, 1582. He travelled in Turkey and Italy, was first attracted by the works of P. Veronese, and afterwards adopted the style of Cara- vaggio. On returning to France, Dictionary of Painters. 241 1627, after a residence of 14 years at Rome, he was appointed painter to the king, and painted ceilings, galle- ries, altar-pieces, portraits, in a man- ner distinguished by surprising facility, and gay, but inharmonious, colouring. The improved taste which he intro- duced in the French school was fur- ther exalted by his disciples, especially by Le Brun, Le Sueur, Mignard, du Fresnoy, and otfiers. D. 1641. VOYS (Ary de), Dutch. Scholar of A. vander Tempel and P. van Slingelandt. Cabinet pictures of his- tory, portraits, convei'sations, domestic subjects, in highly finished style. His works are rare and esteemed. 1641- 1698. Vree, or Vreem (Nicholas de), Dutch. Landscapes. Flow^ pieces. 1650-1702. Vries (John Fredeman de), Dutch. Perspective views, most frequently in the pictures of his contemporaries. B. 1527. Vries (Paul de), the son of the pre- ceding. Antwerp. Perspective views. 1554-1598. Vries (Solomon de), another son and scholar of John F. de Vries. Antwerp. Landscapes. Ruins. D. 1604. Vries (Peter de), the son of the preceding. Followed his style. 1587- 1642. Vries (John Renier de), Dutch. Landscapes in the style of Ruysdael. 17th century. Vroomans (Nicholas), Dutch. Ser- pents, lizards, and toads. About 1685. Vroom (Henry Cornelius), Dutch. Marines. 1 566-16 19. Vrye (Thierry de), Dutch. LListory. Portraits. D. at Paris 1582. Vuez (Arnold), French. LListory in good style. B. 1642. D. at Lille 1724. Vuibert (Remi), French. Probably a scholar of Simon Vouet. LListory. B. 1607. Vyth (John Martin), Swiss. LLis- tory, 1650-1717. w I Waal. See Wael. i WAARD, or WAERD (An- I thony de), Dutch. Scholar of S. vander Does. LListory. Portraits. Landscapes. Animals, with conside- rable merit. 1689. About 1752. I Waas, or Waes ( Aart van), Dutch. ] Scholar of Crabeth. Conversations, I Familiar subjects. D. about 1646. Wach (Karl Wilhelm), German. LListory. Portraits. 1 7 90- 1845. Waegman (Henry), Swiss. LLis- j tofy. B. 1536. I Wael, or Waal (John de), I Flemish. Scholar of Frank, the I elder. LListory. 1557-1602. Wael, or Waal (Lucas de), the son of the preceding. Scholar of J. Breughel. Battle pieces. Moun- tainous and rocky landscapes. 1591- 1676. Wael, or Waal (Cornelius de), the brother of the preceding. Battles. Skirmishes. Processions. Landscapes. Sea-jights. 1594. About 1665. Wagner (John George), German. Scholar of Dietrich and his imitator. Scriptural subjects. Lnteriors. 1732- 1767. WALKER (Frederick, A.R.A.), an eminent English painter, born in London, 1840, studied first in the British Museum and at the school of Mr. Leigh, was admitted at the Royal Academy Schools at the age of seventeen, and at the same time began wood engraving for book illustration. He exhibited his first picture in 1863, was made an Associate in 1871, and died prematurely 1875. His best works are ‘ The Bathers ’ and ‘ The Old Gate.’ 242 The Picture AniateuTs Handbook. WALKER (Robert), English. Portraits. He was an imitator of Vandyck, and the painter in ordinary to Cromwell. D. 1660. Wall (William Rutgaart vander), Dutch. Landscapes with figures. Animals. 1756-1813. WalHut (Francesco), called Mon- sieur Studio. Flemish. Landscapes. Sea views, in the style of Claude. 1 8th century. Walmsley (John), English. Land- scapes of small size in excellent style. 1763-1805. Walraven (Isaac), Dutch. His- tory. Fancy pieces. 1 686-1 765. WALSCAPELLE (Jacob), an eminent Dutch painter of flowers, of whom little is known, excepting the excellence of his works. Probably a scholar of D. de Heem, whose style he followed. 17th century. Walter (Henry), English. Land- scapes. Cattle. D. 1849. Wans, or Wamps ( ), Flem- ish. Landscapes. Copies after Van- dyck. 17th century. WARD (James, R.A.), an emi- nent English painter, born in London, 1769, started in life as an engraver, but soon devoted himself to animal painting. His ‘Bull,’ recently pur- chased by the National Galleiy for 1,500/., was painted about the end of the century. He attempted history, but did not succeed, his chief merit being in painting horses and bulls or cows. His works are very numerous, and of very unequal merit and value. D. 1859. Wassemberg (John Abel), Dutch. Scholar of A. vander Werf. Decorative pictures. Portraits. Cabinet pictures of sacred and profane history in the finished style of his master. 1689-1750. Wasssemberg (Gertrude), the daughter and scholar of the preceding. Imitated his cabinet pictures. D. 1782, Wasser (Anna), Swiss. Excel- lent portraits. Pastoral and rural subjects, chiefly in miniature. 1679- 1713. W A T E R L O O (Anthony), an eminent Dutch painter, born about 1618, passed his artisticlife at Utrecixt, and painted excellent landscapes. His scenery was generally taken from the environs of that city; broken roads with a few trunks of trees, solitary cottages, water-mills, being his favourite subjects. Weenix and other eminent artists frequently in- serted figures and cattle in his pic- tures. His works are highly esteemed. WATTEAU (Antoine), a pre- eminent French painter, born at Va- lenciennes in 1684, studied at Paris under Claude Gillot, a painter and engraver of grotesque or fabulous sub- jects. He soon surpassed his in- structor in the same style, which is accounted his first manner. Shortly after this, he was employed in the Luxembourg Gallery, to make some designs after Rubens, and he was so impressed by the splendid works before him, that he devoted himself to a passionate study of colour and chiaro-oscuro, at the same time de- signing from the living model in the Academy. From that time dates his second manner, called Rubenesque. Finally, the influence of Italian pre- ferences was marked in his works by a third style, more dark in colouring, called his Ltalian manner. Notwith- standing that impression left succes- sively upon his works by his succes- sive models, Watteau was intensely and completely original. In fact, like Hogarth in the English school, he stands quite alone in the French school. His subjects are usually comic conversations, musical parties, balls, masquerades, gallant and pas- toral subjects, marching, halts, en- campments of armies. They are always designed with a peculiar cor- rectness and elegance, finesse, ease and natural grace. His colouring is fresh Dictionary of Painters. 243 and splendid, and he is equally ad- mired in the tenderness of his carna- tions, the brilliancy of his habiliments and the verdure of his landscapes. His pencil is free and flowing, his touch neat and spirited, and yet his pictures are carefully finished in every part. The figures which he introduces into his compositions, in whatever character he designs them, have a peculiar naivete and grace in the airs of the heads, in the attitudes and ac- tions. Watteau was indefatigable in the exercise of his pencil, and left a large number of works, which are nevertheless held in the highest esti- mation, and always command the largest prices. D. 1721. Imitators and copyists: — Nicolas Lancret^ Jean Francois Nollekens, Jean Alexis Gri- mou, Jean Henri Keller, Philippe de la Hire, Philippe Meusnier, Bona- venture des Carres, Jean Baptiste Pater, Georges vander Myn, N. An- chihts. Watts (Jane), a British paintress. Landscapes. 1 789-1 826. Webb (Westfield), English. Pot- traits. Flovoer pieces. D. 1772. Webber (John, R.A.), English. Landscapes. Scenes in the South Seas. 1752-1793- Weeling (Anselm)., Dutch. Candle- light scenes, in the style of Schalken. 1675-1749- WEEN IX, orWEENINX(John Baptist), the elder, an eminent Dutch painter, born at Amsterdam in 1621. Studied under A. Bloemaert and Nic. Moyaert, and afterwards travelled in Italy for four years. H e painted history, portraits, landscapes, seaports, animals and dead game, in all which branches he showed uncommon ability ; but his greatest excellence v/as in painting Italian seaports, of large size, en- riched with noble edifices, and deco- rated with figures representing embar- cations and all the activity of com- mercial industry. In these subjects he has scarcely been surpassed, except by his pupil N. Berghem. D. i66cv aged 39 years. WEENIX,or WEENINJI (John), the younger, the son of th^ preceding, and also a pre-eminent pain- ter, born in 1644. Studied with hig father until the age of sixteen, when his instructor died : yet he had made such progress that he was able to pro- secute his studies by the attentive ob- servation of nature. Though a less universal talent than his father, he excelled in the representations of /mn- tings, dead game, and every species of animal, whether alive or dead. D. 1719. Imitators and copyists : — R. Admiral, Wybrand Hendricks, Le- lienberg. Van Straaten, Theodore Valkenburg. Weerdt (Adrian de), Flemish. His- tory in the style of Parmiggiano. 1510-1566. Weesop ( ), Dutch. An imi- tator of Vandyck. In England from 1641 to 1649. Well (Arnold van), Dutch. Scho- lar of Andrew V ermeulen. Landscapes by moonlight. Winter scenes. 1772- 1818. Werdmuller (Rudolf), Swiss. His- tory. Portra its. 16 39-1668. Werenfelds (Rudolf), Swiss. Por- traits. 1629-1673. WERE (Adrian vander), an emi- nent Dutch painter, born in 1659. Studied under Eglon vander Neer, and devoted his abilities to cabinet pictures of history, religious and fabu- lous ; few painters have carried finish- ing to so high a pitch as Vander Werf, yet his pictures produce a less pleasant effect than those of Gerard Dow and Fr. Mieris. His figures and heads are generally well drawn, and his draperies excellent ; but there is a want of transparency in his co- louring, from his admitting little or no reflections of light. D. 1722. His works are rare (they do not number more than about 160) and purchased at high prices. Im itators and copyists : — 244 The Picture Amateur's Handbook. N. van Heenis, Nicholas Juweel^ Henry van Limhorgh, Gerard Melder^ William Muys, Engel Sam, John Chr. Sperling, John Abel Wassemberg, Elisabeth Gertrude Wassemberg, Peter vander Werf. Werf (Peter vander), the brother, scholar, and imitator of the pre- ceding, painted also portraits and co 7 iversations. 1665-1718. WERNER (Joseph), an eminent Swiss painter, born in 1637, studied under Matthew Merian, the younger, and afterwards travelled in Italy. He painted history in oil and fresco with considerable merit, but having a pre- dilection for high finishing, he after- wards devoted himself to miniature painting, which he carried to perfec- tion, especially in D. 1710. WEST (Benjamin, P.R.A, ), an eminent British painter, was born, 1738, in Chester county, Pennsyl- vania, where his father, a Quaker of Long Crendon, Buckinghamshire, liad emigrated in 1715. He seems to liave been born an artist, and he was at all events a self-taught one ; at the age of 16 he began to paint portraits, first in his own neighbourhood, and then in New York. In his 22nd year, he determined to visit Europe, and embarked for Italy. He studied during three years at Rome, Florence, and Bologna, and in 1763 went to London, preceded by a reputation. In the following year he exhibited a portrait, and settling down in his art with the intention of remaining in England, he married a young Ameri- can lady to whom he had been en- gaged at Philadelphia. In 1765 he exhibited his first histo 7 'ical picture, the ‘ Orestes and Pylades, ’ now in the National Gallery, and afterwards ‘The Continence of Scipio,’ ‘Agrip- pina with the Ashes of Germanicus,’ ‘The Departure of Regulus.’ In 1768 he was one of four artists who submitted to the king the plan for a Royal Academy, and he became one of the thirty-nine first members. In 1772 he was appointed historical painter to the king ; in 1 790 surveyor of the royal pictures; and in 1792 he was elected, on the death of Rey- nolds, the President of the Royal Academy, but declined the proffered honour of knighthood. He painted, during this period, the ‘Death of Wolfe.’ the ‘Battle of La Hogue,’ ‘ Christ Healing the Sick, ’ now in the National Gallery, ‘Christ Re- jected’ (1814), and ‘Death on the Pale Horse’ (1817). His long career was then drawing to a close, and he died in Newman Street, March ii, 1 820, in his 82nd year. Exalted to a high pinnacle in his lifetime, and considered by Sir Thomas Lawrence and Sir Martin Shee ‘the greatest historical painter since the days of the Caracci,’ West has since been unjustly depreciated. His aim at least was high ; he attempted great works, and deemed no subject above his powers ; the English school owes to him the abandonment of classic subjects in the treatment of modern events : yet his compositions are conventional, his figures lack indi- viduality, his manner was flat, painty, his colour hot, foxy, and wanting in variety ; on the whole, his works fail to make an impression adequate to his aims. Westall (Richard, R.A.), Eng- lish. History, 1765-1836, Wet (Gerard de), Dutch. Interiors in the style of Rembrandt. Land- scapes. 1616-1679. Weydemans (Frederick William), Dutch. Poidraits. 1 668-17 5 °- WEYDEN (Roger vander), an early Flemish master, most probably the same as the celebrated Roger of Bruges, otherwise Ruggieri da Brugia, whose name frequently occurs in the artistic records of the 15th century. He was at all events a distinguished disciple of the Van Eycks, is supposed to have been the instructor of Mem- Dictionary of Painters. 245 ling, and painted in the Town House of Brussels, in 1436 and 1449. Weyerman (John), Dutch. Fruit. Flowers. 163 6- 1681. Weyermans (Jacob Campo), Dutch. Fruit. Flawers. Still-life. 1679-1747. WHEATLEY (Francis, R.A. ), English. History. Rural and do- mestic subjects. Highly esteemed. 1747-1801. Wickenberg (M. ), Swedish. Win- ter scenes. 1812. D. at Paris 1837. Wieling" (Nicholas), Dutch. His- tory. Portraits. 1671-1689. Wierengen (Cornelius Nicholas van), Dutch. Sea pieces. Storms. Landscapes. 1600-1658. Wiering (Gerard), Dutch. Land- scapes. Sunsets. Whiter pieces. D. 1817. Wigmana (Gerard), Dutch. Cabi- net pictures of history. 1673-1741. WILDENS (John), an eminent Flemish painter, born in 1584, painted landscapes in excellent style, and was often employed by Rubens for the backgrounds of his own pictures. D. 1644. WILHELM (von Coeln), called Meister Wilhelm of Cologne.^ an early German master, of whom nothing is known except that several pic- tures of doubtful authenticity, pre- served in the cathedral and churches of Cologne, and supposed to have been painted in the 14th and 15th centuries, are attributed to him and to Meister Stephan, his pupil. WILKIE (Sir David), an illus- trious British painter, was born at the Manse of the parish of Cults, Fife- shire, Scotland, November 18, 1785. During early childhood he manifested a strong love for art, and entered at the age of 14 the schools of the Aca- demy of Edinburgh for the encourage- ment of manufactures. In 1803 he won the premium awarded to the painting of ‘ Callisto in the bath of Diana,’ and in the same year made the sketch of his celebrated picture of ‘ The Village Politicians.’ In 1805 he went to London, and entered the Royal Academy Schools, and in 1806 exhibited his picture of ‘ The Village Politicians,’ which excited universal admiration. From that time com- missions were abundant for him, and his next works were ‘ The Blind Fid- dler,’ now in the National Gallery, ‘ The Card Players, ’ and ‘ The Rent Day.’ After these came ‘The Ward- robe Ransacked, ’ ‘ The Game Keeper, ’ and ‘The Village Festival,’ now in the National Gallery. In 1809 he was elected an Associate, and in 18 ii a member of the Royal Academy. In 1813 he exhibited ‘ Blindman’s Buff.’ In 1814 he visited Paris, in company with his friend Haydon, and on his return, painted ‘ Distraining for Rent.’ In 1820 he exhibited ‘ Reading the Will;’ in 1822, ‘ Reading the Gazette of Waterloo by the Chelsea Pen- sioners,’ a commission of the Duke of Wellington, and the next year ‘ The Parish Beadle,’ in which his first manner and art culminated. After this time Wilkie changed his subjects and became an historical painter. ‘The Entrance of George IV. into Holyrood ’ was one of his new pro- ductions. In 1825, on account of his health, he started for the Continent, and travelled in Italy, Germany, France, and Spain. ‘The Defence of Saragossa’ was painted in 1827, ‘John Knox preaching the Reforma- tion,’ in 1832. In 1836, Wilkie, who had been appointed painter to the king at the death of Lawrence, re- ceived the honour of knighthood. ‘ Columbus submitting to the Spanish authorities the Chart of his Voyage,’ was his next historical work. In 1840 he started for the East in com- pany with his friend Mr. Woodburn, visited Palestine, and, went to Alex- andria. His health had never been vigorous, and he had felt unwell for three months during his travels. On 246 The Picture AmateuT^s Handbook. the 2ist May, 1841, he embarked for England ; on the 26th he arrived off Malta, where he indulged imprudently in fruit and iced lemonades, and he finally expired off Gibraltar on the 1st of June, when his remains were committed to the deep. Though Wilkie, as a painter of domestic and familiar scenes, was highly valued by his contemporaries, and though it may be said that his merits are even more appreciated by posterity, he is not perhaps, except by a few lovers of art, ranked in his true place, which is at the head of the British school, and amongst the most excellent mas- ters. His truly original and British art combined in almost unequalled perfection a correct and tastefol de- sign with the tender and harmonious colouring of Correggio ; the chiaro- oscuro and breadth of Gerard Dow, the humour of Ostade, the exquisite touch of Terburg, with the sentiment of a born poet. His works possess the double and rare merit of being always comprehensible and interesting to the general public, while by the consummate technical ability they exhibit, they can but win the admira- tion of the connoisseur. Willaerts (Adam), Flemish, Marines. Coast scenes. Seaports. 1577-1640. Willaerts (Abraham), the son of the preceding. History. Portraits. 1613-1671. Wille (Peter Alexandre), French. Domestic and familiar subjects. Con- versations. B, 1748. Willeborts. See Bosschaert. Willemans (Michael), German. Scholar of Rembrandt. History. Portraits. 1 630- 1697. Willems (Mark), Flemish. Scholar of Michael Coxcis. History. 1527- 1561.. Williams (Edward), English. Landscapes, chiefly moonlight scenes. 1782-1855. Williams (William), English. Portraits. Landscapes. Fabulous and fancy subjects. 1 8th century. Williams (Solomon), British. History. Portraits. Domestic sub- jects. D. 1824. Williams (J. F., R.S.A ), British. Landscapes. D. at Edinburgh, trea- surer of the R.S.A., 1846. Willingen (Peter vander), Dutch. Still-l ife. 1607-1665. Willingen ( ), Dutch. I?ite- riors of churches. 17 th century. Wils, or Wilts (John), Dutch. Landscapes, sometimes with figures by N. Berghem, his son-in-law. About 1650. Wilson (Benjamin), English. Portraits. D . 1788. WILSON (Richard, R.A.), an emi- nent English landscape painter, born in 1714, studied first under an obscure portrait painter, and in 1 749 went to Italy, to study the great works of the Italian masters. He met, at Venice, Zuccarelli, and at Rome, Joseph Vernet, who recommended him to relinquish portraits, and take to landscape painting. He followed their advice, and soon acquired so great a reputation that he had many scholars, even while in Rome. After an absence of six years, he returned to England, established at once his reputation in this country, was in 1768 one of the first members of the Royal Academy, and died in 1782. The style of Wilson is entirely classi- cal and Italian. His landscapes are fine compositions, mingling the love- liest appearances of nature with dreary and dark desolation, and every touching image which decaying gran- deur in the noblest works of art could suggest to an imagination sincerely enamoured of the antique. His works are exceedingly rare in the market and highly valued. WINCKEL (Theresa Henrietta), a German paintress. Excellent copies, especially after Correggio. B. 1784. Dictionary of Painters. 247 Winghen (Jodocus or Josse van), Dutch. History. B. 1544. Winghen (Jeremiah), the son of the preceding. Portraits. 1578- 1648. Winstantley (Hamlet), English. Scholar of Kneller. Portraits. D. 1761. Winter (Giles de), Dutch. Scholar of R. Brakenburg. Village festivals. Boors regaling. 1650- 17 20. Wissing (William), Dutch. Scholar and imitator of Sir Peter Lely. Pot traits. 1656-1687. Wit, or Witte (Pieter de), called Pietro Candida by the Italians. Flemish. An assistant of Vasari in the Vatican. History in oil and fresco. 1548— about 1620. Wit, or Witte (Cornelius de), the brother of the preceding. Landscapes. 1 6th century. Wit, or Witte (Caspar de), Flem- ish. Landscapes, zvitk ruins. 1621- 1673. Wit, or Witte (Peter de), the younger, the brother of the preceding. Landscapes. 1620. About 1669. WIT, or WITTE (Emanuel de), an eminent Flemish painter, born 1607, studied under Evert van Aelst, a painter of still-life, but did not adopt his style. His pictures usually repre- sent interiors of churches, minutely drawn, in a peculiar manner. D. 1692. WIT (Jacob de), an eminent Dutch painter*, born 1695, studied under A. van Spiers and J. van Halen, and made the works of Rubens and Vandyck his models. He was principally employed in decorating ceilings with historical and allegorical subjects. He painted, however, several cabinet pictures, and was particularly successful in de- signing childrejt or cupids sporting, painted in chiaro-oscuro, which are highly esteemed. D. 1 744. Witherington (William Frederick, R.A.) Landscapes, with figures. 1785 1865. Withoos (Matthew), Dutch. Fruit, flowers, insects, serpents, &c. 1627- 1703- Withoos (John), the son of the preceding. Landscapes. 1648-1695. Withoos (Peter and Francis), the brothers of the preceding. Painted flowers and insects on vellum. Wittig (Bartholomew), German, Festivals. Concerts. 1620- 1684. Wivill (Abraham), English. Por- tfaits. 1786-1849, Wolfaerts (Arthur), Flemish. His- tory, in a grand noble style. 1625- 1687. Wolgemuth (Michael), an early German master, to whom several rather dry and Gothic pictures, of doubtful authenticity, are attributed. He is said to have been born at Nu- remberg in 1434. Wolters (Henrietta), an emi- nent Dutch paintress, bom 1692, studied underaminiature painter called Christ, le Blond, and improved her- self by copying the works of Vandyck, on a small scale, with wonderful accu- racy. She was most successful as a miniature pozdrait ■\pQ.mtxQ's,s. D, I74i- Woodcock (Robert). English, Marines, in the style of Vandevelde. 1691-1728. Wootton (John), English. Scholar of J. Wyck. Landscapes, with ani- mals. Excellent portraits. Land- scapes, in the style of Claude and Caspar Poussin, D. 1765. Worlidge (Thomas), English. Por- traits, in oil and miniature. D. 1766. Worst (John). Dutch. Land- scapes. 1625-1680. Wouters (Francis), an eminent Flemish painter, born 1614, studied under Rubens. He painted excel- lent landscapes, chiefly forest and woodland scenes, embellished with figures taken from mythological or fabulous history, as Pan and Syrinx, Venus and Adonis, &c. D. 1659. Wouters (Gomar), Flemish. Llis- tory. Landscapes. 17th century. 248 Thr Picture Amateur's Handbook. Wouters (James), Dutch. Land- scapes. Fruit, Flowers. 1584- 1641. WOUWERMAN (Philip), a pre- eminent Dutch painter, born at Haer- lem 1620, was the son of an obscure historical painter, from whom he re- ceived his first instruction ; his genius inclining to landscape, he studied under John Wynants, whose pictures he often decorated with figures and animals, being equally excellent in depicting animate and inanimate ob- jects. He designed horses, especially, with a correctness and spirit which has never been equalled. His pictures usually represent hunting and hawking ■Parties, horse fairs, encajnpments, halts of travellers, farriers' shops, inn stables, &c. His figures are admirably drawn, and always grouped with taste and inge- nuity, his pencil firm and delicate, his distances and perspective excel- lent ; his skies, atmosphere, trees, plants are perfect imitations of nature. Although his pictures exhibit the appearance of the most precious finish- ing, they were no doubt painted with wonderful facility, owing to their num- ber ; (Smith’s catalogue records no less than 708. ) In the number are a few grand battle and sporting pieces. D. 1668. — His works are held in the highest estimation. Imitators and copyists:— John van Breda, John van Doornick, Charles van Falens, Parent Gaal, William Kobel, Matthew Scheitz, Govaert Sinjeur, Dirk Stoop, Peter and John Wouwerman, John Wyck, Robert Grijfier, Emmanuel Murant, Pieter Verbeck, Simon du Bois. Wouwerman (Peter), the brother of the preceding, and his most suc- cessful imitator. D. 1683. Wouwerman (John), the younger brother and scholar of Philip Wou- werman. P^ollowed his style. Land- scapes with figures and buddings. D. 1666. WRIGHT (Joseph), of Derby, A.R.A. An eminent English painter, born in 1 734, studied under Th. Hud- son in London, and afterwards re- turning to his native place, chiefly devoted himself to portraiture. He also painted ox.cQ\\Qnt candlelight pieces and conflagrations. In 1773 he went to Italy, where he remained two years, and on his return painted history and landscapes, chiefly the latter, in which he greatly excelled. The National Gallery possesses a splendid ‘ Expe- riment with the air-pump’ by him. Wright of Derby was undoubtedly one of the most powerful and accom- plished painters of the English school. D. 1797. Wright (Richard), English. Ma- rine subjects. 1735-1775. His two daughters, instructed by him, painted fruit, landscapes, and still-life. Wright (Thomas), English. Por- traits. Was the master of R. Wilson. 1 8th century. Wright (Thomas), English. Por- traits. 1792-1849. Wulfhagen (Francis), German. Scholar of Rembrandt. Interiors. Portraits. 1 620- 1678. W ulfract, or W ulfraat (Matthias ), Dutch. History. Portraits. Do- mestic subjects. 1648-1727. Wursch (M.), Swiss. History. 1718-1798. Wyatt (Henry), English. Por- traits. Humorous subjects. 1794- 1840. Wyck (Thomas), Dutch. Sea- ports and shipping. Italian markets. Fairs. Mountebanks, &c., in the style of P. de Laer. 1616-1686. Wyck (John), the son of the preceding. Battles. Sieges. Huntings, somewhat in the style of Ph. Wou- werman, but on larger scale. 1640. D. at Mortlake, 1702. WYNANTS (John), an eminent Dutch landscape painter, was born at Haerlem, in 1600. His instructor is not mentioned. His early works generally represent the picturesque habitation of the peasant, or the ruins Dictionary of Painters. of an ancient mansion, an adjacent road, and the surrounding country. They are always painted in a neat and careful manner, in a tone of colour tending to brown or blackish hues. In his second period he be- comes more excursive, breaks into an open country, and encounters a wide expanse of landscape, composed of hill and dale, woods and rivers, em- bellishing the lovely scene with a rich variety of objects, such as sandy banks, winding roads, withered trees, and wild plants. Occasionally his views are more confined, and the eye is entertained with a faithful picture composed of a clayey bank, a rugged road, an old tree, wild flowers, herbage, and a sedgy pool. Such, with few deviations, compose the views of the whole of his productions. They are often embellished with 249 figures and animals from the pencil of A. Vandevelde, Ph. Wouwerman, or other pupils of Wynants. D. about 1677. His works number about 200, and are highly esteemed. Imitators and copyists: — ^John Francis Beschey, a picture -dealer of Antwerp, Wyntrank, and Dyonisius van Dongen. Wyntrank { ), Dutch. Imi- tator of the preceding as a landscape painter. He painted wild ducks and other birds in excellent style, and often was admitted to insert them in landscapes by Wynants or Ruysdael. 17th century, Wytman (Matthew), Dutch. Landscapes. Domestic subjects., in the style of Netscher, with landscapes in the background. Also fruit and flowers. 1 650- 1 689. X Xavery (Jacob), Dutch. Scholar of Jac. de Wit. History. Portraits. Landscapes. Seaports. Flowers. Bas-reliefs in chiaro-oscuro. B. 1736. Ximenes (Angel), Spanish, Scholar of A. Rubio. History. About 1695. Ximenes de Illescas (Bernabe), Spanish. 1613- 1671, Ximenes Donoso (Juan), Spanish. History. 1628-1690. Ximenes (Don Francisco), Spanish. History. 1 5 98- 1 666 , Ximeno (Matias), Spanish. His- tory. 17th century. Y Yanes (Hernando), Spanish. Scholar of Raffaelle. History. D. about 1650. Yepes (Thomas de), Spanish. Flowers. Fruit. Fish. Game. D. 1674. Ypres (Karel van), Flemish. His- tory, in the style of Tintoretto. 1510- 1564. Yuso (Fra Matias Antonio Trala), Spanish. History. 1680-1753. Yvrart (Baudrin), French. His- tory. 1610-1690. z Zaagmolen (Martin), Dutch. His- tory. About 1670. Zaccagna (Turpino), Italian. Cortona. Scholar of L. Signorelli. History. About 1510, Zacchetti (Bernardino), Italian. 250 The Picture Amateur s Handbook. Reggio. History^ in the style of Raffaelle and Garofolo. About 1523. Zacchia (Paolo), called II Vecchio. Italian. Lucca. History. About 1527. Zacchia (Lorenzo), called II Giovane. Italian. Lucca. History. About 1550. Zaccolini (Padre Matteo), Italian. Cesena. Perspective and architecture. 1590-1630. Zachtleven. See Saftleven. Zaganelli. See Cotignola. Zagnani (Antonio Maria), Italian. Bologna. Fruit. Flowers. About 1670. Zago (Santo), Italian. Venice. Scholar of Titian. History. , About ^ 550 -. Zais (Giuseppe), Italian. Venice. Scholar of F. Zuccarelli. Landscapes. Battle pieces. D. 1784. Zaist (Giovanni Battista), Italian. Cremona. ArchitecUiral views. 1700- 1757. Zamacois ( ), Spanish. Out- door scenes in Spain, of considerable merit. D. 1871. Zamboni (Matteo), Italian. Bo- logna. Scholar of C. Cignani. 17th century. Zambrano (Juan Luis), Spanish. Scholar of Cespedes. Histofy. 1 599 - 1639. Zamora (Diego), Spanish. His- tory. 1 6th century. Zamora (Juan de), Spanish. Land- scapes, with figures. About 1660. Zampezzo (Giov. Battista), Italian. Bassano. History. 1620- 1700. Zampieri. See Domenichino. Zanardi (Gentile), an Italian paintress. History. Excellent copies. 1 8th century. Zanata (Gioseffo), Italian. Milan. History, in the style of Guido. About 1700. Zanchi (Antonio), Italian. Este. Scholar of Fr. Ruschi. History. 1639-1722- Zanchi (Filippo and Francesco), brothers, Italian. Bergamo. His- tory. 1 6th century. Zanella (Francesco), Italian. Padua. History. About 1700. Zanimberti (Filippo), Italian. Brescia. History. B. 1585. Zannichelli (Prospero), Italian. Reggio. Perspective. 1698-1772. Zanno (Giovanni), Italian. Rome. History. Figures in the landscapes of Tarquinio di Viterbo. 17th cen- tury. Zanotti (Giov. Pietro), Italian. Bologna. Scholar of Pasinelli. His- tory. 1674-1765. Zarinena (Francisco), Spanish. Scholar of Titian. History. 1550- 1624. Zarinena (Cristobal and Juan), the sons and scholars of the preceding. 17th century. Zeeman (Enoch), Dutch. Por- traits, in the style of Denner. D. in London 1744. Zeghers. See Segers. Zeitbloom (Bartholomew), an early German master, of Ulm. Religious subjects. ZELOTTI (Battista), an eminent Italian painter, born at Verona, 1532, studied under A. Badile at the same time as P. Veronese, and probably also under Titian. He was inferior to his fellow scholar only for the grace and variety of his compositions, and painted in oil and fresco history and excellent portraits. He settled at Vicenza, where, together with Vero- nese, he established a school, which partook of the taste of both masters. D. 1592. Zenale (Bernardo), Italian. Milan. History, perspective and architecture. D. old, 1526. Ziegler (Jules), French. Scholar of Ingres. History. 1815-1849. Zifrondi (Antonio), Italian. Ber- gamo. History. D, 1730- Zilotti (Domenico Bernardo), Ita- lian. Bassano. Landscapes. In the style of Zuccarelli. About 1730. Dictionary of Painters. 251 Zinani (Francesco). Italian. Reg- gio. Scholar of Bibiena. Perspective. About 1755. Zinck (Christian Frederick), an excellent German painter in enamel. 1685 -1767. Zingaro. See Solaria. Zoboli (Jacopo), Italian. Modena. History. D. 1767. Zocchi (Giuseppe), Italian. Flor- ence. History. 1711-1767. ZOFFANY (John, R.A.), a Ger- man painter of portraits, born at Frankfort-on-the-Maine, 1733, who came to England about 1765, and became one of the foundation mem- bers of the Royal Academy. Portraits of Garrick and others in costume. He travelled in Italy and the East Indies, painted in the latter place several htmting and historical pieces, and died at Kew, 1810. Zola, or Zolla (Giuseppe), Italian. Brescia. Landscapes. 1675-1743. Zompini (Gaetano), Italian. Venice. History. 1702-1778. Zoppo (Marco), Italian. Bologna. Scholar of Squarcione. History. 1451-1517. Zoppo (Paolo), Italian. Brescia. History. i6th century. Zoppo (Rocco), Italian. Elorence. Scholar of P. Perugino. 1 6th century. Zorg. See Pokes. ZUCCARELLI,orZUCCHER- ELLI (Erancesco, R. A.), an eminent Italian landscape painter, born in Tus- cany 1 702, studied under Paolo Onesi, Gio. Maria Morandi, and P. Nelli. His scenery is always pleasing and usually embellished with ruins, cot- tages, and figures, elegantly designed and touched with neatness and spirit. He visited England in 1752, and was one of the original members of the Royal Academy. D. 1788. His pic- tures are always marked with a pump- kin growing on a vine or stuck with a stick on a rustic’s shoulder as the rebus of his name, which in Italian means little pumpkin. ZUCCARO, or ZUCCHERO (Taddeo), an eminent Italian painter, was born in the Duchy of Urbino in 1529. He went to Rome when only 14 years old, in order to become a painter, and he supported himself by grinding colours for the shops, sleeping under the loggia of the Chigi Palace. He soon acquired, however, a reputation, and found considerable employment. History in fresco and in oil. PoHraits. D. 1566. ZUCCARO, or ZUCCHERO (Federigo), the brother of the pre- ceding, and his scholar, assisted him in his large works. About 1574 he went to Flanders, to paint several cartoons for tapestries, and then crossed the Channel and came to England. He met with a favourable reception, and painted a number of interesting portraits, among which was that of Queen Elizabeth. His stay, however, was short. D. 1609. Zuccati (Sebastiano), an old painter of Trevigi, who was the first instructor of Titian. Religions sub- jects. About 1490. Zucchi (Antonio), Italian. Deco- 7 'ative pictures, chiefly in fresco. D. 1795 - Zucchi (Jacopo), Italian. Flo- rence. An assistant of Vasari. His- tory. B. about 1541. Zucco (Francesco), Italian. Ber- gamo. Scholar of P. Moroni. His- tory. D. 1627. Zugni (Francesco), Italian. Brescia. Scholar of Palma the younger. His- tory. 1 6th century. Zupelli (Giov. Battista), Italian. Cremona. Landscapes, with Jigures. 15th century. ZURBARAN (Francisco), an emi- nant Spanish painter, born at Fuente de Cantos, near Seville, in 1598, studied under Juan de las Roelas, and followed the style of Michael Angelo Caravaggio, at the same time discard- ing the extravagance and caprice ot that master, whose bold effects and 252 The Picture Amateu't's Handbook. vigorous light and shadow he adopted. Hence his surname of the Spanish Caravaggio. He painted history with considerable success, and succeeded especially in expressing the dark, savage fanaticism of Spanish monks. He died in the service of King Phi- lip IV., 1662. There is a splendid example of that master in the National Gallery. Zustrus (Lambert), German. Scholar of Titian. History. Por- traits. 1 6th century. Zyl (Gerard Pieter van), called also Gerard van Leyden. Dutch. Por- traits. He painted very often dra- peries and backgrounds in the pictures of Vandyck, whose style he followed, especially in his landscapes. Some conversations and familiar subjects. 1607-1667, LIST OF AUTHORITIES CONSULTED IN THE FOREGOING WORK. . Algarotti (Francesco). Saggio sopra Pittura. D’Argenville. Vies des plus fameux Peintres. Balkema. Biographie des Peintres Flamands et Hollandais. Bermudez. Dicionario Historico de los mas Illustres Professores de las Bellas Artes in Espana. Blanc (Charles). Grammaire des Arts du Dessin, ,, ,, Histoire des Peintres. Burtin (Fr. Xavier de). Connaissances necessaires a I’Amateur. I Crespi. Vite de’ Pittori Bolognesi. Cunningham (Allan). Lives of the British Painters. Deon (Horsin). De la Conservation des Tableaux. Descamps (J. B.). Vies des Peintres Flamands, Allemands, et Hollandais. Felibien (J. F.). Entretiens sur les Vies des Peintres. Fuessli (J. C.). Histoire des Artistes Suisses. I Fuseli (Henry). Lectures at the Royal Academy, I Kugler (revised by Eastlake). Handbook of Painting. I Lanzi (Luigi). Storia Pittorica dell’ Italia. I Mengs (Cav. Ant. Raffaelle). Opere Diverse. I Nagler. Neues Allgemeines Kunstler-Lexicon. i Pacheco (Francisco). Arte de la Pintura. j Piles (Roger de). Cours de Peinture. j ,, ,, Vies des Peintres. 1 Pilkington (revised by Cunningham). Dictionary of Painters. 1 Redgrave (Samuel). Dictionary of Artists of the English School. Reynolds (Sir Joshua). Works. Smith. Catalogue Raisonne of the Works of the Dutch, Flemish, and French Masters. I Spooner (S.). Biographical Plistory of the Fine Arts. ) Vasari (Giorgio). Vite de’ piu eccellenti Pittori. j Viardot. Principaux Peintres de I’Espagne. I Walpole. Anecdotes of Painting in England. I i LONDON : PBINTKD By J. 8. 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CATALOGUE OF BOOKS INCLUDING NEW AND STANDARD WORKS IN ENGINEERING: CIVIL, MECHANICAL, AND MARINE; ELECTRICITY AND ELECTRICAL ENGINEERING; MINING, METALLURGY; ARCHITECTURE, BUILDING, INDUSTRIAL AND DECORATIVE ARTS; SCIENCE, TRADE AND MANUFACTURES; AGRICULTURE, FARMING, GARDENING ; AUCTIONEERING, VALUING AND ESTATE AGENCY; LAW AND MISCELLANEOUS. PUBLISHED BY CROSBY LOCKWOOD & SON. MECHANICAL ENGINEERING, etc. D» K, Claris’s JPocket-BooJc for Mechanical Engineers, THE MECHANICAL ENGINEER'S POCKET-BOOK OF TABLES, FORMULA, RUi.ES AND DATA. A Handy Book of Reference for Daily Use in Engineering Practice. By D. Kinnear Clark, M.Inst.C.E., Author of “ Railway Machinery,” “ Tramways,” &c. Second Edition, Re- vised and Enlarged. Small 8vo, 700 pages, gs. bound in flexible leather covers, with rounded corners and gilt edges. LJust published. Summary of Contents. Mathematical Tables. — Measurement of Surfaces and Solids.— English Wf.ights and Measures,— French Metric Weights and Mea- sures.— Foreign Weights and Measures.— Moneys.— Specific Gravity. Weight and Volume —Manufactured Metals.— Steel Pipes.— Bolts and Nuts.— Sundry Articles in Wrought and Cast Iron, Copper, Brass, Lead, Tin, Zinc. — Strength of Materials. — Strength of Timber. — Strength of Cast Iron. — Strength of Wrought Iron. — Strength of Steel. — Tensile Strength of Copper, Lead, etc. — Resistance of Stones and other Build- ing Materials. — Riveted Joints in Boiler Plates. — Boiler Shells — Wire Ropes and Hemp Ropes. — Chains and Chain Cables.— Framing. — Hardness OF Metals, Alloys and Stones.— Labour of Animals. — Mechanical Prin- ciples. — Gravity and Fall of Bodies. — Accelerating and Retarding Forces.— Mill Gearing, Shafting, etc. — Transmission of Motive Power. — Heat. — Combustion: Fuels. — Warming, Ventilation, Cooking Stoves.— Steam. — Steam Engines and Boilers. — Railways — Tramways. — Steam Ships.— Pumping Steam Engines and Pumps.— Coal Gas, Gas Engines, etc.— Air in Motion.— Compressed Air.— Hot Air Engines. — Water Power.— Speed of Cutting Tools.— Colours.— Electrical Engineerinq. Opinions of the Press. “ Mr. Clark manifests what is an innate perception ot what is likely to be useful in a pocket- book, and he is really unrivalled in the art of condensation. . . . Itis very difficult to hit upon any mechanical engineering subject concerning which this work supplies no information, and the excellent index at the end adds to its utility. In one word, it is an exceedingly handy and efficient tool, possessed of which the engineer will be saved many a wearisome calculation, or yet more ■wearisome hunt through various text-books and treatises, and, as such, we can heartily recom- mend it to our readers, who must not runaway with the idea that Mr. Clark’s Pocket-book is only Molesworth in another form. On the contrary, each contains what is not to be found in the other ; and Mr. Clark takes more room and deals at more length with many subjects than Molcs- worth possibly could.”— r/rc Engineer, Sept i6th, 1892. ‘‘Just the kind of work that practical men require to have near to \\\am.."~-EngHih Mechanic B 2 CROSBY LOCKWOOD SON’S CATALOGUE. MR. HUTTON’S PRACTICAL HANDBOOKS. MandbooTc for Works^ Managers, THE WORKS’ MANAGER’S HANDBOOK OF MODERN RULES, TABLES, AND DATA, For Engineers, Millwrights, and Boiler Makers; Tool Makers, Machinists, and Metal Workers; Iron and Brass Founders, &c. By W. S. Hutton, Civil and Mechanical Engineer, Author of “The Practical Engineer’s Handbook.” Fourth Edition, carefully Re- vised and partly Re-written. In One handsome Volume, medium 8vo, price iss. strongly bound. isr The Author having compiled Rules and Data for his own use in a great variety of modern engineering work, and having found his notes extremely useful, decided to publish them — revised to date — believing that a practical work, suited to the DAILY REQUIREMENTS OF MODERN ENGINEERS, would be favourably received. In the Fourth Edition the First Section has been re-written and improved by the addition of numerous Illustrations and new matter relating to Steam Engines and Gas Engines. The Second Section has been enlarged and Illustrated, and through- out the book a great mmiber of emendations and alterations have been made, with the object of rendering the book more generally useful. Opinions of the Press. "The author treats every subject from the point of view of one who has collected workshop notes for application in workshop practice, rather than from the theoretical or literary aspect. The volume contains a great deal of that kind of information which is gained only by practical experi- ence, and is seldom written in books.” — Engineer. "The volume is an exceedingly useful one, brimful with engineers' notes, memoranda, and rules, and well worthy of being on every mechanical engineer’s bookshelf.” — Mechanical World. “A formidable mass of facts and figures, readily accessible through an elaborate index .... Such a volume will be found absolutely necessary as a book of reference in till sorts of ‘ works ’ connected with the metal trades.” — Ryland's Iron Trades Circ^^lar. “ Brimful of useful information, stated in a concise form, Mr. Hutton’s books have met a press, ing want among engineers. The book must prove extremely useful to every practical man possessing a copy.” — Practical Engineer, New Manual for Practical Engineers, THE PRACTICAL ENGINEER’S HAND-BOOK. Comprising a Treatise on Modern Engines and Boilers : Marine, Locomotive and Sta- tionary. And containing a large collection of Rules and Practical Data relating to recent Practice in Designing and Constructing all kinds of Engines, Boilers, and other Engineering work. The whole constituting a comprehensive Key to the Board of Trade and other Examinations for Certi- ficates of Competency in Modern Mechanical Engineering. By Walter S, Hutton, Civil and Mechanical Engineer, Author of “The Works’ Manager’s Handbook for Engineers,” &c. With upwards of 370 Illustrations. Fourth Edition, Revised, with Additions. Medium 8vo, nearly 500 pp., price i8s. Strongly bound. 1:^” This work is designed as a companion to the Author's “Works’ Manager’s Hand-book.’’ It possesses many new and original features, and con- tains, like its predecessor, a quantity of matter not originally intended for publica- tion, but collected by the author for his own use in the construction of a great variety 0/ Modern Engineering Work. The information is given in a condensed and concise form, and is illustrated by upwards of 370 Woodcuts ; and comprises a quantity of tabulated matter of great value to all engaged in designing, constructing, or estimating for Engines, Boilers, and OTHER Engineering Work. *** Opinions of the Press. “ We have kept it at hand for several weeks, referring to it as occasion arose, and we have not on a single occasion consulted its pages without finding the information of which we were in quest.” Athetueum. “ A thoroughly good practical handbook, which no engineer can go through without learnmg something that will be of service to him.” — Marine Engineer. “ The author has collected together a surprising quantity of rules and practical dat^ and has shown much judgment in the selections he has made. . . . There is no doubt that this book is one of the most useful of its kind published, and will be a very popular compendium.” — E7igineer. “ A mass of information, set down in simple language, and in such a form that it can be_Msily referred to at any time. The matter is uniformly good and well chosen and is greatly elucidated by the illustrations. The book will find its way on to most engineers’ shelves, where it will rank as one of the most useful books of Practical Etigitieer. “ Full of useful information and should be found on the office shelf of all practical engineers. ^English Mechanic, MECHANICAL ENGINEERING, etc. 3 MR. HUTTON'S PRACTICAL HANDBOOKS— continued. Practical Treatise on Modern Steam-Boilers* STEAM-BOILER CONSTRUCTION. A Practical Handbook for Engineers, Boiler-Makers, and Steam Users. Containing a large Col- lection of Rules and Data relating to Recent Practice in the Design, Con- struction, -and Working of all Kinds of Stationary, Locomotive, and Marine Steam-Boilers. By Walter S. Hutton, Civil and Mechanical Engineer, Author of “The Works’ Manager’s Handbook,’’ “The Practical Engineer’s Handbook,’’ &c. With upwards of 300 Illustrations. Second Edition. Medium 8vo, i8s. cloth. \_Just published. tS” This Work is issued in continuation of the Series of Handbooks written by the Author, viz; — “The Works’ Managers’ Handbook ’’ “The Practi- cal Engineer’s Handbook,’’ ty/iic/j are so highly appreciated by Engineers for the practical nature of their inf ormat io 7 t ; and is consequently written in the same style as those works. The Author believes that the concentration, in a convenient form for easy refer- ence, of such a large amoutit of thoroughly practical information on Steam-Boilers, will be of considerable service to those for whom it is intended, and he trusts the book may be deemed worthy of as favourable a reception as has been accorded to Us predecessors. Opinions of the Press. “Every detail, both in boiler design and management, is clearly laid before the reader. The volume shows that boiler construction has been reduced to the condition of one of the most exact sciences; and such a book is of the utmost value to the de siec/e Engineer and Works’ Manager.” — Marine E)igineer. “ There has long been room for a modern handbook on steam boilers ; there is not that room now, because Mr. Hutton has filled it. It is a thoroughly practical book for those who are occu- pied in the construction, design, selection, or use of boilers. ” — E7igineer. “ The book is of so important and comprehensive a character that it must find its way into the libraries of everyone interested in boiler using or boiler manufacture if they wish to be thoroughly informed. We strongly recommend the book for the intrinsic value of its contents. ’ — Machinery Market. “ The value of this book can hardly be over-estimated. The author’s rules, formulae, &c., are all very fresh, and it is impossible to turn to the work and not find what you want. No practical engineer should be without \X."—Collie}'y Guardia7i. Hutton^s ^‘Modernised Templeton*^’ THE PRACTICAL MECHANICS' WORKSHOP COM- PANION. Comprising a great variety of the most useful Rules and Formulae in Mechanical Science, with numerous Tables of Practical Data and Calcu- lated Results for Facilitating Mechanical Operations. By William Temple- ton, _ Author of “The Engineer’s Practical Assistant,’’ &c. &c. Sixteenth Edition, Revised, Modernised, and considerably Enlarged by Walter S. Hutton, C.E., Author of “The Works’ Manager's Handbook,’’ &c. Fcap. 8vo, nearly 500 pp., with 8 Plates and upwards of 250 Illustrative Diagram-s, 6 j„ strongly bound for workshop or pocket wear and tear, Opinions of the Press. ' “In Its modernised form Hutton’s ‘ Templeton ’ should have a wide sale, for It contains much valuable information which the mechanic will often find of use, and not a few tables and notes which he might look for in vain in other works. This modernised edition will be appreciated by all who have learned to value the original editions of ‘ Templeton.' ’ — E7tglish Mecha/iic. “ It has met with great success in the engineering workshop, as we can testify ; and there a»e a great many men who, in a great measure, owe their rise in life to this little book.” — B7tildi7ig News. “ This familiar text-book — well known to all mechanics and engineers— is of essential service to the every-day requirements of engineers, millwrights, and the various trades connected with engineering and building. The new modernised edition is worth its weight in gold.” — Building News. (Second Notice.) “ This well-known and largely used book contains information, brought up to date, of the' sort so useful to the foreman and draughtsman. So much fresh information has been introduced as’to constitute it practically a new book. It will be largely used in the office and workshop. ’ — Mecha7tical World. Templeton’s Engineer’s and Machinist’s Assistant. THE ENGINEER'S, MILLWRIGHT'S, and MACHINIST'S PRACTICAL ASSISTANT. A collection of Useful Tables, Rules and Data. By William Templeton. 7 th Edition, with Additions. i8mo, 2 S. 6d. clolb. “ Occupies a foremost place among books of this kind. A more suitable present to an appren- tice to any of the mechanical trades could not possibly be made.” — Buildi*\s News. “A deservedly popular work. It should be in the ‘ drawer ’ of eveii meclianic,”— Mechatiic. 4 CROSBY LOCKWOOD 6 - SON’S CATALOGUE. Foley’s Reference Book for Mechanical Engineers, THE MECHANICAL ENGINEER’S REFERENCE BOOK, for Machine and Boiler Construction, In Two Parts. Part I. General Engineering Data. Part II. Boiler Construction. With 51 Plates and numerous Illustrations. By Nelson Foley, M.I.N.A. Folio, £5 5s. half- bound. [J-ust published. Summary of Contents. PART I. Measures.— Circumferences and Areas, &c., Squares, Cubes, Fourth Powers. — Square and Cube Roots. — Surface of Tubes— Reciprocals. — Logarithms. — Mensuration. — Spe- cific Gravities and Weights. — Work AND Power.— Heat.— Combus- tion. — Expansion and Contraction. — Expansion of Gases. — Steam. — Static Forces.— Gravitation and Attraction. — Motion and Computa- tion OF Resulting Forces.— Accu- mulated Work.— Centre and Radius OF Gyration. — Moment of Inertia. — Centre of Oscillation. — Elec- tricity, — Strength of Materials. —Elasticity. — Test Sheets of Metals.— Friction. — Transmission of Power.— Flow of Liquids.— Flow OF Gases.— Air Pumps, Surface Con- densers, &c. — S peed of Steamships. — Propellers. — Cutting Tools. — Flanges. — Copper Sheets and Tubes.— Screws, Nuts, Bolt Heads, &c. — V arious Recipes and Miscel- laneous Matter. V/iTH DIAGRAMS for Valve-Gear, Belting and Ropes, Discharge and Suction Pipes, Screw Propellers, and Copper Pipes. PART II. Treating of. Power of Boilers. — Useful Ratios. — Notes on Con- struction, — Cylindrical Boiler Shells. — Circular Furnaces. — Flat Plates. — Stays. — Girders. — Screws. — Hydraulic Tests. — Riveting. — Boiler Setting, Chim- neys, AND Mountings. — Fuels, &c. — Examples of Boilers and Speeds of Steamships.— Nominal and Normal Horse Power. With DIAGRAMS for all Boiler Calculations and Drawings of many Varieties of Boilers. Opinions of the Press. “ This appears to be a work for which there should be a largfe demand on the part of mechani- cal engineers. It is no easy matter to compile a book of this class, and the labour involved is enormous, particularly when — cis the author informs us — the majority of the tables and diagrams have been specially prepared for the work. The diagrams are exceptionally well executed, and generally constructed on the method adopted in a previous work by the same author. . . . The tables are very numerous, and deal with a greater variety of subjects than will generally be found in a work of this kind ; they have evidently been compiled with great care and are unusually com- plete. All the information given appears to be well up to date. ... It would be quite impos- sible within the limits at our disposal to even enumerate all the subjects treated ; it should, however, be mentioned that the author does not confine himself to a mere bald statement of formulae and laws, but in very many instances shows succinctly how these are derived. . , . The latter part of the book is devoted to diagrams relating to Boiler Construction, and to nineteen beautifully-executed plates of working drawings of boilers and their details. As samples of how such drawings should be got out, they may be cordially recommended to the attention of all young, and even some elderly, engineers. . . . Altogether the book is one which every mechanical engineer may, with advantage to himself add to his library.” — Industries. “ Mr. Foley is well fitted to compile such a work. . . , The diagrams are a great feature of the work. . . . Regarding the whole work, it may be very fairly stated that Mr. Foley has produced a volume which will undoubtedly fulfil the desire of the author and become indispen- sable to aU mechanical engineers.” — Marine E7tgineer. “We have carefully examined this work, and pronounce it a most excellent reference book for the use of marine engineers.”— of Aynerican Society of Naval Engineers. “ A veritable monument of industry on the part of Mr. Folej, who has succeeded in producing what is simply invaluable to the engineering profession.”— Coal and Speed Tables, A POCKET BOOK OF COAL AND SPEED TABLES, for Engineers and Steam-users. By Nelson Foley, Author of “ The Mechanical Engineer’s Reference Book.” Pocket-size, 3s. 6d. cloth. “These tables are designed to meet the requirements of every-day use ; they are of suffi- cient scope for most practical purposes, and may be commended to engineers and users of steam,” — Iron. “ This pocket-book well merits the attention of the practical engineer. Mr. Foley has com- piled a very useful set of tables, the information contained in which is frequently required by engineers, coal consumers and users of steam ,” — Iron aytd Coal Trades Revieau, MECHANICAL ENGINEERING, etc. 5 Steam Engine, TEXT -BOOK ON THE STEAM ENGINE. With a Sup- plement on Gas Engines, and Part II. on Heat Engines. By T. M. Goodeve, M.A., Barrister-at-Law, Professor of Mechanics at the Normal School of Science and the Royal School of Mines; Author of “The Princi- ples of Mechanics,’’ “The Elements of Mechanism,’’ &c. Eleventh Edition, Enlarged. With numerous Illustrations. Crown 8vo, 6s. cloth. “Professor Goodeve has given us a treatise on the steam engine which will bear comparison with anything written by Huxley or Maxwell, and we can award it no higher praise.” — Ensrineer. " Mr. Goodeve’s text-book is a work of which every young engineer should possess himself. ’’ —Mining Jojirnal. “ Essentially practical in its aim. The manner of exposition leaves nothing to be desired.” — Scotsman. Gas Engines. ON GAS-ENGINES. Being a Reprint, with some Additions, of the Supplement to the Text-book on the Steam Engine, by T. M. Goodeve, M.A. Crown 8vo, 2s. 6d. cloth. “ Like all Mr. Goodeve's writings, the present is no exception in point of general excellence, It is a valuable little volume.”— Mec/tanicai World. Steam Engine Design, THE STEAM ENGINE : A Practical Manual for Draughts- men, Designers, and Constructors. Translated from the German of Her- mann Harder ; Revised and Adapted to English Practice by H. H. P. PowLES, A.M.I.C.E., Translator of Kick’s Treatise on “ Flour Manufacture.’’ Upwards of i,oco Diagrams. Crown 8vo, cloth. [ 7 ;j the press. Steam Boilers, A TREATISE ON STEAM BOILERS: Thsir Strength, Con- struction, and Economical Working. By Robert Wilson, C.E. Fifth Edition, i2mo, 6 s. cloth. I ‘ The best treatise that has ever been published on steam boilers.” — Engineer. ‘ "The author shows himself perfect master of his subject, and we heartily recommend all em- ploying steam power to possess themselves of the work.” — Ryland's Iron Trade Circular. BOILER AND'^FACTORY CHIMNEYS; Their Draught-Power and Stability. With a Chapter on Lightning Conductors. By Robert Wilson, A. I. C.E. , Author of “A Treatise on Steam Boilers,’’ &c. Second Edition. Crown 8vo, 3s. 6d. cloth. “ Full of useful information, definite in statement, and thoroughly practical in treatment.” — The Local Government Chrojiicle. ‘‘A valuable contribution to the literature of scientific building.” — The Builder. Boiler MaMng. THE BOILER-MAKER'S READY RECKONER ASSIST- ANT. With Examples of Practical Geometry and Templating, for the Use of Platers, Smiths and Riveters. By John Courtney, Edited by D. K. Clark, M.I.C.E. Third Edition, 480 pp., with 140IIIUSIS. Fcap. 8vo, ys. half-bound. “ A most useful work. . . . No workman or apprentice should be without this book.” — Iron T‘> ade Circular. " Boiler-makers will readily recognise the value of this volume. . . . The tables are clearly printed, and so arranged that they can be referred to with the greatest facility, so that it cannot be doubted that they will be generally appreciated and much \x%edi."—Miiwig Journal. Locomotive Engine Development. THE LOCOMOTIVE ENGINE AND ITS DEVELOPMENT. A Popular Treatise on the Gradual Improvements made in Railway Engines between the Years 1803 and 1892. By Clement E. Stretton, C.E., Author of “ Safe Railway Working,’’ &c. Second Edition, Revised and much Enlarged. With 94 Illustrations. Crown 8vo, 3s. 6d. cloth. {Just published. " Students of railway history and all who are interested in the evolution of the modern locomo- tive will find much to attract and entertain in this volume.” — The Times. “ The volume cannot fail to be popular, because it contains, in a condensed and readable form, a great deal of just the kind of information that multitudes of people want.” — Engineer. “ The author of this work is well known to tlie railway world as one who has long taken a great interest in everything pertaining thereto. No one probably has a better knowledge of the history and development of the locomotive. It is with much pleasure we welcome the volume before us . . . . which, taken as a whole, is most interesting, and should be of value to all connected with the railway system of this country as a book of reference.” — Nature. 6 CROSBY LOCKWOOD SON'S CATALOGUE. Fire Engineering. FIRES, FIRE-ENGINES, AND FIRE-BRIGADES. With a History of Fire-Engines, their Construction, Use, and Management; Re- marks on Fire-Proof Buildings, and the Preservation of Life from Fire ; Statistics of the Fire Appliances in English Towns ; Foreign Fire Systems ; Hints on Fire-Brigades, &c. &c. By Charles F. T. Young, C.E. With numerous Illustrations. 544 pp., demy 8vo, 4s. cloth. To such of our readers as are interested in the subject of fires and fire apparatus, we can most heartily commend this book. It is ready the only English work we now have upon the subject” — Engineering-. Estimating for Engineering Work, &c, ENGINEERING ESTIMATES, COSTS AND ACCOUNTS: A Guide to Commercial Engineering. With numerous Examples of Esti- mates and Costs of Millwright Work, Miscellaneous Productions, Steam Engines and Steam Boilers; and a Section on the Preparation of Costs Accounts. By A General Manager. Demy 8vo, 12s. cloth. “ This is an excellent and very useful book, covering subject-matter in constant requisition in every factory and workshop. . . . The book is invaluable, not only to the young engineer, but also to the estimate department of every works.” — Builder. “ We accord the work unqualified praise. The information is given in a plain, straightforward manner, and hears throughout evidence of the intimate practical acquaintance of the author with every phase of commercial engineering ” — Mechcinica .1 IVorld. Engineering Construction. PATTERN -MAKING : A Practical Treatise, embracing the Main Types of Engineering Construction, and including Gearing, both Hand and Machine made. Engine Work, Sheaves and Pulleys, Pipes and Columns, Screws, Machine Parts, Pumps and Cocks, the Moulding of Patterns in Loam and Greensand, &c., together with the methods of Estimating the weight of Castings; to which is added an Appendix of Tables for Workshop Reference. By a Foreman Pattern Maker. With upwards of 370 Illustrations, Crown 8vo, 7s. 6d. cloth. “ A tvell- written technical guide, evident!}' written by a man who understands and has prac- tised what he has written about. . . . We cordially recommend it to engineering students, young j oumeymen, and others desirous of being initiated into the mysteries of pattern-making.”— .SwiVifer. “More than 370 illustrations help to explain the text, which is, however, always clear and ex- plicit, thus rendering the work an excellent vade mecum for the apprentice who desires to become master of his trade.” — English Mechanic. Dictionary of Mechanical Engineering Terms. LOCKWOOD'S DICTIONARY OF TERMS USED IN THE PRACTICE OF MECHANICAL ENGINEERING, embracing those current in the Drawing Office, Pattern Shop, Foundry, Fitting, Turning, Smith’s and Boiler Shops, &c. &c. Comprising upwards of 6,000 Definitions. Edited by A Foreman Pattern-Maker, Author of “Pattern Making.” Second Edition, Revised, with Additions. Crown 8vo, ys. 6d. cloth. [Just published. “Just the sort of handy dictionary required by the various trades engaged in mechanical en- gineering. The practical engineering pupil will find the tmok of great value in his studies, and every foreman engineer and mechanic should have a copy.” — Building News. “One of the most useful books which can be presented to a mechanic or stnd.Qnt.”— English Mechanic. “ Not merely a dictionary, but, to a certain extent, also a most valuable guide. It strikes us as a happy idea to combine with a definition of the phrase useful information on the subject of which it treats.” — Machinery Market. 3Iill Gearing. TOOTHED GEARING : A Practical Handbook for Offices and Workshops. By A Foreman Pattern Maker, Author of “ Pattern Making,” “ Lockwood’s Dictionary of Mechanical Engineering Terms,” &c. With 184 Illustrations. Crown 8vo, 6s. cloth. [Just published. Summary of < Chap. I. Principles.— II. Forma- tion OF Tooth Profiles.— III. Pro- portions OF Teeth. — IV. Methods of Making Tooth Forms.— V. Invo- lute Teeth. — VI. Some Special Tooth Forms. — VII. Bevel Wheels. — VIII. Screw Gears —IX. Worm Gears. — X. Helical Wheels. — XI. “ We must give t*^e book our unqualified prais heartily recornm''nd it to all interested as the mo: Mechanical IVorld. Skew Bevels.— XII. Variable and OTHER Gears. — XIII. Diametrical Pitch.— XIV. The Odontograph. — XV. Pattern Gears.— XVI. Machine Moulding Gears. — XVII. Machine Cut Gears.— XVIII. Proportion of Wheels. ; for its thoroughness of treatment, and we can t practical book on the subject yet written.” — MECHANICAL ENGINEERING, etc. 7 Stone^worMng Machinery ^ STONE-WORKING MACHINERY, and the Rapid and Economi- cal Conversion of Stone. With Hints on the Arrangement and Management of Stone Works. By M. Powis Bale, M.I.M.E. With Illusts. Crown «vo, gs. “The book should be in the hands of every mason or student of stone-work.” — Colliery G uardian, “ A capital handbook for all who manipulate stone for building or ornamental purposes.”— Machinery Market. Pump Construction and Management. PUMPS AND PUMPING : A Handbook for Pump Users. Being Notes on Selection, Construction and Management. By M. Powis Bale, M.I.M.E., Author of “ Woodworking Machinery,” “ Saw Mills,” &c. Second Edition, Revised. Crown 8vo, as. 6d. cloth. [Just published. “The matter is set forth as concisely as possible. In fact, condensation rather than diffuseness has been the author’s aim throughout; yet he does not seem to have omitted anything likely to be of use.” — Journal of Gas Lighting. “ Thoroughly practical and simply and clearly 'N'citi.QU." —Glasgow Hc 7 -ald. Milling Machinery^ etc. MILLING MACHINES AND PROCESSES: A Practical Treatise on Shaping Metals by Rotary Cutters, including Information on Making and Grinding the Cutters. By Paul N. Hasluck, Author of “ Lathe- work,” “ Handybooks for Handicrafts,” &c. With upwards of 300 Engrav- ings, including numerous Drawings by the Author. Large crown 8vo, 352 pages, I2S. 6d. cloth. “ A new departure in engineering literature. . . . We can recommend this work to ah interested in milling machines ; it is what it professes to be — a practical treatise.” — Engineer. “ A capital and reliable book, which will no doubt be of considerable service, both to those- who are already acquainted with the process as well as to those who contemplate its adoption.” — Industries. Turning. LATHE-WORK : A Practical Treatise on the Tools, Appliances, and Processes employed in the Art of Turning, By Paul N. Hasluck. Fourth Edition, Revised and Enlarged. Cr. 8vo, 5s. cloth. “ Written by a man who knows, not only how w'ork ought to be done, but who also knows how to do it, and how to convey his knowledge to others. To all turners this book would be valuable." — Engineering. “ We can safely recommend the work to young engineers. To the amateur It will simply be Cl valuable. To the student it will convey a great deal of useful information.” — Engineer. 8 crew -Cutting, SCREW THREADS : And Methods of Producing Them. With Numerous Tables, and complete directions for using Screw-Cutting Lathes. By Paul N. Hasluck, Author of “ Lathe-Work,” &c. With Seventy-four Illustrations. Third Edition, Revised and Enlarged, Waistcoat-pocket size, IS. 6d. cloth, “ Full of useful information, hints and practical criticism. Taps, dies and screwing-tools gene- rally are illustrated and their action described.” — Mechanical lVorld.% “ It is a complete compendium of all the details of the screw cutting lathe ; in fact a muUutn in parvo on all the subjects it treats upon.” — Carpcjiter and Builder, Smith’s Tables for Mechanics, etc, TABLES, MEMORANDA, AND CALCULATED RESULTS, FOR MECHANICS, ENGINEERS. ARCHITECTS, BUILDERS, etc. Selected and Arranged by Francis Smith. Fifth Edition, thoroughly Revised and Enlarged, with a New Section of Electrical Tables, Formula:, and Memoranda. Waistcoat-pocket size, is. 6d. limp leather. “ It would, perhaps, be as difficult to make a small pocket-book selection of notes and formulas to suit ALL engineers as it would be to make a universal medicine ; but Mr. Smith’s waiistcoat- pocket collection may be looked upon as a successful attempt.” — Engineer, "The best example we have ever seen of 270 pages of useful matter packed into the dimen- sions of a card-case." — Building News. "A veritable pocket treasury of knowledge.” — Iron, French- English Glossary for Engineers, etc, A POCKET GLOSSARY of TECHNICAL TERMS: ENGLISH- FRENCH, FRENCH-ENGLISH ; with Tables suitable for the Architectural, Engineering, Manufacturing and Nautical Professions. By John James Fletcher, Engineer and Surveyor. Second Edition, Revised and Enlarged, 200 pp Waistcoat-pocket size, is. 6 d. limp leather. “It is a very great advantage for readers and correspondents in France and England to have so large a number of the words relating to engineering and manufacturers collected in a liliputian volume. The little book will be useful both to students and travellers.” — Architect. “ The glossary of terms is very complete, and many of the tables are new and well arranged. We cordially commend the book.’’ — Mechanical World. 8 CROSBY LOCKWOOD SON'S CATALOGUE. Portable Engines, THE PORTABLE ENGINE; ITS CONSTRUCTION AND MANAGEMENT. A Practical Manual for Owners and Users of Steam Engines generally. By William Dyson Wansbrough. With 90 Illustra- tions. Crown 8vo, 3s. 6d. cloth. “ This is a work of value to those who use steam machinery. , . . Should be read by every- one who has a steam engine, on a farm or elsewhere.” — Mark Lane Express. “ We cordially commend this work to buyers and owners of steam engines, and to those wh® have to do with their construction or use."— Timber Trades Journal. “ Such a general knowledge of the steam engine as Mr. Wansbrough furnishes to the reader should be acquired by all intelligent owners and others who use the steam engine. "—Building Nems. “ An excellent text-book of this useful form of engine, which describes with all necessary minuteness the details of the various devices. . . ‘ The Hints to PurchEisers ’ contain a good deal commonsense and practical wisdom.” — English Mechanic. Iron and Steel, “ IRON AND STEEL ” ; A Work for the Forge, Foundry, Factory^ and Office, Containing ready, useful, and trustworthy Information for IroH" masters and their Stock-taktrs ; Managers of Bar, Rail, Plate, and Sheet Rolling Mills; Iron and Metal Founders; Iron Ship and Bridge Builders ; Mechanical, Mining, and Consulting Engineers ; Architects, Contractors, Builders, and Professional Draughtsmen. By Charles Hoare, Author of “The Slide Rule,” &c. Eighth Edition, Revised throughout and considerably Enlarged. 32mo, 6s. leather. “ For comprehensiveness the book has not its equal.”— “ One of the best of the pocket books.” — English Mechanic. “We cordially recommend this book to those engaged in considering the details of all kinds of Iron and stesl works.”— Aai/a/ Science. Elementary 3Iechanics. CONDENSED MECHANICS. A Selection of Formulae, Rules, Tables, and Data for the Use of Engineering Students, Science Classes, &c. In Accordance with the Requirements of the Science and Art Department. By W. G. Crawford Hughes, A.M.I.C.E. Crown 8vo, 2S. 6d. cloth. “ The book is well fitted for those who are either confronted with practical problems in thei^^ work, or are preparing for examination and wish to refresh their knowledge by going through their formulae again.” — Marine Engineer. “ It is well arranged, and well adapted to meet the wants of those for whom it is intended.” — Railway News. Steam, THE SAFE USE OF STEAM. Containing Rules for Un- professional Steam-users. By an Engineer. Sixth Edition. Sewed, 6d. “ If steam-users would but learn this little book by heart, boiler explosions would become sensations by their rarity.” — English Mecha^iic. Warming, HEATING BY HOT WATER; with Information and Sug- gestions on the best Methods of Heating Public, Private and Horticultural Buildings. By Walter Jones. With upwards of 50 Illustrations. Crown 8vo, 2S. cloth. “ We confidently recommend aU interested in heating by hot water to secure a copy of this valuable little treatise.” — The Plumber and Decorator. MECHANICAL ENGINEERING, etc. THE POPULAR WORKS OF MICHAEL REYNOLDS ("The Engine Driver’s Friend”). I^ocomotive-Engine Driving, LOCOMOTIVE-ENGINE DRIVING : A Practical Manual J&r Engineers in charge of Locomotive Engines. By Michael Reynolds, Member of the Society of Engineers, formerly Locomotive Inspector L. B. and S.C. R. Eighth Edition. Including a Key to the Locomotive Engine. With Illu&> trations and Portrait of Author. Crown 8vo, 4s. 6d. cloth. •‘Mr. Reynolds has supplied a want, and has supplied it well. We can confidently recommend the book, not only to the practical driver, but to everyone who takes an interest in the performance of locomotive engines .” — The Enshieer, “ Mr. Reynolds has opened a new chapter In the literature of the day. This admirable practical treatise, of the practical utility of which we have to speak in terms of warm commendation.’ — Athenaum, “ Evidently the work of one who knows his subject thoroughly.”— Service GazeUe. “Were the cautions and rules given in the book to become part of the every-day working oJ our engine-drivers, we might have fewer distressing accidents to deploreC'—Sccisman, Stationary Engine Driving, STATIONARY ENGINE DRIVING t A Practical Manual for Engineers in charge of Stationary Engines. By Michael Reynolds. Fourth Edition, Enlarged. With Plates and Woodcuts. Crown 8vo, 4s. 6d. cloth. "The author is thoroughly acquainted with his subjects, and his advice on the various points treated is clear and practical. . . . He has produced a manual which is an exceedingly useful one for the class for whom it is specially intended.”— En£-meerin£'. " Our author leaves no stone unturned. He is determined that his readers shall not only know something about the stationary engine, but all about it.” — Engineer. “An engineman who has mastered the contents of Mr.Reynolds'sbook will require but little actual experience with boOers and engines before he can be trusted to look after \Eem.”—E?iglishMecha7iic^ The Engineer, Fireman, and Engine-Boy, THE MODEL LOCOMOTIVE ENGINEER, FIREMAN, and ENGINE-BOY, Comprising a Historical Notice of the Pioneer Locomotive Engines and their Inventors. By Michael Reynolds. With numerous Illus- trations and a fine Portrait of George Stephenson. Crown 8vo, 4s. 6d. cloth. “ From the technical knowledge of the author it will appeal to the railway roan of to-day mors forcibly than anything written by Dr. Smiles. . . . The volume contains information of a tech- nical kind, and facts that every driver should be familiar with."— Engiish Mechaiiic. “We should be glad to see this book in the possession of everyone in the kingdom who has ever laid, or is to lay, hands on a locomotive engine,”— Continuous Bailivay Brakes, CONTINUOUS RAILWAY BRAKES: A Practical Treatise 07 > the several Systems in Use in the United Kingdom; their Construction and Performance. With copious Illustrations and numerous Tables. By Michael Reynolds, Large crown 8vo, gs. cloth. “A popular explanation of the different brakes. It will be of great assistance in forming public opinion, and will be studied with benefit by those who take an interest in the brake.” — English Mechanic. "Written with sufficient technical detail to enable the principle and relative connection of the various parts of each particular brake to be readily grasped ,” — Mechanical IVorld, Engine-Driving Life, ENGINE-DRIVING LIFE : Stirring Adventures and Incidents in the Lives of Locomotive-Engine Drivers. By Michael Reynolds. Second Edition, with Additional Chapters. Crown 8vo, 2S. cloth, “From first to last perfectly fascinating. Wilkie Collins’s most thrilling conceptions are thrown into the shade by true incidents, endless in their variety, related in every page.” — North British Mail. "Anyone who wishes to get a real insight into railway life cannot do better than read ‘ Engine- Driving Life’ for himself ; and if he once take it up he will find that the author s enthusiasm and real love of the engine-driving profession will carry him on till he has read every -Saturday Review , Docket Companion for Enginemen, THE ENGINEMAN'S POCKET COMPANION AND PRAC- TICAL EDUCATOR FOR ENGINEMEN, BOILER ATTENDANTS, AND MECHANICS.^ By Michael Reynolds. With Forty-five Illustra- tions and numerous Diagrams. Second Edition, Revised. Royal i8mo, 3s. 6d,, strongly bound for pocket wear. “This admirable work is well suited to accomplish its object, being the honest workmanship of a competent engineer.”— Herald. “ A most meritorious work, giving in a succinct and practical form all the Information an engine- minder desirous of mastering the scientific principles of his daily calling would require.” — Thc Miller. “ A boon to those who are striving to become efficient mechanics.”— Chrotticle. ro CROSBY LOCKWOOD SON'S CATALOGUE. CIVIL ENGINEERING, SURVEYING, etc. MR. HUMBER’S VALUABLE ENGINEERING BOOKS. The Water Supply of Cities and Towns, A COMPREHENSIVE TREATISE on the WATER-SUPPLY OF CITIES AND TOWNS. By William Humber, A-M.Inst.C.E., and M. Inst. M.E., Author of “ Cast and Wrought Iron Bridge Construction,” &c. &c. Illustrated with 50 Double Plates, i Single Plate, Coloured Frontispiece, and upwards of 250 Woodcuts, and containing 400 pages of Text. Imp. 4to, £6 6s. elegantly and substantially half-bound in morocco. List of Contents I. Historical Sketch of some of the means that have been adopted for the Supply of Water to Cities and Towns. — II. Water and the Fo- reign Matter usually associated with it.— III. Rainfall and Evaporation. — IV. Springs and the water-bearing formations of various dis- Cricts.— V. Measurement and Estimation of the flow of Water— VI. On the Selection of the Source of Supply.— VII. Wells.— VIII. Reser- voirs.— IX. The Purification of Water.— X. Pumps. — XI. Pumping Machinery. — XII. “The most systematic and valuable work upon water supply hitherto produced In English, or in any other language. . . . Mr. Humber’s work is characterised almost throughout by an exhaustiveness much more distinctive of French and German than of English techni^ treatises." —E^tgineer. “ We can congratulate Mr. Humber on having been able to give so large an amount of Infor- mation on a subject so important as the water supply of cities and towns. The plates, fifty in number, are mostly drawings of executed works, and alone would have commanded the attention of every engineer whose practice may lie in this branch of the profession.” — Builder, Condults.-XIII. Distribution of Water.— XI V. Meters, Service Pipes, and House Fittings.— XV. The Law and Economy of Water Works. XVIi Constant and Intermittent Supply. — XVII. Description of Plates. — Appendices, giving Tables of Rates of Supply, Velocities, &c. &c., together with Specifications of severed Works illustrated, among which will be found: Aberdeen, Bideford, Canterbury, Dundee, Halifax, Lambeth, Rotherham, Dublin, and others. Cast and Wrought Iron Bridge Construction, A COMPLETE AND PRACTICAL TREATISE ON CAST AND WROUGHT IRON BRIDGE CONSTRUCTION, including Iron Foundations. In Three Parts — Theoretical, Practical, and Descriptive. By William Humber, A. M. Inst. C.E., and M.Inst.M.E. Third Edition, Re- vised and much improved, with 115 Double Plates (20 ol which now first appear in this edition), and numerous Additions to the Text. In Two Vols.i imp. 4to, £6 i6s. 6d. half-bound in morocco. “A very valuable contribution to the standard literature of civil engineering. In addition to elevations, plans and sections, large scale details are given which very much enhance the instruc- tive worth of those illustrations .” — Civil Engineer and Architect’s Journal. “Mr. Humber’s stately volumes, lately issued— in which the most important bridges erected during the last five years, under the direction of the late Mr. Brunei, Sir W. Cubitt, Mr. Hawk- shaw, Mr. Page, Mr. Fowler, Mr. Hemans, and others among our most eminent engineers, are drawn and specified in great d.&X.vl."— Engineer. Strains, Calculation of, A HANDY BOOK FOR THE CALCULATION OF STRAINS IN GIRDERS AND SIMILAR STR UCTURES,AND THEIR STRENGTH. Consisting of Formulae and Corresponding Diagrams, with numerous details for Practical Application, &c. By William Humber, A-M.Inst.C.E., &c. Fifth Edition. Crown 8vo, nearly 100 Woodcuts and 3 Plates, 7s. 6d. cloth. “ The formulas are neatly expressed, and the diagrams good.” — Athenceum. “ We heartily commend this really handy book to our engineer aind architect re&ders."— Eng- ( ish Mechanic. Barlow’s Strength of Materials, enlarged hyMumher. A TREATISE ON THE STRENGTH OF MATERIALS; with Rules for Application in Architecture, the Construction of Suspension Bridges, Railways, &c. By Peter Barlow, F.R.S. A New Edition, revised by his Sons, P. W. Barlow, F.R.S. , and W. H. Barlow, F.R.S. ; to which are added. Experiments by Hodgkinson, Fairbairn, and Kirkaldy; and Formulas for Calculating Girders, &c. Arranged and Edited by Wm. Humbep., A-M.Inst.C.E. Demy 8vo, 400 pp., with 19 large Plates and numerous Wood- cuts, i8s. cloth. “ Valuable alike to the student, tyro, and the experienced practitioner. It will always rank in future, as it has hitherto done, cis the standard treatise on that particular snhi^ct."— Engineer. “ There is no greater authority than Barlow .” — Building News. “ As a scientific work of the first class, it deserves a foremost place on the bookshelves of every civil engineer and practical mechanic.”— Mechanic. CIVIL ENGINEERING, SURVEYING, etc. II MR. HUMBER’S GREAT WORK ON MODERN ENGINEERING. Complete ia Four Volumes, imperial 4to, price £12 12s., half-morocco. Each Volume sold separately as follows; — t RECORD OF THE PROGRESS OF MODERN ENGINEER- ING. First Series. Comprising Civil, Mechanical, Marine, Hydraulic, Railway, Bridge, and other Engineering Works, &c. By William Humber, A-M.Inst.C.E., &c. Imp. 4to, with 36 Double Plates, drawn to a large scale, Photographic Portrait of John Hawkshaw, C.E., F.R.S., &c., and copious descriptive Letterpress, Specihcations, &c., £3 3s. half-morocco. List of the Plates and Diagrams, Thames, West London Extension Railway (S plates) ; Armour Plates : Suspension Bridge, T hames (4 plates) ; The Allen Engine ; Sus* pension Bridge, Avon (3 plates); Underground Railway (3 plates). Victoria Station and Roof, L. B. & S. C. R. (S plates) ; Southport Pier (2 plates) ; Victoria Station and Roof, L. C. & D. and G. W. R. (6 plates) ; Roof of Cremorne Music Hall ; Bridge over G. N. Railway ; Roof of Station, Dutch Rhenish Rail (2 plates) ; Bridge over the “ Handsomely lithographed and printed. It will find favour with many who desire to preserve tn a permanent form copies of the plans and specifications prepared for the guidance of the con- factors for many important engineering works.” — Engineer. HUMBER'S PROGRESS OF MODERN ENGINEERING. Second Series. Imp, 4to, with 36 Double Plates, Photographic Portrait of Robert Stephenson, C.E., M.P., F.R.S., &c., and copious descriptive Letter- press, Specifications, &c., £3 3s, half-morocco. List of the Plates and Diagrams. Birkenhead Docks, Low Water Basin {13 plates); Charing Cross Station Roof, C. C. Railway (3 plates) ; Digswell Viaduct, Great Northern Railway ; Robbery Wood Viaduct, Great Northern Railway; Iron Permanent Way; Clydach Viaduct, Merthyr, Tredegar, and Abergavenny Railway; Ebbw Viaduct, Merthyr, Tredegar, and Abergavenny Rail- way ; College Wood Viaduct, Cornwall Rail- way ; Dublin Winter Palace Roof (3 plates) ; Bridge over the Thames, L. C. & D. Railway (6 plates) ; Albert Harbour, Greenock (4 plates). “ Mr. Humber has done the profession good and true service, by the fine collection of examples lie has here brought before the profession and the public.” — Practical Mechanic’s Journal. HUMBER’S PROGRESS OF MODERN ENGINEERING. Third Series. Imp. 4to, with 40 Double Plates, Photographic Portrait of J. R. M'Clean, late Pres. Inst. C.E., and copious descriptive Letterpress, i Specifications, &c., £s 3S. half-morocco. List of the Plates and Diagrams. MAIN Drainage, Metropolis.— Side. — Map showing Interception of Sewers ; Middle Level Sewer (2 plates) ; Outfall Sewer, Bridge over River Lea (3 plates) ; Outfall Sewer, Bridge over Marsh Lane, North Woolwich Railway, and Bow and Barking Railway Junc- tion ; Outfall Sewer, Bridge over Bow and Barking Railway {3 plates) ; Outfall ^ewer, Bridge over East London Waterworks' Peeder (2 plates); Outfall Sewer, Reservoir (2 plates) ; Outfall Sewer, Tumbling Bay and Outlet; Out- fall Sewer, Penstocks. South S'frfi?.— Outfall Sewer, Bermondsey Branch (3 plates) ; Outfall “ The drawings have a constantly increasing value, and whoever desires to pyossess clear repre- sentations of the two great works carried out by our Metropolitan Board will obtain Mr. Humber's volume.” — Enguieen HUMBER’S PROGRESS OF MODERN ENGINEERING. Fourth Series. Imp. 4to, with 36 Double Plates, Photographic Portrait ol John Fowler, late Pres. Inst. C.E., and copious descriptive Letterpress, Specifications, &c., £3 3s. half-morocco. List of the Plates and Diagrams. Mesopotamia ; Viaduct over the River Wye, Midland Railway (3 plates) ; St. Germans Via- duct, Cornwall Railway (2 plates) ; Wrought- Iron Cylinder for Diving Bell ; MiUwall Docks Sewer, Reservoir and Outlet (4 plates) ; Outfall Sewer, Filth Hoist; Sections of Sewers (North and South Sides). Thames Embankment.— S ection of River Wall ; Steamboat Pier, Westminster {2 plates) ; Landing Stairs between Charing Cross and Waterloo Bridges; York Gate (2 plates); Over- flow and Outlet at Savoy Street Sewer (3 plates) ; Steamboat Pier, Waterloo Bridge (3 plates) ; Junction of Sewers, Plans and Sections; Gullies, Plans and Sections; RoEing Stock; Granite and Iron Forts. Abbey Mills Pumping Station, Main Drain- age, Metropolis (4 plates) ; Barrow Docks (3 plates) ; Manquis Viaduct, Santiago and Val- paraiso Railway (2 plates) ; Adam’s Locomo- tive, St. Helen’s Canal Railway (2 plates) ; Cannon Street Station Roof, Charing Cross Railway (3 plates) ; Road Bridge over the River Moka (2 plates) ; Telegraphic Apparatus for “We gladly welcome another year’s issue of this valuable publication from the able pen of Mr. Humber. The accuracy and general excellence of this work are well known, while its useful- ness in giving the measurements and details of some of the latest examples of engineering, as carried out by the most eminent men in the profession, cannot be too highly prized."— Artisan. (6 plates); Milroy’s Patent Excavator; Metro- politan District Railway (6 plates) ; Harbours, Ports, and Breakwaters (3 plates). 12 Ci?0S5F LOCKWOOD ^ SON^S CATALOGUE. Statics f Graphic and Analytic, GRAPHIC AND ANALYTIC STATICS Jn their Praciical Appli- cation to the Treatment of Stresses in Roof s^ Solid Girders, Lattice. Bowstring and Suspension Bridges, Braced Iron Arches and Piers, and other Frameworks. By R. Hudson Graham, C.E. Containing Diagrams and Plates to Scale, With numerous Examples, many taken from existing Structures. Specially arranged for Class-work in Colleges and Universities. Second Edition, Re- vised and Enlarged. 8vo, i6s. cloth. Mr. Grahcun’s book will find a place wherever graphic and analytic statics are used or studied.’' —Engineer. “The work Is excellent from a practical point of view, and has evidently been prepared with much care. The directions for w'orking are ample, and are illustrated by an abundance of well- selected examples. It is an excellent text-book for the practical draughtsman.” — Athenaum. Practical Mathematics, MATHEMATICS FOR PRACTICAL MEN: Being a Common- place Book of Pure and Mixed Mathematics. Designed chiefly for the use of Civil Engineers, Architects and Surveyors. By Olinthus Gregory, LL.D., F.R.A.S., Enlarged by Henry Law, C.E. 4th Edition, carefully Revised by J. R. Young, formerly Professor of Mathematics, Belfast College, With 13 Plates. 8vo, £1 is. cloth. “ The engineer or architect will here find ready to his hand rules for solving nearly every mathe- matical difficulty that may arise in his practice. The rules are in aU cases explained by means of examples, in which every step of the process is clearly worked out.” — Builder. “ One of the most serviceable books for practical mechanics, . . It is an instructive book for the student, and a text-book for him who, having once mastered the subjects it treats of, needs occasionally to refresh his memory upon Building News. ^HYDRAULIC TABLES, CO-EFFICIENTS, and, FORMULM for finding the Discharge of Water from Orifices, Notches, Weirs, Pipes, and Rivers. With New Formulae, Tables, and General Information on Rainfall, Catchment-Basins, Drainage, Sewerage, Water Supply for Towns and Mill Power. By John Neville, Civil Engineer, M.R.I.A. Third Ed., carefully Revised, with considerable Additions. Numerous Illusts. Cr. 8vo, 14s. cloth. “ Alike valuable to students and engineers in practice ; its study will prevent the annoyance of avoidable failures, and assist them to select the readiest means of successfully carrying out any given work connected with hydraulic engineering.”— yournal. " It is, of all English books on the subject, the one nearest to completeness. . . . From the good arrangement of the matter, the clear explanations, and abundance of formulae, the carefully calculated tables, and, above all, the thorough acquaintance with both theory and construction, which is displayed from first to last, the book will be found to be an acqamtion.”— Architect. Hydraulics, HYDRAULIC MANUAL. Consisting of Working Tables Explanatory Text. Intended as a Guide in Hydraulic Calculations and Field Operations. By Lowis D’ A. Jackson, Author of “Aid to Survey Practice," “ Modern Metrology,” &c. FourthJEdition, Enlarged. Large cr. 8vo, i6s. cl. “ The author has had a wide experience in hydraulic engineering and has been a careful ob- server of the facts which have come under his notice, and from the great mass of material at his command he hcis constructed a manual which may be accepted as a trustworthy guide to this branch of the engineer’s profession. We can heartily recommend this volume to all who desire to be acquainted with the latest develooment of this important subject."— Bngineering. “ The standard-work in this department of mechanics.” — Scotsman. “The most useful feature of this work is its freedom from what is superannuated, and its thorough adoption of recent experiments ; the text is, in fact, in great part a short account of the great modem experiments.”— Drainage, ON THE DRAINAGE OF LANDS, TOWNS, AND BUILD. INGS. By G. D. Dempsey, C.E., Author of “ The Practical Railway En- gineer,” &c. Revised, with large Additions on Recent Practice in Drainage Engineering, by D. Kinnear Clark, M.Inst.C.E. Author of “Tramways: Their Construction and Working,” “A Manual of Rules, Tables, and Data for Mechanical Engineers,” &c. Second Edition, Cor- rected. Fcap. 8vo, 5s. cloth. “ The new matter added to Mr. Dempsey’s excellent work is characterised by the Comprehen- sive grasp and accuracy of detail for which the name of Mr. D. K. Clark is a sufficient voucher. Athcnaum. ... . j j . n “ As a work on recent practice in drainage engineering, the book is to be commenaea to an who are making that branch of engineering science their special studyf'— Iron. . j . - “ A comprehensive manual on drainage engineering, and a useful introduction to the stuaent. —Buildifig News. CIVIL ENGINEERING, SURVEYING, etc. 13 Water Storage, Conveyance, and Utilisation, WATER ENGINEERING : A Practical Treatise on the Measure- ment, Storage, Conveyance, and Utilisation of Water for the Supply of Towns, for Mill Power, and for other Purposes. By Charles Slagg, Water and Drainage Engineer, A.M.Inst.C.E., Author of “ Sanitary Work in the Smaller Towns, and in Villages,” &c. With numerous Iliusts. Cr, 8vo. 7s. 6 d. cloth. ” As a small practical treatise on the water supply of towns, and on some applications of water-power, the work is in many respects e-x.ce\\&-ai.”— Engineering-. “ The author has collated the results deduced from the experiments of the most eminent authorities, and has presented them in a compact and practical form, accompanied by very clear and detailed explanations. . . . The application of water as a motive power is treated very carefully and exhaustively.” — Builder. “For anyone who desires to begin the study of hydraulics with a consideration of the practical applications of the science there is no better ■gxd\6.&."—A7xhitect, Mivev Engineering, RIVER BARS: The Causes of their Formation, and their Treat- ment by “ Induced Tidal Scour ; ” with a Description of the Successful Re- duction by this Method of the Bar at Dublin. By I. J. Mann, Assist. Eng. to the Dublin Port and Docks Board. Royal 8vo, ys. 6 d. cloth. “ We recommend all interested in harbour works— and. indeed, those concerned in the im- provements of rivers generally— to read Mr. Mann's interesting work on the treatment of river baTsl'—Ettgineer. iUmsses, TRUSSES OF WOOD AND IRON. Practical Applications of Science in Determining theStresses, Breaking Weights, Safe Loads, Scantlings, and Details of Construction, with Complete Working Drawings. By Williaai Griffiths, Surveyor, Assistant Master, Tranmere School of Science and Art. Oblong 8vo, 4s. 6 d. cloth. “ This handjTlittle book enters so minutely into every detail connected with the construction of roof trusses, that no student need be ignorant of these matters.” — Practical Engineer. Railway WorMng. SAFE RAILWAY WORKING. A Treatise on Railway Acci- dents: Their Cause and Prevention ; with a Description of Modern Appliances and Systems. By Clement E. Stretton, C.E., Vice-President and Con- sulting Engineer, Amalgamated Society of Railway Servants. With Illus- trations and Coloured Plates. Third Edition, Enlarged, Crown Svo, 3s. 6d. cloth. “ A book for the engineer, the directors, the managers ; and, in short, all who wish for informa- tion on railway matters will find a perfect encyclopaedia iu ‘Safe Railway Working.’ Review. “ We commend the remarks on railway signalling to all railway managers, especially where a eniform code and practice is advocated.”— Railway Journal. “The author maybe congratulated on having collected, in a very convenient form, much valuable information on the principal questions affecting the safe working of railways.' —Aau- ■way Engineer. Oblique Bridges, A PR A CTICA LAND THEORETICA L ESS A Y ON OBLIQ UE BRIDGES. With 13 large Plates. By the late George Watson Buck, M.I.C.E. Third Edition, revised by his Son, J. H. Watson Buck, M.LC.E. ; - and with the addition of Description to Diagrams for Facilitating the Con- struction of Oblique Bridges, by VV. H. Barlow, M.LC.E. Royal 8vo, 121. cloth. “ The standard text-book for all engineers regarding skew arches Is Mr. Buck’s treatise, and it would be impossible to consult a better.” — Engineer. “Mr. Buck’s treatise is recognised as a standard text-book, and his treatment has divested the subject of many of the intricacies supposed to belong to it. As a guide to the engineer aad archi- tect, on a confessedly difficult subject, Mr. Buck's work is unsurpassed,'’— Building News. Tunnel Shafts, THE CONSTRUCTION OF LARGE TUNNEL SHAFTS : A Practical and Theoretical Essay. By }. H. Watson Buck, M.InstC.E., Resident Engineer, London and North-Western Railway. Illustrated with Folding Plates. Royal Svo, 12s. cloth. “ Many of the methods given are of extreme practical value to the mason ; and the observations on the form of arch, the rules for ordering the stone, and the construction of the templates will be found of considerable use. We commend the book to tiie engineering profession.”— News. “Will be regarded by civil engineers as of the utmost value, and calculated to save much time and obviate many TDxsia\s.es,’'— Colliery Guardian, 14 CROSBY LOCKWOOD SON^S CATALOGUE, Student’s Text-Booh on Surveying, PRACTICAL SURVEYING : A Text-Book for Students pre- paring for Examination or for Survey-work in the Colonies. By George W. UsiLL, A.M.I.C.E., Author of “The Statistics of the Water Supply of Great Britain.’’ With Four Lithographic Plates and upwards of 330 Illustra- tions. Second Edition, Revised. Crown 8vo, 7s. 6d. cloth. “ The best forms of instruments are described as to their construction, uses and modes of employment, and there are innumerable hints on work and equipment such as the author, in his experience as surveyor, draughtsman, and teacher, has found necessary, and which the student in his inexperience will find most serviceable.”— “ The latest treatise in the English language on surveying, and we have no hesitation in say- ing that the' student will find it a better guide than any of its predecessors ..... Deserves to be recognised as the first book which should be put in the hands of a pupil of Civil Engineering, and every gentleman of education who sets out for the Colonies would find it well to have a copy.” — Architect. Su/rvey Bractice, AID TO SURVEY PRACTICE, jor Reference in Surveying, LeveU ling, and Setting-out ; and in Route Surveys of Travellers by Land and Sea. With Tables, Illustrations, and Records. By Lowis D’A. Jackson, A.M.I.C.E., Author of “ Hydraulic Manual,” “Modern Metrology,’’ &c. Second Edition, Enlarged. Large crown 8vo, 12s. 6d. cloth. “Mr. Jackson has produced a valuable vade-mecum for the surveyor. We can recommend this book as containing cui admirable supplement to the teaching of the accomplished surveyor.” — Athenceum. “ As a text-book we should advise all surveyors to place it in their libraries, and study well the matured instructions afforded in its pages.” — Colliery Guardian. “ The author brings to his work a fortunate union of theory and practical experience which, aided by a clear and lucid style of writing, renders the book a very useful one."— Builder, Surveying, Land and Marine, LAND AND MARINE 5C/i?F£F7iVG, in Reference to the Pre- paration of Plans for Roads and Railways ; Canals, Rivers, Towns’ Water Supplies; Docks and Harbours. With Description and Use of Surveying Instruments. By W. D. Haskoll, C.E., Author of “ Bridge and Viaduct Con- struction,’’ &c. Second Edition, Revised, with Additions. Large cr. 8vo, gs. cl. ** This book must prove of great value to the student. We have no hesitation in recommend- ing it, feeling assured that it will more than repay a careful study.” — Mechanical IVorld. “ A most useful and weU arranged book for the aid of a student. We can strongly recommend it as a carefully-written and valuable text-book. It enjoys a well-deserved repute among surveyors.” — Builder. “ This volume cannot fail to prove of the utmost practical utility. It may be safely recommended to all students who aspire to become clean and expert surveyors.”— Journal, Field-Book for Engineers, THE ENGINEER’S, MINING SURVEYOR’S, AND CON~ TRACTOR’S FIELD-BOOK. Consisting of a Series of Tables, with Rules, Explanations of Systems, and use of Theodolite for Traverse Surveying and Plotting the Work with minute accuracy by means of Straight Edge and Set Square only ; Levelling with the Theodolite, Casting-out and Reducing Levels to Datum, and Plotting Sections in the ordinary manner ; setting-out Curves with the Theodolite by Tangential Angles and Multiples, with Right and Left-hand Readings of the Instrument: Setting-out Curves without Theodolite, on the System of Tangential Angles by sets of Tangents and Off- sets ; and Earthwork Tables to 80 feet deep, calculated for every 6 inches in depth. By W. Davis Haskoll, C.E. With numerous Woodcuts. Fourth Edition, Enlarged. Crown 8vo, 12s. cloth. "The book is very handy ; the separate tables of sines and tangents to every minute will make it useful for many other purposes, the genuine traverse tables existing all the same.”— Athenceum. “ Every person engaged in engineering field operations will estimate the importance of such a work and the amount of valuable time which will be saved by reference to a set of reliable tables prepared with the accuracy and fulness of those given in this yoXnme.’’— Railway News. Levelling, A TREATISE ON THE PRINCIPLES AND PRACTICE OF LEVELLING. Showing its Application to purposes of Railway and Civil Engineering, in the Construction of Roads ; with Mr. Telford’s Rules for the same. By Frederick W. Simms, F.G.S., M.Inst.C.E. Seventh Edition, with the addition of Law’s Practical Examples for Setting-out Railway Curves, and Trautwine’s Field Practice of Laying-out Circular Curves. With 7 Plates and numerous Woodcuts. 8vo, 8s. 6d. cloth. *** Trautwine on Curves may be had separate, Ss. '• The text-book on levelling in most of our engineering schools and colleges."— Engineer. " The publishers have rendei;ed a substantial service to the profession, especially to the younger members, by bringing out the present edition of Mr. Simms’s useful ■voxls.:'—Engitieerin£. CIVIL ENGINEERING, SURVEYING, etc. 15 Trigonometrical Surveying, AN OUTLINE OF THE METHOD OF CONDUCTING A TRIGONOMETRICAL SURVEY, for the Formation of Geographical and Topographical Maps and Plans, Military Reconnaissance, Levelling, (S-c., with Useful Problems, Formulas, and Tables. By Lieut.-General Frome, R.E. Fourth Edition, Revised and partly Re-written by Major General Sir Charles Warren, G.C.M.G., R.E. With 19 Plates and 115 Woodcuts. Royal 8vo, i6s. cloth. "The simple fact that a fourth edition has been called for Is the best testimony to Its merits. No words of praise from us can strengthen the position so well and so steadily maintained by this work. Sir Charles Warren has revised the entire work, and made such additions as were necessary to bring every portion of the contents up to the present date." — Broad A rrow. Field Fortification, A TREATISE ON FIELD FORTIFICATION, THE ATTACK OF FORTRESSES, MILITARY MINING, AND RECONNOITRING. By Colonel I. S. Macaulay, late Professor of Fortification in the R.M.A., Wool- wich. Sixth Edition. Crown 8vo, with separate Atlas of la Plates, las. cloth. Tunnelling, PRACTICAL TUNNELLING. Explaining in detail the Setting- out of the works. Shaft-sinking and Heading-driving, Ranging the Lines and Levelling underground, Sub-Excavating, Timbering, and the Construction of the Brickwork of Tunnels, with the amount of Labour required for, and the- Cost of, the various portions of the work. By Frederick W. Simms, F.G.S., M.Inst.C.E. Third Edition, Revised and Extended by D. Kinnear Clark, M.Inst.C.E. Imperial 8vo, with 21 Folding Plates and numerous Wood Engravings, 30s. cloth. The estimation in which Mr. Simms's book on tunnelling has been held for over thirty year.s- cannot be more truly expressed than in the words of the late Prof. Rankine : — ‘ The best source of in - formation on the subject of tunnels is Mr.F.W.Simms’swork on Practical TunneUms.”'— Architect. “ It has been regarded from the first as a text-book of the subject. . . . Mr. Clark has added immensely to the value ot the book." — Engineer. Tramways and their WorMng, TRAMWAYS: THEIR CONSTRUCTION AND WORKING. Embracing a Comprehensive History of the System ; with an exhaustive Analysis of the various Modes of Traction, including Horse-Power, Steam, Compressed Air, Electric Traction, &c. ; a Description of the Varieties of Roll- ing Stock ; and ample Details of Cost and Working Expenses. New Edition, Thoroughly Revised, and Including the Progress recently made in Tramway Construction, &c. &c. By D. Kinnear Clark, M.Inst.C.E. With numerous Illustrations. In One Volume, 8vo. [/» preparation. " All interested in tramways must refer to it, as all railway engineers have turned to the author’s work ‘Railway Machinery."’ — Engineer. " An exhaustive and practical work on tramways, in which the history of this kind of locomo. don, and a description and cost of the various modes of laying tramways, tire to be found. Building News. “ The best form of rails, the best mode of construction, and the best mechanical appliances are so fairly indicated in the work under review, that any engineer about to construct a tramway will be enabled at once to obtain the practical information which will be of most service to him,’ — Athenceum. Curves, Tables for Setting~out, TABLES OF TANGENTIAL ANGLES AND MULTIPLES for Setting-out Curves from 5 to 200 Radius. By Alexander Beazeley, M.Inst.C.E. Fourth Edition. Printed on 48 Cards, and sold in a cloth box, waistcoat-pocket size, 3s. 6d, " Each table is printed on a small card, which, being placed on the theodolite, leaves the hands free to manipulate the instrument — no small advantage as regards the rapidity of work.” — Engineer. “Very handy ; a man may know that all his day’s work must fall on two of these cards, which he puts into his own card-case, and leaves the rest Athenceum. FartJiworli, EARTHWORK TABLES. Showing the Contents in Cubic Yards of Embankments, Cuttings, &c., of Heights or Depths up to an average of 80 feet. By Joseph Broadbent, C.E., and Francis Campin, C.E. Crown 8vo, 5s. cloth. " The way in which accuracy is attained, by a simple division of each cross section into three elements, two in which are constant and one variable, is mg(ivdo\xs,"— Athenceum. CROSBY LOCKWOOD cS- SON'S CATALOGUE. e6 Heat, Expansion hy, EXPANSION OF STRUCTURES BY HEAT. By John Keily, C.E., late of the Indian Public Works and Victorian Railway Depart- ments. Crown 8vo, 3s. 6d. cloth. Summary of Contents. Section I. Formulas AND Data. Section II. Metal Bars. Section III. Simple Frames. Section IV. Complex Frames and Plates. Section V. Thermal Conductivity. Section VI, Mechanical Force of Heat. Section VII. Work of Expansion and Contraction. Section VIII. Suspension Bridges. Section IX. Masonry Structures. “ The aim the author has set before him, viz., to show the effects of heat upon metallic and other structures, is a laudable one, for this is a branch of physics upon which the engineer or archi- tect can find but little reliable and comprehensive data in books.” — Builder. “ Whoever is concerned to know the effect of changes of temperature on such structures as suspension bridges and the like, could not do better than consult Mr. Keily's valuable and handy exposition of the geometrical principles involved in these ch&nges.”—Scoisman. Earthwork, Measurement of, A MANUAL ON EARTHWORK. By Alex. J. S. Graham, C.E. With numerous Diagrams. Second Edition. i 3 mo, 2s. M. cloth. “ A great amount of practical information, very admirably arranged, and available for rough estimates, as well as for the more exact calculations required in the engineer's and contractor’s offices. ”—A rtizan. Strains in Ironwork, THE STRAINS ON STRUCTURES OF IRONWORK: with Practical Remarks on Iron Construction. By F. W. Sheilds, M. Inst, C.E, Second Edition, with 5 Plates. Royal 8vo, 5s. cloth. The student cannot find a better little book on this subject.’ — Cast Iron and other Metals, Strength of, A PRACTICAL ESSAY ON THE STRENGTH OF CAST IRON AND OTHER METALS. By Thomas Tredgold, C.E. Fifth Edition, including Hodgkinson’s Experimental Researches. 8 vo, 125. cloth. Oblique Arches. A PRACTICAL TREATISE ON THE CONSTRUCTION OF OBLIQUE ARCHES. By John Hart. Third Edition, with Plates, Im- perial 8vo, 8s. cloth. Girders, Strength of, GRAPHIC TABLE FOR FACILITATING THE COMPUTA- TION OF THE WEIGHTS OF WROUGHT IRON AND STEEL GIRDERS, etc., for Parliamentary and other Estimates. By J. H. Watson Buck, M.Inst.C.E. On a Sheet, 35. 6 d, MARINE ENGINEERING, NAVIGATION, etc. 17 MARINE ENGINEERING, SHIPBUILDING, NAVIGATION, etc. PocJcet-BooTcfor Naval Architects and SMphuilders, THE NAVAL ARCHITECT'S AND SHIPBUILDER'S POCKET-BOOK of Formula, Rules, and Tables,and MARINE ENGINEER’S AND SURVEYOR’S Handy Book of Reference. By -Clement Mackrow, Member of the Institution of Naval Architects, Naval Draughtsman. Fifth Edition, Revised and Enlarged to 700 pages, with upwards of 300 Illustra- tions. Fcap., I2S. Qd. strongly bound in leather. \_Just published . Summary of Signs and Symbols, Decimal Frac- tions. — Trigonometry. — Practical Geometry. — Mensuration. — Cen- tres AND Moments of Figures. — Moments of Inertia and Radii of Gyration. — Algebraical Expres- sions FOR Simpson’s Rules. — Me- chanical Principles. — Centre of Gravity. — Laws of Motion. — Dis- placement, Centre of Buoyancy. — Centre of Gravity of Ship’s Hull. — Stability Curves and Metacen- tres. — Sea and Shallow-water Waves. — Rolling of Ships. — Pro- pulsion AND Resistance of Vessels. — Speed Trials. — Sailing, Centre OF Effort.— Distances down Rivers, Coast Lines. — Steering and Rud- ders OF Vessels.— Launching Cal- culations AND Velocities. — Weight OF Material and Gear. — Gun Par- ticulars and Weight.— Standard Gauges. — Riveted Joints and Rivet- ing. — Strength and Tests of Mate- rials. — Binding and Shearing Stresses, etc. — Strength of Shaft- ing, Pillars, Wheels, etc. — Hy- draulic Data, etc. — Conic Sections, Catenarian Curves. — Mechanical Powers, Work. — Board of Trade Regulations for Boilers and En- gines. — Board of Trade Regula- tions FOR Ships. — Lloyd’s Rules Contents. FOR Boilers. — Lloyd’s Weight of Chains. — Lloyd’s Scantlings for Ships.— Data of Engines and Ves- sels. - Ships’ Fittings and Tests. — Seasoning Preserving Timber. — Measurement of Timber. — Alloys, Paints, Varnishes. — Data for Stowage. — Admiralty Transport Regulations. — Rules for Horse- power, Screw Propellers, etc. — Percentages for Butt Straps, etc. — Particulars of Yachts. — Masting AND Rigging Vessels. — Distances OF Foreign Ports. — Tonnage Tables. — Vocabulary of French AND English Terms. — English Weights and Measures. — Foreign Weights and Measures. — Decimal Equivalents. — Foreign Money. — Discount and Wage Tables. — Use- ful Numbers and Ready Reckoners — Tables of Circular Measures.— Tables of Areas of and Circum- ferences OF Circles. — Tables of Areas of Segments of Circles.— Tables of Squares and Cubes and Roots of Numbers. — Tables of Logarithms of Numbers. — Tables OF HyperbolicLogarithms. — Tables OF Natural Sines, Tangents, etc. — Tables of Logarithmic Sines, Tangents, etc. In these days of advanced knowledge a work like this is of the greatest value. It contains a vast amount of information. We unhesitatingly say that it is the most valuable compilation for its specific purpose that has ever been printed. No naval architect, engineer, sui-veyor, or seaman, wood or iron shipbuilder, can afford to be without this woxV.."— Nautical Magazine . “Should be used by all who are engaged in the construction or designs of vessels. . . . Will be found to contain the most useful tables and formulae required by shipbuilders, carefully collected from the best authorities, and put together in a popular and simple form.” — Engi 7 ieer . “ The professional shipbuilder has now, in a convenient and accessible form, reliable data for solving many of the numerous problems that present themselves in the course of his work.”— Marine Engineering, MARINE ENGINES AND STEAM VESSELS (A Treatise on). By Robert Murray, C.E. Eighth Edition, thoroughly Revised, with considerable Additions by the Author and by George Carlisle, C.E., Senior Surveyor to the Board of Trade at Liverpool. lamo, 5s. cloth boards. “Well adapted to give the young . steamship engineer or marine engine and boiler maker a general introduction into his practical - wor^.”— Mechanical World . “We feel sure that this thoroughly revised edition will continue to be as popular in the future as it has been in the past, as, for its size, it contains more useful information than any similar treatise. ” — Industries . Electric Lighting of Ships. ELECTRIC SHIP-LIGHTING. By J. W. Urquhart, C.E. Crown 8vo, 7s. 6rf. cloth. For full description, see p. 24: c i8 CROSBY LOCKWOOD "'A very valuable book, which we strong-ly recommend to all students.” — Builder. “No architectural student should be without this handbook of constructional knowledge.” ArchiUci. Mouse Building and ^Repairing, THE HOUSE-OWNER'S ESTIMATOR ; or, What will it Cost to Build, Alter, or Repair? A Price Book adapted to the Use of Unpro- fessional People, as well as for the Architectural Surveyor and Builder. By James D. Simon, A.R.I.B.A. Edited and Revised by Francis T. W. Miller, A.R.I.B.A, With numerous Illustrations. Fourth Edition, Revised, Crown 8vo, 3s. 6i. cloth. “In two years it will repay Its cost a hundred times over." — Field. “ A very handy book .” — English Mechanic. Cottages and Villas, COUNTRY AND SUBURBAN COTTAGES AND VILLAS: How to Plan and Build Them. Containing 33 Plates, with Introduction, General Explanations, and Description of each Plate. By James W. Bogwe, Architect, Author of “ Domestic Architecture,” &c. 4to, los. 6d. cloth, Building ; Civil and Ecclesiastical, A BOOK ON BUILDING, Civil and Ecclesiastical, including Church Restoration ; with the Theory of Domes and the Great Pyramid, &c. By Sir Edmund Beckett, Bart,, LL.D., F.R. A, S., Author of “Clocks and Watches, and Bells,” &c. Second Edition, Enlarged. Fcap. 8vo, 5s. cloth. ‘‘ A book which is always amusing and nearly always instructive. The style throughout is the highest degree condensed and epigrammatic.”— yjwej-. Ventilation of Buildings, VENTILATION . A Text Booh to the Practice of the Art of Ventilating Buildings. With a Chapter upon Air Testing. By W. P. Buchan, R.P., Sanitary and Ventilating Engineer, Author of “ Plumbing,” &c. With 170 Illustrations, i2mo, 4s. cloth boards. “ Contains a great amount of useful practical information, as thoroughly interesting as it is technically reliable, and ‘ Ventilation ’ forms a worthy companion volume to the anthor’s excellent treatise on ‘ Plumbing.’ "—British Architect. “ It is invaluable alike for the architect and builder, and should be in the hands of everyone •who has to deal in any way with the subject of ventilation.” — Met7-opolita7i. The Art of Elumhing, PLUMBING. A Text Booh to the Practice of the Art or Craft of the Plumber, with Supplementary Chapters on House Drainage, embodying the latest Improvements. By William Paton Buchan, R.P., Sanitary Engineer and Practical Plumber. Sixth Edition, Enlarged to 370 pages, and 380 Illustrations. i2mo, 4s. cloth boards. '• A text-book \vhich may be safely put in the hands of every young plumber, and which ■will also be found useful by architects and medical professors.” — Builder. “ A valuable text-book, and the only treatise which can be regarded as a really reliable manua of the plumber’s art.” — Building News. Geometry for the Architect, Engineer, etc, PRACTICAL GEOMETRY, for the Architect, Engineer, and Mechanic. Giving Rules for the Delineation and Application of various Geometrical Lines, Figures and Curves. By E. W. Tarn, M.A., Architect, Author of “The Science of Building,” &c. Second Edition. With 172 Illus- trations. Demy 8vo, 9s. cloth. "No book with the same objects in view has ever been published In which the clearness of the rules laid do'wn and the illustrative diagrams have been so satisfactory.” — Scotsman. The Science of Geometry, THE GEOMETRY OF COMPASSES; or, Problems Resolved by the mere Description of Circles, and the use of Coloured Diagrams and Symbols. By Oliver Byrne, Coloured Plates. Crown 8vo, 3s. 6d. cloth. '■ The treatise is a good one, and remarkable— like all Mr. Byrne’s contributions to the science of geometrj'- for the lucid character of its teaching.”— News, 28 CROSBY LOCKWOOD SON'S CATALOGUE. CAEPENTRY, TIMBER, etc. TredgoWs Carpentry, JRevised S Enlarged hy Tarn, THE ELEMENTARY PRINCIPLES OF CARPENTRY. A Treatise on the Pressure and Equilibrium of Timber Framing, the Resist- ance of Timber, and the Construction of Floors, Arches, Bridges, Roofs, Uniting Iron and Stone with Timber, &c. To which is added an Essay on the Nature and Properties of Timber, &c., with Descriptions of the kinds of Wood used in Building ; also numerous Tables of the Scantlings of Tim- ber for different purposes, the Specific Gravities of Materials, &c. By Thomas Tredgold, C.E. With an Appendix of Specimens of Various Roofs of Iron and Stone, Illustiated. Seventh Edition, thoroughly revised and considerably enlarged by E, W^yndham Tarn, M.A., Author of “The Science of Build- ing,” &c. With 6i Plates, Portrait of the Author, and several Woodcuts. In One large Vol., 4to, price £i 5s. cloth. “ Ought to be in every architect’s and every builder’s WhrSiry.”— Builder. “ A work whose monumental excellence must commend it wherever skilful carpentry Is con- cerned. The author’s principles are rather confirmed thtm impaired by time. The additional plates are of great intrinsic ■v3XnQ."—Buildmg- News. Woodworking Machinery. WOODWORKING MACHINERY : Its Rise, Progress, and Construction, With Hints on the Management of Saw Mills and the Economi- cal Conversion of Timber. Illustrated with Examples of Recent Designs by leading English, French, and American Engineers. By M. Powis Bale, A.M.Inst.C.E., M.I.M.E. Large crown 8vo, 12s. 6d, cloth. “Mr. Bale is evidently an expert on the subject and he has collected so much Information that feis book is all-sufficient for builders and others engaged in the conversion of timber.’'— A rchitea. “The most comprehensive compendium of wood-working machinery we have seen. The ^thor is a thorough master of his subject .” — BtHlding News. “ It should be in the office of every wood-working factory.”— Mechanic. Saw Mills, SA W MILLS : Their Arrangement and Management, and the Economical Conversion of Timber. (A Companion Volume to “ Woodwork- ing Machinery.”) By M. Powis Bale, With numerous Illustrations. Crown 8vo, 10s. 6d. cloth. “ The admtnistratio7t of a large sawing establishment is discussed, and the subject examined from a financial standpoint. Hence the size, shape, order, and disposition of saw-mills and the like are gone into in detail, and the course of the timber is traced from its reception to its delivery in its converted state. We could not desire a more complete or practical treatise.” — Builder. “We highly recommend Mr. Bale's work to the attention and perusal of all those who are en- gaged in the art of wood conversion, or who are about building or remodelling saw-mills on im- proved piinciplQS."—Buildin£- News. NicJiolson^s Carpentry, THE CA RP ENTER'S NE W G UIDE ; or, Book of Lines for Car- penters ; comprising all the Elementary Principles essential for acquiring knowledge of Carpentry. Founded on the late Peter Nicholson’s Standard Work. A New Edition, Revised by Arthur Ashpitel, F.S.A, Together with Practical Rules on Drawing, by George Pynb, With 74 Plates, 4to, £1 IS. cloth. Handrailing and Stairhuilding, A PRACTICAL TREATISE ON HANDRAILING : Showing New and Simple Methods for Finding the Pitch of the Plank, Drawing the Moulds, Bevelling, Jointing-up, and Squaring the Wreath. By George C oLLiNGS. Second Edition, Revised and Enlarged, to which is added A Treatise on Stairbuilding. V/ith Plates and Diagrams. i2mo, as. 6d. cloth limp. “Will be found of practical utility in the execution of this difficult branch of joinery.” — Builaer. “ Almost every difficult phase of this somewhat intricate branch of joinery is elucidated by the aid of plates and explanatory \etterpress."—Fuf7iiture Gazette, tt/" ft'i'dlc' CIRCULAR WORK IN CARPENTRY AND JOINERY: A Practical Treatise on Circular Work of Single and Double Curyature. By George Collings, Author of “ A Practical Treatise on Handrailing.” Illus- trated with numerous Diagrams. Second Edition. lamo, as. 6d. cloth liinp. ■“ An excellent example of what a book of this kind should be. Cheap in price, clear in defini- tion and practiced in the example? >e\ecteA."~ Biiilde?-. CARPENTRY, TIMBER, etc. 29 Timber 3IerclianVs Companion, THE TIMBER MERCHANTS AND BUILDER'S COM- PANION. Containing New and Copious Tables of the Reduced Weight 8Jid Measurement of Deals and Battens, of all sizes, from One to a Thousand Pieces, and the relative Price that each size bears per Lineal Foot to any given Price per Petersburg Standard Hundred ; the Price per Cube Foot of Square Timber to any given Price per Load of 50 Feet ; the proportionate Value of Deals and Battens by the Standard, to Square Timber by the Load ot 50 Feet; the readiest mode of ascertaining the Price of Scantling per Lineal Foot of any size, to any given Figure per Cube Foot, &c, &c. By William Dowsing. Fourth Edition, Revised and Corrected. Cr. 8vo, 3s. cL “ Everything is as concise and clear as it can possibly be made. There can be no doubt that every timber merchant and builder ought to possess it.” — Hull Adveriiser. “We are glad to see a fourth edition of these admirable tables, which for correctness an.d simplicity of arrangement leave nothing to be desired.” — Timber Trades Jouryial. Practical Timber 3Ierchant, THE PRACTICAL TIMBER MERCHANT. Being a Guida for the use of Building Contractors, Surveyors, Builders, &c., comprising useful Tables for afl purposes connected v/ith the Timber Trade, Marks of Wood, Essay on the Strength of Timber, Remarks on the Growth of Timber, &c. By W. Richardson. Fcap. 8vo, 3s. 6 d. cloth. "This handy manual contains much valuable information for the use of timber merchants, builders, foresters, and all others connected with the growth, sale, and manufacture of timber.”— Journal of Forestry. Timber Freight BooJc, THE TIMBER MERCHANTS, SAW MILLER'S, AND IMPORTER’S FREIGHT BOOK AND ASSISTANT. Comprising Rules, Tables, and Memoranda relating to the Timber Trade. By William Richardson, Timber Broker; together with a Chapter on “ Speeds of Saw Mill Machinery,” by M. Powis Bale, M.I.M.E., &c. i2mo, 3s. 6d. cl. boards, “A very useful manual of rules, tables, and memoranda relating to the timber trade. We re- commend it as a compendium of calculation to all timber measurers and merchants, and as supply- ing a real want in the trade.” — B 2 iilding News. F aching -Case Mahers, Tables for, PACKING-CASE TABLES ; showing the number of Super- ficial Feet in Boxes or Packing-Cases, from six inches square and upwards. By W. Richardson, Timber Broker. Third Edition. Oblong 4to, 3s, Qd. c), Invaluable labour-saving tables.” — Iromnonger. “Will save much labour and calculation.” — Grocer. Superficial 31easurement, THE TRADESMAN'S GUIDE TO SUPERFICIAL MEA- SUREMENT. Tables calculated from i to 200 inches in length, by i to 108 inches in breadth. For the use of Architects, Surveyors, Engineers, Timber Merchants, Builders, &c. By James Hawkings. Fourth Edition. Fcap., 3s. 6d. cloth. " A useful collection of tables to facilitate rapid calculation of surfaces. The exact area of auy surface of which the limits have been ascertained can be instantly determined. The book will be found of the greatest utility to all engaged in building operations.” — Scotsman. “ These tables will be found of great assistance to all who require to make calculations in supesr- ficial measurement.”— Mechanic. Forestry, THE ELEMENTS OF FORESTRY. Designed to afford In- formation concerning the Planting and Care of Forest Trees for Ornament or Profit, with Suggestions upon the Creation and Care of Woodlands. By F. B, Hough. Large crown 8vo, los. cloth. Timber Importer’s Gtiide, THE TIMBER IMPORTER 'S, TIMBER MERCHANTS, AND BUILDER'S STANDARD GUIDE. By Richard E. Grandy, Compris- ing an Analysis of Deal Standards, Home and Foreign, with Comparative Values and Tabular Arrangements for fixing Net Landed Cost on Baltic and North American Deals, including all intermediate Expenses, Freight, Insurance, &c. &c. Together with copious Information for the Retailer and Builder. Third Edition, Revised. i2mo, 2S. cloth limp. "Everything it pretends to be; built up gradually, it leads one from a forest to a treenail, and throws in, as a makeweight, a host of material concerning bricks, columns, cisterns, &iz,"—E7isrlish Mechanic. CROSBY LOCKWOOD SON’S CATALOGUE, 30 DECORATIVE ARTS, etc. Woods and Marbles (Imitation of), SCHOOL OF PAINTING FOR THE IMITATION OF WOODS AND MARBLES, as Taught and Practised by A. R. Van der Burg and P. Van der Burg, Directors of the Rotterdam Painting Institution. Royal folio, 18^ by 12^ in,, Illustrated with 24 full-size Coloured Plates ; also 12 plain Plates, comprising 154 Figures. Second and Cheaper Edition. Price £i iis.6cl. List of Plates, X. Various Tools required for Wood Painting —a, 3. Walnut: Preliminary Stages of Graining «.nd Finished Specimen — 4. Tools used for Marble Painting and Method of Manipulation— S, 6. St. Remi Marble: Earlier Operations and Finished Specimen — 7. Methods of Sketching different Grains, Knots, &c. — 8, 9. Ash: Pre- liminary Stages and Finished Specimen — 10. Methods of Sketching Marble Grains— 11, 13. Breche Marble: Preliminary Stages of Working and Finished Specimen — 13. Maple : Methods of Producing the different Grains — 14, 15. Bird’s- eye Maple: Preliminary Stages and Finished Specimen— 16. Methods of Sketching the dif- ferent Species of White Marble — 17, 18. White Marble: Preliminary Stages of Process and Finished Specimen— ig. Mahogany : Specimens of various Grains and Methods of Manipulation — ao, ai. Mahogany: Earlier Stages and Finished Specimen — 33,33, 24. Sienna Marble ; Varieties of Grain, Preliminary Stages and Finished Specimen — 35, 36, 27. Juniper Wood : Methods of producing Grain, &c. : Preliminary Stages and Finished Specimen — 28, 29, 30. Vert de Mer Marble : Varieties of Grain and Methods of Working Unfinished and Finished Speci- mens — 31. 32. 33. Oak: Varieties of Grain, Tools Employed, and Methods of Manip>ulation, Pre- liminary Stages and Finished Specimen — 34, 35, 36. Waulsort Marble: Varieties of Grain, Ua- finished and Finished Specimens. *** Opinions of the Press. “Those who desire to attain skill in the art of painting woods and marbles will find advantage fn consulting this book. . . . Some of the Working Men’s Clubs should give their young men the opportunity to study it.” — Builder. “A comprehensive guide to, the art. The explanations of the processes, the manipulation and management of the colours, and the beautifully executed plates will not be the least valuable to the Student who aims at making his work a faithful transcript of nature .” — Building News, Mouse DecoraMon, ELEMENTARY DECORATION. A Guide to the Simpler Forms of Everyday Art, as applied to the Interior and Exterior Decoration of Dwelling Houses, &c. Together with PRACTICAL HOUSE DECORA- TION : A Guide to the Art of Ornamental Painting, the Arrangement of Colours in Apartments, and the principles of Decorative Design. By James W. F.acey, With numerous Illustrations. In One Vol., 5s. strongly half- bound. Mouse Fainting, Graining, etc, HOUSE PAINTING, GRAINING, MARBLING, AND SIGN IFR/r/A^G, A Practical Manual of. By Ellis A. Davidson. Sixth Edition. With Coloured Plates and Wood Engravings. i2mo, 6s. cloth boards. “ A mass of information, of use to the amateur and of value to the practical maxs."— English Itfechanic. “Simply Invaluable to the youngster entering upon this particular calling, and highly service- able to the man who is practising it."— Furniture Gazette. Decorators, Feceipts for, THE DECORATOR'S ASSISTANT: A Modern Guide to De- corative Artists and Amateurs, Painters, Writers, Gilders, &c. Containing upwards of 600 Receipts, Rules and Instructions ; with a variety of Informa- tion for General Work connected with every Class of Interior and Exterior Decorations, &c. Fifth Edition, Revised. 152 pp., crown 8vo, is. in wrapper. “ Full of receipts of value to decorators, painters, gilders, &c. The book contains the gist of larger treatises on colour and technical processes. It would be difficult to meet with a work so full of varied information on the paiater’s ait.’'— Building News. Moyr Smith on Interior Decoration, ORNAMENTAL INTERIORS, ANCIENT AND MODERN. By J. Moyr Smith. Super-royal 8vo, with 32 full-page Plates and numerous smaller Illustrations, handsomely bound in cloth, gilt top, price i8s. “ The book is well illustrated and handsomely got up, and contains some true criticism and a good many good examples of decorative treatment.”— Builder. “To all who take an interest in elaborate domestic ornament this handsome volume will be welcome.” — Graphic, DECORATIVE ARTS, etc, 31 British and Foreign 3Iarhles, MARBLE DECORATION and the Terminology of British and Foreign Marbles. A Handbook for Students. By George H. Blagrove, Author of “ Shoring and its Applicatioa,” &c. With 28 Illustrations. Crown Svo, 3s. 6 d. cloth. “ This most useful and much wanted handbook should be in the hands of every architect and builder.” — Building- World. “ A carefully and usefully written treatise ; the work is essentially piactical."— Scotsman . 3Iarhle Working^ etc, MARBLE AND MARBLE WORKERS: A Handbook for Architects, Artists, Masons, and Students. By Arthur Lee, Author of “ A Visit to Carrara,” “ The Working of Marble,’’ &c. Small crown Svo, 2S. cloth. “ A really valuable addition to the technical literature of architects and xssas.or\&."— Building Ni-ws. DELAMOTTES WORKS ON ILLUMINATION AND ALPHABETS, A PRIMER OF THE ART OF ILLUMINATION, for the Use of Beginners : with a Rudimentary Treatise on the Art, Practical Directions for its Exercise, and Examples taken from Illuminated MSS.., printed in Gold and Colours. By F. Delamotte. New and Cheaper Edition, Small 4to, 6s. orna- mental boards. “The examples of ancient MSS. recommended to the student, which, with much good sense, the author chooses from collections accessible to all, are selected with judgment and Mowledge, is well as tasX^."—Athenceum. ORNAMENTAL ALPHABETS, Ancient and Mediaval, from the Eighth Century, with Numerals; including Gothic, Church-Text, large and small, German, Italian, Arabesque, Initials for Illumination, Monograms, Crosses, &c. &c., for the use of Architectural and Engineering Draughtsmen, Missal Painters, Masons, Decorative Painters, Lithographers, Engravers, Carvers, &c. &c. Collected and Engraved by F. Delamotte, and printed in Colours, New and Cheaper Edition, Royal Svo, oblong, 2s. 6d. ornamental boards, “ For those who insert enamelled sentences round gilded chalices, who blazon shop legends over siiop-doors, who letter church walls with pitliy sentences from the Decalogue, this book will be use- iu.V’—Athenau7?t. EXAMPLES OF MODERN ALPHABETS, Plain and Ornamental; including German, Old English, Saxon, Italic, Perspective, Greek, Hebrew, Court Hand, Engrossing, Tuscan, Riband, Gothic, Rustic, and Arabesque ; with several Original Designs, and an Analysis of the Roman and Old English Alphabets, large and small, and Numerals, for the use of Draughtsmen, Sur- veyors, Masons, Decorative Painters, Lithographers, Engravers, Carvers, &c. Collected and Engraved by F. Delamotte, and printedTn Colours, New and Cheaper Edition. Royal Svo, oblong, 2S. 6 d. ornamental boards. “ There Is comprised in it every possible shape into which the letters of the alphabet and numerals can be formed, and the talent which has been expended in tlie conception of the various plain and ornamental letters is viondQAui.."— Standard. MEDimVAL ALPHABETS AND INITIALS FOR ILLUMI- NATORS. By F, G. Delamotte.. Containing 21 Plates and Illuminated Title, printed in Gold and Colours, With an Introduction by J. Willis Brooks. Fourth and Cheaper Edition. Small qto, 4s. ornamental boards. “ A volume in which the letters of the alphabet come forth glorified in gilding and all the colours of the prism interwoven and intertwined and intermingled.” — Sun. THE EMBROIDERER’S BOOK OF DESIGN. Containing Initials, Emblems, Cyphers, Monograms, Ornamental Borders, Ecclesiastical Devices, Mediaeval and Modern Alphabets, and National Emblems, Col- lected by F. Delamotte, and printed in Colours. Oblong royal Svo, is. 6d. ornamental wrapper. “ The book will be of great assistance to (adies and young children who are endowed with the art of plying the needle in this most ornamental and useful pretty woik,"— Bast Anglian Times. Wood Carving, INSTRUCTIONS IN WOOD-CARVING, for Amateurs; with Hints on Design. By A Lady. With Ten Plates. New and Cheaper Edition. Crown 8vo, 2S. in emblematic wrapper. “ The handicraft of the wood-carver, so well as a book can Impart It, may be learnt from ’ A f.ady's’ publication.” — Athenceum, 32 CROSBY LOCKWOOD 6 - SON’S CATALOGVb, NATURAL SCIENCE, etc. The Heavens and their Origin, THE VISIBLE UNIVERSE : Chapters on the Origin and Construction of the Heavens. By J. E. Gore, F.R.A.S., Author of “Star Groups,” &c. Illustrated by 6 Stellar Photographs and 12 Lithographic Plates. Demy 8vo, i6s. cloth, gilt top. [_Just published. “ A valuable and lucid summary of recent astronomical theory, rendered more valuable and attractive by a series of stellar photographs and other illustrations.”— Times. “ In presenting a clear and concise account of the present state of our knowledge, Mr. Gore has made a valuable addition to the literature of the subject.” — Nature. “ Mr. Gore’s ‘ Visible Universe ’ is one of the finest works on astronomical science that has re- cently appeared in our language. In spirit and in method it is scientific from cover to cover, but the style is so clear and attractive that it will be as acceptable and as readable to those who make no scientific pretensions as to those who devote themselves specially to matters astronomical."— Leeds Mercury. “ We are glad to bear witness to the fulness, the accuracy, and the entire honesty of the latest and the best compilation of the kind which has appeared of late years. . . . The illustrations are also admirable.”— TlaiTv Chronicle. “ As interesting as a novel, and instructive withal ; the text being made still more luminous by stellar photographs and other illustrations. ... A most valuable hook.”— Manchester Bxaminer. The Constellations, STAR GROUPS: A Student’s Guide to the Constellations. By J. Ellard Gore.F.R.A.S., M. R.I. A. , 6S:c., Author of “The Visible Universe,” “ The Scenery of the Heavens.” With 30 Maps. Small 4to, 5s. cloth, silvered. “ A knowledge of the principal constellations visible in our latitudes may be easily acquired by the thirty maps and accompanying text contained in this vtoxk."— Nature. “ The volume contains thirty maps showing stars of the sixth magnitude— the usual naked-eye limit— and each is accompanied by a brief commentary, adapted to facilitate recognition and bring to notice objects of special interest. For the purpose of a preliminary survey of the ‘ midnight pomp' of the heavens, nothing could be better than a set of delineations averaging scarcely twenty square inches in area, and including nothing that cannot at once be identified.'’— Saturday Review. “ A very compact and handy guide to the conste\\3Xions.”—Aihenxum. The Microscope, THE MICROSCOPE : Its Construction and Management, in- cluding Technique, Photo-micrography, and the Past and Future of the Microscope. By Dr. Henri van Heurck, Director of the Antwerp Botan* nical Gardens. English Edition, Re-Edited and Augmented by the Author from the Fourth French Edition, and Translated by Wynne E. Baxter, F.R.M.S., F.G.S., &c. About 400 pages, with Three Plates and upwards of 250 Woodcuts. Imp. 8vo, i8s. cloth gilt. ijust published. “ This is a translation of a well-known work, at once popular and comprehensive, on the struc- ture, mechanism, and use of the microscope. Of adequate English manuals on the use of the microscope there is certainly no lack ; but, as the translator very truly] says, such a book as Pro- fessor van Heurck’s must necessarily be of interest to all who devote serious attention to microscopic work as a means of comparing the continental views and modes of thought with those of their own and other countries. '—Times. ^k-Strononhg , ASTRONOMY. By the late Rev. Robert Main, M.A., F.R.S., formerly Radcliffe Observer at Oxford. Third Edition, Revised and Cor- rected to the present time, by William Thynne Lynn, B.A., F.R.A.S., formerly of the Royal Observatory, Greenwich. i2mo, 2s. cloth limp. “ A sound and simple treatise, very carefully edited, and a capital book for beginners.”— Knowledge. , , . , . \tional Times. “ Accurately brought down to the requirements of the present time by Mr. Lynn.’ —£duca~ JRecent and Fossil Shells, A MANUAL OF THE MOLLUSCA : Being a Treatise on Recent and Fossil Shells. By- S. P. Woodward, A.L.S., F.G.S., late Assistant Palaeontologist in the British Museum. With an Appendix on Recent and Fossil Conchological Discoveries^ by Ralph Tate, A.L.S., F.G.S. Illustrated by A. N. Waterhouse and Joseph Wilson Lowry. With 23 Plates and upwards of 300 Woodcuts. Reprint of Fourth Ed., 1880. Cr. 8vo, ys, 6d. cl, A most valuable storehouse of conchological and geological information. Gossip. ■ Geology and Genesis, THE TWIN RECORDS OF CREATION ; or, Geology and Genesis: their Perfect Harmony and Wonderful Concord. By George W. Victor le Vaux. Numerous Illustrations. Fcap. 8vo, 5s. cloth. “ A valuable contribution to the evidences of Revelation, and disposes very conclusively of the arguments of those who would set God’s Works against God’s Word. No real diflicuhy is shirked and no sophistry is left unexposed.”— Rock NATURAL SCIENCE, etc. 33 DR. LARDNER’S COURSE^F NATURAL PHILOSOPHY and almost re- 6s. cloth. ’ With 378 Illustrations. Post 8vo chapters which had become obsolete srr2o—.“S'^ « better shihed rrirc'" New Edition, Revised PNEUMATICS. 236 Illustrations. Post 8vo, 5s doth ’ Loewy, F.R.A.S, With "■ “fetr's* 'gf written “d almost entirely Re. .»garbte^^^ i5r.s,£\vsSso“S?“ ■IB HANDBOOK OF OPTICS Rv n formerly Professor 01 Natural PhArto Lardner.D C T College, London. New Edition. Edftld^bv T ”or in University ,S.e“rS%lo?b & i&Si?n*s!“s“Saf,-"^^^^ Ccleatthc writers, beaa.,f„„v .ad eUboratetv ...astrlted,- dCOC/Sr/CS. By Dr. Lfhof^^KbS^Th^^’ ^^'^NBTISM, AND ■ ThfbS fo^M^!; b Probably „o other booh coLtas ,; “ami °’ «° P"«“’ S'- «<* cloth ““""‘'s Of the most deservedly pSr ® ‘=o»eot-acquaint not lOg^ — s e him. -Pracii. O" geology physicat i/s'S Eetltd°y '' 4 ^oL ’e fulness of Vhe±±h?:?.-.S.,&C. With aso By f-PHTATE. \.L.S. F.GS &i Wit-h” 34 CROSBY LOCKWOOD SON'S CATALOGUE. DR. LARDNER’S MUSEUM OF SCIENCE AND ART. THE MUSEUM OF SCIENCE AND ART. Edited by Dionysius Lardner, D.C.L., formerly Professor of Natural Philosophy and Astronomy in University College, London. With upwards of 1,200 Engrav- ings on Wood. In 6 Double Volumes, £i is. in a new and elegant cloth bind- ing ; or handsomely bound in half-morocco, 31s. Opinions of the Press. “TWs series, besides affording popular but sound instruction on scientific subjects, with which She humplest man in the country ought to be acquainted, also undertakes that teaching of ‘ Com- mon Things ’ which every well-wisher of his kind is anxious to promote. Many thousand copies of this serviceable publication have been printed, in the belief and hope that the desire for Instruction and improvement widely prevails ; and' we have no fear that such enlightened faith will meet with disappointment.” — Times. '' A cheap and interesting publication, alike informing and attractive. The papers combine subjects of importance and great scientific knowledge, considerable inductive powers, and a popular style of treatment.”— “The ‘Museumof Science and Art’ Is the most valuable contribution that has ever been made to the Scientific Instruction of every class of society.” — Sir David BREWSTER, in the North British Review. “ Whether we consider the liberality and beauty of the illustrations, the charm of the writing, or the durable interest of the matter, v;e must express our belief that there is hardly to be found among the new books one that would be welcomed by people of so many ages and classes as a valuable x^tGS&DX.''— Examiner. *** Separate boohs formed from the above, suitable for Workmen's Libraries. Science Classes, etc. Common, Things Explained. Containing Air, Earth, Fire, Water, Time, Man, the Eye, Locomotion, Colour, Clocks and Watches, &c. 233 Illus- trations, cloth gilt, 5s. The Microscope. Containing Optical Images, Magnifying Glasses, Origin and Description of the Microscope, Microscopic Objects, the Solar Micro- scope, Microscopic Drawing and Engraving, &c. 147 Illustrations, cloth gilt, 2S. Eopitlar Geology, Containing Earthquakes and Volcanoes, the Crust of the Earth, &c. 201 Illustrations, clofh gilt, 2S. 6d. Popular Physics. Containing Magnitude and Minuteness, the Atmo- sphere, Meteoric Stones, Popular Fallacies, Weather Prognostics, the Thermometer, the Barometer, Sound, &c. 85 Illustrations, cloth gilt, zs. 6 d. Steam and its Uses. Including the Steam Engine, the Locomotive, and Steam Navigation. 89 Illustrations, cloth gilt, zs. Popular Astronomy, Containing How to observe the Heavens — The Earth, Sun, Moon, Planets, Light, Comets, Eclipses, Astronomical Influ- ences, &c. 182 Illustrations, cloth gilt, 4s. 6d. The Bee and White Ants : Their Manners and Habits. With Illustra- tions of Animal Instinct and Intelligence. 135 Illustrations, cloth gilt, 2S. The Electric Telegraph Popularized. To render intelligible to all who can Read, irrespective of any previous Scientific Acquirements, the various forms of Telegraphy in Actual Operation. 100 Illustrations, cloth gilt, IS, 6d. Dr, Lardner’s School Marndhooks, NATURAL PHILOSOPHY FOR SCHOOLS. By Dr. Lardner, 328 Illustrations. Sixth Edition. One Vol., 3s. 6d. cloth. A very convenient class-book for junior students in private schools. It is Intended to convey inclear ana precise terms, general notions of all the principal divisions of Physical Science. — British Quarterly Review. ANIMAL PHYSIOLOGY FOR SCHOOLS. By Dr. Lardner. With 190 Illustrations. Second Edition. One Vol., 3s. 6 d. cloth. “ Clearly written, well arranged, and excellently illustrated." — Gardener’s Chronicle. Lardner and Bright on the Electric Telegraph, THE ELECTRIC TELEGRAPH. By Dr. Lardner. Re- vised and Re-written by E. B. Bright, F.R.A.S. 140 Illustrations. Small 8vo, 2S. 6 d. cloth. , “ One of the most reliable books e.r.ant on the Electric Telegraph. —Efiglish Mechanic. CHEMICAL MANUFACTURES, CHEMISTRY, etc. 35 CHEMICAL MANUFACTURES, CHEMISTRY. Alkali Trade, Mamitacture of Sulphuric Acid, etCe A MANUAL OF THE ALKALI TRADE, including the Manufacture of Sulphuric Acid, Sulphate of Seda, and Bleaching Powder. By John Lomas, Alkali Manufacturer, Newcastle-upon-Tyne and London. With 232 Illustrations and Working Drawings, and containing 390 pages ot Text. Second Edition, with Additions. Super-royal 8vo, £1 los. cloth. •'This book is written by a manufacturer for manufacturers. The working details of the most approved forms of apparatus are given, and these are accompanied by no less than 232 wood en- gravings, all of which may be used for the purposes of construction. Every step in the manu- facture is very fully described in this manual, and each improvement — A then(Zicm. “ We find not merely a sound and luminous explanation of the chemical principles of the trade, but a notice of numerous matters which have a most important bearing on the successful conduct of alkali works, but which are generally overlooked by even experienced technological authors.” — Chetnical Review. The Blowpipe, THE BLOV/PIPE IN CHEMISTRY, MINERALOGY, AND GEOLOGY. Containing all known Methods of Anhydrous Analysis, many Working Examples, and Instructions for Making Apparatus. By Lieut. - Colonel W. A. Ross, R.A., F.G.S. With 120 Illustrations. Second Edition, Revised and Enlarged. Crown 8vo, 5s. cloth. "The student who goes conscientiously through the course of experimentation here laid down will gain a better insight into inorganic chemistry and mineralogy than if he had ‘got up ' any of the best text-books ot the day, and passed any number of examinations in their contents.” — Chemical News. Commercial Chemical Analysis, THE COMMERCIAL HANDBOOK OF CHEMICAL ANA- LYSIS; or. Practical Instructions for the determination of the Intrinsic or Commercial Value of Substances used in Manufactures, in Trades, and in the Arts. By A. Normandy, Editor of Rose’s "Treatise on Chemical Analysis.” New Edition, to a great extent re-written by Henry M. Noad, Ph.D., F.R.S. With numerous Illustrations. Crown 8vo, 12s. 6d. cloth. “ We strongly recommend this book to our readers as a guide, alike indispensable to the housewife as to the pharmaceutical practitioner.” — Medical Times. "Essential to the analysts appointed under the new Act. The most recent results are given, and the work is well edited and carefully written.” — Nature, Chemistry for Engineers, etc, ENGINEERING CHEMISTRY : A Practical Treatise for the Use of Analytical Chemists, Engineers, Iron Masters, Iron Founders, Students, and others. Comprising Methods of Analysis and Valuation of the Prinpipal Materials used in Engineering Work, with numerous Analyses, Examples, and Suggestions. By H. Joshua Phillips, F.I.C., F.C.S. Analytical and Consulting Chemist to the Great Eastern Railway. Crown 8vo, 320 pp., with Illustrations, los. 6d. cloth. ijust published. “ In this work the author has rendered no small service to a numerous body of practical men. , . . The analytical methods may be pronounced most satisfactory, being as accurate as the despatch required of engineering chemists Chemical News. “ Those in search of a handy treatise on the subject of analytical chemistry as applied to the every-day requirements of workshop practice will find this volume of great assistance.”— “ The first attempt to bring forward a Chemistry specially written for the use of engineers, and we have no hesitation whatever in saying that it should at once be in the possession of every raUway engineer.’ —TVse Railway E 7 igmeer. “ The book v/ill be very useful to those who require a handy and concise resutne of approved methods of analysing and valuing metals, oils, fuels, &c. It is, in fact, a work for chemists, a guide to the routine of the engineering laboratory. . . , The book is full of good things. As a hand- book of technical analysis, it is very welcome.” — Builder. Bye-Wares and Colours, THE MANUAL OF COLOURS AND DYE-WARES : Their Properties, Applications, Valuations, Impurities, and Sophistications. For the use of Dyers, Printers, Drysalters, Brokers, &c. By J. W. Slater. Second Edition, Revised and greatly Enlarged. Crown 8vo, ys, 6d. cloth. _ •' A complete encyclopaedia of the materia tinctoria. The information given respecting each article is full and precise, and the methods of determining the value of articles such as these, so liable to sophistication, are given with clearness, and are practical as well as valuable.” — Chemist and Druggist. “There is no other work which covers precisely the same ground. To students preparing for examinations in dyeing and printing it will prove exceedingly useful.” — Chemical News, 36 CROSBY LOCKWOOD <5* SON^S CATALOGUE. Modern brewing and Malting, A HANDYBOOK FOR BREWERS: Being a Practical Guide to the Art of Brewing and Malting. Embracing the Conclusions of Modern Research which bear upon the Practice of Brewing. By Herbert Edwards Wright, M.A , Author of “ A Handbook for Young Brewers.” Crown 8vo, 530 pp,, I2S. 6d. cloth. [Just published. “ May be consulted with advantage by the student who is preparing himself for examinational tests, while the scientific brewer will find in it a res7ime of all the most important discoveries of modern times. The work is written throughout in a clear and concise manner, and the author takes great care to discriminate between vague theories and well-established Brewers' journal. “ We have very great pleasure in recommending this handybook, and have no hesitation in saying that it is one of the best— if not the best— which has yet been written on the subject of beer-brewing in this country, and it should have a place on the shelves of every brewer’s library.” — The Brewer’s Guardia^t. “ Well arranged, under special headings which separate each paragraph, and furnished with a good index, every facility for speedy reference is afforded. ... On every debatable subject we have presented in an unbiased fashion the opinions which have been advanced in explanation of these points, making the work exactly what it purports to be, a comprehensive review of the conclusions of modern research in regard to Chemical Trade Jouimal. Analysis and Valuation of Fuels, FUELS: SOLID, LIQUID, AND GASEOUS, Their Analysis and Valuation. For the Use of Chemists and Engineers, By H. J. Phillips, F.C.S., Analytical and Consulting Chemist to the Great Eastern Railway, Author of “ Engineering Chemistry,” &c. Second Edition, Revised and Enlarged. Crown 8vo, 5s. cloth, [Just published . “ Ought to have its place in the laboratory of every metallurgical establishment, and wherever fuel is used on a large scale.” — Chemical News. “ Mr. Phillips’ new book cannot fail to be of wide interest, especially at the present time.” — Railway News, Figments, THE ARTIST’S MANUAL OF PIGMENTS. Showing their Composition, Conditions of Permanency, Non- Permanency, and Adul- terations ; Eflects in Combination with Each Other and with Vehicles ; ano the most Reliable Tests of Purity. Together with the Science and Arts Department’s Examination Questions on Painting. By H. C. Standage, Second Edition, crown 8vo, as. 6d. cloth. “This work is indeed multum-in-parvo, and we can, with good conscience, recommend it to all who come in contact with pigments, whether as makers, dealers or users.” — Chemical Review, Gauging, Tables and Rules for Revenue OfficevSj Brewer'S, etc. A POCKET BOOK OF MENSURATION AND GAUGING : Containing Tables, Rules and Memoranda for Revenue Officers, Brewers, Spirit Merchants, &c. By J. B. Mant (Inland Revenue), Second Edition, Revised. Oblong i8mo, 4s. leather, with elastic band. “ This handy and useful book is adapted to the requirements of the Inland Revenue Depart- ment, and will be a favourite book of reference. The range of subjects is comprehensive, and the arrangement simple and clear.” — Civilian. “ Should be in the hands of every practical htuvrer."— Brewers’ journal. INDUSTRIAL ARTS, TRADES, AND MANUFACTURES. Flour Manufacture, Milling, etc, FLOUR MANUFACTURE : A Treatise on Milling Science and Practice. By Friedrich Kick, Imperial Regierungsrath, Professor of Mechanical Technology in the Imperial German Polytechnic Institute, Prague. Translated from the Second Enlarged and Revised Edition with Supplement, By H. H. P. Powlhs, Assoc, Memb. Institution of Civil Engi- neers. Nearly 400 pp. Illustrated with 28 Folding Plates, and 167 Woodcuts. Royal 8vo, 25s. cloth. “ This valuable work is, and will remain, the standard authority on the science of milling. . . ■ The miller v/ho has read and digested this work will have laid the foundation, so to speak, of a suc- cessful career ; he will have acquired a number of general principles which he can proceed to apply. In this handsome volume we at last have the accepted text-book of modern millmg in good, sound English, which has little, if any, trace of the German idiom."— The Miller. “ The appearance of this celebrated work in English is very opportune, and British millers will, we are sure, not be slow in availing themselves of its pages."— Afillers' Gazette. INDUSTRIAL AND USEFUL''"ARTS.<^^'^^-^ YL Soap-making> THE ART OF SOAP-MAKING : A Practical Handhook'^of the Manufacture of Hard and Soft Soaps, Toilet Soaps, etc. Including many New Processes, and a Chapter on the Recovery of Glycerine from Waste Leys. By Alexander Watt, Author of “ Electro-Metallurgy Practically Treated,” &c. With numerous Illustrations. Fourth Edition, Revised and Enlarged. Crown 8vo, ys. 6d. cloth. “The work will prove very useful, not merely to the technological student, but to the practical soap-boiler who wishes to understand the theo^ of his art.” — Cheinical News. “ Really an excellent example of a technical manual, entering, as it does, thoroughly and ex- haustively, both into the theory and practice of soap manufacture. The book is well and honestly done, and deserves the considerable circulation with which it will doubtless meet.” — Knowledge. “Mr. Watt’s book is a thoroughly practical treatise on an art which has almost no literature in our language. We congratulate the author on the success of his endeavour to fill a void in English technical literature.” — Nature. Paper 3Iakmg, THE ART OF PAPER MAKING : A Practical Handbook of the Manufacture of Paper from Rags, Esparto, Straw, and other Fibrous Materials, Including the Manufacture of Pulp from Wood Fibre, with a Description of the Machinery and Appliances used. To which are added Details of Processes for Recovering Soda from Waste Liquors. By Alexander Watt, Author of “ The Art of Soap-Making,” ” The Art of Leather Manufacture,” &c. With Illustrations. Crown 8vo, 7s. 6d. cloth. “ This book is succinct, lucid, thoroughly practical, and includes everything of interest to the modern paper maker. The book, besides being all the student of paper-making will require in his apprenticeship, will be found of interest to the paper-maker himself. It is the latest, most practical, and most complete work on the paper-making art before the British public.”— Ra/er Record. “ It may be regarded as the standard work on the subject. The book is full of valuable in- formation. The ‘Art of Paper-making,’ is in every respect a model of a text-book, either for a technical class or for the private Paper and Printhig Trades yournal. Leather Manufacture, THE ART OF LEATHER MANUFACTURE. Being a Practical Handbook, in which the Operations of Tanning, Currying, and Leather Dressing are fully Described, and the Principles of Tanning Ex- plained, and many Recent Processes Introduced ; as also the Methods for the Estimation of Tannin, and a Description of the Arts of Glue Boiling, Gut Dressing, &c. By Alexander Watt, Author of ” Soap-Making,” “ Electro- Metallurgy,” &c. With numerous Illustrations. Second Edition. Crown 8vo, gs. cloth. “A sound, comprehensive treatise on tanning and its accessories. The book is an eminently valuable production, which redounds to the credit of both author and p\ihlishers.”—C/temical Review. “This volume is technical without being tedious, comprehensive and complete without being prosy, and it bears on every page the impress of a master hand. We have never come across a better trade treatise, nor one that so thoroughly supplied an absolute want.” — Shoe and Leather Trades’ Chronicle. Boot and Shoe Mailing, THE ART OF BOOT AND SHOE-MAKING. A Practical Handbook, including Measurement, Last-Fitting, Cutting-Out, Closing, and Making, with a Description of the most approved Machinery employed. By John B. Leno, late Editor of St. Crispin, and The Boot and Shoe-Maker. With numerous Illustrations. Third Edition. i2mo, 2s. cloth limp. “ This excellent treatise is by far the best work ever written on the subject. The chapter on clicking, which shows how waste may be prevented, will save fifty times the price of the book.” — Scottish Leather Trader. Dentistry Construction, MECHANICAL DENTISTRY : A Practical Treatise on the Construction of the various kinds of Artificial Dentures. Comprising also Use- ful Formulae, Tables, and Receipts for Gold Plate, Clasps, Solders, &c. &.c. By Charles Hunter. Third Edition, Revised. With upwards of 100 Wood Engravings. Crown 8vo, 3s. 6d. cloth. “ The work is very practical.” — Monthly Review of Dental Surgery. “ We can strongly recommend Mr. Hunter’s treatise to all students preparing for the profession of dentistry, as well as to every mechanical dentist,” — Dublin Journal of Medical Science, Wood Engraving, WOOD ENGRAVING : A Practical and Easy Introduction to the Study of the Art. By William Norman Brown. Second Edition. With numerous Illustrations. i2mo, is. 6d. cloth limp. “The book is clear and complete, and will be useful to anyone wanting to understand the first elements of the beautiful art of wood engraving.” — Graphic. 38 CROSBY LOCKVmOD ^ SON'S CATALOGUE. Horology, A TREATISE ON MODERN HOROLOGY, in Theory and Prac- tice. Translated from the French of Claudius Saunier, ex-Director of the School of Horology at Magon, by Julien Tripplin, F.R.A.S., Besanjon Watch Manufacturer, and Edward Rigg, M.A., Assayer in the Royal Mint. With 78 Woodcuts and 22 Coloured Copper Plates. Second Edition. Super- royal 8vo, £2 2s. cloth ; £2 los, half-calf. “ There is no horological work in the English langu^e at all to be compared to this produc- tion of M. Saunier’s for clearness and completeness. It is alike good as a guide for the student and as a reference for the experienced horologist and skilled workman.” — Horological Journal. “ The latest, the most complete, and the most reliable of those literary productions to which continental watchmakers are indebted for the mechanical superiority over their English brethren —In fact, the Book of Books, is M. Saunier's —Watchmaker, Jeweller and Silversmith. WatchmaMng, THE WATCHMAKER'S HANDBOOK. Intended as a Work- shop Companion for those engaged in Watchmaking and the Allied Mechani- cal Arts. Translated from the French of Claudius SAunier, and considera- ably enlarged by Julien Tripplin, F.R.A.S., Vice-President of the Horological Institute, and Edward Rigg, M.A., Assayer in the Royal Mint. With numerous Woodcuts and 14 Copper Plates. Third Edition. Crown 8vo, gs. cloth. “ Each part is truly a treatise in itself. The arrangement is good and the language is clear and concise. It is an admirable guide for the young watchmaker,” — Engineering'. “ It is impossible to speak too highly of its excellence. It fulfils every requirement in a hand- book intended for the use of a workman. Should be found in every workshop."— and Clockmaker. “ This book contains an immense number of practical details bearing on the daily occupation of a •vf 3 X.ch.md.^QX.”—Waichfnake>- and Ii:stalwo7'ker (Chicago). Watches and Timekeepers, A HISTORY OF WATCHES AND OTHER TIMEKEEPERS. By James F. Kendal, M.B.H.Inst. 250 pp., with 88 Illustrations, is. 6 d, boards ; or 2s. 6d. cloth gilt. [Just published. " Mr. Kendal’s book, for its size, is the best which has yet appeared on this subject in the English language."— “ Open the book where you may, there is interesting matter in it concerning the ingenious devices of the ancient or modern horologer. The subject is treated in a liberal and entertaining soirit, as might be expected of a historian who is a master of the craft.” — Satu7’day Review. Electrolysis of Gold, Silver, Copper, etc. ELECTRO -DEPOSIT ION : A Practical Treatise on the Electrolysis of Gold, Silver, Copper, Nickel, and other Metals and Alloys, With descrip- tions of Voltaic Batteries, Magneto and Dynamo-Electric Machines, Ther- mopiles, and of the Materials and Processes used in every Department of the Art, and several Chapters on Electro-Metallurgy. By Alexander Watt, Author of “ Electro-Metallurgy,” &c. With numerous Illustrations. Third Edition, Revised and Corrected. Crown 8vo, gs. cloth. “Eminently a book for the practical worker in electro-deposition. It contains practical descriptions of methods, processes and materials as actually pursued and used in the workshop." — Engineer. Electro-Metallurgy, ELECTRO-METALLURGY ; Practically Treated. By Alexander Watt, Author of “ Electro-Deposition,” &c. Ninth Edition, Enlarged and Revised, with Additional Illustrations, and including the most recent Processes. i2mo, 4s. cloth boards. “From this book both amateur and artisan may learn everything necessary for the successful prosecution of electroplating.’’— Working in Gold. THE JEWELLER'S ASSISTANT IN THE ART OF WORK- ING IN GOLD : A Practical Treatise for Masters and Workmen, Compiled from the Experience of Thirty Years’ Workshop Practice. By George E. Gee, Goldsmith and Silversmith, Author of “ The Goldsmith’s Handbpok,’ ’ &c. Crown 8vo, 7s. 6 d. cloth. ijust pubhshed. “ This manual of technical education is apparently destined to be a valuable auxiliary to a handicraft which is certainly capable of great improvement.”— r/ze n’wsi-. “ This volume will be very useful in the workshop, as the knowledge is practical, having been acquired by long experience, and all the recipes and directions are guaranteed to be successful if properly worked out.”—Jewelle>‘ and Metalworker. INDUSTRIAL AND USEFUL ARTS, 39 Electroplating^ ELECTROPLATING : A Practical Handbook on the Deposi- tion of Copper, Silver, Nickel, Gold, Aluminium, Brass, Platinum, &c, &c. With Descriptions of the Chemicals, Materials, Batteries, and Dynamo Machines used in the Art. By J. W. Urquhart, C.E., Author of “ Electric Light,” &c. Second Edition, Revised, with Additions. Numerous Illustrasr' tions. Crown 8vo, 5s. cloth. “An excellent practical manual." — Engineering;-, “ An excellent work, giving' the newest information." — Horological yourna.1. Electrotyping, ELECTROT YPING : The Reproduction ayid Multiplication of Print- ing Surfaces and Works of Art by the Electro-deposition of Metals. ByJ. W, _ Urquhart, C.E. Crown 8vo, 5s. cloth. “ The book is thoroughiy practical. The reader is, therefore, conducted through the leading laws of electricity, then through the metals used by electrotypers, the apparatus, and the depositing processes, up to the final preparation of the work. —Art yotirfiai. Goldsmiths’ Worh, THE GOLDSMITH'S HANDBOOK. By George E. Gee, Jeweller, &c. Third Edition, considerably Enlarged. lamo, 3 s. 6d. cl. bds, “A good, sound educator, and will be generally accepted ais an authority.’’ — Horological Journal. Silversmiths’ Work, THE SILVERSMITH'S HANDBOOK. By George E. Gee, Jeweller, &c. Second Edition, Revised, with numerous Illustrations. i2mo„ 3s. 6d. cloth boards. “ The chief merit of the work is its practical character. . . The workers in the trade will speedily discover its merits when they sit down to study it." — English Mechanic. The above two works together, strongly half-bound, price ys, Bread and Biscuit Baking. THE BREAD AND BISCUIT BAKER’S AND SUGAR-^ BOILER’S ASSISTANT, Including a large variety of Modern Recipes. With Remarks on the Art of Bread-making. By Robert Wells, Practical Baker. Second Edition, with Additional Recipes, Crown 8vo, Ci'. cloth. “ A large number of wrinkles for the ordinary cook, as well as the baker.” — Saturday Review, Confectionery for Hotels and- Jlestaurants. THE PASTRYCOOK AND CONFECTIONER’S GUIDE, For Hotels, Restaurants and the Trade in general, adapted also for Family Use. By Robert Wells, Author of “ The Bread and Bi-scuit Baker’s and Sugar-Boiler’s Assistant.” Crown 8vo, 2s, cloth. “ We cannot speak too highly of this re.ally excellent work. In these days of keen competition our readers cannot do better than purchase this ’oook."— Bakers' Times. Ornamental Confectionery. ORNAMENTAL CONFECTIONERY : A Guide for Bakers, Confectioners and Pastrycooks; including a variety of Modern Recipes, and Remarks on Decorative and Coloured Work, With 129 Original Designs. By Robert Wells, Practical Baker, Author of “ The Bread and Biscuit. Baker’s and Sugar-Boiler’s Assistant,” &c. Crown 8vo, cloth gilt, 5s, “A valuable work, practical, and should be in the hands of every baker and confectioner. The illustrative designs are alone worth treble the amount charged for the whole wox'k.”— Bakers' Times, Flour Confectionery, THE MODERN FLOUR CONFECTIONER. Wholesale and Retail. Containing a large Collection of Recipes for Cheap Cakes, Biscuits, &c. With Remarks on the Ingredients used in their Manufacture. To' which are added Recipes for Dainties for the Working Man’s Table. By R. Wells, Author of “ The Bread and Biscuit Baker,” &c. Crown 8vo, 2S. cL “ The work is of a decidedly practical character, and in every recipe regard is had to economi- cal working.” — North British Daily Mail. Laundry Work. LA UN DRY MANAGEMENT. A Handbook for Use in Private and Public Laundries, Including Descriptive Accounts of Modern Machinery and Appliances for Laundry 'Work. By the Editor of ‘‘ The Laundry Journal.” With numerous Illustrations. Crown 8vo, 2S. 6d. cloth. “ This book should certainly occupy an honoured place on the shelves of all housekeepers who wish to keep themselves an coiirant of the newest appliances and methods.”— Queen. 40 CROSBY LOCKWOOD &> SON’S CATALOGUE. HANDYBOOKS FOR HANDICRAFTS. By PAUL N. HASLUCK, Editor of “Work” (New Series); Author of “Lathework,” “Milling Machines, &c. Crown 8vo, 144 pages, cloth, price is. each. r/ieseHANDYBooKS have been written to supply inf ormation /oy Workmen, Students, and Amateurs in the several Handicrafts, on the actual Practice of the Workshop, and are intended to convey in plain language Technical Know- ledge of the several Crafts. In describing the processes employed, and themanipu- lation of material, workshop terms are used ; workshop practice is fully explained ; and the text is freely illustrated with drawings of modern tools, appliances, and processes. The following Volumes are now ready : THE METAL TURNER’S HANDYBOOK. A Practical Manual for Workers at the Foot-Lathe. With over 100 Illustrations. Price is. “ The book will be of service alike to the amateur and the artisan turner. It displays thorough knowledge of the snh^ect.”— Scotsman. THE WOOD TURNER’S HANDYBOOK. A Practical Manual for Workers at the Lathe. With over 100 Illustrations. Price is. “We recommend the book to young turners and amateurs. A multitude of workmen have hitherto sought in vain for a manual of this special mAyistry.'’— Mechanical World. THE WATCH JOBBER’S HANDYBOOK. A Practical Manual on Cleaning, Repairing, and Adjusting. With upwards of 100 Illustrations. Price IS. “ AVe strongly advise all young persons connected with the watch trade to acquire and study this inexpensive •woi^.'’—Ckrken'well Chronicle. THE PATTERN MAKER'S HANDYBOOK. A Practical Manual on the Construction of Patterns for Founders. With upwards of 100 Illustrations. Price is. “ A most valuable, if not indispensable, manual for the pattern maker." — Knowledge. THE MECHANICS WORKSHOP HANDYBOOK. A Practical Manual on Mechanical Manipulation. Embracing Information on various Handicraft Processes, with Useful Notes and Miscellaneous Memoranda. Comprising about 200 Subjects. Price is. “ A very clever and useful book, which should be found in every workshop ; and it should certainly find a place in all technical schools.” — Saturday Review. THE MODEL ENGINEER'S HANDYBOOK. A Practical Manual on the Construction of Model Steam Engines. With upwards of 100 Illustrations. Price is. “ Mr. Hasluck has produced a very good little book.” — Builder. THE CLOCK JOBBER'S HANDYBOOK. A Practical Manual on Cleaning, Repairing, and Adjusting. With upwards of 100 Illustrations. Price IS. " It is of inestimable service to those commencing the trade."— Coventry Standard. THE CABINET WORKER’S HANDYBOOK: A Practical Manual on the Tools, Materials, Appliances, and Processes employed in Cabinet Work. With upwards of 100 Illustrations. Price is. “ Mr. Hasluck’s thoroughgoing little Handybook is amongst the most practical guides we have seen for beginners in cabiaet-work." — Saturday Review. ^ The following are in preparation : THE WOODWORKER'S HANDYBOOK. THE METALWORKER’S HANDYBOOK. The following NOTICES OF THE PRESS show the estimation in which the Series is held:— “ Written by a man who knows, not only how work ought to be done, but how to do it, and how to convey his knowledge to otVitrs."— Engineering. " Mr. Hasluck writes admirably, and gives complete instructions."— “ These handy volumes are certain to give thorough help in the groundwork of his profession to any intelligent apprentice.” — Daily Telegraph. “ Mr. Hasluck combines the experience of a practical teacher with the manipulative skill and scientific knowledge of processes of the trained mechanician, and the manuals are marvels of what can be produced at a popular price.” — Schoolmaster. “ Helpful to workmen of all ages and degrees of experience.”— Chronicle, " Practical, sensible, and remarkably cheap.” — Journal of Educatioti. “ Concise, clear, and ]}ract\caV'—Satu}-day Review. COMMERCE. COUNTING-HOUSE WORK, TABLES, etc. 41 COMMERCE, COUNTING-HOUSE WORK, TABLES, etc. Commercial Eilucatiou, LESSONS IN COMMERCE. By Professor R. Gambaro, of the Royal High Commercial School at Genoa. Edited and Revised by James Gault, Professor of Commerce and Commercial Law in King’s College, London. Crown 8vo, 3s. 6d. cloth. “ The publishers of this work have rendered considerable service to the cause of commercial education by the opportune production of this volume. . . . The work is peculiarly acceptable to English readers and an admirable addition to existing class-books. In a phrase, we think the work attains its object in furnishing a brief account of those laws and customs of British trade with which the commercial man interested therein should be familiar.” — Chamber of Com7nerce Journal. Foreign Commercial Correspondence, THE FOREIGN COMMERCIAL CORRESPONDENT: Being Aids to Commercial Correspondence in Five Languages— English, French, German, Italian, and Spanish. By Conrad E. Baker. Second Edition. Crown 8vo, 3s. 6d. cloth. “Whoever wishes to correspond in all the languages mentioned by Mr. Baker cannot do better than study this work, the materials ofwhich are excellent and conveniently arranged.”— .4 theftesz^m. “A careful examination has convinced us that it is unusually complete, well arranged, and reliable. The book is a thoroughly good one."— Schoolmaster. Accounts for Manufacturers, FACTORY ACCOUNTS: Their Principles and Practice. A Handbook for Accountants and Manufacturers, with Appendices on the No- menclature of Machine Details; the Income Tax Acts; the Rating of Fac- tories; Fire and Boiler Insurance; the Factory and Workshop Acts, &c., including also a Glossary of Terms and a large number of Specimen Rulings. By Emile Garcke and J. M. Fells. Third Edition. Demy 8vo, 250 pages, price 6s. strongly bound. “ A very interesting description of the requirements of Factory Accounts. . . . the principle of assimilating the Factory Accounts to the general commercial books is one which we thoroughly tigree with.” — Accountants' Jotirtial. “ Characterised by extreme thoroughness. There are few owners of factories who would not derive great benefit from the perusal of this most admirable work.” — Local Government Chrofiicle Intuitive Calculations, THE COMPENDIOUS CALCULATOR ; or, Easy and Con- cise Methods of Performing the various Arithmetical Operations required in Commercial and Business Transactions, together with Useful Tables. By Daniel O'Gorman. Corrected and Extended by Professor J. R. Young. Twenty-seventh Edition, Revised by C. Norris. Fcap. 8vo, 2S. 6d. cloth limp; or, 3s. 6d. strongly half-bound in leather. “ It would be difficult to exaggerate the usefulness of a book like this to everyone engaged in commerce or manufacturing industry. It is crammed full of rules and formulce for shortening and employing calculations.” — Kzwwledge. Modern Metrical Units and Systems, MODERN METROLOGY : A Blanual of the Metrical Units and Systems of the Present Century. With an Appendix containing a proposed English System. By Lowis D’A. Jackson, A.M.Inst.C.E., Author of “ Aid to Survey Practice,’’ &c. Large crown 8vo, 12s. cloth. “We recommend the work to all interested in the practical reform of our weights and mea- sures.”— The Metric System and the ^British Standards, A SERIES OF METRIC TABLES, in which the British Stand- ard Measures and Weights are compared with those of the Metric System at present in Use on the Continent. By C. H. Dowling, C.E. 8vo, ios. 6d. strongly bound. “ Mr. Dowling’s Tables are well put together as a ready-reckoner for the conversion of one system into the other.” — Athenaum. Iron and Metal Trades’ Calculator, THE IRON AND METAL TRADES' COMPANION. For expeditiously ascertaining the Value of any Goods bought or sold by Weight, from IS. per cwt. to 112s. per cwt., and from one farthing per pound to one shilling per pound. By Thomas Downie. Strongly bound in leather, 396 pp., 9s. “ A most useful set of tables ; nothing like them before existed.” — Building Nevus. “ Although specially adapted to the iron and metal trade.s, the tables will be found useful In every other business in which merchandise is bought and sold by Railway Nevus, 42 CROSBY LOCKVYOOD SON’S CATALOGUE. Calculator for Numbers and Weights Combined^ THE NUMBER, WEIGHT, AND FRACTIONAL CALCU- LATOR. Containing upwards of 250,000 Separate Calculations, showing at a glance the value at 422 diflerent rates, ranging from ri^th of a Penny to 20s. each, or per cwt., and £20 per ton, of any number of articles consecu- tively, from I to 470. — Any number of cwts., qrs., and lbs., from i cwt. to 470 cwts.— Any number of tons, cwts., qrs., and lbs., from i to 1,000 tons. ' By William Chadwick, Public Accountant. Third Edition, Revised and Im- proved. 8vo, price i8s., strongly bound for Office wear and tear. IS” Is adapted for the use of Accountants and Auditors, Railway Companies, Canal Companies, Shippers, Shipping Agents, General Carriers, etc. Ironfounders, Brassfounders, Metal Merchants, Iron Manufacturers, Ironmongers, Engineers, Machinists, Boiler Makers, Millwrights, Roofing, Bridge and Girder Makers, Colliery Proprietors, etc. Timber Merchants, Builders, Contractors, Architects, Surveyors, Auctioneers, Valuers, Brokers, Mill Owners and Manufacturers, Mill Furnishers, Merchants, and General Wholesale Tradesmen, Also for the Apportionment of Mileage Charges for Railway Traffic. Opinions of the Press. “ It is easy of reference for any answer or any number of answers as a dictionary, and the references are even more quickly made. For makingf up accounts or estimates the book must prove invaluable to all who have any considerable quantity of calculations involving price and measure in any combination to do.” — Engineer. “ The most complete and practical ready reckoner which it has been our fortune yet to see. It is difficult to imagine a trade or occupation in which it could not be of the greatest use, either in saving human labour or in checking work. The publishers have placed within the reach of every commercial man an invaluable and unfailing assistant.*’— Miller. Harben’s Comprehensive Weight Calculator, THE WEIGHT CALCULATOR. Being a Series of Tables upon a New and Comprehensive Plan, exhibiting at One Reference the exact Value of any Weight from i lb. to 15 tons, at 300 Progressive Rates, from id, to i68s. per cwt., and containing 186,000 Direct Answers, which, with their Combinations, consisting of a single addition (mostly to be performed at sight), will afford an aggregate of 10,266,000 Answers ; the whole being calcu- lated and designed to ensure correctness and promote despatch. By Henry Harben, Accountant. Fourth Edition, carefully Corrected. Royal 8vo, £i 5s., strongly half-bound. “ A practical and useful work of reference for men of business generally ; It is the best of the kind we have seen.” — Ironmonger. “Of priceless value to business men, It is a necessary book in all mercantile offices.”— rield Independent, Marben^s Comprehensive JDiscount Guide, THE DISCOUNT GUIDE. Comprising several Series of Tables for the use of Merchants, Manufacturers, Ironmongers, and others, by which may be ascertained the exact Profit arising from any mode of using Discounts, either in the Purchase or Sale of Goods, and the method of either Altering a Rate of Discount or Advancing a Price, so as to produce, by one operation, a sum that will realise any required profit after allowing one or more Discounts : to which are added Tables of Profit or Advance from ij to go per cent.. Tables of Discount from to g8| per cent., and Tables of Com- mission, &c., from I to 10 per cent. By Henry Harben, Accountant, Author of “ The Weight Calculator.” New Edition, carefully Revised and Corrected, Demy 8vo, 544 pp., £i 5s. half-bound. “A book such as this can only be appreciated by business men, to whom the saving of time means saving of money. We have the nigh authority of Professor J. R, Young that the tables throughout the work are constructed upon strictly accurate principles. The work is a mod^ of typographical clearness, and must prove of great value to merchants, manufacturers, and general tx^.^^xs,"—British Trade, JournaL Iron Shipbuilders’ and Merchants’ W eight Tables, IRON -PLATE WEIGHT TABLES: For Iron Shipbuilders, Engineers, and Iron Merchants. Containing the Calculated Weights of up- wards of 150,000 diflerent sizes of Iron Plates, from i foot by 6 in. by | in. to 10 feet by 5 feet by i in. Worked out on the basis of 40 lbs. to the square foot of Iron of i inch in thickness. Carefully compiled and thoroughly Re- vised by H. Burlinson and W. H. Simpson. Oblong 4to, 25s. half-bound. “This work wiU be found of great utility. The authors have had much practical experience of what is wanting in making estimates; and the use of the book will save much time in making elaborate calculations,”— Mechaitic, AGRICULTURE, FARMING, GARDENING, etc. 4S AGRICULTURE, FARMING, GARDENING, etc. Dr, Fr cam’s New Edition of The Standard Treatise on Agriculture.” THE COMPLETE GRAZIER, and FARMER'S a?id CATTLE^ BREEDER'S ASSISTANT : A Compendium of Husbandry. Originally Written by William Youatt, Thirteenth Edition, entirely _ Re-written, considerably Enlarged, and brought up to the Present Requirements of Agricultural Practice, by William Fream, LL.D., Steven Lecturer in the University of Edinburgh, Author of “The Elements of Agriculture,” &c. Royal 8vo, i,ioo pp., with over 450 Illustrations. Price £i ns. 6 d. strongly and handsomely bound. [.Just published. Extract from Publishers’ Advertisement. “ A treatise that made its original appearance in the first decade of the century, and that enters upon its Thirteenth Edition before the century has run its course, has undoubtedly established its position as a work of permanent value. It has been deemed expedient, therefore, to retain, as far as possible, in the present edition those features of Youatt's 'Work which must have commended themselves to general approval. “ The phenomenal progress of the last dozen years in the Practice and Science of Farming has rendered it necessary, however, that the volume should be re-written, and the publishers were fortunate enough to secure for the revision the services of Dr. FREAM, whose high attainments in all matters pertaining to agriculture have been so emphatically recognised by the highest pro- fessional and official authorities. In carrying out his editorial duties. Dr. FREAM has been favoured with valuable contributions by Prof. J. AVortley Axe, Mr. E. BROWN, Dr. BERNARD Dyer, Mr. w. J. Malden, Mr. R. H. Rew, Prof. Sheldon, Mr. J. Sinclair, Mr. Sanders Spencer, and others “No pains have been spared to make the illustrations as representative and characteristic as possible ; those of Live Stock (with one or two exceptions) being new to the work ; and amongst them will be found portraits of prize-winning animals of the leading breeds. “ On the whole, it may be safely said that no effort has been lacking on the part of either Editor or Publishers to make this New Edition of ‘ The COMPLETE Grazier ’ a faithful mirror of agricultural progress and a reliable record of modern practice in farming, and, as such, deserving of the reputation gained by the work {vide Mark Lafie Express) as ‘ a treatise tyhich 7 uill remain a. standard rvork mi the subject as long- as British agricitlture endures.' " Summary of Contents. Book I. On the Varieties, Breed- ing, Rearing, Fattening, and Management of Cattle. Book II. On the Economy and Man- agement OF THE Dairy. Book III. On the Breeding, Rear- ing, AND Management of Horses. Book IV. On the Breeding, Rear- ing, AND Fattening of Sheep. Book V. On the Breeding, Rearing, AND Fattening of Swine. Book VI. On the Diseases of Live Stock. Book VII. On the Breeding, Rear- ing, AND Management of Poultry, Book VIH. On Farm Offices and Implements of Husbandry. Book IX, On the Culture and Man- agement of Grass Lands. Book X, On the Cultivation and Application of Grasses, Pulse, AND Roots. Book XI. On Manures and their Application toGrass Land&Crops Book XII. Monthly Calendars of F.armwork, Opinions of the Press on the New Edition, “ Dr. Fream is to be congratulated on the successful attempt he has made to give us a work which will at once become the standard classic of the farm practice of the country. We believe that it will be found that it has no compeer among the many works at present in existence.”— 77za Times, February 13th, 1893. “ The book is one that ought to be in every farm and in the library of every land owner.”— Mark Lane Express. “ The best and brightest guide to the practice of husbandry, one that has no superior— no equal we might truly say— among the agricultural literature now before the ^n\A\z.''—BelLs Weekly Messenger. “ In point of exhaustiveness and accuracy the work will certainly hold a pre-eminent and unique position among books dealing with scientific agricultural practice. It is, in fact, an agri- cultural library of itself, and as such it should be in the hands of every agriculturist.”- North British Ag^’icnlturist. British Farm Live Stock, FARM LIVE STOCK OF GREAT BRITAIN. By Robert Wallace, F.L.S., F.R.S.E., &c., Professor of Agriculture and Rural Eco- nomy in the University of Edinburgh, Third Edition, thoroughly Revised and considerably Enlarged. With over 120 Phototypes of Prize Stock. Demy 8vo, 384 pp., with 79 Plates and Maps, price 12s. 6 d. cloth. [Just published. “ Fevv country gentlemen who take up this book will care to put it down again until they have looked at its hundred phototypes of prize cattle, sheep, pigs, and horses— the very best collection we have ever szqii."— Saturday Revie^v. 44 CROSBY LOCKWOOD SON'S CATALOGUE. Dairy Farming, BRITISH DAIRYING. A Handy Volume on the Work of the Dairy-Farm. For the Use of Technical Instruction Classes, Students in Agricultural Colleges, and the Working Dairy-Farmer. By Prof.J. P. Sheldon, late Special Commissioner of the Canadian Government, Author of “ Dairy Farming,” “ The Farm and the Dairy,” &c. With numerous Illustrations. Crown 8vo, 2s. 6 d. cloth. published. Agricultural Facts and Figures, NOTE-BOOK OF AGRICULTURAL FACTS AND FIGURES FOR FARMERS AND FARM STUDENTS. By Primrose McConnell, B.Sc., Fellow of the Highland and Agricultural Society. Fourth Edition. Royal 32mo, roan, gilt edges, with band, 4s. " Literally teems with information, and we can cordially recommend it to all connected with •agriculture."— British Agriculturist. Small Farming, SYSTEMATIC SMALL FARMING; or, The Lessons of my Farm. Being an Introduction to Modern Farm Practice for Small Farmers. By Robert Scott Burn, Author of “Outlines of Modern Farming,” &c With numerous Illustrations, crown 8vo, 6s. cloth. “This is the completest book of its class we have seen, and one which every amateur farmer will read with pleasure and accept as a guide.”— Afe/oT. “The volume contains a vast amount of useful information. No branch ol farming is left untouched, from the labour to be done to the results achieved. It may be safely recommended to -all who think they will be in paradise when they buy or rent a three-acre iaxm.."— Glasgow Herald. Modern Farming, OUTLINES OF MODERN FARMING. By R. Scott Burn. Soils, Manures, and Crops — Farming and Farming Economy — Cattle, Sheep, and Horses — Management of Dairy, Pigs, and Poultry — Utilisation of Town-Sewage, Irrigation, &c. Sixth Edition. In One Vol., 1,250 pp., half- bound, profusely Illustrated, 12s. “ The aim of the author has been to make his work at once comprehensive and trustworthy, and in this aim he has succeeded to a degree which entitles him to much cxQd.it.”—Morni 7 ig Advertiser. “ No farmer should be without this \700\i."— Banbury Guardiati. Agricultural Engineering, FARM ENGINEERING, THE COMPLETE TEXT -BOOK OF. Comprising Draining and Embanking; Irrigation and Water Supply ; Farm Roads, Fences, and Gates ; Farm Buildings, their Arrangement and Con- struction, with Plans and Estimates ; Barn Implements and Machines ; Field Implements and Machines ; Agricultural Surveying, Levelling, &c. By Prof. John Scott, late Professor of Agriculture and Rural Economy at the Royal Agricultural College, Cirencester, &c. &c. In One Vol., 1,150 pages, half- bound, with over 600 Illustrations, 12s. “■Written with great care, as well as with knowledge and ability. The author has done his work well ; we have found him a very trustworthy guide wherever we have tested his statements, The volume will be of great value to agricultural students,” — Mark Lane Express. “ For a young agriculturist we know of no hcuidy volume likely to be more usefully studied.” —Bell’s Weekly Messenger. Agricultural Text-Book, THE FIELDS OF GREAT BRITAIN : A Text-Book of Agriculture, adapted to the Syllabus of the Science and Art Department. For Elementary and Advanced Students. By Hugh Clements (Board of Trade). Second Edition, Revised, with Additions. i8mo, 2 S. 6 d. cloth. “A most comprehensive volume, giving a mass ofiMoxva3.t\on."—Agrictiltural Econo 7 nist. “It is a long time since we have seen a book which has pleased us more, or which contains such a vast and useful fund of knowledge.” — Educational Times. Tables for Farmers^ etc, TABLES, MEMORANDA, AND CALCULATED RESULTS lor Farmers, Graziers, Agricultural Students, Surveyors, Land Agents, Auc- tioneers, etc. Selected and Arranged by Sidney Francis. Second Edition, Revised. 272 pp., waistcoat-pocket size, is. 6 d. limp leather. “Weighing less than i oz., and occupying no more space them a match box, it contains a mass of facts and calculations which hes never before, in such handy form, been obtainable, ^\’e cordially recommend it.” — Bell’s Weekly Messc 7 tger. AGRICULTURE, FARMING, GARDENING, etc. 45 The Management of Bees. BEES FOR PLEASURE AND PROEIT : A Guide to the Manipulation of Bees, the Production of Honey, and the General Manage- ment of the Apiary. By G. Gordon Samson. With numerous Illustrations, Crown 8vo, is. cloth. “ The intending bee-keeper will find exactly the kind of information required to enable him to make a successful start with his hives. The author is a thoroughly competent teacher, and his- book may be commended.” — Morning' Post. Farm and Estate Book-heeping, BOOK-KEEPING FOR FARMERS & ESTATE OWNERS. A Practical Treatise, presenting, in Three Plans, a System adapted for all Classes of Farms. By Johnson M.Woodman, Chartered Accountant, Second Edition, Revised. Cr. 8vo, 3s. 6 d. cl. bds. ; or 2s. 6 d. cl. limp. “ The volume is a capital study of a most important s\xb}QZt."~Agricultural Gazette. Farm Account Book, WOODMAN'S YEARLY FARM ACCOUNT BOOK. Giving a Weekly Labour Account and Diary, and showing the Income and Expen- diture under each Department of Crops, Live Stock, Dairy, &c. &c. With Valuation, Profit and Loss Account, and Balance Sheet at the end of the Year. By Johnson M. Woodman, Chartered Accountant, Author of Book- keeping for Farmers.” Folio, 7s. 6d. half bound. {.culture.^, “Contains every requisite form for keeping farm accounts readily and accurately." — Agri~ Early Fruits, Flowers, and Vegetables, THE FORCING GARDEN ; or, How to Grow Early Fruits, Flowers, and Vegetables. With Plans and Estimates for Building Glass- houses, Pits, and Frames. With Illustrations. By Samuel Wood. Crown 8vo, 3s. 6 d. cloth. “ A good book, and fairly fills a place that was in some degree vacant." The book is written with great care, and contains a great deal of valuable teaching.” — Gardeners' Magazine. Good Gardening, A PLAIN GUIDE TO GOOD GARDENING ;'or, Howto Grow Vegetables, Fruits, and Flowers. By S. Wood. Fourth Edition, with con- siderable Additions, &c., and numerous Illustrations. Crown 8vo, 3s. 6 d. cl. “ May be recommended to young gardeners, cottagers, and specially to amateurs, for the plain, simple, and trustworthy information it gives on common matters too often neglected.”— Gardeners' Chronicle. Gainful Gardening, MULTUM-IN-PARVO GARDENING; or, How to make One Acre of Land produce £620 a-year by the Cultivation of Fruits and Vegetables ; also. How to Grow Flowers in Three Glass Houses, so as to realise £176 per annum clear Profit. By Samuel Wood, Author of “Good Gardening,” &c. Fifth and Cheaper Edition, Revised, with Additions. Crown 8vo, is. sewed, "We are bound to recommend it as not only suited to the case of the amateur and gentleman's gardener, but to the market grower.” — Gardeners' Magazine. Gardening for Ladies, THE LADIES' MULTUM-IN-PARVO FLOWER GARDEN, and Amateurs' Complete Guide. With Illusts. By S. Wood. Cr. 8vo, 3s. 6 d. cl, “ This volume contains a good de^J of sound, common sense instruction.” — Florist. “ Full of shrewd hints and useful instructions, based on a lifetime of expexieace.’’—Scotsman, Receipts for Gardeners, GARDEN RECEIPTS, Edited by Charles W. Quin. i2mo, IS. 6 d. cloth limp. “ A useful and handy book, containing a good deal of valuable infoxma.t\oa."—Athen(eum, 3Iarket Gardening. MARKET AND KITCHEN GARDENING. By Contributors to "The Garden.” Compiled by C. W. Shaw, late Editor of “Gardening Illustrated.” i2mo, 3s. 6 d. cloth boards. " The most valuable compendium of kitchen and market-garden work published."— Farmer. Cottage Gardening, COTTAGE GARDENING : or, Flowers, Fruits, and Vegetables for Small Gardens. By E. Hobday. i2mo, is. 6 d. cloth limp, “ Contains much useful information at a small cha.rge."—Glasg07v Herald. 46 CROSBY LOCKWOOD &> SON’S CATALOGUE. AUCTIONEERING, VALUING, LAND SURVEYING ESTATE AGENCY, etc. A.uctioneer^s Assistant, THE APPRAISER, A UCTIONEER, BROKER, HOUSE AND ESTA TE A GENT A ND VALUER’S POCKET A SSISTA NT, for the Valua- tion for Purchase, Sale, or Renewal of Leases, Annuities and Reversions, and of property generally; with Prices for Inventories, &c. By John Wheeler, Valuer, &c. Sixth Edition, Re-written and greatly extended by C. Norris, Surveyor, Valuer, &c. Royal 32010, 5s. cloth. " A neat and concise book of reference, containing an admirable and clearly-arranged list of prices for inventories, and a very practical guide to determine the value of furniture, &c.” — Standard. “ Contains a large quantity of varied and useful information as to the vtiluation for purchase, sale, or renewal of leases, annuities and reversions, and of property generally, with prices for inventories, and a guide to determine the value of interior fittings tutd other efiects.” — Builder. Auctioneering, AUCTIONEERS : THEIR DUTIES AND LIABILITIES. A Manual of Instruction and Counsel for the Young Auctioneer. By Robert Squibbs, Auctioneer. Second Edition, Revised and partly Re-written. Demy 8vo, I2S. 6d. cloth. “ The standard text-book on the topics of which it treats.” — Athenmum. “ The work is one of general excellent character, and gives much information in a compen- dious and satisfactory form.” — Builder. “ May be recommended as givii:ig a great deal of information on the law relating to auctioneers, in a very readable form.” — Law Jotir7ial. “ Auctioneers may be congratulated on having so pleasing a writer to minister to their special Solicitors' journal. Inwood^s Estate Tables, TABLES FOR THE PURCHASING OF ESTATES, Freehold, Copyhold, or Leasehold; Annuities, Advowsons, etc., and for the Renewing of Leases held under Cathedral Churches, Colleges, or other Corporate bodies, for Terms of Years certain, and for Lives ; also for Valuing Reversionary Estates, Deterred Annuities, Next Presentations, &c. ; together with Smart’s Five Tables of Compound Interest, and an Extension of the same to Lower and Intermediate Rates. By W. Inwood. 23rd Edition, with considerable Additions, and new and valuable Tables of Logarithms for the more Difficult Computations of the Interest of Money, Discount, Annuities, &c., by M. Fedor Thoman, of the Societe Credit Mobilier oi Paris. Crown 8vo, 8s. cloth. “Those interested in the purchase and sale of estates, and in the adjustment of compensation cases, as well as in transactions iri annuities, life insurances, &c., will find the present edition of eminent sgx\\cq."— E ngineering. Agricultural Valuer^ s Assistant. THE AGRICULTURAL VALUERS ASSISTANT. A Prac- tical Handbook on the Valuation of Landed Estates ; including Rules and Data for Measuring and Estimating the Contents, Weights, and Values of Agricultural Produce and Timber, and the Values of Feeding Stuffs, Manures, and Labour ; with Forms of Tenant-Right-Valuations, Lists of Local Agricultural Customs, Scales of Compensation under the Agricultural Holdings Act, &c. &c. By Tom Bright, Agricultural Surveyor. Second Edition, much Enlarged. Crown 8vo, 5s. cloth. [_Just published, '■Full of tables aud examples in connection with the valuation of tenant-right, estates, labour, contents, and weights of timber, and farm produce of all 'kinds."— Agricultural Gazette. “ An eminently practical handbook, full of practical tables and data of undoubted interest and value to surveyors and auctioneers in preparing valuations of all kinds.”— Farmer. Plantations and Underwoods, POLE PLANTATIONS AND UNDERWOODS: A Practical Handbook on Estimating the Cost of Forming, Renovating, Improving, and Grubbing Plantations and Underwoods, their Valuation for Purposes of Transfer, Rental, Sale, or Assessment. By Tom Bright, Author of “ The AgriculturalValuer’s Assistant,” &c. Crown 8vo, 3s. 6d. cloth. " To valuers, foresters and agents it will be a welcome 2 id."— North British Agriculturist. "Well calculated to assist the valuer in the discharge of his duties, and of undoubted interest end use both to surveyors and auctioneers in preparing valuations of all kinds.”— Herald. AUCTIONEERING, VALUING, LAND SURVEYING, etc. 47 Mudson^s Land Valuevas Pocket- THE LAND VALUER'S BEST ASSISTANT: Being Tables on a very much Improved Plan, for Calculating the Value of Estates. With Tables for reducing Scotch, Irish, and Provincial Customary Acres to Statute Measure, &c. By R. Hudson, C.E. New Edition. Royal 33mo, leather, elastic band, 4s. Ewart^s Land Improver^s Pocket-Book, THE LAND IMPROVER'S POCKET-BOOK OF FORMULA, TABLES, and MEMORANDA required in any Computation relating to the Permanent Improvement of Landed Property. By J okn Ewart, Land Surveyor and Agricultural Engineer. Second Edition, Revised. Royal 33mo, oblong, leather, gilt edges, with elastic band, 4s. "A compendious and handy little volume.” — Spectator. Complete Agricultural Surveyor's Pocket-Book, THE LAND VALUER’S AND LAND IMPROVERS S COM- PLETE POCKET-BOOK. Consisting of the above Two Vv^orks bound to- gether. Leather, gilt edges, with strap, 7s. 64 . Mouse Property, HANDBOOK OF HOUSE PROPERTY. A Popular and Practi- cal Guide to the Purchase, Mortgage, Tenancy, and Compulsory Sale of Houses and Land, including the Law of Dilapidations and Fixtures , with Examples of all kinds of Valuations, Useful Information on Building, and Suggestive Elucidations of Fine Art. By E. L. Tareuck, Architect and Surveyor. Fifth Edition, Enlarged. i3mo, 5s. cloth. The advice is thoroughly practical.”— ZaTf yournal. “ For all who have dealings with house property, this is an indispensable gixx^LQ."— Decoration. “Carefully brought up to date, and much improved by the addition of a division on fine art. . . . A well -written and thoughtful work.”— iJetcr-rf. LAW AND MISCELLANEOUS. Private Bill Legislation and Provisional Orders, HANDBOOK FOR THE USE OF SOLICITORS AND EN- GINEERS Engaged in Promoting Private Acts of Parliament and Provi- sional Orders, for the Authorization of Railways, Tramways, Works for the Supply of Gas and Water, and other undertakings of a like character. By L. Livingston Macassey, of the Middle Temple, Barrister-at-Law, M. Inst.C.E. ; Author of “ Hints on Water Supply.’’ Demy 8vo, 950 pp., 25s. cl. “ The author’s double experience as an engineer and barrister has enabled him to approach the subject alike from an engineering and legal point of view.” — Local Government ChronicU. Law of Patents, PATENTS FOR INVENTIONS, AND HOW TO PROCURE THEM. Compiled for the Use of Inventors, Patentees and others. By G. G. M. Hardingham, Assoc. Mem. Inst. C.E. , &c. Demy 8vo, 2s. 64 . cloth. Metropolitan Bating Appeals, REPORTS OF APPEALS HEARD BEFORE THE COURT OF GENERAL ASSESSMENT SESSIONS, from the Year 1871 to 1885. By Edward Ryde and Arthur Lyon Ryde. Fourth Edition, with Introduc- tion and Appendix by Walter C. Ryde, of the Inner Temple, Barrister-at- Law. 8vo, i6s. cloth. Pocket-Book for Sanitary Officials, THE HEALTH OFFICER'S POCKET-BOOK : A Guide to Sanitary Practice and Law. For Medical Officers of Health, Sanitary In- spectors, Members of Sanitary Authorities, &c. By Edward F. Willoughby, M.D. (Lond.), &c.. Author of “ Hygiene and Public Health.” Fcap. 8vo, 7s. 64 . cloth, red edges, rounded corners. published. “ A mine of condensed information of a pertinent and useful kind on the various subjects of which it treats. 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(saved at every consultation ! ), strongly bound in cloth. [Just published ^ *** The Book will be found to comprise {amongst other matter ) — THE Rights and Wrongs of individuals— Landlord and Tenant— Vendors AND purchasers— PARTNERS AND AGENTS— COMPANIES AND ASSOCIATIONS— MASTERS, SERVANTS, AND WORKMEN— LEASES AND MORTGAGES— CHURCH AND CLERGY, RITUAL —Libel and Slander— Contracts and agreements— bonds and bills of Sale- Cheques, Bills, and Notes Railway and Shipping Law— Bankruptcy and In- surance-Borrowers, Lenders, and Sureties— Criminal Law— Parliamentary ELECTIONS— COUNTY COUNCILS— MUNICIPAL CORPORATIONS— PARISH LAW, CHURCH- wardens, etc.— INSANITARY DWELLINGS AND AREAS— PUBLIC HEALTH AND NUISANCES —FRIENDLY AND BUILDING SOCIETIES — COPYRIGHT AND PATENTS — TRADE MARKS AND DESIGNS — husband AND WIFE, DIVORCE, ETC.— TRUSTEES AND EXECUTORS — GUARDIAN AND WARD, INFANTS, ETC.— GAME LAWS AND SPORTING-HORSES, HORSE. 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